Jill Rips LIVE!

Summary

Podcast Summary: "How Did This Get Made?" – Episode: Jill Rips LIVE!

Release Date: April 4, 2025

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Introduction to "Jill Rips"

In this live episode of "How Did This Get Made?", hosts Paul Scheer, Jason Mantzoukas, and June Diane Raphael delve into the perplexing world of the action-thriller film Jill Rips. Despite the title suggesting a focus on a character named Jill Rips, the discussion uncovers layers of confusion and intrigue surrounding the movie's plot, characters, and production choices.

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Overview of the Film

Jill Rips is an action movie centered around Dolph Lundgren's character, an undercover cop seeking vengeance for his brother's death. Set in the 1970s Boston, the film intertwines elements of S&M culture, underground societies, and complex character relationships that leave the hosts both baffled and entertained.

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Plot Breakdown and Analysis

The hosts begin by clarifying common misconceptions about the film. Contrary to initial assumptions, there is no character named Jill in the movie. Instead, Jill Rips refers to a moniker derived from the protagonist's vendetta against male characters associated with his brother's death.

Notable Discussions:

• Character Motivation: Dolph Lundgren's character embarks on his mission driven by personal loss, delving into the hardcore S&M world to uncover the truth behind his brother's demise. Jason remarks at [05:22] that the movie presents a "conundrum" filled with action but lacks coherence in its narrative.

• Visual and Styling Choices: The hosts critique the film's aesthetic, highlighting the use of bad wigs and inconsistent character designs. Paul notes at [06:34], "There are so many bad wigs for no reason," pointing out the unnecessary costume choices that detract from the characters' believability.

• Shibari and S&M Portrayal: A significant portion of the discussion revolves around the portrayal of Shibari—a Japanese form of rope bondage—in the film. June questions the authenticity and necessity of these depictions, especially how they blend with the movie's overall narrative. At [08:07], Paul states, "It's up to drama and somebody who knows about drama and bad wigs," emphasizing the disjointed representation of S&M elements.

• Pacing and Storytelling: The hosts express frustration with the movie's pacing, particularly the rushed ending and the unclear resolution of key plot points. Jason mentions at [25:13], "I was very relieved by [the character's] relationship with the dog at the end," indicating a lack of satisfying closure for the main narrative.

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Humorous Insights and Criticisms

True to the podcast's comedic nature, the hosts infuse humor into their critiques:

• Wig Commentary: June, the podcast's "wig spotter," humorously points out inconsistencies with character hairstyles, leading to playful banter among the hosts. At [07:09], June quips, "She is Jill Rips, though. And she's got the most unfortunate haircut I've ever seen on a woman."

• Action Sequences: The action scenes receive mixed reviews, with Jason humorously noting at [23:02], "That's 70s Boston. That's just present day Boston," highlighting the film's anachronistic elements.

• Dissolves and Editing Choices: Paul and Jason laugh about Dolph Lundgren's numerous editing notes and the overuse of dissolve transitions, with Jason remarking at [52:15], "I agree. It is accidentally lynching."

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Audience Interaction and Theoretical Insights

The episode features interactive segments where fictional audience members pose questions, allowing the hosts to speculate and theorize about the movie's deeper meanings:

• Relationship Dynamics: A mock audience member named Hank asks about the morality of a character named Mario. The hosts discuss the strained relationships and moral ambiguities presented in the film, debating the protagonist's decisions and their ethical implications.

• Lynchian Elements: Corey, another fictional attendee, inquires about the seemingly Lynchian (referring to filmmaker David Lynch) aspects of the movie. Paul and Jason agree that certain scenes unintentionally mimic Lynch's surreal and atmospheric style, attributing it to budget constraints rather than deliberate artistic choice.

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Final Thoughts and Recommendations

As the episode concludes, the hosts offer their final assessments of Jill Rips:

• Paul Scheer emphasizes the film's departure from traditional action tropes, stating, "We highly recommend that you watch Jill Rips. Even though there is no Jill."

• Jason Mantzoukas humorously endorses the movie's chaotic charm, saying, "This movie is awesome because it's absolute moron nonsense. But it's great."

• June Diane Raphael expresses her intrigue and enjoyment, remarking, "She was meant to be together, I guess. I love this movie."

Despite the film's numerous flaws and convoluted plot, the hosts unanimously agree that Jill Rips is a unique addition to the pantheon of "so-bad-it's-good" movies, embodying the very essence that the podcast celebrates.

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Conclusion

In this episode of How Did This Get Made?, the hosts navigate the tangled web of Jill Rips, dissecting its narrative inconsistencies, stylistic choices, and character dynamics with humor and keen observation. For listeners who relish dissecting cinematic misfires with a comedic twist, this episode offers both laughter and thoughtful critiques, making it a standout installment in the podcast's lineup.

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Notable Quotes:

• Paul Scheer [07:14]: "I honestly thought that is the most unfortunate haircut I've ever seen on a woman."

• Jason Mantzoukas [06:01]: "I think this scene, the scene where she's in the red bathrobe, I believe is 15 minutes long. And it's riveting."

• June Diane Raphael [08:07]: "She is Jill Rips, though. And she's got the most unfortunate haircut I've ever seen on a woman."

• Jason Mantzoukas [23:02]: "That's 70s Boston. That's just present day Boston."

• Paul Scheer [57:00]: "We highly recommend that you watch Jill Rips. Even though there is no Jill."

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Recommendation:

For those intrigued by the intersection of poorly crafted action films and comedic dissection, this episode provides an entertaining and insightful analysis of Jill Rips. Whether you're a fan of action flicks gone awry or enjoy a good laugh at cinematic follies, tune in to "How Did This Get Made?" for a thoroughly engaging experience.

Transcript

[Paul Scheer]

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[Jason Mantzoukas]

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[Paul Scheer]

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[Jason Mantzoukas]

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[Paul Scheer]

Switch to USAA auto insurance and you could start saving money in no time. Get a quote today, restrictions apply. USA Dolph Lundgren learns about S M and so much more. We saw Jill Rips so you know what that means. You hitting cruise control. J man Big Paul in the beautiful Jewel gonna take you from the groove all the way. They call it in the badass and he's on the line cranking 88 minutes cuz they cool as heights cause the bad gym funny looking kind tonight calling Jo getting l Jason is getting laid June is making sure all the monkey shots in the pain they just a bunch of movies while they making the grave. Here's a real question for you. How did this get paid? Hello, people of Earth and hello, people of Los Angeles. Oh, boy, oh, boy. It's our first live show of 2025. I can't believe it. And we needed to make it about Dolph Lundgren getting tied up, getting beat up in the 70s. Yes, Jill Rips is a period piece. All right, if you don't know about Jill Rips, you probably got questions. You probably think, well, this is a movie about like Jack the Ripper, but like, maybe it's like a female Jack the Ripper. No, not really. I mean, maybe in theory, but nothing on screen tells us that. No character named Jill. You might be thinking, well, this is an old movie. This came out a long time ago. We can forgive things. Nope, came out in 2000, which is old, but not that old. Not even the 90s. This is a 2000 film. And the tagline is here. Very interestingly enough. Imagine if Jack The Ripper had a sister. And I guess then forget that because it doesn't play into what this movie does at all. IMDb describes it as a tough guy. Who wrote this description? A tough guy goes undercover on a personal mission of vengeance into the hardcore world of S and M to find out who's responsible for the death of his brother. Well, well, well. I tell you the cast, but doesn't make a difference. Dolph Lundgren. That's all you need to know in an action movie with not much action, but a lot of punches to the face. People are getting punched in the dick and face a lot in this movie. There's so much to discuss, there's so much to break down, but I can't do it without my two co hosts. Please welcome to the stage, Mr. Jason Mantzoukas.

[Jason Mantzoukas]

What's up, jerks? Yeah, here we go. What's up, Largo? Yeah. We fucking did it. First show of the tour.

[Paul Scheer]

We are on tour, but we have not left our home.

[Jason Mantzoukas]

That this is how I want every tour to be. I get to check the show and go home. Oh, I want my bed in every city.

[Paul Scheer]

Celine Dion, you genius. You figured it out.

[Jason Mantzoukas]

I mean, I'm sitting here being like, why do I have to be in Boise soon?

[Paul Scheer]

That's right.

[Jason Mantzoukas]

I'm taking shots at Boise. Get fucked. Boise.

[Paul Scheer]

You and I, we love bad action movies. I've never even seen the COVID of this. Heard of this in any way, Paul?

[Jason Mantzoukas]

I don't know what this was. Yeah, this movie is a conundrum. It is wall to wall. I don't know. And I loved it. This was so compelling.

[Paul Scheer]

I really think there's so much to talk about. So much to talk about. But I will say that I watched the last four, five minutes behind. You're back in the room. You let me in there. I wasn't just watching.

[Jason Mantzoukas]

I was in the bathroom.

[Paul Scheer]

I was. It's okay. It was cool. I was watching the movie and I walked out and discussed. But I still like the movie.

[Jason Mantzoukas]

Oh, boy. This was. I genuinely. I kept writing in my notes, I don't know what's going on.

[Paul Scheer]

Nope.

[Jason Mantzoukas]

I think this scene, the scene where she's in the red bathrobe, I believe is 15 minutes long. And it's riveting.

[Paul Scheer]

It's called drama, people and somebody who knows about drama and bad wigs. And there are two of many bad wigs to mention in this film. Yes. So many bad wigs. For no reason. No reason. At one point, I feel like they kept an improvised line in like, get a bit of wig. It's like, that was not in the script. At no point did they say, this guy's wearing a wig. Anyway, to Diane Raphael.

[Jason Mantzoukas]

Yes. Let's go.

[Paul Scheer]

How are you, June?

[June Diane Raphael]

I'm well. How are you, Paul?

[Paul Scheer]

I am well. And can you. Not to put you on the spot, but no.

[June Diane Raphael]

You started talking about wigs without me, and I had to run out here. I had to run out here.

[Jason Mantzoukas]

That is your signature. That. In the early days of the podcast, you had a segment that was wig talk, or it was. Yes.

[June Diane Raphael]

And I was. Yeah. Our resident wig spotter.

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

Now, I have to say, though, the. The. The haircut of our. Of Jill. Jill Rips.

[Jason Mantzoukas]

Now, is that a funny name?

[Paul Scheer]

No.

