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Speaker 1: On the Bechdel Cast.

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Speaker 2: The questions asked if movies have women and them, are

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Speaker 2: all their discussions just boyfriends and husbands or do they

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Speaker 2: have individualism?

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Speaker 3: It's the patriarchy.

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Speaker 2: Zephy and bast start changing it with the Bechdel Cast.

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Speaker 4: Oh hey, there, teenager on the train that I sat next.

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Speaker 3: To who me?

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Speaker 4: Do you like ballet?

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Speaker 1: Yes?

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Speaker 3: But do you still do it?

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Speaker 1: No?

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Speaker 3: And I don't want to talk about it. Oh okay, sorry,

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Speaker 3: Ballet killed my mother. Okay.

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Speaker 2: Oh there I said it. Ballet and my dreams killed

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Speaker 2: my mother. Okay, are you happy?

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Speaker 5: Wow?

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Speaker 4: That's a lot of trauma that you know.

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Speaker 3: It's kind of like, did you ever watch Kruella?

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Speaker 4: I must, I know, I haven't seen it.

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Speaker 2: It's like so funny to me because it's like the

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Speaker 2: girl Boss mentality taken to like a fourteen, So it's

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Speaker 2: like it stops being bad and it starts getting funny.

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Speaker 2: They rewrite it so that Kruella only hates Dalmatians because

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Speaker 2: they like killed her parents.

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Speaker 3: Oh that's right, And you're like, what, that's basically what

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Speaker 3: happens in this movie.

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Speaker 2: Ballet killed her mother and so now she can't talk

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Speaker 2: about it.

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Speaker 4: I mean fair, Yeah, anyway, Hello, and welcome to the

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Speaker 4: Bechdel Cast. My name is Caitlin.

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Speaker 2: I feel like the Sorry, my name is Jamie. I

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Speaker 2: feel like the moral of this movie is if you

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Speaker 2: dream too big, it will kill someone.

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Speaker 3: So dream small or have no dreams.

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Speaker 4: If you have ambitions to go to Juilliard, someone will

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Speaker 4: get into a car accident or there will be some

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Speaker 4: kind of car catastrophe every time you audition, because it

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Speaker 4: happens twice.

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Speaker 3: This happens a lot in movies of this era. I

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Speaker 3: was thinking, there's some.

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Speaker 2: Hilary Duff movie that is rancid unfortunately about like raise

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Speaker 2: your voice I think is called no indeed.

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Speaker 3: Yes, oh sorry, You're welcome now.

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Speaker 1: It's like I can't Some podcasts Dana want you to

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Speaker 1: say anything until they introduce you. So I was silently

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Speaker 1: violently nodding. There's no rules, one thing about me. I'm

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Speaker 1: gonna bust out, calmly say oh oh, the epitome of

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Speaker 1: white girls giving us nothing. Oh, raise your voice is

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Speaker 1: a staple.

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Speaker 2: I love the I mean, it's like equally ridiculous that

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Speaker 2: Hilary Duff is the voice of a generation, that Julia

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Speaker 2: Styles is the ballet prodigy of a generation.

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Speaker 3: But she I think her brother dies. Her dreams kill

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Speaker 3: her brother.

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Speaker 1: Yes, her brother. They were going to I watched this

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Speaker 1: movie recently, So what happened was they were on their

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Speaker 1: way to a three Days Grace concert. They came back

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Speaker 1: from it. He snuck out of the house. He got

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Speaker 1: in trouble, but he snuck out of the house. They

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Speaker 1: went because he wanted to do it for her. And

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Speaker 1: then on the way back, when they're singing, headlights and

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Speaker 1: he's dead and she can't see flashlight, she doesn't want

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Speaker 1: to audition, but her brother secretly send in the tape

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Speaker 1: for her.

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Speaker 4: Wow.

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Speaker 2: I love the specificity of them going to a three

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Speaker 2: days Grace concert. What an embarrassing way to die?

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Speaker 1: Are you many for? Hey? They died singing that. That's

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Speaker 1: what happened. He died singing that.

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Speaker 4: I guess I need to watch this movie.

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Speaker 3: I've never seen it. Is it a D com?

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Speaker 4: It sounds like it's a D com?

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Speaker 1: No, No, But it's that middle ground place where like

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Speaker 1: it's a little bit for older Ish teens. Okay, yeah, yeah.

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Speaker 2: It's for the Degrassi crowd or something. It's like slaighty

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Speaker 2: above dcom age And she sees his ghost like comes

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Speaker 2: to the concert or whatever, I miss, I would have

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Speaker 2: appreciated a Julia Styles mom ghost.

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Speaker 1: Yes, sitting in the theater.

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Speaker 3: Oh yes, Casper can do it.

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Speaker 4: Save the Last Hands can do it exactly.

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Speaker 2: Okay, so we've immediately gotten deroute. Sorry, Welcome to the

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Speaker 2: Bexel Cast.

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Speaker 4: Yes, this is our show where we examine movies through

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Speaker 4: an inter sectional feminist lens, using the Bechdel test as

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Speaker 4: a jumping off point. I just want to breeze right

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Speaker 4: past that today. Look it up or listen to a

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Speaker 4: different episode, because we show's.

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Speaker 2: Been on for forty five years. Okay, if you don't

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Speaker 2: know what the tech, we barely talk about it.

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Speaker 3: It's the jumping off point.

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Speaker 2: For a bigger discussion about Chilia styles.

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Speaker 1: It's called marketing. Okay. And if you guys, I'm sorry

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Speaker 1: not be attacking your audience. I know we have a.

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Speaker 3: Brand to maintain.

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Speaker 1: God no, but today's movie is.

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Speaker 4: Not The Hill or Duff one we were just talking about.

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Speaker 4: It's Save the Last Dance, and we have an amazing

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Speaker 4: guest we're so excited about. They are an unseerious content

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Speaker 4: creator trying to get people to be less mean to

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Speaker 4: each other. It's Kadija, mumbo, thank you so much for.

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Speaker 3: Being here, Thanks for having me. Oh gosh, we're starstruck.

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Speaker 3: We're thrilled.

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Speaker 1: We're fans, which is wild to be because I literally

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Speaker 1: I'm listening to you. You're on Behind the Bastards, and

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Speaker 1: y'all are talking about that weird CIA sex cult thing.

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Speaker 2: Yeah yeah, Roberts accusing me of murder right and.

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Speaker 1: Left yep yep.

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Speaker 4: So, Kadija, what is your relationship with Save the Last Dance?

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Speaker 1: So, actually, Save the Last Dance is the first Okay,

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Speaker 1: I grew up watching it.

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Speaker 4: One.

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Speaker 1: Of course, I always wanted to be a dancer growing up,

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Speaker 1: but my parents wouldn't afford to put me in dance

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Speaker 1: and were also like, girl dance. We did not come

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Speaker 1: all the way from West Africa for you to come

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Speaker 1: over here and dance, Like, open those books? What are

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Speaker 1: you talking about? So? I always secretly loved ballerinas like

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Speaker 1: that was always a thing that I like dreamt I

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Speaker 1: could do. So I loved watching any kind of dance movie.

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Speaker 1: And then on top of that, my friend and I

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Speaker 1: Chelsea Chelsea, Hey girl, I'm giving you a shout out, Chelsea, Chelsea, Chelsea,

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Speaker 1: She's gonna be so thrilled. We watched it for a

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Speaker 1: podcast that we did, like back in twenty two twenty

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Speaker 1: I think, and it was the first YouTube video that

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Speaker 1: I made, not giving like life advice or anything, but

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Speaker 1: like actually talking about like a social issue and yeah,

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Speaker 1: the dolls were like, oh, hey girl, this is keo

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Speaker 1: and I was like, hmm, maybe I should talk about

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Speaker 1: more of this stuff because I have half a sociology degree,

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Speaker 1: so I may as well put in use.

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Speaker 3: No, I didn't know.

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Speaker 2: It was like a part of a turning point and

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Speaker 2: the kind of content you're making that's so cool.

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Speaker 1: Yeah, because I did video essays like once a month,

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Speaker 1: but I was like, I'm going to make life advice

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Speaker 1: and then I'll do video essays once a month. And

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Speaker 1: then I was like, why don't I just like kind

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Speaker 1: of mix these too. So I just like turned my

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Speaker 1: camera on one day and was like, we gotta talk

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Speaker 1: about Save the Last Dance because I have issues with

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Speaker 1: this movie.

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Speaker 4: And then we watched that video. Because here's what happened

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Speaker 4: with us. Jamie and I had prepped this episode to

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Speaker 4: release on our Matreon as a part of Dance Sumber

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Speaker 4: because the first movie we did was Flash Dance and

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Speaker 4: then we were prepping to do Stay with the Last Dance,

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Speaker 4: and then we were just like, this episode would really

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Speaker 4: benefit from a guest.

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Speaker 2: Yes, and we both we realized in Uni said, because

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Speaker 2: we had both watched your video and had like quoted

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Speaker 2: it extensively, and we're like, we should just invite.

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Speaker 3: Them on the show. Like, what are we doing, We're

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Speaker 3: being fools.

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Speaker 2: So we put a pause, we reached out to you,

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Speaker 2: and we were like, I wonder if the reply, and

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Speaker 2: then we covered burlesque on the matriar.

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Speaker 1: I fucking love burlest movie. I'm working side note, I'm

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Speaker 1: working on a pole opera recital, and so that's a

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Speaker 1: big inspiration visually aesthetically for it, because oh yeah, perfect

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Speaker 1: watched it for the first time last year.

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Speaker 4: What a film.

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Speaker 3: It's just no hinges.

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Speaker 2: It is so Yeah, we were really into the whole

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Speaker 2: air rights plot twist.

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Speaker 1: Yeah, it's so movie. You know, it's a movie that

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Speaker 1: feels like a movie. It right.

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Speaker 3: That God disappeared too quickly, let's bring it back.

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Speaker 1: Yeah.

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Speaker 4: So anyway, so you responded, and here we all are

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Speaker 4: and we're so delighted to have you. Yeah, Jamie, what

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Speaker 4: is your relationship with Stay of the Last.

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Speaker 2: Dance similar to Kadija. I grew up watching this movie.

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Speaker 2: I feel like it was like a real sleepover classic.

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Speaker 2: I definitely saw it several times. I went to like

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Speaker 2: community ballet classes where we like didn't compete, no one

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Speaker 2: was particularly good. So the dancing in this movie was

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Speaker 2: really great because it's not very good and we're like,

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Speaker 2: we could do that, and like, tragically we may have

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Speaker 2: been able to do it, because it's mostly just pointing,

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Speaker 2: standing up, sitting down.

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Speaker 1: She does drop into those splits though, the middle splits.

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Speaker 1: She does that. I was like, oh right, oh wait, okay,

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Speaker 1: we weren't being kind to her because I forgot she

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Speaker 1: immediately goes into that, and then everything else was yeah.

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Speaker 2: She trained, she trained, But yeah, I had like a

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Speaker 2: pretty limited history with this, but I hadn't seen it

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Speaker 2: in a long time before prepping for this, and so

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Speaker 2: you know, it's very much a confronting your nostalgia demons

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Speaker 2: kind of thing. And yeah, I forgot a lot of

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Speaker 2: what happened in this movie. And I also forgot I

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Speaker 2: think that this was my first viewing of this movie

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Speaker 2: where I realized, I don't know what they're preparing for.

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Speaker 2: For a lot of this movie I don't know what

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Speaker 2: the dancing, why he's training her, what qualifies him to

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Speaker 2: train her.

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Speaker 1: Because she's white and he's black and he's trying to

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Speaker 1: give her flavor.

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Speaker 2: God, that really does seem to be the internal logic

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Speaker 2: of the movie, because I was like, wait a second,

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Speaker 2: is he a dancer?

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Speaker 3: Like do we know this?

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Speaker 5: Not?

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Speaker 2: What are they getting ready for? They're taking it so seriously.

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Speaker 2: I love it.

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Speaker 4: Right because it's not until like past the midway mark

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Speaker 4: that she learns about the the next string of Juilliard auditions.

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Speaker 4: So before that, he teaches her how to sit in

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Speaker 4: a chair.

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Speaker 1: And you, guys, I'm so sorry I need to say this.

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Speaker 1: So as black people, dancing is really important, right, and

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Speaker 1: so because of that, if you can't sit or stand

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Speaker 1: or move your hips with some sort of attitude, it's

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Speaker 1: kind of like a family embarrassment. Honestly, Like two of

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Speaker 1: my siblings can't dance. And every time I'm like, I'm kidding,

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Speaker 1: I'm don't, I'm not. Black people are on a monolith

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Speaker 1: and i am not the representation for black folks.

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Speaker 4: I just He's like, you're not sitting in the chair, right,

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Speaker 4: and so we have to incorporate this chair sitting as

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Speaker 4: a part of your dance training.

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Speaker 3: You're like, yeah, exactly.

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Speaker 1: Even though at steps the club there is no point

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Speaker 1: that any of them are sitting. No, no, well, I like,

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Speaker 1: unless they're talking.

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Speaker 4: Yeah, but the sitting isn't a part of the dancing.

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Speaker 2: There's like four chairs for heated conversation there. This movie

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Speaker 2: is I remember it being incredibly successful, and it just

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Speaker 2: feels so like peak MTV movie of this time, where

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Speaker 2: the soundtrack is pretty fucking awesome.

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Speaker 1: The soundtrack is bumping. I was like, Okay, hold on,

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Speaker 1: you can do it.

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Speaker 4: Put your ass into it.

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Speaker 1: Oh you said that so reluctantly, I know.

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Speaker 4: I was like, I was like, because some of the

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Speaker 4: lyrics are you can do it, put your back into it.

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Speaker 4: And then I was like, is that the lyric or

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Speaker 4: is it both of them?

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Speaker 1: I think it goes back and forth.

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Speaker 3: Music is amazing, Music is amazing. It could be good,

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Speaker 3: things could be true.

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Speaker 4: You're so right.

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Speaker 1: I have a theory about this movie though, because I

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Speaker 1: looked up the date it was released January twelve, two

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Speaker 1: thousand and one. Guys, this was a pre nine eleven America.

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Speaker 1: This was and when you think about that, it explains

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Speaker 1: this movie. I don't know how, but I'm one of

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Speaker 1: those people that were always connected back to nine to eleven.

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Speaker 4: I don't it's pre nine eleven and it's pre Shrek,

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Speaker 4: and those are the two oo cultural markers.

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Speaker 2: It is pre Shrek. You're right, yeah, right, the final

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Speaker 2: movie before then eleven spiritually spiritually before it was like

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Speaker 2: two months.

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Speaker 3: I also didn't remember this in my memory.

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Speaker 2: This movie happened in New York, but I think it's

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Speaker 2: because anytime I saw a city in a movie and

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Speaker 2: as a kid, as like New York City, even if

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Speaker 2: they're constantly calling at Chicago, it's New York City, it's beautiful.

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Speaker 2: In any case, my history with this movie is yes,

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Speaker 2: oh sorry, what is Oh my god?

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Speaker 4: Sorry, just like no, it's fine. This movie came out

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Speaker 4: when I when I was a freshman in high school,

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Speaker 4: so I was like the target demo, and I don't

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Speaker 4: think I saw in theaters, but I probably saw it

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Speaker 4: a few times at different like friends sleepovers, and we

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Speaker 4: were all just like wow, cool dancing, and we just

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Speaker 4: we thought it was cool. And I don't think i've

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Speaker 4: seen it since. So that's what my history is. Wow,

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Speaker 4: And I can't wait to talk more about it because

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Speaker 4: this is a wild, wild movie.

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Speaker 1: It's a rich text.

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Speaker 4: It's such a rich text.

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Speaker 3: It almost definitely would have been my introduction to Carrie

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Speaker 3: Washington as well.

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Speaker 1: Yeah, she was still a teacher when she was doing

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Speaker 1: this movie. Really, yes, yes.

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Speaker 3: That warms my heart. She's so good in it.

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Speaker 4: Like she did not make enough money off this role.

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Speaker 1: Because like citation needed, but I'm pretty sure that was

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Speaker 1: the case. I remember. I don't know when I was

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Speaker 1: looking this up because I just like to learn about

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Speaker 1: like how movies are made or like what the tea

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Speaker 1: was behind the scenes. And yeah, apparently she was still

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Speaker 1: teaching while she was doing this movie, because you know,

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Speaker 1: we know they don't pay actors, y'all.

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Speaker 3: Come on, Nope, no, not ones that aren't famous already.

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Speaker 4: I did look it up, and it seems to be

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Speaker 4: referenced in a number of publications. Ay, they're pulling a

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Speaker 4: quote from her in Today dot com and People dot com.

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Speaker 1: Whoa, Okay, I love that, so it's true.

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Speaker 4: But yeah, she didn't earn enough money from this role

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Speaker 4: because actors and especially black women are severely underpaid.

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Speaker 2: So which is still I mean, that's like a conversation

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Speaker 2: that's been going on recently with.

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Speaker 3: Henson.

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Speaker 1: Yeah, crying off stage. Y'all too famous for their sah.

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Speaker 2: It's ridiculous. Yeah, So that conversation is ongoing.

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Speaker 4: Shall we talk about the movie?

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Speaker 3: You know, I think the time has come.

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Speaker 4: It's time. All right, Let's take a quick break first,

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Speaker 4: and then we'll come back for the res cap and

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Speaker 4: we're back. We're back, all right, So here's save the

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Speaker 4: last dance. We meet Sarah played by Julia Stiles. She's

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Speaker 4: a teenager who used to dance ballet. We get some

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Speaker 4: flashbacks where she's hanging out with her mom. She's preparing

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Speaker 4: for an audition to Juilliard. She's begging her mom to

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Speaker 4: come to the audition. Sarah shows up at the audition

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Speaker 4: and her mom is rushing to get there and is

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Speaker 4: killed in a car accident along the way, right as

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Speaker 4: Sarah is auditioning but like she's falling in it, and.

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Speaker 2: Right as Sarah is like coming in hot but like

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Speaker 2: she's blowing it anyways, you know, like like if she

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Speaker 2: hadn't fallen, Juilliard has an eight percent acceptance rate, right.

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Speaker 1: And also, girl, yeah, like you I saw her leg

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Speaker 1: going up with some of those I was like, Julia,

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Speaker 1: activate those glute muscles, girl, lift lift that leg.

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Speaker 2: Yeah, but no, it's definitely her mom's death that botches

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Speaker 2: the I mean, honestly though, when I was a kid,

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Speaker 2: that was like the most engaging editing sequence I'd ever

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Speaker 2: seen in my life. Oh the juxtaposition, I mean, come on,

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Speaker 2: it was right up there with Oh my gosh, do

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Speaker 2: you remember I forget what song is playing in the

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Speaker 2: Glee episode where the cheerleader gives birth.

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Speaker 3: I think it's going on.

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Speaker 1: Oh Bohemian Rhapsody. Yeah, God, it's I don't know where

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Speaker 1: that was stored in my brain.

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Speaker 4: What The fact that both of you even are referring

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Speaker 4: to this sequence.

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Speaker 2: Also really incredible too. Thousands era editing just just shut up.

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Speaker 4: Okay. So the audition gets all messed up, and Sarah

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Speaker 4: is devastated by her mother's death and she steps away

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Speaker 4: from ballet. She arrives in the South Side of Chicago

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Speaker 4: to live with her dad. Now their relationship is pretty awkward.

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Speaker 4: He's showing her around his apartment she gets settled in.

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Speaker 4: I was getting Charlie and Bella Swan vibes from this

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Speaker 4: because it's a very similar scene where Charlie Swan's like,

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Speaker 4: here's your bedroom, hope you'll like purple. Okay bye, very

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Speaker 4: beginning of the first Twilight movie vibes.

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Speaker 2: That is well spotted. I like that she has jazz dead.

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Speaker 2: Had to be like, this is a character I haven't

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Speaker 2: seen before. I don't think I've ever seen jazz dead.

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Speaker 3: So jazz Dad, they say it's.

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Speaker 2: All been done, not so ah, jazz dead is definitely

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Speaker 2: I knew.

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Speaker 4: Okay. So then Sarah goes to her first day at

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Speaker 4: her new school, and it's worth noting that the student

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Speaker 4: body is predominantly black and she's one of the few

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Speaker 4: white students there. This will all become relevant later. During

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Speaker 4: her English lit class, they're talking about Capodi and she

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Speaker 4: gets into this literary debate with a classmate named Derek

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Speaker 4: played by Sean Patrick Thomas. Sarah also meets a student

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Speaker 4: named Shanil that's a young Kerry Washington who kind of

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Speaker 4: takes Sarah under her wing and introduces Sarah to her friends.

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Speaker 4: We learn that Derek is Shanil's brother. We also learned

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Speaker 4: that Derek has aspirations to go to Georgetown and become

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Speaker 4: a doctor.

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Speaker 2: He had my number from the very beginning because he

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Speaker 2: did the thing that I love when boys do in movies,

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Speaker 2: which is quote things. He's quoting various things, and so

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Speaker 2: I was like, yeah, I have a crush on him.

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Speaker 1: He's like if a god can read, I'm immediately like, oh.

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Speaker 2: My god, like a teenage boy character is canonically literate.

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Speaker 2: I'm like, ooh, okay, I'm gonna be interested in listening.

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Speaker 1: And can we just say, real quick, we're talking about

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Speaker 1: Kerry Washington. Kerry Washington before the lip quiver, because we

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Speaker 1: all know that lip quiver. It's like the Florence Pew frown.

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Speaker 1: And then is it Sean Patrick.

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Speaker 4: It's yeah, he has three first names, and that's not acceptable.

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Speaker 4: Sean Patrick Thomas, child actor, Serial Killers.

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Speaker 1: So Patrick Thomas and his nostrils, because Sean packs of

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Speaker 1: Thomas's nostrils every time I recognize it. I was like,

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Speaker 1: good for you, man, his nostrils are doing their own performance.

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Speaker 4: But anyway, they're flaring, and they were.

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Speaker 1: Flaring a lot. I just couldn't stop staring at it.

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Speaker 1: As a kid, I just really remember his nostrils.

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Speaker 4: Okay, good nostrils. Game.

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Speaker 3: It's like the Will Palter eyebrows.

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Speaker 4: It's like, just sometimes that reminds me Jamie, did you

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Speaker 4: do you remember that Will Poulter is in the Revenant,

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Speaker 4: Yes I do. I did not remember that.

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Speaker 2: The only reason I saw the Revenant I was like,

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Speaker 2: I'm wanting the Revenant to get horny.

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Speaker 1: I have no reference. I've never seen it.

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Speaker 4: I had only seen it one other time, but I

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Speaker 4: was scrubbing through it the other day for a little

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Speaker 4: special surprise for one of our live shows coming up.

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Speaker 4: But I was like, what Will Poulter's in this? I

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Speaker 4: wonder if Jamie knows anyway. So back to Save the Last.

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Speaker 2: Dance, a young Will Poultz. Okay, I don't like how

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Speaker 2: I said that the same age. That's fine, okay.

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Speaker 4: So one day in gym class, Sarah gets on the

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Speaker 4: balance beam and she starts doing ballet type moves and

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Speaker 4: Shanil and her friends are like, wow, you can do ballet.

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Speaker 4: In that case, you should come with us to a

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Speaker 4: hip hop club named Steps. So after school, Sarah, Shaneil, Derek,

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Speaker 4: and their friend Snooky ahead of their time, they're hanging

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Speaker 4: out and they're kind of planning to go to Steps,

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Speaker 4: and they arrange to get Sarah a fake ID so

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Speaker 4: that she can get into the club. And during this scene,

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Speaker 4: Sarah is, how do I say this serving some attitude

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Speaker 4: to Sookie and Derek and they're like, Wow, this white

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Speaker 4: girl can hang. She's definitely this white girl is down.

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Speaker 2: Yeah, virtually stot like her acting style is like just

404
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Speaker 2: not selling this really very much.

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Speaker 3: I wanted to shout out one of my favorite lines

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Speaker 3: in the movie.

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Speaker 2: I think it's Nicki at the beginning of I don't know,

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Speaker 2: there's elements of this movie where you're like, for sure

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Speaker 2: this was written by multiple people over the age of forty,

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Speaker 2: because there's the there's the scene where I think it's

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Speaker 2: like Nikki who's like she's dancing in the hallway and

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Speaker 2: they're like, what are.

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Speaker 3: You doing and she's like, I'm just doing a little hip.

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Speaker 4: Hop, yeah, serving other people. And then Shaniel's like, oh,

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Speaker 4: that's just a little hip hop.

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Speaker 3: Yeah, You're like, that's a mom wrote that.

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Speaker 1: Yeah. The original script is whenen by some random white dude,

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Speaker 1: and then this black woman came in later apparently and

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Speaker 1: like rewrote it and stuff. But I was like, was

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Speaker 1: this how they were talking to early two thousands or

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Speaker 1: is this old head stuff?

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Speaker 2: I think the damage was done when the first job,

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Speaker 2: I'm gonna say Cheryl Edwards innocent.

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Speaker 1: Aryl Edwards protect black women, Daryl Edwards, Anna said anyway.

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Speaker 4: So they're like, Wow, this girl's so cool, she should

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Speaker 4: definitely hang out with us. So then Sarah meets Shanil

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Speaker 4: at her place before they head out to Steps. And

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Speaker 4: this is when Sarah learns that Shanil has a baby

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Speaker 4: who her I believe it's her grandmother seems to be

430
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Speaker 4: like the primary caregiver for and she Kneel's like, bye, baby,

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Speaker 4: I'm going out to the club. So Chanil gives Sarah

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Speaker 4: her fake ID, she makes some adjustments to Sarah's outfit

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Speaker 4: and then they go into Steps. People are dancing, people

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Speaker 4: are judging Sarah for being there. There's this girl named

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Speaker 4: Nikki who's like, what's this white girl doing here?

