Pop Culture Happy Hour - Episode: "28 Years Later And What's Making Us Happy"
Release Date: June 20, 2025
Introduction
In this episode of NPR's Pop Culture Happy Hour, host Glenn Weldon delves into the much-anticipated apocalyptic horror film "28 Years Later." Joined by NPR Producer Mark Rivers and Jordan Cruciola, the trio explores the film's narrative, thematic depth, and its standing within the evolving zombie genre.
"28 Years Later" Overview
Mark Rivers kicks off the discussion by providing a comprehensive synopsis of "28 Years Later," the sequel to the 2002 cult classic "28 Days Later." The film, directed by Danny Boyle and written by Alex Garland, is set nearly three decades post-outbreak. It introduces a world where the infected have evolved, presenting new threats and complexities.
"In that movie, a deadly virus transformed the citizens of England into rabid, blood-spewing creatures... The new film picks up almost three decades later..."
— Mark Rivers [00:20]
The film stars Jodie Comer, Aaron Taylor Johnson, and Ralph Fiennes, and follows the journey of Jamie (Johnson) and his young son Spike (Alfie Williams) as they navigate a perilous expedition to the mainland in search of a cure for Spike's mother's illness.
Initial Impressions: Jordan Cruciola
Jordan Cruciola shares her enthusiasm and initial expectations upon viewing the film:
"This first trailer that they put out for this was so incredibly good that I was like, this better be the movie of the year..."
— Jordan Cruciola [02:19]
She was emotionally invested, experiencing moments of stress and even crying during the film, highlighting its powerful impact.
Diverging Opinions on Execution
Despite the high praise for the trailer, Jordan expresses mixed feelings about the film's execution:
"I did not have fun with this movie. I cried at multiple instances. Oh, wow. I was stressed out for the entire duration."
— Jordan Cruciola [03:06]
Mark acknowledges the film's auteur and indie qualities but points out structural disjointedness and inconsistent threat levels that diminish its horror effectiveness:
"The threat level felt like it was pretty arbitrary. It was sliding around from scene to scene, moment to moment."
— Mark Rivers [05:00]
Cinematic Techniques and Storytelling
The conversation shifts to the film's technical aspects. Jordan criticizes the use of various cinematic devices that disrupt immersion:
"It was a punch in the face. It was erratic and destabilizing in a way."
— Jordan Cruciola [06:46]
Mark appreciates the film's referential visuals and lyrical moments but feels these elements contribute to a disjointed narrative structure.
"There are visual callbacks to films like Night of the Hunter again and again... the act breaks are so clearly distinct from one another."
— Mark Rivers [05:00]
Character Dynamics: Father and Son
A focal point of the discussion is the father-son relationship between Jamie and Spike. Mark lauds Alfie Williams' performance and the depth it brings to the narrative:
"The son in this film realizes that his father starts playing fast and loose with the truth."
— Mark Rivers [09:39]
Conversely, Jordan expresses reservations about Spike's character development, feeling it lacked conviction.
Jodie Comer’s Performance and Thematic Depth
Jordan highlights Jodie Comer's portrayal of Isla, emphasizing the emotional layers she adds:
"The role that Isla assumes as Caretaker and the way that her mind is fracturing... really liked the two of them together."
— Jordan Cruciola [10:13]
This dynamic deepens the film's exploration of familial bonds amidst chaos.
Trilogy Setup and Narrative Closure
Mark critiques the film's ending, which serves as an epilogue for a planned trilogy, leaving the story open-ended:
"It feels like a cliffhanger before the next episode in a series. It cuts off in the middle of a chapter."
— Mark Rivers [12:04]
Jordan concurs, expressing that the film struggles to stand alone without relying on future installments:
"I think they have selectively drilled down on little bits because you want to blow out the world wider over the course of a three film project."
— Jordan Cruciola [13:04]
This setup, while ambitious, leaves some feeling unsatisfied with the current installment's closure.
Evolution of the Zombie Genre
Jordan reflects on the film's release within the context of contemporary zombie narratives:
"Zombie content was pretty dormant... it revolutionized that kind of material through the speedy feral zombies and really kickstarted this kind of renaissance we've had."
— Jordan Cruciola [14:37]
She discusses the pressure on creators like Boyle and Garland to innovate within a saturated market, leading to the film's busier yet potentially overcomplicated approach.
Conclusion of Main Discussion
As the conversation wraps, Mark acknowledges the film's distinctiveness despite differing opinions:
"I think we should give it props for being more idiosyncratic and distinctive."
— Mark Rivers [16:44]
Both hosts recognize the film's strengths and shortcomings, providing a nuanced perspective on its place in modern cinema.
What is Making Us Happy This Week
Glenn Weldon transitions to the beloved segment, "What is Making Us Happy This Week," where guests share their current sources of joy.
Jordan Cruciola: A Nostalgic Return to "The L Word: Original Recipe"
Jordan expresses delight in revisiting the original incarnation of "The L Word," celebrating its role as a groundbreaking queer series:
"This is so cheesy. It is so ham-fisted and over the top and it is an absolute delight."
— Jordan Cruciola [18:52]
She recommends streaming it on Paramount Plus, emphasizing its cultural significance and nostalgic value.
Mark Rivers: The Criterion Channel’s Vietnam War Series
Mark shares his appreciation for a curated series on the Criterion Channel commemorating the Vietnam War's 50th anniversary:
"One of them that I watched that really blew me away was 1976's The Little Girl of Hanoi."
— Mark Rivers [20:16]
He highlights the film's tender portrayal of war-torn Hanoi through a child's perspective, offering a refreshing alternative to mainstream war narratives.
Mark Rivers: "Top Chef" Season Finale
Additionally, Mark praises the latest season of "Top Chef," particularly the finale set in Milan, lauding its balance between culinary artistry and meaningful social commentary:
"Tristan Epps... noticed something about the painting The Last Supper."
— Mark Rivers [20:27]
He commends the finale for addressing racial representation in fine dining, available on Peacock.
Closing Remarks
The episode concludes with gratitude towards guests and production team, while teasing future discussions.
"Thank you for listening to Pop Culture Happy Hour from NPR. I'm Glenn Weldon and we'll see you all next week."
— Glenn Weldon [23:27]
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