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The Rewatchables ·

Austin Powers: The Spy Who Shagged Me

year 1999decade 90sdirector Jay Roachgenre Comedygenre Thriller
host Bill Simmonshost Sean Fennesseyproducer Craig Horlbeck format Archive rereleaseformat Rewatchables 1999
All 15 categories

Most Rewatchable Scene · 22:17

Spaceship euphemism montage

Bill Simmons: The Springer scene is nominated for Dr. Evil's entrance and ensuing brawl, while its dependence on the show's once-central cultural status is flagged as a future obstacle.

Bill Simmons: Mini-Me's introduction and immediate hostility to Scott are nominated; the reveal is remembered as a major comic event.

The Neil McCauley “A Book about Metals” Award for Best Line from the Movie · 54:44

Get in my belly

Bill Simmons: Number Two returning after apparently dying in the first film's fire pit is questioned, while the lack of required logic makes nitpicking difficult.

The film

Austin Powers: The Spy Who Shagged Me (1999)

Directed by Jay Roach · Comedy

95 minutes

IMDb Letterboxd Find on JustWatch Rotten Tomatoes
Cast

Selected cast credits · Film reference

Mike Myers Austin Powers / Dr. Evil / Fat Bastard
Heather Graham Felicity Shagwell
Michael York Basil Exposition
Robert Wagner Number Two
Rob Lowe Young Number Two
Seth Green Scott Evil
Mindy Sterling Frau Farbissina
Verne Troyer Mini-Me
Elizabeth Hurley Vanessa Kensington
Gia Carides Robin Spitz-Swallows
Oliver Muirhead British colonel
Clint Howard Johnson Ritter
David Koechner Co-pilot
Kevin Durand Bazooka Marksman Joe
Fred Willard Mission Commander
Jeff Garlin Cyclops
Rachel Wilson Woody Harrelson fan
Jennifer Coolidge Woman at football game
Michael McDonald NATO soldier
Will Ferrell Mustafa
Kristen Johnston Ivana Humpalot
Charles Napier General Hawk
Tim Robbins President

Everything from the episode

In the order the hosts got to it. Open a row for the discussion.

22:17

Most Rewatchable Scene

Spaceship euphemism montage; Mini-Me introduction

Spaceship euphemism montage; Mini-Me introduction

In the discussion (12)
Approx. transcript time · 00:22:17Read transcript
  • The Springer scene is nominated for Dr. Evil's entrance and ensuing brawl, while its dependence on the show's once-central cultural status is flagged as a future obstacle. — Bill Simmons
  • Mini-Me's introduction and immediate hostility to Scott are nominated; the reveal is remembered as a major comic event. — Bill Simmons
  • Verne Troyer's sudden celebrity is recalled through awards-show visibility and reality television, alongside acknowledgment of his later personal struggles. — Sean Fennessey
  • The Alan Parsons Project sequence is nominated for Scott's sarcastic reactions and Dr. Evil's insulted response, while the musical reference may escape younger viewers. — Bill Simmons
  • The president and war room laughing at the $100 billion demand is nominated. — Bill Simmons
  • Austin's space fight with Mini-Me is nominated as effective slapstick and a callback to the first film's toilet sequence. — Bill Simmons
  • The spaceship euphemism montage is the favorite scene for one speaker and also amuses the producer; the Harrelson and Nelson cameos are highlighted, with an uncertain recollection that test reactions prompted extra filming. — Bill Simmons
  • Mini-Me's first scene remains another choice; the tent silhouette and objects emerging from the bag are additional nominees for juvenile but effective comedy. — Sean Fennessey
  • The incompetent guard falling into the fire pit is nominated for its deliberate stupidity. — Bill Simmons
  • Fat Bastard's crying confession about eating and unhappiness is praised, though the character is considered more effective in 1999 than 2019. — Bill Simmons
  • Fat Bastard meeting Mini-Me and the baby-back-ribs song are additional memorable bits; the latter's 1969 setting is acknowledged as incoherent and its reference as time-bound. — Sean Fennessey
  • The sex-scene lead-up with Frau Farbissina is considered weak, but the awkward coffee encounter afterward is praised and suggested as another rewatchable scene. — Sean Fennessey
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29:15

