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Hey folks, been a while since I rapped at ya.

Recently I was a guest on the Fate, Luck & Karma podcast to talk about my latest book A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever. It was fun! Groovy times! Click here to check out the episode on YouTube. It’s also on Spotify and Apple.

My thanks to Dean (the host) and the West Midland Ghostbusters for having me on. And let me again thank everyone who has been reading and talking about A Convenient Parallel Dimension. It’s tough to promote a book these days. Well, unless you’re an actor with a memoir. The last piece of literature that seized the nation was written by Matthew Perry. I’m not immune; there’s a copy in my house. My review: this guy has problems money can’t fix.

Speaking of people with serious problems, every day I wake up and the top headline is always some variation of “Can DeSantis Beat Trump?” or “Trump Voters Feeling Their Loyalty Tested By DeSantis” and just once it would be nice to see “Ron DeSantis and Donald Trump Are Both Repugnant Fascists Who Deserve Zero Support And Should Be Frog Marched Into The Nearest Black Hole.” Some other good headlines would be “Nationwide Gun Buyback Program Ahead Of Firearms Ban Sees 100% Success Rate” and “Biden Reallocates $800 Billion From Military To Jump Start Free Health Care.”

Return of The Jedi was released 40 years ago today, which reminds me that the various special editions of the three earliest Star Wars movies have now been circulating longer than the original (and currently out of print) “regular” versions ever were. I subscribe to the belief that George Lucas only started re-editing his three most beloved films in 1997 so he would no longer have to pay his ex-wife Marcia her cut of the profits. I also sort of believe the rumor that George sold Star Wars to Disney on the condition that the original cuts never again see the light of day. Thank god for the bootleggers.

Do you enjoy my writing? Do you wish to express that by paying a nominal recurring fee? Then sign up for JG2LAND PREMIUM. At two bucks a month, it’s cheaper than an Arch Deluxe and grants you access to exclusive bonus content. What kind of bonus content? Here’s a list!

Aliens, Werewolves, Guys Who Look Like My Dad (coupla film reviews)

Touch My Monkey! The Fight Over The “Sprockets” Movie (Mike Myers saga)

Cartoons, Reviewed (numerous thoughts on animated classics)

Idle, Awkward Moment (deep dive on 1978 drama Moment by Moment)

Uncle Rump (review of 1995 horror film Rumpelstiltskin)

Robot Town (review of 1986 Transformers movie)

Greg, Paul, The Devil, & Mickey (deep dive on Paul Shaffer’s devil sitcom)

Of Wolfen And Man (deep dive on 1981 horror film Wolfen)

Ass My Kiss (deep dive on the official Kiss tribute record)

Too Hot To Stop (review of the insane Pierce Brosnan film Live Wire)

Witchy Woman (review of forgotten gem The Good Witch of Laurel Canyon)

The Individual Will Be Destroyed (review of The Parallax View)

The Anti-Remake Remake? (deep dive on Gus Van Sant’s Pyscho)

“Faerie Tale Theatre,” Reviewed (capsule reviews of every episode)

Danny And Sandy Control The Universe (review of Two of a Kind)

There’s plenty more where that came from, so get on board!


What else can I tell you? Trans rights now, trans rights forever. Season three of “Picard” is actually great (unlike the first two seasons of el stinko garbage). I’m working diligently on my next book. I saw a bluejay yesterday. Bluejays are awesome. Probably my favorite bird.

Save the environment!

Aliens, Werewolves, Guys Who Look Like My Dad: Hangar 18 and Silver Bullet, Reviewed

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Touch My Monkey! The Fight Over The “Sprockets” Movie

For JG2LAND PREMIUM Subscribers Only

For just $2 a month, you can subscribe to JG2LAND PREMIUM and unlock wonderful bonus content, like this deep dive into the legal slobber knocker that derailed a big screen version of “Sprockets.” Remember “Sprockets?” Hey, who could forget it?

