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In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"pop_110669":{"type":"posts","id":"pop_110669","meta":{"index":"posts_1591205157","site":"pop","id":"110669","score":null,"sort":[1560371910000]},"guestAuthors":[],"slug":"how-the-zombie-comedy-became-the-ultimate-genre-for-our-times","title":"How The Zombie-Comedy Became The Ultimate Genre For Our Times","publishDate":1560371910,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Remember in 2009's \u003cem>Zombieland\u003c/em>, when the gang went to Bill Murray's house to get some rest, only to find him alive and well and in full zombie make-up? And then, after some casual \u003cem>Ghostbusters\u003c/em> cos-play, Columbus confused Murray for a real zombie and \u003ca href=\"https://www.youtube.com/watch?v=h4XRPljaFzc\">accidentally killed him\u003c/a>? Not only was it probably the greatest cameo in recent movie memory, but in the process of filming it, the real-life Murray apparently also got bitten by the zombie bug.\u003c/p>\n\u003cp>This year, not only is he re-appearing as himself in the \u003ca href=\"https://www.imdb.com/title/tt1560220/?ref_=nv_sr_1\">\u003cem>Zombieland \u003c/em>sequel\u003c/a>, Murray is also starring in \u003cem>The Dead Don't Die\u003c/em>, alongside Selena Gomez, Chloë Sevigny, Steve Buscemi and Adam Driver. As zombie reckonings go, this one—written and directed by Jim Jarmusch—looks particularly epic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bs5ZOcU6Bnw\u003c/p>\n\u003cp>That Bill Murray is showing up in two zombie-comedies this year isn't particularly surprising, all things considered. This very niche but unrelentingly popular movie category has had an unstoppable run since \u003ca href=\"https://www.imdb.com/title/tt0365748/?ref_=nv_sr_1\">\u003cem>Shaun of the Dead\u003c/em>\u003c/a> ambled onto our screens in 2004. Like Simon Pegg's TV show \u003cem>Spaced \u003c/em>before it, \u003cem>Shaun\u003c/em> blended action and dry humor with smart references to old movies (\u003cem>Dawn of the Dead\u003c/em>, \u003cem>Night of the Living Dead\u003c/em> and directors John Landis and Lucio Fulci \u003ca href=\"https://heavy.com/entertainment/2010/10/shaun-of-the-dead-secret-zombie-references-buried-in-the-film/\">all got nods\u003c/a>). Along the way, the film accidentally invented a new genre—the zom-com (although, technically, it called itself a \"\u003ca href=\"https://www.urbandictionary.com/define.php?term=rom-zom-com\">rom-zom-com\u003c/a>\").\u003c/p>\n\u003cp>Long before \u003cem>Shaun\u003c/em>, horror lovers had known the joy of combining the undead with comedy. It started in 1978 with \u003cem>Dawn of the Dead, \u003c/em>a zombie horror movie that used bouts of humor to break the tension. Three years later, \u003cem>American Werewolf in London \u003c/em>followed \u003cem>Dead\u003c/em>'s example, using Jack—David's \u003ca href=\"https://www.youtube.com/watch?v=LLs-Oreo_bk\">slowly rotting, undead best friend\u003c/a>—almost entirely as a vehicle for comic relief. 1985's \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0089907/?ref_=nv_sr_1\">Return of the Living Dead\u003c/a>, '\u003c/em>88's \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0095990/?ref_=fn_al_tt_2\">Return of the Living Dead Pt. 2\u003c/a>\u003c/em> and 1992's \u003ca href=\"https://www.imdb.com/title/tt0103873/?ref_=nv_sr_1\">\u003cem>Dead Alive\u003c/em>\u003c/a> (a Peter Jackson movie!) were all self-consciously ridiculous—more farce than frightening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J2Ws0QEADsU\u003c/p>\n\u003cp>At their core though, zombie films were always intended to be the thinking person's horror sub-category. \u003cem>Night of the Living Dead\u003c/em> was about racism in America; \u003cem>Dawn of the Dead\u003c/em> was about capitalism run amok; \u003cem>World War Z\u003c/em> was about governments made ineffectual by their own bureaucracy. Zombie horror audiences were never just watching for the blood and the brains—the movies always meant something more.\u003c/p>\n\u003cp>Zom-coms, then, are the logical end-point for horror audiences in the post-modern age. These days, audiences have become too worldly for a straight-forward horror allegory and need horror movies to acknowledge that monsters are a bit silly. When zom-com movie characters retain their eye-rolling calm in the face of gory catastrophe, they are serving as an extension of the audience's own cynicism. It's why Aubrey Plaza was the perfect person to star in \u003cem>Life After Beth\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pVtaRAAWJss\u003c/p>\n\u003cp>The key to the success of every good zom-com is the juxtaposition of horrific circumstances and everyday mundanity. Movies like \u003cem>Zombieland\u003c/em>, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt1588173/?ref_=nv_sr_1\">Warm Bodies\u003c/a>,\u003c/em> \u003ca href=\"https://www.imdb.com/title/tt1362058/?ref_=fn_al_tt_1\">\u003cem>Cockneys Vs Zombies\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt6433880/?ref_=fn_al_tt_1\">\u003cem>Anna And The Apocalypse\u003c/em>\u003c/a>\u003cem>, \u003c/em>as well as TV shows like \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3501584/?ref_=nv_sr_1\">iZombie\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt5580540/?ref_=fn_al_tt_1\">Santa Clarita Diet\u003c/a> \u003c/em>(Netflix is \u003ca href=\"https://www.cnn.com/2019/04/27/entertainment/santa-clarita-diet-canceled-netflix/index.html\">never getting forgiven\u003c/a> for canceling that last one), all use that combination to achieve both humor and tension. The amalgamation not only gives these movies a semblance of relatable everyday ordinariness sometimes lacking in traditional horror, but it also acts as a metaphor for how huge catastrophes beyond our control sometimes land on us at home, where we are supposed to be safest.\u003c/p>\n\u003cp>Professor Sara Sutler-Cohen \u003ca href=\"https://www.academia.edu/2376239/_Plans_Are_Pointless_Staying_alive_is_as_good_as_it_gets._Zombie_Sociology_and_The_Politics_of_Survival\">writes\u003c/a>: \"What recent filmic incarnations of the Zombie tell us is that we must micromanage our lives as the mysterious (or not so) veil of death is lifted, and the stench of rot surrounds us... Zombified humor continues to be refined today, the terror of the possibility of a life with the roaming dead has once again morphed and the joke is seated comfortably in the possibility that a future with Zombies just might be real.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an age of sharp divisions and of overarching, exhausted cynicism, the zom-com offers us a guidebook on what to do when the worst happens. Part of the appeal is in how disarmingly attainable the solution is: carry on, roll with the punches, and, when the worst does happen, find humor by any means necessary.\u003c/p>\n\n","blocks":[],"excerpt":"'The Dead Don't Die' and 'Zombieland: Double Tap' both hit screens in 2019, and the timing couldn't be more perfect.","status":"publish","parent":0,"modified":1560375249,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":803},"headData":{"title":"How The Zombie-Comedy Became The Ultimate Genre For Our Times | KQED","description":"'The Dead Don't Die' and 'Zombieland: Double Tap' both hit screens in 2019, and the timing couldn't be more perfect.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How The Zombie-Comedy Became The Ultimate Genre For Our Times","datePublished":"2019-06-12T20:38:30.000Z","dateModified":"2019-06-12T21:34:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"110669 https://ww2.kqed.org/pop/?p=110669","disqusUrl":"https://ww2.kqed.org/pop/2019/06/12/how-the-zombie-comedy-became-the-ultimate-genre-for-our-times/","disqusTitle":"How The Zombie-Comedy Became The Ultimate Genre For Our Times","path":"/pop/110669/how-the-zombie-comedy-became-the-ultimate-genre-for-our-times","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember in 2009's \u003cem>Zombieland\u003c/em>, when the gang went to Bill Murray's house to get some rest, only to find him alive and well and in full zombie make-up? And then, after some casual \u003cem>Ghostbusters\u003c/em> cos-play, Columbus confused Murray for a real zombie and \u003ca href=\"https://www.youtube.com/watch?v=h4XRPljaFzc\">accidentally killed him\u003c/a>? Not only was it probably the greatest cameo in recent movie memory, but in the process of filming it, the real-life Murray apparently also got bitten by the zombie bug.\u003c/p>\n\u003cp>This year, not only is he re-appearing as himself in the \u003ca href=\"https://www.imdb.com/title/tt1560220/?ref_=nv_sr_1\">\u003cem>Zombieland \u003c/em>sequel\u003c/a>, Murray is also starring in \u003cem>The Dead Don't Die\u003c/em>, alongside Selena Gomez, Chloë Sevigny, Steve Buscemi and Adam Driver. As zombie reckonings go, this one—written and directed by Jim Jarmusch—looks particularly epic.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bs5ZOcU6Bnw'\n title='//www.youtube.com/embed/bs5ZOcU6Bnw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That Bill Murray is showing up in two zombie-comedies this year isn't particularly surprising, all things considered. This very niche but unrelentingly popular movie category has had an unstoppable run since \u003ca href=\"https://www.imdb.com/title/tt0365748/?ref_=nv_sr_1\">\u003cem>Shaun of the Dead\u003c/em>\u003c/a> ambled onto our screens in 2004. Like Simon Pegg's TV show \u003cem>Spaced \u003c/em>before it, \u003cem>Shaun\u003c/em> blended action and dry humor with smart references to old movies (\u003cem>Dawn of the Dead\u003c/em>, \u003cem>Night of the Living Dead\u003c/em> and directors John Landis and Lucio Fulci \u003ca href=\"https://heavy.com/entertainment/2010/10/shaun-of-the-dead-secret-zombie-references-buried-in-the-film/\">all got nods\u003c/a>). Along the way, the film accidentally invented a new genre—the zom-com (although, technically, it called itself a \"\u003ca href=\"https://www.urbandictionary.com/define.php?term=rom-zom-com\">rom-zom-com\u003c/a>\").\u003c/p>\n\u003cp>Long before \u003cem>Shaun\u003c/em>, horror lovers had known the joy of combining the undead with comedy. It started in 1978 with \u003cem>Dawn of the Dead, \u003c/em>a zombie horror movie that used bouts of humor to break the tension. Three years later, \u003cem>American Werewolf in London \u003c/em>followed \u003cem>Dead\u003c/em>'s example, using Jack—David's \u003ca href=\"https://www.youtube.com/watch?v=LLs-Oreo_bk\">slowly rotting, undead best friend\u003c/a>—almost entirely as a vehicle for comic relief. 1985's \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0089907/?ref_=nv_sr_1\">Return of the Living Dead\u003c/a>, '\u003c/em>88's \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0095990/?ref_=fn_al_tt_2\">Return of the Living Dead Pt. 2\u003c/a>\u003c/em> and 1992's \u003ca href=\"https://www.imdb.com/title/tt0103873/?ref_=nv_sr_1\">\u003cem>Dead Alive\u003c/em>\u003c/a> (a Peter Jackson movie!) were all self-consciously ridiculous—more farce than frightening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J2Ws0QEADsU'\n title='//www.youtube.com/embed/J2Ws0QEADsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At their core though, zombie films were always intended to be the thinking person's horror sub-category. \u003cem>Night of the Living Dead\u003c/em> was about racism in America; \u003cem>Dawn of the Dead\u003c/em> was about capitalism run amok; \u003cem>World War Z\u003c/em> was about governments made ineffectual by their own bureaucracy. Zombie horror audiences were never just watching for the blood and the brains—the movies always meant something more.\u003c/p>\n\u003cp>Zom-coms, then, are the logical end-point for horror audiences in the post-modern age. These days, audiences have become too worldly for a straight-forward horror allegory and need horror movies to acknowledge that monsters are a bit silly. When zom-com movie characters retain their eye-rolling calm in the face of gory catastrophe, they are serving as an extension of the audience's own cynicism. It's why Aubrey Plaza was the perfect person to star in \u003cem>Life After Beth\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pVtaRAAWJss'\n title='//www.youtube.com/embed/pVtaRAAWJss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The key to the success of every good zom-com is the juxtaposition of horrific circumstances and everyday mundanity. Movies like \u003cem>Zombieland\u003c/em>, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt1588173/?ref_=nv_sr_1\">Warm Bodies\u003c/a>,\u003c/em> \u003ca href=\"https://www.imdb.com/title/tt1362058/?ref_=fn_al_tt_1\">\u003cem>Cockneys Vs Zombies\u003c/em>\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt6433880/?ref_=fn_al_tt_1\">\u003cem>Anna And The Apocalypse\u003c/em>\u003c/a>\u003cem>, \u003c/em>as well as TV shows like \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3501584/?ref_=nv_sr_1\">iZombie\u003c/a> and \u003ca href=\"https://www.imdb.com/title/tt5580540/?ref_=fn_al_tt_1\">Santa Clarita Diet\u003c/a> \u003c/em>(Netflix is \u003ca href=\"https://www.cnn.com/2019/04/27/entertainment/santa-clarita-diet-canceled-netflix/index.html\">never getting forgiven\u003c/a> for canceling that last one), all use that combination to achieve both humor and tension. The amalgamation not only gives these movies a semblance of relatable everyday ordinariness sometimes lacking in traditional horror, but it also acts as a metaphor for how huge catastrophes beyond our control sometimes land on us at home, where we are supposed to be safest.