The Forbidden Dance

Summary

Podcast Summary: “How Did This Get Made?”

Episode: The Forbidden Dance
Hosts: Paul Scheer, June Diane Raphael, Jason Mantzoukas
Guest: Jessica St. Clair
Release Date: March 27, 2026

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Episode Overview

In this episode, Paul, June, Jason, and guest Jessica St. Clair tackle the 1990 film The Forbidden Dance. The team dives into the movie’s notorious production history, its attempt to cash in on the lambada dance craze, its eco-conscious (but confusing) plot, and why this movie exists at all. From bewildering dance sequences to bewildering white savior tropes, the hosts dissect this infamous rush-job "rainforest PSA with grinding." Expect lots of laughs, trademark banter, and an unexpected amount of dance history.

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Key Discussion Points & Insights

1. The "Lambada Wars" and Production Background

• [03:01] Paul explains the dual-release confusion:
  • “There was a lawsuit...posters that label this movie the Forbidden Dance. But then an injunction made them take away Lambada…and another movie came out the same weekend called Lombada.”
• [08:55] How quickly the movie was made:
  • “December of '89...we need a script. Ten days later they get a script. In January, they start shooting. The movie is released in March. It is the quickest film ever to be basically conceived, written, shot and released.”
  • [09:36] June: “There’s so much connective tissue the movie just does not give you…it just cuts from set piece to set piece, montage to montage. But given the information you just told me—well done. It still holds together.”
• [63:11] History of Golan and Globus relatives racing to make competing Lambada films after a falling out.

2. What the Hell is the Lambada?

• [04:50] Jessica clarifies confusion:
  • “Lambada means a fast, erotic Brazilian dance that couples perform with their stomachs touching.”
• [05:16] Paul: “When I understood it, it was a dirty dance. It was like a fucking dance.”
• [06:14] June observes the era:
  • “It’s like…all the white people dance is like, that’s how people danced at this time, you know. Just, like, all upper body nonsense.”
• [06:34] Jessica: “For a lot of this movie, our main character Nisa is dancing the lambada on her own.”
  • Paul: “It’s kind of masturbation in my mind. That’s what I feel like the movie...”
• [07:11] June: “Dance scenes are the sex scenes—the sex scenes are instead dance scenes.”

3. Plot Breakdown: Eco-melodrama & White Saviors

• [10:10] Paul delivers the plot:
  • “This movie is about Nisa, a native Brazilian princess who travels to LA to stop an American corporation from destroying her rainforest home ... ends up working as a maid ... falls into a dance contest to save the rainforest.”
• [10:40] June: “They are bigots. They are straight up racist, hateful, racist bigots.”
• [11:11] Paul:
  • “She starts working in a club that’s also like a brothel—but she’s just dancing. And then finally Jason rescues Nisa from this brothel, and they decide to get on a television dance contest so they can spread the word.”

4. Dancing, or: Why Isn’t This Sexy?

• [12:39] Jessica is blunt:
  • “The dancing from our lead, Nisa, is terrible...she had more chemistry with that curtain.”
• [14:22] June:
  • “We see them training for what appears to be weeks working on the dance, and they never get better. And in fact, when they do the audition, they seem to be worse.”
• [15:38] Paul:
  • “She’s a master. He’s a learner…it’s not framed like that. It’s almost like they’re equals, and they’re not. He needs to be learning from her...He’s baby. Let’s be clear. He’s baby.” (16:06)

5. Characters & Cultural Confusion

• [21:29] Jessica on Jason:
  • “The next shot we see of him, he looks like a middle-aged man...It’s inappropriate that he still lives at home and is being treated like a child by his parents.”
• [23:17] Jessica introduces Gen Z slang:
  • “‘Chapel ganger’...they all looked like chapel gangers…should be those guys we remember from that time, and they are so not.”*
• [25:24] June and Paul lament '80s hairlines, with Paul admitting:
  • “When I was a child, ... I went to my barber, hairstylist, and I said, ‘Can you make me look like [Bruce Willis from Moonlighting]?’ And they said, ‘That’s a receding hairline.’ And I was like, ‘I want it.’”
• [27:04] The witch doctor Joa is compared to a Fred Armisen character.

6. Villains, Racism, and Subplots

• [32:25] Jessica on the "apology":
  • “One of the big problems I had with this movie was their apology at the end...‘I’m sorry that happened...’ And then she says, ‘No problem,’ and we move on.”
• [33:01] June on Ashley:
  • “How about this? You know who never apologizes and never gets their comeuppance is fucking Ashley, who sucks so hard and is the worst villain of the entire movie.”
• [33:14-33:42] Ashley’s wild ‘I’m all daddy’ villain dialogue is read aloud.

7. The Rainforest, Corporate Evil, and 1990s “Issues”

• [35:35] June:
  • "So many of the clumsy themes of this movie could not be more prescient for right now. It is chilling."
• [37:09] Jessica:
  • “It’s a terrible dance...completely soulless and joyless. I hated it.”
• [41:08] June: “The rainforest is too important. I say, if Petramco is destroying the rainforest, well, then we should just boycott their ass.”
• [41:27] June: “That is the last line of the movie. There's no more dialogue. No, it's just dancing.”
• [41:42] Jessica: "Wouldn’t you love to live in a world in which people can win a dance contest, get on Kid Creole & the Coconuts on TV, he calls for a boycott, and substantial change happens?"

8. Favorite Memorable Moments & Running Gags

• [16:04] Repeated joke: “Jason is baby.”
• [26:31] Paul to Jessica on hair: “But here I'm gonna say, like, I can speak to this as a man who is bald...”
• [40:09] Debate over whether Kid Creole & the Coconuts are a real band. (They are—see 71:15)
• [46:07] Jessica finds it “kind of crazy” Nisa puts on her boss's dress and just goes out.
• [47:39] June: “Jason repeatedly turns down alcohol because he's driving...he’s portrayed as nothing but a genuinely good boy whose only vice is dancing.”
• [48:13] Paul: “Mother, I dance. I like it, and I’m good at it!” quoting the film’s Footloose-style dialogue.

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Notable Quotes & Timestamps

• "[07:06] Paul: 'She's doing, like, solo lambada. It's a kind of masturbation in my mind. That's what I feel like the movie...'”
• "[16:06] June: 'Jason is baby.'"
• "[32:25] Jessica: 'One of the big problems I had with this movie was their apology at the end...it’s such a non-apology.'"
• "[33:01] June: 'How about this? You know who never apologizes and never gets their comeuppance is fucking Ashley, who sucks so hard and is the worst, the worst villain of the entire movie.'"
• "[41:27] June: 'That is the last line of the movie. There's no more dialogue. No, it's just dancing.'"
• "[47:39] June: 'Jason repeatedly turns down alcohol because he's driving. We never see them doing drugs...his only vice is dancing.'"
• "[61:15] June: 'Dance is the transaction that needs to like emotionally get you there. The, the dancing just doesn't seal the deal.'"
• "[66:19] June: 'It really is the ozone layer and the destruction of the rainforest which in this time period is...the only climate change level event.'"
• "[71:00] June: 'Once again, the dance captivated everyone, including Mama Coconut.'"

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Other Fun Segments

Cultural References and Running Bits:

• Dirty Dancing training montages vs. The Forbidden Dance’s awkwardness (15:00)
• "Jason is baby" running joke (16:06, 49:12)
• Critique of '80s/'90s hairlines and pop culture standards (26:06)
• Side-rants on club subcultures and baffling costume choices ([51:06])

Behind-the-Scenes Trivia:

• Golan and Globus’s rivalry commented on in amused disbelief (63:15)
• The real-life identity and role of Mama Coconut revealed ([71:15])

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Overall Take and Recommendations

The hosts unanimously agree that while the film is bad in almost every technical and cultural sense, it remains an amusing, bizarre time capsule of 1990:

• Terrible (soulless) dance sequences
• An oddly progressive yet incompetent ecological message
• Ridiculous dialogue and non-acting
• Accidental laughs and occasionally memorable set-pieces
• Worth watching for fans of “so-bad-it’s-good” cinema, with a few drinks and the right company

[73:23] Would you recommend people watch this film?

• June: “Absolutely.”
• Jessica: “I’ve enjoyed talking to you two about it...and we had some laughs.”
• Paul: “It wasn’t too long...most of the movie is a montage.”

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Notable End-of-Episode Gags

• New merch: “Jason baby needs a Swayze” personal ad T-shirt ([74:22])
• Pseudo-PSA: “This episode is dedicated to the rainforest.”

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Final Thought

A fever dream of a late-80s/early-90s culture clash movie, more notable for its context than its content. A perfect specimen for How Did This Get Made? fans—come for the accidental chaos, stay for the hosts’ riffing.

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For Deeper Listening:

• Key segments to check out (approximate timestamps):
  • 02:03—Dual-release confusion and lawsuits
  • 10:10—Plot outline
  • 14:22—Dance rehearsal montage and critique
  • 21:29—Jason's age and casting oddities
  • 32:25—Villain analysis, racist friends
  • 41:08—Rainforest 'boycott' and abrupt ending
  • 63:11—Golan/Globus rivalry breakdown
  • 73:23—Final verdict: Should you watch this?

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Memorable Quote:
[68:18] Akbar: “This was the most sensuous movie I've ever seen...Bow wow, five stars.”

Transcript

[Paul Scheer]

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[June Diane Raphael]

Now it's time for. 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 how did this get Made? Today we are talking about the 1990 film the Forbidden Dance, not the 1990 film Lombada. That's right. We will talk about those subtle differences in just. Yes.

[June Diane Raphael]

What?

[Paul Scheer]

Yep.

[Jessica St. Clair]

Yeah, we were a few minutes in. Paul said, cue it up. I got everything ready and then I was starting watching it 10 minutes in. He said, this is the wrong movie. We're supposed to be watching Lombada.

[Paul Scheer]

Wait, well, no, no. We were supposed to be watching the Forbidden Dance.

[Jessica St. Clair]

No, I know, but you got confused.

[June Diane Raphael]

Did I watch the right movie?

