Bad Boys: Ride Or Die LIVE!

Summary

How Did This Get Made? – Episode Summary: "Bad Boys: Ride Or Die LIVE!"

Episode Information:

• Title: Bad Boys: Ride Or Die LIVE!
• Release Date: December 27, 2024
• Hosts: Paul Scheer, June Diane Raphael, Jason Mantzoukas
• Description: In this live episode, the hosts delve into the latest installment of the "Bad Boys" franchise, "Bad Boys: Ride Or Die," analyzing its plot, character development, and the evolution of the series. Joined by an enthusiastic live audience, the hosts offer their comedic perspectives on the film's strengths and glaring flaws.

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I. Introduction to "Bad Boys: Ride Or Die"

The episode kicks off with Paul Scheer introducing the topic, setting the stage for an in-depth discussion of the newest "Bad Boys" movie. The hosts express both excitement and curiosity about the film's direction, especially considering the franchise's previous installments.

Notable Quote:

• Paul (00:02): "Bad Boys: Ride or Die is one of the most important films to come out in 2024."

---

II. Evolution of the "Bad Boys" Franchise

The hosts explore how "Bad Boys: Ride or Die" diverges from traditional buddy cop narratives by introducing supernatural elements, such as witches, which were absent in previous films. This shift marks a significant departure from the franchise's roots, aiming to revitalise the series with fresh, albeit unconventional, plotlines.

Notable Quotes:

• Paul (02:14): "How did this get paid? Hello people of Earth."
• Paul (04:02): "Bad Boys started off as a conventional buddy cop film. But in Bad Boys 3 there are witches."

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III. Character Development and Chemistry

A central theme of the discussion revolves around the dynamic between the main characters, Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence). The hosts commend the actors' chemistry, highlighting how their relationship has matured over the series. They also touch upon Martin Lawrence's character grappling with aging and newfound vulnerabilities, adding depth to the narrative.

Notable Quotes:

• Jason (05:10): "Bad boys ride or die so you know what that means."
• June Diane Raphael (07:24): "This is my first [Bad Boys movie]. I'm sorry. So embarrassed."

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IV. Plot Analysis and Specific Scenes

The hosts dissect key plot points, including the introduction of Reggie, Marcus's nephew, and his pivotal role in the story. They discuss the film's blending of action with emotional storytelling, noting moments where the film delves into themes like mortality and redemption. Specific scenes, such as the helicopter crash and the surreal afterlife sequences, are analyzed for their creativity and coherence.

Notable Quotes:

• Paul (12:17): "When Reggie saluted the ring cam. I looked Reggie, my guy."
• Jason (16:00): "He thinks he's unkillable."

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V. Emotional Themes and Mental Health

A standout aspect of the movie, as highlighted by the hosts, is its exploration of mental health issues. Martin Lawrence's character experiences panic attacks and emotional turmoil, a departure from the typically unflappable heroes of action franchises. The hosts appreciate this nuanced portrayal, emphasizing its significance in adding realism and relatability to the characters.

Notable Quotes:

• June Diane Raphael (11:48): "There's a lot of mental health issues that they address in this movie, and my mental health was saved."
• Paul (65:56): "I can't stop crying at this movie. It's very emotional."

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VI. Supporting Characters and Lore Expansion

The discussion extends to supporting characters like Joey Pants and Vanessa Hudgens's role, examining how the film expands its universe through these additions. The hosts critique the film's intricate lore, likening it to "George R.R. Martin level" complexity, and debate the integration of new characters into the existing narrative framework.

Notable Quotes:

• Jason (23:00): "Joey Pants is an integral part of the early relationships."
• Paul (27:13): "It's a scavenger hunt."

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VII. Filmmaking Choices and Action Sequences

The hosts analyze the film's action sequences, praising the inventive camera work and the blend of practical effects with digital enhancements. They also critique certain unrealistic elements, such as the characters' improbable survival rates and inconsistent tactical decisions, while still appreciating the overall entertainment value.

Notable Quotes:

• Jason (17:56): "He got out to see? I don't think unclear."
• Paul (36:46): "There is so much cover. They're just running like they're at paintball."

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VIII. Addressing Franchise Legacy and Future Prospects

The hosts reflect on the legacy of the "Bad Boys" franchise, comparing it to other long-running series like "Fast and Furious." They speculate on the future direction of the franchise, hinting at potential crossovers and continued evolution of the characters.

Notable Quotes:

• Jason (6:16): "Nobody dies anymore. Everybody's immortal except for the hundreds of civilians."
• Paul (65:16): "These are bad boys grappling with the vicissitudes of middle age."

---

IX. Audience Interaction and Live Reactions

Throughout the episode, the hosts engage with the live audience, taking questions and responding with humor and insightful commentary. This interaction adds a dynamic layer to the discussion, allowing for a broader range of perspectives and immediate reactions to the film's content.

Notable Quotes:

• Audience Member (54:37): "Why can't they ever have their hair down?"
• Paul (55:48): "Make it meet your mouth."

---

X. Conclusion and Final Thoughts

In their closing remarks, the hosts summarize their mixed feelings about "Bad Boys: Ride Or Die," acknowledging both its ambitious storytelling and its occasional lapses into plot inconsistency. They commend the film for its emotional depth and character development, while still recognizing the inherent flaws typical of blockbuster action movies.

Notable Quotes:

• June Diane Raphael (63:16): "The action sequences are really fun and engaging, but for me it's the smaller moments that stood out."
• Jason (64:25): "Family's the best medicine."

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Key Takeaways:

• "Bad Boys: Ride Or Die" introduces supernatural elements to the franchise, offering a fresh take on the buddy cop genre.
• The chemistry between Will Smith and Martin Lawrence remains a highlight, with deeper character development and emotional storytelling.
• The film balances over-the-top action with meaningful themes like mental health and redemption.
• Supporting characters and expanded lore add complexity, though not without introducing some plot inconsistencies.
• Audience interaction enriches the discussion, providing diverse perspectives on the film's reception.

Notable Highlights:

• Emotional Resonance: The exploration of Martin Lawrence's character's mental health adds depth to the action-packed narrative.
• Innovative Action: Creative camera work and unique action sequences, despite occasional unrealistic elements.
• Franchise Evolution: Significant shifts in the "Bad Boys" universe, potentially paving the way for future installments.

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Final Quote:

• Paul (66:01): "I can't stop crying at this movie. It's very emotional."
• Jason (67:38): "We do this movie, we come back to Philly, we see the Wobble, the first ever dance party."

This episode of "How Did This Get Made?" provides a comprehensive and entertaining analysis of "Bad Boys: Ride Or Die," blending humor with insightful critique to offer listeners a thorough understanding of the film's impact and place within its franchise.

Transcript

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[Paul]

Man Big Paul and the beautiful Jewel gonna take you from the groove all.

[Jason]

The way to the room Renegade the street fighting hope to blow off steam just a sucker punch the odd life of Tiffany green sharp middle the bird.

[Paul]

Demic how we stand they call it in the badass and he's on the.

[Jason]

Line cranking 88 minutes cause they cool as ice cause the bad Jim Bonnie looking kind night Paul and June getting literal Jason is getting laid June is making sure all the monkey shots getting paid. They're just a bunch of movies while they making the grade. Here's a real question for you. How did this get paid? Hello people of Earth and hello people of Philadelphia. We are live at the Miller Theater talking about one of the most important films to come out in 2024. Bad boys ride or Die now, it would have been better if they used the title for Bad Boys three for Bad Boys four, which was Bad Boys for life. But we are stuck with Ride or Die. Fast and Furious would never make that mistake. What do you need to know? Well, it might shock one of the people on this stage that Bad Boys started off as a conventional buddy cop film. But In Bad Boys 3 there are witches. Yes. They don't really touch on it in Bad Boys 4, but there are witches. Not like we think she's a witch. She a witch. And Bad Boys 4 ups the ante in every fucking way. I love this movie. I love it so much. We'll see what everybody else thinks. But I'll tell you this. What is it about so many things IMDb says when their late police captain gets linked to drug cartels, wisecracking Miami cops Mike Lowery and Marcus Burnett embark on a dangerous mission to. To clear his name. Oh, what a poor logline. It doesn't even explain that there are ghosts. Ghosts are in this movie. One of our characters visits the afterlife and there's a giant fucking crocodile. People. This. We must protect this franchise with everything that we have. This franchise saw what Fast and Furious was doing and said, you know what? We'll see that. And we're gonna go one step further. I think by Bad Boys five they're gonna be fighting in heaven and I'll be there for it. All right, people. To talk about this film, let me introduce my co host. Please welcome to the stage, Mr. Jason Mantzouk.