\u003c/p>\n\u003cp>Professor Sara Sutler-Cohen \u003ca href=\"https://www.academia.edu/2376239/_Plans_Are_Pointless_Staying_alive_is_as_good_as_it_gets._Zombie_Sociology_and_The_Politics_of_Survival\">writes\u003c/a>: \"What recent filmic incarnations of the Zombie tell us is that we must micromanage our lives as the mysterious (or not so) veil of death is lifted, and the stench of rot surrounds us... Zombified humor continues to be refined today, the terror of the possibility of a life with the roaming dead has once again morphed and the joke is seated comfortably in the possibility that a future with Zombies just might be real.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an age of sharp divisions and of overarching, exhausted cynicism, the zom-com offers us a guidebook on what to do when the worst happens. Part of the appeal is in how disarmingly attainable the solution is: carry on, roll with the punches, and, when the worst does happen, find humor by any means necessary.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110669/how-the-zombie-comedy-became-the-ultimate-genre-for-our-times","authors":["11242"],"categories":["pop_51","pop_3"],"tags":["pop_3125","pop_3705","pop_3708","pop_3341","pop_3062","pop_3707","pop_3706","pop_864"],"featImg":"pop_110671","label":"pop"},"pop_110303":{"type":"posts","id":"pop_110303","meta":{"index":"posts_1591205157","site":"pop","id":"110303","score":null,"sort":[1552330669000]},"guestAuthors":[],"slug":"companies-are-sneaking-soul-sales-and-zombies-into-user-agreements-for-fun","title":"Companies are Sneaking Soul Sales and Zombies Into User Agreements For Fun","publishDate":1552330669,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Nobody reads the fine print. But maybe they should.\u003c/p>\n\u003cp>Georgia high school teacher Donelan Andrews won a $10,000 reward after she closely read the terms and conditions that came with a travel insurance policy she purchased for a trip to England. Squaremouth, a Florida insurance company, had inserted language promising a reward to the first person who emailed the company.\u003c/p>\n\u003cp>\"We understand most customers don't actually read contracts or documentation when buying something, but we know the importance of doing so,\" the company \u003ca href=\"https://www.squaremouth.com/campaign/pays-to-read/\">said\u003c/a>. \"We created the top-secret Pays to Read campaign in an effort to highlight the importance of reading policy documentation from start to finish.\"\u003c/p>\n\u003cp>Not every company is so generous. To demonstrate the importance of reading the fine print, many companies don't give; they take. The mischievous clauses tend to pop up from time to time, usually in cheeky England.\u003c/p>\n\u003cp>In 2017, 22,000 people who signed up for free public Wi-Fi inadvertently agreed to 1,000 hours of community service—including cleaning toilets and \"relieving sewer blockages,\" the \u003ca href=\"https://www.theguardian.com/technology/2017/jul/14/wifi-terms-and-conditions-thousands-sign-up-clean-sewage-did-not-read-small-print\">Guardian \u003c/a>reported. The company, Manchester-based Purple, said it inserted the clause in its agreement \"to illustrate the lack of consumer awareness of what they are signing up to when they access free wifi.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A few years earlier, several Londoners agreed (presumably inadvertently) to give away their oldest child in exchange for Wi-Fi access. Before they could get on the Internet, users had to check a box agreeing to \"assign their first born child to us for the duration of eternity.\" According to the \u003ca href=\"https://www.theguardian.com/technology/2014/sep/29/londoners-wi-fi-security-herod-clause\">Guardian\u003c/a>, six people signed up, but the company providing the Wi-Fi said the clause likely wouldn't be enforceable in a court of law. \"It is contrary to public policy to sell children in return for free services,\" the company explained.\u003c/p>\n\u003cp>And on April Fool's Day in 2010, the British retailer GameStation \u003ca href=\"https://www.geek.com/games/gamestation-eula-collects-7500-souls-from-unsuspecting-customers-1194091/\">inserted \u003c/a>a new clause into its license agreement, with a check box already ticked. If users didn't uncheck the box, they agreed to grant GameStation \"a non transferable option to claim, for now and for ever more, your immortal soul.\" GameStation said that if it chose to exercise the soul transfer, it would serve notice in 6-foot-high letters of fire.\u003c/p>\n\u003cp>Luckily, GameStation offered a way to get out of that clause. \"If you a) do not believe you have an immortal soul, b) have already given it to another party, or c) do not wish to grant Us such a license, please click the link below to nullify this sub-clause and proceed with your transaction.\" Those who did click the link were rewarded with a voucher.\u003c/p>\n\u003cp>Other companies simply have fun with their fine print.\u003c/p>\n\u003cp>Most online agreements limit use by children younger than 13, but Tumblr's agreement goes further, \u003ca href=\"https://www.tumblr.com/policy/en/terms-of-service\">anticipating \u003c/a>a preteen's pushback: \"'But I'm, like, almost old enough!' you plead. Nope, sorry. If you're not old enough, don't use Tumblr. Ask your parents for a Playstation 4, or try books.\"\u003c/p>\n\u003cp>And in its community guidelines document, after warning that impersonation is not permitted, Tumblr elaborates: \"While you're free to ridicule, parody, or marvel at the alien beauty of Benedict Cumberbatch, you can't pretend to actually be Benedict Cumberbatch.\"\u003c/p>\n\u003cp>In Section 57.10 of Amazon's \u003ca href=\"https://aws.amazon.com/service-terms/\">AWS agreement\u003c/a>, people who use Amazon's \"Lumberyard\" game development engine promise they won't use it to operate systems that could put someone's life in danger, such as aircraft or autonomous vehicles. So far, so good. Amazon says that section doesn't apply, however, if the U.S. Centers for Disease Control certifies the existence of \"a widespread viral infection transmitted via bites or contact with bodily fluids that causes human corpses to reanimate and seek to consume living human flesh, blood, brain or nerve tissue and is likely to result in the fall of organized civilization.\"\u003c/p>\n\u003cp>MailChimp is \u003ca href=\"https://mailchimp.com/legal/terms/\">more direct\u003c/a>: \"We won't be held liable for any delays or failure in performance of any part of the Service, from any cause beyond our control.\" Such causes may include \"fires, earthquakes, nuclear accidents,\" and \"zombie apocalypse.\"\u003c/p>\n\u003cp>The Apple iTunes end-user agreement mysteriously contains a clause prohibiting its use to construct weapons of mass destruction. \"You will not use these products for any purposes prohibited by United States law, including, without limitation, the development, design, manufacturer, or production of nuclear, missile, or chemical or biological weapons,\" the \u003ca href=\"https://www.apple.com/legal/internet-services/itunes/dev/stdeula/\">agreement \u003c/a>reads.\u003c/p>\n\u003cp>It is unclear how one might use iTunes to construct such weapons.\u003c/p>\n\u003cp>Some have \u003ca href=\"https://www.nytimes.com/2019/02/02/opinion/internet-facebook-google-consent.html\">pushed back\u003c/a> on onerous terms and conditions that \"no one reads\" yet \"continue to be the legal backbone of the internet.\" In an editorial last month, \u003cem>The New York Times\u003c/em> criticized what it called \"the legal fiction of consent,\" suggesting that people have unwittingly signed away their privacy rights to big Internet companies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Americans deserve strong privacy protections,\" the editorial board wrote. \"Consent is not enough to replace them. The clicks that pass for consent are uninformed, non-negotiated and offered in exchange for services that are often necessary for civic life.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Not+Reading+The+Fine+Print+Can+Cost+Your+Soul&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"While one company gave $10,000 to a woman for reading the fine print, others are more focused on getting you to sign away your soul or your first-born, for skipping it.","status":"publish","parent":0,"modified":1552330669,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":866},"headData":{"title":"Companies are Sneaking Soul Sales and Zombies Into User Agreements For Fun | KQED","description":"While one company gave $10,000 to a woman for reading the fine print, others are more focused on getting you to sign away your soul or your first-born, for skipping it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Companies are Sneaking Soul Sales and Zombies Into User Agreements For Fun","datePublished":"2019-03-11T18:57:49.000Z","dateModified":"2019-03-11T18:57:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"110303 https://ww2.kqed.org/pop/?p=110303","disqusUrl":"https://ww2.kqed.org/pop/2019/03/11/companies-are-sneaking-soul-sales-and-zombies-into-user-agreements-for-fun/","disqusTitle":"Companies are Sneaking Soul Sales and Zombies Into User Agreements For Fun","nprImageCredit":"Sofie Delauw","nprByline":"Matthew S. Schwartz","nprImageAgency":"Getty Images/Cultura RF","nprStoryId":"701417140","nprApiLink":"http://api.npr.org/query?id=701417140&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/03/08/701417140/when-not-reading-the-fine-print-can-cost-your-soul?ft=nprml&f=701417140","nprRetrievedStory":"1","nprPubDate":"Fri, 08 Mar 2019 12:46:00 -0500","nprStoryDate":"Fri, 08 Mar 2019 09:55:00 -0500","nprLastModifiedDate":"Fri, 08 Mar 2019 12:46:56 -0500","path":"/pop/110303/companies-are-sneaking-soul-sales-and-zombies-into-user-agreements-for-fun","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nobody reads the fine print. But maybe they should.\u003c/p>\n\u003cp>Georgia high school teacher Donelan Andrews won a $10,000 reward after she closely read the terms and conditions that came with a travel insurance policy she purchased for a trip to England. Squaremouth, a Florida insurance company, had inserted language promising a reward to the first person who emailed the company.\u003c/p>\n\u003cp>\"We understand most customers don't actually read contracts or documentation when buying something, but we know the importance of doing so,\" the company \u003ca href=\"https://www.squaremouth.com/campaign/pays-to-read/\">said\u003c/a>. \"We created the top-secret Pays to Read campaign in an effort to highlight the importance of reading policy documentation from start to finish.\"\u003c/p>\n\u003cp>Not every company is so generous. To demonstrate the importance of reading the fine print, many companies don't give; they take. The mischievous clauses tend to pop up from time to time, usually in cheeky England.\u003c/p>\n\u003cp>In 2017, 22,000 people who signed up for free public Wi-Fi inadvertently agreed to 1,000 hours of community service—including cleaning toilets and \"relieving sewer blockages,\" the \u003ca href=\"https://www.theguardian.com/technology/2017/jul/14/wifi-terms-and-conditions-thousands-sign-up-clean-sewage-did-not-read-small-print\">Guardian \u003c/a>reported. The company, Manchester-based Purple, said it inserted the clause in its agreement \"to illustrate the lack of consumer awareness of what they are signing up to when they access free wifi.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few years earlier, several Londoners agreed (presumably inadvertently) to give away their oldest child in exchange for Wi-Fi access. Before they could get on the Internet, users had to check a box agreeing to \"assign their first born child to us for the duration of eternity.\" According to the \u003ca href=\"https://www.theguardian.com/technology/2014/sep/29/londoners-wi-fi-security-herod-clause\">Guardian\u003c/a>, six people signed up, but the company providing the Wi-Fi said the clause likely wouldn't be enforceable in a court of law. \"It is contrary to public policy to sell children in return for free services,\" the company explained.\u003c/p>\n\u003cp>And on April Fool's Day in 2010, the British retailer GameStation \u003ca href=\"https://www.geek.com/games/gamestation-eula-collects-7500-souls-from-unsuspecting-customers-1194091/\">inserted \u003c/a>a new clause into its license agreement, with a check box already ticked. If users didn't uncheck the box, they agreed to grant GameStation \"a non transferable option to claim, for now and for ever more, your immortal soul.\" GameStation said that if it chose to exercise the soul transfer, it would serve notice in 6-foot-high letters of fire.\u003c/p>\n\u003cp>Luckily, GameStation offered a way to get out of that clause. \"If you a) do not believe you have an immortal soul, b) have already given it to another party, or c) do not wish to grant Us such a license, please click the link below to nullify this sub-clause and proceed with your transaction.\" Those who did click the link were rewarded with a voucher.\u003c/p>\n\u003cp>Other companies simply have fun with their fine print.\u003c/p>\n\u003cp>Most online agreements limit use by children younger than 13, but Tumblr's agreement goes further, \u003ca href=\"https://www.tumblr.com/policy/en/terms-of-service\">anticipating \u003c/a>a preteen's pushback: \"'But I'm, like, almost old enough!' you plead. Nope, sorry. If you're not old enough, don't use Tumblr. Ask your parents for a Playstation 4, or try books.\"\u003c/p>\n\u003cp>And in its community guidelines document, after warning that impersonation is not permitted, Tumblr elaborates: \"While you're free to ridicule, parody, or marvel at the alien beauty of Benedict Cumberbatch, you can't pretend to actually be Benedict Cumberbatch.