THE WALKING DEAD 2015 HALLOWEEN HORROR NIGHTS CUP universal studios zombies RARE

$155.73 Buy It Now or Best Offer, Click to see shipping cost, eBay Money Back Guarantee
Seller: sidewaysstairsco ✉️ (1,180) 100%, Location: Santa Ana, California, US, Ships to: US & many other countries, Item: 195233607993 THE WALKING DEAD 2015 HALLOWEEN HORROR NIGHTS CUP universal studios zombies RARE. Check out our other new & used items>>>>>HERE! (click me) FOR SALE: A Universal Studios Hollywood park exclusive souvenir HALLOWEEN HORROR NIGHTS 2015 THE WALKING DEAD SOUVENIR CUP W/ STRAW DETAILS: Slaughter your thirst on the go! Every zombie outbreak survivor needs a vessel for their water, or favorite beverage, why not an official Halloween Horror Nights tumbler? The front section of this Universal Studios Hollywood drink souvenir features a large sticker with a gruesome graphic image promoting Halloween Horror Nights 2015 and its inclusion of The Walking Dead . The image does double duty by also promoting AMC and the newest (at the time) 6th season of The Walking Dead . Made in the USA of awesome looking bright orange plastics with a contrasting black bendy straw - this travel cup is sure to stand out among the crowd. The rest of the molded plastic cup surface features heavily embossed star burst and tribal-like patterns. The neon like translucent orange color looks even better in person. Not microwave safe. Hand wash only. BPA free. Includes lid, straw, and handle! A Halloween Horror Nights/ The Walking Dead rarity! Available for purchase no where else online but here. Even after extensive research we never found another Halloween Horror Nights 2015 The Walking Dead cup like this for sale. This awesome, official Universal Studios Hollywood drink souvenir is truly a hard to find collecible. A must-have for the The Walking Dead fanatic or Halloween enthusiast and collector! For fans of The Walking Dead this Universal Studios Hollywood exclusive souvenir is to die for. Halloween and zombie enthusiasts will love it. Makes a great, unique gift! CONDITION: Like-new; excellent, pre-owned condition and unused. This souvenir drink tumbler was never put to use and it only acquired very minor storage wear. The cup and sticker label are in excellent shape. The lid has a couple light scratches that are only visible in the right light and at the right angle. The straw tip holder loop gave the straw some scratches. Please see photos. *To ensure safe delivery all items are carefully packaged before shipping out.* THANK YOU FOR LOOKING. QUESTIONS? JUST ASK. *ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO.  ALL RIGHTS RESERVED.* "Universal Parks & Resorts, also known as Universal Studios Theme Parks or solely Universal Theme Parks, is the theme park unit of NBCUniversal, a subsidiary of Comcast.[5] The company, headquartered in Orlando, Florida, operates Universal theme parks and resort properties around the world. Universal Parks & Resorts is best known for attractions and lands based on famous classic and modern pop culture properties (movies, television, literature, cartoons, comics, video games, music, etc.) from not only NBCUniversal, but also third-party companies, for all of its parks. It started as a touring attraction in the 1910s at the Universal Studios Lot in Universal City near Los Angeles, California, and in 1964 turned into a Universal Studios Hollywood theme park destination, where guests can look behind the scenes of motion pictures and television programs, produced by Universal Pictures and occasionally others, and ride the attraction based on the world's favorite feature films and television shows. The popularity of Universal Studios Hollywood had led Universal to build parks in Florida and overseas. In 2017, approximately 49,458,000 guests visited Universal Studios theme parks, making it the third-largest amusement park operator in the world.[6] It is a major competitor of Cedar Fair, Disney Parks, Experiences and Products, Six Flags, SeaWorld Parks & Entertainment, Herschend Family Entertainment, Parques Reunidos/Palace Entertainment, and Merlin Entertainments. In August 2020, a report released by Deutsche Bank revealed that Universal Orlando had surpassed Walt Disney World in total attendance in the first months after both resorts reopened during the global  This came after Universal reopened its parks in June 2020 and Walt Disney World reopened in July 2020 with capacity modifications, according to the report.... Current theme parks Universal Parks & Resorts is located in Earth Universal Studios Hollywood Universal Studios Hollywood Universal Orlando Universal Orlando Universal Studios Japan Universal Studios Japan Universal Studios Singapore Universal Studios Singapore Universal Beijing Universal Beijing Locations of Universal resorts — Red pog.svg Fully owned by NBCUniversal Green pog.svg Owned by The Genting Group, licensed from NBCUniversal Universal Studios Hollywood Main article: Universal Studios Hollywood Universal Studios Hollywood became the first Universal Studios theme park when it opened its doors on July 15, 1964, long after it was originated as a studio tour in 1915, after the Universal original founder, Carl Laemmle, opened Universal City, California near Los Angeles. In May 1993, Universal CityWalk opened outside the gates of the theme park, featuring 65 entertainment-themed restaurants, nightclubs, shops, and entertainment spots. It also contains the Cinemark Universal CityWalk Cinemas, offering 19 screens including an IMAX Theatre and stadium-style seating. Approximately 415 acres (1.7 km2) is within and around the surrounding area of Universal City, including its theme park and the film studio adjacent nearby. Universal Orlando Resort Main article: Universal Orlando Universal Orlando Resort (formerly called Universal Studios Escape) opened to the public on June 7, 1990, in Orlando, Florida, starting at Universal Studios Florida. It features themed areas and attractions based on the film industry. On May 28, 1999, Universal Orlando had expanded into a family vacation resort, with the opening of Universal's Islands of Adventure theme park, featuring various themed islands which emphasized adventures and characters embodied in the attractions. Simultaneously, Universal CityWalk was added to accommodate the guests within the resort leading to the two parks. Loews Portofino Bay Hotel at Universal Orlando hotel opened at Universal Orlando Resort in September 1999, followed by Hard Rock Hotel in December 2000, Loews Royal Pacific Resort in February 2001, Cabana Bay Beach Resort on March 31, 2014, Loews Sapphire Falls Resort on July 7, 2016, and Universal's Aventura Hotel on August 16, 2018. In 1998, Universal Orlando acquired Wet 'n Wild water park (founded in 1977 by Seaworld founder George Millay) and was the company's main water park until it closed on December 31, 2016, where it was replaced by another water park Volcano Bay, which opened on May 25, 2017. The new water park consists of 18 attractions, including slides, two lazy rivers and raft rides. It is also Universal's first park to be not be based on various famous properties. The park includes two volcano themed rides: the Ko'okiri Body Plunge, a 70-degree-angle, 125-foot water slide;[8] and the Krakatau Aqua Coaster, a canoe ride traveling among the peaks and valleys of the central volcano in the park.[9] The park also gives each visitor a wristband when they buy their ticket. The wristband allows guests to check in for rides and circumvents having to stand in line.[8] In August 2019, Universal announced its third theme park called "Epic Universe", which is to include lands and attractions based on Nintendo, Universal Monsters, and DreamWorks Animation, among others, and is scheduled to open around 2024.[10] Universal Studios Japan Main article: Universal Studios Japan After almost three years of construction, Universal Studios Japan opened on March 31, 2001, in the Konohana-ku district of Osaka, Japan, and was the first Universal Studios theme park to open outside of the U.S. It was also the first Universal theme park to operate within the Asian region. The park incorporates attractions from both Universal Orlando and Hollywood and features a CityWalk district, a shopping mall with multiple official Universal hotels and many restaurants and shops, including stores selling Universal Studios merchandise and Osaka souvenirs. The theme park occupies an area of 108 acres and is the second-most visited amusement park in Japan after its rival Tokyo Disney Resort.[11][12] Universal Studios Singapore Main article: Universal Studios Singapore Construction of the Singapore park began within Resorts World Sentosa on Sentosa, Singapore on April 19, 2008. Universal Studios Singapore was given a soft opening on March 18, 2010 and later a wide opening on May 28, 2011. It was the second Universal Studios theme park to operate on Asia and also the first in Southeast Asia. Like other Universal theme parks, it features attractions from various Universal and other studio companies' properties, including Jurassic Park, Madagascar, Shrek, The Mummy, Waterworld, Transformers, and others. The land it currently sits on is 20 hectares (49 acres) in size, which occupies the easternmost part of the 49-hectare (120-acre) Resorts World Sentosa, and is marketed as a "one-of-its-kind theme park in Asia". However, it has no Universal CityWalk District since it already has a resort shopping mall and restaurants adjacent near the park. Unlike other Universal theme parks, Universal Studios Singapore is owned by Genting Group with the licensing approval from Universal Parks & Resorts.[13] Universal Beijing Resort Main article: Universal Beijing Resort Universal Beijing Resort is the Universal resort that opened on September 20, 2021,[14][15] in Beijing, China. It will feature rides and attractions themed primarily to Universal-owned movies, TV shows, animation, and music, and as well as licensed properties from other companies (e.g. Warner Bros., etc.).[16][17] The project was announced on October 13, 2014, with more than 20 billion RMB being invested into the project. It will be jointly owned by Beijing Shouhuan Cultural Tourism Investment Co., Ltd. (BSH Investment), a consortium of four state-owned companies, and Universal Parks & Resorts.[18] Construction of Universal Studios Beijing completed in April 2021.[19] Phase 2 of Universal Beijing Resort is planned to open in 2025.[19] Steven Spielberg's relationship with Universal Parks & Resorts Director Steven Spielberg has a long-time collaboration with Universal Parks & Resorts due to his relationship with Universal Studios while working as a Universal intern staff in the late 1960s as well as the films he directed or produced for the studio, such as Jaws, E.T. the Extra-Terrestrial, Back to the Future, The Land Before Time, Jurassic Park and Schindler's List. In March 1987, Spielberg signed on to be a creative consultant for Universal theme parks when the Music Corporation of America (MCA)—then owner of Universal Studios—was planning to build its first full-fledged theme park in Orlando in an effort to compete with Walt Disney World.[20] Universal Parks Chairman and CEO Thomas L. Williams stated in regards to praising the Universal Creative team and a few popular people for the new Florida park:     Take, for example, Steven Spielberg. He was the creative consultant on our first [full] theme park, Universal Studios Florida. Steve was the guy who came up with that park’s core concept, that we were going to put our Guests in their favorite scene from their favorite film. Ride the Movies, if you will.[21] Since 1987, Spielberg has consulted on a dozen attractions, included E.T. Adventure, Jaws, Jurassic Park: The Ride, and The Amazing Adventures of Spider-Man. In exchange, he receives 2% of all park ticket revenue and a portion of park concession receipts generated by Universal theme parks in Florida, Japan, and Singapore in perpetuity, valued at up to $30 to 50 million a year; the Universal Studios Hollywood theme park in Los Angeles is not covered under the Spielberg deal.[22] The director also got the opportunity to trigger a June 2017 exit deal clause and collect a lump sum payment equal to the value of the contracts. Comcast, the current parent company of Universal, acknowledged that this payment could already be worth as much as $535 million.[23] Some analysts predicted that the one-time payment could ultimately be $1 billion.[22] The deal also prevents any film Spielberg worked as a director to go to any rival theme park but Universal;[23] the exception is the Indiana Jones movies, which Spielberg directed, but with the story entirely created, written, and held by his long-time friend George Lucas, who regularly worked with Walt Disney Parks, Experiences and Consumer Products as their creative consultant for attractions like Star Tours, Captain EO, Indiana Jones Adventure, and ExtraTERRORestrial Alien Encounter. Future theme parks Universal's Epic Universe Main article: Universal's Epic Universe Universal's Epic Universe is an upcoming theme park coming to Universal Orlando Resort in 2025. It will have a Super Nintendo World section in the park. Cancelled and former parks Cancelled     Universal Studios Europe, Melun-Sénart, Seine-et-Marne, France.[24] Following the establishment of Disney in Europe with the construction of Euro Disney Resort, Universal Studios Recreation Group considered between the end of the 1980s and the beginning of the 1990s the construction of its own park in Europe. The works on a site located either in the Paris region or in the vicinity of London.[25] The Rainham Marshes site in east London is abandoned. It later became the Rainham Marshes Nature Reserve. The French state is much more willing to offer tax advantages for the establishment of a park on its territory.[26] The chosen site is at Melun-Sénart. The plans are drawn up and the land purchased, at agricultural prices in 1971.[27][28] They cover 1,300 acres of arable land in Combs-la-Ville. It is planned for 1996 the construction of the theme park, based on Universal Studios Florida, a water park, a golf course and real estate and commercial areas.[26][24] The setbacks of Euro Disney Resort influence the realization of this project which does not succeed. The group preferred to be the buyer of an already established park and Universal Studios bought 37% of Port Aventura's shares in June 1998.[29]     Universal Studios, Manila, Philippines[30]     Universal Studios Dubailand, Dubai, United Arab Emirates (Broke ground 2008, no construction since 2009)[31]     Universal's Hollywoodland, Krefeld, Germany[32]     Universal Studios Moscow[33][34]     Universal Studios South Korea, Hwaseong, South Korea Universal Studios was attached to the project in South Korea since 2005 with other competitors of MGM and Paramount.[35] After a long delay, the dealing started in 2016 to open Universal Studios Korea in 2020,[36] but the project was canceled in 2017 due to the several disagreements in dealing.[37] The project in Asia was later changed to Universal Beijing Resort. Former     Universal Mediterránea, Salou, Spain (1998–2004) Port Aventura opened in 1995. Tussauds Group had a 40.01% in the park while La Caixa had 33.19%, Anheuser-Busch had 19.9% and FECSA had 6.7%.[38][39] In 1998 the majority of Tussauds Group' shares in Port Aventura (37%) were sold to Universal Parks & Resorts and the park was rebranded as 'Universal's Port Aventura' in 1999, which made it the first Universal Studios Theme Park in Europe.[29][40][41] In 2002, two hotels and a water park (Costa Caribe) were constructed, and the resort was rebranded as 'Universal Mediterranea' the same year.[42] In 2004, NBC Universal (Universal Studios' parent) sold all interest in PortAventura to La Caixa.[43] It is owned and operated by La Caixa banking group's investment vehicle Criteria, but as of 2005 the Universal name has been dropped from the branding, and the resort was once again named 'PortAventura' (the space in the name is deliberately left out for trademark reasons). Water Parks Former     Costa Caribe Aquatic Park, Salou, Spain (2002–2004)     Wet 'n Wild Orlando (Universal Orlando Resort, Orlando, Florida, United States; wholly owned) (1977–2016) Theme park attractions and lands Main articles: List of Universal theme park attractions and List of lands at Universal theme parks Universal Studios incorporates replicas of attractions and lands in multiple parks around the world. The pages linked above contain comprehensive lists of the attractions and lands at Universal theme parks. Most of the attractions and lands are based on Universal licenses and other licensed properties." (wikipedia.org) "Halloween Horror Nights (formerly known as Fright Nights) is an annual special event that occurs at Universal Studios theme parks in Florida, California, Singapore, and Japan. The parks remain operational during the day and transition to Halloween Horror Nights at night. The Halloween-themed event occurs during the fall season and features haunted houses, scare zones and live entertainment, many of which use Universal Studios' characters. Its intended audiences are teenagers and adults.... History Program cover for Fright Nights at Universal Studios Florida 1991 Halloween Horror Nights began at Universal Studios Florida in 1991 under the title Fright Nights. It began as a three-night event on October 25, 26, and 31, 1991, with one haunted house, The Dungeon of Terror. The first year, the admission price was $12.95.[1] From 1991 to 2001, the event was held at Universal Studios Florida. The event was renamed "Universal Studios Florida Halloween Horror Nights" in 1992 and advertised as the second annual Halloween Horror Nights. There were two haunted houses, with The Dungeon of Terror returning to the Jaws queue building, and The People Under The Stairs making its debut in Soundstage 23. The event ran five nights, October 23, 24, 29, 30, and 31.[2] The Third Annual Halloween Horror Nights at Universal Studios Florida saw the event increase to seven nights. Due to the re-opening of the Jaws attraction, the in-park haunted house moved from the Jaws queue in Amity to the Nazarman's facade in the New York area.[3] The number of haunted houses increased to three, with the third at the Bates Motel set at Universal Studios Florida.[4] Halloween Horror Nights 4 expanded to an eight-night run in 1994.[5] This year marked the return of a newly designed Dungeon of Terror, along with three more haunted houses. In addition to Nazarman's and the Bates Motel, the new locations were in the Earthquake overflow queue and the Boneyard. This year also marked the first use of the term "Scaracters", as well as the first official "Ghoul School" for actors participating in the event.[6] Ticket prices increased to $36 this year.[7] Halloween Horror Nights V featured a 12-night run and three haunted houses, one of which was a dual-path house. It was also the first time Universal themed the event around a character, in this case Tales from the Crypt's Crypt Keeper. The event was subtitled "The Curse of the Crypt Keeper".[8] Print ad for Universal's first Halloween effort, at Universal Studios Hollywood in 1986 Universal Studios Hollywood had featured Halloween attractions in 1986 and 1992. Bearing little resemblance to the modern event, the 1986 effort was actually a tram tour, and was marred by the accidental death of a retail employee who, like many employees at the time, had volunteered to perform in the event.[9] The 1992 event was a direct result of the success of Fright Nights at Universal Florida the year before, but was not successful.[10][11] Halloween Horror Nights officially launched at Universal Studios Hollywood October 9, 1997, running through the 2000 season.[12] From 2001 to 2005, Halloween Horror Nights went on hiatus at Universal Studios Hollywood, then returned in 2006.[13][14] It has continued yearly since.[15] Between 2007 and 2014, Universal Studios Hollywood made use of Universal's House of Horrors, its permanent haunted attraction, as a part of Halloween Horror Nights, by re-theming it for the event. Back in Florida, Halloween Horror Nights VI through X followed the formula developed for Halloween Horror Nights V in 1995, growing from 15 nights in 1996 to 19 in 2000. There were three haunted houses each year, although from 1998 on, two each year were dual-path houses, for a total of five experiences. One notable change was the first 3-D haunted house, in 1999, in the Nazarman's facade. By 1999, ticket prices were $44.[16] In 2000, Universal launched its first in-house created Icon, Jack the Clown.[17] Because the September 11 attacks occurred so close to Halloween Horror Nights XI, Universal made many changes to tone down the event. Much gore was scrapped from the event, and blood was replaced with green "goop". The names of several houses, scare zones, and shows were changed. The original icon character "Eddie" was scrapped. Edgar Sawyer was conceived as a demented, chainsaw-wielding horror movie buff that had been disfigured by a fire. He was supposed to be a threat to previous icon Jack and the tagline "No more clowning around" was used, and seen on early advertisements and merchandise. Eddie was ultimately removed from the event before it began, although he was still appearing on that year's logo and merchandise with the official "I.C.U." tagline. As a hurried replacement, Jack would return along with a line of merchandise bearing the tagline "Jack's Back." Eddie's back-story was changed, and his name was changed to Eddie Schmidt, Jack's younger brother.[18] The event again ran for 19 days, admission was $48, with five haunted houses. The dual house was in Soundstage 22.[19][20] Halloween Horror Nights moved to Universal's Islands of Adventure in 2002.[21] The Caretaker was not the original icon for Halloween Horror Nights 12 in 2002. Cindy (sometimes spelled "Sindy"), the daughter of mortuary owner Paul Bearer, was originally the icon of the event. In the event's premise, every land would be ruled over by her "playthings". After several child abductions in the area, the Cindy concept was abandoned and her father Paul Bearer changed into Dr. Albert Caine, also known as The Caretaker. Cindy would eventually appear in 2006's "Scream House Resurrection", 2009's "Shadows of the Past" and 2010's "The Orfanage: Ashes to Ashes". Halloween Horror Nights 12, the first to be held at Universal's Islands of Adventure park, featured five haunted houses, with admission set at $49.95.[22][23][24] Halloween Horror Nights 13 again took place at Islands of Adventure. It featured six haunted houses. The Icon was The Director.[25] For Halloween Horror Nights 14 in 2004 the resort experimented with a dual-park format, which connected and utilized parts of both parks.[26] The fourteenth edition featured a mental patient. It ran 18 nights and featured seven haunted houses.[27] Halloween Horror Nights 15 in 2005 ran 19 nights, had seven haunted houses, and an admission of $59.75. This year was the first time an entire alternate reality (Terra Cruentus) was the basis for the entire event. Universal offered backstage tours of the Halloween Horror Nights sets.[28][29] In 2006, "Horror Comes Home" to the Universal Studios Florida park for its sweet 16 celebration with the four previous icons. Admission was $59.95.[30][31] It ran 19 nights, featuring seven haunted houses.[32][33] For Halloween Horror Nights 17 in 2007, Universal Studios acquired the rights to use New Line Cinema's characters Freddy Krueger, Jason Voorhees, and Leatherface for Halloween Horror Nights. There were eight haunted houses.[34] The event ran 23 days, with a ticket price of $64.95.[35] 2008's Reflections of Fear featured a new icon in the form of Dr. Mary Agana, an original take on the Bloody Mary legend. The event revolved around the realm of reflections where Mary dwelled. A musical tribute to The Rocky Horror Picture Show was added for the 18th and 19th installments.[36][37][38][39] 2010 marked the 20th installment of the event at the Orlando park. It was titled "Twenty Years of Fear", and it featured Fear as the event's icon.[40] There were eight haunted houses. The event ran 23 nights and admission was $74.99.[41][42] 2011 (Halloween Horror Nights 21) and 2012 (Halloween Horror Nights 22): eight and seven haunted houses, respectively; 25 nights and 22 nights, respectively; $81.99 and $88.99. "Roaming hordes" replace scare zones and The Walking Dead arrive as the event icon in 2012.[43][44][45][46][47][48] In 2011, Universal Studios Singapore began their Halloween Horror Nights event. There was one haunted house, the event ran seven nights, and admission was S$60.00.[49][50] Universal Studios Singapore Halloween Horror Nights 2 in 2012, ran seven nights, had three haunted houses, with admission at S68.00.[51][52] By 2015, Singapore's Halloween Horror Nights 5 had grown to four haunted houses, three of which were designed using local Singaporean horror legends and myths.[53] Singapore's Halloween Horror Nights 6, in 2016, featured five haunted houses, ran 16 nights, with admission at S$69.00.[54] In 2012, Universal Studios Japan joined the Halloween Horror Nights franchise with an event themed to the Biohazard video games (known as Resident Evil in other countries). It ran 36 nights, from September 14 through November 11. Tickets were ¥8,400.[55][56][57][58] By 2015, Universal Studios Japan had increased its "Universal Surprise Halloween at Universal Studios Japan" (which includes Halloween Horror Nights) to 59 days, featuring both daytime and nighttime activities.[59] 2013 Florida's Halloween Horror Nights 23 featured a haunted house based on An American Werewolf in London, another based on The Cabin in the Woods, and a third based on Resident Evil, plus five more, for a total of eight. The Walking Dead continued as the event icon and The Rocky Horror Picture Show Tribute returned.[60] It ran 27 nights.[61] Admission was $91.99.[62] Florida's Halloween Horror Nights 24 in 2014 featured eight haunted houses and a return to the use of scare zones, absent since 2012. Universal again made use of licensed properties from others, including The Walking Dead, Alien vs. Predator, From Dusk till Dawn, Halloween, and The Purge. There were two shows, Bill and Ted and the Rocky Horror Tribute.[63][64] Halloween Horror Nights 25, in 2015 at Universal Studios Florida, brought back Jack the Clown as the icon along with his icon friends. HHN 25 ran a record 30 nights.[65][66] HHN 25 featured nine haunted houses, with admission reaching $101.99 during the prime days.[67][68][69] Halloween Horror Nights 27 was the final year Bill & Ted's Excellent Halloween Adventure was performed at Universal Studios Florida. The show had been running at HHN since 1992.[70] Universal Studios Florida debuted a brand new lagoon show entitled "Halloween Marathon of Mayhem" during HHN 29 that featured "iconic scenes from well known and cult classic horror films and TV shows.[71] Universal Studios Hollywood included Throwback Thursdays as part of Halloween Horror Nights 2019. With a special welcome from Chucky and had Beetlejuice and a live DJ playing 1980s hits. Along with local Los Angeles 80s cover band, Fast Times, performing on select nights for the event.[72] Halloween Horror Nights 30 was initially planned for 2020, but it was cancelled and delayed to 2021 due to pandemic's impact on theme parks.[73] They later decided to feature two of the planned haunted houses as attractions for guests for the initially planned 2020 season.[74] For the Halloween weekend of 2020, the originally planned Beetlejuice house was featured for a limited engagement. Event summaries Universal Orlando Resort Name[75]     Year     Icon(s)     Haunted House(s)     Scare Zone(s)     Show(s)[76] Universal Studios Hollywood Year     Icon     Terror Tram     Mazes     Scare Zones     Shows[85][86] Universal Studios Singapore Name     Year     Main Icons / Theme     Subsidiary Icons     Haunted Houses     Scare Zones     Shows[87]     Attractions Universal Studios Japan Year     Houses     Scare Zones     Attractions & Shows Event icons Halloween Horror Nights has amassed a number of lead characters, known as icons. These icons usually have elaborate back-stories that involve the events' themes, houses, or scare zones. Predominantly, they have been used for promotional materials and merchandising. The first unofficial icon was The Crypt Keeper, from the TV series Tales from the Crypt, a series popular at the time of his first event appearance.[8] The Crypt Keeper returned the next year for one of the houses, but was not featured in the advertising campaign. After the Crypt Keeper, the event continued for three years without an icon. In 1999, Imhotep served as Icon. for Halloween Horror Nights X, Jack the Clown was featured as an icon. This represents the first time Universal created an icon in-house.[17] Halloween Horror Nights has had an icon, and in some cases, multiple icons, every year since, excluding Halloween Horror Nights XIV, 22-24 and 27-29. These characters have included Jack the Clown, The Caretaker, The Director, The Storyteller, Bloody Mary, The Usher, Fear, Lady Luck, and Chance. Chance was the icon for Halloween Horror Nights 2016. She was a new icon but used to serve as a "sidekick" to Jack (though there are rumours that they have a romantic relationship) in his shows (her role and look being inspired by Batman antagonist Harley Quinn[88]). In 2007, for Halloween Horror Nights 17, Universal again licensed intellectual properties from others, in this case New Line Cinema for Freddy Krueger, Jason Voorhees, and Leatherface,[34] however, Jack the Clown was still featured. Jack the Clown returned in 2015 for Halloween Horror Nights XXV followed by Chance in 2016 at Halloween Horror Nights 26. The icons returned in 2021 for HHN 30 in their house, Icons Captured. Set in Fear's Lantern from HHN 20, each had their own special room in the house where they re-enacted famous kills. The final room would feature a different icon who sat in the throne each night. Attractions Haunted houses The haunted houses are the main attractions at the event. When the event first started as "Fright Nights" at Universal Studios Florida,[89] there was simply one haunted house: the Dungeon of Terror.[90] As the event progressed through the years, the number has increased to as many as ten different houses, as of Halloween Horror Nights 28 in 2018.[91] The houses are enumerated in the expandable charts above for each park, sorted by year. The event typically averages nine haunted houses along with numerous scare zones. Scare zones Halloween Horror Nights IV was the first year to introduce a "scare zone", a name given to specific outdoor areas that feature costumed characters that fit the zone's theme with the intent of scaring people who walk through the areas. To get to certain areas of the park, it is necessary to travel through these scare zones. In 2012, Orlando re-envisioned the scare zones as "street experiences," claiming that scare actors were no longer restricted to specific "zones." Instead, there were a number of "hordes" which would change their location in the park every 90 minutes. By 2014, the traditional scare zones returned with The Purge: Anarchy (inspired by the film), Face Off: In the Flesh, Bayou of Blood, and MASKerade: Unstitched.[citation needed] However, Hollywood Horror Nights in California still has specific scare zones, that range in themes. In recent years, Halloween Horror Nights in Orlando has adjusted the locations of its scare zones, forcing attendees to walk through at least one zone when entering the park. While actors cannot touch guests and vice versa, many of them can surround them at one time. Many actors in these areas have props like bats, chainsaws, and fake guns, and can act like they are going to attack guests with their "weapons". Actors are also allowed to chase visitors in and out of the scare zones. From time to time, actors will pose as regular event guests, only to be captured by various hoards, specifically The Purge. Robosaurus in a show from Halloween Horror Nights 16 Entertainment/Shows Halloween Horror Nights has featured several live entertainment shows. Recurring shows have included "The Rocky Horror Picture Show A Tribute",[92] "Bill and Ted's Excellent Halloween Adventure",[93] Robosaurus[94] and Academy of Villains.[95] Bill and Ted's show appeared in every Halloween Horror Nights from 1992 until its closure following Halloween Horror Nights 27 in 2017.[96] The Universal Entrance Decorated for Halloween Horror Nights 17 It was "...a scatter-shot mashup of pop culture, popular radio and unexpectedly mature content" according to a review.[97] For the first time, Universal Studios Florida will debut a brand new lagoon show entitled "Halloween Marathon of Mayhem" during HHN 29 that will feature "iconic scenes from top horror films, cult classics and TV shows. Rides Several rides remain operational during the event.[98] In past event years, some rides were re-themed for the event such as Kongfrontation becoming Tramway of Doom during Halloween Horror Nights II. Diagon Alley has been open for Halloween Horror Nights since 2015. It was closed-off in 2014 despite opening just a few months earlier and to date it has not been re-themed or had any scare actors present.[99] Commercials, media, and awards Universal's Halloween Horror Nights is known for the dark tone of its advertisements and commercials. A majority of them were directed by Dean Kane. In 2010, the directors of Daybreakers, Michael Spierig and Peter Spierig, directed the commercial for Halloween Horror Nights.[citation needed] Universal Studios Florida has won Amusement Today's Golden Ticket Award for Best Halloween Event 12 of the 14 times it has been awarded, including the last eleven years straight." (wikipedia.org) "Universal Studios Hollywood is a film studio and theme park in the San Fernando Valley area of Los Angeles County, California. About 70% of the studio lies within the unincorporated county island known as Universal City while the rest lies within the city limits of Los Angeles, California. It is one of the oldest and most famous Hollywood film studios still in use. Its official marketing headline is "The Entertainment Capital of LA".[2] It was initially created to offer tours of the real Universal Studios sets and is the first of many full-fledged Universal Studios Theme Parks located across the world. Outside the theme park, a new, all-digital facility near the Universal Pictures backlot was built in an effort to merge all of NBCUniversal's West Coast operations into one area. As a result, the current home for KNBC, KVEA and NBC News with Noticias Telemundo Los Angeles Bureaus with new digital facility is on the Universal lot formerly occupied by Technicolor SA. Universal City includes hotels Universal Hilton & Towers, the Sheraton Universal Hotel, and Universal CityWalk, which offers a collection of shops, restaurants, an 18-screen Universal Cinema and a seven-story IMAX theater. In 2017, the park hosted 9.056 million guests, ranking it 15th in the world and 9th among North American parks.... History See also: Universal Studios Lot The first studio tour In 1914, German American immigrant Carl Laemmle bought the Taylor Ranch in the San Fernando Valley and founded Universal City as a gigantic studio with a zoo, its own police and mayor and native Americans living on the premises. On March 14, 1915, Laemmle opened Universal Studios in a two-day grand opening event with 10,000 attendees.