Friday, April 17, 2015

Zombies: The Apocalyptic Trend Shambles On

Source: Tribune News Service
                                                                       Source: Tribune News Service

Post-apocalyptic pop culture is flooding American televisions and cinemas, and no other trend has escalated in popularity quite like zombie culture.
AMC’s nightmarish drama “The Walking Dead” shattered records in the network’s ratings this year, according to Time magazine, reaching a viewership of over 28 million. It’s really not surprising.

Escapism is what keeps the entertainment industry’s moguls in the billionaire’s club—but who in their right mind would choose to escape to a shattered society in which all luxury and progress lie trampled beneath hordes of rotting, feral, cannibalistic cadavers?

Zombie culture is just survivalist culture with a trendy aesthetic, and its popularity is revealing this generation’s zeitgeist.

Mass-fascination with post-catastrophic conditions is, in part, a subconscious means of preparation, mentally bracing against the anxieties of real, imminent events. The genre reflects all of the crises of overpopulation waiting just around the corner—resource scarcity, systems’ collapse and civil unrest on an unprecedented scale—but the problem won’t be shambling corpses; it’ll be us.

In the words of the scientifically influential, 18th-century cleric Thomas Robert Malthus, “The power of population is so superior to the power of the earth to produce subsistence for man, that premature death must in some shape or other visit the human race. The vices of mankind are active and able ministers of depopulation. They are the precursors in the great army of destruction and often finish the dreadful work themselves. But should they fail in this war of extermination, sickly seasons, epidemics, pestilence and plague advance in terrific array and sweep off their thousands and tens of thousands. Should success be still incomplete, gigantic inevitable famine stalks in the rear and with one mighty blow levels the population.”

In just 35 years, if current population-growth trends continue, the UN projects that humanity will be reaching figures over 10 billion, numbers approaching Earth’s maximum capacity—resulting in scarcity of fresh water; desertification due to deforestation; air, soil and water contamination irreparably altering the biosphere; rampant poverty leading to devastating crime rates; and microbial pandemics spreading rapidly across what will have become a planetary-scale petri dish.

If any of this sounds familiar, it’s because it’s a list of every motif from the last decade’s worth of end-of-days literature, cinema and television.

But all this still doesn’t explain viewers’ deep satisfaction in escaping to a hellish world of utter hopelessness.

It’s because the circumstances are so humanizing, returning people to a more naturalistic (if at times animalistic) state, reminding them of what truly means anything at all—family, community, love and life itself—and the desperate struggle to protect it all provides audiences with a sort of vicarious fulfillment, assuaging viewers’ estrangement from what it meant to be human for hundreds of thousands of years before Xboxes, Pop Tarts, Facebook and Netflix.
But the comforts of modernity could prove to be relatively short-lived. In less than half a century, humanity’s very success may be what drags the whole species back into a paradigm of pure survivalism once again, reminding us what being human is really all about.

So enjoy the post-apocalyptic hypotheticals now because when our planet reaches maximum capacity, films like “28 Days Later” will seem like tame, na├»ve underestimates of the nightmare that’s in store for us—that is, if we don’t start taking action to prevent such a hell on Earth now.

Tonight On Zombiepalooza Radio 4/17/15

Well Zombiphiles, its Friday, and you know what that means: Starting at 8:PM EST, ZOMBIEPALOOZA RADIO is ON THE AIR, bringing you entertaining authors and horror genre celebs! Remember, all you have to do to participate and ask questions of our guests is log into the chatroom at!

Getting us rolling will be Greg Ferrell, author of The Perseid Collapse Series: The Dog Pound : Second Chances (A kindle worlds novella)!

In our second hour we are pleased to bring you Lisa Lamrock and Jon McCoy as we chat with them about Mineral Wells Paracon 2015. its gonna be a good hour of information and laughs.

Following that, we bring you a brand new author to ZPR, Steve Woods, to talk with us about his new project!

After Steve, we have the return of Dave Lund, author of The Winchester Undead Series Book One: Winchester Over (available for Pre-Order in paperback soon!)

Following Dave, we get to pick the brain of Jeffrey Littorno, Author of The Most Uncommon Cold Series!

Remember, it all start at 8:PM EST (5:PM PDT)!
Come on along for the ride, and try not to get bitten!
(unless you are INTO that kind of thing wink emoticon )

Wednesday, April 15, 2015

Cause not revealed in 'Fear The Walking Dead'

Bad news for “Walking Dead” fans who want to find out how the zombie apocalypse started. Although the new AMC “spinoff” series is set at the start of the deadly virus, series creator Robert Kirkman confirmed at a National Association of Broadcasters panel that “Fear the Walking” Dead” will not expose the cause of the outbreak.

Kirkman was joined by AMC President Charlie Collier and actor Steven Yeun (Glenn) to talk about all things “Walking Dead.” Naturally the conversation turned to the upcoming new series, which is set to premiere this summer. Although Collier and Kirkman did not confirm a premiere date for “Fear the Walking Dead,” they dished out some new scoop on what fans can expect – and not expect.

