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Speaker 1: Hey, guys, welcome to another episode of Selective Ignorance. However,

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Speaker 1: before we get to this week's episode, I want to

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Speaker 1: remind you guys to purchase my book No Holds Barred,

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Speaker 1: a dual manifesto of sexual exploration and power. So feel

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Speaker 1: free to go to your local bookstores preferably queer owned,

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Speaker 1: black owned, or woman owned to support them, but also

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Speaker 1: just click the button on Amazon, Barnes and Nobles, or

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Speaker 1: wherever you read your books. Again. That is No Holds Barred,

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Speaker 1: a dual manifesto of sexual exploration and power, written by

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Speaker 1: yours truly and my co host of the Decisions Decisions podcasts, Weezy.

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Speaker 1: Make sure y'all get that. Now let's get to this

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Speaker 1: week's episode. This is Mandy B. Welcome to Selective Ignorance,

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Speaker 1: a production of The Black Effect Podcast Network and Iart Radio.

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Speaker 1: Y'all already know what time it is. Welcome to another

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Speaker 1: episode of Selective Ignorance with your girl, Mandy B and y'all.

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Speaker 1: This is the place where the facts are real, the

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Speaker 1: opinions are reckless sometimes, and for this episode this week,

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Speaker 1: the nostalgia is Hella black. Now listen, we love our classics,

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Speaker 1: will quote them. Memum and defend them like they're Oscar worthy.

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Speaker 1: But if we're being real, some of these films are

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Speaker 1: objectively terrible. That's right. We are getting into black cult

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Speaker 1: classics this week. How did we even make some of

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Speaker 1: these is what I'm gonna ask, But yet a lot

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Speaker 1: of us still adore them. Here's where it gets deeper. However,

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Speaker 1: over the past few decades, the way we're represented in film,

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Speaker 1: it's been interesting, to say the least, from the type

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Speaker 1: casting of our most talented actors to the fact that

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Speaker 1: some of our most celebrated characters are based on the

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Speaker 1: three archetypes. It's giving limited options and recycled troops. So

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Speaker 1: today we're asking why do we celebrate the mess? What

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Speaker 1: makes a movie a Black classic, and how much of

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Speaker 1: that nostalgia is covering up the fact that we might

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Speaker 1: be laughing at ourselves more than we think. Rob your

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Speaker 1: popcorn Gangs. It's kind of a solo episode this week,

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Speaker 1: and we are digging into black classic cult films and

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Speaker 1: it's going to be a cultural ride. Welcome guys to

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Speaker 1: another episode. Hey, hey, y'all already know I'm joined by

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Speaker 1: my producer, the Extraordinaries. I have a king with me

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Speaker 1: right next to me. Today. You're not in the you're

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Speaker 1: not behind the glass today.

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Speaker 2: You got promoted today.

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Speaker 1: Now you got promoted. That's crazy. We got Jason over

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Speaker 1: there live from from from Jersey, and we're getting into it.

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Speaker 1: I guess. So when y'all see me or hear me,

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Speaker 1: if you guys are watching or listening, when we do

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Speaker 1: these kind of solo episodes where it's just me and

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Speaker 1: my producers, we're really going to get into cultural topics,

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Speaker 1: list things that kind of allow all of us to

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Speaker 1: get to go off a little bit more and for

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Speaker 1: y'all to get to know why I chose these two

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Speaker 1: dope ass motherfuckers as my producers. How are you feeling today?

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Speaker 3: King?

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Speaker 4: Excellent? Excellent.

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Speaker 5: Shout out to everybody that's tapping into the Selective Ignorance

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Speaker 5: podcast who will subscribed. Please I encourage you to tell

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Speaker 5: a friend, Tell a friend, this is not the malarkey

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Speaker 5: shit out there, just having great conversations and having discourse

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Speaker 5: along the way as we should, and still go out

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Speaker 5: to eat and have lunch and do whatever afterwards.

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Speaker 1: I ain't gonna want you malarkey. Just made you sound

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Speaker 1: really really old, malarkey.

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Speaker 6: I think that's like one of the old like Biden

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Speaker 6: word decades that the bid word.

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Speaker 4: Will you prefer me to talk why in speech?

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Speaker 3: No?

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Speaker 1: No, no, no, no no. You know what's crazy about

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Speaker 1: you saying that? I feel myself saying type shit way

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Speaker 1: more than I want to. I'm not doing twin. No,

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Speaker 1: nobody is my twin first, but like, but like I'll

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Speaker 1: literally be talking either about business and stuff and I'm

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Speaker 1: literally saying type ship and I'm like, oh my god.

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Speaker 5: And then I was we have to say that bridge

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Speaker 5: phrase between the statement or it's literally just.

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Speaker 1: But I don't know why I'm saying type ship. And

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Speaker 1: then I realized, like y'all know, I like my little

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Speaker 1: wayans and I had to ignore that. My last little

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Speaker 1: boot that I was just talking to out on the

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Speaker 1: West Coast, he was calling me fine ship, and I'm like,

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Speaker 1: I don't like find ship like hate it. No, I

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Speaker 1: don't like find shit. First off, I'm not a fine

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Speaker 1: piece of ship. No, find ship is crazy, like ship

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Speaker 1: ain't fine.

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Speaker 4: I digress.

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Speaker 1: I digress it's crazy because I mean and we'll probably

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Speaker 1: talk about it this episode. Clearly there's been slanging things

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Speaker 1: that have been used throughout our Black film as well,

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Speaker 1: and so jive turkey is crazy.

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Speaker 3: That's a good one all time.

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Speaker 1: I mean, I mean, I think, I think for me,

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Speaker 1: we didn't really hear it in music. But if we

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Speaker 1: go into the films that were from like New York,

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Speaker 1: that's where we heard son kid be Like. We didn't

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Speaker 1: hear that otherwise outside of the film and television really

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Speaker 1: because we weren't hearing it even on like reality shows

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Speaker 1: and stuff like that. We only heard that type of

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Speaker 1: lingo be used in black films.

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Speaker 5: Created it comes from the prisons, I want to say.

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Speaker 5: And then it transitioned into the streets.

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Speaker 1: Okay, it became.

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Speaker 4: The cool speech, so to speak. Now we call it, Oh,

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Speaker 4: what is it?

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Speaker 3: A A V E?

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Speaker 6: A What is that African American? African American banacular?

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Speaker 1: What's the E?

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Speaker 2: I earned my check today?

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Speaker 1: But no, no, no, no, what's the part. I'm not gonna

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Speaker 1: it's just a V.

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Speaker 4: No.

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Speaker 1: I think it's a A V E. By the way,

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Speaker 1: if it's not, y'all ain't taking my mother.

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Speaker 6: No.

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Speaker 3: So the E is English for English.

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Speaker 1: Okay, so you are missing a letter soonics Ebonics, I guess,

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Speaker 1: used to be what we called as.

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Speaker 4: It was with Champagne ebonics, with yours.

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Speaker 2: I guess though, diploma there you go.

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Speaker 1: Oh my god, well, I guess then to start to

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Speaker 1: start off this conversation to see where we land on

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Speaker 1: our points and views and things. By the way, y'all

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Speaker 1: get ready to be mad. I don't know if you're

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Speaker 1: listening to us in the car, if you listen to

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Speaker 1: us at your workplace, if you got us, send your

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Speaker 1: headphones or not, be prepared to disagree with us. I

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Speaker 1: think that when we talk about these type of subject matters,

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Speaker 1: the reality is it is subjective at the end of

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Speaker 1: the day. So what I say, Bible and I'm pretty

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Speaker 1: sure I'm gonna disagree with this old head ass nigga

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Speaker 1: and this Puerto Rican on the motherfucker.

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Speaker 4: I'm in between.

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Speaker 1: What is in between?

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Speaker 4: I'm og?

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Speaker 1: But your og? You you you old school.

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Speaker 4: But there you go in the middle, young og.

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Speaker 1: A young og. Okay, I gotta do it. So then

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Speaker 1: let's start with all of us defining just so that

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Speaker 1: the listeners kind of know where we're coming from. What

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Speaker 1: makes a black classic. So, in terms of films, what

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Speaker 1: makes a movie an actual classic? To you, I'm gonna

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Speaker 1: throw it off to you a king first, because you're

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Speaker 1: actually the only full black person.

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Speaker 3: Disgusting, privileges, privilegious.

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Speaker 5: I hope that ship means something soon you know what's

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Speaker 5: going on. But anyway, what makes a Black Colt classic.

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Speaker 5: I think the anticipation, think the film delivering to the

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Speaker 5: expectation of the anticipation. I think who's in it, you know,

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Speaker 5: the actors. Let's let's take it if for example, Sinners. Yes,

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Speaker 5: we saw the anticipation by the casting. Who was on it.

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Speaker 5: That was the anticipation, right, it was like, oh ship,

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Speaker 5: Ryan Coogler, It's Michael B. Jordan's all these dope caster

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Speaker 5: of characters, right, and then we get to see it,

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Speaker 5: and then they gave us the idea that was all horror,

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Speaker 5: But it wasn't.

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Speaker 4: It was historical. It was messaging.

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Speaker 5: Is a lot of social commentary in it, and it

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Speaker 5: became something before I saw it. The reviews I saw

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Speaker 5: was people want to see it a second and third time.

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Speaker 1: But you're saying this, but let's generalize it.

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Speaker 7: We're not talking about centers here. We don't talk about

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Speaker 7: of what now. It sits in a place where I

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Speaker 7: just want to see it over and over and it's

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Speaker 7: now it's like yo, after four times, So I think

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Speaker 7: that that's.

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Speaker 1: The I think, I think, But I think what you're

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Speaker 1: saying right now is unfair to the conversation at all.

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Speaker 1: The fact the Senate just came out. We we can't

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Speaker 1: even classify it as a classic just yet. It just

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Speaker 1: came out. So in terms of how you because we're

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Speaker 1: not going to be talking about centers today, were talking

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Speaker 1: probably Friday, ballet, Jews, love basketball.

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Speaker 4: The subjectvies like.

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Speaker 5: Music that you know is instant, that's why we call

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Speaker 5: it instant classic.

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Speaker 1: I actually hate that. I hate that you're doing it.

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Speaker 1: We are talking about cold classics. So to me for

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Speaker 1: you to I hate I hate the label. I hate

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Speaker 1: the labeling actually right now, I hate the labeling of

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Speaker 1: calling ship a classic right now, Like there's been there's

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Speaker 1: been songs that nigga's like, oh it is gonna be

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Speaker 1: a classic, Nigga, no one's playing it a month later.

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Speaker 1: So I want okay, so you don't have a definition, basically, Okay,

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Speaker 1: hey you don't know. So I'm gonna go, Yeah, I'm

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Speaker 1: gonna go and set this up. I'm gonna set it

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Speaker 1: up so that we know what the hell we talking

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Speaker 1: about today. I will take one from you. I do

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Speaker 1: think a classic leads to whoever is featured in the film.

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Speaker 1: So I think knowing that we have those historical legends,

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Speaker 1: we have the Eddie Murphy's, we have the Denzel Washington's,

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Speaker 1: we have at this point the Angela Bassis, the Viola Davis. Like,

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Speaker 1: there's certain names that knowing that they're gonna be featured,

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Speaker 1: could lend it to be essentially a classic, and then

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Speaker 1: I will do cultural impact. I think cultural impact is

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Speaker 1: gonna be very big in the way that we we

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Speaker 1: look at this, and I know we're gonna break down

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Speaker 1: also the genres of them, because you have your your

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Speaker 1: romance ones like The Love Joe and the Love and

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Speaker 1: Basketball Is. Then you have your comedies like the Fridays.

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Speaker 1: You have your hood classics, the Minister Societies and Belly

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Speaker 1: and Juice and all those things. So to me, it's

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Speaker 1: gonna be cultural impact. It's gonna be replay value. I

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Speaker 1: think that's very important. I don't think you become a

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Speaker 1: classic without someone wanting to see it. It was so

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Speaker 1: funny because because even we know Christmas now they played

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Speaker 1: Friday after next or next Friday like every year, like

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Speaker 1: and the Baby Boy gets played. So I think replay

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Speaker 1: value is very important, and we're not gonna add it here,

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Speaker 1: but I do think soundtracks essentially lend heavily to keep

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Speaker 1: it like, yeah, maybe we'll get into soundtracks one day.

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Speaker 1: But I think the fact that you can sit here

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Speaker 1: and listen to certain songs and it makes you literally

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Speaker 1: think of the movie, I think that makes it. I

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Speaker 1: think that lends to the cultural impact of what makes

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Speaker 1: a classic. And then we'll get into the ones that

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Speaker 1: we believe are overhyped and maybe shouldn't have been a

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Speaker 1: cult classic, but I think they become classics only because

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Speaker 1: of who was in it, And so we'll kind of

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Speaker 1: do the full circle moment of why that is. Did

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Speaker 1: you agree or want to add on to anything that

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Speaker 1: I said, just so that we know what we're.

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Speaker 3: Yeah, no, I think that's good.

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Speaker 2: I think it's I think it's I think director matters.

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Speaker 2: I think casting matters.

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Speaker 6: And then to a King's point, there's a messaging and

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Speaker 6: a language that it speaks to make it know that

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Speaker 6: it's like ours, and that's what makes like repeatability of

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Speaker 6: it right like and Friday, like you're watching it.

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Speaker 2: It's super La shit, New jack City is New York shit.

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Speaker 6: Like, there's like coded languages and messages that make it that,

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Speaker 6: you know, like it's an our film, and you know

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Speaker 6: to your point, like once it gets to like the

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Speaker 6: part we're watching it over and over and over again,

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Speaker 6: then it gains like that cult status.

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Speaker 1: It's crazy because I didn't even consider the geographical aspect

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Speaker 1: of it, Like like I viewed la as Friday, I

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Speaker 1: viewed New York as there's so many films out of

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Speaker 1: their New Jack City. I would say New Jack City

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Speaker 1: a little bit, but that's a little older than Juice, right,

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Speaker 1: both of uptown.

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Speaker 4: Yeah, I think you.

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Speaker 5: Kind of give you a lens of what was happening

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Speaker 5: too during that time, Like even if we saw it,

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Speaker 5: I saw Juice first before I saw a New Jack City,

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Speaker 5: so it's like, oh, this has happened before. Yeah, essence

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Speaker 5: pre dates whatever's going on with Juice.

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Speaker 1: And then I and then we'll get into I would

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Speaker 1: say I'd like to wrap up at the end where

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Speaker 1: not that I'm saying that, uh, color doesn't matter here,

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Speaker 1: but I'd like to know the black films that we

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Speaker 1: do believe is ours but transcended and became global global

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Speaker 1: things like I would like I would like maybe for

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Speaker 1: us to debate at the end, like is bad? It's

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Speaker 1: bad boys us? Or is it? I mean, clearly that's

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Speaker 1: a global sensation. You have.

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Speaker 6: What's the one you want to talk about?

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Speaker 2: That?

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Speaker 4: Which one?

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Speaker 1: Not which one? Malcolm xIC. Yeah, that's movies.

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Speaker 4: That's a but uh you mean the questionable ones?

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Speaker 1: No, no, no, the one that's uh he played the.

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Speaker 3: Games, he played the American gangs.

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Speaker 1: American games. So I do hold that for the n Jason,

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Speaker 1: if you could bring it back or training you know

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Speaker 1: what I mean. I want to know which ones kind

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Speaker 1: of transcended and becomes bigger than and And I say

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Speaker 1: that because even when we talk R and B, and

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Speaker 1: y'all get another episode about that too. When we talk

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Speaker 1: R and B, sometimes once the song gets too big,

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Speaker 1: people want to take it out of R and B

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Speaker 1: to make it pop. So I think that we do

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Speaker 1: that as well with some of our own films. So

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Speaker 1: where are we starting this conversation? Jason?

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Speaker 3: Lead? So lead us to the watta Yeah. So, so

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Speaker 3: it's interesting, I think.

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Speaker 6: So we're gonna talk about genres, right, Yeah, Like you

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Speaker 6: mentioned a little bit with like Hood films and Black Sultation.

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Speaker 6: It's funny because prior to the seventies, it used to

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Speaker 6: just be called race films.

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Speaker 3: Oh, it was just called it was just called race films.

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Speaker 6: And it was very on the nose, written by black people,

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Speaker 6: cast by black people, for black people, right, And that's

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Speaker 6: where you got like in the heat of the night

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Speaker 6: early like Sydney Partier movies twenties, thirties, forties.

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Speaker 2: Obviously he was in the sixties.

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Speaker 1: He was in the sixties.

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Speaker 6: Yeah, yeah, but I felt like it was like very direct,

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Speaker 6: this is what it is. And then now it changes

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Speaker 6: and there's a lot a lot of different names for it, right,

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Speaker 6: which we'll get into it in the conversation.

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Speaker 1: But so we want to go straight to the seventies

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Speaker 1: and eighties first, we want to start.

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Speaker 3: Yeause, I think that's I think that's where it started.

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Speaker 6: I finact Blax's plotation is kind of where it started.

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Speaker 6: And then there's a clip. Have either one of y'all

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Speaker 6: seen Is It Black Enough for You? The Netflix documentary? No,

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Speaker 6: So it's his brother. He's a film critic. His name

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Speaker 6: is Elvis Mitchell, right, longtime film critic. Does his first

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Speaker 6: actual film. This documentary came out in twenty twenty two.

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Speaker 6: It was called Is It Black Enough for You? And

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Speaker 6: it's exploring black plotation era and why it's important.

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Speaker 2: But I have this clip. We could play it or not.

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Speaker 1: Yeah, no, go ahead and play it.

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Speaker 6: So he's basically playing there's no genres. If it's a

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Speaker 6: black film, it's a black film.

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Speaker 1: So I'm gonna say, oh, okay, got let's do it.

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Speaker 8: We said black film itself is a genre. So there

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Speaker 8: is no black musical. It's a black film. There is

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Speaker 8: no black romantic comedy. It's a black film. There is

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Speaker 8: no black fantasy film. It's a black film. So when

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Speaker 8: these films fail, they don't feel as genre films. They

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Speaker 8: fail it's a black film, which is to say, oh, well,

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Speaker 8: nobody want to see that black film. I guess they

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Speaker 8: don't want to see black films anymore. And there was

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Speaker 8: an executive once said to me, yeah, they don't want

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Speaker 8: to black still want to see themselves in historical jlblems.

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Speaker 8: And I said, based on what how many black people?

