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An Ultra-Realist Analysis of the Walking Dead As Popular
CMC0010.1177/1741659017721277Crime, Media, CultureRaymen 721277research-article2017 CORE Metadata, citation and similar papers at core.ac.uk Provided by Plymouth Electronic Archive and Research Library Article Crime Media Culture 1 –19 Living in the end times through © The Author(s) 2017 Reprints and permissions: popular culture: An ultra-realist sagepub.co.uk/journalsPermissions.nav https://doi.org/10.1177/1741659017721277DOI: 10.1177/1741659017721277 analysis of The Walking Dead as journals.sagepub.com/home/cmc popular criminology Thomas Raymen Plymouth University, UK Abstract This article provides an ultra-realist analysis of AMC’s The Walking Dead as a form of ‘popular criminology’. It is argued here that dystopian fiction such as The Walking Dead offers an opportunity for a popular criminology to address what criminologists have described as our discipline’s aetiological crisis in theorizing harmful and violent subjectivities. The social relations, conditions and subjectivities displayed in dystopian fiction are in fact an exacerbation or extrapolation of our present norms, values and subjectivities, rather than a departure from them, and there are numerous real-world criminological parallels depicted within The Walking Dead’s postapocalyptic world. As such, the show possesses a hard kernel of Truth that is of significant utility in progressing criminological theories of violence and harmful subjectivity. The article therefore explores the ideological function of dystopian fiction as the fetishistic disavowal of the dark underbelly of liberal capitalism; and views the show as an example of the ultra-realist concepts of special liberty, the criminal undertaker and the pseudopacification process in action. In drawing on these cutting- edge criminological theories, it is argued that we can use criminological analyses of popular culture to provide incisive insights into the real-world relationship between violence and capitalism, and its proliferation of harmful subjectivities. -
Fear the Walking Dead "Pilot" Written by Kirkman/Erickson
2 September 2014 fear the walking dead "pilot" written by kirkman/erickson ACT ONE UP ON: 1 INT. STASH HOUSE - BEDROOM - DAY 1 IAN BENNETT (19) was handsome once. He’s curled fetal on one of several foul mattresses in a derelict bedroom. Milky weak light penetrates threadbare curtains. The room looks like landfill. A shit bucket in the corner teems with FLIES. Ian’s in loose boxers, ribs pressed pale against blue-veined skin. He shakes with the morning chill, and his high’s wane, BELT looped around his bicep above the INJECTION SITE. He looks dead, the room his hell. There are other crates, other mattresses around him, but Ian is alone. Sole tenant. His WORKS are scattered on top of a nearby MILK CRATE -- needle, scorched spoon, Bic lighter. There’s a THUD downstairs. VOICES. Ian opens his eyes, red from broken vessels. We HOLD TIGHT on his bloody-blue orbs, pupils dilated -- until a SCREAM CURLS up from down low. Ian sits bolt upright, breathless. Three distinct BOOMING VOICES come up through the floor. Rage. Panic. Horror. Furniture CRASHES. More SCREAMS, terrified SCREAMS. Then GUNSHOTS. ONE... then ONE more. CRASHING bodies. One final, piercing SCREAM. Then silence. The silence worse. Ian shakes his head, struggles to focus against the disorient as he listens for movement, footfalls ascending the steps. He brings his knees up under him, holds -- -- then tip-toes barefoot through drug den detritus. He grabs sweats, a wife-beater -- his, someone else’s, doesn’t matter. He dresses then -- 2 INT. STASH HOUSE - SECOND FLOOR LANDING - CONTINUOUS 2 Ian pushes into the hallway, skylight overhead. -
Press™ Kit 01 Contents