[Paul Scheer]

Did you watch a movie with a character named Nisa? Yes. Okay, then we have watched the right movie.

[June Diane Raphael]

Holy cow. Because there was a Lot of Lombada in it, a lot of Lombarda. I mean, but this isn't the movie that was called Lombat. Oh, wow. Okay, I'm sorry. I've already jumped. No, this is all over this. But this is a wild reveal.

[Paul Scheer]

There was a lawsuit that happened, so there are posters that label this movie the Forbidden Dance. But then an injunction made them take away Lombada and just be the forbidden dance. But then there was another movie that came out, like, the same weekend called Lombada.

[June Diane Raphael]

Wait, the same week came out? They came out the same weekend?

[Paul Scheer]

It was.

[June Diane Raphael]

They were. Or around the same time?

[Paul Scheer]

Yes, the exact same day.

[Jessica St. Clair]

God, what was going on? What can you imagine as a people that we needed.

[Paul Scheer]

It was taking over the nation.

[Jessica St. Clair]

I know, but you know what it reminds me of? Do you remember when Paul Blart, Mall Cop and also, I think Mall Cop came out? Like, there were.

[Paul Scheer]

There are two Mall Cop movies. I remember like, Volcano and Dante's Peak. I remember, like.

[Jessica St. Clair]

I don't know why I'm remembering Mall Cops, but I feel like you're right, though.

[June Diane Raphael]

There's a bunch of. Like, why are these.

[Paul Scheer]

It was Observant Report with Seth Rogen and Paul Blart, Mall Cop with Kevin James.

[Jessica St. Clair]

Thank you. Two films about small cops at the exact same time. And it feels just as obscure and just as random as two films about a forbidden dance.

[June Diane Raphael]

I mean, I was going to do you guys. Let me ask you this, just because you guys are younger. Do you remember the phenomenon that was, like, the Lombada and the forbidden dance? All this stuff, like, close dancing, crotch touching. Dancing was, like, truly, like, so risque and so outrageous that it needed to be foregrounded in. People needed to be like, there needs

[Paul Scheer]

to be a movie about this.

[Jessica St. Clair]

Well, I just looked up the term Lombarda.

[Paul Scheer]

Yeah.

[Jessica St. Clair]

Because I'm getting really turned around here. Lombada means a fast, erotic Brazilian dance that couples perform with their stomachs touching.

[Paul Scheer]

Cool. Okay.

[Jessica St. Clair]

But stomachs touching is interesting because I actually, I don't. I. That's not what I saw. Really.

[June Diane Raphael]

Here's what I'll say. I mean, that feels like a sanitized way of saying, what's also touching is what's right below you.

[Paul Scheer]

Well, and that, to me, this was like a dance. When I understood it, it was a dirty dance. It was like a fucking dance. Like, that's what I understood.

[June Diane Raphael]

Lombardi, but she says it's erotic. And, you know, and part of it is like the. In order for your stomachs to touch while dancing, your legs need to be intertwined.

[Paul Scheer]

Yes.

[June Diane Raphael]

What you're doing is putting. Is putting your legs in between each other so you're crotch to crotch.

[Paul Scheer]

I think this is more of a grind, like the advent of grinding in dance. Right. Because really, what I'm. I'm looking at another definition of lombada, and it's saying that dancers generally dance with arched legs. The steps are side to side, even swaying. At a time that the dance became popular, which is 1990, short skirts for women were in fashion and men were wearing long trousers. And so it was like this idea that, like, the women's skirts are swirling up as she spins around and kind of having thong underwear on was a part of this as well. So I think it was just. You're seeing a lot.

[June Diane Raphael]

This is again, like, this is like again when. And there's perfect examples of it shown early on of how like, Jason and Ashley dance and how like all the white people dance is like, that's how people danced in this time, you know, just like all upper body nonsense, you know.

[Jessica St. Clair]

Yeah, but here's my issue though, is. Oh, God, I've. So I don't. Honestly, I don't even know where to begin. I'm glad we're starting with just the pure definition of lambada because, yeah, this is important. This is important. This is actually important context and an important, you know, setting of the stage. Because to me, what I'm seeing is the Lombada is a couple's dance. Talking about stomach's touching, I'm talking about crotches touching. For a lot of this movie, our main character, Nisha is dancing the lombada on her own.

[Paul Scheer]

Well, she's doing like solo lombada. It's a kind of masturbation in my mind. That's what I feel like the movie.

[June Diane Raphael]

I feel like what the movie. This is a Go Golan and Globus movie, right?

[Paul Scheer]

Am I right?

[June Diane Raphael]

Like, I feel like very much in this movie, the dance scenes are the sex scenes, right? They are. In order to make this PG 13, the. The sex scenes are dance. Are instead dance scenes, whether it's solo dancing, quote unquote or not. Like, they are. That is. And it's. And let. But let's be clear. She says that it is forbidden in Brazil to dance this dance because it's so erotically charged. And what we see over and over and again is when she dances the Lombada, it causes men to go feral. Men begin to just attack. Like throughout the entire movie. It is absolutely. Every. Every man is correctly portrayed as a True predator villain in this movie.

[Paul Scheer]

Unable because they've lost their God.

[June Diane Raphael]

Yes.

[Paul Scheer]

I mean, the idea.

[June Diane Raphael]

Because they need that rainforest to get burned. I mean, now this is a climate change movie.

[Paul Scheer]

Yes. We're gonna get into all of this now. I just wanna say that while this movie is called the Forbidden Dance, there were no formal government bans on this dancing. Right. It was the idea, though, I think that we were in a conservative time. This dance then kind of broke through those barriers and it became like the number one song on the pop charts for a couple of weeks. So, I mean, again, I just. I was gonna save this for the end, but I think it's worth bringing up here. In December of 1989, the producers said, hey, we need to make a Lombada dance. I really want you to keep these numbers in your head. December of 89, I was just about to turn 10.

[Jessica St. Clair]

Okay? I'm putting myself there.

[Paul Scheer]

I wasn't born. And they go, we need a script. Ten days later they get a script. Okay, ten days later they get a script. In January, they start shooting. The movie is released in March. It is the quickest film ever to be basically conceived, written, shot and released. So much so that Roger Ebert, like, visited the set to be like, this is the craziest thing ever. It was delivered to Columbia Pictures one day before the film's release just to be out the day of the other movie.

[Jessica St. Clair]

Then you know what? They did a great job.

[June Diane Raphael]

I'm even. I'm more impressed than before because. Because I will say there is many times in my notes where I'm like, why are they dancing? They haven't yet met. Why are they already at a dance club together? There's so much connective tissue that the movie just does not give you. It just cuts from basically set piece to set piece, montage to montage. But given the information you just told me, by the way, well done. It still holds together. And they save the rainforest at the end.

[Paul Scheer]

Well, I mean, that's. The movie is dedicated to the rainforest now.

[Jessica St. Clair]

We're not here without this movie. To be honest, I don't know that

[Paul Scheer]

we would breathable air for such a progressive plot for 1990. If you are wondering what we are talking about, I'll quickly tell you that this movie is about Nisa, a native Brazilian princess who travels to LA to stop an American corporation from destroying her rainforest home. When Lisa gets to la, she winds up working as a maid for Beverly Hills family where they have a son who loves dance. Jason. Jason and Nisa go out dancing. But Jason's friends hate Nisa because she's simply different.

[June Diane Raphael]

Well, I mean, no, they are bigots. They are straight up racist, hateful, racist bigots.

[Paul Scheer]

Yes.

[June Diane Raphael]

In every single way. They are villain.

[Paul Scheer]

And everyone really in this movie is a straight up racist. I will. We can dig into all this. Just if you've not seen it, I will say Nysa then is disregarded by this group. She's out on the street. She starts working in a club that's also like a brothel, but she's not doing the brothel stuff. She's just doing dancing.

[Jessica St. Clair]

That's what they always say.

[Paul Scheer]

And it's also like a leather club, but we'll get into that. And then finally, Jason rescues. Rescues Nisa from this brothel, and they decide that they need to work together to stop this company from destroying the rainforest. And the only way to do that is to get on a television dance contest so they can spread the word. Spread the word. And that. That's like the brief overview. We're gonna get into the witch doctors. We're gonna get into his, you know, Jason's girlfriend, Ashley. But that's just a little bit of the plot of the forbidden dance. Again, not Lombada.

[Jessica St. Clair]

Yeah, not Lombada the movie, but the

[June Diane Raphael]

Lombada that is blowing my mind. I thought I just watched Lombada also.

[Jessica St. Clair]

Did you watch La Bamba?

[June Diane Raphael]

Oh, I've. I've. I've watched La Bamba. Don't worry about it. They played the song Lombada. I'm gonna say, conservatively, 35 times.

[Jessica St. Clair]

No, it was when it came on at the end, I was like, wow.

[June Diane Raphael]

They. It is. It is the music in the movie. The song, rather, is relentless, like you said.

[Paul Scheer]

It's just like this is a movie that was conceived and released within 90 days. So it is truly like filling time. Filling, filling time.

[Jessica St. Clair]

And I mean, so tough, because I'm going to re. I'm going to be so for real right now. I'm so for real.

[June Diane Raphael]

Oh, God. All right, hold on there.

[Jessica St. Clair]

The dancing from our lead, Nissa, is terrible.

[Paul Scheer]

Wow.

[Jessica St. Clair]

You know, and she may be doing a wonderful portrayal of the Lombarda. That might be just exactly what that looks like. I don't. I don't care. It. It's so horrible and strange and there's nothing. To me. I mean, I guess you're both mate. You can speak to it. But there was nothing. There was one scene with her in the curtain. The curtain work.

[June Diane Raphael]

Yes. Very good. Yeah. Where she's grinding into the curtain. I remember that scene very well.

[Jessica St. Clair]

She had more chemistry with that curtain.

[June Diane Raphael]

Unlike Paul, I don't watch our movies on, like, two times speed.

[Paul Scheer]

I didn't watch this on tunes.

[June Diane Raphael]

Yeah, there's some scenes I will watch at 0.5, and that one I watched at 0.5.