[4] He later invited the general public to see all the action for an admission fee of just five cents, which also included a boxed lunch with chicken. There was also a chance to buy fresh produce, since then-rural Universal City was still in part a working farm. This original tour was discontinued around 1930, due to the advent of sound films and the stages being not sufficiently soundproofed.[1] Backlot fires Universal Studios Hollywood's backlot has been damaged by fire nine times throughout its history.[5] The first was in 1932 when embers from a nearby brush fire were blown toward the back lot causing four movie sets to be destroyed and resulting in over $100,000 damage.[6] Seventeen years later, in 1949, another brush fire caused the complete destruction of one building and damage to two others.[7] In 1957, the New York street film studio set was destroyed by an arson fire causing half a million dollars in damage.[8] Ten years later, in 1967, twice as much damage was done when the Little Europe area and part of Spartacus Square was destroyed. It also destroyed the European, Denver and Laramie street sets.[9] In 1987, the remaining portion of Spartacus Square was destroyed along with street sets and other buildings. As with the 1957 fire, this was suspected to be the result of an arsonist.[10] Just three years later, another deliberate fire was started in the back lot. The New York Street set, the Ben Hur set and the majority of Courthouse Square were destroyed.[11] In 1997, the seventh fire occurred at the back lot.[5] A portion of the Courthouse Square was again destroyed, though most survived.[12] 2008 fire Main article: 2008 Universal Studios fire The Courthouse facade is visible to the left of the smoke plume from the 2008 fire. The most damage was done on June 1, 2008 when a three alarm fire broke out on the back lot of Universal Studios.[13] The fire started when a worker was using a blowtorch to warm asphalt shingles being applied to a facade.[14][15] The Los Angeles County Fire Department had reported that Brownstone Street, New York Street, New England Street, the King Kong attraction, some structures that make up Courthouse Square, and the Video Vault had burned down (not to be confused with the actual Film Vault; the Video Vault contains duplicates of Universal's film library). Aerial news footage captured the Courthouse building surviving fire for the third time in its history, with only the west side of it being slightly charred. Over 516 firefighters[15] from various local fire departments, as well as two helicopters dropping water, had responded to the fire. Fourteen firefighters and three Los Angeles County sheriffs' deputies sustained minor injuries. The fire was put out after twelve hours, during which time firefighters encountered low water pressure. Destroyed were 40,000 to 50,000 archived digital video and film copies chronicling Universal's movie and TV show history, dating back to the 1920s, including the films Knocked Up and Atonement, the NBC series Law & Order, The Office, and Miami Vice, and CBS's I Love Lucy.[16][17][18] Universal president Ron Meyer stated "Nothing irreplaceable was lost. We have duplicates of everything that was lost."[19] Several days after the fire, it was reported that the King Kong attraction would not be rebuilt and would eventually be replaced by a new attraction that had yet to be announced.[20] In August 2008, Universal changed its position and announced plans to rebuild the King Kong attraction, basing the new attraction on the 2005 film adaptation. It emerged only in June 2019, in an article published by The New York Times that the fire had totally destroyed Building 6197, a warehouse adjoining the King Kong attraction, which housed a video vault and, significantly, a huge archive of analogue audio master tapes belonging to Universal Music Group (UMG).[13] The collection included the master tape catalogues of various labels acquired by Universal over the years, including Chess, Decca, MCA, Geffen, Interscope, A&M, Impulse, and a host of subsidiary labels.[13] Estimates of the individual items lost range from 118,000 to 175,000 album and 45rpm single master tapes, gramophone master discs, lacquers and acetates, as well as all the documentation contained in the tape boxes.[13] Many of the tapes destroyed contained unreleased recordings such as outtakes, alternate versions of released material, and instrumental 'submaster' multitracks created for subsequent dubbing and mixdown to the final master tape. Randy Aronson, who was manager of the vault at the time of the fire, estimates that as many as 500,000 individual song titles were lost.[13] Among the losses were all of Decca's masters from the 1930s to the 1950s and most of the original Chess masters which included artists such as Chuck Berry, Otis Redding, Muddy Waters and Howlin' Wolf, and most of the John Coltrane's master tapes from his later career on Impulse Records; the Chess, Coltrane and Impulse Records recordings were later confirmed to have survived.[13] In a statement issued on June 11, 2019, UMG disputed The New York Times article saying it contained "numerous inaccuracies", as well as "fundamental misunderstandings of the scope of the incident and affected assets," but was unable to publicly disclose details due to "constraints".[21] Following the publication of the New York Times story, Questlove of The Roots confirmed that the master tapes for two of the band's albums, including unused material and multi-track recordings, were lost in the fire.[22] Similarly, Nirvana bassist Krist Novoselic said he believed the masters for the band's 1991 album Nevermind were "gone forever" as a result of the fire.[23] Representatives for R.E.M. announced they would investigate the effects the fire may have had on the band's archival materials, while Hole, Steely Dan, Rosanne Cash and Geoff Downes made statements on their possible losses from the fire.[23][24] A representative for Eminem confirmed that the rapper's master recordings were digitized months before the fire, but did not confirm whether the physical master reels of his recordings were affected.[25] UMG archivist Patrick Kraus assured that the Impulse Records, John Coltrane, Muddy Waters, Ahmad Jamal, Nashboro Records, and Chess Records masters survived the fire and were still in Universal's archive.[26] Park history Shortly after Music Corporation of America took over Universal Pictures in 1962, accountants suggested a new tour in the studio commissary would increase profits. On July 15, 1964, the modern tour was established to include a series of dressing room walk-throughs, peeks at actual production, and later, staged events.[1] This grew over the years into a full-blown theme park. The narrated tram tour (formerly "Glamor Trams"[27]) still runs through the studio's active backlot, but the staged events, stunt demonstrations and high-tech rides overshadow the motion-picture production that once lured fans to Universal Studios Hollywood.[1][28] In 1965, the War Lord Tower opened as one of the first attractions in the theme park. One of the early struggles for Universal was coming up with things for young children to do. The existing small Ma & Pa Kettle Petting Zoo was expanded into the Ark Park. This area encompassed the Mt. Ararat petting zoo with over 200 animals and birds representing 30 species and a Noah's Nursery and a Noah's Love Inn playhouse for children and animals.[29] This was followed by the opening of the Animal Actors' School Stage in 1970. In 1968, the Screen Actors Guild enacted a rule prohibiting visitors from most soundstages. This new rule, coupled with more productions being shot on location, meant the backlot tram tour could not show visitors much in the way of real movie and television production. Jay Stein, President of the Recreation Division, championed the idea of creating exciting experiences for visitors in place of viewing actual production. Later that same year, the Flash Flood set was opened and this first special-effects attraction proved to be a hit. 20,000 gallons of water rushed 200 feet down a narrow Mexican village street, uprooting an old tree and threatening to engulf the tram. The Parting of the Red Sea attraction opened in 1973.[29] In 1974, the Rockslide staged event was added to the Studio Tour. The following year, The Land of a Thousand Faces opened on the Upper Lot. In 1979, the Battle of Galactica replaced Rockslide as a staged event on the Studio Tour. In 1989's The Wizard, it was the site of the fictional Video Armageddon competition which gave way to the Nintendo World Championships held in 1990. The Flintstones Show opened, replacing the Star Trek Adventure. In 1991, E.T. Adventure opened as the park's first "dark ride," an industry term for an attraction that uses ride vehicles to take passengers through an indoor show building. Around the same time, sister park Universal Studios Florida opened, which had its own, similar E.T. attraction. The Florida version was more of a conventional theme park and paved the way for the Hollywood park's evolution. In 1993, Back to the Future: The Ride opened, replacing Battle of Galactica. In 1996, Jurassic Park: The Ride opened. In 1997, two shows were replaced: The Land Before Time show replaced Rocky and Bullwinkle Live; and Totally Nickelodeon replaced the Flintstones Show. Just one year after it opened, the Land Before Time show was replaced with Coke Soak. In 1999, T2-3D: Battle Across Time and a Chicken Run Walkthrough opened on the upper lot. Additionally, Beetlejuice's Rock and Roll Graveyard Revue was closed. In 2000, the Rugrats Magic Adventure replaced Totally Nickelodeon. In 2001, the Nickelodeon Blast Zone opened. Also in 2001, Animal Planet Live replaced the Animal Actors' School Stage. In 2003, Universal Studios Hollywood closed E.T. Adventure to make way for Revenge of the Mummy, which opened in 2004. The following year, Fear Factor Live replaced Spider-Man Rocks. In 2007, Universal's House of Horrors opened, replacing Van Helsing: Fortress Dracula. Both Back to the Future: The Ride and Lucy: A Tribute were closed, being replaced in 2008 by The Simpsons Ride and the Universal Story Museum respectively. Also in 2008, the Nickelodeon Blast Zone was re-branded to the Adventures of Curious George. In 2009, Creature from the Black Lagoon: The Musical replaced Fear Factor Live in the Upper Lot. In 2010, the Special Effects Stages and Backdraft attractions were closed to make way for Transformers: The Ride 3D, which was announced in 2008 (Special Effects Stages was moved to the former Creature From The Black Lagoon building and reopened as Special Effects Stage).[30] King Kong 360 3-D also opened. On May 24, 2012, Transformers: The Ride 3D opened on the Lower Lot.[30] On December 31, 2012, Universal Studios Hollywood closed T2-3D: Battle Across Time for Despicable Me Minion Mayhem, the attraction at Universal Studios Florida, which opened on April 12, 2014.[31] In April 2014, the park announced Springfield: a new dining complex to be built around the Simpsons Ride. The new eateries feature "signature eateries from Krusty Burger to Luigi's Pizza and Phineas Q. Butterfat's 5,600 Flavors Ice Cream Parlor to iconic watering holes like Moe's Tavern and Duff's Brewery".[32] It opened on March 28, 2015. On May 7, 2015, Universal Studios announced it formed a partnership with Nintendo to create attractions and merchandises based on Mario and other Nintendo characters.[33] The following year, the area was called "Super Nintendo World", and was confirmed that it would come to Universal Studios Japan in 2020[34] as well as Universal Orlando and Universal Studios Hollywood later on.[35] On August 13, 2017, Shrek 4-D was closed after 14 years to make way for the DreamWorks Theatre attraction. The International Broadcast Center (IBC) and main press center (MPC) will be located at Universal Studios Hollywood during the 2028 Summer Olympics in Los Angeles.[36] On September 3, 2018, Jurassic Park: The Ride was closed and refurbished to become Jurassic World: The Ride, which opened on July 12, 2019.[37] On April 10, 2019, the park announced The Secret Life of Pets: Off the Leash!, an attraction based on The Secret Life of Pets.[38] The attraction was set to open on March 27, 2020, adjacent to the Despicable Me Minion Mayhem attraction.[39] However, Universal announced a temporary closure starting on March 14, 2020 to combat t[40] On March 5, 2021, it was announced that Universal Studios Hollywood could reopen with reduced capacity beginning April 1, 2021.[41][42] At the end of March, it was announced that the park would reopen to California residents on April 16, 2021.[43] Universal also announced that The Secret Life of Pets: Off the Leash! ride would be open to the public on that day, together with a new, fully articulated version of the Indominus Rex on Jurassic World: The Ride.[43][44] Areas and attractions See also: List of former Universal Studios Hollywood attractions Universal Studios Hollywood is split into two areas on different levels, connected by a series of escalators called the Starway. These areas are known as the Upper lot and Lower lot. As of 2021, Universal Studios Hollywood contains ten rides, seven shows, and two play areas. Each lot features a collection of rides, shows and attractions as well as food, beverage, and merchandise shops.[45][46][47][48] Upper Lot The Upper Lot consists of a variety of family-based attractions. The theming of the Upper Lot includes a Mission Revival entrance pathway, known as Universal Boulevard, that features the large Universal Plaza that opened in 2013. There are not as many fully themed lands as there are small environments linked together with a common Art Deco theme that reflects the glamour of Old Hollywood. Universal Boulevard is home to Waterworld: A Live Sea War Spectacular, and the DreamWorks Theatre, the latter which currently serves as the main location for Kung Fu Panda Adventure, a slightly modified version of Kung Fu Panda: Unstoppable Awesomeness from Motiongate Dubai. In a small area north of Universal Boulevard called Production Plaza, there are two of the park's longest-running shows called Universal's Animal Actors and Special Effects Show. The Upper Lot is also home to the Streets of the World, which opened in 1989 and currently contains six streets within. One of the first streets - 1950s America - is next door to Universal Plaza, and is a dining area home to Palace Deli & Market and Mel's Diner, the latter being a replica of the Mel's Drive-In that was featured prominently in the Universal classic American Graffiti. The next two streets are French Street (a French-themed avenue with quick service dining), and the cozy cobblestone-paved Parisian Courtyard. Minion Way is themed after the Universal Pictures and Illumination's Despicable Me franchise, and features Despicable Me Minion Mayhem, a motion simulator ride that takes you into the world of minions. Next door is a play area that contains a large outdoor dry and wet play area for children named Super Silly Fun Land, in addition to an aerial carousel named Silly Swirly Fun Ride. Minion Café and Despicable Delights are the two themed eateries in the street. The newest street to be included in Streets of the World is Pets Place, a colorful version of Manhattan that is based on The Secret Life of Pets franchise and is home to the dark ride The Secret Life of Pets: Off the Leash!. The final street is Baker Street, which was originally set in old England as seen by the fictional detective, Sherlock Holmes. However, between 2018 and 2021, a great majority of the area has been rethemed as the Manhattan-inspired Pets Place, while the remaining facades of Baker Street (between Pets Place and Universal Boulevard) are left untouched as of 2021.[49][50][51] Springfield, U.S.A. is themed to The Simpsons. This area contains The Simpsons Ride, a motion simulator ride, along with multiple eateries themed to the show, a gift shop themed after Kwik-E-Mart, and several character meet and greets. Right past the Studio Tour Plaza, the Studio Tour attraction is a 45 to 60 minute ride which uses tram vehicles to take the visitors from the Theme Park's Upper Lot to the back-lot where actual filming of many shows and movies take place. The tour is the signature ride at the theme park and the wait time varies by day and seasons. The tour begins with a video introduction by Jimmy Fallon and a trip down the hill into the Front Lot. After drifting through the sound stages of the Front Lot and transitioning into the Metropolitan Sets of the back lot, the tram then takes the guests to Courthouse Square section and then other buildings in the back lot. Afterwards, the tram enters a tunnel leading to the attraction: King Kong: 360 3-D. Then the tram travels through sets from Jurassic Park and encounter Dilophosauruses. Following that, the tram travels to the Flash Flood attraction. The tram continues through Old Mexico, Six Points Texas, a miniature model of the SS Venture from King Kong, and Little Europe before experiencing Earthquake: The Big One attraction, movie sets themed as Amity Island from Jaws, Whoville from How the Grinch Stole Christmas, Bates motel from Psycho, and the crashed plane set from War of the Worlds, before leading to the final attraction on the tour, Fast & Furious: Supercharged based on the Fast & Furious film franchise. Attraction     Attraction type     Description     Height requirements Despicable Me Minion Mayhem     Motion simulator     Guests are transformed into minions and undergo training by navigating an obstacle course. Meanwhile, Gru's daughters try to give Gru a present to commemorate the anniversary of their adoption.     Minimum 40" (102 cm). Children 40-48″ (102-122 cm) must be accompanied by supervising companion (14 years or older) Silly Swirly Fun Ride     Aerial carousel     Family-friendly carnival ride spins to give guests a 360-degree view of "Super Silly Fun Land".     Children under 48" (122 cm) must be accompanied by a supervising companion Super Silly Fun Land     Play area     A large outdoor wet and dry play area themed to the Despicable Me franchise. It replaced the Coke Soak attraction in 2012.     None The Secret Life of Pets: Off the Leash     Dark ride     Themed to The Secret Life of Pets franchise, guests are transformed into lost puppies as they go on a journey through the streets of New York City in search of a new home.[52][53]     Minimum 34" (86 cm). Children under 48″ (122 cm) must be accompanied by supervising companion Studio Tour     Tram ride     The tour of the Universal Studios back lot, which features backdrops and sets used in many of their films, including NBC shows. Also includes attractions King Kong: 360 3-D, Fast & Furious: Supercharged, Jaws Encounter and Earthquake: The Big One.     None DreamWorks Theatre     Film     Themed around characters featured in films from DreamWorks Animation. Currently showing Kung Fu Panda: The Emperor’s Quest.     None The Simpsons Ride     Motion simulator     The Simpsons visit Krustyland to try out the new roller-coaster but things go wrong as Sideshow Bob tries to sabotage the ride.[54]     Minimum 40" (102 cm) Waterworld: A Live Sea War Spectacular     Stunt show     A woman arrives with news of a "Dryland", but rival "smokers" attack on jet skis and boats until a Mariner arrives to fight them off. Jet-skiers and boats, stunt fights, a crashing plane, pyrotechnics.[55]     None Universal's Animal Actors     Live show     A 20-minute show showcasing stunts and tricks from a variety of animals.     None Special Effects Stage     Live show     A demonstration of some of the special effects used in film making.     None The Wizarding World of Harry Potter Main article: The Wizarding World of Harry Potter (Universal Studios Hollywood) The Wizarding World of Harry Potter soft-opened February 12, 2016, and officially opened April 7, 2016, and is the largest themed area in the Upper Lot, featuring the animatronic and screen-based thrill ride Harry Potter and the Forbidden Journey, which is housed in a replica Hogwarts castle, featuring actual props from the films in the queue. In addition, this area includes the family-friendly roller coaster Flight of the Hippogriff, and the interactive Ollivander's Wand Show where a wand picks a witch or a wizard. Two live shows, Frog Choir and Triwizard Spirit Rally, are featured on the outdoor stage. In addition to attractions, the themed area features multiple shops, a Hogwarts Express train picture spot, The Three Broomsticks restaurant, and a variety of outdoor vending carts selling food and drink. Souvenirs and food based on the books and films are sold in the area too.[56] Attraction     Attraction type     Description     Height requirements Flight of the Hippogriff     Roller Coaster     Learn the proper way to approach a Hippogriff before you take off on a family-friendly coaster that spirals and dives around the pumpkin patch, and swoops past Hagrid's hut.[57]     Minimum 39" (99 cm). Children between 39"- 48" (99-122 cm) must be accompanied by a supervising companion. Harry Potter and the Forbidden Journey     Dark ride     Make your way through the classrooms of Hogwarts. Then soar above the castle grounds on a ground breaking new ride that lets you join Harry Potter and his friends on an unforgettable thrilling adventure.[57]     Minimum 48" (122 cm) Ollivander’s Wand Show     Interactive experience and gift shop     Step inside this small, dusty shop and choose from an array of Ollivanders wands, or purchase replicas of the Harry Potter film characters' wands, Collectible wand sets and more.     None Frog Choir     Live show     This outdoor live show features students of Hogwarts with their singing frogs.     None Triwizard Spirit Rally     Live show     Sharing a stage with the Frog choir, this themed show features men performing martial arts moves and gymnastics with sticks.     None Lower Lot The Lower Lot is the smaller of the two lots. There are three thrill rides at this section of the park that each have height restrictions. It is home to Jurassic World: The Ride, Revenge of the Mummy: The Ride and Transformers: The Ride 3D.[30][58][48] Jurassic World: The Ride, is a water adventure ride that takes visitors through the events of the film Jurassic World, ending with an 84-foot drop. Outside the ride stands the Raptor Encounter, a show that happens throughout the day, and the Dino Play jungle gym area for children too small to ride. Revenge of the Mummy: The Ride is a high speed indoor roller coaster transporting guests through moments reminiscent of the 1999 Mummy franchise. Transformers: The Ride 3D uses high tech technology to simulate a battle between the Autobots and Decepticons with 4K-3D screens and flight simulator ride vehicles. The Lower Lot also features several gift shops and quick service restaurants.[45] Attraction     Attraction type     Description     Height requirements Jurassic World: The Ride     Shoot the Chute     A water adventure ride that takes guests through the events of Jurassic World.     Minimum 42" (107 cm). Children 42-48" (107-122 cm) must be accompanied by a super companion. Revenge of the Mummy: The Ride     Enclosed roller coaster     An indoor steel roller coaster that accelerates to 45 miles per hour. Features forward motion and backwards motion.     Minimum 48" (122 cm) Transformers: The Ride 3D     3D dark ride     A dark ride where the rider's task is to protect the AllSpark from the clutches of Megatron and his cohorts as the car travels through the streets and skyscrapers of Chicago.[59]     Minimum 40" (102 cm). Children 40-48″ (102-122 cm) must be accompanied by a supervising compansion. Raptor Encounter     Live performance and character photos     A live show performed outside the Jurassic World attraction featuring a "raptor handler" and a velociraptor.[60][61]     None DinoPlay     Play area     An interactive play area with fossils, cargo nets, ladders and slides.     None Character appearances As with the other Universal parks, characters roam the park grounds, representing many different genres. Some are portrayals of Hollywood icons, as well as licensed characters while others are based on Universal's media library.[62][63][64] Attendance 2009     2010     2011     2012     2013     2014     2015     2016     2017     2018     Worldwide rank 4,308,000[65]     5,040,000[66]     5,141,000[66]     5,912,000[3]     6,148,000[3]     6,824,000[67]     7,097,000[68]     8,086,000[69]     9,056,000[70]     9,147,000[71]     15 Public transportation Universal Studios Hollywood is served by the Metro B line at Universal City/Studio City. Universal Studios Hollywood can easily be accessed by public transportation at Universal City/Studio City. The Metro B line subway train runs between Union Station in Downtown Los Angeles, Westlake, Koreatown, East Hollywood, and Hollywood. Passengers can also arrive at the entrance of the theme park entrance by several Metro bus routes. Metro Local lines 150, 155, 224, and 240 stop at Lankershim Blvd & Universal Center Drive (front entrance). Metro Local line 165 and Metro Shuttle line 656 Owl stop farther away from the entrance, at Ventura and Lankershim Boulevards. At the front entrance (Universal Center Dr. & Lankershim Blvd), there is a free shuttle tram which takes the passengers directly towards the theme park entrance." (wikipedia.org) "The Walking Dead is a zombie apocalypse media franchise, including a comic book series, several television series, a web series, films, novels, video games, and various other media such as audio books and soundtracks. The original comic books were created by writer Robert Kirkman and artist Tony Moore, with Charlie Adlard joining shortly after its creation. The first television show was originally adapted by Frank Darabont, who left due to conflicts with AMC. Actor Andrew Lincoln played the lead role of sheriff's deputy Rick Grimes for nine seasons. The second television series, which is a prequel and companion series, does not follow the comic book and originally focuses on the dysfunctional Clark family at the start of the zombie apocalypse. The third television series takes place ten years into the apocalypse and focuses on four teenagers, as they escape their safe haven, in order to explore the world. ... Comic book Main article: The Walking Dead (comic book) The Walking Dead franchise originates from the comic book series of the same name. The comics consist of a monthly black-and-white comic book series chronicling the travels of Rick Grimes, his family, and other survivors of a zombie apocalypse.[citation needed] First issued in 2003 by publisher Image Comics, the series was created by writer Robert Kirkman[1] and artist Tony Moore – who was later replaced by Charlie Adlard from issue #7 onward,[2] though Moore continued to do the covers through issue #24.[3] The Walking Dead comic book series received the 2010 Eisner Award for Best Continuing Series at San Diego Comic-Con International. The 193rd and final issue was released in 2019. Image Comics announced in July 2020 that it will be republishing the full run of The Walking Dead in full color, with coloring by Dave McCaig. The first issue of the reprint is scheduled for release on October 7, 2020, with subsequent comics to be released twice a month from November 2020 onward. There are no present plans to release these in trade paperbacks.[4] Television series Series    Season    Episodes    Originally aired    Showrunner(s)[citation needed]    Status First aired    Last aired The Walking Dead    1    6    October 31, 2010    December 5, 2010    Frank Darabont    Released 2    13    October 16, 2011    March 18, 2012    Glen Mazzara 3    16    October 14, 2012    March 31, 2013 4    16    October 13, 2013    March 30, 2014    Scott M. Gimple 5    16    October 12, 2014    March 29, 2015 6    16    October 11, 2015    April 3, 2016 7    16    October 23, 2016    April 2, 2017 8    16    October 22, 2017    April 15, 2018 9    16    October 7, 2018    March 31, 2019    Angela Kang 10    22    October 6, 2019    April 4, 2021 11    24[5]    August 22, 2021    2022[5]    Hiatus Fear the Walking Dead    1    6    August 23, 2015    October 4, 2015    Dave Erickson    Released 2    15    April 10, 2016    October 2, 2016 3    16    June 4, 2017    October 15, 2017 4    16    April 15, 2018    September 30, 2018    Andrew Chambliss and Ian B. Goldberg 5    16    June 2, 2019    September 29, 2019 6    16    October 11, 2020    June 13, 2021 7    16    October 17, 2021    June 5, 2022 8[6]    TBA    TBA    TBA    Pre-production The Walking Dead: World Beyond    1    10    October 4, 2020    November 29, 2020    Matthew Negrete    Concluded 2    10    October 3, 2021    December 5, 2021 Tales of the Walking Dead    1    6[7]    August 14, 2022[7]    September 18, 2022[7]    Channing Powell    Post-production Untitled Daryl spin-off series    1    TBA    2023[5]    TBA    David Zabel    Pre-production Isle of the Dead    1    6[8]    2023[8]    TBA    Eli Jorné The Walking Dead (2010–present) Main article: The Walking Dead (TV series) Sheriff's deputy Rick Grimes wakes up from a coma in a post-apocalyptic world where the undead, known as walkers, have taken over. Rick must fight for his survival to protect his family and friends while along the way he meets new allies and confronts enemies who try to take over communities.[citation needed] Fear the Walking Dead (2015–present) Main article: Fear the Walking Dead Set initially in Los Angeles, California, the series follows a dysfunctional family composed of high school guidance counselor Madison Clark, her boyfriend and English teacher Travis Manawa, her daughter Alicia, and her drug-addicted son Nick, at the onset of the zombie apocalypse. The four must either revamp themselves or cling to their deep flaws as they come to terms with the impending collapse of civilization.[citation needed] The Walking Dead: World Beyond (2020–2021) Main article: The Walking Dead: World Beyond In July 2018, during San Diego Comic-Con, executive producer Scott M. Gimple announced that a new spin-off is in the works.[9] In April 2019, AMC officially announced the 10-episode female lead series would begin production during the summer in Virginia and is set to debut in 2020.[10][11] The first trailer was released at New York Comic Con 2019.[12] The Walking Dead: World Beyond ran for a total of two seasons and 20 episodes.[13] Tales of the Walking Dead (2022) Main article: Tales of the Walking Dead In September 2020, AMC announced they and Gimple have been developing an episodic anthology series that would be based on new or existing characters that would explore backstories.[14] The six-episode first season is set to premiere on August 14, 2022.[15] Untitled Daryl spin-off series A fourth spin-off series created by Angela Kang and Scott M. Gimple to star Reedus and McBride as their characters Daryl and Carol, respectively, was announced in September 2020, with plans to air in 2023 after the conclusion of the eleventh season of the main show.[16] Kang, who has been the showrunner of the main show since the ninth season, was set to be the showrunner of the spin-off.[5] In April 2022, the project was retooled to be entirely Daryl-focused, and McBride departed the project.[17] David Zabel will serve as showrunner, replacing Kang.[18] Isle of the Dead In March 2022, AMC officially greenlit Isle of the Dead, starring Morgan and Cohan as their characters Negan and Maggie respectively. They are also executive producing with Eli Jorné, who is serving as showrunner. The six-episode first season is scheduled to premiere in 2023.[8][19] Web series Further information: List of The Walking Dead episodes § Webisodes, and List of Fear the Walking Dead episodes § Webisodes Series    Season    Episodes    Originally released    Story by    Timeline The Walking Dead    Torn Apart    6    October 3, 2011    John Esposito and Greg Nicotero    Set before the first season of The Walking Dead. Cold Storage    4    October 1, 2012    John Esposito The Oath    3    October 1, 2013    Greg Nicotero Red Machete    6    October 22, 2017 – April 9, 2018    Nick Bernardone    Set during the entire apocalypse, mainly through and after seasons 4, 5, 7 and 8 of The Walking Dead. Fear the Walking Dead    Flight 462    16    October 4, 2015 – March 26, 2016    Lauren Signorino and Michael Zunic    Set during the third episode of the first season of Fear the Walking Dead. Passage    16    October 17, 2016 – March 27, 2017    Set before the third season of Fear the Walking Dead. The Althea Tapes    6    July 27 – August 8, 2019    Michael Alaimo and Jacob Pinion    Set before the second half of the fifth season of Fear the Walking Dead. Dead in the Water    6    April 10, 2022    Jacob Pinion    Set before the sixth season of Fear the Walking Dead. Films In November 2018, Scott Gimple announced on Talking Dead that three The Walking Dead films are in development from AMC Original Films, with Andrew Lincoln signed on to reprise his role as Rick Grimes. The films will focus on the events that follow his exit from the television series. Pollyanna McIntosh will reprise her role from the shows as Jadis.[20] In July 2019, it was revealed that the films will be released in theaters, rather than on television. The series will follow the continued adventures of Rick, with Gimple serving as screenwriter for the first film.[21] Later that month, Universal Pictures acquired distribution for the film series.[22] Production on the first film is scheduled to begin "as early as 2019".[21] The creators have discussed the possibility of bringing back Corey Hawkins as Heath, who had his role cut short on the show to do other projects.[23] In December 2020, Lincoln confirmed that the movie was planned to begin shooting in early 2021.[24] In May 2021, it was confirmed that Gale Anne Hurd will be the executive producer for the first film.[25] Expanded setting Games Board games Multiple board games for the franchise have been released.     Cryptozoic Entertainment has released two board games based on the TV show:         The Walking Dead Board Game (2011)         The Walking Dead Board Game: Best Defense was released in 2013, as well as an expansion     Keith Tralins, Brian-David Marshall, and Matthew Wang have released two games based on the comic:         Robert Kirkman's The Walking Dead: The Board Game (2011), released by Z-Man Games     The Walking Dead: The Prison (November 2014), released by Alliance Game Distributors     A The Walking Game version of Monopoly has been released     A The Walking Game version of Risk has been released     In 2018, Mantic Games released a boardgame version of their miniature game All Out war focused on Negan : Here's Negan. Card games     Cryptozoic released The Walking Dead Card Game in 2013. Miniatures games     In January 2016, Mantic Games announced plans to release a tabletop miniature wargame (skirmish) based on The Walking Dead, named The Walking Dead: All Out War.     In 2019, Mantic Games launched a new version of their miniature game rules focused on larger battles, named The Walking Dead: Call To Arms. This game uses the same miniatures as The Walking Dead: All Out War. Video games Telltale Games Main article: The Walking Dead (video game series) The official game for The Walking Dead set within the comic book universe. Season    Episodes    Originally released First released    Last released 1    6    April 24, 2012    July 2, 2013 2    5    December 17, 2013    August 26, 2014 Michonne    3    February 23, 2016    April 26, 2016 3    5    December 20, 2016    May 30, 2017 4    4    August 14, 2018    March 26, 2019 The Walking Dead: Social Game Flash based social game on Facebook, launched in 2012 and shut down at the end of 2014. Survival Instinct Main article: The Walking Dead: Survival Instinct On July 6, 2012, Activision announced a first-person shooter based on and set before the television series, which is being developed by Terminal Reality.