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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Serica, I'm Danielle Henderson.

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Speaker 3: And we're back. Y'all, we're back. What's up?

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Speaker 2: What's up?

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Speaker 1: What's up?

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Speaker 2: Indeed, will you know something's up?

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Speaker 1: Because we have.

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Speaker 4: Been texting genuinely all day, Yes we have, so you

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Speaker 4: know something's up. But what I can say is what

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Speaker 4: I can reveal to the listeners. Even though I can't

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Speaker 4: say what we were texting about, sure I will reveal

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Speaker 4: that it.

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Speaker 2: The whole text thread ends with.

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Speaker 4: Milly going to a witch shop and then kind of

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Speaker 4: clearing them out on my behalf.

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Speaker 1: I want to just say I have to be honest

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Speaker 1: because I am not a witch. No, no, no, I'm

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Speaker 1: out a way. Don't want to be a witch. You're Catholic,

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Speaker 1: not even close to being a witch. You're raised in

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Speaker 1: the church, y'all, listen. I just I'm a dabbler in

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Speaker 1: a lot of things, like I just I love the information.

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Speaker 1: Let's just say that I love the information, and so

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Speaker 1: I'm a sucker for any kind of specialized shop. And

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Speaker 1: so today I just happened to be in a witch

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Speaker 1: shop because of Danielle.

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Speaker 2: While I was having a complete breakdown.

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Speaker 3: Yes, look y'all know me. I'm an older sister.

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Speaker 1: Yes, I am very protective of the people that I love,

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Speaker 1: to the point where sometimes people gotta tell me, all right,

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Speaker 1: calm now. But you know I'm ready to fight, all right,

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Speaker 1: Like if somebody, if one of my friends comes to

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Speaker 1: me and says something's going down, I am like waiting

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Speaker 1: at the end of the driveway for the neighbor kids

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Speaker 1: to roll up so I can like punch them in

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Speaker 1: the throat.

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Speaker 3: I'm that kind of friend.

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Speaker 4: It is both something I love about you, and I

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Speaker 4: think the thing that bonds us the most because we

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Speaker 4: were both always for a fucking fight on.

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Speaker 2: Someone else's behalf. We're like we were ready to throw hands.

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Speaker 1: We are both like Oliver Reed, Like we're both Oliver

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Speaker 1: Reed drunk in a bar, just wanting to fight.

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Speaker 3: Sailors. Were like, let's fucking go.

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Speaker 1: This is just who we are.

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Speaker 4: It's Wednesday at seven pm. Why have we not punished

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Speaker 4: someone yet?

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Speaker 2: What's up?

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Speaker 1: Well, like I said, I'm in this.

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Speaker 3: Store and I'm just basically like, my girl needs help.

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Speaker 1: Give me one of each one of everything. My arm

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Speaker 1: travels along the shelf like I'm just putting shit in

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Speaker 1: a garbage bag.

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Speaker 3: Like I'm just like, let's go, I'll take all of it.

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Speaker 4: I was on an emotional journey. It gave me comfort

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Speaker 4: to know that there was help on the way. And

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Speaker 4: this journey is Shakespearean and scope, Shakespearean and scope. And

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Speaker 4: I sent Millie something, some photo evidence the day before

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Speaker 4: and we were very excited about it, and then today

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Speaker 4: woke up and it was a whole different story.

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Speaker 1: Wow, how how quickly the vibe changes, Unfortunately, But I

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Speaker 1: appreciate you always, but especially today because what a journey

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Speaker 1: we've been on. And you know, all I have to

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Speaker 1: say is this, if you're the type of person who

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Speaker 1: is out in this out in this world and you

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Speaker 1: are just playing very fast and loose with you know,

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Speaker 1: just people's people shit. Like, if you're playing fast and

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Speaker 1: loose with people shit, just remember they probably got a

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Speaker 1: friend who will literally go into a wit shop and

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Speaker 1: just start fucking buying candles and pieces of wood in

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Speaker 1: fucking cauldrons and crystals to fucking work your ass. So

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Speaker 1: just know that, That's all I gotta say.

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Speaker 4: Everyone has a friend who knows a hex. And if

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Speaker 4: you don't get a friend who knows a hex And

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Speaker 4: also if your friends.

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Speaker 1: Don't know a hex, they are gonna buy a book

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Speaker 1: thing that tells them how to place a hex on.

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Speaker 2: So, so thank you.

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Speaker 4: This is where we are culturally in the moment, and

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Speaker 4: I appreciate it. Everyone is willing to like subversively throw

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Speaker 4: someone's life into complete disorder with the cosmos like people

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Speaker 4: are always you can always find someone who's like, you

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Speaker 4: know what, I'm going to consult the stars.

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Speaker 2: That's how deep this needs to go to course correct. Yes,

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Speaker 2: but it helped. I felt good. I went for a

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Speaker 2: little drive after to get some coffee.

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Speaker 3: Yes, you had to go to another state.

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Speaker 2: Again, I did not have to go to another state. Thankfully.

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Speaker 4: I didn't have to go to the neo Nazi store.

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Speaker 4: It was just a regular old Tuesday. So thankfully I

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Speaker 4: was just able to go downtown. And you know what

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Speaker 4: my town did over the holidays that was just really sweet.

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Speaker 4: They put little bows on all of the parking meters

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Speaker 4: to give us free parking.

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Speaker 2: Because you know, a bitch never has a quarter.

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Speaker 1: And so wait a minute, damn, that's nice.

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Speaker 2: It's quaint as hell.

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Speaker 1: Can you imagine the city of West Hollywood pulling some

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Speaker 1: shit like that.

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Speaker 3: Absolutely the fuck not.

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Speaker 2: I can image the exact opposite.

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Speaker 4: I can imagine the City of West Hollywood hiring chippendale

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Speaker 4: dancers to rub their oily bodies all over your windshield.

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Speaker 4: If you park for ten splices of a second without

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Speaker 4: putting money in a fucking meter, you're gonna get Chippendale city.

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Speaker 3: West Hollywood is rubbing anthrax on all of their meters.

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Speaker 3: They're not putting bows. Absolutely fuck them.

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Speaker 1: We're also gonna give these people anthrax as they're paying us.

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Speaker 4: The City of West Hollywood is like, you know what

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Speaker 4: we're gonna bring back intense leprosy. You park here without

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Speaker 4: paying for ten seconds, you're losing an arm.

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Speaker 1: Yes, they're definitely doing some shit like Queen Carlotta in

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Speaker 1: Desperate Living, where they just want to give us all

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Speaker 1: rabies while we pay them, Yes, seventy five dollars per

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Speaker 1: ticket now.

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Speaker 4: And then you come to Lovely, this lovely little town

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Speaker 4: in Warwick and they're like, how about you shop and

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Speaker 4: have a meal and get a coffee with your friends?

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Speaker 2: 'tis the fucking season.

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Speaker 3: That's so awesome? I just can't imagine.

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Speaker 1: Yeah, it's like it's like a literally like a town

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Speaker 1: that is at the beginning of like a Christmas film

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Speaker 1: that is like in miniature, and then the camera like

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Speaker 1: pans over the miniature town, and then it goes into

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Speaker 1: like the actual town and it kind of dissolves into

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Speaker 1: like your fucking public library, and shit, like, god, that's

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Speaker 1: so awesome.

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Speaker 4: Absolutely, Actually I have to do it this summer because

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Speaker 4: it's not year round. But I noticed this spring and

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Speaker 4: summer that right across from the town hall, in the

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Speaker 4: little park where they where they filmed one of the

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Speaker 4: last scenes in the movie In and Out with My

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Speaker 4: Homeboy and Yours Kevin Klein, whose life I would ruin,

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Speaker 4: whose dick I would destroy? Right across from town Hall,

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Speaker 4: in that little park, there is a miniature town hall

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Speaker 4: that they put up in the summer, like a little

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Speaker 4: like a little dollhouse town hall. So if you're at

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Speaker 4: town Hall and you look across the street, you're looking

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Speaker 4: at a mini town hall.

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Speaker 2: It's very cute.

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Speaker 3: Oh my god, come on, this place is magical.

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Speaker 4: But there are also there are things about this town

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Speaker 4: that are not very cute. So a question I wanted

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Speaker 4: to ask you because of something I saw on my

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Speaker 4: drive to get this coffee. Okay, at what age do

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Speaker 4: you think you're going to stop driving a car.

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Speaker 1: Oh wait, you're talking about the age that I think

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Speaker 1: I'm going to stop or that I want to stop.

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Speaker 2: Either or both. What age do you want to stop?

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Speaker 4: Do you have a plan or do you just kind

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Speaker 4: of feel like, Okay, by the time I reach this age,

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Speaker 4: I shouldn't be behind the wheel.

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Speaker 1: See. I'm really torn up about this because I do

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Speaker 1: love not driving. Well, let me go, Actually, before I

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Speaker 1: answer your question, let me.

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Speaker 3: Ask you a question.

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Speaker 1: Got it? Are you usually the friend that drives or

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Speaker 1: gets picked up?

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Speaker 4: I'm the driver, see me too, And I love driving.

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Speaker 4: I've always loved driving. However, I gotta say the one

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Speaker 4: thing that the city of West Hollywood had going for

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Speaker 4: it was ride share.

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Speaker 2: Yes, because it's such a nightmare to drive your.

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Speaker 4: Own car anywhere in La. Ride share kind of comes

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Speaker 4: in handy. But I like driving. Yeah, And it's also

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Speaker 4: it's always been for me the ultimate symbol of freedom.

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Speaker 1: Yeah, exactly, I'm like torn about it because I love

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Speaker 1: to drive too, normally, Like I I love driving, especially

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Speaker 1: when I haven't driven in a long time.

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Speaker 4: Like.

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Speaker 1: Actually, the funny thing is about living in West Hollywood.

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Speaker 1: It's like going back to this cursed Anthrax Town. I know,

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Speaker 1: I didn't drive a lot when I lived there because

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Speaker 1: everything was in walking distance and I didn't have a

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Speaker 1: parking space, so I.

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Speaker 3: Never drove exactly.

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Speaker 1: So, but when I would drive, like when I finally

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Speaker 1: would get my car and like drive to work or

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Speaker 1: drive to like, you know somewhere.

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Speaker 3: I loved it. I loved driving so much.

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Speaker 1: And so there's a moment where I'm like, I'm not

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Speaker 1: giving up this license until they take it from my

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Speaker 1: cold dead hands type of thing. Right, But I do

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Speaker 1: like being driven too, just because it feels like.

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Speaker 3: A pampering thing or something.

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Speaker 4: Right, Yeah, it's and it's a convenience sometimes there's a

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Speaker 4: venience factor.

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Speaker 2: But the reason I ask is this.

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Speaker 4: So I'm driving and I'm about to crest this tiny

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Speaker 4: hill to main Street, and there's a car parallel parked

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Speaker 4: across both lanes. Okay, so I'm thinking, Okay, it happens

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Speaker 4: people pull out of you know, this one little store,

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Speaker 4: and you know, they pull right into the road and

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Speaker 4: then they go. But the car wasn't moving, it was

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Speaker 4: just parallel parked. And I'm looking closer, and I'm the

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Speaker 4: first car in line. Like I'm looking at this car,

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Speaker 4: and I look closer at the driver, and remember that

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Speaker 4: scene in Beetlejuice with the little shrunken head Safari guy.

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Speaker 2: Yes, that is what was driving this car.

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Speaker 4: Shit, I looked at one of possibly the oldest people

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Speaker 4: I've ever seen. And I'm not being ageist here. I'm

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Speaker 4: telling you a straight fact. It's like remember that Prince

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Speaker 4: Philip before he died, they had that picture of him in.

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Speaker 1: The back of the car that we set each other

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Speaker 1: back and forth like a hundred times as a joke.

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Speaker 2: Absolutely, that was what was driving the car. That is

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Speaker 2: who was behind the wheel.

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Speaker 4: And it was this man who was very confused, wow,

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Speaker 4: and was just kind of sitting there gripping the wheel,

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Speaker 4: mouth open, looking around, red rimmed eyes, just looking. So

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Speaker 4: I parked my car and got out and kind of

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Speaker 4: took my life in my own hands, because again, my

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Speaker 4: town does have a history.

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Speaker 2: Of extreme racism. So I took my life.

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Speaker 1: In my own hands.

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Speaker 4: And I stepped out and kind of knocked on his

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Speaker 4: window and said, sir, do you need some help? And

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Speaker 4: he just waved me away, but also did not move

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Speaker 4: the car.

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Speaker 2: So I get back in my.

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Speaker 4: Car and I'm thinking I have to come up with

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Speaker 4: a plan B where maybe I have to turn her

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Speaker 4: out of the middle of this street, and the car

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Speaker 4: starts very slowly moving. He made a forty eight point

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Speaker 4: turn and then he took his little shrunken Prince Philip

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Speaker 4: head down the street at three miles an hour, and

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Speaker 4: I thought, somebody needs to come get this man. This

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Speaker 4: is no longer a tenable situation.

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Speaker 3: Dude.

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Speaker 1: Listen, my grandfather before he passed away, like he passed

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Speaker 1: away in his early nineties, but he was driving until

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Speaker 1: at least the last couple of years of his life.

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Speaker 1: So it's like eighty nine year old man out driving

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Speaker 1: around like fucking Ruth Gordon from Harold and Maud. Okay, yeah,

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Speaker 1: And I'm like, at one point, do we actually have

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Speaker 1: to tell people? Okay, we know we want to give

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Speaker 1: you liberty and freedom and all that stuff. However, you

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Speaker 1: are going three miles an hour down a road and like,

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Speaker 1: we just can't have that shit.

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Speaker 3: It's just not conducive to public safety.

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Speaker 4: Right, thank you, thank you. And I'm thinking for this

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Speaker 4: man's own benefit. I don't know if he knew where

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Speaker 4: he was going. I don't know if he knew where

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Speaker 4: he was Yeah, so it's a real menacing situation for

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Speaker 4: everyone involved. Yeah, and I just kind of had that

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Speaker 4: thought of if this were me, I would want someone

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Speaker 4: to push me out of the driver's seat, steal my car,

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Speaker 4: and send me on my way like job less, good luck.

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Speaker 2: You don't get to have this car Anymo're just gonna

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Speaker 2: steal it, yeah, and take it from you.

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Speaker 4: But I'm also in this weird camp of again, driving

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Speaker 4: has always been an extreme point of my own freedom,

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Speaker 4: and I'm about to, you know, move my eighty nine

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Speaker 4: year old grandmother in and I'm doing that so that

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Speaker 4: she can maintain her independence for as long as possible. Yeah,

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Speaker 4: so I understand it, but I was scared.

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Speaker 2: I was real scared.

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Speaker 3: Yeah, it's a tough scenario for sure.

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Speaker 1: I mean, listen, I don't know if we ever talked

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Speaker 1: about drunk driving on this podcast before, but I'm a

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Speaker 1: person who doesn't even want to even drive after like

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Speaker 1: half of a beer.

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Speaker 3: I'm just like, I know I can't drive drunk.

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Speaker 2: YEP.

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Speaker 1: I am giving you the keys, take them. I'll figure

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Speaker 1: it out later. So part of me wonders if that'll

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Speaker 1: be my reaction to just being too old to drive.

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Speaker 1: Like I'll just say, like, listen, I know I can't

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Speaker 1: do this shit. Here are my keys, you know, take

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Speaker 1: me what it.

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Speaker 2: Made me think of? Because I thought that too.

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Speaker 4: I'm like, well, you know, right now now I'm starting

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Speaker 4: to plan for getting older, and you know, like watching

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Speaker 4: my grandmother get older, realizing oh, there's a bunch of

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Speaker 4: stuff that I have to plan for that if for

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Speaker 4: any reason I'm immobilized, I want to have a plan

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Speaker 4: for that.

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Speaker 2: Yeah, and now I have to fold in.

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Speaker 4: Do I have to hire a driver, even if it's

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Speaker 4: just once a week to take me to an.

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Speaker 2: Appointment or the grocery store?

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Speaker 4: Because I will not be that little shrunken head Prince

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Speaker 4: Philip cripkeeper while everyone's buzzing around me in a flying car.

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Speaker 4: I just cannot do it. I cannot envision that as

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Speaker 4: being my future.

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Speaker 1: Well, in my mind, I think my vision for being

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Speaker 1: driven around when I'm in my eighties or something. God,

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Speaker 1: if I make it to eighty. If I make it

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Speaker 1: to eighty, my driver is going to be like a

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Speaker 1: young country dude with an old pickup truck and I'm

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Speaker 1: just gonna have to like get into that like tank

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Speaker 1: and he's just gonna have to drive me somewhere without

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Speaker 1: seatbelts on a country road.

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Speaker 3: Like I'm just like, I.

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Speaker 1: Don't want to be in a city. I want to

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Speaker 1: be in the country where is like driving around with

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Speaker 1: like some young person who's like super eager to like

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Speaker 1: carry my groceries in paper bags not plastic. Yes, it'll

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Speaker 1: be just like hood, Like, I just want to be

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Speaker 1: Melvin Douglass in hud That's all I see it.

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Speaker 2: I see it.

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Speaker 3: Yeah.

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Speaker 4: Look, we can make that dream come true because I

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Speaker 4: will turn this house into a commune for all of us.

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Speaker 4: We can collectively hire a driver like lives on site

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Speaker 4: and is just ready to drive our old asses around.

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Speaker 4: You and me and like two or three of our

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Speaker 4: other friends who do not have children and are currently single.

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Speaker 1: What are the other options for transportation as an elderly person,

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Speaker 1: like a golf cart or like a recumbent bicycle or

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Speaker 1: some shit?

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Speaker 3: Oh god, I.

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Speaker 2: Would hate bicycle.

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Speaker 1: Girl.

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Speaker 4: Did I ever tell you about the dude I dated

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Speaker 4: who rode over No?

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Speaker 1: No, well I'm not gonna tell you now, but I

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Speaker 1: will one day.

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Speaker 3: Those things drive me fucking nuts.

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Speaker 1: Same And I don't understand why they put like a

321
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Speaker 1: hundred flags, oh my god, on the on the back,

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Speaker 1: Like what is going on with this thing.

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Speaker 4: Because if they don't, they're gonna get straight up murdered

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Speaker 4: by any wheel of any car. A passing bicycle, a

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00:15:07,520 --> 00:15:09,280
Speaker 4: scooter could take out o recumbent bike.

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Speaker 1: Also, I'm gonna I'm gonna throw this out there because

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Speaker 1: and this is simply because I spend a lot of

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Speaker 1: time in Florida where I'm always with recumbent bicycles and

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Speaker 1: fucking golf carts everywhere. Only white people like golf carts. Yeah,

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Speaker 1: that's I'm gonna just throw that out there. I have

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Speaker 1: never seen anybody but white people who want to drive

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Speaker 1: a golf cart in lieu of their car, which they have.

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Speaker 1: They usually have a very nice car.

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Speaker 2: So in Florida, you're telling me, people are like, I

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Speaker 2: have a car.

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Speaker 4: I have a Cutlass Supreme sitting in the driveway that

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Speaker 4: I bought brand new in nineteen eighty four, and I'm

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Speaker 4: hopping in this golf cart and going down to CBS.

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Speaker 3: Yes, ma'am.

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Speaker 1: Goddamn people are golf cart crazy around here. And like

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Speaker 1: this is not a type of place where there's cars

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Speaker 1: on the street. It's not like we are living in

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Speaker 1: a comm hue and are living in like a very

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Speaker 1: like bucolic, peaceful, like nature, sidewalking place. No, no, no, this

345
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Speaker 1: is a city. For the most part, it's small, but

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Speaker 1: it's also like not like a little bitty gated community.

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Speaker 1: This is like a town that has traffic and everything.

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Speaker 1: And I swear to God, like people with like four

349
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Speaker 1: cars in their giant house still go everywhere by golf

350
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Speaker 1: cart and it drives me fucking crazy because I'm like,

351
00:16:20,320 --> 00:16:22,680
Speaker 1: why are they doing this? And I swear to God,

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Speaker 1: it's totally white people. I never see anybody but rich

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Speaker 1: white people on golf carts.

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Speaker 2: You know what it is. It's peak whiteness.

355
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Speaker 3: Yes, that's what I think it is too.

356
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Speaker 2: It's peak white. And we cracked the code.

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Speaker 4: And for my benefit, for just to answer your question

358
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Speaker 4: from before, I think the best way to get around

359
00:16:39,440 --> 00:16:42,320
Speaker 4: when you're elderly and you can't get anywhere on your

360
00:16:42,320 --> 00:16:43,720
Speaker 4: own and you still want to have a little bit

361
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Speaker 4: of independence hospital gurney, hospital gurney, and a fucking canoe paddle.

362
00:16:50,440 --> 00:16:51,920
Speaker 2: I'm out I can.

