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Speaker 1: Hello, gorgeous, Welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie.

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Speaker 1: My name is Danielle, and I'm not giving you the finger,

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Speaker 1: by the way, I'm.

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Speaker 3: Just likely story.

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Speaker 2: Oh I'm sorry.

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Speaker 1: We're doing a podcast about film.

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Speaker 2: How's it going this week? It's going all right?

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Speaker 3: Like I remember to where do you? I wore deodorant

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Speaker 3: for most of the week, so good, great for me,

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Speaker 3: so are you? You don't word theodorant sometimes Ever since

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Speaker 3: the pandemic started, it has gone. It was the first

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Speaker 3: thing to go. It was the first thing to go

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Speaker 3: where I was like, really, like, I live by myself.

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Speaker 3: I don't mind my own funk out of here.

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Speaker 2: I can't. I can't do it. I can't do it.

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Speaker 2: I do like a.

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Speaker 3: Nat and I've been using each and every and this

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Speaker 3: is not an ad, but I've been using each and

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Speaker 3: every or.

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Speaker 2: Soap, wallet and all, you know, every couple of days.

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Speaker 3: But I genuinely forget, like it's not part of my

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Speaker 3: daily routine anymore. So I just until I smell myself,

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Speaker 3: I'm like, oh, I didn't do it today.

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Speaker 2: Oh well, it's almost five o'clock.

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Speaker 1: I can't do I can't do the natural deodes. I

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Speaker 1: just can't do it. I haven't even tried, and I can't.

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Speaker 1: I just it's the thing that it's just going to

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Speaker 1: be my thing.

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Speaker 2: I can't go naturally.

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Speaker 1: Also, by the way, I have to say, they really

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Speaker 1: fucked up by letting us start this podcast during quarantine,

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Speaker 1: because I swear to God, every episode we get on

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Speaker 1: here and be like, let's talk about our funk, let's

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Speaker 1: talk about our asses, let's talk about our underwear.

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Speaker 2: Bras, you know, personal items.

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Speaker 1: But you know what, in the age of quarantine, this

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Speaker 1: is the only thing that we think about is our bodies, ourselves.

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Speaker 3: You know what I'm saying exactly. It's the Funk and

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Speaker 3: Dump podcast and fucking dump. You're welcome to it. It

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Speaker 3: took me like three days into the pandemic to just

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Speaker 3: turn into Marjorie the trash heat from Fraggle Rock. I'm

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Speaker 3: not going to deny it. That's how it goes down.

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Speaker 3: Like you're lucky, I'm not feral. I'm practically feral. I

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Speaker 3: love alone. There's no one to check me. I could

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Speaker 3: be writing on the walls with my own blood. Nobody

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Speaker 3: would know.

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Speaker 1: Yeah, your neighbor, your closest neighbor is off traversing the world.

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Speaker 2: Yeah, and it's just you and Karen in there, and

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Speaker 2: as long as long as I feed him, he does

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Speaker 2: not care at all.

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Speaker 1: I don't think cats have that in them to be

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Speaker 1: like you stink man, like get away from me.

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Speaker 3: Dogs are in me, like Sophie would definitely be like bye.

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Speaker 1: So yeah, my dog is actually really prissy, which is

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Speaker 1: so funny. She has pressiness to her for sure. But

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Speaker 1: you know what, dogs love stinky stuff. I mean they like,

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Speaker 1: I swear to God, like, they love to roll around

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Speaker 1: and weird shit. And at first I thought they were

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Speaker 1: just doing it on purpose to piss me off, because

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Speaker 1: I'm just like, I'm not giving you a bath today.

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Speaker 2: It's a nightmare because.

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Speaker 1: Then it's like you get out of the bathtub and

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Speaker 1: you're running around and you're trying to dry yourself off

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Speaker 1: on all my fucking throw pillows. I'm like, we can't

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Speaker 1: be doing this. But dogs like they like to I guess,

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Speaker 1: mask their smell so they will like be like did

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Speaker 1: a bug die here? Because if so, I'm going to

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Speaker 1: put my entire back on top.

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Speaker 2: Of it and just start wiggling around, and that is

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Speaker 2: going to make it easier for the dog. Takeover.

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Speaker 3: They're going to pick up little switch blades and be like,

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Speaker 3: you're never gonna smell me. Come in here, I am

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Speaker 3: bitch STAPs them.

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Speaker 2: Well.

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Speaker 1: I wonder if we have any dog people listening to

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Speaker 1: this podcast, because, as I figured out based on the

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Speaker 1: last episode, wow uh, the carrot love is through the roof.

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Speaker 2: I love my cat people. Thank you guys for being

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Speaker 2: so nice to my boy.

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Speaker 1: Also, I hate the idea of their being I hate

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Speaker 1: that gang war of cat people versus dog.

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Speaker 2: I know I love them both.

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Speaker 1: I love them both too, even though I don't own

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Speaker 1: a cat, I love cats like I'll hang out with them,

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Speaker 1: no probs. My parents have two cats, and these are

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Speaker 1: like these big ass Maine coon cats that like look

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Speaker 1: like foxes. They're humongous. One of them is grouchy and

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Speaker 1: doesn't really like me. But the other one, the other one,

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Speaker 1: that's my boy right there, and he's an old cat

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Speaker 1: man and I've known him since he was a little baby,

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Speaker 1: so me and him have a history together.

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Speaker 2: So I'm a cat person too. Exactly, you have a dog.

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Speaker 2: You could be a cat person and a dog person.

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Speaker 2: But the only thing that has to get the fuck

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Speaker 2: out of here is ocelots, Get out of here ocelots.

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Speaker 2: That's the only one who's not provided to the party.

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Speaker 1: What what's up with an ocelot for you? What the

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Speaker 1: I've never I don't know this about you.

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Speaker 3: It's not even like a personal like I've never even

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Speaker 3: personally victimized by an ocel Do just feel like, get

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Speaker 3: the fuck here?

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Speaker 2: Like what are you? What are you doing? Like who

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Speaker 2: are you killing? What animals are you? What breeds are

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Speaker 2: you destroying?

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Speaker 3: You're not a pet, but you're also like not wild usually,

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Speaker 3: Like I just don't get them.

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Speaker 1: Okay, am I confusing? Is an oslot a mountain lion?

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Speaker 1: Is a bobcat?

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Speaker 4: Both?

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Speaker 3: But I think, what, Lauren, can you look up osla

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Speaker 3: in trouble? We need we need a third party for

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Speaker 3: a visual.

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Speaker 2: I need to know if an oslot is what I

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Speaker 2: think it is.

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Speaker 3: They're kind of like they're panther like I want to say,

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Speaker 3: but they're like like you can find them in America,

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Speaker 3: like a mountain lion, because honestly, like we have bobcats

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Speaker 3: in this neighborhood that I'm in right now, Wikipedia dot

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Speaker 3: org osalot, So you're kind of like tiger and they're

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Speaker 3: kind of like they're carnivorous.

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Speaker 1: They just seem like big asshole cats. Okay, these aren't

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Speaker 1: These are not what I thought they were. Yeah, it's

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Speaker 1: a wild cat, but it's definitely it's bigger than a

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Speaker 1: than a mountain or a bobcat, right.

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Speaker 3: Yeah, and they have tiny eyes. They have really tiny eyes,

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Speaker 3: and they have like a tiny cat head but like

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Speaker 3: a big cat body.

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Speaker 2: Just yeah, they can just fuck off? You know the party?

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Speaker 2: Do they have oslots in La? God?

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Speaker 3: You know somebody has a fucking ocelot in La Guarantee?

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Speaker 1: You know somebody has an oslot in Florida? I mean

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Speaker 1: it's for sure, isn't that sort of that? What's that

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Speaker 1: show that everybody was obsessed with?

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Speaker 2: Tiger King? Do I have that wrong?

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Speaker 1: I watched the old I only watched like the first

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Speaker 1: episode of that shit and was like, this is clearly

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Speaker 1: this is not for me.

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Speaker 2: I need to back away from this. This is bad news.

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Speaker 3: But however, if they had an Ocelot King, I'd at

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Speaker 3: least tune in for the whole series and want to

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Speaker 3: know what's going on. I don't know why I'm on

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Speaker 3: the Oslot today, but they can fuck off. But also

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Speaker 3: I would watch TV show about them. That's right, total confusion.

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Speaker 2: I get it. We don't have to like.

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Speaker 3: It, you don't have to like it's all right, But

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Speaker 3: I appreciate you saying that you can be both a

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Speaker 3: cat and a dog person, because I think that people

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Speaker 3: are both.

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Speaker 4: Well.

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Speaker 1: And you know, this is like something that really sticks

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Speaker 1: in my craw about internet memes and sort of the

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Speaker 1: socialization that we experience via internet platforms, right, is that

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Speaker 1: this Like there's always invariably some kind of fucking like

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Speaker 1: quiz or some kind of article that's like puts cat

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Speaker 1: people versus dog people up against each other, and to

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Speaker 1: a larger extent, introverts versus extroverts, which is annoying as

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Speaker 1: shit because I feel like there is no middle ground.

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Speaker 1: I lean slightly dogged simply because I have one and

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Speaker 1: I've only had one.

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Speaker 2: But I don't hate cats.

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Speaker 1: The thing about introverts versus extroverts is the kind of

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Speaker 1: thing too where you're like, I'm pretty much on the

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Speaker 1: extroverted side.

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Speaker 2: Obviously, I think we know I'm loud as shit, and

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Speaker 2: I'm not afraid.

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Speaker 1: To be loud of shit, but like I have introverted tendencies,

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Speaker 1: like I don't fucking like people like, come on.

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Speaker 3: Can I be loud and never want to leave my house?

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Speaker 3: Because that's who I am. I'm loud, and I don't

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Speaker 3: want to go to your party.

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Speaker 1: See, I don't mind going to the party, but I

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Speaker 1: only want to stay for like fifteen minutes.

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Speaker 3: It's like, yeah, that's that's the move. That's more the move.

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Speaker 3: Like I'm not hanging out all night. I'm going to

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Speaker 3: make it an entrance and leave.

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Speaker 2: Yeah.

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Speaker 1: What it's like, I don't mind going to meetings. I

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Speaker 1: just don't want to go to unnecessary meetings exactly. You know,

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Speaker 1: if I would go to if I go to a party,

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Speaker 1: I want to stay for like a respectable fifteen twenty minutes.

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Speaker 2: I don't want to be there all night.

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Speaker 3: I think we should do away with the false dichotomy

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Speaker 3: that the Internet pushes on us with cats and dogs

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Speaker 3: and introvert extrovert and you're either cool or you're a

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Speaker 3: fucking asshole. That's the only dichotomy that exists.

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Speaker 1: But isn't that the same dichotomy If you think about it,

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Speaker 1: it's like cats, introverts, dogs and extroverts. It's sort of like, okay,

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Speaker 1: if you're a cat person, right, you're a certain type

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Speaker 1: of way.

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Speaker 2: You don't want to go to the party. You just

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Speaker 2: want to sit at home and a dog.

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Speaker 1: Person is out at a beer festival or something drinking.

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Speaker 1: None of those things are me. Like, none of those

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Speaker 1: things are me one hundred percent of the time. Man, Like,

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Speaker 1: I fucking hate beer festivals.

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Speaker 3: I've never seen you at a beer garden a beer festival,

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Speaker 3: and you're definitely not at either one pouring stins of

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Speaker 3: booze down Sophie's throat.

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Speaker 1: You know, it's so funny because I don't even drink

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Speaker 1: that much anymore.

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Speaker 2: I haven't, honestly, It's been years since I've been like

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Speaker 2: super drunk.

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Speaker 1: And I'm also a secret I kind of secretly have

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Speaker 1: been a non heavy drinker for many years where I

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Speaker 1: have been like I can hold a beer and maybe

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Speaker 1: you think I'm chugging like twelve beers, but I only

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Speaker 1: have one and if I don't finish it, I pour

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Speaker 1: it down the drain and then just leave.

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Speaker 2: Don't need to wrap on this. I'm not gonna drink it.

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Speaker 2: It's fine.

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Speaker 1: Yeah, And I've all I've been on the in situations

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Speaker 1: where I've been with like friends or have been on

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Speaker 1: like dates or something where somebody's.

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Speaker 2: Like, dude, are you still on your first beer? See,

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Speaker 2: that's the kind of shit we don't need. We don't

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Speaker 2: need this shit.

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Speaker 3: Let me be on my first beer, because guess what,

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Speaker 3: one beer, I'm still awesome. You're at fifteen and you're

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Speaker 3: not even there yet, so why don't you clean your

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Speaker 3: own side.

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Speaker 2: Of the street.

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Speaker 1: Listen, this beer is ninety three degrees in my hands

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Speaker 1: right now.

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Speaker 2: Fuck off, just stop counting. Leave it alone. Also, this

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Speaker 2: is it's hot beer. It's not doing it for me.

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Speaker 3: I Also, I do feel like there is a point

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Speaker 3: in life and I've reached it.

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Speaker 2: I've reached it a few years ago where.

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Speaker 3: Being drunk or high does not feel as good to

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Speaker 3: me as a solid day where I feel good and

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Speaker 3: get my shit done. True, it feels so much better

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Speaker 3: to me to not lose a day to a hangover.

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Speaker 3: And that's why I don't drink that much anymore, because

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Speaker 3: when I drink, I can go like I'll just shot

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Speaker 3: shot shots, like I'm just like I like to. I'm

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Speaker 3: a very social drinker for sure, like almost purely, so

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Speaker 3: I don't see the need anymore because when I hang

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Speaker 3: out with people at this point, it's not about that

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Speaker 3: we don't need to go. We all have our own

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Speaker 3: homes and like no one has like we don't. Most

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Speaker 3: of us don't have roommates anymore, and like, like, we

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Speaker 3: all have places to be where we can just chill,

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Speaker 3: and alcohol doesn't enhance that experience for me.

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Speaker 1: Hangovers are that I think was the first realization to

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Speaker 1: where I was like, yeah, man, I can't like drink

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Speaker 1: as much anymore. Is that hangover went from an afternoon

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Speaker 1: to like a three day thing where I was basically like, yo,

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Speaker 1: I feel like shit like many days after the event,

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Speaker 1: and I'm tired. I can't get my sleep back in order.

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Speaker 2: This sucks.

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Speaker 1: And then on top of that, I noticed so not

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Speaker 1: only when I would drink would my head over be

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Speaker 1: worse just physically, but then I had this like whole

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Speaker 1: weird emotional component to my hangover where I would start

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Speaker 1: like crying and feeling sorry for myself, and I was

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Speaker 1: just like, goddamn, am I dehydrated? Why am I like

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Speaker 1: contemplating my fucking life Like I'm sitting there like literally

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Speaker 1: in front of the couch like drink and fucking pitili going.

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Speaker 2: I did not get married and have kids? And is

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Speaker 2: that a mistake. I mean, why did I.

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Speaker 1: Have fifteen fucking Vodkas last night?

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Speaker 2: What the fuck is wrong with me? Why am I?

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Speaker 2: You know?

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Speaker 3: And I just am like, no, you don't need the

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Speaker 3: emotional talesman, and I fully, I mean, it's it's to me.

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Speaker 2: I can't say I don't drink because I could one day.

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Speaker 3: And I think when you say that to people, they think, oh,

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Speaker 3: you never drink and you never will.

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Speaker 2: That's not it.

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Speaker 3: This is not like based on a program or an

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Speaker 3: addiction or anything. It's purely a preference. And when I

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Speaker 3: wake up, I have a lot to do. I have

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Speaker 3: multiple jobs, I have family members that I take care of, like,

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Speaker 3: I have a lot of stuff to do. That's also

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Speaker 3: why I go to bed early, Like my real life

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Speaker 3: is a waking nightmare, So just go to bed, sleep

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Speaker 3: at all. But when you have that going on, like

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Speaker 3: you don't, it just doesn't feel good.

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Speaker 2: It does.

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Speaker 3: I feel like a much better version of myself when

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Speaker 3: I can count on myself, and when you know it

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Speaker 3: kind of you know I can.

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Speaker 2: I don't know. I just feel better about it. And

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Speaker 2: I also, this is something that.

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Speaker 3: Took me way too long to figure out because again

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Speaker 3: I never had an addiction. I cannot drink because I

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Speaker 3: am on antidepressants. I'm a depressed person. I can't drink

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Speaker 3: and take well buttrin and feel okay. And I would

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Speaker 3: much rather feel okay. I'd much rather be on my

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Speaker 3: meds and going to therapy and feeling good. Like there's

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Speaker 3: not a drink in the world that's worth me sacrificing that.

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Speaker 3: And usually if I add alcohol to the mix, I'm

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Speaker 3: the same way. I get there so quickly to this

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Speaker 3: like really low place, and I'm I'm just always kind

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Speaker 3: of you know, I had to learn over the years,

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Speaker 3: but I'm always monitoring, like what, I'm always monitoring my

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Speaker 3: depression always, you know, like is it coming back?

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Speaker 2: Just you know, it's part of my life.

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Speaker 1: So yeah, well that's you know, that's always a tough

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Speaker 1: thing too, is that like as you get older, start

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Speaker 1: taking more medicine and you know, all that shit interacts.

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Speaker 1: There's so many reasons why I shouldn't drink. Most of

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Speaker 1: it is because I'm half Asian and I literally get

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Speaker 1: bombed after like two or three drinks.

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Speaker 2: Like same as my mother. I am my mother's daughter.

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Speaker 1: My mother has literally like two SIPs of wine and

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Speaker 1: she's like Oh my god, I feel crazy and I'm

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Speaker 1: like and it makes me fucking hot, It like makes

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Speaker 1: me flushed, and I start feeling all like I wanted

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Speaker 1: to take all these cardigans.

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Speaker 2: Off and you go, you go down the three cardigans

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Speaker 2: when you're drunk. Damn girl there. Yeah, deep, it's serious.

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Speaker 2: That is serious number three. But you know how it

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Speaker 2: is like cool, it's in my blood. Baby.

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Speaker 1: I can't drink like a twelve pack. I you know,

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Speaker 1: I'm just it ain't for me.

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Speaker 3: I just want to go out once with you and

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Speaker 3: say Millie's on number three and have someone say drinks

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Speaker 3: no cardigans.

