EP. 367 — Jill Rips LIVE!

[00:00:00] Paul Scheer: Dolph Lundgren learns about S and M and so much more. We saw Jill Rips, so you know what that means.

[00:00:12] Music: [Intro song]

[00:00:59] Paul Scheer: Hello people of Earth! And hello people of Los Angeles!

[00:01:12] Oh boy. Oh boy. It’s our first live show of 2025. I can’t believe it.

[00:01:22] And we needed to make it about Dolph Lundgren getting tied up, getting beat up in the seventies? Yes. Jill Rips is a period piece. Um, alright, if you don’t know about Jill Rips, you probably got questions. You probably think, well, this is a movie about. Like Jack the Ripper, but like, maybe it’s like a female Jack Ripper.

[00:01:48] No, not really. I mean, maybe in theory, but nothing on screen tells us that no character named Jill. Uh, you might be thinking, well, this is an old movie. This came out a long time ago. We can forgive things. Nope. Came out in 2000, which is old, but not that old, not even the nineties. This is a 2000 film. Uh, and, and the tagline is here. Very, very interestingly enough, Imagine if Jack the Ripper had a sister.

[00:02:30] And I guess then forget that because it doesn’t play into what this movie does at all. Um, uh, IMDB describes it as a tough guy who wrote this description. “A tough guy goes undercover on a personal mission of vengeance into the hardcore world of S and M to find out who’s responsible for the death of his brother.”

[00:02:54] Well, well, well, I’d tell you the cast, but doesn’t make a difference. This is Dolph Lundgren that’s all you need to know in an action movie with not much action, but a lot of punches to the face. People are getting punched in the dick and face a lot in this movie. Um, we’re so much to discuss. There’s so much to break down, but I can’t do it without my two co-hosts.

[00:03:19] Please welcome to the stage, Mr. Jason Mantzoukas.

[00:03:30] Jason Mantzoukas: What’s up, jerks? Yeah. Here we go. What’s up, Largo? Yeah, we fucking did it. First show of the tour.

[00:03:47] Paul Scheer: We are on tour, but we have not left our homes.

[00:03:50] Jason Mantzoukas: Ah, that this is how I want every tour to be. I, I got to get a show and go home. Oh, I want my bed in every city.

[00:04:01] Paul Scheer: Celine Dion, you genius. You figured it out.

[00:04:04] Jason Mantzoukas: Oh. I mean, I’m sitting here being like, why do I have to be in Boise soon? That’s right. I’m taking shots at Boise. Get fucked Boise.

[00:04:15] Paul Scheer: You and I, we love bad action movies. I’ve never even seen the cover of this. Heard of this. In any way.

[00:04:22] Jason Mantzoukas: Paul. Paul, I don’t know what this was.

[00:04:25] Paul Scheer: Yeah.

[00:04:25] Jason Mantzoukas: This movie is a conundrum. It is wall to wall I don’t know. And I loved it. This was so compelling.

[00:04:36] Paul Scheer: I really think there’s so much to talk about.

[00:04:38] Jason Mantzoukas: This is classic.

[00:04:38] Paul Scheer: So much to talk about, but I will say that I watched the last five minutes behind you’re back in the room. You let me in there. It wasn’t just watching you.

[00:04:45] Jason Mantzoukas: Okay.

[00:04:45] Paul Scheer: Not behind you back.

[00:04:46] Jason Mantzoukas: I was in the bathroom.

[00:04:46] Paul Scheer: I was It’s okay. It was cool. I watching.

[00:04:49] Jason Mantzoukas: In my house.

[00:04:50] Paul Scheer: I was watching the movie and I walked out and discussed, but I still like the movie.

[00:04:54] Jason Mantzoukas: Oh boy. I, this was, I genuinely, I kept writing my notes. I don’t know what’s going on.

[00:05:01] Paul Scheer: Nope.

[00:05:02] Jason Mantzoukas: I think this scene, the scene where she’s in the red bathrobe, I believe is 15 minutes long and it’s riveting.

[00:05:10] Paul Scheer: It’s called drama people and somebody who knows about drama and bad wigs. And there are two of many bad wigs to mention in this film.

[00:05:19] Jason Mantzoukas: Yes.

[00:05:19] Paul Scheer: Uh, so many bad wigs for no reason.

[00:05:22] Jason Mantzoukas: Always.

[00:05:22] Paul Scheer: No reason. At one point I feel like they kept an improvised line in like, get a bit of wig. It’s like that. That was not in the script. At no point did they say this guy’s wearing a wig. Anyway.

[00:05:32] June Diane Raphael!

[00:05:33] Jason Mantzoukas: Yes, yes. Let’s go.

[00:05:42] Paul Scheer: How are you, June?

[00:05:44] June Diane Raphael: I’m well. How are you Paul?

[00:05:46] Paul Scheer: I am well. Um. Can you, I, not to put you on the spot, but.

[00:05:51] June Diane Raphael: No, you were started talking about wigs without me and I had to run out here. I had to run out here.

[00:05:56] Jason Mantzoukas: That’s, that is your signature. That, that, uh, in the early days of the podcast, you had a segment that was Wig Talk, or that was

[00:06:04] June Diane Raphael: Yes, and I was, yeah. Resident Wigs Spotter.

[00:06:07] Jason Mantzoukas: Yes.

[00:06:08] June Diane Raphael: Now I have to say though, the, the, the haircut of our, of Jill, Jill Rips.

[00:06:13] Jason Mantzoukas: Now, is that a full, full name of the.

[00:06:16] Paul Scheer: No.

[00:06:16] Jason Mantzoukas: Is that a name of a character? Jill? Who’s Jill Rips in the, in the, in the movie ball?

[00:06:20] Paul Scheer: There’s no Jill. There is literally no Jill in this movie.

[00:06:23] Jason Mantzoukas: There’s no Jill Rips?

[00:06:24] Paul Scheer: No. There’s a Matt, there’s an Irene, there’s an Eddie, there’s a Francis, there’s a big Jim.

[00:06:28] June Diane Raphael: She’s still rips though, and she’s got. I, I honestly thought about this in the car right here. I was like, I think that is the most unfortunate haircut I’ve ever seen. Well, on a woman, I don’t know that that’s a wig.

[00:06:42] Jason Mantzoukas: Well, that’s what I thought too, because, and.

[00:06:44] June Diane Raphael: That’s what’s worse.

[00:06:45] Jason Mantzoukas: Every, they’re also, everyone’s wearing the shortest haircuts and shortest wig wigs.

[00:06:51] June Diane Raphael: And also the longest.

[00:06:52] Jason Mantzoukas: I, yes, and, and so Jill rips, I felt like she has the short brown hair that I kept writing, why is this wig here? Obviously the blonde hair is going to be underneath.

[00:07:02] June Diane Raphael: No.

[00:07:02] Jason Mantzoukas: This brown wig, and in fact, no. Jill Rips is hiding the blonde wig.

[00:07:07] Paul Scheer: I thought that Jill Rips was not Jill, but I thought that was Cindy Williams from Laverne and Shirley.

[00:07:13] Jason Mantzoukas: Oh, I love that. I kept. Did anybody else, I kept confusing Jill Rips and the accented man for each other in.

[00:07:22] Paul Scheer: Yes.

[00:07:23] June Diane Raphael: Well, because they had the same haircut.

[00:07:24] Jason Mantzoukas: In long, in longer shots in like.

[00:07:26] Paul Scheer: Well, that’s what I thought, like was.

[00:07:27] Jason Mantzoukas: They have the same profile.

[00:07:29] June Diane Raphael: I thought, and I thought for sure we’re leading to that moment because they made such a big deal outta the fact that the killer was right-handed. And I was like, oh, I.

[00:07:37] Jason Mantzoukas: Did they?

[00:07:38] June Diane Raphael: Yeah in the beginning.

[00:07:38] Jason Mantzoukas: Didn’t notice.

[00:07:39] June Diane Raphael: In the beginning when they’re going over Michael’s death and how he died. 57 cuts to the genitals. But when they’re going over that.

[00:07:48] Paul Scheer: After, after he was dead.

[00:07:49] June Diane Raphael: Yeah.

[00:07:50] Jason Mantzoukas: You can get 57 cuts on there. That’s a big dick.

[00:07:53] June Diane Raphael: Shallow cuts.

[00:07:54] Jason Mantzoukas: That’s a big dick. 57 cuts is so many cuts for a dick.

[00:07:59] Just paper.

[00:08:00] Paul Scheer: Paper cuts. All paper cuts.

[00:08:02] Jason Mantzoukas: Oh yeah. Okay. Just little. And was it like 1, 2, 3, 4, 5, 1, 2, 3, 4, 5, 1, 2, 3, 4, 5, 1, 2, 3, 4, 5.

[00:08:11] Paul Scheer: Counting off days.

[00:08:12] Jason Mantzoukas: It’s so like, like days in jail.

[00:08:16] June Diane Raphael: But when they’re talking about that with the coroner, he says that the killer was right-handed and I thought, oh, I cannot wait for when the man with the wig, Polish Elvis is mistaken.

[00:08:30] Paul Scheer: By the way. That’s our shirt. Polish Elvis.

[00:08:34] June Diane Raphael: I cannot wait for them to think it was him at one point and then realize he’s a lefty.

[00:08:38] Paul Scheer: Well, like June, I think you’re watching too much Severance. You’re looking for clues that are not gonna add up.

[00:08:43] June Diane Raphael: I wasn’t.

[00:08:44] Jason Mantzoukas: There’s, there’s really only one misdirect, and it’s like the builder man.

[00:08:49] And, you know, like the, the, yeah. The guy who’s like the, the.

[00:08:51] Paul Scheer: The mayor. Big Jim.

[00:08:53] Jason Mantzoukas: Oh, big Jim. Yeah. The, and he’s really the only misdirect and it’s, he’s very easily gotten rid of and we never hear for him again.

[00:08:59] June Diane Raphael: Almost immediately.

[00:09:00] Jason Mantzoukas: Hmm?

[00:09:00] June Diane Raphael: Almost immediately.

[00:09:01] Jason Mantzoukas: Yeah.

[00:09:01] Paul Scheer: I do.

[00:09:01] Jason Mantzoukas: No, so it’s a, that’s, I couldn’t tell you genuinely the plot of the movie.

[00:09:06] Paul Scheer: No, I, I, and I wanna, I wanna try to break it down, but I wanna ask you both the question.

[00:09:10] Jason Mantzoukas: It’s not the movie, certainly that I thought it was going to be.

[00:09:14] Paul Scheer: A hundred percent.

[00:09:14] Jason Mantzoukas: With Dolph Lundgren in a Rambo style fatigues jacket, military jacket. I was like, oh, this is gonna be a Segal Stallone style. You know.

[00:09:23] Paul Scheer: I thought it was gonna be like a, a take on First Blood, like that kind of thing. He comes home. But no, it’s so much weirder. Here’s a question I just wanna ask because I wanna get this outta the way. How many kids are discovering dead bodies on average?

[00:09:36] Jason Mantzoukas: Okay.

[00:09:36] Paul Scheer: I feel like that’s a trope. I never discovered a dead body. Did you guys discover a dead body?

[00:09:41] June Diane Raphael: No.

[00:09:41] Paul Scheer: No?

[00:09:42] Jason Mantzoukas: No. Never.

[00:09:42] June Diane Raphael: Never.

[00:09:43] Jason Mantzoukas: I’m still hoping, but I I.

[00:09:45] June Diane Raphael: You don’t think you’ve aged out?

