Who's Walking and Who's Dead in Mid-Season 8 of The Walking Dead

"The Walking Dead" ((C) AMC Network Entertainment LLC. All Rights Reserved)

Based on a comic book series by the same name, The Walking Dead  is one of today's most popular TV shows. The post-apocalyptic zombie horror follows sheriff's deputy Rick Grimes (Andrew Lincoln) who navigates the world with the team of survivors that he leads. 

They're not only challenged with surviving the zombies, referred to as "walkers", but also other survivor groups who oppose them. Oftentimes, these opposing survivor groups prove to be more lethal than the walkers, resulting in Rick and his survivor groups to turn to any means necessary to ensure their safety and survival.

⏩ Since its premiere in 2010, the series has had one of the largest viewership of modern day TV shows and has received extremely positive reviews from fans and critics. It has also been nominated for several awards including the Golden Globe for Best Television Series and Best New Series from the Writers Guild of America.

Marking from the season 8 mid-season premiere, there has been a death toll of over 250 characters across the span of the show. These include both side characters and supporting characters. It could be a lot to keep up with, especially for those who might just be getting into the show. 

Here's a quick list of the important characters that are left walking and those that are dead for the mid-season of season 8:

➧ Who's Walking?

1. Rick Grimes - It's hard to imagine The Walking Dead without its main lead character and everybody' favorite deputy, Rick. He's survived a lot including being stabbed and shot, proving that he's definitely a tough one to take down.

2. Daryl Dixon - This archer and tracker is a definite fan favorite. His death would mean chaos in The Walking Dead community and for good reason too. Daryl has survived many dangerous situations and fans hope he keeps doing so.

3. Morgan Jones - Morgan, who reappeared in season 3, joined the survivors in the fifth season. The last known survivor of the Jones family, this former soldier proved to be a helpful ally and friend to both Rick and Daryl.

4. Carol Peletier - Also the last surviving member of her family, Carol has grown from a housewife to a killer weapon-wielding survivor. A very close ally of Daryl and advisor of Rick, Carol's strength and survival instincts help keep her and people around her alive.

5. Maggie Rhee - Hershel's only daughter Maggie and widow of Glenn, Maggie has risen to become one of the strongest leaders in The Walking Dead.  She is currently the leader of the Hilltop Colony and co-leads the Militia along with Rick, Ezekiel, and Cyndie.

6. Michonne - Sword-wielding fighter Michonne has become Rick's right-hand woman. After the death of her boyfriend and toddler, Michonne has proven to be a valuable ally who won't go down without a fight.

Other side characters still alive and kicking include Tara Chambler, Eugene Porter, Rosita, Gabriel Stokes, Aaron, Jesus, Enid, Dwight and King Ezekiel. Opposing Rick's group, Gregory, Simon, Jadis, and Negan are still kicking as well.

A Walking Dead walker. (Image via LoupDargent.info)

➧ Who's Dead?

While the death count of The Walking Dead is astronomical for any TV show, here are some of the most recent and central deaths in the show from mid-season 8. For those who have not yet caught up with the mid-season finale, this is a huge spoiler warning.

1. Morales - It was revealed he former member of Rick's group was taken in by the Saviors and converted into one of them when he holds Rick at gunpoint in season 8's second episode. Unfortunately, he finds his death at the hands of Daryl's crossbow.

2. Eric Raleigh - In a heartbreaking death during the attack on the Saviors, Aaron's boyfriend found himself shot in the abdomen. Sadly, Aaron was unable to save him, making Eric one of the earliest deaths in season 8.

3. The Saviors - The losses on the Saviors' side were heavy this season, being the target of the walkers, Alexandria, Hilltop, and the Kingdom. While not wiped out, a good number of them have definitely been killed.

4. Gunther - Killed by Jerry's Ax, Gunther was eventually executed while trying to bring Ezekiel back to the Sanctuary.

5. Shiva - Loyal pet to Ezekiel, Shiva proved her loyalty by protecting the King from a horde of walkers. Unfortunately, the tiger failed to escape them.

6. Carl - Arguably one of the most shocking and important deaths of not only season 8, but of the series as a whole, the death of Rick's son shook the entire Walking Dead fan base. Carl, who fans have watched since the series premiere, has been a mainstay until he was bitten by a walker in the eighth season.

SOURCE: FOX+

"The Walking Dead" Season 8 - Trailer:





More Zombies Related Stories 

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A Guide To Different Zombies in Pop Culture

A Walking Dead walker. (c) 2017 AMC Film Holdings LLC. All Rights Reserved.

A Walking Dead walker. (c) 2017 AMC Film Holdings LLC. All Rights Reserved.

For the past decade, the world has been entranced with the idea of zombies. From books to video games to TV, fans everywhere can't get enough.

The origins of the word 'zombie', according to the English Oxford Dictionary, come from West Africa. It's compared to the words 'zumbi', meaning 'fetish', and 'nzambi', meaning 'god'. The first recorded modern use of the word was by the poet Robert Southey in 1819, where he used it as 'zombi'.

It took a few decades for zombies to become mainstream -- the first known introduction of the zombie to popular media being the 1932 movie, White Zombie,which was inspired by Haitian myth involving voodoo. Since then, the living dead have come a long way, with it becoming difficult to keep up with all the zombie-related media cropping up. Of course, there are fan favorite standouts such as the Resident Evil franchise, Night of the Living Dead, and The Walking Dead series.

With all the love that zombies have been getting in pop culture, we've seen more and more kinds of them crop up. 