[Jason Mantzoukas]

Is that a name of a character who's Jill Rips? In the. In the.

[Paul Scheer]

There is no Jill. There is literally no Jill in the film.

[Jason Mantzoukas]

No Jill Rips.

[Paul Scheer]

No, there's a Matt, there's an Irene, there's an Eddie, there's a Francis. There's a big.

[June Diane Raphael]

She is Jill Rips, though. And she's got. I honestly thought about this in the car right here. I was like, I think that is the most unfortunate haircut I've ever seen on a woman. I don't know that that's a wig.

[Jason Mantzoukas]

Well, that's what I thought too, because it's worse. They're also. Everyone's wearing the shortest haircuts and shortest.

[June Diane Raphael]

Hairs and also the longest.

[Jason Mantzoukas]

Yes. And so Jill Rips. I felt like she has the short brown hair that I kept writing. Why is this wig here? Obviously the blonde hair is going to be underneath this brown wig. And in fact, no, Jill Rips is hiding the blonde wig.

[Paul Scheer]

I thought that Jill Rips. It was not Jill, but I thought that was Cindy Williams from Laverne and Show.

[Jason Mantzoukas]

Oh, I love that. I kept. Did anybody else? I kept confusing Jill Ripps and the accented man for each other in.

[Paul Scheer]

Yes, well.

[Jason Mantzoukas]

Cause they have the same haircut in longer shots.

[Paul Scheer]

Well, that's what I thought.

[Jason Mantzoukas]

Like, because they have the same profile.

[June Diane Raphael]

And I thought for sure we're leading to that moment because they made such a big deal out of the fact that the killer was right handed. And I was like, oh, did they? Yeah. In the beginning. In the beginning, when they're going over Michael's death and how he died, 57 cuts to the genitals.

[Jason Mantzoukas]

But when they're going for that after he was dead, you can get 56. 7 on there.

[June Diane Raphael]

That's a big cuts.

[Jason Mantzoukas]

That's a big 57 cuts is so many cuts for a dick.

[Paul Scheer]

Just with paper. It's paper cuts. All paper cuts.

[Jason Mantzoukas]

Oh, yeah, okay. Just little. And was it like 1, 2, 3, 4, 5. 1, 2, 3, 4,. 5. 1, 2, 3,.

[Paul Scheer]

5.

[Jason Mantzoukas]

1, 2, three, four, five. Just counting off days like. Like days in jail.

[June Diane Raphael]

But when they're talking about that with the coroner, he says that the killer was right handed. And I thought, oh, I cannot wait for when the man with the wig polish Elvis is mistaken.

[Paul Scheer]

By the way, that's our shirt polish Elvis.

[June Diane Raphael]

I cannot wait for them to think it was him at one point and then realize he's a lefty.

[Paul Scheer]

Well, like June, I think you're watching too much severance. You're looking for clues that are not.

[June Diane Raphael]

They weren't there. That wasn't.

[Jason Mantzoukas]

There's only one misdirection and it's like the builder man and you know, like the guy who's like the.

[Paul Scheer]

The mayor. Big Jim.

[Jason Mantzoukas]

Oh, Big Jim. Yeah. And he's really the only misdirect and it's. He's very easily gotten rid of and.

[June Diane Raphael]

We never hear from him again almost immediately.

[Jason Mantzoukas]

So it's a. That's. I couldn't tell you genuinely the plot of the movie.

[Paul Scheer]

No. I want to try to break it down, but I want to ask you both a question.

[Jason Mantzoukas]

Not the movie, certainly that. I thought it was going to be 100% with Dolph Lundgren in a Rambo style fatigues jacket, military jacket. I was like, oh, this is gonna be a Seagal Stallone style.

[Paul Scheer]

I thought it was gonna be like a take on first blood, like that kind of thing. He comes home. But no, it's so much weirder. Here's a question I just wanna ask. Cause I wanna get this out of the way. How many kids are discovering dead bodies on average? I feel like that's a trope. I never discovered a dead body. Did you guys discover a dead body? No.

[Jason Mantzoukas]

No. Never.

[June Diane Raphael]

Never.

[Jason Mantzoukas]

I'm still hoping, but I.

[June Diane Raphael]

You don't think you've aged out?

[Jason Mantzoukas]

I don't think I can call myself a kid anymore. Any.

[Paul Scheer]

Anybody in the audience ever find a dead body as a kid? One.

[Jason Mantzoukas]

As a kid where?

[Paul Scheer]

No, I. I was older. Okay. Doesn't count.

[Jason Mantzoukas]

Doesn't count still.

[June Diane Raphael]

Can I ask?

[Jason Mantzoukas]

Doesn't count.

[June Diane Raphael]

No follow up questions.

[Paul Scheer]

No follow up. But if you were a kid, I'd.

[Jason Mantzoukas]

Have a lot of follow up questions.

[June Diane Raphael]

But I do think what's so funny about that scene though is they are two very young kids too. To the point where you're like they shouldn't be out alone.

[Jason Mantzoukas]

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

[Paul Scheer]

Well, here's the other thing. I think those cops kept those kids on the crime scene for way too long.

[Jason Mantzoukas]

Yes.

[Paul Scheer]

And they also put them in a cop car. I'm like, are you arresting the kids? Are they suspects?

[June Diane Raphael]

Where are they?

[Paul Scheer]

They were just throwing rocks. I think the guy was already dead.

[June Diane Raphael]

Also, there's so much outdoor voiceover. Like, clearly they couldn't get a single piece of sound recorded outside. But the kids, the voices of the kids are absolutely voiced by adult people. And the woman who's voicing the little girl, who can't be older than five or six.

[Paul Scheer]

No.

[June Diane Raphael]

Is like, oh, did you skip the rock over there? Yeah, a little bit further, Timmy. I'm like, that's a grown woman.

[Jason Mantzoukas]

I want a divorce, Gerald.

[Paul Scheer]

But lo and behold, we find out that that is Dolph Lundgren's brother. And then we.

[Jason Mantzoukas]

Not the kid.

[Paul Scheer]

No, sorry. The dead body.

[Jason Mantzoukas]

Brother.

[Paul Scheer]

By the way, the kid could have been his brother, just a younger.

[Jason Mantzoukas]

Yeah, the body.

[Paul Scheer]

The body is Dolph Lundgren's brother. He comes home and then we go to this wake where they're playing orchestra music as if it's like Ethan Hunt is walking through, like a fancy opera scene. Like, I mean, this is a low rent a house in Boston, and there's this music coming in. And then you have Dolph Lundgren reading the paper in the middle of his own brother's wake. And then this is my favorite part of this movie is. Well, maybe not the favorite, but one of my favorites is the camera pans over what Dolph Lundgren is reading in such a way that. That I don't know what I'm supposed to be taking in. I don't know what the title is. It's like going across, like, left to right like a typewriter.

[June Diane Raphael]

I'm like, quick.

[Paul Scheer]

I didn't see the whole thing so quick.

[June Diane Raphael]

Something about the tunnels and Big Jim. It was so quick.

[Paul Scheer]

Just give me an establishing shot.

[Jason Mantzoukas]

All exposition. Everybody had exposition in that scene. None of it stuck with me whatsoever.

[Paul Scheer]

None of it.

[Jason Mantzoukas]

So much so that like in the next scene when they're in the cold room, I'm like, why are we in a cold room?

[June Diane Raphael]

The best part of that scene though is when Dolph Lundgren looks up and says to the other his cop friend, like, who is that Fox?

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

And we cut to her. It's the hair, you know, I mean it's so shocking.

[Paul Scheer]

It is. It tells us a lot about who is that Fox?

[Jason Mantzoukas]

At a wait.

[June Diane Raphael]

It's like, wow.

[Jason Mantzoukas]

And the reveal is that it's his dead brother's new wife.

[Paul Scheer]

And I will say, and not. And, and no offense to this at all.

[June Diane Raphael]

No disrespect, no disrespect.

[Paul Scheer]

It does tell us a lot about his character that he thinks that is the sexiest woman he has seen. Which I'm just like, okay, I now know a lot about him.

[Jason Mantzoukas]

It also somehow speaks to like that both brothers found her to be the sexiest person alive. What? What shared history do they have familially that they were both looked at her and went, what?

[June Diane Raphael]

Oh.

[Paul Scheer]

Tongue. Oh, there's nothing to watch. Says people trying to stream without Walmart Plus. Wait, Paul, Walmart Plus. How does that help me stream? Well, when you sign up for Walmart plus, it's the only membership that comes with Paramount plus subscription included, okay? So you're going to get some savings and then you're going to get some quality streaming content, okay? Walmart is for people who want to save time and money, which is pretty much everyone. Whether you're a busy parent, dedicated pet parent, student, I don't know, or just somebody who is cost conscious. Walmart benefits come in clutch for any everyone. Okay? You got the Paramount plus subscription, so now you can watch blockbuster movies. Maybe when you're online with some of the purchases that you got at Walmart or shop online. It's just that simple. Walmart Plus. It's Walmart Plus. Free delivery, free shipping, gas, discounts, video streaming and so much more. That's the Plus. It's Plus. So, so much more. So start a free 30 day trial at Walmart.com see Walmart pl. Terms and conditions $35 minimum. Paramount Plus Essentials plan only. Separate registration required. Today's podcast is brought to you by Squarespace. Hell, I might even be brought to you by Squarespace. I got so many websites up there. Squarespace gives you everything you need to offer services and get paid all in one place. Truly, I have been loving my Squarespace experience. I have broadened out. I have my website. How did this get made website Unspooled's website, Dark Web's website all there and they each work completely differently. And what I love about Squaresp space is from consultations to events to experiences, you can show off your offerings with a customizable website designed to attract clients and grow your business. Plus with blueprint AI, they have this AI enhanced website builder. You can quickly create personalized sites that align with your brand and goals. You can streamline your workflow with built in tools for appointment scheduling, email marketing invoices and seamless online payments to keep your business running smooth. And head to squarespace.combonkers for a free trial. And when you're ready to launch, use the code bonkers to save 10% off your first purchase of a website or domain. That's right, squarespace.com bonkers using the offer code Bonkers. How do you say it? Data or data? I don't know. But however you say it, it is time to stop overpaying. For your monthly data or data plan. With Mint Mobile you can ditch overpriced wireless and get three months of premium wireless service from Mint mobile for only 15 bucks a month. All plans come with high speed data or data, your choice and unlimited talk and text delivered on the nation's largest 5G network. I'm blown away. And you know what? I am a convert to Mint Mobile. Their service truly is just better. It's better than what I was using. And you know what? I'm saving so much money. How did I do this for so long? Okay. And I can keep my phone, I can keep my number. It's easy. So don't overpay anymore. Shop data [e-mail] hdtgm that's mintmobile.com hdtgm upfront payments of $45 for 3 month 5 gigabyte plan required equivalent to $15 a month. New customer offer for first 3 months only. Then full price plan options available, taxes and fees extra. See Mint Mobile for details.

