Author: Nathan Rabin

1938’s Reefer Madness occupies a special place in stoner lore. Originally conceived as an urgent message film about the dangers of the demon weed, it was rediscovered in the sixties and seventies by scruffy, long-haired countercultural types who grooved on the film’s all-around ineptitude, hysterical tone, manic overacting, and patently false portrayal of pot as…

If you’ve watched television at any point during the past ninety days, you’ve probably seen the latest ads from Old Navy, a brand that dispenses irony like VH1 serves up nostalgia: cheap, shameless, and unfiltered. In a commercial I cannot for the life of me get out of my head, a waxy Fran Drescher brays,…

Watching Arnold Schwarzenegger lumber his way through Terminator 3: Rise of the Machines, I was struck by a nagging, persistent quibble. Why on Earth would anybody build a 55-year-old android killing machine? That’s like building a sex robot modeled after Bea Arthur. Granted, at no point in T3 does the Austrian oak actually pull out…

When I heard about EMI’s deluxe re-issue of Ice Cube’s first four albums, I was struck with a strange sense of nostalgia for both the albums and the era they represent. Of course, nostalgia is kind of a quaint emotion to feel for ultra-violent, incendiary, unabashedly angry albums that viciously attack Jews, white men, women,…

Magicians occupy a peculiar place in American pop culture. Logically, they should be an anachronism, an antiquated relic of a time when simpletons were easily duped by non-digitally enhanced sleight-of-hand, a time when minstrel shows and vaudeville competed for ye olde American’s hard-earned entertainment dollar. After all, who could possibly be duped by an old-fashioned…