Zombies! (image via LoupDargent.info)

⏩ Here's a basic guide to the different kind of zombies you may encounter in popular media:

1. Voodoo Zombies

These zombies are the earliest known versions of the modern horror staple. These are essentially bodies that have been reanimated by some sort of spell or voodoo by either priests or necromancers. Unlike the modern zombie, they didn't eat human flesh but were used to do the bidding of their masters or as an incredibly frightening army. 

Voodoo zombies can be seen in relatively early films like White Zombie or I Walked with a Zombie.

2. The Romero Zombie AKA the "Walkers"

The father of probably the most classic and popular zombie concept is writer-director George Romero, who created the idea of the slow moving, groaning, flesh-eating monsters we all know and love. 

His 1968 film Night of the Living Dead and 1978 film Dawn of the Dead propelled zombies into mainstream media.  Since then, his concept of the zombie has been a template for future zombie-creators to follow, be inspired by, and deviate from -- the following zombies on this list not being too far from his original ideas. 

Today, the most popular home of the slow zombie is in the hit TV show, The Walking Dead.

3. The Runners

If Romero zombies are slow moving shufflers, runners (as the name implies) are zombies who will sprint to attack their victims. These make them incredibly more threatening and terrifying. Another slight difference from the slow zombies is that while slow zombies usually work and attack in hordes, it's no uncommon for runners to break away from the pack in order to attack. 

Runners can be seen in World War Z, Dawn of the Dead, and the video game Left 4 Dead.

4. The Crawlers

While this could be considered a sub-type of zombie, it's worth noting simply because not all zombies can turn into crawlers. Crawlers are essentially zombies that have lost their lower appendages and will instead crawl with their arms towards their victims, innards spilling galore. They're usually depicted as low-profile but also incredibly important to keep an eye on. 

One of the most iconic portrayals of a crawler is in the premiere of The Walking Dead.

5. Zombies with Special Skills

Writers in recent years have gotten creative with the idea of the zombie, which resulted in giving them horrifying yet entertaining power-ups. 

While the variations are almost endless, the more common ones we see are screaming zombies (allowing them to attract their co-corpses), puking zombies (whose vomit can hurt and or infect), bursting zombies (who at one touch, could burst and infect), and armored or tank zombies (who have super strength and are impervious to regular attacks).

‘Lucille’, the baseball bat of the Walking Dead villain Negan (Image via LoupDargent.info)

This list covers the only the basics of zombie categories, so there is a whole world of variations and permutations to be seen out there. These include infection type, intellect levels, and origin. But no matter what variant the zombie may be, one thing is for sure: zombies are a staple in some of the world's most beloved media. 

⏩ You can now get your fill of zombies with The Walking Dead on FOX+.

SOURCE: FOX+

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Blumhouse's Truth Or Dare: Unrated Director's Cut Available Soon On Digital, Blu-Ray And DVD

From Universal Pictures Home Entertainment: Blumhouse's Truth or Dare: Unrated Directors Cut

Blumhouse returns with another edge-of-your-seat horror movie with BLUMHOUSE'S TRUTH OR DARE.

Now with even more gore and intensity BLUMHOUSE'S TRUTH OR DARE: UNRATED DIRECTOR'S CUT arrives on Digital and the all-new digital movie app MOVIES ANYWHERE on July 3, 2018 and on Blu-ray, DVD and On Demand on July 17, 2018, from Universal Pictures Home Entertainment.

When a group of friends set out to enjoy their final spring break together, a harmless game of "Truth or Dare" turns deadly when someone—or something—begins to punish those who tell a lie—or refuse the dare. 

The children's game will never be the same after fans dare to watch the never before seen Unrated Director's Cut.

Lucy Hale ("Pretty Little Liars") and Tyler Posey ("Teen Wolf") lead the cast of friends who work together to try and end the terrifying game that follows them home in BLUMHOUSE'S TRUTH OR DARE. 

Produced by Jason Blum (Get Out, Split) and directed and executive produced by Jeff Wadlow (Kick-Ass 2) the horror-thriller follows co-stars Violett Beane ("The Flash"), Nolan Gerard Funk (Counterpart), Hayden Szeto (The Edge of Seventeen) and Sophia Taylor Ali (Famous in Love) as they all have their turn in choosing – Truth or Dare?

"Sorry, we can't come to the phone right now, we're literally tied up..." (Still from 'Truth or Dare')

BONUS FEATURES on BLU-RAY and DVD:

• Game On: The Making of Truth or Dare – Go behind the scenes with the cast and crew.
• Directing the Deaths – An inside look at the most memorable death scenes.
• Feature Commentary with Director Jeff Wadlow and Actress Lucy Hale

⏩ Blumhouse's Truth or Dare will be available on Blu-ray combo pack which includes Blu-ray, DVD and Digital, and Movies Anywhere.

