'Zom 100' Critiques Predatory Capitalism
Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.

1780: When farmer Schmitzdorff in Wust, Brandenburg, is denied permission to marry his stepdaughter Sophie, he goes to Potsdam to obtain permission from the king himself. Because when he believes he is in the right, the proud man stubbornly insists on his opinion. But his stubbornness gets the better of him when he meets the dashing Wordelmann, Frederick II's personal grenadier, in an inn on the way. The latter sees the farmer as a welcome distraction from his otherwise dreary everyday life. Wordelmann tricks Schmitzdorff at his expense and pretends to be allowed to perform the wedding because of his military affiliation. And so the grenadier ends up organizing a wedding that isn't a wedding and takes the dastardly prank to the extreme until everyone involved has lost their laughter.
Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.
The live-action remake of the classic Disney film based on a wooden puppet is finally here.
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It’s easy to dismiss Joel and Ethan Coen for writing from the world they build from outside the box of overarching Hollywood stereotypes, but their inability to compromise their collective vision is precisely what makes the simplistic nature of their world-building and characters so brilliant. It’s also what led Fargo to collect seven Oscar nominations and two wins for Best Original Screenplay and Best Actress for Frances McDormand’s brilliant portrayal of the sincere, motherly detective whose wholesome demeanor seizes the day over the selfishness, corruption and evil of the men who don’t comprehend that there’s more to life than a little money.
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