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** January 1984: Replay of Drew mock-retching during the discussion of ''Surf II''
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* RunningGag: Certain sound bites.
** When Drew and/or Scott are really (often sarcastically) impressed by something, he'll say "Wow!" -- promptly echoed by Eddie Deezen saying "Woooow!"
** When Drew and/or Scott are really (often sarcastically) impressed by something, he'll say "Wow!" -- promptly echoed by Eddie Deezen saying "Woooow!"
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* RunningGag: Certain sound bites.
RunningGag:
** When Drew and/or Scott are really (often sarcastically) impressed by something, he'll say "Wow!" -- promptly echoed by a soundbite of Eddie Deezen saying "Woooow!"
** When Drew and/or Scott are really (often sarcastically) impressed by something, he'll say "Wow!" -- promptly echoed by a soundbite of Eddie Deezen saying "Woooow!"
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** Drew and Scott constantly forgetting to review ''Hell Night'', which they should have covered in the December 1981 episode, becomes this in the last few episodes of 1982. [[spoiler: Resolved in the stinger of the January 1983 episode, since it was a thin month.]]
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* TheStinger: In addition to the traditional EveryEpisodeEnding, some episodes add this afterward.
** June 1980: The opening instrumental stretch of [[Film/TheBluesBrothers "Everybody Needs Somebody"]]
** June 1980: The opening instrumental stretch of [[Film/TheBluesBrothers "Everybody Needs Somebody"]]
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* TheStinger: In addition to the traditional EveryEpisodeEnding, some episodes add this afterward.
this.
** June 1980:The Instrumental opening instrumental stretch of [[Film/TheBluesBrothers "Everybody Needs Somebody"]]Somebody"]]
** June 1981: [[Film/SupermanII "ZOD!"]] (over the Embassy Pictures theme no less)
** Best of 1981: [[Film/RaidersOfTheLostArk "The Raiders March"]]
** June 1980:
** June 1981: [[Film/SupermanII "ZOD!"]] (over the Embassy Pictures theme no less)
** Best of 1981: [[Film/RaidersOfTheLostArk "The Raiders March"]]
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* ExcitedShowTitle: Drew and Scott don't think this trope should be used by anyone besides the Zucker-Abrahams-Zucker team, but Troma especially liked using it for wacky comedies (''Waitress!'', ''Stuck on You!'', etc.) after ''Film/{{Airplane}}'' was a hit. Whenever they have to cover one of those films they ponder how exactly its title should be read out loud.
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* RunningGag: Certain sound bites.
** When Drew and/or Scott are really (often sarcastically) impressed by something, he'll say "Wow!" -- promptly echoed by Eddie Deezen saying "Woooow!"
** "Dabney Coleman is first-rate!" is a cheeky interview soundbite from the man himself '''always''' brought up when Coleman appears in a film. Drew and Scott regard him as the patron saint of the podcast.
** When Drew and/or Scott are really (often sarcastically) impressed by something, he'll say "Wow!" -- promptly echoed by Eddie Deezen saying "Woooow!"
** "Dabney Coleman is first-rate!" is a cheeky interview soundbite from the man himself '''always''' brought up when Coleman appears in a film. Drew and Scott regard him as the patron saint of the podcast.
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* SomethingCompletelyDifferent: Starting with the 1983 episodes, occasionally the show covers a production that doesn't fit the stated criteria of a feature film that saw a U.S. theatrical release, either because it was a huge cultural event on its own or was ''supposed'' to see a release but was cancelled.
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* SomethingCompletelyDifferent: Starting with the 1983 episodes, occasionally the show covers a production that doesn't fit the stated criteria of a feature film that saw a U.S. theatrical release, either because it was a huge cultural event notable on its own or was ''supposed'' to see a release but was cancelled.