\"\u003c/p>\n\u003cp>In Section 57.10 of Amazon's \u003ca href=\"https://aws.amazon.com/service-terms/\">AWS agreement\u003c/a>, people who use Amazon's \"Lumberyard\" game development engine promise they won't use it to operate systems that could put someone's life in danger, such as aircraft or autonomous vehicles. So far, so good. Amazon says that section doesn't apply, however, if the U.S. Centers for Disease Control certifies the existence of \"a widespread viral infection transmitted via bites or contact with bodily fluids that causes human corpses to reanimate and seek to consume living human flesh, blood, brain or nerve tissue and is likely to result in the fall of organized civilization.\"\u003c/p>\n\u003cp>MailChimp is \u003ca href=\"https://mailchimp.com/legal/terms/\">more direct\u003c/a>: \"We won't be held liable for any delays or failure in performance of any part of the Service, from any cause beyond our control.\" Such causes may include \"fires, earthquakes, nuclear accidents,\" and \"zombie apocalypse.\"\u003c/p>\n\u003cp>The Apple iTunes end-user agreement mysteriously contains a clause prohibiting its use to construct weapons of mass destruction. \"You will not use these products for any purposes prohibited by United States law, including, without limitation, the development, design, manufacturer, or production of nuclear, missile, or chemical or biological weapons,\" the \u003ca href=\"https://www.apple.com/legal/internet-services/itunes/dev/stdeula/\">agreement \u003c/a>reads.\u003c/p>\n\u003cp>It is unclear how one might use iTunes to construct such weapons.\u003c/p>\n\u003cp>Some have \u003ca href=\"https://www.nytimes.com/2019/02/02/opinion/internet-facebook-google-consent.html\">pushed back\u003c/a> on onerous terms and conditions that \"no one reads\" yet \"continue to be the legal backbone of the internet.\" In an editorial last month, \u003cem>The New York Times\u003c/em> criticized what it called \"the legal fiction of consent,\" suggesting that people have unwittingly signed away their privacy rights to big Internet companies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Americans deserve strong privacy protections,\" the editorial board wrote. \"Consent is not enough to replace them. The clicks that pass for consent are uninformed, non-negotiated and offered in exchange for services that are often necessary for civic life.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Not+Reading+The+Fine+Print+Can+Cost+Your+Soul&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110303/companies-are-sneaking-soul-sales-and-zombies-into-user-agreements-for-fun","authors":["byline_pop_110303"],"categories":["pop_5"],"tags":["pop_3108","pop_1673","pop_3426","pop_3494","pop_864"],"featImg":"pop_110309","label":"pop"},"pop_108593":{"type":"posts","id":"pop_108593","meta":{"index":"posts_1591205157","site":"pop","id":"108593","score":null,"sort":[1547495004000]},"guestAuthors":[],"slug":"part-walking-dead-part-i-am-legend-the-passage-is-coming-to-fox","title":"Part ‘Walking Dead,’ Part ‘I Am Legend,’ ‘The Passage’ is Coming to FOX","publishDate":1547495004,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>The best-selling trilogy of novels by Justin Cronin—\u003cem>The Passage, The Twelve\u003c/em> and \u003cem>The City of Mirrors\u003c/em>—collectively form an epic tale, sweeping in scope. Combining apocalyptic fiction with straight-up horror, the books hop around in time—well, I say \"hop\"—they \u003cem>long-jump\u003c/em> around in time, from the near-future, when a secret team of government scientists attempts to develop a formula that will render humanity immune to disease, to 1,000 years hence, long after \u003cem>that \u003c/em>bright idea has borne its inevitable, nasty, blood-sucking fruit: vampires called \"virals\" that have wiped out most of the world.\u003c/p>\n\u003cp>It's pulpy going, sure—part \u003cem>I Am Legend\u003c/em>, part \u003cem>The Walking Dead\u003c/em>, part \u003cem>The Stand\u003c/em>—but all those familiar, pulpy components cohere into something hugely satisfying, because Cronin is so good at establishing the vastness of the world he creates: shocks and twists abound, characters thought dead return after looooong absences, and there's a palpable sense of humanity's enduring legacy—its triumphs and missteps—on a planet where only a hardy few huddle together in far-flung outposts.\u003c/p>\n\u003cp>It's \u003cem>big\u003c/em>, in other words. Vast.\u003c/p>\n\u003cp>But the new FOX series \u003cem>The Passage\u003c/em>—named for the first book in Cronin's trilogy, but based, we are assured, on all three of them—isn't. At least, not yet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6rJ64J-gSbY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the first three episodes made available to press, the series boasts strong performances, agreeably hokey dialogue you'll likely be able to mouth along with the actors, too-brief but sorely needed flashes of humor, and characters who say and do some very, \u003cem>very \u003c/em>stupid things only because the plot demands them to. (The laws of idiotic cause and effect in \u003cem>The Passage\u003c/em>'s universe dictate: If there's a cage with a monster inside it, some idiot will dutifully open said cage.)\u003c/p>\n\u003cp>What \u003cem>The Passage\u003c/em> doesn't feature a lot of, at least at this early stage, is a definable sense of menace, or any real inkling of the (much, much) wider story that Cronin's trilogy encompasses.\u003c/p>\n\u003cp>Which is fine, as far as it goes. Those who have read the books know what's coming; those who haven't will just have to content themselves with the ominous voiceover supplied by the show's breakout star, young Saniyya Sidney. Assured and charismatic, Sidney plays Amy, the girl who may or may not hold the key to humanity's survival—which is why the show's various factions spend these first few episodes fighting over her.\u003c/p>\n\u003cfigure id=\"attachment_108596\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108596\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/181023-the-passage-800x533.jpg\" alt=\"Amy (Saniyya Sidney) and Agent Wolgast (Mark-Paul Gosselaar) in 'The Passage.' \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy (Saniyya Sidney) and Agent Wolgast (Mark-Paul Gosselaar) in 'The Passage.' \u003ccite>(FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basically: The secret cabal of scientists wants to inject Amy with their formula, which causes their best agent (Mark-Paul Gosselaar) to rebel against his orders and take her on the lam.\u003c/p>\n\u003cp>The series devotes much of its running time, in the first three episodes, to establishing the bond between Amy and Gosselaar's Agent Wolgast, which makes sense—any show with this many high-concept trappings needs a believable human relationship or two to provide emotional ballast. But those scenes, as appealing as they are, mean that the show has to work harder to convince us that the \"virals\"—previously injected humans who harbor the vamp-virus, kept prisoner by the scientists—pose a clear, present and growing danger.\u003c/p>\n\u003cp>\u003cem>The Passage\u003c/em> sets about this crucial task by employing that aformentioned voiceover, by having various characters mutter vague presentiments (\"Something is coming,\" one whispers, \"and it's not good\") and by having the various virals enter the dreams of the facility's staffers, the way that Big Bads on serialized action/horror shows are so wont to do.\u003c/p>\n\u003cp>The series attempts to generate a sense of dread by keeping its Biggest Bad in its back pocket, early on. Played by James McShane, the lead viral-vamp has a name—Tim Fanning—that doesn't so much evoke blood-curdling terror as it does the desire to call your local dealership to schedule a tune-up. McShane does what he can, but the precious screen time he's allotted isn't enough to establish him as much more than a pale guy with bad skin sitting in a cell, biding his time.\u003c/p>\n\u003cfigure id=\"attachment_108594\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108594\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-800x450.jpg\" alt=\"Evil Tim Fanning (Jamie McShane) can't help but look bored as he bides his time.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evil Tim Fanning (Jamie McShane) can't help but look bored as he bides his time. \u003ccite>(FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The producers' go-to scare tactic—having McShane, or one of his fellow virals, suddenly grimace and hiss—doesn't pack quite the punch they want it to. The show's over-reliance on it in these early episodes might leave viewers who haven't read the books wondering if there's enough here to keep them watching.\u003c/p>\n\u003cp>There \u003cem>is\u003c/em> more, of course, much more—in the books at least: shocks, to be sure. But they also serve up something larger, deeper and more enduring: fleeting flickers of hope amid the soul-crushing hopelessness of the end of the world.\u003c/p>\n\u003cp>The FOX series isn't there yet, and given its slow-burn pacing, likely won't get there for a season or two. Given the constraints of television production schedules, and production budgets, it may never manage to convey the yawning horror the books so effectively evoke.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe it doesn't have to. Maybe it will seek instead to downsize the books' epic conflicts, and their huge cast of characters, to fit the television screen. It's a worthy endeavor, focusing on intimate human relationships amid the spectacular fall of civilization. But for it to work in the long run, \u003cem>The Passage \u003c/em>will need to start balancing the strength of the bond between its two principals with a clearer, stronger sense of the real horror they're facing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Passage%27+Keeps+Its+Viral+Vamps+Waiting+In+The+Wings%2C+For+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"This FOX series based on the Justin Cronin trilogy combines the pulpiest elements of science-gone-awry thrillers with shlocky creature-features.","status":"publish","parent":0,"modified":1547495004,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":988},"headData":{"title":"Part ‘Walking Dead,’ Part ‘I Am Legend,’ ‘The Passage’ is Coming to FOX | KQED","description":"This FOX series based on the Justin Cronin trilogy combines the pulpiest elements of science-gone-awry thrillers with shlocky creature-features.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Part ‘Walking Dead,’ Part ‘I Am Legend,’ ‘The Passage’ is Coming to FOX","datePublished":"2019-01-14T19:43:24.000Z","dateModified":"2019-01-14T19:43:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"108593 https://ww2.kqed.org/pop/?p=108593","disqusUrl":"https://ww2.kqed.org/pop/2019/01/14/part-walking-dead-part-i-am-legend-the-passage-is-coming-to-fox/","disqusTitle":"Part ‘Walking Dead,’ Part ‘I Am Legend,’ ‘The Passage’ is Coming to FOX","nprImageCredit":"Eliza Morse","nprByline":"Glen Weldon","nprImageAgency":"FOX","nprStoryId":"683668312","nprApiLink":"http://api.npr.org/query?id=683668312&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/01/14/683668312/the-passage-keeps-its-viral-vamps-waiting-in-the-wings-for-now?ft=nprml&f=683668312","nprRetrievedStory":"1","nprPubDate":"Mon, 14 Jan 2019 13:38:00 -0500","nprStoryDate":"Mon, 14 Jan 2019 05:00:19 -0500","nprLastModifiedDate":"Mon, 14 Jan 2019 13:38:16 -0500","path":"/pop/108593/part-walking-dead-part-i-am-legend-the-passage-is-coming-to-fox","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The best-selling trilogy of novels by Justin Cronin—\u003cem>The Passage, The Twelve\u003c/em> and \u003cem>The City of Mirrors\u003c/em>—collectively form an epic tale, sweeping in scope. Combining apocalyptic fiction with straight-up horror, the books hop around in time—well, I say \"hop\"—they \u003cem>long-jump\u003c/em> around in time, from the near-future, when a secret team of government scientists attempts to develop a formula that will render humanity immune to disease, to 1,000 years hence, long after \u003cem>that \u003c/em>bright idea has borne its inevitable, nasty, blood-sucking fruit: vampires called \"virals\" that have wiped out most of the world.\u003c/p>\n\u003cp>It's pulpy going, sure—part \u003cem>I Am Legend\u003c/em>, part \u003cem>The Walking Dead\u003c/em>, part \u003cem>The Stand\u003c/em>—but all those familiar, pulpy components cohere into something hugely satisfying, because Cronin is so good at establishing the vastness of the world he creates: shocks and twists abound, characters thought dead return after looooong absences, and there's a palpable sense of humanity's enduring legacy—its triumphs and missteps—on a planet where only a hardy few huddle together in far-flung outposts.\u003c/p>\n\u003cp>It's \u003cem>big\u003c/em>, in other words. Vast.\u003c/p>\n\u003cp>But the new FOX series \u003cem>The Passage\u003c/em>—named for the first book in Cronin's trilogy, but based, we are assured, on all three of them—isn't. At least, not yet.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6rJ64J-gSbY'\n title='//www.youtube.com/embed/6rJ64J-gSbY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the first three episodes made available to press, the series boasts strong performances, agreeably hokey dialogue you'll likely be able to mouth along with the actors, too-brief but sorely needed flashes of humor, and characters who say and do some very, \u003cem>very \u003c/em>stupid things only because the plot demands them to. (The laws of idiotic cause and effect in \u003cem>The Passage\u003c/em>'s universe dictate: If there's a cage with a monster inside it, some idiot will dutifully open said cage.)