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I Know This Because Talbott Knows This: Chuck Palahniuk's 'Adjustment Day'

Adjustment Day may not be peak Palahniuk, but it is nonetheless entertaining and twistedly educational, providing abundantly peculiar and original paths within one of his most astute and necessary social commentaries to date.

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Music

I Guess White Boys Feel It More: On Music Biopics

The way that the films Notorious, 8 Mile, Walk The Line, and Ray lead up to scenes of performances shows the remarkable and subtle endurance of troubling racial stereotypes and ideals.

Film

Part 3: The Sixth Sense to Fight Club (August - October 1999)

Films that have left a lasting impression on their creators (M. Night Shyamalan, Sam Mendes, David Fincher) make up the majority of Part Three of our Films of 1999 overview.

Books

You Do Not Talk About Fight Club by Read Mercer Schuchardt (ed.)

Using Sartre and superstring theory as a foundation, Vacker adds a voice to the continuation of Palahniuk’s theme, which deals, essentially, with the will to live -- and more importantly, how to live.

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Part 5: The Return of the Auteur

That noise you heard near the start of the new millennium was the creative din of a brash new breed of filmmakers tearing down the traditions of mainstream moviemaking. Their motion picture mission statements -- including the ones featured on this list -- remain the rulebook for new generations of anxious film artists.

Books

Palahniuk's Fight Club Punch: We Never See It Coming

With Fight Club, whether he intended to or not, Palahniuk has shown us that fascism can be created right before our eyes, almost invisibly, and we won’t even see it happening.

Games

Fight Club

It's thorough blandness renders it impotent, pointless, insignificant.

Josh Lee
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Fight Club (1999)

Does capitalism have you by the balls? If you're feeling a little limp lately, a little flaccid, emasculated, or impotent, then David Fincher's Fight Club may just have your number. This film kicks butt, and in doing so it also manages to suggest that your need for it and for other butt-kicking films is a late capitalist symptom of contemporary psychosis.

Jonathan Beller and Rhonda Baughman
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