[June Diane Raphael]

By the way, both brothers have like something actually, actually something very terrible happened to them as children because they both have the most fucked up views of women. And both of them by the way, like when we find out, okay, Dolph Lundgren hits a dog, grabs an older woman by the hair and throws her, shoots another woman after hitting her multiple times. He is violent. And the story we hear about, I think, think why he was let off the force with the prostitutes and marching.

[Paul Scheer]

I want to get in this something.

[June Diane Raphael]

That'S I, I kept on looking at that mom like what did you do? What? What? Okay, what happened to these children?

[Jason Mantzoukas]

That mom is incredible, haunting. I. That the moms, these movies have, like, they will truly lose you, you know, And I'll be like, what is this? This is crazy. And then something will happen. And it for me was the scene where she's saying, get out, get out. I was like, this is incredible. What I'm watching is incredible. I don't know what it is, this movie. I know I've asked for this before and we got just a absolutely phenomenal version from Avril. But this movie more than any movie needs a David lynch trailer because there's the red curtained room, there's all these Lynchian things. This movie is weird. This is what I will say.

[Paul Scheer]

I want to talk about their fucked up relationship with women. But I will also just give a tip of the cap to Dolph Lundgren. Who? Is he a good actor? I think he is. Well, you know what's amazing, he is a good actor.

[Jason Mantzoukas]

He wins no fights. He loses every fight. He's an action movie star who loses every fight in the movie. He's so concussed throughout.

[June Diane Raphael]

It's so hard though. Like he's. First of all, he's obsessed with his journey. He does stop drinking at one point. I hope we all know that.

[Paul Scheer]

Yes.

[Jason Mantzoukas]

And that he does and he doesn't. He still has the flask in the later scenes that he's still pulling out. But when he gets into the fisherman sweater and the green coat, that is game over, game over outfit.

[June Diane Raphael]

And then when he's in like full apres ski attire, I mean, incredible driving.

[Jason Mantzoukas]

A Jeep Grand Wagoneer in a white fisherman sweater. And that's a star jacket. I was like, we are in business.

[June Diane Raphael]

Yeah.

[Jason Mantzoukas]

Tie me up, Shibari style, Dolph. Yikes. A mics. What's up? I mean, you know, Stone cold hunk.

[Paul Scheer]

He really, he like nothing says I'm an undercover cop more than wearing a fisherman's sweater to a house of prostitution. Like, I mean, I'm just here to buy some sex from women.

[Jason Mantzoukas]

I love this. Wearing a transmitter. He's wearing like a wire or a transmitter, but it basically looks like they've just taken like the, like a transistor radio, opened it up and pulled out the whole thing and just shoved it in his jacket. It's crazy looking. And you're telling me this movie came out in 2000?

[Paul Scheer]

Yes.

[June Diane Raphael]

No, that's not right.

[Jason Mantzoukas]

But it was. But it was like shot in 86.

[Paul Scheer]

That's the great work of the production Designer to make it look like a movie that was shot in 80s. I do want to show you. This is. Let's see here. This is the. The scene with the fisherman sweater and him giving his order.

[Jason Mantzoukas]

I'm. I'm blown away by this tv, by the way.

[Paul Scheer]

Yeah, that.

[Jason Mantzoukas]

Look. Look at it.

[Paul Scheer]

Mark off the preferred activities list. Jack.

[Jason Mantzoukas]

Well, I'm pretty open. Should we turn on closed captioning?

[Paul Scheer]

You're not an edge.

[Jason Mantzoukas]

I'm just kidding. No.

[Paul Scheer]

Let's go through some of these. Discipline?

[Jason Mantzoukas]

Sure. Cross dressing? No.

[Paul Scheer]

Baby games?

[Jason Mantzoukas]

No. Bondage? No. Yes. Yes.

[Paul Scheer]

Enemas?

[June Diane Raphael]

No.

[Paul Scheer]

Anal?

[Jason Mantzoukas]

No. Tickling? Maybe. Toilet training. I'll have to think about that one. Humiliation. I've had enough of that this week. Humiliation.

[Paul Scheer]

No. I'm gonna put you with Randy. And here's the thing. She is filling out a form like she is. There is a form that she is gonna give to one of the sex workers.

[Jason Mantzoukas]

We see a close up of the form. The form gets its own insert shot. She's also wearing like half of a Catwoman. Ma. Like it's. She has like a Phantom of the Opera mask in that. It's half. But it's like a Catwoman in shape.

[Paul Scheer]

It's the 70s, baby.

[Jason Mantzoukas]

But is it. When is this taking place?

[Paul Scheer]

77.

[June Diane Raphael]

77.

[Paul Scheer]

Now, Jun, you were saying that like the relationship that he had with his mom is very messed up. And I agree. I think that he enters this world where he's like, what is this? What is S and M? But the act that he performs, which is he gathers up a bunch of sex workers, makes them take off their shoes, walk in the rain and sing bible songs so they will be clean. That just said like, oh yeah, I heard about that thing he did. That's fucked up. That's a kink. I don't wanna yuck his yum. But that is the.

[Jason Mantzoukas]

That's 70s Boston.

[Paul Scheer]

Like I didn't even know.

[Jason Mantzoukas]

That's just that, you know what? That's present day Boston.

[Paul Scheer]

I just didn't understand what that was like. Like, you can't say that and be like, oh yeah, I identify with that character. I got it. Yeah. Yeah. You wanted to make all the sex workers just get clean and sing songs to, you know, because they fear God.

[June Diane Raphael]

He. He does explain it at the very end. But I was left even more confused because his explanation is like, he. He wanted them. Yes. To find some sort of redemption. Although I guess he doesn't, you know, question the men who purchase the prostitution at all. That I guess is fine. But. But then he says, but then I saw them, and they're just them, and they're just people. And then that's the end of that. Like, I could.

[Jason Mantzoukas]

Yeah, it's almost like it's some sort of baptism or some sort of, like, washing away their sins.

[Paul Scheer]

But that's, you know, I mean, that's, like, crazy up. Like, he's like, I got it. I guess I got to baptize them. I'm a cop. The reason why he is fired is because he's rounded up women, made them walk in the street barefoot to get clean. In the eyes of the wall.

[Jason Mantzoukas]

Boston cop. He's a villain.

[June Diane Raphael]

Yeah, he is a villain.

[Jason Mantzoukas]

He's a villain.

[June Diane Raphael]

He's also so dumb. Like, the. The scene that. Where he goes into not Jill Rips, but Jill Rips sisters. Laird, when he's there, and he's Irene. I'm saying that Irene Ripps. Yeah.

[Paul Scheer]

Oh, the nurse.

[June Diane Raphael]

Not Irene Ripps. Francis Rips.

[Paul Scheer]

Oh, okay. Wait, are we. I just want to make sure that when we're talking about Jill.

[June Diane Raphael]

Jill Rips, you're talking about Mary O. I'm talking about. Yeah, I'm talking about.

[Paul Scheer]

Hold on. You're referencing names.

[Jason Mantzoukas]

You're talking about Francis Mario. Are you talking about Francis Reed?

[June Diane Raphael]

I'm talking about Francis Reed.

[Paul Scheer]

You got to do better for me. You have to say, like, woman in nurse's costume. Wife's brother's wife, or.

[Jason Mantzoukas]

Well, brother's wife is Jill Ribs.

[Paul Scheer]

Okay. That's her name. I wanted to make sure. Okay. Yes. Okay.

[Jason Mantzoukas]

I went on Amazon X ray. Jill Rips is her name.

[June Diane Raphael]

Okay, so Jill Rips, his sister Frances Rips or Frances Reed.

[Jason Mantzoukas]

Frances Reed is the name on the mailbox.

[June Diane Raphael]

Yes.

[Paul Scheer]

Got it.

[June Diane Raphael]

She. When. When he's in her lair and he's set up the stinging operation with the cop who's outside, I could not get over that he put himself in that position. What was his plan? And I know he said, I'm gonna call. I'm gonna say boots should things go sideways. But.

[Jason Mantzoukas]

But why wait until the ball gag is in? Like, why not be like, okay, I guess a ball.

[June Diane Raphael]

Boots.

[Jason Mantzoukas]

Boots, Boots, boots, boots. You can get three boots while the ball gag is going in.

[June Diane Raphael]

How are you letting yourself get tied up and placed upside down in a ring?

[Paul Scheer]

Yeah. He gets hung like a championship shark. Like, he's like. You know, he's like, we caught it. He.

[Jason Mantzoukas]

He is helpless. He cannot get out.

[June Diane Raphael]

By the way, though, he's seen multiple videos of other men in that very position. Exactly what was going to happen.

[Paul Scheer]

But the Cop is distracted by somebody coming over to him. It's. I'm like. It's like the cop.

[Jason Mantzoukas]

The guy that comes over to him is the guy in the bad wig with the polish helmets. That's what's even crazier anyway. But I feel like that. So there's that scene and the cop comes running in and he shoots Jill, Rip's sister. And he's getting him down. And, you know, Dolph Lundgren is blindfolded. He's got the ball gagging. He's like, writhing, and he's trying to say, boots, boots, boots. And I really wanted the guy. He shoots the woman to come in, take the ball gag out, and have Dolph be going, like, I'm coming, I'm coming.

[Paul Scheer]

I mean, this.

[Jason Mantzoukas]

This get up.

[Paul Scheer]

And I know. And throughout. And I don't know. And this is where I'm always, like, curious. This movie was shot in 2000. It's shot.

[Jason Mantzoukas]

Wait, I just noticed her in the background. She blends in. She's camouflaged so well.

[Paul Scheer]

I mean, I appreciate the suit work. It must be a lot of talcum powder to get in there. I mean, it's a very tricky thing to get in because it looks like a one piece. What I don't understand is this movie does seem to. Well, I guess it doesn't understand S and M. It's got some understanding of S and M. It's like the way that sex is talked about in Fifty Shades of Grey. It's like, we understand that this exists, but we're also. We're fan ficing some of it. And I feel like this get up, is this something that has ever existed?

