3D films encourage viewers to suspend their disbelief in a manner unbeknownst so far. Produced using computer-generated imagery – actors’ movements are filmed in a green-background studios and later merged with other audio-video tracks on computer, the 3D film increase the feeling of immediacy by having the interface, the screen, disappear. 3D films are a proof of “the double logic of remediation,” i.e. the desire for immediacy and hypermediacy of our culture (Bolter and Grusin 2000). These films reflect our desire for unmediated visual experience while they acknowledge that this is not possible without mediation. Representation in 3D enhance the sense of immediacy thus attracting further layers of meaning to the film. This can best be illustrated by series in which at least one episode was filmed in 2D while another one was created in 3D. Our aim in the paper is to analyze 3 sets of films focusing on the following questions: 1) how hypermediacy is manifested in the 3D films as opposed to the 2D ones in the series; 2) the extra layers of interpretation the 3D films invite; 3) what other developments can be detected in the 3D films.