Popular Culture Review 30.2
“ homiletic Tao ” that they touch upon the show ’ s enduring charm : “[ O ] ne can read the various narratives described in this chapter as forming an overall homily , an unseen order regarding the role of religion in a place of penitence : to find oneself is more important than finding God ” ( 89 ). And yes , it ’ s surprising to learn just how much religious content runs throughout this incredibly popular Netflix show produced by a secular Hollywood for a demographically diverse audience .
The resurrection of the dead is inherently biblical , and the biggest zombie TV show in the history of popular culture seems an ideal vehicle for addressing the nexus of religion , horror , and politics . In “ Redefining Religious Boundaries in AMC ’ s The Walking Dead ,” Valenzano and Engstrom zero in on a pair of unforgettable episodes�the season 2 opener (“ What Lies Ahead ”), followed by episode 5 of season 3 (“ Four Walls and a Roof ”). In the case of “ Four Walls ,” the authors succeed in establishing an overlooked comparison to biblical film epics . Here , Rick Grimes , a former police officer turned apocalypse-survivor and the show ’ s main protagonist , transforms into a vigilante to machete-slash a group of cannibals ( living humans who eat murdered flesh , unlike zombies who consume the living ) led by a character named Gareth , the similarities are interesting to ponder . As Valenzano and Engstrom observe :
Indeed , as Rick kills Gareth , his bearded and grizzled appearance and the violent way he continues to strike the evildoer evokes an image of a vengeful prophet ( one may recall the scenes from Hollywood films such as the 1956 Cecil B . DeMille classic The Ten Commandments , for example , when in a rage , Moses throws down
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