[Paul]

What's up, jerks? That's right. Let's go, Philly, let's go. Bad boys.

[Jason]

Bad boys.

[Paul]

Bad boys.

[Jason]

Bad boys.

[Paul]

Holy cow. Wow, wow, wow.

[Jason]

Thank Paul.

[Paul]

Thank you. First of all, thank you. Because, boy, are you lucky. Last night we watched Megalopolis for New York.

[Jason]

Some of you were there. I know some of you were there. Right?

[Paul]

A powerfully shattering two and a half hour. Watch this. Wow, wow, wow. What a breath of fresh air. I was like, give me more. This just washed all over me.

[Jason]

I was like, yeah, I rewound certain sequences. Normally I'm just trying to get through it.

[Paul]

Yeah.

[Jason]

I'll tell you this, not only did I watch the whole thing, this is a little teaser for later. There's a post credit scene.

[Paul]

Do you. Oh, I'm aware.

[Jason]

All right, great.

[Paul]

Oh, I'm aware.

[Jason]

All right, great.

[Paul]

And I want to piggyback on what you said because I also put it in my notes. This movie Cribs. All the best Fast and Furious stuff.

[Jason]

Yeah.

[Paul]

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

[Jason]

It would be.

[Paul]

That's got to be it.

[Jason]

I mean, I'm there for it. I want it to happen. Yes. Civilians die at a reckless degree.

[Paul]

So. And you know what, though? They deserve to die because people. People are pulling guns constantly and everybody's just going about their biz.

[Jason]

It's Miami, baby.

[Paul]

Yeah.

[Jason]

Ladies and gentlemen, to talk a little bit about bad boys tonight, please welcome my other co host, June Diane Rafa. How are you, June?

[June Diane Raphael]

I'm well. How are you, Paul?

[Jason]

I am fine. Thank you for asking.

[June Diane Raphael]

Of course.

[Jason]

Now, June, I wanted to just check in with you because I love these movies. I don't make you watch them with me. Where do you fall on. Have you seen.

[Paul]

Wait, but you do make her watch other movies with you sometimes. Make you. Is the. Is the.

[Jason]

Yeah, it's like, it's.

[Paul]

I don't make you. You're welcome. I don't make you watch the movies, by the way.

[June Diane Raphael]

Thank you for picking up on that.

[Paul]

Oh, yeah. Are you safe? Are you cool?

[June Diane Raphael]

Yeah.

[Jason]

Sometimes I will strong arm June into watching a film with me and begrudging you like it.

[Paul]

Make too. Strong arm.

[June Diane Raphael]

Thank you for seeing the difference.

[Paul]

Wow. Just heightening. Classic heightening.

[Jason]

Sometimes I will just, you know, get her in a good old headlock and make. No, but where do you fall on the bad boys scale? Have you seen any bad boys?

[June Diane Raphael]

This is my first. I'm sorry. So embarrassed. No. This is so shameful. This is so shameful. And I realized that.

[Paul]

And when I say that you're not at all.

[June Diane Raphael]

No, I know I'm not.

[Paul]

This is perhaps the least safe space in America.

[June Diane Raphael]

Believe me, I know.

[Paul]

Yeah.

[June Diane Raphael]

Listen.

[Paul]

Absolutely proving my point, you fucking maniacs.

[June Diane Raphael]

Things are dangerous at home, and they're dangerous here in this theater, too. I've never seen a bad boy movie. And that's.

[Jason]

I'm so excited about it.

[June Diane Raphael]

It's my fault. That's my fault.

[Paul]

Because wonderful stuff happened.

[June Diane Raphael]

Well, listen, this Bad Boys, what is.

[Jason]

The Ride or Die.

[June Diane Raphael]

Ride or Die. Bad Boys. Ride or die is my favorite movie that I've ever seen. It's my favorite movie. No, I'm not. I really. This is my favorite movie now, so that's something that happened.

[Jason]

I do want to ask the audience if it's your first Bad Boys experience. By applause.

[June Diane Raphael]

Oh, that's a number of us. Okay. I feel better.

[Paul]

Also by applause. How many of you will go back and watch for the first time? One through three. Yes.

[Jason]

Just know that one had a very small budget. So much so that an SUV just drives through a bunch of bicycles. Like, they're like, we need something to happen.

[Paul]

It's like when we did Fast and Furious one and the whole thing is about him ordering a great sandwich from Mia at the Toretto Family Sandwich Shop while Dom is out stealing combination vcr, dvd.

[June Diane Raphael]

I actually, like. I just want to say something, though, because Fast now has been brought up a number of times tonight. I. I actually think that we've done something very wrong on this podcast to elevate Fast and Furious the way that we have.

[Jason]

Okay.

[June Diane Raphael]

This work has gone.

[Paul]

Has gone unacknowledged.

[June Diane Raphael]

It's really. It's a crime. And I'm sorry. All I can do is stand in feedback and say, I'm sorry. And I didn't know.

[Jason]

Yeah, it's tough.

[June Diane Raphael]

I didn't know.

[Paul]

It's tough. There was a hu. What has made us able to do Fast and Furious is they come out at a Fast and Furious clip, right? And the Bad Boys franchise has huge, huge gaps. So there's like 10 years between.

[June Diane Raphael]

Well, they're working. They're working on it, I guess, because I see it on the screen. I see. I see that they've been putting a lot of thought just to. Let me say one thing, Paul, Let me say one thing.

[Paul]

Stop making.

[Jason]

Got it. Got it.

[Paul]

Strong arm.

[June Diane Raphael]

I just have to say that this comedic pairing has. I'm gonna say. I'm gonna make some statements tonight. It's lifted me out of a depression to watch the two of them on screen.

[Jason]

They.

[Paul]

It's so. They are crackling and the dialogue together. Nobody could deliver this. As leaden. As leaden as the Torettos are. Is as bright and effervescent as Will and Martin are.

[Jason]

Thank you. This movie knows what it is, but also then pushes it forward more. It's like, yeah, yeah, we're dumb, but we're gonna be really dumb. But also, it works.

[June Diane Raphael]

And also it's real. And also they have real chemistry. No. And they're also dropping in. I'm sorry. There's a lot of mental health issues that they address in this movie, and my mental health was saved.

[Paul]

I guess. Not only that, but it is a. By watching it, that is truly as Opposed to fast and furious about family.

[Jason]

Yes.

[Paul]

These are parents and children and negotiating and renegotiating difficult relationships. This is family. I cried multiple times in this movie. I genuinely wrote in my notes, I must be going through something. I keep tearing up. I teared up when Reggie saluted.

[June Diane Raphael]

I did, too.

[Paul]

When Reggie saluted the ring cam. I looked Reggie, my guy.

[Jason]

Reggie. And I want. We'll get to it in a little bit, but Reggie has been set up since 2. Here's what I'll just say.

[June Diane Raphael]

Oh, Reggie's been set up since 2.

[Jason]

I will. I will get into all.

[Paul]

He enters as, like, a child.

[Jason]

Yeah.

[Paul]

He enters at, like, 15. The boy I have, the daughter I have.

[Jason]

The clip.

[June Diane Raphael]

I'll be talking happier.

[Jason]

I just want to, like, put it in context and we'll talk about this movie in present, but I want to talk about where this movie started. Bad Boys 1. It was a vehicle for Dana Carvey and John Lovitz. That's who Simpson and Bruckheimer are. Like, that's our movie. Dana Carvey, Jon Lovitz, they're our bad boys.

[Paul]

They pistachio disguising.

[Jason]

They said, that's right.

[Paul]

Right. I can't. Like. Like. Like Dumbledore with his wand in front of the pensive. I just pulled that name. Amazing.

[June Diane Raphael]

Now, it's also like the space you've had to make in your brain for that name. Like, what hasn't gotten in there? Yeah.

[Paul]

What's going. Why is this.

[Jason]

Why do I have it all lives up in our mind palaces. Now, I'll tell you this just to add one more layer of it. So when this movie is made originally, Dana Carvey, John Lovitz, they say we can't do it. They're not going to do it, whatever happens. And then they go, well, the next guy we have to go to is Martin Lawrence, because Martin Lawrence is big star. And Martin Lawrence is like, I'll do it, but I want Will Smith. And they're like, no, Will Smith, not a movie star. We won't do it with Will Smith. Martin Lawrence is like, we have to do it.

