Two lambada movies were released on March 16, 1990, but only one was written in 10 days and focuses on a Brazilian princess saving the rainforest by dancing on a TV show judged by Mama Coconut. Paul, June, and Jason watched The Forbidden Dance and discuss the cultural impact of the lambada, Joa the magical shaman, if the Jason character is a Choppleganger, Nisa's solo lambada dancing, Carmen offering her bed to a strange man to have sex in, and so much more. Plus, Paul chronicles the falling out between Cannon Films co-founders Golan and Golbus that led to the production of two dueling lambada films. Buy our "Jason Baby Needs A Swayze" t-shirt for this episode in black here or white here.
Two lambada movies were released on March 16, 1990, but only one was written in 10 days and focuses on a Brazilian princess saving the rainforest by dancing on a TV show judged by Mama Coconut. Paul, June, and Jason watched The Forbidden Dance and discuss the cultural impact of the lambada, Joa the magical shaman, if the Jason character is a Choppleganger, Nisa's solo lambada dancing, Carmen offering her bed to a strange man to have sex in, and so much more. Plus, Paul chronicles the falling out between Cannon Films co-founders Golan and Golbus that led to the production of two dueling lambada films.
Buy our "Jason Baby Needs A Swayze" t-shirt for this episode in black here or white here.
[00:00:00] Paul Scheer: Let's save the rainforest through dance. We saw The Forbidden Dance, so you know what that means.
[00:00:10] Music: [Intro Song]
[00:00:10] Paul Scheer: Hello people of Earth and welcome to How Did This Get Made? Today we are talking about the 1990 film, The Forbidden Dance, not the 1990 film Lambada. That's right. We will talk about those s subtle differences.
[00:00:25] Jason Mantzoukas: Wait.
[00:00:25] Paul Scheer: In just. Yes.
[00:00:26] Jason Mantzoukas: What?
[00:00:27] Paul Scheer: Yep.
[00:00:27] June Diane Raphael: Yeah, I We were a few minutes in. Paul said, cue it up. I got everything ready and then I was starting watching it. 10 minutes in, he said, this is the wrong movie. We're supposed to be watching Lambda.
[00:00:36] Jason Mantzoukas: Wait.
[00:00:37] Paul Scheer: Well, no, no. We were supposed to be watching The Forbidden Dance.
[00:00:39] June Diane Raphael: No, I know. But you got confused.
[00:00:41] Paul Scheer: Yes.
[00:00:41] June Diane Raphael: And I said yes.
[00:00:42] Jason Mantzoukas: Did I watch the right movie?
[00:00:43] June Diane Raphael: Uhoh.
[00:00:43] Paul Scheer: Did you watch a movie with a character named Nisa?
[00:00:47] Jason Mantzoukas: Yes.
[00:00:47] Paul Scheer: Okay.
[00:00:47] Jason Mantzoukas: Yes.
[00:00:48] Paul Scheer: And then we have watched the right movie.
[00:00:50] Jason Mantzoukas: Holy Cow. Because there was a lot of Lambada in it. A lot. But this isn't the movie that was called Lambada? Oh, wow. Okay. I'm sorry. I've already jumped in in.
[00:00:57] Paul Scheer: No, this.
[00:00:58] Jason Mantzoukas: All over this, but this is a wild reveal. Okay, great.
[00:01:01] Paul Scheer: There was a lawsuit that happened, so there are posters that label this movie, Lambada, TheForbidden Dance, but then an injunction, uh, made them take away Lambada and just be The Forbidden Dance. But then there was another movie that came out like the same weekend called Lambada.
[00:01:21] Jason Mantzoukas: Wait, the same week? Came out. They came out the same weekend?
[00:01:23] Paul Scheer: It was. They were.
[00:01:24] Jason Mantzoukas: Or around the same time?
[00:01:25] Paul Scheer: Yes. Exact same day.
[00:01:27] June Diane Raphael: God, what was going on?
[00:01:29] Jason Mantzoukas: What can you imagine?
[00:01:31] June Diane Raphael: With us as a people that we needed.
[00:01:33] Paul Scheer: It was taking over a nation.
[00:01:36] June Diane Raphael: I know, but you know what it reminds me of? Do you remember when, um, Paul Blart Mall Cop. And also I think Mall Cop came out like there were.
[00:01:45] Paul Scheer: There are two mall cop movies? I remember like Volcano and Dante's Peak.
[00:01:50] Jason Mantzoukas: Yes.
[00:01:50] June Diane Raphael: I remember like, I don't know why I'm remembering Mall Cops, but I feel like there was a.
[00:01:54] Jason Mantzoukas: Right though. There's a bunch of like, why are these exactly.
[00:01:57] Paul Scheer: It was um, the same Observant Report with Seth Rogan.
[00:02:00] June Diane Raphael: Thank you.
[00:02:00] Jason Mantzoukas: Yes.
[00:02:01] Paul Scheer: And Paul Blart, Mall Cop with Kevin James.
[00:02:03] June Diane Raphael: Thank you. Two films about s small cops at the exact same time, and it feels just as obscure and just as random as two films about a forbidden dance.
[00:02:16] Paul Scheer: I mean, I, I was going to.
[00:02:19] Jason Mantzoukas: Do, you guys, I'll have, let me ask you this, just because you guys are younger. Do you remember the phenomenon that was like, like the Lambada and the forbidden dance, all this stuff like close, um, dancing, crotch, touching, dancing.
[00:02:35] Paul Scheer: Right.
[00:02:35] Jason Mantzoukas: Was like truly like so risque and so outrageous that like it needed to be foregrounded in. People needed to be like, there needs to be a movie about this.
[00:02:46] Paul Scheer: Well, you know, it was.
[00:02:47] June Diane Raphael: I just looked up the term Lambada.
[00:02:49] Paul Scheer: Yeah.
[00:02:49] June Diane Raphael: Because I'm getting really turned around here. Lambada means a fast erotic Brazilian dance that couples perform with their stomachs touching.
[00:03:01] Jason Mantzoukas: Cool.
[00:03:02] Paul Scheer: Okay.
[00:03:02] June Diane Raphael: Stomach. But stomachs touching is interesting 'cause I actually. I don't, I, that's not what I saw really.
[00:03:09] Jason Mantzoukas: Well, here's, here's what I'll say. I mean, that feels like a sanitized way of saying what's also touching is what's right below your stomach.
[00:03:15] Paul Scheer: Well, and that.
[00:03:16] Jason Mantzoukas: You know what I mean?
[00:03:17] Paul Scheer: To me, this was like a dance, when I understood it, it was a dirty dance. It was like a fucking dance. Like that's what I understood.
[00:03:22] Jason Mantzoukas: Well, she says it's erotic and you know, and part of it is like the, in order for your stomachs to touch while dancing, your legs need to be to touch intertwined.
[00:03:31] Paul Scheer: Yes.
[00:03:32] Jason Mantzoukas: What you're doing is putting, is putting your legs in between each other so you're crotch to crotch.
[00:03:37] Paul Scheer: I I think this is more of a grind, like the advent of grinding in dance. Right? Because really what I'm, I'm looking at another definition of Lambada and it's saying that dancers generally dance with arche legs, the steps are side to side, arche legs, even swaying at a time that the dance became popular, which is 1990, short skirts for women were in fashion and men were wearing long trousers.
[00:04:00] And so it was like this idea that like the women's skirts are swirling up as she spins around and kind of having thong underwear on was a part of this as well. So I think it was just.
[00:04:11] June Diane Raphael: Okay.
[00:04:11] Paul Scheer: You're seeing a lot. This is, again.
[00:04:13] Jason Mantzoukas: It's also like, this is like again, when the, and there's a per, there's perfect examples of it shown early on of how like Jason and Ashley dance.
[00:04:22] Paul Scheer: Right.
[00:04:23] Jason Mantzoukas: And how like all the white people dance is like, that's how people danced in this time. You know, just like all.
[00:04:30] June Diane Raphael: Terrible.
[00:04:30] Jason Mantzoukas: Upper body nonsense, you know?
[00:04:32] Paul Scheer: Yeah.
[00:04:33] June Diane Raphael: But, but here's my issue though. Is, oh God, I've, so, I, I don't, honestly, I don't even know where to begin. I'm, I'm glad we're starting with just the pure definition of Lambada because.
[00:04:43] Paul Scheer: Yeah, this is important.
[00:04:44] June Diane Raphael: This is important. This is actually important context and an important, you know, setting of the stage. Because to me, what I'm seeing is the Lambada is a couple's dance talking about stomach touching, talking about crotches touching. For a lot of this movie, our main character, Nisha, is dancing the Lambada on her own.
[00:05:04] Jason Mantzoukas: Yes.
[00:05:04] Paul Scheer: Well, she's doing like solo Lambada. It's a kind of masturbation in my mind, that's what I feel like the movie's showing.
[00:05:09] Jason Mantzoukas: If I feel like what the movie, this is a go, uh, uh, Go and Globus movie, right?
[00:05:14] Paul Scheer: Yes, yes.
[00:05:14] Jason Mantzoukas: Am I right? Mm-hmm. Like, I feel like very much in this movie, the dance scenes are the sex scenes.
[00:05:20] Paul Scheer: Right.
[00:05:20] Jason Mantzoukas: They are. And in order to make this PG 13. The, the sex scenes are instead dance scenes, whether it's solo dancing, quote unquote, or not. Like they are. That is, and it's, and let, but let's be clear. She says that it is forbidden in.
[00:05:38] Paul Scheer: Well this is the forbidden dance.
[00:05:40] Jason Mantzoukas: This dance because it's so erotically charged. And what we see over and over and over again is when she dances the lambada it causes men to go feral. Men begin to just attack like throughout the entire movie. It is absolutely every, every man is correctly portrayed as a true predator villain in this movie. Unable.
[00:06:05] Paul Scheer: Well. 'cause they've lost their goddamn mind.
[00:06:07] Jason Mantzoukas: Control themselves. Yes.
[00:06:08] Paul Scheer: I mean, the idea.
[00:06:09] Jason Mantzoukas: Or because they need that rainforest to get burned.
[00:06:11] Paul Scheer: I mean, now look, look.
[00:06:12] Jason Mantzoukas: This is a climate change movie.
[00:06:13] Paul Scheer: Yes. We're gonna get into all of this. Now, I just wanna say that while this movie is called The Forbidden Dance, oh, there were no formal government bans on this dancing, right?
[00:06:23] It was the idea, though, I think that we were in a conservative time. This dance then kind of broke through those barriers and it became like the number one song on the pop charts for a couple of weeks. So, I mean, again, I just, I was gonna save this for the end, but I think it's worth bringing up here. In December of 1989, the producers said, Hey, we need to make a lambada dance.
[00:06:47] I really want you to keep these numbers in your head. December of 89.
[00:06:50] June Diane Raphael: I was just about to turn 10. Okay. I'm putting myself there.
[00:06:53] Paul Scheer: Uh, I wasn't born. And they go, we need a script. 10 days later. They get a script. Okay? 10 days later they get a script.
[00:07:02] June Diane Raphael: It's a quick turn.