FILMMAKERS: 

Cast: Lucy Hale, Tyler Posey, Violett Beane, Hayden Szeto, Landon Liboiron
Casting By: Terri Taylor, C.S.A, Sarah Domeier, C.S.A
Music By: Matthew Margeson
Costume Designer: Lisa Norcia
Edited By: Sean Albertson A.C.E
Production Designer: Melanie Paizis-Jones
Director of Photography: Jaques Jouffret
Executive Producers: Jeff Wadlow, Chris Roach, Jeanette Volturno, Couper Samuelson
Produced By: Jason Blum
Story By: Michael Reisz
Screenplay By: Michael Reisz, Jillian Jacobs, Chris Roach, Jeff Wadlow
Directed By: Jeff Wadlow

TECHNICAL INFORMATION BLU-RAY: 

Street Date: July 17, 2017
Copyright: 2018 Universal Pictures Home Entertainment
Selection Number: 61195902 (US) / 61195904 (CDN)
Layers: BD-50
Aspect Ratio: Widescreen 16:9 2.35.1
Rating: Rated PG-13 for violence and disturbing content, alcohol abuse, some sexuality, language and thematic material
Languages/Subtitles: English SDH, French Canadian and Latin American Spanish Subtitles
Sound: English DTS-HD Master Audio 5.1/ Dolby Digital 2.0, Spanish and French DTS Digital Surround 5.1
Run Time: 1 Hour, 39 minutes

TECHNICAL INFORMATION DVD: 

Street Date: July 17, 2017

Copyright: 2018 Universal Pictures Home Entertainment
Selection Number: 61195905 (US) / 61195901 (CDN)
Layers: DVD 9
Aspect Ratio: Anamorphic Widescreen 16:9 2.35:1
Rating: Rated PG-13 for violence and disturbing content, alcohol abuse, some sexuality, language and thematic material
Languages/Subtitles: English SDH, French Canadian and Latin American Spanish Subtitles
Sound: English Dolby Digital 5.1/ Dolby Digital 2.0, Spanish and French Dolby Digital 5.1
Run Time: 1 Hour, 39 Minutes

THE MOVIE'S TRAILER:

SOURCE: Universal Pictures Home Entertainment

The Australian Zombie Horror 'Cargo' Is Burdened By Its Own Gravitas

In Cargo, Martin Freeman plays Andy, a man who has to kill his wife after she turns into a zombie and travels across country with baby daughter Rosie on his back. (Addictive Pictures, Causeway Films, Head Gear Films)

Since the 1970s, some of the best horror films have been made in Australia. Something about the vastness of the continent, and its geographical remoteness from the northern and western hemispheres, lends itself to the kind of existential explorations of alienation that underpin the best examples of this genre.

Peter Weir’s The Cars That Ate Paris (1974) remains one of the great horror comedies, viciously lampooning small-town Australian life. Russell Mulcahy’s Razorback (1984) fully embraces the surreal-gothic potential of the Australian landscape, and the intense terror of Wolf Creek (2005) must have caused at least a few backpackers to reconsider their trips here.

But only one zombie film of note springs to mind, the Spierig Brothers’ brilliantly inventive Undead (2003). Ben Howling and Yolanda Ramke’s recent Cargo, released in Australian cinemas and to Netflix today, is another one. Whereas the Spierig Brothers approached the genre with energy and mirth, Cargo is a much more sombre affair, favouring dramatic realism and an understated visual approach over the garishness more typical of the films of the genre.

The result is mixed. The first half hour is brilliant, slowly building up tension and suspense, but once the narrative kicks into full gear, the film becomes far less satisfying. It’s not that it’s a bad film, it is moderately enjoyable, but given the renowned cast – it stars Martin Freeman, Susie Porter (excellent in a limited role) and legend of the Australian screen, David Gulpilil – and the potential of the genre in an Australian context, it could have been a lot better.

The narrative follows Andy (Freeman), a man who has to kill his wife Kay (Porter) after she turns into a zombie in the opening part of the film, as he travels across country with baby daughter Rosie on his back (his “cargo”) and befriends a teenage girl, Thoomi (Simone Landers). His wife bites him before he dies, so he knows he has only 48 hours remaining as a human, after which he will become one of the intestine eaters (there is an appropriately gross amount of blood and guts in this).

His mission, in his remaining time as a human, is to get Rosie to the group of Aboriginal people to whom Thoomi is also returning. This group have returned to a “traditional” way of living off the land, and are best equipped to repel the zombies. They are presided over by cleverman Daku (Gulpilil), who appears from time to time looking ghostly and saying little. There’s a touch of the noble savage myth about this whole subplot, and the images of blackfella magic are frequently accompanied by mystical-sounding music.

The most interesting encounters in the film are between Andy and Toomi and the several brain-eaters that populate the Australia of the future, but, unfortunately, these are few and far between. Instead, the action is driven by their encounters with several stock Australian film characters.

There’s the ethereal-woman in the outback, Lorraine, who seems too delicate to live in such an environment (played by Caren Pistorius in a wooden performance). There’s tough-as-nails Etta (Kris McQuade), an outback school teacher with a heart of gold. And there’s delusional tyrant Vic (played by Anthony Hayes, in a one-note and stilted performance) who is preparing to control Australia’s natural resources once order is restored. He gets his kicks doing really bad things like kidnapping Indigenous people and keeping them locked in cages in order to attract zombies who he then massacres for sport.

Caren Pistorius as the ethereal-woman in the outback, Lorraine. (Addictive Pictures, Causeway Films, Head Gear Films)

These are cliches, indeed, but this shouldn’t matter for this kind of genre film. And yet, with Cargo it does. Because it seems to be straining so hard for a sense of gravitas (built through its dramatic verisimilitude and realist style), these cliches become terribly visible and disrupt the viewer’s pleasure. It’s like the filmmakers have deliberately not embraced the ludicrous potential of the subject matter and there is thus an uncomfortable tension between its sombre tone, the absurdity of its premise, and the flatness of its cliched narrative.

The American zombie film, emerging in its contemporary form with the George Romero films beginning with Night of the Living Dead (1968) is generally considered a critique of consumerism in the post-Vietnam era, and the most interesting element of Cargo is its attempt to reimagine the genre in an Australian context that reflects anxieties about the land and its destruction.

