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DID YOU READ

Michael Haneke’s abiding sadness.

Michael Haneke’s abiding sadness. (photo)

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Michael Haneke’s fondness for scolding didacticism just don’t work for some people, myself among them. But “The White Ribbon” is a whole other thing, a movie where anything dreadful that can happen will, just to prove that people are so terrible you can’t even count on them not to turn into Nazis, or something like that. Set in a small German town in the year leading up to WWI, the movie doesn’t let up from the first shot, in which a doctor breaks his arm when his horse trips over a maliciously strung wire. More evil pranks follow, perhaps enacted by a creepy group of blond kids, like an arthouse “Village of the Damned.”

The press corps assembled at Lincoln Center responded in surreal kind. Things started easily enough, with Haneke noting that he doesn’t believe in rehearsing actors: “It’s the first take that’s the best. Either the first take or the 25th.” He explained a subtitle peculiarity: the handwritten-font scrawled beneath the title (which translates as “A German Children’s Tale”) isn’t translated for English-speaking audiences because each country should see it as about themselves.

And then it got weird: Someone asked if Haneke was influenced by Arthur Miller’s “The Crucible,” which seemed a little left-field. No, he said, “I didn’t have Arthur Miller’s play in mind.” Someone went even farther afield and compared the film’s language to that of turn-of-the-century novelist Arthur Schnitzler (whose work inspired “Eyes Wide Shut”). No dice there either. Someone followed that up by complaining about how inadequate the subtitles were; Haneke noted his English wasn’t good enough to check.

At this point, clearly exasperated moderator Richard Peña flat-out stopped taking questions for a while and asked two of his own — about the use of black-and-white (intended both as a way to respect our perception of the era as taking place in black-and-white photos, and as a way of creating distance between the audience and film) and compositional strategies. Haneke apologized for a 35mm print screening instead of a digital copy, which would’ve been much sharper. Black-and-white prints are apparently near impossible to do properly now: Hanake’s tried to make a perfect print in three studios in Austria, Germany and France, and he’s still not happy with the results.

Then Pena opened the floor back up. Mistake. A woman asked a rambling two-part question. Part one: something about his “approach to the frame.” Part two, 40 seconds later: “I just want to ask if you have some abiding sadness in you.” Haneke’s answer: “I don’t think I’m a depressive, but you’d probably best ask my wife, who’s sitting at the back of the theater.” With that, the most unintentionally hilarious press conference of the festival was over,” and “abiding sadness” became my new favorite phrase.

[Photo: “The White Ribbon,” Sony Pictures Classics, 2009]

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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.