Again, another cheap gag in a movie that’s filmed with them, this rap scene between Dr. Evil and Mini-Me works because at this point in the film (and the franchise), the presence of Verne Troyer running around onscreen is still pretty funny no matter what the context. This rap scene is a nod to Will Smith’s remake of Grover Washington’s original, only Smith’s version focused on the love between a father and son, rather than a couple. Austin Powers took this one step further by suggesting that perhaps the song focuses on the love between a man and his one-eighth-sized clone. Because that’s the greatest love of all.
In a convoluted set up to get Ross and Rachel to sing the song, Ross discovers that the only way he can get his daughter Emma to laugh is to sing the early-90’s booty anthem to her. Rachel is upset at the inappropriateness of this song (white people are so uptight!), until she is also forced to rely on it to make her daughter laugh.
There is an upside to this hackneyed storyline. Sir-Mix-A=Lot, nee Anthony Ray, got not one, but two royalty checks from his song appearing in the sitcom. I wish the writers had just made the whole episode a series of the friends continuously rapping Baby Got Back. The episode would be called “The One Where Sir-Mix-A-Lot Gets Fuckin’ PAID.”
30 Rock’s use of Rob Base and DJ EZ Rock’s “It Takes Two,” is a little different. It’s not shoehorned in for the nostalgia value (though that’s a happy coincidence), but rather to put a spotlight on Kenneth Parcell singing the hook with gusto. Sure, it’s yet another example of having a white guy singing a rap song ironically, but referring to Kenneth Parcell as “a white guy” is a bit like referring to Kim Jong-Il as “an Asian guy;” it fails to take into account the “crazy” factor.