EP. 316 — The Specialist LIVE! (w/ Nicole Byer)

Paul Scheer [00:00:01] (singing) Turn the bomb around. We saw The Specialist. Bastardo!

Music [00:00:12] [Intro Song] 

Paul Scheer [00:01:10] We are live at Largo talking about a modern day classic, a movie about love, about revenge, and a movie about very precise bombs. If you’ve not seen The Specialist, what do you need to know? Stallone makes bombs. Well, both kinds. Really. If you think about it in the history of this show. But in this movie, Stallone makes explosive bombs. Sharon Stone wants revenge on the people who murdered her parents. So she wants to do it with, you guessed it, a bomb, because as she says, it’s more precise than a gun. We’ll get into all of that. But there are many twists and turns along the way that are dealt out in the most nonchalant way. No underscoring, no churn of music where you’re like, oh, oh, oh. I guess that’s what’s happening now. Great. It’s like someone’s telling you a story, but they don’t know how to add in any emotional elements to it. I can’t wait to break this all down, and I’m going to do it with my two co-hosts. Please welcome to the stage Mr. Jason Mantzoukas. 

Jason Mantzoukas [00:02:38] What’s up, jerks!? How we doing, Largo?

Paul Scheer [00:02:49] Jason, have you ever seen The Specialist? 

Jason Mantzoukas [00:02:51] Paul. Shockingly, no. 

Paul Scheer [00:02:56] Same! I don’t know how I missed it. 

Jason Mantzoukas [00:02:58] For the record. Shame on me. 

Paul Scheer [00:03:01] Shame on me. Yes. 

Jason Mantzoukas [00:03:03] This movie is awesome. I would watch it right now with everyone here instead of doing the show because, no notes, except to say boobs? Yes. Explosions? Yes. 

Paul Scheer [00:03:17] You got. And James Woods I feel like is like “Take your script and leave it.” 

Jason Mantzoukas [00:03:25] Yeah. 

Paul Scheer [00:03:26] “Because I’m going to do whatever the fuck I want.” 

Jason Mantzoukas [00:03:29] You just, you call action and I will just start screaming at anyone nearby. And that’s the movie. 

Paul Scheer [00:03:37] And I’m here for it. But you know what? 

Jason Mantzoukas [00:03:40] He must have been furious that he was not in the trailer. 

Paul Scheer [00:03:43] Oh, I have some dirt about why James Woods is not in the trailer. 

Jason Mantzoukas [00:03:49] I want to hear it. 

Paul Scheer [00:03:50] We’ll get into all the James Woods stories because it really is Prime Stallone ego stuff. 

Jason Mantzoukas [00:03:58] Really, really? You’re saying that Stallone’s ego is part of the problem with this movie? A movie that somehow fetishizes his body more than Sharon Stone’s? Let’s go. 

Paul Scheer [00:04:13] Let’s get into all that. But first, let me introduce my other co-host. Please welcome a person who fetishizes Sylvester Stallone’s body more than anyone. June Diane Raphael. 

Jason Mantzoukas [00:04:29] I hear you. I hear you screaming. I hear you screaming. Save it. Save it. Save it. 

June Diane Raphael [00:04:38] Yeah. Our special guest had something to say. And we need to conserve and we need to economize, and we can’t talk about it yet. 

Paul Scheer [00:04:44] I know, I know, I know. And I’ve tried to move forward. I tried to move forward. We won’t. How are you doing? 

June Diane Raphael [00:04:50] I’m well. How are you, Paul? 

Paul Scheer [00:04:51] Very well. You’re looking very nice tonight. June, your thoughts out of the gate on The Specialists. 

June Diane Raphael [00:04:59] I also had not seen it. And yet I feel I have. I feel, it was very strange watching it because I thought for sure this was a movie I watched with both parents, like sitting in between them in 1994, Like I was 14 years old. And I know I watched this on TV with a parent. 

Paul Scheer [00:05:19] There is something that is so similar to many movies that were made in this period. They all had like a similar vibe. It was like a movie for adults, you know. 

Jason Mantzoukas [00:05:30] Like, like this is the era of the like erotic noir, like neo noir noir story. This is three years after or two years after Basic Instinct? 

Paul Scheer [00:05:42] I mean, this is better than Basic Instinct? I don’t know. We’ll get into it. 

June Diane Raphael [00:05:47] I enjoyed it. 

Jason Mantzoukas [00:05:48] Oh, yeah. 

Paul Scheer [00:05:49] I enjoyed it. 

Jason Mantzoukas [00:05:50] And I’ve got real thoughts about how to really make it sing. 

Paul Scheer [00:05:55] We’re going to get into all that. But we must welcome our special guest. She’s a How Did This Get Made all star. She is the star of the hit NBC sitcom Grand Crew, which you can watch on Peacock and on NBC. You are also is the host of Nailed It. Her stand up special on Netflix has to be watched. Please welcome Nicole Byer. 

Nicole Byer [00:06:35] My feet. My feet. Don’t touch the floor. What are these chairs? 

Paul Scheer [00:06:44] I’m in this one over here. I’m going to look. I’m in this guy over here, and. 

Jason Mantzoukas [00:06:48] We’re having fun at the show. 

Paul Scheer [00:06:50] You look like you’re doing a Lily Tomlin character. Baby Nicole, over here. Nicole, welcome back. You are a favorite of ours, but you are a favorite of the audience of How Did This Get Made, because I will say that when we didn’t have guests for a long time, the number one person people wanted back was you. 

Nicole Byer [00:07:10] Oh, that’s nice. Oh, thank you. 

Paul Scheer [00:07:14] People always, like, get Nicole back on. Where’s Nicole? And now you’re here. And I feel like we brought you in with a good movie. 

Nicole Byer [00:07:21] Boy, oh, boy. I had a great time. Oh, my God. It was like, trying so hard to be sexy. But then his hands were too big to be sexy. Like, the sex scene reminded me of the hot dog scene in Everything Everywhere All at Once. 

June Diane Raphael [00:07:38] Yeah. 

Nicole Byer [00:07:38] His hands were just, like, patting her head. 

Jason Mantzoukas [00:07:44] At one point, they close up on them kissing, and he’s kissing below her lips like down here. 

June Diane Raphael [00:07:49] And I feel like. Can you be Sharon Stone for a second, Nicole? 

Nicole Byer [00:07:53] Uh huh. 

June Diane Raphael [00:07:53] Actually, no. You be Sly. Stand up for a second. I feel like she was always behind him. 

Paul Scheer [00:08:00] Yeah, he’s always behind him. 

Nicole Byer [00:08:01] It’s like, he would turn. You could see his, like, thighs. And he’d just be like, ugh. 

Paul Scheer [00:08:12] Was he? Yes. I mean, was he. 

Jason Mantzoukas [00:08:15] Somehow Sly was more naked than Sharon Stone, the person at all times. I was like, trying to look around him. It was really fetishizing him. 

June Diane Raphael [00:08:26] Demanding to get his body in a very sensual, feminine way on camera and in front of camera. 

Jason Mantzoukas [00:08:35] Like, she leaves him. She’s like, I got to get out of here. And he’s like, in the tussle bed. 

Paul Scheer [00:08:41] This is a movie where he’s embracing his feminine. And I think that’s beautiful. But I also feel like there is something about him where he was like, I know Sharon Stone is one of the most attractive women right now, and and people want to see her naked, but I think they’ll want to see me more? Like it’s like the main attraction at this point, like, oh, the person from Basic Instinct. Oh, my God. Oh, sexy. He’s like, No, no, no, I think I can out sexy her. 

June Diane Raphael [00:09:10] But here’s the crazy thing, too, is it’s so clear that the actor wants to get his body out to the American people. And I’m like, well, you’re playing. But he’s playing a bomb maker, I think. 

Jason Mantzoukas [00:09:24] Yes. 

Nicole Byer [00:09:25] The Specialist. 

June Diane Raphael [00:09:27] He’s the Specialist. It doesn’t actually require, I don’t think, any physical. 

Jason Mantzoukas [00:09:35] I’m so sorry. 

June Diane Raphael [00:09:36] Strength or fortitude. 

Paul Scheer [00:09:38] One might argue. 

Jason Mantzoukas [00:09:39] But have you read any of the novels that suggested this movie? Did everybody see the credit at the beginning of the movie? It says suggested by The Specialist novels, by John Shirley. Suggested by. 

Nicole Byer [00:09:55] Here, June? 

June Diane Raphael [00:09:58] What does that mean? 

Paul Scheer [00:09:58] Here is the thing. I mean, I will just say. 

Jason Mantzoukas [00:10:02] Hinted at in the novels of? 

Nicole Byer [00:10:06] June. Look, I took a picture of it. I was like, why is it just suggested and not based on?  

Jason Mantzoukas [00:10:14] This credit is when I was like, Oh, this is going to be so good. Because, you know, you know, it’s only suggested by because Stallone must have rewritten everything. 

June Diane Raphael [00:10:24] So you’re saying that the novelist, that John Shirley himself was like, I don’t want. 

Jason Mantzoukas [00:10:29] This no longer represents my work. 

June Diane Raphael [00:10:33] This is a mere suggestion. 

Jason Mantzoukas [00:10:35] My guess is the character, because the character in the movie, The Specialist, the Stallone character is supposed to have been trained by James Woods that would make him young, and he’s somehow a decade older than James Woods. James Woods is his boss. What are you talking about? 

Paul Scheer [00:10:53] Here’s what we know about Stallone. And I love this fact, and I’ll repeat it nonstop. When he made the movie Cobra, it was based on a book, and Stallone met with the author and said, “What I’d like to do is put my name on the book as the author.” And the author’s like, No, I mean, he’s like, “No, you don’t understand that when the movie comes out, more people will buy your book if they see that I wrote it.” “But you didn’t. I’m the author of the book.” He’s like, “Dude, don’t be a dick.” And so Stallone does have this habit because this character of The Specialist, his name is Earl Quick, they don’t keep even his name. So it’s like they bought the rights to The Specialist and the character is Earl Quick and then throw all that out. We like bombs, and that’s what they’ve focused on. That’s it. The bombs are the only part of the story. 

