Thrashin'

Summary

How Did This Get Made? “Thrashin’” (1986)

Hosts: Paul Scheer, June Diane Raphael, Jason Mantzoukas
Episode Date: July 17, 2026

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Episode Overview

The HDTGM crew, Paul, June, and Jason, dive into Thrashin’, a 1986 cult skateboarding film starring a young Josh Brolin. Drawing hilarious (and sometimes baffled) parallels to both classic 80s teen movies and Shakespearean melodrama, the hosts break down the movie’s wild plot, tone-deaf fashion, questionable romance, and enduring status as a so-bad-it’s-good favorite among skate fans. Skating, jousting, wardrobe choices, and punch-bowl-sized sundaes get equal comedic scrutiny.

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Key Discussion Points and Insights

1. Josh Brolin: The Unexpected “Female Lead”?

• Subversive Cinematic Gaze: June points out that Brolin’s character is often shot with a “female gaze,” with loving close-ups and sensuality normally reserved for female characters.
  • Quote [03:22] – Jason: “There’s a large part of me that feels like Josh Brolin is playing the female role in this movie.”
  • Quote [03:48] – June: “She’s behind him in a way I’ve only ever seen with a man in a man-woman scene … the gaze, the male gaze on a woman. Usually not—not in Thrashin’.”
• Teen Sex Scene Commentary: The sex scene is dissected for its above-the-waist awkwardness—common in 80s teen movies—along with Josh Brolin’s “banging” post-Goonies body.
  • Quote [06:14] – Jason: “It’s banging. It’s banging body.”
• Brolin’s Career Context: The crew discusses Brolin’s transition from a supporting character in Goonies to carrying Thrashin’ as a (shirtless) lead, including his own admission years later that his acting here was… questionable.

2. "Thrashin'" vs. Actual Skate Culture

• Terminology Comedy: Confusion abounds over what “thrashing” actually means. Jason eventually clarifies its dictionary definition (“to skate aggressively at high speeds or with high energy”) and likens it to “shredding” in skiing.
  • Quote [11:39] – Jason: “Technically, thrashing in skateboard terms means to skate aggressively at high speeds or with high energy.”
• Skater Stereotypes & Style: The movie’s portrayal of skaters with punk leather jackets, goth makeup, and thrift-store accessories feels off to the hosts; June laments the missed “baggy shirts and pants” skate aesthetic she admired as a teen.
  • Quote [14:15] – Paul: “The punk rock gang makes no sense … I’d love to hear from Gen X skateboarders West Coast—was there ever skateboard kids who looked like they were punk rock kids?”

3. Movie Structure: West Side Story, Karate Kid – But on Skateboards

• Plot Parallels: The hosts draw direct lines to classic “outsider in a subculture” movies like The Karate Kid and West Side Story—complete with forbidden romance, rival gangs, and an LA showdown.
  • Quote [15:09] – Paul: “You know what this movie actually is a map on is the Karate Kid.”
• Outsider Narratives: The detail that Brolin’s character apparently skates from “Ohio” (or maybe the Valley?) to LA is both hilarious and confusing to the hosts.
  • Quote [15:47] – Jason: “He’s skating … it seems like he’s skating from Ohio.”

4. Montages, Music, and Skateboarding Galore

• Dialogue vs. Montages: The hosts note the “dialog to skating” ratio is hilariously off; the film is “10 minutes of dialog and 70 minutes of skating montages.”
  • Quote [17:04] – Paul: “There’s so many montages. By the way, the soundtrack is dynamite.”
• Soundtrack Praise: The show features early Red Hot Chili Peppers and other 80s bangers; special attention is paid to “Let the Love Begin,” the over-the-top love ballad during the sex scene.
  • Quote [37:28] – Jason: “Let Begin. Let the Love Begin is the best song ever written.”
• Red Hot Chili Peppers Cameo [17:12]: Surprise (and confusion) over the "Thrash Bash" concert sequence, featuring the original RHCP lineup.

5. Rival Gangs, Dagger Houses & Jousting

• The Daggers: The absurd “daggers on cupboards, crazy face makeup, crack house HQ” of the main rival gang are highlighted for their aggressive style and odd production design.
  • Quote [24:16] – Jason: “I mean, they are violent. They are the Daggers. They live in a house … a crack den, and she’s living in it like, ‘I just got back from the mall.’”
• Brother/Sister Dynamic: June and Paul find the relationship between Chrissy (Brolin’s love interest) and her brother (leader of the Daggers) uncomfortably ambiguous—bordering on “boyfriend/girlfriend energy.”
  • Quote [26:56] – June: “…His energy toward her was not, ‘I’m an overprotective brother.’ It was, ‘I’m your abusive boyfriend.’”
• The "Joust" Sequence: The skate joust (complete with weighted bags instead of lances) is recalled for its impracticality and as a precursor to modern Jackass stunts.
  • Quote [61:05] – Paul: “So it’s a joust. Okay, I can kind of even see that. But why wouldn’t it just be like a joust? … Instead they’ve got weighted punching bags … that doesn’t make any sense for having to also balance.”

6. Teen Movie Logic: Feral Kids, Monster Sundaes, and No Parents

• Punch Bowl Sundae Scene: The hosts fixate on a diner sequence where the characters eat an impossibly large punch-bowl sundae, then (improbably) go off to have sex.
  • Quote [36:03] – Paul: “A gastrointestinal nightmare … this is either creating a diarrhea factory in your body or it’s stopping stuff up for a week.”
• No Adults Allowed: The characters operate without parental supervision in a fantasy version of LA. The hosts contrast this with their own childhoods of relative independence.
  • Quote [54:08] – Paul: “This is an era where feral children were commonplace…”

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Memorable Moments & Notable Quotes

| Timestamp | Speaker | Quote / Moment | |-----------|---------|----------------| |03:22 | Jason | "Josh Brolin is playing the female role in this movie." | |06:14 | Jason | "It's banging body." | |11:39 | Jason | "Thrashing ... skate aggressively at high speeds or with high energy." | |14:15 | Paul | "The punk rock gang makes no sense." | |15:09 | Paul | "This movie actually is a map on is the Karate Kid." | |17:04 | Paul | "This movie is maybe like 10 minutes of dialog and 70 minutes of skating montages." | |24:16 | Jason | "They are violent. They are the Daggers. They live in a house... a crack den." | |26:56 | June | "[Brother] energy toward her was not, ‘I’m an overprotective brother.’ It was, ‘I’m your abusive boyfriend.’" | |37:28 | Jason | "'Let the Love Begin' is the best song ever written." | |46:55 | Paul | "This is a movie about straight up fashion." | |61:05 | Paul | "But instead they’ve got weighted punching bags ... that doesn’t make any sense for having to also balance." | |66:14 | June | "To say something's a memory... It's forgotten." | |73:07 | Josh Brolin | "I saw the movie. I went to the premiere, and I was like, your acting is so bad. You're hurting people." | |74:47 | Jason | "[T-shirt idea] where it's just the little black chain and a skateboard... it looks like you're wearing a skateboard necklace." |

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Important Segments and Timestamps

• Josh Brolin’s “Gaze” & Sex Scene Discussion [02:22–06:14]
• Defining “Thrashin’” (and All That Skate Culture) [08:07–13:07]
• Parallel to Karate Kid & West Side Story [14:59–15:22]
• Montage-to-Dialog Ratio, RHCP “Thrash Bash” [17:04–17:44]
• Absurd Gang Dynamics, Crack House Aesthetic [24:16–25:45]
• Sundae Scene Analysis [33:15–36:38]
• Accessories & Necklace Symbolism [58:54–60:33]
• The Infamous Skateboard Joust [60:33–62:16]
• Production Design Trivia (Katherine Hardwicke) [56:16–56:27]
• Brolin’s Own Brutal Review [72:58–74:06]
• Second Opinions Roundup [68:33–72:09]

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Fun Trivia & Production Insights

• Red Hot Chili Peppers: The early lineup performs in the film (“Thrash Bash”).
• Katherine Hardwicke: The production designer for Thrashin’ would later direct Twilight and Lords of Dogtown.
• Jackass Connection: The infamous “joust” scene was later recreated on Jackass.
• Pitch Document: The movie was pitched with a handwritten, zine-style document featuring misspelled “joust” and skate lingo (shown on the show’s social media).

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Critical Reception & Skate Subculture Impact

• Enduring Skate Cult Classic: Despite (or because of) its cheesy melodrama, the movie is cherished by real-life skaters, as detailed in the bonkers Letterboxd “Secret Daggers” story read by Jason.
• Nostalgic Freedom: The hosts reflect on the “no-parents” fantasy of 80s movies; the film sparks powerful nostalgia, especially for anyone who grew up unsupervised and aspired to LA skate life.

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Closing Thoughts

“Thrashin’” is unanimously viewed as a “so-bad-it’s-good” gem, filled with bewildering choices, wild tone shifts, and pure 80s teen-movie energy. The hosts celebrate its earnestness, its parade of skateboarding legends, and its sheer determination to be cool—even when it’s failing spectacularly.

Final Words [74:10] - June:
“I love him. I thought he was great, by the way.”
[74:47] - Jason:
“Should we make a T-shirt for this movie where it’s just the little black chain and a skateboard?”

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For Fans & First-Time Listeners

If you missed the episode: this recap is your roadmap to every wild, nostalgic, and hilarious moment about one of the oddest, most endearing skate movies of the 80s. You're officially ready to thrash.

Transcript

[Paul Scheer]

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[Jason Mantzoukas]

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[Paul Scheer]

Subpar art. Perhaps we'll find the answer to the question how did this get Made?

[Jason Mantzoukas]

Hello people of Earth and welcome to how did this get Made? Today we are talking about the 1986 classic Thrashen. What Rad did for BMX bikes, Thrashen does for skateboarding. The movie stars Josh Brolin as a teen amateur skateboarder who travels to Los Angeles so he can compete in the LA Massacre Downhill race. He falls in love, he gets into fights and and yes, he gets his nipples kissed. To talk about this great feat of cinema, I have two amazing co hosts. Please welcome June Diane Rayfield and Jason Mantzoukas. How are you both?

