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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.

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Speaker 2: Again.

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Speaker 1: That is No Holds Barred, a dual manifesto of sexual

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Speaker 1: exploration and power, written by yours truly and my co

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Speaker 1: host of the Decisions Decisions podcast, Weezy.

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Speaker 2: Make sure y'all get that. Now let's get to this

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Speaker 2: week's episode. This is Mandy B.

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Speaker 1: Welcome to Selective Ignorance, a production of The Black Effect

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Speaker 1: Podcast Network and Iart Radio.

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Speaker 2: Y'all already know what time it is.

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Speaker 1: Welcome to another episode of Selective Ignorance with your girl,

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Speaker 1: Mandy B and y'all. This is the place where the

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Speaker 1: facts are real, the opinions are reckless sometimes, and for

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Speaker 1: this episode this week, the nostalgia is Hella Black. Now listen,

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Speaker 1: we love our classics. Will quote them memum and defend them.

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Speaker 2: 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.

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Speaker 2: That's right.

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Speaker 1: We are getting into black cult classics this week. How

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Speaker 1: did we even make some of these is what I'm

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Speaker 1: gonna ask, But yet a lot of us still adore them.

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Speaker 2: Here's where it gets deeper.

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

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

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Speaker 1: the type casting of our most talented actors to the

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Speaker 1: fact that some of our most celebrated characters are based

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

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

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

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

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

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Speaker 1: your 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.

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Speaker 2: I have a king with me very next to me. Today.

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Speaker 1: You're not in the you're not behind the glass today.

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Speaker 3: You got promoted today.

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Speaker 2: Now you got promoted. That's crazy.

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Speaker 1: We got Jason over there live from from from Jersey,

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Speaker 1: and we're getting into it.

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Speaker 2: I guess.

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Speaker 1: So when y'all see me or hear me, if you

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Speaker 1: guys are watching or listening, when we do these kind

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Speaker 1: of solo episodes where it's just me and my producers,

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Speaker 1: we're really going to get into cultural topics, list things

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Speaker 1: that kind of allow all of us to get to

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Speaker 1: go off a little bit more and for y'all to

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Speaker 1: get to know why I chose these two dope ass

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

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Speaker 2: King?

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Speaker 4: Excellent? Excellent. Shout out to everybody that's tapping into the

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Speaker 4: Selective Ignorance podcast who will subscribed. Please I encourage you

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Speaker 4: to tell a friend, Tell a friend, this is not

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Speaker 4: the malarkey shit out there, just having great conversations and

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Speaker 4: having discourse along the way as we should and still

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Speaker 4: go out to eat and have lunch and do whatever afterwards.

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

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Speaker 1: really really old malarkey.

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Speaker 5: I think that's like one of the old like Biden

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Speaker 5: word decades that.

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Speaker 4: The word will you prefer me to talk why in speech?

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Speaker 2: No? No, no, no, no no. You know what's crazy about

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Speaker 2: you saying that?

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Speaker 1: I feel myself saying type shit way more than I

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Speaker 1: want to.

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Speaker 2: I'm not doing twin.

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Speaker 1: No, nobody is my twin first, but like, but like

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

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

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Speaker 4: And then I was we have to say that bridge

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Speaker 4: phrase between the statement or it's literally just.

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Speaker 2: But I don't know why I'm saying type ship.

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

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

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

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Speaker 1: the West Coast, he was calling me fine ship, and.

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Speaker 2: I'm like, I don't like find ship like hate it. No,

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Speaker 2: I don't like find shit. First off, I'm a fine

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Speaker 2: piece of ship.

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

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Speaker 2: We only heard that type of lingo be used in

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Speaker 2: black films.

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Speaker 4: Created it comes from the prisons, I want to say,

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Speaker 4: and then it transitions into the streets okay, and it

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Speaker 4: became 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? A?

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Speaker 5: What is that African American? African American banacular?

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Speaker 2: What's the E?

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Speaker 3: I earned my check today?

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Speaker 2: But no, no, no, no, what's the part? I'm not gonna

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Speaker 2: it's just a V.

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Speaker 4: No.

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Speaker 2: I think it's a A V E. By the way,

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Speaker 2: if it's not, y'all ain't taking my mother.

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Speaker 5: 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.

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Speaker 4: As it was with Champagne ebonics.

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Speaker 5: Your hello, I guess so diploma there you go.

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Speaker 2: Oh my god.

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Speaker 1: Well, I guess then to start to start off this

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Speaker 1: conversation to see where we land on our points and

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Speaker 1: views and things.

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Speaker 2: By the way, y'all get ready to be mad.

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Speaker 1: I don't know if you're listening to us in the car,

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Speaker 1: if you listen to us at your workplace, if you

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Speaker 1: got us in your headphones or not, be prepared to

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Speaker 1: disagree with us. I think that when we talk about

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Speaker 1: these type of subject matters, the reality is.

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Speaker 2: It is subjective at the end of the day.

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Speaker 1: So what I say, Bible and I'm pretty sure I'm

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Speaker 1: gonna disagree with this old head ass nigga and this

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Speaker 1: Puerto Rican on the motherfucker.

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Speaker 4: I'm in between what is in between? I'm og but

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Speaker 4: your og?

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Speaker 2: 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 2: A young og. Okay, I gotta do it.

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Speaker 1: So then let's start with all of us defining just

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

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Speaker 2: What makes a black classic.

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Speaker 1: So in terms of films, what makes a movie an

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Speaker 1: actual classic? To you, I'm gonna throw it off to

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Speaker 1: you a king first, because you're actually the only full

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Speaker 1: black person discussing the privileges privilegious.

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Speaker 4: I hope that ship means something soon know what's going on.

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Speaker 4: But anyway, what makes a Black Colt classic. I think

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Speaker 4: the anticipation, think the film delivering to the expectation of

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Speaker 4: the anticipation. I think who's in it, you know, the actors.

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Speaker 4: Let's let's take it if for example, Sinners. Yes, we

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Speaker 4: saw the anticipation by the casting and who was on it.

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Speaker 4: That was the anticipation, right, it was like, oh ship,

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Speaker 4: Ryan Coogler, it's Michael B. Jordan's right, all these dope

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Speaker 4: caster of characters, right, and then we get to see it,

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Speaker 4: and then they gave us the idea that was all horror,

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Speaker 4: but it wasn't. It was historical. It was messaging. Is

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Speaker 4: a lot of social commentary in it, and it became

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Speaker 4: something before I saw it. The reviews I saw was

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Speaker 4: people want to see it a second and third time.

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Speaker 2: But you're saying this, but let's generalize it.

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Speaker 6: We're not talking about centers here. We don't talk about

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Speaker 6: of what Now. It sits in a place where I

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Speaker 6: want to see it over and over and it's now

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Speaker 6: it's like yo, after four times. So I think that

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Speaker 6: that's the I think.

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Speaker 1: I think, but I think what you're saying right now

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Speaker 1: is unfair to the conversation at all.

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Speaker 2: The fact the Senate just came out.

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Speaker 1: We we can't even classify it as a classic just yet.

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Speaker 2: It just came out.

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Speaker 1: So in terms of how you because we're not going

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Speaker 1: to be talking about centers today, were talking probably Friday ballet,

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Speaker 1: Jews love.

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Speaker 4: Basketball, the subjecvies like music that you know is instant,

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Speaker 4: that's why we call it instant classic.

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Speaker 2: 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.

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Speaker 2: I think cultural impact.

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

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

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

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

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Speaker 1: and 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.

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Speaker 2: It's gonna be replay value. I think that's very important.

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Speaker 1: I don't think you become a classic without someone wanting

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Speaker 1: to see it.

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Speaker 2: It was so funny because because.

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Speaker 1: Even we know Christmas now they played Friday after next

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Speaker 1: or next Friday like every year, like and.

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Speaker 2: The Baby Boy gets played.

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Speaker 1: So I think replay value is very important, and we're

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Speaker 1: not gonna add it here, but I do think soundtracks

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Speaker 1: essentially lend heavily to keep it like, yeah.

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Speaker 2: 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.

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Speaker 2: I think that.

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Speaker 1: Lends to the cultural impact of what makes a classic.

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Speaker 1: And then we'll get into the ones that we believe

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Speaker 1: are overhyped and maybe shouldn't have been a cult classic,

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Speaker 1: but I think they become classics only because of who

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

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Speaker 1: full circle moment of why that is. Did you agree

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Speaker 1: or want to add on to anything that I said,

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Speaker 1: just so.

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Speaker 5: That we know what we're Yeah, no, I think that's good.

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Speaker 5: I think it's I think it's I think director matters.

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Speaker 5: I think casting matters. And then to a King's point,

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Speaker 5: there's a messaging and a language that it speaks to

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Speaker 5: make it know that it's like ours, and that's what

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Speaker 5: makes like repeatability of it right like and Friday, like

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Speaker 5: you're watching it.

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Speaker 3: It's super La shit, New jack City is New York shit.

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Speaker 5: Like, there's like coded languages and messages that make it that,

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Speaker 5: you know, like it's an our film, and you know

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Speaker 5: to your point, like once it gets to like the

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Speaker 5: part we're watching it over and over and over again,

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Speaker 5: 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.

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Speaker 2: There's so many films out of their New Jack City.

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Speaker 1: I would say New Jack City a little bit, but

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Speaker 1: that's a little older than Juice, right, both of uptown.

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Speaker 4: Yeah, I think you kind of give you a lens

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Speaker 4: of what was happening too during that time, Like even

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Speaker 4: if we saw it, I saw Juice first before I

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Speaker 4: saw a New Jack City, so it's like, oh, this

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Speaker 4: has happened before. Yeah, essence pre dates whatever's going on

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Speaker 4: 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?

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Speaker 2: It's bad boys us? Or is it? I mean, clearly

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Speaker 2: that's a global sensation. You have.

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Speaker 5: What's the one you want to talk about? That?

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Speaker 4: Which one?

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Speaker 2: Not?

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Speaker 1: Not?

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Speaker 2: Which one? Malcolm Xican? 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 he played the games, he

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Speaker 1: played the American gangs.

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Speaker 2: American games.

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Speaker 1: So I do hold that for the n Jason, if

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

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Speaker 1: I mean? I want to know which ones kind of

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

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Speaker 1: because even when we talk R and B, and y'all

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Speaker 1: get another episode about that too. When we talk R

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

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

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

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

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Speaker 1: are we starting this conversation?

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Speaker 2: Jason? Lead?

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Speaker 5: So lead us to the watta Yeah.

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Speaker 3: So, so it's interesting, I think.

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Speaker 5: So we're gonna talk about genres, right, Yeah, Like you

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Speaker 5: mentioned a little bit with like Hood films and black platation.

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Speaker 5: It's funny because prior to the seventies it used to

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Speaker 5: just be called race films. Oh, it was just called

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Speaker 5: it was just called race films. And it was very

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Speaker 5: on the nose, written by black people, cast by black people,

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Speaker 5: for black people, right, And that's where you got like

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Speaker 5: in the heat of the night early like Sydney Partier

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Speaker 5: movies twenties, thirties, forties.

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Speaker 3: Obviously he was in the sixties.

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Speaker 2: He was in the sixties.

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Speaker 5: Yeah, yeah, but I felt like it was like very direct,

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Speaker 5: this is what it is. And then now it changes

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Speaker 5: and there's a lot a lot of different names for it, right,

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Speaker 5: 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 5: Yeah, I think that's I think that's where it started.

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Speaker 5: I thinkat Black's plotation is kind of where it started.

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Speaker 5: And then there's the clip. Have either one of y'all

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Speaker 5: seen Is It Black Enough for You? The Netflix documentary? No,

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Speaker 5: So it's his brother. He's a film critic. His name

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Speaker 5: is Elvis Mitchell, right, longtime film critic. Does his first

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Speaker 5: actual film. This documentary came out in twenty twenty two.

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Speaker 5: It was called Is It Black Enough for You? And

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Speaker 5: it's exploring black plotation era and why it's important.

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Speaker 3: But I have this clip. We could play it or not.

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Speaker 2: Yeah, no, go ahead and play it.

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Speaker 5: So he's basically playing there's no genres. If it's a

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Speaker 5: black film, it's a black film. So I'm gonna say, oh, okay,

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Speaker 5: here me go start, let's do it.

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Speaker 7: We said black film itself is a genre. So there

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Speaker 7: is no black musical. It's a black film. There is

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Speaker 7: no black romantic comedy. It's a black film. There is

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Speaker 7: no black fantasy film. It's a black film. So when

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Speaker 7: these films fail, they don't feel as genre films. They fail.

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Speaker 3: It's a black film, which.

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Speaker 7: Is to say, oh, well, nobody want to see that

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Speaker 7: black film. I guess they don't want to see black

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Speaker 7: films anymore. And there was an executive once said to me, yeah,

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Speaker 7: they don't want to black still want to see themselves

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Speaker 7: in historical jlblems And I said, based on what how

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Speaker 7: many black people? You know?

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Speaker 2: Oh okay?

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Speaker 1: Hearing that, yes and no, And I guess even because

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Speaker 1: so even at the top of the year, right like

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Speaker 1: knowing we went to see.

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Speaker 2: One of them days Kiki Palmer and Sis. They did.