June Diane Raphael [00:11:50] That’s the suggestion. 

Paul Scheer [00:11:52] That’s the suggestion. 

Nicole Byer [00:11:53] Yeah. Interesting. 

Paul Scheer [00:11:55] I want to get into the sex scene and but I also want to walk it back and say that the opening scene takes place, you know, in this country where they are trying to kill a drug lord with a bomb. A series of bombs. And how are they going to do it? Blowing up a bridge. So the intel is we know the drug dealer’s coming. He’s going to be driving a jeep. Let’s blow up a bridge. No one’s like, how about a sniper? No. Bombs. And is a bomb going to blow up the bridge? No, it’s just going to blow up the truck. So the truck flies off the bridge. The bridge will stay intact. 

Jason Mantzoukas [00:12:37] What if people survive? And don’t worry, the Jeep is going to collapse like it’s made of cardboard, because that’s what happens when it hits the water. It’s like fold. And there is a child. Once again. We’re doing a movie where it begins with infanticide. They’re like, You know how we can get you on board for this movie? Our hero kills a child. 

Paul Scheer [00:12:58] By accident. He tries to save. 

Jason Mantzoukas [00:13:00] But he locks eyes with that kid when she gets blown up. And, you know, a fetish is born. 

Nicole Byer [00:13:09] The way he runs over. His lips are so loose. Do you know what I mean? They just jiggled in a way that I was like, How is that happening? 

Paul Scheer [00:13:19] His lips. And I do want to. Going back to the sex scene very briefly, when he locks onto her, it’s like an octopus because it’s like. It’s not like a kiss. It’s like I’m. I have now suction my mouth onto yours. It’s like implanting an alien embryo from the movie Alien. Like. Like it’s like his lips. There’s a lot going on there. 

June Diane Raphael [00:13:42] Very upsetting. 

Jason Mantzoukas [00:13:44] It’s so long. The sex scene. 

Nicole Byer [00:13:44] Oh, my God. That butt. Also they’re in the shower. That’s the biggest shower in the history of showers. You’re fully missionary on the floor of a shower?. 

Paul Scheer [00:13:55] When they go to the floor in the shower. I’m like eww! It’s a fucking hotel shower. 

Jason Mantzoukas [00:14:03] I wrote the same thing. That is a hotel shower floor. They have for real, like Last of Us fungus going on now. Like it is. Game over for them. 

Paul Scheer [00:14:16] The bed is a mere four feet away. Just dry off. Fuck on the bed.

Nicole Byer [00:14:22] Well they started on the bed, and then they said we got to get in that shower. 

Jason Mantzoukas [00:14:28] We see more of Stalone’s body then Sharon Stone. 

Nicole Byer [00:14:31] You do. And the way he straddled her on the bed, I was like, What is that? 

Jason Mantzoukas [00:14:37] It was like. And it was like. It was like to see where she’s taking his clothes off. 

Nicole Byer [00:14:43] It was wild. 

Jason Mantzoukas [00:14:44] A gender flip flop. 

June Diane Raphael [00:14:46] Because, like, he was like, my body is the gift. 

Jason Mantzoukas [00:14:50] Yes. 

June Diane Raphael [00:14:52] You’re welcome, everybody. I’m the present. I’m what you’ve paid for. Sir, no we haven’t. 

Nicole Byer [00:14:59] The only sexy thing that happened is when he lifted her up onto him. Somehow her legs were up like, on the other side. I don’t know how they did that, but I was like, well, that’s pretty hot. But then those hands. 

June Diane Raphael [00:15:14] That was one moment, Nicole. 

Paul Scheer [00:15:15] What I think I learned from this movie is that Stallone is not good at having sex. And and he was like, I’ll show you some of my moves. And everyone was too nervous to say, That’s weird. He’s like grab her from behind the head. Bring her like this. Now suction her mouth, and I’ll throw her on the floor. I put her right on the sewer. 

Jason Mantzoukas [00:15:38] Then he’s like, you know, well, you know you know people want, they saw Basic Instinct. They want me to be sexy now. What if I’m the Sharon Stone of this movie? 

June Diane Raphael [00:15:50] Oh, God. 

Jason Mantzoukas [00:15:51] Also, Eric Roberts is in this movie. 

Paul Scheer [00:15:54] As a Cuban? 

Jason Mantzoukas [00:15:55] As as a Colombian. 

Nicole Byer [00:15:57] Wait, was he Cuban? 

Paul Scheer [00:15:59] I mean his dad. 

Nicole Byer [00:16:03] His name is hispanic. 

Paul Scheer [00:16:04] His name is. And it said Tomas. It’s not Thomas. So they say Tomas a lot. But I want to just again, as a we’re going to get back and forth in the movie. But I will say what I don’t like about this movie is the way that they handle explosives, because it’s about an expert, a specialist, if you will, who literally when we first see him, he’s pounding explosives onto a wall, like the way I pack a suitcase that’s overstuffed like clang, clang, clang, clang like you would think it would make, you might be a little more gentle around like. 

Nicole Byer [00:16:38] Later he gets gentle when he’s covered in sweat and is wearing those tiny glasses. And he’s like. 

Paul Scheer [00:16:44] You’re right. He’s a very, like when he’s putting it in a China Doll’s teacup. 

Jason Mantzoukas [00:16:54] When he when he’s busy living in what appears to be an industrial gear factory. 

Jason Mantzoukas [00:17:02] For the rest of the movie. Stallone detonates explosives in only public places. Country club, strip club or bar or whatever that place was. He’s only blowing up. There have to be so many casualties. 

Paul Scheer [00:17:18] No. 

June Diane Raphael [00:17:19] There aren’t though because he has a special type of technology. 

Jason Mantzoukas [00:17:23] He blows up half of the building, falls off. The top of an entire building. 

June Diane Raphael [00:17:30] Jason, but that’s planned. That was that particular explosive. That was the one section, one apartment explosive. 

Paul Scheer [00:17:38] When it comes to people, it normally just shoots them out like they’re in a ejector seat, like when it kills the guy in the parking lot. The seat. 

Nicole Byer [00:17:45] That was perfect. It was absolutely perfect. That man strapped to his seat. On fire, going to the sky. 

Paul Scheer [00:17:55] He flies up like he is ejected from an airplane from Top Gun. And yet, is the bomb in the car? No. Is the bomb under the seat? No. The bomb is in the parking meter reader that you bit when you leave the garage. So that oddly, like. 

June Diane Raphael [00:18:14] Is that the bomb? I thought that was the. 

Jason Mantzoukas [00:18:16] The keypad was. 

Nicole Byer [00:18:18] There was nothing in front of the car. 

Jason Mantzoukas [00:18:21] And then it says “bye bye.” How long did it take him to get? How long how long did it take him to be like, “Oh good. It does say bye bye. Thank God I was able to make that work.” This guy had so long to escape. 10 seconds and two bye byes. 

June Diane Raphael [00:18:42] Okay, So. So just riddle me this. He gets to Miami and decides to set up what type of business exactly? 

Paul Scheer [00:18:48] Well, this is my big question because he is constantly telling us he’s not in the bomb making revenge business, but yet he’s on a private like Internet message board called The Weekend Warrior, which seems like black market shit. 

June Diane Raphael [00:19:03] Oh I see, I though that was his website. 

Jason Mantzoukas [00:19:04] It feels like this is an A-Team situation, like or an equalizer. Like, if you’re in trouble, I’ll help you out. Secretly. Kind of underground like hero guy. 

Paul Scheer [00:19:15] But why was he rejecting her? 

Nicole Byer [00:19:18] I don’t know. 

Jason Mantzoukas [00:19:19] Because he. I think he was worried it was a set up. 

Nicole Byer [00:19:22] But was he rejecting her? He was like, “I like your voice.”. 

Paul Scheer [00:19:26] And that’s and by the way, they’re essentially having phone sex for the first hour of the movie. 

Jason Mantzoukas [00:19:31] Longer. Longer. He’s the. He is sensually working out, listening to recordings of their phone conversations. 

June Diane Raphael [00:19:44] That was wild. 

Jason Mantzoukas [00:19:45] Like this shit is absolutely nuts. He thinks this is what we want. 

Paul Scheer [00:19:53] You see more of him shirtless then you see of Sharon Stone like throughout this entire movie. But like he’s doing Tai Chi. But he also has this big cumbersome earpiece in.

Nicole Byer [00:20:05] It’s so big. 

Paul Scheer [00:20:07] So big. It looks like he has like a microphone. Like the front of a microphone on the side of his ear. And he’s like just being casual, just listening. 

Jason Mantzoukas [00:20:16] He’s also tailing Sharon Stone. He’s like, you know, spying on her, watching her while she is. Sharon Stone. This, in a noir sense, she’s the femme fatale. She’s inserted herself into the Eric Roberts drug lord world with his father, Rod Steiger, who appears to be doing a Desi Arnaz Jr. impression. 

Paul Scheer [00:20:35] Bastardo. 

Jason Mantzoukas [00:20:38] Which is next level insanity. 

Paul Scheer [00:20:40] I heard I heard that Rod Steiger was like, “I don’t need anybody. I’m just going to watch Scarface over and over again.” 

Nicole Byer [00:20:46] I thought they were just like spicy whites. I didn’t realize that they were going for Cuban. 

Jason Mantzoukas [00:20:53] Spicy whites. 

Paul Scheer [00:20:56] This is Rod Steiger’s accent on full display. 

