Oscar LIVE!

Summary

How Did This Get Made? Episode Summary: "Oscar LIVE!" (Released July 11, 2025)

Hosts: Paul Scheer, June Diane Raphael, Jason Mantzoukas
Guest Speaker: Unknown (likely a recurring guest or special contributor)

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Introduction

The episode titled "Oscar LIVE!" delves into the 1991 film "Oscar," a Canadian crime-comedy feature starring Sylvester Stallone, Marisa Tomei, and Tim Curry. The hosts embark on a live breakdown of the movie, exploring its plot, characters, comedic elements, and overall execution.

Overview of "Oscar"

Paul Scheer (00:00) introduces the film with a humorous nod to Stallone, setting the stage for a critical yet comedic analysis. The movie follows Angelo "Snaps" Provolone (played by Sylvester Stallone), a gangster who promises his dying father to abandon his life of crime and transition into a legitimate banker. Despite his intentions, Angelo finds himself entangled in a convoluted web of misunderstandings and farcical situations.

June Diane Raphael (02:22) provides a synopsis, noting the film's poor commercial performance—grossing only $23 million on a $35 million budget—and highlights its tagline: "A Comedy of Criminal Proportions."

Critical Analysis

Plot and Pacing

The hosts contend that "Oscar" suffers from an overcrowded narrative and sluggish pacing. Paul Scheer (05:40) expresses confusion over the titular character Oscar's minimal presence, noting, "Where was Oscar? This is like Waiting for Godot, but dumber." The absence of Oscar until the film's concluding segments undermines the movie's structure and comedic timing.

June Diane Raphael (09:25) critiques Stallone's portrayal, remarking, "Sly is not a fast actor," which clashes with the film's requirement for brisk comedic exchanges typical of farcical comedies.

Acting and Character Dynamics

Paul Scheer (13:11) points out the lack of character development, especially Angelo's internal conflict about going straight. He states, "If we really understood that he's struggling to stay on the straight and narrow, it would have added depth." This absence of emotional stakes diminishes the comedic impact, turning what could have been a rich character study into a superficial portrayal.

June Diane Raphael (18:08) highlights the inconsistency in character behavior, particularly Angelo's nonchalant attitude amidst chaos: "He never takes his eyes off of her. He has his eyes on her the entire time. He's like, no, no, no, no."

Comedic Elements and Farce

The hosts debate whether the film successfully balances its crime and comedy elements. Paul Scheer (28:53) contrasts "Oscar" with "Johnny Dangerously," suggesting that "Johnny Dangerously" executes similar farcical themes more effectively. The repeated thefts and the resultant confusion are seen as overdone without meaningful progression.

June Diane Raphael (25:03) questions the believability of certain plot points, such as Angelo's seamless integration into the banking world and his interactions with other characters, further emphasizing the film's reliance on slapstick rather than coherent humor.

Guest Insights

The guest speaker offers additional perspectives on the film's shortcomings:

• Production Discrepancies: The reliance on a single location and the minimal use of pivotal characters like Oscar contribute to the film's disjointed feel.

• Costume and Setting: The anachronistic costumes and inconsistent set designs (e.g., the purple-hued office) disrupt the film's immersion into the 1930s setting, as noted by June Diane Raphael (35:36).

Audience Q&A

During the live segment, audience members pose questions regarding the film's adaptation from the original 1958 French farce:

• Character Adaptations: One question addresses the significant differences between the stage play and the movie, such as the addition of gangster elements and the casting of Sylvester Stallone, which arguably exacerbates the film's flaws.

• Alternative Casting: Another audience member suggests that casting Al Pacino or Danny DeVito could have improved the film, aligning better with their comedic strengths. Paul Scheer (54:28) concurs, stating, "Arnold is funny... Stallone is not."

• Plot Clarifications: Questions about Angelo's motivations and the true identity of Oscar reveal lingering confusion about the character dynamics and narrative purpose within the film.

Amazon Reviews Highlight

To provide a balanced view, the hosts read selected Amazon reviews showcasing divergent opinions:

1. Celeste Skykop (2014):
   "I hate Sly, but I love this movie. It is a cute plot with intricate dialogue. Five stars."
   Host Comment: "Can you imagine being so obsessed, so enthralled with this movie that you didn't notice your date abandoned you for the bathroom?" (73:52)

2. Rachel W (2022):
   "It's like nothing Sylvester Stallone has ever done and it's marvelous. Pretty much everything is bullet points. Five stars."
   Host Comment: "That was a great one." (75:00)

3. Joseph (2020):
   "A comedy primarily in wordplay and scene play. Five stars."
   Host Comment: "I feel like we need to come up with a Barbenheimer style name for weapons and Freakier Friday." (76:16)

These reviews illustrate that while some viewers appreciate "Oscar" for its dialogue and unconventional charm, the majority of the hosts and their immediate reactions lean towards a critical stance.

Conclusion

June Diane Raphael (77:15) encapsulates the episode's sentiment: "I feel like he's trying so hard to be funny... these are the jokes that work with his friends who don't tell him." The hosts collectively express that "Oscar" falls short of expectations due to its flawed execution, mismatched casting, and lack of coherent comedic timing.

Paul Scheer (81:02) sums it up humorously: "I think that's everything." Despite acknowledging a few fun moments and appreciating certain performances, the overall consensus is that "Oscar" is an example of a movie that "got made" but perhaps shouldn't have been, embodying the very essence of the podcast's mission to celebrate bad movies.

Notable Quotes

• Paul Scheer (05:40): "Where was Oscar? This is like Waiting for Godot, but dumber."
• June Diane Raphael (09:25): "Sly is not a fast actor,"
• Paul Scheer (13:11): "If we really understood that he's struggling to stay on the straight and narrow, it would have added depth."
• Paul Scheer (54:28): "Arnold is funny... Stallone is not."
• Carlos Rasmussen (70:18): "I just had to take a quick nap."
• June Diane Raphael (77:15): "I feel like he's trying so hard to be funny."

Final Thoughts

"How Did This Get Made?" continues its tradition of dissecting and humorously critiquing flawed cinema. In "Oscar LIVE!", the hosts navigate the pitfalls of a movie plagued by poor pacing, miscasting, and convoluted plotlines, ultimately delivering an entertaining yet critical examination. For fans of cinematic misfires and comedic analysis, this episode underscores why "Oscar" remains a quintessential "best of the worst" film.

Transcript

[Paul Scheer]

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[Jason Mantzoukas]

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[June Diane Raphael]

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[Guest Speaker]

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[Jason Mantzoukas]

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[June Diane Raphael]

Shop [e-mail] the secret of comedy Yelling with lots of accents capiche? We saw Oscar so you know what that means. Swarzening Grow a baby in his belly like a rost no vest while women Justin the Kelly or maybe see a burlesque show with Nick Crow and take a what was we to hitting cruise control Shane man big Paul in the beautiful Jewel gonna take you from the grove all the way to the road Rein against the street fighter hope to blow off steam just a sucker punch the eyelight for Timothy Green they call me when they're badass and he's on the line cranking 88 minutes cause they cool as ice cause they bad gym funny looking kind and nice calling June getting literal Jason is getting laid June is making sure all the monkey shots in the pain and just a bunch of movies while they making the grade. There's a question for you. How did this get made?

[Paul Scheer]

Hello people of Earth and hello people of Toronto.

[June Diane Raphael]

We are back in Toronto with a classic Canadian film. The movie is called Oscar. It came out in 1991. IMDb describes this film as such a gangster attempts to keep the promise he made to his dying father that he would give up his life of crime and go straight. Yeah that sums it up. This is a movie based on a French farce. That's true. Which was based on a play and wow. Budget was 35 million first weekend it came out made 5 worldwide gross 23 million dollars. Tagline of the movie in crime and Comedy Timing is everything. Also the lesser used. It's a comedy of criminal proportions. We're gonna break this down. This movie that feels longer than the Brutalist. A movie in which June said, I have to take a nap in the middle of. And I agree, you do have to take a nap. This is a. This is definitely a two napper. So much goes on here. So many characters and so much yelling. We're going to break it all down. But first please welcome my co host, Mr. Jason Man Zoukas.

[Paul Scheer]

What's up, jerks? Let's go. Let's go. Massie Hall. You're telling me I'm on the same stage that Joni Mitchell stood on? Let's go. But a quick reminder. Go fuck yourself, Canada.

[June Diane Raphael]

Jason. Wow, this audience is.

[Paul Scheer]

Take it. I'll take it. I'll get you back, don't worry. Canada Jason.

[June Diane Raphael]

I was shocked to learn at the end of this film that it was directed by John Landis.

[Paul Scheer]

Oh, I saw that at the beginning during the Claymation song opening. Some of some of the best acting in the movie is done by the claymation character, full stop.

[June Diane Raphael]

I want to break down that claymation scene because you spend so much money. But why keep it so small in the corner of the crazy.

[Paul Scheer]

Why everything about. I don't understand anything in the decision making process that went into this movie. Also, dot, dot, thought. Where was Oscar?

[June Diane Raphael]

Where was Oscar? This is like Waiting for Godot, but dumber.

[Paul Scheer]

Yes. I was flummoxed by the. I thought for sure he was gonna show up in the third act.

[June Diane Raphael]

Nope.

[Paul Scheer]

Nope.

[June Diane Raphael]

And when is his name first uttered? About an hour into it.

[Paul Scheer]

So much so that when they said it, I was like, wait, one of these people isn't Oscar.

[June Diane Raphael]

I thought for the entire time it was. His name was Oscar Provolone.

[Paul Scheer]

Yeah.

[June Diane Raphael]

But they didn't.

[Paul Scheer]

Oh boy. Snaps. Oh boy. The name's in the oh boy. Oh, let's get into it because this is. This fucking movie sucked.

[June Diane Raphael]

Now and we.

[Paul Scheer]

Chose it just for you idiots. This is what we think you like.

[June Diane Raphael]

A lot of you know that throughout our how did this Get Made tour, we have not been joined by our regular co host, June Diane Rayfield. But tonight she is here.

