EP. 361 — Bad Boys: Ride Or Die LIVE!

[00:00:00] Paul Scheer: Mortality. Panic attacks. The afterlife. What ya, what ya gonna do? Well, we saw Bad Boys Ride or Die. So you know what that means?

[00:00:19] Music: [Intro song] [00:00:51] Paul Scheer: Hello people of Earth, and hello people of Philadelphia! We are live at the miller Theater talking about one of the most important films to come out in 2024. Bad Boys, Ride or Die. Now it would have been better if they used the title for Bad Boys 3 for Bad Boys 4, which was Bad Boys for Life, but we are stuck with Ride or Die.

[00:01:38] Fast and Furious would never make that mistake. What do you need to know? Well, it might shock one of the people on this stage that Bad Boys started off as a conventional buddy cop film. But in Bad Boys 3, there are witches. Yes, they don’t really touch on it in Bad Boys 4, but there are witches. Not like we think she’s a witch.

[00:02:06] She a witch. And Bad Boys 4 ups the ante in every fucking way. I love this movie. I love it so much. We’ll see what everybody else thinks. But I’ll tell you this, what is it about? So many things. IMDb says, when their late police captain gets linked to drug cartels, wisecracking Miami cops, Mike Lowry and Marcus Burnett, embark on a dangerous mission to clear his name.

[00:02:36] Oh, what a poor log line. It doesn’t even explain that there are ghosts! Ghosts are in this movie! One of our characters visits the afterlife! And there’s a giant fucking crocodile! People, this, we must protect this franchise with everything that we have. This franchise saw what Fast and Furious was doing and said, you know what?

[00:03:05] We’ll see that and we’re going to go one step further. I think, by Bad Boys 5, they’re going to be fighting in heaven. And I’ll be there for it. Um, alright people to talk about this film. Let me introduce Please welcome to the stage, Mr. Jason Manzoukas!

[00:03:22] Jason Mantzoukas: What’s up, jerks? Let’s go, Philly! Bad Boys!

[00:03:27] Paul Scheer: Bad boys!

[00:03:29] Jason Mantzoukas: Bad boys!

[00:03:30] Paul Scheer: Bad boys!

[00:03:31] Jason Mantzoukas: Uh Holy cow. Wow, wow, wow. Thank, Paul, First of all, Because, boy, are you lucky? Last night we watched Megalopolis for New York.

[00:03:56] Paul Scheer: Some of you were there. I know some of you were there, right?

[00:03:59] Jason Mantzoukas: A powerfully shattering two and a half hour watch. This, wow, wow, wow, what a breath of fresh air. I was like, give me more. This just washed all over me. I was like, yeah.

[00:04:13] Paul Scheer: I rewound certain sequences. Normally I’m just trying to get through it.

[00:04:17] Jason Mantzoukas: Yeah.

[00:04:17] Paul Scheer: I’ll tell you this not only did I watch the whole thing this little teaser for later. There’s a post credit scene.

[00:04:23] Jason Mantzoukas: I’m aware.

[00:04:23] Paul Scheer: All right, great.

[00:04:24] Jason Mantzoukas: Oh, I’m aware.

[00:04:26] Paul Scheer: All right, great.

[00:04:27] Jason Mantzoukas: And I want to piggyback on what you said cuz I also put it in my notes. This movie cribs all the best Fast and Furious stuff.

[00:04:35] Paul Scheer: Yeah.

[00:04:36] Jason Mantzoukas: Taking plot elements from past movies and retconning them to give us a bigger picture of a larger world that they can inhabit. Nobody dies anymore. Like, nobody dies anymore. Everybody’s immortal, except for the hundreds of civilians who must have been killed in all of this stuff. My only solution that I think we have to be gunning for is these two franchises need to meet.

[00:05:02] Paul Scheer: It would be.

[00:05:04] Jason Mantzoukas: That’s gotta be it.

[00:05:05] Paul Scheer: I mean, I’m there for it. Uh, I want it to happen. Yes, civilians die at a reckless degree.

[00:05:12] Jason Mantzoukas: So, and you know what, though? They deserve to die. Because people, people are pulling guns constantly and everybody’s just going about their biz.

[00:05:21] Paul Scheer: It’s Miami, baby!

[00:05:22] Jason Mantzoukas: Yeah, uh!

[00:05:24] Paul Scheer: Ladies and gentlemen to talk a little bit about Bad Boys tonight, please welcome my other co host June Diane Raphael!

[00:05:42] How are you June?

[00:05:43] June Diane Raphael: I’m well, how are you Paul?

[00:05:45] Paul Scheer: I am fine. Thank you for asking. Now June, I wanted to just check in with you because I love these movies. I don’t make you watch them with me. Where do you fall on? Have you seen?

[00:05:56] Jason Mantzoukas: Wait, but you do make her watch other movies with you?

[00:05:59] Paul Scheer: Sometimes.

[00:06:00] Jason Mantzoukas: Make make you is the is the.

[00:06:02] June Diane Raphael: Yeah.

[00:06:02] Jason Mantzoukas: It’s like it’s I don’t make you, you’re welcome. I don’t make you watch the movie.

[00:06:07] June Diane Raphael: By the way, thank you for picking up on that.

[00:06:09] Jason Mantzoukas: Oh yeah. Are you safe? Are you cool?

[00:06:12] June Diane Raphael: Yeah.

[00:06:13] Paul Scheer: Sometimes I will strong arm June into watching a film with me. And begrudgingly you like it.

[00:06:18] Jason Mantzoukas: Oh, you’ve upped make to strong arm?

[00:06:20] June Diane Raphael: Thank you for seeing the difference.

[00:06:21] Jason Mantzoukas: Wow, just heightening. Classic heightening.

[00:06:24] Paul Scheer: Sometimes I will just, you know, get her in a good old headlock and make her. No, but where do you fall on the Bad Boy scale? Have you seen?

[00:06:34] June Diane Raphael: This is my first, I’m so embarrassed, no this is so shameful, this is so shameful and I realize that.

[00:06:41] Jason Mantzoukas: And when I say that you’re not at all feeling.

[00:06:43] June Diane Raphael: No I know I’m not.

[00:06:45] Jason Mantzoukas: This is perhaps the least safe space in America currently.

[00:06:47] June Diane Raphael: Believe me, I know.

[00:06:50] Jason Mantzoukas: Don’t applaud! Yeah! Absolutely proving my point you fucking maniacs.

[00:06:58] June Diane Raphael: Things are dangerous at home and they’re dangerous here in this theater too. I know. I, I’ve never seen a Bad Boy movie and that’s my fault. That’s my fault.

[00:07:10] Jason Mantzoukas: Wonderful stuff.

[00:07:11] June Diane Raphael: Well, listen, this. It’s Bad Boys. What is the Ride or Die? Bad Boys Ride or Die is my favorite movie that I’ve ever seen. It’s my favorite movie. I’m not, I really, this is my favorite movie now. So That’s something that happened.

[00:07:30] Paul Scheer: I do want to ask the audience, is, if it’s your first Bad Boys experience, by applause.

[00:07:37] June Diane Raphael: Oh, that’s a number of us. Okay, I feel better.

[00:07:39] Jason Mantzoukas: Also by applause, how many of you will go back and read and watch for the first time, one through three?

[00:07:46] Yes.

[00:07:47] Paul Scheer: Just know. That one had a very small budget, so much so that an SUV just drives through a bunch of bicycles. Like there, we need something to happen.

[00:07:58] Jason Mantzoukas: Well, it’s like when we did Fast and Furious 1 and the whole thing is about him ordering a great sandwich from Mia at the Toretto Family Sandwich Shop while Dom is out stealing combination DVD players.

[00:08:12] June Diane Raphael: I actually, like, I just want to say something though, cause Fast Now has been brought up a number of times tonight. I actually think that we’ve done something very wrong on this podcast to elevate Fast and Furious the way that we have.

[00:08:28] Paul Scheer: Okay.

[00:08:29] June Diane Raphael: This work

[00:08:31] Jason Mantzoukas: Has gone, has gone unacknowledged.

[00:08:34] Paul Scheer: Yeah.

[00:08:34] June Diane Raphael: It’s really, it’s. It’s a crime and I’m sorry. All I, all I can do is stand in feedback and say, I’m sorry and I didn’t know.

[00:08:44] Jason Mantzoukas: Yeah. It’s tough.

[00:08:45] June Diane Raphael: I didn’t know.

[00:08:45] Jason Mantzoukas: It’s tough. There was a huge, what has made us able to do Fast and Furious is they come out at a Fast and Furious clip.

[00:08:53] Paul Scheer: Right.

[00:08:54] Jason Mantzoukas: And the bad boys franchise has huge gaps, so there’s like 10 years between.

[00:08:59] June Diane Raphael: Well, they’re working. They’re working on it, I guess, because I see it on the screen. I see. I see that they’ve been putting a lot of thought. Just let me say one thing, Paul. Let me say one thing.

[00:09:11] Paul Scheer: All right. Got it. Got it.

[00:09:15] June Diane Raphael: I just have to say that this comedic pairing has, I’m, I’m going to say, I’m going to make some statements tonight. It’s lifted me out of a depression to watch the two of them on screen.