Movie Audio [00:21:01] Give me a second here. I have to make a decision. Little time to think. How? Okay. She’ll take over. Okay, Papa. I will handle it. Okay. I don’t hear okay. What would you say? That’s nice. Thank you. 

Jason Mantzoukas [00:21:26] Ruthie. Ruthie, we are in trouble here. It’s nuts, what he’s up to. 

Paul Scheer [00:21:32] It’s also like, drops into just Rod Steiger at points like that was a mix and match. It was not a full. Like, he goes in and out of that accent, but they are supposed to be these drug lords that killed Sharon Stone’s parents in front of her. She was hiding in the closet. Eric Roberts, who seems to be the same age as Sharon. 

Jason Mantzoukas [00:21:55] He is! It’s 20 years later. She is a six year old in the closet and is now Sharon Stone. Eric Roberts. Eric Roberts. 20 years ago. Eric Roberts. Now, this is, that should be examined. 

Paul Scheer [00:22:09] I did like that. The flashback was like a noir lifetime movie. 

Nicole Byer [00:22:15] It was truly wild. And Eric Roberts was like pretty rude. He was like, hurry up. And I’m like, If I’m being murdered, can you not rush it? Take your time. Be kind. 

June Diane Raphael [00:22:25] And why were they being murdered? 

Nicole Byer [00:22:28] We don’t know. 

Jason Mantzoukas [00:22:29] Because they didn’t have, they were being asked for information they didn’t have. And I don’t know that we ever found. It was not important. 

June Diane Raphael [00:22:36] Yeah. 

Jason Mantzoukas [00:22:37] He just. He loves murder and dancing. 

Paul Scheer [00:22:41] What I loved about Stallone doing his research on Sharon Stone as a child, he pulls up like an old newspaper and it has a picture of the child. It’s like Maya Sinclair’s parents killed. Kid’s still alive. It’s like no one would write an article like showing a picture of an alive child being like, She’s alive. Parents are dead. Like, you would think that they would go back. A. If they were executed, they might go back and kill her, too, right? I mean, but it’s also like I feel like a weird thing to put her in the front page of the paper. Like “I’m an orphan.” May Monroe I’m sorry. May Monroe. That was her name. 

June Diane Raphael [00:23:19] So just to go back to Stallone for a second and his work in Miami, so he is just on call in case a bomb maker is needed? 

Jason Mantzoukas [00:23:31] I think he comes there, because she’s asked him to, because he says at one point, I don’t work in Miami, but he’s there. 

June Diane Raphael [00:23:39] Oh, yeah. 

Paul Scheer [00:23:39] So he’s renting that ferry house? 

Jason Mantzoukas [00:23:41] I think. Yeah. I think he’s temporarily set up shop at the gear factory. 

Paul Scheer [00:23:46] Temporarily. Jason, It’s a three story facility on the water that he is that he has set a computer program up. It’s so weird. He walked in the house to hit a button to say no one’s in the house. Well, guess what? If they were behind the door that you walked in on you dead. 

Jason Mantzoukas [00:24:06] He gets made immediately. He’s so bad at being subtle. Eric Roberts clocks him immediately like, Oh, that guy. Right there. 

Nicole Byer [00:24:14] That interaction made me so happy. “You like the bitch? You like me. I like you.” He’s like, gay, no. 

Jason Mantzoukas [00:24:26] He’s like, “No, no, no, no. Don’t get the wrong idea. But do look at this body.” Do look at me oiled up and cum guttered out. 

Paul Scheer [00:24:39] Would you be surprised to learn that Stallone decided to add that scene in during production? Because he’s like, Oh, I really want to have a scene with Eric Roberts because I don’t have a scene with them. 

Nicole Byer [00:24:52] So he picked a scene where he says one sentence? 

Paul Scheer [00:24:56] Where he holds a knife and basically says, “You’re looking at me because I’m attractive.” Like it’s the weirdest scene to add. It’s like a threatening scene. 

Jason Mantzoukas [00:25:06] It also makes him appear bad at his job, you know, because he. 

June Diane Raphael [00:25:12] But again, what is his job exactly? Because if his job is to just make the bomb. Then I think he’s fine at that job. 

Jason Mantzoukas [00:25:21] I think he’s a bomb expert for hire for people that need help dealing with some sort of situation. 

Paul Scheer [00:25:28] Then why is he rejecting Sharon Stone? Because it seems like her situation qualifies. These three men killed my parents who were innocent and I watched them die. Eh, it doesn’t check all the boxes for me.

June Diane Raphael [00:25:44] Do you think, though, Jason, that this is his normal vetting process? 

Jason Mantzoukas [00:25:48] Yes. 

June Diane Raphael [00:25:49] Wow. 

Jason Mantzoukas [00:25:50] Yeah, I think I think his vetting process is go to a city. 

June Diane Raphael [00:25:56] Set up shop, get a pet. 

Jason Mantzoukas [00:25:57] If this movie had worked, my guess my guess is that there are a number of other novels to suggest storylines for. Maybe he goes to Cincinnati and he sets up shop in an abandoned water warehouse? I don’t know what. 

Paul Scheer [00:26:13] Give me the biggest conspicuous thing in your city. I’ll move to Chicago and own the Sears Tower. Great. No one will ever find me there. But I will say this. There’s a screenwriting book called Save the Cat. It was very popular for a couple of years. And the idea was that in the first act, you would see your character do something that was nice, that you get them on your side, that you would save the cat. Here he kills the cat, which is the child, and then also then saves the cat like the movie wants it both ways. He saves the cat and kills the kid. 

Nicole Byer [00:26:43] That was so weird. He like picks. He doesn’t know how to hold a cat either. He’s like, “take you home with me.” 

Paul Scheer [00:26:53] Fuck you on the sewer or kiss your mouth. 

Jason Mantzoukas [00:26:56] He’s like Lennie from Of Mice and Men. You think you think he might crush the cat or crush Sharon Stone or. I don’t know. He seems capable of murder. 

Paul Scheer [00:27:08] Well. 

Nicole Byer [00:27:09] Also that cat was pretty distracting. In the scene where he’s sweaty like doing the bomb. That cat’s climbing a chain link fence in his house. It was like clack-clack-clack-clack. 

Paul Scheer [00:27:21] I’ll tell you one thing. I don’t want near a bomb. A fucking cat. 

June Diane Raphael [00:27:27] The way everybody treats. I mean, the bomb squad of the Miami PD is also treating bomb material very casually, like, strewn across. And we see them. And by the way, is James Woods a cop?

Nicole Byer [00:27:42] I don’t know. He had access to the CIA. 

Paul Scheer [00:27:47] Is he lying? I thought he is a cop. 

Jason Mantzoukas [00:27:48] No. He’s not. Rod Steiger inserts him into the police department. That’s the scene with the chief of police, is there. Rod Steiger is like, “Hey, I need you to make this guy part of the police investigation.” But what then happens is James Woods just walks into the police station, is like, “You fucking idiots. I handle this. You do that, you fucking idiot. I created a bomb out of a pen. I’m crazy.” James Woods is eating every morsel of screen time he is allotted. He is chomp, chomp, chomping away. 

Paul Scheer [00:28:25] He clearly like and he’s often not with anybody else. I feel like he’s like, look, these people that are in my scene, shut the fuck up. Let me. Let me cook. 

June Diane Raphael [00:28:35] Oh, my God. When he’s, again, running a different part of the Miami PD where they’re staging a sting to try to get, to try to get Stallone to call in to the message boards. I don’t know. And they have all of this, too. They have all of these women pretending to be Sharon Stone. 

Paul Scheer [00:28:52] Because is he attracted to women in distress? 

Nicole Byer [00:28:56] He likes phone calls with women. He’s like it’s just like disembodied voices. They make me so hard. 

June Diane Raphael [00:29:05] 1,000%. He likes it over the phone. But what’s so crazy about that scene is that he,  those wonderful background artists who are all, most of them are women. And I guess they’re cops. They genuinely look terrified. 

Jason Mantzoukas [00:29:25] Nobody in those scenes is safe. 

June Diane Raphael [00:29:27] Yeah. 

Nicole Byer [00:29:28] I like the scene when James Woods is going to the elevator and is literally like, “Get a new shirt, you fucking idiot.” Get out of my fucking way. Next one. 

Paul Scheer [00:29:37] There’s a man who witnessed a murder, a young boy who’s a car valet who is, like, sitting there and he’s like, “Fuck are you laughing at, you piece of shit?” 

Jason Mantzoukas [00:29:48] This kid is given, like, three sticks of dynamite. He’s given, like, a cartoon level bomb. He looks like a Tim Baltz character. He’s fucking freaking out. And James Woods comes in. He’s like, “My whole thing is I yell at whoever I’m in a scene with. I dressed them down fully.” And it’s incredible. 

Paul Scheer [00:30:08] So here’s a little–

June Diane Raphael [00:30:10] Oh, wait one second, Paul. You’re saying that James Woods and Stallone just happened to both be in Miami? 

Jason Mantzoukas [00:30:17] No, no, no. Woods is using Sharon Stone to draw Stallone out. 

June Diane Raphael [00:30:22] Okay. 

Nicole Byer [00:30:23] Cause that scene where he hits her. 

June Diane Raphael [00:30:25] Got it. Right. Of course. Of course. Of course. 

Nicole Byer [00:30:27] Like fucking hits her and then plays with the blood on her lip. I was like, This is wild. 

June Diane Raphael [00:30:33] I did not like that. 

Nicole Byer [00:30:34] No, I don’t like it either. 

Jason Mantzoukas [00:30:36] Did you like it when she slapped that woman in the bathroom? 

Nicole Byer [00:30:39] Loved it. 

June Diane Raphael [00:30:40] Loved that. 

Nicole Byer [00:30:41] Oh, I loved it. 

Jason Mantzoukas [00:30:42] Because that was the hottest thing I’ve seen in a while. 