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Speaker 3: That scene that line.

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Speaker 1: I know you don't want to say it, so I

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Speaker 1: will say it. It's like, who invited the white girl

439
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Speaker 1: to the negro function? Julia South guest mustn't been sick

440
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Speaker 1: because there are any negroes here. And I was like, Julie,

441
00:23:28,160 --> 00:23:30,960
Speaker 1: I'm gonna stop rolling your neck. You are in mixed

442
00:23:30,960 --> 00:23:33,520
Speaker 1: company and you got invited here. You are a guest

443
00:23:33,520 --> 00:23:37,880
Speaker 1: in this house common town. That's like when Adele put

444
00:23:37,880 --> 00:23:40,480
Speaker 1: those Bantuo knots in and we were like, Adele, I

445
00:23:40,640 --> 00:23:43,520
Speaker 1: love you and we always want to invite you places,

446
00:23:43,560 --> 00:23:46,239
Speaker 1: but you stepped a little too far this a little bit.

447
00:23:46,880 --> 00:23:52,240
Speaker 2: Yeah, that scene is baffled and you're just like she

448
00:23:52,480 --> 00:23:56,680
Speaker 2: has Sarah. The character of Sarah, just in every situation,

449
00:23:57,280 --> 00:24:01,600
Speaker 2: displays a stunning lack of cel phon awareness, like and

450
00:24:01,760 --> 00:24:04,520
Speaker 2: is never punished for it. This is a world where

451
00:24:04,520 --> 00:24:08,440
Speaker 2: her lack of self awareness will never result in even

452
00:24:08,480 --> 00:24:09,359
Speaker 2: a stray look.

453
00:24:11,240 --> 00:24:14,440
Speaker 4: She never learns anything from it. It's just like, what

454
00:24:14,600 --> 00:24:15,639
Speaker 4: is the point of the movie.

455
00:24:15,680 --> 00:24:18,480
Speaker 3: Then she's living the dream. She doesn't grow orgy.

456
00:24:20,160 --> 00:24:21,360
Speaker 1: And she gets into Juliard.

457
00:24:21,760 --> 00:24:25,680
Speaker 3: Yeah, oh my gosh, she hasn't even become a better dancer.

458
00:24:28,960 --> 00:24:33,359
Speaker 4: Despite all of Derek's efforts. Okay, so Nicky, she's like

459
00:24:33,480 --> 00:24:38,440
Speaker 4: one of the antagonistic forces for Sarah, and she has

460
00:24:38,480 --> 00:24:41,200
Speaker 4: a romantic history with Derek and she wants to get

461
00:24:41,240 --> 00:24:44,639
Speaker 4: back together with him. He's not into her anymore. But

462
00:24:44,720 --> 00:24:50,840
Speaker 4: because there's this like blossoming flirtation between Sarah and Derek,

463
00:24:51,040 --> 00:24:52,640
Speaker 4: Nicky's like, h gross.

464
00:24:52,760 --> 00:24:55,199
Speaker 2: Yeah, every word out of Nicki's mouth is just like

465
00:24:55,320 --> 00:24:57,639
Speaker 2: a one liner insult.

466
00:24:57,280 --> 00:25:01,000
Speaker 1: About Sarah being white. Yes, And I'm like, Nikki you

467
00:25:01,840 --> 00:25:06,439
Speaker 1: listen girl, Bianka laws in love you down, high schooler forever. Yeah,

468
00:25:06,480 --> 00:25:08,960
Speaker 1: you a little too light to be coming after this

469
00:25:09,080 --> 00:25:12,640
Speaker 1: white girl. Not saying that you're white, but girl, it's

470
00:25:12,680 --> 00:25:15,119
Speaker 1: the light skin privileged for me. And then I also

471
00:25:15,240 --> 00:25:16,920
Speaker 1: was like, is Derek a colorist?

472
00:25:17,720 --> 00:25:20,000
Speaker 4: I mean, it's possible.

473
00:25:20,280 --> 00:25:22,400
Speaker 1: He's really me stepping back.

474
00:25:22,400 --> 00:25:24,639
Speaker 4: It seems to be favoring light skin.

475
00:25:25,080 --> 00:25:28,400
Speaker 1: Listen, Derek, I'm just curious. Although that is Hollywood though.

476
00:25:28,440 --> 00:25:31,520
Speaker 1: They like a dark skinned black man and a mixed

477
00:25:31,680 --> 00:25:36,200
Speaker 1: biracial black woman. That's the ideal couple form in Hollywood

478
00:25:36,400 --> 00:25:37,280
Speaker 1: for black folks.

479
00:25:37,880 --> 00:25:41,200
Speaker 4: We've seen it time and time again. Okay, So meanwhile,

480
00:25:41,760 --> 00:25:43,880
Speaker 4: Sarah is at the club. She's just kind of watching

481
00:25:43,920 --> 00:25:47,800
Speaker 4: people dance. She's observing, and then Derek comes over to

482
00:25:47,880 --> 00:25:51,159
Speaker 4: her and asks her to dance. So they start dancing.

483
00:25:51,400 --> 00:25:55,440
Speaker 4: He's showing her hip hop steps.

484
00:25:55,800 --> 00:25:58,640
Speaker 2: They're just doing a little hip hop Caitlin, all right,

485
00:25:58,880 --> 00:26:01,120
Speaker 2: She's like, what is this like, it's just a little

486
00:26:01,200 --> 00:26:01,640
Speaker 2: hip hop.

487
00:26:02,280 --> 00:26:05,200
Speaker 1: Then from now he's a little hip hop.

488
00:26:06,600 --> 00:26:08,840
Speaker 4: She's not great at it, but she's trying her best.

489
00:26:08,960 --> 00:26:11,640
Speaker 4: And then a fight breaks out that Derek gets caught

490
00:26:11,680 --> 00:26:13,920
Speaker 4: up in the middle of because there's this guy named

491
00:26:13,920 --> 00:26:19,320
Speaker 4: Malachi who Derek is friends with, and Malachi is involved

492
00:26:19,600 --> 00:26:22,520
Speaker 4: in I think drug dealing is I don't know if

493
00:26:22,560 --> 00:26:25,240
Speaker 4: they come out and say it specifically, but that seems

494
00:26:25,280 --> 00:26:28,240
Speaker 4: to be the implication anyway, So there's this like fistfight.

495
00:26:28,400 --> 00:26:31,720
Speaker 4: Everyone scatters, and so they leave the club and then

496
00:26:31,880 --> 00:26:36,879
Speaker 4: Derek walks Sarah home and as they're saying goodnight, he's like,

497
00:26:37,400 --> 00:26:42,959
Speaker 4: I could help you with your dance moves and she's like, okay,

498
00:26:43,560 --> 00:26:44,360
Speaker 4: a montage.

499
00:26:45,000 --> 00:26:46,480
Speaker 1: Oh say what? Say what?

500
00:26:46,640 --> 00:26:47,000
Speaker 3: Say what?

501
00:26:47,440 --> 00:26:51,879
Speaker 1: Yeah, you know that, I like it. Baby.

502
00:26:52,240 --> 00:26:54,440
Speaker 3: Meanwhile, there's standing up and sitting down.

503
00:26:55,600 --> 00:26:57,639
Speaker 4: She has to learn how to sit in a chair.

504
00:26:57,800 --> 00:26:59,760
Speaker 4: It's so important her mom died.

505
00:26:59,800 --> 00:27:00,879
Speaker 3: Came and take it easy.

506
00:27:03,119 --> 00:27:06,240
Speaker 4: So they're hanging out a lot and he is teaching

507
00:27:06,359 --> 00:27:09,880
Speaker 4: her some steps, and like you pointed out, Jamie, they're

508
00:27:09,920 --> 00:27:15,960
Speaker 4: not preparing for anything. She's not anticipating another Juilliard audition yet.

509
00:27:16,600 --> 00:27:19,399
Speaker 4: My guess is just like they have a crush on

510
00:27:19,440 --> 00:27:21,600
Speaker 4: each other, so they're using this as an excuse to

511
00:27:21,640 --> 00:27:22,640
Speaker 4: hang out, but.

512
00:27:23,800 --> 00:27:28,000
Speaker 2: It's the means by which they fall into weird love

513
00:27:28,040 --> 00:27:28,600
Speaker 2: with each other.

514
00:27:30,600 --> 00:27:33,760
Speaker 4: Right, So anyway, he's teaching her all this stuff and

515
00:27:33,800 --> 00:27:36,159
Speaker 4: then she does a ballet move. He's like, whoa, you

516
00:27:36,280 --> 00:27:41,399
Speaker 4: know ballet and she's like, yeah, but it killed my mom.

517
00:27:41,680 --> 00:27:45,040
Speaker 1: So I don't want to talk about it attitude. I

518
00:27:45,080 --> 00:27:48,399
Speaker 1: don't want to talk about it. For what He's like,

519
00:27:48,480 --> 00:27:50,480
Speaker 1: so you said, Rondijan whatever because you don't want to

520
00:27:50,480 --> 00:27:52,240
Speaker 1: talk about it, which I appreciated that lie.

521
00:27:52,280 --> 00:27:54,600
Speaker 2: I really like that, but yeah, because I was like, oh,

522
00:27:54,720 --> 00:27:57,360
Speaker 2: they he said the thing that teen movies never say,

523
00:27:57,400 --> 00:27:58,399
Speaker 2: the thing that you're thinking.

524
00:28:00,320 --> 00:28:04,320
Speaker 4: That's nice, Okay, So she's refusing to talk about her mom. Also,

525
00:28:04,680 --> 00:28:10,200
Speaker 4: Sarah has witnessed Malachi threatening and assaulting a girl at school,

526
00:28:11,080 --> 00:28:16,800
Speaker 4: and rather than telling him about that or like doing

527
00:28:16,840 --> 00:28:22,280
Speaker 4: anything to help protect this girl, she's just like, hey, Derek,

528
00:28:22,280 --> 00:28:25,840
Speaker 4: why are you friends with Malachi? And Derek defends him,

529
00:28:26,320 --> 00:28:29,640
Speaker 4: and then they move on. They just move right past

530
00:28:29,840 --> 00:28:33,520
Speaker 4: that conversation. Generally speaking, though, we just get a lot

531
00:28:33,560 --> 00:28:37,560
Speaker 4: of scenes of Sarah and Derek dancing and vibing, and

532
00:28:37,600 --> 00:28:42,200
Speaker 4: then Derek discovers that he got accepted into Georgetown, so

533
00:28:42,280 --> 00:28:46,040
Speaker 4: he and Sarah go out to celebrate. We get a

534
00:28:46,040 --> 00:28:50,000
Speaker 4: scene where they're on the l and a white lady

535
00:28:50,240 --> 00:28:54,680
Speaker 4: is giving them disgusted looks because she doesn't like interracial couples.

536
00:28:55,160 --> 00:28:59,120
Speaker 4: So Sarah and Derek start heavily noodling. They're all over

537
00:28:59,160 --> 00:29:01,160
Speaker 4: each other. I don't even they they've kissed at this point,

538
00:29:01,200 --> 00:29:02,080
Speaker 4: but they're just That's.

539
00:29:01,920 --> 00:29:05,120
Speaker 1: What shocked me. Yeah, on her neck, and I was like,

540
00:29:05,200 --> 00:29:07,360
Speaker 1: has his lips even been on your mouth? No?

541
00:29:07,920 --> 00:29:11,920
Speaker 2: Yeah, I was really Yeah, because after he gets into Georgetown,

542
00:29:12,480 --> 00:29:14,440
Speaker 2: it's game on for some reason, Like.

543
00:29:15,960 --> 00:29:19,760
Speaker 1: Listen, the prospect of full tuition and your future being

544
00:29:19,800 --> 00:29:22,320
Speaker 1: set for you. If that doesn't aroused you in this economy,

545
00:29:22,360 --> 00:29:23,200
Speaker 1: I don't know what would.

546
00:29:23,880 --> 00:29:25,800
Speaker 2: I'm like, there has to be a missing scene where

547
00:29:25,800 --> 00:29:29,040
Speaker 2: they are like because it seems like they're together really

548
00:29:29,280 --> 00:29:33,560
Speaker 2: suddenly after like this really slow burned flirtation, and then yeah,

549
00:29:33,560 --> 00:29:34,440
Speaker 2: in the train scene, you're.

550
00:29:34,360 --> 00:29:36,560
Speaker 3: Like, oh, I guess that they're dating because they're on

551
00:29:36,600 --> 00:29:39,640
Speaker 3: a date and they're like making out on the train.

552
00:29:39,640 --> 00:29:42,440
Speaker 4: But they haven't even kissed on the lips yet. It's

553
00:29:42,800 --> 00:29:46,760
Speaker 4: it's really weird. But anyway, So they go to the ballet.

554
00:29:47,080 --> 00:29:50,280
Speaker 4: She's apprehensive about going in because of all of her

555
00:29:50,360 --> 00:29:55,640
Speaker 4: ballet trauma, but they watch the performance. It upsets her.

556
00:29:55,880 --> 00:29:58,920
Speaker 4: And this is when she tells Derek that she feels

557
00:29:58,960 --> 00:30:02,320
Speaker 4: responsible for her mother's death because she died on the

558
00:30:02,320 --> 00:30:06,920
Speaker 4: way to Sarah's Juilliard audition. And she's crying and Derek's like,

559
00:30:06,960 --> 00:30:09,480
Speaker 4: it's not your fault. Don't give up on your dreams.

560
00:30:09,680 --> 00:30:12,800
Speaker 4: You can still go to Juilliard and dance ballet, and

561
00:30:12,800 --> 00:30:15,840
Speaker 4: she's like, so true, Okay, I'll do it.

562
00:30:16,480 --> 00:30:19,160
Speaker 2: I'm also just like, if I were Derek, I'd be like,

563
00:30:19,200 --> 00:30:20,760
Speaker 2: she should stop dancing.

564
00:30:20,640 --> 00:30:22,920
Speaker 1: And go to therapy for U for at least a

565
00:30:22,960 --> 00:30:24,560
Speaker 1: few months. Seriously.

566
00:30:25,360 --> 00:30:28,320
Speaker 2: Well, also like if I was the superstitious type, which

567
00:30:28,360 --> 00:30:30,680
Speaker 2: I am, I'd be like, seems like every time this

568
00:30:30,720 --> 00:30:35,920
Speaker 2: girl auditions for Juilliard, someone she loves die and she wants.

569
00:30:35,720 --> 00:30:37,120
Speaker 1: Me to show up to that audition.

570
00:30:37,760 --> 00:30:39,680
Speaker 3: I'm not going.

571
00:30:39,920 --> 00:30:41,720
Speaker 1: Yeah, I'm going to Georgetown.

572
00:30:42,280 --> 00:30:45,600
Speaker 2: Yeah Yeah, I'm just like they're gonna I guess that's

573
00:30:45,640 --> 00:30:47,080
Speaker 2: just a high school couple, but I'm like, you guys

574
00:30:47,080 --> 00:30:51,200
Speaker 2: are gonna break up soon. Unfortunately, I'm I didn't have

575
00:30:51,320 --> 00:30:55,080
Speaker 2: him go to a school in New York Yeah, to

576
00:30:55,120 --> 00:30:56,840
Speaker 2: imply that they would like stay together.

577
00:30:57,040 --> 00:30:59,440
Speaker 3: The plot did not give them a chance, because.

578
00:30:59,240 --> 00:31:04,160
Speaker 1: Georgetown is a DC is that yeah, okay, okay, I

579
00:31:04,160 --> 00:31:05,200
Speaker 1: guess not too far, but.

580
00:31:05,320 --> 00:31:08,360
Speaker 2: Yeah, sure, all they've been through a long distance relationship.

581
00:31:08,440 --> 00:31:11,080
Speaker 2: It just seems cruel right.

582
00:31:11,320 --> 00:31:14,680
Speaker 4: Anyway, So she is like, okay, fine, I'll dance again,

583
00:31:15,000 --> 00:31:17,800
Speaker 4: and this is when they have their first on screen kiss.

584
00:31:18,760 --> 00:31:22,360
Speaker 4: Then she takes out her ballet shoes and puts them

585
00:31:22,400 --> 00:31:26,160
Speaker 4: on for the first time since her mom died, and

586
00:31:26,240 --> 00:31:29,800
Speaker 4: she learns that Juilliard is holding auditions in Chicago in

587
00:31:29,840 --> 00:31:32,840
Speaker 4: one month, so she starts prepping and getting into shape,

588
00:31:33,120 --> 00:31:38,600
Speaker 4: which includes ballet classes and it also includes Derek continuing

589
00:31:39,080 --> 00:31:43,400
Speaker 4: to teach her hip hop dance. Then we see them

590
00:31:43,400 --> 00:31:46,959
Speaker 4: at Steps again doing some of the choreography they practiced,

591
00:31:47,120 --> 00:31:48,200
Speaker 4: and people are watching.

592
00:31:48,560 --> 00:31:51,280
Speaker 2: Yeah, I'm like, are they rehearsing to go to Steps?

593
00:31:51,440 --> 00:31:54,760
Speaker 2: Because that's so like if true, that is like maybe

594
00:31:54,760 --> 00:31:56,760
Speaker 2: they really did find each other, because that is like

595
00:31:56,800 --> 00:31:58,800
Speaker 2: the doorkiest thing in the world.

596
00:31:59,160 --> 00:32:01,240
Speaker 3: That's so cute and weird.

597
00:32:01,920 --> 00:32:04,800
Speaker 4: I mean, I don't know if this happens or not,

598
00:32:04,960 --> 00:32:06,840
Speaker 4: but I feel like, when you go to a dance club,

599
00:32:07,200 --> 00:32:12,240
Speaker 4: you don't do choreography that you practiced in a random classroom.

600
00:32:12,920 --> 00:32:15,240
Speaker 1: Y'all have not gone to clubs with dancers. Let me

601
00:32:15,280 --> 00:32:19,200
Speaker 1: tell you something, the girls. The girls will bust out

602
00:32:19,280 --> 00:32:23,280
Speaker 1: the corey yo oh, the dance circle. Yeah. I spent

603
00:32:23,360 --> 00:32:25,320
Speaker 1: a lot of time in my early twenties going to

604
00:32:25,320 --> 00:32:27,600
Speaker 1: clubs with dancers that it was always a thing. They

605
00:32:27,600 --> 00:32:29,840
Speaker 1: wouldn't bust out like choreo that they learned in class,

606
00:32:29,920 --> 00:32:32,000
Speaker 1: but they definitely would bust out stuff where you're like,

607
00:32:32,520 --> 00:32:36,720
Speaker 1: did you practices? Yeah, this is a little bit rehearse.

608
00:32:37,080 --> 00:32:39,520
Speaker 3: Did you rehearse for a party?

609
00:32:40,120 --> 00:32:40,440
Speaker 4: Okay?

610
00:32:40,480 --> 00:32:41,400
Speaker 3: Well I stand corrected.

611
00:32:41,440 --> 00:32:47,520
Speaker 1: Then I'm just here to be the reference for black

612
00:32:47,640 --> 00:32:48,640
Speaker 1: and dance.

613
00:32:48,400 --> 00:32:54,960
Speaker 4: You know, thank you. Okay. So everyone's like watching their

614
00:32:55,200 --> 00:32:59,320
Speaker 4: choreography and they're like, oh my gosh, wow, look at Sarah.

615
00:32:59,480 --> 00:33:04,520
Speaker 4: Go except Nikki, who cuts in and starts dancing with Derek.

616
00:33:05,080 --> 00:33:07,480
Speaker 4: She's putting her butt all over him, and Sarah gets

617
00:33:07,520 --> 00:33:09,200
Speaker 4: jealous and leaves the dance floor.

618
00:33:10,120 --> 00:33:12,320
Speaker 3: I love that turnive phrase, Gaale.

619
00:33:12,560 --> 00:33:15,160
Speaker 1: I know she's putting her butt all over him. So

620
00:33:15,840 --> 00:33:18,520
Speaker 1: I was like, yeah, yeah, I mean she is am

621
00:33:18,520 --> 00:33:21,640
Speaker 1: I wrong' No, no, you're correct, not wrong.

622
00:33:21,720 --> 00:33:24,240
Speaker 3: I just didn't acpect the words in that order.

623
00:33:24,560 --> 00:33:28,320
Speaker 1: Yeah, exactly the way they came together poetry.

624
00:33:28,480 --> 00:33:29,120
Speaker 3: She can do it.

625
00:33:29,240 --> 00:33:31,600
Speaker 4: She puts her ass into it.

626
00:33:32,880 --> 00:33:36,520
Speaker 1: Every time you quote the lyrics, you do it so reluctantly.

627
00:33:37,000 --> 00:33:41,440
Speaker 1: Well that time I did that on purpose. Okay, good, okay, okay,

628
00:33:41,560 --> 00:33:43,840
Speaker 1: it was a call back. Oh we love a callback.

629
00:33:43,840 --> 00:33:47,920
Speaker 2: You're right, you're right, you're right putting her ass onto it.

630
00:33:48,240 --> 00:33:51,800
Speaker 4: Right, we need a remix of the song.

631
00:33:52,240 --> 00:33:53,640
Speaker 1: You can put your ass.

632
00:33:53,360 --> 00:33:55,080
Speaker 3: All over it, all over it.

633
00:33:55,960 --> 00:33:56,640
Speaker 1: That's what he said.

634
00:33:56,680 --> 00:34:02,360
Speaker 4: Yes, okay. So Nikki is dancing with Derek now, Sarah

635
00:34:02,400 --> 00:34:05,360
Speaker 4: is off to the side, and Malachi approaches Sarah to

636
00:34:05,400 --> 00:34:08,840
Speaker 4: be like, stay away from Derek Whitey.

637
00:34:09,320 --> 00:34:12,280
Speaker 1: He calls her, he's oil you, milk.

638
00:34:17,480 --> 00:34:19,360
Speaker 4: That does definitely happened.

639
00:34:19,920 --> 00:34:21,320
Speaker 1: Okay, Oh my goodness.

640
00:34:21,719 --> 00:34:25,840
Speaker 4: So then Derek comes over and he's like, babe, but

641
00:34:25,920 --> 00:34:29,359
Speaker 4: what's the matter. We were just dancing. It's no big deal.

642
00:34:29,400 --> 00:34:32,000
Speaker 4: I would never do anything to hurt you. And she's like,

643
00:34:32,640 --> 00:34:35,239
Speaker 4: t he okay. So then they go back to her

644
00:34:35,280 --> 00:34:37,480
Speaker 4: place and she's like, my.

645
00:34:37,719 --> 00:34:44,000
Speaker 2: Jazz dad is out jazzing all night, out jazzing all

646
00:34:44,160 --> 00:34:45,640
Speaker 2: night with Kim Katrol.

647
00:34:47,640 --> 00:34:58,080
Speaker 3: She's there scattinga.

648
00:34:55,680 --> 00:34:58,640
Speaker 2: He looked at all the he dogs, he looked at

649
00:34:58,680 --> 00:35:02,880
Speaker 2: all the I never knew such a hell of balloon.

650
00:35:03,280 --> 00:35:05,239
Speaker 4: Like I didn't know you had it memorized.

651
00:35:05,719 --> 00:35:08,640
Speaker 3: Is that little dog Ray had to do one for.

652
00:35:08,640 --> 00:35:11,279
Speaker 4: Listeners who were not aware we were referring to a

653
00:35:11,480 --> 00:35:16,480
Speaker 4: video where Kim Katrol scats with her jazz husband yes and.

654
00:35:16,480 --> 00:35:20,160
Speaker 1: His double bass his upright yes, and.

655
00:35:20,160 --> 00:35:23,760
Speaker 4: It's maybe the most uncomfortable thing that one could watch.

656
00:35:24,080 --> 00:35:24,239
Speaker 6: Uh.

657
00:35:24,280 --> 00:35:29,560
Speaker 2: Anyway, So he's out jazzing away he is while his

658
00:35:29,719 --> 00:35:31,120
Speaker 2: daughter's fucking.

659
00:35:31,960 --> 00:35:37,279
Speaker 4: Yeah, because they have sex in the living room because

660
00:35:37,320 --> 00:35:39,360
Speaker 4: that's like where her bedroom is right now. She's sleeping

661
00:35:39,400 --> 00:35:43,279
Speaker 4: on the couch. They fuck on the couch, presumably, and

662
00:35:43,360 --> 00:35:46,200
Speaker 4: we don't talk about that enough anyway. Okay, Then we

663
00:35:46,200 --> 00:35:48,920
Speaker 4: see a couple scenes where Derek is hanging out with

664
00:35:48,960 --> 00:35:51,680
Speaker 4: Malachi and some other guys and they're judging him for

665
00:35:51,760 --> 00:35:55,759
Speaker 4: dating a white girl. Then they're playing basketball and there's

666
00:35:55,800 --> 00:35:59,200
Speaker 4: a drive by shooting because Malachi is in the middle

667
00:35:59,239 --> 00:36:03,040
Speaker 4: of this turn for luckily, no one is hurt, but

668
00:36:03,560 --> 00:36:07,080
Speaker 4: Malachi is gonna have to retaliate later on. And then

669
00:36:07,160 --> 00:36:12,200
Speaker 4: this is juxtaposed. This drive by shooting basketball scene is

670
00:36:12,280 --> 00:36:17,800
Speaker 4: juxtaposed with Sarah and Nicki also playing basketball in gym class,

671
00:36:18,200 --> 00:36:22,120
Speaker 4: but they're getting into a scuffle Niki is like, I

672
00:36:22,120 --> 00:36:25,080
Speaker 4: don't like white girls like you getting in my way

673
00:36:25,400 --> 00:36:30,359
Speaker 4: and taking my men. So they get into this fight,

674
00:36:30,680 --> 00:36:35,560
Speaker 4: and later at Steps, Malachi is trying to get Derek

675
00:36:35,719 --> 00:36:41,320
Speaker 4: involved in that like kind of retaliation scheme. Malachi insults

676
00:36:41,520 --> 00:36:45,160
Speaker 4: Sarah because she's standing right there, and so Derek punches him.