[00:09:28] Paul Scheer: They are great.

[00:09:28] Jason Mantzoukas: It’s so, they are crackling and the dialogue that together, nobody could deliver this. They, as leaden. As leaden as the Toretto’s are, is as bright and effervescent as, uh, Will and Martin are.

[00:09:43] June Diane Raphael: Thank you!

[00:09:43] Paul Scheer: This movie knows what it is, but also then pushes it forward more. It’s like, yeah, yeah, we’re dumb, but we’re gonna be really dumb, but also it works.

[00:09:53] June Diane Raphael: But, and also it’s real, and also they have real chemistry, no? And they’re also dropping in I’m sorry, there’s a lot of mental health issues that they address in this movie.

[00:10:03] Jason Mantzoukas: Yes!

[00:10:03] June Diane Raphael: And my mental health was saved.

[00:10:06] Jason Mantzoukas: Okay, not only that, but it is a movie that is truly, as opposed to Fast and Furious, about family.

[00:10:13] Paul Scheer: Yes!

[00:10:15] Jason Mantzoukas: These are parents and children and negotiating and renegotiating difficult relationships. This is family. I cried multiple times in this movie. I’m, I genuinely wrote in my notes. I must be going through something. I keep tearing up. I teared up when Reggie saluted.

[00:10:36] Paul Scheer: I did too.

[00:10:37] Jason Mantzoukas: When Reggie saluted the ring cam! I was like, Reggie! My guy!

[00:10:43] Paul Scheer: Reggie, and I want, we’ll get to it in a little bit, but Reggie has been set up since 2. Here’s what I’ll just say.

[00:10:50] June Diane Raphael: Oh, Reggie’s been set up since two?

[00:10:52] Paul Scheer: I will, I will get into all this.

[00:10:54] Jason Mantzoukas: He enters as like a child. He enters as like the boyfriend of the daughter.

[00:10:59] Paul Scheer: I have the clip. I have the clip.

[00:11:00] June Diane Raphael: I’m even happier.

[00:11:01] Paul Scheer: I just want to like put it in context, and we’ll talk about this movie in present, but I want to talk about where this movie started. Bad Boys 1. It was a vehicle for Dana Carvey and John Lovitz. That’s who Simpson and Bruckheimer were like, that’s our movie. Dana Carvey, Jon Lovitz, they’re our bad boys.

[00:11:25] Jason Mantzoukas: Pistachio Disguisey. They said That’s right, right? I can’t, like, fr Like, like, Dumbledore with his wand in front of the pensive. I just pulled that name out. Amazing. Just.

[00:11:42] June Diane Raphael: It’s also like the space you’ve had to make in your brain for that name. Like what, what hasn’t gotten in there?

[00:11:49] Jason Mantzoukas: What’s going on? Why is this, why do I have access?

[00:11:53] Paul Scheer: It all lives up in our mind palaces. Now I’ll tell you this, uh, just to add one more layer of it. So when this movie is made originally, uh, Dana Carvey, John Lovitz, they say we can’t do it where they’re not going to do it. Whatever happens. And then they go, well, the next guy we have to go to is Martin Lawrence.

[00:12:09] Cause Martin Lawrence is a big star. And Martin Lawrence is like, I’ll do it, but I want Will Smith. And they’re like, no. Will Smith, not a movie star. We won’t do it with Will Smith. Martin Lawrence is like, we have to do it.

[00:12:22] Jason Mantzoukas: This is, to be fair, pre Independence Day, pre Will Smith movie star.

[00:12:28] Paul Scheer: So, will Smith, like, from Fresh Prince of Bel Air, bulked up, did the first movie. It goes on and on, and I believe that Bad Boys 4 is now Will Smith going, Martin, something’s wrong. I’m going to bring it back in. Like he, like, I feel like, like Martin does not look well. And I’ll tell you this much. I’m okay.

[00:12:48] June Diane Raphael: By the way, be careful.

[00:12:49] Paul Scheer: I’m okay. I’m, I’m going to be, I’m going to be careful because.

[00:12:51] June Diane Raphael: He’s, he’s one of the best we have to offer as a people, I’m sorry.

[00:12:56] Paul Scheer: He’s doing amazing. He’s great, but they needed to give him a heart attack in the first scene to be like, this man is just out of the hospital. We needed to get on that page. Like we needed to be like, both of them are not running around anymore. This man is hours outside of a heart attack.

[00:13:17] Jason Mantzoukas: And as a result, yeah, is behaving in an unhinged fashion Yes So they’re like we need to create an inciting Incident where everything else is in response to that the fact that he thinks he is Immortal for this movie and then sets up so many great games for him to play in like I’ll okay. You have to know in the beginning these movies were Michael Bay movies?

[00:13:40] Paul Scheer: Yes.

[00:13:40] Jason Mantzoukas: That’s the stylistic and all the stylistic flourishes are Michael Bay flourishes from the all the careening camera, all that stuff. And then these guys, where are these guys from?

[00:13:50] Paul Scheer: These guys are amazing. Adele and Bilal. They’re, uh, they’re two guys.

[00:13:55] Jason Mantzoukas: They’re fucking fantastic. They did the last two and they were like, watch, watch me cook. Like Michael Bay. They were like, we’re taking Michael Bay and going nuts.

[00:14:03] Paul Scheer: They, I have so much to say about these guys, but most notably the reason why they’re back. They did three with witches. Will Smith did fuck a witch and that’s his son from the witch son. Just there are witches.

[00:14:17] Jason Mantzoukas: Yep. There are witches, but we knew that. There are witches everywhere.

[00:14:21] Paul Scheer: What I will say though, is, uh, uh, uh, Adele and Bilal, they made the Batgirl movie that no one will ever see. And when that got shelved, they’re like, fuck it. We’re going back to bad boys. Cause. Michael Bay was like, come on back guys. We gotcha. And, and Michael Bay has really like kind of blessed them and given them like carte blanche to go make whatever the fuck they want to make.

[00:14:43] One of the things being they’ve always had this dream of having, um, A steadicam on a rig that shoots out like the gun. That’s that amazing scene. They’re like, can we do that? Michael Bay’s like, of course. Do it as many times as you can. And then they give it to you know, Will Smith, he executes it perfectly. Gun, camera, back.

[00:15:01] Boom. Boom. Boom. They give it to Martin and you can tell not quite as adept at working that steadicam. He gets one pushback.

[00:15:09] Jason Mantzoukas: When that scene happens in the Gator Reserve?

[00:15:15] June Diane Raphael: Yes!

[00:15:15] Jason Mantzoukas: We’re jumping to Act 3 straight away. I just want to say that segment where it becomes like a first person shooter game Where it’s cutting back and forth between first person POV like bang, bang, bang, bang, bang, bang, bang.

[00:15:28] But then it’s cutting directly out that way, I think what you’re describing, which is a very close shot that’s on them, on a rig on them. Will Smith is like, bam, bam, bam. Martin is so funny. What he’s doing in that coverage, he’s just like, Chaos! Chaos! Chaos! Then I’m like, YES! Give me this all day!

[00:15:46] Paul Scheer: There is literally what they had strapped to them was a giant camera and they had to like kind of push it out and then flip it around and pull it back in.

[00:15:53] It was like, it’s a feat of strength, right, what they’re doing. Uh, so it’s really complex, but I want to just say that this movie from moment one when we get the POV from the watch. I was like, oh shit Yeah, this movie is good. We’re getting a camera through the watch?

[00:16:13] June Diane Raphael: Yeah, it was watch cam.

[00:16:15] Paul Scheer: Watch cam.

[00:16:15] Jason Mantzoukas: Also Martin if we’re to believe the movie Martin Lawrence has cameras all throughout the ring camera.

[00:16:20] Paul Scheer: Ring cameras.

[00:16:21] Jason Mantzoukas: Ring cameras all through the interior of his house?

[00:16:24] Paul Scheer: That’s not how ring cameras are supposed to be working.

[00:16:30] June Diane Raphael: I did have one question that maybe you both could answer. I don’t know if it’s covered in one, two or three, but I, I’m assuming they are, they both have cop salaries. So city, you know, tax funded salaries.

[00:16:44] Paul Scheer: Marcus has more money. Or, or, or Mike, Mike.

[00:16:47] June Diane Raphael: Okay. Cause Mike, how, because the amount of money he must have to have that house. I’m like, if anyone’s being investigated on the force for ties to the cartel. It should absolutely be Mike.

[00:17:00] Jason Mantzoukas: And you’re right. And I don’t think they ever give it and forgive me. Some nerd out there will tell us if.

[00:17:05] Paul Scheer: That’s me, I’m the nerd. Mike Lowry is a pretty boy, rich boy who had, and so like, they never took him seriously. So in the first movie he’s living, he’s like driving Lamborghinis. He’s driving porsche. He’s always been fancy rich boy they didn’t think could hang in the, in the cop world. And that we kind of catch him. He’s already hanging, but it’s like, but it is established.

[00:17:27] June Diane Raphael: Generational wealth he’s sitting on.

[00:17:29] Paul Scheer: Yeah. I think there’s some.

[00:17:30] June Diane Raphael: Great for him.

[00:17:31] Paul Scheer: He actually invested in iHeart radio or something he was first off. Um, so when I knew that.