Jurassics, Reviewed

My stepson wanted to watch all the Jurassic Park movies this week, so we did. I wasn’t too enthusiastic ahead of the 1993 original since I felt I’d seen it countless times and so many of its hallmark moments have been parodied to death, but before I knew it I was glued to the screen. This is a symphony of blockbuster filmmaking, a truly fulfilling experience. What’s the worst thing about the first Jurassic Park? They never explain why the triceratops is sick? That’s about it. I imagine the triceratops is in poor health because it’s a clone created for an amusement park. Just a wild guess!

I didn’t want Jurassic Park to end, but throughout The Lost World: Jurassic Park (1997) my brain was screaming for a reprieve. I’m astounded that this middling, creatively bankrupt sequel was also directed by Steven Spielberg. How many nondescript white guys stalking the jungle with guns do we need? Every action set piece is three minutes too long and a hundred decibels too loud. And bringing the T. Rex to San Diego — look, I’m not saying that’s a bad idea, I just think the way they handle it punctures the reality these films are trying to present. Still, Jeff Goldblum has some funny lines.

Jurassic Park III (2001) was directed by Joe Johnston, the guy who did The Rocketeer and Honey, I Shrunk The Kids, and that was the perfect energy to bring to this franchise. The spirit of true matinee adventure returns. Part tres also has enough new tricks up its sleeve to make it distinct. That said, the dinosaurs look better in the original, and I’m not entirely convinced that the Spinosaurus is a more dangerous foe than the T. Rex. I mean, I guess I’ll take their word for it.

I appreciate that Jurassic World (2015) just throws us into the bigger, better version of the founding attraction. There’s no preamble about who rebuilt the park and why. You know why! Humans are stupid! I was surprised how much I liked this sequel considering the number of clichés it upholds (broken family, smarter and more dangerous central dinosaur, raptors out the effin’ ass). As for Chris Pratt, I hate to kick a guy when he’s down (Chris Pratt is not actually down) but his work in Jurassic World is pure cheese.

With the franchise in danger of growing stale, the ridiculously titled Jurassic World: Fallen Kingdom (2018) takes the prehistoric action to strange new places (relatively speaking). If you haven’t seen this one yet I think it’s worth not spoiling anything for yourself. I will say the villains in Fallen Kingdom are some real mustache-twirlers and Bryce Dallas Howard’s character starts to get a decent arc. Chris Pratt continues to be a corny yutz. Charlie Chaplin’s daughter is also in this killer dinosaur movie.

And so the saga concludes with Jurassic World: Dominion (2022), an entry many people take issue with because it ignores the major plot point set up at the end of Fallen Kingdom (thereby sort of ignoring the dinosaurs altogether). My problem with Dominion is that jettisons a couple of the more interesting characters introduced in the previous film. Well, they had to make room for the three returning stars from the original Jurassic Park. They don’t really do anything aside from wear their old costumes, get recognized by children, and reiterate that evil is afoot. Dominion probably should have been tightened up in editing but it is not as bad as the heads would have you believe.

My stepson gave each Jurassic Park movie more or less the same review — “That was great, but a little intense in parts.”

Cartoons, Reviewed

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No More Seamy Underbellies

“I don’t think having [a family] to protect would make me act conservatively. Rather, having something to protect is what enables my becoming a radical.”

These words, spoken decades ago by Michiro Endo, have deeply resonated with me in the past five or six years. I’ve always been on the radical side and becoming a husband and stepfather has only affirmed and heightened those beliefs. Especially since concepts like inclusion and representation and racial equality and economic equality and demilitarization are considered extremely radical by the powers that be. I want to do everything I can to dismantle the systems that work against these ideologies.

Excuse me for belaboring a point but it’s depressing to watch a film like The Candidate or to hear a song like “Suspect Device” and realize a 50 year old piece of art is still applicable as criticism against our socio-political climate. Will the injustice and oppression ever end? Don’t we deserve a more enlightened world? What the fuck is it going to take?

The people running this country act like doing the right thing in any given situation is utterly toxic. Look at the pundits clucking that Trump’s indictment is a mistake because it opens up the other former presidents to indictment. Good! Many of former presidents have committed crimes and should be held accountable! Indict every single one of them and then let’s try constructing a new kind of government where a base line of criminal malfeasance on all levels can’t thrive. No more seamy underbellies.