[Paul]

This is, to be fair, Pre Independence Day 100, Pre Will Smith, movie star.

[Jason]

So Will Smith, like, from Fresh Prince of Bel Air, bulked up, did the first movie. It goes on and on. And I believe that Bad Boys 4 is now will Smith going, martin, something's wrong. I'm gonna bring you back in. Like, he. Like, I feel like, like, Martin does not look well. And I'll tell you this much. I'm okay, by the way.

[June Diane Raphael]

Be careful.

[Jason]

I'm okay. I'm going to be. I'm going to be careful because he's.

[June Diane Raphael]

He's one of the best we have to offer. As if people.

[Jason]

He's doing.

[June Diane Raphael]

Sorry.

[Jason]

He's doing amazing. He's great. But they needed to give him a heart attack in the first scene to be like, this man is just out of the hospital. We needed to get on that page. Like, we needed to be like, both of them are not running around anymore. This man is hours outside of a.

[Paul]

Heart attack and as a result is behaving in an unhinged fashion.

[Jason]

Yes.

[Paul]

So they're like, we need to create an inciting incident where everything else is in response to that. The fact that he thinks he is immortal for this movie and then sets up so many great games for him to play in. Like, okay, you have to know, in the beginning, these movies were Michael Bay movies.

[Jason]

Yes.

[Paul]

That's the stylistic.

[Jason]

And that's why he makes a cameo.

[Paul]

Flourishes are Michael Bay flourishes from the Earl. All the. The careening camera, all that stuff. And then these guys. Where are these guys from?

[Jason]

These guys are amazing. Adele and Bilal, they're. They're two guys.

[Paul]

They're fucking fan. They did the last two and they were like, watch. Watch me cook. Like, Michael Bay. They were like, we're taking Michael Bay and going nuts.

[Jason]

They. I have so much to say about these guys, but most notably the reason why they're back. They did three with witches. Will Smith did Fuck a Witch, and that's his son from the Witch Son just. There are witches.

[Paul]

Yep, there are witches.

[Jason]

But what I will say.

[Paul]

But if you do that, there are witches everywhere.

[Jason]

Yeah. What I will say though, is Adil and Bilal, they made the Batgirl movie that no one will ever see. And when that got shelved, they're like, fuck it, we're going back to Bad Boys. Because Michael Bay was like, come on back, guys. We gotcha. And. And Michael Bay is really, like, kind of blessed them and given them like, carte blanche to go make whatever the fuck they want to make. One of the things being they've always had this dream of having a Steadicam on a rig that shoots out like, the gun. That's that amazing scene. They're like, can we do that? Michael Bay's like, of course. Do it as many times as you can. And then they give it to, you know, Will Smith. He executes it perfectly. Gun, camera, back, boom, boom, boom. They give it to Martin and you can tell, not quite as adept at Working that Steadicam. He gets one push.

[Paul]

When that scene happens in the Gator Reserve, when the. Yes, we're jumping to act street straight away, I just want to say that segment where it becomes like a first person shooter game where it's cutting back and forth between first person pov, like bang, bang, bang, bang, bang, bang. But then it's cutting directly out that I think what you're describing, which is a very close shot that's on them on a rig on them. Will Smith is like, bam, bam, bam. Martin is so funny. What he's doing in that coverage. He's just like, chaos, chaos. Because that I'm like, yes, give me this all day.

[Jason]

There is literally what they had strapped to them was a giant camera. And they had to like kind of push it out and then flip it around and pull it back in. It was like, is. It's a feat of strength, right, what they're doing. So it's really complex. But I want to just say that this movie, from moment one, when we get the POV from the watch, I was like, oh, shit, yeah, this movie is good. We're getting a camera through the watch.

[June Diane Raphael]

Yeah, it was watch, cam, watch.

[Paul]

Also, Martin. If we're to believe the movie, Martin Lawrence has cameras all throughout the Ring camera.

[Jason]

Ring cameras.

[Paul]

Ring cameras all throughout the interior of his house.

[Jason]

That's not how ring cameras are supposed to be working. You already love DoorDash. And now there's even more to love with the new DoorDash Dash Pass annual Plan benefit. All right, here it is. Drumroll, please. Max with ads is now included at no extra cost. That means you can have dinner delivered with DoorDash and settle in for a night on the couch watching the HBO original series House of the Dragon. Plus, while you're watching Gotham's own Oz COBB and the HBO's original series the Penguin, you can enjoy some New York City pizza or soft pretzel with DoorDash. And if you're rewatching Friends, don't be surprised if those coffee shop scenes make you crave having a latte delivered fast. Of course, you still get all your favorite DashPass annual plan benefits too, like unlimited $0 delivery fees on eligible orders and exclusive member only offers and menu items. Sign up for DashPass annual plan and get Max included at no extra cost. It's your door to more terms and conditions apply. Max is now included with your DashPass annual plan stream. Max with ads up to $120 value, included at no extra cost. See doordash.com max for details, Indiana Jones and the Great Circle is available now. Uncover one of history's greatest mysteries in a first person single player adventure video game. Set between the events of Raiders of the Lost Ark and the Last Crusade. The year is 1937. Sinister forces are scouring the globe for the secret to an ancient power connected to the Great Circle. And only one person can stop them. Indiana Jones Adventure calls on Xbox series X and S Game Pass and PC rated T for Teen. Copyright and trademark 2024 Lucasfilm Ltd. All rights reserved. I love gift giving because I love to show people I see what you need, I see what you want. But I need to make sure that I can afford everything that I see. And that is why I want to talk to you about quints. Okay. Quint has quality gifts at an affordable price. They let you treat your loved ones and yourself to everyday luxury at an afford Quint can give you what, 14 karat gold jewelry or Italian leather handbags. Whatever you're looking for, Quint has it. And all Items are priced 50 to 80% less than similar brands. When I wear my Quint's stuff, my sweaters, my hat, my gloves, people comment on them. I'm telling you, I've never had a comment on a glove. When I wore a glove that I got from quints I got comments on it. So gift luxury this holiday season without the luxury price tag. Go to quint.combonkers for 300 doll returns plus free shipping on your order. That's Q-U I N C E.combonkers to get free shipping and 365 day returns.

[June Diane Raphael]

Quints.com/bonkers I did have one question that maybe you both could answer. I don't know if it's covered in one, two or three but I, I'm assuming they are. They both have cop salaries. So city you know, tax funded salaries.

[Jason]

Marcus has more money or will Mike.

[June Diane Raphael]

Okay. Cause Mike how because the amount of money he must have to have that house. I'm like if anyone's being investigated on the force for ties to the cartel, it should absolutely be Mike.

[Paul]

And you're right. And I don't think they ever give it. And forgive me, some nerd out there will tell us if that's me.

[Jason]

I'm the nerd. Mike Lowry is a pretty boy rich boy. He had yeah. And so like they never took him seriously. So in the first movie he's living. He's like driving Lamborghinis. He's driving por. He's always been fancy rich boy that anything could Hang in the. In the cop world and that we kind of catch him. He's already hanging. But it's like. But it is established.

[June Diane Raphael]

So that's just generational wealth he's sitting on.

[Jason]

Yeah, I think there's some.

[June Diane Raphael]

Not great for him. You know, that's.

[Jason]

He actually. He invested in iHeartRadio or something and he. He was first. So when I knew that Mike Lowry.

[Paul]

Is on the board of directors at.

[Jason]

Iheart and in the movies he's on Shark Tank. It's weird, but not in real life. So when I knew this movie was gonna be special was they give Martin Lawrence a heart attack. And I'm like, oh, interesting. But then he falls through the floor.

[Paul]

So cool.

[Jason]

And I'm like, what? Yeah, this is becoming like an art house movie.

[Paul]

He falls into like the. The limbo esque world that I believe is from Black Panther. Like, he falls into that. It's in that the color saturation and all this stuff is very reminiscent of that world where you can talk to the dead and the dead can impart. Why does Joey Pants have to whisper? They're there alone.

[Jason]

That fucking parrot you don't trust. Never talk in front of a parrot.

[Paul]

Just so you know, Joey Pants is an integral part of the early relationships.

[June Diane Raphael]

I certainly got that. I certainly picked up on that.

[Paul]

Boy, it's classic Joey Pants.

[June Diane Raphael]

Well, I was so excited to go back and I have to say, and I don't know if you all felt this way, but not having any information about what happened between his son, the relationship between them and the captain. Like I was 1000% on board and invested in all these relationships. Missing major plot holes.