[June Diane Raphael]

You mean upside down?

[Paul Scheer]

The upside down fishing net.

[Jason Mantzoukas]

Okay. No, this is called shibari. This. This is a Japanese knot. The rope and the knots are a. An actual thing. Okay. The hanging upside down. I genuinely don't know anyone in the audience seems.

[June Diane Raphael]

Honestly, a lot of men are down for it in this movie. Like, a lot of men willingly get upside down.

[Jason Mantzoukas]

I'm certain there's somebody in the audience who can give us some sort of expert. Anyone? Anyone want to speak?

[Paul Scheer]

Uh. Oh, you got. You have a little. All right, here we go. Let's talk about it. All right, so I'll hold the mic. Hi.

[June Diane Raphael]

So I traveled around the festival scene for a little bit, and at this place called Ignite, there was this guy called.

[Paul Scheer]

Hold on. Can I just ask what you said? I traveled around the festival scene as if we all were like, we are all ready.

[Jason Mantzoukas]

I have so many questions already.

[June Diane Raphael]

Listening festivals.

[Paul Scheer]

Yeah. So just. Just clue us in on that. And then. Yes.

[June Diane Raphael]

So there was this festival called Ignite where you can learn how to fire spin. So I'm a fire spinner. And there's also where you can learn how to do shibari. And there was. He was the gentleman pirate, and he would actually tie you up.

[Jason Mantzoukas]

And one time I got tied to a tree.

[Paul Scheer]

So you were tied to a tree. Now, like, what. Like, is shibari purely an S and M thing or is that.

[June Diane Raphael]

No, it's actually.

[Jason Mantzoukas]

It's just for.

[June Diane Raphael]

It's a lot of fun. And it's really.

[Jason Mantzoukas]

It's a. It's a form of art, too.

[June Diane Raphael]

It doesn't really tie you up.

[Paul Scheer]

It's like. It's not knots. You can just take it out.

[June Diane Raphael]

And that's the whole point of the fact.

[Paul Scheer]

It's.

[June Diane Raphael]

You can't tie up a samurai, but you can use a series of knots to subdue them. So especially when they're drunk, you can.

[Jason Mantzoukas]

Use that to subdue samurai.

[Paul Scheer]

Everything that you said is said so confidently.

[Jason Mantzoukas]

How many. Wait a second.

[Paul Scheer]

And that. I'm like, Have I missed?

[Jason Mantzoukas]

Like, I'm like, I'm samurai on the festival circuit.

[Paul Scheer]

I believe everything that you say, and I have no judgment to it. I just feel completely unaware.

[Jason Mantzoukas]

What kind of festival?

[June Diane Raphael]

Festival.

[Paul Scheer]

So fire spinning.

[Jason Mantzoukas]

Where are those.

[Paul Scheer]

What's a.

[Jason Mantzoukas]

Wait, what's. Okay, it's called ignite.

[Paul Scheer]

But what's happening at the.

[Jason Mantzoukas]

What else is happening besides fire spinning at the festival? Oh, you learn how to joust. You can. You're trending towards Renaissance fair joust. You learn how to joust.

[June Diane Raphael]

Silks.

[Paul Scheer]

Silks.

[Jason Mantzoukas]

Okay. Yeah. So you can do acrobats. Okay. Okay.

[Paul Scheer]

So shibari is not always. It's just like human origami in a way. Like, you let your body be a part of a knot, a living knot. Okay, that's. Well, there we got some answers.

[June Diane Raphael]

Thank you. But it does seem from that explanation, it's pretty easy to get out.

[Paul Scheer]

Yeah. Has anyone ever.

[Jason Mantzoukas]

And again, does anybody else have.

[Paul Scheer]

We're in a safe space. Has anyone ever been hung upside down for an act of sex? No judgment.

[June Diane Raphael]

I don't want. I will judge. So don't. I will.

[Paul Scheer]

Or did you have a friend who did, and you guys know a lot about your friend. All right, so I do think this is a movie that does take some liberties here.

[Jason Mantzoukas]

The thing that I did find interesting was the when Jill rips in the red bathrobe scene. We're not. This scene in the red bathrobe Scene.

[June Diane Raphael]

One of the best scenes.

[Jason Mantzoukas]

One of the best scenes on film.

[June Diane Raphael]

Yeah.

[Jason Mantzoukas]

It's so long. But they. A movie. I felt like a movie like this would have traditionally just. And so many of the movies that we've seen would have put the. The people that are involved in Shibari and BDSM and stuff in the villain category. And they gave her. So they gave Jill rips all this time to explain to Dolph Lundgren the entire totality of what she's like, experienced and all of this growth in a way that I was like, this is interesting that they're giving this much time to the. To him getting educated, to this.

[June Diane Raphael]

And by the way, like, she sold me on the experience.

[Jason Mantzoukas]

Oh, yeah.

[June Diane Raphael]

I was like, that sounds great.

[Jason Mantzoukas]

Oh, I. I ordered rope after this movie.

[June Diane Raphael]

Like, I like what I'm hearing.

[Paul Scheer]

Your next family crime saga, Obsession is now streaming on Paramount. Mobland, an explosive new series from the underworld of Guy Ritchie. Stars Tom Hardy, Pierce Brosnan and Helen Mirren go inside the Harrigan crime family who will stop at nothing to ensure they come out on top in a war that threatens to topple empires and destroy lives. New series Mobland now streaming on Paramount. Little exercise for you here. What is your perfect day? Being on a beach, going camping, seeing a movie, having a perfect meal. Imagine that. But now picture. You stink. You stink from your pits, okay? The only thing that can wreck a perfect day is your body odor, okay? When you stink, no one wants to be around you. And here's the thing. I don't want you to wreck a perfect day. I want you to have a perfect day. We need to enjoy our perfect days. And so does Dove Men plus Care Whole Body do, all right? They help keep your BO from ruining the good days. From pits to privates to feet, you can feel confident with 72 hour protection in all your odor zones. Dove Men Whole Body do goes on instantly dry with an aluminum free vitamin E infused formula for whole body freshness and care. Dove Men plus Care Whole Body Dio get everywhere care even down there. Find it on Amazon or at Target today, okay? I am going on a spring break tour. That's right. How did schematis hitting the road? And here's the thing. I need to have some outfits, things that I feel good in. And that's where Quint's comes in. Okay? Quint's is a place where I get all my high quality travel essentials at fair prices. Now look, I'm doing some shopping for myself. But you can also get bags, hats, jackets, whatever. But this Time when I went to Quint's, I decided I would go the button down route. That's right. I got myself a beautiful button down and I got these very comfortable travel pants. And why do I love going to Quints? Well, because I can look like I spent hundreds of dollars. But truthfully, Quince's Items are priced 50 to 80% less than similar brands because they partner directly with top factories, cutting out the cost of the middleman and passing those savings on to you. I swear to God, these looks on the site sell for so much more in other stores. So get in, get early, get yourself the best stuff, like lightweight European linen styles from $30, washable silk tops and comfy lounge sets. And you can pair it all with premium luggage options and stylish tote bags. Quint is for you. So for your next trip, treat yourself to the luxe upgrades you deserve from quints. Go to quints.com bonkers for 365 day returns plus free shipping on your order. That's Q-U-I-N c e.com.au to get free shipping and 365 day returns. Well, now I guess we just have to talk about one other thing and then we can ask the big question of what is this movie about? The other hanging thing in this movie is there is a guy, I believe he's the mayor, Big Jim, who's like, I'm gonna bring a subway to this town. Very much like the Music Man. And then they make a very big deal out of it. It's cold, though. It's really cold. Like, are they digging in a half? Like, what's going on?

[Jason Mantzoukas]

They have to have a cold room because of something. I couldn't figure that out either. But multiple of the fights take place in the cold room.

[Paul Scheer]

I just don't understand why. Like, what the subplot that's underneath this.

[Jason Mantzoukas]

Work for that guy?

[June Diane Raphael]

Yeah.

[Jason Mantzoukas]

In what go like, so they're. They're bad guys too. I thought they were mobsters, but. But you're saying he's the mayor.

[Paul Scheer]

I think I'm the mayor. I got a kiss a lot of ass. But I also build this because I can bring in the city. This thing. I don't. Big Jim, I think that.

[June Diane Raphael]

What I think that Polish Elvis is.

[Paul Scheer]

Oh, he's a construction magnet.

[June Diane Raphael]

Yeah.

[Jason Mantzoukas]

Okay.

[June Diane Raphael]

And he gets all the contracts and it's. But I think that Polish Elvis has his ear to the ground for SNM workers and maybe prostitutes and other sex workers. Or is there pimp? I'm not sure.

[Paul Scheer]

But.

[June Diane Raphael]

But either way, he's able to feed information on who those men are to Big Jim as collateral for him to.

[Jason Mantzoukas]

Oh, that's why they have a camera set up. Because that's the blackmail that Big Jim says.

[Paul Scheer]

June paid attention, so I was riveted.

[Jason Mantzoukas]

I was further confused by you continue to call him the mayor. And I was like, well, wait a minute. I thought he was like a bad guy.

[Paul Scheer]

Well, I mean, like, he.

[Jason Mantzoukas]

But he.

[June Diane Raphael]

In Boston terms, he's.

[Paul Scheer]

Oh, yes. Big Jim felt like a mayoral candidate. Like, I mean, but I did feel like I'm getting that confused with that new Daredevil show. I feel like he's like, I want to bring the city of Subway. But I. You know, I. Like, there is something about. All right, so now we've laid out all the major plot points, and now the question is, so what's the plot?

[June Diane Raphael]

Well, and here's the thing that I don't think any of us understand, because it. It does seem that Jill Rip that a lot is going on in the subway and that she somehow. There's a line about the cold never bothered me anyway, which is from Frozen that's also in this movie. And I was like, did Frozen take that line from this movie?

[Paul Scheer]

This movie? This movie is based on a book. This movie is based on a book, and it's the same book that they based Frozen on.

[Jason Mantzoukas]

Oh, wow.

[June Diane Raphael]

No, seriously, I was like, Frozen did.

[Jason Mantzoukas]

Originally take place in 70s Boston, and.

