1 00:00:03,520 --> 00:00:07,360 Speaker 1: Welcome to jay Dot in a production of My Heart Rates. 2 00:00:10,480 --> 00:00:14,640 Speaker 1: Hello good people, Hello good people. I hope you are 3 00:00:14,680 --> 00:00:17,000 Speaker 1: so well. Thank you so much for it's been a 4 00:00:17,040 --> 00:00:19,959 Speaker 1: little time with Jay Dot Elder podcast. This is the 5 00:00:20,040 --> 00:00:23,080 Speaker 1: Lady Jill Scott. What's that? What's that was up? It's 6 00:00:23,160 --> 00:00:26,440 Speaker 1: La Saint Clair's so crazy. Yo yo yo yo yo 7 00:00:26,520 --> 00:00:33,800 Speaker 1: yo yo. It's it's it's just as it's like killing 8 00:00:33,800 --> 00:00:37,840 Speaker 1: their mama. No, I feel good. I don't know about 9 00:00:37,880 --> 00:00:41,280 Speaker 1: anybody else right now. How how you guys feeling? It 10 00:00:41,440 --> 00:00:45,680 Speaker 1: was in that cocktail. That cocktail this, my dear, h 11 00:00:46,120 --> 00:00:49,800 Speaker 1: it's not it's no alcohol in it. It's lemon water, ginger, 12 00:00:50,760 --> 00:00:56,760 Speaker 1: kayan and cucumbers and it's just lovely. We'll see what happens. 13 00:00:57,600 --> 00:01:00,320 Speaker 1: A little cool, a little a little cool, a little kick. 14 00:01:00,880 --> 00:01:09,119 Speaker 1: What's cool? He is the black narrative. Watching stories about ourselves, 15 00:01:09,200 --> 00:01:13,200 Speaker 1: reading stories about ourselves. Being able to see our image 16 00:01:14,600 --> 00:01:17,600 Speaker 1: in a reflection on a television screen or in a 17 00:01:17,680 --> 00:01:21,640 Speaker 1: movie screen. That is cool. And we're seeing so much 18 00:01:21,800 --> 00:01:25,880 Speaker 1: more of it. And it's about god damn time, I said, 19 00:01:25,959 --> 00:01:30,400 Speaker 1: g O T it's about time. But we're also seeing 20 00:01:30,480 --> 00:01:34,240 Speaker 1: something else. We're also seeing what what we call it 21 00:01:34,400 --> 00:01:42,080 Speaker 1: trauma porn. Well, that is definitely the term of the times, 22 00:01:42,640 --> 00:01:47,319 Speaker 1: at least a conversation about what it is, If it exists, 23 00:01:48,280 --> 00:01:52,000 Speaker 1: should we tolerated? Is there such a thing as an 24 00:01:52,000 --> 00:01:58,160 Speaker 1: okay amount? Is there you know how to identify it? Yeah, 25 00:01:58,200 --> 00:01:59,920 Speaker 1: that's what I'm here to tell you that I want. 26 00:02:00,000 --> 00:02:04,720 Speaker 1: Watched them on it was an Amazon Prime. Yeah, I 27 00:02:04,760 --> 00:02:08,440 Speaker 1: watched them. First of all, I thought it was absolutely gorgeous. 28 00:02:09,080 --> 00:02:14,160 Speaker 1: I appreciated that, loved the lighting, Thank you so much. 29 00:02:14,600 --> 00:02:19,200 Speaker 1: I love the love that it was a completely brown family, 30 00:02:20,080 --> 00:02:22,400 Speaker 1: because you know how often we see, you know, a 31 00:02:22,480 --> 00:02:24,960 Speaker 1: brown skin husband and a light skinned wife with the 32 00:02:24,960 --> 00:02:27,959 Speaker 1: curly hair. I was happy to see a brown family 33 00:02:28,000 --> 00:02:31,880 Speaker 1: with brown babies. You no, no disrespect to anybody, you know. 34 00:02:31,960 --> 00:02:35,080 Speaker 1: I realized, I'm light skins. It's a new revelation. Ladies 35 00:02:35,080 --> 00:02:38,120 Speaker 1: and gentlemen bell with her. It's a new revelation. That 36 00:02:38,200 --> 00:02:41,359 Speaker 1: was that was a very proud of. I just want 37 00:02:41,360 --> 00:02:44,440 Speaker 1: to take this moment to say I said it proud. 38 00:02:45,360 --> 00:02:48,480 Speaker 1: Thank you so much for for anybody who has been 39 00:02:48,480 --> 00:02:50,880 Speaker 1: listening to our podcast. I just realized I was like 40 00:02:51,000 --> 00:02:55,200 Speaker 1: skin a couple of weeks ago, and you know, it 41 00:02:55,520 --> 00:02:58,920 Speaker 1: hurt my feelings. I didn't think that. I didn't. I 42 00:02:59,040 --> 00:03:02,080 Speaker 1: just didn't think it. But you know, I am, and 43 00:03:02,680 --> 00:03:06,480 Speaker 1: I still want to see brown families on a television 44 00:03:06,480 --> 00:03:10,480 Speaker 1: screen or a movie screen. I still want to see 45 00:03:10,840 --> 00:03:14,920 Speaker 1: a brown skin mama with her brown skin babies. Let 46 00:03:15,200 --> 00:03:17,359 Speaker 1: me see the let you see us. You know, we're 47 00:03:17,400 --> 00:03:20,480 Speaker 1: not just one kind of family. So I'm happy to 48 00:03:20,480 --> 00:03:24,680 Speaker 1: see these things. I did watch them. It was traumatic, 49 00:03:24,800 --> 00:03:29,720 Speaker 1: wasn't it. Yeah? It was. It was traumatic. It was 50 00:03:29,760 --> 00:03:32,600 Speaker 1: so many things right, the processn't getting the age to 51 00:03:32,639 --> 00:03:35,240 Speaker 1: watch was that was traumatic for me myself. Dad, I 52 00:03:35,240 --> 00:03:37,600 Speaker 1: didn't even gotten to the content of a movie. But 53 00:03:40,240 --> 00:03:42,040 Speaker 1: I was a little bit of a slow burn on 54 00:03:42,120 --> 00:03:46,560 Speaker 1: it because well, number one, because before I could even 55 00:03:46,600 --> 00:03:49,400 Speaker 1: decide to watch it, I was privy to a lot 56 00:03:49,400 --> 00:03:52,680 Speaker 1: of the controversy around it. And I'm just very very 57 00:03:52,680 --> 00:03:56,280 Speaker 1: careful about the things that I watched because I don't 58 00:03:56,400 --> 00:03:58,880 Speaker 1: have a I don't have a problem watching difficult themes, 59 00:03:58,960 --> 00:04:02,560 Speaker 1: but usually they're always it's like historic. I don't typically 60 00:04:02,760 --> 00:04:05,720 Speaker 1: want to watch anything, and even with historic stuff, I 61 00:04:06,360 --> 00:04:09,960 Speaker 1: just I'm really careful. I have believe vivid dreams, you know, 62 00:04:10,200 --> 00:04:13,400 Speaker 1: I have a thing about imagery, So once once the 63 00:04:13,440 --> 00:04:17,920 Speaker 1: conversation came up that that this particular show had some 64 00:04:18,000 --> 00:04:23,200 Speaker 1: elements in it that felt, I don't know, gratuitous, you 65 00:04:23,200 --> 00:04:24,920 Speaker 1: know what I mean in terms of just like to 66 00:04:25,160 --> 00:04:30,080 Speaker 1: just just not necessary, but taking black folks through um, 67 00:04:30,200 --> 00:04:34,719 Speaker 1: some emotional trauma that they didn't have to go through. 68 00:04:35,320 --> 00:04:37,800 Speaker 1: That was some things that were being said about it, 69 00:04:37,839 --> 00:04:41,000 Speaker 1: despite the beauty of it, despite obviously being able to 70 00:04:41,240 --> 00:04:44,400 Speaker 1: have the beautiful cast, and you know, and then obviously 71 00:04:44,440 --> 00:04:48,360 Speaker 1: in recent years seeing full on black casts emerged into 72 00:04:48,400 --> 00:04:52,640 Speaker 1: something like that's horror, the horror genre and just kind 73 00:04:52,640 --> 00:04:55,680 Speaker 1: of stretching the imagination in that way. So it's it's 74 00:04:55,680 --> 00:04:58,279 Speaker 1: really difficult, I think for us because we always found 75 00:04:58,279 --> 00:05:00,360 Speaker 1: ourselves in this place where we have to sell lebrate 76 00:05:00,400 --> 00:05:05,000 Speaker 1: a first or celebrate something being new and seeing ourselves 77 00:05:05,080 --> 00:05:07,680 Speaker 1: make strides in a certain way. But then at the 78 00:05:07,720 --> 00:05:11,440 Speaker 1: same time, too, we feel guilty about critiquing it. And 79 00:05:11,480 --> 00:05:14,320 Speaker 1: I think with black narratives, we constantly find ourselves in 80 00:05:14,320 --> 00:05:16,560 Speaker 1: this place. We found ourselves in that place with the 81 00:05:16,600 --> 00:05:19,320 Speaker 1: Harriet movie. We found ourselves in that place with a 82 00:05:19,360 --> 00:05:22,520 Speaker 1: lot of quote unquote slave narratives. And so you know, 83 00:05:22,680 --> 00:05:24,960 Speaker 1: we talked about this in a in another episode just 84 00:05:25,040 --> 00:05:29,400 Speaker 1: about you know that little extra extra critical. Yeah, really 85 00:05:29,400 --> 00:05:34,400 Speaker 1: go down our checklist, Yeah, exactly. So, yeah, it took 86 00:05:34,440 --> 00:05:36,240 Speaker 1: me up. Basically, It did take me a while to 87 00:05:36,279 --> 00:05:40,040 Speaker 1: watch it, and I did like many of the same 88 00:05:40,080 --> 00:05:43,960 Speaker 1: things that Jill liked about it. But my thing at 89 00:05:44,000 --> 00:05:47,240 Speaker 1: the end of the day was, you know, I ain't 90 00:05:47,240 --> 00:05:51,640 Speaker 1: see enough practice that and I don't know and I'm 91 00:05:51,680 --> 00:05:56,159 Speaker 1: saying that because it's like, hell of black people got 92 00:05:56,320 --> 00:06:02,480 Speaker 1: hurt and we're killed violently, from baby to elder, and 93 00:06:02,760 --> 00:06:07,479 Speaker 1: I just didn't understand where was the payoffs in this fantasy, right, 94 00:06:07,920 --> 00:06:13,040 Speaker 