NO SAFE HARBOUR ™ SEASON TWO ® ® PRESS™ KIT 01 CONTENTS 03 SYNOPSIS 04 CAST & CHARACTERS 23 PRODUCTION BIOGRAPHIES 28 INTERVIEW: DAVE ERICKSON EXECUTIVE PRODUCER & SHOWRUNNER 31 PRODUCTION CREDITS ® ™ SYNOPSIS Last season, Fear the Walking Dead explored a blended family who watched a burning, dead city as they traversed a devastated Los Angeles. In season two, the group aboard the ‘Abigail’ is unaware of the true breadth and depth of the apocalypse that surrounds them; they assume there is still a chance that some city, state, or nation might be unaffected - some place that the Infection has not reached. But as Operation Cobalt goes into full effect, the military bombs the Southland to cleanse it of the Infected, driving the Dead toward the sea. As Madison, Travis, Daniel, and their grieving families head for ports unknown, they will discover that the water may be no safer than land. ® ™ 03 CAST & CHARACTERS ® ™ 04 MADISON CLARK In many ways, the Madison of season two is the same woman we met in the pilot - a leader, a moral compass - but in a whole new devastated, apocalyptic world. As the season plays out, Madison will be faced with a world that often has no room for empathy or compassion. Forced to navigate a deceptive and manipulative chart of personalities, Madison’s success in this new world is predicated on understanding that, at the end of the world, lending a helping hand can often endanger those you love. She may maintain her maternal ferocity, but the apocalypse will force her to make decisions and sacrifices that could break even the strongest people. -
An Archaeology of Walls in the Walking Dead
Undead Divides: An Archaeology of Walls in The Walking Dead Howard Williams In 2010, the zombie horror genre gained even greater popularity than the huge following it had previously enjoyed when AMC’s The Walking Dead (TWD) first aired. The chapter surveys the archaeology of this fictional post-apocalyptic material world in the show’s seasons 1–9, focusing on its mural practices and environments which draw upon ancient, biblical, medieval and colonial motifs. The study identifies the moralities and socialities of wall-building, dividing not only survivors aspiring to re-found civilization from the wilderness and manifesting the distinctive identities of each mural community, but also distinguishing the living from the undead. The roles of the dead and the undead in mural iterations are also explored. As such, dimensions of past and present wall-building practices are reflected and inverted in this fictional world. As part of a broader ‘archaeology of The Walking Dead’, the chapter identifies the potentials of exploring the show’s physical barriers within the context of the public archaeology of frontiers and borderlands. Andrea: What’s your secret? The Governor: Really big walls. Andrea: That soldier had walls too and we all know how that turned out, so. The Governor: I guess we do. The real secret is what goes on within these walls. It’s about getting back to who we were, who we really are, not just waiting to be saved. You know people here have homes, medical care, kids go to school. Adults have jobs to do. It’s a sense of purpose. -
Exclusive Interview: Could 'Fear the Walking
Exclusive Interview: Could ‘Fear the Walking Dead’ star Mercedes Mason be the next Carol? fanfest.com/2016/04/17/exclusive-interview-could-fear-the-walking-dead-star-mercedes-mason-be-the-next- carol/ McKenzie Morrell April 18, 2016 Let’s be real, everyone loves zombies. If the world’s ending, I’m pretty sure a good portion of us want to go out in a gutsy glory– wielding machetes, slinging guns and toting around… a water filtration system? Yes, this is an actual thing Fear the Walking Dead star Mercedes Mason insists on bringing if the apocalypse were to ever happen in real life. A nerdy, yet totally logical response and damn, we’re definitely thinking we’d want her to join our survival team. Mason, who plays Ofelia Salazar, a sheltered and emotionally stunted young woman whose family dynamic is not ideal for prospering in a dire situation like a zombie apocalypse, is among the stars to set sail on an epic journey of outliving a mass epidemic that has destroyed Los Angeles. And quite possibly the world. Though the group doesn’t know exactly what’s going on at this point, just that a mysterious flu has quarantined their gritty city, and the only way out is through a seemingly safe passage with a shifty survivor named Victor Strand (Colman Domingo). Now on the yacht, these strangers are being bombarded by ‘the infected,’ and it’s pretty clear that their fight will not only be against the undead, but each other as well. What happens when the world goes to hell and you’re forced to work with people you don’t know? Can you trust your neighbors, your family, the people sharing close quarters with you? When humanity is still in tact, do your chances of survival decline? Questions these characters, and the audience will continue to ask themselves throughout the season. -