[00:17:41] Jason Mantzoukas: Mike Lowry is on the board of directors at iHeart.

[00:17:45] Paul Scheer: And in the movies, he’s on Shark Tank. It’s weird, but not in real life. So, um, When I knew this movie was gonna be special was they give Martin Lawrence a heart attack and I’m like, oh interesting but then he falls through the floor.

[00:18:01] Jason Mantzoukas: So cool.

[00:18:02] Paul Scheer: And I’m like what? This is becoming like an arthouse movie.

[00:18:06] Jason Mantzoukas: Falls into like the the limbo esque world that I believe is from Black Panther like he falls into that, it’s, in that the color saturation and all the stuff is very reminiscent of that world where you can talk to the dead and the dead can impart. Why does Joey Pants have to whisper? They’re there, alone.

[00:18:30] Paul Scheer: That fucking parrot.

[00:18:31] Jason Mantzoukas: Oh, that parrot.

[00:18:32] Paul Scheer: You don’t trust it. Never talk in front of a parrot.

[00:18:34] Jason Mantzoukas: Just so you know. Joey Pants is an integral part of the early movie.

[00:18:39] June Diane Raphael: I certainly got that. I certainly picked up on that.

[00:18:42] Jason Mantzoukas: But boy, it’s classic Joey Pants.

[00:18:43] June Diane Raphael: Well, I’m so excited to go back and I have to say, and I don’t know if you all felt this way, but not having any information about what happened between his son. The relationship between them and the captain, like I was a thousand percent on board and invested in all these relationships missing major plot holes.

[00:19:05] Jason Mantzoukas: Because there’s a lot, you’re right, and that’s testament to a good movie.

[00:19:08] June Diane Raphael: Yes.

[00:19:08] Jason Mantzoukas: For someone who, and a lot of you are in the same boat, who doesn’t know this movie is suffused with lore. Every single person in this movie is basically a character from one of the other movies continuing to move that role forward or recalibrating that role fast and furious style. I was the bad guy the son now I’m the good guy. I’m on the team.

[00:19:29] Paul Scheer: It’s creating like like George RR Martin level lore for basically Miami cops fighting drug dealers. I mean, that’s That’s where we started and now we’re like, well, this guy, the tall guy, we also have this guy, like Joey Pants doing so much trying to deep dive on the conspiracy that he’s made these videos, multiple videos on one day. He’s like, ah, fuck it. I guess it’s the day I’m making my dead man videos.

[00:19:55] June Diane Raphael: My problem I have with the videos. I mean, I guess And I don’t have any problems, by the way, but if I were to, I, I would just ask, like, he seems on the video so resigned that he’s dying.

[00:20:07] Jason Mantzoukas: It seems as though he’s dying that day.

[00:20:09] Paul Scheer: Yeah.

[00:20:10] Jason Mantzoukas: He’s like drinking a whole bottle of booze. Like he’s dying today.

[00:20:13] June Diane Raphael: I know. And it made me think like, well, he knows this is sort of an insurance policy and, I guess you have to get in that character to make those videos. But wow, it really seemed like he had reconciled his own death. You know.

[00:20:28] Paul Scheer: I think he’s upset. He’s like, fuck, fuck. Like let’s watch clip three.

[00:20:37] Movie Audio: What the hell?

[00:20:38] He’s texting us from the other side.

[00:20:40] No, he’s not Marcus.

[00:20:44] If you’re seeing this, I’m probably dead. Fuck. Fuck me. Before I begin. I want to say one thing. I’m putting you in mortal danger. Boys. We got rats in our walls. But, I gotta make sure you’re my bad boys. The coke bottle giant is the key.

[00:21:17] What?

[00:21:17] Don’t trust anybody.

[00:21:21] Jason Mantzoukas: Who’s working the camera for him?

[00:21:23] Movie Audio: What’s up? What does that mean?

[00:21:23] Jason Mantzoukas: Who’s working his camera? His camera has movement. It’s pushing in.

[00:21:28] Paul Scheer: His wife, he’s like, honey can you tape my death video?

[00:21:31] June Diane Raphael: Yeah. Or he might have, he might have edited the video after and just.

[00:21:35] Paul Scheer: He’s got one of those weird GoPro, arms.

[00:21:38] Jason Mantzoukas: It’s a gimbal. He shot it on a, a selfie stick on a gimbal.

[00:21:43] Paul Scheer: I just love that he has gone so deep but he hasn’t told his two Bad boys that he has been going like, so he’s in working silently. Like he wouldn’t say, Hey, look, just guys, just FYI. If I ever die, look into this. He’s like, can’t tell them he, how was he investigating anything? He’s not told anyone.

[00:22:02] June Diane Raphael: Well, and we’re also forgetting that the reason they received this video is because his home personal computer has been somehow infiltrated and he’s, he’s created some sort of, yes, so that, which I was like, these, these tag, the tech team on the bad end of the spectrum seems so sophisticated, they can’t get into a home personal computer.

[00:22:29] Jason Mantzoukas: Not only that, not only that, if I’m Joey Pants and I’m sitting on that level of stuff, if I die, all that documentation should go to the bad boys. It shouldn’t wait until someone tries to log on to a single laptop. That’s crazy.

[00:22:47] Paul Scheer: And I do believe there has been a large chunk of time between Bad Boys 3, where he is shot, and Bad Boys 4. So his wife has not shut down anything in his office. Those computers, cause you have to log, like there has to be something to log, like it’s like, Oh yeah, the computer’s on his desk, he’s getting into it.

[00:23:05] But like maybe they’re just leaving his office up as like they’ve never shut off his computer, but then huh, I mean look.

[00:23:14] Jason Mantzoukas: It is and there’s multiple videos. That’s the thing is it’s like it’s basically a scavenger hunt.

[00:23:19] June Diane Raphael: It is.

[00:23:19] Jason Mantzoukas: And the scavenger hunt keeps having like what a joy for Joey pants’s character to be like, oh I get to make another video. Well, you’ve made it this far.

[00:23:27] Paul Scheer: But then but then he’s also talking to the coke bottle giant. He’s going to that guy like, okay, look You I’m gonna give you a barcode. You gotta hide this somewhere. Well, why? I can’t get into it!

[00:23:39] Jason Mantzoukas: Oh yeah, the QR code that I was like, did, did And he, he was like, it’s hidden in something beautiful like the QR code in the visual art.

[00:23:47] Paul Scheer: Yes.

[00:23:48] Jason Mantzoukas: I was like, this is a not beautiful, and it everybody points cameras at a QR code. People in public who see a QR code, there’s just a cop who’s like, Hey, look at this. I just happened to be pointing my camera at this piece of art.

[00:23:59] Paul Scheer: Jason, not just a cop. That’s Vanessa Hudgins, sorry. Part of the ammo division.

[00:24:05] Jason Mantzoukas: Now, what’s amazing about Vanessa Hudgins, she’s in this movie, partnered up with.

[00:24:10] Paul Scheer: Uh, the other guy.

[00:24:11] Jason Mantzoukas: What’s, nobody, nobody junior, right, from the Fast and Furious movies? No? It’s not Scott Eastwood?

[00:24:18] Paul Scheer: It, no, it’s not Scott Eastwood. It is Alexander Ludwig.

[00:24:21] Jason Mantzoukas: Damn it. Do they look similar? No? How about if, how about if I say do they look similar and you guys all agree?

[00:24:29] Do they look similar?

[00:24:30] Yeah!

[00:24:32] We’ll put that in.

[00:24:33] Paul Scheer: Now, I will tell you that, uh, They are part of a.

[00:24:36] Jason Mantzoukas: Desperately wanted them to be the same character because that could be the pivot point Oh, that was the same actor for a fast and furious.

[00:24:41] Paul Scheer: You can get Kurt Russell in one of these. Yeah. There is one thing I’ll say is that the ammo team. We’re only left with two members of. They were set to take over the Bad boys franchise in three It felt like the Bad Boys were being pushed out for the ammo team.

[00:24:56] Jason Mantzoukas: Oh, they were the Jeremy Renner of the Bourne?

[00:24:58] Paul Scheer: Yes. Of the Mission Impossible world, yeah.

[00:25:01] Jason Mantzoukas: And mission Both.

[00:25:02] Paul Scheer: Oh yeah, both.

[00:25:02] June Diane Raphael: Wait, so, what is, what’s the name of Martin’s, um.

[00:25:06] Jason Mantzoukas: Marcus.

[00:25:08] June Diane Raphael: No, Marcus’s nephew, who is former military, Reggie.

[00:25:12] Paul Scheer: He’s not former, active marine.

[00:25:13] June Diane Raphael: Sorry, active marine. Is he set up at the end to be a Bad Boy?

[00:25:18] Paul Scheer: Well, I don’t know. I mean, I wanted, I actually did pull the clip of Reggie’s first appearance and I think it makes it even better. Can we, can we play that first clip of Reggie? This is the first time we ever meet Reggie.

[00:25:29] Movie Audio: Who the fuck are you?

[00:25:31] Hi, Mr. Burnett. I’m Reggie.

[00:25:33] What you doing here?

[00:25:34] Came to take out Megan.

[00:25:35] What?

