Spinal Tap II (which arrives in theaters on September 12) also concerns itself with last things. As the movie (again directed by Reiner) begins, Spinal Tap the band—ultra-English, ultra-deluded as to its own quality and status, basically a slavish amalgam of every trend in hard rock since 1966—is no more, its members long dispersed and out of touch with one another. Lead guitarist Nigel Tufnel is the proprietor of a guitar-and-cheese shop; guitarist-vocalist David St. Hubbins makes on-hold Muzak and soundtracks for true-crime podcasts; bassist Derek Smalls runs the New Museum of Glue. But upon the death of Ian Faith, Tap’s posh-sounding, cricket-bat-wielding manager, his daughter, Hope (Kerry Godliman), inherits from him a contract for one last Spinal Tap show. Initially underwhelmed by this concept, Hope happens to catch a clip of Garth Brooks sound-checking with a Spinal Tap song. The clip has gone viral; people love it; Tap has accidentally re-impinged on pop consciousness. There’s money to be made. She must get the band together again for a final outing, for a grand farewell fling. She books the Lakefront Arena, in New Orleans.