[00:09:46] Jason Mantzoukas: I don’t think I can call myself a kid anymore.

[00:09:49] Paul Scheer: Anybody in the audience ever find a dead body?

[00:09:52] Jason Mantzoukas: As a kid?

[00:09:52] Paul Scheer: Oh, one!

[00:09:53] Jason Mantzoukas: As a kid? Where?

[00:09:55] Audience Member: No, I, I was older.

[00:09:57] Paul Scheer: Doesn’t count.

[00:09:58] Jason Mantzoukas: Doesn’t count.

[00:09:59] June Diane Raphael: I still can I ask?

[00:10:00] Jason Mantzoukas: Doesn’t count.

[00:10:01] June Diane Raphael: No follow up questions?

[00:10:02] Paul Scheer: No follow up. But if you were a kid, I’d have a lot of questions.

[00:10:06] June Diane Raphael: What’s so funny about that scene though is they are two very young kids too.

[00:10:09] Paul Scheer: Very young kids.

[00:10:09] June Diane Raphael: Like to the point where you’re like, they shouldn’t be out alone.

[00:10:12] Jason Mantzoukas: Well, here’s the other thing. They are at the shore. They, it’s iced over, they’re at the shore, it’s iced over, and they’re throwing rocks. They’re having a blast. Ha ha ha. And it just, it doesn’t, it just pans out to reveal bodies like right there and then pans out to reveal further police boats fishing the bodies out. If you walk down to the shore, wouldn’t you notice that is happening? And not throw rocks for a minute.

[00:10:38] Paul Scheer: So, well, here’s the other thing. I think those cops, uh, kept those kids on the crime scene for way too long.

[00:10:44] Jason Mantzoukas: Yes.

[00:10:44] Paul Scheer: And they also put them in a cop car. I’m like, are you arresting the kids? Are they suspects?

[00:10:50] June Diane Raphael: Where are their parents?

[00:10:51] Paul Scheer: They were just throwing rocks. I think the guy was already dead.

[00:10:54] June Diane Raphael: Also, there’s so much outdoor voiceover, like clearly they couldn’t get in a single piece of sound recorded outside. But the kids, the voices of the kids are absolutely voiced by adults, people. And the woman who’s voicing the little girl who, who can’t be older than five or six.

[00:11:11] Paul Scheer: No.

[00:11:12] June Diane Raphael: Is like, oh, did you skip the rock over there? Yeah, a little bit further, Timmy. I’m like, that’s a grown woman.

[00:11:21] Jason Mantzoukas: I want a divorce, Gerald.

[00:11:25] Paul Scheer: But lo and behold, we find out that that is Dolph Lundgren’s brother. And then we.

[00:11:30] Jason Mantzoukas: Not the kid.

[00:11:31] Paul Scheer: No, sorry. Dead body. It’s the dead body. By the way, the kid could have been his brother. Just a younger, uh.

[00:11:36] Jason Mantzoukas: But yeah, the body.

[00:11:37] Paul Scheer: The body is Dolph Lundgren’s brother. He comes home and then we go to this wake where they’re playing orchestra music as if it’s like Ethan Hunt is walking through like a fancy opera scene. Like, I mean, this is a lower rental house in Boston and there’s this music coming in and, and then you have Dolph Lundgren reading the paper in the middle of his own brother’s wake. And then the, then this is my favorite part of this movie is, well, maybe not the favorite, but one of my favorites is. The camera pans over what Dolph Rin is reading in such a way that I don’t know what I’m supposed to be taking in.

[00:12:15] I don’t know what the title is. It’s like going across like left or right, like a typewriter.

[00:12:18] June Diane Raphael: So quick.

[00:12:20] Paul Scheer: I didn’t see the whole thing.

[00:12:21] June Diane Raphael: It so quick. Something about the tunnels and big Jim. It was so quick.

[00:12:26] Paul Scheer: Just gimme an establishing shot.

[00:12:27] Jason Mantzoukas: Was all exposition. Everybody had exposition in that scene. None of it stuck with me whatsoever.

[00:12:33] Paul Scheer: None of it.

[00:12:33] Jason Mantzoukas: So much so that like in the next scene when they’re in the cold room, I’m like, why are we in a cold room?

[00:12:38] June Diane Raphael: The best part of that scene though is when Dolph Lundgren looks up and says to the other, his cop friend, like, who is that fox? Yeah. And we cut to her.

[00:12:48] Jason Mantzoukas: Yeah.

[00:12:48] June Diane Raphael: It’s the hair, you know?

[00:12:50] Paul Scheer: Well, I mean, and, and.

[00:12:51] June Diane Raphael: It’s so shocking.

[00:12:52] Paul Scheer: It is. It tells us a lot about.

[00:12:54] Jason Mantzoukas: And it’s, who is that fox? At a wake?

[00:12:57] June Diane Raphael: He’s like, wow.

[00:12:58] Jason Mantzoukas: And the reveal is that his dead, it’s his dead brother’s wife, new wife.

[00:13:03] Paul Scheer: And I’ll say, and not, and, and, and no offense to this at all.

[00:13:07] June Diane Raphael: No disrespect.

[00:13:08] Paul Scheer: No disrespect, it does tell us a lot about his character that he thinks that is the sexiest woman you’ve ever seen. He has seen. Which I’m just like, I now know a lot about him.

[00:13:18] Jason Mantzoukas: It also somehow speaks to like that both brothers found her to be the sexiest person alive. Like what? What shared history do they have, familially that they were both looked at her and went, what?

[00:13:32] Paul Scheer: Eyes tongue. Bong.

[00:13:36] Jason Mantzoukas: Bang, bang.

[00:13:41] June Diane Raphael: By the way, both brothers have like something a, actually, actually, something very terrible happened to them as children because they both have the most fucked up views of women. And both of them, by the way, like when we find out, okay, Dolph Lundgren hits a dog, grabs an older woman by the hair and throws her, um, shoots another woman after hitting her multiple times.

[00:14:13] He, he is, he is violent. And the story we hear about, I think why he was let off the force with the prostitutes and marching them down the street.

[00:14:24] Paul Scheer: I wanna get into this.

[00:14:25] June Diane Raphael: Something that’s, I kept on looking at that mom like, what did you do? What, what?

[00:14:31] Jason Mantzoukas: Okay.

[00:14:31] June Diane Raphael: What happened to these children ?

[00:14:34] Jason Mantzoukas: That mom is incredible.

[00:14:35] June Diane Raphael: Haunting.

[00:14:36] Jason Mantzoukas: I that the moms ever, these movies have like, they will truly lose you, you know? And I’ll be like, Ugh, what is this? This is crazy. And then something will happen. And it for me was the scene where she’s saying, get out, get out. I was like, this is incredible.

[00:14:52] June Diane Raphael: Amazing.

[00:14:53] Jason Mantzoukas: What I’m watching is incredible. I don’t know what it is this movie. I know I’ve asked for this before and we got just a absolutely phenomenal version from Avaryll, but. this movie more than any movie, needs a David Lynch trailer.

[00:15:08] Paul Scheer: Oh, wow.

[00:15:08] Jason Mantzoukas: ’cause there’s the red curtained room, there’s all these lynching and things. This movie is weird, man.

[00:15:15] Paul Scheer: Well, this is what I’ll say. I wanna talk about their fucked up relationship with women, but I will also just give a, a tip of the cap to Dolph Lundgren. Who, is he a good actor? I think he is.

[00:15:25] Jason Mantzoukas: Well, you know what’s amazing?

[00:15:27] Paul Scheer: He’s a good actor.

[00:15:28] Jason Mantzoukas: He wins,

[00:15:28] June Diane Raphael: He’s great.

[00:15:29] Jason Mantzoukas: No fights.

[00:15:30] Paul Scheer: Right.

[00:15:31] Jason Mantzoukas: He loses every fight. He’s an action movie star who loses every fight in the movie. He’s so concussed throughout.

[00:15:41] June Diane Raphael: It’s so hard though. Like he is, first of all, is obsessed with his journey. He does stop drinking at one point. I hope we all know that.

[00:15:47] Jason Mantzoukas: Yes.

[00:15:48] Paul Scheer: Yeah. Yeah.

[00:15:48] Jason Mantzoukas: And, and that. He does, and he doesn’t, he still has the flask in the later scenes that he’s still pulling out. But he gets into the fisherman sweater and the green coat that is game over.

[00:16:01] June Diane Raphael: Game over.

[00:16:01] Jason Mantzoukas: That outfit is, is light out.

[00:16:04] June Diane Raphael: And then when he’s in like full apre ski attire.

[00:16:06] Jason Mantzoukas: I mean incredible. Driving a Jeep, grand Wagoner.

[00:16:10] June Diane Raphael: Wow.

[00:16:10] Jason Mantzoukas: In a white fisherman sweater. And that.

[00:16:12] June Diane Raphael: That’s the star.

[00:16:12] Jason Mantzoukas: That jacket. I was like, we are in business.

[00:16:16] June Diane Raphael: Yeah.

[00:16:17] Jason Mantzoukas: Tie me up, Dolph. Yikes. A mica. What’s up?

[00:16:22] June Diane Raphael: Yeah.

[00:16:23] Paul Scheer: I mean, you know.

[00:16:24] Jason Mantzoukas: Stone cold hunk.

[00:16:25] Paul Scheer: He really, he like nothing says I’m an undercover cop more than wearing a fisherman’s sweater to a house of prostitution. Like, I mean, no, I’m just here to, I love buy some sex from some women.

[00:16:40] Jason Mantzoukas: I love that he’s wearing a transmitter. He is wearing like a, a, a wire or a transmitter. But it basically looks like they’ve just taken like the trans, like a transistor radio, opened it up and pulled out the whole thing and just shoved it in his jacket. It’s crazy looking. And you’re telling me this movie came out in 2000?

[00:16:57] Paul Scheer: Uh, yes.

[00:16:58] June Diane Raphael: No, that’s not right.

[00:16:59] Jason Mantzoukas: That’s got, but it was that, but it was like shot in 86?

[00:17:03] Paul Scheer: That’s the great work of the production designer to make it look like a movie that was shot in 86. I do wanna show you, um, this is, uh, let’s see here.

[00:17:12] This is the, the scene with the fisherman sweater and him, uh, giving its order.

[00:17:17] Jason Mantzoukas: I’m, I’m, I’m blown away by this TV by the way.

[00:17:19] Paul Scheer: Yeah.

[00:17:24] Jason Mantzoukas: That, look, look at it.

[00:17:27] Movie Audio: Mark off the preferred activities list, Jack.

[00:17:34] Well, I’m pretty open.

[00:17:37] Jason Mantzoukas: Should we turn on closed captioning?

[00:17:38] Movie Audio: You’re not an edge.

[00:17:39] Jason Mantzoukas: I’m just kidding.

[00:17:42] Movie Audio: No.

[00:17:44] Let’s go through some of these discipline.

[00:17:49] Sure.

[00:17:51] Cross-dressing?

[00:17:53] No.

[00:17:54] Baby games?

[00:17:56] No.

[00:17:57] Bondage?

[00:17:58] No. Yes.

[00:18:02] Enemas?

[00:18:03] No.

[00:18:04] Anal?

[00:18:05] No.

[00:18:06] Tickling?

[00:18:07] Maybe.

[00:18:08] Toilet training?

[00:18:10] I’ll have to think about that one.

[00:18:11] Humiliation?

[00:18:14] I’ve had enough of that this week.

[00:18:16] Humiliation?