[Paul Scheer]

Please welcome Drew. Diane. Radio June has died.

[June Diane Raphael]

Welcome, June. How are you?

[Guest Speaker]

I'm okay. How are you, Paul?

[June Diane Raphael]

I'm well, thank you for asking. The movie Oscar, were you in the theater seeing this in 1991?

[Guest Speaker]

I have such a vague memory of seeing the VHS movie arrive with the blockbuster in the Blockbuster. You know, glass, plastic.

[June Diane Raphael]

Sure. The Glass when they were putting.

[Paul Scheer]

Where did you live?

[Guest Speaker]

So it was sort of a luxury wrapped in luxury. Bo Buster by me. But I don't think I saw it when it arrived. And I actually, while we were looking at this poster, I remember thinking that he was. That it was a Victor Victoria type of movie because he looks like he has so much blush on here. And there's something so striking about him.

[Paul Scheer]

He has so much blush on in the scene where his father keeps slapping him and that I thought they were making it look like his face was red from the slaps. Not the case. He has it on throughout.

[Guest Speaker]

Yes.

[June Diane Raphael]

Now, I will say there's something about this movie that was really upsetting because it looks like they're all going to a costume party that's gangster themed. Like, the costumes here seem comical to the point where it's like, I don't understand. I guess what I should say is, is this a comedy? I think some people knew it was. Some people didn't know it was. But I. It.

[Paul Scheer]

I think everybody but Sylvester Stallone knew it was a comedy.

[June Diane Raphael]

That's.

[Paul Scheer]

They were all like, oh, we're in a classic farce. Okay, cool. And he was like, I'm making the Godfather.

[Guest Speaker]

It's so hard because I really believe that. Had everyone just watched Marisa Tomei's performance first and then just said, okay, let's model the tone and tenor and, like, let's kind of calibrate our own performance around this. We would have a very different movie.

[Paul Scheer]

Well, she's in the overtly comedic movie. She's moving at the right pace. For a movie like this to work, it has to be fast. And everybody else.

[Guest Speaker]

Well, that's gonna be hard. Yeah, that's. And that's gonna be hard with Sly.

[June Diane Raphael]

That's. Yes. Sly is not a fast actor. Yeah, he. In a way, I was like. I kept on going, is he the straight man or is he funny? And he is neither. Because he doesn't like. He seems like he's playing it cool, so he's never really fully flustered, but there is a lot of yelling by him.

[Guest Speaker]

Now, I will say, by the way, I liked this movie quite a bit, but I will say, sorry, love. Sorry I enjoyed it. Sorry.

[June Diane Raphael]

Percent on the tomato meter.

[Guest Speaker]

Juniper. I did have to take a nap, but put that aside. That doesn't mean.

[Paul Scheer]

From enjoying it too much. Yeah, I mean, it's so much fun. I gotta go down for a second.

[Guest Speaker]

Just because you take a break doesn't mean I didn't like it. But I love a Movie and a play. This felt like a play. This felt like this was an Oscar Wilde play where a stranger or someone shows up in the beginning and an entire story unfolds and everyone gets woven in and it's even crazier than we thought it was going to be. We, through the lens of Anthony or whatever, we start to realize this big giant Angelo.

[Paul Scheer]

Wait, who are we talking about?

[June Diane Raphael]

Who are you talking about?

[Guest Speaker]

I'm talking about the accountant Anthony, starring Ben Affleck.

[Paul Scheer]

That's Anthony.

[June Diane Raphael]

That. That is.

[Guest Speaker]

Yeah, yeah, I'm talking about Anthony, like through the. Once he arrives, we know that things are start starting to happen.

[Paul Scheer]

Poppins landed on me.

[June Diane Raphael]

Me.

[Paul Scheer]

A Canadian bug just landed on. And I'm not into it at all.

[Guest Speaker]

Are we under attack from Canada?

[Paul Scheer]

What is this? Wow. This is what you're up to, huh?

[Guest Speaker]

Just sending bugs after us?

[Paul Scheer]

Somebody what Led a bunch of bugs out in the theater. Cool. Canada.

[June Diane Raphael]

Well, you. You will be. June, you will be happy to know it was based on a 1958 stage play.

[Paul Scheer]

Yeah.

[June Diane Raphael]

That was then turned into.

[Paul Scheer]

It's a single location. It feels like a farce. Like a. Open doors. Closed Doors. Oh, no. There's a Secret Daughter. Oh, no.

[Guest Speaker]

Which I love. And when done well and about 42 minutes shorter, it could have been a huge success.

[Paul Scheer]

The person you shouted out, Marisa Tomei as the person who's in the right movie. The other person, I would say, is Tim Curry.

[Guest Speaker]

Oh, absolutely.

[Paul Scheer]

Tim Curry. Tim Curry gets it.

[Guest Speaker]

And he always does.

[Paul Scheer]

He always does. He's like, we're basically doing Rocky Horror for Gangster.

[June Diane Raphael]

I mean, I thought he was doing like a version of Clue as well. Like.

[Guest Speaker]

Yes.

[June Diane Raphael]

How to do it. To your point, June, this is how Marisa Tomei got my cousin Vinny. Sorry. This is how Marisa Tomei got my cousin Vinny. Because the director. My cousin Vizzy, because the director came on set, saw her, I was like, got it. She got the part.

[Guest Speaker]

Wow. I was wondering if it was before or after. Wow. Cool.

[Paul Scheer]

The other movie.

[Guest Speaker]

That's cool.

[Paul Scheer]

The other movie I want to shout out because it's a. It's so much more of a successful version of. This is Johnny Dangerously.

[June Diane Raphael]

Oh, yeah.

[Paul Scheer]

Only a couple of fans of Johnny Dangerously.

[June Diane Raphael]

Johnny Dangerously.

[Paul Scheer]

Those are the old people Gen X represent.

[Guest Speaker]

Here is what was missing, aside from pace, timing, energy, costumes.

[Paul Scheer]

That 45 minutes. That 45 minutes you're talking about could have been accounted for if everybody just sped up a little bit here. But.

[Guest Speaker]

But I do think there is one other thing that's missing from this and, and those are the stakes for Slaps. What is Sly's name?

[June Diane Raphael]

Snaps.

[Guest Speaker]

Snaps. Snaps.

[June Diane Raphael]

But by the way, he could be called Slaps because he does threaten with a lot of slaps.

[Paul Scheer]

Snaps. Provolone.

[Guest Speaker]

Provolone. I think all was missing and could have made this a great fun movie maybe with some different actors too in certain parts. But if he. The entire time, if we really understood that he's struggling to stay on the straight and narrow that he is. It's an internal conflict and he wants so badly to, you know, be a stand up guy and not be a criminal. And that is not present.

[June Diane Raphael]

Not at all.

[Guest Speaker]

We hear it is. And we hear don't call me boss. Sorry boss. Other than that refrain, which happens probably 50 times, we don't ever feel the comedy of him like trying not to.

[Paul Scheer]

Well, they don't allow it because the time frame the movie takes place in is one day. Yeah, the entire really a morning.

[Guest Speaker]

Cuz the bankers are arriving at noon.

[Paul Scheer]

Yes, you're right.

[June Diane Raphael]

So this movie is a movie that takes place in real time.

[Guest Speaker]

Yeah, yeah.

[Paul Scheer]

This is basic.

[June Diane Raphael]

This is. I mean because he gets up a little before 9, the bankers are arriving at 11. I think this movie is in real time.

[Paul Scheer]

Stallone thinks he's making Andre Rube live. I think.

[Jason Mantzoukas]

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[June Diane Raphael]

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[June Diane Raphael]

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[Jason Mantzoukas]

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[June Diane Raphael]

The thing that made me like lean in but also took me out of the movie was that Stallone seemed to be Stallone from 1991. And everyone around him is doing, I'm from the 1930s, you know.

[Paul Scheer]

Yeah, you mugs. Shut up you mug.

[June Diane Raphael]

And it was really weird because he had no accident.

[Paul Scheer]

Sorry to interrupt you. Are we Allowed to say mugs here. I don't cool to say mugs.

[June Diane Raphael]

Canada. I just think that that was such an odd choice that he was not doing anything. And then the accountant also seemed to be pretty modern as well. But then everybody else around them was nothing but in like full on, like, oh, my gosh, my company has a retreat. It's a murder mystery. We all have to play along with these actors.

[Paul Scheer]

Everybody else in the movie is a murderer, like a powerhouse. I mean, the cast is Chaz Palminteri. Chaz Palmintari, Peter Reigert, Don Amici, Kurtwood Smith, Clarence Bodicker himself. William Atherton's in this movie. Tim Curry, Marisa Tomei. I mean, it's a. Everybody is a home run hitter and Stallone is like, shut up, shut up, shut up. Slow down. Everybody slow down. Meet me where I am.

[Guest Speaker]

There's also one of the things I found fascinating about his work in this is there's no increased frustration as this goes on. There's no. Nothing builds toward the way he starts when he's irritated. He woke up before 9am which also I was like, you're planning on being a legitimate banker. Like, you gotta get up earlier. Like that's.

[June Diane Raphael]

What is he doing?

[Paul Scheer]

There's such a thing as bankers hours.

[Guest Speaker]

You gotta get up earlier. Let's start there. But he's irritated. He's the same level of irritation in that moment as he is in the third act when the bags have been switched out 12 times.

[Paul Scheer]

I mean, at some point, get a.

[Guest Speaker]

New bag, put a sticker on it, or tie a scarf around it, or.

[Paul Scheer]

Every time you exchange bags, take a peek.

[June Diane Raphael]

Yeah, how about.

[Paul Scheer]

How about, yeah, you deserve to lose it all if you refuse to just take a peek. Peep that bag.

[Guest Speaker]

Peek it when it leaves and peek it when it arrives.

[Paul Scheer]

Double peek. You gotta Twin Peaks.

[June Diane Raphael]

Now. I will say that the line that really jumped out at me was when someone said, keep in mind it's 1931. Like, why would you ever say that to a human in 1931? Because they need to, to justify that Marisa Tomei is having sex out of marriage. Like, now, keep in mind it's 1931. This is odd. Should have been like winking at the camera. Get it? Weird times.

