For a myriad of reasons, Armageddon endures as a prominent theme in popular culture. Being plunged into the wasteland is oddly, yet understandably, attractive to individuals disenfranchised by an increasingly oppressive society. A segment of society has moved beyond the mere escapism offered by post-apocalypse entertainment, choosing life “off the grid” in remote areas of the country and preparing for what they consider an inevitable collapse. Apocalypse preparation, glorified by the entertainment industry, is no longer for survival nuts; it has transformed into a bonafide movement with real world applications.

Bruho (Leo Fitzpatrick), Dirty Fred (Justin Rice), and Jaidon (Brian Charles Johnson) in Doomsdays (2013) [click to enlarge]
Doomsdays is a curious entry in the pantheon of survivalist road films. Mullins’ main protagonists serve metaphorically as diametrically opposed ideologies. The optimist Fred, rather than face an uncertain future, lives in denial as a hedonist, preferring to spend his days self-medicating with alcohol, drugs, and sex. Bruho on the other hand, concerned about peak oil, turns to destructive rage as a means of coping. Their contention is illustrated perfectly in an exchange between the two in which Bruho frantically predicts that, “billions of people will die”, to which Fred drolly quips: “or adapt.” Though their core philosophies differ, they manage to cooperate, even if their idea of basic necessities amounts to nothing more than creature comforts of the privileged. A tense third act, however, illuminates both men’s ineffectiveness when a serious crisis transpires and each find their core values challenged.

Dirty Fred (Justin Rice), Jaidon (Brian Charles Johnson), and Reyna (Laura Campbell) in Doomsdays (2013) [click to enlarge]
The characters similarly deal with their predicaments immaturely, and though the duo in Doomsdays are clearly comedic representations, they are a fairly realistic depiction of how privileged armchair survivalists, accustomed to ultra comfort, might fare if their world really did upheave. Neither Fred nor Bruho are particularly likable, nor are they archetypes. For these reasons they remain relatable to the viewer.
Deliberately paced and talkative, Doomsdays may not appeal to everyone, but it is engaging vehicle to examine Armageddon while we still have the luxury of time to right the ship. In facing the future, do we side with the optimistic slacker Fred, or charge ahead with the impulsive pessimist Bruho? Even though Mullins’ film risks being unfairly dismissed as a quirky comedy, he is careful not to sidestep those serious philosophical questions often glossed over by action-driven dramatic interpretations. He simply rephrases them, leaving the viewer to ponder whether or not he or she is capable of surviving once the liquor cabinets of the wasteland are out of expensive Scotch and the hot tubs have long since dried up.Check out Doomsdays in theaters and VOD now.
******to anyone who has actually watched the movie!!!!!!!*****
i loved this movie, just wondering why, when Reyna moved into Bruho’s tent and they talked, and evetually she asked him to take off his pants bc she saw him in the bathroom and knew already, WHY WAS BRHUO WEARING THOSE WOMAN PANTY HOSE LEGGINGS? I have searched everywhere for this answer, some one please if you know why, i would like some closure bc i liked the movie and would like to understand why Bruho was portrayed this way. Thank you!