The success of the Resident Evil video games revealed an audience appetite hitherto untapped, inspiring a gushing fount of zombie movies released between 2000 and 2005. Now we got to see the true versatility of the zombie movie. There was the loving spoofery of Shaun of the Dead. The blockbuster theatrics of the Resident Evil adaptation. Cutting-edge, gritty filmmaking with 28 Days Later. Japanese kinetic action in Versus, and most recently the creative, micro-budget One Cut of the Dead.
Ever since, zombies have shown no sign of slowing down. (Some have even figured out how to run.) TV show The Walking Dead is an obvious behemoth to point towards, but in the film world, zombies have made their way into found footage ([REC]), rom-com (Warm Bodies), and grindhouse throwbacks (Planet Terror).
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That is the point I would like to make about zombie movies, or indeed any horror movie with a message about the human condition. These movies impart a message by telling a story that, although possessing supernatural elements, is recognizably like real situations. By setting the story in an unreal context, the storyteller creates a critical distance between the audience and those situations. If all goes well, the story will cause people to see something about the way the characters behave (e.g., that short-sightedness can lead to tragic results), and then notice that real people behave in the same way. In effect, horror films with a message hold up a funhouse mirror: the picture may be distorted, but if people look closely, they will recognize themselves in it.
Peter Stone teaches Political Science at Trinity College Dublin. He is the author of The Luck of the Draw: The Role of Lotteries in Decision Making (Oxford University Press, 2011). Sadly, the book contains no zombies.
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My wife and I went out for an early bicycle ride this morning. She asked a simple question as we rode through the deserted streets, highway and neighborhoods of our town. "Why aren't there bicycles in zombie movies?"
Eva loves disaster movies and zombie films. She loves World War Z, 28 Days Later, Night of the Living Dead (and more recent remakes and sequels), The Crazies, I Am Legend, Zombieland, Mayhem and probably another 25 films we have seen together. Neither of us can recall one situation where the characters in these films got on bicycles.
I think there is a simple answer. For a movie to work, you need drama. There should be suspense and the bike is too perfect of a vehicle for there to be enough suspense in the movie. Bikes would be the perfect getaway vehicle - not a lot of noise, no gas needed, faster and easier than running. You can carry or pull a lot of gear (not as much as a car, but a significant amount of stuff). It wouldn't make for a very suspenseful film.
We love riding together. It allows us to maintain the 6' distance pretty easily and allows us to cover more ground than we would on one of our walks. It's a relaxing pastime for us both. I will ride by myself but prefer her company. During these days where we are socially distancing ourselves it's nice to be able to get out and enjoy a little exercise in the neighborhood.
There may be less large organized and supported rides, but some of our favorite memories are once the large group begins to break down into the smaller, more manageable groups. The year that my friend Tracy riding with us on the 65 mile Cowalunga on a recumbent, the time that we met up at rest stops with old friends, the discussions about life and family while we rode through Wisconsin on the Trek 100. The picture above is from the Biking with Beanzie ride in DeKalb.
My favorite holiday--Halloween--is upon us! And lucky for me, it's Birthday Boy's favorite as well. We are celebrating tonight by visiting the annual Great Jack O'Lantern Blaze at Croton-on-Hudson. The event features more than 4,000 meticulously hand-carved pumpkins, and a slew of other creepy attractions! I'm really excited, and it's definitely on my list of must-do Halloween activities (along with warm cider, candy apples and pumpkin picking).
However, BB has a different take on this festive day of ghouls and ghosts--he likes getting scared! So, last night, we went to a zombie movie double feature at the Avon Theatre in Stamford (his idea). After four hours of hearing "BRAINS!" and watching hoards of undead cannibals feast on the living, I'm still not getting it.