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Speaker 2: 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 black and when they looked at the numbers

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

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

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Speaker 1: of 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 2: Like it wasn't until recently that.

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Speaker 5: We even started saying I think he was talking about

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Speaker 5: 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 to us.

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Speaker 4: I don't know it's too do you think the first

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Speaker 4: the first part of it.

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Speaker 5: But let's go to the first part realid because you

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Speaker 5: said it the Kiki Parl movie is do you you

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Speaker 5: it like they're just it's a black movie. It's not

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Speaker 5: a black comedy. It's a black If it's a black cast,

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Speaker 5: 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 2: You know what I mean, like so and so, I

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Speaker 2: don't know if it's the global reach.

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Speaker 5: But also okay, no question about the bad so the

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Speaker 5: Bad Boys, and I think we'll get into that right next.

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Speaker 3: But Bad Boys was written for two white actors. It

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Speaker 3: was I know and so and so that's just black leads.

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Speaker 5: But it wasn't necessarily like black cast, black director. It

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Speaker 5: wasn't the whole thing like the Race movie kind of seff.

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Speaker 5: It was okay, okay, so this is this is all

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Speaker 5: white people. And we just so happened to put Will

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Speaker 5: 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.

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Speaker 2: I think, I think.

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Speaker 1: Even anything historical, like if we go to American Gangster,

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Speaker 1: it was leaning into a black character. But I also

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Speaker 1: maybe don't view that as a black film because it

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Speaker 1: was something historical Judas and the Black Messiah that I

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Speaker 1: even consider.

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Speaker 5: It's no, it's about hamp it's.

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Speaker 1: About Fred Hampton, 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.

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Speaker 2: Malcolm X.

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Speaker 1: Honestly too, I know you said it earlier, hold On,

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Speaker 1: hold on, shut the fuck up. I would even say,

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Speaker 1: Malcolm X, anything in terms of black history when put

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Speaker 1: into film. I don't necessarily believe that that makes it

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Speaker 1: a black film or a cult classic.

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Speaker 2: I don't think.

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Speaker 1: I think because it's something that is dictating something that

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Speaker 1: is historically true, and this is the representation in oftentimes

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Speaker 1: I want you to look it up. A lot of

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Speaker 1: those films are directed by white people.

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Speaker 3: These two are not.

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Speaker 4: These two or not those.

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Speaker 2: Two are not.

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Speaker 1: But first off, too, fred Hampton. Fred Hampton wasn't even

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Speaker 1: talked to us in black history growing up. A lot

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Speaker 1: of us were introduced to the black panthers in Chicago

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Speaker 1: and Fred Hampton that story through the film. So what

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Speaker 1: I'm saying is when we think about and by the way,

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Speaker 1: it depends which Malcolm X movie, there's like three or

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Speaker 1: four in bitches, So I know not all of them

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Speaker 1: were directed by knowledge.

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Speaker 2: I acknowledge.

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Speaker 4: You mentioned. You mentioned a few things though you said

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Speaker 4: that one education part of it. He said that you

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Speaker 4: wasn't taught about Fred Hampton in school. They would never

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Speaker 4: teach about any type of black panther.

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Speaker 2: Uh, but I knew about the black panther.

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Speaker 3: But they're not.

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Speaker 4: But they're not teaching it from the context of how

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Speaker 4: or given us the representation of what it was the purpose.

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Speaker 4: We always hear about it as a radical organization first

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Speaker 4: and foremost, and then and then everything else after that.

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Speaker 4: I think when you hearing you speak about it, I

439
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Speaker 4: hear what rings in my mind is fooble for us,

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Speaker 4: by us, And I just hear for us, by us,

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Speaker 4: and for those who want to participate, welcome. But we

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Speaker 4: can't deny the intention behind making these movies. It's for

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Speaker 4: us to show us, you know, from a historical standpoint,

444
00:20:53,200 --> 00:20:55,560
Speaker 4: how great we are, how great we are, and our thinking,

445
00:20:55,600 --> 00:20:58,920
Speaker 4: our writing, just telling these stories. So I think that

446
00:20:58,920 --> 00:21:02,720
Speaker 4: that's why we get categorize in it's a black film

447
00:21:02,920 --> 00:21:05,439
Speaker 4: that black people, just like the super Bowl. When you

448
00:21:05,440 --> 00:21:09,639
Speaker 4: look at the outcry from different news news networks, they

449
00:21:09,640 --> 00:21:11,960
Speaker 4: didn't understand what Kendrick did. But all I saw with

450
00:21:12,000 --> 00:21:16,160
Speaker 4: the numbers, everybody else is watching it, right, they're curious

451
00:21:16,280 --> 00:21:19,399
Speaker 4: and they're like it. But the people who didn't understand it,

452
00:21:19,400 --> 00:21:21,320
Speaker 4: for whatever reason, they were like, I don't understand this

453
00:21:21,560 --> 00:21:24,240
Speaker 4: because it was really for us, for us, by us.

454
00:21:24,760 --> 00:21:26,399
Speaker 1: So man, by the way, I do want to let

455
00:21:26,480 --> 00:21:29,760
Speaker 1: you know, Yes, I know you only want to We're

456
00:21:29,760 --> 00:21:32,320
Speaker 1: only you only want to acknowledge Spike Lee. But The

457
00:21:32,440 --> 00:21:37,960
Speaker 1: first Malcolm X film that was released in nineteen seventy two,

458
00:21:38,760 --> 00:21:43,119
Speaker 1: was directed and written by a white screenwriter and film maker,

459
00:21:43,440 --> 00:21:44,320
Speaker 1: Arnold Pearl.

460
00:21:45,000 --> 00:21:45,800
Speaker 3: Okay, yeah, I.

461
00:21:45,840 --> 00:21:48,520
Speaker 5: Never heard of it, but no, I've never heard of

462
00:21:48,520 --> 00:21:50,840
Speaker 5: it is another Malcolm X movie.

463
00:21:50,880 --> 00:21:53,080
Speaker 2: I know we want to acknowledge only Denzel Malcolm.

464
00:21:53,280 --> 00:21:56,119
Speaker 3: We'll watch I'm a Crystalper for Columbus that movie. Man,

465
00:21:56,160 --> 00:21:56,840
Speaker 3: do you have a question.

466
00:21:57,560 --> 00:22:00,000
Speaker 5: You were starting to cook though, you were starting to

467
00:22:00,040 --> 00:22:03,959
Speaker 5: cook when you were talking about Hancock and different actors

468
00:22:03,960 --> 00:22:06,159
Speaker 5: who they could play and and what makes it and

469
00:22:06,200 --> 00:22:07,720
Speaker 5: we kind of got derailed with the Malcolm X of

470
00:22:07,760 --> 00:22:09,280
Speaker 5: it all. But you were starting to cook about the

471
00:22:09,320 --> 00:22:13,680
Speaker 5: idea of if it's written by h black writers cash

472
00:22:13,720 --> 00:22:14,080
Speaker 5: but black.

473
00:22:14,440 --> 00:22:16,000
Speaker 3: You were about to go into like the thing.

474
00:22:16,960 --> 00:22:20,000
Speaker 1: Yes, So so here's the thing. We can consider certain

475
00:22:20,040 --> 00:22:22,120
Speaker 1: actors because I know we'll get into our actress too.

476
00:22:22,520 --> 00:22:23,960
Speaker 2: Certain actors.

477
00:22:25,800 --> 00:22:31,560
Speaker 1: Go beyond the quote unquote black film genre because they

478
00:22:31,600 --> 00:22:34,680
Speaker 1: are considered and this is going to sound crazy, as

479
00:22:33,960 --> 00:22:38,680
Speaker 1: black actors colorless actors, so their role is not dependent

480
00:22:38,720 --> 00:22:41,080
Speaker 1: on them being black. So we can we can say

481
00:22:41,160 --> 00:22:42,359
Speaker 1: actors like that would be.

482
00:22:43,400 --> 00:22:48,240
Speaker 2: Freeman, Morgan, Freeman. Denzel is a colorless actor.

483
00:22:48,680 --> 00:22:51,639
Speaker 1: I would say, I wouldn't even say Martin Lawrence, but

484
00:22:51,800 --> 00:22:56,200
Speaker 1: Will Smith is a colorless actor, and you have these

485
00:22:56,240 --> 00:23:01,840
Speaker 1: guys that don't play. Wesley Snipe could could be considered

486
00:23:01,880 --> 00:23:04,040
Speaker 1: that even though yeah he has a ring.

487
00:23:04,359 --> 00:23:05,960
Speaker 5: He had he had an eighteen months fan when he

488
00:23:06,040 --> 00:23:06,320
Speaker 5: was there.

489
00:23:06,440 --> 00:23:09,400
Speaker 1: But when I say colorless actors, it's they could play

490
00:23:09,400 --> 00:23:09,960
Speaker 1: a role.

491
00:23:09,840 --> 00:23:12,879
Speaker 5: That they could, They could, they can.

492
00:23:13,200 --> 00:23:18,560
Speaker 4: Jackson, Samuel h Absolutely he got the most. Does he

493
00:23:18,600 --> 00:23:21,120
Speaker 4: have hold of record for the most film feature films?

494
00:23:22,119 --> 00:23:25,639
Speaker 2: Does he not always play those? Hold on? Does? Okay?

495
00:23:25,720 --> 00:23:29,320
Speaker 1: Does Samuel Jackson he does be playing?

496
00:23:29,440 --> 00:23:29,959
Speaker 2: Don't let him?

497
00:23:31,320 --> 00:23:37,800
Speaker 1: Does Samuel Jackson not only play a coon or a

498
00:23:37,880 --> 00:23:39,680
Speaker 1: super black and black man.

499
00:23:39,760 --> 00:23:41,080
Speaker 4: Like Sammy Jackson?

500
00:23:41,440 --> 00:23:43,679
Speaker 2: Yes, I saw it like.

501
00:23:43,640 --> 00:23:46,280
Speaker 1: Like, first off, the fact that you just put the

502
00:23:46,440 --> 00:23:50,280
Speaker 1: D in Django Nigga, the D is silent. The fact

503
00:23:50,280 --> 00:23:52,679
Speaker 1: that you just said did Jango, which, by the way,

504
00:23:52,760 --> 00:23:57,040
Speaker 1: lets be very clear tricky because definitely I think a

505
00:23:57,040 --> 00:23:59,000
Speaker 1: black film, but that's quit In Tarantino, So.

506
00:23:59,200 --> 00:24:00,760
Speaker 5: Yeah, I think it's a white I think it's for

507
00:24:01,080 --> 00:24:04,000
Speaker 5: you think you think you think.

508
00:24:04,000 --> 00:24:05,560
Speaker 2: Jango was for white people?

509
00:24:06,240 --> 00:24:08,640
Speaker 1: With the with the amount I just recently watched it

510
00:24:09,080 --> 00:24:11,439
Speaker 1: I think Jango might have the most nigga counts in

511
00:24:11,520 --> 00:24:13,880
Speaker 1: any film I've ever seen, Like, Django.

512
00:24:13,600 --> 00:24:15,720
Speaker 2: May have more more nigga counts than Belly.

513
00:24:16,359 --> 00:24:19,960
Speaker 1: Like like, this is where I said the North wasn't

514
00:24:20,000 --> 00:24:21,600
Speaker 1: really using the in word in their films.

515
00:24:21,640 --> 00:24:23,760
Speaker 2: They were using the yo son yo be yo this

516
00:24:23,880 --> 00:24:26,760
Speaker 2: yo my guy. No, they weren't saying nigga like that.

517
00:24:27,000 --> 00:24:29,000
Speaker 4: You think hip hop has something to do the music

518
00:24:29,040 --> 00:24:32,040
Speaker 4: of hip hop has something to do with the the

519
00:24:32,080 --> 00:24:35,639
Speaker 4: overuse or more usage of it, I'm not gonna lie.

520
00:24:35,720 --> 00:24:37,879
Speaker 1: Oh yeah, I think I think hip hop uses it

521
00:24:37,920 --> 00:24:40,280
Speaker 1: a lot more than films. But I think that black

522
00:24:40,320 --> 00:24:43,640
Speaker 1: films steer clear of the use of the in word

523
00:24:43,640 --> 00:24:44,520
Speaker 1: as well.

524
00:24:44,720 --> 00:24:48,560
Speaker 2: For global like to become maybe global things. Because you

525
00:24:48,640 --> 00:24:49,400
Speaker 2: know what else is crazy.

526
00:24:49,440 --> 00:24:51,159
Speaker 1: I've been watching all these old films lately because I've

527
00:24:51,160 --> 00:24:52,720
Speaker 1: been trying to get into my script writing back.

528
00:24:53,280 --> 00:24:54,480
Speaker 2: Even if you go watch.

529
00:24:54,359 --> 00:24:57,600
Speaker 1: Like now, these is going to be the real black

530
00:24:57,680 --> 00:25:01,159
Speaker 1: cult classics that I think a terrible movies. But if

531
00:25:01,160 --> 00:25:03,800
Speaker 1: you watch like the Two Can Play That Game, if

532
00:25:03,840 --> 00:25:08,840
Speaker 1: you watch the even like a Love Jones, loving Basketball,

533
00:25:11,040 --> 00:25:14,719
Speaker 1: poetic Justice, things like that, all of those films, even

534
00:25:14,920 --> 00:25:16,959
Speaker 1: those are black ass films, and I think they were

535
00:25:17,000 --> 00:25:18,080
Speaker 1: made for us.