[Paul Scheer]

Elsa was a victim of Shibarium.

[Jason Mantzoukas]

Do you wanna build a snowman?

[Paul Scheer]

Do you wanna be tied up in shibari? By the way, that's a great shirt. Just Olaf in Shibari upside down.

[Jason Mantzoukas]

Does the cold never bothered me anyway.

[June Diane Raphael]

But I didn't understand why she needed to be in the tunnels because it's did seem like she was heading there at the end.

[Jason Mantzoukas]

Sorry, I just want to tag the shirt, if you don't mind.

[June Diane Raphael]

Okay.

[Jason Mantzoukas]

I think it should say naughty K, N, O, T, T, Y. Olaf. It should say Naughty Olaf.

[June Diane Raphael]

Great.

[Paul Scheer]

It was a good interruption, so that's great.

[Jason Mantzoukas]

I'm very sorry.

[Paul Scheer]

All right, so wait, but you're. You are. You're right. What's going on? Why is she going back to the subway at the end? Like, there's no S and M place in the subway, right?

[June Diane Raphael]

Not that I know.

[Jason Mantzoukas]

Is she going to kill Polish Elvis or. Cause she's killing. She is.

[June Diane Raphael]

That's true.

[Jason Mantzoukas]

She's killing all the men that she thinks could be the man that killed her mother. Mrs. Ripps Ribs. Rips. Mrs. Rips.

[June Diane Raphael]

Rips.

[Paul Scheer]

Mrs. RIPS.

[Jason Mantzoukas]

Mrs. Ribs. Mama Ribs.

[June Diane Raphael]

Mama Rips.

[Jason Mantzoukas]

Mama Rips.

[June Diane Raphael]

Mama Rips.

[Jason Mantzoukas]

Mama Rips.

[Paul Scheer]

We are trying to get that financed right now. If everyone gives us $5 door, we will double the budget of this movie.

[Jason Mantzoukas]

It's a prequel story. Do you think her name is Jill Rips? Because she. She rips people.

[June Diane Raphael]

Okay, so I thought about this. I thought about this headline so much because I was like, okay, why didn't they say Jill the Ripper? And then are they saying Jill Rips? Like, Jill has just ripped like Jill Rips again?

[Paul Scheer]

Yeah.

[June Diane Raphael]

Is that what it was? Or are we calling her in the city Jill Rips?

[Jason Mantzoukas]

So, yeah. Yeah. Is. Was she Jill the Ripper, but then in colloquially around town, Jill Rips just got another one.

[June Diane Raphael]

Or is it just like she ripped again?

[Jason Mantzoukas]

Oh, oh, I heard. I heard Kenny got ripped.

[Paul Scheer]

Well, but I heard.

[Jason Mantzoukas]

I heard Sully got ripped by Jill Rips.

[Paul Scheer]

But like, that's. That's how you would describe it because it's not like Jack the Killer, it's Jack the Ripper. Yeah. Ripping up losers. Right. You know, so. Okay, wait, who's this guy ripping up losers, baby?

[Jason Mantzoukas]

Okay, wait, now it's Austin Powers.

[Paul Scheer]

Like, but it's like. So, yeah, she is ripping up. She's ripping up deviants.

[June Diane Raphael]

But I mean.

[Jason Mantzoukas]

Okay, so she's killing anybody who could be the man who killed her mother.

[Paul Scheer]

Wait, so she killed her brother? She killed her husband?

[June Diane Raphael]

Yes.

[Jason Mantzoukas]

Wow. Wow, wow. Whoa. This is wild. I just rewatched it with me in there.

[June Diane Raphael]

There is a lot going on at her house when Paul watched the movie.

[Jason Mantzoukas]

So he watched it with me.

[Paul Scheer]

But the ending didn't. The ending didn't make that super clear. He goes, did you get your man?

[June Diane Raphael]

She says he was. Once she found out he had the. Well, first of all, the way they got together was confusing. I don't know if she sought him out because he was into S and.

[Jason Mantzoukas]

M or I don't know either.

[June Diane Raphael]

Or if she was being honest in the bathrobe scene, which was. Oh, I. I was just in this relationship. And then he revealed that he wanted this type of.

[Paul Scheer]

Right, I remember that. Yeah. Yeah.

[June Diane Raphael]

Right. So I. But I don't know.

[Jason Mantzoukas]

She's a very unreliable narrator, to be clear, so.

[June Diane Raphael]

But what I do think is true is that he was trying to ferry her off and her services to other men.

[Paul Scheer]

Yeah, right. I got that.

[June Diane Raphael]

She says that, and I do think that part is true. And so then he needed to die.

[Jason Mantzoukas]

Yeah. Because anything.

[Paul Scheer]

But didn't she enjoy it for a little bit?

[Jason Mantzoukas]

Yes. I think she thought that they.

[Paul Scheer]

Well, I'm like, don't oh me. She says it. I'm. I'm just really. Oh, I'm repeating the movie. I'm not saying she liked it.

[June Diane Raphael]

Well, actually, no. No, no, no, no. I don't know, though. I don't know, because I agree with Paul.

[Jason Mantzoukas]

I don't think she was asking for it.

[Paul Scheer]

She said it.

[June Diane Raphael]

I do think there's a world in which she was in that scene. Scene. Convincing him to be interested in S.

[Paul Scheer]

M to then help find the person. That's what I thought. And then I felt like I didn't get the. I didn't get the justification of, like, what changed? Because I feel like she was like, come on, do this. And then that will help me do this. And then. But why did she kill him?

[Jason Mantzoukas]

Why didn't she?

[Paul Scheer]

Why did she.

[June Diane Raphael]

She didn't. You mean the brother?

[Paul Scheer]

Yeah, that's what I just said.

[June Diane Raphael]

Because. Because what I said, what I responded with was because the brother was. The brother was, like, trying to, you know, ferry her off to other men in his life.

[Paul Scheer]

What I said. But she enjoyed it.

[Jason Mantzoukas]

No, she didn't enjoy it. Oh, she didn't enjoy it. She was willing to indulge his predilections, but once he was trying to pimp her out to other men, he became that.

[Paul Scheer]

I thought that's what she said.

[June Diane Raphael]

No, she never.

[Jason Mantzoukas]

That's what you wanted to hear.

[Paul Scheer]

I thought she was telling this thing.

[June Diane Raphael]

You thought she enjoyed being like, I didn't force to do this.

[Paul Scheer]

I'm not. I just thought. I misheard it. I was working on the fucking PowerPoints. I was watching it and I was like, yeah, I get it. She liked it.

[Jason Mantzoukas]

Big deal.

[Paul Scheer]

Let's go. And then I thought Polish Elvis was like, you gotta kill your husband because I got some dirt on him.

[Jason Mantzoukas]

I would have believed that. Like, that's the thing is I. It wasn't. The reveals came so late and so stacked on top of each other that they. I agree with you. It is very difficult to. Because multiple people are revealing things that are then proven to be wrong. Right. And Dolph Lundgren is not really letting us in on his process of detective work because he's mostly just having his ass kicked forward into the next plot point. And he leaves that plot point usually unconscious.

[Paul Scheer]

Well, then. Then let me ask one. Well, I'm revealing myself here, and I know that maybe the last 10 minutes of this movie was a little rush for me. And I did rewatch it with you, and I feel comfortable asking this. But I'm nervous about asking.

[June Diane Raphael]

Okay. So just so. And just so you know, at the beginning of tonight. The beginning of tonight, I heard you ask the question. So who. We're gonna find out who is Jill Rips?

[Paul Scheer]

No, I wasn't. I just wanted to make sure we were on the same page of who Joe Rips was.

[June Diane Raphael]

Okay.

[Paul Scheer]

Because there's no Jill Rips. I mean, it's just her. Well, she's not Jill. Right.

[June Diane Raphael]

She's not.

[Paul Scheer]

Oh, she's not. Like, her name isn't Jill.

[Jason Mantzoukas]

No, I think that. That. That the.

[Paul Scheer]

The red woman in red, who is also the brother's wife.

[Jason Mantzoukas]

Wait, which red? There are two.

[Paul Scheer]

Full leather red.

[Jason Mantzoukas]

It's Jill Rips, his sister.

[June Diane Raphael]

See, I knew.

[Paul Scheer]

Right. Yes. Sorry.

[Jason Mantzoukas]

Yes, that's Jill Rips's sister, who actually does have blonde hair.

[Paul Scheer]

So. But that person didn't kill Jill Rips husband.

[June Diane Raphael]

No, but I thought that. But, okay, Irene did.

[Jason Mantzoukas]

But it was in that space.

[Paul Scheer]

It was in that space. The same way that.

[Jason Mantzoukas]

So you could think, oh, maybe because Polish Elvis was there at the behest of Big Joe, that maybe Big Joe and Polish Elvis convinced red leather woman, Francis Reed to kill the brother. And that's the misdirect the movie is setting up.

[Paul Scheer]

Got it.

[Jason Mantzoukas]

But when Dolph goes to the house and rips the boxes open and he finds the blonde wig, he realizes she has been going into her sister's apartment and killing men who she thinks are bad men.

[June Diane Raphael]

Yeah, but the other way. We know this.

[Jason Mantzoukas]

To what end?

[Paul Scheer]

Thank you, somebody, for getting my.

[Jason Mantzoukas]

If she could kill every bad man in the world, the man who killed her mother will have been killed.

[Paul Scheer]

Wow.

[Jason Mantzoukas]

Doy. Come on.

[Paul Scheer]

Okay, so then.

[Jason Mantzoukas]

Pretty easy, guys. I'm just kidding. It makes no sense.

[Paul Scheer]

So then. All right, so then I'm gonna open myself to one more question.

[Jason Mantzoukas]

This movie is like, what if Terrence Malick made one of these movies?

[Paul Scheer]

Well, then my question is this. Is Jill Rips dead at the end? No. Okay, good. No, I thought that was the case. But I was thinking.

[Jason Mantzoukas]

But Dolph Lundgren does think. Oh, maybe she. No, no, no. That's the scene before. Okay. Yeah.

[Paul Scheer]

Because, you know, he has that moment with her in the ice tunnel. Yeah. Which, again, I don't understand.

[June Diane Raphael]

And she delivers a powerful monologue in that scene. It's sort of like America Ferrar's monologue at Barbie.

[Jason Mantzoukas]

I love it. But better. But better.

[June Diane Raphael]

Probably a little better.

