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‘The Walking Dead’: The Most Memorable Kills Across 100 Episodes



THR takes a stroll down memory lane with the AMC zombie drama — and unsurprisingly, it's a very violent road indeed.
Courtesy of AMC

Given the show’s subject matter — indeed, given the show’s title — the easiest way to relive The Walking Dead is to walk through the dead.

Across seven full seasons and countless characters, only five figures from the first season of the AMC zombie drama are still standing: Rick Grimes (Andrew Lincoln), Carl Grimes (Chandler Riggs), Carol Peletier (Melissa McBride), Daryl Dixon (Norman Reedus) and Morgan Jones (Lennie James). That’s a whole lot of people we’ve lost along the way, heroes and villains alike, and all of the others who never quite fit comfortably on either side of the good-evil spectrum. 

Based on the comics of the same name from Robert Kirkman and Charlie Adlard, The Walking Dead stands ready to cross past 100 episodes as soon as the season eight premiere, with no signs of stopping anytime soon. As a means of marking the occasion, let’s take a stroll through the history of the series, by walking through some of the most memorable kills across 100 episodes, presented chronologically.

‘The Walking Dead’: The 100 Greatest Moments, Ranked

1. Rick Kills Bicycle Girl (Season 1, Episode 1)

Not the first time we see Rick kill a zombie in The Walking Dead, but chronologically, this one takes place before the little girl he puts down at the gas station. Bicycle Girl, the single most memorable walker by our account, gasps and grasps out for Rick’s flesh. Rather than fear the creature, Rick kneels by its side, expresses his regrets, and does what must be done. It’s among the most human moments of the entire series, and it comes our way almost immediately.

2. Daryl Kills Dale (Season 2, Episode 11)

The first major swerve for Walking Dead comic book fans, Dale Horvath (Jeffrey DeMunn) was always slated for death, but not quite this early. His evisceration at a walker’s hands, followed by a bullet to the head courtesy of Daryl Dixon, was and still is one of the single most shocking developments across 100 episodes spent in the zombie apocalypse.

3. Rick Kills Shane (Season 2, Episode 12)

In contrast to Dale, Shane (Jon Bernthal) should have died much earlier than season two, if Walking Dead stayed true to the comic book letter. Instead, Shane survived right up until the penultimate hour of season two, his death serving as a catalyst for Rick’s transformation into the big-bearded badass we now know and … well, take your pick: love, fear, or both.

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4. Carl Shoots Lori (Season 3, Episode 4)

It’s yet another huge shocker for the comic book crowd, considering how and when Lori (Sarah Wayne Callies) dies in the source material. Lori’s fate on the show is made all the more devastating given that she dies giving birth to Judith, and is subsequently put down by her own son — a decision he makes all on his own, ensuring she won’t return from the dead.

5. Michonne Kills Merle’s Buddies (Season 3, Episode 6)

Danai Gurira’s sword-wielding badass makes her proper debut in season three, ditching Woodbury and forced to show what she’s made of when Merle Dixon (Michael Rooker) and his posse try to hunt her down. Michonne entered The Walking Dead with a lot of hype from her role in the comics, and her stand against Merle’s allies more than measures up.

6. Daryl Kills Merle (Season 3, Episode 14)

Technically, Merle was already dead, shot in the chest after trying to take down the Woodbury threat all on his lonesome. But Daryl delivers the final blow, tearfully bashing his zombified brother’s brains in, a cathartic moment after a life of abuse under Merle’s thumb. 

‘Walking Dead’ Turns 100: Taking a Stroll Through the Show’s Apocalyptic Set

7. The Governor Kills Hershel (Season 4, Episode 8)

Hershel (Scott Wilson) loses his head at the exact moment the Governor (David Morrissey) loses his own, throwing everything away because he can’t abide Rick Grimes’ existence any further. Hershel steps in for Tyreese (Chad Coleman) here, taking the younger man’s comic book death for the show’s version of events, signaling one of the single most memorable plot developments of the whole series: the fall of the prison.

