Stop! Or My Mom Will Shoot w/ Kate Spencer (HDTGM Matinee)

Summary

Podcast Summary: "Stop! Or My Mom Will Shoot w/ Kate Spencer (HDTGM Matinee)"

Podcast Information:

• Title: How Did This Get Made?
• Hosts: Paul Scheer, June Diane Raphael, Jason Mantzoukas
• Guest: Kate Spencer
• Episode Title: Stop! Or My Mom Will Shoot w/ Kate Spencer (HDTGM Matinee)
• Release Date: July 15, 2025
• Description: Celebrates and dissects notoriously bad movies with humor and insightful commentary.

---

1. Introduction and Guest Welcome

The episode begins with Paul Scheer introducing the podcast and welcoming the special guest, Kate Spencer. The hosts tease the discussion about the infamous movie "Stop! Or My Mom Will Shoot," setting the stage for an in-depth analysis.

Paul Scheer [01:25]: "It's a buddy cop movie where one of the buddies is a mommy. We saw the Sylvester Stallone Estelle Getty classic. Stop or my mom will shoot."

2. Initial Impressions and Roger Ebert's Critique

The hosts reference Roger Ebert's scathing review, which labeled "Stop! Or My Mom Will Shoot" as the worst film he had ever watched. This sets a critical tone for the discussion.

Paul Scheer [03:22]: "This is our Roger Ebert tribute episode here. Because Roger Ebert has called this movie the worst film he ever saw, ever."

3. Character Analysis: Sylvester Stallone and Estelle Getty

The conversation delves into Sylvester Stallone's portrayal of a police officer partnered with his overly intrusive mother, played by Estelle Getty. The hosts debate the effectiveness of this dynamic and its impact on the film's reception.

June Diane Raphael [05:30]: "There are several shots of Estelle Getty that make it seem as though this is a horror film. ... I felt scared."

4. Themes and Messages: Gun Control and Mental Health

Kate Spencer brings up the underlying themes of gun control, highlighting scenes where the protagonist faces challenges acquiring a firearm legally, which resonates with issues pertinent to 2013.

Kate Spencer [07:14]: "There was a gun control message to this movie that felt very applicable to 2013."

The hosts also touch upon the psychological aspects, discussing the protagonist's inability to express emotions and how his relationship with his mother influences his behavior.

Jason Mantzoukas [16:53]: "Something that we're putting a lot on Sylvester. I actually really think the bigger problem was with her."

5. Prop and Soundtrack Critique

A significant portion of the discussion focuses on the movie's props and soundtrack, which the hosts find incongruent with the film's intended genre. The constant use of a seemingly cheerful jazz soundtrack juxtaposed with violent scenes creates a disjointed viewing experience.

Paul Scheer [19:03]: "It's the music that underscores every scene. It's like a bad Disneyland jazz band throughout the entire movie."

6. Cinematic Techniques and Directing Flaws

The hosts critique the directing choices, such as inconsistent character development, awkward framing, and misplaced emotional beats. They argue that these flaws contribute to the movie's poor reception.

June Diane Raphael [22:20]: "But what they were establishing is that she's in jeans. It's after. This is the dress. It just felt like that."

7. Comparative Analysis with Other Films

Comparisons are drawn between "Stop! Or My Mom Will Shoot" and other buddy cop movies like "Beverly Hills Cop," highlighting where the film succeeds and where it fails in relation to its peers.

Jason Mantzoukas [09:03]: "Beverly Hills Cop was written for Sylvester. And he turned it down and Eddie Murphy made it. And it became a huge hit. I think this movie was Sylvester's attempt to be like, oh, shit, I blew it with that movie."

8. Discussion on Misogyny and Character Portrayal

The hosts express concerns about the film's portrayal of women, particularly focusing on Estelle Getty's character. They argue that the movie perpetuates misogynistic stereotypes by depicting the mother as overbearing and the female lieutenant as underdeveloped.

June Diane Raphael [35:17]: "I felt like she's doing something we've already seen her do on Golden Girls. Like there was nothing different."

9. Analysis of Supporting Characters and Extras

Attention is given to the supporting cast and extras, whom the hosts find either overacting or contributing little to the narrative. They point out inconsistencies and unnecessary comedic elements that detract from the main storyline.

Jason Mantzoukas [30:01]: "I love that shit."

10. Reception and Legacy

The discussion shifts to the movie's reception, both critically and among audiences. The hosts read aloud purported five-star Amazon reviews, questioning their authenticity due to the movie's widely acknowledged flaws.

Paul Scheer [51:03]: "A flatworm could write a better script."

11. Final Thoughts and Recommendations

Concluding the episode, the hosts reflect on whether the movie merits viewing. They agree that while "Stop! Or My Mom Will Shoot" is undeniably terrible, it's watchable for its entertainment value and the laughs it inadvertently provides.

Jason Mantzoukas [53:49]: "I would like to put it out to our audience to cut a trailer for this movie that makes it seem like a horror movie."

Paul Scheer [53:49]: "We probably wanna just do an episode where you... Yeah, let's actually just play one of the scenes where Sylvester is very upset with his mom."

12. Notable Quotes

• Paul Scheer [03:22]: "This is our Roger Ebert tribute episode here."
• June Diane Raphael [05:30]: "I felt scared."
• Jason Mantzoukas [09:03]: "Beverly Hills Cop was written for Sylvester."
• Paul Scheer [51:03]: "A flatworm could write a better script."

13. Conclusion

"Stop! Or My Mom Will Shoot" serves as a prime example of how not to blend genres and develop character relationships. Despite its numerous flaws, the film provides ample material for humor and critique, fitting perfectly into the "How Did This Get Made?" ethos of celebrating and dissecting bad movies.

For those who haven't listened: This episode offers a humorous yet critical examination of a poorly received film, enriched by thoughtful commentary and engaging banter among the hosts and their guest. It's an entertaining deep dive into movie-making missteps and the enduring fascination with films that bewilder both critics and audiences alike.

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Notable Timestamps:

• Introduction of Guest: [02:12]
• Roger Ebert's Critique: [03:22]
• Gun Control Theme: [07:14]
• Character Portrayal: [05:30], [35:17]
• Soundtrack and Props: [19:03]
• Comparative Film Analysis: [09:03]
• Final Thoughts: [53:49]

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Follow the Hosts and Guest:

• Paul Scheer: @PaulScheer
• June Diane Raphael: @isjunedian
• Kate Spencer: @aitspencer

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Disclaimer: All quotes are attributed as per the provided transcript and may contain paraphrasing for clarity and conciseness.

Transcript

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[Paul Scheer]

It's a buddy cop movie where one of the buddies is a mommy. We saw the Sylvester Stallone Estelle Getty classic. Stop or my mom will shoot. So you know what that now it's time for how did this convey?

[June Diane Raphael]

We're gonna have a good time celebrating.

[Jason Mantzoukas]

Failure, not just be a hater catch.

[Paul Scheer]

You know, you wonder how did this remain?

[Jason Mantzoukas]

Let's wallow in the mediocrity of subpar art.

[Paul Scheer]

Perhaps we'll find the answer to the question, how did this get made? Hello people of Earth, and welcome to another episode of how did this Get Made? I am joined as always by my two amazing co hosts, Jason Mantzoukas.

[Jason Mantzoukas]

What's happening?

[Paul Scheer]

And June Diane Rayfield. How are you, June?

[June Diane Raphael]

Good. How are you, Paul?

[Paul Scheer]

Very good. I am Paul Scheer, by the way. I never introduced myself. And we have a very special guest.

[Jason Mantzoukas]

There's a lot of people listening today who are like, finally. I know.

[Paul Scheer]

So people like did comment on that. They're like, why don't you ever introduce yourself? I was like, you got it. You figured it out. I don't. You don't, like, accidentally stumble across a podcast. There's a lot of conscious steps taken.

[Jason Mantzoukas]

I know who the other two are. But who's the guy talking for that.

[Paul Scheer]

Five people who wanted to know. Now you know. Mystery solved. We have a very special guest today. You might follow her on Twitter. Very funny. Kate Spencer. Welcome, Kate Spencer to the show. She is. How are you, Kate?

[Kate Spencer]

I am great. I'm so glad to be here, you guys.

[Paul Scheer]

We're very excited to have you. This is our.

[Jason Mantzoukas]

What's happening, Kate? You just had a baby.

[Kate Spencer]

I did. Four weeks ago. I gave birth. And the first movie.

[June Diane Raphael]

Four weeks ago.

[Jason Mantzoukas]

Four weeks ago.

[Kate Spencer]

Oh, I didn't know. It was very soon. The first movie she saw was Stop her. My mom will see it. She sat on my lap.

[Paul Scheer]

Yes.

[Kate Spencer]

And watched it with me last night.

[Jason Mantzoukas]

Yeah. That's how I want to watch a movie. Sitting on a girl's lap with a mouthful of tit. Right, guys?

[Paul Scheer]

Don't make it weird.

[Jason Mantzoukas]

Right, guys? What?

[Paul Scheer]

Kate is our guest. Respect her.

[Jason Mantzoukas]

Right, Spectre? Just some popcorn and some boob juice.

[Kate Spencer]

Boob juice.

