America’s Next Top Oscar Winner


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In a great piece called “I like/hate ‘The Artist:’ How the Academy Awards slant our views of movies,” Scott Tobias over at The A.V. Club has done a superb job of putting into words a lot of my own feelings about this Oscar season, namely the fact that “The Artist” — which is cheerful, charming, and very lightweight — has been cast as this year’s presumptive Oscar favorite. Which, in turn, forces us to project intense feelings onto a movie that was designed specifically not to engender intense feelings of any kind.

Here’s what Tobias says:

“Such is the tyranny of Oscar season, an all-consuming three-or-four-month siege — and yearlong cottage industry — that frames the discussion in ways that can be perverse and often unjust to the films in that discussion, to say nothing of the future classics peering in from the cold. Take ‘The Artist:’ I would guess [director Michel] Hazanavicius, in his wildest flights of fancy, could not have imagined his happy little soufflé as the presumptive favorite to win Best Picture. Even its most vocal detractors — who would likely not be vocal at all about it under normal circumstances — would have to confess that the film is not some bloated sop to the Academy, like so many other major studio productions crafted specifically for year-end consideration. Its goals are modest, its pleasures refined — not a whiff of self-importance or middlebrow grandeur… And yet the resentment is there.”

In other words, “The Artist” is the cinematic equivalent of a bubble bath: warm, relaxing, sudsy, fun to luxuriate in for a while, and then instantly forgettable the second it’s over. As such, it is completely effective. Casting it as “THE BEST PICTURE OF THE YEAR” in big bold letters to be stamped into a plaque on the bottom of a small gold man throws a big bucket of cold water on everything it stands for.

As Tobias notes, “The Artist,” was not destined for a Best Picture Oscar, and it surely must not have been conceived with one in mind. So how did we get here? “The Oscars—and to varying degrees, all awards,” Tobias writes, “are not about greatness, but about consensus. And ‘The Artist’ is a point of agreement, much like a bill that’s been haggled over, kicked around by powerful special interests, watered down in committee, and passed to the majority’s tempered contentment.” Very well said.

Thinking about this perspective made me realize what else the Oscar race is like, and that’s the amazing/terrible reality game show “America’s Next Top Model.” If you’ve never seen “Top Model,” it’s pretty simple. Each season, model, talk show host, and Tyra Banks fan Tyra Banks convenes a few notable tastemakers from the world of fashion to pick our nation’s next great supermodel from a roster of a dozen or so candidates. Now in theory you would think that such a competition would be solely performance based: who takes the best photographs, who does the best runaway walk. But in execution that is rarely how it plays out.

Banks and her fellow judges often reject more talented candidates who show no progress over the course of the competition in favor of models who are, as Banks often puts it on the show, “on the journey.” Being “on the journey” can mean a few things — either the model had untapped potential which the show has developed and exploited (which Banks can then take credit for discovering), or the model had some sort of traumatic mental block — say, the death of a family member or the lingering mental scars from some form of abuse — which the show helped her overcome (which Banks can then take credit for resolving). On “Top Model” you better be more than pretty. You better be “on the journey.”

The same goes for the Oscars. The special interests and committees Tobias describes aren’t necessarily looking for the most viscerally exciting, or technically dynamic, or hysterically funny movie. They want the one that’s “on the journey.” The films that win Oscars are the ones that can best sell that journey to voters. And in the case of the Academy Awards, the journey can be a woman becoming the first winner of the Best Director Oscar while telling an important story in an easily digestible way. Or the journey can be the conclusion of a monumental feat of epic storytelling and a Hollywood gamble that paid off. Or the journey can be a Hollywood fixture makes good. Or the journey can be the return of a long-forgotten genre. “The Artist” — with its homage to the silent film period — certainly has a little of that. But it also has the journey of the plucky underdog surprisingly winning the hearts of everyone. It has the journey of the foreign filmmaker coming to America to validate the studio system by making a movie about how awesome Hollywood is. It has a lot of journeys. No wonder it’s the favorite.

What makes the journey so frustrating for cineastes is the fact that its predictability flies in the face of what the Oscars seemingly should be about: the new, exciting, and unpredictable in the world of cinema. Instead, the race eliminates contenders with idiosyncrasies, because the weird and the wonderful don’t build consensuses and they certainly don’t fit into easy categories. Sometimes the best movies are the ones that take us on the bumpiest rides. If only the journey to the Oscars didn’t need to be so smooth.

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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


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

Sport Court gavel

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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GIFS via Giphy

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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