TV & Radio

This TikToker longed to play a corpse on TV. Now his dream’s coming true

Josh Nalley’s 200 daily TikToks have shown him propped against a tree, slumped in a car, floating in pools and splattered across sidewalks.

Josh Nalley playing a corpse, on the set of CSI: Vegas. Photograph: Sonja Flemming/CBS

Remy Tumin
Mon Oct 31 2022 - 05:00

The Otter Creek outdoor recreation area, near Louisville, Kentucky, is Josh Nalley’s favourite place to play dead.

This time of year is especially “creepy,” he says. The shuttered campground’s derelict buildings and the fallen leaves scattered on the ground make for an ideal filming location.

Over the past year, Nalley has posted a daily TikTok of himself playing dead in the hope of being cast as a corpse in a television series or movie. He’s lain prone along the banks of rivers and streams near his home in Kentucky; had his three dogs lick his face as he propped himself up against a tree; slumped in a car; floated in pools; draped himself over doorways and splattered himself across sidewalks.

Nalley always included a caption tallying the number of days “of playing unalive until I’m cast in a move or TV show as an unalive body.”

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By mid-July, and about 200 videos later, “CSI: Vegas” took note. On November 3rd, Nalley, who is 42, will appear on an episode of the forensic crime drama on CBS. The Courier-Journal of Louisville reported Nalley’s big, dead-guy break.

“I was just having fun on the internet,” Nalley says. He never expected his campaign to actually catch on. He says he developed the concept “out of boredom”.

“I was spending a lot of time on TikTok and trying to figure out what I could do to get on TikTok and maybe get in a movie with as little effort as I thought would be possible,” he says.

Jason Tracey, the showrunner for CSI: Vegas, says Nalley was the perfect person to play “body in the background of the morgue”.

“Nobody has done a more thorough job of auditioning for a non-speaking role, maybe in the history of television,” Tracey says. “After 321 pictures or so, he hit his stride, and it was time to get called up to the big leagues.”

Nalley is not a big crime genre fan. In fact, he doesn’t watch much television at all. But he was a fan of the original CSI.

He lives in Elizabethtown, Kentucky, and works as a restaurant manager in the next town over. He usually films multiple videos on his days off at nearby parks, like Bernheim Forest and Saunders Springs, or in his backyard, and posts them throughout the week. Sometimes he’ll even record outside the restaurant where he works.

“A desolate, empty parking lot is always a good place to dump a big body,” he says.

More often than not he films the videos using his phone and a tripod, but every once in a while he engages the help of friends of family. Nalley’s method is simple: He takes a couple of big breaths and then holds his breath for about 25 seconds and tries to stay as still as possible. That can prove difficult when a rock is digging into his side on the ground.

“You want to move, but you’re like, ‘No, just hold it for a little big longer,’” he says he tells himself.

If he’s playing dead sitting up, Nalley will usually have his eyes open so viewers can see his face. If he’s lying down, his eyes are typically closed because “half my face is usually pressed into the ground.”

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While Nalley’s intentions are comedic in nature, TikTok does not always agree. He uses the term “unalive” instead of “dead” and has moved away from gory make-up like fake blood and bullet wounds to avoid running afoul of the platform’s content moderators. (He’s been placed on probation with TikTok several times, he says.) Even Nalley’s handle, living_dead_josh, was crafted with TikTok’s algorithms in mind.

He tries to capture TikTok trends of the moment and adds music to lighten the mood, including Johnny Cash’s “Ring of Fire” and the “Peanuts” theme song for a Thanksgiving post. One of his favourite videos is from Christmas, when he usually gets together with friends for pizza and beer. Last year, they all played dead together.

“I love that one because they’re family to me; they were all in it.” Nalley says.

More than 200 videos later, producers at CBS emailed him about a role on CSI: Vegas. He didn’t believe it at first, but after an exchange of several emails, the studio flew him to Los Angeles over the summer. Nalley announced his new gig September 15th, in video Number 321, in a caption over footage of him splayed out on the Hollywood Walk of Fame next to the star of Marg Helgenberger, a long-time CSI actress.

The job required him to sit through two hours of make-up to make it appear as if an autopsy had been completed on his character. Over the course of five hours of filming, Nalley’s instructions were simple and familiar: “Take a deep breath and look dead,” he recalls.

Tracey says the show and the job of a crime scene investigator “can be unrelentingly grim,” and producers try to find “gallows humour in the profession and in the history of the franchise.”

Nalley’s quiet presence “was a nice way to keep it light on set that day”.

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“We often have dummies down in the morgue,” Tracey says. “The cast was as surprised as anyone else to have a breathing corpse next to them”.

But he did have some half-serious notes for the aspiring dead body.

“Honestly I would have liked to see a little less breathing, but we can fix that in post,” Tracey says. He offered an insider tip: “Most people don’t know you’re not supposed to move your eyes at all. The trick is to find a spot and focus even though they’re closed.”

Nalley says he wasn’t sure what would be next for his career — perhaps another television show or a movie, maybe even one with the filmmaker and actor Kevin Smith, he mused. “I always like his movies, and I think we have the same sense of humour,” Nalley says. “That would be awesome, even just a cameo.”

But for now, he’ll keep posting his daily TikToks for his about 120,000 followers.

“I hope they laugh, honestly,” he says. “I hope they chuckle, and I hope that inspires somebody to be perseverant.” — This article originally appeared in The New York Times

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