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Speaker 8: You know?

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Speaker 1: Oh okay? Hearing that, yes and no, And I guess

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Speaker 1: even because so even at the top of the year,

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Speaker 1: right like knowing we went to see one of them

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Speaker 1: days Kiki Palmer and Sis. They did. They classified that

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Speaker 1: it was a comedy essentially right. But I think we

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Speaker 1: as a culture leaned into it as a black film

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Speaker 1: because they had two black leads. But it was still

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Speaker 1: a comedy, and when they looked at the numbers and

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Speaker 1: what it brought, it was one of the highest grossing

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Speaker 1: comedies of this year. They didn't say black comedies of

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Speaker 1: this year. I think we do that for ourselves actually,

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Speaker 1: to more so distinguish what films are for us and

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Speaker 1: what are not, because if we if we discussed Centers

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Speaker 1: as well, it was a horror film, which I think

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Speaker 1: we leaned into calling it even a black horror, because

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Speaker 1: we don't have we I think we never had the

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Speaker 1: opportunity a to be in horror films because we were

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Speaker 1: always the first one to die in any sort of

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Speaker 1: that genre. But maybe he had a point that we

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Speaker 1: didn't really want to see ourselves in those certain genres either.

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Speaker 1: Like it wasn't until recently that.

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Speaker 6: We even started saying I think he was talking about

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Speaker 6: the whites. When he was saying that.

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Speaker 1: You think he was talking about the whites, But I

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Speaker 1: think we do that.

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Speaker 2: To us.

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Speaker 4: I don't know, it's too so what do you think

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Speaker 4: the first the first part.

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Speaker 6: Of it, But let's go to the first part, realid,

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Speaker 6: because you said it the Kiki par movie is do

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Speaker 6: you you it like they're just it's a black movie.

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Speaker 6: It's not a black comedy, it's a black If it's

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Speaker 6: a black cast, it's a black movie.

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Speaker 1: If it's a black cast, it's a black movie. Do

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Speaker 1: I agree with that? And I can only say no

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Speaker 1: because I don't think Bad Boys is a black movie.

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Speaker 3: So that's an interesting one.

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Speaker 1: You know what I mean, like so and so, I

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Speaker 1: don't know if it's the global reach.

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Speaker 6: But also okay, no question about the Bad So the

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Speaker 6: Bad Boys and I think we'll get into that right

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Speaker 6: next to The Bad Boys was written.

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Speaker 2: For two white actors.

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Speaker 3: It was I know and so and so that's just

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Speaker 3: black leads.

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Speaker 6: But it wasn't necessarily like black cast, black director. It

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Speaker 6: wasn't the whole thing like the race movie kind of stuff.

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Speaker 6: It was okay, okay, so this is this is all

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Speaker 6: white people, and we just so happened to put Will

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Speaker 6: Smith because he was a movie star mark Because.

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Speaker 1: So this is gonna sound kind of problematic, right, So,

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Speaker 1: I mean with dating an actor, I've talked to mini

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Speaker 1: actors and and here like roles and I know, we

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Speaker 1: just saw Woody McCain talk about being type cast as

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Speaker 1: a criminal and things like that. This is gonna sound

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Speaker 1: maybe a bit problematic. Maybe we only can classify something

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Speaker 1: as a black film if it is literally written with

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Speaker 1: N word use and a and written for black factors.

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Speaker 1: Because because because when you think of characters that could

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Speaker 1: be colorless, right like Hancock, you had Will Smith, and

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Speaker 1: even though he's a black actor, that's not a black

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Speaker 1: film because any color actor could have played that. I think,

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Speaker 1: I think even anything historical, like if we go to

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Speaker 1: American Gangster, it was leaning into a black character. But

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Speaker 1: I also maybe don't view that as a black film

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Speaker 1: because it was something historical Judas and the Black Messiah

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Speaker 1: that I even consider.

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Speaker 6: It's no, it's about Hampton.

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Speaker 1: It's about Fredhampton, but it's a historical thing that took place,

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Speaker 1: and it wasn't really for us, like it was for

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Speaker 1: a global aspects of something that happened. Hold on something

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Speaker 1: that happened historically. I would even I would even want

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Speaker 1: to remove it. Malcolm X. Honestly too, I know you

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Speaker 1: said it earlier, hold On, hold on, shut the fuck up.

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Speaker 1: I would even say, Malcolm X, anything in terms of

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Speaker 1: black history, when put into film, I don't necessarily believe

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Speaker 1: that that makes it a black film or a cult classic.

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Speaker 1: I don't think. I think because it's something that is

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Speaker 1: dictating something that is historically true, and this is the

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Speaker 1: representation in oftentimes I want you to look it up.

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Speaker 1: A lot of those films are directed by white people.

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Speaker 2: These two are not.

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Speaker 4: These two or not those.

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Speaker 1: Two are not. But first off, too, fred Hampton. Fred

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Speaker 1: Hampton wasn't even taught to us in black history growing up.

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Speaker 1: A lot of us were introduced to the Black Panthers

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Speaker 1: in Chicago and Fred Hampton that story through the film.

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Speaker 1: So what I'm saying is when we think about and

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Speaker 1: by the way, it depends which Malcolm X movie, there's

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Speaker 1: like three or four in bitches, So I know not

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Speaker 1: all of them were directed by knowledge. I acknowledge.

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Speaker 4: You mentioned.

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Speaker 5: You mentioned a few things though you said that one

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Speaker 5: education part of it. He said that you wasn't taught

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Speaker 5: about Fred Hampton in school. They would never teach about

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Speaker 5: any type of black panther.

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Speaker 1: Uh, but I knew about the Black Panthers, but they're not.

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Speaker 5: But they're not teaching it from the context of how

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Speaker 5: or given us the representation of what it was, the purpose.

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Speaker 5: We always hear about it as a radical organization first

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Speaker 5: and foremost, and then and then everything else after that.

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Speaker 5: I think when you hearing you speak about it, I

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Speaker 5: hear what rings in my mind is fooble for us,

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Speaker 5: by us, And I just hear for us, by us,

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Speaker 5: and for those who want to participate, welcome. But we

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Speaker 5: can't deny the intention behind making these movies. It's for

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Speaker 5: us to show us, you know, from a historical standpoint,

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Speaker 5: how great we are, how great we are, and our thinking,

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Speaker 5: our writing, just telling these stories. So I think that

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Speaker 5: that's why we get categorize in it's a black film

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Speaker 5: that black people, just like the super Bowl. When you

427
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Speaker 5: look at the outcry from different news news networks, they

428
00:21:09,640 --> 00:21:11,960
Speaker 5: didn't understand what Kendrick did. But all I saw with

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Speaker 5: the numbers, everybody else is watching it, right, they're curious

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Speaker 5: and they're like it. But the people who didn't understand it,

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Speaker 5: for whatever reason, they were like, I don't understand.

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Speaker 4: This because it was really for us, for us, by us.

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Speaker 1: So man, by the way, I do want to let

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Speaker 1: you know, Yes, I know you only want to We're

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Speaker 1: only you only want to acknowledge. Spike Lee but the

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Speaker 1: first Malcolm X film that was released in nineteen seventy

437
00:21:37,760 --> 00:21:42,159
Speaker 1: two was directed and written by a white screenwriter and

438
00:21:42,200 --> 00:21:44,320
Speaker 1: film maker, Arnold Pearl.

439
00:21:45,000 --> 00:21:45,800
Speaker 2: Okay, yeah, I.

440
00:21:45,840 --> 00:21:48,680
Speaker 4: Never heard of it. But no, I've never heard of it.

441
00:21:49,359 --> 00:21:51,400
Speaker 1: That is another Malcolm X movie. I know we want

442
00:21:51,440 --> 00:21:53,200
Speaker 1: to acknowledge only Denzel Malcolm.

443
00:21:53,280 --> 00:21:56,119
Speaker 3: We'll watch I'm a Crystaler for Columbus that movie. Man,

444
00:21:56,160 --> 00:21:59,480
Speaker 3: do you have a question? You were starting to cook though,

445
00:21:59,480 --> 00:22:00,760
Speaker 3: you were starting to cook when you were.

446
00:22:00,640 --> 00:22:04,720
Speaker 6: Talking about Hancock and different actors who they could play

447
00:22:04,760 --> 00:22:06,720
Speaker 6: and and what makes it and we kind of got

448
00:22:06,720 --> 00:22:08,199
Speaker 6: the rail with the Malcolm X of it all, but

449
00:22:08,240 --> 00:22:10,240
Speaker 6: you were starting to cook about the idea of if

450
00:22:10,280 --> 00:22:14,520
Speaker 6: it's written by uh black writers cash but black you

451
00:22:14,560 --> 00:22:17,360
Speaker 6: were about to go into like yes.

452
00:22:17,240 --> 00:22:20,320
Speaker 1: So so here's the thing. We can consider certain actors

453
00:22:20,320 --> 00:22:22,840
Speaker 1: because I know we'll get into our actress too. Certain

454
00:22:22,920 --> 00:22:30,880
Speaker 1: actors go beyond the quote unquote black film genre because

455
00:22:31,400 --> 00:22:33,600
Speaker 1: they are considered and this is going to sound crazy,

456
00:22:33,720 --> 00:22:38,119
Speaker 1: as black actors colorless actors, so their role is not

457
00:22:38,280 --> 00:22:40,840
Speaker 1: dependent on them being black. So we can we can

458
00:22:40,880 --> 00:22:42,359
Speaker 1: say actors like that would be.

459
00:22:43,400 --> 00:22:45,480
Speaker 4: Freeman, Morgan.

460
00:22:45,560 --> 00:22:45,879
Speaker 3: Freeman.

461
00:22:46,640 --> 00:22:50,679
Speaker 1: Denzel is a colorless actor. I would say, I wouldn't

462
00:22:50,680 --> 00:22:53,560
Speaker 1: even say Martin Lawrence, but Will Smith is a colorless actor,

463
00:22:55,280 --> 00:22:59,880
Speaker 1: and you have these guys that don't play. Wesley Snipe

464
00:23:00,440 --> 00:23:03,719
Speaker 1: could could be considered that even though yeah he has

465
00:23:03,760 --> 00:23:04,040
Speaker 1: a ring.

466
00:23:04,240 --> 00:23:05,960
Speaker 3: He had he had an eighteen months fan when he

467
00:23:06,040 --> 00:23:06,320
Speaker 3: was there.

468
00:23:06,440 --> 00:23:09,400
Speaker 1: But when I say colorless actors, it's they could play

469
00:23:09,400 --> 00:23:14,440
Speaker 1: a role that they could, They could, they can. Jackson, Samuel.

470
00:23:15,600 --> 00:23:19,280
Speaker 5: Absolutely, he got the most. Does he have hold of

471
00:23:19,320 --> 00:23:21,120
Speaker 5: record for the most film feature films?

472
00:23:22,119 --> 00:23:25,639
Speaker 1: Does he not always play those? Hold on? Does? Okay?

473
00:23:25,720 --> 00:23:29,320
Speaker 1: Does Samuel Jackson he does be playing?

474
00:23:29,440 --> 00:23:29,959
Speaker 3: Don't let him?

475
00:23:31,320 --> 00:23:37,800
Speaker 1: Does Samuel Jackson not only play a coon or a

476
00:23:37,880 --> 00:23:39,680
Speaker 1: super black and black man.

477
00:23:39,760 --> 00:23:41,080
Speaker 4: Like Sammy Jackson?

478
00:23:41,440 --> 00:23:45,480
Speaker 1: Yes, I saw it like like, first off, the fact

479
00:23:45,480 --> 00:23:48,159
Speaker 1: that you just put the D in Django Nigga, the

480
00:23:48,240 --> 00:23:52,320
Speaker 1: D is silent. The fact that you just said did Jango, which,

481
00:23:52,359 --> 00:23:56,600
Speaker 1: by the way, lets be very clear tricky because definitely

482
00:23:56,680 --> 00:23:58,600
Speaker 1: I think a black film, but that's quit In Tarantino.

483
00:23:58,840 --> 00:24:00,520
Speaker 3: So yeah, I think it's a white and I think

484
00:24:00,560 --> 00:24:04,000
Speaker 3: it's for you think you think you think.

485
00:24:04,000 --> 00:24:07,399
Speaker 1: Jango was for white people? With the with the amount

486
00:24:07,480 --> 00:24:10,159
Speaker 1: I just recently watched it I think Jango might have

487
00:24:10,240 --> 00:24:12,919
Speaker 1: the most nigga counts in any film I've ever seen, Like,

488
00:24:13,160 --> 00:24:17,119
Speaker 1: Django may have more more nigga counts than Belly. Like like,

489
00:24:17,400 --> 00:24:20,520
Speaker 1: this is where I said the North wasn't really using

490
00:24:20,560 --> 00:24:22,200
Speaker 1: the in word in their films. They were using the

491
00:24:22,280 --> 00:24:24,760
Speaker 1: yo son yo be yo this yo my guy. No,

492
00:24:25,320 --> 00:24:26,760
Speaker 1: they weren't saying nigga like that.

493
00:24:27,000 --> 00:24:29,000
Speaker 4: You think hip hop has something to do the music

494
00:24:29,040 --> 00:24:30,120
Speaker 4: of hip hop has something to.

495
00:24:30,040 --> 00:24:34,119
Speaker 5: Do with the the overuse or more usage of it,

496
00:24:34,960 --> 00:24:35,639
Speaker 5: I'm not gonna lie.

497
00:24:35,720 --> 00:24:37,879
Speaker 1: Oh yeah, I think I think hip hop uses it

498
00:24:37,920 --> 00:24:40,280
Speaker 1: a lot more than films. But I think that black

499
00:24:40,320 --> 00:24:43,640
Speaker 1: films steer clear of the use of the in word

500
00:24:43,640 --> 00:24:48,000
Speaker 1: as well for global like to become maybe global things.

501
00:24:48,240 --> 00:24:49,960
Speaker 1: Because you know what else is crazy. I've been watching

502
00:24:49,960 --> 00:24:51,480
Speaker 1: all these old films lately because I've been trying to

503
00:24:51,480 --> 00:24:53,959
Speaker 1: get into my script writing back. Even if you go

504
00:24:54,000 --> 00:24:57,600
Speaker 1: watch like Now, these is gonna be the real black

505
00:24:57,680 --> 00:25:01,159
Speaker 1: cult classics that I think a terrible movies. But if

506
00:25:01,160 --> 00:25:03,800
Speaker 1: you watch like the two can play that game. If

507
00:25:03,840 --> 00:25:08,840
Speaker 1: you watch the even like a Love Jones, Love and Basketball,

508
00:25:11,040 --> 00:25:14,719
Speaker 1: Poetic Justice, things like that, all of those films, even

509
00:25:14,920 --> 00:25:16,959
Speaker 1: those are black ass films, and I think they were

510
00:25:17,000 --> 00:25:19,840
Speaker 1: made for us, not really. I'm sure they would have

511
00:25:19,880 --> 00:25:22,360
Speaker 1: liked to be bigger than they were, but they're kept

512
00:25:22,400 --> 00:25:27,800
Speaker 1: to just us. The usage of black language wasn't really

513
00:25:27,840 --> 00:25:30,680
Speaker 1: there either, Like it's so crazy how much more. Yeah,

514
00:25:30,760 --> 00:25:33,160
Speaker 1: we could say hip hop has an influence essentially when

515
00:25:33,160 --> 00:25:36,520
Speaker 1: we get into like the Fridays, those those type of movies,

516
00:25:36,520 --> 00:25:38,920
Speaker 1: but they weren't using the inWORD. And maybe I could

517
00:25:38,960 --> 00:25:42,080
Speaker 1: do like a chet gpt what black film uses the

518
00:25:42,160 --> 00:25:45,400
Speaker 1: in word the most? Niga? I think Django might literally

519
00:25:45,480 --> 00:25:47,480
Speaker 1: use the inn word more than any of our black holes.

520
00:25:47,640 --> 00:25:49,119
Speaker 3: But that's that's that's that's that's.

521
00:25:49,040 --> 00:25:51,760
Speaker 6: Spike Lee's whole beef with Quentin Tarantino that he feels

522
00:25:51,760 --> 00:25:53,200
Speaker 6: like he always puts it into a movie.

523
00:25:53,840 --> 00:25:57,160
Speaker 1: I see, you know what I mean, what other film

524
00:25:57,200 --> 00:25:58,000
Speaker 1: did he do that with?

525
00:25:59,720 --> 00:26:05,600
Speaker 6: I think Jackie Brown maybe obviously there's fiction or Samuel L.

526
00:26:05,680 --> 00:26:06,359
Speaker 2: Jackson's doing it.

527
00:26:06,480 --> 00:26:08,280
Speaker 3: Jangle was obviously like Jango.

528
00:26:08,680 --> 00:26:13,760
Speaker 1: Jango had Jango had Leonardo saying nigga, okay, like it

529
00:26:13,880 --> 00:26:16,919
Speaker 1: had like I think every white character got an in word.

530
00:26:16,880 --> 00:26:17,240
Speaker 4: But then.

531
00:26:19,000 --> 00:26:21,520
Speaker 1: They got what I would have got. I would have

532
00:26:21,600 --> 00:26:23,920
Speaker 1: liked to know what that set looked like because they

533
00:26:23,960 --> 00:26:26,800
Speaker 1: had no crackers flying with the inward in that movie.

534
00:26:26,920 --> 00:26:29,479
Speaker 5: I was like, but would that movie have been the

535
00:26:29,520 --> 00:26:32,920
Speaker 5: movie that we get without the emphasis of that word.

536
00:26:33,440 --> 00:26:36,159
Speaker 1: Maybe not. And I mean clearly they did it purposely,

537
00:26:36,240 --> 00:26:38,080
Speaker 1: but I think it's for white people.

538
00:26:38,840 --> 00:26:41,280
Speaker 6: It did to make white people feel uncomfortable because it

539
00:26:41,320 --> 00:26:42,080
Speaker 6: was a slave movie.

540
00:26:42,200 --> 00:26:43,280
Speaker 1: It was a slave movie.

541
00:26:43,359 --> 00:26:45,880
Speaker 3: It was the category we'll get in chill.

542
00:26:46,240 --> 00:26:47,160
Speaker 1: It was a slave movie.

543
00:26:47,160 --> 00:26:50,000
Speaker 3: But yeah, listen, some John category's some job.

544
00:26:50,280 --> 00:26:51,560
Speaker 1: Let's let's debate a little thoughts.

