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More random crap.

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"...a nauseating orgy of in-group solipsism..."Sorry, we’re trying to finish many things before heading off to stand outside the Gotham Awards and probably not get let in (more on that tomorrow).

The day after a big fight always leads to some introspection and soul-searching (and heavy drinking, which leads to surliness and more fighting…but this isn’t about us), and so, after yesterday’s Patrick Goldstein snarliness, a shocker hovered over raptly by tens of people, Movie City NewsDavid Poland reconsiders his place in the world and wonders what this whole film coverage thing is all about:

I’m not just pointing fingers. In fact, today, I point the finger or responsibility squarely at myself…

I must be less reactive.

I must learn to shut up more often.

I must avoid thinking that "first" is always best.

I must manage my ego, both in keeping it down and letting it loose.

At the LA Times‘s "The Envelope," more measured responses from Sasha Stone, Jeffrey Wells, Andy Scott and Russ Colombo.

At the New York Press, Armond White is angry at his fellow critics again (our favorite part is when he describes "The Squid and the Whale" as "primarily a nauseating orgy of in-group solipsism.") but for some reason, on him, it’s charming.

Via AP, someone stole Gregory Peck‘s Hollywood Walk of Fame star (cut it right out of the sidewalk). Interesting choice, that…we would have gone for Robert Mitchum, probably, given the opportunity and a cement saw, though who are we to be picky?

If you’re a director, you should always pretend you’re above your reviews, whatever they may be and however voraciously you may shred the rest of the paper and your SO in order to get to them quickly in the quiet of your own home. Never have we believed this more than when we read "The Libertine" director Laurence Dunmore‘s "Right of Reply" to his critics, in verse, in the Guardian.

Allen Barra at Salon takes a lengthy and literary look at the comeback of "The Warriors."

Carol Felsenthal has a long profile of Roger Ebert at Chicago Magazine. Excerpt from his wild, dessert-hurling days of youth:

The drinking did not seem to impair Ebert’s writing. He was an alcoholic when he won the Pulitzer Prize in 1975, but he never missed a deadline and was never late for an appointment. Still, he was beginning to recognize that it was a dead end, says William Nack, Ebert’s friend since college. Legend had it that one night, home from O’Rourke’s, he threw his bowl of ice cream against the wall. “It was taking over my life,” Ebert recalls today.

David Winner slips some anecdotes about Tobias Schneebaum, the subject of the 2000 doc "Keep the River on Your Right," into his Village Voice essay.

And at the LA Times, Rachel Abramowitz and John Horn write about the uncharacteristic lack of pre-publicity for Steven Spielberg‘s "Munich":

"He wants everybody not to have preconceptions, to see the movie and make up their own minds," said Marvin Levy, the director’s personal publicist. Levy said that neither Spielberg nor co-screenwriter Tony Kushner ("Angels in America") nor key members of the creative team plan to speak publicly about the project or participate in the usual Oscar season screenings and filmmaker conversations.

Maybe because they’re all too busy frantically trying to finish the film and skate it into theaters before the end of year awards cut-off date? Or maybe Spielberg’s just leery after what happened during the publicity blitz for his last film?

+ November 30, 2005
(The Hot Button)
+ Bloggers respond (LA Times)
+ Gregory Peck’s Hollywood Star Is Stolen (AP)
+ Right of reply: The Libertine (Guardian)
+ "The Warriors" fights on (Salon)
+ A Life in Movies (Chicago Magazine)
+ The Boys on the Side (Village Voice)
+ For Spielberg, mum’s the word still on ‘Munich’ (LA Times)


Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.


Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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GIFs via Giphy

Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:


The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.


They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!


Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.


Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.



Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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GIFs via Giphy

Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”


IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?

Betsy: I wasn’t sure I knew what it was, I just knew I loved it!

Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.

Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 


IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.