[26] It was released on March 19, 2013, in North America.[27] It was met with negative reception. The Walking Dead: Dead Reckoning Game for the AMC website and set before the television series.[citation needed] The Walking Dead: Road to Survival Main article: The Walking Dead: Road to Survival The Walking Dead: Road to Survival is a role-playing video game developed by Scopely based on the comic book series. It was released initially on the Android platform, later on iOS. Players complete various missions using teams, in exchange for further rewards, and more challenging stages.[citation needed] The Walking Dead: No Man's Land Game for Android/iOS.[citation needed] The Walking Dead: Our World Location-based mobile game. Set in The Walking Dead universe and developed by Next Games.[28] The Escapists: The Walking Dead Main article: The Escapists The Escapists: The Walking Dead is a spin-off from The Escapists, a strategy video game about escaping prisons.[29] Overkill's The Walking Dead Main article: Overkill's The Walking Dead In August 2014, Starbreeze Studios announced that a The Walking Dead co-op first-person shooter is in development by Overkill Software.[30] The game is called Overkill's The Walking Dead, and it claims to deliver a "completely new co-op experience" to The Walking Dead universe that will explore new characters and storylines. It was scheduled to launch on Xbox One, PlayStation 4, and Microsoft Windows in 2018. The game is being made with The Walking Dead creator Robert Kirkman, who says he was certain from the first day he saw the project that it was the "co-op action game fans have been waiting for." It is also the result of a new "long-term" partnership between Starbreeze and Kirkman's company Skybound Interactive. This partnership will extend "into the next decade" and marks a new era for Starbreeze, the company said. It is also confirmed to be taken place within the comic book universe of The Walking Dead. The Walking Dead: Saints & Sinners The Walking Dead: Saints & Sinners is a virtual reality game developed by Skybound Entertainment. It was released on January 23, 2020.[31] The Walking Dead: Onslaught The official VR game for AMC's The Walking Dead.[32] Attractions The Walking Dead: The Ride Located in Thorpe Park. The Ride is a re-design of a previously standing ride. Opened as The Walking Dead: The Ride in March 2018. As part of the Year of The Walking Dead. The rides slogan is "Those who ride, survive". Novels Novels for The Walking Dead set within the comic book universe.     Robert Kirkman & Jay Bonansinga (October 11, 2011). The Walking Dead: Rise of the Governor.     Robert Kirkman & Jay Bonansinga (October 16, 2012). The Walking Dead: The Road to Woodbury.     Robert Kirkman & Jay Bonansinga (December 4, 2012). A Walking Dead Short: Just Another Day at the Office.     Robert Kirkman & Jay Bonansinga (October 8, 2013). The Walking Dead: The Fall of the Governor: Part One.     Jay Bonansinga (March 4, 2014). The Walking Dead: The Fall of the Governor: Part Two.     Jay Bonansinga (October 14, 2014). Robert Kirkman's The Walking Dead: Descent.     Jay Bonansinga (October 6, 2015). Robert Kirkman's The Walking Dead: Invasion.     Jay Bonansinga (October 18, 2016). Robert Kirkman's The Walking Dead: Search and Destroy.     Jay Bonansinga (October 17, 2017). Robert Kirkman's The Walking Dead: Return to Woodbury.     Wesley Chu (October 1, 2019). Robert Kirkman's The Walking Dead: Typhoon. Other products     McFarlane Toys manufactured action figures resembling the characters in the comic book for September 2011 release. In addition, action figures resembling characters from the TV series, including Rick Grimes, Daryl Dixon, and a dismemberable "walker", were set for release in November 2011.[33]     Taverncraft has produced The Walking Dead pint glasses and steins, and has a license to release lighters for the series as well.[34]     Titan Magazines has published The Walking Dead, The Official Magazine since October 2012.[35]     Vannen Watches has produced two limited edition wrist watches featuring artwork from Charlie Adlard. The first watch was released February 2012, and came with packaging that was hand-signed by Robert Kirkman and Charlie Adlard. The second watch was released June 2012, and came with packaging signed only by Robert Kirkman.     Two pinball tables based on the series were released: a physical table developed by Stern Pinball[36] and a virtual one developed and published by Zen Studios, based on Telltale Games' The Walking Dead: Season One.[37][38][39] Parodies Dave Sheridan starred and produced the parody film The Walking Deceased (2015)." (wikipedia.org) "The Walking Dead is an American post-apocalyptic horror television series based on the comic book series of the same name by Robert Kirkman, Tony Moore, and Charlie Adlard—together forming the core of The Walking Dead franchise. The series features a large ensemble cast as survivors of a zombie apocalypse trying to stay alive under near-constant threat of attacks from zombies known as "walkers" (among other nicknames). With the collapse of modern civilization, these survivors must confront other human survivors who have formed groups and communities with their own sets of laws and morals, sometimes leading to open, hostile conflict between them. Andrew Lincoln played the lead character Rick Grimes until his departure in the ninth season. Other long-standing cast members have included Norman Reedus, Steven Yeun, Chandler Riggs, Melissa McBride, Lauren Cohan, Danai Gurira, Josh McDermitt, Christian Serratos, Seth Gilliam, Ross Marquand and Jeffrey Dean Morgan. The Walking Dead is produced by AMC Studios in the state of Georgia, with most filming taking place in the outdoor spaces of Riverwood Studios near Senoia, Georgia. The series was initially adapted from the comic by Frank Darabont, who also served as showrunner for the first season. However, conflicts between Darabont and AMC forced his departure from the series and resulted in multiple lawsuits by Darabont and others. Glen Mazzara, Scott M. Gimple, and Angela Kang served as subsequent showrunners. The series premiered on October 31, 2010, being exclusively broadcast on cable channel AMC in the United States and internationally through the Fox Networks Group and Disney+. The eleventh and final season premiered on August 22, 2021 and is expected to conclude in 2022. Beginning with its third season, The Walking Dead has attracted the most 18- to 49-year-old viewers of any cable or broadcast television series, though viewership has declined in later seasons. In addition, the series has been overall positively received by critics.[4] It has been nominated for several awards, including the Golden Globe Award for Best Television Series – Drama and the Writers Guild of America Award for New Series.[5][6] AMC has also expanded the series into related media, including the spin-off series Fear the Walking Dead (2015–present), and The Walking Dead: World Beyond (2020–2021), as well as several webisodes and video games. AMC announced plans for three films to follow Rick's story after Lincoln's departure. Three further spinoffs have been announced: an untitled series featuring Daryl, Isle of the Dead featuring Maggie and Negan, and an anthology series, Tales of the Walking Dead, to feature individual character backstories... Series overview Main article: List of The Walking Dead episodes The Walking Dead takes place after the onset of a worldwide zombie apocalypse. The zombies, referred to as "walkers", shamble towards living humans and other creatures to eat them; they are attracted to noise, such as gunshots, and to different scents, e.g. humans. Although it initially seems that only humans that are bitten or scratched by walkers can turn into other walkers, it is revealed early in the series that all living humans carry the pathogen responsible for the mutation. The mutation is activated after the death of the pathogen's host, and the only way to permanently kill a walker is to damage its brain or destroy the body entirely, such as by cremating it. The series centers on sheriff's deputy Rick Grimes, who wakes up from a coma. While in a coma, the world has been taken over by walkers. He becomes the leader of a group of survivors from the Atlanta, Georgia, region as they attempt to sustain and protect themselves not only against attacks by walkers but by other groups of survivors willing to use any means necessary to stay alive. Season    Episodes    Originally aired First aired    Last aired 1    6    October 31, 2010    December 5, 2010 2    13    October 16, 2011    March 18, 2012 3    16    October 14, 2012    March 31, 2013 4    16    October 13, 2013    March 30, 2014 5    16    October 12, 2014    March 29, 2015 6    16    October 11, 2015    April 3, 2016 7    16    October 23, 2016    April 2, 2017 8    16    October 22, 2017    April 15, 2018 9    16    October 7, 2018    March 31, 2019 10    22    October 6, 2019    April 4, 2021 11    24[7]    August 22, 2021    2022[7] Season 1 (2010) Main article: The Walking Dead (season 1) When sheriff's deputy Rick Grimes of King County, Georgia, wakes from a coma, he discovers the world has been overrun by zombies ("walkers"). After befriending Morgan Jones, Rick travels alone to Atlanta before finding his wife Lori, son Carl, and his police partner and best friend Shane Walsh in the woods with other survivors. After being attacked by walkers at night, the whole group travels back to Atlanta to the Centers for Disease Control (CDC) building, but find from the sole remaining scientist that no cure yet exists for the pandemic.[8][9] Season 2 (2011–12) Main article: The Walking Dead (season 2) Rick's group, searching for Carol's missing daughter, Sophia, takes shelter at a farm run by Hershel Greene. Tensions with Hershel's family worsen after it is discovered that he has a barn full of walkers: former friends and family members. Rick learns that Shane and Lori were romantically involved while he was in a coma, and that Lori is pregnant. Shane and Rick's friendship deteriorates, until Rick is forced to kill Shane in self-defense. The commotion attracts walkers to the farm, forcing Rick's group and Hershel's family to evacuate.[10] Season 3 (2012–13) Main article: The Walking Dead (season 3) Eight months after fleeing the farm, Rick's group—sans Andrea, but with Hershel's family—finds a remote prison, which they make their new home after clearing it of walkers. Lori is killed from an emergency C section, and Rick starts to become unhinged and hallucinate. Andrea was rescued by Michonne and the two discover Woodbury, a fortified town led by a deceitful man known as "the Governor" who seeks to destroy the group at the prison. Rick's group launches a raid that destroys Woodbury, but the Governor kills Andrea and escapes. The remaining citizens of Woodbury move into the prison.[11] Season 4 (2013–14) Main article: The Walking Dead (season 4) Several months after the Governor's attack, a deadly flu kills many of the people at the prison. The Governor finds Martinez, his former right-hand man and kills him, taking over his group before leading them into the prison. Rick's group is forced to separate and flee, while Hershel and the Governor are killed. The survivors, divided, face off against the undead and make new acquaintances. They all find numerous signs pointing to a safe haven called Terminus. Group by group, they reunite at Terminus, but Rick's group, sans Carol, is captured for an unknown purpose.[12] Season 5 (2014–15) Main article: The Walking Dead (season 5) The residents of Terminus have become cannibals. Carol leads a charge that frees Rick's group. Some of the group are captured by a group of corrupt cops based out of Grady Memorial Hospital. After the group migrates to Virginia, a stranger named Aaron approaches, inviting them to join the fortified community of Alexandria, led by Deanna Monroe. They quickly realize the residents are ill-prepared to do what it takes to survive. Rick becomes attracted to Jessie Anderson and discovers she has an abusive husband. Deanna signals Rick to execute the man after he kills her husband as Morgan arrives unexpectedly.[13] Season 6 (2015–16) Main article: The Walking Dead (season 6) The residents of Alexandria trust Rick's group to protect the town. A group known as the Wolves use a zombie horde to attack Alexandria, and Deanna and the entire Anderson family (among others) are killed. While recovering, Alexandria learns of a community called the Hilltop. A man called Jesus invites them to trade supplies with Hilltop if they can help end the threat of the extortionist Saviors led by a man named Negan. Although Rick's group decimate one Savior outpost, they are later caught by Negan and forced to submit to him. Season 7 (2016–17) Main article: The Walking Dead (season 7) Negan brutally murders Glenn and Abraham, initiating his rule over Alexandria. His actions initially lead Rick to submit, but Michonne persuades him to fight back. They encounter a community called the Scavengers and ask them for help. Carol and Morgan befriend King Ezekiel, the leader of the Kingdom, while Maggie and Sasha rally the Hilltop. Rosita and Eugene make a bullet to kill Negan. When the bullet is blocked by Lucille, Negan's baseball bat, Negan forcefully recruits Eugene as a Savior. The Saviors and turncoat Scavengers attack Alexandria but are repelled by Sasha's sacrifice and the aid of Kingdom and Hilltop soldiers. Season 8 (2017–18) Main article: The Walking Dead (season 8) Rick, Maggie, and Ezekiel rally their communities into war against Negan and the Saviors. Losses are heavy on both sides and many of the Kingdom's soldiers are killed. Alexandria falls to a Savior attack, and Carl is bitten by a walker. Before euthanizing himself, Carl convinces Rick to end the war and restart society anew. Negan attempts to wipe out Rick and his allies in a final battle, but Eugene thwarts his plan by sabotaging the Saviors' bullets. Rick then wounds Negan. Against Maggie's wishes, Negan is spared and imprisoned, ending the war. Season 9 (2018–19) Main article: The Walking Dead (season 9) Eighteen months after Negan's downfall, Rick proposes building a bridge to ease trading, but this leads to more resentment. Rick is seemingly killed when he destroys the bridge to prevent an invasion of walkers. Six years later, his absence triggers discourse between the communities, and a new walker-controlling threat named the Whisperers demand the survivors do not trespass in their territory. Their leader, Alpha, has acquired a large horde of walkers that she will unleash if they do so. After her daughter Lydia abandons her mother's group for the Kingdom's, Alpha disowns her and massacres many residents during a fair. Season 10 (2019–21) Main article: The Walking Dead (season 10) Alpha begins breaking down the communities with seemingly random walker attacks and acts of sabotage. Under Carol's orders, Negan infiltrates the Whisperers and assassinates Alpha. Her right-hand man Beta takes command of the Whisperers, but he and the horde are defeated by the survivors. Eugene leads a group to West Virginia to meet a new group of survivors. Meanwhile, Michonne travels north to search for Rick after finding evidence he survived his apparent death. Season 11 (2021–22) Main article: The Walking Dead (season 11) Eugene's group convinces the Commonwealth, a large, prosperous community with a strict class system, to lend aid and refuge to the Coalition. Maggie is suspicious of the Commonwealth's true intentions and is proven correct when Director of Operations Lance Hornsby begins subjugating the communities by force. Cast and characters Main article: List of The Walking Dead (TV series) characters From left to right: Andrew Lincoln (Rick), Greg Nicotero (director/executive producer), Norman Reedus (Daryl), Melissa McBride (Carol), Lennie James (Morgan), Chandler Riggs (Carl), Danai Gurira (Michonne), Jeffrey Dean Morgan (Negan), Lauren Cohan (Maggie), Alanna Masterson (Tara), and Seth Gilliam (Gabriel) on a panel for the series at the San Diego Comic-Con in July 2017 The list below contains those that have been credited within the series' title sequence and those who are credited as "also starring". Recurring and guest stars are listed on the individual season pages.     Andrew Lincoln as Rick Grimes: The series' protagonist and a former sheriff's deputy, Rick is the leader of a group of survivors who becomes the leader of the Alexandria Safe-Zone. (seasons 1–9)[14][15]     Jon Bernthal as Shane Walsh: Rick's former police partner and best friend. In the second season, he forms an intense rivalry with Rick. (seasons 1–2; special guest star seasons 3, 9)[16][17]     Sarah Wayne Callies as Lori Grimes: Rick's wife, who has an affair with Shane when she believed Rick was dead. (seasons 1–3)[18][19]     Laurie Holden as Andrea: A former civil rights attorney and member of the original Atlanta group of survivors. (seasons 1–3)[20][21]     Jeffrey DeMunn as Dale Horvath: An older member of the group who owned the RV in which a group of survivors traveled. Often the voice of reason within the group. (seasons 1–2)[22][23]     Steven Yeun as Glenn Rhee: A former pizza delivery boy who saved Rick's life. Glenn begins a relationship with Maggie Greene and later marries her. Over the course of the series, Glenn becomes an integral member of the group known for his character and resourcefulness. (seasons 1–7)[24][25]     Chandler Riggs as Carl Grimes: Rick and Lori's young son. Carl is forced to mature and learn to survive in the deadly new post-apocalyptic world. (seasons 1–8)[26][27]     Norman Reedus as Daryl Dixon: The group's primary hunter, Daryl becomes a key member of the group and Rick's trusted lieutenant. (seasons 2–11; recurring season 1)[28][29]     Melissa McBride as Carol Peletier: Originally a meek housewife, Carol overcomes domestic abuse to become a skilled, resourceful fighter capable of making difficult decisions. (seasons 2–11; recurring season 1)[30][31]     Lauren Cohan as Maggie Greene: The eldest daughter of the Greene family, Maggie marries Glenn, becomes pregnant with their child and becomes the leader of the Hilltop Colony. (seasons 3–11; recurring season 2)[32][33]     Danai Gurira as Michonne: A fierce, katana-wielding woman who joins Rick's group. Michonne eventually becomes Rick's romantic partner and a mother-figure to his son, Carl. She is also the mother-figure to Judith, daughter of Lori and Shane. (seasons 3–10)[34][35]     Scott Wilson as Hershel Greene: A veterinarian and farmer who maintains his faith and acts as the group's primary moral compass. Hershel is the father of Maggie and Beth Greene. (seasons 3–4; special guest star season 9; recurring season 2)[33][36]     Michael Rooker as Merle Dixon: The racist and volatile older brother of Daryl Dixon. In the third season, he is the right-hand man to the Governor. (season 3; guest seasons 1–2)[37][38]     David Morrissey as Philip "The Governor" Blake: The antagonistic leader of the town of Woodbury, the Governor is ruthless, paranoid, and dangerous. (seasons 3–4; special guest star season 5)[39][40]     Emily Kinney as Beth Greene: A soft-spoken teenage girl who enjoys singing, Beth is Hershel's younger daughter and Maggie's younger half-sister. (seasons 4–5; recurring seasons 2–3)[41][42]     Chad L. Coleman as Tyreese Williams: Tough and compassionate, Tyreese places an emphasis on moral reasoning. He struggles to cope with the immoral nature of some of the group's survival tactics and finds it difficult to kill in defense of the group. (seasons 4–5; recurring season 3)[43][44]     Sonequa Martin-Green as Sasha Williams: Tyreese's fiery younger sister and a former firefighter, Sasha is the group's sharpshooter. After several personal losses, she suffers from PTSD. (seasons 4–7; special guest star season 9; recurring season 3)[45][46]     Lawrence Gilliard Jr. as Bob Stookey: A former army medic and recovering alcoholic who develops a close relationship with Sasha. (seasons 4–5)[47][48]     Michael Cudlitz as Abraham Ford: A former military sergeant on a mission to bring Eugene to Washington, D.C. to find a cure for the walker virus. (seasons 5–7; recurring season 4)[49][50]     Josh McDermitt as Eugene Porter: A man who claims to know a cure for the walker virus, Eugene is cowardly and inefficient when dealing with walkers, but is very intelligent. (seasons 5–11; recurring season 4)[50][51]     Christian Serratos as Rosita Espinosa: A tough, focused, and very capable survivor, and also Abraham's girlfriend. (seasons 5–11; recurring season 4)[50][52]     Alanna Masterson as Tara Chambler: A former police academy student, Tara joins Rick's group after having initially been affiliated with the Governor. She serves as a primary supply runner. (seasons 5–9; recurring season 4)[53][54]     Andrew J. West as Gareth: The cannibalistic leader of Terminus who captures and coerces Rick's group into submission before being executed by Rick. (season 5; guest season 4)[55][56]     Seth Gilliam as Gabriel Stokes: A priest who joins Rick's group. He lacks experience with walkers and struggles with his faith in the new world. (seasons 5–11)[57][58]     Lennie James as Morgan Jones: The first survivor Rick encounters in the first season. After suffering a psychological breakdown, he comes to peace with the world around him. (seasons 6–8; recurring season 5; special guest star season 3; guest season 1)[59][60]     Alexandra Breckenridge as Jessie Anderson: An Alexandria resident who develops a relationship with Rick. (season 6; recurring season 5)[61][62]     Ross Marquand as Aaron: A recruiter who invites Rick's group to Alexandria. (seasons 6–11; recurring season 5)[63][64]     Austin Nichols as Spencer Monroe: Deanna's son and a guard of Alexandria. (seasons 6–7; recurring season 5)[65][66]     Tovah Feldshuh as Deanna Monroe: A former Congresswoman and original leader of Alexandria. (season 6; recurring season 5)[67][68]     Jeffrey Dean Morgan as Negan: The totalitarian, sociopathic leader of the Saviors. (seasons 7–11; special guest star season 6)[69][70]     Austin Amelio as Dwight: A ruthless and reluctant member of the Saviors who forms an intense rivalry with Daryl. (seasons 7–8; recurring season 6)[71][72]     Tom Payne as Paul "Jesus" Rovia: A scout and member of the Hilltop Colony. (seasons 7–9; recurring season 6)[73][74]     Xander Berkeley as Gregory: The selfish and treacherous leader of the Hilltop Colony. (seasons 7–9; guest season 6)[75][76]     Khary Payton as Ezekiel: The "king" of a community known as the Kingdom, Ezekiel is a former zookeeper with a pet Bengal tiger called Shiva. (seasons 8–11; recurring season 7)[77][78]     Steven Ogg as Simon: A high-ranking member of the Saviors serving as Negan's right-hand man. (season 8; recurring season 7; guest season 6)[79][80]     Katelyn Nacon as Enid: An isolated teenager in Alexandria who forms a close bond with Carl. (seasons 8–9; recurring seasons 6–7; guest season 5)[81][82]     Pollyanna McIntosh as Anne "Jadis": The impassive, enigmatic leader of the Scavengers. (seasons 8–9; recurring season 7)[83][84]     Callan McAuliffe as Alden: A former member of the Saviors who later switches his allegiance to the Hilltop. (seasons 9–11; recurring season 8)[85][86]     Avi Nash as Siddiq: A former vagabond and doctor who is rescued by Carl and brought to Alexandria. (seasons 9–10; recurring season 8)[87][88]     Samantha Morton as Alpha: The leader of the Whisperers, a mysterious group of survivors who wear the skins of walkers to mask their presence. (seasons 9–10)[89][90]     Ryan Hurst as Beta: The second-in-command of the Whisperers and Alpha's right-hand man. (season 10; recurring season 9)[91][92]     Eleanor Matsuura as Yumiko: Magna's girlfriend who is a proficient archer and former criminal defense lawyer. (seasons 10–11; recurring season 9)[93][94]     Cooper Andrews as Jerry: A member of the Kingdom and Ezekiel's steward. (seasons 10–11; recurring seasons 7–9)[95][96]     Nadia Hilker as Magna: The feisty leader of a small group of roaming survivors and Yumiko's girlfriend. (seasons 10–11; recurring season 9)[97][98]     Cailey Fleming as Judith Grimes: The biological daughter of Lori and Shane who was adopted by Rick after she was born. (seasons 10–11; recurring season 9)[99][100]     Cassady McClincy as Lydia: Alpha's daughter and former Whisperer. (seasons 10–11; recurring season 9)[101][102]     Lauren Ridloff as Connie: A deaf member of Magna's group and Kelly's sister. (seasons 10–11; recurring season 9)[103][104]     Paola Lázaro as Juanita "Princess" Sanchez: A quirky and flamboyant survivor who has suffered various traumas in her past and later joins Eugene's group. (season 11; recurring 10)[105]     Michael James Shaw as Michael Mercer: A resident of the Commonwealth who serves as the general of the Commonwealth military (season 11)[106]     Lynn Collins as Leah Shaw: A member of the Reapers and former owner of Dog who formed a loving connection with Daryl while searching for Rick after his disappearance. (season 11; guest season 10)[107]     Josh Hamilton as Lance Hornsby: The deputy governor and director of operations to the Commonwealth (season 11)[108]     Margot Bingham as Max "Stephanie" Mercer: A resident of the Commonwealth who communicated with Eugene over the radio. She is also Mercer's younger sister. (season 11; guest season 10)[109]     Laila Robins as Pamela Milton: The governor of the Commonwealth (season 11)[108] Darabont connections The series features several actors whom series developer Frank Darabont has worked with previously, including Laurie Holden (Andrea), Jeffrey DeMunn (Dale Horvath), Melissa McBride (Carol Peletier), Juan Pareja (Morales) and Sam Witwer (the dead soldier in the tank where Rick Grimes hides in "Days Gone Bye"). All five appeared in his 2007 film The Mist,[110] along with Thomas Jane, who originally was set to star in the series as Rick Grimes when it was pitched to HBO.[111][112][113] Jane was later in talks with Darabont to possibly guest star on the series as of fall 2010;[114] however, with Darabont's departure,[115] it is unknown whether the guest spot will happen or not. Holden also appeared in the 2001 film The Majestic, which Darabont also directed. DeMunn has appeared in several of Darabont's films; in addition to The Mist and The Majestic, he appeared in The Shawshank Redemption (1994) and The Green Mile (1999). It was planned that Witwer (Private Jessup in Darabont's The Mist) would reprise his "Days Gone Bye" role in the original conception of the series' second season premiere[116] and in a webisode,[117] but both plans were discarded.[118] Production Development The Walking Dead creator Robert Kirkman is also an executive producer and writer of the television series. On January 20, 2010, AMC officially announced that it had ordered a pilot for a possible series adapted from The Walking Dead comic book series, with Frank Darabont and Gale Anne Hurd acting as executive producers and Darabont writing and directing.[119] The entire series was pre-ordered based just on the strength of the source material, the television scripts, and Darabont's involvement.[120] In January 2010 a review of the pilot episode's script attracted further attention.[121] The pilot began filming in Atlanta, Georgia on May 15, 2010[122] after AMC had officially ordered a six-episode first season.[123] The series's remaining episodes began filming on June 2, 2010 with Darabont serving as showrunner.[124][125] On August 31, 2010, Darabont reported that The Walking Dead had been picked up for a second season, with production to begin in February 2011. On November 8, 2010, AMC confirmed that there would be a second season consisting of 13 episodes.[126] He would also like to include some of the "environmental elements" that take place during Volume 2 of Kirkman's book.[127] Crew The first season writing staff consisted of series developer and executive producer Frank Darabont (who wrote/co-wrote four of the six episodes), executive producer Charles H. Eglee, executive producer and creator of the comic book Robert Kirkman, co-executive producer Jack LoGiudice, consulting producer Adam Fierro and Glen Mazzara, all of whom contributed to one episode each. Along with Darabont, who directed the pilot episode, the remaining five were directed by Michelle MacLaren, Gwyneth Horder-Payton, Johan Renck, Ernest Dickerson, and Guy Ferland, respectively.[128] On December 1, 2010, Deadline Hollywood reported that Darabont had fired his writing staff, including executive producer Charles "Chic" Eglee, and planned to use freelance writers for the second season.[129] Kirkman called the announcement "premature" and clarified that Eglee left to pursue other projects when Darabont decided to stay on as showrunner, and no definitive plans had been made regarding the writing staff for the second season.[130]     [Chic Eglee] was brought onto The Walking Dead with the idea that Frank was going to work on the first season and then go off and do movies [...] Chic didn't want to be second-in-command on a show when he's used to being a top dog, and so he decided to go off and do something else, which is something that happens and is not a big deal.     — Robert Kirkman, TV Guide[130] After the departure of Frank Darabont, the role of showrunner was assumed by Glen Mazzara (left) for the second and third seasons, Scott M. Gimple (middle) from the fourth to the eighth season, and Angela Kang (right) from the ninth to the eleventh season. On December 3, 2010, in an interview with Entertainment Weekly, executive producer Gale Anne Hurd commented: "It's completely inaccurate. [In] the writers' room, there are people that have set up other projects that will be their first priority if their own series is picked up as a pilot or if it's a series. I think [Eglee] just decided that he wants to run his own show." She revealed that it would be likely for the series to return in October 2011, as Darabont and Kirkman planned on mapping out the next season early in 2011. She also confirmed that, "every one of the principal cast is signed up for multiple seasons."[131] In July 2011, series developer and showrunner Frank Darabont was fired from his position as showrunner for the series, over unethical business practices from AMC higher-ups (see Lawsuits below).[132] Executive producer Glen Mazzara was appointed the new showrunner in Darabont's place.[133] New writers joined the writing staff in the second season, including co-executive producer Evan Reilly, producer Scott M. Gimple, story editor Angela Kang, and David Leslie Johnson. New writers in the third season included producers Nichole Beattie and Sang Kyu Kim, with Frank Renzulli contributing a freelance script. After the conclusion of the third season, Glen Mazzara stepped down from his position as showrunner and executive producer for the series, per a mutual agreement between Mazzara and AMC. The press release read, "Both parties acknowledge that there is a difference of opinion about where the show should go moving forward, and conclude that it is best to part ways."[134] Scott M. Gimple succeeded Mazzara as showrunner for the fourth season,[135] with new writers joining the writing staff, such as Curtis Gwinn, Channing Powell, and Matt Negrete.[136] In January 2018, it was announced that Gimple would be promoted to the newly created position of Chief Content Officer of the entire Walking Dead franchise, and that Angela Kang would replace him as showrunner beginning with the ninth season.[137][138] Writing The television series generally tends to follow Kirkman's comic series across major characters and plots; for instance, events of the premiere episode of the seventh season correlate to events in issue #100 of the comics.[139][140] The series does not attempt to go step-by-step with the comics, and has leeway in the narrative. In particular, the series's writers, along with Kirkman, often "transfer" how a character has died in the comics to a different character in the series. For example, in the fourth season, where Hershel Greene is beheaded by the Governor in the standoff with Rick's group at the prison; in the comic, Tyreese is the one who suffers this fate.[139] Some of the television characters, like Carol, have far outlived their comic counterparts, while others that have already been killed off, like Sophia and Andrea, remained alive for some time in the ongoing comic series.[140] In addition, the writers have included characters wholly novel to the series such as Daryl Dixon, which producer Gale Anne Hurd says helps to create a new dynamic for the series, and keeps the audience guessing from what had already been established in the comic series.[141] Casting The Walking Dead has featured a large rotating ensemble cast. In most cases, because of the nature of the show, departure of actors from the show are determined by the writing, with characters either killed off or written off the show as necessary to develop the story. Cast members are generally told ahead of time if they have been written off the show, but otherwise kept to secrecy. For example, Steven Yeun, who played Glenn Rhee since the pilot through the season seven premiere, knew of his character's death for a year but had to keep quiet,[142] while Chandler Riggs, playing Carl Grimes through the eighth season, was told of his character's departure during the filming in the weeks leading into his final episodes.[143] A few actors have left the show under their own terms due to other commitments or changes, with the writings adopting the plot around these changes:     Andrew Lincoln played the series's protagonist Rick Grimes since the pilot. Lincoln announced his plan to leave the show at the start of the ninth season, finding that having to spend half a year in the United States for filming left him missing out on his family in the United Kingdom.[144] Lincoln completed five episodes in the season to close out Rick's storyline within the series, which will be continued in three films.[145]     Lauren Cohan played Maggie Greene since the second season. As contract negotiations began for the ninth season, Cohan had been given the opportunity to star in Whiskey Cavalier, limiting how much time she would be able to give to the show. Cohan appeared as Maggie for the first five episodes of the season.[146][147] In October 2019, it was confirmed that Cohan would return as a series regular for the eleventh season.[148]     Danai Gurira played Michonne since the third season, and announced that she would be leaving the show after the tenth season, participating in a handful of episodes balanced against her other acting commitments.[149][150]     Both Lennie James (as Morgan Jones) and Austin Amelio (as Dwight) were transferred from the main series after season eight to the spinoff series Fear the Walking Dead. James joined the cast of Fear the Walking Dead in season four and Amelio joined the cast in season five.