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Speaker 1: I listen to the Black Guy Who Tips podcast because

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Speaker 1: Rod and Karen. Hey, welcome to another episode of the

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Speaker 1: Black Autist Podcast. I'm your host Rod, joined us always

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Speaker 1: by my co host Ken, and we're live on a Wednesday,

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Speaker 1: which is a recap Wednesday. Only one more of these

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Speaker 1: left in the year. That's right, we're recapping Lovecraft Country,

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Speaker 1: the TV series comes on HBO and you know, as always,

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Speaker 1: we likes to break it down. Okay, y'all look forward

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Speaker 1: to this. We look forward to giving it to you.

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Speaker 1: This was episode nine of season one. It's called Rewind

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Speaker 1: nineteen twenty one, and it was a lot. It was

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Speaker 1: a lot, okay, But as always we like to start with,

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Speaker 1: you know, the general synopsis from me and Karen. Karen,

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Speaker 1: what do you think of this episode? In general?

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Speaker 2: I loved it. It was beautiful, very emotional, lot of

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Speaker 2: a lot of history because you can read stuff, but

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Speaker 2: sometimes there's nothing like them you visually seeing it.

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Speaker 1: And I had a ball watching it. Yeah. What's interesting

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Speaker 1: is you didn't watch Watchmen, and Watchmen's opening minutes had

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Speaker 1: the Tosa Race massacre and it's kind of similar style,

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Speaker 1: like the destruction of it and the planes and all

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Speaker 1: this stuff. And his child and his family, like trying

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Speaker 1: to escape and all this stuff. It was really heroin stuff.

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Speaker 1: But yeah, oh man, for me, I mean, I feel like,

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Speaker 1: if you listen to the show enough, you know me

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Speaker 1: and you know I, you know, not to try to

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Speaker 1: stunt on anybody, because it's nothing to really stunt about.

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Speaker 1: Like it's not a like a badge of honor. But

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Speaker 1: you know, I personally am not turned off by depictions

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Speaker 1: of black history, even when it's tragic, Like it's just

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Speaker 1: that that kind of thing to me is nothing Like

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Speaker 1: it's not that it doesn't matter to me, it's that

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Speaker 1: it matters so much. I think it's important to tell it.

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Speaker 1: And if I get quote unquote triggered or I feel

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Speaker 1: an emotion, it's because it's emotional, yes, And if they

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Speaker 1: put depicted in a TV show or something like that

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Speaker 1: to dramatize it or point out something, I'm okay with that.

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Speaker 1: So you know, for me personally, this was right up

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Speaker 1: my alley. You know. I honestly, I was rewatching the show,

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Speaker 1: I realized I have never seen Tulsa depict it as

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Speaker 1: alive before all the stuff I've watched, if Tulsa has

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Speaker 1: always been a documentary on and then this was the massacre,

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Speaker 1: this was that, and to see a depiction where they

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Speaker 1: went and painstakingly got the clothing the I mean, I

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Speaker 1: was googling all the like the movie, theater, the restaurants,

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Speaker 1: all of it's just you know, like they back and

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Speaker 1: remade that shit, you know what I mean, like down

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Speaker 1: to the stitches, like this is what I want to see,

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Speaker 1: you know.

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Speaker 2: And for me, I've actually quote unquote came around to it.

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Speaker 2: As far as watching our Pain, it was one of

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Speaker 2: those things where I was never one of those people

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Speaker 2: that was like I'm tired of slavery movies. You know,

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Speaker 2: I was never one of those people, but I'm like, oh,

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Speaker 2: I know about to heard, I know about the pain,

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Speaker 2: and one of the people that just assumed that I understood.

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Speaker 2: But the thing is, you never understand as much as

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Speaker 2: you think you understand if your basis on understanding is

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Speaker 2: taught to you in the system that design and white supremacy.

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Speaker 2: So there were a lot of things that I thought

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Speaker 2: I knew that already didn't know, Like you go, well,

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Speaker 2: slavery was bad, but when you actually go back and

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Speaker 2: actually get a better understanding, it's actually worse than you

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Speaker 2: thought it was, which is knowledge that you need to

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Speaker 2: have so you can better have an understanding of the

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Speaker 2: sacrifices that our ancestors made. And if you understand the understanding,

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Speaker 2: you would be outraised about the bullshit this's happening right now.

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Speaker 1: You would have a fire in you. They'll be like, no, no, no, no,

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Speaker 1: no no.

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Speaker 2: My ancestors didn't get stole from their land. They didn't

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Speaker 2: get brought here by boats. They didn't all get beaten

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Speaker 2: whipped and have salt poured on their wounds.

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Speaker 1: They wouldn't chain together, and if somebody got sick, the.

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Speaker 2: Whole line got drowned. You know, underneath all the oceans.

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Speaker 2: My ancestors are dead.

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Speaker 1: You know.

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Speaker 2: And you have people out here just saying stupid shit.

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Speaker 2: When you know the history, you go no, no, no,

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Speaker 2: no no. I understand why people said I'm going to

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Speaker 2: vote even if it cost me my life. I understand

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Speaker 2: why people went across the bridge and was like, I

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Speaker 2: know they gonna sick dogs on me. I know they're

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Speaker 2: gonna put water holes on me, but I can't see

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Speaker 2: the future. Like those people couldn't see me today, but

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Speaker 2: they knew that if they did what they did, I

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Speaker 2: would be around to see it, and so for me,

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Speaker 2: I had to get over myself because that's a thing.

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Speaker 2: You could be so wrapped up into how you feel,

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Speaker 2: you forget that the reason why you have these emotions

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Speaker 2: because these people are real, because a lot of that,

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Speaker 2: a lot of that people what people do, it detaches

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Speaker 2: them from the reality of the history. It detaches them

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Speaker 2: from the people to sacrifice and died. And that's the

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Speaker 2: part of white supremacy. They're detached and they don't care.

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Speaker 2: So they want you to be detached, and they want

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Speaker 2: you not to care about the people that are the

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Speaker 2: reason why you're here today. Because as long as you

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Speaker 2: feel detached, you can say stupid shit online. You can

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Speaker 2: be ignorant, you can be silly about your opinions, you

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Speaker 2: canna waste your vote.

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Speaker 1: You can do those.

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Speaker 2: Things and not feel ashamed and not feel bothered by it,

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Speaker 2: because you do not understand that the shoulders that you

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Speaker 2: stand on. The reason why I can go into the

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Speaker 2: front of a grocery store, the reason why I don't

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Speaker 2: have to go to the back of the busts anymore,

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Speaker 2: The reason why is because these people sacrificed and died

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Speaker 2: for me.

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Speaker 1: Yep and that connection is something they want us to forget. Correct,

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Speaker 1: So when you see people saying, you know, we need

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Speaker 1: to sign up for the Platinum plan for Trump, it

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Speaker 1: all goes all the way back. It's all connected. It's

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Speaker 1: all based on the idea of you forgetting this connection,

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Speaker 1: forgetting the sacrifice, forgetting these people. And pop culture has

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Speaker 1: a way, unfortunately, you know, because it is in books

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Speaker 1: that we can learn these things, but pop culture has

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Speaker 1: a way of bringing a lot of this stuff to

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Speaker 1: the forefront. And emotional connection matters. So having an emotional

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Speaker 1: connection to this, you know, like we'll get into some

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Speaker 1: of the specifics. And it's so weird because I love

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Speaker 1: this show as a TV show, but I'm starting to

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Speaker 1: get to that point where I feel protective of it

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Speaker 1: because I'm like, when I see people kind of coming

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Speaker 1: at the show, I'm like, I can't imagine not getting

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Speaker 1: it that much, you know what I mean, Not to

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Speaker 1: the like I just don't understand the show or it's

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Speaker 1: too complicated, but to dismiss it. I saw someone wrote

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Speaker 1: something saying the show is too much about the white gays,

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Speaker 1: and I disagree to you know what I mean? Same

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Speaker 1: people Big Up and Watchmen from a white showrunner, You

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Speaker 1: know what I mean, Like, I feel like this show

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Speaker 1: is made with us in mind. I feel like there's

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Speaker 1: a lot of us that don't know all this shit, so,

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Speaker 1: you know, to try to knock it on some like, wow,

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Speaker 1: are we talking about Tulsa again? Yes, because no one

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Speaker 1: talked about it until the last two years for a

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Speaker 1: lot of people. And if this is another time that

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Speaker 1: people want to see it recreated and see it alive

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Speaker 1: and vibrant, then that's what's up. And I think that

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Speaker 1: that connection is key because the same reason that white

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Speaker 1: people don't understand the atrocity to slavery and segregation and

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Speaker 1: Jim Crow is well, who else went to those schools

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Speaker 1: with them? We did, right, We sat in those same classrooms.

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Speaker 1: So our disregard the uncomfortable inness with it matters. And

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Speaker 1: when you said something it was either last week, but

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Speaker 1: you said something profound on the show where you were like,

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Speaker 1: people call stuff being triggered when it's just you experiencing

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Speaker 1: an emotion that you're supposed to be experiencing from this art,

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Speaker 1: And then you're going, is it worth it? Is it

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Speaker 1: worth it? Is it worth me feeling this emotion? And honestly,

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Speaker 1: to me, that's that's like like, that doesn't deserve the

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Speaker 1: same language as triggered, because if art is to communicate

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Speaker 1: a point and then it turn like because people only

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Speaker 1: use it pejoratively, They never use it as like, well,

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Speaker 1: Donald Glover wanted to shock and awe us with this

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Speaker 1: spectacle of chaos and violence that is America and black life.

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Speaker 1: We don't go, yeah, well, you know that was great art.

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Speaker 1: When you don't like it, you go he triggered me,

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Speaker 1: as if somehow he came in your house, made you

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Speaker 1: watch his video and wanted you to feel badly and

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Speaker 1: he doesn't give a fuck and all this shit. And

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Speaker 1: know that's not what we do is we like to

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Speaker 1: take the art we don't want to connect with and

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Speaker 1: then call it something else, rather than admit like that

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Speaker 1: was the point to make me feel that thing and

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Speaker 1: not every feeling needs to be attached to You're a

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Speaker 1: bad black person for making me feel this way, agreed.

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Speaker 2: And it's just one of the things to where I

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Speaker 2: allow art to do whatever art is supposed to do.

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Speaker 2: It's subjective. You can like it or not like it,

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Speaker 2: but I allow the art to allow me to be happy,

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Speaker 2: allow me to laugh at it.

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Speaker 1: Allow people. Some people only want the candy.

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Speaker 2: Right, they don't want the pain.

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Speaker 1: But the thing about art, go watch go watch cartoons.

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Speaker 2: Correct, But the with the thing about art, Art is

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Speaker 2: designed to invoke all types of emotions, all types. Even

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Speaker 2: music is a form of art, and people cry about

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Speaker 2: songs all the time, but you don't hear the same

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Speaker 2: pitch rawl as you do with a particular platform.

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Speaker 1: And what a telling black artists your toolbox can only

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Speaker 1: be the red, the yellow, you know what I'm saying.

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Speaker 1: We're telling you you can only make so much art

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Speaker 1: for the opposite side because white people have made art

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Speaker 1: that said, fuck y'all. We want you to only make

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Speaker 1: art that makes us feel a certain type of way.

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Speaker 1: And that's that's such bullshit, because why can't I express

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Speaker 1: my pain? That's like telling our podcast we gotta be

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Speaker 1: funny every episode, every segment. Fuck you, we made this

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Speaker 1: and if it's too hard for you, go listen to

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Speaker 1: something else, because at the end of the day, we

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Speaker 1: have feelings too that are valid and we want to

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Speaker 1: express them. And I think to disregard this show so

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Speaker 1: casually like that, you know, I don't want to turn

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Speaker 1: this opening thing into that I like Honestly, I really

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Speaker 1: do want to get into the recap. But to disregard

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Speaker 1: this show that way is to me, you're missing a

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Speaker 1: people aren't really missing out. Correct.

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Speaker 2: Correct, And before we move on, when you say, allow

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Speaker 2: us to express.

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Speaker 1: Our pain, some of the best.

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Speaker 2: Art throughout the history of America has come through pain

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Speaker 2: of the ship that we hold up as classics. Some

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Speaker 2: of the shit is we like that is the best

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Speaker 2: thing I've ever experienced. It came from a lot of

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Speaker 2: hurt and pain and disappointment and anger in this country.

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Speaker 2: Some of the things that people consider that's the best

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Speaker 2: rap ever.

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Speaker 1: You know, fuck the police.

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Speaker 2: That was from hurting pain, you know. But but but

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Speaker 2: it's funny, how like you said, people want to put

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Speaker 2: limitations on what we can do. But we're we are

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Speaker 2: a very diverse group of people and we and the

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Speaker 2: thing that kills me is that we claim we're not

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Speaker 2: a monolith, but yet we always want to put each

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Speaker 2: other in a box, like we can only do certain things.

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Speaker 2: But that's not true, because our art should be presented

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Speaker 2: in all this colors and all this glory, and that

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Speaker 2: that means the happy parts, that mean, the sad parts

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Speaker 2: that mean, the bitter parts that mean an angry p

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Speaker 2: like in all of it. Because I'm telling you one thing.

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Speaker 2: White folks don't get tired of telling you about the wars.

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Speaker 2: White folks don't get tired of telling you about the Holocaust.

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Speaker 2: White folks don't get tired of telling you about about

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Speaker 2: about what Shinder's List and all this and these things

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Speaker 2: have been made multiple times.

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Speaker 1: But I don't ever hear white people go, I'm tired

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Speaker 1: of y'all talk about it.

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Speaker 2: I heard, I'm no they what you know when they

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Speaker 2: say fucking never forget like that too, never forgets.

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Speaker 1: Not just that that shit wins awards. Correct. You know,

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Speaker 1: they've been telling the same World War two stories forever.

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Speaker 1: It's like they you know, they don't like when they

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Speaker 1: want to tell stories of feel good civil rights stories

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Speaker 1: where the white person saved everybody. That shit just continues

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Speaker 1: to be made to this day. And yet somehow it's

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Speaker 1: only when we get the fucking it's always when we

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Speaker 1: get the shit. That's what bothers me. It's like when

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Speaker 1: people go down with capitalism, right when black people start

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Speaker 1: getting some shit, it's never when you know what I mean,

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Speaker 1: it's never when the fuck uh the like when it's

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Speaker 1: like right as black people come into providence or start

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Speaker 1: to look, we're making our own art. We want to

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Speaker 1: tell the story about Tulsa because it's been a race. Yeah,

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Speaker 1: I'm tired of this. That's enough, y'all go. We did

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Speaker 1: it once. It's enough. So yeah, I just yeah, Like

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Speaker 1: I said, man, I get I feel that thing, and

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Speaker 1: I it's got to be honest about it. I feel

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Speaker 1: protective of the show because some of the vitrioll for

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Speaker 1: it is honestly ridiculous. And I wouldn't mind it if

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Speaker 1: they said I feel this way, right, but they always

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Speaker 1: couch these pieces and black people feel this way. We

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Speaker 1: all I speak for all the blacks, and all of

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Speaker 1: the blacks feel a certain way about this. As if

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Speaker 1: none of us are enjoying the show. Is if we're

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Speaker 1: not tuning in every fucking week and recapping, and our

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Speaker 1: fans don't love it, and people don't hit up our

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Speaker 1: mentions and email us every Saturday, why do you get

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Speaker 1: to speak for all of us? You know what I mean?

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Speaker 1: Why do you get to decide it's not worth it

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Speaker 1: for all black people? Like I just don't like that shit?

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Speaker 1: Like you some more eye statements Unless me and us,

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Speaker 1: because you're not speaking for me, right.

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Speaker 2: But see the thing is that if they use IE

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Speaker 2: all of a sudden, that they wouldn't have any merit.

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Speaker 1: Nothing is more white gays than you writing a fucking piece.

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Speaker 2: Fan.

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Speaker 1: I speak for the black people who's supposed to be

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Speaker 1: reading this, not us, because you're not writing it to us.

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Speaker 1: You didn't write the piece and say, hey, fellow black person,

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Speaker 1: this is how I feel about the show. You wrote

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Speaker 1: this as hey, white people listening, this is how black

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Speaker 1: people feel about this show. You know what I mean?

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Speaker 1: Like I've noticed that shit. Anyway, I'm sorry, we need

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Speaker 1: to move on. This is getting angry and I would

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Speaker 1: rather get into the recap because that's fun. Anyway. Episode

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Speaker 1: it's called Rewind nineteen twenty one. I broke it down,

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Speaker 1: but it's not broke down like the other ones where

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Speaker 1: we go these characters and in these characters. What it

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Speaker 1: is is we kind of start off with all the

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Speaker 1: characters and then there's a specific point where they kind

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Speaker 1: of split up and they're doing stuff at the same time,

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Speaker 1: and then we come back together. All right, So that's

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Speaker 1: how we're gonna do it. First and foremost, I like

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Speaker 1: to shout out the Miami heat. Okay, y'all the real MVPs.

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Speaker 1: Y'all knew they was gonna be a busy night Fargo.

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Speaker 1: Y'all knew this was coming on. Y'all said, listen, black people,

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Speaker 1: I don't want you to have no dilemmas about watching

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Speaker 1: this show. What I'm gonna go on a hand do

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Speaker 1: is get our ass? What by Lebron James? So you

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Speaker 1: ain't even gotta be con We gotta worry about it.

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Speaker 1: Change that channel. You ain't got to look back. It's

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Speaker 1: thirty points at halftime.

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Speaker 2: We not tying up your Sunday night at nine pm.

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Speaker 1: That great competitor, Jimmy Butler did us a favor. Thank

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Speaker 1: you so much. Bro uh So d is sick on

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Speaker 1: the couch, passed out. All the adults are talking around her,

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Speaker 1: trying to figure out what we're gonna do. Whose fault

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Speaker 1: it is? You know that shit? And then Ruby's Ruby

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Speaker 1: said something that was hilarious. I caught it on a

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Speaker 1: second time, not the first. She said, stop pointing fingers.

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Speaker 1: You all are to blame. That's exactly what she said.

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Speaker 1: Everybody in here, y'all all that fault, but not me,

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Speaker 1: of course, not me. I gonna look, y'all.

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Speaker 2: I my job was to stand in line and wait

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Speaker 2: for y'all negroes to come back. Nobody did, so y'all

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Speaker 2: will blame.

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Speaker 1: I was over here with my white woman man and

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Speaker 1: we was just at the crib chilling. Come on, y'all,

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Speaker 1: do thee fucked up and let the get got got

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Speaker 1: bit by the damn jigaboos. Yep, that's y'all old foul,

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Speaker 1: all three of y'all. So Tick suggests they call Christina

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Speaker 1: because it's kind of the only moved they have left.

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Speaker 1: You know. They thought maybe we could do the protection

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Speaker 1: spell on d but they weren't sure that it would

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Speaker 1: work because I mean, it seems like they don't really

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Speaker 1: know how it works, Like they know how to do it,

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Speaker 1: but they don't know what form it'll take, you know,

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Speaker 1: like the Mark of Cain gave Letty invisibility, I mean

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Speaker 1: invincibility or in more, you know, not getting hurt in vulnerability.

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Speaker 1: That's the word I was looking for, y'all. And man

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Speaker 1: Charles ran the protection spell and they ended up with

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Speaker 1: a black show. God. Yeah, they'd be like, we don't

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Speaker 1: know what's gonna happen next, So they don't know what

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Speaker 1: they're gonna do. Maybe they turned into it im mortal

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Speaker 1: kun you know. So Tick says Christina helped them because

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Speaker 1: they still got leverage, which is the pages of Titus

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Speaker 1: that she's missing. But yeah, Eddy has to come clean. Yes,

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Speaker 1: we everybody.

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Speaker 2: Everybody wanted to see Christine.

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Speaker 1: Everybody want to be her friend, everybody. Meanwhile, Ruby over

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Speaker 1: there listening to all these high jinks, like I teld

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Speaker 1: my mom, I'll never be like any of those negroes.

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Speaker 1: That's exactly. This is y'all problem, not mine. But yeah,

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Speaker 1: so my Tross, it's like, why did you trade the

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Speaker 1: pages to Christina? You just said, no more magic, we

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Speaker 1: got to stop doing magic. Lady's been adamant no more magic.

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Speaker 1: Stopped making deals with Christina for the last two or

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Speaker 1: three weeks.

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Speaker 2: Come on, she been she been adamant about it.

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Speaker 1: And I said that shit was wild because when she

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Speaker 1: did that, I was like, everybody's gonna be mad. You've

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Speaker 1: been telling everybody not to meet with this woman, not

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Speaker 1: to go behind nobody's back, blah blah blah, and so.

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Speaker 2: You did the same thing.

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Speaker 1: She's like, I did it because she gave me a vulnerability. No,

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Speaker 1: she goes, I think she did.

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Speaker 2: She said first I was gonna do it for you,

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Speaker 2: but she had given it to me.

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Speaker 1: Yeah, she was like, uh, she did it to try to. Actually,

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Speaker 1: I can't remember if she said exactly like that, but

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Speaker 1: she essentially she lost story short. She the one ended

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Speaker 1: up with the vulnerabil Yeah. She was like, I did it.

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Speaker 2: For you, but but but I did it, you know.

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Speaker 1: And to Montross, And none of it doesn't matter to Montross.

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Speaker 1: Like Montross is pissed. He's like, what the fuck you

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Speaker 1: mean you took the vulnerability? Like clearly, like you just

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Speaker 1: said no more magic. You told us not to deal

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Speaker 1: with this woman. How the fuck you're gonna take it

360
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Speaker 1: for yourself?

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Speaker 2: Yeah, And it's also one of those things where Montross

362
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Speaker 2: didn't see what they see with the with the Black Shoga.

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Speaker 2: So it was one of those things where I was like, oh, okay,

364
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Speaker 2: I understand why he's mad, you know, because he's like,

365
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Speaker 2: this was supposed to be for my son, but you

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Speaker 2: took it for yourself.

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Speaker 1: I guess. I mean, I mean he also didn't he

368
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Speaker 1: wasn't in the church when she made the deal, no,

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Speaker 1: so he didn't even realize, Like she walked out like

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Speaker 1: I don't want the pages did and then Letty took

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Speaker 1: it for herself. So you know, I mean, it's a

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Speaker 1: lot of circumstances, and I think it just he's right

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Speaker 1: now in trying to save my son mode ye. Yeah,

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Speaker 1: and it's also trying to save d sorry. Yeah.

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Speaker 2: And also is one of the things when he felt

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Speaker 2: like you a hypocrite, like your whole thing and not

377
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Speaker 2: to do this, and so she is, You're like you

378
00:19:08,560 --> 00:19:11,280
Speaker 2: did it, and some you know, I understand his anger

379
00:19:11,359 --> 00:19:12,400
Speaker 2: is valid at just seoint.

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Speaker 1: Everybody on the show is a hypocrite. Everybody does, even

381
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Speaker 1: when they do it to protect other people. They do

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Speaker 1: what they tell other people not to do. Don't take

383
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Speaker 1: this chance, don't do that. I'm gonna do it, like

384
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Speaker 1: everybody do the same. Don't you jump off the bridge,

385
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Speaker 1: but I'll jump right. It's just like real life. Everyone

386
00:19:28,040 --> 00:19:30,080
Speaker 1: thinks their reason to do the ship is not as

387
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Speaker 1: bad as everyone else, right, they think it's the most

388
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Speaker 1: legitimate reason. Meanwhile, Ruby tries to have Letty's back and

389
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Speaker 1: being like she had to do it, she need to

390
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Speaker 1: protect her, And then Letty's tell her be quiet and

391
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Speaker 1: stopped her. And of course Tick calms down Montross and

392
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Speaker 1: he drops it, and then Tick says, well, the pages

393
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Speaker 1: are the only a leverage we got left. Ruby's like, no,

394
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Speaker 1: we don't. I got some leverage. I'm sitting on it.

395
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Speaker 1: Come on, all these ass me and my white woman man.

396
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Speaker 1: She was like, listen, I got this leverage right here.

397
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Speaker 2: Come on, that's what they said.

398
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Speaker 1: Okay, I'll get over here. Okay, I get over here,

399
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Speaker 1: I pick up that phone. She gonna be, she gonna

400
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Speaker 1: come through.

401
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Speaker 2: Don't worry about it in my red bottom shoes.

402
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Speaker 1: Okay. So they called Christina over. She reviews the drawings

403
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Speaker 1: that d made of the two of Diminus silk and

404
00:20:35,160 --> 00:20:39,520
Speaker 1: she's like, these are some great likenesses. This is something

405
00:20:39,600 --> 00:20:41,080
Speaker 1: like she was just compliment in the art like she

406
00:20:41,119 --> 00:20:45,119
Speaker 1: was in the exit. Oh dude, look at the lawns structure. Wow,

407
00:20:45,200 --> 00:20:48,439
Speaker 1: she is talented. Meanwhile, this girl is sitting on the

408
00:20:48,520 --> 00:20:51,280
Speaker 1: on the thing, turning the canvas owns and ship, and

409
00:20:51,560 --> 00:20:59,040
Speaker 1: she's like, well, look here's the thing. I can't kill

410
00:20:59,080 --> 00:21:03,280
Speaker 1: this ship. The cursis of a combination of Titus is

411
00:21:03,560 --> 00:21:07,480
Speaker 1: stolen pages at Horatio's notes, and I can't remove it

412
00:21:07,520 --> 00:21:11,360
Speaker 1: without the book of names. Only Captain Lancaster can, and

413
00:21:11,480 --> 00:21:13,560
Speaker 1: because he cast it right, because he's the one who

414
00:21:13,600 --> 00:21:17,159
Speaker 1: cast it. And that's when Ruby lets her know that

415
00:21:17,280 --> 00:21:20,440
Speaker 1: Nigga is dead, like we saw him get his arm

416
00:21:20,520 --> 00:21:23,600
Speaker 1: ripped off and slung it seemed by the show Golf

417
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Speaker 1: even he went fifty three.

418
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Speaker 2: He in his house, that five store.

419
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Speaker 1: Building, and so they're like, yeah, he died, and she's like,

420
00:21:29,480 --> 00:21:33,000
Speaker 1: how you die? And Letty's like, you know the gas

421
00:21:33,000 --> 00:21:35,120
Speaker 1: explosion outside. I was like, Oh, that's that's what they're

422
00:21:35,160 --> 00:21:38,400
Speaker 1: running with. Yeah, they had to explain half out fifteen

423
00:21:38,440 --> 00:21:41,680
Speaker 1: officers died in front of their building the gas explosion.

424
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Speaker 1: I mean, I guess it would keep the rest of

425
00:21:43,800 --> 00:21:48,640
Speaker 1: the racists from coming over there after autumn got gas explosions.

426
00:21:48,640 --> 00:21:54,040
Speaker 1: But yeah, the gas explosion. And so meanwhile, the gas

427
00:21:54,040 --> 00:21:58,320
Speaker 1: explosure was named King the Black Show God. We've also

428
00:21:58,359 --> 00:22:00,359
Speaker 1: found out they can't use Ticked blood in the spell

429
00:22:00,440 --> 00:22:03,000
Speaker 1: because his blood isn't a care all, Like, you can't

430
00:22:03,040 --> 00:22:05,560
Speaker 1: just pour like his magic blood on everything and then

431
00:22:05,640 --> 00:22:08,800
Speaker 1: just heal. Christina says she can do a spell called

432
00:22:08,800 --> 00:22:13,000
Speaker 1: a restoration spell, but she needs her D's closest relative

433
00:22:14,040 --> 00:22:18,280
Speaker 1: and they need to draw some symbols around the house

434
00:22:19,040 --> 00:22:21,359
Speaker 1: and she will and she needs to be at the

435
00:22:21,400 --> 00:22:24,879
Speaker 1: birthplace of d which is this house, and she needs

436
00:22:24,960 --> 00:22:27,640
Speaker 1: all of them there for their intention, because that's part

437
00:22:27,640 --> 00:22:30,919
Speaker 1: of the spell casting too, and she'll only do it

438
00:22:30,960 --> 00:22:34,159
Speaker 1: if Tick agrees to come back to Artem for the

439
00:22:34,160 --> 00:22:36,840
Speaker 1: autumn equal Knox of tom No equinox, which we know

440
00:22:37,040 --> 00:22:40,560
Speaker 1: means that's when she wants to sacrifice Tick and to

441
00:22:40,600 --> 00:22:43,560
Speaker 1: get her own immortality. Now she doesn't know that he

442
00:22:43,680 --> 00:22:47,480
Speaker 1: knows for sure, but honestly, even if she did know

443
00:22:47,680 --> 00:22:50,199
Speaker 1: he knew, she wouldn't give a fuck, of course not,

444
00:22:51,359 --> 00:22:54,200
Speaker 1: which kind of does belabor the point. And I think

445
00:22:54,920 --> 00:22:56,840
Speaker 1: to me, I don't know how you feel about the camera.

446
00:22:56,960 --> 00:22:59,640
Speaker 1: I felt pretty much like, I think this is enough

447
00:22:59,680 --> 00:23:02,960
Speaker 1: proof that Christina didn't learn shit from them Mattel beaten

448
00:23:03,560 --> 00:23:04,280
Speaker 1: death thing.

449
00:23:05,720 --> 00:23:14,280
Speaker 2: Like this, I think that, uh. She I'm not say

450
00:23:14,280 --> 00:23:17,160
Speaker 2: in love. I think she has more compassion for Ruby,

451
00:23:17,280 --> 00:23:19,880
Speaker 2: but she's like, yeah, I got compassion for you more

452
00:23:19,920 --> 00:23:23,359
Speaker 2: than I did before, but I still got a task

453
00:23:23,400 --> 00:23:25,600
Speaker 2: to do either. You come on with me, you know,

454
00:23:25,680 --> 00:23:27,360
Speaker 2: because I got these feelings.

455
00:23:27,440 --> 00:23:30,000
Speaker 1: I cut you off too. I mean, is it love

456
00:23:30,720 --> 00:23:31,159
Speaker 1: or is it.

457
00:23:36,960 --> 00:23:37,120
Speaker 2: Man?

458
00:23:37,160 --> 00:23:40,160
Speaker 1: I don't know, Karen. I mean, it's always a thresome.

459
00:23:40,320 --> 00:23:42,720
Speaker 1: It didn't feel like it was love to me. But

460
00:23:42,720 --> 00:23:45,359
Speaker 1: but like I said, I don't know it just it

461
00:23:45,400 --> 00:23:47,760
Speaker 1: feels like I put it, just like they don't feel

462
00:23:47,760 --> 00:23:50,399
Speaker 1: like she learned any compassion specifically for black people.

463
00:23:50,720 --> 00:23:53,280
Speaker 2: No, that I agree with, yes.

464
00:23:53,000 --> 00:23:55,040
Speaker 1: Because because you would think, you know, after that Imma

465
00:23:55,080 --> 00:23:58,240
Speaker 1: tel thing, that she would have some level of like, wow,

466
00:23:58,280 --> 00:23:59,800
Speaker 1: what we do to black people are so bad. But

467
00:23:59,840 --> 00:24:02,080
Speaker 1: it was just like, listen, I will let this little

468
00:24:02,119 --> 00:24:05,320
Speaker 1: child die, and you, black man, I'm gonna torture and

469
00:24:05,400 --> 00:24:08,800
Speaker 1: kill you because I need. I got a plan. Uh funk,

470
00:24:08,880 --> 00:24:13,520
Speaker 1: all that funk, all that that ship come on. She

471
00:24:13,680 --> 00:24:17,920
Speaker 1: was so she was so she was like, yeah, uh,

472
00:24:18,160 --> 00:24:21,080
Speaker 1: if Lancaster is dead, he can't undo the spell. This

473
00:24:21,160 --> 00:24:24,560
Speaker 1: spell will only give you a restoration, which will reset

474
00:24:25,040 --> 00:24:28,520
Speaker 1: the spell back to zero, which doesn't necessarily cure her

475
00:24:28,520 --> 00:24:32,600
Speaker 1: of anything. And Tick does agree to to come.

476
00:24:32,440 --> 00:24:34,880
Speaker 2: Back to Artim because he's not gonna let that baby die,

477
00:24:35,040 --> 00:24:36,400
Speaker 2: and she knew.

478
00:24:36,200 --> 00:24:38,399
Speaker 1: That, and then she like, but first, I got some

479
00:24:38,440 --> 00:24:41,400
Speaker 1: business to tend to and so she leaves tells him

480
00:24:41,440 --> 00:24:44,600
Speaker 1: like write the symbol on the apartment and get to

481
00:24:45,000 --> 00:24:49,280
Speaker 1: these temperature down to normal, and uh, I'm out.

482
00:24:49,760 --> 00:24:52,119
Speaker 2: Yeah, one thing I can say about Christina, she is

483
00:24:52,200 --> 00:24:53,880
Speaker 2: one of the one of the few people to keep

484
00:24:53,960 --> 00:24:56,280
Speaker 2: that same nagy. She's like, oh, she I told you,

485
00:24:56,359 --> 00:24:59,800
Speaker 2: my goal is to do this and whatever it.

486
00:25:01,200 --> 00:25:04,879
Speaker 1: And the closest relative to D is obviously Hippolaya. But

487
00:25:05,080 --> 00:25:08,600
Speaker 1: since Karen and Kim Docs and Sydney and all these

488
00:25:08,600 --> 00:25:12,480
Speaker 1: people don't, Hippolata is like, I know, I'm good.

489
00:25:12,640 --> 00:25:15,320
Speaker 2: She's back with Josephine Stallion.

490
00:25:15,760 --> 00:25:19,680
Speaker 1: She probably in Sewing Galaxy fifteen thirty five, come out

491
00:25:19,960 --> 00:25:23,520
Speaker 1: singing with Billy Holliday, singing with Billy Holliday or some ship.

492
00:25:24,240 --> 00:25:27,840
Speaker 1: It's probably like her, Whitney, Houston and Prince all doing

493
00:25:27,880 --> 00:25:31,640
Speaker 1: cocaine together, come on some wild ship. Because y'all sell

494
00:25:31,920 --> 00:25:32,520
Speaker 1: she would.

