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‘The Walking Dead’ Season 7 Spoilers, News & Updates: Abraham Killed Not Glenn? Filming Officially Begins

“The Walking Dead” Season 7 will provide answers to that maddening cliffhanger from the Season 6 finale, which left many fans wondering who got killed by Negan’s bat beating. While several spoilers point out to Glenn dying in the upcoming season of the AMC series, a recent report claims that it is Abraham that gets killed.

This article contains spoilers. Read on if you want to learn more about this story.

“The Walking Dead” Season 7 spoilers are hinting on the possibility that Abraham is the one that got killed by Negan during the Season 6 finale and not Glenn. According to Celeb Dirty Laundry, an insider from the set of the AMC series told the National Enquirer that killing Abraham would send a message to Rick and the rest of the group.

“Abraham is the biggest guy in the group. Negan taking him out sends a huge message to Rick and everyone else,” said the source.

The publication notes that Abraham should have been killed from Dwight’s crossbow (based on the comics), but Dr. Denise Cloyd died in his place in “The Walking Dead” series. Abraham also seemingly bid farewell to Eugene Porter and he has already hinted on settling down with Sasha Williams.

Some fans, however, may claim that Glenn is the one who will die in “The Walking Dead” Season 7 based on the comic book version. However, showrunner Scott Gimple already shared in an earlier interview that the show will be taking a “hard left” from the comics.

While it remains to be seen which character would suffer from a tragic fate on “TWD” Season 7, Melty reports that the show has already begun filming for the upcoming season. Special effects creator Greg Nicotero shared several on set photos of the show on his Instagram page.

The publication notes that it appears that “The Walking Dead” Season 7 will begin the morning after Negan’s attack. Andrew Lincoln has also been reportedly spotted back on set in his costume.

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Andrew Lincoln is polite, generous and decent to a fault. In other words, a good man. And as strange as it might seem to fans of television mega-hit The Walking Dead, he doesn’t need to carry a Colt .357 and a machete to convince us. Lincoln’s life changed the moment he was cast as the blood-soaked zombie-slayer Rick Grimes, but, he tells wei koh, while fame can be chimerical and overwhelming, he’s just trying to enjoy the ride…

The horizon fractures the sky and land. And from it a man walks forward. His gait, his lean, raw-boned frame immortalised in innumerable battles. His face scarred and remade hard through myriad acts of anguish. He has lived and died a hundred times in the last six years, and each time he has returned to us transformed as a more perfect leader. He is the Messiah of Dystopia and Moses of the Wasteland, leading the last remaining tribe through the parted waves of insanity in a world in which order, compassion and frailty are anathema. He walks towards us, and then miraculously breaks into an infective grin, saying, without a hint of southern twang: “Welcome to the Cotswolds.” And you realise it’s not Rick Grimes, the protagonist of the world’s most-watched television programme, The Walking Dead, but the affable London-born, Bath-raised, Royal Academy of Dramatic Arts-trained actor who plays him, Andrew Lincoln. (For those unfamiliar with rural southern- England geography, the Cotswolds do not look like the setting of the zombie apocalypse. They look like the Shire in The Hobbit.) Even 30 minutes later it’s something of a mind-fuck, because despite being kitted out in largely Grimes-like Western shirt and jeans (minus the Colt Python and machete), what’s troubling the slayer of zombies and the saviour of humanity is the question of how best to mix milk and tea. “I’ve always been taught it’s the milk first,” Lincoln says, beatifically and eruditely, before adding, with typical diplomacy: “Although I tend to defer to the regional practice depending on where I am.”