\u003c/p>\n\u003cp>What \u003cem>The Passage\u003c/em> doesn't feature a lot of, at least at this early stage, is a definable sense of menace, or any real inkling of the (much, much) wider story that Cronin's trilogy encompasses.\u003c/p>\n\u003cp>Which is fine, as far as it goes. Those who have read the books know what's coming; those who haven't will just have to content themselves with the ominous voiceover supplied by the show's breakout star, young Saniyya Sidney. Assured and charismatic, Sidney plays Amy, the girl who may or may not hold the key to humanity's survival—which is why the show's various factions spend these first few episodes fighting over her.\u003c/p>\n\u003cfigure id=\"attachment_108596\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108596\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/181023-the-passage-800x533.jpg\" alt=\"Amy (Saniyya Sidney) and Agent Wolgast (Mark-Paul Gosselaar) in 'The Passage.' \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/181023-the-passage-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy (Saniyya Sidney) and Agent Wolgast (Mark-Paul Gosselaar) in 'The Passage.' \u003ccite>(FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basically: The secret cabal of scientists wants to inject Amy with their formula, which causes their best agent (Mark-Paul Gosselaar) to rebel against his orders and take her on the lam.\u003c/p>\n\u003cp>The series devotes much of its running time, in the first three episodes, to establishing the bond between Amy and Gosselaar's Agent Wolgast, which makes sense—any show with this many high-concept trappings needs a believable human relationship or two to provide emotional ballast. But those scenes, as appealing as they are, mean that the show has to work harder to convince us that the \"virals\"—previously injected humans who harbor the vamp-virus, kept prisoner by the scientists—pose a clear, present and growing danger.\u003c/p>\n\u003cp>\u003cem>The Passage\u003c/em> sets about this crucial task by employing that aformentioned voiceover, by having various characters mutter vague presentiments (\"Something is coming,\" one whispers, \"and it's not good\") and by having the various virals enter the dreams of the facility's staffers, the way that Big Bads on serialized action/horror shows are so wont to do.\u003c/p>\n\u003cp>The series attempts to generate a sense of dread by keeping its Biggest Bad in its back pocket, early on. Played by James McShane, the lead viral-vamp has a name—Tim Fanning—that doesn't so much evoke blood-curdling terror as it does the desire to call your local dealership to schedule a tune-up. McShane does what he can, but the precious screen time he's allotted isn't enough to establish him as much more than a pale guy with bad skin sitting in a cell, biding his time.\u003c/p>\n\u003cfigure id=\"attachment_108594\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108594\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-800x450.jpg\" alt=\"Evil Tim Fanning (Jamie McShane) can't help but look bored as he bides his time.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/tp-pilot2_sc12-em_0144_wide-2603fe517757c9b6d18aec685d14a958a7e59ac8-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evil Tim Fanning (Jamie McShane) can't help but look bored as he bides his time. \u003ccite>(FOX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The producers' go-to scare tactic—having McShane, or one of his fellow virals, suddenly grimace and hiss—doesn't pack quite the punch they want it to. The show's over-reliance on it in these early episodes might leave viewers who haven't read the books wondering if there's enough here to keep them watching.\u003c/p>\n\u003cp>There \u003cem>is\u003c/em> more, of course, much more—in the books at least: shocks, to be sure. But they also serve up something larger, deeper and more enduring: fleeting flickers of hope amid the soul-crushing hopelessness of the end of the world.\u003c/p>\n\u003cp>The FOX series isn't there yet, and given its slow-burn pacing, likely won't get there for a season or two. Given the constraints of television production schedules, and production budgets, it may never manage to convey the yawning horror the books so effectively evoke.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe it doesn't have to. Maybe it will seek instead to downsize the books' epic conflicts, and their huge cast of characters, to fit the television screen. It's a worthy endeavor, focusing on intimate human relationships amid the spectacular fall of civilization. But for it to work in the long run, \u003cem>The Passage \u003c/em>will need to start balancing the strength of the bond between its two principals with a clearer, stronger sense of the real horror they're facing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Passage%27+Keeps+Its+Viral+Vamps+Waiting+In+The+Wings%2C+For+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/108593/part-walking-dead-part-i-am-legend-the-passage-is-coming-to-fox","authors":["byline_pop_108593"],"categories":["pop_3"],"tags":["pop_860","pop_3414","pop_3413","pop_3412","pop_1512","pop_864"],"featImg":"pop_108597","label":"pop"},"pop_107864":{"type":"posts","id":"pop_107864","meta":{"index":"posts_1591205157","site":"pop","id":"107864","score":null,"sort":[1543867847000]},"guestAuthors":[],"slug":"night-of-the-living-dead-is-still-about-so-much-more-than-zombies","title":"'Night of the Living Dead' is Still About So Much More Than Zombies","publishDate":1543867847,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>A few weeks ago, I drove three hours to reach a screening of the restored print of George Romero's classic black and white zombie film. Sitting in the multiplex theater, I tried to put myself back in the mindset of someone seeing it fresh as the main characters, Barbra and her unnamed brother, find themselves in a cemetery.\u003c/p>\n\u003cp>\"They're coming to get you, Barbra,\" he teases. \"Look, there comes one of them now!\"\u003c/p>\n\u003cp>What they don't know is that an undead apocalypse is about to sweep America and Barbra's brother is about to get eaten by a shambling ghoul. In 1968, theater-goers were also in the dark, with no idea they were seeing a game-changing film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pElSu_ECJGM\u003c/p>\n\u003cp>\"It played on a double-bill, with—I think it was—\u003cem>Doctor Who and the Daleks\u003c/em>,\" said Stuart Klawans, a longtime film critic for \u003cem>The\u003c/em> \u003cem>Nation\u003c/em> magazine. \"It really wasn't expected to do anything.\" In those days, people going to see a scary movie expected it to be pretty harmless, the kind of thing you went to on a date. But, Klawans added, this was not that kind of movie: \"There's really no sex appeal in \u003cem>Night of the Living Dead\u003c/em>.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That's an understatement. In 1968 the horror genre was changing. With films like Roman Polanski's \u003cem>Rosemary's Baby\u003c/em> and Ingmar Bergman's \u003cem>Hour of the Wolf, \u003c/em>directors were exploring serious questions, mirroring society in more provocative and disturbing ways.\u003c/p>\n\u003cp>What people got in Romero's film was their very first glimpse of what we now think of as zombies: shambling undead who hunger for human flesh. They're mindless and slow and kind of goofy looking, but nearly unstoppable. They just keep coming unless you destroy their brains.\u003c/p>\n\u003cp>Much of the film is presented in a kind of faux documentary style that heightens the anxiety. There is the sense that civilization itself is unraveling.\u003c/p>\n\u003cp>Speaking in 1988 with NPR's Terry Gross, Romero said he was inspired by his own childhood fears during World War 2. \"When I was growing up I actually went through New York City blackouts when we had to close the windows and worry about air raids,\" he recalled. \"I don't know whether those were realistic worries or not, but as a kid it was a very frightening experience.\"\u003c/p>\n\u003cfigure id=\"attachment_107865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-107865\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-800x600.jpg\" alt=\"A line of zombies in a still from 'Night Of The Living Dead,' directed by George Romero, 1968. The film has been reissued for screenings on the 50th anniversary of its release.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A line of zombies in a still from 'Night Of The Living Dead,' directed by George Romero, 1968. The film has been reissued for screenings on the 50th anniversary of its release.\u003c/figcaption>\u003c/figure>\n\u003cp>Romero, who died in 2017, said what made his movies interesting wasn't the zombies, but the people reacting to them. \"My stories have always been more about the humans and the mistakes they make. Zombies are just sort of out there.\"\u003c/p>\n\u003cp>One way Romero kept the focus on the people in \u003cem>Night of the Living Dead\u003c/em> was by casting an African-American actor, Duane Jones, in the lead role. His performance is raw and realistic as he fights to keep himself and Barbra alive. \"Look, I know you're afraid,\" his character, who goes unnamed, tells her. \"I'm afraid too.\"\u003c/p>\n\u003cp>Romero always downplayed the decision to cast Jones, but it was revolutionary for its time. Film critic Stuart Klawans points out that Romero and Jones made the film over nine months at a time when racial tensions in America were exploding. \"There was no such thing as being color blind in 1967 and 1968,\" he said. \"Not in a production that started in the wake of the Detroit and Newark riots, and pretty much finished with the assassination of Martin Luther King Jr.\"\u003c/p>\n\u003cp>One of the most shocking things about \u003cem>Night of the Living Dead\u003c/em> is that Jones' character actually survives the zombies. He makes it through the night but is then killed by a group of white men—sheriffs' deputies. They think Jones is one of the zombies. \"Good shot,\" the sheriff mutters. \"Let's go get him, that's another one for the fire.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JBc-gNIjGuc\u003c/p>\n\u003cp>It's the most horrific moment in the film—Jones' life and his body are treated as expendable. The foreshadowing of our current time, with the Black Lives Matter protests and the debate over police violence, is unsettling.\u003c/p>\n\u003cp>Klawans says, over the years that followed, the importance of \u003cem>Night of the Living Dead\u003c/em> kept growing in people's imaginations. In part that's because it influenced wave after wave of other zombie movies, everything from \u003cem>Zombieland\u003c/em> and \u003cem>World War Z\u003c/em> to \u003cem>Game of Thrones \u003c/em>and \u003cem>TheWalking Dead\u003c/em>.\u003c/p>\n\u003cp>But as it kept being released and re-released, he thinks the film also kept reflecting the fears and anxieties of new audiences. \"It soaked up the killings at Kent State, it soaked up the Tet offensive [in Vietnam]. So the film just took on more and more and more weight as it went on,\" Klawans said.\u003c/p>\n\u003cp>One final surprise is that this B-movie made on a shoe string budget is beautiful. Sure there's gore, but Romero also created lush black and white textures and fascinating visual compositions. \"He started out as a student of visual arts, with a particular interest in Spanish painting. You can see that influence, it's a very sophisticated film,\" Klawans added.\u003c/p>\n\u003cp>The Museum of Modern Art issued a restored print of the film that's been screening in this 50th anniversary year in movie theaters round around the world. The zombie invasion continues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The night I watched it at a late-night screening in Watertown, N.Y., I was the only person in the theater, which made it even more creepy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+An+Undead+Apocalypse+First+Swept+America+In+The+%27Night+Of+The+Living+Dead%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The classic zombie flick has been restored by the MOMA and prepped for new screenings. No wonder—it remains socially relevant, even in its 50th year.","status":"publish","parent":0,"modified":1543867847,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":969},"headData":{"title":"'Night of the Living Dead' is Still About So Much More Than Zombies | KQED","description":"The classic zombie flick has been restored by the MOMA and prepped for new screenings. No wonder—it remains socially relevant, even in its 50th year.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Night of the Living Dead' is Still About So Much More Than Zombies","datePublished":"2018-12-03T20:10:47.000Z","dateModified":"2018-12-03T20:10:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"107864 https://ww2.kqed.org/pop/?p=107864","disqusUrl":"https://ww2.kqed.org/pop/2018/12/03/night-of-the-living-dead-is-still-about-so-much-more-than-zombies/","disqusTitle":"'Night of the Living Dead' is Still About So Much More Than Zombies","nprImageCredit":"Pictorial Parade","nprByline":"Brian Mann","nprImageAgency":"Getty Images","nprStoryId":"672202431","nprApiLink":"http://api.npr.org/query?id=672202431&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/12/03/672202431/when-an-undead-apocalypse-first-swept-america-in-the-night-of-the-living-dead?ft=nprml&f=672202431","nprRetrievedStory":"1","nprPubDate":"Mon, 03 Dec 2018 08:29:00 -0500","nprStoryDate":"Mon, 03 Dec 2018 08:29:04 -0500","nprLastModifiedDate":"Mon, 03 Dec 2018 08:29:05 -0500","path":"/pop/107864/night-of-the-living-dead-is-still-about-so-much-more-than-zombies","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago, I drove three hours to reach a screening of the restored print of George Romero's classic black and white zombie film. Sitting in the multiplex theater, I tried to put myself back in the mindset of someone seeing it fresh as the main characters, Barbra and her unnamed brother, find themselves in a cemetery.