Hey, everyone. I'm Clark Wolfe.
And welcome to "Show Me More", where we take
a behind the scenes look at what went into creating
AMC's hit shows.
Before we get into it, I should warn you,
there are lots of spoilers ahead.
Now, if you're all caught up, let's get into part one
of the final season of "Fear The Walking Dead."
Announcer: Presented by T-Mobile.
♪
Padre was a mystery for most of season seven.
And what we did learn about it at the end
with Morgan and Madison was hardly encouraging.
Come on. She sounds scared.
Padre: Like all the children here,
she will learn to separate herself from her emotions.
Wolfe: Well, in season 8, we sure learned
a lot more about Padre.
You're doing this for the same reason
we do everything. For Padre.
Wolfe: Like who's in charge,
how the community survived for over seven years,
and why you wouldn't exactly call it a family friendly place.
Not even close.
Man: Who are we learning this for?
All: Padre!
Man: Who sustains our way of life?
All: Padre.
Goldberg: Padre is our central settlement
that is well fortified, on the water,
where we find our characters in season 8.
Man: Who is teaching us to be strong?
All: Padre.
Goldberg: When Padre started,
it was in this altruistic place.
It really was created to rebuild the world.
Chambliss: Padre isn't just a group of people.
It isn't just a settlement.
It really is a way of life.
We kind of thought of this as kind of like a modern day
version of Sparta, where Padre is collecting all these children
from the apocalypse, and they're kind of like this blank slate
that Padre can teach this new way of life to.
Goldberg: They operate on this philosophy of
separating children from their parents
and raising them to not have emotional connections.
Chambliss: Individual relationships, individual wants
and needs are secondary to the good of the community.
You're doing this for the same reason
we do everything.
For Padre.
Goldberg: Children are being raised to be strong,
to be warriors, to approach the world
in a cold, brutal way.
However, there's something that they grow up
fundamentally lacking, which is connection.
Every time I look out there. I feel like something
really big is missing inside of me.
Goldberg: Our characters are separated from the people
they care about, and it's really redefined
who they are as people in the seven years
since we last saw them.
Who's that?
Madison: That's your dad.
Are you really my father?
I am Mo...
Wren. My name is Wren.
Essentially, the kids have been brainwashed.
They believe their parents abandoned them.
They believe that Padre has their best interests at heart.
Padre. Can you hear me? This is Wren.
Man: Padre 1. Wren, do you copy?
Chambliss: Padre is run by these two traumatized
young adults who are doing all of this because
they lost their father.
Don't let this die. It's so important.
Goldberg: They believe they are protecting other kids
from the pain that they felt.
I know the pain Wren's in.
The whole reason I am doing what I'm doing
is to prevent anyone else from feeling that kind of pain.
Chambliss: There are, in some ways, good intentions behind
Padre, but Shrike and Crane have gone to this
kind of very dark place.
Woman: Wren, this is to protect you,
Eshet: Shrike and Crane, they're extremists.
They take very harsh actions to keep their community safe.
Stop, please!
Eshet: And they really did manage to keep
this community going.
Just so you know, Red Kite,
no one's ever stolen a child from Padre before.
Padre's philosophy has been quite effective.
But there is a cost that comes when you have to enforce
your ideology with such extreme measures.
Stop! Let her go!
Get her out of here now.
Padre really has to be careful
about showing any kind of weakness.
Don't move.
Shrike: Call the prefect. Tell them to get more guards.
She's the reason Finch got bit.
Finch got bit?
They don't want to have a bunch of kids wondering,
wait, is it better out there?
Are the parents that we've been told didn't care about us,
were our enemies, are they really our enemies?
Those kind of questions are the thing that Padre really
has to try to snuff out.
You wanted to ask Padre for the truth?
Go ahead, ask us.
Walton: Dove finds these files, and it holds all the information
about who her parents were, what her name is.
And that's just one story out of many of the kids.
Eshet: They lied to all of the children.
And I think that is going to be their downfall.
Let her go.
You don't understand.
She's Padre's daughter. You've been lied to.
Chambliss: Ultimately, in its effort to survive,
Padre ended up creating the very people
who are going to end up bringing it down.
♪
Season 8 took us to a watery world
full of muck and mud
and sinking boats and swamp walkers.
To do this, the show went to the wetlands of Georgia,
where they built a swamp in a swamp.