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** November 1983: ''Film/TheDayAfter'' (The most famous TV movie of the decade; also compared and contrasted with ''Testament'', a similar post-nuclear holocaust drama which was made for television but was sent to theaters the same month)
** December 1983: [[Music/{{Thriller}} "Thriller"]] (The most famous music video of the decade) '''and''' ''WesternAnimation/MickeysChristmasCarol'' (Disney animated featurette attached to a reissue of ''Disney/TheRescuers'')
** December 1983: [[Music/{{Thriller}} "Thriller"]] (The most famous music video of the decade) '''and''' ''WesternAnimation/MickeysChristmasCarol'' (Disney animated featurette attached to a reissue of ''Disney/TheRescuers'')
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** November 1983: ''Film/TheDayAfter'' (The most famous TV movie of the decade; also compared and contrasted with ''Testament'', a similar post-nuclear holocaust drama which was made for television but was sent to theaters the same month)
** December 1983: [[Music/{{Thriller}} "Thriller"]] (The most famous music video of the decade) '''and'''''WesternAnimation/MickeysChristmasCarol'' ''Disney/MickeysChristmasCarol'' (Disney animated featurette attached to a reissue of ''Disney/TheRescuers'')
** December 1983: [[Music/{{Thriller}} "Thriller"]] (The most famous music video of the decade) '''and'''
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* SomethingCompletelyDifferent: Starting with the 1983 episodes, occasionally the show covers a production that doesn't fit the stated criteria of a feature film that saw a U.S. theatrical release, either because it was a huge cultural event on its own or was ''supposed'' to see a release but was cancelled.
** June 1983: ''Film/TheReturnOfCaptainInvincible'' (Not released in the U.S. because the distributor went belly-up '''one week''' before it was to open; previously discussed with screenwriter Steven de Souza in a bonus interview episode)
** November 1983: ''Film/TheDayAfter'' (The most famous TV movie of the decade; also compared and contrasted with ''Testament'', a similar post-nuclear holocaust drama which was made for television but was sent to theaters the same month)
** December 1983: [[Music/{{Thriller}} "Thriller"]] (The most famous music video of the decade) '''and''' ''WesternAnimation/MickeysChristmasCarol'' (Disney animated featurette attached to a reissue of ''Disney/TheRescuers'')
** June 1983: ''Film/TheReturnOfCaptainInvincible'' (Not released in the U.S. because the distributor went belly-up '''one week''' before it was to open; previously discussed with screenwriter Steven de Souza in a bonus interview episode)
** November 1983: ''Film/TheDayAfter'' (The most famous TV movie of the decade; also compared and contrasted with ''Testament'', a similar post-nuclear holocaust drama which was made for television but was sent to theaters the same month)
** December 1983: [[Music/{{Thriller}} "Thriller"]] (The most famous music video of the decade) '''and''' ''WesternAnimation/MickeysChristmasCarol'' (Disney animated featurette attached to a reissue of ''Disney/TheRescuers'')
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* SomethingCompletelyDifferent: Starting with the 1983 episodes, occasionally the show covers a production that doesn't fit the stated criteria of a feature film that saw a U.S. theatrical release, either because it was a huge cultural event on its own or was ''supposed'' to see a release but was cancelled.
** June 1983: ''Film/TheReturnOfCaptainInvincible'' (Not released in the U.S. because the distributor went belly-up '''one week''' before it was to open; previously discussed with screenwriter Steven de Souza in a bonus interview episode)
** November 1983: ''Film/TheDayAfter'' (The most famous TV movie of the decade; also compared and contrasted with ''Testament'', a similar post-nuclear holocaust drama which was made for television but was sent to theaters the same month)
** December 1983: [[Music/{{Thriller}} "Thriller"]] (The most famous music video of the decade)
** June 1983: ''Film/TheReturnOfCaptainInvincible'' (Not released in the U.S. because the distributor went belly-up '''one week''' before it was to open; previously discussed with screenwriter Steven de Souza in a bonus interview episode)
** November 1983: ''Film/TheDayAfter'' (The most famous TV movie of the decade; also compared and contrasted with ''Testament'', a similar post-nuclear holocaust drama which was made for television but was sent to theaters the same month)
** December 1983: [[Music/{{Thriller}} "Thriller"]] (The most famous music video of the decade)
to:
** June 1983: ''Film/TheReturnOfCaptainInvincible'' (Not released in the U.S. because the distributor went belly-up '''one week''' before it was to open; previously discussed with screenwriter Steven de Souza in a bonus interview episode)
** November 1983: ''Film/TheDayAfter'' (The most famous TV movie of the decade; also compared and contrasted with ''Testament'', a similar post-nuclear holocaust drama which was made for television but was sent to theaters the same month)
** December 1983: [[Music/{{Thriller}} "Thriller"]] (The most famous music video of the decade)
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** June 1983: ''Film/TheReturnOfCaptainInvincible'' (Not released in the U.S. because the distributor went belly-up '''one week''' before it was to open; previously discussed with screenwriter Steven de Souza in a bonus interview episode)
** November 1983: ''Film/TheDayAfter'' (The most famous TV movie of the decade; also compared and contrasted with ''Testament'', a similar post-nuclear holocaust drama which was made for television but was sent to theaters the same month)
** December 1983: [[Music/{{Thriller}} "Thriller"]] (The most famous music video of the decade)
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The format is simple: Drew and Scott, who both came of age as huge movie geeks in TheEighties, examine virtually every film to receive a theatrical release in the United States of America in the 1980s. Each episode, released biweekly, covers one month's worth of releases (save for the wrap-up "Best of 198[X]" episodes following each December 198[X] installment); so long as a movie played in a theater it warrants ''some'' discussion. The critics' aim is to move beyond the SmallReferencePools version of the decade that saw UsefulNotes/TheBlockbusterAgeOfHollywood formally unfold -- examining not only landmark blockbusters and trendsetters like ''Film/RaidersOfTheLostArk'', ''Film/{{Ghostbusters}}'', ''Film/Batman1989'', the teen comedies of Creator/JohnHughes, the SlasherFilm crush, etc., but also famous flops, cheap cash-ins, forgotten success stories, foreign imports, short-lived and/or oddball trends, reissues of older films, and early stabs at independent cinema...all in an age when cable and home video burst onto the scene and multiplexes were exponentially multiplying across the country.
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The format is simple: summed up by that above OpeningNarration: Drew and Scott, who both came of age as huge movie geeks in TheEighties, examine virtually every film to receive as many films that received a theatrical release in the United States of America in the 1980s. that decade as possible. Each episode, released biweekly, covers one month's worth of releases (save for the wrap-up "Best of 198[X]" episodes following each December 198[X] installment); so long as a movie played in a theater it warrants ''some'' discussion.installment). The critics' aim is to move beyond the SmallReferencePools version of the decade that saw UsefulNotes/TheBlockbusterAgeOfHollywood formally unfold -- examining not only landmark blockbusters and trendsetters like ''Film/RaidersOfTheLostArk'', ''Film/{{Ghostbusters}}'', ''Film/Batman1989'', the teen comedies of Creator/JohnHughes, the SlasherFilm crush, etc., but also famous flops, cheap cash-ins, forgotten success stories, foreign imports, short-lived and/or oddball trends, reissues of older films, and early stabs at independent cinema...all in an age when cable and home video burst onto the scene and multiplexes were exponentially multiplying across the country.
* OpeningNarration: Quoted above, and read by the show's producer. The bonus episodes sometimes include variations on this -- the look at 1980s musicals has Scott read a paraphrased version of the opening narration of ''Theatre/LittleShopOfHorrors'' over the appropriate music from the film.
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* RealSongThemeTune: Actually an old theme tune repurposed: The opening music is the "Creator/HBO Feature Presentation" instrumental that the network used from 1982-99.
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* PeripheryDemographic: Discussed in-unvierse. In the November 1982 episode, Scott's startled to learn from Drew that the kung fu farce ''They Call Me Bruce?'' -- which involves, among other things, cocaine smuggling -- not only got a PG rating but ended up marketed as a children's movie and was a SleeperHit with that audience.
* RealWorldThemeTune: The opening music is the "Creator/HBO Feature Presentation" instrumental that the network used from 1982-99.
* RealWorldThemeTune: The opening music is the "Creator/HBO Feature Presentation" instrumental that the network used from 1982-99.
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* PeripheryDemographic: Discussed in-unvierse. In the November 1982 episode, Scott's startled to learn from Drew that the kung fu farce ''They Call Me Bruce?'' -- which involves, among other things, cocaine smuggling -- not only got a PG rating but ended up marketed as a children's movie and was a SleeperHit with that audience.
* RealWorldThemeTune:RealSongThemeTune: Actually an old theme tune repurposed: The opening music is the "Creator/HBO Feature Presentation" instrumental that the network used from 1982-99.