[Paul Scheer]

Well, by the way, sometimes this movie. Movie is slowed down to 0.5. When they want to show something like a glass. Like this movie slows down, be like, hey, we're going to. If we're going to run through a hut, we're going to do it in slow. Like, we need to get every thing

[June Diane Raphael]

that blew my mind to. June's point is there's a point in the movie where there is the quintessential training montage where they are meeting day after day after day after day to rehearse the Lombarda. They're in different outfits. They're rehearsing to the song. So. Same place. So that they can get on the Kid Creole and the Coconuts audition and get passed by Mama Coconut wearing an Amy Sherman Palladino hat and.

[Paul Scheer]

But can I just say, the Kid Creole and the Coconuts does not speak to me as a large televised audience, but yet they are treating this as if it is the finale of one of the biggest shows on television. Yeah. Like, at its height.

[June Diane Raphael]

I loved the small stakes of it, though. I loved the small stakes the movie had. That no room ever has more than about 15 people in it. Even crowded clubs. But anyway, sorry. My point was, to June's point, we see them training for what appears to be weeks working on the dance, and they never get better. And in fact, when they do the audition, they seem to be worse. Like, I was like, they've gotten worse at this.

[Jessica St. Clair]

Yeah, the final product is pretty bad as well. The funniest thing about that training montage, though, is, you know, I was thinking back to, like, the training montage and Dirty Dancing, which to me is one of the finest training montages in any movie.

[June Diane Raphael]

I carried the watermelon.

[Jessica St. Clair]

They're. And they're on the log and they're. You know, we know the move that they're going for, right. We know that that's the big lift coming up at the end, right? And they're going over it, and they're going over it, and there's frustration. Sometimes she's laughing, sometimes she gets tickled. There's so many ways in which they deal with that big lift and that. That whole dance sequence in this, they. They get frustrated by a turn in and a turnout, and then they get both of them very mad at each other. And it's not like, oh, it's like they're fucking pissed.

[June Diane Raphael]

Yeah.

[Jessica St. Clair]

They're so mad.

[Paul Scheer]

I don't have a connection.

[June Diane Raphael]

What's. Yes. And. But what's also interesting is she's a master. He's a learner.

[Paul Scheer]

Right.

[June Diane Raphael]

And there's been framed like that. It's not framed like that. It's almost like they're equals and they're not. He needs to be learning from her so that the catharsis of the movie. He's baby. Let's be clear. He's baby.

[Jessica St. Clair]

Don't ever say that again and don't

[Paul Scheer]

ever put him in a corner.

[Jessica St. Clair]

Say that again and don't put him.

[June Diane Raphael]

Jason is baby.

[Paul Scheer]

Jason is baby.

[Jessica St. Clair]

Jason.

[June Diane Raphael]

You don't want me to see. Jason is baby. Jason is not baby. I just want to give it to people so they can clip it. Jason is baby. Okay, cool. Thank you.

[Paul Scheer]

Today's podcast is brought to you by Squarespace. Whether you're just starting out or scaling up your business, Squarespace is the all in one website platform designed to help your business stand out and succeed online. Now, I love Squarespace because it gives me everything I need. You can offer services and get paid all in one place. From consultations to events and experiences. Showcase your offerings with a customizable website to designed to attract clients and grow your business. Get paid on time with professional on brand invoices and online payments. You can streamline your workflow. Keep it all in one spot. That's right. Built in appointment scheduling? Check. Email marketing tools. Check. I have been using Squarespace forever. You can see each one of my websites, whether it's the dark web, Paul Shear unspooled or how did this get Made? Is completely a unique experience. And I love building there because it makes me feel free and creative to offer the things that I want to offer. Now head to squarespace.combonk bonkers for a free trial. And when you're ready to launch, use the offer code Bonkers. That's B O N K E R s to save 10% off your first purchase of a website or domain on ebay. Every find has a story. Like if you're looking for a vintage band tee, the one you wore everywhere until you lost it. Now you're on ebay. And there it is. The things you love have a way of finding their way back to you. Especially on ebay. From rare collectibles and vintage cars to designer fashion, it's all there. Shop ebay for millions of finds, each with a story. Ebay Things people love. Have you been feeling, I don't know, not quite 100%. Yeah, you know, it's like just maybe you're a little bit low energy, feeling bloated, lacking focus. Well, then it's a perfect time to start. Im8's daily ultimate essentials. This drink is loaded with 92 nutrient rich ingredients such as vitamins, minerals, adaptogens, CoQ 10 MSN and pre, pro and postbiotics. It's designed to help you feel good from inside out. It's vegan, gluten free and non gmo. It's NSF certified, which means all the ingredients are third party tested for purity. Now, I'll tell you, it tastes delicious. I've been drinking it for, I don't know, maybe about two weeks now. It's very easy to work right into my routine and I am seeing some real benefits. That's right. I mean, my focus is better. I actually have a little bit more energy. I use it as a supplement to my workouts. So why don't you, you feel your best self every day with im8. Go to im8health.com bonkers and use the Code Bonkers for a free welcome kit. Five free travel sachets plus 10% off your order. That's Im8Health. H E A L T H.com bonkers code bonkers for a free welcome kit. Five free travel sachts plus 10% off your order. Im8Health.com bonkers code bonkers. These statements have not been evaluated by the Food and Drug Administration. This product is not intended to diagnose, treat, cure or prevent disease. Well, I mean, look again, this movie is about a company from California that is just destroying the rainforest in Brazil. They are coming through, letting all the natives know, hey, get out of here. Because we're burning this. We're burning it to the ground, not chopping it down. They're burning down the rainforest. For what end? We don't know. It's Ruckerhauer's, like, twin brothers.

[June Diane Raphael]

Oh, my God. I wrote American Rutger Hauer too. Yeah, I wrote American Rutger Hauer. I love that. Thank you.

[Paul Scheer]

That guy. And so he comes in very harshly, drives his jeep through one of their huts. And then to me, my favorite part is when they are leaving out of anger, they just drive over a small tree. Like the equivalent of like, what the what? Like the, the sag Christmas tree is in the Peanuts Christmas special. Like, it's like they clearly like, we could do that. We could drive. We could. We could hit that Tree and it won't be that big.

[Jessica St. Clair]

Well, by the way though, when they're driving through that hut, I see this is where I was getting so confused because I thought that that, that looked like a bridal hut. That looked like, you know, she was maybe in there to get ready or to go.

[June Diane Raphael]

I agree.

[Paul Scheer]

Yeah. Nysa is, I think, getting married. That's what I thought.

[Jessica St. Clair]

God, who was that guy? We. He. She never mentions him again.

[Paul Scheer]

No, I mean, look, Nisa.

[June Diane Raphael]

We.

[Paul Scheer]

We are told that Nisa has spent a lot of time in the States studying the white man. Like that's her own choice of words. Yeah, she goes, I've been there. Because she's like, let me deal with this, guys. I'll talk to Rucker Hauer. Hey, I know the white man. But then when she does come to la, it does seem like she's never studied the white man. Because the way that she says, and I don't want to be one of these racists in the movie, but the way that she says chairman, it felt to me like she was saying a man. That is also a chair like, which I enjoyed.

[Jessica St. Clair]

I love that.

[Paul Scheer]

I really enjoyed her.

[Jessica St. Clair]

Now here's the thing. You know, I need to discuss Jason. Jason.

[June Diane Raphael]

Because Jason, not me, not Jay's son.

[Jessica St. Clair]

You, Jason.

[June Diane Raphael]

Because so rarely do we find Jason's in our movies.

[Paul Scheer]

Yeah, this is a good one.

[June Diane Raphael]

And this one, this was a good one.

[Jessica St. Clair]

Well, this Jason was presented when he was first in that bed. And she gets a job in that house and the woman's walking her through and you know, she opens the door and says, hey, don't clean in here if he's in here. And, and he's passed out on that bed. Yeah, that's my son. He's, you know, ne' er do. Well, it's. I thought, okay, he's eight, he's 18. If he's dead, he's 19. He's just out of.

[June Diane Raphael]

I also have this question.

[Jessica St. Clair]

Okay, Wonderful young buck, ideally. Yeah. And because she's very young now, Paul, I. I'm watching these movies and in post the last Epstein email drop, I'm very, I'm not like, okay as a person after reading all of them. And I was like, how young is she? She looks too young. She looks.

[Paul Scheer]

And I'm quickly googling 26 or 26.

[Jessica St. Clair]

Okay, great. But I was like, oh, okay, he's gonna be, he's gonna be a teenager.

[Paul Scheer]

He.

[Jessica St. Clair]

The next shot we see of him, he looks like a middle aged man.

[June Diane Raphael]

It's inappropriate that he still lives at home and is being treated like a child by his parents.

[Paul Scheer]

He's a grown man in the movie Wall Street. Like, he looks. That's how he carries himself. It looks like he doesn't have the hair of even a teenage.

[June Diane Raphael]

He doesn't have a. He doesn't even have a baby face.

[Paul Scheer]

He know, you know what it is.

[June Diane Raphael]

Him and all his friends, Ashley and Weed and I wrote the names down somewhere. They all have a bunch of shitty names. They look like they are the runoff of the Brat Pack. They look like they're in a St. Elmo's Fire ripoff movie. They look like they are adults. They should not be. They. They seem to be portraying high school kids and they are not at all.

[Jessica St. Clair]

You know what it was? It was. You know, Jessica and I were talking about how the young kids, if. If they think someone's unattractive, they'll call them chopped. You know, their face is kind of chopped. And then if they think they look like a celebrity but, like, not as good looking, they'll call them a chapel ganger. And that's what I felt like about all of the guys in this movie. They all looked like chapel gangers. Like that. They should be those guys we remember from that time, and they are so not. I mean, our Jason want to talk about his hair. And I'm so glad you brought it up because the. The infrastructure.

[Paul Scheer]

Yeah, go for it.

[Jessica St. Clair]

The infrastructure of his hair. I spent the entire movie just trying to figure it out. The highways and the byways. The mainframe was so, so confusing.