[Jason Mantzoukas]

Boob juice.

[Kate Spencer]

Boob juice.

[Paul Scheer]

So I mentioned this in our video.

[Jason Mantzoukas]

A little bit of the boob juice.

[Paul Scheer]

There's a boob juice. Boob juice. I mentioned this in our mini episode. This is our Roger Ebert tribute episode here. Because Roger Ebert has called this movie the worst film he ever saw, ever. And Roger Ebert, you could argue he's seen a lot of movies. Yeah, this was the worst.

[Jason Mantzoukas]

That's pretty impressive.

[Paul Scheer]

Yeah. I found entertainment in this movie.

[Jason Mantzoukas]

I did, too, but mostly from the point of view of, like, what the is happening.

[Paul Scheer]

Well, that's exactly it. To me, it's more indicative of a weird time and what was going on. How was this brought to Sylvester Stallone? Like, okay, yeah, it's a cop movie, but your partner is your mom.

[June Diane Raphael]

I actually think there's a really good movie in there and a really strong idea. It's just completely insane. Like, the weird thing about. The weirdest thing about this movie to me is the tonal shifts.

[Paul Scheer]

Yes.

[June Diane Raphael]

There are several shots of Estelle Getty that make it seem as though this is a horror film. Does anyone else agree there were moments really close. Close ups where she was delivering lines very seriously, where it looked like, this is a fucking scary movie.

[Paul Scheer]

Like, misery type scary movie.

[Laci Moseley]

Yes.

[June Diane Raphael]

About an obsessive mother. And I feel weird and I feel scared. I'm telling you, I felt scared.

[Jason Mantzoukas]

June, this bit of interpretation is really fascinating and I think might say more about you.

[June Diane Raphael]

No, because I came out of it and it was a comedy again. But there were several moments where I was like, oh, my God, this is spooky.

[Paul Scheer]

Would you argue.

[June Diane Raphael]

I didn't scream, but I didn't feel safe? No, I didn't. I really didn't.

[Paul Scheer]

Would you argue that maybe Estelle Getty was so good? The close ups. There's a lot of close up work in this movie. A lot of tight close ups. And sometimes you would think they'd be punching in for like, joke lines, but sometimes not so much. It's just.

[June Diane Raphael]

See, I guess what I'm saying is when she would shift to her badass mode, I had no history for where that was coming from. She wasn't like. All I got was that she was from Newark and so I guess knew the streets a little bit.

[Paul Scheer]

But.

[June Diane Raphael]

But it was like such a.

[Paul Scheer]

She's the Cory Booker of her day.

[June Diane Raphael]

Right. But it was such a drastic shift into like this badass mode that to me read as like, that's very scary.

[Paul Scheer]

Well, I'll tell you the moment that I felt really uncomfortable with in this movie. There's a moment and it's a joke moment, but she cleans Sylvester's gun and.

[Jason Mantzoukas]

Then we're just calling him Sylvester.

[Paul Scheer]

Oh, yeah, Sylvester.

[Jason Mantzoukas]

Just Sylvester. Full name, but just the first name.

[Paul Scheer]

Exactly.

[Jason Mantzoukas]

So that's how I'm doing.

[June Diane Raphael]

Not today. Not today.

[Jason Mantzoukas]

Sylvester. When he does comedy, I'm glad that's what we've chosen.

[Paul Scheer]

When he does comedies, he is Sylvester the comedian. When he does action movies, he is Stallone.

[Jason Mantzoukas]

She takes very method like that.

[Paul Scheer]

She takes a gun, a loaded gun, and points it in his face.

[Kate Spencer]

I know, I had the same thought.

[Paul Scheer]

And I was in the real.

[Jason Mantzoukas]

We learn it's not loaded because he takes the clip out and it's full of water.

[Paul Scheer]

Okay.

[June Diane Raphael]

But still, we did see her take out the bullets when she was in the laundry room. It was still before that.

[Jason Mantzoukas]

When she takes what is definitely a loaded gun and looks down the barrel of it.

[June Diane Raphael]

That's what I'm saying. I was like, scary moments in this movie.

[Jason Mantzoukas]

If this fucking woman shoots herself in the head right now, it's a classic.

[Kate Spencer]

Didn't it feel, like, weird? I'm gonna totally be the downer. But like, there was a gun control message to this movie that felt very applicable to 2013. When she tried to buy the gun and there was a two week cooling off period, I was like, Richard Schiff, wow.

[Jason Mantzoukas]

Yes. Richard Schiff tells Her. I mean, like, I love those moments when somebody like that just is Toby from the West Wing to me. And for. He's in this for maybe three lines.

[June Diane Raphael]

The set, but there.

[Jason Mantzoukas]

I love that shit.

[Kate Spencer]

Took you out of the reality of the movie.

[Jason Mantzoukas]

I was like, hey, it's Richard Schiff. Yay. Remember when he was starting out and was.

[June Diane Raphael]

Well, do you have to. Crazy about the guy?

[Paul Scheer]

Well, also ving rhames. Oh, yeah, also ving Rham. Amazing cameo at the beginning.

[Jason Mantzoukas]

Except not a cameo. It must have been just a job he had.

[Paul Scheer]

Yeah, exactly. Just.

[June Diane Raphael]

It's really weird though that the gun she pretends to shoot him with was his personal gun, I guess, like, because it wasn't a police department, you know, government issued gun.

[Paul Scheer]

The gun that she says, go ahead, make your bed.

[June Diane Raphael]

And so that's his personal gun that he's keeping in his laundry hamper.

[Kate Spencer]

Yes, yes.

[June Diane Raphael]

Do you think. Are we supposed to understand that that's like the safe space for it? That's the.

[Paul Scheer]

Well, yeah. If you don't have. If you don't have a gun box, a lock. Gun box, you put it in a.

[Jason Mantzoukas]

Everybody keeps it in a hamper.

[Kate Spencer]

It's soft, it's hidden.

[Paul Scheer]

Gotcha. No thief is gonna go through your house and look through your hamper. Well, that's dirty clothes in there. Like dirty underwear and stuff.

[Jason Mantzoukas]

Like shit stains and stuff.

[Paul Scheer]

Yeah, gotcha.

[Jason Mantzoukas]

So, like, the presence of shit stains makes. Well, let's be honest, makes the hamper the perfect hiding place for almost anything.

[Paul Scheer]

Yeah. All your money, your jewels, your gold bars.

[Jason Mantzoukas]

Yep. Doublo.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

Treasure, basically.

[Paul Scheer]

Krugerrands.

[June Diane Raphael]

Gotcha.

[Jason Mantzoukas]

Bearer bonds.

[Paul Scheer]

I will say, though, there is. You're right, the gun message of this movie is crazy. Because she can't buy a gun.

[Kate Spencer]

No.

[Paul Scheer]

And then she goes out and buys a gun illegally, and then there's a massacre from the guys who are selling guns. It's a really like. I mean, if you were to take away the big jokes. It is very dark about gun control.

[Kate Spencer]

And a comical almost suicide at the beginning.

[Paul Scheer]

Oh, you're right.

[June Diane Raphael]

Who's like, there's a lot of suicide stuff in this movie.

[Jason Mantzoukas]

What's interesting is that I feel like this movie has, you know, the Beverly Hills Cop was written for Sylvester. For Sylvester. Yes, Beverly Hills Cop was written for Sylvester and he turned it down and Eddie Murphy made it.

[Paul Scheer]

Right.

[Jason Mantzoukas]

And it became a huge hit. I think this movie was Sylvester's attempt to be like, oh, shit, I blew it with that movie.

[Paul Scheer]

Right.

[Jason Mantzoukas]

And so. And because I felt like there were elements of this that were similar, you know? Cause Beverly Hills cup has tons of murders. Tons. Like, the stakes of it are really high. I feel like they were trying to inject that into this. But it doesn't work here. Well, at all.

[Paul Scheer]

I mean, yeah. Cause the action scenes get real. Like, are really big action scenes. Like, he literally, at the end of the movie, is chasing an airplane with, like, a Mack truck. And it's like.

[Jason Mantzoukas]

And ramming it. Like, ramming an airplane.

[Paul Scheer]

Yeah. And you would see that in a Sylvester Stallone movie. But then it's all of a sudden, his mom's running around with her big purse and her little dog, you know, so it's intermixed with very, like, tonally, this movie didn't know where it was.

[Kate Spencer]

So confused.

[Paul Scheer]

I will point out one thing. I'm sorry. I didn't mean to cut you off. Estelle Getty did not want to use a gun. She said. When Estelle Getty found out that the filming of the movie would involve guns, she said she would only do the movie if there were no guns in it. The producers lied to her and told her that there would be no guns in the movie to get her to sign on. And then when the movie came on, they gave her guns. But I don't understand that because the movie is called Stop Her.

[June Diane Raphael]

My mom was, too.

[Kate Spencer]

So when did she find out that there were guns in it?

[Paul Scheer]

I have no idea. This could.

[Jason Mantzoukas]

I hope so. Not only that, but, like, the titular line is in the movie.

[Paul Scheer]

Yes.

[Jason Mantzoukas]

He says out loud, stop, or my mom will shoot.