545
00:26:52,400 --> 00:26:55,119
Speaker 6: I think this one maybe just a quick stick are towing.

546
00:26:55,160 --> 00:26:57,320
Speaker 6: I don't know how far how long we'll stay into it.

547
00:26:57,359 --> 00:27:00,720
Speaker 6: But blax quotation obviously, like I mentioned early here, there's

548
00:27:00,720 --> 00:27:03,280
Speaker 6: that film, There's a Black Enough four.

549
00:27:03,320 --> 00:27:04,320
Speaker 2: You talks a lot about it.

550
00:27:04,720 --> 00:27:07,600
Speaker 6: So black flotation it's really kind of taking the history

551
00:27:07,600 --> 00:27:11,520
Speaker 6: and legacy of race films, but then adding the black

552
00:27:11,560 --> 00:27:13,760
Speaker 6: power movement towards it. Right, And so this is where

553
00:27:13,760 --> 00:27:17,280
Speaker 6: you get a lot of movies where black cast members

554
00:27:17,400 --> 00:27:20,760
Speaker 6: or the male or women or the leads they're taking

555
00:27:20,760 --> 00:27:22,600
Speaker 6: out whitey. That's where you hear like the turn whitey

556
00:27:22,640 --> 00:27:24,879
Speaker 6: for the first time or the man right like that was.

557
00:27:24,880 --> 00:27:26,199
Speaker 2: Always like the villain in the movie.

558
00:27:26,480 --> 00:27:29,000
Speaker 6: That's where you get like Fred Williamson and Black Caesar,

559
00:27:31,000 --> 00:27:34,879
Speaker 6: Superfly with Max Julian, you get Pam Grid.

560
00:27:34,600 --> 00:27:35,960
Speaker 2: And Foxy Brown and Coffee.

561
00:27:37,680 --> 00:27:40,360
Speaker 6: I feel like with theirs, if you if you want,

562
00:27:40,400 --> 00:27:42,080
Speaker 6: if you didn't have the context to watch it at

563
00:27:42,080 --> 00:27:44,600
Speaker 6: the time, you may be thinking that these are movies

564
00:27:44,720 --> 00:27:50,600
Speaker 6: that are kind of laughable, but like most.

565
00:27:50,400 --> 00:27:54,520
Speaker 1: Of them were placed into the comedy genre. Those are

566
00:27:54,920 --> 00:27:57,640
Speaker 1: I go hold you as soon as we got to Black,

567
00:27:58,280 --> 00:28:01,760
Speaker 1: Black Dotation, Black Jesus Christ.

568
00:28:02,359 --> 00:28:06,040
Speaker 6: And by the way, I'm thinking of well recent well.

569
00:28:06,080 --> 00:28:08,160
Speaker 1: If you even want to consider the recent ones, maybe

570
00:28:08,160 --> 00:28:10,280
Speaker 1: in the last two decades, like you have the Dolomite

571
00:28:10,800 --> 00:28:14,800
Speaker 1: with who was Dolomite? That was uh was that Eddie Murphy?

572
00:28:15,640 --> 00:28:18,800
Speaker 6: Yeah, but but that was Eddie Eddie Murphy's like it

573
00:28:18,800 --> 00:28:21,640
Speaker 6: was a comedic homage to like the Rudy Ray Moore.

574
00:28:21,880 --> 00:28:25,520
Speaker 1: Well, then you also got like Undercover Brother with Eddie Griffin, right,

575
00:28:25,640 --> 00:28:28,600
Speaker 1: And so for me, I think.

576
00:28:28,840 --> 00:28:30,760
Speaker 6: But I will say, but I think those are spoofs

577
00:28:30,800 --> 00:28:33,920
Speaker 6: more than Black Plotation, Like those are like Wayne's Brothers spoof.

578
00:28:34,440 --> 00:28:40,600
Speaker 1: I hate these films. These are I think are if

579
00:28:40,600 --> 00:28:44,120
Speaker 1: we lean into like just the stereotypes, like I think

580
00:28:44,240 --> 00:28:48,200
Speaker 1: this shows women is just being these overly sexual beings.

581
00:28:48,320 --> 00:28:51,200
Speaker 1: I feel like it shows the men is pimps, and

582
00:28:51,400 --> 00:28:54,680
Speaker 1: like it literally to me is is a is an

583
00:28:54,720 --> 00:28:59,040
Speaker 1: indication of pimp and whole culture essentially for us. And

584
00:28:59,120 --> 00:29:01,760
Speaker 1: so the stereotype said I think I always see in

585
00:29:01,880 --> 00:29:05,720
Speaker 1: these types of films from the seventies. I hate it.

586
00:29:06,160 --> 00:29:08,479
Speaker 1: I think it makes us look corny, it makes its cheesy.

587
00:29:08,480 --> 00:29:12,440
Speaker 1: It makes also the writing is also the worst for

588
00:29:12,720 --> 00:29:15,840
Speaker 1: if these are films written for us, created by us,

589
00:29:16,080 --> 00:29:18,440
Speaker 1: I think the dialogue is fucking so rudimentary. I don't

590
00:29:18,440 --> 00:29:19,240
Speaker 1: even want to watch it.

591
00:29:19,240 --> 00:29:22,520
Speaker 4: Like I would, have you ever seen Koli high before koly?

592
00:29:22,560 --> 00:29:26,240
Speaker 5: How's a good one if you haven't won a good one?

593
00:29:27,360 --> 00:29:30,200
Speaker 5: My dad used to I remember I watched Uptown Saturday night.

594
00:29:30,240 --> 00:29:32,000
Speaker 5: I thought that as a kid, I was like, oh,

595
00:29:32,040 --> 00:29:34,080
Speaker 5: this ship is fire. I never really was.

596
00:29:34,040 --> 00:29:39,000
Speaker 4: A fan of the Shaft and me neither. Maybe I

597
00:29:39,040 --> 00:29:41,320
Speaker 4: respect it, but I just that wasn't my entry.

598
00:29:42,160 --> 00:29:44,240
Speaker 5: But I would to your point, I would definitely look

599
00:29:44,240 --> 00:29:45,880
Speaker 5: at those I think you have some.

600
00:29:46,600 --> 00:29:49,720
Speaker 1: Of all the films that we could consider cult classics

601
00:29:49,720 --> 00:29:51,680
Speaker 1: like and we'll get into the stereotypes and clearly all

602
00:29:51,720 --> 00:29:54,160
Speaker 1: the different genres. This is my least favorite genre.

603
00:29:54,880 --> 00:29:57,200
Speaker 6: So I wanted to use the stereotypes to then flip

604
00:29:57,200 --> 00:29:59,760
Speaker 6: it to because we're a little young for that category.

605
00:29:59,760 --> 00:30:02,560
Speaker 6: But so then the eighties, right, and then you have

606
00:30:02,760 --> 00:30:06,600
Speaker 6: the eighties were largely dominated by Eddie Murphy and just

607
00:30:07,080 --> 00:30:09,280
Speaker 6: keeping like stereotypes of mind in the back of your head.

608
00:30:09,720 --> 00:30:12,760
Speaker 6: He started a lot of movies that were big that

609
00:30:12,880 --> 00:30:15,840
Speaker 6: were written for white people. So you have like Beverly Hills,

610
00:30:15,840 --> 00:30:21,200
Speaker 6: Cop Trading Places, forty eight hours and so, and you

611
00:30:21,240 --> 00:30:22,880
Speaker 6: go back and watch those and a lot of what

612
00:30:22,920 --> 00:30:25,280
Speaker 6: you're saying about black exploitation, I feel about the Eddie

613
00:30:25,400 --> 00:30:29,480
Speaker 6: Murphy movies total writing stereotypes. But he was just such

614
00:30:29,520 --> 00:30:31,760
Speaker 6: a fucking star, and he was so talented that he

615
00:30:31,840 --> 00:30:35,840
Speaker 6: made these movies that were probably really bad cult classics

616
00:30:35,880 --> 00:30:38,960
Speaker 6: because we're rewatching it for him, you know, a cult classic.

617
00:30:39,960 --> 00:30:43,120
Speaker 1: Oh, y'all gonna get on me, y'all gonna get on me.

618
00:30:43,240 --> 00:30:44,960
Speaker 1: And it's fine, But only could we talk about Eddie

619
00:30:45,000 --> 00:30:47,320
Speaker 1: Murphy coming to America.

620
00:30:49,120 --> 00:30:51,120
Speaker 4: What are you about to say though, the first one

621
00:30:51,160 --> 00:30:51,719
Speaker 4: or the second one?

622
00:30:52,120 --> 00:30:55,080
Speaker 1: No one acknowledges the second The second one did not happen.

623
00:30:56,200 --> 00:31:02,160
Speaker 1: They thought that at exactly yeah, that was that Christopher Columbus.

624
00:31:02,880 --> 00:31:05,720
Speaker 1: So so Coming to America is one of those films

625
00:31:05,760 --> 00:31:08,080
Speaker 1: that absolutely is a cult classic. It shows up on

626
00:31:08,560 --> 00:31:13,440
Speaker 1: TV every uh what Thanksgiving or Christmas. It's it's something

627
00:31:13,440 --> 00:31:17,360
Speaker 1: that everyone watches. It's things, it's mimable, good morning, my

628
00:31:17,400 --> 00:31:19,840
Speaker 1: neighbor is like, it's you know, people know the lines

629
00:31:19,840 --> 00:31:25,680
Speaker 1: from it. Hated it, hated it even watched it recently.

630
00:31:26,240 --> 00:31:31,280
Speaker 1: I think to me even storyline plot was the script

631
00:31:31,400 --> 00:31:34,520
Speaker 1: was now you gotta take a break. Why oh, now

632
00:31:34,640 --> 00:31:38,680
Speaker 1: you leave it? Jason his camera, I am not going

633
00:31:38,760 --> 00:31:42,560
Speaker 1: to be a part. I think that it's one of

634
00:31:42,600 --> 00:31:45,080
Speaker 1: the films that are pedestal that if you watch it

635
00:31:45,080 --> 00:31:51,080
Speaker 1: again today, so that is I hate it. But also

636
00:31:51,160 --> 00:31:53,360
Speaker 1: to be too, I do think that that came from

637
00:31:53,400 --> 00:31:56,000
Speaker 1: an era and if you watch first on the Call Sheet,

638
00:31:56,040 --> 00:31:59,920
Speaker 1: which is a documentary recently from from the eighties lead

639
00:32:00,200 --> 00:32:04,360
Speaker 1: into the nineties, there were so many black black actors

640
00:32:04,600 --> 00:32:06,440
Speaker 1: that didn't think that they had a chance in hell

641
00:32:06,480 --> 00:32:10,320
Speaker 1: because that's the era of all the comedians getting this place.

642
00:32:10,360 --> 00:32:13,640
Speaker 1: So you had Bill Cosby, who even at the time

643
00:32:13,760 --> 00:32:16,640
Speaker 1: was in his prime. He got into the television aspects

644
00:32:16,680 --> 00:32:19,760
Speaker 1: of it. But you had Eddie Murphy in the films,

645
00:32:20,080 --> 00:32:22,160
Speaker 1: and then we saw even in the early nineties is

646
00:32:22,200 --> 00:32:24,800
Speaker 1: when we started being introduced to Martin Lawrence having his

647
00:32:24,840 --> 00:32:27,000
Speaker 1: own ship. We had Jamie Fox, we had Steve Harvey.

648
00:32:28,000 --> 00:32:34,440
Speaker 1: At a certain point in in our film filmography, comedians

649
00:32:34,440 --> 00:32:37,080
Speaker 1: were getting those looks before actors were. And it's why

650
00:32:37,120 --> 00:32:40,040
Speaker 1: we we waited until we got the Denzel's, we got

651
00:32:40,040 --> 00:32:43,640
Speaker 1: the who's Who's there?

652
00:32:43,640 --> 00:32:46,760
Speaker 6: Making a good point because evenel started in TV right

653
00:32:46,840 --> 00:32:50,239
Speaker 6: like I think in the eighties, like comedians were running it,

654
00:32:50,280 --> 00:32:51,480
Speaker 6: and so they were running.

655
00:32:52,040 --> 00:32:53,520
Speaker 2: They had to get TV work, But.

656
00:32:53,480 --> 00:32:57,160
Speaker 5: That was that was the entry point because exactly a

657
00:32:57,200 --> 00:32:59,520
Speaker 5: black actor still had the hoops and had to go

658
00:32:59,520 --> 00:33:01,880
Speaker 5: through hoops and bounds just to get seen and get

659
00:33:01,880 --> 00:33:06,719
Speaker 5: the roles. Now it's different, the game is open, but

660
00:33:06,920 --> 00:33:08,960
Speaker 5: before they had to struggle. And there's a piece that

661
00:33:09,000 --> 00:33:10,920
Speaker 5: I want to add in here with Norman Lear with

662
00:33:11,040 --> 00:33:17,400
Speaker 5: all of the the shows that he directed, Jefferson, The Jeffersons,

663
00:33:18,000 --> 00:33:22,080
Speaker 5: Good Times, Archie Bunker, even tying in the Jeffersons with

664
00:33:22,120 --> 00:33:25,000
Speaker 5: actually Bunker from a societal social commentary, you had the

665
00:33:25,040 --> 00:33:26,480
Speaker 5: Italian family and then.

666
00:33:26,640 --> 00:33:30,880
Speaker 4: The the N word, you know what I mean. But

667
00:33:31,480 --> 00:33:33,560
Speaker 4: all of that stuff I think plays into what you said.

668
00:33:33,560 --> 00:33:38,120
Speaker 5: All of the comedians Red Fox, What was George Sherman

669
00:33:38,200 --> 00:33:41,000
Speaker 5: Hemsley comedians Red Fox?

670
00:33:41,240 --> 00:33:46,080
Speaker 1: So then I think we know that these okay, sixties, seventies, eighties.

671
00:33:46,360 --> 00:33:51,520
Speaker 1: I think, however, we're cult classic essentially was born, and

672
00:33:51,560 --> 00:33:53,400
Speaker 1: I want to make sure we get into the nineties

673
00:33:53,440 --> 00:33:56,960
Speaker 1: because the nineties is where we actually got to have

674
00:33:57,280 --> 00:34:01,320
Speaker 1: essentially full black cast. This is where women were were

675
00:34:01,880 --> 00:34:03,880
Speaker 1: on film, the same as Mannats. When we got away

676
00:34:03,880 --> 00:34:06,959
Speaker 1: from the comedians and the mega superstars and we started

677
00:34:07,000 --> 00:34:10,200
Speaker 1: getting the vivocate Foxes, we started getting the Morris Chestnuts.

678
00:34:10,600 --> 00:34:15,200
Speaker 1: We started having our own actors that, unfortunately, I also say,

679
00:34:15,280 --> 00:34:18,600
Speaker 1: became a detriment to their careers because they were that's

680
00:34:18,640 --> 00:34:19,640
Speaker 1: all they were do.

681
00:34:19,719 --> 00:34:21,280
Speaker 3: Y'all think Morris Chestnut is a good actor.

682
00:34:21,560 --> 00:34:25,600
Speaker 1: No, And now that I'm older, and maybe because everyone

683
00:34:25,640 --> 00:34:27,600
Speaker 1: has veneers, I wish he would have got his teeth

684
00:34:27,960 --> 00:34:31,160
Speaker 1: straightened early. Maybe that gave him character. But when I

685
00:34:31,200 --> 00:34:35,279
Speaker 1: look at Moriens Chestnut bothers me. He's not good at all.

686
00:34:35,320 --> 00:34:38,399
Speaker 1: He reminds me of Okay, y'all know, Well, maybe y'all

687
00:34:38,440 --> 00:34:40,480
Speaker 1: don't know if y'all knew, if y'all are new here,

688
00:34:41,000 --> 00:34:43,960
Speaker 1: if y'all are new here. I think that l O

689
00:34:44,040 --> 00:34:46,839
Speaker 1: cool J looks like a thumb, like I never thought

690
00:34:46,920 --> 00:34:49,719
Speaker 1: he was really that sexy. So he does the same

691
00:34:49,760 --> 00:34:52,160
Speaker 1: shit that Morris Chestnut does, though it's the lick lip

692
00:34:52,160 --> 00:34:56,640
Speaker 1: and shit, bro what presence the fact that also also

693
00:34:56,680 --> 00:35:00,640
Speaker 1: the fact shout out to the fact that his double

694
00:35:00,719 --> 00:35:04,400
Speaker 1: is Charlemagne the guy like I don't know how boys

695
00:35:04,480 --> 00:35:07,440
Speaker 1: just nut got all of this like love like he

696
00:35:07,600 --> 00:35:10,600
Speaker 1: was not the best looking things and sliced bread.

697
00:35:10,640 --> 00:35:12,919
Speaker 2: We look aunties think the young.

698
00:35:13,880 --> 00:35:15,960
Speaker 1: Well, let's be also very clear because I want to

699
00:35:16,000 --> 00:35:18,160
Speaker 1: make sure I hold credence to the fact that I

700
00:35:18,200 --> 00:35:20,839
Speaker 1: have to save smoke for the light skin niggas more.

701
00:35:21,400 --> 00:35:22,879
Speaker 4: Damn it sucks.

702
00:35:23,280 --> 00:35:27,719
Speaker 1: He sucked into Tyler Perry film and I love what's

703
00:35:27,719 --> 00:35:33,120
Speaker 1: the ship criminal Minds? Baby girl like no he like.

704
00:35:34,160 --> 00:35:39,040
Speaker 5: Probably he has on on on Criminal Minds.

705
00:35:40,239 --> 00:35:42,680
Speaker 4: He owned that role. I can't see another person playing in.

706
00:35:42,600 --> 00:35:47,080
Speaker 1: That role because for for I guess majority, they look attractive.

707
00:35:47,400 --> 00:35:49,960
Speaker 1: So I think that that's another thing that maybe dumbed

708
00:35:50,040 --> 00:35:53,000
Speaker 1: down criteria. By the way, no, no, and it's not mine.

709
00:35:53,360 --> 00:35:56,399
Speaker 1: It's not mine either. But I do think unfortunately that's

710
00:35:56,440 --> 00:35:59,840
Speaker 1: where we got the range of a lot of mediocre

711
00:36:00,640 --> 00:36:03,000
Speaker 1: because I do think for a lot of our films,

712
00:36:03,400 --> 00:36:06,319
Speaker 1: they leaned into looks heavily first, which is why we

713
00:36:06,400 --> 00:36:11,360
Speaker 1: had the Lisa Rays, the Vivac Fox, the Sonilathans, and

714
00:36:11,400 --> 00:36:13,280
Speaker 1: so then I ended up transcending the quality.