[Paul]

Because there's a lot. You're right. And that's testament to a good movie.

[June Diane Raphael]

Yes.

[Paul]

For someone who. And a lot of you are in the same boat, who doesn't know this movie is suffused with lore. Every single person in this movie is basically a character from one of the other movies who is either continuing to move that role forward or recalibrating that role. Fast and Furious style. I was the bad guy, the sun. Now I'm the good guy. I'm on the team.

[Jason]

It's creating like, like George R.R. martin level lore for basically Miami cops fighting drug dealers. I mean, that's. That's where we started. And now we're like, well, this guy, the tall guy. We also have this guy like Joey Pants doing so much, trying to deep dive on the conspiracy that he's made these videos, multiple videos on one day is like, fuck it. I guess is the day I'm making my.

[June Diane Raphael]

My problem I have with. I mean, I guess. And I don't have any problems, by the way, but if I were to, I would just ask. Like, he seems on the video so resigned that he's dying that he's not gonna make it.

[Paul]

Seems as though he's dying that day. Yeah, he's, like, drinking a whole bottle of booze like he's dying today.

[June Diane Raphael]

I know. And it made me think, like, well, he knows this is sort of an insurance policy, and I guess you have to get in that character to make those videos, but, wow. It really seemed like he had reconciled his own death.

[Paul]

Yeah.

[June Diane Raphael]

You know, I think he's upset.

[Jason]

He's like, fuck, fuck, fuck. Like, let's watch clip three.

[June Diane Raphael]

What the hell?

[Jason]

He's texting us from the other side. No, he's not. Marcus, if you've seen this, I'm probably dead. Fuck. Fuck me. Before I begin, I want to say one thing.

[Paul]

I'm putting you in mortal danger, boys. We got rats in our walls, but I gotta make sure you're my bad boys.

[Jason]

The coke bottle giant is the key. What?

[Paul]

Don't trust anybody who's working the camera for. What's up?

[Jason]

What does that mean?

[Paul]

His. His camera has movement. It's pushing in his wife.

[Jason]

He's like, honey, can you tape my death video?

[June Diane Raphael]

Yeah. Or he might have. He might have edited the video after and just.

[Jason]

He's got one of those weird, like, GoPro arms.

[Paul]

It's a gimbal. He's. He shot it on a. A. A selfie stick on a gimbal.

[Jason]

I just love that he has gone so deep. But he hasn't told his two bad boys that he has been going like. So he isn't working silently. Like, he wouldn't say, hey, look, just. Guys, just FYI, if I ever die, look into this. He's like, can't tell them. How was he investigating anything? He's not told anyone.

[June Diane Raphael]

Well, and we're also forgetting that the reason they receive this video is because his home personal computer has been somehow infiltrated and he's created some sort of. Yes. So that. Which I was like, these. The tech team on the bad end of the spectrum seem so sophisticated. They can't get into a home personal computer.

[Paul]

Not only that. Not only that. If I'm Joey Pants and I'm sitting on that level of stuff, if I die, all that documentation should go to the bad boy. It shouldn't wait until someone tries to log on to a single laptop. That's Crazy.

[Jason]

And I do believe there has been a large chunk of time between Bad Boys three, where he is shot, and Bad Boys four. So his wife has not shut down anything in his office. Those computers. Because you have to log. Like, there has to be something to log. Like, it's like, oh, yeah, the computer's on in his desk. He's getting into it. But, like, maybe they're just leaving his office up as. Like, they've never shut off his computer. But then, I mean, look, it is.

[Paul]

And there's multiple videos. That's the thing is it's like, it's basically a scavenger hunt.

[June Diane Raphael]

It is.

[Paul]

And the scavenger hunt keeps. Like, what a joy for Joey Pants character to be like, oh, I get to make another video. Well, you've made it this far.

[Jason]

But then. But then he's also talking to the Coke bottle giant. He's going to that guy like, okay, look, I'm gonna give you a barcode. You gotta hide this somewhere. Well, why? I can't get into it.

[Paul]

Oh, yeah, the QR code that I was like did, did. And he was like, it's hidden in something beautiful. Like the QR code in the visual art.

[Jason]

Yeah.

[Paul]

I was like, this is a not beautiful. And everybody points cameras at a QR code. People in public who see a QR code, there's just a cop who's like, hey, look at this. I just happen to be pointing my camera at this piece of art.

[Jason]

Jason, not just a cop. That's Vanessa Hudgens.

[Paul]

Sorry.

[Jason]

Part of the ammo division now.

[Paul]

What's amazing about Vanessa Hudgens? She's in this movie partnered up with the other guy. What's nobody, Nobody Junior, Right. From the Fast and Furious movies. No, it's not Scott Eastwood.

[Jason]

No, it's not Scott Eastwood. It is Alexander Ludwig, damn it.

[Paul]

Do they look similar? No. I would say. How about if I say, do they look similar? And you guys all agree, do they look similar? We'll put that in.

[Jason]

Now, I will tell you that they.

[Paul]

Are part of a Desperately wanted them to be the same character because that could be the pivot point.

[Jason]

Oh.

[Paul]

Or the same actor.

[Jason]

For a Fast and Furious, you can get Kurt Russell. Yeah. There is one thing I'll say is that the ammo team, we're only left with two members of. They were set to take over the Bad Boys franchise in three. It felt like the Bad Boys were being pushed out for the Ammo Team.

[Paul]

Oh, they were the Jeremy Renner of the Bourne.

[Jason]

Yes. Of the Mission Impossible world. Yeah.

[Paul]

And Mission?

[Jason]

Oh, yeah. Both. Wait, so what is.

[June Diane Raphael]

What's the name of Martin's.

[Paul]

Marcus?

[June Diane Raphael]

No, Marcus's nephew who's former military. Reggie.

[Jason]

Not former active Marine.

[June Diane Raphael]

Sorry. Active Marine. Is he set up at the end to be a bad boy?

[Jason]

Well, I don't know. I mean, I wanted. I actually did pull the clip of Reggie's first appearance. And I think what makes it even better. Can we play that first clip of Reggie? This is the first time we ever meet Reggie. Who the fuck are you?

[June Diane Raphael]

Hi, Mr. Bennett.

[Paul]

I'm Reggie.

[Jason]

What you doing here?

[Paul]

Came to take out Megan. What? I came to take out Megan. How old are you? I'm 15, Mr. Bennett.

[Jason]

Mother, you look 30.

[Paul]

Show me some idea. I don't have any room. What you want, nigga? Here to take your daughter out.

[Jason]

What's your name? Reggie. No, no. Y'all heard the motherfucker say your name. Reggie. You want. You taking Megan out?

[Paul]

How old is you? Fifteen.

[Jason]

You leave 30. Now, listen. Have my daughter home at 1001.

[Paul]

If she ain't home at 1001, I'm in the car, okay?

[Jason]

Lock, loaded and hunting your ass down. Do you hear me? And I'm up, Reggie.

[Paul]

And if I'm there, you know what it's gonna be?

[Jason]

Chitty Shitty Bang Bang. That's what it's gonna be.

[Paul]

Marcus. Oh, Reggie. Baby, baby, I am so sorry. Please forgive Megan's dad and his silly friend.

[Jason]

You a virgin?

[June Diane Raphael]

Yes.

[Paul]

All right.

[June Diane Raphael]

Keep it that way.

[Paul]

Ain't gonna be no fucking that night. Baby, the red shirt's nice. I like that.

[Jason]

You guys have a good time. You ever make love to a man? No. You want to? Hey, have a good time, baby. All right.

[Paul]

Wow.

[Jason]

Now. Wow. Now, arguably.

[Paul]

Come on.

[Jason]

Arguably, that's the most screen time Reggie has until this movie. He's background. So he gets married, he's always background in a bunch of scenes, and he's always like this.

[Paul]

He has a couple of lines and they just go in on him. Like in the barbecue and the chicken scene at the end of this movie.

[June Diane Raphael]

That's such a great game. Wow. I can't believe. First of all, I didn't realize that Reggie wasn't related to Martin.

[Paul]

No. His son in law.

[June Diane Raphael]

Now, I understand that. Okay. Son in law. Okay.

[Jason]

Okay.

[June Diane Raphael]

Wow.

[Jason]

But he's 15 there, so it's so.

[Paul]

Funny for them to. Who had the genius idea of, like, Wait a minute. What if we let Reggie do a whole. Like, a whole set piece just for him?