Although many viewers have questions about how the zombie apocalypse started and how to end it, Kirkman revealed that he finds those story lines to be played out too often. He’s not interested in “fixing” or “learning the cause” of the outbreak. Instead, Kirkman wants to tell the tale of the struggles each character endures.

“We’re dealing with the heart of this,” he explained.

As previously reported, the new show is based in the same universe as “The Walking Dead.” However Collier is hesitant to call it a “spinoff.” No characters from the original series will make their way to “Fear the Walking Dead.” Kirkman added that the show is “it’s own thing” and can stand on its own.

“When you see it you’ll know what we’re talking about,” he said.

But just because “Fear the Walking Dead” is its own thing, doesn’t mean that it’s that different from “The Walking Dead.”  The series creator promised the audience that it “pays homage” to the original while still putting its own twist on things.

“It’s taking us back to a time when the walking dead were much more dangerous and a much more ever present threat,” Kirkman continued. “So it’s definitely a time to fear the walking dead. But I’ve always liked the fact that the walking dead refers to the zombies and the people that we’re exploring, because they are in a sense all on borrowed time.”

The big reveal from Robert Kirkman is that the new characters on “Fear the Walking Dead” could potentially be more dangerous than the survivors that “Walking Dead” fans have encountered in the past five seasons.
“It’s possible that the people that we’re following in the show are maybe a little bit more deadly in certain ways,” he teased.

On Hold Company Video Wins Addy Award for Comedic Viral Video 'Zombie Attack - 911 Call'

On Hold Company’s ‘Zombie Attack - 911 Call’ video won a Gold Addy, along with the Best of Digital and Broadcast award at the 53rd annual Addy Awards hosted by the American Advertising Federation of Shreveport/Bossier, February 21.
“We’re thrilled to win this award,” said Bryant Wilson, On Hold Company CEO. “This video is an entertaining spoof that illustrates how effective on hold music and messaging can be in any scenario where a caller is placed on hold.”
‘Zombie Attack - 911 Call’ was written, directed and edited by On Hold Company Marketing Director Jonathan Kudabeck, an award-winning film producer whose work has aired nationally on PBS and screened at numerous festivals including the International Television Festival and New Orleans Film festival.
“The video takes the benefits of on hold messaging to the extreme in the worst of possibilities and succeeds in providing all the information needed to the victim just in the nick of time,” said Kudabeck.
Produced by Clint McCommon and John Chambers and shot by Fairfield Studios with two DSLR cameras, the two-minute and 30-second video was filmed in downtown Shreveport over the course of a single day. The film featured local actor Alexander Dafnis as well as a number of On Hold Company employees. Make-up was done by Heather Beauvais, who works on the Salem television series (filmed in northwest Louisiana).
Music composition and sound mix for this production were crafted by On Hold Company's Master Sound Engineer Tommy Granville, Jr. As a Grammy member, RIAA certified Platinum record producer and film composer, Granville boasts numerous music and film credits and awards.
“This video was a great opportunity to showcase the exceptional talent and creativity within our company.” said Bryant Wilson, On Hold Company CEO.
The Addy Award entries were evaluated by a 4-judge panel for their creativity, originality and strategy. The annual awards banquet and presentation was attended by more than 240 members of the Shreveport/Bossier-area advertising industry.
“It was a great feeling to see and hear the positive reactions from over 200 advertising professionals when our video was screened at the banquet.” said Kudabeck.
You can view the ‘Zombie Attack – 911 Call’ video here:

About On Hold Company

On Hold Company ( is a leading provider of custom telephone on-hold music and messages. The company has been in business since 1994 and provides on-hold marketing for more than 14,000 clients across North America.
On Hold Company also provides Scent Marketing solutions, telephone voice prompts and overhead music and messaging services.

Check out this zombie shirt!

The Zombie Shirt features awesome original Jamie Koala digital art piece. This is a full color pattern on both front and back. Since these shirts are printed via sublimation some seams like under the armpits or around the collar might show small white spots.

Male model is wearing a small.
These shirts are unisex fitted Coolmax Shirts (kind of like a jersey mixed with a normal tee, they rock!). Hand wash cold water, air dry.

Order here!

Get your Zombie Red Eyes Debit Card!

Zombie Red Eyes Debit Card

Don’t get caught empty handed during the Zombie Apocalypse. Get #TheZombieCard now.

Product Description

Add this item to your shopping cart to place your order. If you’re not a member of Element, we’ll need your application as well. To join, use our ItsMe247 Online Banking application.
If you prefer to work with us in person, please email us at or call 304-721-4145 or feel free to stop in a branch and see our smiling faces.