[June Diane Raphael]

When it's what's interesting about watching old stuff, both for this and also when I'm watching old episodes of Law and Order or old whatevers that, you know, I'm. Old movies and stuff is. You really are shocked to remember. We've become so desensitized. Everybody now has some version of the same hairline. Everybody now has some version of the same. Some version of the same stuff. We now have figured enough things out that you forget that even then back then, young people, you had to reckon with receding hairlines in their 20s. And you watch it on Moonlighting. So much so that they have to start making jokes in the show about David Addison losing his hair because he can't. He can't go to Turkey and get a. Get a hair plug.

[Paul Scheer]

I told you the story, I think, but I'll tell it quickly here, that when I was a child, I was such a fan of Moonlighting that I went to my barber, hairstylist, and I said, can you make Me look like this. And I gave him a picture of Bruce Willis from Moonlighting. And they said, that's a receding hairline. And I was like, I want it. And luckily my babysitter is like, don't know. We have to make sure his mom is okay.

[June Diane Raphael]

That's the thing is, like, many of the sex symbols of the time, Bruce Willis, Corbin Bernson, like, people had receding hairline hair.

[Jessica St. Clair]

Wonderful. And. And you're right. I. I do think there is definitely a diversity to hairline that. That. That we don't see anymore. And that's too bad. And I totally get that. I think what. What I'm also saying, though, is, like, we're talking about the front. I'm also talking about the back. It's both very long and sometimes quite short. It's so confusing. And there are times where he's dancing and dancing and you'll see the back lift up.

[June Diane Raphael]

Yeah.

[Jessica St. Clair]

You know, and it is so strange.

[June Diane Raphael]

Oh, no. The whole situation.

[Paul Scheer]

But, you know, that whole thing, especially

[June Diane Raphael]

for someone who's in constant motion.

[Paul Scheer]

But here I'm gonna say, like, I can speak to this as a man who is bald. Like, when you are losing it, you don't want to cut it from any other spot. You're like this. I'm disguising it. And you see it all the time.

[Jessica St. Clair]

You see that all the time.

[Paul Scheer]

You see it for the puffed out, the sides. It's the long. The back, it's like. No, no, no, you got it all over the place now.

[June Diane Raphael]

Look, is his hair.

[Paul Scheer]

Wait, no, his has good hair. Yeah, before he got.

[June Diane Raphael]

He's got great hair.

[Paul Scheer]

Great hair, right? All right, well, we'll leave that on the side. Here's what I will say. The hair that I loved is, of course, the witch doctor who just said, you know what? I'm losing it. And I am gonna go. To me, this looks like a Fred Armisen character. You know, I thought he was great. He was amazing. That is Joa. Is his name Joa? Yeah, Joa. Joa is the tribal shaman who is do. Is up to a lot of stuff.

[June Diane Raphael]

I mean, he's got straight up match. This guy is literally doing magic. And everybody's just like, oh, cool, he does magic. Okay, we're in.

[Jessica St. Clair]

Why not? What I was fascinated by. I mean, so the character. I. I can't remember her name. She finds Nisha, like, Carmen by a fountain. Carmen thing.

[June Diane Raphael]

Carmen is her name. So like, the horniest character in the movie.

[Jessica St. Clair]

And by the way, I'm gonna be. I'm gonna Be so for real. Again, the best dancing in the movie, as far as I'm concerned, by Carmen in her own apartment just vibing out and. And seducing Joa because she's playing eardrums.

[June Diane Raphael]

She's so free with her movement. She feels like she's moving to a song. And everybody else feels like they're trying to remember steps, and she just. Does that make sense?

[Jessica St. Clair]

Energy.

[Ashley (character)]

Yes.

[Jessica St. Clair]

She had energy, and it was interesting. And I don't know what the fuck is going on, but I'm enjoying this. And it was surprising. And she was giving everything she had. You're right. Everybody else was, like, marking the beats.

[June Diane Raphael]

Yes. And trying to remember what the steps are. You know, it felt like they were. They had been taught stuff versus Carmen. Just felt like she was living her best life. And I was like, give me the Carmen movie.

[Paul Scheer]

But by the way, is that part of the black magic of Joa? Because we do know that Joe has got. He can shoot fireworks out of his hand. He's got black. He's got a little sack that freezes you. He. You know, and so he starts air drumming there. And it seems like, oh, he's just keeping himself entertained, but maybe he's, like, possessing the air. Like, he's kind of puppeteering Carmen. I don't know. Because when he's air drumming, she gets so into it.

[Jessica St. Clair]

That's an interesting read.

[Paul Scheer]

It's. I. I feel like he's more powerful than we even know.

[June Diane Raphael]

Oh, yeah. He is, like, making, you know, he's, like, making love. Yes. Big, big cat sounds. He's roaring like a tiger. Points or something. He's. He's doing all sorts of stuff. That's that. And when he leaves, when they. Somehow I couldn't figure out why they needed to raise money to send him back home. They do. They do. And he shows back up at the end. Yes.

[Jessica St. Clair]

He doesn't seem to have a lot of expendable cash.

[June Diane Raphael]

And why would Carmen want to get rid of him? Aren't they in love now? I'm rooting for them more than I am, Jason and me.

[Paul Scheer]

I think they needed to send him home to get the King. Because the king does make the appearance at the end of the movie.

[June Diane Raphael]

Yes. On the Kid Creole in the Coconut show.

[Paul Scheer]

Yes. So we got to get the king because I guess the original plan was, let's send Nysa, our daughter, who knows the way of the white man, to break in, to the corporation of Petromico, and a name that just kind of falls off the top. And she was I don't know what her plan was besides just kind of breaking into his office and saying, talk

[Jessica St. Clair]

to him, I guess.

[Paul Scheer]

And so when that plan goes awry, Joa gets arrested. She is now left just alone in the city. They have no plan. The plan is over the minute they don't get into the CEO's office. So then the plan is let's win a dance contest to get the word out about the destruction of the rainforest.

[June Diane Raphael]

Even that's not a plan until much later because first she becomes a maid, then she loses that job, but meets Jason. Then she works in the dance club brothel.

[Paul Scheer]

By the way, that's.

[June Diane Raphael]

I need to talk about the woman who has a switchblade in her bra. I was obsessed with. I'm obsessed with 70s and 80s movies. Obsession with switchblades, which I think is a 1950s nostalgia for like greaser switchblades,

[Paul Scheer]

you know, like it feels dirty.

[June Diane Raphael]

The gangs, the gangs of the 50s, you know, like Fonzie switchblade type stuff. But like her having a switchblade just like click. As if that's the most threatening thing that's ever existed.

[Paul Scheer]

Well, I think that that guy thinks that she, he's, you know, she's gonna chop off his dick. Because by the way, that guy who just gets out of the, the one of the brothel rooms, like, is immediately done, comes out, shirt off, looking like a. Like again, like a real poor man's Al Bundy stomach out, just kind of goes up to. And he says, like, you're next.

[June Diane Raphael]

Speaking, speaking of June. This might as well have been filmed on Little St. James. I don't know what this. I don't know where this place was very terrible, but it is. I'm pretty sure some of our cabinet members were in there.

[Jessica St. Clair]

Yeah, and that main lady was a real Ghislaine Maxwell. I mean it was real. It was really.

[Paul Scheer]

She's like, she'll get comfortable when she's comfortable. You can come back. Oh God.

[June Diane Raphael]

I mean, but Miller, just because I just found it. His friends names are Dave, Kurt and Weed.

[Paul Scheer]

Oh my God. And by the way, they are all, like we said, they are all straight up racist. Like they meet Nissa rapists.

[Jessica St. Clair]

They're rapists and racists. And honestly, one of the big problems I had with this movie was their apology at the end, which is such a non apology. It's like, yeah, I'm sorry that happened. I'm sorry we lost control. And then she says, no problem. Yeah, no problem. And we move on.

[Paul Scheer]

Well, she's forgiving. I mean, she Saw them for what they are and she'll never trust them again.

[June Diane Raphael]

How about this? You know who never apologizes and never gets their comeuppance is fucking Ashley, who sucks so hard and is the worst, the worst villain of the entire movie when she's in car with American Rutger Hauer. And. And she. He says, you're just like your mother. And she says, I'm outside like her, but inside I'm all daddy. And he like holds her face in his hand. I was like, I want this car to blow up.

[Jessica St. Clair]

I hated every second of it.

[June Diane Raphael]

Well, it looks like you've taken after your mother.

[Ashley (character)]

Only on the outside. Inside I am all daddy.

[June Diane Raphael]

You must be one confused little girl.

[Jessica St. Clair]

Hardly.

[Ashley (character)]

Now you're still the hired gun for the tramco, aren't you?

[Paul Scheer]

What do you want?

[Ashley (character)]

It seems we have a mutual acquaintance, a certain Indian princess.

[Paul Scheer]

I know an Indian princess.

[Ashley (character)]

Oh please, save your act for the unwashed. I know she's as big a pain in the ass for Petramko as she is for me. So I thought it's about time we do something about her.

[Jessica St. Clair]

Where can I find her?

[Ashley (character)]

At this club Creation. Jason and Nisa have been rehearsing here every afternoon. They're preparing a dance audition for the Kid Creole show. And if they make the audition, they're on national tv.

[Paul Scheer]

I won't allow that to happen.

[Ashley (character)]

Well, I didn't think you would.

[Paul Scheer]

You can't let them go on TV and preach anti American American propaganda now can't we? Ashley?

[Jessica St. Clair]

What are you gonna do to her?

[Paul Scheer]

Let's just say I wouldn't do anything you wouldn't approve of.

[Jessica St. Clair]

Awful.

[June Diane Raphael]

And I was like, she's a real villain and nothing, she never has any.

[Jessica St. Clair]

Well, she doesn't win. She doesn't get to perform on Kid Creole and the Coconuts.

[June Diane Raphael]

No, she doesn't get to perform.

[Paul Scheer]

She doesn't have the talent to even do that.

[June Diane Raphael]

I do believe she is someone who now would be like full maga.

[Paul Scheer]

I mean, she also. She does hire somebody, right? That guy. Does she hire that cowboy guy like to come and like kind of wreck the show at the end?

