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Speaker 1: Warning, Today's episode contains spoilers for the twenty eight Later franchise,

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Speaker 1: both twenty eight days Later and it's sequel twenty eight

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Speaker 1: weeks later.

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Speaker 2: I just like twenty eight later, though, that's all I

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Speaker 2: call it. Twenty eight guys, twenty eight Later, twenty eight

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Speaker 2: l NFE.

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Speaker 1: Hello, it is Jason Concepcion and I'm mersday Night and

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Speaker 1: welcome back to x ray Vision of the podcast where

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Speaker 1: we dive deep. It's your favorite shows, movies, comics and

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Speaker 1: pop culture coming to you from ir Heart Podcast, where

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Speaker 1: we'll bring you three episodes a week every Tuesday, Thursday

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Speaker 1: or Friday.

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Speaker 2: In today's episode, as we hinted in the spoiler zone,

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Speaker 2: we're not going into the alock today.

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Speaker 3: We're going into the quarantine zone.

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Speaker 2: Recapping twenty days later, the honestly radical zombie hit that

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Speaker 2: Dan fated the genre and it's rather successful sequel twenty

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Speaker 2: eight weeks later, which Carmen will.

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Speaker 3: Tell you is her favorite of the two.

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Speaker 2: And then we are going to have the Zomnibus.

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Speaker 3: Jason is digging deep into zombie law.

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Speaker 2: What do zombies represent in our society and how have

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Speaker 2: they changed over the years, and how does that tie

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Speaker 2: into the twenty.

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Speaker 3: Eight years weeks and soon to be a months. No,

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Speaker 3: those three will work together the twenty eight L franchise.

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Speaker 3: How do they tie in? You will find out, But

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Speaker 3: first let's talk about twenty eight days later.

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Speaker 1: Okay, Rosie, take us through to twenty eight L movies,

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Speaker 1: okaying out as we prepare for twenty eight years later.

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Speaker 1: And I think it's only right and proper that you

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Speaker 1: do this as this is said in your home Yes,

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Speaker 1: I land down your home country's going to.

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Speaker 2: Be giving you some some British insights, some hints.

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Speaker 3: At what what you may be seeing and how the

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Speaker 3: movies were made.

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Speaker 2: Also, Jason, first let me quickly ask you, do you

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Speaker 2: remember the first time you watched this movie?

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Speaker 1: For sure, I saw it. I saw it in the

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Speaker 1: movie theater.

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Speaker 3: M hmm.

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Speaker 1: I think I was aware that it was dimly aware

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Speaker 1: that it was a zombie film, but it just looked

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Speaker 1: more like a dystopian, you know, Fall of Society kind

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Speaker 1: of film, and I was like, I gotta go see it.

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Speaker 1: I saw it, and I was blown away. It really

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Speaker 1: stuck with me.

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Speaker 2: Yeah, It's one of definitely one of those movies where

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Speaker 2: I think at the time it felt essentially like revolutionary.

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Speaker 3: Yeah, and it's.

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Speaker 2: One of it feels so different because it was shot

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Speaker 2: it's mostly on mini DV cameras. The new movie, as

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Speaker 2: many people have talked about, is going to be shot

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Speaker 2: predominantly on iPhones and that we've seen some crazy iPhone

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Speaker 2: rigs that Danny has.

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Speaker 1: Been creating, these sixty rigs that like shoot a character

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Speaker 1: from almost a full semi circle in front of them.

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Speaker 1: It's pretty insane. Yeah, And the mini DV tech is

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Speaker 1: very interesting because that was basically consumer level technology, like

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Speaker 1: not thought of as like a pro sin camera exactly,

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Speaker 1: and it gives you this very grainy, very textured look

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Speaker 1: that I think is it's weirdly divisive. Now. I've seen

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Speaker 1: people talk about it when when watching the film on

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Speaker 1: you know, twenty twenty five television say why does this

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Speaker 1: movie look like shit? I have to say, like, at

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Speaker 1: the time, on the big screen, it felt more real

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Speaker 1: because of the mini DV. It felt authentic and almost

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Speaker 1: more documentarian.

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Speaker 2: Yes, exactly, I think it felt like that kind of

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Speaker 2: shaky cam but pre Jason Bourne. And it was very

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Speaker 2: horror and also obviously our biggest zombie movies up until

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Speaker 2: this point, and zombie kind of of.

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Speaker 3: Media in general.

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Speaker 2: Are the Sam Rami movies and those were obviously made

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Speaker 2: on especially Evil Dead.

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Speaker 3: Oh no, yeah, sorry, we have the Georgi ra Merra.

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Speaker 2: Movies obviously beautiful, Night of the Living Dead, everything else.

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Speaker 3: Then we have Sam Raimi's Evil Dead and those both.

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Speaker 2: Movies were made with a low budget, with you know,

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Speaker 2: limited technology, limited money. So this continues that trend, honestly,

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Speaker 2: and as we will get into the sequels, continue the

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Speaker 2: trend of kind of then expanding out that world in

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Speaker 2: that budget. But yes, twenty eight days later, let us begin,

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Speaker 2: in classic British fashion, twenty eight days later begins thanks

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Speaker 2: to the horrific reality of animal rights activists, something that

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Speaker 2: for some reason British people just like really get pissed

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Speaker 2: off about. There's a lot of them, there's a lot

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Speaker 2: of bit's interesting. Yeah, there's a lot of animal testing

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Speaker 2: in England, so definitely this is kind of a leftover

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Speaker 2: of that kind of There was a lot of anti

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Speaker 2: nuclear protests in England, learn a lot of direct action

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Speaker 2: groups in the eighties and nineties who were breaking into

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Speaker 2: animal testing facilities.

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Speaker 3: So I thought that was.

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Speaker 2: A really funny kind of time capsule moment. And when

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Speaker 2: that very direct action group breaks into a testing facility.

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Speaker 2: They accidentally unleash the rage virus on the world thanks

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Speaker 2: to as far as I could tell, a chimpanzee who

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Speaker 2: has been forced to watch videos of riots, violence and

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Speaker 2: cars being set on fire.

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Speaker 3: He's really going.

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Speaker 2: Through it, yes, that poor chimpanzee. And they do try

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Speaker 2: to warn him, they say, hey, come on, guys, this

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Speaker 2: guy's got the rage virus, but she doesn't listen. She's

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Speaker 2: got to let him free, and so the virus begins

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Speaker 2: and it's.

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Speaker 3: Not going well.

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Speaker 2: But we don't learn very much about that until twenty

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Speaker 2: eight days later. Wink Wink, Silly and Murphy's bike courier,

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Speaker 2: Jim an that's a very London job as well to

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Speaker 2: be a bike career.

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Speaker 3: Jim wakes up in.

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Speaker 2: A deserted hospital on the bank of the River Thames

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Speaker 2: and takes a now iconic and still very impressive, impressive

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Speaker 2: empty walk for like fifteen minutes runtime through a deserted

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Speaker 2: London and the abandoned kind of landmarks like Big Ben

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Speaker 2: and the Houses of Parliament.

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Speaker 3: And Oxford Tree.

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Speaker 2: It's unbelievable to kind of see what they were able

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Speaker 2: to do.

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Speaker 1: It's really really impressive. If you watch the director commentary

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Speaker 1: or have written any interviews about this.

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Speaker 3: Mm hmm.

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Speaker 1: Boyle talks about how they did it. They had to

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Speaker 1: collect these shots over the course of several weeks at

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Speaker 1: very early in the morning, mostly weekends. We would be

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Speaker 1: the least traffic, and they would just kind of hold

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Speaker 1: up whatever traffic there was, so silly and Murphy could

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Speaker 1: kind of walk across frame. They'd get the shot with

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Speaker 1: nothing in the background. Crazy, then the world would start

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Speaker 1: up again. Really really impressive.

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Speaker 3: Yeah, I think about that a lot.

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Speaker 2: And also like this was this was actually movie was

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Speaker 2: made pre nine to eleven, so.

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Speaker 1: They during the film. Yeah, so they were.

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Speaker 2: Able They were basically able to shut down Whitehall to

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Speaker 2: They bought a bus that they turned over in front

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Speaker 2: of Downing Street, which is where the Prime Minister lives,

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Speaker 2: and they were able to just quickly do it, get

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Speaker 2: the shot in thirty minutes of him walking past, get

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Speaker 2: it away. It's like really kind of crazy, almost like

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Speaker 2: gorilla filmmaking, like Werner Herzog does, but in a kind

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Speaker 2: of genre space. Interestingly, as well as we get more

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Speaker 2: into like the infected and the notion of the monsters

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Speaker 2: in this movie, they are also not your average zombies

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Speaker 2: at this point, so as the viewer and Jim learn

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Speaker 2: that there has been kind of a complete societal collapse

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Speaker 2: thanks to a number of very fun world building techniques

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Speaker 2: like these kind of missing flyers and torn newspapers, and

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Speaker 2: Jim ends up being attacked by the first human rage

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Speaker 2: virus victim that we meet, and he's terrifying and at

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Speaker 2: the time completely original. Kind of monsters were not originally

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Speaker 2: intended to be zombies. It was kind of this new

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Speaker 2: idea of a rage infection. But Danny Boyle and Alex Garland,

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Speaker 2: whatever they wished was kind of superseded by the fact

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Speaker 2: that this would reinvigorate the entire zombie movie and also

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Speaker 2: zombie media genre, because after this, you get the Walking

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Speaker 2: Dead comic, you get the Walking Dead TV show. Zombies

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Speaker 2: become the genre, you get the Dawn of the Dead remake.

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Speaker 2: A great movie, and it's a really interesting thing because.

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Speaker 3: This movie is, as you said, you know, it.

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Speaker 2: Does not necessarily look like the most high definition kind

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Speaker 2: of like restart of a full subgenre, but there was

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Speaker 2: something raw and authentic and scary, and before we got

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Speaker 2: on MIC, we were actually talking about, you know, movies

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Speaker 2: that scared us and blow which project came up. And

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Speaker 2: I think this is in that same space where if

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Speaker 2: you were young enough, you could have watched this and

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Speaker 2: been like, oh my god, like is this real?

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Speaker 3: You know, is this real? Like that thing? Yeah.

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Speaker 2: So Jim he is about to be killed by the infected.

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Speaker 2: That would be the end of his story, but he

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Speaker 2: is saved by two survivors, Nomi Harris, who, by the way,

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Speaker 2: this movie has like an unbelievable cast list truly h

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Speaker 2: Selena and Noah Huntley's Mark, who squirrel him away inside

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Speaker 2: a shop on the now destroyed local high street. Soon,

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Speaker 2: Jim convinces them to go on a mission to his parents'

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Speaker 2: house in Deptford, which, by the way, is like really

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Speaker 2: fast stupid mission.

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Speaker 1: Wow, So how far? How far is that like walking?

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Speaker 3: Okay, So if you're on like.

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Speaker 2: Waterloo Bridge area and you're going to like South London,

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Speaker 2: I mean walking, you're talking about like two or three

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Speaker 2: hours like minimum, and I would think actually longer. He

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Speaker 2: gets there quickly realizes that his parents killed themselves. Rather

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Speaker 2: than kind of face down the rat the infected, we see.

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Speaker 3: Him watch a home video of them. Again.

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Speaker 2: I feel like this is a very bleak kind of

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Speaker 2: depressing take on zombies that would go on to be

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Speaker 2: very influential on like what we see in The Walking

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Speaker 2: Dead and what we see about the way that humans

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Speaker 2: react to these horrible crises, and the kind of fact

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Speaker 2: that a lot of times humans are the more dangerous factor.

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Speaker 2: During an attack on the house by the infected, Mark

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Speaker 2: is killed rip Mark, and he's killed by Selena because

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Speaker 2: he gets wounded, and she is just like fuck you,

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Speaker 2: shoots him in the head and.

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Speaker 1: She just goes crazy on him. Well I think she does.

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Speaker 2: She not.

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Speaker 1: I think she hacks him up with him hicks him up.

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Speaker 3: With it incredible even better, That's that's I'm used to.

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Speaker 3: I'm so used to American zombies now that she becomes

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Speaker 3: the most.

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Speaker 1: I mean, that is a heartbreaking moment where he says

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Speaker 1: like he's like, hold on, just get wait a second,

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Speaker 1: let me see if I turn because he's got the bite,

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Speaker 1: it's bleeding on his arm.

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Speaker 3: Yeah, and he was protecting them too.

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Speaker 1: Yeah.

