If Marxist theory dictates that the personal is always political, the rebuttal of both 'The Americans' and 'House of Cards' is that the political is always personal: the sum total of our collective needs and desires, vows and betrayals.
From Steve Erickson
Julianne Moore and Michael Keaton began in 1980s soap operas and 1970s sitcoms, respectively, such ancient history by show business standards that you need carbon dating to measure their careers.
Can anything be less cool than defending the motion picture academy?
Notwithstanding the likes of 'All the President's Men' in the 1970s or HBO's recent 'The Newsroom,' film and TV have always loved to hate the press.
The witch-hunting McCarthy era found Hollywood's view of the press growing bleaker along with the decade's view of everything else.
In journalism, as in politics, other people's lives are a currency to be bartered on behalf of notoriety and influence.
Americans disagree about America because the most common consensus as to what America is or has ever been or ever was meant to be eludes us, and it eludes us because we want it to.
David Cronenberg's 'Maps to the Stars' is a Hollywood monster movie in which Hollywood is the monster.
When television captured the popular imagination of the 1950s, a rash of movies satirized Hollywood while also mythologizing it.
Walt Disney had a nuclear imagination before the advent of nuclear, some comprehension of apocalypse and rapture deep in his genes.
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