[Paul Scheer]

I mean, not to pull back the curtain too much, but it took three different intros for us to get the intro locked and recorded. And boy am I so delighted that the one that ended with nipples being kissed was the one that we went with. Thank God. Great. Great to be here.

[Jason Mantzoukas]

Sometimes it just takes a couple takes. I don't normally.

[June Diane Raphael]

You really nailed it at the end. I almost wanna use all of them but wow.

[Paul Scheer]

Just because it really starts to crackle. When nipples being kissed gets parted.

[June Diane Raphael]

Yeah. And I don't remember that part.

[Jason Mantzoukas]

Oh, I remember it very clearly.

[June Diane Raphael]

That's what he's seen in the trailer.

[Paul Scheer]

Do we need to rewatch it?

[June Diane Raphael]

God.

[Jason Mantzoukas]

Here's what I'm gonna say about this movie. There's a large part of me that feels like Josh Brolin is playing the. The female role in this movie.

[Paul Scheer]

Like the traditional.

[June Diane Raphael]

Ready to talk about it? They're female. You know what, Paul? Let's talk about it. Because that scene. I just want to talk about one specific shot where he. His body is in the foreground. She's behind him, and we see his full chest, obviously, as his shirt off.

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

She's behind him in a way I've only ever seen with a man in a man woman scene.

[Paul Scheer]

Yes, A man. A classic man woman scene.

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

That's always. In man woman scenes that are love scenes. The. The man is always behind and the woman always turns her head to sort of kiss from behind.

[Paul Scheer]

Agree.

[June Diane Raphael]

And man does here.

[Paul Scheer]

Yes. A teenage boy. A boy.

[Jason Mantzoukas]

Young boy.

[June Diane Raphael]

Boy, girl.

[Paul Scheer]

And I. This is boy girl. And I. I. I hope it's okay that we are adults and we're going to talk about boy girl scenes.

[Jason Mantzoukas]

Yes.

[Paul Scheer]

But I think this was because I noticed that as well. And the sex scene also has the sex scene. They do this thing that happens in this era of teenage movies where the characters can only act out the sex of the scene using neck and above. So their heads are doing all of the grinding and the movements that their bodies are not allowed to show.

[Jason Mantzoukas]

Well, I think that they were like, we can't show her chest. We can show his.

[Paul Scheer]

Correct.

[Jason Mantzoukas]

And so he gets a lot of.

[Josh Brolin]

A lot.

[June Diane Raphael]

And it's tender and it's loving and it's way. It's the gaze, the male gaze on a woman. Usually not. Not in Thrashers.

[Paul Scheer]

No, in Thrashers.

[Jason Mantzoukas]

Thrashing. June. It's not thrashers. Thrashing. They are thrashers.

[June Diane Raphael]

Excuse me. It is thrashing. It is in thrashing. We see.

[Paul Scheer]

No, no, it's. I'm so sorry, June. It's so sorry, June. It's not thrashing.

[June Diane Raphael]

The fuck is it?

[Paul Scheer]

It's thrashing.

[June Diane Raphael]

I gotta do a couple takes of it's thrash in.

[Paul Scheer]

It's N. Apostrophe.

[June Diane Raphael]

Thrashing.

[Paul Scheer]

Thrashing.

[June Diane Raphael]

Okay.

[Paul Scheer]

And I. I'm only saying that, June, because I just can't have you out in these streets thrashing.

[June Diane Raphael]

No, I appreciate it. I'm willing to do it as many times as it takes. But in thrashing, there's. They really Hit that. Yeah, they cinematically are very subversive. You don't see even in that scene, even though it's above the waist and it's just two heads, he is shot so lovingly.

[Paul Scheer]

Yes.

[June Diane Raphael]

His body parts are shot.

[Jason Mantzoukas]

He's glistening from that nip.

[Paul Scheer]

The whole movie, not just the sex scene, is like really a study in Josh Brolin's body, you know, which by

[Jason Mantzoukas]

the way, is great.

[Paul Scheer]

It's banging.

[Jason Mantzoukas]

It's banging body.

[Paul Scheer]

It be banging.

[Jason Mantzoukas]

And by the way, he gets this after Goonies and we know.

[Paul Scheer]

That's what I was trying to figure out is where in his.

[June Diane Raphael]

Is this exactly post Goonies?

[Jason Mantzoukas]

Well, he talked about this on the Tony Hawk podcast. He said he believes that he got the part because the poster for Goonies was all around L. A when he auditioned for this. So he felt like it positioned him as a movie star.

[Paul Scheer]

Well, and I mean, like, this is unquestionably. He's the lead of this movie and in Goonies he's just like a. An ancillary character. So this is.

[June Diane Raphael]

Oh, does he pop Goonies?

[Paul Scheer]

I mean, he pops like hell.

[June Diane Raphael]

He was ever.

[Jason Mantzoukas]

I wouldn't even say ancillary. I think that he's definitely a part of the Goon. He. He is not a Goonie, but he is a long. Yeah, he's not a. We all are Goonies.

[Paul Scheer]

Listen, it sounds like you guys are in. I think that Goonies was a sexual awakening for almost everybody, generationally. For you guys, it sounds like it's Josh Brolin. For me it was Martha Plimpton. And that's where we are.

[Jason Mantzoukas]

I will tell you this. I will never have a better movie going experience than bringing my two sons to see Goonies at Vidiot's packed theater on a Saturday night. The first time that they had seen it. And everyone there is a nerd who loves Goonies and has seen this movie a million times. But to hear the laughter of a 10 year old and like an 8 year old at these jokes for the first time. The audience started laughing at that because they're laughing at like the penis going on upside down and that like. And they're. And they are cackling, but young cackling. And it was, it was.

[June Diane Raphael]

I wish I had been there.

[Jason Mantzoukas]

It was a great moment. Sorry you weren't out there.

[June Diane Raphael]

I wish.

[Paul Scheer]

I love that experience.

[June Diane Raphael]

That I wonder.

[Paul Scheer]

I wish I'd been invited. Yeah, I wish I'd been invited.

[June Diane Raphael]

Let me. Let me start with this.

[Jason Mantzoukas]

Paul, please.

[June Diane Raphael]

Jason, what is thrashing great?

[Paul Scheer]

Like, honestly, for the listener, it Appeared as though June was falling deeper and deeper into a sleep or a post hypnotic state. Maybe. I. Yeah, go ahead.

[June Diane Raphael]

It is described at one point. It is defined as aggressive skateboarding.

[Paul Scheer]

Thrashing.

[Jason Mantzoukas]

It's just an aggressive style of skating.

[June Diane Raphael]

I don't know.

[Jason Mantzoukas]

We've thrash.

[June Diane Raphael]

Well, what do you thrash?

[Jason Mantzoukas]

What do you got?

[Paul Scheer]

So, you know, I think that thrashing this movie, I feel like, is taking a term, thrashing, which I do believe referred to as like, like, you know, people being violent or people being, you know, skating hard rather than gracefully or anything like that. And in this movie, they equate it almost to like they. At the punk rock show that the Red Hot Chili Peppers are playing, the kids are like, moshing, but on skateboards. I feel like that's what this movie wants you to think is.

[June Diane Raphael]

Because then when they were at the very end, when they were at the LA Massacre. Oh, la masse. The joust. Okay, but. But I did think about the joust.

[Paul Scheer]

I have a lot of questions about the joust.

[June Diane Raphael]

I've got a lot of questions about the joust.

[Jason Mantzoukas]

My first, like, connection to the joust is, is via Jackass, who did that on the actual show. I didn't even know that that was from thrashing. They recreated the joust in the MTV show, and it's awesome and extremely dangerous. The joust is an insane thing.

[Paul Scheer]

Oh, yeah.

[June Diane Raphael]

I thought by the end, I mean, the joust, that does seem like aggressive skateboarding.

[Paul Scheer]

Right?

[June Diane Raphael]

That's thrashing to me. But then at the end, when they were doing the LA Massacre, which seems like, competitively, like a different category, like, that's just like downhill, like downhill racing.

[Paul Scheer]

Yes.

[June Diane Raphael]

Can you make it? Can you see ahead enough to see if there's like a little divot in the road? Like, that's, to me, a totally separate skill set.

[Paul Scheer]

Well, this is like a. This is a real thing, you know. Remember Xander Cage? Xander Cage does from Triple X.

[Jason Mantzoukas]

Triple X, which we are doing live at Largo in July.

[Paul Scheer]

I would love for people to who are interested in this to give a moment of your time to watch the docum. Dogtown and Z Boys.

[Jason Mantzoukas]

Yeah. Lords of Dogtown.

[Paul Scheer]

Lords of Dogtown is the movie that was based on it. But Dogtown and Z Boys is the documentary, Stacey Peralta documentary that is about this exact era of skateboarding. And a teenage Tony Hawk, who is one of the skateboarders in this movie, is in the movie all of the Bones Brigade. It's about the whole gang of, like, teenagers who invented this kind of skating and are skating in abandoned pools, but are also doing the slalomy big hill stuff. Like, all of these were very separate things. You're right, June.

[Jason Mantzoukas]

I will. I want to just first answer June's question. You know, you would think that maybe thrashing is like skateboard dancing, because there seems to be a lot of skateboard dancing in this movie too, which is so odd. And even in all these documentaries we're talking about, I didn't seem like. That never seem like part of the culture. Like, let's jump on.

[Paul Scheer]

Nobody was ever like, mosh, moshing at a concert on top of a skateboard. Now not part of it.

[Jason Mantzoukas]

I will say that technically thrashing in skateboard terms means to skate aggressively at high speeds or with high energy. This is the dictionary definition. It's commonly used when a skater attacks a skate park bowl or hits a massive drop in or. Or grinds a heavy obstacle with intensity.

[Paul Scheer]

I think thrashing for skateboarding, maybe if this is the correct analogy, is like shredding for skiing.

[Jason Mantzoukas]

Okay. Yeah, right. And I think it's. It's. It's kind of.