[Paul Scheer]

I did anybody else feel like that first scene with Marisa Tomei and Stallone where she is giving him the lie that she is pregnant in order to hopefully be able to marry her? Her love the never seen Oscar.

[Guest Speaker]

Wait, so Oscar, just quickly. So who is the man who showed up at the very end at the wedding.

[June Diane Raphael]

Oscar. That's Oscar.

[Paul Scheer]

That's Oscar.

[Guest Speaker]

That's Oscar.

[Paul Scheer]

Oh, okay, forget it.

[Guest Speaker]

You were saying you didn't see him either.

[June Diane Raphael]

No, I saw him. I was saying. But, like, he just shows up for a. Like there's no.

[Paul Scheer]

It's inconsequential.

[June Diane Raphael]

Right, of course.

[Guest Speaker]

But that is Oscar.

[Paul Scheer]

Yes, yes. Okay.

[June Diane Raphael]

But you would think Oscar. You would think that the name Oscar would be said from the beginning, like, it's dropped.

[Paul Scheer]

It would have been fine if he was referenced if it wasn't the title of the movie.

[June Diane Raphael]

Right?

[Paul Scheer]

That's what's strange. It's fine if he's just absent the whole time and then shows up at the end. But for it to be the title of the movie tells me this person has true significance.

[June Diane Raphael]

I originally called this movie the Banker's Dilemma.

[Paul Scheer]

On what planet does Stallone, knowing everything we know about Stallone, allow himself to be in a movie where the name on the movie is not his character?

[June Diane Raphael]

I believe that he thought. And I'm Oscar. Because he didn't read the script. And I think that he is walking through the movie going, wait, what?

[Paul Scheer]

You're telling me. Whoa, whoa, what is this? I'm off.

[June Diane Raphael]

Oscar. I'm a.

[Paul Scheer]

Hey, why am I talking about Oscar? I'm Oscar.

[Guest Speaker]

I also was a little confused, though, when. When Marisa Tomei, who, again, I was obsessed with her performance, but she didn't look 18 years old. Unless I, you know, that. That was a little troubling.

[June Diane Raphael]

But it's 1931.

[Guest Speaker]

It is 1931, after all.

[Paul Scheer]

Yes. So teenagers look like they're 18 year olds. They're like 27, 31. Because their life expectancy was so short.

[Guest Speaker]

Of course. But when she talks to him in that first scene, this is where I was getting turned around. She does say she's in love with Anthony, though.

[Paul Scheer]

No, no, she just says she's in love. He. It is a.

[Guest Speaker]

So that's a miscommunication where she thinks. She thinks he's talking about Oscar.

[Paul Scheer]

Yep. And classic.

[Guest Speaker]

That's farce.

[Paul Scheer]

And he thinks he's.

[Guest Speaker]

That's farce.

[June Diane Raphael]

Yes, and that's farce. And that might be the T shirt at this point.

[Paul Scheer]

Did you feel like in that scene. Didn't you feel like in that scene they had romantic chemistry? Well, when this is like the second movie that was done crazy Stallone and his daughter have overtly romantic chemistry.

[June Diane Raphael]

There was a moment when she goes, look at me. And she opens up her nightgown.

[Paul Scheer]

Now he's a kid, like Don't.

[June Diane Raphael]

No. But he never takes his eyes off of her. He has his eyes on her the entire. He's like, no, no, no, no.

[Paul Scheer]

And I feel like they were like, I feel like Landis was like, cut. Slight. You gotta not look right at her. All right, all right, let's, let's go again. No, no, no, no, no, no, no, no.

[June Diane Raphael]

She's a beautiful girl. She's showing me.

[Paul Scheer]

To be fair, it's Marisa Tomei. Like, I couldn't take my eyes off the screen. I was like, can I stare at this forever?

[Guest Speaker]

She's so wonderful. But also I did have to question, like, is she okay? And has she, has she legitimate as a character and as she is, has she been literally lost? Is this the room? Has she been locked in this room?

[June Diane Raphael]

It feels like he's not letting her out. But she also is a good girl. Because, I mean, again, I don't know what's going on.

[Guest Speaker]

How do you define a good girl?

[Paul Scheer]

That just rolled her out of she is a good girl. As if that is mine. Is that a phrase you use? She's a good girl.

[June Diane Raphael]

Keep in mind, it's 1931.

[Paul Scheer]

No, but like, so she only does hand stuff.

[June Diane Raphael]

But no, but she doesn't seem to be. Like, she, she's so wide eyed and innocent. Like, she wants to do all this fun stuff. She's not misbehaving. Like, she is very content to be locked in that room. She wants out of the room. But she's not like, sneaking around. I guess she's sneaking.

[Paul Scheer]

She's sneaking around. She's fucking Oscar.

[June Diane Raphael]

But Oscar seems to be in the army.

[Paul Scheer]

Yes, yes. Oscar has left.

[June Diane Raphael]

Yeah, Oscar has left for a lot. If he's returning from the army. Oscar has been gone for a long time.

[Guest Speaker]

Yeah. I don't think she's actually having sex with Oscar.

[June Diane Raphael]

She's not.

[Guest Speaker]

And I don't think that makes her a good girl or not a good girl.

[June Diane Raphael]

It makes her a very good girl. A very good girl.

[Paul Scheer]

Please don't let that be the T shirt.

[June Diane Raphael]

I'm a very good girl.

[Paul Scheer]

With your face.

[June Diane Raphael]

No, but I get, but like, like she doesn't seem to be driving him crazy. Like, if in the, in the world of like the Tony Danza movie of like, she's out of control, like, he, she seems like she is abiding by the house rules.

[Guest Speaker]

Yeah.

[June Diane Raphael]

And that's also equally weird. But I, I, I, Where I think this movie also goes off on tangents is when Stallone wants to, like, add his own jokes in I wrote one joke that he said that I was so confused by. He said, your pimples will clear up after you date that guy.

[Paul Scheer]

His pimples will clear up?

[Guest Speaker]

No, the guy's pimples.

[Paul Scheer]

The guy's pimples will clear up after he spends time with her.

[June Diane Raphael]

What does that mean?

[Paul Scheer]

I don't know. She's gonna fuck the pimples right off him.

[June Diane Raphael]

Like.

[Paul Scheer]

And also, I don't know, asking for a friend. Does that work?

[June Diane Raphael]

Like, I didn't even understand. Like, does he equate like oily skin or combination skin with the lack of sex combination? Or was like.

[Paul Scheer]

I don't even know if he was mind. It's 1931, right? Acne was different back then.

[June Diane Raphael]

But that like, to me feels like a Stalloneism. And the whole movie has these Stalloneisms. Like when he is having breakfast, like this, this big gangster, not a gangster anymore, but banker. He's making waffles. He's eating waffles with peanut butter. Which seemed not like a cool thing. Like, not a man, like, oh, this mafia boss has waffles for breakfast. Just seem weird to me. I feel like. I feel like. But he's like, it's funny. Waffles are funny. He doesn't have. Waffles are like weird pancakes. Like, I feel like he was like, that was his choice. Like, I feel like I don't all.

[Paul Scheer]

Of his joke stuff too, because he's got bits with Chaz Palminteri and Peter Reigert, who are his kind of right hand man. And they keep pulling guns on people. And his whole bit is he's going legit. He's gonna become a banker. He promised his dad on his dad's deathbed that he wouldn't be a gangster anymore, that he was gonna go straight, right? And then they keep pulling guns out. And it's this thing where he should be like, hey, what are you doing? Get that gun out of here. Oh, and then he's got another one. This guy's got a gun. Ba boop ba ba. And instead, will you pull out a gun for me?

[June Diane Raphael]

Yeah. Whoa.

[Paul Scheer]

What did I say? No guns. What is this? Gad, it's slow. It's so slow. There's no rat a tat tat dialogue. Except for the people who are doing it who stand out. Because he sounds like what you're saying, modern in his Stallone, but everybody else is doing crazy screwball comedy.

[June Diane Raphael]

Well, let's look at scene five. Scene five is probably the best version of Stallone doing his rat a Tat tat. This is like the who's on first routine with Chaz Palminter.

[Paul Scheer]

Snaps. Are you sure there was cash in that bag? Yeah. Little Anthony stole it. If Little Anthony stole it, then he's got it. No, you blackhead. He stole it, then he gave it back to me. Why'd he give it back to you? To buy back the jewels. What jewels? The jewels he stole from. He stole jewels from you too? Yeah. So he could marry my daughter Lisa. Not Lisa.

[June Diane Raphael]

Theresa.

[Paul Scheer]

How come nobody's never met this daughter Theresa? Because she's not my daughter, capiche? Yeah, your daughter's not your daughter. And the cash that used to be the jewels is now your underwear. Now you got it. I got it. I don't even know what I'm talking about. That should be a blast to watch. You know, like in Johnny Dangerously. If that was Michael Keaton.

[June Diane Raphael]

Yeah.

[Paul Scheer]

And Chaz Palminteri. Come on, Electric. Come on.

[June Diane Raphael]

But no.

[Paul Scheer]

But no.

[Guest Speaker]

One note. I have single.

[Paul Scheer]

One single note.

[Guest Speaker]

I wish because Nora the maid's bag is sort of. It's turned over and all of her stuff comes out multiple times in the movie. I wish it was just a bunch of underwear.

[June Diane Raphael]

Yeah.

[Guest Speaker]

Instead like really big granny panty style underwear. Instead. It was just like a bunch of slips and all.

[June Diane Raphael]

Felt like laundry.

[Guest Speaker]

Stockings. Stockings. Yeah.

[June Diane Raphael]

One bank pervert, though.

[Guest Speaker]

I love that moment.

[Paul Scheer]

There's a bunch of jokes that work. It's just that Sly's not involved in any of.

[June Diane Raphael]

Why would he be taking underwear is not his underwear.

[Paul Scheer]

When Stallone. The. The moment that I know Stallone put in this movie is the moment where he's so put upon, he strikes a Christ on the cross pose on the mantle of his mansion. Like, I can't catch a break. I was like, what the fuck is this guy up to? Oh, I'm like, Christ on the cross.

