The League of Extraordinary Gentlemen

Summary

Podcast Summary: "How Did This Get Made?" – The League of Extraordinary Gentlemen
Release Date: February 21, 2025
Hosts: Paul Scheer, June Diane Raphael, Jason Mantzoukas
Transcript Length: Approximately 72 minutes

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Introduction

In this episode of How Did This Get Made?, hosts Paul Scheer, June Diane Raphael, and Jason Mantzoukas delve into the critically panned film "The League of Extraordinary Gentlemen." Chosen by fans through a Discord poll, the trio embarks on dissecting what makes this film a celebrated failure in the realm of bad movies. From beloved literary characters to baffling plot choices, the hosts leave no stone unturned in their comedic critique.

Plot Overview

"The League of Extraordinary Gentlemen" presents an alternate history where iconic literary figures such as Alan Quartermaine, Dorian Gray, Captain Nemo, Mr. Hyde, and Mina Harker are united to prevent a looming world war instigated by the enigmatic antagonist, M (Professor Moriarty from Sherlock Holmes lore). The mission revolves around thwarting bombs scattered throughout Venice, intended to trigger a domino-like catastrophe.

Paul Scheer summarizes the premise:

“The movie hypothesizes in an alternate world, a bunch of characters from literature have gotten together... they're [brought] together to stop a world war.”
[04:37]

Character Analysis

Alan Quartermaine vs. Indiana Jones

One of the primary critiques revolves around Alan Quartermaine, portrayed by Sean Connery. Unlike his literary counterpart—a seasoned adventurer and treasure hunter—the film depicts him as physically small, wiry, and unattractive, with minimal action prowess. Jason Mantzoukas expresses his disappointment:

“I would love all of the extraordinary characters in literature. I did not expect to see Tom Sawyer... I was stunned.”
[04:29]

June Diane Raphael compares Quartermaine to Indiana Jones, highlighting the deviation from expectations:

“He's like an Indiana Jones type adventurer. But in this movie, he does none of...”
[16:20]

Dorian Gray and Mina Harker

Dorian Gray, traditionally immortal and vain, is portrayed inconsistently, leading to confusion about his immortality and reliance on his portrait as a weapon. Mina Harker, a vampire and scientist, lacks coherence in her abilities and contributions, leaving the audience questioning her role:

“Is she a vampire? Because she's also not just a vampire... Why don't they use that to greater effect?”
[31:28]

Mr. Hyde and the Invisible Man

Mr. Hyde is depicted with exaggerated physical deformities and inconsistent powers, oscillating between animalistic strength and comic relief moments. The Invisible Man, renamed Skinner due to IP restrictions, struggles with his invisibility gimmick, leading to awkward comedic attempts:

“Hello to both of you, my freaky darling. Hello to my freaky darling.”
[02:18]

Technical Criticisms

The hosts highlight numerous plot holes and technical inconsistencies that undermine the film's credibility:

• Anachronistic Weapons: Set in 1899, the introduction of modern or out-of-place weaponry like tanks baffled the hosts:

  “Everybody seemed to be terrified of it... it felt like a living metal beast breaking into the bank.”
  [06:23]

• Bomb Mechanics: The film's bomb setup in Venice lacks logical execution, with bombs placed indiscriminately and the lack of realistic pressure effects:

  “The bomb holes if we just get it up, we're fine. Like, that's a faulty bomb.”
  [26:15]

• Nautilus Engineering: Captain Nemo's submarine is portrayed with dubious engineering feats, such as navigating narrow Venetian canals while barely submerging:

  “The submarine is barely ever underwater. It's so thin as to be able to go through the canals of Venice.”
  [23:48]

Character Dynamics and Teamwork

A significant point of contention is the lack of chemistry and teamwork among the protagonists. The team exhibits constant friction and disdain for one another, detracting from the potential synergy of their unique abilities:

“They are not connected to each other with, I guess, with the exception of Tom Sawyer and Alan Quartermain. But they all seem to not just not like each other.”
[37:57]

Jason Mantzoukas laments the absence of meaningful character development or arcs, stating:

“It's hard. The main problem is that they're not connected to each other... they seem irritated with each other.”
[37:31]

Adaptation vs. Source Material

The movie's deviation from Alan Moore's graphic novels is a recurring theme. The hosts express disappointment that the film did not capture the high adventure and swashbuckling spirit of the comics:

“These are based on a comic series by Alan Moore... they are high adventure swashbuckling. And this is not.”
[11:09]

June Diane Raphael adds:

“I pulled the comics after I watched the movie just to be like, yeah, what's going on here? It's dynamite, it's fantastic... it's not at all what this movie is.”
[58:34]

Overall Impression and Conclusion

The consensus among the hosts is that "The League of Extraordinary Gentlemen" is a joyless and flawed adaptation that fails to deliver on its promise of high-stakes adventure and charismatic team dynamics. Paul Scheer encapsulates their sentiment:

“We appreciate how this episode had people who love it and have a different opinion, but clearly, this movie... it's a joyless experience.”
[65:05]

June Diane Raphael delivers a scathing conclusion:

“This movie is bad, but not bad enough that it makes for a fun two-hour experience. We shouldn't let them [audience] vote. We've got to take away their vote.”
[65:21]

Audience Reviews vs. Host Critique

In a twist, the hosts present overly positive reviews from unsuspecting audience members who seem oblivious to the film's flaws:

• Chandler Cobb (2021): Praises the movie for resembling the Indiana Jones series despite recognizing some flaws.
• Danny Brawny 2 (2020): Highlights the joyful ending despite the main character's ambiguous fate.

Paul Scheer humorously counters these reviews by emphasizing the movie's shortcomings:

“79% are five stars. This is unheard of.”
[59:10]

Final Thoughts

The episode concludes with the hosts firmly standing by their negative assessment of the film, underscoring the dissonance between critical reception and audience opinions. They express frustration over the incoherent narrative, underdeveloped characters, and technical missteps, ultimately deeming "The League of Extraordinary Gentlemen" an unworthy addition to the pantheon of bad movies.

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Note: This summary omits promotional segments and non-content discussions to focus solely on the hosts' analysis and critiques of "The League of Extraordinary Gentlemen."

Transcript

[Paul Scheer]

It's a who's who of who cares. We saw the League of Extraordinary Gentlemen, so you know what that means.

[Jason Mantzoukas]

Now it's time for how did this.

[June Diane Raphael]

Campaign celebrate some failure, not just be a hater? Cause you know, you wonder, how did this campaign. Let's wallow in the mediocrity of subpar art.

[Jason Mantzoukas]

Perhaps we'll find the answer to the question, how did this get made?

[Paul Scheer]

How. Hello, people of Earth, and welcome to how did this get Made? I'm your host, Paul Scheer, and today we are talking about the League of Extraordinary Gentlemen. A movie picked by you. That's right. What the fans on the Discord. Yes. Yes, they did.

[June Diane Raphael]

Okay, now this makes sense 100%.

[Paul Scheer]

Well, and without any further ado, my co hosts, Jason Mantzoukas and June Diane Rayfield. How are you both?

[June Diane Raphael]

Well, now I have someone to be mad at. The. The Discord.

[Jason Mantzoukas]

I knew it. I knew it.

[June Diane Raphael]

Okay, that make. That makes sense because for a minute, I thought Avril had betrayed.

[Jason Mantzoukas]

Well, I watched it with Paul. I knew it because I knew it. But I also knew it because Paul told me, because he said Avril didn't pick this.

[June Diane Raphael]

And it shows.

[Jason Mantzoukas]

And it shows.

[June Diane Raphael]

What a. What a joyless movie. What a dud.

[Paul Scheer]

This is why Avril is.

[June Diane Raphael]

Wait a minute. Wait a minute. June. June disagrees. Do you need to advocate for this movie?

[Jason Mantzoukas]

Jude, I will say this, all right, again, in the context of, of watching all of these movies, I did find this. I had a couple really, like, hard laughs.

[Paul Scheer]

Wait, that's shocking.

[June Diane Raphael]

I'd love to hear. I'd love to hear intentional, like the movie made you laugh on purpose or.

[Jason Mantzoukas]

Well, hold on a minute. The line where that gentleman who's walking on the Nautilus says very loudly, reading the transcript from the Invisible man, hello, my freaky darlings. I laughed so hard, by the way. So hard at hello, my freaky darlings, which is how I want to start every conversation, by the way. Hello to both of you, my freaky darling.

[June Diane Raphael]

Hello to you, my freaky darling.

[Paul Scheer]

Hello, my freaky darlings. That's the way we introduce the show from now on. Instead of people of Earth. Hello, my freaky darling.

[June Diane Raphael]

I think that's how we should start referring to the audience.

[Jason Mantzoukas]

They are free.

[June Diane Raphael]

Hello, my freaky darlings.

[Jason Mantzoukas]

So the other point where I laughed, Paul, I mean, you didn't. I, I, I guess it wasn't laughed, but I, I was so stunned that in the. When we meet Alan Quartermaine, played by Sean Connery, in the very beginning, I Was so stunned that in that sequence in Africa, there was. I don't know, I mean, no less than, like 25 to 30 elderly men slaughtered.

[June Diane Raphael]

Slaughtered. And. And Alan Quartermain doesn't give it a thought. His friends, all of his friends who were there, the.

[Paul Scheer]

The.

[June Diane Raphael]

The number of civilian casualties, collateral damage is astronomical in this movie.

[Jason Mantzoukas]

And I guess I just have to, like, I've never seen that many. I mean, it was very sad to me to see all of these older people die.

[June Diane Raphael]

Not just that, but, like, what about all of the people of Venice?

[Paul Scheer]

They knew the risk just by living in the world.