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Speaker 1: Around of cardigans for you guys, I'm buying. Oh my goodness, gracious,

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Speaker 1: would you what's going on with you this week? Aside

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Speaker 1: from everything we just talked about, I'll tell you one thing,

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Speaker 1: which is that so speaking of my mother, you know,

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Speaker 1: she's like she comes to me yesterday or like the

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Speaker 1: day before yesterday, and was like, I just bought these

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Speaker 1: vegetables and you need to go onto the New York

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Speaker 1: Times cooking up and figure out what to do with them, right,

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Speaker 1: And she hands me this bag of Brussels sprouts.

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Speaker 2: I love fucking Brussels sprouts. I love to just.

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Speaker 3: Pan with some sweet potatoes and some like chicken sausage

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Speaker 3: or something.

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Speaker 2: Oh I love it.

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Speaker 1: Yeah, my dad hates them and I even try to

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Speaker 1: make them because I basically looked up a recipe that

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Speaker 1: had like it was honey and red wine.

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Speaker 2: I mean it's basically like I mean, hear what I did.

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Speaker 1: I googled Longhorn Steakhouse crispy Brussels Sprouts to see like

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Speaker 1: what came up, and it was a New York Times

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Speaker 1: uh app thing because you know, like I was like,

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Speaker 1: you know how like you go to one of those

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Speaker 1: like steakhouses and they have some kind of like decadent

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Speaker 1: I mean it's like the vegetables that they make have

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Speaker 1: like two thousand calories.

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Speaker 3: Oh completely, they found a way to make vegetables unhealthy

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Speaker 3: for sure.

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Speaker 2: Exactly, but they're fucking delicious.

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Speaker 1: That I was like, yo, if I'm going to convince

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Speaker 1: my dad to like this vegetable, I gotta go.

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Speaker 2: You know, we got to go like the decadent route.

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Speaker 1: So I type into the app Brussels sprouts, right, and

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Speaker 1: nothing came up, And I was like, surely that's wrong.

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Speaker 1: I mean, this is a food app and you don't

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Speaker 1: have any Brussels sprouts recipes?

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Speaker 2: Yeah, and then I realized that.

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Speaker 1: Brussels sprouts is how it spelled.

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Speaker 2: No, yes, I refused.

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Speaker 1: So I've lived on this earth for over four decades

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Speaker 1: and just realize that it's not Brussel sprouts. It's Brussels

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Speaker 1: sprout because the s is connect.

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Speaker 3: Yes, Brussels sprouts. That's fucking crazy, that's nuts. I am

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Speaker 3: not accepting this.

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Speaker 2: I'm not either.

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Speaker 1: And but here's what pisces me off is that I

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Speaker 1: couldn't have been the first person to fuck this up.

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Speaker 1: And you need to make your search functionality a little

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Speaker 1: bit more nuanced.

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Speaker 2: I did not know that it.

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Speaker 1: Was oh shocking. A fact just popped into the chat.

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Speaker 1: More than three quarters seventy seven percent of the population

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Speaker 1: referred to it as brussel. So I'm actually part of

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Speaker 1: the majority here for sure.

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Speaker 3: And also it's like, here's the thing. I thought that

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Speaker 3: we're we're close to the what is that event or whatever?

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00:18:00,880 --> 00:18:03,800
Speaker 3: The computers take over like they can't. If they can't

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Speaker 3: do Brussels to Brussel, then I'm not lying about it anymore.

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Speaker 1: I mean, if you, I swear to God, it's like

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00:18:11,920 --> 00:18:16,679
Speaker 1: if you type in to Google like favebook dot com

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00:18:16,720 --> 00:18:19,639
Speaker 1: instead of Facebook dot com. You usually get Facebook. I'm like,

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Speaker 1: you can't do that for Brussels sprouts. I mean maybe

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Speaker 1: the leap Brussels make the leap.

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Speaker 3: It feels like one of those things to me that

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Speaker 3: if the population thinks it should be a certain way,

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00:18:30,000 --> 00:18:32,520
Speaker 3: like maybe you can adapt to that certain way of

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Speaker 3: doing things, not.

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Speaker 2: That you have to change it, but just like adapt

388
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Speaker 2: ad the l lose the s.

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00:18:37,760 --> 00:18:41,080
Speaker 1: Yes, why is it plural then, because I'm sort of

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00:18:41,160 --> 00:18:43,200
Speaker 1: like it doesn't make no damn sense.

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Speaker 2: Is it from Brussels? Right? I think they probably started there?

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00:18:48,040 --> 00:18:51,320
Speaker 3: Maybe, oh my god, like all good vegetables, they started

393
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Speaker 3: in Belgium?

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Speaker 1: They are they from? I'm sorry we're getting all this.

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Speaker 1: I feel like I'm a newscaster on you know, reading

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00:19:03,160 --> 00:19:06,439
Speaker 1: like an up to date like it's like a current

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Speaker 1: news event. I'm figuring out Brussels sprouts ring on.

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Speaker 2: Her headphone and she's like.

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00:19:12,280 --> 00:19:17,600
Speaker 1: This just then, everyone in this podcast, worrying on this

400
00:19:17,640 --> 00:19:21,000
Speaker 1: podcast right now is pissed off about this information. So

401
00:19:21,720 --> 00:19:26,959
Speaker 1: to summarize my feelings that, like now I feel like,

402
00:19:27,600 --> 00:19:32,560
Speaker 1: is this why Brussels sprouts? Is this why the visibility

403
00:19:32,600 --> 00:19:37,320
Speaker 1: of this vegetable. Like, think about how many missed opportunities

404
00:19:37,359 --> 00:19:41,400
Speaker 1: this vegetable has had because people were not spelling it right,

405
00:19:41,800 --> 00:19:44,600
Speaker 1: didn't know was plural. I mean, maybe you're going through

406
00:19:44,600 --> 00:19:49,800
Speaker 1: your recipe box with your glued on bags and you

407
00:19:49,840 --> 00:19:52,600
Speaker 1: know the rich crackers, and you're cruising through and you're like,

408
00:19:52,600 --> 00:19:55,440
Speaker 1: I don't find Brussels sprouts because I spelled it Brussels

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Speaker 1: sprouts like I thought it was.

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Speaker 3: And also, Brussels sprout's got a ass rep when we

411
00:20:01,119 --> 00:20:03,160
Speaker 3: were growing up. I didn't even start eating them until

412
00:20:03,160 --> 00:20:05,399
Speaker 3: I was in my mid thirties. They got such a

413
00:20:05,400 --> 00:20:07,320
Speaker 3: bad rep. And I think it's because people didn't know

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00:20:07,359 --> 00:20:09,600
Speaker 3: how to pronounce what they were eating. Maybe let's go

415
00:20:09,680 --> 00:20:12,160
Speaker 3: that far. Let's take it to that level. You can't

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00:20:12,160 --> 00:20:14,400
Speaker 3: pronounce it in the grocery store, how can you buy

417
00:20:14,440 --> 00:20:15,080
Speaker 3: it and eat it?

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Speaker 1: Listen, I'm so pro Brussels sprouts, however you spell it that.

419
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Speaker 1: If the Brussels Sprouts Board wants to come and do

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Speaker 1: an ad on this podcast.

421
00:20:26,200 --> 00:20:29,280
Speaker 2: I will read that shit. I will read it personal experience.

422
00:20:29,880 --> 00:20:35,320
Speaker 3: You know, Brussels Sprouts needs to hire the kale lobbyists.

423
00:20:36,680 --> 00:20:37,879
Speaker 2: And get this shit pop.

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Speaker 1: It is there like a kombucha cappuccino slash Brussels sprouts

425
00:20:46,040 --> 00:20:47,600
Speaker 1: invention that somebody could create.

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Speaker 2: Can I get one of those Macha Brussel matches you

427
00:20:50,520 --> 00:20:58,760
Speaker 2: in Brussel matches better visibility? I honestly think that. I

428
00:20:59,280 --> 00:21:01,520
Speaker 2: was like, I'm so stupid for not knowing else, right,

429
00:21:01,560 --> 00:21:04,440
Speaker 2: Like I was there anybody. I don't think anybody knows

430
00:21:04,440 --> 00:21:07,360
Speaker 2: that at all. I guarantee there are chefs that don't know.

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00:21:07,359 --> 00:21:10,720
Speaker 1: That, okay, because I was feeling bad about myself and

432
00:21:10,720 --> 00:21:12,720
Speaker 1: then I was like, oh, it's one of those things that.

433
00:21:12,680 --> 00:21:14,080
Speaker 2: People talk about on the Internet.

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00:21:14,280 --> 00:21:17,879
Speaker 1: Back to that old Internet again about the Berenstein Bears.

435
00:21:18,080 --> 00:21:19,600
Speaker 2: You know what do they call that? It's like a

436
00:21:19,600 --> 00:21:22,680
Speaker 2: phenomenal Mandela effect? Yes, exactly.

437
00:21:22,760 --> 00:21:24,960
Speaker 1: We all thought it was something and it actually wasn't

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Speaker 1: that at all, And where did it come from?

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Speaker 2: My favorite ones of those are.

440
00:21:28,200 --> 00:21:31,960
Speaker 3: Like I thought that person was dead, Like that's so

441
00:21:32,359 --> 00:21:35,320
Speaker 3: cruel and so funny, And that's how that's what it

442
00:21:35,359 --> 00:21:38,960
Speaker 3: was named for. Because people legitimately remember Nelson Mandela dying

443
00:21:38,960 --> 00:21:39,439
Speaker 3: in prison.

444
00:21:40,480 --> 00:21:43,119
Speaker 2: I did not remember that. I didn't either, Yeah, I

445
00:21:43,160 --> 00:21:43,600
Speaker 2: didn't either.

446
00:21:43,600 --> 00:21:45,520
Speaker 1: There was a lie as fuck in the nineties because

447
00:21:45,520 --> 00:21:48,520
Speaker 1: I remember everybody talking about it.

448
00:21:48,440 --> 00:21:51,960
Speaker 3: The medallions, the whole night, but also through of the

449
00:21:52,000 --> 00:21:54,919
Speaker 3: loom tag underwear tag. Does it have the cornucopia or

450
00:21:54,960 --> 00:21:59,200
Speaker 3: not in your memory? No, you're right, I thought it did.

451
00:21:59,280 --> 00:22:03,200
Speaker 2: WHOA. Oh really that's a thing too. Huh m hmm.

452
00:22:03,440 --> 00:22:05,399
Speaker 3: I'm gonna send you a link because I look it

453
00:22:05,480 --> 00:22:06,639
Speaker 3: up every once in a while as a part of

454
00:22:06,680 --> 00:22:09,720
Speaker 3: my Alzheimer's shit where I'm like, I don't want this,

455
00:22:10,040 --> 00:22:12,359
Speaker 3: and if I'm now remembering things that didn't happen, that

456
00:22:12,480 --> 00:22:13,360
Speaker 3: is terrifying.

457
00:22:14,560 --> 00:22:17,399
Speaker 1: So can you edit, now, edit the Wikipedia article that

458
00:22:17,480 --> 00:22:19,919
Speaker 1: says that we all thought it was Brussels sprouts and

459
00:22:19,960 --> 00:22:21,040
Speaker 1: it's Brussels sprout.

460
00:22:21,280 --> 00:22:24,520
Speaker 3: It's going to be an all caps update on that

461
00:22:24,760 --> 00:22:26,160
Speaker 3: Wikipedia page, and.

462
00:22:26,119 --> 00:22:27,439
Speaker 2: Then there will be a.

463
00:22:29,040 --> 00:22:32,320
Speaker 1: Notation and it's just going to point to the website

464
00:22:32,760 --> 00:22:34,399
Speaker 1: for this podcast.

465
00:22:34,480 --> 00:22:36,560
Speaker 3: And then there'll be another notation that just points to

466
00:22:37,000 --> 00:22:38,879
Speaker 3: Brussels sprouts.

467
00:22:40,320 --> 00:22:41,760
Speaker 2: And me giving the finger.

468
00:22:46,880 --> 00:22:52,199
Speaker 1: Are you ready to fucking dive into this movie experience

469
00:22:52,200 --> 00:22:53,400
Speaker 1: that we're about to have right now?

470
00:22:53,880 --> 00:22:59,080
Speaker 2: I have genuinely never been more ready for anything in

471
00:22:59,600 --> 00:23:02,520
Speaker 2: my existence. Let's go.

472
00:23:02,960 --> 00:23:05,240
Speaker 1: I'm doing some shoulder work. No one can see this,

473
00:23:05,359 --> 00:23:09,760
Speaker 1: but I'm so excited. Well, we have come to the

474
00:23:09,800 --> 00:23:15,480
Speaker 1: final week of our Black History Month month.

475
00:23:18,359 --> 00:23:19,800
Speaker 2: We are going out with a bang.

476
00:23:22,359 --> 00:23:25,879
Speaker 1: What I think is interesting about what we're about to

477
00:23:25,880 --> 00:23:28,520
Speaker 1: do is that I think I said something about this

478
00:23:28,560 --> 00:23:30,880
Speaker 1: in the first episode that we did about Bill Gun,

479
00:23:31,440 --> 00:23:35,280
Speaker 1: which is that we have literally drawn a line between

480
00:23:35,880 --> 00:23:41,200
Speaker 1: somebody like Bill Gun, sort of an obscure black artist

481
00:23:41,640 --> 00:23:46,280
Speaker 1: who we felt didn't get his due, and people are

482
00:23:46,400 --> 00:23:50,960
Speaker 1: just kind of really being able to access his work

483
00:23:51,320 --> 00:23:56,359
Speaker 1: like in the past, you know, ten fifteen years to

484
00:23:57,280 --> 00:24:00,880
Speaker 1: the topic of today's episode, which is almost the complete

485
00:24:00,880 --> 00:24:01,639
Speaker 1: opposite of that.

486
00:24:02,440 --> 00:24:05,760
Speaker 2: And I just think that that's very interesting. I'm proud

487
00:24:05,760 --> 00:24:06,040
Speaker 2: of us.

488
00:24:06,200 --> 00:24:11,160
Speaker 3: I'm proud of us, proud, I am shocked at us,

489
00:24:11,600 --> 00:24:15,040
Speaker 3: and I am thrilled that you came up with this

490
00:24:15,960 --> 00:24:19,000
Speaker 3: as a theme, because the minute you said it, I

491
00:24:19,080 --> 00:24:20,000
Speaker 3: lost my mind.

492
00:24:20,880 --> 00:24:25,080
Speaker 2: Okay, tell them what our theme is. Okay, I don't

493
00:24:25,119 --> 00:24:27,400
Speaker 2: know if I can say this. You have so far

494
00:24:27,640 --> 00:24:29,840
Speaker 2: not been able to say it without laughing. Don't look

495
00:24:29,840 --> 00:24:30,040
Speaker 2: at me.

496
00:24:30,080 --> 00:24:32,080
Speaker 1: I'm actually let me turn your camera off because I

497
00:24:32,080 --> 00:24:35,159
Speaker 1: will laugh in your face because this cracks me up.

498
00:24:35,800 --> 00:24:40,679
Speaker 1: But the name of this episode is called The Brothers

499
00:24:40,840 --> 00:24:44,600
Speaker 1: weighand a critical assessment of aesthetic.

500
00:24:46,280 --> 00:24:50,560
Speaker 2: Yes, yes, yes, yes, you did it, you did it.

501
00:24:51,200 --> 00:24:54,199
Speaker 2: A Let's tell the people before I get into the

502
00:24:54,240 --> 00:24:59,160
Speaker 2: history of this dynastic family, what were you thinking when

503
00:24:59,200 --> 00:25:01,919
Speaker 2: you're like, this is something I want to talk about, Okay.

504
00:25:02,680 --> 00:25:05,959
Speaker 1: I think the part of it is that there is

505
00:25:06,160 --> 00:25:11,840
Speaker 1: something to be said for the movies that came out

506
00:25:11,960 --> 00:25:15,440
Speaker 1: of this family, some of them more than others, because

507
00:25:15,480 --> 00:25:20,200
Speaker 1: certainly they have made important, interesting, you know, quote unquote

508
00:25:20,240 --> 00:25:23,560
Speaker 1: serious movies, especially as actors, not maybe as you know,

509
00:25:23,720 --> 00:25:25,919
Speaker 1: as directors, but especially as actors.

510
00:25:25,520 --> 00:25:27,080
Speaker 2: Maybe acting and other things.

511
00:25:27,800 --> 00:25:31,640
Speaker 1: But I also feel like there's such a snobbery when

512
00:25:31,680 --> 00:25:35,520
Speaker 1: it comes to the Waynes Brothers movies, especially when it

513
00:25:35,560 --> 00:25:39,080
Speaker 1: comes to like the comedies of the late nineties and

514
00:25:39,119 --> 00:25:43,440
Speaker 1: early two thousands that were primarily parodies of other films.

515
00:25:43,680 --> 00:25:47,280
Speaker 1: There's this sort of snobbery amongst oln people that are like, Okay,

516
00:25:47,320 --> 00:25:50,919
Speaker 1: that's bullshit, Like that's those are like the dumbest movies

517
00:25:50,920 --> 00:25:51,480
Speaker 1: of all time.

518
00:25:52,280 --> 00:25:53,560
Speaker 2: And I'm not.

519
00:25:53,600 --> 00:25:58,520
Speaker 1: Gonna sit there and like tell you that fran Leebowitz

520
00:25:59,359 --> 00:26:01,960
Speaker 1: would stand for these films.

521
00:26:02,080 --> 00:26:04,639
Speaker 2: I bet she fucking would. She's cool, she would.

522
00:26:05,080 --> 00:26:10,720
Speaker 1: But I also feel like it's time for critical reappraisal.

523
00:26:10,720 --> 00:26:13,359
Speaker 2: Maybe of these films. And there are, like.

524
00:26:13,359 --> 00:26:15,600
Speaker 1: I said, there are films that they are affiliated with,

525
00:26:15,640 --> 00:26:18,720
Speaker 1: like Hollywood Shuffle and maybe your movie that we're gonna

526
00:26:18,720 --> 00:26:22,679
Speaker 1: talk about today, that have become great films that people

527
00:26:23,040 --> 00:26:24,840
Speaker 1: will talk about on a film podcast.

528
00:26:25,040 --> 00:26:27,400
Speaker 2: But there there are others that I don't.

