Five minutes into “Ghost Rider: Spirit of Vengeance” (2011), it’s clear that this is a better movie than “Ghost Rider” (2007). A great car-and-motorcycle chase through the hills of Eastern Europe (where the film is shot) ends with Moreau (Idris Elba, doing a Marvel twofer that year with “Thor”) flying through the air over the side of a cliff, but delivering bullets to the enemy’s tires while falling to his apparent demise.
In my past posts about “The Walking Dead,” I’ve analyzed how some communities stand as metaphors for forms of government – Woodbury as a fascist state, Terminus as a communist state, the Hospital as an autocratic state, and so forth. I may have jumped the gun, though, because now I think the show serves as an examination of how any modern civilized, organized society (as we know it) forms from the roots up. If modern civilization in 2016 can be boiled down to humanity’s ongoing struggle to find a balance between killing for the sake of security versus not killing because all life has value, “The Walking Dead” is a beautiful, stripped-down metaphor for this struggle.