[Paul Scheer]

I mean, here it is.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

I mean, I will play a second of it. Here we go. Like.

[Jason Mantzoukas]

Like. Wait a second. Can you go back? Can you go back? I'm so sorry. Does he need to turn the flashlight on? Look how close. He has a gun on her. And he's so close. It's not. He doesn't have to be like, is it hurt?

[Paul Scheer]

What I would also say is, as someone who's gotten a flashlight in my eyes, she's got great eye control.

[Jason Mantzoukas]

Incredible.

[Paul Scheer]

Wide open. Like, not even worried about.

[Jason Mantzoukas]

Wait a minute. Is he holding a flashlight?

[Paul Scheer]

His other hand. One hand is holding a gun.

[Jason Mantzoukas]

Okay, if he's holding a flashlight below the gun, there's no way it's getting her at that angle.

[June Diane Raphael]

But why is it so bright behind him?

[Jason Mantzoukas]

Yeah, like, if it's that bright behind, he's backlit. Which means the light from behind him is hitting him.

[June Diane Raphael]

It's beyond her.

[Jason Mantzoukas]

He doesn't need a flashlight.

[Paul Scheer]

It looks cool, though. With a flashlight, it's cool as hell.

[Jason Mantzoukas]

That's why this movie's awesome, because it's absolute moron nonsense. But it's great.

[Paul Scheer]

All right, so here's her monologue.

[Jason Mantzoukas]

You gonna shoot me, Matt? You were a murderer. So are you.

[Paul Scheer]

I'm a murderer. What about the people who murdered me?

[Jason Mantzoukas]

Hang on.

[Paul Scheer]

You can take me after.

[Jason Mantzoukas]

You don't know. It's Kajabiya.

[Paul Scheer]

It doesn't matter.

[Jason Mantzoukas]

He sells women. He's as bad as those who buy.

[June Diane Raphael]

Them all those who are dead.

[Paul Scheer]

Those who would steal the soul from somebody who was at their lowest point.

[June Diane Raphael]

It could have been any of the.

[Paul Scheer]

Men who are dead now.

[Jason Mantzoukas]

That's not enough. You don't have the right.

[Paul Scheer]

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

[Jason Mantzoukas]

You going in? Why do you come here? No, you.

[Paul Scheer]

What is Polish Elvis?

[Jason Mantzoukas]

She runs right at him. She runs right at.

[Paul Scheer]

Shoot.

[Jason Mantzoukas]

She.

[Paul Scheer]

He's got it up high.

[Jason Mantzoukas]

She can see it even in the fog.

[Paul Scheer]

Polish Elvis only carries large weapons. He has a silver shovel that I've never seen. So clean. So clean. Like he just bought it from the hardware store. You know what? That's the moment that I needed to rewatch you. I did not see that.

[Jason Mantzoukas]

We did not rewatch that.

[Paul Scheer]

And that. And that is a. That's a pivotal moment. And this is the Reason why I didn't want to rewatch 3 minutes of ads to rewind it.

[Jason Mantzoukas]

I was like, my question is, she has come here to kill Polish Elvis.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

In fact, Dolph kills him. She gets conked on the head and now disappears. And we don't ever.

[Paul Scheer]

His Polish Elvis just in the cold room, like, taking cold plunge.

[Jason Mantzoukas]

Well, he works there because he works for Mayor Joe.

[June Diane Raphael]

Yeah. He's just got to check on the tunnels.

[Paul Scheer]

But I mean, it seems like. It seems pretty late at night.

[Jason Mantzoukas]

Who knows?

[Paul Scheer]

And it also seems like the worker. And then they make a whole big deal. Like, the workers even have to take a break because it's so cold in there.

[Jason Mantzoukas]

But how come we never find out why he wears that wig? What did you think?

[Paul Scheer]

That's an improvised line. That's an improvised line.

[June Diane Raphael]

I know, but he's wearing a crazy wig. Cause I think what was supposed to happen, I think maybe it was this scene that he. We were supposed to just see both of their heads fighting and both of their hair next to each other in the smoke. And Dolph Lundgren like, trying to figure out where to shoot. And that just.

[Jason Mantzoukas]

I agree.

[Paul Scheer]

I have a feeling this is what happened. They go, wow, we got this guy, Polish Elvis. He's got a great voice, great look. Then he gets a set and he has the same haircut as Dolph Lundgren. Like, shit, we can't have Polish Elvis have the same haircut. You gotta make him wear a wig. And then this guy's like, you're making me wear a wig. This is my fucking life. You can't hide my face. Then he gives a shitty performance. Like, well, now we gotta dub him. So now you got this guy in a wig who talks like he's in a movie. That is old school kung fu movie. He talks very weird. And so I think that that's what's going on. I do believe that he was given a wig for some set. Like, some re. Like, because he goes, nice wig.

[Jason Mantzoukas]

Why? I felt like the wig was going to come off and the accent would have been revealed to be fake because he's in fact somebody else.

[Paul Scheer]

I thought that it was going to be Jill Rips.

[Jason Mantzoukas]

You.

[Paul Scheer]

Thank you.

[Jason Mantzoukas]

I would have loved it if I.

[Paul Scheer]

Had one person to get my back. And that's it.

[Jason Mantzoukas]

Polish Elvis. If it's revealed that Jill Rips is the enforcer. The enforcer for Mayor Joe, that would be incredible.

[Paul Scheer]

That's what I would like to have seen.

[June Diane Raphael]

Did anyone else notice that when they are investigating one of the murders that happens in the lair in Jill rips his lair. And the cops are in there and another man's died and the weapons are on top of him. And one of them, one of the sex instruments, it looks like some sort of a probe, has an insane amount of hair on it. Am I the only one who saw that? So much hair.

[Jason Mantzoukas]

There was a lot of grizzly imagery. Oh, the head, the head, the head. The squashed head, the chopped up body. When he bursts into that apartment. And Mary is like cutting a guy's legs with a straight razor. And then they're like, hey. And the guy's like, hey, what are you. I thought this was a cool place. I was like, this man would be screaming in pain. He doesn't.

[Paul Scheer]

When they describe the way that, like, the truck driver. Yeah, truck driver just accidentally ran over. He was already dead. Truck driver just ran over his head. Cause he was delivering some melons to the fucking supermarket. You know, he's bummed out, of course. But the guy is dead. They didn't really do anything. He just fucking ran over a dead body. No big deal. It was like, what is this? Like, clearly they only had a head that was already busted. It's not even part of the plot.

[Jason Mantzoukas]

I could. This movie doesn't obey. I don't know, I don't know what genre this is. Do you have the dream sequence?

[Paul Scheer]

Okay, I want to talk about this dream sequence.

[Jason Mantzoukas]

Where did this come from? Why aren't there four more of these in the movie? I thought this was nuts. And so visually arresting.

[Paul Scheer]

Well, like, he's walking. I don't even know if I have that.

[Jason Mantzoukas]

Okay.

[Paul Scheer]

I don't know if I have that scene.

[Jason Mantzoukas]

But he's being dragged. He's tied in shibari rope. He's being dragged across, like, an icy road. His face and chest are all bloody and the, the Polish Elvis is dragging him. Right.

[Paul Scheer]

Well, I don't know if we see it.

[Jason Mantzoukas]

No, the, no, the Dominatrix is on the hill.

[Paul Scheer]

She's like Batman or a Catwoman standing on a thing.

[Jason Mantzoukas]

Like it's a Div antwerd video or something. I was like, what the is this? This is like the band the Fever give me this all day, every day.

[June Diane Raphael]

It really was so watchable. I, I, I agree. Couldn't take my eyes off the screen.

[Jason Mantzoukas]

And I had no idea what was going on, but I found it so compelling.

[Paul Scheer]

Well, now I do know. And, and Pete the S man, you brought the original novel. What's the original title of the novel? Jill Rips. Okay. Because this movie Was called Jill Rips. Well, the original script was very close to the novel and then they kind of deviated. Far from it. The novel had been described as harrowing. Grim, poetic vision makes it the best novel of its kind for years. The Sunday Times said that it's violent and vicious and brutal and it's, it's, it tale is bedded down in imagination like a succubus. And the Daily Express called it a taughtly and skillfully written, genuine. Can't put it down. Turn off the telly. Read. And the person who wrote the novel, Frederick Lindsay, said that this movie is a travesty of good wow. Of a good and serious novel. The script, as the book was set in present day. And then they changed that to make it the 70s. And you know, he said the 70s is when the S and M scene was actually more alive. And then the other thing was this movie is also called Tied Up.

[June Diane Raphael]

Okay.

[Paul Scheer]

Jill Rips is like a later.

[Jason Mantzoukas]

I don't mind Jill Rips. I mean, it makes zero sense.

[Paul Scheer]

Tied up is a little bit better.

[Jason Mantzoukas]

Tied up is a better, is a better movie.

[Paul Scheer]

And you know, maybe have like, you know, Dolph Lundgren with like a phone, like Tied Up.

[Jason Mantzoukas]

Can I ask you a question? When, when Dolph Lundgren and Jill Rips have their sex scene, not the Tied up upside down, but the sex scene in the room where they're careening all over the place. Is that in the mom's house?

[June Diane Raphael]

No, that's at a hotel.

[Jason Mantzoukas]

It's in a hotel. Okay. Okay.

[Paul Scheer]

Thank you.

[Jason Mantzoukas]

Yeah, I, I, I, I tuned out for a second. Tuned back in. I was like, is this, this is a loud sex scene. Is the mom.

[Paul Scheer]

It also didn't, it didn't look pleasant to me, that sex scene. I didn't like it.

[Jason Mantzoukas]

I didn't mind it.

[June Diane Raphael]

I didn't mind it either.

[Jason Mantzoukas]

I thought, I thought it was great.

[Paul Scheer]

Fun thing, Fun little fact about that dream sequence or that knocked out sequence and he's unconscious and feeling like he's gonna get all cut to pieces. Dolph Lundgren insisted that he shoot his stuff inside. And then they made that actress shoot all of her stuff outside in the freezing cold.

[Jason Mantzoukas]

Oh my God.

[Paul Scheer]

Not in the same scene. So let's go to the audience. Let's do a question.

[June Diane Raphael]

Let's do a question and maybe we can take it to the audience. Why? Okay. Why were the tapes being dropped off to the police department?

[Paul Scheer]

Unclear.