[Jason Mantzoukas]

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[June Diane Raphael]

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[June Diane Raphael]

What was going on with the lighting in his office? He seemed to have an office that had, like, a purple hue. Hue.

[Guest Speaker]

Yeah.

[June Diane Raphael]

To it. That just seemed not like any other room in the house.

[Guest Speaker]

When we went into that office, I was like, oh, that's just his office. Like, that's just his personal office that we're shooting in. The actors.

[June Diane Raphael]

We couldn't get Stallone on set today. We're gonna go to his office.

[Guest Speaker]

We gotta go to him.

[Paul Scheer]

I didn't know you guys were coming.

[June Diane Raphael]

I'll do a scene. What? Who is it? I'm mad.

[Paul Scheer]

The joke. One of the jokes that I genuinely liked was the Chaz palminteri weapons dump.

[Guest Speaker]

Me too.

[June Diane Raphael]

Great.

[Guest Speaker]

Me too.

[Paul Scheer]

We've seen it in other movies too, but it works great here. When he pulls out a literal bomb that is ticking, I was like, give me this. All day, every day. A shot with no humans in it. Just heighteningly hilarious objects.

[June Diane Raphael]

Poison, a mace, like a bear trap, a mix gun. But there is, like, this whole movie. And again, I guess I understand it's a farce and we have to get confused by it, but it seems like the movie is angry that it can't figure out the plot. Like. Like a farce supposed to be fun. Like, oh, my gosh, I can't believe that that person walked in. This movie is like, oh, why is that person walking in on this scene? Like, if it does feel like you're trying to wrestle control in a bad.

[Guest Speaker]

Way, it's so true, because it. I think in a perfect farce, like, we should actually not lose control of the bags in the way that we were forced to lose track of the bags. Because Nora's coming. She's going, now the chauffeur's here. Now he's gone.

[June Diane Raphael]

The bags are often taken off screen.

[Guest Speaker]

That's what I'm seeing. We don't even see it. Right. Like, we don't see when they're removed. So it's. It was so difficult to enjoy.

[Paul Scheer]

And also, it's difficult to enjoy because what's fun about a farce is how out of control the lead character is. The events of the movie are happening to them at such a clip.

[June Diane Raphael]

Each.

[Paul Scheer]

Behind each door is another person who wants to complicate his life more and more and more. Right. And what's fun is watching that person, if it's Kevin Klein or if it's something, just be completely underwater. It's no fun to watch Sly underwater because he doesn't want to be there. He's like, I need this to stop right now. He's.

[June Diane Raphael]

He.

[Paul Scheer]

You're right. He's mad. And he.

[Guest Speaker]

He's big mad. He's big mad.

[Paul Scheer]

Too much.

[Guest Speaker]

Yeah.

[Paul Scheer]

He's a bad boy. Not a good girl.

[June Diane Raphael]

That is true. Bad boy. Bad boy with a good girl. This, like, idea that he's going straight. I'm also lost on that plot. Like, I mean, yes, I get that he's going straight, but to buy a bank? Is he buying a bank?

[Guest Speaker]

He's trying to get on the board of the bank. He just wants a seat on the board.

[Paul Scheer]

He wants to be legit.

[June Diane Raphael]

He wants to be in the room where it happens.

[Guest Speaker]

Yeah, but what. What I think you're getting to, which I was confused by as well, is, but what next? Like, so you have a seat on the board, you open up an account there with your money that I guess is dirty money. How do you plan on generating more revenue in the future? Like, there doesn't. I couldn't get a handle on what is.

[Paul Scheer]

Yeah, it does seem like he is going straight, legit. He's not like, oh, and. And my guys will keep the business going in the background or something. He's not like the kingpin or something like that, but he also. The movie, actually, the movie's just not. Doesn't have enough time to get us there, even though we inexplicably cut to a scene inside the bank. One of the only out of the house scenes is in the bank boardroom, where it's like William Atherton and the White Shadow and a bunch of other people are there, and. And they're talking about, like, oh, do we want him to be at the bank? Do we want his dirty money? Or blah, blah, blah. Like, why are we part of this decision? This doesn't help us at all.

[Guest Speaker]

And, yeah, they hate poor people. And it was a long scene, wasn't it?

[Paul Scheer]

Yeah, to give us what, the inner workings of the bank so that when they show up, we're like, oh, it's the hateful bankers that we saw earlier.

[June Diane Raphael]

Who also are trying to screw him over. I mean, again, it's over. Complicating applies. That's super simple. Which is the one day he's got to be relaxed, he's stressed out. That doesn't happen at all.

[Paul Scheer]

The threat being that, oh, no, he has to settle all of his business before the bankers come. Is not present at all. Like, I don't.

[June Diane Raphael]

What does he have to do?

[Paul Scheer]

The ticking clock is not what.

[Guest Speaker]

What should have happened is he should have Dr. Pool and all. He should have been obsessed with looking legit, acting legit, having a family that looked legit, having his employees look legit so that when they arrive at 11:00am Again, the movie. The movie actually must speed up somewhere because. No, I guess it is in real time because it's just before nine. Yeah, but he should have been obsessed with appearances and making sure that he looks like a person who could have a board seat at this point.

[Paul Scheer]

What if there was like a newspaper person or someone who could hold him accountable who would be around? But nobody was doing that. Everybody in the movie until the bankers arrive are part of his inner circle.

[June Diane Raphael]

But who he's nervous about having around is an accountant. Thank you. Ben Affleck, who is very nicely. Everyone's nicely dressed. It doesn't look like a bunch of mob guys coming in the house. If he wanted that, he should have kicked all those goons out of the.

[Guest Speaker]

House earlier in the day who would wake him up.

[June Diane Raphael]

I guess that's true. I mean, you know, like that. But there's nothing wrong in the house. Like, his wife is in the house, this accountant's in the house, his daughter's in the house. And then this other very well dressed daughter is in the house in another room.

[Guest Speaker]

I think she was. See, that was. Her costumes will haunt me because I don't think she's supposed to be well dressed. I think Paul. But I. But. And you said very well dressed.

[June Diane Raphael]

Yes.

[Guest Speaker]

So I actually think she is meant to look like a peasant person.

[Paul Scheer]

She's. She's supposed to look like a. Like a normal person.

[June Diane Raphael]

Got it. Okay.

[Paul Scheer]

Marissa Tomei is, I believe.

[Guest Speaker]

Yeah.

[Paul Scheer]

Supposed to be like.

[June Diane Raphael]

Got it.

[Guest Speaker]

She is essentially like a street urchin.

[June Diane Raphael]

Got it. And so.

[Paul Scheer]

But her name's Teresa.

[Guest Speaker]

Yeah.

[Paul Scheer]

Teresa is trash.

[Guest Speaker]

Yeah.

[June Diane Raphael]

Okay. Yeah, that's for sure. But Teresa being trash to me is interesting because Teresa meets this accountant who is Very well to do. And goes, oh yeah, my dad is Provolone. But the accountant works for Provolone.

[Guest Speaker]

That's just a coincidence.

[June Diane Raphael]

But doesn't ever has never seen this man. And any like. He is a notorious gangster mobster in Chicago.

[Paul Scheer]

But wait, you're saying she should know who he is?

[June Diane Raphael]

No.

[Paul Scheer]

Oh, well, yes.

[June Diane Raphael]

Well, I won't even get into that.

[Paul Scheer]

She names him because she sees him in the newspaper.

[June Diane Raphael]

Yes, but I'm talking about the accountant should.

[Guest Speaker]

Oh, I guess he does know him.

[June Diane Raphael]

He does know him. But it just seems to me that if you're the accountant for this man who has one daughter, you would know that that daughter is.

[Guest Speaker]

Unless that daughter is trapped up in.

[Paul Scheer]

A room, Rapunzel style. Doesn't she even say Rapunzel?

[Guest Speaker]

I think so.

[Paul Scheer]

Something like that.

[June Diane Raphael]

So she really is. Now it's a darker movie that I'm really disturbed by.

[Guest Speaker]

That's what I'm saying. She seems to be trapped up there.

[June Diane Raphael]

She's like flowers.

[Guest Speaker]

That's why. That's why when she presents in the.

[Paul Scheer]

Attic, she's not having incest with anybody.

[Guest Speaker]

But is she. But is she. Because with Stallone. Because the way she presents her body to him like it's a gift is very crazy. It's very. Flowers in the attic.

[June Diane Raphael]

I didn't realize that that was what Flowers in the Attic was about.

[Paul Scheer]

What did you think it was about?

[June Diane Raphael]

I thought it was about a bunch of kids who were trapped in an attic.

[Paul Scheer]

Did you read it?

[June Diane Raphael]

No, my mom. My mom. My mom read it and she's like, you got to read this book. You got to read this book.

[Paul Scheer]

The story started as like a trifle of misunderstanding. And then the reveal was chilling.

[Guest Speaker]

I'm so glad you didn't read it.

[June Diane Raphael]

My mom's like, it's a good book. You gotta read it. And I. And I.

[Paul Scheer]

It's got a lot of good ideas in.

[June Diane Raphael]

Was more awkward now knowing that because I didn't have any brothers or sisters. Guess I just had to go fuck myself. But I always remember that image. Okay, so got it. Check movies about.

[Guest Speaker]

But I think that what you're confused about with Teresa is her clothes were so white and crisp.

[Paul Scheer]

Her bonnet.

[Guest Speaker]

Her bonnet. That she did. I know we were mentioning to see her as a street urchin. And I did. But the costumes were really confusing. I do think she should have played more urchin. Like she should have been made a stronger choice.

[June Diane Raphael]

Knock, knock, knock. At this rich gangster's house. She's like, hey. Anyway, let me tell you what I did so I told this guy that you're my dad. What does she want from that? Like, what does she even want from, like, what is he gonna do?

[Paul Scheer]

He's also has no. Nobody is really scared of him. He is Al Capone. He is like a he. They refer to him numerous times as. As a murderer, as like a gangster. He is capable of extreme violence, but yet everybody treats him like he's the ineffectual dad in a sitcom.