June Diane Raphael [00:30:46] Bitch pushed her. 

Jason Mantzoukas [00:30:49] “Henry, she’ll call you back.” Kablam! 

Paul Scheer [00:30:50] There was elements of this that felt like Stallone was embracing his feminine side. But then there’s an other element of it where everyone just felt up Sharon Stone willy nilly. Like everybody was like, I got to touch everywhere. 

Nicole Byer [00:31:06] Yeah. At the funeral he, like, gets on his knees and then shoves his hand up her skirt. I was like, Dios mio. But then, then she did have a gun. And I was like, okay, well. 

Jason Mantzoukas [00:31:17] What’s really sad is that’s not the first time someone was felt up in that church. He was just. So he was just moved to a different parish. I wrote that. I wrote that joke down. That joke is in my notes. 

Nicole Byer [00:31:38] Wait at the funeral. I really love when James Woods comes in. He’s like, “Open the casket.” Everyone’s like, What? He’s like, “Open it.” And then he goes, “That bitch.”. 

June Diane Raphael [00:31:48] My favorite part of this movie. 

Nicole Byer [00:31:50] He turns around and is like “Fuck!” 

Paul Scheer [00:31:52] To a woman who we heard in the eulogy as being a pillar of the community. 

Jason Mantzoukas [00:31:57] This funeral has been twice interrupted by rude white men. First of all, Stallone was like, wait a minute, what? 

Paul Scheer [00:32:07] And by the way, that was he. 

Jason Mantzoukas [00:32:10] I mean, like, can you imagine being in a– “who’s that guy?” Walks straight up and needs to look into that. “Oh, that’s not her.” And then James Woods comes in, points a gun at the priest and calls her a bitch. Those people will have questions for the rest of their lives. What do you think Grandma was up to? 

June Diane Raphael [00:32:33] That’s what I love so much about this movie. Like, there’s moments like that. There’s moments when Sharon Stone pushes a very nice lady and steals her phone and slaps her where it’s surprising. And I’m like, I love that this movie goes there. Now, I was trying to follow Sharon Stone’s plan and how she– that whole mixaroo with that grandma. So what did she do exactly? She put her own. 

Jason Mantzoukas [00:32:58] Well, this doesn’t. 

Paul Scheer [00:33:01] I did not. I literally was like, I don’t know why everyone is confused. I don’t know why this is even working. 

Jason Mantzoukas [00:33:07] I can tell you what it is and what’s said, but there is a disconnect. So James Woods is looking at the paper and he sees that a the woman who has the name of Sharon Stone’s alias. 

June Diane Raphael [00:33:20] I didn’t know she had an alias. 

Jason Mantzoukas [00:33:21] She has an alias. Her funeral will be the funeral, whatever that or. So he notices that and obviously, Stallone notices it, so they both converge on that church. If James Woods had been there early enough, he would have run into Stallone. It doesn’t matter. 

Paul Scheer [00:33:38] So wait just out of curiosity. So it just happened that her alias died at the same time that she was all. 

Jason Mantzoukas [00:33:48] This where it falls apart. 

June Diane Raphael [00:33:50] What she says is that she took, that Sharon Stone went by a hospital and dropped her own ID. 

Jason Mantzoukas [00:33:57] Yeah. Somebody OD’d. And she was able to make it seem as though that was her. But then that’s clearly not who’s in the casket. That’s where the movie falls apart. 

June Diane Raphael [00:34:08] I see. So whoever’s in the casket is not Arlene the alias? Certainly not May. It’s someone altogether different. 

Jason Mantzoukas [00:34:17] I believe so. 

June Diane Raphael [00:34:18] Wow. 

Paul Scheer [00:34:18] Wow. 

June Diane Raphael [00:34:19] I believe so. 

June Diane Raphael [00:34:19] Wow. 

Jason Mantzoukas [00:34:20] But it gets Stallone to show up to the Church. 

June Diane Raphael [00:34:23] Well, it does make sense because nobody else but those two people would know that alias. So I guess the obituary. I guess it does all check out. 

Jason Mantzoukas [00:34:31] Though. I don’t think woman. I don’t think the woman who’s being eulogized or who’s being, I don’t think her name matches the alias. I think. I think the obituary announcement was a fake out. 

Paul Scheer [00:34:42] Oh, boy. This is complicated. 

Nicole Byer [00:34:43] Confusing. Yeah. 

Jason Mantzoukas [00:34:45] I also don’t care that it doesn’t make sense, because. It’s a homerun.

Paul Scheer [00:34:53] I want to get back to the random acts of violence, because there’s one scene that I feel like we weren’t going to be able to talk about, which is Stallone on a bus. 

Nicole Byer [00:35:01] Oh. My God. I. I wrote it down. It’s my favorite quote of the movie after he beats that man up. Well, yeah, he beats them all up. But he tries to give that lady the seat and then the guy’s, like, sits down, and he beats them up. And then he turns, that woman goes, “I believe there’s a vacancy.” 

Paul Scheer [00:35:25] And in that moment, Nicole. In that moment, I was like, this guy is a straight up psychopath because he didn’t just, like, punch a guy and knock him out. He kicks a man out of a bus window. The man is jettisoned out of a bus window. 

Jason Mantzoukas [00:35:41] There’s no way that bus is going to going to continue on its route. The bus is done. 

Paul Scheer [00:35:46] Bus is done. You fucked up the whole day. I would rather stand. 

Jason Mantzoukas [00:35:49] Everyboday else on the bus. Their whole day is ruined. Why am I late for work and getting fired? Because some asshole kicked the guy through a window of my bus. 

Paul Scheer [00:36:00] I also, I also found it really funny that he always was on pay phones. And obviouSly that’s a different time. 1998, there’s more pay phones. But I’ll tell you where there’s not a pay phone. At the edge of a dock, right? I think there is one moment where she’s like looking out. There’s like a like a jetty, like it’s about 20 feet off a larger dock. It’s like, where should we put the payphone out there? Like it couldn’t it be, there’s no way. Like, no way phone lines are getting out there. And he’s like, Yeah, the very tip of the dock. I was like, that was my favorite shot. Him alone and a little payphone. Yep, who’s using that? 

Nicole Byer [00:36:44] I also liked before the fight, he said “Hold my glasses.” And this. Because he can’t fight with sunglasses on. 

Jason Mantzoukas [00:36:52] I love this as a like, very inspired impression for you. 

Paul Scheer [00:36:57] It is good. 

Nicole Byer [00:36:58] Well, at one point, I had to turn on the subtitles. I was like, What the fuck are you saying? 

Jason Mantzoukas [00:37:03] I did that about 12 years ago. Never turned them off. 

Paul Scheer [00:37:06] Jason has got me into subtitles. 

June Diane Raphael [00:37:08] But Jason, you watch movies just for fun and enjoyment. Not for this. 

Jason Mantzoukas [00:37:14] Subtitles. 

Paul Scheer [00:37:15] Yeah, me too. 

Jason Mantzoukas [00:37:16] It’s a problem. It’s now conditioned me to look at the bottom of the screen in a way that I’m genuinely missing visual filmmaking. So I’m like, Oh, you got to read. 

June Diane Raphael [00:37:34] Jason, that’s so weird. 

Paul Scheer [00:37:37] Let’s talk about the moment when Sharon Stone is telling Stallone about his plan. I would imagine the plan is this: Sharon Stone finds a bomb expert. James Woods. Tells James Woods, I need to kill these men. James Woods’ like, “I’ll do that for you. But you need to get this person that I’m trying to get. So why don’t you pretend like you don’t have me? You get him the same way you got me.” 

June Diane Raphael [00:38:03] So complicated. 

Paul Scheer [00:38:04] And then I’ll get my. My payment is me getting him, and then we’ll kill your people, too. 

Jason Mantzoukas [00:38:11] Well, no, I don’t know, because James Woods is working for Rod Steiger. 

Paul Scheer [00:38:15] But I think she did the same thing. She reconned the first specialist because he’s also a specialist, and out of work Specialist. 

Nicole Byer [00:38:23] Yeah, but how do you find The Specialists? 

Paul Scheer [00:38:24] On that bulletin board. 

June Diane Raphael [00:38:27] Weekend warriors, yeah. 

Jason Mantzoukas [00:38:28] That seems to be their dark web thing. I think it’s go on the dark web and you can find somebody. 

Nicole Byer [00:38:34] Like, how do you even get that idea? Bombs. 

June Diane Raphael [00:38:36] It’s absurd. 

Paul Scheer [00:38:38] She literally says they’re more precise than guns. 

Jason Mantzoukas [00:38:41] That’s not true. 

Nicole Byer [00:38:41] That’s, nobody’s ever said that. How do you come to that conclusion. 

Paul Scheer [00:38:46] I want revenge. I want to blow them up. 

Jason Mantzoukas [00:38:50] And so much so that she, her moment, her moment of like, finally my job is done. Is to face Eric Roberts while he explodes. She’s in the room with him while he is exploded to death. 

Paul Scheer [00:39:07] May Monroe. 

Jason Mantzoukas [00:39:09] She says to Stallone afterwards, like I knew your control. Your explosions were so controlled that I would be just fine. 

Jason Mantzoukas [00:39:17] How? 

June Diane Raphael [00:39:18] What a risk.

Paul Scheer [00:39:19] She was too close. 

Nicole Byer [00:39:21] So close. 

Paul Scheer [00:39:21] But again, Stallone’s got that cat in his apartment or warehouse gear house. But he also put that coffee cup in a tennis bag. 

Jason Mantzoukas [00:39:30] Cat’s name is Timer. Cat’s name is Timer. You know how I know that? The closed captioning told me. 

Paul Scheer [00:39:41] I also want to, I also want to go back to the first bomb in the brothel. The first bomb in the brothel, the mini bomb where the lowest tier guy that he has to kill. 