[00:18:18] No.

[00:18:20] I’m gonna put you with Randy.

[00:18:24] Paul Scheer: And here’s the thing. She is filling out a form.

[00:18:27] Jason Mantzoukas: Yes.

[00:18:27] Paul Scheer: Like she is, there is a form that she is gonna give to one of the sex workers. Like, here we go.

[00:18:32] Jason Mantzoukas: We so much so we see a closeup of the form. The, the form gets its own insert shot. I mean, she’s also wearing like half of a Catwoman mask.

[00:18:40] Like it’s, I know she has like a phantom of the opera mask in that it’s half, but it’s like a Catwoman in shape.

[00:18:46] Paul Scheer: It’s the seventies baby.

[00:18:49] Jason Mantzoukas: But it is it? When does this take place?

[00:18:51] Paul Scheer: 77.

[00:18:51] June Diane Raphael: 77

[00:18:52] Jason Mantzoukas: 77, okay.

[00:18:52] Paul Scheer: Now June, you were saying that like, the relationship that he had with his mom is very messed up. And I agree. I think that he enters this world where he’s like, what is this? What is s and m? But the act that he performs, which is he gathers up a bunch of sex workers, makes them take off their shoes, walk in the rain and sing Bible songs.

[00:19:16] June Diane Raphael: Yeah.

[00:19:17] Paul Scheer: So they will be clean. That just said like, oh yeah, I heard about that thing you did. That’s fucked up. That’s a kink. I don’t wanna yuck his yum. But that is the.

[00:19:28] Jason Mantzoukas: That’s seventies Boston.

[00:19:32] Paul Scheer: Like, I didn’t even know.

[00:19:32] Jason Mantzoukas: That’s, that’s just that, you know what? That’s present day. Boston.

[00:19:36] Paul Scheer: I just didn’t understand what that was like. Like you can’t say that and be like, oh yeah, I identify with that character. I got it. Yeah. Yeah. He wanted to make all the sex workers just get clean and sing songs to, you know, ’cause they fear God.

[00:19:48] June Diane Raphael: It’s so, like, he, he does explain it at the very end, but I was left even more confused because his explanation is like he, he wanted them, yes, to find some sort of redemption. Although I guess he doesn’t, you know, question the men who purchased the prostitution at all. That I guess is fine. But, but then he says, but then I saw them and they’re just them and they’re just people. And then that’s the end of that. Like, I couldn’t quite.

[00:20:20] Jason Mantzoukas: Yeah, it’s almost like it’s some sort of baptism or some sort of like washing away their sins.

[00:20:25] Paul Scheer: That’s crazy fucked up. Yeah. Like, he’s like, I gotta, I guess I gotta baptize him. I’m a cop. The reason why he is fired is because he’s rounded up women, made them walk in the street barefoot to get clean in the, the eyes of the Lord.

[00:20:39] Jason Mantzoukas: He says he’s a Boston cop. He’s a villain.

[00:20:42] June Diane Raphael: Yeah, he is a villain.

[00:20:44] Jason Mantzoukas: He’s a villain.

[00:20:45] June Diane Raphael: He’s also so dumb. Like the, the scene that where he goes into, not Jill Rips, but Jill Ripps sister’s, um, lair when he’s there and he’s

[00:21:00] Jason Mantzoukas: Irene Rips.

[00:21:00] Paul Scheer: Are we saying that?

[00:21:01] June Diane Raphael: Irene rips, yeah.

[00:21:03] Paul Scheer: Oh, the nurse.

[00:21:03] Jason Mantzoukas: Wait, do we think?

[00:21:03] June Diane Raphael: Not Irene rips. Francis rips.

[00:21:06] Paul Scheer: Oh, okay. Wait, I just wanna sure that when we were talking about

[00:21:08] Jill, Jill Rips.

[00:21:10] June Diane Raphael: You’re talking about Mary O. I’m talking about

[00:21:12] Jason Mantzoukas: Yeah.

[00:21:12] June Diane Raphael: I’m talking about.

[00:21:13] Paul Scheer: Hold on. You’re referencing names for that.

[00:21:15] Jason Mantzoukas: You’re talking about Francis?

[00:21:16] June Diane Raphael: Mary O.

[00:21:17] Jason Mantzoukas: Are you talking about Francis Reed?

[00:21:18] June Diane Raphael: I’m talking about Francis Reed.

[00:21:20] Paul Scheer: You gotta do better for me. You have to say like woman in nurse’s, costume, wife’s wife, brother’s wife, or.

[00:21:27] Jason Mantzoukas: Well brother’s Wife is Jill Rips.

[00:21:29] Paul Scheer: Okay. That’s her name. Jill, I wanna to make sure, okay.

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

[00:21:31] Paul Scheer: Okay.

[00:21:31] Jason Mantzoukas: That, yeah. I went on Amazon X-Ray. So Jill Rips is her name.

[00:21:34] Paul Scheer: Okay.

[00:21:34] June Diane Raphael: So Jill Rips’ Sister, Francis Rips or Francis Reeds.

[00:21:38] Jason Mantzoukas: Francis Reed is the name on the mailbox.

[00:21:40] June Diane Raphael: Yes.

[00:21:40] Paul Scheer: Got it.

[00:21:41] June Diane Raphael: She when, when he’s in her lair. Yeah. And he’s set up the sting in operation with, um, the cop who’s outside. I could not get over that. He put himself in that position. What was his plan. And I know he said, I’m gonna call, I’m gonna say boots, should things go sideways. But.

[00:22:00] Jason Mantzoukas: But why wait until the ball gag is in? Like why not be like, okay, I guess the ball gag.

[00:22:06] Paul Scheer: Boots, boots.

[00:22:07] Jason Mantzoukas: Boots boots, boots, boots. You can get three boots while the ball gag is going.

[00:22:11] June Diane Raphael: How are you letting yourself get tied up and placed upside down in a ring?

[00:22:16] Paul Scheer: Yeah. He was hung like a championship shark. Like he is like, he is like, you know, like we caught it.

[00:22:21] Jason Mantzoukas: He he is helpless, he cannot get out. Right.

[00:22:24] June Diane Raphael: But by the way though, he’s seen multiple videos of other men in that very position, knew exactly what was going to happen.

[00:22:30] Paul Scheer: But the cop is distracted by somebody coming over to him. It’s, I’m like, it’s like who the cop somebody.

[00:22:34] Jason Mantzoukas: The guy that comes over to him is the guy in the bad wig with the Polish health.

[00:22:38] Paul Scheer: Oh, right. That Polish Health.

[00:22:38] Jason Mantzoukas: That’s what’s even crazier. That guy. Anyway, but I feel like that, so there’s that scene and, and the cop comes running in and he shoots, uh, Jill Rips sister, and, and he’s getting him down and, and, and, you know, uh, uh, Dolph is blindfolded.

[00:22:52] He is got the ball gagg, and he is like writhing and rah. He’s trying to say boots boots. And I really wanted the guy, he shoots the woman to come in, take the ball, gag out, and have Dolph be going like, I’m coming, I’m coming.

[00:23:05] Paul Scheer: I mean this. And I know, and throughout, and I don’t know. And this is why I’m always like curious. All right. This movie was shot in 2000. It’s about 19.

[00:23:13] Jason Mantzoukas: Wait, I, I just noticed her in the background. She blends in. She’s camouflaged so well.

[00:23:19] Paul Scheer: I mean, I, I, I appreciate the suit work. It must be a lot of talcum powder to get in there.

[00:23:24] June Diane Raphael: Imagine.

[00:23:24] Paul Scheer: I mean, it’s a very tricky thing to get in ’cause it looks like a one piece. Um, what I don’t understand is like, this movie does seem to under, well, I guess it doesn’t understand s and m, it’s got some understanding of s and m. It’s like the way that, like sex is talked about in 50 Shades of Gray. It’s like we understand that this exists, but we’re also, we’re fan some of it. And, and I feel like this get up. Is this something that has ever existed?

[00:23:51] June Diane Raphael: You mean upside down?

[00:23:52] Paul Scheer: The upside down fishing net.

[00:23:54] Jason Mantzoukas: Okay. No, this is called shibari. This, this is a Japanese knot. The rope and the knots are a, an actual thing.

[00:24:02] Paul Scheer: Okay.

[00:24:03] Jason Mantzoukas: Um, the hanging upside down. I genuinely don’t know.

[00:24:06] Paul Scheer: Anyone in the audience?

[00:24:07] June Diane Raphael: Honestly a lot of men are down for it in this movie. Like a lot of men willingly get upside down.

[00:24:14] Jason Mantzoukas: I’m certain there’s somebody in the audience who can give us some sort of expert insight. Anyone wanna speak?

[00:24:19] Paul Scheer: Anyone? Oh, oh, oh. You got, you have a little, all right, here we go. Let’s talk about it. All right. So. I, I’ll hold the mic.. Like, hi.

[00:24:24] Audience Member: So, uh, I traveled around the festival scene for a little bit and at this place called Ignite, there was this guy called.

[00:24:29] Paul Scheer: Hold on. Can I just ask a what you said, I traveled around the festival scene as if we all were like.

[00:24:33] Jason Mantzoukas: We are already, I have so many questions already.

[00:24:36] June Diane Raphael: S and m festivals?

[00:24:38] Paul Scheer: Oh yeah. So just, just clue us in on that and Yes.

[00:24:41] Audience Member: Yes. So there was this festival called Ignite, where you can learn how to fire spin. So I’m a fire spinner. Okay. And there’s also where you can learn how to do shibari and there is, uh, he was, um, the gentleman pirate and he would actually tie you up. And one time I got tied to a tree.

[00:24:54] Paul Scheer: So you were tied to a tree. Now, like what, like, is, is shibari purely an s and m thing or is that?

[00:25:02] Audience Member: No, it’s actually, it’s just for, it’s a, it’s a lot of fun. You, and it’s really, it’s a, it’s, it’s a form of art too. It doesn’t really tie you up. It’s like, it’s not knots. You can just take it out. And that’s the whole point of the fact that’s, you can’t tie up a samurai, but you can use a series of knots to subdue them. So especially when they’re drunk, you can use that to subdue Samurai.

[00:25:22] Paul Scheer: Everything that you said is said so confidently.

[00:25:26] Jason Mantzoukas: How many, wait a second.

[00:25:27] Paul Scheer: And that I’m like, have I missed?

[00:25:29] Jason Mantzoukas: How many Samurai are on the festival circuit?

[00:25:33] Paul Scheer: I believe everything that you say, and I have no judgment to it. Just feel.

[00:25:37] Jason Mantzoukas: Wait, you mean Renaissance Festival?

[00:25:38] Paul Scheer: Completely unaware.

[00:25:39] Jason Mantzoukas: What kind of festival? Fire spinning.

[00:25:41] June Diane Raphael: Fire spinning, spinning festivals.

[00:25:42] Paul Scheer: Fire spinning. So fire spinning.

[00:25:43] Jason Mantzoukas: Where are those? What’s it, wait, what’s okay? No, it’s called Ignite. You actually know it’s called.

[00:25:47] Audience Member: Ignite Fire Spinning Festival. Get it Ignite.

[00:25:50] Paul Scheer: But what’s happening? The, what else is happening besides fire spinning at the festival?

[00:25:54] Audience Member: Oh, you learn how to joust. You can, uh, that’s sword.

[00:25:57] Jason Mantzoukas: You’re trending towards renaissance Fair. Joust? You learn how to joust?

[00:26:04] Audience Member: Silks.