715
00:36:13,880 --> 00:36:14,640
Speaker 3: What are you talking about?

716
00:36:14,960 --> 00:36:16,600
Speaker 2: I love looking at them on screen.

717
00:36:18,920 --> 00:36:20,120
Speaker 4: See what I have presence.

718
00:36:20,680 --> 00:36:25,960
Speaker 1: Yeah, but so and so I do think that that

719
00:36:26,160 --> 00:36:28,480
Speaker 1: leads to where when you watch a lot of these

720
00:36:28,480 --> 00:36:32,520
Speaker 1: films today, it's like who the range? Where is it?

721
00:36:32,520 --> 00:36:34,640
Speaker 1: It's not really there, which is why we can also

722
00:36:34,680 --> 00:36:39,200
Speaker 1: remove the Angela Bassetts, who's transcended with her acting abilities,

723
00:36:39,239 --> 00:36:41,960
Speaker 1: and the Viola Davises and things like that. But I

724
00:36:42,000 --> 00:36:46,200
Speaker 1: think for when we really lean into the black cult classics,

725
00:36:46,719 --> 00:36:50,000
Speaker 1: if you are thirty five plus and go back and

726
00:36:50,040 --> 00:36:54,680
Speaker 1: watch it today away from your thirteen year old, seventeen

727
00:36:54,719 --> 00:36:59,000
Speaker 1: year old, twenty one year old vision, it's like, whoa,

728
00:36:59,040 --> 00:36:59,640
Speaker 1: this is the movie?

729
00:36:59,680 --> 00:36:59,960
Speaker 3: I like.

730
00:37:00,360 --> 00:37:05,000
Speaker 1: I do that with Love and Basketball, terrible Love and

731
00:37:05,040 --> 00:37:08,040
Speaker 1: Basketball today. Mind you, you don't even know that was

732
00:37:08,320 --> 00:37:11,040
Speaker 1: a Christmas gift for me growing up, I said, Mom,

733
00:37:11,120 --> 00:37:14,200
Speaker 1: I want to love in Basketball DVD. I had like

734
00:37:14,280 --> 00:37:16,920
Speaker 1: the poster on my wall. I thought that that was

735
00:37:17,120 --> 00:37:19,400
Speaker 1: the type of love I wanted in my life. I

736
00:37:19,480 --> 00:37:26,880
Speaker 1: go back to watching it, terrible, terrible. Want to say,

737
00:37:27,800 --> 00:37:29,799
Speaker 1: so can we lean into.

738
00:37:31,680 --> 00:37:32,680
Speaker 4: Do you think you have impact?

739
00:37:34,080 --> 00:37:37,319
Speaker 1: I think it had impact for the time that it released,

740
00:37:37,760 --> 00:37:40,480
Speaker 1: like to be a fair even currently watching and I

741
00:37:40,520 --> 00:37:42,719
Speaker 1: know it's a it's TV, so I don't want to

742
00:37:43,080 --> 00:37:47,320
Speaker 1: go into too much of the comparison. Forever was written

743
00:37:47,400 --> 00:37:52,000
Speaker 1: with more, with more emotion and dialogue and plot than

744
00:37:52,040 --> 00:37:55,200
Speaker 1: love and basketball. Love and Basketball. Also for the people

745
00:37:55,239 --> 00:37:57,480
Speaker 1: that you liked when you go back and watch it

746
00:37:57,480 --> 00:38:03,479
Speaker 1: as an adult, Toxic, he was terrible, Q he wasn't

747
00:38:03,480 --> 00:38:06,479
Speaker 1: even that great of a niggle. Then Tyra Banks comes

748
00:38:06,480 --> 00:38:08,719
Speaker 1: in love that she was in it. She can't act

749
00:38:08,760 --> 00:38:12,279
Speaker 1: for shit. Then Sonnai Lathan was really like lean and

750
00:38:12,760 --> 00:38:14,239
Speaker 1: I don't know. I think when you go back and

751
00:38:14,280 --> 00:38:18,319
Speaker 1: watch this as an adult, it's like, why did I

752
00:38:18,400 --> 00:38:19,960
Speaker 1: like it so much? And I think that that's what

753
00:38:20,000 --> 00:38:23,080
Speaker 1: we do to a lot of our classics. When you

754
00:38:23,120 --> 00:38:25,640
Speaker 1: go back and watch it as an adult, you're looking

755
00:38:25,680 --> 00:38:28,960
Speaker 1: at it from a viewpoint of you want to be entertained,

756
00:38:28,960 --> 00:38:32,560
Speaker 1: but you're also looking more at the storyline and it's like, Ooh,

757
00:38:32,719 --> 00:38:35,480
Speaker 1: this sucks. The acting ain't good. The quality of this

758
00:38:35,960 --> 00:38:37,960
Speaker 1: is not what I remember it to be. And it

759
00:38:38,080 --> 00:38:41,520
Speaker 1: might be because back when we labeled them classics, we

760
00:38:41,520 --> 00:38:42,720
Speaker 1: were just excited to see.

761
00:38:42,600 --> 00:38:46,920
Speaker 4: Us right because we gave we gave what grace?

762
00:38:47,239 --> 00:38:48,960
Speaker 1: Why do you want to invite that hole to god?

763
00:38:50,000 --> 00:38:54,839
Speaker 3: I saw her sneaking up behind. I saw her question.

764
00:38:54,880 --> 00:38:55,640
Speaker 1: Maybe that's what it is.

765
00:38:55,680 --> 00:38:59,719
Speaker 3: Does a cult classic have to be good? M because

766
00:38:59,760 --> 00:39:01,080
Speaker 3: with the about you're talking about the.

767
00:39:01,080 --> 00:39:05,480
Speaker 6: Quality, like, I'll watch I'll watch Paper Soldiers anytime it

768
00:39:05,480 --> 00:39:07,640
Speaker 6: comes on. I don't think it's a good movie, but

769
00:39:07,680 --> 00:39:10,400
Speaker 6: I think I do think it's a black classic comedy.

770
00:39:11,840 --> 00:39:14,480
Speaker 1: Does does a classic have to be good to be

771
00:39:14,520 --> 00:39:16,000
Speaker 1: a classic?

772
00:39:16,120 --> 00:39:16,960
Speaker 2: At classic?

773
00:39:17,120 --> 00:39:19,279
Speaker 1: You know what I mean? I mean some nicks they

774
00:39:19,320 --> 00:39:22,440
Speaker 1: never left, they block, so maybe it's good to them,

775
00:39:23,120 --> 00:39:25,160
Speaker 1: you know what I mean? Maybe it's good to them

776
00:39:25,200 --> 00:39:27,239
Speaker 1: once you become world traveled and stuff, and you know,

777
00:39:27,440 --> 00:39:31,520
Speaker 1: you watch more outside the genre. No, I think. I

778
00:39:31,560 --> 00:39:34,320
Speaker 1: think then maybe that is what I'm doing, and maybe

779
00:39:34,360 --> 00:39:38,000
Speaker 1: this is the half white to me. Maybe maybe it's

780
00:39:38,000 --> 00:39:40,000
Speaker 1: coming out that I would like to see better from

781
00:39:40,120 --> 00:39:42,759
Speaker 1: us essentially, and so when I go back and look

782
00:39:42,760 --> 00:39:45,600
Speaker 1: at it, I believe we could do better. And so

783
00:39:45,760 --> 00:39:49,480
Speaker 1: knowing something we have, no we've been I mean clearly, yes, centners,

784
00:39:49,520 --> 00:39:50,160
Speaker 1: you know what I mean.

785
00:39:50,400 --> 00:39:52,319
Speaker 3: Clearly hold on y'all, y'allo, go on ahead, y'all in

786
00:39:52,360 --> 00:39:53,120
Speaker 3: twenty twenty five.

787
00:39:53,360 --> 00:39:54,680
Speaker 1: Yeah, yeah, we're back in to night.

788
00:39:55,560 --> 00:39:55,840
Speaker 3: Okay.

789
00:39:55,880 --> 00:39:59,920
Speaker 1: So then I would compare it then to the major

790
00:40:00,080 --> 00:40:02,759
Speaker 1: films of the nineties, like and what were So then

791
00:40:02,760 --> 00:40:04,200
Speaker 1: we can talk about bad boys now.

792
00:40:04,239 --> 00:40:07,959
Speaker 6: So nineties well them, But nineties nineties is when let's

793
00:40:07,960 --> 00:40:12,120
Speaker 6: say representation, there was a temporary reprieve where Hollywood was

794
00:40:12,160 --> 00:40:16,359
Speaker 6: giving black folks representation. There's the hood films, I would say,

795
00:40:16,360 --> 00:40:18,799
Speaker 6: everything started with boys in the Hood. Then there's the

796
00:40:18,840 --> 00:40:24,680
Speaker 6: love films obviously, you know, Loving Basketball, Love Jones. Let's

797
00:40:24,760 --> 00:40:27,360
Speaker 6: I want to I want to debate which had greater

798
00:40:27,440 --> 00:40:31,400
Speaker 6: impact for both those nineties hood films or the nineties

799
00:40:31,440 --> 00:40:35,080
Speaker 6: love films. I'm just gonna read some hood films just

800
00:40:35,120 --> 00:40:37,760
Speaker 6: to get y'all quick. Let's do a speed round, quick takes.

801
00:40:37,960 --> 00:40:41,400
Speaker 1: Okay, hood films, Okay, you do hood films. And I

802
00:40:41,440 --> 00:40:43,839
Speaker 1: got some other things that I want to add to it.

803
00:40:44,360 --> 00:40:46,840
Speaker 2: Okay, boys in the hood, Okay called classic.

804
00:40:46,920 --> 00:40:47,799
Speaker 3: Yeah, nay, y'all like it.

805
00:40:47,840 --> 00:40:50,719
Speaker 6: Thumbs up, thumbs down all the way up, yep, all right,

806
00:40:50,920 --> 00:40:58,120
Speaker 6: menace to society yep, yes, all right. Uh New Jak City, yes, yep, juice, yes,

807
00:40:59,080 --> 00:40:59,760
Speaker 6: south Central.

808
00:41:01,239 --> 00:41:04,360
Speaker 1: See when you started getting into these like.

809
00:41:06,640 --> 00:41:07,160
Speaker 4: But no, it's no.

810
00:41:07,560 --> 00:41:12,640
Speaker 5: Well, first off, but that was my trip to LA

811
00:41:12,800 --> 00:41:14,560
Speaker 5: before I got to actually got to l A. I

812
00:41:14,600 --> 00:41:17,319
Speaker 5: thought it wasctly exactly what you said about Harlem. I

813
00:41:17,360 --> 00:41:20,960
Speaker 5: thought that's what the depiction of Compton, LA was.

814
00:41:21,760 --> 00:41:24,280
Speaker 1: I think for me though, once we started leaning into

815
00:41:25,400 --> 00:41:30,120
Speaker 1: these becoming cult classics because of the rappers, it's like, eh,

816
00:41:30,160 --> 00:41:31,839
Speaker 1: like you know what I mean, I think it took

817
00:41:31,880 --> 00:41:34,200
Speaker 1: it down for me. Like I think because Tupac was

818
00:41:34,200 --> 00:41:38,319
Speaker 1: so legendary, is why we associate that film as being

819
00:41:38,320 --> 00:41:40,839
Speaker 1: a cult classic. Nahs And you know, well.

820
00:41:41,520 --> 00:41:45,719
Speaker 5: No, because the narrative when Belly came out was that

821
00:41:45,719 --> 00:41:48,640
Speaker 5: people were hating because it was rappers on it. But

822
00:41:48,680 --> 00:41:53,920
Speaker 5: then as time progressed, everybody's the memes Belly's a classic,

823
00:41:54,280 --> 00:41:57,080
Speaker 5: and I'm like, well, the same people that was fifteen

824
00:41:57,160 --> 00:41:59,560
Speaker 5: years younger. It was like, oh no, I just can't

825
00:41:59,640 --> 00:42:03,120
Speaker 5: Act and they're quoting DMX, they're quoting The Banana, the

826
00:42:04,200 --> 00:42:07,480
Speaker 5: Method Man, Nebraska, you know all that ship.

827
00:42:07,640 --> 00:42:09,200
Speaker 1: I can't wait till we say which one had the

828
00:42:09,200 --> 00:42:12,000
Speaker 1: most impact because I have I want to know y'all

829
00:42:12,120 --> 00:42:12,680
Speaker 1: thoughts on it.

830
00:42:12,800 --> 00:42:15,360
Speaker 6: Okay, So now, quick, quick, quick, love movies stumped up

831
00:42:15,400 --> 00:42:16,680
Speaker 6: right now, I just want to put them out there

832
00:42:16,719 --> 00:42:18,640
Speaker 6: so our audience those kind of movies we're talking about.

833
00:42:18,840 --> 00:42:21,440
Speaker 2: So we mentioned Love and Basketball.

834
00:42:21,520 --> 00:42:24,000
Speaker 1: Even though technically that came out in two thousand. We

835
00:42:24,040 --> 00:42:26,760
Speaker 1: have Love Jones, we have Waiting to excel. How Stella

836
00:42:26,800 --> 00:42:32,200
Speaker 1: got a groove back? Poetic Justice was three yes, yes, okay,

837
00:42:32,800 --> 00:42:33,680
Speaker 1: and then we got it.

838
00:42:33,719 --> 00:42:35,680
Speaker 3: We got a yeah at ak you heard that.

839
00:42:36,040 --> 00:42:38,839
Speaker 1: I want I want to add in here two more

840
00:42:38,880 --> 00:42:44,280
Speaker 1: genres before we pick uh. In comedy, you had house Party, Boomerang, Friday,

841
00:42:44,320 --> 00:42:48,000
Speaker 1: The Natty Professor, and Life. And then there was also

842
00:42:48,280 --> 00:42:53,040
Speaker 1: considered music dancing culture genre where you had the five heartbeats,

843
00:42:53,480 --> 00:42:57,239
Speaker 1: baps c before why Why do Fools Fall in Love?

844
00:42:57,960 --> 00:42:59,840
Speaker 1: And then of course you also have the biopics and

845
00:43:00,080 --> 00:43:02,360
Speaker 1: historical Malcolm X, What's Love Got to do with It?

846
00:43:02,400 --> 00:43:05,680
Speaker 1: Panther and the Hurricane. So of the genres and i'd

847
00:43:05,719 --> 00:43:08,680
Speaker 1: like for y'all sitting in your seats, but are those

848
00:43:08,760 --> 00:43:11,200
Speaker 1: nineties ones? These are all nineties. Everything I just said

849
00:43:11,239 --> 00:43:13,759
Speaker 1: was nineties. So the only one that snuck in from

850
00:43:13,800 --> 00:43:15,759
Speaker 1: the two thousands that we're adding in here is love

851
00:43:15,800 --> 00:43:20,080
Speaker 1: and basketball. So we have urban dramas and coming of age,

852
00:43:20,280 --> 00:43:23,839
Speaker 1: which was the Boys in the Hood, Minister Society Hood ones.

853
00:43:23,880 --> 00:43:27,480
Speaker 1: We have the biopics and historical we have romance and dramedy,

854
00:43:27,920 --> 00:43:30,080
Speaker 1: comedy and music and dance. Which one do you guys

855
00:43:30,120 --> 00:43:34,640
Speaker 1: think of these genres had the biggest biggest impact on

856
00:43:35,120 --> 00:43:38,520
Speaker 1: where we now view either not only black films and

857
00:43:38,520 --> 00:43:43,120
Speaker 1: cult classics, but for black films excelling now into the

858
00:43:43,160 --> 00:43:43,960
Speaker 1: two thousands.

859
00:43:44,400 --> 00:43:45,320
Speaker 2: I say love films.

860
00:43:47,239 --> 00:43:49,479
Speaker 6: I like the Hood ones myself personally, but I feel

861
00:43:49,520 --> 00:43:51,680
Speaker 6: like a lot of those actors and actresses from those

862
00:43:51,760 --> 00:43:55,320
Speaker 6: love films in the nineties are still working today actively,

863
00:43:55,360 --> 00:43:57,319
Speaker 6: So I agree.

864
00:43:57,640 --> 00:44:00,200
Speaker 1: I like your point. I disagree with the common with

865
00:44:00,280 --> 00:44:03,120
Speaker 1: the category, and this is gonna make me sound like

866
00:44:03,120 --> 00:44:05,799
Speaker 1: a hypocrite, but that's fine, okay. By the way, I

867
00:44:05,800 --> 00:44:10,520
Speaker 1: think the the Hood movies were the worst. Uh hated them,

868
00:44:11,120 --> 00:44:12,879
Speaker 1: not hated them like that, But don't think that they

869
00:44:13,080 --> 00:44:18,120
Speaker 1: excelled us as actors getting into the space as stereotypes,

870
00:44:18,160 --> 00:44:21,040
Speaker 1: specifically in the nineties about what what what we were,

871
00:44:21,200 --> 00:44:23,480
Speaker 1: especially with the rise of hip hop.

872
00:44:23,480 --> 00:44:25,239
Speaker 5: But remember they were doing it. They were showing a

873
00:44:25,360 --> 00:44:28,160
Speaker 5: lens of the communities that they were. It wasn't just like, Okay,

874
00:44:28,200 --> 00:44:31,799
Speaker 5: we're gonna make these scripts based on nothingness. These these

875
00:44:31,800 --> 00:44:34,279
Speaker 5: were elements that actually was in real time.