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Speaker 2: She just like hacks him up ruthlessly and then turns

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Speaker 2: to Gym and says you are next, like, I will

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Speaker 2: do that shit if you are big, you no question.

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Speaker 2: And now the roving survival party is down to two.

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Speaker 2: Not for long though, as they are joined by two

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Speaker 2: more survivors, Brendan Gleeson's Frank again unbelievable and young British

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Speaker 2: actor and my former roommate Meghan Burns. Yes, this was Hannah.

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Speaker 1: Hannah.

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Speaker 3: Hannah was my roommate.

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Speaker 1: She was also a very cool a musician.

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Speaker 3: Now she she.

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Speaker 2: Was a very cool musician called Betty Curse, and I

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Speaker 2: met her through my lovely friend Charlotte. And now Meghan

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Speaker 2: is actually a band manager in.

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Speaker 3: Her own right. But yes, she's very young in this movie.

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Speaker 2: He was handpicked by Danny Boyle and has like a

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Speaker 2: really kind of scary and cool role as it rolls

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Speaker 2: out for a young actor.

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Speaker 3: Because things get really messed up from here.

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Speaker 2: Frank has heard a broadcast from Manchester claiming that there's

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Speaker 2: some military barracks and they're safe and there's potential cure,

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Speaker 2: and so they decide that they're gonna head to Manchester

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Speaker 2: again very far. I feel like this is one of

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Speaker 2: the things that I would encourage in a zombie apocalypse

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Speaker 2: and in a zombie in general. I was like, don't

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Speaker 2: be trying to like go really far. It's gonna end up.

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Speaker 2: You're gonna end up in trouble, but hilariously, their journey

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Speaker 2: is actually not that bad. And again another really famous

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Speaker 2: sequence there is where we get the drive through the

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Speaker 2: moat that empty motorways England, which are just like essentially

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Speaker 2: like our highways, but we don't have them in every city.

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Speaker 2: They kind of join. They're like the veins of England

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Speaker 2: that join all the cities together. And these were TV

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Speaker 2: shots that were again those kind of like pause the traffic,

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Speaker 2: get what we can move on, and that is some

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Speaker 2: of the most impressive.

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Speaker 1: London to Manchester, how long?

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Speaker 3: Oh baby? On a train because I don't drive.

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Speaker 2: Oh a drive is like a solid four hour drive okay, and.

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Speaker 3: The train it's like I've done, like it's been like

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Speaker 3: three hours.

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Speaker 2: I would say, Holy, you could drive in in maybe

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Speaker 2: like three hours if you were driving really fast and

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Speaker 2: there was no traffic. And somehow they do manage to

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Speaker 2: make it to Manchester in one piece in Frank's taxi.

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Speaker 2: But once they arrive there, the barracks seem empty and

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Speaker 2: we get this. Really I love this moment because it's

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Speaker 2: so movie ish, but it's also like you can so

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Speaker 2: imagine it happening.

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Speaker 3: Frank right, Frank sees it at barrack's empty. He's pissed off.

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Speaker 3: He starts kicking the wall and.

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Speaker 2: Like a blood a drop of blood from an infected

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Speaker 2: who's like on the wall, like falls.

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Speaker 3: Into his eye.

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Speaker 1: Oh that's so crazy.

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Speaker 3: Yeah, I'm like, it seems like it would never happen.

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Speaker 2: But if you've ever got like a splinter under your

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Speaker 2: nail or something that should never have been there, you're like, okay,

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Speaker 2: I could, I could see it. And a last Frank,

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Speaker 2: he's dead because you can't survive. You've gotta be killed.

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Speaker 2: That's the only option. And now without Frank, who was

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Speaker 2: you know, kind of in the know that something strange

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Speaker 2: was going on, Jim, Selena and Hannah are left at

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Speaker 2: the whims of Christopher Eggleston, another fantastic British actor, as

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Speaker 2: Mayor Major Henry West, who has been broadcasting his claims

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Speaker 2: of a cure in a safe place in order to

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Speaker 2: lure women to the barracks so that in his greater

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Speaker 2: plan he can basically be like, I need to repopulate

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Speaker 2: the country. But really he means like you're going to

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Speaker 2: be my sexual slaves.

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Speaker 1: For mean some type exactly.

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Speaker 2: Very like he must spread his seed and obviously that's terrifying.

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Speaker 2: I remember this reveal feeling so like shocking, yes when

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Speaker 2: I first watched it, and I think something that's really

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Speaker 2: interesting about it is that it leans very heavily into

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Speaker 2: something that, as I kind of mentioned earlier, the Walking

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Speaker 2: Dead and these zombie projects that World War was he

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Speaker 2: would kind of lean into, which is, yeah, the zombies

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Speaker 2: are bad, but the humans are oftentimes worse because they

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Speaker 2: can control their behavior, but they.

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Speaker 3: Choose not to.

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Speaker 2: So Jim is obviously less than happy about that, and

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Speaker 2: along with another soldier who agrees that who disagrees and

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Speaker 2: won't go along with the plan, is sentenced to death.

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Speaker 2: But thanks to an argument between some of the kind

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Speaker 2: of ever fracturing group of soldiers who are like incredibly hungry,

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Speaker 2: who are under the watchful eye of this insane man,

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Speaker 2: Jim is able to escape and we get this moment again,

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Speaker 2: another moment that I think about a lot, which is

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Speaker 2: he sees like the trail of a plane in the

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Speaker 2: sky and it kind of reinvigorates him to remember that, like,

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Speaker 2: if there's a plane in the sky, the world must

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Speaker 2: be going on somewhere, and he is able to essentially

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Speaker 2: lure away West Freeze an infected soldier that they'd been

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Speaker 2: keeping prisoner, which I always think, like, okay, so they

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Speaker 2: were experimenting on the prisoner, so maybe at some point

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Speaker 2: there was some truth to the idea of the trying

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Speaker 2: to find the cure. But then they realize, like, we

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Speaker 2: don't know what we're doing, so let's just like assault

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Speaker 2: some women because that's fun and there's no laws, and

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Speaker 2: they get into the car make at their escape, and

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Speaker 2: I really this moment is such a classic horror moment,

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Speaker 2: which I think is really funny because the rest of

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Speaker 2: the movie is very unconventional. But essentially we end up

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Speaker 2: in a situation where West is actually hiding in the

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Speaker 2: backseat of the car, so you think that they're safely away,

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Speaker 2: and then he pops up shoots Jim. But then Nomi

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Speaker 2: Harris's Selena makes a great move where she kind of

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Speaker 2: throws the car back by breaking it and flings him

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Speaker 2: through the back window, and he's he's killed. Allah, you

320
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Speaker 2: know the t Rex and Jurassic Park. Now the infected

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Speaker 2: is helping and he's going.

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Speaker 3: To become the next meal.

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Speaker 2: And hilariously, watching this movie, I was surprised by how

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Speaker 2: much of it I kind of did remember or what

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Speaker 2: really stuck with me. But the final sequence I think

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Speaker 2: is the thing that to me really defines this movie,

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Speaker 2: which is another twenty eight days later, we joined Jim's

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Speaker 2: He's recovering Selena and Hannah and they are in a

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Speaker 2: small cottage. Yeah, and it's kind of this very cozy

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Speaker 2: English like off tract.

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Speaker 3: You I would say, like the Cotswolds or something. But

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Speaker 3: I also, like, I am from London, so I have.

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Speaker 2: No idea, like I am not good at geography, even

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Speaker 2: British geography. But you know, somewhere I would say, like

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Speaker 2: somewhere that a rich person would probably have like a

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Speaker 2: weekend home, and every time Nabors visit there, the locals

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Speaker 2: would be like Callipiste off because the locals are probably

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Speaker 2: like miners and shit. And they kind of see a

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Speaker 2: plane fly over and we see them unfurl this huge

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Speaker 2: banner that says hello, and the pilot seems to spot them,

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00:17:58,760 --> 00:18:04,040
Speaker 2: offering up like hopeful ending for what would become, you know,

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Speaker 2: one of the bleakest kind of big budget smash.

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Speaker 3: It's the movie was made for you know, very.

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Speaker 2: Very very very minimal amount of money and ended up

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Speaker 2: going on to make in England. It made you know,

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Speaker 2: it was relatively successful. The movie was cost eight million dollars.

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Speaker 2: In England it made six million, which is pretty good.

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Speaker 2: But in America it made forty five million, and soon

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Speaker 2: you know it would go on to make over eighty

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Speaker 2: million dollars. So yeah, that's twenty eight days later. It's

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Speaker 2: a very good movie. And it hasn't been streaming for

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Speaker 2: a very long time, but very long series of rights issues.

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Speaker 2: But it is currently streaming for free with ads on

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Speaker 2: Pluto TV, and you can buy it or download it

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Speaker 2: on demand wherever if you are in it's so inclined.

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Speaker 2: Twenty eight weeks later though, it's streaming on.

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Speaker 1: Hulu and Cormond's favorite.

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Speaker 2: It's her favorite. She thinks it's really good, okay, so

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00:19:03,080 --> 00:19:06,640
Speaker 2: twenty eight weeks late. This is very interesting because they

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Speaker 2: choose to begin during the original outbreak in a small

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Speaker 2: English town this time, I would say more like, I

362
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Speaker 2: don't know, like Burnley or somewhere.

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Speaker 3: I think my family's from up north, so I'm guessing.

364
00:19:17,520 --> 00:19:20,840
Speaker 2: But where Robert Carlile's Don and his wife Alice are

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Speaker 2: surviving alongside some neighbors. It's kind of a fractured survival.

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Speaker 2: But interestingly, something that they continue. Here is kind of

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Speaker 2: this establishment of like an old school technology, the way

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00:19:32,720 --> 00:19:35,359
Speaker 2: that you know, videotapes, stuff like that. We see that

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Speaker 2: in twenty eight days later as Jim watches the video

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Speaker 2: of his family. We've seen it in the trailers for

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Speaker 2: twenty eight years later where the kids are watching videos

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Speaker 2: of the Teletubbies.

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Speaker 3: So I think that kind of low.

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Speaker 2: Technology is being brought back in the new one, which

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Speaker 2: I really love.

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Speaker 3: But their kind.

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00:19:54,119 --> 00:19:59,520
Speaker 2: Of very shaky safety is put at risk when a

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00:19:59,560 --> 00:20:02,880
Speaker 2: young born he starts knocking at the door. His wife

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00:20:03,000 --> 00:20:07,359
Speaker 2: cannot ignore the young boy because they have children and

380
00:20:07,400 --> 00:20:08,280
Speaker 2: they don't know where they are.

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Speaker 3: And Don is like, please.

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Speaker 2: Don't let in this kid, like we know how this

383
00:20:12,359 --> 00:20:15,840
Speaker 2: is gonna go down. The kid gets let in, the

384
00:20:16,400 --> 00:20:19,639
Speaker 2: infected take over the house, and soon I have to

385
00:20:19,640 --> 00:20:24,159
Speaker 2: say Don not a good husband, because he leaves his

386
00:20:24,240 --> 00:20:28,240
Speaker 2: wife like he just wither quickness without the quickness, like

387
00:20:28,400 --> 00:20:31,760
Speaker 2: she's eaten in the house.

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Speaker 1: There is at least some true anguish that crosses his face,

389
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Speaker 1: but he hesitates for like half a second and then

390
00:20:40,680 --> 00:20:44,600
Speaker 1: he is like sorry, babe, yeah out yeah.

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Speaker 2: He's like he's like I can't do it, My love,

392
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Speaker 2: like it's not happening for me.

393
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Speaker 1: I'm gone for the boat.

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Speaker 3: I gotta go for the boat.

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Speaker 2: And then I think that we get something here that

396
00:20:52,600 --> 00:20:55,600
Speaker 2: is a really interesting Again, these are movies that I

397
00:20:55,640 --> 00:20:57,920
Speaker 2: think are very shaped by the technology of the time

398
00:20:58,000 --> 00:21:01,879
Speaker 2: and also the way that you could utilize technology that

399
00:21:02,000 --> 00:21:05,080
Speaker 2: was just becoming accessible to kind of lower budget filmmakers,

400
00:21:05,160 --> 00:21:08,680
Speaker 2: because we get that instantly recognizable drone shot where even

401
00:21:08,720 --> 00:21:11,240
Speaker 2: if you haven't seen this movie, you probably have seen

402
00:21:11,800 --> 00:21:15,560
Speaker 2: Robert kyle Le running across the grass the kind of

403
00:21:15,680 --> 00:21:17,000
Speaker 2: British countryside to.