Press Kit Contents Synopsis 3 Cast & Characters 4 Production Biographies 31
SEASON THREE PRESS KIT CONTENTS SYNOPSIS 3 CAST & CHARACTERS 4 PRODUCTION BIOGRAPHIES 31 2 S Y N O PS I S As “Fear the Walking Dead” returns for season three, our families will be brought together in the vibrant and violent ecotone of the US-Mexico border. International lines done away with following the world’s end, our characters must attempt to rebuild not only society, but family as well. Madison has reconnected with Travis but Alicia has been fractured by her murder of Andres. Mere miles from his mother, Nick’s first action as a leader saw Luciana ambushed by an American militia group – the couple escaped death but Nick no longer feels immortal. Recovering both emotionally and physically, Strand has his sights set on harnessing the new world’s currency, and Ofelia’s captivity will test her ability to survive and see if she can muster the savagery of her father. 3 CAST + CHARACTERS 4 4 MADISON CLARK (Kim Dickens) “The devil you know…” In season three, Madison moves beyond mercy. She promises herself never to repeat the mistakes of the past. If that means she must embrace brutality, so be it. As Madison evolves over the course of this season, we will see her turn even darker. Her ends are pure, but her means are morally compromised. She will sacrifice compassion – and she will risk those she holds most dear. In pursuit of Nick, Madison leads Travis and Alicia through the aftermath of the battle that ended season two – a fight that could have taken Nick and Luciana’s lives. -
2021 Primetime Emmy® Awards Ballot
2021 Primetime Emmy® Awards Ballot Outstanding Lead Actor In A Comedy Series Tim Allen as Mike Baxter Last Man Standing Brian Jordan Alvarez as Marco Social Distance Anthony Anderson as Andre "Dre" Johnson black-ish Joseph Lee Anderson as Rocky Johnson Young Rock Fred Armisen as Skip Moonbase 8 Iain Armitage as Sheldon Young Sheldon Dylan Baker as Neil Currier Social Distance Asante Blackk as Corey Social Distance Cedric The Entertainer as Calvin Butler The Neighborhood Michael Che as Che That Damn Michael Che Eddie Cibrian as Beau Country Comfort Michael Cimino as Victor Salazar Love, Victor Mike Colter as Ike Social Distance Ted Danson as Mayor Neil Bremer Mr. Mayor Michael Douglas as Sandy Kominsky The Kominsky Method Mike Epps as Bennie Upshaw The Upshaws Ben Feldman as Jonah Superstore Jamie Foxx as Brian Dixon Dad Stop Embarrassing Me! Martin Freeman as Paul Breeders Billy Gardell as Bob Wheeler Bob Hearts Abishola Jeff Garlin as Murray Goldberg The Goldbergs Brian Gleeson as Frank Frank Of Ireland Walton Goggins as Wade The Unicorn John Goodman as Dan Conner The Conners Topher Grace as Tom Hayworth Home Economics Max Greenfield as Dave Johnson The Neighborhood Kadeem Hardison as Bowser Jenkins Teenage Bounty Hunters Kevin Heffernan as Chief Terry McConky Tacoma FD Tim Heidecker as Rook Moonbase 8 Ed Helms as Nathan Rutherford Rutherford Falls Glenn Howerton as Jack Griffin A.P. Bio Gabriel "Fluffy" Iglesias as Gabe Iglesias Mr. Iglesias Cheyenne Jackson as Max Call Me Kat Trevor Jackson as Aaron Jackson grown-ish Kevin James as Kevin Gibson The Crew Adhir Kalyan as Al United States Of Al Steve Lemme as Captain Eddie Penisi Tacoma FD Ron Livingston as Sam Loudermilk Loudermilk Ralph Macchio as Daniel LaRusso Cobra Kai William H. -
First Impressions: <Em>Fear the Walking Dead</Em>