495
00:25:32,320 --> 00:25:35,480
Speaker 2: Be she was up there with Beyonce and the Moon back. Yeah,

496
00:25:36,000 --> 00:25:36,879
Speaker 2: twenty twenty.

497
00:25:36,640 --> 00:25:42,800
Speaker 1: Five, just young, shoot you. Uh So it'll have to

498
00:25:42,840 --> 00:25:50,000
Speaker 1: be man Charles, who is uh D's uncle, So you know,

499
00:25:50,480 --> 00:25:52,480
Speaker 1: like it's not her parents aren't there, so we go

500
00:25:52,520 --> 00:25:59,840
Speaker 1: with your uncle because that's her closest blood relative in

501
00:26:00,160 --> 00:26:07,359
Speaker 1: the lodge. Captain Lancaster's half cadaver body. It's breaking down, Okay,

502
00:26:08,640 --> 00:26:10,600
Speaker 1: it is breaking down.

503
00:26:12,119 --> 00:26:15,359
Speaker 2: It's breaking down like we've seen Poe kawhile in his

504
00:26:15,480 --> 00:26:20,440
Speaker 2: knees and it will breaking down like I can't take

505
00:26:20,520 --> 00:26:22,919
Speaker 2: no more. I need to be repaired. Let me go

506
00:26:23,000 --> 00:26:24,040
Speaker 2: into the corner and sit.

507
00:26:24,320 --> 00:26:26,680
Speaker 1: Okay it is it ain't nothing wrong with you need

508
00:26:26,720 --> 00:26:28,719
Speaker 1: to break it down. You know, my needs breakdown too.

509
00:26:28,760 --> 00:26:29,240
Speaker 2: I'm old.

510
00:26:29,680 --> 00:26:32,760
Speaker 1: It's breaking down like a white woman listening to Bill

511
00:26:32,840 --> 00:26:39,080
Speaker 1: Burr's monologue just can't take it. Ain't not take it

512
00:26:39,160 --> 00:26:43,919
Speaker 1: no more, and like it's I mean it's ugly. And

513
00:26:44,000 --> 00:26:47,720
Speaker 1: his henchmen have written like the symbols on the door

514
00:26:48,040 --> 00:26:52,679
Speaker 1: by the closet, and uh, they're like there's a like

515
00:26:52,760 --> 00:26:57,840
Speaker 1: a mutilated black man that they clearly have kidnapped. And

516
00:26:57,880 --> 00:27:00,000
Speaker 1: they even say that or they're like, we can't kid

517
00:27:00,119 --> 00:27:03,000
Speaker 1: not another nigger. It's getting too obvious. Hell, we can't

518
00:27:03,040 --> 00:27:06,200
Speaker 1: even cover this one up because they basically have been

519
00:27:06,200 --> 00:27:09,160
Speaker 1: doing what we thought they were doing, which is using

520
00:27:09,200 --> 00:27:13,280
Speaker 1: black people's bodies to replace this white man's body. Run

521
00:27:13,600 --> 00:27:16,879
Speaker 1: you some kind of spell that essentially gives him, you know,

522
00:27:17,359 --> 00:27:20,840
Speaker 1: I guess the ability to uh to live longer.

523
00:27:21,119 --> 00:27:24,880
Speaker 2: Yeah, reheal or regenerate. It does something to him.

524
00:27:25,040 --> 00:27:28,120
Speaker 1: I mean, they just replace his parts. It seems okay, okay,

525
00:27:28,160 --> 00:27:28,840
Speaker 1: that that makes sense.

526
00:27:28,840 --> 00:27:30,719
Speaker 2: That makes sense, and that has a lot to do

527
00:27:30,760 --> 00:27:33,919
Speaker 2: with why before when Ruby was in the closet, his

528
00:27:34,000 --> 00:27:36,560
Speaker 2: skin was so dark and like the certain parts of

529
00:27:36,600 --> 00:27:38,280
Speaker 2: his body and I was like, the hell is that?

530
00:27:38,320 --> 00:27:42,000
Speaker 1: At first, I'm not skin was so dark. Yeah, yeah, that's.

531
00:27:41,880 --> 00:27:44,399
Speaker 2: What I noticed, because I was like, that's a big

532
00:27:44,440 --> 00:27:47,879
Speaker 2: discoloration like something, right, And I thought maybe it was

533
00:27:47,920 --> 00:27:51,119
Speaker 2: something like I said, in him that was just crawling

534
00:27:51,119 --> 00:27:53,320
Speaker 2: on his skin at first, you know, like like almost

535
00:27:53,320 --> 00:27:56,680
Speaker 2: like living on top of his skin. But yes, this

536
00:27:56,760 --> 00:28:01,280
Speaker 2: explains why those people that Lady's house that ex blames

537
00:28:01,320 --> 00:28:01,960
Speaker 2: those people that.

538
00:28:02,040 --> 00:28:03,960
Speaker 1: Do you know, experiments that he experiments had.

539
00:28:03,920 --> 00:28:06,280
Speaker 2: Those bodies down there in the tunnel. That explains a lot.

540
00:28:06,880 --> 00:28:10,920
Speaker 1: Yeah, and I think that that must have been some experiments, uh,

541
00:28:11,000 --> 00:28:14,920
Speaker 1: to to go along with this Frankenstein thing they were doing.

542
00:28:15,000 --> 00:28:17,080
Speaker 1: And of course, I mean it's almost reminds you of

543
00:28:17,119 --> 00:28:20,600
Speaker 1: get out the whole idea of black bodies being fueled

544
00:28:20,600 --> 00:28:25,040
Speaker 1: for white people to live longer and more be vicariously

545
00:28:25,080 --> 00:28:29,520
Speaker 1: through us and stuff, except this time literally right, yeah,

546
00:28:29,680 --> 00:28:35,240
Speaker 1: exact message. So I didn't have it up, but yeah,

547
00:28:34,320 --> 00:28:37,720
Speaker 1: that's that's how it felt to me, it was very much.

548
00:28:38,480 --> 00:28:43,440
Speaker 1: It was very much a message moment message because you know,

549
00:28:43,560 --> 00:28:48,160
Speaker 1: the white man utilizes the black body in order to

550
00:28:48,440 --> 00:28:52,280
Speaker 1: achieve longevity. You see what I'm saying. They've been using

551
00:28:52,280 --> 00:28:54,280
Speaker 1: our bodies as slavery, you see what I'm saying. But

552
00:28:54,280 --> 00:28:57,920
Speaker 1: since we came over on the slave ships. But yeah,

553
00:28:58,000 --> 00:29:01,800
Speaker 1: that that's that's how it felt to me. So and

554
00:29:02,080 --> 00:29:03,960
Speaker 1: it's so funny because I think the show just gives

555
00:29:04,040 --> 00:29:06,520
Speaker 1: us credit because it didn't need to like make a

556
00:29:06,520 --> 00:29:09,760
Speaker 1: whole episode out of this or fucking like spell it

557
00:29:09,800 --> 00:29:13,400
Speaker 1: out to us done that. Yeah, it's obvious what's fucking

558
00:29:13,400 --> 00:29:16,680
Speaker 1: happening if you aren't paying attention, Like, it's not a

559
00:29:16,760 --> 00:29:20,360
Speaker 1: lot of conclusions you can draw from this shit, especially

560
00:29:20,400 --> 00:29:22,240
Speaker 1: when you saw his chest in the background, rumors in

561
00:29:22,280 --> 00:29:24,480
Speaker 1: the closet. It's like, what is this man doing now?

562
00:29:24,520 --> 00:29:27,720
Speaker 1: I do wonder if what is his sex life? Like

563
00:29:28,000 --> 00:29:30,640
Speaker 1: you know, I mean, like is he got the BBC?

564
00:29:31,400 --> 00:29:33,840
Speaker 1: You know what I'm saying. Our women are still too

565
00:29:33,840 --> 00:29:36,600
Speaker 1: disgusted to even sleep with them. Maybe some women would

566
00:29:36,600 --> 00:29:39,160
Speaker 1: be into that. He might not even take his shirt off. Yeah,

567
00:29:39,200 --> 00:29:40,720
Speaker 1: he might have to do it through the p hole.

568
00:29:40,960 --> 00:29:43,320
Speaker 1: You know what? I'm saying, like in the dark, I

569
00:29:43,320 --> 00:29:45,040
Speaker 1: don't know. It's just I had a lot of questions

570
00:29:45,040 --> 00:29:46,520
Speaker 1: about Captain Lampas and a lot.

571
00:29:46,560 --> 00:29:48,280
Speaker 2: I mean, who knows Gloryhole has been around on the

572
00:29:48,280 --> 00:29:48,880
Speaker 2: own time, so.

573
00:29:49,880 --> 00:29:52,160
Speaker 1: Right, you just never know. I mean all the credit

574
00:29:52,240 --> 00:29:55,680
Speaker 1: scores of the white men, all the penis of a

575
00:29:55,720 --> 00:29:57,520
Speaker 1: black man. I mean, this is what he's been walking

576
00:29:57,520 --> 00:30:00,280
Speaker 1: around with, you know, like a day walker, you know,

577
00:30:00,560 --> 00:30:03,600
Speaker 1: and he's a cop. Come on, so anything he can

578
00:30:03,680 --> 00:30:06,240
Speaker 1: force people all of our whoa, I wasn't saying that

579
00:30:06,360 --> 00:30:08,160
Speaker 1: all of our strengths out of our weaknesses. I was

580
00:30:08,280 --> 00:30:10,840
Speaker 1: not going to the sexual assaut stuff. Karen. It's still

581
00:30:10,840 --> 00:30:16,640
Speaker 1: a comedy show, so that's what. That's just not where

582
00:30:16,680 --> 00:30:21,320
Speaker 1: my mind went, Karen. Just for the record, that was

583
00:30:21,400 --> 00:30:21,920
Speaker 1: Karen's joke.

584
00:30:24,320 --> 00:30:29,120
Speaker 2: So they need so then I'm assuming so he's a racist.

585
00:30:29,320 --> 00:30:32,440
Speaker 1: So then Williams, I mean, listen, Daniel Holsall is a

586
00:30:32,480 --> 00:30:36,280
Speaker 1: real human being and he's not alone just saying uh.

587
00:30:36,320 --> 00:30:41,440
Speaker 1: So they're like they're confused. They like the spell ain't working. Okay,

588
00:30:42,160 --> 00:30:45,040
Speaker 1: we did the same thing every time. We done, did

589
00:30:45,080 --> 00:30:47,920
Speaker 1: all the juice suit, we done, did all the hand signs.

590
00:30:48,160 --> 00:30:50,080
Speaker 1: What the hell is happening, all right, we done put

591
00:30:50,120 --> 00:30:54,960
Speaker 1: the motherfucking carburetor in this bitch with alternative ship is

592
00:30:55,000 --> 00:30:58,000
Speaker 1: not working. And it was gross because like his chest

593
00:30:58,040 --> 00:31:01,840
Speaker 1: exploded and the nipples came out first. I was like, oh, so,

594
00:31:01,880 --> 00:31:06,520
Speaker 1: then William walks in Christina as William and she is

595
00:31:06,560 --> 00:31:12,160
Speaker 1: in her bag. Yes, just I mean, the cockiest white

596
00:31:12,200 --> 00:31:16,200
Speaker 1: man of all time. Like William just looked like like

597
00:31:16,240 --> 00:31:18,560
Speaker 1: how white people gonna look if Trump went again and

598
00:31:18,640 --> 00:31:21,840
Speaker 1: y'all come to work Wednesday. That's how That's how he looked, like,

599
00:31:22,440 --> 00:31:25,120
Speaker 1: see you around the break room, Jamal, how's it going?

600
00:31:25,400 --> 00:31:29,440
Speaker 2: Like? That's one thing I can say. I absolutely love

601
00:31:29,560 --> 00:31:31,840
Speaker 2: about working from home because I don't have to see

602
00:31:31,880 --> 00:31:32,560
Speaker 2: that bullshit.

603
00:31:33,080 --> 00:31:35,960
Speaker 1: So then he's like, well, well, well, looks like the

604
00:31:36,000 --> 00:31:39,160
Speaker 1: cop with nine lives like look is finally run out.

605
00:31:40,360 --> 00:31:42,360
Speaker 1: And I hope you know that no matter what you

606
00:31:42,440 --> 00:31:47,840
Speaker 1: do with them wounds, they never gonna heal. And that's

607
00:31:47,880 --> 00:31:51,560
Speaker 1: when I noticed that William had went into the drawer

608
00:31:52,160 --> 00:31:56,320
Speaker 1: where Christina had put that symbol ruby Ruby had put

609
00:31:56,400 --> 00:32:01,280
Speaker 1: that symbol yes, yes, ruby correct, And I'm like, fuck,

610
00:32:01,600 --> 00:32:04,640
Speaker 1: because everything we find out spells. The symbols can do

611
00:32:04,720 --> 00:32:07,719
Speaker 1: things to the spell, so secretly put in that symbol

612
00:32:07,880 --> 00:32:11,080
Speaker 1: in the drawer in the room. When the spell happened,

613
00:32:11,320 --> 00:32:14,920
Speaker 1: Christina did something to make it so that the fucking

614
00:32:15,000 --> 00:32:17,600
Speaker 1: spell would not heal the dude no more. And she

615
00:32:17,800 --> 00:32:20,440
Speaker 1: was like, you know, every time I turned back and

616
00:32:20,840 --> 00:32:23,400
Speaker 1: I turned from William back to myself, it's like William

617
00:32:23,480 --> 00:32:26,280
Speaker 1: dies all over again. That's what I want for you.

618
00:32:26,520 --> 00:32:28,720
Speaker 2: Yeah, because they was shot, they was like, I thought

619
00:32:28,720 --> 00:32:29,240
Speaker 2: you was dead.

620
00:32:29,480 --> 00:32:33,440
Speaker 1: Yeah, and well he knew, Lancaster knew he was knew

621
00:32:33,440 --> 00:32:37,040
Speaker 1: it was he knew immediately it's Christina. Okay, the other

622
00:32:37,120 --> 00:32:42,120
Speaker 1: ones maybe they were slow, but she was like, as William,

623
00:32:42,200 --> 00:32:45,160
Speaker 1: you know, like when I turned back, it's like William

624
00:32:45,200 --> 00:32:48,200
Speaker 1: dies all over again. And that's what I wanted for you.

625
00:32:48,440 --> 00:32:50,480
Speaker 1: A thousand deaths, but I guess I just have to

626
00:32:50,480 --> 00:32:53,000
Speaker 1: settle for the one. And then she watched the nigga

627
00:32:53,040 --> 00:32:54,760
Speaker 1: die straight to his face.

628
00:32:54,720 --> 00:32:57,360
Speaker 2: Like, look, I'm gonna watch your life, but like this,

629
00:32:57,840 --> 00:32:59,920
Speaker 2: when I go back, I want to be sure you

630
00:33:00,360 --> 00:33:01,040
Speaker 2: ain't coming back.

631
00:33:01,120 --> 00:33:03,800
Speaker 1: Them Henchman didn't want no fucking stroke, right.

632
00:33:03,960 --> 00:33:06,640
Speaker 2: They was like, I don't know what's happening, Like I'm

633
00:33:07,080 --> 00:33:09,720
Speaker 2: I'm just here for the healing Juju's. That's why I

634
00:33:09,760 --> 00:33:11,440
Speaker 2: came like, do I need to go back to the squad?

635
00:33:11,480 --> 00:33:12,640
Speaker 2: Like I don't understand what's happening.

636
00:33:12,680 --> 00:33:14,560
Speaker 1: The thing that I kept thinking about was how hype

637
00:33:15,000 --> 00:33:16,960
Speaker 1: Christina must have been when she was at their house

638
00:33:17,000 --> 00:33:19,920
Speaker 1: and it was like Landcaster dead. She must have been like, oh,

639
00:33:20,080 --> 00:33:22,640
Speaker 1: let me go sip on my potion. I've been waiting

640
00:33:22,680 --> 00:33:23,880
Speaker 1: on the moment she was like.

641
00:33:24,040 --> 00:33:25,760
Speaker 2: She was like, oh I couldn't get hard.

642
00:33:25,840 --> 00:33:29,040
Speaker 1: Let my didn't get hard too. Yeah, I cannot wait

643
00:33:29,080 --> 00:33:32,240
Speaker 1: to roll up in there and be like, hello, it's me,

644
00:33:32,640 --> 00:33:33,200
Speaker 1: remember me.

645
00:33:33,400 --> 00:33:33,840
Speaker 2: Hello.

646
00:33:34,160 --> 00:33:37,160
Speaker 1: That was so good. Oh my god. She was in

647
00:33:37,280 --> 00:33:39,480
Speaker 1: her bag and the camera did this creepy thing where

648
00:33:39,480 --> 00:33:41,760
Speaker 1: it like zoomed in on William's face and the rest

649
00:33:41,800 --> 00:33:44,160
Speaker 1: of the background was blurry, and you can see the

650
00:33:44,200 --> 00:33:47,720
Speaker 1: fucking joy in Christina Williams's eyes. She was just looking

651
00:33:47,720 --> 00:33:52,720
Speaker 1: at this motherfucker die like yes. Also, it made me realize,

652
00:33:53,280 --> 00:33:55,440
Speaker 1: as much as we want to write Christine office cold

653
00:33:55,440 --> 00:33:59,360
Speaker 1: harder than cold blooded, she must have really cared for William.

654
00:33:59,600 --> 00:34:02,280
Speaker 1: I think she did because it ultimately did turn out

655
00:34:02,280 --> 00:34:04,280
Speaker 1: to be a revenge for William. It did like I

656
00:34:04,320 --> 00:34:07,120
Speaker 1: thought that it was gonna be like, oh, she seduced William,

657
00:34:07,200 --> 00:34:09,799
Speaker 1: she was using William. She didn't really give a fuck

658
00:34:09,840 --> 00:34:10,399
Speaker 1: about him.

659
00:34:10,520 --> 00:34:12,600
Speaker 2: It shittle, that's what it was, and thedn't. I think

660
00:34:12,600 --> 00:34:14,040
Speaker 2: it turned into something else.

661
00:34:14,320 --> 00:34:16,640
Speaker 1: Which makes me go, could that be a thing for

662
00:34:16,640 --> 00:34:19,560
Speaker 1: her and Ruby? I think it's because she fell for

663
00:34:19,680 --> 00:34:22,839
Speaker 1: the dude she seduced the first time, and now she's

664
00:34:22,840 --> 00:34:27,960
Speaker 1: seducing Ruby. Maybe there's something here that is beyond surface

665
00:34:28,040 --> 00:34:32,080
Speaker 1: level and I'm just using you. So anyway, in the

666
00:34:32,080 --> 00:34:35,040
Speaker 1: second Negro travel store, my trouss is drinking some moonshine

667
00:34:35,040 --> 00:34:37,600
Speaker 1: out of a mason jar. You know it's serious.

668
00:34:37,640 --> 00:34:38,920
Speaker 2: The mason job, my nigga.

669
00:34:39,840 --> 00:34:41,280
Speaker 1: Right, that's when you look even.

670
00:34:41,160 --> 00:34:44,600
Speaker 2: Like you know what now, I don't know what that

671
00:34:44,640 --> 00:34:47,640
Speaker 2: shit is, but I that shit will make your whole

672
00:34:47,719 --> 00:34:49,080
Speaker 2: chest kV and I'm good.

673
00:34:49,719 --> 00:34:52,000
Speaker 1: Yeah, he was looking very nervous, like he was stealing

674
00:34:52,080 --> 00:34:52,960
Speaker 1: himself for something.

675
00:34:53,640 --> 00:34:55,480
Speaker 2: If she ain't got no label on it, and it's

676
00:34:55,480 --> 00:34:58,680
Speaker 2: in a mason jar, a world to the kids. Don't

677
00:34:58,719 --> 00:34:59,080
Speaker 2: drink it.

678
00:34:59,640 --> 00:35:04,160
Speaker 1: M Yeah, it's like moonshine or from our to high

679
00:35:04,200 --> 00:35:06,160
Speaker 1: to turbent time. You never know what's in there. So

680
00:35:06,760 --> 00:35:08,839
Speaker 1: he was slipping on that and then Tick came out

681
00:35:08,880 --> 00:35:11,239
Speaker 1: and caught him and was like, what you're doing down here?

682
00:35:11,320 --> 00:35:13,360
Speaker 1: You're supposed to gett chalkd so we could draw these symbols.

683
00:35:13,760 --> 00:35:16,319
Speaker 1: Give me that. And he took a ci itself, but

684
00:35:16,600 --> 00:35:19,719
Speaker 1: he not no true and tried tried the true alcoholic

685
00:35:19,800 --> 00:35:22,359
Speaker 1: like his daddy. So Tick little coughing a little bit,

686
00:35:22,760 --> 00:35:25,160
Speaker 1: you know, he wasn't ready for that, he said. He

687
00:35:25,200 --> 00:35:26,440
Speaker 1: was like, what's that gasoline?

688
00:35:26,680 --> 00:35:26,960
Speaker 2: Yeah?

689
00:35:28,520 --> 00:35:31,000
Speaker 1: My medium, my medium is fit too good for this.

690
00:35:31,120 --> 00:35:32,640
Speaker 1: I don't know. Damn was this daddy?

691
00:35:33,320 --> 00:35:33,560
Speaker 2: Uh?

692
00:35:33,600 --> 00:35:36,960
Speaker 1: And he was like it's mantras said, it's called roll Rash,

693
00:35:37,040 --> 00:35:39,600
Speaker 1: which is some ship that George used to drink. I

694
00:35:39,640 --> 00:35:42,440
Speaker 1: was like, damn, George was awesome ship too. Then I

695
00:35:42,480 --> 00:35:44,680
Speaker 1: would have never thought George seemed like a pretty straight

696
00:35:44,760 --> 00:35:45,720
Speaker 1: lace good dude.

697
00:35:45,800 --> 00:35:47,400
Speaker 2: And I guess you know, the older you get, the

698
00:35:47,440 --> 00:35:49,320
Speaker 2: wires you get. You know, it's a lot of people

699
00:35:49,320 --> 00:35:50,920
Speaker 2: that did some wild and crazy they got old. They

700
00:35:50,960 --> 00:35:53,200
Speaker 2: was like that ship is crazy, and I'm glad I survived.

701
00:35:53,200 --> 00:35:54,680
Speaker 1: But if he still had bottles that, I mean he

702
00:35:54,760 --> 00:35:58,520
Speaker 1: drank it still. He was like, that wasn't two thousand,

703
00:35:58,600 --> 00:36:00,520
Speaker 1: That wasn't from nineteen oh two. That's must to sit

704
00:36:00,640 --> 00:36:03,160
Speaker 1: it every now and then. I guess times got hard.

705
00:36:04,040 --> 00:36:05,800
Speaker 1: Hippo Lota be mad. He going on the road. It

706
00:36:05,880 --> 00:36:07,480
Speaker 1: was like, give me some of that road rash.

707
00:36:08,120 --> 00:36:10,239
Speaker 2: I'm trying to tell you, if you drank anything called

708
00:36:10,320 --> 00:36:12,399
Speaker 2: road rash, you deserve whatever happened to you.

709
00:36:13,040 --> 00:36:14,759
Speaker 1: Yeah, you've had it out there with him on the

710
00:36:14,840 --> 00:36:16,680
Speaker 1: road and white folks was about to kill him, and shit,

711
00:36:16,719 --> 00:36:18,360
Speaker 1: He's like, I gotta get some road rash and my

712
00:36:18,400 --> 00:36:20,680
Speaker 1: system it stealed me before I walk up in this

713
00:36:20,960 --> 00:36:23,319
Speaker 1: white's only down and ask them can niggas be here?

714
00:36:23,800 --> 00:36:25,920
Speaker 2: I know that's that's some shit you splashed on somebody

715
00:36:25,960 --> 00:36:28,080
Speaker 2: and then set them on five road rash.

716
00:36:28,440 --> 00:36:32,720
Speaker 1: So then uh, Tick was like so then basically Montrous says,

717
00:36:32,920 --> 00:36:34,640
Speaker 1: you know, I should have took the bullet for Georgie.

718
00:36:34,640 --> 00:36:36,480
Speaker 1: You told me to put that to my family. That

719
00:36:36,560 --> 00:36:37,920
Speaker 1: was the last thing he said to me. And I

720
00:36:38,040 --> 00:36:40,680
Speaker 1: let d get you know, get get this this thing

721
00:36:40,760 --> 00:36:46,200
Speaker 1: attack her. And then Tick was like, nah, it wasn't

722
00:36:46,200 --> 00:36:48,120
Speaker 1: even really a combling. He was like, nah, it's my fault.

723
00:36:48,120 --> 00:36:50,920
Speaker 1: I shouldn't have let you watch D which was like, Nigga,

724
00:36:50,960 --> 00:36:54,879
Speaker 1: that's still fucked up Like that wasn't like he said, nah,

725
00:36:54,880 --> 00:36:57,280
Speaker 1: you did your best. He's just like, nah, it's my fault.

726
00:36:57,320 --> 00:36:59,600
Speaker 1: I'll let you be around d And then Tick says,

727
00:36:59,640 --> 00:37:05,600
Speaker 1: my tra did the spell that protected me. That you

728
00:37:05,640 --> 00:37:07,400
Speaker 1: did the spell of protection for me and at worked,

729
00:37:07,680 --> 00:37:11,040
Speaker 1: so you know you are helping. Don't get down on yourself.

730
00:37:11,920 --> 00:37:15,520
Speaker 1: And then my trials is like we find out why

731
00:37:15,520 --> 00:37:18,480
Speaker 1: he down the nervous and been drinking because he's like,

732
00:37:18,560 --> 00:37:22,040
Speaker 1: I gotta tell Tick the truth, which is George might

733
00:37:22,080 --> 00:37:24,760
Speaker 1: be your father, which will make you indeed the closest

734
00:37:24,760 --> 00:37:27,520
Speaker 1: blood relatives, so we might need to use your blood

735
00:37:27,640 --> 00:37:31,680
Speaker 1: for the spells his mind right, And Tick did not

736
00:37:31,760 --> 00:37:34,960
Speaker 1: take this well. I mean it's it's like I know

737
00:37:35,040 --> 00:37:37,640
Speaker 1: we're supposed to, we're supposed to. I don't give a

738
00:37:37,640 --> 00:37:41,800
Speaker 1: fuck with these niggas things. I know these niggas hate Tick. Okay,

739
00:37:41,360 --> 00:37:45,560
Speaker 1: I know, but I don't know. It's like a feel

740
00:37:45,600 --> 00:37:49,680
Speaker 1: of two minds where I'm like, dude, your childhood and

741
00:37:49,880 --> 00:37:53,960
Speaker 1: life has been fucked up, right, Like I could not

742
00:37:54,800 --> 00:37:57,040
Speaker 1: make it through that, Like, well, he's gone through the

743
00:37:57,120 --> 00:37:59,960
Speaker 1: fucking constant abuse by his father who's not really his father,

744
00:38:00,160 --> 00:38:04,000
Speaker 1: the war knowing that the uncle you loved was your dad,

745
00:38:04,040 --> 00:38:06,560
Speaker 1: but he never stepped in to protect you or stepped

746
00:38:06,600 --> 00:38:08,719
Speaker 1: in to be like you, my son, come live with us.

747
00:38:08,960 --> 00:38:11,200
Speaker 1: But you was in his in his fucking shop, crying

748
00:38:11,239 --> 00:38:14,600
Speaker 1: every goddamn day. But the secrets that that black daddy's

749
00:38:14,600 --> 00:38:16,959
Speaker 1: being black fathers and black men be carrying.

750
00:38:16,640 --> 00:38:18,600
Speaker 2: Boys took to the grave.

751
00:38:19,000 --> 00:38:22,239
Speaker 1: Yeah, like George carried it to the grave essentially. When

752
00:38:22,320 --> 00:38:25,239
Speaker 1: was he supposed to tell tick? Right? So? Uh? And

753
00:38:25,280 --> 00:38:26,920
Speaker 1: I know Montris said he didn't want him to tell

754
00:38:26,960 --> 00:38:29,200
Speaker 1: him and stuff, But I mean, it's just all these

755
00:38:29,200 --> 00:38:31,960
Speaker 1: secrets and ship man like to me, I see tickets

756
00:38:32,000 --> 00:38:34,600
Speaker 1: a dude that was in raising a household, it was

757
00:38:34,640 --> 00:38:39,439
Speaker 1: abuse his dad. And I mean this little it wasn't

758
00:38:39,480 --> 00:38:42,480
Speaker 1: no talk space, you know what I'm saying. Like they

759
00:38:42,719 --> 00:38:46,200
Speaker 1: like literally went to war thinking he could escape how

760
00:38:46,239 --> 00:38:48,200
Speaker 1: bad it was at home. That tells you a lot

761
00:38:48,239 --> 00:38:48,920
Speaker 1: about a person.

762
00:38:49,160 --> 00:38:52,160
Speaker 2: Yeah, and then uh fucked around and had sex with

763
00:38:52,239 --> 00:38:52,879
Speaker 2: the nine tail.

764
00:38:52,960 --> 00:38:55,560
Speaker 1: I would be up fucked up too, Yeah, and it wasn't.

765
00:38:55,600 --> 00:38:59,239
Speaker 1: He went to war. Uh and like like or went

766
00:38:59,280 --> 00:39:02,040
Speaker 1: to went to the army, He went to war like

767
00:39:02,120 --> 00:39:05,239
Speaker 1: he was anyway, he's fucked up. So every time he

768
00:39:05,280 --> 00:39:07,840
Speaker 1: gets hit with one of these revelations as a person

769
00:39:07,880 --> 00:39:11,000
Speaker 1: that you know has that has none of these skills

770
00:39:11,040 --> 00:39:13,120
Speaker 1: that we all pride ourselves on having to day because

771
00:39:13,120 --> 00:39:15,920
Speaker 1: we're so woke, right, I'm just like this character, this

772
00:39:16,120 --> 00:39:19,800
Speaker 1: character is gonna react badly. And he was of course

773
00:39:19,960 --> 00:39:24,000
Speaker 1: mad as shit, couldn't believe this, and he was just processed.

774
00:39:24,000 --> 00:39:25,920
Speaker 1: And that's the other thing. The way the show is written.

775
00:39:25,920 --> 00:39:28,799
Speaker 1: He never has time to process anything. It's always like,

776
00:39:28,880 --> 00:39:31,000
Speaker 1: because they're always running for their lives, they're always like,

777
00:39:31,080 --> 00:39:32,520
Speaker 1: the next thing we gotta do, get.

778
00:39:32,520 --> 00:39:34,480
Speaker 2: This mind ticket where he's trying to go through the

779
00:39:34,560 --> 00:39:36,760
Speaker 2: process of processing it and then something happens.

780
00:39:36,840 --> 00:39:40,280
Speaker 1: Yeah, Jonathan Majors is really funny and he's not trying

781
00:39:40,280 --> 00:39:43,480
Speaker 1: to be. But the character Ticket is really funny because

782
00:39:44,000 --> 00:39:47,960
Speaker 1: you can see he's trying to find these perfect words.

783
00:39:48,400 --> 00:39:50,480
Speaker 1: But they never write the character where he says the

784
00:39:50,480 --> 00:39:53,000
Speaker 1: perfect thing. It's always with him him being like, but

785
00:39:53,040 --> 00:39:55,719
Speaker 1: you just he let me. I can't even think you

786
00:39:55,800 --> 00:39:59,120
Speaker 1: was whooping my ass. No, Like that's how people are

787
00:39:59,120 --> 00:40:00,520
Speaker 1: you in real life? Yes, it is.

788
00:40:00,520 --> 00:40:01,800
Speaker 2: It's like you can tell his mind.

789
00:40:01,840 --> 00:40:03,759
Speaker 1: It's like, oh my god, this is just the most shit.

790
00:40:03,880 --> 00:40:05,719
Speaker 1: On top of the other ship that I'm dealing with.

791
00:40:05,880 --> 00:40:08,040
Speaker 1: But the TV nobody argues like that. But in real

792
00:40:08,080 --> 00:40:10,239
Speaker 1: life people do that all the time. Like that, I

793
00:40:10,239 --> 00:40:12,759
Speaker 1: feel like I'm closer to that kind of when I

794
00:40:12,760 --> 00:40:15,239
Speaker 1: get mad about something, it doesn't always come out flow

795
00:40:15,320 --> 00:40:17,759
Speaker 1: so evenly. And then and you look back, but I

796
00:40:17,760 --> 00:40:20,200
Speaker 1: wish I would have said this or whatever like that's

797
00:40:19,960 --> 00:40:21,960
Speaker 1: he talks like a dude that wishes he would have

798
00:40:21,960 --> 00:40:23,120
Speaker 1: said some other shit later.

799
00:40:23,040 --> 00:40:25,440
Speaker 2: Anyway, Yes, And that's how some people are like, this

800
00:40:25,520 --> 00:40:28,040
Speaker 2: is actually talk like that because you you're be like,

801
00:40:28,080 --> 00:40:29,840
Speaker 2: but you for real.

802
00:40:29,840 --> 00:40:32,560
Speaker 1: And you gotta remember his dad keeps hitting him with haymakers.

803
00:40:32,560 --> 00:40:36,360
Speaker 1: It's like literally the worst fucking time to be like, uh,

804
00:40:36,400 --> 00:40:38,360
Speaker 1: well guess what, I'm not really your daddy.

805
00:40:38,480 --> 00:40:42,200
Speaker 3: Yeah, Because the thing is, before Montrouse did that spell

806
00:40:42,239 --> 00:40:44,360
Speaker 3: of protection, he was like, y'all got you got it,

807
00:40:44,440 --> 00:40:46,400
Speaker 3: you know, and he basically was like, y'all keeping all

808
00:40:46,440 --> 00:40:48,920
Speaker 3: the sickers anything else you gotta tell mon Trump look like,

809
00:40:49,640 --> 00:40:50,200
Speaker 3: I was like.

810
00:40:50,120 --> 00:40:52,640
Speaker 1: Oh well, mont Trouse was like, you know, I'm dyslexic.

