The irony of the Zombie genre is that it cannot be killed; films come and go, decades go by, remakes occur, the audience has a insatiable thirst for braaaaains. There seems to be a market for practically any zombie related item (Z Nation anyone), but it is difficult to put a unique twist on the topic in such a saturated market.
What if, a zombie uprising wasn’t the end of the world, but the beginning of a new one? In the Flesh tells of a time in Britain several years after the “Pale Wars” during which a cure was discovered for the reanimated dead to restore them to normality, psychologically at least. After rehabilitation, Partially Deceased Syndrome (PDS) sufferers are now being sent back out into society, requiring daily injections of a serum to keep their rapid tendencies at bay. This serum, along with some heavy makeup and contact lenses to conceal their deteriorated appearance being all they are left with as they are thrown back into society, one which is not so receptive to their reintegration.
Dominic Mitchell’s story focuses on Kieren Walker (Luke Newberry), a teenager who was one of the first to rise from the grave. Rousing in a government facility, he is informed as to his new status and what is required of him before he is turned over to his parents. His home town Roarton was the epicenter of a resistance movement during the “Pale Wars”; a Governmnet ill-equipped to deal with the Zombie menace led to local people forming militias which became formally recognized as the Human Volunteer Force (HVF). Many squads still operate seeking out stragglers who have not yet been detained and treated. Kieren was an outsider even before his death, a young gay man in a rural town, now returning to a life subjected to horrific flashbacks of his time as a zombie also having to deal with those who resent the PDS sufferers for their actions.
Kieren’s life is further complicated by his relationship with his parents and notably his sister, who enrolled in the HVF after his death. Both strive to come to terms with what they did during the Pale Wars as well as with each other. The setting is a small community, where hate festers and resentment is rife. A town once united against this threat now finds it living amongst them, albeit in a neutered state. Wives return to husbands, children to their parents, some conceal their true nature while others revel in it. Some have resentment as their loved ones did not return. The remnants of the HVF led by para-militarist Bill Macy (Steve Evets) are a particularly divisive force in the town, exacerbated by the Old-Testament invoking Vicar Oddie (Kenneth Cranham). Resentment not only at the “rotters”, a derogatory term aimed at the survivors, but also the Government, whose failed leadership led to the public taking matters into their own hands. As Kieren struggles to fit in, he reunites with Amy (Emily Bevan in fine form) as a “out and proud” PDS sufferer, shunning the makeup and contacts, making Kieren think about his own approach to living (again). Other “survivors” return, loyalties are questions and perspectives turned. The town and society as a whole is a hive of grief and loss with constant reminders about both being present.
In the Flesh plays out as well as any conventional drama would tackling the subject matter of intolerance. It can be a little “on the nose” with its social commentary but for its ingenuity that can be overlooked. It avoids the comedic and instead plunges into a rather tragic, poignant tale. The intensity of hatred and resentment is incredibly well realized. There are subplots looking at other facets of this new society, it fleshes out a world where the aftermath of the zombie outbreak is very much evident, who knew there would be such a big demand for Zombie sex workers? It is well paced and very focused, only three episodes in the first season and six in the second, the latter expanding the show effectively. As the show develops, it explores other themes and plotlines. One looks at a member of Parliament trying to identify “Subject Zero” in the uprising. Another invokes something of a religious undertone with a portion of the PDS sufferers coming to believe they are superior to the living, some wanting to deprive themselves of their legally mandated medication whilst other believe a second “rising” is imminent. Again, leading to massive antagonization of the general populace. So far the show has explored these themes well and set up some longer term plotlines; it is a world rich for more storytelling opportunities.
In the Flesh uses the zombie theme to push the commentary on racism and intolerance further than has been seen in other iterations of the genre. In this age where religious intolerance and misunderstanding is more pronounced then ever before, it is a timely reflection on these issues. Dry black humor, a bleak setting and some outstanding performances make for a interesting take on the perils of self-delusion and prejudice. Very much worth a look if you want a smarter piece of zombie fare with brains as well as heart.
Season 1 and Season 2 of In the Flesh are both available NOW from BBC America.
