ABSTRACT
Marcuse argued that subversive visions of a better reality can emerge from “low” as well as “high” culture, from within as well as outside the repressive apparatus. This article leverages Marcuse’s aesthetic theory to consider whether the enormously popular AMC cable series, The Walking Dead, might be considered emancipatory art. Set in a post-neoliberal America suffering through a zombie apocalypse, the dark, existential themes and urgent political ambivalences of this series reflect collective yearnings, tensions, and fissures in the current social reality worth attending to. I argue that The Walking Dead does have emancipatory potential, in that it addresses “depth dimension” concerns that occupied Marcuse; reflects disillusionment with core aspects of American neoliberalism; and reaches for less repressive, more life-affirming, alternative political visions. Time will tell if the show will sustain such visions or surrender to the status quo.
