Braindead (also known as Dead Alive in North America) is a 1992 New Zealand zombie comedy splatter film directed by Peter Jackson, produced by Jim Booth, and written by Stephen Sinclair, Fran Walsh, and Jackson based on an original story idea by Sinclair. It stars Timothy Balme, Diana Pealver, Elizabeth Moody and Ian Watkin. The plot follows Lionel, a young man living in South Wellington with his strict mother Vera. After Lionel becomes romantically entangled with a girl named Paquita, Vera is bitten by a hybrid rat-monkey creature and begins to transform into a zombie, while also infecting swathes of the city's populace.

Made on a budget of $3 million, Braindead was Jackson's most expensive film up to that point.[3] Although it received positive reviews from critics, it was a box office bomb. It has since received a cult following, and is now widely regarded as one of the goriest films of all time.[4][5]

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At her funeral, Lionel tranquilizes Vera to keep her from attacking the mourners. Later, while returning to the graveyard to administer more of it, he is accosted and beaten by a group of hoodlums who presume him to be a necrophiliac. Vera suddenly bursts from her grave and attacks the hoodlums. In the ensuing commotion, the gang leader "Void", as well as the local priest Father McGruder, are bitten and become zombies, so Lionel has to keep them locked in the basement too. After the nurse and priest copulate and produce a zombie baby, Lionel breaks up with Paquita to keep her safe. Shortly afterward, Lionel's uncle Les arrives to wrangle with Lionel over Vera's estate. Discovering the zombies, which he believes to be dead bodies, in the basement, Les blackmails his nephew into giving up the house and his inheritance and invites his friends over for a housewarming party despite Lionel's objections.

The film was subject to a lawsuit after release. In Bradley v WingNut Films Ltd [1993] 1 NZLR 415, it was alleged that Braindead had infringed the privacy of the plaintiffs by containing pictures of the plaintiff's family tombstone. After reviewing the New Zealand judicial authorities on privacy, Gallen J stated: "the present situation in New Zealand ... is that there are three strong statements in the High Court in favour of the existence of such a tort in this country and an acceptance by the Court of Appeal that the concept is at least arguable." This case became one of a series of cases which contributed to the introduction of tort invasions of privacy in New Zealand.[8]

Braindead released on 13 August 1992 in New Zealand. It was subsequently released in the United States on 12 February 1993 under the title Dead Alive and grossed $23,765 in its opening weekend. It eventually grossed $242,623 in the country.[18] The soundtrack was released in 1992 by Mana Music.

At the time of its release, David Stratton, writing for Variety, gave a positive review, calling it "Jackson's best film to date" and praising its humour, acting, and technical qualities (gore effects, makeup). He stated "Kiwi gore specialist Peter Jackson, who goes for broke with an orgy of bad taste and splatter humor. Some will recoil from the gore, but Braindead wasn't made for them."[31] Peter Rainer of the Los Angeles Times enjoyed the film, stating that it "is the most hilariously disgusting movie ever made. It makes something like Re-Animator seem like a UNESCO documentary about Mother Teresa."[32] The film received a negative review from The Independent writer Quentin Curtis, who complained that "it never decides whether to make you tremble with laughter or fear, and has outstayed its welcome long before the last limb has been severed and entrail spilled."[33] For Entertainment Weekly, Owen Gleiberman wrote that the film was "breezy and good-natured", giving praise to the gore special effects.[34]

Retrospective reception was also positive. Braindead placed at number 91 in a top 100 list produced by Time Out magazine after conducting a poll with several authors, directors, actors and critics who have worked within the horror genre.[35] Simon Pegg, actor, comedian, and friend of Jackson, wrote in his autobiography Nerd Do Well: A Small Boy's Journey to Becoming a Big Kid that Braindead is one of the main influences on his 2004 zombie film Shaun of the Dead.[36]

This may be an edge case, but as a Lepidopterist many of my uploaded observations are illustrated by a set specimen. The observation data always reflects the date & location where the voucher specimen was collected alive.

This is to say that a live insect was observed, but for clarity (and very often to make identification readily possible) the image is of the insect now deceased.

