In an utterly modest display of self-promotion, Joe Bob Briggs announces the triumphant return of “The Last Drive-In” to Shudder on April 24th, armed with an arsenal of quotes from the media’s finestโor at least those who had spare time to comment. Decider, sensing perhaps a bit too dramatically the influence of the “Dark Lord,” heralds the show as a divine intervention in entertainment. Meanwhile, Entertainment Weekly, with its finger ever on the pulse of societal trends, notes the show as a “social media sensation,” a phrase so fresh and unexplored it practically sparkles with originality.
Bloody Disgusting, in a rare moment of hyperbole, claims the show’s success “damn near broke the internet,” a feat usually reserved for Kardashian derriรจres and royal wedding fiascos. IPT magazine, on the other hand, suggests “The Last Drive-In” is nothing short of messianic, saving humanity one B-movie at a time. And then there’s Forbes, ever the beacon of business acumen, calling the success “perhaps unlikely” and the format “unusual,” because, of course, a drive-in show in the streaming era is as conventional as a fish riding a bicycle.
Joe Bob, with his tongue firmly in cheek, reads these praises with the kind of humility only a true savant of schlock could muster, reminding us all that despite the naysayers, the skeptics, and those who dared to dream of a world without B-grade horror, the drive-in will indeed never die. As the eclectic mix of reviews makes clear, “The Last Drive-In” is set to return, much to the delight, or despair, of viewers everywhere, proving once again that taste is subjective, but horror is eternal.
