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DID YOU READ

To live and say goodbye in L.A.

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"It's okay with me."
"No less than Streisand, whom he met when both were in the cast of the 1962 musical I Can Get It for You Wholesale (he starred in the show, she stole it), [Elliott] Gould was part of the ethno-vanguard—Hollywood’s Jew Wave," writes J. Hoberman in the Village Voice. The occasion for the profile is Film Forum‘s week long booking of Robert Altman‘s great "The Long Goodbye," the best damn Raymond Chandler novel, and the best adaptation to be brought to screen (sorry, Mr. Hawks), even if it a deconstruction. Hoberman goes on:

Los Angeles 1973 is riven by real racial and class distinctions, yet fantasy is ubiquitous. As self-conscious as its star, The Long Goodbye is bracketed by the song "Hooray for Hollywood"—the bloozy theme jumps from car radio to supermarket Muzak to cocktail lounge piano to Mexican funeral band—and the characters habitually refer to each other as cartoon creatures. If, as ex-wife Streisand once suggested, Gould was the American Belmondo, The Long Goodbye is the closest Hollywood ever came to making its Breathless. Seldom has artifice seemed more spontaneous. The camera is in constant motion. Everyone acts as though they’re acting in a movie—none more than Gould, whose improvised arrest scene culminates with his taunting the cops by smearing his face with fingerprint ink to sing Jolson‘s "Swanee."

Terrence Rafferty in the New York Times observes nicely that the film is "about transience, about the awful fragility of the things we want to think are built to last: friendships, marriages, faiths of all kinds — including the faith that pop culture can sometimes makes us feel in powerful fantasy figures like Marlowe and his jaunty, street-smart, superbly incorruptible ilk." He adds that "The movie manages to stylize an absence of style, the bland fluidity of early-’70s Southern California, the very thing that makes Marlowe obsolete." You’d think that "The Long Goodbye"’s bleached-out landscape of SoCal beach houses and its bumbling, ridiculous incarnation of Chandler’s cynical yet resolutely moral shamus would put a stake to the heart of any type of romantically corrupt portrait of the area, but there’s no slaying film noir. If you squint at its "Third Man"-style ending, you’ll see a new world of films that are romantically corrupt about being romantically corrupt arriving.

On that vague topic, over at the LA Times, Susan King, dwelling on American Cinematheque’s festival of Santa Monica-based noir films, delves into why Southern California, even in the 70s and beyond, is such an ideal setting for film noir:

Film noir historian Eddie Muller, who co-programmed the festival, says that one of the differences between New York and L.A. noir is that in the former, "the characters want to escape the big city, the teeming metropolis. In L.A., you get to the Promised Land and you realize there’s no escape. I find the most effective L.A. noirs are always set in places where there is an horizon, which you don’t see in New York noir."

As Paul Malcolm at the LA Weekly adds, "Call it hometown pride, but is there any doubt that Los Angeles reigns supreme as the most corrupt, most soul-crushing, most dream-devouring blight on the noir landscape?"

+ The Goulden Age (Village Voice)
+ A Gumshoe Adrift, Lost in the ’70s (NY Times)
+ Film noir in a city of dreams (LA Times)
+ Noir City: Los Angeles Vs. New York: The Eighth Annual Festival of Film Noir
(LA Weekly)

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SO EXCITED!!!

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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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.”

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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. 

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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.

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.