[June Diane Raphael]

I'm gonna say two thirds of Venice fell into the water.

[Jason Mantzoukas]

I don't know if that's true because all of Venice was at the. At carnival, right?

[June Diane Raphael]

Yes.

[Paul Scheer]

They were all out of their house.

[June Diane Raphael]

But the buildings were falling like dominoes. It was like a dominoes game with. I don't know.

[Jason Mantzoukas]

It was a domino's game.

[Paul Scheer]

Let me just take it back for one second. If you've not watched the League of Extraordinary Gentlemen, and you should have, because you picked it, this is a movie that hypothesizes in a alternate world, a bunch of characters from literature have gotten together. You have the Invisible Man, Alan Quartermain, Dorian Gray. From the picture of Dorian Gray, Harkness. Not Jonathan Harkness, but his wife, who was bitten by a vampire and is also a vampire. And Dr. Jekyll, Mr. Hyde, as well as Captain Nemo, all have come together. Sawyer, Tom Sawyer. Which, by the way, this is not in the film. It was in a deleted scene. The bad guy in this apparently killed Huck Finn in this world, and that's how Tom Sawyer gets.

[Jason Mantzoukas]

I love all of the extraordinary characters in literature. I did not expect to see Tom Sawyer.

[June Diane Raphael]

Nobody did. Nobody expects Tom Sawyer.

[Jason Mantzoukas]

I was stunned.

[Paul Scheer]

I said it was Billy the Kid. I was like, oh, maybe it's.

[Jason Mantzoukas]

I thought it was Billy the Kid.

[June Diane Raphael]

Which would also make sense. It would make sense more of like a. Like, quick shooting gunman if it was a. Yes. A Western hero like that.

[Jason Mantzoukas]

Yeah. That's what I couldn't remember. Is Tom Sawyer a. Well, is he a bad shot? Is he notoriously a bad shot or he's not a shot or.

[June Diane Raphael]

I don't think he shoots much.

[Jason Mantzoukas]

I think he shoots BB guns, too.

[Paul Scheer]

Yeah. Tom Sawyer's not a gunman. He's a child. He's painting fences. Yeah. Now, I'll tell you this much. The movie hypothesizes these characters are like the Avengers and they have been put together to solve this Mission. Now, I will say that I knew we were in for trouble when I saw the opening text, which I just want to share with you. Here. It says, 1899, the great nations of Europe share an uneasy peace. For hundreds of years, wars have been fought with the same weapons. Okay, that's all right. I'm getting it. And then, and then.

[June Diane Raphael]

Are those weapons machine guns?

[Paul Scheer]

No, I think that those are the new things.

[June Diane Raphael]

Okay, okay.

[Paul Scheer]

Because then it says single shot rifles, calvary and horse drawn cannon. All right, that's what. That is a thing. But this century is to end soon. Okay. And then what we get is this final line, a new age dawns. That's a lot of info that I was immediately confused by because it doesn't play into anything because the first thing that we see is an anachronistic weapon brought here by. And it felt like to me in the beginning, a tank, a World War II tank, or maybe a World War I tank. It felt to me like it was time traveled here. Like it.

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

Everybody seemed to be like terrified of it. The people that come into contact with the tank seemed to think it was like a living being.

[Paul Scheer]

Yes.

[June Diane Raphael]

Like they were reacting, the soldiers were reacting. Like they were seeing like an alien spacecraft. Yeah.

[Jason Mantzoukas]

Or like it was like a reptile that had come up from the ground or something.

[June Diane Raphael]

There's men inside. They say, what? What do you think? What do you think is happening? It's basically a boat on land. You know what boats are, idiot.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

You know, do they. I mean, this.

[June Diane Raphael]

Oh, whoa.

[Jason Mantzoukas]

Well, I mean, it's just so. I couldn't get a hold of. I knew we were in the turn of the century, but I couldn't. I really couldn't get a hold of what they. Because Nautilus was completely a new idea. So I actually didn't know where technology and transportation especially was.

[Paul Scheer]

I mean, I guess it's so confusing.

[Jason Mantzoukas]

Cars are brand new.

[June Diane Raphael]

Well, cars are not a train. It's a train off the tracks. You know what I mean? Like, that's. You would recognize it as a vehicle. At the very least, you wouldn't think, oh, no, there's a living metal beast breaking into the bank or whatever they.

[Paul Scheer]

Well, it is 1899. Right. So I guess cars were introduced in 1899, I guess. Right, that. I just typed that in.

[June Diane Raphael]

Yeah.

[Paul Scheer]

You know, so here's the thing that this movie hypothesizes. Ultimately, I just want to bring this one thing to the forefront. These characters are brought together to stop a world war. Right. That's. That's the mission of the movie.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

Now, spoiler alert. They do. But World War I did happen. So I don't also understand coming.

[June Diane Raphael]

Right. Well, we don't know.

[Jason Mantzoukas]

Maybe in this happen.

[June Diane Raphael]

Maybe in this world, maybe in this timeline, the world wars are not going to happen in the near future.

[Paul Scheer]

Got it. So they. So this is. Okay, that's what I need to understand. Like, this is alternate history. 100%. This is.

[Jason Mantzoukas]

But it also posits that the wars are happening because of an arms race.

[Paul Scheer]

Well, because this guy, the Phantom, has been, like, blaming everybody else. Like, he is instigating on both sides. Like, he attacks France and then blames it on Britain, then Britain attacks France and then he blames it on France. You know, he plays both sides.

[June Diane Raphael]

He's trying to start a world war like the Phantom. And spoiler alert. The Phantom is revealed to be M, Professor Moriarty, Sherlock Holmes, arch nemesis. Yes. And Moriarty. Mr. Also M is the James Bond bosses, which I thought as well, which was confusing to me.

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

Regardless.

[Paul Scheer]

Especially because Sean Connery is in this film and he goes to meet with Em.

[June Diane Raphael]

Yes.

[Paul Scheer]

And there seems to be a little bit of a cheeky acknowledgment like, oh, you have to see em. But it's not. They don't really lean into it either way.

[June Diane Raphael]

But what's interesting is EM creates the League of Extraordinary Gentlemen and is also the Phantom. So is also sowing the seeds of civil unrest across the world. But so is he using the League of Extraordinary Gentlemen to further his goals of instability? Or is M. Are the League of Extraordinary Gentlemen actually trying to stop him? Well, like, what I can't understand is, why do both when you can use the League in service of your goals?

[Paul Scheer]

Well, because he offers the League to join him. He's like, join me? They say no. So plan A really was, I just need to get them all in the same room so I can take little skin samples and. And then.

[June Diane Raphael]

And.

[Paul Scheer]

And build another army of, like, mutants.

[Jason Mantzoukas]

You're saying he asked all of them before he got them together privately?

[Paul Scheer]

Well, no. In the. In Dorian Gray's study, the Phantom comes down the stairs and goes, wait, this is your one chance.

[Jason Mantzoukas]

I see what you're saying. Okay, yeah, yeah, yeah, yeah.

[Paul Scheer]

And I said to myself, when I watched this opening sequence that Jason was talking about with the Tank, I said, man, oh, man, this is the most action packed, boring start of a movie I've ever seen. Like, I mean, this whole movie felt like I'm like, I should be right? I should be like, oh, yeah, oh, yeah. And really not. Not feeling it, not feeling it in.

[Jason Mantzoukas]

Any way moves so slowly. It's hard.

[June Diane Raphael]

And I'll say this, I. You know, we've gone this long and we haven't mentioned it. These stories are based on incredible Alan Moore graphic novel, like comics. These are based on a comic series by, you know, maybe the greatest comics writer ever, Alan Moore, the Watchman. And these are an absolute blast to read. And they're so fun. And they are exactly what this movie is not. They are high adventure swashbuckling. They are taking all of the tropes that are part of all of these old stories and mashing them all together. And it's fun and it's wonderful. And this is not.

[Paul Scheer]

Well, Jason, would you be surprised to know that this movie, the entire script was written before the first issue was even released? So they had no idea what the comic book would be interesting. They just immediately bought the IP and then ran in a completely different direction. So, wow. To me, that is truly.

[June Diane Raphael]

That says it all.

[Paul Scheer]

That says it all. I mean, because also in the comic book, I believe that Nemo is much more of the leader of, of the, of the brigade. And, and I don't think that Harkness is a. Or Harker, I should say, is a vampire. Like.

[June Diane Raphael]

No, they're doing their own thing and it's terrible. And that's the thing is this, this movie promises, you know, big action set pieces. You know, there's. There's so much high adventure in the realm of like, what you would consider, like, you know, Alan Quartermain is an Indiana Jones type adventurer. All there. Captain Nemo is the, the Nautilus, the submarine, the underwater, all of these places. Monsters and vampires. What the promise of all of that and none of it bears.

[Paul Scheer]

Well, here's the other thing.

[June Diane Raphael]

Nothing is interesting.

[Paul Scheer]

I like, in this world is like, at one point, we meet Captain Nemo's like number two, and he introduces himself as Ishmael, which is from Moby Dick. But then I was like, wait, what's the logic here? So, like, Ishmael, like, he, he went off and went to go work for Nemo after he worked for Ahab.

[Jason Mantzoukas]

I think at a certain point they're like, just name them. Like, everybody gets a character name. Like, everybody. If you're a character in this movie, you're going to get a recognizable character.

[Paul Scheer]

There apparently was going to be a James Bond in this movie, because in the comic books there is a Commander Bond who is like the great, great grandfather of James Bond. And they were going to have that character played by Roger Moore. And then they didn't ever do that because. And this is, I guess, the big. The big thing here. This movie made Sean Connery retire from acting. This is a movie where Sean Connery got $17 million to make it. And this is the movie that when faced with two choices. Oh, actually three choices. Lord of the Rings, the Matrix, and League of Extraordinary Gentlemen. Sean Connery chose League of Extraordinary Gentlemen.