[Paul Scheer]

You know what I mean? Like, it's not graceful. It's like you're chopping up that mountain where we shredded that run, and there's

[Jason Mantzoukas]

a part of this where, like skateboarding before this, or when I look at Back to the future, like, Marty McFly isn't thrashing. He's just skateboarding around, Right?

[June Diane Raphael]

You're telling me that when he's holding onto the back of the car, that's not thrashing.

[Paul Scheer]

That's not thrashing.

[Jason Mantzoukas]

That's just like kind of.

[June Diane Raphael]

That's not thrashing.

[Jason Mantzoukas]

No. Thrashing is like this competitive. The more Tony Hawk thing, like the.

[Paul Scheer]

In the aggressive pool moves like the 360s, the 720s, like the big.

[June Diane Raphael]

I think here's where I'm getting tripped up.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

Well, June, when you're playing Tony hawk on the PS5, like, that's trashing.

[June Diane Raphael]

Well, this is where I'm getting tripped up and everybody using the word aggressive. So when I see that, when I see them going up like that and holding it for a beat, coming back down to me, that's actually quite graceful. That's beautiful to see.

[Paul Scheer]

That doesn't seem to be. I don't think it was at the time. I think that was considered, like, dangerous.

[Jason Mantzoukas]

I think it's also dangerous. I think it's dangerous. Right? Because look, we're not going to be able to sum up skateboard culture, but I.

[Paul Scheer]

But I.

[Jason Mantzoukas]

But I think that that's what this movie is kind of like the Daggers that gang in the movie, the rival skateboard gang. They are known for aggressive ramps and well, they like.

[Paul Scheer]

They toss the jacks into the pool to. They're cheaters. What's interesting too is that because this is an 80s movie, it has to map all of our understandings of the good guys and the bad guys onto 50s aesthetics.

[Jason Mantzoukas]

Yes.

[Paul Scheer]

So it is like you mentioned in one of your openings, Paul. I'm not sure if it's the one we chose. It is very west side Story on skateboards.

[June Diane Raphael]

I think so it's troubling about that. Yeah. Is that I love the skateboarding aesthetic, clothing wise. Like, I think it's so cool. I think it's so interesting. During this time, I remember thinking those boys were so cute who wore the big shirts in the baggy pants and here they're in leather jackets.

[Jason Mantzoukas]

They're very.

[Paul Scheer]

The punk rock. The punk rock gang. Makes no sense.

[June Diane Raphael]

Does. Right.

[Paul Scheer]

I'd love to hear from Gen X skateboarders West Coast. Was there ever skateboard kids who looked like they were punk rock kids? Because it doesn't seem like Gen X

[June Diane Raphael]

skaters who are West Coast. That is Tony Hawk.

[Paul Scheer]

It is.

[Josh Brolin]

That's what I mean.

[Jason Mantzoukas]

We're going to hear from Tony Hawk a little bit at the end here.

[Paul Scheer]

But this is not him on the podcast. He's not here.

[Jason Mantzoukas]

He is not here, but I'm in

[June Diane Raphael]

the Zoom waiting room.

[Paul Scheer]

Is he. I told him he's in a breakout room.

[Jason Mantzoukas]

I'm like, you wait until we get to it. And we're not going to. We're going to really. We're going to talk for a long time. We do have some clips. I believe that this is a movie that in skate culture is. Is viewed as so bad. It's good, right? It's like, yeah, it's getting a lot.

[Paul Scheer]

It's using some people. But also to me, this feels. You know what? This feels actually, you know what this movie actually is a map on is the Karate Kid.

[Jason Mantzoukas]

Oh, yes.

[Paul Scheer]

Kid moves to LA from out of town. He enters into a subculture that is sports or sports adjacent. And he's against. I mean, he doesn't have a crew of his own, I guess. So that's, you know, that's hard.

[Jason Mantzoukas]

But I mean. But Josh Brolin has like a loose crew. Like they. They're existing without him. And then he kind of just. But I do want to say one thing. I just, I don't want to. I don't want to pin you down to anything, Jason, but you said you know, he moves. You didn't say that. He skates from his home to Los Angeles. That's how this movie opens. This man, Josh Brolin, this boy skates to Los Angeles. And we don't know exactly where he's

[Paul Scheer]

starting from, but it seems Valley.

[Jason Mantzoukas]

No, no, no. When his house with his mom. He's skating. It seems like he's skating from Ohio.

[Paul Scheer]

Yeah, he's only in Los Angeles. I believe he's only in Los Angeles for the summer.

[June Diane Raphael]

But why do they keep on saying he's from the Valley?

[Jason Mantzoukas]

No, because he's with the Ramp. The other gang is from the Valley.

[Paul Scheer]

Gang are Valley kids.

[Jason Mantzoukas]

That's why he's, like, sleeping in the back of trucks and he's, like, hopping

[June Diane Raphael]

off from, like, San Bernardino.

[Jason Mantzoukas]

No, no, no. I believe he is from Ohio. Like, he is, you know, because he is skating, I realize, like, oh, this is not him skating to get into town. This is him skating.

[Paul Scheer]

This is him skating for country.

[June Diane Raphael]

Right? Like, she took the bus to. From, you know, back to Indiana, and then he skated.

[Paul Scheer]

We saw every single mile of her journey to. And we saw her get in here. We saw. We saw her use multiple hitchhike rides on her way back.

[June Diane Raphael]

Never got in with a man. Smart lady.

[Jason Mantzoukas]

Yes, very smart. Well, that.

[Paul Scheer]

So much shoe leather. I could not figure it out.

[Jason Mantzoukas]

This movie. I mean, there's a couple things that are interesting. The dialog to skating ratio is incredibly off. I would say this movie is maybe like 10 minutes of dialog and 70 minutes of skating montages.

[Paul Scheer]

There's so many montages. By the way, the soundtrack is dynamite.

[Jason Mantzoukas]

Oh, I love this Red Hot Chili Pepper. Every needle dropped in this movie.

[Paul Scheer]

Yes, the Red Hot Chili Pepper. The original lineup of the Red Hot Chili Peppers is in this movie, inexplicably.

[Jason Mantzoukas]

And third, like, when it first started, I was like, oh, this is not the Red Hot Chili Peppers.

[June Diane Raphael]

Me too. I was like, oh, that's because they said it's the Red Hot Chili Peppers.

[Paul Scheer]

But then, then they called it the Thrash Bash. The Thrash Bash, yeah.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

And I was like, I couldn't figure it out either. But then I was like, well, no, that is the Chili Peppers.

[Jason Mantzoukas]

It's just.

[June Diane Raphael]

For sure, it was.

[Paul Scheer]

It's Hillel is still alive and it's the guy who was the drummer before Chad Smith. So I was like, I don't know what this is.

[Jason Mantzoukas]

The other thing that made me laugh at that, that club that they go. Not club, but this party where the Chili Peppers are playing is this movie is trying to Be like, what is skate culture? And they tried to add so much onto it that they did pass a young girl. I would say she's, like, 18 years old, smoking a cigarette in, like, one of those, like, 1940s cigarette holders that you would see, like, in, like, Double Indemnity. It's like.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

Wait, is that coming back to, like, smoke a regular cigarette? She's got to put it in a little holder.

[Paul Scheer]

It just feels like.

[Jason Mantzoukas]

But that's how it.

[Paul Scheer]

It did feel. Like, back then, you would buy stuff at a yard sale or at a thrift shop and be like, maybe this is part of my identity.

[Jason Mantzoukas]

Fedoras, like, those little mini fedoras.

[Paul Scheer]

The kid wearing the fedora is a perfect example. I feel like my generation wore all of the old hats that were for sale at yard sales and thrift stores from the gen. The greatest generation who were passing away. That's truly what we were doing.

[June Diane Raphael]

God.

[Jason Mantzoukas]

I mean, I also want to say that what I love about movies like this is, you know, I'm not saying that skate culture is stoner culture, but there is definitely a crossover. And movies like this can never show, like, people smoking pot. Right. They can only show, like, Baz is our stoner, but Baz is never drinking, but Baz is stoned all the time. And I love just like. It's like that Galaxy Quest thing where you can't really ever acknowledge it, but it's like, well, there's something wrong with this guy.

[Paul Scheer]

Yeah.

[Josh Brolin]

Yeah.

[June Diane Raphael]

I mean, he lets his car get cut in half.

[Paul Scheer]

Oh, my God. When they. When they turned the Volkswagen Rabbit, which was the very first car that I drove, a diesel, tan. Diesel, Volkswagen Rabbit. When they cut the roof off of it and make it a cabriolet, when they make it convertible, I was like, this is incredible. I. This is the kind of teen movie that I just love. I love Teen Summer, everybody. There's no parents. There's no, like. There's no authority figures. There's no police.

[Jason Mantzoukas]

The mom doesn't even send him to California. She just writes five notes and puts it on his mirror. And to which he leaves the house by jumping out his own window to then skateboard down the roof onto a ramp blocking the garage. Now, as a homeowner, I must say, well, that you're really kind of. You gotta use. What are you blocking the garage. You gotta use that garage.

[Paul Scheer]

The resale value is cratering.

[Jason Mantzoukas]

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[Paul Scheer]

to be clear, they seem like a 50s, like a grease gang. They. They are like a greaser gang.

[Jason Mantzoukas]

The only difference between them being like, a greaser gang is that they pose for pictures. They take a gang picture around a ramp. That is one of my like, like, everybody, get in here. Get in here. We're taking our gang picture. Like, I mean, they're all.

[June Diane Raphael]

They do light a ramp on fire.

[Paul Scheer]

Yep.

[Jason Mantzoukas]

Yeah. They are violent. I mean, they are violent. They are the Daggers. They live in a house. First of all, his sister is acting like she's not living in a flop house. I mean, the Dagger's main house has daggers painted on cupboard doors. That house is a crack den, and she's living in it. Like, I just got back from the mall. Everything's good. I'm like, wait, wait.

[Paul Scheer]

No, you are living. This is like a real living. A real kind of like, Sherilyn Fenn. There's a group of, like, daggers hangers on led by Sherilyn Fenn, who's dating the head of the Daggers, the brother of. Of the main girl who's now falling in love with Josh Brolin's character. And they all the daggers and their girls, especially for the joust, are all doing crazy face makeup all the time.

