To my mind, two things played a major role in spawning a resurgence in post-apocalyptic storytelling in the past decade. The first is Cormac McCarthy’s The Road, a bombshell of a novel from 2006 that depicted an ashen, desolate earth struggling to grasp the faintest glimmers of hope. It became a decent John Hillcoat film a few years later, but the craze spun off into more than just that: The Book of Eli, I Am Legend, Tom Cruise’s Oblivion, last year’s brilliant Snowpiercer, last year’s crappy Young Ones, that crappy now-cancelled NBC show Revolution, etc. etc. They’re not all directly borne of The Road, of course, but the genre itself certainly received a huge boost from McCarthy’s novel. That’s why the time was right to revisit Mad Max with Fury Road, and why the likes of Blade Runner is getting a new treatment as well. Heck, just this week there’s talk of Christopher Nolan being involved with the long-awaited Akira adaptation.
The second influential piece of post-apocalyptic storytelling is The Walking Dead, the massively popular AMC show that launched a thousand other zombie-related things and an official spinoff of its own (Fear the Walking Dead, which is pretty good if almost exactly what you’d expect). The thing that pushed TWD ahead of the pack was the format of a television series: movies and books are comparatively finite, but the long-term storytelling at hand in a TV series (or a comic book series, like the one TWD is based on) serves the genre in the perfect way. In both cases — Road and TWD — the aim was to create a new world out of the old one, to watch characters deal with the differences, to play witness to what fantastic and terrible things might arise after something alters life as we know it.
Motion State Review 