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Hey everybody and welcome to another bonus patron episode of 80s all over.

This is of course Scott Weinberg the loud one And I am joined as always by my co host, the slightly less loud Drew McQueenie. How are you, sir? I'm doing, I'm doing okay this week. How are you doing on your low competition thing? The Schmodown. Oh, well, we won the team match. The team title for the second time. And then my partner in the Shmo down Sam Levine retired. So we are relinquishing the belts, but we are going out on top. So that's great. That's epic. Congratulations. Thank you. Welcome. Why don't you introduce our guest? I'm very excited. This is, I know our guests work largely by reputation and by reading it over the years

and by buying books he has written.

And I think we have run parallel in a lot of ways, but have not had a lot of opportunities

to meet and speak.

So I'm really excited to welcome Nathan Rebeen to the podcast today.

Hello, it is an honor to be talking to you.

This is fun because I think you have the kind of writing you do deals with the breadth of sort of film history and not just current stuff. So I think asking you to come on and play like this, hopefully you've got something in the bag that we won't expect. I think you're the right guy to do this. Well, I have very little to say about contemporary film. I kind of fell off of that bandwagon a couple of years ago when I stopped being a film critic. But I'm very excited to talk about movies that are terrible.

And movies. contemporary film, I kind of fell off of that bandwagon a couple of years ago when I stopped being a film critic. But I'm very excited to talk about movies that are terrible and movies that are cheesy and movies that are transcendent. Well, most of our listeners will know Nathan from his voluminous work on the old school AV club. And then he moved over to the dissolve, which unfortunately did dissolve. But you can now find a lot of Nathan's work at Nathan Rebeans Happy Place.

Why don't you explain to the 80s all over listeners why they should subscribe to your product? Well, I've been doing this shit for a very, very, very long time. I'm 21 years into writing about popular culture. I started in 1997 when the onion was this small, fluffy little underdog that just kind of had this little office and what was known as the popcorn district of Madison, Wisconsin. And yeah, I just kind of, I was lucky enough to kind of grow with that publication. I started a column called My World of Flops. Originally it was my year of flops in 2007. Jesus, 11 fucking years ago. And the idea was, God, I was shopping a memoir and I was very, very, very worried that my memoir would not sell, that I would not find a publisher for it. I'd actually written a manuscript. It's not really a book, it doesn't get published. About my experience is doing a television show called Movie Club with John Ridley. In 2004 and 2005, John Ridley went on to. The Academy Award for 12 Years of Slave. One of my co-hosts, Josh Tune, is birthdays today. He won the MacArthur genius grant. And AMC became incredibly classy and you know, breaking bad and mad men. But in 2004 and 2005, that show was super fucking cheesy. But in a really fascinating, really, I was that one person who went to Hollywood and thought I had such amazing experiences that everybody needed to know about them. I'm one of your books was not the case. I remember my agent God bless him. He was kind of pitching it as sort of Augustine Burrow's writing, The Devil's Candy, The Wonderful Julie Solomon book about to the making of Bonfer the Vanities. If you have not read it, please do. It's the one great thing to come out of the Bonfer of the vanities. Except Woody Altamoli found out is that nobody's going to spend $22 for a book about a TV show that nobody had ever heard of, which was the case with movie club with John Ridley. So I ended up starting this column and originally the idea was to just be one year. I think it was either two entries a week or one a week. And yeah, it was just this kind of, I kind of reinvented myself. And I've always kind of felt like a failure. I've always kind of felt like a loser. I always kind of felt like an underdog. And I felt like, well, if I kind of show movies that have been misunderstood and underrated and unfairly maligned, if I show them above an attention and validation,, and I desperately see because if you're human being, I can create something kind of cool and interesting, neat. And it was such a success that I ended up doing it longer than the first year. And then it became a very modestly selling book. And then at certain point, I just decided like, I love movies. That's a heart of what I do, but I kind of want to reinvent it. So I changed it from my year of flops to my world of flops. And it became not just about movies, but about everything about music, about television show. I think one of the first entries that I wrote on that accord was a studio at 60 on the Sunset Strip. I do watch 22 fucking episodes on the it's a top TV show. That show is bad as it's reputation indicates because I've only seen the first two episodes. It's true. The first episode is actually not bad. It's one of the things where the 30-rock first episode is like, yeah, and then the studio 60 first episode was pretty good, definitely far and away the best ever.

So people like, oh wow.

And then yeah, history has been very, very kind to one of those shows. It's great and very unkind to the other. But yeah, I have a certain morbid fascination with it. I mean, it really is Aaron Sorkin at his worst and at his most ridiculously self-parodic. I mean, I've actually come to have a

Barifaction for air and sarcasm. It's written some pretty fucking amazing screenplays

Social network Charlie Wilson's war, like the motherfucker you can write, but he can also overwrite very, very vividly. And then the last kind of crazy twist in turn that my world of laps took was it got canceled by the AD club. I ran to 10th anniversary, which is weird. I guess at that point it's probably one of the longest running columns online. It also got to introduce the phrase Manic Dixie Dream Girl in the very first entry, which was on Elizabeth Town. And I get to felt like for no other fucking reason, like I coined this phrase that kind of captured the world to the point where I'm kind of proud of it and I'm kind of sick of it. But you know they allowed me to take my world of flop ops to my website, my personal website, Hey Three of its happy place. And that's been an amazing experience. I've written about some, again I can just kind of blow up the format. So two of the, two of the flops that I wrote about for, you know, sort of the eighth or eighth or eighth or eighth, I'm happy place version of my wrote of flops are Hillary Clinton's presidential campaign. And then they said I'm like the big, and then Donald Trump's first year in office. Yeah, very much a fiesto. I can't you a suggestion for my earflops. How about an EBS, and say on New Coke? That's, you know, the thing about that is there are certain things that I would love to do like carry the musical or, you know, Spider-Man, turn off the dark, but I can't or like for example, Jerry Lewis did an infamous talk show in the early 60s and he was the highest paid person on television and they gave basically carte blanche to either between an hour and a half or two hours of TV and nobody can do an hour and a half of two hours of TV like every night or every week. And it ended up just being this enormous, enormous, illiterate, it put out a dad in the papers

apologizing for it.

And I, and they got it, was a writer for it.

And I would love, love, love, love, love, love

to write about the Jerry Lewis show.

But I want to have an opportunity too,

just as I will probably never have an opportunity.

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