[00:07:02] Paul Scheer: In January, they start shooting. The movie is released in March.
[00:07:08] June Diane Raphael: Feels like a rush job.
[00:07:08] Jason Mantzoukas: Oh wow.
[00:07:09] Paul Scheer: It is the quickest film ever to be.
[00:07:13] Jason Mantzoukas: Wow.
[00:07:14] Paul Scheer: Basically conceived, written, shot and released. So much so that Roger Ebert like visited the set to be like, this is the craziest thing ever. It was delivered to Columbia Pictures one day before the film's release just to be
[00:07:27] June Diane Raphael: Then you know what?
[00:07:28] Paul Scheer: Out the day of the other movie.
[00:07:30] June Diane Raphael: Then you know what, they did a great job.
[00:07:32] Jason Mantzoukas: I'm even more, I'm more impressed than before because, because I will say, there is many times in my notes where I'm like. How, why are they dance? They haven't yet met, why are they already at a dance club together? There's so much, uh, connective tissue that the movie just does not give you.
[00:07:48] It just cuts from basically set piece to set piece montage to montage. But given the information you just told me, by the way, well done, it's still.
[00:07:57] June Diane Raphael: They did a great job.
[00:07:58] Jason Mantzoukas: Holds together and they save the rainforest at the end.
[00:08:00] Paul Scheer: Well, I mean, that's, the movie is dedicated to the rainforest.
[00:08:03] June Diane Raphael: We wouldn't be here without this movie, to be honest. I don't know that we would, breathable air.
[00:08:07] Paul Scheer: Such a progressive plot for 1990. Uh, if you are wondering what we are talking about, I'll quickly tell you that this movie is about Nisa, a native Brazilian princess who travels to LA to stop an American corporation from destroying her rainforest home.
[00:08:22] Uh, when Nisa gets to la, uh, she winds up working as a maid for a Beverly Hills family, where they have a son who loves dance. Jason, Jason and Nisa go out dancing, but Jason's friends hate Nisa because she's simply different.
[00:08:35] Jason Mantzoukas: Well, I mean, no, they are bigots.
[00:08:37] Paul Scheer: They're bigots.
[00:08:38] Jason Mantzoukas: Let's be very, they're, they are straight up racists. Hateful racist bigots.
[00:08:43] Paul Scheer: Yes.
[00:08:43] Jason Mantzoukas: And with e if, if with in every single way. They are villains.
[00:08:47] Paul Scheer: And everyone really in this movie is a straight up racist. I will, we can dig into all this. Just if you've not seen it. I will say Nisa then is disregarded, uh, by this group. She's out on the street. She's starts working in a club that's also like a brothel, but she's not doing the brothel stuff.
[00:09:05] She's just doing dancing.
[00:09:06] June Diane Raphael: That's what they always say.
[00:09:07] Paul Scheer: And it's also like a leather club. We'll get into that. And then finally, Jason rescues, uh, rescues Nisa from this brothel. Uh, and they decide that they need to work together to stop this company from destroying the rainforest. And the only way to do that is to get on a television dance contest so they can, uh.
[00:09:27] June Diane Raphael: Spread the word.
[00:09:28] Paul Scheer: Spread the word. And that, that's like the brief overview. We're gonna get into the witch doctors. We're gonna get into, uh, his, you know, Jason's girlfriend Ashley, but that's just a little bit of the plot of The Forbidden Dance again, not Lambada.
[00:09:41] Jason Mantzoukas: Yeah.
[00:09:42] June Diane Raphael: Not Lambada the movie, but the Lambada.
[00:09:44] Jason Mantzoukas: That is blowing my mind. I thought I just watched Lambada.
[00:09:49] Paul Scheer: No.
[00:09:49] Jason Mantzoukas: Also.
[00:09:50] June Diane Raphael: Did you watch Labamba?
[00:09:52] Jason Mantzoukas: Oh, I've, I've, I've watched Labamba. Don't worry about it. Um, they played the song Lambada, I'm gonna say conservatively 35 times in the movie.
[00:10:01] June Diane Raphael: No, it was, when it came on at the end, I was like, wow.
[00:10:04] Jason Mantzoukas: They, it's, it's the music in the movie. The song rather is relentless.
[00:10:12] Paul Scheer: It, like you said, it's like this is a movie that was conceived and released within 90 days. So it is truly like filling time, filling, filling time.
[00:10:24] June Diane Raphael: And I mean, well, and it's so tough because I'm gonna re, I'm gonna be so for real right now, I'm gonna be so for real.
[00:10:30] Jason Mantzoukas: Oh God. Alright, hold on.
[00:10:32] Paul Scheer: Hold it.
[00:10:33] June Diane Raphael: There, the dancing from our lead, Nisa is terrible.
[00:10:39] Paul Scheer: Wow.
[00:10:40] June Diane Raphael: You know, and she may be doing a wonderful portrayal of the Lambada. That might be just exactly what that looks like. I don't, I don't care. It, it's so horrible and strange and there's nothing to me. I mean, I guess you're both my, you can speak to it, but there was nothing. There was one scene with her in the curtain. The curtain worked.
[00:11:01] Jason Mantzoukas: Yes. Very good. Yeah. Where she's grinding into the curtain. I remember that scene very well.
[00:11:05] June Diane Raphael: She had more chemistry with that curtain.
[00:11:07] Jason Mantzoukas: Unlike Paul, I don't watch our movies on like two times speed, but there are some scenes.
[00:11:11] Paul Scheer: Yeah.
[00:11:11] Jason Mantzoukas: There's some scenes I will watch at 0.5 and that one I watch the 0.5.
[00:11:15] Paul Scheer: Well, by the way, sometimes it's movie is slowed down to 0.5 when they wanna show something like a glass. Like this movie slows down and be like, Hey, we're going to, if we're gonna run through a hut, we're gonna do it in slowmo. Like we need to get every moment.
[00:11:29] Jason Mantzoukas: The thing that blew my mind to June's point is there's a point in the movie where there is the quintessential training montage where they are meeting day after day after day after day to rehearse the Lambada. They're in different outfits, they're rehearsing to the song.
[00:11:46] June Diane Raphael: Same place.
[00:11:46] Jason Mantzoukas: So same place so that they can get on the kid creole in the coconuts audition and get passed by Mama Coconut wearing an Amy Sherman Paladino hat. Um, and.
[00:11:59] Paul Scheer: But can I just say the Kid Creole and the Coconuts does not speak to me as a large, uh, televised audience, but yet they are treating this as if it's the finale of one of the biggest shows on television.
[00:12:12] June Diane Raphael: It's American Idol.
[00:12:13] Paul Scheer: Yeah, like at its height.
[00:12:15] Jason Mantzoukas: I loved the small stakes of it, though. I loved the small stakes the movie had that no room ever has more than about 15 people in it, even crowded clubs.
[00:12:23] But anyway, sorry. My point was to June's point, we see them training for what appears to be weeks working on the dance and they never get better. And in fact, when they do the audition, they seem to be worse. Like I was like, they've gotten worse at this.
[00:12:38] June Diane Raphael: Yeah, the final product is pretty bad as well. The funniest thing about that training montage though is, you know, I was thinking back to like the training montage in Dirty Dancing, which to me is one of the finest training montages in any movie.
[00:12:52] Jason Mantzoukas: I carried the watermelon.
[00:12:53] June Diane Raphael: They're, and they're on the log and they're, you know, we know the move that they're going for.
[00:12:58] Paul Scheer: Right.
[00:12:58] Jason Mantzoukas: Right.
[00:12:59] June Diane Raphael: We know that that's the, the big lift.
[00:13:00] Jason Mantzoukas: The lift.
[00:13:01] June Diane Raphael: Coming up at the end. Right. And they're going over it, and they're going over it. And there's frustration sometimes she's laughing, sometimes she gets tickled. There's so many ways in which they deal with that big lift and that, that whole dance sequence in this, they, they get frustrated by a turn in and a turnout, and then they get both of them very mad at each other. And it's not like, oh, it's like they're fucking pissed.
[00:13:28] Jason Mantzoukas: Yeah.
[00:13:29] June Diane Raphael: They're so mad at each other.
[00:13:30] Paul Scheer: Also have a connection.
[00:13:33] Jason Mantzoukas: What's. Yes. And, but what's also interesting is, she's a master, he's a learner.
[00:13:39] Paul Scheer: Right. Like, she's been doing this.
[00:13:40] Jason Mantzoukas: It's not framed like that. It's not framed like that. It's almost like they're equals and they're not. He needs to be learning from her so that the catharsis of the movie, he's baby. Let's be clear. He's baby.
[00:13:53] June Diane Raphael: Don't ever say that again.
[00:13:54] Paul Scheer: And don't ever put him in a corner.
[00:13:56] June Diane Raphael: Ever say that again and don't put him in the corner. Or put baby Jason.
[00:13:59] Paul Scheer: Jason is baby.
[00:14:00] June Diane Raphael: Jason is baby.
[00:14:01] Jason Mantzoukas: You don't want me to say Jason is baby?
[00:14:03] June Diane Raphael: Jason is not baby.
[00:14:04] Jason Mantzoukas: I just, I just wanna, I just wanna give it to people so they can clip it. Jason is baby. Okay, cool. Thank you.
[00:14:14] Paul Scheer: Well, I mean, look, the, again, this movie is about a company from California that is just destroying the rainforests in Brazil. They are coming through, letting all the natives know, Hey, get outta here because we're burning this. We're burning it to the ground, not chopping it down. They're burning down the rainforests. For what end? We don't know. It's Rutger Hower's like, uh, twin brother.
[00:14:39] Jason Mantzoukas: Oh my god. I wrote American Rutger Hower too.
[00:14:43] Paul Scheer: Yeah.
[00:14:43] Jason Mantzoukas: I wrote American Rutger Hower. I love that. Thank you.
[00:14:46] Paul Scheer: That, that guy. And so he comes in, uh, very harshly, drives his jeep through one of their huts. And then to me, my favorite part is when they are leaving out of anger, they just drive over a small tree.
[00:15:01] Like the equivalent of like what the, what Like the, the Sad Christmas tree is in the Peanuts Christmas special. Like they just drive. It's like they clearly are, we could do that. We could drive, we could, we could hit that tree and it won't be that big of a deal.
[00:15:12] June Diane Raphael: Well, by the way though, when they're driving through that hut, the, I see. This is where I was getting so confused. 'cause I thought that, that, that looked like a bridal hut that looked like.
[00:15:21] Paul Scheer: Oh, okay.
[00:15:22] June Diane Raphael: You know, she was maybe in there to get ready or to go into afterwards.
[00:15:27] Paul Scheer: I, yeah. Nisa is, I think getting married. That's what I thought.
[00:15:30] June Diane Raphael: God. Who is that guy? Well, he, she never mentions him again.
[00:15:33] Paul Scheer: No. I mean, look, no Nisa we, we are told that Nisa has spent a lot of time in the States, uh, studying the white man. That's her own choice of words. Yeah. She goes, I've been there. 'Cause she's like, let me deal with this guys. I'll talk to Rutger Hower. Hey, I, I know the white man. But then when she does come to LA it does seem like she's never studied the white man, because the way that she says, and, and I don't want to be one of these, uh, racists in the movie, but the way that she says chair man, it felt to me like she was saying a man that is also a chair. Like, uh.