* RealWorldThemeTune:
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->(''The tape is popped out of the VCR and into a rewinder, and begins to be rewound.'')
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->(''Embassy Pictures logo music. The tape is popped out of the VCR and into a rewinder, and begins to be rewound.'')
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** October 1983: [[Film/TheDeadZone (crash) "The ICE is gonna BREAK!" "I want you out of here."]]
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** October 1983: [[Film/TheDeadZone (crash) "The ICE is gonna BREAK!" "I want you out of here."]]"]]
->(''The tape is popped out of the VCR and into a rewinder, and begins to be rewound.'')
->(''The tape is popped out of the VCR and into a rewinder, and begins to be rewound.'')
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--->'''Opening narration of each episode'''
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-->(A VHS tape is popped into a VCR and the Play button is pressed. The tape starts up, playing the "HBO Feature Presentation" promo music:)\\
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--->Opening narration of each episode
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-->(A VHS tape is popped into a VCR and the Play button is pressed. The tape starts up, playing the "HBO Feature Presentation" promo music:)\\
''There are few decades in film history that have been as scrutinized as the 1980s. But to really understand the decade and its movies, it's gonna take a couple someones who were there for it the first time around. Drew [=McWeeny=] and Scott Weinberg are ready to review every major film of the decade one month at a time to look at what worked then, what endures now, and how it felt to be there when it all went down. Turn back the calendar with us...it's the '80s All Over.''
--->Opening narration of each episode
''There are few decades in film history that have been as scrutinized as the 1980s. But to really understand the decade and its movies, it's gonna take a couple someones who were there for it the first time around. Drew [=McWeeny=] and Scott Weinberg are ready to review every major film of the decade one month at a time to look at what worked then, what endures now, and how it felt to be there when it all went down. Turn back the calendar with us...it's the '80s All Over.''
--->Opening narration of each episode
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* PeripheryDemographic: Discussed. In the November 1982 episode, Scott's startled to learn from Drew that the kung fu farce ''They Call Me Bruce?'' -- which involves, among other things, cocaine smuggling -- not only got a PG rating but ended up marketed as a children's movie and was a SleeperHit with that audience.
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* PeripheryDemographic: Discussed. Discussed in-unvierse. In the November 1982 episode, Scott's startled to learn from Drew that the kung fu farce ''They Call Me Bruce?'' -- which involves, among other things, cocaine smuggling -- not only got a PG rating but ended up marketed as a children's movie and was a SleeperHit with that audience.audience.
* RealWorldThemeTune: The opening music is the "Creator/HBO Feature Presentation" instrumental that the network used from 1982-99.
* RealWorldThemeTune: The opening music is the "Creator/HBO Feature Presentation" instrumental that the network used from 1982-99.
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* PeripheryDemographic: In the November 1982 episode, Scott's startled to learn from Drew that the kung fu farce ''They Call Me Bruce?'' -- which involves, among other things, cocaine smuggling -- not only got a PG rating but ended up marketed as a children's movie and was a SleeperHit with that audience.
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* PeripheryDemographic: Discussed. In the November 1982 episode, Scott's startled to learn from Drew that the kung fu farce ''They Call Me Bruce?'' -- which involves, among other things, cocaine smuggling -- not only got a PG rating but ended up marketed as a children's movie and was a SleeperHit with that audience.
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** ''Film/Used Cars''
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** ''Film/Used ''Used Cars''
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* PeripheryDemographic: In the November 1982 episode, Scott's startled to learn from Drew that the kung fu farce ''They Call Me Bruce?'' -- which involves, among other things, cocaine smuggling -- not only got a PG rating but ended up marketed as a children's movie and was a SleeperHit with that audience.