811
00:40:53,040 --> 00:40:56,280
Speaker 1: Never told him that before. When they saved mont Trasten

812
00:40:56,360 --> 00:40:58,680
Speaker 1: episode too, He's like, why y'all came? He was mad

813
00:40:58,719 --> 00:41:01,600
Speaker 1: at him like he like, he just he's I just

814
00:41:01,640 --> 00:41:03,839
Speaker 1: don't know how you were raised by that man, And

815
00:41:03,840 --> 00:41:06,480
Speaker 1: it sounds like his mother died early, so mostly raised

816
00:41:06,480 --> 00:41:09,719
Speaker 1: by this man who also has his ton of issues

817
00:41:10,160 --> 00:41:14,320
Speaker 1: and come out like this, this heroic figure with no issues.

818
00:41:14,360 --> 00:41:18,000
Speaker 1: He seemed like a dude raised by Montrass anyway.

819
00:41:18,080 --> 00:41:20,080
Speaker 2: Like a split image of each other.

820
00:41:20,800 --> 00:41:22,799
Speaker 1: Yeah, and one of those people that don't want to

821
00:41:22,840 --> 00:41:25,319
Speaker 1: be like that, but that's how that's how cycles of

822
00:41:25,360 --> 00:41:27,920
Speaker 1: abuse happen. Agree. A lot of people don't want to

823
00:41:27,960 --> 00:41:30,360
Speaker 1: be like they're the person that abused them. But you

824
00:41:30,400 --> 00:41:33,480
Speaker 1: either become like almost a direct opposite of them, or

825
00:41:33,480 --> 00:41:36,439
Speaker 1: you kind of start repeating that shit. And I feel

826
00:41:36,480 --> 00:41:41,759
Speaker 1: like he's somewhere in the middle anyway. So Tick ask

827
00:41:41,840 --> 00:41:46,160
Speaker 1: if his mama cheated with Uncle George, and Montross just says, basically, well,

828
00:41:46,160 --> 00:41:49,880
Speaker 1: we went through in Tosa was so traumatic that the

829
00:41:49,960 --> 00:41:52,680
Speaker 1: bonds we have, which we would now call trauma bonding,

830
00:41:53,600 --> 00:41:56,759
Speaker 1: they just last forever. And it doesn't it just like

831
00:41:56,960 --> 00:41:59,560
Speaker 1: you can't understand it because you've never been there, so

832
00:41:59,600 --> 00:42:01,959
Speaker 1: you don't know what it's like to survive something like that.

833
00:42:02,719 --> 00:42:06,800
Speaker 1: And you know, and and and and it really doesn't

834
00:42:06,840 --> 00:42:09,640
Speaker 1: matter what the fuck how it happened, like I'm still

835
00:42:09,640 --> 00:42:14,680
Speaker 1: your father, blah blah blah. But that before they can

836
00:42:14,719 --> 00:42:17,680
Speaker 1: even reconcile that at any level, Letty comes in and says,

837
00:42:17,760 --> 00:42:22,959
Speaker 1: Christina's back and Dee's fever is broken, and Hippolyta rocks

838
00:42:23,000 --> 00:42:25,319
Speaker 1: in it goes it's d sick. And I said, oh,

839
00:42:25,360 --> 00:42:26,040
Speaker 1: she came back.

840
00:42:28,560 --> 00:42:31,719
Speaker 2: She decided that she was, like, you know what, I

841
00:42:31,760 --> 00:42:33,600
Speaker 2: was having a ball being a crystal GM.

842
00:42:33,640 --> 00:42:36,040
Speaker 1: I guess I come back. I knew she would come.

843
00:42:36,120 --> 00:42:39,400
Speaker 1: I knew she would come back because I said, on

844
00:42:39,600 --> 00:42:43,560
Speaker 1: this show, it's no fucking way you can let this

845
00:42:43,640 --> 00:42:46,520
Speaker 1: happen to d and this woman don't come back. She

846
00:42:46,560 --> 00:42:49,759
Speaker 1: would be considered, y'all think the same people that can't

847
00:42:49,800 --> 00:42:54,839
Speaker 1: even have can't even understand the complicated like nature of tick. Right,

848
00:42:55,280 --> 00:43:10,800
Speaker 1: y'all was gonna be so open minded about Hippolyta. Yeah, y'all,

849
00:43:10,800 --> 00:43:14,399
Speaker 1: motherfuckers are not ready for Dida die her mama out

850
00:43:14,400 --> 00:43:19,120
Speaker 1: in space. We are the crystal Gems. But always find

851
00:43:19,160 --> 00:43:25,360
Speaker 1: a way, y'all. Y'all would be mad. So anyway, she

852
00:43:25,520 --> 00:43:28,640
Speaker 1: came back like a like a mother would, like a

853
00:43:28,680 --> 00:43:32,680
Speaker 1: good parent. It's supposed to do, came back for her

854
00:43:33,239 --> 00:43:37,440
Speaker 1: dying child. Uh, and then they said show upstairs, they

855
00:43:37,480 --> 00:43:39,959
Speaker 1: do a spell. So I like how she came back

856
00:43:40,000 --> 00:43:43,320
Speaker 1: and just didn't explain ship she came in with the dress.

857
00:43:43,400 --> 00:43:47,000
Speaker 1: Everything was like dec I was like, I can't believe

858
00:43:47,200 --> 00:43:49,120
Speaker 1: like they didn't just they could have added like one

859
00:43:49,200 --> 00:43:52,200
Speaker 1: more second of the clip just for them to be like,

860
00:43:52,280 --> 00:43:54,520
Speaker 1: where the hell you been and then show them upstairs,

861
00:43:54,600 --> 00:43:58,239
Speaker 1: like because you know, everybody would have asked, like, Bobo died,

862
00:43:58,400 --> 00:43:59,319
Speaker 1: where the fuck you been?

863
00:44:00,040 --> 00:44:00,799
Speaker 2: It don't even matter.

864
00:44:00,880 --> 00:44:04,600
Speaker 1: I'm ground upstairs. But this they dealing with a different Hippolyta.

865
00:44:05,200 --> 00:44:08,759
Speaker 1: She might have cussed them out. Yeah, upstairs they do

866
00:44:08,800 --> 00:44:12,319
Speaker 1: a spell to get with Christina, to basically give thee

867
00:44:12,320 --> 00:44:14,319
Speaker 1: more time. And she was in the bed and this

868
00:44:14,440 --> 00:44:17,080
Speaker 1: time she looked almost like one of the minstrels, like

869
00:44:17,520 --> 00:44:19,040
Speaker 1: she was about to turn to one of them little

870
00:44:19,040 --> 00:44:22,040
Speaker 1: girls that bit her. And it was getting close to

871
00:44:22,280 --> 00:44:24,800
Speaker 1: like the time was takeing, like she was saying stuff

872
00:44:24,840 --> 00:44:26,960
Speaker 1: like don't resist the police and they won't shoot you,

873
00:44:27,760 --> 00:44:31,880
Speaker 1: and get off the Democratic plantation Kanye West twenty twenty,

874
00:44:32,640 --> 00:44:35,040
Speaker 1: both with Trump. Yeah, Joe Biden ain't got no plan

875
00:44:35,200 --> 00:44:37,399
Speaker 1: for Black Americas. I was like, oh, what the get

876
00:44:37,400 --> 00:44:39,960
Speaker 1: this blood into this woman? Been in here, and luckily

877
00:44:40,040 --> 00:44:43,799
Speaker 1: Hippolytus blood changed her back into herself. You could even

878
00:44:43,800 --> 00:44:47,479
Speaker 1: see the magazine stuff the reverse spell, but she still

879
00:44:47,560 --> 00:44:49,759
Speaker 1: was sleep like. It wasn't It didn't take her all

880
00:44:49,800 --> 00:44:51,719
Speaker 1: the way out of the spell. It just gives them

881
00:44:51,719 --> 00:44:59,560
Speaker 1: more time. Ruby and Christina go to lead together, right,

882
00:45:00,040 --> 00:45:02,680
Speaker 1: I'm like, why y'all eaven together? You not with the

883
00:45:02,680 --> 00:45:06,920
Speaker 1: black people. I'm like, I know what Christina got promised.

884
00:45:07,080 --> 00:45:10,600
Speaker 1: Come on. She's like, listen, thataf time, she gonna do

885
00:45:10,640 --> 00:45:11,799
Speaker 1: the spell for me.

886
00:45:13,239 --> 00:45:17,160
Speaker 2: She said that with confidence too, Okay, Like, cause I'm special.

887
00:45:17,760 --> 00:45:21,279
Speaker 1: I wonder if William can get Ruby pregnant and what

888
00:45:21,320 --> 00:45:23,279
Speaker 1: would do you never know what would that happen with

889
00:45:23,320 --> 00:45:28,600
Speaker 1: the baby? You know? Uh? Anyways, Uh so they go

890
00:45:28,640 --> 00:45:31,960
Speaker 1: to lead together. Ruby is stopped by Letty, who's like,

891
00:45:32,320 --> 00:45:35,000
Speaker 1: you can't trust Christina, to which I'm like, nigga, you

892
00:45:35,040 --> 00:45:39,000
Speaker 1: just did the deal with Christina for in vulnerability. What

893
00:45:39,000 --> 00:45:40,759
Speaker 1: are we talking about him? Everyone on this show is

894
00:45:40,760 --> 00:45:43,360
Speaker 1: the fucking hypocrite. You know, if you play gender wars

895
00:45:43,360 --> 00:45:45,480
Speaker 1: with it, then you just you're gonna pick your favorites

896
00:45:45,520 --> 00:45:47,680
Speaker 1: and ship, but they all do ship where you're just like,

897
00:45:48,600 --> 00:45:51,120
Speaker 1: that is not what you told people to do. That

898
00:45:51,280 --> 00:45:54,160
Speaker 1: you do as you do, and then they gotta do whatever.

899
00:45:54,520 --> 00:45:56,160
Speaker 1: And a weird way, this reminds you of Lord of

900
00:45:56,160 --> 00:45:59,839
Speaker 1: the Rings and magic is the Ring. Yes, like everyone

901
00:46:00,080 --> 00:46:03,680
Speaker 1: and when they when they like they're not bad people,

902
00:46:04,160 --> 00:46:10,560
Speaker 1: like they're not bad people. But magic corrupts. It's magic

903
00:46:10,640 --> 00:46:13,600
Speaker 1: is power, and power corrupts in this show, and so

904
00:46:13,640 --> 00:46:15,799
Speaker 1: people don't get to stand on their morals as hard.

905
00:46:15,880 --> 00:46:18,360
Speaker 1: They're not as principal as a like in the in

906
00:46:18,400 --> 00:46:22,640
Speaker 1: the in the one on one Christina meetings, there's that's

907
00:46:22,640 --> 00:46:24,799
Speaker 1: the I'm telling you. Like when she get them all

908
00:46:24,800 --> 00:46:26,640
Speaker 1: in the same room as easy for everybody be like, bitch,

909
00:46:26,640 --> 00:46:28,680
Speaker 1: fuck you, you ain't shit, We don't want your magic.

910
00:46:29,000 --> 00:46:30,960
Speaker 1: But when she gets you in a room by yourself,

911
00:46:30,960 --> 00:46:32,279
Speaker 1: and she'd be like, would you like to be a

912
00:46:32,320 --> 00:46:35,799
Speaker 1: white woman? Be honest, it's like, m h, I like

913
00:46:35,840 --> 00:46:36,480
Speaker 1: to be a white woman.

914
00:46:36,520 --> 00:46:38,560
Speaker 2: Yes she knows, yes, you know, yeah, yeah, that's that's

915
00:46:38,560 --> 00:46:40,600
Speaker 2: why she kicked that same energy and she let them

916
00:46:40,719 --> 00:46:43,520
Speaker 2: talk shit and cuss each other out and call her

917
00:46:43,520 --> 00:46:45,080
Speaker 2: all types of things because she'd be like, I see

918
00:46:45,080 --> 00:46:45,960
Speaker 2: you in fifteen minutes.

919
00:46:46,160 --> 00:46:49,640
Speaker 1: Yeah. The only thing she really would be taken off

920
00:46:49,760 --> 00:46:52,239
Speaker 1: guard by is probably if they all communicated openly and

921
00:46:52,320 --> 00:46:54,560
Speaker 1: honestly with each other all the time. That would be

922
00:46:54,560 --> 00:46:56,760
Speaker 1: the only thing that could really fuck up her plans.

923
00:46:56,800 --> 00:46:59,880
Speaker 1: But you know people don't do that for the most party.

924
00:47:00,719 --> 00:47:05,480
Speaker 1: So then Ruby is like, letdy you stupid, you trust you,

925
00:47:05,520 --> 00:47:08,919
Speaker 1: trust Tick and mont Tross montrosts about to whoop your ass,

926
00:47:08,960 --> 00:47:10,960
Speaker 1: and you find out you had in vulnerability, to which

927
00:47:11,040 --> 00:47:12,920
Speaker 1: Leady should have been like, nig I'm in vulnerable. He

928
00:47:13,040 --> 00:47:17,360
Speaker 1: wasn't gonna do shit, but like, you see how he

929
00:47:17,400 --> 00:47:19,160
Speaker 1: turned on you when you was in vulnerables, Like, that's

930
00:47:19,200 --> 00:47:22,240
Speaker 1: the point of being in vulnerable. He can't do nothing.

931
00:47:23,880 --> 00:47:26,360
Speaker 1: And Christina she was like, and Christina didn't try to

932
00:47:26,400 --> 00:47:29,160
Speaker 1: hurt anybody when she helped us with the spell. And

933
00:47:29,200 --> 00:47:33,360
Speaker 1: then Hippolytis head was like, hello, she cut me. But

934
00:47:33,760 --> 00:47:38,239
Speaker 1: Letta Letty says when I got shot. And then Ruby's like,

935
00:47:38,480 --> 00:47:41,880
Speaker 1: and Christina healed you by her daddy. Yeah, her daddy

936
00:47:41,920 --> 00:47:44,799
Speaker 1: shot you, and Christina the one that healed you, and

937
00:47:44,880 --> 00:47:47,520
Speaker 1: I was like, god damn. Ruby got a subscription of

938
00:47:47,719 --> 00:47:51,120
Speaker 1: HBO Max. How she know this, She know she been

939
00:47:51,160 --> 00:47:54,200
Speaker 1: watching the damn she shot the episodes in advance. Okay,

940
00:47:55,640 --> 00:47:57,640
Speaker 1: She's like, but they didn't show. Tick came back with

941
00:47:57,719 --> 00:48:02,200
Speaker 1: a Blu ray copy of love Craft Country and a

942
00:48:02,239 --> 00:48:06,239
Speaker 1: Blu Ray player. Uh and she but the line that

943
00:48:06,320 --> 00:48:09,280
Speaker 1: made me laugh after they had this discussion was Ruby's

944
00:48:09,320 --> 00:48:12,040
Speaker 1: face is like a girl. She was like, Ship, you

945
00:48:12,080 --> 00:48:13,200
Speaker 1: need to be getting in the call with me.

946
00:48:14,960 --> 00:48:16,480
Speaker 2: I was like, fuck with them niggas.

947
00:48:16,719 --> 00:48:20,319
Speaker 4: I was like, points were made. Okay, that's a good

948
00:48:20,640 --> 00:48:23,319
Speaker 4: She might need to go with you. These niggas have

949
00:48:23,360 --> 00:48:24,520
Speaker 4: a terrible track record.

950
00:48:24,600 --> 00:48:26,440
Speaker 2: Yeah, She's like, I'm looking at they track wrecker and

951
00:48:26,480 --> 00:48:27,520
Speaker 2: it ain't been you know.

952
00:48:27,600 --> 00:48:29,920
Speaker 1: So fun, don't look. Yeah, my draws and Tick are

953
00:48:30,040 --> 00:48:32,480
Speaker 1: not the most versed in this magic ship.

954
00:48:32,600 --> 00:48:36,040
Speaker 2: I mean you Dodne died. I mean, I mean you've

955
00:48:36,040 --> 00:48:37,919
Speaker 2: been doing a lot of a lot of shit. Doesn't

956
00:48:38,000 --> 00:48:39,799
Speaker 2: happening since they walked into your life? Right?

957
00:48:39,840 --> 00:48:42,880
Speaker 1: One of them's alcoholic and he's gonna be drunk the

958
00:48:42,920 --> 00:48:47,000
Speaker 1: whole mission. I mean, come on, So then Letty brings

959
00:48:47,080 --> 00:48:52,040
Speaker 1: up finally the big joker. Christina's gonna kill Tick when

960
00:48:52,080 --> 00:48:54,200
Speaker 1: they do that. That our toime E would not spell

961
00:48:54,280 --> 00:48:56,120
Speaker 1: frame more talent because you know, Ruby don't know what

962
00:48:56,160 --> 00:49:00,279
Speaker 1: that is, right, And then Ruby just leaves with Christina

963
00:49:00,920 --> 00:49:03,040
Speaker 1: Hippolyta taste D puts her in the back of Wooded,

964
00:49:03,320 --> 00:49:07,239
Speaker 1: the car which she must have drove by let his

965
00:49:07,360 --> 00:49:10,120
Speaker 1: house and got her. I don't know, but she puts

966
00:49:10,120 --> 00:49:12,840
Speaker 1: Williams your time traveler, right, she just knew. She was like,

967
00:49:12,840 --> 00:49:15,560
Speaker 1: I'll be right back from froom anyway. So she went

968
00:49:15,640 --> 00:49:18,680
Speaker 1: and got Woody and puts d in the back of

969
00:49:18,680 --> 00:49:21,520
Speaker 1: the car, and Tick and Montross started asking the questions,

970
00:49:21,560 --> 00:49:23,719
Speaker 1: you know where you're going, what you're going, what you're

971
00:49:23,719 --> 00:49:26,719
Speaker 1: planning on doing. She's like, I'm going to go back

972
00:49:26,760 --> 00:49:30,640
Speaker 1: to the observatory. It ticks like, but we broke the

973
00:49:30,680 --> 00:49:33,520
Speaker 1: time machine. It don't work. Remember you shot it? And

974
00:49:33,880 --> 00:49:37,440
Speaker 1: she was like, first of all, it's a multiverse machine.

975
00:49:38,040 --> 00:49:39,799
Speaker 1: Second of all, I know how to fix the ship.

976
00:49:41,640 --> 00:49:43,600
Speaker 1: And y'all say, we need the spell, we need the

977
00:49:43,600 --> 00:49:45,600
Speaker 1: book or work or what was the Book of Adam

978
00:49:45,719 --> 00:49:48,439
Speaker 1: or whatever book of Names? They need the Book of Names.

979
00:49:48,520 --> 00:49:50,279
Speaker 2: She was like, what you know, what's happening? Where did

980
00:49:50,320 --> 00:49:52,280
Speaker 2: it come from? And yeah, they was like Book of Names.

981
00:49:52,280 --> 00:49:54,480
Speaker 2: So they basically going back and forth with she trying

982
00:49:54,480 --> 00:49:55,319
Speaker 2: to put a baby in the car.

983
00:49:55,680 --> 00:49:58,319
Speaker 1: Yeah, and the Book of Names, the last place they

984
00:49:58,400 --> 00:50:03,160
Speaker 1: know that it was intact was in in nineteen twenty one,

985
00:50:03,480 --> 00:50:07,200
Speaker 1: right before the riots, and so it's like she's like, Okay,

986
00:50:07,760 --> 00:50:11,760
Speaker 1: I will use the multiverse machine. We will travel back

987
00:50:11,760 --> 00:50:15,880
Speaker 1: to nineteen twenty one, Tusa and y'all will get the book.

988
00:50:16,840 --> 00:50:18,960
Speaker 1: And they were like, how we gonna We don't even

989
00:50:19,000 --> 00:50:20,879
Speaker 1: have to keep and she was like, we don't need

990
00:50:20,920 --> 00:50:23,560
Speaker 1: no key. I know how to use this technology. And

991
00:50:23,640 --> 00:50:28,680
Speaker 1: mant Tross was like, you sound crazy, which tells you

992
00:50:28,719 --> 00:50:34,120
Speaker 1: a lot because number one, they had tried to keep

993
00:50:34,200 --> 00:50:37,200
Speaker 1: Hippolyta in the dark, so her coming back and knowing

994
00:50:37,280 --> 00:50:39,239
Speaker 1: everything and not missing the beat had to be a

995
00:50:39,280 --> 00:50:40,359
Speaker 1: little off put in them.

996
00:50:40,719 --> 00:50:44,880
Speaker 2: Yeah, And it's one of those things to where I

997
00:50:44,920 --> 00:50:47,399
Speaker 2: love Hippota because they was like these questions like, if

998
00:50:47,440 --> 00:50:49,919
Speaker 2: y'all niggas don't get in this goddamn car, my baby

999
00:50:49,960 --> 00:50:50,520
Speaker 2: about to die.

1000
00:50:50,760 --> 00:50:51,960
Speaker 1: I don't give a fuck what y'all asking me.

1001
00:50:52,000 --> 00:50:53,560
Speaker 2: A'all these got damn question y'all can ask me.

1002
00:50:53,480 --> 00:50:55,400
Speaker 1: On the road. Well, see that's the thing she did

1003
00:50:55,480 --> 00:50:59,440
Speaker 1: stop and explain, right, But the second thing I was

1004
00:50:59,440 --> 00:51:04,200
Speaker 1: gonna say, is these niggas have seen everything right, including

1005
00:51:04,239 --> 00:51:07,920
Speaker 1: magic and all this, but the most unbelievable thing that

1006
00:51:08,000 --> 00:51:10,400
Speaker 1: they saw was a black woman who was an expert.

1007
00:51:10,520 --> 00:51:15,000
Speaker 1: They was like, I don't know, Uh, this seems a

1008
00:51:15,000 --> 00:51:16,719
Speaker 1: bit far fetched to me. You know how to use

1009
00:51:16,760 --> 00:51:18,200
Speaker 1: the machine now, like I mean.

1010
00:51:18,120 --> 00:51:20,080
Speaker 2: Because we can't you at the loop right?

1011
00:51:20,239 --> 00:51:23,680
Speaker 1: So she did. She just finally was like, listen, I

1012
00:51:23,760 --> 00:51:25,680
Speaker 1: was on Earth five o FO. Shout out to the

1013
00:51:25,680 --> 00:51:28,040
Speaker 1: five Fau boys. I was on Earth five o FO.

1014
00:51:28,680 --> 00:51:30,680
Speaker 1: And I was there for the equivalent of two hundred

1015
00:51:30,760 --> 00:51:34,800
Speaker 1: years on this earth. I can name myself anything, infinite possibilities.

1016
00:51:35,239 --> 00:51:38,080
Speaker 1: It came with infinite wisdom, and I'm gonna use all

1017
00:51:38,160 --> 00:51:40,239
Speaker 1: of it to save my daughter. Now, get in the

1018
00:51:40,320 --> 00:51:45,600
Speaker 1: fucking car. And I was like, yes, tell them.

1019
00:51:45,719 --> 00:51:48,640
Speaker 2: She's like, oh, did the salt Hippolota that y'all seen

1020
00:51:48,640 --> 00:51:50,160
Speaker 2: the foe? She gone? She did?

1021
00:51:50,719 --> 00:51:54,719
Speaker 1: And also like to me, she feels like, like I said,

1022
00:51:54,719 --> 00:51:57,279
Speaker 1: what if Tony Stark was a black woman in the

1023
00:51:57,320 --> 00:52:00,440
Speaker 1: Marvel universe, like all the shit Tony Stark knows Virginius

1024
00:52:00,440 --> 00:52:04,279
Speaker 1: blah blah blah, Like I like that she's ahead of

1025
00:52:04,320 --> 00:52:07,239
Speaker 1: everybody on this and she's confident because she was doing

1026
00:52:07,280 --> 00:52:09,640
Speaker 1: the time. She was like, we got six hours to

1027
00:52:09,800 --> 00:52:13,280
Speaker 1: drive there, I need about four hours to fix the machine.

1028
00:52:13,640 --> 00:52:16,800
Speaker 1: That's gonna give y'all fourteen hours to get the book

1029
00:52:16,880 --> 00:52:19,880
Speaker 1: and get back because we basically got a day before

1030
00:52:19,920 --> 00:52:22,080
Speaker 1: we can break this spell on d or she gonna

1031
00:52:22,080 --> 00:52:25,799
Speaker 1: turn back into this fucking thing like she she was

1032
00:52:25,880 --> 00:52:31,759
Speaker 1: so on point, I fucking loved it. Meanwhile, you know

1033
00:52:31,800 --> 00:52:33,840
Speaker 1: what she sounded like to me, not as funny, but

1034
00:52:34,400 --> 00:52:38,360
Speaker 1: she sounded like Rick from Rick and Morty where everybody

1035
00:52:38,360 --> 00:52:40,839
Speaker 1: have questions. He's basically like, y'all too stupid. Y'all are

1036
00:52:40,840 --> 00:52:45,600
Speaker 1: too fucking stupid. Just listen, I'm the genius. Just trust

1037
00:52:46,000 --> 00:52:48,600
Speaker 1: the genius knows what the fuck the genius is doing.

1038
00:52:48,800 --> 00:52:51,200
Speaker 1: Did you invent a porto gun? Do you know about

1039
00:52:51,200 --> 00:52:54,680
Speaker 1: space travel? No? So shut the fuck up and hop

1040
00:52:54,719 --> 00:52:56,640
Speaker 1: in the vehicle. You know what I mean? Like she

1041
00:52:56,719 --> 00:52:59,440
Speaker 1: had that wasting my time. The only thing missing was

1042
00:52:59,440 --> 00:53:03,000
Speaker 1: her burping and a little more cuss word. She was

1043
00:53:03,040 --> 00:53:09,280
Speaker 1: sure of here, right, she should have called myn trouts Jerry.

1044
00:53:11,160 --> 00:53:15,880
Speaker 1: In Christina's basement, Ruby looks at Dale's body. Dale is

1045
00:53:15,920 --> 00:53:18,320
Speaker 1: the white woman who Ruby turns into when she drinks

1046
00:53:18,320 --> 00:53:22,400
Speaker 1: the postion and she's like who was she? And Christina's like,

1047
00:53:22,480 --> 00:53:26,359
Speaker 1: you know, she's the groundskeeper at Artem and she's like, well,

1048
00:53:26,360 --> 00:53:28,319
Speaker 1: how did she get in the coma And She's like, well,

1049
00:53:28,440 --> 00:53:30,160
Speaker 1: let it hit over the head with a shovel, Yes

1050
00:53:30,200 --> 00:53:35,239
Speaker 1: she did. And Ruby asked like, so did you only

1051
00:53:35,280 --> 00:53:41,319
Speaker 1: help d so you could get to Tick And Christina

1052
00:53:42,360 --> 00:53:46,680
Speaker 1: was like, yeah, I'm gonna use this nigga the experiment

1053
00:53:46,719 --> 00:53:52,960
Speaker 1: and she was like, well, did you really see magic

1054
00:53:53,000 --> 00:53:54,480
Speaker 1: and me and all that shit, because it sounds like

1055
00:53:54,520 --> 00:53:56,439
Speaker 1: you liar, You've been lying to me the whole time,

1056
00:53:56,480 --> 00:53:59,200
Speaker 1: trying to seduce me, blah blah blah. And Christina's like

1057
00:53:59,560 --> 00:54:01,160
Speaker 1: I and she was like, and I know you just

1058
00:54:01,160 --> 00:54:02,799
Speaker 1: wanted me to spot for you because you asked let

1059
00:54:02,800 --> 00:54:05,040
Speaker 1: It to spy for you. And she was like, I

1060
00:54:05,120 --> 00:54:07,560
Speaker 1: never asked you to spy for me. And Ruby's like,

1061
00:54:07,600 --> 00:54:09,920
Speaker 1: cut the shit you full of. This is bullshit. My

1062
00:54:09,960 --> 00:54:12,480
Speaker 1: mama was a hustler. I know, a hustler. I was

1063
00:54:12,520 --> 00:54:14,640
Speaker 1: just your plan B in case this shit didn't work out.

1064
00:54:14,920 --> 00:54:18,120
Speaker 1: And Christina was like, I'm not hustling you.

1065
00:54:18,560 --> 00:54:20,960
Speaker 2: Because she was saying too, she never did ask her

1066
00:54:20,960 --> 00:54:21,359
Speaker 2: to do that.

1067
00:54:21,680 --> 00:54:24,600
Speaker 1: The thing I've noticed about Christina and I'm really trying

1068
00:54:24,600 --> 00:54:26,600
Speaker 1: to go back to episode one and I've been thinking

1069
00:54:26,600 --> 00:54:30,760
Speaker 1: about this. I don't think Christina's ever told a lie.

1070
00:54:31,680 --> 00:54:34,160
Speaker 1: I think she might do a live omission if you

1071
00:54:34,200 --> 00:54:36,759
Speaker 1: want to be technical about it. She just doesn't tell

1072
00:54:36,800 --> 00:54:40,400
Speaker 1: you all her business. But Christina seems very much like,

1073
00:54:41,440 --> 00:54:44,319
Speaker 1: if you put me dead to rights, I'll either just

1074
00:54:44,400 --> 00:54:48,000
Speaker 1: not talk to you or I just tell you straight up. Yeah,

1075
00:54:48,120 --> 00:54:50,759
Speaker 1: this is what I'm gonna do. But she don't lie,

1076
00:54:50,800 --> 00:54:52,800
Speaker 1: and she I don't think she's ever lied to Ruby.

1077
00:54:52,800 --> 00:54:56,040
Speaker 1: I went back and was just thinking about the dialogue

1078
00:54:56,040 --> 00:54:58,680
Speaker 1: between the two and them. I'm like, she pretty much

1079
00:54:58,680 --> 00:55:01,920
Speaker 1: shoots it plane the Ruby's face to Ruby.

1080
00:55:01,960 --> 00:55:03,400
Speaker 2: She literally tells her everything.

1081
00:55:03,640 --> 00:55:06,080
Speaker 1: Yeah, it's crazy. If Ruby asked that question, she will

1082
00:55:06,080 --> 00:55:08,200
Speaker 1: answer it. Now. I think she is kind of sneaky

1083
00:55:08,200 --> 00:55:10,000
Speaker 1: where if you don't ask the question, she'll be like,

1084
00:55:10,000 --> 00:55:12,319
Speaker 1: well you never asked me that She that tight but

1085
00:55:12,520 --> 00:55:18,000
Speaker 1: my but still so yeah, she was like, I'm not

1086
00:55:18,120 --> 00:55:21,319
Speaker 1: hustling you, and she's like, well, you're gonna kill Tick.

1087
00:55:21,400 --> 00:55:23,239
Speaker 1: Ruby says you're gonna kill Tick, and Christina was like,

1088
00:55:23,760 --> 00:55:25,680
Speaker 1: I need his blood for the ritual, and I need

1089
00:55:25,760 --> 00:55:28,240
Speaker 1: all of it because I'm trying to get this immortality.

1090
00:55:28,600 --> 00:55:31,160
Speaker 1: And I used to watch my dad and the White

1091
00:55:31,160 --> 00:55:34,480
Speaker 1: Man talk about magic like it was just another thing,

1092
00:55:34,600 --> 00:55:36,640
Speaker 1: like the stock market or a gun or some shit,

1093
00:55:36,760 --> 00:55:38,920
Speaker 1: like it's just a tool. But I want to use

1094
00:55:38,960 --> 00:55:42,440
Speaker 1: magic to experience everything, all the experiences in the world,

1095
00:55:42,760 --> 00:55:46,319
Speaker 1: a life of unlimited first, and it's gonna be my

1096
00:55:46,400 --> 00:55:52,399
Speaker 1: gateway to all this shit. And She's basically like, and

1097
00:55:53,239 --> 00:55:56,520
Speaker 1: I only have two variables in my plan because when

1098
00:55:56,560 --> 00:55:58,520
Speaker 1: I met Tick, I knew he was coming back to

1099
00:55:58,680 --> 00:56:01,080
Speaker 1: Artum one way or another. I got my plan to

1100
00:56:01,080 --> 00:56:05,960
Speaker 1: make it happen. So the only two variables is how

1101
00:56:06,040 --> 00:56:08,920
Speaker 1: much time that would take? And the other variable is

1102
00:56:08,960 --> 00:56:13,040
Speaker 1: you so what you're gonna do?

1103
00:56:13,680 --> 00:56:15,799
Speaker 2: Yeah, when we said it, she's gonna have to make us.

1104
00:56:15,800 --> 00:56:17,200
Speaker 2: She's literally gonna have to make a choice.

1105
00:56:17,239 --> 00:56:19,120
Speaker 1: I said it, man, people it was like, people don't

1106
00:56:19,120 --> 00:56:21,359
Speaker 1: want to hear that shit. But I was like, if

1107
00:56:21,360 --> 00:56:23,200
Speaker 1: you pay attention to the show, they lean into a

1108
00:56:23,280 --> 00:56:26,120
Speaker 1: path of either like are you gonna be a villain

1109
00:56:26,239 --> 00:56:27,960
Speaker 1: or are you gonna be down with the crew, Because

1110
00:56:27,960 --> 00:56:30,719
Speaker 1: she literally is the only character on the show that

1111
00:56:30,880 --> 00:56:34,240
Speaker 1: is trying to play the middle, and she has shown

1112
00:56:34,840 --> 00:56:38,359
Speaker 1: some tendencies to be a little bit like I kind

1113
00:56:38,360 --> 00:56:40,480
Speaker 1: of want what's mine. I kind of like this power.

1114
00:56:40,960 --> 00:56:43,720
Speaker 1: I'm kind of being corrupted by the idea, this magic

1115
00:56:44,239 --> 00:56:51,640
Speaker 1: come on, you know. And so she was like, well,

1116
00:56:52,120 --> 00:56:57,520
Speaker 1: promise me you won't hurt Letty. And that's when Christina's like,

1117
00:56:57,600 --> 00:57:00,960
Speaker 1: I promise. So she just so tick up the river.

1118
00:57:01,400 --> 00:57:05,759
Speaker 2: Oh yeah, because the conversation is her and Letty had

1119
00:57:05,800 --> 00:57:07,880
Speaker 2: I was like, oh, she already has expressed it.