[151][152] Casting salaries for the principle actors have grown significantly over the course of the show, up through the seventh season. Overall, the salaries had been lower compared to other similar dramas, including AMC's own Mad Men, but this was justified due to the volatility of any character being potentially written off the show. Norman Reedus and Melissa McBride, playing Daryl Dixon and Carol Peletier respectively, had made around US$9,500 per episode during the first season, and by the seventh season, had gotten up to US$80,000 per episode. Lincoln himself was only earning US$90,000 per episode in the seventh season.[153] By season nine, with the departure of Lincoln, Reedus had repeated secured a US$350,000 per episode pay plus additional incentives, potentially earning him US$50–90 million over three seasons. McBride similarly had gotten an extended contract in season nine worth US$20 million over three seasons. Both of these were intended to secure the pair as central figures for the show going forward in Lincoln's absence.[154] Music Bear McCreary composes The Walking Dead score Bear McCreary was hired to compose the score for the series. McCreary stated that the main theme was based on his viewing of production designs for the opening title sequence. Instead of doing a full theme song as with his earlier works, McCreary chose to use a simple, repeating motif from the strings section.[155]     It repeats over and over, and in fact in the pilot episode, you start hearing it before the main title begins, and this is something that continues episode to episode. You hear the main title music before the main title begins, so you know it's coming. That, to me, was the little hook – that little thing that, whenever you hear it, it takes you to the series.     — Bear McCreary[155] Soundtracks Four soundtracks for The Walking Dead have been released to date. The Walking Dead: AMC Original Soundtrack, Vol. 1 was released on March 17, 2013.[156] The second volume was released on March 25, 2014.[157] Songs of Survival is a soundtrack for the third season and it was released on August 27, 2013, by Republic Records as a Walmart exclusive for the special edition release of the third season.[158] Songs of Survival, Vol. 2 is a soundtrack for the fourth season and it was released on August 26, 2014, by Republic Records as a Walmart exclusive of the fourth season release.[159] Makeup Greg Nicotero is an executive producer and the key special effects makeup artist on the series. Each walker is put through "zombie school" and is taught how to move like a zombie. There are three levels of zombie makeup: Hero, Midground, and Deep Background. Hero zombies are featured walkers and are completely made over from head to toe. Midground zombies get highlights and shadows on the face, but do not get close enough to the camera to require full makeup. Deep background zombies often wear masks and are only meant to be used as a backdrop.[160] Filming Downtown Senoia, Georgia was used as the setting for Woodbury during the third season The Walking Dead is predominantly filmed in Georgia.[161] Since 2002, the state has offered a tax incentive for large film productions to drive producers to the state and bolster its economy.[162] The first season was shot primarily in Atlanta, but required a great deal of coordination with the city to shut down streets and parks for filming.[162] Production for subsequent seasons moved mainly to Riverwood Studios (doing business as Raleigh Studios Atlanta), a plot of land covering approximately 120 acres (0.49 km2), located outside of Senoia, Georgia. Some existing buildings were used here, such as a subdivision that is used by several families, which serves as the Alexandria Safe-Zone. Other buildings are constructed as sets, such as the exterior shots of the main Hilltop mansion, the trash heaps used by the Scavengers, or Father Gabriel's church. Sets are torn down when no longer needed; the church, after its use in the fifth season, was removed and its spot used for the iconic setting for the first meeting between Rick's group and Negan in the seventh season. The property includes sound stages constructed for interior shots, which then may be reused; the interior sets for the prison during the third season were reused to serve as the buildings and sets for the Savior's Sanctuary in the seventh season.[163][164] In July 2017, AMC purchased the studio lot from Riverwood for $8.25 million.[165] Some scenes are shot outside of the studio. Woodbury, during the third season, was filmed in downtown Senoia. Other exceptions include the Kingdom, which is filmed at the former military base Fort McPherson, now converted to studios for Tyler Perry.[163][164] The series was shot on 16 mm film up until the end of the tenth season before it transitioned to digital for the series' final 30 episodes. The change was due to the with there being fewer "touch points" with digital than film.[166] David Tattersall was the director of photography for the pilot episode with David Boyd as the director of photography on the remainder of the episodes. Production design is done by Greg Melton and Alex Hajdu. The effects team includes veteran special effects makeup designers Greg Nicotero and Toby Sells,[167] special effects coordinator Darrell Pritchett, and visual effects supervisors Sam Nicholson and Jason Sperling.[168] Greg Nicotero also served as the primary director for the series, directing 35 episodes up until 2021.[169][170] Marketing The Walking Dead debuted during the same week in 120 countries. As part of an expansive campaign to advertise and heighten anticipation for the premiere, AMC and Fox International Channels coordinated a worldwide zombie invasion event on October 26, 2010. The stunt involved invading 26 major cities within a 24-hour period, starting with Taipei and Hong Kong, and ending in Los Angeles for the U.S. premiere.[171] The series's official website released, just prior to the San Diego Comic-Con in 2010, a motion comic based on Issue No. 1 of the original comic and voiced by Phil LaMarr.[172] The site also posted a making-of documentary primarily about the first episode, as well as a number of other behind-the-scenes videos and interviews. In the documentary, comic series creator and television series executive producer Robert Kirkman, as well as artist Charlie Adlard, say they are pleased with how faithful the series is to the comic and remark on the similarities between the actors and the comic's original character drawings.[173] Action figures of characters from the series were created for release in November 2011 and have continued throughout the years with eight line-ups. The figures, which are manufactured by McFarlane Toys, are designed to resemble the actors on the series. Figures created to resemble the characters as drawn in the comic book were released in September 2011.[174] In December 2020, it was announced by AMC that Chris Hardwick would host a special for the show featuring the appearances of various cast members, titled The Walking Dead Holiday Special, to promote the show and "reminisce on the franchise series' past".[175] The special was released on December 13, 2020.[176] Green initiatives With a primary objective of reducing the environmental impacts of film and television productions, including The Walking Dead, producer Gale Anne Hurd has directed the cast, crew, production team, suppliers, and bloggers about her series to adopt the Doddle app to make the production almost paper-free; this works by digitally transmitting interactive call sheets and other intra-team and team-supplier communications (such as directions, images, menus, and updates) to people's cell phones and tablets. Hurd said of using Doddle: in addition to conserving paper, "It's also easier, and it's better for security. People are less likely to leave their smartphone or tablet lying around for someone else to pick up."[177][178] Hurd describes additional steps taken to increase efficiency and cut production costs: "If you use vehicles that get better gas mileage, that are electric or hybrids, you're going to pay a lot less in fuel. If you use compact fluorescent bulbs, you're going to save a lot of money in utilities. If you recycle even your own sets, and use them again, that's going to save money. You don't have to buy new lumber. So there are cost savings, absolutely."[177] Additionally, the production team aims to reduce vehicle idling, which decreases carbon dioxide emissions.[177][178][179] Hurd also cuts down on plastic waste by personally using a refillable, stainless steel EcoUsable water bottle and promoting its use among her colleagues. She shared: "on a lot of my projects I give them as crew gifts before we start production, and have water stations available, but you can't force people to use them."[177] Franchise and spinoffs Main article: The Walking Dead (franchise) Webisodes To date, four web series based on The Walking Dead have been released via AMC's website–Torn Apart (2011), Cold Storage (2012), The Oath (2013)[180] and Red Machete (2017).[181] Talking Dead Main article: Talking Dead A live television aftershow titled Talking Dead premiered on AMC on October 16, 2011, following the encore presentation of The Walking Dead's second-season premiere. Talking Dead features host Chris Hardwick discussing the latest episode with fans, actors, and producers of The Walking Dead.[182] Films Following the departure of Andrew Lincoln as Rick Grimes during the ninth season, chief content officer Scott Gimple stated that they plan to create three AMC Original Films to explore events related to Rick's character in the future, starring Lincoln, and with the first expected to begin production in 2019. Besides Lincoln, Danai Gurira (Michonne) and Pollyanna McIntosh (Jadis / Anne) will also star in these films. Gimple stated that these will not simply be extended episodes, nor will attempt to adapt any of the comic stories, but will heavily involve Kirkman in their development.[145][183][184] The films will be released in theaters by Universal Pictures.[185] The films are expected to follow a group known as the Three Rings, a militaristic force that see themselves as the future of humanity. This is the force whom Jadis was in contact with and who rescued Rick at the end of "What Comes After", the group that Michonne sees at the end of "What We Become", the group that Isabella is from in the episode "The End of Everything" from Fear the Walking Dead, and the teenagers in World Beyond will be from one of the communities set up by the Three Rings.[186] Television series Fear the Walking Dead Main article: Fear the Walking Dead Fear the Walking Dead is a companion series to The Walking Dead, developed by AMC. AMC started development of the series around September 2013 and committed to a two-season broadcast by March 2015.[187][188][189] Fear the Walking Dead was first broadcast on August 23, 2015.[190] Fear the Walking Dead features a different set of characters, developed by Kirkman. The series starts at the onset of the zombie apocalypse, and follows several people that escape Los Angeles as the military attempts to quarantine the city, and seek refuge along the west coast of the United States and Mexico. The fourth season of Fear the Walking Dead features a crossover with The Walking Dead, specifically through the character Morgan Jones (played by Lennie James) who joins the cast of Fear the Walking Dead after the events of the eighth season of The Walking Dead.[191][192] Similarly, Dwight, played by Austin Amelio, joined Fear the Walking Dead for its fifth season in 2019.[193] The Walking Dead: World Beyond Main article: The Walking Dead: World Beyond In April 2019, AMC officially announced it had ordered a 10-episode series created by Scott M. Gimple and Matthew Negrete. The series focuses on the first generation of children that have grown up during the zombie apocalypse who call themselves "Endlings",[194] and are aware of how to survive if confronted by them, but have otherwise been raised behind walls and have never actually experienced survival.[195] Production began in July 2019 in Richmond, Virginia, with Jordan Vogt-Roberts originally attached to direct the pilot before Magnus Martens took over on account of a new series direction as more season episodes were developed.[196][197] The series stars Aliyah Royale, Alexa Mansour, Annet Mahendru, Nicolas Cantu, Hal Cumpston, Nico Tortorella and Julia Ormond.[198] The series premiered on October 4, 2020, and ended on December 5, 2021 after two seasons.[199][200][201] Tales of the Walking Dead Main article: Tales of the Walking Dead In October 2021, AMC officially greenlit a six-episode first season to debut in mid-2022. Channing Powell, who has written for both The Walking Dead and Fear the Walking Dead, will serve as showrunner. It is an episodic anthology series that features new and existing characters within the Walking Dead universe.[202] Daryl spinoff A spinoff series created by Angela Kang and Scott M. Gimple to star Reedus and McBride as their characters Daryl and Carol, respectively, was also announced in September 2020, with plans to air in 2023 after the conclusion of the eleventh season of the main show.[203] In April 2022, the project was retooled to be entirely Daryl-focused, and McBride departed the project. The series is set and to be filmed in Europe in mid-2022, which would make it logistically untenable for McBride.[204] David Zabel serves as showrunner, who replaces Kang.[205] Isle of the Dead In March 2022, AMC officially greenlit Isle of the Dead, starring Morgan and Cohan as their characters Negan and Maggie respectively. They are also executive producing with Eli Jorné, who is serving as showrunner. The series will be set in Manhattan. The six-episode series is scheduled to premiere in 2023.[206] Others Wizards of the Coast worked with AMC to include characters and elements of The Walking Dead, into Magic: The Gathering as part of a 2020 "Secret Lair" card set, given that the card game had already had the idea of zombies within the game already.[207] Parodies and spoofs Due to its popularity, The Walking Dead has inspired dozens of parodies and spoofs featured on YouTube channels like Bad Lip Reading and television series such as Saturday Night Live[208][209] and Mad TV.[210] Bad Lip Reading made a widely viewed parody involving Rick and the Governor, entitled "La-Bibbida-Bibba-Dum".[211] The series's cast was shown the parody at the San Diego Comic-Con in 2013, and David Morrissey—who portrays the Governor— reacted by saying he now understood why so many people would walk up to him on the street and blurt, "Hey, La-Bibbida-Bibba-Dum!" Until seeing the video, he had wondered, "what's wrong with these people?"[212] The Walking Dead has also been represented as a live comedy performance by English comedian Dan Willis at the Edinburgh Festival.[213] A parody film called The Walking Deceased was released in 2015.[214] Release Sarah Wayne Callies and Andrew Lincoln in 2010; Robert Kirkman is in the background on the left Scenes from the pilot were screened July 23, 2010, as part of the San Diego Comic-Con in 2010.[215] It premiered on AMC on October 31, 2010, and premiered internationally on Fox International Channels during the first week of November.[216][217] Almost two weeks before the official premiere on AMC, the pilot episode leaked online.[218] International broadcast rights for the series were sold and announced on June 14, 2010.[219] The series airs on Fox International Channels in 126 countries in 33 languages. The fifth season debuted its first part on October 13, 2014.[220] The second part premiered on February 9, 2015.[221] On May 20, 2021, it was announced, following the closure of the Fox channel in the UK and Ireland, that the eleventh and final season would instead be released on the Star hub on Disney+ the day after episodes air in the United States.[222] Home media The first season DVD and Blu-ray was released on March 8, 2011.[223] A three-disc special edition of the first season—featuring new featurettes and audio commentaries—was released on DVD and Blu-ray on October 4, 2011.[224] The European versions of the first season DVD and Blu-ray are edited for gore, with cuts to episode two ("Guts"),[225] episode three ("Tell It to the Frogs"),[226] episode four ("Vatos")[227] and episode five ("Wildfire").[228] Until eOne/WVG re-released the first season in D-A-CH in a Special Uncut Version on DVD and Blu-ray on May 31, 2013.[229] The second season DVD and Blu-ray was released on August 28, 2012. It was also released as a limited edition Blu-ray, packaged as a miniature zombie head designed by McFarlane Toys. Special features include audio commentaries, deleted scenes, webisodes, and several featurettes.[230] The third season DVD and Blu-ray was released on August 27, 2013. It was also released as a limited edition Blu-ray, packaged as a miniature version of the Governor's zombie head aquarium tank designed by Greg Nicotero and sculpted by McFarlane Toys. Special features include audio commentaries, deleted scenes, and several featurettes.[231] The fourth season DVD and Blu-ray was released on August 26, 2014. It was also released as a limited edition Blu-ray, packaged with a tree-walker designed by McFarlane Toys. Special features include audio commentaries, deleted scenes, and several featurettes, as well as extended episodes which are exclusive to the Blu-ray.[232] The fifth season DVD and Blu-ray was released on August 25, 2015,[233] the sixth season DVD and Blu-ray was released on August 23, 2016,[234] the seventh season DVD and Blu-ray was released on August 22, 2017,[235] the eighth season DVD and Blu-ray was released on August 21, 2018,[236] and the ninth season DVD and Blu-ray was released on August 20, 2019.[237] Home video release for the first six seasons was distributed by Anchor Bay Entertainment (under license from AMC Networks), with releases for the seventh season onwards distributed by Lionsgate Home Entertainment in the United States. The international home video releases were distributed by Entertainment One. Syndication MyNetworkTV acquired the broadcast syndication rights to the series, premiering on October 1, 2014.[238] The version that airs on MyNetworkTV is edited to meet broadcast television standards.[239] Reception Critical reception Season     Critical response Rotten Tomatoes     Metacritic     1     87% (100 reviews)[240]     82 (25 reviews)[241]     2     80% (203 reviews)[242]     80 (22 reviews)[243]     3     88% (327 reviews)[244]     82 (19 reviews)[245]     4     81% (316 reviews)[246]     75 (16 reviews)[247]     5     90% (374 reviews)[248]     80 (11 reviews)[249]     6     76% (512 reviews)[250]     79 (10 reviews)[251]     7     66% (620 reviews)[252]     —     8     65% (447 reviews)[253]     —     9     89% (364 reviews)[254]     72 (4 reviews)[255]     10     77% (392 reviews)[256]     —     11     84% (124 reviews)[257]     — The first six seasons and the ninth, tenth and eleventh seasons of The Walking Dead have been well reviewed by recognized critics, while the seventh and eighth seasons received more mixed reviews. On Rotten Tomatoes, the series has an average score of 81%.[258] For the first season, 87% of 31 Rotten Tomatoes critics gave it a positive review, with an average score of 7.35/10. That site's consensus states, "Blood-spattered, emotionally resonant, and white-knuckle intense, The Walking Dead puts an intelligent spin on the overcrowded zombie subgenre."[240] Metacritic scored the first season 82/100 based on 25 critic reviews, 23 of which were positive, two mixed, and none negative.[241] For the second season, 80% of 24 critic reviews on Rotten Tomatoes were positive, with an average score of 8.05/10. The site's consensus states, "The second season of The Walking Dead fleshes out the characters while maintaining the grueling tension and gore that made the show a hit."[242] Of 22 Metacritic critic reviews, 18 were positive, four were mixed, and none were negative; their average score was 80/100.[243] Early criticism of the series focused on the slow pace of the second season, particularly the first half. Ken Tucker of Entertainment Weekly, described the series as "a nighttime soap", comparing it to "a parody of a Samuel Beckett play" that had very little sense of direction and few appearances of walkers.[259] Nate Rawlings of Time's online entertainment section noted that "the pace during the first half of this season has been brutally slow. [...] They've tried to develop individual characters, but each subplot meant to add a layer to a character has been quickly resolved."[260] Later reviews from other critics, such as Scott Wampler of Collider.com, recognized the increased quality of the second half, stating it "seemed far more intense, more interesting, better written".[261] Recognizing the overall season, Kevin Yeoman of Screen Rant offered praise saying "the writers succeeded in unshackling themselves from the intermittent monotony brought about by the serial nature of the show".[262] The third season had 88% of Rotten Tomatoes' 33 critics giving it a positive review, with an average score of 7.85/10. The site's consensus states, "The palpable terror and visceral thrills continue in the third season of The Walking Dead, along with a deeper sense of the people who inhabit its apocalyptic landscape."[244] Metacritic's 19 critics rated the season 82/100, all of whom gave a positive review.[245] For the fourth season, 81% of Rotten Tomatoes' 32 critic reviews were positive, with an average score of 7.60/10. The site's consensus states, "Consistently thrilling, with solid character development and enough gore to please grindhouse fans, this season of The Walking Dead continues to demonstrate why it's one of the best horror shows on television".[246] Metacritic scored the season 75/100 based on 16 critic reviews, 13 of which were positive, three mixed, and none negative.[247] The fifth season had 90% of Rotten Tomatoes' 32 critic reviews rating it positively, with an average score of 6.95/10. The site's consensus states, "Thanks to a liberal dose of propulsive, bloody action and enough compelling character moments to reward longtime fans, The Walking Dead's fifth season continues to deliver top-notch entertainment."[248] Metacritic scored the fifth season 80/100 based on 11 critic reviews, all of which were positive.[249] For the sixth season, 76% of Rotten Tomatoes' 25 critic reviews were positive, with an average score of 7.40/10. The site's consensus states, "Six seasons in, The Walking Dead is still finding ways to top itself, despite slow patches that do little to advance the plot."[250] Metacritic scored the sixth season 79/100 based on 10 critic reviews, nine of which were positive, one mixed, and none negative.[251] For the seventh season, 66% of Rotten Tomatoes' 18 critic reviews rated it positively, with an average score of 6.85/10. The site's consensus is, "Increased character depth and effective world-building helps The Walking Dead overcome a tiresome reliance on excessive, gratuitous violence."[252] After the controversial season premiere episode was aired, critic Matt Zoller Seitz criticized the series' consistently cynical use of violence, stating that "The longer this series goes on, the more obvious it becomes that the violence is the point, and everything else is an intellectual fig leaf."[263] For the eighth season, 65% of Rotten Tomatoes' 17 critic reviews rated it positively, with an average score of 6.65/10. The site's consensus states "The Walking Dead's eighth season energizes its characters with some much-needed angst and action, though it's still occasionally choppy and lacking forward-moving plot progression."[253] For the ninth season, 89% of Rotten Tomatoes' 22 critic reviews were positive, with an average score of 7.15/10. The site's consensus states, "Nine seasons in, The Walking Dead feels more alive than ever, with heightened tension and a refreshed pace that rejuvenates this long-running franchise."[254] Metacritic scored the ninth season 72/100 based on 4 critic reviews, 3 of which were positive, one mixed, and none negative.[255] For the tenth season, 77% of Rotten Tomatoes' 6 critic reviews were positive, with an average score of 7/10. The site's consensus states, "A few changes in front of and behind the camera allow TWD create space for compelling new stories and some seriously scary new adversaries."[256] In 2013, TV Guide ranked The Walking Dead as the #8 sci-fi show.[264] Comments about diversity Some critics have commented on the increasing diversity of the series.[265][266][267] This approach was initially applauded by commentators.[265][266] In 2015, Lindsay Putnam of the New York Post questioned whether the show was in danger of becoming "too diverse" as the show "seemingly reached critical mass for its nonwhite, nonmale survivors — and now has no choice but to kill them off".[265] Robert Kirkman has discussed the increasing diversity of the show and the comic books. He has described how he regrets the lack of diversity in the early issues of the comic book series and explained how they would have been "vastly more diverse" if he were to have started them now.[268] Ratings During its first season, The Walking Dead attracted between four and six million viewers.[269] Viewership began to increase in its second season. During seasons three to seven, it attracted ten to seventeen million viewers.[269] In 2012, during its third season, it became the first cable series in television history to have the highest total viewership of any series during the fall season among 18- to 49-year-old adults.[269][270] In 2014, total viewership for the show's fifth-season premiere was 17.3 million, making it the most-watched series episode in cable history.[271][272] In 2016, a New York Times study of the 50 television series with the most Facebook likes found that like most other zombie series, The Walking Dead "is most popular in rural areas, particularly southern Texas and eastern Kentucky".[273] Ratings began to decline during season seven and have continued to steadily drop, which was blamed on a variety of factors, including Rick's presumed death. By the end of season nine, fewer viewers were watching than at any time since the show's first season.[274] Viewership and ratings per season of The Walking Dead Season     Timeslot (ET)     Episodes     First aired     Last aired     Avg. viewers (millions) Date     Viewers (millions)     Date     Viewers (millions) 1     Sunday 10:00 pm     6     October 31, 2010     5.35[275]     December 5, 2010     5.97[276]     5.24[277] 2     Sunday 9:00 pm     13     October 16, 2011     7.26[278]     March 18, 2012     8.99[279]     6.90[280] 3     16     October 14, 2012     10.87[281]     March 31, 2013     12.40[282]     10.75[283] 4     16     October 13, 2013     16.11[284]     March 30, 2014     15.68[285]     13.33[286] 5     16     October 12, 2014     17.30[272]     March 29, 2015     15.78[287]     14.38[288] 6     16     October 11, 2015     14.63[289]     April 3, 2016     14.19[290]     13.15[291] 7     16     October 23, 2016     17.03[292]     April 2, 2017     11.31[293]     11.35[294] 8     16     October 22, 2017     11.44[295]     April 15, 2018     7.92[296]     7.82[297] 9     16     October 7, 2018     6.08[298]     March 31, 2019     5.02[299]     4.95[300] 10     22     October 6, 2019     4.00[301]     April 4, 2021     2.12[302]     3.04[303] 11     24     August 22, 2021     2.22[304]     2022     TBD     TBD Awards and nominations Main article: List of awards and nominations received by The Walking Dead The Walking Dead was nominated for Best New Series by the Writers Guild of America Awards 2011[5] and Best Television Series Drama by the 68th Golden Globe Awards.[6] The series was named one of the top 10 television programs of 2010 by the American Film Institute Awards 2010.[305] For the 37th Saturn Awards, the series received six nominations—for Best Television Presentation, Andrew Lincoln for Best Actor in Television, Sarah Wayne Callies for Best Actress on Television, Steven Yeun for Best Supporting Actor in Television, Laurie Holden for Best Supporting Actress in Television, and Noah Emmerich for Best Guest Starring Role in Television.[306] The series was nominated for Best Drama Series by the inaugural 1st Critics' Choice Television Awards.[307] The pilot episode "Days Gone Bye" received three nominations from the 63rd Primetime Emmy Awards—for Outstanding Sound Editing for a Series and Outstanding Special Visual Effects for a Series[308] and won for Outstanding Prosthetic Makeup for a Series, Miniseries, Movie, or Special.[309] For the 41st Saturn Awards, the series received its highest number of nominations, with a total of seven, including for the series itself, Andrew Lincoln for Best Actor on Television, Norman Reedus for Best Supporting Actor on Television, Emily Kinney and Melissa McBride for Best Supporting Actress on Television, Andrew J. West for Best Guest Star on Television, and Chandler Riggs for Best Young Performer on Television." (wikipedia.org) "A zombie (Haitian French: zombi, Haitian Creole: zonbi) is a mythological undead corporeal revenant created through the reanimation of a corpse. Zombies are most commonly found in horror and fantasy genre works. The term comes from Haitian folklore, in which a zombie is a dead body reanimated through various methods, most commonly magic like voodoo. Modern media depictions of the reanimation of the dead often do not involve magic but rather science fictional methods such as carriers, radiation, mental diseases, vectors, pathogens, parasites, scientific accidents, etc.[1][2] The English word "zombie" was first recorded in 1819, in a history of Brazil by the poet Robert Southey, in the form of "zombi".[3] The Oxford English Dictionary gives the word's origin as West African and compares it to the Kongo words nzambi (god) and zumbi or nzumbi (fetish). Some authors also compare it to the Kongo word vumbi (mvumbi) (ghost, revenant, corpse that still retains the soul), (nvumbi) (body without a soul).[4][5] A Kimbundu-to-Portuguese dictionary from 1903 defines the related word nzumbi as soul,[6] while a later Kimbundu–Portuguese dictionary defines it as being a "spirit that is supposed to wander the earth to torment the living".[7] One of the first books to expose Western culture to the concept of the voodoo zombie was W. B. Seabrook's The Magic Island (1929), the account of a narrator who encounters voodoo cults in Haiti and their resurrected thralls. A new version of the zombie, distinct from that described in Haitian folklore, emerged in popular culture during the latter half of the 20th century. This interpretation of the zombie is drawn largely from George A. Romero's film Night of the Living Dead (1968),[1] which was partly inspired by Richard Matheson's novel I Am Legend (1954).[8][9] The word zombie is not used in Night of the Living Dead, but was applied later by fans.[10] After zombie films such as Dawn of the Dead (1978) and Michael Jackson's music video Thriller (1983), the genre waned for some years. An evolution of the zombie archetype came with the video games Resident Evil and The House of the Dead in the late 1990s, with their more scientific and action-oriented approach and their introduction of fast-running zombies, leading to a resurgence of zombies in popular culture. These games were initially followed by a wave of low-budget Asian zombie films such as the zombie comedy Bio Zombie (1998) and action film Versus (2000), and then a new wave of popular Western zombie films in the early 2000s, including films featuring fast-running zombies—such as 28 Days Later (2002), the Resident Evil and House of the Dead films, and the 2004 Dawn of the Dead remake—and the British zombie comedy Shaun of the Dead (2004). The "zombie apocalypse" concept, in which the civilized world is brought low by a global zombie infestation, has since become a staple of modern popular art, seen in such media as The Walking Dead franchise. The late 2000s and 2010s saw the humanization and romanticization of the zombie archetype, with the zombies increasingly portrayed as friends and love interests for humans. Notable examples of the latter include movies Warm Bodies and Zombies, novels American Gods by Neil Gaiman, Generation Dead by Daniel Waters, and Bone Song by John Meaney, animated movie Corpse Bride, TV series Pushing Daisies and iZombie, and manga/novel/anime series Sankarea: Undying Love and Is This a Zombie? In this context, zombies are often seen as stand-ins for discriminated groups struggling for equality, and the human–zombie romantic relationship is interpreted as a metaphor for sexual liberation and taboo breaking (given that zombies are subject to wild desires and free from social conventions)... Etymology The English word "zombie" is first recorded in 1819, in a history of Brazil by the poet Robert Southey, in the form of "zombi", actually referring to the Afro-Brazilian rebel leader named Zumbi and the etymology of his name in "nzambi".[3] The Oxford English Dictionary gives the origin of the word as Central African and compares it to the Kongo words "nzambi" (god) and "zumbi" (fetish). In Haitian folklore, a zombie (Haitian French: zombi, Haitian Creole: zonbi) is an animated corpse raised by magical means, such as witchcraft.[15] The concept has been popularly associated with the religion of voodoo, but it plays no part in that faith's formal practices.[citation needed] How the creatures in contemporary zombie films came to be called "zombies" is not fully clear. The film Night of the Living Dead made no spoken reference to its undead antagonists as "zombies", describing them instead as "ghouls" (though ghouls, which derive from Arabic folklore, are demons, not undead). Although George Romero used the term "ghoul" in his original scripts, in later interviews he used the term "zombie". The word "zombie" is used exclusively by Romero in his script for his sequel Dawn of the Dead (1978),[16] including once in dialog. According to George Romero, film critics were influential in associating the term "zombie" to his creatures, and especially the French magazine Cahiers du Cinéma. He eventually accepted this linkage, even though he remained convinced at the time that "zombies" corresponded to the undead slaves of Haitian voodoo as depicted in White Zombie with Bela Lugosi.[17] Folk beliefs Haiti A depiction of a zombie at twilight in a field of sugar cane Zombies are featured widely in Haitian rural folklore as dead persons physically revived by the act of necromancy of a bokor, a sorcerer or witch. The bokor is opposed by the houngan (priest) and the mambo (priestess) of the formal voodoo religion. A zombie remains under the control of the bokor as a personal slave, having no will of its own. The Haitian tradition also includes an incorporeal type of zombie, the "zombie astral", which is a part of the human soul. A bokor can capture a zombie astral to enhance his spiritual power. A zombie astral can also be sealed inside a specially decorated bottle by a bokor and sold to a client to bring luck, healing, or business success. It is believed that God eventually will reclaim the zombie's soul, so the zombie is a temporary spiritual entity.[18] The two types of zombie reflect soul dualism, a belief of Haitian voodoo. Each type of legendary zombie is therefore missing one half of its soul (the flesh or the spirit).[19] The zombie belief has its roots in traditions brought to Haiti by enslaved Africans and their subsequent experiences in the New World. It was thought that the voodoo deity Baron Samedi would gather them from their grave to bring them to a heavenly afterlife in Africa ("Guinea"), unless they had offended him in some way, in which case they would be forever a slave after death, as a zombie. A zombie could also be saved by feeding them salt. English professor Amy Wilentz has written that the modern concept of Zombies was strongly influenced by Haitian slavery. Slave drivers on the plantations, who were usually slaves themselves and sometimes voodoo priests, used the fear of zombification to discourage slaves from committing suicide.