I wish I had been more vocal and proactive about all this stuff when I was younger. To that end, I often don’t feel great that my first book is about the Misfits, a band with so many members who revealed themselves to be right wingers or conspiracy driven (one of them went to January 6th!). I’ve never wanted anyone to think I validate those beliefs or hold them myself. They sang about UFOs and werewolves. Who could have known?

Well, that’s me on my soapbox. We now return to our regularly scheduled programming. I hear the new season of “The Mandalorian” is bad.

News, Views, Commercials

Great news — Pathmark is offering delicious, refreshing Savarin coffee for just $2.19 a pound. Offer only good if you currently live in July of 1984.

Turning to the literary world, my book A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever received a 10 out of 10 from DIS/MEMBER. Reviewer Justin Partridge called it “a triumph” and “a towering examination of Ghostbusters from soup to nuts.” Hey, that’s some serious critical acclaim. Thanks, Justin.

A Convenient Parallel Dimension is out now where ever fine books are sold. There are also ebook and audiobook versions. And here’s an incomplete list of libraries where you can read it for free: Denver Public, Indianapolis Public, Allen Country (Indiana) Public, Cleveland Public, Los Angeles Public, New York Public, Queens Public, Newport (Oregon) Public, the Firestone Library at Princeton University, the Sterling Memorial Library at Yale University, and the Library of Congress.

The ghost heads are buzzing right now because the sequel to Ghostbusters: Afterlife began filming last week. There was also some casting news, which kicked off the usual round of “that guy’s not funny” and “that guy’s too woke” and “where the hell is Rick Moranis?” I don’t care who they put in Afterlife 2 (the working title is actually Firehouse). I’m just curious to see where they go with the story. I enjoy Afterlife but it has third act problems and I have trouble imagining how they can build from that. Well, I guess that’s why I’m in the nonfiction biz.

Another thing I’m curious about with this new Ghostbusters is how many people working on it will get COVID. The virus is still everywhere, continuing to debilitate and kill thousands of people every single day. Lately there’s been an uptick in famous actors complaining about COVID restrictions on film sets. Tilda Swinton made headlines a couple weeks ago when she announced she wouldn’t be wearing a mask on the set of her next movie (even though the filmmakers asked her to). Swinton’s already had COVID and she believes she has enough antibodies and faith for protection.

I hate to rain on your parade, Tilda, but it’s pretty common knowledge at this point that antibodies created during one infection aren’t proven to shield you from future infection. Also, why aren’t you worried about protecting the other people on this film set? Especially the crew members who aren’t worth $14 million? Crew members who can’t afford to miss any work and certainly don’t want to develop COVID-related disabilities? Now they’ll feel pressured not to mask up because a dumb rich actress made a big stink about preferring to see people’s faces.

By the way, Swinton’s 2021 bout with COVID left her bedridden for weeks and by her own account she’s still struggling with brain fog. Well, I guess a functioning memory isn’t that important when you have millions of dollars.

The team behind the new Ghostbusters has been posting behind-the-scenes shots since filming started; so far, I’ve only seen one mask, worn by director Gil Kenan. With so many younger actors involved in this production, I keep thinking about how the people who make “Wednesday” had their 20 year old star Jenna Ortega perform an intense dance routine while she was sick with COVID. She woke up with obvious COVID symptoms and they had her start filming while they were waiting on the test results. Stuff like that probably happens every day.

If I was king of the world, I’d force every actor who is worth more than $10 million to put a significant chunk of their money into a collective account for below the line film set employees. Then those employees could afford to take some time off and Hollywood could stop producing content until the virus is actually under control. In the absence of Doctor Strange 14: Spider-Man’s Cousin’s Uncle’s Revenge, we the home viewers could entertain ourselves by watching old movies. Think about all the old movies you’ve never seen. Think about all the foreign movies you’ve never seen. What better time to watch Berlin Alexanderplatz than right now?