8. Carol Kills Lizzie (Season 4, Episode 14)

It’s the climax of “The Grove,” one of the single best episodes in Walking Dead history: Carol (Melissa McBride) forced to kill a child who refuses to accept the fact that zombies aren’t people anymore — a point she proved by killing her own sister in cold blood. Carol’s choice is absolutely devastating given her own history as a mother, let alone as a warm-blooded human being, but it’s also one of the show’s most successfully emotional moments across seven seasons and counting. 

9. Rick Kills Joe (Season 4, Episode 16)

Rick bites a man’s throat out in order to protect Carl. Really, the act speaks for itself.

‘The Walking Dead’: Every Season, Ranked

10. Carol Kills Everybody (Season 5, Episode 1)

Also known as the moment Carol stepped into Terminus and became the Terminator. Not to mix the metaphors too much, but this was Carol’s Sarah Connor moment, the sequence that solidified her status as the most brutally efficient killing machine on the show. 

11. Rick Kills Gareth (Season 5, Episode 3)

The fact that Rick and friends resolve their cannibal crisis only three episodes into season five serves as a reminder of just how far these people have come since the start of the series — and really, how far they have fallen away from their own humanity. Rick buries a machete into Gareth’s (Andrew J. West) head without any hesitation, as strong a signal as any that the southern gentleman who felt remorse over Bicycle Girl is long gone.

12. Walkers Kill Noah (Season 5, Episode 14)

It’s the single grosses main character death in seven seasons of The Walking Dead, and nothing really comes close: Noah (Tyler James Williams) getting ripped to pieces right in front of poor Glenn (Steven Yeun), helpless but to watch as walkers eat his friend alive. If you have somehow purged this memory from your mind, please post your secret in the comments. Seriously, it’s still nauseating to think about.

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‘The Square’ Interview with Ruben Östlund, Claes Bang and Elisabeth Moss




Director Ruben Östlund is an adventurer of Swedish film and a hard man to satiate. It is seen in his Oscar-nominated film – The Square that has received much attention. Here is an excerpt from the interview with The Playlist as actors Claes Bang and Elisabeth Moss share their experience with the movie and the director.

Claes Bang: Can I tell you a funny story from Cannes?

Elisabeth Moss: Yeah.

Claes Bang: When we were [at Cannes] there was this Screen International journalist, Wendy Mitchell, and she saw the film, she loved it, and she started [rooting] for me as best actor. She put on her Facebook page she put “The Daily Bang” and posted a new photo of me every day. Invented the hashtag #BangforBond.

Elisabeth Moss: So good!


Claes Bang : At the end of the festival, all these predictions come out, right? My agents were fanning me. “It says in Variety now that you’re gonna win. It says in the Daily Telegraph you’re gonna win. It says in The Guardian.” It said everywhere and I started fucking believing the hype. I did. I started believing the hype, because everybody was saying, “It’s an amazing film. It’s so fucking good, but you’re not gonna win the big thing because it’s too funny.” So when we got that phone call on Sunday…

The Playlist: And they told Ruben to come, too, it wasn’t just…

Claes Bang: No, no. They invite the entire crew that is there. So they said to come and I was like, “Fuck, I’m gonna get [an] award.” So when they said, “And the award for Best Actor goes to,” I was almost fucking getting my ass out of the seat and then they said, “Joaquin Phoenix.” I was like, “Okay, I’ll stay put.” Then the next prize went, the next prize went, the next prize went and there was just one left. I leaned over to Rupert and I said, “Unless they’re really fucking with us, we’re gonna get the big one.” We got the big one and I was like, really, really so fucking happy about it, and he was, and everything was exploding, and then five minutes later I was like, “Wait a fucking second. What the fuck was that? He stole my award,that fucking Swedish wanker.” (Laughs.) So what happened is that all the people that get the awards, they go off to a press conference.

Elisbeth Moss: Yeah.

The Playlist: Yeah, I was at the press conferences.