[00:16:05] June Diane Raphael: Which I enjoyed. I love that.
[00:16:06] Paul Scheer: I really enjoyed her.
[00:16:08] June Diane Raphael: Now I, here's the thing, you know, I, I need to discuss. Jason, Jason, because Jason.
[00:16:17] Paul Scheer: Jason.
[00:16:17] Jason Mantzoukas: Not me.
[00:16:18] Paul Scheer: Jay's son.
[00:16:18] June Diane Raphael: But you, Jason, because.
[00:16:20] Jason Mantzoukas: So rarely do we find Jason's in our movies.
[00:16:23] Paul Scheer: Yeah. This is a good one.
[00:16:24] Jason Mantzoukas: And this one, this was a good one.
[00:16:25] June Diane Raphael: Well, this Jason was presented when he was first in that bed, and she gets a job in that house and the woman's walking her through and, you know, she opens the door and says, Hey, don't clean in here if he's in here. And, and he's passed out on that bed.
[00:16:41] Paul Scheer: Yeah.
[00:16:41] June Diane Raphael: That's my son. He is, you know, ne'er do well. It, I thought, okay, he's eight, he's 18. If he's a day, he's 19.
[00:16:48] Jason Mantzoukas: Great.
[00:16:48] June Diane Raphael: He's just out high school.
[00:16:49] Jason Mantzoukas: I, I, I also have this question.
[00:16:50] June Diane Raphael: Okay. Wonderful. Young, young buck, ideally. Yeah. And 'cause she's very young. Now, Paul, I, I'm watching these movies in, in posts, the last Epstein email drop. I am very, I'm not like okay as a person after reading all of them. And I was like, how young is she? She looks too young. She looks too.
[00:17:08] Paul Scheer: And I'm quickly googling. 26.
[00:17:11] June Diane Raphael: 26. 26. Okay, great. But I was like, oh, okay. He's gonna be, he's gonna be a teenager. He, the next shot we see of him, he looks like a middle aged man.
[00:17:24] Jason Mantzoukas: It's, I it's inappropriate that he still lives at home and is being treated like a, a child by his parents. He's a grown man.
[00:17:31] Paul Scheer: Could have been in the movie Wall Street. Like he looks, that's how he carries himself. It looks like he doesn't have the hair of even a teenager.
[00:17:38] Jason Mantzoukas: He doesn't have a ba. He doesn't even have a baby face.
[00:17:40] Paul Scheer: No.
[00:17:41] Jason Mantzoukas: You know what it is? Him and all his friends, Ashley and Weed and I wrote the, the names down somewhere. They all have a bunch of shitty names. They look like they are the runoff of the Brat Pack.
[00:17:55] Paul Scheer: Yes.
[00:17:55] Jason Mantzoukas: They look like they're in a Saint Elmo's fire ripoff movie. They look like they are adults. They should not be.
[00:18:02] They, they seem to be portraying high school kids and they are not at all.
[00:18:05] June Diane Raphael: Well, you know what it was, it was, you know, Jessica and I were talking about how the young kids, if, if they think someone's unattractive, they'll call them chopped. Um, you know, their face is kind of chopped. And then if they think they look like a celebrity.
[00:18:18] But like not as good looking. They'll call them a choppelganger. And that's what I felt like about all of the guys in this movie. They all looked like choppelgangers. That they should be those guys we remember from that time, and they are so not, I mean our Jason, I wanna talk about his hair and I'm so glad you brought it up because the the infrastructure.
[00:18:44] Paul Scheer: Yeah, go for it.
[00:18:45] June Diane Raphael: The infrastructure of his hair is, I spent the entire movie just trying to figure it out. The highways in the byways, the mainframe was so, so confusing.
[00:18:58] Jason Mantzoukas: What's interesting when it's, what's interesting about watching old stuff, both for this and also when I'm watching old episodes of law and order or old whatevers that, you know, I'm old movies and stuff is, you really are shocked to remember we've become so desensitized. Everybody now has some version of the same hairline. Everybody now has
[00:19:20] Paul Scheer: Yes.
[00:19:20] Jason Mantzoukas: Some version of the same.
[00:19:22] June Diane Raphael: Right.
[00:19:22] Jason Mantzoukas: Some, some version of the same stuff. We now have figured enough things out that you forget that even then, back then, young people, you had to reckon with receding hairlines in their twenties. And.
[00:19:36] Paul Scheer: Sure.
[00:19:36] Jason Mantzoukas: Like you, I you watch it on Moonlighting so much so that they have to start making jokes in the show about David Addison losing his hair because he can't go, he can't go to Turkey and get a, get a hair plug situation.
[00:19:47] Paul Scheer: You know, I told you the story, I think, but I, I'll, I'll tell it quickly here that when I was a child, I was such a fan of Moonlighting that I went to my, uh, barber hairstylist and I said, uh, can you make me look like this? I gave him a picture of Bruce Willis from Moonlighting, and they said, that's a receding hairline. And I was like, I, I want it. And luckily my babysitter's like, don't know. We have to make sure his mom is okay with it.
[00:20:10] Jason Mantzoukas: But that's the thing is like the many of the sex symbols of the time.
[00:20:13] Paul Scheer: Yes.
[00:20:14] Jason Mantzoukas: Bruce Willis. Corbin Burnson. Like people had of course receding hairline, which thinning hair.
[00:20:20] June Diane Raphael: That's wonderful. And, and you're right, I, I do think there is definitely a diversity to hairline that that, that we don't see anymore. And that's too bad. And I totally get that. I think what, what I'm also saying though is like we're, we're talking about the front. I'm also talking about the back. It's both very long and it, and sometimes quite short. It's so confusing. And there are times where he's, he's dancing and dancing and you'll see the back lift up.
[00:20:52] Jason Mantzoukas: Yeah.
[00:20:52] June Diane Raphael: You know, and it is so strange.
[00:20:56] Jason Mantzoukas: Oh no, the whole situation was.
[00:20:58] Paul Scheer: But you know, that whole thing.
[00:20:59] Jason Mantzoukas: Especially for someone who's in constant motion. Sorry.
[00:21:01] Paul Scheer: Here, here I, I'm gonna say, like, I, I, I can speak to this as a, as a man who is bald. Like when you are losing it, you don't wanna cut it from any other spot. You're like this, I'm disguising it. Like, I like, and you see it all the time's.
[00:21:14] June Diane Raphael: You see that all the time.
[00:21:15] Paul Scheer: You see it for the, the puffed out the sides. It's the long the back. It's like, no, no, no.
[00:21:19] June Diane Raphael: Trump.
[00:21:19] Paul Scheer: Yeah. You got it all over the place. Now look.
[00:21:22] Jason Mantzoukas: Wait. Do you, is his hair? Wait, wait.
[00:21:23] Paul Scheer: No. His good hair. Yeah. Before.
[00:21:25] Jason Mantzoukas: He got, he's got great hair.
[00:21:26] Paul Scheer: Great great hair. Right. Alright, well we'll leave that on the side. Here's what I'll say. The hair that I loved is of course the witch doctor who just said, you know what, I'm losing it and I am gonna go. To me, this looks like a Fred Arman character. Uh, you know, uh.
[00:21:40] June Diane Raphael: I thought he was great.
[00:21:41] Paul Scheer: He was amazing. That is Joa, is his name?
[00:21:43] June Diane Raphael: Joa.
[00:21:44] Jason Mantzoukas: Yeah.
[00:21:44] Paul Scheer: Joa. Uh, Joa is the tribal shaman who is doing, he's up to a lot of stuff. I mean.
[00:21:51] Jason Mantzoukas: He's got straight magic.
[00:21:53] Paul Scheer: Yes.
[00:21:53] Jason Mantzoukas: This guy is literally doing magic and everybody's just like, oh, cool. He does magic. Okay, we're in.
[00:22:00] June Diane Raphael: Why not? Well, what I was fascinated by, I mean, so the character I, I can't remember her name, she finds Nisa um, like a asleep.
[00:22:13] Jason Mantzoukas: Carmen.
[00:22:13] June Diane Raphael: By a Fountain. Carmen. Thank you.
[00:22:15] Jason Mantzoukas: Yeah, Carmen is her name.
[00:22:16] June Diane Raphael: So the.
[00:22:16] Jason Mantzoukas: It's the like the horniest character in the movie.
[00:22:19] June Diane Raphael: And by the way, I'm gonna be, I'm gonna be, so for real, again, the best dancing in the movie as far as I'm concerned.
[00:22:27] Jason Mantzoukas: Oh, Carmen.
[00:22:28] June Diane Raphael: Is by Carmen in her own apartment, just vibing out and, and seducing Joa.
[00:22:35] Jason Mantzoukas: It because.
[00:22:35] Paul Scheer: She was playing air drums.
[00:22:37] Jason Mantzoukas: She's so free with her movement. She feels like she's moving to a song and everybody else feels like they're trying to remember steps. Does that make sense?
[00:22:47] June Diane Raphael: She just had energy.
[00:22:47] Paul Scheer: Yes.
[00:22:48] Jason Mantzoukas: Yeah.
[00:22:48] June Diane Raphael: She had energy and it was interesting. And I was like, I don't know what the fuck is going on, but I'm enjoying this. And it was surprising. And she was giving everything she had. You're right. Everybody else was like marking the beats.
[00:23:00] Jason Mantzoukas: Yes. And trying to remember what the steps are.
[00:23:02] June Diane Raphael: Yeah.
[00:23:02] Jason Mantzoukas: You know, it felt like they were, they had been taught stuff versus, uh, Carmen just felt like she was living her best life.
[00:23:10] June Diane Raphael: Yes.
[00:23:10] Jason Mantzoukas: And I was like, give me the Carmen movie.
[00:23:13] Paul Scheer: But by the way, is that part of the black magic of Joa? Because we do know that Joa's got. He can shoot fireworks out of his hand. He's got black, he's got a little sack that freezes you. He, you know, and so he starts air drumming there and it seems like, oh, he's just keeping himself entertained, but maybe he's like possessing the air, like he's kind of puppeteering Carmen. I don't know. Because when he is air drumming, she gets so into it.
[00:23:38] June Diane Raphael: Oh, Paul, that's an interesting read.
[00:23:39] Paul Scheer: It's, I I feel like he's more powerful than we even know.
[00:23:42] Jason Mantzoukas: Oh yeah. He is like making l you know.
[00:23:45] Paul Scheer: He's like making love. Yes.
[00:23:46] Jason Mantzoukas: Big, big cat sounds, he's roaring like a tiger at points or something. He's, he's doing all sorts of stuff. That's that. And when he leaves, when they somehow, I couldn't figure out why they needed to raise money to send him back home.
[00:24:01] June Diane Raphael: No, I don't.
[00:24:01] Jason Mantzoukas: They do. They do. And he shows of back, back up at the end. Yes.
[00:24:06] June Diane Raphael: Doesn't seem, seem to have a lot of expendable cash.