Another cool thing you could do right now is read some of my recent writing. Here’s something I wrote about the movie where Bud Cort plays Hitler’s son (it’s a comedy!). Here’s a piece I wrote about UFOria, the movie where Cindy Williams is a UFO nut. Here’s some stuff I couldn’t fit into my Ghostbusters book. Here’s a story about how I tried to write a book about Dead Kennedys.

Did you know this blog has a paid tier? For just $2 a month (that’s less than a pound of Savarin!), you can join JG2LAND PREMIUM and unlock exclusive content like my examination of the infamous 1978 romantic drama Moment by Moment or my history of the Satanic Paul Shaffer sitcom “A Year at The Top” or my review of the cartoon Transformers movie.

Who knows what amazing stuff I’ll put behind this paywall in the future? The two bucks also helps to support all the free to read content I post on here. To join, click one of those premium links; it’ll bring up the prompt. Wow, easy.

In sports news, I can’t believe the Academy Awards left Gaylord Perry out of the “in memoriam” this year.

What else can I tell ya? My stepdaughter’s really been getting into System of a Down lately. Toxicity is a great album. Their material stands the test of time, which is more than I can say for most of those goddamn Screeching Weasel records I was listening to around the turn of the century.

The Bud Cort Hitler Movie

There’s a theory that the 1979 comedy Son of Hitler, in which Bud Cort portrays a timid woodworker who becomes a pawn in a Nazi resurgence because he is the illegitimate son of Adolf Hitler, was a real life application of The Producers. That is to say, an abysmal movie made deliberately so in the belief failure is often more profitable than success. Maybe this is too fanciful a thought — Son of Hitler may have just been a money laundering scheme. After all, it was conceived by one of Germany’s most famous bank robbers.

Burkhard Driest was a promising law student in the 1960s before he threw caution to the wind and plundered five and a half thousand marks from a Sparkasse savings bank. Driest spent three years in jail for his crime, after which he wrote the semi-autobiographical novel Die Verrohung des Franz Blum (The Brutalization of Frank Blum). In 1977, while working as an extra in Sam Peckinpah’s Cross of Iron, Driest conjured up an idea about a movie involving Hitler’s progeny. “I always thought Bud Cort would be good as Hitler’s son,” he later remarked, “because in a way he’s a very strong contrast to any kind of Hitlerism.”

Cort said he signed on for Son of Hitler because Driest and producer Gerg Goering (ahem — no relation to Hermann) hired Rod Amateau to direct. “I knew it would be important if Amateau was involved,” Cort enthused to The Hollywood Reporter. Amateau was probably best known for directing nearly every episode of “Dobie Gillis,” but he also worked on “Mr. Ed” and “My Mother The Car.” If people my age know Rod Amateau as the director of anything, it’s The Garbage Pail Kids Movie. God almighty, what a résumé.

As you might imagine, studios were not jumping at the chance to finance Son of Hitler (originally titled Hitler’s Son). The film’s $5 million budget was raised through a gaggle of private investors on both sides of the Atlantic. Authorities in West Germany tried to prevent Son of Hitler from shooting in their country, but there was apparently no stopping this bad idea. “We didn’t run into any overt animosity when we were shooting in Munich,” Cort said. “Only groans…our working title was Return to Munich but when we’d confide to someone we were doing a picture about a supposedly fictional son of Adolph Hitler, they’d groan and say, ‘We’re tired of Hitler and dragging all that up again.'”

It sounds like there was more animus between director and star. Amateau described Cort as neurasthenic to visiting Los Angeles Times reporter Bart Mills. Cort conceded that he was difficult. “I do fight for things other actors would let pass. Do I call Hitler my daddy or my papa? I think it should be papa. The authors heard about my changing it and they had a row. I had a stroke. There was a lot of screaming. I said I wanted to call my lawyer and my agent. It’s in my contract that I approve all changes. Eventually I agreed to reshoot the line their way. I did the worst acting I could.”

Dan Warfield from Stars & Stripes was also granted a set visit. At one point, he suggested to Cort that Son of Hitler’s premise was threadbare. “It could be another M*A*S*H,” the actor retorted. Going even further, co-star Peter Cushing, who plays the film’s top ranking Nazi, told Warfield that Son of Hitler “could be another Star Wars.” “Audiences are so unpredictable,” Cushing continued. “This is the sort of picture that will be sold by word of mouth.”