536
00:25:18,119 --> 00:25:18,639
Speaker 2: Not really.

537
00:25:19,119 --> 00:25:20,560
Speaker 1: I'm sure they would have liked to be bigger than

538
00:25:20,560 --> 00:25:24,160
Speaker 1: they were, but they're kept to just us. The usage

539
00:25:24,160 --> 00:25:29,359
Speaker 1: of black language wasn't really there either, Like it's so

540
00:25:29,440 --> 00:25:31,560
Speaker 1: crazy how much more? Yeah, we could say hip hop

541
00:25:31,640 --> 00:25:34,520
Speaker 1: has an influence essentially when we get into like the Fridays,

542
00:25:34,600 --> 00:25:37,920
Speaker 1: those those type of movies, but they weren't using the inWORD.

543
00:25:38,200 --> 00:25:40,680
Speaker 1: And maybe I could do, like a chet gpt what

544
00:25:41,000 --> 00:25:42,840
Speaker 1: black film uses the in word the most?

545
00:25:42,920 --> 00:25:43,160
Speaker 2: Niga?

546
00:25:43,200 --> 00:25:46,239
Speaker 1: I think Django might literally use the inn word more

547
00:25:46,280 --> 00:25:47,480
Speaker 1: than any of our black holes.

548
00:25:47,640 --> 00:25:49,600
Speaker 3: But that's that's that's that's that's Spike.

549
00:25:49,400 --> 00:25:51,840
Speaker 5: Lee's whole beef with Quentin Tarantino that he feels like

550
00:25:51,840 --> 00:25:53,200
Speaker 5: he always puts it into a movie.

551
00:25:53,840 --> 00:25:56,840
Speaker 2: I could see, you know what I mean, what other

552
00:25:56,920 --> 00:25:58,000
Speaker 2: film did he do that with?

553
00:25:59,720 --> 00:26:05,600
Speaker 5: I think Jackie Brown maybe obviously there's fiction or Samuel L.

554
00:26:05,680 --> 00:26:06,359
Speaker 3: Jackson's doing it.

555
00:26:06,480 --> 00:26:08,280
Speaker 5: Jangle was obviously like Jango.

556
00:26:08,680 --> 00:26:13,760
Speaker 1: Jango had Jango had Leonardo saying nigga okay, like it

557
00:26:13,880 --> 00:26:16,640
Speaker 1: had like I think every white character got an inward,

558
00:26:16,880 --> 00:26:21,080
Speaker 1: but then they got what I was Goulda got. I

559
00:26:21,080 --> 00:26:23,119
Speaker 1: would have liked to know what that set looked like

560
00:26:23,160 --> 00:26:26,359
Speaker 1: because they had no crackers flying with the inward in

561
00:26:26,400 --> 00:26:26,800
Speaker 1: that movie.

562
00:26:26,920 --> 00:26:29,000
Speaker 4: I was like, but would that movie have been the

563
00:26:29,520 --> 00:26:32,920
Speaker 4: movie that we get without the emphasis of that word.

564
00:26:33,440 --> 00:26:33,840
Speaker 2: Maybe not.

565
00:26:33,920 --> 00:26:36,840
Speaker 1: And I mean clearly they did it purposely, but I

566
00:26:36,880 --> 00:26:38,080
Speaker 1: think it's for white people.

567
00:26:38,840 --> 00:26:41,280
Speaker 5: It did to make white people feel uncomfortable because it

568
00:26:41,320 --> 00:26:42,080
Speaker 5: was a slave movie.

569
00:26:42,200 --> 00:26:43,280
Speaker 2: It was a slave movie.

570
00:26:43,359 --> 00:26:46,639
Speaker 1: It was the category we'll get intill it was a

571
00:26:46,640 --> 00:26:47,160
Speaker 1: slave movie.

572
00:26:47,160 --> 00:26:50,000
Speaker 5: But yeah, listen, some John category's some job.

573
00:26:50,280 --> 00:26:51,280
Speaker 2: Let's let's debate a little.

574
00:26:52,400 --> 00:26:55,119
Speaker 5: I think this one maybe just a quick stick are towing.

575
00:26:55,160 --> 00:26:57,320
Speaker 5: I don't know how far how long we'll stay into it.

576
00:26:57,359 --> 00:27:00,720
Speaker 5: But blax quotation obviously, like I mentioned early there, there's

577
00:27:00,720 --> 00:27:03,280
Speaker 5: that film, There's a Black Enough four.

578
00:27:03,320 --> 00:27:04,320
Speaker 3: You talks a lot about it.

579
00:27:04,720 --> 00:27:07,600
Speaker 5: So black flotation it's really kind of taking the history

580
00:27:07,600 --> 00:27:11,520
Speaker 5: and legacy of race films, but then adding the black

581
00:27:11,560 --> 00:27:13,760
Speaker 5: power movement towards it. Right, And so this is where

582
00:27:13,760 --> 00:27:17,280
Speaker 5: you get a lot of movies where black cast members

583
00:27:17,400 --> 00:27:20,760
Speaker 5: or the male or women or the leads they're taking

584
00:27:20,760 --> 00:27:22,600
Speaker 5: out Whitey. That's where you hear like the turn whitey

585
00:27:22,640 --> 00:27:24,879
Speaker 5: for the first time or the man right like that was.

586
00:27:24,880 --> 00:27:26,199
Speaker 3: Always like the villain in the movie.

587
00:27:26,480 --> 00:27:29,000
Speaker 5: That's where you get like Fred Williamson and Black Caesar,

588
00:27:31,000 --> 00:27:34,760
Speaker 5: Superfly with Max Julian, you get Pam Grid and.

589
00:27:34,720 --> 00:27:35,960
Speaker 3: Foxy Brown and Coffee.

590
00:27:37,680 --> 00:27:40,360
Speaker 5: I feel like with theirs, if you if you want,

591
00:27:40,400 --> 00:27:42,080
Speaker 5: if you didn't have the context to watch it at

592
00:27:42,080 --> 00:27:44,600
Speaker 5: the time, you may be thinking that these are movies

593
00:27:44,720 --> 00:27:50,600
Speaker 5: that are kind of laughable, but like most.

594
00:27:50,400 --> 00:27:54,520
Speaker 1: Of them were placed into the comedy genre. Those are

595
00:27:54,920 --> 00:27:57,640
Speaker 1: I go hold you as soon as we got to Black,

596
00:27:58,280 --> 00:28:01,680
Speaker 1: Black Dotation, Black Jesus Christ.

597
00:28:02,359 --> 00:28:06,040
Speaker 5: And by the way, I'm thinking of well recent well.

598
00:28:06,080 --> 00:28:08,160
Speaker 1: If you even want to consider the recent ones, maybe

599
00:28:08,160 --> 00:28:10,280
Speaker 1: in the last two decades, like you have the Dolomite

600
00:28:10,800 --> 00:28:12,639
Speaker 1: with who was Dolomite?

601
00:28:12,640 --> 00:28:14,800
Speaker 2: That was uh was that Eddie Murphy?

602
00:28:15,640 --> 00:28:18,760
Speaker 5: Yeah, but but that was Eddie Eddie Murphy's like it

603
00:28:18,800 --> 00:28:21,640
Speaker 5: was a comedic homage to like the Rudy Ray Moore.

604
00:28:21,880 --> 00:28:25,520
Speaker 1: Well, then you also got like Undercover Brother with Eddie Griffin, right,

605
00:28:25,640 --> 00:28:28,600
Speaker 1: And so for me, I think.

606
00:28:28,840 --> 00:28:30,760
Speaker 5: But I will say, but I think those are spoofs

607
00:28:30,800 --> 00:28:33,920
Speaker 5: more than Black Plotation, Like those are like Wayne's Brothers spoof.

608
00:28:34,440 --> 00:28:36,320
Speaker 2: I hate these films.

609
00:28:38,040 --> 00:28:41,440
Speaker 1: These are I think are if we lean into like

610
00:28:41,600 --> 00:28:45,960
Speaker 1: just the stereotypes, like I think this shows women is

611
00:28:46,040 --> 00:28:48,200
Speaker 1: just being these overly sexual beings.

612
00:28:48,320 --> 00:28:51,120
Speaker 2: I feel like it shows the men is pimps.

613
00:28:50,680 --> 00:28:54,560
Speaker 1: And like it literally to me is is a is

614
00:28:54,600 --> 00:28:58,760
Speaker 1: an indication of pimp and whole culture essentially for us.

615
00:28:58,960 --> 00:29:01,600
Speaker 1: And so the stereotype said, I think I always see

616
00:29:01,640 --> 00:29:03,760
Speaker 1: in these types of films from the seventies.

617
00:29:04,320 --> 00:29:05,720
Speaker 2: I hate it.

618
00:29:06,160 --> 00:29:08,479
Speaker 1: I think it makes us look corny, it makes its cheesy.

619
00:29:08,480 --> 00:29:12,440
Speaker 1: It makes also the writing is also the worst. For

620
00:29:12,720 --> 00:29:15,840
Speaker 1: if these are films written for us, created by us,

621
00:29:16,080 --> 00:29:18,080
Speaker 1: I think the dialogue is fucking so rudimentary.

622
00:29:18,120 --> 00:29:19,240
Speaker 2: I don't even want to watch it.

623
00:29:19,240 --> 00:29:21,760
Speaker 4: Like I would, have you ever seen Koli high before?

624
00:29:22,240 --> 00:29:26,240
Speaker 5: Koly How's a good one if you haven't won one?

625
00:29:27,360 --> 00:29:30,200
Speaker 4: My dad used to I remember I watched Uptown Saturday night.

626
00:29:30,240 --> 00:29:32,000
Speaker 4: I thought that as a kid, I was like, oh,

627
00:29:32,040 --> 00:29:34,400
Speaker 4: this ship is fire. I never really was a fan

628
00:29:34,480 --> 00:29:39,680
Speaker 4: of the Shaft and neither maybe I respect it, but

629
00:29:39,720 --> 00:29:42,840
Speaker 4: I just that wasn't my entry. But I would to

630
00:29:42,880 --> 00:29:44,320
Speaker 4: your point, I would definitely.

631
00:29:44,080 --> 00:29:47,080
Speaker 1: Look at those I think you have some of all

632
00:29:47,120 --> 00:29:49,880
Speaker 1: the films that we could consider cult classics like and

633
00:29:49,920 --> 00:29:52,520
Speaker 1: we'll get into the stereotypes and clearly all the different genres,

634
00:29:52,840 --> 00:29:54,160
Speaker 1: this is my least favorite genre.

635
00:29:54,880 --> 00:29:57,200
Speaker 5: So I wanted to use the stereotypes to then flip

636
00:29:57,200 --> 00:29:59,760
Speaker 5: it to because we're a little young for that category.

637
00:29:59,800 --> 00:30:02,560
Speaker 5: But so then the eighties, right, and then you have

638
00:30:02,760 --> 00:30:06,600
Speaker 5: the eighties were largely dominated by Eddie Murphy and just

639
00:30:07,080 --> 00:30:09,280
Speaker 5: keeping like stereotypes of mind in the back of your head.

640
00:30:09,720 --> 00:30:12,760
Speaker 5: He started a lot of movies that were big that

641
00:30:12,880 --> 00:30:15,840
Speaker 5: were written for white people. So you have like Beverly Hills,

642
00:30:15,840 --> 00:30:21,200
Speaker 5: Cop Trading Places, forty eight hours and so, and you

643
00:30:21,240 --> 00:30:22,880
Speaker 5: go back and watch those and a lot of what

644
00:30:22,920 --> 00:30:25,280
Speaker 5: you're saying about black exploitation. I feel about the Eddie

645
00:30:25,400 --> 00:30:29,480
Speaker 5: Murphy movies total writing stereotypes. But he was just such

646
00:30:29,520 --> 00:30:31,760
Speaker 5: a fucking star, and he was so talented that he

647
00:30:31,840 --> 00:30:35,840
Speaker 5: made these movies that were probably really bad cult classics

648
00:30:35,880 --> 00:30:38,960
Speaker 5: because we're rewatching it for him, you know, a cult classic.

649
00:30:39,960 --> 00:30:43,120
Speaker 2: Oh, y'all gonna get on me, y'all gonna get on me.

650
00:30:43,240 --> 00:30:44,960
Speaker 1: And it's fine, But only could we talk about Eddie

651
00:30:45,000 --> 00:30:47,320
Speaker 1: Murphy coming to America?

652
00:30:49,120 --> 00:30:51,120
Speaker 4: What are you about to say though the first one

653
00:30:51,160 --> 00:30:51,840
Speaker 4: or the second one.

654
00:30:52,120 --> 00:30:55,080
Speaker 2: No one acknowledges the second. The second one did not happen.