677
00:36:45,880 --> 00:36:49,200
Speaker 4: Then there's a scene where Sarah goes with Shanil and

678
00:36:49,239 --> 00:36:54,400
Speaker 4: her baby to a doctor's appointment and Shaneil is like, hey, Sarah,

679
00:36:54,560 --> 00:36:58,560
Speaker 4: I think Nicki has a point about white women being

680
00:36:58,600 --> 00:37:02,440
Speaker 4: with black men, and Sarah doesn't get it, she doesn't

681
00:37:02,440 --> 00:37:06,400
Speaker 4: want to hear it, and she leaves. Cut to Sarah

682
00:37:06,480 --> 00:37:10,920
Speaker 4: working with Derek on her Juilliard audition and he's like, oh,

683
00:37:11,040 --> 00:37:14,799
Speaker 4: let's go to this couple's only night at Steps, and

684
00:37:15,040 --> 00:37:17,719
Speaker 4: she's reluctant to go, and she's not even sure they

685
00:37:17,760 --> 00:37:20,120
Speaker 4: should be together at this point because it seems like

686
00:37:20,160 --> 00:37:23,560
Speaker 4: no one wants them to be together. They argue and

687
00:37:23,760 --> 00:37:29,360
Speaker 4: ultimately break up, so then Derek approaches Malachi to be like, oh, sorry,

688
00:37:29,360 --> 00:37:33,240
Speaker 4: I punched you, Let's be friends again. Malachi is like great,

689
00:37:33,280 --> 00:37:34,960
Speaker 4: I need you to show up and help me at

690
00:37:34,960 --> 00:37:37,960
Speaker 4: my turf war, and Derek is like oh yeah, I'll

691
00:37:38,000 --> 00:37:38,359
Speaker 4: be there.

692
00:37:38,840 --> 00:37:43,160
Speaker 2: I'm like, Derek Georgetown, Derek, come on, you're kidding.

693
00:37:44,400 --> 00:37:49,040
Speaker 4: Meanwhile, Sarah keeps working on her audition, but it's not

694
00:37:49,280 --> 00:37:53,799
Speaker 4: going well her auditions. The following day, she has a

695
00:37:53,840 --> 00:37:57,120
Speaker 4: tender moment with her dad, who I've mostly left out

696
00:37:57,120 --> 00:37:59,759
Speaker 4: of the recap, but he is in the movie and

697
00:38:00,040 --> 00:38:00,759
Speaker 4: we can bring him up.

698
00:38:00,800 --> 00:38:04,080
Speaker 2: He's I'm sorry I did too much jazz and not

699
00:38:04,280 --> 00:38:08,640
Speaker 2: enough Dad, and she's like, I forgive you.

700
00:38:09,120 --> 00:38:11,000
Speaker 3: Sort of yeah, that's it.

701
00:38:11,400 --> 00:38:13,360
Speaker 2: I mean, I know that it seems like her parents

702
00:38:13,400 --> 00:38:16,680
Speaker 2: were divorced for some time, but I was sort of like, wow,

703
00:38:16,800 --> 00:38:21,359
Speaker 2: he does not care that his child's mother is very

704
00:38:21,440 --> 00:38:22,200
Speaker 2: suddenly dead.

705
00:38:22,239 --> 00:38:26,279
Speaker 3: He's like showing no. He's like, well sucks, his life

706
00:38:26,360 --> 00:38:26,640
Speaker 3: is fair.

707
00:38:26,719 --> 00:38:30,400
Speaker 1: I was giving one night stand were nice seed, We

708
00:38:30,440 --> 00:38:32,600
Speaker 1: hooked up, she had you, and I was like, I

709
00:38:32,640 --> 00:38:35,920
Speaker 1: gotta go, jazz id you this. I can't.

710
00:38:36,680 --> 00:38:38,919
Speaker 3: He was not even pretending to care.

711
00:38:39,320 --> 00:38:41,960
Speaker 4: He was not no good for jazz Dad anyway. So

712
00:38:42,239 --> 00:38:46,120
Speaker 4: she's like, I just miss mom so much and I

713
00:38:46,200 --> 00:38:49,600
Speaker 4: need someone who loves me to be at my audition,

714
00:38:50,400 --> 00:38:54,319
Speaker 4: and jazz Dad is like, well, I love you, I

715
00:38:54,400 --> 00:38:59,920
Speaker 4: could come, and she's like really, then we see Shaniel

716
00:39:00,200 --> 00:39:04,200
Speaker 4: admitting to Derek that she had told Sarah that she

717
00:39:04,400 --> 00:39:08,480
Speaker 4: agreed with Nikki that black men shouldn't date white women,

718
00:39:09,120 --> 00:39:13,200
Speaker 4: and Derek realizes that's probably why Sarah was so confused

719
00:39:13,360 --> 00:39:17,799
Speaker 4: about her relationship with Derek, so he calls the thing

720
00:39:17,840 --> 00:39:21,880
Speaker 4: off with Malachi and rushes to Sarah's audition. The audition

721
00:39:22,200 --> 00:39:27,480
Speaker 4: is once again intercut with Malachi and his minions.

722
00:39:28,400 --> 00:39:31,560
Speaker 3: It's true, Kevin Stewart, Bob, everyone's there.

723
00:39:32,840 --> 00:39:37,200
Speaker 4: They're all there, so we see them shooting at the

724
00:39:37,239 --> 00:39:40,040
Speaker 4: other people who they're in this like turf war with.

725
00:39:40,600 --> 00:39:44,319
Speaker 4: But Malachi and his minions get caught and arrested and

726
00:39:44,360 --> 00:39:47,640
Speaker 4: also their car explodes, so it's like, again, if you're

727
00:39:47,640 --> 00:39:52,359
Speaker 4: in a car while Sarah is auditioning for Juilliard, there's

728
00:39:52,360 --> 00:39:52,600
Speaker 4: going to.

729
00:39:52,600 --> 00:39:52,920
Speaker 3: Be a kid.

730
00:39:53,560 --> 00:39:57,840
Speaker 2: I was like, truly, like people get into auto rex

731
00:39:58,640 --> 00:40:00,279
Speaker 2: while she's trying to achieve.

732
00:40:00,840 --> 00:40:05,280
Speaker 1: Off this you're dancing hurts people literally.

733
00:40:05,200 --> 00:40:08,400
Speaker 2: Yeah, like be honest, like it's not worth it and

734
00:40:08,480 --> 00:40:10,440
Speaker 2: you know it, you know it.

735
00:40:10,719 --> 00:40:14,799
Speaker 4: Yeah, you're not good enough to justify all these people's cars.

736
00:40:14,480 --> 00:40:17,960
Speaker 2: Exploding live sir is You're not Yeah, you're not borishna

737
00:40:18,000 --> 00:40:27,800
Speaker 2: cough try not to pass out at that really good reference.

738
00:40:27,840 --> 00:40:33,440
Speaker 2: I just dropped, Oh too late, pass Kay's throwing up.

739
00:40:35,280 --> 00:40:40,680
Speaker 4: Okay anyway, so Malachai has gotten arrested. Meanwhile, at the audition,

740
00:40:41,400 --> 00:40:45,520
Speaker 4: Sarah messes up right away and she's like, I'm not ready.

741
00:40:45,800 --> 00:40:49,480
Speaker 4: But then Derek bursts in and he runs to the stage.

742
00:40:49,560 --> 00:40:52,240
Speaker 4: He's like, you can do it. So she starts again,

743
00:40:52,600 --> 00:40:55,880
Speaker 4: and at first it seems like traditional ballet, but then

744
00:40:56,040 --> 00:40:59,640
Speaker 4: it becomes a blend of ballet and hip hop, and

745
00:40:59,640 --> 00:41:02,440
Speaker 4: then are like, whoa.

746
00:41:03,719 --> 00:41:05,320
Speaker 1: What is this music?

747
00:41:06,000 --> 00:41:07,479
Speaker 3: She's doing a little hip hop?

748
00:41:08,320 --> 00:41:09,520
Speaker 1: Oh my god.

749
00:41:10,000 --> 00:41:11,920
Speaker 4: Like the judges are like, what is that.

750
00:41:12,520 --> 00:41:15,399
Speaker 1: She's like they went from shrowning to smile, like just

751
00:41:15,440 --> 00:41:16,200
Speaker 1: a little hip hop.

752
00:41:18,239 --> 00:41:21,320
Speaker 4: And then the judge who hates her is like, welcome

753
00:41:21,400 --> 00:41:22,279
Speaker 4: to Juilliard.

754
00:41:22,520 --> 00:41:25,400
Speaker 1: Oh, I can't say this on the record, welcome to Juilliard.

755
00:41:25,440 --> 00:41:28,120
Speaker 1: Which Chelsea and I when we watched this movie, we

756
00:41:28,120 --> 00:41:31,759
Speaker 1: were as musicians who've like auditioned for Juilliard and all

757
00:41:31,760 --> 00:41:34,359
Speaker 1: these other schools like that are like known in our

758
00:41:34,400 --> 00:41:37,440
Speaker 1: community but not necessarily known outside of it because we

759
00:41:37,520 --> 00:41:42,680
Speaker 1: both trained as classical singers. We were like, bitch, first off,

760
00:41:42,800 --> 00:41:45,240
Speaker 1: you're not getting into the school because your audition sucked.

761
00:41:45,520 --> 00:41:49,400
Speaker 1: You had somebody burst in during your audition. The audacity

762
00:41:49,440 --> 00:41:52,239
Speaker 1: of that y. Third, the judges are never going to

763
00:41:52,320 --> 00:41:54,400
Speaker 1: look that mean to you. They want you to succeed.

764
00:41:54,480 --> 00:41:57,680
Speaker 1: They're not frowning and looking at you. They're like, hey, okay.

765
00:41:57,760 --> 00:42:00,640
Speaker 1: They're concentrated or they're smiling because they want you to

766
00:42:00,680 --> 00:42:03,960
Speaker 1: do well because they don't want to be seeing shitty performances. Thirdly,

767
00:42:04,360 --> 00:42:07,560
Speaker 1: no judge ever, so she, after not seeing all the

768
00:42:07,600 --> 00:42:10,120
Speaker 1: other auditions, would say, I can't say this all the record.

769
00:42:10,160 --> 00:42:13,640
Speaker 1: Welcome to julie'sard. He's not the only one on that panel.

770
00:42:14,040 --> 00:42:17,719
Speaker 1: Oh sorry, that just drove me nuts. That drove me

771
00:42:17,840 --> 00:42:19,160
Speaker 1: un nuts.

772
00:42:18,920 --> 00:42:20,960
Speaker 3: Real, unreal.

773
00:42:21,280 --> 00:42:23,640
Speaker 2: We just covered flash dance as well, and she also

774
00:42:24,160 --> 00:42:26,040
Speaker 2: whiffs the beginning of her audition. She's like, can I

775
00:42:26,080 --> 00:42:28,879
Speaker 2: start again? But the twist was flash dances. We don't

776
00:42:28,920 --> 00:42:30,720
Speaker 2: even know if she gets in because the movie doesn't

777
00:42:30,719 --> 00:42:32,719
Speaker 2: give a shit. They just wanted to date a forty

778
00:42:32,800 --> 00:42:36,000
Speaker 2: year old man. But this one is interesting, yeah, because

779
00:42:36,000 --> 00:42:38,640
Speaker 2: it's like I never registered the disruption. As a kid,

780
00:42:38,680 --> 00:42:41,439
Speaker 2: I'm like, well, of course it's gonna happen, But as

781
00:42:41,440 --> 00:42:45,040
Speaker 2: an adult you're like, wow, they do not relent, Like

782
00:42:45,080 --> 00:42:46,960
Speaker 2: they're like, hey, you can't be in here, and then

783
00:42:47,000 --> 00:42:50,080
Speaker 2: she's like, no, let him in, and then he comes.

784
00:42:49,880 --> 00:42:51,560
Speaker 3: On stage on stage.

785
00:42:51,880 --> 00:42:55,520
Speaker 2: It was Wow, they really found each other. They're weirdos.

786
00:42:56,680 --> 00:42:59,160
Speaker 1: I wrote in my notes, you need someone to go

787
00:42:59,200 --> 00:43:01,560
Speaker 1: to the audition with you. Girl, you ain't cut out

788
00:43:01,560 --> 00:43:05,240
Speaker 1: for this business because listen. Maybe it was a salty

789
00:43:05,280 --> 00:43:08,360
Speaker 1: bitterness of me of like pursue my dreams without my parents' permission,

790
00:43:08,400 --> 00:43:11,560
Speaker 1: but like my parents didn't even know if I had

791
00:43:11,600 --> 00:43:14,320
Speaker 1: auditions for shit. I take myself there on the bus,

792
00:43:14,800 --> 00:43:19,200
Speaker 1: did it and went back home like I don't I'm

793
00:43:19,239 --> 00:43:24,640
Speaker 1: sorry anyway, Maybe she's too co dependent. She's too co dependent,

794
00:43:24,719 --> 00:43:26,400
Speaker 1: and it's frustrating.

795
00:43:25,880 --> 00:43:26,480
Speaker 3: Like not for nothing.

796
00:43:26,520 --> 00:43:29,680
Speaker 2: I'd be mortified if someone I liked or like, someone

797
00:43:29,719 --> 00:43:32,600
Speaker 2: who I cared about was at an audition. I'm like,

798
00:43:32,880 --> 00:43:35,720
Speaker 2: leave me to the wolves that you'll never never.

799
00:43:35,600 --> 00:43:37,560
Speaker 4: Watch me look at me.

800
00:43:37,840 --> 00:43:41,000
Speaker 1: You don't need to perceive this, Okay, I'll tell you

801
00:43:41,080 --> 00:43:43,440
Speaker 1: about it, and tell you about it from my delusional

802
00:43:43,480 --> 00:43:45,000
Speaker 1: fantasy where they loved me, but like.

803
00:43:45,600 --> 00:43:48,040
Speaker 3: Me, I was robbed. I can't have anyone know that

804
00:43:48,080 --> 00:43:49,560
Speaker 3: I was not, in fact robbed.

805
00:43:52,360 --> 00:43:54,640
Speaker 4: Oh goodness, Okay, so let's take a quick break and

806
00:43:54,640 --> 00:44:10,759
Speaker 4: then we'll come back to discuss. And we're back, and

807
00:44:10,840 --> 00:44:15,120
Speaker 4: where shall we start, Kadija, is there anything.

808
00:44:15,320 --> 00:44:21,319
Speaker 1: You would like me this evil which is like so

809
00:44:21,520 --> 00:44:29,279
Speaker 1: many things? Okay? Rich text. Firstly, yes, Nikki, I didn't

810
00:44:29,280 --> 00:44:32,279
Speaker 1: believe Bianka Lawson had this much attitude, and I didn't

811
00:44:32,280 --> 00:44:35,040
Speaker 1: believe her as the character. It almost felt like she

812
00:44:35,120 --> 00:44:36,440
Speaker 1: was like do I really got to say all this,

813
00:44:37,080 --> 00:44:41,560
Speaker 1: like you coming up in here stealing our men? And

814
00:44:41,600 --> 00:44:44,319
Speaker 1: her neck I was like, give her something for that,

815
00:44:44,360 --> 00:44:47,360
Speaker 1: because her neck kept rolling and she kept talking about

816
00:44:47,680 --> 00:44:50,799
Speaker 1: like Okay, sorry, maybe this is a sorry, there's so

817
00:44:50,840 --> 00:44:53,439
Speaker 1: many things. Maybe the early two thousand, take your time,

818
00:44:54,080 --> 00:44:57,439
Speaker 1: thank you. Maybe the early two thousands were a different time.

819
00:44:58,200 --> 00:45:02,720
Speaker 1: But you know, A, I personally have never been around

820
00:45:02,960 --> 00:45:05,480
Speaker 1: a group of black dudes, at least then hearing my

821
00:45:05,520 --> 00:45:08,880
Speaker 1: older brother's friends talk about white women and later that

822
00:45:08,960 --> 00:45:12,280
Speaker 1: would be that angry about you being with a white person.

823
00:45:12,960 --> 00:45:15,120
Speaker 1: Usually they're like, you got a white girl, look at you?

824
00:45:15,760 --> 00:45:18,200
Speaker 1: Oh you think you big money? Now, Like that's the

825
00:45:18,280 --> 00:45:20,279
Speaker 1: kind of shit. Not all of them would say, but

826
00:45:20,320 --> 00:45:23,279
Speaker 1: some of them would say, so, all of them being like, god,

827
00:45:23,360 --> 00:45:25,719
Speaker 1: white women are trouble. I mean, maybe now that's a

828
00:45:25,719 --> 00:45:29,279
Speaker 1: conversation happening because Jonathan Major's but it's also like was

829
00:45:29,280 --> 00:45:31,480
Speaker 1: the white woman to trouble or were you anyway? You

830
00:45:31,480 --> 00:45:35,160
Speaker 1: know what? You know what, it's a complicated topic.

831
00:45:35,280 --> 00:45:38,800
Speaker 4: It's very complicated that the movie is not equipped to

832
00:45:38,880 --> 00:45:41,160
Speaker 4: discuss meaningfully in any way.

833
00:45:41,600 --> 00:45:44,919
Speaker 1: They shouldn't have introduced it, Like I get maybe the

834
00:45:44,960 --> 00:45:47,560
Speaker 1: one scene of the lady, the white lady in the

835
00:45:47,920 --> 00:45:50,239
Speaker 1: train looking at them could have been a way to

836
00:45:50,280 --> 00:45:52,239
Speaker 1: just do it, and like that would have been the

837
00:45:52,239 --> 00:45:54,279
Speaker 1: only instance they really brought up of it. But of course,

838
00:45:54,280 --> 00:45:56,640
Speaker 1: you know, movies have to have conflict. Instead of the

839
00:45:56,640 --> 00:45:59,399
Speaker 1: conflict being I'm working through my trauma of my mom

840
00:45:59,520 --> 00:46:04,359
Speaker 1: dying and dance and all of that, it's I'm kind

841
00:46:04,400 --> 00:46:07,200
Speaker 1: of working through that, but mostly I like this guy

842
00:46:07,280 --> 00:46:10,320
Speaker 1: that I've become codependent with. But he's black and I'm white,

843
00:46:10,400 --> 00:46:12,440
Speaker 1: and this is two thousand and one and we're not

844
00:46:12,480 --> 00:46:13,839
Speaker 1: supposed to be together.

845
00:46:13,920 --> 00:46:15,479
Speaker 2: Right, so it has to And I feel like it's

846
00:46:15,640 --> 00:46:18,000
Speaker 2: I hope of phrasing this curst late, but I feel

847
00:46:18,000 --> 00:46:20,080
Speaker 2: like the movie does a lot of stuff to make

848
00:46:20,880 --> 00:46:25,080
Speaker 2: Sarah seem to be the oppressed person like they go

849
00:46:25,520 --> 00:46:28,600
Speaker 2: so far into the revert, like they're like, well, racism

850
00:46:28,600 --> 00:46:33,960
Speaker 2: affects white girls as well, and you're like no, And

851
00:46:34,160 --> 00:46:36,640
Speaker 2: this never like really registered for me until I was

852
00:46:36,680 --> 00:46:38,440
Speaker 2: watching it at this time. But it's like you see

853
00:46:38,480 --> 00:46:42,160
Speaker 2: a lot of black characters judging white characters, but you

854
00:46:42,239 --> 00:46:45,200
Speaker 2: don't really see the reverse very much in the world

855
00:46:45,200 --> 00:46:47,880
Speaker 2: of this movie, and so it comes off.

856
00:46:47,880 --> 00:46:51,360
Speaker 1: Very weird, right, Yeah, because there's a way to me,

857
00:46:52,239 --> 00:46:55,680
Speaker 1: there is a conversation there of yeah, like the colorism

858
00:46:55,719 --> 00:46:57,600
Speaker 1: of all the joke that I made about Derek maybe

859
00:46:57,640 --> 00:47:01,279
Speaker 1: being a colorist, or like, uh, just the idea that

860
00:47:01,480 --> 00:47:04,080
Speaker 1: you're in a space. And I'm glad that Chanil pointed

861
00:47:04,080 --> 00:47:06,080
Speaker 1: out when she was talking to Derek. She was like,

862
00:47:06,080 --> 00:47:08,680
Speaker 1: you know, I was really upset with Kenny, So I

863
00:47:08,760 --> 00:47:10,239
Speaker 1: was just really annoyed, and it was saying it from

864
00:47:10,239 --> 00:47:13,040
Speaker 1: a place of anger, less about like the actual relationship

865
00:47:13,080 --> 00:47:15,120
Speaker 1: and more so just like I was mad because my

866
00:47:15,160 --> 00:47:17,360
Speaker 1: baby's daddy's out here acting wild. And I'm glad that

867
00:47:17,400 --> 00:47:19,400
Speaker 1: at the end of it he showed up and they

868
00:47:19,400 --> 00:47:20,960
Speaker 1: both said hey to each other, and it was like

869
00:47:21,000 --> 00:47:22,680
Speaker 1: a hey, we're going to try to figure this out

870
00:47:22,719 --> 00:47:25,280
Speaker 1: as opposed to a you got a aight shit baby, daddy.

871
00:47:26,120 --> 00:47:28,839
Speaker 1: All the black girls are stuck with what does she say,

872
00:47:28,960 --> 00:47:31,880
Speaker 1: you come in take it to our men after jail.

873
00:47:32,120 --> 00:47:34,840
Speaker 4: Jail drugs and drive bys.

874
00:47:34,880 --> 00:47:38,800
Speaker 1: Maybe yeah, jail drugs and drive bys. I was just like, Okay,

875
00:47:39,400 --> 00:47:42,919
Speaker 1: I get it. You know, different neighborhoods, especially because we're

876
00:47:42,920 --> 00:47:45,760
Speaker 1: talking about poor black folks, so there's a different dynamic

877
00:47:45,800 --> 00:47:48,719
Speaker 1: there too. It was just like all black people are

878
00:47:48,719 --> 00:47:52,520
Speaker 1: poor and live in this part of Chicago, and because

879
00:47:52,560 --> 00:47:55,360
Speaker 1: of that, they don't relate. Like even when her friend

880
00:47:55,400 --> 00:47:56,960
Speaker 1: is on the phone with her and it's like, you

881
00:47:56,960 --> 00:47:59,239
Speaker 1: have white guys at your school, that's the only time

882
00:47:59,280 --> 00:48:00,960
Speaker 1: you hear a white person and be kind of and

883
00:48:01,080 --> 00:48:03,600
Speaker 1: the white lady looking at them a work person, be

884
00:48:03,680 --> 00:48:06,319
Speaker 1: kind of like what And she doesn't say it because

885
00:48:06,320 --> 00:48:08,880
Speaker 1: she's secretly embarrassed or what. I don't know, Like does

886
00:48:08,920 --> 00:48:10,360
Speaker 1: she answer her when she asked.

887
00:48:10,160 --> 00:48:13,200
Speaker 4: Her She says because she's like, I met someone. And

888
00:48:13,239 --> 00:48:16,520
Speaker 4: her friend assumes that the only guy that she would

889
00:48:16,600 --> 00:48:18,359
Speaker 4: date would be a white guy, and she's like, oh,

890
00:48:18,360 --> 00:48:20,280
Speaker 4: I didn't know they had white guys at your school,

891
00:48:20,280 --> 00:48:24,440
Speaker 4: and she's like, they don't, but doesn't necessarily clarify that

892
00:48:24,520 --> 00:48:26,560
Speaker 4: the guy that she met is not white.

893
00:48:27,040 --> 00:48:29,200
Speaker 2: Yeah, I mean, and again it's like you don't even

894
00:48:29,360 --> 00:48:33,279
Speaker 2: see that character, like none of the white characters that.

895
00:48:33,280 --> 00:48:34,480
Speaker 3: Are we don't know.

896
00:48:34,560 --> 00:48:37,480
Speaker 2: The lady on the train, she's like racism the lady,

897
00:48:37,760 --> 00:48:41,040
Speaker 2: and then they banquished racism the lady.

898
00:48:40,960 --> 00:48:42,640
Speaker 3: And then kind of like move.

899
00:48:42,560 --> 00:48:45,040
Speaker 2: Forward where it's like such as we have like patriarchy

900
00:48:45,080 --> 00:48:47,040
Speaker 2: the guy, where it's like you just have to get

901
00:48:47,120 --> 00:48:50,959
Speaker 2: rid of this one guy and you've solved it, which

902
00:48:51,000 --> 00:48:53,719
Speaker 2: is like you know, movie logic, But like her dad

903
00:48:53,760 --> 00:48:57,640
Speaker 2: doesn't seem to have, you know, an issue with her

904
00:48:57,920 --> 00:49:00,000
Speaker 2: dating Derek, but also he doesn't give a shit about it,

905
00:49:00,400 --> 00:49:01,160
Speaker 2: so I don't know.