[June Diane Raphael]

Who was he meant to be in the Matrix?

[Paul Scheer]

Morpheus.

[June Diane Raphael]

Whoa.

[Jason Mantzoukas]

Yeah, Well, I did. Now, I did ask you, Paul, when we were watching. And we were watching Alan Quartermaine, by the way, I don't know if there are any General Hospital girlies out there who watched our hospital in high school, but I'm just remembering that Alan Quarter mean his character in General Hospital as well. And one. And I think he's British. And how I'm. Now I'm having to like revisit that all over again. But I said to you, Paul, I said, what does he do? And I know he doesn't like imperialism and he does a lot of disdain for the United Kingdom, but what is he there to do? Is he a hunter? And you said, find treasure.

[Paul Scheer]

Yeah, I hold. I stand true by that.

[Jason Mantzoukas]

Is that true?

[Paul Scheer]

I think that that's. I think that.

[June Diane Raphael]

I mean, he is like.

[Jason Mantzoukas]

I thought he was a big game hunter.

[June Diane Raphael]

He. He is all of those. He is like an Indiana Jones. A big game hunt. A hunter.

[Jason Mantzoukas]

He is a Jones. A big game.

[June Diane Raphael]

He's a. No, Indiana Jones is a big treasure hunter.

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

You know, and Alan Quartermain is too, like searching for cities of lost gold kind of guy. But in doing so, you know, we can look it up. But he is like a Indiana Jones is a Alan Quartermaine riff. You know, like that's Lucas and Spielberg and Kazdan riffing off of a Alan Quartermaine type character.

[Paul Scheer]

Yeah, that's what I'm going to say.

[Jason Mantzoukas]

I mean, well, only because I kept on waiting. I kept on waiting for his skill set then to then come into.

[June Diane Raphael]

You're right. In this movie, he does none of.

[Jason Mantzoukas]

It aside from catching Jekyll and Hyde. Like, he doesn't. And I guess having that one moment with the animal at the end where he tells us he wasn't ready to die. I. I just didn't know where his skills were coming to play.

[Paul Scheer]

I think he's just. I think he's just an adventurer who is like, up for, you know, treasure and adventures. Now, I'll tell you this much. I only know Alan Quartermaine because when I was a kid there were these movies called like Alan Quartermaine and the Lost City of Gold and Alan Quartermaine, King Solomon's Mind. Yes. And it was like Richard Chamberlain and Sharon Stone. Right. And I believe this is like in my mind and I, I'm probably wrong, but I believe that the sequel was made out of the deleted scenes from the first film. It's a canon movie, so it makes sense ultimately. But I remember watching these on HBO because it was like, I love Indiana Jones. I guess I'll get this like the, the, the Kmart version of Indiana Jones. I mean, that's what.

[June Diane Raphael]

Well, this is like them. They. Because Indiana Jones was such a massive movie, like the Alan Quartermaine movies were like pumped into theaters to draft off of that, you know, And I went and saw King Solomon's Minds as well, thinking this is going to be an Indiana Jones type thing. And it was dog shit.

[Paul Scheer]

Yeah, it's, it's really, really.

[June Diane Raphael]

I wish we were doing that movie right now.

[Paul Scheer]

I would love to do that.

[Jason Mantzoukas]

Our listeners forced us to watch this. Did we take a poll or write in situation?

[Paul Scheer]

It was a, it was a poll. And this is what they do all the time. The last time they did this to us was Dracula 2000. Gerard Butler's Dracula 2000.

[June Diane Raphael]

Well, that's Jerry Butler.

[Paul Scheer]

Jerry. It was, it was that, but it was also fine. This is the, you know, all I'm going to say is this. We appreciate.

[June Diane Raphael]

How often do we let them choose?

[Paul Scheer]

Once a year or roughly once a year.

[June Diane Raphael]

Why don't we do it once every other year?

[Paul Scheer]

Okay, I think that that's it.

[June Diane Raphael]

Now maybe, maybe this is a like two strike situation.

[Paul Scheer]

Yeah, right.

[June Diane Raphael]

Maybe we'll give him one more shot. But guys, this is, this was boring.

[Paul Scheer]

Well, this is the way that. This is the way it goes. I see the list and I looked at it with Cody, our producer, and I said, all right, yeah, we'll do this one.

[June Diane Raphael]

Two hours long.

[Jason Mantzoukas]

It was so long.

[Paul Scheer]

So long. June. To answer your question, Alan Quartermain is an English born, professional big game hunter and occasional trader living in South Africa. He's an outdoorsman who finds English cities and climate unbearable. And he prefers to spend his life in Africa, where he grew up under the care of his father who is a Christian missionary.

[Jason Mantzoukas]

That's not my Indiana Jones.

[June Diane Raphael]

Nope.

[Jason Mantzoukas]

No, that's very different. Yeah, that's very, very different.

[Paul Scheer]

He's physically small, wiry, unattractive, with a beard and short hair that sticks up. His one skill is marksmanship. And he has no equal.

[June Diane Raphael]

Wow.

[Paul Scheer]

Wow.

[June Diane Raphael]

It's really. It's a bummer. And it's like.

[Paul Scheer]

It's like the opposite of Jack Reacher. Tiny, ugly, but a real good shot.

[Jason Mantzoukas]

And also, I guess from the final shot of the movie, Immortal.

[June Diane Raphael]

Yeah. Well, there's been a curse placed on him that he cannot die in Africa, I believe is what he says in the movie.

[Paul Scheer]

And so that's why they bring him all the way back.

[Jason Mantzoukas]

But he didn't die in Africa.

[June Diane Raphael]

I don't know. I don't understand.

[Jason Mantzoukas]

He didn't die there.

[June Diane Raphael]

There's not a sequel, right, Paul?

[Paul Scheer]

No, there's not a sequel. They wanted to. They signed the cast into three picture contracts, but that just went away.

[June Diane Raphael]

Can you imagine being locked in to do two more of these? And this is what the first one was.

[Paul Scheer]

Oh, by the way, not only did this movie put Sean Connery into retirement, it also put the director into retirement. He's like, I don't want to ever direct actors again. And like. Like, the fights, apparently, on set were intense. And because Sean Connery took so much money, they couldn't afford to make any other interesting casting choices. Because you do look at this and you go, oh, this movie would.

[Jason Mantzoukas]

This should be, like, Dorian Gray. Should be Johnny Depp. Like, there's a lot of Mila Jovovich should be. Meet up. Like, there's a lot of, you know, other characters who should be.

[Paul Scheer]

You want the ocean's 11 vibe. Yeah, but you're really not getting that. You're getting a lot of British people who. And look, I apologize to the. To the. The Brits who. Listen, I couldn't tell them apart. I was like, wait, is that. I'm like, you know what?

[June Diane Raphael]

I don't apologize to the Brits who. Listen, these are all the same person, Every single one.

[Jason Mantzoukas]

Jason. The number of times Paul would look at Dr. Jekyll and say, now, that's. That's the guy that brought them all together. And I said, babe. No, that's. He said, he's an extraordinary gentleman.

[Paul Scheer]

Well, no, and you.

[June Diane Raphael]

You were.

[Paul Scheer]

You were thinking when I said that, that I meant m. I meant the guy who went to Africa.

[June Diane Raphael]

Yeah, I agree. Like, there were three people that looked similar.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

Yes. Yes, there were three. There were a couple people that looked similar.

[June Diane Raphael]

I think what we're saying is, all of us, we can't tell British men apart. Yeah, they're all the same. And they're all the same. British men, all the same.

[Jason Mantzoukas]

Now, I have to say about Dr. Jekyll, Mr. Hyde, there were so many mirrors around.

[June Diane Raphael]

Oh, my gosh. So many mirrors, so many reflective surfaces.

[Jason Mantzoukas]

I was like. I was like, wow. If I'm looking around right now, I can't see. Aside from the zoom box, I can't see myself in anything, like, ever. At every turn, he had somewhere to glance.

[Paul Scheer]

I'm gonna. I'm gonna say here that if I'm gonna give anything to this movie, that the way that they played the Dr. Jekyll and Mr. Hyde stuff I thought was actually very well done. And here's a little clip of it.

[June Diane Raphael]

You scratch. Better me than him. Well, this is nice. You've done terrible things in England. So terrible that you fled the country. And I'm ashamed to say it, that Her Majesty's government is willing to offer you amnesty in return for your services.

[Paul Scheer]

You want to go home? Home. Home's where the heart is. That's what they say. And I have been missing London so. Its sorrow is as sweet to me as a rare wine. I'm yours. Don't be afraid. Who says I'm afraid?

[June Diane Raphael]

You stink of fear. Quite the parlor trick. You wait to see my next one.

[Paul Scheer]

Dr. Jekyll at your service. That back and forth to me was fun. I don't know. I. I like. I. I like that. I like that character. I had one big. One big issue with that character.

[June Diane Raphael]

Yes.

[Paul Scheer]

When we first capture Mr. Hyde, Mr. Hyde looks a little bit like beast from X Men Meets Hulk. Right. He's a kind of a big. I guess the.

[June Diane Raphael]

But with. With, I would say like 15%. The elephant man.

[Paul Scheer]

Oh, yes, you're right.

[Jason Mantzoukas]

Very much so.

[June Diane Raphael]

He has a real, like, body horror element to him.

[Paul Scheer]

And, and giant shoulders only on one side.

[June Diane Raphael]

Only on the right side.

