Podcast Title: How Did This Get Made?
Episode: Cobra LIVE! w/ Brian Posehn & Rhett Miller (HDTGM Matinee)
Release Date: July 29, 2025
Hosts: Paul Scheer, June Diane Raphael, Jason Mantzoukas
Guests: Brian Posehn, Rhett Miller

Introduction

In the July 29, 2025 episode of "How Did This Get Made?" titled "Cobra LIVE! w/ Brian Posehn & Rhett Miller (HDTGM Matinee)," hosts Paul Scheer, June Diane Raphael, and Jason Mantzoukas delve deep into the convoluted action film Cobra. Joined by special guests Brian Posehn and Rhett Miller, the panel dissects every aspect of this 1986 Sylvester Stallone movie, celebrating its eccentricities and outright failures with their signature comedic flair.

First Impressions and Plot Overview

[02:42] June Diane Raphael:
“There we go.”

[02:43] Paul Scheer:
“All right, here we are, Cobra. All right. Man. I haven't seen this movie since I was a kid and I forgot it.”

The panel begins by acknowledging their initial unfamiliarity with the film, setting the stage for an in-depth exploration. Paul Scheer characterizes Cobra as a hyper-violent, robot-infused take on the classic Dirty Harry formula.

[02:55] Paul Scheer:
“I felt like today watching it, I was like, this is really just a ripoff of Dirty Harry in many respects. Right? I mean, because it's like he's chasing like a killer, a serial killer, but he's just way more badass.”

Character Analysis

The Protagonist – Marion Cobretti

Jason Mantzoukas points out the over-the-top nature of Marion Cobretti's (Stallone) character, emphasizing his extreme toughness and questionable tactics.

[03:22] June Diane Raphael:
“And it's Dirty Harry without the wit.”

[04:05] Ira Madison III:
“Cobra has an eating disorder in this movie because he cuts that pizza was nuts, right?”

The gang humorously critiques Cobretti's obsessive and bizarre habits, such as his unusual approach to eating pizza and his fixation on healthy food, which adds layers of absurdity to his character.

Dialogue and Script Quality

[12:58] June Diane Raphael:
“Yep. Well, also, doesn’t the dialogue feel like it was written by five different people? Yes, it was like that game where you write a line, then I'll write a line, then... Cause it doesn’t fucking connect.”

The hosts and guests lambast the movie’s inconsistent and nonsensical dialogue, highlighting moments where lines abruptly change tone or lack coherence, undermining any attempted character development or plot progression.

[13:10] Jason Mantzoukas:
“It’s almost as if they were like, well, we need a one-liner here. Everybody write a one-liner. And then it was like, ooh, I love all of these.”

This segment underscores the haphazard nature of the scriptwriting process, suggesting that hasty, disjointed lines were thrown together without a unified vision.

Production Choices and Visuals

[29:25] June Diane Raphael:
"The police station also. They go from a scene that starts in the morgue, they walk out into a police station, and then he walks into a shooting range 10ft away from."

Discussion shifts to the movie's impractical production choices, such as setting multiple pivotal scenes within an unrealistically small area, leading to a disorienting and cramped viewing experience.

[32:01] Ira Madison III:
“I think it was so modeled after that George Michael 'Faith' video.”

Comparisons to other media highlight the film's attempts to infuse popular culture elements, albeit unsuccessfully, resulting in a jumbled aesthetic that confuses rather than captivates the audience.

Iconic Scenes and Moments

Supermarket Attack Sequence

[10:14] Paul Scheer:
“And then one time, he shoots at a shopping cart and it explodes like there was C4 in it.”

The panel examines the infamous supermarket scene, critiquing its excessive violence and lack of plausibility. They humorously note the unnecessary complexity introduced by weapons like C4, which defy the movie's otherwise straightforward action trope.

Ride-Along with the Zombie Squad

[08:03] Jason Mantzoukas:
“He's doing legitimate police work. Absolutely. Where the rest of the police department is acting like dildos.”