[Jason]

Dylan, Bilal. They are the ones. Now, I'll tell you this Much. That's the other thing about the Bad Boys movie. They franchise out the action to a lot of other people. I mean, they do some scenes. Yes. Martin will be on his knees on the hood of a car, not running. The car will be running for him, by the way. I was like, the way they're coming up with ways to keep him not mobile is great.

[June Diane Raphael]

Now that I see him in this shot at first. And you said we had to explain, you know, why Martin looks the way Martin looks. I was like, I don't know. I think that's kind of cruel, Paul. I think Martin looks great now. After seeing this, I'm like, I mean, it's fine.

[Jason]

You know, we just got to know that, you know, Martin is, like, so funny.

[June Diane Raphael]

And weirdly, like, Will Smith looks younger now. So I don't know what's happening.

[Paul]

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

[June Diane Raphael]

Yes. And it's also crazy that in that scene, you have to understand, at that point, I didn't know Joey Pants was in the movie.

[Jason]

Right.

[Paul]

So when you saw the giant.

[June Diane Raphael]

But while we're pulling out on that ceremony, and I'm like, who is that?

[Paul]

It's a huge.

[June Diane Raphael]

And it's so big. If you're gonna do that, by the way, you have a stand and you have a small 8 by 10 max.

[Jason]

But can you.

[June Diane Raphael]

And that's a lovely touch.

[Jason]

Can you just.

[June Diane Raphael]

This was bizarre.

[Jason]

Can you think of that, though? It's like, people normally do that for their parents. These are two adult men or one adult man who's. This is his boss.

[Paul]

Yeah.

[Jason]

Like, now I know that he was like. He was there when the guy died. But it is an odd thing. But I do need a giant. I do need, like a 3 foot by 4 foot picture of my Old.

[Paul]

Box is what you would normally see at, like, a funeral service. Awake.

[June Diane Raphael]

It's a closed casket kind of situation.

[Paul]

It suggests that the focus of this day is on this dead man.

[June Diane Raphael]

Yes. And this dead man alone. Like, it the way that that portrait steals focus from this wedding and that.

[Jason]

His, like, granddaughter gets to give a speech.

[Paul]

Yeah.

[Jason]

Like, you know what it's like. Or it's like, you give a speech now. They're like, hold on. We're getting too far away. He's not a relative. This kid doesn't know them at all. And she's just kind of embodying what her grandfather might have said.

[Paul]

Yeah.

[Jason]

Wow. I mean, why not have Rhea Seehorn do it? Like. Like, she's.

[June Diane Raphael]

Because even at that point, I felt like Rhea Seehorn was like, I'm not fully in with these guys.

[Paul]

Oh, she. I think it's. It's so that the daughter can be. Or the granddaughter, rather, can be the hostage.

[Jason]

Okay. So if. If Joey Pants daughter is Rhea Seehorn, and then Rhea Seehorn's daughter is the granddaughter who loves Callie. Callie. Why you would think, like, like, Joey Pants, like, oh, my bad. I love my bad boys. Ray. I love my bad boys. And Ray would be like, oh, yeah, the bad boys are good because you're my dad. Like, it seems.

[Paul]

No, she.

[June Diane Raphael]

She thinks they killed him.

[Paul]

No. Will Smith's son killed Joey Payne.

[Jason]

Yes.

[Paul]

So that's what she's mad at. So that makes sense to me that she is. She is.

[Jason]

But she's going after them.

[Paul]

She's not necessarily going after them. What she is saying is, I am stung. I am hurt. My father is dead. And if I could get a shot at your son, regardless of the fact that he's your son and I have love for you both, I will put that guy down.

[June Diane Raphael]

And I think it's a hard position for her to be in to go and celebrate the man whose son murdered her dad.

[Jason]

Well, no, he's not at the wedding.

[June Diane Raphael]

No. But I'm saying his son.

[Paul]

I would love it if he got released from prison just for the day.

[Jason]

And he's just in that cage.

[June Diane Raphael]

Oh, my God, that cage.

[Paul]

That airplane.

[June Diane Raphael]

That cage.

[Jason]

Why did they keep him like Magneto, but yet let him go out into the prison population for, like, physical activity with everybody?

[June Diane Raphael]

It's like that cage. It's truly. Yeah. It's meant for people who eat people. Like, that's the only reason to ever have to be in a cage page like that.

[Paul]

But I loved it.

[June Diane Raphael]

It was certainly evocative.

[Paul]

The very first they're in a helicopter. The very first moment that the pilot is killed, 30 seconds later, everyone in that helicopter should be dead. Should immediately they execute a level of stuff that is only available in the Fast and Furious movies.

[Jason]

Yeah.

[Paul]

They would be boom, boom, boom. Everybody dead, every bone broken. But they are just like. They're fighting, they're jumping, they're untying things, they're unlocking things.

[Jason]

And Martin is in one spot on the ceiling holding a rope. Yeah. Everyone else is ba ba ba ba ba ba ba. I'll just stay here. I will not move.

[Paul]

They get the sun out and the sun and Martin fly the land the helicopter. I was like, what?

[June Diane Raphael]

At one point I got lost in. It's such a long sequence that I truly got lost in the geography of the helicopter. I was like, are there wings to this helicopter? Like certain sections and annexes that I.

[Paul]

Didn'T thought it was a jet. A plane. It had the interior of a cargo plane.

[June Diane Raphael]

Yes.

[Paul]

Except that it's a helicopter.

[Jason]

And why taking their guns?

[June Diane Raphael]

I don't know why they're taking their only two passengers. And also why did they need a helicopter to transport?

[Jason]

That's the big question.

[June Diane Raphael]

Because they drove there earlier and.

[Jason]

And they drive back because when they are running through the swamps they get in the car and then all of a sudden they're in downtown Miami. I'm like, why did they go? It's a 45 minute flight and I found myself going. Where are they even going? Yeah, they're keeping him safer. But. But put them in a car.

[Paul]

And also they steal hillbilly clothes, but they don't wear hats at all. And they just go back to Miami and go to every place in the city. Just like so, so wanted. They are the most wanted people that it is an indictment of everybody in the police force in the FYI. Is Racy Horn a marshal or a sheriff?

[June Diane Raphael]

I could quite understand what department she was in because I assume she was FBI because she did.

[Paul]

She's a marshal.

[June Diane Raphael]

I don't really know the difference between a U.S. marshal and she's like Tommy.

[Jason]

Lee Jones going after Harrison Ford.

[June Diane Raphael]

So they just.

[Paul]

They look for fugitives from Justified.

[June Diane Raphael]

Okay. Okay, great. Okay, wonderful. That's cleared up. I do. One of my favorite things about her and Vanessa Hudgens when we first see her is there's. And this is such a like it's such a cop movie trope where the female cops all wear their hair in low buns, low chignons. It's like, why can't they ever have their Hair down.

[Paul]

And I love the scene for Vanessa Hudgens when in what we've talked about, the Reggie scene where Reggie's kicking ass. It's all being shown on the ring cams. And so everybody in the safe house is watching on the screen all the stuff. And so everybody's just reacting like, oh, whoa, Reggie, Wow, look out behind you. All this kind of stuff in the background. And behind all of them, with her back to the screen, they're reacting so hard. Vanessa Hudgins just loading guns to the.

[June Diane Raphael]

Point where I was like, oh, this is gonna come back somehow.

[Paul]

Is she like, wait, what's up? This sounds fun to watch. She's like, gotta load these guns.

[Jason]

My favorite. My favorite part of that is this guy. This guy who is not Scott Eastwood, has shown himself to be an amazing, like, tech wizard. He's done it already. We know he's a tech wizard. And then Martin goes, hey, can you hack into my ring cam? And he's like, yeah, just give me your username and password. It's not hacking in if you have the two things. Like, yeah, you have the app, Merrill. Just pull it up on your phone here. There's your ring cam done. Then hack.

[June Diane Raphael]

I hacked it.

[Jason]

If you hack into my computer, my password is.

[June Diane Raphael]

But by the way, here. Is it. Is it a safe house? Jason, you said that that safe houseboat. Okay, because that just seems like his house.

[Jason]

It is his house.

[June Diane Raphael]

Right, but why? It was his house boat. But why doesn't.

[Paul]

Why do you have houseboats?

[June Diane Raphael]

They have to.

[Paul]

I just want to throw it out there.

[June Diane Raphael]

I love a movie with a boat.

