I haven’t written about The Walking Dead for a while. I haven’t felt like it’s been worth writing about for a while. But now that it’s under new management and a major cast member has exited the show, I was interested to see where the series stands after nine seasons, an eternity on network television.
(Coincidentally, this ended up being 3,600 words, an eternity on the Internet, so if you don’t feel like reading that and want to leave right now, I really can’t blame you. I wrote it, though, so I’m posting it, dammit!)
Generally speaking, whenever someone says, “the book was better,” about a book-to-film adaptation, I feel the need to punch them in the throat. I could go on a long digression here about my feelings of film adaptations, the different camps of people wanting them to be faithful, and creative freedoms of artists as well as the nature of truth, but I’m not going to do that. Suffice to say, The Girl With All The Gifts film adaptation gets it both wrong and right in really fascinating ways.
Ashton Kutcher once said the only reason he works out is in case the zombie apocalypse happens and he needs to save his loved ones. Far too many zombie story protagonists seem prepared for it. While the main character in The Reaper Virus does have some resources that give him an advantage for survival, he isn’t one of those people. In Walking Dead terms, he has more in common with Eugene than Rick or Darryl, but the truth is he’s just an ordinary guy who finds himself in extraordinary circumstances, a classic setup.
The story begins with a preface from Nathan, the main character who shares the author’s name. In this preface, the story presents one of the coolest promises I’ve ever read:
“I ask that you judge me for who I am and what I fought for, not what I’ve done.”
The Walking Dead’s mid-season premiere just aired, and I’m seeing a lot of criticism of the show’s first half of season seven. I endured this criticism through November, but now I feel like it’s getting a bit tired. While I acknowledge the purpose of television is to entertain, I think these critics miss the point of what The Walking Dead is doing and, therefore, can’t appreciate it.
Everyone is entitled to their own opinion, of course. I think the show is still great, and if you’re interested in why I think that, please read on.
(This is fairly spoiler free, but if you’ve been under a rock and don’t have any idea what happens at the end of season six/beginning of season seven, you might want to turn away.)
Among super fans, I am not a super fan, because that kind of love takes a special kind of attention that I just can’t devote to anything that isn’t my wife, my work, or my dog. But in the scheme of things I’m a fan of, The Walking Dead is near the top.
This past Sunday, April 3, AMC aired The Walking Dead’s season six finale. I was more amped for it than any TV event in my life. For the first 89 minutes of the 90-minute (minus lots of advertising) episode, it was a 10 out of 10, one of the best episodes the series had ever created. But something happens in the final seconds that completely undermines everything the show had done in the second half of season six, and it’s a terrible shame.
The Walking Dead is a dramatic post-apocalyptic television series in which zombies have risen and taken over the world and a band of survivors have to seek refuge at every turn as they continually battle the dead and the living for safety.
Just for all of you folks who have recently emerged from your underground bunkers where you weathered a nuclear holocaust that didn’t happen. Thanks for joining us!
Everyone knows about this show. It’s kind of a big deal. It exploded at the height of the zombie genre’s popularity, and for years, its success has been used as a kind of barometer for the market of such stories. Oh, what’s this? The Walking Dead’s ratings ticked down a bit!? Zombies must be dead.
[Warning: Spoilers for the show follow. If you aren’t caught up through the first half of season 6, go away.]
After last night’s episode of Fear the Walking Dead, I’ve read a fair bit about how it wasn’t as good as last week’s episode, about how it took a wrong turn, about how it’s boring.
I couldn’t disagree more. Last night’s episode of Fear the Walking Dead was a turning point for the show, and one that it desperately needed.
Heads up. Major season one, episode four spoilers below. I’m going into depth. If you haven’t seen it, go away. Go away, and watch it. This is your final warning. You sure you want to continue? You sure? Confirm your decision to continue: [yes] no
It’s been almost a month since I put The King of Clayfield by Shane Gregory down, and it’s lingered with me all this time. I don’t attribute its staying power to any raw emotional experience I had with it, nor do I find its relentless grip in any particular shock or horror. The King of Clayfield sticks with me to this day because I’ve yet to be able to truly pin it down. Certain stories fall clearly within a genre, adhering to established guidelines and rules. The King of Clayfield is somewhat unique in that it flows naturally, as if it were grounded in reality instead of someone’s imagination.
Of course, The King of Clayfield has many imaginative and creative elements, but while it isn’t strictly an epistolary, it reads almost like a journal. Shane’s prose is no-nonsense, written in natural language. At times, it may be reminiscent of Cormac McCarthy. He steps out of the way and lets his character tell the story. What’s notable here is that, in my experience with first-person narratives, I’ve found many writers tend to overdo this. They adopt certain tendencies to attempt to force the voice through. Shane doesn’t. The difference is he seems to trust his story and his characters to be interesting rather than trying to make or contrive intrigue. The aspect that interests me the most, though, is that The King of Clayfield is almost formless in its presentation. It is anything but formulaic, but it isn’t without structure or deliberate momentum. It doesn’t lull, but it doesn’t force action. It doesn’t adhere to the typical “three rising actions, climax, resolution,” but it follows a logical pattern of building tension to a powerful and satisfying conclusion.
A few weeks back, Jeremiah Israel posted a trailer for his upcoming short film, which he made in support of his novel, March the Damned. This past week, he put the full film online, and it’s weird, quirky, and somewhat disturbing. I love it and highly recommend you check it out.
In support of his novel, March The Damned, Jeremiah Israel is working on a short film. Here’s a trailer for the short film he’s calling “March.” It’s a neat little promo piece that gives you a some details about the novel. I’m looking forward to the full-length version. I’m also looking forward to the novel, which is in my to-read pile at home.