(Based on a true story when I fell asleep watching this film and woke up on the couch as the movie looped around endlessly with the director commentary on. I was alone at the time, though.)

Did you know that one day DC universe director Zack Snyder directed a Dawn of the Dead remake written by one day Marvel Universe director James Gunn that was released in 2004? It was actually pretty good! I did have a quibble or two about the consistency of a few of the rules governing the undead but overall by far, it was a fun time and really well put together.

 

(On that note, check out our benignly informative and only occasionally updated Twitter account here!)

 

A special standout was the opening sequence where civilization abruptly collapses and the opening sequence scored to Johnny Cash’s “The Man Comes Around” which you can see here.

 

What’s interesting is that apparently the film as originally put together just ended with the survivors sailing away. However, test audiences also apparently wanted to see what happened to them which led to a series of film sequences interspersed with the credits which does smack of being assembled after the event and I think ultimately raises even more questions than it answers.

 

Even more infuriatingly, there never ended up being a follow up movie, unfortunately. Though the latest word (and there have been many) is something which may or may not be directly connected to the 2004 film for Netflix this year with Zack back at the helm this time as opposed to the previous projects that failed to lift off. The man comes around again indeed. I guess we’ll see soon enough.

 

Anyway, towards the end of the credits sequence and the intercut scenes, I was like “Hang on, did they just randomly throw up a scene of two girls kissing for no particular reason at the end there?”.

 

 

… Where was I going with all this? I do remember working my way towards some sort of a point …

 

Oh yes, right. On the one hand, your vision shouldn’t be so grim and dark and impenetrable that the audience isn’t there for it but at the same time, you shouldn’t go too far in the other direction and give in too much to what a vocal segment of your audience might say they want even though it might be superficially attractive because it just might not make narrative sense and even might be the most unlikely and impossible of eventualities given the narrative to that point so far. By all means be flexible and innovative but know where you have to draw your narrative red lines in the sand and everyone will be all the better for it.

 

Glad we cleared that up then. See you next week as the main story resumes with Princess Peonie and … that guy she’s dating. Phi, I believe his name was? Unless we’re foreshadowing something …

Art by Marshall Reeves of Yesterday Bound. Yet again in what’s a bit of a trend by now, Sean Harrington of Spying With Lana did not contribute to this image even though it must be said he’s been known to visit this particular theme on occasion.