[Paul]

There are more houseboats per capita in our movies than in our world, and.

[June Diane Raphael]

That'S a damn shame.

[Paul]

Sorry, Jean, Please.

[June Diane Raphael]

No. I believe that is his permanent residence on the houseboat. So why does they seem to be there for a long time? Why doesn't the U.S. marshall organization ever think to check out their closest friends on the force?

[Paul]

Yes. Can I add to this? Because at a certain point, they are using the hacker, the guys, not Scott Eastwood's ability to hack and get into cameras for all over the place. And they're watching the cartel, the baddies. Eric. It's Eric Dane, right? Eric Dane. And the baddies are both attacking both Will Smith's house and Martin Lawrence's house. And they're like, oh, shit, that's my house. We got to get there. We got to warn them. They are the biggest fugitives in Florida, in the country, probably at this point.

[Jason]

Millions of dollars out on there.

[Paul]

You're telling me there's no surveillance on the houses. There aren't police, FBI or marshals staking out their homes and being like how come there's an execution squad heading into this they suburban household? Should we check that out?

[Jason]

I will go one step further.

[Paul]

They could go home. Nobody's watching the house.

[Jason]

I will go one step further in that they walk through the kitchen of the strip club and then Ray is like, oh, we got, we got a lead. So wait, you got a lead. So someone's currently uploading the security footage from the kitchen of the strip club like to you immediately. Like they just walked through seconds ago. Oh yeah, who's doing that?

[Paul]

What I love about these movies is boy is it full of plot holes and flaws and absolute lunacy in terms of story construction. But I don't give a fuck. Put it straight into my brain.

[Jason]

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[Jason]

I also want to unpack the big question of the thing. Did Martin Lawrence have an afterlife experience or is he imagining it because you said he thinks he's unkillable. I think he is unkillable. And he. Because, look, he does some stuff that's pretty crazy, right? Like he.

[June Diane Raphael]

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

[Paul]

No, it's not soulmates. He says we're soul.

[June Diane Raphael]

Right, I understand, but from what. What did he see that would ever make him think.

[Paul]

We don't know.

[June Diane Raphael]

But I do think whatever happened down there, up there, wherever, was deeply profound. And because he had a brush with it, right. He somehow convinced himself that he can escape death. And that is not true.

[Paul]

I think that's true and I agree with you. But I think. And the only thing that tells me that is in the previous movies, and correct me if I'm wrong, he is like, he is fearful, right? He is the scary.

[Jason]

Switch the roles here.

[Paul]

Yes. So it gives him the ability to for the first time be front of the action rather than, let's not do this like trying to pull it back, trying to rein Mike in. Now he's out. He's being irresponsible. He's.

[June Diane Raphael]

I'm enjoying this movie more just three hours after watching it now.

[Jason]

But here's.

[Paul]

When has that ever happened?

[June Diane Raphael]

Never.

[Jason]

But here's the thing. He also seemingly has special powers because when he does eat the jelly beans and drink the punch, he is like, he hulks out and he's like, he.

[June Diane Raphael]

Goes, well, that's also me on sugar. I mean, that's just like, that's just a sugar rush.

[Jason]

Yeah, but now, but that brings me to my other point, which is at the end of the movie. I'm just skipping ahead because I want to unpack this idea of the afterlife at the end of the movie. Will Smith.

[Paul]

This is the best interpretation of the afterlife I've ever seen.

[Jason]

I mean, this is.

[Paul]

This made me believe in a life afterlife.

[Jason]

I mean, this is why. Yeah, this is.

[Paul]

I hope when I die, Joey Pants is there.

[Jason]

Well, this is.

[June Diane Raphael]

This is the question.

[Paul]

Remember Midnight Run?

[Jason]

This is the question that I have. Because at the end, Martin Lawrence has seen the afterlife. Will Smith has not seen the afterlife. But Joey Pants appears to Will Smith and forgives him. He's like, hey, man, my death not your fault. And then that snaps Will Smith out of it. But is that Will Smith just telling himself that, or. I think with the language of the movie, it's Joey Pants because Joey Pants did foresee everything, or is that just Will Smith giving him permission to be over it?

[Paul]

I mean, I think so. I think both. This is a father figure for both of these men. And I think both of them in their crisis moments are having experiences interpreting their lives through the lens of this father figure. The movie wants to interrogate an un afterlife and what it means to know. Cause Martin comes back from the heart attack and says, it's not my time.

[Jason]

Right.

[June Diane Raphael]

And I also, I understand the confusion about, like, is that a ghost or is that actually him? Or where is that guy coming from? Or is Will Smith about to die and that's why he's seeing him. I thought that it was. I agree with Jason. Just him really confronting this, like, deep, deep pain. And Joey, you know, Joey Pants stands in for so much in this movie.

[Jason]

So then. So then I'm gonna. I'm just gonna spiral it out one more time. I thought the panic attacks that Will Smith is having is that. Love it.

[June Diane Raphael]

Honestly love it. To see a buddy cop. To see like a blockbuster cop movie and see what our main character having panic attacks. I was like, this is.

[Paul]

But that's something you won't see in the earlier one.

[June Diane Raphael]

Okay.

[Jason]

Yeah. You know, but that's what's so fun about this movie is he's changed a little bit, but he's having a panic attack. And I think, oh, he's having a panic because he loves his wife and he was excited about the future of his wife. But then at the end it's like, no, no, no. He's just upset because his. Because he killed Joey Pants. Or he didn't kill Joey Pants, but he. He feel. I thought it was like a combination of things, but it seems like sometimes the panic attack's full on, sometimes not there at all. Because he does kick ass a few times in this movie. But just to answer the question, was he really in the afterlife? We do have the post credits scene 305 BC come on, bring your ass on. It's too hot out here for this shit. Wish I had a horse. At least I could ride that motherfucker. All this free air out here and I still smell your stinking ass.

[Paul]

I curse you, Duncan. I curse you for all lifetime. Oh, you mother.

[Jason]

Fuck you, Marcus. Fuck you, Marcus.

[Paul]

The donkey says, fuck you, Marcus.

[June Diane Raphael]

Yeah.

[Paul]

In Will Smith's this is Wild Stuff.

[Jason]

So now I believe everything is this ending.

[Paul]

I now want to see a donkey movie where it's Eddie Murphy's donkey and Will Smith's donkey and we connect the Shrek Averse and the Bad Boys of Earth.

[June Diane Raphael]

Bad donkeys.

[Paul]

And it's double donkeys.

[Jason]

Before we get to the audience.

[Paul]

Oh, I'd rather know.

[Jason]

You brought it up. Abandoned gator park where they. So when I first. When I first.

[June Diane Raphael]

Why not? It's Florida.

[Paul]

Why not say anything? They don't say anything until so far. They keep cutting back to the bad guys. And they are in a place where there's a giant statue of a dinosaur.

[Jason]

When I saw that, I was like, huh, what's going on here? And because they don't talk about it, they don't ever mention it. And then as they're flying in, they're like, oh, just so you know, this is an abandoned gator park.

[Paul]

And no, they go, what are those? Oh, and not Scott Eastwood goes, gators. What?

[June Diane Raphael]

The crazy part about that is that they've already decided to put Armando, what's his son's name, they've already decided to put him in the water with all that gear, fully knowing there's a crazy albino gator on the loose.

[Jason]

A 16 foot, 900 pound albino gator.

[Paul]

And many other gators and many other gators. Straight up regs. Gator.

[June Diane Raphael]

The thing that I couldn't get over, there's a. There's a scene at the Houseboat where Will Smith is saying to Rita, Marcus, you all are the only people we can trust. The people who are right here, all of us was the only people we can trust right now. And then they cut to them on an airplane with an older white gentleman in a Hawaiian T shirt.

[Jason]

Fucking Jimmy Buffett over here.

[June Diane Raphael]

Like, well, who's that guy? Who's he?

[Paul]

Who's Tommy Bahama that they're flying with? What the fuck?

[Jason]

Everybody. And also my friend Dave. Now, be cool. When Dave gets here, don't tell him too much shit. He's gonna want to tell you about it.

[Paul]

The pilot I felt bad for because Then I was so badly pointed a gun at him. Let's get out of here. Then they shoot him down. I'm like, this guy's just grinding.

[Jason]

But they also.

[Paul]

This is a gig economy. He's flying people around the swamps of Florida. His life is already a nightmare.