363
00:16:51,920 --> 00:16:54,400
Speaker 4: Raise and lower that shit for speed and simplicity.

364
00:16:55,760 --> 00:16:59,200
Speaker 1: Why haven't they made gurneys that are like self propelled?

365
00:16:59,360 --> 00:17:02,120
Speaker 4: Thank you, I got the straps. Most gurnies already have

366
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Speaker 4: seat belts. They don't call them that, but they already

367
00:17:04,320 --> 00:17:05,280
Speaker 4: have seat belts.

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Speaker 3: They sure as fuck do.

369
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Speaker 4: All they need to do is modify it. Just modify

370
00:17:08,880 --> 00:17:12,240
Speaker 4: it a little bit. For speed and agility. Those tires

371
00:17:12,280 --> 00:17:14,520
Speaker 4: can go. You just need a system to stop.

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Speaker 3: Exactly.

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Speaker 1: Put a fucking huge ass spoiler on the back of

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Speaker 1: that gurny. Maybe like do some lights some like lights underneath.

375
00:17:22,680 --> 00:17:25,360
Speaker 1: You could trick out a fucking gurney. Though, if they

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00:17:25,520 --> 00:17:28,600
Speaker 1: really did make them motorized. Dude, can you imagine the

377
00:17:28,720 --> 00:17:31,600
Speaker 1: customs on that shit? That would be so amazing.

378
00:17:31,800 --> 00:17:34,679
Speaker 2: Spinning rims, that's all I gotta say, spin in rims.

379
00:17:34,760 --> 00:17:36,960
Speaker 1: Listen, I actually maybe want to go to the hospital

380
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Speaker 1: of that ur the case, I'd be like, yo, I

381
00:17:38,520 --> 00:17:41,040
Speaker 1: got like some black lights under here, I got like

382
00:17:41,400 --> 00:17:45,240
Speaker 1: real big ass muffler in the back, spoiler, got some

383
00:17:45,880 --> 00:17:48,280
Speaker 1: spinners like come on, this is amazing.

384
00:17:48,520 --> 00:17:52,960
Speaker 4: And a recumbent bicycle flag just wave even in the breeze, as.

385
00:17:52,800 --> 00:17:55,120
Speaker 1: Long as it doesn't say let's go Brandon, I'm chill.

386
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Speaker 1: That's all I'll say.

387
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Speaker 4: Is there is there anything worse than the common here's

388
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Speaker 4: the worst comes.

389
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Speaker 2: Let's let's see if we can come to a consensus here.

390
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Speaker 4: The worst combination of things in the world for me

391
00:18:07,800 --> 00:18:09,000
Speaker 4: is someone.

392
00:18:09,000 --> 00:18:11,360
Speaker 2: On an incumbent bike wearing toe.

393
00:18:11,160 --> 00:18:15,760
Speaker 4: Shoes ha ha, wearing toe shoes flip flopping on a

394
00:18:15,760 --> 00:18:19,359
Speaker 4: goddamn recumbent bike. I cannot think of anything that I

395
00:18:19,359 --> 00:18:20,720
Speaker 4: want to see less in the world.

396
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Speaker 3: Dude, that look is just too much for me.

397
00:18:25,840 --> 00:18:28,080
Speaker 4: And you know, everyone on a recumbent bike looks like

398
00:18:28,119 --> 00:18:32,200
Speaker 4: fucking riff raff from Rocky Horror, including the guy I dated.

399
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Speaker 2: Including the guy I dated had one.

400
00:18:35,320 --> 00:18:36,520
Speaker 3: They got mad gear.

401
00:18:36,760 --> 00:18:38,680
Speaker 1: That's what I never understand too, is that they got

402
00:18:38,680 --> 00:18:42,800
Speaker 1: mad gear also, yo. Like speaking of California, Venice was

403
00:18:42,880 --> 00:18:46,200
Speaker 1: the fucking spot for the recomment bikes. And you're right,

404
00:18:46,320 --> 00:18:49,240
Speaker 1: all those people were wearing those fucking weird ass toe

405
00:18:49,320 --> 00:18:52,960
Speaker 1: shoes they always wore, like the squid outfit.

406
00:18:52,680 --> 00:18:53,960
Speaker 2: You know, like m hm, you know.

407
00:18:54,000 --> 00:18:56,320
Speaker 3: And I'm just sitting here going like, dude, what is

408
00:18:56,359 --> 00:18:58,359
Speaker 3: with this gear? It's insane.

409
00:18:58,640 --> 00:19:00,879
Speaker 4: It's a lot, and how aer you need to be

410
00:19:00,920 --> 00:19:02,440
Speaker 4: on a bike that goes two miles per hour?

411
00:19:02,520 --> 00:19:05,480
Speaker 1: Look, I think they were consulting body from the Point Break.

412
00:19:05,359 --> 00:19:08,240
Speaker 3: Remake with some of this shit. I'm just like, keep

413
00:19:08,400 --> 00:19:10,479
Speaker 3: the gear on the recumbent place.

414
00:19:10,960 --> 00:19:14,439
Speaker 1: I can't take it. My chest tightened when you just

415
00:19:14,480 --> 00:19:16,920
Speaker 1: suggested the toshoes. That's what I mean.

416
00:19:17,320 --> 00:19:20,160
Speaker 2: It is the force imagery of our modern times.

417
00:19:20,400 --> 00:19:22,359
Speaker 3: And you know, you know my love and ari I,

418
00:19:22,440 --> 00:19:24,080
Speaker 3: but come on, I got limits.

419
00:19:24,280 --> 00:19:26,919
Speaker 4: No one loves an Arii more than Millie. But you

420
00:19:26,960 --> 00:19:29,640
Speaker 4: skip that whole section. You're skipping both of those sections.

421
00:19:29,680 --> 00:19:30,159
Speaker 2: I know it.

422
00:19:30,640 --> 00:19:33,280
Speaker 1: I'm not putting flags on anything that moves unless it's

423
00:19:33,280 --> 00:19:35,240
Speaker 1: like a boat. There's there's definitely.

424
00:19:34,840 --> 00:19:35,560
Speaker 3: Not on my bike.

425
00:19:36,000 --> 00:19:36,960
Speaker 2: No, I'm not putting flags.

426
00:19:37,000 --> 00:19:39,600
Speaker 4: I will put a flag over my goddamn vagina before

427
00:19:39,600 --> 00:19:45,359
Speaker 4: I put a flag on a moving vehicle. Like I

428
00:19:45,359 --> 00:19:47,639
Speaker 4: don't know what with the flag would symbolize, but just

429
00:19:47,720 --> 00:19:51,000
Speaker 4: like I would wear a pennant flag over my vagina

430
00:19:51,040 --> 00:19:51,320
Speaker 4: before I.

431
00:19:51,320 --> 00:19:52,639
Speaker 2: Would put one on a vehicle.

432
00:19:52,880 --> 00:19:55,200
Speaker 4: And don't get up in my dms about recumbent bikes

433
00:19:55,200 --> 00:19:57,120
Speaker 4: are good for the for the planet, or they're good

434
00:19:57,119 --> 00:19:59,680
Speaker 4: for your back. There are other ways. There are other

435
00:19:59,760 --> 00:20:02,760
Speaker 4: op and his Black History Month and I won't here.

436
00:20:03,440 --> 00:20:06,800
Speaker 3: We are allowed to say it during Black.

437
00:20:06,680 --> 00:20:09,600
Speaker 4: History Month, I will hear nothing about my dislike of

438
00:20:09,640 --> 00:20:13,399
Speaker 4: recumbent bikes and toshoes, But I would love to have

439
00:20:13,480 --> 00:20:17,080
Speaker 4: seen the crypt keeper that was blocking traffic. That would

440
00:20:17,080 --> 00:20:19,360
Speaker 4: have been the perfect vehicle for him. Get Grandpa a.

441
00:20:19,320 --> 00:20:21,240
Speaker 2: Recumbent bike in some tow shoes and send him on

442
00:20:21,240 --> 00:20:21,600
Speaker 2: his way.

443
00:20:21,720 --> 00:20:23,960
Speaker 1: Look, if he can't even sit in a car, hit

444
00:20:24,080 --> 00:20:26,160
Speaker 1: one pedal, thank you, I don't know if he can

445
00:20:26,600 --> 00:20:29,400
Speaker 1: sit basically laying down with his feet in the air.

446
00:20:33,440 --> 00:20:35,520
Speaker 1: That's to me. I'm like, yo, how do you get

447
00:20:35,520 --> 00:20:37,880
Speaker 1: the fuck in and out of a recumbent bike? They say, oh,

448
00:20:37,920 --> 00:20:39,840
Speaker 1: it's good for your back, but you know, you've got

449
00:20:39,840 --> 00:20:41,120
Speaker 1: to get in and out of that shit.

450
00:20:41,880 --> 00:20:46,639
Speaker 4: Like I would rather slide out of a monster truck

451
00:20:47,600 --> 00:20:50,720
Speaker 4: than get into or out of a fucking recumbent bike.

452
00:20:51,680 --> 00:20:53,480
Speaker 1: This is me going out of a truck. It's just

453
00:20:53,520 --> 00:20:56,359
Speaker 1: basically fallen down.

454
00:20:57,160 --> 00:20:59,080
Speaker 4: Like you're going down one of those luges at a

455
00:20:59,119 --> 00:21:03,040
Speaker 4: water park. Your fucking arms are crossed over your chest.

456
00:21:05,800 --> 00:21:07,400
Speaker 3: Let slide on out of this shit.

457
00:21:16,320 --> 00:21:19,160
Speaker 4: Oh good, well, on that note, it's Black History Month.

458
00:21:20,200 --> 00:21:24,160
Speaker 4: We're not talking about recumbent bikes. We're not talking toe shoes.

459
00:21:24,600 --> 00:21:28,600
Speaker 4: We're getting Grandpa off the streets, and we're getting.

460
00:21:28,320 --> 00:21:31,480
Speaker 2: White people out of the golf carts. But we're also

461
00:21:31,840 --> 00:21:33,440
Speaker 2: gonna talk about some movies.

462
00:21:33,960 --> 00:21:37,440
Speaker 1: Well, yes, this is the second week of Black History

463
00:21:37,480 --> 00:21:39,080
Speaker 1: Month here, and I saw what you did.

464
00:21:39,440 --> 00:21:40,960
Speaker 3: We had a great episode last.

465
00:21:40,760 --> 00:21:44,040
Speaker 1: Week, we got another really really good one this week.

466
00:21:44,080 --> 00:21:46,880
Speaker 1: I can't tell you how excited I am to talk

467
00:21:46,920 --> 00:21:48,400
Speaker 1: about these fucking movies.

468
00:21:48,600 --> 00:21:51,560
Speaker 4: Oh my goodness, the emotional torment we put ourselves through

469
00:21:51,600 --> 00:21:54,439
Speaker 4: for this podcast is unparalleled.

470
00:21:53,920 --> 00:21:54,520
Speaker 2: But worth it.

471
00:21:54,640 --> 00:21:55,480
Speaker 3: We do so much.

472
00:21:56,520 --> 00:21:59,000
Speaker 2: Do you want to tell these fine folks what our

473
00:21:59,000 --> 00:21:59,439
Speaker 2: theme is?

474
00:21:59,680 --> 00:22:04,960
Speaker 1: Yes, so this week's same is called Sanalalathan in Love, and.

475
00:22:05,080 --> 00:22:08,600
Speaker 4: We when we were texting today, I did say we

476
00:22:08,640 --> 00:22:12,000
Speaker 4: could have an alternate theme, which would be would you

477
00:22:12,119 --> 00:22:14,200
Speaker 4: just cut the middleman and marry Sonalithan?

478
00:22:14,240 --> 00:22:20,560
Speaker 2: Already? That is so true, right, but we got in love?

479
00:22:21,560 --> 00:22:24,800
Speaker 3: Okay, So just to you know, be complete est about this.

480
00:22:24,960 --> 00:22:28,240
Speaker 1: So when we were coming up with episodes four Black

481
00:22:28,320 --> 00:22:32,480
Speaker 1: History Month, we thought, let's do a week about black romance. Okay,

482
00:22:32,880 --> 00:22:36,280
Speaker 1: So we picked like two of our faves, and then

483
00:22:36,320 --> 00:22:40,359
Speaker 1: we both realized that sal Lathan wasn't both and she's

484
00:22:40,400 --> 00:22:42,159
Speaker 1: playing basically the same character.

485
00:22:42,359 --> 00:22:47,840
Speaker 4: Yeah, the same in both a lot of overlap, a

486
00:22:47,840 --> 00:22:48,600
Speaker 4: lot of overlap.

487
00:22:49,640 --> 00:22:51,800
Speaker 2: Yeah, two distinctly wonderful movies.

488
00:22:52,119 --> 00:22:53,960
Speaker 3: Oh my god, I I can't tell you.

489
00:22:54,119 --> 00:22:56,639
Speaker 1: I just I want to ask you this question, not

490
00:22:56,720 --> 00:23:00,080
Speaker 1: to like, you know, turn down the party mode, but

491
00:23:00,119 --> 00:23:01,920
Speaker 1: I really have to ask this question. I hope I'm

492
00:23:01,960 --> 00:23:05,600
Speaker 1: not surprising you with this, but I just want to

493
00:23:05,600 --> 00:23:08,879
Speaker 1: know your opinion. Why do you think it's important for

494
00:23:09,280 --> 00:23:13,000
Speaker 1: us to talk about black romance, Like why is that

495
00:23:13,160 --> 00:23:16,000
Speaker 1: something that is important for us to discuss.

496
00:23:16,359 --> 00:23:18,960
Speaker 4: I'm glad you raised this question because I was thinking

497
00:23:19,000 --> 00:23:21,360
Speaker 4: about this a lot when I was watching these films,

498
00:23:21,800 --> 00:23:24,560
Speaker 4: and I think that what for me is the main

499
00:23:25,040 --> 00:23:28,679
Speaker 4: takeaway is, and this is it's going to sound so sad,

500
00:23:28,760 --> 00:23:29,760
Speaker 4: but it's very true.

501
00:23:30,480 --> 00:23:32,560
Speaker 2: Is we need films.

502
00:23:32,680 --> 00:23:38,600
Speaker 4: We need media that normalizes all aspects of black emotional

503
00:23:38,640 --> 00:23:41,639
Speaker 4: life so that we can be treated as full people,

504
00:23:42,320 --> 00:23:44,600
Speaker 4: so that we can stop being compartmentalized, we can stop

505
00:23:44,640 --> 00:23:48,560
Speaker 4: being thought of in this very myopic way. We need

506
00:23:48,720 --> 00:23:51,800
Speaker 4: to show the full spectrum of emotion and black love,

507
00:23:51,960 --> 00:23:56,159
Speaker 4: especially on screen. It's often shown with so much strife

508
00:23:56,280 --> 00:23:59,040
Speaker 4: and there's always a hardship or some element of terror

509
00:23:59,080 --> 00:24:01,920
Speaker 4: to it. I think just like a straight up romantic

510
00:24:02,000 --> 00:24:03,200
Speaker 4: movie is important.

511
00:24:03,480 --> 00:24:06,760
Speaker 1: Yeah, And something to that end is that I mean

512
00:24:06,760 --> 00:24:10,200
Speaker 1: this goes without saying, but I think it should be repeated,

513
00:24:10,280 --> 00:24:12,840
Speaker 1: which is that I think when you and I grew up,

514
00:24:12,880 --> 00:24:17,520
Speaker 1: certainly a lot of romance is about white people, yes, right,

515
00:24:17,920 --> 00:24:22,400
Speaker 1: Like white romance is basically what everybody else watches when

516
00:24:22,440 --> 00:24:27,840
Speaker 1: they watch film and television. And obviously that's changing a lot,

517
00:24:28,119 --> 00:24:31,680
Speaker 1: and there are obviously moments where that's not the case,

518
00:24:31,760 --> 00:24:33,679
Speaker 1: like in our movies, but for the most part, like

519
00:24:33,840 --> 00:24:36,760
Speaker 1: I think that it's just so much of like the

520
00:24:36,880 --> 00:24:41,080
Speaker 1: narrative of love is for white people, and it's true.

521
00:24:41,119 --> 00:24:43,280
Speaker 4: It's like I need to see it for my own benefit,

522
00:24:43,359 --> 00:24:44,679
Speaker 4: but I need to see it for the benefit of

523
00:24:44,680 --> 00:24:46,800
Speaker 4: the world, Like I need to remind myself that love

524
00:24:46,880 --> 00:24:49,520
Speaker 4: is possible and that who I am and how I

525
00:24:49,560 --> 00:24:52,520
Speaker 4: am is well not necessarily how I am, because I

526
00:24:52,560 --> 00:24:53,280
Speaker 4: am a dirt bag.

527
00:24:53,320 --> 00:24:54,800
Speaker 2: It's very hard dirt.

528
00:24:54,640 --> 00:24:58,399
Speaker 4: Bags in love is a very difficult equation to crack.

529
00:25:00,000 --> 00:25:02,520
Speaker 4: Dirt bag, but I got a boom and system. It's

530
00:25:02,680 --> 00:25:06,760
Speaker 4: very confusing. But I do need to see these representations

531
00:25:07,040 --> 00:25:09,440
Speaker 4: because I also feel like I saw this in my life,

532
00:25:09,480 --> 00:25:12,000
Speaker 4: like my grandparents were in love, and you know, my

533
00:25:12,040 --> 00:25:13,720
Speaker 4: aunts and uncles were in love, and like I saw

534
00:25:13,760 --> 00:25:15,480
Speaker 4: it in my life, and I never saw it represented

535
00:25:15,520 --> 00:25:17,359
Speaker 4: on screen, and it bothered the fuck out of me.

536
00:25:17,640 --> 00:25:20,560
Speaker 4: And I also think there's something about how we tend

537
00:25:20,560 --> 00:25:23,520
Speaker 4: to talk about black women in particular, which is why

538
00:25:23,520 --> 00:25:25,679
Speaker 4: I'm very excited to talk about sin all Ethan. We

539
00:25:25,720 --> 00:25:28,080
Speaker 4: talk about black women in love in particular as if

540
00:25:28,119 --> 00:25:31,040
Speaker 4: they are carrying a burden of love, and so these

541
00:25:31,119 --> 00:25:34,000
Speaker 4: two films did not feel like that to me. And

542
00:25:34,480 --> 00:25:38,120
Speaker 4: it's again important, I think, to show the full spectrum

543
00:25:38,119 --> 00:25:41,320
Speaker 4: of emotions that come with love for non white people.

544
00:25:41,800 --> 00:25:44,680
Speaker 1: Yeah, And what I think is so cool about both

545
00:25:44,720 --> 00:25:47,200
Speaker 1: these movies is that they were kind of made around

546
00:25:47,280 --> 00:25:52,080
Speaker 1: the same era, yes, right, and there was kind of

547
00:25:52,160 --> 00:25:55,800
Speaker 1: like a collection of films really that starred kind of

548
00:25:55,840 --> 00:25:58,560
Speaker 1: this cast of people. Yeah, and it was kind of

549
00:25:58,600 --> 00:26:01,480
Speaker 1: like within like maybe five year range, right. So you

550
00:26:01,560 --> 00:26:04,200
Speaker 1: had like The Wood, and you had The Best Man,

551
00:26:04,280 --> 00:26:07,040
Speaker 1: and you had love and Basketball, and you had Brown

552
00:26:07,080 --> 00:26:09,320
Speaker 1: Sugar and you know, so there was kind of this

553
00:26:09,480 --> 00:26:13,639
Speaker 1: like cast of characters. And essentially, like Sanah plays kind

554
00:26:13,680 --> 00:26:15,680
Speaker 1: of the same character in both these movies, but it's

555
00:26:15,680 --> 00:26:17,600
Speaker 1: also like a character that you're right, you just like

556
00:26:17,680 --> 00:26:20,720
Speaker 1: don't see all the time. It's like, yeah, first of all,

557
00:26:20,720 --> 00:26:23,280
Speaker 1: she's at like the top of her game, which is

558
00:26:23,320 --> 00:26:25,959
Speaker 1: something you very rarely see within rom comms in general,

559
00:26:26,080 --> 00:26:28,960
Speaker 1: is that it's usually like the woman who is sort

560
00:26:28,960 --> 00:26:30,960
Speaker 1: of waiting around for the man to save her. I mean,

561
00:26:30,960 --> 00:26:35,000
Speaker 1: that's obviously like that time honored fairy tale bullshit that

562
00:26:35,119 --> 00:26:38,440
Speaker 1: we have all been indoctrinated into, but also just sort

563
00:26:38,440 --> 00:26:41,800
Speaker 1: of like the idea that these are middle class black

564
00:26:41,880 --> 00:26:46,240
Speaker 1: people that they're talking about how to find romantic love in.