Or not sold at all. Apart from a special screening in London in January 1979, it’s unclear if Son of Hitler was ever actually released anywhere in an official capacity. A print was liberated at some point — Son of Hitler is on YouTube in its entirety. Five minutes was enough for me. Cort’s doe-eyed yokel, replete in lederhosen, mugs like there’s no morgen as an elder in ill health attempts to reveal his true heritage. Naturally, a fatal heart attack occurs between the words “Adolf” and “Hitler.” Interspersed are scenes of Cushing and the brute Leo Gordon exchanging dialogue that would embarrass Rock N’ Roll High School Forever.

Then comes the title sequence, where Son of Hitler is written in what looks like crayon over newsreel footage of Hitler and the whole thing is scored by a “comical” military march. Sorry folks, that’s where I draw the line with this Lil’ Hitler garbage. I felt like I was being poisoned. It’s my understanding that the film eventually reveals that Cort’s character has never even heard of his real dad and would rather find a girlfriend than lead the Fourth Reich. Apparently, hijinks ensue.

Son of Hitler mastermind Burkhard Driest remained a scoundrel of repute in the decades that followed. Amongst his notable later scandals was a 1995 tv series where a scripted stabbing (his own) was presented as documentary fact. Driest did a 180 to Buddhism in the 21st Century, saying in 2009, “There is no longer any reason to build up any aggression against me. I can hardly lift a stone, let alone a club, so take it easy.” Driest died in 2020 following a long illness.

As for Bud Cort, I’ve heard he wasn’t thrilled with what ended up on the screen in Son of Hitler and derided the movie as “a booger.” Well, they can’t all be Harold and Maude.

If you enjoyed this piece, please consider subscribing to the premium version of JG2LAND. Exclusive content (like my review of the 1995 horror movie Rumpelstiltskin or my look back at the Paul Shaffer devil sitcom “A Year At The Top”) can be unlocked for just $2 a month.

Unseen Filmed Object: The Long, Strange History of UFOria

UFOria is the best romantic comedy about aliens ever made, although it is not actually about aliens. It is, as The Hollywood Reporter put it, about “the need to believe in something, the potency of individuality, [and] the fine line between celebrity for its own sake and espousing a cause.” Cindy Williams stars as a rural grocery store clerk named Arlene who believes she has been chosen to lead humanity onto a space craft for our next phase of existence. Fred Ward is her love interest Sheldon, a hapless drifter who only cruised into town to make some dough with his phony evangelist buddy (Harry Dean Stanton). Surrounding them are a flock of hilarious townies and a country music soundtrack that fits the film like a glove.

Variety called UFOria “a snappy, beautifully written piece of work.” The New York Times raved that the film was perfectly cast and compared it to Preston Sturges. Unfortunately for the public, UFOria was as fleeting as a saucer in the sky. There were only sporadic appearances after its 1980 filming. Today, UFOria only available in a low quality VHS upload to YouTube. So why was this movie suppressed? And what’s keeping it that way?

The story of UFOria begins in 1975. That’s when writer and director John Binder read an article in The Los Angeles Times about Marshall Applewhite and Bonnie Nettles, the two cult leaders alternately known as Bo and Peep. Bo and Peep were trying to convince people that Jesus had left Earth on a space ship and that another ship would be coming soon for the rest of us. “I remember thinking it could be a funny movie but only if the spaceship really comes,” Binder said. “I mean, Spielberg had not made Close Encounters by that point.”

Binder was already in movies — he’d worked sound for 1970’s Woodstock and for 1972’s Marjoe, another Oscar-winning documentary about (surprise surprise) a phony evangelist. Binder wrote UFOria, originally called Escape, and shopped it around. Cindy Williams was interested by the time the script got to Melvin Simon Productions; Simon agreed to get moving on UFOria and inked a deal with their partner 20th Century Fox for distribution. The film was shot about an hour’s drive north of Los Angeles in the cozy confines of Lancaster, California. Photography was completed by March 1981. Seven months later, the MPAA gave UFOria a PG rating. Release was imminent.

