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Show Notes
Main Topic: George Romero, specifically The Crazies (1973) and Martin (1977). Imposter syndrome. Critical distance. Ground Zero artist. Chutzpah. Often great without being good. Actors. Casting. Race in Night of the Living Dead. The Shield. Changing dialogue. Moving on to The Crazies. First the 2010 version. Justified. Crazies as a thematic sequel. Gun control. Vietnam in Pennsylvania. Survivalist Armageddon. Representations of the military. Hero entrance. Spark of genius. Ableist title. Oversignification. Adaptation of an art film. Irrationalism as overarching theme. Immune survivor. The love triange. Father/daughter rape scene. Cozy horror iconography. Incestuous. Parallel narratives. Gas masks. Back to the Future. Trapped in a gym. Bleak George. Nuclear cynicism. Personal malice. The poison isn't the bacterium. Subversive art. Romero the hippie. Romero and the moneychangers. Moving on to Martin. One long rape scene. Censorship. Kit's history with Martin. Toxic masculinity. Sympathetic murderer/rapist. "Involuntary celibates." Amplas and vulnerability. Ducking syndrome. Romantic vampire myth. "The Moffat Effect." Unreliable. Are the murders real? Dreamlike. Fantasy seduction. Misogynist men. Dehumanization. Butchery. Adult material on developing brains. Porn and existentialism. "How bad can human nature get?" Intimate. Black and white sequences. Innocent versus good. Coming to adulthood. Understanding the ending. The one he didn't do. Sleeping teenagers. Virtuoso middle. Stumbling Daniel. Walkie-talkie. Guillotine. "Fuck the New Atheists." Ambiguity. The priest portrayed by George Romero. Impurity and the mark of the outsider. Reinforcing stereotypes and The Bad Seed. Monsters as postmodern construct. Wrapping Up.
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