[Jessica St. Clair]

I think what she does. I couldn't. I couldn't.

[June Diane Raphael]

Actually she sells them out. She sells them out to. To American Rutger Howard who works for Petra Co. So that he then gets them kidnapped. And how is she getting a.

[Paul Scheer]

A line into Petro or whatever?

[June Diane Raphael]

Like her daddy, her dad used to work connections.

[Paul Scheer]

Okay, and then why is. Why is Rucker Howard back in the States?

[June Diane Raphael]

He's like behind the scenes. Fixer. He's like a villain. Fix.

[Paul Scheer]

Got it.

[June Diane Raphael]

Who works with all the big corporate, you know, villains to. To help them make the ozone worse.

[Paul Scheer]

I guess. I. I mean, this is the look we can't dig in on. The climate change is very hard to kind of break down. This is why people don't believe it exists. You know, this movie, I think, simplifies.

[Jessica St. Clair]

We didn't move the cause forward with the scene.

[Paul Scheer]

Well, look, I mean.

[June Diane Raphael]

I mean, so much of the. So many of the clumsy themes of this movie could not be more prescient for right now. It is chilling.

[Jessica St. Clair]

Oh, but by the way, I did feel like everyone in this movie was Maga, though.

[June Diane Raphael]

Yes.

[Paul Scheer]

I mean, there are so many, like, slurs in this movie. First of all, she's Brazilian.

[June Diane Raphael]

Casual. Casual. Slurs.

[Paul Scheer]

Casual. And, like, she's Brazilian times, though, before

[Jessica St. Clair]

she opens her mouth and has any sort of, like, Portuguese accent. Before they're. They all are like, scum. If you are ra. Well, you are racist. We're gonna find out in two seconds. But on what basis? Right now, in this moment, she has brown hair, by the way. They are so wild.

[Paul Scheer]

They are also in Beverly Hills. They are in Los Angeles. Right. Even in the 90s, I have to imagine that these people live in a diverse city and they treat like Beverly. Like, take that to the east side clubs.

[Jessica St. Clair]

As if, like, surprised. How Maga. Beverly.

[Paul Scheer]

I get it.

[June Diane Raphael]

But I mean, I'm not surprised.

[Jessica St. Clair]

Paul's always defending the rich.

[Paul Scheer]

Well, I mean, I try to, you know, because they keep me. They keep me fed. I will. I. There was a really funny line when they. When, you know, she gets all those, like, slurs out, but she doesn't really take them in. And then she starts dancing. But she does say to Nisa. Does say to Jason, she said, I wrote this down. Fifty years ago, the government of Brazil forbid this dance because it's too sexy for Brazil for it to be years ago. For it to be.

[June Diane Raphael]

She's like, sexy for Brazil in the 40s. That's pretty amazing.

[Paul Scheer]

I guess maybe in the 40s. I guess in the 40s, you couldn't do this dance. Yeah. And. But when she does it, like, I guess I've. Again, I feel like the dance with the curtain was sexier than what we ever see on tv.

[Jessica St. Clair]

Like, this never feels a terrible dance. It's a. It's. It is a. It's not a dance. It's sort of like a hip movement. It's completely soulless and joyless. I hated it.

[Paul Scheer]

You want to Feel like you're watching two people fuck. And I guess we answered the first question, which is like, I don't know if I want to watch Jason fuck. And I don't think that she is as good as a dancer to, like. She was best when she was alone.

[June Diane Raphael]

It's interesting because we have existed, most of our lives have existed in what I would say is like a renaissance of dance movies.

[Paul Scheer]

Right.

[June Diane Raphael]

Subsequent to this movie. We have a lot of very good dance movies that have populated the 90s and 2000s prior to this. I think, June, you're mentioning Dirty Dancing. There really were very few movies that had dance as a component to it. And I do think these. This movie, and I'm. I suspect Lombada, which I thought we had watched, were really all about the erotic nature of dance being transgressive, you know?

[Jessica St. Clair]

Yeah. Also, dance is usually. Usually in most dance movies. Dance is a class issue. Dance is an economic differentiator. And it is sort of in this movie, too. Although I couldn't. I know that you're saying, Jason, about like the. The white Beverly Hills people in the dance club are sort of just using their arms. I actually. It couldn't quite figure out what the real difference was in the dancing, even. It didn't seem like watching Ashley.

[June Diane Raphael]

It was just the closeness of their crotches. I feel like the camera is telling you what's different. Yeah, the camera's telling you by focusing on their midsections. It's saying, this is the controversial thing we are willing to show. This movie is about this. And it's. This is so outrageous that it's making people in the crowd want to reach out and touch them because they want. They're so absolutely turned on by this crazy dancing, you know?

[Paul Scheer]

But now.

[June Diane Raphael]

But now I think what they're trying to tell you. That's what I think. I'm doing a little work for the movie, but I think that's what it's. It's unsuccessful, but that's what it's trying to show.

[Paul Scheer]

But the Calypso or King Clam or whatever his name is, he is also.

[June Diane Raphael]

Okay. Kid Creel on the Coconuts. Very real band. Very real band. How dare you?

[Paul Scheer]

Kid Creole and the Coconuts, which they do perform a song that I had a lot of problems with. Was it called the Horror?

[Jessica St. Clair]

I loved that song.

[June Diane Raphael]

That was the best song in the movie.

[Paul Scheer]

I mean, that was me as well. I. I feel like they're. They're kind of like Latin disco, Caribbean. So they're open to this kind of music. Like, I guess the idea is that, like, Kid Creole is the only person that will accept this kind of dancing.

[June Diane Raphael]

I don't even know if that's.

[Jessica St. Clair]

I don't know.

[June Diane Raphael]

I mean, yeah, this is just the audition that's happening.

[Jessica St. Clair]

And I would say that that could be true if our other dancers, like Ashley, et cetera, weren't trying so desperately to also win a spot on the Kid Creel competition.

[June Diane Raphael]

Yeah, because if Nisa hadn't shown up, Jason and Ashley would have been doing regular dancing to try and still try and get in on Kid Creel and the Coconuts. You know, that is just the audition that's available that is going to, I guess, be the platform that changes the world.

[Jessica St. Clair]

I mean, look revealed when Kid Creole, like, takes in the information from the king and from our witch doctor and from Nisha and Jason out. Like, oh, yeah, this company. And they're making pluses. And, you know, they're on every product and they're causing this and they're taking over and. And, you know, Kid Carol is like. Kind of takes it in, like, oh, wow, okay. And then he's like, yeah, I mean, man, I guess I'm not gonna buy any of those products anymore.

[June Diane Raphael]

The same Petramko that we find on the supermarket shelves, that's the one we

[Paul Scheer]

buy products they make every day.

[June Diane Raphael]

Not me. Not anymore. The rainforest is too important. I say, if Petramco is destroying the rainforest, well, then we should just boycott their ass.

[Jessica St. Clair]

Okay, back to dance.

[June Diane Raphael]

We should, boy. He goes. He says, we should boycott. We should boycott their stuff.

[Jessica St. Clair]

Their stuff.

[June Diane Raphael]

And that is the last line of the movie. There's no more dialogue. No, it's just dancing.

[Jessica St. Clair]

And it's also like, if. I guess my point is it feels like for all that, the end moment is like, yeah, maybe, right?

[June Diane Raphael]

Wouldn't you love to live in that world? Wouldn't you love to. To live in a world in which people can win a dance contest? Get on Kid Creel and the Coconuts on tv. He calls for a boycott and substantial change happens.

[Paul Scheer]

But to me, I'm also like, we don't know what this company even does.

[Jessica St. Clair]

I'd love to know what their products are.

[Paul Scheer]

Like, we don't know what they like. It feels to me like they could be drilling for oil. We don't know what they are doing. So to boycott their products. It does feel like. Like, oh, okay, well, I wonder what they're behind. Like, you know? Cause it doesn't say, hey, we should stop buying their toilet paper. And they're this. And they're that he just says let's stop. And I guess, I don't know. For an audience of what, six to 700 people? Again, this looks like a very local show. It looks like a very local show. Although I did say to June while we were watching it. Are those cue cards intentional or are they indicative of the shorter period of time of making this film?

[June Diane Raphael]

I think they were trying to show this. Is that. Is there's a TV show filming. You know what I mean? There's a visual cue to tell you this is a TV show.

[Paul Scheer]

Got it.

[June Diane Raphael]

Because there weren't a lot of other visual cues to tell you this was the TV show.

[Paul Scheer]

Right. Because it looks exactly like the same club.

[June Diane Raphael]

It just looks like another scene in the dance club.

[Paul Scheer]

Yeah.

[June Diane Raphael]

Yes.

[Jessica St. Clair]

Oh my God.

[June Diane Raphael]

I have a question. How did the shaman fly back from Brazil with a snake in his bag?

[Paul Scheer]

Well, I mean, using black magic. I mean a very big snake.

[June Diane Raphael]

I mean, is that bag like a Hermione Granger bag that has like a limitless volume inside?

[Paul Scheer]

I mean, let's even go to. Let's ask one question before that. How did they both get here without passports? They don't seem to have any id, any money. They just seem to have gotten on a plane. I think actually one of the characters does say like how did you get here? And she's like, never mind that. Let's put that on on the side over here. Are you one of those people who actually, I don't know, likes their money? Well, unfortunately traditional big wireless carriers like your money too. So if you're tired of spending hundreds on crazy high wireless bills, bogus fees and free perks that cost you more in the long run then a premium wireless plan from mint mobile for 15 bucks a month might be right for you. All plans come with high speed data and unlimited talk and text delivered on the nation's largest 5G network. Bring your own phone number and activate with an ESIM in minutes and start saving immediately. No longer term contracts. No hassle. If you like your money. Mint Mobile is for you. Shop [e-mail] hdtgm that's mintmobile.com hdtgm upfront payment of $45 for 3 month 5 gigabyte plan required equivalent to $15 per month new customer offer for the first 3 months only. Then full price plan options available, taxes and fees extra. See Mint Mobile for details. Why? Why do most of us want to learn a new language? Well, I think it's about making yourself a part of the global community. Right. It's not about memorizing grammar tables or topping a leaderboard. It's about the want to speak and understand out in the real world with real people. And guess what? Babbel gets you there fast. Learning a language with Babbel is all about small steps, big wins and progress that you can actually track and feel. Their bite sized lessons fit into your daily routine and are easy to remember. Just 10 minutes a day is enough to start seeing results. Now I have been using Babbel. I absolutely love it. I could say me encounter babble. That's right. I love this app because I'm able to actually speak to the app and have conversations on the app. It actually makes me more prone to speaking in real life. If you need another incentive, here's a special limited time deal for our listeners right now. Get up to 60% off your Babbel subscription at babbel.com get up to 60% off at babbel.com Bonkers spelled B-A B-B-E-L.com Bonkers rules and restrictions may apply.

