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[Review] Netflix’s “Kingdom” Makes for a Must-Watch Contribution to the Zombie Genre

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The zombie genre has long needed some revitalization in creativity, and Netflix’s “Kingdom might be the answer to our undead needs. Directed by Kim Seong-hun and written by Kim Eun-hee, “Kingdom” is a South Korean zombie TV show and a fascinating horror gem. The show is an adaptation of the webcomic series, The Kingdom of the Gods (also authored by Kim Eun-hee), and it’s been streaming on Netflix as of late last month.

A historical period piece, “Kingdom” takes place in Korea’s medieval Joseon period. Taking the lead in the story is the Crown Prince Yi-Chang, who finds himself in the middle of a political conspiracy after his father is taken ill; that is until we realize there’s more going on with the father. Eventually, the Prince becomes aware of the zombie virus and works with neighboring villages to keep the outbreak from spreading.

The Prince is a character who reveals more layers of intrigue over time, making him a strong protagonist. Each conflict that comes by the Prince pushes him to become a wiser leader; as the viewer, these moments of leadership allow us to further connect and root for him. Other than the Prince, the majority of the cast does a superb job adding to the show’s dramatic, and sometimes, comedic moments. The small bits of humor that do pop up help to bring some ease throughout an otherwise grim story.

One of the show’s most interesting qualities is its setting; other than stunning set pieces, taking place in medieval Korea offers fascinating dynamics in survival. There’s a greater sense of tension due to the lack of technology and societal conveniences. When a village has to move by foot, tugging carts full of supplies, it becomes nerve-racking to watch people try and run from hordes of zombies.

The violence itself is brutally satisfying; the first episode does a great job introducing us to our main cast, ending on a terrifying note and going full throttle for the next five episodes. Over time we see the cast learn how to combat the zombies, presenting epic moments of samurai swords slashing away and decapitating the undead. There’s an interesting catch with the zombies that I will not spoil, but it is a logic that works well for the pacing of the narrative.

At the core of “Kingdom,” however, is a story of class struggle; equally as intense as the show’s horror is that of the social commentary at work. We learn that the Prince’s father has married a young woman of another clan, and upon becoming ill, that clan begins advancing their control over the country. Throughout the show, we witness multiple examples of how well the wealthy live, along with the horrific conditions the poor must endure. Whereas the wealthy have access to food such as meat, the poor have to drink water from the same place they go to the bathroom. There’s a moment where an entire village has to leave due to a zombie threat, but only has access to one boat; the noblemen take the boat for themselves, seeing their lives as more important than those they deem beneath them.

“Kingdom” does a superb job presenting a socially conscious horror story. The poor are trapped in a hierarchy of power; as the wealthy and royal prosper, the poor are left to struggle – the use of the undead represents a country desperate for survival, even if it means eating one another. In the midst of this social discourse, the Prince makes for a compelling character, being one of royalty and wanting to help those less fortunate.

“Kingdom” is by far one of the most compelling works to come out of the zombie genre. Through its style and handling of themes, the series proves there is still plenty of room for creative zombie stories. As a six-episode long season, the ending leaves viewers on an intense cliffhanger that’ll get them hungry for season two. Thanks to strong acting, gripping action and drama, gruesome visuals, and an overall powerful narrative, “Kingdom” is a must watch for horror fans.

Michael Pementel is a pop culture critic at Bloody Disgusting, primarily covering video games and anime. He writes about music for other publications, and is the creator of Bloody Disgusting's "Anime Horrors" column.

Books

‘In Search of Darkness’ Book Review: A Must-Have for ’80s Horror Fans

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In 2019, the documentary of 80s horror In Search of Darkness became an instant hit with horror fans. Now, a beautiful coffee table style companion book is available and is a must-own for all fans of one of horror’s greatest eras. The book is a walk down the horror aisle of the best mom and pop video store in the heyday of VHS, featuring full color photos, poster art, insightful essays and more. More than just a nostalgic throwback, In Search of Darkness is the kind of book I wish I’d had back in my years as a burgeoning horror fan but is also satisfying for the film fanatic I have become in the years since.