[00:24:08] Jason Mantzoukas: And why would Carmen wanna get rid of him? Aren't they in love now? I'm rooting for them more than I am. Jason and Nisa.
[00:24:13] Paul Scheer: I think, I think they needed to send him home to get the king. Because.
[00:24:16] Jason Mantzoukas: That, that's it.
[00:24:17] Paul Scheer: The king does make the appearance at the end of the movie.
[00:24:21] Jason Mantzoukas: Yes. On the Kid Creole and The Coconut Show.
[00:24:23] Paul Scheer: Yes. So he, we gotta get the, we gotta get the king. 'Cause I guess plan, the original plan was let's send Nisa our daughter, uh, who knows the way of the white man to break into the corporation of Petrimico and, uh, a name that just kind of falls off the tongue. And she was, I don't know what her plan was besides just kind of breaking into his office and saying.
[00:24:44] June Diane Raphael: Talk to him, I guess. Yeah.
[00:24:46] Paul Scheer: And so when that plan goes awry, Joa gets arrested. She's now left just alone in the city. They have no plan. The plan is over the minute they don't get into the CEO's office. So then. The plan is let's win a dance contest to get the word out about the destruction of the rainforest.
[00:25:07] Jason Mantzoukas: I don that's, but even that's not a plan until much later. Because first she becomes a maid. Right. Then she loses that job, but meets Jason. Then she works in the dance club slash brothel.
[00:25:17] Paul Scheer: By the way, that's so upsetting.
[00:25:18] Jason Mantzoukas: I need to talk about the, I need to talk about the woman who has a switchblade in her bra.
[00:25:22] June Diane Raphael: Eyebrows?
[00:25:23] Paul Scheer: Yeah. No, yeah.
[00:25:23] June Diane Raphael: Eyebrows.
[00:25:24] Jason Mantzoukas: Uh, I was obsessed with, I'm, I'm obsessed with, um, seventies and eighties movies, obsession with switchblades, um, which I think is a 1950s nostalgia for like greaser.
[00:25:37] Paul Scheer: Oh yeah.
[00:25:38] Jason Mantzoukas: Switchblades, you know, like.
[00:25:39] Paul Scheer: Oh, it feels dirty.
[00:25:40] Jason Mantzoukas: The gangs, the gangs of the fifties, you know, like fonzi switchblade type stuff. Um, but like her having a switchblade just like click as if that's the most threatening thing that's ever existed.
[00:25:52] Paul Scheer: Well, I think that that guy thinks that she, he's, you know, she's gonna chop off his dick.
[00:25:56] Jason Mantzoukas: Oh yeah.
[00:25:56] Paul Scheer: Because by the way, that guy who just gets outta the, the one of the brothel rooms, uh. Like is immediately done, comes out, shirt off looking like, uh, like again, like a, a real poor man's Al Bundy stomach out, just kind of goes up to Nisa and says like, you're next.
[00:26:12] Jason Mantzoukas: Speaking, speaking of June, this might as well have been filmed on Little St. James. I don't know what this, I don't know where this place was.
[00:26:18] June Diane Raphael: Very terrible.
[00:26:20] Jason Mantzoukas: But it is.
[00:26:21] June Diane Raphael: Very terrible.
[00:26:21] Jason Mantzoukas: I'm pretty sure some of our cabinet members were in there.
[00:26:24] June Diane Raphael: Yeah. And, and that main lady was a real Ghislaine Maxwell. I mean, it was real, it was really sad.
[00:26:30] Paul Scheer: She was like, she'll get comfortable when she's comfortable, you can come back. Oh God. I mean, but.
[00:26:35] Jason Mantzoukas: Because i've just found it. His friend's names are Dave, Kurt and Weed.
[00:26:41] Paul Scheer: Oh my God. And by the way, they are all, like we said, they are all straight up racists. Like they meet Nisa.
[00:26:46] June Diane Raphael: Rapists. They're rapists and racists and.
[00:26:49] Paul Scheer: Yes.
[00:26:49] June Diane Raphael: And the, honestly, one of the big problems I had with this movie was their apology at the end, which is such a non-apology. It's like. Yeah, I'm sorry that happened. I'm sorry. We lost control. And then she says, no problem.
[00:27:05] Jason Mantzoukas: Yeah.
[00:27:05] June Diane Raphael: No problem. And we move on. I was like.
[00:27:10] Paul Scheer: Well, she's forgiving. I mean, she saw them for what they are, and she'll never trust them again.
[00:27:15] Jason Mantzoukas: You know who, how about this, you know, who never apologizes and never gets their comeuppance is fucking Ashley who sucks so hard.
[00:27:24] Paul Scheer: She's the worst.
[00:27:25] Jason Mantzoukas: The worst villain of the entire movie. When she's in the car with American Rutger Hower and, and she's, he says, you're just like your mother. And she says, I'm outside like her, but inside I'm all daddy. And he like holds her face in his hand. I was like, I want this car to blow up.
[00:27:45] June Diane Raphael: I hate it every second of it.
[00:27:47] Movie Audio: Well, it looks like you've taken after your mother.
[00:27:49] Only on the outside. Inside, I'm all daddy.
[00:27:55] You must be one confused little girl.
[00:27:58] Hardly. No, you're still the hired gun for Petramco, aren't you?
[00:28:03] What do you want?
[00:28:04] It seems we have a mutual acquaintance, a certain Indian princess.
[00:28:11] I know an Indian princess.
[00:28:13] Oh, please. Save your act for the unwashed. I know. She's as big a pain in the ass for Petramco as she is for me. So I thought it's about time we do something about her.
[00:28:24] Where can I find her? At this club Creation, Jason and Nisa have been rehearsing here every afternoon. They're preparing a dance audition for the Kid Creole show. And if they make the audition, they're on national tv.
[00:28:37] I won't allow that to happen.
[00:28:40] Well, I didn't think you would.
[00:28:42] We can't let them go on TV and preach anti-American propaganda. Now can we, Ashley?
[00:28:47] What are you gonna do to her?
[00:28:49] Let's just say I wouldn't do anything you wouldn't approve of.
[00:28:53] Jason Mantzoukas: Awful. And I was like, she's a real villain.
[00:28:57] June Diane Raphael: Yeah.
[00:28:57] Jason Mantzoukas: And nothing, she never has any.
[00:28:59] June Diane Raphael: Well, she doesn't. She doesn't get to perform on Kid Creole in the Coconuts.
[00:29:03] Jason Mantzoukas: No, she doesn't. She doesn't get to do that.
[00:29:04] Paul Scheer: She doesn't have the talent to even do that.
[00:29:05] Jason Mantzoukas: I do believe she is someone who now would be like full Maga.
[00:29:11] Paul Scheer: Well, I mean she also, she does hire somebody, right? That guy. Does she hire that cowboy guy? Like to come and like kind of wreck the show at the end?
[00:29:19] June Diane Raphael: I think what she does, I couldn't rem I couldn't actually figure out what the plan was.
[00:29:25] Jason Mantzoukas: She sells them out to American Rutger Hower.
[00:29:28] June Diane Raphael: That's right.
[00:29:28] Jason Mantzoukas: Who works for Petra company.
[00:29:30] Paul Scheer: Right.
[00:29:30] Jason Mantzoukas: So that he then gets them kidnapped. Um.
[00:29:33] Paul Scheer: How is she getting a, a line into the Petraco or whatever, like?
[00:29:37] June Diane Raphael: Her daddy.
[00:29:38] Paul Scheer: Who know her dad used to work with him.
[00:29:40] June Diane Raphael: Connections.
[00:29:40] Paul Scheer: Oh, okay. And then why is, why is Rutger back in the States?
[00:29:43] Jason Mantzoukas: He's like a behind the scenes fixer. He's like a villain fixer.
[00:29:47] Paul Scheer: Got it.
[00:29:48] Jason Mantzoukas: Who works with all the big corporate, you know, villains to, to, to help them make the ozone worse? I guess.
[00:29:55] Paul Scheer: I, I mean, thi this is the look we can't dig in on the climate change is very hard to kind of break down. This is why people don't believe it exists. You know? Uh, the, this movie I think simplifies it.
[00:30:04] June Diane Raphael: We didn't move the cause forward with this.
[00:30:08] Paul Scheer: Well, look, I mean.
[00:30:09] Jason Mantzoukas: So much of the, so many of the clumsy themes of this movie could not be more prescient for right now. It is chilling.
[00:30:16] June Diane Raphael: Well, but by the way, I did feel like everyone in this movie was MAGA though.
[00:30:20] Paul Scheer: Yes. I mean, there are so many like slurs in this movie. First of all, she's Brazilian.
[00:30:25] Jason Mantzoukas: Casual.
[00:30:26] Paul Scheer: Casual slurs, casual and like she's Brazilian.
[00:30:29] June Diane Raphael: And there are times though, before she opens her mouth and has any sort of like Portuguese accent before they're, they all are like scum. They say I'm, they say be if you are ra well, you are racist. We're gonna find out in two seconds. But on what basis? Right now, in this moment.
[00:30:45] Jason Mantzoukas: Yeah.
[00:30:45] June Diane Raphael: She has brown hair.
[00:30:47] Paul Scheer: By, by the way.
[00:30:47] June Diane Raphael: It's so wild.
[00:30:49] Paul Scheer: They are also in Beverly Hills. They are in Los Angeles. Right. Even in the nineties. I have to imagine that these people live in a, a diverse city and they treat like Beverly, like take that shit to the east side clubs. As if like.
[00:31:03] June Diane Raphael: Oh, you'd be surprised how Maga Beverly is babe.
[00:31:04] Paul Scheer: No, I, I get it, but I meant, I know that.
[00:31:06] Jason Mantzoukas: I'm not surprised.
[00:31:07] June Diane Raphael: Paul's always defending the rich.
[00:31:08] Paul Scheer: Oh, well, I mean, I, I try to, I, you know, 'cause they keep me, they keep me fed. Um, I will, I I, there was a, a really funny line when they, when, you know, she gets all those like slurs out, but she doesn't really take 'em in and then she starts dancing. But she does say to. Nisa does say to Jason, she said, uh, I wrote this down. 50 years ago, the government of Brazil forbid this dance because it's too sexy. For, for it fifty years ago, for it to be too sexy for Brazil.
[00:31:36] Jason Mantzoukas: In the forties. That's pretty amazing.
[00:31:39] Paul Scheer: I guess maybe in the forties, I guess in the forties you couldn't do this dance.
[00:31:43] Jason Mantzoukas: Yeah.
[00:31:43] Paul Scheer: And, but when she does it like, I guess. Again, I feel like the dance with the curtain was sexier than what we ever see on tv, but this never feels.
[00:31:51] June Diane Raphael: The lambada is a terrible dance. It's a, it's, it is a, it's not a dance. It's sort of like a hip movement. It's completely soulless and joyless. I, I, I hated it.
[00:32:03] Paul Scheer: You wanna feel like you're watching two people fuck. And I, I guess we answered the first question, which is like, I don't know if I wanna watch Jason fuck. And I don't think that, that she is as good as a dancer to com. Like she was best when she was alone.