[00:26:04] Jason Mantzoukas: Silks, silk silks. Okay.

[00:26:06] Audience Member: Yeah. So you can do acrobats.

[00:26:07] Jason Mantzoukas: Okay. Okay. Okay.

[00:26:07] Paul Scheer: So shibari is not always, it’s just like human origami in a way. Like, you let your body be a part of a, a knot, a living knot. Okay. That’s all right. Well, there we got some answers.

[00:26:17] Jason Mantzoukas: I, I, I, I don’t, I Thank you.

[00:26:18] June Diane Raphael: Thank you. But it does seem, from that explanation is pretty easy to get out?

[00:26:24] Paul Scheer: Yeah. Yeah. Has anyone ever, and again.

[00:26:28] Jason Mantzoukas: Does anybody else have?

[00:26:29] Paul Scheer: We’re in a safe space. Has anyone ever been hung upside down for an act of sex?

[00:26:34] June Diane Raphael: No one’s going.

[00:26:35] Paul Scheer: No judgment.

[00:26:35] June Diane Raphael: I don’t want, I will judge. So don’t. I will.

[00:26:41] Paul Scheer: Or did you have a friend who did? And you always know a lot about your friend. Alright, so I do think that this is a movie that does take some liberties here.

[00:26:53] Jason Mantzoukas: I will, the thing that I did find interesting was the, when Jill Rips in the red bathrobe scene we’re not this scene in the red bathrobe scene.

[00:27:03] June Diane Raphael: One of the best scenes.

[00:27:04] Jason Mantzoukas: On one of the best scenes on film.

[00:27:05] June Diane Raphael: Yeah, yeah.

[00:27:06] Jason Mantzoukas: Um, it’s so long, but they, it a movie. I, I felt like a movie like this would’ve traditionally just, and so many of the movies that we’ve seen would’ve put the, the people that are involved in shibari and BDSM and stuff in the villain category. And they gave her, so they gave Jill Rips all this time to explain to Dolph Lundgren the entire totality of what she’s like experienced and all of this growth in a way that I was like, this is interesting that they’re giving this much time to the, to him getting educated to this.

[00:27:40] June Diane Raphael: And by the way, like she sold me on the experience.

[00:27:42] Jason Mantzoukas: Oh yeah.

[00:27:42] June Diane Raphael: I was like, that sounds great.

[00:27:44] Jason Mantzoukas: Oh, I, I, or I ordered rope after this movie.

[00:27:48] June Diane Raphael: I was like, I like what I’m hearing.

[00:27:53] Paul Scheer: Well now I guess we just have to talk about one other thing and then we can ask the big question of what is this movie about? The other hanging thing in this movie is there is a guy. I believe he’s the mayor, Big Jim, who’s like, I’m gonna bring a subway to this town. Very much like the music man. And then they make a very big deal out of, it’s cold though. It’s really cold. Like, are they digging in a Hoff? Like what’s going on?

[00:28:19] Jason Mantzoukas: Well, yeah, no, they, they’re, they, they, they have to have a cold room because of something. I couldn’t figure that out either.

[00:28:25] June Diane Raphael: I didn’t know.

[00:28:26] Jason Mantzoukas: But multiple of the fights take place in the cold room.

[00:28:29] Paul Scheer: I, I just don’t understand why. Like what the subplot underneath.

[00:28:33] Jason Mantzoukas: Does Polish Elvis work for that guy?

[00:28:36] June Diane Raphael: Yeah.

[00:28:37] Jason Mantzoukas: In what? Like so they’re, they’re bad guys too. I thought they were mobsters, but but you’re saying he’s the mayor?

[00:28:43] Paul Scheer: I think, think, I think he’s the mayor. I gotta kiss a lot of ass, but I also build this, he goes, I can bring in this city, this thing. I don’t. Big Jim.

[00:28:51] June Diane Raphael: I think that what I think that Polish Elvis is.

[00:28:55] Paul Scheer: Oh, he is a construction magnet.

[00:28:57] June Diane Raphael: Yeah.

[00:28:57] Jason Mantzoukas: Okay.

[00:28:58] June Diane Raphael: And he gets all the contracts and it’s, but I think that Polish Elvis has his ear to the ground for S and M workers and maybe prostitutes and other sex workers, or is their pimp, I’m not sure. But either way, he’s able to feed information on who those men are to Big Jim as collateral for him to.

[00:29:19] Jason Mantzoukas: Oh, that’s why they have the camera set up, because that’s the black mail that big Jim says he has on there because Big Jim.

[00:29:25] Paul Scheer: June paid attention. So, uh,

[00:29:27] June Diane Raphael: I was riveted.

[00:29:28] Jason Mantzoukas: I was further confused by you continuing to call him the mayor, and I was like, well, wait a minute. I thought he was like a bad guy.

[00:29:34] Paul Scheer: Well, I mean, like he, but he, like.

[00:29:36] June Diane Raphael: In Boston terms, he’s the mayor.

[00:29:38] Paul Scheer: Oh yeah. Big Jim felt like a mayoral candidate. Like, I mean, but I did feel like I’m getting that confused with that new Daredevil show. I feel like he’s like, I wanna bring the city a subway, but I, you know, I like there is something about, all right, so now we’ve laid out all the major plot points. And now the question is, so what’s the plot?

[00:29:56] June Diane Raphael: Well, and, and here’s the thing that I don’t think we any of us understand because it, it does seem that Jill Rip that a lot is going on in the subway and that she, somehow, there’s a line about The Cold Never Bothered Me anyway, which is from Frozen, that’s also in this movie. And I was like, did Frozen take that line from this movie?

[00:30:18] Paul Scheer: This movie. This movie is based on a book. This movie is based on a book and it’s the same book that they based Frozen on.

[00:30:23] Jason Mantzoukas: Oh wow.

[00:30:24] June Diane Raphael: No, seriously. I was like two sisters?

[00:30:28] Paul Scheer: And Elsa was a victim of shibari.

[00:30:31] Jason Mantzoukas: Do you wanna build a snowman?

[00:30:33] Paul Scheer: Do you wanna be tied up in shibari? By the way, that’s a great shirt. Just Olaf in shibari, upside down.

[00:30:47] Jason Mantzoukas: The cold never bothered me anyway.

[00:30:50] June Diane Raphael: But I didn’t understand why she needed to be in the, in the tunnels because it did seem like she was heading there at the end.

[00:31:00] Jason Mantzoukas: Sorry, I just wanna tag the shirt if you don’t mind.

[00:31:03] Paul Scheer: Yeah.

[00:31:03] June Diane Raphael: Okay.

[00:31:03] Jason Mantzoukas: I think it should say naughty K-N-O-T-T-Y, Olaf. It should say naughty Olaf.

[00:31:14] June Diane Raphael: Great.

[00:31:14] Paul Scheer: It was a good interruption.

[00:31:15] Jason Mantzoukas: I’m sorry.

[00:31:15] Paul Scheer: That’s great.

[00:31:15] Jason Mantzoukas: I’m very sorry, Molly. That’s, that was worth it.

[00:31:18] Paul Scheer: Alright, so wait, but you’re, you are, you’re right. I just, what’s going on? Why is she going back to the subway at the end? Like there, there’s no s and m place in the subway, right?

[00:31:28] June Diane Raphael: Not that I know of.

[00:31:29] Jason Mantzoukas: Is she going to kill Polish Elvis or is ’cause she’s killing she’s.

[00:31:33] June Diane Raphael: That’s true. She is.

[00:31:34] Jason Mantzoukas: She’s killing all the men that she thinks could be the man that killed her mother, Mrs. Rips.

[00:31:41] June Diane Raphael: Ribs?

[00:31:42] Jason Mantzoukas: Rips. Mrs. Rips.

[00:31:44] June Diane Raphael: Rips.

[00:31:44] Paul Scheer: Mrs. Rips.

[00:31:45] Jason Mantzoukas: Mrs. Rips. Um, mama Rips.

[00:31:47] June Diane Raphael: Yes, mama Rips.

[00:31:48] Jason Mantzoukas: Mama. Mama rips.

[00:31:49] Paul Scheer: Mama rips.

[00:31:50] June Diane Raphael: Mama rips.

[00:31:50] Jason Mantzoukas: Wait, do you think her name is?

[00:31:51] Paul Scheer: We are trying to get that financed right now.

[00:31:54] Jason Mantzoukas: Mama Rips.

[00:31:54] Paul Scheer: If everyone gives us $5 the door, we will double the budget of this movie.

[00:31:58] Jason Mantzoukas: It’s a prequel story is, do you think her name is Jill Rips because she, she R IPS people?

[00:32:04] June Diane Raphael: Okay, so I thought about this. I thought about this headlined so much. ’cause I was like, okay, why didn’t they say Jill the Ripper? And then are they saying Jill rips, like Jill has just ripped like Jill rips again?

[00:32:15] Jason Mantzoukas: Yeah.

[00:32:15] June Diane Raphael: Is that what it was, I think? Or are we calling her in the city, Jill Rips.

[00:32:19] Jason Mantzoukas: So, yeah. Uh, yeah. Is was she Jill, the Ripper.

[00:32:24] June Diane Raphael: Ripper.

[00:32:24] Jason Mantzoukas: But then in colloquially around town Jill rips. Rip got another one.

[00:32:30] June Diane Raphael: Or is it just like she ripped again?

[00:32:32] Jason Mantzoukas: Oh, oh, I heard, I heard Kenny got ripped. I heard heard Sully got ripped by Jill rips.

[00:32:38] Paul Scheer: But like, that’s, that’s how you would describe it, because it’s not, it’s not like Jack the killer. It’s Jack the ripper.

[00:32:43] Jason Mantzoukas: Yeah.

[00:32:43] Paul Scheer: He ripping up losers.

[00:32:45] June Diane Raphael: Right.

[00:32:45] Paul Scheer: Right. You know, so.

[00:32:47] Jason Mantzoukas: Okay, wait, who’s this guy?

[00:32:51] Paul Scheer: Ripping up losers baby.

[00:32:54] Jason Mantzoukas: Okay, wait, now it’s Austin Powers.

[00:33:00] Paul Scheer: Uh, like, but it’s like, so yeah, she is ripping up, she’s ripping up deviants, but I mean.

[00:33:07] June Diane Raphael: What, what a weird headline.

[00:33:08] Jason Mantzoukas: Okay, so she’s killing anybody who could be the man who killed her mother.

[00:33:12] Paul Scheer: Wait, wait. So she killed her brother, or she killed her husband?

[00:33:15] June Diane Raphael: Yes!

[00:33:16] Jason Mantzoukas: Wow. Wow. Whoa. This is wild. You watched it.

[00:33:28] June Diane Raphael: There was a lot going on at our house when Paul watched the movie, so I do.

[00:33:32] Jason Mantzoukas: No, he watched it with me here.

[00:33:33] Paul Scheer: But, but the ending didn’t, the ending didn’t make that super clear. He goes, did you get your man?

[00:33:38] Jason Mantzoukas: She says, she says.

[00:33:40] June Diane Raphael: She says he, he was once she found out he had the, well, first of all, the way they got together was confusing. I don’t know if she sought him out because he was into S and M or.

[00:33:50] Jason Mantzoukas: I don’t know, either.

[00:33:51] June Diane Raphael: Or if she was being honest in the bathrobe scene. Which was, which was, oh, I, I was just in this relationship and then he revealed that he wanted this type of sex.

[00:34:00] Paul Scheer: Right, I remember that. Yeah.