1: because this wasn't the real life. This on real life. 95 00:06:13,200 --> 00:06:16,240 Speaker 1: When it comes to the part about you know, black 96 00:06:16,279 --> 00:06:20,479 Speaker 1: people coming into these areas of the suburbs, if we 97 00:06:20,560 --> 00:06:22,640 Speaker 1: have an option, this is my thing. If I have 98 00:06:22,720 --> 00:06:25,560 Speaker 1: to traumatize myself in a situation where I can control 99 00:06:25,600 --> 00:06:30,240 Speaker 1: the narrative, why not why not toss the trauma? Why 100 00:06:30,279 --> 00:06:33,400 Speaker 1: not spread it around even Yeah, And that's the great debate, right, 101 00:06:33,400 --> 00:06:35,880 Speaker 1: because it's like, but if in fact we're talking about 102 00:06:35,880 --> 00:06:39,520 Speaker 1: the fifties and some of these things that happen, right, 103 00:06:39,680 --> 00:06:42,440 Speaker 1: that's just the truth, Right, black people got terrorized moving 104 00:06:42,440 --> 00:06:45,400 Speaker 1: into some of these neighborhoods, maybe not say some of 105 00:06:45,400 --> 00:06:48,600 Speaker 1: these things. All everything that everything that happened in that 106 00:06:48,680 --> 00:06:54,520 Speaker 1: movie that wasn't of the supernatural nature happened happen, but 107 00:06:54,640 --> 00:06:56,240 Speaker 1: you just don't want to see it, like and I 108 00:06:56,279 --> 00:06:58,000 Speaker 1: feel because I mean, it got to the point I 109 00:06:58,040 --> 00:07:00,960 Speaker 1: think we all agreed that that seeing I don't even 110 00:07:00,960 --> 00:07:02,440 Speaker 1: know how to describe it. With the cat in the bag. 111 00:07:02,920 --> 00:07:05,960 Speaker 1: Cat in the bag. For me, that was when I 112 00:07:06,040 --> 00:07:09,279 Speaker 1: was like, wait a minute, this is this is this 113 00:07:09,320 --> 00:07:12,080 Speaker 1: is this is too much. But then my question is 114 00:07:12,120 --> 00:07:15,160 Speaker 1: on the on the filmmaking aspect, if it is in 115 00:07:15,200 --> 00:07:21,120 Speaker 1: relation to something truthful, then and it was something that happened, 116 00:07:21,320 --> 00:07:23,120 Speaker 1: and yeah it is scary and it's sucked up and 117 00:07:23,120 --> 00:07:24,840 Speaker 1: and the filmmaker is trying to put it in your 118 00:07:24,880 --> 00:07:28,640 Speaker 1: face to say, look at this, this ship happened to us. 119 00:07:29,360 --> 00:07:30,840 Speaker 1: How could you do that differently so that you don't 120 00:07:30,840 --> 00:07:34,080 Speaker 1: feel the way you feel. This should happened to people, 121 00:07:35,160 --> 00:07:38,640 Speaker 1: This happened to human beings. A woman in her home 122 00:07:39,280 --> 00:07:42,440 Speaker 1: with her baby. You know what I'm saying, that's a person. 123 00:07:42,960 --> 00:07:46,480 Speaker 1: That's a person. I am for it. I'm for it 124 00:07:46,600 --> 00:07:50,040 Speaker 1: hard because um, when I when I say for it's 125 00:07:50,120 --> 00:07:54,280 Speaker 1: what I mean by is I'm for the stories. I 126 00:07:54,360 --> 00:07:57,280 Speaker 1: want to see them all we get so tired of. 127 00:07:57,440 --> 00:07:59,560 Speaker 1: I don't want to see any slave narratives. I don't 128 00:07:59,600 --> 00:08:03,080 Speaker 1: want to see why not, Obviously I have an issue 129 00:08:03,080 --> 00:08:06,280 Speaker 1: with slave n That's just that was that was just 130 00:08:06,400 --> 00:08:10,720 Speaker 1: the common I don't want to see black people being brutalized. Baby. 131 00:08:10,760 --> 00:08:16,440 Speaker 1: If you turn on the TV in real life, whether 132 00:08:16,480 --> 00:08:18,640 Speaker 1: they're in the United States or not, you're going to 133 00:08:18,760 --> 00:08:23,720 Speaker 1: see brown people going through terrible traumas on a daily basis. 134 00:08:23,920 --> 00:08:26,000 Speaker 1: But I think that that is there in lies the 135 00:08:26,080 --> 00:08:30,160 Speaker 1: issue were if we're living with being brutalized on a 136 00:08:30,240 --> 00:08:32,800 Speaker 1: daily basis, then why do we then go to our 137 00:08:32,840 --> 00:08:41,600 Speaker 1: brutalization for for entertainment? That well, Hitchcock again, there is 138 00:08:41,640 --> 00:08:44,920 Speaker 1: a way to tell stories, and a varied amount of 139 00:08:44,960 --> 00:08:49,520 Speaker 1: stories that even have historical basis in it, without then 140 00:08:49,679 --> 00:08:56,360 Speaker 1: pushing the envelope to trauma. Right, So, even Alfred Hitchcock, 141 00:08:56,440 --> 00:08:58,600 Speaker 1: there's a storytelling nature to the way things are done. 142 00:08:58,600 --> 00:08:59,880 Speaker 1: Because even if you look at the way that they 143 00:09:00,080 --> 00:09:05,560 Speaker 1: was shot, beautiful shots, beautiful ways that they told the story, 144 00:09:05,760 --> 00:09:07,520 Speaker 1: Even if you look at you know, just so the 145 00:09:07,640 --> 00:09:10,920 Speaker 1: style of filmmaking and All of those things are ways 146 00:09:10,920 --> 00:09:13,719 Speaker 1: that you can tell the story and keep people intrigued, 147 00:09:14,240 --> 00:09:18,120 Speaker 1: but too to pain us. So did you want scenes 148 00:09:18,280 --> 00:09:20,400 Speaker 1: edited out? Are you say? Because I would love to know? 149 00:09:20,679 --> 00:09:23,240 Speaker 1: How could this have been? She just wanted to She 150 00:09:23,360 --> 00:09:30,320 Speaker 1: just wanted the perpetrators to be affected. But that's one thing. 151 00:09:30,520 --> 00:09:33,160 Speaker 1: That's one thing, that's one thing I would have liked. 152 00:09:33,520 --> 00:09:36,480 Speaker 1: The second thing I feel is that I did not 153 00:09:36,600 --> 00:09:41,040 Speaker 1: feel like that it was necessary to traumatize black people, 154 00:09:41,679 --> 00:09:44,600 Speaker 1: which is why there was an argument about them, you 155 00:09:44,600 --> 00:09:47,240 Speaker 1: know out in the world, was was that movie really 156 00:09:47,320 --> 00:09:50,600 Speaker 1: for us? Wasn't more so too shock white people and 157 00:09:50,679 --> 00:09:52,680 Speaker 1: let them know about the level of their of the 158 00:09:52,679 --> 00:09:56,600 Speaker 1: way that they have brutalized us. It wasn't necessarily a 159 00:09:56,679 --> 00:10:00,079 Speaker 1: moment that was that was for us? I feel that 160 00:10:00,120 --> 00:10:03,200 Speaker 1: I'm saying, and so so would that be in the 161 00:10:03,240 --> 00:10:05,400 Speaker 1: case if this was about being in your face and 162 00:10:05,480 --> 00:10:08,040 Speaker 1: letting people know about what's how brutal it can be 163 00:10:08,080 --> 00:10:10,600 Speaker 1: to be black. We're already aware of how brutal it 164 00:10:10,640 --> 00:10:13,160 Speaker 1: is to be black. We live it, okay, So that 165 00:10:13,240 --> 00:10:15,199 Speaker 1: in that sense, it's like, okay, well, then yeah, then 166 00:10:15,280 --> 00:10:17,960 Speaker 1: take it up to Harvard and take it up to 167 00:10:18,480 --> 00:10:21,319 Speaker 1: the out to the Midwest or wherever, out to the 168 00:10:21,360 --> 00:10:23,920 Speaker 1: suburbs or whatever what the white schools are and show 169 00:10:23,960 --> 00:10:25,800 Speaker 1: it to them. Oh so you're saying, don't put it 170 00:10:25,840 --> 00:10:28,400 Speaker 1: on a on a large platform for the world to see. 171 00:10:28,440 --> 00:10:30,320 Speaker 1: Is that what you think? Do you think that black 172 00:10:30,320 --> 00:10:33,480 Speaker 1: people needed to watch that? But I think, but you have. 173 00:10:33,679 --> 00:10:35,040 Speaker 1: I don't know if I'll need it. I think that 174 00:10:35,280 --> 00:10:38,679 Speaker 1: I did. I did. I loved it and I wanted it, 175 00:10:38,720 --> 00:10:41,719 Speaker 1: and it troubled me and I didn't sleep and I 176 00:10:42,040 --> 00:10:44,280 Speaker 1: I you know, I stayed up a couple of nights 177 00:10:44,320 --> 00:10:47,280 Speaker 1: with the lights on. But I was absolutely addicted to 178 00:10:47,320 --> 00:10:49,920 Speaker 1: the story. That's my kind of my kind of shift, 179 00:10:50,440 --> 00:10:54,840 Speaker 1: like Jigsaw. That's that movie was traumatic. You know, you 180 00:10:54,880 --> 00:10:59,520 Speaker 1: gotta make a choice. That was But but hold on, 181 00:10:59,600 --> 00:11:03,120 Speaker 1: that was traumatic to me. You know this because it's 182 00:11:03,160 --> 00:11:06,320 Speaker 1: black people. I remember in the Queues when Jodi Whiteley 183 00:11:06,400 --> 00:11:13,240 Speaker 1: got got raped on that pinball table. That sucked me up. 184 00:11:13,280 --> 00:11:17,600 Speaker 1: That bothered me, bothered me. I thought about that a lot. 185 00:11:17,880 --> 00:11:21,640 Speaker 1: I still never forgot that even traumatic it was, and 186 00:11:21,760 --> 00:11:27,520 Speaker 1: it brought attention to how somebody could be raped in 187 00:11:27,600 --> 00:11:32,120 Speaker 1: front of other people and they still get off, and 188 00:11:32,160 --> 00:11:36,080 