[Paul Scheer]

Has a little bit of Hunchback of Notre Dame energy coming at me. But here's the moment that I really wanted to explore because Hyde is jumping from building to building and they capture him in this uninteresting action sequence.

[Jason Mantzoukas]

Throw a net around him.

[Paul Scheer]

Throw a net around him and just kind of scoop him up into a giant submarine that's so large that at one point, the periscope. Why even have a periscope? Because the periscope is higher. The ship is out of the water.

[Jason Mantzoukas]

It also looks so thin.

[June Diane Raphael]

It's so thin, but so big, but so thin as to be able to. To go through the canals of Venice.

[Jason Mantzoukas]

Really?

[June Diane Raphael]

Yes. Submarine itself is able to navigate the. The twisty, turny canals of Venice.

[Paul Scheer]

And it's.

[June Diane Raphael]

No, it's absolutely not.

[Paul Scheer]

And, and. And it just barely scratches One tunnel at the end. Just. Why don't they just submerge? Well, anyway, when they capture Hyde, his hat falls off. Hyde's hat falls off. And I would say it is one of the most comical things because the hat is so large. It's like. It would be. It's. It's almost like the torso of one of the actual actors. And you know, with the Hulk, you get it. He bursts out of his clothes, his pants stay on, shirt, whatever. But this would hypothesize in the big hat that he's get, he's going out and getting a hat. Like the hat isn't turning into that.

[June Diane Raphael]

Like the turns into a giant Mr. Hide. He goes straight to a haberdasher. Bigger hat, more shova hat.

[Paul Scheer]

And he's jumping around so much. By the way, he does sound a.

[June Diane Raphael]

Little bit like Venom and Bane. And he's like the big. He's the Hulk of the team.

[Jason Mantzoukas]

Now, I did love the one sequence that I. The action sequence that I, I genuinely enjoyed was when Hyde jumped when they were about to seal off that submarine because it's sinking. Hyde unseals it, jumps in and physically turns the submarine upright.

[June Diane Raphael]

Now, is that because he's the only person who can pull the giant lever? If that's the case, why build a giant lever? If you need a Mr. Hyde level guy on board to pull the lever, then that's a faulty design, Captain Nemo. I'm sorry.

[Paul Scheer]

Well, I think because the.

[June Diane Raphael]

Because that's what he does.

[Paul Scheer]

I want to defend the action.

[June Diane Raphael]

Also, can Mr. Hyde breathe underwater? Real question.

[Jason Mantzoukas]

Well, that's why I think you couldn't deliver. The rest of them couldn't get there in time even if a number of them were needed, because they couldn't breathe for that long.

[June Diane Raphael]

Sure. But Mr. Hyde can both transform underwater and have plenty of breath to do the giant lever. No way. Absolutely not.

[Paul Scheer]

Now look, Dr. Hyde, we only know some of the things that he did and maybe we never got to see the full version. I will also say that it, it was an interesting thing because it just. Luckily, the bombs were placed in three strategic areas that were not underwater. If the subs like reemerge, like the bomb holes, if we just get it up, we're fine. Like, that's a faulty bomb.

[Jason Mantzoukas]

And the bomb, like blew out a couple of windows.

[Paul Scheer]

Yes. And the bombs also very apparent, like.

[Jason Mantzoukas]

They were in suitcases with timers on them.

[June Diane Raphael]

If you just see something in a.

[Paul Scheer]

Hallway, they weren't like put up on a shelf.

[Jason Mantzoukas]

They were just like drop.

[June Diane Raphael]

They Were making ticking sounds like the crew of the Nautilus is to blame here. Also, the minute one of those bombs goes off and the hull is open to the pressures of the deep sea, the whole Nautilus is going to cave into itself. What do we. Are we. Does this exist in a world in which, like, the pressure of the deep sea is not a bearing is not brought to bear on the. On the Nautilus.

[Paul Scheer]

Come on, everybody. Alternate reality.

[Jason Mantzoukas]

Jason and I believed in Captain Nemo's engineering there.

[Paul Scheer]

Oh, wow.

[June Diane Raphael]

I love Captain Nemo. Don't get me wrong. One of my favorite. I will say one of I. There's a recent comics, a beautiful, beautifully drawn and written comics book about Captain Nemo by the writer, author Junia Ba, that I recommend. It's a big picture book, beautiful, beautifully drawn book about Captain Nemo, and it's terrific.

[Jason Mantzoukas]

So. Well, this is the troubling thing about the movie, right, Is all of. There's all these references and characters that you sort of know and are interested in, but everything that you're interested in takes place somewhere else in a different time in a scene we've never seen. Like with. With Alan Quartermaine. I'm like, well, how did his son die? I haven't seen that. What happened? I can't quite understand. Was he. Was he responsible? Yeah, we don't know. Boy, I would have loved to have seen that.

[Paul Scheer]

Didn't train him enough that there's so.

[June Diane Raphael]

Much I would love to see.

[Jason Mantzoukas]

Yeah, I guess that's my question. Like, is that true that he actually didn't train him enough?

[Paul Scheer]

I feel like the arc of his character leads me to believe that that is true.

[Jason Mantzoukas]

Well, then I'll tell you, he didn't train Tom Sawyer enough either.

[June Diane Raphael]

Yeah. Oh, no, he didn't. He's learned no lessons. He has such a casual relationship to the death of the people that he cares for. Like, so many. So many people died well, and none.

[Jason Mantzoukas]

Of these people care for each other. That's. That's the main problem with the movie, is that when they are all standing around his grave in Africa and they all walk away, it's the most casual scene I've ever. It's. It's like they're leaving a Starbucks. Like, there is no. There is no sense of loss of grief.

[June Diane Raphael]

I would love it if the. The Starbucks mermaid logo was part of the team.

[Paul Scheer]

If.

[June Diane Raphael]

If it's Alan Quartermain, it's Dorian Gray, it's the Starbucks mermaid. It's everybody, we need energy.

[Paul Scheer]

And she's just. Is making. Well, by the way, in a movie that is so futuristic, where they're on the submarine, they're. They're building bombs that when, When a record is presented, they recall it like, oh, interesting recording device. I'm like, what?

[June Diane Raphael]

I love that the record also is a message. The record is, Is. Is the message from the baddies, you know, and laying out the plan.

[Paul Scheer]

Just like every bad villain.

[June Diane Raphael]

A new way to do exposition. It's on a record, I guess.

[Jason Mantzoukas]

But even when they're finding out on that record that playing the records release is gonna release, like some sort of a sound wave that's going to activate the bombs. They do listen to the end of it.

[June Diane Raphael]

Oh, yeah.

[Jason Mantzoukas]

You know, they stay around to hear all of it.

[June Diane Raphael]

Here's the thing. A movie like this, all of these devices, all of this should be fun. That should be the fun of it. Isn't it fun to watch these characters from stories interact? Isn't it fun to see all these gadgets and. And steampunky nonsense brought to bear on. On. On a story like this? Nope, it's boring. I mean, you're getting the Nautilus. Boring. None of the promise of what these.

[Jason Mantzoukas]

Tell me, though, Jason, that you didn't laugh during one of the last sequences in. In M's Lair when the invisible man. Not the invisible man, actually, but someone else who's taken his potion. Second invisible man is having a knife fight. And it's just a knife. Yeah, fighting Tom Sawyer, I was like, this is.

[June Diane Raphael]

And Tom Sawyer has a gun. Tom Sawyer has a rifle. That's the thing is the, the power rankings for everybody are off the charts because our guys have like six shooters and a couple of rifles and every dozens and dozens of bad guys have the equivalent of. Of like AK47. They have. They have limitless ammo and machine guns. But the movie plays by like the. A Team rules. Nobody is shot. Ever. Nobody catches a bullet unless it is to prove, Allah, Dorian Gray, that he can be shot a dozen times and not die. He's immortal, you know, essentially.

[Jason Mantzoukas]

How can our gentlewoman go outside during the day?

[June Diane Raphael]

What are the rules? What are the rules?

[Paul Scheer]

Is she a vampire? Because she's also not just a vampire. I mean, I. I guess maybe I don't know this about Dracul, but can you just turn into bats? Multiple bats? I mean, like an army of bats?

[Jason Mantzoukas]

I. I mean, sometimes she's right. The bats.

[June Diane Raphael]

So, yeah, I. I don't know. I don't know. I. The movie. Here's the thing. I don't know. The movie should have made me believe she can be a flock of vampires. One. I mean, flock of bats. One of the bats. Anything. The movie should just tell me what to know. And if it does it well enough, I will believe it. I'll be on board.

[Paul Scheer]

Well, that's the thing. They kind of withhold a lot of the information throughout the film. Like. And then all of a sudden, like, I guess they felt like, oh, it'd be really too hard to have seven characters tell you what their deal is. So throughout the film, like, you'll hear like, Dorian Gray will be like, oh, yeah, so I do have a portrait and this is what happens. And. Oh, and like. But it's too late because it's often right before they die or right before they do something. Then we learn about it. Like, oh, well, okay. Like, every time. Every time there's a moment, there's an exhibition.

[Jason Mantzoukas]

Understand why Dorian Gray wanted that portrait back?

[June Diane Raphael]

Yes.

[Jason Mantzoukas]

Why?

[June Diane Raphael]

Because it's the only thing that can kill him, right? If he's shown his own portrait, he will die.

[Jason Mantzoukas]

And why try to get it back? Why not stay far away from.

[June Diane Raphael]

So nobody could use it as a weapon against him? I think.

[Jason Mantzoukas]

I guess just seemed pretty wild to go through all that work and then have it and then have someone be like. But see it and it's just so close to him. Like, if that's me, I'd want to keep it far away.