876
00:44:34,400 --> 00:44:36,839
Speaker 1: No, they were. They were And so that's why y'all

877
00:44:36,840 --> 00:44:39,040
Speaker 1: are gonna hate my choice in this because I think

878
00:44:39,080 --> 00:44:43,719
Speaker 1: that they could be considered colorless essentially. But and they

879
00:44:43,760 --> 00:44:50,160
Speaker 1: also had the comedians. I think, I think comedy and

880
00:44:50,200 --> 00:44:53,160
Speaker 1: what we saw in the nineties from comedy mind you. Yeah,

881
00:44:53,360 --> 00:44:55,440
Speaker 1: there was also a comedic element even though it was

882
00:44:55,520 --> 00:45:00,600
Speaker 1: considered action. I think with bad Boys lights, it's still

883
00:45:00,680 --> 00:45:04,880
Speaker 1: like incredible and I think and I think allowed people

884
00:45:04,920 --> 00:45:07,680
Speaker 1: to take a series even Nutty Professor. Let's be very clear,

885
00:45:08,040 --> 00:45:10,879
Speaker 1: Fantastic was fantastic. And I want to add in Doctor

886
00:45:10,880 --> 00:45:12,319
Speaker 1: Doolittle in here too, But I don't want to give

887
00:45:12,400 --> 00:45:14,640
Speaker 1: Eddie Murphy that much credit because I just said that

888
00:45:14,680 --> 00:45:18,920
Speaker 1: Coming to America was ass but also Friday, where it

889
00:45:19,520 --> 00:45:22,120
Speaker 1: outed the hood element into it a little bit, but

890
00:45:22,200 --> 00:45:25,280
Speaker 1: then you saw a little bit more. I think Boomerang

891
00:45:25,320 --> 00:45:27,319
Speaker 1: and House Party as well. You can't go like I

892
00:45:27,360 --> 00:45:32,040
Speaker 1: think that run between High between ninety and ninety eight ninety,

893
00:45:32,160 --> 00:45:36,000
Speaker 1: like that whole nineties run of comedy I think was

894
00:45:36,040 --> 00:45:39,279
Speaker 1: able to accelerate beyond. I will say, though you're right

895
00:45:39,320 --> 00:45:44,359
Speaker 1: with romance, those are whatever for whatever reason. The ones

896
00:45:44,400 --> 00:45:46,879
Speaker 1: I consider cult classics and that are great, and that

897
00:45:47,200 --> 00:45:50,320
Speaker 1: the actors in most of those films are still acting

898
00:45:50,360 --> 00:45:55,520
Speaker 1: today and still present today. And I think Birth the

899
00:45:55,600 --> 00:46:00,080
Speaker 1: Real like the Angela Bascids, the I mean Sonata and

900
00:46:00,200 --> 00:46:01,359
Speaker 1: put a high up there.

901
00:46:01,400 --> 00:46:05,920
Speaker 5: But I don't know that other non non black folks

902
00:46:06,000 --> 00:46:07,520
Speaker 5: are watching these movies today.

903
00:46:08,000 --> 00:46:10,520
Speaker 1: I think I think Life. I think non black people

904
00:46:10,560 --> 00:46:15,120
Speaker 1: are watching Life today. Nettie Professor, doctor Doolittle. House Party

905
00:46:15,239 --> 00:46:20,680
Speaker 1: just got to remake. To me, I mean, okay, I'm

906
00:46:20,680 --> 00:46:23,840
Speaker 1: gonna I mean, I'm not acknowledging it. There's nothing but influences,

907
00:46:24,920 --> 00:46:27,600
Speaker 1: but it did you know what's crazy? You know, you

908
00:46:27,600 --> 00:46:29,600
Speaker 1: know it's crazy though to be fair, and we're not

909
00:46:29,600 --> 00:46:31,759
Speaker 1: gonna bring the whites too much into this, but I

910
00:46:31,800 --> 00:46:37,600
Speaker 1: would say that is specifically why the romance portion of

911
00:46:37,640 --> 00:46:40,840
Speaker 1: this is why I think all of these are co classics.

912
00:46:40,920 --> 00:46:44,040
Speaker 1: I think the cultural impact and how we view love

913
00:46:44,640 --> 00:46:48,600
Speaker 1: and how we are able to see ourselves with emotion,

914
00:46:48,880 --> 00:46:52,680
Speaker 1: with passion, with things that you know, we're not looking

915
00:46:52,719 --> 00:46:56,120
Speaker 1: at guns, We're looking at like real life situations and love.

916
00:46:56,360 --> 00:46:58,560
Speaker 1: I think it's why people are really loving forever right

917
00:46:58,560 --> 00:47:00,960
Speaker 1: now because we haven't seen that in Soular. That's why

918
00:47:00,960 --> 00:47:03,400
Speaker 1: I think the romance and dramedy I align with you

919
00:47:03,480 --> 00:47:05,440
Speaker 1: kind of then, Jason on this, I think that that had.

920
00:47:06,800 --> 00:47:09,399
Speaker 3: That's one of the cast of Love Jones, And.

921
00:47:09,320 --> 00:47:11,439
Speaker 1: Look at the cast of how Sella Got a Groove Back.

922
00:47:12,760 --> 00:47:15,759
Speaker 1: Oh no, I'm thinking of writing to excel. First off,

923
00:47:16,280 --> 00:47:20,160
Speaker 1: Nia Long is still yeah, I'm not gonna lie. You're right,

924
00:47:20,600 --> 00:47:23,359
Speaker 1: You're right, You're right. Romance and dramedy I think had

925
00:47:23,360 --> 00:47:27,240
Speaker 1: the biggest impact of all of these genres for where

926
00:47:27,280 --> 00:47:31,640
Speaker 1: black films are, and I think I think romance and

927
00:47:31,719 --> 00:47:36,440
Speaker 1: the hood ones would lean most into being cult classics

928
00:47:36,680 --> 00:47:39,640
Speaker 1: because they are for us, for us, by us. Essentially.

929
00:47:44,200 --> 00:47:46,399
Speaker 5: What about when you think about the best Man too, right,

930
00:47:46,560 --> 00:47:48,000
Speaker 5: they converted that into.

931
00:47:47,800 --> 00:47:54,000
Speaker 1: The Man the Wood, Yeah, Wood, I know the it

932
00:47:54,040 --> 00:47:58,360
Speaker 1: doesn't get as much. I've had people don't really. But

933
00:47:58,480 --> 00:48:01,960
Speaker 1: what's also crazy about this? I will say during this time,

934
00:48:02,760 --> 00:48:05,840
Speaker 1: my other problem would be, and of course I want

935
00:48:05,920 --> 00:48:09,120
Speaker 1: black actress to work. If you like, do the one,

936
00:48:09,840 --> 00:48:12,640
Speaker 1: if you do, too, could play that game if you do.

937
00:48:13,200 --> 00:48:13,560
Speaker 3: Uh.

938
00:48:13,920 --> 00:48:16,960
Speaker 1: There's a couple other ones where Nigga they rotated the

939
00:48:17,000 --> 00:48:22,239
Speaker 1: same actors all deliver Us from Eva like it was

940
00:48:22,360 --> 00:48:25,120
Speaker 1: the same actors and all these films, and it's like

941
00:48:25,200 --> 00:48:27,719
Speaker 1: you had to remember that this wasn't a sequel or

942
00:48:27,760 --> 00:48:30,799
Speaker 1: this wasn't a prequel, because this is a whole different story.

943
00:48:30,840 --> 00:48:32,799
Speaker 1: They're different characters, but they played a lot of the

944
00:48:32,880 --> 00:48:37,960
Speaker 1: same people as well. I will say I just recently

945
00:48:38,000 --> 00:48:42,160
Speaker 1: watched Waiting to Excel, Oh, which, by the way, one

946
00:48:42,200 --> 00:48:45,839
Speaker 1: that's not on here, which I want to say, is

947
00:48:45,880 --> 00:48:49,479
Speaker 1: one of the biggest cult classics for us soul food.

948
00:48:51,520 --> 00:48:52,080
Speaker 3: Soul food.

949
00:48:52,760 --> 00:48:55,680
Speaker 1: Soul food was not on my list. It's on your

950
00:48:55,760 --> 00:49:00,440
Speaker 1: life when I say soul food, and that was not

951
00:49:00,520 --> 00:49:05,319
Speaker 1: even romance. Shout out to George Tillman and create like

952
00:49:05,400 --> 00:49:08,600
Speaker 1: directed by a black filmmaker. I also will say, I

953
00:49:08,600 --> 00:49:11,160
Speaker 1: don't think I don't even think I was, and maybe

954
00:49:11,160 --> 00:49:13,319
Speaker 1: because I'm young, clearly and y'all could jump on me

955
00:49:13,320 --> 00:49:15,280
Speaker 1: if you want. I don't think I knew that Waiting

956
00:49:15,280 --> 00:49:18,680
Speaker 1: to Excel was directed by Forest Whitaker. I knew John

957
00:49:18,680 --> 00:49:21,880
Speaker 1: Singleton was poetic justice, but I did not know that

958
00:49:21,960 --> 00:49:24,600
Speaker 1: Waiting to Excel was forced Whitaker. So Waiting to Excel

959
00:49:25,080 --> 00:49:29,319
Speaker 1: watching that today, seeing that they were all in their

960
00:49:29,360 --> 00:49:33,279
Speaker 1: thirties and seeing that every single one of their problems

961
00:49:33,640 --> 00:49:35,319
Speaker 1: is what the fuck me and my homegirls are dealing

962
00:49:35,360 --> 00:49:38,320
Speaker 1: with today. Lets us know, y'all, niggas wasn't ship for decades.

963
00:49:39,000 --> 00:49:40,640
Speaker 4: Wowa.

964
00:49:40,840 --> 00:49:45,760
Speaker 1: Waiting to Excel is probably the most recent today today

965
00:49:45,840 --> 00:49:49,640
Speaker 1: movie that that still fits today. Like it's like wow,

966
00:49:50,080 --> 00:49:52,440
Speaker 1: even though yes, they only flip phones and house phones

967
00:49:52,440 --> 00:49:55,120
Speaker 1: and shit like that. To me, the plot, the writing,

968
00:49:55,239 --> 00:49:58,600
Speaker 1: the conversations are timeless, and I think that that's what

969
00:49:58,680 --> 00:50:00,960
Speaker 1: I kind of like, Like, I mean, I wish we

970
00:50:01,000 --> 00:50:03,799
Speaker 1: grew since then. I wish niggas stopped being cheaters and

971
00:50:03,920 --> 00:50:06,640
Speaker 1: fuck niggas, and I wish women stopped falling for it.

972
00:50:07,040 --> 00:50:11,800
Speaker 1: But to watch it, it resembled to me the our story.

973
00:50:11,960 --> 00:50:13,759
Speaker 1: I know we have girlfriends, I know we have the

974
00:50:13,800 --> 00:50:16,399
Speaker 1: things on film, even sex and the City. The fact

975
00:50:16,440 --> 00:50:18,920
Speaker 1: that so many people watch it today Waiting to Excel

976
00:50:19,440 --> 00:50:26,080
Speaker 1: held its plot and is relatable, well written, well directed,

977
00:50:26,160 --> 00:50:29,480
Speaker 1: well shot even today. That's probably one of my favorite

978
00:50:29,480 --> 00:50:30,640
Speaker 1: ones from this list.

979
00:50:31,000 --> 00:50:32,879
Speaker 2: You know who was influenced by those movies too?

980
00:50:33,400 --> 00:50:38,959
Speaker 3: Who Tyler Perry. Okay, so you're ready to talk about

981
00:50:38,960 --> 00:50:39,479
Speaker 3: Tyler Perry.

982
00:50:39,560 --> 00:50:46,399
Speaker 1: I will say, moving forward, erase whatever I have said

983
00:50:46,440 --> 00:50:50,360
Speaker 1: on any of my previous shows. Tyler Perry is goat.

984
00:50:50,440 --> 00:50:54,040
Speaker 1: He is king, and what he is putting out right now,

985
00:50:54,520 --> 00:50:56,239
Speaker 1: I know y'all can laugh about him in the dress

986
00:50:56,280 --> 00:50:58,719
Speaker 1: with Medea. By the way, the media movies ain't bad either,

987
00:50:59,200 --> 00:51:02,040
Speaker 1: Like I love Diary of a Mad Black Woman like

988
00:51:02,640 --> 00:51:05,760
Speaker 1: his in the films where he shows up as Medea,

989
00:51:06,239 --> 00:51:08,200
Speaker 1: those are Colt classics. I know y'all could sit here

990
00:51:08,239 --> 00:51:11,160
Speaker 1: and pat him in a dress because I really think, honestly,

991
00:51:12,200 --> 00:51:14,360
Speaker 1: And here goes to my other hot take. The reason

992
00:51:14,400 --> 00:51:19,600
Speaker 1: why we have hated Tyler Perry for the last two

993
00:51:19,600 --> 00:51:21,520
Speaker 1: decades like we have up until now he's dropping this

994
00:51:21,600 --> 00:51:24,839
Speaker 1: fire on Netflix. I say that the reason that most

995
00:51:24,880 --> 00:51:28,239
Speaker 1: of the black community has not respected.

996
00:51:28,040 --> 00:51:30,040
Speaker 2: Half a following.

997
00:51:30,360 --> 00:51:32,640
Speaker 1: No, let's be fair clear, he does. But I'm also

998
00:51:32,640 --> 00:51:35,000
Speaker 1: talking about the Twitter streets. We're talking about the public outrage.

999
00:51:35,040 --> 00:51:35,200
Speaker 3: Right.

1000
00:51:35,800 --> 00:51:38,960
Speaker 1: So I would say the majority of the point of

1001
00:51:39,000 --> 00:51:42,200
Speaker 1: views as to why people hate Tyler Perry has more

1002
00:51:42,239 --> 00:51:45,080
Speaker 1: to do with their homophobia than what he really is

1003
00:51:45,080 --> 00:51:47,960
Speaker 1: putting out. I don't think that the fact that most

1004
00:51:48,000 --> 00:51:51,400
Speaker 1: of our black actors have come up and said, you

1005
00:51:51,400 --> 00:51:53,279
Speaker 1: ain't putting me in a dress to get it to

1006
00:51:53,280 --> 00:51:57,640
Speaker 1: get ahead, and Tyler Perry is purposely writing himself in

1007
00:51:57,680 --> 00:52:00,520
Speaker 1: address and has created this character of a woman kind

1008
00:52:00,520 --> 00:52:03,840
Speaker 1: of the Mammy as well. Like I think people don't

1009
00:52:03,920 --> 00:52:08,319
Speaker 1: like the homophobia of it all. I think that's the

1010
00:52:08,320 --> 00:52:11,200
Speaker 1: only issue they mad that he was purposely getting into

1011
00:52:11,239 --> 00:52:14,239
Speaker 1: a dress all of these years for so long, when

1012
00:52:14,280 --> 00:52:16,000
Speaker 1: a lot of our other black actors was like you

1013
00:52:16,120 --> 00:52:17,560
Speaker 1: not getting me in address?

1014
00:52:17,800 --> 00:52:17,960
Speaker 3: Right?

1015
00:52:18,120 --> 00:52:21,120
Speaker 5: But that's the key, right, It's like, Okay, you don't

1016
00:52:21,160 --> 00:52:23,320
Speaker 5: want to do those roles, that's fine, or if you

1017
00:52:23,360 --> 00:52:26,000
Speaker 5: don't want to watch that type of content, that's fine.

1018
00:52:26,040 --> 00:52:27,680
Speaker 5: You have a choice, do you?

1019
00:52:27,760 --> 00:52:28,040
Speaker 1: Also?

1020
00:52:28,120 --> 00:52:29,680
Speaker 5: I don't think they have to be I think I

1021
00:52:29,680 --> 00:52:35,680
Speaker 5: don't know if you can ignore, you know, the creativity

1022
00:52:35,800 --> 00:52:40,000
Speaker 5: behind what he does and in his world, the space

1023
00:52:40,040 --> 00:52:41,319
Speaker 5: that he's own, you can't deny that.

1024
00:52:41,360 --> 00:52:43,680
Speaker 1: I will say. The only other interesting thing which I

1025
00:52:43,840 --> 00:52:47,799
Speaker 1: like that he brought to me different elements of what

1026
00:52:47,960 --> 00:52:52,319
Speaker 1: could happen across like black families and black stories. I

1027
00:52:52,360 --> 00:52:55,080
Speaker 1: think he's done an excellent job doing that, because then

1028
00:52:55,160 --> 00:52:56,960
Speaker 1: you know, you got the church girl that ends up

1029
00:52:57,000 --> 00:52:59,719
Speaker 1: with HIV because she cheated on her husband. You got

1030
00:53:01,080 --> 00:53:02,880
Speaker 1: I do know that the trope that y'all don't like

1031
00:53:03,000 --> 00:53:05,719
Speaker 1: that the black, dark skinned man is the aggressor and

1032
00:53:06,080 --> 00:53:09,560
Speaker 1: the savior is the light skinned man. But he's getting

1033
00:53:09,560 --> 00:53:12,520
Speaker 1: away from that in his television shows. All the niggas suck,

1034
00:53:14,719 --> 00:53:18,839
Speaker 1: every shade of brown is a fuck nigga, and then

1035
00:53:18,880 --> 00:53:21,040
Speaker 1: you do have like all these women battling, which I

1036
00:53:21,080 --> 00:53:24,920
Speaker 1: think is interesting that he he creates that that dynamics

1037
00:53:24,960 --> 00:53:27,840
Speaker 1: so much like all of the different nuances of each character.

1038
00:53:28,120 --> 00:53:30,399
Speaker 1: If you look at what he's putting out now, it's

1039
00:53:30,719 --> 00:53:33,600
Speaker 1: great TV. And what it reminds me of is what

1040
00:53:33,640 --> 00:53:35,440
Speaker 1: I used to read when I was a kid, So

1041
00:53:36,560 --> 00:53:38,960
Speaker 1: Beauty and Black and I haven't watched his latest show

1042
00:53:39,080 --> 00:53:42,640
Speaker 1: just yet, but Beauty and Black to me is pretty

1043
00:53:42,680 --> 00:53:47,239
Speaker 1: much Zay Sistersojia Eric Dumot all of the books that

1044
00:53:47,360 --> 00:53:51,560
Speaker 1: we actually we grew up reading that we have to

1045
00:53:51,640 --> 00:53:54,960
Speaker 1: but it's what Tyler Perry is actually putting into film

1046
00:53:54,960 --> 00:53:56,960
Speaker 1: in a great way and not a too by way

1047
00:53:57,000 --> 00:53:58,840
Speaker 1: and shout out too, because Tobe is putting out some

1048
00:53:58,880 --> 00:54:02,400
Speaker 1: good stuff too, But Cayler Perry's literally showcasing all of

1049
00:54:02,440 --> 00:54:04,719
Speaker 1: these elements of storytelling. And so I want him to

1050
00:54:04,719 --> 00:54:06,319
Speaker 1: stop getting the hate that he's getting, right.