Claes Bang: There’s an amazing party that starts out on the top of the Palais overlooking this harbor with all the boats and everything. Then you go down to the beach where there’s a department of a French restaurant that’s just the most amazing food, champagne, people in tuxes. I mean, amazing. I started to get a little bit pissed. I got quite drunk and then Ruben came back from the press conference and I saw him over there, and I was like, “I’m fucking gonna hurt him now. I’m fucking gonna go over there and kick his ass.”

The Playlist: Really?


Claes Bang: I was so mad. I was really … and I have done really, really stupid stuff when I’m drunk. So, I said to my wife, “We need to leave now.” So we left.

Elisabeth Moss: That’s the danger of believing the hype! That’s why after eight nominations I will never convince me of anything else other than that I’m gonna lose.

Claes Bang: And Ruben texted me something at [1 AM asking] “Where the fuck are you? I mean, we won and everybody’s asking for you.” I mean, everybody there had seen that film and unless you know Ruben, you don’t know that he is the guy, but everybody knew that I was sort of the lead of the film. And I was just…

Elisabeth Moss: Gone.

Claes Bang: I was gone.

The Playlist: But when you woke up the next morning with the hangover were you at least excited?

Claes Bang: I had to get up like, fuck dead early the next morning. That was one of the things. I had a show in Edinburgh that next night.

The Playlist: But when you were going to the airport, on the plane, you must have been thinking “Holy cow!” because when you make a movie you don’t necessarily think it’s going to win the Palme d’Or at Cannes.

Claes Bang: No, and my wife, she was so fucking mad with me. She said, “We’re leaving the party of our lives. There’s boom boom boom and they all want to talk to you, and now we’re leaving.” “Yes,” I said, “This is not where I’m gonna kill a director or try and break the Palme d’Or in half to say ‘This is mine’ or something.”

Elisabeth Moss: But how Ruben Ostlund would that have been if the lead actor and the director got into a fight?


Claes Bang: Exactly.

The Playlist: Yes!

Claes Bang: When I told him this story, because I’ve told him and I’ve told the press and everything now, he was just like, “This is the best story of the whole shoot.”

Elisabeth Moss: Yeah, it’s the greatest!

The Playlist: He’s gonna put this in a movie now. You realize this, right?

Claes Bang: It’s cool. It’s fine. It’s no problem. Listen, what I actually find quite funny is that when you think about it, it’s like, “Oh my God, no. Did I do that?” But when I tell the story people are like, “Finally, someone is coming out and saying I was really, really disappointed not to win.”

Elisabeth Moss: Right. Totally, yes.

Claes Bang: It was literally something like five or six places where it said, “He’s gonna win it.” I fucking believed it.

Elisabeth Moss: Of course. It’s dangerous!

The Playlist: By the way, I’m one of those people that do the stuff that say “these people are going to win.”

Elisabeth Moss: Right, exactly!

The Playlist: So, I guess I apologize?

Elisabeth Moss: No, by all means. It’s your job, but it’s like…

Claes Bang: I have this thing also that was like, “Okay, they really invited a rookie to Cannes. Now we’re gonna fuck with him.”

The Playlist: It’s not personal!

Claes Bang: “We’re gonna build him up, we’re gonna make him believe, and then-”

Elisabeth Moss: “We’re gonna take it away. Just to teach him a lesson.”

The Playlist: Elisabeth, you weren’t at the ceremony. Were you there for the premiere and then you left?

Elisabeth Moss: I went to Antibes which is like 45 minutes, a half an hour away or something. Nobody asked me to go to the Palme d’Or Ceremony.

The Playlist: Oh, they didn’t call and tell you? I thought they gave everyone 24 hours notice.

Claes Bang: No. For instance, if you’re in Japan and you’ve gone back to Japan and you’re getting an award, they will let you know in time so you can get on a plane.

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Christo, you and your wife Jeanne-Claude were born on the exact same day in 1935, but in completely different countries. Do you believe in destiny?

Jeanne-Claude always said, “There are a million people born on the same day.” But it happened that we met, that’s all. That is something not unusual. But there are many things that are not destiny. You make your own destiny.

You worked together for nearly 50 years. Would you have become the same artist without her?