[00:34:01] Jason Mantzoukas: Yeah.

[00:34:01] June Diane Raphael: Right. So I dont, but I don’t know if that was true.

[00:34:03] Jason Mantzoukas: She’s a very unreliable narrator.

[00:34:04] June Diane Raphael: Yes.

[00:34:04] Jason Mantzoukas: To be clear. So.

[00:34:05] June Diane Raphael: But what I do think is true is that he was trying to ferry her off and her services to other mens I, right.

[00:34:16] Paul Scheer: Oh, right. I got that.

[00:34:18] June Diane Raphael: She says that and I do. That part is true. And so then he needed to die.

[00:34:22] Jason Mantzoukas: Yeah.

[00:34:23] Paul Scheer: But didn’t she enjoy it for a little bit?

[00:34:25] Jason Mantzoukas: Yes. I think she thought that they.

[00:34:26] Paul Scheer: Well, I, oh me. She says it. I’m, I’m just really, oh, I’m repeating the movie. I’m not saying she liked it.

[00:34:34] June Diane Raphael: Well, actually no, no, no, no, no. I don’t know though. I don’t know because I think there.

[00:34:39] Jason Mantzoukas: Disagree with Paul. I don’t think she was asking for it.

[00:34:41] Paul Scheer: She said it.

[00:34:45] June Diane Raphael: I do think there’s a world in which she was in that scene convincing him to be interested in s and m.

[00:34:53] Paul Scheer: To then help find the person. That’s what I thought. And then I felt like I didn’t get the, the, I didn’t get the justification of like, what changed because I feel like she was like, come on, do this and then that will help me do this. And then, but why did she kill him?

[00:35:10] Jason Mantzoukas: Why didn’t she?

[00:35:11] Paul Scheer: Why did she?

[00:35:12] June Diane Raphael: She didn’t You mean the, the brother?

[00:35:14] Paul Scheer: Yeah. That’s what I just said.

[00:35:16] June Diane Raphael: Because, because I’m what I said all what I responded with was because.

[00:35:22] Jason Mantzoukas: Oh God.

[00:35:22] June Diane Raphael: The brother was, the brother was like trying to, to, you know, ferry her off to other men in his life.

[00:35:33] Paul Scheer: But what I said, but she enjoyed it?

[00:35:36] Jason Mantzoukas: No, she didn’t enjoy it.

[00:35:37] Paul Scheer: Oh.

[00:35:38] Jason Mantzoukas: She didn’t enjoy it. She was willing to indulge his predilections, but once he was trying to pimp her out to other men.

[00:35:44] June Diane Raphael: You thought she enjoyed that?

[00:35:46] Paul Scheer: I thought that’s what she said.

[00:35:48] Jason Mantzoukas: No.

[00:35:48] June Diane Raphael: No. Oh, she never said, said that.

[00:35:49] Jason Mantzoukas: That you wanted to hear.

[00:35:55] Paul Scheer: I thought she was telling this thing.

[00:36:01] June Diane Raphael: You thought she enjoyed being like, I didn’t thought forced to do this.

[00:36:06] Paul Scheer: I’m, I just thought I misheard it. I was working on the fucking PowerPoints. I was watching it and I was like, yeah, I get it. She liked it. Big deal. Let’s go. And then I thought Polish Elvis was like, you gotta kill your husband because I got some dirt on it.

[00:36:27] Jason Mantzoukas: Well, I would’ve believed that. Like, that’s the thing is I I, it wasn’t The reveals came so late.

[00:36:33] Paul Scheer: Yeah.

[00:36:33] Jason Mantzoukas: For so and so stacked on top of each other that they I agree with you. It is very difficult to, because multiple people are revealing things that are then proven to be wrong.

[00:36:44] Paul Scheer: Right.

[00:36:45] Jason Mantzoukas: And Dolph is not really letting us in on his process of detective work, ’cause he’s mostly just having his ass kicked forward into the next plot point and he leaves that plot point, usually unconscious.

[00:37:01] Paul Scheer: Well then, then, let me ask one. Well, I, I’m revealing myself here, and I, I, I know that maybe the last 10 minutes of this movie was a little rush for me. And I did rewatch with you, and I feel comfortable asking this, but I’m nervous about asking it.

[00:37:16] June Diane Raphael: No, because, okay, so just so, and just so you know, at the beginning of tonight, the beginning of tonight, I heard you ask the question. So who we’re gonna find out who is Jill Rips?

[00:37:25] Paul Scheer: No, I, this, I just wanted to make sure we were on the same page of who Jill Rips was.

[00:37:28] June Diane Raphael: Okay.

[00:37:29] Paul Scheer: Because there’s no Jill Rips. I mean, it’s just her, but she’s not Jill, right?

[00:37:36] June Diane Raphael: She’s not what?

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

[00:37:37] Paul Scheer: She’s not like your name isn’t Jill.

[00:37:39] Jason Mantzoukas: No, no. I think that, that, that the.

[00:37:42] Paul Scheer: The woman in red, who is also the brother’s wife.

[00:37:44] Jason Mantzoukas: Wait, which red? There are two women in red.

[00:37:47] June Diane Raphael: Yeah.

[00:37:47] Paul Scheer: The full leather red.

[00:37:48] Jason Mantzoukas: Full leather red.

[00:37:49] June Diane Raphael: That’s not Jill Rips.

[00:37:49] Jason Mantzoukas: Is her. It is JillRips’S sister.

[00:37:51] June Diane Raphael: See, I knew there.

[00:37:52] Paul Scheer: Oh, right, yes. Sorry. Yes. Okay.

[00:37:53] Jason Mantzoukas: That’s Jill Rips’ sister who actually does have blonde hair.

[00:37:56] Paul Scheer: So, but that person didn’t kill.

[00:37:59] June Diane Raphael: No.

[00:37:59] Paul Scheer: Jill Rips husband?

[00:38:01] June Diane Raphael: No, no, no.

[00:38:02] Paul Scheer: But I thought that. Uh.

[00:38:04] Jason Mantzoukas: But okay.

[00:38:05] June Diane Raphael: Irene did.

[00:38:05] Jason Mantzoukas: But it was in that space.

[00:38:08] Paul Scheer: It wasn’t that space the same way.

[00:38:10] June Diane Raphael: Yes.

[00:38:10] Paul Scheer: That, good. Alright, so wait.

[00:38:12] Jason Mantzoukas: But so you could, you could think, oh, maybe because Polish Elvis was there at the behest of Big Joe.

[00:38:18] Paul Scheer: Yeah.

[00:38:19] Jason Mantzoukas: That maybe Big Joe and Polish Elvis convinced, uh, leather red leather woman.

[00:38:25] Paul Scheer: Yes.

[00:38:25] Jason Mantzoukas: Francis Reed to kill the brother.

[00:38:28] Paul Scheer: Yes.

[00:38:28] Jason Mantzoukas: And then the misdirect, the movie is setting up.

[00:38:30] Paul Scheer: Got it.

[00:38:31] Jason Mantzoukas: But when Dolph goes to the house and rips the boxes open and he finds the blonde wig. He realizes she has been going into her sister’s, uh, apartment and killing men who she thinks are bad men.

[00:38:46] June Diane Raphael: Yeah. But the other way we know this.

[00:38:49] Jason Mantzoukas: To what end?

[00:38:50] Paul Scheer: Thank you somebody for getting my.

[00:38:52] Jason Mantzoukas: If she could kill every bad man in the world, the man who killed her mother will have been killed.

[00:39:00] Paul Scheer: Wow.

[00:39:01] Jason Mantzoukas: Uh, doy, come on.

[00:39:04] Paul Scheer: Okay.

[00:39:05] Jason Mantzoukas: It’s pretty easy, guys. I’m just kidding. It makes no sense.

[00:39:10] Paul Scheer: So then, alright, so then I’m gonna open myself to one more question.

[00:39:14] Jason Mantzoukas: This, this movie is like, what if Terence Malick made one of these movies.

[00:39:18] Paul Scheer: Well, Mike, then my question is this. Is Jill Rip dead at the end?

[00:39:24] Jason Mantzoukas: No.

[00:39:24] Paul Scheer: Okay, good. No, I thought, I thought that was the case, but, but I was too nervous.

[00:39:28] Jason Mantzoukas: But Dolph Lundgren does think, oh, maybe she, no, no, no. That’s the scene before. Okay. Yeah.

[00:39:32] Paul Scheer: Because, because you know, he has that moment with her in the ice tunnel.

[00:39:35] Jason Mantzoukas: Yeah.

[00:39:36] Paul Scheer: Which again, I don’t understand.

[00:39:37] June Diane Raphael: And she delivers a powerful monologue in that scene. It’s sort of like America Ferrara’s monologue in Barbie.

[00:39:45] Jason Mantzoukas: But but better? But better?

[00:39:47] June Diane Raphael: Probably a little better.

[00:39:49] Paul Scheer: I mean, here it, yeah, I mean, I, I will play a second of it. Here we go. Like.

[00:39:55] Jason Mantzoukas: Like, wait a second. Can you go back? Can you go back? I’m so sorry. Does he need to turn the flashlight on? Look how close he has a gun on her and he’s so close. It’s not, he doesn’t have to be like, is it her?

[00:40:08] Paul Scheer: What I would also say is, as someone who’s gotten a flashlight in my eyes, she’s got great eye control.

[00:40:13] Jason Mantzoukas: Incredible.

[00:40:14] Paul Scheer: Wide open. Like not even worried about it.

[00:40:16] Jason Mantzoukas: Wait a minute. Is he holding a flashlight?

[00:40:19] Paul Scheer: On his other hand. One hand is holding a gun. It’s like this.

[00:40:22] Jason Mantzoukas: Okay, he, if he is holding a flashlight below the gun, there’s no way it’s getting her at that angle.

[00:40:28] June Diane Raphael: But why is it so bright behind him?

[00:40:31] Jason Mantzoukas: Yeah, like if it’s that bright behind, he is backlit, which means the light from behind him is hitting her.

[00:40:38] June Diane Raphael: Should be on her.

[00:40:38] Jason Mantzoukas: He doesn’t need a flashlight.

[00:40:40] Paul Scheer: It looks cool though, with a flashlight.

[00:40:42] Jason Mantzoukas: It’s cool as hell. That’s why this movie’s awesome. Because it’s absolute moron nonsense. But it’s great.

[00:40:51] Paul Scheer: Alright, so here’s her monologue.

[00:40:54] Movie Audio: You gonna shoot me?

[00:40:54] You are a murderer.

[00:40:56] Jason Mantzoukas: So are you.

[00:40:57] Movie Audio: I’m a murderer. What about the people who murdered me?

[00:41:02] Jason Mantzoukas: Hang on.

[00:41:03] Movie Audio: You can take me after.

[00:41:05] You don’t know.

[00:41:06] It doesn’t matter. He sells women. He’s as bad as those who buy them. All those who are dead. Those who would steal the soul from somebody who was at their lowest point. It could have been any of the men who are dead now.

[00:41:23] That’s not enough. You don’t have the right.

[00:41:26] No, I don’t have any rights. Same as when my mother was beaten to death and nobody bothered to look for her killer because she was whore. Same as when my new father decided I could be a daughter and a mistress. The same as when your brother decided I wasn’t good enough unless I accommodated his friends. There seems to be no end to the rights that I don’t have.

[00:42:00] You going in?

[00:42:05] Why do you come here?

[00:42:08] Paul Scheer: Polish Elvis.