655
00:30:56,200 --> 00:31:02,160
Speaker 1: They thought that at yeah, that was that Christopher Columbus

656
00:31:02,880 --> 00:31:05,760
Speaker 1: So so Coming to America is one of those films

657
00:31:05,760 --> 00:31:08,080
Speaker 1: that absolutely is a cult classic. It shows up on

658
00:31:08,560 --> 00:31:13,440
Speaker 1: TV every uh what Thanksgiving or Christmas. It's it's something

659
00:31:13,480 --> 00:31:14,280
Speaker 1: that everyone watches.

660
00:31:14,320 --> 00:31:15,240
Speaker 2: It's things, it's.

661
00:31:15,120 --> 00:31:18,560
Speaker 1: Mimable, good morning, my neighbor is like, it's you know,

662
00:31:18,640 --> 00:31:24,320
Speaker 1: people know the lines from it. Hated it, hated it

663
00:31:24,440 --> 00:31:29,480
Speaker 1: even watched it recently. I think to me even storyline plot.

664
00:31:29,280 --> 00:31:33,800
Speaker 2: Was the script was now you gotta take a break?

665
00:31:33,800 --> 00:31:37,960
Speaker 2: Why oh, now you leave it? Jason his camera say,

666
00:31:38,120 --> 00:31:39,160
Speaker 2: I am not going to be a part.

667
00:31:39,840 --> 00:31:43,400
Speaker 1: I think that it's one of the films that are

668
00:31:43,440 --> 00:31:48,240
Speaker 1: pedestal that if you watch it again today, so that

669
00:31:48,520 --> 00:31:52,200
Speaker 1: is I hate it. But also to be too, I

670
00:31:52,240 --> 00:31:54,520
Speaker 1: do think that that came from an era. And if

671
00:31:54,560 --> 00:31:56,440
Speaker 1: you watch first on the call Sheet, which is a

672
00:31:56,440 --> 00:32:01,120
Speaker 1: documentary recently from from the eighties lead into the nineties,

673
00:32:01,560 --> 00:32:05,280
Speaker 1: there were so many black black actors that didn't think

674
00:32:05,320 --> 00:32:07,080
Speaker 1: that they had a chance in hell because that's the

675
00:32:07,120 --> 00:32:10,600
Speaker 1: era of all the comedians getting this place. So you

676
00:32:10,640 --> 00:32:14,000
Speaker 1: had Bill Cosby, who even at the time was in

677
00:32:14,080 --> 00:32:16,880
Speaker 1: his prime. He got into the television aspects of it.

678
00:32:17,160 --> 00:32:20,320
Speaker 1: But you had Eddie Murphy in the films, and then

679
00:32:20,400 --> 00:32:22,400
Speaker 1: we saw even in the early nineties is when we

680
00:32:22,440 --> 00:32:25,200
Speaker 1: started being introduced to Martin Lawrence having his own ship.

681
00:32:25,280 --> 00:32:28,280
Speaker 1: We had Jamie Fox, we had Steve Harvey. At a

682
00:32:28,320 --> 00:32:34,840
Speaker 1: certain point in in our film filmography, comedians were getting

683
00:32:34,840 --> 00:32:37,640
Speaker 1: those looks before actors were. And it's why we we

684
00:32:37,680 --> 00:32:41,840
Speaker 1: waited until we got the Denzel's, we got the who's

685
00:32:41,920 --> 00:32:43,640
Speaker 1: Who's there?

686
00:32:43,640 --> 00:32:46,760
Speaker 5: Making a good point because Evenell started in TV right

687
00:32:46,840 --> 00:32:50,239
Speaker 5: like I think in the eighties, like comedians were running it,

688
00:32:50,280 --> 00:32:51,480
Speaker 5: and so they were running.

689
00:32:52,040 --> 00:32:53,440
Speaker 3: They had to get TV work, but.

690
00:32:53,480 --> 00:32:57,160
Speaker 4: That was that was the entry point because exactly a

691
00:32:57,200 --> 00:32:59,520
Speaker 4: black actor still had the hoops and had to go

692
00:32:59,520 --> 00:33:01,880
Speaker 4: through hoops and bounds just to get seen and get

693
00:33:01,880 --> 00:33:06,719
Speaker 4: the roles. Now it's different, the game is open, but

694
00:33:06,920 --> 00:33:08,960
Speaker 4: before they had to struggle. And there's a piece that

695
00:33:09,000 --> 00:33:10,920
Speaker 4: I want to add in here with Norman Lear with

696
00:33:11,040 --> 00:33:17,400
Speaker 4: all of the the shows that he directed, Jefferson, The Jeffersons,

697
00:33:18,000 --> 00:33:22,080
Speaker 4: Good Times, Archie Bunker, even tying in The Jeffersons with

698
00:33:22,160 --> 00:33:25,000
Speaker 4: Archie Bunker. From a societal social commentary, you had the

699
00:33:25,040 --> 00:33:30,360
Speaker 4: Italian family and then the the n word, you know

700
00:33:30,400 --> 00:33:32,440
Speaker 4: what I mean. But all of that stuff I think

701
00:33:32,480 --> 00:33:34,960
Speaker 4: plays into what you said, all of the comedian Red Fox.

702
00:33:36,680 --> 00:33:41,000
Speaker 4: What was George Sherman Hemsley comedians Red Fox?

703
00:33:41,240 --> 00:33:46,080
Speaker 1: So then I think we know that these okay, sixties, seventies, eighties,

704
00:33:46,360 --> 00:33:51,080
Speaker 1: I think, however, where cult classic essentially was born.

705
00:33:51,440 --> 00:33:52,880
Speaker 2: And I want to make sure we get into the

706
00:33:52,960 --> 00:33:54,400
Speaker 2: nineties because the nineties is.

707
00:33:54,400 --> 00:33:59,000
Speaker 1: Where we actually got to have essentially full black cast.

708
00:33:59,160 --> 00:34:02,720
Speaker 2: This is where women were were on film, the same

709
00:34:02,760 --> 00:34:03,200
Speaker 2: as Mannats.

710
00:34:03,240 --> 00:34:05,200
Speaker 1: When we got away from the comedians and the mega

711
00:34:05,240 --> 00:34:09,160
Speaker 1: superstars and we started getting the vivocate Foxes, we started

712
00:34:09,160 --> 00:34:14,600
Speaker 1: getting the Morris Chestnuts. We started having our own actors that, unfortunately,

713
00:34:14,640 --> 00:34:17,719
Speaker 1: I also say, became a detriment to their careers because they.

714
00:34:17,640 --> 00:34:19,640
Speaker 2: Were that's all they were do.

715
00:34:19,719 --> 00:34:21,280
Speaker 3: Y'all think Morris Chestnut is a good actor?

716
00:34:21,560 --> 00:34:25,600
Speaker 1: No, And now that I'm older, and maybe because everyone

717
00:34:25,640 --> 00:34:27,600
Speaker 1: has veneers, I wish he would have got his teeth

718
00:34:27,960 --> 00:34:31,160
Speaker 1: straightened early. Maybe that gave him character. But when I

719
00:34:31,200 --> 00:34:35,359
Speaker 1: look at Moriens Chestnut bothers me. He's not good at aught.

720
00:34:35,560 --> 00:34:38,399
Speaker 1: He reminds me of Okay, y'all know, Well, maybe y'all

721
00:34:38,440 --> 00:34:40,160
Speaker 1: don't know if y'all knew, if y'all.

722
00:34:39,960 --> 00:34:41,919
Speaker 2: Are new here, if y'all are new here.

723
00:34:43,160 --> 00:34:45,200
Speaker 1: I think that l O cool J looks like a thumb,

724
00:34:45,680 --> 00:34:48,480
Speaker 1: Like I never thought he was really that sexy. So

725
00:34:49,080 --> 00:34:51,160
Speaker 1: he does the same shit that Morris Chestnut does, though

726
00:34:51,320 --> 00:34:55,120
Speaker 1: it's the lick lip and shit, bro what presence the

727
00:34:55,160 --> 00:34:58,359
Speaker 1: fact that also also the fact shout out to the

728
00:34:58,400 --> 00:35:03,239
Speaker 1: fact that his double is Charlemagne the guy like I

729
00:35:03,280 --> 00:35:06,040
Speaker 1: don't know how boys just nut got all of this

730
00:35:06,320 --> 00:35:09,760
Speaker 1: like love like he was not the best looking things

731
00:35:09,800 --> 00:35:10,880
Speaker 1: and sliced bread.

732
00:35:10,640 --> 00:35:12,919
Speaker 3: We look aunties think the young.

733
00:35:13,880 --> 00:35:15,960
Speaker 1: Well, let's be also very clear because I want to

734
00:35:16,000 --> 00:35:18,160
Speaker 1: make sure I hold credence to the fact that I

735
00:35:18,200 --> 00:35:20,799
Speaker 1: have to save smoke for the light skin niggas Moore.

736
00:35:21,400 --> 00:35:22,879
Speaker 4: Damn it sucks.

737
00:35:23,280 --> 00:35:27,719
Speaker 1: He sucked into Tyler Perry film and I love what's

738
00:35:27,719 --> 00:35:29,080
Speaker 1: the ship criminal Minds?

739
00:35:30,320 --> 00:35:33,120
Speaker 2: Baby girl like no he like.

740
00:35:34,160 --> 00:35:40,720
Speaker 4: Probably he has on on on Criminal Minds. He owned

741
00:35:40,719 --> 00:35:42,680
Speaker 4: that role. I can't see another person playing in.

742
00:35:42,600 --> 00:35:47,080
Speaker 1: That role because for for I guess majority, they look attractive.

743
00:35:47,400 --> 00:35:50,440
Speaker 1: So I think that that's another thing that maybe dumbed down.

744
00:35:50,760 --> 00:35:53,000
Speaker 4: Criteria by the way, no, no, no, and it's not mine.

745
00:35:53,360 --> 00:35:56,399
Speaker 1: It's not mine either, But I do think unfortunately that's

746
00:35:56,440 --> 00:35:59,840
Speaker 1: where we got the range of a lot of mediocre

747
00:36:00,640 --> 00:36:03,000
Speaker 1: because I do think for a lot of our films,

748
00:36:03,400 --> 00:36:06,319
Speaker 1: they leaned into looks heavily first, which is why we

749
00:36:06,400 --> 00:36:11,360
Speaker 1: had the Lisa Rays, the Viva Fox, the Sonilathans, and

750
00:36:11,400 --> 00:36:13,280
Speaker 1: so then I ended up transcending the quality.

751
00:36:13,880 --> 00:36:15,839
Speaker 3: What are you talking about? I love looking at them

752
00:36:15,840 --> 00:36:16,600
Speaker 3: on screen.

753
00:36:18,920 --> 00:36:20,120
Speaker 4: See what I have presence?

754
00:36:20,680 --> 00:36:25,960
Speaker 1: Yeah, but so and so I do think that that

755
00:36:26,160 --> 00:36:28,480
Speaker 1: leads to where when you watch a lot of these

756
00:36:28,480 --> 00:36:31,480
Speaker 1: films today, it's like, who the range?

757
00:36:31,920 --> 00:36:34,000
Speaker 2: Where is it? It's not really there, which.

758
00:36:33,840 --> 00:36:37,280
Speaker 1: Is why we can also remove the Angela Bassetts, who's

759
00:36:37,320 --> 00:36:40,440
Speaker 1: transcended with her acting abilities, and the Viola Davises and

760
00:36:41,040 --> 00:36:41,640
Speaker 1: things like that.

761
00:36:41,719 --> 00:36:42,680
Speaker 2: But I think for.

762
00:36:43,000 --> 00:36:46,919
Speaker 1: When we really lean into the black cult classics, if

763
00:36:46,960 --> 00:36:50,320
Speaker 1: you are thirty five plus and go back and watch

764
00:36:50,360 --> 00:36:55,160
Speaker 1: it today away from your thirteen year old, seventeen.

765
00:36:54,719 --> 00:36:59,000
Speaker 2: Year old, twenty one year old vision, it's like, whoa,

766
00:36:59,040 --> 00:36:59,640
Speaker 2: this is the movie?

767
00:36:59,680 --> 00:36:59,960
Speaker 5: I like.

768
00:37:00,360 --> 00:37:05,000
Speaker 2: I do that with Love and Basketball, terrible Love and

769
00:37:05,040 --> 00:37:08,040
Speaker 2: Basketball today. Mind you, you don't even know that was

770
00:37:08,320 --> 00:37:11,359
Speaker 2: a Christmas gift for me growing up. I said mom, I.

771
00:37:11,280 --> 00:37:14,360
Speaker 1: Want to love in Basketball DVD. I had like the

772
00:37:14,400 --> 00:37:17,239
Speaker 1: poster on my wall. I thought that that was the

773
00:37:17,280 --> 00:37:19,560
Speaker 1: type of love I wanted in my life. I go

774
00:37:19,680 --> 00:37:27,920
Speaker 1: back to watching it, terrible, terrible. Want to say, so

775
00:37:28,600 --> 00:37:32,680
Speaker 1: can we lean into I do you think you have impact?