Jason Mantzoukas [00:39:51] He kills Brant Sexton from season four of Bosch, baby. 

Paul Scheer [00:39:55] Yeah, Bosch. 

Jason Mantzoukas [00:39:57] Bosch is where it happens. I wrote that down too. 

Paul Scheer [00:39:59] But I love he goes, “You’ve been stealing from me. You’ve been cooking the books.” And then the reveal is the whole month of September is gone. That’s a shitty way to cook books. Like that. You should be murdered. You should be executed for that. That’s not skimming off the top. That is erasing one of the 12 months. 

Jason Mantzoukas [00:40:22] Can you imagine being like, “I didn’t think you’d notice.” An entire month is gone? And then the guy that kills him gets blown up by one of Stallone’s like, mini bombs, and his head goes through the aquarium. 

Nicole Byer [00:40:36] Oh, my God. That made me laugh so hard. It was a shoe and a head. 

Jason Mantzoukas [00:40:39] Incredible. Give me more of that. 

Paul Scheer [00:40:42] And whose shoe? Stallone’s at a bar talking to a sex worker. And is it her shoe that also flies off? 

Jason Mantzoukas [00:40:51] No, it’s the other woman. She’s fixing her shoe in a scene. And I believe it is her shoe. 

Paul Scheer [00:40:57] So she’s at the bar and the vibration from the other room. 

Jason Mantzoukas [00:41:02] There’s a lot of collateral damage in movie. 

June Diane Raphael [00:41:06] There has to be. They’re bombs. They’re bombs. 

Nicole Byer [00:41:08] And there doesn’t seem to be any like aftermath, like the bombs happened. Everyone’s like, back to work. 

Paul Scheer [00:41:16] But this is what we see the entire time. Like James Woods is on a date with Sharon Stone or not James Woods. Yeah, no, Eric Roberts is on a date with Sharon Stone is like, hold on a second. Let me beat the shit out of this guy in this cafe. He’s like, There’s multiple times. He just walks away, pulls out a knife, beats somebody up, and it’s like, no one reacts. Like no one in that bar is like, Oh, yeah, you just beat up my customers. No, it’s it’s cool. It’s fine. Like, they like there’s this ultraviolence going on in Miami. 

Nicole Byer [00:41:44] Also, I was like, Is this how I get into a relationship? Be like, completely disinterested in the man and, like, borderline mean to him. And then I’ll be, like, moved into a big, fancy place? Sharon Stone hated him. 

Jason Mantzoukas [00:41:57] Oh, yeah. 

Paul Scheer [00:41:57] She sometimes gave him, like, I feel like the idea would be like, look at him with, like, loving eyes. And then when he turns, be like fuck you, but she gave the fuck you eyes. 

Nicole Byer [00:42:08] Yeah she wouldn’t wait till he turned. She’d be like, “I love you. I’ll kill you.” 

Jason Mantzoukas [00:42:11] Here’s what I’m going to say. Sharon Stone didn’t need Sylvester Stallone. He is terrible at his job. She is so much better and has so many opportunities to kill Eric Roberts. She’s like basically dating him. Seriously. They are pre-engaged and she could have killed Eric Roberts at any point. And she has access to him fully. She doesn’t even need Stallone. She’s better at Stallone’s job than he is. I think she just wants the bombs? 

Paul Scheer [00:42:43] No, I think that she wants to get all three. But she really didn’t want to get all three because there’s all double cross. 

June Diane Raphael [00:42:49] I’m still a little confused about what she was up to with James Woods and what, why that was necessary. 

Jason Mantzoukas [00:42:58] It’s bit of a criss cross. 

Paul Scheer [00:42:59] Yeah, this is my plan. So my plan is that she’s like, Oh, God, I need a bomb specialist. And she goes on that weekend warrior thing, James Wood’s like, Hey, I’m your person. Tells her the stories. He’s like, I’ll go down to Miami, I’ll set myself up there, you pull out Stallone from the woodwork, you do that. So he’s infiltrating that. She’s getting Stallone, telling him the same story. James Woods is like, I’m going to get you this.Iit’s a full plan. 

June Diane Raphael [00:43:23] I guess I’m just like, If I’m her, I’m like, Can I just pay you? And if not, like I’ll go back on the site and try to find someone else. 

Jason Mantzoukas [00:43:30] James. James, James. Yes. Basically, James Woods is using her to draw out Stallone and she’s using James Woods to get access to the to the Rod Steiger, Eric Roberts, the guys she wants to kill. 

Paul Scheer [00:43:45] But I think I understand it. James Woods is like this could cost a lot of money, but if you just pull out Stallone, I’ll do it for free. And Stallone’s like, I’ll do it for free if it checks all my boxes, but it doesn’t check all this. 

Jason Mantzoukas [00:43:57] I don’t think Sharon Stone hired James Woods. 

Paul Scheer [00:44:01] Well, no. 

Nicole Byer [00:44:01] Think she did though. 

Paul Scheer [00:44:03] Yes, because. 

Nicole Byer [00:44:04] There is like the double crossed like. 

Paul Scheer [00:44:06] Yeah, yeah, right. Like she’s like my payment is you do this. 

Nicole Byer [00:44:10] Yes. 

Paul Scheer [00:44:10] Yes. But she is reneging on that because she’s falling in love with Stallone. And he’s like, look, if all these guys die and I don’t get Stallone, I’m killing you. And that’s like, that’s, that’s it’s like the only thing he can really do. 

Jason Mantzoukas [00:44:22] I don’t know that I ever believed she was in love with Stallone. 

Paul Scheer [00:44:25] Maybe if James Woods read a line in the script, we would understand the plot a little bit better. 

Nicole Byer [00:44:31] Wait, you don’t think they’re in love as they ride away in that 64 Mustang with, wait what was the song that was playing that was unhinged. Oh, it was like, “Wake me up before I go go, now.” Like, what was it? 

Paul Scheer [00:44:44] That was Turn the Beat Around. 

Nicole Byer [00:44:47] That was wild. 

Paul Scheer [00:44:47] The craziest ending. 

Nicole Byer [00:44:49] Saxophones and horn music. 

Paul Scheer [00:44:50] This is the craziest ending of any movie ever made. 

Nicole Byer [00:44:55] It reminded me of Grease when they fly away. 

June Diane Raphael [00:44:58] Except this is in a boat. 

Jason Mantzoukas [00:44:59] Incredible. I love that she blows up Rod Steiger with a locket? I doubt it. And then she drives them away. He’s waiting in the car and she’s like, Let’s go. 

Paul Scheer [00:45:12] This is it. This is the final scene. Here we go. I thought he was opening up to candies, but it’s it’s like, “Oh, yeah. What is this?” 

Movie Audio [00:45:38] (Explosion) 

Movie Audio [00:45:38] How do you feel? 

Movie Audio [00:45:39] Better. 

Jason Mantzoukas [00:45:41] She’s the hero. 

Nicole Byer [00:45:53] Oh, this is wild. 

Jason Mantzoukas [00:45:56] This is irresponsible driving. 

Movie Audio [00:45:58] [Music] 

Paul Scheer [00:46:09] This is a movie about revenge, murder, and bombs. And this is how it ends. And by the way, I will say the Gloria Estefan’s husband, Emilio Estefan Jr. has a small part in this as a piano player and a few other members of the Miami Sound Machine are in the film. 

June Diane Raphael [00:46:24] Didn’t he also composed the music for the film? 

Paul Scheer [00:46:26] Oh, yes, he did. Yes. Oh, wow. Way to go, June, knowing that little detail. Let’s quickly also just talk one second about this idea they set up. I hate knives. Stallone hates knives. 

Nicole Byer [00:46:40] That was weird. 

Paul Scheer [00:46:42] But then when he goes into that very dark kitchen. 

Nicole Byer [00:46:44] Oh, that was so funny. He said before I fight, better turn off these lights. 

Paul Scheer [00:46:50] Turns of all the lights in the kitchen. And what does he grab? A knife. And uses it effectively. It’s like Indiana Jones is like, I hate snakes. And then you put him in a situation where he’s surrounded by snakes. It’s like, Oh, fuck, he’s got to figure it out. He’s like, well, I mean, I hate knives, but I’ll use it. That’s not my preferred. 

Nicole Byer [00:47:12] Also there is like a sink of boiling water. 

Paul Scheer [00:47:15] Yeah. 

Nicole Byer [00:47:15] I was like, What are they cooking in this? 

Paul Scheer [00:47:17] Potatoes? 

Nicole Byer [00:47:19] Well, it’s so big. And then when that man gets in it, he’s like (gurgling noises). It made me laugh so hard. There are so many moments that I had to pause it and rewind it and be like, What the fuck happened? 

June Diane Raphael [00:47:38] I loved it. 

Paul Scheer [00:47:39] I agree with you. And I would say that this movie oddly moved fast and very slow because at one point at 45 minutes it was like, Shit, it’s another hour and like 20 minutes? I was like, because they think it is moving at a clip, but it’s almost like you’re in quicksand. It’s like they’re flailing, but. 

Nicole Byer [00:47:56] It’s not so many scenes that weren’t needed. We didn’t need that bus scene. 

Paul Scheer [00:48:00] Well, no. The bus scene does nothing. 

Nicole Byer [00:48:02] It doesn’t move the plot. Nothing. 

Jason Mantzoukas [00:48:03] And it’s arguably like a once again bad for Stallone. He shouldn’t be making this much of a spectacle of himself if he wants to remain quiet, off the grid. The reason he takes the bus is to be an invisible ghost. But then he can’t like clobber six guys on the bus. 

Paul Scheer [00:48:22] Can also say like, and again, I’m not trying to defend these gentlemen, but. 

Jason Mantzoukas [00:48:26] It sounds like you are. 