[Jason Mantzoukas]

They're all about the dress guard or something like that. Right.

[June Diane Raphael]

It's A little so weird about that makeup, because I was thinking about that too. Jason. It's not. It doesn't really line up.

[Jason Mantzoukas]

No.

[June Diane Raphael]

What, they're like the rest of the vibe.

[Paul Scheer]

No, they're dressed like punk rockers, but they're wearing almost goth makeup or very strange.

[June Diane Raphael]

I mean, at one point, Velvet cuts a lock of her hair and makes it into an earring for our main guy. And I'm like,

[Paul Scheer]

who was organizing this? And being like, so this is how we're gonna. And in this scene, you'll cut some of your hair and you'll turn it into an earring, just like we researched it. Just like these kids do. What?

[Jason Mantzoukas]

I mean, I want to play this clip. Like, this is an insane moment. This character, the head of the daggers, who is so kind of brutal and mean and tough. He's like, what do you think? Should I wear this skull and a dagger or the hoop and the dagger? Nah, just with a dagger and a bone for your nose. Don't be a smart ass. It's important to me. Hey, I take my jewelry seriously. Like, he's like, I'm just being serious. He wants to know, like, what should I wear? Bone, a hoop or a dagger?

[Paul Scheer]

So is, like, he really. To your point earlier, he really wants to make sure his little sister gets in the gang picture.

[Jason Mantzoukas]

Yes.

[Paul Scheer]

Like, I don't. I don't think she's really even part of the gang. She wears bright colors. She's.

[June Diane Raphael]

And I don't know how she's keeping those clothes so pressed.

[Josh Brolin]

Yeah.

[June Diane Raphael]

And clean. And that house.

[Jason Mantzoukas]

She brought a steamer.

[June Diane Raphael]

Condemned. Maybe she brought a portable street steamer. You don't leave home without it, Paul.

[Jason Mantzoukas]

No, I can't. I love it. I mean, it's. It's a great thing to have.

[June Diane Raphael]

Listen, west side Story, like, the. The brother sister dynamic here felt very off to me.

[Paul Scheer]

Yeah. Yep.

[June Diane Raphael]

Didn't feel like above board. His energy toward her was not, I'm an overprotective brother. It was, I'm your abusive boyfriend.

[Paul Scheer]

Very much. I agree. Very much. And it all. And it wasn't helped by the fact that for reasons I can't quite understand, everybody seems the same age. You know, there. There does not seem to be an older, younger contingent, you know, kept on saying, I.

[June Diane Raphael]

You guys know what it's like. Kid sister.

[Jason Mantzoukas]

And he's a brother, if anything, Brother, daddy. And daddy is also a little creepy. It's because it's. It's he.

[Paul Scheer]

But she seems like the more mature, older one, which is. Which is also with my sense of who's who?

[June Diane Raphael]

Yeah. It's like, I know it's a man woman scene, but what within that are these two people to each other?

[Paul Scheer]

See, here's the thing. I feel like you're not to over complicate it. I feel like I'm looking at this boy girl scene and they're acting like it's a man woman scene. And I'm like, I don't know. I don't. I can't make heads or tails out of it.

[Jason Mantzoukas]

I just kept on laughing because I knew it wasn't this person. But I kept on picturing the brother as a young Hank Azaria because he had a look that reminded me. And I was like, this is like, if Hank Azaria is this, like, tough

[Paul Scheer]

guy, because he was giving me Jason Gedrick vibes. Oh, yes, right. That's Iron eagle, right?

[Jason Mantzoukas]

Oh, 100% Iron Eagle. I love Jason Gedrick. Or I did. The other thing about him was none of them could agree on what accent anyone would really have in this movie. Because Josh Brolin's kind of rocking a little bit of an accent, and then Chrissy is really rocking an accent that doesn't seem Midwest at all. It almost seems like New Yorky. Like you're putting all these people together and I'm like, well, you can hear each other. We have. We haven't all agreed on what we're. What we're doing here. It was really. There were so many things that were off putting about the relationships, their voices. I mean, I loved every. Loved every moment of it. But it's an odd vibe. Because you wanted. Chrissy needed to get reprimanded, I guess. I don't know if she needed to, but that's what they're kind of doing to her in the movie a lot. But her brother is straight up evil.

[Paul Scheer]

I kind of wished, I guess. And maybe this wouldn't have helped. Maybe it would have. I kind of wished that Chrissy had, in fact, been a dagger. It was like a loyalty.

[Jason Mantzoukas]

That's the way.

[June Diane Raphael]

Because then she would have been torn in some way.

[Paul Scheer]

Correct.

[June Diane Raphael]

And as it was, she was like, yeah, like this guy.

[Paul Scheer]

I like this guy. Why can't you support me? You know?

[Jason Mantzoukas]

And she doesn't have any allegiance. Yeah, she doesn't have any. Like, none of her friends are trying to pull her away from him.

[Paul Scheer]

You know, she doesn't seem to have individual friends. Like, Sherilyn Fenn is not her friend. It's her brother's girlfriend. So she seemed like really on her own.

[June Diane Raphael]

Yeah. Also, gosh, I Didn't know if our guys were in the Valley. Like, they're the name that they gave themselves. The Ramp Locals.

[Jason Mantzoukas]

The Ramp Locals. Terrible name.

[Paul Scheer]

Terrible.

[Jason Mantzoukas]

We're the Ramp Locals.

[June Diane Raphael]

What does that mean?

[Paul Scheer]

I'm assuming it' a skate ramp. It's for locals only. Maybe. I don't know. I mean. Well, they definitely have.

[Jason Mantzoukas]

They definitely have a ramp in a cornfield. Yeah, I mean, I don't know where that ramp was built in Los Angeles. I'm like, it looks like it was like in the field of dreams a lot.

[Paul Scheer]

So, like in the montages, they also are like skateboarding up and down Hollywood Boulevard, you know, which I will say it was very fun to see stretches of Hollywood Boulevard, you know, not like they are now. What year is this, Paul?

[Jason Mantzoukas]

86. So, like, this is before, like the Ripple.

[Paul Scheer]

Hollywood Boulevard. The Scientology center is right. Is still that same building there by

[Jason Mantzoukas]

Wacko over in Los Feliz.

[Paul Scheer]

Oh my God, the Wacko. I like, I freaked out when I saw Wacky. I love that.

[June Diane Raphael]

I also loved that the choice to make the owner of the skate shop who's going to. Who's going to like, give the winner of the LA Massacre a sponsorship to make him like a suit. Like a classic 80s corporate suit.

[Paul Scheer]

A man who is almost like he's loop or something.

[Jason Mantzoukas]

He's never. He's. He's a. He's a thicker man who never has touched a skateboard in his life. Doesn't look like it. And it looks like he's a weird man with a van who's trying to get kids in the back of it. Like, and. And then when you meet him, he's like Willy Wonka esque. He's like, here, put this tire in your mouth. Wait, what? Why? Why, why is he asking Josh Brolin to bite on the wheel of a skateboard?

[June Diane Raphael]

I didn't, I didn't understand that. And I care for it, in fact.

[Paul Scheer]

But he's a businessman. He's not a businessman.

[June Diane Raphael]

He doesn't really care about the culture. You know how that happens in skateboarding.

[Jason Mantzoukas]

Yeah, well, that's. But we. Can I just say one thing about him too? When they're in his little factory and he's, you know, he's like overseeing the work in the factory, he's like, I only care about winners. And then just off in a random shelf in the middle of a warehouse, he has his trophy collection.

[Josh Brolin]

He's like.

[Jason Mantzoukas]

Like this. It's like, wait, you're not even displaying that for anyone to see. It's not around Your desk. It is just a shelf in the factory to show that. And then why would you get the trophies if you rep. Like, it's just an odds ridiculous.

[June Diane Raphael]

Like producers getting an Oscar.

[Jason Mantzoukas]

Yeah, I guess.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

But they're getting. But producers even get a real Oscar, apparently they have to get the. The invitation.

[Paul Scheer]

One of my favorite specifics in this movie was in the gang. In our gang, the hero gang, the.

[June Diane Raphael]

The.

[Paul Scheer]

The ramp locals. Sorry. Is that they have like an authentic, like 13 year old in their crew.

[Jason Mantzoukas]

Oh, I loved him.

[Paul Scheer]

Who Every time he pipes up, like, when. When. When the bad guy is like, you be at the. I'll meet you at the Bronson half pipe, by the way, which is up the street from where I used to live. I used to. My hike every day used to be right past the Bronson half pipe, which is so funny. There were kids still skating on it. Oh, anyway, he said, I'll meet you. You be there. And then the little kid just goes, no, you be there. And they cut to this little kid wearing sunglasses. And I'm like, make the movie about this fucking kid. I love it.

[June Diane Raphael]

I thought he was great in that scene. You know what I was confounded by? When we're on our, like, epic date with Josh Burrell the whole night. And by the way, you know, her hair is long and then it's short and then it's long and then it's short again.

[Jason Mantzoukas]

Well, June, you have to remember that they did go from like Santa Monica to Hollywood feel back to Santa Monica.

[June Diane Raphael]

It's chopped into such a, like, smart Bob. I'm like, she had long hair two scenes ago that night, I think. Or maybe it's a different night. They're at a diner and we cut it. And they've just finished. They have just finished this. A bowl that's the size of like

[Jason Mantzoukas]

a serving dish of salad for like

[June Diane Raphael]

dinner party of 18.

[Paul Scheer]

No, like the biggest bowl. Serving bowl that can be made.

[June Diane Raphael]

That can be made is what they've eaten from, and they're on the tail end of it. And it's also like china. Like it's. It is.

[Paul Scheer]

It would almost be like the biggest bowl of popcorn you can get at the movies. You know what I mean? Yeah, but bigger.

[June Diane Raphael]

The bowl itself was way too fancy.

[Jason Mantzoukas]

It read to me like she was the only one who ate it because Josh Brolin's sitting with his back up against the wall, like he's not actively in.