[00:25:36] I came to take out Megan.

[00:25:38] How old are you?

[00:25:39] I’m 15, Mr. Benet.

[00:25:40] Motherfucker, you look 30. Show me some ID.

[00:25:44] I don’t have none on me.

[00:25:45] What you want, nigga?

[00:25:45] I’m here to take.

[00:25:46] What’s your name?

[00:25:47] Reggie.

[00:25:48] Hold on. Y’all heard the motherfucker say your name Reggie. You want to be taking Megan out?

[00:25:51] Yes, sir.

[00:25:51] How old are you?

[00:25:52] 15.

[00:25:53] Shit, nigga. You at least 30.

[00:25:54] Right? Now listen, have my daughter home at 10 01. If she ain’t home at 10 01, I’m in the car, okay? Lock, loaded, and huntin your motherfuckin ass down. Do you hear me? Don’t fuck up, Reggie.

[00:26:09] And if I’m there, you know what it’s gonna be? Chitty, chitty, bang, bang, nigga. That’s what it’s gonna be.

[00:26:13] Marcus! Oh, Reggie, baby, I am so sorry. Please forgive Megan’s dad and his silly friend.

[00:26:18] You a virgin?

[00:26:19] Yes.

[00:26:19] All right, keep it that way. Ain’t gonna be no fuckin tonight..

[00:26:22] Baby, the red shirt’s nice. I like that. You guys have a good time.

[00:26:25] You ever make love to a man?

[00:26:26] No.

[00:26:27] You want to?

[00:26:29] No, sir.

[00:26:29] Hey, have a good time, baby.

[00:26:33] Paul Scheer: All right.

[00:26:34] June Diane Raphael: Wow.

[00:26:35] Paul Scheer: Now

[00:26:36] June Diane Raphael: Wow.

[00:26:36] Paul Scheer: Now, arguably.

[00:26:37] Jason Mantzoukas: Come on!

[00:26:39] Paul Scheer: Arguably, that’s the most screen time Reggie has until this movie. He’s background, so he gets married. Like, he’s always background in a bunch of scenes.

[00:26:47] Jason Mantzoukas: And he’s always like this. He has a couple of lines and they just go in on him. Like in the barbecue and the chicken scene at the end of this movie.

[00:26:54] June Diane Raphael: Such a great game. Wow. I can’t believe, first of all, I didn’t realize that Reggie wasn’t related to Martin.

[00:27:01] Paul Scheer: No.

[00:27:02] Jason Mantzoukas: His son in law.

[00:27:02] June Diane Raphael: Now I understand that. Okay. Son in law. Okay. Okay. Wow.

[00:27:05] Paul Scheer: But he’s 15 there.

[00:27:06] Jason Mantzoukas: So it’s so funny for them to, who had the genius idea of like, wait a minute. What if we let Reggie do a whole, like a whole set piece just for him?

[00:27:16] Paul Scheer: Adil and Bilal. They are the ones. Now I’ll tell you this much. That’s the other thing about the Bad Boys movie. They franchise out the action to a lot of other people. I mean, they do some scenes. Yes, Martin will be on his knees on the hood of a car, not running. The car will be running for him. I was like, the way they’re coming up with ways to keep him not mobile is great.

[00:27:41] June Diane Raphael: Now that I see. see him in this shot at first when you said we had to explain, you know, why Martin looks the way Martin looks. I was like, I don’t know. I think that’s kind of cruel, Paul. I think Martin looks great. Now, after seeing that, I’m like.

[00:27:54] Paul Scheer: I mean, it’s fine. You know, we just got to know that. Yeah. Martin is like.

[00:27:57] June Diane Raphael: And weirdly, like Will Smith looks younger now. So I don’t know what’s happening.

[00:28:01] Jason Mantzoukas: Oh, it’s incredible. It’s, it is wild. But the idea of Martin, they’re, they’re doing such creatively bizarre things to do like that scene where it is as if he’s jousting on top of a car, chasing those guys, but then, so he gets to have all this weird action stuff, but then all of the emotional, so much emotional stuff is on Martin. I feel like when they go to Will Smith’s wedding, we hear all of his wife’s vows, none of his vows. He says not a word. And then she finishes and Jay Shetty’s like, your husband and wife. And everybody’s like, what’s this asshole doing here? And nobody knows what’s going on. I was like, why don’t we get any of Will? But Will Smith, he is not emotional until the end of the movie.

[00:28:48] June Diane Raphael: Yes, and it’s also crazy that in that scene, you have to understand, at that point, I didn’t know Joey Pants was in the movie.

[00:28:54] Paul Scheer: Right.

[00:28:54] Jason Mantzoukas: But you saw the giant picture.

[00:28:56] June Diane Raphael: But while we’re pulling out on that ceremony, and I’m like, who is that?

[00:29:01] Jason Mantzoukas: It’s a huge.

[00:29:02] June Diane Raphael: And it’s It’s so big. If you’re going to do that, by the way, you have a stand and you have a small eight, eight by 10 max. And that’s a lovely touch. This was bizarre.

[00:29:14] Paul Scheer: Can you think of that though? It’s like, people normally do that for their parents. These are two adult men, or one adult man who’s, this is his boss? Yeah. Like, now I know that he was, like, he was there when the guy died, but it is an odd thing, like, I do need a giant, I do need, like, a, a three foot by four foot picture of my old boss.

[00:29:33] Jason Mantzoukas: It is what you would normally see at, like, a funeral service. Or a wake.

[00:29:38] June Diane Raphael: It’s a closed casket kind of situation.

[00:29:41] Jason Mantzoukas: Yes, it is, it’s suggests that the focus of this day is on this dead man.

[00:29:45] June Diane Raphael: Yes, and this dead man alone, like it, the way that that portrait steals focus from this wedding.

[00:29:53] Paul Scheer: And that his granddaughter gets to give a speech. Yeah. Like, you know what? It’s like, you give a speech now. They’re like, hold on. We’re getting too far away. He’s not a relative. This kid doesn’t know them at all, and she’s just kind of embodying what her grandfather might have said?

[00:30:14] Jason Mantzoukas: Yeah.

[00:30:15] Paul Scheer: Wow. I mean, why not have, uh, Ray Sehorne do it? Like, like she’s an adult.

[00:30:20] June Diane Raphael: Because even at that point, I felt like Ray Sehorne was like, I’m not fully in with these guys.

[00:30:25] Jason Mantzoukas: No, she has to, I think it’s, it’s so that the daughter can be, or the granddaughter rather, can be the hostage.

[00:30:31] Paul Scheer: Okay. So if, if Joey Pants’s daughter is Ray Sehorne and then Ray Sehorne’s daughter is the granddaughter who loves.

[00:30:40] June Diane Raphael: Callie.

[00:30:40] Paul Scheer: Callie. Why? You would think like, like Joey Pants, like, Oh, my bad. I love my bad boys, Ray. I love my bad boys. And Ray would be like, Oh yeah, the bad boys are good. Cause you’re my dad. I like.

[00:30:50] June Diane Raphael: She thinks they killed him.

[00:30:52] Jason Mantzoukas: No. Will Smith’s son killed Joey Pants.

[00:30:55] Paul Scheer: Yes.

[00:30:55] Jason Mantzoukas: So that’s what she’s mad at. So that makes sense to me that she is, she is, um.

[00:31:00] Paul Scheer: But she’s going after them.

[00:31:01] Jason Mantzoukas: She’s not necessarily going after them. What she is saying is I am stung. I am hurt. My father is dead. And if I could get a shot at your son. Regardless of the fact that he’s your son, and I have love for you both, I will put that guy down.

[00:31:14] June Diane Raphael: And I think it’s a hard position for her to be in, to go and celebrate the man whose son murdered her dad.

[00:31:21] Jason Mantzoukas: Yeah.

[00:31:21] Paul Scheer: Well no, he’s not at the wedding.

[00:31:24] June Diane Raphael: No, but I’m saying his son.

[00:31:27] Jason Mantzoukas: I would love it if he got released from prison just for the day.

[00:31:30] Paul Scheer: And he’s just in that cage.

[00:31:34] June Diane Raphael: Oh my god, that cage.

[00:31:35] Jason Mantzoukas: That airplane scene.

[00:31:36] June Diane Raphael: That cage.

[00:31:37] Paul Scheer: Why do they keep him like Magneto, but yet let him go out into the prison population for like physical activity with everybody.

[00:31:47] June Diane Raphael: It’s like that cage. It’s truly, yeah, it’s meant for people who eat people. Like that’s the only reason to ever have to be in a cage like that.

[00:31:55] Jason Mantzoukas: But I loved it.

[00:31:56] June Diane Raphael: It was certainly evocative.

[00:31:58] Jason Mantzoukas: Of the very first. They’re in a helicopter. The very first moment that the pilot is killed. 30 seconds later, everyone in that helicopter should be dead. Should, immediately. They execute a level of stuff that is only available in the Fast and Furious movies. They would be, boom, boom, boom, everybody dead. Every bone broken, but they are just like, They’re fighting, they’re jumping, they’re untying things. They’re unlocking things.

[00:32:28] Paul Scheer: And Martin is in one spot on the ceiling, holding a rope. Everyone else.