1051
00:54:06,280 --> 00:54:08,680
Speaker 6: Yeah, no, it's Did you ever see that clip when

1052
00:54:08,880 --> 00:54:12,840
Speaker 6: Jamie Fox was talking about when he worked with Olivier

1053
00:54:12,920 --> 00:54:15,960
Speaker 6: Stone for the first time on any given Sunday and

1054
00:54:16,560 --> 00:54:18,640
Speaker 6: he said that he kept on getting cut like the

1055
00:54:19,320 --> 00:54:22,600
Speaker 6: director was saying cut, cut, stops up, and Jamie King

1056
00:54:22,640 --> 00:54:23,080
Speaker 6: said he was.

1057
00:54:23,120 --> 00:54:26,239
Speaker 2: I mean, Jimmie Fox said he was so shouty because.

1058
00:54:25,960 --> 00:54:27,520
Speaker 6: He was coming from TV, and so I remember on

1059
00:54:27,560 --> 00:54:30,040
Speaker 6: The Jimmie Fox Show it was very shouty, kind of hammy,

1060
00:54:30,560 --> 00:54:33,120
Speaker 6: and when he came to do a movie, they're like, Yo,

1061
00:54:33,200 --> 00:54:35,000
Speaker 6: this is this is different, Like we don't do that here,

1062
00:54:35,120 --> 00:54:39,360
Speaker 6: like just relax, be more authentic. And I feel like

1063
00:54:39,400 --> 00:54:42,239
Speaker 6: that kind of same idea when you think about Tyler

1064
00:54:42,239 --> 00:54:45,280
Speaker 6: Perry that he unit came from doing theater and plays, yeah,

1065
00:54:45,320 --> 00:54:48,360
Speaker 6: and plays have some of that like you come on stage,

1066
00:54:48,400 --> 00:54:50,600
Speaker 6: everybody claps and there's a little bit of hamminess to it,

1067
00:54:50,680 --> 00:54:52,799
Speaker 6: and I think he brought that to his movies, and

1068
00:54:52,840 --> 00:54:55,759
Speaker 6: I think people weren't prepared or kind of understood his

1069
00:54:55,840 --> 00:54:58,160
Speaker 6: background and got that part of it, and I felt

1070
00:54:58,160 --> 00:55:00,200
Speaker 6: like that gave him kind of like undue hate for

1071
00:55:00,239 --> 00:55:00,960
Speaker 6: a long time.

1072
00:55:01,280 --> 00:55:02,360
Speaker 2: And obviously, like the net Fit, you.

1073
00:55:02,360 --> 00:55:04,560
Speaker 1: Think that's why that Tyler Perry got the under hate.

1074
00:55:05,040 --> 00:55:07,280
Speaker 6: I think at the beginning because like the BHD stuff

1075
00:55:07,360 --> 00:55:11,200
Speaker 6: and the Netflix stuff is more polished, but Pomidia movies

1076
00:55:11,600 --> 00:55:14,840
Speaker 6: they were really essentially theater on film.

1077
00:55:15,120 --> 00:55:17,760
Speaker 1: Which which I wonder if that's why maybe he purposely

1078
00:55:17,800 --> 00:55:20,920
Speaker 1: put these people in these bad wigs and that, like

1079
00:55:21,280 --> 00:55:23,040
Speaker 1: you know what I mean, theater, That's what I'm saying.

1080
00:55:23,280 --> 00:55:26,120
Speaker 1: So where we're sitting here, like now, Tyler, why you

1081
00:55:26,120 --> 00:55:29,280
Speaker 1: put Shamart in that fucking lace wig with the braids?

1082
00:55:29,440 --> 00:55:32,120
Speaker 1: Or why do are the women coming as dishovel? But

1083
00:55:32,360 --> 00:55:35,600
Speaker 1: you're right maybe from where he comes from and plays

1084
00:55:35,600 --> 00:55:39,200
Speaker 1: them Broadway, but also like you ain't gotta be as

1085
00:55:39,200 --> 00:55:42,520
Speaker 1: polished to put out still good quality content, Like it's

1086
00:55:42,520 --> 00:55:44,760
Speaker 1: the entertainment value of it all. It's not like, sorry,

1087
00:55:44,760 --> 00:55:47,400
Speaker 1: I'm not giving y'all the lot of wigs on film,

1088
00:55:47,880 --> 00:55:49,920
Speaker 1: you know, but I don't know. Do you Do you

1089
00:55:50,000 --> 00:55:50,840
Speaker 1: like Tyler Perry?

1090
00:55:51,640 --> 00:55:55,160
Speaker 4: I don't dislike him. I think I look at these

1091
00:55:55,200 --> 00:55:56,000
Speaker 4: guys as.

1092
00:55:55,920 --> 00:55:57,560
Speaker 6: If you take Tyler Perry's name off of stuff and

1093
00:55:57,600 --> 00:55:59,680
Speaker 6: people watched it, they would like it, and then after

1094
00:55:59,719 --> 00:56:01,520
Speaker 6: the fat can be surprised that it was a Tyler

1095
00:56:01,560 --> 00:56:02,160
Speaker 6: Perry project.

1096
00:56:02,320 --> 00:56:04,080
Speaker 1: Well, that's the thing. I think people go into Tyler

1097
00:56:04,120 --> 00:56:07,600
Speaker 1: Perry right now, hate watching to not like it.

1098
00:56:07,880 --> 00:56:10,160
Speaker 5: If they watch it, though, I think they people should

1099
00:56:10,160 --> 00:56:12,319
Speaker 5: be fake outraging you watch it, Like at the end

1100
00:56:12,320 --> 00:56:16,000
Speaker 5: of the day, what I'm not going to read a

1101
00:56:16,120 --> 00:56:19,080
Speaker 5: James Baldwin book because what he's brilliant?

1102
00:56:19,360 --> 00:56:21,399
Speaker 1: Yeah? Right?

1103
00:56:21,840 --> 00:56:24,040
Speaker 4: The same thing with Tyler Perry. Now, I know that

1104
00:56:24,360 --> 00:56:25,080
Speaker 4: I get the gripes.

1105
00:56:25,120 --> 00:56:28,879
Speaker 5: People are like, all right, is there more to it

1106
00:56:28,920 --> 00:56:31,120
Speaker 5: than what he's you know? But I think there's depth

1107
00:56:31,239 --> 00:56:35,680
Speaker 5: into his movies. I just think that, unfortunately, the first

1108
00:56:35,760 --> 00:56:38,680
Speaker 5: layer is the homophobious stuff.

1109
00:56:38,719 --> 00:56:42,200
Speaker 1: With as big as he is, with him reaching billionaire status,

1110
00:56:42,239 --> 00:56:46,720
Speaker 1: with him having the cultural impact that he has today.

1111
00:56:46,920 --> 00:56:51,480
Speaker 1: Do you feel like this is a controversial question, do

1112
00:56:51,520 --> 00:56:56,120
Speaker 1: you feel like Spike Lee got lazy? Do you feel

1113
00:56:56,160 --> 00:57:00,240
Speaker 1: like Spike Lee has it because he did he redid.

1114
00:57:00,280 --> 00:57:02,000
Speaker 1: You're shaking your head, but I want to know, Like,

1115
00:57:02,320 --> 00:57:04,919
Speaker 1: for how we view Spike Lee. I don't think he's

1116
00:57:04,920 --> 00:57:08,200
Speaker 1: done much currently. I know he has a movie coming out,

1117
00:57:08,840 --> 00:57:10,919
Speaker 1: I think, and I know he did the film What's

1118
00:57:10,960 --> 00:57:14,440
Speaker 1: What's the What's What's the one that actually didn't do

1119
00:57:14,480 --> 00:57:16,920
Speaker 1: too well. It was a remake of his film as

1120
00:57:16,920 --> 00:57:17,720
Speaker 1: a Netflix show.

1121
00:57:17,920 --> 00:57:19,520
Speaker 4: Oh she's gotta have got.

1122
00:57:21,400 --> 00:57:23,960
Speaker 3: That wasn't really him. That was his wife, Yeah, okay,

1123
00:57:25,520 --> 00:57:26,480
Speaker 3: was the produce on it.

1124
00:57:26,560 --> 00:57:30,200
Speaker 4: I think Spike is a he's fine art.

1125
00:57:30,440 --> 00:57:33,920
Speaker 5: It takes time to put that type of He understands

1126
00:57:33,960 --> 00:57:34,640
Speaker 5: who he is.

1127
00:57:34,920 --> 00:57:38,040
Speaker 4: And remember before we talked about what makes a classic.

1128
00:57:38,120 --> 00:57:42,200
Speaker 5: It's the anticipation, the cast, and then the expectation.

1129
00:57:42,640 --> 00:57:43,640
Speaker 4: That's what he creates.

1130
00:57:43,920 --> 00:57:47,080
Speaker 5: So when they dropped the trailer for this thing without

1131
00:57:47,120 --> 00:57:48,760
Speaker 5: any announcement, they just dropped.

1132
00:57:48,520 --> 00:57:51,400
Speaker 1: It highest to lowest, except.

1133
00:57:54,400 --> 00:57:56,640
Speaker 5: We were in the stir and he created the So

1134
00:57:56,720 --> 00:57:59,680
Speaker 5: now we have the expectation and we already know Dezelgon

1135
00:57:59,760 --> 00:58:01,400
Speaker 5: deliver of it right, and we have.

1136
00:58:01,440 --> 00:58:04,520
Speaker 6: The Spikes Spikers goat right, So what's the Spikers go?

1137
00:58:05,280 --> 00:58:05,520
Speaker 4: Yeah?

1138
00:58:07,040 --> 00:58:08,120
Speaker 2: Because I want to go finish.

1139
00:58:08,320 --> 00:58:10,160
Speaker 5: I'm saying in terms of like you know, to your

1140
00:58:10,160 --> 00:58:13,680
Speaker 5: point about why Spike in comparison to Tyler, Tyler.

1141
00:58:13,440 --> 00:58:14,520
Speaker 4: Got a lot of duds too.

1142
00:58:15,680 --> 00:58:18,840
Speaker 1: I think, I think though, and you have, yes, quality versus.

1143
00:58:18,720 --> 00:58:20,680
Speaker 3: Quantity, but I think he puts out a lot.

1144
00:58:20,760 --> 00:58:22,920
Speaker 1: But I think for do the right thing to be

1145
00:58:22,960 --> 00:58:26,880
Speaker 1: considered Spike Lee's most iconic film and for us to

1146
00:58:27,000 --> 00:58:30,720
Speaker 1: put him on the pedestal that he is, I've seen, well,

1147
00:58:31,200 --> 00:58:32,919
Speaker 1: I don't know if that's his most iconic because again

1148
00:58:32,920 --> 00:58:35,680
Speaker 1: that's Denzel. I don't know if that becomes the iconic

1149
00:58:35,720 --> 00:58:37,439
Speaker 1: film that it is. But I don't think it becomes

1150
00:58:37,480 --> 00:58:39,400
Speaker 1: the iconic film and Denzel is not cast it there.

1151
00:58:42,080 --> 00:58:44,360
Speaker 6: I think it's argument because I mean, yes, like a

1152
00:58:44,400 --> 00:58:46,480
Speaker 6: great coach has to have a great player, great director

1153
00:58:46,520 --> 00:58:47,400
Speaker 6: has to have the great actor.

1154
00:58:47,440 --> 00:58:48,760
Speaker 2: It's both of them amplifying.

1155
00:58:49,160 --> 00:58:50,440
Speaker 1: Yeah, okay, okay.

1156
00:58:50,560 --> 00:58:52,320
Speaker 3: But the Spike thing I want to talk I want to.

1157
00:58:52,360 --> 00:58:53,360
Speaker 2: I want to because I want to.

1158
00:58:53,320 --> 00:58:56,880
Speaker 6: Talk about singular figures in black cinemas. I'm glad we're

1159
00:58:56,880 --> 00:59:00,560
Speaker 6: talking about Spike Jungle Fever. Jungle Fever's my favorite Spike

1160
00:59:00,600 --> 00:59:03,000
Speaker 6: Lee movie, and I feel like that's such a black

1161
00:59:03,040 --> 00:59:07,720
Speaker 6: film because it's not about you walk into it thinking

1162
00:59:07,760 --> 00:59:11,480
Speaker 6: that it's about Wesley Snipes and the Italian woman and

1163
00:59:11,520 --> 00:59:13,520
Speaker 6: sort of like the races that happening, but it's really

1164
00:59:13,560 --> 00:59:16,960
Speaker 6: about drugs and and how it breaks up a family

1165
00:59:17,120 --> 00:59:20,760
Speaker 6: with like Gator Holly Berry's character. Yeah, And I feel

1166
00:59:20,760 --> 00:59:23,920
Speaker 6: like I feel like Spike Lee's greatest movies have that

1167
00:59:23,960 --> 00:59:25,840
Speaker 6: where it's a lot of insider talk, right because like

1168
00:59:25,840 --> 00:59:27,840
Speaker 6: white people are looking at it and they're seeing it

1169
00:59:27,880 --> 00:59:30,280
Speaker 6: and they're like, oh, it's about jungle fever, right, Like

1170
00:59:30,320 --> 00:59:32,960
Speaker 6: it's about this and it has like elements to feel

1171
00:59:32,960 --> 00:59:35,760
Speaker 6: like Romeo and Juliet. But when we're watching it, we're like, oh,

1172
00:59:35,920 --> 00:59:38,160
Speaker 6: I know, I have a Gator in my family. I

1173
00:59:38,200 --> 00:59:41,040
Speaker 6: have a family, and I get that story. And I've

1174
00:59:41,040 --> 00:59:42,720
Speaker 6: seen the way that that's either torn apart at my

1175
00:59:42,800 --> 00:59:44,320
Speaker 6: house or my uncle's house.

1176
00:59:44,600 --> 00:59:45,880
Speaker 2: And I feel like that those.

1177
00:59:45,680 --> 00:59:48,000
Speaker 6: Are the things that make like a great black film

1178
00:59:48,040 --> 00:59:50,360
Speaker 6: but also like a cult classic because it's speaking to

1179
00:59:50,440 --> 00:59:53,040
Speaker 6: us in coded language and coded experiences that we know.

1180
00:59:53,200 --> 00:59:53,360
Speaker 3: Well.

1181
00:59:53,360 --> 00:59:55,720
Speaker 1: No, I think that that's why to me, the film

1182
00:59:55,760 --> 00:59:59,240
Speaker 1: that resonates high like where everyone has a person in

1183
00:59:59,280 --> 01:00:03,920
Speaker 1: their family like that, that would be soul food depiction,

1184
01:00:04,160 --> 01:00:08,760
Speaker 1: bro of of everything you had the bread winning woman.

1185
01:00:09,000 --> 01:00:11,760
Speaker 1: You had the man just getting out of prison that's

1186
01:00:11,800 --> 01:00:15,560
Speaker 1: trying to you. You had Bird that had the the

1187
01:00:15,680 --> 01:00:18,880
Speaker 1: smooth man that's coming in trying to help. You had Yeah,

1188
01:00:18,880 --> 01:00:22,920
Speaker 1: you had Bird. Then you had uh, who was the cousin, cousin,

1189
01:00:23,280 --> 01:00:29,120
Speaker 1: cousin Fay? Is it Faye, the one who cheated with Oh? Yeah,

1190
01:00:29,160 --> 01:00:31,680
Speaker 1: you had her coming in and she was the rich

1191
01:00:31,720 --> 01:00:34,320
Speaker 1: aunty like you had the children in the film. You

1192
01:00:34,360 --> 01:00:36,560
Speaker 1: had big Mama, like you know what I mean, like

1193
01:00:36,600 --> 01:00:39,120
Speaker 1: to me, that had all of the elements and also

1194
01:00:39,200 --> 01:00:41,360
Speaker 1: not in a very stereotypical way, but a way that

1195
01:00:41,760 --> 01:00:45,560
Speaker 1: everyone could see somebody in their in their family or

1196
01:00:45,640 --> 01:00:49,200
Speaker 1: someone in their life. Is that I think that I don't.

1197
01:00:49,200 --> 01:00:50,880
Speaker 1: I don't think that you see that so much in

1198
01:00:51,200 --> 01:00:52,240
Speaker 1: all these other films.

1199
01:00:52,640 --> 01:00:54,640
Speaker 2: So that was George Tilman. He also did that was

1200
01:00:54,640 --> 01:00:55,160
Speaker 2: George Shellman.

1201
01:00:55,200 --> 01:00:55,840
Speaker 1: He also did the.

1202
01:00:55,760 --> 01:00:59,560
Speaker 2: Barbershop Biggie Movie.

1203
01:00:59,400 --> 01:01:00,600
Speaker 1: And he did George Foreman.

1204
01:01:02,040 --> 01:01:05,800
Speaker 6: Yeah, so a lot of good movies. John Singleton, we

1205
01:01:05,800 --> 01:01:08,400
Speaker 6: haven't talked about John Singleton a lot. We mentioned Boys

1206
01:01:08,400 --> 01:01:11,280
Speaker 6: in the Hood, but there's also Poetic Justice, Baby Boy

1207
01:01:12,320 --> 01:01:16,360
Speaker 6: and Nigga, Snowfall and Snowfall obviously, so I feel like

1208
01:01:16,400 --> 01:01:18,480
Speaker 6: he's a singular figure. Would y'all are you ready to

1209
01:01:18,520 --> 01:01:21,400
Speaker 6: put Ryan Coogler up there with with singular figures in

1210
01:01:21,800 --> 01:01:25,120
Speaker 6: black film history or cult classic or Jordan Peel is

1211
01:01:25,400 --> 01:01:25,920
Speaker 6: there already?

1212
01:01:26,040 --> 01:01:29,600
Speaker 1: Okay, okay, so let's let's okay, okay, we have we

1213
01:01:29,640 --> 01:01:35,400
Speaker 1: have Spike Lee indoctrinated, we have George Tillman, and we

1214
01:01:35,680 --> 01:01:40,480
Speaker 1: have John Singleton. Now those are we would say, top

1215
01:01:40,520 --> 01:01:42,240
Speaker 1: three with the most cult classics.

1216
01:01:42,400 --> 01:01:44,880
Speaker 3: Essentially, those are the bar bar.

1217
01:01:44,360 --> 01:01:49,040
Speaker 1: Are we including Ryan Coogler and Jordan Peele today?

1218
01:01:49,040 --> 01:01:51,360
Speaker 3: Out wait Cooler.

1219
01:01:51,120 --> 01:01:57,400
Speaker 6: Fruit, Fille Station, Blan Senters, Creed movies. He's there, he

1220
01:01:57,520 --> 01:02:01,120
Speaker 6: produced produced on uh uh, Judas and.