Speaker 1: how you have to humiliate yourself. How do you you 189 00:11:36,120 --> 00:11:39,160 Speaker 1: have to humiliate yourself, you know, in order to to 190 00:11:39,200 --> 00:11:42,800 Speaker 1: get justice for yourself. Damn Well, here's my thing is 191 00:11:42,840 --> 00:11:44,720 Speaker 1: that let me let me just circle back to what 192 00:11:44,800 --> 00:11:48,720 Speaker 1: you said. I do think that there are just legit 193 00:11:48,800 --> 00:11:53,480 Speaker 1: black folks that love horror and they love the ride 194 00:11:53,760 --> 00:11:57,280 Speaker 1: that horror takes them on, and so that that, I mean, 195 00:11:57,320 --> 00:11:59,920 Speaker 1: I respect that in terms of that people ain't got 196 00:11:59,920 --> 00:12:03,439 Speaker 1: a like to watch the same stuff. But I definitely 197 00:12:03,520 --> 00:12:10,800 Speaker 1: think that it would be helpful for us to be 198 00:12:12,200 --> 00:12:17,079 Speaker 1: critical of the way our experience is put out there 199 00:12:17,480 --> 00:12:23,200 Speaker 1: and how we ingested, because our experience is unique, and 200 00:12:23,320 --> 00:12:28,959 Speaker 1: I just think that that is important. And so when 201 00:12:28,960 --> 00:12:31,000 Speaker 1: you talk about all I'm tired of slave people saying, oh, 202 00:12:31,040 --> 00:12:34,200 Speaker 1: I'm tired of slave narratives. See for me, I'm not, 203 00:12:34,720 --> 00:12:38,040 Speaker 1: because I understand that that's our history. But I also 204 00:12:38,080 --> 00:12:41,719 Speaker 1: don't feel that every story about slavery has to be 205 00:12:41,800 --> 00:12:47,199 Speaker 1: about trauma, because even though the experience is selfish traumatic, 206 00:12:47,600 --> 00:12:50,160 Speaker 1: I don't think that you have to dump in every 207 00:12:50,200 --> 00:12:54,160 Speaker 1: single movie about slaves somebody getting whipped, or even if 208 00:12:54,200 --> 00:12:56,840 Speaker 1: they are getting whipped, Why do we always have to 209 00:12:56,880 --> 00:13:00,360 Speaker 1: see every lash, every blood, every blood drip every such 210 00:13:00,960 --> 00:13:04,120 Speaker 1: some things are not necessary for you to understand what 211 00:13:04,280 --> 00:13:06,640 Speaker 1: is happening there, and and and then, and I will 212 00:13:06,720 --> 00:13:11,400 Speaker 1: even say it like this. In The Lion King, Okay, 213 00:13:12,080 --> 00:13:15,920 Speaker 1: in the Lion King, there's a scene where Mufassa gets 214 00:13:15,920 --> 00:13:20,319 Speaker 1: caught in the herd. Okay, and he gets caught in 215 00:13:20,320 --> 00:13:24,360 Speaker 1: the herd. He falls down into the herd. You don't 216 00:13:24,400 --> 00:13:29,560 Speaker 1: actually see the herd stop him to death, but you 217 00:13:29,679 --> 00:13:34,880 Speaker 1: know that he has asked, point where if there's there's 218 00:13:34,920 --> 00:13:37,560 Speaker 1: I cried at that movie every single time. And there's 219 00:13:37,600 --> 00:13:41,320 Speaker 1: also a moment where the where the baby whoever is 220 00:13:41,400 --> 00:13:45,640 Speaker 1: the baby want um not Mufassa uh Simba walks over 221 00:13:45,720 --> 00:13:48,240 Speaker 1: to his daddy and lifts up his paw and he 222 00:13:48,320 --> 00:13:57,280 Speaker 1: crawls up underneath of it. There are moments to show compassion, death, grief, violence. 223 00:13:57,960 --> 00:14:01,760 Speaker 1: There are ways to discuss these things in truth without 224 00:14:02,440 --> 00:14:06,040 Speaker 1: gutting people who are already vulnerable. But you do understand 225 00:14:06,040 --> 00:14:08,560 Speaker 1: that Lion King was made for general audiences, so if 226 00:14:08,559 --> 00:14:11,000 Speaker 1: you wanted to make for children, so if you wanted 227 00:14:11,000 --> 00:14:13,240 Speaker 1: to make something like that, it had to be that 228 00:14:13,280 --> 00:14:15,120 Speaker 1: you couldn't show you might not want to do that 229 00:14:15,120 --> 00:14:17,840 Speaker 1: because children are watching them wasn't the babies I love 230 00:14:17,920 --> 00:14:23,760 Speaker 1: I love little how Come? How come I can't be treated? 231 00:14:21,960 --> 00:14:26,280 Speaker 1: You can? But it's up to your election not to 232 00:14:26,320 --> 00:14:28,560 Speaker 1: watch things though, because what what sounds to me a 233 00:14:28,640 --> 00:14:31,320 Speaker 1: little scary is and not saying you make perfect sense, 234 00:14:31,640 --> 00:14:35,760 Speaker 1: but you can't really police if somebody is trying to 235 00:14:35,800 --> 00:14:39,440 Speaker 1: make an impact, say little Marvin, his intention was to 236 00:14:39,560 --> 00:14:41,280 Speaker 1: shop the funk out of white people and let them 237 00:14:41,320 --> 00:14:43,680 Speaker 1: know what they did to us, right, And you can't 238 00:14:43,720 --> 00:14:45,320 Speaker 1: just take that the Harvard because it got to be 239 00:14:45,360 --> 00:14:46,680 Speaker 1: all kinds of white people. You got to be the 240 00:14:46,720 --> 00:14:48,280 Speaker 1: white people that can't get the Harvard. They don't even 241 00:14:48,280 --> 00:14:53,120 Speaker 1: know where Harvard is. So what is the white people 242 00:14:53,160 --> 00:15:00,080 Speaker 1: watch this show? I don't know, I said, that's in 243 00:15:00,160 --> 00:15:02,240 Speaker 1: her one. Did white people watch Get Out? They did? 244 00:15:02,520 --> 00:15:05,480 Speaker 1: They did? Because again get Out? Did you did you 245 00:15:05,520 --> 00:15:08,040 Speaker 1: discuss that any of us discussed this show with any 246 00:15:08,080 --> 00:15:12,680 Speaker 1: of our white friends? I did? What they think about it? Sure? 247 00:15:12,800 --> 00:15:15,800 Speaker 1: She says she was sorry. She was like, I am 248 00:15:15,880 --> 00:15:19,320 Speaker 1: just so sorry. And then she she was like, this 249 00:15:19,440 --> 00:15:24,680 Speaker 1: is very this is very shocking, very traumatic. That was 250 00:15:24,880 --> 00:15:27,240 Speaker 1: you know. She was like, it's good, it's well written. 251 00:15:27,520 --> 00:15:33,240 Speaker 1: She got it. Interested had a check Listen, I can't. 252 00:15:35,600 --> 00:15:38,320 Speaker 1: I can't figure out what other people are gonna do 253 00:15:38,520 --> 00:15:42,360 Speaker 1: with what what it is. I'm not what I'm saying. 254 00:15:43,160 --> 00:15:47,840 Speaker 1: I know, I know, I know. I'm saying that I 255 00:15:47,960 --> 00:15:54,120 Speaker 1: really understood the crack in that woman, in that character 256 00:15:54,760 --> 00:15:58,760 Speaker 1: based off of what occurred. There was no way for 257 00:15:58,840 --> 00:16:02,720 Speaker 1: her not to crack. It had to be done. And 258 00:16:02,760 --> 00:16:05,480 Speaker 1: I love that that sub story right there about black women. 259 00:16:06,000 --> 00:16:11,240 Speaker 1: And that's what I'm talking. Well, let me say that's 260 00:16:11,280 --> 00:16:14,400 Speaker 1: what happened to hold on. Now, what happened, I get 261 00:16:14,440 --> 00:16:18,200 Speaker 1: it like that is traumatic. It hurt like it hurts. 262 00:16:18,640 --> 00:16:22,320 Speaker 1: What was happening to the daughter was traumatic in her mind. 263 00:16:22,480 --> 00:16:26,120 Speaker 1: I've been a little black girl plenty. Okay, this is 264 00:16:26,240 --> 00:16:29,520 Speaker 1: this is an experience that I've had um as far 265 00:16:29,600 --> 00:16:33,040 Speaker 1: as the little girl and and the teacher wanting to 266 00:16:33,080 --> 00:16:36,440 Speaker 1: please a teacher. Teachers, Now you know all of the 267 00:16:36,640 --> 00:16:41,440 Speaker 1: things that went into the psychological break, and that's what 268 00:16:41,480 --> 00:16:44,920 Speaker 1: I appreciate. List Then we are on the same page. 269 00:16:45,280 --> 00:16:49,360 Speaker 1: We're on the same page about that. We'll be back 270 00:16:49,440 --> 00:17:06,080 Speaker 1: after the break. Nobody ever investigates the cracks. Um investigate 271 00:17:06,119 --> 00:17:13,359 Speaker 1: the cracks. You girl, you have somebody, you have a 272 00:17:13,440 --> 00:17:16,440 Speaker 1: young man that is walking home from from wherever he's 273 00:17:16,480 --> 00:17:20,560 Speaker 1: walking from home from in his old neighborhood, eating some 274 00:17:20,680 --> 00:17:25,000 Speaker 1: god darned candy, wearing a hood, minding his business, and 275 00:17:25,080 --> 00:17:28,240 Speaker 1: somebody comes outside and decides that he's a threat and 276 00:17:28,280 --> 00:17:33,320 Speaker 1: they murder that child. That is that is trauma, and 277 00:17:33,400 --> 00:17:39,440 Speaker 1: it's horror. It's horror. Two, when we watched Schindler's List 278 00:17:40,320 --> 00:17:44,440 Speaker 1: and you saw how emaciated those people were, and how 279 00:17:44,480 --> 00:17:47,359 Speaker 1: they would go into these these rooms of gas and 280 00:17:47,359 --> 00:17:50,080 Speaker 1: and you know, never come out again, how they pile 281 00:17:50,280 --> 00:17:56,680 Speaker 1: those bodies on, that was traumatic. Jewish people felt that. 282 00:17:56,720 --> 00:17:59,399 Speaker 1: I wondered, now I'm they They were bawling in the 283 00:17:59,480 --> 00:18:03,840 Speaker 1: movie there or when I was there. But y'all, but y'all, listen. 