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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Marc Maron – Maron – Season 4, Episode 4

Behind the Anger

Marc Maron Gets Deep in an Interview with Fresh Air’s Terry Gross

Follow Marc's journey to recovery tonight at 9P on IFC.

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It ain’t no stage persona: Marc Maron is an anxious, angry, complicated fellow. In a recent interview with Terry Gross on Fresh Air, the Maron star described how he’s beset by constant anxiety, self-hatred, and general unease, which he considers his “uncomfortable” comfort zone. “Being sort of anxious and uncomfortable has really been my home base, innately,” he said. “And I don’t know how to change that, and that’s really the challenge for me now.”

A former addict himself, Marc also discussed the difficulty of portraying his TV character’s drug relapse, downfall, and rehabilitation — a fear he’s glad “happened in fiction and not in real life.”

Click here to listen to Marc Maron’s deep and revealing interview with NPR’s Terry Gross on Fresh Air.

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weird al goldbergs

Keep It Weird

10 Hilarious “Weird Al” Cameos

Weird Al comes to Comedy Bang! Bang! starting June 3rd at 11P.

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Photo Credit: ABC

“Weird Al” has had one of the most unique careers in entertainment history. Sure, he made his name with parody songs, but he’s long since transcended simply poking fun at pop, becoming an American comedy staple in the process. With his new gig behind the keyboard on IFC’s Comedy Bang! Bang!, we thought we’d take a look back at just a few of his classic pop culture cameos, in which he showed he was more than just the man with the accordion and rhyming dictionary.

10. The Goldbergs

“Weird Al” came full circle with this recent cameo on this ’80s-set sitcom, once again donning the frizzy hair, mustache and Hawaiian shirt to return to his glorious retro roots.


9. Galavant

Galavant, the historical musical comedy series, was recently canceled by ABC, but not before we got to see Al as a doo-wop crooning monk who’d taken a “vow of singing.”


8. Wet Hot American Summer: First Day of Camp

Wet Hot Weird Al
Netflix

With Wet Hot American Summer making a triumphant return last summer, we all should have known they would work in a bit in which “Weird Al” played a summer camp hypnotist who turned into assassin Jon Hamm.


7. Batman: The Brave and the Bold

Wet Hot Batman
Cartoon Network

“Weird Al” creates music for all ages, so it shouldn’t be a surprise that he occasionally pops up on Saturday Morning cartoons, like this turn on Batman: The Brave and the Bold, in which he got to battle the Joker and the Penguin alongside Batman, Robin and Scooby-Doo.


6. Tim and Eric Awesome Show, Great Job!

Al has popped up on Tim Heidecker and Eric Wareheim’s bizarre ode to anti-comedy series a few times, but this wedding fever dream, straight out of the mind of a serial killer, really sort of sums it all up, whatever “all” is.


5. 30 Rock

Al is a man of many talents, but at the end of the day, he knows how to rip out a parody song with some bite. Here he puts his gifts to good use, writing lyrics to the 30 Rock theme song, and highlighting their lack of ratings in the process.


4. Halloween II

“Weird Al” shows up in just about the last place you would expect here, in Rob Zombie’s hard R horror remake. Playing a guest on what looks like an early version of Talking Dead, Al does some typical talk show shtick alongside Michael Meyers’ ethically compromised doctor, Samuel Loomis.


3. Transformers: Animated

Al has quite a history with the Transformers. His song “Dare to be Stupid” was used in 1986’s The Transformers: The Movie, and he also popped up as Wreck-Gar, a simple-minded robot brought to life by the All Spark, on Transformers: Animated.


2. The Naked Gun

Al’s stardom was ascendant in 1988, if this classic gag from Naked Gun was any indication. (He also did the theme song for the 1996 Leslie Nielsen comedy Spy Hard.)


1. Amazing Stories, “Miss Stardust”

Weird Al
NBC

Al’s first TV cameo might just be his, ahem, weirdest. As an alien affectionately known as “Cabbage Man,” “Weird Al” made quite the impression without even needing his trusty accordion.

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Sally Kellerman- Maron – Season 4, Episode 5

Hello Sally

5 Roles That Prove Sally Kellerman Is a Comedic Genius

Sally Kellerman returns to Maron this Wednesday at 9P on IFC.

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With her statuesque beauty and sarcastic verve, Sally Kellerman has put her stamp on several iconic TV and film roles. She always gave as good as she got, keeping her leading men on their toes. With Toni Maron returning to help Marc through a tough time on Wednesday’s brand new Maron, we thought it was time to revisit a few of Sally’s classic roles that prove she’s more woman than most of us can handle.

5. Judge Henderson, Moving Violations

Playing a saucy judge with a taste for bondage, Kellerman got to go full-on villain in this absurd comedy starring lesser Murray brother Joel. Who needs Bill when you’ve got Sally in a full leather getup?


4. Louise, Brewster McCloud

It takes some real talent to make a conversation about remaining celibate this sexy. Kellerman turns up the heat here, mixing sensuality with a mythic quality (she may be a fallen angel of some sort in this movie), that makes us want to forget Brewster’s dream of flying, and just spend a little more time with her on the ground.


3. Maron

Whether she’s dropping passive aggressive comments or searching for his love handles, Toni is the perfect representation of all of Marc Maron’s neuroses.


2. Back to School

Holey moley, when literature professor Dr. Diane Turner starts reading some sexy prose to her class, Rodney Dangerfield isn’t the only one whose eyes nearly pop out of his head. Kellerman proves yet again that she can mix class and crass with the best of them, playing the type of woman you can discuss erotic literature with — or just live it out with.


1. M*A*S*H

In perhaps her most iconic part, the one that scored her an Oscar nom, Kellerman plays the apple of a whole army base’s eye. It’s far from easy getting that kind of attention in the middle of a war zone, which Kellerman shows with one truly epic meltdown. Major “Hot Lips” Houlihan would make anyone’s grandpa’s war stories a littler bit easier to listen to.

Watch how Toni comes back into Marc’s life on this week’s Maron. 

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