1221
01:02:01,920 --> 01:02:06,640
Speaker 5: Mentioned Black Panther, right, Judas and Blacks Yeah, the Marvel stuff.

1222
01:02:08,360 --> 01:02:10,640
Speaker 4: I think he's a sending there. I think he's if he's.

1223
01:02:10,520 --> 01:02:12,240
Speaker 1: But you wouldn't put him there yet.

1224
01:02:12,640 --> 01:02:13,800
Speaker 3: Sentats doesn't put him there.

1225
01:02:13,800 --> 01:02:15,840
Speaker 1: That I was about to say with that opening, I

1226
01:02:15,880 --> 01:02:17,120
Speaker 1: think I would say yes.

1227
01:02:17,200 --> 01:02:20,080
Speaker 6: And if I said he didn't write anybody's coachails, he

1228
01:02:20,120 --> 01:02:20,520
Speaker 6: wrote that.

1229
01:02:22,920 --> 01:02:27,800
Speaker 1: Okay, Okay, however, okay, my only reason why might want

1230
01:02:27,800 --> 01:02:29,880
Speaker 1: to remove him, Like when we talked about the other

1231
01:02:29,960 --> 01:02:31,440
Speaker 1: three directors.

1232
01:02:31,840 --> 01:02:34,200
Speaker 4: Well, he's I think that he's right.

1233
01:02:34,320 --> 01:02:38,240
Speaker 1: The only reason here, here's why, here's why, and and

1234
01:02:38,280 --> 01:02:41,400
Speaker 1: this could be a bad take, I don't care. When

1235
01:02:41,440 --> 01:02:45,360
Speaker 1: we talked about those other three directors, they dealt with

1236
01:02:45,480 --> 01:02:49,880
Speaker 1: a broad range of cast. To know that the majority

1237
01:02:49,920 --> 01:02:53,120
Speaker 1: of the big hits that Ryan Coogler has is with

1238
01:02:53,200 --> 01:02:55,920
Speaker 1: Michael B Jordan's starring, and Michael b Jordan right now

1239
01:02:56,040 --> 01:02:59,680
Speaker 1: is being pedestaled as the leading black lead right now,

1240
01:02:59,880 --> 01:03:02,440
Speaker 1: I think it's as a Denzel, which I think is

1241
01:03:02,440 --> 01:03:05,480
Speaker 1: too early for him to be labeled that. So I

1242
01:03:05,480 --> 01:03:07,840
Speaker 1: think it's a cheap So for me, it is a

1243
01:03:07,920 --> 01:03:10,920
Speaker 1: cheat code. Like I said, why Spike Lee had Denzel

1244
01:03:10,920 --> 01:03:12,760
Speaker 1: with Malcolm xis to why we view it like that.

1245
01:03:13,040 --> 01:03:14,760
Speaker 1: I think it's a cheat code right now that Ryan

1246
01:03:14,840 --> 01:03:19,120
Speaker 1: Coogler has been able to pretty much also ascend at

1247
01:03:19,160 --> 01:03:21,200
Speaker 1: the same time that Michael B Jordan is getting this

1248
01:03:21,240 --> 01:03:23,240
Speaker 1: look at a Denzel. Imagine you come out as a

1249
01:03:23,280 --> 01:03:26,320
Speaker 1: director and you're able to fucking get Denzel for every

1250
01:03:26,320 --> 01:03:26,800
Speaker 1: fucking film.

1251
01:03:27,280 --> 01:03:29,720
Speaker 4: I'm but they get them before he's gone. Every track

1252
01:03:31,240 --> 01:03:33,520
Speaker 4: is there you why? You know why he's there?

1253
01:03:33,600 --> 01:03:36,560
Speaker 5: And he's there because off a movie we haven't even

1254
01:03:36,600 --> 01:03:39,200
Speaker 5: seen yet. What movie he got Denzel to be on

1255
01:03:39,320 --> 01:03:40,240
Speaker 5: Black Panther three?

1256
01:03:40,960 --> 01:03:44,200
Speaker 1: He did? Okay, huh okay, So.

1257
01:03:44,160 --> 01:03:47,120
Speaker 5: Now he has he had his Denzel. He hasn't and

1258
01:03:47,160 --> 01:03:48,080
Speaker 5: now he has Denzel.

1259
01:03:48,320 --> 01:03:49,160
Speaker 2: Now he has Denzel.

1260
01:03:49,240 --> 01:03:49,880
Speaker 3: That's a good point.

1261
01:03:50,000 --> 01:03:53,320
Speaker 6: What about Jordan pe I'm not gonna lie I got

1262
01:03:53,440 --> 01:03:58,160
Speaker 6: get out us and Nope, So I would like to see.

1263
01:03:58,240 --> 01:04:00,600
Speaker 1: Also, by the way, I'm a huge fan of keyn

1264
01:04:00,680 --> 01:04:03,840
Speaker 1: Pill So I love that he comes from actually the

1265
01:04:03,840 --> 01:04:08,960
Speaker 1: sketch comedy and realm, and he's leaning into Here's the

1266
01:04:09,000 --> 01:04:13,360
Speaker 1: reason why I'm gonna say yes, only because when we

1267
01:04:13,640 --> 01:04:16,360
Speaker 1: started off earlier in this in the pod, when we

1268
01:04:16,360 --> 01:04:21,120
Speaker 1: were talking about the nineties, the seventies, the eighties, the sixties,

1269
01:04:21,760 --> 01:04:26,000
Speaker 1: we leaned into all of these genres that weren't even

1270
01:04:26,520 --> 01:04:29,680
Speaker 1: What Jordan Piel has done is create a genre for

1271
01:04:29,880 --> 01:04:33,680
Speaker 1: us that hasn't been represented before at all. And so

1272
01:04:33,880 --> 01:04:36,040
Speaker 1: even though yes it's a little it's a little weird.

1273
01:04:36,080 --> 01:04:38,320
Speaker 1: And how he does it, because he leans into black

1274
01:04:38,360 --> 01:04:41,920
Speaker 1: trauma a lot, and how he depicts horror essentially in

1275
01:04:41,960 --> 01:04:44,800
Speaker 1: his films, I think it's well executed, will written. He's

1276
01:04:44,960 --> 01:04:47,960
Speaker 1: dealing with a broad range of a cast in just

1277
01:04:48,040 --> 01:04:50,440
Speaker 1: these first three, and he has the one coming out

1278
01:04:50,480 --> 01:04:54,080
Speaker 1: as well, what is it called us you with Marlon

1279
01:04:54,120 --> 01:04:58,120
Speaker 1: Wayne's and so it's gonna be interesting to see him

1280
01:04:58,120 --> 01:04:59,200
Speaker 1: continue in that job.

1281
01:04:59,520 --> 01:05:00,320
Speaker 2: It's called him him.

1282
01:05:00,520 --> 01:05:03,000
Speaker 5: And he did something that most of the guys, like

1283
01:05:03,040 --> 01:05:06,240
Speaker 5: the Spikes, the Ryans that they that they've done thus far.

1284
01:05:06,480 --> 01:05:09,640
Speaker 5: He introduced new actors and acts he has to the

1285
01:05:09,640 --> 01:05:12,240
Speaker 5: follo that now we know who Daniel k is.

1286
01:05:12,440 --> 01:05:13,960
Speaker 4: Yeah, he's a household name.

1287
01:05:14,240 --> 01:05:16,400
Speaker 1: Well, to be fair, Daniel Daniel was also in Judas

1288
01:05:16,400 --> 01:05:18,640
Speaker 1: in The Black Messiah, right, yes he was, if I'm

1289
01:05:18,680 --> 01:05:20,840
Speaker 1: not mistaken, Yeah, yeah, I.

1290
01:05:20,760 --> 01:05:22,680
Speaker 6: Agree, that's that's his man that.

1291
01:05:25,360 --> 01:05:27,600
Speaker 1: So yeah, I think it's I think it's I think

1292
01:05:27,600 --> 01:05:31,320
Speaker 1: it's really interesting. I would I would put Jordan Pill there,

1293
01:05:31,920 --> 01:05:34,120
Speaker 1: Ryan Coogler, I know you just and you put him

1294
01:05:34,120 --> 01:05:35,520
Speaker 1: in there. So yeah, I would say those would be

1295
01:05:35,560 --> 01:05:38,160
Speaker 1: the top five. Not us doing our own list right now,

1296
01:05:38,520 --> 01:05:41,640
Speaker 1: but I think and okay, but do you want to

1297
01:05:41,640 --> 01:05:42,800
Speaker 1: know what also sucks about.

1298
01:05:42,680 --> 01:05:44,040
Speaker 4: Us doing that? What's up?

1299
01:05:44,600 --> 01:05:47,480
Speaker 1: So we're gonna do what most most lists normally do

1300
01:05:47,560 --> 01:05:48,320
Speaker 1: is leave out the women.

1301
01:05:49,360 --> 01:05:52,480
Speaker 4: M No, we're not, We're actually not.

1302
01:05:55,840 --> 01:05:58,560
Speaker 1: You can't even say her name, I think, right, now though,

1303
01:05:58,600 --> 01:06:01,360
Speaker 1: but we're not going to add them because they're also current.

1304
01:06:01,640 --> 01:06:04,720
Speaker 1: But we do have Lena waits Ama and I would

1305
01:06:04,720 --> 01:06:08,640
Speaker 1: say those are the upcoming three for and mar Bro

1306
01:06:09,240 --> 01:06:11,720
Speaker 1: mara Is who just did Forever, but I didn't know

1307
01:06:11,760 --> 01:06:14,840
Speaker 1: how much she actually has an extensive past in what

1308
01:06:15,000 --> 01:06:20,000
Speaker 1: she's been a part of producing or writing brock Kills.

1309
01:06:19,720 --> 01:06:22,640
Speaker 1: So we have and you know what, we could just

1310
01:06:22,680 --> 01:06:25,920
Speaker 1: blame patriarchy on that as to why women have are

1311
01:06:26,000 --> 01:06:28,040
Speaker 1: taking so long, you know what I mean? We could

1312
01:06:28,080 --> 01:06:31,160
Speaker 1: just blame patriarchy as so why women are just given

1313
01:06:31,200 --> 01:06:34,320
Speaker 1: their just due in the film and Hollywood space currently

1314
01:06:35,120 --> 01:06:37,560
Speaker 1: and making paving away for themselves. I will say too,

1315
01:06:37,600 --> 01:06:42,080
Speaker 1: if you watch first on the call sheet, it's interesting

1316
01:06:42,120 --> 01:06:46,520
Speaker 1: the difference in men speaking about the trajectory of black

1317
01:06:46,560 --> 01:06:50,440
Speaker 1: men in Hollywood compared to the second part of it,

1318
01:06:50,680 --> 01:06:54,640
Speaker 1: where women talk about their their gripes. It's just it

1319
01:06:54,760 --> 01:06:57,600
Speaker 1: shows you to me, it's a clear distinction of how

1320
01:06:57,640 --> 01:07:02,120
Speaker 1: patriarchy has infiltrated and affected how both black women and

1321
01:07:02,200 --> 01:07:04,880
Speaker 1: black men have been able to excel in Hollywood, specifically

1322
01:07:04,960 --> 01:07:08,720
Speaker 1: in film. So y'all check that out. I'm not sure

1323
01:07:08,760 --> 01:07:12,200
Speaker 1: if y'all agree with us when I here, look at

1324
01:07:12,200 --> 01:07:15,880
Speaker 1: you googling, he said, but do you know the black woman?

1325
01:07:16,200 --> 01:07:17,200
Speaker 3: But if we do a TV.

1326
01:07:17,080 --> 01:07:18,800
Speaker 5: Episode, there's a lot of black women that are doing

1327
01:07:19,520 --> 01:07:21,400
Speaker 5: I'm a big Power Stars fan, so I was like,

1328
01:07:21,400 --> 01:07:22,360
Speaker 5: wait a minute, I can't remember that.

1329
01:07:22,880 --> 01:07:26,360
Speaker 1: And that's fifty seers, so like that still really good women.

1330
01:07:26,840 --> 01:07:29,480
Speaker 1: But okay, okay, do.

1331
01:07:29,440 --> 01:07:30,320
Speaker 3: You want to do so?

1332
01:07:30,360 --> 01:07:31,800
Speaker 2: I know we're going to play a game and tally

1333
01:07:31,880 --> 01:07:33,000
Speaker 2: up some points, but do you want.

1334
01:07:32,840 --> 01:07:35,640
Speaker 1: To look down? Let's play a game. You know what?

1335
01:07:35,800 --> 01:07:36,240
Speaker 4: You know what?

1336
01:07:36,320 --> 01:07:36,760
Speaker 3: You know what?

1337
01:07:36,800 --> 01:07:37,200
Speaker 1: You know what?

1338
01:07:37,640 --> 01:07:42,320
Speaker 6: I feel like, here's the thing with that, Selma twelve

1339
01:07:42,360 --> 01:07:45,960
Speaker 6: years of slave talk about it, the help Color Purple,

1340
01:07:46,240 --> 01:07:47,640
Speaker 6: I'm astide.

1341
01:07:49,400 --> 01:07:53,680
Speaker 1: Okay, my thing is we also said, and this is

1342
01:07:53,720 --> 01:07:58,120
Speaker 1: why I'm gonna here's my thought on it. Okay, none

1343
01:07:58,160 --> 01:08:03,800
Speaker 1: of those are classics because outside of the Color Purple,

1344
01:08:05,160 --> 01:08:08,600
Speaker 1: none of them really have replay value. They're not movies

1345
01:08:08,600 --> 01:08:10,480
Speaker 1: that you put on when you cuddle in with a nigga.

1346
01:08:10,480 --> 01:08:13,440
Speaker 1: They're not movie that you put on for family viewing.

1347
01:08:13,840 --> 01:08:17,760
Speaker 1: They are I think they are needed for historical context

1348
01:08:17,800 --> 01:08:20,040
Speaker 1: of what shit was really like, but I would not

1349
01:08:20,160 --> 01:08:24,400
Speaker 1: put any slave movie into cult classic because the replay

1350
01:08:24,479 --> 01:08:28,559
Speaker 1: value on them is very slim, and to me, I

1351
01:08:28,560 --> 01:08:30,840
Speaker 1: think we just need to watch it and support it.

1352
01:08:31,400 --> 01:08:33,439
Speaker 1: But it's not one that many people go back to.

1353
01:08:33,720 --> 01:08:35,920
Speaker 1: That's why I would not put anything but the color

1354
01:08:35,920 --> 01:08:37,320
Speaker 1: purple into that.

1355
01:08:37,880 --> 01:08:39,960
Speaker 5: But there's a caveat that should be with slave movies.

1356
01:08:40,120 --> 01:08:41,920
Speaker 5: I don't think you want to watch them over. I

1357
01:08:41,960 --> 01:08:44,560
Speaker 5: think once you get it the first time, which is

1358
01:08:44,600 --> 01:08:48,040
Speaker 5: why I think it's enough. Like Glory. You ever seen Glory?

1359
01:08:48,640 --> 01:08:51,120
Speaker 5: I can't watch that again to see Denzel getting beat

1360
01:08:51,160 --> 01:08:53,160
Speaker 5: and he got the whelps on his back. I got it,

1361
01:08:53,200 --> 01:08:56,400
Speaker 5: like I totally get it. YO powerful movie.

1362
01:08:56,680 --> 01:08:58,559
Speaker 4: But that's I don't need to see it again my point.

1363
01:08:58,880 --> 01:08:59,439
Speaker 4: You know what I'm saying.

1364
01:08:59,720 --> 01:09:01,920
Speaker 1: I think movies, But I think that that's why they

1365
01:09:01,960 --> 01:09:05,160
Speaker 1: would not be considered cult classics at all, because they're

1366
01:09:05,200 --> 01:09:07,639
Speaker 1: actually movies that I don't think white people go back

1367
01:09:07,640 --> 01:09:09,519
Speaker 1: to watch. And we don't even go back to watch.

1368
01:09:09,840 --> 01:09:13,800
Speaker 1: It's like they could be powerful, but they're not CLT classics. No, No,

1369
01:09:13,880 --> 01:09:16,519
Speaker 1: I think I think they're necessary, right.

1370
01:09:17,080 --> 01:09:19,639
Speaker 4: I don't think we put a classic, we just say powerful.

1371
01:09:19,720 --> 01:09:22,519
Speaker 1: I think they're powerful. I think there are I think

1372
01:09:22,520 --> 01:09:25,760
Speaker 1: they're historical. I don't think we need to want to

1373
01:09:25,800 --> 01:09:27,080
Speaker 1: see they remember.

1374
01:09:27,240 --> 01:09:29,760
Speaker 4: I remember everything about them, so it's like, and.

1375
01:09:29,720 --> 01:09:31,439
Speaker 1: Some of them I don't want to remember. I think

1376
01:09:31,560 --> 01:09:33,599
Speaker 1: I think Django might be the only one I can't

1377
01:09:34,000 --> 01:09:36,920
Speaker 1: watch multiple times, and it's because I got Leonordo and

1378
01:09:36,960 --> 01:09:40,840
Speaker 1: motherfucking Jamie Foxing at home and Samuel l like. Other

1379
01:09:40,920 --> 01:09:43,120
Speaker 1: than that, though, no, no.

1380
01:09:43,000 --> 01:09:44,640
Speaker 6: I was I was gonna say, y'all, sounded like an

1381
01:09:44,720 --> 01:09:46,880
Speaker 6: MPR segment until you want that at the end.

1382
01:09:47,960 --> 01:09:51,240
Speaker 3: That was. That was good. So let's let's let's close

1383
01:09:51,240 --> 01:09:51,920
Speaker 3: it out with this game.

1384
01:09:52,000 --> 01:09:52,599
Speaker 1: Okay, let's play.

1385
01:09:52,880 --> 01:09:55,600
Speaker 6: Let's do obviously, you guys see this. It's always on

1386
01:09:55,680 --> 01:09:58,000
Speaker 6: social media. How many black movies have you seen?

1387
01:09:58,320 --> 01:10:00,000
Speaker 3: Oh god, for one more.

1388
01:10:00,040 --> 01:10:01,960
Speaker 1: We're not gonna do this, y'all not gonna remove my

1389
01:10:02,000 --> 01:10:02,479
Speaker 1: black cart.

1390
01:10:02,960 --> 01:10:05,120
Speaker 3: It's gonna be fifty. This is just to see us three.

