In addition to Dieter being a heartless nihlist, another thing about the film that might have been tough for mainstream audiences to swallow is all the references German art house cinema that color the script similarly to how but not as blatantly.
Some later sketches featured Dieter outside of his talk show environment starring in parodies of game shows, TV dance parties, and art films.
All appearances were in the form of Sprockets shows, except where indicated.
On paper, , his highest-grossing movie yet, when production was about to begin in summer 2000.
One big thing the movie had going against it, though, is that Dieter is a much less relatable and less charming protagonist than Austin Powers or Wayne Campbell were. Throughout the movie, he’s a Nietsche-quoting, artsy nihlist who doesn’t really have any affection for anyone except his monkey.
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