529
00:26:27,240 --> 00:26:30,360
Speaker 1: Know if people would talk about on film podcasts until now.

530
00:26:30,600 --> 00:26:34,800
Speaker 3: Well that's because they have made collectively over thirty movies.

531
00:26:35,280 --> 00:26:37,240
Speaker 3: It's like thirty three thirty four movies, I think at

532
00:26:37,240 --> 00:26:40,720
Speaker 3: this point. And let me look, let's get into the

533
00:26:41,320 --> 00:26:45,080
Speaker 3: brothers Wayans as we do a critical assessment of aesthetic

534
00:26:47,760 --> 00:26:50,840
Speaker 3: which I'm one hundred putting on a T shirt one day.

535
00:26:52,600 --> 00:26:56,640
Speaker 3: So the first generation of Wayans, Okay, first generation has

536
00:26:56,880 --> 00:27:02,959
Speaker 3: ten kids, ten siblings. You've got Dwayne, Keenan, Deirdre, Damon,

537
00:27:03,280 --> 00:27:09,560
Speaker 3: kim Elvira, Nadia, Devon, Sean and Marlin ten and one family.

538
00:27:09,920 --> 00:27:11,639
Speaker 2: They were raised in New York City.

539
00:27:11,920 --> 00:27:14,480
Speaker 3: Their father managed a supermarket and their mother was a

540
00:27:14,480 --> 00:27:17,359
Speaker 3: homemaker and a social worker. They lived in the Chelsea

541
00:27:17,400 --> 00:27:20,360
Speaker 3: area and they were raised as Jehovah's witnesses.

542
00:27:20,640 --> 00:27:22,480
Speaker 2: Ten kids. I still can't get over it. And that

543
00:27:22,760 --> 00:27:23,920
Speaker 2: is just the first generation.

544
00:27:24,480 --> 00:27:29,119
Speaker 3: Your second generation includes Wayans like Damon Wayans Junior, who's

545
00:27:29,240 --> 00:27:31,600
Speaker 3: best known for Happy Endings and New Girl. He's an

546
00:27:31,600 --> 00:27:33,359
Speaker 3: actor that's been on a lot of TV stuff and

547
00:27:33,440 --> 00:27:38,280
Speaker 3: a few movies, Damien, Dante Wayans, Craig Wayans. All told,

548
00:27:38,640 --> 00:27:41,560
Speaker 3: there are about four hundred and thirty five Wayans currently

549
00:27:41,600 --> 00:27:47,240
Speaker 3: working in or around the LA area.

550
00:27:47,400 --> 00:27:47,960
Speaker 2: And here's the.

551
00:27:47,880 --> 00:27:51,440
Speaker 3: Thing that fascinates me about that. The whole family two faces.

552
00:27:51,520 --> 00:27:53,800
Speaker 3: They only have two faces. You're either a Keenan or

553
00:27:53,840 --> 00:27:54,479
Speaker 3: you're a Damon.

554
00:27:55,000 --> 00:27:56,600
Speaker 2: Yeah, the Jeans are.

555
00:27:56,520 --> 00:27:59,879
Speaker 3: Strong in either direction. But that is you are one family.

556
00:28:00,040 --> 00:28:02,200
Speaker 3: You only have two faces. You have four hundred members,

557
00:28:03,000 --> 00:28:05,640
Speaker 3: and it's like pick your warrior. How are you going

558
00:28:05,640 --> 00:28:08,439
Speaker 3: out in this world? So they have so many movies.

559
00:28:08,480 --> 00:28:13,560
Speaker 3: They are collectively as a family worth about one hundred

560
00:28:13,600 --> 00:28:19,359
Speaker 3: and seventy million dollars. Wow, and Keenan Ivory Wayans is

561
00:28:19,359 --> 00:28:21,480
Speaker 3: worth about sixty five million.

562
00:28:21,560 --> 00:28:21,800
Speaker 4: Of that.

563
00:28:22,920 --> 00:28:25,680
Speaker 3: Sean is the least wealthy way In because he only

564
00:28:26,080 --> 00:28:28,960
Speaker 3: has about thirty million dollars. Oh oh, you know, he's

565
00:28:29,000 --> 00:28:31,879
Speaker 3: a baby brother. He's got time. So this whole family

566
00:28:32,000 --> 00:28:36,119
Speaker 3: just burst into films primarily because of Keenan and Dwane.

567
00:28:36,160 --> 00:28:40,040
Speaker 3: So Dwayne is a film composer, but Keenan Ivory Wayans is,

568
00:28:40,120 --> 00:28:41,960
Speaker 3: and I can't just not say his whole name, Like

569
00:28:42,000 --> 00:28:45,160
Speaker 3: I can't just now say Keenan. If your name's Keenan

570
00:28:45,160 --> 00:28:48,360
Speaker 3: Ivy Wayans, I'm saying the whole thing. He was a writer.

571
00:28:48,440 --> 00:28:51,680
Speaker 3: He wrote in Hollywood Shuffle, and then he wrote the

572
00:28:51,720 --> 00:28:53,840
Speaker 3: film that we're going to talk about today. He wrote

573
00:28:53,880 --> 00:28:57,240
Speaker 3: and directed I'm Going to Get You Sucka. But he

574
00:28:57,320 --> 00:28:59,840
Speaker 3: really kicked it off because it was after I'm Gonna

575
00:28:59,840 --> 00:29:03,640
Speaker 3: Get Usuka is when he started developing in Living Color,

576
00:29:04,040 --> 00:29:07,120
Speaker 3: which was a TV show that I lived for as

577
00:29:07,160 --> 00:29:09,880
Speaker 3: a child, lived for Sunday Nights.

578
00:29:10,440 --> 00:29:13,720
Speaker 2: It was like Simpson's Living Color Night Right, and it

579
00:29:13,760 --> 00:29:16,920
Speaker 2: was a sketch comedy show. And you know, you got

580
00:29:16,960 --> 00:29:17,800
Speaker 2: your your usual.

581
00:29:18,640 --> 00:29:20,840
Speaker 3: They usually kind of suck with a crew like you know,

582
00:29:21,000 --> 00:29:24,760
Speaker 3: David Allen Greer, Tommy Davidson. But Keen and Everywayans really

583
00:29:24,760 --> 00:29:28,320
Speaker 3: went out and wrote, produced and directed a ton of

584
00:29:28,360 --> 00:29:31,320
Speaker 3: TV and a ton of films before Marlon was even

585
00:29:31,400 --> 00:29:32,400
Speaker 3: like in high school.

586
00:29:33,720 --> 00:29:38,480
Speaker 1: I mean, and that show launched like Jim Carrey and

587
00:29:38,680 --> 00:29:41,680
Speaker 1: Jennifer Lopez and I mean it was like I mean,

588
00:29:42,240 --> 00:29:44,360
Speaker 1: I don't you know we I know that not everybody

589
00:29:44,360 --> 00:29:46,520
Speaker 1: that listens to this podcast is our age, but like

590
00:29:46,600 --> 00:29:51,080
Speaker 1: for people of a certain age, that show was more

591
00:29:51,120 --> 00:29:54,720
Speaker 1: important than Saturday Night Live completely, like in a lot

592
00:29:54,720 --> 00:29:56,640
Speaker 1: of ways. I mean, they was happening at the same

593
00:29:56,680 --> 00:29:59,040
Speaker 1: time as Saturday Night Live, but there was something else

594
00:29:59,280 --> 00:30:02,920
Speaker 1: there that, like, I mean, at least for me and

595
00:30:02,960 --> 00:30:06,480
Speaker 1: my friends, Like, we loved that shit.

596
00:30:06,760 --> 00:30:09,920
Speaker 3: They were meaner, and they were funnier and they went harder,

597
00:30:10,200 --> 00:30:12,080
Speaker 3: yes than SNL for a long time.

598
00:30:12,280 --> 00:30:13,000
Speaker 2: Yeah.

599
00:30:13,120 --> 00:30:17,520
Speaker 3: So I read something where in twenty twenty, somebody named Terence.

600
00:30:17,280 --> 00:30:19,960
Speaker 2: J, who I guess is a host or a comedian.

601
00:30:20,640 --> 00:30:23,680
Speaker 3: Terrence J said that the Wayn's family is only successful

602
00:30:23,840 --> 00:30:27,120
Speaker 3: due to nepotism, and I was like, no, shit, Sherlock, Like,

603
00:30:27,360 --> 00:30:29,200
Speaker 3: there's nine hundred of them.

604
00:30:29,560 --> 00:30:30,560
Speaker 2: Of course it is.

605
00:30:30,800 --> 00:30:33,160
Speaker 3: But this is part of my questioning as we're doing

606
00:30:33,160 --> 00:30:36,440
Speaker 3: this reimagining and re envisioning of the Wayns family is

607
00:30:36,800 --> 00:30:39,720
Speaker 3: why is building a family dynasty a problem when black

608
00:30:39,720 --> 00:30:42,760
Speaker 3: people do it? Like, why is it so controversial that

609
00:30:42,880 --> 00:30:46,240
Speaker 3: this family, in order to build their own generational wealth

610
00:30:46,240 --> 00:30:50,960
Speaker 3: that had an immediate impact on the next generation. How

611
00:30:51,040 --> 00:30:53,320
Speaker 3: is it problematic? But the Barrymores, and you know, like

612
00:30:53,360 --> 00:30:54,840
Speaker 3: we were talking about with the Rats when we did

613
00:30:54,880 --> 00:31:00,520
Speaker 3: a Graveyard Shifts.

614
00:30:58,200 --> 00:31:01,960
Speaker 1: The Houstons like the Rat family dynasty.

615
00:31:02,120 --> 00:31:04,520
Speaker 3: Yes, y'all, let rats get a dynasty before you let

616
00:31:04,600 --> 00:31:06,600
Speaker 3: the way An's get a dynasty. And I think that's

617
00:31:06,600 --> 00:31:09,360
Speaker 3: what we're talking about that It's like, Yeah, nepotism plays

618
00:31:09,360 --> 00:31:10,960
Speaker 3: a big part of it, because that was a tool

619
00:31:11,000 --> 00:31:13,480
Speaker 3: of survival for them, not only in their lives and

620
00:31:13,520 --> 00:31:17,040
Speaker 3: in their upbringing, but clearly in their work. And there

621
00:31:17,080 --> 00:31:20,680
Speaker 3: is something to be said for like your siblings being

622
00:31:20,720 --> 00:31:22,800
Speaker 3: able to make you laugh in a way that nobody

623
00:31:22,880 --> 00:31:25,440
Speaker 3: can make you laugh. And I think that that is

624
00:31:25,480 --> 00:31:27,720
Speaker 3: a natural extension. To me, it makes perfect sense that

625
00:31:27,760 --> 00:31:30,840
Speaker 3: when you start writing films you have your family in mind.

626
00:31:31,160 --> 00:31:33,080
Speaker 3: Nobody makes me laugh harder than my brother on some

627
00:31:33,160 --> 00:31:37,320
Speaker 3: account about certain things. I don't find it problematic that

628
00:31:37,320 --> 00:31:42,520
Speaker 3: they went on to build this huge, momentous and ongoing

629
00:31:43,440 --> 00:31:47,720
Speaker 3: carnival of film and of media, and I think a

630
00:31:47,760 --> 00:31:48,239
Speaker 3: lot of that.

631
00:31:48,840 --> 00:31:51,440
Speaker 1: I think if they have criticism, I think it has

632
00:31:51,520 --> 00:31:53,560
Speaker 1: a lot to do with sort of like I said,

633
00:31:53,600 --> 00:31:56,800
Speaker 1: going back to this idea that what is art, what

634
00:31:56,960 --> 00:31:59,720
Speaker 1: is this high art? You know, what are we saving

635
00:31:59,760 --> 00:32:04,080
Speaker 1: and protecting and touting and like what is the canon?

636
00:32:04,520 --> 00:32:06,840
Speaker 2: And I would say comedy is always.

637
00:32:06,560 --> 00:32:10,320
Speaker 1: Maligned when it comes to like, you know, high minded,

638
00:32:10,400 --> 00:32:15,000
Speaker 1: high falutin film people. Broad comedies, especially like broad comedy

639
00:32:15,320 --> 00:32:18,880
Speaker 1: is not artistic in the minds of like, you know.

640
00:32:18,920 --> 00:32:19,680
Speaker 2: Film people.

641
00:32:20,360 --> 00:32:23,080
Speaker 1: You know, maybe the Academy, and the Academy doesn't do

642
00:32:23,200 --> 00:32:25,480
Speaker 1: a lot of comedy in terms of like when they

643
00:32:25,600 --> 00:32:29,360
Speaker 1: give out awards, and there's something to that where basically

644
00:32:29,520 --> 00:32:35,080
Speaker 1: like because they were successful, because they were making films

645
00:32:35,160 --> 00:32:39,280
Speaker 1: that made millions and millions of dollars and kids lighting

646
00:32:39,360 --> 00:32:42,520
Speaker 1: up around the block to see scary movie. You know,

647
00:32:42,760 --> 00:32:45,719
Speaker 1: it's like for some reason that's are they deserve it

648
00:32:45,760 --> 00:32:50,760
Speaker 1: of that success because they're commercially financially successful and they're

649
00:32:50,800 --> 00:32:52,400
Speaker 1: not making quote unquote art.

650
00:32:52,560 --> 00:32:54,920
Speaker 3: For a lot of people, I completely agree, because I

651
00:32:54,960 --> 00:32:57,040
Speaker 3: also think it is a question of where do they

652
00:32:57,080 --> 00:33:00,240
Speaker 3: fit in because they're making very black art. Yeah, yes,

653
00:33:00,520 --> 00:33:03,680
Speaker 3: but it is not fit within the bounds of monolithic blackness.

654
00:33:03,880 --> 00:33:05,480
Speaker 3: And that's where a lot of people I think have

655
00:33:05,560 --> 00:33:08,360
Speaker 3: problems with them because they keep questioning, you know, are

656
00:33:08,400 --> 00:33:12,960
Speaker 3: they successful because they're enforcing stereotypes or because they're demolishing stereotypes,

657
00:33:13,480 --> 00:33:16,280
Speaker 3: and that's part of what I think is funny about

658
00:33:16,600 --> 00:33:18,680
Speaker 3: the movie that I picked today. I'm going to get

659
00:33:18,680 --> 00:33:22,320
Speaker 3: you Suka, because what they're really doing is they kind

660
00:33:22,360 --> 00:33:25,960
Speaker 3: of earn their stripes making fun of exploitation films, which

661
00:33:25,960 --> 00:33:28,680
Speaker 3: we're already such a myopic view of blackness through the

662
00:33:28,760 --> 00:33:30,960
Speaker 3: lens of whiteness. So they're not only making fun of

663
00:33:31,000 --> 00:33:33,160
Speaker 3: the format, but they're also making fun of the function,

664
00:33:33,400 --> 00:33:35,760
Speaker 3: like they're forcing people to ask, who are these movies

665
00:33:35,840 --> 00:33:39,280
Speaker 3: usually for and what does it say about blackness versus

666
00:33:39,280 --> 00:33:41,440
Speaker 3: what you think you know about blackness or what we

667
00:33:41,480 --> 00:33:45,640
Speaker 3: know about blackness. So it's very interesting, you know, again,

668
00:33:45,680 --> 00:33:48,600
Speaker 3: an interesting dynamic to me at play because they know

669
00:33:48,680 --> 00:33:49,240
Speaker 3: what they're doing.

670
00:33:49,320 --> 00:33:52,240
Speaker 2: They're smart as fuck and to be smart to make.

671
00:33:52,960 --> 00:33:54,600
Speaker 3: And I keep going back to the money because I

672
00:33:54,600 --> 00:33:56,840
Speaker 3: think that as we've gone through this month and talked

673
00:33:56,840 --> 00:34:00,680
Speaker 3: about so many black creators who never got they're due,

674
00:34:01,040 --> 00:34:03,920
Speaker 3: it is truly impressive to me that they have been

675
00:34:03,960 --> 00:34:05,080
Speaker 3: able to build what they've built.

676
00:34:05,520 --> 00:34:06,480
Speaker 2: It's truly impressive.

677
00:34:06,520 --> 00:34:08,160
Speaker 3: And they don't have to be auteurs, and they don't

678
00:34:08,200 --> 00:34:10,799
Speaker 3: have to be like the most special artistic flowers that

679
00:34:10,840 --> 00:34:14,160
Speaker 3: ever existed, that they were able to do it is

680
00:34:14,719 --> 00:34:15,400
Speaker 3: awesome to me.

681
00:34:15,680 --> 00:34:16,640
Speaker 2: Yeah, it's awesome.

682
00:34:16,680 --> 00:34:19,719
Speaker 3: So I think that it's worth asking these questions because

683
00:34:19,719 --> 00:34:23,359
Speaker 3: they don't fit into most people's definition of art. And

684
00:34:23,400 --> 00:34:24,960
Speaker 3: I'm not even going to get into the argument of

685
00:34:24,960 --> 00:34:27,479
Speaker 3: whether they should or not, but I think exactly there's

686
00:34:27,480 --> 00:34:30,520
Speaker 3: definitely something to be said for you know, they instantly

687
00:34:30,760 --> 00:34:33,480
Speaker 3: don't fit any mold because they're making black art that

688
00:34:33,560 --> 00:34:37,600
Speaker 3: is not about respectability, politics or monolithic blackness. I don't know,

689
00:34:37,640 --> 00:34:40,080
Speaker 3: Like I feel like it goes back to that Bill

690
00:34:40,120 --> 00:34:42,319
Speaker 3: Gun letter to the editor, you know, and how do

691
00:34:42,320 --> 00:34:44,760
Speaker 3: you respond to movies that maybe.

692
00:34:44,560 --> 00:34:47,040
Speaker 2: Aren't made for you and kind of the valuation.

693
00:34:47,400 --> 00:34:50,959
Speaker 3: Of the Way and Brothers as unworthy of success because

694
00:34:51,000 --> 00:34:53,200
Speaker 3: they don't because they kind of go out of pocket sometimes.

695
00:34:53,680 --> 00:34:54,600
Speaker 2: But I do want to.

696
00:34:55,200 --> 00:34:57,600
Speaker 3: I think these movies that we've picked are very excellent

697
00:34:57,640 --> 00:35:00,360
Speaker 3: ways the different ends of the spectrum to start answering

698
00:35:00,400 --> 00:35:03,680
Speaker 3: some of these questions and thinking more deeply about these questions,

699
00:35:03,719 --> 00:35:07,000
Speaker 3: because people again like lose their minds.