[Paul Scheer]

Maybe Estelle Getty. I don't know. That was a bold power play. Like, I'll do this movie as long as you take away the central conceit.

[June Diane Raphael]

I just found her character to be, like, completely. Like. There's another version of this movie where we would understand, and I guess we were to understand that she really needed his love because she was alone and she didn't have a husband and the other die. But to me, she seemed so unlovable.

[Jason Mantzoukas]

Yeah, well, she's unreasonable. She's a terrible listener. She will not listen to anything anyone says.

[June Diane Raphael]

Right. But I. And I mean the references in the movie. But Jack and Jill does a really good job of making Jill.

[Jason Mantzoukas]

June.

[June Diane Raphael]

No, I like that.

[Jason Mantzoukas]

June, can I talk to you for a second? Can I talk to you for a second over here?

[June Diane Raphael]

Yeah, sure.

[Jason Mantzoukas]

June, what are you doing right now?

[Paul Scheer]

This is. I'm so excited. I'm so excited to get June's thesis on Jack and Jill on the podcast. Many people have Asked about. Here you go.

[June Diane Raphael]

I love Jack and Jill.

[Paul Scheer]

Of course you do.

[June Diane Raphael]

And Jill is played so lovably, and we understand why. Yes, she's crazy. Yes, she's way too needy. But I love her and I think Jack should give her a shot. Whereas in this movie, when he says to his mom at the end, you know, I want you to stay.

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

In my mind, I'm thinking, no, she's been here way too long. Like, let her go. I have. No. Did you. I guess what I'm asking is, did you want to see the two of them together?

[Kate Spencer]

Did we want him to end?

[June Diane Raphael]

Mother.

[Kate Spencer]

His mom. I was at the end of this.

[Jason Mantzoukas]

There was a moment where I wanted them to have sex. There was a moment where I was like. I was like. The only way to cut this tension is a pretty. What is up with the scene where he, like, sticks his butt out in the air?

[Paul Scheer]

Oh, my God.

[Jason Mantzoukas]

Did we talk about that? Did we talk about that?

[Kate Spencer]

Yes. Where he.

[Jason Mantzoukas]

I can't believe I just got myself there by imagining them having sex.

[Paul Scheer]

It would be a good sense.

[Kate Spencer]

You want to see him have sex with a white T shirt and black tighty bodies?

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

In, like, in child's pose.

[Paul Scheer]

I was like, what is he doing right now?

[June Diane Raphael]

It was like a presentation.

[Jason Mantzoukas]

He was like, yeah, he was presenting. He was really presenting.

[June Diane Raphael]

Well, his note were a gift.

[Paul Scheer]

He also presents his ass in the shower scene, too. And he's like, mom, get out of here. And she's like, oh, I haven't seen anything that you don't have.

[June Diane Raphael]

And it's like she has some line where she's like, I may be your mother. And I think it's in the shower scene, but I'm still a woman.

[Jason Mantzoukas]

No.

[Kate Spencer]

Oh, that's when she's talking to Gwen.

[Jason Mantzoukas]

Yeah, she's talking to Gwen and she's.

[June Diane Raphael]

About to size his dick.

[Jason Mantzoukas]

About his dick.

[Kate Spencer]

Yeah, like she appreciates his cock size because she's still a woman. Even though.

[Jason Mantzoukas]

And she. But wait, the way it comes up is she's showing Gwen Jo Beth Williams. Jbw.

[Paul Scheer]

Jbw.

[Jason Mantzoukas]

She's showing JBW pictures of him as a baby. And she says, look at him in this one. He's playing in the sandbox or whatever. And all the muscles. Even though he's nine years old, all the muscles. And you can tell he's gonna have a big unit.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

It's like, Right. Isn't that what Jackson.

[Paul Scheer]

Roughly, that.

[Jason Mantzoukas]

I'm pretty sure she says a big unit.

[June Diane Raphael]

But when she says, I can appreciate that as A woman.

[Kate Spencer]

I was kind of like, right on.

[Jason Mantzoukas]

You were?

[Paul Scheer]

Oh, I didn't like that. I didn't like the dick she's saying.

[Jason Mantzoukas]

You know, I don't think she means her son's dick, but she's just like, hey, listen, what else does she mean? We all love big dick.

[June Diane Raphael]

I understand. You're.

[Paul Scheer]

We all love the big idea.

[June Diane Raphael]

I'm happy for you, Joe.

[Jason Mantzoukas]

Yeah, you're getting loud. You're getting here.

[June Diane Raphael]

I'm happy for you. I guess that's really the problem I have with the movie is I felt like it's incredibly misogynistic. Well, like, first of all, the fact.

[Kate Spencer]

That the woman was a boss, and yet she never.

[June Diane Raphael]

She's so obsessed with him.

[Kate Spencer]

Yeah.

[June Diane Raphael]

And she's such a terrible lieutenant. I mean, she's horrible at her job.

[Kate Spencer]

And she wears awful shirts.

[Jason Mantzoukas]

But that's probably because she's a woman and she was promoted above the men in an effort to, like, for equal. To be equal rights for women.

[June Diane Raphael]

You're absolutely.

[Jason Mantzoukas]

So she was promoted even though she didn't deserve it, because women can't do police work. We all understand.

[Paul Scheer]

We know that.

[June Diane Raphael]

Here's what was fucked up about it is that. That she really, like, she comes across as also wanting to mother him, but he's also. He's in a sexual relationship with her. But she has these moments where she's like your toothbrush with the frogs on.

[Jason Mantzoukas]

What was that about?

[June Diane Raphael]

See, that's what I think that was about. Like, he felt that this mothering energy that was smothering.

[Paul Scheer]

But that was his nightmare. Remember his nightmare? His nightmare was his diaper. And the mother's like, let me change you. You cut up. You cut over to jbw and she goes, let me change you.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

So he saw JBW as a mother figure, and also it's just really changing him as a person.

[Jason Mantzoukas]

Yeah, exactly. Double meaning there.

[Paul Scheer]

I mean, that was. And that's. I mean, that's the kind of levels that you're getting on this movie.

[Kate Spencer]

That's right.

[Jason Mantzoukas]

There is. If you're wondering if there's a scene in which Sylvester is in a diaper and needs a change in. Yeah, there is.

[Paul Scheer]

And that's very much in the vein of Beverly Hills Cop. So the thing I want to talk about, too is the emotional scene between JBW and Estelle Getty where Estelle Getty kind of reveals the backstory why Sylvester is the way he is. And that's because his father died and Estelle Getty had a bad couple of days it was so small. It was like, for a couple of days, I couldn't do anything.

[June Diane Raphael]

It's like, yeah, of course. Of course not.

[Jason Mantzoukas]

Yes. Acceptable.

[Paul Scheer]

Yeah. Your husband just passed away. You would have a couple days of.

[June Diane Raphael]

You've got a long road of grief ahead of you. Actually, she was like.

[Paul Scheer]

She was almost like, for a long weekend, I was a little messed up. And he really stepped in.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

And then this became this really emotional scene which felt incredibly out of place for this movie.

[Jason Mantzoukas]

100% well.

[June Diane Raphael]

But then it was turned on its head. Cause there was a joke at the very end where he came in and they were both crying as hysterically. And that was, like, played as a joke.

[Jason Mantzoukas]

Okay, but wait. Okay, so this scene is something that I was so mystified by because she sets up in. She puts into play this idea that his biggest problem is that he's never cried over the death of his father. She says he never cried. And you know what? He's never cried since that day. And I think that's why he's afraid to let people in. And I was like, oh. So at the end of the movie, he's gonna cry and he and Beth Williams will be able to be together. Nope. Never cries.

[Kate Spencer]

No. And instead he just recites to JBW what his mom said.

[Jason Mantzoukas]

Yes.

[Kate Spencer]

Yes. He never actually makes a transition into a man who wants to be with.

[Jason Mantzoukas]

He just does not have free will.

[Paul Scheer]

But by the way, that's what I'm saying.

[June Diane Raphael]

What is the lesson in this movie? Truly, what are we to take away from it?

[Kate Spencer]

I mean, clearly, three men wrote it, right? So Blake Snyder and two other men.

[Paul Scheer]

Well, we gotta talk about this Blake Snyder thing. Well, continue with this thought, because I wanna.

[Kate Spencer]

There's, like, layers of mommy issues in this movie, right? Like, such. It's such a reflection of the guys who wrote it being so screwed up with their mothers.

[June Diane Raphael]

Well, and also, I have to say, like, it also reeks to me of that late 80s, early 90s fear of women bosses where it's like, well, I guess I better fuck them, because I'm not gonna take an order from, like. It's just so. There's this. There's so much fear in this movie of women and what they're gonna do.

[Paul Scheer]

Well, there was also a weird moment in the beginning, which I think I have a clip of, but I think it'd be better even to describ when the mom is showing the stewardesses, like, pictures of him as a baby.

[Jason Mantzoukas]

Oh, my God.

[Paul Scheer]

One of the women. Should I play it? I Have it?

[Jason Mantzoukas]

Do you have it?

[Paul Scheer]

Yeah, I do have it.

[Jason Mantzoukas]

Play this.

[Paul Scheer]

All right, here we go.