[Paul Scheer]

But the original idea of Dorian Gray was that the picture aged and Dorian Gray didn't. But it wasn't that he couldn't see the picture. I thought, like, every night he came home and saw the picture. Right? Isn't.

[June Diane Raphael]

I don't. Yeah, no, I don't think the. I don't think the story.

[Jason Mantzoukas]

I don't think it was a faithful adaptation of the Picture of Dorian Gray.

[June Diane Raphael]

Now, but if the movie worked. That wouldn't bother me. If the movie worked and it was like, oh, okay, we're going to take these stories and we're going to. We're going to pivot them a little bit here or there for fun. For. I'd be like, oh, what a clever use of Dorian Gray. Oh, he's immortal so he can't be killed. So, yes, what a good. It's good that he could be a superhero type analog. But no, the movie's having no fun with it. It's just a bummer. He even.

[Paul Scheer]

He.

[June Diane Raphael]

And what's the Hark. No, it's not Harker.

[Paul Scheer]

Yeah, it's Harker. Yeah.

[June Diane Raphael]

Is it Harker in This. Yeah, they have like, a love story that is also.

[Jason Mantzoukas]

Before. I don't know.

[June Diane Raphael]

They. They, like. I don't. I want to feel his betrayal. For the team, for her, like, none of it matters. None of the juice of what could be interesting in the movie.

[Paul Scheer]

It is so interesting because Harker was married to Jonathan Harker from Dracula. But then it seemed like she had a previous relationship with Dorian Gray. So it's like. Okay. So in between, like, it just. It's a weird thing to be like, if it was her ex husband, there's an interest. Like, we. This is all stuff that we have to infer and pull together where they could have just made it that they had a kind of an energy together. I don't know. Like, what. Why lay a backstory that we don't even fully fully understand?

[Jason Mantzoukas]

No idea. But, you know, the one thing I did enjoy was when our invisible man put on his, like, Pon's face cream, by the way.

[Paul Scheer]

Not invisible man.

[Jason Mantzoukas]

What?

[Paul Scheer]

They could not use that because that was the only character that was not in the public domain. So they could never refer to him as the invisible man. They had to change his name. They could just call him an invisible person.

[June Diane Raphael]

Oh, wow.

[Paul Scheer]

Yeah.

[June Diane Raphael]

So they just call him Skinner instead.

[Paul Scheer]

That was an interesting thing that Universal made them not do. Yes, the Invisible Woman.

[Jason Mantzoukas]

Sort of fascinated by the fact that he put on that face cream. The puns.

[Paul Scheer]

Because it's like, well, white face.

[Jason Mantzoukas]

Why? You know, why? Why?

[June Diane Raphael]

Why? Yeah, why not just put a jacket.

[Paul Scheer]

On, sunglasses and a hat?

[June Diane Raphael]

Be uncomfortable for him to have like a caked face of. Of. Of sticky cream. Mustn't that.

[Paul Scheer]

It seems like it kind of comes off very easily and. And it's like, just, we don't need it.

[Jason Mantzoukas]

Or.

[Paul Scheer]

Or, you know, let's go back to the old school. Wrap your face up like a mummy.

[June Diane Raphael]

Bandages.

[Paul Scheer]

Yeah, get some bandages on there.

[Jason Mantzoukas]

Well, was he killed at the end, by the way?

[Paul Scheer]

Was he?

[June Diane Raphael]

Yes.

[Jason Mantzoukas]

There was a point where I thought.

[June Diane Raphael]

He is blown up.

[Jason Mantzoukas]

Yeah. And so you see a pile of, honestly, charred skin.

[Paul Scheer]

Oh, that was so grotesque. I remember being utterly upset, like, because you could just, like, at certain points you'll see like, an outline of him and you see flayed flesh. And the only way you're seeing it is in the reflection of the fire. It was real. I was like, oh, movie.

[Jason Mantzoukas]

Yeah, it was upset. It was very upsetting.

[June Diane Raphael]

Yeah. He saves Tom Sawyer, I believe, from a man in an Iron man costume who has a flamethrower. Basically, like these. This movie has like characters who are in like giant metal suits who are bulletproof, who are.

[Paul Scheer]

I thought that those are just robots.

[June Diane Raphael]

Whoa.

[Paul Scheer]

Yes, because I know. Yes, because I thought. I thought he was creating an army of robots.

[June Diane Raphael]

Cool.

[Paul Scheer]

Because at one point when they do that overview of the castle and the invisible man's like, telling them the story, there's like a lines of robots there. So it's like, I'm building robots and I'm building tanks. And I also have at my disposal hundreds, and I would say almost a thousand sharpshooters because there's a sharpshooter on every. Multiple sharpshooters on every building in Venice. So he's got an army.

[Jason Mantzoukas]

And also all of the scientists that he kidnapped.

[Paul Scheer]

Oh, yeah.

[June Diane Raphael]

Oh, yeah. No, he should win easily because our team hates each other, does not have a clearly defined plan whatsoever. They just walk into every location and just start for the best. They don't. Yes. And they, they don't seek cover. They just stand and shoot at people who are in cover and have better guns than.

[Paul Scheer]

Yes.

[June Diane Raphael]

And multiple times Captain Nemo fights machine gun men just with a sword. Just, just running around with a sword and chooses to.

[Jason Mantzoukas]

I feel like there was one point where he was handed a gun and he was like, no, thank you. Not for me.

[June Diane Raphael]

I'd rather. I'd rather run these men through with my scabbard. I don't understand what's up. Like, everybody should be dead in this movie by minute four. I mean, the heroes, you're right.

[Jason Mantzoukas]

The main problem is that they're. They are not connected to each other with, I guess, with the exception of Tom Sawyer and on Quartermain. But they all seem to not just not like each other, but have a lot of disdain for each other. And they seem irritated with each other, which.

[June Diane Raphael]

Which I love as a first act problem. But by the second and by the second half of the second act of this movie, they need to start trusting each other.

[Paul Scheer]

This I keep on writing, when is this movie going to start? It just felt like, okay, well, now we'll get the mission. Now we'll get the mission. Like, the mission, I guess was to stop the bombs in Venice, but they didn't stop the bombs. They created. And this is when you say, like, if you just tell me something is true, I'll believe it. And I'm. I'm 100. Like, I will believe it. I will go with it. I feel that way too. But this movie tells me something.

[Jason Mantzoukas]

It was hard to believe.

[Paul Scheer]

I don't understand what they're saying. So There are bombs all over the city. But if they could drive their car into one of them, they can push one building backwards and then stop a domino.

[June Diane Raphael]

So this is what they're saying. This is what they're saying. They're basically saying the bombs are setting up a dominoes style like catastrophe where each building hits the other building. So if we can get in front of it and knock a building down between two buildings, then it will stop the cascade of buildings. So it will basically create, create a stop in the future. You know what I mean? So you gotta, they've gotta get ahead of it. Doesn't matter. But that's why Shane west is driving the car.

[Jason Mantzoukas]

Boy. It also seemed like they got most of the buildings at that point.

[June Diane Raphael]

Really. It felt to me like they had lost.

[Paul Scheer]

I mean Venice is supposed to be a small city. There seem to be a lot more buildings in Venice because they really are blowing it up. And here's the other thing. Obviously Tom Sawyer never driven a car and is all of a sudden like Dom Toretto racing through. Tom Sawyer. I don't know what his skill set is. There is no skill set that we know of. Tom Sawyer, Young, he, he's American.

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

His skill set is America.

[Jason Mantzoukas]

Yeah. Jason.

[Paul Scheer]

And when, and but this is the problem. When they're driving that submarine into or, you know, sailing that submarine into Venice, we see the, the ground, we see the, the shore floor or not the shore, but the, the sea floor. And it's full of explosives, like tons and tons and tons of bombs. So it wasn't like there's a bomb in every house. There also seemed to be bombs under the entire city of Venice.

[Jason Mantzoukas]

Like, you're right. And that's what I, that's what I could not understand. I mean, I got the dominoes of it all and how they were going to thwart that. But I thought they were going to Venice because all of the world leaders were going to be there at Carnival. Yes. Didn't they say they were all going to be there and that's why they were going to try to blow up Venice?

[Paul Scheer]

Just maybe.

[June Diane Raphael]

Maybe. But I don't even know. Not only do I not know, like, I also felt like I'm unclear what the goal is. And I'm also unclear why our particular set of heroes skills should be brought to bear on solving it. Because none of their expertise is handy in this. Only whatsoever. Fighters, they don't have a water person. They just have fighters. They, they don't. Nobody knows technically how to drive. So the fact that it's A driving thing. My favorite thing in the driving was that there are multiple instances of Tom Sawyer careening through Venice driving this like gigantic Rolls Royce looking car that's a convertible. And twice, twice people jump out of the car to, to run away and, and, and you know, provide cover or something like that. But the car's going like 30 miles an hour and they jump off and land like, sure footed. They jump off and are like, gotta go like Sean Connery, a man who appears to be 85 years old in the movie, leaps out of a car going 35 miles an hour and just stands up straight and starts shooting. I was like, what, what world is this?

[Jason Mantzoukas]

Well, the other thing I was bummed about is that when we get to. We get to M's lair at the end and I did like that. It was super snowy there.

[Paul Scheer]

Very inception.

[Jason Mantzoukas]

But when we get to. When we get to that layer, we do see that, okay, a couple people have taken the invisible.

[Paul Scheer]

They all fight the super version of themselves.

[Jason Mantzoukas]

But do they? Because I didn't really see Sean Connery's.

[Paul Scheer]

Sean Connery had nothing that they were trying to take from him.

[Jason Mantzoukas]

Nor did I see other vampires.