700
00:35:07,280 --> 00:35:09,279
Speaker 2: There are some articles. I'm just going to read the

701
00:35:09,320 --> 00:35:13,160
Speaker 2: titles because I looked at when we had the super

702
00:35:13,200 --> 00:35:14,720
Speaker 2: academic title.

703
00:35:14,760 --> 00:35:16,320
Speaker 3: I looked it up to see if there's any actual

704
00:35:16,360 --> 00:35:17,640
Speaker 3: academic articles.

705
00:35:17,320 --> 00:35:21,160
Speaker 2: About the way It's brothers, and boy, are there really?

706
00:35:21,320 --> 00:35:24,320
Speaker 2: You went on Jay Store and the whole I was like,

707
00:35:24,480 --> 00:35:28,160
Speaker 2: I'm back, y'all dust off the day j Store Kennery.

708
00:35:29,120 --> 00:35:30,880
Speaker 3: And I had like a media panic attack when I

709
00:35:30,880 --> 00:35:36,520
Speaker 3: logged INTSD. But one of the pieces, one of the

710
00:35:36,600 --> 00:35:40,239
Speaker 3: articles is called Whiting Up and blacking Out White Privilege,

711
00:35:40,360 --> 00:35:45,279
Speaker 3: Race and White Chicks. Another one is called Stereotypical Strategies,

712
00:35:45,600 --> 00:35:50,520
Speaker 3: Black Film Aesthetics, spectator positioning and self directed stereotypes and

713
00:35:50,560 --> 00:35:53,080
Speaker 3: Hollywood Shuffle. And I'm going to get you Suka, and

714
00:35:53,120 --> 00:35:56,200
Speaker 3: that's by Harriet. Our goal is and if I can,

715
00:35:56,280 --> 00:35:58,960
Speaker 3: I'm just going to read you a little paragraph just

716
00:35:59,040 --> 00:36:01,719
Speaker 3: explaining what this article about, because I want people to

717
00:36:01,800 --> 00:36:05,200
Speaker 3: both understand how the Wayans are talked about when they're

718
00:36:05,200 --> 00:36:09,359
Speaker 3: talked about and a critical lens. But also I want

719
00:36:09,400 --> 00:36:11,680
Speaker 3: people who are wavering on whether or not they should

720
00:36:11,680 --> 00:36:13,279
Speaker 3: go to college to use this as a way to

721
00:36:13,400 --> 00:36:16,080
Speaker 3: make that decision, because this is how you're gonna have

722
00:36:16,120 --> 00:36:24,000
Speaker 3: to talk, Okay. The description the synopsis writers directors Robert

723
00:36:24,000 --> 00:36:27,680
Speaker 3: Townsend and Keenan Ivory Wayans both use a strategy of

724
00:36:27,760 --> 00:36:31,640
Speaker 3: self directed stereotypes in Hollywood Shuffle and I'm going to

725
00:36:31,680 --> 00:36:35,000
Speaker 3: get you Sukka, their initial contributions to the surge of

726
00:36:35,040 --> 00:36:38,759
Speaker 3: African American feature filmmaking that came out of Hollywood in

727
00:36:38,760 --> 00:36:43,920
Speaker 3: the nineteen eighties. Wyans attacks stereotyping as process presented by

728
00:36:43,920 --> 00:36:46,960
Speaker 3: the media as a means of conceptualizing the world, whereas

729
00:36:47,040 --> 00:36:51,120
Speaker 3: Townshend attacks specific, individually expressed stereotypes more than the process

730
00:36:51,120 --> 00:36:55,120
Speaker 3: of stereotyping itself. If using self directed stereotypes is accepted

731
00:36:55,160 --> 00:36:58,080
Speaker 3: as a valuable contribution, I'm getting tired just reading this.

732
00:36:58,239 --> 00:37:00,440
Speaker 3: I have one time on a hand, do it? I

733
00:37:00,480 --> 00:37:02,480
Speaker 3: want this left, can't do it. But that is what

734
00:37:02,480 --> 00:37:05,080
Speaker 3: people are talking about. Like self directed stereotypes is a

735
00:37:05,160 --> 00:37:09,280
Speaker 3: very interesting way to frame and think about the Waynes brothers.

736
00:37:09,800 --> 00:37:11,680
Speaker 3: So thank you Harriet Margolis for that.

737
00:37:13,120 --> 00:37:15,920
Speaker 1: Well, you know, and like there is always and I'm

738
00:37:16,520 --> 00:37:21,440
Speaker 1: coming to this as a person who protects and preserves

739
00:37:21,480 --> 00:37:25,040
Speaker 1: the legacy of film right as professionally in my career,

740
00:37:25,080 --> 00:37:27,640
Speaker 1: but also just as like a film lover, there is

741
00:37:27,800 --> 00:37:31,680
Speaker 1: something to be said sometimes of like wondering who creates

742
00:37:31,719 --> 00:37:35,960
Speaker 1: the canon, who creates what I mean? This is probably

743
00:37:36,840 --> 00:37:41,160
Speaker 1: way too intellectual for this podcast considered, we simply talk

744
00:37:41,200 --> 00:37:43,520
Speaker 1: about farting sometimes, but.

745
00:37:43,719 --> 00:37:44,960
Speaker 2: I funks and dumps.

746
00:37:46,120 --> 00:37:49,720
Speaker 1: Yeah, but I you know, sometimes you do have to wonder.

747
00:37:49,760 --> 00:37:52,680
Speaker 1: And maybe I wonder this because I'm not a straight

748
00:37:52,719 --> 00:37:55,520
Speaker 1: white guy or something. But I also, you know, wonder

749
00:37:55,560 --> 00:38:00,480
Speaker 1: as just a human being, Like, is commercial popularity the

750
00:38:00,560 --> 00:38:04,360
Speaker 1: antithesis to art? It's just a thought experiment that I

751
00:38:04,400 --> 00:38:05,399
Speaker 1: have sometimes, you know, And.

752
00:38:05,360 --> 00:38:07,560
Speaker 3: It's worth going through that thought experiment because think of

753
00:38:07,600 --> 00:38:09,319
Speaker 3: it in terms of even our own lives. Like we

754
00:38:09,400 --> 00:38:14,320
Speaker 3: both know people who are so constrained by the notion

755
00:38:14,360 --> 00:38:16,839
Speaker 3: of selling out that they've never done anything, and they're

756
00:38:16,880 --> 00:38:20,160
Speaker 3: so constrained by the notion of making money off of

757
00:38:20,200 --> 00:38:22,680
Speaker 3: something that I enjoy that I'm good at that's artistic,

758
00:38:22,920 --> 00:38:26,120
Speaker 3: is the worst thing I could possibly do. And I

759
00:38:26,200 --> 00:38:28,440
Speaker 3: just don't believe that. I don't think that that's the

760
00:38:28,520 --> 00:38:31,560
Speaker 3: right way to approach you your creativity. And I think

761
00:38:31,560 --> 00:38:33,520
Speaker 3: that if you're making movies because you like the idea

762
00:38:33,600 --> 00:38:35,200
Speaker 3: and it's funny and it happens to make you a

763
00:38:35,239 --> 00:38:36,160
Speaker 3: ton of money.

764
00:38:36,040 --> 00:38:39,640
Speaker 2: Okay, that's fine with me, let's get off my back.

765
00:38:39,880 --> 00:38:42,080
Speaker 1: Well, and also too, it's that thing where you're like

766
00:38:42,840 --> 00:38:45,319
Speaker 1: are we not allowed to have black success because it's

767
00:38:45,360 --> 00:38:49,640
Speaker 1: not you know, serious or high minded or anything like that.

768
00:38:50,200 --> 00:38:52,440
Speaker 2: I also want to I mean, I wanted to explore.

769
00:38:52,680 --> 00:38:55,200
Speaker 3: This was very interesting to me because I wanted to

770
00:38:55,239 --> 00:38:59,640
Speaker 3: explore this notion of can we also just have black joy?

771
00:39:00,320 --> 00:39:02,799
Speaker 3: Nothing made me laugh harder when I was a kid

772
00:39:02,880 --> 00:39:04,480
Speaker 3: than the movie that I'm going to talk about today,

773
00:39:04,719 --> 00:39:08,360
Speaker 3: And nothing made my grandmother laugh more than movies like

774
00:39:08,400 --> 00:39:12,160
Speaker 3: this than seeing your culture reflected back to you in

775
00:39:12,200 --> 00:39:14,800
Speaker 3: a way that is so absurd. And I feel like

776
00:39:14,800 --> 00:39:17,320
Speaker 3: we're allowed to have that too. So all of this

777
00:39:17,480 --> 00:39:18,640
Speaker 3: in mind, let's do it.

778
00:39:18,920 --> 00:39:22,799
Speaker 1: Yes, So I am going first this week, and my

779
00:39:23,160 --> 00:39:28,440
Speaker 1: choice for the theme of the Brothers Weighans a critical

780
00:39:28,520 --> 00:39:33,120
Speaker 1: assessment of aesthetic is a little movie from nineteen ninety six.

781
00:39:34,040 --> 00:39:37,200
Speaker 1: It's called Don't Be a Menace to South Central While

782
00:39:37,280 --> 00:39:40,920
Speaker 1: Drinking Your Juice in the Hood, directed by Paris Barclay

783
00:39:41,280 --> 00:39:41,879
Speaker 1: Sean Waite.

784
00:39:41,880 --> 00:39:43,359
Speaker 4: It's all about the size of the boat.

785
00:39:43,400 --> 00:39:49,760
Speaker 2: It's the motion in the ocean. Morland Way would this film? Wow?

786
00:39:50,200 --> 00:39:53,000
Speaker 1: I remember when it came out because here's the thing.

787
00:39:53,200 --> 00:39:55,560
Speaker 1: A lot of movies that we've talked about in this podcast,

788
00:39:56,360 --> 00:39:57,440
Speaker 1: you and I have been.

789
00:39:57,320 --> 00:40:00,760
Speaker 2: Either not alive or early alive.

790
00:40:01,440 --> 00:40:04,960
Speaker 1: I think certain times with like the newer stuff, especially

791
00:40:05,080 --> 00:40:07,960
Speaker 1: the last you know, the movies from last week, you know,

792
00:40:08,080 --> 00:40:11,360
Speaker 1: we were fully adults. But this era of these two movies,

793
00:40:11,360 --> 00:40:13,640
Speaker 1: and the era of the Wayns family in general, I

794
00:40:13,640 --> 00:40:16,520
Speaker 1: think is like this is what we were. The blood

795
00:40:16,640 --> 00:40:19,440
Speaker 1: was pumpin', we were, we were alive.

796
00:40:19,200 --> 00:40:21,760
Speaker 2: We felt it. The Sarahbellum was forming.

797
00:40:22,760 --> 00:40:25,920
Speaker 1: So this movie, like I said, was directed by Paris Barclay,

798
00:40:26,000 --> 00:40:30,360
Speaker 1: it was produced by Keenan Ivory, and it was written

799
00:40:30,360 --> 00:40:34,160
Speaker 1: by and starring Shawn and Marlon Ways. As you mentioned,

800
00:40:34,640 --> 00:40:38,480
Speaker 1: Sean and Marlin are the youngest brothers, were the youngest

801
00:40:38,800 --> 00:40:41,359
Speaker 1: of the family, right, because Sean's the youngest and then

802
00:40:41,400 --> 00:40:43,600
Speaker 1: Marlin's the second youngest, Right, I.

803
00:40:43,560 --> 00:40:46,240
Speaker 3: Believe it's the other way around. I believe that Marlin

804
00:40:46,360 --> 00:40:48,200
Speaker 3: is the youngest, Sean is the second youngest.

805
00:40:48,320 --> 00:40:53,640
Speaker 1: Second, I guess, and there have been sort of little

806
00:40:53,760 --> 00:40:59,520
Speaker 1: clusters of like the family is large and everybody's extremely

807
00:40:59,560 --> 00:41:02,880
Speaker 1: successul school. But then like certain brothers like obviously Keenan

808
00:41:02,880 --> 00:41:06,880
Speaker 1: Ivory and Damon did stuff together in the early nineties,

809
00:41:07,239 --> 00:41:09,840
Speaker 1: and then I think Sean and Marlon kind of started

810
00:41:09,840 --> 00:41:12,600
Speaker 1: doing stuff in like the late nineties early two thousands,

811
00:41:12,719 --> 00:41:15,640
Speaker 1: and they kind of made a string of movies and

812
00:41:16,880 --> 00:41:20,480
Speaker 1: they're both actors, but Marlon kind of started doing movies.

813
00:41:20,520 --> 00:41:23,279
Speaker 1: He was doing movies outside of the family. He did

814
00:41:23,360 --> 00:41:25,400
Speaker 1: work him for a Dream. I think everybody kind of

815
00:41:25,400 --> 00:41:26,840
Speaker 1: remembers that because.

816
00:41:26,600 --> 00:41:31,680
Speaker 2: That movie is intense and he was and Marlin wasn't

817
00:41:31,680 --> 00:41:32,000
Speaker 2: a lot.

818
00:41:32,040 --> 00:41:34,399
Speaker 1: I mean, he was like on TV, like they both

819
00:41:34,440 --> 00:41:38,160
Speaker 1: had a TV show together. Marlon actually went to the

820
00:41:38,200 --> 00:41:40,400
Speaker 1: Fame High School, by the way, I like, I know

821
00:41:40,440 --> 00:41:43,040
Speaker 1: we talked about that in the Step Up episode as

822
00:41:43,080 --> 00:41:44,000
Speaker 1: being we're.

823
00:41:43,800 --> 00:41:45,560
Speaker 2: Fascinated with people that went to.

824
00:41:46,320 --> 00:41:50,640
Speaker 1: Performing arts school and Marlon Wayans went to Fame, went

825
00:41:50,680 --> 00:41:51,760
Speaker 1: to Laguardi Maryland.

826
00:41:51,760 --> 00:41:54,000
Speaker 3: Can you can you send us in a dance clip

827
00:41:54,120 --> 00:41:56,359
Speaker 3: for Millie a little channing tinum suth.

828
00:41:56,880 --> 00:41:59,839
Speaker 1: I want to see Marlon Wayans if you're listening, if

829
00:41:59,840 --> 00:42:04,720
Speaker 1: you are performing in a hallway doing stretches and whatnot,

830
00:42:05,000 --> 00:42:06,319
Speaker 1: please send me video of that.

831
00:42:06,640 --> 00:42:09,360
Speaker 3: But yes, Fame, we love look, I love a dance moment.

832
00:42:09,920 --> 00:42:14,120
Speaker 3: I know that now that we've watched Fame, that they

833
00:42:14,200 --> 00:42:16,520
Speaker 3: make you run through the whole curriculum. So if Marlin,

834
00:42:16,560 --> 00:42:19,440
Speaker 3: if you can play a little violin, do a little dance,

835
00:42:20,040 --> 00:42:21,120
Speaker 3: and sing us a little song.

836
00:42:21,719 --> 00:42:23,440
Speaker 2: We know you got it, We know you got the chops.

837
00:42:23,520 --> 00:42:26,080
Speaker 1: Come on this podcast and perform hot Lunch for us. Please,

838
00:42:26,280 --> 00:42:31,600
Speaker 1: I would love nothing more. So Marlin and Sean made

839
00:42:31,600 --> 00:42:35,399
Speaker 1: a string of broad comedy parody films in the late

840
00:42:35,440 --> 00:42:39,000
Speaker 1: nineties early two thousands that made a lot of fucking money.

841
00:42:39,840 --> 00:42:45,520
Speaker 1: Stuff like Scary Movie, Scary Movie, Two White Chicks, Little Man.

842
00:42:45,760 --> 00:42:48,280
Speaker 1: They actually made a parody of the step up movies

843
00:42:48,320 --> 00:42:53,680
Speaker 1: called Dance Flick from two thousand and nine. They were

844
00:42:53,719 --> 00:42:56,319
Speaker 1: on a TV show together in the mid to late

845
00:42:56,400 --> 00:43:02,240
Speaker 1: nineties on the WB network, so they did a lot. Also,

846
00:43:02,280 --> 00:43:05,240
Speaker 1: I have to note Paris Barclay, the director of this movie.

847
00:43:05,880 --> 00:43:10,279
Speaker 1: This was his first film. He primarily, I mean, he

848
00:43:10,320 --> 00:43:15,080
Speaker 1: works in television. He's like pretty much directed every amazing

849
00:43:15,120 --> 00:43:17,720
Speaker 1: television show that's happened in the past like twenty five years.

850
00:43:18,200 --> 00:43:22,120
Speaker 1: And I have to say he was the first black

851
00:43:22,600 --> 00:43:25,440
Speaker 1: and openly gay president.

852
00:43:25,000 --> 00:43:30,040
Speaker 2: Of the Directors Guild. That's dope. That's pretty dope, exactly. Okay,

853
00:43:30,239 --> 00:43:33,160
Speaker 2: So let's talk about this movie. Give me the synopsis.

854
00:43:33,200 --> 00:43:35,640
Speaker 2: What is this movie about? So don't be a menace?

855
00:43:35,680 --> 00:43:36,480
Speaker 2: Dot dot dot.

856
00:43:36,920 --> 00:43:39,960
Speaker 1: I swear to god, there was a joke or sitegag

857
00:43:40,320 --> 00:43:41,640
Speaker 1: literally every five seconds.

858
00:43:42,560 --> 00:43:44,600
Speaker 2: There truly is there, truly is.

859
00:43:45,080 --> 00:43:50,160
Speaker 1: Basically this movie is taking cracks at this film genre.

860
00:43:51,239 --> 00:43:54,000
Speaker 1: It is a film genre, maybe not very well known,

861
00:43:54,440 --> 00:43:58,120
Speaker 1: but it's called the hood film, okay, And these are

862
00:43:58,640 --> 00:44:02,760
Speaker 1: primarily American films that are featuring the stories of black

863
00:44:02,840 --> 00:44:05,160
Speaker 1: characters that are living in an inner city, whether or

864
00:44:05,200 --> 00:44:06,320
Speaker 1: not it's like South.

865
00:44:06,080 --> 00:44:07,719
Speaker 2: Central Los Angeles.