Maybe it's a guy thing? At first, I was super worried because I'm not into scary movies, but BB assured me everything would be fine. Turns out he was right: Even with the guts and gore, the movies--Return of the Living Dead and Day of the Dead--just weren't that frightening. More than anything, they were hilariously kitschy, with horrible acting to boot! Still, it was a fun date, with buttered popcorn and hand-holding.
He was really happy I came with him, and it was actually our first movie date ever. I was one of only three girls in the entire theatre--single guys like whoa! In the future, he promised to sit through a girly activity or a sappy double feature of my choice (Notebook and Legally Blonde anyone?). Problem is, I love guy movies, just not horror films, so I'll have to come with something really good.
Recent reflections on post-apocalypse and zombie movies like 28 Days Later have raised a question bugging me after a month of symptomatic COVID-19 isolation and exhausting all my video-on-demand online streaming accounts.
So what do those landmark modern apocalypses tell you about our fears and imaginary opponents? Located in outer space, inner space or cyberspace, they are ruthless, remorseless, logical. Like Mark Zuckerberg or Peter Thiel, they display, at the very least, the beginnings of consciousness, focused activity and a plan.
Either that or the films will be domestic rather than epic, a murder mystery about a co-habiting couple actually having to live together and one finds that the other starts a clandestine affair on Zoom with a YouTube fitness trainer.
In these times of the coronavirus, the images on our television screens can be haunting. I am still struck by the sight of a major capital city, ordinarily one of the most bustling metropolises on the planet, completely deserted. The silence where there used to be crowds made it all the more eerie. The one person I could see on the streets looked completely mystified as to what was happening.
More than the 2008 financial crisis and more than the 9/11 terrorist attacks, the 2020 coronavirus pandemic has caused dramatic changes in the daily lives of most people on the planet. There is a surfeit of analysts trying to make sense of what has happened and what will happen. Some rely on sophisticated epidemiological models. Others turn to historical analogies. For many of us, however, it might be easier to reach to a genre that has only grown in popularity this century. I speak, of course, of the living dead.
Unfortunately, the zombie genre can explain more about the first phase of the coronavirus pandemic than anyone should be comfortable with. This would seem to bode ill for human civilization: With a few exceptions, the zombie genre always starts with civilization and ends with a post-apocalyptic hellscape. Fortunately, there are key differences between what happens with the living dead and what the rest of 2020 will look like. The zombie genre is overly pessimistic about the adaptability of human beings. We can and should be more hopeful.
The parallels to the breakdown of cooperation during the COVID-19 outbreak are unsettling. At the global level, China was less than transparent with the rest of the world about the nature of the novel coronavirus. Beijing denied access to the World Health Organization and other foreign medical experts and as late as mid-January insisted that there was no evidence of human-to-human transmission. As the crisis has worsened, Chinese firms stand accused of profiteering. Cooperation within the European Union has also been uneven at best, with most countries erecting barriers to movement within the normally borderless Schengen Area. Many countries have imposed export bans on key medical equipment, paradoxically making it harder to contain the global spread of the pandemic. Forums that proved useful during the 2008 financial crisis, such as the G-20, have been barely functional during the pandemic.
The zombie genre has always underestimated the adaptability and resiliency of humans in response to new threats. One reason social solidarity has not broken down is that basic utilities like electricity and garbage removal are still functioning. The very fact that you are reading this sentence shows that, in contrast to any fictionalized zombie apocalypse, you can still go online. Indeed, the ability to temporarily migrate so much human activity to online platforms is a sign that this pandemic, while serious, is not the zombie apocalypse. To put it another way, Amazon, Zoom, and Costco have their issues, but they are more competent and less evil than the Umbrella Corporation.
The zombie canon could still be predictive and the real world take a turn toward the dystopic. The coronavirus has yet to spread rapidly in most of the developing world. If that happens, the possibility of state collapse and massive loss of life must be considered. Panic and distrust can be just as viral as biological pathogens. Combine those feelings with rising gun sales, and suddenly the world of The Walking Dead feels closer. 152ee80cbc
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