906
00:49:02,040 --> 00:49:04,239
Speaker 1: Or he does it, but like when he's at the door,

907
00:49:04,400 --> 00:49:06,640
Speaker 1: she's like, now it's not a good time and he leaves.

908
00:49:06,680 --> 00:49:09,520
Speaker 1: But I'm like, is it because he's black or because

909
00:49:09,520 --> 00:49:12,160
Speaker 1: he's dating her? Or I was like, are we going

910
00:49:12,239 --> 00:49:14,439
Speaker 1: to explore this? I mean, he's a jazz musician living

911
00:49:14,440 --> 00:49:17,160
Speaker 1: in the South Side of Chicago. He probably knows black people,

912
00:49:17,239 --> 00:49:20,640
Speaker 1: I should hope, But you know, white people stole jazz too,

913
00:49:20,760 --> 00:49:24,120
Speaker 1: so yes, so I'm like, you know, but we don't

914
00:49:24,120 --> 00:49:29,319
Speaker 1: ever explore anything besides racism the Lady and reverse racism

915
00:49:29,440 --> 00:49:31,399
Speaker 1: Nikki right.

916
00:49:32,560 --> 00:49:35,640
Speaker 4: I mean, there might be a world where this could

917
00:49:35,760 --> 00:49:39,400
Speaker 4: conceivably happen. But even just Sarah, who comes from what

918
00:49:39,480 --> 00:49:43,560
Speaker 4: appears to be a predominantly white suburban or more rural

919
00:49:43,719 --> 00:49:47,279
Speaker 4: community going to the South Side of Chicago, she.

920
00:49:47,360 --> 00:49:49,640
Speaker 1: Was in Vermont, they did that all permits here, like

921
00:49:49,680 --> 00:49:51,000
Speaker 1: what's the whitest pa.

922
00:49:52,280 --> 00:49:57,799
Speaker 4: Right, being suddenly immersed in a predominantly black community, and

923
00:49:57,840 --> 00:50:00,399
Speaker 4: for her to just be like, yeah, I'm so cool

924
00:50:00,400 --> 00:50:03,359
Speaker 4: with this. I fit in right away because of all

925
00:50:03,400 --> 00:50:06,279
Speaker 4: the attitude I'm giving. And it's also like, Okay, that

926
00:50:06,360 --> 00:50:08,319
Speaker 4: implication's also pretty messed up.

927
00:50:08,360 --> 00:50:11,560
Speaker 1: It's like, yeah, I'm glad that, like the black girls

928
00:50:11,560 --> 00:50:15,200
Speaker 1: are having some fun, but it's all attitude and neck rolling.

929
00:50:15,239 --> 00:50:19,000
Speaker 1: And I'm like the one scene at the beginning when

930
00:50:19,200 --> 00:50:21,440
Speaker 1: she's with the black nerds and they're all sitting at

931
00:50:21,440 --> 00:50:23,839
Speaker 1: the table being like we are the future, I was like,

932
00:50:24,160 --> 00:50:31,520
Speaker 1: representation matter, Oh gosh, be like, don't let me catch you.

933
00:50:31,560 --> 00:50:34,640
Speaker 1: See to get that table again, it's like see high school,

934
00:50:34,760 --> 00:50:35,520
Speaker 1: high school.

935
00:50:36,160 --> 00:50:39,640
Speaker 4: Yeah, the clicks are there, but yeah, I mean, ultimately

936
00:50:39,719 --> 00:50:43,520
Speaker 4: this movie ends up just being about a white girl

937
00:50:43,880 --> 00:50:48,680
Speaker 4: suddenly finding herself in this black community and being like, oh,

938
00:50:48,719 --> 00:50:50,719
Speaker 4: that's just a little hip hop. Well I'll learn that

939
00:50:51,080 --> 00:50:55,719
Speaker 4: and then I'll all basically appropriate everything that is near me.

940
00:50:56,320 --> 00:50:59,680
Speaker 4: She starts dressing differently. She starts like wearing her hair

941
00:51:00,320 --> 00:51:02,240
Speaker 4: in twists and braids.

942
00:51:02,160 --> 00:51:07,080
Speaker 1: And she starts wearing tims. Yes, yes, yeah, that was

943
00:51:07,120 --> 00:51:09,000
Speaker 1: the turning point in the movie. She put on those

944
00:51:09,000 --> 00:51:09,719
Speaker 1: timberlands and.

945
00:51:09,680 --> 00:51:12,920
Speaker 4: She was like slamming, said slammon so much.

946
00:51:12,960 --> 00:51:14,279
Speaker 1: She said slamming a lot.

947
00:51:14,880 --> 00:51:17,000
Speaker 2: I forget if this was from your video, but like,

948
00:51:17,200 --> 00:51:21,000
Speaker 2: I also watched Kenny j D's video about Save the

949
00:51:21,080 --> 00:51:24,000
Speaker 2: Last Dance that came out recently, which was really really funny.

950
00:51:24,280 --> 00:51:27,880
Speaker 2: But like the legacy of like movies where that this

951
00:51:27,920 --> 00:51:30,480
Speaker 2: feels like very clearly placed in where it's like a

952
00:51:30,520 --> 00:51:34,879
Speaker 2: white character like works through some external issue in their

953
00:51:34,920 --> 00:51:40,480
Speaker 2: lives by briefly being in a predominantly black community.

954
00:51:40,640 --> 00:51:46,239
Speaker 1: This is a story of Taylor's oldest time hate and

955
00:51:46,280 --> 00:51:50,480
Speaker 1: paneteer and bring it on? Mmm? Is it the second

956
00:51:50,560 --> 00:51:53,440
Speaker 1: or third one with the launge noles in it? When

957
00:51:53,480 --> 00:51:54,160
Speaker 1: she's crumping?

958
00:51:54,600 --> 00:51:56,719
Speaker 4: Oh god, I want to I want to say the

959
00:51:56,760 --> 00:51:59,320
Speaker 4: first one, so I couldn't say.

960
00:51:59,600 --> 00:52:03,480
Speaker 1: This is basically say the last Dance but haten paniteer,

961
00:52:03,640 --> 00:52:05,920
Speaker 1: and she goes to a predominantly black school.

962
00:52:05,960 --> 00:52:07,280
Speaker 3: Bring it on all are and nothing?

963
00:52:07,400 --> 00:52:09,160
Speaker 1: Yes, bring it on all or nothing. She goes to

964
00:52:09,200 --> 00:52:14,160
Speaker 1: predominantly black school and cheers there, and the black girls

965
00:52:14,440 --> 00:52:17,600
Speaker 1: had roll their necks and do not like her. And

966
00:52:17,640 --> 00:52:20,720
Speaker 1: then she shows that she can do it by doing

967
00:52:20,800 --> 00:52:24,040
Speaker 1: white mediocre dancing, which I'm gonna be honest and Canada

968
00:52:24,040 --> 00:52:26,080
Speaker 1: at least I'll see at the clubs like, we'll all

969
00:52:26,080 --> 00:52:28,160
Speaker 1: be dancing having a good time. You turn around, a

970
00:52:28,200 --> 00:52:30,080
Speaker 1: white girl does like a little booty pop and a

971
00:52:30,120 --> 00:52:34,240
Speaker 1: group of black guys are like, hey, hey, I'm like girl, girl,

972
00:52:34,360 --> 00:52:37,439
Speaker 1: it's not that special, it's we all need to calm down.

973
00:52:37,960 --> 00:52:40,120
Speaker 1: So they're emboldened by this. But I think the thing

974
00:52:40,160 --> 00:52:43,200
Speaker 1: that the major theme that I really got from this

975
00:52:43,520 --> 00:52:46,680
Speaker 1: was I do not trust Hollywood in general, but I

976
00:52:46,680 --> 00:52:48,960
Speaker 1: do not trust Hollywood to make movies like this, because

977
00:52:49,320 --> 00:52:51,200
Speaker 1: even if they had a white guy write it and

978
00:52:51,200 --> 00:52:54,279
Speaker 1: then a black woman come in to like sort it out,

979
00:52:54,680 --> 00:52:59,560
Speaker 1: it's still Hollywood depictions of what they expect an audience

980
00:52:59,600 --> 00:53:04,600
Speaker 1: to want and appreciate, as opposed to depictions informed by

981
00:53:04,680 --> 00:53:08,120
Speaker 1: real people, cause, like, I'm not against hearing black people

982
00:53:08,160 --> 00:53:11,440
Speaker 1: talk with attitude or roll their necks or whatever. Like

983
00:53:11,840 --> 00:53:14,120
Speaker 1: Pea Valley is one of my favorite shows, and I

984
00:53:14,120 --> 00:53:17,400
Speaker 1: think it does a really good job of depicting Southern

985
00:53:17,440 --> 00:53:20,720
Speaker 1: folks that I grew up around and heard talk black

986
00:53:20,760 --> 00:53:23,799
Speaker 1: and white, but predominantly black, and like the different race

987
00:53:23,840 --> 00:53:26,880
Speaker 1: relations in there too. I don't know, it just feels

988
00:53:26,880 --> 00:53:30,600
Speaker 1: like more grounded in reality when I watch that show,

989
00:53:31,560 --> 00:53:34,960
Speaker 1: and the difference of when I hear a black person

990
00:53:35,000 --> 00:53:37,000
Speaker 1: writing it and a black person of a certain age

991
00:53:37,040 --> 00:53:40,120
Speaker 1: writing for it, like insecure and rap shit and stuff

992
00:53:40,160 --> 00:53:43,680
Speaker 1: like that, versus an older white man writing this dance

993
00:53:43,719 --> 00:53:46,560
Speaker 1: movie because dance movies were popular in the early two thousands,

994
00:53:46,640 --> 00:53:48,719
Speaker 1: and then they're like, oh, we need it to look better,

995
00:53:48,760 --> 00:53:50,359
Speaker 1: so let's have this black woman. I don't know how

996
00:53:50,400 --> 00:53:52,160
Speaker 1: involved she was in it, so I don't want to

997
00:53:52,440 --> 00:53:56,480
Speaker 1: discredit her, but it's also like, yeah, I'm just like Hollywood,

998
00:53:56,560 --> 00:53:59,200
Speaker 1: I'm giving you SIDEI And I know the actors only

999
00:53:59,239 --> 00:54:01,000
Speaker 1: have but so much can because they're like, listen, a

1000
00:54:01,000 --> 00:54:02,600
Speaker 1: gig is a gig. Let me just come for here.

1001
00:54:02,640 --> 00:54:05,080
Speaker 1: Sadie's damn lines, get my money and go.

1002
00:54:05,440 --> 00:54:08,319
Speaker 2: But Yeah, Yeah, there's not a lot of information I

1003
00:54:08,360 --> 00:54:10,759
Speaker 2: was able to find about the production of this movie.

1004
00:54:10,800 --> 00:54:13,160
Speaker 2: I was really hoping for like an oral history kind

1005
00:54:13,160 --> 00:54:15,759
Speaker 2: of peace on this movie, but it doesn't seem like

1006
00:54:15,760 --> 00:54:19,000
Speaker 2: one exists, which is really frustrating because this movie, and

1007
00:54:19,080 --> 00:54:22,960
Speaker 2: a lot of teen movies, feels like studio notes within

1008
00:54:23,000 --> 00:54:24,960
Speaker 2: an inch of its life, to the point where it's

1009
00:54:24,960 --> 00:54:28,760
Speaker 2: like incoherent at certain parts, and it seems like whole

1010
00:54:28,800 --> 00:54:31,920
Speaker 2: scenes or like storylines are kind of dropped. But I

1011
00:54:32,040 --> 00:54:36,680
Speaker 2: was honestly surprised that this movie has a black director

1012
00:54:36,719 --> 00:54:38,600
Speaker 2: and a black co writer because it just seems so

1013
00:54:38,680 --> 00:54:41,880
Speaker 2: all over the place. And I wish I knew because

1014
00:54:41,920 --> 00:54:47,120
Speaker 2: the name of the director, he's predominantly a TV director

1015
00:54:47,160 --> 00:54:51,120
Speaker 2: before this, named Thomas Carter. Carter who side note, I

1016
00:54:51,120 --> 00:54:53,120
Speaker 2: thought it was just really funny. He's like, when I

1017
00:54:53,160 --> 00:54:55,920
Speaker 2: saw Julia Styles dance in Ten Things I Hate About You,

1018
00:54:56,000 --> 00:54:57,200
Speaker 2: I knew she had to be in this.

1019
00:54:57,320 --> 00:54:59,520
Speaker 3: I'm like, did you that's why she.

1020
00:54:59,640 --> 00:55:01,439
Speaker 1: Danced Ten Things I Hate About You?

1021
00:55:01,560 --> 00:55:03,160
Speaker 4: Yeah, there's a see where she gets up on the

1022
00:55:03,239 --> 00:55:06,719
Speaker 4: table at a party and starts dancing, And again I

1023
00:55:06,719 --> 00:55:09,320
Speaker 4: would say, like, not particularly well, right.

1024
00:55:09,320 --> 00:55:11,600
Speaker 3: I'm just like yeah, I'm sorry.

1025
00:55:11,640 --> 00:55:13,680
Speaker 1: I'm gonna say the thing that I probably shouldn't say

1026
00:55:13,680 --> 00:55:15,719
Speaker 1: in mixed company. But here we go, older black man

1027
00:55:15,760 --> 00:55:18,239
Speaker 1: at a certain age. Y'all, y'all be given to little

1028
00:55:18,280 --> 00:55:22,160
Speaker 1: too much? What what is this? What you saw? Julius?

1029
00:55:22,480 --> 00:55:24,799
Speaker 1: I'm sorry. There are plenty of white girls out there

1030
00:55:24,800 --> 00:55:27,120
Speaker 1: that could have done a lot more and not been

1031
00:55:27,400 --> 00:55:29,719
Speaker 1: like I think Julius Sous played it well. And how

1032
00:55:29,760 --> 00:55:33,440
Speaker 1: stiff she was, especially like in the beginning, you notice

1033
00:55:33,440 --> 00:55:36,000
Speaker 1: little things with how she puts her feet, how she stands,

1034
00:55:36,400 --> 00:55:38,960
Speaker 1: you know, the ballet training, like I think she that

1035
00:55:39,120 --> 00:55:41,239
Speaker 1: was directed well and I think she really did that well.

1036
00:55:41,280 --> 00:55:43,600
Speaker 1: But it was still just like, even when they're doing

1037
00:55:43,600 --> 00:55:45,840
Speaker 1: the dance and they're doing the steps and whatever, I

1038
00:55:45,920 --> 00:55:49,840
Speaker 1: was just like, girl, Derek dropped to the splits, flipped

1039
00:55:49,840 --> 00:55:52,040
Speaker 1: back up. He was doing be boy stuff. What was

1040
00:55:52,080 --> 00:55:52,560
Speaker 1: she doing?

1041
00:55:54,239 --> 00:55:57,720
Speaker 2: Yeah, it's just like it does feel like this movie

1042
00:55:57,880 --> 00:56:02,160
Speaker 2: is directed by someone much older than the age demographic,

1043
00:56:02,480 --> 00:56:04,840
Speaker 2: which is true. He is almost fifty when he directed this.

1044
00:56:05,200 --> 00:56:07,759
Speaker 2: Not true to be agist with the direction, But when

1045
00:56:07,760 --> 00:56:10,239
Speaker 2: you're making a movie for teenagers, you should like talk

1046
00:56:10,320 --> 00:56:12,920
Speaker 2: to one, you should talk to one well because you're

1047
00:56:12,960 --> 00:56:14,440
Speaker 2: also talk to with you.

1048
00:56:15,040 --> 00:56:20,280
Speaker 4: Yeah, you're bringing in the baggage of like two generations

1049
00:56:20,360 --> 00:56:25,360
Speaker 4: removed from the target demo and the actors in the movie,

1050
00:56:25,400 --> 00:56:27,799
Speaker 4: and so yeah, you're like bringing in this kind of

1051
00:56:27,840 --> 00:56:32,759
Speaker 4: like generational baggage from a bygone era. And all of

1052
00:56:32,800 --> 00:56:35,560
Speaker 4: this is happening in two thousand and one, which is like,

1053
00:56:35,880 --> 00:56:38,920
Speaker 4: you know, over twenty years ago now. So like it is,

1054
00:56:39,400 --> 00:56:42,839
Speaker 4: despite the movie having a black director and having a

1055
00:56:42,880 --> 00:56:46,440
Speaker 4: black co writer, the sole story by credit goes to

1056
00:56:47,080 --> 00:56:50,759
Speaker 4: Dwayne Adler, who is a white man. A black woman

1057
00:56:50,840 --> 00:56:54,399
Speaker 4: named Cheryl Edwards has a co screen running credit with

1058
00:56:54,600 --> 00:56:58,200
Speaker 4: Dwayne Adler, but we're not quite sure to what extent

1059
00:56:58,440 --> 00:57:01,160
Speaker 4: she was involved. When they're are like, you know, co

1060
00:57:01,560 --> 00:57:04,759
Speaker 4: screenplay credits, that could mean any number of things. It

1061
00:57:04,800 --> 00:57:08,160
Speaker 4: could mean that they both wrote separate drafts. It could

1062
00:57:08,200 --> 00:57:11,719
Speaker 4: mean that they collaborated together on drafts. It could mean

1063
00:57:11,760 --> 00:57:14,799
Speaker 4: that she was just brought in to rewrite the dialogue,

1064
00:57:15,360 --> 00:57:18,280
Speaker 4: which is honestly, I feel like probably the most likely thing,

1065
00:57:18,320 --> 00:57:21,880
Speaker 4: where like, yeah, his dialogue just didn't sound authentic at all,

1066
00:57:22,000 --> 00:57:25,280
Speaker 4: and so she although I'm completely speculating, you know, don't

1067
00:57:25,320 --> 00:57:26,120
Speaker 4: quote me on this.

1068
00:57:26,120 --> 00:57:29,400
Speaker 2: And he goes on to make this a cottage industry,

1069
00:57:29,720 --> 00:57:30,800
Speaker 2: like Duayne I.

1070
00:57:31,040 --> 00:57:33,680
Speaker 1: And that's the reason why I was sideways, because he

1071
00:57:33,720 --> 00:57:35,080
Speaker 1: did a lot of these fuckings.

1072
00:57:35,200 --> 00:57:40,959
Speaker 2: Yeah, he found something that worked and just relentless save

1073
00:57:41,080 --> 00:57:43,960
Speaker 2: the last dance the way she moves. Don't remember that

1074
00:57:44,000 --> 00:57:46,760
Speaker 2: one step up, save the last dance too, step up

1075
00:57:46,760 --> 00:57:49,280
Speaker 2: to the streets, make it happen. I don't know that

1076
00:57:49,360 --> 00:57:52,120
Speaker 2: is step up, three D, step up, Revolution, step up

1077
00:57:52,120 --> 00:57:55,160
Speaker 2: all in He makes like a billion step up dollars

1078
00:57:55,440 --> 00:57:58,400
Speaker 2: after this because he's like, uh, yeah, I think I.

1079
00:57:58,440 --> 00:58:03,200
Speaker 3: Get kids movies and you're like, Dwayne, I'm not sure.

1080
00:58:03,440 --> 00:58:04,840
Speaker 3: I'm not sure those share Dwayne.

1081
00:58:04,840 --> 00:58:07,600
Speaker 1: The kids just want to dance to a little hip.

1082
00:58:08,960 --> 00:58:11,760
Speaker 4: So yeah, I mean, despite the movie having a few

1083
00:58:11,800 --> 00:58:16,240
Speaker 4: black creatives in like significant roles, significant creative roles, as

1084
00:58:16,240 --> 00:58:18,480
Speaker 4: you point out in your video, Esda Kadija, like this

1085
00:58:18,560 --> 00:58:21,960
Speaker 4: movie still has kind of like the stink of written

1086
00:58:22,120 --> 00:58:25,080
Speaker 4: by a white person all over it.

1087
00:58:25,080 --> 00:58:31,360
Speaker 1: It's Hollywood white gaze, not the Hollywood white gaze. Because

1088
00:58:31,400 --> 00:58:33,120
Speaker 1: I always have to clarify that.

1089
00:58:33,880 --> 00:58:34,760
Speaker 3: Not Andy Cohen.

1090
00:58:36,000 --> 00:58:39,760
Speaker 1: Well that's a whole other that's a whole other conversation.

1091
00:58:40,240 --> 00:58:43,880
Speaker 4: Yeah, I don't have time, but I mean just yeah,

1092
00:58:43,880 --> 00:58:46,080
Speaker 4: the way that this story ends up panning out as

1093
00:58:46,160 --> 00:58:49,360
Speaker 4: far as like she ends up in this predominantly black space,

1094
00:58:49,720 --> 00:58:54,880
Speaker 4: she starts just basically appropriating the culture. Anytime anyone calls

1095
00:58:54,920 --> 00:58:58,080
Speaker 4: her out for any behavior, she doesn't learn anything from it.

1096
00:58:58,160 --> 00:59:01,120
Speaker 4: She takes it as an attack, and then she's just like, well,

1097
00:59:01,120 --> 00:59:03,080
Speaker 4: I'm just gonna do whatever I want to do. And

1098
00:59:03,080 --> 00:59:07,600
Speaker 4: then she ends up incorporating the things that she learned

1099
00:59:07,600 --> 00:59:12,360
Speaker 4: from Derek into her like ballet audition for Juilliard. So

1100
00:59:12,440 --> 00:59:15,160
Speaker 4: it's like, yeah, me, a white woman, I'm going to

1101
00:59:15,360 --> 00:59:18,960
Speaker 4: introduce hip hop to Juilliard. And then the white judgers

1102
00:59:18,960 --> 00:59:22,520
Speaker 4: are like the twist, it's bad, amazing, but they love it,

1103
00:59:22,560 --> 00:59:23,880
Speaker 4: and they're like, welcome to Juilliard.

1104
00:59:24,280 --> 00:59:24,480
Speaker 1: Yeah.

1105
00:59:24,960 --> 00:59:27,240
Speaker 2: Well, and it's and I feel like it's also implied.

1106
00:59:27,320 --> 00:59:28,800
Speaker 2: And this like reminds me of a lot of the

1107
00:59:28,840 --> 00:59:32,920
Speaker 2: conversations from several years ago and still now of how

1108
00:59:33,200 --> 00:59:37,640
Speaker 2: like your Charlie d'milio's on TikTok would take and repost

1109
00:59:37,840 --> 00:59:41,880
Speaker 2: dances originally done by black users and then become super

1110
00:59:41,960 --> 00:59:45,439
Speaker 2: famous and you know, make a bajillion dollars off of

1111
00:59:45,720 --> 00:59:49,080
Speaker 2: that appropriation, and it's like, we don't get the feeling

1112
00:59:49,440 --> 00:59:52,160
Speaker 2: that at the end of this movie that like Sarah

1113
00:59:52,280 --> 00:59:55,720
Speaker 2: is going to continue doing hip hop and or that

1114
00:59:55,800 --> 00:59:59,400
Speaker 2: she's gonna even continue like living in a predominantly black neighborhood.

1115
00:59:59,440 --> 01:00:02,600
Speaker 2: It's like she's used what she needs and now she's

1116
01:00:02,720 --> 01:00:05,840
Speaker 2: like going to it seems like cast it off and

1117
01:00:05,920 --> 01:00:08,560
Speaker 2: move on because she's gotten what she wants.

1118
01:00:08,880 --> 01:00:09,400
Speaker 3: A thing that I.

1119
01:00:09,400 --> 01:00:11,600
Speaker 1: Didn't talk about in my video essay that I am

1120
01:00:11,800 --> 01:00:17,080
Speaker 1: thinking about more now is how we package desirability because

1121
01:00:17,120 --> 01:00:20,160
Speaker 1: I think someone like a Julia Styles, she's pretty popular

1122
01:00:20,200 --> 01:00:23,880
Speaker 1: around that time as an actor, and even now with

1123
01:00:23,920 --> 01:00:26,640
Speaker 1: like a Charlie Dmeliar or whatever like TikTok. People talk

1124
01:00:26,640 --> 01:00:29,520
Speaker 1: about the algorithm and how it does like certain facial features,

1125
01:00:29,600 --> 01:00:33,600
Speaker 1: certain looks, even complexions, like there is bias in its algorithm,

1126
01:00:33,640 --> 01:00:37,960
Speaker 1: skin tone bias and all that stuff. We I think

1127
01:00:38,120 --> 01:00:40,680
Speaker 1: collectively people just like good music, right, and they just

1128
01:00:40,840 --> 01:00:43,520
Speaker 1: like something that is a vibe, and a lot of

1129
01:00:43,560 --> 01:00:45,240
Speaker 1: hip hop or R and B and all that stuff

1130
01:00:45,280 --> 01:00:47,920
Speaker 1: is a vibe. It's the same thing in reverse, like

1131
01:00:48,000 --> 01:00:50,360
Speaker 1: when you're like black people, why you love Paramore so much?

