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Celebrating 17 Years of Film.Biz.Fans.

Jesse Damiani

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    First AMERICAN HORROR STORY, Now TRUE DETECTIVE: Why Award Nominations Say More Than You Think

    No matter how TV-literate we may fancy ourselves, the anthology series retains the capacity to surprise us in ways (kind, quality, and frequency) that a traditional drama can’t match.

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    What if Time Travel Destroys the Future? The Big Problem with X-MEN: DAYS OF FUTURE PAST

    After seeing the most recent installment of the X-Men franchise, I was able to reflect on what time travel means psychologically, and realized the potent metaphor it embodies in contemporary American culture: the chance to use hindsight to prevent the problems of the past from metastasizing into the...

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    On the Shoulders of Giants: Why Movies Are Shifting from the Undead to Big Monsters

    The most pivotal psychological difference between big monsters and the undead is the turn from the individual to the group. One person can singlehandedly dispatch zombies or vampires. Giants, though, are enemies so massive that only a group can vanquish them.

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    We Are the Disease: Apocalypse Porn, the American Zombie, and WORLD WAR Z

    If there’s one thing "World War Z" proves, it’s that the apocalypse can be more than just exhilarating; it can be downright gorgeous.

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    Tatiana Maslany in ORPHAN BLACK: An Acting Feat Wrapped in a Larger Accomplishment

    The recent Emmy nomination snub of Tatiana Maslany, the star of BBC America’s Orphan Black, has been almost immediately regarded as the one of the most painful in recent memory.

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    Why FX’s THE AMERICANS May Feature the Most Compelling Romance on TV

    Though it is as flush with moral ambiguity as its predecessors, Joe Weisberg’s creation offers an altogether different breed of protagonist. What separates "The Americans" is its foregrounding of the simplest device in the history of narrative: love. In effect, The Americans is an extended remarriag...

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