Marquette University e-Publications@Marquette College of Communication Faculty Research and Communication, College of Publications 8-28-2015 First Impressions: Fear the Walking Dead Amanda Keeler Marquette University, [email protected] Published version. Antenna, University of Wisconsin - Madison (August 28, 2015). Permalink. © 2015 Department of Communication Arts, University of Wisconsin - Madison. Used with permission. First Impressions: Fear the Walking Dead August 28, 2015 By Amanda Keeler | 2 Comments Post by Amanda Keeler, Marquette University The Walking Dead “companion” series Fear the Walking Dead is the latest iteration of offshoot/spinoff storytelling around this narrative universe. Fear the Walking Dead premiered Sunday night on AMC, setting another ratings record for the cable channel by reaching approximately 10.1 million viewers. I’ve written about The Walking Dead previously on Antenna, in a piece that focuses on the complexities of genre and how the show fluctuates over time to blend multiple genres, primarily by mixing western imagery to create a post-apocalyptic return to the frontier. The announcement of the new program Fear the Walking Dead led me to a number of questions related to how the show would work in terms of storytelling, genre, setting, and character. Without the comic book as a reference point, how would its narrative progress and/or differ from the original television show? How would its differing landscape and location, set in Los Angeles, California, rather than the American south, shift its tone and genre? What types of character would populate its world? Would it function as an ensemble cast, or would one or two characters dominate the central narrative? While the prolific nature of film sequels and blockbuster franchises suggests the relative safety of building new pieces around known narrative worlds, the enormous popularity of The Walking Dead puts a lot of pressure on its new companion piece. -
Each Week on AMC's Live After-Show Talking Dead, Host Chris Hardwick
Each week on AMC’s live after-show Talking Dead, host Chris Hardwick brings together a rotating series of guests -- showrunners, cast members and celebrities fans -- to dig into that night’s episode of The Walking Dead and Fear the Walking Dead. Viewers at home also join in the collective discussion via a variety of different platforms and digital portals, including TalkingDead.com and the Play Dead App. This combination of real-time engagement, both on- air and online, has not only made Talking Dead the No. 1 live talk show in the country, it’s also created one the most interactive experiences on television. In the last year, nearly 90 million viewers have tuned in to Talking Dead to join Hardwick and his guests’ lively discussions each week, with approximately 7.1 million fans visiting TalkingDead.com for a variety of ways to participate in the conversation. On the fully- responsive site, fans can submit questions in the Talking Dead Talk forum or post of video of themselves, which may be played on-air during the show. Users can also click through to post questions on AMC’s official Twitter and Facebook pages for Talking Dead. Another key way the audience participates in Talking Dead’s action is with its real-time interactive experience, Play Dead. Play Dead is a free web app that is extremely easy to use, requires no sign up and is accessible on all computers and mobile devices. The app allows viewers to participate from their couch in snap polls and quizzes and see their results instantaneously on Talking Dead. -
Relações Transmidiáticas E Influências No Desenvolvimento De Personagens De the Walking Dead
1 UNIVERSIDADE CANDIDO MENDES / AVM PÓS-GRADUAÇÃO LATO SENSU Transmídia: Gestão de Mídias Digitais Relações Transmidiáticas e Influências no Desenvolvimento de Personagens de The Walking Dead Clécia dos Reis Oliveira ORIENTADOR: Prof. Jorge Vieira Rio de Janeiro 2018 DOCUMENTO PROTEGIDO PELA LEIDE DIREITO AUTORAL 2 UNIVERSIDADE CANDIDO MENDES / AVM PÓS-GRADUAÇÃO LATO SENSU Transmídia: Gestão de Mídias Digitais Relações Transmidiáticas e Influências no Desenvolvimento de Personagens de The Walking Dead Apresentação de monografia à AVM como requisito parcial para obtenção do grau de especialista em Transmídia: Gestão de Mídias Digitais. Por: Clécia dos Reis Oliveira. Rio de Janeiro 2018 3 RESUMO A proposta do trabalho é verificar a influência das relações transmidiáticas