[Jason Mantzoukas]

I've given up shaving. I shave.

[Kate Spencer]

Hi, Tutti.

[June Diane Raphael]

So this is little Joey, huh? Looks a lot different in clothes. We've got to be getting along now, too, but thanks a lot for showing us the photos. You know, you looked real sexy in those diapers.

[Paul Scheer]

Breakfast. Okay, there we go. Let's pause her. You looked real sexy in those diapers.

[Kate Spencer]

All objectified him on their way off the plane. Yeah, like, they got done working a man they had never met before. And then they basically.

[Jason Mantzoukas]

Who they saw baby pictures of and are now apparently just wet for him.

[June Diane Raphael]

But also, how did they recognize him off his baby pig? Because his.

[Jason Mantzoukas]

No, he's talking to Tootie.

[Paul Scheer]

Oh, right.

[Jason Mantzoukas]

He's talking to Estelghetti. Estelghetti is before.

[June Diane Raphael]

I'm telling you, before Estelle Getty comes out, notice him and give him, like, all right.

[Paul Scheer]

Cause what did the first guy say? We got off the plane?

[Jason Mantzoukas]

He's like, I was a bedwetter, too.

[Paul Scheer]

I was a bedwetter, too.

[June Diane Raphael]

How do you know him?

[Paul Scheer]

I would argue Estelle Getty has pictures all throughout his life.

[Jason Mantzoukas]

That's what I would guess, too. She probably has adult pictures of him as well.

[Paul Scheer]

But that was a creepy ass line.

[Jason Mantzoukas]

Oh, you look real sexy. And she comes in close and says it to him. Like, real fucking pervy.

[Paul Scheer]

And by the way, if you.

[Jason Mantzoukas]

Which I dug. I was into it.

[Paul Scheer]

And we haven't really talked about it, but if you just think back to that music, we can actually play a clip of it. This is the music that underscores every music in.

[Jason Mantzoukas]

What we just heard was so crazy.

[Paul Scheer]

Here's just a little taste more, just so you can really hear it without dialogue. So picture this for 87 minutes.

[Jason Mantzoukas]

It never stops.

[Kate Spencer]

People are being murdered.

[Paul Scheer]

Yeah, people are being murdered.

[Kate Spencer]

To this music or to a faster version of this music.

[Paul Scheer]

It's like a bad Disneyland jazz band throughout the entire movie. It's like.

[Jason Mantzoukas]

It's the soundtrack to, like, a lesser Woody Allen movie, you know? Like, I kind of am like, oh, am I watching? Am I watching? What's it called? The Terrible. I don't know. Why?

[Paul Scheer]

I can only think of Manhattan Murder Mystery.

[Jason Mantzoukas]

Oh, my God. That's one. No, I was gonna say the Helen Hunt one.

[Paul Scheer]

Oh, as good as it gets.

[Jason Mantzoukas]

No.

[June Diane Raphael]

Curse of the Jade Scorpion.

[Paul Scheer]

Thank you.

[Jason Mantzoukas]

Curse of the Jade Scorpion. Well done.

[Kate Spencer]

B side.

[Jason Mantzoukas]

That is a terrible Woody Allen movie.

[June Diane Raphael]

Yeah. It's his work. I would say it's.

[Jason Mantzoukas]

I would argue With.

[Paul Scheer]

Yeah. What's the one with the guy from Deadwood where it's about magic. Right? Is that the terrible one too?

[Jason Mantzoukas]

Oh, and Hugh Jackman, is that.

[Paul Scheer]

Yeah, well, the one where he's going.

[Jason Mantzoukas]

Scarlett Johansson and Hugh Jackman.

[Paul Scheer]

Yeah, that one. That one's pretty bad. And the one where he's going to mischief or something.

[Kate Spencer]

I have not seen you guys.

[Jason Mantzoukas]

Oh, that's a tough.

[Paul Scheer]

There was like a period of three years where Woody Allen just put out, like, it was like, oh, I can top that. Being worse. Here's one where I'm a director that goes blind and he's like bumping into walls. And then he, all of a sudden.

[June Diane Raphael]

He got back on track. There was a motif. I mean, in Crimes and Misdemeanors.

[Paul Scheer]

Sure. It was not pulled off, though. Well, guys, I love that we just.

[Jason Mantzoukas]

Turned this into an episode of how did this get made about Woody L.

[Paul Scheer]

You might not know this about me, but my favorite candy is Twizzlers. Hands down from when I was a kid, there is nothing better than a Twizzler. It is my go to treat. Let me tell you something. When I saw that Twizzlers was sponsoring this show, I got excited. The fun never stops with Twizzlers. It is the candy that lets you stretch out the fun. Now look. Other candy too. Sweet, Overpowering. But Twizzlers is the perfect level of sweet. It comes with the perfect chewy twist that everyone knows and loves. It is the perfect summer snack companion to unwind at the end of the day and doesn't melt in the summer sun. Oh, I'm walking around with one of those Twizzlers. I'm watching a movie with a Twizzler. There isn't a better movie companion. And Twizzlers have something for every fruity, chewy candy lover. Let me tell you something. Do what Paul Scheer does. Grab yourself a bag of Twizzlers and stretch out the fun.

[Laci Moseley]

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 who practice it. Each week I talk with very special guests, the scammiest scammers of all time. Want to know about the fake eras? 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 podcast.

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[June Diane Raphael]

That would be pretty funny. I hear what you were saying, though, about wanting so. One would think that there would be a moment where he starts crying. I do think that there has to be.

[Jason Mantzoukas]

That's what it was set up for.

[June Diane Raphael]

Yeah, I think what they were going for. And I don't know if this is because Sylvester wasn't able to muster up the tears.

[Jason Mantzoukas]

I think Sylvester Stallone. Sorry to interrupt you. Does not want to cry on film.

[June Diane Raphael]

Okay.

[Kate Spencer]

Has he ever.

[June Diane Raphael]

Because I was gonna say, I think it could be. Could have been written in the moment where he's staring at the photograph. Which, by the way, at one point in the movie, he simply pulls out a photograph of Jo Beth Williams and stares at it.

[Kate Spencer]

And in the frame he talks about him.

[Jason Mantzoukas]

He talks to himself. Yes, he talks to himself all the time in this movie.

[Paul Scheer]

Well, but he. He has a frame of Jobeth Williams in his office where her office is only feet away. Yeah. He goes to the office to talk to this picture. She's still at work. And he is basically getting.

[June Diane Raphael]

Right. Cause even when they were together, if he wanted to think of her or whatever, he could just simply look up because she's.

[Jason Mantzoukas]

And also she's his boss. You can't have a framed picture of her on your desk.

[June Diane Raphael]

That's really fucked up.

[Jason Mantzoukas]

When was that picture ever on his desk?

[June Diane Raphael]

When they were together for.

[Jason Mantzoukas]

Really?

[Paul Scheer]

Did they really break up?

[June Diane Raphael]

I don't even think they broke up. I have to say that's the big flaw in the movie too, is that they have no chemistry. And every time they're on screen together, it's like these people hate each other.

[Kate Spencer]

Can we talk about her and leading ladies of the 90s movies?

[Jason Mantzoukas]

Sure.

[Paul Scheer]

Oh, God.

[Jason Mantzoukas]

I wanna. Let's fucking get into it. Bonnie Bedelia. Go. Ann Archer. Go. Ann Archer's Am Break it. Elizabeth Perkins, who is the woman?

[Paul Scheer]

Geena Davis.

[Kate Spencer]

Yes, that's who I thought that was. For a hot minute with the. Yeah, that big boofy hair. She could not be any less attract. Is this a whore? Adding to the misogyny of the movie is my take that she looks like she's a 70 year old woman.

[Paul Scheer]

Yeah. She is not dressed. They don't play up her sexuality at all.

[Kate Spencer]

Right. It's not Joe.

[Jason Mantzoukas]

Which is good because she's in the workplace. Guys and girls don't have to sex it up just to be the lieutenant of a police department. Okay.

[Paul Scheer]

I will say there was one scene and you'd have to go and watch it. But it's a scene where he is getting drunk and talking to her. Picture where I felt like they were running late in their day. They're like, oh shit, we're gonna go over our 12 hours. Get jobeth out of the trailer. Well, she has no makeup on. I don't care. Shoot her side of the street.

[June Diane Raphael]

Here's the thing.

[Paul Scheer]

She looks good throughout. But then there's one scene where she is makeupless. I swear to God, it was only on her clothes that it was like, we gotta go, we gotta go. No, touch up.

[June Diane Raphael]

What they were establishing is that she's in jeans. It's after. This is the dress.

[Jason Mantzoukas]

This is her. Like. Exactly.

[June Diane Raphael]

I agree with you. But I think the weird thing about the way her character comes off is it doesn't feel like. And this has nothing to do with her being a lieutenant.

[Paul Scheer]

Wait after hours. She hangs out at the job.

[June Diane Raphael]

Yeah. She changed.

[Jason Mantzoukas]

She said she came in just to get some stuff.

[Paul Scheer]

Oh, yeah.

[June Diane Raphael]

So it does feel like she's a divorced woman with two kids.

[Paul Scheer]

Wait, did that really.

