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Against The Superhero Fatigue Argument


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Are audiences experiencing “superhero fatigue”? At the outset it should be noted in passing that this sickness unto death, this alleged superhero fatigue, is a year old argument. That would make it a manageable medical condition, this superhero fatigue. The studios have not, so far as I know, called a halt to all the superhero movies presently in the pipeline. Quite the contrary, it would seem. In the next few years there will be another Iron Man film, another “Avengers film,” another “Thor,” “Wolverine” and even “Captain America.” And that’s just a handful of the Marvel-based characters getting another close-up. It would seem that reports about the death of superhero films are a bit exaggerated.

Second, even before this summer began, critics were diagnosing this alleged malady, finding symptoms of this superhero fatigue in every box office underperform.  They even went so far as to diagnose superhero fatigue in films that were commercially successful – but not box office smashes. Their measure of the success of a superhero film, it would seem, was to be wildly successful or risk fall into – and here I cannot resist the reference — the negative zone. It is almost as if a certain type of critic, perhaps one that didn’t grow up on comic books, perhaps one who finds their mythology odious, is engaging what can only be properly construed as a form of wish fulfillment. Any excuse to hasten the genre’s demise.

Despite the glut of death-of-the-superhero-movie-genre stories online, by normally intelligent film writers mind you, the numbers, quite frankly, do not support their argument.  “The Avengers” is the third highest domestic and globally earning film of all time.” The Amazing Spider-Man,” released in July, has made over $260 million domestically. And “The Bourne Legacy” – superhero-ish, to be sure  — which underperformed in its release, broke $103.7 million in week five.

Rewind to one year ago, at the origin of the superhero fatigue.  Yes, many superhero movies have underperformed in the past year or so — I’m looking at you, “Green Lanter”n — many more, however, did well.  But there is always a tendency to go for the snarky post, especially when it involves Nick Cage playing Ghost Riser. There was – and I can think of no other way to say this – an almost villainous delight in the spectacular failure of Green Lantern. In some of the reviews one can almost hear the devilish laughter and the twisting of mustaches as the critics concocted this superhero fatigue meme out of naught else but thin air and their own personal distaste for the whole superhero genre. An entire multi-billion dollar act of escapist entertainment cannot be laid to rest on the shoulders of Ryan Reynolds.

It was a rough summer. With the usual distractions of electronic devices, 24/7 cable and the Olympics – real life superheroes this summer  – there were plenty of reasons to stay home and not buy a ticket at the cineplex. This was also, more to our present timeline, not a good week for the movie industry. A recent week saw the lowest cumulative ticket sales in a decade. The top film – “The Possession” – took in less than ten million in its opening weekend. Further, New York Mayor Michael Bloomberg’s ban on soda over 16 ounces – if it becomes as influential around the country as his indoor smoking ban – could really eat into movie theater revenues.  These three examples may be why the chorus of superhero naysayers appears to be growing rather than receding, becoming emboldened despite the genre’s solid numbers. It was a bad week for all films, not just those involving super-powers and cosmic adventures in spandex and elaborate origin backstory.

“The Dark Knight Rises,” though not as financially as successful as the previous Chris Nolan Batman films, was still a success. Not only that, but “Dark Knight Rises” had, no pun intended, an incredible uphill climb. “The Dark Knight Rises,” which had one of the most challenging opening weekends of any film ever, has a cumulative box office of over $437 million by September 9th, and is on track to pull in a half a billion dollars. That is not bad for an entertainment experience that involved, in its first few weeks, a serious police presence around the nation as well as, in some cases, intrusive bag searches.

It was indeed a cruel summer for movies. But the superhero genre, spawned from the comics of our youth, has faced tougher adversaries than the web, the fall TV schedule or even a soda ban by a super-villainous Mayor who essentially bought his office (cue the devilish laughter). The superhero film genre is just getting its second wind. And I can’t wait.


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.


Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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GIFs via Giphy

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:


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.


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!


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.


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.



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.