776
00:37:34,080 --> 00:37:37,319
Speaker 1: I think it had impact for the time that it released,

777
00:37:37,760 --> 00:37:40,480
Speaker 1: like to be a fair even currently watching and I

778
00:37:40,520 --> 00:37:42,719
Speaker 1: know it's a it's TV, so I don't want to

779
00:37:43,080 --> 00:37:47,320
Speaker 1: go into too much of the comparison. Forever was written

780
00:37:47,400 --> 00:37:52,000
Speaker 1: with more with more emotion and dialogue and plot than

781
00:37:52,040 --> 00:37:55,200
Speaker 1: love and basketball. Love and Basketball also for the people

782
00:37:55,239 --> 00:37:57,480
Speaker 1: that you liked when you go back and watch it

783
00:37:57,480 --> 00:38:03,479
Speaker 1: as an adult, Toxic, he was terrible, Q he wasn't

784
00:38:03,480 --> 00:38:06,479
Speaker 1: even that great of a niggle. Then Tyra Banks comes

785
00:38:06,480 --> 00:38:08,719
Speaker 1: in love that she was in it. She can't act

786
00:38:08,760 --> 00:38:12,279
Speaker 1: for shit. Then Sonnai Lathan was really like lean And

787
00:38:12,760 --> 00:38:14,239
Speaker 1: I don't know. I think when you go back and

788
00:38:14,280 --> 00:38:18,319
Speaker 1: watch this as an adult, it's like, why did I

789
00:38:18,400 --> 00:38:19,960
Speaker 1: like it so much? And I think that that's what

790
00:38:20,000 --> 00:38:23,080
Speaker 1: we do to a lot of our classics. When you

791
00:38:23,120 --> 00:38:25,640
Speaker 1: go back and watch it as an adult, you're looking

792
00:38:25,680 --> 00:38:28,960
Speaker 1: at it from a viewpoint of you want to be entertained,

793
00:38:28,960 --> 00:38:32,040
Speaker 1: but you're also looking more at the storyline and it's like.

794
00:38:32,000 --> 00:38:34,200
Speaker 2: Ooh, this sucks. The acting ain't good.

795
00:38:34,520 --> 00:38:37,160
Speaker 1: The quality of this is not what I remember it

796
00:38:37,200 --> 00:38:39,759
Speaker 1: to be. And it might be because back when we

797
00:38:40,000 --> 00:38:42,720
Speaker 1: labeled them classics, we were just excited to see.

798
00:38:42,600 --> 00:38:46,920
Speaker 4: Us right because we gave we gave what grace?

799
00:38:47,239 --> 00:38:48,960
Speaker 2: Why do you want to invite that hole to god?

800
00:38:50,040 --> 00:38:52,600
Speaker 3: I saw her sneaking up behind that. I saw her

801
00:38:54,480 --> 00:38:54,839
Speaker 3: a question.

802
00:38:54,880 --> 00:38:55,640
Speaker 2: Maybe that's what it is.

803
00:38:55,680 --> 00:38:58,120
Speaker 5: Does a cult classic have to be good?

804
00:38:59,000 --> 00:39:02,279
Speaker 3: M because with the about you're talking about the quality, like,

805
00:39:02,440 --> 00:39:03,960
Speaker 3: I'll watch I'll watch.

806
00:39:03,960 --> 00:39:06,319
Speaker 5: Paper Soldiers anytime it comes on. I don't think it's

807
00:39:06,360 --> 00:39:08,480
Speaker 5: a good movie, but I think I do think it's

808
00:39:08,480 --> 00:39:10,400
Speaker 5: a black classic comedy.

809
00:39:11,840 --> 00:39:14,480
Speaker 1: Does does a classic have to be good to be

810
00:39:14,520 --> 00:39:16,960
Speaker 1: a classic classic?

811
00:39:17,120 --> 00:39:18,040
Speaker 2: You know what I mean?

812
00:39:18,480 --> 00:39:20,359
Speaker 1: I mean some nicks they never left, they block, so

813
00:39:20,560 --> 00:39:23,839
Speaker 1: maybe it's good to them, you know what I mean?

814
00:39:24,320 --> 00:39:26,480
Speaker 1: Maybe it's good to them once you become world traveled

815
00:39:26,520 --> 00:39:29,200
Speaker 1: and stuff, and you know, you watch more outside the genre.

816
00:39:29,280 --> 00:39:32,919
Speaker 2: No, I think. I think then maybe that is what

817
00:39:33,040 --> 00:39:35,920
Speaker 2: I'm doing, and maybe this is the half white to me.

818
00:39:37,000 --> 00:39:39,200
Speaker 1: Maybe maybe it's coming out that I would like to

819
00:39:39,239 --> 00:39:42,200
Speaker 1: see better from us essentially, and so when I go

820
00:39:42,280 --> 00:39:45,200
Speaker 1: back and look at it, I believe we could do better.

821
00:39:45,360 --> 00:39:48,120
Speaker 1: And so knowing something we have, no we've been I

822
00:39:48,160 --> 00:39:50,160
Speaker 1: mean clearly, yes, centners, you know what I mean.

823
00:39:50,400 --> 00:39:52,319
Speaker 5: Clearly hold on y'all, y'allo, go on ahead, y'all in

824
00:39:52,360 --> 00:39:53,320
Speaker 5: twenty twenty five.

825
00:39:53,400 --> 00:39:54,680
Speaker 2: Yeah, yeah, we're back in to night.

826
00:39:55,560 --> 00:39:55,840
Speaker 4: Okay.

827
00:39:55,880 --> 00:39:59,000
Speaker 1: So then would I would compare it then to the

828
00:39:59,600 --> 00:40:02,560
Speaker 1: major films of the nineties, like and what were So

829
00:40:02,600 --> 00:40:03,800
Speaker 1: then we can talk about.

830
00:40:03,560 --> 00:40:04,200
Speaker 2: Bad boys now.

831
00:40:04,239 --> 00:40:07,959
Speaker 5: So nineties well them, But nineties nineties is when let's

832
00:40:07,960 --> 00:40:12,120
Speaker 5: say representation, there was a temporary reprieve where Hollywood was

833
00:40:12,160 --> 00:40:13,560
Speaker 5: giving black folks representation.

834
00:40:14,200 --> 00:40:16,120
Speaker 3: There's the hood films.

835
00:40:15,880 --> 00:40:17,919
Speaker 5: I would say, everything started with boys in the Hood.

836
00:40:18,320 --> 00:40:21,160
Speaker 5: Then there's the love films obviously, you know, Loving Basketball,

837
00:40:21,160 --> 00:40:25,680
Speaker 5: Love Jones. Let's I want to I want to debate

838
00:40:25,719 --> 00:40:30,360
Speaker 5: which had greater impact for both those nineties hood films

839
00:40:30,760 --> 00:40:34,040
Speaker 5: or the nineties love films. I'm just gonna read some

840
00:40:34,120 --> 00:40:36,520
Speaker 5: hood films just to get y'all quick. Let's do a

841
00:40:36,520 --> 00:40:37,080
Speaker 5: speed round.

842
00:40:37,160 --> 00:40:37,760
Speaker 3: Quick takes.

843
00:40:37,960 --> 00:40:41,400
Speaker 1: Okay, hood films, Okay, you do, hood films, And I

844
00:40:41,440 --> 00:40:43,480
Speaker 1: got some other things that I want.

845
00:40:43,280 --> 00:40:43,839
Speaker 2: To add to it.

846
00:40:44,360 --> 00:40:47,319
Speaker 3: Okay, boys in the hood, Okay called classic. Yeah, nay,

847
00:40:47,360 --> 00:40:47,799
Speaker 3: y'all like it.

848
00:40:47,840 --> 00:40:50,719
Speaker 5: Thumbs up, thumbs down all the way up, yep, all right,

849
00:40:50,920 --> 00:40:58,120
Speaker 5: menace to society yep, yes, all right. Uh New Jak City, yes, yep, juice, yes,

850
00:40:59,080 --> 00:40:59,760
Speaker 5: south Central.

851
00:41:01,239 --> 00:41:04,360
Speaker 2: See when you started getting into these like.

852
00:41:06,640 --> 00:41:11,239
Speaker 4: But no, it's no. Well first off, boy, but that

853
00:41:11,360 --> 00:41:13,840
Speaker 4: was my trip to LA before I got to actually

854
00:41:13,840 --> 00:41:16,120
Speaker 4: got to l A. I thought it wasactly exactly what

855
00:41:16,160 --> 00:41:19,120
Speaker 4: you said about Harlem. I thought that's what the depiction

856
00:41:19,239 --> 00:41:20,960
Speaker 4: of Compton, LA was.

857
00:41:21,760 --> 00:41:24,280
Speaker 1: I think for me though, once we started leaning into

858
00:41:25,400 --> 00:41:29,640
Speaker 1: these becoming cult classics because of the rappers, it's like, eh,

859
00:41:30,160 --> 00:41:31,839
Speaker 1: like you know what I mean, I think it took

860
00:41:31,880 --> 00:41:34,200
Speaker 1: it down for me. Like I think because Tupac was

861
00:41:34,200 --> 00:41:38,319
Speaker 1: so legendary, is why we associate that film as being

862
00:41:38,320 --> 00:41:39,080
Speaker 1: a cult classic.

863
00:41:39,520 --> 00:41:44,360
Speaker 4: Nahs And you know, well no, because the narrative when

864
00:41:44,440 --> 00:41:47,000
Speaker 4: Belly came out was that people were hating because it

865
00:41:47,080 --> 00:41:51,800
Speaker 4: was rappers on it. But then as time progressed, everybody's

866
00:41:52,120 --> 00:41:55,440
Speaker 4: the memes Belly's a classic, and I'm like, well, the

867
00:41:55,480 --> 00:41:58,560
Speaker 4: same people that was fifteen years younger. It was like,

868
00:41:58,560 --> 00:42:01,680
Speaker 4: oh no, I can't Act and they're quoting DMX, They're

869
00:42:01,719 --> 00:42:06,960
Speaker 4: quoting The Banana, the the Method Man, Nebraska, you know

870
00:42:07,000 --> 00:42:07,480
Speaker 4: all that ship.

871
00:42:07,600 --> 00:42:09,200
Speaker 1: I can't wait till we say which one had the

872
00:42:09,200 --> 00:42:12,000
Speaker 1: most impact, because I have I want to know y'all

873
00:42:12,120 --> 00:42:12,680
Speaker 1: thoughts on it.

874
00:42:12,800 --> 00:42:15,200
Speaker 5: Okay, So now, quick, quick, quick, love movies s thumped

875
00:42:15,280 --> 00:42:16,600
Speaker 5: up right now. I just want to put them out

876
00:42:16,600 --> 00:42:18,640
Speaker 5: there so our audience those kind of movies we're talking about.

877
00:42:18,840 --> 00:42:21,920
Speaker 3: So we mentioned Love and Basketball, even.

878
00:42:21,760 --> 00:42:24,120
Speaker 1: Though technically that came out in two thousand. We have

879
00:42:24,239 --> 00:42:26,960
Speaker 1: Love Jones, we have Waiting to Excel, How Stella got

880
00:42:26,960 --> 00:42:32,200
Speaker 1: a groove back? Poetic Justice was three yes, yes, okay,

881
00:42:32,800 --> 00:42:33,240
Speaker 1: and then.

882
00:42:33,320 --> 00:42:35,360
Speaker 3: We got it. We got a yeah at ak you

883
00:42:35,400 --> 00:42:35,680
Speaker 3: heard that.

884
00:42:36,000 --> 00:42:38,839
Speaker 1: I want I want to add in here two more

885
00:42:38,880 --> 00:42:44,280
Speaker 1: genres before we pick uh. In comedy, you had house Party, Boomerang, Friday,

886
00:42:44,320 --> 00:42:48,000
Speaker 1: The Natty Professor, and life. And then there was also

887
00:42:48,280 --> 00:42:53,040
Speaker 1: considered music dancing culture genre where you had the five heartbeats,

888
00:42:53,480 --> 00:42:57,239
Speaker 1: baps c before why Why do Fools Fall in Love?

889
00:42:57,960 --> 00:42:59,840
Speaker 1: And then of course you also have the biopics and

890
00:43:00,080 --> 00:43:02,360
Speaker 1: historical Malcolm X, What's Love Got to do with It?

891
00:43:02,400 --> 00:43:05,680
Speaker 1: Panther and the Hurricane, So of the genres, And i'd

892
00:43:05,719 --> 00:43:08,680
Speaker 1: like for y'all sitting in your seats, but are those

893
00:43:08,760 --> 00:43:11,200
Speaker 1: nineties ones? These are all nineties. Everything I just said

894
00:43:11,239 --> 00:43:13,759
Speaker 1: was nineties. So the only one that snuck in from

895
00:43:13,800 --> 00:43:15,759
Speaker 1: the two thousands that we're adding in here is love

896
00:43:15,800 --> 00:43:20,080
Speaker 1: and basketball. So we have urban dramas and coming of age,

897
00:43:20,280 --> 00:43:23,839
Speaker 1: which was the Boys in the Hood, Minister Society hood ones.

898
00:43:23,880 --> 00:43:27,480
Speaker 1: We have the biopics and historical we have romance and dramedy,

899
00:43:27,920 --> 00:43:29,279
Speaker 1: comedy and music and dance.

900
00:43:29,280 --> 00:43:31,000
Speaker 2: Which one do you guys think of?

