DID YOU READ

Tim Grierson on the Five Good Things That Came Out of Oscar Season

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Oscar season, which starts approximately at the beginning of September, at long last came to an end last night. Even someone like myself who finds much to enjoy about this time of year has to admit that the past five months of constantly tracking which movies and performances have “heat” or “buzz” has been incredibly tiring. Still, optimist that I am, I’d like to think that there’s still some net good that comes out of the seemingly endless buildup to the Oscars. The Academy Awards may still reward the wrong people and overlook the truly worthy, but this year, as always, they also had their positives…

1. They inspired people to see small movies they might not have otherwise.

Films like “Argo” or “Les Miserables” would probably have been hits even without a Best Picture nomination. But nominations for other films helped elevate them to must-see status for people who are choosier in their viewing habits. “Amour” might have seemed too depressing, “Lincoln” could have looked too dry, “Beasts of the Southern Wild” might have seemed too strange, and “Zero Dark Thirty” could have felt too difficult. But hearing that these movies were in the running for the Oscars’ big prize no doubt helped push folks to give these movies a try. Encouraging audiences to seek out challenging fare can never be a bad thing.

2. They raised awareness for worthwhile social and political issues.

The Best Documentary nominees often cover a vast array of important topics, and this year’s crop was no different, whether it was relations between Israel and Palestine (“The Gatekeepers,” “5 Broken Cameras”), sexual assault within the U.S. military (“The Invisible War”), or the history of the AIDS-awareness organization ACT UP (“How to Survive a Plague”). But even the Best Picture field had its share of meaningful films, including “Amour,” which is an unsentimental look at aging and mortality. Perhaps the most important discussion prompted by any Oscar film this year, though, came from “Zero Dark Thirty,” a sobering, absorbing examination of the U.S. government’s 10-year pursuit of Osama bin Laden. Director Kathryn Bigelow’s thriller raised complaints from some, including a few U.S. senators, that the movie celebrated the use of torture — or suggested that it was an effective tool for hunting down terrorists. The debate may have ultimately been more about political posturing, but at least it opened a wider discussion about U.S. policy in the aftermath of 9/11 than any film had been able to do before. (And for the record, anyone who watches “Zero Dark Thirty” will see that the movie is far more nuanced and ambiguous in its commentary than its critics will acknowledge.)

3. They provoked some memorable social-media moments.

Because the Oscar campaigning goes on so long, there are inevitably unexpected side effects. For instance, the creation of memes that are very funny at the moment by may not have a long shelf life. (Angelina Jolie’s Leg was good for some chuckles a year ago. But now?) This year had its share of parodies and homages, their effectiveness very much a question of personal taste. Plenty of friends love the fake Michael Haneke Twitter account where the austere Austrian filmmaker is turned into a cat-loving, spellcheck-deficient goofball. (Me, I think it’s just the same joke repeated over and over again.) And then there was the parody of Anne Hathaway’s “I Dreamed a Dream” performance from “Les Miserables.” But my favorite is probably from comedian Paul F. Tompkins, who took to the stage of Largo in Los Angeles in December to perform an utterly sincere rendition of Adele’s “Skyfall” theme. Soon, it hit YouTube, becoming a viral hit. The comedian’s “Skyfall” rendition represented the best of pop cultural referencing, honoring what made the original so fantastic while adding a new, fun dimension to it.

4. They actually had a little suspense.

In the early months of award season, there’s always a little uncertainty about who the frontrunners might be, but eventually the clear-cut favorites assert themselves, and by the time of the actual ceremony, everybody knows who’s going to win Best Picture and most of the major categories. This year, that didn’t happen, as “Les Miserables,” “Lincoln,” “Zero Dark Thirty,” “Argo” and even “The Master” were discussed as being possible winners at one point or another. This, of course, is great news for Oscar bloggers and other awards handicappers who want to keep us interested, but for those of us who actually like the Academy Awards telecast, it also created a lot of suspense. That doesn’t happen that often. Their value isn’t in telling us what’s the best

5. They’ll never replace your own preferences for the year’s best films.

From your perspective, any collection of individuals voting on the best anything will ultimately fail to get it right unless they completely agree with you. That’s why I’ve never understood getting that annoyed with the Oscars (or the Independent Spirit Awards or the Golden Globes) when they don’t line up with your individual tastes. If nothing else, the Academy Awards are a way to make each of us consider what constitutes the greatest films and the greatest performances. The Oscars can have their definition — we each have our own.

You can follow Tim Grierson on 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

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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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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