404
00:21:16,960 --> 00:21:17,639
Speaker 3: Get to the boat.

405
00:21:17,880 --> 00:21:22,200
Speaker 2: He's got a drone shot following him. It's super surreal

406
00:21:22,280 --> 00:21:25,080
Speaker 2: and shaky, and yes, he gets to the boat and

407
00:21:25,119 --> 00:21:27,840
Speaker 2: he embarks on a new journey and we'll join him

408
00:21:27,880 --> 00:21:30,000
Speaker 2: there twenty eight weeks later, Bae.

409
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Speaker 3: Imagine that. I love the way that they use.

410
00:21:33,440 --> 00:21:36,760
Speaker 2: The actual timing in the movies is never endingly hilarious

411
00:21:36,800 --> 00:21:54,800
Speaker 2: to me. So in a classic Hollywood sequel move I

412
00:21:54,840 --> 00:21:57,800
Speaker 2: feel Here. The film introduces us to an England that

413
00:21:57,840 --> 00:22:01,280
Speaker 2: has essentially been taken over by NATO after the seeming

414
00:22:02,240 --> 00:22:06,200
Speaker 2: starvation death of the effect infected where they couldn't eat enough,

415
00:22:06,320 --> 00:22:09,600
Speaker 2: they've started to die out, and the US government is

416
00:22:09,760 --> 00:22:13,640
Speaker 2: now essentially trying to rebuild Britain along with its NATO partners,

417
00:22:14,000 --> 00:22:15,760
Speaker 2: and keep the rest of the world safe, keep the

418
00:22:15,800 --> 00:22:19,600
Speaker 2: infected inside Britain if there are any left, and work

419
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Speaker 2: out stuff like.

420
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Speaker 3: What happens to their dead bodies and.

421
00:22:23,840 --> 00:22:28,600
Speaker 2: How you know, basically classic science stuff, and something I

422
00:22:28,680 --> 00:22:31,320
Speaker 2: didn't get to mention in my recap of the first

423
00:22:31,359 --> 00:22:35,400
Speaker 2: movie that I forgot twenty eight days later does fit

424
00:22:35,520 --> 00:22:38,560
Speaker 2: in to something that we have been calling the Jurassic

425
00:22:38,600 --> 00:22:42,480
Speaker 2: Park Coralie, which is like, look, man, if you think

426
00:22:42,680 --> 00:22:45,359
Speaker 2: they say that the first one is a science fiction movie,

427
00:22:45,359 --> 00:22:48,160
Speaker 2: but in the first five minutes they basically explained the science,

428
00:22:48,200 --> 00:22:51,040
Speaker 2: so maybe it is. This one is definitely more interested

429
00:22:51,560 --> 00:22:55,760
Speaker 2: in that wider post apocalyptic science fiction horror kind of

430
00:22:55,800 --> 00:22:59,840
Speaker 2: mash up. The tone is very different, and in the

431
00:23:00,200 --> 00:23:03,399
Speaker 2: NATO safe zone we meet Don's kids, Tammy and Andy,

432
00:23:03,440 --> 00:23:07,000
Speaker 2: who have somehow survived. Good for them, young Imagen Poots

433
00:23:07,040 --> 00:23:10,440
Speaker 2: here she is in many movies that you will see

434
00:23:10,440 --> 00:23:12,760
Speaker 2: and only seems to be getting into more now, another

435
00:23:12,800 --> 00:23:16,879
Speaker 2: great British actress, and they end up Tammy and Andy

436
00:23:17,240 --> 00:23:21,639
Speaker 2: somehow being the first children let into this zone that

437
00:23:21,680 --> 00:23:23,000
Speaker 2: they call District one.

438
00:23:24,280 --> 00:23:28,639
Speaker 3: Rose Byrne doing a very funny American accent here like

439
00:23:28,760 --> 00:23:29,920
Speaker 3: she's she's too.

440
00:23:30,280 --> 00:23:33,160
Speaker 2: It's just there's something about it that sounds like very

441
00:23:34,119 --> 00:23:40,040
Speaker 2: like I'm an American doing a military like serious voice.

442
00:23:40,320 --> 00:23:43,639
Speaker 2: And she's very angry because she's like, wait a minute,

443
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Speaker 2: why are their kids here?

444
00:23:45,280 --> 00:23:46,760
Speaker 3: We don't know what to do with kids.

445
00:23:46,760 --> 00:23:49,000
Speaker 2: We don't know how kids are going to respond to

446
00:23:49,040 --> 00:23:50,000
Speaker 2: what we're doing here.

447
00:23:50,440 --> 00:23:52,240
Speaker 3: And this time I can tell you where they are

448
00:23:52,280 --> 00:23:54,320
Speaker 3: because they're in the Isle of Dogs, and.

449
00:23:54,240 --> 00:23:58,840
Speaker 2: They've essentially militarized that the Isle of Dogs to turn

450
00:23:58,880 --> 00:24:03,440
Speaker 2: it into a little kind of safe zone slash. Honestly, yeah,

451
00:24:03,440 --> 00:24:05,000
Speaker 2: in prison, because that is.

452
00:24:04,880 --> 00:24:10,199
Speaker 1: This is the answer to iraq anxieties. And oh the

453
00:24:10,280 --> 00:24:15,720
Speaker 1: movie that's that's explicitly about how bad America and its

454
00:24:15,760 --> 00:24:19,399
Speaker 1: Western allies are at occupy places.

455
00:24:19,040 --> 00:24:23,879
Speaker 2: Yeah, and how dangerous those occupations are. And soon, in

456
00:24:23,920 --> 00:24:27,119
Speaker 2: an incredible twist, they are reunited with their dad.

457
00:24:27,720 --> 00:24:29,360
Speaker 3: Love that that's a that's a.

458
00:24:29,440 --> 00:24:32,080
Speaker 2: Dons Mac and I don't know how Don ended up there,

459
00:24:32,080 --> 00:24:36,719
Speaker 2: but good for him. And he immediately lies about how

460
00:24:36,760 --> 00:24:40,359
Speaker 2: the mom died, which I think was like painfully real

461
00:24:40,680 --> 00:24:42,679
Speaker 2: for anyone who maybe has a dad who's not the

462
00:24:42,680 --> 00:24:46,879
Speaker 2: most truthful person. And we then kind of start to

463
00:24:47,160 --> 00:24:51,840
Speaker 2: meet the different characters here we have uh the incredible Again,

464
00:24:51,920 --> 00:24:55,159
Speaker 2: this is another movie with just an unbelievable cast. Like

465
00:24:55,280 --> 00:24:57,960
Speaker 2: you have Harold Pernu as a sniper, you have obviously

466
00:24:58,040 --> 00:25:02,080
Speaker 2: Rose Burnt, we have Jeremy I know who we meet here,

467
00:25:02,520 --> 00:25:06,280
Speaker 2: Rener Hives stand up, They're they're here, They're I'm sure

468
00:25:06,320 --> 00:25:08,080
Speaker 2: he would have loved to be in the sequel, but

469
00:25:08,520 --> 00:25:10,920
Speaker 2: I will be intro I don't think that's happening for him.

470
00:25:11,440 --> 00:25:13,200
Speaker 3: Tammy and Andy as they.

471
00:25:13,080 --> 00:25:15,720
Speaker 2: Are children and they were out of the country during

472
00:25:16,040 --> 00:25:18,360
Speaker 2: the original outbreak, which makes me think they don't really

473
00:25:18,480 --> 00:25:22,880
Speaker 2: understand how serious this is. They decide that they are

474
00:25:22,920 --> 00:25:25,840
Speaker 2: just gonna sneak out. They'll fun adventure, have some good

475
00:25:25,920 --> 00:25:29,000
Speaker 2: always a good. I feel like again, if children can

476
00:25:29,040 --> 00:25:32,760
Speaker 2: sneak out of your like DMZ kind of like protection Zone,

477
00:25:32,800 --> 00:25:34,040
Speaker 2: probably not doing very well.

478
00:25:34,280 --> 00:25:36,720
Speaker 1: No, No, I don't think you're a very high security

479
00:25:36,720 --> 00:25:38,520
Speaker 1: of the area.

480
00:25:38,600 --> 00:25:41,520
Speaker 2: I think this again speaks to me about like kind

481
00:25:41,600 --> 00:25:45,080
Speaker 2: of the the trappings of this do feel like a

482
00:25:45,200 --> 00:25:48,480
Speaker 2: bigger Hollywood sequel. You add the kids, just like you

483
00:25:48,560 --> 00:25:51,119
Speaker 2: add kids you can make it a PG thirteen, you know,

484
00:25:51,520 --> 00:25:53,400
Speaker 2: or make it if it's in America, it can still

485
00:25:53,440 --> 00:25:55,080
Speaker 2: be r rated. But now there are kids that people

486
00:25:55,119 --> 00:25:57,320
Speaker 2: can relate to. It's very terminated to in that way,

487
00:25:57,760 --> 00:26:00,280
Speaker 2: and they have a very child life like.

488
00:26:00,600 --> 00:26:01,560
Speaker 3: Reason for leaving.

489
00:26:02,000 --> 00:26:05,000
Speaker 2: They want to find a picture of their mom and

490
00:26:05,040 --> 00:26:07,480
Speaker 2: they want to get family pictures from their home. So

491
00:26:07,520 --> 00:26:14,000
Speaker 2: they head home. But bad news because their mom, Alice,

492
00:26:14,680 --> 00:26:18,440
Speaker 2: she's not dead. Whoops, whoops, Sorry, dad.

493
00:26:18,359 --> 00:26:20,440
Speaker 1: You you got some explaining to do.

494
00:26:22,000 --> 00:26:25,320
Speaker 3: Inside their house they.

495
00:26:26,840 --> 00:26:36,320
Speaker 2: Saw saw die. She's delirious and just like completely out

496
00:26:36,359 --> 00:26:41,479
Speaker 2: of it. And just then sadly the Jeremy Renner has

497
00:26:41,520 --> 00:26:45,600
Speaker 2: snitched on them. They bring them all back to District

498
00:26:45,680 --> 00:26:51,159
Speaker 2: one and their mom is quarantined and tested, and we

499
00:26:51,320 --> 00:26:54,359
Speaker 2: find out, in a you know, hopeful for the society,

500
00:26:55,080 --> 00:26:57,639
Speaker 2: not maybe so great for Alice, that she seems to

501
00:26:57,680 --> 00:27:01,639
Speaker 2: be an asymptomatic carrier of the rage virus. Now, I

502
00:27:01,640 --> 00:27:05,720
Speaker 2: think it's very interesting because I don't think in most

503
00:27:05,880 --> 00:27:09,200
Speaker 2: zombie movies that when they just don't tend to use

504
00:27:09,320 --> 00:27:13,520
Speaker 2: that kind of language that we can understand, you know

505
00:27:13,560 --> 00:27:16,119
Speaker 2: what being an asymptomatic carrier of like a cold is

506
00:27:16,440 --> 00:27:17,480
Speaker 2: it's not this kind of.

507
00:27:17,440 --> 00:27:19,600
Speaker 3: Ellie all in all out immunity.

508
00:27:19,800 --> 00:27:22,640
Speaker 2: There is a kind of granular nature to how they

509
00:27:22,640 --> 00:27:25,879
Speaker 2: represent the zombie apocalypse here that does feel real, that

510
00:27:26,080 --> 00:27:29,440
Speaker 2: does feel more like something that could happen. And obviously

511
00:27:29,880 --> 00:27:32,120
Speaker 2: that comes from the way that Doyle and I mean

512
00:27:32,320 --> 00:27:35,840
Speaker 2: Boil and Garland approached it in the first movie and

513
00:27:35,960 --> 00:27:38,600
Speaker 2: introduced us to this notion that to them wasn't even

514
00:27:38,600 --> 00:27:40,840
Speaker 2: a zombie movie, you know, it was this race virus.

515
00:27:40,880 --> 00:27:44,320
Speaker 2: But of course this kind of running zombies, these violent zombies,

516
00:27:44,480 --> 00:27:49,280
Speaker 2: would take over pop culture for the next like fifteen years. Incredibly,

517
00:27:51,080 --> 00:27:53,760
Speaker 2: I now understand why Tammy and Andy are not making

518
00:27:53,760 --> 00:28:00,480
Speaker 2: good decisions because Don decides that he is is gonna

519
00:28:00,520 --> 00:28:04,160
Speaker 2: go on an unauthorized visit to Alice bad idea, begging

520
00:28:04,200 --> 00:28:05,120
Speaker 2: her to forgive him.