1120
00:57:07,920 --> 00:57:09,719
Speaker 1: She don't care too much for him, like she has

1121
00:57:09,760 --> 00:57:12,680
Speaker 1: expressed it. If you're on the load, I mean, got

1122
00:57:12,680 --> 00:57:15,400
Speaker 1: a lot working against him, Yes, I mean he's a

1123
00:57:16,880 --> 00:57:21,200
Speaker 1: form like, he's a dude with issues from his childhood.

1124
00:57:21,880 --> 00:57:25,640
Speaker 1: He's uh, you know, being he hasn't what she has

1125
00:57:25,760 --> 00:57:31,480
Speaker 1: not resolved. He's got complicated, familiar history. He got your

1126
00:57:31,640 --> 00:57:35,760
Speaker 1: sister pregnant out of wedlock. He ain't got no job right,

1127
00:57:35,920 --> 00:57:38,439
Speaker 1: just give me down for rent, you know, I mean,

1128
00:57:38,520 --> 00:57:44,480
Speaker 1: I get it. Many a woman has been romanticized by

1129
00:57:44,520 --> 00:57:48,520
Speaker 1: a hobosexual, you know, man with no place to stay

1130
00:57:48,640 --> 00:57:51,360
Speaker 1: but plenty of dick. Many a woman anti of dick.

1131
00:57:51,480 --> 00:57:53,600
Speaker 1: Mo dick? Do you ever need but can't pay rent

1132
00:57:53,640 --> 00:57:56,720
Speaker 1: though many a woman woman has fallen for that, and

1133
00:57:56,760 --> 00:58:01,560
Speaker 1: maybe that's why people have so much of a disdained

1134
00:58:01,600 --> 00:58:03,880
Speaker 1: for him, because it reminds them of the Jonathan Majors

1135
00:58:03,920 --> 00:58:05,840
Speaker 1: and this mediums that laid on their couch when they

1136
00:58:05,840 --> 00:58:08,040
Speaker 1: went to work. Come on, they drove around, they call

1137
00:58:08,120 --> 00:58:10,160
Speaker 1: with the AKA license place on the front and picked

1138
00:58:10,200 --> 00:58:11,760
Speaker 1: them up from their job, like they was doing you

1139
00:58:11,840 --> 00:58:15,640
Speaker 1: a favor. Meanwhile, you like, why does car smell like perfume?

1140
00:58:15,680 --> 00:58:19,360
Speaker 1: Who been in here? I get it, okay, and Ruby

1141
00:58:19,400 --> 00:58:20,800
Speaker 1: gets it too, so she like, we can get this

1142
00:58:20,840 --> 00:58:23,440
Speaker 1: nigga out of the picture. Maybe that's better for everybody.

1143
00:58:23,760 --> 00:58:26,160
Speaker 2: Okay, they can make your slap somebody.

1144
00:58:27,840 --> 00:58:35,160
Speaker 1: So then so then Ruby says she lets Dale die.

1145
00:58:35,320 --> 00:58:38,360
Speaker 1: She turns off the machine that's Keepingdale alive in a coma.

1146
00:58:39,000 --> 00:58:43,840
Speaker 1: And Christina seemed almost surprised, because I think Christina's ideas

1147
00:58:43,880 --> 00:58:47,000
Speaker 1: like this magic is enticing and that's why Ruby's doing

1148
00:58:47,040 --> 00:58:49,160
Speaker 1: she's doing, but some of it's not like that. And

1149
00:58:49,520 --> 00:58:51,840
Speaker 1: it makes me wonder if Ruby feels something for Christina,

1150
00:58:52,440 --> 00:58:54,400
Speaker 1: because you know, we keep talking about this, Christina feel

1151
00:58:54,440 --> 00:58:56,680
Speaker 1: something for Ruby. But a lot of a lot of

1152
00:58:56,680 --> 00:58:59,000
Speaker 1: shit Ruby's doing is very illogical unless you have some

1153
00:58:59,040 --> 00:59:01,520
Speaker 1: type of emotional connect to Christina that goes beyond what

1154
00:59:01,640 --> 00:59:03,480
Speaker 1: you're saying on the surface. Right.

1155
00:59:03,520 --> 00:59:06,120
Speaker 2: That's why she stood up bold enough to say, oh,

1156
00:59:06,160 --> 00:59:09,040
Speaker 2: I know she will come like, ain't no if answer,

1157
00:59:09,160 --> 00:59:11,880
Speaker 2: but if I asked her, she will show up.

1158
00:59:12,880 --> 00:59:14,960
Speaker 1: And then she said, Ruby says, when I used to

1159
00:59:15,000 --> 00:59:18,880
Speaker 1: imagine myself being white, I always saw myself as a redhead.

1160
00:59:19,880 --> 00:59:20,960
Speaker 1: What do you think she means by that?

1161
00:59:21,000 --> 00:59:22,720
Speaker 2: Oh, it's another body coming in there with Redhill.

1162
00:59:23,320 --> 00:59:25,440
Speaker 1: So you think we might get Christina Hendrix to join

1163
00:59:25,480 --> 00:59:28,280
Speaker 1: the show, because I'm all for that, Okay. I feel

1164
00:59:28,280 --> 00:59:31,040
Speaker 1: like Christina Hendrix would make the better body double for

1165
00:59:31,440 --> 00:59:32,680
Speaker 1: Ruby if she was a white woman.

1166
00:59:33,000 --> 00:59:36,000
Speaker 2: Somebody we gonna see somebody next season with some.

1167
00:59:35,880 --> 00:59:39,520
Speaker 1: Red hair, Like listen, I'm here for Jones from mad

1168
00:59:39,640 --> 00:59:43,760
Speaker 1: Men fits on the white woman version of Ruby.

1169
00:59:43,840 --> 00:59:44,280
Speaker 2: Come on.

1170
00:59:45,400 --> 00:59:51,600
Speaker 1: So then we get to Hippolyta d who's in the

1171
00:59:51,640 --> 00:59:56,960
Speaker 1: back Mantross tick and Letty arriving at the Observatory in Kentucky,

1172
00:59:57,520 --> 00:59:59,520
Speaker 1: which apparently there was an era in the show where

1173
00:59:59,520 --> 01:00:07,360
Speaker 1: like on the actual on the actual ory, it doesn't

1174
01:00:07,400 --> 01:00:10,160
Speaker 1: say Kentucky, it says a different location and Misha Green

1175
01:00:10,320 --> 01:00:12,520
Speaker 1: was talking on Twitter about it if someone asked her,

1176
01:00:12,720 --> 01:00:15,280
Speaker 1: and she was basically like, yeah, it was a mistake.

1177
01:00:15,880 --> 01:00:18,160
Speaker 2: Oh, because the name Flash is so big across there.

1178
01:00:18,280 --> 01:00:19,880
Speaker 1: Yeah. She was like it was supposed to be like

1179
01:00:20,000 --> 01:00:22,640
Speaker 1: I don't know, Kansas or some shit. But because I

1180
01:00:22,640 --> 01:00:24,600
Speaker 1: thought I was confused, I was like, wow, am I

1181
01:00:24,600 --> 01:00:27,080
Speaker 1: did I read it wrong? Why? And now we know?

1182
01:00:27,200 --> 01:00:29,920
Speaker 1: So that's what it was. Eh. And the other thing

1183
01:00:30,040 --> 01:00:32,200
Speaker 1: she admitted to and I think this is important because

1184
01:00:32,200 --> 01:00:33,800
Speaker 1: they brought it up on the show and it kind

1185
01:00:33,800 --> 01:00:36,280
Speaker 1: of confused me at the time. She also admitted that

1186
01:00:36,320 --> 01:00:38,840
Speaker 1: the way they did Yohima was kind of like, you know,

1187
01:00:39,200 --> 01:00:42,240
Speaker 1: not good in the afterthought. And you know, she was like,

1188
01:00:42,320 --> 01:00:44,120
Speaker 1: you know, they were trying to think of all these angles,

1189
01:00:44,120 --> 01:00:48,960
Speaker 1: but essentially they didn't think of an angle of like

1190
01:00:49,160 --> 01:00:52,920
Speaker 1: what we're doing to this marginalized person. And you know

1191
01:00:53,080 --> 01:00:57,280
Speaker 1: that that that old line that a lot of people

1192
01:00:57,320 --> 01:00:59,960
Speaker 1: talk about. I think it's killed. It's either like an

1193
01:01:00,200 --> 01:01:02,360
Speaker 1: I'm not saying this pejoratively is I think you can

1194
01:01:02,400 --> 01:01:04,680
Speaker 1: look it up, but it's something like either kill your

1195
01:01:04,760 --> 01:01:07,560
Speaker 1: gays or kill your queers or something. And what it

1196
01:01:07,600 --> 01:01:12,320
Speaker 1: means is people write gender queer people into fiction all

1197
01:01:12,360 --> 01:01:14,320
Speaker 1: the time, and then those are the people that get killed,

1198
01:01:15,360 --> 01:01:16,800
Speaker 1: and so you know, it's kind of like how we

1199
01:01:16,800 --> 01:01:18,640
Speaker 1: feel about black people in horror movies, or it's like

1200
01:01:18,720 --> 01:01:20,760
Speaker 1: and then the black person died, because of course it's

1201
01:01:20,760 --> 01:01:24,840
Speaker 1: the opening credits. They're like, don't introduce these people just

1202
01:01:24,880 --> 01:01:27,040
Speaker 1: to kill them? Why are they always the one so

1203
01:01:27,120 --> 01:01:30,240
Speaker 1: casually killed off? And I was hoping they will revisit

1204
01:01:30,280 --> 01:01:32,000
Speaker 1: it and maybe if they get a season two, they

1205
01:01:32,040 --> 01:01:35,200
Speaker 1: can redeem themselves on some level, I'd love to see that.

1206
01:01:35,320 --> 01:01:38,080
Speaker 1: But yeah, it did feel a little callous in a

1207
01:01:38,120 --> 01:01:39,840
Speaker 1: little bit beneath the show, and I just felt like

1208
01:01:39,840 --> 01:01:42,680
Speaker 1: there's some layers that could that went a little unexplored,

1209
01:01:43,120 --> 01:01:45,640
Speaker 1: especially when we come down to Mantross and his community

1210
01:01:46,080 --> 01:01:50,760
Speaker 1: and what he did. So and like I said, hope

1211
01:01:50,920 --> 01:01:53,040
Speaker 1: the show gets renewed and there's a chance to maybe

1212
01:01:53,360 --> 01:01:55,120
Speaker 1: go into depth on that or at least kind of

1213
01:01:55,800 --> 01:01:59,120
Speaker 1: have Yohima return or play some type of role or something.

1214
01:02:00,120 --> 01:02:04,120
Speaker 2: And that's my vision and also for me, something that

1215
01:02:04,680 --> 01:02:07,360
Speaker 2: people don't give credit for because we live in such

1216
01:02:07,360 --> 01:02:11,680
Speaker 2: an unforgiven society and you know, Twitter act like you

1217
01:02:11,760 --> 01:02:14,760
Speaker 2: fuck up your fucking forever she admitted, Hey, we fucked

1218
01:02:14,800 --> 01:02:17,640
Speaker 2: up there and we can do better. Like, do you

1219
01:02:17,640 --> 01:02:19,720
Speaker 2: know how many people would have been like, oh, fuck y'all,

1220
01:02:19,760 --> 01:02:22,440
Speaker 2: I did the show, who you know? But but to me,

1221
01:02:22,680 --> 01:02:27,680
Speaker 2: that shows that the person actually cares about the critiques. Yeah,

1222
01:02:27,960 --> 01:02:30,920
Speaker 2: you know, And that can't be overlooked in itself either,

1223
01:02:31,040 --> 01:02:33,440
Speaker 2: because so many other people would not have had you.

1224
01:02:33,720 --> 01:02:36,120
Speaker 1: I mean, honestly, you just can't. Let intent doesn't matter.

1225
01:02:36,200 --> 01:02:38,880
Speaker 1: Twitter speak for everybody, correct, they are, They have like

1226
01:02:39,000 --> 01:02:41,240
Speaker 1: very loud voices, but they don't speak for everybody, And

1227
01:02:41,840 --> 01:02:45,840
Speaker 1: I think that's human. And I think when you're a showrunner,

1228
01:02:45,920 --> 01:02:50,440
Speaker 1: you are literally used moving a lot of parts. One

1229
01:02:50,480 --> 01:02:54,200
Speaker 1: of the things I think has become interesting since we've

1230
01:02:54,240 --> 01:02:57,240
Speaker 1: gotten this democratize sation of media and we get so

1231
01:02:57,360 --> 01:02:59,560
Speaker 1: many streaming services and so many channels, and so many

1232
01:02:59,600 --> 01:03:02,520
Speaker 1: shows get green lit. People really think it's just it's

1233
01:03:02,560 --> 01:03:06,520
Speaker 1: like easy to do a show, and it's just not.

1234
01:03:07,240 --> 01:03:09,760
Speaker 1: It's and it's literally impossible to do ten episodes of

1235
01:03:09,840 --> 01:03:13,320
Speaker 1: anything and never once dropped the ball on something. So

1236
01:03:13,440 --> 01:03:15,120
Speaker 1: I do like it they go on Twitter and kind

1237
01:03:15,120 --> 01:03:16,400
Speaker 1: of talk to everybody.

1238
01:03:16,000 --> 01:03:18,760
Speaker 2: Because there's so many moving parts. Yeah, you know, so

1239
01:03:18,840 --> 01:03:22,280
Speaker 2: many pieces and it's not simple. There's a lot of

1240
01:03:22,320 --> 01:03:25,800
Speaker 2: hard work because regardless of even if something quote unquote

1241
01:03:25,880 --> 01:03:27,600
Speaker 2: is bad to you, it's still one of those things

1242
01:03:27,600 --> 01:03:29,800
Speaker 2: where people actually put work behind that bad product.

1243
01:03:30,200 --> 01:03:35,840
Speaker 1: Right, So, at any rate, Mantross gets out of the

1244
01:03:35,880 --> 01:03:38,640
Speaker 1: car and he just started drinking more road rash straight

1245
01:03:38,680 --> 01:03:41,680
Speaker 1: to the dough. He finishes off the whole Mason jar,

1246
01:03:43,000 --> 01:03:45,920
Speaker 1: I know his head was swimming. Yeah. If it's anything

1247
01:03:46,000 --> 01:03:48,560
Speaker 1: like Rock Wilder or incredible hope that I had at

1248
01:03:48,560 --> 01:03:52,360
Speaker 1: Fairviel State that I'm surprised he didn't just start punching

1249
01:03:52,400 --> 01:03:56,320
Speaker 1: motherfuckers in the park lot grow three sizes, it's bigger,

1250
01:03:56,800 --> 01:03:59,280
Speaker 1: bust out his shirt. Surprise he didn't just get out

1251
01:03:59,320 --> 01:04:01,640
Speaker 1: the car and just be like, I bet you won't

1252
01:04:01,720 --> 01:04:06,080
Speaker 1: hit them overhead. Just start yeah, because that's what it

1253
01:04:06,160 --> 01:04:09,480
Speaker 1: did mean, fighting and swinging in the l Okay, just

1254
01:04:09,520 --> 01:04:14,040
Speaker 1: start sweating for no reason, punching your your in laws.

1255
01:04:13,720 --> 01:04:16,960
Speaker 2: Or just beating on your chest and ship to the club.

1256
01:04:17,840 --> 01:04:18,240
Speaker 2: The club.

1257
01:04:18,480 --> 01:04:21,600
Speaker 1: What's throwing out You've been drinking that road up here,

1258
01:04:21,840 --> 01:04:22,680
Speaker 1: swinging like a hell?

1259
01:04:23,000 --> 01:04:25,120
Speaker 2: Why is he out there in the field swinging his

1260
01:04:25,160 --> 01:04:26,040
Speaker 2: shirt over his head?

1261
01:04:26,040 --> 01:04:27,960
Speaker 1: Why did he even get the white beat the front.

1262
01:04:28,000 --> 01:04:28,880
Speaker 2: I don't understand.

1263
01:04:29,160 --> 01:04:33,960
Speaker 1: Hippolyta fixes the circuit board man trous the and then

1264
01:04:34,080 --> 01:04:38,360
Speaker 1: like Tickets trying to help braid the cables together to

1265
01:04:38,360 --> 01:04:39,920
Speaker 1: fix it and stuff. She's like, braid it like I

1266
01:04:39,920 --> 01:04:42,760
Speaker 1: taught you to braid these hell. I was like, oh.

1267
01:04:43,360 --> 01:04:46,760
Speaker 1: And then Montross comes in to help Letty I think

1268
01:04:46,800 --> 01:04:52,200
Speaker 1: wrap up d or something. And then she's like, listen

1269
01:04:53,000 --> 01:04:56,200
Speaker 1: the reason that I needed to in vulnerability and my

1270
01:04:56,280 --> 01:04:59,880
Speaker 1: trous like because you're pregnant. And she's like, who did

1271
01:05:00,040 --> 01:05:03,160
Speaker 1: Ruby tell you that? He was like, no, uh, Tick

1272
01:05:03,240 --> 01:05:06,200
Speaker 1: told me he already know. She's like tick no, damn

1273
01:05:06,400 --> 01:05:08,200
Speaker 1: like and that was all. It was funny to me

1274
01:05:08,200 --> 01:05:10,400
Speaker 1: because I'm like, here's the honesty on the show. Everybody

1275
01:05:10,400 --> 01:05:13,040
Speaker 1: thinks they won't. It's so funny because everybody's like, what

1276
01:05:13,080 --> 01:05:15,560
Speaker 1: the fuck all these secrets and it's like, yeah, you've

1277
01:05:15,560 --> 01:05:18,360
Speaker 1: been keeping a secret for no reason. And she was like, well,

1278
01:05:18,360 --> 01:05:20,080
Speaker 1: why didn't he say anything. He's like because he know

1279
01:05:20,160 --> 01:05:22,560
Speaker 1: he dies on the autom No equal NOx I said, damn,

1280
01:05:23,280 --> 01:05:26,760
Speaker 1: I know. My truck's drunk. He's feeling all the tea.

1281
01:05:26,800 --> 01:05:30,080
Speaker 1: That's how drunk people talk. Come on, you know, like

1282
01:05:30,120 --> 01:05:33,120
Speaker 1: where are your wife at you know, she don't like you? Damn. Yeah.

1283
01:05:33,200 --> 01:05:37,640
Speaker 1: He was like, uh, like you got a whole nother family.

1284
01:05:37,760 --> 01:05:39,520
Speaker 2: What God, damn, why are you just not telling him

1285
01:05:39,520 --> 01:05:39,800
Speaker 2: it is.

1286
01:05:40,520 --> 01:05:42,760
Speaker 4: I'm just gonna say she had to work. I thought

1287
01:05:43,040 --> 01:05:44,200
Speaker 4: I didn't see that coming.

1288
01:05:44,880 --> 01:05:46,600
Speaker 1: No, that shit came out to the field. You know,

1289
01:05:46,640 --> 01:05:48,880
Speaker 1: she never wanted me to marry you anyway anyway. Uh

1290
01:05:50,160 --> 01:05:55,120
Speaker 1: but yeah, min Jock's basically was sitting there looking at

1291
01:05:55,200 --> 01:05:58,439
Speaker 1: them like, hey, you basically you need to hide nothing

1292
01:05:58,760 --> 01:06:03,000
Speaker 1: we know. Well, uh hippoota winner on the one that

1293
01:06:03,080 --> 01:06:05,440
Speaker 1: went through the tick did too. Yeah, he was like

1294
01:06:05,520 --> 01:06:07,520
Speaker 1: tick k back from the future with a book and shit.

1295
01:06:07,640 --> 01:06:13,240
Speaker 1: And also, I'm telling you this because you gave the

1296
01:06:13,280 --> 01:06:16,840
Speaker 1: pages to Christina. You basically got a hand in my

1297
01:06:17,040 --> 01:06:20,320
Speaker 1: son getting killed. On other top no equinox, and you'll

1298
01:06:20,400 --> 01:06:22,960
Speaker 1: understand when you have a son, it's nothing you can

1299
01:06:23,000 --> 01:06:27,600
Speaker 1: do to make this right. And I'm like, damn, because

1300
01:06:27,640 --> 01:06:32,200
Speaker 1: Montross I think is a man in mourning if anything,

1301
01:06:32,760 --> 01:06:36,240
Speaker 1: And I'm not saying to excuse his behavior, uh, but

1302
01:06:37,280 --> 01:06:44,240
Speaker 1: that is a fucked up, depressed, angry, repressed man, Like

1303
01:06:44,480 --> 01:06:48,439
Speaker 1: so much shit has happened to that dude. Yes, and

1304
01:06:48,560 --> 01:06:51,280
Speaker 1: he didn't even say this in a way of like

1305
01:06:51,360 --> 01:06:53,160
Speaker 1: I want to hurt you, but it was like he

1306
01:06:53,240 --> 01:06:56,360
Speaker 1: was honestly revealing his pain, which was all this shit

1307
01:06:56,400 --> 01:06:58,640
Speaker 1: we doing and it's probably gonna get my son killed,

1308
01:06:58,680 --> 01:07:01,680
Speaker 1: and I'm doing this to keep my grandbaby alive. So

1309
01:07:01,800 --> 01:07:03,640
Speaker 1: and now you know that, we know, so you can

1310
01:07:03,640 --> 01:07:09,240
Speaker 1: stop bullshit, right, And that's what she also goes, it's funny,

1311
01:07:09,240 --> 01:07:12,720
Speaker 1: I all lady. Her was it's a boy, right anyway,

1312
01:07:12,760 --> 01:07:15,960
Speaker 1: nothing else mattered. I got a boy. The machine hums

1313
01:07:15,960 --> 01:07:19,760
Speaker 1: of life portals started flashing like they were the last time,

1314
01:07:20,480 --> 01:07:23,680
Speaker 1: except this time. Hippolyta is like, look, I put it together.

1315
01:07:23,840 --> 01:07:27,160
Speaker 1: The computer needs a motherboard to give it instructions. And

1316
01:07:27,160 --> 01:07:30,240
Speaker 1: they're like, where we're gonna get a motherboard? Somebody ask

1317
01:07:30,280 --> 01:07:32,160
Speaker 1: her what was the mother boy? Yeah, because this is

1318
01:07:32,240 --> 01:07:35,160
Speaker 1: nineteen fifties, right, they would not.

1319
01:07:35,120 --> 01:07:35,760
Speaker 2: Know what that was.

1320
01:07:35,880 --> 01:07:40,240
Speaker 1: Where's what's the closest radio shack, you know, like there's

1321
01:07:40,280 --> 01:07:43,840
Speaker 1: no circuit city to get this from. And she was like, nigga,

1322
01:07:43,880 --> 01:07:46,280
Speaker 1: I'm the motherboard. And then she shows in her wrist

1323
01:07:46,360 --> 01:07:47,800
Speaker 1: she still had those glowing things.

1324
01:07:49,480 --> 01:07:51,959
Speaker 2: Okay, I thought she had picked them up.

1325
01:07:53,080 --> 01:07:57,200
Speaker 1: She they were in her wrist still so okay, okay,

1326
01:07:57,720 --> 01:08:01,880
Speaker 1: I thought she picked them up with to me, I

1327
01:08:01,920 --> 01:08:04,560
Speaker 1: was hoping for because when they was like, you can

1328
01:08:04,600 --> 01:08:06,400
Speaker 1: go back, and she was like, well, I lose my

1329
01:08:06,520 --> 01:08:08,400
Speaker 1: powers or whatever, and they said yes, I was like,

1330
01:08:08,600 --> 01:08:11,440
Speaker 1: fuck no, I want to come back with some powers,

1331
01:08:11,480 --> 01:08:14,080
Speaker 1: Like I do want her back, but I don't want

1332
01:08:14,120 --> 01:08:16,760
Speaker 1: her back. And then she just Hippolyta the housewife. I

1333
01:08:16,840 --> 01:08:20,360
Speaker 1: want her back as Hippolyta the discoverer, you know. And

1334
01:08:20,439 --> 01:08:26,640
Speaker 1: so she takes the chords from the machine and she

1335
01:08:26,760 --> 01:08:34,120
Speaker 1: tells before she grabsh she tells Mantross that he needs

1336
01:08:34,160 --> 01:08:36,160
Speaker 1: since he's been he was in Tulsa the night of

1337
01:08:36,200 --> 01:08:39,519
Speaker 1: the of the Tulsa massacre. I need you to focus

1338
01:08:39,560 --> 01:08:41,840
Speaker 1: on this memory, this picture of your father and your

1339
01:08:41,840 --> 01:08:44,840
Speaker 1: brother and you at the Stafford Hotel, which was the

1340
01:08:44,960 --> 01:08:48,280
Speaker 1: nicest hotel, the nicest hotel for black people in America

1341
01:08:48,320 --> 01:08:51,280
Speaker 1: at the time. And Tulsa was a land of wealth,

1342
01:08:51,920 --> 01:08:55,600
Speaker 1: black wealth, which is why they destroyed it. Part of

1343
01:08:55,600 --> 01:08:59,559
Speaker 1: why they destroyed it, we'll get into that. But so

1344
01:08:59,720 --> 01:09:03,439
Speaker 1: she's like, listen, I want you to concentrate on this picture,

1345
01:09:03,800 --> 01:09:06,120
Speaker 1: and so he pulls out the picture. He's like, my

1346
01:09:06,240 --> 01:09:09,559
Speaker 1: daddy used to save all this money working as a part.

1347
01:09:09,360 --> 01:09:11,840
Speaker 2: Of we like fuck your story.

1348
01:09:12,840 --> 01:09:14,160
Speaker 1: He was like, so we had one night a year

1349
01:09:14,160 --> 01:09:17,000
Speaker 1: at the Strafford Hotel and me and George, oh, we

1350
01:09:17,120 --> 01:09:18,720
Speaker 1: used to eat it. Tick was like, give it a

1351
01:09:18,720 --> 01:09:20,559
Speaker 1: fucking picture. Give it to her because he's just man

1352
01:09:20,600 --> 01:09:23,280
Speaker 1: like you ain't my daddy needs. Tick just angry, and

1353
01:09:23,320 --> 01:09:26,080
Speaker 1: he's like, let's go. We got fourteen hours picture and

1354
01:09:26,200 --> 01:09:29,280
Speaker 1: Montrous look hurt, like Montross like, I.

1355
01:09:29,640 --> 01:09:31,360
Speaker 2: Just trying to tell the story right.

1356
01:09:31,479 --> 01:09:33,760
Speaker 1: And I don't know if it was the road rash

1357
01:09:33,840 --> 01:09:36,800
Speaker 1: talking or what, but he was getting sentimental. They was like,

1358
01:09:36,840 --> 01:09:39,760
Speaker 1: we don't got time for this shit, and so then

1359
01:09:40,000 --> 01:09:40,759
Speaker 1: I'm like, oh.

1360
01:09:40,600 --> 01:09:43,080
Speaker 2: Man, I have got time for your old ass stories.

1361
01:09:43,520 --> 01:09:46,479
Speaker 1: Hippolytas like, once we get in the past, don't don't

1362
01:09:46,600 --> 01:09:49,200
Speaker 1: do anything to change the future, because y'all are actually

1363
01:09:49,200 --> 01:09:53,599
Speaker 1: going back to our earth in nineteen twenty one. So

1364
01:09:53,680 --> 01:09:58,000
Speaker 1: if y'all changed something, y'all might get motherfucker Michael J.

1365
01:09:58,120 --> 01:10:01,479
Speaker 1: Fox out of time, Like you fuck around and you

1366
01:10:01,520 --> 01:10:04,439
Speaker 1: won't you won't come back because you will have never happened,

1367
01:10:05,920 --> 01:10:12,960
Speaker 1: which is extremely important because like I love black people.

1368
01:10:13,040 --> 01:10:16,360
Speaker 1: I love my black people, that watch this, and maybe

1369
01:10:17,160 --> 01:10:19,479
Speaker 1: we just watch a lot of sci fi time travel shit,

1370
01:10:20,280 --> 01:10:23,960
Speaker 1: but that's a pretty standard rule of time travel.

1371
01:10:24,120 --> 01:10:26,599
Speaker 2: Yes, if you watch a show, that's the number one

1372
01:10:26,640 --> 01:10:28,639
Speaker 2: thing they tell you when you go back in the past.

1373
01:10:28,680 --> 01:10:29,599
Speaker 2: Don't fuck with shit.

1374
01:10:29,920 --> 01:10:34,920
Speaker 1: And this is majorly fucking important. I understand the emotional things.

1375
01:10:34,920 --> 01:10:37,599
Speaker 1: That's actually why this episode worked for me so much.

1376
01:10:37,920 --> 01:10:41,280
Speaker 1: It's because I understand this was time travel unlike I've

1377
01:10:41,320 --> 01:10:43,720
Speaker 1: ever seen it before. And we'll get into that in

1378
01:10:43,720 --> 01:10:46,599
Speaker 1: a second, but I just want to emphasize this moment

1379
01:10:46,920 --> 01:10:50,160
Speaker 1: when the fucking genius black woman, the Tony Stark of

1380
01:10:50,240 --> 01:10:55,679
Speaker 1: your universe, is like, don't fuck around because you may

1381
01:10:56,120 --> 01:10:58,679
Speaker 1: fuck up all of history and none of this shit

1382
01:10:58,720 --> 01:10:59,200
Speaker 1: will matter.

1383
01:10:59,439 --> 01:11:03,559
Speaker 2: Yes, Rick Sanchez is telling you right, you know, with

1384
01:11:03,640 --> 01:11:04,559
Speaker 2: the counsel of Ricks.

1385
01:11:04,600 --> 01:11:08,120
Speaker 1: It's like, hey, hey, I've done this before. Don't fucking round, right,

1386
01:11:08,600 --> 01:11:11,479
Speaker 1: don't tell her bada ass it is stupid. Okay, you

1387
01:11:11,680 --> 01:11:13,880
Speaker 1: just do what the fuck she says, and she pulls

1388
01:11:13,920 --> 01:11:16,680
Speaker 1: to ah, she pulls ticking Montrosse at the signs like,

1389
01:11:16,960 --> 01:11:20,960
Speaker 1: and y'all cut the shit. Whatever y'all going on with y'all,

1390
01:11:21,479 --> 01:11:23,600
Speaker 1: don't bring it into the fucking time travel with you

1391
01:11:23,680 --> 01:11:28,040
Speaker 1: because we need to save d and that's the only

1392
01:11:28,080 --> 01:11:31,280
Speaker 1: thing that's fucking important, right, Fuck whatever y'all going through.

1393
01:11:31,439 --> 01:11:33,599
Speaker 1: So then she takes up the cords and it causes

1394
01:11:33,600 --> 01:11:36,799
Speaker 1: her pain as the electricity like goes through her body

1395
01:11:37,120 --> 01:11:38,479
Speaker 1: and they go to rush to her at first, and

1396
01:11:38,520 --> 01:11:41,519
Speaker 1: she's like, no, I got this. Go through the fucking portal.

1397
01:11:41,600 --> 01:11:44,160
Speaker 2: Yeah, And it was like almost like jumper cables.

1398
01:11:44,560 --> 01:11:48,280
Speaker 1: And like you can see the electricity, like who. So

1399
01:11:48,439 --> 01:11:51,599
Speaker 1: then they jumped, Letting and Tick jump through the cable

1400
01:11:52,200 --> 01:11:55,400
Speaker 1: the portal right away. Montross takes a second and in

1401
01:11:55,439 --> 01:11:57,800
Speaker 1: his head we hear the same memories of her when

1402
01:11:57,800 --> 01:12:01,120
Speaker 1: he sweat us drink all the fucking road rash by

1403
01:12:01,160 --> 01:12:04,400
Speaker 1: the car, and it's these flashbacks of like his dad

1404
01:12:04,439 --> 01:12:07,240
Speaker 1: beating hum, Tick talking about how terrible of a father

1405
01:12:07,320 --> 01:12:12,800
Speaker 1: he is, George being shot, George telling him that you know,

1406
01:12:12,840 --> 01:12:16,360
Speaker 1: he might be Tick's father. All this shit we just

1407
01:12:16,439 --> 01:12:20,800
Speaker 1: hear it. And that was from this point on to me,

1408
01:12:22,120 --> 01:12:26,120
Speaker 1: Michael K. Williams, MVP of the fucking episode. As far

1409
01:12:26,200 --> 01:12:30,080
Speaker 1: as an actor, god damn, he did that shit.

1410
01:12:30,120 --> 01:12:31,880
Speaker 2: He can act his ass off, because.

1411
01:12:31,960 --> 01:12:35,680
Speaker 1: Especially when I rewatched it, from that point on, we

1412
01:12:35,720 --> 01:12:40,920
Speaker 1: are watching a man living and also reliving the most

1413
01:12:40,960 --> 01:12:47,120
Speaker 1: traumatic moment in many people's in black history, for many people. Yes,

1414
01:12:47,640 --> 01:12:50,919
Speaker 1: I can't even imagine, Like to me, that's the reverence

1415
01:12:50,920 --> 01:12:53,000
Speaker 1: that this was done with. So when someone tells you

1416
01:12:53,520 --> 01:12:56,920
Speaker 1: they don't care about trauma or triggers, fuck you, because

1417
01:12:56,960 --> 01:13:01,479
Speaker 1: I can't imagine a more like, no, we this person

1418
01:13:01,560 --> 01:13:05,000
Speaker 1: is living this, this is real and it happened. Now

1419
01:13:05,000 --> 01:13:08,479
Speaker 1: you may be triggered or bothered or having an emotion. Good,

1420
01:13:08,560 --> 01:13:10,800
Speaker 1: that's what the fuck you should be feeling. You should

1421
01:13:10,840 --> 01:13:12,920
Speaker 1: start thinking of all the other time travel shit you

1422
01:13:13,000 --> 01:13:14,800
Speaker 1: watched where they like we went back to World War

1423
01:13:14,840 --> 01:13:18,040
Speaker 1: two and you felt nothing, you know, you felt nothing

1424
01:13:18,080 --> 01:13:20,360
Speaker 1: because it was like, yeah, okay, time trying world War two.