284 00:18:03,880 --> 00:18:08,120 Speaker 1: Is about historical fact. That's not that's not the same. 285 00:18:09,880 --> 00:18:17,119 Speaker 1: What what horror flick do we have about Nazis glorious bastards, 286 00:18:17,119 --> 00:18:23,760 Speaker 1: But no Overlord, which is fantastic, by the way, that 287 00:18:25,520 --> 00:18:30,040 Speaker 1: please please pay attention to watch it. Overlord is fictitious, 288 00:18:30,640 --> 00:18:33,240 Speaker 1: but it is a horror movie. It also and has 289 00:18:33,280 --> 00:18:36,960 Speaker 1: the Holocaust involved into it and Nazi Germany, and it 290 00:18:37,000 --> 00:18:39,320 Speaker 1: starts a young black man. What I will say is 291 00:18:39,359 --> 00:18:40,960 Speaker 1: this and I'm gonna check that out, by the way, 292 00:18:41,200 --> 00:18:43,000 Speaker 1: But what I will say is this is that there 293 00:18:43,000 --> 00:18:45,879 Speaker 1: were some really brilliant aspects of the show. As I 294 00:18:45,920 --> 00:18:48,840 Speaker 1: want to be super clear, as much as I feel 295 00:18:48,840 --> 00:18:50,960 Speaker 1: like with black art, we should be able to love 296 00:18:51,040 --> 00:18:55,000 Speaker 1: and critique it, that's number one, you know, and continue 297 00:18:55,119 --> 00:18:58,439 Speaker 1: to move forward in this journey with our art. So 298 00:18:58,480 --> 00:19:00,919 Speaker 1: I don't believe in completely bad s these things. I 299 00:19:00,960 --> 00:19:03,199 Speaker 1: want us to, you know, to really just kind of 300 00:19:03,240 --> 00:19:06,960 Speaker 1: think about it. But anyway, bottom line is that there 301 00:19:07,000 --> 00:19:09,000 Speaker 1: were some really brilliant aspects of the movie. And one 302 00:19:09,040 --> 00:19:10,560 Speaker 1: of the things that you talked about in terms of 303 00:19:10,560 --> 00:19:12,879 Speaker 1: the cracks that I think that that is really in 304 00:19:12,960 --> 00:19:15,760 Speaker 1: terms of the sanity of it all, what is happening 305 00:19:15,800 --> 00:19:19,040 Speaker 1: in the mind and that the that the horror of 306 00:19:19,080 --> 00:19:22,479 Speaker 1: the movie really talks about what is happening in the 307 00:19:22,560 --> 00:19:26,040 Speaker 1: minds of black people on a constant basis, how they 308 00:19:26,040 --> 00:19:30,360 Speaker 1: are interpreting the you know, that inner battle with that 309 00:19:30,480 --> 00:19:33,080 Speaker 1: kind of that inner, that that demon that is in 310 00:19:33,240 --> 00:19:36,879 Speaker 1: your mind that no one else can see, that is 311 00:19:36,880 --> 00:19:42,239 Speaker 1: communicating with you all of the time. And that, to me, 312 00:19:42,520 --> 00:19:45,959 Speaker 1: that was really one of the most profound moments in 313 00:19:46,000 --> 00:19:49,280 Speaker 1: that series, where it really kind of made that reel 314 00:19:50,119 --> 00:19:54,760 Speaker 1: and all of us have had that conversation with that 315 00:19:54,880 --> 00:20:01,640 Speaker 1: little white supremacist demon that wants to tell you a 316 00:20:01,640 --> 00:20:06,200 Speaker 1: lie and creates a world where if that lite can live, 317 00:20:08,000 --> 00:20:10,760 Speaker 1: and that that that was really profound for me, and 318 00:20:10,760 --> 00:20:15,280 Speaker 1: particularly in the relationship with the father and that sambo, 319 00:20:16,480 --> 00:20:20,000 Speaker 1: when the Sambo continued to tell him like, oh, you're 320 00:20:20,040 --> 00:20:22,720 Speaker 1: just gonna let them? Are you? Not a man? You 321 00:20:22,760 --> 00:20:27,480 Speaker 1: couldn't protect your family, you couldn't do something? Whoa It 322 00:20:27,600 --> 00:20:31,000 Speaker 1: was powerful. That was powerful. That was to me, that 323 00:20:31,080 --> 00:20:37,160 Speaker 1: was really powerful. And but again, you know, sad at 324 00:20:37,200 --> 00:20:40,600 Speaker 1: the end of the day because again they fought these 325 00:20:40,640 --> 00:20:45,000 Speaker 1: battles and no one saw it and they had to 326 00:20:45,040 --> 00:20:48,040 Speaker 1: go back out that house at the very end and 327 00:20:48,119 --> 00:20:55,080 Speaker 1: face a very real external demon after having exhausted themselves 328 00:20:55,119 --> 00:21:06,240 Speaker 1: fighting an internal one. Goddamnitt that well written freaking crazy. 329 00:21:07,680 --> 00:21:12,240 Speaker 1: The reality of that was powerful. Again, But I maintained 330 00:21:12,280 --> 00:21:17,959 Speaker 1: that it was one that we ingested and that you know, 331 00:21:18,119 --> 00:21:20,320 Speaker 1: I just think that was just something that we that 332 00:21:20,320 --> 00:21:23,720 Speaker 1: that we have, you know, that we talked about, we ingested, 333 00:21:24,440 --> 00:21:28,440 Speaker 1: we suffered, and we we suffered through and we got 334 00:21:28,480 --> 00:21:31,919 Speaker 1: something from But it was a way for us to 335 00:21:32,000 --> 00:21:35,600 Speaker 1: be seen by each other as many moments for black 336 00:21:35,640 --> 00:21:40,480 Speaker 1: people are, and that is what I want. I appreciate 337 00:21:40,600 --> 00:21:43,840 Speaker 1: all of it. Give me the stories, help me understand. 338 00:21:44,119 --> 00:21:47,400 Speaker 1: I notice. You know fiction, fiction is powerful. If you've 339 00:21:47,400 --> 00:21:51,280 Speaker 1: ever read Jay California, Cooper or Octavia Butler, you know 340 00:21:52,320 --> 00:21:58,840 Speaker 1: a movie it's coming. I'm just saying that I want 341 00:21:58,880 --> 00:22:01,400 Speaker 1: all the stories. Give me, give me all the smoke, 342 00:22:01,920 --> 00:22:04,120 Speaker 1: and teaching me about it, and teach me a little 343 00:22:04,160 --> 00:22:06,199 Speaker 1: something like about redlining while we're at it, because I 344 00:22:06,200 --> 00:22:14,000 Speaker 1: was like, okay, okay, give me really violently though what 345 00:22:14,200 --> 00:22:18,680 Speaker 1: I have enjoyed it. Yeah, y'all, y'all, y'all just gonna 346 00:22:18,720 --> 00:22:22,280 Speaker 1: let her get shot from afar. Really that we're going Yeah, 347 00:22:25,440 --> 00:22:27,320 Speaker 1: she couldn't have got bashed to the head of nothing. 348 00:22:27,720 --> 00:22:30,800 Speaker 1: But come on, y'all, come on, listen, you got a point. 349 00:22:30,800 --> 00:22:33,680 Speaker 1: There ain't no one's perfect. You know, we mentioned all 350 00:22:33,680 --> 00:22:35,520 Speaker 1: these great things that he did, but I'm just saying, 351 00:22:35,560 --> 00:22:38,920 Speaker 1: I mean, it was, it was a lovely death. And 352 00:22:39,440 --> 00:22:45,639 Speaker 1: you know, I'm just saying, what about movies like Antebello 353 00:22:45,680 --> 00:22:49,120 Speaker 1: did it too. I'm gonna go with twelve I'm gonna 354 00:22:49,160 --> 00:22:53,080 Speaker 1: go with twelve years of slay. Oh, I don't know. 355 00:22:53,440 --> 00:22:59,440 Speaker 1: I'm gonna that scene where Lopea in y'all Go, her 356 00:23:00,080 --> 00:23:05,879 Speaker 1: character was being raped. That was that was horrible. That 357 00:23:06,080 --> 00:23:09,800 Speaker 1: was horrible, and I could see why she would want 358 00:23:09,800 --> 00:23:12,360 Speaker 1: to take her life like I could. I could see it, 359 00:23:14,160 --> 00:23:19,760 Speaker 1: and that we as a people we end up going 360 00:23:19,800 --> 00:23:27,200 Speaker 1: through some traumatic, horrible things internally externally, and the will 361 00:23:27,280 --> 00:23:31,480 Speaker 1: to live is something else. It's it's we still ain't 362 00:23:31,480 --> 00:23:33,320 Speaker 1: got a real movie about the Middle Passage. So I 363 00:23:33,520 --> 00:23:40,480 Speaker 1: I a shudder too. It's there is so much to tell. 364 00:23:41,320 --> 00:23:44,200 Speaker 1: There's so many stories. There are so many stories to tell, 365 00:23:44,320 --> 00:23:46,800 Speaker 1: and they don't they do not have to be centered 366 00:23:46,920 --> 00:23:53,480 Speaker 1: in the deepest, darkest part of our pain. And they 367 00:23:53,480 --> 00:23:57,480 Speaker 1: don't have to be that. But and they can still 368 00:23:57,640 --> 00:24:02,520 Speaker 1: be honest, and they could still be thought provoking. And 369 00:24:02,800 --> 00:24:05,919 Speaker 1: we are critical thinkers and creators and we can do 370 00:24:06,560 --> 00:24:09,080 Speaker 1: all of it. I really believe. But you know, this 371 00:24:09,160 --> 00:24:11,800 Speaker 1: is a this is a real new genre. I want 372 00:24:12,720 --> 00:24:15,439 Speaker 1: to get used to this. This is Yes. What's not 373 00:24:15,520 --> 00:24:19,159 Speaker 1: a new genre is profiting off the pain of black people. 