The film features scenes, for example, of abandoned fracking sites, and the fact that the whole thing becomes a kind of battle between a power-hungry mining type and Indigenous people could have provided grounds for incisive social and political commentary. But the treatment is unnecessarily sentimental, and it doesn’t feel like there’s any genuine emotional potency by the end. Even the sweeping panoramic shots of the Australian landscape feel contrived and unimpressive, almost like stock drone footage taken from an online tourist commercial.

Alas, Cargo seems like a made-for-Netflix movie – it makes sense, in this context, that it is premiering on Netflix – watchable but also forgettable, after its dazzling opening third. It was developed, furthermore, from a short film that went viral, and like a lot of films made from shorts (or from Saturday Night Live sketches), it feels like it lacks the legs to sustain the length of a feature.

Cargo is worth watching, particularly for fans of horror cinema, but its aesthetic will be best served, I suspect, by the small screen.

About Today's Contributor:
Ari Mattes, Lecturer in Media Studies, University of Notre Dame Australia

This article was originally published on The Conversation

STX Entertainment, Tencent Pictures And Free Association Join Forces On 'Zombie Brother' Feature Film

"Zombie Brother" - graphic (image via Variety.com)

STX Entertainment, Robert Simonds' next-generation media company, Tencent Pictures, the fast-expanding film and television arm of China'sinternet and social media giant Tencent, and Channing Tatum, Reid Carolin and Peter Kiernan's Free Association production company announce a partnership to co-produce a film adaptation of the mega-hit "Zombie Brother," the top title on Tencent's digital comics and animation platform. 

⏩ Since 2011, the digital comic book has garnered more than 17 billion views over 348 episodes, and its animated series has attracted more than 3.7 billion views across its first two seasons. The franchise has also been adapted into a mobile game and a popular stage play. The stage play has had a record-breaking run of sold out shows across the region.

"Since its inception, STX Entertainment has been committed to producing, marketing and distributing universally resonant content across all platforms, with a particular focus on bridging the U.S. and Chinese markets," said Adam Fogelson, Chairman of STXfilms, a division of STX Entertainment. "As an early investor in STX, Tencent has been a strong strategic partner and we're honored to be collaborators in bringing its most valuable IP to new audiences around the world. With Tencent Pictures' awesome ecosystem of entertainment channels and Free Association's creative acumen, we think there is no end to the storytelling opportunities of this franchise." 

"We are thrilled to be joining forces with STX Entertainment on one of Tencent Animation and Comics' excellent properties, 'Zombie Brother.' It has been an incredible pleasure to explore new possibilities with STX. Teamed alongside our gifted producers at Free Association, we look forward to bringing 'Zombie Brother' as a uniquely fun and fresh film for the enjoyment of audiences everywhere," said Edward Cheng, Vice President of Tencent and CEO of Tencent Pictures.

"We've long been inspired by STX's commitment to high quality storytelling that authentically speaks to audiences on both sides of the Pacific. We couldn't imagine better partners as we continue to work with Edward, Howard and the wonderful Tencent team on this beloved property. It's a pleasure to welcome them to the 'Zombie Brother' party," said Peter Kiernan of Free Association.

STX Entertainment Logo (PRNewsfoto/STX Entertainment)

⏩STXfilms will distribute the film domestically and Tencent Pictures will distribute in China. Channing Tatum, Reid Carolin, Peter Kiernan and Michael Parets will produce for Free Association, and Edward Cheng, Howard Chen, and Conor Zorn will produce for Tencent Pictures. STXfilms' Chairman Adam Fogelson and head of production Sam Brown will oversee the film for the studio. 

SOURCE: STX Entertainment

BITE SIZE HORROR To Premiere At Cannes International Series Festival

BITE SIZE HORROR

BITE SIZE HORROR is a series of scares. Each 2 minute episode, is a stand-alone short horror film. ALL CITY Chief Content Officer, Tony Sella and Executive Vice President, David Worthen Brooks, created these disturbing films for Halloween season by teaming with innovative up-and-coming directors, such as Don't Go Down to Wildor – Ben Franklin & Anthony Melton; Floor 9.5 – Toby Meakins; Gregory– John William Ross; Live Bait – Andrew Laurich; Mondays – Michael Thelin; Monstagram – Jerome Sable; The Replacement – Chris Leone; The Road – Jack Bishop & Justin Nijm; Salt – Rob Savage; and Scaring Grandma – Chris Leone.

The cinematic collaborations are presented in genre bending and terrifying 2 minute shorts.  The BITE SIZE HORROR films are a festival of fright that explore every facet of human fear, from "Psychological Thriller" to "Horror Comedy" and everything in between, these slices of scare are guaranteed to put even the bravest viewers on edge. 

⏩ The 10 two minute shorts will be screened at Cannes International Series Festival.

The Bite Size Horror Videos:

BITE SIZE HORROR was created by Fox Networks Group's integrated agency All City– Chief Content Officer (All City) Tony Sella and Executive Vice President (All City) David Worthen Brooks, + Fox Digital Studio producers Arbi Pedrossian, and Steven Johnson. 

⏩ This festival of frights has premiered online as well as on the FOX broadcast network and FX.

Bite Size Horror

About ALL CITY 21st Century Fox:

All City is a creative content studio designed to develop and produce entertainment and branded content for major brands amplified with the platforms of Fox Networks Group, which includes FOX, FX, Fox Sports and National Geographic and media platforms including Hulu, iTunes, Netflix and Amazon.  Established as a joint venture with 21st Century Fox, All City has revolutionized branded content by cultivating story-based partnerships with top brands such as Mars Candy, T-Mobile, Verizon, Walmart, USAA and NASA. Recognized for their work by top tier festivals such as Cannes, Sundance and South by Southwest, All City brings networks and brands together at the creator's table to design entertainment for the future of media. 