[Jason Mantzoukas]

As blackmail, I think, as to say, hey, we have blackmail on you.

[June Diane Raphael]

Blackmail on the police department.

[Paul Scheer]

They got Blackmail on everybody.

[June Diane Raphael]

Yeah, because I know. I know.

[Jason Mantzoukas]

The tape of the snuff film that the When.

[Paul Scheer]

Okay.

[Jason Mantzoukas]

That they all go in and watch.

[June Diane Raphael]

Yes. Together. Why is that tape dropped off there?

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

So now they're investigating the murders instead of holding it.

[Jason Mantzoukas]

Right. But who sent them that, that reel to reel, do we think? Because the guy comes in, he's like, we got another tape of the murder. What?

[June Diane Raphael]

It must have been Polish Elvis.

[Paul Scheer]

Well, Polish Elvis is sending those tapes in.

[Jason Mantzoukas]

He is.

[Paul Scheer]

So sometimes he's using it to play.

[Jason Mantzoukas]

Why wouldn't that make it bad for them?

[Paul Scheer]

Maybe they just have an excess of tapes. They're like, you know what? We've run out of blackmail material. Because that's like at one point when, you know, he's driving that limo or doing donuts in the parking lot and Dolph living around. Did you kill my brother? I don't need. I didn't need to. I didn't need to. I already got what I needed on that guy.

[Jason Mantzoukas]

That was a real thing. I feel like. And again, I feel like this movie, I'm just going. It's, I guess, representing the 70s, but I think it's an 80s movie. Just to drive someone out of control, makes them reveal all secrets. Just to be like, there's a madman behind the wheel. I'll tell you anything you want to know.

[Paul Scheer]

It also seems like Dolph Lundgren would kill himself. As a bad guy, you have to be like.

[June Diane Raphael]

That's always the question.

[Paul Scheer]

Yeah, it's like, as a bad guy, you have to be like, I don't think he's gonna kill himself.

[Jason Mantzoukas]

No, he's too handsome. All right.

[Paul Scheer]

Yes. Your name and your question. I'll hold the mic. My name's Hank. My question is about Mary O. Who we mentioned briefly before he breaks and enters upon Mario three different times at the end of the movie. He frames Mario. He's left scot free. My question is, how are we supposed to morally, like, reconcile what happens to Mario?

[June Diane Raphael]

We can.

[Paul Scheer]

He shoots her in the chest after breaking and entering, by the way. It's a brutal death.

[Jason Mantzoukas]

She does shoot first. She shoots twice and him self defense.

[June Diane Raphael]

Well, but here's. Actually, here's how we can we come to terms with it morally. He adopts her dog.

[Paul Scheer]

Wow.

[June Diane Raphael]

And. And seems to have a very nice relationship with the dog at the end, which I was very relieved by.

[Paul Scheer]

All right, so, sir, what's your name?

[Jason Mantzoukas]

David.

[Paul Scheer]

David. All right, so you are carrying a copy of Jill Rips. Whoa.

[Jason Mantzoukas]

Actually, hang on. Raise the book up if you Came here with Jill Rips. Okay. It's only these two weirdos. Okay. Okay. You two weirdos can talk after.

[Paul Scheer]

It's a big book. It is a big book. All right, so what do you want to share about this?

[Jason Mantzoukas]

Well, the book sort of explains why it's so cold in the tunnel, which they don't address in the movie. Which is. It's. They're freezing the ground to make the ground more stable. To excavate it. Sure, why not?

[Paul Scheer]

Great.

[Jason Mantzoukas]

Anything else? I'm curious. Is there anything. He murdered the dog. In the book, he strangles the dog, sadly. So I was happy that the movie changed that. And the part that makes more sense is the.

[Paul Scheer]

The dog liked it. Don't worry about.

[Jason Mantzoukas]

Was all in London. So the murders happened on Jack the Ripper's murder dates, and it was in London. So that was why it was Jill the Ripper. The book is in London. Yeah. And so obviously, when they cast Dolph Lundgren, they're like, oh, he can't be British anymore. So they changed, like, everything, and then nothing makes sense anymore.

[Paul Scheer]

Well, maybe they thought it was Dolph London.

[Jason Mantzoukas]

Why then keep it be? Why have it be about Jack the Ripper? Why not have it be about. If you're gonna relocate it to Boston, the Boston Strangler. Why not have it be called, like, Jill Strangles? And also he. In the book, he doesn't drink, and he just drinks tea.

[Paul Scheer]

Wow.

[Jason Mantzoukas]

I don't mind that.

[Paul Scheer]

Pete. Pete the S man. Do you have any more Dune? How do you feel about that? Do you have any book facts? As we go to the book part.

[Jason Mantzoukas]

Of the show, Malcolm is the brother. Dolph Lundgren's brother, his name is Malcolm.

[Paul Scheer]

Does not die in the book. What.

[Jason Mantzoukas]

So what's exciting incident? What starts the whole thing? I mean, there's so much.

[Paul Scheer]

I mean, let's just.

[Jason Mantzoukas]

I'm gonna let out the big one right away.

[Paul Scheer]

Is that Polish Elvis Kajabi? He is the father of Jill the Rips. Oh, whoa, whoa.

[June Diane Raphael]

Wait now. Do you mean. Do you mean they are father and daughter?

[Jason Mantzoukas]

So that's why they look alike.

[Paul Scheer]

Yeah.

[June Diane Raphael]

Oh, wow. Wow, wow. Wait a second. Follow up question. When you say father, you don't mean Mr. Reid father who adopted her and had sex with.

[Jason Mantzoukas]

No, her biological father. The mother who had the two girls. One of them is Irene. Who is Jill the Rips. In the movie, she had. This woman had two males, two husbands, and one of them was Polish.

[Paul Scheer]

Polish Elvis. And Polish Elvis did kill her. That's what was Also so weird is.

[Jason Mantzoukas]

Like, so that this, the end of the movie, she has successfully found the man that killed her mother.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

They did it, actually. Biological father, I believe. Because at a certain point, the book.

[Paul Scheer]

And the movie are crisscrossing.

[Jason Mantzoukas]

The murder happened in. What's the woman. The one when the nurse happened. Mary Mario. Mario Mario. It happened in her.

[Paul Scheer]

They kill her.

[Jason Mantzoukas]

And then they lured him Polish Elvis into. Got it.

[Paul Scheer]

And Dolph Lundgren's character was trying to.

[Jason Mantzoukas]

Stop her and say, let's just arrest him. She's like, no, I'm gonna kill him. Wow.

[Paul Scheer]

Yeah. It seems like. Here's my question. That is, why would you throw it away?

[Jason Mantzoukas]

And I've gotta ask David. Why didn't you mention any of that?

[Paul Scheer]

I did have some questions for David after.

[Jason Mantzoukas]

David, you had first crack at book knowledge and you gave us crumbs.

[June Diane Raphael]

He's telling us about, like, why we're stabilizing the grounds of Boston to put a tunnel in.

[Jason Mantzoukas]

Yeah. I'm grateful for the cold room info, thanks. But wow, wow, wow.

[June Diane Raphael]

We've been asking the whole podcast, like, why are they in the same wig?

[Paul Scheer]

David walked so Pete could run. I mean, that's. You know, he set us up to get.

[Jason Mantzoukas]

I do want them to get a picture afterwards in the courtyard, please.

[Paul Scheer]

All right. Yes. Let me get a person. Come over here. What do you got? I'm Corey, and I was curious if.

[Jason Mantzoukas]

You all felt that there were some.

[Paul Scheer]

Lynchian elements thrown into this for just, like, for the sake of.

[Jason Mantzoukas]

Oh, this is weird.

[Paul Scheer]

This is just what we're gonna show.

[Jason Mantzoukas]

This is like, why the hell not? And also, if they pitched it to.

[Paul Scheer]

Lundgren as, hey, man, this is your cruisin'this.

[Jason Mantzoukas]

Is your Pacino moment. You get to do your cruisin'it. Definitely felt like he was doing a Pacino. He was in the first half of the movie. He is doing a different performance than the second half of the movie, like, fully. And it's. He's doing stuff in those. In those early scenes at the funeral, at the wake. He's doing.

[Paul Scheer]

He's.

[Jason Mantzoukas]

He's wasted all the time. It's really. It's a whole performance.

[June Diane Raphael]

I have to say that I never felt like he was pushing. I never. I was very. I really did it. I was like, this is an interesting performance. I don't understand it, but I'm. I believe it. I believe that this is a strange man acting really weird.

[Paul Scheer]

I will say, as far as the Lynchian tropes, that to me, reeks of budget because like, there are moments when they're in, like, the S and M, you know, house or whatever. You know, whatever the location is where it's just like cage, red light, open spaces. Like the tunnel is a lot of smoke, not nothing discernible lights are off.

[Jason Mantzoukas]

I think it is. I agree with Paul. It is accidentally lynching.

[Paul Scheer]

Yeah. We've got some red gobos and tweenies and we can make that work.

[Jason Mantzoukas]

Also, there are scenes where it's like real fuzzy, where it's like moody and weird in a way that I'm like, oh, this is just out of focus. And this is what they had to use. I don't necessarily think it's always purposeful, but I do think it cuts together into a pretty compelling movie.

[June Diane Raphael]

Did anyone else notice that? I think I'm right here. I almost went back and rewatched, but I didn't. But in this sex scene, she. First of all, full frontal nudity. The movie is not what you think at points. And he rips her jeans down. I thought she was either not wearing underwear or wearing like, very dark underwear. Then like in the post coital scene, she gets up and I believe she's wearing his underwear. Is she?

[Paul Scheer]

That's when you know you have good sex, when you swap underwear.

[June Diane Raphael]

Wow.

[Paul Scheer]

It's like that scene in Zoolander when they have like the model off and he pulls the underwear off. Like. Like that's what you do if you have good sex. You get your underwear on somebody else and they don't even know.

[June Diane Raphael]

So snugly.

[Jason Mantzoukas]

I feel like. And I don't know how you feel. I am curious. June, specifically. I'm rooting for Dolph and Jill Ritz.

[June Diane Raphael]

Thousand percent.

[Jason Mantzoukas]

Like, I want them to be together at the end.

[June Diane Raphael]

Thousand percent.

[Jason Mantzoukas]

Like, first of all, like, bad.