[June Diane Raphael]

That's what I'm saying is that that's what it felt like to me not.

[Jason Mantzoukas]

To you write a movie that is. That is the Rosencrantz and Guildenstern of this movie. Where it's an entire movie that.

[Paul Scheer]

About Lieutenant Gwen Harper.

[Jason Mantzoukas]

About Lieutenant Gwen Harper, her divorce, her two kids. And it ends with her meeting Sylvester Stallone for the first time.

[June Diane Raphael]

It didn't feel to me like she was looking for a husband. The energy that was coming off of her was like desperate craziness. I've lived. I'm looking for something to work here.

[Kate Spencer]

And also when they're talking about their trip to Catalina and all the sexy things he did, none of those sexy things happened. Right.

[June Diane Raphael]

Like they went to Catalina and just.

[Kate Spencer]

Laid in a bed together.

[Paul Scheer]

They actually laid in two separate beds across her.

[Jason Mantzoukas]

And he presented his ass to her. I would believe it. I would believe if she fucked him for the weekend in Catalina.

[Kate Spencer]

Strapped it on.

[Jason Mantzoukas]

Strapped it on and gave it.

[June Diane Raphael]

He got into that position he loved.

[Jason Mantzoukas]

She, like, pulled those down, and she just went to town on it.

[June Diane Raphael]

This shot was crazy. I'm thinking about it again.

[Paul Scheer]

No, no.

[Jason Mantzoukas]

That shot is mental. It is so crazy. He puts his ass in the air like he's presenting it like a bonobo gorilla.

[Paul Scheer]

He's somebody giving his ass to her.

[Jason Mantzoukas]

It is the.

[Kate Spencer]

For someone to eat out.

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

Oh, okay.

[Kate Spencer]

If you put it that way. Yes, exactly.

[Jason Mantzoukas]

It's like he's, like, wagging it around, being like, hey, anybody want to see what's up over here?

[Kate Spencer]

But then he snuggled. Did you notice also how he snuggled into the bed kind of in the fetal position?

[Paul Scheer]

He is a very passive way. He's a very sad character, by the way.

[June Diane Raphael]

Oh, my God.

[Kate Spencer]

And it's a part.

[June Diane Raphael]

Okay, I really want to talk about the.

[Jason Mantzoukas]

Are we going to talk about the. The gumball machine?

[June Diane Raphael]

Gumball machine. I want to talk about jack o lantern.

[Kate Spencer]

Jack o lantern.

[Jason Mantzoukas]

Y. I think the jack o lantern was a cookie jar. I'm almost positive. I'm almost positive the jack o lantern was a cookie jar.

[June Diane Raphael]

So it wasn't Halloween.

[Kate Spencer]

After I saw it, I was like.

[June Diane Raphael]

Oh, I guess it's Halloween and this is gonna somehow tie in. I don't know how, but, like, I.

[Jason Mantzoukas]

Love that you're looking for clues, though.

[Paul Scheer]

I did.

[Jason Mantzoukas]

Wait, Kate Spencer, did you just do a spit take?

[June Diane Raphael]

Okay, then there's another shot. Another prop. Another prop I really want to talk about is when he's lying in bed. I saw it in the ass shot. There's a little lamp that's hanging over his bed that has two. Yes. That has two socks hanging off of it.

[Paul Scheer]

He's a dude. He's a dude.

[June Diane Raphael]

But why put your socks up there?

[Jason Mantzoukas]

Oh, my God.

[Paul Scheer]

Cause he's a dude. He's just getting home. He's putting his socks on a lamp, crying them out.

[June Diane Raphael]

Oh, my God, he's gonna wear those socks tomorrow.

[Paul Scheer]

Yeah, I had to wear socks just for one year.

[Jason Mantzoukas]

In a line, okay. In a line, when you're introduced to his apartment, on the table behind him is a bathtub rubber ducky. Literally, these are decorations. A bathtub rubber ducky. A gumball machine.

[June Diane Raphael]

This is in the kitchen. This is in the kitchen. This is like a countertop, A gumball.

[Jason Mantzoukas]

Machine and a jack o lantern. Cookie jar.

[Kate Spencer]

A giant glass jack o lantern.

[June Diane Raphael]

He shares the frame with all of those items.

[Paul Scheer]

By the way, is not indicative of anything of his character.

[Jason Mantzoukas]

Not at all.

[Paul Scheer]

Like, his character is not like a.

[Kate Spencer]

Fun loving guy, doesn't eat a cookie once.

[Jason Mantzoukas]

If I saw those three things, I would be like a child. Melissa lives in here. Like, not all of these things are for children.

[Paul Scheer]

Wait a second. Maybe that does.

[Jason Mantzoukas]

Maybe I could argue. Okay, I'm now gonna argue why it's happening that he. That they. And this also explains some of his behavior, is that he is, like, still a child. Is that he's stunted, growing slowly stunted it. Blah, blah, blah. Cause of his mom, blah, blah, blah. So they were like. So that means, like, let's put kid, like, stuff around the apartment. Oh, you know what I mean?

[Kate Spencer]

Like, let's decorate deer head on the wall. Cause he's not a hunter.

[Jason Mantzoukas]

Yeah.

[Kate Spencer]

It's never acknowledged.

[Paul Scheer]

Well, by the way, I don't even understand what kind of cop he is, because in the beginning, you would assume he was a good cop. He did this. He busted, like, he beat down Ving Rhames. He busted these guys.

[June Diane Raphael]

Panasonic.

[Paul Scheer]

He got all. He saved all the Panasonic TVs. But then, like one detective comes and is like, hey, Detective Alka Seltzer.

[Jason Mantzoukas]

What was that about?

[Paul Scheer]

No idea what that means. And then they're like. And then he's, you know, just kind of saying, like, you're a bad cop. I'm like, is he. We've only seen him excel at police.

[Kate Spencer]

Yeah, because they established too, that he's just a sergeant. And his mom is like, you're never gonna move up. And that sergeant's not a high position. But then he's the one who goes in and rescues the suicide jumper.

[Paul Scheer]

Yes. Oh, he.

[June Diane Raphael]

Here's what I think. I think the other people in the force in that precinct are very upset that he's having an affair with the boss. And that's why I think that guy's upset. Cause if you look all of their scenes, Sylvester and JBW scenes in the office, behind. Behind them, through those blind.

[Kate Spencer]

Right?

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

People are watching and looking at.

[Jason Mantzoukas]

Guys. Guys, we have not talked about the extras in this movie. The extras in this movie are non stop amazing. The people that fill out the rest of the police station are hilarious. At a certain point, when Sylvester and Estelle get to get into a fight on the street. Sylvester's on the street. The mom is in the doorway of his house. It's nighttime. Upwards of 20 bystanders just appear to watch them fight.

[Kate Spencer]

That's right.

[Jason Mantzoukas]

People are hanging out of windows People are like. And it is. All of them are so animated and are overacting so much. Like one of them is like, she's right. Like, it is crazy.

[June Diane Raphael]

That's a running theme of the movie is that anytime, like the outside public hears that Sylvester has problems with his mom, they feel. They all feel collectively that he's in the wrong and she's in the room.

[Paul Scheer]

The best version of that is when he's trying to save his mom from going to the airport. They frame a shot where his mom is on the back of a golf cart driving through an airport lounge. And he's having this dramatic scene with his mom. And the guy driving the golf cart is like, mm, yeah, yeah. Like, he's so center framed, it's awkward. But he's gotta react. Like, you could clearly tell. Like, yeah, just pick a side. He's like, but she's like, you don't like me. He's like, yeah, yeah. It's a funny scene you should watch. And I can't describe it more than. It's such an awkward placement. They should have just. Just moved it off the golf cart for a second.

[Jason Mantzoukas]

Yeah. Or just had that guy get off and like move luggage or something so that he's out of the shop.

[Paul Scheer]

Don't frame it as a three shot when one of the people is a non established extra.

[Kate Spencer]

Can I. This has been bothering me for 24 hours. The criminal who has a cold. And that the cold is a running theme throughout the whole movie.

[Jason Mantzoukas]

Or it's a running.

[Kate Spencer]

So he can just have the sneeze that then shows him that he's there. And the lock is a long way.

[June Diane Raphael]

To go for that sneeze.

[Paul Scheer]

And by the way, that sneeze, that.

[Jason Mantzoukas]

Sneeze sneeze is worthless. Like they are on the trail anyway. The sneeze doesn't prove anything. The sneeze is.

[June Diane Raphael]

Although there was an amazing moment where the boss man said when his two henchmen were one. Who has a cold. When Estelle Getty and Sylvester are about to show up, he needs them to hide somewhere. And he says, go into the side office.

[Laci Moseley]

Side.

[Kate Spencer]

Everyone has one, of course.

[June Diane Raphael]

A side office.

[Jason Mantzoukas]

What was his deal?

[Paul Scheer]

That villain was so bad. I feel like. I feel like the sneeze brings us back to an idea that we have to definitely talk about, which is one of the writers of this movie is Blake Snyder. Now, Blake Snyder has made RIP God rest his soul. Has made his career.

[Jason Mantzoukas]

He's dead.

[Kate Spencer]

He died a few years ago.

[Jason Mantzoukas]

No, I didn't know that.