[Morgan Stewart]

Hey everyone, it's me, Morgan Stewart, and I have a new podcast called the Morgan Stewart Show. Join me each week as I talk about pop culture, fashion, my personal life, and just a warning, I'm going to be giving my opinion on everything. I'll also have some really fun guests to join in on the fun. The Morgan Stewart show is out now. Listen and follow wherever you get your podcasts or watch full video on YouTube.

[Jessica St. Clair]

I did find it kind of crazy. Kind of crazy that she put on her boss's dress and went out in it.

[Paul Scheer]

Well, her son gave it. Didn't the son give it to her?

[June Diane Raphael]

Yes, but we, but we don't see, we don't see them meet. She sees him passed out on the bed. And the next scene, they're walking into the club and she's saying, I feel bad.

[Paul Scheer]

No, he's checking her out, right? Isn't he checking when she's dancing with the curtain dance?

[Jessica St. Clair]

But then he gets on the phone with Ashley and Ashley's like, I can't go tonight. And he's like, oh, he's so mad. And cut to Nisha walking in with him. We never see what happened there and how she got his mom's dress.

[June Diane Raphael]

Yeah. And also how it fits her so good that mom's body must be incredible.

[Jessica St. Clair]

And then it also. Then she marches back into the house like, ain't nothing happened here.

[June Diane Raphael]

Yeah, that was a bad look for Nisa.

[Paul Scheer]

The mom's real concern seems to be dry Cleaning. She's like, I just had. Oh, now I gotta bring her back to the dry cleaner. Like, as if she sweats so much in it.

[Jessica St. Clair]

Well, I mean, they did go dancing.

[Paul Scheer]

Yeah.

[Jessica St. Clair]

I would bring it to the dry cleaner.

[Paul Scheer]

They never look like they're catching a sweat. And we've watched plenty. I've watched a Save the Last Dance I've seen.

[Jessica St. Clair]

I mean, I'm getting that dress dry cleaned.

[Paul Scheer]

Oh, you have to get it dry cleaned. Yeah, you gotta get it. Drag queen. Drag queen.

[June Diane Raphael]

Drag queen.

[Paul Scheer]

Drag queen. Get that dress.

[June Diane Raphael]

Drag queen.

[Paul Scheer]

You gotta get the drag queens back in it. Man, oh, man. So.

[June Diane Raphael]

All right, so I loved how scared the parents were that he was dancing so much.

[Jessica St. Clair]

He.

[June Diane Raphael]

Jason repeatedly turns down alcohol because he's driving. We never see them doing drugs. He's nothing. He's portrayed as nothing but a genuinely good boy whose only vice is dancing the best.

[Jessica St. Clair]

The best line was at one point. But during this conversation where he's. His parents are really going after him for dancing, he says, mother, I dance. Your father and I don't feel it's fair to us that you spend your time running in and out of dance clubs.

[Paul Scheer]

Mother, I dance. I like it, and I'm good at it. I mean, this is very footloose coded. Like, yeah, they're like, we're from Beverly Hills. We don't dance. Which would then also if I'm writing this movie. And again, they only wrote in 10 days, so give him a lot of credit. Like, he should be leaving Beverly Hills to go downtown to go to different clubs, see how the other dancing.

[June Diane Raphael]

Well, that's the thing. Baby goes to where the. Where the other people are dancing. Sexy, not how. Yes, Patrick's. Patrick Swayze's teaching, like, proper, like, ballroom dancing at the resort, but they're doing Dirty Dancing by night at night, and. And Baby has to go there. Jason, Baby doesn't go anywhere to learn the lombada. The lombata just comes to him, and

[Paul Scheer]

he's basically dancing at the.

[Jessica St. Clair]

Jason Baby needs a Swayze.

[Paul Scheer]

We do.

[June Diane Raphael]

I mean, Jason Baby needs a Swayze. That's the T shirt.

[Paul Scheer]

I mean, there it is.

[June Diane Raphael]

Molly, it's a personal ad. It's a personal ad. Jason Baby needs a Swayze.

[Paul Scheer]

Oh, I love that. I do believe that, like, even the club that they're at is essentially like the Max from Saved by the Bell at night, right? It looks just like the Max and there's nothing going on. But then when the DJ plays, hey, I'm gonna play the Lombada, the entire Dance floor clears out. Like, no one's on the dance floor but them. And I'm like, at that point, you're a bad DJ because you're playing a song that clears the dance floor and you don't change a damn thing. So the dj.

[June Diane Raphael]

What's so interesting is then. Then Nisa and Jason step out and they start dancing. And it's going so well that everybody jumps in and is, like, turned on by the music. Like, the movie is trying to tell us. I feel like the. The. The rest of the movie's plot wants us to believe they're the underdogs, but, like, every time they do the dance, it catches on. So they are nothing but, like. Like they're not being held down. They're only being lifted up in every immediate, every one of the dance sequences, you know?

[Paul Scheer]

So I guess the idea is, like, it's taking everybody by storm. But we never really get that because even his friends at the end, they apologize for being racist, but I think they're really apologizing just because they won the contest. And rapist. But I do also want to talk about the power of this dance because I do think there is something to be said for, like. Like how it hypnotizes men. When we see those men, look, they're creepy, but they also seem completely hypnotized by her. Like, I mean, like.

[Jessica St. Clair]

Do you mean the. The three or four men in a dance circle.

[Paul Scheer]

Yes. In the business suits, just staring at her. Yeah. While people in leather. People in leather. It's a leather club. I mean, there are people in full, like, S M gear on a stage and on platforms. She's on the dance.

[June Diane Raphael]

Yeah. I will say there's a confusing amount of contradictory subcultures represented in very few number of people in this club.

[Paul Scheer]

Yes.

[Jessica St. Clair]

That's why I'm like, we're read. We might be reading too much because there's just. There's not a lot of people to look at.

[Paul Scheer]

Yeah.

[June Diane Raphael]

And everybody seems to represent a different subsect of the culture or of a subculture, which was. I just felt, like the move. They just were throwing everything at the movie, and in a lot of ways, nothing ends up sticking because you're just like, what? What? What am I following? Exactly. And, boy, do I wish they would be getting better at dancing. And they are just not.

[Jessica St. Clair]

Yeah. They are just not. You know, I am now.

[Paul Scheer]

I am. I mean, this movie, look, did it make me question, you know, what these companies are doing to the rainforest? Absolutely. Why? Because I was brought in through sex. Sex Sells. Why aren't we doing more sex with our PSAs? Like, that's what I think that. That I'm getting from this movie. Let's make a sexy PSAS from now on. You know, show a little. Show a little butt, show a little leg, show a little chest. You know what I'm saying? Let's get the word out.

[June Diane Raphael]

This is like. This is a movie that is like. That is a. About a. An erotically charged dance at a time that is very conservative. Like, we're coming out of the very conservative 80s, very. The religious right, the. The Reagan era kind of conservatism that is. You know, and we're about to be in the period of the PMRC and. And. And.

[Paul Scheer]

And labeling music and finally talking about what this movie's trying to get out there. Yes.

[June Diane Raphael]

And the Lombada was.

[Paul Scheer]

I mean, Nelson Mandela is about to get out of jail. Manuel Noriega is finally captured. Right. Germany was reunified.

[Jessica St. Clair]

I guess I just wish it was a sexy dance.

[June Diane Raphael]

I would love it. I would love it as well.

[Jessica St. Clair]

She was.

[June Diane Raphael]

I do, too.

[Jessica St. Clair]

You know. You know what confounded me when. When they arrive at Carmen's apartment and she offers that she and Nisa sleep on the couches in the living room and that Jason has the bed. And I was so. And now I know he's just been beat up, right?

[Paul Scheer]

Like, he's always throwing punches, though.

[Jessica St. Clair]

That's fine. But you're not gonna catch me offering a man a bed while I sleep on the couch. Like, that was just so tall for the couch.

[June Diane Raphael]

June, the movie Both one Jason to be. He needs to learn from Nysa. But also, it's a white savior movie for him. You know what I mean? Like, he is. It is. It's trying to have it both ways, which is, you know, just terrible. And he is like the prince who is like, oh, well, you're the man, so you get the bed, and we'll be out here. But I couldn't then figure out. And I'll just push back one level. Is Carmen trying to carve out space for Jason and Nisa to have the bed together? Is she like. Is she foreseeing? She's like. Cause she's basically like, why don't you go get in there? And then she slides a condom under the door.

[Jessica St. Clair]

So maybe part of it in my mind, I'm Carmen. I'm doing a lot of physical labor during the day. I'm. I'm ta. I'm gonna sleep in my own bedroom. Okay. I'm your own fucking Woman, I'm gonna sleep in my own bedroom. And I will. I will retire early and let you two young bucks. Yeah. Have the couch and do what you need to do out there. But I'm not offering up my bed for a stranger to have sex in a strange man.

[Paul Scheer]

But June. But doesn't she. Don't you think that she's doing that for the good of the rainforest? She's like, they have to. So they win the contest.

[Jessica St. Clair]

Can save the day. So.

[Paul Scheer]

Yeah.

[Jessica St. Clair]

Save the day.

[Paul Scheer]

Yeah. I mean, this is.

