DID YOU READ

Nostalgia and the Academy Awards

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The Academy Awards are one week away and, at this point, it looks like the big winners will be the French silent movie tribute “The Artist,” the American tribute to French silent movies “Hugo,” and other films, like “The Help” and “Midnight in Paris,” set in or obsessed with the past. Clearly, this year’s Oscars are all about nostalgia. But why? In The Los Angeles Times, Neal Gabler locates the origin of this trend in the neurotic minds of Hollywood executives who, he writes, are “full of self-loathing”:

“We tend to think that the denizens of the film industry luxuriate in the popcorn movies they deliver to us, that they love the bombast that is now the primary reason people go to the movies. Indeed, the stereotype of the movie mogul is still a man or woman who cares more about money than prestige, and who boasts, as a writer once remarked of Columbia Pictures head Harry Cohn when Cohn said a movie wasn’t any good because he kept wiggling in his seat, that the whole world is ‘wired to his ass.’ They are us — only richer.”

Gabler believes that as the movie industry’s offerings have gotten dumber, its need for respectability has intensified. That led to the situation we have now: where, Gabler explains, the studios pump out only two kinds of movies: blockbusters and “anti-blockbusters.” These films, like “The Artist” or “Hugo” or “War Horse” don’t just steep in the world of the past, they celebrate the past in order to denigrate the present. “The Artist,” for example, is a story about the tragedy of innovation. Its hero is a silent film actor at the top of his game. When Hollywood introduces sound, and the actor — the artist! — refuses to make the transition, he is nearly destroyed. But even more importantly, the beauty of silent film was destroyed, and it’s that beauty that “The Artist” seeks to resurrect and honor.

Gabler has certainly identified a legitimate trend amongst this year’s Academy Award nominees. He’s a smart guy too; Gabler wrote “Walt Disney: The Triumph of the American Imagination,” one of the finest biographies in recent memory. But I’m not sure he’s reading this trend correctly. Is the nostalgia amongst a wide swath of 2012 Oscar nominees a reaction against mainstream Hollywood or an expansion of it?

After all, cinematic nostalgia was not simply limited to awards pictures last year: it was the predominant theme in all kinds of films. Just about everything Hollywood makes these days is indebted to something that has come before. It might be something based on an old television series or or a landmark series of books or a toy popular with children in the 1980s. Don’t forget all the prequels to sci-fi classics or comic book movies. Then there’s the big-screen adaptation of the old cartoon and the big-screen adaptation of the old cartoon and, of course, the big-screen adaptation of the old cartoon. Even so-called “original” films look like prior works, from Steven Spielberg movies to James Bond adventures. The trick is the same every time — take an existing property with a built-in fanbase and gussy it up with new effects to capture the imagination of a new audience and recapture the imagination of the old audience who loved it even before it looked good.

Gabler says that the Oscars’ “sudden burst of nostalgia” may be “a demonstration of the self-contempt of an industry that is finally tired of itself.” But the same impulse fueling a film like “War Horse” — which Gabler cites as an example of an old-fashioned anti-blockbuster — is basically the same impulse fueling a film like “Cowboys & Aliens” — a new-fangled action spectacular. Like “War Horse,” “Cowboys & Aliens” is indebted to the works of John Ford (as well as the works of other nostalgia icons like George Pal and Ray Harryhausen) — and like “War Horse” it’s also about “primal communions” between boy and father, man and horse. “War Horse” might be soppy melodrama and “Cowboys & Aliens” might be a noisy bore, but the cloth they’re cut from is not all that different. And both came from the same man: director and executive producer (respectively) Steven Spielberg.

Maybe Hollywood is full of self-loathing; in my experience, most people and most industries are. But I’m not sure the presumed popularity amongst Oscar voters of “The Artist,” “Hugo,” and others is indicative of that self-loathing. It seems equally likely that nostalgia’s Oscar dominance this year simply reflects nostalgia’s dominance across all kinds of filmmaking disciplines. Most of the nostalgic movies mentioned above were huge hits; I selected them from this list of the highest grossing films of 2011. If we looked back over the past couple years, we’d find similar results. Old is the new new. And money is still money.

What do you make of all the nostalgic films at this year’s Academy Awards? Tell us in the comments below or write to us on Facebook and Twitter.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

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IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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