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DID YOU READ

Chris Smith, Todd Solondz and the question of intent.

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09042008_americanmovie.jpgChris Smith’s feature “The Pool” opened in New York yesterday, and today the Onion AV Club‘s Scott Tobias takes on his 1999 documentary “American Movie” as part of his “New Cult Canon” series, noting that “the main knock against the movie is that Smith is condescending to his subjects and carting them out exclusively so we can laugh at their ineptitude… At the risk of passing the blame, I’d say that any condescension brought to American Movie comes mostly from the viewer, not the filmmakers.”

I’d agree that Smith doesn’t seem to have made the film with mockery of his subjects in mind, but what made “American Movie” so worm its way into my brain is that the film’s a constant and uncomfortable reminder of one’s participation in its subject-filmmaker-audience set-up. Smith’s intentions don’t matter once the film is finished and put into the world — if mockery is what the average viewer draws from it, that is essentially what the film becomes. The second half of Todd Solondz’s “Storytelling” was a memorable reaction to that aspect of “American Movie” (one of the subjects, Mike Schank, had a small role), something Solondz discussed in an interview that also ran in the AV Club, back in 2001 when the film was hitting theaters.

I admire Chris Smith, I liked this film, and yet it raised certain troubling issues that connected to what I was doing. You couldn’t help bristling or feeling somewhat uncomfortable at the response this movie was soliciting. I mean, you have some hapless, somewhat naïve guys from Wisconsin fumbling through their filmmaking ambitions, and you have a kind of laughter that’s being generated at this center of hip, so to speak, here. You have to question, exactly, the nature of that laughter, and what that really means, and to what extent this is really respecting or connecting to Chris Smith’s intentions.

Aaron Hillis interviewed Smith for IFC.com this week, and asked him in turn about his reactions to that section of “Storytelling.” He seemed unperturbed:

You’re right, I’ve never actually been asked that. I didn’t have a big opinion on it, to be honest. If that’s something he wanted to spend his time on, that seems fine. I wasn’t sure what exactly the point of the film was in regards to “American Movie,” but you could make assumptions. [Solondz] had written me a letter after “Storytelling” came out and said that he was frustrated with the reaction the audiences had towards [my] film. He felt that they misunderstood it, and I thought that was valid. I barely even remember “Storytelling,” but it wasn’t anything I spent a lot of time thinking about.

[Photo: “American Movie,” Sony Pictures Classics, 1999]

+ The New Cult Canon: American Movie (AV Club)
+ Todd Solondz (AV Club)
+ Interview: Chris Smith on “The Pool” (IFC)

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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.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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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:

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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.

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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!

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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.

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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.

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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.