1132
01:00:50,440 --> 01:00:52,760
Speaker 1: It's like, leave me alone, Hey, Williams. Slatt, don't do

1133
01:00:52,880 --> 01:00:55,480
Speaker 1: me like, I actually went to an emo phase. So like,

1134
01:00:55,600 --> 01:00:57,720
Speaker 1: I know a lot of like pop punk girlies. But

1135
01:00:58,840 --> 01:01:00,760
Speaker 1: even black people that do not listen to that type

1136
01:01:00,760 --> 01:01:02,640
Speaker 1: of music are like no, no, no. They will sing

1137
01:01:02,680 --> 01:01:05,600
Speaker 1: misery business top to bottom and be like the shit slaps,

1138
01:01:05,800 --> 01:01:08,000
Speaker 1: you know. And Hailey Williams is a great singer and

1139
01:01:08,040 --> 01:01:09,920
Speaker 1: she's a lot of uh she grew up in the South,

1140
01:01:10,040 --> 01:01:12,440
Speaker 1: she's a lot of different inspirations. Anyway, for me, the

1141
01:01:12,520 --> 01:01:14,080
Speaker 1: thing and this is my own bias. I'm speaking for

1142
01:01:14,120 --> 01:01:16,280
Speaker 1: my own perspective. Black people are not a monolith. I

1143
01:01:16,320 --> 01:01:19,120
Speaker 1: tend to view it sometimes as like when I've been

1144
01:01:19,160 --> 01:01:21,640
Speaker 1: around other black folks and stuff, if you're talented, if

1145
01:01:21,680 --> 01:01:24,760
Speaker 1: you're good, if you're whatever, we'll recognize that. That's it.

1146
01:01:24,800 --> 01:01:26,680
Speaker 1: Like you just have to be good. Like Renee Rapp

1147
01:01:26,760 --> 01:01:30,080
Speaker 1: was singing Dangerously in Love with Jennifer Hudson on her

1148
01:01:30,080 --> 01:01:32,320
Speaker 1: show If So many of the comments were like, Jennifer,

1149
01:01:32,360 --> 01:01:33,840
Speaker 1: how are you gonna let this girl eat you up

1150
01:01:33,920 --> 01:01:38,640
Speaker 1: like that? Jennifer ooh, you know, And so it's just like,

1151
01:01:38,720 --> 01:01:40,560
Speaker 1: if you're good, the shit's good. It doesn't matter what

1152
01:01:40,600 --> 01:01:43,840
Speaker 1: your skin color is. But I think with white audiences

1153
01:01:43,840 --> 01:01:45,600
Speaker 1: and This is a question I've asked a lot. It's

1154
01:01:46,120 --> 01:01:49,920
Speaker 1: will white audiences show up to things where they are

1155
01:01:49,920 --> 01:01:52,960
Speaker 1: not the center of attention or they are not centered

1156
01:01:52,960 --> 01:01:56,640
Speaker 1: in it? And how do we do introduce this style

1157
01:01:56,680 --> 01:01:59,040
Speaker 1: of music? Even though hip hop was very popular in

1158
01:01:59,040 --> 01:02:01,320
Speaker 1: the nineties and two thousand that was like the biggest time.

1159
01:02:01,760 --> 01:02:03,520
Speaker 1: And this is the question I don't really know the

1160
01:02:03,600 --> 01:02:06,520
Speaker 1: answer to my speculation, and I speculate this a lot

1161
01:02:06,520 --> 01:02:08,520
Speaker 1: in videos. Is that a lot of us need to

1162
01:02:08,560 --> 01:02:11,280
Speaker 1: work on practicing our empathy muscles when it comes to

1163
01:02:11,320 --> 01:02:13,840
Speaker 1: putting ourselves in the perspective of a character who we

1164
01:02:13,880 --> 01:02:18,160
Speaker 1: don't look like. And for a lot of darker skin folks,

1165
01:02:18,160 --> 01:02:20,080
Speaker 1: black and brown people, especially if you grow up in

1166
01:02:20,080 --> 01:02:22,560
Speaker 1: this part of the world, you are used to seeing

1167
01:02:22,640 --> 01:02:25,080
Speaker 1: media that does not look like you a lot, but

1168
01:02:25,160 --> 01:02:28,520
Speaker 1: you can still empathize with the characters. Like Interteller is

1169
01:02:28,520 --> 01:02:30,840
Speaker 1: one of my favorite movies. There are a couple of

1170
01:02:30,840 --> 01:02:32,880
Speaker 1: black people in it, sure, but like, it's not about

1171
01:02:33,200 --> 01:02:35,360
Speaker 1: black people or anything like that. It's just a story

1172
01:02:35,360 --> 01:02:39,160
Speaker 1: about love, you know, so like and I fucking love it.

1173
01:02:39,360 --> 01:02:43,560
Speaker 1: But I think not enough audience members like it's particularly

1174
01:02:43,600 --> 01:02:47,680
Speaker 1: not enough white folks will watch or invest in movies

1175
01:02:47,840 --> 01:02:51,720
Speaker 1: and TV shows where it's not for them quote unquote,

1176
01:02:51,800 --> 01:02:54,680
Speaker 1: or they're not centered in it, which is why, like

1177
01:02:54,720 --> 01:02:57,560
Speaker 1: we'll have a whole separate black genre of movies where

1178
01:02:57,600 --> 01:02:59,800
Speaker 1: I'm like, if I say to a black person, the

1179
01:03:00,000 --> 01:03:03,080
Speaker 1: my family fucked my husband, they know exactly I'm talking

1180
01:03:03,080 --> 01:03:06,360
Speaker 1: about soul food. They know, you know. But like you

1181
01:03:06,400 --> 01:03:08,000
Speaker 1: ask a white person if they see so food, and

1182
01:03:08,040 --> 01:03:10,160
Speaker 1: a lot of times they're like, what or one of

1183
01:03:10,200 --> 01:03:12,160
Speaker 1: my friends to see the color purple? He's white. You's

1184
01:03:12,160 --> 01:03:13,960
Speaker 1: see the color purple way too many times. More times

1185
01:03:14,080 --> 01:03:17,440
Speaker 1: I've seen it, and I was always like, I'm sorry, Kevin,

1186
01:03:17,520 --> 01:03:21,200
Speaker 1: what you see the color purple? Eight? What? Like? And

1187
01:03:21,680 --> 01:03:24,520
Speaker 1: it even surprises me because I'm not used to white

1188
01:03:24,560 --> 01:03:29,400
Speaker 1: folks not centering themselves and practicing that empathy muscle of

1189
01:03:29,440 --> 01:03:32,920
Speaker 1: consuming media that isn't necessarily cater to them, that doesn't

1190
01:03:32,960 --> 01:03:37,200
Speaker 1: have them in mind, but it's still about people totally.

1191
01:03:36,920 --> 01:03:39,800
Speaker 4: Like And this is something that I've had to contend

1192
01:03:39,840 --> 01:03:44,720
Speaker 4: with in my own like movie watching journey, where that's

1193
01:03:44,760 --> 01:03:47,560
Speaker 4: just so much of what's available are white centered stories.

1194
01:03:47,680 --> 01:03:51,640
Speaker 4: So they're just so ubiquitous that if you go to

1195
01:03:51,720 --> 01:03:53,440
Speaker 4: the movies or if you want to watch a movie,

1196
01:03:54,000 --> 01:03:56,840
Speaker 4: nearly ten out of ten times it's going to be

1197
01:03:57,040 --> 01:04:01,479
Speaker 4: a white centered story, which is why white people do

1198
01:04:01,680 --> 01:04:05,840
Speaker 4: have to almost deliberately seek out or like they have

1199
01:04:05,920 --> 01:04:08,080
Speaker 4: to kind of put in a more conscious effort, and

1200
01:04:08,240 --> 01:04:10,040
Speaker 4: most of them simply don't.

1201
01:04:10,200 --> 01:04:12,360
Speaker 1: Yeah, it's you don't think about it. You don't know

1202
01:04:12,400 --> 01:04:15,480
Speaker 1: what you don't know. So from a like compassionate place, yeah,

1203
01:04:15,520 --> 01:04:16,800
Speaker 1: you don't know what you don't know, so you don't

1204
01:04:16,840 --> 01:04:19,560
Speaker 1: know that you're missing a whole genre. But also from

1205
01:04:19,600 --> 01:04:22,840
Speaker 1: a girl you got internet in access and saying wi fi,

1206
01:04:22,880 --> 01:04:26,120
Speaker 1: we all do. Like if you don't, if you don't

1207
01:04:26,120 --> 01:04:28,520
Speaker 1: want to put yourself in those positions to watch those

1208
01:04:28,560 --> 01:04:30,880
Speaker 1: movies where you might not get all the references or

1209
01:04:30,920 --> 01:04:34,400
Speaker 1: you might not like understand certain things, then you're not

1210
01:04:34,440 --> 01:04:37,280
Speaker 1: going to. I'm someone who loves diverse stories and stuff,

1211
01:04:37,320 --> 01:04:39,520
Speaker 1: so I'll watch a whole bunch of shit. I don't

1212
01:04:39,560 --> 01:04:42,680
Speaker 1: know nothing about living in Ireland back during the nineties,

1213
01:04:42,680 --> 01:04:46,760
Speaker 1: but Dairy Girls is fucking hilarious, like you know, but

1214
01:04:46,840 --> 01:04:48,560
Speaker 1: also Irish people gangang you know.

1215
01:04:48,840 --> 01:04:55,280
Speaker 2: But but yeah, it does kind of challenge like when

1216
01:04:55,280 --> 01:04:57,680
Speaker 2: you were saying, like, well, what it means when you say,

1217
01:04:57,720 --> 01:04:59,760
Speaker 2: like a movie is for you versus it's not where

1218
01:05:00,040 --> 01:05:02,040
Speaker 2: like a lot of white audience members, we'll look at

1219
01:05:02,040 --> 01:05:03,440
Speaker 2: a movie and be like, well, it's not for me

1220
01:05:03,560 --> 01:05:06,240
Speaker 2: because I don't see myself in it, so it's not

1221
01:05:06,360 --> 01:05:08,320
Speaker 2: for me. Where it's like the true meaning of that

1222
01:05:08,480 --> 01:05:11,720
Speaker 2: is like I don't like that genre generally, or that's

1223
01:05:11,760 --> 01:05:14,320
Speaker 2: like not a director I let but I think that, yeah,

1224
01:05:14,360 --> 01:05:17,560
Speaker 2: that white audience members are so default, and like I've

1225
01:05:17,720 --> 01:05:19,960
Speaker 2: done this in the past and had to like call

1226
01:05:20,120 --> 01:05:23,520
Speaker 2: myself in and be like, yeah, just because you can't

1227
01:05:23,760 --> 01:05:27,280
Speaker 2: see yourself in it does not mean it's not for you,

1228
01:05:27,280 --> 01:05:28,240
Speaker 2: you fucking loser.

1229
01:05:28,840 --> 01:05:32,040
Speaker 1: Oh it started. It started kind it was like calling

1230
01:05:32,120 --> 01:05:34,920
Speaker 1: and there was like you fucking broken book too, bitch.

1231
01:05:35,200 --> 01:05:38,560
Speaker 3: Well that self talked fucking piece of shit.

1232
01:05:40,400 --> 01:05:43,440
Speaker 1: But no, I always try to tell people in my videos,

1233
01:05:43,480 --> 01:05:47,480
Speaker 1: like you need to be intentional about consuming different things

1234
01:05:47,520 --> 01:05:50,640
Speaker 1: because media is not a place where you go to

1235
01:05:50,680 --> 01:05:54,200
Speaker 1: for creativity. It's not thinking outside the box. It's not

1236
01:05:54,280 --> 01:05:57,120
Speaker 1: a vision. They're packaging and selling to you what they

1237
01:05:57,160 --> 01:06:00,200
Speaker 1: think you want. And when they find somebody else that

1238
01:06:00,320 --> 01:06:02,440
Speaker 1: is willing to do something else and be creative and

1239
01:06:02,480 --> 01:06:04,800
Speaker 1: other people like it, they jump on that, you know,

1240
01:06:05,160 --> 01:06:07,080
Speaker 1: like the Barbie movie. It made all the money, so

1241
01:06:07,120 --> 01:06:09,080
Speaker 1: now they're like, Okay, we're going to jump on stuff

1242
01:06:09,120 --> 01:06:11,640
Speaker 1: like that too, because clearly the audience wants it. But

1243
01:06:12,000 --> 01:06:14,800
Speaker 1: they weren't going to just make that movie. People had

1244
01:06:14,800 --> 01:06:16,760
Speaker 1: to fight them for it to be made. It had

1245
01:06:16,760 --> 01:06:19,000
Speaker 1: to have If they were going to have a female director,

1246
01:06:19,000 --> 01:06:21,760
Speaker 1: it had to be someone like Greta who is well known,

1247
01:06:21,800 --> 01:06:23,320
Speaker 1: because they're not just going to take a chance, you

1248
01:06:23,400 --> 01:06:26,360
Speaker 1: know what I mean. It's just very like the audience

1249
01:06:26,520 --> 01:06:29,280
Speaker 1: dictates a lot of things, and we don't give ourselves

1250
01:06:29,400 --> 01:06:32,840
Speaker 1: enough power or enough agency to say if I actually

1251
01:06:32,880 --> 01:06:34,600
Speaker 1: want to go out of my way and purposely start

1252
01:06:34,640 --> 01:06:38,840
Speaker 1: supporting other things and investigating other things, I can do that,

1253
01:06:39,320 --> 01:06:42,120
Speaker 1: and the media and all that stuff will follow if

1254
01:06:42,160 --> 01:06:46,600
Speaker 1: more of us are doing that. Like I purposely diversify

1255
01:06:46,680 --> 01:06:48,320
Speaker 1: when I was on Instagram. I'm taking a bit of

1256
01:06:48,360 --> 01:06:49,840
Speaker 1: a break right now, but when I was on there,

1257
01:06:50,480 --> 01:06:53,080
Speaker 1: I have made a conscious effort to follow accounts of

1258
01:06:53,120 --> 01:06:57,000
Speaker 1: people with different body shapes, different abilities, all of that,

1259
01:06:57,080 --> 01:06:59,600
Speaker 1: because I'm like, I need to put in my face

1260
01:06:59,640 --> 01:07:03,480
Speaker 1: and see difference and be comfortable with that. It's like

1261
01:07:03,520 --> 01:07:06,360
Speaker 1: a lack of repeated exposure. The more that I expose

1262
01:07:06,480 --> 01:07:09,520
Speaker 1: myself to difference, the different ways that human beings can

1263
01:07:09,560 --> 01:07:12,240
Speaker 1: come in, the more I value human life, no matter

1264
01:07:12,280 --> 01:07:14,360
Speaker 1: what it looks like. The more I'm able to see

1265
01:07:14,400 --> 01:07:17,800
Speaker 1: any type of story that somebody tells, and I see

1266
01:07:17,800 --> 01:07:20,640
Speaker 1: the humanity of that person in myself, no matter what

1267
01:07:20,680 --> 01:07:22,160
Speaker 1: they And I know that there are certain things I

1268
01:07:22,160 --> 01:07:25,240
Speaker 1: won't be able to relate to specifically because of their identity,

1269
01:07:25,280 --> 01:07:27,040
Speaker 1: and I don't want to discount that. But I also

1270
01:07:27,080 --> 01:07:29,760
Speaker 1: think we use that as an excuse to not try

1271
01:07:30,040 --> 01:07:32,720
Speaker 1: to put ourselves in other people's shoes because it makes

1272
01:07:32,800 --> 01:07:34,720
Speaker 1: us uncomfortable. We don't want to step on toes. And

1273
01:07:34,720 --> 01:07:39,280
Speaker 1: it's like, you can love people for the square fact

1274
01:07:39,320 --> 01:07:42,200
Speaker 1: that they are people and not need to step on

1275
01:07:42,280 --> 01:07:44,280
Speaker 1: toes and all this other stuff. I don't know if

1276
01:07:44,280 --> 01:07:45,520
Speaker 1: that makes sense, but yeah.

1277
01:07:45,360 --> 01:07:46,360
Speaker 3: No, totally yeah.

1278
01:07:46,400 --> 01:07:48,600
Speaker 2: And like having it be like again, just like having

1279
01:07:48,680 --> 01:07:52,200
Speaker 2: the prerequisite be that something needs to be relatable for

1280
01:07:52,280 --> 01:07:53,760
Speaker 2: you to be able to connect with it, which is

1281
01:07:53,800 --> 01:07:54,920
Speaker 2: absolutely not true.

1282
01:07:55,000 --> 01:07:59,520
Speaker 1: Bitch, stretch out your brain muscles like stop this, y'all.

1283
01:08:00,280 --> 01:08:04,920
Speaker 4: I teach in my screenwriting classes. Brag, I teach screenwriting classes.

1284
01:08:05,320 --> 01:08:07,760
Speaker 4: Go to my website Kaitlyn Johntay dot com and sign

1285
01:08:07,880 --> 01:08:12,240
Speaker 4: up for that centering yourself. I say, one of the

1286
01:08:12,280 --> 01:08:15,240
Speaker 4: reasons that theme is so important as a writer to

1287
01:08:15,280 --> 01:08:18,400
Speaker 4: be like cognizant of what theme you're putting forth is because,

1288
01:08:18,439 --> 01:08:21,360
Speaker 4: like we relate to stories, not because the characters have

1289
01:08:21,439 --> 01:08:24,040
Speaker 4: the same exact experience that we do, but because those

1290
01:08:24,080 --> 01:08:28,280
Speaker 4: movies explore universally relatable themes that can be told via

1291
01:08:29,120 --> 01:08:33,640
Speaker 4: any person, any type of person, from any background. But

1292
01:08:33,960 --> 01:08:38,200
Speaker 4: the thing about privilege is that it tends to warp

1293
01:08:38,439 --> 01:08:41,040
Speaker 4: your brain. And the more privilege you have, and the

1294
01:08:41,040 --> 01:08:44,800
Speaker 4: more positions of privilege that you occupy, and especially if

1295
01:08:44,840 --> 01:08:48,800
Speaker 4: you're just not an inherently empathetic person, you allow that

1296
01:08:48,960 --> 01:08:52,960
Speaker 4: to warp you and to just turn an eye to

1297
01:08:53,800 --> 01:08:56,240
Speaker 4: anyone who doesn't share that same privilege as you. So

1298
01:08:56,240 --> 01:08:59,240
Speaker 4: that's why I think so many white people are like, well,

1299
01:08:59,280 --> 01:09:01,519
Speaker 4: this movie is about black people, Well, how could I

1300
01:09:01,560 --> 01:09:05,200
Speaker 4: possibly relate? This is not for me. There is no

1301
01:09:05,320 --> 01:09:08,120
Speaker 4: world in which I could relate to any of these

1302
01:09:08,200 --> 01:09:09,160
Speaker 4: storylines or any.

1303
01:09:09,000 --> 01:09:11,400
Speaker 3: Of these characters, Like, I can't relate with this. I'm like,

1304
01:09:11,520 --> 01:09:14,760
Speaker 3: you haven't seen the movie. You don't know that, like you.

1305
01:09:15,000 --> 01:09:17,320
Speaker 4: It's yeah, it's very first and then Save the Last

1306
01:09:17,439 --> 01:09:20,160
Speaker 4: Dance is an interesting case study because the cast is

1307
01:09:20,200 --> 01:09:24,599
Speaker 4: predominantly black, but because the protagonist is a white person.

1308
01:09:25,479 --> 01:09:28,200
Speaker 4: You know, you discuss this in your video as well,

1309
01:09:28,320 --> 01:09:31,680
Speaker 4: but it just means that now it's a bunch of

1310
01:09:31,720 --> 01:09:35,479
Speaker 4: black characters propping up a white protagonist and being there

1311
01:09:35,520 --> 01:09:39,080
Speaker 4: to support this white narrative in this white girl's you know,

1312
01:09:39,760 --> 01:09:42,560
Speaker 4: struggle of self actualization.

1313
01:09:43,280 --> 01:09:46,240
Speaker 1: Like and that's the thing that bothers me the most.

1314
01:09:46,880 --> 01:09:49,080
Speaker 1: It's always this like privilege will give you, like you said,

1315
01:09:49,080 --> 01:09:50,839
Speaker 1: it warps your brain, and it gives you this navel

1316
01:09:50,880 --> 01:09:55,120
Speaker 1: gazing thing where everything is about you and everything is personal,

1317
01:09:55,800 --> 01:09:58,400
Speaker 1: like people calling out the way the world is, which

1318
01:09:58,600 --> 01:10:00,720
Speaker 1: she's like, open up your pretty brow and look at

1319
01:10:00,720 --> 01:10:03,840
Speaker 1: the world, like you live in a different world than me.

1320
01:10:04,240 --> 01:10:07,200
Speaker 1: Instead of taking that as an opportunity to look inwards more,

1321
01:10:07,800 --> 01:10:09,960
Speaker 1: it's well, I want to be with this guy, and

1322
01:10:10,040 --> 01:10:13,280
Speaker 1: like obviously these are all teenagers, so like okay, but

1323
01:10:13,360 --> 01:10:16,600
Speaker 1: at the same time, like privileged kind of infantilizes you

1324
01:10:16,680 --> 01:10:21,080
Speaker 1: too suretely you you really don't and difficult things become

1325
01:10:21,120 --> 01:10:24,439
Speaker 1: way too hard to deal with because I'm like Darren's mama.

1326
01:10:25,040 --> 01:10:27,639
Speaker 1: He doesn't know where she is. They don't know. Yeah,

1327
01:10:27,920 --> 01:10:30,880
Speaker 1: shaneil is in high school and has a baby. Like, yes,

1328
01:10:30,960 --> 01:10:32,800
Speaker 1: you lost your mom and that is very difficult. I'm

1329
01:10:32,800 --> 01:10:34,679
Speaker 1: not going to ever discount that because losing a parent

1330
01:10:34,760 --> 01:10:38,320
Speaker 1: is so difficult, But they also lost their parent and

1331
01:10:38,360 --> 01:10:40,600
Speaker 1: are dealing with other stuff and are poor, like you

1332
01:10:40,680 --> 01:10:43,760
Speaker 1: know what I mean, I'm just like girl like. But

1333
01:10:43,840 --> 01:10:46,880
Speaker 1: it's an expectation. It's who, what bodies, what types of

1334
01:10:46,920 --> 01:10:48,840
Speaker 1: bodies and people do we expect to be in those

1335
01:10:48,880 --> 01:10:51,800
Speaker 1: positions versus the ones that we don't. And I think

1336
01:10:51,880 --> 01:10:55,280
Speaker 1: this also works with like Western audiences. If you live

1337
01:10:55,360 --> 01:10:58,120
Speaker 1: in America and Canada and you're a type person that

1338
01:10:58,120 --> 01:11:00,519
Speaker 1: doesn't like to watch international movies because you can can't relate,

1339
01:11:00,760 --> 01:11:04,400
Speaker 1: you could relate to many international quote unquote international films.

1340
01:11:04,439 --> 01:11:06,240
Speaker 1: It's international because you don't live in that part of

1341
01:11:06,240 --> 01:11:08,840
Speaker 1: the world. But anyway, like I think about that with

1342
01:11:08,840 --> 01:11:11,080
Speaker 1: the movie qtis because I always will defend this movie

1343
01:11:11,080 --> 01:11:14,160
Speaker 1: and people will always look at me sideways like talk about,

1344
01:11:15,240 --> 01:11:17,720
Speaker 1: oh ah, please have me back for qties. I got

1345
01:11:17,840 --> 01:11:20,600
Speaker 1: so much to say because I am gmbian and the

1346
01:11:20,640 --> 01:11:23,479
Speaker 1: stories about a Senegalese girl Gmbhia's inside of Senegal. It's

1347
01:11:23,520 --> 01:11:25,240
Speaker 1: a lot of similar cultures. Like I could watch the

1348
01:11:25,280 --> 01:11:27,600
Speaker 1: movie without subtitles because I could understand the language they

1349
01:11:27,640 --> 01:11:30,800
Speaker 1: were speaking when it wasn't French. But yeah, she did

1350
01:11:30,800 --> 01:11:33,280
Speaker 1: a lot of work to try and talk to actual

1351
01:11:33,280 --> 01:11:35,240
Speaker 1: girls that age, interviewed a bunch of them, had a

1352
01:11:35,240 --> 01:11:38,120
Speaker 1: psychologist on set, all this other stuff, And people in

1353
01:11:38,160 --> 01:11:40,320
Speaker 1: France and in Senegal were like, yeah, this is a

1354
01:11:40,320 --> 01:11:42,759
Speaker 1: good movie, like it's pretty, you know whatever. But people

1355
01:11:42,800 --> 01:11:44,880
Speaker 1: here were like, how dare you look at what you've

1356
01:11:44,960 --> 01:11:47,519
Speaker 1: done to the children and blah blah blah blah, freaking

1357
01:11:47,600 --> 01:11:50,920
Speaker 1: out about this stuff and trying to guise it under Well,

1358
01:11:50,920 --> 01:11:53,040
Speaker 1: I'm never gonna watch that movie because it's just groom

1359
01:11:53,080 --> 01:11:55,599
Speaker 1: or behavior and blah blah blah. And I'm like, y'all

1360
01:11:55,640 --> 01:12:00,000
Speaker 1: have adults playing teenagers in TV shows having sex with teacher,

1361
01:12:00,800 --> 01:12:03,160
Speaker 1: and you use it to justify that it's okay because

1362
01:12:03,160 --> 01:12:05,360
Speaker 1: they're adults and you don't see the problem with that,

1363
01:12:06,160 --> 01:12:09,000
Speaker 1: But you see an issue with this. You'll use any

1364
01:12:09,040 --> 01:12:13,240
Speaker 1: excuse to not consider other perspectives when it challenges the

1365
01:12:13,240 --> 01:12:14,200
Speaker 1: way you see the world.

