I find television very educating. Every time somebody turns on the set, I go into the other room and read a book. - Groucho Marx


by Kristen Bialik
Nov. 26, 2015
Like all good American holidays, there are several things to look forward to at Thanksgiving: an abundance of food, sodium (or sugar) induced comas, and of course, the season’s installment of a Peanuts TV special. Now that Thanksgiving is right around the corner, it’s tradition – nay, our duty – to show A Charlie Brown Thanksgiving. Because there’s just something incredibly American about a nation-wide tradition of getting together in front of the boob tube and watching some good ole wholesome cartoons...

Kristen Bialik is a writer, teacher and graduate student of Journalism and Mass Communication. In her spare time, she's a baker of pies and maker of stories.

by Chris Martin
Nov. 22, 2015

Have you heard that cinema is dying? Yes, it’s true! The motion picture, the dominating cultural force of the 20th century is on its last legs as traditional film cameras and film distribution is being replaced by the inexpensive and convenient digital descendant of the original moving image. The ongoing arguments for and against digital cinema have been covered relentlessly in the filmic community and compiled succinctly by Christopher Kenneally in the 2012 documentary Side by Side.

Even those that don’t care about film production have been dragged into this mass requiem of the seventh art. Oscar darlings such as The Artist (Hazanavicius, 2011) and Hugo (Scorcese, 2012) have delivered the intensive nostalgia of the century old art form to the forefront of the public consciousness by reminding modern moviegoers of bygone eras that they were almost certainly not alive during, let alone actively participating in.

Leon Carax’s 2012 film Holy Motors, his first feature length work in over a decade, fits perfectly into this autumnal eulogy for the classic ideal of film and would have fit right into the Academy Award narrative if it wasn’t for its decidedly obtuse metaphor for the death of film as well as its delightfully shocking, surreal imagery (apparently the academy ins’t ready for CGI snakelike monsters having graphic sex and a man coming home to his family of chimpanzees)...

Christopher Martin recently graduated from the University of Massachusetts, Amherst with a degree in English and a specialization in Film Studies. Shockingly, he is currently underemployed. In his free time Chris likes to read old science fiction novels, enjoy what little nightlife Western Massachusetts has to offer, and watch as many films as possible. He also spends too much time on Tumblr.

by Casey Dewey
Nov. 21, 2015
The video installations of Rose Kallal are some of the best experimental films being produced today. There’s a feel of yesteryear to them; they wouldn’t be out of place at a Tangerine Dream concert at a university in the 1970s. Combining 16mm film loops with droning music by the likes of Mark Pilkington, Mick Harris (ex-Napalm Death) and others, Kallal’s films are spellbinding and hypnotic...
Casey Dewey resides in Tucson, Arizona. He's a film writer for the Tucson Weekly and host of "Deep Red Radio" , a radio show dedicated to film soundtracks on 91.3 KXCI FM. He enjoys tacos, cervezas and garlic in everything. He wakes up every morning to a fresh pot of black coffee and at least two hours of Dragnet on TV.

by Anthony Galli
Nov. 20, 2015

Deep in the heart of darkness, or at least in some secluded lair in a Philippine jungle, mad scientist Dr. Gordon, with his blank faced and slightly daft but beautiful daughter Neva, is preparing a mutant race of “super-beings,” creatures genetically modified to survive the coming ecological apocalypse. He really believes this.

In the meantime, deadpan hotshot, and all around white guy, Matt Farrell is kidnapped while scuba diving in the pristine waters near Dr. Gordon’s hideaway. Apparently, Farrell’s DNA is of superior quality, and is just what the doctor needs to bring his plan of a man/animal (manimal, if you will) hybrid super-race to successful fruition. Naturally, hilarity ensues as Dr. Gordon, Matt Farrell, and Steinman, an ambiguously sexual one-named Neo-Nazi throwback with unreliable hair, match wits for dominance in this New Zoological Eden...

Anthony Galli currently lives in Athens, Georgia. He shares a birthday with his black cat, Magic, and they both claim Wings of Desire as their favorite film. Anthony has published two books of poetry, Amnesia for Insomniacs and Invisible Idiot.

by Brian Correia
Nov. 19, 2015

“This is the true story... of eight strangers... picked to live in a house...work together and have their lives taped... to find out what happens... when people stop being polite... and start getting real... The Real World.”

You know what it is. With one measly sentence, the world was introduced to what would become known as “reality TV.” And what better place for the format to debut than MTV (Music Television), a station that until shortly before The Real World's 1992 debut, primarily played new wave music videos? Well, that's what the show's co-creators Mary-Ellis Bunim and Jonathan Murray thought, anyway. We have them to thank (or blame) for 20 years of sex, booze, and bitch slaps (not to mention my favorite reality TV image, Survivor champ Richard Hatch's pixelated penis.) But the truth is, the network that today drags TV down to new depths with trashploitation shows like My Super Sweet 16 and, of course, Jersey Shore, was once a magnet for young (and weird!) artists with fresh voices...

Brian Correia is a budding computer scientist and aspiring writer from Boston, Massachusetts who couldn't decide which hip-hop lyric to put in his byline. The top three, in no particular order, were as follows: “cooler than a cucumber in a bowl of hot sauce,” “spiced out Calvin Coolidge loungin' with six duelers,” and “I got techniques drippin' out my buttcheeks.” He is on Twitter (@brianmcorreia) and Tumblr (brianmcorreia.tumblr.com) like the rest of the kids.