na série de TV The Walking Dead, especialmente nas mudanças no desenrolar da trama e comportamento de personagens. Nesse caso, vamos considerar a representação das personagens femininas, mais visível em Carol, que se destacou como protagonista em momentos decisivos. O comportamento das mulheres se modifica ao longo das temporadas e elas se tornam cada vez mais fortes, independentes e decisivas, surpreendendo o público com suas ações. É feita uma comparação entre a fase inicial (1ª temporada) e a última temporada (4ª), exibida integralmente até 2014. As mulheres deixam de atuar somente como mães e donas de casa para dividirem com o líder, masculino, o protagonismo nos episódios da série. 4 METODOLOGIA A pesquisa foi realizada com foco na análise dos conteúdos dos episódios, observando, principalmente, a evolução das ações das personagens femininas. Isso foi feito também por meio de comparação quantitativa em relação ao tempo em que Rick, Carol e outras personagens femininas relevantes permaneceram em cena. -
Fight the Dead, Fear Reality: a Fantasy Theme Analysis of the Walking Dead
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2018-01-01 Fight the Dead, Fear Reality: A Fantasy Theme Analysis of The alW king Dead Katherine Elizabeth Alanis Ramirez University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Communication Commons Recommended Citation Alanis Ramirez, Katherine Elizabeth, "Fight the Dead, Fear Reality: A Fantasy Theme Analysis of The alW king Dead" (2018). Open Access Theses & Dissertations. 32. https://digitalcommons.utep.edu/open_etd/32 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. FIGHT THE DEAD, FEAR REALITY: A FANTASY THEME ANALYSIS OF THE WALKING DEAD KATHERINE ELIZABETH ALANIS RAMIREZ Master’s Program in Communication APPROVED: Roberto Avant-Mier, Ph.D., Chair Carlos Tarin, Ph.D. Jeffrey Sirkin, Ph.D. Charles H. Ambler, Ph.D. Dean of the Graduate School Copyright © by Katherine Alanis Ramirez 2018 Dedication “Since childhood, I’ve been faithful to monsters. I have been saved and absolved by them, because monsters, I believe, are patron saints of our blissful imperfection and they allow and embody the possibility of failing.” – Guillermo del Toro, Golden Globes, 2018 This project stems from my love of television, monsters and all things spooky. It is my curiosity working -
In This Town, It's As If Hollywood Tries Not to Cast Latinos
http://www.latimes.com/entertainment/movies/la-et-mn-latinos-in-hollywood-20160227-story.html In this town, it's as if Hollywood tries not to cast Latinos Lorenzo James Henrie plays Chris, the son of Liza Ortiz (Elizabeth Rodriguez) in “Fear the Walking Dead,” but he’s not Latino. (Frank Ockenfels 3 / AMC) Hector Becerra Los Angeles Times In Hollywood, there is no Magical Latino. That honey-tongued Mexican American dude who can help the white guy with his golf game while, more important, imparting life lessons before disappearing over the horizon? He doesn't exist. That Salvadoran woman wisely guiding the "Chosen One" — another white guy — through an alternate-reality maze to his appointed destiny? You won't find her. A Latino playing God as he gives up control of planet Earth to help a funny white TV reporter having a bad day at the office? Get out of here. Since the Academy Award nominations were announced, much of the #OscarsSoWhite conversation has focused on black actors. But consider Latinos, the nation's largest minority group, even if Hollywood very often doesn't. Social media erupted recently with "whitewashing" accusations after the film "American Drug Lord" gave the starring role of Mexican American cartel kingpin Edgar "La Barbie" Valdez to the British actor Charlie Hunnam. British actor Charlie Hunnam was cast as Mexican American cartel kingpin Edgar "La Barbie" Valdez in the film "American Drug Lord." (Don Kelsen / Los Angeles Times) But that dust-up distracts from a problem that reaches deeper into the casting process. Latinos have a particularly hard time getting even the kinds of cliched supporting roles that have become commonplace for black actors — the wise or wisecracking, sometimes magical guides for white protagonists.