901
00:43:31,040 --> 00:43:35,600
Speaker 1: These genres had the biggest, biggest impact on where we

902
00:43:35,680 --> 00:43:39,280
Speaker 1: now view either not only black films and cult classics,

903
00:43:39,600 --> 00:43:43,960
Speaker 1: but for black films excelling now into the two thousands.

904
00:43:44,400 --> 00:43:45,320
Speaker 3: I say love films.

905
00:43:47,239 --> 00:43:49,479
Speaker 5: I like the hood ones myself personally, but I feel

906
00:43:49,520 --> 00:43:51,680
Speaker 5: like a lot of those actors and actresses from those

907
00:43:51,760 --> 00:43:55,320
Speaker 5: love films in the nineties are still working today actively,

908
00:43:55,360 --> 00:43:57,319
Speaker 5: So I agree.

909
00:43:57,640 --> 00:43:58,360
Speaker 2: I like your point.

910
00:43:58,400 --> 00:44:02,239
Speaker 1: I disagree with the common with the category and this

911
00:44:02,280 --> 00:44:04,680
Speaker 1: is gonna make me sound like a hypocrite, but that's fine, okay.

912
00:44:05,239 --> 00:44:08,000
Speaker 1: By the way, I think the the Hood movies were

913
00:44:08,040 --> 00:44:12,000
Speaker 1: the worst. Uh hated them, not hated them like that,

914
00:44:12,040 --> 00:44:16,120
Speaker 1: But don't think that they excelled us as actors getting

915
00:44:16,120 --> 00:44:19,600
Speaker 1: into the space as stereotypes, specifically in the nineties about

916
00:44:19,680 --> 00:44:23,000
Speaker 1: what what what we were, especially with the rise of

917
00:44:23,080 --> 00:44:23,480
Speaker 1: hip hop.

918
00:44:23,480 --> 00:44:25,239
Speaker 4: But remember they were doing it. They were showing a

919
00:44:25,360 --> 00:44:28,160
Speaker 4: lens of the communities that they were. It wasn't just like, Okay,

920
00:44:28,200 --> 00:44:31,799
Speaker 4: we're gonna make these scripts based on nothingness. These these

921
00:44:31,800 --> 00:44:34,279
Speaker 4: were elements that actually was in real time.

922
00:44:34,400 --> 00:44:35,359
Speaker 2: No, they were. They were.

923
00:44:35,880 --> 00:44:37,920
Speaker 1: And so that's why y'all are gonna hate my choice

924
00:44:37,920 --> 00:44:40,280
Speaker 1: in this because I think that they could be considered

925
00:44:40,320 --> 00:44:48,120
Speaker 1: colorless essentially, and they also had the comedians I think,

926
00:44:48,360 --> 00:44:51,440
Speaker 1: I think comedy and what we saw in the nineties

927
00:44:51,440 --> 00:44:54,520
Speaker 1: from comedy mind you. Yeah, there was also a comedic

928
00:44:54,560 --> 00:44:57,000
Speaker 1: element even though it was considered action. I think with

929
00:44:57,680 --> 00:45:02,560
Speaker 1: bad Boys lights, it's still like incredible and I think

930
00:45:03,200 --> 00:45:05,920
Speaker 1: and I think allowed people to take a series even

931
00:45:06,000 --> 00:45:09,920
Speaker 1: Nuttie Professor. Let's be very clear, Fantastic was fantastic. And

932
00:45:09,960 --> 00:45:11,680
Speaker 1: I want to add in Doctor Doolittle in here too,

933
00:45:11,680 --> 00:45:13,399
Speaker 1: but I don't want to give Eddie Murphy that much

934
00:45:13,640 --> 00:45:15,680
Speaker 1: credit because I just said that Coming to America was

935
00:45:15,840 --> 00:45:21,080
Speaker 1: ass but also Friday, where it outed the hood element

936
00:45:21,120 --> 00:45:24,040
Speaker 1: into it A little bit, but then you saw a

937
00:45:24,080 --> 00:45:24,560
Speaker 1: little bit more.

938
00:45:24,600 --> 00:45:26,120
Speaker 2: I think Boomerang and House Party as well.

939
00:45:26,160 --> 00:45:30,040
Speaker 1: You can't go like I think that run between between

940
00:45:30,120 --> 00:45:34,160
Speaker 1: ninety and ninety eight nineties, like that whole nineties run

941
00:45:34,239 --> 00:45:37,880
Speaker 1: of comedy I think was able to accelerate beyond. I

942
00:45:37,920 --> 00:45:42,800
Speaker 1: will say, though you're right with romance, those are whatever

943
00:45:42,920 --> 00:45:45,839
Speaker 1: for whatever reason. The ones I consider cult classics and

944
00:45:45,880 --> 00:45:48,480
Speaker 1: that are great, and that the actors in most of

945
00:45:48,520 --> 00:45:51,680
Speaker 1: those films are still acting today and still present today.

946
00:45:53,640 --> 00:45:57,840
Speaker 1: And I think Birth the Real like the Angela of Ascids,

947
00:45:58,800 --> 00:46:01,359
Speaker 1: the I mean Sonata and put a high up there.

948
00:46:01,400 --> 00:46:05,920
Speaker 4: But I don't know that other non non black folks

949
00:46:06,000 --> 00:46:07,520
Speaker 4: are watching these movies today.

950
00:46:08,000 --> 00:46:10,520
Speaker 1: I think, I think Life. I think non black people

951
00:46:10,560 --> 00:46:15,120
Speaker 1: are watching Life today. Nettie Professor, doctor Doolittle. House Party

952
00:46:15,239 --> 00:46:20,680
Speaker 1: just got to remake. To me, I mean, okay, I'm

953
00:46:20,680 --> 00:46:23,760
Speaker 1: gonna I mean, I'm not acknowledging it. There's nothing but influence,

954
00:46:24,920 --> 00:46:27,600
Speaker 1: but it did you know what's crazy? You know, you

955
00:46:27,600 --> 00:46:29,600
Speaker 1: know it's crazy though to be fair, and we're not

956
00:46:29,600 --> 00:46:31,759
Speaker 1: gonna bring the whites too much into this, but I

957
00:46:31,800 --> 00:46:37,600
Speaker 1: would say that is specifically why the romance portion of

958
00:46:37,640 --> 00:46:40,840
Speaker 1: this is why I think all of these are co classics.

959
00:46:40,920 --> 00:46:43,120
Speaker 2: I think the cultural impact and.

960
00:46:43,040 --> 00:46:46,759
Speaker 1: How we view love and how we are able to

961
00:46:46,800 --> 00:46:51,839
Speaker 1: see ourselves with emotion, with passion, with things that you know,

962
00:46:52,120 --> 00:46:54,239
Speaker 1: we're not looking at guns, We're looking at like real

963
00:46:54,440 --> 00:46:57,440
Speaker 1: life situations and love. I think it's why people are

964
00:46:57,480 --> 00:46:59,600
Speaker 1: really loving forever right now because we haven't seen that

965
00:46:59,600 --> 00:47:02,360
Speaker 1: in soul. That's why I think the romance and dramedy

966
00:47:02,680 --> 00:47:04,400
Speaker 1: I align with you kind of then, Jason on this,

967
00:47:04,480 --> 00:47:05,440
Speaker 1: I think that that had.

968
00:47:06,800 --> 00:47:08,680
Speaker 5: That's one of the cast of Love Jones.

969
00:47:09,160 --> 00:47:10,840
Speaker 1: And look at the cast of How Stella Got a

970
00:47:10,920 --> 00:47:14,360
Speaker 1: Groove Back. Oh no, I'm thinking of writing to excel.

971
00:47:15,360 --> 00:47:19,759
Speaker 1: First off, Nia Long is still Yeah, I'm not gonna lie.

972
00:47:19,800 --> 00:47:23,000
Speaker 1: You're right, You're right, You're right. Romance and dramedy I

973
00:47:23,040 --> 00:47:26,200
Speaker 1: think had the biggest impact of all of these genres

974
00:47:26,239 --> 00:47:30,560
Speaker 1: for where black films are, and I think I think

975
00:47:31,040 --> 00:47:34,359
Speaker 1: romance and the hood ones would lean most into being

976
00:47:35,520 --> 00:47:39,080
Speaker 1: cult classics because they are for us, for us, by us.

977
00:47:39,160 --> 00:47:39,640
Speaker 2: Essentially.

978
00:47:44,200 --> 00:47:46,399
Speaker 4: What about when you think about the Best Man too, right,

979
00:47:46,560 --> 00:47:48,000
Speaker 4: they converted that into.

980
00:47:47,800 --> 00:47:53,640
Speaker 1: The Man the Wood. Yeah, the Wood. I know, the

981
00:47:53,920 --> 00:47:57,760
Speaker 1: it doesn't get as much I've had. People don't really,

982
00:47:58,280 --> 00:48:01,320
Speaker 1: But what's also crazy about this? I will say during

983
00:48:01,400 --> 00:48:05,399
Speaker 1: this time, my other problem would be, and of course

984
00:48:05,440 --> 00:48:08,600
Speaker 1: I want black actress to work. If you like, do

985
00:48:08,719 --> 00:48:11,400
Speaker 1: the one, if you do, too, could play that game

986
00:48:12,000 --> 00:48:12,640
Speaker 1: if you do.

987
00:48:13,200 --> 00:48:13,560
Speaker 4: Uh.

988
00:48:13,920 --> 00:48:16,960
Speaker 1: There's a couple other ones where Nigga they rotated the

989
00:48:17,000 --> 00:48:18,719
Speaker 1: same actors.

990
00:48:18,800 --> 00:48:22,080
Speaker 2: All deliver Us from Eva like it.

991
00:48:22,120 --> 00:48:25,080
Speaker 1: Was the same actors and all these films, and it's

992
00:48:25,080 --> 00:48:27,440
Speaker 1: like you had to remember that this wasn't a sequel

993
00:48:27,640 --> 00:48:30,200
Speaker 1: or this wasn't a prequel, because this is a.

994
00:48:30,160 --> 00:48:30,799
Speaker 2: Whole different story.

995
00:48:30,840 --> 00:48:32,799
Speaker 1: They're different characters, but they played a lot of the

996
00:48:32,880 --> 00:48:37,960
Speaker 1: same people as well. I will say I just recently

997
00:48:38,000 --> 00:48:42,160
Speaker 1: watched Waiting to Excel, Oh, which, by the way, one

998
00:48:42,200 --> 00:48:45,839
Speaker 1: that's not on here, which I want to say, is

999
00:48:45,880 --> 00:48:49,479
Speaker 1: one of the biggest cult classics for us soul food.

1000
00:48:51,520 --> 00:48:52,080
Speaker 3: Soul food.

1001
00:48:52,760 --> 00:48:54,439
Speaker 2: Soul food was not on my list.

1002
00:48:55,200 --> 00:48:59,080
Speaker 1: It's on your life when I say soul food, and

1003
00:48:59,239 --> 00:49:04,480
Speaker 1: that was not even romance. Shout out to George Tillman

1004
00:49:04,560 --> 00:49:07,520
Speaker 1: and create like directed by a black filmmaker. I also

1005
00:49:07,560 --> 00:49:10,719
Speaker 1: will say, I don't think I don't even think I was,

1006
00:49:10,840 --> 00:49:13,160
Speaker 1: and maybe because I'm young, clearly and y'all could jump

1007
00:49:13,160 --> 00:49:13,759
Speaker 1: on me if you want.

1008
00:49:14,160 --> 00:49:15,880
Speaker 2: I don't think I knew that Waiting to Excel was

1009
00:49:15,920 --> 00:49:17,080
Speaker 2: directed by Forest Whitaker.

1010
00:49:18,120 --> 00:49:21,399
Speaker 1: I knew John Singleton was poetic justice, but I did

1011
00:49:21,400 --> 00:49:23,440
Speaker 1: not know that Waiting to Excel was forced Whitaker. So

1012
00:49:23,760 --> 00:49:28,000
Speaker 1: Waiting to Excel watching that today, seeing that they were

1013
00:49:28,040 --> 00:49:32,239
Speaker 1: all in their thirties and seeing that every single one

1014
00:49:32,320 --> 00:49:34,560
Speaker 1: of their problems is what the fuck me and my

1015
00:49:34,600 --> 00:49:37,080
Speaker 1: homegirls are dealing with today. Lets us know, y'all, niggas

1016
00:49:37,120 --> 00:49:43,160
Speaker 1: wasn't ship for decades. Wowa, Waiting to Excel is probably

1017
00:49:43,560 --> 00:49:48,120
Speaker 1: the most recent today today movie that that still fits today.

1018
00:49:48,320 --> 00:49:51,600
Speaker 1: Like it's like wow, even though yes, they only flip

1019
00:49:51,600 --> 00:49:53,680
Speaker 1: phones and house phones and shit like that. To me,

1020
00:49:53,880 --> 00:49:58,000
Speaker 1: the plot, the writing, the conversations are timeless, and I

1021
00:49:58,000 --> 00:50:00,520
Speaker 1: think that that's what I kind of like, Like, I mean,

1022
00:50:00,520 --> 00:50:02,760
Speaker 1: I wish we grew since then. I wish niggas stopped

1023
00:50:02,719 --> 00:50:05,080
Speaker 1: being cheaters and fuck niggas, and I.