1425
01:13:21,320 --> 01:13:23,519
Speaker 1: But this made it real because he was like I

1426
01:13:23,640 --> 01:13:25,960
Speaker 1: was there and this was my life. Yeah, And that

1427
01:13:26,120 --> 01:13:30,400
Speaker 1: hesitation before he jumped in was everything. It's just foreshadowing

1428
01:13:30,520 --> 01:13:33,000
Speaker 1: all the shit we was about to see. Like I

1429
01:13:33,080 --> 01:13:35,240
Speaker 1: understood when I rewatched, why the fuck he't want to

1430
01:13:35,280 --> 01:13:36,360
Speaker 1: jump through that portal? Right?

1431
01:13:36,400 --> 01:13:38,760
Speaker 2: And I could have understood him going I'm not going,

1432
01:13:38,960 --> 01:13:40,960
Speaker 2: I'm not jumping through the portal like you know, cause

1433
01:13:40,960 --> 01:13:42,200
Speaker 2: I was like, you need to come on.

1434
01:13:42,560 --> 01:13:46,080
Speaker 1: But they needed him. They did, like they needed him Forded,

1435
01:13:46,200 --> 01:13:51,040
Speaker 1: they needed him for Tick. They need him. A lot

1436
01:13:51,080 --> 01:13:53,200
Speaker 1: of people wouldn't have jumped through that motherfucking portal though,

1437
01:13:53,280 --> 01:13:55,920
Speaker 1: I know that much clone. A lot of people were like,

1438
01:13:55,960 --> 01:13:58,760
Speaker 1: hey man, look, make two lefts go you go by

1439
01:13:58,800 --> 01:13:59,680
Speaker 1: the rock. You don't pass it.

1440
01:13:59,720 --> 01:14:01,800
Speaker 2: Because the only one that did actually knew how to

1441
01:14:01,920 --> 01:14:02,880
Speaker 2: navigate the city.

1442
01:14:03,080 --> 01:14:08,040
Speaker 1: Yeah, he was there, so give him his things. Okay. So,

1443
01:14:09,120 --> 01:14:12,479
Speaker 1: uh they get to the hotel where they you know,

1444
01:14:12,520 --> 01:14:16,800
Speaker 1: they they come through the portal and uh, they look

1445
01:14:16,840 --> 01:14:22,600
Speaker 1: out the window and I've never seen Tulsa like this, absolutely,

1446
01:14:23,240 --> 01:14:29,000
Speaker 1: I mean, vibrant, alive colors were popping. Black people dressed

1447
01:14:29,000 --> 01:14:30,120
Speaker 1: to the nine.

1448
01:14:30,040 --> 01:14:34,920
Speaker 2: Black folks just being in their greatness. I was like, oh,

1449
01:14:35,160 --> 01:14:38,599
Speaker 2: and and I know by like, oh, it was money money,

1450
01:14:38,640 --> 01:14:42,760
Speaker 2: and I'm not talking no, I'm like these was like like.

1451
01:14:42,760 --> 01:14:47,080
Speaker 1: Today, they would be billionaires, right and like everybody all

1452
01:14:47,160 --> 01:14:50,959
Speaker 1: the cars nice, all the all the shops and stores

1453
01:14:51,160 --> 01:14:55,439
Speaker 1: brand new, just you know, just amazing. And we hear

1454
01:14:55,920 --> 01:14:58,479
Speaker 1: Tick opens up the door to look through the hallway

1455
01:14:59,040 --> 01:15:02,160
Speaker 1: and he he sees two black girls coming back and

1456
01:15:02,160 --> 01:15:04,880
Speaker 1: they're like, yeah, they canceled the dance. What we're gonna

1457
01:15:04,920 --> 01:15:06,920
Speaker 1: do now? You know, they didn't even say why I

1458
01:15:07,000 --> 01:15:11,200
Speaker 1: was canceled. And he turns in to Montross, who still

1459
01:15:11,400 --> 01:15:15,639
Speaker 1: obviously visibly just out of it. Yes, rewatching, I mean,

1460
01:15:15,640 --> 01:15:19,240
Speaker 1: this is this childhood. He's rewatching the place that he

1461
01:15:19,360 --> 01:15:24,240
Speaker 1: knows is destroyed, be undestroyed for the moment. And he's like, yeah,

1462
01:15:24,280 --> 01:15:28,439
Speaker 1: they canceled the Booker t Washington High School prom a

1463
01:15:28,479 --> 01:15:33,680
Speaker 1: couple of hours before the massacre started and that, and

1464
01:15:33,760 --> 01:15:36,120
Speaker 1: so the thing they do at this point, My Trials

1465
01:15:36,200 --> 01:15:40,240
Speaker 1: kind of half becomes narrator because he's the one that

1466
01:15:39,960 --> 01:15:42,960
Speaker 1: that experienced it. But then it's halfway. You know, the

1467
01:15:43,000 --> 01:15:48,040
Speaker 1: show can be very overt at times, so a lot

1468
01:15:48,080 --> 01:15:51,240
Speaker 1: of it was just overtly, like we're gonna call out

1469
01:15:51,280 --> 01:15:54,360
Speaker 1: things that happened here through Montrials's narration, and you at

1470
01:15:54,360 --> 01:15:56,040
Speaker 1: home go look the shit up if you want to.

1471
01:15:57,160 --> 01:16:01,840
Speaker 1: So they all right, So then they're like, we gotta

1472
01:16:01,840 --> 01:16:03,719
Speaker 1: get out on the streets, we gotta get on the mission,

1473
01:16:03,720 --> 01:16:05,519
Speaker 1: we gotta get the book, but we can't do it

1474
01:16:05,520 --> 01:16:06,440
Speaker 1: in these clothes.

1475
01:16:06,320 --> 01:16:08,479
Speaker 2: Right, And I was like, y'all would literally stand out

1476
01:16:08,560 --> 01:16:10,639
Speaker 2: them niggas would be like, the hell y'all got on.

1477
01:16:10,880 --> 01:16:14,360
Speaker 1: So they dromp it to some nineteen twenties fish and

1478
01:16:14,439 --> 01:16:18,160
Speaker 1: I think everybody find a good outfit except for Letty's shoes.

1479
01:16:18,640 --> 01:16:20,240
Speaker 2: Yeah, but I said, she ain't come with no no,

1480
01:16:20,240 --> 01:16:22,240
Speaker 2: no past shoes. She was like, had that beautiful dress

1481
01:16:22,280 --> 01:16:23,200
Speaker 2: down with Kinnis shoes.

1482
01:16:24,920 --> 01:16:27,599
Speaker 1: Some shoes ain't even been invented yet. It ain't even

1483
01:16:27,840 --> 01:16:30,000
Speaker 1: they'd been like what kind of rubber is? They'd be

1484
01:16:30,080 --> 01:16:32,240
Speaker 1: like what a thse? Right, she got out of the

1485
01:16:32,240 --> 01:16:35,360
Speaker 1: porter with some Jordan's on. I was like, I gotta go.

1486
01:16:36,800 --> 01:16:42,080
Speaker 1: So yeah, seeing you know it obviously you know Montross

1487
01:16:42,400 --> 01:16:46,920
Speaker 1: is like just talk. He's like tik goes. They burned

1488
01:16:46,960 --> 01:16:49,240
Speaker 1: Mama's house down the first night of the massacre with

1489
01:16:49,320 --> 01:16:51,840
Speaker 1: a whole fit, and then Montross like with a whole

1490
01:16:51,880 --> 01:16:59,479
Speaker 1: family inside. And that's when I'm like, that's the difference, right,

1491
01:16:59,760 --> 01:17:02,240
Speaker 1: That's It's really like when you open up the show

1492
01:17:02,320 --> 01:17:06,080
Speaker 1: and you passionately talked about it, that's the difference. If

1493
01:17:06,120 --> 01:17:08,519
Speaker 1: you just read about it, or if you just heard

1494
01:17:08,520 --> 01:17:10,880
Speaker 1: about it, or if you just let what white people

1495
01:17:10,960 --> 01:17:15,280
Speaker 1: tell you about our history, you there's a disconnection. And

1496
01:17:15,320 --> 01:17:18,439
Speaker 1: for Montross, who lived it still live in ancestor right

1497
01:17:18,479 --> 01:17:22,960
Speaker 1: with you. It was so real to him. He it

1498
01:17:23,040 --> 01:17:24,000
Speaker 1: was like he was frozen.

1499
01:17:24,280 --> 01:17:26,720
Speaker 2: Yes, and Tick was like, my mama died, and he

1500
01:17:26,800 --> 01:17:28,639
Speaker 2: was like the tickets just to.

1501
01:17:30,360 --> 01:17:32,960
Speaker 1: His mama didn't die there, but her people died there. Yeah.

1502
01:17:33,000 --> 01:17:35,439
Speaker 1: But to him it's like a history fact.

1503
01:17:36,280 --> 01:17:38,920
Speaker 2: Yes, yes, like a check mark, you know how they

1504
01:17:39,320 --> 01:17:42,120
Speaker 2: like they basically the way a lot of school go.

1505
01:17:42,320 --> 01:17:45,000
Speaker 2: Here's the history regurgitated to me, and it's no connection.

1506
01:17:45,120 --> 01:17:47,400
Speaker 1: What year did your mama die? Your mama's people died

1507
01:17:47,479 --> 01:17:50,720
Speaker 1: nineteen twenty one, nineteen thirty seven, nineteen oh five, or

1508
01:17:50,800 --> 01:17:52,720
Speaker 1: nineteen forty two, you know what I mean. That's how

1509
01:17:52,880 --> 01:17:55,240
Speaker 1: how he said it. But to Montross, those real people

1510
01:17:55,240 --> 01:17:55,839
Speaker 1: he knew.

1511
01:17:55,640 --> 01:17:58,519
Speaker 2: Yeah, he was like, no, no, the whole family died,

1512
01:17:58,680 --> 01:18:02,599
Speaker 2: like multiple people, you know, not just the one person,

1513
01:18:02,720 --> 01:18:03,720
Speaker 2: like everybody died.

1514
01:18:03,760 --> 01:18:05,360
Speaker 1: And now we know why you be drunk as hell.

1515
01:18:06,439 --> 01:18:10,439
Speaker 1: So then we saw like some of when they got

1516
01:18:10,479 --> 01:18:11,720
Speaker 1: out on the street, we saw a little bit of

1517
01:18:11,760 --> 01:18:14,800
Speaker 1: Tulsa Williams Dreamland Theater which is planning to go a

1518
01:18:14,840 --> 01:18:19,400
Speaker 1: bush of Keaton, Virginia, Fox film, which was a real theater,

1519
01:18:20,280 --> 01:18:23,160
Speaker 1: but that movie real Yeah, yeah, okay, but what I

1520
01:18:23,160 --> 01:18:25,479
Speaker 1: think is interesting though, is if you look up pictures

1521
01:18:25,600 --> 01:18:29,920
Speaker 1: of Williams Dreamland Theater, you'll mostly only see the destroyed

1522
01:18:29,960 --> 01:18:33,120
Speaker 1: theater after the riots, I mean, after the White massacre.

1523
01:18:33,479 --> 01:18:37,719
Speaker 1: Oh so once again they're doing us the service of

1524
01:18:38,479 --> 01:18:42,240
Speaker 1: recreating this making it live. You know, no shade to Watchmen,

1525
01:18:42,360 --> 01:18:46,080
Speaker 1: which I loved, but even Watchmen didn't do that. They

1526
01:18:46,120 --> 01:18:48,400
Speaker 1: make you feel like this is just a thing that happened,

1527
01:18:48,439 --> 01:18:51,240
Speaker 1: This tragedy is all. There is a Tulsa we got

1528
01:18:51,240 --> 01:18:53,640
Speaker 1: to be in, you know, eight to ten hours of

1529
01:18:53,680 --> 01:18:57,759
Speaker 1: living breathing Tulsa of black people modern, they fucking business

1530
01:18:57,920 --> 01:19:00,880
Speaker 1: and being excellent. And there's something into it because it

1531
01:19:00,920 --> 01:19:03,960
Speaker 1: makes the loss of it feel more real. Even like

1532
01:19:04,080 --> 01:19:08,240
Speaker 1: while Tulsa's or the original Watchman Tusa thing was just

1533
01:19:08,240 --> 01:19:10,280
Speaker 1: more like a horror movie like oh my god, they

1534
01:19:10,280 --> 01:19:13,400
Speaker 1: barely say they barely survived or whatever, this felt more

1535
01:19:13,479 --> 01:19:18,639
Speaker 1: like they lost a civilization almost, they lost a way

1536
01:19:18,680 --> 01:19:21,479
Speaker 1: of life, they lost a community. This feels more real

1537
01:19:21,560 --> 01:19:26,960
Speaker 1: to me than the herrowing Tulsa that was in Watchmen.

1538
01:19:27,240 --> 01:19:30,400
Speaker 2: Yes, and it's also one of the things to where

1539
01:19:31,800 --> 01:19:37,559
Speaker 2: a lot of black people have this quote have this

1540
01:19:37,640 --> 01:19:40,559
Speaker 2: connection to Native Americans because that same thing that happened

1541
01:19:40,560 --> 01:19:43,080
Speaker 2: to them. They stole their land, they beat them, they

1542
01:19:43,080 --> 01:19:45,960
Speaker 2: whooped them. You had the trail of tears. So it's

1543
01:19:46,040 --> 01:19:48,439
Speaker 2: like one of those things where you know, this was

1544
01:19:48,520 --> 01:19:51,400
Speaker 2: ripped from them, just like Tulsa was ripped from us.

1545
01:19:52,479 --> 01:19:56,960
Speaker 1: So then they while they another thing. I noticed there

1546
01:19:57,000 --> 01:19:59,800
Speaker 1: was an ad for a car called the Tulsa that

1547
01:19:59,920 --> 01:20:02,519
Speaker 1: was a real car. It actually competed with the Model

1548
01:20:02,560 --> 01:20:04,400
Speaker 1: T but it lost out to it in the end.

1549
01:20:04,479 --> 01:20:08,320
Speaker 1: I wonder how much the Tulsa Race massacre may have

1550
01:20:08,360 --> 01:20:09,720
Speaker 1: had to do it that I don't know, Like I

1551
01:20:09,720 --> 01:20:12,439
Speaker 1: didn't get to see the years, but I didn't even

1552
01:20:12,439 --> 01:20:16,080
Speaker 1: know there was a car call that neither. They're like,

1553
01:20:16,080 --> 01:20:17,479
Speaker 1: we got to take a short cut through the white

1554
01:20:17,520 --> 01:20:21,120
Speaker 1: side of the town. Ticktails, letty to you gonna have

1555
01:20:21,120 --> 01:20:22,559
Speaker 1: to be the one to knock on the door of

1556
01:20:22,680 --> 01:20:27,519
Speaker 1: Dora and you know, my mama's house, essentially because they

1557
01:20:27,520 --> 01:20:30,400
Speaker 1: don't know you. They might there's a chance they might

1558
01:20:30,600 --> 01:20:34,759
Speaker 1: recognize Montross or or maybe even me to some extent,

1559
01:20:35,240 --> 01:20:38,280
Speaker 1: and you know nobody would know you, so you you

1560
01:20:38,400 --> 01:20:41,400
Speaker 1: go in there. Correct very convenient thing. But you know

1561
01:20:41,400 --> 01:20:43,360
Speaker 1: they were being careful with the time travel. They didn't

1562
01:20:43,360 --> 01:20:44,200
Speaker 1: want to fuck something up.

1563
01:20:44,360 --> 01:20:45,599
Speaker 2: Right, somebody be like.

1564
01:20:45,520 --> 01:20:46,360
Speaker 1: Do I know you?

1565
01:20:46,080 --> 01:20:49,040
Speaker 2: You look like boy? Right?

1566
01:20:49,280 --> 01:20:53,200
Speaker 1: Well he wasn't born yet, so my like, but but

1567
01:20:53,400 --> 01:20:57,880
Speaker 1: his dad was, so you know, maybe his dad was Monty.

1568
01:20:58,160 --> 01:21:01,800
Speaker 2: I'm not even looked at the older version of my boy.

1569
01:21:02,040 --> 01:21:05,800
Speaker 1: So Montross gets he just gets caught up looking at

1570
01:21:05,800 --> 01:21:09,360
Speaker 1: this like monuments, statute something in the center of town.

1571
01:21:09,400 --> 01:21:12,640
Speaker 1: Once again, more of those audio flashbacks. He's then we

1572
01:21:12,760 --> 01:21:15,400
Speaker 1: get like some flashbacks of like a white, white group

1573
01:21:15,439 --> 01:21:18,479
Speaker 1: of white dudes rolling up with to some kids in

1574
01:21:18,920 --> 01:21:23,200
Speaker 1: that area and chasing after him, and Shit and Tick

1575
01:21:23,240 --> 01:21:25,360
Speaker 1: and Letty are just talking like, okay, so we're gonna

1576
01:21:25,360 --> 01:21:26,880
Speaker 1: do this. What do you think the book gonna be.

1577
01:21:26,880 --> 01:21:29,200
Speaker 1: You'll probably be in the grandmother's room blah blah blah,

1578
01:21:29,280 --> 01:21:33,120
Speaker 1: and so mon Trous is totally out of it. Tick says, hey,

1579
01:21:33,520 --> 01:21:35,640
Speaker 1: what did you hear us? What room's gonna be in?

1580
01:21:36,200 --> 01:21:38,720
Speaker 1: And he doesn't hear him. Mon Trous is out of it.

1581
01:21:39,040 --> 01:21:42,240
Speaker 1: So Tick pushes him and then he realizes, wait, you've

1582
01:21:42,240 --> 01:21:47,280
Speaker 1: been drinking. And he's basically like to him, how irresponsible

1583
01:21:47,360 --> 01:21:50,160
Speaker 1: you know we're on this mission. You've been fucking drinking,

1584
01:21:50,680 --> 01:21:53,639
Speaker 1: you know, like this is fucked up. You ain't even

1585
01:21:53,680 --> 01:21:56,080
Speaker 1: my father, you know what, You don't even care, like

1586
01:21:56,120 --> 01:21:59,320
Speaker 1: this could end up with d dying because you're fucking

1587
01:21:59,360 --> 01:22:02,200
Speaker 1: staring off in the space drunk. He doesn't know or

1588
01:22:02,320 --> 01:22:06,280
Speaker 1: even conceptualize how much trauma Montross.

1589
01:22:05,880 --> 01:22:09,519
Speaker 2: Is going right, and that goes back to that disconnective history,

1590
01:22:09,800 --> 01:22:12,160
Speaker 2: and also that goes back to that abuse, you know,

1591
01:22:13,320 --> 01:22:16,599
Speaker 2: because I think that if Montrosse would have expressed it

1592
01:22:17,320 --> 01:22:21,080
Speaker 2: and had a better understanding, like they actually could have

1593
01:22:21,160 --> 01:22:22,479
Speaker 2: understood each other better.

1594
01:22:22,880 --> 01:22:25,240
Speaker 1: But as far as Tick is concerned, he's like, no, no.

1595
01:22:25,120 --> 01:22:27,040
Speaker 2: No, fuck you, And when we get back, I don't

1596
01:22:27,080 --> 01:22:28,320
Speaker 2: want anything else to do with you.

1597
01:22:28,960 --> 01:22:31,720
Speaker 1: I'll even slap it down one level, play further play

1598
01:22:31,840 --> 01:22:36,880
Speaker 1: or slap it down. I think Montrosse is stopped. The

1599
01:22:37,439 --> 01:22:40,200
Speaker 1: way he abused Tick and the reasons he did it

1600
01:22:40,960 --> 01:22:46,440
Speaker 1: make Tick almost incapable of seeing Montross as something beyond

1601
01:22:46,720 --> 01:22:49,599
Speaker 1: a mean, angry drunk yes, Like I don't even think

1602
01:22:49,600 --> 01:22:53,000
Speaker 1: he can see he's going through trauma, Like people said

1603
01:22:53,000 --> 01:22:55,040
Speaker 1: that on Twitter, like you couldn't see how much he

1604
01:22:55,120 --> 01:22:57,599
Speaker 1: was going through. I'm like, you gotta think to him,

1605
01:22:57,760 --> 01:22:59,840
Speaker 1: this is a dude that's been beating me, my whole

1606
01:22:59,840 --> 01:23:02,320
Speaker 1: life and lying to me right, so he don't know.

1607
01:23:02,439 --> 01:23:04,320
Speaker 1: You don't see it, you know, the same way you

1608
01:23:04,320 --> 01:23:06,080
Speaker 1: don't see shit for people that did you wrong. I'm

1609
01:23:06,080 --> 01:23:08,600
Speaker 1: not saying it's right, but you know, it takes a

1610
01:23:08,680 --> 01:23:13,479
Speaker 1: lot of self actualization and examination before you can be like, Okay,

1611
01:23:13,520 --> 01:23:15,519
Speaker 1: I see what you went through, and now I see

1612
01:23:15,520 --> 01:23:18,480
Speaker 1: how that may have affected our relationship.

1613
01:23:18,200 --> 01:23:23,120
Speaker 2: And any other any parent a child relationship. Sometimes parents

1614
01:23:23,160 --> 01:23:26,240
Speaker 2: do things and the days off and kids are like,

1615
01:23:26,320 --> 01:23:28,360
Speaker 2: Mama and daddy, you know what's wrong with you? Because

1616
01:23:28,400 --> 01:23:31,639
Speaker 2: they do not understand you have a history, you can

1617
01:23:31,720 --> 01:23:35,559
Speaker 2: remember shit that was before their time, and so no,

1618
01:23:35,760 --> 01:23:39,200
Speaker 2: most children cannot understand and they cannot relate unless the

1619
01:23:39,240 --> 01:23:41,960
Speaker 2: parent actually takes the time to emphasize the importance of

1620
01:23:42,000 --> 01:23:44,840
Speaker 2: certain things. There's always going to be a disconnect from

1621
01:23:44,880 --> 01:23:47,200
Speaker 2: for a child to see the humanity in their parents.

1622
01:23:47,320 --> 01:23:52,560
Speaker 1: Well, I think, may I think especially with an abusive situation, yes,

1623
01:23:53,360 --> 01:23:55,800
Speaker 1: because because what happens is kids get older and then

1624
01:23:55,840 --> 01:23:59,240
Speaker 1: they can start seeing it. Yet, but if you've just

1625
01:23:59,360 --> 01:24:01,800
Speaker 1: been abused in live, yeah, you're not gonna be able

1626
01:24:01,840 --> 01:24:03,559
Speaker 1: to see it. I don't know, Like I think if

1627
01:24:03,600 --> 01:24:07,040
Speaker 1: people look at tick is partially a victim of this man.

1628
01:24:07,200 --> 01:24:09,880
Speaker 1: Then they who was also in that man who's a

1629
01:24:09,960 --> 01:24:13,719
Speaker 1: victim of another man, and like, you know, it reminds

1630
01:24:13,720 --> 01:24:15,439
Speaker 1: me of why I love the photograph. But a lot

1631
01:24:15,439 --> 01:24:16,719
Speaker 1: of niggas just missed it.

1632
01:24:17,040 --> 01:24:17,320
Speaker 2: They did.

1633
01:24:17,560 --> 01:24:19,280
Speaker 1: I was like, oh no, it's it's not a wrong

1634
01:24:19,360 --> 01:24:23,160
Speaker 1: comm It's actually about Jake breaking generational trauma and people.

1635
01:24:23,360 --> 01:24:25,600
Speaker 1: But instead people just look at it like you know,

1636
01:24:25,920 --> 01:24:29,240
Speaker 1: whether or not they kissed good or whatever. And I'm like, well,

1637
01:24:29,240 --> 01:24:31,880
Speaker 1: you missed the point in the movie, but okay, anyway,

1638
01:24:32,320 --> 01:24:39,120
Speaker 1: so they uh yeah. So so then they find the

1639
01:24:39,200 --> 01:24:43,120
Speaker 1: houses and Letty gets ready to go to Door's house

1640
01:24:43,160 --> 01:24:44,920
Speaker 1: and they stop him or if they stop her, and

1641
01:24:44,920 --> 01:24:48,360
Speaker 1: they're like no, no, no, wait, because young Montross is being

1642
01:24:48,640 --> 01:24:51,599
Speaker 1: thrown out into the front yard by the father who

1643
01:24:51,680 --> 01:24:53,080
Speaker 1: was played by Latavius.

1644
01:24:53,160 --> 01:24:56,840
Speaker 2: Yes, Latavious, you want some good old fashioned drugs?

1645
01:24:57,240 --> 01:25:02,320
Speaker 1: Latavious from Black Lightnings not Lie Lilies column one of

1646
01:25:02,320 --> 01:25:06,520
Speaker 1: my favorite. Anybody selling good old fashioned regular.

1647
01:25:06,240 --> 01:25:10,040
Speaker 2: Trulls like that mustache. I was like, you can't have

1648
01:25:10,200 --> 01:25:11,519
Speaker 2: behind that mustache, sir.

1649
01:25:11,840 --> 01:25:14,800
Speaker 1: Nobody plays an angry negro like the dude that play

1650
01:25:14,880 --> 01:25:19,200
Speaker 1: the table, Yes, sir, so he's now his name is

1651
01:25:19,280 --> 01:25:23,200
Speaker 1: Virton on this as the father of Montreals and George,

1652
01:25:23,479 --> 01:25:30,320
Speaker 1: and so basically he beats his ship like mercilessly beats Montross,

1653
01:25:30,400 --> 01:25:34,320
Speaker 1: young Montross with a switch, big ass switch. One of them.

1654
01:25:34,360 --> 01:25:35,439
Speaker 1: Don't give me another switch.

1655
01:25:35,479 --> 01:25:40,000
Speaker 2: Switch, Yeah, one of them. Go pick your switch and

1656
01:25:40,040 --> 01:25:41,880
Speaker 2: then get mad because you picked the wrong one. But like,

1657
01:25:41,880 --> 01:25:43,280
Speaker 2: fuck it, I just pulled the tree trunk.

1658
01:25:43,640 --> 01:25:46,200
Speaker 1: Yeah, one of the ones. They just take the branches

1659
01:25:46,200 --> 01:25:48,800
Speaker 1: off a tree trunk and beat you with it. Them switches, yes, sir.

1660
01:25:49,280 --> 01:25:51,519
Speaker 1: So he beats the ship out of Montreals, and he's

1661
01:25:51,560 --> 01:25:55,720
Speaker 1: doing it in the front yard, and he's doing it

1662
01:25:55,880 --> 01:26:01,080
Speaker 1: because Montross was wearing George's prom jacket and looking at

1663
01:26:01,120 --> 01:26:03,960
Speaker 1: himself in the mirror. But he took the corsage that

1664
01:26:04,040 --> 01:26:06,519
Speaker 1: goes on the woman's on the girl's wrist and put

1665
01:26:06,600 --> 01:26:09,559
Speaker 1: it on his head and was wearing it like a flower,

1666
01:26:09,640 --> 01:26:12,160
Speaker 1: like looking in the mirror once, you know. So this

1667
01:26:12,200 --> 01:26:15,000
Speaker 1: is one of those like, Okay, you're not gonna be soft.

1668
01:26:15,320 --> 01:26:18,439
Speaker 1: My son ain't gonna be gay, you you know. Like,

1669
01:26:19,520 --> 01:26:23,600
Speaker 1: and so he basically beat him in front of the neighborhood,

1670
01:26:24,560 --> 01:26:29,800
Speaker 1: and Mantrials goes I deserved it because I, you know,

1671
01:26:29,840 --> 01:26:32,120
Speaker 1: I had that flower and I was in George's jacket,

1672
01:26:32,720 --> 01:26:38,040
Speaker 1: and Letty goes nobody deserves this. And Tick is now

1673
01:26:38,200 --> 01:26:40,280
Speaker 1: kind of emotionally like you can see him crying a

1674
01:26:40,320 --> 01:26:43,519
Speaker 1: little bit, but also you can see that it's fucking

1675
01:26:43,600 --> 01:26:46,360
Speaker 1: him up because he just thinks of his father as

1676
01:26:46,360 --> 01:26:49,479
Speaker 1: the bully of him and not the victim of someone

1677
01:26:49,479 --> 01:26:51,200
Speaker 1: else who also turned into a bully.

1678
01:26:51,400 --> 01:26:54,479
Speaker 2: Right, And I took the side. The whole time George

1679
01:26:54,479 --> 01:26:57,280
Speaker 2: had been telling him, Hey, it's more to your daddy,

1680
01:26:57,400 --> 01:26:59,599
Speaker 2: like your dad ain't always been like this, But Tick

1681
01:26:59,600 --> 01:27:02,160
Speaker 2: did one hear, which I can completely understand because it

1682
01:27:02,200 --> 01:27:04,479
Speaker 2: was like this man that beat me, there's no way

1683
01:27:04,840 --> 01:27:07,839
Speaker 2: he could have ever been a carrying and kind person.

1684
01:27:07,960 --> 01:27:10,600
Speaker 1: And of course George blazes himself too. Yes, now I

1685
01:27:10,640 --> 01:27:12,960
Speaker 1: will say this and feel how you want to feel

1686
01:27:12,960 --> 01:27:15,880
Speaker 1: about it. I'm not gonna argue if you feel like, you know,

1687
01:27:15,960 --> 01:27:18,200
Speaker 1: the show shouldn't have shown all this is too fast,

1688
01:27:18,280 --> 01:27:20,519
Speaker 1: too convenient. I get you, but we only gonna be

1689
01:27:20,560 --> 01:27:23,080
Speaker 1: in Tos for one day, for a few hours. We

1690
01:27:23,120 --> 01:27:25,720
Speaker 1: gotta show these like the shit needs to happen in

1691
01:27:25,760 --> 01:27:27,800
Speaker 1: ways that we can see it, right, away because we

1692
01:27:27,840 --> 01:27:31,000
Speaker 1: ain't got time to fuck around, you know, if hopefully

1693
01:27:31,040 --> 01:27:33,280
Speaker 1: we get a season two, but if not, we gott

1694
01:27:33,280 --> 01:27:36,160
Speaker 1: to tide these loose ends. Yes, sir, you can't get

1695
01:27:36,200 --> 01:27:39,120
Speaker 1: on the show and say it doesn't have I forget

1696
01:27:39,160 --> 01:27:41,479
Speaker 1: what days what the word was, but they tried to

1697
01:27:41,520 --> 01:27:44,320
Speaker 1: say it that basically doesn't tell stories good. And I'm like,

1698
01:27:44,479 --> 01:27:47,160
Speaker 1: you can't get on the show for being too on

1699
01:27:47,240 --> 01:27:49,640
Speaker 1: the nose with the story when you just said the

1700
01:27:49,680 --> 01:27:52,200
Speaker 1: show doesn't fucking tell you give you the point of

1701
01:27:52,240 --> 01:27:54,760
Speaker 1: the story. Here you go, here's the point. Everyone calmed down.

1702
01:27:54,800 --> 01:27:56,639
Speaker 1: We got one more episode to go, so we gotta

1703
01:27:56,680 --> 01:27:59,040
Speaker 1: get to this thing. But yeah, we see they've been

1704
01:27:59,040 --> 01:28:01,559
Speaker 1: heading towards it the whole time. We see the abuse,

1705
01:28:01,640 --> 01:28:04,280
Speaker 1: and then we also see Dora come from next door

1706
01:28:04,360 --> 01:28:09,920
Speaker 1: to protect Montross from his father, who, in traditional black

1707
01:28:10,000 --> 01:28:19,880
Speaker 1: neighborhood UH parlance, any child can get anybody like back

1708
01:28:19,880 --> 01:28:21,680
Speaker 1: in the day. I mean, I hope it's not like

1709
01:28:21,720 --> 01:28:24,680
Speaker 1: that now, but back in the day, uh it was.

1710
01:28:24,880 --> 01:28:27,280
Speaker 1: I mean, parents used to split the ass whooping. Sometimes

1711
01:28:28,000 --> 01:28:29,880
Speaker 1: I heard you was doing such and such, and I'm

1712
01:28:29,880 --> 01:28:32,080
Speaker 1: gonna call your mama, I'm gonna beat your ass and

1713
01:28:32,080 --> 01:28:33,760
Speaker 1: I'm gonna sing your home and I'm gonna call your

1714
01:28:33,800 --> 01:28:35,719
Speaker 1: mama tell her what you was doing too. You're gonna

1715
01:28:35,720 --> 01:28:39,320
Speaker 1: get another whooping when you get home. So just depending

1716
01:28:39,400 --> 01:28:41,639
Speaker 1: on how you know the neighborhood used to be. Now,

1717
01:28:41,640 --> 01:28:45,280
Speaker 1: I'm not saying that's good. It's all the reminiscence of slavery, yes,

1718
01:28:45,920 --> 01:28:49,559
Speaker 1: all the remnant of that. But anyway, so door protects

1719
01:28:49,920 --> 01:28:55,639
Speaker 1: Mantross and then uh Viten is about the whoop door too.

1720
01:28:56,120 --> 01:29:00,519
Speaker 1: But her dad came out and did I mean kind

1721
01:29:00,560 --> 01:29:03,519
Speaker 1: of stood up to Verton was He was like, listen,

1722
01:29:03,640 --> 01:29:06,639
Speaker 1: you beat the shit out of your kids, but not mine, which,

1723
01:29:06,640 --> 01:29:09,560
Speaker 1: come on, technically stays as standing up for somebody. In

1724
01:29:09,640 --> 01:29:18,320
Speaker 1: nineteen fifty, man Trouss runs off and Dora chastises George,

1725
01:29:18,360 --> 01:29:21,240
Speaker 1: who then comes out the house and George, of course

1726
01:29:21,439 --> 01:29:24,600
Speaker 1: the father is like, yeah, you a good boy. You

1727
01:29:24,600 --> 01:29:27,280
Speaker 1: know somebody in here gonna get some girls, you know,

1728
01:29:27,400 --> 01:29:29,360
Speaker 1: like one it like that kind of like you as

1729
01:29:29,400 --> 01:29:33,439
Speaker 1: my straight son, I claim you. And Dora was like,

1730
01:29:33,680 --> 01:29:36,000
Speaker 1: why didn't you stand up for your brother? And he

1731
01:29:36,160 --> 01:29:38,479
Speaker 1: was like, you think I'm gonna fight my daddy? What

1732
01:29:38,800 --> 01:29:41,240
Speaker 1: am I supposed to do? And she was like, stand

1733
01:29:41,320 --> 01:29:46,160
Speaker 1: up for your brother and George.