565
00:26:46,200 --> 00:26:48,960
Speaker 3: Their age group. So there's all these like different factors.

566
00:26:48,520 --> 00:26:51,080
Speaker 1: That is like so interesting to me, and I just

567
00:26:51,080 --> 00:26:54,080
Speaker 1: feel like these two movies in particular are like, first

568
00:26:54,080 --> 00:26:57,000
Speaker 1: of all, like your movie. I just have to say,

569
00:26:57,480 --> 00:27:01,600
Speaker 1: I wept pretty much from to finish. Never saw it

570
00:27:02,040 --> 00:27:04,880
Speaker 1: no way, and I don't I don't know why that is,

571
00:27:04,960 --> 00:27:09,560
Speaker 1: because it is shockingly great, Like in the moment where

572
00:27:09,560 --> 00:27:12,600
Speaker 1: I was like, I had no excuse to not see

573
00:27:12,600 --> 00:27:15,199
Speaker 1: this film, and I just I just fell off my

574
00:27:15,600 --> 00:27:17,960
Speaker 1: radar And I just can't believe I spent so much

575
00:27:17,960 --> 00:27:20,840
Speaker 1: time having not known how wonderful this film is. But

576
00:27:20,880 --> 00:27:23,720
Speaker 1: I can't wait to get into that with you. But honestly,

577
00:27:23,760 --> 00:27:26,440
Speaker 1: this week is gonna be so interesting. I just really

578
00:27:26,480 --> 00:27:28,679
Speaker 1: want us to sort of like get your opinion about

579
00:27:28,680 --> 00:27:31,320
Speaker 1: like why we're doing it, because you know, I just

580
00:27:31,320 --> 00:27:33,400
Speaker 1: feel like it's important for people to understand like why

581
00:27:33,480 --> 00:27:34,439
Speaker 1: we come up with these.

582
00:27:34,320 --> 00:27:36,560
Speaker 4: Themes, right absolute, and you are still like your opinion

583
00:27:36,600 --> 00:27:38,400
Speaker 4: is incredibly crucial to this as well.

584
00:27:39,119 --> 00:27:43,560
Speaker 1: Well. I'm very excited to discuss your film because you

585
00:27:43,600 --> 00:27:44,640
Speaker 1: are going first.

586
00:27:44,840 --> 00:27:46,840
Speaker 2: I'm going first. I'm going love.

587
00:27:46,760 --> 00:27:47,879
Speaker 1: When you're going first.

588
00:27:48,320 --> 00:27:50,080
Speaker 3: I love it when you go first, and I'm just

589
00:27:50,119 --> 00:27:50,920
Speaker 3: like so excited.

590
00:27:51,080 --> 00:27:53,240
Speaker 4: You guys should listen listen to the episodes and see

591
00:27:53,240 --> 00:27:56,080
Speaker 4: the energy level, the vibe change for Millie when she

592
00:27:56,200 --> 00:27:57,320
Speaker 4: goes first.

593
00:27:59,680 --> 00:28:00,600
Speaker 2: Pick up that moment.

594
00:28:00,880 --> 00:28:01,120
Speaker 3: Yeah.

595
00:28:01,200 --> 00:28:04,320
Speaker 4: Now, when I go for something like oh god, here

596
00:28:04,359 --> 00:28:06,880
Speaker 4: we go, it really goes first.

597
00:28:06,920 --> 00:28:09,240
Speaker 2: It's like she's wearing toe shoes and a recumbent bike.

598
00:28:12,359 --> 00:28:15,200
Speaker 3: But when you go first, I'm really Ruth Gordon relieved.

599
00:28:15,359 --> 00:28:21,040
Speaker 1: Yeah, I'm just striving around, crashing and the ship gleefully gleefully. Well.

600
00:28:21,119 --> 00:28:24,240
Speaker 2: My film was released in the year two thousand.

601
00:28:24,600 --> 00:28:28,919
Speaker 4: It was written and directed by Gina Prince Bythewood and

602
00:28:29,000 --> 00:28:31,320
Speaker 4: the film is Love and Basketball.

603
00:28:31,680 --> 00:28:33,320
Speaker 1: How about a little one on one and what we're

604
00:28:33,320 --> 00:28:33,840
Speaker 1: playing for?

605
00:28:34,040 --> 00:28:36,840
Speaker 2: I score strip, take it off, Take it all.

606
00:28:37,600 --> 00:28:40,080
Speaker 1: Oh shit, f mes movie.

607
00:28:41,200 --> 00:28:42,400
Speaker 2: Oh man, I love this movie.

608
00:28:42,520 --> 00:28:44,120
Speaker 3: Oh my god, no kidding, I.

609
00:28:44,080 --> 00:28:46,080
Speaker 4: Love this movie. I'm gonna jump right in with my

610
00:28:46,120 --> 00:28:51,240
Speaker 4: one sentence synopsis. Two lifelong friends learn about life and love,

611
00:28:51,800 --> 00:28:55,280
Speaker 4: making up and breaking up, and complicated family dynamics while

612
00:28:55,320 --> 00:28:57,800
Speaker 4: trying to pursue their ultimate dream of making it to

613
00:28:57,840 --> 00:28:58,800
Speaker 4: the NBA.

614
00:28:59,000 --> 00:29:00,960
Speaker 2: And also, Bore Kojo is there.

615
00:29:01,840 --> 00:29:06,000
Speaker 3: Ah, He's in my movie.

616
00:29:06,200 --> 00:29:10,720
Speaker 4: Lay in the same dude, the same dude.

617
00:29:11,680 --> 00:29:13,600
Speaker 2: And also Forest Kojo is there.

618
00:29:16,920 --> 00:29:20,160
Speaker 4: I have to start out by saying that Sanah Lathan

619
00:29:20,400 --> 00:29:23,160
Speaker 4: is the most beautiful woman in the world, like the

620
00:29:23,360 --> 00:29:29,120
Speaker 4: most gorgeous person on the planets. Is aging like fine

621
00:29:29,160 --> 00:29:34,480
Speaker 4: wine and is just so naturally gorgeous. She's very captivating,

622
00:29:34,520 --> 00:29:38,120
Speaker 4: like I like watching her on screen, and she's very emotional.

623
00:29:38,400 --> 00:29:41,760
Speaker 4: She pulls emotions out of me like very few actors can.

624
00:29:42,000 --> 00:29:45,160
Speaker 4: She's very good at her craft and beautiful and.

625
00:29:45,120 --> 00:29:46,080
Speaker 1: So she is.

626
00:29:46,480 --> 00:29:48,200
Speaker 4: She's kind of the star of the show here, which

627
00:29:48,200 --> 00:29:51,760
Speaker 4: again is to Gina Prince Bythewood's credit, she created this

628
00:29:51,880 --> 00:29:56,160
Speaker 4: film that centers the woman's narrative through her experience of love,

629
00:29:56,600 --> 00:30:00,320
Speaker 4: without making it saccharin, without making it sappy, without making it.

630
00:30:00,440 --> 00:30:02,840
Speaker 4: You know, a story where someone has to give up

631
00:30:03,400 --> 00:30:06,040
Speaker 4: a big part of themselves in order to regain some

632
00:30:06,200 --> 00:30:08,400
Speaker 4: kind of love in their life. And I adore it.

633
00:30:08,440 --> 00:30:11,280
Speaker 4: I adore this movie. It is so unique. It is

634
00:30:11,440 --> 00:30:15,240
Speaker 4: part of the Criterion collection now, which is so crucial

635
00:30:15,480 --> 00:30:18,280
Speaker 4: for the livelihood of not just this film, but of

636
00:30:18,320 --> 00:30:23,040
Speaker 4: supporting black creators. And there is an essay by Roxanne

637
00:30:23,120 --> 00:30:26,760
Speaker 4: Gay on Criterion dot com about Love and Basketball. It's

638
00:30:26,800 --> 00:30:29,640
Speaker 4: called Love and Basketball for Your Heart and it is

639
00:30:29,720 --> 00:30:30,920
Speaker 4: absolutely worth a read.

640
00:30:31,320 --> 00:30:32,400
Speaker 2: I'm going to read a little bit.

641
00:30:32,280 --> 00:30:34,440
Speaker 4: Of it here, just to kind of center the film

642
00:30:34,440 --> 00:30:37,440
Speaker 4: a little bit, so, Roxanne Gay says, and I quote,

643
00:30:37,680 --> 00:30:41,680
Speaker 4: Monica is strong, independent and interesting, but still there is

644
00:30:41,800 --> 00:30:45,080
Speaker 4: room for softness in her life. As in many fictional

645
00:30:45,080 --> 00:30:48,840
Speaker 4: love stories, Monica and Quincy, who grow up together, don't

646
00:30:48,840 --> 00:30:51,240
Speaker 4: particularly care for each other when they first meet, but

647
00:30:51,320 --> 00:30:54,280
Speaker 4: over the years they develop a tentative friendship that finally

648
00:30:54,320 --> 00:30:58,080
Speaker 4: blooms into love when they allow themselves to see each

649
00:30:58,120 --> 00:31:01,120
Speaker 4: other as the people they have become instead of who

650
00:31:01,160 --> 00:31:04,440
Speaker 4: they were when they first met. The whole essay is great,

651
00:31:04,440 --> 00:31:06,320
Speaker 4: but I really love that part of what she said,

652
00:31:06,360 --> 00:31:09,240
Speaker 4: because this is the premise of the film. Where we

653
00:31:09,360 --> 00:31:14,160
Speaker 4: have Monica who moves to the Baldwin Hills area of

654
00:31:14,160 --> 00:31:17,280
Speaker 4: Los Angeles with her family, her older Her older sister

655
00:31:17,360 --> 00:31:20,640
Speaker 4: is played by Regina Hall and a really like understated

656
00:31:20,680 --> 00:31:23,280
Speaker 4: but pivotal role, Like I really love Regina Hall in

657
00:31:23,280 --> 00:31:26,520
Speaker 4: this film. And the boys in the neighborhood are very

658
00:31:26,560 --> 00:31:30,360
Speaker 4: excited because they have heard there's some new people moving in.

659
00:31:30,640 --> 00:31:33,680
Speaker 4: But as these boys are playing this pickup game of basketball,

660
00:31:34,040 --> 00:31:36,280
Speaker 4: I believe it's Quincy, but it might have been one

661
00:31:36,280 --> 00:31:38,800
Speaker 4: of the other kids who says, oh, but they're girls.

662
00:31:39,360 --> 00:31:42,520
Speaker 4: And so when Monica shows up and she's got this

663
00:31:42,600 --> 00:31:44,640
Speaker 4: baseball cap pulled down and she's kind of walking with

664
00:31:44,680 --> 00:31:47,360
Speaker 4: a little bit of a little bit of style, and

665
00:31:47,400 --> 00:31:51,400
Speaker 4: they think, oh, maybe it is a boy, and she's like,

666
00:31:51,440 --> 00:31:54,920
Speaker 4: I want to play basketball, and they give her shit instantly.

667
00:31:54,960 --> 00:31:56,400
Speaker 4: As soon as she takes that hat off and that

668
00:31:56,480 --> 00:32:00,200
Speaker 4: hair comes out, they are scrapping and she holds not

669
00:32:00,240 --> 00:32:03,800
Speaker 4: only holds her own, but is incredibly good at basketball

670
00:32:04,360 --> 00:32:08,080
Speaker 4: and fights with Quincy right away. One thing I instantly

671
00:32:08,080 --> 00:32:11,200
Speaker 4: loved about this movie is that Gina Prince Bythewood wrote

672
00:32:11,640 --> 00:32:15,520
Speaker 4: sonaw Lathan's scar into the screenplay, so sonaw Lathan had

673
00:32:15,520 --> 00:32:17,880
Speaker 4: a childhood scar on her cheek, and in the beginning

674
00:32:17,960 --> 00:32:21,520
Speaker 4: of the film, you see Quincy check her while they're

675
00:32:21,520 --> 00:32:24,600
Speaker 4: playing basketball during this game so hard that she falls

676
00:32:24,640 --> 00:32:27,320
Speaker 4: down and her face is bloody and it leaves the scar.

677
00:32:27,680 --> 00:32:29,480
Speaker 4: So I just thought that was just kind of a nice, beautiful,

678
00:32:29,520 --> 00:32:30,440
Speaker 4: little little touch.

679
00:32:30,520 --> 00:32:32,480
Speaker 1: Wow, that's amazing. I didn't know that.

680
00:32:32,800 --> 00:32:34,640
Speaker 2: Yeah, like really nice artistic touch.

681
00:32:34,720 --> 00:32:36,640
Speaker 4: So they grow up across the they grow up right

682
00:32:36,640 --> 00:32:38,880
Speaker 4: across the street from each other, like their houses, the

683
00:32:38,880 --> 00:32:41,240
Speaker 4: way their houses are set up, their bedroom windows face

684
00:32:41,280 --> 00:32:44,200
Speaker 4: each other, and there's something about them that they are

685
00:32:44,200 --> 00:32:47,680
Speaker 4: connected right away. And so the next day as Quincy

686
00:32:47,720 --> 00:32:50,600
Speaker 4: picks up Monica for school, and she's wearing a dress

687
00:32:50,600 --> 00:32:53,000
Speaker 4: and her mom did her hair, and she's kind of

688
00:32:53,000 --> 00:32:55,160
Speaker 4: looking the part that her mom wants her to play.

689
00:32:55,440 --> 00:33:00,800
Speaker 4: And he's like, I think we should date, and she's like, why.

690
00:33:00,440 --> 00:33:01,080
Speaker 1: What does that mean.

691
00:33:01,120 --> 00:33:03,520
Speaker 4: He's like, it means we kiss for like five seconds,

692
00:33:04,080 --> 00:33:04,680
Speaker 4: and then they do.

693
00:33:04,720 --> 00:33:06,640
Speaker 2: They kiss, but then they instantly.

694
00:33:06,200 --> 00:33:08,320
Speaker 4: Get into a fight because he's like, you should ride

695
00:33:08,320 --> 00:33:10,560
Speaker 4: my bike because my dad drives my mom around.

696
00:33:10,800 --> 00:33:11,920
Speaker 2: It's just like this weird.

697
00:33:12,000 --> 00:33:15,640
Speaker 4: It's just so funny and so sweet and so childlike

698
00:33:16,320 --> 00:33:18,080
Speaker 4: in its logic, and.

699
00:33:18,200 --> 00:33:20,360
Speaker 2: Monica, as we find out.

700
00:33:20,360 --> 00:33:22,560
Speaker 4: Is a hothead and she has a temper and she's

701
00:33:22,560 --> 00:33:24,720
Speaker 4: got a mouth, and she told him exactly where he

702
00:33:24,760 --> 00:33:28,080
Speaker 4: could go. And they spend so much of this movie

703
00:33:28,240 --> 00:33:32,720
Speaker 4: tussling on the ground. Even later on when they're older

704
00:33:33,000 --> 00:33:34,760
Speaker 4: and dating, like they are dussling.

705
00:33:36,280 --> 00:33:37,240
Speaker 2: She is scrappy.

706
00:33:37,600 --> 00:33:39,680
Speaker 4: So I just kind of like love that setup of

707
00:33:39,720 --> 00:33:42,240
Speaker 4: their relationship instantly, where it's not going to be an

708
00:33:42,280 --> 00:33:44,000
Speaker 4: easy love and it's not always going to be a

709
00:33:44,080 --> 00:33:48,320
Speaker 4: romantic love, but they're connected from the start. And one

710
00:33:48,320 --> 00:33:50,320
Speaker 4: thing I also really loved about the beginning part of

711
00:33:50,320 --> 00:33:51,680
Speaker 4: the film where they use, you know, kind of the

712
00:33:51,720 --> 00:33:55,760
Speaker 4: younger actors and not Sona Liathan and Omar Epps, is

713
00:33:55,760 --> 00:33:58,880
Speaker 4: that you really get an instant look at the family dynamic, because,

714
00:33:58,880 --> 00:34:02,000
Speaker 4: like you said, these are all middle class families. Monica's family,

715
00:34:02,280 --> 00:34:04,880
Speaker 4: her dad works for a bank, her mom's a homemaker,

716
00:34:05,120 --> 00:34:06,840
Speaker 4: and you can tell right away that like her older

717
00:34:06,880 --> 00:34:08,960
Speaker 4: sister's really supportive and kind of always wants to help

718
00:34:09,000 --> 00:34:10,879
Speaker 4: her do her hair and kind of do like some

719
00:34:10,920 --> 00:34:13,480
Speaker 4: of the stuff, like the girlier stuff. Her dad is

720
00:34:13,520 --> 00:34:16,720
Speaker 4: super cool with her being into basketball. Her mom cannot

721
00:34:16,760 --> 00:34:18,760
Speaker 4: stand it and her mom is played by Alfre Woodard

722
00:34:18,920 --> 00:34:22,799
Speaker 4: in again an incredible role, totally pivotal. Yeah, and her

723
00:34:22,800 --> 00:34:26,040
Speaker 4: mom can't stand it, and her mom says things like,

724
00:34:26,080 --> 00:34:28,480
Speaker 4: and this has always stuck in my head because I

725
00:34:28,480 --> 00:34:31,439
Speaker 4: have heard these words come out of my grandmother's mouth

726
00:34:31,760 --> 00:34:35,120
Speaker 4: to me. At one point in the bedroom, Monica's getting

727
00:34:35,160 --> 00:34:37,600
Speaker 4: her hair done for school the next day, and her

728
00:34:37,640 --> 00:34:40,200
Speaker 4: mother says, you would be pretty if you did something

729
00:34:40,200 --> 00:34:43,680
Speaker 4: with that head, and this is kind of like Monica

730
00:34:43,719 --> 00:34:46,480
Speaker 4: takes it as an affront to who she is. But

731
00:34:46,600 --> 00:34:49,399
Speaker 4: as the movie progresses, what you really see is that

732
00:34:50,000 --> 00:34:53,720
Speaker 4: mom wants Monica to have a balance, so she sees

733
00:34:53,760 --> 00:34:56,400
Speaker 4: her daughter more fully than we realize. In the beginning,

734
00:34:56,520 --> 00:34:58,960
Speaker 4: it does seem kind of like she's just like a

735
00:34:59,000 --> 00:35:01,840
Speaker 4: menace and mada this life. But then as the film

736
00:35:01,920 --> 00:35:04,920
Speaker 4: goes on, you see that she's she's trying to impart

737
00:35:04,960 --> 00:35:07,440
Speaker 4: the only wisdom that she has, and she's trying to

738
00:35:07,480 --> 00:35:10,440
Speaker 4: impart these kind of smaller moments of wisdom that she

739
00:35:10,520 --> 00:35:12,880
Speaker 4: has that Monica is not really receptive to. But it

740
00:35:12,880 --> 00:35:14,480
Speaker 4: doesn't stop her from trying to be a mom in

741
00:35:14,520 --> 00:35:18,640
Speaker 4: that way, which I just really loved. And Monica, again

742
00:35:18,719 --> 00:35:21,759
Speaker 4: she is scrappy. She loves the number thirty two because

743
00:35:21,800 --> 00:35:24,279
Speaker 4: that's Magic Johnson's number. And then you've got Quincy and

744
00:35:24,360 --> 00:35:27,560
Speaker 4: Quincy's dad is a basketball player. They live in a

745
00:35:27,719 --> 00:35:31,920
Speaker 4: very chic house, and we learn that, you know, his

746
00:35:31,960 --> 00:35:35,319
Speaker 4: family is upscale but also kind of patriarchal. But we

747
00:35:35,360 --> 00:35:38,000
Speaker 4: also learned very early on that Quincy is a star,

748
00:35:38,280 --> 00:35:41,439
Speaker 4: Like he has this ego that's just inherent in who

749
00:35:41,480 --> 00:35:43,920
Speaker 4: he is, and he kind of has the safety of

750
00:35:43,960 --> 00:35:46,600
Speaker 4: his family and the celebrity of his father to fall

751
00:35:46,640 --> 00:35:48,480
Speaker 4: back on to support that ego.

752
00:35:48,600 --> 00:35:52,240
Speaker 2: There's a very funny scene when Quincy's mom comes.

753
00:35:52,000 --> 00:35:56,120
Speaker 4: Over to kind of welcome Monica's family to the neighborhood

754
00:35:56,120 --> 00:35:59,200
Speaker 4: and she brings this cake, this fake and bake as

755
00:35:59,280 --> 00:36:01,640
Speaker 4: Zeke his dad calls it because she just buys a

756
00:36:01,680 --> 00:36:03,440
Speaker 4: store block cake and like puts it on a platter,

757
00:36:05,800 --> 00:36:10,279
Speaker 4: and the two kids are talking and Monica is like, yeah,

758
00:36:10,320 --> 00:36:12,600
Speaker 4: your dad might be a basketball player, but he plays

759
00:36:12,600 --> 00:36:14,560
Speaker 4: for the Clippers, which is the worst team.