[June Diane Raphael]

Luffy has, you know what this movie. Interestingly, in contrast to so, so, so, so so many of our other movies, this movie has no zero exposition dumps. This movie has no plot recaps. This movie. No characters ever say what their plan is or what they're trying to do or recap where they are. In the process, it is just happening to it. It feels as though the movie is happening to them in real time.

[Paul Scheer]

Well, you said this. You said this thing about, you know, you said, oh, well, you know, they're practicing for weeks. I. I believe that they. This whole movie takes place over the course of, you know, four or five days.

[Jessica St. Clair]

Yeah, same.

[June Diane Raphael]

And I just base that on outfit changes.

[Paul Scheer]

Okay.

[Jessica St. Clair]

Yeah, I know, but it did it also. I had the same thought as Paul. I'm like, I think this is maybe the 48 hour period, but maybe I also couldn't understand how much time went by at. At the club because I kind of think we were supposed to believe that because of the lumbada. Because for prize lomba lady, that business was booming because they had a sign out there.

[Paul Scheer]

Well, right,

[June Diane Raphael]

right.

[Paul Scheer]

They're making a lot of money there. They're making a lot lady.

[Jessica St. Clair]

You mean switch weight lady. Yeah, and then, and then our. Our security guard is in a really nice suit all of a sudden. So I'm like, oh, is she.

[Paul Scheer]

I love that security guard.

[Jessica St. Clair]

You know, she. The big wh. Like making coin here.

[June Diane Raphael]

She's in demand. They're setting her up to both be this incredibly desired dancer who is also pure. She has not. She doesn't do any of the upstairs work. They say so many times that she hasn't yet taken anybody upstairs into, like the bedrooms, you know. And then she says to Jason, I'll take you upstairs. So you're my first, you know, Which I was like, what is happening in

[Jessica St. Clair]

this movie scene, though? That was. At least now I didn't understand it because she switches like seconds later and is like trying to save him. But at least in that moment where she's like so angry with him and angry about everything that's happened. And she's telling him she's going to take him upstairs and he's like, no, no, no, I don't want you to. I don't want you to. At least I was like, oh, something interesting is happening between these two people. It's. I don't really understand why, but I am engaged in whatever conflict this is.

[June Diane Raphael]

Well, wouldn't it have been interesting if the movie, I mean, and this isn't the movie we watched, obviously, but if the movie was interrogating him, Richie Rich, Beverly Hills kid, really having to go into another world because of meeting and encountering this woman. And really it is about, like you were saying, June class. And it is about, you know, race and it is about all these elements that are, are, that are in this movie, but are just really not being spoken to.

[Zepbound Advertisement Voice]

Really.

[Jessica St. Clair]

Yeah, right.

[Paul Scheer]

No, no, he doesn't. It doesn't have time for that, guys. It doesn't have time for that. All right.

[Jessica St. Clair]

Yeah, we gotta do the lambada again.

[Paul Scheer]

I mean, this guy, we're realizing that through dance, he's not a racist like all of his friends. He's also not a rapist like all of his friends. Yeah, he's in Beverly Hills, but maybe sleeping during the day. And he's a vampire. Like, you know, he's. He's getting his life force from something different. And I, I don't know, I feel

[Jessica St. Clair]

like that love, if it turned out

[Paul Scheer]

that he was a vampire, I would love to see. I mean, he is, he is more physically violent than I would assume for a character like this. He breaks the traditional mold of a Beverly Hills rich kid. He doesn't have any of those things. Like, you know, and I feel like he's always throwing punches in fights that he is not going to win. And what does he break his ankle from? Like a four foot drop. Falling.

[June Diane Raphael]

Yeah, falling like so little. Yes, so little.

[Paul Scheer]

Like a curb is like a double curb, you know, short way.

[June Diane Raphael]

And luckily it's like he hangs. He's hanging there for like maybe six or seven seconds. He has zero upper body strength. Like he could have, he could have held on for long.

[Zepbound Advertisement Voice]

He is.

[Jessica St. Clair]

Which is shocking because so much of his Beverly Hills dancing is upper body

[June Diane Raphael]

is just upper body. You think his shoulders and, and arms would be just jacked.

[Jessica St. Clair]

I laughed so hard when he fell. I mean, it was truly such a short distance. Well, but I was also like, you knew you were falling that distance. Like, if I was up there, I would look down you have, you have the time to kind of cushion that fall as best as possible. I did not think there was any reason he should have broken ankles.

[June Diane Raphael]

Yeah.

[Jessica St. Clair]

Especially as a dancer.

[June Diane Raphael]

Oh yeah. But thank God the shaman is there with the snake to heal him.

[Jessica St. Clair]

Thank God.

[June Diane Raphael]

With a venomous snake bite, I assume. I mean incredible stuff. I think it's interesting. I. What it's something that I find captivating about this is she is positioned in a way that is people are captivated by her. People cannot take their eyes off of her. Her movement is hypnotic. Everything. People are driven feral by her presence. And what, what is it 20 years later she plays such a similar role in Mulholland Drive.

[Paul Scheer]

Oh yeah.

[June Diane Raphael]

Laura Herring, you know, like still has this magnetic appeal that is that David lynch uses to be like, oh, I cannot. This person is entrancing in some way. This person is somehow. I cannot is captivating me in some way. There's a link there that I was like, oh wait a minute. This is Laura Herring from Moho and Dry.

[Jessica St. Clair]

Yeah, well listen, she is captivating.

[Paul Scheer]

Oh yeah, she's like a five time Miss America. Right. Like she's got like a crazy passion.

[Jessica St. Clair]

Here's the problem with the movie. Laura Herring is absolutely captivating and I could, I could watch her all day but she's not captivating as a dancer. And if we had just photographed her and filmed her in this movie doing something else and leaving the. You know, I think she would be captivating. But in here, inside this movie, once she's dancing and we're not really just on her face, it falls apart.

[June Diane Raphael]

No, we need, yeah, the movie needed because dance is the transaction that needs to like emotionally get you there. The, the dancing just doesn't seal the deal. I would, I would be curious and perhaps. Forgive me Paul, if this research has already been done.

[Paul Scheer]

Please.

[June Diane Raphael]

I would be curious for us to do the other Lombada movie.

[Paul Scheer]

Well, this is viewed as the worst of the two. But I am so down to take you up on that because again, and

[June Diane Raphael]

maybe it's not worth it and I genuinely mean that. I'm not saying we should, but I'm sure I'm just curious as a, as a comparison.

[Jessica St. Clair]

I would, I would love to see, I would actually love to see the Lombada. I would love to see a better Lombata.

[Paul Scheer]

Well, let me tell you something. Let me tell you something about the other Lombata film. They do not use the song Lombada nor do they dance the Lombada in the other Lombada because I believe they

[June Diane Raphael]

had the name, but not the song. And this one has the song but not the name.

[Paul Scheer]

Exactly. And I mean the story here. I'll just give you a little bit more of it here. You said that this is, you know, a Golan Gobless, you know, kind of thing. So basically, the producer, writer of this is Menam Golan. And, you know, he comes obviously with Yoram Globus. And so they have that studio which we've done a lot of different movies about, and they basically, him and his cousin, they turn out like 125 movies in the 80s, right. So it's like all the Chuck Norris movies, everything that we've really done in the show. But in 87, things start going bad for canon films. They kind of have all these flops like Superman 4 and Master of the Universe, which we also did in the show. They are facing bankruptcy and. And basically Golan says, you know what, it's all Globus's fault and he leaves to start his own company. And they don't. The cousins don't speak anymore. But then when Lombada becomes this phenomenon, both of them are racing into production to make this their savior movie.

[June Diane Raphael]

So wait a minute, so the two Lombada movies, one is Golan and one is Globus?

[Paul Scheer]

Yes, exactly.

[June Diane Raphael]

Oh, that's incredible.

[Paul Scheer]

So then Globus, Globus goes, my film's gonna be released on May 4th. And then Golan's like, mine will be released on April 6th. And then there's like these lawsuits. That's how Lombada is pulled from the name. And then Golan gets the song, and then Globus does not get the song. And then Golan takes out a two page ad in Variety announcing that the Forbidden Dance is gonna open in March. And then. And it's in Variety, it says, I'm proud and honored to have had the opportunity to create the one and only original Lombada film that truly depicts the Lombada dance. And then Globus is like, fuck, I gotta release mine at the same time. And so. Yeah, yeah.

[June Diane Raphael]

So that makes so much more sense than why these exist. It's because it seems like it's personal. Yeah, it feels like antagonistic towards each other. Not just, just randomly. Two people came up with the same.

[Paul Scheer]

No, it's guys who basically have created trash. Both chasing the same trash. And ethics. And basically Lombada, I think because of the name recognition, makes 2.9 million on opening weekend, opening at number eight. Meanwhile, the Forbidden Dance makes 721,000 and comes in 14th place. So like so you know, Lombada wins. Lombada always is winning.

[June Diane Raphael]

I mean here's the reality. Here's the reality. The audience wins. The audience wins with two different Lombada movies.

[Paul Scheer]

Obviously. Look, there's so much to break down here. But I think that what we understand is this movie worked. It stopped and protected the rainforest. It is created so many great things and we had some problems with it. But there are people out there that think this is a perfect movie movie. It is now time for second opinions. Tell me, what is the message?

[June Diane Raphael]

Maybe that art is subjective. I need a set. Check it up in you.

[Paul Scheer]

You'll be happy to know that there are less than a thousand reviews for this film. So this is not a film that's really broken through. But 82% of them are five star reviews. And Mishi in 2018 writes, I love this movie as a teen. As an adult. Still a good movie. Touches on a few ecological issues too. Which is what pulled me to it as a teenager. Recommend watching 5 stars. A few ecological issues. What, what are the. I mean one. It just seems like don't destroy the. It doesn't seem like it gets into the nitty gritty in any, in any way beyond.

[Jessica St. Clair]

We're not getting into like fossil fuels or anything else other than just like the, the Amazon rainforest.

[June Diane Raphael]

Yeah. It really is the ozone layer and the destruction of the rainforest which in this time period is.

[Jessica St. Clair]

Was the thing.