521
00:28:05,240 --> 00:28:06,280
Speaker 3: Then he kisses her.

522
00:28:06,920 --> 00:28:13,040
Speaker 2: Come on, come on, guy, like, look around you crazy?

523
00:28:13,359 --> 00:28:17,639
Speaker 2: How do you think that this infection is spread by

524
00:28:17,760 --> 00:28:18,800
Speaker 2: bodily fluids?

525
00:28:18,800 --> 00:28:20,560
Speaker 3: My friend, that's why they bite people.

526
00:28:20,800 --> 00:28:24,760
Speaker 2: He immediately gets infected then brutally kills her, which like,

527
00:28:24,880 --> 00:28:28,200
Speaker 2: what the fuck, bro, this is I didn't realize, I think,

528
00:28:28,320 --> 00:28:30,359
Speaker 2: and you know, Calm and actually touched on this before

529
00:28:30,359 --> 00:28:34,800
Speaker 2: we came on, but I didn't realize actually that under

530
00:28:34,960 --> 00:28:40,120
Speaker 2: until I rewatched this for this recap under the trappings

531
00:28:40,200 --> 00:28:45,240
Speaker 2: of kind of the bigger budget, bigger scope horror movie,

532
00:28:45,560 --> 00:28:48,760
Speaker 2: it's still very much has this kind of thread of

533
00:28:48,840 --> 00:28:51,800
Speaker 2: like male violence, just like the first.

534
00:28:51,560 --> 00:28:55,240
Speaker 1: Movie for sure, and even the way they shoot, even

535
00:28:55,280 --> 00:28:58,120
Speaker 1: the way they shoot Carlisle during the attack when he

536
00:28:58,200 --> 00:29:00,840
Speaker 1: kills her, they show is they close up in on

537
00:29:00,840 --> 00:29:03,320
Speaker 1: his face. It's very quick and they do it several times,

538
00:29:03,320 --> 00:29:06,800
Speaker 1: and he's got like this most like demonic, you know,

539
00:29:06,960 --> 00:29:11,200
Speaker 1: infected kind of rage grin like on his face. But

540
00:29:11,240 --> 00:29:14,600
Speaker 1: they really don't do that. It's not previous movie at

541
00:29:14,600 --> 00:29:17,040
Speaker 1: all or with any of the other zombies that much

542
00:29:17,120 --> 00:29:20,240
Speaker 1: like during an attack like person make it intimate and

543
00:29:20,360 --> 00:29:21,000
Speaker 1: personal like that.

544
00:29:21,160 --> 00:29:24,160
Speaker 2: Yeah, and even and also it makes you feel like, well,

545
00:29:24,160 --> 00:29:26,080
Speaker 2: he could have just done it, because we get that

546
00:29:26,120 --> 00:29:29,640
Speaker 2: moment at the end of twenty eight days later when

547
00:29:30,400 --> 00:29:33,480
Speaker 2: Jim comes and saves Selena and Hannah. He kills the

548
00:29:33,560 --> 00:29:37,280
Speaker 2: soldiers so violently that at first Selena they don't know, yeah,

549
00:29:37,320 --> 00:29:40,040
Speaker 2: he is infected, And we get that moment here where

550
00:29:40,720 --> 00:29:42,920
Speaker 2: even though we knowed On is infected because he kissed

551
00:29:42,920 --> 00:29:45,840
Speaker 2: Alice you see a violence in him, and a recognizable

552
00:29:45,880 --> 00:29:49,320
Speaker 2: kind of male violence that feels very real. And just

553
00:29:49,480 --> 00:29:54,720
Speaker 2: like every fucking zombie man who gets bitten and doesn't

554
00:29:54,720 --> 00:30:01,880
Speaker 2: tell people and goes crazy, he creates like essentially massive outbreak.

555
00:30:02,320 --> 00:30:06,520
Speaker 2: He's killing refugees, he's killing military people. Then there every

556
00:30:06,560 --> 00:30:09,000
Speaker 2: single person he bites, you know. I think the general

557
00:30:09,120 --> 00:30:12,520
Speaker 2: understanding in fandom is like, if somebody was a zombie

558
00:30:12,600 --> 00:30:15,320
Speaker 2: and everybody bit too people, it would only take like

559
00:30:15,520 --> 00:30:18,200
Speaker 2: seven days for the world to be overtaken. And we

560
00:30:18,280 --> 00:30:21,640
Speaker 2: see this happen in a microcosm here in District one.

561
00:30:22,400 --> 00:30:28,520
Speaker 3: And while Doyle refuses, good job Jeremy Renner.

562
00:30:28,560 --> 00:30:32,080
Speaker 2: To kill all the refugees and people who are still

563
00:30:32,120 --> 00:30:34,880
Speaker 2: trying to survive, which is what the government and his

564
00:30:35,000 --> 00:30:38,480
Speaker 2: bosses want, that does start to happen.

565
00:30:38,680 --> 00:30:39,960
Speaker 3: Chaos ensues.

566
00:30:40,320 --> 00:30:42,520
Speaker 2: I think you made a brilliant point, actually, Jason, that

567
00:30:42,560 --> 00:30:44,680
Speaker 2: I hadn't even really kind of thought of.

568
00:30:44,880 --> 00:30:47,640
Speaker 3: This is definitely.

569
00:30:48,480 --> 00:30:52,760
Speaker 2: A statement on kind of the idea of over militarized occupations.

570
00:30:53,440 --> 00:30:58,040
Speaker 2: And it's very interesting with that read because we start

571
00:30:58,080 --> 00:31:02,600
Speaker 2: to see as Doyle is trying to help people escape, innocent,

572
00:31:03,320 --> 00:31:07,360
Speaker 2: uninfected people other for snipers, are just shooting at them,

573
00:31:07,640 --> 00:31:11,960
Speaker 2: and they end up killing these family members, and Doyle

574
00:31:13,240 --> 00:31:15,440
Speaker 2: ends up deciding he's going to shoot his own men

575
00:31:15,640 --> 00:31:19,640
Speaker 2: in order to try and save them, and it ends

576
00:31:19,760 --> 00:31:22,800
Speaker 2: up being Scarlet who saved Tammy and Andy because she

577
00:31:22,960 --> 00:31:27,760
Speaker 2: considered that perhaps there is a world where they continue

578
00:31:27,760 --> 00:31:33,600
Speaker 2: the genetic possibilities of finding a cure and another survivor, Sam,

579
00:31:33,960 --> 00:31:37,240
Speaker 2: and then we get this horrifying moment, which again I think,

580
00:31:38,200 --> 00:31:39,960
Speaker 2: to me, I.

581
00:31:39,880 --> 00:31:40,680
Speaker 3: Just think is like.

582
00:31:42,400 --> 00:31:46,840
Speaker 2: A very ahead of its time moment, and honestly, I

583
00:31:46,880 --> 00:31:48,920
Speaker 2: feel like, now if somebody did this in a movie,

584
00:31:48,920 --> 00:31:51,520
Speaker 2: they'd be like just just true political. But they essentially

585
00:31:51,640 --> 00:31:57,320
Speaker 2: have the air force firebomb the entire sub district one,

586
00:31:57,640 --> 00:32:01,920
Speaker 2: which was where there were survivors, where there was research,

587
00:32:02,080 --> 00:32:04,600
Speaker 2: where there were animals, there was a potential of a

588
00:32:04,680 --> 00:32:10,240
Speaker 2: new society there. But it doesn't work, and we end

589
00:32:10,360 --> 00:32:16,000
Speaker 2: up with Flynn Harl Perrino flies as helicopter to Regent's Park,

590
00:32:16,240 --> 00:32:18,680
Speaker 2: very famous, kind of near to one of the sixth forms.

591
00:32:18,720 --> 00:32:23,800
Speaker 2: I tried to go to. Beautiful park, gorgeous, beautiful, lovely

592
00:32:25,080 --> 00:32:28,480
Speaker 2: flowers and arrangements, and it's just one of those brilliant

593
00:32:28,480 --> 00:32:30,800
Speaker 2: green spaces that we get in London. I spend a

594
00:32:30,800 --> 00:32:33,560
Speaker 2: lot of time hanging out there as a teenager, and

595
00:32:33,840 --> 00:32:37,760
Speaker 2: he's like, broa, you gotta infect the others. Bro, Like

596
00:32:37,800 --> 00:32:40,000
Speaker 2: you gotta leave them, don't worry about it, Like it's

597
00:32:40,080 --> 00:32:43,640
Speaker 2: just me and you. Bro's to the end, and unfortunately

598
00:32:43,920 --> 00:32:49,200
Speaker 2: the infected people are on their tail. Sam tries to

599
00:32:49,240 --> 00:32:51,880
Speaker 2: get onto the flying helicopter and this is the stuff

600
00:32:51,920 --> 00:32:53,440
Speaker 2: I really remember from this movie.

601
00:32:53,440 --> 00:32:55,760
Speaker 3: I think maybe I was kind of too young when

602
00:32:55,800 --> 00:32:56,240
Speaker 3: it came out.

603
00:32:56,280 --> 00:32:58,720
Speaker 2: I was so into the first twenty eight Days Later movie,

604
00:32:58,760 --> 00:33:01,200
Speaker 2: and I think my young mat was kind of like, oh,

605
00:33:01,200 --> 00:33:03,880
Speaker 2: it's so Hollywood, it's so big budget, like it doesn't

606
00:33:03,880 --> 00:33:07,440
Speaker 2: really understand the origins of the movie. But I'm realizing

607
00:33:07,480 --> 00:33:10,080
Speaker 2: now it's not from rewatching, is not really the case.

608
00:33:10,120 --> 00:33:12,719
Speaker 2: And also it's just that some of the set pieces

609
00:33:12,720 --> 00:33:19,480
Speaker 2: are so crazy, like this one where you have Flynn

610
00:33:19,960 --> 00:33:24,840
Speaker 2: like using his fucking helicopter rotor blades, yeah, to try

611
00:33:24,880 --> 00:33:29,160
Speaker 2: and like thin out the zombie crowd, which is so crazy.

612
00:33:29,520 --> 00:33:32,960
Speaker 2: And then another iconic English place here if you watch

613
00:33:33,000 --> 00:33:35,680
Speaker 2: any kind of sports, even NFL has had matches here.

614
00:33:35,720 --> 00:33:38,120
Speaker 2: But obviously if you are a fan of European soccer,

615
00:33:38,240 --> 00:33:42,160
Speaker 2: British soccer football as we call it, Wembley Stadium. That's

616
00:33:42,320 --> 00:33:44,720
Speaker 2: where he's like, come here, and Doyle's like, I've got

617
00:33:44,840 --> 00:33:45,640
Speaker 2: to save these guys.

618
00:33:45,640 --> 00:33:46,960
Speaker 3: I've got to do it. I can't do it.

619
00:33:47,320 --> 00:33:52,360
Speaker 2: They then break into I love like the specificity of

620
00:33:52,400 --> 00:33:54,320
Speaker 2: this and for some reason, this is like a very

621
00:33:54,360 --> 00:33:59,640
Speaker 2: popular classic British car, but it's like a Volvo V seventy,

622
00:34:00,000 --> 00:34:04,080
Speaker 2: which is like a really funny, like basically a hatchback

623
00:34:04,200 --> 00:34:06,600
Speaker 2: that like an executive would drive. I don't know why,

624
00:34:06,720 --> 00:34:09,680
Speaker 2: but English people they love Volvos. They hide in the

625
00:34:09,680 --> 00:34:13,160
Speaker 2: car because there has been like a terrifying gas that

626
00:34:13,239 --> 00:34:17,040
Speaker 2: has been released to kill the infected. Again, great commentary

627
00:34:17,040 --> 00:34:20,440
Speaker 2: here on how population doesn't matter and it's all about

628
00:34:20,520 --> 00:34:24,680
Speaker 2: control of the virus and the danger, which honestly, as

629
00:34:24,719 --> 00:34:27,240
Speaker 2: the movie ends, we realize is probably what they should

630
00:34:27,239 --> 00:34:29,520
Speaker 2: have been focusing on. So I'm not gonna like complain

631
00:34:29,600 --> 00:34:33,560
Speaker 2: too much about the government, because the zombie apocalypse does

632
00:34:33,880 --> 00:34:37,799
Speaker 2: end up spreading in this movie RP to Europe. But yeah,

633
00:34:37,800 --> 00:34:41,080
Speaker 2: then we get really fun sequence where they go into

634
00:34:41,120 --> 00:34:44,040
Speaker 2: the tube, the very famous London underground been there for

635
00:34:44,120 --> 00:34:48,360
Speaker 2: like one hundred and fifty years, incredible public transport system.