The discussion highlights the illogical portrayal of the police force, where only Cobretti is competent while his peers are inept, leading to a skewed and unrealistic depiction of law enforcement dynamics.

[14:16] Ira Madison III:
“It’s a music video.”

A humorous take on the portrayal of the Zombie Squad, comparing their coordinated yet ineffective actions to a poorly executed music video rather than a menacing crime syndicate.

Directorial and Thematic Choices

[23:19] Paul Scheer:
“They shut down the whole thing and the robot is left. Oh, I do want to bring up one interesting point. The actual, I guess movie of Cobra is based on a book. And the book's Author. After Sylvester Stallone wrote this film, which he did write, he asked the author to take his name off the book and re-release the book with his name as the author of the book.”

The hosts explore the controversial decision behind the film’s screenplay, criticizing Stallone's apparent disregard for the original author's credit, which reflects a broader theme of ego overriding collaborative integrity.

Cinematography and Pacing

[32:25] Paul Scheer:
“One of the things that I think is so interesting in this movie is every chase sequence traverses so much space. Like, they started chasing downtown. That ends in Venice. And it only happens in, like, five minutes.”

They discuss the illogical geographical transitions within chase scenes, making the film’s pacing feel rushed and incoherent, akin to merging disparate locations without narrative justification.

Reception and Legacy

[50:00] Ira Madison III:
“If this is not the best movie that Stallone has made, then I don't know what is.”

Highlighting the polarized reception, the panel humorously refers to fictitious positive reviews that contradict the movie's evident flaws, mocking the phenomenon of overly enthusiastic fan feedback.

Box Office Performance

[43:22] Jason Mantzoukas:
“We heard 11 million. We heard 30 million. So 42, Paul. 160 million. So it was a big hit.”

The hosts playfully discuss exaggerated box office numbers, poking fun at the unrealistic financial success attributed to the movie despite its critical shortcomings.

Humor and Fan Interaction

[53:35] Paul Scheer:
“Of? There's a Philadelphia Phillies baseball player.”

Humorous interactions continue as the panel quips about obscure and irrelevant details, maintaining an engaging and light-hearted tone throughout the analysis.

[55:25] Jason Mantzoukas:
“It’s amazing.”

The episode wraps up with exaggerated endorsements and playful mock-seriousness, encouraging listeners to "embrace" the movie's flaws and enjoy the comedic dissection provided by the panel.

Conclusion

The "Cobra LIVE! w/ Brian Posehn & Rhett Miller" episode of How Did This Get Made? serves as a thorough and entertaining critique of a film that epitomizes cinematic missteps. Through sharp wit, humorous observations, and a detailed breakdown of plot inconsistencies, character flaws, and production errors, the hosts and guests provide both laughter and insight into why Cobra stands as a cult classic for all the wrong reasons. Whether you're a fan of action flicks or just in for some comedic banter, this episode encapsulates the essence of celebrating the "best of the worst" in cinema.

Notable Quotes:

• Paul Scheer [02:55]:
  “This is really just a ripoff of Dirty Harry… but he's just way more badass.”

• June Diane Raphael [03:22]:
  “And it's Dirty Harry without the wit.”

• June Diane Raphael [12:58]:
  “Doesn’t the dialogue feel like it was written by five different people?”

• Jason Mantzoukas [13:10]:
  “Everybody write a one-liner. And then it was like, ooh, I love all of these.”

• Ira Madison III [50:19]:
  “Feel the heat. If this is not the best movie that Stallone has made, then I don't know what is.”

Timestamps Reference:

• The timestamps correspond to key moments in the provided transcript, highlighting significant discussions and humorous exchanges relevant to the analysis of Cobra.

Note: This summary intentionally omits commercial breaks, advertisements, and unrelated segments to maintain focus on the substantive content of the podcast episode.