\u003c/p>\n\u003cp>\"They're coming to get you, Barbra,\" he teases. \"Look, there comes one of them now!\"\u003c/p>\n\u003cp>What they don't know is that an undead apocalypse is about to sweep America and Barbra's brother is about to get eaten by a shambling ghoul. In 1968, theater-goers were also in the dark, with no idea they were seeing a game-changing film.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pElSu_ECJGM'\n title='//www.youtube.com/embed/pElSu_ECJGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"It played on a double-bill, with—I think it was—\u003cem>Doctor Who and the Daleks\u003c/em>,\" said Stuart Klawans, a longtime film critic for \u003cem>The\u003c/em> \u003cem>Nation\u003c/em> magazine. \"It really wasn't expected to do anything.\" In those days, people going to see a scary movie expected it to be pretty harmless, the kind of thing you went to on a date. But, Klawans added, this was not that kind of movie: \"There's really no sex appeal in \u003cem>Night of the Living Dead\u003c/em>.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That's an understatement. In 1968 the horror genre was changing. With films like Roman Polanski's \u003cem>Rosemary's Baby\u003c/em> and Ingmar Bergman's \u003cem>Hour of the Wolf, \u003c/em>directors were exploring serious questions, mirroring society in more provocative and disturbing ways.\u003c/p>\n\u003cp>What people got in Romero's film was their very first glimpse of what we now think of as zombies: shambling undead who hunger for human flesh. They're mindless and slow and kind of goofy looking, but nearly unstoppable. They just keep coming unless you destroy their brains.\u003c/p>\n\u003cp>Much of the film is presented in a kind of faux documentary style that heightens the anxiety. There is the sense that civilization itself is unraveling.\u003c/p>\n\u003cp>Speaking in 1988 with NPR's Terry Gross, Romero said he was inspired by his own childhood fears during World War 2. \"When I was growing up I actually went through New York City blackouts when we had to close the windows and worry about air raids,\" he recalled. \"I don't know whether those were realistic worries or not, but as a kid it was a very frightening experience.\"\u003c/p>\n\u003cfigure id=\"attachment_107865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-107865\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-800x600.jpg\" alt=\"A line of zombies in a still from 'Night Of The Living Dead,' directed by George Romero, 1968. The film has been reissued for screenings on the 50th anniversary of its release.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/12/gettyimages-2411955-f246e6ed1a8f46901db50ee368d70a259fcfa163-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A line of zombies in a still from 'Night Of The Living Dead,' directed by George Romero, 1968. The film has been reissued for screenings on the 50th anniversary of its release.\u003c/figcaption>\u003c/figure>\n\u003cp>Romero, who died in 2017, said what made his movies interesting wasn't the zombies, but the people reacting to them. \"My stories have always been more about the humans and the mistakes they make. Zombies are just sort of out there.\"\u003c/p>\n\u003cp>One way Romero kept the focus on the people in \u003cem>Night of the Living Dead\u003c/em> was by casting an African-American actor, Duane Jones, in the lead role. His performance is raw and realistic as he fights to keep himself and Barbra alive. \"Look, I know you're afraid,\" his character, who goes unnamed, tells her. \"I'm afraid too.\"\u003c/p>\n\u003cp>Romero always downplayed the decision to cast Jones, but it was revolutionary for its time. Film critic Stuart Klawans points out that Romero and Jones made the film over nine months at a time when racial tensions in America were exploding. \"There was no such thing as being color blind in 1967 and 1968,\" he said. \"Not in a production that started in the wake of the Detroit and Newark riots, and pretty much finished with the assassination of Martin Luther King Jr.\"\u003c/p>\n\u003cp>One of the most shocking things about \u003cem>Night of the Living Dead\u003c/em> is that Jones' character actually survives the zombies. He makes it through the night but is then killed by a group of white men—sheriffs' deputies. They think Jones is one of the zombies. \"Good shot,\" the sheriff mutters. \"Let's go get him, that's another one for the fire.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JBc-gNIjGuc'\n title='//www.youtube.com/embed/JBc-gNIjGuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's the most horrific moment in the film—Jones' life and his body are treated as expendable. The foreshadowing of our current time, with the Black Lives Matter protests and the debate over police violence, is unsettling.\u003c/p>\n\u003cp>Klawans says, over the years that followed, the importance of \u003cem>Night of the Living Dead\u003c/em> kept growing in people's imaginations. In part that's because it influenced wave after wave of other zombie movies, everything from \u003cem>Zombieland\u003c/em> and \u003cem>World War Z\u003c/em> to \u003cem>Game of Thrones \u003c/em>and \u003cem>TheWalking Dead\u003c/em>.\u003c/p>\n\u003cp>But as it kept being released and re-released, he thinks the film also kept reflecting the fears and anxieties of new audiences. \"It soaked up the killings at Kent State, it soaked up the Tet offensive [in Vietnam]. So the film just took on more and more and more weight as it went on,\" Klawans said.\u003c/p>\n\u003cp>One final surprise is that this B-movie made on a shoe string budget is beautiful. Sure there's gore, but Romero also created lush black and white textures and fascinating visual compositions. \"He started out as a student of visual arts, with a particular interest in Spanish painting. You can see that influence, it's a very sophisticated film,\" Klawans added.\u003c/p>\n\u003cp>The Museum of Modern Art issued a restored print of the film that's been screening in this 50th anniversary year in movie theaters round around the world. The zombie invasion continues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The night I watched it at a late-night screening in Watertown, N.Y., I was the only person in the theater, which made it even more creepy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+An+Undead+Apocalypse+First+Swept+America+In+The+%27Night+Of+The+Living+Dead%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/107864/night-of-the-living-dead-is-still-about-so-much-more-than-zombies","authors":["byline_pop_107864"],"categories":["pop_51"],"tags":["pop_3341","pop_864"],"featImg":"pop_107872","label":"pop"},"pop_107776":{"type":"posts","id":"pop_107776","meta":{"index":"posts_1591205157","site":"pop","id":"107776","score":null,"sort":[1543564634000]},"guestAuthors":[],"slug":"so-theres-a-scottish-zombie-christmas-high-school-musical-now","title":"So... There's a Scottish Zombie Christmas High School Musical Now","publishDate":1543564634,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>A normal way for fans to appreciate Edgar Wright's 2004 zombie comedy \u003ca href=\"https://www.imdb.com/title/tt0365748/?ref_=nv_sr_1\">\u003cem>Shaun of the Dead\u003c/em>\u003c/a> is to watch it again and perhaps discover a few grace notes they missed the first or second or third time around. But there's something to be said for considering it through the prism of slavish imitator like \u003ca href=\"https://www.imdb.com/title/tt6433880/?ref_=fn_al_tt_1\">\u003cem>Anna and the Apocalypse\u003c/em>\u003c/a>, a Scottish genre mash-up that plays like a piece of fan art, only with a musical component added.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dfWIfwKJ7vA\u003c/p>\n\u003cp>There's the first-act obliviousness to a zombie outbreak happening in the background, a few of those patented Wright whip-pans, and dialogue brimming with pop-culture references. And it gets more specific than that: The funniest visual joke in \u003cem>Shaun of the Dead\u003c/em>, when the spaced-out hero slips on a pool of blood just below the frame, is swiped by a shot of a character tripping over an offscreen body on his morning jog.\u003c/p>\n\u003cp>None of this makes \u003cem>Anna and the Apocalypse\u003c/em> a bad movie per se—as Picasso (and Steve Jobs) said, \"Good artists copy, great artists steal\"—but the contrast between it and its main source of inspiration is clear and mostly unflattering to the new film. As the cinematic karaoke unfolds, you gain a fresh appreciation for Wright's sly commentary on workaday London or the pop-savvy delight of his heroes choosing which records are keepers and which are disposable enough to hurl at a zombie's head. Or, better still, the brilliant comic chemistry between Simon Pegg and Nick Frost and how the depth of their friendship reveals itself in crisis.\u003c/p>\n\u003cp>Many of those virtues are present in director John McPhail's affable horror-musical-comedy, just noticeably dimmer in every respect. What original inspiration it \u003cem>does\u003c/em> possess is heavily front-loaded in the first act, before the zombies take over and there's more time for song-and-dance. In a small-town high school, students are so busy preparing for a Christmas performance that they tune out CDC warnings of a strange pathogen that's spreading through the country. They're running hot with teenage emotions, which come bursting out through hallway arias and choreographed showstoppers in the school cafeteria.\u003c/p>\n\u003cfigure id=\"attachment_107781\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-107781\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-800x450.jpg\" alt=\"Anna, singing her way through the apocalypse.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna, singing her way through the apocalypse.\u003c/figcaption>\u003c/figure>\n\u003cp>In a winning lead performance, Ella Hunt plays the feisty Anna, a senior who has plenty of problems and the undead ain't one—at least not yet. She's still reeling from her mother's death and her hectoring father (Mark Benton), a lowly janitor at the school, isn't happy to learn her plans to skip college for a year for an open-ended trip to Australia. Her best friend John (Malcolm Cumming) is all Christmas-sweater earnestness, but she's drawn more toward Nick (Ben Wiggins), a bad-boy type who toys with her affections. She and John are so wrapped up in adolescent emotions that they miss the encroaching zombie apocalypse until the next morning, when nearly the entire town is infected and they have to get back to the school to liberate the students and faculty trapped inside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The zombie subgenre has been scrambled up and revivified a hundred different ways—here are now multiple films about Nazi zombies, for example—but the musical approach does give \u003cem>Anna and the Apocalypse\u003c/em> an appealing hook. The songs, by Scottish songwriters Roddy Hart and Tommy Reilly, are passable soft-rock confections about teenage angst, with group laments on their dead-end town and bleak futures mixed with more ebullient tunes about thwacking zombies with baseball bats. The banter between the characters never really pops, but they express themselves better through song.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anna and the Apocalypse\u003c/em> doesn't gather enough goodwill to carry it through the paces, however, when Anna and her two suitors are obliged to bear down and hack their way to the finish. Anna's tense relationship with her widower father never develops beyond the basic outlines and her love triangle with John and Nick doesn't blow up the nice-guy/bad-boy dichotomy it establishes at the start. McPhail and his screenwriters, Alan McDonald and Ryan McHenry, are shooting for the emo whimsy close to \u003cem>Buffy the Vampire Slayer\u003c/em>'s famed musical episode, \u003ca href=\"https://www.youtube.com/watch?v=Fo62thpDFZA\">\"Once More with Feeling,\"\u003c/a> but that show had six seasons to develop relationships and this film only has about six minutes. Some songs are great enough to carry all that emotion in three-minute bursts, but like everything else in \u003cem>Anna and the Apocalypse\u003c/em>, these are conspicuously short of the mark.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Teens+Sing+Their+Guts+Out+In+The+Scottish+Zombie+Christmas+Musical+%27Anna+And+The+Apocalypse%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"It's like 'Shaun of the Dead' with more teenagers and more singing.","status":"publish","parent":0,"modified":1543564634,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":782},"headData":{"title":"So... There's a Scottish Zombie Christmas High School Musical Now | KQED","description":"It's like 'Shaun of the Dead' with more teenagers and more singing.