Paul Scheer [00:48:29] I know I’m against kids and punks, but or for. But there’s a moment where basically this guy took another woman’s seat. Rude. And then he goes, Hey, can you get up? He goes fuck you. It seems like the penalty was very high for that, right? It seems like to be kicked out of a bus window.  

Nicole Byer [00:48:51] With open seats. There was an open seat there. Where he came from was now an open seat. 

June Diane Raphael [00:48:56] I didn’t see that. 

Nicole Byer [00:48:57] She could have sat right here. He slid right on over and left a seat for someone else to sit in. 

Jason Mantzoukas [00:49:04] This bit of violence was unnecessary. 

Paul Scheer [00:49:08] It was unhinged. 

June Diane Raphael [00:49:09] That guy was also harassing a young woman on the bus. So, yeah. 

Paul Scheer [00:49:13] I get it. 

June Diane Raphael [00:49:14] But I did not realize there was an open seat. 

Nicole Byer [00:49:15] Yes, a fully open seat. 

Jason Mantzoukas [00:49:17] Like when he says that line, Nicole, that you said, like “I believe there’s a vacancy.” like she should have been like, get away from me, you monster. Yeah, I just watched you kill three people on a bus so that I could have a seat. Like, I don’t want to be a part of your nightmare. 

Paul Scheer [00:49:35] I want to see, like, the after scene of that where it’s like “Is the bus going to go?” And the bus driver’s like “No, I have to file a report now.” 

Nicole Byer [00:49:46] But when that lady handed him back the glasses, she seemed a little turned on. 

Jason Mantzoukas [00:49:53] The pregnant lady? 

Nicole Byer [00:49:54] The lady when she gave back the glasses, she was just like, “Oh, yeah, your glasses.” I think she liked it.  

Paul Scheer [00:50:04] Did anyone have any issues, and we’ll come to the audience in one second, with Sharon Stone taking off all of her clothes and sitting naked in like a chaise lounge? 

Nicole Byer [00:50:16] Yeah, it was fucking weird. 

Paul Scheer [00:50:18] What shocked me about that scene was I was like, Oh, I think she’s naked. But then when she gets up and you see her breasts, I was like, Oh, it was so unnecessary to see her naked in that scene. 

Jason Mantzoukas [00:50:31] Respectfully, I disagree. Sharon Stone, naked on the phone with Stallone trying to peep out the window to see if he’s in the phone booth across from her apartment was electric. 

Paul Scheer [00:50:46] That’s when he’s in the dock phone booth. That’s when he’s in the little baby dock. 

Jason Mantzoukas [00:50:51] Yes. 

June Diane Raphael [00:50:51] I was saying to Paul, I was like, the idea of like coming home to relax and just taking off your top and taking off your bra and just sitting, you know, it’s so absurd to me. I get taking off your bra immediately. 

Audience [00:51:06] But she keeps her shoes on. 

June Diane Raphael [00:51:07] I know. It’s just, it’s so wildly uncomfortable that I just kept looking at her and thinking like, Oh, put on a tank top, like, just put on something that’s. We all know that’s very uncomfortable. 

Nicole Byer [00:51:21] I didn’t realize her shoes were on, that’s so funny. Oh, I got to free these titties. But woah got to keep the dogs locked up. 

June Diane Raphael [00:51:29] You’re good. 

Paul Scheer [00:51:33] It also looks like she threw the dress in the trash can. Yeah, like she’s like that dress. 

Jason Mantzoukas [00:51:40] Her entire wardrobe is single use. 

Paul Scheer [00:51:43] Like Tobey Maguire and is underpants. 

June Diane Raphael [00:51:46] Everything she wore, I loved the fact that she was in an evening gown and a scrunchie.  I loved it. 

Jason Mantzoukas [00:51:56] I wish everybody else was in this. Well, James Woods might have been. I was going to say was in the same movie that Sharon Stone is in, because she is firing on all cylinders. And imagine, if you will, this is what I was going to say earlier. Imagine, if you will, instead of an aged Sylvester Stallone for this, you know, dynamic. What if it was young Nicolas Cage as The Specialist. Trained by or somebody? I don’t know. Somebody else. Somebody younger, somebody. 

Paul Scheer [00:52:26] Picture this scene with the two of them yelling then. 

Movie Audio [00:52:31] Well, talk to me. You sell your service to the highest bidder won’t you, you stinking maggot. 

June Diane Raphael [00:52:36] These women are terrified. 

Paul Scheer [00:52:49] Look at this guy. Oh, Jesus. 

Jason Mantzoukas [00:52:53] And by the way, this is like, take 35. James Woods is just like, I’m going to go to my trailer for 5 minutes, and then I’m coming back and I’m going to be brilliant. 

Movie Audio [00:53:03] In Bogota. Your bomb in the cabana. But you’re getting sloppy Ray. You broke your famous code didn’t you? You killed him. 

Jason Mantzoukas [00:53:10] Can you pause right there for a second? His watch is on the outside of his sleeve. What’s happening? 

Nicole Byer [00:53:25] God that is so funny. 

Paul Scheer [00:53:28] This is movie star shit. Like they said to Stallone, we can’t see your watch. And he’s like, Fuck you, director, I’ll put on the outside. Like, this is like a pissing contest. He’s mad. 

Jason Mantzoukas [00:53:39] Or, you know. I think the opposite. I think Stallone is like, I want to be. I got to know it’s a minute in, I’m going to be traced, so I need a watch. And they’re like, Well, yeah, but it would be under all your clothes. They’d be like, Put it outside. 

Nicole Byer [00:53:51] Oh, I love it. I really do hope it was like his choice. Yeah, I see it. 

Jason Mantzoukas [00:53:56] I think it. I think if it’s 1994, I think everything is his choice. 

Paul Scheer [00:54:05] Let’s watch a little bit more James Woods. 

Movie Audio [00:54:06] Didn’t you? You killed an innocent bystander, right? Guess what? I’m coming, right? I’m coming to take all the pain away. I’m going to have you. 

Jason Mantzoukas [00:54:19] Pause for one second, Paul? I believe they are in love. More so than Sharon Stone and Sylvester Stallone, because I believe my head cannon for this movie is that Sharon Stone is playing everybody. Stallone, Woods, everybody. 

June Diane Raphael [00:54:42] Her parents. 

Jason Mantzoukas [00:54:44] She’s the one who ratted them out to the Colombians. She’s like, This is exactly what I wanted. Like she seems to be to me, she seems to me to be the most capable person in this movie, because these two, Woods and Stallone are clearly involved in some sort of like, nightmare, decades long romance. 

June Diane Raphael [00:55:11] Psychosexual, something. 

Movie Audio [00:55:13] Yeah, Heart in my hand. I’m right behind you. And I know, I know. 

Nicole Byer [00:55:17] I’m right behind you. 

Jason Mantzoukas [00:55:19] He said I’m going to hold your heart in my hand. That’s romance. 

Nicole Byer [00:55:26] Yeah. And I think. I think that Stallone might be the bottom in their relationship. 

Paul Scheer [00:55:34] What is he doing? Why is he wrecking the recording? 

Nicole Byer [00:55:40] I love that woman. Terrified. 

Paul Scheer [00:55:45] She’s the only one reacting to the environment. 

June Diane Raphael [00:55:47] Watch her, please. 

Jason Mantzoukas [00:55:48] Give her an Oscar. 

Paul Scheer [00:55:50] Please. Yeah. She’s the only. 

June Diane Raphael [00:55:51]  I love her. 

Jason Mantzoukas [00:55:54] She’s out acting James Woods on every level. 

Paul Scheer [00:55:58] That’s the shirt for this show. That woman’s face. Let’s go to the audience to see what questions you all have. Okay. In this movie, they hide bombs and lots of things. Teacups, cigaret cases, a bridges. Where would you hide your bomb is my question to all of you. And just ask me a question. Raise your hand if you have a good question. Anybody? Oh, yeah. Right here. What’s your name? 

Audience [00:56:22] Matt. 

Paul Scheer [00:56:23] Matt. And where would you hide your bomb? 

Audience [00:56:24] In an earpiece. 

Paul Scheer [00:56:25] Oh, that would be tricky. 

Nicole Byer [00:56:28] Earpiece. Damn. 

Paul Scheer [00:56:32] All right, what’s your question? 

Audience [00:56:33] So at the end, the bomb truck explodes. Did he have a bomb on there the entire movie just waiting for them to show up? 

Paul Scheer [00:56:39] Oh, that is interesting, because at the end of the movie, everything. So at the end, the bomb truck explodes. Yeah. So did he have a bomb like there the entire movie in the bomb truck like that? Because everything explodes at the end. 

Jason Mantzoukas [00:56:53] I assumed it was underneath or he seemed to have, he seemed to have made the entire gear factory and its environs into a live bomb scenario. I felt like he could explode anything in that area. You know, the way the same way that he was somehow able to explode the top floor of that building. He and James Woods seem to have the raw materials for the most subtle bombs on their person at all times. 

Paul Scheer [00:57:22] But yet they’re blowing up a fucking giant bridge when we meet them like it should have been like he’s sleeping in that car with like, they could have just, the way that this movie acts. They could have blown up the drug dealer, and the daughter would have been fine because his bombs are so precise. It only gets the front seat, you know, It’s like, that’s it. But they decide to rig two parts of that. Like that seems so wildly big and is maybe the idea being that he used to do big bombs and now he does small bombs? 

June Diane Raphael [00:57:53] Because of what happened. If he could have only blown up the front seat, he’s got to live with that. 

Paul Scheer [00:58:00] And I will say the damning look of that girl, that that girl looks at him like, “You’re going to kill me.” 

June Diane Raphael [00:58:05] Oh, yeah, and you know, like sometimes in movies, you could tell like they couldn’t make her that young because it would be, it would devastate us as an audience, you know? But they couldn’t make her like a preteen either. Like she was exactly the age where we were going to have to be okay with it. 