[June Diane Raphael]

No, I didn't either. I agree.

[Paul Scheer]

They did get her blood, I guess.

[Jason Mantzoukas]

What did they take from Sean Connery or other Americans?

[June Diane Raphael]

We also barely saw the vampire fight in the library scene as well. I think some people's skills would have required too much CG work. Too much, Too much.

[Paul Scheer]

Like.

[June Diane Raphael]

And they spent clearly all of their money on the Mr. Hyde transformation stuff. Sean Connery, some of these, and Sean Connery himself. And you know, like, I feel like they were in the very beginning of the movie, they were like. They showed us a hanger full of blimps and then they blew it up to be like, don't worry, we won't be on any blimps in this. Like, we don't do. We don't have the money for blimps. They're all just blowing it all up.

[Paul Scheer]

An interesting thing here because the way that she comes out at that fight scene, the Harker is like, they're all bop up, up, punching, shooting things are going around. And then she just kind of steps out of the shadows, wipes her mouth and like took care of those guys like that. That is a. Yeah, that's like Venkman walking out at the end of Ghostbusters and having like just a dollop of marshmallow on his head and being like, whew. It's crazy. Like, it clearly did not. Bill Murray did not want to get marshmallows on him. I did like that sequence, though, because I've never seen a library ladder be used to fight people. I thought that was cool. There are cool things in it.

[Jason Mantzoukas]

I liked all the pages of the books. I loved it.

[June Diane Raphael]

I thought that was a great. That was a great place to set a shootout or an action set piece. But. But geographically, I couldn't tell who was who. I couldn't tell who was where. I couldn't tell who was winning or losing. I didn't understand.

[Paul Scheer]

Now, we are told that Nemo is a man of science and he's very smart scientifically, but it seemed like his science began and ended with the Nautilus. Like. Like that seemed to be his sign. Like, at one point, they. They find out there's a spy who took some pictures of his instrumentation. I mean, that's. They just took a picture of, like, the. The three. The three steering wheels. Like, the. Like, it's like, what. What are you getting from that? Like what. Like what that looked like to me. Regular. Regular ship front. It's like there was nothing different. I don't know what he's doing.

[June Diane Raphael]

No. Well, he. I feel like he is the pirate. He is transportation.

[Jason Mantzoukas]

He doesn't want to be called that. Jason.

[June Diane Raphael]

Swashbuckling. Yes, no, I know, but I feel like Mina Harker is. She's our vampire, but she's introduced as the chemist, as the scientist, and someone says, oh, good, so we're going to be blowing stuff up. So I'm. I keep looking to her to say, okay, are you going to start blowing stuff up yet? Like, are you ready to do your chemistry and your science? She never does it.

[Jason Mantzoukas]

Never once does test. One thing. I can't remember what.

[June Diane Raphael]

She does have some test tubes at one point, but they fall. They fall on the. On the Nautilus.

[Jason Mantzoukas]

She's got a beaker.

[Paul Scheer]

But then meanwhile, so does I wish.

[June Diane Raphael]

Beaker from the Muppets.

[Paul Scheer]

Like, he's like Dr. Jekyll. Mr. Hyde also has beakers. Like, they've, like, they have doubled up on the Rolls.

[Jason Mantzoukas]

There are a lot of aisles. There are a lot of beakers. Yeah.

[June Diane Raphael]

How funny would it be if it was like, we've got a vampire. We've got Dr. Bunsen E. Honeydew and beaker.

[Paul Scheer]

I also think that, like, I mean, Quartermane. Does Cormain do anything, like, sharp.

[June Diane Raphael]

He's a sharp. Sharp. That's what I think.

[Paul Scheer]

If someone's running far away. I mean, that's really the only. Like, we set up that.

[Jason Mantzoukas]

Can I say something, though, Paul? I'm sorry to interrupt. His whole strategy of wait, wait is to me a little flawed because especially at the end when M is so far away, when he's running away from his lair, I'm just like, buddy, every. Every second you're waiting, he's getting further away. You gotta unload some ammo on this guy immediately. Yeah, I just couldn't, like, get behind that as a concept.

[June Diane Raphael]

It's also like, there Tom Sawyer. Alan Quarterman isn't even looking at Tom Sawyer.

[Jason Mantzoukas]

He's back like, he's not even on this. What? How could he possibly give him any feedback on what's happening?

[Paul Scheer]

My other issue is when we meet Tom Sawyer, I don't get the sense that he's like, I shoot at anything I see. Because when they first. No, when they first get to the top of the Nautilus and they're doing target shooting, he goes, all right, here, here's the gun. You shoot it. The most important thing is to wait and give it, you know, give it a breath. Let the gun tell you when to shoot. He shoots it. He comes damn near close. It was like, oh, if you just waited a second more, you would have gotten it. That's a. As far as an arc for a character. That's a small one. It's like, oh, if you just waited a second more, you would have gotten it.

[June Diane Raphael]

Not like, just patience. Just learn a little bit.

[Paul Scheer]

It's like a little more patience. Because he had patience. Like, he. He took to it very quickly. He wasn't. Oh, God damn it. Bam, bam, bam, bam, bam.

[June Diane Raphael]

I loved when the bombs go off on the Nautilus. And this movie, again, this movie is so, so long. There is, I'm going to say, a 10 minute sequence of the movie where we just watch them do repairs. Yeah, I don't need this. I don't need to see them doing repairs on the Nautilus. Like, find a way to keep moving forward. You know what you don't do in a movie at this point in time grind to a halt to repair the Nautilus?

[Jason Mantzoukas]

Yeah, we're just going to accept that it kept moving.

[Paul Scheer]

But again, the Nautilus.

[June Diane Raphael]

Or get in a different boat and keep moving.

[Jason Mantzoukas]

Didn't you love, though, that when they all got out, they were all in similarly themed snowsuits?

[Paul Scheer]

I like that.

[Jason Mantzoukas]

I did.

[June Diane Raphael]

And they had diver guys.

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

Like when they were in Venice, they. A platoon of diver guys came off, which was cool looking. There's so much cool setup in this. There's so many cool ideas in this. The follow through is, I would say, disastrous in every aspect.

[Jason Mantzoukas]

Yeah. And I kind of wish is the.

[June Diane Raphael]

Pull quote for the movie.

[Jason Mantzoukas]

I kind of wish that Alan Quartermain's story, just because he. He is elderly and that's great, that's fine. But I wish his story had been either about like accepting that he has some limitations and that there are areas in which he both has limitations, but he has room for growth or something and there was just no arc. Well, his character I did not understand at all.

[Paul Scheer]

They laid it out in the beginning with that line, and I'm going to butcher it, but. And it's like poetry. It's like when you're doing sork and you don't want to butcher the line. But I believe he said, you got to get it when he said, like when, when lions are old and they believe they're going to die, that's when they fight the hardest. And so that's what we're led to believe. But I don't see him fight the hardest either. I don't see Alan Quartermaine doing anything aggressive in this movie. He's patience, he's whatever. He.

[Jason Mantzoukas]

And again, if you want to tell me that he trained. His lesson was that he trained Tom Sawyer like he wish he trained his son. He didn't. Yeah, he didn't. If anything, he was mid training session with him on the Nautilus and was like, I gotta go.

[June Diane Raphael]

If anything, I wish Tom Sawyer had been killed so that Alan Quartermain could know. Could know that he failed again.

[Paul Scheer]

Damn it. So I guess my question is this. What would the sequel have been? Right? Because all right, the sequel be like guessing. Now you have like a. A zombie, Alan Quartermain, but they don't have any organization that they work for. So who's sending them out on missions?

[June Diane Raphael]

No, I think he just. Yeah, I think Alan Quartermain comes back to life normal and he's the leader.

[Jason Mantzoukas]

I agree.

[June Diane Raphael]

You know, I think it's a kinsman style, you know, world in which they just have adventures.

[Paul Scheer]

There's no one to send them all.

[Jason Mantzoukas]

There's going to be another villain. But I do think that the exciting thing about the sequel is that because there's no invisible person anymore, we have.

[June Diane Raphael]

Room for Beaker and Dr. Bunsen.

[Jason Mantzoukas]

E. Honeydew.

[June Diane Raphael]

I would love that. And that's the thing is Alan Moore has written these books for years. Every couple of years he puts out a new story. And they're fun. They're fun adventure stories. And I think this is a World you could explore Allah, the Kingsman, or similar type of things that are stories that would be fun to. To dig into. But this movie takes all of the wrong stuff and. And highlights that. You know, this movie is not about the fun swashbuckling adventure. It's about, like, machine guns and exposition and none of the fun of the team. None of the fun of the. What would be a good idea of.

[Paul Scheer]

Like, what you love about Sherlock Holmes ultimately, You know, even the. The Benedict Cumberbatch one. It's like, okay, they are in this time. Oh, no, that is actually this time, but.

[June Diane Raphael]

Oh, you mean Robert Downey Jr. Sherlock Holmes.

[Paul Scheer]

You know, I love the fight, but.

[June Diane Raphael]

That'S the version of this movie that would have been awesome is if this movie had been made.

[Paul Scheer]

I'm down with that 100. The gentleman. It's like, yes, exactly.

[June Diane Raphael]

Give me something that has these components. But in the hands of someone who's interested in telling a fun, exciting.

[Paul Scheer]

There's nothing fun about it. And I guess the. What I was saying was he. These characters just wind up fighting with guns like there's nothing about it. Like, no, you're right. There's no skill set used. Like Ocean's Eleven. They each do a thing and it all works together here. They just all have different guns. They all, like. Sean Connery has a single shotgun. That guy's got a machine gun. She bites people. But they're all just fighters. It's the least interesting thing to do. And then, you know, she wipes her mouth and she's like, don't worry, I already ate enough people today. It's like, oh, are you also a threat to these people? I don't know.