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"So... There's a Scottish Zombie Christmas High School Musical Now","datePublished":"2018-11-30T07:57:14.000Z","dateModified":"2018-11-30T07:57:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"107776 https://ww2.kqed.org/pop/?p=107776","disqusUrl":"https://ww2.kqed.org/pop/2018/11/29/so-theres-a-scottish-zombie-christmas-high-school-musical-now/","disqusTitle":"So... There's a Scottish Zombie Christmas High School Musical Now","nprImageCredit":"Gerardo Jaconelli","nprByline":"Scott Tobias","nprImageAgency":"Orion Pictures ","nprStoryId":"670839107","nprApiLink":"http://api.npr.org/query?id=670839107&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/11/29/670839107/teens-sing-their-guts-out-in-the-scottish-zombie-christmas-musical-anna-and-the-?ft=nprml&f=670839107","nprRetrievedStory":"1","nprPubDate":"Thu, 29 Nov 2018 17:01:00 -0500","nprStoryDate":"Thu, 29 Nov 2018 17:01:21 -0500","nprLastModifiedDate":"Thu, 29 Nov 2018 17:01:21 -0500","path":"/pop/107776/so-theres-a-scottish-zombie-christmas-high-school-musical-now","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A normal way for fans to appreciate Edgar Wright's 2004 zombie comedy \u003ca href=\"https://www.imdb.com/title/tt0365748/?ref_=nv_sr_1\">\u003cem>Shaun of the Dead\u003c/em>\u003c/a> is to watch it again and perhaps discover a few grace notes they missed the first or second or third time around. But there's something to be said for considering it through the prism of slavish imitator like \u003ca href=\"https://www.imdb.com/title/tt6433880/?ref_=fn_al_tt_1\">\u003cem>Anna and the Apocalypse\u003c/em>\u003c/a>, a Scottish genre mash-up that plays like a piece of fan art, only with a musical component added.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dfWIfwKJ7vA'\n title='//www.youtube.com/embed/dfWIfwKJ7vA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There's the first-act obliviousness to a zombie outbreak happening in the background, a few of those patented Wright whip-pans, and dialogue brimming with pop-culture references. And it gets more specific than that: The funniest visual joke in \u003cem>Shaun of the Dead\u003c/em>, when the spaced-out hero slips on a pool of blood just below the frame, is swiped by a shot of a character tripping over an offscreen body on his morning jog.\u003c/p>\n\u003cp>None of this makes \u003cem>Anna and the Apocalypse\u003c/em> a bad movie per se—as Picasso (and Steve Jobs) said, \"Good artists copy, great artists steal\"—but the contrast between it and its main source of inspiration is clear and mostly unflattering to the new film. As the cinematic karaoke unfolds, you gain a fresh appreciation for Wright's sly commentary on workaday London or the pop-savvy delight of his heroes choosing which records are keepers and which are disposable enough to hurl at a zombie's head. Or, better still, the brilliant comic chemistry between Simon Pegg and Nick Frost and how the depth of their friendship reveals itself in crisis.\u003c/p>\n\u003cp>Many of those virtues are present in director John McPhail's affable horror-musical-comedy, just noticeably dimmer in every respect. What original inspiration it \u003cem>does\u003c/em> possess is heavily front-loaded in the first act, before the zombies take over and there's more time for song-and-dance. In a small-town high school, students are so busy preparing for a Christmas performance that they tune out CDC warnings of a strange pathogen that's spreading through the country. They're running hot with teenage emotions, which come bursting out through hallway arias and choreographed showstoppers in the school cafeteria.\u003c/p>\n\u003cfigure id=\"attachment_107781\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-107781\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-800x450.jpg\" alt=\"Anna, singing her way through the apocalypse.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna, singing her way through the apocalypse.\u003c/figcaption>\u003c/figure>\n\u003cp>In a winning lead performance, Ella Hunt plays the feisty Anna, a senior who has plenty of problems and the undead ain't one—at least not yet. She's still reeling from her mother's death and her hectoring father (Mark Benton), a lowly janitor at the school, isn't happy to learn her plans to skip college for a year for an open-ended trip to Australia. Her best friend John (Malcolm Cumming) is all Christmas-sweater earnestness, but she's drawn more toward Nick (Ben Wiggins), a bad-boy type who toys with her affections. She and John are so wrapped up in adolescent emotions that they miss the encroaching zombie apocalypse until the next morning, when nearly the entire town is infected and they have to get back to the school to liberate the students and faculty trapped inside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The zombie subgenre has been scrambled up and revivified a hundred different ways—here are now multiple films about Nazi zombies, for example—but the musical approach does give \u003cem>Anna and the Apocalypse\u003c/em> an appealing hook. The songs, by Scottish songwriters Roddy Hart and Tommy Reilly, are passable soft-rock confections about teenage angst, with group laments on their dead-end town and bleak futures mixed with more ebullient tunes about thwacking zombies with baseball bats. The banter between the characters never really pops, but they express themselves better through song.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anna and the Apocalypse\u003c/em> doesn't gather enough goodwill to carry it through the paces, however, when Anna and her two suitors are obliged to bear down and hack their way to the finish. Anna's tense relationship with her widower father never develops beyond the basic outlines and her love triangle with John and Nick doesn't blow up the nice-guy/bad-boy dichotomy it establishes at the start. McPhail and his screenwriters, Alan McDonald and Ryan McHenry, are shooting for the emo whimsy close to \u003cem>Buffy the Vampire Slayer\u003c/em>'s famed musical episode, \u003ca href=\"https://www.youtube.com/watch?v=Fo62thpDFZA\">\"Once More with Feeling,\"\u003c/a> but that show had six seasons to develop relationships and this film only has about six minutes. Some songs are great enough to carry all that emotion in three-minute bursts, but like everything else in \u003cem>Anna and the Apocalypse\u003c/em>, these are conspicuously short of the mark.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Teens+Sing+Their+Guts+Out+In+The+Scottish+Zombie+Christmas+Musical+%27Anna+And+The+Apocalypse%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/107776/so-theres-a-scottish-zombie-christmas-high-school-musical-now","authors":["byline_pop_107776"],"categories":["pop_51"],"tags":["pop_259","pop_1648","pop_864"],"featImg":"pop_107777","label":"pop"},"pop_102007":{"type":"posts","id":"pop_102007","meta":{"index":"posts_1591205157","site":"pop","id":"102007","score":null,"sort":[1519062845000]},"guestAuthors":[],"slug":"z-o-m-b-i-e-s-why-wont-the-undead-craze-just-die","title":"Z-O-M-B-I-E-S: Why Won't the Undead Craze Just... Die?","publishDate":1519062845,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Here's a serious pop culture conundrum. Why are we \u003cem>still\u003c/em> so obsessed with zombies?\u003c/p>\n\u003cp>Maybe you've seen the movies \u003ca href=\"http://www.imdb.com/title/tt0816711/?ref_=fn_al_tt_1\">\u003cem>World War Z\u003c/em>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt0289043/?ref_=fn_al_tt_1\">\u003cem>28 Days Later \u003c/em>\u003c/a>and the TV series \u003ca href=\"http://www.imdb.com/title/tt3501584/?ref_=fn_al_tt_1\">\u003cem>iZombie \u003c/em>\u003c/a>and \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5580540/?ref_=fn_al_tt_1\">Santa Clarita Diet\u003c/a>. \u003c/em>Or maybe you've read \u003cem>Zone One\u003c/em> by Pulitzer-winning author Colson Whitehead or \u003cem>Pride And Prejudice And Zombies\u003c/em> by Seth Grahame-Smith. Haven't you had enough of zombies over the last decade?\u003c/p>\n\u003cp>Evidently not. Just within the next two weeks, we'll see the return of the biggest basic cable hit in history — \u003ca href=\"http://www.imdb.com/title/tt1520211/?ref_=nv_sr_1\">\u003cem>The Walking Dead\u003c/em>,\u003c/a> shambling back for its midseason premiere — \u003cem>and\u003c/em> a new zombie movie starring Ellen Page (\u003ca href=\"http://www.imdb.com/title/tt3463106/?ref_=fn_al_tt_1\">\u003cem>The Cured\u003c/em>\u003c/a>) \u003cem>and\u003c/em> a Disney Channel musical about a teenage zombie heartthrob in love with a perky cheerleader.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VSC7AjafRPA\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/title/tt6878820/?ref_=fn_al_tt_1\">\u003cem>ZOMBIES \u003c/em>\u003c/a>is the second Romeo-and-Juliet zombie romance to come out in recent years. (The first was the excellent indie film \u003ca href=\"http://www.imdb.com/title/tt1588173/?ref_=fn_al_tt_1\">\u003cem>Warm Bodies\u003c/em>\u003c/a>.) Bringing zombies into Disney's more tightly controlled brand was a challenge for Joseph Raso, one of the movie's co-writers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The biggest thing we thought was going to be a problem was, like, brains,\" Raso says. \"That zombies want to eat brains. We were going to put our flagpole on that. Zombies \u003cem>need\u003c/em> to eat brains. It's just part of the lore. And Disney was like, 'Of course they have to eat brains!' \"\u003c/p>\n\u003cp>(Disney wouldn't let its zombies really eat brains. Instead, they devour family-friendly vegan substitutes.)\u003c/p>\n\u003cp>Disney is somewhat late to the zombie party. Mattel and Nickelodeon have featured adorable zombie characters for years. Meanwhile, there is seemingly no end to the zombie movies and TV shows in the works, many startlingly specific. Netflix has announced a medieval Korean zombie series called \u003ca href=\"https://www.netflix.com/title/80180171\">\u003cem>Kingdom\u003c/em>\u003c/a>, premiering later this year.\u003c/p>\n\u003cp>All of which raises the question: Why won't this zombie trend just ... die? I asked pre-eminent zombie scholar Sarah Juliet Lauro, a professor at the University of Tampa. She published her first academic paper on zombies a decade ago.\u003c/p>\n\u003cp>\"I never, ever thought that 10 years later, that zombies would be going so strong,\" she says.\u003c/p>\n\u003cp>Back then, Lauro made sense of the zombie craze by thinking of it through the economic meltdown: how zombies reflected our insecurities, helplessness and fragile safety net. Then, when Barack Obama was elected president, she saw a kind of cultural backlash in the form of \u003cem>The Walking Dead\u003c/em>'s apocalyptic, end-of-government fantasy in which everyone is on their own.\u003c/p>\n\u003cp>\"And it really makes sense to have a gun in the basement because you really need it,\" she says. \"And you have redneck characters who are heroes.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nGuASCtizdE\u003c/p>\n\u003cp>\u003cem>The Walking Dead\u003c/em>'s audience has sharply dropped from its record-setting peak several years ago, but even so, it's still one of the top shows on television. Its spinoff, \u003ca href=\"http://www.amc.com/shows/fear-the-walking-dead\">\u003cem>Fear The Walking Dead\u003c/em>\u003c/a>, starts its fourth season this spring.\u003c/p>\n\u003cp>Meanwhile, few signs of zombie fatigue are evident in the publishing world. Author Justina Ireland has a historical zombie novel coming out in April, called \u003cem>Dread Nation\u003c/em>, and a theory about why zombies remain so popular.\u003c/p>\n\u003cp>\"Every day is a new and terrible terror coming at you from the news, and it's just nonstop,\" she says. \"I think people are feeling overwhelmed. And that's a great metaphor for a zombie invasion. Like, that is the iconic scene for a zombie invasion, a horde coming to overwhelm a town or a mall or a handful of survivors.\"\u003c/p>\n\u003cp>Ireland admitted that she doesn't even like zombies very much. (They frighten her.) But she would like to see more stories about zombies rooted in their actual mythology in the trans-Atlantic slave trade. Haitian tales of the undead working in cane fields are part of that country's history of oppression and revolution. Ireland drew on those themes of power and powerlessness for \u003cem>Dread Nation\u003c/em>, which is set during the U.S. Civil War.\u003c/p>\n\u003cp>\"The zombies really represent this idea of slavery and how we never really addressed it,\" she says.\u003c/p>\n\u003cp>Slavery keeps rising up in the American unconscious, perhaps not unlike zombies rising from the dead. As for zombies' usefulness as metaphors, Ireland says it helps that they're so compelling.\u003c/p>\n\u003cp>\"And so it's really easy to talk about very difficult subjects when you have this cool, neat thing as the apparatus,\" she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So it may be quite a while longer until zombies as pop culture phenomena have been done to death. Or, one might say: undeath.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+The+Zombie+Craze+Still+Has+Our+Undying+Affection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"'Walking Dead' is still one of the top shows on TV—no wonder Disney is getting in on the zombie action.","status":"publish","parent":0,"modified":1519062845,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":780},"headData":{"title":"Z-O-M-B-I-E-S: Why Won't the Undead Craze Just... Die? | KQED","description":"'Walking Dead' is still one of the top shows on TV—no wonder Disney is getting in on the zombie action.