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** ''Film/UsedCars''
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** ''Film/UsedCars''''Film/Used Cars''
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* AlternateDVDCommentary: Patreon subscribers can get Drew and Scott's commentaries for the following films, all of which are personal favorites of theirs:
** ''Film/FlashGordon''
** ''Film/TheFog''
** ''Film/{{Popeye}}''
** ''Film/StrangeBrew''
** ''Film/TimeBandits''
** ''Film/UsedCars''
** ''Film/FlashGordon''
** ''Film/TheFog''
** ''Film/{{Popeye}}''
** ''Film/StrangeBrew''
** ''Film/TimeBandits''
** ''Film/UsedCars''
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Patreon supporters of the show are able to access additional content. The lowest donation level allows access to bonus episodes aired in the weeks between regular episodes, which have included interviews with performers from/creators of 1980s films, crossover discussions with hosts of other film-related podcasts, an overview of 1980s movie musicals, and a retrospective of the "career" of Allan Smithee (the once-standard credit given in place of the name of a director who wanted to disown their work, which saw a lot of use in this decade). The two higher levels allow access to, in turn, content from planned book companions to the podcast and video content featuring Drew and Scott.
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Patreon supporters of the show are able to access additional content. The lowest donation level allows access to bonus episodes aired in the weeks between regular episodes, which have included interviews with performers from/creators of 1980s films, crossover discussions with hosts of other film-related podcasts, an overview of 1980s movie musicals, and a retrospective of the "career" of Allan Smithee (the once-standard credit given in place of the name of a director who wanted to disown their work, which saw a lot of use in this decade).decade), and full-length commentaries for favorite films of theirs discussed in previous regular episodes. The two higher levels allow access to, in turn, content from planned book companions to the podcast and video content featuring Drew and Scott.
* SoBadItsGood: Discussed in-universe -- while Drew and Scott don't really believe in the concept of "guilty pleasures", they do admit to having a great time with certain ridiculous movies, such as ''Film/Hercules1983''.
** July 1982: Title screen music and lightcycle sound effects from the arcade version of ''VideoGame/{{Tron}}''
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** July 1982: Title screen music and lightcycle sound effects from the arcade version of ''VideoGame/{{Tron}}''
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** July 1982: Title screen music and lightcycle sound effects from the arcade version of ''VideoGame/{{Tron}}''
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** July 1983: Replay of Drew moaning that one of the XMeetsY ingredients of ''Film/{{Krull}}'' is "Butt", with Scott patiently replying "No, not 'butt'..."
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** July 1983: Replay of Drew moaning that one of the XMeetsY ingredients of ''Film/{{Krull}}'' is "Butt", with Scott patiently replying "No, not 'butt'..."
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* ClipShow: Drew and Scott '''really''' don't like this trope as applied to the WesternAnimation/LooneyTunes, as their discussions of ''The Looney, Looney, Looney Bugs Bunny Movie'' and its successors go to show -- though it's nothing compared to their sheer hatred of ''Trail of Franchise/ThePinkPanther'' (a movie built in part from {{Deleted Scene}}s of recently deceased Creator/PeterSellers) in the December 1982 episode.
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* ClipShow: Drew and Scott '''really''' don't like this trope as applied to the WesternAnimation/LooneyTunes, as their discussions of ''The Looney, Looney, Looney Bugs Bunny Movie'' and its successors go to show -- though it's nothing compared to their sheer hatred of ''Trail of Franchise/ThePinkPanther'' (a movie built in part from {{Deleted Scene}}s deleted scenes of recently deceased Creator/PeterSellers) in the December 1982 episode.
* EveryEpisodeEnding: The Embassy Pictures logo music, followed by the VHS tape being taken out of the VCR and popped into a rewinder, fading out on the sound of it being rewound.
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* UsefulNotes/NewHollywood: The first few years of the decade mark a transitional period between this and UsefulNotes/TheBlockbusterAgeOfHollywood, and Drew and Scott examine how the key creators of this period adapted -- or not.
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* UsefulNotes/NewHollywood: The first few years of the decade mark a transitional period between this and UsefulNotes/TheBlockbusterAgeOfHollywood, and Drew and Scott examine how the key creators of this period adapted -- or not.not.
* TheStinger: In addition to the traditional EveryEpisodeEnding, some episodes add this afterward.
** June 1980: The opening instrumental stretch of [[Film/TheBluesBrothers "Everybody Needs Somebody"]]
** January 1983: The sound effect of the rewinding tape is ''completely'' played through, followed by [[spoiler: Drew and Scott's review of ''Hell Night'' at last!]]
** July 1983: Replay of Drew moaning that one of the XMeetsY ingredients of ''Film/{{Krull}}'' is "Butt", with Scott patiently replying "No, not 'butt'..."
