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DID YOU READ

Why James Cameron is no Cecil B. DeMille.

Why James Cameron is no Cecil B. DeMille. (photo)

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We’re approaching the awards season home stretch — the Golden Globes are done, the Oscar announcements are in two weeks.

Some previously surefire contenders have fallen by the wayside since critics’ associations started putting out their lists in December. “Precious” — which I wasn’t alone in thinking a “Slumdog Millionaire”-esque Best Picture contender — has topped off at just under $45 million at the box office, and no one but Mo’Nique seems to be still gunning for Oscar glory (though a friend of mine enmeshed in graduate school academia assures me black studies will be grappling with the film for years, so there’s that).

The biggest Globes news (beside the fact that host Ricky Gervais was funny but inexplicably poorly reviewed) was that “Avatar” appears on track for Best Picture, though its Golden Globe victory hardly makes that a certainty. As Xan Brooks at the Guardian points out, in the last five years only “Slumdog” got Best Picture both at the Globes and Oscars.

But you can sense the buzz around “Avatar” as an indicator of a major shift in awardsland, thought what it means depends on where you’re standing. For the cranky Brooks, the win “tarnishes” the Globes (um, they can be tarnished? I thought we just tuned in to watch the drinks manifest themselves onstage) because it’s a Hollywood circle-jerk. You really can’t win sometimes. Complain about the awards being out-of-touch with ordinary filmgoers, get awarded a populist victory and what happens? People start complaining about the self-congratulatory speeches.

Closer to home, people are thrilled — none more so than Betsy Sharkey in the Los Angeles Times, whose victory lap pretty gave me hives. Using the fact that Scorsese got the Cecil B. DeMille award as a starting point, Sharkey concludes that the awards exemplified the spirit of DeMille: “forever the populist, never the auteur.” Which is a good thing: unlike those huffy snots “De Sica, Welles, Hitchcock and the like” (the like? Would you like to try to group together three less similar filmmakers?), DeMille didn’t “push the artistic and intellectual boundaries of film.” Instead, he “never lost sight of his audience, mostly hardworking folks.”

Sometimes you have to wonder if it isn’t a good thing that the newspapers are dying; Sharkey’s language here is inadvertently pretty close to the worst kind of demagoguery. But what’s more interesting is the way the comparison becomes weirder and more instructive if you follow it. DeMille was so intensely conservative that while on the Screen Directors Guild in 1950, he tried to push through a bylaw requiring all members to sign a loyalty oath. Reflecting the climate of the ’50s, he conceived of “The Ten Commandments” as a political statement (Judeo-Christian values vs. the Communist threat) and had Ten Commandments monuments spread all over the land, as promotion and a proclamation of principles.

Cameron is the biggest showman of our time, and nothing if not an unapologetic populist. But he’s as liberal as DeMille was conservative — if you want to push that comparison to its logical conclusion, that would mean that Hollywood is every bit as liberal now as it was conservative 50 years ago. (Which, well, duh.)

Even more, DeMille’s early work (particularly the silents) has been enthusiastically reclaimed by avant-garde enthusiasts as pure, unfettered insanity, inadvertently deranged in its gonzo scale. As spectacle films decay with technological advances and the cracks start to show, excess starts to look downright surreal. So keep that in mind before blathering about populism — yesterday’s spectacle is tomorrow’s novelty.

[Photos: “Avatar,” 20th Century Fox, 2009; “The Ten Commandments,” Paramount, 1956]

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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.