SOURCE: ALL CITY 21st Century Fox

Makers of Indie Film "Hex" -- a Satisfying, Surprising Mix of Horror and Skydiving -- Launch Indiegogo Campaign to Fund Post-Production

"Hex" - Poster

Filming has wrapped on the new indie horror film "Hex," and now the producers are seeking community support to complete post-production and bring the pulse-pounding adventure to audiences everywhere. The team hopes to raise $53,000 via an Indiegogo campaign; the crowdfunding effort has already raised a significant portion of that amount, and with a month left in the campaign, Producer Bethany Baptiste is confident it will reach its target. More information about the film, including a trailer and special message from the film's co-directors, is available at hex-movie.com/index.html.

"The talent, creativity, dedication and passion of this amazing cast and crew have carried us a long way," says Producer Joey Box, whose 30-year career includes stunt work on blockbusters like "Oblivion," "Star Trek" and "I Am Legend," among others. "Now, we're looking to film lovers everywhere to help us realize our dream. The entire team is sincerely thankful for all contributions to our campaign."

"Hex" is a unique addition to the horror genre, combining skydiving action with chilling horror themes. The film follows protagonist Sarah, played by Kayla Adams, as she and five fellow skydivers execute a taboo aerial formation. What happens next defies explanation: Sarah witnesses an inexplicable disappearance during the dive, and the team soon find themselves haunted and fighting for their lives against an unseen, mysterious force. They quickly discover that nothing is what it seems, and the viewer is carried right along with them on the wild ride.

The idea for a film merging horror and skydiving came naturally to the crew, who collectively have over 25,000 dives to their credit and a deep love of horror films. Renowned screenwriter Hans Rodionoff has previously collaborated with the likes of Guillermo del Toro, Clive Barker and John Carpenter, all revered modern masters of the horror writing craft.

Cinematographers Mike Carpenter and Lloyd Bateman brought professionalism, skill and blockbuster technology to the film. During the filming of each pulse-pounding dive, Carpenter employed the perfect framing and camera moves to communicate the aerial action in ways never seen before. The visceral experience sets a high bar for dynamic cinematography. Every scene was also shot in splendid 4Kresolution, and one of the important post-production duties will be adding the right color grading to each frame, as well as creating the necessary visual effects.

"Our post-production team is ready to go," says Co-director Chris Johnston, "and your contribution will help us complete the visual effects, sound design and color grading — these are some of the necessary finishing touches to what we know is a great film. This production has been an incredible journey for Co-director Andy Malchiodi and I, and we're enormously grateful for any support the community can give us. Even if you can't afford to donate money, you can help up tremendously by sharing this campaign on social media."

Makers of Indie Film “Hex” — a Satisfying, Surprising Mix of Horror and Skydiving — Launch Indiegogo Campaign to Fund Post-Production

⏩ Perks for supporters of the "Hex" crowdfunding campaign start at $15, at which level supporters will see their name listed on the website's "Wall of Fame." For a contribution of $30, campaign backers will also receive a digital poster and digital download of the film; the premier is slated for summer 2018. A Hex fanny pack made of parachute material and a "mystery gift" will greet anyone who contributes $125 to the campaign. At the highest contribution level of $10,000, backers will be credited as executive producers and enjoy a plethora of exciting perks.

SOURCE: Hex

The Trailer:

Stephen King's Classic Bestseller PET SEMATARY Available For The First Time As An Unabridged Audiobook, Read By Michael C. Hall

PET SEMATARY audiobook by Stephen King, read by Michael C. Hall

Award-winning actor Michael C. Hall will narrate the first ever unabridged recording of Stephen King's PET SEMATARY. Simon & Schuster Audio will publish the classic on March 27, 2018, on both CD and download.

"Readers have been asking for this audiobook for a very long time," said King. "I know the listening experience will be worth the wait with Michael as narrator."

⏩ Hall currently appears as President John F. Kennedy in The Crown on Netflix, and most recently completed Safe, an eight-part thriller for Netflix and Canal Plus. 

His recent work on stage includes "Lazarus," by David Bowie and Enda Walsh, "Hedwig and the Angry Inch" by John Cameron Mitchell and Stephen Trask, and "The Realistic Joneses" by Will Eno. 

Hall is also known for his Golden Globe and Screen Actors Guild-winning performances as the titular character "Dexter" in the popular Showtime series (2006-2013) and mortician "David Fisher" in Six Feet Under on HBO (2001-2005). 

⏩ His recent film credits include Christine and Cold In July.

"We're thrilled to finally bring PET SEMATARY to King's audiobook fans," said Chris Lynch, President & Publisher of Simon & Schuster Audio. "Michael C. Hall is a perfect match for this timeless story, which has long deserved an unabridged production."

"An instant fan-favorite and #1 bestseller when it was originally published in print in 1983, PET SEMATARY follows Dr. Louis Creed as he takes a new job and moves his family to the idyllic and rural town of Ludlow, Maine. Despite the town's seeming tranquility, there is an undercurrent of danger from just beyond a graveyard where generations of children have buried their beloved pets. A blood-chilling truth is hidden there—one more terrifying than death itself, and hideously more powerful. An ominous fate befalls anyone who dares tamper with this forbidden place, as Louis is about to discover for himself."