Or so it seemed. Suddenly UFOria vanished, shelved because 20th Century Fox executives got cold feet. An angry Binder vented about the situation to Rolling Stone in a June 1983 issue. “This film would have been distributed if another company had had it. It might have encountered some difficulties, but if the picture had been made by Dan Melnick or something like that, that company would have found a way to sell it. Certain choices were made.”

Binder was also frustrated with Melvin Simon president Milton Goldstein for not holding Fox to the terms of the distribution contract. Goldstein responded by saying UFOria’s shelving was a mutual decision between the production companies because they were still trying to figure out the correct marketing angle. “Sure, we can enforce the contract,” Goldstein said. “But we feel it needs a special type of distribution. We’re still trying to find a handle on which way to market it. We don’t want to take a risk on a special picture.”

Binder conceded that UFOria was a different kind of animal. “The movie’s very unusual. The humor’s a little surprising. It has a peculiar tone to it. It’s funny one minute, it’s slightly serious the next. It runs on sort of two tracks. There is some letdown because people are expecting a Close Encounters kind of thing, and it’s not. I thought that mostly younger people felt they were being hoodwinked with all the humor because it doesn’t have that visceral payoff that kids are used to. Kids do not handle irony anymore.” On top of that, there was the obvious problem with UFOria’s name, not to mention the fact movies set in our “redneck” heartland were rarely box office winners.

Binder also credited Melvin Simon with continuing to pay interest on UFOria’s $5 million dollar budget during this release hiatus instead of simply writing the film off for tax credit. As fate would have it, by the time of the Rolling Stone article, UFOria had been picked up for distribution by Universal Pictures. Alas, Universal didn’t really know what to do with the film either. Against Binder’s wishes, the studio refused to screen UFOria for critics or open it in large metropolitan cities, opting instead to do test screenings in Peoria and Rockford under the title Hold On To Your Dreams. The movie did not, as the old saying goes, play in either Illinois city. UFOria only survived after this because of Charles Lippincott, a marketing bigwig at Lucasfilm, who saw it, loved it, and got the movie into the 1984 Filmex festival in Los Angeles.

The Filmex screening delighted reviewers. “Unquestionably a pleasure,” wrote Variety. “A tasty slice of contemporary Americana that’s an oasis amid so much somber fare,” said The Los Angeles Times. Theater chains started requesting UFOria. The movie enjoyed a seven week run in Boston in 1985. That same year, UFOria ran for a week at the Nuart Theatre in West Los Angeles. The Los Angeles Times was there: “If anything, [UFOria] seems even more fun than it did when it was shown at Filmex last year.”

A New York premiere scheduled at the Bleecker Street Cinema for January 3rd, 1986 was tempered by Universal’s refusal to fork over any budget for advertising. Bleecker’s booker J.D. Pollack hired publicist Lauren Hyman to spread the word about UFOria. This attracted New York Times film critic Vincent Canby, who loved the movie.

“It’s anybody’s guess why it’s taken so long [for UFOria] to get here,” Canby wrote in his review, “though somebody seems to have goofed…it’s about the most enjoyable movie of its kind since Alex Cox’s Repo Man and Jonathan Demme’s Handle With Care, both of which it resembles…[John Binder] lets his comedy build through a leisurely accumulation of bizarre details, as well as through dialogue that sounds absolutely accurate, even at its craziest. The film is also perfectly cast. As Arlene, Miss Williams comes across as someone who’s as utterly sweet and sincere as she is possibly schizoid.”

In a later column, Canby declared, “Every January should have at least one movie like UFOria.” Bleecker Street Cinema showings began selling out, and Binder felt vindicated. Universal was quick to remind the director and anyone else reading reports about UFOria’s comeback story that art house success was not real world success. Even the meager advertising budget the studio had spent wasn’t being recouped by the film’s box office. A true wide release never came, unless you count the VHS of UFOria that eventually arrived.