♪
I really like working in the manmade swamp.
It's such an impressive production design,
the set design.
All the special effects team,
everything they've done, it's pretty remarkable.
Goldberg: The swamp was a whole new element
that we got in season 8 with the move to Savannah.
Well, do the alligators, and do the snakes,
do they all know that this is a manmade swamp?
Goldberg: Our team went in and excavated an area,
put in our own swamp water so that we could regulate
and we could make sure that there were no alligators
or anything that were getting in.
We built this thing to control the water levels
and control the critters and control...
Just basically have control over the environment.
Goldberg: We got our swamp walkers, which
KNB just made them so nightmarish and cool.
Dickens: The first night we worked in the swamp,
it was really moderate temperatures.
And I remember us kind of looking at each other like,
"This is kind of fun, right?"
James: Particularly the man made swamp that we had,
the water was constantly moving and pumped fresh
and all of that.
And it was kind of nice, I'm saying in inverted commas,
when the weather was warm.
When we were doing it later on in the season
and the weather had turned, not so much.
Dickens: It was a little bit like a carnival ride
to work on it because you're working at an angle
like this the whole time and half wet the whole time.
David: Looking at the set with the houseboat in the water
and Grace coming in on that raft was so badass.
I mean, I could not have asked for a better entrance
to start off the season.
Who are you?
I'm your mother.
We've seen a lot of horrible things
on "Fear The Walking Dead" over the years,
but Shrike infecting Finch with a walker bite
on the train car is about as dark as it gets.
No, please!
All in the name of finding a cure that doesn't work.
♪
Goldberg: The train car was this off site medical facility
where Padre was doing horrific experiments
in the name of this cure.
Hello, Blue Jay.
Eshet: I infect Finch to give June motivation
to continue the research.
Elfman: Padre started these horrible experiments
and held June at gunpoint and made her do them.
Why is Padre doing this?
The same reason he does everything...
To ensure what he's built endures.
I sacrifice one individual in order to find a vaccine
and maybe solve this for humanity.
The set looked awesome.
Goldberg: We wanted to create this image of this
house of horrors where people who've had
these terrible experiments done to them for walker bites.
But it's all coming from this place of
wanting to prevent loss,
which is ultimately something that you can't do.
It was really brutal to shoot that scene.
It was awful.
Dwight: No, no, no, no, no, no, no.
We're in this tight train car.
Finch is a few feet in front of us.
We're tied to this pipe.
To watch Dwight and Sherry's reaction, as parents,
helplessly watching something happen to your child
that you can't do anything about is very emotional.
Amelio: It was pretty dark world, you know?
So it's like you got to go there in order for it to be truthful.
I'm gonna kill you. I'm gonna kill you!
Elfman: I think we all went back to the hotel
and just, like, sat outside
and, like, had to get some fresh air after that day.
Sure enough, one by one, our characters turned on Padre.
Where are you taking me?
As far away from Padre as possible.
It started with Madison, but Padre,
led by Shrike and Crane,
had a real knack for making enemies.
Just ask June or Morgan, Grace, and Mo.
What about everyone else?
Or Dwight and Sherry.
I'm gonna kill you.
Or Daniel and his parent army.
Padre, you pissed off the wrong group of people.
♪
Hello? Is anyone in there?
Wait, wait.
Please. I'm not going to hurt you.
Dickens: Madison is really important to Padre
because she's rebelling against them.
She was being controlled and brainwashed and led to believe
that she was going to get access to her children.
You lied to me.
She's consumed with guilt for participating with Padre
and collecting all the children.
Her obsession becomes, "Let me help these kids
reunite with their parents."
What's your name?
Wren.
No, it's not. It's Mo.
When Mo realized maybe she wasn't being told
everything about how she came to the island,
things start to change.
Change of plans. We're leaving.
Chambliss: When Madison ends up escaping with Mo,
that is such a dangerous thing for Padre.
If word were to get out, that would start to show
kind of the fissures in the foundation.
Where are we going?
To find your dad.
On a personal level,
the revolution started with Morgan spending time with Mo.
I think he knows he's never going to let her go again.
I think the initial act of defiance is massive
because he's within Padre's reach.
What are you doing here? How'd you find me?
Evangelista: Sherry and Dwight are on their mission
to bring him back so they could save their son.
When they see what Morgan is going through,
there's a lot of compassion.