The most 1999 thing

America Online

America Online

In the discussion (5)
Approx. transcript time · 00:29:15Read transcript
  • America Online's prominent name, email sound and video communication are most 1999 candidates, though the video technology looks surprisingly capable. — Bill Simmons
  • The Chili's jingle and Rebecca Romijn cameo are most 1999 candidates. — Bill Simmons
  • Myers's comedy-genius status and Starbucks expansion are most 1999 candidates; the Starbucks investment joke is nevertheless considered still effective. — Bill Simmons
  • Jerry Maguire catchphrases and Springer are further dated references. — Sean Fennessey
  • America Online is the agreed most 1999 choice, prompting discussion of continuing to use an AOL address. — Sean Fennessey
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31:31

What’s Aged the Best?

Connected-sketch structure; Mini-Me–Scott feud

Connected-sketch structure; Mini-Me–Scott feud

In the discussion (10)
Approx. transcript time · 00:31:31Read transcript
  • The opening credits and between-scene face-making transitions are praised for maintaining pace and coherence between sketches. — Bill Simmons
  • Mojo is praised as an enduring concept and the colorful, larger-budget production design is admired, including the canister's convincing appearance. — Bill Simmons
  • Dr. Evil's combination of Blofeld and a Lorne Michaels impression is praised; Dana Carvey's claim to the impression and the resulting estrangement are discussed, distinguishing comic invention from Myers's ability to build a film around a character. — Bill Simmons
  • Dr. Evil's unexplained oversized nipples are an aged-best choice. — Bill Simmons
  • The sex-scene lead-up with Frau Farbissina is considered weak, but the awkward coffee encounter afterward is praised and suggested as another rewatchable scene. — Sean Fennessey
  • Mustafa calling up from below after his injury is praised as a successful repeated gag from the first film. — Bill Simmons
  • Mini-Me humping the laser and his hostile farewell card to Scott are aged-best choices. — Bill Simmons
  • I shall call him Mini-Me is praised as a reusable line, alongside the Mini-Me fight. — Bill Simmons
  • Final aged-best choices split between the unapologetic connected-sketch structure and the Mini-Me–Scott feud; Dr. Evil's nipples are explicitly rejected by the structure voter. — Sean Fennessey
  • Lowe and Wagner are proposed as aged-best choices, interrupted by an explicitly speculative and then qualified accusation about Natalie Wood's death; the speakers acknowledge they do not know what happened. — Bill Simmons
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34:18

Casting What-Ifs

Jim Carrey; Colin Quinn; Rob Lowe

Jim Carrey; Colin Quinn; Rob Lowe

In the discussion (3)
Approx. transcript time · 00:34:18Read transcript
  • Jim Carrey reportedly passed on Dr. Evil in the original film, prompting a question about why Carvey was not approached and speculation about the pair's relationship. — Bill Simmons
  • Colin Quinn reportedly turned down Scott Evil in the original film; the missed opportunity is noted alongside the earlier Carrey story. — Bill Simmons
  • Rob Lowe reportedly obtained the young Number Two role after doing a Robert Wagner impression while golfing with Myers; knowing Wagner through dating his daughter is offered as background. — Bill Simmons
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37:56

What’s Aged the Worst?