374 00:24:19,560 --> 00:24:22,520 Speaker 1: That is not a new genre. I just want the stories. 375 00:24:22,600 --> 00:24:27,080 Speaker 1: I want them all. I It drove me crazy that 376 00:24:27,240 --> 00:24:30,760 Speaker 1: anytime you watch a horror flick. You know there's one 377 00:24:30,880 --> 00:24:33,840 Speaker 1: black person in the crew. You know, they would typically 378 00:24:33,880 --> 00:24:38,200 Speaker 1: get chilled. You know, they fall, they fall in the water. 379 00:24:38,640 --> 00:24:41,760 Speaker 1: You know, they would get killed first. Then they started 380 00:24:41,800 --> 00:24:46,480 Speaker 1: making them get killed second to last, you know. And 381 00:24:46,720 --> 00:24:50,719 Speaker 1: just watching the evolution of this thing, I appreciate the 382 00:24:50,760 --> 00:24:53,479 Speaker 1: stories and as a as a writer and as an actor. 383 00:24:53,640 --> 00:24:58,280 Speaker 1: You want more, I want more, I want more. I'll 384 00:24:58,320 --> 00:25:02,919 Speaker 1: take you. Remember Tales from the Hood. Yeah, yeah, that 385 00:25:03,040 --> 00:25:07,480 Speaker 1: was pretty good. I came from, but that that was awesome. 386 00:25:07,560 --> 00:25:10,160 Speaker 1: You know, people have put in some work prior to this, 387 00:25:10,880 --> 00:25:14,400 Speaker 1: and Candy Man, I don't know, it's coming back. It's 388 00:25:14,400 --> 00:25:17,960 Speaker 1: coming back, It's coming back. And then, I mean, what 389 00:25:18,000 --> 00:25:20,280 Speaker 1: did y'all think about get Out? Because get Out was 390 00:25:20,320 --> 00:25:22,399 Speaker 1: the first of its kind. I mean again, I loved 391 00:25:22,400 --> 00:25:25,879 Speaker 1: to get Out here. I loved it. I loved and 392 00:25:25,920 --> 00:25:28,119 Speaker 1: I love the fact that it played on the fear 393 00:25:28,200 --> 00:25:31,920 Speaker 1: of most black people. Okay, but guess guess who got 394 00:25:31,960 --> 00:25:35,440 Speaker 1: hacked up? All right, right, right right? And that's why 395 00:25:35,480 --> 00:25:37,200 Speaker 1: you loved it so much, because they got hacked and 396 00:25:37,240 --> 00:25:41,679 Speaker 1: burnt up, that hacked up, packed up, and who got away? 397 00:25:41,720 --> 00:25:43,840 Speaker 1: And guess who got away and got away with all 398 00:25:43,960 --> 00:25:47,240 Speaker 1: of it. Yeah, and that movie when you see that 399 00:25:47,280 --> 00:25:52,600 Speaker 1: man end up killing the girl, You're like, oh yeah, 400 00:25:52,680 --> 00:25:55,080 Speaker 1: and and and it was really you know, they had 401 00:25:55,119 --> 00:25:57,880 Speaker 1: two endings by the way. They had an ending where 402 00:25:57,920 --> 00:26:00,560 Speaker 1: there was real police that showed up, and they had 403 00:26:00,600 --> 00:26:05,320 Speaker 1: an ending with the homeboy, you know. And but but yes, 404 00:26:05,560 --> 00:26:09,280 Speaker 1: and see what see the options that we have in 405 00:26:09,440 --> 00:26:12,919 Speaker 1: fiction that you I'm so glad you brought it because 406 00:26:12,960 --> 00:26:20,840 Speaker 1: you that we have, yes, yes, to change the narrative 407 00:26:21,040 --> 00:26:24,280 Speaker 1: and still be honest, and still be raw, and still 408 00:26:24,280 --> 00:26:28,520 Speaker 1: pull people's emotions and still tell truths. All of that. 409 00:26:28,520 --> 00:26:31,680 Speaker 1: That is the difference between Jordan Peel and Little Marvin 410 00:26:31,720 --> 00:26:33,879 Speaker 1: as well. Of course, we don't all have to be 411 00:26:33,920 --> 00:26:39,920 Speaker 1: the same. No, and I and I tell you this 412 00:26:40,240 --> 00:26:44,199 Speaker 1: and this is really a love conversation because you know 413 00:26:44,359 --> 00:26:48,240 Speaker 1: it is. This is a love conversation because I loved 414 00:26:48,320 --> 00:26:50,919 Speaker 1: black creators and I don't want to see us feel 415 00:26:50,960 --> 00:26:54,359 Speaker 1: like we have to please every single person on the 416 00:26:54,440 --> 00:26:59,960 Speaker 1: because we cannot with this underground. So I'm here for Yeah, 417 00:27:00,080 --> 00:27:02,920 Speaker 1: we don't write, but it's not gonna hit every mark. 418 00:27:03,200 --> 00:27:05,280 Speaker 1: And I never forget what's the Chris Rock said, we 419 00:27:05,320 --> 00:27:09,159 Speaker 1: have to have the freedom to suck. Yes, yes, you 420 00:27:09,240 --> 00:27:11,760 Speaker 1: know and so, and not saying that this did because 421 00:27:11,800 --> 00:27:14,080 Speaker 1: it was really good. But the point is that I 422 00:27:14,160 --> 00:27:16,560 Speaker 1: get all of that, and I want to be clear 423 00:27:16,920 --> 00:27:21,240 Speaker 1: that that, and even in what I'm critiquing, in my mind, 424 00:27:22,560 --> 00:27:24,439 Speaker 1: I still know beauty when I see it, and I 425 00:27:24,480 --> 00:27:28,640 Speaker 1: am grateful that that black creatives are getting these opportunities. 426 00:27:28,960 --> 00:27:33,080 Speaker 1: But as we've learned in recent years, we have to 427 00:27:33,080 --> 00:27:37,960 Speaker 1: be very careful about representation. Representation is not a win 428 00:27:38,080 --> 00:27:41,560 Speaker 1: in and of itself, and we get really caught up 429 00:27:41,560 --> 00:27:43,679 Speaker 1: in representation. Oh well, this is the first time a 430 00:27:43,720 --> 00:27:46,840 Speaker 1: black person did this, or they're letting black people make this, 431 00:27:47,200 --> 00:27:48,960 Speaker 1: or they're letting black people do that, and all of 432 00:27:49,000 --> 00:27:51,439 Speaker 1: that's great, But we can be so caught up in 433 00:27:51,520 --> 00:27:54,560 Speaker 1: representation that we allow things to not that we're not 434 00:27:54,560 --> 00:27:57,560 Speaker 1: going to think critically about it. That's That's what I'm saying, 435 00:27:58,040 --> 00:28:02,440 Speaker 1: Oh for sure, or but the fact that there's more 436 00:28:02,600 --> 00:28:10,280 Speaker 1: to see and more to critique. Did anybody happen to 437 00:28:10,400 --> 00:28:18,239 Speaker 1: see Sophie's Love Sylvie didn't? It was very good. I 438 00:28:18,280 --> 00:28:22,280 Speaker 1: love Nami almost got it almost that's your whole name. 439 00:28:23,400 --> 00:28:26,520 Speaker 1: It was very good. I just want more of that. 440 00:28:26,600 --> 00:28:30,080 Speaker 1: I just want the DP to to pay attention to colors. 441 00:28:30,560 --> 00:28:32,439 Speaker 1: You know, for a long time we'll be on screen 442 00:28:32,480 --> 00:28:37,600 Speaker 1: looking ashy, you know that that funny gray color, you know, 443 00:28:37,760 --> 00:28:43,400 Speaker 1: not not accentuating an actor. Thank you so much. You 444 00:28:43,400 --> 00:28:46,080 Speaker 1: know you're gonna have a lot of different options. You've 445 00:28:46,120 --> 00:28:50,200 Speaker 1: got you know, your you know Spike Lee, and you've 446 00:28:50,240 --> 00:28:53,280 Speaker 1: got your Tyler Perry. You know, there's there's a lot 447 00:28:53,320 --> 00:28:56,400 Speaker 1: of stories to tell, and I want to I want 448 00:28:56,440 --> 00:29:01,600 Speaker 1: more of them. Agree, I agree, that's got to be more. 449 00:29:01,600 --> 00:29:03,680 Speaker 1: Has got to be more and more and more and more, 450 00:29:03,960 --> 00:29:06,920 Speaker 1: and hopefully we get to a point where it isn't 451 00:29:07,000 --> 00:29:10,000 Speaker 1: just about you know, this is the first black movie 452 00:29:10,040 --> 00:29:14,080 Speaker 1: that or this movie was black. But it's like you 453 00:29:14,120 --> 00:29:17,560 Speaker 1: know so and so Spielberg or like just that another 454 00:29:17,920 --> 00:29:21,640 Speaker 1: it's just a good movie or it's not. You know, 455 00:29:21,680 --> 00:29:24,720 Speaker 1: it's something you want to see or some you don't, 456 00:29:25,320 --> 00:29:28,960 Speaker 1: and the I just want all the options. That's that's 457 00:29:29,000 --> 00:29:31,880 Speaker 1: really how I feel about it. You know, the trauma 458 00:29:31,960 --> 00:29:35,360 Speaker 1: portion of it. There's going to be some trauma. I 459 00:29:35,480 --> 00:29:38,920 Speaker 1: just watched a movie not too long ago. I cannot think, 460 00:29:39,120 --> 00:29:41,960 Speaker 1: uh something when you're dead. I don't know what it was. 461 00:29:42,400 --> 00:29:45,680 Speaker 1: It was a young girl who was attacked by some 462 00:29:45,800 --> 00:29:50,200 Speaker 1: dudes in a cabin I spent on your graves, that's 463 00:29:50,200 --> 00:29:53,719 Speaker 1: what it was called. It's a whole series. It's a 464 00:29:53,760 --> 00:29:56,760 Speaker 1: whole series. There's I think there's like three of them, 465 00:29:57,240 --> 00:30:00,280 Speaker 1: you know, three of trilogy, and it's about a young 466 00:30:00,360 --> 00:30:04,160 Speaker 1: a girl who was viciously raped and they showed it 467 00:30:04,400 --> 00:30:07,320 Speaker 1: and it was it was horrific. And the way she 468 00:30:07,440 --> 00:30:11,720 