** October 1983: [[Film/TheDeadZone (crash) "The ICE is gonna BREAK!" "I want you out of here."]]
* TheStinger: In addition to the traditional EveryEpisodeEnding, some episodes add this afterward.
** June 1980: The opening instrumental stretch of [[Film/TheBluesBrothers "Everybody Needs Somebody"]]
** January 1983: The sound effect of the rewinding tape is ''completely'' played through, followed by [[spoiler: Drew and Scott's review of ''Hell Night'' at last!]]
** July 1983: Replay of Drew moaning that one of the XMeetsY ingredients of ''Film/{{Krull}}'' is "Butt", with Scott patiently replying "No, not 'butt'..."
** October 1983: [[Film/TheDeadZone (crash) "The ICE is gonna BREAK!" "I want you out of here."]]
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* AnnoyingLaugh: Scott loves Creator/DudleyMoore's performance in ''Film/{{Arthur}}''...aside from ''that cackle''.
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* ClipShow: Drew and Scott '''really''' don't like this trope as applied to the WesternAnimation/LooneyTunes, as their discussions of ''The Looney, Looney, Looney Bugs Bunny Movie'' and its successors go to show -- though it's nothing compared to their sheer hatred of ''Trail of Franchise/ThePinkPanther'' (a movie built in part from {{Deleted Scene}}s of recently deceased Creator/PeterSellers) in the December 1982 episode.
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* AnimationAgeGhetto: Discussed in-universe as something that didn't necessarily apply in this decade, with its first half especially featuring several animated features that were definitely not aimed at kids.
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* UsefulNotes/TheDarkAgeOfAnimation: This was the decade that saw the gradual transition into UsefulNotes/TheRenaissanceAgeOfAnimation, and Drew and Scott are fascinated by how until its tail end Disney was not dominant -- meaning the AnimationAgeGhetto didn't necessarily apply as many independent creators, TV studios, etc. were trying their hands at theatrical animated features with wildly varying levels of success.
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* UsefulNotes/TheDarkAgeOfAnimation: This was the decade that saw the gradual transition into UsefulNotes/TheRenaissanceAgeOfAnimation, and Drew and Scott are fascinated by how until its tail end Disney was not dominant -- meaning the AnimationAgeGhetto didn't necessarily apply as many independent creators, TV studios, etc. were trying their hands at theatrical animated features with wildly varying levels of success.
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* UsefulNotes/TheDarkAgeOfAnimation: This was the decade that saw the gradual transition into UsefulNotes/TheRenaissanceAgeOfAnimation, and Drew and Scott are fascinated by how until its tail end Disney was not dominant -- meaning the AnimationAgeGhetto didn't necessarily apply as many independent creators, TV studios, etc. were trying their hands at theatrical animated features with wildly varying levels of success.
* DumpMonths: Then as now, January-February and August-September periods tend to have much weaker overall slates than the rest of the year, but Drew and Scott note that ''November'' is prone to weak lineups too until 1983. They're also surprised to find that '''May 1983''' had only 11 then-new releases beyond ''Film/ReturnOfTheJedi'', at least seven of which were {{B Movie}}s -- or substantially worse, to the point that no less than '''four''' hits from the previous year (''Film/RockyIII'', ''Porky's'', ''Friday the 13th Part III'', and ''Film/{{Poltergeist}}'') were brought back as quickie reissues to fill out the month.
* DumpMonths: Then as now, January-February and August-September periods tend to have much weaker overall slates than the rest of the year, but Drew and Scott note that ''November'' is prone to weak lineups too until 1983. They're also surprised to find that '''May 1983''' had only 11 then-new releases beyond ''Film/ReturnOfTheJedi'', at least seven of which were {{B Movie}}s -- or substantially worse, to the point that no less than '''four''' hits from the previous year (''Film/RockyIII'', ''Porky's'', ''Friday the 13th Part III'', and ''Film/{{Poltergeist}}'') were brought back as quickie reissues to fill out the month.