[June Diane Raphael]

It was ice cream.

[Jason Mantzoukas]

The people behind them.

[Paul Scheer]

Oh, it was ice cream.

[Jason Mantzoukas]

They have it. Oh, the people behind them. Had it. Now, I will just say, jason, you. Not. You don't know this, but I was in Vegas and I ate something called the Titanic. And the Titanic at Carmine's is a ice cream sundae that looks like the Titanic. It has three smokestacks in it with a bunch of chocolate and vanilla ice cream over a giant brownie. And I had two children with me, and it was just me. And we put, I would say, one fourth of a dent into this thing. And I had a different appreciation for how hard it would be to eat that bowl of ice cream. And it feels like Chrissy just went to town on it.

[Paul Scheer]

It feels like the kind of thing that you would have. You would win a T shirt for Finney.

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

Yeah, there it is.

[Jason Mantzoukas]

We're looking at it.

[June Diane Raphael]

I don't know how.

[Jason Mantzoukas]

It's so big and it's full of bananas. And the person behind it's a. It looks like a gigantic banana split.

[June Diane Raphael]

Looks.

[Paul Scheer]

And you're right. Okay, I have an update. I know what it is now.

[June Diane Raphael]

Okay.

[Paul Scheer]

It's unequivocally a punch bowl. Okay.

[June Diane Raphael]

Yes.

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

Thank you, Jason. It's a punch bowl. So. But here's the thing. They have more time together. Anyone? I don't care if you have a stomach of steel.

[Paul Scheer]

Nope.

[June Diane Raphael]

Anyone's gonna be in pain.

[Paul Scheer]

This is.

[June Diane Raphael]

This is like the nightest fucking.

[Paul Scheer]

A gastrointestinal nightmare.

[Jason Mantzoukas]

You do not want to have sex after eating a punch bowl full of ice cream.

[Paul Scheer]

This is. This is one of two things. This is either creating a diarrhea factory in your body or it's stopping stuff up for a week.

[June Diane Raphael]

Wait, is that. Is the sex scene after this?

[Paul Scheer]

Correct. Wow. Really? Next level stuff.

[June Diane Raphael]

Just looking at it, I'm like, the amount that. Even if they both consumed it, even

[Paul Scheer]

if they spread it equally. Oh, yeah.

[Jason Mantzoukas]

I'm telling you guys, I live this. I live this Titanic. And it was a lot of whipped cream. You know, it's like, it's meant to be a spectacle that people get that no one really will ever finish.

[June Diane Raphael]

It's not for consumption. No one expects you to eat that whole thing.

[Jason Mantzoukas]

No. So that's why we never follow Mr. Flood into the back of his van where he has got all the ice cream you can eat.

[Paul Scheer]

One of the things that I want to say that I loved about the sex scene that we did speak about earlier, and just how tender and how much it's about love is and their connection with each other is that like all good 80s movies, it is soundtracked to a duet, a ballad that Is a man woman duet, a boy girl duet.

[Jason Mantzoukas]

Let Begin. Let the Love Begin is the best song good ever written. The lyrics are. I mean, wow. It is.

[Paul Scheer]

I also loved the song that was Don't Think Twice, which was also great that appeared. I mean the soundtrack is great. I looked it up. It's not officially on Spotify, but a number of the songs are.

[Jason Mantzoukas]

Can I just read a line from Let the Love Begin? Two different people from such different worlds apart has touched each other's hearts like candles in the dark it's time for us we gotta take it, Take a chance the chance to make it now Let the love begin yeah let the love begin Let the, let the love begin.

[June Diane Raphael]

Even though I don't know what they. I don't know, I did feel that they had a very nice connection.

[Jason Mantzoukas]

I like.

[June Diane Raphael]

I agree they had great chemistry and

[Jason Mantzoukas]

well, they're both like. They're both midwestern people. Like, that's the other hilarious part about this. They both are outsiders from L. A. They both seem level headed and honest and they get together. There's no real conflict in them at all.

[Paul Scheer]

There's no reason for us to not root for them. Like, they seem like arguably they should just leave town together because their lives would be better off. And oh, I also loved. So when Chrissy decides that she's. She's leaving, you know, this town, it's too much for her. They've broken his arm. The joust, I think is. Is proves to be too much. Maybe the joust we'll get into in a minute. But they put her. The. The brother's like, fine, you're leaving. Great. He drives her to the bus station in the middle of the night. We then cut to her, right? We cut to her sleeping on the bus station benches. The next day, midday, she wakes up. When did her. She. He dropped her off at like 2 o' clock in the morning. And she slept there all night and waited.

[June Diane Raphael]

He likes to arrive early. I mean, I hope.

[Paul Scheer]

What the fuck was this?

[June Diane Raphael]

Honestly, I had hoped that she had already done one leg.

[Paul Scheer]

Maybe. God, I hope, maybe. But I mean, then she gets on multiple buses.

[Jason Mantzoukas]

I mean, she's not sleeping, she's crazy. I don't know.

[June Diane Raphael]

And it's like, I have to be honest when I watched this because you're right, Jason. Like we were so with her on this bus trip. I actually thought to myself, watching it, I was like, you know, I never think to take a bus somewhere.

[Paul Scheer]

Oh, wow.

[June Diane Raphael]

It never occurs to me, where were

[Paul Scheer]

you taking New York? I. There were times Where I would take the bus from New York to Boston.

[June Diane Raphael]

Yes. I never did that.

[Paul Scheer]

As always on a train, kidney was

[Jason Mantzoukas]

a thing that people did. Like, you got to the Hamptons, you could take a.

[Paul Scheer]

But if the movie had been smart, it would have made the slalom second to last and the joust last, right?

[Jason Mantzoukas]

Well, no, because I think the joust.

[Paul Scheer]

Because the joust, to me, seems so, like, violent and so much more like the.

[Jason Mantzoukas]

They have to overcome, like. I mean, that's the thing. He's got the broken arm. How could he.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

That was why he came here in the first place.

[Paul Scheer]

And then he's like, blotomy.

[June Diane Raphael]

Yeah.

[Jason Mantzoukas]

It was not just fun.

[June Diane Raphael]

It's just simply watching a bunch of people on skateboards go downhill.

[Paul Scheer]

Yeah.

[June Diane Raphael]

There's nothing. It's like, oh, well, you're just taking gravity and using it, and you're going down. There's. And there was no skill.

[Jason Mantzoukas]

Spoken like a loser who never finished a downhill slalom.

[Paul Scheer]

June. But it's also.

[Jason Mantzoukas]

It's a lot. You were. What do you fly into? Hey, yeah, you know what?

[June Diane Raphael]

You know what? Maybe is on me, but I couldn't tell. Like, when I see someone skiing downhill, I'm like, oh, it's a lot of work.

[Paul Scheer]

But if I don't know what they were doing, to me, it's just like, they're just going. They're using gravity. Okay. But what's so impressive in skateboarding is the tricks, is the stuff they're doing on the moving. This is the moment the pipes and the pools and all that stuff.

[Jason Mantzoukas]

This is the moment that we're in between. That's what I think is happening here, because this is, like, this middle ground where it was like, oh, Skateboarding was always just like, I'm skating, like, a very pedestrian thing. And then it was like, oh, we're gonna do this more extreme thing of going downhill. And then it became like, the skateboarding that we know. So I feel like this is kind of like paying homage to what it was.

[Paul Scheer]

No, I think you're right. And I think that is kind of what that documentary.

[June Diane Raphael]

I feel like I could have done the LA Massacre.

[Josh Brolin]

Wow.

[Paul Scheer]

Same.

[June Diane Raphael]

I'm not saying I would have done it.

[Paul Scheer]

No way.

[Jason Mantzoukas]

No way. I would have flipped off into one

[Paul Scheer]

of the things I would have won immediately. Having never set foot on a skateboard.

[June Diane Raphael]

I think I would have gotten pretty far. I mean, by the way, people were. That was what was making me laugh. So many people did seem to fall and have to drop out from just, like, a curb. Like, things that seemed so easy to overcome.

[Jason Mantzoukas]

I mean, was this an illegal event? Because it felt like the LA Massacre felt to me like an underground event. Like the pool thing felt like it's underground.

[Paul Scheer]

But there was a helicopter, right?

[June Diane Raphael]

There was a helicopter. There was full teams of, like, medical teams. And there was a l. I thought an LAPD or. Or a state trooper taking the speed with one of the.

[Paul Scheer]

Yes, that's right, speed readers. Yes.

[June Diane Raphael]

So it seemed.

[Jason Mantzoukas]

It felt like somebody set up the hay bales. I mean, the hay bales were set up.

[Paul Scheer]

There was some sort of official sanctioning of the LA Massacre. But I don't know that that was true for the pool, and certainly it wasn't true for the pool.

[Jason Mantzoukas]

Well, the announcers come in everywhere, and I was like, where is this? First of all, where is the announcer located? And did they install a speaker system throughout the LA Massacre?

[June Diane Raphael]

Because miles and miles, miles of speakers

[Jason Mantzoukas]

had to go out there.

[Paul Scheer]

Loved it.

[Jason Mantzoukas]

And the announcer, who I do love, can see every little move in that pool, but not when someone drops jacks.

[Paul Scheer]

Like, oh, my God, Nobody. Nobody noticed when the guy dropped the jacks into the pool. And nobody said, hey, there's Jackson here. Some nobody after the fact said, someone did this.

[June Diane Raphael]

Yeah, everything is. Yeah, it's all illegal. We got to start over. Don't ever let him apply again.

[Paul Scheer]

Which I would have been cool with if it was like, you know what? When we're not on LA Massacre, anything goes. Like, there are no. No holds barred kind of thing.

[June Diane Raphael]

But by the way, did he happen to have those jacks in his.

[Jason Mantzoukas]

Oh, he went there to. He went there. Wait, I like that world. That he just happened to have them. Like, he got his wallet, his dagger, and a bunch of jacks because we're gonna play some jacks later on.

