Hey, everyone. Genevieve here with a quick heads up that we encountered some recording difficulties during this pair of episodes, so you'll likely notice that Tosh's audio sounds significantly different from the rest of ours. We hope it's not too distracting and promise that we'll sound like ourselves again by the next episodes. Thanks for listening.

It's very difficult to keep the line between the past and the present.

You believe that someone out of the past can enter and take possession of a living being?

We may be true with the past, but the past is not through with us.

Welcome to The Next Picture Show on the Movie of the Week podcast devoted to a classic film and how it's shaped our thoughts on a recent release.

I'm Tasha Robinson here with...

Genevieve Kovsky.

Scott Tobias.

And Keith Phipps.

American movie theaters are mostly closed right now, so we're still focusing on quarantine, pairing films that you can find on VOD, cable television, or streaming services.

This week, we'll be looking at two heavily autobiographical films about, um, guys, uh, who's the new kid?

Hello, don't mind me. I'll just be over here watching.

Oh, oh, that's Alex. He's an upcoming reporter who wants to interview all of us for a big

entertainment weekly feature. He just needs to sit in on the next month or so of tapings to see how we do the podcast. Um, he looks, he looks like a kid. He looks like he's about 14. I'm 18. Well, nearly. Nearly. Nearly 16. I'm, I'm 15. Okay. I was pretty close. Anyway, isn't it going to be weird having him watch this? He's going to see all the stuff we normally fix in editing, like the way Keith swears nonstop and the way Scott and I agree about everything about movies when we aren't actually on the mic. No, it's okay, guys. We told him to make us look cool in the piece. Yeah, we were just chatting with him about movies before you got here. He's really knowledgeable, so we know he's going to like us and portray us in the absolute

best light possible, even if it means utterly fictionalizing us.

I'm a big fan of the podcast, especially some of the more obscure Patreon stuff,

like the one where you sat in the car in a movie theater's parking garage and ranted about

the rise of Skywalker together. That felt like a real turning point in the show in terms of finding a looser and more spontaneous sound. See, he knows his stuff. Also, I promised him to an interview later, and I'm certainly not going to use that as an opportunity to ramble about how I'm a much better podcaster than the rest of you, and I'm secretly planning to break out into a solo podcast.

Oh, yeah, that's nice, dear. Just hold out for a couple hours, kid. I got all the real dirt on this podcast for you right after we're done taping. Well, I guess we should get rolling on it then, so his lead for the piece isn't something about sitting here for two hours watching us dither instead of talking film. Genevieve, if you want to tell the listeners what we're doing this week. The story of Cameron Crow's almost famous feels like a big, cheesy, cinematic contrivance. A 15-year-old boy gets called up to write for Rolling Stone magazine and winds up on tour across the country with an up-and-coming rock band that's in the middle of blowing up in several different ways. But it's a

true story because it's Cameron Crow's story, mildly disguised and storified. He really was a teenage

writer for Rolling Stone, and he spent his adolescence interviewing his rock heroes. British

journalist and novelist Caitlin Moran has a similar story about becoming a teenage music critic

...