[00:42:10] Jason Mantzoukas: She runs right at him. She runs right at she. He’s got it up high. She could see it even in the fog.

[00:42:18] Paul Scheer: Polish Elvis only carries large weapons. He has a silver shovel that I’ve never seen so clean.

[00:42:24] Jason Mantzoukas: So clean.

[00:42:24] Paul Scheer: Like he just bought it from the hardware store. You know what? That’s. The moment that I needed to rewatch. You. I did not see that.

[00:42:31] Jason Mantzoukas: We didn’t, that we did not re-watch that.

[00:42:32] Paul Scheer: I’ll say that. And that is a, that’s a pivotal moment. And this is the reason why I didn’t wanna rewatch three minutes of ads to rewind it. I was like, eh.

[00:42:39] Jason Mantzoukas: My question is, she has come here to kill Polish Elvis.

[00:42:43] Paul Scheer: Yeah.

[00:42:43] Jason Mantzoukas: In fact, Dolph kills him. She gets conked on the head and now disappears. And we don’t ever really.

[00:42:49] Paul Scheer: Where’s Polish? Is Polish Elvis just in the cold room, like taking cold plunge?

[00:42:52] Jason Mantzoukas: Well, he works there because he’s, he works for Mayor Joe.

[00:42:56] June Diane Raphael: Yeah. He’s just gotta check on the tunnels and stuff.

[00:42:59] Paul Scheer: But I mean, it seems like it, it seems pretty late at night.

[00:43:01] Jason Mantzoukas: Who knows?

[00:43:02] Paul Scheer: And it also seems like the worker, and then they make a whole big deal, like the workers even have to take a break ’cause it’s so cold in there.

[00:43:07] Jason Mantzoukas: But how come we never find out why he wears that wig? Didn’t you think somehow, somehow it was gonna be revealed?

[00:43:14] Paul Scheer: That’s an improvised line. I, that’s an improvised line.

[00:43:17] June Diane Raphael: I know.

[00:43:17] Jason Mantzoukas: But, but he’s wearing a crazy wig.

[00:43:19] June Diane Raphael: Because I think what was supposed to happen, I think maybe it was this scene that he was, we were supposed to just see both of their heads fighting and both of their hair next to each other. Come off in the smoke and Dolph, Lundgren like trying to figure out where to shoot.

[00:43:34] Jason Mantzoukas: I agree.

[00:43:35] Paul Scheer: I have a feeling this is what happened. They, they go, wow, we got this guy Polish Elvis. He’s got a great voice. Great, great look. Then he gets a set and he has the same haircut as Dolph Lger and like shit. Yes. We can’t have polo. She at the same haircut. You gotta make him wear a wig.

[00:43:51] And then this guy’s like, you’re making me wear a wig. This is my fucking life. You can’t hide my face. Then he gives a shitty performance, like, well now we gotta dub him. So now you got this guy in a wig who talks like he’s in a movie that is a old school Kung fu movie. He talks very weird. And so I think that that’s what’s going on.

[00:44:10] I do believe that he was given a wig for some set. Like some reason I, ’cause he goes, nice wig.

[00:44:16] Jason Mantzoukas: I felt like the wig was gonna come off and the accent would’ve been revealed to be fake because he’s in fact, somebody else.

[00:44:22] Paul Scheer: I thought that it was gonna be Jill Rips.

[00:44:24] Audience Member: A hundred percent.

[00:44:25] Jason Mantzoukas: You think?

[00:44:25] Paul Scheer: Thank you.

[00:44:27] Jason Mantzoukas: I would’ve loved it if that had been Jill Rips.

[00:44:29] Paul Scheer: Only is one person to get my back. And that’s it. Thank you.

[00:44:31] Jason Mantzoukas: If polish Elvis, if it’s revealed that Jill Rips is the enforcer, the, the enforcer for Mayor Joe. That would be incredible.

[00:44:40] Paul Scheer: That’s what I would like to have seen.

[00:44:42] June Diane Raphael: Did anyone else notice that when they are investigating one of the murders that happens in the lair and Jill rips is lair. And, and the, the cops are in there and another man’s died, and, um, the weapons are on top of him and one of them, one of the sex instruments, it looks like some sort of a probe, has an insane amount of hair on it. Am I the only one who saw that? So much hair.

[00:45:15] Jason Mantzoukas: There was a lot of grizzly imagery.

[00:45:17] June Diane Raphael: Yeah.

[00:45:17] Jason Mantzoukas: Oh, the head, the head, the head, the squashed head, the chopped up body. When he bursts into that apartment and Mary is like cutting a guy’s legs with a straight razor, and then they’re like, Hey. And the guy’s like, Hey, what are you do? I thought this was a cool place. I was like, this man would be screaming in pain. He doesn’t, I.

[00:45:36] Paul Scheer: When they described the way that, like the truck driver. Yeah, the truck driver just accidentally ran over. He was already dead. The truck driver just ran over his head because he was delivering some melons to the fucking supermarket, you know? Hey, yeah, he is bummed out, of course, but the guy is dead. He didn’t really do anything. It just fucking ran over a dead body. No big deal. It was like, what is this? Like, like clearly the only had like a head that was already busted, it’s like, it’s not even part of the plot.

[00:46:01] Jason Mantzoukas: I could, this movie doesn’t obey and I don’t know, here’s, I don’t know what genre this is, like do you have the dream sequence?

[00:46:11] Paul Scheer: Okay, I wanna talk about this dream sequence.

[00:46:13] Jason Mantzoukas: Where did this come from? Get, why aren’t there four more of these in the movie? I thought this was nuts. And so visually arresting.

[00:46:24] Paul Scheer: Well, like, he’s walking, I, I don’t even know if I have that.

[00:46:28] Jason Mantzoukas: Oh, okay.

[00:46:29] Paul Scheer: I don’t know if I have that scene, but when he.

[00:46:30] Jason Mantzoukas: He’s being dragged, he’s tied in shibari rope. He’s being dragged across like an icy road. His face and Chester are all bloody, and the, the Polish Elvis is dragging him, right?

[00:46:41] Paul Scheer: Well, I don’t know if we even see it.

[00:46:43] Jason Mantzoukas: No. The do, no, the dominatrix is on the hill above.

[00:46:46] Paul Scheer: She’s on like a, like Batman or cat woman. Standing on a thing.

[00:46:50] Jason Mantzoukas: Like it’s a Die Antword video or something. I was like, what the fuck is this? This is like the band, The Fever. Give me this all day every day.

[00:47:00] June Diane Raphael: It really was so watchable. I, i,

[00:47:03] Jason Mantzoukas: I agree.

[00:47:05] June Diane Raphael: Couldn’t take my eyes off the screen.

[00:47:06] Jason Mantzoukas: And I had no idea what was going on, but I found it so compelling.

[00:47:10] Paul Scheer: Well, now I do know. And, and Pete, the s man who brought the original novel, what’s the original title of the novel? Joe Rips. Okay. Because this movie was called Joe Rips.

[00:47:18] Jason Mantzoukas: Did you read it?

[00:47:18] Audience Member: Yeah.

[00:47:19] Paul Scheer: Uh, well, the original script was very close to the novel and then they kind of deviated far from it. Um. The novel had been described as harrowing. Uh, grim poetic vision makes it the best novel of its kind for years. The Sunday Times said that it’s violent and vicious and brutal, and it’s, uh, it’s, it tale is beded down in imagination like a succubus.

[00:47:42] And the, uh, Daily Express called it a tautly and skillfully written, genuine, can’t put it down. Turn off the Telly read. Um, and the person who wrote the novel, Frederick Lindsay, said that this movie is a travesty of good.

[00:47:56] Jason Mantzoukas: Wow.

[00:47:57] Paul Scheer: And of a good and serious novel. Uh, the script as the book was set in present day, uh, and then they changed that to make it the seventies. And, and, you know, he said the, the seventies is when the s and m scene was actually more alive. And then, um, the other thing was this movie is also called Tied Up.

[00:48:17] Jason Mantzoukas: Okay.

[00:48:17] Paul Scheer: Jill Rips is like a, like a later a d like.

[00:48:20] Jason Mantzoukas: I don’t mind Jill Rips. I mean, it makes zero sense.

[00:48:25] Paul Scheer: Tied Up is a little bit better.

[00:48:26] Jason Mantzoukas: Tied Up is a better, is a better move.

[00:48:28] Paul Scheer: And you know, maybe have like, you know, Dolph Lundgren with like a phone like tied up.

[00:48:31] Jason Mantzoukas: Can I ask you a question? When, when Dolph Lundgren and Jill Rips have their sex scene, not the tied up upside down, but the sex scene in the room where they’re careening all over the place, is that in the mom’s house?

[00:48:46] June Diane Raphael: No, that’s at a hotel.

[00:48:47] Jason Mantzoukas: It’s in a hotel. Okay. Okay. Thank you.

[00:48:48] June Diane Raphael: Yeah.

[00:48:49] Jason Mantzoukas: I, I, I, I tuned out for a second, tuned back in. I was like, is this, this is a loud sex scene. Is the mom there?

[00:48:55] Paul Scheer: It also didn’t look pleasant. It didn’t look pleasant to me, that sex scene. I didn’t like it.

[00:48:59] Jason Mantzoukas: I didn’t mind it.

[00:49:00] June Diane Raphael: I didn’t mind it either.

[00:49:03] Jason Mantzoukas: I thought, I thought it was great.

[00:49:05] Paul Scheer: Fun thing.

[00:49:06] June Diane Raphael: I didn’t mind that.

[00:49:06] Paul Scheer: Fun little fact about that dream sequence or with that knocked out sequence. And he’s unconscious and, and feeling like he’s gonna get all cut to pieces. Uh, Dolph Lundgren insisted that he shoot his stuff in, uh, inside, and then they made that actress shoot all of her stuff outside in the freezing cold..

[00:49:21] Jason Mantzoukas: Oh my god.

[00:49:22] Paul Scheer: Not, not in the same scene. Uh, so, uh, let’s go to the audience. Do a question.

[00:49:27] June Diane Raphael: Just a question of maybe we can take it to the audience. Why. Why were the tapes being dropped off to the police department?

[00:49:36] Paul Scheer: Unclear.

[00:49:37] Jason Mantzoukas: As a blackmail, I think, as, as to say, Hey, we have blackmail on you.

[00:49:42] June Diane Raphael: Blackmail on the police department?

[00:49:45] Paul Scheer: They got blackmail on everybody.

[00:49:46] Jason Mantzoukas: Yeah.

[00:49:47] June Diane Raphael: Because I know, I know Conway.

[00:49:50] Jason Mantzoukas: Oh, you mean the tape of the snuff film that the when. Okay. That they all go in and watch.

[00:49:55] June Diane Raphael: Yes. Together. Why is that tape dropped off there?

[00:49:59] Audience Member: Because murders are already happening. So now they’re investigating the murders instead of holding it for.

[00:50:03] Jason Mantzoukas: Right, but who sent them that, that reel to reel, do we think? Because the guy comes in, he is like, we got another tape of the murder. Well, what, what?

[00:50:10] June Diane Raphael: It must’ve been Polish Elvis.

[00:50:12] Paul Scheer: Well, Polish Elvis is sending those tapes in.

[00:50:14] Jason Mantzoukas: He is?

[00:50:15] Paul Scheer: So sometimes he’s using to play.

[00:50:16] Jason Mantzoukas: But why?

[00:50:17] June Diane Raphael: Why?

[00:50:17] Jason Mantzoukas: Wouldn’t that make it bad for them?