[Jason Mantzoukas]

She. I think she is because she's got what, you know, a woman's got to eat.

[June Diane Raphael]

Yeah, I believe she can fly.

[Jason Mantzoukas]

Like, definitely, definitely.

[June Diane Raphael]

Why doesn't they. Why don't they use that to greater effect?

[Jason Mantzoukas]

Yeah, why didn't she fly up to the. The other, you know, levels of the library or the.

[Paul Scheer]

She was this off camera.

[June Diane Raphael]

That's the. But I think that's what they want you to believe is that they just didn't show her, you know, doing incredible stuff. And that's the thing is they are such a powerful team because of all their. Their special skills. But, like, they are constantly outmatched or outgunned by just 12 guys with hundreds.

[Paul Scheer]

Hundreds, hundreds of faceless people with machine guns. And the other thing is too, you know, she kills Dorian Gray. You know, she shows him his own face and that makes him like, go you know, he kind of, like, he. He just kind of immediately crumples and turns to dust.

[June Diane Raphael]

Well, he swaps parts. He basically becomes the. What's in the painting.

[Paul Scheer]

Right, exactly. Right. So that's. That's the moment. She looks so horrified by that. And I'm like, isn't that what you were doing? Like, you were doing. Like, that was the. That was the plan, right? Like, you. You wanted to kill him. Like, you had the painting there. You did the whole thing. She's like, oh, oh, look. You know. You know, come on, people. Don't fuck with me like this.

[June Diane Raphael]

Yeah. So every. Basically, everything's a gun, including the portrait of Dorian Gray is basically a gun.

[Jason Mantzoukas]

Oh, no. It did seem, though, weirdly, before he saw the picture that that stab, the stabbing of him had more of an effect on him than, like, the bullets had, which I couldn't quite understand.

[June Diane Raphael]

Agree. I think it was be. I think they were trying to play it because he couldn't dislodge himself from the wall. He was stuck almost.

[Paul Scheer]

Right. He just couldn't pull it out.

[June Diane Raphael]

I think he was in mortal danger from the sword. It seemed like he couldn't.

[Paul Scheer]

He needed that Dr. Hyde strength. But, you know, the other thing, too, is. I think the other element that really is missing from this is this should be a secret organization. But everything they do is so aggressive. Like, the. The Rolls Royce is in the center of a town that doesn't seem to have cars. This submarine is barely ever underwater. It's, I would argue, always above water. Like, everything is attracting tremendous attention. They never try to do anything quietly. And I.

[Jason Mantzoukas]

Even. The invisible.

[Paul Scheer]

Invisible man. Yeah. By the way, sometimes the invisible man would put the cream all around his head and sometimes just in the front. And I was like, well, we don't need to see the back of your head, too. I mean, we don't like. And he had, like, stubble. So that also means that Invisible man is shaving.

[June Diane Raphael]

Sometimes the Invisible man is also used for, like, comic relief in that he's constantly referencing the fact that he's naked when he's in his invisible state. He's talking about it's. I'm naked and it's so cold up here in the snow. I'm naked and I'm here. He's. That's part of it. In a way that is very odd.

[Paul Scheer]

Because you think of him running around shoeless that.

[Jason Mantzoukas]

Didn't he sneak into Sean Connery's room at one point?

[Paul Scheer]

And he.

[June Diane Raphael]

And he does.

[Paul Scheer]

And he does kind of. He's always nude yeah, we're copping a feel of what's her face like. You know, it's like. It's like it's too much. It's. What was like. What was that movie that we saw? Yeah, the animated movie, Ronald the Barbarian. Didn't his, like, balls go around or like. Yeah, all right.

[June Diane Raphael]

Yes, yes, that was a. Yeah. Genitals were big. Somehow a bigger deal in Ronald the Barbarian.

[Jason Mantzoukas]

But I guess that's what I couldn't really understand. Sometimes it seemed that he didn't have a body like, that his body didn't exist in space. And sometimes it seemed like he could hit people, move people through space. Like a phys. Like, he had physical.

[Paul Scheer]

He should have been a circus performer. That would have been a more interesting story for him. Like, he was a circus performer who got, you know, and also a jewel thief. Like, make him a Catwoman or something. Like, you know, give him like. Or like Robin. Like, give him some sort of skill. He just seems to be a real, like, whatever that might. I'm taking money. It's like. It's like. Like, just didn't seem like he had very good impression. Thank you. And I, you know, something I was. Been working on a lot, you know, all my voices.

[June Diane Raphael]

I think they should cast you as Skinner in the next. In the sequel.

[Paul Scheer]

But again, I would love to see this as a adaptation of the comics, which seem like we are. We so struggling for ip, that we just like the idea and then run with it. But I would also argue that, you know, at this point, you know, you know, as much as I love, you know, these books, like, you know, from Hell, the Watchmen, V for Vendetta, you know, they don't really translate into great films. You know, Watchmen, the TV show, was great, but it's. It's hard to kind of, like, kind of capture what. Why am I forgetting his name? What he does so well. Alan Moore, you know.

[June Diane Raphael]

Oh, oh, yeah, yeah, yeah, Alan Moore. I mean, so, you know, this is the writer of Watchmen and the pivotal writer of Swamp Thing and, you know, like, a truly exceptional writer who's so smart and so interesting and so curious about stuff that to watch this in service of that material is, like, very bizarre because, like I said, I pulled the comics after I watched the movie just to be like, yeah, what's going on here? I read, like, the first 10 pages of volume one of the league of Extraordinary Gentlemen. It's dynamite. It's so fantastic and so exciting and so cool and beautifully drawn. It's not at all what this movie is and what a shame it is to have this be the adaptation.

[Paul Scheer]

I mean, it really is rough. But you know what? There are people out there that loved it. People out there that had a different opinion. It is now time for second opinions.

[June Diane Raphael]

The movie was a piece of shit, yet this person recommends it. Tell me, what is the message? Maybe that art is subjective. I need a second opinion.

[Paul Scheer]

Well, well, well, well. Here we go. 6,562 total reviews. 79% are five star. 79% are five star. This is unheard of. And Chandler Cobb, back in 2021 writes this review. I left my husband home alone and lo and behold, he purchased this movie via Amazon Prime. First of all, I was impressed that my sweetie pie had figured out how to work our fire stick. Secondly, this is a good movie. This movie reminds me of the Indiana Jones series of movies and that the title is leaving your husband at home. Five stars. Now this is from Yawn, written 2021. Right off the bat, this movie had my attention. And while there were some parts that made me want to skip forward, I didn't. Seems like some things are at odds there. Amazing movie with the wrong title. I saw that critics hated it and Sean Connery, God rest his soul, also hated it. And it's exactly the kind of movie I want to watch. After scanning through all the free movies for the zillionth time and not seeing a single one I wanted to watch nor had seen before, through the corner of my eye, it was this movie that had Sean Connery in it. So I gave it a go. Because of the title, I'd always skip right over it. The gentleman in the title suggested the movie was saturated in feminism, when in fact it has some because the one main female character had extraordinary power and that made her practically invincible. But then again, a lot of the males were in the same or damn close 5 stars. If critics hate it, I love it.

[Jason Mantzoukas]

Wow. Oh, gosh.

[Paul Scheer]

And then, I don't know. I think they also don't understand feminism. Yeah, there too. Yeah, I think that was a. A few things off the base there. Don W. Brown in 2024 says, shows how effective you can be when you apply what you know for good. And the title met expectations, the stars 5 met expectations, and then. And then I guess this is the one that I will leave you with. Danny Brawny 2 in 2020 writes, Excellent movie that brought joy to the ending even when the main character appeared to go elsewhere.

[Jason Mantzoukas]

Elsewhere as in the great beyond?

[Paul Scheer]

I guess so. And so I guess in a little Snow globe, the idea of, I guess. Well, you know what this, what Danny is saying is, hey, even though the main character died, it still brought me a lot of joy. You know, like, life goes on and.

[Jason Mantzoukas]

And also the main character clearly didn't die at the end.

[Paul Scheer]

Well, we don't know.

[June Diane Raphael]

Also, like, who cares? Like, yeah, Lost anybody? And I care. You know, like, it doesn't feel cohesive at all.

[Jason Mantzoukas]

The team, I mean, I would care about Captain Nemo. That's. That's the only character I would care about.

[Paul Scheer]

I like a little Captain Nemo. I mean, I, I like the way he was, you know, it's.

[June Diane Raphael]

I was interested in the movie that Captain Nemo was in.

[Jason Mantzoukas]

That's. Yes.

[June Diane Raphael]

You know what I mean?

[Jason Mantzoukas]

I felt like he was very much so in a different movie. And I was curious.

[June Diane Raphael]

Oh, you know who I wish had made this movie?

[Jason Mantzoukas]

Nemo. Curious.

[June Diane Raphael]

I wish Gore Verbinski had made this movie. The guy that made the Pirates of the Caribbean.

[Paul Scheer]

Yes, yes.

[June Diane Raphael]

You know, if this interesting, if this had the same feeling that the Pirates of the Caribbean movie had, like all those Davy Jones and again, characters from storybooks and the characters from, you know, that have all these kind of powers or mystical things or this isn't that, you know, octopus faces or long dead armies that I, I don't question it at all in those movies because it's just good fun. This movie in not having any fun whatsoever. I just want to nitpick and quibble with every nonsensical decision they've made because I'm like, all I want is for you to have made the choices that would have given us Pirates of the Caribbean tone.