[Paul Scheer]

Perfect example of, like, it's a gang in the 80s carrying around a pocket kids game from the 20s. Like, what the fuck is happening? Why are. Why is this guy in the 80s dressed like he's in the 50s, carrying around toys from the 20s? This is so weird.

[Jason Mantzoukas]

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[Paul Scheer]

Well, the. The stunt team is basically all of the bones brigade guys. It is Tony Hawk. It is like everybody in there is, like, one of the, like, some of the best skateboarders of this era.

[Jason Mantzoukas]

Well, so, like, I'm not critiquing the skating, but I am critiquing the announcer who we just watch a guy in the pool crash out, get really seriously injured, and the announcer goes, well, that's going to be a tough act to follow. I'm like, no, it's not. He failed. He is injured. He did not.

[Paul Scheer]

Also doing maneuvers and tricks that are dead simple. Like, that's from an era of skateboarding that feels truly quaint. Like, the tricks. Like, somebody does a 360 and people lose their minds. He does a slow 360.

[Jason Mantzoukas]

Like, flip it so slow.

[Paul Scheer]

I was like, this is crazy.

[Jason Mantzoukas]

This is unimpressive. When you slow it down, it actually looks lamer.

[Paul Scheer]

Oh, yeah.

[June Diane Raphael]

Here's what I couldn't understand, though, about his. About Josh Brolin's break, because it did seem like he broke his arm, right. But the bandage was on his back, and there seemed to be a cut back there.

[Jason Mantzoukas]

Well, I think the jack got in there. I always thought that he had injury from the jacks. Like, he felt like the jacks made his board flip, and then he fell on a jack.

[Paul Scheer]

I think the back injury is from the jacks. And the hand. The broken arm is from the joust.

[Jason Mantzoukas]

No, the joust. 100%.

[June Diane Raphael]

Yeah, I see. All right. Of course, there were two, because he

[Jason Mantzoukas]

starts wailing him in the arm, which is also so funny. It's like, if you're gonna hurt the Guy whale him in the fucking legs

[Paul Scheer]

so he can't skateboard galoolie this guy. What are we talking about?

[Jason Mantzoukas]

Why we do. Why are we worried about his arms?

[Paul Scheer]

You know, we gotta fucking gillooly this guy into submission.

[June Diane Raphael]

Oh my God.

[Paul Scheer]

I do wanna. I do wanna. I know we're doing extreme sports as our summer theme, which I'm very much on board for. But this may. This movie gave me such a powerful nostalgia for another movie that I am requesting that we include. That is much more of an 80s teen summer movie which we've discussed in the past. But let me know your thoughts on the Legend of Billie Jean.

[Jason Mantzoukas]

Never saw it.

[June Diane Raphael]

I never seen it. Yeah.

[Paul Scheer]

Oh, give my brother back his bike. Wait, neither of you have seen the Legend of Billie Jean? No, Put it on, Scott. Put it on the docket.

[June Diane Raphael]

Okay.

[Paul Scheer]

This to me is a much beloved, insane 80s teen movie that is young Christian Slater, young Helen Slater boy. And it has the vibes of this movie.

[Jason Mantzoukas]

Well, it seems like, man, I love this.

[June Diane Raphael]

Now listen, here's something I wasn't clear on what happened. Okay. By the way, just so you know, the end of the movie, I thought, oh, this is the first time we're seeing Thrashen. And that was when during the LA massacre, Hook tries to, as they're going downhill, push and. And like elbow Josh Brolin out of the path. I thought, oh, that's. Now we're at the event.

[Paul Scheer]

I think that's.

[June Diane Raphael]

Now that's.

[Paul Scheer]

I agree with you. I do think that is meant to be, quote unquote, thrashing.

[June Diane Raphael]

It is.

[Paul Scheer]

I think that's. I think that would be. That would qualify as thrashing. Like. Like if they being aggressive skating, aggressively skating to. To hurt people, to knock people off the course. I think that is.

[June Diane Raphael]

How did Hook. I think I just missed it. How did he. How did he fly off?

[Paul Scheer]

It wasn't set up.

[Jason Mantzoukas]

Sometimes they're flying off as if they hit like a cartoon spring. Because the way their bodies are flying, it's almost. They were catapulted into the air.

[Paul Scheer]

They really couldn't do a good job of it. I will say Josh Brolin clearly skateboarding in a number of these scenes. Like visibly on a skateboard, doing. Not stunts, but doing skateboarding. As is this kid who's playing Hook as well.

[Jason Mantzoukas]

And so by the way, Hook originally supposed to be Johnny Depp, cuz Sherilyn Fenn and Johnny Depp were dating at that point. And this director was like. He had a wimpy handshake. So I was like, now we got to cast a real guy. And I was like, oh, I mean, wow. Cuz Johnny Depp would have eaten that up. And he's so. He would have that era of Johnny Depp.

[Paul Scheer]

Yes.

[Jason Mantzoukas]

The 21 Jump street era would have been. It would have been.

[Paul Scheer]

Well, that's the thing that is a bummer is I think Brolin is terrific. And not to take anything away from this actor playing hook, but he wasn't a good enough bad guy for me. I would have loved it if he had a little bit more, I don't know, mustache twirling or just a sense of true malice. Which is hard because he's also trying to take care of his younger sister, which I appreciate, you know, but he.

[June Diane Raphael]

I appreciate it as well. Except she seems like she doesn't need taking care of. She doesn't.

[Jason Mantzoukas]

She seems like she's. Yeah, she doesn't need.

[Paul Scheer]

That's partially because she seems to us like she's 31 years old, which she is.

[June Diane Raphael]

Correct.

[Paul Scheer]

Like she's, I believe, supposed to be

[June Diane Raphael]

like 50 year old and is like, I'm also a single mom. I'd be like, yeah, of course.

[Paul Scheer]

She's like, I'm a real estate agent at Caldwell Banker. There is a.

[June Diane Raphael]

So Mary Kay, like all of it would be in line with what I was seeing.

[Jason Mantzoukas]

But she does say a thing where she goes, how do you know mom and dad didn't send me to check up on you? And I'm like, oh, that actually feels like. Is that true?

[June Diane Raphael]

Was it.

[Paul Scheer]

Nobody has parents. Nobody has parents in the whole movie. That's awesome. That's crazy.

[Jason Mantzoukas]

Is a Charlie. I mean, who's watching that 13 year old kid? He's out too late. So Josh Brolin's living in the camper van behind the house of the other kids who seem to be about his same age who don't have parents. But yet that 13 year old I think also lives in that house.

[Paul Scheer]

I don't know. This is an era where feral children were commonplace and it was now like if you let your, your, if you let your 10 year old walk 10 blocks to the store and back, you can be arrested. Oh, but this is an era when like kids just ran roughshod all the time.

[Jason Mantzoukas]

Did we talk about this on the show? If we did, I forgive. Forgive me. But there were ads.

[Paul Scheer]

We'll forgive you. Just so you know, there were ads

[Jason Mantzoukas]

when I was growing up. It goes, it's 10pm oh yeah. Do you know where your children are? Like, that's wild. So the tv, like, hey, like people at television stations. Like, hey, we gotta remind these parents to, like, it's 10. They gotta get there.

[Paul Scheer]

The kids should be home by this. Remember, you have kids. Go find them.

[Jason Mantzoukas]

So that is just speaking to how many kids were just out and not being looked after at all at 10pm that's when you have to be a parent again.

[Paul Scheer]

Yes. That's when you need to check back in that.

[Jason Mantzoukas]

I always think that that, like, it speaks volumes because it's not a thing about the movies. It is just the way that people were living their lives. It was.

[June Diane Raphael]

Well, yeah. I mean, I didn't have to come back, like, especially over the summer. Like, my parents did have to come out and get me a 10.

[Paul Scheer]

Oh, yeah.

[Jason Mantzoukas]

Just find you. Just find you out and about me. Oh, gosh.

[Paul Scheer]

I mean, my mom would ring a bell. My mom would ring a cowbell.

[June Diane Raphael]

That's awesome.

[Paul Scheer]

Because it could be heard longer than her shouting voice.

[June Diane Raphael]

Wow.

[Jason Mantzoukas]

Wow, wow, wow. Meanwhile, I rode a roller coaster in Las Vegas with one son. I had the other son waiting at the exit of the roller coaster and he got scared that I was gone for too long. I was like, you saw us leave?

[June Diane Raphael]

Oh,

[Jason Mantzoukas]

yeah.

[June Diane Raphael]

Like, yeah.

[Jason Mantzoukas]

They would not. I couldn't make our kids leave the house for that long if I tried. The interesting little side note, we've talked a lot about the production design, especially that house, which is amazing. Would it surprise you to know that the production designer on this movie was Twilight director Katherine Hardwick?

[Paul Scheer]

Oh, wow.

[June Diane Raphael]

Oh, my goodness.

[Jason Mantzoukas]

And to your point, she was a film director who made Lords of Dogtown.

[Paul Scheer]

Oh, yeah, that's right.

[June Diane Raphael]

Well, I have to say, she. I thought she did a great job with the Dagger's house.

[Jason Mantzoukas]

She said Dagger's house was a legitimate Hollywood crack house. And she almost got killed every day walking to set.

[Paul Scheer]

Oh, my God, that's so sketchy.

[June Diane Raphael]

Yeah. That place had a. Yeah.

[Paul Scheer]

It felt dangerous.

[June Diane Raphael]

It did. It didn't feel like, oh, someone created this. Like, it had a. There was a texture about it where it felt like very bad things have happened here.

[Paul Scheer]

Yeah. And I like a lot of the graffiti was good. I loved to the. How much the great scene when Josh Brolin and Chrissy are. They're having like one of their dates and he's showing her the image that he's drawn, which is what he wants to be. The graphic design on his skateboard, which is a spider carrying a beautiful woman in its claws. Or I would say it looks like

[Jason Mantzoukas]

the spider is in love with this eat this woman. And. Yes. And her reaction to It. And this is why this movie is special. She's like, do you want to be held like that? I'm like, whoa, what?

[Paul Scheer]

That's what transitions into the sex scene. Do you want to be held like that?