Duane?
And you sort of see these two
parents mirroring each other.
Morgan is essentially going through
the same thing with his son.
Elfman: For June, Padre is the exact opposite
of everything June stands for.
Her whole purpose is to help, and once she left Padre,
the only way she could still help
is by somehow disabling the collectors.
And she did that by cutting off their trigger fingers.
Padre has survived for so long because it was mostly
young people that were being controlled.
Elfman: There's been no forces for good that are strong enough
to overtake Padre.
And we're all separated.
Woman: Hands up!
Blades: The army that Daniel has trained,
this army of parents, it has proven pretty effective.
Padre has lied to all of us.
Maybe we can find out what else he's lied about.
Together.
We'll let the commander decide.
Who's the commander?
Daniel: Turn around.
What Daniel has done is to give them a purpose,
an organization, and a leadership.
Madison?
Daniel?
You know these people?
Give them back their weapons.
Blades: Daniel's family is gone, but now he's going to try to get
these people their families back.
And Padre is a place where he can make that possible.
Daniel: All these people lost their children to Padre.
And there are more of them. Maybe your own parents.
Madison.
We'll hold them off. Go.
When Madison and June and Dove storm into Padre
to have him show himself, Madison smashes the mirror.
We discover that it's a very young man in there,
Shrike's brother.
Eshet: The secret revealed,
is a huge danger for the entire operation.
What they're risking is that all of the members of the community
are going to turn against them,
and then everything could collapse.
Do you know the truth about Padre?
There is no Padre. He's been dead for a long time.
Given the fact that Padre was all built on just a series of
lies, a series of playing people off each other...
Guns up!
And because Shrike and Crane were trying to prevent
anyone else from feeling any kind of loss,
that kind of absolute I think is just what ultimately made it
inevitable that it would fall.
You were just given an order!
Fire.
They won't do it.
I think ultimately people do need connection.
People need family and to build a community.
Goldberg: More and more people start to kind of tear down this
wall of what Padre has built and what was behind it.
And even though it hurts more to connect with people
that you might lose, it's still better
than walling yourself off from that connection.
Morgan didn't just fight Padre this season.
He fought some serious inner demons, as well.
There was no telling when he went into his red fugue state
whether he might kill anyone and anything around him.
No!
Lennie James talks about how and why this happened,
and cast and crew take us through how they created
the action on a sinking houseboat full of walkers
with Morgan seeing red.
Morgan: I can't!
This is Morgan's version of post traumatic stress.
Easy! Madison!
Easy there. What happened?
He doesn't remember when he's in the red state.
The audience actually get a vision of Morgan
that he never sees.
My ax! Where is my ax?!
He's trying to document this version of himself.
He's trying to write down "Morgan was here,"
and it just comes out in broken, disjointed graffiti.
The reason why this has all woken up in him
is because Morgan has taken on the responsibility of Mo.
What does clear mean?
Clear? It's when I was killing anything and anyone.
If I can't look after her now,
I might not be able to do it in the future.
I might not be able to keep this child alive.
Dad, help me!
That is what blacks him out.
That is what sends him into the red.
Before the take, I'd try and hold my breath
for as long as it's humanly possible.
It's like he's coming out from being underwater.
And he just needs to get to the surface.
And when he gets out of it, he's gasping that air in.
Woman: Morgan!
James: We kept reminding everybody who was around Morgan
in those episodes that what they had seen
was someone to be frightened of.
Did I hurt you?
Managed to stay out of your way.
There's a reason why Morgan has lasted this long.
When he's in the fugue state,
he is capable of serious destruction.
McLean: We worked with the show runner
to develop a very interesting effect for the Red Fugue states.
We wanted a texture to it.
Some of the things I used was like melting paint inside of oil
so that it swirled.
And then we had to figure out what is the best type of shot.
You want it to be close on his face so that
he can shift, and the background, just shoom.
And then speed.
A lot of it has to do with timing.
One of the last pieces was an overlay.
What is something that floats on top of the screen?
We sourced medical images of eyeballs,
so he's kind of in his mind's eye, literally.
I think it's going to be a really cool effect.
Sorry!
You started killing, and then it was like
you thought I was one of them.
It's okay.
Man: Ready. Three, two, one. Action.
Today, the scenes that I'm shooting are where Morgan and Mo
are stuck in the houseboat fighting the walkers
while the water is rising.
