Kevin Deebolt’s conversations in these scenes are light, but effective when unfolded, as Connie is featured in most of the episodes. Lauren Ridloff is a great physical performer, whose facial expressions and body language convey as much as American Sign Language at her fingertips. The sequence of her rushing into the room with Vergil, panicking, and scribbling “NOT ALONE” on the canvas of the picture with a knife is especially effective, with each other while the two characters are trapped. You can easily see that they are combined. Underground through their interaction. They are the only ones left behind, and Connie portrays the character’s lack of sleep through the wide but exhausted eyes of the child, whose actress is desperately striving to avoid maniac expressions and bedtime. Virgil’s concern about it seems real. Communication between the two characters is rough but effective, and the physical distance between them works well because it puts Connie at risk throughout most of the episode.
One of my favorite tricks Nicotero pulls in this episode is to isolate Connie. When isolated, the viewer loses the familiar comfort that Foley offers. Connie’s scene is given only the sparsest soundtrack, and the viewer is in a beating silence due to the complete absence of background noise. The only sound is an exact reproduction of the silence that echoes in someone’s head when the ears are closed and closed. A warm womb-like ham helps Connie create a sequence of exploring the home. More nervous.
The soundtrack is chasing the tense Bernard Herrmann’s strings when Connie is with Virgil or is openly chased by one of the barbaric human monsters hiding in the walls of the house. Just hitting the soundtrack makes me even more anxious. The scene where a bloody hunting knife pierces an inch of a wall from Connie’s face deserves applause in the way it is shot and staged. The familiar horror reference is always appreciated, especially when knocked out of the park in this way.
There is no real rest from the tension of the B plot back to Darryl trying to prove himself to the non-real reaper. It’s tense because he has to torture his friends to get information about hunting down other friends while continuing to act enough to deceive the Pope. This is the exact opposite of Connie’s scene. She is completely silent, but the people around her (including the house hideout) look noisy, Darryl and the Reapers are making a lot of noise, and the house hideout is silent. It’s a good juxtaposition and less effective in giving Kevin Deebolt the opportunity to skillfully divulge information about the reapers and the company hiding in the basement, while it sounds like Darryl is playing the ball for the team. Not the target.
The Pope seems to be watching Darryl carefully, waiting for him to tilt his hand, just as Connie is seen but wandering around the house knowing he can’t prove it. However, it cannot be proved. It’s not paranoia if they’re really chasing you, and when you don’t trust the leader of your new group to not kill you for a simple mistake, or stabbed behind during a fight It’s not paranoia because it’s unlucky enough to be. Unless you’re a carver, it’s perfectly logical for Darryl to hesitate on the side of the Reapers after that display. (Alex Melaz is a good guy everywhere in the rear in every scene he gets to amplify his repulsive force.) If you haven’t been drunk with Cool Aid yet, why would someone agree with the Pope’s madness? Is it?
The Walking Dead Season 11 Episode 6 Review: Inside
https://www.denofgeek.com/tv/the-walking-dead-season-11-episode-6-review-on-the-inside/ The Walking Dead Season 11 Episode 6 Review: Inside
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