Speaker 1: got back at them was worse than the rape. She 469 00:30:11,720 --> 00:30:14,880 Speaker 1: she did the words, she did the most and I clapped, 470 00:30:16,000 --> 00:30:18,640 Speaker 1: I lapped, and I wanted to watch it again, but 471 00:30:18,680 --> 00:30:21,360 Speaker 1: it was the first part was hard to watch. But 472 00:30:21,400 --> 00:30:24,480 Speaker 1: when you understood why it was like that, why she 473 00:30:24,600 --> 00:30:27,760 Speaker 1: was so vicious with it, when you when you saw 474 00:30:27,800 --> 00:30:30,320 Speaker 1: what happened to her, you were like, uh huh, I 475 00:30:30,400 --> 00:30:33,560 Speaker 1: get that. I think that that movie is coming. I 476 00:30:33,600 --> 00:30:36,200 Speaker 1: think that movie is absolutely coming. And remember that that 477 00:30:36,280 --> 00:30:39,720 Speaker 1: cop did get shot several times and and one movie 478 00:30:39,840 --> 00:30:47,080 Speaker 1: and um them. Oh, but he was an he No, 479 00:30:47,160 --> 00:30:48,959 Speaker 1: I didn't mean it in the sense of me, in 480 00:30:48,960 --> 00:30:51,800 Speaker 1: the sense of all those etle asked white people. He 481 00:30:51,920 --> 00:30:55,239 Speaker 1: was the nices of the people. That's what I in 482 00:30:55,360 --> 00:30:58,600 Speaker 1: my mind. I've seen that woman, that that singing woman, 483 00:30:58,600 --> 00:31:01,000 Speaker 1: that showed up at the house. I seen her boiling, 484 00:31:01,560 --> 00:31:04,600 Speaker 1: I have seen her pushed off of a bridge. I've 485 00:31:04,640 --> 00:31:07,920 Speaker 1: seen a lot of things. Dogs attacking. That was a horrible, 486 00:31:08,080 --> 00:31:11,640 Speaker 1: horrible thing, horrible thing. Well, you know what, we having 487 00:31:11,640 --> 00:31:14,840 Speaker 1: this whole conversation that we did not mention love Cram, 488 00:31:14,840 --> 00:31:18,080 Speaker 1: which caused a lot of conversation and really kind of 489 00:31:18,120 --> 00:31:22,960 Speaker 1: brought this conversation up again after after us, where it 490 00:31:23,080 --> 00:31:26,520 Speaker 1: was like, oh, well, this kind of fantasy horror, three 491 00:31:26,800 --> 00:31:31,800 Speaker 1: historree whole actual picking, isn't it? But here, but here's 492 00:31:31,840 --> 00:31:37,120 Speaker 1: what's really a horrifying picking, a horrifying picking. A twin 493 00:31:38,440 --> 00:31:47,160 Speaker 1: that thing that bothered me to go to sleep after that, honey, 494 00:31:47,960 --> 00:31:50,360 Speaker 1: that's got me, That's got me good. But that's really 495 00:31:50,400 --> 00:31:55,040 Speaker 1: reminded me of Octavia Butler style though, and so the 496 00:31:55,360 --> 00:32:00,400 Speaker 1: black horror or science fiction style really does to you 497 00:32:00,480 --> 00:32:12,360 Speaker 1: all's point have that mixture of historical fiction, sci fi, horror, drama, 498 00:32:12,600 --> 00:32:16,640 Speaker 1: even a little bit of comedy. So it's like it's 499 00:32:16,680 --> 00:32:20,480 Speaker 1: interesting to see this kind of mesh and male mold 500 00:32:20,720 --> 00:32:25,120 Speaker 1: mesh gumbo of genres all packed into some of these 501 00:32:25,160 --> 00:32:28,640 Speaker 1: movies because they all had those moments. So it's it's 502 00:32:28,680 --> 00:32:32,280 Speaker 1: it's interesting the black take on this genre and and 503 00:32:32,280 --> 00:32:36,840 Speaker 1: and how it has to include, you know, the black experience. 504 00:32:37,320 --> 00:32:41,680 Speaker 1: But to Jordan's Peel's you know, to his credit, when 505 00:32:41,720 --> 00:32:46,080 Speaker 1: he did his other movie, which was The US US, 506 00:32:46,160 --> 00:32:50,400 Speaker 1: when he did Us anybody to a degree, they could 507 00:32:50,400 --> 00:32:56,600 Speaker 1: have stuck any color family and to that movie, so 508 00:32:56,800 --> 00:33:00,360 Speaker 1: that movie was not necessarily in few is with the 509 00:33:00,400 --> 00:33:04,240 Speaker 1: Black experience. He just took a black family. He just 510 00:33:04,280 --> 00:33:07,680 Speaker 1: took a black family and inserted them into the into 511 00:33:07,840 --> 00:33:11,400 Speaker 1: into that moment. So I mean, so you kind of 512 00:33:11,400 --> 00:33:13,000 Speaker 1: have to So there's there's a kind of a place 513 00:33:13,040 --> 00:33:16,320 Speaker 1: for that in US too. Yeah, and us it was like, 514 00:33:16,360 --> 00:33:18,600 Speaker 1: I see, it happened to all the people around the world. 515 00:33:18,680 --> 00:33:21,360 Speaker 1: Remember that the whole they just happen. They just they 516 00:33:21,400 --> 00:33:23,520 Speaker 1: just happened to be a black family. That's just to 517 00:33:23,560 --> 00:33:28,480 Speaker 1: be a black family. Yeah, which is so listen, I 518 00:33:28,600 --> 00:33:30,560 Speaker 1: did that, right, he did that. I'm like, Okay, maybe 519 00:33:30,560 --> 00:33:32,000 Speaker 1: you don't have to take us home because you gave 520 00:33:32,080 --> 00:33:36,760 Speaker 1: us so many jobs. I'll do that train. We'll be 521 00:33:36,760 --> 00:33:51,600 Speaker 1: back after the break. You know. I got a shout out. 522 00:33:51,640 --> 00:33:54,200 Speaker 1: The just the level of creativity that we're able to 523 00:33:54,320 --> 00:34:01,160 Speaker 1: see makes me so excited. To think about Watchmen. Yeah, amazing, 524 00:34:03,080 --> 00:34:06,840 Speaker 1: what's my ama? Don't say his name, say his name, 525 00:34:06,920 --> 00:34:09,120 Speaker 1: say his name, say his name, Jill, what's his name? 526 00:34:09,719 --> 00:34:14,560 Speaker 1: His name? Man, it's only one, it's only one. Yeah, yeah, motherfucker, 527 00:34:14,680 --> 00:34:19,799 Speaker 1: ya ya teen, motherfucker. Don't you tell me it ain't 528 00:34:19,800 --> 00:34:22,680 Speaker 1: no black male actors up in this thing hill hunting, 529 00:34:22,760 --> 00:34:28,680 Speaker 1: because yeah, it was beautiful, miss thank you, Regina, thank you. 530 00:34:28,760 --> 00:34:30,919 Speaker 1: It was beauty. That was so sad that the writer 531 00:34:31,040 --> 00:34:33,640 Speaker 1: didn't want to you don't continue on. That was just 532 00:34:33,760 --> 00:34:39,320 Speaker 1: so I was so ready, so ready. It's worth watching again. 533 00:34:39,400 --> 00:34:42,720 Speaker 1: It is at least the first episode. Get your history. 534 00:34:42,960 --> 00:34:47,480 Speaker 1: That first episode gets your history. Very well done. Hey 535 00:34:47,480 --> 00:34:52,520 Speaker 1: guess and guess what had happened? It's victorious? Okay, ages 536 00:34:52,560 --> 00:35:01,719 Speaker 1: making more points. That's the fact that we watch Marvel. 537 00:35:02,760 --> 00:35:06,520 Speaker 1: We watch all the Marvel movies. We get involved with 538 00:35:06,560 --> 00:35:11,200 Speaker 1: all the science fiction stuff. We love that stuff. This, 539 00:35:11,600 --> 00:35:14,759 Speaker 1: this Falcon and Winter Soldier went really black. This. I 540 00:35:14,760 --> 00:35:16,760 Speaker 1: don't know if you are that deep into the Marvel, 541 00:35:17,200 --> 00:35:20,920 Speaker 1: but the Anthony Malki showed it just finished Falcon and 542 00:35:20,920 --> 00:35:23,799 Speaker 1: the Winter Soldier, it went it took a turn to 543 00:35:23,880 --> 00:35:29,160 Speaker 1: blackness and a tuskey experiment that was just unexpected. Oh 544 00:35:29,360 --> 00:35:31,040 Speaker 1: I just gotta tell you. I just want to tell 545 00:35:31,040 --> 00:35:32,480 Speaker 1: the people to like if you get a chance to 546 00:35:32,480 --> 00:35:36,239 Speaker 1: watch it, because oh yes, I'm sorry, I mean to 547 00:35:36,400 --> 00:35:39,840 Speaker 1: your wisdom. No, not at all. I'm just saying that, 548 00:35:40,000 --> 00:35:41,960 Speaker 1: you know, just the fact that we've been watching these 549 00:35:42,000 --> 00:35:45,560 Speaker 1: Marvel movies, we've been supporting Marvel, We've been supporting all 550 00:35:45,600 --> 00:35:48,400 Speaker 1: of the science fiction and the superheroes and all of that. 551 00:35:48,760 --> 00:35:52,160 Speaker 1: And to be able to see this, you know, this 552 00:35:52,239 --> 00:36:00,080 Speaker 1: is great. Ban Cougar, I love it. Thank you. I 553 00:36:00,120 --> 00:36:12,279 Speaker 1: said you watchman. But just everything, y'all, y'all, just if 554 00:36:12,280 --> 00:36:14,440 Speaker 1: you ain't saying that, you trip think and think about 555 00:36:14,440 --> 00:36:17,560 Speaker 1: the My Rainy story, you know, think about that and 556 00:36:17,640 --> 00:36:22,200 Speaker 1: how Chadwick's character did not get to live that dream 557 00:36:22,640 --> 00:36:25,879 Speaker 1: for somebody else who's watching that and did not get 558 00:36:25,880 --> 00:36:27,920 Speaker 1: to live their dream and it was right there at 559 00:36:27,960 --> 00:36:31,440 Speaker 1: their hands and they've been promised this thing that is traumatic, 560 00:36:31,520 --> 00:36:34,640 Speaker 1: that thing hurt, that thing hurt deep. And the fact 561 00:36:34,719 --> 00:36:43,320 Speaker 1: that Glenn Turman is brilliant and brilliant and the fact 562 00:36:43,320 --> 00:36:46,160 Speaker 1: that that character was taken away, that it was, and 563 00:36:46,200 --> 00:36:50,279 Speaker 1: how painful it was on both sides, you know, obviously 564 00:36:50,360 --> 00:36:54,520 Speaker 1: for for Glenn Turman's character and as well for Chadwick's character, Like, 565 00:36:54,560 --> 00:36:58,840 Speaker 1: what did that mean? Psychologically? Give me the cuts, show 566 00:36:58,920 --> 00:37:03,200 Speaker 1: me where the cracks happen, because we're people where people 567 00:37:04,080 --> 00:37:07,360 Speaker 1: and cracks, and you any any sane person can crack 568 00:37:09,719 --> 00:37:12,240 Speaker 1: with the level of stuff that's going on in this world, 569 00:37:12,360 --> 00:37:16,000 Speaker 1: right the cracks. So when when somebody goes crazy or 570 00:37:16,040 --> 00:37:18,520 Speaker 1: they do they do something that you know, even in 571 00:37:18,560 --> 00:37:24,279 Speaker 1: the spirit world, you understand what had happened. I appreciate that. 572 00:37:24,680 --> 00:37:26,920 Speaker 1: I love the way you find that as the cracks. 