SOURCE: Simon & Schuster

Bonus Videos:

"Stranger Things" and Neon Cinematography

⏩ The following is the translation of an article originally published in French. If you would like to read this article in its glorious original version (with all its own pics, links, video-clips included,) just scroll down and you will find it just below the translated one... 

Enjoy this bi-lingual journey👍
Loup Dargent

Stranger Things 2 - Eleven Fanart (via DeviantArt)

Begun in 2016, the Stranger Things series is the surprise hit of the Netflix platform. Oscillating work between fantasy, science fiction and slice of life - the name of these drawer intrigues focusing on the everyday lives of characters living in the same place like Twin Peaks - the series of Matt and Ross Duffer pays tribute to the popular culture of the 1980s by resuscitating some of his past glories such as Winona Ryder (Beetlejuice), Sean Astin (the Goonies) or Matthew Modine (Full Metal Jacket).

In its second season, the series is more ambitious in terms of intrigues and themes but also more referential to the era of his diegetic universe. Yet for many years now, many works have challenged themselves to resurrect the 80s with much tribute but also subterfuges sometimes easy. How then can a series like Stranger Things happen almost after the battle and embark on such a venture without necessarily falling into the pitfalls inherent in our time?

The 1980s seen by the years 2000 and 2010  
It is no coincidence that we are talking about the decade of American media, art and cultural overproduction as "Reagan years". The fortieth president of the United States, former actor, is the very symbol of this excess whose color specters still haunt the minds when we pronounce the fateful expression of the 80s. From furious clips of Cyndi Lauper to Steven Spielberg's adventure films to the escapades of the various rockstars of the time, this maelstrom of popular culture is an inexhaustible reservoir for anyone who today would like to represent these ten orgiastic years. At the moment Denis Villeneuve finally offers a sequel to Blade Runner and where those who made the luster of these years disappear gradually, like George Michael or David Bowie, a series like Stranger Things comes at the right time, offering a different vision of the clichés ginned in recent years in different media artistic.

Because the 80s and 80s are often used. The ingredients often used to define an "eighties" atmosphere are generally reduced to colored lighting, music synthesizer, some standards of the time and obsolete gadgets like huge mobile phones, shoes that blink or the hilarious walkman.

Mike and Eleven (via DeviantArt) 

Do we want to represent the real 80s? What did the films of the day leave us in memory of? Or simply a fantasy version of this decade seen by current artists? Implied who did not know the 80s? For a work, whatever the period of which it speaks, says more about that of its production. David Sandberg's short film Kung Fury is the perfect example: released in 2015, this pastiche of 80s action and sci-fi movies uses the extreme of what we call the "Neon cinematography", representing the Reagan years by misusing its motives, even its clichés. With an avalanche of digital effects, Kung Fury do not deceive and the Canada Dry effect is inevitable: it smells of the 80s, it tastes of the 80s, but it is not the 80s, simply an imitation by the year 2010. It does not remove anything that the film remains a true homage not to the cinema of the time but more to the arcade games like Streets of Rage or Double Dragon.

Other audiovisual productions have abandoned digital effects - a real anachronism for the 80's purists - to focus on other elements. Even if the ever-present neon are almost every David Leitch's Atomic Blonde sequence or Owen Harris's "San Junipero" TV movie, fourth episode of Black Mirror season 3 , this is another process that is used to that the spectator feels immediately transported thirty years back: the music.

If the synthesizer instrument-totem of the decade is actually present, it is often the additional tracks taken here and there in various compilations that feed the general atmosphere of these two works: "Atomic Blonde" opens on "Blue Monday" by New wave band New Order and concludes with "Under Pressure" by David Bowie and Freddie Mercury, while "San Junipero" is "Heaven Is a Place on Earth" by Belinda Carlisle. All these reasons so 80s working diegetic placing these works in a particular context: the fall of the Berlin Wall for the film Leitch and a nostalgic utopia populated by nightclubs and arcades, places to neon obviously, for the episode of Black Mirror.

MAD MAX - Stranger Things (via DeviantArt)

Light, color, frenzied rhythms: everything borders on the spatio-temporal journey to the Reagan years. Yet this decade rich in mass cultural successes can be represented much less frontally, more referenced and ultimately much more faithful to reality.

The 80s as at the time  
For Stranger Things, the Duffer brothers and their directors are going to appeal more to the process of happy few, these references resonating with attentive viewers feeling both nostalgic and rewarded for recognizing them: a looser club reminiscent of Stephen King's It released in 1986, these kids going on an adventure on bikes like in The Goonies by Richard Donner in 1985 or the presence of Sean Astin in the cast of season 2 to support a little more the link with the previous work.

Netflix's new flagship series is a melting pot of references sometimes hidden within the narrative construction or themes sometimes openly assumed as evidenced by the episode "Trick or Treat Freak" in which the festivities of Halloween serve as a pretext for showrunners to loudly shout their love of the Ghostbusters franchise, right down to the final twist. Stranger Things does not play the card of the neon colorimetry to anchor itself in a reality fantasized by dint of clichés but prefers to pay tribute to the culture of the time which amounts, in other words, to assume its fictional dimension and to claim oneself as such. After all, except the Blade Runner from Ridley Scott and Roger Donaldson's Cocktail poster, neon lights are not so present in the 80s.