760
00:36:14,640 --> 00:36:15,799
Speaker 2: Like she is on it.

761
00:36:16,640 --> 00:36:17,680
Speaker 1: They've just met.

762
00:36:18,160 --> 00:36:19,000
Speaker 2: They've just met.

763
00:36:19,120 --> 00:36:20,040
Speaker 1: He scarred her for.

764
00:36:20,040 --> 00:36:23,239
Speaker 4: Life and she has demolished his dad. Yeah, in the

765
00:36:23,280 --> 00:36:25,080
Speaker 4: span of like hours.

766
00:36:25,239 --> 00:36:27,200
Speaker 1: Well, I mean I think that's a big part of

767
00:36:27,239 --> 00:36:30,399
Speaker 1: the movie too, is that Quincy, you know, has this

768
00:36:30,520 --> 00:36:34,440
Speaker 1: pedigree right because he's his dad is a professional NBA player.

769
00:36:34,760 --> 00:36:39,680
Speaker 1: He's obviously on that path. He's attractive, he's talented. Everybody

770
00:36:39,760 --> 00:36:43,360
Speaker 1: you know gives him a lot of attention, and essentially

771
00:36:43,400 --> 00:36:45,799
Speaker 1: Monica is the only person that really sees him and

772
00:36:45,920 --> 00:36:48,200
Speaker 1: is willing to like really call him out on some shit.

773
00:36:48,719 --> 00:36:51,600
Speaker 1: So you know, she's basically like taking him down a

774
00:36:51,640 --> 00:36:55,040
Speaker 1: peg or two, like and every chance she's got, and

775
00:36:55,680 --> 00:36:59,000
Speaker 1: it is a joy because you're just like, wow, here's

776
00:36:59,000 --> 00:37:01,280
Speaker 1: a scroll that's not a friend of She's not afraid

777
00:37:01,280 --> 00:37:04,000
Speaker 1: of him, she's not afraid of sort of like you know,

778
00:37:04,239 --> 00:37:07,600
Speaker 1: his situation with his parents, who are very supportive of

779
00:37:07,680 --> 00:37:10,520
Speaker 1: his path, his basketball path, you know.

780
00:37:11,200 --> 00:37:13,040
Speaker 3: And you know she's just like fuck it.

781
00:37:13,120 --> 00:37:15,279
Speaker 4: And she's not afraid of herself. She's not afraid of

782
00:37:15,280 --> 00:37:17,759
Speaker 4: her own voice to say what she means. And it

783
00:37:17,840 --> 00:37:19,759
Speaker 4: kind of gets her in trouble because the movie is

784
00:37:19,760 --> 00:37:22,319
Speaker 4: set up in quarters, just like a basketball game, guys,

785
00:37:22,320 --> 00:37:23,600
Speaker 4: in case you don't watch basketball.

786
00:37:24,160 --> 00:37:25,400
Speaker 2: So this first quarter.

787
00:37:25,200 --> 00:37:28,080
Speaker 4: Is like this young childhood them just meeting and kind

788
00:37:28,120 --> 00:37:30,200
Speaker 4: of coming together story.

789
00:37:30,520 --> 00:37:32,160
Speaker 2: But then as they get. The next quarter is about

790
00:37:32,200 --> 00:37:32,640
Speaker 2: high school.

791
00:37:32,640 --> 00:37:34,400
Speaker 4: The second quarter of the film is about high school,

792
00:37:34,719 --> 00:37:37,920
Speaker 4: and you can see in high school that Monica is

793
00:37:38,000 --> 00:37:41,560
Speaker 4: not getting She plays just as well, if not better

794
00:37:41,600 --> 00:37:44,719
Speaker 4: than Ce, but she's not getting the same accolades, and

795
00:37:44,760 --> 00:37:48,200
Speaker 4: she's not getting what she thinks she deserves in terms

796
00:37:48,239 --> 00:37:50,000
Speaker 4: of what she wants the trajectory of her life to be.

797
00:37:50,080 --> 00:37:53,560
Speaker 4: So she's having a very hard time getting recruited, even

798
00:37:53,560 --> 00:37:55,560
Speaker 4: though there are scouts in the audience when she's playing

799
00:37:55,600 --> 00:37:59,080
Speaker 4: these games, because she has this temper right and because

800
00:37:59,080 --> 00:38:01,439
Speaker 4: she doesn't like she's not afraid of her own voice.

801
00:38:01,440 --> 00:38:04,400
Speaker 4: She doesn't hold back and she says what she means.

802
00:38:04,400 --> 00:38:06,920
Speaker 4: So ref makes a bad call, she tells them about it,

803
00:38:07,200 --> 00:38:10,560
Speaker 4: and everyone in her life is telling her to calm down,

804
00:38:10,760 --> 00:38:13,480
Speaker 4: especially Quincy. He's like, you know, you'd be great of you, just,

805
00:38:13,520 --> 00:38:16,200
Speaker 4: you know, kind of control that temper. So it's Quincy,

806
00:38:16,239 --> 00:38:18,279
Speaker 4: it's her mom, it's her sister. It's like everyone in

807
00:38:18,320 --> 00:38:21,680
Speaker 4: her life is telling her that she's too much in

808
00:38:21,719 --> 00:38:25,640
Speaker 4: that way. But then there's this beautiful scene where you

809
00:38:25,719 --> 00:38:28,959
Speaker 4: get to be in Monica's head as she plays a game,

810
00:38:29,239 --> 00:38:33,320
Speaker 4: and it truly helps you understand why she pushes herself

811
00:38:33,360 --> 00:38:36,560
Speaker 4: so hard, but you also understand her anger and you

812
00:38:36,600 --> 00:38:39,640
Speaker 4: also understand her frustration. And again that those to me

813
00:38:39,880 --> 00:38:45,200
Speaker 4: are like these very understated but pivotal moves that Gina

814
00:38:45,200 --> 00:38:47,640
Speaker 4: Prince Bythewood made as a writer to be able to

815
00:38:47,760 --> 00:38:51,040
Speaker 4: communicate who this person is. So who you see on

816
00:38:51,080 --> 00:38:54,920
Speaker 4: the outside is not what's the only thing that's happening

817
00:38:54,960 --> 00:38:57,000
Speaker 4: on the inside. There's more going on on the inside.

818
00:38:57,040 --> 00:39:00,640
Speaker 4: And she's reserved, like Monica doesn't show that to everybody,

819
00:39:01,080 --> 00:39:03,520
Speaker 4: but it's still there. So I loved that scene of

820
00:39:03,560 --> 00:39:06,600
Speaker 4: watching her play that game. Yeah, and the high school

821
00:39:06,600 --> 00:39:10,239
Speaker 4: scenes are all great because it's in the eighties. It's

822
00:39:10,280 --> 00:39:12,319
Speaker 4: a nineteen eighty eight when they're in high school and

823
00:39:12,360 --> 00:39:15,839
Speaker 4: there is a pivotal school dance that happens. And let

824
00:39:15,920 --> 00:39:18,840
Speaker 4: me tell you, it is not an eighties school dance.

825
00:39:18,920 --> 00:39:22,880
Speaker 4: If there is not eighty five yards of pepelam, so

826
00:39:23,000 --> 00:39:27,040
Speaker 4: many peplam tops and dresses and everybody was saying ho

827
00:39:27,800 --> 00:39:29,840
Speaker 4: every five minutes, it's hey O.

828
00:39:30,680 --> 00:39:34,040
Speaker 2: That is the eighties. An eighties school dance in a nutshell.

829
00:39:34,239 --> 00:39:36,759
Speaker 1: The scene of when they opened the doors to the

830
00:39:36,840 --> 00:39:39,560
Speaker 1: gym and Johnny Camps just got paid is playing and

831
00:39:39,600 --> 00:39:40,600
Speaker 1: everybody's dancing.

832
00:39:40,640 --> 00:39:42,600
Speaker 3: I was like, thank you Shivers.

833
00:39:42,719 --> 00:39:45,360
Speaker 1: It was so great, such a great like film moment,

834
00:39:45,400 --> 00:39:46,920
Speaker 1: you know what I mean, like a montage moment.

835
00:39:47,200 --> 00:39:50,040
Speaker 2: Oh, completely completely transported back to that time. Like it

836
00:39:50,080 --> 00:39:53,040
Speaker 2: was just beautiful and just so fun to watch.

837
00:39:53,080 --> 00:39:55,480
Speaker 4: And then like My Prerogative starts playing and you're like,

838
00:39:55,560 --> 00:40:01,320
Speaker 4: oh my god, no, Bob and Brown. I remember dancing

839
00:40:01,360 --> 00:40:03,959
Speaker 4: my goddamn ass off to my Prerogative in sixth grade.

840
00:40:04,120 --> 00:40:04,680
Speaker 3: Oh my god.

841
00:40:04,800 --> 00:40:07,480
Speaker 1: It was like that. Don't even get me started. Like

842
00:40:07,520 --> 00:40:11,319
Speaker 1: the New Jack Swing era was like, my shit. I

843
00:40:11,400 --> 00:40:13,600
Speaker 1: was obsessed with that when I was a kid.

844
00:40:13,800 --> 00:40:16,440
Speaker 4: So we again would have been such good friends in

845
00:40:16,480 --> 00:40:18,759
Speaker 4: school because I for sure thought I was gonna be

846
00:40:18,840 --> 00:40:21,400
Speaker 4: like an mc hammer backup dancer when I was sixth

847
00:40:21,400 --> 00:40:23,400
Speaker 4: and seventh grade.

848
00:40:23,320 --> 00:40:28,000
Speaker 2: Like a god black for nw Jack backup dance.

849
00:40:28,680 --> 00:40:30,840
Speaker 1: I mean, I definitely there were, like I connected to

850
00:40:30,840 --> 00:40:33,080
Speaker 1: this film on so many different points, but like one

851
00:40:33,080 --> 00:40:37,319
Speaker 1: of the points was definitely the music, Like such great

852
00:40:37,400 --> 00:40:38,840
Speaker 1: music on this movie.

853
00:40:39,120 --> 00:40:42,320
Speaker 4: The soundtrack is incredible, I think for both of our films, yeah,

854
00:40:42,360 --> 00:40:45,440
Speaker 4: for sure, but this film especially, It's a scene that

855
00:40:45,480 --> 00:40:47,319
Speaker 4: you constantly see.

856
00:40:47,080 --> 00:40:49,080
Speaker 2: In movies about young white people.

857
00:40:49,400 --> 00:40:52,680
Speaker 4: Where you kind of have a Cinderella moment where Monica

858
00:40:52,840 --> 00:40:56,319
Speaker 4: has gotten dressed up her Lena, her older sister, has

859
00:40:56,320 --> 00:41:00,279
Speaker 4: set her up with a college guy Boris Kojo go

860
00:41:00,320 --> 00:41:03,320
Speaker 4: to this dance with and she's wearing this dress and

861
00:41:03,400 --> 00:41:06,920
Speaker 4: she's wearing her grandmother's pearls and she is just like

862
00:41:07,040 --> 00:41:09,200
Speaker 4: again that blossoming Cinderella moment.

863
00:41:09,239 --> 00:41:11,440
Speaker 2: She's super uncomfortable. There is the funniest.

864
00:41:11,520 --> 00:41:13,200
Speaker 4: One of the funniest scenes of this movie is when

865
00:41:13,200 --> 00:41:14,879
Speaker 4: she's sitting at the dance when he goes to get

866
00:41:14,920 --> 00:41:17,279
Speaker 4: her punch and she sits down like she's sitting on

867
00:41:17,280 --> 00:41:19,920
Speaker 4: the bench at a game, so like she's leaning with

868
00:41:20,000 --> 00:41:22,440
Speaker 4: her elbows on her knees and these guys walk by

869
00:41:22,480 --> 00:41:23,840
Speaker 4: and they're like hey, and then she just.

870
00:41:23,840 --> 00:41:25,680
Speaker 2: Guy crosses her LIFs real quick.

871
00:41:26,400 --> 00:41:27,520
Speaker 1: But that's how she's.

872
00:41:27,320 --> 00:41:29,600
Speaker 3: Comfortable, exactly exactly.

873
00:41:29,680 --> 00:41:32,239
Speaker 4: And then it's this beautiful scene too because Quincy has

874
00:41:32,239 --> 00:41:36,040
Speaker 4: decided to go to the dance with Gabrielle Union because

875
00:41:36,360 --> 00:41:40,279
Speaker 4: she has big boobs basically, and we get to see

876
00:41:40,280 --> 00:41:42,239
Speaker 4: that this side of Quincy in high school where he's

877
00:41:42,280 --> 00:41:44,719
Speaker 4: just a total player, like girls throw themselves at him.

878
00:41:44,760 --> 00:41:47,720
Speaker 4: They use Monica to get to him, Like Gabrielle Union's

879
00:41:47,760 --> 00:41:50,160
Speaker 4: character gave Monica this note and was like, hey, you

880
00:41:50,200 --> 00:41:52,480
Speaker 4: should talk to your boy because they know that they're friends.

881
00:41:52,560 --> 00:41:57,359
Speaker 4: But Quincy really sees Monica as a whole woman like

882
00:41:57,440 --> 00:41:59,200
Speaker 4: in this scene and.

883
00:41:59,400 --> 00:42:01,239
Speaker 2: Gabrielle it's not happy.

884
00:42:03,040 --> 00:42:03,479
Speaker 1: At all.

885
00:42:04,080 --> 00:42:06,200
Speaker 4: But what happens where the movie kind of takes this

886
00:42:06,360 --> 00:42:10,279
Speaker 4: turn is they go home and they're each in their

887
00:42:10,280 --> 00:42:12,280
Speaker 4: bedrooms and they're talking to each other through the window

888
00:42:12,760 --> 00:42:15,680
Speaker 4: and then they kind of meet outside. She got this

889
00:42:15,800 --> 00:42:19,600
Speaker 4: letter and she finds out that she gets into USC

890
00:42:20,239 --> 00:42:21,640
Speaker 4: and he's also going to USC.

891
00:42:22,000 --> 00:42:22,680
Speaker 2: And this kind of.

892
00:42:22,640 --> 00:42:26,239
Speaker 4: Bedroom moment is very sweet because we also prior to

893
00:42:26,280 --> 00:42:29,600
Speaker 4: this saw a scene where when Quincy's parents are fighting,

894
00:42:30,239 --> 00:42:33,560
Speaker 4: he knocks on her bedroom window and she lets him

895
00:42:33,560 --> 00:42:35,560
Speaker 4: in and he sleeps on the floor and they have

896
00:42:35,680 --> 00:42:37,319
Speaker 4: like a whole rhythm to it, so you know that

897
00:42:37,360 --> 00:42:39,880
Speaker 4: he's done that a lot. So there's this real sweetness

898
00:42:39,920 --> 00:42:42,800
Speaker 4: between seeing that, and it's like you only see those

899
00:42:42,880 --> 00:42:45,960
Speaker 4: moments in like again, like movies about white people from

900
00:42:46,000 --> 00:42:49,920
Speaker 4: the suburbs or Taylor Swift videos right exactly, Well, you

901
00:42:50,040 --> 00:42:53,319
Speaker 4: never get that sweet moment between black teenagers.

902
00:42:53,719 --> 00:42:54,680
Speaker 2: So I just I loved it.

903
00:42:54,719 --> 00:42:56,560
Speaker 4: I love the use of the bedroom windows there, and

904
00:42:56,600 --> 00:42:59,919
Speaker 4: then she loses her virginity to him while she's wearing her.

905
00:43:00,000 --> 00:43:03,000
Speaker 2: My Amma's pearls. Y'all scandalous, but it is.

906
00:43:02,960 --> 00:43:06,480
Speaker 4: One of the most emotional sex scenes I've ever seen

907
00:43:06,520 --> 00:43:09,080
Speaker 4: in a film. It's probably the only sex scene to

908
00:43:09,120 --> 00:43:12,640
Speaker 4: make me cry. Oh my gosh, kidd it is so beautiful.

909
00:43:12,640 --> 00:43:15,520
Speaker 4: You've got a cover of Kate Bush's this Woman's work

910
00:43:15,520 --> 00:43:17,480
Speaker 4: playing in the background, which is enough to send me

911
00:43:17,520 --> 00:43:18,879
Speaker 4: into fits to begin with.

912
00:43:19,600 --> 00:43:20,759
Speaker 2: But it's gorgeous.

913
00:43:20,840 --> 00:43:23,000
Speaker 4: I think this is that moment that Roxanne Gay was

914
00:43:23,000 --> 00:43:26,080
Speaker 4: talking about in her essay where this is where they

915
00:43:26,120 --> 00:43:28,879
Speaker 4: finally see each other as who they are and not.

916
00:43:28,840 --> 00:43:31,560
Speaker 2: Who they grew up with. Yeah, so it's just beautiful.

917
00:43:31,560 --> 00:43:34,160
Speaker 4: It's beautiful and doesn't mean that it's easy for them, though,

918
00:43:34,160 --> 00:43:36,920
Speaker 4: because the third quarter of the movie is showing them

919
00:43:36,920 --> 00:43:39,839
Speaker 4: at USC and they're both going through their very own,

920
00:43:40,200 --> 00:43:44,240
Speaker 4: like very unique struggles. They're both playing basketball, but Monica

921
00:43:44,280 --> 00:43:47,440
Speaker 4: again is having a hard time, and she forms a

922
00:43:47,480 --> 00:43:50,600
Speaker 4: friendship with this woman named Sidra on the team, who

923
00:43:50,640 --> 00:43:52,239
Speaker 4: is very quick to tell her that she was the

924
00:43:52,320 --> 00:43:54,719
Speaker 4: last pick, that she only got picked because someone else

925
00:43:54,760 --> 00:43:57,879
Speaker 4: on the team got pregnant, and she's really struggling with Yeah,

926
00:43:57,920 --> 00:44:00,800
Speaker 4: I got in, I got recruited. That was first hurdle,

927
00:44:01,200 --> 00:44:03,000
Speaker 4: but now she's seeing that there are forty five more

928
00:44:03,040 --> 00:44:05,560
Speaker 4: hurdles down the line. But they're dating and she's happy,

929
00:44:05,600 --> 00:44:08,399
Speaker 4: and like they're happy. There's a very hot scene where

930
00:44:08,400 --> 00:44:11,719
Speaker 4: they're just kind of subtly icing each other in Quincy's

931
00:44:11,719 --> 00:44:15,399
Speaker 4: dorm room and then they play strip basketball. I love

932
00:44:15,440 --> 00:44:18,879
Speaker 4: it because again, we rarely see these scenes where people

933
00:44:18,960 --> 00:44:21,480
Speaker 4: are so horny to bone that they will just make

934
00:44:21,560 --> 00:44:22,920
Speaker 4: up games to do it.

935
00:44:23,080 --> 00:44:25,200
Speaker 3: Yeah, like that is usually white.

936
00:44:26,440 --> 00:44:30,640
Speaker 1: Yeah, there were so many moments of the film that

937
00:44:30,960 --> 00:44:34,560
Speaker 1: were very i don't know, like sublime, almost like in

938
00:44:34,600 --> 00:44:37,640
Speaker 1: these ways, like the scenes where they were you know,

939
00:44:37,800 --> 00:44:40,160
Speaker 1: sort of having sex so they were about to or

940
00:44:40,200 --> 00:44:42,160
Speaker 1: like you know, being physical with each other.

941
00:44:42,760 --> 00:44:45,280
Speaker 3: I mean, it just was not like something you would expect.

942
00:44:45,440 --> 00:44:48,399
Speaker 1: You just would not expect, like especially in any movie

943
00:44:48,480 --> 00:44:51,719
Speaker 1: about like college kids or high schoolers to be sort

944
00:44:51,760 --> 00:44:54,920
Speaker 1: of that tender necessarily. So it's just that thing where

945
00:44:54,920 --> 00:44:57,480
Speaker 1: you're just like, these moments are just so extra special,

946
00:44:57,640 --> 00:44:59,280
Speaker 1: and yeah, they're so great.

947
00:44:59,320 --> 00:45:00,520
Speaker 3: They're so great, And.

948
00:45:00,880 --> 00:45:03,080
Speaker 4: I think it's important too to punctuate that we're not

949
00:45:03,160 --> 00:45:06,720
Speaker 4: saying or mentioning this because we think it's a rarity

950
00:45:07,040 --> 00:45:09,520
Speaker 4: for it to happen in black films. Well, I think

951
00:45:09,560 --> 00:45:11,760
Speaker 4: what we're saying is it's a rarity for those films

952
00:45:11,840 --> 00:45:14,600
Speaker 4: to be made. The films are written, people are writing

953
00:45:14,600 --> 00:45:17,200
Speaker 4: those films, people are wanting those films. It is a

954
00:45:17,280 --> 00:45:19,480
Speaker 4: rarity for them to be produced and for you to

955
00:45:19,520 --> 00:45:19,919
Speaker 4: see them.