[June Diane Raphael]

Me too. And I felt like that was another sort of miss with the movie. Sort of. It got there. But they have again, in the red robes, they are connecting very intimately. And I thought the sex scene was great. I was like, really? Next sexually. Yes.

[Jason Mantzoukas]

Paul, wait. I'm curious. I'm curious.

[June Diane Raphael]

I thought it was great.

[Jason Mantzoukas]

I'm just curious. Who for? Like, from the audience, who? I guess. Round of applause if the sex scene worked for you. Okay. Didn't work. Interesting. A lot of people sitting on their hands. A lot of people like, yep. I say, I know a trap when I see one. This is a trap.

[June Diane Raphael]

Sat out. They sat out. It seemed to me, like, why didn't you clap? They. It seemed that they were the only two people in the world who could really understand each other and they were meant to be together, I guess. I love this movie.

[Jason Mantzoukas]

Yes. June and I team. I'm here to say team Fred is also team Mr. And Mrs. Rips. And I guess Paul, that's your. Because you don't believe that they are connected. You are team sanity. Is.

[Paul Scheer]

Oh, no, no. I'm just saying. I just felt that.

[June Diane Raphael]

I think you were grossed out by the sex scene because it was in a disgusting hotel room, which I did think about. I did think about it.

[Paul Scheer]

I think I just felt like, oh.

[Jason Mantzoukas]

She touched her bare butt to the tv.

[Paul Scheer]

Yeah.

[June Diane Raphael]

I definitely.

[Jason Mantzoukas]

Honestly get tested.

[Paul Scheer]

All I'll say is I thought the sex scene. I felt like there was a lot of pent up aggression there. And I felt like he was definitely more in a position of power and I wanted her to get.

[June Diane Raphael]

I thought she was getting in there.

[Jason Mantzoukas]

Oh, yeah. Oh, she was getting in. She. Oh, yeah.

[June Diane Raphael]

She's.

[Jason Mantzoukas]

She. I mean, remember, she is a murderer.

[Paul Scheer]

Right? True. All right, what's your question?

[Jason Mantzoukas]

Let me ask you this. I'm curious about this. I really. I loved all of the different setups that when he would burst into Mary's apartment, she was always in a session. She's the one I mentioned with the cutting the man's leg, which I didn't appreciate. But the one that really I got me was the guy who's tied up with his head in the oven, who I'm just like, what is this guy's Sylvia Plath kink? He's like, ted Hughes is just really riding me. I gotta. I gotta check out.

[Paul Scheer]

That's an smp.

[Jason Mantzoukas]

These are my Sylvia Plath jokes.

[Paul Scheer]

S and P. S, P, S, M.

[Jason Mantzoukas]

S and P. Yeah.

[Paul Scheer]

S and P. Obviously, we had opinions about this movie, but there are people out there with a different opinion. It is now time for second opinions.

[Jason Mantzoukas]

Hi, I'm Kat. All right. Irene wants to thank you for giving her some time to breathe.

[Paul Scheer]

Dolph was waiting so damn patiently while.

[Jason Mantzoukas]

She got it together While she binded some boys. Oh, yeah. Dumb say to look but never touch to Big Jim slapped your girl so now we are stabbing mans and making plans and it's lucky for me you understand just what a girl wants What a Jill wants Whatever Second opinions help to set you free and I'm thanking you by giving you five stars. What a Jill rips what a Jill needs Whatever keeps that dog from killing me And I'm thanking you for that second opinion.

[Paul Scheer]

Yeah. Give it up. Great job.

[Jason Mantzoukas]

Great, Great.

[Paul Scheer]

Wow. Wow, wow. Surprisingly, not that many second opinions on Jill Rips 99 reviews might be an all time low. 9 total reviews. Here's a twist. All in German.

[Jason Mantzoukas]

Was this. Wait, is Dolph Lundgren German?

[Paul Scheer]

No.

[Jason Mantzoukas]

No. It could be.

[Paul Scheer]

Out of those nine, 47% are five star, zero percent are one stars. Well, I'll just get into it. This one is from Bianca. Bianca Titles review Exciting thriller with S and M background. At some point I have reviewed the youth version of this movie. However the 18 plus version is a lot better.

[Jason Mantzoukas]

I have questions.

[Paul Scheer]

Bianca goes on to describe the movie and then says there are totally humorous passages in this film. For example, Matt's visit to the S and M studio. Simply delicious. A really worthy seeing movie. Five stars.

[Jason Mantzoukas]

That's very German.

[Paul Scheer]

Then we get from Son of Winslow. Now this is how you make a sleazy psychosexual thriller. Ti West. Take notes. Feels like a Skinemax infused episode of Batman shot in Estonia circa 1999.

[Jason Mantzoukas]

This person has a spec script.

[Paul Scheer]

Now I will say Dolph Lundgren did have some thoughts. Great. We hit the Wayback machine on Dolph lundgren.com as he wrote a blog post about it and Dolph wrote this is the first time I did a thriller. Doesn't have as many action scenes as my films normally do. At one point I end up hanging upside down being molested by this leather dressed woman with a whip. She is the killer and of course it's kind of tough for me to solve.

[Jason Mantzoukas]

And she's not the killer.

[June Diane Raphael]

She's not.

[Jason Mantzoukas]

Let's be clear, he's also misunderstood the movie.

[Paul Scheer]

This is from the words of Dolph here. She is the killer. And of course it's kind of tough for me to solve the mystery from that position, but somehow I managed to do it anyway.

[Jason Mantzoukas]

No, he doesn't.

[Paul Scheer]

On this picture I spent a lot of time rehearsing because a lot of the scenes had more dialogue than other films I've done. It's a good experience to really work on the performance. I discovered you could get a lot out of a picture without carrying the biggest machine gun around, so to speak.

[Jason Mantzoukas]

I love it.

[Paul Scheer]

I love it.

[Jason Mantzoukas]

I want to start calling things pictures again.

[Paul Scheer]

I like calling it a picture.

[Jason Mantzoukas]

Is that an analyst? Oh, I was talking about pictures with my analyst the other day.

[Paul Scheer]

The the one interesting fact is that Tom Beringer was attached to star in this but dropped out. And then Dolph came in and the director says it's Dolph's best acting to date. Agreed. But apparently Dolph and the producer Argued way too much because Dolph really liked to do dissolve transition edits for the film. And at one point, they did say that he gave 378 editing notes.

[June Diane Raphael]

Okay. By the way, you two described that opening sequence of those kids watching with the police boats right there. I thought that was a dissolve.

[Paul Scheer]

I think it was.

[June Diane Raphael]

It definitely was.

[Paul Scheer]

Yeah.

[June Diane Raphael]

Yeah.

[Jason Mantzoukas]

Oh, okay. Then I'm. Then I. I looked away or I.

[June Diane Raphael]

Didn'T understand it, to be clear. Yeah. That was one of Dolph's dissolves.

[Jason Mantzoukas]

I didn't know about the other double D's in this movie.

[Paul Scheer]

A couple of these editing notes, which I thought were funny. Dolph made them reshoot the cemetery scene, which is all of 20 seconds, because he didn't think his face was in it enough. And then they did a lot of editing. Apparently, the bathrobe scene was eight pages. They got that down to three.

[June Diane Raphael]

I would love to see the full cut of that.

[Jason Mantzoukas]

Oh, it was still at least eight minutes long.

[June Diane Raphael]

Yeah.

[Paul Scheer]

Yeah. So, I mean, imagine, I couldn't believe.

[Jason Mantzoukas]

How long that scene was. That was incredible.

[Paul Scheer]

So that. That's where Dolph got in there. And they're very upset because the original scene of Dallas getting cut up by the woman in his, like, passed out dream was a lot more violent, but they thought that made the movie too dark.

[June Diane Raphael]

Release the Dolph cut.

[Jason Mantzoukas]

Yeah. Release the double. The dc. Release the dc.

[Paul Scheer]

Well, I mean, I think, you know, are there any final thoughts? I mean, we know that this is one of the best movies that Dolph has done.

[Jason Mantzoukas]

This movie rips.

[June Diane Raphael]

This movie does rip. I couldn't believe. I guess I was just watching it. I was like, wow, we have more work to do. You know, there's. For a movie, for this movie to have been out there.

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

And to have not known about it.

[Jason Mantzoukas]

For us to only now be finding about Cold Ground, I mean, for us to only now, 15 years in, be finding out about Jill Rips. Like, truly one of the greats. When we started this podcast, the movie was 10 years old. How is that possible? What world are we living in? We're living in Jill Ripps world. You know, I loved it. I mean, I cannot recommend this enough.

[Paul Scheer]

So we highly recommend that you watch Jill Rips. Even though there is no Jill. The book does not help, but it does give us some details in the background of it. The movie was made in 2022. Whoa. No, just joking. 20. So that's it, guys.

[Jason Mantzoukas]

Wow, we ripped it.

[Paul Scheer]

What a great show. Great to be back at largo What a crowd. Thank you to everybody who showed up. And remember, you can find us anywhere you want online at hdtgm. A big thank you to our producers, Scott Sahni and Molly Reynolds, and our movie picking producer, Avril Halley, as well as our engineer, Casey Holford. We'll see you next week on Last Looks. Bye for now. Every day, our world gets a little more connected, but a little further apart. But then there are moments that remind us to be more human.

[Jason Mantzoukas]

Thank you for calling. Calling Amica Insurance. Hey, I was just in an accident.

[Paul Scheer]

Don't worry. We'll get you taken care of. At Amica, we understand that looking out.

[Jason Mantzoukas]

For each other isn't new or groundbreaking.

[June Diane Raphael]

It's human.

[Paul Scheer]

Amica empathy is our best policy.

[Jason Mantzoukas]

Spring's here.

[Paul Scheer]

Flowers are blooming. Birds are singing. And allergies. Yeah, they're back, too.

[June Diane Raphael]

Sneezing, watery eyes. When they hit, you need a tissue fast.

[Paul Scheer]

That's where Kleenex Ultra Soft Tissues comes.

[June Diane Raphael]

In, whether you're at home or on the go.

[Paul Scheer]

Kleenex Ultra Soft Tissues. Have you covered? Allergist approved Kleenex Ultra Soft Tissues are.

[June Diane Raphael]

Gentle on your eyes and nose so.

[Paul Scheer]

You can power through allergy season without missing a beat. Because while allergies are unpredictable, staying prepared is easy. For whatever happens next, grab Kleenex.