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How Kathryn Bigelow’s non-political movie has gotten politicized.

How Kathryn Bigelow’s non-political movie has gotten politicized. (photo)

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“The Hurt Locker”‘s biggest achievement has been to get people to talk honestly about how we depict war on screen in a way that hasn’t happened in a long time, with everyone’s cards and biases on the table.

That effect is helped by the vicious feedback loop of Oscar season, where the need to generate daily content about the same material leads to all kinds of weird, non-critical voices being unleashed — which may be the only good thing about awards season.

In the case of “The Hurt Locker,” every laudatory review reminded us that the movie was “apolitical,” presumably in the hope of sucking in those who didn’t want another “Lions for Lambs”-type harangue. And it worked. So why did Kathryn Bigelow feel the need to let it drop last week that this apolitical film does, in fact, take a stand against the war and can hopefully “bring closure to this conflict”?

A few days later, she told The Wrap‘s Steve Pond she feels war is “hell, and a real tragedy, and completely dehumanizing… We made a real effort to portray the brutality and the futility of this conflict.” You’d think she could’ve dropped this little nugget a while ago — but then again, that wouldn’t have helped the film commercially, while it might very well curry favor with the Hollywood establishment, who like lectures.

Melena Ryzik — the new Carpetbagger at The New York Times and by far the least hysterically inclined of the Oscar bloggers — believes that this Newsweek essay from combat veteran Paul Rieckhoff complaining of rampant accuracy could derail Oscar chances. Rieckhoff doesn’t just find the film inaccurate, he thinks it shows a lack of “respect for the American military.” This isn’t a new complaint, dating back at least to last July, sprinkled largely over veterans’ sites and the inevitable right-wing grumbling. But no one really cared til it was awards season; the discussion about How We Portray War Now was deferred. Now that it’s February, suddenly everyone’s listening.

02242010_hurt.jpgFor others, if the film isn’t explicitly criticizing the soldiers, then it’s a failure, end of story. And so Salon readers were treated to a splenetic essay by Cineaste associate editor Martha P. Nochimson, who notes that “Our field of vision is so completely limited to [Will’s] expertise in defusing bombs and dealing with invisible enemies that our capacity to think about the larger context of the American presence in Iraq is replaced by nuance-free instincts more characteristic of the tea party movement.” Again please? A lack of visual depth means you’re endorsing Ron Paul?

Nochimson also puzzlingly calls Bigelow the “Transvestite of Directors” because she traffics in “filmmaking soaked in a reduced notion of masculinity” — a criticism that, at the very least, traffics in a reduced notion of femininity. (She goes on to suggest we admire Nora Ephron instead. Nothing reductive about that.)

Some of the most dazzling insights on film I’ve heard have come from unexpected angles or sources. But there’s something toxic about the combination of politics and Oscars that seems to bring out the worst in people. The veterans’ complaint are their own and just — but to bring them into awards season is the worst kind of parity. (As for Nochimson, I guess she must be an “Avatar” fan. There’s nothing less restricted in field of vision than 3D.) There are real moral issues at stake here, but they’re unresolvable in any kind of objective fashion. To suggest the film is better or worse because it’s “anti-war” or “apolitical” or whatever cheapens both the off-screen issues and lend the awards chase an undue importance.

[Photos: “The Hurt Locker,” Summit Entertainment, 2009]



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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GIFs via Giphy

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.”


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. 


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.


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…


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.


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 ’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?”


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).



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.


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