956
00:45:20,000 --> 00:45:21,680
Speaker 2: But yeah, I loved it. I just love that guy.

957
00:45:21,719 --> 00:45:25,120
Speaker 4: It's just such a sexy movie without being overwraw, and

958
00:45:25,160 --> 00:45:27,400
Speaker 4: it felt like how sex feels when it's new to you.

959
00:45:27,880 --> 00:45:30,719
Speaker 4: So it's just very, very cool. And in college, you

960
00:45:30,760 --> 00:45:33,319
Speaker 4: also realize that Quincy is struggling. He has his own

961
00:45:33,320 --> 00:45:35,799
Speaker 4: struggles because he's realizing that his dad is not a

962
00:45:35,840 --> 00:45:38,200
Speaker 4: good guy and he's not this kind of hero that

963
00:45:38,239 --> 00:45:40,720
Speaker 4: he put on this pedestal for all of his life.

964
00:45:41,000 --> 00:45:42,000
Speaker 2: That guy doesn't exist.

965
00:45:42,080 --> 00:45:45,120
Speaker 4: So his dad retired from the NBA, became a scout,

966
00:45:45,600 --> 00:45:48,160
Speaker 4: and kind of started cheating on his mom, and he's

967
00:45:48,239 --> 00:45:51,160
Speaker 4: involved in this paternity suit and it's clear that you know,

968
00:45:51,280 --> 00:45:53,800
Speaker 4: Zeke's been cheating on Nona for a while and Quincy

969
00:45:53,880 --> 00:45:56,640
Speaker 4: has a bad game, but it's because his ego is

970
00:45:56,680 --> 00:45:59,360
Speaker 4: completely shattered. So he decides to drop out of school

971
00:45:59,400 --> 00:46:02,640
Speaker 4: and go go pro, but not before breaking Monica's heart

972
00:46:02,680 --> 00:46:06,520
Speaker 4: because again crucial scene in this film, she's consoling him

973
00:46:06,920 --> 00:46:08,840
Speaker 4: on the heels of him finding out of this stuff

974
00:46:08,880 --> 00:46:09,600
Speaker 4: about his dad.

975
00:46:09,719 --> 00:46:11,320
Speaker 2: But she has a curfew and her.

976
00:46:11,200 --> 00:46:14,640
Speaker 4: Coach wants them to be home by eleven, so she

977
00:46:14,760 --> 00:46:18,239
Speaker 4: tells him that and he shuts down completely. So this

978
00:46:18,280 --> 00:46:21,080
Speaker 4: is someone who has been there supporting him genuinely for

979
00:46:21,120 --> 00:46:23,520
Speaker 4: most of his life, but in this one instance where

980
00:46:23,560 --> 00:46:26,879
Speaker 4: she chooses herself first, he cannot handle it. And it's

981
00:46:26,880 --> 00:46:30,000
Speaker 4: a very interesting study of masculinity and it's a very

982
00:46:30,000 --> 00:46:34,000
Speaker 4: interesting study of love. Yeah, because she chooses herself and

983
00:46:34,520 --> 00:46:36,319
Speaker 4: he kind of again like he acts like a jerk,

984
00:46:36,360 --> 00:46:38,440
Speaker 4: breaks her heart. But then they go into the fourth

985
00:46:38,520 --> 00:46:42,960
Speaker 4: quarter of the movie and Monica's in Barcelona and she's

986
00:46:43,000 --> 00:46:46,520
Speaker 4: playing pro because most pro women have to play overseas.

987
00:46:46,600 --> 00:46:48,560
Speaker 4: You know, they for a long time were not able

988
00:46:48,600 --> 00:46:51,319
Speaker 4: to make money here. The WNBA didn't exist for a

989
00:46:51,360 --> 00:46:53,719
Speaker 4: long time. When it did, it was in its infancy,

990
00:46:53,760 --> 00:46:56,680
Speaker 4: it was deeply underfunded. It is still deeply underfunded. But

991
00:46:56,719 --> 00:46:59,640
Speaker 4: she goes to Barcelona to play and she's she's really isolated,

992
00:46:59,640 --> 00:47:01,600
Speaker 4: but it's only chance to play for a living, so

993
00:47:01,640 --> 00:47:03,799
Speaker 4: she kind of is toughing it out. And you get

994
00:47:03,840 --> 00:47:07,160
Speaker 4: to see this really interesting reconnection that she has with

995
00:47:07,280 --> 00:47:10,600
Speaker 4: Cidra where they're talking, you know, not as competitors but

996
00:47:10,800 --> 00:47:14,680
Speaker 4: as teammates, and it's two women who are really talking

997
00:47:14,719 --> 00:47:17,120
Speaker 4: about you know. Monica's kind of saying, like, you know,

998
00:47:17,160 --> 00:47:19,279
Speaker 4: don't you miss home? And Sidra's like, yeah, but what's

999
00:47:19,400 --> 00:47:21,400
Speaker 4: what's our only option? Like, you know, there are some

1000
00:47:21,480 --> 00:47:22,880
Speaker 4: of the people that we played with, some of our

1001
00:47:22,880 --> 00:47:25,520
Speaker 4: teammates are at home and they're working at bookstores, and like,

1002
00:47:25,520 --> 00:47:27,319
Speaker 4: you don't get to play if you go home, but

1003
00:47:27,360 --> 00:47:29,880
Speaker 4: Monica does. Monica does go home, And part of the

1004
00:47:29,920 --> 00:47:33,080
Speaker 4: reason she goes home is because Quincy, who has been

1005
00:47:33,120 --> 00:47:36,120
Speaker 4: playing pro but not doing very well at it, he's

1006
00:47:36,200 --> 00:47:38,120
Speaker 4: kind of a stringer, and he gets a big injury,

1007
00:47:38,120 --> 00:47:42,560
Speaker 4: he tears his acl so she goes home to see him.

1008
00:47:41,719 --> 00:47:44,560
Speaker 2: Only to find out that he's engaged to Tyra Bank.

1009
00:47:46,480 --> 00:47:47,279
Speaker 3: Shaking my fist.

1010
00:47:47,400 --> 00:47:50,080
Speaker 1: Nobody's seeing it right now, but I'm shaking my She's

1011
00:47:50,120 --> 00:47:51,160
Speaker 1: shaking her fists.

1012
00:47:51,200 --> 00:47:54,319
Speaker 4: And again he's so cold about it, like he's so

1013
00:47:54,520 --> 00:47:59,399
Speaker 4: cold about not revealing that he is entangled.

1014
00:47:58,880 --> 00:48:01,080
Speaker 2: With someone, which is something I have had.

1015
00:48:00,920 --> 00:48:04,279
Speaker 4: Experience with, but he's just not revealing it, and so

1016
00:48:04,320 --> 00:48:06,759
Speaker 4: he just kind of leaves her there hanging, and so

1017
00:48:06,840 --> 00:48:10,520
Speaker 4: she's come home thinking possibly she's going to rekindle something

1018
00:48:10,520 --> 00:48:12,480
Speaker 4: with him, or at least be the support for him

1019
00:48:12,520 --> 00:48:15,400
Speaker 4: that he needs that she knows he needs, and he

1020
00:48:15,520 --> 00:48:18,520
Speaker 4: leaves her twisting. So she kind of comes home and she's,

1021
00:48:18,600 --> 00:48:20,319
Speaker 4: you know, to her house, and she's shocked by this

1022
00:48:20,400 --> 00:48:23,200
Speaker 4: engagement and she gets There's a real tender scene between

1023
00:48:23,200 --> 00:48:26,279
Speaker 4: her and her mom here, which is hilarious because at

1024
00:48:26,280 --> 00:48:30,080
Speaker 4: one point Monica curses and Alfrey Wood and.

1025
00:48:30,160 --> 00:48:32,800
Speaker 2: Says, oh, no, are they cursing? Their Mama's insane?

1026
00:48:33,480 --> 00:48:35,240
Speaker 1: Like did you forget where you come from?

1027
00:48:35,480 --> 00:48:38,600
Speaker 4: I laughed at that, But there's so much revealed in

1028
00:48:38,640 --> 00:48:41,719
Speaker 4: that scene because the crux of Monica's friction with her

1029
00:48:41,760 --> 00:48:44,000
Speaker 4: mother is that she says, I don't like that you

1030
00:48:44,080 --> 00:48:46,640
Speaker 4: never stood up for yourself, and her mother kind of

1031
00:48:46,680 --> 00:48:49,480
Speaker 4: has to course correct there and say to her, you

1032
00:48:49,520 --> 00:48:51,440
Speaker 4: know that you might have seen it like that, but

1033
00:48:51,480 --> 00:48:54,960
Speaker 4: that's not what was happening, and kind of explains to

1034
00:48:55,000 --> 00:48:56,640
Speaker 4: her what it means to be in love what it

1035
00:48:56,640 --> 00:48:59,240
Speaker 4: means to be in a family and really just asks

1036
00:48:59,239 --> 00:49:01,600
Speaker 4: for Monica to respect her and meet her at her

1037
00:49:01,680 --> 00:49:04,520
Speaker 4: level the way that she's always met Monica at her levels.

1038
00:49:04,600 --> 00:49:06,760
Speaker 4: So again, we'll not reveal the end of this movie,

1039
00:49:06,840 --> 00:49:09,919
Speaker 4: but I will say there is an incredible one on

1040
00:49:09,920 --> 00:49:13,319
Speaker 4: one game, a true battle for the.

1041
00:49:13,280 --> 00:49:16,280
Speaker 2: Heart, and the ending of this film makes me cry

1042
00:49:16,640 --> 00:49:19,759
Speaker 2: every time, Oh my god. And it's just again like it.

1043
00:49:19,800 --> 00:49:25,560
Speaker 4: Truly is a story of this woman's drive to have

1044
00:49:25,640 --> 00:49:28,920
Speaker 4: the life she wants on her terms and what she

1045
00:49:29,040 --> 00:49:30,640
Speaker 4: goes through to get it. And I just think it's

1046
00:49:30,640 --> 00:49:34,520
Speaker 4: a beautiful film. It's a romantic movie, deeply romantic movie,

1047
00:49:34,600 --> 00:49:35,960
Speaker 4: but it's also a sports film.

1048
00:49:36,200 --> 00:49:38,239
Speaker 2: But it's also you know, about.

1049
00:49:37,960 --> 00:49:40,880
Speaker 4: Eighties hip hop and black culture, and it's a wonderfully

1050
00:49:40,920 --> 00:49:46,399
Speaker 4: contained film that tells a very succinct story in these

1051
00:49:46,480 --> 00:49:48,720
Speaker 4: beautiful and modulated ways.

1052
00:49:48,760 --> 00:49:49,920
Speaker 2: I love this movie.

1053
00:49:50,000 --> 00:49:50,640
Speaker 3: Oh my god.

1054
00:49:50,880 --> 00:49:54,080
Speaker 1: Cannot tell you how much I loved this film. Like

1055
00:49:54,120 --> 00:49:56,440
Speaker 1: I said in the intro, like I never saw it

1056
00:49:56,480 --> 00:49:58,799
Speaker 1: when it came out. This was my first viewing. I

1057
00:49:58,840 --> 00:50:02,160
Speaker 1: feel like a fucking idiot for not having seen it before.

1058
00:50:02,560 --> 00:50:05,960
Speaker 1: And quite frankly, I mean I'm just so glad that

1059
00:50:06,000 --> 00:50:08,400
Speaker 1: it came out on Criterion Collection. And I'm not just

1060
00:50:08,440 --> 00:50:11,160
Speaker 1: saying it's on their website. This is like they created

1061
00:50:11,160 --> 00:50:14,000
Speaker 1: a blu ray of this film, Yes, which is so

1062
00:50:14,080 --> 00:50:17,040
Speaker 1: important because I think that that means that this movie

1063
00:50:17,280 --> 00:50:20,399
Speaker 1: is going to be seen by people that are part

1064
00:50:20,560 --> 00:50:24,280
Speaker 1: of this kind of like citophile quote unquote citophile world,

1065
00:50:24,920 --> 00:50:26,799
Speaker 1: and they need to see this movie because it is

1066
00:50:26,840 --> 00:50:29,120
Speaker 1: a part of this universe, like it should be a

1067
00:50:29,160 --> 00:50:33,080
Speaker 1: part of some kind of certainly a sports film canon, because.

1068
00:50:33,120 --> 00:50:34,280
Speaker 3: This movie is so intense.

1069
00:50:34,400 --> 00:50:36,200
Speaker 1: I mean, this easily could have been a pick for

1070
00:50:36,320 --> 00:50:37,800
Speaker 1: movies about sports, but not really.

1071
00:50:38,000 --> 00:50:40,200
Speaker 3: There's this moment where it.

1072
00:50:40,160 --> 00:50:43,680
Speaker 1: Feels so original in a sense that you very rarely

1073
00:50:43,719 --> 00:50:48,120
Speaker 1: get to see women's sports films like this, right, Yes,

1074
00:50:48,320 --> 00:50:51,760
Speaker 1: And I'm not talking about dancing, I'm not talking about

1075
00:50:51,760 --> 00:50:55,320
Speaker 1: like gymnastics. This is a basketball player. This is a

1076
00:50:55,360 --> 00:51:00,560
Speaker 1: quote unquote male sport, and you're seeing a woman basically

1077
00:51:00,600 --> 00:51:05,200
Speaker 1: like traverse it. The gender reversal of this type of

1078
00:51:05,480 --> 00:51:08,640
Speaker 1: sports film is so fucking fresh. Like I'm just like,

1079
00:51:08,719 --> 00:51:12,279
Speaker 1: this is such a great take. And when I tell

1080
00:51:12,320 --> 00:51:19,080
Speaker 1: you that I wept, I fucking cried. The lip the

1081
00:51:19,120 --> 00:51:23,120
Speaker 1: bottom lip was trembling many times. I gotta tell you,

1082
00:51:23,239 --> 00:51:26,760
Speaker 1: it really hit me on so many points emotionally, because

1083
00:51:27,120 --> 00:51:29,880
Speaker 1: I mean, don't even get me started. Like I played

1084
00:51:29,880 --> 00:51:32,440
Speaker 1: sports when I was a kid, and I played them

1085
00:51:32,440 --> 00:51:35,960
Speaker 1: in high school. I also had a sister who was

1086
00:51:36,040 --> 00:51:39,560
Speaker 1: girlier and prettier than me, and I had a mom

1087
00:51:39,760 --> 00:51:43,200
Speaker 1: who was kind of like always trying to get me to.

1088
00:51:43,200 --> 00:51:46,280
Speaker 3: Like comb my hair and you know, like stop looking

1089
00:51:46,320 --> 00:51:47,160
Speaker 3: like a tomboy.

1090
00:51:47,360 --> 00:51:50,160
Speaker 1: And the scene at the very beginning when she gets

1091
00:51:50,239 --> 00:51:53,200
Speaker 1: pushed down by the boys, I mean that happened to

1092
00:51:53,280 --> 00:51:54,320
Speaker 1: me many times.

1093
00:51:54,320 --> 00:51:54,960
Speaker 2: It's brutal.

1094
00:51:55,040 --> 00:51:56,719
Speaker 1: I got beat up by boys a lot when I

1095
00:51:56,760 --> 00:51:59,840
Speaker 1: was a kid. And it's because I think in that

1096
00:52:00,120 --> 00:52:03,880
Speaker 1: same moment where they just can't like process her, like

1097
00:52:03,880 --> 00:52:07,279
Speaker 1: they're just like, she's weird, she's trying to be a guy.

1098
00:52:07,400 --> 00:52:09,520
Speaker 1: We gotta like, we can't figure this out, so let's

1099
00:52:09,560 --> 00:52:13,439
Speaker 1: just hurt her exactly. And it's just like this moment, God,

1100
00:52:13,640 --> 00:52:17,200
Speaker 1: I had this total flashback to being a kid, and

1101
00:52:17,239 --> 00:52:20,560
Speaker 1: I just that feeling of sort of like not understanding

1102
00:52:20,719 --> 00:52:22,839
Speaker 1: like why I couldn't just like do the thing that

1103
00:52:22,880 --> 00:52:25,439
Speaker 1: these boys were doing. Yes, And I think that that's

1104
00:52:25,520 --> 00:52:28,880
Speaker 1: why the rest of the film felt so emotional to

1105
00:52:28,920 --> 00:52:33,160
Speaker 1: me because she has the physical scar of that moment

1106
00:52:33,200 --> 00:52:36,160
Speaker 1: on her face that was essentially given to her by

1107
00:52:36,160 --> 00:52:39,960
Speaker 1: this guy that she loves. Yes, and it's just this

1108
00:52:40,120 --> 00:52:44,240
Speaker 1: like moment, especially like when they're in there more tender

1109
00:52:44,360 --> 00:52:47,360
Speaker 1: scenes that it just floored me, Like I just was

1110
00:52:47,480 --> 00:52:52,480
Speaker 1: like truly beside myself trying. Yes, I had to say it.

1111
00:52:52,520 --> 00:52:54,759
Speaker 4: I was a mess, and it's unexpected to be a

1112
00:52:54,800 --> 00:52:56,840
Speaker 4: mess because you're like, this is a movie about basketball,

1113
00:52:56,880 --> 00:52:59,680
Speaker 4: and then you're like, why am I weeping every five minutes?

1114
00:53:00,160 --> 00:53:02,480
Speaker 1: Yes? And that is like what I love about movies

1115
00:53:02,520 --> 00:53:04,400
Speaker 1: so much is that it was such a surprise to me,

1116
00:53:04,520 --> 00:53:07,440
Speaker 1: like how emotional and deep it was. And then of

1117
00:53:07,440 --> 00:53:09,279
Speaker 1: course all this stuff with the mom, I mean that

1118
00:53:09,320 --> 00:53:11,880
Speaker 1: whole scene of the two of them in the kitchen

1119
00:53:11,920 --> 00:53:14,719
Speaker 1: and the mom having that sort of moment where she's

1120
00:53:14,719 --> 00:53:17,279
Speaker 1: communicating to her like, yeah, I wanted to do the

1121
00:53:17,320 --> 00:53:19,480
Speaker 1: things that I wanted to do, but I also had

1122
00:53:19,520 --> 00:53:22,640
Speaker 1: a family and I had to make certain like concessions

1123
00:53:22,640 --> 00:53:23,000
Speaker 1: for that.

1124
00:53:23,200 --> 00:53:24,640
Speaker 3: And I wanted to be the kind.

1125
00:53:24,520 --> 00:53:27,200
Speaker 1: Of mom that gave you my mom's pearls when you

1126
00:53:27,239 --> 00:53:28,440
Speaker 1: were going out on your dance.

1127
00:53:28,480 --> 00:53:29,279
Speaker 3: And if I was working.

1128
00:53:29,280 --> 00:53:30,759
Speaker 1: I wouldn't have been able to do that. It was

1129
00:53:30,880 --> 00:53:36,000
Speaker 1: just so great and just so wonderful, and I loved

1130
00:53:36,440 --> 00:53:37,040
Speaker 1: this movie.

1131
00:53:37,360 --> 00:53:40,120
Speaker 4: Ah, I'm so glad I didn't know you hadn't seen

1132
00:53:40,160 --> 00:53:40,600
Speaker 4: it before.

1133
00:53:40,719 --> 00:53:42,720
Speaker 2: That's such a special moment.

1134
00:53:43,200 --> 00:53:45,719
Speaker 1: Yeah, it is truly one of those movies where I'm like,

1135
00:53:46,120 --> 00:53:47,480
Speaker 1: why did I fuck that up?

1136
00:53:47,560 --> 00:53:48,960
Speaker 3: Why did I not see that?

1137
00:53:49,640 --> 00:53:52,120
Speaker 1: Because I would have been obsessed with it. It's all throughout

1138
00:53:52,160 --> 00:53:54,840
Speaker 1: my twenties and thirties, Like I would have been, like,

1139
00:53:55,360 --> 00:53:58,040
Speaker 1: you know, going to the Love and Basketball fucking convention,

1140
00:53:58,200 --> 00:54:02,320
Speaker 1: where am I like Gabriel Union band aid dress or whatever?

1141
00:54:02,440 --> 00:54:05,479
Speaker 1: To the fucking I mean I would have I would

1142
00:54:05,520 --> 00:54:08,560
Speaker 1: have gone down the convention rabbit hole with this film.

1143
00:54:08,600 --> 00:54:09,680
Speaker 1: That's how much I loved it.

1144
00:54:09,840 --> 00:54:11,080
Speaker 2: Look, it's never too late.