[00:32:19] Jason Mantzoukas: It's interesting because we have existed, most of our lives have existed in what I would say is like a renaissance of dance movies.
[00:32:27] Paul Scheer: Right.
[00:32:27] Jason Mantzoukas: Sub subsequent to this movie, we have a lot of very good dance movies that have populated the nineties and two thousands prior to this. I think June, you're mentioning Dirty Dancing. There really were very few movies that had dance as a component to it. And I do think these, this movie, and I'm get, I'm, I suspect Lambada, which I thought we had watched. Um, were really all about the erotic nature of dance being transgressive, you know?
[00:32:58] June Diane Raphael: Well, yeah. And it's also, dance is usually, usually in most dance movies, dance is a class issue.
[00:33:04] Jason Mantzoukas: Yes.
[00:33:04] June Diane Raphael: Dance is an economic, um, differentiator. And it is.
[00:33:08] Jason Mantzoukas: Yes.
[00:33:08] June Diane Raphael: Sort of in this movie too. Although I couldn't, I know that you're saying Jason, about like the, the white Beverly Hills. People in the dance club were sort of just using their arms. I actually couldn't quite figure out what the real difference was in the dancing even. It didn't seem like watching Ashley dancing.
[00:33:28] Jason Mantzoukas: Oh, it was the closeness. It was just the closeness of their crotches. I feel like the, the camera is telling what was different. Yeah. The camera's telling you by focusing on their midsections, it's saying, this is the controversial thing we are willing to show. This movie is about this. And it's, this is so outrageous that it's making people in the crowd want to reach out and touch them because they want, they're so absolutely turned on by this crazy dancing, you know?
[00:33:57] Paul Scheer: But now, but now, uh.
[00:33:58] Jason Mantzoukas: Is I think what they're trying to tell you. That's what I think. I'm doing a little work for the movie, but I think that's what it's. It's unsuccessful, but that's what it's trying to show.
[00:34:05] June Diane Raphael: Right.
[00:34:05] Paul Scheer: But the Calypso or King Clam, or whatever his name is, he is also.
[00:34:10] Jason Mantzoukas: Kid. Okay. Kid Creole and the Coconuts.
[00:34:12] Paul Scheer: Yes.
[00:34:12] Jason Mantzoukas: Very real band. Very real band. How dare you.
[00:34:17] Paul Scheer: Kid Creole and The Coconuts, which they do perform a, a song that I had a lot of problems with. Was it called The Horror? Uh.
[00:34:26] Jason Mantzoukas: Yes.
[00:34:26] June Diane Raphael: I love that song.
[00:34:27] Jason Mantzoukas: That was the best song in the movie.
[00:34:29] Paul Scheer: I mean, that was.
[00:34:29] June Diane Raphael: To me as well.
[00:34:30] Paul Scheer: I, I feel like they're, they're kind of like Latin Disco Caribbean, so they're open to this kind of music. Like I guess the idea is Kid Creole is the only person that will accept this kind of dancing.
[00:34:42] Jason Mantzoukas: I don't even know if that's the case.
[00:34:44] June Diane Raphael: I mean, yeah, I think.
[00:34:45] Jason Mantzoukas: I think this is just the audition that's happening.
[00:34:47] June Diane Raphael: And I would say that that could be true if our other dancers like Ashley, et cetera, weren't trying so desperately to also win a spot on the Kid Creole competition. Right?
[00:34:58] Jason Mantzoukas: Yeah. Because if Nisa hadn't shown up, Jason and Ashley would've been doing regular dancing to try.
[00:35:04] June Diane Raphael: And be a sure thing.
[00:35:04] Jason Mantzoukas: To still try and get in on Kid Creole and the Coconuts, you know, that is just the audition that's available that is going to, I guess, be the platform that changes the world?
[00:35:16] June Diane Raphael: By the way, when it's revealed when Kid Creole like takes in the information from the King and from our witch doctor and from Nisa and Jason are like, oh yeah, this company. And they're making pluses and you know, they're, they're on every product and they're causing this and they're taking over and, you know. Kid Creole is like, kind of takes it in like, oh wow, okay. And then he's like, yeah, I mean, man, I guess I'm not gonna buy any of those products anymore.
[00:35:41] Movie Audio: The same Petramco that we find on the supermarket shelves.
[00:35:44] That's the one. We buy products they make every day.
[00:35:48] Not me. Not anymore. The rainforest is too important. I say, if Petramco is destroying the rainforest, well then we should just boycott their ass.
[00:35:59] June Diane Raphael: Okay, back to dancing.
[00:36:01] Jason Mantzoukas: We should boy, he goes, he says, we should boycott their,
[00:36:03] June Diane Raphael: We should boycott their stuff.
[00:36:05] Jason Mantzoukas: Their stuff. And that is the last line of the movie. No more dialogue. No, just dancing.
[00:36:10] June Diane Raphael: And it's also like it. I guess my point is it feels like for all that the end moment is like, yeah, maybe.
[00:36:19] Paul Scheer: Right.
[00:36:19] Jason Mantzoukas: Wouldn't you love to live in that world? Wouldn't you love to? To live in a world in which. People can win a dance contest, get on Kid Creole and the Coconuts on tv, he calls for a boycott and substantial change happens.
[00:36:31] Paul Scheer: Well, but to me, I'm also like, we don't know what this company even does.
[00:36:36] June Diane Raphael: I love to know what their products are actually.
[00:36:37] Paul Scheer: Like. We don't know what they like, it feels to me like they could be drilling for oil. We don't know what they are doing idea. So to boycott their products, it does feel like a like, oh, okay, well I wonder what they're behind.
[00:36:49] Like, you know, 'cause it doesn't say, Hey, we should stop buying their toilet paper and their this and they're that. He just says, let's stop. And I guess, I don't know, for an audience of what, 600 to 700 people, again, this looks like a very local show.
[00:37:01] Jason Mantzoukas: Yes.
[00:37:02] Paul Scheer: It looks like a very local show. Although I did say to June while we were watching it. Are those cue cards intentional or are they, uh, indicative of the shorter, uh, period of time of making this film? Because.
[00:37:14] Jason Mantzoukas: My, I think they were trying to show this. That is, there's a TV show filming.
[00:37:18] Paul Scheer: Got it.
[00:37:18] Jason Mantzoukas: I mean, so there were like, there is a visual cue to tell you this is a TV show.
[00:37:24] Paul Scheer: Got it.
[00:37:24] Jason Mantzoukas: Um, because there weren't a lot of other, uh, visual cues to tell you this was the TV show.
[00:37:30] Paul Scheer: Right. 'Cause it looked, looks exactly like the same club that you saw in the beginning.
[00:37:33] Jason Mantzoukas: It just looks like another dance club.
[00:37:34] Paul Scheer: Yes.
[00:37:34] Jason Mantzoukas: Yes.
[00:37:34] June Diane Raphael: Oh my God.
[00:37:35] Jason Mantzoukas: Um, I have a question. Do you, how did the shaman fly back from Brazil with a snake in his bag?
[00:37:42] Paul Scheer: Well, I mean, using black magic, I mean.
[00:37:44] Jason Mantzoukas: A very, a very big snake. I mean, is that bag like a, like a Hermione Granger bag that has like a limitless volume inside? It was.
[00:37:53] Paul Scheer: I mean, I, let's even go to, let's go, let's ask one question before that. How did they both get here without passports? They don't seem to have any ID, any money, and they just seem to have gotten on a plane. I think actually one of the characters just say like, how did you get here? And she's like, nevermind that, let's, let's, let's put that on on the side over here.
[00:38:14] June Diane Raphael: I did find it kind of crazy, kind of crazy that she put on her boss's dress and went out in it.
[00:38:21] Jason Mantzoukas: Yeah.
[00:38:22] Paul Scheer: Well his son gave it. Didn't the son give it to her?
[00:38:24] June Diane Raphael: Yeah.
[00:38:24] Jason Mantzoukas: Yes, but we, but we don't see, we don't see them meet. She sees him passed out on the bed and the next scene, they're walking into the club and she's saying, I feel bad.
[00:38:35] Paul Scheer: No, he's checking her out. Right as he check. Goes.
[00:38:38] June Diane Raphael: When she's dancing during the curtain dance. But then he gets on the phone with Ashley and Ash is like, I can't go tonight. And he's like, right, right. Oh, he's so mad and cut to.
[00:38:47] Jason Mantzoukas: Yeah.
[00:38:48] June Diane Raphael: Nisa walking in with him. We never see what happened there and how she got his mom's dress.
[00:38:55] Jason Mantzoukas: Yeah. And also how it fits her so good.
[00:38:57] June Diane Raphael: Perfectly.
[00:38:58] Jason Mantzoukas: That mom's body must be incredible.
[00:39:01] June Diane Raphael: And then it also, then she marches back into the house like, like, ain't nothing happened here.
[00:39:06] Jason Mantzoukas: Yeah. That was a bad look for Nisa.
[00:39:08] Paul Scheer: The mom's real concern seems to be dry cleaning. She's like, I just had, oh, now I gotta bring it back to the dry cleaner. Like, uh, as if she sweats so much in it.
[00:39:18] Jason Mantzoukas: Well, I mean, they did go dancing.
[00:39:20] June Diane Raphael: Yeah. I would bring it to the dry cleaner, Paul.
[00:39:21] Paul Scheer: I mean, she, they never look like they're catching a sweat. And we've watched plenty. I've watched a Save The Last Dance. I've seen.
[00:39:26] June Diane Raphael: I mean, I'm getting that dress dry cleaned.
[00:39:28] Paul Scheer: Oh, you have to get it dry cleaned.
[00:39:30] June Diane Raphael: Oh, absolutely.
[00:39:30] Paul Scheer: Yeah. You gotta get it drag queened uh, drag cleaned, uh.
[00:39:33] Jason Mantzoukas: Drag queened?
[00:39:34] Paul Scheer: Drag queen.
[00:39:34] Jason Mantzoukas: Gotta get drag queen. Get that dressed drag queened.
[00:39:36] Paul Scheer: You gotta get the drag queens back in it. Man, oh man. So, alright. So.
[00:39:40] Jason Mantzoukas: I loved, I loved how scared the parents were that he was dancing so much. He, Jason repeatedly turns down alcohol because he's driving. We never see them doing drugs. We, he's nothing. He's portrayed as nothing but a genuinely good boy whose only vice is dancing.
[00:40:01] Paul Scheer: Yep.
[00:40:01] June Diane Raphael: The best, the best line was at one point during this conversation where he's, his parents are really going after him for dancing. He says, mother, I dance.
[00:40:13] Movie Audio: Your father and I don't feel it's fair to us that you spend your time running in and out of dance clubs.
[00:40:20] Mother, I dance. I like it and I'm good at it.
[00:40:24] June Diane Raphael: That so funny.
[00:40:25] Paul Scheer: I mean, this is very Footloose coded. Like.
[00:40:28] Jason Mantzoukas: Yes.
[00:40:28] Paul Scheer: I mean they're like, we are from Beverly Hills, we don't dance. Which would then also, if I'm writing this movie, and again, they only wrote in 10 days, so give him a lot of credit. Like he should be leaving Beverly Hills to go downtown to go to different clubs.