1734
01:29:48,400 --> 01:29:48,519
Speaker 2: Uh.

1735
01:29:48,760 --> 01:29:53,920
Speaker 1: George and her at this time realized the prom's been

1736
01:29:54,000 --> 01:29:54,599
Speaker 1: called off.

1737
01:29:55,120 --> 01:29:57,080
Speaker 2: I think he had. Did he give it a crossage?

1738
01:29:57,160 --> 01:29:58,200
Speaker 1: Yes, they age.

1739
01:29:58,240 --> 01:29:59,960
Speaker 2: Yeah. They went through the process of ay, you know,

1740
01:30:00,080 --> 01:30:01,360
Speaker 2: let's get ready and then and.

1741
01:30:01,280 --> 01:30:04,639
Speaker 1: Then they find out the promise called off and it's like, yeah, I.

1742
01:30:04,560 --> 01:30:08,120
Speaker 2: Think her mama, I think I'll say her mama came out.

1743
01:30:08,160 --> 01:30:09,840
Speaker 1: I was like, yeah, it's been canceled. You know, we

1744
01:30:09,920 --> 01:30:10,639
Speaker 1: got a phone call.

1745
01:30:10,760 --> 01:30:13,720
Speaker 2: The school called and said that it ain't popping off, right,

1746
01:30:13,800 --> 01:30:15,519
Speaker 2: And so they're like, well, we can at least go

1747
01:30:15,560 --> 01:30:17,879
Speaker 2: find Montross, the young Montrous.

1748
01:30:19,080 --> 01:30:23,120
Speaker 1: They look up Letty and Ticking older Montross. Letty and

1749
01:30:23,120 --> 01:30:27,519
Speaker 1: Tick look up older Montrous. Gone all right, So they're like,

1750
01:30:27,640 --> 01:30:31,880
Speaker 1: where the fuck could he have gone? And oh, I'm sorry,

1751
01:30:31,880 --> 01:30:35,320
Speaker 1: And Letty says, yeah, you know, George should have protected you. No,

1752
01:30:35,360 --> 01:30:38,800
Speaker 1: I'm sorry, he older Montrouse. He over here is young

1753
01:30:38,880 --> 01:30:42,559
Speaker 1: door to tell young George he should be protecting Mantrous

1754
01:30:42,680 --> 01:30:46,400
Speaker 1: and George and Montrous. Older Montrous goes, she was wrong.

1755
01:30:46,840 --> 01:30:49,080
Speaker 1: He did protect me, and he did he did better.

1756
01:30:49,200 --> 01:30:52,000
Speaker 1: He did better than me by me than anybody you

1757
01:30:52,040 --> 01:30:54,400
Speaker 1: know now that could be the guilt talking from him

1758
01:30:54,560 --> 01:30:58,040
Speaker 1: dying or whatever. I don't know, but so we kind

1759
01:30:58,040 --> 01:30:59,879
Speaker 1: of get an inner work into what's going on in Montrous.

1760
01:31:00,680 --> 01:31:04,280
Speaker 1: Older Montross dips, so young mont Trousse ran off and

1761
01:31:04,360 --> 01:31:07,320
Speaker 1: old Montrouss ran off. All the Montrousses ran We are

1762
01:31:07,320 --> 01:31:10,719
Speaker 1: in a Montross free area here we know Montrous free zone,

1763
01:31:10,840 --> 01:31:13,360
Speaker 1: mon Trouss on the loose, watch out for Montross crossing

1764
01:31:13,400 --> 01:31:20,919
Speaker 1: on the highway. And so then uh, Tick de deuces

1765
01:31:20,920 --> 01:31:24,679
Speaker 1: that Montross probably went to go warned Uncle George about

1766
01:31:24,720 --> 01:31:28,720
Speaker 1: being shot at Ardam. So he's gonna find older mont

1767
01:31:28,720 --> 01:31:30,880
Speaker 1: trous is gonna find young George and be like, listen,

1768
01:31:30,880 --> 01:31:33,439
Speaker 1: they gonna shoot you and Artom don't go or be

1769
01:31:33,640 --> 01:31:37,559
Speaker 1: safe or you know whatever. And so Letty and Tick

1770
01:31:37,640 --> 01:31:40,559
Speaker 1: have to split up. Letty hot wires a car because

1771
01:31:40,600 --> 01:31:43,000
Speaker 1: of course Tick can't hot wire car. Letty is a

1772
01:31:43,000 --> 01:31:45,599
Speaker 1: renaissance woman. Ain't okay, she.

1773
01:31:45,479 --> 01:31:47,720
Speaker 2: Can travel all the time and still know what to do.

1774
01:31:48,040 --> 01:31:51,360
Speaker 1: Yeah, but guess who gets to drive? Tick? Of course,

1775
01:31:51,880 --> 01:31:54,439
Speaker 1: just like a technical No, she's not that she wasn't

1776
01:31:54,479 --> 01:31:56,880
Speaker 1: able to drive. I'm saying she gave him the car

1777
01:31:56,960 --> 01:31:59,880
Speaker 1: to go find Montross. But I'm just saying, just like

1778
01:31:59,880 --> 01:32:04,120
Speaker 1: a typical lazy sis had black man, she did all

1779
01:32:04,240 --> 01:32:06,120
Speaker 1: the work, but guess who gets to be in the

1780
01:32:06,200 --> 01:32:08,880
Speaker 1: driver's seat? Am I right? Ladies? Can I get my

1781
01:32:09,040 --> 01:32:09,840
Speaker 1: rope points back?

1782
01:32:10,880 --> 01:32:13,760
Speaker 2: And my thing is that not that she couldn't drove,

1783
01:32:13,840 --> 01:32:16,559
Speaker 2: but he would less likely have attention drone to him too.

1784
01:32:17,600 --> 01:32:21,040
Speaker 1: Sure, whatever you need to tell yourself, sister. Okay, I

1785
01:32:21,120 --> 01:32:24,200
Speaker 1: just know a black man stepping all over a black

1786
01:32:24,240 --> 01:32:26,880
Speaker 1: woman's back when I see it? Am I right? My

1787
01:32:27,000 --> 01:32:30,559
Speaker 1: sisters in the chat room, dumbs up, y'all see me?

1788
01:32:30,640 --> 01:32:34,280
Speaker 1: Keep preaching this real just like Meghan told us in

1789
01:32:34,320 --> 01:32:37,639
Speaker 1: the New York Times. You know what I'm saying, ladies,

1790
01:32:39,360 --> 01:32:44,240
Speaker 1: lady so, then top ladies, so? Then Letty Also at

1791
01:32:44,240 --> 01:32:46,559
Speaker 1: this point, they hear some gunshots go off in the distance,

1792
01:32:46,600 --> 01:32:52,680
Speaker 1: and Letty says we should name the child George so At,

1793
01:32:52,720 --> 01:32:55,160
Speaker 1: which we know happens in the book. The sun sets

1794
01:32:55,200 --> 01:32:59,720
Speaker 1: and then it splits up and Dora's house we have

1795
01:33:00,040 --> 01:33:03,040
Speaker 1: Eddy and Doris family who we know are gonna die

1796
01:33:03,040 --> 01:33:04,919
Speaker 1: in the TUSA riots.

1797
01:33:05,000 --> 01:33:06,639
Speaker 2: Yeah, but that's not how she gets there.

1798
01:33:07,240 --> 01:33:09,120
Speaker 1: I'm not done, okay, I'm just talking about how it

1799
01:33:09,160 --> 01:33:12,400
Speaker 1: splits up. Oh doors, House. They have that and then

1800
01:33:12,479 --> 01:33:15,400
Speaker 1: Montros and then we have Montrostit Tech. So these are

1801
01:33:15,400 --> 01:33:19,439
Speaker 1: two different segments, non splitting it into doors House. White

1802
01:33:19,479 --> 01:33:22,040
Speaker 1: men beat the ship out of some random black dude

1803
01:33:22,040 --> 01:33:24,439
Speaker 1: because it's nighttime now the sun is set, it's time

1804
01:33:24,479 --> 01:33:29,360
Speaker 1: for it to go down, and they start chasing to

1805
01:33:29,479 --> 01:33:33,240
Speaker 1: go down. They start chasing Letty, who runs and gets

1806
01:33:33,280 --> 01:33:37,000
Speaker 1: shot but then forgets I'm in vulnerable yees. She goes

1807
01:33:37,040 --> 01:33:37,799
Speaker 1: down to the ground.

1808
01:33:37,840 --> 01:33:39,960
Speaker 2: She falls down, and I was like, of course she

1809
01:33:40,000 --> 01:33:40,639
Speaker 2: didn't get hit.

1810
01:33:41,040 --> 01:33:43,840
Speaker 1: The thing it made me think about was because I

1811
01:33:43,840 --> 01:33:47,880
Speaker 1: don't know why, because she started running. I also thought

1812
01:33:48,040 --> 01:33:50,880
Speaker 1: she can get killed. I was like, oh, run, and

1813
01:33:50,880 --> 01:33:53,960
Speaker 1: then I was like, oh wait, yeah, don't run, walk,

1814
01:33:53,960 --> 01:33:55,799
Speaker 1: take your time. It's protty.

1815
01:33:55,840 --> 01:33:58,599
Speaker 2: Best that she runs because if she would have would

1816
01:33:58,720 --> 01:34:01,240
Speaker 2: not have randed been a whole is because like they say,

1817
01:34:01,280 --> 01:34:03,000
Speaker 2: you don't want to fuck up history.

1818
01:34:03,120 --> 01:34:05,400
Speaker 1: I know, but it's just funny. It's still funny to me.

1819
01:34:05,760 --> 01:34:07,680
Speaker 2: And it's funny. You know what really been funny that

1820
01:34:07,720 --> 01:34:09,360
Speaker 2: the shot her and the bullets would have went back.

1821
01:34:09,240 --> 01:34:11,880
Speaker 1: And hit them. Yeah, it was just funny. It was

1822
01:34:11,920 --> 01:34:13,800
Speaker 1: funny how hard she was running and got shot and

1823
01:34:13,920 --> 01:34:15,040
Speaker 1: was like oh yeah, it is right.

1824
01:34:14,960 --> 01:34:16,400
Speaker 2: And she laid down on the ground. That was hilar

1825
01:34:16,640 --> 01:34:18,200
Speaker 2: She went down for the camp I was like, did

1826
01:34:18,240 --> 01:34:20,519
Speaker 2: it bump you? Did it push it up for the ground.

1827
01:34:20,760 --> 01:34:22,879
Speaker 1: Maybe the momentum for the I don't know, yes.

1828
01:34:22,760 --> 01:34:23,880
Speaker 2: Probably the momentum for the bullet.

1829
01:34:24,080 --> 01:34:28,840
Speaker 1: But then but then Verton and Dora's dad who I

1830
01:34:28,880 --> 01:34:32,759
Speaker 1: never caught his name, come out the house and they

1831
01:34:33,000 --> 01:34:37,360
Speaker 1: were on and fucking popping. Okay, n RA was up there.

1832
01:34:37,400 --> 01:34:39,320
Speaker 2: Time there was a black n RA, they was like, oh.

1833
01:34:40,360 --> 01:34:47,360
Speaker 1: Yeah, Nigga's rifles always they came through. Come on, I'm like,

1834
01:34:50,400 --> 01:34:54,400
Speaker 1: let's go get the gun. It obviously made me think

1835
01:34:54,400 --> 01:34:58,360
Speaker 1: about something, especially for black people that moved out of

1836
01:34:58,400 --> 01:35:01,200
Speaker 1: the South, and he kind of a came pioneers and

1837
01:35:01,240 --> 01:35:05,280
Speaker 1: frontiersmen in a different sense. How many like in a

1838
01:35:05,320 --> 01:35:08,880
Speaker 1: way black households probably were more ready for some shit

1839
01:35:09,680 --> 01:35:11,720
Speaker 1: and had weapons and stuff. They would have had to

1840
01:35:11,720 --> 01:35:14,479
Speaker 1: stay ready in a way that I think we take

1841
01:35:14,560 --> 01:35:16,479
Speaker 1: for granted to some extent. And that's one of the

1842
01:35:16,520 --> 01:35:19,000
Speaker 1: reason when you hear people talk about how you know

1843
01:35:19,080 --> 01:35:20,960
Speaker 1: we're gonna get guns and if the cops do this,

1844
01:35:21,080 --> 01:35:23,800
Speaker 1: it's like, but you really not. But and then when

1845
01:35:23,840 --> 01:35:25,880
Speaker 1: you patch yourself on the back, like you more woke

1846
01:35:25,920 --> 01:35:32,519
Speaker 1: than our ancestors. Our ancestors had shootouts with white people,

1847
01:35:32,920 --> 01:35:38,280
Speaker 1: shootouts to go vote right, shootouts because of labor disputes,

1848
01:35:38,760 --> 01:35:40,719
Speaker 1: Like I can't remember I was Ida b. Wells book

1849
01:35:40,880 --> 01:35:46,160
Speaker 1: or the or if it was one person, they'll vote,

1850
01:35:46,160 --> 01:35:48,840
Speaker 1: but it might have been Ida b. Wells or or

1851
01:35:48,840 --> 01:35:53,000
Speaker 1: it could have been warmth of other suns. But they

1852
01:35:53,080 --> 01:35:58,000
Speaker 1: document shootouts over voting like they White people said, we're

1853
01:35:58,080 --> 01:36:00,240
Speaker 1: not about to let you vote. Any nigger come up

1854
01:36:00,240 --> 01:36:02,760
Speaker 1: in here and getting killed, and black people said, get

1855
01:36:02,800 --> 01:36:06,360
Speaker 1: the guns. Were voting today, you know what I mean,

1856
01:36:06,640 --> 01:36:10,040
Speaker 1: like just straight up like uh, whethern I guess I

1857
01:36:10,040 --> 01:36:12,400
Speaker 1: got to die to vote, or you're gonna have to

1858
01:36:12,439 --> 01:36:14,960
Speaker 1: diet for me not to vote. You're gonna take me down.

1859
01:36:14,960 --> 01:36:17,800
Speaker 1: But some of y'all going with me. I'm not going alone, right.

1860
01:36:17,960 --> 01:36:19,720
Speaker 1: Tosa is a great example of this, by the way.

1861
01:36:19,760 --> 01:36:23,360
Speaker 1: We'll get to that in a second. But yes, So

1862
01:36:23,439 --> 01:36:26,960
Speaker 1: then they've come out the house. Come on, I got

1863
01:36:26,960 --> 01:36:30,360
Speaker 1: one for all you crackers, and I was ready to go.

1864
01:36:30,720 --> 01:36:33,120
Speaker 1: I just I went into my closet, pulled out my

1865
01:36:33,360 --> 01:36:35,400
Speaker 1: I'm not my ancestors. You can catch these hands t

1866
01:36:35,520 --> 01:36:38,439
Speaker 1: shirt and burned it right there. I was ashamed. Uh

1867
01:36:38,600 --> 01:36:42,280
Speaker 1: the white man retreated they are and then uh, what's

1868
01:36:42,280 --> 01:36:44,400
Speaker 1: the they retreated? They ran up in the black people

1869
01:36:44,439 --> 01:36:47,760
Speaker 1: ran up in doors house. Uh. One of Doors' relatives, Like,

1870
01:36:48,160 --> 01:36:50,280
Speaker 1: I just got the phone. Someone says there was a

1871
01:36:50,280 --> 01:36:54,760
Speaker 1: mob at the courthouse and that it started over Dick.

1872
01:36:55,160 --> 01:36:55,360
Speaker 2: Uh.

1873
01:36:56,200 --> 01:36:58,120
Speaker 1: Now who is Dick?

1874
01:36:58,520 --> 01:36:59,320
Speaker 2: I had no idea.

1875
01:37:00,760 --> 01:37:04,960
Speaker 1: I don't know. His name is Dick Rowland aka Diamond

1876
01:37:05,040 --> 01:37:11,000
Speaker 1: Dick Rowland Y's right he named himself. Could have also

1877
01:37:11,040 --> 01:37:14,280
Speaker 1: been a porn star, yes, but the riots started. So

1878
01:37:14,880 --> 01:37:20,400
Speaker 1: in May of nineteen twenty one. The riots started essentially

1879
01:37:20,400 --> 01:37:26,680
Speaker 1: because he was working as a shoe shiner and he

1880
01:37:26,800 --> 01:37:31,080
Speaker 1: tripped and he fell into the elevator a little bit,

1881
01:37:31,400 --> 01:37:34,880
Speaker 1: and there was a white woman working in there, Sarah Page,

1882
01:37:35,200 --> 01:37:40,280
Speaker 1: as she was the elevator operator, and to hold his balance,

1883
01:37:40,360 --> 01:37:42,679
Speaker 1: he reached out and grabbed an arm so he wouldn't fall.

1884
01:37:43,400 --> 01:37:46,400
Speaker 1: She freaks the fuck out, just oh, oh my god.

1885
01:37:48,280 --> 01:37:52,880
Speaker 1: White dude oversees it over like just sees Diamond Dick

1886
01:37:53,160 --> 01:37:56,960
Speaker 1: running out of the elevator and goes he tried to

1887
01:37:57,040 --> 01:38:00,120
Speaker 1: rape her, Like he either tried to rape her or

1888
01:38:00,160 --> 01:38:02,519
Speaker 1: sought her and they and they embellish. Of course, he

1889
01:38:02,600 --> 01:38:07,960
Speaker 1: tore her clothes all the shit, and they basically say, like,

1890
01:38:08,320 --> 01:38:11,240
Speaker 1: arrest this man, he's a rapist. Now, back in that day,

1891
01:38:11,920 --> 01:38:15,160
Speaker 1: when lynchings were happening all the time, that was a

1892
01:38:15,200 --> 01:38:17,960
Speaker 1: death sentence. You didn't need proof, even the accusation that

1893
01:38:17,960 --> 01:38:20,800
Speaker 1: a black man would do anything untoward to a white

1894
01:38:20,800 --> 01:38:23,040
Speaker 1: woman or that even just the idea is a white

1895
01:38:23,040 --> 01:38:25,160
Speaker 1: woman would let a black man do something. They would

1896
01:38:25,160 --> 01:38:27,800
Speaker 1: be like, that's a rape. Yeah, they kill her too. Yeah,

1897
01:38:27,800 --> 01:38:30,160
Speaker 1: even if it's consensual. They will kill the black man

1898
01:38:30,200 --> 01:38:33,800
Speaker 1: for sure, absolutely legitum and shit. And sometimes yeah, they

1899
01:38:33,800 --> 01:38:37,400
Speaker 1: would kill a woman. So this was, you know, calls

1900
01:38:37,439 --> 01:38:40,280
Speaker 1: for a legend. They already didn't like Tulsa. Tosa already

1901
01:38:40,320 --> 01:38:44,400
Speaker 1: had too much wealth, too much prosperity. Segregation was real

1902
01:38:44,439 --> 01:38:47,639
Speaker 1: in Tulsa. But essentially the black people were helped stuck

1903
01:38:47,680 --> 01:38:51,360
Speaker 1: to themselves and they had wealth, and they had their

1904
01:38:51,360 --> 01:38:54,080
Speaker 1: own hotels, and they had the finest shit in America,

1905
01:38:54,560 --> 01:38:57,040
Speaker 1: Like all the best color shit was in Tulsa. So

1906
01:38:58,040 --> 01:39:03,200
Speaker 1: it's like, okay, cool, this woman is uh is we're

1907
01:39:03,200 --> 01:39:05,960
Speaker 1: gonna say she was sexually assaulted. Well, we want a

1908
01:39:06,040 --> 01:39:10,559
Speaker 1: lynch the dude. We don't want justice quote unquote as

1909
01:39:11,360 --> 01:39:13,840
Speaker 1: take it to a fair trial. We white men are

1910
01:39:13,880 --> 01:39:15,800
Speaker 1: getting a group of us. We're going down to the

1911
01:39:15,840 --> 01:39:18,439
Speaker 1: courthouse and we're gonna fucking take this man out and

1912
01:39:18,520 --> 01:39:24,160
Speaker 1: kill him. So the black people in town, our ancestors,

1913
01:39:25,560 --> 01:39:29,600
Speaker 1: got guns and said, we heard y'all motherfuckings thought you

1914
01:39:29,720 --> 01:39:33,040
Speaker 1: was gonna linch somebody. Right, they went down there, they

1915
01:39:33,040 --> 01:39:36,559
Speaker 1: had to shootout. Ten white dudes died, two black people died.

1916
01:39:37,479 --> 01:39:40,439
Speaker 1: They fucked the white people up. Now, of course the

1917
01:39:40,479 --> 01:39:43,960
Speaker 1: white folks went and they went and got their people

1918
01:39:44,000 --> 01:39:47,080
Speaker 1: because it's more than the US came back and that's

1919
01:39:47,120 --> 01:39:50,559
Speaker 1: why we had to tussle massacre. You know, like white

1920
01:39:50,560 --> 01:39:53,400
Speaker 1: people started the ship, they couldn't handle it, got killed,

1921
01:39:53,760 --> 01:39:57,200
Speaker 1: came back, brought everybody, including the planes that could fire

1922
01:39:57,240 --> 01:40:01,040
Speaker 1: bomb the place, and didn't they fuck tossa up. So

1923
01:40:01,640 --> 01:40:03,400
Speaker 1: when she was on the phone and said, you know

1924
01:40:03,560 --> 01:40:05,640
Speaker 1: they digged down at the courthouse, that's what she was

1925
01:40:05,680 --> 01:40:15,240
Speaker 1: talking about, Diamond Dick rowling. So they verdon rob Chauss's

1926
01:40:15,320 --> 01:40:20,519
Speaker 1: dad Latavious starts asking, letty all these questions, where you

1927
01:40:20,520 --> 01:40:22,599
Speaker 1: come from, where the man come from? Well you know,

1928
01:40:22,680 --> 01:40:27,000
Speaker 1: like he's just like like he's interrogating her almost and

1929
01:40:27,080 --> 01:40:29,000
Speaker 1: we know he hits people with switches. So I'm just like,

1930
01:40:29,000 --> 01:40:32,280
Speaker 1: tell him, Letty, but she can't. You're right, because it's

1931
01:40:32,280 --> 01:40:35,360
Speaker 1: the fucking past. And if she tells these black people

1932
01:40:35,920 --> 01:40:39,519
Speaker 1: y'all they are coming to destroy you. Get the fuck

1933
01:40:39,560 --> 01:40:41,559
Speaker 1: out of the house. They will kill you tonight. We

1934
01:40:41,680 --> 01:40:45,120
Speaker 1: know what's gonna happen. Confirmed it just fucks up all

1935
01:40:45,200 --> 01:40:46,200
Speaker 1: of the time, continuing.

1936
01:40:46,400 --> 01:40:48,880
Speaker 2: You could tell it that she had got to.

1937
01:40:48,880 --> 01:40:52,920
Speaker 1: Her right and Grandmama Hattie comes over and peeps let

1938
01:40:53,000 --> 01:40:55,439
Speaker 1: his tennis shoes right away. She don't say nothing.

1939
01:40:55,880 --> 01:40:57,599
Speaker 2: And it was funny though, because the way she looked

1940
01:40:57,600 --> 01:41:00,519
Speaker 2: at her, she looked at her like you you don't

1941
01:41:00,560 --> 01:41:03,920
Speaker 2: belong here. She literally had that look on her face

1942
01:41:04,040 --> 01:41:05,439
Speaker 2: like you don't belong here.

1943
01:41:06,080 --> 01:41:09,280
Speaker 1: And so she's like, what's your name? Baby, And she

1944
01:41:09,479 --> 01:41:12,360
Speaker 1: was like Letitia, and she was like and Verton's like,

1945
01:41:12,800 --> 01:41:14,920
Speaker 1: you know, was it more of them where they coming

1946
01:41:14,960 --> 01:41:17,080
Speaker 1: at and all this stuff? And Letty can't say that,

1947
01:41:17,280 --> 01:41:19,280
Speaker 1: you know, yeah, it's about to be like three hundred

1948
01:41:19,320 --> 01:41:22,320
Speaker 1: more of them. She's like, uh, well, it was something

1949
01:41:22,320 --> 01:41:23,840
Speaker 1: in a car down the street and he was like,

1950
01:41:24,120 --> 01:41:25,639
Speaker 1: all right, I'm gonna slip out the back and go

1951
01:41:25,680 --> 01:41:30,400
Speaker 1: find them, y'all, you know, stay here. And they're like, Letty,

1952
01:41:30,760 --> 01:41:32,800
Speaker 1: you got family. You want to leave, And she's like, no,

1953
01:41:32,880 --> 01:41:36,479
Speaker 1: I'll stay. And motherfucking Door's dad opened up the safe

1954
01:41:36,520 --> 01:41:38,640
Speaker 1: and gave all the women pistols.

1955
01:41:38,720 --> 01:41:40,519
Speaker 2: Everybody get a gun. You get a gun, You get

1956
01:41:40,520 --> 01:41:42,000
Speaker 2: a gun, you get a gun. In fact, I'm gonna

1957
01:41:42,000 --> 01:41:43,360
Speaker 2: stay on top of the roof and be a shot

1958
01:41:43,400 --> 01:41:43,920
Speaker 2: shoot them.

1959
01:41:44,040 --> 01:41:46,080
Speaker 1: I loved it. I loved it. I mean, I hate

1960
01:41:46,120 --> 01:41:49,000
Speaker 1: that Black women have had to fight like that our

1961
01:41:49,040 --> 01:41:51,760
Speaker 1: whole existence in America, as far as black people go,

1962
01:41:52,000 --> 01:41:53,840
Speaker 1: black women had to be right there in the battle

1963
01:41:53,920 --> 01:41:58,599
Speaker 1: because honestly, they fighting for themselves too, Yes, because nobody

1964
01:41:58,640 --> 01:42:02,160
Speaker 1: really respects black women's womanhood. So you just got to

1965
01:42:02,160 --> 01:42:04,000
Speaker 1: be a warrior in this race fight, and then the

1966
01:42:04,040 --> 01:42:06,040
Speaker 1: warrior and this gender fight, and then that when black

1967
01:42:06,080 --> 01:42:10,120
Speaker 1: men often abandon you. But uh, there was something dope

1968
01:42:10,160 --> 01:42:14,240
Speaker 1: about everybody getting that motherfucking gun, like it's gonna get

1969
01:42:14,240 --> 01:42:16,439
Speaker 1: the popping of caps up in here. Oh yeah, we

1970
01:42:16,479 --> 01:42:21,440
Speaker 1: ain't going down easily. And so everybody gets a gun,

1971
01:42:21,640 --> 01:42:26,440
Speaker 1: they split up, you know, they tell Door's sister Beulah

1972
01:42:26,479 --> 01:42:31,040
Speaker 1: to go with Letty, and the father's like, I'm going

1973
01:42:31,120 --> 01:42:33,920
Speaker 1: upstairs and hattie, y'all go to the mom's room whatever,

1974
01:42:34,000 --> 01:42:37,559
Speaker 1: right and so, and they know that doors out, but

1975
01:42:37,640 --> 01:42:39,880
Speaker 1: they can't go get her. Essentially, they're just stuck in

1976
01:42:40,200 --> 01:42:47,000
Speaker 1: trying to hold off the house. And Letty goes through

1977
01:42:47,040 --> 01:42:51,240
Speaker 1: the house and to the room with Beulah, and that's

1978
01:42:51,240 --> 01:42:55,960
Speaker 1: when Beulah brings up that she had a fight with

1979
01:42:58,200 --> 01:43:01,479
Speaker 1: Dora because door is going to the prom with George

1980
01:43:01,880 --> 01:43:04,519
Speaker 1: and she's sweet on George and she just hasted the

1981
01:43:04,600 --> 01:43:06,800
Speaker 1: last thing they talked about was a fight and just

1982
01:43:07,120 --> 01:43:08,720
Speaker 1: you know, and then she just doesn't thing like we're

1983
01:43:08,720 --> 01:43:11,400
Speaker 1: gonna be okay though, right Just basically the script was

1984
01:43:11,439 --> 01:43:13,880
Speaker 1: being like, here's another opportunity for Letty to try to

1985
01:43:13,920 --> 01:43:16,639
Speaker 1: like save these people, and Letty just couldn't do it

1986
01:43:16,720 --> 01:43:21,040
Speaker 1: because it would have sucked up everything. So the daddy's

1987
01:43:21,080 --> 01:43:24,800
Speaker 1: gun goes off, Beulah goes to join him, Letty looks

1988
01:43:24,800 --> 01:43:29,200
Speaker 1: through the house for the book, and that's when Grandmama

1989
01:43:29,200 --> 01:43:30,759
Speaker 1: had it comes on in with the heat.

1990
01:43:31,280 --> 01:43:33,880
Speaker 2: Yeah. She was like, I know something was wrong with you.

1991
01:43:33,960 --> 01:43:36,880
Speaker 2: We don't have no rubbish shoes who the hell is

1992
01:43:36,920 --> 01:43:37,920
Speaker 2: a n Adidas?

1993
01:43:38,000 --> 01:43:40,519
Speaker 1: Right? She did everything but call her how yellow? Hellfu?

1994
01:43:40,680 --> 01:43:42,280
Speaker 2: I know who is a Converse?

1995
01:43:42,400 --> 01:43:43,120
Speaker 1: Mister Converse?

1996
01:43:43,160 --> 01:43:44,120
Speaker 2: I've never heard of that man.

1997
01:43:44,520 --> 01:43:47,160
Speaker 1: Oh so she was like, I knew someone was off

1998
01:43:47,200 --> 01:43:51,080
Speaker 1: of them shoes. And Letty says she's from the future

1999
01:43:51,280 --> 01:43:54,120
Speaker 1: and needs the Book of Names to save d and

2000
01:43:54,160 --> 01:43:56,240
Speaker 1: she's like, you got a birthmark? I know what it

2001
01:43:56,280 --> 01:43:59,880
Speaker 1: looked like. She drew it and look in the breath.

2002
01:44:00,320 --> 01:44:02,880
Speaker 1: So after this, you know, if you know anything about

2003
01:44:02,920 --> 01:44:07,160
Speaker 1: your you know like Hannah, like you know that the

2004
01:44:07,200 --> 01:44:09,559
Speaker 1: break who the brief Whites are. So she just told

2005
01:44:09,600 --> 01:44:12,600
Speaker 1: the whole truth, which honestly, that's the only thing I

2006
01:44:12,600 --> 01:44:15,760
Speaker 1: was gonna work with that woman. Oh yeah, because when

2007
01:44:15,760 --> 01:44:18,360
Speaker 1: she said I need a book a name, she was like,

2008
01:44:18,640 --> 01:44:20,760
Speaker 1: the Good Testament on the book I know.

2009
01:44:21,400 --> 01:44:23,400
Speaker 2: And that got all the names? Is your is your

2010
01:44:23,479 --> 01:44:25,479
Speaker 2: name in the Lamb's Book of Life. That's the only

2011
01:44:25,520 --> 01:44:27,000
Speaker 2: book of names I know, baby.

2012
01:44:27,080 --> 01:44:33,880
Speaker 1: So then Hattie puts together as as Letty's talking, She's like, wait,

2013
01:44:35,280 --> 01:44:39,679
Speaker 1: if you here for the book and you from the future,

2014
01:44:40,479 --> 01:44:44,040
Speaker 1: y'all don't have a book in the future, then we

2015
01:44:44,160 --> 01:44:48,439
Speaker 1: don't we die here tonight? Because why else would you

2016
01:44:48,560 --> 01:44:54,439
Speaker 1: have to be here for this, right? And so uh,

2017
01:44:55,040 --> 01:44:57,160
Speaker 1: She's like she goes to leave to be like, I

2018
01:44:57,200 --> 01:45:01,439
Speaker 1: gotta go downstairs and tell tell my family, we gotta

2019
01:45:01,479 --> 01:45:06,479
Speaker 1: get the fuck out of here. And Letty's like, uh,

2020
01:45:06,600 --> 01:45:08,519
Speaker 1: and this is like right as white men started showing

2021
01:45:08,560 --> 01:45:10,720
Speaker 1: up to the house and throw College Marlo top cocktails,

2022
01:45:12,680 --> 01:45:15,599
Speaker 1: throw bottles of road rash on the house, That's how

2023
01:45:15,600 --> 01:45:21,280
Speaker 1: fast ship was going up. Letty's like, listen, your basically,

2024
01:45:21,360 --> 01:45:24,040
Speaker 1: let me run down your whole family history. And also

2025
01:45:24,520 --> 01:45:28,000
Speaker 1: I'm pregnant with your great great great grandchild. And also

2026
01:45:28,800 --> 01:45:31,840
Speaker 1: Tick is your great great grandson, and I'm in love

2027
01:45:31,880 --> 01:45:36,439
Speaker 1: with him. And if y'all basically, if y'all change the past.

2028
01:45:36,920 --> 01:45:41,040
Speaker 1: He none of this comes to fruition, and Hattie goes

2029
01:45:41,080 --> 01:45:44,200
Speaker 1: to leave, stops, turns around, opens a secret panel, gives

2030
01:45:44,200 --> 01:45:46,440
Speaker 1: her the Book of nat gives Letty the Book of Names,

2031
01:45:46,880 --> 01:45:49,360
Speaker 1: and she says, for the for I know the plans

2032
01:45:49,400 --> 01:45:52,639
Speaker 1: I have for you, declared the Lord plans for welfare,

2033
01:45:52,800 --> 01:45:55,800
Speaker 1: not for evil, to give you future. And hope when

2034
01:45:55,840 --> 01:45:58,600
Speaker 1: my great great grandson is born, he will be my

2035
01:45:58,760 --> 01:46:00,720
Speaker 1: faith turned to flesh.