636
00:34:48,400 --> 00:34:50,279
Speaker 2: I love it can get you across London in like

637
00:34:50,320 --> 00:34:53,319
Speaker 2: twenty five to fifty minutes, depending on where you're going.

638
00:34:54,200 --> 00:34:57,040
Speaker 2: But what's really cool is we do have a few

639
00:34:57,040 --> 00:34:59,480
Speaker 2: different movies in London set in the underground. There's a

640
00:34:59,480 --> 00:35:02,480
Speaker 2: great movie Creeps Out Under that but in this sequence

641
00:35:02,520 --> 00:35:05,319
Speaker 2: they use night vision to go through the tunnels and.

642
00:35:05,280 --> 00:35:08,400
Speaker 3: It's really creepy. It's really unique.

643
00:35:08,400 --> 00:35:11,440
Speaker 2: And then well I hate it and kind of forgot

644
00:35:11,840 --> 00:35:13,640
Speaker 2: is that Donn is still on their tail.

645
00:35:13,920 --> 00:35:15,239
Speaker 1: Yeah, he's still going after this.

646
00:35:15,239 --> 00:35:22,600
Speaker 2: There's something something maybe pheromones or DNA.

647
00:35:21,280 --> 00:35:25,240
Speaker 1: It like in the scene where he murders his wife,

648
00:35:26,560 --> 00:35:30,640
Speaker 1: even though he is infected at that moment, there's always

649
00:35:30,640 --> 00:35:33,000
Speaker 1: this implication again with the way they shoot him, with

650
00:35:33,040 --> 00:35:35,240
Speaker 1: the way they shoot him when he's running through the crowd,

651
00:35:35,400 --> 00:35:41,160
Speaker 1: that there's something of his previous consciousness, his emotions that remains,

652
00:35:41,280 --> 00:35:43,919
Speaker 1: and that is animating him, and that is keeping him

653
00:35:44,040 --> 00:35:45,120
Speaker 1: following them.

654
00:35:45,640 --> 00:35:48,879
Speaker 2: And I think like, something that's really interesting about that

655
00:35:49,120 --> 00:35:53,480
Speaker 2: is the notion of kind of like.

656
00:35:54,680 --> 00:35:58,560
Speaker 3: Muscle memory, body memory, like who this guy was.

657
00:35:58,600 --> 00:36:00,920
Speaker 2: Because also when I got to the end of the

658
00:36:00,920 --> 00:36:03,080
Speaker 2: movie and I saw that don was still chasing them

659
00:36:03,160 --> 00:36:06,160
Speaker 2: was still public. I recalled the beginning, I went back

660
00:36:06,239 --> 00:36:09,080
Speaker 2: and rewatched it, and when Alice is really worried about

661
00:36:09,120 --> 00:36:11,040
Speaker 2: the kids and kind of like doesn't know where they

662
00:36:11,080 --> 00:36:13,440
Speaker 2: are and everything, he really shrugs it off in a

663
00:36:13,480 --> 00:36:15,880
Speaker 2: way that I thought was him trying to reassure her,

664
00:36:16,120 --> 00:36:18,400
Speaker 2: but actually I realized now is he probably.

665
00:36:18,040 --> 00:36:21,560
Speaker 3: Doesn't care in the same way that she does.

666
00:36:21,760 --> 00:36:26,280
Speaker 2: So they end up going to They go through the tunnels,

667
00:36:26,280 --> 00:36:30,440
Speaker 2: Don is chasing them, and luckily Tammy Don and Alice's

668
00:36:30,480 --> 00:36:34,400
Speaker 2: daughter ends up killing her dad, which feels very pointed

669
00:36:34,600 --> 00:36:38,439
Speaker 2: in the read the Toxic Masculinity read, and she ends up.

670
00:36:38,360 --> 00:36:39,080
Speaker 3: Being the hero.

671
00:36:39,239 --> 00:36:42,920
Speaker 2: They get to Wembley Stadium, they meet Flynn, who flies

672
00:36:42,960 --> 00:36:46,680
Speaker 2: them to France. Seems like maybe there's something good that

673
00:36:46,719 --> 00:36:48,800
Speaker 2: could happen it. I feel like they shouldn't have immediately

674
00:36:48,800 --> 00:36:49,800
Speaker 2: gone to another country.

675
00:36:50,120 --> 00:36:50,879
Speaker 3: Probably should have.

676
00:36:50,840 --> 00:36:53,640
Speaker 2: Just like gone to many of the rural places in

677
00:36:53,680 --> 00:36:55,239
Speaker 2: England that they could have, you know.

678
00:36:55,320 --> 00:36:58,360
Speaker 1: Bene small islands like yeah, also not.

679
00:36:58,800 --> 00:37:03,200
Speaker 3: Even just that, but like England is like America.

680
00:37:03,280 --> 00:37:05,440
Speaker 2: There's loads of it that's inhabited, but also there's like

681
00:37:05,560 --> 00:37:06,680
Speaker 2: tons of it that isn't.

682
00:37:06,760 --> 00:37:09,080
Speaker 3: So I just feel like you could have gone to.

683
00:37:09,160 --> 00:37:14,520
Speaker 2: Like the moors or somewhere, you know, gone to like

684
00:37:14,600 --> 00:37:16,319
Speaker 2: a beach and tried to hide out there.

685
00:37:16,440 --> 00:37:16,840
Speaker 3: Something.

686
00:37:17,040 --> 00:37:19,400
Speaker 2: I feel like going to France was irresponsible, as we

687
00:37:19,440 --> 00:37:24,840
Speaker 2: will learn it was because twenty eight days later, a

688
00:37:25,040 --> 00:37:28,879
Speaker 2: French boye whui whui. That's why it's are the French?

689
00:37:28,920 --> 00:37:31,480
Speaker 2: I know guys me uh, yes, that's it. I was

690
00:37:31,520 --> 00:37:32,960
Speaker 2: gonna say, may I am i rosie, but that's not

691
00:37:33,040 --> 00:37:36,680
Speaker 2: that's not French. But yes, they are asking to help.

692
00:37:37,120 --> 00:37:40,160
Speaker 2: They are asking for the rape. You can hear them

693
00:37:40,160 --> 00:37:43,840
Speaker 2: in the radio from Flint's abandoned helicopter and ut ooh,

694
00:37:44,160 --> 00:37:49,040
Speaker 2: a group of infected people busts from a Paris metro

695
00:37:49,080 --> 00:37:52,360
Speaker 2: station and in one of the most hilarious in my opinion,

696
00:37:52,440 --> 00:37:56,640
Speaker 2: like feels like maybe a kind of like maybe an

697
00:37:56,680 --> 00:37:58,480
Speaker 2: exec cast for this or maybe they were like, oh,

698
00:37:58,520 --> 00:38:00,000
Speaker 2: let's see if we can make it happen the same

699
00:38:00,000 --> 00:38:02,360
Speaker 2: where we did in England. We see the effected in

700
00:38:02,400 --> 00:38:04,800
Speaker 2: front of the Eiffel Tower. They were like, what's French?

701
00:38:05,480 --> 00:38:08,520
Speaker 2: They were like see that, yeah, And that is interestingly,

702
00:38:08,600 --> 00:38:15,880
Speaker 2: where we leave the franchise for you know, many many years,

703
00:38:16,000 --> 00:38:19,280
Speaker 2: almost twenty years, twenty eight weeks.

704
00:38:19,360 --> 00:38:20,839
Speaker 1: Yeah, yeah, twelmost year later.

705
00:38:20,840 --> 00:38:24,200
Speaker 3: It was two thousand and seven, and that movie was.

706
00:38:24,200 --> 00:38:27,839
Speaker 2: Actually while we had Boyle and Garland on as producers.

707
00:38:27,920 --> 00:38:32,080
Speaker 2: It was directed by Juan Carlos Fresnadillo, and it was

708
00:38:32,160 --> 00:38:35,239
Speaker 2: like there was a screenplay with multiple writers on it,

709
00:38:35,440 --> 00:38:40,720
Speaker 2: including Rowan, Joffy, Hemry Kue Lopez Levine, and Jesus Olomo.

710
00:38:41,040 --> 00:38:45,960
Speaker 2: And it's interesting because I do think that it feels

711
00:38:46,080 --> 00:38:48,360
Speaker 2: very different and I feel like at the time it

712
00:38:48,400 --> 00:38:49,800
Speaker 2: did make a lot of money, but I don't know

713
00:38:49,800 --> 00:38:52,919
Speaker 2: if it necessarily people received it in the right way.

714
00:38:52,960 --> 00:38:55,359
Speaker 2: But I think rewatching it, it's really interesting and I'm

715
00:38:55,360 --> 00:38:58,560
Speaker 2: not surprised at all that ended up being Carmen's favorite.

716
00:38:58,600 --> 00:39:01,160
Speaker 2: She's got lots of great some great tastes.

717
00:39:01,440 --> 00:39:04,000
Speaker 1: It is a good one. It's underrated, and I think

718
00:39:04,400 --> 00:39:08,760
Speaker 1: for me, I think that the escape from the house

719
00:39:09,200 --> 00:39:13,240
Speaker 1: in the opening m hm, Don's like as he runs

720
00:39:13,239 --> 00:39:15,600
Speaker 1: out of the house and he's looking back over his

721
00:39:15,640 --> 00:39:17,840
Speaker 1: shoulder and he's kind of like running in this small

722
00:39:18,480 --> 00:39:21,520
Speaker 1: valley like between like at the bottom of like a hill,

723
00:39:22,040 --> 00:39:24,239
Speaker 1: and you see he looks to his left and on

724
00:39:24,280 --> 00:39:27,239
Speaker 1: the hill above him, you see infected start coming over

725
00:39:27,239 --> 00:39:30,680
Speaker 1: the hill down towards him. I think that's, for me,

726
00:39:30,920 --> 00:39:35,640
Speaker 1: the scariest moment in the series, when you're just like it,

727
00:39:35,800 --> 00:39:39,840
Speaker 1: because you really it's hard for me to fully blame

728
00:39:39,960 --> 00:39:46,480
Speaker 1: him for you know, he's mindlessly scared, like yeah.

729
00:39:46,239 --> 00:39:49,839
Speaker 2: The opening, you're meant to think like, Okay, I could

730
00:39:49,880 --> 00:39:50,920
Speaker 2: see how I could do that too.

731
00:39:51,040 --> 00:39:52,719
Speaker 1: I couldn't see how I could do it.

732
00:39:52,880 --> 00:39:55,480
Speaker 2: Yeah, But I also think something that I love is

733
00:39:55,719 --> 00:39:57,320
Speaker 2: when he's first running away.

734
00:39:57,920 --> 00:39:59,280
Speaker 3: Something else this movie does.

735
00:39:59,120 --> 00:40:01,640
Speaker 2: Well is like go because when he first runs away,

736
00:40:01,680 --> 00:40:03,840
Speaker 2: he's looking behind him and there's only like seven zombies

737
00:40:03,840 --> 00:40:05,839
Speaker 2: and it doesn't look that scary, but you still got

738
00:40:05,840 --> 00:40:08,239
Speaker 2: to run away from those seven zombies like you only

739
00:40:08,360 --> 00:40:11,200
Speaker 2: need one to bite you. You know. Yeah, I think

740
00:40:11,200 --> 00:40:14,719
Speaker 2: it's such an interesting movie, and I'm very I'm intrigued

741
00:40:14,760 --> 00:40:18,360
Speaker 2: to see if on revisiting and if they can deliver

742
00:40:19,040 --> 00:40:21,200
Speaker 2: with twenty eight years later, this could go down as

743
00:40:21,280 --> 00:40:25,200
Speaker 2: like a very legendary horror franchise, horror trilogy.

744
00:40:25,280 --> 00:40:27,200
Speaker 3: I think, Yeah, it's.