866
00:44:07,320 --> 00:44:12,320
Speaker 1: Or Detroit, or Chicago or New York City wherever, wherever,

867
00:44:12,560 --> 00:44:17,000
Speaker 1: like a city that has a high African American population,

868
00:44:18,239 --> 00:44:21,759
Speaker 1: and they deal with the problems or the struggles in

869
00:44:21,800 --> 00:44:28,840
Speaker 1: those communities such as violence, gangs, drugs, broken homes, racial

870
00:44:28,880 --> 00:44:29,880
Speaker 1: profiling from.

871
00:44:29,680 --> 00:44:31,120
Speaker 2: The police, et cetera.

872
00:44:31,640 --> 00:44:35,480
Speaker 1: And you know, this genre actually does go back to

873
00:44:35,600 --> 00:44:39,319
Speaker 1: the seventies with movies like Cooley High and there's this

874
00:44:39,360 --> 00:44:42,080
Speaker 1: movie called Across one hundred and tenth Street. Maybe people

875
00:44:42,120 --> 00:44:44,879
Speaker 1: didn't know what it was called, but they certainly saw

876
00:44:44,920 --> 00:44:48,080
Speaker 1: a lot of it in the nineties, with what I

877
00:44:48,160 --> 00:44:51,319
Speaker 1: think is kind of a convergence of the popularity of

878
00:44:51,400 --> 00:44:55,280
Speaker 1: gangster rap and also the new era of black filmmakers

879
00:44:55,320 --> 00:44:57,080
Speaker 1: are working in Hollywood at the time.

880
00:44:57,200 --> 00:44:59,880
Speaker 2: People like John Singleton, Mario Van Peeble.

881
00:45:00,040 --> 00:45:03,400
Speaker 1: So we've talked about on this podcast before, the Hughes Brothers,

882
00:45:04,080 --> 00:45:07,640
Speaker 1: f Gary Gray, and tons of others. Okay, and like

883
00:45:07,680 --> 00:45:10,640
Speaker 1: I said, and Don't Be a Menace, there's rapid fire

884
00:45:10,880 --> 00:45:14,279
Speaker 1: references okay to like a whole bunch of movies that

885
00:45:14,280 --> 00:45:17,840
Speaker 1: were made in this era. It's stuff like Menace to Society,

886
00:45:18,120 --> 00:45:23,320
Speaker 1: Boys in the Hood, Juice, New Jack City, Poetic Justice,

887
00:45:23,560 --> 00:45:28,920
Speaker 1: Saath Central, Higher Learning, Fresh I mean, there was a yes.

888
00:45:29,280 --> 00:45:31,120
Speaker 2: Shit ton of films.

889
00:45:31,960 --> 00:45:34,480
Speaker 1: In fact, in the beginning of this movie, there's a

890
00:45:34,520 --> 00:45:38,480
Speaker 1: title card that says, one out of every ten Blackmailes

891
00:45:38,480 --> 00:45:40,560
Speaker 1: will be forced to sit through at least one Growing

892
00:45:40,640 --> 00:45:42,160
Speaker 1: Up in the Hood movie in their lifetime.

893
00:45:44,440 --> 00:45:47,880
Speaker 2: So obviously this movie is a parody.

894
00:45:47,960 --> 00:45:51,880
Speaker 1: It's using the tropes of these films for its comedy.

895
00:45:52,440 --> 00:45:55,160
Speaker 1: But you know, I also think what's interesting, and this

896
00:45:55,239 --> 00:45:57,160
Speaker 1: is something that we just talked about in the intro

897
00:45:57,520 --> 00:46:00,960
Speaker 1: to this, which is that this movie kind of calls

898
00:46:00,960 --> 00:46:04,200
Speaker 1: in to question sort of the idea of what was

899
00:46:04,239 --> 00:46:08,480
Speaker 1: being shown of black culture to white audiences, right because.

900
00:46:08,239 --> 00:46:10,440
Speaker 2: At the moment, at the moment that this was.

901
00:46:10,400 --> 00:46:13,640
Speaker 1: Happening, right this movie came out, I think that like

902
00:46:13,680 --> 00:46:18,279
Speaker 1: Gangster Rapp had just kind of become huge in the

903
00:46:18,320 --> 00:46:21,799
Speaker 1: early nineties, like huge, huge, huge, And I think that

904
00:46:21,800 --> 00:46:24,719
Speaker 1: that was sort of the first sort of look for

905
00:46:25,000 --> 00:46:29,480
Speaker 1: lots of white people, certainly younger white people, about black

906
00:46:29,520 --> 00:46:33,120
Speaker 1: people's lives in an inner city. They had they were

907
00:46:33,520 --> 00:46:36,080
Speaker 1: watching films. Maybe you know, from the seventies and eighties

908
00:46:36,080 --> 00:46:37,719
Speaker 1: that would have been different, but I think most like

909
00:46:37,760 --> 00:46:41,279
Speaker 1: suburban white kids, you know, suburban white kids are not

910
00:46:41,360 --> 00:46:44,720
Speaker 1: watching Coolie High. They basically were watching MTV.

911
00:46:45,320 --> 00:46:48,120
Speaker 3: And the fallacy of that and the tragedy of it

912
00:46:48,160 --> 00:46:51,520
Speaker 3: is that not only was this like a singular presentation

913
00:46:51,760 --> 00:46:54,479
Speaker 3: of black life, but if you're watching a film that's

914
00:46:54,560 --> 00:46:57,319
Speaker 3: talking about this as a subject matter, you're looking at

915
00:46:57,360 --> 00:47:00,680
Speaker 3: a hood film. No one's asking the audience to question

916
00:47:00,800 --> 00:47:03,960
Speaker 3: how did this happen? Like how what are the economic structures?

917
00:47:04,000 --> 00:47:07,640
Speaker 3: What are the political structures that forced and kind of

918
00:47:07,680 --> 00:47:10,480
Speaker 3: you know, encompassed the world that made the impossible for

919
00:47:10,520 --> 00:47:14,719
Speaker 3: these people, for black people to succeed. You can sit

920
00:47:14,800 --> 00:47:16,880
Speaker 3: for two hours watch someone get shot and leave and

921
00:47:16,920 --> 00:47:20,040
Speaker 3: you're not even thinking about the repercussions of that.

922
00:47:20,960 --> 00:47:26,280
Speaker 1: Yeah, So to me, you sort of have this sudden

923
00:47:26,400 --> 00:47:31,240
Speaker 1: broad I would say white acknowledgment of black people's lives

924
00:47:31,440 --> 00:47:34,640
Speaker 1: via this musical trend that was happening. And then you

925
00:47:34,760 --> 00:47:38,200
Speaker 1: have black filmmakers who were working at this time, who

926
00:47:38,280 --> 00:47:40,160
Speaker 1: I think, we're honestly just trying to make stories of

927
00:47:40,200 --> 00:47:42,440
Speaker 1: their lives and trying to make art, trying to make

928
00:47:42,480 --> 00:47:45,520
Speaker 1: their movies. Yeah, and then you can kind of see

929
00:47:45,520 --> 00:47:47,880
Speaker 1: where this is going. And the thing is is that

930
00:47:47,920 --> 00:47:51,480
Speaker 1: we're sitting here. We obviously advocate for black filmmakers to

931
00:47:51,520 --> 00:47:54,360
Speaker 1: make movies, and we want them to have money and

932
00:47:54,440 --> 00:47:57,520
Speaker 1: resources distribution. But you know, it's that thought experiment where

933
00:47:57,560 --> 00:48:01,240
Speaker 1: you're like, Okay, there's suddenly a proliferic of these certain

934
00:48:01,239 --> 00:48:04,920
Speaker 1: types of films, these hood films, and you know you're

935
00:48:05,000 --> 00:48:07,799
Speaker 1: kind of like, I mean, maybe the simple answer is

936
00:48:07,840 --> 00:48:11,239
Speaker 1: that Hollywood is dumb and will drive a money train

937
00:48:11,400 --> 00:48:14,239
Speaker 1: into the ground. Yeah. At any time, like they were like,

938
00:48:14,280 --> 00:48:16,600
Speaker 1: oh does this make money, Let's make a hundred movies

939
00:48:16,680 --> 00:48:16,960
Speaker 1: like this.

940
00:48:17,120 --> 00:48:19,719
Speaker 2: We've seen that time and time again. And also that

941
00:48:19,760 --> 00:48:21,960
Speaker 2: but that does speak to the gatekeeping qualities of this

942
00:48:22,040 --> 00:48:24,399
Speaker 2: as well, because the reason you see all of these

943
00:48:24,440 --> 00:48:28,840
Speaker 2: at once is that one movie came out that earned

944
00:48:28,960 --> 00:48:32,959
Speaker 2: enough money from enough of a wide array of audiences

945
00:48:33,520 --> 00:48:37,480
Speaker 2: that Hollywood was paid attention. So Boys in the Hood, which.

946
00:48:37,360 --> 00:48:39,560
Speaker 3: Was not made for white audiences, was it made, but

947
00:48:39,680 --> 00:48:42,960
Speaker 3: was one hundred percent funded by white Hollywood because everyone

948
00:48:43,400 --> 00:48:46,120
Speaker 3: at that point in time who was an executive.

949
00:48:46,000 --> 00:48:49,239
Speaker 2: Was white, like a little bit.

950
00:48:49,520 --> 00:48:52,040
Speaker 3: Yeah, I mean, I'm like having all these caveats, like

951
00:48:52,080 --> 00:48:53,880
Speaker 3: at that point in time, it's still that way, but

952
00:48:54,480 --> 00:48:56,840
Speaker 3: like that is the gatekeeping process.

953
00:48:56,840 --> 00:48:58,280
Speaker 2: So this one film got through.

954
00:48:58,400 --> 00:49:02,560
Speaker 3: Somebody took the chance, you know, and then the floodgates

955
00:49:02,600 --> 00:49:06,000
Speaker 3: opened once they saw and this has happened to black

956
00:49:06,080 --> 00:49:09,279
Speaker 3: people time and time again, once they see that we

957
00:49:09,360 --> 00:49:11,800
Speaker 3: have money to spend its open season.

958
00:49:12,239 --> 00:49:15,279
Speaker 1: Yeah, and like and you know, like I said, I

959
00:49:15,280 --> 00:49:19,239
Speaker 1: mean I kind of look at film history and you

960
00:49:19,400 --> 00:49:24,800
Speaker 1: see these spikes with certain genres, with certain types of films,

961
00:49:25,000 --> 00:49:28,280
Speaker 1: with certain types of filmmakers, and it's just it's interesting

962
00:49:28,320 --> 00:49:30,920
Speaker 1: and you and you think of the historical conditions to

963
00:49:31,040 --> 00:49:34,440
Speaker 1: how those things happened, when in reality, I think the

964
00:49:34,480 --> 00:49:36,879
Speaker 1: better model was to like just let black people make

965
00:49:36,920 --> 00:49:38,120
Speaker 1: films all the time.

966
00:49:38,040 --> 00:49:41,640
Speaker 3: Right, and likely wanted to face it out and have

967
00:49:41,800 --> 00:49:45,400
Speaker 3: our hood movies once every five years, and it's truly

968
00:49:45,600 --> 00:49:49,000
Speaker 3: like an active irresponsibility to kind of you know, to

969
00:49:49,080 --> 00:49:52,759
Speaker 3: do that, to take a genre that is specific to

970
00:49:52,840 --> 00:49:55,840
Speaker 3: a culture and to suck all the air out of

971
00:49:55,840 --> 00:49:57,600
Speaker 3: it for it has a chance to breathe.

972
00:49:58,040 --> 00:49:58,600
Speaker 2: That's true.

973
00:49:58,680 --> 00:50:01,280
Speaker 1: And I but you know, it got to the point

974
00:50:01,480 --> 00:50:05,400
Speaker 1: where obviously, like the wayans picked up on it, were like, Okay,

975
00:50:05,680 --> 00:50:07,960
Speaker 1: there's all these tropes of these movies and these music

976
00:50:08,040 --> 00:50:08,560
Speaker 1: videos that.

977
00:50:08,520 --> 00:50:10,200
Speaker 2: We're saying, and we have to make a comedy that

978
00:50:10,239 --> 00:50:10,880
Speaker 2: addresses this.

979
00:50:11,040 --> 00:50:12,959
Speaker 1: So Don't Be a Menace. I'm gonna give a little

980
00:50:12,960 --> 00:50:16,000
Speaker 1: bit of a synopsis. Don't Be a Menace is essentially

981
00:50:16,000 --> 00:50:20,120
Speaker 1: about a guy named Ashtray who goes who uses the

982
00:50:20,200 --> 00:50:24,400
Speaker 1: name Trey for short, who is played by Sean Waans.

983
00:50:25,040 --> 00:50:27,080
Speaker 2: Ashtray or Tray.

984
00:50:27,040 --> 00:50:30,080
Speaker 1: Is sent to live with his father, who lives in

985
00:50:30,400 --> 00:50:34,359
Speaker 1: presumably Sounds Central Los Angeles. Now, his father is only

986
00:50:34,440 --> 00:50:38,000
Speaker 1: a few years older than him, and that's an obvious

987
00:50:38,080 --> 00:50:39,840
Speaker 1: reference and a joke to other, like I said, the

988
00:50:39,880 --> 00:50:41,000
Speaker 1: other films in this genre.

989
00:50:41,080 --> 00:50:43,160
Speaker 2: And there is a lot of that.

990
00:50:43,520 --> 00:50:45,960
Speaker 1: Yes, So if I give you a plot point, just

991
00:50:46,000 --> 00:50:49,680
Speaker 1: know it's probably taken from another one of these, you know,

992
00:50:49,920 --> 00:50:51,680
Speaker 1: serious hood films that were being made.

993
00:50:51,719 --> 00:50:52,839
Speaker 2: This is the parody of.

994
00:50:52,800 --> 00:50:58,239
Speaker 1: It obviously, and his dad is played by Lamar Tate,

995
00:50:58,320 --> 00:51:00,239
Speaker 1: who is the older brother of Lorenz eight.

996
00:51:00,719 --> 00:51:02,440
Speaker 2: So I just have to put that out there because

997
00:51:02,480 --> 00:51:04,239
Speaker 2: it's like the Rain and King thing. I'm like, oh,

998
00:51:04,239 --> 00:51:06,080
Speaker 2: it's Lourenz State's brother. Okay. Cool.

999
00:51:07,880 --> 00:51:10,920
Speaker 1: So Trey is immediately thrown into this world with his

1000
00:51:11,000 --> 00:51:13,399
Speaker 1: family and the people that he comes across and his life,

1001
00:51:13,400 --> 00:51:18,000
Speaker 1: including his cousin who is played by Marlin, and his

1002
00:51:18,560 --> 00:51:21,680
Speaker 1: cousin is essentially a thug character who loves guns.

1003
00:51:21,719 --> 00:51:26,080
Speaker 2: You know. There's this other character named Preach. He's an activist.

1004
00:51:26,560 --> 00:51:29,920
Speaker 1: And then there's this character Crazy Legs, who is essentially

1005
00:51:29,960 --> 00:51:32,640
Speaker 1: he was a victim of a drive by and he's

1006
00:51:32,680 --> 00:51:33,280
Speaker 1: in a wheelchair.

1007
00:51:33,400 --> 00:51:36,439
Speaker 2: The wheelchair has gold rims. I mean, okay, But.

1008
00:51:36,360 --> 00:51:40,160
Speaker 1: Then, like you know, it's that the message part of

1009
00:51:40,200 --> 00:51:41,920
Speaker 1: the movie, which I'll get to in just a second.

1010
00:51:42,239 --> 00:51:45,400
Speaker 1: There's many messages, by the way, and then there's this,

1011
00:51:45,640 --> 00:51:48,080
Speaker 1: of course, of course, there's the love interest.

1012
00:51:48,600 --> 00:51:49,720
Speaker 2: Her name is Das Schiki.

1013
00:51:50,520 --> 00:51:54,200
Speaker 1: She basically looks like Janet Jackson from Poetic Justice is

1014
00:51:54,480 --> 00:51:57,000
Speaker 1: and basically the love interest in all of these films,

1015
00:51:57,920 --> 00:52:01,200
Speaker 1: And there's a lot of jokes about her having like

1016
00:52:01,280 --> 00:52:05,080
Speaker 1: seven children and you know, sort of being I think

1017
00:52:05,120 --> 00:52:10,040
Speaker 1: she her address is like something totally ridiculous, like sixty

1018
00:52:10,160 --> 00:52:13,520
Speaker 1: nine and sixty nine Penetration Avenue. I think that's her address,

1019
00:52:13,520 --> 00:52:17,520
Speaker 1: and I'm like, oh my god. And then Dashiki is

1020
00:52:17,560 --> 00:52:20,640
Speaker 1: being sort of protected by this guy named Toothpick, who's

1021
00:52:20,640 --> 00:52:24,160
Speaker 1: this ex con and he's really dangerous and he wants

1022
00:52:24,280 --> 00:52:27,120
Speaker 1: he says he wants to kill Treyford, dating her and

1023
00:52:27,200 --> 00:52:30,760
Speaker 1: eventually impregnating her. So you have all these different types

1024
00:52:30,800 --> 00:52:34,839
Speaker 1: of characters, and they're all lifted from these films, from

1025
00:52:35,040 --> 00:52:38,440
Speaker 1: metas Society, Boys in the Hood, New Jack City, like

1026
00:52:38,480 --> 00:52:39,160
Speaker 1: all this stuff.

1027
00:52:39,719 --> 00:52:44,759
Speaker 2: But the best person in this movie, of course, is

1028
00:52:44,880 --> 00:52:50,839
Speaker 2: the grandma, right, Helen Martin, who was Pearl on two

1029
00:52:50,920 --> 00:52:51,600
Speaker 2: two seven.

1030
00:52:52,320 --> 00:52:55,080
Speaker 3: She has had such a long and storied career and

1031
00:52:56,280 --> 00:52:59,040
Speaker 3: I'm just gonna say it, this was her crowning achievement.

1032
00:52:59,480 --> 00:53:04,239
Speaker 1: Yeah, I mean, she is one of the matriarchs of

1033
00:53:04,320 --> 00:53:05,200
Speaker 1: black film and TV.