[20][21] While most scholars have associated the Haitian zombie with African cultures, a connection has also been suggested to the island's indigenous Taíno people, partly based on an early account of native shamanist practices written by the Hieronymite monk Ramón Pané (Spanish-language article – English translation via Google Translate), a companion of Christopher Columbus.[22][23][24] The Haitian zombie phenomenon first attracted widespread international attention during the United States occupation of Haiti (1915–1934), when a number of case histories of purported "zombies" began to emerge. The first popular book covering the topic was William Seabrook's The Magic Island (1929). Seabrooke cited Article 246 of the Haitian criminal code, which was passed in 1864, asserting that it was an official recognition of zombies. This passage was later used in promotional materials for the 1932 film White Zombie.[25]     Also shall be qualified as attempted murder the employment which may be made by any person of substances which, without causing actual death, produce a lethargic coma more or less prolonged. If, after the administering of such substances, the person has been buried, the act shall be considered murder no matter what result follows.     — Code pénal[26] In 1937, while researching folklore in Haiti, Zora Neale Hurston encountered the case of a woman who appeared in a village. A family claimed that she was Felicia Felix-Mentor, a relative, who had died and been buried in 1907 at the age of 29. The woman was examined by a doctor; X-rays indicated that she did not have a leg fracture that Felix-Mentor was known to have had.[27] Hurston pursued rumors that affected persons were given a powerful psychoactive drug, but she was unable to locate individuals willing to offer much information. She wrote: "What is more, if science ever gets to the bottom of Vodou in Haiti and Africa, it will be found that some important medical secrets, still unknown to medical science, give it its power, rather than gestures of ceremony."[28] Africa A Central or West African origin for the Haitian zombie has been postulated based on two etymologies in the Kongo language, nzambi ("god") and zumbi ("fetish"). This root helps form the names of several deities, including the Kongo creator deity Nzambi a Mpungu and the Louisiana serpent deity Li Grand Zombi (a local version of the Haitian Damballa), but it is in fact a generic word for a divine spirit.[29] The common African conception of beings under these names is more similar to the incorporeal "zombie astral",[18] as in the Kongo Nkisi spirits. A related, but also often incorporeal, undead being is the jumbee of the English-speaking Caribbean, considered to be of the same etymology;[30] in the French West Indies also, local "zombies" are recognized, but these are of a more general spirit nature.[31] The idea of physical zombie-like creatures is present in some South African cultures, where they are called xidachane in Sotho/Tsonga and maduxwane in Venda. In some communities, it is believed that a dead person can be zombified by a small child.[32] It is said that the spell can be broken by a powerful enough sangoma.[33] It is also believed in some areas of South Africa that witches can zombify a person by killing and possessing the victim's body in order to force it into slave labor.[34] After rail lines were built to transport migrant workers, stories emerged about "witch trains". These trains appeared ordinary, but were staffed by zombified workers controlled by a witch. The trains would abduct a person boarding at night, and the person would then either be zombified or beaten and thrown from the train a distance away from the original location.[34] Origin hypotheses Chemical Several decades after Hurston's work, Wade Davis, a Harvard ethnobotanist, presented a pharmacological case for zombies in a 1983 article in the Journal of Ethnopharmacology,[35] and later in two popular books: The Serpent and the Rainbow (1985) and Passage of Darkness: The Ethnobiology of the Haitian Zombie (1988). Davis traveled to Haiti in 1982 and, as a result of his investigations, claimed that a living person can be turned into a zombie by two special powders being introduced into the blood stream (usually through a wound). The first, French: coup de poudre ("powder strike"), includes tetrodotoxin (TTX), a powerful and frequently fatal neurotoxin found in the flesh of the pufferfish (family Tetraodontidae). The second powder consists of deliriant drugs such as datura. Together these powders were said to induce a deathlike state, in which the will of the victim would be entirely subjected to that of the bokor. Davis also popularized the story of Clairvius Narcisse, who was claimed to have succumbed to this practice. The most ethically questioned and least scientifically explored ingredient of the powders is part of a recently buried child's brain.[36][37][38][verification needed] The process described by Davis was an initial state of deathlike suspended animation, followed by re-awakening — typically after being buried — into a psychotic state. The psychosis induced by the drug and psychological trauma was hypothesised by Davis to reinforce culturally learned beliefs and to cause the individual to reconstruct their identity as that of a zombie, since they "knew" that they were dead and had no other role to play in the Haitian society. Societal reinforcement of the belief was hypothesized by Davis to confirm for the zombie individual the zombie state, and such individuals were known to hang around in graveyards, exhibiting attitudes of low affect. Davis's claim has been criticized, particularly the suggestion that Haitian witch doctors can keep "zombies" in a state of pharmacologically induced trance for many years.[39] Symptoms of TTX poisoning range from numbness and nausea to paralysis — particularly of the muscles of the diaphragm — unconsciousness, and death, but do not include a stiffened gait or a deathlike trance. According to psychologist Terence Hines, the scientific community dismisses tetrodotoxin as the cause of this state, and Davis' assessment of the nature of the reports of Haitian zombies is viewed as overly credulous.[38] Social Scottish psychiatrist R. D. Laing highlighted the link between social and cultural expectations and compulsion, in the context of schizophrenia and other mental illness, suggesting that schizogenesis may account for some of the psychological aspects of zombification.[40] Particularly, this suggests cases where schizophrenia manifests a state of catatonia. Roland Littlewood, professor of anthropology and psychiatry, published a study supporting a social explanation of the zombie phenomenon in the medical journal The Lancet in 1997.[41] The social explanation sees observed cases of people identified as zombies as a culture-bound syndrome,[42] with a particular cultural form of adoption practiced in Haiti that unites the homeless and mentally ill with grieving families who see them as their "returned" lost loved ones, as Littlewood summarizes his findings in an article in Times Higher Education:[43]     I came to the conclusion that although it is unlikely that there is a single explanation for all cases where zombies are recognised by locals in Haiti, the mistaken identification of a wandering mentally ill stranger by bereaved relatives is the most likely explanation in many cases. People with a chronic schizophrenic illness, brain damage or learning disability are not uncommon in rural Haiti, and they would be particularly likely to be identified as zombies. Modern archetype evolution Pulliam and Fonseca (2014) and Walz (2006) trace the zombie lineage back to ancient Mesopotamia.[44][45] In the Descent of Ishtar, the goddess Ishtar threatens:[46]     If you do not open the gate for me to come in,     I shall smash the door and shatter the bolt,     I shall smash the doorpost and overturn the doors,     I shall raise up the dead and they shall eat the living:     And the dead shall outnumber the living! She repeats this same threat in a slightly modified form in the Epic of Gilgamesh.[47] One of the first books to expose Western culture to the concept of the voodoo zombie was The Magic Island (1929) by W. B. Seabrook. This is the sensationalized account of a narrator who encounters voodoo cults in Haiti and their resurrected thralls. Time commented that the book "introduced 'zombi' into U.S. speech".[48] Zombies have a complex literary heritage, with antecedents ranging from Richard Matheson and H. P. Lovecraft to Mary Shelley's Frankenstein drawing on European folklore of the undead. Victor Halperin directed White Zombie (1932), a horror film starring Bela Lugosi. Here zombies are depicted as mindless, unthinking henchmen under the spell of an evil magician. Zombies, often still using this voodoo-inspired rationale, were initially uncommon in cinema, but their appearances continued sporadically through the 1930s to the 1960s, with films including I Walked with a Zombie (1943) and Plan 9 from Outer Space (1959). The actor T. P. Cooke as Frankenstein's Monster in an 1823 stage production of the novel Frankenstein by Mary Shelley, while not a zombie novel per se, foreshadows many 20th century ideas about zombies in that the resurrection of the dead is portrayed as a scientific process rather than a mystical one and that the resurrected dead are degraded and more violent than their living selves. Frankenstein, published in 1818, has its roots in European folklore, whose tales of the vengeful dead also informed the evolution of the modern conception of the vampire.[49] Later notable 19th century stories about the avenging undead included Ambrose Bierce's "The Death of Halpin Frayser" and various Gothic Romanticism tales by Edgar Allan Poe. Though their works could not be properly considered zombie fiction, the supernatural tales of Bierce and Poe would prove influential on later writers such as H. P. Lovecraft, by Lovecraft's own admission.[50] In the 1920s and early 1930s, Lovecraft wrote several novellae that explored the undead theme. "Cool Air", "In the Vault" and "The Outsider" all deal with the undead, but Lovecraft's "Herbert West–Reanimator" (1921) "helped define zombies in popular culture".[51] This series of short stories featured Herbert West, a mad scientist, who attempts to revive human corpses, with mixed results. Notably, the resurrected dead are uncontrollable, mostly mute, primitive and extremely violent; though they are not referred to as zombies, their portrayal was prescient, anticipating the modern conception of zombies by several decades.[citation needed] Edgar Rice Burroughs similarly depicted animated corpses in the second book of his Venus series, again without using the terms "zombie" or "undead". Avenging zombies would feature prominently in the early 1950s EC Comics, which George A. Romero would later claim as an influence. The comics, including Tales from the Crypt, The Vault of Horror and Weird Science, featured avenging undead in the Gothic tradition quite regularly, including adaptations of Lovecraft's stories, which included "In the Vault", "Cool Air" and "Herbert West–Reanimator".[52] Richard Matheson's 1954 novel I Am Legend, although classified as a vampire story, had a great impact on the zombie genre by way of George A. Romero. The novel and its 1964 film adaptation, The Last Man on Earth, which concern a lone human survivor waging war against a world of vampires, would by Romero's own admission greatly influence his 1968 low-budget film Night of the Living Dead, a work that was more influential on the concept of zombies than any literary or cinematic work before it.[53][54] The monsters in the film and its sequels, such as Dawn of the Dead (1978) and Day of the Dead (1985), as well as the many zombie films it inspired, such as The Return of the Living Dead (1985) and Zombi 2 (1979), are usually hungry for human flesh, although Return of the Living Dead introduced the popular concept of zombies eating human brains. Tor Johnson as a zombie with his victim in the cult movie Plan 9 from Outer Space (1959) There has been an evolution in the zombie archetype from supernatural to scientific themes. I Am Legend and Night of the Living Dead began the shift away from Haitian dark magic, though did not give scientific explanations for zombie origins. A more decisive shift towards scientific themes came with the Resident Evil video game series in the late 1990s, which gave more realistic scientific explanations for zombie origins while drawing on modern science and technology, such as biological weaponry, genetic manipulation and parasitic symbiosis. This became the standard approach for explaining zombie origins in popular fiction that followed Resident Evil.[55] There has also been shift towards an action approach, which has led to another evolution of the zombie archietype, the "fast zombie" or running zombie. In contrast to Romero's classic slow zombies, "fast zombies" can run, are more aggressive and are often more intelligent. This type of zombie has origins in 1990s Japanese horror video games. In 1996, Capcom's survival horror video game Resident Evil featured zombie dogs that run towards the player. Later the same year, Sega's arcade shooter The House of the Dead introduced running human zombies, who run towards the player and can also jump and swim. The running human zombies introduced in The House of the Dead video games became the basis for the "fast zombies" that became popular in zombie films during the early 21st century, starting with 28 Days Later (2002), the Resident Evil and House of the Dead films and the 2004 Dawn of the Dead remake. These films also adopted an action approach to the zombie concept, which was also influenced by the Resident Evil and House of the Dead video games.[56] Film and television Main article: Zombie film Films featuring zombies have been a part of cinema since the 1930s. White Zombie (directed by Victor Halperin in 1932) and I Walked With A Zombie (directed by Jacques Tourneur; 1943) were early examples.[57][58][59] With George A. Romero's Night of the Living Dead (1968), the zombie trope began to be increasingly linked to consumerism and consumer culture.[60] Today, zombie films are released with such regularity (at least 55 films were released in 2014 alone)[61] that they constitute a separate subgenre of horror film.[62] Voodoo-related zombie themes have also appeared in espionage or adventure-themed works outside the horror genre. For example, the original Jonny Quest series (1964) and the James Bond novel Live and Let Die as well as its film adaptation both feature Caribbean villains who falsely claim the voodoo power of zombification in order to keep others in fear of them. George Romero's modern zombie archetype in Night of the Living Dead was influenced by several earlier zombie-themed films, including White Zombie, Revolt of the Zombies (1936) and The Plague of the Zombies (1966). Romero was also inspired by Richard Matheson's novel I Am Legend (1954), along with its film adaptation, The Last Man on Earth (1964).[63] George A. Romero (1968–1985) See also: Living Dead Zombie Apocalyptic and post-apocalyptic fiction character First appearance    Night of the Living Dead (1968) Created by    George Romero In-universe information Alias    "Romero zombie" Type    Undead (influenced by Haitian Zombie), Vampire, Ghoul The modern conception of the zombie owes itself almost entirely to George A. Romero's 1968 film Night of the Living Dead.[1][64][65] In his films, Romero "bred the zombie with the vampire, and what he got was the hybrid vigour of a ghoulish plague monster".[66] This entailed an apocalyptic vision of monsters that have come to be known as Romero zombies. Roger Ebert of the Chicago Sun-Times chided theater owners and parents who allowed children access to the film. "I don't think the younger kids really knew what hit them", complained Ebert, "They were used to going to movies, sure, and they'd seen some horror movies before, sure, but this was something else." According to Ebert, the film affected the audience immediately:[67]     The kids in the audience were stunned. There was almost complete silence. The movie had stopped being delightfully scary about halfway through, and had become unexpectedly terrifying. There was a little girl across the aisle from me, maybe nine years old, who was sitting very still in her seat and crying. A young zombie (Kyra Schon) feeding on human flesh, from Night of the Living Dead (1968) Romero's reinvention of zombies is notable in terms of its thematics; he used zombies not just for their own sake, but as a vehicle "to criticize real-world social ills—such as government ineptitude, bioengineering, slavery, greed and exploitation—while indulging our post-apocalyptic fantasies".[68] Night was the first of six films in Romero's Living Dead series. Its first sequel, Dawn of the Dead, was released in 1978. Lucio Fulci's Zombi 2 was released just months after Dawn of the Dead as an ersatz sequel (Dawn of the Dead was released in several other countries as Zombi or Zombie).[1] Dawn of the Dead was the most commercially successful zombie film for decades, up until the zombie revival of the 2000s.[69] The 1981 film Hell of the Living Dead referenced a mutagenic gas as a source of zombie contagion: an idea also used in Dan O'Bannon's 1985 film Return of the Living Dead. Return of the Living Dead featured zombies that hungered specifically for human brains. Relative Western decline (1985–1995) Zombie films in the 1980s and 1990s were not as commercially successful as Dawn of the Dead in the late 1970s.[69] The mid-1980s produced few zombie films of note. Perhaps the most notable entry, the Evil Dead trilogy, while highly influential, are not technically zombie films, but films about demonic possession, despite the presence of the undead. 1985's Re-Animator, loosely based on the Lovecraft story, stood out in the genre, achieving nearly unanimous critical acclaim[70] and becoming a modest success, nearly outstripping Romero's Day of the Dead for box office returns. After the mid-1980s, the subgenre was mostly relegated to the underground. Notable entries include director Peter Jackson's ultra-gory film Braindead (1992) (released as Dead Alive in the U.S.), Bob Balaban's comic 1993 film My Boyfriend's Back, where a self-aware high-school boy returns to profess his love for a girl and his love for human flesh, and Michele Soavi's Dellamorte Dellamore (1994) (released as Cemetery Man in the U.S.). Early Asian films (1985–1995) In 1980s Hong Kong cinema, the Chinese jiangshi, a zombie-like creature dating back to Qing dynasty era jiangshi fiction of the 18th and 19th centuries, were featured in a wave of jiangshi films, popularised by Mr. Vampire (1985). Hong Kong jiangshi films were popular in the Far East from the mid-1980s to the early 1990s. Prior to the 1990s, there were not many Japanese films related to what may be considered in the West as a zombie film.[71] Early films such as The Discarnates (1988) feature little gore and no cannibalism, but it is about the dead returning to life looking for love rather than a story of apocalyptic destruction.[71] One of the earliest Japanese zombie films with considerable gore and violence was Battle Girl: The Living Dead in Tokyo Bay (1991).[72] Far East revival (1996–2001) See also: Japanese horror According to Kim Newman in the book Nightmare Movies (2011), the "zombie revival began in the Far East" during the late 1990s, largely inspired by two Japanese zombie games released in 1996:[72] Capcom's Resident Evil, which started the Resident Evil video game series that went on to sell 24 million copies worldwide by 2006,[71] and Sega's arcade shooter House of the Dead. The success of these two 1996 zombie games inspired a wave of Asian zombie films.[72] From the late 1990s, zombies experienced a renaissance in low-budget Asian cinema, with a sudden spate of dissimilar entries, including Bio Zombie (1998), Wild Zero (1999), Junk (1999), Versus (2000) and Stacy (2001). Most Japanese zombie films emerged in the wake of Resident Evil, such as Versus, Wild Zero, and Junk, all from 2000.[71] The zombie films released after Resident Evil behaved similarly to the zombie films of the 1970s,[73] except that they were influenced by zombie video games, which inspired them to dwell more on the action compared to the older Romero films.[74] Global film revival (2001–2008) The zombie revival, which began in the Far East, eventually went global, following the worldwide success of the Japanese zombie games Resident Evil and The House of the Dead.[72] Resident Evil in particular sparked a revival of the zombie genre in popular culture, leading to a renewed global interest in zombie films during the early 2000s.[75] In addition to being adapted into the Resident Evil and House of the Dead films from 2002 onwards, the original video games themselves also inspired zombie films such as 28 Days Later (2002)[76] and Shaun of the Dead (2004).[77] This led to the revival of zombie films in global popular culture.[75][76][78] The turn of the millennium coincided with a decade of box office successes in which the zombie subgenre experienced a resurgence: the Resident Evil movies (2002–2016), the British films 28 Days Later and 28 Weeks Later (2007),[79][80] the Dawn of the Dead remake (2004),[1] and the comedies Shaun of the Dead and Dance of the Dead (2008). The new interest allowed Romero to create the fourth entry in his zombie series: Land of the Dead, released in the summer of 2005. Romero returned to the series with the films Diary of the Dead (2008) and Survival of the Dead (2010).[1] Generally, the zombies in these shows are the slow, lumbering and unintelligent kind, first made popular in Night of the Living Dead.[81] The Resident Evil films, 28 Days Later and the Dawn of the Dead remake all set box office records for the zombie genre, reaching levels of commercial success not seen since the original Dawn of the Dead in 1978.[69] Motion pictures created in the 2000s, like 28 Days Later, the House of the Dead and Resident Evil films, and the Dawn of the Dead remake,[56] have featured zombies that are more agile, vicious, intelligent, and stronger than the traditional zombie.[82] These new type of zombies, the fast zombie or running zombie, have origins in video games, with Resident Evil's running zombie dogs and especially The House of the Dead game's running human zombies.[56] Spillover to television (2008–2015) The success of Shaun of the Dead led to more successful zombie comedies during the late 2000s to early 2010s, such as Zombieland (2009) and Cockneys vs Zombies (2012).[75] By 2011, the Resident Evil film adaptations had also become the highest-grossing film series based on video games, after they grossed more than $1 billion worldwide.[83] In 2013, the AMC series The Walking Dead had the highest audience ratings in the United States for any show on broadcast or cable with an average of 5.6 million viewers in the 18- to 49-year-old demographic.[84] The film World War Z became the highest-grossing zombie film, and one of the highest-grossing films of 2013.[75] At the same time, starting from the mid-2000s, a new type of zombie film has been growing in popularity: the one in which zombies are portrayed as humanlike in appearance and behavior, retaining the personality traits they had in life, and becoming friends or even romantic partners for humans rather than a threat to humanity. Notable examples of human–zombie romance include the stop-motion animated movie Corpse Bride, live-action movies Warm Bodies, Camille, Life After Beth, Burying the Ex, and Nina Forever, and TV series Pushing Daisies and Babylon Fields.[11][85] According to zombie scholar Scott Rogers, "what we are seeing in Pushing Daisies, Warm Bodies, and iZombie is in many ways the same transformation [of the zombies] that we have witnessed with vampires since the 1931 Dracula represented Dracula as essentially human—a significant departure from the monstrous representation in the 1922 film Nosferatu". Rogers also notes the accompanying visual transformation of the living dead: while the "traditional" zombies are marked by noticeable disfigurement and decomposition, the "romantic" zombies show little or no such traits.[11] Return to decline (2015–present) In the late 2010s, zombie films began declining in popularity, with elevated horror films gradually taking their place, such as The Witch (2015), Get Out (2016), A Quiet Place (2018) and Hereditary (2018).[78] An exception is the low-budget Japanese zombie comedy One Cut of the Dead (2017), which became a sleeper hit in Japan, and it made box office history by earning over a thousand times its budget.[86] One Cut of the Dead also received worldwide acclaim, with Rotten Tomatoes stating that it "reanimates the moribund zombie genre with a refreshing blend of formal daring and clever satire".[87] The "romantic zombie" angle still remains popular, however: the late 2010s saw the release of the TV series American Gods and iZombie, as well as the 2018 Disney Channel Original Movie Zombies and its 2020 sequel Zombies 2. Apocalypse Main article: Zombie apocalypse Intimately tied to the concept of the modern zombie is that of the "zombie apocalypse": the breakdown of society as a result of an initial zombie outbreak that spreads quickly. This archetype has emerged as a prolific subgenre of apocalyptic fiction and has been portrayed in many zombie-related media after Night of the Living Dead.[88] In a zombie apocalypse, a widespread (usually global) rise of zombies hostile to human life engages in a general assault on civilization. Victims of zombies may become zombies themselves. This causes the outbreak to become an exponentially growing crisis: the spreading phenomenon swamps normal military and law-enforcement organizations, leading to the panicked collapse of civilized society until only isolated pockets of survivors remain, scavenging for food and supplies in a world reduced to a pre-industrial hostile wilderness. Possible causes for zombie behavior in a modern population can be attributed to viruses, bacteria or other phenomena that reduce the mental capacity of humans, causing them to behave in a very primitive and destructive fashion. Subtext The usual subtext of the zombie apocalypse is that civilization is inherently vulnerable to the unexpected, and that most individuals, if desperate enough, cannot be relied on to comply with the author's ethos. The narrative of a zombie apocalypse carries strong connections to the turbulent social landscape of the United States in the 1960s, when Night of the Living Dead provided an indirect commentary on the dangers of conformity, a theme also explored in the novel The Body Snatchers (1954) and associated film Invasion of the Body Snatchers (1956).[89][90] Many also feel that zombies allow people to deal with their own anxieties about the end of the world.[91] One scholar concluded that "more than any other monster, zombies are fully and literally apocalyptic ... they signal the end of the world as we have known it".[88] While zombie apocalypse scenarios are secular, they follow a religious pattern based on Christian ideas of an end-times war and messiah.[92] Simon Pegg, who starred in and co-wrote the 2004 zombie comedy film Shaun of the Dead, wrote that zombies were the "most potent metaphorical monster". According to Pegg, whereas vampires represent sex, zombies represent death: "Slow and steady in their approach, weak, clumsy, often absurd, the zombie relentlessly closes in, unstoppable, intractable." He expressed his dislike for the trend for fast zombies, and argued that they should be slow and inept; just as a healthy diet and exercise can delay death, zombies are easy to avoid, but not forever. He also argued that this was essential for making them "oddly sympathetic... to create tragic anti-heroes... to be pitied, empathised with, even rooted for. The moment they appear angry or petulant, the second they emit furious velociraptor screeches (as opposed to the correct mournful moans of longing), they cease to possess any ambiguity. They are simply mean."[93] Story elements John A. Russo portrays a zombie in Night of the Living Dead     Initial contacts with zombies are extremely dangerous and traumatic, causing shock, panic, disbelief and possibly denial, hampering survivors' ability to deal with hostile encounters.[94]     The response of authorities to the threat is slower than its rate of growth, giving the zombie plague time to expand beyond containment. This results in the collapse of the given society. Zombies take full control, while small groups of the living must fight for their survival.[94] The stories usually follow a single group of survivors, caught up in the sudden rush of the crisis. The narrative generally progresses from the onset of the zombie plague, then initial attempts to seek the aid of authorities, the failure of those authorities, through to the sudden catastrophic collapse of all large-scale organization and the characters' subsequent attempts to survive on their own. Such stories are often squarely focused on the way their characters react to such an extreme catastrophe, and how their personalities are changed by the stress, often acting on more primal motivations (fear, self-preservation) than they would display in normal life.[94][95] Literature One of the various zombie panel discussion at the 2012 New York Comic Con, featuring writers who have worked in the genre (left to right): Jonathan Maberry, Daniel Kraus, Stefan Petrucha, Will Hill, Rachel Caine, Chase Novak, and Christopher Krovatin. Also present (but not visible in the photo) was Barry Lyga. See also: List of zombie novels In the 1990s, zombie fiction emerged as a distinct literary subgenre, with the publication of Book of the Dead (1990) and its follow-up Still Dead: Book of the Dead 2 (1992), both edited by horror authors John Skipp and Craig Spector. Featuring Romero-inspired stories from the likes of Stephen King, the Book of the Dead compilations are regarded as influential in the horror genre and perhaps the first true "zombie literature". Horror novelist Stephen King has written about zombies, including his short story "Home Delivery" (1990) and his novel Cell (2006), concerning a struggling young artist on a trek from Boston to Maine in hopes of saving his family from a possible worldwide outbreak of zombie-like maniacs.[96] Max Brooks's novel World War Z (2006) became a New York Times bestseller.[97] Brooks had previously authored The Zombie Survival Guide (2003), a zombie-themed parody of pop-fiction survival guides.[98] Brooks has said that zombies are so popular because "Other monsters may threaten individual humans, but the living dead threaten the entire human race...Zombies are slate wipers." Seth Grahame-Smith's mashup novel Pride and Prejudice and Zombies (2009) combines the full text of Jane Austen's Pride and Prejudice (1813) with a story about a zombie epidemic within the novel's British Regency period setting.[98] In 2009, Katy Hershbereger of St. Martin's Press stated: "In the world of traditional horror, nothing is more popular right now than zombies...The living dead are here to stay."[98] 2000s and 2010s were marked by a decidedly new type of zombie novel, in which zombies retain their humanity and become friends or even romantic partners for humans; critics largely attribute this trend to the influence of Stephenie Meyer's vampire series Twilight.[99][100] One of the most prominent examples is Generation Dead by Daniel Waters, featuring undead teenagers struggling for equality with the living and a human protagonist falling in love with their leader.[13] Other novels of this period involving human–zombie romantic relationships include Bone Song by John Meaney, American Gods by Neil Gaiman, Midnight Tides by Steven Erikson, and Amy Plum's Die for Me series;[100] much earlier examples, dating back to the 1980s, are Dragon on a Pedestal by Piers Anthony and Conan the Defiant by Steve Perry.[101][102] Anime and manga There has been a growth in the number of zombie mangas in the first decade of the 21st century, and in a list of "10 Great Zombie Manga", Anime News Network's Jason Thompson placed I Am a Hero at number 1, considering it "probably the greatest zombie manga ever". In second place was Living Corpse, and in third was Biomega, which he called "the greatest science-fiction virus zombie manga ever".[103] During the late 2000s and early 2010s, there were several manga and anime series that humanized zombies by presenting them as protagonists or love interests, such as Sankarea: Undying Love and Is This a Zombie? (both debuted in 2009). Z ~Zed~ was adapted into a live action film in 2014.[104] Video and performance art Artist Jillian McDonald has made several works of video art involving zombies and exhibited them in her 2006 show "Horror Make-Up", which debuted on 8 September 2006 at Art Moving Projects, a gallery in, Williamsburg, Brooklyn.[105] Artist Karim Charredib has dedicated his work to the zombie figure. In 2007, he made a video installation at Villa Savoye called "Them !!!", wherein zombies walked in the villa like tourists.[106] Video games See also: List of zombie video games and Zombies in Resident Evil The release of two 1996 horror games Capcom's Resident Evil and Sega's The House of the Dead sparked an international craze for zombie games.[107][72] In 2013, George A. Romero said that it was the video games Resident Evil and House of the Dead "more than anything else" that popularised zombies in early 21st century popular culture.[108][109] The modern fast-running zombies have origins in these games, with Resident Evil's running zombie dogs and especially House of the Dead's running human zombies, which later became a staple of modern zombie films.[56] Zombies went on to become a popular theme for video games, particularly in the survival horror, stealth, first-person shooter and role-playing game genres. Important horror fiction media franchises in this area include Resident Evil, The House of the Dead, Silent Hill, Dead Rising, Dead Island, Left 4 Dead, Dying Light, State of Decay, The Last of Us and the Zombies game modes from the Call of Duty title series.[110] A series of games has also been released based on the widely popular TV show The Walking Dead, first aired in 2010. In the Dead Rising series, the process of infection is described with the metaphor "The wasp kills the host and takes over body motorfuctions."[citation needed] The World of Warcraft, first released in 2004, is an early example of a video game in which an individual zombie-like creature could be chosen as a player character (a previous game in the same series, Warcraft III, allowed a player control over an undead army).[original research?] PopCap Games' Plants vs. Zombies, a humorous tower defense game, was an indie hit in 2009, featuring in several best-of lists at the end of that year. The massively multiplayer online role-playing game Urban Dead, a free grid-based browser game where zombies and survivors fight for control of a ruined city, is one of the most popular games of its type.[111] DayZ, a zombie-based survival horror mod for ARMA 2, was responsible for over 300,000 unit sales of its parent game within two months of its release.