573 00:37:27,680 --> 00:37:30,680 Speaker 1: I definitely think that it's just like the humanity of 574 00:37:30,840 --> 00:37:37,960 Speaker 1: us is, it's so important, it's fragile, the humanity of us, 575 00:37:38,520 --> 00:37:42,319 Speaker 1: to show the humanity of us. That that I feel 576 00:37:42,360 --> 00:37:46,719 Speaker 1: like it's a challenge before us and that especially with 577 00:37:46,760 --> 00:37:51,920 Speaker 1: our art, is to is to show our humanity and 578 00:37:52,000 --> 00:37:56,640 Speaker 1: to consider our humanity. Right, But I think you're you're 579 00:37:56,680 --> 00:37:59,680 Speaker 1: absolutely right. You know, we don't want to be dishonest, 580 00:38:00,040 --> 00:38:05,680 Speaker 1: want to honor the human experience and then insert ourselves 581 00:38:05,800 --> 00:38:09,240 Speaker 1: into the human experience and humanize ourselves for the outside 582 00:38:09,280 --> 00:38:12,840 Speaker 1: world because we know we're human, but they don't have 583 00:38:12,920 --> 00:38:15,640 Speaker 1: an opportunity to see us as that so that is 584 00:38:15,760 --> 00:38:19,080 Speaker 1: really important. I'm not worried about that nobody else. I'm 585 00:38:19,120 --> 00:38:21,560 Speaker 1: thinking about us and and the fact that we don't 586 00:38:21,600 --> 00:38:23,840 Speaker 1: get a chance to see us in that way for 587 00:38:24,040 --> 00:38:26,600 Speaker 1: so long. All of our TV shows and our movies 588 00:38:26,680 --> 00:38:29,560 Speaker 1: are not all but a lot of them and shout 589 00:38:29,600 --> 00:38:32,080 Speaker 1: shout out to the coffee show into a different world 590 00:38:32,160 --> 00:38:36,160 Speaker 1: like that. That really took some blinders off and open 591 00:38:36,280 --> 00:38:39,160 Speaker 1: new doors to us, because our our movies and our 592 00:38:39,200 --> 00:38:41,680 Speaker 1: TV shows were you know, a lot of it was 593 00:38:42,480 --> 00:38:44,719 Speaker 1: it was it was the good times. You know, it 594 00:38:44,800 --> 00:38:46,799 Speaker 1: was a lot of weird, poverty stricken. But we're gonna 595 00:38:46,800 --> 00:38:49,080 Speaker 1: make it work in any way necessary. And that is 596 00:38:49,160 --> 00:38:52,960 Speaker 1: us too. That is us, and then or the Jeffersons. 597 00:38:53,000 --> 00:38:55,279 Speaker 1: You know, here we are. We we've advanced a little 598 00:38:55,320 --> 00:38:57,520 Speaker 1: more more and now we're you know, in the big 599 00:38:57,640 --> 00:39:01,640 Speaker 1: leagues getting our bad you know what I'm saying. Like 600 00:39:02,239 --> 00:39:07,239 Speaker 1: the progress has been slow, and sometimes it's been thwarted, 601 00:39:07,480 --> 00:39:12,040 Speaker 1: but nonetheless it's been happening, and it's happening in a 602 00:39:12,040 --> 00:39:16,880 Speaker 1: beautiful way because for I swear, just trying to find 603 00:39:17,400 --> 00:39:21,200 Speaker 1: somebody who too could shoot a brown skinned person. Yeah 604 00:39:21,400 --> 00:39:24,439 Speaker 1: you you there were the dps that couldn't even see 605 00:39:24,480 --> 00:39:31,040 Speaker 1: the beauty, couldn't capture it. Uh, the DPS director of photography. 606 00:39:31,120 --> 00:39:32,759 Speaker 1: So shout out to all the good ones that can, 607 00:39:33,040 --> 00:39:35,560 Speaker 1: that can actually see the textures and and and the 608 00:39:36,120 --> 00:39:39,680 Speaker 1: magic in skin. If you are a DP and you 609 00:39:39,719 --> 00:39:42,879 Speaker 1: want to understand the magic of a brown person skin, 610 00:39:42,960 --> 00:39:46,799 Speaker 1: a deep brown person, look at Besa Butler's work Instagram. 611 00:39:47,000 --> 00:39:49,480 Speaker 1: You have an opportunity to see the dimension and color. 612 00:39:51,640 --> 00:39:54,400 Speaker 1: I was. I was followed up follow these vickers a 613 00:39:54,520 --> 00:39:57,799 Speaker 1: hashtag book on the Instagram, and they joke a lot 614 00:39:57,840 --> 00:40:00,200 Speaker 1: about being an actor, and it's at an other than 615 00:40:00,200 --> 00:40:03,520 Speaker 1: they're talking about, you know, hair, and that's another thing too. 616 00:40:03,640 --> 00:40:07,640 Speaker 1: Was like just the just even even that moment in 617 00:40:07,800 --> 00:40:11,920 Speaker 1: them where she goes to the cousin's house and she 618 00:40:12,040 --> 00:40:15,200 Speaker 1: does her hair and she makes it clear that she 619 00:40:15,239 --> 00:40:18,960 Speaker 1: don't wear weeds, and it's like to see that woman 620 00:40:19,200 --> 00:40:22,719 Speaker 1: getting her hair pressed and getting it all done. I mean, 621 00:40:22,760 --> 00:40:26,400 Speaker 1: just these are these kind of really intimate moments with 622 00:40:26,400 --> 00:40:29,560 Speaker 1: with our skin and our hair and how we just 623 00:40:29,640 --> 00:40:32,800 Speaker 1: interact with each other. I even remember somebody talking about 624 00:40:32,880 --> 00:40:35,520 Speaker 1: this in the in an animated film in the movie Soul, 625 00:40:36,200 --> 00:40:38,640 Speaker 1: where they talked about I think it's a Frank Abney 626 00:40:38,680 --> 00:40:40,400 Speaker 1: is the guy who who is the is one of 627 00:40:40,400 --> 00:40:43,600 Speaker 1: the animators on there, and he talked about how they 628 00:40:43,640 --> 00:40:46,120 Speaker 1: made this decision about the main character was gonna come 629 00:40:46,160 --> 00:40:49,040 Speaker 1: down the steps, and that when he came down the steps, 630 00:40:49,080 --> 00:40:51,440 Speaker 1: before he went down, he like touched his nose and 631 00:40:51,560 --> 00:40:53,839 Speaker 1: dapped up the guy that he was about to say 632 00:40:53,880 --> 00:40:56,960 Speaker 1: hi to. So it's just even these kind of small 633 00:40:57,960 --> 00:41:03,440 Speaker 1: ways that we narrate ourselves on screen that show we 634 00:41:03,520 --> 00:41:06,120 Speaker 1: have a specific way that we present and that we 635 00:41:06,239 --> 00:41:08,880 Speaker 1: looked at our actions and the way we do things 636 00:41:08,920 --> 00:41:13,280 Speaker 1: and talk. It's beautiful when it tapped in, they tapped 637 00:41:13,280 --> 00:41:15,800 Speaker 1: all the way in. And as we continue this conversation, 638 00:41:15,840 --> 00:41:17,440 Speaker 1: I want to make sure too that we mentioned some 639 00:41:17,480 --> 00:41:20,280 Speaker 1: of the names and the people who are writing these stories, 640 00:41:20,320 --> 00:41:25,120 Speaker 1: like the Misia Greene, Tory, Halls of it All, the 641 00:41:25,200 --> 00:41:28,560 Speaker 1: by Barry Jenkins, the d Reasons of it All. Like 642 00:41:29,480 --> 00:41:31,080 Speaker 1: you just have to say, because it wasn't time where 643 00:41:31,080 --> 00:41:33,520 Speaker 1: you felt like okay, Spike, like you said, Spike and Tyler, 644 00:41:37,320 --> 00:41:41,520 Speaker 1: don't forget about black Lightning please. Yeah. Yeah, that's a 645 00:41:41,640 --> 00:41:44,720 Speaker 1: family show. It was very very good. It's a pleasure 646 00:41:44,760 --> 00:41:50,840 Speaker 1: to be a part of it. So shout out to Selina. Yeah, 647 00:41:51,080 --> 00:41:55,880 Speaker 1: beautiful thing. I love it. I love it. More of it, please, please, 648 00:41:55,880 --> 00:41:59,640 Speaker 1: and more please. I will say this little I haven't 649 00:42:00,040 --> 00:42:04,120 Speaker 1: void watching so much of our programming over the past 650 00:42:04,160 --> 00:42:07,520 Speaker 1: few years. It just has been really good to my soul. 651 00:42:08,680 --> 00:42:11,920 Speaker 1: And then just the constant rollout. It's like you know 652 00:42:12,040 --> 00:42:15,239 Speaker 1: something that's coming and that has been wonderful. Even and 653 00:42:15,320 --> 00:42:17,400 Speaker 1: you mentioned Barry Jenkers. He did this is he's the 654 00:42:17,400 --> 00:42:23,160 Speaker 1: one who did also that Christmas movie, right, jingle Jangles? 