When The King of Staten Island first hit digital storefronts in the middle of a global lockdown in 2020, people weren't just looking for a laugh. They were looking for a pulse. Pete Davidson, the lanky SNL star who had become more famous for his high-profile dating life than his comedy, was finally laying it all out. Honestly, it was a gamble. You've got a 137-minute R-rated dramedy about a guy who refuses to grow up, directed by Judd Apatow, a man known for letting scenes breathe until they almost hurt.
But here is the thing about the king of staten island movie: it isn't actually a biopic.
A lot of folks assume every beat is a direct lift from Pete’s diary. It’s not. It is more of an emotional "what if." What if Pete hadn't found stand-up? What if he stayed in the basement, smoking weed and tattooing his friends, while the weight of his father’s death just sat on his chest like an anvil? It's a dark, messy, and surprisingly tender look at grief that feels way more authentic than your standard Hollywood "healing" journey.
The 75% Rule: What’s Real and What’s Total Fiction
If you talk to Apatow or Davidson, they’ll tell you the movie is about 75% autobiographical. That’s a lot of truth to pack into a fictional script. The core is 100% real: Scott Davidson, Pete’s father, was an NYC firefighter who died on 9/11. In the film, they changed the event to a fictional hotel fire. Why? Because Pete didn’t want the movie to be about 9/11. He wanted it to be about the hole that stays in a family after a hero doesn’t come home.
The character Scott Carlin (played by Pete) shares more than just a name with Pete’s dad. He shares the Crohn’s disease. He shares the struggle with mental health, specifically the impulsive, self-destructive streaks. That opening scene where Scott closes his eyes while driving on a highway? Pete has admitted in interviews that he actually did that as a teenager. It’s scary stuff.
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But the career? Total fiction. Real Pete was a workhorse. He started stand-up at 15. By 20, he was on Saturday Night Live. The Scott we see on screen is the version of Pete that never found an outlet for his pain.
A Cast That Feels Like Family (Because It Sorta Is)
Apatow is famous for keeping things in the family, and this movie is no exception. Maude Apatow plays Scott’s sister, Claire. But the real connections go deeper:
- The Firefighters: Several of the guys in the firehouse scenes weren't just actors. They were real New York firefighters who actually worked with Pete’s father.
- The Friends: Ricky Velez, who plays Oscar, is one of Pete’s best friends in real life.
- The Music: The movie starts and ends with Kid Cudi. That wasn't a random choice. Pete has been vocal about how Cudi’s music literally saved his life during his darkest bouts with suicidal ideation.
The chemistry between Pete and Bill Burr is also something special. Burr plays Ray, the loudmouth firefighter dating Scott’s mom (the legendary Marisa Tomei). It’s a collision of two very different comedic energies. Burr brings this grounded, blue-collar intensity that forces Pete’s character to finally stop being a victim of his own circumstances.
Why Staten Island Looks So... Real?
The cinematography in the king of staten island movie doesn't look like a typical comedy. It’s grainy. It’s grey. It feels like a humid Tuesday in a borough that most New Yorkers only visit for the ferry ride. That’s because Robert Elswit shot it. This is the guy who won an Oscar for There Will Be Blood.
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He used 35mm film to give it a documentary-style aesthetic. He captured the actual spots Pete grew up in, like Rosebank Pizza and the various parks around the North Shore. It gives the film a "lived-in" feeling. You can almost smell the cigarette smoke and the salt air.
The Secret Ingredient: Borderline Personality Disorder
While the movie mentions ADD and antidepressants, it doesn't explicitly label Scott with Borderline Personality Disorder (BPD), even though Pete has been very public about his own diagnosis. However, if you watch closely, the symptoms are all there.
- Fear of Abandonment: Scott’s reaction to his sister leaving for college is visceral. He lashes out because he doesn’t know how to exist without his safety net.
- Unstable Relationships: His "it’s complicated" thing with Kelsey (Bel Powley) is a masterclass in pushing someone away before they can leave you.
- Chronic Emptiness: Scott isn't just "lazy." He's hollow. He fills that hole with weed and bad tattoos because the alternative—feeling the grief—is too much to handle.
By focusing on these behaviors rather than a clinical label, the movie actually creates a more humanizing portrait of mental illness. It’s not a "disease of the week" story. It’s just Scott’s life.
Why This Movie Still Matters Today
Most comedies from five years ago have already faded from the cultural memory. The king of staten island movie hasn't. It’s become a bit of a cult classic for anyone who felt "stuck" in their 20s. It acknowledges that sometimes, moving on isn't about a big, triumphant moment. It’s about finally being able to take the ferry into Manhattan and not feeling like you're going to fall off the edge of the world.
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The ending doesn't give us a "happily ever after." Scott isn't suddenly a world-class tattoo artist. He’s just... better. He’s walking. He’s looking forward. In a world of flashy superhero movies, that small, quiet victory feels massive.
Actionable Next Steps for Fans
If the movie resonated with you, there are a few ways to go deeper into the real story:
- Watch 'Bupkis': If you want to see Pete’s "Phase 2" of autobiographical storytelling, his Peacock series Bupkis takes the same themes but turns the absurdity up to eleven. It features Edie Falco as his mom and Joe Pesci (in his final role) as his grandfather.
- Listen to 'Man on the Moon': Check out Kid Cudi’s discography, specifically the tracks used in the film. It provides a massive amount of context for Scott's (and Pete’s) headspace.
- Visit the Borough: If you’re ever in New York, skip the Empire State Building for a day. Take the ferry to Staten Island, walk to Stapleton, and grab a slice. You'll see why the borough has that "pride and self-deprecation" mix Bill Burr talked about.
The film serves as a reminder that your trauma doesn't have to be your entire identity. It can be the dirt you grow out of. Honestly, that’s a pretty good takeaway for a movie about a guy who tried to tattoo a ten-year-old.