2036
01:46:01,040 --> 01:46:05,479
Speaker 2: And and that that tells you that the faith that

2037
01:46:05,560 --> 01:46:10,200
Speaker 2: our ancestors had, you know, because they had faith that

2038
01:46:10,960 --> 01:46:14,080
Speaker 2: we would be sitting here today doing the things we

2039
01:46:14,120 --> 01:46:18,080
Speaker 2: did today without ever knowing if it was gonna come

2040
01:46:18,080 --> 01:46:21,280
Speaker 2: to fast. They just believed that one day we wasn't

2041
01:46:21,280 --> 01:46:22,080
Speaker 2: gonna be in shackles.

2042
01:46:22,120 --> 01:46:25,719
Speaker 1: They just believed that. And to see that sacrifice played

2043
01:46:25,720 --> 01:46:28,280
Speaker 1: out real time on the show now fictional, you know

2044
01:46:28,320 --> 01:46:30,160
Speaker 1: who knows in real life you tell somebody that and

2045
01:46:30,160 --> 01:46:32,000
Speaker 1: they be like, what fuck you, There isn't just you know,

2046
01:46:32,520 --> 01:46:33,960
Speaker 1: won't be no grand chance for me, and they just

2047
01:46:34,000 --> 01:46:38,800
Speaker 1: run out the house. But to see this matriarch of

2048
01:46:38,800 --> 01:46:43,439
Speaker 1: a family make that understand grasp and then make that

2049
01:46:43,520 --> 01:46:46,760
Speaker 1: decision willingly like the you know, because it was made

2050
01:46:46,800 --> 01:46:49,880
Speaker 1: for her unwillingly by these fucking white people. But to

2051
01:46:49,920 --> 01:46:54,360
Speaker 1: be like understanding the fullness of the consequences of us

2052
01:46:54,400 --> 01:47:00,360
Speaker 1: not having this moment. I'm gonna choose my great great

2053
01:47:00,360 --> 01:47:04,400
Speaker 1: great grandchild, I'm gonna choose my lineage. And it really

2054
01:47:04,400 --> 01:47:08,280
Speaker 1: brought that whole thing of my ancestors' wildest dreams to

2055
01:47:08,360 --> 01:47:11,320
Speaker 1: fruition in a certain like it's like it, this is it.

2056
01:47:11,439 --> 01:47:13,200
Speaker 1: This is your ancestors handing you the baton.

2057
01:47:13,520 --> 01:47:15,439
Speaker 2: Yes, And there was also one of those things where

2058
01:47:15,560 --> 01:47:17,400
Speaker 2: during this time, I think when she was gonna for

2059
01:47:17,439 --> 01:47:19,800
Speaker 2: do it, she could literally hear people screaming downstairs.

2060
01:47:20,800 --> 01:47:22,400
Speaker 1: Yeah, yeah, I mean you can hear the chaos and

2061
01:47:22,400 --> 01:47:25,800
Speaker 1: they're actually screaming for her to come downstairs. And so

2062
01:47:25,880 --> 01:47:30,280
Speaker 1: then the fire stars to spread to the room. Hattie

2063
01:47:30,280 --> 01:47:32,559
Speaker 1: gives Letty the words to open the book, which is

2064
01:47:32,560 --> 01:47:35,800
Speaker 1: bound to protect it, and Letty's like, I'm She's like,

2065
01:47:35,840 --> 01:47:37,280
Speaker 1: you need to get out of here, and she's like,

2066
01:47:37,360 --> 01:47:40,160
Speaker 1: I'm in vulnerable to the fire. I'm protected by magic

2067
01:47:40,760 --> 01:47:44,240
Speaker 1: and i won't burn. And then Hattie says, well, I'm

2068
01:47:44,280 --> 01:47:48,120
Speaker 1: ready to die, and holds Letty's hand and says the

2069
01:47:48,160 --> 01:47:52,840
Speaker 1: Lord's Prayer with her, and then underneath this is so beautiful.

2070
01:47:53,160 --> 01:47:56,600
Speaker 1: Underneath the Lord's Prayer, they play Soja said, Chaz just

2071
01:47:56,640 --> 01:48:01,960
Speaker 1: catch the Fire poem, which is such a deep moving

2072
01:48:02,080 --> 01:48:06,840
Speaker 1: poem because the poem is talking about fire. Obviously we're

2073
01:48:06,840 --> 01:48:09,120
Speaker 1: seeing toasa burn, we're seeing all the fire, and this

2074
01:48:09,240 --> 01:48:10,800
Speaker 1: kind of plays for the next three or four minutes

2075
01:48:10,840 --> 01:48:14,719
Speaker 1: of the episode. But Catch the Fire is a poem

2076
01:48:14,840 --> 01:48:18,320
Speaker 1: that uses fire, but in a way that is much

2077
01:48:18,360 --> 01:48:25,120
Speaker 1: more about living, like how we see fires a thing

2078
01:48:25,160 --> 01:48:28,559
Speaker 1: that destroys and burns down. She's like, catch this fire,

2079
01:48:28,680 --> 01:48:32,439
Speaker 1: like this fuel for the generation at the generation, the

2080
01:48:32,479 --> 01:48:39,000
Speaker 1: fire to live, the fire to love, the fire to

2081
01:48:38,160 --> 01:48:41,760
Speaker 1: to not kill your other black people, you know what

2082
01:48:41,800 --> 01:48:44,160
Speaker 1: I mean, Like the fire of living, not dying, the

2083
01:48:44,200 --> 01:48:46,400
Speaker 1: fire of loving not killing, the fire of blackness not

2084
01:48:46,479 --> 01:48:49,360
Speaker 1: gangst the shadows. Where is our beautiful fire that gave

2085
01:48:49,439 --> 01:48:51,760
Speaker 1: light to the world, the fire pyramids, the fire that

2086
01:48:51,800 --> 01:48:54,280
Speaker 1: burned through the holes of slave ships and made us breathe.

2087
01:48:54,560 --> 01:48:57,160
Speaker 1: And at the same time, we're watching this fire from

2088
01:48:57,160 --> 01:48:59,719
Speaker 1: white people destroy shit, and then we're watching this black

2089
01:48:59,720 --> 01:49:02,479
Speaker 1: woman sacrifice herself to the fire for her fucking future

2090
01:49:02,840 --> 01:49:06,960
Speaker 1: generations that she doesn't even know yet. And then we're

2091
01:49:07,000 --> 01:49:10,800
Speaker 1: also thinking of these moments now where you know, we

2092
01:49:10,840 --> 01:49:14,479
Speaker 1: see fire's destruction and you know, and she also talks

2093
01:49:14,479 --> 01:49:17,040
Speaker 1: about black leadership and stuff and about like, you know,

2094
01:49:17,120 --> 01:49:21,519
Speaker 1: the fire burning down the systemic like structures that have

2095
01:49:21,760 --> 01:49:24,720
Speaker 1: been held in place over us to try to like

2096
01:49:24,800 --> 01:49:28,360
Speaker 1: it's just such a it was art. It was just beautiful,

2097
01:49:28,920 --> 01:49:31,559
Speaker 1: all right, Like the ending of this fucking this third

2098
01:49:31,640 --> 01:49:36,920
Speaker 1: act of this fucking episode, it's just it's perfection. And

2099
01:49:37,280 --> 01:49:38,920
Speaker 1: it's one of those things where it's happening at the

2100
01:49:38,960 --> 01:49:41,840
Speaker 1: same time. It's hard to grasp all that the first time,

2101
01:49:42,120 --> 01:49:45,240
Speaker 1: but the second time, I was just like, oh my god,

2102
01:49:45,520 --> 01:49:47,960
Speaker 1: Like the poem is the opposite of what these white

2103
01:49:47,960 --> 01:49:50,240
Speaker 1: people are trying to think they're doing to us, and

2104
01:49:50,280 --> 01:49:54,000
Speaker 1: what and what they've done to us. Still can't it

2105
01:49:54,040 --> 01:49:55,360
Speaker 1: can't take down our fire.

2106
01:49:55,840 --> 01:49:59,200
Speaker 2: No, it can't, and truthfully it hasn't, and it goes

2107
01:49:59,240 --> 01:50:01,719
Speaker 2: from generation. That's a fire that literally goes from generation

2108
01:50:01,800 --> 01:50:06,559
Speaker 2: to generation. And I think once people not trying funny,

2109
01:50:06,600 --> 01:50:09,160
Speaker 2: they get old and they get tarnished and their hearts

2110
01:50:09,200 --> 01:50:12,120
Speaker 2: get hard. A lot of older people lose that hope.

2111
01:50:13,000 --> 01:50:15,759
Speaker 2: But the youth is the actually the people that actually

2112
01:50:15,840 --> 01:50:20,320
Speaker 2: keeps that fire alive and keeps it burning and believes

2113
01:50:20,320 --> 01:50:23,120
Speaker 2: that it's going to be a better future. There are

2114
01:50:23,160 --> 01:50:25,280
Speaker 2: older people that believe it too, but a lot of

2115
01:50:25,439 --> 01:50:29,040
Speaker 2: older people, once they've seen what the world does and

2116
01:50:29,080 --> 01:50:35,080
Speaker 2: they've kind of experienced some things, that that faith kind

2117
01:50:35,080 --> 01:50:38,200
Speaker 2: of isn't as strong as it is in your youth.

2118
01:50:38,240 --> 01:50:40,519
Speaker 2: Because the thing about what's beautiful about youth you don't know.

2119
01:50:40,840 --> 01:50:43,559
Speaker 2: And so when you don't know, you're able to do

2120
01:50:43,720 --> 01:50:46,839
Speaker 2: things like what letting them did jump through a portal

2121
01:50:46,880 --> 01:50:49,439
Speaker 2: because they're they're you know, they're younger, so they're able

2122
01:50:49,479 --> 01:50:52,360
Speaker 2: to do that thing versus Mintros was like, you know,

2123
01:50:52,920 --> 01:50:56,360
Speaker 2: but here's the thing, though, Hattie is the elder matriarch, right,

2124
01:50:57,600 --> 01:51:01,559
Speaker 2: I feel like there's more wisdom and weight to her

2125
01:51:01,640 --> 01:51:06,720
Speaker 2: making that choice knowing. Yes, Like, sometimes we attribute things

2126
01:51:06,720 --> 01:51:08,400
Speaker 2: to youth, which is fine, you know, I know we

2127
01:51:08,560 --> 01:51:11,280
Speaker 2: like to I'm not here to down to youth, but

2128
01:51:11,400 --> 01:51:13,880
Speaker 2: sometimes we attribute things to youth, but they're kind of

2129
01:51:14,160 --> 01:51:17,120
Speaker 2: it's because they're young, Yes, Like you you did this

2130
01:51:17,120 --> 01:51:19,160
Speaker 2: thing because you didn't know it was a big deal,

2131
01:51:19,560 --> 01:51:21,920
Speaker 2: And that's something to be said about that, because sometimes

2132
01:51:21,920 --> 01:51:24,120
Speaker 2: that's what takes down the structure too, is I didn't

2133
01:51:24,120 --> 01:51:26,040
Speaker 2: know what it was a big deal, so I did it,

2134
01:51:26,240 --> 01:51:28,679
Speaker 2: and now look I changed the world. But then there's

2135
01:51:28,720 --> 01:51:31,200
Speaker 2: also times where it's like I didn't know that, so

2136
01:51:31,240 --> 01:51:32,800
Speaker 2: I acted haphazardly.

2137
01:51:33,240 --> 01:51:35,639
Speaker 1: You know. It's like how young young black people think

2138
01:51:35,640 --> 01:51:38,920
Speaker 1: it's cool to ship on Al Sharpton, but once you

2139
01:51:38,920 --> 01:51:41,680
Speaker 1: get some age on, you like, oh no, no, no, our's real,

2140
01:51:41,800 --> 01:51:43,479
Speaker 1: for real, for real. He been in the shit, he

2141
01:51:43,520 --> 01:51:45,320
Speaker 1: got stabbed, He done more than a lot of these

2142
01:51:45,400 --> 01:51:48,720
Speaker 1: niggas talking about him, and that's what That's a real

2143
01:51:48,760 --> 01:51:53,440
Speaker 1: motherfucker right there. Yes, and you know and I think so.

2144
01:51:53,439 --> 01:51:56,400
Speaker 1: So in a way, it felt like the fire begin

2145
01:51:56,680 --> 01:51:59,280
Speaker 1: passed from generation to the next, you know what I'm saying,

2146
01:51:59,439 --> 01:52:01,719
Speaker 1: Like it like literally, Dorees a line in the poem

2147
01:52:01,760 --> 01:52:05,760
Speaker 1: that says, here's my hand, catch the fire and live, live,

2148
01:52:05,920 --> 01:52:09,400
Speaker 1: live live. That's how that that scene felt like that

2149
01:52:09,479 --> 01:52:13,400
Speaker 1: her literally holding Letty's hand, catching fire so that Leeddy

2150
01:52:13,479 --> 01:52:16,800
Speaker 1: could live and her great great great grandchild would live.

2151
01:52:17,800 --> 01:52:19,800
Speaker 1: Now I does say something about the sacrifices that black

2152
01:52:19,800 --> 01:52:24,400
Speaker 1: women make in order for blackness to continue. Yes, you

2153
01:52:24,439 --> 01:52:26,720
Speaker 1: know what I mean, because this matriarch had to make

2154
01:52:26,760 --> 01:52:30,559
Speaker 1: that decision of everyone over herself. Hippolyta somewhere on the

2155
01:52:30,560 --> 01:52:33,479
Speaker 1: other side of the portal making this decision, uh, you know,

2156
01:52:33,920 --> 01:52:38,400
Speaker 1: carrying everyone for her daughter d You know, so I

2157
01:52:38,439 --> 01:52:42,280
Speaker 1: definitely understand that. But yeah, it was that scene was

2158
01:52:42,280 --> 01:52:46,560
Speaker 1: so beautiful. It was gorgeous, and we don't hear Hattie's screams,

2159
01:52:46,640 --> 01:52:50,599
Speaker 1: but we see him like they show her burning to death,

2160
01:52:50,800 --> 01:52:54,920
Speaker 1: Like it's not like this, They show us the sacrifice

2161
01:52:54,920 --> 01:52:58,280
Speaker 1: of it. It was not some fairy tale shit it

2162
01:52:58,400 --> 01:53:03,160
Speaker 1: was like, this is this this woman took that pain

2163
01:53:03,479 --> 01:53:07,559
Speaker 1: for everybody else to live and to pass it down.

2164
01:53:07,800 --> 01:53:11,040
Speaker 2: Yes, you literally seen the room and goulf You see

2165
01:53:11,040 --> 01:53:13,680
Speaker 2: her catch on fire. You see her whole body light up.

2166
01:53:13,720 --> 01:53:17,920
Speaker 2: You see her lily burn until her hands dissolved in

2167
01:53:18,040 --> 01:53:19,800
Speaker 2: Letty's And it was one of those things. But it

2168
01:53:19,840 --> 01:53:24,480
Speaker 2: was just gorgeous to watch, and it emphasized the importance

2169
01:53:24,760 --> 01:53:28,080
Speaker 2: of her sacrifice and how important her sacrifice.

2170
01:53:27,800 --> 01:53:33,080
Speaker 1: Was now to the other sacrifice. Mantross gets some more flashbacks.

2171
01:53:33,080 --> 01:53:35,040
Speaker 1: He finds a car with some liquor in it, starts

2172
01:53:35,120 --> 01:53:38,799
Speaker 1: drinking whatever I'm telling you, just Rick and Morty, okay,

2173
01:53:40,560 --> 01:53:44,640
Speaker 1: Ticking Mantrie. So then Tick pulls up on man Tross

2174
01:53:44,720 --> 01:53:48,040
Speaker 1: and the car and he's like, I look, don't warn

2175
01:53:48,160 --> 01:53:49,880
Speaker 1: uncle George. I know that's why you came out here

2176
01:53:49,920 --> 01:53:52,599
Speaker 1: to stop him from getting shot at Artem and Montross

2177
01:53:52,680 --> 01:53:56,240
Speaker 1: is like, that's not why I'm out here, And then

2178
01:53:56,280 --> 01:53:57,960
Speaker 1: he's like, well, why do you out here? Then? And

2179
01:53:57,960 --> 01:54:00,599
Speaker 1: they looked towards that that same mind you meant slash

2180
01:54:00,640 --> 01:54:03,439
Speaker 1: statue in the center of town that Montross had, you know,

2181
01:54:03,680 --> 01:54:07,400
Speaker 1: got hung up on looking at earlier, and you see

2182
01:54:07,479 --> 01:54:11,840
Speaker 1: young Montross meeting a boy named Thomas right by that

2183
01:54:11,960 --> 01:54:18,679
Speaker 1: same statue, and he says, Thomas is about to get killed,

2184
01:54:20,120 --> 01:54:23,479
Speaker 1: like I'm about to watch Thomas get shot and by

2185
01:54:23,520 --> 01:54:28,320
Speaker 1: this white mob of people unless I go save him,

2186
01:54:28,320 --> 01:54:33,160
Speaker 1: older Montross, go save him. And Montross is like, I

2187
01:54:33,320 --> 01:54:36,840
Speaker 1: never even said this man's name, just like Thomas's name,

2188
01:54:37,400 --> 01:54:39,920
Speaker 1: I literally erased him from my memory in my past

2189
01:54:40,720 --> 01:54:43,080
Speaker 1: so I could continue to go living, so I could

2190
01:54:43,120 --> 01:54:47,600
Speaker 1: just basically pretend it's never happened. And He's like, I

2191
01:54:47,600 --> 01:54:49,760
Speaker 1: want to save him, and Ticket's like, hell, no, you

2192
01:54:49,800 --> 01:54:53,720
Speaker 1: can't save him. We can't fuck with time, right, And

2193
01:54:54,040 --> 01:54:57,440
Speaker 1: Montross is like, but it probably won't change anything if

2194
01:54:57,440 --> 01:55:00,400
Speaker 1: I save him. That's not gonna make me not be

2195
01:55:00,480 --> 01:55:04,080
Speaker 1: your father. That's not gonna make me, you know, any

2196
01:55:04,160 --> 01:55:09,240
Speaker 1: different or whatever. And you have to understand, Thomas is

2197
01:55:09,320 --> 01:55:12,160
Speaker 1: just the first and a long line of sacrifices I

2198
01:55:12,280 --> 01:55:15,720
Speaker 1: made to be your father. And Tick looks very hurt

2199
01:55:15,720 --> 01:55:18,320
Speaker 1: by that, almost like and I think a lot of

2200
01:55:18,400 --> 01:55:22,960
Speaker 1: kids think like that, Like my parents talking about themselves

2201
01:55:23,080 --> 01:55:25,520
Speaker 1: over me and the choices they made to like what

2202
01:55:25,560 --> 01:55:27,240
Speaker 1: you're trying to make me feel bad is like that's

2203
01:55:27,320 --> 01:55:30,160
Speaker 1: just life. That's literally what having a child is. Yes,

2204
01:55:30,200 --> 01:55:32,080
Speaker 1: your parents, if you listen to this, you got parents.

2205
01:55:32,160 --> 01:55:34,600
Speaker 1: They made some choices for your ass, right.

2206
01:55:35,360 --> 01:55:37,760
Speaker 2: The choices they made was to literally put you first,

2207
01:55:37,800 --> 01:55:40,839
Speaker 2: and sometimes that meant sacrificing other things to put you first.

2208
01:55:41,160 --> 01:55:46,840
Speaker 1: Right. So in this context, he's like, yeah, if I

2209
01:55:46,920 --> 01:55:51,080
Speaker 1: save them, it's okay, because Thomas is not important enough

2210
01:55:51,080 --> 01:55:53,440
Speaker 1: to make me not be your father, so let me

2211
01:55:53,520 --> 01:55:56,600
Speaker 1: save him. I just feel terribly that I let this

2212
01:55:56,920 --> 01:56:04,480
Speaker 1: kid die. And we also see that young Montross, who

2213
01:56:04,920 --> 01:56:07,800
Speaker 1: father has been abusing him for the idea he might

2214
01:56:07,840 --> 01:56:13,240
Speaker 1: be gay, basically calls Thomas all kinds of like the

2215
01:56:13,360 --> 01:56:16,520
Speaker 1: F word and like I ain't gay, you gay? And

2216
01:56:16,560 --> 01:56:20,200
Speaker 1: all this shit and that self hate comes in from

2217
01:56:20,480 --> 01:56:22,920
Speaker 1: you know, the father handed down. So this is another

2218
01:56:23,000 --> 01:56:29,040
Speaker 1: complicated character on the show with very serious issues who

2219
01:56:29,040 --> 01:56:34,640
Speaker 1: we know has been closeted, repressed, raised a child that

2220
01:56:34,880 --> 01:56:38,040
Speaker 1: was not his, married a woman he did not love

2221
01:56:38,280 --> 01:56:40,920
Speaker 1: in that type of way. It was a familiar love,

2222
01:56:41,520 --> 01:56:46,400
Speaker 1: and so he was like, this was his love, this

2223
01:56:46,560 --> 01:56:48,520
Speaker 1: was you know, in a way, this is his letty,

2224
01:56:48,960 --> 01:56:52,640
Speaker 1: you know what I mean. So for Tick, of course,

2225
01:56:52,920 --> 01:56:56,360
Speaker 1: it's some people are just like tickets trash. But I'm like, nigga, literally,

2226
01:56:56,400 --> 01:56:58,560
Speaker 1: if he let that man go out there, he might

2227
01:56:58,600 --> 01:57:02,160
Speaker 1: not be fucking born correct, Like this is the time

2228
01:57:02,160 --> 01:57:06,000
Speaker 1: travel rules. Like it's like people didn't hear that at all. Yeah,

2229
01:57:06,080 --> 01:57:07,760
Speaker 1: he couldn't just like hold his hand through it and

2230
01:57:07,840 --> 01:57:09,080
Speaker 1: be like, all right, we're going out there and do

2231
01:57:09,120 --> 01:57:12,080
Speaker 1: what you gotta dodd, Hey if I die, oh well,

2232
01:57:12,240 --> 01:57:15,000
Speaker 1: we just did this mission for no reason, like you know.

2233
01:57:15,200 --> 01:57:18,320
Speaker 1: So I understood his point, which was, but if you

2234
01:57:18,520 --> 01:57:23,280
Speaker 1: do this and save Thomas, then fuck everything else. But

2235
01:57:23,760 --> 01:57:30,040
Speaker 1: the trauma and the alcohol that Montrost was experiencing was like, yeah, nigga,

2236
01:57:30,120 --> 01:57:31,840
Speaker 1: I want to save him, and I think I would

2237
01:57:31,880 --> 01:57:35,560
Speaker 1: be okay. And it's just I think this scene really

2238
01:57:35,560 --> 01:57:40,200
Speaker 1: exists for Tick to finally see his father as more

2239
01:57:40,240 --> 01:57:41,600
Speaker 1: than just a dude that beat him up.

2240
01:57:41,800 --> 01:57:47,280
Speaker 2: Yes, yes, it allowed him to see It's very hard,

2241
01:57:47,400 --> 01:57:49,480
Speaker 2: and it was for me to see your parents as

2242
01:57:49,480 --> 01:57:52,360
Speaker 2: a person, to see your parents as flawed, to see

2243
01:57:52,360 --> 01:57:56,120
Speaker 2: your parents they were actually somebody before I was born,

2244
01:57:56,240 --> 01:57:58,200
Speaker 2: you know, because you know, when I was born, I

2245
01:57:58,200 --> 01:58:00,720
Speaker 2: just thought my mama was just old. She's just old.

2246
01:58:00,760 --> 01:58:02,800
Speaker 2: And I realized that she had a whole ass life.

2247
01:58:02,800 --> 01:58:05,200
Speaker 2: She lived before I came on the scene.

2248
01:58:05,440 --> 01:58:08,160
Speaker 1: Yeah, my trout basically says, I lied to myself. I

2249
01:58:08,200 --> 01:58:10,080
Speaker 1: cut out all the soft parts of myself so I

2250
01:58:10,120 --> 01:58:13,960
Speaker 1: could be a man because men have sons. And I

2251
01:58:14,040 --> 01:58:16,280
Speaker 1: swallowed my pride when I find out that you could

2252
01:58:16,320 --> 01:58:20,839
Speaker 1: be Georgia's son, because you had to be my son

2253
01:58:21,560 --> 01:58:26,000
Speaker 1: to make those sacrifices make sense, because you know, gay

2254
01:58:26,080 --> 01:58:29,400
Speaker 1: men don't have sons. Me and man straight manly men

2255
01:58:29,520 --> 01:58:33,080
Speaker 1: have sons, you know, and so you know, and they

2256
01:58:33,120 --> 01:58:35,080
Speaker 1: beat those sons because that's what my dad did to me.

2257
01:58:35,160 --> 01:58:37,040
Speaker 1: And they make them tough because that's how I am,

2258
01:58:37,080 --> 01:58:39,640
Speaker 1: and all this shit. So he was like, so it

2259
01:58:39,680 --> 01:58:43,680
Speaker 1: can't change, which his part was. I think his point

2260
01:58:43,760 --> 01:58:49,200
Speaker 1: was partially because I am so dedicated to that lie

2261
01:58:49,360 --> 01:58:52,240
Speaker 1: into making you make you be and my son, I

2262
01:58:52,280 --> 01:58:55,400
Speaker 1: can't imagine a world where me letting this dude lives

2263
01:58:55,480 --> 01:58:59,320
Speaker 1: changes all that. But I'm like, I can easily imagine that.

2264
01:59:00,200 --> 01:59:03,840
Speaker 1: Imagine that Thomas survives and now you know instead of

2265
01:59:03,920 --> 01:59:06,320
Speaker 1: you haven't like this is possibly one of the loves

2266
01:59:06,320 --> 01:59:09,160
Speaker 1: of your lives or something like this, y'all survive, maybe

2267
01:59:09,200 --> 01:59:11,640
Speaker 1: you do make some different decisions and raising this child

2268
01:59:11,720 --> 01:59:12,160
Speaker 1: and all.

2269
01:59:12,000 --> 01:59:14,320
Speaker 2: The shit right right, and the outcome would have been

2270
01:59:14,360 --> 01:59:18,080
Speaker 2: completely different. And he said something that really stuck with me.

2271
01:59:18,080 --> 01:59:19,880
Speaker 2: And a lot of men do this. They cut out

2272
01:59:19,880 --> 01:59:23,360
Speaker 2: the soft part of themselves. And that's a real statement.

2273
01:59:23,440 --> 01:59:26,560
Speaker 2: A lot of dudes do that, you know, because men

2274
01:59:26,720 --> 01:59:29,520
Speaker 2: and little boys their people too, they have soft parts.

2275
01:59:29,560 --> 01:59:31,960
Speaker 2: They love, they care, they have joy, they have all

2276
01:59:32,080 --> 01:59:36,400
Speaker 2: these things. But for some reason they cut it out

2277
01:59:36,440 --> 01:59:38,520
Speaker 2: because a lot of that shit isn't considered manly. A

2278
01:59:38,560 --> 01:59:41,720
Speaker 2: lot of that shit isn't considered you know. Uh, the

2279
01:59:41,800 --> 01:59:44,080
Speaker 2: thing that men do, and you know, they cut out

2280
01:59:44,120 --> 01:59:46,240
Speaker 2: their emotions, They cut out their love for women, They

2281
01:59:46,240 --> 01:59:48,560
Speaker 2: cut out their joy in life. You know too, you

2282
01:59:48,600 --> 01:59:50,280
Speaker 2: know you cut so much shit out to all you

2283
01:59:50,360 --> 01:59:53,560
Speaker 2: got is anger, you know, anger and bitterness and sorrow,

2284
01:59:53,600 --> 01:59:56,480
Speaker 2: like that's literally all you have because the things that

2285
01:59:56,960 --> 02:00:01,160
Speaker 2: actually makes life worth living. LI cut those things out

2286
02:00:01,160 --> 02:00:01,760
Speaker 2: of your life.

2287
02:00:02,360 --> 02:00:06,280
Speaker 1: So now Tick has watched his closeted father, who he

2288
02:00:06,520 --> 02:00:09,360
Speaker 1: as a child, be beaten by his dad for acting gay.

2289
02:00:09,960 --> 02:00:15,400
Speaker 1: Now now he's also watching him lose possibly the love

2290
02:00:15,440 --> 02:00:21,080
Speaker 1: of his life, who he just was using his own homophobia,

2291
02:00:21,160 --> 02:00:24,560
Speaker 1: internalized homophobia. He was lashing out to push this kid

2292
02:00:24,560 --> 02:00:29,920
Speaker 1: away from him, and he's now watching that that boy

2293
02:00:30,000 --> 02:00:32,720
Speaker 1: be murdered in front of him as a child. And

2294
02:00:32,800 --> 02:00:35,760
Speaker 1: I think it was fucking tick up because it just

2295
02:00:35,840 --> 02:00:38,440
Speaker 1: fucked up this narrative that this was just this mean

2296
02:00:38,560 --> 02:00:42,840
Speaker 1: dude that gave me dirty So uh, Tick says, you

2297
02:00:42,920 --> 02:00:46,240
Speaker 1: better be sure that and Mantris said, stares at Thomas

2298
02:00:46,240 --> 02:00:49,720
Speaker 1: and his younger self, and you could tell he wants

2299
02:00:49,720 --> 02:00:52,080
Speaker 1: to go out there and save Thomas, but he doesn't, right.

2300
02:00:52,120 --> 02:00:54,760
Speaker 2: And it's also one of those things too, to where

2301
02:00:55,320 --> 02:00:58,520
Speaker 2: you know, Tick is actually, like I say, looking at

2302
02:00:58,600 --> 02:01:01,480
Speaker 2: him as a human being, looking at him and having

2303
02:01:01,480 --> 02:01:05,440
Speaker 2: a better understanding, you know, because sometimes parents do children

2304
02:01:05,440 --> 02:01:07,800
Speaker 2: a disservice by not explaining shit to them. They do

2305
02:01:07,840 --> 02:01:10,800
Speaker 2: them disservice by because I said so, they doing a

2306
02:01:10,800 --> 02:01:15,160
Speaker 2: disservice by not actually doing these things and having these

2307
02:01:15,160 --> 02:01:17,760
Speaker 2: hard talks and having these difficult conversations and being yeah,

2308
02:01:17,760 --> 02:01:22,960
Speaker 2: I'm flawed, Yeah I'm fucked up, you know, and wonder

2309
02:01:23,000 --> 02:01:25,480
Speaker 2: why as they get older the relationships with their children

2310
02:01:25,520 --> 02:01:27,960
Speaker 2: are terrible and horrible, and your children grow up and

2311
02:01:28,040 --> 02:01:30,000
Speaker 2: leave you and don't want you to see the grandkids

2312
02:01:30,000 --> 02:01:32,560
Speaker 2: and all that shit, And it just caused this rift

2313
02:01:32,560 --> 02:01:35,240
Speaker 2: that actually sometimes don't have to be there. You know, yes,

2314
02:01:35,320 --> 02:01:38,280
Speaker 2: parents are abusive, and there are some parents that are abusive,

2315
02:01:38,600 --> 02:01:40,200
Speaker 2: and they will continue to be abused to the day

2316
02:01:40,200 --> 02:01:42,000
Speaker 2: they die. I'm not saying nobody needs to be abused.

2317
02:01:42,040 --> 02:01:45,040
Speaker 2: But at the same time, there are some adults when

2318
02:01:45,040 --> 02:01:47,520
Speaker 2: they get older, they realize they flows and their actions

2319
02:01:47,520 --> 02:01:50,720
Speaker 2: in their ways, and they will acknowledge those things. And

2320
02:01:50,800 --> 02:01:56,080
Speaker 2: so you know, it took Tick going, oh, my.

2321
02:01:56,120 --> 02:01:57,320
Speaker 1: Anger is not fixed.

2322
02:01:57,360 --> 02:01:59,400
Speaker 2: Anger is valid, but he gonna Oh, I have a

2323
02:01:59,400 --> 02:02:03,280
Speaker 2: better understan standing now, and I have more compassion to

2324
02:02:03,320 --> 02:02:05,640
Speaker 2: tell why you did what you did, Not that it's right,

2325
02:02:05,840 --> 02:02:07,520
Speaker 2: but I have a better understanding.

2326
02:02:08,560 --> 02:02:11,880
Speaker 1: So the white men show up, start shooting mont Trost

2327
02:02:11,880 --> 02:02:14,560
Speaker 1: and Thomas start to run off their whole hands, and

2328
02:02:14,600 --> 02:02:18,600
Speaker 1: then a white man kills Thomas, uh calling him the

2329
02:02:18,680 --> 02:02:20,879
Speaker 1: N word in the F word at the same time,

2330
02:02:21,440 --> 02:02:27,040
Speaker 1: and like literally the blood gets on young Montross and

2331
02:02:27,120 --> 02:02:29,960
Speaker 1: Florida still not still doesn't qualify as a hate crime.

2332
02:02:30,120 --> 02:02:33,920
Speaker 1: So uh, I don't know if that's true. I can

2333
02:02:34,000 --> 02:02:38,840
Speaker 1: believe it, but don't it sound true If Mississippi is

2334
02:02:38,840 --> 02:02:40,840
Speaker 1: still not a hate crime. You can call people two slurs,

2335
02:02:40,840 --> 02:02:43,720
Speaker 1: shoot them in the back of the head, and Uh yeah,

2336
02:02:43,760 --> 02:02:45,240
Speaker 1: they'll be like, well stand your ground.

2337
02:02:45,640 --> 02:02:45,840
Speaker 2: Uh.