1145
00:54:11,120 --> 00:54:13,440
Speaker 4: You can now obsess over it in your forties, fifties,

1146
00:54:13,480 --> 00:54:17,279
Speaker 4: and sixties. You could be on that hospital gurney in

1147
00:54:17,360 --> 00:54:19,000
Speaker 4: that dress with your canoe paddle.

1148
00:54:21,440 --> 00:54:23,880
Speaker 2: It is never too late. This fill will stand the

1149
00:54:23,920 --> 00:54:24,600
Speaker 2: test of time.

1150
00:54:24,719 --> 00:54:28,120
Speaker 4: It already has, and it is here for us throughout

1151
00:54:28,280 --> 00:54:29,560
Speaker 4: all the stages of our lives.

1152
00:54:30,239 --> 00:54:32,960
Speaker 1: I couldn't have picked a better movie in my mind

1153
00:54:33,200 --> 00:54:36,120
Speaker 1: for this theme. But also just for me, Like, you

1154
00:54:36,239 --> 00:54:38,160
Speaker 1: just picked a great movie for me to watch. Yeah,

1155
00:54:38,160 --> 00:54:40,400
Speaker 1: and I needed to watch it, and I'm so glad

1156
00:54:40,400 --> 00:54:40,640
Speaker 1: I did.

1157
00:54:40,760 --> 00:54:42,080
Speaker 2: That makes me so happy.

1158
00:54:42,239 --> 00:54:42,479
Speaker 1: Good.

1159
00:54:42,719 --> 00:54:45,919
Speaker 2: Well, your movie is also nothing to scoff at.

1160
00:54:50,680 --> 00:54:53,640
Speaker 1: Well, I'll just say we turned the intensity down slightly.

1161
00:54:53,840 --> 00:54:56,279
Speaker 1: But I actually did cry at my movie too. Yeah,

1162
00:54:56,320 --> 00:54:57,000
Speaker 1: so there we go.

1163
00:54:57,040 --> 00:54:58,120
Speaker 2: We're some tender bitches.

1164
00:54:58,680 --> 00:54:59,960
Speaker 3: We are some tender bitches.

1165
00:55:00,120 --> 00:55:02,479
Speaker 1: You crack the rocks on the outside with your little

1166
00:55:02,480 --> 00:55:07,240
Speaker 1: ball peen hammer, or we're just caramel sugar and whipped

1167
00:55:07,320 --> 00:55:10,000
Speaker 1: meringue or something. We're just very We're very tender. So

1168
00:55:10,120 --> 00:55:13,040
Speaker 1: my film for the theme, Sanala Lathan in Love is

1169
00:55:13,080 --> 00:55:16,000
Speaker 1: a movie from two thousand and two. It was written

1170
00:55:16,080 --> 00:55:21,960
Speaker 1: by Michael Elliott and Rick Famua, directed by Rick Famuua.

1171
00:55:22,320 --> 00:55:23,760
Speaker 3: It's called Brown Sugar.

1172
00:55:25,440 --> 00:55:28,040
Speaker 4: I remember the exact day I met Dren and fell

1173
00:55:28,080 --> 00:55:32,520
Speaker 4: in love with the music, and as we grew up,

1174
00:55:34,120 --> 00:55:35,239
Speaker 4: the music grew with this.

1175
00:55:35,960 --> 00:55:39,560
Speaker 3: So unlike love and basketball, I have seen this movie

1176
00:55:39,920 --> 00:55:40,439
Speaker 3: a lot.

1177
00:55:41,920 --> 00:55:45,680
Speaker 4: It's one of those cable staples, definitely, so like it

1178
00:55:45,760 --> 00:55:46,440
Speaker 4: was always.

1179
00:55:46,239 --> 00:55:49,840
Speaker 1: On, oh one hundred percent. Now, okay, y'all know me

1180
00:55:50,040 --> 00:55:53,080
Speaker 1: by this point. I hope I'm a sucker. For rom

1181
00:55:53,160 --> 00:55:57,560
Speaker 1: comms that either are about two people from opposite sides

1182
00:55:57,600 --> 00:56:01,560
Speaker 1: of the tracks. Fallen in love are two people who

1183
00:56:01,640 --> 00:56:03,720
Speaker 1: knew each other as kids and end up together.

1184
00:56:03,960 --> 00:56:06,719
Speaker 4: Come on, and now you have two movies in one

1185
00:56:06,719 --> 00:56:07,960
Speaker 4: episode that have done just that.

1186
00:56:09,040 --> 00:56:12,200
Speaker 1: I know my heart has fucking exploded. I mean, listen

1187
00:56:12,640 --> 00:56:16,319
Speaker 1: this film. I have watched it so many times and

1188
00:56:16,600 --> 00:56:19,640
Speaker 1: I just love the premise of it, and like, this

1189
00:56:19,719 --> 00:56:23,279
Speaker 1: is just this eternal rom com premise that will never

1190
00:56:23,360 --> 00:56:25,080
Speaker 1: be fucking old to me. I mean that's why I'm

1191
00:56:25,080 --> 00:56:28,720
Speaker 1: seeing Sweet Home, Alabama as much as I care to admit,

1192
00:56:28,960 --> 00:56:29,960
Speaker 1: I just fucking love it.

1193
00:56:30,040 --> 00:56:33,200
Speaker 2: I fucking love that movie. You have a baby and

1194
00:56:33,280 --> 00:56:34,880
Speaker 2: a bar. I love them.

1195
00:56:35,239 --> 00:56:39,400
Speaker 3: A baby in a bar Melanie Lynski. But look, so

1196
00:56:39,719 --> 00:56:41,040
Speaker 3: this so Brown.

1197
00:56:40,800 --> 00:56:43,399
Speaker 1: Sugar is kind of a reunion film in a way

1198
00:56:43,480 --> 00:56:46,400
Speaker 1: for a lot of the actors. I mean it's basically

1199
00:56:46,440 --> 00:56:49,640
Speaker 1: like The Wood, which was also directed by the same director.

1200
00:56:50,000 --> 00:56:52,920
Speaker 1: So you got Tay Diggs and Sonata Lathan. I mean,

1201
00:56:52,960 --> 00:56:55,799
Speaker 1: Omar Epps is also in The Wood. So it's just

1202
00:56:55,840 --> 00:56:58,000
Speaker 1: like this, Like I said before, it's just this whole

1203
00:56:58,080 --> 00:57:00,760
Speaker 1: like cast of actors that were in the same movies

1204
00:57:00,800 --> 00:57:02,200
Speaker 1: together for a while.

1205
00:57:02,040 --> 00:57:04,960
Speaker 2: It's the Black Romance Cinematic Universe.

1206
00:57:05,280 --> 00:57:07,839
Speaker 4: Yes, the br MC which used to be the Black

1207
00:57:07,840 --> 00:57:09,880
Speaker 4: Rebel Motorcycle Club for.

1208
00:57:10,000 --> 00:57:14,960
Speaker 2: The BRCU, the BRCU, but they change, it's changed.

1209
00:57:16,480 --> 00:57:17,080
Speaker 3: Oh my god.

1210
00:57:17,120 --> 00:57:19,400
Speaker 1: Well, let me just give a one sentence synopsis real quick.

1211
00:57:19,560 --> 00:57:22,000
Speaker 1: So this is a one sentence synopsis of Brown Sugar

1212
00:57:22,760 --> 00:57:28,120
Speaker 1: childhood friends Sid played by Snot Layton and Dre played

1213
00:57:28,120 --> 00:57:31,640
Speaker 1: by Tate Diggs grew up together with a mutual passion

1214
00:57:31,880 --> 00:57:35,280
Speaker 1: for classic era hip hop and find that the love

1215
00:57:35,360 --> 00:57:39,360
Speaker 1: for the music and each other also brings them together

1216
00:57:39,560 --> 00:57:40,960
Speaker 1: as adults.

1217
00:57:41,000 --> 00:57:44,480
Speaker 2: Beautiful and also Boris Kojos.

1218
00:57:43,720 --> 00:57:49,840
Speaker 1: And also Possa chows in it fuck very crucial to

1219
00:57:49,880 --> 00:57:55,000
Speaker 1: the one sentenced synopsis. So okay, I don't know if

1220
00:57:55,040 --> 00:57:57,600
Speaker 1: you youngsters out there know what an Around the Way

1221
00:57:57,640 --> 00:58:05,520
Speaker 1: Girl is pause, pause for reflection. Essentially, snat Lathan is

1222
00:58:05,560 --> 00:58:08,840
Speaker 1: playing again the girl from Around the Way, as talked

1223
00:58:08,840 --> 00:58:13,240
Speaker 1: about in the ll cool J song and this movie.

1224
00:58:13,320 --> 00:58:15,280
Speaker 1: The beginning of this movie is almost kind of like

1225
00:58:15,280 --> 00:58:19,720
Speaker 1: this mini documentary that's set inside the film, where you

1226
00:58:19,800 --> 00:58:23,120
Speaker 1: got a bunch of hip hop artists like Common and

1227
00:58:23,200 --> 00:58:25,560
Speaker 1: the dudes from day La Soul and the dudes from

1228
00:58:25,600 --> 00:58:28,480
Speaker 1: the Roots and method Man and Jamae Dupri all these people.

1229
00:58:28,520 --> 00:58:30,560
Speaker 2: Pete Rock is a little dormle ass.

1230
00:58:30,640 --> 00:58:34,680
Speaker 1: Yes, you got a whole smattering of all these hip

1231
00:58:34,680 --> 00:58:37,200
Speaker 1: hop artists, and they're talking about the old school music

1232
00:58:37,240 --> 00:58:39,720
Speaker 1: that they loved, right, and this is kind of set

1233
00:58:39,720 --> 00:58:41,200
Speaker 1: in the tone for what this movie is going to

1234
00:58:41,240 --> 00:58:43,800
Speaker 1: be about, which is essentially hip hop and the love

1235
00:58:43,880 --> 00:58:46,920
Speaker 1: of old school and kind of true.

1236
00:58:46,680 --> 00:58:48,400
Speaker 3: School hip hop, I guess is the best way to

1237
00:58:48,400 --> 00:58:48,720
Speaker 3: put it.

1238
00:58:49,080 --> 00:58:53,560
Speaker 1: Now, after this whole section, it cuts to kind of

1239
00:58:53,680 --> 00:58:57,400
Speaker 1: young Sid and young Dre, like I don't know, elementary

1240
00:58:57,400 --> 00:59:00,360
Speaker 1: middle school age. They're in New York and they're just

1241
00:59:00,400 --> 00:59:02,400
Speaker 1: kind of running around in the neighborhood, taking in like

1242
00:59:02,440 --> 00:59:05,080
Speaker 1: the sis and sounds of everything, Like there's people playing

1243
00:59:05,120 --> 00:59:07,160
Speaker 1: basketball and there's people break dancing.

1244
00:59:07,200 --> 00:59:08,360
Speaker 3: It's like the early eighties.

1245
00:59:09,000 --> 00:59:11,680
Speaker 1: And then they say this group of rappers freestyling on

1246
00:59:11,720 --> 00:59:15,520
Speaker 1: the courner and it's basically the real life Slick Rick,

1247
00:59:16,000 --> 00:59:21,760
Speaker 1: Dana Dane and Dougie Fresh and they're basically themselves playing

1248
00:59:22,000 --> 00:59:22,880
Speaker 1: themselves from the.

1249
00:59:22,800 --> 00:59:27,480
Speaker 4: Eighties, which I adored. There's no makeup, there's no prosthetics.

1250
00:59:27,480 --> 00:59:28,680
Speaker 4: Who're just like, yeah, we used to do this and

1251
00:59:28,680 --> 00:59:29,560
Speaker 4: now we're doing this again.

1252
00:59:29,760 --> 00:59:32,080
Speaker 3: Here we are, Yes, slick Rick. Still, we're in that

1253
00:59:32,120 --> 00:59:33,800
Speaker 3: eyepatch like slick Rick.

1254
00:59:34,120 --> 00:59:35,560
Speaker 2: Let me tell you I have a slick Rick story.

1255
00:59:35,920 --> 00:59:38,600
Speaker 3: Ooh my god, that's so exciting.

1256
00:59:39,880 --> 00:59:40,600
Speaker 1: It'll be quick.

1257
00:59:41,080 --> 00:59:43,360
Speaker 4: But when I lived in Harlem, I would go to

1258
00:59:43,400 --> 00:59:45,920
Speaker 4: this Starbucks on the corner of one twenty fifth sometimes

1259
00:59:46,120 --> 00:59:49,080
Speaker 4: and slick Rick would frequently be in there. Wow, And

1260
00:59:49,440 --> 00:59:51,040
Speaker 4: I was like all right, like I noticed them, and

1261
00:59:51,080 --> 00:59:53,560
Speaker 4: I'm like, oh my god, hip hop royalty right there

1262
00:59:53,560 --> 00:59:56,160
Speaker 4: in the Starbucks. And then one day I went in

1263
00:59:56,360 --> 00:59:59,120
Speaker 4: and he came in behind me. So because he came

1264
00:59:59,160 --> 01:00:01,959
Speaker 4: in behind me, I was able to say like, hey man, I'll.

1265
01:00:01,840 --> 01:00:04,240
Speaker 2: Get your drink. What are you drinking today? And he

1266
01:00:04,320 --> 01:00:06,600
Speaker 2: was like, nah, it's cool, it's cool, it's cool. And

1267
01:00:06,640 --> 01:00:07,800
Speaker 2: I was like, no, it's okay, Like what do you

1268
01:00:07,840 --> 01:00:08,200
Speaker 2: what do you want?

1269
01:00:08,200 --> 01:00:09,760
Speaker 4: And he's got that like yeah, that gruff voice and

1270
01:00:09,800 --> 01:00:11,439
Speaker 4: I'm like no, it's like my pleasure, Like what would

1271
01:00:11,480 --> 01:00:12,120
Speaker 4: you like to drink?

1272
01:00:12,320 --> 01:00:13,800
Speaker 2: And he's like nah, no, no, that's fine.

1273
01:00:13,880 --> 01:00:16,320
Speaker 4: And then because we were talking, I think it gave

1274
01:00:16,400 --> 01:00:19,880
Speaker 4: other people in the Starbucks license to kind of talk

1275
01:00:19,920 --> 01:00:22,480
Speaker 4: to him because they saw him like interacting with someone

1276
01:00:23,000 --> 01:00:24,320
Speaker 4: and when I tell you the man.

1277
01:00:24,320 --> 01:00:27,160
Speaker 2: Was mobbed he left. I was like, I'm sorry, I

1278
01:00:27,160 --> 01:00:28,360
Speaker 2: just wanted to buy you a coffee.

1279
01:00:28,400 --> 01:00:29,280
Speaker 1: He left.

1280
01:00:29,320 --> 01:00:31,560
Speaker 4: He was like, I cannot deal with this shit of

1281
01:00:31,600 --> 01:00:32,480
Speaker 4: Starbucks today.

1282
01:00:33,080 --> 01:00:35,440
Speaker 2: I should never have talked to this weird tall lady.

1283
01:00:35,960 --> 01:00:38,439
Speaker 1: You made that first domino fall and then the rest

1284
01:00:38,480 --> 01:00:41,160
Speaker 1: of the shit it just went crazy mobbed.

1285
01:00:41,200 --> 01:00:43,080
Speaker 4: But he was so sweet and like very again, such

1286
01:00:43,080 --> 01:00:47,400
Speaker 4: a distinctive personality and such a true hero of hip hop.

1287
01:00:47,600 --> 01:00:51,240
Speaker 1: Yeah, definitely, definitely like one of the best to ever

1288
01:00:51,320 --> 01:00:54,400
Speaker 1: do it. But listen when when young said and Dre

1289
01:00:55,080 --> 01:00:58,200
Speaker 1: see this happening, it just sets him on this path, right,

1290
01:00:58,800 --> 01:01:02,080
Speaker 1: because you from very cuts a modern day where Sid

1291
01:01:02,280 --> 01:01:04,400
Speaker 1: who was a music writer for the La Times. She

1292
01:01:04,560 --> 01:01:08,040
Speaker 1: got this job, this amazing once in a lifetime job.

1293
01:01:08,320 --> 01:01:11,080
Speaker 1: She's the editor in chief of Double XL magazine, which

1294
01:01:11,160 --> 01:01:14,680
Speaker 1: is a very prominent hip hop magazine. It's a real magazine,

1295
01:01:14,720 --> 01:01:17,520
Speaker 1: by the way. And at the same time she's also

1296
01:01:17,520 --> 01:01:20,520
Speaker 1: writing this book, right, and the book is about her

1297
01:01:20,520 --> 01:01:23,800
Speaker 1: sort of lifelong love of hip hop, which is also

1298
01:01:24,560 --> 01:01:27,560
Speaker 1: just kind of the running narration of the film. It's

1299
01:01:27,600 --> 01:01:30,200
Speaker 1: just kind of her reading from this book, right, So

1300
01:01:30,360 --> 01:01:33,080
Speaker 1: she leaves La moves back to New York, where dre

1301
01:01:33,600 --> 01:01:37,520
Speaker 1: is now an an R guy for this big broad.

1302
01:01:37,600 --> 01:01:40,160
Speaker 3: Rap record label called Millennium Records.

1303
01:01:40,360 --> 01:01:43,120
Speaker 1: And they're still best friends. Like that's the thing is,

1304
01:01:43,120 --> 01:01:45,920
Speaker 1: they never stopped being best friends, but since they've been

1305
01:01:45,960 --> 01:01:48,640
Speaker 1: living on opposite coasts, right when she comes back to

1306
01:01:48,680 --> 01:01:51,360
Speaker 1: New York, it's this kind of like big homecoming for them,

1307
01:01:51,880 --> 01:01:54,240
Speaker 1: and she's excited to see him, and she's kind of

1308
01:01:54,320 --> 01:01:57,000
Speaker 1: noticing how he's grown up and he's just become a

1309
01:01:57,040 --> 01:01:59,040
Speaker 1: man and that's all this stuff and it's great.

1310
01:01:59,160 --> 01:02:02,000
Speaker 3: But she finds out that Ray has.

1311
01:02:01,800 --> 01:02:08,480
Speaker 1: A girlfriend, and it's Nicolery Parker. She's a beautiful lawyer

1312
01:02:08,600 --> 01:02:13,320
Speaker 1: named Reese. And Sanaa Lathan is like hitting the guts

1313
01:02:13,600 --> 01:02:15,280
Speaker 1: by this information, well.

1314
01:02:15,080 --> 01:02:18,640
Speaker 4: Because he also is like, I am proposing tonight, welcome home.

1315
01:02:19,000 --> 01:02:22,760
Speaker 1: Yes, I'm going to propose a Russell Simmons party in

1316
01:02:22,800 --> 01:02:26,520
Speaker 1: front of a staircase right now, like immediately, right now,

1317
01:02:26,640 --> 01:02:27,120
Speaker 1: and listen.

1318
01:02:27,560 --> 01:02:30,600
Speaker 4: I think I do think that it is completely possible,

1319
01:02:30,840 --> 01:02:35,600
Speaker 4: obviously for people to be friends with opposite sex people

1320
01:02:35,640 --> 01:02:39,240
Speaker 4: that are attracted to whatever. I think, it's of course possible. Sure, genuinely,

1321
01:02:39,240 --> 01:02:41,360
Speaker 4: nobody wants to see your engagement ring, except for the

1322
01:02:41,400 --> 01:02:42,320
Speaker 4: person you're proposing to.

1323
01:02:42,880 --> 01:02:45,480
Speaker 3: Listen, I'm not a jewelry check, but like, I never

1324
01:02:45,600 --> 01:02:46,240
Speaker 3: noticed ring.

1325
01:02:46,280 --> 01:02:48,439
Speaker 1: It's like, I'm just I don't know. Do people have them?

1326
01:02:48,480 --> 01:02:49,160
Speaker 1: Do they wear them?

1327
01:02:49,240 --> 01:02:51,320
Speaker 4: Yeah, nobody wants to see it, especially this woman who's

1328
01:02:51,320 --> 01:02:54,120
Speaker 4: been in love with you, low key for your whole life.

1329
01:02:54,640 --> 01:02:57,800
Speaker 1: Yeah, she's like, I don't care about this ring, Like

1330
01:02:57,840 --> 01:02:58,280
Speaker 1: I just.

1331
01:02:58,280 --> 01:02:59,840
Speaker 2: Met this woman exactly.

1332
01:03:00,000 --> 01:03:01,800
Speaker 1: And here's the thing. So she gets invited to the

1333
01:03:01,800 --> 01:03:04,920
Speaker 1: wedding shower and she's just stuffing her face with food.

1334
01:03:05,160 --> 01:03:08,480
Speaker 1: She's pretending to be happy about this shit going on

1335
01:03:08,560 --> 01:03:09,920
Speaker 1: between Drey and Reese, right.