I just wanted to say that as someone who spends a lot of times on beaches looking for mollusks or their shells washed up, many of the things I photograph are dead (empty) shells. A photograph of a live mollusk is sometimes what a person really needs to look at, so the ability to sort by whether the critter is alive or dead is really useful then.

It might be better for you, but there are many of us that appreciate them for what they are. A specimen labelled in a museum is no less valid as evidence of the existence of an organism at a time and place than a lump of poo out in the field. In fact, it is better evidence because it is accurate for alive at that place at the date on the label, whereas the poo is only going to be accurate if you saw it excreted.

For specimen in collections, where time and place of the observation uploaded to iNat are not the time and place of collection, but time and place of the encounter of the dead specimen in the collection (e.g. in the Museum), things are obviously different.

Dead Alive, or Braindead, is the goriest film of all time, but the gore is mostly used for comedic effect, not horrific effect. Therefore, what do you think is the goriest film of all time where the gore is used for horrific effect and takes a more serious tone?

It is catastrophic to be dead wrong on the biggest issue of the last 50 years -- the issue of where jobs come from. Our leadership keeps thinking that the answer to economic growth and ultimately job creation is more innovation, and we continue to invest billions in it. But an innovation is worthless until an entrepreneur creates a business model for it and turns that innovative idea in something customers will buy. Yet current thinking tells us we're on the right track and don't need different strategies, so we continue marching down the path of national decline, believing innovation will save us.

America has maintained the biggest tax coffers in the world because its 300+ million citizens have produced and owned one-quarter of virtually all global wealth. The United States clobbered everyone in the battle of free enterprise, in the battle of business building, and in the battle of inventing the future. Until recently, America had blown the world away in terms of economic success. We are now quickly losing that edge, and everything we're trying to do to fix the problem is dead wrong.

The whole country and subsequently the world are having their own dead-wrong moment, and it is causing America and the whole world to make everything worse. And people know it, though they may not know why. When Gallup asked Americans to rate how much they personally worry about particular problems facing the country, the top three issues that respondents worry about a "great deal" were the economy (59%), federal spending and the budget deficit (58%), and the availability and affordability of healthcare (57%).

Recovering the first shook of her sudden appearance, I saw instantly in her eager eyes, in her deadly-pale cheeks, that something serious had happened. A large cloak was thrown over her; a white handkerchief was tied over her head. Her hair was in disorder; she had evidently just risen in fear and in haste from her bed.

In a tourist brochure I've recently read the expression "dead-and-alive" which was used do describe a boring, dull city with no nightlife. I had not heard this expression for a while and it reminded me of my English teacher (an Irish gentleman) who often used it with a derogatory connotation.

It's in "frequency band 2", which encompasses rare terms unknown to most people. (Although you didn't notice it, Merriam-Webster also gives both variants, saying "less commonly, dead-and-alive". It also says "Popularity: bottom 10% of words".)

So we have dictionary entries for dead alive, dead and alive, and deadly lively before the end of the nineteenth century, with definitions signifying an unflattering idea of dullness with regard to either a person or a place. I should emphasize that most of these sources focus on British English slang.

The most exhaustive resource for American slang that I have access to, J.E. Lighter, Random House Historical Dictionary of American Slang (1994) does not mention dead alive, dead and alive, or deadly lively at all. Presumably, people in the United States, having access at need to dead from the neck up felt no need to plunder British slang for an alternative. Like other U.S. natives who have checked in on this question, I've never heard "dead and alive" used in a slang sense.

PETER JACKSON: Yep, yep, completely, completely. I mean, 'Braindead' is nothing more than a zombie fan just going crazy wanting to make a zombie movie, you know, I'm, a lot the stuff that I do and continue to do, really, is based on just being a fan of certain things. Stephen Sinclair who co-wrote the script, he'd devised the story of 'Braindead' as a stage play. Stephen was very focussed on wanting to satirise New Zealand society. And he loved the idea of the dark events that are happening behind the drawn curtains. In every house when the curtains are drawn, there's a story going on and you never get to hear... You get the public side of things, the happy, smiling, social activities. But really, you know, you peel that layer away and what darkness dwells in the suburbs. be457b7860

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