[Paul Scheer]

Writing a Book called Save the Cat. Save the Cat has become the new kind of go to how you write a movie book. And. And I would say, first of all, I was looking for a Save the Cat moment. We were talking about this before we started.

[Kate Spencer]

Yes. Which is a Save the Cat moment. Is a moment normally at the beginning of the movie which endears you to. Yeah.

[June Diane Raphael]

Saying there's no loveability in either of them. I don't think.

[Kate Spencer]

I think it was that. I think it didn't come until you find out he planned his father's funeral when he was 13 years old.

[Jason Mantzoukas]

Yeah.

[Kate Spencer]

That was the only moment where I was like, oh, he's okay.

[Paul Scheer]

Well, in my mind, I thought the only. The Save the Cat moment was when he shot at that sign and it fell down on the crooks. I was like, oh, okay. Yeah.

[Jason Mantzoukas]

Like an A Team episode.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

Do you realize there two occasions in this movie where he shoots a chain?

[Paul Scheer]

Yes.

[Jason Mantzoukas]

He shoots a chain and it breaks that sign and then the wrecking ball.

[Kate Spencer]

Yeah.

[Jason Mantzoukas]

Like, that's how good he is. He can shoot a chain and it will break.

[Paul Scheer]

But you see, to me, this is like the sweaty stuff of Save the Cat. The sneeze thing goes back to, like. We'll establish a game, and that game will undo the final thing. And also the first and the last shot in the first scene of the movie, Sylvester Stallone shoots a sign down and then literally pulls the gun up to his mouth and blows it. Like you would do as a kid playing, like, guns, you know, and, you know, like, whatever he says a line. And at the end of the movie, Estelle Getty shoots somebody.

[Kate Spencer]

Blows the smoke, I guess, shoots him in the shoulder. She's a shitty shot. That's what infuriated me. She didn't even kill the bad guy.

[Jason Mantzoukas]

No, she.

[Paul Scheer]

Yeah.

[June Diane Raphael]

See that. To me, the problem with the movie also is that one would think that it would be her. What would irritate him about her, you know, should somehow help him in the end get the bad guy. Or the kooky ways in which she is. And her personality should ultimately come back and help save the day. What happens in the movie is just she knocks people over the head with pans and then shoots them. Like, there's no. There's no skill that's used in an interesting way.

[Paul Scheer]

I would like this movie where Sylvester Stallone's mom is coming in, but also the bad guy's mom is also coming in and they have dueling.

[Kate Spencer]

That would actually be great.

[Jason Mantzoukas]

Great mov. I would have liked it only if Jackie Stallone had played Sylvester. His real mother had played. Have you ever heard her on like oh my God. She used to come on Howard Stern. She's like a so called lunatic.

[June Diane Raphael]

The movie is a bummer though, because you sort of have this feeling at the end where even if he does get rid of her, he's saddled with this other mother figure. There's just such a depressed life view about women and their role in a man's life. It was like, so it was such.

[Kate Spencer]

A bummer and he didn't want to be with her anyway.

[Paul Scheer]

No, there was no. Like she didn't represent anything that was.

[June Diane Raphael]

Except for him staring at a picture frame that he liked her at all.

[Jason Mantzoukas]

There is something really kind of crazy about his.

[Paul Scheer]

Because he did eat all that breakfast too. Like what human would like when his partner. His partner. Also the worst partner of all time. Cause he's glass of glassbutt. But sometimes they say he was shot in the bus. He was shot. They were like, oh, your partner got shot. But no, it wasn't clear that he had glass in his ass.

[Jason Mantzoukas]

He thought he was shot.

[Kate Spencer]

So inconsistent.

[Jason Mantzoukas]

He thought he was shot. And then Sylvester pulled a piece a shard of glass out of his ass.

[Kate Spencer]

He was a terrible cop. No wonder his mom was a better partner.

[Jason Mantzoukas]

I fully believe everybody was a terrible cop. Every single crime scene Sylvester arrived on, he inexplicably immediately became the lead detective.

[Paul Scheer]

On the scene and walks through without any hesitation. And he's always in civilian clothes, so there's nothing to determine that he is a.

[Jason Mantzoukas]

And there was like they came across a guy who was gonna jump out of a building. A bank robbery in process. Oh no, that was the dream sequence.

[Kate Spencer]

The woman who had been kidnapped in the house with a weed poster.

[Jason Mantzoukas]

Oh, right. Oh my God. Oh my God. You know those people are bad because they framed like a poster of weed.

[Kate Spencer]

And he had a weed. That guy, the fat criminal had a weed pin on his vest.

[Jason Mantzoukas]

Oh my God.

[Kate Spencer]

So that was. That's how you established that was his house.

[Paul Scheer]

By the way.

[June Diane Raphael]

The other crazy moment and one of the more upsetting scenes to me was when sylves and the criminal are sitting down at a table drinking chocolate milk that Estelle Getty has served to them. And she walks out. And then they both look at each other and they're talking for a while and they have chocolate milk all over their mouths.

[Paul Scheer]

Again, a classic Beverly Hills Cop move. Yep, they have a very lethal weapon.

[Jason Mantzoukas]

Maybe they were like eating each other's asses out.

[June Diane Raphael]

He and Sylvester presented His ass.

[Jason Mantzoukas]

Do you think that's the subtext of that scene?

[Paul Scheer]

I mean, I would hope if Blake Snyder wrote it, I would hope that that is what we were going for.

[June Diane Raphael]

I think it's like, really? I know I keep on saying the movie's misogynistic, which it is. But it also, to me, is like, a very sad portrayal of men. Cause the takeaway is like, oh, men are also very young boys.

[Jason Mantzoukas]

Yeah, all men are boys.

[Paul Scheer]

All men need to be boys.

[Jason Mantzoukas]

All women are mommies.

[Paul Scheer]

And all women are now come and change my di. Die.

[Kate Spencer]

Also, they never address the fact that Estelle Getty is a terrible person because she withholds evidence in a murder case.

[Jason Mantzoukas]

Yes.

[Kate Spencer]

So she does want to help solve a crime. Just wants to help her. Like, that's sociopathic.

[Jason Mantzoukas]

Yeah, no, she. I now believe that you are right, June. And that this is a misery style sociopath movie.

[Kate Spencer]

Yeah.

[June Diane Raphael]

You feel like this. You feel what she needs out of him Again, much like, you know, not like Jack and Jill, where you actually do feel.

[Jason Mantzoukas]

All right.

[Paul Scheer]

Jack and Jill, I want you. We should do an episode where you. Yeah, let's actually just play one of the scenes where Sylvester is very upset with his mom. And he tells the Jo Beth Williams with Sylvester and his girlfriend just to hear, like, where he's frustrated because I think this is a good little scene here.

[Jason Mantzoukas]

Gwen. She's supposed to go back Monday.

[Kate Spencer]

That was before she witnessed a drive by killing.

[Jason Mantzoukas]

Well, can we fly her back now? You're being ridiculous. Oh, come on, Gwen.

[Paul Scheer]

If she stays bad as Monday, I.

[Jason Mantzoukas]

Swear to God, I'm killing myself.

[Kate Spencer]

What is wrong with you? Jo Tudi seems like a wonderful person. Warm, caring, obviously crazy.

[Jason Mantzoukas]

Crazy is right. She acts like I'm in second grade, babe.

[Paul Scheer]

She talks to total strangers about my diaper ration.

[Jason Mantzoukas]

She just humiliates me.

[Kate Spencer]

I'd say she loves you, Jo.

[Jason Mantzoukas]

What?

[Paul Scheer]

Her love is driving me nuts.

[June Diane Raphael]

Well, either way, she's staying.

[Paul Scheer]

There we go. Just so. Just again, the most shoehorn plot device. She's gotta stay with you because she's a.

[June Diane Raphael]

And there's another suicide reference. That's three. In this light. This is a dark movie. I also.

[Kate Spencer]

I know.

[Jason Mantzoukas]

I would like put it out to our audience to cut a trailer for this movie that makes it seem like a horror movie.

[Kate Spencer]

That would be amazing.

[Paul Scheer]

You could easily do it.

[June Diane Raphael]

Yeah, easily. There's so many shots of her that are.

[Kate Spencer]

And if you change the music from like, clown car music to actual scary music.

[Paul Scheer]

Oh, my gosh.

[Kate Spencer]

He talks like he has a muffin. In his mouth all the time. All the time. And I know that's his thing, but it's in that scene he's holding a dog, and I couldn't understand anything he was saying.

[Jason Mantzoukas]

It is.

[Paul Scheer]

It is.

[Jason Mantzoukas]

He is talking. He also is talking at times so slowly in scenes. It's as if he's never spoken the words before.

[June Diane Raphael]

And you know what? When we were talking about the props, I actually thought to myself, I think the eye had to go to the props and to the surrounding because the scene was so long and he was talking so slowly.

[Jason Mantzoukas]

He is. It is like when he's opening his mouth to talk, it is like a black hole opens. And I don't care what any of it, and nothing happens.

[Kate Spencer]

But for someone who can't talk, he has a lot of monologues in this movie.

[Paul Scheer]

I mean, but for someone who can't talk, you shouldn't be doing a comedy, because that would be where the majority of the movie would be.