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* FollowTheLeader: In-universe: Discussed regarding various trends that came and went throughout the decade. Along with the obvious ones -- the brief ThreeDMovie revival of 1981-83, several varieties of teen comedies, ''Film/MadMax'' imitations, etc. -- they also explore more esoteric subgenres: superhero comedies (''Hero at Large'', ''Film/{{Condorman}}'', ''Film/TheReturnOfCaptainInvincible'') as a low-budget response to ''Film/SupermanTheMovie'', horror spoofs in the wake of the SlasherFilm boom, the rise of sword-and-sorcery LowFantasy ''before'' ''Film/ConanTheBarbarian'' was released, etc.
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* FollowTheLeader: In-universe: Discussed regarding various trends that came and went throughout the decade. Along with the obvious ones -- the brief ThreeDMovie 3-D movie revival of 1981-83, several varieties of teen comedies, ''Film/MadMax'' imitations, etc. -- they also explore more esoteric subgenres: superhero comedies (''Hero at Large'', ''Film/{{Condorman}}'', ''Film/TheReturnOfCaptainInvincible'') as a low-budget response to ''Film/SupermanTheMovie'', horror spoofs in the wake of the SlasherFilm boom, the rise of sword-and-sorcery LowFantasy ''before'' ''Film/ConanTheBarbarian'' was released, etc.
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* FollowTheLeader: Discussed regarding various trends that came and went throughout the decade. Along with the obvious ones -- the brief ThreeDMovie revival of 1981-83, several varieties of teen comedies, ''Film/MadMax'' imitations, etc. -- they also explore more esoteric subgenres as superhero comedies (''Hero at Large'', ''Film/{{Condorman}}'', ''Film/TheReturnOfCaptainInvincible'') as a low-budget response to ''Film/SupermanTheMovie'', horror spoofs in the wake of the SlasherFilm boom, and the rise of sword-and-sorcery LowFantasy ''before'' ''Film/ConanTheBarbarian'' was released.
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* FollowTheLeader: In-universe: Discussed regarding various trends that came and went throughout the decade. Along with the obvious ones -- the brief ThreeDMovie revival of 1981-83, several varieties of teen comedies, ''Film/MadMax'' imitations, etc. -- they also explore more esoteric subgenres as subgenres: superhero comedies (''Hero at Large'', ''Film/{{Condorman}}'', ''Film/TheReturnOfCaptainInvincible'') as a low-budget response to ''Film/SupermanTheMovie'', horror spoofs in the wake of the SlasherFilm boom, and the rise of sword-and-sorcery LowFantasy ''before'' ''Film/ConanTheBarbarian'' was released.released, etc.
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* FollowTheLeader: Discussed regarding various trends that came and went throughout the decade. Along with the obvious ones -- the brief ThreeDMovie revival of 1981-83, several varieties of teen comedies, ''Film/MadMax'' imitations, etc. -- they also explore more esoteric subgenres as superhero comedies (''Hero at Large'', ''Film/{{Condorman}}'', ''Film/TheReturnOfCaptainInvincible'') as a low-budget response to ''Film/SupermanTheMovie'', horror spoofs in the wake of the SlasherFilm boom, and the rise of sword-and-sorcery LowFantasy ''before'' ''Film/ConanTheBarbarian'' was released.
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!!This podcast features examples and/or discussions of:
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!!This podcast features examples and/or discussions of:of:
*UsefulNotes/TheBlockbusterAgeOfHollywood: The primary focus of the show, though as the hosts often point out, it takes a few years to really solidify. June 1982, the month that was crowned by the release of ''Film/ETTheExtraTerrestrial'' but also featured ''Film/StarTrekIITheWrathOfKhan'', ''Film/TheThing'', and ''Film/BladeRunner'' among many others, is regarded as when the decade truly begins for cinema. 1984 is the point where Eighties ''culture'' truly takes hold on film.
*UsefulNotes/NewHollywood: The first few years of the decade mark a transitional period between this and UsefulNotes/TheBlockbusterAgeOfHollywood, and Drew and Scott examine how the key creators of this period adapted -- or not.
*UsefulNotes/TheBlockbusterAgeOfHollywood: The primary focus of the show, though as the hosts often point out, it takes a few years to really solidify. June 1982, the month that was crowned by the release of ''Film/ETTheExtraTerrestrial'' but also featured ''Film/StarTrekIITheWrathOfKhan'', ''Film/TheThing'', and ''Film/BladeRunner'' among many others, is regarded as when the decade truly begins for cinema. 1984 is the point where Eighties ''culture'' truly takes hold on film.