[00:32:33] Jason Mantzoukas: Yes!

[00:32:33] Paul Scheer: Buh buh buh buh buh. I’ll just stay here. I will not move.

[00:32:37] Jason Mantzoukas: And then, they get they get the son out and the son and Martin fly the hel land the helicopter. I was like, what?!

[00:32:46] June Diane Raphael: At one point I got lost in, it’s such a long sequence that I truly got lost in the geography of the helicopter. I was like, are there wings to this helicopter, like sections and annexes that I didn’t see.

[00:32:57] Jason Mantzoukas: At a certain point I thought it was a jet, a plane. You’d have to. It had the interior of a cargo plane.

[00:33:02] June Diane Raphael: Yes.

[00:33:03] Jason Mantzoukas: Except that it’s a helicopter.

[00:33:05] Paul Scheer: And why are they taking their guns?

[00:33:07] June Diane Raphael: I don’t know why they’re taking their guns.

[00:33:08] Paul Scheer: They’re only two passengers.

[00:33:09] June Diane Raphael: And also, why did they need a helicopter to transport him back to Miami?

[00:33:15] Paul Scheer: Well, this is the big question.

[00:33:15] June Diane Raphael: Because they drove there earlier.

[00:33:18] Paul Scheer: And, and, they drive back. Because when they are running through the, the, the swamps, they get in the car and then all of a sudden they’re in downtown Miami. I’m like, why did they, they, they, oh, it’s a 45 minute flight. And I found myself going, where are they even going?

[00:33:34] Jason Mantzoukas: Yeah.

[00:33:34] Paul Scheer: They’re keeping him safer? But, but put him in a car.

[00:33:37] Jason Mantzoukas: And also they steal hillbilly clothes, but they don’t wear hats at all. And they just go back to Miami and go to every place in the city. Just like. So, so wanted. They are the most wanted people that it is an indictment of everybody in the police force in the FBI. What is Racy? A marshall or a sheriff?

[00:34:01] June Diane Raphael: I couldn’t quite understand what department she was in because I assume she was FBI because she did.

[00:34:05] Jason Mantzoukas: I think she’s a marshal.

[00:34:07] June Diane Raphael: I don’t really know the difference between a us marshal and.

[00:34:10] Paul Scheer: She’s like Tommy Lee Jones going after Harrison Ford. She’s a US marshal.

[00:34:16] June Diane Raphael: Okay. Okay. Great. Okay. Wonderful. That’s cleared up. I do, one of my favorite things about her and Vanessa Hudgens when we first see her is there’s, and this is such a, like, it’s such a cop movie trope where the female cops all wear their hair in low buns. Low chignons. It’s like, why can’t they ever have their hair down?

[00:34:38] Jason Mantzoukas: And I love the scene for Vanessa Hudgens when, in what we’ve talked about, the Reggie scene where Reggie’s kicking ass, it’s all being shown on the ring cams. And so everybody in the safe house is watching on the screen all the stuff. And so everybody’s just reacting like, Oh, whoa, Reggie. Wow. Look out behind you.

[00:34:55] All this kind of stuff in the background and behind all of them with her back to the screen, they’re reacting so hard. Vanessa Hudgens just loading guns.

[00:35:03] June Diane Raphael: To the point where I was like, Oh, this is going to come back somehow. Nope. Not once is she like, wait, what’s up? This sounds fun to watch. She’s like, Gotta load these guns.

[00:35:14] Paul Scheer: My favorite, my favorite part of that is this guy, this guy who is not Scott Eastwood has shown himself to be an amazing like tech wizard. He’s done it already. We know he’s a tech wizard. And then Martin goes, hey, can you hack into my ring cam? And he’s like, yeah, just give me your username and password. It’s not hacking in. If you have the two things, like, yeah, you have the app. No, just pull it up on your phone. Here, there, there’s your ring cam. Done. Then hacked it. Like you hacked into my computer. My password is.

[00:35:57] June Diane Raphael: Here. Is it, is it a safe house, Jason? You said that that.

[00:36:01] Paul Scheer: Safe houseboat.

[00:36:02] June Diane Raphael: Okay, because that just seems like his house.

[00:36:05] Paul Scheer: It is his house.

[00:36:06] June Diane Raphael: Right, but why.

[00:36:07] Paul Scheer: Boat. Boat.

[00:36:07] June Diane Raphael: It was his house boat. But why doesn’t the U. S.

[00:36:11] Jason Mantzoukas: Why do they always have houseboats?

[00:36:11] June Diane Raphael: They have to.

[00:36:12] Jason Mantzoukas: I love it. I just want to throw it out there.

[00:36:13] Paul Scheer: I love a movie with a houseboat.

[00:36:14] Jason Mantzoukas: Nobody, there are more houseboats per capita in our movies than in our world.

[00:36:19] June Diane Raphael: And that’s a damn shame.

[00:36:21] Jason Mantzoukas: Sorry june, please.

[00:36:22] June Diane Raphael: No, I, I believe that is his permanent residence on the houseboat. So why does, they seem to be there for a long time. Why doesn’t the U. S. Marshall Organization ever think to check out their closest friends on the force?

[00:36:39] Jason Mantzoukas: Yes, can I, can I add to this? Because at a certain point, they are using the hacker, the guys, not Scott Eastwood’s ability to hack and get into cameras for all over the place.

[00:36:49] And they’re watching the, the cartel, the baddies, Eric, it’s Eric Dane, right? Eric Dane and the baddie are both attacking both Will Smith’s house and Martin Lawrence’s house. And they’re like, oh shit, that’s my house, we gotta get there, we gotta warn them. They are the biggest fugitives in Florida, in the country, probably, at this point.

[00:37:07] Paul Scheer: They’ve got millions of dollars out on their heads.

[00:37:09] Jason Mantzoukas: You’re telling me there’s no surveillance on the houses? There aren’t police, FBI, or marshals staking out their homes and being like, How come there’s an execution squad heading into this suburban household? Should we check that out?

[00:37:22] Paul Scheer: I will go one step further.

[00:37:24] Jason Mantzoukas: They could go home. Nobody’s watching the house.

[00:37:27] Paul Scheer: I will go one step further and that they walk through the kitchen of the strip club and then Ray is like, Oh, we got, we got a lead. So wait, you got a lead. So someone’s currently uploading the security footage from the kitchen of the strip club. Like to you immediately, like they just walked through seconds ago.

[00:37:47] Jason Mantzoukas: Oh yeah.

[00:37:48] Paul Scheer: Who’s doing that?

[00:37:49] Jason Mantzoukas: What I love about these movies is boy, is it full of plot holes and flaws and absolute lunacy in terms of story construction, but I don’t give a fuck, put it straight into my brain.

[00:38:10] Paul Scheer: I also want to unpack the big question, the thing, did Martin Lawrence have an afterlife experience or is he imagining it? Because you said he thinks he’s unkillable. I think he is unkillable. And he, cause look. He does some stuff that’s pretty crazy, right? Like he.

[00:38:31] June Diane Raphael: Yes, but I think I fall in between you. I think that he did have an experience with the afterlife that was very profound. And even though all of the footage we saw in that montage of the afterlife, he describes later on that they’ve been having, their souls have been in this friendship, learning from each other over many, many lifetimes. But that wasn’t the footage we saw at all.

[00:38:55] Jason Mantzoukas: No, no. It’s soulmates. He says we’re soulmates.

[00:38:58] June Diane Raphael: I understand. But from what? What did he see that would ever make him think?

[00:39:04] Jason Mantzoukas: We don’t know.

[00:39:04] June Diane Raphael: But I do think whatever happened down there, up there, wherever was deeply profound. And because he had a brush with it.

[00:39:13] Paul Scheer: Right.

[00:39:13] June Diane Raphael: He’s somehow convinced himself that he can escape death. That is not true.

[00:39:19] Jason Mantzoukas: I think that’s true. And I agree with you. But I think and the only thing that tells me that it is In the previous movies, and correct me if I’m wrong, he is like, he is fearful, right? He is the scaredy cat.

[00:39:31] Paul Scheer: They switch the roles.

[00:39:32] Jason Mantzoukas: Yes. So it gives him the ability to for the first time be front of the action rather than let’s not do this. Like trying to pull it back, trying to reign Mike in. Now he’s out, he’s being irresponsible. He’s putting them out.

[00:39:46] June Diane Raphael: I’m enjoying this movie more just three hours after watching it.

[00:39:50] Paul Scheer: Now, but here’s the thing.

[00:39:51] Jason Mantzoukas: Has that ever happened?

[00:39:53] Paul Scheer: But here’s the thing. He also seemingly has special powers because when he does eat the jelly beans and drink the punch, he. He’s like, Oh, he hulks out and he’s like, he goes.

[00:40:06] June Diane Raphael: Well, that’s also me on sugar. I mean, that’s just like.

[00:40:10] Jason Mantzoukas: That’s just a sugar rush.

[00:40:12] Paul Scheer: But now that brings me to my other point, which is. At the end of the movie. I’m just skipping ahead because I want to unpack this idea of the afterlife. At the end of the movie, Will Smith.

[00:40:23] Jason Mantzoukas: This is the best interpretation of the afterlife I’ve ever seen.

[00:40:27] Paul Scheer: I mean, this is.