[June Diane Raphael]

She's asking, do you want to be the woman in this picture?

[Jason Mantzoukas]

Yes. And he's kind of like.

[Paul Scheer]

And his answer is tacitly, yes. It's so. It's really great. And. And it's so teenage to be like, check out this thing I drew that I'm gonna put on my skateboard.

[Jason Mantzoukas]

Especially after you saw the. The bad version of it that he had on his skateboard earlier, which is also so, like, it didn't look good. And she's like, what is that supposed to be, a spider?

[Paul Scheer]

Well, it made me feel. That scene especially made me feel like she was older than him and was, like, the aggressor, you know, in a way that.

[June Diane Raphael]

So that would have been a woman boy scene.

[Paul Scheer]

Correct. Maybe what you think is a girl, a boy girl scene turns into a woman boy scene.

[Jason Mantzoukas]

Well, I would also say it's one of those rare instances of a. Of a woman boy scene where the boy becomes a man.

[Paul Scheer]

Whoa.

[Jason Mantzoukas]

And so we're watching. It starts. It starts as a woman boy, and then it becomes a woman man.

[Paul Scheer]

So a boy and a girl enter, and a man and a woman woman leave.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

Wow. Well, they do. I mean, they do have sex. So, I mean, this is a rite of passage.

[Jason Mantzoukas]

Oh, my God.

[June Diane Raphael]

I was obsessed with the necklace he gave her. The fact that he was wearing. That he was wearing a necklace. It wasn't even on leather. It was on, like. It's not lanyard. It wasn't a chain. It was like a black piece of string almost, but, like, thick, shiny string. And. And I couldn't tell what it was at first. I didn't have my glasses on watching, and I was like, oh, I guess he gave her some sort of a pet, like skull and crossbow or a cross or. I don't. Then to realize at a certain point. It's a skateboard.

[Jason Mantzoukas]

Yeah, a little baby skateboard.

[June Diane Raphael]

It's a little baby skateboard. Because, you know, you take your interests and you take your hobbies and you take the things you care about, and then you make little charms out of them.

[Jason Mantzoukas]

And by the way, he's wearing it in the. He's wearing it in the beginning of the movie. He's wearing that little skateboard that.

[June Diane Raphael]

He gives it to her.

[Jason Mantzoukas]

I mean, he. Like, it's his promise ring. I'm looking at a Picture of it. Now, you're right. It. It. It is just a black piece of string. Like a rope, like a, Like a shoelace.

[June Diane Raphael]

Yes, yes, yes.

[Jason Mantzoukas]

And so he had to go find that. Oh, my God. I mean, by the way, this is a movie all about accessories. Because even when. When Hook is gonna go on the LA Massacre, he gets that, like, Nintendo glove kind of spiky arm thing. And everyone's gathered around him, like, what do we think of this? What do we think of my accessory here, guys? What do we. This is a movie about straight up fashion.

[Paul Scheer]

And the joust. He paints, like, Deadpool eyes on his eyes. Like big purple, weird eyes around his eyes. I would like to talk about briefly the joust.

[Jason Mantzoukas]

Oh, please. Let's get into it.

[Paul Scheer]

Why. So I understand the idea of, like, okay, we want to have a la Sharks and Jets. We want to have a gang fight between these two skate gangs. But mustn't they have to do it on their skateboard? So how would that work? Okay, so it's a joust. Okay, I can kind of even see that. But why wouldn't it just be like a joust? Everybody's holding like a broomstick or a. Something to knock the person off their horse. That's what a joust is.

[Jason Mantzoukas]

Right.

[Paul Scheer]

But instead they've got weighted punching bags, so they have to do this, which would immediately throw you off balance from skateboarding to wing around this thing at the end of a chain. Like, that doesn't make any sense for having to also balance.

[June Diane Raphael]

And that's not jousting.

[Paul Scheer]

Not at all. Jousting. Can I say some other. That's like having a mace or something.

[Jason Mantzoukas]

And. And the. The bag is full of rocks. And it's really.

[Josh Brolin]

It is.

[Paul Scheer]

Okay, that's what I didn't know.

[Jason Mantzoukas]

And it's gonna hit you in the belly. Now, when you watch this jackass recreation of it, which I. I gotta send it to you guys because it's so funny the. When it's actually happening in real life, when you're actually hitting someone with a bag of rocks in the belly, not only does the person getting hit fall off the skateboard, but the person wielding the mace.

[Paul Scheer]

Yes.

[Jason Mantzoukas]

Basically, you get one run at each other and you're both dead.

[Paul Scheer]

Well, because there's no way you would be able to maintain balance while swinging a heavy object that's at the end. That is itself at the end of a chain.

[Jason Mantzoukas]

Which is why it's so fulfilling that at the end of this, it's like, oh, he's off. Let me Just run and just jump on top and start beating the shit out of him.

[Paul Scheer]

Like, I mean the joust was ridiculous and there were so many people there. But that's when I was like, I love this. That's what gave me the vibes of also like a lot of like the movies we've seen, like the teen movies where it's like underground dance competition, you know, I love it when it's the non sanctioned version that always has more juice to me than the official race or fight or whatever.

[Jason Mantzoukas]

And I think what we're led to believe is like the Daggers live an unsanctioned life. I mean, yeah, they're in a crack house, but they're also when they jump a car in the middle of traffic and like dent a roof, like they are just creating havoc in on Hollywood Boulevard. Now. They clearly shot that I feel like with hidden cameras because people are like, what is going on? The streets are clearing for them. And I was like, this is. It's dangerous. It's annoying. It's great. It's great. It really is like a Jackass the movie or Jackass TV show kind of prank. But they are so aggressive. I mean all they're doing is just creating skate. Like they're the reason why we hate skate. Yeah, they're fashion. That's it.

[Paul Scheer]

I guess they're very authentically teen in those Hollywood Boulevard kind of running the streets being like that felt like being teenagers and running around, running amok.

[Jason Mantzoukas]

Now, Jason and June, you both are incredibly talented writers. You've created many, many things. I'd love to show you the pitch document that the producer of this film used to make it. We can describe it as we see it, but Scott, can we get that up on the screen here? This is what the producer, Alan Sachs. Alan Sachs, former writer for welcome Back Carter. This is how he pitched the movie. It is a sheet of white paper and it says Skate Thrashing by Alan Sachs. And Paul Brown says, skate or die. Stay away from my sister. And it says primo is great. Freestyle visual as hell. It looks like a bad zine.

[Paul Scheer]

Okay, wait a minute. I gotta point something out to you. That he has misspelled joust and so had to put a tiny U next to the he said Hawk challenges Corey to a jost and then had to insert a tiny U above the O in between the S and the O. Wow.

[Jason Mantzoukas]

We will have this up on our social media. But I want you to you. I. I just want everyone to take in that this is this. I don't even know what this is. This is like. This is a zine that wouldn't even catch your attention.

[Paul Scheer]

And visual as all hell.

[Jason Mantzoukas]

Fuck that.

[June Diane Raphael]

I mean, I. It's caught my attention, by the way.

[Paul Scheer]

It worked, clearly.

[June Diane Raphael]

Look at it. And I'm like, wow. Oh, what does that say over there? Oh, let me see this picture. Oh, let me. Like, it's. It is catching my attention.

[Paul Scheer]

And what is clear to me now is that that character's name is Hawk, not Hook.

[Jason Mantzoukas]

Oh, well, somebody. It was supposed to be. It was Hawk. He switched it to Hook, I think, because of the Tony Hawk thing.

[Paul Scheer]

Makes sense. Makes sense. Okay, got it. Freestyle. Oh, I love that. Freestyle. It's like breakin. And they spelled breakin without the G as well. And I loved that moment. And it was right in my notes I wrote. It was so right on. I was like, oh, wow. They're treating skating like the breakdance movies, where it's different crews who are going against each other. It has the same framework as a breaking movie. And then they come up on the breakdancers at Venice beach, and the skaters are like, breaking is a memory. I was like, fuck.

[June Diane Raphael]

By the way, what a burn.

[Paul Scheer]

What a burn.

[June Diane Raphael]

Say something is a memory.

[Paul Scheer]

It was a memory. And the breakers, like, have to be like, yeah, you're right. They're like, wow. They. They back down immediately. A memory for wimps. Yeah.

[June Diane Raphael]

Scott says it's crazy. It's like.

[Paul Scheer]

Yeah.

[June Diane Raphael]

To say something's a memory. It's like you're not even saying it's good or bad. It's gone.

[Paul Scheer]

It's forgotten.

[June Diane Raphael]

It's forgotten.

[Paul Scheer]

It's forgotten. And you know what? I'm now thinking of it, too. There's not a lot of swearing. There's very little slurs.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

There's like. This is the kind of movie. It is clean in a surprising way, because these groups of teens would normally be hurling, you know, epithets and swears at each other. And it doesn't. But that doesn't make the movie feel any less authentic.

[Jason Mantzoukas]

Well, maybe Jason, because everyone is stone cold white, too. I mean, this is a movie that.

[Paul Scheer]

I guess I didn't notice that. I guess. Yes. Everybody, in fact, is. In fact, very well. Yes.

[June Diane Raphael]

Well, when the one curse word I. I remember because I was so confused is when the little kid who's a part of the ramp locals is sitting in the car. The V. When it's the VW in the back of the car, he's like, oh, this is the. I don't want to sit right anymore.

[Paul Scheer]

Oh, yeah.

[June Diane Raphael]

But he's I thought riding was being in the middle.

[Jason Mantzoukas]

I June this is why we are married. I wrote that down too. I was like, bitches being in the middle.

[Paul Scheer]

I believe that's the case as well.

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

You're not the back seat on the side.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

I don't know.

[Jason Mantzoukas]

I think in his world just backseat.

[Paul Scheer]

I think they just wanted kid to see.

[June Diane Raphael]

He's asking for a lot.