[112] Over a year later, the developers of the mod created a standalone version of the same game, which was in early access on Steam, and so far has sold 3 million copies since its release in December 2013.[113] Romero would later opine that he believes that much of the 21st century obsessions with zombies can be traced more towards video games than films, noting that it was not until the 2009 film Zombieland that a zombie film was able to gross more than 100 million dollars.[114] Outside of video games, zombies frequently appear in trading card games, such as Magic: The Gathering or Yu-Gi-Oh! Trading Card Game (which even has a Zombie-Type for its "monsters"), as well as in role-playing games, such as Dungeons & Dragons, tabletop games such as Zombies!!! and Dead of Winter: A Cross Roads Game, and tabletop wargames, such as Warhammer Fantasy and 40K. The game Humans vs. Zombies is a zombie-themed live-action game played on college campuses.[115] Writing for Scientific American, Kyle Hill praised the 2013 game The Last of Us for its plausibility, basing its zombification process on a fictional strain of the parasitic Cordyceps fungus, a real-world genus whose members control the behavior of their arthropod hosts in "zombielike" ways in order to reproduce.[116] Despite the plausibility of this mechanism (also explored in the novel The Girl with All the Gifts and the film of the same name), to date there have been no documented cases of humans infected by Cordyceps.[117][better source needed] Zombie video games have remained popular in the late 2010s, as seen with the commercial success of the Resident Evil 2 remake and Days Gone in 2019.[118] This enduring popularity may be attributed, in part, to the fact that zombie enemies are not expected to exhibit significant levels of intelligence, making them relatively straightforward to program. However, less pragmatic advantages, such as those related to storytelling and representation, are increasingly important.[119] American government Main article: Preparedness 101: Zombie Apocalypse On May 18, 2011, the United States' Centers for Disease Control and Prevention (CDC) published a graphic novel entitled Preparedness 101: Zombie Apocalypse, providing tips to survive a zombie invasion as a "fun new way of teaching the importance of emergency preparedness".[120] The CDC used the metaphor of a zombie apocalypse to illustrate the value of laying in water, food, medical supplies, and other necessities in preparation for any and all potential disasters, be they hurricanes, earthquakes, tornadoes, floods, or hordes of zombies.[120][121] In 2011, the U.S. Department of Defense drafted CONPLAN 8888, a training exercise detailing a strategy to defend against a zombie attack.[122] Music Michael Jackson's music video Thriller (1983), in which he dances with a troupe of zombies, has been preserved as a cultural treasure by the Library of Congress' National Film Registry.[123][124] Many instances of pop culture media have paid tribute to this video, including a gathering of 14,000 university students dressed as zombies in Mexico City,[123] and 1,500 prisoners in orange jumpsuits recreating the zombie dance in a viral video.[125] The Brooklyn hip hop trio Flatbush Zombies incorporate many tropes from zombie fiction and play on the theme of a zombie apocalypse in their music. They portray themselves as "living dead", describing their use of psychedelics such as LSD and psilocybin mushrooms as having caused them to experience ego death and rebirth. Social activism Main articles: Zombie walk and Zombie Squad A zombie walk in Pittsburgh The zombie also appears as a metaphor in protest songs, symbolizing mindless adherence to authority, particularly that of law enforcement and the armed forces. Well-known examples include Fela Kuti's 1976 album Zombie and The Cranberries' 1994 single "Zombie". Organized zombie walks have been staged, either as performance art or as part of protests that parody political extremism or apathy.[126][127][128][129][130] A variation of the zombie walk is the zombie run. Here participants do a 5 km run wearing a belt with several flag "lives". If the chasing zombies capture all of the flags, the runner becomes "infected". If he or she reaches the finish line, which may involve wide detours ahead of the zombies, then the participant is a "survivor". In either case, an appropriate participation medal is awarded.[131] Theoretical academic studies Researchers have used theoretical zombie infections to test epidemiology modeling. One study found that all humans end up turned or dead. This is because the main epidemiological risk of zombies, besides the difficulties of neutralizing them, is that their population just keeps increasing; generations of humans merely "surviving" still have a tendency to feed zombie populations, resulting in gross outnumbering. The researchers explain that their methods of modelling may be applicable to the spread of political views or diseases with dormant infection.[132][133] Adam Chodorow of the Sandra Day O'Connor College of Law at Arizona State University investigated the estate and income tax implications of a zombie apocalypse under United States federal and state tax codes.[134] Neuroscientists Bradley Voytek and Timothy Verstynen have built a side career in extrapolating how ideas in neuroscience would theoretically apply to zombie brains. Their work has been featured in Forbes, New York Magazine, and other publications." (wikipedia.org) "Death is frequently imagined as a personified force. In some mythologies, a character known as the Grim Reaper (usually depicted as a berobed skeleton wielding a scythe) causes the victim's death by coming to collect that person's soul. Other beliefs hold that the Spectre of Death is only a psychopomp, serving to sever the last ties between the soul and the body, and to guide the deceased to the afterlife, without having any control over when or how the victim dies. Death is most often[clarification needed] personified in male form, although in certain cultures Death is perceived as female (for instance, Marzanna in Slavic mythology, or Santa Muerte in Mexico).... By region Death from the Cary-Yale Tarot Deck (15th century) Americas La Calavera Catrina Latin America As is the case in many Romance languages (including French, Portuguese, Italian, and Romanian), the Spanish word for death, muerte, is a feminine noun. As such, it is common in Spanish-speaking cultures to personify death as a female figure. In Aztec mythology, Mictecacihuatl is the "Queen of Mictlan" (the Aztec underworld), ruling over the afterlife with her husband Mictlantecuhtli. Other epithets for her include "Lady of the Dead," as her role includes keeping watch over the bones of the dead. Mictecacihuatl was represented with a fleshless body and with jaw agape to swallow the stars during the day. She presided over the ancient festivals of the dead, which evolved from Aztec traditions into the modern Day of the Dead after synthesis with Spanish cultural traditions.[citation needed] Our Lady of the Holy Death (Santa Muerte) is a female deity or folk saint of Mexican folk religion, whose popularity has been growing in Mexico and the United States in recent years. Since the pre-Columbian era, Mexican culture has maintained a certain reverence towards death, as seen in the widespread commemoration of the Day of the Dead. La Calavera Catrina, a character symbolizing death, is also an icon of the Mexican Day of the Dead. San La Muerte (Saint Death) is a skeletal folk saint venerated in Paraguay, northeast Argentina, and southern Brazil. As the result of internal migration in Argentina since the 1960s, the veneration of San La Muerte has been extended to Greater Buenos Aires and the national prison system as well. Saint Death is depicted as a male skeleton figure usually holding a scythe. Although the Catholic Church in Mexico has attacked the devotion of Saint Death as a tradition that mixes paganism with Christianity and is contrary to the Christian belief of Christ defeating death, many devotees consider the veneration of San La Muerte as being part of their Catholic faith. The rituals connected and powers ascribed to San La Muerte are very similar to those of Santa Muerte; the resemblance between their names, however, is coincidental. In Guatemala, San Pascualito is a skeletal folk saint venerated as "King of the Graveyard." He is depicted as a skeletal figure with a scythe, sometimes wearing a cape and crown. He is associated with death and the curing of diseases. In the Brazilian religion Umbanda, the orixá Omolu personifies sickness and death as well as healing. The image of the death is also associated with Exu, lord of the crossroads, who rules cemeteries and the hour of midnight. In Haitian Vodou, the Guédé are a family of spirits that embody death and fertility. The most well-known of these spirits is Baron Samedi. Asia East Asia See also: Life replacement narratives Yama was introduced to Chinese mythology through Buddhism. In Chinese, he is known as King Yan (t 閻王, s 阎王, p Yánwáng) or Yanluo (t 閻羅王, s 阎罗王, p Yánluówáng), ruling the ten gods of the underworld Diyu. He is normally depicted wearing a Chinese judge's cap and traditional Chinese robes and appears on most forms of hell money offered in ancestor worship. From China, Yama spread to Japan as the Great King Enma (閻魔大王, Enma-Dai-Ō), ruler of Jigoku (地獄); Korea as the Great King Yeomra (염라대왕), ruler of Jiok (지옥); and Vietnam as Diêm La Vương, ruler of Địa Ngục or Âm Phủ. Separately, in Korean mythology, death's principal figure is the "Netherworld Emissary" Jeoseungsaja (저승사자, shortened to Saja (사자)). He is depicted as a stern and ruthless bureaucrat in Yeomna's service. A psychopomp, he escorts all—good or evil—from the land of the living to the netherworld when the time comes.[1] One of the representative names is Ganglim (강림), the Saja who guides the soul to the entrance of the underworld. According to legend, he always carries Jeokpaeji (적패지), the list with the names of the dead written on a red cloth. When he calls the name on Jeokpaeji three times, the soul leaves the body and follows him inevitably. The Kojiki relates that the Japanese goddess Izanami was burnt to death giving birth to the fire god Hinokagutsuchi. She then entered a realm of perpetual night called Yomi-no-Kuni. Her husband Izanagi pursued her there but discovered his wife was no longer as beautiful as before. After an argument, she promised she would take a thousand lives every day, becoming a goddess of death. There are also death gods called shinigami (死神), which are closer to the Western tradition of the Grim Reaper; while common in modern Japanese arts and fiction, they were essentially absent in traditional mythology. India Yama, the Hindu lord of death, presiding over his court in hell The Sanskrit word for death is mrityu (cognate with Latin mors and Lithuanian mirtis), which is often personified in Dharmic religions. In Hindu scriptures, the lord of death is called King Yama (यम राज, Yama Rājā). He is also known as the King of Karmic Justice (Dharmaraja) as one's karma at death was considered to lead to a just rebirth. Yama rides a black buffalo and carries a rope lasso to lead the soul back to his home, called Naraka, pathalloka, or Yamaloka. There are many forms of reapers, although some say there is only one who disguises himself as a small child. His agents, the Yamadutas, carry souls back to Yamalok. There, all the accounts of a person's good and bad deeds are stored and maintained by Chitragupta. The balance of these deeds allows Yama to decide where the soul should reside in its next life, following the theory of reincarnation. Yama is also mentioned in the Mahabharata as a great philosopher and devotee of the Supreme Brahman. Western Asia Main article: Mot (god) The Canaanites of the 12th- and 13th-century BC Levant personified death as the god Mot (lit. "Death"). He was considered a son of the king of the gods, El. His contest with the storm god Baʿal forms part of the myth cycle from the Ugaritic texts. The Phoenicians also worshipped death under the name Mot and a version of Mot later became Maweth, the devil or angel of death in Judaism.[2][3] Europe Baltic "Death" (Nāve; 1897) by Janis Rozentāls Latvians named Death Veļu māte, but for Lithuanians it was Giltinė, deriving from the word gelti ("to sting"). Giltinė was viewed as an old, ugly woman with a long blue nose and a deadly poisonous tongue. The legend tells that Giltinė was young, pretty, and communicative until she was trapped in a coffin for seven years. Her sister was the goddess of life and destiny, Laima, symbolizing the relationship between beginning and end. Like the Scandinavians, Lithuanians and Latvians later began using Grim Reaper imagery for death. Celtic Bunworth Banshee, "Fairy Legends and Traditions of the South of Ireland", by Thomas Crofton Croker, 1825 In Breton folklore, a spectral figure called the Ankou (or Angau in Welsh) portends death. Usually, the Ankou is the spirit of the last person that died within the community and appears as a tall, haggard figure with a wide hat and long white hair or a skeleton with a revolving head. The Ankou drives a deathly wagon or cart with a creaking axle. The cart or wagon is piled high with corpses and a stop at a cabin means instant death for those inside.[4] Irish mythology features a similar creature known as a dullahan, whose head would be tucked under his or her arm (dullahans were not one, but an entire species). The head was said to have large eyes and a smile that could reach the head's ears. The dullahan would ride a black horse or a carriage pulled by black horses, and stop at the house of someone about to die, and call their name, and immediately the person would die. The dullahan did not like being watched, and it was believed that if a dullahan knew someone was watching them, they would lash that person's eyes with their whip, which was made from a spine; or they would toss a basin of blood on the person, which was a sign that the person was next to die. Gaelic lore also involves a female spirit known as Banshee (Modern Irish Gaelic: bean sí pron. banshee, literally fairy woman), who heralds the death of a person by shrieking or keening. The banshee is often described as wearing red or green, usually with long, disheveled hair. She can appear in a variety of forms, typically that of an ugly, frightful hag, but in some stories she chooses to appear young and beautiful. Some tales recount that the creature was actually a ghost, often of a specific murdered woman or a mother who died in childbirth. When several banshees appeared at once, it was said to indicate the death of someone great or holy. In Ireland and parts of Scotland, a traditional part of mourning is the keening woman (bean chaointe), who wails a lament – in Irish: Caoineadh, caoin meaning "to weep, to wail." In Scottish folklore there was a belief that a black, dark green or white dog known as a Cù Sìth took dying souls to the afterlife. Comparable figures exist in Irish and Welsh stories. In Welsh Folklore, Gwyn ap Nudd is the escort of the grave, the personification of Death and Winter who leads the Wild Hunt to collect wayward souls and escort them to the Otherworld, sometimes it is Melwas, Arawn or Afallach in a similar position. Hellenic Main article: Thanatos In Ancient Greek religion and Greek mythology, Death (Thanatos) is one of the twin sons of Nyx (night). Like her, he is seldom portrayed directly. He sometimes appears in art as a winged and bearded man, and occasionally as a winged and beardless youth. When he appears together with his twin brother, Hypnos, the god of sleep, Thanatos generally represents a gentle death. Thanatos, led by Hermes psychopompos, takes the shade of the deceased to the near shore of the river Styx, whence the ferryman Charon, on payment of a small fee, conveys the shade to Hades, the realm of the dead. Homer's Iliad 16.681, and the Euphronios Krater's depiction of the same episode, have Apollo instruct the removal of the heroic, semi-divine Sarpedon's body from the battlefield by Hypnos and Thanatos, and conveyed thence to his homeland for proper funeral rites.[citation needed] Among the other children of Nyx are Thanatos' sisters, the Keres, blood-drinking, vengeant spirits of violent or untimely death, portrayed as fanged and taloned, with bloody garments. Scandinavia Hel (1889) by Johannes Gehrts, pictured here with her hound Garmr In Scandinavia, Norse mythology personified death in the shape of Hel, the goddess of death and ruler over the realm of the same name, where she received a portion of the dead.[5] In the times of the Black Plague, Death would often be depicted as an old woman known by the name of Pesta, meaning "plague hag," wearing a black hood. She would go into a town carrying either a rake or a broom. If she brought the rake, some people would survive the plague; if she brought the broom, however, everyone would die.[6] Scandinavians later adopted the Grim Reaper with a scythe and black robe. Today, Ingmar Bergman's film The Seventh Seal features one of the world's most famous representations of this personification of Death.[citation needed] Slavic Prague Astronomical Clock In Poland, Death – Śmierć or kostuch – has an appearance similar to the Grim Reaper, although its robe was traditionally white instead of black. Because the word śmierć is feminine in gender, death is frequently portrayed as a skeletal old woman, as depicted in 15th-century dialogue "Rozmowa Mistrza Polikarpa ze Śmiercią" (Latin: "Dialogus inter Mortem et Magistrum Polikarpum"). In Serbia and other South Slavic countries, the Grim Reaper is well known as Smrt ("Death") or Kosač ("Billhook"). Slavic people found this very similar to the Devil and other dark powers. One popular saying about death is: Smrt ne bira ni vreme, ni mesto, ni godinu ("Death does not choose a time, place or year" – which means death is destiny.)[original research?] Morana is a Slavic goddess of winter time, death and rebirth. A figurine of the same name is traditionally created at the end of winter/beginning of spring and symbolically taken away from villages to be set in fire and/or thwown into a river, that takes her away from the world of the living. In the Czech Republic, the medieval Prague Astronomical Clock carries a depiction of Death striking the hour. A version first appeared in 1490.[7][8] The Low Countries In the Netherlands, and to a lesser extent in Belgium, the personification of Death is known as Magere Hein ("Meager Hein") or Pietje de Dood ("Peter the Death").[9] Historically, he was sometimes simply referred to as Hein or variations thereof such as Heintje, Heintjeman and Oom Hendrik ("Uncle Hendrik"). Related archaic terms are Beenderman ("Bone-man"), Scherminkel (very meager person, "skeleton") and Maaijeman ("mow-man", a reference to his scythe).[10] The concept of Magere Hein predates Christianity, but was Christianized and likely gained its modern name and features (scythe, skeleton, black robe etc.) during the Middle Ages. The designation "Meager" comes from its portrayal as a skeleton, which was largely influenced by the Christian "Dance of Death" (Dutch: dodendans) theme that was prominent in Europe during the late Middle Ages. "Hein" was a Middle Dutch name originating as a short form of Heinric (see Henry (given name)). Its use was possibly related to the comparable German concept of "Freund Hein."[citation needed] Notably, many of the names given to Death can also refer to the Devil; it is likely that fear of death led to Hein's character being merged with that of Satan.[10][11] In Belgium, this personification of Death is now commonly called Pietje de Dood "Little Pete, the Death."[12] Like the other Dutch names, it can also refer to the Devil.[13] Western Europe In Western Europe, Death has commonly been personified as an animated skeleton since the Middle Ages.[14] This character, which is often depicted wielding a scythe, is said to collect the souls of the dying or recently dead. In English and German culture, Death is typically portrayed as male, but in French, Spanish, and Italian culture, it is not uncommon for Death to be female.[15] In England, the personified "Death" featured in medieval morality plays, later regularly appearing in traditional folk songs.[16] The following is a verse of "Death and the Lady" (Roud 1031) as sung by Henry Burstow in the nineteenth century:     Fair lady, throw those costly robes aside,     No longer may you glory in your pride.     Take leave of all sour carnal vain delight     I'm come to summon you away this night.[16] In the late 1800s, the character of Death became known as the Grim Reaper in English literature. The earliest appearance of the name "Grim Reaper" in English is in the 1847 book The Circle of Human Life:[17][18][19]     All know full well that life cannot last above seventy, or at the most eighty years. If we reach that term without meeting the grim reaper with his scythe, there or there about, meet him we surely shall. In Abrahamic religions See also: Destroying angel (Bible)     This section should specify the language of its non-English content, using {{lang}}, {{transliteration}} for transliterated languages, and {{IPA}} for phonetic transcriptions, with an appropriate ISO 639 code. Wikipedia's multilingual support templates may also be used. See why. (January 2022) The "Angel of the Lord" smites 185,000 men in the Assyrian camp (II Kings 19:35). When the Angel of Death passes through to smite the Egyptian first-born, God prevents "the destroyer" (shâchath) from entering houses with blood on the lintel and side posts (Exodus 12:23). The "destroying angel" (mal'ak ha-mashḥit) rages among the people in Jerusalem (II Sam. 24:16). In I Chronicles 21:15 the "angel of the Lord" is seen by King David standing "between the earth and the heaven, having a drawn sword in his hand stretched out over Jerusalem." The biblical Book of Job (33:22) uses the general term "destroyers" (memitim), which tradition has identified with "destroying angels" (mal'ake Khabbalah), and Prov. 16:14 uses the term the "angels of death" (mal'ake ha-mavet). The angel Azra'il is sometimes referred as the Angel of Death as well.[20]: 64–65  Jewish tradition also refers to Death as the Angel of Dark and Light, a name which stems from Talmudic lore. There is also a reference to "Abaddon" (The Destroyer), an angel who is known as the "Angel of the Abyss". In Talmudic lore, he is characterized as archangel Michael.[21] In Judaism La mort du fossoyeur (Death of the gravedigger) by Carlos Schwabe In Hebrew scriptures, Death ("Maweth/Mavet(h)") is sometimes personified as a devil or angel of death (e.g., Habakkuk 2:5; Job 18:13).[2] In both the Book of Hosea and the Book of Jeremiah, Maweth/Mot is mentioned as a deity to whom Yahweh can turn over Judah as punishment for worshiping other gods.[22] The memitim are a type of angel from biblical lore associated with the mediation over the lives of the dying. The name is derived from the Hebrew word mĕmītǐm (מְמִיתִים – "executioners", "slayers", "destroyers") and refers to angels that brought about the destruction of those whom the guardian angels no longer protected.[23] While there may be some debate among religious scholars regarding the exact nature of the memitim, it is generally accepted that, as described in the Book of Job 33:22, they are killers of some sort.[24] Form and functions According to the Midrash, the Angel of Death was created by God on the first day.[25] His dwelling is in heaven, whence he reaches earth in eight flights, whereas Pestilence reaches it in one.[26] He has twelve wings.[27] "Over all people have I surrendered thee the power," said God to the Angel of Death, "only not over this one [i.e. Moses] which has received freedom from death through the Law."[28] It is said of the Angel of Death that he is full of eyes. In the hour of death, he stands at the head of the departing one with a drawn sword, to which clings a drop of gall. As soon as the dying man sees Death, he is seized with a convulsion and opens his mouth, whereupon Death throws the drop into it. This drop causes his death; he turns putrid, and his face becomes yellow.[29] The expression "the taste of death" originated in the idea that death was caused by a drop of gall.[30] The soul escapes through the mouth, or, as is stated in another place, through the throat; therefore, the Angel of Death stands at the head of the patient (Adolf Jellinek, l.c. ii. 94, Midr. Teh. to Ps. xi.). When the soul forsakes the body, its voice goes from one end of the world to the other, but is not heard (Gen. R. vi. 7; Ex. R. v. 9; Pirḳe R. El. xxxiv.). The drawn sword of the Angel of Death, mentioned by the Chronicler (I. Chron. 21:15; comp. Job 15:22; Enoch 62:11), indicates that the Angel of Death was figured as a warrior who kills off the children of men. "Man, on the day of his death, falls down before the Angel of Death like a beast before the slaughterer" (Grünhut, "Liḳḳuṭim", v. 102a). R. Samuel's father (c. 200) said: "The Angel of Death said to me, 'Only for the sake of the honor of mankind do I not tear off their necks as is done to slaughtered beasts'" ('Ab. Zarah 20b). In later representations, the knife sometimes replaces the sword, and reference is also made to the cord of the Angel of Death, which indicates death by throttling. Moses says to God: "I fear the cord of the Angel of Death" (Grünhut, l.c. v. 103a et seq.). Of the four Jewish methods of execution, three are named in connection with the Angel of Death: Burning (by pouring hot lead down the victim's throat), slaughtering (by beheading), and throttling. The Angel of Death administers the particular punishment that God has ordained for the commission of sin. A peculiar mantle ("idra"—according to Levy, "Neuhebr. Wörterb." i. 32, a sword) belongs to the equipment of the Angel of Death (Eccl. R. iv. 7). The Angel of Death takes on the particular form which will best serve his purpose; e.g., he appears to a scholar in the form of a beggar imploring pity (the beggar should receive Tzedakah)(M. Ḳ. 28a). "When pestilence rages in the town, walk not in the middle of the street, because the Angel of Death [i.e., pestilence] strides there; if peace reigns in the town, walk not on the edges of the road. When pestilence rages in the town, go not alone to the synagogue, because there the Angel of Death stores his tools. If the dogs howl, the Angel of Death has entered the city; if they make sport, the prophet Elijah has come" (B. Ḳ. 60b). The "destroyer" (saṭan ha-mashḥit) in the daily prayer is the Angel of Death (Ber. 16b). Midr. Ma'ase Torah (compare Jellinek, "B. H." ii. 98) says: "There are six Angels of Death: Gabriel over kings; Ḳapẓiel over youths; Mashbir over animals; Mashḥit over children; Af and Ḥemah over man and beast." Samael is considered in Talmudic texts to be a member of the heavenly host with often grim and destructive duties. One of Samael's greatest roles in Jewish lore is that of the main angel of death and the head of satans.[31] Scholars and the Angel of Death The Angel of Death, sculpture of a funeral gondola, Venice. Photo by Paolo Monti, 1951. Talmud teachers of the 4th century associate quite familiarly with him. When he appeared to one on the street, the teacher reproached him with rushing upon him as upon a beast, whereupon the angel called upon him at his house. To another, he granted a respite of thirty days, that he might put his knowledge in order before entering the next world. To a third, he had no access, because he could not interrupt the study of the Talmud. To a fourth, he showed a rod of fire, whereby he is recognized as the Angel of Death (M. K. 28a). He often entered the house of Bibi and conversed with him (Ḥag. 4b). Often, he resorts to strategy in order to interrupt and seize his victim (B. M. 86a; Mak. 10a). The death of Joshua ben Levi in particular is surrounded with a web of fable. When the time came for him to die and the Angel of Death appeared to him, he demanded to be shown his place in paradise. When the angel had consented to this, he demanded the angel's knife, that the angel might not frighten him by the way. This request also was granted him, and Joshua sprang with the knife over the wall of paradise; the angel, who is not allowed to enter paradise, caught hold of the end of his garment. Joshua swore that he would not come out, and God declared that he should not leave paradise unless he had ever absolved himself of an oath; he had never absolved himself of an oath so he was allowed to remain. The Angel of Death then demanded back his knife, but Joshua refused. At this point, a heavenly voice (bat ḳol) rang out: "Give him back the knife, because the children of men have need of it will bring death." Hesitant, Joshua Ben Levi gives back the knife in exchange for the Angel of Death's name. To never forget the name, he carved Troke into his arm, the Angel of Death's chosen name. When the knife was returned to the Angel, Joshua's carving of the name faded, and he forgot. (Ket. 77b; Jellinek, l.c. ii. 48–51; Bacher, l.c. i. 192 et seq.). Rabbinic views The Rabbis found the Angel of Death mentioned in Psalm 89:48, where the Targum translates: "There is no man who lives and, seeing the Angel of Death, can deliver his soul from his hand." Eccl. 8:4 is thus explained in Midrash Rabbah to the passage: "One may not escape the Angel of Death, nor say to him, 'Wait until I put my affairs in order,' or 'There is my son, my slave: take him in my stead.'" Where the Angel of Death appears, there is no remedy, but his name (Talmud, Ned. 49a; Hul. 7b). If one who has sinned has confessed his fault, the Angel of Death may not touch him (Midrash Tanhuma, ed. Buber, 139). God protects from the Angel of Death (Midrash Genesis Rabbah lxviii.). By acts of benevolence, the anger of the Angel of Death is overcome; when one fails to perform such acts the Angel of Death will make his appearance (Derek Ereẓ Zuṭa, viii.). The Angel of Death receives his orders from God (Ber. 62b). As soon as he has received permission to destroy, however, he makes no distinction between good and bad (B. Ḳ. 60a). In the city of Luz, the Angel of Death has no power, and, when the aged inhabitants are ready to die, they go outside the city (Soṭah 46b; compare Sanh. 97a). A legend to the same effect existed in Ireland in the Middle Ages (Jew. Quart. Rev. vi. 336). In Christianity Gustave Doré Death on the Pale Horse (1865) – The fourth Horseman of the Apocalypse Death is one of the Four Horsemen of the Apocalypse portrayed in the Book of Revelation, in Revelation 6:7–8.[32]     And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.     — Revelation 6:8, King James Version He is also known as the Pale Horseman whose name is Thanatos, the same as that of the ancient Greek personification of death, and the only one of the horsemen to be named. Paul addresses a personified death in 1 Corinthians 15:55.     "O Death, where is your sting? O Hades, where is your victory?"     — 1 Corinthians 15:55, New King James Version In some versions, both arms of this verse are addressed to death.[33] The Christian scriptures contain the first known depiction of Abaddon as an individual entity instead of a place.     A king, the angel of the bottomless pit; whose name in Hebrew is Abaddon, and in Greek Apollyon; in Latin Exterminans.     — Revelation 9:11, Douay–Rheims Bible In Hebrews 2:14 the devil "holds the power of death."[34]     Since therefore the children share in flesh and blood, he himself likewise partook of the same things, that through death he might destroy the one who has the power of death, that is, the devil, and deliver all those who through fear of death were subject to lifelong slavery.     — Hebrews 2:14-15, English Standard Version Although many of Samael's functions resemble the Christian notion of Satan, to the point of being sometimes identified as a fallen angel,[35][36]: 257–60  in others he is not necessarily evil, since his functions are also regarded as resulting in good, such as destroying sinners.[37] Conversely, the early Christian writer Origen believed the destroying angel of Exodus 12:23 to be Satan.[38] The Grim Reaper, is stated to be destroyed by the Lake of Fire that burns with sulfur.     Death and Hades were thrown into the Lake of Fire. This is the second death.     — Revalation 20:14, King James version     The last enemy to be destroyed is death.     — 1 Corinthians 15:26, New International Version In Islam In Islam, Archangel Azrael is the Malak al-Maut (angel of death). He and his many subordinates pull the souls out of the bodies, and guide them through the journey of the afterlife. Their appearance depends on the person's deed and actions, with those that did good seeing a beautiful being, and those that did wrong seeing a horrific monster. Islamic tradition discusses elaborately as to what exactly happens before, during, and after the death. The angel of death appears to the dying to take out their souls. The sinners' souls are extracted in a most painful way while the righteous are treated easily.[39] After the burial, two angels – Munkar and Nakir – come to question the dead in order to test their faith. The righteous believers answer correctly and live in peace and comfort while the sinners and disbelievers fail and punishments ensue.[39][40] The time period or stage between death and resurrection is called barzakh (the interregnum).[39] Death is a significant event in Islamic life and theology. It is seen not as the termination of life, rather the continuation of life in another form. In Islamic belief, God has made this worldly life as a test and a preparation ground for the afterlife; and with death, this worldly life comes to an end.[41] Thus, every person has only one chance to prepare themselves for the life to come where God will resurrect and judge every individual and will entitle them to rewards or punishment, based on their good or bad deeds.[41][42] And death is seen as the gateway to and beginning of the afterlife. In Islamic belief, death is predetermined by God, and the exact time of a person's death is known only to God. Media Songs "Death Don't Have No Mercy" Main article: Death Don't Have No Mercy The 1960 gospel blues song "Death Don't Have No Mercy", composed and first recorded by Blind Gary Davis, portrays death as an inevitable and periodic visitor.[43] According to the musicologist David Malvinni, it "presents a terrifying personification of the instant, sudden possibility [of] death at any moment that could have come from the medieval era's confrontation with the plague".[44] "(Don't Fear) The Reaper" Main article: (Don't Fear) The Reaper The 1976 Blue Öyster Cult song "(Don't Fear) The Reaper", recorded for their album Agents of Fortune, alludes to the Grim Reaper in the title and lyrics. The song encourages the audience not to fear death, but rather to think of it as something that immortalizes love.[45] "Creeping Death" Main article: Creeping Death The 1984 thrash metal song "Creeping Death", recorded by Metallica, references the angel of death, among other religious symbols. It is described by the writer Tom King as "a tale of righteous Biblical rage and devastation straight out of the Book of Revelations".