1034
00:53:05,680 --> 00:53:07,440
Speaker 2: Yes, I mean she was in everything. She was in

1035
00:53:07,480 --> 00:53:08,360
Speaker 2: good times.

1036
00:53:09,040 --> 00:53:12,440
Speaker 1: She actually during this era, she was known for playing

1037
00:53:12,480 --> 00:53:16,440
Speaker 1: these grandma characters right in these films. But what's interesting

1038
00:53:16,440 --> 00:53:19,680
Speaker 1: about her is that she was actually like a Broadway actress. Yeah,

1039
00:53:19,760 --> 00:53:22,880
Speaker 1: like before she got famous for you know, being a grandma,

1040
00:53:23,040 --> 00:53:26,360
Speaker 1: she was in like Tennessee Williams plays on Broadway.

1041
00:53:26,520 --> 00:53:28,800
Speaker 2: She did raise It in the Sun, like my grandparents

1042
00:53:28,840 --> 00:53:29,520
Speaker 2: went and saw it.

1043
00:53:29,640 --> 00:53:32,120
Speaker 1: Yeah, she was a founding member of the American Negro

1044
00:53:32,160 --> 00:53:36,759
Speaker 1: Theater in Harlem, you know. And so she's a legit actress.

1045
00:53:36,800 --> 00:53:39,920
Speaker 1: But you know she obviously people know her from her

1046
00:53:40,000 --> 00:53:44,279
Speaker 1: later years, and she is fucking so funny in this movie.

1047
00:53:44,440 --> 00:53:48,960
Speaker 1: She's this sassy, weed smoking granny. She's like ready to fight,

1048
00:53:49,840 --> 00:53:51,719
Speaker 1: she's smoking these giant blunts.

1049
00:53:51,800 --> 00:53:55,399
Speaker 2: I mean, I'm just like she's break dancing. And this

1050
00:53:55,480 --> 00:53:58,480
Speaker 2: again is part of ever doing this aculimic assessment.

1051
00:53:58,880 --> 00:54:03,120
Speaker 3: This is part of considering this movie as a historical text.

1052
00:54:03,480 --> 00:54:06,520
Speaker 3: Like part of the eye that people have is we

1053
00:54:06,640 --> 00:54:09,479
Speaker 3: don't want to perpetuate the stereotype of the weed smoke

1054
00:54:09,520 --> 00:54:11,640
Speaker 3: and break dance and grannies. And I'm like, okay, but

1055
00:54:11,800 --> 00:54:14,080
Speaker 3: is it funny as you laugh? Because sometimes that's not

1056
00:54:14,200 --> 00:54:15,640
Speaker 3: every movie has to be amist on.

1057
00:54:16,200 --> 00:54:19,839
Speaker 1: They are taking the stereotypes from these films and they're

1058
00:54:19,880 --> 00:54:25,200
Speaker 1: showing you, like the ridiculousness of sort of like perpetuating

1059
00:54:25,280 --> 00:54:26,239
Speaker 1: stereotypes and.

1060
00:54:26,120 --> 00:54:28,160
Speaker 3: That's why I think it's It's also like you know,

1061
00:54:28,200 --> 00:54:31,040
Speaker 3: that one article title that I had read earlier, I

1062
00:54:31,080 --> 00:54:32,600
Speaker 3: think is a big part of this, which is like

1063
00:54:32,719 --> 00:54:35,560
Speaker 3: you have to look at who and what is being

1064
00:54:35,560 --> 00:54:39,279
Speaker 3: made fun of, and to me, the Wayams Brothers make

1065
00:54:39,400 --> 00:54:43,840
Speaker 3: fun of the format, and they make fun of the

1066
00:54:44,080 --> 00:54:45,200
Speaker 3: genre more.

1067
00:54:45,040 --> 00:54:47,360
Speaker 2: Than they do individual people exactly.

1068
00:54:47,640 --> 00:54:50,360
Speaker 3: I haven't seen every single Wayiams brother movie, but I

1069
00:54:50,360 --> 00:54:52,880
Speaker 3: think that's usually the place that they that that's the

1070
00:54:52,920 --> 00:54:54,360
Speaker 3: foundational part of what they jump.

1071
00:54:54,200 --> 00:54:58,960
Speaker 1: Off of, right, And a critical reappraisal of these movies

1072
00:54:59,120 --> 00:55:02,520
Speaker 1: is not necessarily like I'm defending it to the hilt.

1073
00:55:02,560 --> 00:55:05,279
Speaker 2: I mean, there is certainly, like you.

1074
00:55:05,239 --> 00:55:09,840
Speaker 1: Know, within broad comedy, there is a tendency for homophobia

1075
00:55:10,320 --> 00:55:13,560
Speaker 1: and misogyny and you know, all kinds of stuff. But

1076
00:55:14,200 --> 00:55:17,279
Speaker 1: for the most part, like Helen Martin is funny as

1077
00:55:17,320 --> 00:55:19,560
Speaker 1: an actress, and she should allowed to be funny and

1078
00:55:19,600 --> 00:55:23,040
Speaker 1: do funny shit, And you know, I appreciate that.

1079
00:55:23,040 --> 00:55:25,759
Speaker 2: About her completely. That's what I'm gonna say. There's not

1080
00:55:25,840 --> 00:55:28,239
Speaker 2: a moment that she's on screen that is not solid gold,

1081
00:55:28,440 --> 00:55:30,319
Speaker 2: super funny. And I have a nostalgia for her because

1082
00:55:30,360 --> 00:55:33,640
Speaker 2: I fucking loved two two seven. Yes, And she was

1083
00:55:33,719 --> 00:55:34,720
Speaker 2: sassy on that show.

1084
00:55:34,920 --> 00:55:36,680
Speaker 3: She was always at the comebacks on that like it's

1085
00:55:36,719 --> 00:55:38,840
Speaker 3: part of her personality as an actor to kind of

1086
00:55:38,920 --> 00:55:39,839
Speaker 3: she's able to go there.

1087
00:55:40,160 --> 00:55:42,200
Speaker 2: And so I loved it. I loved her in this movie.

1088
00:55:42,200 --> 00:55:46,000
Speaker 3: And there is that stereotype because again, these things truck

1089
00:55:46,120 --> 00:55:49,960
Speaker 3: in the reality of how stereotypes come about. And it's

1090
00:55:50,040 --> 00:55:51,960
Speaker 3: usually like, you know, you're being raised by a grandparent

1091
00:55:52,000 --> 00:55:54,600
Speaker 3: because your parents are on drugs or got shot or whatever.

1092
00:55:54,719 --> 00:55:56,759
Speaker 3: And it's like every movie that you watch will have

1093
00:55:56,840 --> 00:55:57,760
Speaker 3: a grandma character.

1094
00:55:57,880 --> 00:56:01,640
Speaker 1: And there's actual like interesting because there's there's a couple

1095
00:56:01,719 --> 00:56:04,560
Speaker 1: of really good cameos in this movie. And like Antonio

1096
00:56:04,560 --> 00:56:07,480
Speaker 1: Fargus is in this movie, who is also in your movie.

1097
00:56:07,560 --> 00:56:10,880
Speaker 1: We'll talk about him later. And Keenan himself comes in

1098
00:56:10,880 --> 00:56:13,719
Speaker 1: as he's like this mailman, this like roving mailman that

1099
00:56:13,840 --> 00:56:17,880
Speaker 1: like anytime somebody drops like some serious shit in the movie,

1100
00:56:17,920 --> 00:56:20,600
Speaker 1: he pops up and says message because you know, got

1101
00:56:20,600 --> 00:56:23,440
Speaker 1: to give the message of the film.

1102
00:56:23,480 --> 00:56:25,799
Speaker 2: But you know, Bernie Mack is in this movie. Who

1103
00:56:25,840 --> 00:56:27,200
Speaker 2: I fucking love Bernie Mack.

1104
00:56:27,280 --> 00:56:32,560
Speaker 1: And he plays Officer self Hatred, who's basically a black

1105
00:56:32,719 --> 00:56:37,320
Speaker 1: police officer who hates black people, and that is very

1106
00:56:37,520 --> 00:56:38,359
Speaker 1: that I think.

1107
00:56:38,440 --> 00:56:41,919
Speaker 2: I'm sorry, that is in a stute observation.

1108
00:56:41,480 --> 00:56:45,120
Speaker 3: One hundred percent, and that is not only a stute

1109
00:56:45,200 --> 00:56:47,799
Speaker 3: but still relevant today. And you can't tell me that

1110
00:56:47,920 --> 00:56:52,240
Speaker 3: a dumb person would write a movie that isn't having

1111
00:56:52,280 --> 00:56:54,560
Speaker 3: an intelligent thought when they write that exactly.

1112
00:56:54,600 --> 00:56:56,239
Speaker 1: And that's kind of like I think what it comes

1113
00:56:56,280 --> 00:56:58,400
Speaker 1: down to for me when watching this movie. I mean,

1114
00:56:58,440 --> 00:57:01,880
Speaker 1: there's obviously like all these little moments that where they

1115
00:57:01,880 --> 00:57:06,080
Speaker 1: are questioning black stereotypes, like Vivic A Fox who's playing

1116
00:57:06,080 --> 00:57:08,440
Speaker 1: Tray's mother, is basically like telling him that there are

1117
00:57:08,480 --> 00:57:12,400
Speaker 1: no positive female black role models in these films. You

1118
00:57:12,560 --> 00:57:15,279
Speaker 1: have to be pretty smart to make a movie like

1119
00:57:15,320 --> 00:57:21,760
Speaker 1: this where it's like rapid fire really nuanced references to

1120
00:57:21,920 --> 00:57:24,480
Speaker 1: not only just these hood films, not only to the

1121
00:57:24,480 --> 00:57:26,560
Speaker 1: movies that were popular during this era, but just black

1122
00:57:26,600 --> 00:57:29,520
Speaker 1: culture and sort of like general culture like yes, you

1123
00:57:29,560 --> 00:57:34,080
Speaker 1: know the Asian grocery store employees, and you know that

1124
00:57:34,160 --> 00:57:36,680
Speaker 1: whole scene of like the white guy that comes in

1125
00:57:36,720 --> 00:57:38,440
Speaker 1: and does the OJ gloves. I mean, it's just sort

1126
00:57:38,480 --> 00:57:42,040
Speaker 1: of like, you know, it's not stupid, really like it's

1127
00:57:42,120 --> 00:57:42,800
Speaker 1: really smart.

1128
00:57:43,320 --> 00:57:46,200
Speaker 2: It is stute, So I completely agree.

1129
00:57:46,280 --> 00:57:49,480
Speaker 3: I yeah, I And again, this is two different ends

1130
00:57:49,520 --> 00:57:50,919
Speaker 3: of a spectrum.

1131
00:57:51,280 --> 00:57:52,720
Speaker 2: Actually that it has like three or four.

1132
00:57:52,760 --> 00:57:55,840
Speaker 3: It's punctuated by three or four different movements and moments

1133
00:57:55,880 --> 00:57:58,600
Speaker 3: within the wayn his brother's history. And I think this

1134
00:57:58,680 --> 00:58:01,480
Speaker 3: is kind of that mid point before the scary movie,

1135
00:58:01,560 --> 00:58:04,480
Speaker 3: but you know after I'm Gonna Get You Sukka. And

1136
00:58:04,560 --> 00:58:09,080
Speaker 3: I think that they were smart to keep making movies

1137
00:58:09,240 --> 00:58:12,960
Speaker 3: about how people perceive blackness, because that is again how

1138
00:58:12,960 --> 00:58:16,400
Speaker 3: I look at it. They're making movies that capitalize on

1139
00:58:16,800 --> 00:58:20,080
Speaker 3: the notion of how people perceived and the absurdity of

1140
00:58:20,080 --> 00:58:23,240
Speaker 3: how people perceive blackness. And I think that it's it's

1141
00:58:23,280 --> 00:58:27,000
Speaker 3: remarkable to have raised multiple generations of performers who are

1142
00:58:27,040 --> 00:58:29,520
Speaker 3: able to do that. There's a kind of central intelligence

1143
00:58:29,560 --> 00:58:33,080
Speaker 3: to that family that I think they don't get credit for. Absolutely,

1144
00:58:33,440 --> 00:58:35,800
Speaker 3: And again not saying these movies are like, you know,

1145
00:58:35,800 --> 00:58:37,360
Speaker 3: should be up there with Trufau or whatever.

1146
00:58:37,400 --> 00:58:40,240
Speaker 2: But who decides Trufau is great? But I don't. I

1147
00:58:40,240 --> 00:58:41,000
Speaker 2: think there you.

1148
00:58:40,880 --> 00:58:44,240
Speaker 3: Can have a dumb comedy be just as important to

1149
00:58:44,320 --> 00:58:48,720
Speaker 3: your life and your artistic development as these other films.

1150
00:58:48,720 --> 00:58:50,040
Speaker 2: And I think that's what we're saying.

1151
00:58:50,240 --> 00:58:54,560
Speaker 1: So, I can't wait for you to talk about your

1152
00:58:54,600 --> 00:58:57,520
Speaker 1: movie this week. So what is your movie this week?

1153
00:58:58,160 --> 00:59:01,720
Speaker 3: So my movie this week is is I'm Gonna Get

1154
00:59:01,800 --> 00:59:05,640
Speaker 3: You Suka Released in nineteen eighty eight, written and directed

1155
00:59:05,720 --> 00:59:07,480
Speaker 3: by Keenan Ivory Wayans.

1156
00:59:07,880 --> 00:59:09,120
Speaker 1: So I guess it's about.

1157
00:59:11,280 --> 00:59:21,600
Speaker 4: Yeah, about let me one right on one real one.

1158
00:59:23,800 --> 00:59:25,040
Speaker 2: Oh God, I love this movie.

1159
00:59:25,120 --> 00:59:28,720
Speaker 3: So the reason I chose this film is that it

1160
00:59:28,960 --> 00:59:31,240
Speaker 3: not only has a special place in my heart. I

1161
00:59:31,280 --> 00:59:33,080
Speaker 3: saw this movie when it came out when I was eleven,

1162
00:59:33,680 --> 00:59:36,600
Speaker 3: It is foundational to how this family began.

1163
00:59:37,240 --> 00:59:37,400
Speaker 1: Right.

1164
00:59:37,480 --> 00:59:42,000
Speaker 3: There is nothing there's no scary movie, there's no Little

1165
00:59:42,000 --> 00:59:44,960
Speaker 3: Man's there's no don't be a menace to society when

1166
00:59:44,960 --> 00:59:47,240
Speaker 3: you're drinking your don't be a menace of South Central

1167
00:59:47,240 --> 00:59:50,240
Speaker 3: when you're drinking your juice in the hood without this movie.

1168
00:59:50,320 --> 00:59:51,400
Speaker 2: This is the first one.

1169
00:59:51,520 --> 00:59:53,720
Speaker 3: So this movie was directed, written, and directed by Keenan

1170
00:59:53,720 --> 00:59:56,919
Speaker 3: Ivory Wayans, who also stars in it. And the synopsis

1171
00:59:56,960 --> 01:00:00,440
Speaker 3: of this film is that Keenan Everywayans plays guy called

1172
01:00:00,520 --> 01:00:04,400
Speaker 3: Jack Spade who comes back home to any Ghetto, USA

1173
01:00:05,520 --> 01:00:09,520
Speaker 3: after his younger brother dies from over gold. His younger

1174
01:00:09,520 --> 01:00:12,120
Speaker 3: brother dies from being weighed down by too many gold

1175
01:00:12,200 --> 01:00:17,440
Speaker 3: chains Ojeed the o ged and Jack does not like

1176
01:00:17,600 --> 01:00:22,040
Speaker 3: the way that gold chains and its ilk is changing

1177
01:00:22,320 --> 01:00:24,720
Speaker 3: the community, so he decides to get revenge and he

1178
01:00:24,800 --> 01:00:30,160
Speaker 3: joins forces with his childhood hero John Slade played by

1179
01:00:30,160 --> 01:00:33,040
Speaker 3: Bernie Casey to take down mister Big who is the

1180
01:00:33,160 --> 01:00:34,200
Speaker 3: chain overlord.

1181
01:00:34,680 --> 01:00:38,160
Speaker 2: So already we're getting so many tropes.

1182
01:00:38,320 --> 01:00:41,160
Speaker 3: In these films, and this when it came out, I

1183
01:00:41,200 --> 01:00:45,800
Speaker 3: would say around age eleven, I was very big on

1184
01:00:46,200 --> 01:00:49,240
Speaker 3: Airplane and you know movies like that. This is in

1185
01:00:49,320 --> 01:00:52,280
Speaker 3: the same vein of that, right, it's the same premise,

1186
01:00:52,280 --> 01:00:55,040
Speaker 3: which is we're going to take a simple concept to

1187
01:00:55,120 --> 01:00:59,760
Speaker 3: an absurd level. Yes, and it has all the trappings

1188
01:00:59,800 --> 01:01:04,040
Speaker 3: of regular ole exploitation film. The narrative is basically that

1189
01:01:04,160 --> 01:01:07,280
Speaker 3: Jack has, you know, falling in love with his dead

1190
01:01:07,320 --> 01:01:08,680
Speaker 3: brother's widow.

1191
01:01:09,400 --> 01:01:13,880
Speaker 2: Mom keeps coming to his rescue. It's incredible.

1192
01:01:13,920 --> 01:01:18,800
Speaker 3: They have really wild to me wild bits and it's

1193
01:01:18,800 --> 01:01:21,800
Speaker 3: not like the joke of minute that don't be a menaces,

1194
01:01:22,640 --> 01:01:25,120
Speaker 3: but they have things like the youth gang competition which

1195
01:01:25,120 --> 01:01:26,320
Speaker 3: includes like how fast.

1196
01:01:26,160 --> 01:01:27,080
Speaker 2: Can you strip a car?

1197
01:01:28,600 --> 01:01:31,720
Speaker 3: And like they do have endless one liners. I will say,

1198
01:01:32,040 --> 01:01:33,960
Speaker 3: not necessarily a joke ofm in it. But when I

1199
01:01:34,080 --> 01:01:36,800
Speaker 3: was a kid, this was a movie that, first of all,

1200
01:01:36,920 --> 01:01:38,840
Speaker 3: was stunning to me because I could sit down and

1201
01:01:38,840 --> 01:01:42,320
Speaker 3: watch it with my whole family and everyone laughed. I've

1202
01:01:42,400 --> 01:01:44,160
Speaker 3: never seen my grandma laugh at the things I laughed

1203
01:01:44,160 --> 01:01:46,840
Speaker 3: at before we watched this movie, you know, movies like this.