[Guest Speaker]

Yeah, he's like the mayor of the block.

[Paul Scheer]

He's block mayor, but yeah, that's why.

[June Diane Raphael]

The opening scene is funny. Cause he's never. He never seems violent. The only thing that you can kind of pull over is like, at one point, they're like, I came over to your house on Valentine's Day. Wait, he did say he came over on Valentine's Day and that's when he met his daughter. So wait, how is that street urchin in the house on Valentine's Day?

[Guest Speaker]

Wait, so Anthony met his daughter on Valentine's Day?

[June Diane Raphael]

On Valentine's Day.

[Paul Scheer]

Anthony says he met Anthony. An after hours speakeasy.

[June Diane Raphael]

She. That urchin got in there.

[Paul Scheer]

Anybody can get in a speakeasy.

[June Diane Raphael]

Not the urchins. You want to keep them out. They don't got no money.

[Paul Scheer]

Somehow the urchin has to be the shirt. I mean, it's got. I mean, this has got to be the most.

[June Diane Raphael]

We've said she's dressed like the urchin.

[Paul Scheer]

Wait, who? Who? We got an urchin.

[June Diane Raphael]

She's over there.

[Paul Scheer]

Where? Where's the urchin?

[June Diane Raphael]

You're obscured by the pole, but yeah. Oh, there.

[Guest Speaker]

Oh, yeah, I see her. I see her.

[Paul Scheer]

Where? Where's the urchin?

[June Diane Raphael]

Go ahead, stand up again. Stand up. She's right there.

[Guest Speaker]

Oh, she looks great.

[Paul Scheer]

Nice. Give it up for the urchin. You didn't know I had a flashlight. Canada.

[Guest Speaker]

I really wish now maybe there was a scene. I did have to speed things up at the end because you hid my makeup bag in the room and I couldn't find it for 15 minutes.

[June Diane Raphael]

I thought I was helping you out. I took your makeup bag out of your.

[Guest Speaker]

I packed my bag without my consent. And then I frantically was looking for things.

[Paul Scheer]

I love that you refer to that as hiding things.

[June Diane Raphael]

Literally.

[Paul Scheer]

Put it, I packed for you while you were napping, and you're like, you hid my makeup bag. I got a frantic message from June being like, is there makeup anywhere around at the theater or any place?

[June Diane Raphael]

Literally put it in the bathroom on her side so you would have it in there. So you could.

[Guest Speaker]

I didn't look in the bathroom. Cause I hadn't unpacked yet. So why would it. Why would I even look in there? It was taking everything out.

[June Diane Raphael]

Try to be helpful.

[Paul Scheer]

I wish this movie had had bodies. I wish Stallone guys were killing people. There were bodies in rooms so they had to keep moving. Bodies and not just bags. The movie doesn't heighten.

[Guest Speaker]

That's a great idea.

[Paul Scheer]

Right? Right.

[Guest Speaker]

That's what the movie great idea stakes.

[Paul Scheer]

And there was no stakes for anybody. No. Like the idea that. I loved that he says that the suit makers are killers and that Anthony believes the suit makers are killers. That's.

[Guest Speaker]

That was a funny sequence.

[Paul Scheer]

I loved it. And then they playing the PF4 handed piano. I was like, I don't know why, but this is working so much better than the rest of the movie.

[Guest Speaker]

Yep.

[June Diane Raphael]

Now I will say the other part. While Tim Curry was great. I have nothing bad to say about Tim Curry at all. The elocution scene was flawed in my opinion because Stallone doesn't really get it. Like when he gets it, it's still going by like that.

[Guest Speaker]

That was. I totally agree. He just said it. He didn't articulate anything.

[June Diane Raphael]

Right. He just repeated it. The words.

[Guest Speaker]

Right. No, you're so right. Because then it made me think, is that the exercise?

[June Diane Raphael]

Well, that was the thing.

[Guest Speaker]

To just hear a phrase and repeat it.

[June Diane Raphael]

Well, that's what I was like. He. Because he should have almost had like a hoity toity British accent or something.

[Paul Scheer]

Stallone should have. Yeah.

[June Diane Raphael]

But he just.

[Paul Scheer]

Now you said something like Curry's also doing. He's like rolling. His R is like rough and ready. And I'm like, is Stallone ever gonna do this? And makes me feel like. And it's not the case. But that Tim Curry's character is like just stealing money from Stallone is like. I would believe that Tim Curry was a con man. Let Tim Curry be a con man who's conning him out of money. Make everybody have like duplicitous motives.

[June Diane Raphael]

But that's a scene like when you're the director. Like, we didn't get it. Let's cut the scene. Yeah, Landis, let's cut that scene out. Because it does like, he doesn't appear any different. Different. He doesn't appear any different. He doesn't approach the bank.

[Guest Speaker]

He's just able to hear the phrase and repeat it and repeat it back. So which makes me want to see a sequel that's just at that elocution school that he starts.

[Paul Scheer]

Or I want to see like I would like a sequel that is just Tim Curry, like, out in Europe. Where is he going?

[Guest Speaker]

Great.

[Paul Scheer]

Like doctor.

[June Diane Raphael]

Yes.

[Paul Scheer]

Doctor. What's his name in Brussels?

[Guest Speaker]

Pool.

[June Diane Raphael]

Dr. Tim.

[Paul Scheer]

Dr.

[June Diane Raphael]

Pool. Let's go out to the audience. Let's see what the audience has to say about this film.

[Paul Scheer]

Careful, careful. Paul.

[June Diane Raphael]

Hi, how are you? Hi. What's your name?

[Guest Speaker]

My name's Sumaya.

[June Diane Raphael]

Okay, I'll hold the microphone. Sumayya. All right. So, Sumaya, what's your question?

[Guest Speaker]

My question is that seeing this film and seeing the elocution scenes between Dr. Pool and Angelo, would this film work better as, like, a My Fair lady scenario? And we just focus on that. Well, I'm so sorry. Repeat it one more time. As a what.

[Paul Scheer]

What scenario?

[June Diane Raphael]

A My Fair lady scenario.

[Paul Scheer]

Yes, exactly.

[June Diane Raphael]

But it wouldn't be My Word lady, because.

[Paul Scheer]

Right.

[Guest Speaker]

Well, I think the movie kind of wants to be that. Where he should be going through a full makeover. This is a makeover movie.

[June Diane Raphael]

Yes, but the difference.

[Paul Scheer]

But the difference is Stallone.

[June Diane Raphael]

Okay.

[Paul Scheer]

Sorry.

[June Diane Raphael]

Oh, I was gonna say the difference with this movie is that in My Fair lady, she's putting on that kind of voice, and then she gets to her normal voice here. Stallone is not losing that voice.

[Paul Scheer]

Well, Stallone, not only is he not losing that voice, I don't think Stallone wants his character to change at all. I think he wants him to be the same. I don't think. Because it's almost like. Like the Matthew McConaughey quote, which is like, I don't play bad guys who become good. I become. I play good guys who become great. Wow, Real quote. Real quote. And that's. I feel like with Stallone, I don't think can. Can occupy a character who needs to be different because that. That tells him vulnerable, that tells him the original character is wrong. And I don't think Stallone plays guys who are wrong.

[June Diane Raphael]

The new prime Minister of Canada is here.

[Guest Speaker]

Oh, great.

[Paul Scheer]

Congratulations on your election. On your recent election victory.

[June Diane Raphael]

It's a Finucci. Okay. I love it. It's a Funucci. Oh, it's a Finucci.

[Paul Scheer]

It's a Funucci.

[June Diane Raphael]

Love this.

[Paul Scheer]

He went. He went to Fenucci.

[June Diane Raphael]

All right. Thanks, boss. Thanks, boss. Hey, not boss. Mister. What does he do? All right, so what's your question? All right, so John Landis originally wanted either Al pacino or Danny DeVito to play snaps. But I read that Sylvester Stallone considers this his second worst performance after Stop or My Mom Will Shoot, which he was tricked into signing onto by Arnold Schwarzenegger. So my Question to you is, would this have been better movie, like a little bit more straight with Pacino or DeVito or if Stallone got back and tricked Schwarzenegger to be the lead Full Mickey blue eyes. Now, now, first of all, great, great question. I do think that Schwarzenegger would actually deliver a better movie than this.

[Guest Speaker]

I think so too.

[Paul Scheer]

Arnold is funny full stop and Stallone is not. And I love. There's so many Stallone movies I love, but none of them are funny. He doesn't have a light touch. And ironically, Arnold, for as much bulk and heft as he is, has a genuine light touch. It can have a genuine light touch of things.

[June Diane Raphael]

And just to add a little detail to your detail, Al Pacino was in pre production on this movie until Dick tracy offered him $20 million like peace and walked out. And then they had to frantically cast Stallone.

[Paul Scheer]

So by the way, that would have been. I would have loved, loved Pacino in this. There's this, the setup for this movie is good. It's not, it's. The concept is not flawed. The execution is.

[June Diane Raphael]

And just one more detail on top of that. The original movie was announced in 1978 with Danny DeVito.

[Paul Scheer]

This is 1978 with DeVito.

[June Diane Raphael]

Yes.

[Paul Scheer]

So that's like very. That's like Cuckoo's Nest DeVito.

[June Diane Raphael]

That's Pre Taxi.

[Paul Scheer]

That's. Or no, that's just at Taxi. Okay.

[June Diane Raphael]

Hi, sir, how are you? What's your name?

[Paul Scheer]

Jeremy. What's your question as an accounting teacher? I didn't get any of it, but I'm wondering, Little Anthony, I think his name is the accountant. He consistently steals $50,000 or $50,000 worth of jewels every like 15 minutes. And he's not really scared to tell a gangster or form gangster at all. And then how many more times has he stolen money? He hasn't even told him yet. He has all these scams and he's. This is a real accountant's question.

[June Diane Raphael]

Well, the scams didn't seem to be stealing jewels. The scams seem to be cooking the books a little bit.

[Paul Scheer]

No, no. He's got the bag of jewels.