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Z-O-M-B-I-E-S: Why Won't the Undead Craze Just... Die?","datePublished":"2018-02-19T17:54:05.000Z","dateModified":"2018-02-19T17:54:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"102007 https://ww2.kqed.org/pop/?p=102007","disqusUrl":"https://ww2.kqed.org/pop/2018/02/19/z-o-m-b-i-e-s-why-wont-the-undead-craze-just-die/","disqusTitle":"Z-O-M-B-I-E-S: Why Won't the Undead Craze Just... Die?","nprImageCredit":"John Medland","nprByline":"Neda Ulaby","nprImageAgency":"Disney Channel","nprStoryId":"586192986","nprApiLink":"http://api.npr.org/query?id=586192986&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/02/17/586192986/why-the-zombie-craze-still-has-our-undying-affection?ft=nprml&f=586192986","nprRetrievedStory":"1","nprPubDate":"Sat, 17 Feb 2018 16:45:00 -0500","nprStoryDate":"Sat, 17 Feb 2018 08:08:11 -0500","nprLastModifiedDate":"Sat, 17 Feb 2018 16:45:19 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2018/02/20180217_wesat_why_the_zombie_craze_still_has_our_undying_affection.mp3?orgId=1&topicId=1048&d=236&p=7&story=586192986&ft=nprml&f=586192986","nprAudioM3u":"http://api.npr.org/m3u/1586760010-2b04b7.m3u?orgId=1&topicId=1048&d=236&p=7&story=586192986&ft=nprml&f=586192986","path":"/pop/102007/z-o-m-b-i-e-s-why-wont-the-undead-craze-just-die","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/wesat/2018/02/20180217_wesat_why_the_zombie_craze_still_has_our_undying_affection.mp3?orgId=1&topicId=1048&d=236&p=7&story=586192986&ft=nprml&f=586192986","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here's a serious pop culture conundrum. Why are we \u003cem>still\u003c/em> so obsessed with zombies?\u003c/p>\n\u003cp>Maybe you've seen the movies \u003ca href=\"http://www.imdb.com/title/tt0816711/?ref_=fn_al_tt_1\">\u003cem>World War Z\u003c/em>\u003c/a> and \u003ca href=\"http://www.imdb.com/title/tt0289043/?ref_=fn_al_tt_1\">\u003cem>28 Days Later \u003c/em>\u003c/a>and the TV series \u003ca href=\"http://www.imdb.com/title/tt3501584/?ref_=fn_al_tt_1\">\u003cem>iZombie \u003c/em>\u003c/a>and \u003cem>\u003ca href=\"http://www.imdb.com/title/tt5580540/?ref_=fn_al_tt_1\">Santa Clarita Diet\u003c/a>. \u003c/em>Or maybe you've read \u003cem>Zone One\u003c/em> by Pulitzer-winning author Colson Whitehead or \u003cem>Pride And Prejudice And Zombies\u003c/em> by Seth Grahame-Smith. Haven't you had enough of zombies over the last decade?\u003c/p>\n\u003cp>Evidently not. Just within the next two weeks, we'll see the return of the biggest basic cable hit in history — \u003ca href=\"http://www.imdb.com/title/tt1520211/?ref_=nv_sr_1\">\u003cem>The Walking Dead\u003c/em>,\u003c/a> shambling back for its midseason premiere — \u003cem>and\u003c/em> a new zombie movie starring Ellen Page (\u003ca href=\"http://www.imdb.com/title/tt3463106/?ref_=fn_al_tt_1\">\u003cem>The Cured\u003c/em>\u003c/a>) \u003cem>and\u003c/em> a Disney Channel musical about a teenage zombie heartthrob in love with a perky cheerleader.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VSC7AjafRPA'\n title='//www.youtube.com/embed/VSC7AjafRPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"http://www.imdb.com/title/tt6878820/?ref_=fn_al_tt_1\">\u003cem>ZOMBIES \u003c/em>\u003c/a>is the second Romeo-and-Juliet zombie romance to come out in recent years. (The first was the excellent indie film \u003ca href=\"http://www.imdb.com/title/tt1588173/?ref_=fn_al_tt_1\">\u003cem>Warm Bodies\u003c/em>\u003c/a>.) Bringing zombies into Disney's more tightly controlled brand was a challenge for Joseph Raso, one of the movie's co-writers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"The biggest thing we thought was going to be a problem was, like, brains,\" Raso says. \"That zombies want to eat brains. We were going to put our flagpole on that. Zombies \u003cem>need\u003c/em> to eat brains. It's just part of the lore. And Disney was like, 'Of course they have to eat brains!' \"\u003c/p>\n\u003cp>(Disney wouldn't let its zombies really eat brains. Instead, they devour family-friendly vegan substitutes.)\u003c/p>\n\u003cp>Disney is somewhat late to the zombie party. Mattel and Nickelodeon have featured adorable zombie characters for years. Meanwhile, there is seemingly no end to the zombie movies and TV shows in the works, many startlingly specific. Netflix has announced a medieval Korean zombie series called \u003ca href=\"https://www.netflix.com/title/80180171\">\u003cem>Kingdom\u003c/em>\u003c/a>, premiering later this year.\u003c/p>\n\u003cp>All of which raises the question: Why won't this zombie trend just ... die? I asked pre-eminent zombie scholar Sarah Juliet Lauro, a professor at the University of Tampa. She published her first academic paper on zombies a decade ago.\u003c/p>\n\u003cp>\"I never, ever thought that 10 years later, that zombies would be going so strong,\" she says.\u003c/p>\n\u003cp>Back then, Lauro made sense of the zombie craze by thinking of it through the economic meltdown: how zombies reflected our insecurities, helplessness and fragile safety net. Then, when Barack Obama was elected president, she saw a kind of cultural backlash in the form of \u003cem>The Walking Dead\u003c/em>'s apocalyptic, end-of-government fantasy in which everyone is on their own.\u003c/p>\n\u003cp>\"And it really makes sense to have a gun in the basement because you really need it,\" she says. \"And you have redneck characters who are heroes.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nGuASCtizdE'\n title='//www.youtube.com/embed/nGuASCtizdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Walking Dead\u003c/em>'s audience has sharply dropped from its record-setting peak several years ago, but even so, it's still one of the top shows on television. Its spinoff, \u003ca href=\"http://www.amc.com/shows/fear-the-walking-dead\">\u003cem>Fear The Walking Dead\u003c/em>\u003c/a>, starts its fourth season this spring.\u003c/p>\n\u003cp>Meanwhile, few signs of zombie fatigue are evident in the publishing world. Author Justina Ireland has a historical zombie novel coming out in April, called \u003cem>Dread Nation\u003c/em>, and a theory about why zombies remain so popular.\u003c/p>\n\u003cp>\"Every day is a new and terrible terror coming at you from the news, and it's just nonstop,\" she says. \"I think people are feeling overwhelmed. And that's a great metaphor for a zombie invasion. Like, that is the iconic scene for a zombie invasion, a horde coming to overwhelm a town or a mall or a handful of survivors.\"\u003c/p>\n\u003cp>Ireland admitted that she doesn't even like zombies very much. (They frighten her.) But she would like to see more stories about zombies rooted in their actual mythology in the trans-Atlantic slave trade. Haitian tales of the undead working in cane fields are part of that country's history of oppression and revolution. Ireland drew on those themes of power and powerlessness for \u003cem>Dread Nation\u003c/em>, which is set during the U.S. Civil War.\u003c/p>\n\u003cp>\"The zombies really represent this idea of slavery and how we never really addressed it,\" she says.\u003c/p>\n\u003cp>Slavery keeps rising up in the American unconscious, perhaps not unlike zombies rising from the dead. As for zombies' usefulness as metaphors, Ireland says it helps that they're so compelling.\u003c/p>\n\u003cp>\"And so it's really easy to talk about very difficult subjects when you have this cool, neat thing as the apparatus,\" she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So it may be quite a while longer until zombies as pop culture phenomena have been done to death. Or, one might say: undeath.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+The+Zombie+Craze+Still+Has+Our+Undying+Affection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/102007/z-o-m-b-i-e-s-why-wont-the-undead-craze-just-die","authors":["byline_pop_102007"],"categories":["pop_1548","pop_51","pop_3"],"tags":["pop_1512","pop_864"],"featImg":"pop_102008","label":"pop"},"pop_5541":{"type":"posts","id":"pop_5541","meta":{"index":"posts_1591205157","site":"pop","id":"5541","score":null,"sort":[1370437205000]},"guestAuthors":[],"slug":"apocalypse-now-our-love-affair-with-the-end","title":"Apocalypse Now: Our Love Affair with the End","publishDate":1370437205,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cfigure id=\"attachment_5558\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/06/05/apocalypse-now-our-love-affair-with-the-end/theend/\" rel=\"attachment wp-att-5558\">\u003cimg class=\"size-full wp-image-5558\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/theend.jpg\" alt=\"This is the End looks potentially like it could be the funniest apocalypse movie ever\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/theend.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/theend-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>This is the End\u003c/em> looks potentially like it could be the funniest apocalypse movie ever. Photo: Sony Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>2013 is definitely the year to take stock of your supplies, support NPR to get that emergency survival pack and gird your loins in preparation for the end of the world. If movies are any sign of what’s to come, it’s the real year of the apocalypse. With \u003cem>\u003ca title=\"This is the End\" href=\"http://www.thisistheend.com/site/\" target=\"_blank\">This is the End\u003c/a>\u003c/em> (June 12) and \u003cem>\u003ca title=\"WWZ\" href=\"http://www.worldwarzmovie.com\" target=\"_blank\">World War Z\u003c/a>\u003c/em> (June 21) opening just around the corner, \u003cem>\u003ca title=\"after earth\" href=\"http://youtu.be/CZIt20emgLY\" target=\"_blank\">After Earth\u003c/a>\u003c/em> and \u003cem>\u003ca title=\"Oblivion\" href=\"http://youtu.be/XmIIgE7eSak\" target=\"_blank\">Oblivion\u003c/a>\u003c/em> in the rearview, and \u003ca title=\"2013 movies\" href=\"http://www.vibe.com/photo-gallery/10-best-post-apocalyptic-movies-2013\" target=\"_blank\">a bunch of stuff still waiting for us\u003c/a>, we might just be heading towards the end. I know we had sad/funny \u003ca title=\"Seeking a Friend\" href=\"http://youtu.be/T43InzvBm-k\" target=\"_blank\">\u003cem>Seeking a Friend for the End of the World\u003c/em>\u003c/a>, the slowest movie on earth \u003cem>\u003ca title=\"Melancholia\" href=\"http://youtu.be/fcZWZhUozr4\" target=\"_blank\">Melancholia\u003c/a>\u003c/em> and super silly Nazis on the moon in \u003cem>\u003ca title=\"Iron Sky\" href=\"http://youtu.be/Py_IndUbcxc\" target=\"_blank\">Iron Sky\u003c/a>\u003c/em> last year, but that was soft stuff. Of course, the end of the world might not really be coming, but it’s starting to look like we are really ready, and maybe even looking forward to it.\u003c/p>\n\u003cfigure id=\"attachment_5543\" class=\"wp-caption alignleft\" style=\"max-width: 350px\">\u003ca href=\"http://www.thehangline.com/creative-examples/billboard-destroyed-by-meteorite-in-pharr-tx/\" rel=\"attachment wp-att-5543\">\u003cimg class=\"size-full wp-image-5543 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO.jpeg\" alt=\"billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO\" width=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO-400x266.jpeg 400w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.thehangline.com/creative-examples/billboard-destroyed-by-meteorite-in-pharr-tx/\">The Hangline\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>For some research, I looked up \u003ca title=\"wiki end\" href=\"http://en.wikipedia.org/wiki/End_Time\" target=\"_blank\">how Wikipedia defines ‘apocalypse’\u003c/a>, I was quickly lost in a sea of religious lists of how the world was presumed to end. It gets awfully specific: the world will end when this guy dies, or when you stop listening to what this guy says, etc. Religions are pretty self-serving after all, so it makes sense to claim yours is the only one to follow that will keep molten lava from burning your legs off in a myth of impending doom. One thing was certain in my half-attempt at researching the apocalypse for you; almost every culture believed or believes in it, including ancient Greece, the Vikings and surprisingly, Buddhists. And though the Mayans were proved wrong last year, looking to the secular channel of science reveals that even Isaac Newton said we are all probably going to die in 2060. So, we can look forward to another round of cult leader-sponsored billboards like in 2012, and then if we do make it, maybe a revival of an embarrassed Baptist term for the non-apocalypse in 1843, “\u003ca title=\"Big Disappointment\" href=\"http://en.wikipedia.org/wiki/Great_Disappointment\" target=\"_blank\">The Big Disappointment\u003c/a>”, muttered by anyone in the future who was hoping their next door neighbors would die.\u003c/p>\n\u003cp>But what does our contemporary cinematic fascination with the end even mean? Could it be that even as we become more and more ambivalent about religion around the globe, we kind of long for an end to things anyway? Or is it actually, deep down inside, a fascination with a concept instilled in humanity -- a superiority complex that assumes whomever we are, we’d be the ones to make it out alive? Picture any movie where bad things are happening; aren’t we always along for the ride with the survivors? Apocalypse movies are basically assurances in our own indestructibility and an insurance policy that as long as we have a relatable hero in the frame, we’ll be OK, too.