745
00:40:27,160 --> 00:40:30,360
Speaker 1: One of my favorites, and it's like everyone else, it

746
00:40:30,480 --> 00:40:33,839
Speaker 1: reinviuriated my love of zombies. That was always a big

747
00:40:33,920 --> 00:40:37,879
Speaker 1: zombie guy. I saw Romero's Dawn of the Dead when

748
00:40:37,920 --> 00:40:41,040
Speaker 1: I was too young to see it on VHS. Of course,

749
00:40:41,239 --> 00:40:44,840
Speaker 1: I think, you know, the helicopter blade scene from twenty

750
00:40:44,880 --> 00:40:48,319
Speaker 1: eight weeks is I think a clear homage to the

751
00:40:48,400 --> 00:40:53,280
Speaker 1: helicopter partial decapitation from Dawn of the Dead. Slow motions obviously,

752
00:40:53,800 --> 00:40:57,400
Speaker 1: and just a great movie. Great movie, fast zombies. It

753
00:40:57,480 --> 00:41:01,359
Speaker 1: really ups the for me, It up the fear. Fat Well,

754
00:41:01,400 --> 00:41:02,960
Speaker 1: let's take a quick break and we be right back

755
00:41:03,000 --> 00:41:22,399
Speaker 1: with our zombie omnimous x omnibous omnibus. And we're back

756
00:41:22,800 --> 00:41:26,759
Speaker 1: with the Zomnibus. Welcome to today's edition of the Zomnibus,

757
00:41:27,280 --> 00:41:30,480
Speaker 1: where Loura, analysis and understanding come together. Today we're talking

758
00:41:30,480 --> 00:41:31,160
Speaker 1: about zombies.

759
00:41:31,880 --> 00:41:32,400
Speaker 3: Zombies.

760
00:41:33,320 --> 00:41:39,400
Speaker 1: Zombies arose from tragedy. The concept initially emerged in Haiti

761
00:41:39,480 --> 00:41:43,960
Speaker 1: under the slave regime of French colonial rule. As Mike

762
00:41:44,040 --> 00:41:48,880
Speaker 1: Mariano writes in a excellent zombie historiography in The Atlantic Quote,

763
00:41:49,040 --> 00:41:52,080
Speaker 1: the zombie archetype, as it appeared in Haiti and mirrored

764
00:41:52,560 --> 00:41:55,520
Speaker 1: the inhumanity that existed there from sixteen twenty five to

765
00:41:55,600 --> 00:41:59,640
Speaker 1: eighteen hundred, was a projection of the African slaves relentless

766
00:41:59,680 --> 00:42:03,759
Speaker 1: misery in subjugation and slave people in Haiti believed that

767
00:42:04,440 --> 00:42:08,880
Speaker 1: dying might free their souls to go back to their homeland,

768
00:42:08,960 --> 00:42:12,520
Speaker 1: but those who took their own lives were doomed instead

769
00:42:12,560 --> 00:42:17,000
Speaker 1: to wander the plantations eternally trapped in their bodies soulless

770
00:42:17,200 --> 00:42:22,520
Speaker 1: zombies no e z MBIs condemned to a nightmare existence

771
00:42:22,560 --> 00:42:26,359
Speaker 1: of perpetual servitude. After Haiti's revolution in eighteen oh four,

772
00:42:27,000 --> 00:42:31,880
Speaker 1: the zombie myth entered general local lore, where it evolved.

773
00:42:32,040 --> 00:42:34,680
Speaker 1: There was the addition of bokhors, who were these kind

774
00:42:34,719 --> 00:42:39,360
Speaker 1: of sorcerers who could reanimate people to do their bidding again.

775
00:42:39,480 --> 00:42:42,920
Speaker 1: The slave metaphor is central to this idea, and there

776
00:42:42,920 --> 00:42:45,480
Speaker 1: were several points over the course of the nineteenth century

777
00:42:45,480 --> 00:42:50,120
Speaker 1: where Haiti, though free, it seemed like it might have

778
00:42:50,719 --> 00:42:55,239
Speaker 1: slavery reimposed upon it, and the folkloreic zombies of this

779
00:42:55,360 --> 00:43:00,000
Speaker 1: period were, as Marianna writes, quote, a more fractured representation

780
00:43:00,360 --> 00:43:03,160
Speaker 1: of the anxieties of slavery, mixed as they were with

781
00:43:03,239 --> 00:43:07,080
Speaker 1: the cult trappings of sorcerers and necromancy. Even then, the

782
00:43:07,160 --> 00:43:10,640
Speaker 1: zombies roots in the horrors of slavery were already facing dilution.

783
00:43:11,280 --> 00:43:14,400
Speaker 1: Fast forward to the twentieth century. The Zombie then enters

784
00:43:14,480 --> 00:43:18,719
Speaker 1: Western popular culture with American writer William B. Seabrooks and

785
00:43:18,840 --> 00:43:24,880
Speaker 1: sensationalistic nineteen twenty nine non fiction book of The Magic Island.

786
00:43:24,960 --> 00:43:29,680
Speaker 1: This story introduced readers to Haiti's voodoo zombie, which Seabrook

787
00:43:29,719 --> 00:43:33,839
Speaker 1: described as a corpse revived by witchcraft, shuffling along obediently

788
00:43:34,200 --> 00:43:38,760
Speaker 1: with quote eyes staring, unfocused and unseeing, as if truly undead.

789
00:43:38,800 --> 00:43:42,080
Speaker 1: The book described seabrooks travels to Haiti during the US

790
00:43:42,120 --> 00:43:46,240
Speaker 1: occupation of the island and his encounters with various elements

791
00:43:46,320 --> 00:43:50,319
Speaker 1: of Haitian culture and voodoo practice, all of which is

792
00:43:50,360 --> 00:43:58,000
Speaker 1: presented within a pretty racist context, and casting the Haitian

793
00:43:58,040 --> 00:44:03,320
Speaker 1: people as this kind of other world, otherworldly, primitive, exotic

794
00:44:03,719 --> 00:44:07,880
Speaker 1: culture and society. In the chapter dead Men Working in

795
00:44:07,920 --> 00:44:10,720
Speaker 1: the Kingfield, Seabrook describes for the first time in literature,

796
00:44:10,800 --> 00:44:15,319
Speaker 1: the zombie these undead laborers animated by strange magic. The

797
00:44:15,320 --> 00:44:18,759
Speaker 1: book was a sensation. A review in the January ninth,

798
00:44:18,800 --> 00:44:21,880
Speaker 1: nineteen twenty nine edition of The Brooklyn Eagle reads, and

799
00:44:21,920 --> 00:44:25,040
Speaker 1: I think it's at least for the reviews I've read

800
00:44:25,120 --> 00:44:28,040
Speaker 1: that we're contemporary. Is this is pretty pretty much part

801
00:44:28,080 --> 00:44:32,280
Speaker 1: of the course. The Magic Island reeks with sacrificial blood,

802
00:44:32,360 --> 00:44:35,200
Speaker 1: the odor of cadavers, the sinister breath of witchcraft, the

803
00:44:35,280 --> 00:44:40,000
Speaker 1: horrendous exaltation of unholy terrors slaked in the steaming passions

804
00:44:40,040 --> 00:44:42,799
Speaker 1: of human animals. It is a grim story of voodooism.

805
00:44:43,360 --> 00:44:47,480
Speaker 1: This The Magic Island, filled with sickening mummeries, repulsive rituals,

806
00:44:47,800 --> 00:44:52,560
Speaker 1: orgiastic expiations and propitations, and armed with an uncanny ability

807
00:44:52,640 --> 00:44:55,600
Speaker 1: to woo the reader into his own experiences. Seabrook has

808
00:44:55,640 --> 00:44:58,120
Speaker 1: again created a book that commands attention, although it has

809
00:44:58,200 --> 00:45:03,520
Speaker 1: no other literary distinction than to be extraordinarily interesting. The

810
00:45:03,600 --> 00:45:06,800
Speaker 1: first zombie film appeared shortly thereafter. It was White Zombie

811
00:45:06,800 --> 00:45:09,640
Speaker 1: from nineteen thirty two, starring the legend Bella Lagosi as

812
00:45:09,680 --> 00:45:14,400
Speaker 1: a voodoo master in Haiti turning people into zombie slaves.

813
00:45:14,560 --> 00:45:18,879
Speaker 1: It leaned heavily on seabrooks account and played on White

814
00:45:18,920 --> 00:45:23,520
Speaker 1: America's racist fears of black people and their general antipathy

815
00:45:23,600 --> 00:45:27,759
Speaker 1: towards Africans in general. In these early depictions, you know,

816
00:45:27,920 --> 00:45:30,040
Speaker 1: zombies weren't out to eat you. They were still this

817
00:45:30,160 --> 00:45:34,160
Speaker 1: kind of broad based metaphor for enslavement. During World War

818
00:45:34,239 --> 00:45:37,600
Speaker 1: Two and into the Cold War, the zombies cross pollinated

819
00:45:37,719 --> 00:45:42,479
Speaker 1: with that era's anxieties about war, about authoritarianism, and about

820
00:45:42,560 --> 00:45:46,000
Speaker 1: nuclear destruction. In King of the Zombies nineteen forty one,

821
00:45:46,280 --> 00:45:49,640
Speaker 1: a foreign spy uses voodoo zombies to extract military secrets.

822
00:45:49,680 --> 00:45:53,000
Speaker 1: And in the horror comedy Revenge of the Zombies, which

823
00:45:53,000 --> 00:45:56,719
Speaker 1: is the first horror film that actually presumed that audiences

824
00:45:56,800 --> 00:45:59,120
Speaker 1: understood what a zombie was like. There was no non

825
00:45:59,200 --> 00:46:03,920
Speaker 1: a zombie origins story, no exposition dump. This features an

826
00:46:03,960 --> 00:46:08,080
Speaker 1: evil doctor raising an army of Nazi undead, and in

827
00:46:08,160 --> 00:46:11,399
Speaker 1: the b picture Creature with the Adam Brain nineteen fifty five,

828
00:46:11,600 --> 00:46:15,880
Speaker 1: a rogue scientist reanimates corpses with nuclear energy to his bidding.

829
00:46:16,280 --> 00:46:20,200
Speaker 1: As Zachary Krokett and Javier Zarachina write in the Vox

830
00:46:20,320 --> 00:46:24,440
Speaker 1: article how the zombie represents America's deepest fears. After Hiroshima

831
00:46:24,440 --> 00:46:27,120
Speaker 1: and the start of the Soviet nuclear test quote, American

832
00:46:27,160 --> 00:46:31,800
Speaker 1: fears of nuclear radiation and communism began to manifest in zombies.

833
00:46:31,880 --> 00:46:35,440
Speaker 1: These were America's fears made real about the dead and

834
00:46:35,480 --> 00:46:39,400
Speaker 1: the incarnet, about armies of soulist killing machines, about atomic

835
00:46:39,480 --> 00:46:44,560
Speaker 1: fallout about being enslaved by communism and Red Scare, brainwashing, etc.

836
00:46:45,280 --> 00:46:49,440
Speaker 1: But through this entire period, zombies basically remained very niche

837
00:46:49,560 --> 00:46:53,399
Speaker 1: until a Pittsburgh area independent filmmaker burst upon the scene.

838
00:46:53,440 --> 00:46:56,880
Speaker 1: This is Georgia Merrow with his nineteen sixty eight cinema

839
00:46:56,880 --> 00:47:01,439
Speaker 1: classic Night of the Living Dead. Interestingly, Romero originally didn't

840
00:47:01,480 --> 00:47:05,680
Speaker 1: call his creature zombies on set. He called them ghoules

841
00:47:05,800 --> 00:47:10,960
Speaker 1: because of his aversion to the original linkage of the

842
00:47:11,080 --> 00:47:14,800
Speaker 1: term back to French slavery in Haiti. But his film's

843
00:47:14,840 --> 00:47:18,920
Speaker 1: impact essentially reinvented horror and created the modern zombie template

844
00:47:18,920 --> 00:47:22,239
Speaker 1: as we know it. His innovation, Romero's innovation was to

845
00:47:22,320 --> 00:47:25,600
Speaker 1: kind of strip away all the supernatural voodoo and the

846
00:47:25,680 --> 00:47:28,360
Speaker 1: sorcerers and all that stuff. Is very little in the

847
00:47:28,400 --> 00:47:31,560
Speaker 1: way of actual explanation, kind of a vague there's like

848
00:47:31,600 --> 00:47:37,360
Speaker 1: a vague hypothesis that it might be like space radiation

849
00:47:37,560 --> 00:47:40,759
Speaker 1: or something. But the crucial innovation, and something Rosen and

850
00:47:40,800 --> 00:47:43,480
Speaker 1: I talk about all the time, is that the enemy

851
00:47:43,680 --> 00:47:46,360
Speaker 1: in Night of the Living Dead is not the zombies.