[00:50:22] Paul Scheer: I, maybe they just have an excessive tapes. They’re like, you know what? We’ve run out of blackmail material. Because that’s like at one point when, you know he’s driving that limo or doing donuts in the parking lot and doling around, did you kill my brother guy? I don’t need, I didn’t need to. I didn’t need to. I already got what I needed on that guy.

[00:50:37] Jason Mantzoukas: That was a real thing, I feel like, and again, I feel like this movie, I’m just going, it’s, I guess representing the seventies, but I think it’s an eighties movie. Um, just to drive someone out of control makes them reveal all secrets. Just to be like, there’s a madman behind the wheel. I’ll tell you anything you wanna know. It’s also seems like Dolph would kill himself. So you like as a bad guy, you have to think.

[00:51:01] June Diane Raphael: Oh, always. That’s always the question.

[00:51:02] Paul Scheer: Yeah. To give the bad guy, you have to be like, I don’t think he’s gonna kill himself.

[00:51:05] Jason Mantzoukas: No, he is too handsome.

[00:51:07] Paul Scheer: Alright. Uh, yes, your name and your question. I’ll hold the mic.

[00:51:11] Audience Member: My name’s Hank. Uh, my question is about Mary O.

[00:51:14] Paul Scheer: Okay.

[00:51:14] Audience Member: Who we mentioned briefly before. Yeah. Um, he breaks and enters upon Mary O three different times.

[00:51:20] Paul Scheer: Yeah.

[00:51:20] Audience Member: At the end of the movie, he frames Mary O. He’s left scott free. My, my question is, how are we supposed to morally like, reconcile what happens to Mary O?

[00:51:31] June Diane Raphael: We can’t.

[00:51:31] Audience Member: Because he shoots her in the chest after breaking and entering. It’s a brutal death.

[00:51:37] Jason Mantzoukas: She does shoot first. She shoots.

[00:51:40] Audience Member: It’s self defense.

[00:51:43] June Diane Raphael: But here, actually, here’s how we, can we come to terms with it morally. He, he adopts her dog.

[00:51:53] Paul Scheer: Wow.

[00:51:53] June Diane Raphael: And. And seems to have a very nice relationship with the dog at the end, which I was very relieved by.

[00:52:05] Paul Scheer: Um, alright. So sir, uh, what’s your name?

[00:52:06] Audience Member: Uh, David.

[00:52:07] Paul Scheer: David. All right. So you are carrying a copy of Jill Rips.

[00:52:10] Jason Mantzoukas: Whoa.

[00:52:10] Paul Scheer: Um,

[00:52:10] Jason Mantzoukas: Actually, hang on, raise the book up if you came here with Jill Rips. Okay. It’s only these two weird weirdos. Okay. Okay. You two weirdos can talk after.

[00:52:22] Paul Scheer: It’s a big book. It is a big book. All right. So what do you, what do you wanna share about this?

[00:52:26] Audience Member: Well, the book sort of explains why it’s so cold in the tunnel, which they don’t address in the movie, which is, it’s a, um, they’re freezing the ground to make the ground more stable, um, to excavate it.

[00:52:39] Jason Mantzoukas: Sure. Why not?

[00:52:40] Paul Scheer: Great.

[00:52:42] Jason Mantzoukas: Anything else? I, I’m curious.

[00:52:44] Audience Member: They murder the dog in the book. He strangles the dog, sadly. Um, so I was happy that the movie changed that. And the part that makes more sense.

[00:52:50] Paul Scheer: The dog liked it. Don’t worry about it.

[00:52:53] Audience Member: It was all in London. So the murders happened on Jack the Ripper’s murder dates, and it was in London, so that was why it was Jill the Ripper.

[00:53:02] Jason Mantzoukas: The book is in London?

[00:53:04] Audience Member: Yeah. And so obviously when they cast Dolph Lundgren, they’re like, oh, he can’t be British anymore. So they changed like everything, and then nothing makes sense anymore.

[00:53:12] Paul Scheer: Well, maybe they thought it was Dolph London.

[00:53:18] Jason Mantzoukas: Why, why then keep it be? Why, why have it be about Jack the Ripper? Why not have it be about if you’re gonna relocate it to Boston, the Boston Strangler, why not have it be called Jill Strangles

[00:53:28] Audience Member: And also he, um, in the book, he doesn’t drink and he just drinks tea.

[00:53:35] Paul Scheer: Wow.

[00:53:36] Jason Mantzoukas: I don’t, I don’t mind that.

[00:53:39] Paul Scheer: Pete. Pete, yes, man. Do you have any more?

[00:53:41] Jason Mantzoukas: June, how do you feel about that?

[00:53:42] June Diane Raphael: I do mind that.

[00:53:42] Paul Scheer: Do you have any book facts as, as we go to the book, part of the show?

[00:53:45] Audience Member: Well, uh, Malcolm is the brother, um, um, Dolph Lundgren’s’ brother. His name’s Malcolm does not die in the book.

[00:53:53] Paul Scheer: What?

[00:53:53] Jason Mantzoukas: So what’s the inciting incident? What starts the whole thing?

[00:53:57] Audience Member: I mean, there’s, there’s so much, I mean, let’s just, I’m gonna let out The big one right away is that, um, uh, Polish Elvis, kajabi. He is the father of Jill. The rips.

[00:54:08] Paul Scheer: Whoa.

[00:54:08] Jason Mantzoukas: Oh, whoa.

[00:54:11] June Diane Raphael: Wait, did now do you mean they look alike? Do you mean?

[00:54:14] Audience Member: They’re father and daughter.

[00:54:15] Jason Mantzoukas: So that’s why they look alike?

[00:54:18] Audience Member: Yeah.

[00:54:18] June Diane Raphael: Oh.

[00:54:20] Paul Scheer: Wow. Wow, wow.

[00:54:24] June Diane Raphael: Wait a second follow up question.

[00:54:26] Jason Mantzoukas: What?

[00:54:27] June Diane Raphael: When you say father, you don’t mean Mr. Reed father who adopted her and had sex with his sister.

[00:54:35] Jason Mantzoukas: No, her biological father.

[00:54:36] Audience Member: The, the mother, uh, who had the two girls, one of them is Irene, who is Jill the Rips in the movie. Um, she had, uh, this woman had two, uh, males, two husbands, and one of them was Polish, um, uh, Polish, Elvis and Polish Elvis did kill her. That’s what was also so weird.

[00:54:57] Jason Mantzoukas: So that this, the end of the movie.

[00:55:00] Audience Member: Yeah.

[00:55:00] Jason Mantzoukas: She has successfully found the man that killed her mother. Yeah. They did it actually her biological father.

[00:55:05] Audience Member: I believe, because at a certain point, these, the book in the movie are crisscrossing. Um, the murder happened in what’s the woman? The, uh, the, the woman When the nurse happened, Mary O. It happened in her. She gets, they kill her and then they, uh, lured him. Polish Elvis into.

[00:55:21] Jason Mantzoukas: Got it.

[00:55:22] Audience Member: And Dolph Lundgren’s character was trying to stop her and say like, let’s just arrest him. She’s like, no, I’m gonna kill him.

[00:55:27] June Diane Raphael: Wow. Wow.

[00:55:28] Jason Mantzoukas: Yeah. Wow.

[00:55:28] Paul Scheer: Why would you throw it away?

[00:55:29] Jason Mantzoukas: A huge reveal. And I’ve gotta ask David, why didn’t you mention any of that?

[00:55:35] Paul Scheer: I did have some questions for David after that.

[00:55:37] Jason Mantzoukas: David, you had first crack at book knowledge and you gave us crumbs.

[00:55:44] June Diane Raphael: He’s telling us about like why we’re stabilizing the grounds of Boston to put a tunnel.

[00:55:51] Jason Mantzoukas: You, yeah. I’m grateful for the cold room info. Thanks. But, but wow, wow, wow.

[00:55:55] June Diane Raphael: We’ve been asking the whole podcast like why are they in the same wig? Like, why?

[00:55:59] Paul Scheer: David walks so Pete could run. Yeah, I mean that’s, you know, he set us up to get a.

[00:56:03] Jason Mantzoukas: I do want them to get a picture afterwards in the courtyard.

[00:56:06] Paul Scheer: Alright. Yes. Let me, here we go. Let me get a person. Come over here. What do you got?

[00:56:10] Audience Member: Uh, I’m Corey and I was curious if, uh, you all felt that there were some Lynchian ailments thrown into this for just like, for the sake of, oh, this is weird. This is just what we’re gonna show. This is like, why, why the hell not? And also if they pitched it to lre is, Hey man, this is your Cruising. This is your Pacino moment. You get to do your Cruising.

[00:56:33] Jason Mantzoukas: It definitely felt like he was doing a Pacino. He was in the first half of the movie. He is doing a different performance than the second half of the movie, like fully, and it’s. He’s doing stuff in those, in those early scenes. At the funeral, at the wake, he’s doing it. He’s, he’s wasted all the time. It’s really, it’s a whole performance.

[00:56:55] June Diane Raphael: But I have to say that I never felt like he was pushing. I never, I, I was very, I really didn’t, I was like, this is an interesting performance. I don’t understand it, but I’m. I believe it. I believe that this is a strange man acting really weird.

[00:57:13] Paul Scheer: I will say as far as the Lynchian tropes, that to me reeks of budget because like there are moments when they’re in like the s and m, you know, house or whatever, you know, whatever the location is where it’s just like Ca Cage, red light, open spaces, like the tunnel is a lot of smoke, not like nothing discernible. Lights are off.

[00:57:37] Jason Mantzoukas: I think it’s, it’s, it is ex, I agree with Paul. It is accidentally Lynchian. Yeah, it’s, and it is.

[00:57:43] Paul Scheer: We’ve got some red gobos and tweenies and we can make that work.

[00:57:46] Jason Mantzoukas: Because also there are scenes where it’s like real fuzzy, where it’s like moody and weird in a way that I’m like, oh, this is just out of focus and this is what they had to use. I don’t necessarily think it’s always purposeful, but I do think it cuts together into a pretty compelling movie.

[00:58:04] June Diane Raphael: Did anyone else notice that I think I’m right here. I almost went back and rewatched, but I didn’t. But in this sex scene, she, first of all, it’s full frontal nudity. The movie is not what you think at points and he rips her jeans down.

[00:58:21] I thought she was either not wearing underwear or wearing like very dark underwear. Then like in the post-coital scene, she gets up and I believe she’s wearing his underwear. Is she?

[00:58:34] Paul Scheer: That’s when you know you have good sex when you swap underwear.

[00:58:39] June Diane Raphael: Wow, okay.

[00:58:40] Paul Scheer: It’s like that scene in Zoolander when they have like the model off and he pulls the underwear off it like, like that’s what you do. If you have good sex, you get your underwear on somebody else and they don’t even know.

[00:58:49] June Diane Raphael: It just makes her so snugly.

[00:58:51] Jason Mantzoukas: I feel like, and I don’t know how you feel and I am curious. June specifically, I am rooting. For Dolph and Jill Rips.

[00:58:59] Thousand

[00:59:00] June Diane Raphael: percent.

[00:59:00] Jason Mantzoukas: Like I want them to be together at the end.

[00:59:03] June Diane Raphael: Thousand percent.

[00:59:04] Jason Mantzoukas: Like, like bad.

[00:59:06] June Diane Raphael: Me too. And I, I felt like that was another sort of mis with the movie sort of, it got there. But they have, again, in the red robe scene, they’re connecting very intimately. And I thought the sex scene was great. I was like.

