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“Waiting For ‘Superman'” Attracts Controversy For Its Statistic Issues and Staged Scene

“Waiting For ‘Superman'” Attracts Controversy For Its Statistic Issues and Staged Scene (photo)

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While Davis Guggenheim’s education reform documentary “Waiting For ‘Superman'” is approaching $5 million at the box office, it’s also attracted some serious criticism for its one-sided championing of charter schools as succeeding where public schools fail. The must-read (and most damning) piece on the subject comes from Diane Ravitch at the New York Review of Books:

The propagandistic nature of Waiting for “Superman” is revealed by Guggenheim’s complete indifference to the wide variation among charter schools. There are excellent charter schools, just as there are excellent public schools. Why did he not also inquire into the charter chains that are mired in unsavory real estate deals, or take his camera to the charters where most students are getting lower scores than those in the neighborhood public schools? Why did he not report on the charter principals who have been indicted for embezzlement, or the charters that blur the line between church and state? Why did he not look into the charter schools whose leaders are paid $300,000-$400,000 a year to oversee small numbers of schools and students?

Now Sharon Otterman at the New York Times reports that a scene in the film in which one of the parents the doc follows visits and falls in love with Harlem Success Academy, through whose lottery she applies for a place for her son, was staged after the fact. Guggenheim “defended the scene as still being true to Maria and her desire to attend the school”:

“In the case of Maria, we met her at the school but the cameras weren’t there, so we asked her to go back and tour the school,” Mr. Guggenheim said. “And as a filmmaker, I wanted to see her reaction to the school, and her genuine emotion. So that scene is real; her reaction, her talking to kids touring the school, is how she would play it.”

As Otterman notes, “re-enactment and reordering has been part of documentary film-making since its start” (see: “Nanook of the North”) but there is something a little queasy about this revelation, given how much of the film’s emotional impact rests on the results of the long-shot journeys of a selection of hopeful parents and their lovable children. The film’s ending, in which the families’ fates are left to various charter school lotteries, is one of the most devastating things you’ll see this year — why the need to load the dice? You have weeping children and their weeping single mothers, fer chrissake. The stakes are high enough.

[H/t to The Awl for the latter link.]

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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.