Stranger Things 2 x Ghost Busters Mashup Poster (via DeviantArt)

Like Andres Muschietti's new adaptation of It, Matt and Ross Duffer's series gives pride of place to naturalistic images, with the exception of purely science-fiction sequences, focusing more on everyday life. a small American city in 1984 between bike rides, Dungeons and Dragons evenings and tasting Eggo waffles. Everything is in the detail and not in the bidding of visual effects as is the case for the parody clip "Through the Night" Grum electro group.

Stranger Things Alternative Poster (via DeviantArt)

Everything happens at the production level, in the choice of accessories, costumes and sets, and not in post-production, with a lot of color filters and musical pieces chosen according to their place in the billboard. If some typical sounds ranging from Cyndi Lauper's "Time After Time" to The Police's "Every Breath You Take" sporadically get the characters to dance, so does Anthrax's "Trust" revival in It , Stranger Things abandon the quasi-systematic reflex of the vintage jukebox proper to productions that anchor their diegesis in a predefined time. The two creators will also admit in the second episode of the making-of series "Beyond Stranger Things" that the bulk of the musical budget of the second season focuses on the final scene of the Snowball.

Yet, although particularly naturalistic in its desire to represent, resurrect the popular culture of the 80s, Stranger Things, like the new adaptation of It, do not go to the end of his intentions. Digital is always very present, either in the sequences around the portal leading to the lair of the Mind Flayer, the representations of this creature or even the Demogorgon of the first season. In the 1980s, studio sets and animatronic puppets would have replaced this deluge of special effects generated by computers, as can still be witnessed by Joe Dante's Gremlins or ET from Steven Spielberg, these cocoon works that will soon be resurfacing on our screens as the smoke slowly rises from the cups of hot chocolate and the snow falls peacefully into the night lit by the Christmas lights. Usually neon lights.

11 (Eleven) (via DeviantArt)

« Stranger Things » et la Cinématographie des Néons

Affiche promotionnelle de « Stranger Things » saison 2 (Netflix).

Débutée en 2016, la série Stranger Things est le succès-surprise de la plateforme Netflix. Œuvre oscillant entre le fantastique, la science-fiction et le slice of life – du nom de ces intrigues à tiroir se focalisant sur le quotidien de personnages vivant dans un même lieu à l’instar de Twin Peaks – la série de Matt et Ross Duffer rend hommage à la culture populaire des années 1980 en ressuscitant notamment quelques-unes de ses gloires passées comme Winona Ryder (Beetlejuice), Sean Astin (les Goonies) ou encore Matthew Modine (Full Metal Jacket).

Dans sa deuxième saison, la série se veut plus ambitieuse en terme d’intrigues et de thématiques mais également plus référentielle concernant l’époque de son univers diégétique. Pourtant, depuis bien des années maintenant, de nombreuses œuvres se sont lancé pour défi de ressusciter la décennie 80 à grand renfort d’hommages mais aussi de subterfuges parfois faciles. Comment alors une série comme Stranger Things peut-elle arriver presque après la bataille et se lancer dans une telle entreprise sans nécessairement tomber dans les pièges inhérents à notre époque ?

Les années 1980 vues par les années 2000 et 2010
Ce n’est pas un hasard si on parle de la décennie de la surproduction médiatique, artistique et culturelle américaine comme des « années Reagan ». Le quarantième président des États-Unis, ancien acteur, est le symbole même de cette outrance dont les spectres colorés hantent encore les esprits dès lors que l’on prononce l’expression fatidique d’années 80. Des clips endiablés de Cyndi Lauper aux films d’aventure de Steven Spielberg en passant par les frasques des différentes rockstars de l’époque, ce maelström de culture populaire est un réservoir inépuisable pour quiconque voudrait aujourd’hui représenter ces dix années orgiaques. À l’heure ou Denis Villeneuve offre enfin une suite à Blade Runner et où ceux qui ont fait le lustre de ces années disparaissent progressivement, à l’instar de George Michael ou de David Bowie, une série comme Stranger Things arrive à point nommé, proposant une vision différente des poncifs égrenés ces dernières années dans les différents médias artistiques.

Car il y a années 80 et années 80. Les ingrédients souvent employés pour définir une ambiance « eighties » se réduisent généralement à des éclairages colorés, une musique au synthétiseur, quelques standards de l’époque et des gadgets désuets comme d’énormes téléphones portables, des chaussures qui clignotent ou encore l’inénarrable walkman.

Veut-on représenter les années 80 réelles ? Celles que les films de l’époque nous ont laissé en mémoire ? Ou simplement une version fantasmée de cette décennie vue par les artistes actuels ? Sous-entendu qui n’ont pas connu les années 80 ? Car une œuvre, quelle que soit l’époque dont elle parle, en dit davantage sur celle de sa production. Le court-métrage Kung Fury de David Sandberg en est le parfait exemple: sorti en 2015, ce pastiche des films et animés d’action et de science-fiction des années 80 use à l’extrême de ce que l’on désignera comme la « cinématographie des néons », soit le fait de représenter les années Reagan en abusant de ses motifs, voire de ses clichés. Avec une avalanche d’effets numériques, Kung Fury ne trompe pas et l’effet Canada Dry est inévitable: ça sent les années 80, ça a le goût des années 80, mais ça n’est pas les années 80, simplement une imitation par les années 2010. Cela n’enlève en rien que le film demeure un véritable hommage non pas au cinéma de l’époque mais davantage aux jeux d’arcade comme Streets of Rage ou encore Double Dragon.

D’autres productions audiovisuelles ont su délaisser les effets numériques – véritable anachronisme pour les puristes des 80’s – pour se focaliser sur d’autres éléments. Même si les sempiternels néons se retrouvent presque à chaque séquence d’Atomic Blonde de David Leitch ou du téléfilm « San Junipero » d’Owen Harris, quatrième épisode de la saison 3 de Black Mirror, c’est un autre procédé qui est employé pour que le spectateur se sente aussitôt transporté une trentaine d’années en arrière : la musique.

Si le synthétiseur, instrument-totem de la décennie, est effectivement présent, ce sont bien souvent les pistes additionnelles piochées çà et là dans des compilations diverses qui alimentent l’ambiance générale de ces deux œuvres : « Atomic Blonde » s’ouvre sur « Blue Monday » du groupe new wave New Order et se conclue sur « Under Pressure » de David Bowie et Freddie Mercury, tandis que l’hymne de « San Junipero » est « Heaven Is a Place on Earth » de Belinda Carlisle. Tous ces motifs so 80s travaillent à placer la diégèse de ces œuvres dans un contexte particulier : la chute du mur de Berlin pour le film de Leitch et une utopie nostalgique peuplé de discothèques et de salles d’arcade, des lieux à néons évidemment, pour l’épisode de Black Mirror.

Lumière, couleur, rythmes endiablés: tout confine au voyage spatio-temporel à destination des années Reagan. Pourtant, cette décennie riche en succès culturels de masse peut être représentée de façon bien moins frontale, plus référencée et, finalement bien plus fidèle à la réalité.

Les années 80 comme à l’époque

Black Mirror, saison 3, épisode 4 : « San Junipero » (Netflix).

Pour Stranger Things, les frères Duffer et leurs réalisateurs vont davantage faire appel au processus de happy few, ces références qui résonnent face aux téléspectateurs attentifs se sentant à la fois nostalgiques et récompensés de les reconnaître : un club des loosers rappelant celui du It de Stephen King sorti en 1986, ces gamins partant à l’aventure en vélos comme dans The Goonies de Richard Donner en 1985 ou encore la présence de Sean Astin au casting de la saison 2 pour appuyer un peu plus le lien avec l’œuvre précédente.

La nouvelle série phare de Netflix est un melting pot de références tantôt cachées au sein de la construction narrative ou des thèmes abordés tantôt ouvertement assumées comme en témoigne l’épisode « Trick or Treat Freak » dans lequel les festivités d’Halloween servent de prétexte aux showrunners pour crier haut et fort leur amour de la franchise Ghostbusters, et ce jusque dans le twist final. Stranger Things ne joue pas la carte de la colorimétrie au néon pour s’ancrer dans une réalité fantasmée à force de clichés mais préfère rendre hommage à la culture de l’époque ce qui revient, en d’autres termes, à assumer sa dimension fictionnelle et à se revendiquer comme telle. Après tout, hormis le Blade Runner de Ridley Scott et l’affiche de Cocktail de Roger Donaldson, les néons ne sont pas si présents dans les années 80.

Stranger Things, saison 2, épisode 2 : « Trick or Treat Freak » (Netflix).

À l’instar de la nouvelle adaptation de It par Andrés Muschietti, la série de Matt et Ross Duffer fait la part belle aux images naturalistes, si l’on excepte les séquences purement science-fictionnelles, s’attardant davantage sur le quotidien d’une petite ville américaine en 1984 entre balades à vélo, soirées Donjons et Dragons et dégustation de gaufres Eggo. Tout est dans le détail et non dans la surenchère d’effets visuels comme c’est le cas pour le clip parodique « Through the Night » du groupe électro Grum.

Tout se passe au niveau de la production, dans le choix des accessoires, des costumes et des décors, et non en post-production, à grand renfort de filtres de couleur et de morceaux musicaux choisis selon leur place dans le billboard. Si quelques sons typiques allant de « Time After Time » de Cyndi Lauper à « Every Breath You Take » de The Police viennent sporadiquement faire danser les personnages, tout comme la reprise de « Trust » par Anthrax dans It, Stranger Things délaisse ce réflexe quasiment systématique du juke-box vintage propre aux productions qui ancrent leur diégèse dans une époque prédéfinie. Les deux créateurs avoueront d’ailleurs dans le second épisode de la série making-of « Beyond Stranger Things » que l’essentiel du budget musical de la seconde saison se concentre sur la scène finale du Snowball.

Pourtant, bien que particulièrement naturaliste dans sa volonté de représenter, de ressusciter la culture populaire des années 80, Stranger Things, à l’instar de la nouvelle adaptation de It, ne vas pas au bout de ses intentions. Le numérique est toujours très présent, que ce soit dans les séquences aux abords du portail menant à l’antre du Mind Flayer, les représentations de cette créature ou même du Démogorgon de la première saison. Dans les années 80, des décors de studios et des marionnettes animatroniques auraient remplacé ce déluge d’effet spéciaux générés par ordinateurs, comme peuvent encore en témoigner Gremlins de Joe Dante ou encore E.T. de Steven Spielberg, ces œuvres cocons qui bientôt ressurgiront sur nos écrans alors que la fumée s’élèvera doucement des tasses de chocolat chaud et que la neige tombera paisiblement dans la nuit éclairée par les lumières de Noël. Généralement des néons.

Le duel final de la saison 1 : Eleven face au Démogorgon (Netflix). L’utilisation de stroboscopes, justifiée dans la diégèse par le clignotement des ampoules provoqué en présence du monstre, sert également à masquer les éventuels défauts plastiques de la créature en images de synthèse.

About Today's Contributor:
Guillaume Labrude, Doctorant en études culturelles, Université de Lorraine

This article was originally published on The Conversation. 

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