It does feel like I am in a sinking boat
because it happened so quickly.
Armstrong: There's a progression in terms of the sinking.
We started on two different set pieces we had.
One was on airbags that we could control
a small, slight descent into the swamp,
and then we transitioned to our full dunk tank.
Iudica: And we have a 120-ton crane
to gently lower this set piece underwater.
When we sink the boat, we'll sink it level,
but it'll look like it's at an angle.
Platform weighs about 15,000 pounds,
so it gives us room for about 20 or so people on board.
We control the speed, we control the stops and the starts.
There's always a safe exit.
We have water pumps that will create a lot of wake
and agitation so you can get water on the surface to ripple
towards them or you can bounce water off the wall,
and then also compressed air to add bubbles
as if all of the air pockets in the boat are releasing.
Mo, give me my ax!
McLean: When we're in the swamps, VFX is here to help
make things that are safe seem dangerous.
So any time there's a safety wire or a rig
or if there's hoses to keep the water level in the right place,
if we see that in the shot, we can paint that out later.
Come on. I can help you.
I've got it.
You know, we have zombies stuck in the mud.
We have people fighting on the houseboat.
The houseboat is sinking. It's a wild scene.
McLean: We make it super controlled and super safe
on set, and with a little help from our stunt department
and a little help from VFX,
we make it look really dangerous.
Morgan: You're gonna make it out of here, Mo.
A big part of Morgan's story this season was his need
to deal with his trauma.
That's why he returned to his home in King County
to put his wife Jenny and son Duane to rest after so long.
Sorry it took me so long.
Wolfe: Over 10 years later,
this iconic place we know from "The Walking Dead" pilot
was recreated thanks to show runners Ian Goldberg
and Andrew Chambliss, along with the design and FX teams.
It was a powerful journey for Morgan,
and it ends in devastation when his moment of peace
is shattered by Grace getting bitten.
Man: We just add a puff of smoke.
Two cameras.
We knew as soon as we started talking about season 8
that this was going to be a crucial episode for Morgan,
and his journey, was taking him back to King County,
which is where his journey began as a character,
way back on the pilot of "The Walking Dead."
He say something?
Thought I heard him say something.
He called me Carl. Son, you know they don't talk.
But it was kind of a tall order. To say to ourselves like,
"Okay, if we're going to go back to this location,
these sets, where the entire kind of Walking Dead universe
began, you know, we had to have a story
that really justified it.
Over here. Come on.
And I have to give just huge, huge props to our entire team
and our production designer, Russell and his team,
who rebuilt the house with painstaking detail
to match exactly what was there,
which was no easy feat, considering the last time
we saw that house was over 10 years ago,
and it felt like stepping into the past.
Daddy.
Bless him.
The work that they did on their own
recreating that place was fantastic.
Jaeger: Obviously, we had to do a tremendous amount of research
to create what is just an iconic space
and then take that space to its ultimate demise
of destroying this iconic piece of Walking Dead history.
Mo: Dad, I'm upstairs. I can't get out.
Get to the attic, Mo. I'm on my way to you.
When my agent sent me the e-mail,
I literally asked him, was he serious?
And then I said, "Well, I guess you are."
And then I said yes.
It was so exciting to bring Jenny back.
And the image of Jenny as a walker
standing outside that house,
it's just so kind of rooted in The Walking Dead's history.
It was like we were right back in "The Walking Dead" pilot.
It was great to see her, and I think it's a real testament
to this particular universe that such things can happen.
I'm on my way!
Chambliss: Through a combination of some makeup effects
and then some visual effects, we were able to recreate
walker Duane in those final moments,
when we finally saw him up in that attic.
Seeing the walker...
Please!
Duane as alive Duane,
it's about that battle that...
Help!...Morgan's having with himself.
Daddy! Daddy.
♪
McLean: They tore down the house that was built
and then made it look like it had been burnt down.
And it's super weird to see something that you were just
here for the night before be completely transformed
into something different for the next scene.
David: It's a home full of memories,
a home full of history, a home full of love,
a home full of heartache.
And to see that all be obliterated so quickly,
like even me as Karen, I was just watching this.
I was so heartbroken in that moment.
James: When he buries Duane and Jenny,
I think he thinks he's at peace.
We do what we said we were gonna.
Spend as much time together as we can.
