I know positively . . . that each of us has plague within him; no one, no one on earth is free from it.- Camus, The Plague (229)The plague of age is upon us, rasps an anonymous phone caller to shock-jock radio talk show host, Logan Burnhardt, early in recent film Dead Air (2009), just as a deadly pathogen has been unleashed by terrorists in major urban centers across U.S. In chaos that ensues, Burnhardt and his coworkers at station KCBP, ostensibly in Los Angeles, witness events familiar in cinematic subgenre now often called biohorror: infected victims suffer, approach death or actually die, and then transform into zombielike crazies or maniacs that attack their fellow citizens with a compulsive frenzy that spreads virus further and produces widespread public upheaval. American Cities Under Siege, reads one television news CNN -styled headline, as number of victims careens into thousands.For all its morbid bravura, however, what distinguishes Dead Air is not its portrayal of rabid pandemic, which borrows heavily from earlier films such as 28 Days Later (2002), or striking similarity of its narrative scenario to that in Pontypool (2008);1 instead, it is way Dead Air makes theme of plague explicit on two registers. First, it confirms sense that viewers of biohorror movies, especially those involving zombies, may have had for some time-that stories they tell have revived logic of plague devastation, as Stephanie Boluk and Wylie Lenz argue in this issue. Only a few months after release of Dead Air, in fact, Ruben Fleischer's Zombieland (2009) reconfirmed zombie-plague connection when, early in story, character named Columbus remarks that zombies are the plague of twenty-first century. Second, and more broadly, Dead Air and successors like Zombieland help identify a development during past three decades in which scientific, cultural, and political representations of biological catastrophe, especially in U.S. and Europe, have renewed and refurbished notion of plague, while often doing so in oblique or implicit fashion.In these terms, it is striking to recall Michel Foucault's comment in 1976 that the biological risks confronting [human] species are perhaps greater, and certainly more serious, than before birth of microbiology (History 143). Nearly thirty-five years later, that sense of biological risk appears all more palpable, since more recent threat of diseases such as AIDS (once called gay plague), Ebola, avian influenza, mad cow disease, and most recently, H1N1 flu has profoundly changed our perception that phenomenon of plague has merely been a thing of past-whether as specific pneumonic, septicemic, or bubonic versions caused by Yersinia pestis, or other similarly devastating diseases ranging from cholera to yellow fever to Spanish flu. When Foucault wrote those words in The History of Sexuality, possibility of nuclear destruction would probably have seemed most critical menace to human survival, as it had in previous decades. While that prospect continues to loom, however, biogenetic equivalent has lately been more predominant possibility contemplated in scientific reports, media, and popular culture. The difference between George Romero's landmark modernization of zombie myth in Night of Living Dead (1968) and more recent treatments in past decade such as Danny Boyle's 28 Days Later offers a case in point: while Romero's corpses were vitalized by an unspecified form of radiation (often identified as nuclear) and seemed able to remain alive indefinitely, Boyle's zombies are created by biological pathogens that take their course by ultimately destroying zombies themselves. As part of that paradigm shift, in past ten years number of fictional movies and television programs devoted to theme of deadly epidemics has grown exponentially, including Shawn of Dead (2004), Re- Genesis (2004-08), Pathogen (2006), The Plague (2006), 28 Weeks Later (2007), Blindness (2008), Doomsday (2008), Quarantine (2008), The Happening (2008), Fringe (2008-10), and The Crazies (2010), to name only a few. …