[Jason]

But they also. They do a good service to him because they. When the helicopter crashes through a building, they're going through. And then they just have him, like, he's like, kind of just hanging out the door. Like, what a ride? Like, like, yes, he's alive.

[June Diane Raphael]

He is alive at the end.

[Paul]

It's basically a team rules, right? Almost no one dies unless they are a very bad person. All the hostages would have been killed in the crossfire of this fight. 100%. Because nobody is tactically shoot. Nobody's shooting from COVID Nobody. Everybody is just running full bore like they're at paintball and it's a drunken bachelor party. It is just like. There is no, like, okay, go, go, go, go. It's just like, everybody's full on. There is so much cover. There's so many boxes. There's so much stuff to hide behind. Not interested. Just run straight. And that's everybody.

[Jason]

Everyone is going down straight hallways very.

[Paul]

Quickly, giving all of their enemies a complete target.

[Jason]

So now, before this scene starts, I guess we have to address. This is. This is the moment that Will Smith gets to address the slap. I mean, this is the moment. This is the big.

[Paul]

It does feel like the moment. I wrote this. Oh, yeah.

[June Diane Raphael]

I didn't know it was pre. It was post slap.

[Jason]

This is post slap. So this is. That's why you have this whole sequence here where it is like, all right, we have, like, this is the first. I don't have it. I don't know it. But. But the idea was. I think the idea was, what is he gonna. Cause it's the first movie made after it. Is he gonna address it? Like we. We. Like they've said in the press, right? We do something. We address it. We address it. And I feel like the way they addressed it was by saying, hey, Will's got some panic attacks too. He's not a perfect person. And then we're gonna smack the shit out of him a couple times, too. And then because he got smacked a couple times, it's like, that evens out. All right, so let's go to the crowd. Let's see what everybody's thinking out here. All right, sir, what's your name? Doc Brown. All right, Doc Brown, what do you got? Two questions.

[Paul]

Will this be an unspooled next week and.

[Jason]

Okay.

[Paul]

Just making sure. How dare you, Doc Brown.

[June Diane Raphael]

Honestly, though, Doc Brown. I did. While watching. I was like, we. This is on the wrong podcast.

[Jason]

It's one of the rare ones that can be on both.

[Paul]

Paul.

[Jason]

Do you, Jason and June know how to do the Wobble?

[Paul]

It was in the wedding scene.

[Jason]

Oh, yeah.

[June Diane Raphael]

No, I've never done it.

[Paul]

No.

[June Diane Raphael]

But I enjoyed that scene.

[Jason]

Gotta wobble.

[Paul]

I don't do dances. Doc Brown, can you show us the dance? Yeah.

[Jason]

Turn the music on. Turn. Do we have any. What would be. We'll get music. Can we get music? Brian, can we get any music?

[Paul]

Doc Brown, do you have a particular song?

[Jason]

No, no. It's called the Wobble.

[Paul]

Oh, it's called the Wobble. Hey, hey, hey, hey.

[Jason]

You have it. You're pulling it up.

[Paul]

I'm trying to play your song. I don't know it.

[Jason]

If you have it.

[Paul]

I'm learning. Be kind, Philly. I know that's impossible because most of you are out of your minds.

[Jason]

I can put it to the microphone. If anyone knows the. I'll get. I'm gonna play it on. I think I have it right here. Right. So I'm gonna hold it in my.

[Paul]

Entire theater of balcony monsters.

[Jason]

So if anyone. If anyone knows it, this is where we should all stay up. Yes, yes, yes. Keep it going. Balcony.

[Paul]

Here we go. Here we go.

[Jason]

Yes.

[Paul]

Let's go, Philly. Only women are dancing. That's an indictment. To the men of Philly.

[Jason]

Yes. They is the best.

[Paul]

I love Doc Brown. Doc Brown. Home run.

[June Diane Raphael]

Thank you.

[Paul]

This guy gets it.

[Jason]

Here's what I think. We do this movie, we come back to Philly, we see the Wobble, the first ever dance party. Now we're meeting a couple that just got married. Oh, just got married. They're in their beautiful outfits.

[Paul]

They're in their wedding outfits. Did you come from the wedding?

[June Diane Raphael]

Yeah.

[Paul]

What?

[Jason]

Yes, that's what I'm saying. They are in their outfit.

[Paul]

Play the song. Do it. Billy, get up there.

[Jason]

Everything. And then I have a heart attack. And I fall through the floor.

[Paul]

Holy. Holy. Do we have to? That song.

[Jason]

Congratulations. They don't even have a question. They just came from there. Everyone that they're with is in full wedding outfit.

[Paul]

The whole group? The whole wedding.

[Jason]

Yes.

[Paul]

Wow. Holy.

[Jason]

Well, you definitely saw something we've never done. Wow.

[Paul]

Congratulations. I'm coming over here.

[Jason]

Who am I coming to? You. Come on.

[Paul]

Incredible stuff. Did anyone else feel as though the albino alligator could have been like, Joey Pants's ghost?

[June Diane Raphael]

That's interesting.

[Jason]

That's the best question I've ever gotten.

[Paul]

Why not? I would believe it. I would love it. If in the way that the donkey speaks with Will Smith's voice at the end. If after chomping on the bad guy, Duke, the albino alligator speaks with Joey Pance's voice and is like, chomp, chomp, yum, yum. I like that.

[Jason]

All right, this is a birthday question. Here we go. I'll hold the mic.

[Paul]

Jesus Christ.

[June Diane Raphael]

All right, so when he woke up.

[Paul]

From his coma, he called his wife, and she didn't seem terribly surprised, for she was not at the hospital.

[June Diane Raphael]

None of his family members were at the hospital. Noted.

[Paul]

What were they doing?

[Jason]

They were cleaning out the cupboards. Here's what I'll say. Martin Lawrence gets out of the bed, pulls off the things that are on his body, walks to the roof and is standing on the ledge. And one hospital person comes out, one casually.

[Paul]

Casually.

[Jason]

And they're like, get back in there.

[Paul]

The minute he pulls half of those things off, alarms are going.

[Jason]

You would think that they would also have an alarm on the door going to the roof.

[June Diane Raphael]

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

[Jason]

But I gotta say, good looking ass.

[June Diane Raphael]

Oh, okay, Paul.

[Paul]

Oh, okay, okay. Al Pacino in heat. All right.

[Jason]

If we said you had a second opinion song. Make your way down here. All right, so you can start us off. All right, so what you're gonna do is you're gonna. You can face the audience to turn. Yeah. You can move it down or make it meet your mouth. That's great. I'm gonna say.

[Paul]

Please never say the phrase make it meet your mouth. Make it meet your mouth. That's the T shirt. That's the T shirt. Philly. Make it meet your mouth. Just put it down. Make it meet your mouth. What?

[Jason]

Just a microphone on a stand. Make it meet your mouth.

[Paul]

M E e. Not M e a.

[Jason]

T. That's for my delicatessen. Make it meet your mouth. Well, look, obviously we have a lot to say about this movie and we loved it, so I don't Even know if these are second opinions. But these are just other opinions. But we didn't come up with a title for that. So now it's time for second opinions.

[Paul]

Hi, I'm Rachel. I joined Mike and Marcus for this new hot caper. Who could have predicted an albino gator? All these camera angles giving me a sickness. Did you know that all of our souls are dickless? Baby, are you in the mood to see Martin Lawrence in the nude being.

[June Diane Raphael]

Bad with two other dudes?

[Paul]

Not bad meaning bad, but bad meaning good.

[June Diane Raphael]

B A D B O Y S.

[Paul]

Past life skittles, no regrets.

[June Diane Raphael]

B A D B O Y S Give it five stars, nothing less.

[Paul]

Yes.

[Jason]

Give it up for.

[Paul]

Great job. Great job.

[Jason]

That was Amazing. There are 150,000 reviews on Letterbox. Okay, we're pulling these from Letterbox right now. The average letterbox rating is 3.19 out of 5 stars. Only 7% are 5 star reviews. Well, these people are wrong.

[Paul]

Fools.

[Jason]

Fools.

[Paul]

Letterbox sounds like a bullshit unspooled thing.

[Jason]

Give me the Amazon letterbox.

[Paul]

All right.

[Jason]

Omer writes this. DJ Khaled fucking dies. Five stars, right?

[Paul]

That's right. That was another one.

[Jason]

DJ Khaled showing up. I think he does a fine acting job.

[June Diane Raphael]

He did a great job.

[Jason]

And the fact that he lets himself get killed. Yeah, great.

[June Diane Raphael]

Hats off.