Felicity with Fat Bastard; musical numbers

Felicity with Fat Bastard; musical numbers

In the discussion (5)
Approx. transcript time · 00:37:56Read transcript
  • Felicity sleeping with Fat Bastard is the final aged-worst choice for one speaker, who finds the encounter gross despite understanding the plot reason. — Sean Fennessey
  • Kristen Johnston's Ivana Humpalot scenes are criticized for an unfunny performance and accent. — Bill Simmons
  • Fat Bastard reusing the Scottish voice from Axe Murderer is criticized, with Shrek completing the trio of similar voices. — Sean Fennessey
  • Just the Two of Us and the One of Us musical bits are disliked; musical numbers are the other final aged-worst choice. — Bill Simmons
  • Colin Quinn reportedly turned down Scott Evil in the original film; the missed opportunity is noted alongside the earlier Carrey story. — Bill Simmons
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41:46

The Dion Waiters Award for Best Heat Check Performance

Verne Troyer

Verne Troyer

In the discussion (3)
Approx. transcript time · 00:41:46Read transcript
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43:45

Half-Assed Internet Research

Character origin; MTV special; makeup time; Graham cut; Moore producing

Character origin; MTV special; makeup time; Graham cut; Moore producing

In the discussion (6)
Approx. transcript time · 00:43:45Read transcript
  • Myers reportedly declined a third Wayne's World to develop Austin Powers, prompting renewed interest in the Myers–Carvey split. — Bill Simmons
  • The reported origin story has The Look of Love on the car radio prompting Myers to use a swinging-English character voice for his wife, then write the film in three weeks. — Bill Simmons
  • The original film's MTV promotional special is recalled as a strange artifact of extensive movie-centered television promotion before internet marketing became dominant. — Bill Simmons
  • Fat Bastard's daily makeup time is corrected from the circulated seven hours to two and a half. — Bill Simmons
  • Heather Graham reportedly appeared in a much longer Goldmember cut before her scenes were removed; her gold-painted Details cover is recalled, with speculative connection to her casting. — Sean Fennessey
  • Demi Moore's executive-producer credit on all three films prompts uncertainty about her involvement; the Todd sisters' producing relationships are offered as a possible explanation. — Sean Fennessey
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48:55

Apex Mountain

Jay Roach; Mike Myers; Verne Troyer; Heather Graham; random-song soundtracks

Jay Roach; Mike Myers; Verne Troyer; Heather Graham; random-song soundtracks

In the discussion (6)
Approx. transcript time · 00:48:55Read transcript
  • Jay Roach is affirmed for Apex, with the film's success launching a substantial comedy career and later political films and television work. — Sean Fennessey
  • Mike Myers is emphatically affirmed for Apex based on his post-film power, and Verne Troyer is affirmed without hesitation. — Bill Simmons
  • Heather Graham is affirmed for Apex, with the film's commercial scale, Bowfinger and magazine prominence outweighing Boogie Nights' prestige. — Bill Simmons
  • Dr. Evil impressions are proposed for Apex rather than assuming audiences recognized Lorne Michaels; the revived VW Beetle gets only a maybe, and mailbags are rejected. — Sean Fennessey
  • Random-song soundtracks receive an affirmative Apex response; Lenny Kravitz is tentatively proposed through American Woman and its Graham video. — Sean Fennessey
  • Rob Lowe's comic reinvention, resilience and concurrent West Wing role prompt a late Apex reconsideration, but his 1980 s leading-man period is preferred for greater power. — Bill Simmons
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52:16

The Joey Pants “That Guy” Award

Mindy Sterling

Mindy Sterling

In the discussion (1)
Approx. transcript time · 00:52:16Read transcript
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52:48

The Ruffalo / Hanna / Rubinek / Partridge Overacting Award

Kristen Johnston

Kristen Johnston

In the discussion (1)
Approx. transcript time · 00:52:48Read transcript
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53:37

Picking Nits

Vanessa as Fembot; Number Two surviving

Vanessa as Fembot; Number Two surviving

In the discussion (2)
Approx. transcript time · 00:53:37Read transcript
  • Vanessa being a Fembot throughout the previous film is a nitpick, but the sequel's willingness to dismiss logic and wink at the camera is praised; time-travel handwaving is compared to Avengers: Endgame. — Sean Fennessey
  • Number Two returning after apparently dying in the first film's fire pit is questioned, while the lack of required logic makes nitpicking difficult. — Bill Simmons
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54:44