[46] Books death (Death with Interruptions or Death at Intervals) Main article: Death with Interruptions Nobel laureate José Saramago's novel features an anthropomorphised death as its main character, who insists that her name be written lowercase. She is depicted as a skeleton who can shapeshift and be omnipresent and has a scythe, though she doesn't always carry it. Her jurisdiction is limited to the imaginary country where the story happens and to the human species. It is implied that other deaths with jurisdiction over different life forms and territories exist, as well as an overarching death and/or god. The book deals with how society relates to death, both as a phenomenon and a character, and likewise how death relates to the people she is meant to kill and with loneliness and love. Death (Discworld) Main article: Death (Discworld) Death is a fictional character in Terry Pratchett's Discworld series, and depicted as one of many Deaths. His jurisdiction is specifically the Discworld itself; he is only a part, or minion, of Azrael, the universal Death. Death has appeared in every Discworld novel, with the exception of The Wee Free Men and Snuff. Mort, published in 1987, is the first time Death appears as a leading character.[47] Death (The Book Thief) Main article: The Book Thief Death is the narrator of Markus Zusak's 2005 novel The Book Thief. He is a collector of deceased souls in the story. He tells the coming of age story about a girl he witnessed living in Nazi Germany and surviving World War II.[48] Death (Harry Potter) Main article: The Tales of Beedle the Bard Death appears in "The Tale of Three Brothers" in J.K. Rowling's The Tales of Beedle the Bard, a collection of fairytales featured in her Harry Potter series. Three brothers avoid Death and Death, furious at being avoided, offers the brothers gifts. Two of these gifts, the Elder Wand and the Resurrection Stone lead to the first two brothers' deaths. The third brother, gifted with the Invisibility Cloak avoids Death until old age, where he then goes with Death like an old friend. These gifts became the Deathly Hallows.[49] Death (Incarnations of Immortality) Main article: On a Pale Horse Death is a held office in Piers Anthony's 1983 novel On a Pale Horse.[50] The character Zane becomes Death after a suicide attempt that ends up killing the previous Death. He is taught by his fellow Incarnations Time and Fate and must defeat the Incarnation of Evil, Satan. He is given several items to aid him on his job, including a watch to stop local time, jewels to measure how much good and evil is in a person for judgment, and his pale horse Mortis, who often takes the form of a pale car. Zane as Death appears in Anthony's following novels, notably Bearing an Hourglass. Charlie Asher (A Dirty Job) Main article: A Dirty Job Death is a career in Christopher Moore's A Dirty Job.[51] Charlie Asher is chosen to be a "Death Merchant" for retrieving souls and protect them from dark forces while managing his story and raising his newborn daughter. Comics Death (DC Comics) Main article: Death (DC Comics) Death first appeared in The Sandman vol. 2, #8 (August 1989), and was created by Neil Gaiman and Mike Dringenberg.[52] She is both an embodiment of death and a psychopomp in The Sandman Universe, and depicted as a down to earth, perky, and nurturing figure. Death is the second born of The Endless and she states "When the last living thing dies, my job will be finished. I'll put the chairs on the tables, turn out the lights and lock the universe behind me when I leave."[53] Death also appears briefly in Fables #11 (May 2003) titled "Bag O' Bones", where Jack Horner traps Death in a magical bag that never gets full.[54] There has been no indication as to whether Fables has any connection to the Sandman universe. Death (Marvel Comics) Main article: Death (Marvel Comics) The character first appeared in Captain Marvel #26 (Jun. 1973) and was created by Mike Friedrich and Jim Starlin. Death is an abstract entity, the embodiment of the end of life in the Marvel Universe, and resides inside a pocket dimension known as the Realm of Death.[55] The character can change appearance at will shown in a storyline of Captain Marvel where Thanos' scheme to conquer the universe, as the character becomes determined to prove his love for Death by destroying all life. Lady MacDeath (Bug-a-Boo) Main article: Bug-a-Booo Lady MacDeath is a Grim Reaper, the personification of Death who is responsible of going after all people whose time to die has come, although unlike a typical Grim Reaper, her body is not pictured as made of bones. She uses her sickle to kill people, by hitting them in the head, and then she takes their souls to the purgatory, for them to be judged and sent whether to hell or heaven (sometimes after much bureaucracy). She always carries a list with the name of the people she must kill on the day. Most of her stories feature a pursuit, sometimes punctuated with struggles faced every day by normal people. Maurício de Souza says that the purpose of creating her is "taking death less seriously, while it doesn't come to us". Film     This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2021) (Learn how and when to remove this template message) Death Takes a Holiday (1934) Main article: Death Takes a Holiday After years of questioning why people fear him, Death takes on human form for three days so that he can mingle among mortals and find an answer. He finds a host in Duke Lambert after revealing himself and his intentions to the Duke, and takes up temporary residence in the Duke's villa. However, events soon spiral out of control as Death falls in love with the beautiful young Grazia. As he does so, Duke Lambert, the father of Grazia's mortal lover Corrado, begs him to give Grazia up and leave her among the living. Death must decide whether to seek his own happiness, or sacrifice it so that Grazia may live. The 1998 American film Meet Joe Black is loosely based on the 1934 film. While on Earth, Death, living under the name Joe Black, enlists the wealthy Bill Parrish to be his guide to mortal life, and in exchange guarantees that Bill will not die as long as he serves as "Joe's" guide. Joe falls in love with Bill's youngest daughter, Susan, a resident in internal medicine, and learns the meaning of both friendship and love. The Seventh Seal (1957) Main article: The Seventh Seal Death is one of the main characters in 1957 Swedish historical fantasy film The Seventh Seal. The film tells the story of a knight encountering Death, whom he challenges to a chess match, believing he can survive as long as the game continues.[56] These scenes are parodied in the 1991 comedy film Bill & Ted's Bogus Journey, in which the title characters repeatedly beat Death playing a variety of family board games such as Battleship and Twister. Death goes on to accompany Bill and Ted for the remainder of the film as a major supporting character.[57] The scene from "The Seventh Seal" is also parodied in a one-act play by Woody Allen called "Death," in which the personification of death agrees to play gin rummy and loses badly, altering his plans to "take" his opponent. The Adventures of Baron Munchausen (1988) Throughout the film, Munchausen is pursued by Death, a skeletal angel with raven's wings, carrying a scythe in one hand and an hourglass in the other. At the end, Death, in the form of a grim physician, extracts Munchausen's glowing life force, and Munchausen is given a lavish funeral before boldly claiming it was "one of the many times I faced Death." Final Destination film series (2000–2011) Main article: Final Destination In each of the Final Destination films, one of the protagonists experiences a premonition of an impending disaster. When these visions come true, the protagonists manage to avoid harm, though many innocent people are killed. Their escapes alter the design intended by Death, which — while never portrayed as a physical entity — is described as an omniscient supernatural force. In each film, the characters learn that they can never truly escape from death, and that they are each doomed to be killed one by one. Television In 1987 the Australian government produced a controversial commercial featuring the Grim Reaper in order to raise public awareness about the danger of HIV/AIDS.[58] The Grim Reaper is one of the main characters of the 2000s Cartoon Network series The Grim Adventures of Billy & Mandy. In the British children's sketch television show Horrible Histories, Death (portaryed by Simon Farnaby) is a reoccurring character who appears the segment, "Stupid Deaths" and later in its sixth series, "Chatty Deaths". Theatre Elisabeth Viennese musical (1992) Main article: Elisabeth (musical) The personification of Death or the Grim Reaper is the leading male role in the 1992 Viennese musical, depicting the titular Empress of Austria-Hungary's fictionalised life and her entanglements and obsession with Death.[59] Portrayals of Death varies between productions from androgynous to masculine, dressed at various times in all black or all white.[60] Video Games The personification of Death appears many times in many different games, especially Castlevania and The Sims. Nearly all iterations of a "Death" or "Grim Reaper" character feature most of the same characteristics seen in other media and pop culture: a skeleton wearing a cloak and wielding a scythe." (wikipedia.org) "The undead are beings in mythology, legend, or fiction that are deceased but appear to be alive. Most commonly the term refers to corporeal forms of formerly-alive humans, such as mummies, vampires, and zombies, who have been reanimated by supernatural means, technology, or disease. In some cases (for example in Dungeons & Dragons) the term also includes incorporeal forms of the dead, such as ghosts. The undead are featured in the belief systems of most cultures, and appear in many works of fantasy and horror fiction. The term is also occasionally used for real-life attempts to resurrect the dead with science and technology, from early experiments like Robert E. Cornish's to future sciences such as chemical brain preservation and cryonics. ... History Bram Stoker considered using the title, The Un-Dead, for his novel Dracula (1897), and use of the term in the novel is mostly responsible for the modern sense of the word. The word does appear in English before Stoker but with the more literal sense of "alive" or "not dead", for which citations can be found in the Oxford English Dictionary. In one passage of Dracula, Nosferatu is given as an "Eastern European" synonym for "un-dead".[1] Stoker's use of the term "undead" refers only to vampires; the extension to other types of supernatural beings arose later. Most commonly, it is now taken to refer to supernatural beings who had at one point been alive and continue to display some aspects of life after death, but the usage is highly variable.[2] Reanimation or the creation of zombies through non-supernatural means has become a trope since at least the 19th century. Frankenstein (1818) used unspecified technological means, the influential I Am Legend (1954) blamed a germ, The Return of the Living Dead (1985) depicted a toxic gas, and Resident Evil (2002) featured a bioweapon. The undead have become popular adversaries in fantasy and horror settings, featuring prominently in many role-playing games, role-playing video games, MMORPGs and strategy games. Literature The Dead Lovers, ca. 1470 (Strasbourg, Musée de l'Œuvre Notre-Dame) In Bram Stoker's novel Dracula, Van Helsing describes the Un-Dead as the following:     ‘Before we do anything, let me tell you this. It is out of the lore and experience of the ancients and of all those who have studied the powers of the UnDead. When they become such, there comes with the change the curse of immortality. They cannot die but must go on age after age adding new victims and multiplying the evils of the world. For all that die from the preying of the Undead become themselves Undead, and prey on their kind. And so the circle goes on ever widening, like as the ripples from a stone thrown in the water... But of the most blessed of all, when this now UnDead be made to rest as true dead, then the soul of the poor lady whom we love shall again be free. Instead of working wickedness by night and growing more debased in the assimilating of it by day, she shall take her place with the other Angels. So that, my friend, it will be a blessed hand for her that shall strike the blow that sets her free.     — Van Helsing, Dr. Seward's Diary, 29 September; Dracula, Chapter 16 Other notable 19th-century stories about the avenging undead included Ambrose Bierce's The Death of Halpin Frayser,[3] and various Gothic Romanticism tales by Edgar Allan Poe. Though their works could not be properly considered zombie fiction, the supernatural tales of Bierce and Poe would prove influential on later writers such as H. P. Lovecraft, by Lovecraft's own admission.[4] In Russia, the undead was the theme of Alexander Belyaev's novel Professor Dowell's Head (1925), in which a mad scientist performs experimental head transplants on bodies stolen from the morgue, and reanimates the corpses. Utagawa Yoshiiku, Specter frightening a young woman List of undead forms Living corpses     Anchimayen     Ahkiyyini     Draugr     Drekavac     Deildegast     Dhampir     Fext     Ghoul     Gashadokuro     Gjenganger     Hone-onna     Jiangshi     Kukudh     Lich     Langsuyar     Mummy     Nachzehrer     Qutrub     Revenant     Ro-langs     Orek     Skeleton     Rusalka     Strzyga     Vampire     Vrykolakas     Vetala     Wight     Wiedergänger     Zombie     Zombie animal Incorporeal spirits     Ayakashi     Banshee     Baykok     Bal-Bal     Bhoot     Dullahan     Dunnie     Funayūrei     Ghost, phantom, or spectre     Goryō     Hupia     Hitodama     Headless Horseman     Inugami     Ikiryō     The Grim Reaper     Jikininki     Korean Virgin Ghost     Kuntilanak     Kuchisake-onna     Lemures     Lietuvēns     Mavka     Moroi     Mononoke     Mogwai     Myling     Noppera-bō     Onryō     Poltergeist     Pocong     Preta     Sluagh     Shade     Shiryō     Shikigami     Sayona     Strigoi     Shadow person     Umibōzu     Ubume     Vengeful ghost     Yūrei     Yuki-onna     Wraith Mixed     Dying-and-rising deity" (wikipedia.org) "Halloween or Hallowe'en (a contraction of "All Hallows' evening"),[5] less commonly known as Allhalloween,[6] All Hallows' Eve,[7] or All Saints' Eve,[8] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Hallows' Day. It begins the observance of Allhallowtide,[9] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the departed.[10][11] One theory holds that many Halloween traditions were influenced by Celtic harvest festivals, particularly the Gaelic festival Samhain, which are believed to have pagan roots.[12][13][14][15] Some go further and suggest that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[16] Other academics believe Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[17][18][19][20] Celebrated in Ireland and Scotland for centuries, Irish and Scottish migrants brought many Halloween customs to North America in the 19th century,[21][22] and then through American influence, Halloween spread to other countries by the late 20th and early 21st century.[23][24] Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, and watching horror or Halloween-themed films.[25] For some people, the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead, remain popular,[26][27][28] although it is a secular celebration for others.[29][30][31] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.... Etymology The word appears as the title of Robert Burns' "Halloween" (1785), a poem traditionally recited by Scots. The word Halloween or Hallowe'en dates to about 1745[36] and is of Christian origin.[37] The word Hallowe'en means "Saints' evening".[38] It comes from a Scottish term for All Hallows' Eve (the evening before All Hallows' Day).[39] In Scots, the word eve is even, and this is contracted to e'en or een.[40] Over time, (All) Hallow(s) E(v)en evolved into Hallowe'en. Although the phrase "All Hallows'" is found in Old English, "All Hallows' Eve" is itself not seen until 1556.[39][41] History Christian origins and historic customs Halloween is thought to have roots in Christian beliefs and practices.[42][43] The English word 'Halloween' comes from "All Hallows' Eve", being the evening before the Christian holy days of All Hallows' Day (All Saints' Day) on 1 November and All Souls' Day on 2 November.[44] Since the time of the early Church,[45] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[46][42] These three days are collectively called Allhallowtide and are a time when Christians honour saints and pray for recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[47] In 4th-century Roman Edessa it was held on 13 May, and on 13 May 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs".[48] This was the date of Lemuria, an ancient Roman festival of the dead.[49] Beginning in the 4th century, the feast of All Hallows' in the Western Christian Church commemorated Christian martyrs and in the 8th century, Pope Gregory III (731–741) founded of an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[42][50] Some sources say it was dedicated on 1 November,[51] while others say it was on Palm Sunday.[52][53] By 800, there is evidence that churches in Ireland[54] and Northumbria were holding a feast commemorating all saints on 1 November.[55] Alcuin of Northumbria, a member of Charlemagne's court, may then have introduced this 1 November date in the Frankish Empire.[56] In 835, it became the official date in the Frankish Empire.[55] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[55] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[57] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[55][57] It is also suggested the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health concerns over Roman Fever, which claimed a number of lives during Rome's sultry summers.[58][42] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[59] Top: Christians in Bangladesh lighting candles on the headstone of a relative. Bottom: Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard. By the end of the 12th century they had become holy days of obligation in Western Christianity and involved such traditions as ringing church bells for souls in purgatory. It was also "customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls".[60] The Allhallowtide custom of baking and sharing soul cakes for all christened souls,[61] has been suggested as the origin of trick-or-treating.[62] The custom dates back at least as far as the 15th century[63] and was found in parts of England, Wales, Flanders, Bavaria and Austria.[64] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives. This was called "souling".[63][65][66] Soul cakes were also offered for the souls themselves to eat,[64] or the 'soulers' would act as their representatives.[67] As with the Lenten tradition of hot cross buns, soul cakes were often marked with a cross, indicating they were baked as alms.[68] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[69] While souling, Christians would carry "lanterns made of hollowed-out turnips", which could have originally represented souls of the dead;[70][71] jack-o'-lanterns were used to ward off evil spirits.[72][73] On All Saints' and All Souls' Day during the 19th century, candles were lit in homes in Ireland,[74] Flanders, Bavaria, and in Tyrol, where they were called "soul lights",[75] that served "to guide the souls back to visit their earthly homes".[76] In many of these places, candles were also lit at graves on All Souls' Day.[75] In Brittany, libations of milk were poured on the graves of kinfolk,[64] or food would be left overnight on the dinner table for the returning souls;[75] a custom also found in Tyrol and parts of Italy.[77][75] Christian minister Prince Sorie Conteh linked the wearing of costumes to the belief in vengeful ghosts: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes".[78] It is claimed that in the Middle Ages, churches that were too poor to display relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[79][80] Some Christians observe this custom at Halloween today.[81] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[82] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which was often depicted in church decoration.[83] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that the danse macabre urged Christians "not to forget the end of all earthly things".[84] The danse macabre was sometimes enacted at village pageants and court masques, with people "dressing up as corpses from various strata of society", and this may be the origin of Halloween costume parties.[85][86][87][70] In Britain, these customs came under attack during the Reformation, as Protestants berated purgatory as a "popish" doctrine incompatible with the Calvinist doctrine of predestination. State-sanctioned ceremonies associated with the intercession of saints and prayer for souls in purgatory were abolished during the Elizabethan reform, though All Hallow's Day remained in the English liturgical calendar to "commemorate saints as godly human beings".[88] For some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; "souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits".[89] Other Protestants believed in an intermediate state known as Hades (Bosom of Abraham).[90] In some localities, Catholics and Protestants continued souling, candlelit processions, or ringing church bells for the dead;[44][91] the Anglican church eventually suppressed this bell-ringing.[92] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth".[93] After 1605, Hallowtide was eclipsed in England by Guy Fawkes Night (5 November), which appropriated some of its customs.[94] In England, the ending of official ceremonies related to the intercession of saints led to the development of new, unofficial Hallowtide customs. In 18th–19th century rural Lancashire, Catholic families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[95] There was a similar custom in Hertfordshire, and the lighting of 'tindle' fires in Derbyshire.[96] Some suggested these 'tindles' were originally lit to "guide the poor souls back to earth".[97] In Scotland and Ireland, old Allhallowtide customs that were at odds with Reformed teaching were not suppressed as they "were important to the life cycle and rites of passage of local communities" and curbing them would have been difficult.[21] In parts of Italy until the 15th century, families left a meal out for the ghosts of relatives, before leaving for church services.[77] In 19th-century Italy, churches staged "theatrical re-enactments of scenes from the lives of the saints" on All Hallow's Day, with "participants represented by realistic wax figures".[77] In 1823, the graveyard of Holy Spirit Hospital in Rome presented a scene in which bodies of those who recently died were arrayed around a wax statue of an angel who pointed upward towards heaven.[77] In the same country, "parish priests went house-to-house, asking for small gifts of food which they shared among themselves throughout that night".[77] In Spain, they continue to bake special pastries called "bones of the holy" (Spanish: Huesos de Santo) and set them on graves.[98] At cemeteries in Spain and France, as well as in Latin America, priests lead Christian processions and services during Allhallowtide, after which people keep an all night vigil.[99] In 19th-century San Sebastián, there was a procession to the city cemetery at Allhallowtide, an event that drew beggars who "appeal[ed] to the tender recollectons of one's deceased relations and friends" for sympathy.[100] Gaelic folk influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[101] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[102] The origins of Halloween customs are typically linked to the Gaelic festival Samhain.[103] Samhain is one of the quarter days in the medieval Gaelic calendar and has been celebrated on 31 October – 1 November[104] in Ireland, Scotland and the Isle of Man.[105][106] A kindred festival has been held by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival begins the evening before 1 November by modern reckoning.[107] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[108] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland.[109] Samhain marked the end of the harvest season and beginning of winter or the 'darker half' of the year.[110][111] It was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[112][113] Most scholars see them as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[114] They were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[115][116] At Samhain, the Aos Sí were appeased to ensure the people and livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for them.[117][118][119] The souls of the dead were also said to revisit their homes seeking hospitality.[120] Places were set at the dinner table and by the fire to welcome them.[121] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures.[64] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[122] Throughout Ireland and Britain, especially in the Celtic-speaking regions, the household festivities included divination rituals and games intended to foretell one's future, especially regarding death and marriage.[123] Apples and nuts were often used, and customs included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[124] Special bonfires were lit and there were rituals involving them. Their flames, smoke, and ashes were deemed to have protective and cleansing powers.[110] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[108] It is suggested the fires were a kind of imitative or sympathetic magic – they mimicked the Sun and held back the decay and darkness of winter.[121][125][126] They were also used for divination and to ward off evil spirits.[72] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[127] In Wales, bonfires were also lit to "prevent the souls of the dead from falling to earth".[128] Later, these bonfires "kept away the devil".[129] photograph A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[130] From at least the 16th century,[131] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[132] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to 'souling'. Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[133] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[134] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[132] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked or blackened with ashes from the sacred bonfire.[131] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[132] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[132] Elsewhere in Europe, mumming was part of other festivals, but in the Celtic-speaking regions, it was "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[132] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween did not spread to England until the 20th century.[132] Pranksters used hollowed-out turnips or mangel wurzels as lanterns, often carved with grotesque faces.[132] By those who made them, the lanterns were variously said to represent the spirits,[132] or used to ward off evil spirits.[135][136] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[132] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of Britain and became generally known as jack-o'-lanterns.[132] Spread to North America The annual New York Halloween Parade in Greenwich Village, Manhattan, is the world's largest Halloween parade. Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[137][138] although the Puritans of New England strongly opposed the holiday, along with other traditional celebrations of the established Church, including Christmas.[139] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[21] It was not until after mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America.[21] Most American Halloween traditions were inherited from the Irish and Scots,[22][140] though "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[141] Originally confined to these immigrant communities, it was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the early 20th century.[142] Then, through American influence, these Halloween traditions spread to many other countries by the late 20th and early 21st century, including to mainland Europe.[23][24] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including skeletons, ghosts, cobwebs, headstones, and scary looking witches. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[71][143] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[144] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[145]     On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[146] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[147][148] but immigrants to North America used the native pumpkin, which is both much softer and much larger, making it easier to carve than a turnip.[147] The American tradition of carving pumpkins is recorded in 1837[149] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[150] Decorated house in Weatherly, Pennsylvania The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein; or, The Modern Prometheus and Dracula) and classic horror films such as Frankenstein (1931) and The Mummy (1932).[151][152] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[153] skulls have therefore been commonplace in Halloween, which touches on this theme.[154] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[155] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "Bogies" (ghosts), influencing Robert Burns' "Halloween" (1785).[156] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[157] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[158] Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[62] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[159] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[160] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[161][162] Mumming practiced in Germany, Scandinavia and other parts of Europe,[163] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[164] Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising was first recorded in North America In England, from the medieval period,[165] up until the 1930s,[166] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[91] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[65] In the Philippines, the practice of souling is called Pangangaluwa and is practiced on All Hallow's Eve among children in rural areas.[25] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[25] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[167] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[148][168] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[167] The practice of guising at Halloween in North America was first recorded in 1911, where a newspaper in Kingston, Ontario, Canada, reported children going "guising" around the neighborhood.[169] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[170] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[171] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[172] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[173] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[174] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[175] and the first use in a national publication occurring in 1939.[176] A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[98][177] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[178] such as those of children's literature, movies, scripture, and job roles.[179] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[180][181] Costumes Main article: Halloween costume Halloween costumes were traditionally modeled after figures such as vampires, ghosts, skeletons, scary looking witches, and devils.[62] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses. Halloween shop in Derry, Northern Ireland, selling masks Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[148] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[168] In Ireland the masks are known as 'false faces'.[182] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[173][183] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[184][185] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[62] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[186][187] The yearly New York's Village Halloween Parade was begun in 1974; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[188] Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[189] Such and other potentially offensive costumes have been met with increasing public disapproval.[190][191] Pet costumes According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumblebee in third place.[192] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[193] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[123] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[194] Some also suggest that they derive from Roman practices in celebration of Pomona.[62] Children bobbing for apples at Hallowe'en The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[195] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[196] Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[197][198] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[199][200] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[201] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[202] The custom was widespread enough to be commemorated on greeting cards[203] from the late 19th century and early 20th century. Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[204][205][206][207] The game features prominently in the James Joyce short story "Clay" (1914).[208][209][210] In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[211] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[108] Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Main article: Haunted attraction (simulated) Humorous tombstones in front of a house in California Humorous display window in Historic 25th Street, Ogden, Utah Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[212] and the level of sophistication of the effects has risen as the industry has grown. The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[213][214] The House still exists, in the Hollycombe Steam Collection. It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[215] The haunted house as an American cultural icon can be attributed to the opening of the Haunted Mansion in Disneyland on 12 August 1969.[216] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[217] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[218] The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[219] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[220] On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle (Six Flags Great Adventure) caught fire. As a result of the fire, eight teenagers perished.[221] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[222][223] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[224][225][226] In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[227] The theme park haunts are by far the largest, both in scale and attendance.[228] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[229] A candy apple Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[230] While there is evidence of such incidents,[231] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[232] One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[233] It is considered fortunate to be the lucky one who finds it.[233] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. A jack-o'-lantern Halloween cake with a witches hat List of foods associated with Halloween:     Barmbrack (Ireland)     Bonfire toffee (Great Britain)     Candy apples/toffee apples (Great Britain and Ireland)     Candy apples, candy corn, candy pumpkins (North America)     Chocolate     Monkey nuts (peanuts in their shells) (Ireland and Scotland)     Caramel apples     Caramel corn     Colcannon (Ireland; see below)     Halloween cake     Sweets/candy     Novelty candy shaped like skulls, pumpkins, bats, worms, etc.     