1204
01:01:47,440 --> 01:01:50,080
Speaker 3: But there's this one scene with Chris, a very young

1205
01:01:50,160 --> 01:01:53,400
Speaker 3: Chris Rock, who goes up to a counter at a

1206
01:01:53,640 --> 01:01:56,000
Speaker 3: rib joint and he's like, what can I go for

1207
01:01:56,120 --> 01:02:00,280
Speaker 3: fifty cents? The guy at the counter is like nothing,

1208
01:02:00,640 --> 01:02:03,320
Speaker 3: He's like, he's like, how much are the ribs individually?

1209
01:02:03,680 --> 01:02:06,320
Speaker 3: And it basically breaks sound to Chris Rock asking for

1210
01:02:06,440 --> 01:02:08,840
Speaker 3: one rib and a cup of soda that you could

1211
01:02:08,840 --> 01:02:11,200
Speaker 3: put in his hand. And when I tell you that,

1212
01:02:11,280 --> 01:02:14,040
Speaker 3: it like at dinner time when my grandm would serve

1213
01:02:14,080 --> 01:02:15,880
Speaker 3: pork chops, my brother and I would look at each

1214
01:02:15,880 --> 01:02:20,800
Speaker 3: other and say, just give me one rib or fuck

1215
01:02:20,840 --> 01:02:22,640
Speaker 3: a cup, just put it in the hand, like we

1216
01:02:23,080 --> 01:02:27,920
Speaker 3: just fifteen cents. Like it was just NonStop one liners.

1217
01:02:27,920 --> 01:02:31,400
Speaker 3: So they're doing in this film, it's very evident that

1218
01:02:31,480 --> 01:02:35,560
Speaker 3: they are doing a parody or kind of an elevated

1219
01:02:35,600 --> 01:02:40,160
Speaker 3: absurdity about black exploitation films from the sixties and seventies.

1220
01:02:40,240 --> 01:02:44,680
Speaker 1: Yeah, and they have a lot of the actual actors

1221
01:02:45,440 --> 01:02:47,640
Speaker 1: in that. They have like Isaac Hayes who plays the

1222
01:02:47,680 --> 01:02:50,720
Speaker 1: guy at the rib place and Jim Brown who plays

1223
01:02:50,720 --> 01:02:53,280
Speaker 1: the other guy from that serves the one rib.

1224
01:02:54,080 --> 01:02:58,840
Speaker 3: Bernie Casey obviously, Yeah, Janet du Bois, who is a

1225
01:02:58,920 --> 01:03:03,800
Speaker 3: very big speaking of good times. Oh my god, it

1226
01:03:04,120 --> 01:03:06,240
Speaker 3: was great. And then you also have Don Lewis who

1227
01:03:06,280 --> 01:03:08,760
Speaker 3: is Jalisa in a different world. She was the love

1228
01:03:08,800 --> 01:03:14,000
Speaker 3: interest Kadeem Hartisan Duane Lean from a different world. I

1229
01:03:14,040 --> 01:03:16,160
Speaker 3: picked this because it was really and also, you know,

1230
01:03:16,200 --> 01:03:20,080
Speaker 3: this is a film that also talks about like rambo

1231
01:03:20,240 --> 01:03:22,000
Speaker 3: is really popular at this time and that kind of

1232
01:03:22,040 --> 01:03:25,040
Speaker 3: machismo of like the guy returning home from.

1233
01:03:24,880 --> 01:03:26,640
Speaker 2: The war going into war.

1234
01:03:26,840 --> 01:03:31,800
Speaker 5: And that is my favorite part is when Bernie case

1235
01:03:31,920 --> 01:03:35,720
Speaker 5: is like asking keenan Ivory to be like, aren't you

1236
01:03:35,800 --> 01:03:37,240
Speaker 5: like a real soldier, dude.

1237
01:03:37,040 --> 01:03:39,400
Speaker 1: Like, how come we're freaked out by the gunfire? And

1238
01:03:39,400 --> 01:03:41,040
Speaker 1: he's like, are you kidding? He's like, look at my

1239
01:03:41,160 --> 01:03:45,120
Speaker 1: jacket I got. He starts showing his like military jacket

1240
01:03:45,480 --> 01:03:49,280
Speaker 1: and the patches are for like not like He's like, oh,

1241
01:03:49,320 --> 01:03:50,600
Speaker 1: this one's for surfing.

1242
01:03:51,000 --> 01:03:53,200
Speaker 2: This is an actual medal for surfing.

1243
01:03:53,240 --> 01:03:56,440
Speaker 1: And I every time that that happened, and how it

1244
01:03:56,480 --> 01:03:59,640
Speaker 1: happens multiple times in the movie, I laugh so hard.

1245
01:04:00,400 --> 01:04:02,200
Speaker 3: The shorthand bad is what gets me because it has

1246
01:04:02,200 --> 01:04:09,240
Speaker 3: a little tiny hand on it.

1247
01:04:10,200 --> 01:04:11,800
Speaker 2: But it's great. It's great.

1248
01:04:11,840 --> 01:04:15,200
Speaker 3: And again the forethought and the foresight of him to say,

1249
01:04:16,000 --> 01:04:18,600
Speaker 3: I'm not going to make a black exploitation film, I'm

1250
01:04:18,600 --> 01:04:20,080
Speaker 3: going to parody them.

1251
01:04:20,280 --> 01:04:22,280
Speaker 2: Yeah, instantly sets.

1252
01:04:22,000 --> 01:04:26,440
Speaker 3: This family apart, and to me an intelligent way, because

1253
01:04:26,480 --> 01:04:29,480
Speaker 3: he saw that the quick money is not the way

1254
01:04:29,520 --> 01:04:33,640
Speaker 3: to go and that it's actually more destructive, I think,

1255
01:04:33,920 --> 01:04:38,200
Speaker 3: to black culture to continue to present these falsified notions

1256
01:04:38,200 --> 01:04:40,120
Speaker 3: of who black people are and these monolithic notions of

1257
01:04:40,160 --> 01:04:42,160
Speaker 3: who black people are. So I just thought it was

1258
01:04:42,240 --> 01:04:43,800
Speaker 3: very intelligent, and I would not have said that at

1259
01:04:43,840 --> 01:04:44,280
Speaker 3: age eleven.

1260
01:04:44,280 --> 01:04:45,720
Speaker 2: At age eleven, I would just point it out. All

1261
01:04:45,720 --> 01:04:46,680
Speaker 2: the parts that made me laugh.

1262
01:04:47,120 --> 01:04:53,520
Speaker 3: Particularly they do this spoof about the Black Revolutionary headquarters

1263
01:04:54,200 --> 01:05:02,040
Speaker 3: and after who plays Kalinga calls his own kids whitey

1264
01:05:02,800 --> 01:05:05,800
Speaker 3: when that kid reads his report on Lincoln.

1265
01:05:06,680 --> 01:05:10,080
Speaker 2: To this day, lose my mind. To this day, that

1266
01:05:10,360 --> 01:05:12,680
Speaker 2: shit was incredible.

1267
01:05:12,160 --> 01:05:13,840
Speaker 1: And like first of all, I have to say that

1268
01:05:14,280 --> 01:05:17,440
Speaker 1: Kalenka's wife is played by Jan.

1269
01:05:17,400 --> 01:05:20,120
Speaker 2: Brady, Yes, Eve Plumb herself.

1270
01:05:20,520 --> 01:05:24,360
Speaker 1: Yeah, and like those kids when that kid read that

1271
01:05:24,520 --> 01:05:26,320
Speaker 1: Lincoln speech, so funny.

1272
01:05:26,320 --> 01:05:28,000
Speaker 2: And I think the little girl because it was a boy,

1273
01:05:28,040 --> 01:05:29,920
Speaker 2: a little boy and a little girl and they come

1274
01:05:29,960 --> 01:05:32,160
Speaker 2: out and they're like, you know, pristine white, like you know, just.

1275
01:05:32,200 --> 01:05:35,480
Speaker 3: Very like like bleached white hair, like very very white kids.

1276
01:05:35,800 --> 01:05:38,560
Speaker 3: And I think the little girl was in Jurassic Park.

1277
01:05:38,760 --> 01:05:39,520
Speaker 3: I'm not mistaken.

1278
01:05:39,760 --> 01:05:41,640
Speaker 2: Yeah, I think that was. I didn't look it up,

1279
01:05:41,640 --> 01:05:43,640
Speaker 2: but I think that was the actress that was little

1280
01:05:43,640 --> 01:05:45,320
Speaker 2: girl in Dressic Park or We're gonna have to ask

1281
01:05:45,320 --> 01:05:46,200
Speaker 2: Steven about that.

1282
01:05:46,200 --> 01:05:50,640
Speaker 3: That's incredible, but it is like that kind of parody

1283
01:05:50,720 --> 01:05:53,360
Speaker 3: and that kind of absurdity is so funny to me

1284
01:05:53,400 --> 01:05:57,240
Speaker 3: because again, a real thing that black people talk about

1285
01:05:57,280 --> 01:06:00,800
Speaker 3: black women in particular and especially in the eighties, a

1286
01:06:00,840 --> 01:06:03,560
Speaker 3: sign of black men's success in the eighties was often

1287
01:06:03,600 --> 01:06:07,320
Speaker 3: having a white partner. Yeah, and it's a power differential

1288
01:06:07,760 --> 01:06:11,800
Speaker 3: that goes back to master and slave and is a

1289
01:06:11,920 --> 01:06:14,080
Speaker 3: different podcast like The New York Times has to do

1290
01:06:14,120 --> 01:06:18,280
Speaker 3: that one Califate could do a fucking yeah, they got

1291
01:06:18,360 --> 01:06:22,520
Speaker 3: like a master slave and dating in the dating politics

1292
01:06:22,520 --> 01:06:25,880
Speaker 3: of the eighties. But I remember that that's what people

1293
01:06:25,920 --> 01:06:28,960
Speaker 3: like my aunt was talking about it, Like people talked

1294
01:06:29,040 --> 01:06:31,080
Speaker 3: about that. So for them to pick up on it

1295
01:06:31,120 --> 01:06:35,760
Speaker 3: and parody that in their film was hilarious. Hilarious to

1296
01:06:35,800 --> 01:06:38,520
Speaker 3: me that the person who runs the Black Revolutionary Headquarters

1297
01:06:39,000 --> 01:06:40,920
Speaker 3: is married to the whitest of white.

1298
01:06:40,720 --> 01:06:43,760
Speaker 2: Women and it's not off limits.

1299
01:06:44,200 --> 01:06:48,680
Speaker 1: Yeah, I this movie is so it's entertaining, it's funny,

1300
01:06:48,680 --> 01:06:49,400
Speaker 1: but it's good.

1301
01:06:49,960 --> 01:06:52,280
Speaker 2: There is a moment. First of all, I have so

1302
01:06:52,280 --> 01:06:54,280
Speaker 2: so much to say. I say it.

1303
01:06:54,360 --> 01:06:58,280
Speaker 1: I love David Allen Greer to this day. He is

1304
01:06:58,400 --> 01:07:01,960
Speaker 1: so fucking funny to me when he shows up in

1305
01:07:02,040 --> 01:07:05,720
Speaker 1: literally anything, like even today, I'm like, I fucking love

1306
01:07:05,800 --> 01:07:06,640
Speaker 1: Danvin Allen Greer.

1307
01:07:06,920 --> 01:07:09,800
Speaker 2: But him playing that newscaster is so great.

1308
01:07:09,920 --> 01:07:12,160
Speaker 3: He is such a great cadence to his jokes, Like

1309
01:07:12,160 --> 01:07:14,960
Speaker 3: he's funny to me because he's just like I'd never

1310
01:07:14,960 --> 01:07:17,240
Speaker 3: seen comedy like that before, where he just kept talking

1311
01:07:17,280 --> 01:07:18,640
Speaker 3: and you like didn't have time to stop.

1312
01:07:18,680 --> 01:07:24,080
Speaker 2: In last I love it. I adore him, I adore Yeah.

1313
01:07:24,120 --> 01:07:27,840
Speaker 1: And there's something to be said too about you know,

1314
01:07:27,920 --> 01:07:31,000
Speaker 1: this is a parody of the blaxxplotation genre. You have

1315
01:07:31,760 --> 01:07:34,320
Speaker 1: the kind of heavy hitters from that era and they're

1316
01:07:34,360 --> 01:07:37,440
Speaker 1: appearing in this movie together and for some reason that

1317
01:07:37,560 --> 01:07:40,040
Speaker 1: is heartwarming to me. Like when you when you when

1318
01:07:40,040 --> 01:07:43,000
Speaker 1: they're gathering in that like warehouse and it's like Jim

1319
01:07:43,040 --> 01:07:45,800
Speaker 1: Brown and Isaac Kay's and Bernie Casey and they're like,

1320
01:07:45,960 --> 01:07:49,040
Speaker 1: you know, they're basically the gang is getting back together again.

1321
01:07:49,880 --> 01:07:52,120
Speaker 2: There is something like that makes my.

1322
01:07:52,160 --> 01:07:54,760
Speaker 1: Heart do a little flutter because I'm like, oh, it's

1323
01:07:54,840 --> 01:07:58,480
Speaker 1: like all of the the old actors of the genre

1324
01:07:58,600 --> 01:08:01,720
Speaker 1: kind of coming together to make this of something that

1325
01:08:01,760 --> 01:08:04,520
Speaker 1: they were in that is being made by black people.

1326
01:08:04,680 --> 01:08:06,720
Speaker 2: I mean, it's just sort of like but just.

1327
01:08:06,680 --> 01:08:09,240
Speaker 1: The feeling of all of them in the same room, yeah,

1328
01:08:09,280 --> 01:08:11,400
Speaker 1: you know, it's just it was like so great to me.

1329
01:08:11,880 --> 01:08:14,320
Speaker 3: It's powerful, and it's very full It's a very full

1330
01:08:14,360 --> 01:08:16,360
Speaker 3: circle moment, which I think is why we feel it

1331
01:08:16,479 --> 01:08:19,760
Speaker 3: so intensely, because, like you said, these are people who

1332
01:08:19,840 --> 01:08:22,559
Speaker 3: that was their option as actors in the sixties and

1333
01:08:22,560 --> 01:08:28,160
Speaker 3: seventies was to exploit the content of their culture, and

1334
01:08:28,760 --> 01:08:31,160
Speaker 3: they're now doing it in this film in a way

1335
01:08:31,200 --> 01:08:33,280
Speaker 3: that kind of calls bullshit on that, and I think

1336
01:08:33,280 --> 01:08:35,840
Speaker 3: it's beautiful. It is very touching because I think that

1337
01:08:35,880 --> 01:08:39,200
Speaker 3: it's rare, and again, this is part of what the

1338
01:08:39,240 --> 01:08:42,439
Speaker 3: problem is is it's very rare to see actors who

1339
01:08:42,520 --> 01:08:46,040
Speaker 3: came out of that genre having longevity because they were hard,

1340
01:08:46,479 --> 01:08:48,680
Speaker 3: hard to get parts after those movies and hard to

1341
01:08:48,680 --> 01:08:52,880
Speaker 3: get cast after those movies because they'd been type cast.

1342
01:08:53,520 --> 01:08:56,280
Speaker 2: Yeah, and so I think that's part of it, you know, totally.

1343
01:08:56,600 --> 01:08:59,599
Speaker 3: What's cool too is that it's it's very they're doing

1344
01:08:59,640 --> 01:09:02,880
Speaker 3: such good parodies. It's like meta level parodies and meta

1345
01:09:02,960 --> 01:09:07,080
Speaker 3: level jokes within this film. Because there's a point where

1346
01:09:07,080 --> 01:09:10,639
Speaker 3: Bernie Casey is walking down the street being followed by

1347
01:09:10,680 --> 01:09:13,960
Speaker 3: a band that's playing the Shaft theme, which is like

1348
01:09:14,040 --> 01:09:17,719
Speaker 3: Isaac Cayes saying theft so and he's like, you gotta

1349
01:09:17,760 --> 01:09:18,599
Speaker 3: have a backing band.

1350
01:09:19,200 --> 01:09:21,679
Speaker 2: That kind of shit is funny, dude. That's that's levels.

1351
01:09:21,800 --> 01:09:24,120
Speaker 2: That's a joke with levels. You need an elevator to

1352
01:09:24,160 --> 01:09:26,840
Speaker 2: get to each level exactly.

1353
01:09:27,280 --> 01:09:29,160
Speaker 1: And you know, while it is a parody, it's still

1354
01:09:29,160 --> 01:09:32,000
Speaker 1: actually like a good movie too. Like the romance between

1355
01:09:32,040 --> 01:09:34,760
Speaker 1: Don Lewis and Keenan Ivory, I'm like, oh, this is

1356
01:09:34,800 --> 01:09:37,120
Speaker 1: actually really sweet, Like they kind of have like a

1357
01:09:37,200 --> 01:09:40,080
Speaker 1: sweet thing going on here, whereas I think with my

1358
01:09:40,240 --> 01:09:42,400
Speaker 1: film is like a little bit it leads a little

1359
01:09:42,479 --> 01:09:44,600
Speaker 1: bit more on like the rapid fire jokes and a

1360
01:09:44,640 --> 01:09:48,360
Speaker 1: little less on like you know, nual, like the narrative part.

1361
01:09:48,560 --> 01:09:52,120
Speaker 1: But I think that and I honestly think that this

1362
01:09:52,280 --> 01:09:56,920
Speaker 1: movie is a classic and is now I think seen

1363
01:09:57,040 --> 01:09:59,439
Speaker 1: as a classic in the same way that Hollywood Shuffle

1364
01:09:59,560 --> 01:10:03,880
Speaker 1: is being Like there's been a critical reevaluation of the

1365
01:10:03,960 --> 01:10:06,599
Speaker 1: people involved in this film and like what this film

1366
01:10:06,680 --> 01:10:07,120
Speaker 1: was doing.

1367
01:10:07,439 --> 01:10:10,160
Speaker 2: And you know, all I'm saying is that maybe we.

