Advances in zombie science in IFC's Dead Set and AMC's The Walking Dead.

Arts, entertainment, and more.
Oct. 28 2010 7:39 AM

Food of the Dead

Zombies get back to the basics in two new cable series.

Stills from Dead Set and The Walking Dead. Click image to expand.
Dead Set, left, and The Walking Dead, right

The banquet is back.

A curious amnesia seems to have made its way into studies of the living dead in the first decade of the 21st century. No doubt this has been a period of rapid progress in zombie research: A bumper crop of movies and books have explored the dynamics of fast-moving ghouls, tactical responses to undead outbreaks, state-of-the-art revenant virology, even the question of whether a defibrillator to the head will kill a zombie. (It won't.) But for all that, the field's core discovery—its Copernican realignment from the 1960s—was nearly forgotten: Zombies need to chow down on raw human flesh.

I realize that few will concur in my opinion that recent films such as Zombieland, Zack Snyder's Dawn of the Dead remake, Danny Boyle's 28 Days Later, and George A. Romero's Diary of the Dead  were not bloody enough. But none of these movies featured what Romero calls "the banquet," the scene wherein flesh-eating zombies, having won control of the battlefield, eat with relish the inner organs of the living. True zombiephiles won't be satisfied with a few fingers or a severed lower leg. We want ribcages ripped apart, strings of intestines devoured by hungry freaks, characters we have gotten to know over the course of the movie being quartered into steaming pieces by the hunched, hungry hordes.


So it's encouraging that while theatrical movies are on a starvation diet, television has become a welcoming host for the zombie banquet. Two new series, both premiering this week, return dismemberment and disemboweling to their proper place at the center of undead studies.

Neither of the new shows is natural banquet material. IFC's Dead Set, a self-referential horror comedy set within the U.K. version of the reality show Big Brother, takes place in the fast-zombieverse, where there's never much time for feasting.  Yet it lifts key elements from Romero's early work (especially 1985's Day of the Dead, the finest achievement of special makeup effects visionary Tom Savini) to deliver satisfying eviscerations. The heavily promoted The Walking Dead, an adaptation of Robert Kirkman's eponymous comic book, opens on Halloween in AMC's Sunday 10 p.m. Emmy-bait position. Writer-director-executive producer Frank Darabont ( The Shawshank Redemption) constructs it in a polished, old-Hollywood style. But by hiring Greg Nicotero, the current master of practical effects, as a consulting producer, he ensures a full course of gut-munching.

Of the two, The Walking Dead more effectively combines flesh-eating with advanced research. If you have wondered about the possibility of coating yourself with blood and innards to fool the zombies' acute sense of smell (which is itself a mystery since it's been established in other films that zombies do not breathe), you will get your answer here. These walking dead are ravenous enough that in the absence of human flesh they will devour a horse—and it's indicative of the bounty of our times that this is the second film this year to feature an equine banquet scene. (In Survival of the Dead, Romero's sixth entry in the genre, the eating of horsemeat is treated as a potential breakthrough: At least they're eating something other than us.) Beyond that smattering of details, though, the first few episodes of The Walking Dead don't break much new ground. For its part, Dead Set offers some mordant commentary on voyeur culture, but when it comes to zombie biology and culture, it shows a similar tendency to stick with the known facts.

In case you've been shambling mindlessly since Romero's Night of the Living Dead retired the voodoo zombie and unleashed the modern flesh-eater in 1968, those facts are: Everybody who dies reanimates. Fluid exchange with a zombie is fatal within hours. The undead eat the flesh of the living, messily. The only way to put a zombie down for good is to shoot it in the head or destroy the brain in some other way. There is no supernatural component to the revenants—they're just dead flesh, and dangerous. And there are always more zombies.

While there's been some tweaking at the margins (28 Days Later and its sequel, for example, are technically thought experiments in post-Ebola contagion rather than zombie films), these rules have proved remarkably durable. At this point, the Romero zombie is as firmly established a movie monster as the Bela Lugosi-style vampire, the Boris Karloff Frankenstein or the Lon Chaney Wolf Man. And yet none of the characters in a living-dead movie ever seem to know what's going on. (In both of the new TV shows, the zombie fundamentals are explained out loud and at length.) The genre is probably due for a Scream-style meta-movie in which the characters are hip to the genre's conventions—though it's not clear if knowing the rules would be any help once the zombiepocalypse got under way.

The zombie genre has always been fairly political as well, and enraptured fans are forever searching for deeper meanings that might justify our interest in watching the cannibal feast. At this point it should be clear that there are no larger sociological truths in zombie trends. Zombie holocausts are popular during booms, during busts, in peacetime and wartime, before, during, and after natural disasters, and at all other times.

But the living dead remain excellent carriers of existential meaning and vehicles for social satire. Romero, whose politics fall somewhere between new left and punk, continues to mine his personal genre for anti-authoritarian nuggets, and the more talented of his followers do the same. Dead Set may lose some of its punch from the waning of Big Brother as a cultural touchstone. (I wasn't even aware it was still on the air in the United States, and the U.K. version was canceled earlier this year.) And some of its gags are as decrepit as a month-old corpse. ("You look shorter in person," a star-struck cop tells a reality star after nearly mistaking him for a ghoul.) But it earns points for relentless pessimism and a grim dedication to place and setting. In zombie war, geography is destiny.



The Irritating Confidante

John Dickerson on Ben Bradlee’s fascinating relationship with John F. Kennedy.

My Father Invented Social Networking at a Girls’ Reform School in the 1930s

Renée Zellweger’s New Face Is Too Real

Sleater-Kinney Was Once America’s Best Rock Band

Can it be again?

The All The President’s Men Scene That Captured Ben Bradlee

Medical Examiner

Is It Better to Be a Hero Like Batman?

Or an altruist like Bruce Wayne?


Driving in Circles

The autonomous Google car may never actually happen.

The World’s Human Rights Violators Are Signatories on the World’s Human Rights Treaties

How Punctual Are Germans?

  News & Politics
The World
Oct. 21 2014 11:40 AM The U.S. Has Spent $7 Billion Fighting the War on Drugs in Afghanistan. It Hasn’t Worked. 
Oct. 21 2014 5:57 PM Soda and Fries Have Lost Their Charm for Both Consumers and Investors
The Vault
Oct. 21 2014 2:23 PM A Data-Packed Map of American Immigration in 1903
  Double X
The XX Factor
Oct. 21 2014 1:12 PM George Tiller’s Murderer Threatens Another Abortion Provider, Claims Right of Free Speech
  Slate Plus
Behind the Scenes
Oct. 21 2014 1:02 PM Where Are Slate Plus Members From? This Weird Cartogram Explains. A weird-looking cartogram of Slate Plus memberships by state.
Oct. 21 2014 12:05 PM Same-Sex Couples at Home With Themselves in 1980s America
Future Tense
Oct. 21 2014 4:14 PM Planet Money Uncovers One Surprising Reason the Internet Is Sexist
  Health & Science
Climate Desk
Oct. 21 2014 11:53 AM Taking Research for Granted Texas Republican Lamar Smith continues his crusade against independence in science.
Sports Nut
Oct. 20 2014 5:09 PM Keepaway, on Three. Ready—Break! On his record-breaking touchdown pass, Peyton Manning couldn’t even leave the celebration to chance.