The Neil McCauley “A Book about Metals” Award for Best Line from the Movie

Get in my belly

Get in my belly

In the discussion (5)
Approx. transcript time · 00:54:44Read transcript
  • Number Two returning after apparently dying in the first film's fire pit is questioned, while the lack of required logic makes nitpicking difficult. — Bill Simmons
  • Get in my belly is identified as the best-known quote; Machine-gun jubblies and the foreplay reply are additional favorites. — Bill Simmons
  • Dr. Evil confusing trillions and billions and the Southern California/England joke are quote candidates. — Sean Fennessey
  • The Swallows/Spitz wordplay is disliked, but Robin surviving repeated injuries and Austin landing on her are praised. — Sean Fennessey
  • The smoke-after-sex joke is another quote candidate; the film is described as largely composed of quotable lines. — Sean Fennessey
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56:17

Sequel, Prequel, Limited Series, or All-Black Remake

Not answered

Not answered

In the discussion (2)
Approx. transcript time · 00:56:17Read transcript
  • The smoke-after-sex joke is another quote candidate; the film is described as largely composed of quotable lines. — Sean Fennessey
  • The Netflix adaptation question is announced but passed over without an answer. — Bill Simmons
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56:30

Probably Unanswerable Questions

Mojo and Viagra; lost mojo; two Austins

Mojo and Viagra; lost mojo; two Austins

In the discussion (3)
Approx. transcript time · 00:56:30Read transcript
  • Whether mojo inspired Viagra is corrected by checking the drug's 1998 approval, preceding the sequel; mojo as a Viagra proxy is then proposed as an inference. — Bill Simmons
  • The ending's claim that Austin always had mojo conflicts with his earlier inability to perform after its theft; licking the spilled mojo off the floor is proposed as an alternative. — Bill Simmons
  • The two Austins ending is enjoyed, including its implied sexual encounter with Felicity. — Sean Fennessey
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58:16

Who Won the Movie?

Mike Myers

Mike Myers

In the discussion (2)
Approx. transcript time · 00:58:16Read transcript
  • Mike Myers receives the winner choice, with Heather Graham a personal sentimental alternative before the answer returns to Myers. — Bill Simmons
  • Myers is reaffirmed as winner; whether this was his last great moment divides the discussion between comedy specifically and Shrek's larger cultural importance. — Bill Simmons
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More from the conversation