1368
01:10:10,240 --> 01:10:13,639
Speaker 1: Just haven't moved further down the history chain to get

1369
01:10:13,680 --> 01:10:15,120
Speaker 1: to the Little Man.

1370
01:10:15,640 --> 01:10:17,439
Speaker 2: Yeah, we're not there yet, but.

1371
01:10:17,840 --> 01:10:22,320
Speaker 1: Over time, I think that people have really seen this movie.

1372
01:10:22,360 --> 01:10:24,639
Speaker 1: I think it's kind of moved out of like whatever

1373
01:10:25,439 --> 01:10:28,160
Speaker 1: broad comedy thing it was in and it's it's an

1374
01:10:28,200 --> 01:10:30,000
Speaker 1: actual classic and people love it.

1375
01:10:29,960 --> 01:10:33,799
Speaker 3: So and again like these are these are historical texts

1376
01:10:33,880 --> 01:10:37,080
Speaker 3: or at least they've become historical texts because they are

1377
01:10:37,080 --> 01:10:40,720
Speaker 3: discussing pop cultural moments. Yes, and that is always going

1378
01:10:40,760 --> 01:10:42,360
Speaker 3: to be something that people want to know about and

1379
01:10:42,439 --> 01:10:44,080
Speaker 3: learn about. So it doesn't have to be the most

1380
01:10:44,120 --> 01:10:47,880
Speaker 3: high falutant version of that, but I think it's I'm

1381
01:10:47,880 --> 01:10:50,479
Speaker 3: glad we're ending on ending our Black History Month theme

1382
01:10:50,520 --> 01:10:53,640
Speaker 3: on this because I think that it is so important

1383
01:10:53,800 --> 01:10:59,160
Speaker 3: to remind people and even to remind ourselves, that black

1384
01:10:59,280 --> 01:11:02,720
Speaker 3: joy is great, and that we deserve to laugh, and

1385
01:11:02,760 --> 01:11:04,880
Speaker 3: we deserve to laugh at ourselves, we deserve to laugh

1386
01:11:04,880 --> 01:11:07,800
Speaker 3: at other people. And it can't be the only thing.

1387
01:11:07,840 --> 01:11:10,160
Speaker 3: You can't laugh your way through fucking being oppressed, but

1388
01:11:10,920 --> 01:11:13,200
Speaker 3: if you can lighten the load a little bit, I

1389
01:11:13,240 --> 01:11:15,720
Speaker 3: think is incredibly important to keep that in mind, that

1390
01:11:15,880 --> 01:11:19,280
Speaker 3: not everything serves a deep purpose, but some things just

1391
01:11:19,400 --> 01:11:21,280
Speaker 3: serve a necessary purpose.

1392
01:11:21,880 --> 01:11:22,920
Speaker 2: And I love that.

1393
01:11:22,960 --> 01:11:25,040
Speaker 3: I love the We're ending on a comedy stylings of

1394
01:11:25,600 --> 01:11:26,960
Speaker 3: the Brothers Wayans well.

1395
01:11:26,840 --> 01:11:29,559
Speaker 1: And like, I'm curious as to what you thought of

1396
01:11:29,840 --> 01:11:32,880
Speaker 1: doing this this month, Like what are your thoughts on

1397
01:11:33,000 --> 01:11:36,080
Speaker 1: having started with somebody like Bill Gunn, starting with somebody

1398
01:11:36,400 --> 01:11:40,559
Speaker 1: like Kathleen Collins and talking about their careers, and then

1399
01:11:40,960 --> 01:11:43,680
Speaker 1: ending it with the Wayans family, Like what are your

1400
01:11:43,720 --> 01:11:46,479
Speaker 1: thoughts about just the entire month in general, like put

1401
01:11:46,479 --> 01:11:49,280
Speaker 1: together with all of like Steve, the Steve McQueen episode,

1402
01:11:49,800 --> 01:11:52,800
Speaker 1: you know, the La Rebellion, Like what are your thoughts

1403
01:11:52,880 --> 01:11:53,280
Speaker 1: on all that.

1404
01:11:53,680 --> 01:11:56,360
Speaker 3: I truly loved this month, and I'm truly proud of us.

1405
01:11:56,400 --> 01:11:58,439
Speaker 3: I think that what we set out to do when

1406
01:11:58,520 --> 01:12:00,280
Speaker 3: we wanted to do this and we see it in

1407
01:12:00,320 --> 01:12:05,080
Speaker 3: the first episode, was to really dissect and to really

1408
01:12:05,120 --> 01:12:08,760
Speaker 3: discover and explore the width and the breadth and the

1409
01:12:08,920 --> 01:12:12,040
Speaker 3: the you know, the distance that has been traveled for

1410
01:12:12,280 --> 01:12:15,960
Speaker 3: black creators to get here, but to really I think

1411
01:12:15,960 --> 01:12:18,439
Speaker 3: we've done a good job covering a lot of bases

1412
01:12:18,760 --> 01:12:22,760
Speaker 3: that can show people just in these four episodes that

1413
01:12:23,360 --> 01:12:25,839
Speaker 3: there is no one way to be a black creator,

1414
01:12:26,200 --> 01:12:29,479
Speaker 3: and there is no one type of black film, like

1415
01:12:29,520 --> 01:12:32,559
Speaker 3: you can no longer we have people have to stop

1416
01:12:32,600 --> 01:12:36,040
Speaker 3: doing that, like you can't put all black film into.

1417
01:12:35,800 --> 01:12:38,920
Speaker 2: Its own genre. We've shown even here that.

1418
01:12:39,040 --> 01:12:44,280
Speaker 3: It is a wide and diverse spectrum that has many

1419
01:12:44,360 --> 01:12:47,960
Speaker 3: different high points and many different access points. So I'm

1420
01:12:48,000 --> 01:12:50,120
Speaker 3: really I'm really thankful. I'm grateful I saw things I

1421
01:12:50,120 --> 01:12:51,679
Speaker 3: didn't had never seen before.

1422
01:12:53,000 --> 01:12:53,800
Speaker 2: It just feels good.

1423
01:12:53,920 --> 01:12:57,439
Speaker 3: It feels really good to end this month feeling like

1424
01:12:58,200 --> 01:12:58,920
Speaker 3: we set out what.

1425
01:12:58,880 --> 01:13:00,760
Speaker 2: We wanted to do, what we wanted to do.

1426
01:13:00,960 --> 01:13:04,000
Speaker 1: Yeah, well, I think it also made me appreciate you,

1427
01:13:04,080 --> 01:13:06,759
Speaker 1: not that I don't appreciate you. I'd appreciate you every day,

1428
01:13:07,040 --> 01:13:11,440
Speaker 1: but it made me appreciate your experience and your perspective

1429
01:13:11,880 --> 01:13:17,040
Speaker 1: because you don't hear people like you talking about films

1430
01:13:17,040 --> 01:13:20,000
Speaker 1: in these ways on a podcast. You just don't, which

1431
01:13:20,040 --> 01:13:22,280
Speaker 1: is why the simple act of us like doing this

1432
01:13:22,400 --> 01:13:25,559
Speaker 1: podcast was you know a lot. I mean, I feel

1433
01:13:25,560 --> 01:13:28,400
Speaker 1: like we don't hear enough from obviously, like we've talked

1434
01:13:28,400 --> 01:13:30,280
Speaker 1: about this, we don't hear enough about black artists and

1435
01:13:30,320 --> 01:13:34,479
Speaker 1: black creators, but especially your perspective on film, and just

1436
01:13:34,520 --> 01:13:37,000
Speaker 1: sort of like your contribution to this podcast is so

1437
01:13:37,040 --> 01:13:39,640
Speaker 1: important and I'm so proud to be doing this with you.

1438
01:13:40,120 --> 01:13:43,280
Speaker 1: Thank me too, And I'm glad that people are here

1439
01:13:43,320 --> 01:13:47,240
Speaker 1: to hear about everything from like your critical assessments to

1440
01:13:47,840 --> 01:13:49,200
Speaker 1: Carrot's shitbox.

1441
01:13:49,320 --> 01:13:52,000
Speaker 2: I think it's we're all here for and we love you.

1442
01:13:52,080 --> 01:13:52,519
Speaker 2: Thank you.

1443
01:13:52,600 --> 01:13:54,080
Speaker 3: I mean, look, I'm just here trying to live a

1444
01:13:54,080 --> 01:13:56,960
Speaker 3: full ass life. Okay, this is a full ass life,

1445
01:13:57,000 --> 01:13:57,280
Speaker 3: and I.

1446
01:13:57,240 --> 01:13:59,040
Speaker 2: Think that this is part of our friendship.

1447
01:13:59,080 --> 01:14:01,800
Speaker 3: And you know, saying this every few episodes, but it

1448
01:14:01,840 --> 01:14:05,599
Speaker 3: really is true that the part of our friendship that

1449
01:14:06,080 --> 01:14:08,479
Speaker 3: all I mean all parts are important to me. But

1450
01:14:08,600 --> 01:14:10,960
Speaker 3: I think that you're the only person that I can

1451
01:14:11,000 --> 01:14:14,080
Speaker 3: really have these conversations with in this kind of a

1452
01:14:14,120 --> 01:14:17,280
Speaker 3: deep way, and I feel safe doing it. But you

1453
01:14:17,360 --> 01:14:21,679
Speaker 3: bring an intelligence to these conversations that's based in film history,

1454
01:14:22,439 --> 01:14:25,920
Speaker 3: but it's not at all snobbery, and it's not at

1455
01:14:25,960 --> 01:14:28,200
Speaker 3: all inaccessible. And I cannot tell you how much I

1456
01:14:28,240 --> 01:14:30,559
Speaker 3: appreciate that, because you never make me feel like an

1457
01:14:30,560 --> 01:14:34,320
Speaker 3: idiot for not watching something. But you also when you're

1458
01:14:34,360 --> 01:14:36,320
Speaker 3: ready to talk about something, you're just like, yep, here's

1459
01:14:36,439 --> 01:14:39,720
Speaker 3: all these things. This is awesome for these reasons. This

1460
01:14:39,760 --> 01:14:41,280
Speaker 3: is how I first came to this, This is why

1461
01:14:41,320 --> 01:14:43,559
Speaker 3: I program this, Like, you really have a wealth of

1462
01:14:43,760 --> 01:14:47,400
Speaker 3: intelligence and knowledge about movies that makes me want to

1463
01:14:47,760 --> 01:14:50,360
Speaker 3: watch more movies, and that's what we set out to do.

1464
01:14:50,439 --> 01:14:52,720
Speaker 3: So when we get reviews that are like, we get

1465
01:14:52,720 --> 01:14:56,720
Speaker 3: reviews that really really run the spectrum, and I love

1466
01:14:56,760 --> 01:14:59,840
Speaker 3: them all, but the ones that I really love, the

1467
01:15:00,000 --> 01:15:02,559
Speaker 3: three different kinds that we get are either I love

1468
01:15:02,600 --> 01:15:05,719
Speaker 3: movies and this is a great podcast. I've never watched

1469
01:15:05,760 --> 01:15:07,840
Speaker 3: a movie in my life and I love this podcasts,

1470
01:15:08,880 --> 01:15:11,800
Speaker 3: or I watch movies sometimes I'm glad that these are

1471
01:15:11,800 --> 01:15:14,880
Speaker 3: women and women of color. And Millie's really smart and like,

1472
01:15:14,960 --> 01:15:17,640
Speaker 3: I love those reviews because I think that it's a

1473
01:15:17,680 --> 01:15:21,800
Speaker 3: big in your corner in such a hardcore way that

1474
01:15:22,439 --> 01:15:24,160
Speaker 3: I just want to shout from the rooftops every day

1475
01:15:24,160 --> 01:15:27,519
Speaker 3: how awesome you are in every single possible venue. So

1476
01:15:27,640 --> 01:15:29,519
Speaker 3: this is I'm glad that we have this platform, that

1477
01:15:29,520 --> 01:15:30,320
Speaker 3: we're doing this together.

1478
01:15:31,760 --> 01:15:33,639
Speaker 2: You are so fucking kind.

1479
01:15:34,280 --> 01:15:36,760
Speaker 1: I don't deserve you or any of that, but I

1480
01:15:36,800 --> 01:15:39,839
Speaker 1: will certainly take it. Like you said at the very beginning,

1481
01:15:40,880 --> 01:15:44,519
Speaker 1: Black History Month is every day, right, Yes, don't think

1482
01:15:44,560 --> 01:15:49,320
Speaker 1: that we're siloing off these conversations and these these movies

1483
01:15:49,360 --> 01:15:51,120
Speaker 1: and these creators to this month.

1484
01:15:51,680 --> 01:15:53,200
Speaker 2: This is going to happen a lot more.

1485
01:15:53,680 --> 01:15:56,080
Speaker 1: It's a marathon, not a sprint, So you know we

1486
01:15:56,160 --> 01:15:58,559
Speaker 1: will be talking about tons of other films. If you

1487
01:15:58,760 --> 01:16:00,840
Speaker 1: want us to do more of this type of stuff,

1488
01:16:00,880 --> 01:16:04,639
Speaker 1: please let us know. Definitely, I obviously love themes because

1489
01:16:04,640 --> 01:16:07,160
Speaker 1: I'm a programmer, so I will never turn down the

1490
01:16:07,200 --> 01:16:09,200
Speaker 1: opportunity to do a theme. But if it was also

1491
01:16:09,360 --> 01:16:11,800
Speaker 1: like not your thing, let us know. But hopefully you

1492
01:16:11,880 --> 01:16:12,360
Speaker 1: enjoyed it.

1493
01:16:12,520 --> 01:16:17,960
Speaker 2: And also, next week we are one hundred percent watching Amistad. Wait,

1494
01:16:18,000 --> 01:16:19,959
Speaker 2: did you just say both of our movies are Amistad.

1495
01:16:20,040 --> 01:16:22,600
Speaker 2: Next week, both of our movies are Amistad. It's the

1496
01:16:22,640 --> 01:16:28,400
Speaker 2: Amistad off Mustad off. Oh lord.

1497
01:16:29,439 --> 01:16:32,360
Speaker 1: So as we close out this episode and start into

1498
01:16:32,439 --> 01:16:35,479
Speaker 1: a new month, Danielle, would you be so kind as

1499
01:16:35,520 --> 01:16:37,920
Speaker 1: to tell the people what the movies are for next week?

1500
01:16:37,960 --> 01:16:38,920
Speaker 1: They're not Amistan.

1501
01:16:39,479 --> 01:16:43,400
Speaker 3: Oh I will, And let me tell you, I already

1502
01:16:43,479 --> 01:16:48,240
Speaker 3: can't wait to record next week's episode because our movies

1503
01:16:48,439 --> 01:16:53,439
Speaker 3: are Gleaming the Cube nineteen eighty nine and Memphis Bell

1504
01:16:53,800 --> 01:16:56,280
Speaker 3: nineteen ninety. And now that I've just said that, I

1505
01:16:56,360 --> 01:16:59,080
Speaker 3: realized that we're like those corporations who are like African

1506
01:16:59,120 --> 01:17:02,040
Speaker 3: Flag all through February and then when February's over, they're like,

1507
01:17:02,320 --> 01:17:03,439
Speaker 3: have some iver soap.

1508
01:17:04,680 --> 01:17:07,040
Speaker 2: Hey, queen, it's just chosen the lightest movies of all

1509
01:17:07,160 --> 01:17:08,200
Speaker 2: time for next week.

1510
01:17:08,800 --> 01:17:14,160
Speaker 1: Well this was actually we're doing another fun thing, something

1511
01:17:14,240 --> 01:17:16,720
Speaker 1: totally different than what we've done this month, where we're

1512
01:17:16,720 --> 01:17:19,599
Speaker 1: doing a fun thing. So you'll have to stay tuned

1513
01:17:19,720 --> 01:17:22,479
Speaker 1: to figure out why these movies are so white. But

1514
01:17:22,760 --> 01:17:25,920
Speaker 1: let me just tell you right now, if you guess

1515
01:17:26,040 --> 01:17:30,680
Speaker 1: this theme, I will be very impressed and pressed in

1516
01:17:30,720 --> 01:17:34,519
Speaker 1: a way that is not humanly possible.

1517
01:17:34,640 --> 01:17:38,120
Speaker 3: I might marry somebody if they guess the theme. I'd

1518
01:17:38,160 --> 01:17:41,040
Speaker 3: be willing to share my wealth and my home if

1519
01:17:41,080 --> 01:17:42,520
Speaker 3: you guess this theme.

1520
01:17:42,520 --> 01:17:45,200
Speaker 1: So hit us up on our Instagram and Twitter I

1521
01:17:45,280 --> 01:17:48,800
Speaker 1: saw Pod. If you know the theme, take a wild guess.

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01:17:48,840 --> 01:17:50,800
Speaker 1: I mean you're not gonna get it. I think I'm

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01:17:50,840 --> 01:17:53,400
Speaker 1: pretty confident to say that, But take a guess.

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Speaker 2: We want to see you.

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01:17:54,160 --> 01:17:56,800
Speaker 1: Try or email addresses I Saw what you Did pod

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Speaker 1: at gmail dot com.

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Speaker 3: Come see us and hang out with us on the social.

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01:18:00,160 --> 01:18:02,320
Speaker 3: They're great and we love talking with you.

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Speaker 2: We love you all. We hope you enjoyed it and

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01:18:05,160 --> 01:18:14,120
Speaker 2: we'll see you next week. Bye. This has been an

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Speaker 2: exactly right production. Our producer is Laura Elizabeth Brown. Our

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01:18:17,280 --> 01:18:20,320
Speaker 2: engineer is Honily S. Nelson. Our social media assistant is

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01:18:20,360 --> 01:18:23,880
Speaker 2: Taren Maza. Our theme songs by Tom Bryfogel, artwork by

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01:18:23,960 --> 01:18:27,799
Speaker 2: Garrett Ross. Our executive producers are Georgia Hartstark, Karen Colgareth

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01:18:27,840 --> 01:18:30,559
Speaker 2: and Danielle Kramer. You can follow us on Instagram and

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01:18:30,680 --> 01:18:33,799
Speaker 2: Twitter at I saw Pod, and as always, please listen,

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01:18:33,960 --> 01:18:37,439
Speaker 2: subscribe and leave us a review on Apple podcast, Stitcher

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Speaker 2: or wherever you listen. You