1391
01:10:05,400 --> 01:10:07,519
Speaker 1: Let's let's let's go first, Let's do twenty.

1392
01:10:07,680 --> 01:10:09,240
Speaker 6: Let do twenty of them, all right, So I'm gonna

1393
01:10:09,280 --> 01:10:11,960
Speaker 6: read twenty of them, y'all tally up real quick, and

1394
01:10:11,960 --> 01:10:13,120
Speaker 6: then add the three of us.

1395
01:10:13,120 --> 01:10:14,080
Speaker 2: We'll see what our score is.

1396
01:10:14,080 --> 01:10:17,240
Speaker 6: So we're just gonna go one to twenty alright, ready,

1397
01:10:17,640 --> 01:10:18,599
Speaker 6: boys in the hood.

1398
01:10:18,479 --> 01:10:23,200
Speaker 1: Yep, oh, wait, we're keeping our own cloth. One point each.

1399
01:10:23,520 --> 01:10:24,720
Speaker 3: Have you seen it? You get a point?

1400
01:10:24,880 --> 01:10:26,960
Speaker 1: Okay, let's see. Let's see how black y'all are to please.

1401
01:10:27,000 --> 01:10:29,080
Speaker 1: If you are listening to this, play this at home, let's.

1402
01:10:28,960 --> 01:10:31,880
Speaker 6: Do right and definitely yeah add us at us on

1403
01:10:31,920 --> 01:10:39,160
Speaker 6: social media and so one set it off, New Jack City, Friday,

1404
01:10:40,080 --> 01:10:45,479
Speaker 6: menace to society, juice above the rim, paid in full,

1405
01:10:46,479 --> 01:10:47,200
Speaker 6: do the right thing.

1406
01:10:47,760 --> 01:10:49,280
Speaker 2: So that's ten. I'm gonna jump around.

1407
01:10:49,360 --> 01:10:51,160
Speaker 6: I want to mix up the variety of So that's ten,

1408
01:10:51,240 --> 01:10:57,599
Speaker 6: right there, Yeah, all right, Crooklyn, how high belly, so plain,

1409
01:10:58,560 --> 01:11:04,719
Speaker 6: the best man, drum line, more money, white Chicks, moonlight,

1410
01:11:05,479 --> 01:11:08,080
Speaker 6: stomp the yard in this Christmas?

1411
01:11:09,280 --> 01:11:16,280
Speaker 2: Okay, all right, all right, so.

1412
01:11:16,280 --> 01:11:18,679
Speaker 3: That should be Actually I think I read twenty one.

1413
01:11:18,560 --> 01:11:25,320
Speaker 6: Of them there, okay, ten and then I started here. Yeah,

1414
01:11:25,360 --> 01:11:26,200
Speaker 6: so that was twenty one.

1415
01:11:26,479 --> 01:11:27,240
Speaker 1: It was twenty one.

1416
01:11:28,960 --> 01:11:31,760
Speaker 3: A king, he king, you got the black car privileges?

1417
01:11:32,479 --> 01:11:33,080
Speaker 1: How'd you do.

1418
01:11:36,800 --> 01:11:38,200
Speaker 2: In twenty one? What was your score?

1419
01:11:38,360 --> 01:11:39,360
Speaker 4: Nineteen out of twenty one?

1420
01:11:39,439 --> 01:11:44,320
Speaker 1: Damn same nineteen? Damn you are not blacker than us?

1421
01:11:44,360 --> 01:11:51,840
Speaker 6: Twenty black black Latino, Afro Latina over here, Thank you

1422
01:11:51,880 --> 01:11:52,880
Speaker 6: guys for tuning in.

1423
01:11:53,080 --> 01:11:58,080
Speaker 1: That is corrazy. Now you get the fuck out of here.

1424
01:11:58,880 --> 01:12:00,439
Speaker 1: Do you remember which one you and seen?

1425
01:12:00,720 --> 01:12:01,679
Speaker 4: What was the last three?

1426
01:12:02,920 --> 01:12:05,479
Speaker 3: The last three, the last go to the last five?

1427
01:12:06,240 --> 01:12:08,559
Speaker 3: Last five were what drum line?

1428
01:12:08,760 --> 01:12:10,280
Speaker 2: More money? White Chicks?

1429
01:12:12,160 --> 01:12:15,440
Speaker 6: Moonlight stopped the yard this Christmas?

1430
01:12:15,760 --> 01:12:16,160
Speaker 4: Moonlight.

1431
01:12:16,560 --> 01:12:19,200
Speaker 1: I knew you ain't seen Moonlight. That's crazy.

1432
01:12:21,200 --> 01:12:26,000
Speaker 5: I want to know you ain't see moon like check it.

1433
01:12:26,600 --> 01:12:29,640
Speaker 4: Since you said that. And I'm not homophobic, just like,

1434
01:12:31,439 --> 01:12:32,400
Speaker 4: should I put this out there?

1435
01:12:32,479 --> 01:12:33,479
Speaker 1: Yes, put it out there.

1436
01:12:33,560 --> 01:12:40,400
Speaker 5: My core friends noticed ship like people who Okay, I

1437
01:12:40,520 --> 01:12:42,519
Speaker 5: never watched the Wire.

1438
01:12:43,720 --> 01:12:44,080
Speaker 2: Mm hmm.

1439
01:12:45,200 --> 01:12:47,360
Speaker 1: So because you didn't watch the Wires, why you didn't

1440
01:12:47,360 --> 01:12:47,960
Speaker 1: watch Moonlight?

1441
01:12:48,040 --> 01:12:51,080
Speaker 5: No, I'm just trying to know, explain to you the

1442
01:12:51,240 --> 01:12:53,800
Speaker 5: things that I haven't that I missed, that I have

1443
01:12:54,000 --> 01:12:56,639
Speaker 5: to do that I haven't done yet.

1444
01:12:56,960 --> 01:12:59,000
Speaker 1: And so the Wire and Moonlight are two.

1445
01:12:58,840 --> 01:13:01,559
Speaker 4: Things that you have to sano. I haven't watched No, no, why.

1446
01:13:01,520 --> 01:13:02,519
Speaker 1: You bring the whites in here?

1447
01:13:03,160 --> 01:13:06,120
Speaker 3: Okay, yeah, yeah, that's that's not what this episode.

1448
01:13:06,280 --> 01:13:09,080
Speaker 5: My bad bad all right, pineapples on pizza, by the way,

1449
01:13:09,120 --> 01:13:13,240
Speaker 5: But look the why I haven't watched it Moonlight.

1450
01:13:13,240 --> 01:13:15,160
Speaker 4: I'll get to it. No, I'm not.

1451
01:13:16,400 --> 01:13:18,360
Speaker 5: It had nothing to do with just some some things.

1452
01:13:18,360 --> 01:13:20,760
Speaker 5: It's just like, all right, there's movies now that I

1453
01:13:20,760 --> 01:13:21,280
Speaker 5: gotta get to.

1454
01:13:21,640 --> 01:13:23,640
Speaker 1: Okay, some Moonlin you just gotta get to.

1455
01:13:23,840 --> 01:13:24,439
Speaker 4: Yeah for sure.

1456
01:13:24,560 --> 01:13:27,640
Speaker 5: Okay on the next episode, our next recording, because we

1457
01:13:27,880 --> 01:13:30,080
Speaker 5: both record now, right, I watch Moonlight.

1458
01:13:30,200 --> 01:13:32,160
Speaker 4: I'll come back with a thirty second recap.

1459
01:13:32,280 --> 01:13:33,519
Speaker 1: Okay, I like to see it.

1460
01:13:33,720 --> 01:13:34,120
Speaker 2: That's good.

1461
01:13:34,200 --> 01:13:35,960
Speaker 4: We're gonna hold you which ones that you watch?

1462
01:13:36,479 --> 01:13:38,759
Speaker 1: I didn't see My Money or Crookland.

1463
01:13:38,800 --> 01:13:39,879
Speaker 4: You gotta watch Crookland.

1464
01:13:39,960 --> 01:13:41,759
Speaker 1: Yeah I didn't. I haven't seen Crookling.

1465
01:13:41,840 --> 01:13:44,519
Speaker 4: More Money was cool, but I think you like Crookland.

1466
01:13:44,520 --> 01:13:46,599
Speaker 1: The fact that you just want to say, what movie

1467
01:13:46,680 --> 01:13:50,519
Speaker 1: I hadn't seen? You don't know my life? Yeah? No,

1468
01:13:50,640 --> 01:13:54,040
Speaker 1: it was Krookling, Crookling and More Money? Okay. And Jason,

1469
01:13:54,040 --> 01:13:57,080
Speaker 1: no one cares about you because you apparently only wait,

1470
01:13:57,080 --> 01:13:57,760
Speaker 1: wait which one?

1471
01:13:58,160 --> 01:13:58,400
Speaker 3: Wait?

1472
01:13:58,439 --> 01:14:00,559
Speaker 1: Which one movie did you not see? Because you only

1473
01:14:00,600 --> 01:14:03,960
Speaker 1: got one line? You know what that means? You the

1474
01:14:04,000 --> 01:14:06,040
Speaker 1: old ass nigga. At this point, you know, I say,

1475
01:14:06,200 --> 01:14:07,280
Speaker 1: drum line is crazy.

1476
01:14:07,560 --> 01:14:10,000
Speaker 4: It was any particular reason why you didn't see it,

1477
01:14:10,080 --> 01:14:11,360
Speaker 4: Like it just.

1478
01:14:11,360 --> 01:14:14,280
Speaker 1: Didn't get there as you were going through that list.

1479
01:14:14,360 --> 01:14:17,240
Speaker 1: I do think maybe we have to somehow figure out

1480
01:14:17,240 --> 01:14:18,800
Speaker 1: a part to at this point, maybe we have someone

1481
01:14:18,880 --> 01:14:21,360
Speaker 1: come and join us, maybe an actor, because we didn't

1482
01:14:21,439 --> 01:14:25,559
Speaker 1: lean into at all, like the drum lines that bring

1483
01:14:25,640 --> 01:14:29,719
Speaker 1: it on, the uh, the love Don't cost a thing, STMP,

1484
01:14:29,800 --> 01:14:31,640
Speaker 1: the yard there was and I guess those were the

1485
01:14:31,640 --> 01:14:33,599
Speaker 1: two thousands. We didn't make it to the two thousands,

1486
01:14:34,600 --> 01:14:37,040
Speaker 1: but the revival of what that looked like, but also

1487
01:14:37,080 --> 01:14:39,640
Speaker 1: the fact that I think that that created we were

1488
01:14:39,760 --> 01:14:42,479
Speaker 1: leaning into what the white people were doing at that time,

1489
01:14:42,520 --> 01:14:45,599
Speaker 1: which was like the teenage love affair essentially, like we

1490
01:14:45,600 --> 01:14:48,799
Speaker 1: were leaning into the high school and college love story,

1491
01:14:48,920 --> 01:14:50,920
Speaker 1: which is what we were seeing with Ten Things I

1492
01:14:50,960 --> 01:14:53,920
Speaker 1: Hate About You, and like we actually had a black

1493
01:14:54,000 --> 01:14:57,200
Speaker 1: version of mimicking what the white films were getting at

1494
01:14:57,280 --> 01:15:01,280
Speaker 1: rom com essentially. Ayways, we'll do that. Maybe maybe I'll

1495
01:15:01,280 --> 01:15:02,720
Speaker 1: have one of my active friends come join us and

1496
01:15:02,760 --> 01:15:05,120
Speaker 1: talk about the dynamics of what the two thousands and

1497
01:15:05,160 --> 01:15:10,640
Speaker 1: twenty ten's look like for us in film. AnyWho, I

1498
01:15:10,680 --> 01:15:14,240
Speaker 1: don't think that. Yeah, I also don't think that we

1499
01:15:14,240 --> 01:15:16,160
Speaker 1: were that ignorant, Like y'all could come to me about

1500
01:15:16,160 --> 01:15:18,400
Speaker 1: my take coming to America was not that great. Neither

1501
01:15:18,439 --> 01:15:21,840
Speaker 1: was loving basketball those was maybe my my ignorant takes

1502
01:15:21,880 --> 01:15:23,840
Speaker 1: that someone may essentially.

1503
01:15:24,200 --> 01:15:26,800
Speaker 4: Can't jump who white man can't jump?

1504
01:15:27,960 --> 01:15:33,439
Speaker 1: First of the fact that the fact that the lead

1505
01:15:33,760 --> 01:15:35,479
Speaker 1: was there was a white lead and a black lead.

1506
01:15:35,640 --> 01:15:37,240
Speaker 1: I don't know about that one being a black film.

1507
01:15:37,640 --> 01:15:42,559
Speaker 4: No, No, it was super black. It was Wessy Snipes's like.

1508
01:15:42,760 --> 01:15:47,599
Speaker 1: Well, now you're getting into colorism. It's a little bit. Anyway.

1509
01:15:47,640 --> 01:15:50,080
Speaker 6: You want a final word on American Gangster Training Day,

1510
01:15:50,120 --> 01:15:51,559
Speaker 6: bad Boys.

1511
01:15:51,600 --> 01:15:55,479
Speaker 1: Not really a final word. I would say those three things,

1512
01:15:55,520 --> 01:15:58,679
Speaker 1: though they were with black leads, I think those were.

1513
01:15:59,600 --> 01:16:02,080
Speaker 1: I think that's also very hypocritical of me to say

1514
01:16:02,360 --> 01:16:04,920
Speaker 1: they're not black films if they're blockbuster hits.

1515
01:16:06,320 --> 01:16:10,800
Speaker 3: Or it's to be called right, it can't be caught well, No, I.

1516
01:16:10,680 --> 01:16:17,680
Speaker 1: Think that those are Those are global films, and I

1517
01:16:17,680 --> 01:16:22,920
Speaker 1: think that white people, Spanish people, Indians, like everybody kind

1518
01:16:22,920 --> 01:16:26,559
Speaker 1: of watches those films, and I don't think they feel

1519
01:16:26,640 --> 01:16:29,519
Speaker 1: like they're seeing us represented as much as I could

1520
01:16:29,600 --> 01:16:34,320
Speaker 1: say that with a poetic justice or minister society, those

1521
01:16:34,640 --> 01:16:37,280
Speaker 1: they're looking at it and they're seeing us. I think

1522
01:16:37,320 --> 01:16:40,360
Speaker 1: when you get into those kind of box office hits

1523
01:16:40,360 --> 01:16:43,360
Speaker 1: that you just named again, I think those roles are colorless,

1524
01:16:43,760 --> 01:16:45,639
Speaker 1: which is why I would take away those from being

1525
01:16:45,840 --> 01:16:48,120
Speaker 1: maybe not a training day, no one, no training day,

1526
01:16:48,200 --> 01:16:52,080
Speaker 1: you had the white guy alongside them for the whole time.

1527
01:16:53,680 --> 01:16:53,880
Speaker 6: Yeah.

1528
01:16:53,960 --> 01:16:55,800
Speaker 3: What's his name, Ethan Hawk?

1529
01:16:57,640 --> 01:17:02,000
Speaker 1: Yeah, so yeah, yeah, I just don't know if I

1530
01:17:02,000 --> 01:17:05,760
Speaker 1: would consider those black films personally, Okay, so then we'll

1531
01:17:05,840 --> 01:17:08,320
Speaker 1: leave that to you guys, Like, do films like that,

1532
01:17:08,560 --> 01:17:10,760
Speaker 1: The Bad Boys, the Training Days? What was the other

1533
01:17:10,760 --> 01:17:15,400
Speaker 1: one you had in there? American Gangster? Do films like that?

1534
01:17:15,400 --> 01:17:18,599
Speaker 1: Do you consider those to be cult classic black films?

1535
01:17:18,600 --> 01:17:21,559
Speaker 1: Do you distinguish black films? How do you identify what

1536
01:17:21,720 --> 01:17:25,720
Speaker 1: is for us and what has essentially become for everyone.

1537
01:17:26,680 --> 01:17:29,439
Speaker 1: It's kind of what our conversation wants today. And then

1538
01:17:29,560 --> 01:17:33,360
Speaker 1: what are your thoughts and views on representation of how

1539
01:17:33,400 --> 01:17:37,240
Speaker 1: we're depicted in films for us by us?

1540
01:17:38,560 --> 01:17:40,400
Speaker 4: Please and let us know your scores too.

1541
01:17:40,560 --> 01:17:42,880
Speaker 1: Let us know your scores. I hope that y'all enjoyed.

1542
01:17:42,880 --> 01:17:44,080
Speaker 1: I know y'all still got a lot of me on

1543
01:17:44,080 --> 01:17:47,240
Speaker 1: the mic, but hope y'all enjoyed my super producers A

1544
01:17:47,439 --> 01:17:51,080
Speaker 1: King and Jason stepping in for this conversation. Listen at

1545
01:17:51,120 --> 01:17:52,240
Speaker 1: the end of the day. You can hate it or

1546
01:17:52,240 --> 01:17:54,720
Speaker 1: you could love it. Either way, are you choosing to

1547
01:17:54,760 --> 01:17:58,960
Speaker 1: be selectively ignorant? Or are you choosing to get educated?

1548
01:17:59,400 --> 01:18:06,759
Speaker 1: Y'all see you next week. Bye. Selective Ignorance a production

1549
01:18:06,840 --> 01:18:10,400
Speaker 1: of the Black Effect podcast Network. For more podcasts from iHeartRadio,

1550
01:18:10,760 --> 01:18:14,559
Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

1551
01:18:14,600 --> 01:18:15,479
Speaker 1: to your favorite shows.

1552
01:18:15,600 --> 01:18:17,880
Speaker 6: Thanks for tuning in the Selective Ignorance of Mandy B.

1553
01:18:18,080 --> 01:18:21,040
Speaker 6: Selective Ignorance. It's executive produced to buy Mandy B. And

1554
01:18:21,080 --> 01:18:24,440
Speaker 6: It's a full Court Media studio production with lead producers

1555
01:18:24,560 --> 01:18:25,600
Speaker 6: Jason Mondriguez.

1556
01:18:25,680 --> 01:18:27,040
Speaker 3: That's me and Aaron A.

1557
01:18:27,240 --> 01:18:27,799
Speaker 2: King Howell.

1558
01:18:27,880 --> 01:18:30,880
Speaker 6: Now, do us a favor and rate, subscribe, comment, and

1559
01:18:30,960 --> 01:18:33,080
Speaker 6: share wherever you get your favorite podcast