[Jason Mantzoukas]

How about the I'll be back joke?

[Paul Scheer]

Oh, yeah.

[Jason Mantzoukas]

How weird was that?

[Kate Spencer]

There were a bunch of references in this movie that were so out of place.

[Jason Mantzoukas]

But Estelle Getty says, I'll be back. And he's like, why'd you say that? And I'm like, what is this, like a. Is this like him taunting Arnold from within his own movie?

[Paul Scheer]

Yes.

[Jason Mantzoukas]

Cause at the time, they were like the two big dogs, you know?

[Kate Spencer]

And this came out the year that Terminator 2 came out.

[Jason Mantzoukas]

Oh, really?

[Kate Spencer]

This is why I watched this movie. And it was. I came, like, 1992 was not a terrible year. Like, this movie felt more. If I watched it in 92, it would have felt 20 years old.

[Paul Scheer]

Well, that's. I feel like. I feel like. It feels like. It feels like if you said, this is like. Yeah, it felt like it should have been an early 80s movie or something. But this is also the title.

[June Diane Raphael]

The title and everything is very like, honey, I shrunk the kids.

[Paul Scheer]

You know, we. Oh, sorry. Go ahead.

[June Diane Raphael]

It just felt like that. Like, here's a really. You know, the fact that the title's called Don't Stop or My Mom Will Shoot.

[Jason Mantzoukas]

Like, that's not Stop or My mom will Shoot or Stop or. But don't forget, Don't Throw Mama from the train.

[Kate Spencer]

Yes, that's where I get that.

[Paul Scheer]

But you see. But here's the other one. One.

[Jason Mantzoukas]

And I just checked, Throw Mama from the Train.

[Paul Scheer]

Do you remember this movie, Cop and a Half, which was Cop and a Half, was Burt Reynolds paired up with a very young, tiny kid so his partner was a little kid and that was like his partner.

[Kate Spencer]

Well, this is like Turner and Hooch, right? Which is a copy.

[Jason Mantzoukas]

Yes, Turner and Hooch Canine.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

Like there's. There is when. When I finished the movie on Netflix, all of the recommended movies because I'd just watched it was like a cavalcade of disastrous movies from this exact scene.

[Paul Scheer]

Where people were like, buddy cop movies are popular. Let's subvert it in some way. Let's take a quick break and we will come right back.

[Laci Moseley]

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 who practice it. Each week I talk with very special guests about the scammiest scammers of all time. Wanna know about the fake era? 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.

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[Kate Spencer]

Thanks for selling your car to Carvana. Here's your check.

[Paul Scheer]

Whoa. When did I get here?

[Kate Spencer]

What do you mean?

[Paul Scheer]

I swear it was just moments ago that I accepted a great offer from Carvana online. I must have time traveled to the future.

[Kate Spencer]

It was just moments ago. We do same day pickup. Here's your check for that great offer.

[G]

It is the future.

[Kate Spencer]

It's. It's the present and just the convenience of Carvana. Sorry to blow your mind.

[Paul Scheer]

It's all good. Happens all the time.

[June Diane Raphael]

Sell your car the convenient way to Carvana.

[Kate Spencer]

Pick up.

[Paul Scheer]

Times may vary and fees may apply. I do want to talk about one thing here about his clothes. Clearly, I think Sylvester Stallone while shooting the movie had like a chain. First of all his pants are always up way too high.

[Jason Mantzoukas]

He's wearing high waisted jeans, basically.

[Kate Spencer]

Yes, yes.

[Jason Mantzoukas]

Which I guess that's just what jeans were then.

[June Diane Raphael]

I think so, right?

[Jason Mantzoukas]

Yeah, all jeans were like that.

[Kate Spencer]

But the shirts. Like there was a shirt problem throughout.

[Paul Scheer]

The whole movie, right?

[Jason Mantzoukas]

Oh, yeah.

[Paul Scheer]

Yes. I felt like in the middle of the movie he changed to Hawaiian shirts for. I mean, I mean he had not.

[Jason Mantzoukas]

Only Hawaiian shirts, just like very patterny shirts.

[Paul Scheer]

If like Bill Cosby had shirts instead of sweaters, this would be what he.

[Kate Spencer]

Was like the costume designer from the Cosby show was on hiatus from the Cosby show and came over and did this movie.

[Paul Scheer]

I'll do this.

[June Diane Raphael]

I actually felt like there was a vision for his character in terms of the way he looked that was more boyish and more in line with the ducks and the jack lantern and stuff. And he like I was feeling like he refused to wear that stuff. And so he wore these kind of tight T shirts and jeans, corduroy jackets. Yeah, like it was. It felt like. Well, this tells me nothing about your character. Like, I have no idea what I'm watching here, but I will say JB.

[Kate Spencer]

Dubs was impeccably dressed in some power suits.

[Paul Scheer]

Oh, she was rocking it out. Hilarious.

[Kate Spencer]

Really set that up.

[Paul Scheer]

What about the final line of the movie? Stalgetty notices somebody she saw in America's Most Wanted on the screen. Sylvester Stallone chases it down again, becomes the lead cop because another cop just hands him his handcuffs. And why is that guy at the.

[Jason Mantzoukas]

Airport with a gun?

[Paul Scheer]

Yeah, no reason.

[Kate Spencer]

No reason.

[Jason Mantzoukas]

He has to shoot at what the she coincidentally.

[Paul Scheer]

Wait, wait, yeah, like he says, she goes, I remember what he did. He killed his mother. Slow, close up onto Sylvester Stallone. Weird smile and freeze. That's the end of the movie.

[Jason Mantzoukas]

Freeze frame.

[June Diane Raphael]

Well, I thought what happened, maybe I'm wrong is that he sort of shared a look with the guy of like. I get it.

[Paul Scheer]

Yeah.

[June Diane Raphael]

And then freeze frame.

[Jason Mantzoukas]

I thought he didn't share a look with the guy. I thought he was looking at his mom. Like, can you blame him?

[Paul Scheer]

That's what I thought. That's exactly what I thought.

[Jason Mantzoukas]

Cause I'd like to put a bullet in you is basically the subtext of that. She, in the whatever three weeks that she is in Los Angeles, witnesses a drive by murder. She happens upon so much chaos and craziness that it's unfazed. She's unfazed. Someone is shot to death in front of her and she's just kinda like.

[Kate Spencer]

She walks away.

[June Diane Raphael]

Yeah, but I have to say this was watching the movie. I'm like, wow, this was my image of LA at that time. Like with drive bys and stuff. Like I was like, oh, I guess that's what Los Angeles trucks of guns.

[Jason Mantzoukas]

So this movie just proved to you that a truth.

[June Diane Raphael]

This is a documentary, right? Wait, what?

[Paul Scheer]

This is like an Errol Morris film. Wait, what? I mean, by the way, we talked about it very briefly, but the bad guy is so terrible in this Roger Reese, who I think was like the love interest on Cheers.

[Jason Mantzoukas]

Oh, he was Diane.

[Paul Scheer]

Right. But he was like. I don't even know. I don't actually even understand what the plot.

[Jason Mantzoukas]

I don't know what his business was.

[Kate Spencer]

And they solve it like they sit at a picnic table outside.

[Paul Scheer]

Yeah.

[Kate Spencer]

And look at documents and figure out what the mystery is. So she never helps actually. Like you were saying with her wacky mom ways like a pineapple.

[June Diane Raphael]

They don't tie. Those aren't gonna come back.

[Kate Spencer]

They never come back. Although she did make a cake. Yeah.

[Paul Scheer]

She made a. With all those pineapples.

[Kate Spencer]

I laughed when she opened that suitcase to me.

[June Diane Raphael]

That's something that. That's what's so weird about the fact that Blake Snyder wrote this is that those things, those tropes of like using all of her games to come back and help save the day. It doesn't necessarily mean it's gonna be a good movie, but it was sort to know, like, oh, that's not even.

[Paul Scheer]

Well, here's like. I mean, I would argue that you could not describe Sylvester Stallone's character with an adjective because you don't really see him being unemotional. They say he is unemotional. You don't see it. You don't know if he's a good cop or a bad cop. The mother goes. I mean, she's also. Every character is this.

[June Diane Raphael]

She's a terror. They're all terrible people.

[Jason Mantzoukas]

Everybody in this movie has like borderline personality disorder.

[Kate Spencer]

Yeah.

[Jason Mantzoukas]

They genuinely do not seem to understand basic human interactions. Empathy. Like nobody is in control of anything. Like it is. Everyone is a stone cold disaster.

[Kate Spencer]

And no one genuinely likes each other.

[Jason Mantzoukas]

No.

[Kate Spencer]

They all fucking hate each other.

[Paul Scheer]

Oh, yeah.

[June Diane Raphael]

Yeah.

[Jason Mantzoukas]

He gives the other guy a swirly. An adult man gives another adult man a swirly.

[Paul Scheer]

And not really even commented on after the fact.

[Jason Mantzoukas]

If guys are gonna fight, who are cops? They're not gonna give each other like swirlies.

[Paul Scheer]

That happens a lot in the precincts in la.

[Jason Mantzoukas]

That was the whole Rampart scandal.