[00:40:29] Jason Mantzoukas: This made me believe in a life after.

[00:40:30] Paul Scheer: I mean, this is why this is.

[00:40:32] Jason Mantzoukas: I hope when I die, Joey Pants is there.

[00:40:34] Paul Scheer: Well, this is, this is the question that I have because at the end, Martin Lawrence has seen the afterlife. Will Smith has not seen the afterlife. But, Joey Pants appears to Will Smith and forgives him.

[00:40:51] He’s like, hey man, my death, not your fault. And, and then that snaps Will Smith out of it. But, is that Will Smith just telling himself that? Or, I think with the language of the movie, it’s Joey Pants. Because Joey Pants did foresee everything. Or is that just Will Smith giving him permission to be over it?

[00:41:11] Jason Mantzoukas: I mean, I think so. I think both This is a father figure for both of these men. And I think both of them in their crisis moments are having experiences, interpreting their lives through the lens of this father figure. The movie wants to interrogate an, an, an afterlife and what it means to, cause Martin comes back from the heart attack and says, it’s not my time.

[00:41:33] Paul Scheer: Right.

[00:41:34] June Diane Raphael: And I also, I understand the confusion about like, is that a ghost or is that actually him or where’s that guy coming from or is Will Smith about to die? And that’s why he’s seeing him. I, I thought that it was. I agree with Jason, just him really confronting this like deep, deep pain. And Joey, Joe, you know, Joey pants stands in for so much in this movie.

[00:41:59] Paul Scheer: I’m just going to spiral it out one more time. I thought the panic attacks that Will Smith is having is based on.

[00:42:06] Jason Mantzoukas: Love that.

[00:42:06] June Diane Raphael: Honestly, love it. To see a buddy cop to see like a blockbuster cop movie and see what our main character having panic attacks. I was like, this is.

[00:42:19] Jason Mantzoukas: But that’s something you won’t see in the earlier ones.

[00:42:22] Paul Scheer: Yeah. You know, but that’s, what’s so fun about this movie is he’s changed a little bit, but he’s having a panic attack and I think, Oh, he’s having a panic attack. Cause he loves his wife and he was excited about the future of his wife. But then at the end, he’s like, no, no, no. He’s just upset because his, because he killed Joey pants or he didn’t kill Joey pants, but he, he feel, I thought it was like a combination of things.

[00:42:41] But it seems like sometimes the panic attacks full on, sometimes not there at all. Cause he does kick ass a few times in this movie, but just to answer the question, was he really in the afterlife? We do have the post credit scene.

[00:42:59] 305 BC.

[00:43:02] Movie Audio: Come on, bring your ass on. Too hot out here for this shit. Wish I had a horse. At least I could ride that motherfucker. All this free air out here, and I still smell your stinking ass.

[00:43:18] I curse you, donkey. I curse you for all lifetime. Oh, you mother.

[00:43:26] Fuck you, Marcus.

[00:43:29] Paul Scheer: Fuck you, Marcus.

[00:43:31] Jason Mantzoukas: The donkey says, fuck you, Marcus. Yeah. In Will Smith’s. This is wild stuff.

[00:43:38] Paul Scheer: So now I believe everything.

[00:43:40] Jason Mantzoukas: Is that ending. I now want to see a donkey movie where it’s Eddie Murphy’s donkey and Will Smith’s donkey.

[00:43:49] And we connect the Shrek averse and the Bad Boys averse.

[00:43:53] June Diane Raphael: Bad Donkeys.

[00:43:54] Jason Mantzoukas: And it’s double donkeys.

[00:43:56] Paul Scheer: Before we get to the audience.

[00:43:57] Jason Mantzoukas: Oh, I’d rather not.

[00:43:58] Paul Scheer: You brought it up. Abandoned Gator Park, where they.

[00:44:03] June Diane Raphael: Why not?

[00:44:04] Paul Scheer: When I first.

[00:44:06] June Diane Raphael: Why not? It’s Florida. Why not?

[00:44:08] Jason Mantzoukas: And they don’t say anything. They don’t say anything until so far they keep cutting back to the bad guys, and they are in a place where there’s a giant statue of a dinosaur.

[00:44:16] Paul Scheer: When I saw that, I was like, huh? What’s going on here? And because they don’t talk about it, they don’t ever mention it. And then as they’re flying in, they’re like, Oh, just so you know, this is an abandoned gator park. And.

[00:44:28] Jason Mantzoukas: No, they go, what are those? Oh. And not Scott Eastwood goes, gators.

[00:44:34] June Diane Raphael: The crazy part about that is that they’ve already decided to put Armando, what’s his son’s name? They’ve already decided to put him in the water with all that gear. Yeah. Fully knowing. There’s a crazy albino gator on the loose.

[00:44:48] Paul Scheer: A 16 foot, 900 pound albino gator. Gator.

[00:44:55] Jason Mantzoukas: And many other gators.

[00:44:56] June Diane Raphael: And many other gators.

[00:44:58] Jason Mantzoukas: Straight up wrecks gators.

[00:44:59] June Diane Raphael: The thing that I couldn’t get over, there’s a, there’s a scene at the, um, houseboat where Will Smith is saying to Rita, um, Marcus, you all are the only people we can trust the people who are right here.

[00:45:14] All of us was the only people we can trust right now. And then they cut to them on an airplane with an older white gentleman in a Hawaiian shirt.

[00:45:26] Paul Scheer: Fucking Jimmy Buffett over here.

[00:45:27] June Diane Raphael: I was like, well, who’s that guy? Who’s he?

[00:45:30] Jason Mantzoukas: Who’s tommy bahama that they’re flying with? What the fuck?

[00:45:34] Paul Scheer: Everybody. And also my friend, Dave. Now be cool when Dave gets here. Don’t tell him too much shit. He was gonna want to tell you about it, his grandkids.

[00:45:42] Jason Mantzoukas: That poor guy, the pilot I felt bad for, because then the guy who’s running from there is like, pointing a gun at him, let’s get out of here. Then they shoot him down, I’m like, this guy’s just grinding! He’s just got, this is a gig economy! He’s flying people around the swamps of Florida, his life is already a nightmare!

[00:45:59] Paul Scheer: But they also, they do a good service to him, because they, when the helicopter crashes through a building, uh, they’re going through, and then they just have him like, He’s like kind of just hanging out the door like what a ride like, uh, like yes, he’s alive.

[00:46:14] June Diane Raphael: He’s alive at the end.

[00:46:15] Jason Mantzoukas: It’s basically A team rules, right? Almost no one dies unless they are a very bad person. All the hostages would have been killed in the crossfire of this fight because nobody is tactically, shoot, nobody’s shooting from cover. Nobody, everybody is just running full bore like they’re at paintball and it’s a drunken bachelor party.

[00:46:38] It is just like, Ah! Ah! There is no like, okay, go, go, go, go. It’s just like, everybody’s full on. There is so much cover. There’s so many boxes. There’s so much stuff to hide behind. Not interested. Just run straight, and that’s everybody.

[00:46:54] Paul Scheer: Everyone is going down straight hallways. Very quickly.

[00:46:58] Jason Mantzoukas: Giving all of their enemies a complete target.

[00:47:01] Paul Scheer: So now before this scene starts, I guess we have to address, this is, this is the moment that Will Smith gets to address the slap. Oh, . I mean this is the moment. This is the big.

[00:47:12] Jason Mantzoukas: It does, it does feel like the moment.

[00:47:13] June Diane Raphael: Oh, I didn’t know it was pre, it was post slap.

[00:47:15] Paul Scheer: This is posts slap. So this is, that’s why you have this whole sequence here where it is like, alright.

[00:47:23] Jason Mantzoukas: Are you gonna play it?

[00:47:23] Paul Scheer: We have like, this is the fir i, I don’t have it. I don’t know it, but um. But the idea was, I think the idea was, what is he gonna, cause it’s the first movie made after it, is he gonna address it? Like we, we, like they’ve said in the press, right, we do something, we address it, we address it. And I feel like the way they addressed it was by saying, Hey, Will’s got some panic attacks too.

[00:47:41] He’s not a perfect person. And then we’re going to smack the shit out of him a couple of times too. And then because he got smacked a couple of times, it’s like, it evens out. Um, all right. So let’s go to the crowd. Let’s see what everybody’s thinking out here. All right, sir. What’s your name?

[00:47:56] Audience Member: Doc Brown.

[00:47:57] Paul Scheer: All right, Doc Brown, what do you got?

[00:47:58] Audience Member: Uh, two questions. Uh, will this be in Unspooled next week?

[00:48:02] Paul Scheer: Yeah.

[00:48:02] Audience Member: Okay, just making sure.

[00:48:03] Jason Mantzoukas: How dare you, Doc Brown?

[00:48:05] June Diane Raphael: Honestly, though, Doc Brown, I did, while watching, I was like, we, this is on the wrong podcast.

[00:48:11] Paul Scheer: It’s one of the rare ones that can be on both.

[00:48:14] Audience Member: Um, Paul, do you, Jason, and June know the wobble? It was in the, uh, the wedding scene.

[00:48:19] Paul Scheer: Oh, yeah.

[00:48:20] June Diane Raphael: No, I’ve never done it.