It’s the same question to ask, “What would happen if I were Chinese?” (Laughs) We cannot discuss these things – if, if, if – there are no ifs. After living for 80 years, there are no ifs. I can only say one if and it was that I was rather lucky to escape in 1957 to the West. I had never been outside of Bulgaria until 1956 and if I didn’t go to the West, things would have probably been different.

The Soviets had a very strict policy against modern art so you might have not made art at all.

I was drawing all the time as a little boy, like 5 or 6 years old, and it was at this age that I decided to be an artist. There was never a thought about anything else. But it’s true, in the late ’40s and early ’50s most modern art was not permitted to be seen in the Soviet Bloc countries. There were some very bad reproductions and old books… I desperately tried to go beyond Bulgaria and the Soviet Bloc, but even going to other communist countries was very difficult. Fortunately my aunt and my uncle were living in Prague and finally I succeeded in finding a way to visit them. And I was totally flabbergasted by Prague!


It was the most Western country. Even before the chance to fully escape came into view, I had already decided that I was never going to go back to Bulgaria! I was going to stay in Prague. I was young, like 21 years old, and when you’re young and you discover the relatively small freedom of the Western art in Czechoslovakia and Prague in the late ’50s, suddenly you dream of going to Paris! And this is how the stage was set for me to go to Paris.

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Ms. Roš, what are the main challenges in Slovenian cuisine today?

I think Slovenia is slowly, slowly stepping on the world gastronomic map. But my generation of chefs needs to fight for every single step, and every decision is opening a new door. If you work in Italy or Germany, and you cook well, sooner or later you will get the recognition that you need — there is the Michelin Guide, there is Gault Millau, there is the L’Espresso Guide. While in Slovenia, you can be really good, but up to the moment when the international community acknowledges you, you are actually no one.

You have been the head chef of Hiša Franko in Kobarid for almost 20 years — and it wasn’t until this year that you were recognized as the number one female chef by the World’s 50 Best Restaurants academy.

Right, it’s a very, very slow process. Everybody travels for food to Copenhagen, London, or Paris, but who knows where Kobarid is? So it has been a long, long struggle and fight. It doesn’t have only to do with the quality of the restaurant; you have to prove that you are worth certain awards three times more than in developed countries.

“Creativity is something that does not come only from our childhood — it has a lot to do with our own personality.”

I guess the former Yugoslavia doesn’t necessarily come to mind as a haven for creativity in fine dining. What was it like growing up there in the 1990s?

Well, my mother was actually a brilliant cook. She was a journalist and a very creative person, so our meals at home were very colorful and never repeated. But if I think of the food from my childhood, I think of a simple pasta dish with homemade tomato sauce. It really was a super flavorful meal, with a drop of olive oil on the top and with no cheese. That was the most loved meal when I was a child! That is what they call, “happy food.” You know, my children would kill for it.

My parents lived through the communist regime and told me they used to get so excited over simple things like bananas because they were so rare.

Yes but you know, Yugoslavia never had a very strict organization of the country — the borders were open and we could travel. Tito was a “bon vivant” and he was letting his people have a pretty free life. So Yugoslavia had a lot of good things as well. I think Yugoslavia was a place with a lot of creative people; culture was super strong, especially in Zagreb and Belgrade. But I think that creativity is something that either is in a person or is not. Let’s say I have two children and they are both raised in the same way. The girl is super creative and totally irrational, while the boy is totally rational and not creative at all. I think it is something that does not come only from our childhood or from our upbringing or from the regime in which we lived in — it has a lot to do with our own personality.

Do you feel more creative and irrational, or the other way around?

Oh, I’m too instinctive sometimes! You see, my problem — and sometimes it is also a good thing — is that I don’t question a lot. I actually just jump in the water and swim and I am a kind of personality that is never happy with average results. At Hiša Franko, I never questioned myself about how it is going to be like, especially because I never had any prior experience of seeing how a restaurant really works and I’m completely self-taught so it was like a total experiment and we are still making corrections.

Source: The Talk

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