Goldberg: I think Morgan does have a moment of peace
when he's burying Jenny and Duane.
And the tragic part of it is that just as that happens...
Dad!
Grace gets bit.
Come on.
Morgan's love story was one of the things
that was hardest for us to achieve,
and I don't think we could have done that
without an actress of Karen's caliber, really.
Man: And cut.
Kenneth Requa did such a beautiful job directing it.
We're really happy with how it turned out.
And cut. Great. Let's move on.
Not so easy to move on from an episode like this.
And seeing that walker bite on Grace, it hurts.
The end of the first half of this final season
sadly takes us to the end of our time with Grace and Morgan
and with Karen David and Lennie James,
who talk about the Grace/Morgan love story,
saying goodbye to these powerful characters,
and what the show has meant to them.
We also hear from their fellow cast
and the show runners as they pay tribute to this beloved duo.
James: When Morgan walked in on "Fear",
he had holes in his shoes,
his boots were held together by tape, he was alone,
he was friendless, frightened.
He wanted to avoid people.
Man: Are you sure you're going to be
all right out there on your own?
This world, we're always alone.
Grace: Take off your clothes. All of them.
Grace is such a vital character toward Morgan's journey.
I've always been a kind of serious guy.
Really?
The journey that this love story has to go on has to go on
the fact that this is a man
who is not in any way aware of the possibility
of loving anybody apart from his dead wife.
So this has to take him by surprise.
And that's a hell of a job to do.
And Karen did it.
David: When Morgan lay, Duane and Jenny to rest,
there was this sense of finality, closure,
this beautiful sense of peace.
It was sort of a 1-2 punch of wanting to feel like right
at that moment of maximum hope,
a walker punches through a rubble.
David: What a parent will do for their child,
they will die for their child.
And she saw her daughter in danger,
and she just acted like any parent would have.
It's just heartbreaking in that moment
because whatever happiness and lightness
that this family, you know, the three of them could have,
you want that so much for them, and that's now been robbed.
Grace, I don't think I'm going to
make it to you before...
I tell you, filming my last moments with Lenny
was really tough.
I'm so sorry, Morgan.
David: Being on the walkie and doing that scene
was just so incredibly heartbreaking.
David: When Grace is a walker,
it was hard to watch even on the playback.
There's so much love in how
Morgan just gently laid her down.
When we lose characters on this show or characters die,
we want it to mean something,
we want it to leave an emotional ripple.
And Karen definitely did that.
James: The way we finished with Grace is a real testament
to the job that Karen's done, really.
It's supposed to hurt.
It's supposed to break your heart.
You're supposed to be angry.
All of those things come into play because we're losing Karen.
She is like a bright light. She's just sunshine.
I'm proud to have worked with her.
I feel blessed that we had this journey together.
Both women, both Grace and Karen,
are just these lovely sort of self-sacrificial women.
It's always hard to say goodbye.
Saying goodbye to Karen David is not easy
because she's truly one of the loveliest
human beings to work with.
When I think of her, I think of her as a bouquet of flowers.
David: The family that we've created with our crew,
our creatives, our cast,
the beautiful thing about this whole experience
of being part of this universe is that you take the people
in your hearts and you take them on your journey wherever you go.
They are a part of who I am now.
Morgan: The way out is opening the door to people,
to possibility, to the hurt that will happen.
I've found the way, and I opened the door,
and then my life started all over again.
Chambliss: Lenny has been such a fixture
since Ian and I started in season 4,
and he's been such a fixture of The Walking Dead universe
that it's really hard to imagine making this show without him.
I'm a bit in denial that Lenny's gone, to be honest.
He's been such a vital part of the journey.
I think he's an inspiration. Truly, he's one of a kind.
We'll be forever grateful to Lenny for his time with us.
Lenny has been such a tremendous part of it
once he joined the show.
It's been great to play adversaries.
I truly hope that I get the chance
to create with him other characters in the future.
But for now, I know I have a brother and a friend.
Dickens: Lenny James could not have been more open to me
and gracious in welcoming me back.
He's been an incredible inspiration to watch
and to work with, and he lives in our hearts.
Elfman: I really look up to Lenny James as an actor.
Every chapter of Morgan has that essence to him,
just that benevolent heart that he gets to walk away with.
Mo, I think, is super beautiful.
To recognize for himself that he has found love,
that he's capable of love, that he's capable of giving again.