[00:48:21] Jason Mantzoukas: No.

[00:48:22] June Diane Raphael: But I enjoyed that sequence.

[00:48:23] Paul Scheer: You gotta wobble.

[00:48:24] Jason Mantzoukas: I don’t do dances. Doc Brown, can you show us the dance? Yeah, turn the music on!

[00:48:28] Paul Scheer: Turn it. Do we have any what would be we’ll get. We’ll get music. Can we get music? Brian, can we get any music?

[00:48:36] Jason Mantzoukas: What’s up, Doc Brown? Do you have a particular song?

[00:48:39] Audience Member: No, no, it’s called the wobble.

[00:48:41] Jason Mantzoukas: Oh, it’s called the Wobble? Hey, hey, hey, hey!

[00:48:45] Paul Scheer: You have it? You’re pulling it up?

[00:48:47] Jason Mantzoukas: I’m trying to play your song! I don’t know it! I’m learning! Be kind, Philly! I know that’s impossible! Cause most of you are out of your fucking minds!

[00:48:58] Paul Scheer: I can put it to the microphone. If anyone knows, I’m gonna play it on, I think I have it right here, right? So I’m gonna hold the mic.

[00:49:05] Jason Mantzoukas: An entire theater of balcony monsters.

[00:49:07] Paul Scheer: Alright, so if anyone, if anyone knows it, this is where we should all

[00:49:15] Stay up! Yes! Yes! Yes! Keep it going! Balcony!

[00:49:21] Jason Mantzoukas: Here we go! Here we go!

[00:49:23] Paul Scheer: Yes!

[00:49:24] Jason Mantzoukas: Let’s go, Philly! Only women are dancing! That’s an indictment to the men of Philly!

[00:49:31] Paul Scheer: Yes! This is the best!

[00:49:34] Jason Mantzoukas: I love Doc Brown. Doc Brown, home run.

[00:49:40] June Diane Raphael: Thank you.

[00:49:41] Jason Mantzoukas: This guy gets it.

[00:49:44] Paul Scheer: Here’s what I think. Thank you. We do this movie. We come back to Philly. We see the Wobble, the first ever dance party. Now we’re meeting a couple that just got married.

[00:49:53] Jason Mantzoukas: Oh!

[00:49:56] Paul Scheer: Just got married. They’re in their beautiful outfits.

[00:50:01] Jason Mantzoukas: They’re in their wedding outfits? Did you come from the wedding?

[00:50:05] Audience Member: Yeah.

[00:50:06] Jason Mantzoukas: What?

[00:50:06] Paul Scheer: Yes. That’s what I’m saying. They are in their outfits.

[00:50:10] Jason Mantzoukas: Play the song! Play the song! Do it! Billy, get up there! Let’s go!

[00:50:16] Music: [The wobble Song] [00:50:17] Paul Scheer: And then I have a heart attack and I fall through the floor.

[00:50:22] Jason Mantzoukas: Holy shit. Do we have to license that song?

[00:50:33] Paul Scheer: They don’t even have a question. They just came from there. Everyone that they’re with is in full wedding outfit.

[00:50:38] Jason Mantzoukas: The whole group? The whole wedding?

[00:50:42] Paul Scheer: Yes.

[00:50:44] Jason Mantzoukas: Wow. Holy shit.

[00:50:46] Paul Scheer: Well, you guys definitely saw something we’ve never done. Wow, that’s amazing. All right, now come on over here. Who am I coming to? You. Come on over.

[00:50:54] Jason Mantzoukas: Incredible stuff.

[00:50:55] Audience Member: Did anyone else feel as though the albino alligator could have been like Joey Pants ghost?

[00:51:01] June Diane Raphael: That’s interesting.

[00:51:02] Paul Scheer: That’s the best question we’ve ever gotten.

[00:51:04] Jason Mantzoukas: Why not? Why not? I would believe it. I would love it. If in the way that the donkey speaks with Will Smith’s voice at the end. After chomping on the bad guy, Duke the albino alligator speaks with Joey Pants voice and is like, Chomp, chomp, yum, yum, I like that.

[00:51:25] Paul Scheer: Uh, alright. This is a birthday question, here we go. I’ll hold the mic.

[00:51:30] Jason Mantzoukas: Jesus Christ.

[00:51:33] Audience Member: Alright, so when he woke up from his coma, Um, they call, he called his wife and she didn’t seem terribly surprised for him to call.

[00:51:41] Jason Mantzoukas: She was not at the hospital.

[00:51:44] June Diane Raphael: None of his family members were at the hospital. Just noted.

[00:51:48] Audience Member: What were they doing?

[00:51:50] Paul Scheer: They were cleaning out the cupboards. Here’s what I’ll say. Martin Lawrence gets out of the bed, pulls off the, the, the things that are on his body, walks to the roof and is standing on the ledge, And no hospital, one hospital person comes out, one.

[00:52:06] Jason Mantzoukas: Casually.

[00:52:07] Paul Scheer: Casually. And they’re like, get him back in there.

[00:52:09] Jason Mantzoukas: The minute he pulls half of those things off, alarms are going.

[00:52:13] Paul Scheer: You would think that they would also have an alarm on the door going to the roof.

[00:52:17] June Diane Raphael: She seems, I mean, it made me, I mean, I have actually seen the Florida healthcare system and it does check out that she was like, what’s going on? Uh, okay. I think they were going a long way in that scene to get to showing Martin Lawrence’s ass. And it’s like, we could have done that. Oh, I didn’t expect you coming. I didn’t expect you to come out that way. We could have gotten there in so many other ways. We didn’t need him to almost throw himself off the roof.

[00:52:46] Paul Scheer: But I gotta say, good looking ass.

[00:52:49] June Diane Raphael: Oh, okay, Paul.

[00:52:49] Jason Mantzoukas: Oh, okay. Okay, Al Pacino in Heat.

[00:52:53] Paul Scheer: All right, if we said you had a second opinion song, make your way down here. All right, so you can start us off. All right, so what you’re gonna do is you’re gonna, you can face the audience to turn, yeah. You can move it down or make it meet your mouth. That’s great.

[00:53:07] Jason Mantzoukas: Please never say the phrase make it meet your mouth. Make it meet your mouth. That’s the t shirt. That’s the t shirt, Philly. Make it meet your mouth. Just put it down. Make it meet your mouth. What?

[00:53:31] Paul Scheer: Just a microphone on a stand. Make it meet your mouth.

[00:53:33] Jason Mantzoukas: And that’s M E E T, not M E A T.

[00:53:36] Paul Scheer: That’s for my delicatessen. Make it meet your mouth.

[00:53:39] June Diane Raphael: Um, Ha ha ha ha!

[00:53:43] Jason Mantzoukas: Ha ho!

[00:53:44] Paul Scheer: Well, look, obviously, we have a lot to say about this movie, and we loved it. So I don’t even know if these are second opinions, but these are just other opinions, but we didn’t come up with a title for that, so now it’s time for Second Opinions.

[00:54:01] Audience Member: Hi, I’m Rachel.

[00:54:08] I joined Mike and Marcus for this new hot caper who could have predicted an albino gator All these camera angles givin me a sickness. Did you know that all of our souls are dickless? Baby, are you in the mood to see Martin Lawrence in the nude? Bein bad with two other dudes. Not bad meaning bad, but bad meaning good.

[00:54:40] B A D B O Y S Past life, skittles, no regrets, B A D B O Y S, Give it five stars, nothing less.

[00:54:54] Jason Mantzoukas: Yeah!

[00:54:54] Paul Scheer: Give it up for Rachel!

[00:54:59] Jason Mantzoukas: Great job!

[00:55:02] Paul Scheer: That was amazing. There are 150, 000 reviews on Letterboxd. Okay, we’re pulling these from Letterboxd right now. The average Letterboxd rating is 3. 19 out of 5 stars. Only 7 percent are 5 star reviews.

[00:55:24] Well, these people are wrong.

[00:55:26] Jason Mantzoukas: Fools. Fools.

[00:55:27] Paul Scheer: Fools.

[00:55:28] Jason Mantzoukas: Um, Letterboxd sounds like a bullshit, Unspooled thing. Give me those Amazon reviews.

[00:55:34] Paul Scheer: I love Letterboxd. All right, Omer writes this. DJ Khaled fucking dies. Five stars.

[00:55:42] Jason Mantzoukas: Right. That’s right. That was another one.

[00:55:48] Paul Scheer: DJ Khaled showing up. I think he does a fine acting job.

[00:55:52] June Diane Raphael: He did a great job.

[00:55:53] Paul Scheer: And the fact that he lets himself get killed.

[00:55:56] Jason Mantzoukas: Yeah.

[00:55:57] Paul Scheer: Great.

[00:55:57] June Diane Raphael: Hats off.

[00:55:58] Paul Scheer: Hats off, DJ Khaled.

[00:55:59] Jason Mantzoukas: Hats off. We doff our cap to you, DJ Khaled.

[00:56:06] Paul Scheer: We da best def! Liziana writes this.

[00:56:13] Jason Mantzoukas: And another one.

[00:56:15] Paul Scheer: Mr. McSteamy, what you doin out here? Five stars. Stitchy writes this. This movie reminds me of me and my best friend. Especially the crocodile scene. Five stars. Doesn’t seem like that was written in jest. Um.