[Jason]

Hats off, DJ Khaled.

[Paul]

Hats off. We doff our cap to you, DJ Khaled.

[Jason]

We the best death. Liziana writes this and another one. Mr. McSteemy, what you doing out here? Five stars. Stitchy writes this movie reminds me of me and my best friend. Especially the crocodile scene. Five stars does it? Doesn't seem like that was written in jest.

[June Diane Raphael]

Now I'll say this about the movie. My closing thoughts, you know, the action sequences and all of this stuff is really fun and engaging. But for me it's the smaller moments, it's the back and forths, it's the. Honestly, the texture of the scenes between Will Smith and Martin that are so good and so just funny. They're just funny and interesting and I loved them.

[Paul]

And they're emotionally resonant in a way. I don't think these movies in the past have aspired to be like the. In the past these movies were just the shoot em up, Michael Bay Bayham style. Isn't this crazy? They're blowing this business.

[June Diane Raphael]

And that's why I didn't mind seeing Martin's age because I felt like these are two grown ass men dealing with problems and having thoughts and reflections on parenthood or whatever. It is that you can only have in your later 40.

[Paul]

They were middle aged bad. These are bad boys grappling with the vicissitudes of middle age. And let me tell you, it's dark out here.

[Jason]

What I will say is that's what I love about Bad Boys 3 because in all these movies where they're doing these reboots, Bad Boys 3 made a really bold choice. It's like, oh no, no. We're going to acknowledge that they're old and like Vanessa Hudgens like you're old as shit. Like and, and they still save the day and they're part of it. But they are making fun of them. Like they have enough of an ego and a sense. They have enough of sense of self to be poked fun of. And I think that that's what actually makes it really good.

[Paul]

And which the only because we keep bringing up the Fast and Furious. But those movies and movies like that or, or, or franchises like that aren't interested in having their characters seem like they are interested in looking at themselves or interiority or any of that.

[Jason]

You asked Vin Diesel how old he is. 27.

[June Diane Raphael]

Yeah, but also like that's what I loved about it. But you know, Will Smith's, you know, slap aside and how the movie dealt with it. I have never, you would never see anyone in the Fast and Furious franchise grappling with a mental health issue. Like that's. You're just not going to see it.

[Jason]

Well, because family's the best medicine.

[June Diane Raphael]

And the corona.

[Paul]

I wrote down again multiple times. But I wrote down near the end of my notes. I can't stop crying at this movie. Which is an indictment of me that's concerning for me and me alone. But it is, it's very emotional.

[June Diane Raphael]

Yes.

[Paul]

I feel like it's a very emotional movie. Everyone is so raw.

[June Diane Raphael]

I felt that too. And again, I didn't know what had happened between any of these characters. Did anyone else notice though that Will Smith's new wife Christine on her phone doesn't have a picture of Will. Doesn't have a picture of her and Will has a picture of the four of them together.

[Paul]

Yeah.

[June Diane Raphael]

Strange.

[Jason]

And it's next to. And her phone lock screen is that. But then it's also on a table with a picture of them from the wedding that they also got developed and framed quick. I don't know how long he was in the hospital.

[Paul]

Oh no. Two weeks or a week?

[Jason]

A week. Okay.

[Paul]

It's like very short. He says it's how long have I, how many years have I been out. He says it's Tuesday.

[Jason]

Okay. So, I mean, they're getting shit framed.

[Paul]

And I love that. This movie. This movie isn't interested in any kind of realism or anything like that. They just want whatever is gonna look best in the end of the movie when there's the final shootout with Eric Dane and Will Smith. And Will Smith's not having panic attacks now. Now he's steady and sure of himself. He shoots Eric Dane about 1,000 times.

[Jason]

Sure.

[Paul]

Eric Dane is standing, holding Will Smith wife on the beach. He shoots him a bunch of times. When he dies, he's in waist deep water. How did he get out to see?

[Jason]

I don't. I think unclear.

[Paul]

But it looks great. Looks great.

[Jason]

Here's what I'll say. I love this movie. I take issue with one detail. Why are they using a fucking dirty grill in the public park to cook their meat on?

[June Diane Raphael]

I thought about never.

[Jason]

What the fuck is. Come on, guys. Go to Martin's house, cook in his backyard.

[June Diane Raphael]

You know what I thought? I thought maybe they pull that one out.

[Jason]

The great.

[June Diane Raphael]

Out their own.

[Paul]

No. Great.

[June Diane Raphael]

Yeah.

[Paul]

I think. I think this is them trying to be like, we're just regular guys. We cook in the park. Even though Will Smith's character has a proving track record of having all of the money in the world, Martin Lawrence.

[Jason]

Has shown himself to have cookouts in his backyard. And bad boys too now. But yeah, I. I was.

[June Diane Raphael]

I was troubled by that.

[Jason]

I was trouble. I was like, oh, you don't want to eat anything that's off of that. I didn't look like he was cleaning it.

[Paul]

One of the things that I loved is after the hillbilly scene where they steal the stuff and in the trailer we watched earlier, we saw that they. They have the back and forth about sing a Reba song and the guys make up a Reba song. But then so good. Then there is a Reba version of Bad Boys that plays. And I was like, give me this.

[June Diane Raphael]

So good.

[Jason]

The fact that Reba did that and was down, like, this is like. I was like, this is the best ending of anything.

[Paul]

What you going to do?

[Jason]

Anyway, we would recommend it. I love this movie. I am so glad that we got to watch this movie with you. Philadelphia.

[Paul]

Play the wobble.

[June Diane Raphael]

Oh, yeah, that.

[Paul]

Yeah, that's what we're going out on. Here we go, Philly. Thank you, Doc Brown. Thank you. You guys can all dance too. This is the end of the show.

[Jason]

Thank you, Philadelphia. We will be back. You are amazing. Thank you, everybody. Thank you. Thank you.

[Paul]

Thank you.

[Jason]

Good night.

[Paul]

Eat shit Philly.

[Jason]

Thanks again to the staff at the Miller Theater in Philly and our recording engineer, Andrea Quinn. Now, if you want to feel like you're a part of the show, you can get yourself a shirt that we have designed with the audience that night. It is yes, you heard us say it and we made it into a shirt. Make it meet your mouth. That's right, make it meet your mouth. A shirt that Philadelphia said they would buy. I gotta say, if Philadelphia is on board for anything, you know, it's cool because we just wobbled with them for longer than you will hear in the actual episode. You could snag that shirt, Make It Meet yout Mouth and a ton of other how to this get made [e-mail] stores hdtgm and as always, if you have a correction and omission from this episode, leave me a voicemail at 619Paul ask or write a comment on our discord at discord gg hdtgm we are actually taking a little holiday hiatus from Last Looks next week, but get those corrections and omissions in since we'll still be covering them when Last Looks returns in mid January. And in place of Last Looks next week we are treating you to a re release of our classic episode on Con Air. Now this is an important year 2025. It's the 15th anniversary year of how did this get made and we are going on tour. We are gonna be in LA in January at Largo. I think only one show is left there. We're doing a three night residency. Dinosaur will be in Largo and it will also be in San Francisco in January. You can then see how did this get made on the road in Austin, Denver, Boise, Seattle, San Francisco, Portland and Los Angeles. We are starting that tour on 325 and ending it on 44 with a very big very huge celebration of our show on 4 4. We got to just figure out what that is. Anyway, get tickets now for our shows as we go around the country on spring break to Austin, Denver, Boise, Seattle, San Francisco, Portland, Oregon and Los Angeles. Go to HDT to get tickets and information. Remember if you listen on Apple Podcasts or Spotify, make sure that you are subscribed to our feed and have automatic downloads turned on in the show settings. It helps us and we appreciate it a lot. And last but not least, I got to thank our entire team to who this show could not be done without. I am talking about our producers Scott Thonni, Molly Reynolds and our movie picking producer Avril Halley and our engineer Casey Holford and our associate producer Jess Cisneros. That's all I got, people. We will see you next week on Last Looks. Bye for now. Grandma's place always smells like fine, she said get out the chat room and clean my stretch. Feeling pine sole fresh.

[Paul]

The GLAAD girl group coming at you.

[Jason]

With a throwback jam that was Glad Force Flex Drawstring trash bags featuring Pine Sol original scent.

[Paul]

And that's better than all good.

[Jason]

It's all glad.

[Paul]

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[Jason]

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[Paul]

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[Jason]

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[Paul]

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[Jason]

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[Paul]

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