[00:59:22] Paul Scheer: Really?

[00:59:22] June Diane Raphael: Next sexually. Yes, Paul.

[00:59:24] Jason Mantzoukas: Wait, I’m curious. I’m curious.

[00:59:26] June Diane Raphael: I thought it was great.

[00:59:27] Jason Mantzoukas: Let’s, I’m just curious who, for like from the audience who, uh, I guess round of applause if the sex scene worked for you. Okay. Didn’t work. Interesting. A lot of people sitting on their hands. A lot of people like.

[00:59:45] June Diane Raphael: Yep.

[00:59:47] Jason Mantzoukas: I say I know a trap when I see one. This is a trap.

[00:59:51] June Diane Raphael: Sat out election. They sat out. It seemed to me though.

[00:59:56] Jason Mantzoukas: Why didn’t you clap?

[00:59:58] June Diane Raphael: They, it seemed that they were the only two people in the world who could really understand each other and they were meant to be together. I guess. I love this movie.

[01:00:12] Jason Mantzoukas: Yes. June and I te, I’m here to say Team Fred is also team Mr. And Mrs. Rips. And I guess Paul, that’s you’re, because you don’t believe that they are connected. You are te team sanity is.

[01:00:27] Paul Scheer: Oh, no, no. I’m just saying, I just felt that.

[01:00:31] June Diane Raphael: I think you were grossed out by the sex scene because it was in a disgusting hotel room, which I did think about. I did think about.

[01:00:36] Paul Scheer: Oh, I think I just felt like.

[01:00:38] Jason Mantzoukas: Oh, she touched her bare butt to the tv.

[01:00:40] Paul Scheer: Yeah.

[01:00:42] Jason Mantzoukas: Honestly get tested.

[01:00:45] Paul Scheer: All I’ll say is I thought the sex scene, I, I felt like there was a lot of pent up aggression there and I felt like he was definitely more in a position of power and I wanted her to get.

[01:00:56] June Diane Raphael: I thought she was getting in there.

[01:00:58] Jason Mantzoukas: Oh yeah. Oh, she was getting in. She, oh yeah, she’s, she, I mean, remember she is a murderer.

[01:01:03] Paul Scheer: Right. True. Yeah. What’s your question?

[01:01:05] Jason Mantzoukas: Wait, lemme ask you this. I’m curious about this. I really am. I loved all of the different setups that when he would burst into Mary’s apartment, she was always in a session. She’s the one I mentioned with the cutting the man’s leg, which I didn’t appreciate, but the one that really I got me was the guy who’s tied up with his head in the oven, who I’m just like, what is this guy’s?

[01:01:26] June Diane Raphael: My God.

[01:01:26] Jason Mantzoukas: Sylvia Plath Kink.

[01:01:28] June Diane Raphael: God.

[01:01:29] Jason Mantzoukas: He’s like, Ted Hughes is just really riding me. I gotta, I gotta check out.

[01:01:34] Paul Scheer: That’s an s and p.

[01:01:35] Jason Mantzoukas: These are my Sylvia Plath jokes.

[01:01:36] Paul Scheer: S and P.

[01:01:38] Jason Mantzoukas: S and M. S. S and P.

[01:01:39] Paul Scheer: Yeah. S and P. Um, obviously we had opinions about this movie, but there are people out there with a different opinion.

[01:01:45] It’s now time for Second Opinions.

[01:01:48] Audience Member: Hi, I’m Kat. All right. Irene wants to thank you for giving her some time to breathe. Dolph was waiting so damn patiently while she got it together, while she binding some boys. Oh yeah. Don say the look, but never the touch to big Jim slap your girl stone. Now we are stabbing mans and making plans and it’s lucky for me.

[01:02:14] You understand just what a girl wants, what a Jill wants, whatever second opinions help you, set you free. And I’m thanking you by giving you five stars what a Jill rips. What a Jill needs. Whatever keeps that dog from killing me and I’m thanking you for that second opinion.

[01:02:36] Paul Scheer: Yeah great job!

[01:02:38] Jason Mantzoukas: Great, great.

[01:02:43] Paul Scheer: Wow. Wow. Wow. Surprisingly not that many second opinions on Jill Rips. Nine, nine reviews might be an all time low, low. Nine total reviews. Here’s a twist. All in German.

[01:03:18] Jason Mantzoukas: Was this a Wait, is Dolph Lundgren German?

[01:03:21] Paul Scheer: No.

[01:03:21] Jason Mantzoukas: No. He could be.

[01:03:25] Paul Scheer: Uh, out of those nine, 47% are five star, 0% are one stars. Um, well I’ll just get into it. Um, this one is from Bianca. Uh, Bianca, uh, titles review “Exciting Thriller with s and m background.”

[01:03:46] “At some point, I have reviewed the youth version of this movie, however, the 18 plus version is a lot better.”

[01:03:56] Jason Mantzoukas: I have questions.

[01:04:01] Paul Scheer: Bianca goes on to describe the movie and then says

[01:04:04] “There are totally humorous passages in this film. For example, Matt’s visit to the s and m studio, simply delicious, a really worthy seeing movie. Five Stars.”

[01:04:21] Jason Mantzoukas: That’s def, that’s very German.

[01:04:25] Paul Scheer: Then we get, uh, from Son of Winslow.

[01:04:27] “Now this is how you make a sleazy, psychosexual, thriller, Ty West. Take notes.”

[01:04:35] Jason Mantzoukas: Wow.

[01:04:38] Paul Scheer: “Feels like a Skinimax infused episode of Batman Shot in Estonia circa 1999.”

[01:04:48] Jason Mantzoukas: This person has a spec script.

[01:04:52] Paul Scheer: Now I will say Dolph Lundgren did have some thoughts. Great. Uh, we hit the way back machine on Dolph lundgren.com as he wrote a blog post about it, and Dolph wrote,

[01:05:05] “This is the first time I did a thriller. Doesn’t have as many action scenes as my films normally do. At one point, I end up hanging upside down, being molested by this leather dressed woman with a whip. She is the killer. And of course, it’s kind of tough for me to solve the mystery.

[01:05:20] Jason Mantzoukas: But she’s not the killer.

[01:05:22] June Diane Raphael: She’s not.

[01:05:22] Jason Mantzoukas: Let’s be clear. He’s also misunderstood the movie.

[01:05:30] Paul Scheer: This is from the words of Dolph, here.

[01:05:32] “She is the killer. And of course, it’s kind of tough for me to solve the mystery from that position, but somehow I managed to do it anyway.”

[01:05:39] Jason Mantzoukas: No, he doesn’t.

[01:05:44] Paul Scheer: On this picture, I spent a lot of time rehearsing because a lot of the scenes had more dialogue than other films I’ve done. It’s a good experience to really work on the performance. I discovered you could get a lot out of a picture without carrying the biggest machine gun around, so to speak.

[01:06:01] Jason Mantzoukas: I love it.

[01:06:02] June Diane Raphael: Great.

[01:06:03] Jason Mantzoukas: I love it. I, I, I wanna start calling things, pictures again.

[01:06:07] Paul Scheer: I like calling it a picture.

[01:06:08] Jason Mantzoukas: That, and analyst. Oh, I was talking about the pictures with my analyst the other day.

[01:06:15] Paul Scheer: The, um, the, uh, one interesting fact is that Tom Beringer was attached to star in this, um, but dropped out and then Dolph came in and the director says it’s Dolph’s best acting to date.

[01:06:28] June Diane Raphael: Agreed.

[01:06:29] Paul Scheer: And, um. But apparently, uh, Dolph and the producer argued way too much because Dolph really liked to do dissolve transition edits for the film. And at one point they did say that he gave 378 editing notes.

[01:06:51] June Diane Raphael: Okay. By the way, you two described that opening sequence of those kids watching with the police boats right there. I thought that was a dissolved.

[01:06:59] Paul Scheer: I think it was.

[01:07:00] June Diane Raphael: It definitely was, right?

[01:07:01] Jason Mantzoukas: Oh, it is?

[01:07:01] Paul Scheer: Yeah.

[01:07:02] June Diane Raphael: Yeah.

[01:07:02] Jason Mantzoukas: Oh, okay. Then I’m, then I, I, I looked away or I didn’t notice.

[01:07:06] June Diane Raphael: I just wanted to be clear.

[01:07:07] Jason Mantzoukas: Yeah.

[01:07:08] June Diane Raphael: Yeah. But that was one of Dolph’s dissolves.

[01:07:11] Jason Mantzoukas: I, I didn’t know, I didn’t know about the other double D’s in this movie.

[01:07:17] Paul Scheer: Uh, a couple of these editing notes, which I thought were funny, Dolph made them re-shoot the cemetery scene, which is all of 20 seconds. ’cause he didn’t think his face was in it enough. And then, um. They did a lot of editing. Uh, apparently the, the, the bathrobe scene was eight pages. They got that down to three.

[01:07:36] June Diane Raphael: I would love to see the full cut of that.

[01:07:38] Jason Mantzoukas: Oh, it was still at least eight minutes long.

[01:07:41] June Diane Raphael: Yeah.

[01:07:42] Paul Scheer: Yeah. So I mean, imagine it.

[01:07:43] Jason Mantzoukas: I couldn’t believe how long that scene was. Yeah, that was incredible.

[01:07:46] Paul Scheer: So like that, that’s where got in there. Um, and they’re very upset because the original scene of Dolph’s uh, getting cut up by the woman in his like, uh, passed out dream was a lot more violent, but they thought that made the movie too dark.

[01:07:59] Jason Mantzoukas: I also.

[01:07:59] June Diane Raphael: Release the Dolph cut.

[01:08:00] Jason Mantzoukas: Yeah, release the double the, the DC release. The Dc.

[01:08:06] Paul Scheer: Well, I mean, I think, you know, are there any final thoughts? I mean, we know that this is one of the best movies that Dolph has done.

[01:08:11] Jason Mantzoukas: I, this movie Rips.

[01:08:13] June Diane Raphael: This movie does rip. I couldn’t believe, I guess I was just watching it and I was like, wow, we have more work to do. You know, there’s for movie, for this movie to have been out there.

[01:08:25] Jason Mantzoukas: Yeah.

[01:08:26] June Diane Raphael: And to have not known about it.

[01:08:27] Jason Mantzoukas: For this, for us to only now be finding about cold ground, I mean, for us to only now 15 years in.

[01:08:35] June Diane Raphael: Yeah.

[01:08:36] Jason Mantzoukas: Be finding out about Jill Rips, like truly one of the greats. When we started this podcast, the movie was 10 years old. How is that possible? What world are we living in? Oh, we’re living in Jill Rips world. You know, I, I loved it. I, I mean, I, I did, Jill, I cannot recommend this enough.

[01:08:58] Paul Scheer: So we highly recommend that you watch Jill Rips, even though there is no Jill. Uh, the book does not help, but it does give us some details in the background of it. The movie was made in 2022. Uh, well, no, I’m just joking. 20. Um, so that’s it.

[01:09:18] Jason Mantzoukas: Guys. Wow. We ripped it.

[01:09:29] Paul Scheer: What a great show. Great to be back at Largo. What a crowd. Thank you to everybody who showed up and remember, you can find us anywhere you want. Online at HDTGM. A big thank you to our producer, Scott Sonne and Molly Reynolds, and our movie picking Producer Avaryll Halley, as well as our engineer, Casey Holford.

[01:09:45] We’ll see you next week on Last Looks, bye for now.