[00:56:39] June Diane Raphael: Now I’ll say this about the movie, my closing thoughts, you know, the, the action sequences and all of this stuff is, is really fun and engaging, but for me, it’s the smaller moments. It’s the, Back and forth. It’s the, honestly, the texture of the scenes between Will Smith and Martin that are so good and so just funny. They’re just funny and interesting, and I loved them.

[00:57:14] Jason Mantzoukas: And they’re emotionally resonant in a way. I don’t think these movies in the past have aspired to be. Like the in the past, these movies were just the shoot them up. Michael Bay. Bayhem style. Isn’t this crazy? They’re blowing this up.

[00:57:29] June Diane Raphael: And that’s why I didn’t mind seeing Martin’s age because I felt like these are two grown ass men dealing with problems and having thoughts and reflections on parenthood or whatever it is that you can only have in your later 40s.

[00:57:47] Jason Mantzoukas: Middle aged bad boys!

[00:57:49] June Diane Raphael: Truly they were.

[00:57:49] Jason Mantzoukas: This is middle aged bad.

[00:57:51] June Diane Raphael: Yes.

[00:57:51] Jason Mantzoukas: These are bad boys grappling with the vicissitudes of middle age. Yes! And let me tell you, it’s dark out here.

[00:58:00] Paul Scheer: What I will say is that’s what I love about Bad Boys 3 because in all these movies where they’re doing these reboots, Bad Boys 3 made a really bold choice.

[00:58:06] It’s like, Oh no, no, we’re going to acknowledge they’re old. And like Vanessa Hudgens, like you’re old as shit. Like, and, and they still save the day and they’re part of it, but they are making fun of them. Like they have enough of an ego and a sense, or they, they have a sense of self. To be poked fun of. And I think that that’s what makes it really good.

[00:58:25] Jason Mantzoukas: And which the, uh, only because we keep bringing up the Fast and Furious, but those movies and movies like that, or, or, or franchises like that aren’t interested in having their characters seem like they are interested in looking at themselves or interiority or any of that.

[00:58:40] Paul Scheer: You asked Vin Diesel how old he is. He’s like, 27.

[00:58:42] June Diane Raphael: Yeah. But also like, that’s what I loved about it. You know, Will, Will Smith, you know, slap aside and how the movie dealt with it, I have never, you would never see anyone in the Fast and Furious franchise grappling with a mental health issue. Like, that’s, you’re, you’re just not going to see it.

[00:59:01] Paul Scheer: Well, because family is the best medicine.

[00:59:03] June Diane Raphael: And a corona.

[00:59:04] Jason Mantzoukas: I wrote down, again multiple times, but I wrote down near the end of my notes, I can’t stop crying at this movie. Which is an indictment of me. That’s, that’s concerning for me and me alone. But it is, it’s very emotional. It’s a very emotional movie. Everyone is so raw.

[00:59:24] June Diane Raphael: I felt that too. And again, I didn’t know what had happened between any of these characters. Did anyone else notice, though, that Will Smith’s new wife, Christine, on her phone, doesn’t have a picture of Will, doesn’t have a picture of her and Will. Has a picture of the four of them together.

[00:59:41] Strange.

[00:59:42] Paul Scheer: And it’s next to, and her phone lock screen is that, but then it’s also on a table with a picture of them from the wedding that they also got developed and framed.

[00:59:51] June Diane Raphael: Quick, quick, quick.

[00:59:52] Paul Scheer: I don’t know how long he was in the hospital.

[00:59:55] Jason Mantzoukas: Oh no, two weeks or a week.

[00:59:57] Paul Scheer: A week, okay.

[00:59:58] Jason Mantzoukas: It’s like very short. He says, it’s how long have I, how many years have I been out? He says, it’s Tuesday.

[01:00:03] Paul Scheer: Okay, so. I mean, they’re getting shit framed.

[01:00:06] Jason Mantzoukas: And I love that this movie, this movie isn’t interested in any kind of realism or anything like that. They just want whatever is going to look best. In the end of the movie, when there’s the final shootout with Eric Dane and Will Smith, and Will Smith’s not having panic attacks now.

[01:00:21] Now he’s steady and sure of himself. He shoots Eric Dane about 1, 000 times. Sure. Eric Dane is standing, holding Will Smith’s wife on the beach. He shoots him a bunch of times. When he dies, he’s in waist deep water. How did he get out to sea? Unclear, but it looks great. Looks great!

[01:00:42] Paul Scheer: Here’s what I’ll say. I love this movie. I take issue with one detail. Why are they using a fucking dirty grill in the public park to cook their meat on?

[01:00:56] June Diane Raphael: I thought about that too.

[01:00:57] Paul Scheer: Never! Ugh! What the fuck is Come on guys, go to Martin’s house, cook in his backyard.

[01:01:03] June Diane Raphael: You know what I thought? I thought maybe they’d pull that one out.

[01:01:07] Paul Scheer: The grate out?

[01:01:07] June Diane Raphael: And prop their own

[01:01:09] Paul Scheer: Grate.

[01:01:10] June Diane Raphael: Yeah.

[01:01:11] Jason Mantzoukas: I think this is them trying to be like, we’re just regular guys, we cook in the park, even though Will Smith’s character has a proven track record of having all of the money in the world.

[01:01:21] Paul Scheer: Martin Lawrence has shown himself to have cookouts in his backyard in Bad Boys 2.

[01:01:25] Uh, now, but yeah, I, I was.

[01:01:29] June Diane Raphael: I was troubled by that.

[01:01:30] Paul Scheer: I was troubled. I was like, Oh, you don’t want to eat anything that’s off of that. It didn’t look like he was cleaning it.

[01:01:35] Jason Mantzoukas: One of the things that I loved is after the hillbilly scene where they steal the stuff and in the trailer we watched earlier, we saw that they, uh, they have the back and forth about, Sing a Reba song and the guys make up a Reba song, but then, then there is a Reba version of Bad Boys that plays and I was like, give me this.

[01:01:56] June Diane Raphael: So good.

[01:01:56] Paul Scheer: The fact that Reba did that and was down, like, this is like, I was like, this is the best ending of anything.

[01:02:03] Jason Mantzoukas: Whatcha gonna do?

[01:02:05] Paul Scheer: Anyway, we would recommend it. I love this movie. I am so glad that we got to watch this movie with you, Philadelphia.

[01:02:18] Jason Mantzoukas: Play the Wobble. That’s, that’s what we’re going out on. Here we go, Philly. Thank you, Doc Brown. Thank you.

[01:02:35] You guys can all dance, too, motherfuckers. This is the end of the show.

[01:02:40] Paul Scheer: Thank you, philadelphia! We will be back. You were amazing. Thank you, everybody. Good night.

[01:02:47] Jason Mantzoukas: Eat shit, Philly.

[01:02:52] Paul Scheer: Thanks again to the staff at the Miller Theater in Philly and our recording engineer, Andrea Quinn. Now, if you want to feel like you’re a part of the show, you can get yourself a shirt that we have designed with the audience that night. It is, yes, you heard us say it and we made it into a shirt. Make it meet your mouth.

[01:03:10] That’s right. Make it meet your mouth. A shirt that Philadelphia said they would buy. I gotta say, if Philadelphia is on board for anything, you know it’s cool because we just wobbled with them for longer than you will hear in the actual episode, uh, you could snag that shirt, make it meet your mouth. Uh, and a ton of other, How Did This Get Made shirts at TeePublic.com/stores/HDTGM. And as always, if you have a correction and omission from this episode, leave me a voicemail at 619 P A U L A S K, or write a comment on our discord at Discord.gg/HDTGM. We are actually taking a little holiday hiatus from Last Looks next week, but get those corrections and omissions in since we’ll still be covering them when Last Looks returns in mid January. And in place of Last Looks next week, we are treating you to a re release of our classic episode on Con Air. Now, this is an important year, 2025. It’s the 15th anniversary year of How Did This Get Made and we are going on tour.

[01:04:03] We are going to be in LA in January at Largo. I think only one show is left there. We’re doing a three night residency. Dinosaur will be in Largo and it will also be in San Francisco in January. You can then see How Did This Get Made on the road in Austin, Denver, Boise, Seattle, San Francisco, Portland, and Los Angeles.

[01:04:20] We are starting that tour on three 25 and ending it on 4/4 with a very big, very. Uh, huge celebration of our show on 4/4. We got to just figure out what that is. Anyway, get tickets now for our shows as we go around the country on spring break to Austin, Denver, Boise, Seattle, San Francisco, Portland, Oregon, and Los Angeles, go to HDTGM to get tickets and information.

[01:04:41] Remember, if you listen on Apple podcasts or Spotify, make sure that you are subscribed to our feed and have automatic downloads turned on in the show settings. It helps us. And we appreciate it a lot. And last but not least, I got to thank our entire team to who this show could not be done without. I am talking about our producer, Scott Sonne.

[01:04:56] Molly Reynolds and our movie picking producer, Avaryll Halley and our engineer, Casey Holford and our associate producer, Jess Cisneros. That’s all I got people. We will see you next week on Last Looks. Bye for now.