[Jason Mantzoukas]

Well, by the way. Yeah, the kid should be in the backseat. Just from a legal. From like a safety standpoint. I do want to point out one thing because I'm looking at my research I didn't read before, sadly, that moment in the Downhill Massacre race. That's skating legend Jesse Martinez who is getting worked on by paramedics for real. Because when he was shooting the movie, he hurt himself. And those are real paramedics setting his leg. And that whole section is based on something real. Because from 1975 to 1978 in Signal Hill, California near Long beach, they would do these things where you would skateboard like around 60 miles an hour on like a 30 degree incline. And the reason why it stopped was because people were getting hurt a lot.

[Paul Scheer]

I I really the the documentary and I looked it up and it the documentary this blew my mind is from 2001. It's so old Dogtown and Z Boys is a terrific documentary about this era of skating and these characters who are true characters, you know, really great.

[Jason Mantzoukas]

All right, so obviously we have an opinion about this movie and other people might have a different one. It is now time for second opinions.

[Paul Scheer]

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.

[Jason Mantzoukas]

All right, so there are only 546 reviews. That's actually pretty low for a on Amazon. 82% of them are five star. There are zero one star reviews and I'll just start off with ones that are just incredibly loving. Like this one from Brett Elliott. He writes without a doubt the best 80s skateboarding movie ever. You can skip Lords of Dogtown. This is the quintessential depiction of skateboarding culture in 1984. I had no idea how much I would love this movie before watching it. It just skip past the romantic relationship stuff. Five stars.

[Paul Scheer]

No way.

[Jason Mantzoukas]

Russ says in reality this is a horribly made movie. But in the 80s skateboard culture was my life. It's still one of my favorite movies and I watch it a couple times a year. Yes, I have the standard M Blu Ray on disc, but it's nice to have it streaming so I don't have to get off my fat ass to watch it. It five stars.

[June Diane Raphael]

Wow.

[Jason Mantzoukas]

And then this is what I want to end on. Because this is an odd one. It's a little bit of a journey, but I think it's worth it. It's by Mr. Sneaky Man. And this is actually something we found on like it.

[Paul Scheer]

I already don't like it.

[Jason Mantzoukas]

So this is from Mr. Sneaky Man. It's written on letter.

[Paul Scheer]

You know what? It's not just that I don't like it. It's I don't like when you say it.

[Jason Mantzoukas]

I know I said it in a way that kind of gelded the lily or gelded the lily.

[Paul Scheer]

For someone who had horses, that is a chilling statement. That poor lily.

[Jason Mantzoukas]

I gotta cut his balls off. All right. Mr. Sneaky man writes this. I promise this story is true. I once worked at a crazy restaurant where half the workers worshiped this movie. They were all skaters and they were good. They privately called themselves the Daggers. They were the Secret Daggers. Then another crew of skaters moved in next door. They were much louder and more in your face. Right? But they were also really good. And they publicly refer to themselves as the Daggers. And they even had scarification brands in the shape of daggers on their skin to back up their claim. So the branded Daggers started hanging out at the restaurant's bar after hours and shit got tense. Both Dagger crews were constantly talking shit about each other behind each other's backs. Sadly, nothing major ever came of it. Although there were a couple of minor skate slash snowboard schoolings and a metric fuck ton of mudslinging, but that's about it. Both crews ended up dissolving and scattering to the four winds. Nevertheless, it was funny as hell to witness two groups of people who worshiped a semi obscure movie meet each other and decide that the other group was unworthy of the recognition that the other one wanted. It was like planets colliding all over this stupid movie.

[Paul Scheer]

That is great.

[Jason Mantzoukas]

I, I the reason why I believe it's true is because it goes, nothing happened. It was just people.

[Paul Scheer]

I love that though. That's really funny. Well then, I mean, like it really this movie, and I haven't seen it before this, but would have really activated me as a kid, you know, this would have been the kind of these kids had the kind of freedom that I truly desired, you know, like, there are no parents in this movie at all. And boy, did that seem like, like freeing, you know? I love that.

[Jason Mantzoukas]

Oh, now let me tell you. Obviously we've We've joked around about some of the performances here, but there's one person who has a very unique take on his performance, and I'm just gonna set up like that. Scott, play that clip.

[Josh Brolin]

I saw the movie. I went to the premiere, and I was like, your acting is so bad. You're hurting people.

[Paul Scheer]

You thought that?

[Jason Mantzoukas]

Yeah, dude. Did you think that in the Goonies?

[Josh Brolin]

No, I didn't think I was brilliant. I thought I. I serviced the role,

[Jason Mantzoukas]

but that's what I thought.

[Josh Brolin]

And that was a great, great director. And he's cutting and he's using the right moments and all that kind of stuff. Like, they understand that's what. When you work with better directors, it's not just about the performance. It's how they're cutting, what kind of music they're using, who the editor is, all that kind of. And I watched Thrashing, which was. Obviously, it was. You know, you saw the cost. It was a tiny movie.

[Jason Mantzoukas]

Yeah.

[Josh Brolin]

You know, and then you see me, like, no, Chrissy, come back, you know, and you're just like, oh, dude.

[Paul Scheer]

But do you think on the.

[Jason Mantzoukas]

On the flip side of that, do

[Paul Scheer]

you think that if. If your acting had been better or if there was a.

[June Diane Raphael]

There's no sa.

[Paul Scheer]

There was a Daero in the role, would that have saved the movie?

[Jason Mantzoukas]

No. No.

[Josh Brolin]

So you're suggesting that the movie's bad?

[Jason Mantzoukas]

I'm. I. I'm not saying anything. I'm just saying, okay, I wasn't in it. It's terrible.

[Paul Scheer]

It's really bad. It's also so terrible.

[Josh Brolin]

This is so terrible. It's awesome.

[June Diane Raphael]

I love him. I thought he was great, by the way.

[Jason Mantzoukas]

I actually think he's pretty good. Like, in the grand scheme of things, he's terrific.

[Paul Scheer]

I mean, again, how old is he in this? He's got 18. You know, something like that.

[June Diane Raphael]

And that's what he's giving. Like, it's. It's perfect.

[Paul Scheer]

Now, let me say this. If I was looking at even, like, one of my first roles from when I was, whatever, 34, I would still be, like, cringing. The way he's cringing. I get it. But he does not in any way stick out in this movie. More so than anybody else does. You know, he's servicing the movie. It's great.

[Jason Mantzoukas]

By the way, should we make a T shirt for this movie where it's just the little black chain and a skateboard? Like a necklace? Like, that's all it is. It looks like you're. It's a white shirt, but it looks like you're wearing like just a skateboard necklace. I think I would like that.

[Paul Scheer]

It's. And it's thrashing and it just says

[Jason Mantzoukas]

thrashing like over the pocket. Oh, man. Well, let's see if we can get that going. Well, I want to say to everybody, thank you for thrashing with us however you choose to thrash. We salute you. And Jason and June, always a pleasure. We have live shows coming up at Largo at the end of this month. You can just go to hdtgm.com that's where you can get our merch. You can get everything you want there. But if you have a correction or omission. And now, Jason, you recently retitled this section.

[Paul Scheer]

I did.

[Jason Mantzoukas]

When you were hosting the.

[Paul Scheer]

Oh, yes. Opinions in context. Yeah, I don't need to be corrected. None of us ever need to be corrected.

[Jason Mantzoukas]

Well, there you go.

[Paul Scheer]

An omission suggests that we left something out and that's wrong. So I think it is an opinion. Write in with your opinions or context.

[Jason Mantzoukas]

I agree with that. And if you want to leave us a voicemail, which we really love, you can leave us a message by just going to fucking call paul.com or speakpipe.com hdtgm and you can leave all your comments on the discord at Discord GG hdtgm. Get your messages in by the Monday after this episode drops to make sure they get considered for last looks. Okay, Jason, June, anything you want to plug?

[June Diane Raphael]

Elle. The first season of Elle is streaming now.

[Jason Mantzoukas]

So funny, so good video.

[June Diane Raphael]

So please go check that out. It's really cool.

[Jason Mantzoukas]

Yeah, watch it on L. You have a number one. And this show has been number one on Amazon now for weeks.

[June Diane Raphael]

It's a hit to hear it.

[Paul Scheer]

Oh, so exciting.

[Jason Mantzoukas]

A real hit.

[Paul Scheer]

No, you know what? Just because we recently, Paul, you and I went back to New York and did another installment of the Chris Gethard Guess what's in the Dumpster show. I will promote the first instance of it, which exists for free on YouTube. It is called Another Man's Trash. And it is you and me on Chris Gethard's old show trying to guess what's inside of a dumpster. And it is worth everybody stopping down and spending 45 minutes to watch this incredible episode of television.

[Jason Mantzoukas]

And I think you can actually watch one we did in New York, too. I'm not sure, but you can find it out in the guest room. Yeah, I think he taped it like that. 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. Lastly, I got to give a huge thanks to our behind the scenes team. I'm talking about our producer, Scott Sonny, Molly Reynolds, our engineer Casey Holford, and our social media manager, Zoe Applebaum. We got so much good stuff going on on our social media. Check it out. We'll put some of the clips that we had here out there, like the jackass thing, the pitch presentation. And we will forever be grateful to the one and only Avril Halle. That's all I got, people. See you next time on Last Looks. Bye for now.

[June Diane Raphael]

Bye.

[Jason Mantzoukas]

Hey, folks, it's Joel Kim Booster here. And as you may know, we have been away for a few weeks now under construction. No longer are we just covering bad dates. We are now now Intimacy coordinator. You guys will not want to miss it. We cover such things as bi erasure, finding your perfect type, and has sex positivity gone too far. No matter what it is, you can expect the same amount of comedic chaos. This new iteration of the POD is going to be amazing. And I cannot wait to introduce Intimacy coordinator to all of you.

[June Diane Raphael]

Hi, I'm Angie Hicks, co founder of angie, and one thing I've learned is that you buy a house, but you make it a home. Because with every fix, update and renovation, it becomes a little more your own. So you need all your jobs done well. For nearly 30 years, Angie has helped millions of homeowners hire skilled pros for the projects that matter, from plumbing to electrical, roof repair to deck upgrades. So leave it to the pros who will get your jobs done well. Angie, the one you trust to find the ones you trust. Find a pro for your [e-mail].