655 00:42:24,160 --> 00:42:26,400 Speaker 1: Did he do that? Who did jingle jan No? That 656 00:42:26,560 --> 00:42:32,280 Speaker 1: was the why er hold on jingle Jangle? It was 657 00:42:32,600 --> 00:42:36,560 Speaker 1: he did. He did uh a jingle Jangle? And like 658 00:42:36,640 --> 00:42:38,759 Speaker 1: I said, just to be able to watch all of this, 659 00:42:39,160 --> 00:42:43,719 Speaker 1: I mean, just like the wide and diverse amount of 660 00:42:43,840 --> 00:42:49,080 Speaker 1: work that's out there has been a true, true pleasure 661 00:42:49,560 --> 00:42:57,840 Speaker 1: from girlfriends insecure, It's happening, happening, and everybody in between. Listen, 662 00:42:58,960 --> 00:43:01,200 Speaker 1: I mean me and something. You might not love them all, 663 00:43:01,200 --> 00:43:03,640 Speaker 1: but at least you've got the choices you have. Be encouraged, 664 00:43:03,760 --> 00:43:09,759 Speaker 1: be encouraged and also true all that at Robin thed too. Yes, 665 00:43:10,080 --> 00:43:17,239 Speaker 1: black Ladies, Yes, there's a lot. Yeah, there's a lot, 666 00:43:17,280 --> 00:43:20,879 Speaker 1: and still and still right, the Black Ladies Sketch Show. 667 00:43:21,160 --> 00:43:24,239 Speaker 1: Oh and in Our Mother's Gardens if you want to 668 00:43:24,360 --> 00:43:29,359 Speaker 1: check that out. Yes, you for an executive producer on that. 669 00:43:29,440 --> 00:43:32,480 Speaker 1: Wait a minute, what is this? You even tell Joe Scott, 670 00:43:32,880 --> 00:43:36,279 Speaker 1: Joan Scott, I don't tell everything, you really don't. So 671 00:43:36,320 --> 00:43:37,759 Speaker 1: now I got to I got to go ahead and 672 00:43:37,760 --> 00:43:39,839 Speaker 1: google this thing that's on Netflix. That's all she's gonna say. 673 00:43:39,840 --> 00:43:40,960 Speaker 1: Is she gonna say, we need to watch it? But 674 00:43:41,000 --> 00:43:44,680 Speaker 1: she ain't gonna tell us. Always lovely, it's so good, 675 00:43:45,000 --> 00:43:47,560 Speaker 1: it's so lovely. It's so beautiful. Oh, I'm sorry. I 676 00:43:48,239 --> 00:43:54,600 Speaker 1: the documentary with all the sisters and yeah, yeah, that thing. 677 00:43:55,560 --> 00:43:57,480 Speaker 1: I watched it on Mother's Day. That thing good to 678 00:43:57,600 --> 00:44:00,440 Speaker 1: meet you'all. I had to take it in us. But 679 00:44:00,480 --> 00:44:05,000 Speaker 1: it was beautiful. It was beautiful. And sorry, it's the ray. 680 00:44:05,080 --> 00:44:08,280 Speaker 1: It's all the ray. It's only distributed by It's distributed 681 00:44:08,280 --> 00:44:12,239 Speaker 1: by Ray. Now. Originally it was an independent documentary as 682 00:44:12,280 --> 00:44:14,040 Speaker 1: far as I know, But I just wanted to say 683 00:44:14,040 --> 00:44:16,279 Speaker 1: her name because I didn't make creators, and I was 684 00:44:16,320 --> 00:44:18,719 Speaker 1: like you, but look at Chill Scott making a way 685 00:44:18,760 --> 00:44:21,479 Speaker 1: for other black creators to get their stuff out there. 686 00:44:23,080 --> 00:44:29,920 Speaker 1: Come on, Yeah, listen, it's such a pleasure. It's such 687 00:44:29,920 --> 00:44:31,919 Speaker 1: a pleasure. And then know that there's such great work 688 00:44:31,960 --> 00:44:34,520 Speaker 1: that's happening, like it's just a it's a joy to 689 00:44:34,520 --> 00:44:39,360 Speaker 1: see it happening, Like oh yeah, come on, y'all. Yeah, yeah, yeah, yeah, y'all. 690 00:44:39,600 --> 00:44:46,160 Speaker 1: This is for the two thousand twenty ones. Let's go. Oh, 691 00:44:46,280 --> 00:44:50,920 Speaker 1: let's go, let's go. There's black gardeners. There's some black 692 00:44:50,960 --> 00:44:57,040 Speaker 1: doctors and lawyers and scientists and astronauts and and jaccuzzy makers. 693 00:44:57,400 --> 00:45:01,440 Speaker 1: You know, it's like, we do win it all. I 694 00:45:01,560 --> 00:45:03,319 Speaker 1: just want to see all the stories. Just give it 695 00:45:03,360 --> 00:45:06,839 Speaker 1: all to me. Make me laugh, make me think, make 696 00:45:06,920 --> 00:45:12,879 Speaker 1: we wonder, make me dream, you know, all of it. Yeah, 697 00:45:12,920 --> 00:45:15,960 Speaker 1: we're doing it whether you know you want to see 698 00:45:16,000 --> 00:45:19,799 Speaker 1: it or not. You know, there are options because, like 699 00:45:20,000 --> 00:45:24,880 Speaker 1: Aga always reminds, we are not a monolith. No, we 700 00:45:24,880 --> 00:45:27,680 Speaker 1: we are interested in a bunch of different things. And 701 00:45:27,719 --> 00:45:31,919 Speaker 1: I'm just grateful, thank you so much that there's options 702 00:45:31,960 --> 00:45:34,759 Speaker 1: for us. And some of that hair is straightened, some 703 00:45:34,800 --> 00:45:38,440 Speaker 1: of that hair ring, some of them, some of them chicks, 704 00:45:38,520 --> 00:45:41,840 Speaker 1: light skins. I'm of a Maine you know, it's it's stories. 705 00:45:42,480 --> 00:45:45,279 Speaker 1: God darn it. I want more. Thank you so much 706 00:45:45,280 --> 00:45:48,960 Speaker 1: for listening to Jay dot Ildepie cast with my sister 707 00:45:49,080 --> 00:45:53,400 Speaker 1: friends Fly in St. Clair and Adria Grayton Danceler. Listen. 708 00:45:54,640 --> 00:45:57,319 Speaker 1: The more you see, the more you dream. Keep your 709 00:45:57,360 --> 00:46:07,880 Speaker 1: eyes on me. Come on, how do you eat an elephant? 710 00:46:08,719 --> 00:46:18,440 Speaker 1: One by it time? Hey, everybody, producer E's here. If 711 00:46:18,480 --> 00:46:21,120 Speaker 1: you haven't listened already, go back and listen to the 712 00:46:21,120 --> 00:46:24,919 Speaker 1: previous episode of Jay dot Ill called We Want All 713 00:46:24,960 --> 00:46:28,080 Speaker 1: the Black Stories, where the ladies get into the growth 714 00:46:28,239 --> 00:46:32,719 Speaker 1: and expansiveness of black storytelling. All right, get out your 715 00:46:32,760 --> 00:46:36,520 Speaker 1: pen and paper, your tablet, computer, whatever your device of choices, 716 00:46:37,160 --> 00:46:40,200 Speaker 1: because I have a long list of writers and directors 717 00:46:40,440 --> 00:46:47,080 Speaker 1: and shows and movies and filmmakers here. Okay, Deep Breath, Antebellum, 718 00:46:47,200 --> 00:46:50,759 Speaker 1: get out them. Created by Little Marvin and ep by 719 00:46:50,800 --> 00:46:55,720 Speaker 1: Lena Wait. Twelve Years of Slave, Django, Unchained Us, written 720 00:46:55,719 --> 00:46:59,200 Speaker 1: and directed by Jordan Peel, The Falcon and The Winter Soldier, 721 00:46:59,640 --> 00:47:04,200 Speaker 1: My Any's Black Bottom, Misha Green, Barry Jenkins, Coutry Hall, 722 00:47:04,600 --> 00:47:08,560 Speaker 1: Black Lightning, Jingle Jangle, The Black Ladies Catch Show in 723 00:47:08,719 --> 00:47:13,400 Speaker 1: Our Mother's Gardens, Octavia Butler's work and the Ladies also 724 00:47:13,440 --> 00:47:17,279 Speaker 1: mentioned Pisa Butler and hashtag booked check them out on 725 00:47:17,360 --> 00:47:34,920 Speaker 1: Instagram links. In the episode description, Hi, if you have 726 00:47:35,120 --> 00:47:38,480 Speaker 1: comments on something you said in this episode called eight 727 00:47:38,640 --> 00:47:41,759 Speaker 1: six six, Hey Jill, if you want to add to 728 00:47:41,800 --> 00:47:45,480 Speaker 1: this conversation, that's eight six six four three nine five 729 00:47:45,560 --> 00:47:48,719 Speaker 1: four five. Don't forget to tell us your name and 730 00:47:48,760 --> 00:47:52,359 Speaker 1: the episode you're referring to. You might just hear your 731 00:47:52,360 --> 00:47:56,120 Speaker 1: message on a future episode. Thank you for listening to 732 00:47:56,239 --> 00:48:00,560 Speaker 1: Jill Scott Presents Jay dot Il the podcast. This podcast 733 00:48:00,719 --> 00:48:04,040 Speaker 1: is hosted by Jill Scott, Laia st Clair and Age 734 00:48:04,160 --> 00:48:08,120 Speaker 1: Graden Danceller. It's executive producers are Jill Scott, Shawn g 735 00:48:08,400 --> 00:48:12,319 Speaker 1: and Brian Calhoun's produced by Laya st Clair and me 736 00:48:12,640 --> 00:48:15,239 Speaker 1: Eve Jeff Cope. The editing and sound design for this 737 00:48:15,280 --> 00:48:26,080 Speaker 1: episode we're done by Christina Loranger. Okay, you gotta wrap 738 00:48:26,120 --> 00:48:32,279 Speaker 1: it up with a little should write songs? You have 739 00:48:32,360 --> 00:48:35,279 Speaker 1: a few strokes and then you will ever tell you that. 740 00:48:36,440 --> 00:48:40,960 Speaker 1: Thank you so much. J dot Ill is a production 741 00:48:41,200 --> 00:48:45,480 Speaker 1: of I Heart Radio. For more podcast from I Heart Radio, 742 00:48:45,920 --> 00:48:50,320 Speaker 1: visit the I heart Radio app, Apple podcast, or wherever 743 00:48:50,400 --> 00:48:52,160 Speaker 1: you listen to your favorite shows.