1024
00:50:05,040 --> 00:50:06,640
Speaker 2: Wish women stopped falling for it.

1025
00:50:07,040 --> 00:50:11,800
Speaker 1: But to watch it, it resembled to me the our story.

1026
00:50:11,960 --> 00:50:13,759
Speaker 1: I know we have girlfriends, I know we have the

1027
00:50:13,800 --> 00:50:16,399
Speaker 1: things on film, even Sex and the City. The fact

1028
00:50:16,440 --> 00:50:18,920
Speaker 1: that so many people watch it today Waiting to excel

1029
00:50:19,440 --> 00:50:26,080
Speaker 1: held its plot and is relatable, well written, well directed,

1030
00:50:26,160 --> 00:50:29,480
Speaker 1: well shot even today, That's probably one of my favorite

1031
00:50:29,480 --> 00:50:30,640
Speaker 1: ones from this list.

1032
00:50:31,000 --> 00:50:32,879
Speaker 5: You know who was influenced by those movies too?

1033
00:50:33,400 --> 00:50:35,360
Speaker 3: Who Tyler Perry.

1034
00:50:36,880 --> 00:50:39,479
Speaker 5: Okay, so you're ready to talk about Tyler Perry.

1035
00:50:39,560 --> 00:50:46,399
Speaker 1: I will say, moving forward, erase whatever I have said

1036
00:50:46,440 --> 00:50:50,360
Speaker 1: on any of my previous shows. Tyler Perry is goat.

1037
00:50:50,440 --> 00:50:54,040
Speaker 1: He is king and what he is putting out right now.

1038
00:50:54,520 --> 00:50:56,239
Speaker 1: I know y'all can laugh about him in the dress

1039
00:50:56,280 --> 00:50:58,719
Speaker 1: with Medea. By the way, the media movies ain't bad either,

1040
00:50:59,200 --> 00:51:02,040
Speaker 1: Like I love Diary of a Mad Black Woman like

1041
00:51:02,640 --> 00:51:05,760
Speaker 1: his in the films where he shows up as Medea,

1042
00:51:06,239 --> 00:51:08,200
Speaker 1: those are Colt classics. I know y'all could sit here

1043
00:51:08,239 --> 00:51:11,160
Speaker 1: and hate him in a dress because I really think, honestly,

1044
00:51:12,200 --> 00:51:14,360
Speaker 1: And here goes to my other hot take. The reason

1045
00:51:14,400 --> 00:51:19,600
Speaker 1: why we have hated Tyler Perry for the last two

1046
00:51:19,600 --> 00:51:21,520
Speaker 1: decades like we have up until now he's dropping the

1047
00:51:21,600 --> 00:51:24,839
Speaker 1: fire on Netflix. I say that the reason that most

1048
00:51:24,880 --> 00:51:30,600
Speaker 1: of the black community has not respected half following. No, no,

1049
00:51:30,760 --> 00:51:32,879
Speaker 1: let's be fair clear, he does. But I'm also talking

1050
00:51:32,880 --> 00:51:35,200
Speaker 1: about the Twitter streets. We're talking about the public outrage right.

1051
00:51:35,800 --> 00:51:38,960
Speaker 1: So I would say the majority of the point of

1052
00:51:39,000 --> 00:51:42,200
Speaker 1: views as to why people hate Tyler Perry has more

1053
00:51:42,239 --> 00:51:45,080
Speaker 1: to do with their homophobia than what he really is

1054
00:51:45,080 --> 00:51:47,960
Speaker 1: putting out. I don't think that the fact that most

1055
00:51:48,000 --> 00:51:51,400
Speaker 1: of our black actors have come up and said, you

1056
00:51:51,400 --> 00:51:53,279
Speaker 1: ain't putting me in a dress to get it to

1057
00:51:53,280 --> 00:51:57,640
Speaker 1: get ahead, and Tyler Perry is purposely writing himself in

1058
00:51:57,680 --> 00:52:00,520
Speaker 1: address and has created this character of a woman kind

1059
00:52:00,520 --> 00:52:02,280
Speaker 1: of the Mammy as well.

1060
00:52:02,600 --> 00:52:07,160
Speaker 2: Like I think people don't like the homophobia of it all.

1061
00:52:07,800 --> 00:52:09,680
Speaker 1: I think that's the only issue they mad that he

1062
00:52:10,000 --> 00:52:13,120
Speaker 1: was purposely getting into a dress all of these years,

1063
00:52:13,120 --> 00:52:15,239
Speaker 1: for so long, when a lot of our other black

1064
00:52:15,280 --> 00:52:17,560
Speaker 1: actors was like you not getting me in address?

1065
00:52:17,800 --> 00:52:17,960
Speaker 2: Right?

1066
00:52:18,120 --> 00:52:21,120
Speaker 4: But that's the key, right, It's like, Okay, you don't

1067
00:52:21,160 --> 00:52:23,320
Speaker 4: want to do those roles, that's fine, or if you

1068
00:52:23,360 --> 00:52:26,000
Speaker 4: don't want to watch that type of content, that's fine.

1069
00:52:26,040 --> 00:52:27,680
Speaker 4: You have a choice, do you?

1070
00:52:27,719 --> 00:52:28,040
Speaker 2: Also?

1071
00:52:28,120 --> 00:52:29,680
Speaker 4: I don't think they have to be I think I

1072
00:52:29,680 --> 00:52:35,680
Speaker 4: don't know if you can ignore, you know, the creativity

1073
00:52:35,800 --> 00:52:40,000
Speaker 4: behind what he does and in his world, the space

1074
00:52:40,040 --> 00:52:41,319
Speaker 4: that he's own, you can't deny that.

1075
00:52:41,360 --> 00:52:41,799
Speaker 2: I will say.

1076
00:52:41,840 --> 00:52:44,239
Speaker 1: The only other interesting thing which I like that he

1077
00:52:44,400 --> 00:52:49,400
Speaker 1: brought to me different elements of what could happen across

1078
00:52:49,480 --> 00:52:52,920
Speaker 1: like black families and black stories. I think he's done

1079
00:52:52,960 --> 00:52:55,560
Speaker 1: an excellent job doing that, because then you know, you

1080
00:52:55,640 --> 00:52:57,839
Speaker 1: got the church girl that ends up with HIV because

1081
00:52:57,880 --> 00:52:58,960
Speaker 1: she cheated on her husband.

1082
00:52:59,320 --> 00:53:01,680
Speaker 2: You got I do know.

1083
00:53:01,600 --> 00:53:03,840
Speaker 1: That the trope that y'all don't like that the black,

1084
00:53:03,920 --> 00:53:07,120
Speaker 1: dark skinned man is the aggressor and the savior is

1085
00:53:07,160 --> 00:53:08,200
Speaker 1: the light skinned man.

1086
00:53:08,719 --> 00:53:11,240
Speaker 2: But he's getting away from that in his television shows.

1087
00:53:11,640 --> 00:53:16,640
Speaker 2: All the niggas suck every shade of brown as a fuck.

1088
00:53:16,520 --> 00:53:20,720
Speaker 1: Nigga, and then you do have like all these women battling,

1089
00:53:20,760 --> 00:53:24,120
Speaker 1: which I think is interesting that he he creates that

1090
00:53:24,120 --> 00:53:27,080
Speaker 1: that dynamics so much like all of the different nuances

1091
00:53:27,120 --> 00:53:29,280
Speaker 1: of each character. If you look at what he's putting

1092
00:53:29,280 --> 00:53:32,319
Speaker 1: out now, it's great TV. And what it reminds me

1093
00:53:32,400 --> 00:53:34,600
Speaker 1: of is what I used to read when I was

1094
00:53:34,600 --> 00:53:38,320
Speaker 1: a kid. So Beauty and Black, and I haven't watched

1095
00:53:38,320 --> 00:53:40,719
Speaker 1: his latest show just yet, but Beauty and Black to

1096
00:53:40,840 --> 00:53:46,360
Speaker 1: me is pretty much Zay Sistersojia Eric Dumrot. All of

1097
00:53:46,400 --> 00:53:51,040
Speaker 1: the books that we actually we grew up reading that

1098
00:53:51,120 --> 00:53:53,480
Speaker 1: we have to but it's what Tyler Perry is actually

1099
00:53:53,480 --> 00:53:56,400
Speaker 1: putting into film in a great way and not a

1100
00:53:56,440 --> 00:53:58,360
Speaker 1: too by way and shout out too, because Tobe is

1101
00:53:58,360 --> 00:54:01,120
Speaker 1: putting out some good stuff too, But Cayler Perry's literally

1102
00:54:01,560 --> 00:54:03,759
Speaker 1: showcasing all of these elements of storytelling.

1103
00:54:03,960 --> 00:54:05,520
Speaker 2: And so I want him to stop getting the hate

1104
00:54:05,520 --> 00:54:06,240
Speaker 2: that he's getting.

1105
00:54:06,080 --> 00:54:08,400
Speaker 5: Right, Yeah, no, it's Did you ever see that clip

1106
00:54:08,440 --> 00:54:12,520
Speaker 5: when Jamie Fox was talking about when he worked with

1107
00:54:12,520 --> 00:54:15,120
Speaker 5: Olivier Stone for the first time on any given Sunday

1108
00:54:15,840 --> 00:54:18,560
Speaker 5: and he said that he kept on getting cut like

1109
00:54:18,600 --> 00:54:22,440
Speaker 5: the director was saying cut, cut, stops up, and Jamie

1110
00:54:22,480 --> 00:54:24,600
Speaker 5: King said he was I mean, Jimmie Fox said he

1111
00:54:24,640 --> 00:54:27,000
Speaker 5: was so shouty because he was coming from TV, and

1112
00:54:27,080 --> 00:54:28,600
Speaker 5: so I remember on the Jamie Fox Show it was

1113
00:54:28,680 --> 00:54:31,520
Speaker 5: very shouty, kind of hammy, And when he came to

1114
00:54:31,680 --> 00:54:34,040
Speaker 5: do a movie, they're like, Yo, this is this is different,

1115
00:54:34,120 --> 00:54:36,120
Speaker 5: Like we don't do that here, like just relax, be

1116
00:54:36,760 --> 00:54:40,120
Speaker 5: more authentic. And I feel like that kind of same

1117
00:54:40,160 --> 00:54:42,960
Speaker 5: idea when you think about Tyler Perry that he unit

1118
00:54:43,000 --> 00:54:46,360
Speaker 5: came from doing theater and plays, yeah, and plays have

1119
00:54:46,520 --> 00:54:49,120
Speaker 5: some of that like you come on stage, everybody claps

1120
00:54:49,120 --> 00:54:50,759
Speaker 5: and there's a little bit of hamminess to it, and

1121
00:54:50,800 --> 00:54:52,920
Speaker 5: I think he brought that to his movies, and I

1122
00:54:52,920 --> 00:54:56,280
Speaker 5: think people weren't prepared or kind of understood his background

1123
00:54:56,400 --> 00:54:58,239
Speaker 5: and got that part of it, and I felt like

1124
00:54:58,320 --> 00:55:00,319
Speaker 5: that gave him kind of like undue hate for a

1125
00:55:00,360 --> 00:55:00,960
Speaker 5: long time.

1126
00:55:01,280 --> 00:55:02,640
Speaker 3: And obviously, like the Netflit.

1127
00:55:02,320 --> 00:55:04,800
Speaker 2: You think that's why that Tyler Perry got the under hate.

1128
00:55:05,040 --> 00:55:07,280
Speaker 5: I think at the beginning because like the BHD stuff

1129
00:55:07,400 --> 00:55:11,200
Speaker 5: and the Netflix stuff is more polished, but Pokmidia movies,

1130
00:55:11,600 --> 00:55:14,840
Speaker 5: they were really essentially theater on film.

1131
00:55:15,120 --> 00:55:17,760
Speaker 1: Which which I wonder if that's why maybe he purposely

1132
00:55:17,800 --> 00:55:19,120
Speaker 1: put these people in these bad.

1133
00:55:18,960 --> 00:55:22,040
Speaker 2: Wigs and that, like you know what I mean, theater,

1134
00:55:22,160 --> 00:55:23,040
Speaker 2: That's what I'm saying.

1135
00:55:23,280 --> 00:55:26,120
Speaker 1: So where we're sitting here, like now, Tyler, why you

1136
00:55:26,120 --> 00:55:28,560
Speaker 1: put Shamart in that fucking lace.

1137
00:55:28,320 --> 00:55:31,040
Speaker 2: Wig with the braids? Or why do are the women

1138
00:55:31,120 --> 00:55:32,000
Speaker 2: coming as dishovel?

1139
00:55:32,040 --> 00:55:35,239
Speaker 1: But you're right maybe from where he comes from and

1140
00:55:35,280 --> 00:55:39,040
Speaker 1: plays them Broadway, But also like you ain't gotta be

1141
00:55:39,040 --> 00:55:42,080
Speaker 1: as polished to put out still good quality content, Like

1142
00:55:42,320 --> 00:55:44,760
Speaker 1: it's the entertainment value of it all. It's not like, sorry,

1143
00:55:44,760 --> 00:55:47,400
Speaker 1: I'm not giving y'all the lot of wigs on film,

1144
00:55:47,880 --> 00:55:48,920
Speaker 1: you know, but I don't know.