1336
01:03:09,800 --> 01:03:12,240
Speaker 3: Which is a move, But of course she's not happy.

1337
01:03:12,400 --> 01:03:16,840
Speaker 1: And here's the thing. Crucially, dre is not happy exactly,

1338
01:03:17,000 --> 01:03:20,240
Speaker 1: or he is at least fucking lying on himself, because

1339
01:03:20,240 --> 01:03:23,600
Speaker 1: wouldn't you know, they're hanging out again, Dran said, and

1340
01:03:23,640 --> 01:03:27,080
Speaker 1: they're reminiscent about being kids. They're talking about how complicated

1341
01:03:27,120 --> 01:03:29,880
Speaker 1: their adult lives have become and blah blah blah. And

1342
01:03:30,000 --> 01:03:33,360
Speaker 1: guess what they end up kissing the night before his wedding.

1343
01:03:33,560 --> 01:03:35,440
Speaker 4: Thank you, And look, you know who has something to

1344
01:03:35,480 --> 01:03:39,480
Speaker 4: say about that Queen Latifa.

1345
01:03:39,640 --> 01:03:41,760
Speaker 1: I have so much to say about her. I will

1346
01:03:41,840 --> 01:03:44,920
Speaker 1: approach that in just a moment, because we are talking

1347
01:03:45,000 --> 01:03:46,560
Speaker 1: the fuck out of queenland Sea for right now.

1348
01:03:46,720 --> 01:03:48,480
Speaker 3: But look, first of all, so all.

1349
01:03:48,480 --> 01:03:51,040
Speaker 1: Lathan opens the door in a towel or like.

1350
01:03:51,000 --> 01:03:53,760
Speaker 2: A rap or some shit, yeah, like some tie.

1351
01:03:53,560 --> 01:03:56,200
Speaker 1: When her windows open to the street in.

1352
01:03:56,040 --> 01:03:58,800
Speaker 3: Brooklyn, sexy living in Brooklyn?

1353
01:03:59,640 --> 01:04:05,280
Speaker 4: A why like taking this scene?

1354
01:04:05,440 --> 01:04:06,440
Speaker 2: You know what's gonna happen.

1355
01:04:06,640 --> 01:04:08,760
Speaker 4: You don't just open a fucking door with a towel

1356
01:04:08,800 --> 01:04:10,800
Speaker 4: and your windows are open and the curtains are flapping

1357
01:04:10,840 --> 01:04:13,640
Speaker 4: in the breeze like you had this sexy ass Brownstone.

1358
01:04:14,120 --> 01:04:17,200
Speaker 1: Yo. Some of my best friends are guys, straight guys.

1359
01:04:17,440 --> 01:04:20,880
Speaker 1: In fact, I would never answer the door in a towel.

1360
01:04:21,040 --> 01:04:21,680
Speaker 1: I don't care.

1361
01:04:22,080 --> 01:04:24,520
Speaker 3: I would never do it. It just ain't happening.

1362
01:04:24,840 --> 01:04:27,280
Speaker 4: See this is where the dirt bagging me kicks in,

1363
01:04:27,320 --> 01:04:28,880
Speaker 4: because I'm like, I would answer a door naked.

1364
01:04:28,920 --> 01:04:29,760
Speaker 2: I'll give a fuck.

1365
01:04:30,880 --> 01:04:33,240
Speaker 1: You're gonna interrupt my day. You get what you get,

1366
01:04:33,800 --> 01:04:36,720
Speaker 1: so you can imagine. Okay, what's going on here is

1367
01:04:36,760 --> 01:04:40,040
Speaker 1: that they're trying to stifle this lifelong connection, which is

1368
01:04:40,120 --> 01:04:43,600
Speaker 1: not working, by the way, because Sid.

1369
01:04:43,560 --> 01:04:45,160
Speaker 3: Sort of maybe in a reaction to.

1370
01:04:45,200 --> 01:04:49,120
Speaker 1: This marriage that has happened, she starts dating this basketball

1371
01:04:49,120 --> 01:04:52,840
Speaker 1: player named Kelby Dawson, who was played by bors Koacho, of.

1372
01:04:52,840 --> 01:04:55,800
Speaker 2: Course, who is married to Nicole Ari Parker in real life.

1373
01:04:56,240 --> 01:05:00,920
Speaker 1: Exactly exactly. And the thing about this entire farce is

1374
01:05:00,960 --> 01:05:03,960
Speaker 1: that Drey and Sid they're in relationships with people that

1375
01:05:04,000 --> 01:05:06,280
Speaker 1: they have nothing in common with and then also just

1376
01:05:06,320 --> 01:05:09,720
Speaker 1: like their partners like don't really support.

1377
01:05:09,320 --> 01:05:12,120
Speaker 3: Them yet very much like they just don't listen.

1378
01:05:12,200 --> 01:05:14,400
Speaker 1: You cannot like the music that I don't like, but

1379
01:05:14,440 --> 01:05:17,600
Speaker 1: when the music is my entire fucking life, like you

1380
01:05:17,640 --> 01:05:18,479
Speaker 1: don't get it.

1381
01:05:18,480 --> 01:05:20,760
Speaker 3: It's kind of this thing where you're like, shit, like

1382
01:05:20,840 --> 01:05:21,840
Speaker 3: should we be together?

1383
01:05:22,080 --> 01:05:22,360
Speaker 2: Yes?

1384
01:05:22,960 --> 01:05:27,000
Speaker 4: And also Kelby goes so over the top when he's

1385
01:05:27,080 --> 01:05:30,120
Speaker 4: wooing her, you know, like he goes so over the

1386
01:05:30,120 --> 01:05:33,240
Speaker 4: top in a way that like didn't even feel like

1387
01:05:33,400 --> 01:05:35,800
Speaker 4: Sid from the moment they met, where he.

1388
01:05:35,800 --> 01:05:38,520
Speaker 2: Was just like the onslaught of flowers, like I'm gonna

1389
01:05:38,520 --> 01:05:40,160
Speaker 2: send you fifteen dozen.

1390
01:05:40,000 --> 01:05:42,680
Speaker 4: Roses and I'm gonna rent down a restaurant and cook

1391
01:05:42,720 --> 01:05:45,439
Speaker 4: for you, and like it's just too much, and none

1392
01:05:45,480 --> 01:05:48,200
Speaker 4: of it is that's all him, That's all the facade

1393
01:05:48,320 --> 01:05:49,280
Speaker 4: of Kelby.

1394
01:05:49,480 --> 01:05:51,520
Speaker 2: It's not anything to do with Sid. So right off

1395
01:05:51,560 --> 01:05:53,000
Speaker 2: the bat, you're like, why are these two together?

1396
01:05:53,160 --> 01:05:55,160
Speaker 1: There was a moment where I thought, you know what,

1397
01:05:55,200 --> 01:05:58,200
Speaker 1: he is not so bad, right, He's a little corny

1398
01:05:58,680 --> 01:06:01,400
Speaker 1: or whatever, and he doesn't kind of have that like

1399
01:06:01,680 --> 01:06:04,400
Speaker 1: funniness to him, and I thought, I don't know, is

1400
01:06:04,440 --> 01:06:07,960
Speaker 1: she making mistake by not entertaining this relationship. But then

1401
01:06:08,000 --> 01:06:10,360
Speaker 1: when he reveals at some point that he wants to

1402
01:06:10,360 --> 01:06:14,840
Speaker 1: be an athlete rapper, I knew. I was like, Sydney

1403
01:06:14,960 --> 01:06:18,080
Speaker 1: is not going for this guy, especially when his whole

1404
01:06:18,120 --> 01:06:21,360
Speaker 1: like pitch is I got marriage on my menu.

1405
01:06:21,800 --> 01:06:27,680
Speaker 4: Okay, okay, that is the worst drunk confession.

1406
01:06:27,320 --> 01:06:29,760
Speaker 2: In movie history. I want to be an athlete.

1407
01:06:29,480 --> 01:06:33,200
Speaker 4: Rapper Because he's just like getting tipsy proposed to her

1408
01:06:33,640 --> 01:06:35,320
Speaker 4: and is like, ps.

1409
01:06:35,000 --> 01:06:37,120
Speaker 1: Now that you got that ring on, let me tell

1410
01:06:37,160 --> 01:06:39,240
Speaker 1: the world can we rock? What's up?

1411
01:06:39,320 --> 01:06:39,560
Speaker 4: Doc?

1412
01:06:39,840 --> 01:06:43,360
Speaker 3: Like that's his whole thing where he's basically like, I.

1413
01:06:43,360 --> 01:06:49,160
Speaker 1: Want to be in the Foo snickens and he's talking

1414
01:06:49,240 --> 01:06:52,080
Speaker 1: to the editor in chief of Double XL magazine. That's

1415
01:06:52,120 --> 01:06:53,800
Speaker 1: all I gotta say. It was doomed.

1416
01:06:53,840 --> 01:06:56,480
Speaker 4: It was doomed from that point totally doomed and this

1417
01:06:56,560 --> 01:06:59,400
Speaker 4: is this is a bad rap. He's a bad rapper

1418
01:06:59,720 --> 01:07:02,840
Speaker 4: in a movie that has two characters called Red and

1419
01:07:02,920 --> 01:07:06,360
Speaker 4: Ten that refer to themselves as the Hip Hop Dalmatians,

1420
01:07:06,560 --> 01:07:08,640
Speaker 4: and his bad rap still stood out above that.

1421
01:07:08,920 --> 01:07:10,480
Speaker 3: Okay, we have to.

1422
01:07:10,480 --> 01:07:14,440
Speaker 1: Talk about the new recording artists at Millennium Records. We

1423
01:07:14,520 --> 01:07:16,840
Speaker 1: have to talk about this because first of all, to

1424
01:07:16,920 --> 01:07:19,840
Speaker 1: set this whole part up, so they're both with these

1425
01:07:19,920 --> 01:07:23,160
Speaker 1: people that are obviously wrong for them. At one point,

1426
01:07:23,320 --> 01:07:27,000
Speaker 1: Dre figures out that he's been selling out to the man.

1427
01:07:27,360 --> 01:07:31,600
Speaker 1: He's working at Millennium Records and Wendel Pearris is his boss,

1428
01:07:31,640 --> 01:07:33,919
Speaker 1: and Wendell pears is telling him that he is going

1429
01:07:33,960 --> 01:07:38,600
Speaker 1: to sign this rap group called the Hip Hop Dalmatians.

1430
01:07:39,080 --> 01:07:42,400
Speaker 1: And it's basically this like white guy and this black

1431
01:07:42,440 --> 01:07:46,280
Speaker 1: guy and they are just so stupid and their whole.

1432
01:07:46,080 --> 01:07:48,880
Speaker 2: Gimmick is like we're about unity, man, like I'm gonna

1433
01:07:48,920 --> 01:07:51,120
Speaker 2: wear a black coat with white spots. He's gonna wear

1434
01:07:51,120 --> 01:07:53,880
Speaker 2: a white coat with black spots for unity. And it

1435
01:07:54,000 --> 01:07:55,040
Speaker 2: is a mess.

1436
01:07:55,440 --> 01:07:58,280
Speaker 3: It cracks me up every time I see this film.

1437
01:07:58,920 --> 01:08:00,680
Speaker 1: And the last day.

1438
01:08:00,560 --> 01:08:03,840
Speaker 3: Of Dre's job, like the day where he just walks out.

1439
01:08:04,000 --> 01:08:07,280
Speaker 1: Is when he's in the recording studio when the hip

1440
01:08:07,320 --> 01:08:13,640
Speaker 1: hop Dalmatians are recording an updated version to the classic

1441
01:08:13,720 --> 01:08:16,719
Speaker 1: tune The Girl is Mine by Paul McCartney and Michael Jackson,

1442
01:08:16,800 --> 01:08:21,519
Speaker 1: and they call it the Hoe is Mine. That is

1443
01:08:21,640 --> 01:08:27,559
Speaker 1: Drey's last day. He's like, yo, I wait, Look, we

1444
01:08:27,640 --> 01:08:28,639
Speaker 1: have all had.

1445
01:08:28,520 --> 01:08:31,439
Speaker 4: Those moments on certain jobs, and from now on we

1446
01:08:31,560 --> 01:08:34,040
Speaker 4: have to call them the hoe is Mine moments.

1447
01:08:34,280 --> 01:08:34,920
Speaker 1: Like what happened?

1448
01:08:34,920 --> 01:08:36,640
Speaker 2: I thought she was happy in the job girl, the

1449
01:08:36,680 --> 01:08:38,000
Speaker 2: hoe is Mine? Happened?

1450
01:08:38,160 --> 01:08:39,479
Speaker 3: The Hoe is Mine?

1451
01:08:41,240 --> 01:08:43,320
Speaker 1: Yeah? Oh my god, I can't.

1452
01:08:43,400 --> 01:08:44,120
Speaker 3: Oh.

1453
01:08:44,160 --> 01:08:47,400
Speaker 1: I was like yes, I was like, good for you, Drey.

1454
01:08:47,520 --> 01:08:50,439
Speaker 1: Go out and start that new label. You cannot rock

1455
01:08:50,520 --> 01:08:54,719
Speaker 1: with this at all. These guys are fucking so bad

1456
01:08:54,800 --> 01:08:57,360
Speaker 1: and they're making you look bad, making you look bad,

1457
01:08:57,400 --> 01:08:59,479
Speaker 1: and look, I mean, here's what I'm gonna say. The

1458
01:08:59,479 --> 01:09:01,960
Speaker 1: rest of this film is sort of like, okay for

1459
01:09:02,040 --> 01:09:04,680
Speaker 1: people that like rom coms, Yes, this is our territory.

1460
01:09:04,720 --> 01:09:06,840
Speaker 1: We know how this is gonna go. We know that

1461
01:09:06,880 --> 01:09:09,160
Speaker 1: they're gonna figure out that the people that they're with

1462
01:09:09,400 --> 01:09:11,439
Speaker 1: are not the people and there's gonna be this big

1463
01:09:11,479 --> 01:09:15,200
Speaker 1: moment where they reconnect and they figure out that you know,

1464
01:09:15,320 --> 01:09:17,080
Speaker 1: it was all about hip hop and all about their

1465
01:09:17,160 --> 01:09:19,479
Speaker 1: childhood and all about sort of the essence of what's

1466
01:09:19,520 --> 01:09:23,320
Speaker 1: great about the music and themselves, and this is we know,

1467
01:09:23,439 --> 01:09:27,040
Speaker 1: this is how it's going, right, because really it's kind

1468
01:09:27,040 --> 01:09:28,640
Speaker 1: of like, who are they fooling with any of this?

1469
01:09:28,840 --> 01:09:30,519
Speaker 3: It's just a matter of time. When are you gonna

1470
01:09:30,520 --> 01:09:31,840
Speaker 3: marry sna Come on?

1471
01:09:31,880 --> 01:09:35,240
Speaker 1: Cut the middleman, Cut the middleman. But the thing I

1472
01:09:35,280 --> 01:09:38,479
Speaker 1: love about this movie is that I feel like it

1473
01:09:38,560 --> 01:09:44,439
Speaker 1: is more like a throwback to like classic screwball romance almost.

1474
01:09:44,520 --> 01:09:46,960
Speaker 3: Yes, it's kind of like it doesn't have.

1475
01:09:47,040 --> 01:09:49,960
Speaker 1: This like super uber modern romance field where it's like,

1476
01:09:50,080 --> 01:09:52,600
Speaker 1: I mean this is probably pre dating Apps really, I

1477
01:09:52,600 --> 01:09:54,800
Speaker 1: mean two thousand and two maybe, but it's like, I

1478
01:09:54,840 --> 01:09:56,639
Speaker 1: don't know, I just feel like modern rom coms are

1479
01:09:56,680 --> 01:09:59,439
Speaker 1: so like in the modern moment that they kind of

1480
01:09:59,479 --> 01:10:01,519
Speaker 1: like lose little bit of that charm. And I feel

1481
01:10:01,560 --> 01:10:04,360
Speaker 1: like Brown Sugar has that like kind of old school

1482
01:10:04,720 --> 01:10:08,719
Speaker 1: movie romance moment. And here's the thing this movie, it's

1483
01:10:08,800 --> 01:10:13,840
Speaker 1: like a Frank Capra movie starring black people. Yes, it's amazing,

1484
01:10:14,360 --> 01:10:17,960
Speaker 1: and Tay Diggs essentially like a Carrie Grant of this

1485
01:10:18,040 --> 01:10:22,799
Speaker 1: film I mean, he's handsome, he's stylish, but he's super

1486
01:10:23,200 --> 01:10:24,400
Speaker 1: charming and funny.

1487
01:10:24,720 --> 01:10:27,600
Speaker 3: Yes, like his comic timing in this movie is so

1488
01:10:27,720 --> 01:10:29,520
Speaker 3: fucking good, impeccable.

1489
01:10:29,760 --> 01:10:32,400
Speaker 1: And then you've got probably my two favorite people in

1490
01:10:32,400 --> 01:10:36,160
Speaker 1: this entire movie, Queen Latifa and Yazine Bay, who at

1491
01:10:36,160 --> 01:10:38,400
Speaker 1: that moment was still gone by most Steph. I think

1492
01:10:38,439 --> 01:10:40,360
Speaker 1: if you don't know Yazin Bay, you know maybe as

1493
01:10:40,439 --> 01:10:43,000
Speaker 1: most Steph. Not sure, but they play kind of like

1494
01:10:43,040 --> 01:10:47,719
Speaker 1: the sidekick characters to both Sid and Dre and they

1495
01:10:47,760 --> 01:10:51,960
Speaker 1: feel very much like old screwball comedy characters in that way,

1496
01:10:52,000 --> 01:10:52,639
Speaker 1: do you know what I mean?

1497
01:10:52,800 --> 01:10:56,360
Speaker 4: Absolutely, Like that scene at the wedding where Francine is

1498
01:10:56,439 --> 01:10:59,479
Speaker 4: like trying to get Sid to say don't get married,

1499
01:10:59,479 --> 01:11:00,880
Speaker 4: like at that part or they always say is there

1500
01:11:00,880 --> 01:11:02,439
Speaker 4: anyone who objects to this marriage?

1501
01:11:02,439 --> 01:11:03,880
Speaker 2: And they're like kind of bickering back and forth and

1502
01:11:03,920 --> 01:11:04,760
Speaker 2: people are telling them.

1503
01:11:04,680 --> 01:11:07,560
Speaker 4: To shush, and she at one point when Sid is

1504
01:11:07,600 --> 01:11:09,960
Speaker 4: moving in, is like, girl, you are turning into a

1505
01:11:10,040 --> 01:11:14,679
Speaker 4: Terry McMillan character. She just has these fire lines about

1506
01:11:14,720 --> 01:11:16,719
Speaker 4: like you gotta get out there. It's like she's pushing

1507
01:11:16,760 --> 01:11:18,880
Speaker 4: her friend to be more and to do more, but

1508
01:11:18,920 --> 01:11:21,120
Speaker 4: not in a way that's bullying. It's just very much

1509
01:11:21,240 --> 01:11:24,000
Speaker 4: like you know, we're cousins. I know you get out there.

1510
01:11:24,040 --> 01:11:26,920
Speaker 4: But it is absolutely the kind of role that Queen

1511
01:11:27,000 --> 01:11:32,160
Speaker 4: Latifa excels at because it's so funny and again so subtle.

1512
01:11:32,240 --> 01:11:35,519
Speaker 1: Right and like, listen, if y'all heard the set it

1513
01:11:35,560 --> 01:11:37,320
Speaker 1: Off episode from a few months ago, you know how

1514
01:11:37,400 --> 01:11:39,960
Speaker 1: much we love Queen Latifa legend. Okay, we love her

1515
01:11:40,200 --> 01:11:44,559
Speaker 1: and all of her roles, be it romantic sidekicks or

1516
01:11:44,640 --> 01:11:46,400
Speaker 1: like fun people that are going to drive a suburban

1517
01:11:46,400 --> 01:11:49,799
Speaker 1: through a bank, Okay, we love her. But also, Yasin

1518
01:11:49,920 --> 01:11:51,480
Speaker 1: bay Is I gotta.

1519
01:11:51,200 --> 01:11:54,040
Speaker 3: Say, such an incredibly likable actor.

1520
01:11:54,520 --> 01:11:58,639
Speaker 1: Yes, I mean there's this scene where he talks about

1521
01:11:58,640 --> 01:12:01,679
Speaker 1: the movie Casablanca in the funniest way ever.

1522
01:12:01,960 --> 01:12:06,920
Speaker 4: Okay, that is what's in my notes. I'm like Yasine's

1523
01:12:07,000 --> 01:12:11,120
Speaker 4: description of Casablanca brought me to my knees.