[00:40:41] June Diane Raphael: See how the other folk dancing?
[00:40:42] Jason Mantzoukas: Wouldn't that be great? Well, that's the thing baby goes to where the, where the other people are dancing sexy, not how.
[00:40:50] Paul Scheer: Yes.
[00:40:50] Jason Mantzoukas: Patrick's. Patrick Swayze's teaching like proper, like ballroom dancing at the resort.
[00:40:56] Paul Scheer: Right.
[00:40:56] Jason Mantzoukas: But they're doing dirty dancing in the club at night and, and baby has to go there. Jason baby doesn't go anywhere to learn the Lambada. The lambada just comes to him. Strange.
[00:41:06] Paul Scheer: And he's basically.
[00:41:07] June Diane Raphael: Jason baby needs a Swayze.
[00:41:10] Jason Mantzoukas: We do. I mean, Jason baby needs a Swayze. That's the t-shirt.
[00:41:12] Paul Scheer: I mean, there it is, Molly.
[00:41:14] Jason Mantzoukas: It's a personal ad. It's, it's, it's a personal ad. Jason baby needs a Swayze.
[00:41:19] Paul Scheer: Oh, I love that. Uh, I do believe that like, even the club that they're at is essentially like the Max from Saved by the Bell at night. Right. It's like it's.
[00:41:28] June Diane Raphael: Oh my God.
[00:41:28] Paul Scheer: It's, you know, it looks just like the max and there's nothing but going on. But then when the DJ plays, Hey, I'm gonna play the lambada the entire dance floor clears out.
[00:41:40] Jason Mantzoukas: Yeah.
[00:41:40] Paul Scheer: Like no one's on the dance floor but them, and I'm like, at that point you're a bad DJ because you're playing a song that clears the dance floor and you don't change a damn thing.
[00:41:49] June Diane Raphael: No.
[00:41:49] Paul Scheer: So the Dj.
[00:41:50] Jason Mantzoukas: What's also interesting is then, then, um, Nisa and Jason step out and they start dancing and it's going so well that everybody jumps in and is like, turned on by the music. Like the movie's trying to tell us. I feel like the, the, the rest of the movie's plot wants us to believe they're the underdogs, but like every time they do the dance, it catches on. So they are nothing but like, they're not being held down. They're only being lifted up in every.
[00:42:18] June Diane Raphael: Immediately.
[00:42:19] Jason Mantzoukas: Every one of the dance sequences, you know?
[00:42:21] Paul Scheer: So I guess the idea is like it's taking everybody by storm, but we never really get that because even his friends at the end, they apologize for being racist, but I think they're really apologizing just because they won the contest. And rapist. Um, but I do also wanna talk about the power of this dance because I do think there is something to be said for like how it hypnotizes men, when we see those men look, they're creepy, but they also seem completely hypnotized by her.
[00:42:49] June Diane Raphael: No, do you mean the, the three or four men in a dance circle?
[00:42:53] Paul Scheer: Yes. In the business suits, just staring at her. People in leather.
[00:42:56] June Diane Raphael: Disgusting to me.
[00:42:57] Paul Scheer: People in leather, like it's a leather club. I mean, there are people in full, like s and m gear on a stage and on platforms.
[00:43:08] Jason Mantzoukas: Confusing. I will say there's a confusing amount of contradictory, um, subcultures represented in very few number of people in this club.
[00:43:19] June Diane Raphael: That's why i'm like, we're re we might be reading too much because there's just, there's not a lot of people to look at.
[00:43:24] Jason Mantzoukas: Yeah. And everybody seems to represent a different subsect of the culture or of a subculture, which was, I just felt like the movie, they just were throwing everything at the movie. And in a lot of ways nothing ends up sticking because you're just like, what, what, what am I following, exactly? And, and boy, do I wish they would be getting better at dancing. And they are just not.
[00:43:46] June Diane Raphael: Yeah. They are just not, you know, they the.
[00:43:51] Paul Scheer: Now I, now I am. I mean, this movie, look, did it make me question, you know, what these companies are doing to the rainforest? Absolutely. Why? I was brought in through sex, sex sells. Why aren't we doing more sex with our PSAs? Like, that's what I think that, that I'm get getting from this movie. Let's make a sexy PSAs from now on.
[00:44:11] June Diane Raphael: Okay.
[00:44:12] Paul Scheer: You know?
[00:44:12] June Diane Raphael: Okay.
[00:44:13] Paul Scheer: Show a little, show a little butt. Show a little leg. Show a little chest. You know what I'm saying? Let, let's get the world out.
[00:44:20] Jason Mantzoukas: Well, this is like, this is a movie that is like, that is a, uh, about a, an an erotically charged dance at a time that is. Very conservative. Like we're coming out of the very conservative eighties. Very the religious right, the, the Reagan era kind of conservatism that is, you know, and we're about to be in the period of the PMRC and, and yeah. And, and labeling music.
[00:44:47] Paul Scheer: And Thank you finally talking about what this movie's trying to get out there. Yes.
[00:44:51] Jason Mantzoukas: And the lambada was the thing.
[00:44:53] Paul Scheer: Nelson Mandella is about to get out of jail. Manuel Noriaga is finally captured. Right. Germany was reunified.
[00:45:02] June Diane Raphael: I guess I just wish it was a sexy dance.
[00:45:06] Jason Mantzoukas: I love, I would love it. I would love it as well.
[00:45:08] June Diane Raphael: I just wish it was.
[00:45:09] Jason Mantzoukas: I, I, I do too.
[00:45:10] June Diane Raphael: You know, you know what confounded me when, when they arrive at Carmen's apartment and, um. She offers that she and Nisa sleep on the couches in the living room.
[00:45:26] Paul Scheer: Oh yeah.
[00:45:26] June Diane Raphael: And that Jason has the bed.
[00:45:29] Jason Mantzoukas: Yeah.
[00:45:30] June Diane Raphael: And I was so, and now I know he's just been beat up. Right? Like that's fine.
[00:45:34] Paul Scheer: Well, he's always throwing punches though.
[00:45:35] June Diane Raphael: That's fine. But. You are not gonna catch me offering a man a bed while I sleep on the couch. Like that was just so wild.
[00:45:44] Paul Scheer: He's too tall for the couch, June.
[00:45:47] Jason Mantzoukas: The movie both wants Jason to be, he needs to learn from Nisa, but also it's a white savior movie for him. You know what I mean? Like it is.
[00:45:58] June Diane Raphael: Yes.
[00:45:58] Jason Mantzoukas: It, it's trying to have it both ways, um, which is, you know, just terrible. And he is like the prince who is like, oh, well you're the man, so you get the bed and we'll be out here. But, but I couldn't then figure out, and I'll just push back one level is, is Carmen trying to carve out space for Jason and Nisa to have the bed together? Is she like?
[00:46:19] June Diane Raphael: Oh, okay.
[00:46:20] Jason Mantzoukas: Is she foreseeing? She's like, 'cause she's basically like, why don't you go get in there and then she slides a condom under the door. So maybe part of it, but, well.
[00:46:27] June Diane Raphael: In my minds, I'm Carmen, I'm doing a lot of physical labor during the day. I am. I'm gonna sleep in my own bedroom.
[00:46:35] Jason Mantzoukas: Fuck yeah.
[00:46:35] June Diane Raphael: I'm a grown fucking woman. I'm gonna sleep in my own bedroom and I will, I will retire early and let you two young buck.
[00:46:43] Jason Mantzoukas: Befoul my couch.
[00:46:45] June Diane Raphael: Have the, yeah, have the couch. Do what you need to do out there. But I'm not offering up my bed for a stranger to have sex in. A strange man. It's so absurd.
[00:46:55] Paul Scheer: But June, but June, but doesn't, she, don't you think that she's doing that for the good of the rainforest? She's like, they have to fuck, so they win the contest.
[00:47:03] June Diane Raphael: So that he can save the day. So white man can save the day?
[00:47:06] Paul Scheer: Yeah. I mean.
[00:47:07] Jason Mantzoukas: This movie has, you know what this movie interestingly. It in contrast to so, so, so, so, so many of our other movies, this movie has no, zero exposition dumps. This movie has no plot recaps this mo no characters ever say what their plan is or what they're trying to do or recap where they are in the process. It is just happening to it. It feels as though the movie is happening to them in real time.
[00:47:36] Paul Scheer: Well, you said this, you said this thing about, you know, you said, oh, well, you know, they're practicing for weeks. I, I, I believe that they, this whole movie takes over the course of four or five days. Yeah.
[00:47:46] June Diane Raphael: Same. And, and I was trying to understand.
[00:47:48] Jason Mantzoukas: Well, I just based that on outfit changes.
[00:47:49] Paul Scheer: Oh, okay.
[00:47:50] June Diane Raphael: Yeah, I know. But it did, it also, I, I had the same thought as Paul, like, I think this is maybe the 48 hour period. But.
[00:47:57] Jason Mantzoukas: Maybe.
[00:47:58] June Diane Raphael: I also couldn't understand how much time went by at, at the club, because I kind of think we were supposed to believe that because of the lambada, because of her prize lambada lady, that business was booming because they had a sign out there.
[00:48:16] Paul Scheer: Well, right.
[00:48:17] June Diane Raphael: There's more men.
[00:48:18] Paul Scheer: Yeah. They're making a lot of money there. They're making a lot of money.
[00:48:22] June Diane Raphael: Switchblade lady, yeah. And then our, and then our, our security guard is in a really nice suit all of a sudden. So I'm like, oh, is she.
[00:48:28] Jason Mantzoukas: I love that security guard.
[00:48:30] June Diane Raphael: You know, she the big. Well, like, is she really like making coin here?
[00:48:34] Jason Mantzoukas: She's in demand. They're setting her up to both be this incredibly desired dancer who is also pure. She has not, she doesn't do any of the upstairs work. They say so many times that she hasn't yet taken anybody upstairs into like the bedrooms, you know? And then she says to Jason, I'll take you upstairs, so you're my first, you know?
[00:48:57] Paul Scheer: Right.
[00:48:57] Jason Mantzoukas: Which I was like, what is is happening in this movie?
[00:49:00] June Diane Raphael: That was the only scene though, that was at least. Now, I didn't understand it 'cause she switches like seconds later and is like trying to save him. But at least in that moment where she's like so angry with him and angry about everything that's happened and she's telling him she's gonna take him upstairs and he's like, no, no, no.
[00:49:18] I don't want you to, I don't want you to. At least I was like, oh, something interesting is happening between these two people. It's, it's, I don't really understand why, but I am engaged in whatever conflict this is.
[00:49:32] Jason Mantzoukas: Well, wouldn't it have been interesting if the movie, I mean, and this isn't the movie we watched, obviously, but.
[00:49:36] Paul Scheer: Right.
[00:49:36] Jason Mantzoukas: If the movie was interrogating him, richie, rich, Beverly Hills kid, really having to go into another world because of meeting and encountering this woman. And really it is about, like you were saying, June, class and it is about, yeah, you know, race and it is about all these elements that are, that are in this movie, but are just really not being spoken to, really.
