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What do you call the dead who come back not to feast, but to finish what life wouldn’t let them complete? We dive into We Bury The Dead and unravel a story that swaps infection rules for ritual, jump scares for the slow press of guilt, and tidy answers for unnerving questions.
We start with the spark: an experimental U.S. blast off Tasmania that isn’t nuclear but still shatters a city and scrambles what returns. From there, we track Ava’s mission to find her missing husband, and how that search doubles as penance for an affair the film reveals in patient, telling details—the ring on a sink, a face on a badge, a line that lands harder once you think about it. Along the way, we wrestle with the creatures themselves. Are they zombies, ghouls, or something new? The film’s language of “aggravated” rather than “aggressive” sends us down a rabbit hole on behavior, unfinished business, and why some bodies lunge while others just… resume. If Dawn of the Dead critiqued consumption, this story stares at closure, or the lack of it, and dares us to sit with the ache.
Craft gets its due. We praise a visceral blast sequence that sells the wrongness in a single wave, while dinging the copy‑paste look of burning-city VFX. Sound becomes the stealth antagonist—teeth clacks and grinding that gnaw at your nerves and split our panel between admiration and absolute aversion. And yes, we talk performances. Daisy Ridley grounds Ava with a presence that never yanks us out of the frame, proving that “invisible acting” can be the strongest kind when a movie trades spectacle for slow-burn dread. The military thread teases cover‑ups without filing a report, the lore resists neat codex rules, and the ambiguity either invites you in or leaves you cold. We argue both sides, and that friction might be the point.
If you crave clean zombie math, you may bristle. If you’re open to a genre piece that retools the undead into mirrors for grief, guilt, and compulsion, you’ll find ideas worth chewing on—no pun intended. Hit play, then tell us: zombie, ghoul, or a new breed entirely? Subscribe, share with a horror‑loving friend, and drop your take in a review so we can feature it next week.
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By Will You Survive... The Podcast
4.4
1414 ratings
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What do you call the dead who come back not to feast, but to finish what life wouldn’t let them complete? We dive into We Bury The Dead and unravel a story that swaps infection rules for ritual, jump scares for the slow press of guilt, and tidy answers for unnerving questions.
We start with the spark: an experimental U.S. blast off Tasmania that isn’t nuclear but still shatters a city and scrambles what returns. From there, we track Ava’s mission to find her missing husband, and how that search doubles as penance for an affair the film reveals in patient, telling details—the ring on a sink, a face on a badge, a line that lands harder once you think about it. Along the way, we wrestle with the creatures themselves. Are they zombies, ghouls, or something new? The film’s language of “aggravated” rather than “aggressive” sends us down a rabbit hole on behavior, unfinished business, and why some bodies lunge while others just… resume. If Dawn of the Dead critiqued consumption, this story stares at closure, or the lack of it, and dares us to sit with the ache.
Craft gets its due. We praise a visceral blast sequence that sells the wrongness in a single wave, while dinging the copy‑paste look of burning-city VFX. Sound becomes the stealth antagonist—teeth clacks and grinding that gnaw at your nerves and split our panel between admiration and absolute aversion. And yes, we talk performances. Daisy Ridley grounds Ava with a presence that never yanks us out of the frame, proving that “invisible acting” can be the strongest kind when a movie trades spectacle for slow-burn dread. The military thread teases cover‑ups without filing a report, the lore resists neat codex rules, and the ambiguity either invites you in or leaves you cold. We argue both sides, and that friction might be the point.
If you crave clean zombie math, you may bristle. If you’re open to a genre piece that retools the undead into mirrors for grief, guilt, and compulsion, you’ll find ideas worth chewing on—no pun intended. Hit play, then tell us: zombie, ghoul, or a new breed entirely? Subscribe, share with a horror‑loving friend, and drop your take in a review so we can feature it next week.