A Living Wage for The Walking Dead

Does the current vogue for Zombies say something about the state of our society? Tony McKiver invetigates…

There is meaning to our monsters. Zombies, for example, keep coming back to life to haunt us. “Duh,” as they might themselves moan: That’s what Zombies do. But over a century of movies and comic books—and, more recently, video games and TV shows—they keep coming back in different ways. These variations have been interpreted as corresponding to concerns within broader society. Such a reading allows George Romero’s Night of the Living Dead, Dawn of the Dead and Day of the Dead to be seen clearly in relation to the unfolding crises of the time, with the Zombies playing second-fiddle to the real villains of racial and gender discrimination, or unchecked militarism. In these films, there is little to be mourned about the world that has been overrun by the undead.

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Gamblers’ Vigil – The Long Wait for David Milch’s ‘Luck’

Still smarting over the untimely demise of ‘Deadwood’, David Milch hits back, with ‘Luck’.

“After I do three years you suspect me? I take a fall protecting how many people… You got qualms? Three years!”

Like gamblers slouched against a rail tearing up losing slips, some TV viewers have been waiting for ‘Luck’ a long time. For many, the vigil stretches back to 2006, when ‘Deadwood’ was summarily cancelled. The lesser number of souls who found magic in the one season of ‘John From Cincinnati’ have been marking time since 2007. If you were a special kind of addict, you may even have experienced the rise and fall of hopes that accompanied reports of ‘Last of the Ninth’, a prospective series that was commissioned by HBO, but never got beyond the pilot stage. The substance to which this cohort of addicts is in thrall is the writing of David Milch.

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