2338
02:02:45,960 --> 02:02:48,560
Speaker 1: George and Doors show up to save young mont troals

2339
02:02:48,600 --> 02:02:51,000
Speaker 1: Young George and Young Door. They start fighting with the

2340
02:02:51,040 --> 02:02:53,880
Speaker 1: white men. The white men are beating them up, and

2341
02:02:54,080 --> 02:02:58,400
Speaker 1: that's when oh Tick, who's told us from episode one

2342
02:02:58,960 --> 02:03:03,200
Speaker 1: that Joe, George and Tig I mean, George and Montress

2343
02:03:03,320 --> 02:03:05,360
Speaker 1: have told him the story of how they escape Tusa

2344
02:03:05,920 --> 02:03:09,200
Speaker 1: so many times it's in his dreams. The first dream

2345
02:03:09,200 --> 02:03:12,600
Speaker 1: that he ever has on that bus is Jackie Robinson

2346
02:03:13,320 --> 02:03:19,720
Speaker 1: beat knocking a fucking cthulhu squid monster knocking it in

2347
02:03:19,800 --> 02:03:22,520
Speaker 1: the fucking paste with a bat and going I got

2348
02:03:22,520 --> 02:03:29,360
Speaker 1: your kid to George. And so it's interesting because he's

2349
02:03:29,400 --> 02:03:32,080
Speaker 1: heard this story so many fucking times, and this is

2350
02:03:32,120 --> 02:03:35,960
Speaker 1: the moment. He's living the moment. Montross is reliving the moment,

2351
02:03:36,240 --> 02:03:41,000
Speaker 1: And as they're sitting there, they realize the moment's not coming.

2352
02:03:41,560 --> 02:03:45,280
Speaker 1: Where is the stranger with the bat? Like the stranger

2353
02:03:45,280 --> 02:03:46,960
Speaker 1: with the bat's supposed to show up, is looking like

2354
02:03:47,000 --> 02:03:49,760
Speaker 1: they're about to get killed by these white people. And

2355
02:03:49,960 --> 02:03:54,640
Speaker 1: Tick steps forward and he steps right almost right on

2356
02:03:54,720 --> 02:03:57,840
Speaker 1: top of a fucking Louisville slugger picks up the bat

2357
02:03:58,440 --> 02:04:03,720
Speaker 1: and real, oh shit, I'm the stranger.

2358
02:04:04,200 --> 02:04:06,560
Speaker 2: Right, because they would not recognize him because they he

2359
02:04:06,640 --> 02:04:08,040
Speaker 2: don't exist yet.

2360
02:04:08,240 --> 02:04:11,600
Speaker 1: Right, And this is one of those time paradoxes like

2361
02:04:11,640 --> 02:04:18,880
Speaker 1: the Terminator movies. Did he know? Like was there a

2362
02:04:18,960 --> 02:04:22,920
Speaker 1: stranger there who had a bat and said I got

2363
02:04:22,960 --> 02:04:26,520
Speaker 1: you kid? Because there was a stranger there who had

2364
02:04:26,520 --> 02:04:29,240
Speaker 1: a bat and said I got your kid? Or was

2365
02:04:29,320 --> 02:04:32,280
Speaker 1: that only possible because they kept telling Tick that story

2366
02:04:32,360 --> 02:04:35,160
Speaker 1: and then he was a strange. It's the same thing

2367
02:04:35,160 --> 02:04:38,440
Speaker 1: as Terminated, where you're like, is the Terminator program? Does

2368
02:04:38,480 --> 02:04:41,440
Speaker 1: it exist? Because in the past a piece of terminator

2369
02:04:41,520 --> 02:04:43,839
Speaker 1: was found on the street, But that piece of terminator

2370
02:04:43,880 --> 02:04:46,120
Speaker 1: was found on the street because the terminator returned from

2371
02:04:46,120 --> 02:04:49,320
Speaker 1: the future into the past to get destroyed for us

2372
02:04:49,360 --> 02:04:50,640
Speaker 1: to find that piece of terminator.

2373
02:04:51,880 --> 02:04:54,000
Speaker 2: Who knows?

2374
02:04:54,200 --> 02:04:59,040
Speaker 1: Yeah, mind explosions like time paradox like straight out of

2375
02:04:59,040 --> 02:05:02,520
Speaker 1: some John Connor come with me thing with me if

2376
02:05:02,520 --> 02:05:05,800
Speaker 1: you want to live shit. So anyway, he goes out

2377
02:05:05,840 --> 02:05:08,240
Speaker 1: there and he gives them white folks the business with that.

2378
02:05:08,240 --> 02:05:10,600
Speaker 2: Bad oh, and it was an equal opportunity to ask

2379
02:05:10,600 --> 02:05:11,840
Speaker 2: whooping everybody got it?

2380
02:05:12,080 --> 02:05:15,600
Speaker 1: Yeah, white women was getting it like a Saturday Live monologue,

2381
02:05:15,640 --> 02:05:20,200
Speaker 1: he was by the hell he was like, uh, and

2382
02:05:20,280 --> 02:05:24,280
Speaker 1: so he fucked them up, and then that was also

2383
02:05:24,680 --> 02:05:27,480
Speaker 1: where's your fire? Was playing over that and then when

2384
02:05:27,520 --> 02:05:29,840
Speaker 1: he gets done whooping all that ass, he walks up

2385
02:05:29,880 --> 02:05:33,280
Speaker 1: to Montrials, George and Dora, the young ones and goes,

2386
02:05:33,880 --> 02:05:36,480
Speaker 1: I got your kid, and then walks off, and that

2387
02:05:36,520 --> 02:05:37,560
Speaker 1: shit was cool as fuck.

2388
02:05:37,680 --> 02:05:39,800
Speaker 2: Yeah, So yeah, to them, there was like some man

2389
02:05:39,920 --> 02:05:42,800
Speaker 2: just walked out of nowhere and died, you know, because

2390
02:05:42,880 --> 02:05:44,680
Speaker 2: Tick was actually wearing the clothes of the time. So

2391
02:05:44,720 --> 02:05:47,040
Speaker 2: as far as Dickerson, he just somebody that was lived

2392
02:05:47,080 --> 02:05:47,760
Speaker 2: in the neighborhood.

2393
02:05:47,760 --> 02:05:51,480
Speaker 1: And thank god, I know this is you sound right

2394
02:05:51,600 --> 02:05:57,120
Speaker 1: after everything we said, y'all, But thank god Montross abused

2395
02:05:57,160 --> 02:06:00,320
Speaker 1: that boy all his life, okay, because he beat them

2396
02:06:00,360 --> 02:06:02,880
Speaker 1: with the rage of a child that has had so

2397
02:06:03,080 --> 02:06:07,640
Speaker 1: many unwarranted whoopings. He beat them white folks with all

2398
02:06:07,920 --> 02:06:11,720
Speaker 1: the just the training one of us in the ground,

2399
02:06:11,720 --> 02:06:13,200
Speaker 1: and he just kept beating them upside of the here.

2400
02:06:13,200 --> 02:06:14,960
Speaker 1: I was like, oh, I think that person did. Can

2401
02:06:15,000 --> 02:06:17,120
Speaker 1: you imagine in a world where he didn't get whoopings,

2402
02:06:17,160 --> 02:06:19,120
Speaker 1: he had been all soft as shit, they would have died.

2403
02:06:19,200 --> 02:06:20,760
Speaker 2: I think one of them scared and ran away.

2404
02:06:20,920 --> 02:06:23,680
Speaker 1: If it wasn't for them whoopings, man, I mean, I

2405
02:06:23,760 --> 02:06:26,040
Speaker 1: hate to say it, but it went for the mass whoopings.

2406
02:06:26,240 --> 02:06:30,640
Speaker 1: Them abuses saved the whoopings saved my life. In a

2407
02:06:30,840 --> 02:06:34,400
Speaker 1: kind of gentler world where Montross gets therapy, comes out

2408
02:06:34,440 --> 02:06:38,040
Speaker 1: the closet and raises Tick as a healthy and well

2409
02:06:38,160 --> 02:06:42,120
Speaker 1: balanced boy. They are dead. They never gonna stay off.

2410
02:06:42,280 --> 02:06:44,600
Speaker 1: They do not make it out of Tusa. It's crazy

2411
02:06:44,600 --> 02:06:47,600
Speaker 1: when you think about it that way. But tell me online, Okay,

2412
02:06:47,840 --> 02:06:51,800
Speaker 1: anyway back to the normal show. Everything's getting back together

2413
02:06:51,840 --> 02:06:54,520
Speaker 1: at the same timeline. White man of course, breaking the

2414
02:06:54,520 --> 02:06:55,240
Speaker 1: black stores and.

2415
02:06:55,200 --> 02:06:59,400
Speaker 2: Looped Come on, did it all the night?

2416
02:06:59,440 --> 02:07:02,840
Speaker 1: Shit? You know? I was heard that. I was told

2417
02:07:02,880 --> 02:07:07,760
Speaker 1: it only happens when Black Lives Matter gets together. But yeah,

2418
02:07:07,840 --> 02:07:10,000
Speaker 1: that's what a lot of the Tousa riots were about to.

2419
02:07:10,200 --> 02:07:13,880
Speaker 1: Was them just taking black wealth. They took people's property, homes,

2420
02:07:14,000 --> 02:07:16,840
Speaker 1: all kinds of shit clothes, Yes, and they did this.

2421
02:07:17,520 --> 02:07:19,800
Speaker 1: Tosa is one of the masculs we know about and

2422
02:07:19,800 --> 02:07:21,840
Speaker 1: talk about a lot. But they did this with every

2423
02:07:21,840 --> 02:07:22,160
Speaker 1: one of.

2424
02:07:22,120 --> 02:07:23,959
Speaker 2: Those yeah, all across the country.

2425
02:07:24,280 --> 02:07:28,720
Speaker 1: So taking my Tross run through through the town's streets

2426
02:07:28,880 --> 02:07:32,360
Speaker 1: while all the shootouts is happening. Really got to give

2427
02:07:32,440 --> 02:07:35,960
Speaker 1: credit to Michael K. Williams again. No one coons it

2428
02:07:36,080 --> 02:07:38,600
Speaker 1: up like my man, Michael K. Williams. When he was

2429
02:07:38,680 --> 02:07:41,160
Speaker 1: running and he started high stepping in that white suit,

2430
02:07:41,240 --> 02:07:43,760
Speaker 1: he was like, boy, he was running so good man.

2431
02:07:43,960 --> 02:07:45,960
Speaker 1: Oh my god, y'all go back and watch it again.

2432
02:07:46,360 --> 02:07:50,040
Speaker 1: He was cooning so good. Jonathan majus Man, he had

2433
02:07:50,040 --> 02:07:53,800
Speaker 1: this work cut out from this episode like that two

2434
02:07:53,840 --> 02:07:56,880
Speaker 1: acting people going back and forth. But boy, y'all watch

2435
02:07:57,000 --> 02:08:00,400
Speaker 1: just the run, man. It's funny and out of context.

2436
02:08:00,520 --> 02:08:03,400
Speaker 1: Just just the run though it's only like one second long.

2437
02:08:03,480 --> 02:08:06,760
Speaker 1: But oh my god, I laughed so hard. He run good.

2438
02:08:06,840 --> 02:08:08,720
Speaker 1: Scared man. Remember when they was in the tunnel the

2439
02:08:08,720 --> 02:08:13,720
Speaker 1: Indiana Jones thing. Yes, man, he's so talented. Anyway, So

2440
02:08:14,480 --> 02:08:16,760
Speaker 1: letty they get back to the portal in the hotel room.

2441
02:08:16,840 --> 02:08:19,840
Speaker 1: Letty's not back yet, the portals fading in and out

2442
02:08:19,880 --> 02:08:22,600
Speaker 1: like it's about the close. Tick jumps through my trout,

2443
02:08:22,640 --> 02:08:24,520
Speaker 1: stays on the other side, looks out the window at

2444
02:08:24,520 --> 02:08:29,440
Speaker 1: all the destruction through the portal. Tick encourages Hippolyta basically

2445
02:08:29,480 --> 02:08:32,240
Speaker 1: to keep it open because she's like she's struggling so hard,

2446
02:08:32,400 --> 02:08:34,800
Speaker 1: like white shit is coming out of her mouth, and

2447
02:08:34,880 --> 02:08:37,080
Speaker 1: she's like, I can't hold it. He's like, you gotta

2448
02:08:37,120 --> 02:08:39,560
Speaker 1: hold it. Let it. On the other side, that's my

2449
02:08:39,720 --> 02:08:45,120
Speaker 1: Johnathan Major. Uh pressure. I didn't know I could do that.

2450
02:08:45,160 --> 02:08:49,160
Speaker 1: Limited Jonathan Major's impression right there. You gotta hold it,

2451
02:08:49,200 --> 02:08:54,280
Speaker 1: hip Hippotah, so uh he said you gotta hold it,

2452
02:08:54,360 --> 02:08:59,280
Speaker 1: and then Hippolyta is like struggling to do it. My

2453
02:08:59,440 --> 02:09:01,520
Speaker 1: Tross is on the other side looking in the streets,

2454
02:09:01,520 --> 02:09:07,040
Speaker 1: looking for Hippolyta, but also experiencing this history. And he

2455
02:09:07,080 --> 02:09:10,640
Speaker 1: even starts talking out loud. This is clearly message from

2456
02:09:10,640 --> 02:09:14,879
Speaker 1: the writers to us beautiful, pretty overtly showing us the destruction.

2457
02:09:15,240 --> 02:09:18,040
Speaker 1: But it's also him literally pointing out black history.

2458
02:09:18,280 --> 02:09:21,680
Speaker 2: He was humanizing everybody. I was like, oh, he wouldn't

2459
02:09:21,680 --> 02:09:23,280
Speaker 2: know this because he lived.

2460
02:09:23,000 --> 02:09:25,440
Speaker 1: There, and we hear the planes in the distance, by

2461
02:09:25,480 --> 02:09:27,840
Speaker 1: the way when he first looks out the window. So

2462
02:09:27,920 --> 02:09:31,240
Speaker 1: he's like peg Leg Taylor's last stand on stan Pipe

2463
02:09:31,320 --> 02:09:36,240
Speaker 1: Hill thing of beauty. Now, the peg Leg Taylor thing

2464
02:09:36,560 --> 02:09:40,920
Speaker 1: is interesting because it's been mythologized to an extent that's

2465
02:09:40,960 --> 02:09:45,720
Speaker 1: not true, and and it sounds like what it happened

2466
02:09:45,880 --> 02:09:48,280
Speaker 1: was that, because they make it sound like it was

2467
02:09:48,280 --> 02:09:51,600
Speaker 1: this one dude, peg leg Taylor, who literally didn't have

2468
02:09:51,640 --> 02:09:55,200
Speaker 1: a peg leg. He lost his leg. He was working

2469
02:09:55,560 --> 02:10:00,880
Speaker 1: for some cotton, you know, picking cotton, and they was like,

2470
02:10:00,920 --> 02:10:04,240
Speaker 1: you need to work until nighttime and he was like,

2471
02:10:04,760 --> 02:10:07,440
Speaker 1: I can't. It's getting too dark and you know, I

2472
02:10:07,480 --> 02:10:10,160
Speaker 1: need to go home. That's enough, and so they beat him,

2473
02:10:10,200 --> 02:10:12,120
Speaker 1: took him to the railroad track and threw him on

2474
02:10:12,160 --> 02:10:14,360
Speaker 1: the railroad track waiting for a train to run over him.

2475
02:10:14,640 --> 02:10:17,480
Speaker 1: And he was able to get off the train tracks,

2476
02:10:17,600 --> 02:10:20,320
Speaker 1: but still one of his legs was severed. The impact

2477
02:10:20,320 --> 02:10:23,160
Speaker 1: from the train was was so strong it threw him

2478
02:10:23,200 --> 02:10:26,560
Speaker 1: into the grass where he lay for a long time

2479
02:10:26,640 --> 02:10:29,839
Speaker 1: just bleed him. And two white women overheard him bleeding,

2480
02:10:29,960 --> 02:10:33,120
Speaker 1: took them to their house and like stitched them up

2481
02:10:33,280 --> 02:10:36,200
Speaker 1: and stopped them bleeding. And that's how he lived. And

2482
02:10:36,240 --> 02:10:40,000
Speaker 1: that happened when he was like nineteen, and so he

2483
02:10:40,080 --> 02:10:43,040
Speaker 1: goes on to become like a major businessman and all

2484
02:10:43,040 --> 02:10:51,120
Speaker 1: this shit in TUSA and during the riots, the myth

2485
02:10:51,400 --> 02:10:54,560
Speaker 1: was he took a machine gun and just like gunn

2486
02:10:54,640 --> 02:10:57,320
Speaker 1: down two hundred white men and saved this area of

2487
02:10:57,360 --> 02:11:00,280
Speaker 1: Tusa getting a high BodyCount. Winn't it now? He wasn't

2488
02:11:00,320 --> 02:11:03,440
Speaker 1: dying Tsa by the way, But yeah, he doesn't dine TWSA,

2489
02:11:03,520 --> 02:11:06,840
Speaker 1: but he did have. It was not just him, it

2490
02:11:06,880 --> 02:11:10,920
Speaker 1: was other people with him. But they basically had a

2491
02:11:11,080 --> 02:11:14,720
Speaker 1: you know, to protect the property. They shot at white people,

2492
02:11:15,160 --> 02:11:18,120
Speaker 1: and they had like kids loading the weapons, the bullets

2493
02:11:18,120 --> 02:11:20,680
Speaker 1: and the cartridges for them and passing the guns up.

2494
02:11:20,680 --> 02:11:23,560
Speaker 1: They had like a human chain. And he would just

2495
02:11:23,680 --> 02:11:26,840
Speaker 1: shoot at the fucking white people. So that's his last sting.

2496
02:11:27,320 --> 02:11:32,440
Speaker 1: Peg Leg Taylor. They burned down Briars Taylor shop. He

2497
02:11:32,560 --> 02:11:35,640
Speaker 1: mentions doctor Jackson, the best Negro surgeon of all times,

2498
02:11:35,760 --> 02:11:40,960
Speaker 1: shot him in the head, killed him. Missus Rogers lost

2499
02:11:40,960 --> 02:11:44,880
Speaker 1: her invalid dollar. I couldn't find anything about that. The

2500
02:11:45,160 --> 02:11:49,120
Speaker 1: white Phelps who apparently was it was a couple Merril

2501
02:11:49,160 --> 02:11:52,440
Speaker 1: Phelps and I forget his wife's name, but they were

2502
02:11:52,480 --> 02:11:56,520
Speaker 1: white people that lived in Tulsa, and they sympathized the

2503
02:11:56,520 --> 02:11:58,680
Speaker 1: black people. So when black people were running, they let

2504
02:11:58,760 --> 02:12:02,680
Speaker 1: him had in a basement. Uh, this white couple, and

2505
02:12:02,720 --> 02:12:04,600
Speaker 1: he just called him white Felts, which sounds like what

2506
02:12:04,640 --> 02:12:08,520
Speaker 1: we would do anyway. Yeah, Comodore Knox they did him

2507
02:12:08,520 --> 02:12:10,920
Speaker 1: in the worst. Comodore Knox was the last person to

2508
02:12:10,960 --> 02:12:13,920
Speaker 1: die in Tulsa that we have documented. Uh, he died

2509
02:12:13,960 --> 02:12:16,120
Speaker 1: in the hospital later because they beat him so bad

2510
02:12:16,120 --> 02:12:21,320
Speaker 1: and stuff. So then Tick is just on the other

2511
02:12:21,360 --> 02:12:24,400
Speaker 1: side of the portal, encouraging Hippolyta to you know, persevere,

2512
02:12:24,520 --> 02:12:27,160
Speaker 1: to save d to save Letty, to get the book,

2513
02:12:27,280 --> 02:12:30,960
Speaker 1: all this stuff, and she is going so hard. She

2514
02:12:31,040 --> 02:12:32,040
Speaker 1: started levitating.

2515
02:12:32,760 --> 02:12:35,600
Speaker 2: She the porter actually closed at one period of time, it.

2516
02:12:35,600 --> 02:12:39,440
Speaker 1: Did, but she opened it back up and and she

2517
02:12:39,640 --> 02:12:43,560
Speaker 1: starts fucking levitating. She's doing it so hard, and her

2518
02:12:43,600 --> 02:12:48,200
Speaker 1: hair turns blue. Y, Yeah, it turned blue, just like

2519
02:12:48,240 --> 02:12:52,400
Speaker 1: Orinthia Blue from these comic books, just like her, just

2520
02:12:52,440 --> 02:12:54,720
Speaker 1: like it wasn't the episode about Hippolyta at the end

2521
02:12:54,720 --> 02:12:57,400
Speaker 1: when her hair turned blue. So like this ship came

2522
02:12:57,440 --> 02:13:01,080
Speaker 1: to fruition and and I hope she keeps the blue.

2523
02:13:02,280 --> 02:13:05,120
Speaker 1: So and that's why I love to show Man, because

2524
02:13:05,160 --> 02:13:10,360
Speaker 1: like that to me is that's that's anime. That's that's

2525
02:13:10,480 --> 02:13:13,840
Speaker 1: so fire, that's like that's just some cool shit, you know.

2526
02:13:14,000 --> 02:13:15,640
Speaker 1: And I just feel like the nerves are gonna be

2527
02:13:15,680 --> 02:13:17,600
Speaker 1: like that didn't happen in Tolsa. And it's like suck

2528
02:13:17,680 --> 02:13:22,080
Speaker 1: my dick anyway, So yes, I.

2529
02:13:22,120 --> 02:13:26,440
Speaker 2: Like her, and I could see people actually cosplaying her.

2530
02:13:26,840 --> 02:13:30,480
Speaker 1: Of course, like you know anyway, Yes, I agree caring.

2531
02:13:30,640 --> 02:13:36,040
Speaker 1: So then uh, the bomber start fire bombing the street,

2532
02:13:36,320 --> 02:13:40,040
Speaker 1: and opera music starts playing, and the opera singing is

2533
02:13:40,240 --> 02:13:43,520
Speaker 1: the poem Where's Your Fire? So it's singing the same

2534
02:13:43,560 --> 02:13:48,080
Speaker 1: thing with heard earlier, and this time is Letty walking

2535
02:13:48,120 --> 02:13:51,240
Speaker 1: through the fire with her invulnerability in the book. And

2536
02:13:51,320 --> 02:13:52,960
Speaker 1: I know a lot of people are like, why isn't

2537
02:13:52,960 --> 02:13:56,879
Speaker 1: she running? Why isn't she running? Run the portal's closing.

2538
02:13:56,960 --> 02:13:59,520
Speaker 1: She don't know the portal closing once. She doesn't know

2539
02:13:59,560 --> 02:14:02,200
Speaker 1: the portals closing. They don't have cell phones. But then too,

2540
02:14:02,480 --> 02:14:07,720
Speaker 1: you gotta remember, y'all colorism. Okay, this is a light

2541
02:14:07,800 --> 02:14:11,040
Speaker 1: skinned woman. Of course, she's taking her sweet ass time.

2542
02:14:11,400 --> 02:14:14,000
Speaker 1: She probably ain't been answering texts, you know what I mean,

2543
02:14:14,160 --> 02:14:15,680
Speaker 1: like been knowing the phone call.

2544
02:14:15,880 --> 02:14:16,880
Speaker 2: They've been paid enough.

2545
02:14:17,160 --> 02:14:19,400
Speaker 1: She like, it'll be there when I get there. This

2546
02:14:19,440 --> 02:14:22,200
Speaker 1: is what we deal with. Okay. She just held a

2547
02:14:22,240 --> 02:14:25,480
Speaker 1: woman's hand and watched her burn to death. Okay, she

2548
02:14:25,640 --> 02:14:28,720
Speaker 1: might be dealing with a little bit more than y'all think.

2549
02:14:28,800 --> 02:14:30,880
Speaker 1: Give us some credit. And also.

2550
02:14:32,280 --> 02:14:34,560
Speaker 2: I didn't mind maybe just me, I didn't mind her

2551
02:14:34,640 --> 02:14:38,120
Speaker 2: walking slow for the fact that you could actually see

2552
02:14:38,120 --> 02:14:40,000
Speaker 2: what was happening around her. So it was a reason,

2553
02:14:40,120 --> 02:14:42,520
Speaker 2: you know, for dramatical, but it was the reason why

2554
02:14:42,680 --> 02:14:45,320
Speaker 2: you seen niggas shooting back and fight back and doing

2555
02:14:45,360 --> 02:14:45,760
Speaker 2: all kinds of.

2556
02:14:45,760 --> 02:14:49,280
Speaker 1: Sh I mean, it's for a fact, man, because if

2557
02:14:49,320 --> 02:14:52,240
Speaker 1: you peep it, they turned the last scene into an opera.

2558
02:14:52,800 --> 02:14:57,840
Speaker 1: And honestly, there is an opera based on Tussa and

2559
02:14:57,880 --> 02:14:59,560
Speaker 1: I can't remember if someone told me the song is

2560
02:14:59,560 --> 02:15:02,840
Speaker 1: from that, but anyway, so they turned the last act

2561
02:15:02,920 --> 02:15:06,840
Speaker 1: into this opera. This is tragic opera. We're watching this

2562
02:15:06,960 --> 02:15:11,760
Speaker 1: black shit, this genre bending thing now take on another form.

2563
02:15:11,880 --> 02:15:15,640
Speaker 1: And it felt operatic, it felt emotional, and I think

2564
02:15:15,720 --> 02:15:18,800
Speaker 1: it doesn't land if she's fucking sprinting through the goddamn

2565
02:15:18,800 --> 02:15:21,480
Speaker 1: streets like Jackie join a curzy, it doesn't like you might.

2566
02:15:21,600 --> 02:15:23,840
Speaker 1: Maybe they even film that version and people was like, yeah,

2567
02:15:23,960 --> 02:15:25,440
Speaker 1: this don't. This ain't the same.

2568
02:15:25,520 --> 02:15:28,440
Speaker 2: Yeah, don't have the same impact. And I actually enjoyed

2569
02:15:29,680 --> 02:15:31,800
Speaker 2: watching the chaos around her because I think that's what

2570
02:15:31,840 --> 02:15:35,040
Speaker 2: made it beautiful, just watching the chaos around her. And

2571
02:15:35,080 --> 02:15:37,280
Speaker 2: like I said, the thing that got to me was

2572
02:15:37,600 --> 02:15:40,800
Speaker 2: as she was walking, the planes that you heard before

2573
02:15:41,000 --> 02:15:44,640
Speaker 2: literally came in and they were basically throwing bombs on firebar.

2574
02:15:45,440 --> 02:15:46,240
Speaker 1: Yeah, and I was.

2575
02:15:46,240 --> 02:15:50,720
Speaker 2: Like, oh my god, like, what is happening here? And

2576
02:15:51,080 --> 02:15:53,400
Speaker 2: you know, you have Montross in their daydreaming with the

2577
02:15:53,440 --> 02:15:55,640
Speaker 2: porter closed. But you know, Hippota opened it back up,

2578
02:15:55,680 --> 02:15:57,760
Speaker 2: but initially, you know, the porter was closed behind him

2579
02:15:57,760 --> 02:16:00,200
Speaker 2: when he was talking about the thing.

2580
02:16:00,240 --> 02:16:01,880
Speaker 1: Well just for a little bit the porter. I watched

2581
02:16:01,880 --> 02:16:04,200
Speaker 1: it again. The porter wasn't closed that long. Okay, Like

2582
02:16:04,280 --> 02:16:06,680
Speaker 1: she opened it back up and you could just see

2583
02:16:06,680 --> 02:16:09,600
Speaker 1: it blinking and about the clothes, but it was opened

2584
02:16:09,600 --> 02:16:12,320
Speaker 1: back up. But I mean it was like, to me,

2585
02:16:12,560 --> 02:16:16,120
Speaker 1: the urgency was underscored by the walking and shit, and

2586
02:16:16,120 --> 02:16:19,400
Speaker 1: it made you go, will they make it back in time? Correct?

2587
02:16:19,440 --> 02:16:21,160
Speaker 1: You know? Which is the whole fucking point. And I

2588
02:16:21,160 --> 02:16:24,800
Speaker 1: think normally people write that. And they had the people

2589
02:16:24,880 --> 02:16:27,280
Speaker 1: running back, sprinting back, trying to get back, and this

2590
02:16:27,400 --> 02:16:30,760
Speaker 1: one they took one last look at Tulsa, named the

2591
02:16:30,920 --> 02:16:34,120
Speaker 1: names of the lives of the ancestors lost there and

2592
02:16:34,160 --> 02:16:37,080
Speaker 1: the ones who fought there, and they showed this destruction

2593
02:16:37,640 --> 02:16:41,480
Speaker 1: and this indestructible black woman who literally they were saying,

2594
02:16:41,720 --> 02:16:45,520
Speaker 1: where's your fire? Take this fire from your ancestors, use

2595
02:16:45,600 --> 02:16:49,120
Speaker 1: it in your past, make these dreams come true. I

2596
02:16:49,160 --> 02:16:52,040
Speaker 1: don't know. I wasn't as disturbed by it as a

2597
02:16:52,040 --> 02:16:54,119
Speaker 1: lot of people seem to be disturbed. But I get

2598
02:16:54,160 --> 02:16:55,680
Speaker 1: the jokes and stuff. I'm not trying to step on

2599
02:16:55,680 --> 02:16:58,400
Speaker 1: people's jokes. Yeah, I was just kind of like, Oh,

2600
02:16:58,520 --> 02:17:02,680
Speaker 1: it's just it's just artistic in this moment. Yes, And

2601
02:17:02,760 --> 02:17:05,520
Speaker 1: so then the portal closes after they all make it through,

2602
02:17:06,240 --> 02:17:11,520
Speaker 1: and Tick holds up Hippolyta, who's now falling to the

2603
02:17:11,560 --> 02:17:13,680
Speaker 1: ground and it's like she's a live but the hair

2604
02:17:13,800 --> 02:17:15,600
Speaker 1: is blue, and she's like, did we get it? And

2605
02:17:15,640 --> 02:17:17,800
Speaker 1: Tick says, we got it. We fucking got it. And

2606
02:17:17,840 --> 02:17:20,360
Speaker 1: that's the end. Where are you looking forward to next

2607
02:17:20,360 --> 02:17:22,840
Speaker 1: week to see what they do with that book?

2608
02:17:24,400 --> 02:17:27,320
Speaker 2: D coming back and Hussy and her mama and them

2609
02:17:27,360 --> 02:17:31,800
Speaker 2: going through that ordeal kind of explaining her telling them

2610
02:17:31,840 --> 02:17:34,840
Speaker 2: what she saw. You know, I think the's gonna play

2611
02:17:34,840 --> 02:17:38,800
Speaker 2: a really, really, really big part and uh, the things

2612
02:17:38,879 --> 02:17:42,120
Speaker 2: going forward. I'm glad everybody's on the same page. I'm

2613
02:17:42,160 --> 02:17:46,160
Speaker 2: glad it's no more secrets you know, well they're all secrets,

2614
02:17:46,200 --> 02:17:51,959
Speaker 2: but you know, you know, we George possibly in Tick's dad.

2615
02:17:52,879 --> 02:17:55,039
Speaker 2: Now it's gonna be when would they choose to tell

2616
02:17:55,080 --> 02:17:56,960
Speaker 2: her if they choose to tell her, because it's to

2617
02:17:57,000 --> 02:18:01,760
Speaker 2: the point now where they've conciund that. So it's one

2618
02:18:01,800 --> 02:18:03,560
Speaker 2: of those things where they might be brought up again

2619
02:18:03,640 --> 02:18:07,200
Speaker 2: because as far as they concerned, that's his daddy, you know,

2620
02:18:07,440 --> 02:18:09,959
Speaker 2: but it might be something that they might feel the

2621
02:18:10,040 --> 02:18:11,840
Speaker 2: need to tell her. Who knows.

2622
02:18:12,800 --> 02:18:13,840
Speaker 1: We'll see what that goes.

2623
02:18:13,920 --> 02:18:18,680
Speaker 2: And it's gonna be interesting to see Christina Williams and

2624
02:18:18,840 --> 02:18:20,760
Speaker 2: Ruby and wherever relationship is going.

2625
02:18:21,560 --> 02:18:23,680
Speaker 1: Yeah. The only thing I'm really looking forward to, man

2626
02:18:23,840 --> 02:18:26,680
Speaker 1: that Tom no equinox. I want to see if and

2627
02:18:26,760 --> 02:18:29,480
Speaker 1: how they save d with this book, if they can

2628
02:18:29,560 --> 02:18:32,280
Speaker 1: use the book to maybe do something to defeat Christina.

2629
02:18:32,959 --> 02:18:35,320
Speaker 1: And where the fuck is Ruby gonna lie down on

2630
02:18:35,360 --> 02:18:38,800
Speaker 1: this because, like I said, I ain't getting this vibe

2631
02:18:38,920 --> 02:18:41,959
Speaker 1: that she gonna like she she's a wild card to

2632
02:18:42,040 --> 02:18:44,880
Speaker 1: me at a variable was Christina said, and I could

2633
02:18:44,879 --> 02:18:48,320
Speaker 1: see her floating any fucking way on this shit and

2634
02:18:48,360 --> 02:18:51,840
Speaker 1: be like, actually, y'all I am I'm riding with my

2635
02:18:51,879 --> 02:18:55,240
Speaker 1: white girl. Okay. So I hope that's not. We only

2636
02:18:55,320 --> 02:18:58,320
Speaker 1: got one more episode to close this out, and I'm

2637
02:18:58,360 --> 02:19:00,760
Speaker 1: just hum so in love with the show. I'm gonna

2638
02:19:00,800 --> 02:19:03,959
Speaker 1: miss it. I'm gonna rewatch it, I'm gonna save it

2639
02:19:04,000 --> 02:19:07,400
Speaker 1: on my HBO Max. It's just been such a treat

2640
02:19:07,520 --> 02:19:10,400
Speaker 1: and I've enjoyed talking about it with you and our

2641
02:19:10,400 --> 02:19:12,840
Speaker 1: fans and stuff. So enjoy talking about it. What you

2642
02:19:12,879 --> 02:19:17,000
Speaker 1: do until tomorrow? Where we premium people, We got Balls

2643
02:19:17,040 --> 02:19:22,680
Speaker 1: Deep pregame tomorrow and Saturday is our feedback show. Episode

2644
02:19:22,720 --> 02:19:27,119
Speaker 1: three thousand is in the books. Uh, that's today's episode.

2645
02:19:27,240 --> 02:19:30,960
Speaker 2: Oh you don't be paying no attention until tomorrow.

2646
02:19:31,120 --> 02:19:32,199
Speaker 1: I love you.