1366
01:12:15,240 --> 01:12:17,080
Speaker 3: Oh, please come back and talk about cuties.

1367
01:12:17,080 --> 01:12:22,880
Speaker 2: Oh my gosh, I yeah, I want to rewatch it to.

1368
01:12:22,960 --> 01:12:24,519
Speaker 1: The problem around that movie.

1369
01:12:24,640 --> 01:12:27,479
Speaker 3: Lord, yeah I remember with Sarah.

1370
01:12:27,600 --> 01:12:31,400
Speaker 2: Yeah, I feel like she does have a problem and

1371
01:12:31,479 --> 01:12:33,599
Speaker 2: like she has something to work through to the extent

1372
01:12:33,680 --> 01:12:35,120
Speaker 2: that she's like lost her mom and she's.

1373
01:12:34,960 --> 01:12:35,479
Speaker 3: Lost a parent.

1374
01:12:35,560 --> 01:12:39,960
Speaker 2: But like you're saying, like her problem or that what

1375
01:12:40,080 --> 01:12:44,840
Speaker 2: she's working through is just more important. It's just more

1376
01:12:44,880 --> 01:12:48,479
Speaker 2: important and the world has to bend to ushering her

1377
01:12:48,680 --> 01:12:53,920
Speaker 2: through that problem, where like Sarah is present, but she

1378
01:12:54,240 --> 01:12:58,080
Speaker 2: doesn't take initiative to help any of her friends through

1379
01:12:58,120 --> 01:13:00,840
Speaker 2: their problems, and the movie doesn't have that ex to her.

1380
01:13:01,280 --> 01:13:03,719
Speaker 2: Like the movie keeps being like she's the most amazing

1381
01:13:03,720 --> 01:13:06,679
Speaker 2: girl to ever live, and you're just like she's going

1382
01:13:06,680 --> 01:13:09,000
Speaker 2: through something, but she's like certainly.

1383
01:13:08,560 --> 01:13:10,840
Speaker 3: Not, you know, like she's really really hot.

1384
01:13:10,920 --> 01:13:12,719
Speaker 2: And I feel like we see a lot of people

1385
01:13:12,720 --> 01:13:16,439
Speaker 2: in the movie apologizing to her uselessly.

1386
01:13:16,320 --> 01:13:18,800
Speaker 1: Even at the end when Shaneil apologized her, like we're

1387
01:13:18,840 --> 01:13:22,080
Speaker 1: still cool. I'm like, Okay, maybe Shanil didn't shouldn't have

1388
01:13:22,080 --> 01:13:23,760
Speaker 1: been that, Like you get into tip with your friends,

1389
01:13:23,800 --> 01:13:26,000
Speaker 1: she shouldn't have especially agree with Nikki is like that's

1390
01:13:26,000 --> 01:13:29,519
Speaker 1: the animy bitch you agree, will buy op. But even

1391
01:13:29,720 --> 01:13:33,160
Speaker 1: the way Sarah's like yeah, we're cool, but still has

1392
01:13:33,160 --> 01:13:35,120
Speaker 1: an attitude I'm like, bitch.

1393
01:13:35,520 --> 01:13:37,800
Speaker 2: You owe her an apology as well, Like it's just

1394
01:13:37,960 --> 01:13:42,320
Speaker 2: like it's really yeah, like the world bends to solve

1395
01:13:42,479 --> 01:13:47,000
Speaker 2: Sarah's problem and solve Sarah's life while like playing into

1396
01:13:47,120 --> 01:13:49,519
Speaker 2: a lot of stereotypes that just like the whole thing

1397
01:13:49,600 --> 01:13:50,880
Speaker 2: is really undercooked.

1398
01:13:51,040 --> 01:13:53,280
Speaker 1: It feels like, yes, that's a good word.

1399
01:13:53,840 --> 01:13:57,880
Speaker 4: And again it's a white protagonist but a predominantly black

1400
01:13:57,880 --> 01:14:01,439
Speaker 4: cast otherwise, but I think like this movie was so

1401
01:14:02,439 --> 01:14:06,800
Speaker 4: popular and like popular among my age bracket, and I

1402
01:14:06,800 --> 01:14:09,880
Speaker 4: don't know if young people are still here. We probably not,

1403
01:14:10,400 --> 01:14:12,479
Speaker 4: but I feel like they're like, Okay, how do we

1404
01:14:12,560 --> 01:14:16,480
Speaker 4: make this movie that has a predominantly black cast palatable

1405
01:14:16,920 --> 01:14:21,439
Speaker 4: to a mainstream white audience exactly? And it feels like

1406
01:14:21,560 --> 01:14:24,800
Speaker 4: the movie just caters to that constantly, because again, like

1407
01:14:25,840 --> 01:14:30,559
Speaker 4: Sarah is very rarely challenged. Anytime someone does challenge her,

1408
01:14:30,800 --> 01:14:33,679
Speaker 4: she just like gets up and walks away and doesn't

1409
01:14:33,680 --> 01:14:37,280
Speaker 4: do any introspection or like again, she doesn't learn or

1410
01:14:37,360 --> 01:14:42,280
Speaker 4: grow except when it comes to learning hip hop and

1411
01:14:42,320 --> 01:14:42,680
Speaker 4: then she.

1412
01:14:42,760 --> 01:14:45,160
Speaker 3: Just which arguably she does what.

1413
01:14:45,320 --> 01:14:48,519
Speaker 4: She doesn't do very well either, but like the story

1414
01:14:48,560 --> 01:14:50,479
Speaker 4: is told in such a way where it's like, Okay,

1415
01:14:51,400 --> 01:14:56,439
Speaker 4: this is palatable for white audiences because we're just watching

1416
01:14:57,120 --> 01:15:01,759
Speaker 4: her kind of just do whatever she wants, appropriate whatever

1417
01:15:02,000 --> 01:15:06,200
Speaker 4: she wants, not learning lessons along the way, even though

1418
01:15:06,200 --> 01:15:10,000
Speaker 4: they're like friend of the show. Jordaane Cyles has a

1419
01:15:10,040 --> 01:15:13,519
Speaker 4: piece called White Girls, Better Black Women and Save the

1420
01:15:13,600 --> 01:15:17,559
Speaker 4: Last Dance where she talks about how Shaneil was like

1421
01:15:17,760 --> 01:15:21,840
Speaker 4: done so dirty and has like good points and is

1422
01:15:21,840 --> 01:15:25,760
Speaker 4: actually challenging Sarah and saying like, look around you. You're

1423
01:15:25,800 --> 01:15:28,599
Speaker 4: taught that there's only one world, but like black people

1424
01:15:28,680 --> 01:15:34,479
Speaker 4: know differently. And rather than like Sarah being like, hmm,

1425
01:15:34,840 --> 01:15:37,800
Speaker 4: maybe there's something to this, maybe I should, you know,

1426
01:15:37,840 --> 01:15:39,720
Speaker 4: look at this from a different point of view, she

1427
01:15:39,920 --> 01:15:44,000
Speaker 4: just like gets up and leaves the crowded like medical

1428
01:15:44,040 --> 01:15:46,200
Speaker 4: facility that they're in, and she's just like, well, this

1429
01:15:46,240 --> 01:15:47,920
Speaker 4: is making me uncomfortable, so I have to leave.

1430
01:15:48,200 --> 01:15:50,519
Speaker 1: It's like you came with me to disappointment. I'm asking

1431
01:15:50,560 --> 01:15:53,040
Speaker 1: you for help. Also, girl open and putting red eyes

1432
01:15:53,160 --> 01:15:55,000
Speaker 1: you over here, sitting here, word about you, Jewel audition.

1433
01:15:55,040 --> 01:15:57,120
Speaker 1: I got a baby that I did get care of. Yes,

1434
01:15:57,280 --> 01:16:00,000
Speaker 1: Dad is trying my patience every two mins.

1435
01:16:00,160 --> 01:16:00,920
Speaker 5: It m h.

1436
01:16:01,439 --> 01:16:05,120
Speaker 1: It's like people will often depict black women as bitter

1437
01:16:05,600 --> 01:16:09,759
Speaker 1: but not go into why they might be bitter for sure,

1438
01:16:09,880 --> 01:16:12,760
Speaker 1: Why am I upset? Why am I angry? Because I

1439
01:16:12,800 --> 01:16:15,240
Speaker 1: don't think being bitter or angry is a bad emotion

1440
01:16:15,360 --> 01:16:18,240
Speaker 1: to have. I'm like, lean into the anger, lean into

1441
01:16:18,240 --> 01:16:21,920
Speaker 1: your villain era, like, feel your feelings. But why is

1442
01:16:21,960 --> 01:16:25,000
Speaker 1: it that me feeling those feelings makes you so uncomfortable

1443
01:16:25,600 --> 01:16:27,080
Speaker 1: to the point where you have to walk away, or

1444
01:16:27,080 --> 01:16:29,280
Speaker 1: you step away or I have to come and apologize

1445
01:16:29,320 --> 01:16:32,479
Speaker 1: to you. No, bitch, I'm feeling something, I'm upset about it.

1446
01:16:32,560 --> 01:16:35,599
Speaker 1: You're lucky I'm telling you and talking to you about

1447
01:16:35,640 --> 01:16:38,559
Speaker 1: it instead of either ignoring you. But she refuses to engage.

1448
01:16:38,560 --> 01:16:40,800
Speaker 1: And that's the thing with a lot of like, Yeah,

1449
01:16:40,920 --> 01:16:43,960
Speaker 1: I always test white folks that a, I are you

1450
01:16:44,120 --> 01:16:46,280
Speaker 1: to my life with how I can engage with them

1451
01:16:46,280 --> 01:16:48,720
Speaker 1: on topics about race, because I'm like, I'm not going

1452
01:16:48,800 --> 01:16:51,439
Speaker 1: to act like races in a thing like obviously I

1453
01:16:51,439 --> 01:16:54,240
Speaker 1: want to see people's people. I'm a human ask you know,

1454
01:16:54,920 --> 01:16:58,400
Speaker 1: But I'm also live in the real world and try

1455
01:16:58,439 --> 01:17:01,160
Speaker 1: to think practically. And so if anytime I'm talking to

1456
01:17:01,160 --> 01:17:03,840
Speaker 1: you about racial issues or things happening to people in

1457
01:17:03,840 --> 01:17:07,160
Speaker 1: different parts of the world, and your immediate response is

1458
01:17:07,200 --> 01:17:10,840
Speaker 1: to disengage, to like, I can't. You're showing me that

1459
01:17:10,880 --> 01:17:13,160
Speaker 1: you can't deal with hard things or you don't want to.

1460
01:17:13,200 --> 01:17:15,559
Speaker 1: You choose to not deal with hard things, which you're

1461
01:17:15,560 --> 01:17:17,320
Speaker 1: allowed to when you have a certain amount of privilege,

1462
01:17:17,400 --> 01:17:19,679
Speaker 1: when you live even in a certain part of the world,

1463
01:17:20,000 --> 01:17:23,160
Speaker 1: when you have a certain amount of income. So then

1464
01:17:23,720 --> 01:17:25,160
Speaker 1: I just know that you're not for me. And I

1465
01:17:25,200 --> 01:17:27,480
Speaker 1: could not be friends with Sarah because I'd be like, girl,

1466
01:17:28,000 --> 01:17:30,160
Speaker 1: Uh yeah, Nikki was annoying for what she said, but

1467
01:17:30,240 --> 01:17:32,599
Speaker 1: she has a bit of a point. She's like, sorry,

1468
01:17:32,680 --> 01:17:35,439
Speaker 1: she does she does a bro clock is right twice

1469
01:17:35,479 --> 01:17:36,000
Speaker 1: a day.

1470
01:17:36,439 --> 01:17:41,280
Speaker 2: And Sarah refuses to even consider that there's any truth

1471
01:17:41,360 --> 01:17:44,280
Speaker 2: to what NICKI saying, to what Daniels saying, and just

1472
01:17:44,360 --> 01:17:46,640
Speaker 2: I don't know. It has this like superhuman ability to

1473
01:17:46,720 --> 01:17:49,200
Speaker 2: make the takeaway from every scene be about her.

1474
01:17:49,760 --> 01:17:51,360
Speaker 1: You know what it is? Oh my god, Okay, I

1475
01:17:51,439 --> 01:17:55,120
Speaker 1: had I have a few biracial friends, and one of

1476
01:17:55,120 --> 01:17:57,280
Speaker 1: them one of my best friends. She says that her

1477
01:17:57,320 --> 01:17:59,439
Speaker 1: fear is always her mom is white and her dad's black.

1478
01:18:00,160 --> 01:18:02,120
Speaker 1: Fear is always that her mom would say some shit

1479
01:18:02,240 --> 01:18:05,280
Speaker 1: like I'm not racist, I have black children. Like that's

1480
01:18:05,360 --> 01:18:07,960
Speaker 1: always her deep fear. And I had never thought of

1481
01:18:07,960 --> 01:18:10,439
Speaker 1: that before because I'm not biracial, and I remember being like,

1482
01:18:10,560 --> 01:18:14,880
Speaker 1: oh my god, that is actually because people will. Sarah

1483
01:18:14,920 --> 01:18:18,400
Speaker 1: thinks that she is standing in resistance, in solidarity and

1484
01:18:18,479 --> 01:18:20,519
Speaker 1: defiance because she is dating a black guy.

1485
01:18:20,800 --> 01:18:21,240
Speaker 4: Mm hmm.

1486
01:18:21,960 --> 01:18:24,840
Speaker 1: It's given Kim Kardashian when she wrote that letter about

1487
01:18:24,920 --> 01:18:27,360
Speaker 1: oh my god, I'm gonna have black children and I

1488
01:18:27,400 --> 01:18:29,479
Speaker 1: can't believe that the world will treat them this way.

1489
01:18:29,920 --> 01:18:32,000
Speaker 1: And Chris was like, really proud of you, Kim, and

1490
01:18:32,040 --> 01:18:37,559
Speaker 1: I was like, go, your children are so fucking wealthy.

1491
01:18:38,000 --> 01:18:41,240
Speaker 1: Your kids are not not to say that they might not.

1492
01:18:41,439 --> 01:18:44,280
Speaker 1: They're gonna deal with stuff whatever, But like your kids

1493
01:18:44,280 --> 01:18:46,840
Speaker 1: that will be able to have security get driven in

1494
01:18:46,960 --> 01:18:49,760
Speaker 1: black tinted out window cars everywhere. Those are the black

1495
01:18:49,800 --> 01:18:50,799
Speaker 1: kids you're worried about.

1496
01:18:51,200 --> 01:18:51,599
Speaker 4: Yeah.

1497
01:18:51,680 --> 01:18:55,160
Speaker 3: I managed to wipe that that statement from my mind.

1498
01:18:55,160 --> 01:18:55,599
Speaker 3: I'm forgot.

1499
01:18:55,600 --> 01:19:00,639
Speaker 6: Sorry, sorry, no, but there's this phenomenon of you know,

1500
01:19:00,800 --> 01:19:03,640
Speaker 6: white people being like, well, I can't be racist, I

1501
01:19:04,000 --> 01:19:07,599
Speaker 6: have a black friend, or I'm dating a black guy,

1502
01:19:07,720 --> 01:19:08,400
Speaker 6: or like.

1503
01:19:08,360 --> 01:19:10,880
Speaker 1: Do you know a black person or you actually friends

1504
01:19:10,880 --> 01:19:13,360
Speaker 1: with them? Because like a lot of y'all know black people,

1505
01:19:13,400 --> 01:19:14,559
Speaker 1: but are you actually friends?

1506
01:19:14,640 --> 01:19:15,599
Speaker 3: What do you have out?

1507
01:19:15,760 --> 01:19:17,240
Speaker 4: Do you go to their house? Yeah?

1508
01:19:17,240 --> 01:19:19,320
Speaker 1: This? Yeah, I'm like, And also you need to have

1509
01:19:19,360 --> 01:19:21,479
Speaker 1: more than like this is the other thing. You need

1510
01:19:21,520 --> 01:19:23,760
Speaker 1: to make a conscious effort of some people. You can't

1511
01:19:23,760 --> 01:19:25,880
Speaker 1: help where you live, right unless you have the money

1512
01:19:25,880 --> 01:19:28,160
Speaker 1: to move places. So if you live in areas where

1513
01:19:28,160 --> 01:19:31,280
Speaker 1: you're only seeing black people, like you don't see black

1514
01:19:31,320 --> 01:19:33,320
Speaker 1: people that much, and the only interaction you have is

1515
01:19:33,320 --> 01:19:36,320
Speaker 1: through the media, different types of media, not just TV

1516
01:19:36,360 --> 01:19:39,920
Speaker 1: shows and movies, advertising, whatever. When you meet a black person,

1517
01:19:39,960 --> 01:19:42,120
Speaker 1: you're using your frame of reference. What do you know

1518
01:19:42,200 --> 01:19:45,320
Speaker 1: about black people? Even if it's not you intentionally doing it,

1519
01:19:45,320 --> 01:19:48,519
Speaker 1: it's like a knee jerk response. We're always sussing out places,

1520
01:19:48,560 --> 01:19:51,240
Speaker 1: always trying to suss out information. Whatever. If I had

1521
01:19:51,320 --> 01:19:53,880
Speaker 1: never seen a white person before, and I watch movies

1522
01:19:53,880 --> 01:19:56,559
Speaker 1: all the time white people in it, girl, I'm using

1523
01:19:56,600 --> 01:19:59,400
Speaker 1: a stereotypes first, because I'm like, is that you're gonna

1524
01:19:59,400 --> 01:20:02,160
Speaker 1: be able to handle this icy food? You know?

1525
01:20:02,320 --> 01:20:04,440
Speaker 3: Like shit, like that, But yeah.

1526
01:20:04,320 --> 01:20:07,160
Speaker 1: I also have grown up in so many different types

1527
01:20:07,160 --> 01:20:10,160
Speaker 1: of environments where I've been in predominantly black spaces, predominantly

1528
01:20:10,439 --> 01:20:15,120
Speaker 1: Hispanic schools, predominantly white schools as well, So like, yeah,

1529
01:20:15,160 --> 01:20:18,200
Speaker 1: it's interesting when you note that people have never had

1530
01:20:18,240 --> 01:20:20,240
Speaker 1: to go out of their comfort zones in terms of

1531
01:20:20,280 --> 01:20:26,400
Speaker 1: their physical identity and how little we mix or integrate.

1532
01:20:26,600 --> 01:20:32,639
Speaker 4: Actually, I can speak to the experience of growing up

1533
01:20:32,720 --> 01:20:36,680
Speaker 4: in a predominantly white community. I grew up in a

1534
01:20:36,800 --> 01:20:41,759
Speaker 4: small rural town in western Pennsylvania. There was very, very

1535
01:20:41,880 --> 01:20:47,040
Speaker 4: very little racial or ethnic diversity, and of course I'm

1536
01:20:47,120 --> 01:20:51,760
Speaker 4: going to and I did harbor racial biases growing up.

1537
01:20:51,880 --> 01:20:54,519
Speaker 4: I didn't know any better, And like you said, my

1538
01:20:54,560 --> 01:20:56,759
Speaker 4: frame of reference was in the media I was consuming.

1539
01:20:57,200 --> 01:20:59,639
Speaker 4: And it wasn't until I went to college and actually

1540
01:20:59,680 --> 01:21:04,519
Speaker 4: like met and befriended people who weren't white and started

1541
01:21:04,520 --> 01:21:07,720
Speaker 4: to learn and interrogate. And I had to do so

1542
01:21:07,920 --> 01:21:11,000
Speaker 4: much unlearning of like what I had learned as far

1543
01:21:11,040 --> 01:21:16,120
Speaker 4: as stereotypes and tropes and the idea of systemic racism

1544
01:21:16,280 --> 01:21:20,679
Speaker 4: was something I was only like peripherally understanding and familiar with,

1545
01:21:20,720 --> 01:21:23,240
Speaker 4: and I had to do so much work to learn

1546
01:21:23,240 --> 01:21:26,320
Speaker 4: more about it. So, yes, these are real things. But

1547
01:21:26,360 --> 01:21:29,479
Speaker 4: the problem is that most people who do have this

1548
01:21:29,560 --> 01:21:33,280
Speaker 4: white privilege, like we said, it warps them and they

1549
01:21:33,320 --> 01:21:36,559
Speaker 4: don't want to be bothered. They don't feel like it's

1550
01:21:36,560 --> 01:21:39,599
Speaker 4: their place to comment on it or to think about it.

1551
01:21:39,600 --> 01:21:41,800
Speaker 4: It doesn't affect them, So why would they, you know,

1552
01:21:41,960 --> 01:21:43,559
Speaker 4: spend the time to do anything like that.

1553
01:21:43,920 --> 01:21:46,840
Speaker 2: Yeah, I mean even conversely, I grew up in a

1554
01:21:47,080 --> 01:21:50,280
Speaker 2: predominantly black and Hispanic neighborhood and that because I feel

1555
01:21:50,280 --> 01:21:52,760
Speaker 2: like the way that this is presented is that, like

1556
01:21:52,920 --> 01:21:57,200
Speaker 2: Julius Diles, by being a white girl in a predominantly

1557
01:21:57,200 --> 01:22:01,400
Speaker 2: black space, that's all it takes to do the work

1558
01:22:01,560 --> 01:22:03,479
Speaker 2: is just by like hanging out.

1559
01:22:03,320 --> 01:22:05,320
Speaker 3: For a couple of weeks. And it's like, that's absolutely

1560
01:22:05,400 --> 01:22:05,840
Speaker 3: not true.

1561
01:22:05,840 --> 01:22:11,160
Speaker 2: There are white people in my community that are tremendously racist.

1562
01:22:11,360 --> 01:22:14,600
Speaker 2: Like it's just feels like it's this very movie presentation

1563
01:22:15,360 --> 01:22:18,800
Speaker 2: that sets the bar it like sub zero, like in

1564
01:22:18,840 --> 01:22:23,320
Speaker 2: the core of the earth to be like to actually

1565
01:22:23,360 --> 01:22:27,640
Speaker 2: have engaged with any issue on race, which again, like

1566
01:22:27,680 --> 01:22:31,600
Speaker 2: we were talking about, Sarah doesn't. She does not engage,

1567
01:22:31,640 --> 01:22:33,720
Speaker 2: like she's around.

1568
01:22:33,760 --> 01:22:35,920
Speaker 1: But she combatd that white lady in the train and

1569
01:22:35,960 --> 01:22:36,479
Speaker 1: that was it.

1570
01:22:36,920 --> 01:22:40,040
Speaker 2: She defeated racism, the lady, and you're just like, it's

1571
01:22:40,160 --> 01:22:42,240
Speaker 2: just I don't know. I mean, I guess it does

1572
01:22:42,240 --> 01:22:46,360
Speaker 2: go back to your point, like it's just like unbelievably Hollywood,

1573
01:22:46,479 --> 01:22:50,320
Speaker 2: and it's like the problem of racism has to be solved,

1574
01:22:50,800 --> 01:22:53,280
Speaker 2: and it's like the stakes are the same as getting

1575
01:22:53,280 --> 01:22:56,160
Speaker 2: into Juilliard in spite of having no talent, and like

1576
01:22:56,640 --> 01:23:01,400
Speaker 2: these are the two and they're equally important because fucking

1577
01:23:01,640 --> 01:23:02,160
Speaker 2: who knows.

1578
01:23:02,560 --> 01:23:04,240
Speaker 1: When you said you grew up in probably black and

1579
01:23:04,280 --> 01:23:07,160
Speaker 1: Hispanic neighborhood, I was like, I'm always fascinated by white

1580
01:23:07,200 --> 01:23:10,320
Speaker 1: people like that. Not because I'm like, what was that like,

1581
01:23:10,360 --> 01:23:13,840
Speaker 1: but just because I'm like, okay, so you've grown up

1582
01:23:13,960 --> 01:23:17,160
Speaker 1: around in proximity to people, and you felt what it

1583
01:23:17,200 --> 01:23:19,000
Speaker 1: has been like to be a minority. I think more

1584
01:23:19,040 --> 01:23:23,120
Speaker 1: than anything, too many people don't experience what it's like

1585
01:23:23,160 --> 01:23:26,559
Speaker 1: to be a minority somewhere, and so they don't ever

1586
01:23:26,720 --> 01:23:30,040
Speaker 1: consider again that practicing the empathy muscle of oh no,

1587
01:23:30,160 --> 01:23:31,920
Speaker 1: I get that actually, because I know what it feels

1588
01:23:31,960 --> 01:23:35,720
Speaker 1: like on a human. As you were saying before, themes right,

1589
01:23:36,479 --> 01:23:39,559
Speaker 1: like a universal theme of feeling like a fish out

1590
01:23:39,560 --> 01:23:42,000
Speaker 1: of water, feeling out of place somewhere, feeling like the

1591
01:23:42,000 --> 01:23:45,240
Speaker 1: only whatever whatever somewhere. A lot of people don't ever

1592
01:23:45,360 --> 01:23:49,040
Speaker 1: have to have that experience, even when we travel to places.

1593
01:23:49,120 --> 01:23:52,439
Speaker 1: You know, people will go to resorts and whatever just

1594
01:23:52,439 --> 01:23:54,559
Speaker 1: so they don't have to be around the locals. And

1595
01:23:54,640 --> 01:23:56,720
Speaker 1: like it's just kind of you know, it's very like

1596
01:23:56,920 --> 01:23:59,519
Speaker 1: we really don't like to let go of our company.