\u003c/p>\n\u003cp>Alright, I know, it’s just a movie. I know that when you watch \u003cem>Night of the Living Dead\u003c/em>, you don’t actually believe it’s happening for real. But the reason we watch movies is to be taken on a journey, to be told a story, and to live in a more exciting plot than the ones we find ourselves in daily. Perhaps the apocalypse is not as fantastic as \u003cem>The Wizard of Oz\u003c/em> type of movies we watched as kids, but those of us with darker souls can still revel in hugely varied end-of-times calamities for a two-hour fantasy ride. Want to get caught up in the reality of global warming but turn off the movie and pretend it’s all OK? Watch \u003cem>The Day After Tomorrow\u003c/em>. Get tired of everything, even taking a bath, and just wish a meteor would wipe out everything including you? \u003cem>Melancholia\u003c/em> will work. Want to live through pretty accurate social commentary on how everyone sucks, even when there’s fewer of you, and press on in hopes of living off-the-grid in a socialist fantasy? \u003cem>Children of Men\u003c/em>, \u003cem>28 Days Later\u003c/em>, or \u003cem>The Road\u003c/em> will do the trick. The options are endless! You still have aliens vs. patriotism, sexy ‘you’re-the-last-one-on-earth-and-you’re-hot’ romance, and fantasy-in-a-fantasy \u003cem>Matrix\u003c/em> scenarios, to name a few.\u003c/p>\n\u003cfigure id=\"attachment_5569\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/06/05/apocalypse-now-our-love-affair-with-the-end/ryan-gosling-the-place-beyond-the-pines-05-600x400/\" rel=\"attachment wp-att-5569\">\u003cimg class=\"size-full wp-image-5569\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400.jpg\" alt=\"Photo: Focus Features\" width=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Damn, boy, you're worth the ticket price. Photo: Focus Features\u003c/figcaption>\u003c/figure>\n\u003cp>Even if it’s not very cultured to admit, the truth is that I get way more excited about apocalypse movies than any other film genre. I’d rather be scared of the undead than thinking about my fractured relationship with my parents or watching Ashton Kutcher somehow get progressively more annoying. Plus, I am a totally cheap bastard and I refuse to pay what amounts to the price of a decent bottle of wine to see a movie with other loud people when I could see it on Netflix alone a year later, so I don’t go to the movies unless A) it’s scary and hopefully violent and explosive, or B) has Ryan Gosling covered in crappy tattoos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Being that the previews promise explosions, severed limbs, and panic-stricken mobs, I am 100% excited to see both \u003cem>This is the End\u003c/em> and \u003cem>World War Z\u003c/em> in the actual theater. Both movies use either hilarious comedians (Michael Cera, Jonah Hill, Craig Robinson) or serious actors (Brad Pitt and the ginger in \u003cem>The Killing\u003c/em>) in silly action roles. Both promise bad dialogue and mega summer-movie-style action to play up the wink-wink tropes of the legacy of cult classics, and to scare the piss out of you. I also can’t get enough bromance stuff from guys like Seth Rogen or dark things about zombies, which \u003cem>World War Z\u003c/em> (hopefully smartly?) plays down in their description of a mysterious “pandemic.\" WWZ is also compared to the addictive TV show \u003cem>The Walking Dead\u003c/em> because of planned sequels. I can’t imagine them all being great, but I have my sweaty cash in hand (what is it these days, like $14, $15??) and I am ready to go into survival mode.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=HcwTxRuq-uk&w=560&h=315]\u003c/div>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=MNs0vQgCWY0&w=560&h=315]\u003c/div>\n\n","blocks":[],"excerpt":"With two new movies \"This is the End\" and \"World War Z\" coming in June, the end of the world looks better than ever.","status":"publish","parent":0,"modified":1370447217,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":1106},"headData":{"title":"Apocalypse Now: Our Love Affair with the End | KQED","description":"With two new movies "This is the End" and "World War Z" coming in June, the end of the world looks better than ever.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Apocalypse Now: Our Love Affair with the End","datePublished":"2013-06-05T13:00:05.000Z","dateModified":"2013-06-05T15:46:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"5541 http://blogs.kqed.org/pop/?p=5541","disqusUrl":"https://ww2.kqed.org/pop/2013/06/05/apocalypse-now-our-love-affair-with-the-end/","disqusTitle":"Apocalypse Now: Our Love Affair with the End","path":"/pop/5541/apocalypse-now-our-love-affair-with-the-end","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_5558\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/06/05/apocalypse-now-our-love-affair-with-the-end/theend/\" rel=\"attachment wp-att-5558\">\u003cimg class=\"size-full wp-image-5558\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/theend.jpg\" alt=\"This is the End looks potentially like it could be the funniest apocalypse movie ever\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/theend.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/theend-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>This is the End\u003c/em> looks potentially like it could be the funniest apocalypse movie ever. Photo: Sony Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>2013 is definitely the year to take stock of your supplies, support NPR to get that emergency survival pack and gird your loins in preparation for the end of the world. If movies are any sign of what’s to come, it’s the real year of the apocalypse. With \u003cem>\u003ca title=\"This is the End\" href=\"http://www.thisistheend.com/site/\" target=\"_blank\">This is the End\u003c/a>\u003c/em> (June 12) and \u003cem>\u003ca title=\"WWZ\" href=\"http://www.worldwarzmovie.com\" target=\"_blank\">World War Z\u003c/a>\u003c/em> (June 21) opening just around the corner, \u003cem>\u003ca title=\"after earth\" href=\"http://youtu.be/CZIt20emgLY\" target=\"_blank\">After Earth\u003c/a>\u003c/em> and \u003cem>\u003ca title=\"Oblivion\" href=\"http://youtu.be/XmIIgE7eSak\" target=\"_blank\">Oblivion\u003c/a>\u003c/em> in the rearview, and \u003ca title=\"2013 movies\" href=\"http://www.vibe.com/photo-gallery/10-best-post-apocalyptic-movies-2013\" target=\"_blank\">a bunch of stuff still waiting for us\u003c/a>, we might just be heading towards the end. I know we had sad/funny \u003ca title=\"Seeking a Friend\" href=\"http://youtu.be/T43InzvBm-k\" target=\"_blank\">\u003cem>Seeking a Friend for the End of the World\u003c/em>\u003c/a>, the slowest movie on earth \u003cem>\u003ca title=\"Melancholia\" href=\"http://youtu.be/fcZWZhUozr4\" target=\"_blank\">Melancholia\u003c/a>\u003c/em> and super silly Nazis on the moon in \u003cem>\u003ca title=\"Iron Sky\" href=\"http://youtu.be/Py_IndUbcxc\" target=\"_blank\">Iron Sky\u003c/a>\u003c/em> last year, but that was soft stuff. Of course, the end of the world might not really be coming, but it’s starting to look like we are really ready, and maybe even looking forward to it.\u003c/p>\n\u003cfigure id=\"attachment_5543\" class=\"wp-caption alignleft\" style=\"max-width: 350px\">\u003ca href=\"http://www.thehangline.com/creative-examples/billboard-destroyed-by-meteorite-in-pharr-tx/\" rel=\"attachment wp-att-5543\">\u003cimg class=\"size-full wp-image-5543 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO.jpeg\" alt=\"billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO\" width=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/billboard-destroyed-by-meteorite-in-pharr-tx-L-l_1ltO-400x266.jpeg 400w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.thehangline.com/creative-examples/billboard-destroyed-by-meteorite-in-pharr-tx/\">The Hangline\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>For some research, I looked up \u003ca title=\"wiki end\" href=\"http://en.wikipedia.org/wiki/End_Time\" target=\"_blank\">how Wikipedia defines ‘apocalypse’\u003c/a>, I was quickly lost in a sea of religious lists of how the world was presumed to end. It gets awfully specific: the world will end when this guy dies, or when you stop listening to what this guy says, etc. Religions are pretty self-serving after all, so it makes sense to claim yours is the only one to follow that will keep molten lava from burning your legs off in a myth of impending doom. One thing was certain in my half-attempt at researching the apocalypse for you; almost every culture believed or believes in it, including ancient Greece, the Vikings and surprisingly, Buddhists. And though the Mayans were proved wrong last year, looking to the secular channel of science reveals that even Isaac Newton said we are all probably going to die in 2060. So, we can look forward to another round of cult leader-sponsored billboards like in 2012, and then if we do make it, maybe a revival of an embarrassed Baptist term for the non-apocalypse in 1843, “\u003ca title=\"Big Disappointment\" href=\"http://en.wikipedia.org/wiki/Great_Disappointment\" target=\"_blank\">The Big Disappointment\u003c/a>”, muttered by anyone in the future who was hoping their next door neighbors would die.\u003c/p>\n\u003cp>But what does our contemporary cinematic fascination with the end even mean? Could it be that even as we become more and more ambivalent about religion around the globe, we kind of long for an end to things anyway? Or is it actually, deep down inside, a fascination with a concept instilled in humanity -- a superiority complex that assumes whomever we are, we’d be the ones to make it out alive? Picture any movie where bad things are happening; aren’t we always along for the ride with the survivors? Apocalypse movies are basically assurances in our own indestructibility and an insurance policy that as long as we have a relatable hero in the frame, we’ll be OK, too.\u003c/p>\n\u003cp>Alright, I know, it’s just a movie. I know that when you watch \u003cem>Night of the Living Dead\u003c/em>, you don’t actually believe it’s happening for real. But the reason we watch movies is to be taken on a journey, to be told a story, and to live in a more exciting plot than the ones we find ourselves in daily. Perhaps the apocalypse is not as fantastic as \u003cem>The Wizard of Oz\u003c/em> type of movies we watched as kids, but those of us with darker souls can still revel in hugely varied end-of-times calamities for a two-hour fantasy ride. Want to get caught up in the reality of global warming but turn off the movie and pretend it’s all OK? Watch \u003cem>The Day After Tomorrow\u003c/em>. Get tired of everything, even taking a bath, and just wish a meteor would wipe out everything including you? \u003cem>Melancholia\u003c/em> will work. Want to live through pretty accurate social commentary on how everyone sucks, even when there’s fewer of you, and press on in hopes of living off-the-grid in a socialist fantasy? \u003cem>Children of Men\u003c/em>, \u003cem>28 Days Later\u003c/em>, or \u003cem>The Road\u003c/em> will do the trick. The options are endless! You still have aliens vs. patriotism, sexy ‘you’re-the-last-one-on-earth-and-you’re-hot’ romance, and fantasy-in-a-fantasy \u003cem>Matrix\u003c/em> scenarios, to name a few.\u003c/p>\n\u003cfigure id=\"attachment_5569\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003ca href=\"http://blogs.kqed.org/pop/2013/06/05/apocalypse-now-our-love-affair-with-the-end/ryan-gosling-the-place-beyond-the-pines-05-600x400/\" rel=\"attachment wp-att-5569\">\u003cimg class=\"size-full wp-image-5569\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400.jpg\" alt=\"Photo: Focus Features\" width=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2013/06/ryan-gosling-the-place-beyond-the-pines-05-600x400-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Damn, boy, you're worth the ticket price. Photo: Focus Features\u003c/figcaption>\u003c/figure>\n\u003cp>Even if it’s not very cultured to admit, the truth is that I get way more excited about apocalypse movies than any other film genre. I’d rather be scared of the undead than thinking about my fractured relationship with my parents or watching Ashton Kutcher somehow get progressively more annoying. Plus, I am a totally cheap bastard and I refuse to pay what amounts to the price of a decent bottle of wine to see a movie with other loud people when I could see it on Netflix alone a year later, so I don’t go to the movies unless A) it’s scary and hopefully violent and explosive, or B) has Ryan Gosling covered in crappy tattoos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Being that the previews promise explosions, severed limbs, and panic-stricken mobs, I am 100% excited to see both \u003cem>This is the End\u003c/em> and \u003cem>World War Z\u003c/em> in the actual theater. Both movies use either hilarious comedians (Michael Cera, Jonah Hill, Craig Robinson) or serious actors (Brad Pitt and the ginger in \u003cem>The Killing\u003c/em>) in silly action roles. Both promise bad dialogue and mega summer-movie-style action to play up the wink-wink tropes of the legacy of cult classics, and to scare the piss out of you. I also can’t get enough bromance stuff from guys like Seth Rogen or dark things about zombies, which \u003cem>World War Z\u003c/em> (hopefully smartly?) plays down in their description of a mysterious “pandemic.\" WWZ is also compared to the addictive TV show \u003cem>The Walking Dead\u003c/em> because of planned sequels. I can’t imagine them all being great, but I have my sweaty cash in hand (what is it these days, like $14, $15??) and I am ready to go into survival mode.\u003c/p>\n\u003cdiv class=\"single-video\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HcwTxRuq-uk'\n title='//www.youtube.com/embed/HcwTxRuq-uk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"single-video\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MNs0vQgCWY0'\n title='//www.youtube.com/embed/MNs0vQgCWY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/5541/apocalypse-now-our-love-affair-with-the-end","authors":["2418"],"categories":["pop_51"],"tags":["pop_860","pop_867","pop_861","pop_865","pop_866","pop_863","pop_862","pop_864"],"featImg":"pop_5558","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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