1524
01:12:11,640 --> 01:12:15,719
Speaker 1: I mean, look, it is so adorable watching him try

1525
01:12:15,760 --> 01:12:19,240
Speaker 1: to mac on Queen Latifa so fucking hard in this

1526
01:12:19,320 --> 01:12:23,880
Speaker 1: movie so badly. The whole scene where he's talking about

1527
01:12:23,920 --> 01:12:29,120
Speaker 1: like champagne flutes, like the history of champagne flutes, so charming.

1528
01:12:29,280 --> 01:12:33,000
Speaker 4: It is a delight they are both delightful in this film.

1529
01:12:33,240 --> 01:12:36,280
Speaker 1: Oh my god, they're my favorite love a sidekick in

1530
01:12:36,320 --> 01:12:38,760
Speaker 1: a rom com like those are always like typically my

1531
01:12:38,760 --> 01:12:42,000
Speaker 1: favorite characters. Plus the song that he does for the film,

1532
01:12:42,080 --> 01:12:46,479
Speaker 1: because in the film, he's a up and coming hip

1533
01:12:46,479 --> 01:12:48,559
Speaker 1: hop artist, Like so you know, obviously Dre is like

1534
01:12:48,600 --> 01:12:52,640
Speaker 1: been at Millennium Records peddling the hip hop Dalmatians and

1535
01:12:52,680 --> 01:12:55,679
Speaker 1: he wants to get back to like real authentic hip hop.

1536
01:12:55,920 --> 01:12:59,679
Speaker 1: And so he meets the Azine Bay character who's doing

1537
01:12:59,800 --> 01:13:03,519
Speaker 1: like real shit and he's a cab driver in New

1538
01:13:03,600 --> 01:13:06,680
Speaker 1: York and so basically Dre's like begging him to like

1539
01:13:06,760 --> 01:13:08,720
Speaker 1: be on his new label and X, Y and Z

1540
01:13:08,880 --> 01:13:10,960
Speaker 1: and takes a while for him to warm up, but

1541
01:13:11,000 --> 01:13:13,400
Speaker 1: then eventually he's just like really working for his guy,

1542
01:13:13,479 --> 01:13:16,599
Speaker 1: and he's just basically like his character, you know, sort

1543
01:13:16,640 --> 01:13:20,400
Speaker 1: of meets like everybody through Dre, and he just kind

1544
01:13:20,400 --> 01:13:23,960
Speaker 1: of starts developing a crush on Queen Latifa and he

1545
01:13:24,040 --> 01:13:27,559
Speaker 1: is younger than her and he's just all about that shit,

1546
01:13:27,680 --> 01:13:30,920
Speaker 1: and it's so funny, it's.

1547
01:13:30,840 --> 01:13:34,960
Speaker 4: Adorable, and again it's truly I love those moments and

1548
01:13:35,000 --> 01:13:37,639
Speaker 4: movies too, where like the sidekicks get together to try

1549
01:13:37,640 --> 01:13:39,640
Speaker 4: to plan, like, all right, look, the main characters are

1550
01:13:39,680 --> 01:13:40,120
Speaker 4: fucking up.

1551
01:13:40,160 --> 01:13:40,800
Speaker 2: What are we gonna do?

1552
01:13:41,120 --> 01:13:44,479
Speaker 4: So in those moments they come together because the main

1553
01:13:44,520 --> 01:13:45,960
Speaker 4: characters are screwing up so badly.

1554
01:13:46,200 --> 01:13:47,320
Speaker 2: Yeah, it's adorable.

1555
01:13:47,920 --> 01:13:50,280
Speaker 1: Yeah, and it's I mean, listen, this movie is so

1556
01:13:50,400 --> 01:13:52,720
Speaker 1: charming and great to me, like I said, because it

1557
01:13:52,760 --> 01:13:56,880
Speaker 1: does feel like a kind of old nineteen forties rom com,

1558
01:13:57,040 --> 01:14:00,759
Speaker 1: like a screwball romance, right, Frank Capra, you know, Press

1559
01:14:00,800 --> 01:14:03,759
Speaker 1: and Sturge is like that kind of era, right. But also,

1560
01:14:04,400 --> 01:14:06,360
Speaker 1: just like in Love and Basketball, there is some really

1561
01:14:06,360 --> 01:14:09,320
Speaker 1: great sort of gender reversal stuff happening here too, with

1562
01:14:09,400 --> 01:14:11,480
Speaker 1: the Sona Lathan character, where.

1563
01:14:11,640 --> 01:14:15,040
Speaker 3: She's the editor of Double Xel magazine. She is writing

1564
01:14:15,080 --> 01:14:16,680
Speaker 3: a book. She's at the top of.

1565
01:14:16,640 --> 01:14:19,960
Speaker 1: Her game, okay. And the Tay Diggs character is the

1566
01:14:19,960 --> 01:14:22,760
Speaker 1: one that ends up quitting his job and being sort

1567
01:14:22,760 --> 01:14:25,639
Speaker 1: of like, you know, he has to accept money from

1568
01:14:25,680 --> 01:14:27,400
Speaker 1: her to start this new record label.

1569
01:14:27,600 --> 01:14:28,479
Speaker 2: Yeah, he's in limbo.

1570
01:14:28,680 --> 01:14:29,559
Speaker 3: He's in limbo.

1571
01:14:29,960 --> 01:14:31,880
Speaker 1: And also I mean, even like, if you want to

1572
01:14:31,920 --> 01:14:34,479
Speaker 1: get down to brass tacks, I mean, his wife, Reese

1573
01:14:34,520 --> 01:14:37,160
Speaker 1: is like a lawyer. I mean, she effectively has a

1574
01:14:37,200 --> 01:14:39,719
Speaker 1: better job than he does at certain points of this film,

1575
01:14:39,800 --> 01:14:41,679
Speaker 1: So I don't know, it's just sort of like, again,

1576
01:14:41,760 --> 01:14:45,839
Speaker 1: it's really refreshing to watch like rom comms, especially now,

1577
01:14:46,080 --> 01:14:48,519
Speaker 1: like after so much time has passed word you know, again,

1578
01:14:48,600 --> 01:14:52,160
Speaker 1: you've watched so many romantic films in the past that

1579
01:14:52,320 --> 01:14:55,479
Speaker 1: are just women in the Cinderella moment, just waiting around

1580
01:14:55,479 --> 01:14:57,960
Speaker 1: to be rescued, waiting for the guy to bring her

1581
01:14:58,000 --> 01:15:00,880
Speaker 1: glass slipper, and these two of them, it's not happening.

1582
01:15:00,960 --> 01:15:03,000
Speaker 1: These are women who have their own agency and they're

1583
01:15:03,000 --> 01:15:04,519
Speaker 1: trying to figure out their own lives.

1584
01:15:04,680 --> 01:15:07,520
Speaker 2: So not Lathan in love will get her own glass.

1585
01:15:07,200 --> 01:15:09,240
Speaker 3: Slipper exactly exactly.

1586
01:15:09,320 --> 01:15:11,840
Speaker 1: And that's I think the best way to sum up

1587
01:15:11,840 --> 01:15:13,760
Speaker 1: sort of what the theme is about this week is

1588
01:15:13,840 --> 01:15:16,360
Speaker 1: just I mean, it's just about black romance, but also

1589
01:15:16,439 --> 01:15:19,040
Speaker 1: just about like sort of her characters in both these

1590
01:15:19,040 --> 01:15:21,120
Speaker 1: films being kind of the same type of woman, and

1591
01:15:21,160 --> 01:15:23,559
Speaker 1: it's like a modern woman. It's a woman who's like, yes,

1592
01:15:24,080 --> 01:15:26,680
Speaker 1: very talented and very smart and has her own thing

1593
01:15:26,800 --> 01:15:30,040
Speaker 1: going on and she wants love, yes, but it's also

1594
01:15:30,240 --> 01:15:33,080
Speaker 1: like she can't not be who she is exactly.

1595
01:15:33,200 --> 01:15:36,120
Speaker 3: It's inspiring as though, right she just wants to be

1596
01:15:36,160 --> 01:15:37,080
Speaker 3: loved for who she is.

1597
01:15:37,520 --> 01:15:40,599
Speaker 1: Yeah, and I think it's inspiring and wonderful. And I

1598
01:15:40,640 --> 01:15:41,640
Speaker 1: love these movies for that.

1599
01:15:42,040 --> 01:15:45,040
Speaker 4: I loved that you picked this movie. I thought they

1600
01:15:45,080 --> 01:15:48,320
Speaker 4: were so well paired, even though we did both big

1601
01:15:48,520 --> 01:15:51,759
Speaker 4: movies that we did not know start the same evil. Yeah,

1602
01:15:51,800 --> 01:15:54,720
Speaker 4: but they were so well paired to tell that exact point, to.

1603
01:15:54,640 --> 01:15:57,719
Speaker 2: Tell that exact narrative. And I just this movie always

1604
01:15:57,720 --> 01:15:58,400
Speaker 2: makes me laugh.

1605
01:15:59,000 --> 01:16:03,400
Speaker 4: Nothing makes me laugh more than watching Drey text on

1606
01:16:03,439 --> 01:16:07,479
Speaker 4: his BlackBerry man his elbows out, like I don't know,

1607
01:16:07,520 --> 01:16:09,479
Speaker 4: you just have to watch the film and watch that part.

1608
01:16:09,720 --> 01:16:13,000
Speaker 4: He has the most awkward texting posture I've ever seen.

1609
01:16:13,520 --> 01:16:15,720
Speaker 3: I was like, there was a mention of a two

1610
01:16:15,800 --> 01:16:17,280
Speaker 3: way pager at one point in the.

1611
01:16:17,280 --> 01:16:19,479
Speaker 1: Film, but I'm like, this must have been before people

1612
01:16:19,520 --> 01:16:21,439
Speaker 1: knew how to text, because who in the hell is

1613
01:16:21,520 --> 01:16:22,120
Speaker 1: texting like that.

1614
01:16:22,680 --> 01:16:24,920
Speaker 4: It's back when you had to press every letter four

1615
01:16:24,960 --> 01:16:27,200
Speaker 4: times to get to the like you have to press

1616
01:16:27,240 --> 01:16:29,840
Speaker 4: the nine ten times to get to the tee and

1617
01:16:29,880 --> 01:16:34,000
Speaker 4: then yeahs, So he was like working out to send

1618
01:16:34,040 --> 01:16:34,720
Speaker 4: these messages.

1619
01:16:34,920 --> 01:16:37,120
Speaker 1: Look, and I got it. I would be remiss if

1620
01:16:37,160 --> 01:16:39,439
Speaker 1: I did not mention that outfit where he wears that

1621
01:16:40,200 --> 01:16:41,799
Speaker 1: periwinkle tank top.

1622
01:16:42,040 --> 01:16:45,560
Speaker 2: Thank you with the baggy leather pants.

1623
01:16:47,240 --> 01:16:51,040
Speaker 1: Like the man's got a body. Can I just tell

1624
01:16:51,080 --> 01:16:54,439
Speaker 1: you something, Tank Digs started following me on Twitter like

1625
01:16:54,479 --> 01:16:58,559
Speaker 1: two years ago. Yeah, he followed everyone. Yes, he definitely

1626
01:16:58,600 --> 01:17:00,920
Speaker 1: followed everyone. I have not followed him.

1627
01:17:00,800 --> 01:17:04,519
Speaker 3: Back for some reason, and I don't know why.

1628
01:17:04,960 --> 01:17:07,120
Speaker 1: I just looked like when we were about to record

1629
01:17:07,160 --> 01:17:09,599
Speaker 1: this episode, I was like, remember when you saw that

1630
01:17:09,640 --> 01:17:11,720
Speaker 1: Tay dig starting to follow you on Twitter and he's

1631
01:17:11,800 --> 01:17:15,120
Speaker 1: really excited and then he realized he's following like sixty

1632
01:17:15,479 --> 01:17:19,400
Speaker 1: thousand million people. But then I realized that I didn't

1633
01:17:19,400 --> 01:17:21,960
Speaker 1: follow him back. Oh my god. And I'm like, why

1634
01:17:21,960 --> 01:17:24,839
Speaker 1: did I not do that? I don't think anyone thought.

1635
01:17:24,680 --> 01:17:26,600
Speaker 2: It was really him. They're like, I'm not following this

1636
01:17:26,680 --> 01:17:29,679
Speaker 2: a Diggs fan account. And as it turns out.

1637
01:17:30,000 --> 01:17:32,120
Speaker 3: We're gonna do this live right now.

1638
01:17:32,360 --> 01:17:35,400
Speaker 1: I'm going on Twitter as we speak, and I'm gonna

1639
01:17:35,400 --> 01:17:39,360
Speaker 1: follow Ta Diggs back. Finally, thank you. Just to end

1640
01:17:39,479 --> 01:17:40,920
Speaker 1: this episode.

1641
01:17:40,840 --> 01:17:42,560
Speaker 2: Just to give the mass in validation.

1642
01:17:43,520 --> 01:17:46,920
Speaker 3: He literally will never notice. But here we go.

1643
01:17:47,800 --> 01:17:50,120
Speaker 1: I just smashed that follow button. Ta Digs.

1644
01:17:50,400 --> 01:17:50,920
Speaker 3: There it is.

1645
01:17:51,800 --> 01:17:55,920
Speaker 1: Now you have six hundred and eighty thousand and one followers,

1646
01:17:56,280 --> 01:17:57,000
Speaker 1: and one of them is.

1647
01:17:56,960 --> 01:18:03,400
Speaker 4: Making oh get it, his social media person will be thrilled.

1648
01:18:03,400 --> 01:18:05,600
Speaker 2: Whoever followed those eight hundred thousand.

1649
01:18:05,320 --> 01:18:07,559
Speaker 4: People for him is gonna be like, finally, what followed

1650
01:18:07,600 --> 01:18:07,960
Speaker 4: us back?

1651
01:18:08,120 --> 01:18:11,040
Speaker 1: It was worth the wait, it was and I'm I'm

1652
01:18:11,080 --> 01:18:13,639
Speaker 1: so glad we did this theme. I just love this

1653
01:18:13,840 --> 01:18:16,760
Speaker 1: month that we're doing. I mean, there's gonna be more

1654
01:18:16,800 --> 01:18:19,799
Speaker 1: episodes in the next couple of weeks, but we've already

1655
01:18:19,800 --> 01:18:21,479
Speaker 1: given you two that are great.

1656
01:18:21,920 --> 01:18:23,640
Speaker 3: I hope you watch the movies.

1657
01:18:23,560 --> 01:18:25,120
Speaker 4: Yes, And what about next week? Do you want to

1658
01:18:25,120 --> 01:18:27,200
Speaker 4: tell them what's coming up, what films they should be watching?

1659
01:18:27,560 --> 01:18:32,639
Speaker 1: Ooh kiy I sure will, So next week the movies

1660
01:18:32,680 --> 01:18:37,120
Speaker 1: are I can't wait. I just remembered what we called it.

1661
01:18:37,280 --> 01:18:39,120
Speaker 3: I just remember when we called the episode.

1662
01:18:39,280 --> 01:18:41,240
Speaker 2: Million doesn't realize what the theme was, but we can't tell.

1663
01:18:41,240 --> 01:18:44,280
Speaker 1: You just have to watch the movie, okay. The movies

1664
01:18:44,320 --> 01:18:47,599
Speaker 1: for next week are Inside Man from two thousand and

1665
01:18:47,600 --> 01:18:51,519
Speaker 1: six and Devil in a Blue Dress from nineteen ninety five.

1666
01:18:51,920 --> 01:18:55,960
Speaker 4: Oh my god, I cannot wait for next I cannot wait.

1667
01:18:55,960 --> 01:18:58,040
Speaker 4: I've been wanting to talk about Inside Man on this

1668
01:18:58,080 --> 01:18:59,679
Speaker 4: podcast since we started.

1669
01:19:00,000 --> 01:19:03,120
Speaker 1: Oh my God, it is finally happening. I couldn't be

1670
01:19:03,200 --> 01:19:05,720
Speaker 1: more pleased. Look, if you guys want to email us,

1671
01:19:05,920 --> 01:19:08,920
Speaker 1: if you want to talk about son Lathan, and if

1672
01:19:08,960 --> 01:19:11,400
Speaker 1: you want to talk about ops, if you want to

1673
01:19:11,439 --> 01:19:14,800
Speaker 1: talk about Tay Digs on Twitter, please email us at

1674
01:19:14,880 --> 01:19:16,560
Speaker 1: I Saw What you Did Pod at Gmail.

1675
01:19:16,760 --> 01:19:20,160
Speaker 4: And if you have any photos of bors Kojo hanging

1676
01:19:20,200 --> 01:19:25,439
Speaker 4: around your house or your weddings or just you know,

1677
01:19:25,800 --> 01:19:28,000
Speaker 4: find us on our social If you have any pictures

1678
01:19:28,000 --> 01:19:31,679
Speaker 4: of Tay Diggs reprising that outfit with the baggy leather

1679
01:19:31,720 --> 01:19:34,479
Speaker 4: pants and the periwinkle tank top, just go ahead and

1680
01:19:34,560 --> 01:19:37,280
Speaker 4: find us on Twitter and Instagram at I Saw Pod.

1681
01:19:37,880 --> 01:19:42,040
Speaker 1: We've also got periwinkle tank tops and our No we don't.

1682
01:19:42,760 --> 01:19:45,240
Speaker 1: I'm lying, I'm lying, But we should offer them, truly,

1683
01:19:45,320 --> 01:19:47,760
Speaker 1: to be honest, we should offer a cabo of the

1684
01:19:47,800 --> 01:19:50,200
Speaker 1: periwiggle taktop in the leather baggy pants.

1685
01:19:50,360 --> 01:19:52,680
Speaker 4: We should offer two of those outfits only, and the

1686
01:19:52,680 --> 01:19:54,679
Speaker 4: first few people to buy them are the new hosts

1687
01:19:54,680 --> 01:19:55,160
Speaker 4: of the show.

1688
01:19:55,720 --> 01:20:03,920
Speaker 1: It's our supreme launch, it's our limited edition merch. The

1689
01:20:03,960 --> 01:20:06,400
Speaker 1: thought of that is making me laugh so hard. Well,

1690
01:20:06,439 --> 01:20:09,200
Speaker 1: we do have our merch, though in the exactly right

1691
01:20:09,240 --> 01:20:12,680
Speaker 1: shop at exactly rightmedia dot com.

1692
01:20:12,200 --> 01:20:14,920
Speaker 4: And if you want even more of this, just us

1693
01:20:15,080 --> 01:20:19,280
Speaker 4: hopped up on caffeine and chatting about recumbent bikes and

1694
01:20:19,320 --> 01:20:22,880
Speaker 4: to socks. We have so many bonus episodes that are

1695
01:20:22,920 --> 01:20:27,040
Speaker 4: available exclusively on Stitcher Premium and you can use the

1696
01:20:27,080 --> 01:20:30,040
Speaker 4: promo code SAW for a free month.

1697
01:20:30,600 --> 01:20:35,000
Speaker 1: Oh my god, Danielle as always a true pleasure to

1698
01:20:35,040 --> 01:20:35,559
Speaker 1: be with you.

1699
01:20:35,960 --> 01:20:37,800
Speaker 4: Truly, thank you for getting me through this day with

1700
01:20:37,840 --> 01:20:41,920
Speaker 4: some hexes anything and then recording this incredible episode with me.

1701
01:20:41,960 --> 01:20:43,880
Speaker 4: You're the best, and I love you and I'm so

1702
01:20:43,920 --> 01:20:46,040
Speaker 4: glad that we are friends and that we have these bonds.

1703
01:20:46,320 --> 01:20:50,320
Speaker 1: Totally agree, See you guys soon, Bye bike.

1704
01:20:57,200 --> 01:20:59,479
Speaker 4: This has been an exactly right production. Our producer is

1705
01:20:59,479 --> 01:21:02,519
Speaker 4: a Lexus, I'm Rosie. Our engineer is Ryo Baum. Our

1706
01:21:02,560 --> 01:21:05,799
Speaker 4: theme song is by Tom bry Fogel. Artwork by Garrett Ross.

1707
01:21:06,080 --> 01:21:09,160
Speaker 4: Our executive producers are Georgia Hardstart, Karen kil Gareth and

1708
01:21:09,200 --> 01:21:12,200
Speaker 4: Danielle Kramer. You can follow us on Instagram and Twitter

1709
01:21:12,240 --> 01:21:14,640
Speaker 4: at I Saw Pod. You can email us at I

1710
01:21:14,680 --> 01:21:17,200
Speaker 4: Saw what you Did Pod at Gmail and please don't

1711
01:21:17,200 --> 01:21:19,840
Speaker 4: forget to listen, subscribe and leave us a review on

1712
01:21:19,960 --> 01:21:23,000
Speaker 4: Apple podcasts, Titcher, or wherever you listen