[Guest Speaker]

Yeah, I guess I have a question for you. Why did he convert to jewels?

[June Diane Raphael]

Yeah. Do you tell your clients to convert to juuls?

[Paul Scheer]

Well, I have students. I don't have clients, but.

[June Diane Raphael]

Got it.

[Paul Scheer]

Should we be moving to a jewel based economy?

[Guest Speaker]

I know we're off crypto, but now.

[June Diane Raphael]

This movie would posit that it's complicated because people could grab your bag of jewels and then you're done.

[Paul Scheer]

Now here's the question. Oh, this actually, this is perfect for you right now because we're in such turmoil, right? Especially where we're from. Should we be moving more towards a jewel based economy or a women's underwear based economy? I know where I come down. I know where I come down. But I want to hear an expert's opinion. You better say underwear. Depends. How liquid is the. This guy gets it.

[June Diane Raphael]

It. All right.

[Paul Scheer]

Yeah. My. My money's soaking wet. I got 300 bucks sopping wet. Bucks.

[Guest Speaker]

This is such a small detail, but was anyone else disturbed that that giant bag of jewels just had just one. One flat layer of jewels on the bottom? Like, I didn't know why we weren't opening it up to, like, light from within with this giant, like, all of these jewels everywhere. It was like, just one layer.

[June Diane Raphael]

And also, how do you get that amount of. Like, he must have gone to a lot of different jewelry stores. I don't know. It just didn't seem like a great way to convert. I don't know. Money is always good.

[Paul Scheer]

It's 1931.

[Guest Speaker]

Yeah, always. You gotta remember that the bank.

[Paul Scheer]

There's been a run on the banks.

[June Diane Raphael]

Your name? Your question?

[Audience Member]

Hi, my name is Brian. So I have one question and one sort of observation. The question is the original stage play has a lot of similarities as far as the plot points are concerned, but a lot of differences, particularly with the characters. The main one being that there is no mob angle. And Provolone is a soap salesman. So could this movie have possibly been worse if he played it like they were in the original play, that if you were a soap salesman, huh?

[Paul Scheer]

I mean, the stakes would be a lot lower.

[Guest Speaker]

It's so hard because, I mean, he sort of was playing it as a soap salesman like there was no real threat to him, you know, off coming off of him. And it never felt like he was really going to hurt anyone or suppressing those instincts.

[Paul Scheer]

So if he. So did you read the play?

[Audience Member]

Yes, I actually read the play two days ago for a theater company I'm a part of. We're considering doing it as a production next season.

[Paul Scheer]

Wait, what? Wow.

[June Diane Raphael]

That is commitment. Toronto. That seems like it could be a funny play. I mean, the French farce is a. Is a real hit.

[Audience Member]

Yeah, the play is actually quite funny. It's also a lot longer than the movie, which means everybody will have to commit to speaking fast. Another big difference was the Tim Cary character is his personal masseuse.

[Paul Scheer]

Okay, okay.

[June Diane Raphael]

So it's 1931. Soap business is good for soap sales.

[Paul Scheer]

But is there? So if there isn't the gangster element, it's just the farce of the mistaken daughters and so forth. Because there isn't a going straight.

[Audience Member]

Correct.

[Paul Scheer]

Okay, got it.

[Guest Speaker]

But what is he trying to accomplish during the day?

[Audience Member]

Nothing.

[June Diane Raphael]

Now that is a play.

[Paul Scheer]

So everybody here? Toronto. It sounds like it's gonna be up soon. Yeah, you guys are gonna have an opportunity.

[Guest Speaker]

God, I would love if had this get made. Just started a production shingle where we just produced plays based on the movies, by the way.

[Paul Scheer]

Yeah, interesting. Even if we. I don't know. And maybe he could answer it. Even if we were to do a staged reading of the play, of the play.

[Guest Speaker]

And the play should be quite different in the same way. It's a soap salesman. Like it's not a one to one.

[Paul Scheer]

We'll talk. You know what, we'll talk to Stallone.

[Guest Speaker]

Yeah, yeah, we'll talk to Stone. Stone. We'll see if we can get something going.

[June Diane Raphael]

All right.

[Paul Scheer]

I want to say, Paul, wherever you are, this theater is gorgeous.

[June Diane Raphael]

I am up in the mid balcony.

[Paul Scheer]

That's right, mid balcony. Is that what you call it here? Mid balcony. We don't call it the mez.

[June Diane Raphael]

Technically, we had this debate before the show started. Technically, seats are on sale for the balcony. That is the gallery above us. That's the gallery above us is the gallery.

[Paul Scheer]

Wait a second. So. So for maybe the first time in history, we have gallery monsters. Wow. Absolutely terrifying.

[June Diane Raphael]

Balcony versus gallery. That might be the shirt as well. All right, your name, your question.

[Guest Speaker]

Hi, my name is Emily and I actually did some research and I managed to find. And it's going to follow with a question.

[Paul Scheer]

Okay.

[Guest Speaker]

Globe and Mail and the New York Times had an article in November of 1990, fire guts. Part of Universal Studio. One of the few films that was shooting at the time was this film. And their publicist said, we lost 21 vintage cars, the camera equipment, props, and every bit of wardrobe. Was this a hit?

[June Diane Raphael]

Okay, I know this story. Yes. The security guard who was in charge of the old cars set a fire at Universal to steal the cars. He was arrested for that. But it. The production had to shoot like shut down for two weeks as they had to rebuild everything for this movie.

[Paul Scheer]

Wow.

[Guest Speaker]

So that again explains his office in the movie.

[Paul Scheer]

They were. They were only left with purple lights.

[Guest Speaker]

Yeah.

[June Diane Raphael]

I want to point out three balcony monsters. And there are three balcony monsters. Get this camera.

[Paul Scheer]

Look at this. They have what, Balcony monster shirts.

[June Diane Raphael]

Yeah. Oh, together.

[Guest Speaker]

All right, fantastic.

[Paul Scheer]

Soon enough we'll have gallery monster shirts. Hopefully.

[June Diane Raphael]

All right. All right. You feel like you got something? Come on over here. You. Come on. All right. I saw the two hands waving, which sometimes in the States means stay away, but I feel like in Canada there's more passion or. Yes. What's your name? What's your question?

[Guest Speaker]

Hi, there. I've actually been gifted a mafia name.

[June Diane Raphael]

Okay.

[Guest Speaker]

So my name is the Fist. Lindsay the Fist.

[June Diane Raphael]

You've been gifted that by whom?

[Guest Speaker]

A co. Worker of mine who is not of Italian descent. I'm of Italian descent. I'm here with my cugini over here. Oh, wow.

[June Diane Raphael]

I'm also of Italian descent.

[Guest Speaker]

It is, you know, it is a good question, though. I mean, I, I. Or an interesting topic. Like, I don't know if you are. If you give someone their name, do you. Or is it like.

[Paul Scheer]

I don't think you choose it like the Pope. I don't. Wait, what do you mean? Like.

[Guest Speaker]

Well, like, he. Well, yeah, he chooses his own name.

[Paul Scheer]

No, I think it is. I think in those situations, like, gangster, I think, is given to you.

[Guest Speaker]

Okay, got it.

[Paul Scheer]

As a. You know, like a big guy gets called Tiny or whatever.

[June Diane Raphael]

If you cut off people's pinkies, they call them pinky.

[Paul Scheer]

Yeah. So super quick question, Lindsay. How'd you get the Fist? Cause you're in the balcony, so we all assume.

[June Diane Raphael]

She says, I can't tell you. You won't tell us. Okay. Do you have a question?

[Guest Speaker]

I have two small questions. One is for June. What did you think about the wedding gowns at the end? I wanted to get your opinion on those. So, of course, at the end, I was searching for my makeup bag. Okay, so.

[June Diane Raphael]

Behind you, June.

[Guest Speaker]

I didn't. I'm sorry.

[June Diane Raphael]

Behind you.

[Guest Speaker]

Oh. Oh, I love them. Oh, I love them.

[Paul Scheer]

They look great.

[Guest Speaker]

Yeah, I think they look amazing.

[Paul Scheer]

We don't wear spats anymore.

[June Diane Raphael]

Why?

[Guest Speaker]

I mean, I have to say Marissa to. And I know she's been in other time periods, and she always looks. She looks amazing right now, but this. There was something about her in 1931 where she. Boy, is this. Yeah. Is this an era she can wear?

[Paul Scheer]

Yeah, she. It's. It's. It's very compelling. It's her in this, and it's Marshall in Miller's Crossing. Come on.

[Guest Speaker]

Yeah.

[June Diane Raphael]

Okay, your second question.

[Guest Speaker]

Did you guys notice how the only song they played was the Barber of Seville?

[Paul Scheer]

Yeah.

[Guest Speaker]

Like the aria and then the trailer was the overture.

[June Diane Raphael]

Yeah, I don't understand how that connects any opera people here. That would be like. Is that thematically a choice? Oh, yes. Oh, hold on, let me Go over. Let me go over.

[Paul Scheer]

Is there an opera singer here who said.

[June Diane Raphael]

Yes.

[Paul Scheer]

Wait, is the little Claymation guy here?

[June Diane Raphael]

All right, the little claymation guy. This is actually really upsetting. He killed one of the California Raisins. Been in jail for, I think, since 1994.

[Paul Scheer]

He was one of those people that Landis used a lot. And I think he was in the helicopter.

[Guest Speaker]

Jason.

[Paul Scheer]

Okay, interesting reaction. Canada Jason, to the death of a Claymation character.

[June Diane Raphael]

Yes.

[Paul Scheer]

You guys. You guys are too touchy, eh? I'm sorry. You fucking idiots.

[June Diane Raphael]

All right, so you are our resident opera expert. You can just take that. You don't have to justify that. You are.

[Jason Mantzoukas]

You're not.

[June Diane Raphael]

But. But I'm calling you our opera expert. How is it thematically tied?

[Opera Expert]

Well, I actually am the opera administrator for U of T. University of Toronto.

[Guest Speaker]

Yes.