And so he leaves with the cup so full.
James: When Morgan walks away from "Fear",
he has a child, he has made friends,
he's lost friends, and he's had an effect on them.
And he leaves them better than he found them.
You can't really ask for much more than that.
Morgan: This message is for Rick Grimes.
It's Morgan Jones.
Man, I'm going to come and look for you.
Who knows? Maybe you might even be listening.
Goodbyes are never easy,
and neither is finding love in the apocalypse.
But Grace and Morgan did it.
AMC has partnered with the organization
See Her to celebrate the women of
"Fear The Walking Dead."
I'm not gonna hurt you.
We put that spotlight on Kim Dickens,
who talked about her portrayal of Madison Clark
and her fight against Padre.
Mo ended up at Padre because of me.
Let me try to make this right.
With a formidable performance like Kim's,
it's no wonder Padre was so scared of Madison.
Padre: Do you really want to do this?
There's nothing you could do to me
that's worse than what I'm already living.
Dickens: Madison has said it over and over.
She's got nothing left to lose.
Once she's able to break free from Padre's imprisonment
and starts the rescue mission,
that's the only thing that gives Madison a will to live,
is to make up for the wrongs she's done
by reuniting these families.
Seriously?
Coming back to the show was very interesting
because I'd never worked with Lenny.
I'd never worked with Morgan Jones.
Back on that beach, I said I was going
to save your daughter.
I also said I was going to save you.
I guess that's what I'm going to have to do.
We don't need saved.
Those two unlikely travel partners,
Morgan and Madison, or as I like to call them, M&M,
they have an amazing knowledge and insight into each other.
Go. I'll draw them away.
We fell right into step with each other.
I spent seven years in a cell so you could be with her.
This isn't about you. I'm doing this for her.
I got to fight him.
We were fighting like our day one
of getting to know each other.
I think she spots very early on that Morgan needs to do
what Morgan needs to do.
It's happening again.
Dickens: As far as Madison's arc goes, I think you finally see
a glimmer of the old Madison,
the warrior and the person who's going to make things right.
And for me, I thought that was astounding.
Goldberg: Kim Dickens is such a force.
That role is such an iconic role in not just
"Fear The Walking Dead," but in the Walking Dead universe.
And this season, Madison realizes that she's got
a decision to make.
Who is she going to be,
and how is she going to protect the settlement?
So with Morgan passing the leadership torch to Madison
and Padre's leaders going down, there are some big questions
to be answered before the series concludes.
Can Madison make Padre into something good?
Will Dwight and Sherry be able to help?
Will they even be around? Will June?
And of course, there are a bunch of folks
we haven't seen in a while.
Like, say, Victor Strand.
♪
Now, why was he calling you Anton?
It's such a gigantic task to think about bringing
all these stories, all these character journeys,
not just to a conclusion,
but also kind of bringing them full circle.
Come here.
When we started to think about
where do we want these characters to end up,
it actually led to the question of, well, where did they start?
Chambliss: We wanted to look back at these characters
from their very beginnings on the show
and look at who they were back then and who they were now,
and we could see how far they've come.
Goldberg: With each of the characters, to a certain degree,
in the back half of this season,
they have to look back in order to look forward.
I drew that when we were both living here.
And the theme that kept coming to the front
of our minds was just this idea of family.
If I just did it differently, they both might be here.
And it all started with Madison Clark.
She was this matriarch at the beginning of the apocalypse
who always wanted to protect her kids,
who wanted to create a world where they could be safe,
who wanted to give them something that
really didn't exist anymore.
You missed breakfast.
The kid needs a place of her own.
I was thinking about putting the bed over here.
It all kind of boils down to the story
and the story you want to tell,
the story that we think will bring together all the themes,
all the characters, everyone's stories in a way
that will feel satisfying
and also feel like it has some real finality to it.
I'm going to help you.
You're going to help me.
Help you do what?
Save Padre.
I can't wait to see how it all turns out
in the final episodes.
And for fans of The Walking Dead universe,
there is so much to look forward to on AMC.
We're going to make Padre what it was meant to be
in the first place.
Thanks for watching "Show Me More",
and thanks for watching "Fear The Walking Dead."
Remember, you can catch episodes of "Fear The Walking Dead"
on AMC Plus, the AMC site and apps, and on demand.
Until next time, I'm Clark Wolfe.
♪