Killing The Walking Dead

I remember watching The Walking Dead (TWD) when it premiered on AMC in 2010. I had spent that Halloween weekend drinking far too much at several house parties with some close friends. That Sunday (the show airs on Sundays), we sat in my kitchen and watched the inaugural show.

It was great for several reasons. For one, it was a television show that actually took place in the South (AMC enjoyed the tax credits it received from the Peach State) and didn’t present the region as our national “original sin.” Secondly, the production values were top notch – from intense gun battles to hordes of shambling dead to authentically portraying the apocalypse (in the early seasons). And, the show had a great initial cast and, more importantly, show-runner – the overrated Robert Kirkman comic book series was developed for television by the brilliant Frank Darabont, who wrote and co-wrote many of the early episodes.

Looking back on the series’ history, it makes more sense that TWD was at its height when Darabont was leading the show. Darabont had directed some great Stephen King adaptations, such as the perpetual standard-bearer of great filmmaking, The Shawshank Redemption, the normie-friendly and universally praised The Green Mile and the gut-wrenching horror cult-classic The Mist (note: don’t watch this film if you’re depressed). With Darabont at the helm, the series earned positive reviews upon release and the pilot episode received 5.3 million viewers, making it the most-watched series premiere of any AMC television series.

As with much of Hollywood and those calling the shots in the television industry, the “powers that be” were bound to fuck up a good thing. It’s only natural. These decision-makers, like game developers, struggle to repeat winning formulas – they either overthink the product (making it more diluted and worse off), cut-corners or, the final  coup de grâce, via picking their own modern poison: injecting toxic cultural Marxism, unbelievable feminism and implausible forced diversity or, finally, the “black washing” of traditionally white iconic characters (think Idris Elba portraying Roland Deschain from Stephen King’s The Dark Tower series – Elba’s film will underperform to say the least).

Take James Cameron’s Aliens for example. In my opinion, Cameron’s tense and innovative action-packed thriller is far superior to Ridley Scott’s film (Alien), an excellent film in its own right. All 20th Century Fox had to do was repeat the magic of Cameron’s landmark of a film – think about it, Colonial Marines battling xenomorphs in frenzied space combat with motion trackers, pulse rifles, nukes and one-liners – male audiences would have eaten those films up for years. Instead, Fox shit the bed with the abysmal Alien 3 and the truly horrible and unmentionable follow-ups (including Ridley Scott’s confusing and barely mediocre prequel(s)). All that loss in potential revenue and a diminishing fan base from overthinking a winning formula.

But, back to TWD. Unlike most shows and movie series though, AMC had an incredible amount of luck (which is now almost dry) that kept this ship afloat. That luck being the residual creative genius of Darabont (his character creation from page to screen being the primary source), but also the stewardship by the show’s executive producer – Gale Anne Hurd. Hurd was a producer on some phenomenal films, such as, The Terminator, Aliens, Tremors and The Ghost and the Darkness. Common theme there with those films (other than James Cameron) – they’re geared toward adventure, action and discovery – they’re essentially male films. Finally, the genre helps in its own right – it takes a tremendous number of bad calls and extensive amounts of outlandish (in an already ludicrous setting) SJW-approved plot points and characters to derail a show about savagely surviving a zombie-infested planet.

But, you give executives enough time, and they’ll ruin anything that is or was successful (i.e., Star Wars, The Terminator series, Robocop remake, remakes in general, etc.).

Darabont was the show’s leader for only the first season and half of the second. After his termination and the dust settled, it was determined that he was fired due to the show’s reduced budget (twice as many episodes for 20% less of a budget) and his poor relationship with the AMC executives. If he was still in charge of the show, it’s unlikely every other character would be a black, mulatto, stronk wymyn or queer (like it is now). A man that successful gets it – no one buys the premise that a 130lbs black-as-midnight woman with a katana can effortlessly slice the heads off scores of zombies without collapsing from exhaustion. It’s more ludicrous than actual zombies sacking Atlanta.

Now, before we go any further, close your eyes and picture in your mind the last negro woman you saw in public. I’m thinking of the severely obese black woman in a plush purple jumpsuit, through laborious and heavy breathing she’s muttering orders to the dead-eyed Exon cashier for some scratchers and lotto tickets. That’s reality, not TWD‘s female protagonist and the main lead’s, (((Andrew Lincoln))), vomit-inducing love interest pictured below:


Let’s be honest here, the AMC talent scouts seemed to have picked the ugliest and darkest black actress they could find to play Rick Grime’s (newish) girlfriend. I shiver every time they kiss on the show (they do more than that also, if you have the stomach to watch it). But, c’mon, it’s a Jewish actor LARPYing as a small-town Georgia cop – this is fantasy world.

With Darabont, we got a season and a half of groundbreaking television, with memorable characters (Merle Dixon being one of my favorites), great dialogue and a worthy and *believable* plot. This continued with the remainder of Season 2 (with most of Darabont’s vision still utilized) and even continued through Season 3 and mid-way in Season 4.