[Paul Scheer]

Why? So, yeah, I worked. Anyway, hold on, hold on, hold on. Start talking again. You were getting an applause break that you talked through. Yeah, no, no, no.

[Opera Expert]

I actually just started that job. But anyway, I was a stage manager on opera, so. So the Barbara of Seville. That's the Bugs Bunny.

[June Diane Raphael]

The Figaro.

[Opera Expert]

Figaro, Figaro. That's what that is.

[Guest Speaker]

Right?

[Opera Expert]

So that's, like, one of the most famous, like, Offra. Like, Bouffon. Like, the Bouffs.

[Guest Speaker]

Right.

[Opera Expert]

And so that premise is that this guy wants Count Almavira Almaviva, Sorry. Wants to marry this woman, but he has to pretend to be a piano, like a voice teacher to then go in and trick the guy who is in charge of her. Like, that's his wardrobe.

[June Diane Raphael]

That. Because she's a good girl.

[Opera Expert]

Because she's a good girl. She's such a good girl.

[Paul Scheer]

I like it less when Paul says it in the audience.

[Opera Expert]

But, yeah, she's such a good girl that she's like, yeah, whatever. I guess I have to marry the man who's like my dad, sort of. So it's very much like the vibes of, like, Sylvester Stallone and Bartolo want to fuck their daughter or their ward.

[June Diane Raphael]

And that's from an opera person.

[Paul Scheer]

Wow. Great work. Great work. Support the U of T Opera. Maybe you can combine with his play company and you guys can do an operatic version of the play.

[Guest Speaker]

That is something.

[Paul Scheer]

All right, we'll produce it.

[Guest Speaker]

Can we see something?

[June Diane Raphael]

All right. Yes. You have some notes. What do you have?

[Guest Speaker]

Okay, so first of all, has anyone, anyone noticed how Stallone can't say his own last name?

[June Diane Raphael]

Provolone?

[Guest Speaker]

Prevalone, B. I thought you meant Stallone. I was like, oh, wow. Really?

[June Diane Raphael]

I've never Heard him say that either.

[Guest Speaker]

Did anyone also clock all of the things that Marisa Tomei wanted to do?

[June Diane Raphael]

I love that funny list.

[Paul Scheer]

Do you have that list?

[Guest Speaker]

I do. Swim in the English Channel, Shop in Paris. Lay on a beach in Honolulu. Ride a zeppelin. Attend a Rudy Valley show. Go to an African safari. Run with the bulls in Spain. Climb the Empire State Building, and go to an opium den in Chinatown.

[June Diane Raphael]

That was my favorite one.

[Paul Scheer]

I loved the opium den one, too. That was. I was like, oh, maybe she's not a good girl after all.

[June Diane Raphael]

She didn't know. So now your name, your question.

[Guest Speaker]

Nalisa.

[June Diane Raphael]

Okay, and what's your question?

[Guest Speaker]

At the beginning, we learn that the maid is running off to, like, get married. And then towards the end, we find out that the maid that has brought in to replace the other one is, like, the mother of the daughter. So after the wedding, do you think she becomes their maid? That's such a great question. Because she does need to work. Like, I. He's no longer playing child support. Or maybe he's paying, like, back child support for what? He didn't pay for.

[Paul Scheer]

He just found out. He didn't know.

[June Diane Raphael]

Yeah. He was never paying child support.

[Guest Speaker]

Okay, first of all, I know he didn't know, but she did raise Teresa on her own for 18 years. He's got to pay up.

[Paul Scheer]

Oh, yeah. But it definitely seems like. It definitely seems like he is not. He is interested in her being his daughter. He's not trying to, like, get rid of her.

[Guest Speaker]

He's not trying to disown her. And I think he did. Well, he didn't give her her own wedding.

[Paul Scheer]

The movie couldn't support two weddings.

[Guest Speaker]

That's true. That's true. But yeah, it's such a great question, because I really would love to see a world in which she's no longer working as a maid. Certainly not as his maid.

[Paul Scheer]

I don't think she will be. I don't think she will be because I think she is now his. Okay, wait a minute.

[June Diane Raphael]

His ex lover.

[Paul Scheer]

Well, yes, but also her daughter has now married the accountant.

[Guest Speaker]

Yes.

[Paul Scheer]

Okay. Okay. God damn it. I don't even care about this movie.

[Guest Speaker]

Well, but I guess the question is, at the end of the movie, while I was looking for my makeup bag, does he. Does he go back to a life of crime or.

[Paul Scheer]

Yes, he does.

[Guest Speaker]

That's. I'm actually glad to hear that because that means that I feel like she's not going back to maid's work, that he's hopefully going to support her.

[Paul Scheer]

I think so.

[Guest Speaker]

Great.

[Paul Scheer]

I Think that's.

[June Diane Raphael]

I think that's in the cars. Killed in the crossfire during a very violent. I don't want to get into it, but. But there was an issue. They think that he's in the car. They kill her.

[Paul Scheer]

Sadly, Kurt Wood Smith shoots her in the head.

[June Diane Raphael]

Well, obviously we had opinions about this movie, but there are people out there with a different opinion. It is now time for second opinions.

[Guest Speaker]

Hi, I'm Piper.

[June Diane Raphael]

Hi, Piper.

[Guest Speaker]

What?

[Paul Scheer]

Piper, no.

[Guest Speaker]

I knew it.

[Paul Scheer]

I knew it. I got him. I got him.

[Guest Speaker]

Piper, no.

[Paul Scheer]

I'm sorry, Piper, I interrupted you.

[Guest Speaker]

That's okay. 1, 2, 3, 4, 5. That's how many stars that I give this ride. You've got Angelo, Anthony, Connie, Sophia, Gangsters Going Straight and a child bride named Lisa. Dr. Pool and his nicely rounded dip thongs. Guido Butlering and Nora. Accents all wrong. A little of Teresa telling lies. A little. A little bit of math that goes awry. A couple dangling participles in your face. A little bit of yelling out of place. A little bit of Oscar at the end. A whole lot of snapping at your friends. A little bit of accents gone all wrong. A little bit of my second opinion.

[June Diane Raphael]

Yes.

[Paul Scheer]

Great work. Wow.

[June Diane Raphael]

Nailed it.

[Paul Scheer]

Nailed it.

[June Diane Raphael]

Yeah. Absolutely nailed it. Toronto.

[Paul Scheer]

That was a great one.

[June Diane Raphael]

What a great way to end it.

[Paul Scheer]

I feel like on three we can all say piper, no. Right? One, two, three. Piper, no. I loved it. I loved it. I didn't recogn. Those were great songs. Some of the songs I didn't recognize. I assume they're all tragically hip songs.

[June Diane Raphael]

I there.

[Paul Scheer]

We don't know their songs, but I know Sloan.

[June Diane Raphael]

You all did fantastic. I saw Lubega perform at the Hard Rock Live. He did five songs. Three of them were Mambo Number five. Not a joke.

[Paul Scheer]

I was gonna say. Were they Mambos one through five?

[June Diane Raphael]

I wish. He opened with Mambo Number five. Got a great response, did another song. Didn't really do well, then did Mambo Number Five. Then left the stage and came out and encored with Mambo Number Five. And I gotta tell you, each time it got better and better. All right, these are reviews from Amazon. There are 3,175 reviews on Amazon. Hold onto your butts when I tell you. 87% are five star reviews from Celeste Skykop. She writes back in 2014. Title, I Hate Sly, but I love this movie. I hate Sly, but I love this movie. I first saw it in the theater on a date and I didn't even notice my date had gotten sick and gone to the Bathroom for most of the movie. It is a cute plot with intricate dialogue. My family quotes lines from it all the time. Five stars.

[Paul Scheer]

Can you imagine being so like so obsessed, so enthralled with this movie that you didn't notice your date abandoned you for the bathroom?

[June Diane Raphael]

Rough stuff. But now they have four kids and they're very happy. Rachel W titles her review a classic that's so highly quotable. This is written back in 2023. This movie is a family favorite. I'm not sure why it's not more well known. The dialogue is fantastic and Alyssa Milano, Sylvester Stallone and Tim Curry are an absolute delay.

[Paul Scheer]

Incredible.

[June Diane Raphael]

This movie is the reason that my siblings and I have told each other for years, shut up in your face, Mussolini. The design and the costumes also make this appealing to watch. There's no bad language or nudity, making it a great choice for family movie night. I'll never, never get tired of this movie. Five stars.

[Paul Scheer]

Wow.

[June Diane Raphael]

Hightower in 20.

[Paul Scheer]

Wait, wait. From Police Academy?

[June Diane Raphael]

Yes. Whoa. Pretty cool. Super cool in 2022 writes this. All of it is bullet points. By the way. This is unlike anything Sylvester Stallone has ever done and it's marvelous. The plot, although adult content is engaging. Star studded cast, impressive family and I enjoyed it while keeping up with the characters. There is slapstick, clever situational, ironic humor throughout the entire movie. The time slash era is authentic. It seems like the cast has a mesmerizing chemistry. I've seen this movie 10 times and I still laugh out loud. Surprisingly funny. Very well done film and definitely rewatchable. My family and I love this movie. Five stars.

[Paul Scheer]

Wow.

[June Diane Raphael]

This one is the one I want to end on. From Joseph.

[Jason Mantzoukas]

In 2020.

[June Diane Raphael]

He writes, if you haven't seen this, you should. It's a comedy primarily in wordplay and scene play.

[Paul Scheer]

I think. I think that's everything.

[June Diane Raphael]

As opposed to slapstick nonsense in gutter level humor. Frickin funny movie. Five stars.

[Paul Scheer]

Wait, you don't like. You don't like gutter level humor? Freaking funny movie.

[June Diane Raphael]

You also don't like slapstick, but you like wordplay. Interesting. And that is what people think of Oscar. Which I will tell you, many people DM'd Instagram storied. I don't know what they're talking about. This movie's good. And then I was like, oh no, did we pick something terrible? And then I was like, I watched. I was like, no, no, no, we're right. You're all wrong.

[Paul Scheer]

Paul, don't underestimate that our audience are fucking idiots.