Jason Mantzoukas [00:58:24] I’m like, you know what? I don’t love it. But I’m cool if an 11 year old dies. They’ve lived 11 years, that’s enough. 

Paul Scheer [00:58:35] All right. Your name? 

Audience [00:58:36] Melissa. 

Paul Scheer [00:58:37] Melissa. Welcome, Melissa. Where would you put your bomb?

Audience [00:58:40] Definitely on that stinky ass shower floor? 

Paul Scheer [00:58:42] Yes. And your question? 

Audience [00:58:44] Okay. Sorry. Cut the sound effects wrong. But when James Woods was interrogating the Miami PD bomb squad, was that Greg Brady from the original Brady from Brady Bunch? 

Paul Scheer [00:58:55] Oh, somebody was thinking that, too. 

June Diane Raphael [00:58:57] It looked a lot like him. 

Paul Scheer [00:59:00] Let’s say yes. 

June Diane Raphael [00:59:01] It looked a lot like him. 

Paul Scheer [00:59:02] Great question. Will never be cut out. Don’t ever correct it. I don’t want any correction omission on the discord about that. It’s Greg Brady. We all knew it. We all agreed to it. 

Jason Mantzoukas [00:59:14] This movie takes place in the Bradyverse. 

Paul Scheer [00:59:18] That was Barry Williams that if anyone says differently, we will bomb you. Okay. Your name? 

Audience [00:59:25] Nina. 

Paul Scheer [00:59:26] Nina. And where would you put your belt? 

Audience [00:59:28] In the telephone booth. 

Paul Scheer [00:59:29] Okay, great. Oh, nice, cut. And you don’t have to put it in the movie. You can put anywhere you go. What’s your question? 

Audience [00:59:36] Okay, so there is a scene where Rod Steiger is trying to get up off the couch and the police chief guy is like helping him up. Whose idea you think it was to keep that in the movie? 

Jason Mantzoukas [00:59:52] Rod Steiger. Rod Steiger nails it with what is clearly an improvised line where he goes, “I hate these deep couches.” I hate these deep couches. I love that this movie is taking a stand. Give us shallow couches or give us no couches at all. 

Paul Scheer [01:00:17] All right. Well, we heard from the audience there. And now it is time for second opinions. 

Audience [01:00:22] Timer the cat. Assassins you hire and nap. I want you to hang up in 58 seconds. This way, he cannot be tracked. Ex-CIA hired by someone named May. It turns out that Ned set up Ray and bombs are their favorite way. Oh, Stallone’s a specialist. You know, I have no notes to give you. Did you all get a boner too. Ooh. You know, it gets a five star review. Amazon. This is true. Ten, nine, eight, seven, six, five stars. 

Paul Scheer [01:01:10] Amazing. Thank you. All right. Let me tell you, these are second opinions pulled from Amazon. And they are wild. Wild. Okay. There are this gets an average four out of five stars on Amazon or there’s over a thousand reviews. 76% are five star reviews. 

Nicole Byer [01:01:40] Wow. 

Paul Scheer [01:01:41] But I’m going to kind of bullet through them because they are all one sentence. So here we go. It’s going to got speed as a speed right through. Here we go. Bob writes, “Reminds me of when I lived on the Miami River on a 51 foot trawler. Beautiful cinematography. Sharon Stone isn’t too bad either. Five stars.” Amazon customer writes, “Honestly, it’s not a particularly great movie, but it’s got a Porsche 968 in it, so it’s good enough for me. Five stars.” DLJ writes “Critics did not rate this film well. They must have been men because this is a woman’s fantasy. Five stars.” And that sentiment continues when someone writes, “I enjoyed this movie, Great bodies and beautiful people in a beautiful Miami setting. Yes, it’s a woman’s movie. In spite of the action was five stars.” 

Nicole Byer [01:02:51] I get it. I do get it. It’s because you’re seeing Stallone’s body all sexual and shit. 

June Diane Raphael [01:02:58] Yes. 

Paul Scheer [01:02:59] I wouldn’t call it a woman’s movie though. 

Nicole Byer [01:03:01] I think it’s like. It’s like the romance is for the ladies, and that’s, like, heavy in the movie. And then the bombs are for the boys. So they stick around. 

Paul Scheer [01:03:09] Jason, you missed people calling this a woman’s movie in the five star reviews. 

Jason Mantzoukas [01:03:14] Well, I do feel like this exists in the Fried Green Tomatoes verse. 

June Diane Raphael [01:03:20] Yeah, it’s like Steel Magnolias. 

Jason Mantzoukas [01:03:23] Steel magnolias, Fried Green Tomatoes, The Specialist. It’s a trilogy for the ages. They’ve all got Roberts is in them. 

Paul Scheer [01:03:36] A couple of fun facts about this movie. Eric Roberts, only two years older than Sharon Stone, but he was supposed to have killed her parents when she was a child. Okay. Stallone said the secret to their shower scene was bringing a bottle of Black Death vodka up to the set that was given to him by Michael Douglas. And after a half dozen shots, we were wet and wild. 

Jason Mantzoukas [01:04:07] I don’t like that. 

Nicole Byer [01:04:08] No. 

Paul Scheer [01:04:09] Nope, nope, nope, nope, nope. 

Nicole Byer [01:04:11] I don’t like it from a safety standpoint at all. That’s why they’re on the floor. Like, we can’t stand up anymore. 

Paul Scheer [01:04:28] So there is a there’s a real big history in Hollywood about Stallone being kind of tricked and conned by producers and other actors. The most famously, like Schwarzenegger, read a really bad script called Stop or My Mom Will Shoot. And he’s like, Get the rumor out there that I want to do it. So Stallone will try to steal it from me, and then he’ll do this real shit ball movie. And then he did. And Stallone never wanted to do the movie but just to fuck with him. And it’s been like they have a history. So in this movie, Stallone was kind of playing hardball and the producers said, “Hey, look, if you don’t decide in 15 minutes, Warren Beatty wants to do this movie.” He’s like, All right, I’m in. So and Warren Beatty was never attached or anywhere near the movie. 

Audience [01:05:19] How much did it make? 

Paul Scheer [01:05:20] Well, I’ll get to that one second. 

Jason Mantzoukas [01:05:21] Hey guy, relax. 

Nicole Byer [01:05:23] Oh, he just really needs to know. 

Jason Mantzoukas [01:05:27] I’ve been watching this whole show. I want to know how much it made.  

Nicole Byer [01:05:30] He needs to know.

Jason Mantzoukas [01:05:31] Oh, hey. I didn’t come here for jokes. I came here for box office! 

June Diane Raphael [01:05:40] Let’s get the metrics going. 

Jason Mantzoukas [01:05:45] Gimme that data dump. Gimme above the line and below the line costs. 

Paul Scheer [01:05:51] Before tonight–. 

Jason Mantzoukas [01:05:58] You’re an asshole, guy. Wrap the show up. I got a sitter. Give me the box office and let me out of this place. I’m done with the show. I came for box office, and I got bubkiss so far. 

Paul Scheer [01:06:24] For some context. Before the show started, we played the trailer to The Specialist. And when Jason came out here, he said, Paul, were you upset that James Woods did not get billing in the sequence in the credits like that? He’s one of the, he’s the lead. He’s one of the lead characters in the movie. There’s a good reason for that. Stallone demanded that James Woods scenes were to be cut out of the film and some of his scenes to be reshot, so Stallone would have more screen time. He was worried that Woods would steal the movie away from him because he was a better actor than him. And Stallone also did the same thing to Rutger Hauer on Nighthawks. So that is the reason. 

Jason Mantzoukas [01:07:09] Hauer was in two Hawk based movies? 

Paul Scheer [01:07:13] Ladyhawke and Nighthawk. And here’s the thing that I found most interesting before we get to how much it made. 

Jason Mantzoukas [01:07:22] Are you okay, my guy? Are you okay to wait a couple more seconds? 

Paul Scheer [01:07:32] Before there was a blacklist. A blacklist is this amazing thing that Franklin Later does where he, like, polls people in Hollywood. What are the best scripts that aren’t made? And there’s a list and and it can help screenwriters really get to the top of the heap. You know, it’s about who has a great script. The Los Angeles Times did something similar to that. And in 1993, the Los Angeles Times listed The Specialists as the best unproduced thriller script in Hollywood, based on a poll of 40 agents, producers and studio executives. So this movie was a hot commodity, and it had a budget of 45 million. 

Jason Mantzoukas [01:08:18] Oh, all your dreams are coming true. 

June Diane Raphael [01:08:20] Get ready. 

Jason Mantzoukas [01:08:22] We’re talking those numbers, Paul. What do we got? A budget of what? 

Paul Scheer [01:08:27] 45. 

Jason Mantzoukas [01:08:28] Wow. Wow, wow, wow, wow. That’s what I’m here for. 

Paul Scheer [01:08:36] The opening weekend was 14.3. 

Jason Mantzoukas [01:08:41] Oh, God. 

Paul Scheer [01:08:44] And the full domestic gross. 

Jason Mantzoukas [01:08:47] Oh, give the. Dump it all on me. Give me the whole fucking number, Paul. 

Paul Scheer [01:08:55] $57.4 million. 

Jason Mantzoukas [01:08:59] Oh oh. 

Paul Scheer [01:09:01] But the worldwide gross 170 million adjusted for inflation. $347 million. 

June Diane Raphael [01:09:11] Wow. 

Jason Mantzoukas [01:09:12] That’s like Avatar. 

Paul Scheer [01:09:15] Came in number 21 in the top 200 films of 1991. And that’s the year where The Lion King, Forrest Gump and True Lies comes out. This movie beat Time Cop, Disclosure, The Chateau, Junior, Color of Night, Street Fighter, Ghost in the Machine and Double Dragon. 

