The 28 Days Later franchise, a seminal cornerstone of the zombie genre, is set for expansion with the announcement of a trilogy set to delve deeper into its post-apocalyptic world. Yet, amidst the excitement surrounding this project, disappointing news has emerged: the potential inclusion of Nia DaCosta as the director for the second installment of 28 Years Later. This obvious DEI consideration threatens to undermine the integrity of the franchise.
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The original film, 28 Days Later, was a hit, revitalizing the zombie genre with fast-moving zombies: After a group of animal rights activists unwittingly unleashed a highly contagious virus known as “Rage,” which turned its victims into frenzied, bloodthirsty zombies, a small group of survivors, led by Jim (Cillian Murphy), had to navigate a desolate, post-apocalyptic London in search of sanctuary. In 28 Weeks Later, which was set six months after the initial outbreak, the virus had decimated the UK, and American forces attempted to repopulate London. However, when the virus resurfaced and spread rapidly, chaos ensued, forcing siblings Tammy and Andy to flee and seek refuge amidst the escalating violence and paranoia.
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Nia DaCosta was praised by critics for her films Candyman and The Marvels, but her track record does not inspire confidence when entrusted with a project of such magnitude. Nia DaCosta’s Candyman was nothing more than thinly veiled “white people bad” agitprop; it lacked the nuanced storytelling and thematic depth necessary to truly honor its predecessor, instead opting for surface-level scares, revisionist history, and race-baiting. And, of course, Nia DaCosta’s feminist M-She-U The Marvels was an utter failure.
The decision to consider Nia DaCosta for the director’s chair in 28 Years Later overlooks a plethora of more qualified candidates, individuals who have demonstrated a profound understanding of the genre and a knack for crafting compelling, immersive cinematic experiences. To entrust the future of the 28 Days Later franchise to someone whose directorial prowess is limited to race-baiting and feminist propaganda is to set the fans up for disappointment and condemn 28 Years Later to failure.
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It is not merely a matter of of an ideologue taking the reigns as director of 28 Years Later. Nia DaCosta’s previous works do not instill the level of confidence one would expect from a director tasked with continuing the legacy of a beloved franchise with 28 Years Later. The intricate balance between horror, drama, and visceral thrills that defined the original 28 Days Later will have to take the backseat to woke ideology. To hand the reins to someone whose vision does not align with the core principles that made the franchise a success is a risk that simply cannot be justified.
The decision to even consider Nia DaCosta as the director for the second installment of a 28 Years Later trilogy is a disheartening development that threatens to tarnish the legacy of a beloved franchise. While the prospect of further exploring the post-apocalyptic world crafted by Danny Boyle and Alex Garland in 28 Years Later is undeniably enticing, it will be approached with caution by the fans. The future of the 28 Days Later franchise hangs in the balance, and it is imperative that those entrusted with its stewardship are capable of honoring its rich heritage while charting a course for new and exciting adventures. Anything less would be a disservice to fans and a missed opportunity to push the boundaries of the genre in bold and innovative ways.
This is going to sound racist (because it is) and sexist (because it is) but black women cannot direct. They have never been able to. The only role they have in Hollywood is to be a dead hooker or to scream ‘that shit is whack’.
Show me a black director, or a female black director, that has produced ANYTHING entertaining and I will be shocked.
Kathryn Bigelow is a perfect example of a Female director who’s competent at her Job (The Hurt Locker, Zero Dark Thirty, Point Break) whereas Nia Da Cocksucker is Not.