[Guest Speaker]

Now I Said it before, and I'll say it again, because I know you're gonna ask us. I did enjoy a lot of this movie. I did enjoy this movie.

[June Diane Raphael]

And you could say the same thing. For Thanksgiving dinner, you have turkey and it makes you tired and you fall asleep. But you enjoyed Thanksgiving, this movie?

[Guest Speaker]

Well, I eat meat.

[June Diane Raphael]

Well, okay, sure. But I'm just saying, in the general sense, you were just tired, but you got back into it pretty easily.

[Guest Speaker]

I just had to take a quick nap.

[Paul Scheer]

Yeah, yeah, you got it. Sometimes, like, it's exhausting to be so immersed in a time period.

[Guest Speaker]

Yeah.

[Paul Scheer]

In the 1930s, honestly, I had to.

[Guest Speaker]

Relocate myself because I was scared I'd go insane.

[Paul Scheer]

You had a dress of laudanum and you went to sleep.

[June Diane Raphael]

I.

[Paul Scheer]

Okay, all right. I see where you're at. Canada.

[June Diane Raphael]

I feel for Stallone because I also am a huge Stallone fan. I like. I do. I like the stuff that he does, but I feel like he's trying so hard to be funny. And I feel like I see it a lot. And I feel like these are the jokes that work with his friends who don't tell him. Sly, that's not a joke. The pimple thing. Like, no one tells him no. And then you get. Occasionally stuff like this. You get moments like that in Tulsa King 2, which I also love.

[Paul Scheer]

When do you see it? In the recent Sylvester Stallone scripted movie A Working man, starring our favorite Jason Statham.

[June Diane Raphael]

So whatever's happened there, I did some research on this. He has just gifted Statham his old movies. He's like, you make this. You make this. Like, everything is now. Like, he's getting second hand Stallone.

[Paul Scheer]

Incredible, by the way. Incredible. Because he can pull it off. Statham's legit funny.

[June Diane Raphael]

Yeah.

[Guest Speaker]

But I'm sort of with you. I mean, we went on a Rocky tear this past summer.

[June Diane Raphael]

Yes.

[Guest Speaker]

You and I.

[June Diane Raphael]

Not a. We didn't go on Rocky tear.

[Paul Scheer]

Rocky the movie.

[June Diane Raphael]

Rocky the movie.

[Paul Scheer]

You guys were not in a Rocky tear.

[Guest Speaker]

No Rocky movie. No, we weren't. We were. And I have such a spot in my heart for him. I really, really do. And I. Yeah. Not every moment works. And of course his pace should be different. And all that's true. That remains true. That's always going to be true. But if you can get past all of that, I swear, if you can do some work. Audience, like, if you can ask him to do everything. If you can.

[June Diane Raphael]

So you're saying if you can appreciate. If you can look at this movie and recast it and rehear it differently you can really appreciate it.

[Guest Speaker]

Yeah.

[June Diane Raphael]

Okay.

[Paul Scheer]

Yeah, it's tough. This one's tough, because I think what you're saying, June, I agree with, which is that there is something inherently watchable and interesting about Stallone, even if he's not necessarily pulling off the tone that this movie requires. It's too long, it's too slow. But they do such a good job of rounding out everybody else, because there are jokes in here that. Like when Reigert says. When Peter Reigert says the Duke of Ellington. Yeah, funny.

[June Diane Raphael]

It's a funny line.

[Paul Scheer]

There's jokes in here that are funny. When one person's reading a Time Map magazine and the other person's reading Huey magazine, I was like, give me a subscription to Hui magazine all day, every day. I read it for the articles.

[Guest Speaker]

And again, the whole sequence with the brothers and Nicholas, and they're looking at the paper and saying that he. This was our work.

[Paul Scheer]

And he's so funny. That they're proud of the man has been murdered in their suit.

[Guest Speaker]

Yes.

[Paul Scheer]

That they're famous.

[Guest Speaker]

Hilarious. Now, one, One. One thing I will say. I know we're so focused on Sly, but I did feel like Nicholas was a bit miscast as the accountant.

[June Diane Raphael]

I did, too.

[Guest Speaker]

They put a set of glasses on him. I'm sorry? Nicholas Anthony. They put a set of glasses on him, but he's a big, strapping man, and I feel like you wanted that guy to be a little bit more.

[Paul Scheer]

He seemed like a leading man, which.

[Guest Speaker]

Confuses me very much so. And you want him to be scared of these two tiny men.

[June Diane Raphael]

Yes.

[Paul Scheer]

Harry Shearer being one of them.

[June Diane Raphael]

Love that. My favorite part of the movie was when he pulled out the. The chicken leg as a gun. The jumpstick.

[Guest Speaker]

Good. These are great moments, guys.

[Paul Scheer]

But I will say, if you want to see again, a lot of these same ideas executed better. It's Johnny Dangerously.

[Guest Speaker]

I got to go see that. I'll go see that.

[Paul Scheer]

Amy Heckerland, right?

[June Diane Raphael]

Yes.

[Paul Scheer]

Yeah.

[June Diane Raphael]

Yeah. It's a good. It's a. That was. Yes. See it now. What do we want to plug? Jason, what are you telling people you're up to?

[Paul Scheer]

Taskmaster? Let's go. Let's go. Taskmaster UK. I'm on it. Season 19. It's airing right now. Episode two just aired. It's all up now. Go. Go there. Watch it on YouTube. YouTube. Or here. You might even be able to watch it on something else. I don't know. But if you're.

[June Diane Raphael]

It's here. I was looking at it on you. I. I saw that popped up on my YouTube today.

[Paul Scheer]

Great. It's on YouTube. Watch it, comment, get involved. These need to hear about it.

[June Diane Raphael]

June, what do you got?

[Guest Speaker]

Oh, gosh. Well, I'm in a new movie which Paul and I just saw. It's not coming out till the first weekend of August, but it is called Weapons. It's the follow up for Zach Kreger's new movie.

[June Diane Raphael]

So good.

[Guest Speaker]

It's so good. Also coming out the same weekend with another movie. I am in. Freaky Friday 2. Oh, yeah, that'll be a cool, fun weekend.

[June Diane Raphael]

My book just came out in paperback. Joyful Recollections of trauma with 20 extra pages. If you take a picture of that barcode, I could send you a personalized copy of it, but you have to pay for it. But if you've read the book on my website, there are all these special features, videos, pictures and everything like that. And then Every Monday on YouTube, Rob Huebel and I host a show called the Dark Web. Thank you. We go deep into the web to find the weirdest stuff, like Sizzler training videos and oh my gosh. Yeah, it's a lot of stuff. We find a bunch of stuff. Stuff. 20 minutes. It's free every single week.

[Paul Scheer]

June, I feel like we need to come up with a Barbenheimer style name for weapons and. Freakier Friday.

[June Diane Raphael]

Freaky Weapons.

[Guest Speaker]

Your Friday. Thank you.

[June Diane Raphael]

Freakier weapons.

[Paul Scheer]

No, that they. So. So people can like telegraph that they're going to see both. It's a double.

[Guest Speaker]

Yeah, it is a double feature.

[Paul Scheer]

Figure out some sort of whatever clumsy thing that. Right now, let's all stop, stop and think about it. Freaky Weapons. Weapon Friday.

[June Diane Raphael]

Weapon Friday. Weapons Friday. Friday. Freaky.

[Paul Scheer]

Freaky Weapon Friday. And very American on Friday. Thank you.

[June Diane Raphael]

We love being here. Thank you everybody for coming out.

[Paul Scheer]

Good night. Eat shit, Canada.

[Jason Mantzoukas]

What a great show. And we are once again back in Canada this weekend. That's right. We'll be in Vancouver on Saturday, July 12. It's our apology tour to Canada. We have not been back in a.

[June Diane Raphael]

Very, very long time and we're doing.

[Jason Mantzoukas]

Two in one summer. But here's the thing. If you bought tickets for. How did this get made in Vancouver? Check the location. We originally were going to do the show at the Queen Elizabeth Theater, but we moved down the block to the Vogue theater. Your tickets should be updated. But just make sure that you are going to the Vogue theater, not the Queen Elizabeth Theater. Your tickets and everything should be updated. But just in case you didn't check your email, I'm here to tell you it's the Vogue Theater July 12th. I'll be doing a big book signing after the show and if you're like, oh Paul, I want my book signed and I'm not in Vancouver, don't worry about it. Just go to my website and we will support indie bookstores by letting you get anything you want inscribed in my book with me signing it. I guess it's just called signing a book. Anyway, just go to Paulshear.com and you.

[June Diane Raphael]

Can do that right there.

[Jason Mantzoukas]

Once again, a big thank you to everybody who helps make this show happen. Our producers, Cody Fisher, Scott Sonny, Molly Reynolds and our amazing movie picking producer, Avril Halley. Our sound engineers Casey Holford and Jared o'.

[June Diane Raphael]

Connell.

[Jason Mantzoukas]

And people, if you're not watching the dark web on YouTube, what are you doing? Check it out. Me, Rob Huebel, the dankest, the darkest, the silliest dumb shit on the Internet. Bye for now.

[June Diane Raphael]

Peace.

[Guest Speaker]

What's poppin listeners? I'm Laci Mosley, host of the podcast Scam Goddess. The show that's an ode to fraud and all those practice it each week I talk with very special guests about the scammiest scammers of all time. Want to know about the fake errors? We got em. What about a career con man? We've got them too. Guys that will wine and dine you and then steal all your coins. Oh, you know they are represented because representation matters. I'm joined by guests like Nicole Byer, Ira Madison iii, Conan o' Brien and more. Join the congregation and listen to Scam Goddess wherever you get your podcasts. Did you know that parents rank financial literacy as the number one most difficult life skill to teach? Meet Greenlight, the debit card and money app for families. With Greenlight, you can set up chores.

[Jason Mantzoukas]

Automate allowance and keep an eye on.

[Guest Speaker]

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[Jason Mantzoukas]

Wisely and parents can rest easy knowing.

[Guest Speaker]

Their kids are learning about money with guardrails in place. Sign up for Greenlight [e-mail] podcast.