Jason Mantzoukas [01:09:30] It beat all of those movies? 

Paul Scheer [01:09:32] Yep, it came in number 21. And the tagline is “Killing is his profession. Revenge is her goal. Together, they take on the battle against the underworld mafia.” 

Nicole Byer [01:09:46] That’s the longest tagline. 

Jason Mantzoukas [01:09:49] By the way, terrible tagline. 

Paul Scheer [01:09:52] And here’s the alt tagline. “The government taught him to kill. Now he’s using his skills to help a woman seek revenge against the Miami mafia.” 

Nicole Byer [01:10:02] These are like poems. These are not taglines. 

Paul Scheer [01:10:05] They’re haiku. 

Jason Mantzoukas [01:10:07] Here’s a better. Here’s a better tagline. “She’s hot, but inexplicably, he’s naked.” 

Paul Scheer [01:10:15] “She’s hot. He is not. Boom.”. 

Jason Mantzoukas [01:10:20] Bye bye. 

Nicole Byer [01:10:23] Bye bye. Would have been the best tagline. 

Jason Mantzoukas [01:10:25] Oh, shit. 

Nicole Byer [01:10:26] Bye bye. 

Paul Scheer [01:10:29] Well. Oh, well, we really got into The Specialist. Nicole, we have talked on our show about your show, Grand Crew, which is an amazing show on Peacock and Netflix. Tell us a little bit more about it. 

Nicole Byer [01:10:43] Oh, Grand Crew is about six friends who hang out in a bar and we drink and we fuck and we talk about life and relationships and it’s like, it’s silly. It’s a very silly throwback to the nineties. It’s a fun show. 

Paul Scheer [01:10:56] It’s a great ensemble. And we’re we talk to Phil and Carl on the Last Looks. Where are you in your wine drinking journey? 

Nicole Byer [01:11:03] Oh, well, last night I drank half a bottle of wine after I had like eight vodka sodas. It was bad. It was bad. I woke up this morning and I was like, I am unwell. And then. 

Jason Mantzoukas [01:11:20] And then you had to watch this movie? 

June Diane Raphael [01:11:20] So sorry. 

Nicole Byer [01:11:22] I was so hung over, just being like, Whoa, this is good. It was honestly really nice to watch it hung over. 

Paul Scheer [01:11:28] That’s the way that they shot the shower scene. And Nicole, anything else you can, you want to plug? 

Nicole Byer [01:11:38] Oh, yeah, I got a podcast. Why won’t you date me? Best Friends. 90 Day Bae. I’m like, working out material in DC and Denver and you can just go to my Instagram, hit the link in the bio. I don’t know the dates. 

Paul Scheer [01:11:49] I love it. That’s great. June, I know you and I are very excited about this show that we’re on Moon Girl and Devil Dinosaur on Disney. Plus, it’s actually fantastic. It’s a great show. Really, really fun. 

June Diane Raphael [01:12:01] So excited. And also, Paul, you’ll be at it. Bitch Sesh and The Deep Dive is hosting a show slash pickleball tournament slash extravaganza called I’d Hit That on May 13th. So if you’re in Los Angeles or traveling to Los Angeles and you want to buy tickets, you can head to JaneClub.com/pickleball and come to the show. Paul will be our celebrity DJ and MC. And it’s going to be so much fun. May 13th. 

Jason Mantzoukas [01:12:31] I will shout out, even though I’m not in it. John Wick four. Get involved. 

Paul Scheer [01:12:40] Wait. You went to a movie theater? 

Jason Mantzoukas [01:12:42] Nope. 

Paul Scheer [01:12:43] Oh, wow. 

Jason Mantzoukas [01:12:45] Don’t worry about it. But go see this movie. 

Paul Scheer [01:12:48] I can’t afford the three. I can’t find those 3 hours. I need to talk to your source. God damn. 

Jason Mantzoukas [01:12:55]  Also, I play a recurring part in the Netflix show Agent Elvis. That is an animated show. 

Paul Scheer [01:13:01] I was cut out of that show. 

Jason Mantzoukas [01:13:02] What’s that? 

Paul Scheer [01:13:03] I was cut out of that show. 

Jason Mantzoukas [01:13:04] Really? 

Paul Scheer [01:13:05] I recorded. I was recording my voice and I was like, They’re going to cut me. I wasn’t doing whatever they wanted me to do. And I’ve had this experience twice in my life, and I was feeling it. And then, like a couple months later, like, we’re going to recast. 

June Diane Raphael [01:13:19] Well listen, it sounds like we’re still in Moon Girl and Devil Dinosaur. 

Jason Mantzoukas [01:13:23]  I will say congratulations on the pick up of Star Trek Lower Decks, which is fantastic. And I will I will please urge people to watch Star Trek Prodigy the show that I am on, which is absolutely fantastic and needs your eyeballs, get involved. 

Paul Scheer [01:13:39] And I also say, if you like Star Trek Picard Season three, don’t worry about one and two. It’s great. But more importantly, Dungeons and Dragons. The movie is good. You saw it there. 

Nicole Byer [01:13:48] Okay. I hate medieval shit. It makes me, like, really upset. Yeah, but I was not upset watching that movie. 

Paul Scheer [01:13:55] It’s a fucking comedy. It’s really funny. It’s really good. 

Jason Mantzoukas [01:13:59] Wait why does medieval shit make you upset? 

Nicole Byer [01:14:00] It makes me so mad because I could just imagine how stinky they are. And there’s no, like, hems. Everything’s, like, jagged and nasty, and they got stupid fucking belts, and there’s, like, rocks everywhere. 

Jason Mantzoukas [01:14:14] I agree. The belts are stupid.

Nicole Byer [01:14:16] I’m not here for it. 

Paul Scheer [01:14:18] I agree with you that they made medieval stuff look nicer. It was like It was better. It was. Yeah, it was. 

Nicole Byer [01:14:23] Yeah, but the jokes made me happy. I was like, these people look like trash, but, like, it’s funny and I’m not angry. 

Paul Scheer [01:14:29] A lot of funny, funny jokes. Really great surprise. 

Nicole Byer [01:14:33] They made this choice with this dragon that made me laugh so hard. I don’t want to ruin it. 

Paul Scheer [01:14:37] They have a cameo in it that was shocking. And the scene plays out like this drama in the middle of this comedy movie. It’s beautifully done. 

Nicole Byer [01:14:47] Can I say one last thing? 

Paul Scheer [01:14:48] Yeah, please. 

Nicole Byer [01:14:49] I thought it was really interesting when they were running at the end and the bombs were going off, like in front and behind them. Sharon Stone yelped every time a bomb went off. And I was like, kind of concerned. I was like, are these happening too close to her? Did they rehearse? I was like, did they tell her? 

Paul Scheer [01:15:06] I liked it because it gave me like a human reaction to bombs. Like, this movie is like bombs go off all the time. Like it’s like a doorbell. Like she’s like, “Oh fuck.” Like she should be jumping. 

Jason Mantzoukas [01:15:19] Another just a tiny bit of evidence that this is really a love story between Stallone and Woods is the “You’re the rigger. I’m the trigger.” That is the most romantic line in the movie. That’s what the movie’s about. You’re the rigger. I’m the trigger. James Woods is saying in the whole movie, “Why don’t you see I’m in love with you?” You’re the rigger. I’m the trigger. 

Paul Scheer [01:15:46] Could that be the shirt? Yeah. Yeah, that may be it. Yes. “You’re the rigger, I’m the trigger. In the silhouette of both their faces. I love this, Nicole. So great to have you back. 

Audience [01:15:56] Wait. Would you recommend the movie? 

Paul Scheer [01:15:58] Oh. Oh. But before we go. 

Jason Mantzoukas [01:16:02] Hey lady, talk to that guy about the box office. 

Paul Scheer [01:16:07] Sometimes I feel like this question is we’ve already gone through it. 

June Diane Raphael [01:16:10] I think that’s clear. Yeah. 

Paul Scheer [01:16:11] Would we recommend the movie? 

Jason Mantzoukas [01:16:13] Yeah. 

June Diane Raphael [01:16:13] Yeah. 

Nicole Byer [01:16:14] Absolutely. 

Paul Scheer [01:16:14] All right. Give it up for our amazing crew up in the booth. Our producer, our sound engineer, the new live engineers up there. It’s an amazing group. They put their show together every week. Thank you for coming. Thank you, Nicole. Thank you, June. Thank you, Jason. We’ll be back in April for a three night run and then back in May. And come see Dinosaur April 15th. Thank you everybody. Goodnight. 

Paul Scheer [01:16:38] The show may be over, but it continues next week on Last Looks. That’s right. We want you to join us on Last Looks to tell us all the things that we might have messed up, that we might have gotten wrong. And you get a chance to prove that you are better than us. You can do that very simply by going to our discord at discord.gg/HDTGM. Or you can call me at 619-PAULASK. I also run a very impromptu advice line, so if you have any problems, I am there to solve them. Normally, I’m joined by Jason on Last Looks. So tune in to Last Looks to hear interviews with some of our great past guests, some deleted scenes and so much more, including what we’re watching next week. You know what? If you’re a big How did This Get Made fan, that means you must have some merch. And if you need our merch, go to Teepublic.com/stores/HDTGM. That’s Teepublic.com. You can find us online everywhere on any kind of social platform @HDTGM and if you really just want to go old school, check out our website at HDTGM.com that has links to everything you could possibly imagine. But this show, what you’re listening to right here, couldn’t be done without a couple of things. First of all, you listening. But more importantly, I’m talking about the amazing producorial work of Scott Sonne, Molly Reynolds, and our movie picking producer, Avaryl Halley, our engineer Alex Gonzalez, and our publisher, July Diaz. People, they make the trains run and we love them. So, we will see you next week for Last Looks. And until then, bye for now.