1597
01:23:59,520 --> 01:24:02,360
Speaker 1: People don't like to be uncomfortable, and you know, but

1598
01:24:02,720 --> 01:24:07,120
Speaker 1: that was before nine to eleven. Baby, Sorry, I'm sorry.

1599
01:24:07,640 --> 01:24:09,920
Speaker 3: Then everything ja a little bit like.

1600
01:24:10,040 --> 01:24:16,160
Speaker 4: Sarah's like white discomfort is something that we see throughout

1601
01:24:16,200 --> 01:24:21,040
Speaker 4: the movie, and it's just like, no, it was actually

1602
01:24:21,040 --> 01:24:24,240
Speaker 4: fine for her to walk away from that conversation with

1603
01:24:24,920 --> 01:24:28,599
Speaker 4: Shanil where Shanil is making good points, and but because

1604
01:24:28,640 --> 01:24:31,920
Speaker 4: it made Sarah the white girl uncomfortable, she has to leave.

1605
01:24:32,560 --> 01:24:35,879
Speaker 4: And then it's actually Shanil who owes Sarah an apology

1606
01:24:35,920 --> 01:24:37,200
Speaker 4: by the end, and it's just like.

1607
01:24:37,160 --> 01:24:38,560
Speaker 1: For making her uncomfortable.

1608
01:24:38,760 --> 01:24:40,840
Speaker 2: This is like off topic, but like I have some

1609
01:24:41,000 --> 01:24:42,679
Speaker 2: issues with how like self care.

1610
01:24:43,160 --> 01:24:45,120
Speaker 3: Stuff is sort of present, like mental health.

1611
01:24:45,280 --> 01:24:47,040
Speaker 2: I think that a lot of like mental health languages

1612
01:24:47,040 --> 01:24:50,600
Speaker 2: has been co opted to get people out of uncomfortable

1613
01:24:50,680 --> 01:24:52,800
Speaker 2: conversations they need to be having it that they don't

1614
01:24:52,800 --> 01:24:53,280
Speaker 2: want on.

1615
01:24:53,240 --> 01:24:58,920
Speaker 1: A video about therapy speak Oh my god, wait in

1616
01:24:58,960 --> 01:25:00,400
Speaker 1: my spirit.

1617
01:25:00,840 --> 01:25:03,920
Speaker 2: It's gonna be crash landed into my algorithm. It's like,

1618
01:25:04,920 --> 01:25:07,120
Speaker 2: I mean, it is wild. I think that there is

1619
01:25:07,439 --> 01:25:10,320
Speaker 2: a like self care lend you can apply to that

1620
01:25:10,439 --> 01:25:13,800
Speaker 2: scene where we're saying that Julia Styles's character is clearly wrong,

1621
01:25:13,800 --> 01:25:16,759
Speaker 2: where it's like she had to protect her energy from

1622
01:25:16,960 --> 01:25:20,040
Speaker 2: the discomfort. She doesn't need to engage with that, which

1623
01:25:20,160 --> 01:25:22,760
Speaker 2: is just like telegraphic that like she doesn't need to

1624
01:25:22,880 --> 01:25:25,639
Speaker 2: engage with issues around race and poverty because they don't

1625
01:25:25,680 --> 01:25:30,120
Speaker 2: affect her. And you're just like, ugh, well I'm excited

1626
01:25:30,120 --> 01:25:30,639
Speaker 2: for that video.

1627
01:25:30,760 --> 01:25:32,640
Speaker 3: Thank you, poor Malachi.

1628
01:25:32,720 --> 01:25:36,640
Speaker 1: Okay, Malaki deserved more too, because he was there was

1629
01:25:36,680 --> 01:25:42,160
Speaker 1: a lot. There was masculinity, your respect, a particular black masculinity,

1630
01:25:42,160 --> 01:25:45,280
Speaker 1: and what does that do that expectation, especially when you

1631
01:25:45,320 --> 01:25:48,280
Speaker 1: don't have, as he's saying, like the smarts, like allegedly

1632
01:25:48,360 --> 01:25:51,120
Speaker 1: he doesn't have the smarts like Derek like to go

1633
01:25:51,160 --> 01:25:54,759
Speaker 1: to Georgetown. He's like, this is what I have. I'm like, okay,

1634
01:25:54,880 --> 01:26:00,000
Speaker 1: that's something. Oh but no, no, he's just a mean,

1635
01:26:00,120 --> 01:26:02,000
Speaker 1: he was abusive and terrible, so yeah, like.

1636
01:26:01,920 --> 01:26:04,640
Speaker 2: You know, right, And it's like Malachi doesn't really have

1637
01:26:04,720 --> 01:26:06,799
Speaker 2: a chance with the audit because we see him being

1638
01:26:06,800 --> 01:26:10,160
Speaker 2: physically abusive to a student, but.

1639
01:26:10,120 --> 01:26:11,960
Speaker 1: We don't see the nice part of him. We only

1640
01:26:12,000 --> 01:26:15,000
Speaker 1: hear though, like he was willing to go to Juvie

1641
01:26:15,000 --> 01:26:17,920
Speaker 1: for Derek, which is an admirable trait to do. Like

1642
01:26:18,240 --> 01:26:20,599
Speaker 1: these like they threw everything at him and he said,

1643
01:26:20,680 --> 01:26:24,000
Speaker 1: I'm not gonna snitch. Like there could have been even

1644
01:26:24,000 --> 01:26:26,200
Speaker 1: that moment when he came to Julia Styles. I forgot

1645
01:26:26,280 --> 01:26:29,000
Speaker 1: what had happened before I watched it, so I thought

1646
01:26:29,000 --> 01:26:30,400
Speaker 1: he was gonna come up to her and try to

1647
01:26:30,439 --> 01:26:34,000
Speaker 1: like talk to her or like say something. I don't know,

1648
01:26:34,040 --> 01:26:35,479
Speaker 1: I just thought that maybe there was gonna be a

1649
01:26:35,520 --> 01:26:38,600
Speaker 1: conversation there instead of just your oil and milk. But

1650
01:26:38,680 --> 01:26:42,800
Speaker 1: I'm also like, maybe maybe all of these characters are

1651
01:26:42,800 --> 01:26:45,680
Speaker 1: defensive and apprehensive round Julia because it don't seem like

1652
01:26:45,720 --> 01:26:47,679
Speaker 1: she wants to listen, so they're all like, bitch.

1653
01:26:47,600 --> 01:26:51,240
Speaker 3: Right, you white right? Could be that, And on top

1654
01:26:51,280 --> 01:26:53,400
Speaker 3: of that, she's weird and.

1655
01:26:55,800 --> 01:26:58,880
Speaker 4: And she's not very good at dancing. Yeah, what I

1656
01:26:59,080 --> 01:27:04,960
Speaker 4: found interesting about that especially the Malachi Derek friendship. Is

1657
01:27:05,000 --> 01:27:08,840
Speaker 4: something that I observe a lot among men and their

1658
01:27:08,880 --> 01:27:13,200
Speaker 4: friendships with each other. Is that someone who has seen

1659
01:27:13,240 --> 01:27:15,719
Speaker 4: a different side of a person will say like, Hey,

1660
01:27:15,840 --> 01:27:18,160
Speaker 4: that guy was really shitty to me, or I saw

1661
01:27:18,200 --> 01:27:21,680
Speaker 4: that guy doing something really awful, maybe you shouldn't be

1662
01:27:21,680 --> 01:27:25,479
Speaker 4: friends with him, and the guy's like, well, I haven't

1663
01:27:25,520 --> 01:27:28,040
Speaker 4: seen that. I've only seen the good side of him.

1664
01:27:28,080 --> 01:27:30,960
Speaker 4: So I don't believe you, Slash. I don't think what

1665
01:27:31,000 --> 01:27:34,680
Speaker 4: you're saying is valid. This is a thing that I mean,

1666
01:27:34,800 --> 01:27:38,120
Speaker 4: just speaking to my experience as a comedian, there will

1667
01:27:38,160 --> 01:27:41,640
Speaker 4: be like male comedians who are singing the praises of

1668
01:27:41,720 --> 01:27:44,799
Speaker 4: another male comedian. I'll be like, oh, that's interesting because

1669
01:27:45,320 --> 01:27:47,800
Speaker 4: that guy like sexually harassed me, and then they're like,

1670
01:27:47,960 --> 01:27:49,360
Speaker 4: well he was nice to me.

1671
01:27:49,920 --> 01:27:51,880
Speaker 1: So yoh, you are right. That is the point to

1672
01:27:51,920 --> 01:27:54,120
Speaker 1: bring up too, because that's the other thing. It's like,

1673
01:27:54,280 --> 01:27:56,360
Speaker 1: I wish that they would have explored their friendship more

1674
01:27:56,360 --> 01:27:58,679
Speaker 1: so that at least we as the audience understand why

1675
01:27:58,720 --> 01:28:00,840
Speaker 1: Derek has such an allegiance to this guy that just

1676
01:28:00,920 --> 01:28:04,320
Speaker 1: seems like he hates women in general, not just white women,

1677
01:28:04,360 --> 01:28:05,519
Speaker 1: but especially white women.

1678
01:28:05,920 --> 01:28:09,679
Speaker 4: Yeah, yeah, but the movie glosses over that.

1679
01:28:10,400 --> 01:28:10,599
Speaker 1: Yeah.

1680
01:28:10,880 --> 01:28:13,519
Speaker 2: I feel like the way the Malachite character is handled

1681
01:28:13,600 --> 01:28:16,160
Speaker 2: is super messy, where it's like from it feels like

1682
01:28:17,040 --> 01:28:20,040
Speaker 2: the empathy that the movie has for him changes from

1683
01:28:20,080 --> 01:28:22,720
Speaker 2: scene to scene depending on what needs to happen in

1684
01:28:22,760 --> 01:28:25,280
Speaker 2: the scene, and so it just comes off super messy.

1685
01:28:25,360 --> 01:28:28,040
Speaker 2: Some of the lines he says are funny, such as

1686
01:28:28,080 --> 01:28:30,760
Speaker 2: that the black man's life madness in mayhem, and I

1687
01:28:30,800 --> 01:28:33,360
Speaker 2: was like, what the what.

1688
01:28:34,080 --> 01:28:36,719
Speaker 1: This is the other thing? This is where sorry, go ahead,

1689
01:28:36,760 --> 01:28:37,599
Speaker 1: before I just put.

1690
01:28:37,439 --> 01:28:41,519
Speaker 3: It that that was the end of that particular thought.

1691
01:28:42,439 --> 01:28:46,160
Speaker 1: It just I almost sound like an angry, bitter black feminist,

1692
01:28:46,200 --> 01:28:49,559
Speaker 1: but like, you know what, actually they deserved each other

1693
01:28:49,800 --> 01:28:52,719
Speaker 1: because what big Black men will try to victimize themselves

1694
01:28:52,720 --> 01:28:55,479
Speaker 1: as much as white women will sometimes, And I'm just like, there,

1695
01:28:55,640 --> 01:28:58,960
Speaker 1: y'all go ahead. Not obviously I'm not talking about all

1696
01:28:59,040 --> 01:29:01,360
Speaker 1: black men are all all white women, because I gotta

1697
01:29:01,400 --> 01:29:05,040
Speaker 1: say it that because y'all be like, yeah, but truly

1698
01:29:05,240 --> 01:29:07,439
Speaker 1: must be a day ending and why when a black

1699
01:29:07,479 --> 01:29:10,000
Speaker 1: man says that's a black man's world madness and mayhem?

1700
01:29:10,760 --> 01:29:13,200
Speaker 1: So that's why you had that girl yoked up in

1701
01:29:13,240 --> 01:29:15,120
Speaker 1: the bathroom.

1702
01:29:14,800 --> 01:29:19,400
Speaker 2: Right like they're all I just yeah, that friendship felt

1703
01:29:19,479 --> 01:29:22,880
Speaker 2: like under examined. I mean, which gets to something that

1704
01:29:23,040 --> 01:29:25,400
Speaker 2: I was feeling sort of throat the movie, where it's like,

1705
01:29:26,040 --> 01:29:31,000
Speaker 2: the movie has obviously an interest in Derek and in Chanel,

1706
01:29:31,160 --> 01:29:33,679
Speaker 2: but like not to the same extent that they're interested

1707
01:29:33,720 --> 01:29:34,240
Speaker 2: in Sarah.

1708
01:29:34,280 --> 01:29:35,679
Speaker 3: So there's stuff that will.

1709
01:29:35,479 --> 01:29:38,960
Speaker 2: Be introduced to us that kind of just goes away,

1710
01:29:39,200 --> 01:29:42,280
Speaker 2: or the movie's attitude kind of flip flops, because it

1711
01:29:42,320 --> 01:29:44,760
Speaker 2: seems like what's important to the movie is that Sarah's

1712
01:29:45,040 --> 01:29:48,519
Speaker 2: journey is on track and consistent, and so if things

1713
01:29:48,560 --> 01:29:52,479
Speaker 2: get a little sloppier to the characters around her, no

1714
01:29:52,600 --> 01:29:53,120
Speaker 2: big deal.

1715
01:29:53,560 --> 01:29:56,080
Speaker 1: I have a question for y'all, do you know what

1716
01:29:56,120 --> 01:29:57,840
Speaker 1: the plot of say, the Last Dance to Is it

1717
01:29:57,920 --> 01:29:59,559
Speaker 1: the same thing where it's another white girl that goes

1718
01:29:59,560 --> 01:30:00,560
Speaker 1: into a black.

1719
01:30:00,720 --> 01:30:02,680
Speaker 4: I've never seen it. I have no idea.

1720
01:30:02,760 --> 01:30:07,719
Speaker 2: So my understanding is that it's a continuation of Sarah's story,

1721
01:30:07,760 --> 01:30:12,439
Speaker 2: although it's not played by Julia Stiles, so it's like,

1722
01:30:12,680 --> 01:30:15,559
Speaker 2: I think it's just Juilliard. Okay, wait, let me, I'm

1723
01:30:15,680 --> 01:30:18,200
Speaker 2: on the Wikipedia thing. Okay, so yes, she's a Juilliard.

1724
01:30:18,479 --> 01:30:23,719
Speaker 2: She's now played by Isabella Miko, who is in Coyote

1725
01:30:23,800 --> 01:30:24,600
Speaker 2: Ugly apparently.

1726
01:30:25,040 --> 01:30:26,519
Speaker 1: Okay, Coyote Ugly.

1727
01:30:27,160 --> 01:30:29,960
Speaker 2: Now, sorry, here's a sentence that jumped out at me.

1728
01:30:30,520 --> 01:30:34,400
Speaker 2: Oh no, I'm pretty sure she just gets a different

1729
01:30:34,479 --> 01:30:35,759
Speaker 2: black boyfriend at Juilliard.

1730
01:30:36,360 --> 01:30:37,640
Speaker 3: During orientation.

1731
01:30:37,760 --> 01:30:40,680
Speaker 2: On her first day at Juilliard, Sarah meets Miles Sultana,

1732
01:30:41,080 --> 01:30:45,280
Speaker 2: who takes her for a trombone player. When she what what,

1733
01:30:46,800 --> 01:30:51,600
Speaker 2: I don't know, she's air they're in not a ballet dancer.

1734
01:30:52,200 --> 01:30:52,439
Speaker 3: Yes.

1735
01:30:53,160 --> 01:30:54,800
Speaker 2: When she tells him she is there for ballet, he

1736
01:30:54,920 --> 01:30:57,920
Speaker 2: questions whether she is a ballerina. Sarah boldly states she's

1737
01:30:57,960 --> 01:31:00,240
Speaker 2: already a ballerina. She is there to become a came

1738
01:31:00,280 --> 01:31:04,240
Speaker 2: at ballerina. So she just dates another guy actually.

1739
01:31:03,760 --> 01:31:05,479
Speaker 3: By Columbus Short.

1740
01:31:05,640 --> 01:31:08,960
Speaker 1: Yeah, yes, of course it's Columbus Store. He was in

1741
01:31:09,160 --> 01:31:12,400
Speaker 1: all those dance movies. Okay, yeah, where is it him?

1742
01:31:12,520 --> 01:31:13,599
Speaker 3: Is he in Stumpy Ard?

1743
01:31:13,920 --> 01:31:17,439
Speaker 1: Yes? Okay, yeah, fucking love.

1744
01:31:17,520 --> 01:31:22,960
Speaker 3: Stop the art, this whole decade of dance movies. You're

1745
01:31:23,000 --> 01:31:25,080
Speaker 3: just like, my god.

1746
01:31:25,120 --> 01:31:27,840
Speaker 1: Let's have fun again. Bring back the dance movie.

1747
01:31:27,960 --> 01:31:29,880
Speaker 3: Yah, let's right one.

1748
01:31:30,640 --> 01:31:34,840
Speaker 1: Let's do a dance movie, my dream movie. Since you're

1749
01:31:34,840 --> 01:31:36,759
Speaker 1: a screenplay writer, I'm going to give you this idea

1750
01:31:36,800 --> 01:31:38,600
Speaker 1: and like, if it ever comes to fruition, I just

1751
01:31:38,600 --> 01:31:42,120
Speaker 1: want to be a little percentage. It's like an enemy's

1752
01:31:42,160 --> 01:31:47,760
Speaker 1: to lovers cheerleader rivalry where the two captains are you know,

1753
01:31:48,280 --> 01:31:51,840
Speaker 1: they're the femme girlies, but they're enemy teams and then

1754
01:31:51,880 --> 01:31:54,280
Speaker 1: they both end up at a gay conversion camp and

1755
01:31:54,400 --> 01:31:56,960
Speaker 1: have to break out together and that's how they become lovers.

1756
01:31:57,160 --> 01:31:59,479
Speaker 1: And while that's happening on the inside, on the outside

1757
01:31:59,479 --> 01:32:02,320
Speaker 1: their team are coming together to try and like, I

1758
01:32:02,320 --> 01:32:03,280
Speaker 1: don't know what the plot is.

1759
01:32:03,560 --> 01:32:06,960
Speaker 3: Bring it on, but I'm a cheerleader, like pallidation.

1760
01:32:07,320 --> 01:32:11,760
Speaker 4: That's so great. I'm not a writer.

1761
01:32:13,640 --> 01:32:15,920
Speaker 1: I'm big ideas, but when it comes to sitting down

1762
01:32:15,920 --> 01:32:18,000
Speaker 1: and writing it, I'm like, girl, I don't know, this

1763
01:32:18,120 --> 01:32:18,639
Speaker 1: is hard.

1764
01:32:22,360 --> 01:32:25,760
Speaker 4: Oh goodness, No, that sounds like a great story. But yeah,

1765
01:32:25,960 --> 01:32:29,280
Speaker 4: say the last dance to I haven't seen it. I

1766
01:32:29,439 --> 01:32:30,360
Speaker 4: can't really.

1767
01:32:30,320 --> 01:32:36,400
Speaker 2: Say save the last dance to the streets Havannah Knight.

1768
01:32:38,640 --> 01:32:42,719
Speaker 3: Now we've done them all, does anyone?

1769
01:32:42,920 --> 01:32:45,840
Speaker 1: I guess? Havanah Knights is probably another example of that

1770
01:32:46,000 --> 01:32:50,519
Speaker 1: of like white girl goes into Spanish culture and learns

1771
01:32:50,520 --> 01:32:52,120
Speaker 1: how to dance. I haven't seen it though, so I

1772
01:32:52,120 --> 01:32:52,360
Speaker 1: don't know.

1773
01:32:53,680 --> 01:32:55,840
Speaker 3: I love Dirty Dance and Cavena Nights. It was my

1774
01:32:55,920 --> 01:32:57,639
Speaker 3: introduction to Diego Luna.

1775
01:32:57,880 --> 01:33:01,720
Speaker 2: He's the romantic lead in it, and a picture them

1776
01:33:01,800 --> 01:33:08,439
Speaker 2: now that was on heavy sleepover rotation. Unfortunately, Baby Diego

1777
01:33:08,520 --> 01:33:09,320
Speaker 2: Luna Bragg.

1778
01:33:10,120 --> 01:33:12,759
Speaker 4: Does anyone have anything else they would like to talk about?

1779
01:33:13,280 --> 01:33:15,160
Speaker 2: Oh gosh, I feel like we could keep talking for

1780
01:33:15,240 --> 01:33:19,479
Speaker 2: hours truly, I'm like, what is this movie?

1781
01:33:19,720 --> 01:33:21,640
Speaker 1: Yeah? I was like, are there any other lines that

1782
01:33:21,720 --> 01:33:24,320
Speaker 1: I particularly thought were interesting?

1783
01:33:25,080 --> 01:33:29,680
Speaker 4: I do think it's hilarious that Shaneil is like she,

1784
01:33:30,080 --> 01:33:32,720
Speaker 4: you know, dreams of going to fashion school and she

1785
01:33:32,880 --> 01:33:34,840
Speaker 4: like designs and like puts together all these outfits. But

1786
01:33:34,880 --> 01:33:37,840
Speaker 4: I'm like, are her outfits good? Because I feel like.

1787
01:33:37,960 --> 01:33:41,000
Speaker 1: Yeah, they should have thought more about that. Not very

1788
01:33:41,560 --> 01:33:43,519
Speaker 1: they should have thought more about that, like just the

1789
01:33:43,560 --> 01:33:46,160
Speaker 1: way and I know she like styled her in the

1790
01:33:46,200 --> 01:33:48,559
Speaker 1: car and stuff and like did that quick change whatever?

1791
01:33:48,600 --> 01:33:50,320
Speaker 1: But yeah, they don't really like they give.

1792
01:33:50,840 --> 01:33:53,400
Speaker 3: Yeah, we need more about that. We need more Shaneil.

1793
01:33:53,479 --> 01:33:54,960
Speaker 3: In general, it was like, I don't know enough about

1794
01:33:54,960 --> 01:33:55,840
Speaker 3: two thousand and one.

1795
01:33:56,400 --> 01:33:59,360
Speaker 2: Well, I feel like I missed opportunity that I thought

1796
01:33:59,640 --> 01:34:04,200
Speaker 2: because we learn about Shanil and Derek's mom really late

1797
01:34:04,680 --> 01:34:08,120
Speaker 2: in the plot, Like it's presented as a twist that

1798
01:34:08,240 --> 01:34:10,160
Speaker 2: is not a twist, and it's like, why couldn't we

1799
01:34:10,200 --> 01:34:12,360
Speaker 2: have just learned this earlier. It's because the movie doesn't

1800
01:34:12,360 --> 01:34:14,440
Speaker 2: care about them the same way it cares about Sarah.

1801
01:34:14,479 --> 01:34:15,400
Speaker 3: But that felt like.

1802
01:34:15,320 --> 01:34:18,200
Speaker 2: Because and again, this is like a plot point that

1803
01:34:18,320 --> 01:34:21,400
Speaker 2: is like riddled with stereotypes. But their mom is absent.

1804
01:34:21,840 --> 01:34:26,360
Speaker 2: It's described that she's in jail quote for drugs ellipses,

1805
01:34:26,600 --> 01:34:32,200
Speaker 2: for things women do for drugs ellipses, And you're like, okay,

1806
01:34:32,240 --> 01:34:34,280
Speaker 2: but even if we're just taking the plot point that

1807
01:34:35,000 --> 01:34:39,160
Speaker 2: Sarah and Shanil's mother are both absent, they're not like

1808
01:34:39,200 --> 01:34:41,599
Speaker 2: that is like a chance for an opportunity, a chance

1809
01:34:41,640 --> 01:34:43,360
Speaker 2: to connect like something.

1810
01:34:43,920 --> 01:34:47,080
Speaker 1: Early on, Yeah, I lost whatever. But also this is

1811
01:34:47,120 --> 01:34:48,760
Speaker 1: the part where I was like, ah, y'all should have

1812
01:34:48,800 --> 01:34:50,800
Speaker 1: let the black people leave because Mama Dean would have

1813
01:34:50,800 --> 01:34:52,920
Speaker 1: come around the corner and been like, yet them drugs

1814
01:34:52,920 --> 01:34:54,400
Speaker 1: the Reagan planet. You know.

1815
01:35:00,560 --> 01:35:04,240
Speaker 4: Yeah, well to that point as far as like I'm

1816
01:35:04,240 --> 01:35:07,679
Speaker 4: not even sure why Shanil takes Sarah under her wing,

1817
01:35:08,000 --> 01:35:14,000
Speaker 4: like and then do Derek and Sarah have anything in common,

1818
01:35:14,320 --> 01:35:18,120
Speaker 4: aside from the fact that they've both read Capodi and

1819
01:35:18,240 --> 01:35:21,040
Speaker 4: have opinions on it that they read for class. I

1820
01:35:21,160 --> 01:35:24,800
Speaker 4: just it feels like another like undercooked romance where it's like,

1821
01:35:25,120 --> 01:35:27,200
Speaker 4: what do they like about each other?

1822
01:35:27,280 --> 01:35:28,960
Speaker 3: Yeah, they have common.

1823
01:35:28,680 --> 01:35:32,479
Speaker 1: Derek toes the line of being in his world, but

1824
01:35:32,600 --> 01:35:35,360
Speaker 1: also he wants to go to Georgetown, and he knows

1825
01:35:35,400 --> 01:35:40,040
Speaker 1: about Capodi and he's a black intellectual, so like there's

1826
01:35:40,600 --> 01:35:45,160
Speaker 1: a certain like he's classed differently than the people around

1827
01:35:45,240 --> 01:35:47,960
Speaker 1: him because of that intelligence and because of the way

1828
01:35:47,960 --> 01:35:50,080
Speaker 1: he can talk and how he can code switch and

1829
01:35:50,120 --> 01:35:52,439
Speaker 1: go back and forth. He doesn't really code switch that much,

1830
01:35:52,520 --> 01:35:55,719
Speaker 1: but like, you know, just like he's teeters that line

1831
01:35:56,000 --> 01:36:01,800
Speaker 1: I guess of being black but not Malachi or snooky black.