852
00:47:46,480 --> 00:47:49,800
Speaker 1: It is us. It is people. The film's shockingly bleak

853
00:47:49,920 --> 00:47:55,560
Speaker 1: ending shows Dwayne Jones the hero of the story, black protagonist,

854
00:47:56,160 --> 00:48:00,920
Speaker 1: surviving the zombie apocalypse of that night, only to be

855
00:48:00,960 --> 00:48:03,520
Speaker 1: mistaken for a ghoul and shot dead by a white posse,

856
00:48:04,160 --> 00:48:09,440
Speaker 1: which I can only imagine resonated like a gut punch

857
00:48:09,600 --> 00:48:13,120
Speaker 1: in the climate of nineteen sixty eight. As many have noted,

858
00:48:13,680 --> 00:48:16,240
Speaker 1: Night premiered the same year that Martin Luther King Junior

859
00:48:16,320 --> 00:48:19,960
Speaker 1: was assassinated and its finale black hero killed by trigger

860
00:48:20,000 --> 00:48:23,719
Speaker 1: happy white militia felt ripped from the headlines. Night of

861
00:48:23,760 --> 00:48:26,960
Speaker 1: the Living Dead pulsed with the anxieties of its era,

862
00:48:27,080 --> 00:48:30,960
Speaker 1: civil unrest, violence, fragility of the social order, and perhaps

863
00:48:31,000 --> 00:48:36,160
Speaker 1: most centrally, America's fascination with guns and with militia violence

864
00:48:36,200 --> 00:48:39,600
Speaker 1: with extra legal violence. Dawn of the Dead from nineteen

865
00:48:39,600 --> 00:48:42,839
Speaker 1: seventy eight, my personal favorite, traded the rural farmhouse for

866
00:48:42,920 --> 00:48:47,000
Speaker 1: a shopping mall and a cutting critique of aria of

867
00:48:47,040 --> 00:48:51,440
Speaker 1: American materialism and capitalism. Romero later explained that after Night

868
00:48:51,520 --> 00:48:54,160
Speaker 1: became a surprise hit, he felt pressure to make the

869
00:48:54,200 --> 00:48:56,799
Speaker 1: sequel that mattered, which is why it took a little while.

870
00:48:56,880 --> 00:48:59,560
Speaker 1: Quote everybody was after me to make another one. I said,

871
00:48:59,840 --> 00:49:01,000
Speaker 1: I don't want to just make it on the one.

872
00:49:01,040 --> 00:49:02,480
Speaker 1: I have to have an idea, I have to have

873
00:49:02,520 --> 00:49:06,120
Speaker 1: something to say, And it took ten years before inspiration

874
00:49:06,200 --> 00:49:10,320
Speaker 1: finally struck. Ramiro visited one of Pennsylvania's first indoor malls

875
00:49:10,680 --> 00:49:15,680
Speaker 1: and was struck by this spectacle of a consumer paradise. Quote.

876
00:49:15,760 --> 00:49:18,120
Speaker 1: I saw the trucks coming in, bringing in everything you

877
00:49:18,120 --> 00:49:20,640
Speaker 1: could ever possibly want. It just seemed like this temple

878
00:49:20,680 --> 00:49:23,359
Speaker 1: to consumerism. The light went off and I thought, maybe

879
00:49:23,360 --> 00:49:25,400
Speaker 1: I could do something with this, And man, does he

880
00:49:25,480 --> 00:49:29,080
Speaker 1: ever do something with this. The movie opens with what

881
00:49:29,160 --> 00:49:32,160
Speaker 1: I think is like the best twenty minutes maybe in

882
00:49:32,200 --> 00:49:35,960
Speaker 1: a horror movie ever. It feels so real, you really

883
00:49:36,000 --> 00:49:40,480
Speaker 1: feel society coming apart. It takes place in this local

884
00:49:40,520 --> 00:49:45,359
Speaker 1: news studio where this news program is both covering the

885
00:49:45,480 --> 00:49:48,800
Speaker 1: dissolution of the world under the weight of this zombie infection,

886
00:49:49,280 --> 00:49:53,759
Speaker 1: but also is giving you this fantastically charming like exposition

887
00:49:53,840 --> 00:49:56,760
Speaker 1: dump as this expert is like, the dead will rise,

888
00:49:57,520 --> 00:50:01,000
Speaker 1: they will kill more, and those will rise and they

889
00:50:01,040 --> 00:50:03,880
Speaker 1: will never stop coming. It's like you're just like, whoa,

890
00:50:04,239 --> 00:50:08,799
Speaker 1: it gave you away. Yeah. And then, of course, much

891
00:50:08,800 --> 00:50:13,680
Speaker 1: of the movie takes place as characters escape from the

892
00:50:13,800 --> 00:50:17,440
Speaker 1: kind of small safe havens that they had put together

893
00:50:17,520 --> 00:50:20,160
Speaker 1: as the as the weight of the zombie hordes kind

894
00:50:20,160 --> 00:50:24,799
Speaker 1: of like break down these small havens. A small cast

895
00:50:24,840 --> 00:50:27,680
Speaker 1: of characters flees to this shopping mall where they create

896
00:50:28,280 --> 00:50:31,120
Speaker 1: a fortress and for a time, a utopia. There's the

897
00:50:31,200 --> 00:50:33,680
Speaker 1: scene that stuck with me and that I think probably

898
00:50:33,719 --> 00:50:35,279
Speaker 1: sticks with a lot of people because I saw this one.

899
00:50:35,320 --> 00:50:38,839
Speaker 1: I was maybe ten or eleven was they first break

900
00:50:38,880 --> 00:50:43,120
Speaker 1: into the mall and then they spend there's this montage

901
00:50:43,200 --> 00:50:47,399
Speaker 1: of our heroes going having a grand ole time, going

902
00:50:47,440 --> 00:50:52,640
Speaker 1: from store to store, taking clothes, taking different consumer electronics,

903
00:50:52,760 --> 00:50:55,920
Speaker 1: filling up shopping carts with stuff over this kind of

904
00:50:56,040 --> 00:51:00,440
Speaker 1: jaunty soundtrack music, and that really stuck with me. And

905
00:51:00,480 --> 00:51:04,000
Speaker 1: of course it can't last. The utopia cannot last forever.

906
00:51:04,080 --> 00:51:06,759
Speaker 1: The zombies get in. They start eating people, including a

907
00:51:06,920 --> 00:51:13,680
Speaker 1: truly horrendous like intestine eating scene. But you know, by

908
00:51:13,719 --> 00:51:17,319
Speaker 1: this point the genre and its template had been set.

909
00:51:17,400 --> 00:51:20,439
Speaker 1: Through the eighties and nineties, zombies kind of shuffled along

910
00:51:20,480 --> 00:51:23,920
Speaker 1: in pop culture with a varying degree of vitality. There

911
00:51:23,920 --> 00:51:26,960
Speaker 1: were sequels Day of the Dead Return of the Living Dead,

912
00:51:27,200 --> 00:51:30,120
Speaker 1: which by this point are starting to kind of revert

913
00:51:30,120 --> 00:51:32,080
Speaker 1: to the more b movie origins.

914
00:51:32,320 --> 00:51:32,680
Speaker 3: Yeah.

915
00:51:33,120 --> 00:51:37,640
Speaker 2: Well, also there was a weird situation which allowed zombie

916
00:51:37,680 --> 00:51:42,319
Speaker 2: movies to thrive, which was the proper trademarking of Night

917
00:51:42,400 --> 00:51:44,879
Speaker 2: of the Living Dead was never done, which is why

918
00:51:44,920 --> 00:51:48,120
Speaker 2: it's on every free streaming. It's why any studio, i mean,

919
00:51:48,239 --> 00:51:51,200
Speaker 2: any distributor can put it out on DVD. It's why

920
00:51:51,239 --> 00:51:55,480
Speaker 2: you can watch it on YouTube. It was never properly copyrighted,

921
00:51:55,520 --> 00:51:57,640
Speaker 2: which means a lot of movies were able to come

922
00:51:57,680 --> 00:52:00,799
Speaker 2: out and sound like they were connected Tonight of the

923
00:52:00,840 --> 00:52:04,759
Speaker 2: Living Dead, but they were not necessarily officially connected, which

924
00:52:04,800 --> 00:52:07,799
Speaker 2: I think is still one of the weirdest Hollywood kind

925
00:52:07,840 --> 00:52:11,440
Speaker 2: of confusions that's ever happened.

926
00:52:11,640 --> 00:52:13,640
Speaker 3: But yeah, and so it allowed that to be this

927
00:52:13,719 --> 00:52:18,440
Speaker 3: kind of wave of rip offs.

928
00:52:19,200 --> 00:52:22,040
Speaker 2: You know, fa sounds like they're connected, but they're not connected.

929
00:52:22,320 --> 00:52:24,520
Speaker 2: And yeah, and there's still going on. I mean, there

930
00:52:24,560 --> 00:52:27,960
Speaker 2: are still you can still find movies that seem like

931
00:52:28,040 --> 00:52:29,759
Speaker 2: they are amer connected when they're not.

932
00:52:30,560 --> 00:52:34,440
Speaker 1: Perhaps because of this inundation of the marketplace with zombie content,

933
00:52:34,520 --> 00:52:37,960
Speaker 1: the eighties and nineties was kind of a sorry for

934
00:52:38,000 --> 00:52:40,720
Speaker 1: this turn of phrase, was kind of a dead period

935
00:52:40,840 --> 00:52:45,200
Speaker 1: for the zombie It was mostly kept alive through video games,

936
00:52:45,040 --> 00:52:49,200
Speaker 1: most notably Capcom's nineteen ninety six Resident Evil, and that

937
00:52:49,360 --> 00:52:54,400
Speaker 1: many many sequels, but it's a turnover the new millennium,

938
00:52:54,880 --> 00:52:58,840
Speaker 1: the Zombie returned to bite us yet again. A trio

939
00:52:58,880 --> 00:53:02,760
Speaker 1: of Landmark works ignite I did the revival, with Rosie's

940
00:53:02,800 --> 00:53:06,239
Speaker 1: Homeland central to this. It first came a twenty eight

941
00:53:06,320 --> 00:53:10,080
Speaker 1: Days Later from two thousand and two, Sean of the

942
00:53:10,160 --> 00:53:15,080
Speaker 1: Dead from two thousand and four, and then Americans Can't

943
00:53:15,160 --> 00:53:18,400
Speaker 1: let the English have all the fun the Walk and

944
00:53:18,440 --> 00:53:21,240
Speaker 1: Dead comic, which debuted in two thousand and three twos

945
00:53:21,320 --> 00:53:24,240
Speaker 1: and two to two thousand and four. Pretty crazy period

946
00:53:24,719 --> 00:53:25,800
Speaker 1: crazy for the Zombie.

947
00:53:25,960 --> 00:53:29,040
Speaker 2: Also really interesting because twenty eight Days Later is a

948
00:53:29,080 --> 00:53:33,080
Speaker 2: complete reimagination to the point where Danny Boyle at first

949
00:53:33,080 --> 00:53:36,480
Speaker 2: does kind of like Romero, doesn't think it's a zombie film,

950
00:53:36,880 --> 00:53:41,520
Speaker 2: then Shan of the Dead, which instead goes back and

951
00:53:41,680 --> 00:53:48,920
Speaker 2: introduces kind of like a mega social commentary comedy version

952
00:53:49,040 --> 00:53:52,879
Speaker 2: that's very much in the screen mold of something that

953
00:53:53,400 --> 00:53:56,839
Speaker 2: feels familiar and has loads of references, and you kind

954
00:53:56,880 --> 00:53:59,440
Speaker 2: of have to be inundated in zombie law as we

955
00:53:59,480 --> 00:54:02,000
Speaker 2: all are to understand it. But then you have The

956
00:54:02,000 --> 00:54:06,719
Speaker 2: Walking Dead, which is so out of the range of

957
00:54:06,760 --> 00:54:10,719
Speaker 2: what we understand by being a comic book and was

958
00:54:10,760 --> 00:54:13,200
Speaker 2: at the time, and I'm sorry if I've told the

959
00:54:13,239 --> 00:54:18,319
Speaker 2: story before, but I love it was so expected to

960
00:54:18,520 --> 00:54:22,400
Speaker 2: be a flop. It was so underprinted. Image Comics that

961
00:54:22,520 --> 00:54:26,040
Speaker 2: actually turned down Robert Kirkman's idea for The Walking Dead

962
00:54:26,120 --> 00:54:28,920
Speaker 2: multiple times because they said, nobody cares about zombies, nobody

963
00:54:28,920 --> 00:54:31,279
Speaker 2: wants to read a zombie comic. So he lied to

964
00:54:31,320 --> 00:54:33,840
Speaker 2: them and he said, well, at certain point in the story,

965
00:54:33,840 --> 00:54:36,759
Speaker 2: you're going to find out that really the zombies were

966
00:54:36,840 --> 00:54:39,239
Speaker 2: sent by aliens and it's part of this kind of

967
00:54:39,320 --> 00:54:42,080
Speaker 2: alien you know, invasion story.