Roasted pumpkin seeds     Roasted sweet corn     Soul cakes     Pumpkin Pie Christian religious observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[234] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day and serving pancakes or colcannon instead.[235] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[236] The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[237] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[238][239] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[240][241] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[242][243] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[244] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[245][246] Some of these practices include praying, fasting and attending worship services.[1][2][3]     O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[247] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[248] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[249] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[250] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[251] Others order Halloween-themed Scripture Candy to pass out to children on this day.[252][253] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[254] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[255] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[256] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[257] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[258] In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools in the United States.[259][260] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[261] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[262] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[263] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[264] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[265] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[266] Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[267] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[268][269] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[270] Hinduism Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[271] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[272] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[273] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[274] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[275] and "avoid Halloween, because of the interruptions from trick or treaters".[276] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[274] Geography Main article: Geography of Halloween Halloween display in Kobe, Japan The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[167][277][278] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[279] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[167] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Ecuador, Chile,[280] Australia,[281] New Zealand,[282] (most) continental Europe, Finland,[283] Japan, and other parts of East Asia." (wikipedia.org) "A haunted attraction is a form of live entertainment that simulates the experience of visiting haunted locations or storylines typical of horror fiction. They usually feature fearsome sets and characters, especially demons, ghosts, monsters, possessed people, witches or wizards, serial killers, and slashers. Humorous characters may also be included. Haunted attractions may be set up at many kinds of locations. Built attractions or existing structures in which attractions may be operated include temporarily constructed simulations of haunted houses; actual abandoned or dilapidated houses; abandoned asylums; defunct prisons; defunct or active amusement parks; defunct or active ships; defunct factories; defunct or active barns; and shopping malls. Outdoor places hosting such attractions include corn mazes or cornfields; hedge mazes; farms (often including "haunted" hayrides); wooded areas or forests; and parks. Haunted attractions (also known as "haunts" or "mazes" within the industry) use many effects, such as intense lighting (strobe lights, black lights, etc.), animatronics, CGI, scent dispensers, fog machines, spinning tunnels, air blasters, spooky old antiques, gory images, and intense scenes of horror, terror, torment, murder, mischief, or comedy. Visitors often encounter actors in elaborate and often scary costumes, masks, and prosthetics. They may perform skits or lurk and come out unexpectedly to frighten, shock, disturb, or amuse the customer. Haunted attractions typically operate from the last week of late September or early October to the last week in October or first week of November. In particular, they are especially active during the triduum of Allhallowtide.[citation needed] There is also a subculture of permanent haunted attractions that are open year-round, and a few that are open for special occasions, such as haunt conventions or Spring Break (also called Scream Break).[1] Some attractions are run by charities as fundraisers. In Japan, there is a tradition of making obakeyashiki (ghost houses) in the summertime, as fear is believed to ward off the heat by "giving you the chills". They typically feature frightening creatures from Japanese folklore, ghosts, demons, sinister crucifixes and other things that are brought to life thanks to decorations, sound effects and animatronics. A story is often told to visitors before they receive a mission that they must accomplish in the house.... History One of the first recorded purpose-built haunted attractions was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England.[2] Closely resembling a carnival fun house, it was powered by steam.[3][4] It still exists, in the Hollycombe Steam Collection. The background for the creation of the Orton and Spooner Ghost House might be seen in 18th- and 19th-century London and Paris, when literature, performances by magicians, spiritualists and psychics, as well as theatrical shows and attractions introduced the public to gruesome entertainment. In 1802, Marie Tussaud scandalized British audiences with an exhibition of wax sculptures of decapitated victims of the French Revolution, including King Louis XVI, Marie Antoinette, Robespierre and Jean-Paul Marat. Her exhibits exist today as the Chamber of Horrors in Madam Tussauds in London. In France, from 1897, the Grand Guignol theatre was scaring audiences with graphically staged horror entertainment.[5] The Phantasmagoria show existed even earlier, but a well-known version in 1797 Paris was the Fantasmagorie, which made use of magic lantern projections and crude special effects.[6] Halloween-themed haunted houses in America seemed to begin emerging during the Great Depression, about the same time as trick-or-treating.[7] During the 1930s, 1940s and 1950s, it was common for magicians to use supernatural themes in their stage performances, which evolve into the tradition of a traveling ghost show, also referred to as a spook show or creep show, and incorporate comedy, displays of mentalism and theatrical special effects. During the 1950s these specialized shows were often performed as pre-show entertainment before screenings of popular horror movies. The Haunted Mansion opened in Disneyland on August 9, 1969 and was highly successful,[8] soon gaining a single-day record of 82,516 guests. In 1973, Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm.[9][10] Evangelical Christians became early adopters of alternative Halloween attractions; Jerry Falwell and Liberty University introduced one of the first "Hell houses" in 1972.[11] During the late 1950s, California was a focus for Halloween haunts. In 1957, the San Mateo Haunted House opened, sponsored by the Children's Health Home Junior Auxiliary. The San Bernardino Assistance League Haunted House opened in 1958. In 1962 and 1963 home haunts began appearing across the country, including Oregon, California, Connecticut, Illinois and several other states. On October 17, 1964, the San Manteo Haunted House opened as a walk-through haunted house. The Children's Museum Haunted House in Indianapolis, open every year since 1964, was Indiana's first haunted house and is currently the longest running in the nation.[7] Haunted houses quickly spread across the country via charity fundraisers[12] conducted by The United States Junior Chamber ("the Jaycees") and others. The Jaycees encouraged its membership to construct haunted houses in abandoned buildings or fields as charity fundraising events, and the organization became known for these houses throughout America. In the late 1960s to early 1970s, haunted attractions were developed in larger American cities like Louisville, Kentucky and Cincinnati, Ohio, with the creation of Jaycees haunted houses.[13] These haunted houses are run by local chapters of the Jaycees. There are still many local chapter Jaycees haunted houses in towns such as Lombard, Illinois; Foxborough, Massachusetts; Raleigh, North Carolina; and Columbia, South Carolina. The former Huntington Jaycees Haunted House, now known as the Haunted Hotel-13th Floor, was operated by volunteers in October 1963.[14] The first verifiable Jaycees haunted attraction as recognized by the Jaycees national office was The WSAI Haunted House in Cincinnati, Ohio operated by the Sycamore-Deer Park Jaycees in 1970.[13] In 1974, The Haunted Schoolhouse, located in Akron, Ohio, opened to the public and is still in operation to this day. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some MoD haunted houses have persisted until today.[15] This includes the Spooky Acres Haunted House in Norfolk, Virginia.[16] Others open during this period include one in Indio, California in 1976,[17] one in Salt Lake City, Utah in 1989,[18] and one in Honolulu, Hawaii in 1997.[19] MoD Haunted Houses continuing much beyond the late 1980s would be considered outliers.[20] The beginning of the end for the charity haunts can be traced to a singular event: the Haunted Castle at Six Flags Great Adventure caught fire on the evening of May 11, 1984, in Jackson Township, New Jersey. Eight teenagers lost their lives in the fire. There were criminal charges filed, civil lawsuits, numerous investigations, and the inevitable result that fire safety laws, building codes, and inspections were tightened up considerably nationwide. The net effect was to make charity attractions less economically viable than they were before. Better construction materials were required, and fire safety equipment was required, making a temporary venue too expensive for many charities to afford. As a result, the larger, better funded for-profit operators moved in as the charities moved out.[21][22] The fire caused wide-ranging changes for all amusement buildings. Previously, operators were able to avoid fire codes because such attractions were used temporarily. The Haunted Castle fire pointed to an unattractive reality that forced tighter regulation.[23][24][25] Professional haunted houses began to show up in the United States about the same time as the non-profits. However, subsequent to the Haunted Castle fire, many existing haunted attractions were shut down, as politicians and regulators enacted stronger safety codes. Volunteer (non-profit) organizations struggled to compete against the new for-profit competition under the tougher rules. Many were forced out of business either from the added competition or the inability to fund safety requirements. "The Jaycees got pushed out because their haunted houses were fairly basic."[26][27] Currently,[when?] in the United States alone, there are over 4,000 October seasonal haunted houses in the Us every year and 300 theme parks that operate horror-themed events. Over 3,000 haunts are charity-run fund raisers.[28] In order to increase off-season attendance, theme parks entered the business seriously in the late 1980s and early 1990s. Six Flags launched Fright Fest in 1986-1989 and Universal Studios began Halloween Horror Nights in 1991. Although Knotts Berry Farm launched their Knott's Scary Farm in 1973, given America's obsession with Halloween as a cultural event surging in the 1990s, Knotts saw their attraction take off. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[29] The theme park haunts are by far the largest, both in scale and attendance. Types of haunted attractions     This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2021) (Learn how and when to remove this template message) There are many types of haunted attractions including Scream Parks The following categories are generalizations; many "haunts" contain attributes from more than one type. Haunted house, mansion or castle The Haunted Mansion in Walt Disney World's Magic Kingdom A haunted house, haunted mansion, or haunted castle is a type of haunted attraction that usually takes place indoors. Visitors may experience intense animatronics, bloody and frightening set pieces, rustic antiques, scary music and sounds, dynamic lighting, fog, costumed actors with elaborate makeup or masks, and other special effects used to create scenes of terror. Knoebels Amusement Resort in Elysburg, Pennsylvania has a "Haunted House" dark ride. The Haunted Mansion is very popular with patrons at many Disney locations around the world. Miracle Strip Amusement Park in Panama City Beach, Florida had a "Haunted Castle" ride until the amusement park itself closed down in 2004. Its prop elements became part of "The Terrortorium" in Oxford, Alabama, for annual Halloween events. Many of Sally Corporation's Scooby-Doo's Haunted Mansion rides were replaced by Boo Blasters on Boo Hill. Haunted houses or mansions for an annual Halloween season can be located in hospitals, grocery stores, shopping malls, warehouses, semi-trailers, factories, boats or ships, dilapidated homes, etc. Haunted house or haunted mansion events can range from a few minutes to many hours in length, with some permitting visitors to go at their own pace and others requiring group tours led by guides. A number of the largest seasonal attractions feature multiple haunted houses on the same site. For example, In 2015, Pure Terror Screampark in Monroe, New York, was awarded the Guinness World Record for World's Longest Walk Through Horror Attraction.[30] In terms of appearance, the prototypical haunted house in America can probably trace its roots to a 1925 painting by Edward Hopper, entitled "House by the Railroad".[31] Haunted trail or forest A haunted trail or haunted forest is a type of attraction that takes place outside in the woods, at a park, at a theme park or other outside venue. Most haunted trails are close to a mile long and may include small buildings or huts that include various scenes visitors are forced to enter or walk past. The majority of haunted trails have lit paths or roped-off areas if there are no paths in the woods that have already been made. Haunted trails include various rooms or scenes such as hillbilly huts, a haunted cornfield, a clown maze, an alien invasion, or movie-themed rooms. Haunted trails may use tour guides, or they may allow visitors to walk alone. Unlike haunted houses, weather determines if the attraction will be open or not during the month of October. Tour times may vary greatly depending on the customer's pace and the length of the trail. Haunted hayride A haunted hayride is a haunted attraction and a form of agri-entertainment that takes place during a hayride on a farm, park or large piece of land. Patrons climb on a wagon filled with hay or hay bales and are driven into the darkness as the tractor driver navigates through brush, cornfields, narrow paths, fields and barns. Throughout the trip, customers may come in contact with out-of-control farm equipment, fast-moving vehicles (hearses, hot rods), actors dressed up as monsters and traditional characters like the Headless Horseman from Washington Irving's The Legend of Sleepy Hollow. The typical haunted hayride lasts from 10 to 45 minutes. Some use sound systems attached to the wagon or tractor. During the daytime, some haunted hayrides may have live shows, face painting, fun characters and may even sell pumpkins or other vegetables grown on the farm. Haunted hayrides may be intertwined with any other type of haunted attraction, such as first being transported to the location with things to see along the way, before the guests are let off to walk through the rest of the attraction. One of the more noted companies in this sector is Ten Thirty One Productions, which has hay rides in Los Angeles and New York. The haunted hayride was arguably started and popularized by the original Spooky World, which opened in Berlin, Massachusetts, in 1991. Haunted ship A haunted ship is a haunted attraction that takes place on a ship, battleship, destroyer, or any other type of ship. Patrons board these attractions via a gangway and walk through the ship that is usually lit with effects lighting, plays sound effects, and has thematic rooms meant to create a terrifying environment. Most of these types of attractions are found on the west coast or east coast, and are not as prevalent as typical haunted theme parks, hayrides, and haunted trails or forests. Some of the more popular haunted ships in the United States are the USS Nightmare in Newport, Kentucky;[32] Queen Mary's Dark Harbor in Long Beach, California;[33] and Ghost Ship Harbor in Quincy, Massachusetts.[34] Haunted theme park (screampark) A haunted theme park is an amusement park whose buildings and paths have been converted into haunted houses, haunted trails or hayrides during the fall season (September, October and early November). Many haunted theme parks include themed outdoor scare zones that feature costumed monsters who roam around scaring customers. It is not unusual to come in contact with actors known as sliders who wear special kneepads. When the actor slides on the ground, the kneepads make a scraping noise before the actor is inches away from the customer.[35] Additionally, a large percentage of haunted theme parks feature live shows, concession areas, rides and other typical amusement park attractions. Not all haunted theme parks take place inside an actual amusement park. There are quite a few events that include multiple attractions in one place and may be located on a farm, park, parking lot or anywhere suitable for a large-scale event, but strictly speaking, these are not considered theme parks. The first haunted theme park was Knott's Scary Farm, which opened at Knott's Berry Farm in Buena Park, California, on October 31, 1973.[36][37][38] Haunted theme parks are among the most popular haunted attractions since they offer multiple attractions for a single admission price, and are often of a high level of production value. Haunted theme parks, whether they are set in true theme parks or set up within large spaces, typically contain a certain two types of area for their facilities, the hub area where food, drinks and merchandise can be purchased, the guests can relax and the live shows such as bands and magic shows are performed, actors can still appear throughout the hub area, where their scare factor may or may not be as high compared to the mazes themselves. The mazes themselves are typically accessed by large queue entrances, and the mazes for the most part contain the bulk of a haunted theme park's scare factor, encouraging the more elaborate special effects, scare tactics and traversal compared to the calmer hub area. Dark maze and chain maze A dark maze (or pitch-black maze) is a haunted attraction that consists of dark or pitch-black rooms with multiple paths that may contain dead ends. Some may feature actors, air cannons, loud sounds, sprays of water, moving walls or floors, hanging props, flashing lights and more. A dark maze can be a standalone attraction or an extension of a haunted house, haunted trail or hayride. Some dark mazes can transition into a chain maze, which is similar to a dark maze but uses metal bars or chain-link fencing for its walls. Most chain mazes will utilize strobe lights and heavy fog to blind and disorient customers while they try to find the exit. A chain maze can also serve as a standalone attraction. The amount of time spent inside a dark maze or chain maze may depend on the construction of the maze as well as one's skill at navigating mazes. Pitch black areas such as dark mazes are quite common as sections for horror attractions, and are quite common in extreme haunted houses, they usually contain ropes for traversal and if a guest is going the wrong way or lost, an actor within the room may hold the guests arm to guide them to the rope in order to find the way out of the dark area. Hell house Main article: Hell house An act from a hell house in the U.S. state of Ohio, described by its operators as "a series of dramatic events, acted out by dedicated and talented college students to show observers how decisions and lifestyle choices can mean the difference between life and death." Hell houses are haunted attractions typically run by Christian churches or parachurch groups. These depict sin, the torments of the damned in Hell, and usually conclude with a depiction of heaven. They are most typically operated in the days preceding the triduum of Allhallowtide. A hell house, like a conventional haunted-house attraction, is a space set aside for actors to frighten patrons with gruesome exhibits and scenes, presented as a series of short vignettes with a narrated guide. Unlike haunted houses, hell houses focus on occasions and effects of sin or the fate of unrepentant sinners in the afterlife. The exhibits at a hell house often have a controversial tone focusing on issues of concern to Christians in the United States. Hell houses frequently feature exhibits depicting sin and its consequences. Common examples include abortion, suicide, use of alcoholic beverages and recreational drugs, adultery, occultism, and Satanic ritual abuse. Hell houses typically emphasize the belief that anyone who does not repent of their sin and accept Christ as their personal savior is condemned to Hell. One of the first hell houses is Scaremare[39] (still presented each October) in Lynchburg, Virginia; it was created by Jerry Falwell in the late 1970s. Similar events began in several regions during that period. Hell houses have faced criticism for advertising themselves as traditional haunted houses. Most involve biblical lessons and some ask customers to pray to Jesus Christ before exiting, regardless of their beliefs. Some hell houses are much more graphic than traditional haunted attractions and not appropriate for all audiences. Dark ride Main article: Dark ride A dark ride or ghost train (United Kingdom and Australia) is an indoor amusement ride where riders in guided vehicles travel through specially-lit scenes that typically contain animatronics, sound, music, and special effects. A dark ride need not be dark; it is enclosed, so all illumination is artificial, and many such rides use special lighting to achieve theatrical effects. Selective use of darkness helps hide the ride mechanisms and increase the visual drama of the experience. Disney's It's a Small World is an example of a brightly-lit dark ride. The Twilight Zone Tower of Terror is another popular dark ride to patrons at Walt Disney World's Hollywood Studios (Sunset Boulevard), Disneyland Resort's California Adventure (Hollywood Land), Tokyo DisneySea (American Waterfront), and Walt Disney Studios Park (Production Courtyard). Revenge of the Mummy roller coaster is the most popular dark ride at Universal Studios Florida (New York City), Universal Studios Hollywood (Lower Lot), and Universal Studios Singapore (Ancient Egypt). Another classic example of a haunted dark ride is the Phantom Theater Omnimover located at Kings Island in Mason, Ohio.[40] Cornfield maze A cornfield maze is an attraction that uses cornstalks to form paths for people to walk through. Patrons can expect to experience turns, straight paths and dead ends. The cornfield maze might be designed to resemble a popular character, public figure, event or holiday. Most cornfield mazes are open during the day and are appropriate for all ages. The largest corn maze in the world was located in Dixon, California, and is 45 acres in area as of 2010.[41][full citation needed] Although this corn maze holds distinction as the world's largest corn maze, Adventure Acres corn maze in Bellbrook, Ohio, consists of 62 acres of corn maze with 8.5 miles of trails.[42][promotion?] In 2003, a world record for the longest maze path, as recognised by Guinness World Records, was set on 10 July 2003 at 8.838 miles (14.223 kilometres) in the Lobster Maize Maze, designed by Adrian Fisher, at Stewarts Gardenlands, Christchurch, Dorset, England.[43] A haunted cornfield maze is identical to a cornfield maze except that it may include actors, props, special effects, scary music and more. The majority of haunted cornfield mazes are open after dark. Home and yard haunts See also: Trick-or-treating A home haunt is a stripped-down version of a haunted attraction. A home haunt usually takes place inside a person's home or on their lawn. One can expect to see homemade props or animatronics, detailed rooms, special effects and costumed characters. The vast majority of home haunts are nonprofit or ask for donations; the money may go towards a charity or cause. Home haunts are usually open for a few hours on Halloween or a few weekends in October. Haunts like this do not require state-issued emergency lighting, fire alarms, and fire escapes if the haunt is under a specific length. A yard haunt is a house that is elaborately decorated to celebrate Halloween. Yards may feature fake tombstones, skulls, large inflatable characters, plastic light-up figures (a.k.a. blowmolds), strobe lights, fog machines, cobwebs, spooky music, animatronics and decor that can easily be purchased at a local Halloween store. Some home owners even create their own homemade props to set their display apart from other houses, while others synchronize their display to music using computer programs such as Light-O-Rama, Animated Lighting and other programs. Some displays utilize an FM transmitter so people can park their car, locate a low-frequency radio station and watch the show without it disturbing the neighbors. An example of this type attraction is The House at Haunted Hill in Woodland Hills, California. Ghost run A ghost run is a haunted event that takes place in a person's car. When a customer purchases a ticket for a ghost run, they are given various clues as to where different haunted attractions are. This haunted scavenger hunt usually includes a few local haunted attractions and other free items. At the end of the ghost run's season, the winner with the best mileage locating the haunts is revealed and they are given a prize. Midnight spook (or ghost) shows Between the 1930s–1960s, movie theaters would have live shows that featured magicians performing magic tricks, séances, special effects and scary skits. This was at a time when people were unaware of how these seemingly incredible tricks were done and it was a relatively new form of entertainment before the spread of the haunted attraction. Many of these spook shows doubled with horror movies and played at smaller movie theaters during the Halloween season or different parts of the year. Eventually these shows would incorporate bloody special effects and sometimes be referred to as Midnight Horror Shows. These shows were daring for their time, but would phase out by the end of the 1960s. A modern interpretation of the classic spook show was the Hauntings Ghost Show in Gatlinburg, Tennessee. This attraction was themed as a Victorian Seance, which took place in a small theater setting. During the show, the audience would encounter automated gags instead of live performers. The attraction was in operation from the early 1980s until September 2015. Extreme haunted houses As the haunted attraction industry has evolved, it has trended toward ever more elaborate settings, more sophisticated technology, more elaborate backstories and so-called "extreme" haunted houses. Most operators, from the mega-haunts down to local charity events have felt the competitive pressure to improve their events. Higher quality scenery and props and ever more elaborate concepts and writing have become the norm. Furthermore, the experiences have expanded in terms of sheer size, either by making the mazes longer, or by providing more than one attraction on the same site.[44][45] Some operators have tried to distinguish themselves by adding more extreme experiences. The most common upgrades beyond those cited above include blackout houses, interactive houses, and the inclusion of virtual reality, laser tag elements, or both. Blackout houses are pitch-black mazes which the guests must feel their way through. This may involve crawling, and, sometimes, contact by the actors. This is usually not allowed in less extreme houses, and may require the guest to sign a waiver prior to entering. Interactive houses may involve the guests being closed into an "escape room", where they have a time limit to try to figure out how to escape, and physical clues scattered around the space. There are scares also hidden in the space, and often guest escape efforts have consequences for wrong guesses. VR and laser tag houses add an element of the first-person shooter video game experience to the guest's journey through the house.[46][47] The most extreme houses may feature full contact with the guests and include a chance that the guest may be subjected to mild torture, including simulated drowning, simulated assault, and light electric shock. Guests are often given a safeword for anyone who might not be able to complete the experience. Tennessee's McKamey Manor requires both an application process and a waiver. Unlike most of its rivals, there was no safeword until 2017. The tour, which is free, can take up to four hours to complete. In that time, guests have been tied and gagged, forced into coffins and freezers, and had their heads pushed into cages full of snakes. People have even been known to leave with scratches and bruises on their bodies. Another example is Blackout, which has versions in Los Angeles, Chicago, Miami, and New York, and has been rated on several lists as the most extreme haunted house in the world.[48] Additional extreme haunts include Heretic and Hvrting in Los Angeles, Miasma in Chicago, Shock Theater in New York, and Faceless Ventures in the UK.[49] The Naked and Scared Challenge was an adults-only experience at Shocktoberfest, a 27-acre fear park located in Sinking Spring, Pennsylvania. Visitors at least 18 years old were invited to disrobe before entering. After choosing the "nude" or "prude" (underwear-only) option, guests were asked to sign waivers prior to a clothes-free fright. The nude option was cancelled prior to opening, due to pressure from local authorities. There have been a few such houses around the country, but they have apparently not caught on. This event began during the 2013 season, and was still running as of 2017, as the Almost Naked and Scared Challenge.[50][51][52] A haunted experience is a relatively new type of haunted attraction that combines the concept of a haunted house with something like a scavenger hunt. These begin in one place and end in another, usually the haunted house itself. An example of a haunted experience is Nyctophobia on Long Island, New York; in 2010, ticket buyers were given a location that was not the physical haunted house, but a pick-up spot where they got into a van blindfolded and were driven to the real location. Other experiences such as Blackout have the participants sign liability waivers and feature scenes where the performers can physically touch the guests and perform actions that resemble various acts such as waterboarding.[53][54] Business environment Haunted attractions can be categorized as follows: mega-haunt, professional haunt, charity haunt and home haunt. The mega-haunts would include the large theme park operators such as Universal Studios Halloween Horror Nights,[55] Six Flags Fright Fest, and Walt Disney's Haunted Mansion.[56] These largest operators are not members of any of the haunt trade groups, and are ignored by them in terms of reviews and awards. This mega-group also avoids publishing attendance or revenue figures.[57] The professional American haunt industry is a multibillion-dollar business with nearly 2,000 haunts open each year and over 12,000,000 customers attending those attractions.[58] Throughout the year, there are many conventions held all over the United States. These include Midwest Haunters Convention (Ohio), National Haunters Convention (Pennsylvania), Haunted Attraction National Trade-show and Conference (HAuNTcon; moves to a new city each year), Indy Haunt Fest (Indiana), West Coast Haunters Convention (Oregon), Canandian Haunters Convention (Canada), Halloween & Attractions Show (Missouri), and many others. These annual conventions feature props, seminars, workshops, parties, and haunt tours. The biggest show of the year is the Transworld Halloween and Haunted Attraction show in St Louis, Missouri, each March drawing over 8000 buyers with over 100,000 square feet of vendors. The haunt industry's first association, the International Association of Haunted Attractions (IAHA), started in 1998. The second was the Haunted House Association in 2008. In late 2010, both associations agreed to merge and form the Haunted Attraction Association. Other related groups are the Haunt Reviewers Association (HRA), Home Haunters Association, and the Halloween and Haunt Vendors Association (HHVA) and Haunted Attraction Association. Many haunted attractions across the United States now feature high-quality animatronics and effects. It is not uncommon to come across towering monsters, movie-quality CGI, dynamic lighting, props that interact with customers, scent dispensers, intricate set pieces and figures, pneumatic props, or props that spray water or air. Attractions are covered by industry trade magazines including Hauntworld Magazine, Haunted Attraction Magazine, and Fangoria. The industry has also been featured by television networks, and attractions are ranked by a variety of special-interest web sites. As of 2013, one source estimated there were more than 2,500 haunted attractions worldwide, most in the United States.[59] It is estimated to be an 8.4 billion dollar industry in America alone in 2016, according to the National Retail Federation.[60] This is up from estimated Halloween spending in the United States in 2011 at $6.8 billion, which itself was up from $3.3 billion in 2005. This growth shows few signs of slowing.[61] "In the past two decades, haunted houses have become a booming national industry that generates hundreds of millions of dollars and includes family-friendly theme parks, huge high-tech productions and evangelical Christian hell houses."" (wikipedia.org)
  • Condition: Used
  • Condition: Unused; in excellent, pre-owned condition. Please see photos and description.
  • Year: 2015
  • Theme: Amusement Parks
  • Country/Region of Manufacture: United States

PicClick Insights - THE WALKING DEAD 2015 HALLOWEEN HORROR NIGHTS CUP universal studios zombies RARE PicClick Exclusive

  •  Popularity - 19 watchers, 0.0 new watchers per day, 608 days for sale on eBay. Super high amount watching. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 1,180+ items sold. 0% negative feedback. Great seller with very good positive feedback and over 50 ratings.

People Also Loved PicClick Exclusive