[Paul Scheer]

And ironically enough, this movie opened in second place the weekend it came out behind Pirates of the Caribbean, Curse of the Black Pearl. Okay, there it was. This is. And this also feels like a movie that when you say like those movies, I'm like, oh, those were made recently. This, I guess, was too. I mean, it was 2003, I guess.

[Jason Mantzoukas]

I don't know which kind of blew my mind when I saw that.

[June Diane Raphael]

Mine, Mine too. I thought it was like a 90. I would have guessed like 1994, you know? Yeah. Just for how also how shitty it looked.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

I mean, wow. Oh, wow. And this is just so, you know, I know I said the director quit making movies, but before he quit making movies, he did make Blade. Oh, that's the director of Blade. Blade 1. So, you know, there you go.

[June Diane Raphael]

Okay. Yeah.

[Paul Scheer]

Any final thoughts, y'all? Like, about the only thing I'll say.

[Jason Mantzoukas]

Is, even if all of, like, the action sequences were botched and all of. And there. There wasn't enough fun. What I really wish was that the characters, the performances felt, you know, like, electric and joyful and interesting. And that, to me, was the biggest failure. That it just.

[Paul Scheer]

You feel the stress of the set. Like, it feels like. It feels like this movie was primarily shot in Malta. No one got to go home and everyone was yelling at each other. Like, there's an. There's a heaviness to this movie. There's no lightness, there's no fun. The. I would say the only scene that has a little bit of fun is the first meeting of Alan Quarterman. That is, I think, an awesome. I agree, like, a really cool section.

[June Diane Raphael]

Yeah, I feel. I feel similarly. I feel like, what a bummer that this is a joyless experience. And I think that, you know, my final thoughts are for the audience. First of all, you fucking blew it.

[Paul Scheer]

You blew it. You blew it.

[June Diane Raphael]

I think that the audience thinks the movie. The movies we do are just bad. And they're right. This movie is bad. But this is not a good movie for the podcast because it is joyless. There is. There's nothing here to have fun with. It is just boring and flat. And yes, you're right, it's bad, but not bad enough that it makes for a fun. A Two hour. Two hours. We shouldn't let them. We gotta take away the vote. We've got to take away their vote.

[Paul Scheer]

You know, Gina comes down to you. Do you want to take away their vote?

[Jason Mantzoukas]

It's hard. I don't think I agree as I. I'm going to sit down with the audience. With the audience here, because although, yeah, it's not a. It's. It's not a fun, bad movie to watch. It's also a lot better than many of the joyless experiences we've had.

[June Diane Raphael]

Sure, sure.

[Jason Mantzoukas]

I just want to put it in historical context.

[June Diane Raphael]

I mean, I would much rather watch Madame Web again.

[Paul Scheer]

Oh, well, that's. But that's an aces movie. I mean, that's. I mean, that's fun. I will say this. Sean Connery, even if he was miserable, I like watching him on screen. Like, he. He is there. He is present. He's Sean Connery. And I'm all in on that. Like, I feel like I was on board with this. I love that he read these scripts. And I guess this is like something that had been really funny to him because he admitted he doesn't know how to pick movies anymore when he turned down Lord of the Rings in the Matrix. Just by looking, going like, those two movies don't make sense. Wow. Now, Lord of the Rings is a harder argument to make because that's a huge part of literature. Matrix. I get like, oh, I don't understand what this is. But Lord of the Rings say, yes.

[June Diane Raphael]

I wonder who. Do we know who he was meant to play in Lord of the Rings? Do we know?

[Paul Scheer]

Yeah, it was Saruman, right? I think it was supposed to be.

[June Diane Raphael]

Yeah, I didn't know that.

[Paul Scheer]

Yeah, I think. Or, or, or it was. Yeah. Let me see.

[June Diane Raphael]

Oh, Gandalf in the notes.

[Paul Scheer]

Gandalf, sorry, Gandalf.

[June Diane Raphael]

Yeah, sorry. Oh, I'm. I'm actually so glad that he didn't play Gandalf.

[Paul Scheer]

No, it would. Yeah, it would have been because he's.

[June Diane Raphael]

Now at this point, he's in that kind of Highlander zone, you know, or Highlander 2, I guess, or whatever. He's in a zone where he feels like he's just lost in this movie in a way that.

[Paul Scheer]

Yeah.

[June Diane Raphael]

Even though I love Sean Connery, boy, am I glad he's not doing this kind of stuff in Lord of the Rings. I don't know.

[Paul Scheer]

Oh, absolutely. Yeah. I mean, like. Well, because I feel like he's. He's showing up. Like, apparently the director at one point said, can you do that again? And he goes, why? You didn't get it? And he goes, we're paying you $17 million. You can walk down the street again.

[June Diane Raphael]

Wow.

[Paul Scheer]

And then they said Sean Connery's reaction was unprintable. Like, it literally was this walk down the. Like, do a second take. So maybe, you know, maybe. Yeah. I don't know if he would have liked being in New Zealand for three years.

[June Diane Raphael]

Oh, my God. Incredible. Incredible stuff. I don't recommend this movie. I do not know. I think that's what you're nothing even going to be. And it's.

[Paul Scheer]

Yeah.

[June Diane Raphael]

I don't even think in order to enjoy this episode, you should watch the movie. You just watch some of these scenes maybe, but.

[Paul Scheer]

Well, clearly this is what. They picked it. They probably are. This is one of their fan favorite.

[Jason Mantzoukas]

He's seen it. Jason.

[June Diane Raphael]

This is our fan base's favorite movie. This is the movie that in 15 years of not covering it, they were like, you simply must.

[Jason Mantzoukas]

Well, Jason, maybe this mov. This episode's going to throw you into it.

[Paul Scheer]

Yeah. I mean, honestly, Cody. Cody was in charge of. Of making sure that the vote count was on the up and up. But what were the other ones? Do you remember, Cody?

[June Diane Raphael]

Yeah, I scrolled through a year of the Discord.

[Jason Mantzoukas]

And the list was Doppelganger. Sorry, Cody. Blame Paul. Thank you. Doppelganger, which was Drew Barrymore, which was the second one voted when you guys did Dracula, so I thought maybe that one would come through. Then my super ex Girlfriend, which was Uma Thurman. And then the Exorcism, which was the more recent movie. And then the big hit. They really want a Mark Wahlberg movie.

[Paul Scheer]

Wow. These are. I mean, I. I think a lot.

[Jason Mantzoukas]

Of people came through Paul, when we were pushing the Discord to come vote.

[June Diane Raphael]

So my theory is a lot of.

[Jason Mantzoukas]

People who don't watch the movies just came and voted. That's my big theory.

[Paul Scheer]

Well, I'm gonna tell you this. I just pulled up doppelganger 1983, and there's a picture on here. I'm gonna show it to you guys real quick, and then we can get off it. But this is the picture that comes up for Doppelganger. Take a look.

[June Diane Raphael]

Oh, what? How are we not doing that?

[Paul Scheer]

It's Drew Barrymore with her arm around a skeletal or a muscular.

[June Diane Raphael]

Like one of the bodies exhibit people.

[Paul Scheer]

Yeah. With a smile on her face.

[Jason Mantzoukas]

Yeah, she's. That skeleton's a woman. Yeah. She has breasts.

[June Diane Raphael]

Oh, yeah. Wait a minute. Now I'm actually. Send me that. Huh? Hang on.

[Paul Scheer]

Oh, no.

[June Diane Raphael]

Click on it. Does that identify?

[Paul Scheer]

Can I.

[June Diane Raphael]

Can I message that?

[Paul Scheer]

All right. No, we're off of this. I'm stopping the share. All right, so you messed up Discord, but we love you and thank you for always weighing in. But I guess this just proves one more time, Avril knows how to pick them.

[June Diane Raphael]

Yeah.

[Paul Scheer]

And that's why she is great. We love Avril. Although she did not pick this movie. Do not blame her. Blame yourself.

[June Diane Raphael]

Disband the Discord.

[Paul Scheer]

Anybody want to plug anything right now before we go?

[Jason Mantzoukas]

No, just our tour.

[Paul Scheer]

As always, we are going to be on tour, a big spring tour. If you're going to be at the Tree Fort Music Festival, you can come see us. But if you're just in Boise, Idaho, you could buy a ticket. You don't have to get the whole festival ticket. So that I just want to make sure that is clear. We are going to be in San Francisco and Austin, all these great places. Denver tickets are still available, so get them and you'll see what movies we're covering. It's going to be a blast. I'm really excited.

[June Diane Raphael]

And I will shout out Invincible Season 3, available right now on Amazon prime and Taskmaster Season 19, coming to YouTube very soon. Get ready.

[Paul Scheer]

Oh, I love it. And also you can watch Rob Huebel and I every week on the Dark Web is a new video series that we are making. You can check it out on YouTube. Just go to watchthedarkweb.com if you. It's just easier to find it maybe that way. All right, thanks so much. Thank you, June. Thank you, Jason. Thank you, Cody. Thank you, Molly. And I guess next week I'll jump back in with your corrections and omissions on this movie. Oh, God, I don't even.

[June Diane Raphael]

I don't envy you that. I'm sure the audience is going to have thoughts.

[Paul Scheer]

Maybe this shirt should be. I picked League of Extraordinary Gentlemen, just like I think.

[June Diane Raphael]

I think the shirt should be no shirt. I think this choice doesn't deserve.

[Paul Scheer]

That's it. You don't get a shirt. And with that, just a shirt that.

[June Diane Raphael]

Says you don't get it.

[Paul Scheer]

We don't deserve a shirt. With that we say adieu. See you next time. Bye for now.

[June Diane Raphael]

Adieu.

[Paul Scheer]

Adieu. It.