968
00:54:42,200 --> 00:54:43,680
Speaker 3: And Eric Stimson said.

969
00:54:43,560 --> 00:54:47,399
Speaker 2: Okay, great, like you can make the Walking Dead, And

970
00:54:47,600 --> 00:54:50,160
Speaker 2: so the first issue comes out and the second issue,

971
00:54:50,200 --> 00:54:52,239
Speaker 2: and slowly they say to him, hey, when are the

972
00:54:52,280 --> 00:54:54,279
Speaker 2: aliens coming? And then the book becomes such a big

973
00:54:54,320 --> 00:54:56,359
Speaker 2: hit that he doesn't ever have to do it, so

974
00:54:56,480 --> 00:54:58,600
Speaker 2: like he had to lie to get the comic made.

975
00:54:58,640 --> 00:55:01,759
Speaker 2: But then that comic ended up completely changing the landscape

976
00:55:01,800 --> 00:55:03,920
Speaker 2: and changing the way that we would see zombies. Bringing

977
00:55:04,000 --> 00:55:05,960
Speaker 2: us back to that twenty eight days later, a style

978
00:55:06,000 --> 00:55:10,160
Speaker 2: of kind of like a new way of telling the

979
00:55:10,239 --> 00:55:13,600
Speaker 2: story and like, who are the real Walking Dead us

980
00:55:13,680 --> 00:55:14,440
Speaker 2: or the zombies?

981
00:55:14,480 --> 00:55:19,720
Speaker 4: Like that's a crazy three year hit though, and of course,

982
00:55:19,760 --> 00:55:24,879
Speaker 4: as zombie stories had done previously, twenty eight days later,

983
00:55:25,000 --> 00:55:27,359
Speaker 4: even Sean of the Dead and certainly The Walking Dead

984
00:55:27,480 --> 00:55:35,520
Speaker 4: tapped into the anxieties of the era biocontagion, terrorism, protest,

985
00:55:35,600 --> 00:55:42,480
Speaker 4: and social unrest, you know, stars had was emerging at

986
00:55:42,520 --> 00:55:45,719
Speaker 4: the time the anthrax attacks had happened, and of course

987
00:55:45,760 --> 00:55:50,960
Speaker 4: twenty eight days later it feels as if it predicts

988
00:55:50,960 --> 00:55:53,760
Speaker 4: a lot of the kind of post nine to eleven

989
00:55:56,440 --> 00:56:01,200
Speaker 4: cultural iconography. The wall with the pick of a missing.

990
00:56:01,040 --> 00:56:04,040
Speaker 3: Which ironically was a coincidence.

991
00:56:03,520 --> 00:56:07,920
Speaker 1: Coincidence completely before filmed before nine to eleven and all

992
00:56:07,960 --> 00:56:08,720
Speaker 1: of that emerged.

993
00:56:08,960 --> 00:56:10,719
Speaker 2: You talk about something here that I think is kind

994
00:56:10,760 --> 00:56:13,520
Speaker 2: of interesting, and this is not you know, I'm sure

995
00:56:13,520 --> 00:56:15,520
Speaker 2: somebody has written a great article about this, and I'll

996
00:56:15,520 --> 00:56:18,360
Speaker 2: go find it afterwards. But also there is a level

997
00:56:18,400 --> 00:56:22,040
Speaker 2: of just like the early zombies, Abell Legosti zombies, which

998
00:56:22,040 --> 00:56:25,919
Speaker 2: were incredibly you know, very racist, the white zombie version

999
00:56:25,920 --> 00:56:28,360
Speaker 2: of a zombie that if you actually think about it,

1000
00:56:28,400 --> 00:56:31,920
Speaker 2: the representation of this idea of like a community who's

1001
00:56:31,920 --> 00:56:33,920
Speaker 2: so filled with rage, and you'll never understand them, and

1002
00:56:33,920 --> 00:56:36,359
Speaker 2: they'll just destroy your country's kind of.

1003
00:56:36,480 --> 00:56:38,840
Speaker 3: There's a racist reading of it, Sure you could.

1004
00:56:39,160 --> 00:56:42,160
Speaker 2: There's definitely some interesting stuff to be tapped into there

1005
00:56:42,200 --> 00:56:46,040
Speaker 2: as well. Yeah, I mean it's so interesting just how

1006
00:56:46,160 --> 00:56:51,080
Speaker 2: much it is a time capsule of exactly what was

1007
00:56:51,120 --> 00:56:51,960
Speaker 2: going on right then.

1008
00:56:52,520 --> 00:56:56,319
Speaker 1: I think the most successful and long running, certainly a

1009
00:56:56,400 --> 00:56:59,480
Speaker 1: zombie property of this or any era, has to be

1010
00:56:59,760 --> 00:57:03,640
Speaker 1: the adaptation of Robert Kirkman's The Walking Dead, which began

1011
00:57:03,680 --> 00:57:05,200
Speaker 1: as an anti comic in two thousand and three, as

1012
00:57:05,280 --> 00:57:07,920
Speaker 1: Rosie said, and then debuted on AMC in twenty ten,

1013
00:57:07,960 --> 00:57:11,960
Speaker 1: quickly became a blockbuster and at least for me, became

1014
00:57:12,040 --> 00:57:16,560
Speaker 1: a you know, it added the element of I think

1015
00:57:16,600 --> 00:57:19,640
Speaker 1: it put the American soul front and center. This is

1016
00:57:19,680 --> 00:57:22,120
Speaker 1: a story in which, like a law enforcement officer is

1017
00:57:22,160 --> 00:57:27,480
Speaker 1: the main guy, you're dealing with regular people, school teachers

1018
00:57:27,480 --> 00:57:30,880
Speaker 1: who become these like local warlords. And it's a lot

1019
00:57:31,000 --> 00:57:37,439
Speaker 1: about the kind of core American love of guns and

1020
00:57:38,160 --> 00:57:42,560
Speaker 1: the thought, you know, experiment that I think many Americans

1021
00:57:43,080 --> 00:57:46,200
Speaker 1: play all the time, which is, okay, what happens when

1022
00:57:46,200 --> 00:57:49,200
Speaker 1: the shit pops off and I have to start shooting

1023
00:57:49,240 --> 00:57:53,480
Speaker 1: people and man the Walking Dead. I think a lot

1024
00:57:53,480 --> 00:57:57,760
Speaker 1: of it's long running, it it's endurance in the popular

1025
00:57:57,880 --> 00:58:03,120
Speaker 1: cultural imagination is because of this particular way. It has

1026
00:58:03,240 --> 00:58:07,840
Speaker 1: put its finger on something about the American psyche. But

1027
00:58:08,000 --> 00:58:10,640
Speaker 1: the rest of the world was also getting involved. Most

1028
00:58:10,680 --> 00:58:15,240
Speaker 1: only Asia there was Trained to Busan from twenty sixteen,

1029
00:58:15,600 --> 00:58:22,800
Speaker 1: a Sang Ho's iconic, heartfelt, heart breaking zombie film that harnesses,

1030
00:58:24,320 --> 00:58:28,080
Speaker 1: you know, Korea's particular lens about class and capitalism. And

1031
00:58:28,120 --> 00:58:33,160
Speaker 1: it is a story about a workaholic businessman and his

1032
00:58:33,280 --> 00:58:36,520
Speaker 1: young daughter who end up on a train filled with

1033
00:58:36,640 --> 00:58:39,720
Speaker 1: zombies and have to deal with the zombies but also

1034
00:58:39,760 --> 00:58:45,520
Speaker 1: the kind of like craven ambitions of like regular humans.

1035
00:58:46,360 --> 00:58:49,760
Speaker 1: The director reflected in an interview quote, if in Trained

1036
00:58:49,760 --> 00:58:52,760
Speaker 1: to Busan, we say that selfishness spread like a virus.

1037
00:58:53,200 --> 00:58:55,240
Speaker 1: His zombies may be fast and ferocia, but the true

1038
00:58:55,320 --> 00:59:00,520
Speaker 1: villains of Training Bussan are human greed and cowardice. So

1039
00:59:00,600 --> 00:59:03,240
Speaker 1: what is it about the zombies that keeps us coming back?

1040
00:59:03,960 --> 00:59:09,680
Speaker 1: They're blank slate, They're versatile, they are the perfect every enemy,

1041
00:59:10,240 --> 00:59:15,840
Speaker 1: you know, like Nazis, which I think for certain nondiances

1042
00:59:16,040 --> 00:59:20,440
Speaker 1: are complex now because like people are are not sure

1043
00:59:20,520 --> 00:59:21,400
Speaker 1: if they're the bad guys.

1044
00:59:21,480 --> 00:59:27,200
Speaker 2: Yeah, apparently so, And I will say reflectively, we see

1045
00:59:27,320 --> 00:59:31,120
Speaker 2: less stories right now about how Nazis are that evil

1046
00:59:31,160 --> 00:59:34,240
Speaker 2: catual villain and zombies this kind of more flexible. You

1047
00:59:34,240 --> 00:59:39,280
Speaker 2: can put whatever you want onto them, become that clean slate.

1048
00:59:39,600 --> 00:59:42,320
Speaker 2: Anyone can kill them without feeling guilty.

1049
00:59:43,040 --> 00:59:50,040
Speaker 1: Yes, they Aileen. They've been metaphors for everything from looters, rioters,

1050
00:59:51,320 --> 00:59:54,920
Speaker 1: rampant materialism in the way that they only consume and

1051
00:59:55,240 --> 00:59:59,600
Speaker 1: mindlessly consume this. Cultural critic James Parker observed, the zombie

1052
00:59:59,640 --> 01:00:03,520
Speaker 1: is quote old, reliable, outlasting even its sexier monster cousins,

1053
01:00:04,080 --> 01:00:07,040
Speaker 1: the humble ghoul. That quote rides the bestseller list and

1054
01:00:07,120 --> 01:00:11,600
Speaker 1: consumes the pop unconscious like no other. From Haitian sugar

1055
01:00:11,600 --> 01:00:15,040
Speaker 1: plantations to shopping malls the nineteen thirties B movies to

1056
01:00:15,080 --> 01:00:18,680
Speaker 1: presstch TV, the zombie has shambled and then run and

1057
01:00:18,720 --> 01:00:22,200
Speaker 1: then sprinked it all the way. Its evolution is the

1058
01:00:22,200 --> 01:00:25,240
Speaker 1: story of pop culture itself, always mutating cross pollen, I

1059
01:00:25,480 --> 01:00:29,760
Speaker 1: responding to our collective hopes and fears with a disgusting,

1060
01:00:29,880 --> 01:00:34,640
Speaker 1: rotten grin. Well, that's it for this episode. Next time

1061
01:00:34,640 --> 01:00:37,560
Speaker 1: on X ray Vision. We're getting you ready for Marvel's Ironheart.

1062
01:00:38,280 --> 01:00:43,160
Speaker 1: No Mit Education acquired few. That's it for this episode.

1063
01:00:43,200 --> 01:00:43,840
Speaker 1: Thanks for listening.

1064
01:00:44,160 --> 01:00:47,480
Speaker 3: Bye x.

1065
01:00:47,520 --> 01:00:50,280
Speaker 1: Ray Vision is hosted by Jason Concepcion, I'm Rosy night

1066
01:00:50,320 --> 01:00:52,160
Speaker 1: and is a production of iHeart Podcast.

1067
01:00:52,480 --> 01:00:56,080
Speaker 2: Our executive producers a Joe Alminique and Aaron Kleman.

1068
01:00:56,320 --> 01:00:58,880
Speaker 1: Our supervising producer is Abu safar Ah.

1069
01:00:58,960 --> 01:01:02,720
Speaker 2: Produces a common Laurent Dean Jonathan and Bay Wack.

1070
01:01:02,840 --> 01:01:05,600
Speaker 1: A theme song is by Brian Vasquez with alternate theme

1071
01:01:05,680 --> 01:01:06,920
Speaker 1: songs by Aaron Kaufman.

1072
01:01:07,120 --> 01:01:10,480
Speaker 2: Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and

1073
01:01:10,560 --> 01:01:12,320
Speaker 2: Heidi are Discord moderator