UFOria is not on DVD, Blu-Ray, Netflix, Hulu, or any other streaming service. Some have cited the expensive soundtrack, which includes music by Brenda Lee, Hank Williams, Jr., Waylon Jennings (a hero to Ward’s character in the film), and John Prine. I say Universal can afford to take a loss on this one. It’s a gem. Expertly restore it, lovingly package it, remind viewers what we had with Cindy Williams, Fred Ward, and Harry Dean Stanton. I’m sure Minions: The Rise of Gru brought in enough to finally put UFOria out properly.

There is one chilling postscript to UFOria. The cult that inspired Binder to write the movie in 1975 was, of course, Heaven’s Gate, which made grim headlines in March of 1997 after 39 members were found dead in a mass suicide near San Diego. It wasn’t clicking when Binder heard the news until his wife mentioned Bo and Peep. Bo, alias Marshall Applewhite, was among the dead (Bonnie “Peep” Nettles died from cancer in 1985). Binder let out a hollow chuckle in disbelief, his emotions tinged with sorrow.

“Back in the ’70s, you didn’t take UFO stuff seriously,” Binder told The Los Angeles Times shortly thereafter. “Bo and Peep looked like a hundred other prophets riding around in Volkswagen buses. They were nuts, fruitcakes, but they were American fruitcakes and basically harmless. You could relax and have fun with it.”

If you enjoyed this piece, please consider subscribing to the premium version of JG2LAND. Exclusive content (like my review of the 1995 horror movie Rumpelstiltskin or my look back at the Paul Shaffer devil sitcom “A Year At The Top”) can be unlocked for just $2 a month.

Billionaires Should Not Exist

Bloody Disgusting has published a very flattering review of my new book A Convenient Parallel Dimension: How Ghostbusters Slimed Us Forever. Ike Oden writes that ACPD is “the definitive, unexpurgated story of the beloved film franchise and its central players. Finally, ghostheads have their own gospel, a Tobin’s Spirit Guide of thoroughly researched and thoughtfully disseminated Ghostbusters history.”

Oden sums up the book as “an addictively written, utterly engrossing read, and an absolute must-have stocking stuffer for fans this holiday season.” Thanks! Although I don’t think the book will fit in a stocking. Maybe you should wrap it up with a nice ribbon.

Remember, if you buy A Convenient Parallel Dimension directly from the publisher right now you can save 35% off with the code 22JOYSALE. This is a cool deal. It saves you some money and ensures that absolutely no money goes to Jeff Bezos. Sale ends on January 6th, 2023.

Speaking of odious billionaire scum, Elon Musk was making it feel extremely gross to remain on Twitter so I deactivated my account. It’s a bummer. For all its pre-Elon problems, Twitter was tough to beat as a news aggregate. There were tons of people on there who clued me in on social issues that never got amplification anywhere else. It was an awesome comedy aggregate too. The hardest laughs in the past decade came from anonymous weirdos tweeting like they had nothing to lose. Most importantly, I met my wife on Twitter.

So Twitter was a valuable resource in those respects and it sucks that the world’s richest edgelord is tanking it because all his kids hate him and his all his ex-wives hate him and everyone sensible person in the world hates him because he’s perpetually full of shit and his cars keep murdering people. Just another reason this country needs a maximum wage. No one should be able to spend $44 billion on a utility just so they can treat it like a pile of Legos. Billionaires should not exist!

Meanwhile, the rest of us are just trying to afford groceries. That reminds me — if you enjoy my writing, please consider becoming a paid subscriber to this blog. For the nominal fee of $2 a month, JG2LAND PREMIUM unlocks a tier of exclusive content that’s continuously growing. Here are the pieces subscribers have enjoyed thus far:

Ass My Kiss (history behind KISS tribute album Kiss My Ass)

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The Individual Will Be Destroyed (review of The Parallax View)

The Anti-Remake Remake? (history behind Gus Van Sant’s Psycho)

“Faerie Tale Theatre,” Reviewed (reviews of Shelley Duvall’s masterwork)

Danny And Sandy Control The Universe (review of Two of a Kind)

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Enjoy your holiday season and remember, the pandemic is not over. Please keep masking and avoiding large crowds. Let’s make 2023 the safest year yet. I mean, as safe as we can be in a country with no gun control.