*UsefulNotes/NewHollywood: The first few years of the decade mark a transitional period between this and UsefulNotes/TheBlockbusterAgeOfHollywood, and Drew and Scott examine how the key creators of this period adapted -- or not.
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'''80s All Over'' is a movie review podcast launched in 2016 by film critics (and occasional filmmakers) Drew [=McWeeny=] and Scott Weinberg.
The format is simple: Drew and Scott, who both came of age as huge movie geeks in TheEighties, examine virtually every film to receive a theatrical release in the United States of America in the 1980s. Each episode, released biweekly, covers one month's worth of releases (save for the wrap-up "Best of 198[X]" episodes following each December 198[X] installment); so long as a movie played in a theater it warrants ''some'' discussion. The critics' aim is to move beyond the SmallReferencePools version of the decade that saw UsefulNotes/TheBlockbusterAgeOfHollywood formally unfold -- examining not only landmark blockbusters and trendsetters like ''Film/RaidersOfTheLostArk'', ''Film/{{Ghostbusters}}'', ''Film/Batman1989'', the teen comedies of Creator/JohnHughes, the SlasherFilm crush, etc., but also famous flops, cheap cash-ins, forgotten success stories, foreign imports, short-lived and/or oddball trends, reissues of older films, and early stabs at independent cinema...all in an age when cable and home video burst onto the scene and multiplexes were exponentially multiplying across the country.
Drew and Scott's discussions are often colored by memories of seeing the films when they were new -- or at least new to video. They explore how films are affected by the NostalgiaFilter and how SocietyMarchesOn and leaves some of them behind and makes some of them feel fresh, swap stories of encounters with people who made the films, and examine how the moviegoing experience has evolved both in the decade and beyond it.
Patreon supporters of the show are able to access additional content. The lowest donation level allows access to bonus episodes aired in the weeks between regular episodes, which have included interviews with performers from/creators of 1980s films, crossover discussions with hosts of other film-related podcasts, an overview of 1980s movie musicals, and a retrospective of the "career" of Allan Smithee (the once-standard credit given in place of the name of a director who wanted to disown their work, which saw a lot of use in this decade). The two higher levels allow access to, in turn, content from planned book companions to the podcast and video content featuring Drew and Scott.
!!This podcast features examples and/or discussions of:
The format is simple: Drew and Scott, who both came of age as huge movie geeks in TheEighties, examine virtually every film to receive a theatrical release in the United States of America in the 1980s. Each episode, released biweekly, covers one month's worth of releases (save for the wrap-up "Best of 198[X]" episodes following each December 198[X] installment); so long as a movie played in a theater it warrants ''some'' discussion. The critics' aim is to move beyond the SmallReferencePools version of the decade that saw UsefulNotes/TheBlockbusterAgeOfHollywood formally unfold -- examining not only landmark blockbusters and trendsetters like ''Film/RaidersOfTheLostArk'', ''Film/{{Ghostbusters}}'', ''Film/Batman1989'', the teen comedies of Creator/JohnHughes, the SlasherFilm crush, etc., but also famous flops, cheap cash-ins, forgotten success stories, foreign imports, short-lived and/or oddball trends, reissues of older films, and early stabs at independent cinema...all in an age when cable and home video burst onto the scene and multiplexes were exponentially multiplying across the country.
Drew and Scott's discussions are often colored by memories of seeing the films when they were new -- or at least new to video. They explore how films are affected by the NostalgiaFilter and how SocietyMarchesOn and leaves some of them behind and makes some of them feel fresh, swap stories of encounters with people who made the films, and examine how the moviegoing experience has evolved both in the decade and beyond it.
Patreon supporters of the show are able to access additional content. The lowest donation level allows access to bonus episodes aired in the weeks between regular episodes, which have included interviews with performers from/creators of 1980s films, crossover discussions with hosts of other film-related podcasts, an overview of 1980s movie musicals, and a retrospective of the "career" of Allan Smithee (the once-standard credit given in place of the name of a director who wanted to disown their work, which saw a lot of use in this decade). The two higher levels allow access to, in turn, content from planned book companions to the podcast and video content featuring Drew and Scott.
!!This podcast features examples and/or discussions of:
