DID YOU READ

Zombies as a metaphor: a discussion on the undead in popular culture

Zombies as a metaphor: a discussion on the undead in popular culture (photo)

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“Traveling in a fried-out combi/ On a hippie trail, head full of zombie.” – Men at Work, “Down Under”

I have, like everyone, been thinking about zombies in pop culture. Let’s face facts: we live in a golden age of zombie. What is the most successful show on GetGlue? “The Walking Dead.” Further, the 24/7 web site actually estimates that the zombie genre is worth over $5 billion to the U.S. economy.

It’s a zombie world and we are just trying to survive the slow advance of the famished hordes. There’s more. Zombie mash-ups are reinvigorating classics. Zombies, everywhere, are on the march. Zombies are even, if you believe it, taking over the economy (figuratively, of course). Things have gotten so zombie out there — and there really is no other way to describe it — that the Centers for Disease Control’s “Preparedness 101: Zombie Apocalypse” blog post this past spring crashed their site.

“There are all kinds of emergencies out there that we can prepare for,” read the offending blog post. “Take a zombie apocalypse for example…. You may laugh now, but when it happens you’ll be happy you read this, and hey, maybe you’ll even learn a thing or two about how to prepare for a real emergency.”

Zombie as metaphor! For some reason – our national debt, perhaps? – the idea of an impending zombie apocalypse is the zeitgeist, and our popular culture just cannot seem to get enough. What is the meaning of this thusness?

With vampires, the glamour is obvious. Vamps are sexy, forever young and, quite frankly, built to withstand a robust nightlife for eternity. They are objects of both envy and geek lust. But zombies, with their spasmodic jerks and tortured, rigor-mortise twists as well as, one cannot fail to note, their hugely unfashionable state of decomposition, exude tragic unhipness. And I don’t mean that in a good way. Zombies, let’s face it, are the geeks of the monster world. If vampires are the undead, then zombies are the uncoordinated. And yet…zombie chic persists. How does one account for it?

There’s just something about zombies. Zombie determination to get at our brain matter is, well, commendable; their slow-and-steady-wins-the-race persistence is the stuff of the American dream. But let’s get serious. Just as “The Blob” was the perfect Cold War allegory, zombies specifically speak to our time. Zombies, with their deficit of life, mirror an economy of debt. Zombies, in their grunting aimlessness absent decent eating material, parallel the amount of Americans who believe we are rudderless. Decline is in the air, a sense of imperial overreach in Afghanistan (“the graveyard of empires”) and in competition with the rising nations.

If there is a relationship between the national disequilibrium post-Watergate and the popularity of “The Exorcist” in the 70s (and I believe there is), then perhaps today zombies represent indebtedness and unemployment. Our national debt and our unemployment– steady at about 9% — are not entirely unlike a metaphoric economic zombie infection. That might account as to why the zombie genre has gained such traction in the last few years, in books, in movies and on TV. Something rings true. If only the $5 billion that the zombie genre generates plug the $14 trillion hole we have dug ourselves in. That would be totally zombie.

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Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

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It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

car notes note

This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

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Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

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This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

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Dark Arts

Foot Fetish Jesus And Other Nightmares

Meet the minds behind Comedy Crib's latest series, Quirks and The Mirror.

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The Mirror and Quirks are really, really strange. Deeply disturbing yet hauntingly beautiful. But you really don’t need to read a synopsis of either of the aforementioned shows to understand the exact variety of nightmare-bonkers comedy these shows deliver — that’s why the good lord made links. Instead, take a peek behind the curtain and meet the creators.

Quirks

Let’s start with Kevin Tosi. Kevin does the whole show by himself. That doesn’t mean he’s a loner — Kevin has a day job with actual humans. But that day job is copywriting. So it’s only natural that his suppressed demons would manifest themselves in biting cartoon form, including “Foot Fetish Jesus”, in ways that somehow speak to all of us. If only all copywriters channeled their inner f*ckedupness into such…expressive art.

The Mirror

Onward to the folks at Wham City Comedy.

These guys aren’t your typical comedy collective in that their work is way more left-field and even elevated than your standard digital short. More funny weird than funny ha-ha. They’ve done collaborations with musicians like Beach House, Dan Deacon & Wye Oak, television networks (obviously), and others. Yeah they get paid, but their motivation feels deeper. Darker. Most of them are video artists, and that explains a lot.

See more of The Mirror and Quirks on IFC.com and the IFC app.

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