Let’s back up. Who the hell is Rick Grimes? Well, if you’ve been living in a cave, practising some arcane form of mystical asceticism, lifting rocks with your dick, eating gnats and chanting to the moon, we should recap. Father, husband, killer, leader, friend, brother, monster, messiah: Rick Grimes is all of these things and he is more than these things. If you were to combine the rationalist humanist philosophy of Jean-Jacques Rousseau and the visceral transcendence of the post-death of God, Übermensch from Friedrich Nietzsche’s Thus Spake Zarathustra, then parachuted him into the zombie apocalypse armed only with his skinned bloody knuckles, his Colt .357 Magnum, his red-handled machete, the unceasing desire to protect his family, and a resilience found not in one in one million but one in one million-million men, you would have Rick Grimes. Because Rick Grimes was not so much born from the fecund imagination of comic-book genius Robert Kirkman and brought to television reality by the visionary director Frank Darabont. Rather, he was manifested into being by the collective desire of global audiences for a hero that railed against the prevailing trend for anti-heroism and reconnected us with an ancient mythological archetype.

Accordingly, Grimes represents something more than the single most compelling screen hero to emerge in a decade. He represents a return of the Joseph Campbell Hero with a Thousand Faces-type saviour of the universe. Cue a Queen soundtrack and think Prometheus, Buddha, Jesus of Nazareth, Luke Skywalker. And it couldn’t have come at a better time. Because we’ve been in the wilderness, deprived. Shivering loose-jacketed against the cold and starving for the return of the archetypal hero. Says Lincoln: “Ever since The Sopranos, there’s been this legacy for subversive characters.” And gazing at the litany of contemporary television’s most popular protagonists — everyone from the matricidal Antigone with an XY chromosome Jax Teller in Sons of Anarchy to the murderous, corrupt, pathological Vic Mackey in The Shield to the philandering and ennui-stricken Don Draper in Mad Men — it is clear there has been a two-decades-long prevailing belief in television that moral ambiguity creates greater character complexity.

Lincoln doesn’t buy that. He says: “I don’t think that’s what we want and that’s not who Rick is. He’s not morally ambiguous. I think he’s just a victim of environment and circumstances. And that’s the point of the show. It’s that anybody can be anything or do anything under certain circumstances and stresses. That’s to me infinitely more interesting than the anti-hero that has been the populist paradigm of late.”

You see, Rick Grimes is a mirror, a tripartite Freudian reflection of us as our feral instinctive id vies with our rational ego — even as we struggle to impart that portion of our super-ego related to conscience to our sons and daughters amid a landscape of unspeakable horror and regression towards the most primal, survivalist instincts. And maybe Rick Grimes came when he was most needed. As the man who has inhabited him on the game- changing series for six years says: “I think we are in a time when people are more connected than they’ve ever been and at the same time more isolated. And I think it’s the family aspect of the show that hooks them. They feel part of this larger collective thing.”

Supporting Lincoln’s claim is the irrefutable fact that the show is a bonafide, jugger-mother fuckin-naut of a hit, sending Nielsen ratings through the roof, reaching a larger audience than any other programme in existence and collecting palmarès, including the Golden Globe Award for Best Television Series — Drama. When asked what the core theme of The Walking Dead is, what it is that makes the show so relatable to so many, Lincoln says: “It’s primal. It’s essential. It’s about pulling apart all the mores and social graces and you’re just left with who you are. And the question is in that life or death situation: who are you? It forces you to confront yourself.”

So what is the one defining trait, the blip in his genetic make- up, that makes Rick uniquely equipped to become the leader of humankind? “I think it’s Rick’s tenacity,” Lincoln says. “His ability to get up after a beating — I mean, a real pummelling. That he pulls himself off the canvas and keeps going is incredibly powerful.”The Walking Dead is decidedly ‘third millennium’, in that it isn’t afraid to show a leader who is imperfect and fallible. Says Lincoln: “What I like about Rick is that we are trying to mould the perfect leader. But that leader is imperfect because he’s human. He fails. And he rebuilds himself and attempts another way, and then he fails again. What empowers him is that extraordinary resilience, and that’s what is so compelling about him.”

Continue reading THE MESSIAH OF DYSTOPIA | Andrew Lincoln