[00:49:58] June Diane Raphael: Yeah.
[00:49:58] Paul Scheer: Right. No, no, he doesn't. Can't, it doesn't have time for that guys. It doesn't have time for that. All right.
[00:50:04] June Diane Raphael: We gotta play the, yeah, we gotta do the lambada again.
[00:50:06] Paul Scheer: I mean, this guy, we're realizing that through dance, he's not a racist like all of his friends. He's also not a rapist, like all of his friends. Yeah. He's in Beverly Hills, but maybe sleeping during the day. And he's a vampire. Like, you know, he's, he's getting his life force from something different. And I, I don't know. I feel like that.
[00:50:21] June Diane Raphael: I would love, if it turned out that he was a vampire.
[00:50:22] Paul Scheer: I would love to see, I mean, oh, he is, he's more physically violent than I would assume for a character like this. He breaks the traditional mold of a Beverly Hills rich kid. He doesn't have any of those things like, you know, and I feel like, yeah, he's always throwing punches in fights that he is not going to win. And what does he break his ankle from? Like a what? A four foot drop?
[00:50:42] Jason Mantzoukas: From falling, but from falling like so little. Yes. You're right. So little.
[00:50:46] Paul Scheer: So little. Like a curb is like a double curb. Uh, you know.
[00:50:49] June Diane Raphael: Such a short way.
[00:50:50] Paul Scheer: And luckily.
[00:50:51] Jason Mantzoukas: And also is like he hangs, he's hanging there for like maybe six or seven seconds. He has zero upper body strength.
[00:50:59] Paul Scheer: Yeah.
[00:50:59] Jason Mantzoukas: Like he could have, he could have held on for long. He is, I was.
[00:51:02] June Diane Raphael: Which is shocking because so much of his Beverly Hills dancing is upper body.
[00:51:06] Jason Mantzoukas: Is just upper body.
[00:51:07] June Diane Raphael: You know?
[00:51:07] Jason Mantzoukas: You'd think his shoulders and and arms would be just jacked.
[00:51:12] June Diane Raphael: I laughed so hard when he fell. I mean, it was truly such a short distance. That I was also like, you knew you were falling that distance. Like if I was up there, I would look down. You have, you have the time to kind of cushion that fall as best as possible. I did not think there was any reason he should have broken ankles.
[00:51:33] Jason Mantzoukas: Yeah.
[00:51:34] June Diane Raphael: Especially as a dancer.
[00:51:35] Jason Mantzoukas: Oh yeah. But thank God the shaman is there with the snake to heal him.
[00:51:40] June Diane Raphael: Thank God.
[00:51:40] Jason Mantzoukas: With a venomous snake bite, I assume, I mean, incredible stuff.
[00:51:45] Paul Scheer: I, I, and by the way.
[00:51:46] Jason Mantzoukas: I just think it's interesting. I what, it's something that I find captivating about this, is she is positioned in a way that is, people are captivated by her. People.
[00:51:58] Paul Scheer: Of course.
[00:51:58] Jason Mantzoukas: Cannot take their eyes off of her. Her movement is hypnotic. Everything. People are driven feral by her presence. And what, what is it 20 years later, she plays such a similar role in Mulholland Drive?
[00:52:13] Paul Scheer: Oh, yeah, yeah.
[00:52:14] Jason Mantzoukas: Uh, Laura Herring, you know, like, like still has this magnetic appeal that is, that David Lynch uses to be like, oh, I cannot, this person is entrancing in some way. This person is somehow I cannot, I I is captivating me in some way. There's some, there's a link there that I was like, oh, wait a minute. This is Laura Herring from Mulholland Drive.
[00:52:37] Paul Scheer: Yeah.
[00:52:37] June Diane Raphael: Well, listen, she is captivating. She's.
[00:52:40] Jason Mantzoukas: Oh yeah.
[00:52:41] Paul Scheer: She's like a five time Miss America, right?
[00:52:43] June Diane Raphael: Yes.
[00:52:43] Paul Scheer: Like she's got like a crazy past.
[00:52:45] June Diane Raphael: But here's the problem with the movie, Lori Herring is absolutely captivating. And I could, I could watch her all day, but she's not captivating as a dancer.
[00:52:54] Jason Mantzoukas: No.
[00:52:54] June Diane Raphael: And if we had just photographed her and filmed her in this movie, doing something else and leaving the, you know, I, I, I think she would be captivating. But in here, inside this movie, once she's dancing and we're not really just on her face, it's falls apart.
[00:53:12] Jason Mantzoukas: No, we need, yeah, the movie needed because dance is the transaction that needs to like, emotionally get you there. The, the dancing just doesn't seal the deal. I would, I would be curious and perhaps, forgive me Paul, if this research has already been done.
[00:53:27] Paul Scheer: No, please.
[00:53:28] Jason Mantzoukas: I would be curious for us to do the other Lambada movie.
[00:53:31] Paul Scheer: Well, this is viewed as the worst of the two, but I'm so down to take you up on that because, again.
[00:53:36] Jason Mantzoukas: And maybe it's not worth it and I genuinely mean that. I'm not saying we should, but.
[00:53:40] Paul Scheer: I'm sure.
[00:53:41] Jason Mantzoukas: I'm, I'm curious. I'm just curious as a, as a comparison.
[00:53:44] June Diane Raphael: I would, I would love to see, I would actually love to see The Lambada. Um, I would love to see a better Lambada.
[00:53:52] Paul Scheer: Well, let tell you some, lemme tell you something about the other Lambada film. They do not use the song Lambada, nor do they dance the Lambada in the other Lambada because I believe.
[00:54:03] Jason Mantzoukas: Okay, so they had the name but not the song. And this one has the song, but not the name.
[00:54:08] Paul Scheer: Exactly. And I mean, the story here, I'll just give you a little bit more of it here. Uh, you said that this is, you know, a Golan Goblis you know, kind of thing. So basically, uh, the producer writer of this is Men Golan. And you know, he comes obviously with, uh, Jorme Globus.
[00:54:25] And so they have that studio. We've, we've done a lot of different movies about, and they basically, him and his, uh, cousin, they turn out like 125 movies in the eighties, right? So it's like all the Chuck Norris movies, everything that we've really done on this show. But in 87, things, uh, start going bad for Canon films, uh, they kind of have all these flops like Superman four and Master the Universe, which we also did in the show.
[00:54:46] They're facing bankruptcy and um, and basically Golan says, you know what? It's all Globus fault. And he leaves to start his own company. And they don't, the cousins don't speak anymore. But then when The Lambada becomes this phenomenon, both of them are racing into production to make this their savior movie. Like they're.
[00:55:08] Jason Mantzoukas: Oh, so wait a minute. So the two Loba movies, one is Golan and one is Globus.
[00:55:13] Paul Scheer: Yes, exactly.
[00:55:14] Jason Mantzoukas: Oh, that's incredible.
[00:55:15] Paul Scheer: So then Globus goes, my film's gonna be released on May 4th, and then, Golin's like mine will be released on April 6th.
[00:55:24] Jason Mantzoukas: Holy shit.
[00:55:24] Paul Scheer: And then they're like, these lawsuits, that's how Lambada's pulled from the name. And then, uh, Golan gets the song, uh, and, and then, uh, Globus does not get the song.
[00:55:35] And then Golan takes out a two-page ad in Variety announcing that The Forbidden Dance is gonna open in March. And, and then.
[00:55:42] Jason Mantzoukas: I love this.
[00:55:43] Paul Scheer: And it's in Variety. It says, I'm proud and honored to have had the opportunity to create the one and only original Lambada film that truly depicts the Lambada dance. And then Globus is like, fuck, I gotta release mine at the same time. Uh, and so yeah, uh, yeah. So basically.
[00:56:00] Jason Mantzoukas: Oh, that makes, so, that makes so much more sense then why these exist, it's because it's seems like it's personal.
[00:56:07] Paul Scheer: Yes.
[00:56:07] Jason Mantzoukas: So basically, yeah, it feels like antagonistic towards each other. Not just randomly two people came up with the same idea.
[00:56:14] Paul Scheer: It's a guy who basically have created trash, both chasing the same trash and ethics.
[00:56:20] Uh, basically Lambada, I think because of the name recognition, makes 2.9 million on opening weekend opening at number eight. Meanwhile, The Forbidden Dance makes 721,000 and comes in 14th place. So like, so you know, Lambada wins. Lambada always is winning.
[00:56:40] Jason Mantzoukas: I mean, here's the reality. Here's the reality. The audience wins. The audience wins with two different Lambada movies.
[00:56:48] Paul Scheer: Obviously, look, there's so much to break down here, but I think that what we understand is this movie worked, it stopped and uh, protected the rainforest. It has created so many great things and, and we had some problems with it, but there are people out there that think this is a perfect movie. It is now time for Second Opinions.
[00:57:28] Music: [Second Opinions Song]
[00:57:33] Paul Scheer: You'll be happy to know that there are less than a thousand reviews for this film. So this is not a film that's really broken through, but 82% of them are five star reviews. And Mishy in 2018 writes,
[00:57:46] "I loved this movie as a teen. As an adult, still a good movie touches on a few ecological issues too, which is what pulled me to it as a teen. Recommend watching. Five stars."
[00:58:00] A few ecological issues. What? What are the, I mean, one, it just seems like don't destroy the, it doesn't seem like it gets into the nitty gritty in any, in any way beyond.
[00:58:09] June Diane Raphael: No, we're not getting into like fossil fuels or anything else other than just like the, the Amazon rainforest.
[00:58:15] Jason Mantzoukas: Yeah. It really is the ozone layer and the destruction of the rainforest. Which in this time period is.
[00:58:21] June Diane Raphael: Was the thing.
[00:58:22] Jason Mantzoukas: The only climate change level event, you know, we're not talking about clean coal here.
[00:58:28] Paul Scheer: No. Yeah. This is, I don't even really understand the plan just to burn it all down. It does seem like that's a waste of.
[00:58:34] Jason Mantzoukas: Well, that's the thing that's so funny is like this kind of a movie. Like, you know, your Saturday Night Fevers, your, you know, your dance type, your Dirty Dancing. It really is about the dance that really allows you to become yourself or to, to dance your own steps or to, to win the contest. But in this case, winning the contest means saving the rainforest. It is, the stakes are so big. The movie exists on such a small street level that the, that it's, its message is massive.
[00:59:07] Paul Scheer: Well, and that's, and the idea, ideally if, since they're burning it down, uh, my thought is that it's primarily probably for like cattle ranching or agriculture in some way. So this is the company that they're boycotting. They're like, don't eat meat. So is it also a movie that?
[00:59:23] Jason Mantzoukas: They keep saying, they say that the company, you know, that company, there's their products are in, are in your supermarkets. And I was like, whoa, whoa, whoa. Are they a food company?
[00:59:32] Paul Scheer: I mean like, again, it's, when I'm looking at why you're burning down the rainforest, you're talking about mining for gold or copper or oil, agriculture.
[00:59:42] June Diane Raphael: I dunno what they're doing?
