Scarlet also goes digital along the way, and there are the inevitable media tussles between editorial and advertising. Kat, who is biracial, is Scarlet’s social media director, and at one point scolds her two white friends for misappropriating the word “woke”.īetween what’s happening in their own lives and what’s being covered in the magazine, the show sharply covers subjects ranging from gender and identity, the Me Too movement, workplace power dynamics, body image, sexuality, ambition and social media difficulties. Sutton is a fashion assistant aspiring to be a stylist. Jane is a writer favouring telling stories through her personal experiences. Carlyle is pretty bold, as are the three twentysomething employees who are best pals – Jane, Sutton and Kat. Its editor, Jacqueline Carlyle, is based on Cosmo’s former editor Joanna Coles (notice the initials?), who is the show’s executive producer. The New York-located Scarlet magazine of The Bold Type is based on the glossy flagship Cosmopolitan. Kingdom is available on Netflix THE BOLD TYPE But, quite frankly, there’s a lot to be said for that too. They never quite institute a functioning test-and-trace system, largely relying on the old-fashioned “stick a sword through the zombie’s head” method of disease repression. It ultimately pans out more like a tense adventure story than a nihilistic gorefest (thought it’s also a bit of a gorefest) as its likeable heroes battle both zombie armies and malevolent courtiers while trying to find a cure. Unlike almost all of the more westerly zombie apocalypses, it focuses less on individualistic survival against a backdrop of societal anarchy (which is the main US mode for zombie stories) and more on logical plague containment and a concern with the collective good. This sickness at the top of society spreads through the land alongside a pre-existing plague of corruption and famine that appal our virtuous heroes – a noble prince (Ju Ji-hoon) and a lowly physician ( Bae Doona).īut Kingdom also comes with more optimism than is usual in this genre. Its zombie plague has its origins in a zombified ruler puppetted by a family of power-hungry lackeys. Like all good zombie art, Kingdom has a potent metaphor at its core. Unlike the Covid pandemic, this is one in which frustrations with a virus can be relieved by stabbing someone through the head with a sword.ĭawn of the Dead was about consumerism Zombie by the Cranberries was about Northern Ireland The Walking Dead was about unrelenting boredom (I assume).
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The visually stunning Korean zombie series from writer Kim Eun-hee and director Kim Seong-hun tells the story of an infectious outbreak during the Joseon Dynasty. Kingdom was my household’s escape from Covid for a while last year. What was the series that you binged during lockdown? From zombies to racing cars to robots battling monsters our writers reveal their pandemic bingeing KINGDOM
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