The first film's rental, cable and DVD popularity is credited with building sequel demand; the second film's $55 million opening is said to exceed the first's entire theatrical gross.
Approx. transcript time · 00:04:08Read transcript
The film is remembered as an event for stoned adults and teenagers, and characterized as funny sketches joined by minimal connective material rather than a conventional movie.
Approx. transcript time · 00:04:59Read transcript
A younger colleague's lack of laughter prompts questions about Myers's appeal in 2019 and whether sketch-based feature comedies still work in the YouTube era.
Approx. transcript time · 00:05:55Read transcript
A hypothetical Stefon film illustrates the older SNL-to-film model, while Austin Powers is distinguished as an original screen character drawing on Bond,1960 s spy films and a voice resembling Simon.
Approx. transcript time · 00:06:37Read transcript
The uncertain development history of Sprockets and a third Wayne's World is discussed as context for Myers turning toward Austin Powers.
Approx. transcript time · 00:08:06Read transcript
The sequel's enormous 1999 success is framed as potentially moving Myers ahead of Jim Carrey, with Adam Sandler a rival for comedy prominence as Carrey pursued dramatic work.
Approx. transcript time · 00:08:31Read transcript
The comedy is praised for working even when young viewers miss its older references; Dr. Evil combines Blofeld imagery and a Lorne Michaels-like voice, which some viewers may have assumed wholly invented.
Approx. transcript time · 00:09:37Read transcript
Austin Powers is placed alongside 1990 s nostalgia comedies and adaptations such as The Brady Bunch and The Addams Family; unmade Gilligan's Island and Jeffersons films are wondered about.
Approx. transcript time · 00:10:34Read transcript
Shrek is agreed to be Myers's principal legacy over Wayne's World and Austin Powers.
Approx. transcript time · 00:11:07Read transcript
So I Married an Axe Murderer is praised for memorable comic stretches despite an incomplete-feeling whole, particularly the Scottish character and fish-shop sequence.
Approx. transcript time · 00:11:37Read transcript
Axe Murderer is interpreted as a possible path toward more personal Albert Brooks-style filmmaking, while Wayne's World is defended as having ideas about selling out beneath its broad comedy.
Approx. transcript time · 00:12:49Read transcript
Wayne's World 2's Doors references are criticized as particularly hard for later audiences to decode.
Approx. transcript time · 00:13:34Read transcript
The reported origin of Austin as a car joke for Myers's wife and a quickly written script is linked to his preference for voices and transformation, with Peter Sellers identified as a model.
Approx. transcript time · 00:13:51Read transcript
Myers's later career is considered damaging to appreciation of his peak: the disguised game-show role, long gaps and The Love Guru are contrasted with earlier stardom.
Approx. transcript time · 00:14:29Read transcript
His performance as Steve Rubell in 54 is praised despite the film's disrupted editing; the discussion considers whether he could have balanced dramatic and comic roles like Bill Murray.
Approx. transcript time · 00:15:22Read transcript
Shrek's wealth and success are suggested as context for Myers's freedom to make unusual choices; other major comedians' late-career crossroads are compared.
Approx. transcript time · 00:17:08Read transcript
Myers reportedly recognized the first film's success when numerous Austin costumes passed his car at a Halloween parade; the costume's simple components inspire a suggestion that the producer wear it.
Approx. transcript time · 00:18:16Read transcript
Beyoncé's Goldmember performance is criticized before shifting to Heather Graham's career streak.
Approx. transcript time · 00:19:07Read transcript
Graham's peak is affirmed through her 1990 s run and performance here; reported direction to play sincerely explains why her un-ironic attraction to Austin works, contrasting with Hurley's knowing approach.
Approx. transcript time · 00:19:17Read transcript
Felicity's sexual openness and Dr. No-style bikini are discussed as Bond-character references.
Approx. transcript time · 00:20:26Read transcript
Beautiful Stranger is noted as a Grammy winner, and the film's makeup nomination is mentioned with Fat Bastard proposed as the likely basis.
Approx. transcript time · 00:20:44Read transcript
Myers and Carvey's partnership is valued despite reported friction; Garth's comic strength and the benefits of the sidekick role are discussed, with a wish to reunite them.
Approx. transcript time · 00:34:34Read transcript
Seth Green's sarcastic work is praised and compared with his later self-referential Entourage role.
Approx. transcript time · 00:40:07Read transcript
A personal aside contrasts buying print swimsuit magazines with the availability of images online.
Approx. transcript time · 00:47:11Read transcript
A remembered sports-column parody of Austin Powers prompts disagreement about whether it would have been good.
Approx. transcript time · 00:51:29Read transcript
About Last Night is recommended to the producer as an example of Lowe's appeal; his infamous Oscars duet is discussed as a poor decision that should not entirely be blamed on him.
Approx. transcript time · 00:59:29Read transcript
Myers's startled response during Kanye West's Katrina appearance is compared with an earlier SNL sketch, and its lasting internet fame is discussed.
Approx. transcript time · 01:00:52Read transcript
Later character roles, the disguised game show and Dr. Evil television revivals prompt concern that Myers's comedy has become a dated artifact for younger viewers.
Approx. transcript time · 01:02:36Read transcript
Bill Hader is proposed as a contemporary successor, qualified by lacking a major film opening; Barry suggests a television route Myers might pursue today, and another original Myers world is wished for.
Approx. transcript time · 01:03:37Read transcript
A joking proposal to cover The Love Guru is emphatically rejected as unwatchable.
Approx. transcript time · 01:04:47Read transcript
The closing explicitly thanks producer Craig Horlbeck.
Approx. transcript time · 01:05:40Read transcript