This mix of Shakespeare and zombies staggers toward the end

Different breeds of supernatural nemeses surge and ebb in popular culture. Aliens, ghosts and, most recently, vampires have each enjoyed waves of books, movies and television shows that have now receded from their peaks. 
The epidemic of zombie-themed entertainment, however, has proven particularly infectious, morphing like a drug-resistant virus from the clunky stuff of B-grade horror flicks to cult cinema franchises to societal analysis. We’ve seen zombie politicians, zombie lovers, zombie strippers and -- coming soon to a theater near you -- a zombie moose. Zombie lit has been applied to the bones of giants like Jane Austen and Jean-Paul Sartre. 
In “William Shakespeare’s Land of the Dead: A True and Accurate Account of the 1599 Zombie Plague,” now being presented in a handsome production by the University of Alaska Anchorage Department of Theatre and Dance, playwright John Heimbuch tries to marry the undead with the immortal. 
“Land of the Dead” takes place in the hours after Shakespeare (Alex Albrecht) and his partner Richard Burbage (Malcolm Kuntz) inaugurate their new Globe Theatre with the bard’s latest play, “Henry V.” Will Kemp (Matt Fernandez) crashes the finale. Kemp, who created the part of Falstaff in earlier plays, is upset that he’s been written out of the sequel, killed off by the playwright. Shakespeare is angry because he could never follow the script and furious that he’s invited himself onto the stage; but the crowd adores his buffoonery.
The cast takes off for an after-party, leaving Shakespeare with the sharp-tongued costumer, Kate (Emily Pratt) and the apprentice, John (Matthew Meyer), who’s stuck in a bodice and a dress he can’t undo himself. Enter Francis Bacon (Jake Beauvais), out of favor with Queen Elizabeth I and hoping to get back on her good side by having Shakespeare produce a new play around the Falstaff character. Shakespeare resists. Aside from his issues with Kemp, how can he honestly bring a character back from the dead?
The cast comes stumbling back into the Globe. A brawl at the tavern has turned into something else, masses of people going mad, London ablaze, the bridge fallen down. The queen herself (Chloe Akers) arrives with the remnants of her court, her spymaster Robert Cecil (Kirby Hutchings) and advisor John Dee (Harry Russo) to take shelter behind the stout walls of the new theater. 
As chaos howls outside and the survivors inevitably succumb to the “affliction,” the matter of the new Falstaff play comes up. The queen loves the idea, and Shakespeare is forced to go along with Bacon’s presumptuous appropriation of his name and craft. All of this makes the first act hilarious, a fast-paced, witty clash of personalities full of puns and zinger references to Shakespeare plays. The preview audience caught a lot of them and laughed repeatedly.
The second act began in much the same vein but, in the long final scene, began to drag like a one-legged “walker.” Talk takes over from development, though there is, of course, intense battling against the afflicted and even against other survivors as temper and terror take over from reason. 
Much of the final third of the play went into talky discussions of theater perhaps best conducted in a class on aesthetics. The fun level went way down, as did the laughter. As zombie comedies go (and “Land of the Dead” may not technically be a comedy), this was no “At Home With the Clarks,” seen at Anchorage Community Theatre in 2013. In that play, author Rand Higbee dealt with the zombie apocalypse in a way that kept the tension cranked up while remaining comedic throughout. “Clarks” ended with a pop and a twist that one didn’t see coming.
Heimbuch, however, doesn’t seem to know what to do with his material once he’d laid it out. The opportunities were there, in the arguments between Bacon and Dee, for instance. The latter is obsessed with the mystical but knows his math; Bacon is pragmatic and logical but thinks Dee’s arithmetic is superstition. Together they have figured out what’s going on and might, with a flash of imagination, be able to stop the plague. Heimbuch goes a different way. The play’s grind-it-out resolution felt unworthy of its premise. 
Unless the premise is, as the title suggests, that theater in 2015 is among the walking dead of the arts. Heimbuch’s Shakespeare seems to admit as much, doubting that his work will last 100 years, insisting that his plays are “written for the amusement of my friends, not for the ages,” and dismissing the idea of reviving “Richard III” with the quip, “Some plays once done should stay dead.” It that’s the message, whether ironic or serious, it doesn’t strike with much authenticity or persuasiveness.
That said, the acting on preview night was very good, and director Tom Skore kept the visual pacing consistently intriguing. The problems with the finale were not due to the players, direction or staging but to the script. The first act of “Land of the Dead” is well worth the price of admission whether you’re a fan of Shakespeare or zombie lore or both.
There’s another reason to go. It will be your last chance to see Daniel Glen Carlgren’s impressive two-story Tudor-style set that has been used to excellent effect, with adjustments, for three consecutive plays this season, including “Twelfth Night” and “Rosencranz and Guildenstern are Dead” prior to the current show.
The playbill announces the UAA lineup for next season. The department will present the collaborative “44 Plays for 44 Presidents,” opening Oct. 2; “Marie Antoinette” by David Adimi, opening Nov. 20; Sarah Ruhl’s “Eurydice,” opening Feb. 26; and “Stalking the Bogeyman,” based on a true story by Anchorage’s David Holthouse and previously presented to good reviews in New York, opening April 1. 
“William Shakespeare’s Land of the Dead: A True and Accurate Account of the 1599 Zombie Plague” will be presented at UAA’s Mainstage Theatre at 8 p.m. Fridays-Saturdays and 3 p.m. Sundays through April 26. Tickets are available at or by calling 786-4849