[June Diane Raphael]

The only climate change level event. You know, we're not talking about clean coal here.

[Paul Scheer]

No. Yeah. I don't even really understand the plan just to burn it all down. It does seem like that's a waste of.

[June Diane Raphael]

Well, that's the thing that's so funny is like this kind of a movie like you know, your Saturday Night Fevers, your, you know, your dance type, your dirty dancing. It really is about the dance that really allows you to become yourself or to, to dance your own steps or to win the contest. But in this case, winning the contest means saving the rainforest. It is. The stakes are so big, the movie exists on such a small street level that its message is massive.

[Paul Scheer]

Well, and that's in the idea ideally, since they're burning it down. My thought is that it's primarily probably for cattle ranching or agriculture in some way. So this is the company they're boycotting. They're like, don't eat meat. So is it also a movie that

[June Diane Raphael]

they say that the company, you know, that company their pets are in are in your supermarkets? And I was like Whoa, whoa, whoa. Are they a food company?

[Paul Scheer]

I mean, like, again, it's. When I'm looking at why you're burning down the rainforest, you're talking about mining for gold or copper or oil, agriculture. It doesn't seem like. But again, again, we have to. That's why we need the prequel about Petricol, the Rosencrantz and Guildenstern of this film. This movie from Akbar is a little sexually charged. Written in April 14th of 2002, Akbar writes, this was the most sensuous movie I've ever seen. When you try to be sensuous, it often doesn't work. But when you make a movie like this one and allow a talent to express, the results are here in this movie. Bow wow, five stars.

[June Diane Raphael]

I wish it hadn't ended with Bow Wow, five stars.

[Jessica St. Clair]

I can't right now.

[Paul Scheer]

Paul and I will just end with Sweet Cherry for you on IMDb, who gave it 10 out of 10 stars. And sweet Cherry says, although this movie obviously didn't attract many viewers, it's one of the best movies I've ever seen with music and dance. The Forbidden Dance is not only entertaining for the viewers, but it also lets everyone know that there are problems in the world that people need to think about, such as The Rainforest issue. 10 stars. The Rainforest issue? Yes. We are not talking about the rainforest issue. So, I mean, I will say on some level, releasing a mainstream movie as the like, that is the message. It's not to say, like you said, not to save the rec center, not to save something. It's like, it's a big issue. And I do think that that's probably the boldest part of it. It.

[June Diane Raphael]

I mean, I mean, for. I would say for. For a Globus and Gollum kind of movie, to have it, have a. An ecological message is kind of shocking.

[Jessica St. Clair]

Yeah. And, you know, the ozone hole has been healed.

[Paul Scheer]

So there we go.

[June Diane Raphael]

We did it.

[Jessica St. Clair]

Now guess because of this movie, I

[June Diane Raphael]

guess this movie's mission accomplished on the. On the aircraft carrier, I will say

[Paul Scheer]

I did hear that Joa did fly in an F16 jet with a snake and put the snake to where the hole in the ozone was and sucked it closed. I mean, that snake, it can suck out venom, it can suck out broken bones, and it can fix the ozone layer. We just gotta get Joe up there with the snake.

[June Diane Raphael]

I do just wanna, one more time remind everybody that at the audition, not at the final, but at the audition, the judge, the judge's name is Mama Coconut. I really, I really. That was important to me. I was. I don't want. I want to foreground that. And I know I said she's wearing an Amy Sherman Palladino hat earlier because this character appears to be dropped in. I believe she is genuinely Kid Creole's manager or something, because I.

[Jessica St. Clair]

First of all, her energy, Mama Coconut's energy while watching that. And also, like, looking at Kid Creole and, like, it was so fascinating. In fact, like, it was like she's running the show. She was so happy.

[June Diane Raphael]

Yes, yes.

[Jessica St. Clair]

She was so lit up inside that I couldn't. To your point, it felt like she never been on screen before. She just looked so happy to be there. Certainly wasn't playing any sort of discernment or, like, wasn't sort of reminding us of the stakes of this really intense audition.

[June Diane Raphael]

Once again, the dance captivated everyone, including Mama Coconut.

[Jessica St. Clair]

Right. But Mama Coconut was also seemed captivated by our villains dance. Like, she was Just seemed so. Like, there was no critical eye from her.

[June Diane Raphael]

I think she was happy to be

[Paul Scheer]

in a movie, let me tell you. Can I just tell you? Just, you know, we're talking about a real person here. Mama Coconut is now. Is. The lead singer of this band is August Darnell. All right. And Mama Coconut is now Darnell's wife, you know, or. Sorry.

[June Diane Raphael]

I believe the Coconuts were the Kid Creoles. Kid Creel, and the Coconuts, I believe, are the female singers.

[Paul Scheer]

Okay. So Darnell's now wife, Eva Tudor Jones, was Mama Coconut for more than 20 years, and now she manages all of their operations. And they're still on tour. You can go see them this year. As a matter of fact, they're. They're in Europe right now as we speak. So, you know, there's a lot. There's a lot going on in the coconut world.

[June Diane Raphael]

World.

[Paul Scheer]

I will say this, June, I know that you said that you needed to speak a little bit about the sexiest kiss you've ever seen on film, when Jason and Nisa kiss and how they really are sucking in lips there.

[Jessica St. Clair]

It was disgusting.

[June Diane Raphael]

When. I don't remember.

[Jessica St. Clair]

They're on a bet. Maybe it was. Maybe it was when they were. Carmen's apartment.

[Paul Scheer]

Yeah, I think that's when it happens, right?

[June Diane Raphael]

Oh, okay.

[Jessica St. Clair]

It was so disgusting. And it was like, there's no tongue because they kept on. There was like, a side view. And so we just kept on watching faces. Their lips mash into each other. Open, open mouths. Like, sort of like, you know, two fish. Like two fish going at each other.

[June Diane Raphael]

Sure.

[Jessica St. Clair]

But I'm gonna use this word, I hate to say this, but it looked so dry.

[June Diane Raphael]

Oh yeah, yeah.

[Jessica St. Clair]

Like, look like two dry mouths. Like fish, fish on the sand.

[June Diane Raphael]

Kind of like the kiss that I got that I was very disturbed by. There's a kid, this during the dance sequence where.

[Jessica St. Clair]

Why so much kissing during the dance sequence?

[June Diane Raphael]

Puts her onto the ground of the. Lays her down on the floor of a nightclub and kisses her on the ground. I was like, this is disgusting. This is. Get out of there. You guys both need a shower now.

[Paul Scheer]

Jesus.

[Jessica St. Clair]

It was so gross.

[Paul Scheer]

So gross.

[Jessica St. Clair]

So gross.

[Paul Scheer]

Would you recommend people watch this film?

[June Diane Raphael]

Absolutely.

[Paul Scheer]

Yeah.

[Jessica St. Clair]

Yeah. I mean I've enjoyed talking to you two about it. And Paul, I do feel like we, we enjoyed it last night.

[Paul Scheer]

Yeah, absolutely.

[Jessica St. Clair]

Such a. The wrong word to use, but we watched it and we had some laughs.

[Paul Scheer]

Definitely watched the movie.

[Jessica St. Clair]

Definitely watched it. And it wasn't too long.

[Paul Scheer]

It wasn't too long at 1 hour and 35.

[June Diane Raphael]

If it, if it had been even 10 more minutes longer, I would have hated it. But it really, it's just the right length. It really was the right length and it wasn't, you know, and I'd say most of the movie is a montage.

[Paul Scheer]

Yeah.

[June Diane Raphael]

So you really don't have to pay attention. You can fast forward a lot of attention.

[Paul Scheer]

No. And then sometimes that's when characters will say something like was that established? No, it wasn't. And again, the MVP for me is of course, Joah. Today's episode of course is, you know, to support the rainforest. Just like the movie, I think we need to start, you know, kind of putting a post credits tag on our show. You know, it's dedicated to the rainforest. Well, I guess. Yeah, I know. Like, like. So let's make that a special promise.

[June Diane Raphael]

I would love that.

[Paul Scheer]

And listeners, if you have any money left over after pledging your financial support to the rainforest, you can pledge your support to. How did this get made? By buying a T shirt designed for this very episode. You can check out all of our merch just go to hdtgm.com but for this episode we do have a T shirt design that could be made into a sticker or sweatshirt. Whatever you want. It's like a newspaper personal ad that says Jason baby needs a Swayze. Just a guy who likes to dance looking to learn the exotic Lombada care of hdtgm. Yeah, it doesn't really read as funny as it is, but it is great. We'll put the link to the shirt in the show's notes and for all of our T shirt designs, like I said, just click on that merch link, you can get it made into a mug, a backpack, a sweatshirt, whatever you want. We are back at Largo April 1st. If you don't know what movie we're doing on April 1st and you got tickets, well, just check out the website. But I'll tell you right here too, it's the Pierce Brosnan action flick Livewire. As always, if you have a correction or omission from this episode, leave me a voicemail at 619PaulA S K or write a comment on our Discord at Discord GG HDTGM and I will respond to your messages next week on Last Looks. Jason will also join me to chat about my Visit to the Jackass 5 set. Nirvana the Band, the Movie. Yeah, we recorded this a little while ago and some TV shows that we are currently loving. Remember, if you listen to us on Apple Podcasts or Spotify, please make sure you are subscribed to our feed and have automatic downloads turned on in the show settings. It helps us and we appreciate it a lot. Lastly, a huge thank you to our behind the Scenes team. I'm talking about our producer Scott Sahni and Molly Reynolds, our engineer Casey Holford, our social Media manager Zoe Applebaum and our intern Quinn Jennings. And we'll forever be thankful to the one and only Avril Halle. That's all I got people. I'll see you next week on Last Looks. Bye for now.

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[Morgan Stewart]

Morgan Stewart, and I have a new podcast called the Morgan Stewart Show. Join me each week as I talk about pop culture, fashion, my personal life and just a warning, I'm going to be giving my opin everything. I'll also have some really fun guests to join in on the fun the Morgan Stewart show is out now. Listen and follow wherever you get your podcasts or watch full video on YouTube.