[00:59:42] Paul Scheer: It doesn't seem like, but again, we have to, that's why we need the prequel about Petrico with like the Rose Krantz and Gilder Stern of this film. Um, this movie from Akbar as a little sexually charged, uh, written in April 14th, 2002 Akbar writes,
[00:59:56] "This was the most sensuous movie I've ever seen. When you try to be sensuous, it often doesn't work. But when you make a movie like this one and allow a talent to express, the results are here."
[01:00:09] June Diane Raphael: Okay.
[01:00:09] Paul Scheer: "In this movie. Bow Wow. "
[01:00:11] June Diane Raphael: Ew.
[01:00:12] Paul Scheer: "Five stars."
[01:00:14] June Diane Raphael: Ew.
[01:00:14] Jason Mantzoukas: I wish it hadn't ended with bow wow.
[01:00:16] Paul Scheer: Five stars.
[01:00:17] June Diane Raphael: I hate. I can't right now, Paul.
[01:00:19] Paul Scheer: And um, I will just end with Sweet Cherry for you on IMDB who gave it 10 outta 10 stars.
[01:00:24] And Sweet Cherry says,
[01:00:25] "Although this movie obviously didn't attract many viewers, it's one of the best movies I've ever seen with music and dance. The Forbidden Dance is not only entertaining for the viewers, but it also lets everyone know that there are problems in the world that people need to think about, such as the rainforest issue, 10 stars."
[01:00:46] The rainforest issue. Yes. We are not talking about the rainforest issue. So I mean, I will say on some level, releasing a mainstream movie as the me like that is the message. It's not to save, like you said, not to save the rec center, not to save something. It's like it's a big issue. Uh, and, and I do think that that's probably the boldest part of it.
[01:01:06] Jason Mantzoukas: Yeah. I mean, I mean for, I would say for, for a Globus and, uh, Golum kind of movie, to have it have a, um, an ecological message is kind of shocking.
[01:01:19] June Diane Raphael: Yeah. And, you know, the ozone hole.
[01:01:22] Jason Mantzoukas: Yeah.
[01:01:22] June Diane Raphael: Has been healed.
[01:01:24] Jason Mantzoukas: Yeah.
[01:01:24] Paul Scheer: So there we go.
[01:01:25] June Diane Raphael: Or its way to healing.
[01:01:25] Jason Mantzoukas: We did it.
[01:01:26] June Diane Raphael: I guess, I guess because of this movie.
[01:01:28] Jason Mantzoukas: I guess this movie's mission accomplished? On the, on the aircraft carrier?
[01:01:33] Paul Scheer: I will say, I did hear the Joa did fly in an F 16 jet with a snake and put the snake to where the hole in the ozone was and he and sucked it closed. I mean, that snake can, it can suck out venom, it can suck out broken bones and it can fix the ozone layer. We just gotta get Joa up there with the snake.
[01:01:50] Jason Mantzoukas: I do just wanna one more time.
[01:01:52] Paul Scheer: Yeah. Please.
[01:01:52] Jason Mantzoukas: Remind everybody that at the audition, not at the final, but at the audition, the judge, the judge's name is Mama Coconut. I really.
[01:02:05] June Diane Raphael: Yes.
[01:02:06] Jason Mantzoukas: I really, that was important to me. I was, I don't want, I wanna foreground that, and I know I said she's wearing an Amy Sherman Paladino hat earlier because this character appears to be dropped in. I believe she is genuinely Kid Creole's manager or something because.
[01:02:20] June Diane Raphael: I, first of all, her energy Mama Coconut's energy while watching that and also like looking at Kid Creole, like, it was so fascinating, in fact. Like it was like.
[01:02:31] Paul Scheer: She's running a show.
[01:02:31] June Diane Raphael: She was so happy.
[01:02:33] Jason Mantzoukas: Yes, yes.
[01:02:34] June Diane Raphael: She was so lit up inside that I couldn't, to your point, it felt like she never been on screen before.
[01:02:42] She just looked so happy to be there. Certainly, wasn't playing any sort of discernment or like.
[01:02:49] Jason Mantzoukas: No.
[01:02:50] June Diane Raphael: Wasn't sort of reminding us of the stakes of this really intense audition.
[01:02:54] Jason Mantzoukas: Once again, the dance captivated everyone, including Mama Coconut.
[01:02:59] June Diane Raphael: Right. But Mama Coconut was also seemed captivated by our villains dance.
[01:03:04] Jason Mantzoukas: Oh.
[01:03:04] June Diane Raphael: Like, she was just, seemed so, like, there, there was no critical eye from her.
[01:03:09] Jason Mantzoukas: I think she was happy to be in a movie.
[01:03:11] Paul Scheer: I, I let, lemme tell you, can I just tell you, just again, you know, we're talking about a real person here. Mama Coconut is now, uh. Is, uh, the lead singer of this band, uh, is August Darnell. All right. Uh, and, um, mama Coconut is now Darnell's wife. Uh, you know.
[01:03:29] Jason Mantzoukas: The Coconut. I believe the coconuts were the Kid Creole's, Kid Creole, and the Coconuts, I believe are the females singers.
[01:03:35] Paul Scheer: Okay. So Darnell's now wife, Eva Tudor Jones was Mama Coconut for more than 20 years, and now she manages all of their operations and they're still on tour.
[01:03:44] You can go see them this year, as a matter of fact. They're, they're in Europe right now as we speak. Uh, so, you know, uh, there's a lot, there's a lot going on in the coconut world. I will say this. June, I know that you said that you needed to speak a little bit about the sexiest kiss you've ever seen on film. Uh, when Jason and Nisa kiss, uh, and how they really are sucking in lips there.
[01:04:05] June Diane Raphael: It, it was disgusting.
[01:04:06] Jason Mantzoukas: Wait, when? I don't remember.
[01:04:08] June Diane Raphael: They're on a bed. Maybe it was, maybe it was when they were in, in Carmen's apartment.
[01:04:12] Paul Scheer: Yeah. I think that's when it happens, right?
[01:04:14] Jason Mantzoukas: Oh, okay.
[01:04:14] June Diane Raphael: It was so disgusting and it was like, there's no tongue. Cause they kept on, there was like a side view and so we just kept on watching faces, their lips, mash into each other. Open, open mouths, like sort of like, you know, two fish, like two fish going at each other.
[01:04:30] Jason Mantzoukas: Sure.
[01:04:31] June Diane Raphael: But I, I'm gonna use this word. I hate to say this, but it looked so dry.
[01:04:36] Jason Mantzoukas: Oh yeah, yeah.
[01:04:37] June Diane Raphael: Yeah. Look like two dry mouths like fish, fish on the sand. Kind of like.
[01:04:45] Jason Mantzoukas: The kiss that I got that I was very disturbed by. There's a kiss during the dance sequence where.
[01:04:53] June Diane Raphael: Why so much kissing during the dance sequence?
[01:04:55] Jason Mantzoukas: Where he puts her onto the ground of the, lays her down.
[01:04:59] June Diane Raphael: I didn't like that.
[01:04:59] Jason Mantzoukas: On the floor of a nightclub and kisses her on the ground. I was like, this is disgusting. This is, get out of there. You guys both need a shower now. Jesus.
[01:05:11] June Diane Raphael: It was so gross. So gross.
[01:05:14] Paul Scheer: It was so gross. Um, would you recommend people watch this film?
[01:05:16] Jason Mantzoukas: Absolutely.
[01:05:17] Paul Scheer: Yeah.
[01:05:19] June Diane Raphael: Yeah. I mean I've enjoyed talking to you two about it and Paul, I do feel like we, we enjoyed it last time.
[01:05:26] Paul Scheer: Yeah. Absolutely.
[01:05:26] June Diane Raphael: Such a, the wrong word to use, but we watched it and we had some laughs.
[01:05:32] Paul Scheer: We definitely watched the movie.
[01:05:33] June Diane Raphael: We definitely watched it. And it wasn't too long.
[01:05:35] Jason Mantzoukas: Yes.
[01:05:35] Paul Scheer: It wasn't too long. At one hour and 35.
[01:05:38] Jason Mantzoukas: If it had been even 10 more minutes longer, I would've hated it would've, but it really.
[01:05:42] June Diane Raphael: It's just the right length.
[01:05:43] Jason Mantzoukas: It really was the right length and it wasn't, um, you know, and I'd say most of the movie is a montage.
[01:05:49] Paul Scheer: Yeah.
[01:05:50] June Diane Raphael: Yes.
[01:05:50] Jason Mantzoukas: So, so you really don't have to pay.
[01:05:51] June Diane Raphael: You can fast forward.
[01:05:52] Jason Mantzoukas: A lot of attention.
[01:05:52] Paul Scheer: No. And then sometimes that's when characters will say something like, was that established? No, it wasn't. And again, the MVP for me is, of course, Joa. Today's episode, of course, uh, is, you know, uh, to support the rainforest, just like the movie. I think we need to start, you know, kind of putting a post credits tag on our show. You know, it's dedicated to the rainforest. Well, I guess. Yeah, I know. Like, like, so let's make that a, a special promise.
[01:06:14] Jason Mantzoukas: I would love that.
[01:06:15] Paul Scheer: And listeners, if you have any money left over, after pledging your financial support to the rainforest, you can pledge your support to How Did This Get Made by buying a t-shirt designed for this very episode. You can check out all of our merch. Just go to HDTGM.com But for this episode, uh, we do have a, uh, a t-shirt design that could be made into a sticker or a sweatshirt, whatever you want.
[01:06:36] Uh, it's like a newspaper personal ad that says, uh, "Jason Baby needs a Swayze." Uh, just a guy who likes to dance, looking to learn the exotic Lambada. Care of H-D-T-G-M. Yeah, it doesn't really read as funny as it is, but it is great. We'll put the link to the shirt, uh, in the show's notes. And for all of our t-shirt designs, like I said, just click on that merch link.
[01:06:59] You can get it made into a mug, a backpack, uh, a sweatshirt, whatever you want. Um, we are back at Largo April 1st. If you don't know what movie we're doing on April 1st and you got tickets, well just check out the website, but I'll tell you right here too, it's the Pierce Brosnan action flick Livewire. As always, if you have a correction or omission from this episode, leave me a voicemail at 6 1 9 P-A-U-L-A-S-K or write a comment on our discord at Discord.gg/HDTGM and I'll respond to your messages next week on Last Looks, Jason will also join me to chat about my visit to the Jackass Five Set. Nirvana The Band, The Movie. Yeah, we recorded this a little while ago and some TV shows that we are currently loving.
[01:07:36] Remember, if you listen to us on Apple Podcast or Spotify, please make sure you are subscribed to our feed and have automatic downloads turned on in the show settings. It helps us and we appreciate it a lot. Lastly, a huge thank you to our behind the scenes team. I'm talking about our producer, Scott Sonne and Molly Reynolds, our engineer, Casey Holford, our social media manager, Zoe Applebaum, and our intern Quinn Jennings. And we'll forever be thankful to the one and only Avaryl Halley.
[01:08:00] That's all I got, people. I'll see you next week on Last Looks. Bye for now.