True to form, Vida has arisen from the grave and has been reunited with her beloved son Roger. Jean is frantic as she realizes that Vida blames her for her demise and must act quickly lest she herself join the ranks of the undead. She begins to try to frame her mother-in-law so that her husband will finally see what a wretch she truly is. Things don't go quite as she plans, and the situation results in a twist that will leave you laughing. I'm not going to spoil this ending for you, so you're going to have to watch it for yourself. Key words to ponder in this case are Duct Tape, kitchen knives, and Bruce Lee. I'll leave that part up to your imagination.

Throughout this movie, you will notice a strong commentary on the sad state of affairs in corporate America. Several commercials are included in the Livelihood storyline that really illustrate that people will market anything as long as there is a consumer base for it: zombie deodorant, zombie soap operas, even zombie get-rich-quick schemes pop up as almost mini-films in and of themselves. They are very well done and are close enough to the real thing to make you realize how frighteningly true this commentary is.

Content
Livelihood places a very unique twist on the classic zombie genre. The writing flows from point to point fairly well with a few minor exceptions, far exceeding what anyone has any right to expect from a cast paid mainly in sandwiches and coffee. In particular, the Zoey and Alexander characters really develop toward the end of the movie and become downright endearing.

One small problem is the playing on stereotypes which, while humorous, may offend some with more rigid sensibilities. For example, the character of the deaf keyboardist, who isn't the sharpest hoe in the shed, could be seen as a slam on folks with hearing disabilities. Still, it could be argued that he's so unlike an actual deaf person that he is to be seen as a quirky oddity rather than a representation of the hearing impaired.

One of the issues I had with the editing was that there is no visible segue from past to present or initial introduction to who people are, which could have easily been accomplished through opening introductory titles. As it stands now, when the film begins, we start with Billy Jump in the late '80's, at which point we're given introductory titles that explain what year we're in. However, after Billy Jump electrocutes himself, we go forward in time to Alexander Keaton's house with no subtitles to explain where we are and who's house this is. Due to the way the human brain works, you're absolutely positive that this must be one of Billy Jump's band members in the future. Simple titles will keep the audience from trying to figure how Alexander Keaton is connected to the Billy Jump Band. Additionally, this'll help them keep track of the convoluted timeline that starts in the 80's goes forward to a month ago and then dips back seven years into the past.

[Note to the Director: Because you deal with three different groups, it would actually be fine to have subtitles that refer to them in group settings when you establish them, such as: 'Group #1: Billy Jump & Band, 20 years ago', 'Group #2: Alexander Keaton and Girlfriend, One Month Ago', etc.]