What makes a good story isn’t the hero. It never is – that’s boring and uninteresting. The villain makes or breaks a story. TWD’s greatest addition to their once-stellar line-up of characters and actors was The Governor, played by David Morrissey. Charming, one of the most aesthetic and fascist characters on modern television and brutal, he made a great foil to the show’s hero, Rick Grimes.

10/10 Aesthetics

We got a full season of the show’s greatest villain and, probably, the best episodes of the entire series.

It all made sense and probably could have been dragged out a little longer before it was destroyed by the executives and replaced with tiresome filler, forgettable antagonists and stale plots and sub-plots (think: go to place, build place, place gets destroyed, go to place, build place, place gets destroyed, go to place, build place, place gets destroyed, etc.).

So what happened? After the series’ best antagonist and supporting characters were killed off, our band of increasingly diversified (which makes a ton of nonsense) survivors spend the rest of the season recovering and on the lamb. I don’t remember much of the season after they killed off Morrissey’s character and their titanic struggle to finish him.

Afterwards, our heroes run into a bunch of hipster cannibals, which would have been an interesting premise, but a former battered housewife killed an entire army of them in one episode and ended the last provocative storyline. It was about at this point when new leadership took charge of the show (executive producer Scott M. Gimple) and creeping cultural Marxism came to the forefront.

Like an egomaniac female cop that controlled a fortified hospital in downtown Atlanta. Naturally, a woman was in charge of the surviving and battle tough law enforcement. It’s laughable even in a zombie wasteland. The closest we come to a TWD universe in real life is Africa – they’ve got actual cannibals, but they usually chow down on albinos for their “muh magical healing properties.” I don’t see any female warlords on the Dark Continent.

But now what do we have surviving the zombie apocalypse? In TWD it’s mostly women, homosexuals and blacks – sprinkle in a few foolish whites, who get killed rather easily and mill around in the background. But, the core group of survivors (the heroes anyway), are all diversity hires.

This looks line the line at the DMV (on a bad day) – most of this group can’t survive paycheck to paycheck, much less a walking dead universe. Who are they kidding?


From left to right: black, black, redneck (possible homosexual), lesbian, battered housewife, cowardly nerd, black female samurai, Jewish guy, Chinaman, Jewish woman, mulatto, la-teen-oh, ginger and wimpy teenager.

Naturally, the current crop of villains seem to be exclusively white and male. They’ve got a few tokens in the wings, but nearly all of the antagonists (with speaking roles) are “fucking white males.” You’d have to be purposefully blind not to notice that the show pits Team Diversity™ vs. White Patriarchy. Or, perhaps it’s just a coincidence (I don’t really believe in them anymore) that this season’s tagline is “Rise Up” – a subtle or not so subtle jab at our God Emperor and support for the Left’s fantastical make-believe #Resistance.

Sure, “Rise Up” could be directed at the current antagonist – the underwhelming and overrated super-villain Negan (played by Jeffrey Dean Morgan). He’s not nearly as charismatic and appealing as the AMC executives and Morgan seem to think he is – his barbarity, quips and non-existent leadership are so improbable and, frankly, lame, that the non-fanboy audience (otherwise known as normal people) recognizes the character and plot arc as completely unbelievable. Although, he does have a harem of women and an army of middling IQ goons and he’s a white man with agency – so, he’s at least top of the food chain.

Chances are the “uprising” is completely geared toward this mediocre antagonist. But, no doubt shitlibs will hijack the message as some sort of vicarious crusade against Trump – like they’ve done with Harry Potter and Star Wars.

At the premier of this season, 17 million viewers tuned in to watch the show on October 23, 2016. Five episodes later, 6 million viewers stopped watching. Bad is an understatement. AMC’s stock closed 2016 at $52.34 – a 30% loss over the course of 2016.

Many blame the decline on the gore – that’s complete bullshit. Game of Thrones is chock full of decapitations, rape, castration, etc. and they’re one of the most popular shows on television. Others blame its longevity or killing off popular characters. No one seems to blame the ratings decline on the improbability of blacks, women and queers (and a few token (((whites)))) killing thousands of zombies without much of a sweat, while the majority of whites, specifically males, seem to either be conniving cowards or bloodthirsty warlords.

This show went from golden to garbage in a few short years. If you need your zombie fix, watch the earlier episodes or Romero’s Dawn of the Dead.


  1. This is happening in TV and movies. I work as a BackGround (BG) actor aka “extra” in film and television in New York City. On all the shows, the principle (main actors with speaking lines) actors are all jews who are white. If they are non-jews who are whites, they are cast as the bad people. TV and film, since it’s jewish-controlled, always puts blacks in unrealistic positions of power, such as a black lady in charge of the NYC police department. This would never happen in real life. Or a black guy in charge of a tech firm. This would never happen either. For the police department, it would be a white guy. For the tech firm, it would be an Indian or a Russian or Ukrainian. And they constantly put whites and blacks together to play couples. And they also request people to play gay couples. They push race mixing and the gay agenda, and always portray whites as the criminals or racists, when the reality is that blacks, although they are 13% of the population, are 90% of the violent criminals. And they never portray the truth of black on white violence, and illegal immigrant on white violence. TV and film are total bullshit because both enterprises are run by jews who hate white people.