1832
01:36:02,120 --> 01:36:05,200
Speaker 4: Right, So is the movie implying that because he is

1833
01:36:05,520 --> 01:36:09,880
Speaker 4: like quiet intellectual, then he like it makes sense for

1834
01:36:09,960 --> 01:36:12,000
Speaker 4: him to be with a white person.

1835
01:36:12,360 --> 01:36:14,920
Speaker 1: Like I don't know if much I got the vibe

1836
01:36:14,960 --> 01:36:17,000
Speaker 1: of like less that and more like maybe it's a

1837
01:36:17,040 --> 01:36:20,360
Speaker 1: respectability thing of like, Okay, we want to show different

1838
01:36:20,360 --> 01:36:22,559
Speaker 1: depictions of black folks, so we have the nerdy black

1839
01:36:22,640 --> 01:36:25,960
Speaker 1: dudes for a quick second, but Derek is a black

1840
01:36:26,040 --> 01:36:29,880
Speaker 1: man that like anyone would want, not even just black women,

1841
01:36:30,040 --> 01:36:33,040
Speaker 1: but even a white girl would want. He's smart, he

1842
01:36:33,800 --> 01:36:36,640
Speaker 1: is driven, Like that's what she Neiel's talking about. She's like,

1843
01:36:36,640 --> 01:36:38,439
Speaker 1: he's gonna make something of his life. He's not gonna

1844
01:36:38,439 --> 01:36:41,000
Speaker 1: have kids and just leave them, like and we don't

1845
01:36:41,040 --> 01:36:41,840
Speaker 1: have enough of that.

1846
01:36:42,200 --> 01:36:49,000
Speaker 4: And I'm like, oh no, it's bleak. I will say

1847
01:36:49,520 --> 01:36:54,360
Speaker 4: to pay this movie a tiny little compliment, even though

1848
01:36:54,400 --> 01:37:00,120
Speaker 4: it doesn't handle anything thoughtfully that at this time, the

1849
01:37:00,160 --> 01:37:06,400
Speaker 4: early two thousands, very few movies featured an interracial relationship.

1850
01:37:07,120 --> 01:37:11,960
Speaker 4: We very rarely saw interracial kiss time with Jungle Fever.

1851
01:37:13,200 --> 01:37:14,879
Speaker 3: And that was the eighties, which.

1852
01:37:16,200 --> 01:37:20,360
Speaker 1: Fucking fever. I saw the Guard.

1853
01:37:22,320 --> 01:37:25,639
Speaker 4: Yeah, sure, there are a few exactly nineties.

1854
01:37:25,720 --> 01:37:28,679
Speaker 3: It was rare. It was pretty rare for a while.

1855
01:37:28,720 --> 01:37:30,520
Speaker 3: You got like one a decade.

1856
01:37:30,280 --> 01:37:31,679
Speaker 1: Yeah, pretty much.

1857
01:37:31,800 --> 01:37:36,080
Speaker 4: And like movies that maybe had almost like an implied

1858
01:37:36,600 --> 01:37:40,479
Speaker 4: interracial romance, such as like Men in Black where it's

1859
01:37:40,479 --> 01:37:43,000
Speaker 4: like Will Smith and then I forget the actor's name,

1860
01:37:43,280 --> 01:37:46,120
Speaker 4: but they don't kiss. There's no interracial kiss on screen

1861
01:37:46,600 --> 01:37:47,479
Speaker 4: in many cases.

1862
01:37:47,680 --> 01:37:49,960
Speaker 3: So I was like, okay, bad boys as well.

1863
01:37:50,200 --> 01:37:52,479
Speaker 4: I think, yeah, I feel like we had that same

1864
01:37:52,520 --> 01:37:56,200
Speaker 4: conversation yeah, on that episode as well. Point is that

1865
01:37:56,680 --> 01:38:02,040
Speaker 4: there was very little representation of inter racial relationships or

1866
01:38:02,240 --> 01:38:06,880
Speaker 4: like physical contact at this time. Not that it's necessarily

1867
01:38:06,920 --> 01:38:11,360
Speaker 4: a representation when as far as how that relationship plays out,

1868
01:38:11,479 --> 01:38:14,600
Speaker 4: but it is representation.

1869
01:38:17,400 --> 01:38:23,000
Speaker 1: See the thing with representation, if there is more, more

1870
01:38:23,040 --> 01:38:25,800
Speaker 1: of it, just more of it. The clumsy versions that

1871
01:38:25,880 --> 01:38:28,240
Speaker 1: come through, they're not as big a deal, you know,

1872
01:38:28,800 --> 01:38:30,479
Speaker 1: like it's it's not as big a deal, say, the

1873
01:38:30,520 --> 01:38:33,599
Speaker 1: last dance is like, okay, cute whatever, But because there

1874
01:38:33,600 --> 01:38:37,080
Speaker 1: are so few and far between, and because if one

1875
01:38:37,160 --> 01:38:40,439
Speaker 1: doesn't do well immediately, it's like, well that's a wrap,

1876
01:38:40,600 --> 01:38:44,479
Speaker 1: you know. It's just like, yeah, let's just allow ourselves

1877
01:38:44,520 --> 01:38:48,919
Speaker 1: to make more bad depictions so that we can have enough.

1878
01:38:48,960 --> 01:38:52,040
Speaker 4: And more pictures of it just like being normalized, rather

1879
01:38:52,080 --> 01:38:54,960
Speaker 4: than because like a lot of the discourse between the

1880
01:38:55,080 --> 01:38:59,400
Speaker 4: characters in this movie are characters discussing is this a

1881
01:38:59,439 --> 01:39:05,599
Speaker 4: good idea? Should interracial relationships happen? Whereas if it's more

1882
01:39:05,720 --> 01:39:09,160
Speaker 4: representation of just like two people who are in love

1883
01:39:09,240 --> 01:39:12,759
Speaker 4: and they're together and they happen to be an interracial couple,

1884
01:39:12,840 --> 01:39:16,639
Speaker 4: and that's just presented as a perfectly normal thing. Yeah,

1885
01:39:16,680 --> 01:39:19,360
Speaker 4: but we were getting very little of that at the time.

1886
01:39:19,720 --> 01:39:21,920
Speaker 1: Are there any movies that y'all can think of, movies

1887
01:39:22,000 --> 01:39:23,679
Speaker 1: or TV shows that you can think of where they've

1888
01:39:23,760 --> 01:39:26,479
Speaker 1: had an interracial couple of like any mix that you've

1889
01:39:26,520 --> 01:39:29,679
Speaker 1: been like, Ah, this was a pretty interesting take.

1890
01:39:30,720 --> 01:39:33,479
Speaker 4: I feel like I've pointed out different examples of this

1891
01:39:33,560 --> 01:39:36,479
Speaker 4: on various episodes. I can't even remember the movies anymore,

1892
01:39:36,560 --> 01:39:38,479
Speaker 4: but I know I've made the comment of like, oh,

1893
01:39:38,520 --> 01:39:41,920
Speaker 4: this is an interracial couple where no attention is brought

1894
01:39:42,000 --> 01:39:45,760
Speaker 4: to it. It's just presented as like a very normalized

1895
01:39:45,840 --> 01:39:47,200
Speaker 4: thing we covered.

1896
01:39:47,280 --> 01:39:49,759
Speaker 2: I don't think that this is necessarily the best example.

1897
01:39:49,760 --> 01:39:53,320
Speaker 2: We covered something New last year and that that was

1898
01:39:54,040 --> 01:39:57,360
Speaker 2: another movie about interracial relationships that was a little all

1899
01:39:57,400 --> 01:39:57,960
Speaker 2: over the place.

1900
01:39:58,520 --> 01:40:05,519
Speaker 3: But it's like, yeah, there you go, we haven't covered

1901
01:40:05,520 --> 01:40:05,880
Speaker 3: it yet.

1902
01:40:05,880 --> 01:40:09,800
Speaker 1: But oh, Romeo must die. Listen, I'm not gonna lie.

1903
01:40:09,840 --> 01:40:11,719
Speaker 1: I fucking love rob Let's Die.

1904
01:40:12,720 --> 01:40:16,719
Speaker 3: That's really brand Thank you, thank you, yep, yep.

1905
01:40:17,040 --> 01:40:20,840
Speaker 1: I thought this was a safe space. I'm just looking up. Yeah,

1906
01:40:20,840 --> 01:40:23,080
Speaker 1: something new is on there a fellow.

1907
01:40:23,360 --> 01:40:27,880
Speaker 2: Oh oh, I guess Brandy Cinderella. I guess that is cere.

1908
01:40:28,160 --> 01:40:31,680
Speaker 1: Brandy Cinderella is the perfect example of that, because they

1909
01:40:31,800 --> 01:40:34,040
Speaker 1: really just let us pop into a fantasy world and

1910
01:40:34,080 --> 01:40:36,040
Speaker 1: have fun. I wish Predess would have done that from

1911
01:40:36,080 --> 01:40:38,880
Speaker 1: the beginning. Just do that, Just do that.

1912
01:40:39,120 --> 01:40:42,559
Speaker 2: I feel like we see interracial couples in media more

1913
01:40:42,960 --> 01:40:46,400
Speaker 2: today than we used to, certainly, but at least in

1914
01:40:46,439 --> 01:40:49,240
Speaker 2: this era it is. I mean, but there were also

1915
01:40:49,320 --> 01:40:53,320
Speaker 2: other movies that featured interracial couples, in dance movies, specifically

1916
01:40:53,400 --> 01:40:57,599
Speaker 2: around yes this time, like it was a thing.

1917
01:40:58,160 --> 01:41:00,200
Speaker 1: They're bringing two worlds together.

1918
01:41:00,439 --> 01:41:03,200
Speaker 2: Exactly, and it always center as usually a white girl

1919
01:41:04,240 --> 01:41:09,680
Speaker 2: who's like learning tolerance and a little something about herself,

1920
01:41:09,800 --> 01:41:11,920
Speaker 2: and you're like, all right, that's the one.

1921
01:41:13,720 --> 01:41:18,519
Speaker 4: Yeah, real quick. I wanted to point out there's that

1922
01:41:18,680 --> 01:41:23,160
Speaker 4: moment where Sarah is given the fake ID so that

1923
01:41:23,200 --> 01:41:27,000
Speaker 4: she can get into Steps, where at least fifty percent

1924
01:41:27,080 --> 01:41:29,600
Speaker 4: of the movie takes place. It seems they never go

1925
01:41:29,640 --> 01:41:33,400
Speaker 4: anywhere else, it's always Steps, And she's given this fake

1926
01:41:33,439 --> 01:41:37,800
Speaker 4: ID and Sarah sees the photo and she's like, oh,

1927
01:41:38,080 --> 01:41:45,519
Speaker 4: she's ugly. She's fat, oh girl, And that is just

1928
01:41:45,560 --> 01:41:49,320
Speaker 4: a thing that Sis said in the movie without being challenged,

1929
01:41:49,400 --> 01:41:51,839
Speaker 4: and that was pretty nasty.

1930
01:41:52,439 --> 01:41:54,600
Speaker 1: She's twenty one.

1931
01:41:55,120 --> 01:41:56,240
Speaker 3: Right, and see.

1932
01:41:57,120 --> 01:41:59,280
Speaker 2: Yeah, there's I mean there's a lot of parts of

1933
01:41:59,320 --> 01:42:01,840
Speaker 2: this view I mean, or very of the era in

1934
01:42:02,040 --> 01:42:05,360
Speaker 2: just kind of like dismissive and weird ways.

1935
01:42:05,880 --> 01:42:08,439
Speaker 3: It's an extremely two thousand and one movie.

1936
01:42:08,640 --> 01:42:13,880
Speaker 4: Yeah, in any case, does this movie pass the Bechdel test?

1937
01:42:14,600 --> 01:42:17,320
Speaker 3: Uh? Yeah it does. Yeah.

1938
01:42:17,360 --> 01:42:20,320
Speaker 1: I mean, you know that's the positive we can say.

1939
01:42:20,680 --> 01:42:24,439
Speaker 2: That is just further proof that it's you know, it's

1940
01:42:24,600 --> 01:42:27,120
Speaker 2: one metric invented as a joke.

1941
01:42:27,200 --> 01:42:28,400
Speaker 3: But it does. It does pass.

1942
01:42:28,479 --> 01:42:29,120
Speaker 4: It does pass.

1943
01:42:29,439 --> 01:42:32,439
Speaker 2: Yeah, at least between Sarah and Shaneil And then I

1944
01:42:32,479 --> 01:42:34,519
Speaker 2: also think between Sarah and her mom in the two

1945
01:42:34,600 --> 01:42:37,439
Speaker 2: seconds in this movie where she is alive, yes, where

1946
01:42:37,479 --> 01:42:39,840
Speaker 2: she's like, come on, and then her mom's like it's

1947
01:42:39,840 --> 01:42:43,000
Speaker 2: a florist emergency or fucking whatever.

1948
01:42:43,840 --> 01:42:48,599
Speaker 4: Sure, also between Sarah and Nikki when they are yeah fighting.

1949
01:42:49,040 --> 01:42:52,080
Speaker 4: But yeah, it does pass. But what about our metric,

1950
01:42:52,160 --> 01:42:57,200
Speaker 4: the most important media metric ever conceived, the nipple scale

1951
01:42:57,479 --> 01:43:01,120
Speaker 4: zero to five nipples, and we raid it. Based on

1952
01:43:01,720 --> 01:43:05,759
Speaker 4: examining the movie through an intersectional feminist, lens I would

1953
01:43:05,880 --> 01:43:08,040
Speaker 4: not rate this movie highly.

1954
01:43:08,840 --> 01:43:12,040
Speaker 1: The minute she said intersectional feminist, lens I was like, ooh,

1955
01:43:12,120 --> 01:43:13,479
Speaker 1: I gotta take off two more points.

1956
01:43:13,960 --> 01:43:19,000
Speaker 4: Yeah, yeah, yeah, yeah yeah. So honestly, I mean it

1957
01:43:19,000 --> 01:43:22,480
Speaker 4: was a very two thousand and one attempt to examine

1958
01:43:22,520 --> 01:43:27,800
Speaker 4: something that the movie did not have the capacity to

1959
01:43:28,439 --> 01:43:36,799
Speaker 4: examine meaningfully at all, and based on how it's basically

1960
01:43:36,840 --> 01:43:42,600
Speaker 4: just a movie about a white girl who appropriates black culture,

1961
01:43:43,240 --> 01:43:47,360
Speaker 4: and any time that anyone calls her out or she's

1962
01:43:47,360 --> 01:43:51,280
Speaker 4: made to feel uncomfortable, the movie is just like, yeah,

1963
01:43:51,400 --> 01:43:54,120
Speaker 4: can't you sense how uncomfortable she is? And isn't that

1964
01:43:54,240 --> 01:43:58,519
Speaker 4: too bad? And they need to apologize to her for it, right.

1965
01:43:58,479 --> 01:43:59,920
Speaker 3: And they can't.

1966
01:44:00,280 --> 01:44:03,240
Speaker 4: She's doing her best. It's such a hard situation for

1967
01:44:03,280 --> 01:44:05,720
Speaker 4: her to be in, can't you see that? And it's

1968
01:44:05,760 --> 01:44:09,400
Speaker 4: just like, no, all of the framing around that is

1969
01:44:10,200 --> 01:44:15,519
Speaker 4: really quite silly. So I'll give it a half nipple

1970
01:44:16,240 --> 01:44:21,640
Speaker 4: for showing an interracial kiss in two thousand and one.

1971
01:44:21,960 --> 01:44:25,960
Speaker 1: Yes, I thought I was mean I was gonna give

1972
01:44:25,960 --> 01:44:27,400
Speaker 1: it one point three nipples.

1973
01:44:27,920 --> 01:44:30,160
Speaker 3: Oh, I mean, please unpack it.

1974
01:44:30,240 --> 01:44:33,960
Speaker 1: But that's only because they employed more black people. That's

1975
01:44:34,000 --> 01:44:36,240
Speaker 1: literally it. Because black people were on the payroll.

1976
01:44:36,479 --> 01:44:37,759
Speaker 4: A lot of people got a paycheck.

1977
01:44:38,040 --> 01:44:42,280
Speaker 1: Yes, whether that paycheck was good is uh, but.

1978
01:44:42,320 --> 01:44:45,639
Speaker 4: You know, I mean, based on Carrie Washington's anecdote about

1979
01:44:45,640 --> 01:44:48,880
Speaker 4: having to return to teaching after this movie because she

1980
01:44:48,880 --> 01:44:51,880
Speaker 4: couldn't quit her day job because what you would think

1981
01:44:51,920 --> 01:44:55,200
Speaker 4: would have been a role that should have paid the

1982
01:44:55,240 --> 01:44:57,680
Speaker 4: bills for a while, Uh didn't do that.

1983
01:44:58,280 --> 01:45:01,400
Speaker 3: So oops, I'm gonna go one nipple.

1984
01:45:01,640 --> 01:45:05,280
Speaker 2: I think, Yeah, this movie is not doing very much

1985
01:45:05,880 --> 01:45:08,839
Speaker 2: and I don't know, I don't think I have anything

1986
01:45:08,880 --> 01:45:11,479
Speaker 2: else to add to it. It's just like a movie

1987
01:45:11,479 --> 01:45:15,400
Speaker 2: with a predominantly black cast that still manages to be

1988
01:45:15,760 --> 01:45:19,679
Speaker 2: about a white woman. It's kind of like, holy shit,

1989
01:45:20,120 --> 01:45:21,120
Speaker 2: it's they really.

1990
01:45:20,960 --> 01:45:23,600
Speaker 1: The bamboozled us. They it was deceptive.

1991
01:45:23,920 --> 01:45:27,400
Speaker 2: Yeah, I got us also not for nothing, like I

1992
01:45:27,400 --> 01:45:28,920
Speaker 2: know what we are mostly.

1993
01:45:28,640 --> 01:45:30,760
Speaker 3: Talking about the themes, the characters.

1994
01:45:31,320 --> 01:45:35,360
Speaker 2: It's boring. This movie's boring. There's long stretches of it

1995
01:45:35,439 --> 01:45:36,599
Speaker 2: that I was bored.

1996
01:45:37,200 --> 01:45:39,879
Speaker 4: And the dancing isn't fun to watch because it's.

1997
01:45:39,720 --> 01:45:43,439
Speaker 1: No three D and step up two like the ship

1998
01:45:43,640 --> 01:45:46,519
Speaker 1: was like they were doing so they were dancing.

1999
01:45:47,120 --> 01:45:49,880
Speaker 4: There's a reason I own Stomps the Yard on DVD.

2000
01:45:50,200 --> 01:45:51,519
Speaker 4: It is fun to match.

2001
01:45:51,320 --> 01:45:55,519
Speaker 1: You admitting you own Stop Yard on DVD. You ow

2002
01:45:55,760 --> 01:45:57,960
Speaker 1: that movie DVD?

2003
01:45:58,400 --> 01:46:02,559
Speaker 4: Probably when did it come out? Like two thousand seven.

2004
01:46:02,200 --> 01:46:04,200
Speaker 1: So you have an old ooh wow.

2005
01:46:04,360 --> 01:46:06,080
Speaker 4: I bought it in like as soon as it came

2006
01:46:06,080 --> 01:46:13,080
Speaker 4: out on DVD because I saw it in the theaters twice.

2007
01:46:14,840 --> 01:46:19,280
Speaker 1: I don't know anybody else that had owes that movie,

2008
01:46:19,320 --> 01:46:21,240
Speaker 1: like just no one, not race or anything. I just

2009
01:46:21,280 --> 01:46:23,519
Speaker 1: don't know anyone that owes that movie or saw that

2010
01:46:23,560 --> 01:46:24,679
Speaker 1: movie twice in theaters.

2011
01:46:26,200 --> 01:46:27,360
Speaker 3: I can't explain it.

2012
01:46:27,640 --> 01:46:31,160
Speaker 1: I just listen. I spoke to love Romeo must Die so.

2013
01:46:33,080 --> 01:46:35,760
Speaker 1: And my favorite problematic movie is The Hot Chick. It

2014
01:46:35,840 --> 01:46:36,479
Speaker 1: is so.

2015
01:46:36,560 --> 01:46:39,080
Speaker 3: Problem I have never seen it.

2016
01:46:39,200 --> 01:46:41,200
Speaker 1: I have so much fun watching that movie.

2017
01:46:41,280 --> 01:46:43,599
Speaker 3: It has come back kitties in The Hot Chicks.

2018
01:46:43,479 --> 01:46:46,920
Speaker 1: Rachel McAdams one of her first movies. A young Ashley

2019
01:46:46,960 --> 01:46:48,679
Speaker 1: Simpson is in there as a little cameo.

2020
01:46:49,240 --> 01:46:49,559
Speaker 3: Wow.

2021
01:46:50,200 --> 01:46:51,560
Speaker 1: It's yeah.

2022
01:46:51,600 --> 01:46:54,000
Speaker 4: Well anyway, there you have it. That's our save of

2023
01:46:54,080 --> 01:46:57,000
Speaker 4: the last Dance episode. Kadita, thank you so much for

2024
01:46:57,080 --> 01:47:00,439
Speaker 4: joining us. It's been an absolute treat. Please come back

2025
01:47:00,720 --> 01:47:04,759
Speaker 4: us or please any movie I love, Coots or literally anything.

2026
01:47:05,479 --> 01:47:08,560
Speaker 4: Where can people check out your work? Follow you online?

2027
01:47:09,080 --> 01:47:09,719
Speaker 4: Plug away.

2028
01:47:10,200 --> 01:47:15,479
Speaker 1: You can find me at Kadija dot bo on TikTok, Instagram.

2029
01:47:15,960 --> 01:47:18,040
Speaker 1: What's that other one? I don't go on X but

2030
01:47:18,640 --> 01:47:22,040
Speaker 1: I have one. You can find me on YouTube. Just

2031
01:47:22,080 --> 01:47:23,160
Speaker 1: look up Kadijimbo.

2032
01:47:24,200 --> 01:47:24,519
Speaker 3: Yeah.

2033
01:47:24,560 --> 01:47:26,080
Speaker 1: And if you want to check out some of the

2034
01:47:26,080 --> 01:47:30,720
Speaker 1: stuff that I'm doing that isn't online related, Operatica, the

2035
01:47:31,040 --> 01:47:35,240
Speaker 1: pole opera show that I'm producing. You know, the landing

2036
01:47:35,280 --> 01:47:37,679
Speaker 1: page just says coming soon, but the image is pretty cute,

2037
01:47:37,800 --> 01:47:41,680
Speaker 1: so check it out and follow the Instagram Operatica Events.

2038
01:47:41,840 --> 01:47:45,840
Speaker 1: That's O p e r A t I k A

2039
01:47:46,560 --> 01:47:48,120
Speaker 1: Events amazing.

2040
01:47:48,320 --> 01:47:51,200
Speaker 5: Hell yeah, and if you can check us out on

2041
01:47:51,520 --> 01:47:56,120
Speaker 5: social media at Bechdelcast, you can go to our Matreon

2042
01:47:56,520 --> 01:48:00,840
Speaker 5: where again, rather than releasing this saved the last dance

2043
01:48:00,880 --> 01:48:04,080
Speaker 5: episode there, which was our original intention, we swapped it

2044
01:48:04,080 --> 01:48:06,679
Speaker 5: out for a burlesque episode, so you can.

2045
01:48:06,720 --> 01:48:11,639
Speaker 2: Really pritch discussion going on over there as well as

2046
01:48:11,800 --> 01:48:15,080
Speaker 2: flash Dance. And that's five bucks a month for two

2047
01:48:15,120 --> 01:48:19,120
Speaker 2: new episodes every month and access to our entire back catalog.

2048
01:48:19,479 --> 01:48:21,840
Speaker 2: You can also get our birch over at teapublic dot

2049
01:48:21,880 --> 01:48:24,400
Speaker 2: com Slash the Bechdel Cast.

2050
01:48:25,080 --> 01:48:25,320
Speaker 1: Woo.

2051
01:48:26,920 --> 01:48:32,920
Speaker 4: And with that, let's go to our Juilliard audition. But

2052
01:48:33,520 --> 01:48:37,520
Speaker 4: be careful, don't get in a car because it's gonna crash.

2053
01:48:37,640 --> 01:48:40,320
Speaker 1: Jesus, Bye Bye.

2054
01:48:44,240 --> 01:48:47,519
Speaker 4: The Bechdel Cast is a production of iHeartMedia, hosted by

2055
01:48:47,560 --> 01:48:51,479
Speaker 4: Caitlin Derante and Jamie Loftus, produced by Sophie Lickterman, edited

2056
01:48:51,560 --> 01:48:54,720
Speaker 4: by Mola Board. Our theme song was composed by Mike

2057
01:48:54,840 --> 01:48:59,200
Speaker 4: Kaplan with vocals by Catherine Vosskrosenski. Our logo and merch

2058
01:48:59,360 --> 01:49:02,320
Speaker 4: is designed by Jamie Loftus and a special thanks to

2059
01:49:02,360 --> 01:49:06,800
Speaker 4: Aristotle Acevedo. For more information about the podcast, please visit

2060
01:49:06,840 --> 01:49:08,400
Speaker 4: linktree slash Bechtelcast