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Plagiarism, criticism: what’s the difference?

Plagiarism, criticism: what’s the difference? (photo)

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You may have heard about the scandal surrounding Australian junketeer Paul Fischer, who was caught straight-up taking chunks of his Sundance reviews from the catalogue’s official synopses. My two-part reaction to this kind of news: First, “Wow, you have to be an idiot to plagiarize on the internet in this day and age.” Second, “AS A HARDWORKING FREELANCE WRITER, I AM OUTRAGED.” And then this other voice intruded — and it said: “Who cares?”

We’re not exactly talking about Jayson Blair or Stephen Glass here: we’re talking about a guy who wrote harried capsules of Sundance premieres for what the Vancouver Sun‘s Chris Parry unkindly but accurately describes as “mid-level online outlets.” The fate of film criticism — or even the forward motion of the blogosphere — isn’t at stake. And the reason people caught on, according to Parry, wasn’t anything more sinister than complaints from filmmakers that negative reviews (since pulled from their host websites) were being propped up with blatant laziness.

But Parry goes on to detail how, for years and years, Fischer was a quote-whore of the most unregenerate kind without anyone but fellow critics noticing, placing him in the same category as the infamous Earl Dittman, Pete Hammond (late of “Maxim” magazine), et al. That apparently wasn’t a problem, because plenty of readers who are totally cool with that. So why all the outrage over this indiscretion?

Film writers often think the wrong way about blurb-chasing — the argument is that especially soulless, careerist and traffic-grubbing writers are perfectly happy to churn out easily snippable adjectives of praise for the most implausible garbage in return for studio junket perks and traffic. And they blame the writers for this. But you know what? Blame the readers.

Most people don’t want to read Cinema Scope or elongated theses on the work of Tsai Ming-Liang. They don’t even want to know how, say, a blockbuster like “Sherlock Holmes” fits into the work of Guy Ritchie (a guy for whom plausible claims can be made) or doesn’t or anything of the sort. What ordinary filmgoers want are, in fact, plot synopses (to see if it sounds interesting) and bottom line blurbs — to know that something is “exciting” or “scary” or “heart-pounding” or “hilarious” or whatever.

02042010_norbit.jpgWhich is fine, and no disparagement upon people who have no reason to spend most of their waking hours overanalyzing entertainment. We’re all wired differently. When, say, “Norbit” director Brian Robbins celebrates the financial victories of his movies by claiming “The only films that get good reviews are the ones that nobody sees,” he’s correct in relative terms. Many of the movies that get “good reviews” do, in fact, get less of an audience — just take a look through the past year’s indieWIRE critics poll.

So, in an odd way, I don’t blame Fischer for swiping his material. He was just giving his audience what it wanted: simple, punchy ways to hyperbolize the entertainment value of what you’re about to see. That Fischer’s about to be drummed out of journalism wasn’t a judgment of taste, a decision that enough was enough; it was a stupid plagiarism scandal. Otherwise, he would’ve kept working and no one would’ve really noticed except his fellow journalists.

Normal people don’t complain about hacky critics; they complain about “elitist” critics and the great grey myth of the especially snobbish one who says “If you don’t like it, you don’t get it” (something I’ve never actually seen in writing). Blame Fischer? Sure. Drum him out? Absolutely. (I work hard; I don’t appreciate his transgression any more than the next guy.) But the problem isn’t this guy: it’s a system congested on every level — blog, print, TV, what-have-you — with criticism where what harried readers, studios and editors want is exactly the same: short, simple and stupid. He’s not the illness: he’s the symptom. That he prospered for so long (and he’s far from the only one of his kind) is the real scandal.

[Photos: “Shattered Glass,” Lions Gate Films, 2003; “Norbit,” Paramount, 2007]

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Last-Minute Holiday Gift Guide

Hits from the '80s are on repeat all Christmas Eve and Day on IFC.

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GIFs via Giphy, Photos via The Everett Collection

It’s the final countdown to Christmas and thanks to IFC’s movie marathon all Christmas Eve and Christmas Day, you can revel in classic ’80s films AND find inspiration for your last-minute gifts. Here are our recommendations, if you need a head start:

Musical Instrument

Great analog entertainment substitute when you refuse to give your kid the Nintendo Switch they’ve been drooling over.

Breakfast In Bed

Any significant other or child would appreciate these Uncle Buck-approved flapjacks. Just make sure you’re not stuck on clean up duty.

Cocktail Supplies

You’ll need them to get through the holidays.

Dance Lessons

So you can learn to shake-shake-shake (unless you know ghosts willing to lend a hand).

Comfy Clothes

With all the holiday meals, there may be some…embigenning.

Get even more great inspiration all Christmas Eve and Day on IFC, and remember…

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A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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GIFs via Giphy

Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.


Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…


IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.


IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).


IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.


IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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