[June Diane Raphael]

Stell says to him at some point that she wants to spank him.

[Jason Mantzoukas]

No, no. She says that to the bad guy. She says that to the bad guy. She's like, I'm gonna pull your pants down and give you a spanking. Oh, mom. I mean, that's some sexy ass shit right there.

[Kate Spencer]

Well, she knows a peen when she looks at it.

[Jason Mantzoukas]

You can also cut a trailer for this Mov is a porno.

[June Diane Raphael]

Yes.

[Kate Spencer]

Or is about Estelle and Sylvester.

[Jason Mantzoukas]

It's like, ooh, cut a romantic comedy trailer. A mom com like for this. For them to fall for an incest movie.

[Paul Scheer]

I love that.

[Jason Mantzoukas]

For a sexy incest movie like Spanking the Monkey, but funny.

[Paul Scheer]

Obviously we had opinions about this movie, but there are some people who have a larger, better opinion. Second opinion. These are reviews culled from Amazon five star reviews. I'll read you both of them. Could be a joke, I don't know. But they're both well written. I think they're worth reading. This one's from Timothy. Sylvester Stallone stars in another comedy. Why? I don't know, but it's a real comedy. His mom is the most annoying person in the world and it reminded me of all my friends. MOMS REMINISCE Stallone is a police officer, as usual, and his mom packs a wallop as well. What are the odds and from the beginning credit of this picture showing you the old woman pulling out a revolver and shooting a stop sign. I knew this movie would never be forgotten. One diabolical moment showed Stallone in a diaper. Outrageous. I don't want to see that again. Universal needs to put this movie on DVD as soon as they can because mothers fighting against crime love it and so do I. Oh my God. So that could be real or fake.

[Jason Mantzoukas]

I feel like that sounds real.

[Paul Scheer]

And this one. This is another long one, but it's it worth that. This is one of those movies panned by critics, but both endearing and of enduring value. Chemistry perfect casting for the comedic tension. Poetic acting. The plot is a twist.

[Jason Mantzoukas]

Poetic acting.

[Paul Scheer]

Yes, Paul, the plot.

[Jason Mantzoukas]

Poetic acting.

[Paul Scheer]

Poetic acting. The plot is a twisted, timeless cliche, ignored and bemused by serial by seriously real characters. Stallone as the strapping adult son befuddled and arrested by his tiny mom is hilarious. Estelle gangster puts it all together as a mom who variously is tenacious, quintessential, sympathetic, dejected and sly. Jobeth Williams excels in her role as a romantic interest in the comedic setup. But Estelle becomes our mom. The Universal mom experience and she busy bodies her way into the impossible action, adventure, situations and Standard detective novel dysfunction romance. What makes this movie so great is its profound and uplifting humor created through a sum greater than its parts. A common fantasy story interrupted by an ever everyday mom. An omnibus well played. Wow, what a beautiful five stars by Wilhelm. That is a really ludicrous poetic acting.

[Kate Spencer]

Quintessential Quintessential.

[Paul Scheer]

Profound. Ominous. Oh, man. So that is that. I will also tell you what Sylvester Stallone said.

[Jason Mantzoukas]

Do it in a Stallone voice. Do it in a Stallone voice.

[Paul Scheer]

Maybe one of the worst films I've ever been in. Maybe one of the worst films in the entire solar system, including Alien productions, which we'd never seen. A flatworm could write a better script. And in some countries, China, I believe running the movie once a week on a government television has lowered the birth rate to zero. If they ran it twice, it'd be 20 years. China would be extinct.

[Kate Spencer]

Wait, he did some math there though.

[Jason Mantzoukas]

Did you say a worm could have written a better worm?

[Paul Scheer]

A flatworm.

[Jason Mantzoukas]

A flatworm could have written a better script.

[Kate Spencer]

Not just any worm.

[Paul Scheer]

A flat worm.

[Jason Mantzoukas]

Wait a minute. By the way, that's fucking hilarious.

[June Diane Raphael]

It's really funny.

[Kate Spencer]

But this is why I question why he did the movie. Because he's one of those secret smart people. Because he wrote Rocky, right?

[Paul Scheer]

And Rambo and he's written everything that he's written.

[Kate Spencer]

And then what was this? I know he probably wanted to do comedy. It's the early 90s. But the choices.

[Paul Scheer]

He was paying for steroids with this one. This is like paying off a house or vacation thing.

[Jason Mantzoukas]

That's so crazy.

[Paul Scheer]

Cause it is so bad. But there are also three writers. So you. Do you feel like Blake Snyder wrote the first draft? It might have been funnier. And they're like, we gotta bring the stone alone guys too. And all three writers in there produced an 86 minute movie which launched a bidding war.

[Kate Spencer]

If I read. Oh, really? According to the Wikipedia page, there was a bidding war for this movie.

[Paul Scheer]

Oh my gosh. What?

[Kate Spencer]

I mean, really?

[Paul Scheer]

Stallone, Getty Cop, Movie Moms. It's gonna be great.

[Jason Mantzoukas]

Holy shit. That's depressing.

[Paul Scheer]

Would you guys recommend seeing this movie to anyone?

[June Diane Raphael]

I think it. Yes.

[Jason Mantzoukas]

Sure. Why not?

[Kate Spencer]

Sure.

[Jason Mantzoukas]

I mean, it's terrible.

[June Diane Raphael]

It's terrible. But it's very watchable.

[Paul Scheer]

It's on Netflix. Yeah, Watchable.

[Kate Spencer]

Yeah.

[Paul Scheer]

I did get a genuine laugh in this movie. One genuine laugh. And I was embarrassed to admit it, but there's a scene where he's like shaving or brushing his teeth and they pull out to reveal that Estelle Getty is literally in front of. Of him and like between the bathroom mirror and him. Cause she's so short, you could hide it. So she's like underneath him, like yelling at him. But I thought that was a funny.

[June Diane Raphael]

Thing I would say. I think we're putting a lot on Szilveszter. I actually really think the bigger problem was with her. Wow.

[Kate Spencer]

I've never heard anyone place the blame on a stunning girl.

[Jason Mantzoukas]

I know, I know. Controversial.

[June Diane Raphael]

I felt like she's doing something we've already seen her do on Golden Girls.

[Kate Spencer]

Like there was nothing different.

[Paul Scheer]

Not pulling any punches.

[Jason Mantzoukas]

Finally taking on Splaghetti.

[Kate Spencer]

Italian. She was Boblowski Blablawski. Well, I get different than a Sofia character.

[Paul Scheer]

I think that that's why you can argue she never did another. I mean, she did two other movies, but they were very far in between.

[Jason Mantzoukas]

So you wouldn't characterize her as a feminist icon.

[June Diane Raphael]

Did you see that she. Did you feel that she loved Sylvester?

[Paul Scheer]

Yes.

[June Diane Raphael]

You did?

[Jason Mantzoukas]

I feel like. I genuinely felt like she wanted to fucking.

[June Diane Raphael]

Yeah, I felt something. Maybe she trained to present.

[Kate Spencer]

That's.

[Jason Mantzoukas]

You know, she was the youngest of the Golden Girls.

[June Diane Raphael]

Yeah.

[Kate Spencer]

Yeah.

[Jason Mantzoukas]

And died.

[June Diane Raphael]

So it's a crazy stat.

[Jason Mantzoukas]

I feel like she might die every night and they reanimate her every morning. Like in some sort of fucked up.

[Kate Spencer]

The Michael Jackson Weekend at Bernie's.

[Paul Scheer]

Yep. Hey, anything to keep off their rockers on the air. Which. Go check it out. Please don't. It is really fun.

[June Diane Raphael]

Actually. A good show.

[Jason Mantzoukas]

It is June. June.

[Paul Scheer]

I will say that.

[Jason Mantzoukas]

June. What are you talking about?

[Paul Scheer]

June had the same reaction and I made her watch and. Cause Rob Huebel told me, he's like, you gotta watch off their Rockers. I'm not watching it.

[Jason Mantzoukas]

What are you talking about?

[June Diane Raphael]

We may have been a little stoned, but it was really good.

[Jason Mantzoukas]

So you're watching Jack and Jill and off their Rockers at home.

[June Diane Raphael]

Well, I saw Jack and Jill in the theaters.

[Paul Scheer]

And with that, we bid you adieu. Thank you, everybody, for listening. You can follow Kate Spencer on Twitter aitspencer. Right?

[Kate Spencer]

That's me. Yeah.

[Paul Scheer]

It's very easy to thank you for having me. Oh, my gosh. We're so excited to have have you. You can follow me on Twitter. Paul Shear.

[June Diane Raphael]

Isjunedian.

[Jason Mantzoukas]

Yeah. Not on Twitter, guys.

[Paul Scheer]

It's not happening. Issue two of my comic book is out in the stores. Aliens versus Parker. You can get it online. You can get it in stores. Thank you guys so much. We'll see you next time. Bye bye, Heroes.

[Laci Moseley]

What's poppin listeners. I'm Laci Mosley, host of the podcast Scam Goddess, the show that's an O fraud and all those who practice it. Each week I talk with very special guests about the scammiest scammers of all time. Wanna 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 podcast Gas.

[G]

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