The format is beautifully and simply laid out, with at least a dozen (usually more) movies from each year of the decade presented in order of release accompanied by informative and insightful essays by the authors Heather Wixson and Patrick Bromley. Both authors have been mainstays of film journalism, specializing in horror, for many years. Wixson began her career in 2007 with Dread Central and has spent the past ten years as the Managing Editor of Daily Dead, from which she recently retired to focus on books and other projects. She has devoted the past several years to interviewing and writing books about the Make-up and Special Effects wizards that have brought so much to film over the years, specifically the horror genre.

Bromley is a film journalist and critic whose work can be found all over the place including right here on Bloody Disgusting. He recently provided the commentary for the Vinegar Syndrome release of The Texas Chainsaw Massacre 2 and is known as something of a Tobe Hooper expert. He is also the founder and editor of F this Movie!, an eclectic film website, and host of its accompanying podcast. So, to be clear, the authors know their stuff.

Wixson and Bromley divide writing duties roughly in half and though each has a distinctive voice, their writing styles dovetail beautifully into a cohesive whole. Each author plays to their strengths. Being familiar with both their work I didn’t even have to look at the bylines to know that Heather covered Christine and Terror in the Aisles and Patrick took on The Funhouse and Hollywood Chainsaw Hookers. Wixson’s passion for make-up effects is clear and comes through in many of her contributions. In general, Wixson takes on the “big” titles, the movies that defined the decade the most, and Bromley covers what the more cynical among us might call schlock, but he would likely call pure cinematic bliss. There are exceptions and surprises, of course, as there should be (Patrick covers The Shining for example). Each essay dives into the history behind the film, the major players involved, the reception, and legacy with often surprising aspects drawn from interviews with the filmmakers from various sources and insights from the authors.

For all their in-depth explorations of each film, in general the authors keep their critics’ hats safely stowed, keeping in mind that every entry on the book has its fans. In fact, they may well have sold me on finally hitting play on some of the schlockier offerings of the decade like Evilspeak, Nightbeast, and Blood Diner. Hell, I may even give The Beast Within a spin for shits and giggles. The point is that this book is a celebration through and through. The authors are honest about the critical receptions of the films, which were often unkind, and sometimes let their own opinions shine through, but recognize how beloved even the schlockiest films can become given time and availability. And that is an ongoing theme of In Search of Darkness. What may have been dismissed in its day often becomes revered as the years pass. Variations on the phrase “the years have been kind to…” referring to various maligned projects like The Thing, Halloween III: Season of the Witch, The Blob and many, many others, can be found throughout the book for good reason.

Each chapter of the book also includes a rundown of the top horror movies at the box office for the year as well as the top movies of all genres for context. The final page for each year highlights some of the major news and pop culture events including the top songs, albums, and television shows. There is a large central section that pays tribute to the talent involved with the greatest horror films of the 80s including directors, actors, effects artists, and more. This section includes brief biographies of John Carpenter, Wes Craven, Stephen King, Tom Savini, Barbara Crampton, Robert Englund, and many others presented in a dynamic and engaging fashion.

One of the beauties of the book is that it covers so much ground. Sure, you’ll find Friday the 13th, A Nightmare on Elm Street, Hellraiser, and the Halloween sequels in it, but you’ll also find deeper cuts like The Changeling, The Being, and Tetsuo: The Iron Man. I was happy to find the same love given to Frank Henenlotter and Larry Cohen as to George A. Romero and David Cronenberg. In other words, In Search of Darkness is extraordinarily eclectic, highlighting the diversity that truly defined what is often viewed as a homogenous decade. The authors make the case that the 80s was horror’s greatest decade, and with what they lay out throughout this book, it’s tough to argue against that. I even came across a film or two I hadn’t even heard of before, which has become increasingly rare as the years go by.

At just shy of $85, the cover price may give some horror hounds pause, but believe me, it’s worth every penny. This is a beautiful volume that every fan of 80s horror will want on their shelf or prominently displayed on their coffee table. Filled with favorite titles, hundreds of full color photos, insightful and informative writing, this is simply a must own.

You can order your copy now.

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