1145
00:55:49,160 --> 00:55:50,840
Speaker 2: Do you Do you like Tyler Perry?

1146
00:55:51,640 --> 00:55:55,160
Speaker 4: I don't dislike him. I think I look at these

1147
00:55:55,200 --> 00:55:56,000
Speaker 4: guys as.

1148
00:55:55,920 --> 00:55:57,560
Speaker 5: If you take Tyler Perry's name off of stuff and

1149
00:55:57,600 --> 00:55:59,680
Speaker 5: people watched it, they would like it, and then after

1150
00:55:59,719 --> 00:56:01,520
Speaker 5: the fact can be surprised that it was a Tyler

1151
00:56:01,560 --> 00:56:02,160
Speaker 5: Perry project.

1152
00:56:02,320 --> 00:56:04,080
Speaker 2: Well, that's the thing. I think people go into Tyler

1153
00:56:04,120 --> 00:56:07,160
Speaker 2: Perry right now, hate watching to not like it.

1154
00:56:07,880 --> 00:56:10,160
Speaker 4: If they watch it, though, I think they people should

1155
00:56:10,160 --> 00:56:12,319
Speaker 4: be fake outraging you watch it, Like at the end

1156
00:56:12,320 --> 00:56:16,000
Speaker 4: of the day, what I'm not going to read a

1157
00:56:16,120 --> 00:56:19,080
Speaker 4: James Baldwin book because what he's brilliant?

1158
00:56:19,360 --> 00:56:21,399
Speaker 2: Yeah? Right?

1159
00:56:21,840 --> 00:56:24,040
Speaker 4: The same thing with Tyler Perry. Now, I know that

1160
00:56:24,360 --> 00:56:27,680
Speaker 4: I get the gripes people like, all right, is there

1161
00:56:27,760 --> 00:56:30,360
Speaker 4: more to it than what he's you know? But I

1162
00:56:30,360 --> 00:56:35,319
Speaker 4: think there's depth into his movies. I just think that, unfortunately,

1163
00:56:35,400 --> 00:56:38,680
Speaker 4: the first layer is the homophobious stuff.

1164
00:56:38,719 --> 00:56:42,200
Speaker 1: With as big as he is, with him reaching billionaire status,

1165
00:56:42,239 --> 00:56:45,800
Speaker 1: with him having the cultural impact that he has today.

1166
00:56:46,920 --> 00:56:51,480
Speaker 1: Do you feel like this is a controversial question, do

1167
00:56:51,520 --> 00:56:56,120
Speaker 1: you feel like Spike Lee got lazy? Do you feel

1168
00:56:56,160 --> 00:57:00,240
Speaker 1: like Spike Lee has it because he did he redid

1169
00:57:00,280 --> 00:57:02,000
Speaker 1: you're shaking your head, but I want to know, like,

1170
00:57:02,320 --> 00:57:04,919
Speaker 1: for how we view Spike Lee, I don't think he's

1171
00:57:04,920 --> 00:57:08,200
Speaker 1: done much currently. I know he has a movie coming out,

1172
00:57:08,840 --> 00:57:10,919
Speaker 1: I think, and I know he did the film What's

1173
00:57:10,960 --> 00:57:14,440
Speaker 1: What's the What's What's the one that actually didn't do

1174
00:57:14,480 --> 00:57:16,920
Speaker 1: too well. It was a remake of his film as

1175
00:57:16,920 --> 00:57:17,720
Speaker 1: a Netflix show.

1176
00:57:17,920 --> 00:57:19,760
Speaker 4: Oh, she's gotta have got.

1177
00:57:21,400 --> 00:57:25,560
Speaker 5: That wasn't really him. That was his wife, Yeah, was

1178
00:57:25,600 --> 00:57:29,520
Speaker 5: the produce on it. I think Spike is a he's

1179
00:57:29,600 --> 00:57:30,200
Speaker 5: fine art.

1180
00:57:30,440 --> 00:57:33,880
Speaker 4: It takes time to put that type of He understands

1181
00:57:33,960 --> 00:57:37,160
Speaker 4: who he is. And remember before we talked about what

1182
00:57:37,320 --> 00:57:41,320
Speaker 4: makes a classic, it's the anticipation, the cast, and then

1183
00:57:41,520 --> 00:57:45,280
Speaker 4: the expectation. That's what he creates. So when they dropped

1184
00:57:45,320 --> 00:57:48,160
Speaker 4: the trailer for this thing without any announcement, they.

1185
00:57:48,040 --> 00:57:54,920
Speaker 2: Just dropped it highest to lowest, we were in the.

1186
00:57:54,920 --> 00:57:57,320
Speaker 4: Stir and he created the So now we have the

1187
00:57:57,360 --> 00:58:00,440
Speaker 4: expectation and we already know Dezelgon deliver of it right,

1188
00:58:00,840 --> 00:58:01,600
Speaker 4: and we have the.

1189
00:58:01,720 --> 00:58:04,480
Speaker 3: Spikes Spikers goat right, So what's the Spikers go?

1190
00:58:05,280 --> 00:58:05,520
Speaker 4: Yeah?

1191
00:58:07,040 --> 00:58:08,160
Speaker 3: Because I want to go finish.

1192
00:58:08,320 --> 00:58:10,160
Speaker 4: I'm saying in terms of like, you know, to your

1193
00:58:10,160 --> 00:58:13,600
Speaker 4: point about why Spike in comparison to Tyler. Tyler got

1194
00:58:13,600 --> 00:58:14,520
Speaker 4: a lot of duds too.

1195
00:58:15,680 --> 00:58:18,280
Speaker 2: I think, I think though, and you have, yes, quality

1196
00:58:18,400 --> 00:58:20,680
Speaker 2: versus quantity, but I think he puts out a lot.

1197
00:58:20,760 --> 00:58:22,920
Speaker 1: But I think for do the right thing to be

1198
00:58:22,960 --> 00:58:26,880
Speaker 1: considered Spike Lee's most iconic film and for us to

1199
00:58:27,000 --> 00:58:30,720
Speaker 1: put him on the pedestal that he is, I've seen, well,

1200
00:58:31,200 --> 00:58:32,919
Speaker 1: I don't know if that's his most iconic because again

1201
00:58:32,920 --> 00:58:35,680
Speaker 1: that's Denzel. I don't know if that becomes the iconic

1202
00:58:35,720 --> 00:58:37,439
Speaker 1: film that it is. But I don't think it becomes

1203
00:58:37,480 --> 00:58:38,760
Speaker 1: the iconic film and Denzel is.

1204
00:58:38,760 --> 00:58:39,400
Speaker 2: Not cast it there.

1205
00:58:42,080 --> 00:58:44,360
Speaker 5: I think it's argument because I mean, yes, like a

1206
00:58:44,400 --> 00:58:46,480
Speaker 5: great coach has to have a great player, great director

1207
00:58:46,520 --> 00:58:47,400
Speaker 5: has to have the great actor.

1208
00:58:47,440 --> 00:58:48,760
Speaker 3: It's both of them amplifying.

1209
00:58:49,160 --> 00:58:51,920
Speaker 5: Yeah, okay, okay, But the Spike thing I want to

1210
00:58:51,920 --> 00:58:52,320
Speaker 5: talk I want to.

1211
00:58:52,320 --> 00:58:53,360
Speaker 3: I want to because I want to.

1212
00:58:53,320 --> 00:58:56,880
Speaker 5: Talk about singular figures in black cinemas. I'm glad we're

1213
00:58:56,880 --> 00:59:00,320
Speaker 5: talking about Spike Jungle Fever. Jungle Fever is my favorite

1214
00:59:00,320 --> 00:59:02,680
Speaker 5: Spike Lee movie, and I feel like that's such a

1215
00:59:02,720 --> 00:59:07,400
Speaker 5: black film because it's not about you walk into it

1216
00:59:07,440 --> 00:59:11,240
Speaker 5: thinking that it's about Wesley Snipes and the Italian woman

1217
00:59:11,360 --> 00:59:13,520
Speaker 5: and sort of like the racism happening, but it's really

1218
00:59:13,560 --> 00:59:16,960
Speaker 5: about drugs and and how it breaks up a family

1219
00:59:17,120 --> 00:59:20,760
Speaker 5: with like Gator Holly Berry's character. Yeah, And I feel

1220
00:59:20,760 --> 00:59:23,920
Speaker 5: like I feel like Spike Lee's greatest movies have that

1221
00:59:23,960 --> 00:59:25,840
Speaker 5: where it's a lot of insider talk, right because like

1222
00:59:25,840 --> 00:59:27,840
Speaker 5: white people are looking at it and they're seeing it

1223
00:59:27,880 --> 00:59:30,280
Speaker 5: and they're like, oh, it's about jungle fever, right, Like

1224
00:59:30,320 --> 00:59:32,960
Speaker 5: it's about this and it has like elements to feel

1225
00:59:32,960 --> 00:59:35,760
Speaker 5: like Romeo and Juliet. But when we're watching it, we're like, oh,

1226
00:59:35,920 --> 00:59:38,160
Speaker 5: I know I have a Gator in my family. I

1227
00:59:38,200 --> 00:59:41,040
Speaker 5: have a family, and I get that story. And I've

1228
00:59:41,040 --> 00:59:42,720
Speaker 5: seen the way that that's either torn apart at my

1229
00:59:42,800 --> 00:59:45,360
Speaker 5: house or my uncle's house. And I feel like that

1230
00:59:45,480 --> 00:59:47,760
Speaker 5: those are the things that make like a great black

1231
00:59:47,760 --> 00:59:50,280
Speaker 5: film but also like a cult classic because it's speaking

1232
00:59:50,280 --> 00:59:53,040
Speaker 5: to us in coded language and coded experiences that we know.

1233
00:59:53,200 --> 00:59:53,360
Speaker 4: Well.

1234
00:59:53,360 --> 00:59:55,720
Speaker 1: No, I think that that's why to me, the film

1235
00:59:55,760 --> 00:59:59,240
Speaker 1: that resonates high like where everyone has a person in

1236
00:59:59,280 --> 01:00:03,920
Speaker 1: their family like that, that would be soul food depiction,

1237
01:00:04,160 --> 01:00:08,760
Speaker 1: bro of of everything you had. The bread winning Woman

1238
01:00:09,000 --> 01:00:11,760
Speaker 1: you had the man just getting out of prison that's

1239
01:00:11,800 --> 01:00:12,680
Speaker 1: trying to you.

1240
01:00:12,680 --> 01:00:14,040
Speaker 2: You had Bird that had.

1241
01:00:13,920 --> 01:00:17,800
Speaker 1: The the smooth man that's coming in trying to help.

1242
01:00:18,320 --> 01:00:19,440
Speaker 2: You had Yeah, you had Bird.

1243
01:00:19,480 --> 01:00:23,640
Speaker 1: Then you had uh, who was the cousin, cousin, cousin

1244
01:00:23,880 --> 01:00:25,600
Speaker 1: Fay Is it Faye, the.

1245
01:00:25,560 --> 01:00:28,280
Speaker 2: One who cheated with Oh?

1246
01:00:28,400 --> 01:00:31,360
Speaker 1: Yeah, you had her coming in and she was the

1247
01:00:31,480 --> 01:00:34,200
Speaker 1: rich aunty like you had the children in the film.

1248
01:00:34,240 --> 01:00:36,400
Speaker 1: You had big Mama, like you know what I mean,

1249
01:00:36,480 --> 01:00:38,800
Speaker 1: like to me, that had all of the elements and

1250
01:00:38,880 --> 01:00:41,280
Speaker 1: also not in a very stereotypical way, but a way

1251
01:00:41,280 --> 01:00:45,080
Speaker 1: that everyone could see somebody in their in their family

1252
01:00:45,480 --> 01:00:47,800
Speaker 1: or someone in their life. Is that I think that

1253
01:00:48,960 --> 01:00:50,520
Speaker 1: I don't. I don't think that you see that so

1254
01:00:50,640 --> 01:00:52,240
Speaker 1: much in all these other films.

1255
01:00:52,640 --> 01:00:54,640
Speaker 3: So that was George Tilman. He also did that was

1256
01:00:54,640 --> 01:00:59,520
Speaker 3: George Shelman. He also did the Barbershope Biggie movie, and

1257
01:00:59,560 --> 01:01:00,000
Speaker 3: he did.

1258
01:00:59,840 --> 01:01:00,600
Speaker 2: Your George Foreman.

1259
01:01:02,040 --> 01:01:03,280
Speaker 3: Yeah, so a lot of good movies.

1260
01:01:05,080 --> 01:01:07,640
Speaker 5: John Singleton, we haven't talked about John Singleton a lot.

1261
01:01:07,680 --> 01:01:10,560
Speaker 5: We mentioned Boys in the Hood, but there's also Poetic Justice,

1262
01:01:10,680 --> 01:01:16,080
Speaker 5: Baby Boy and Nigga, Snowfall and Snowfall obviously, So I

1263
01:01:16,080 --> 01:01:18,160
Speaker 5: feel like he's a singular figure. Would y'all are you

1264
01:01:18,240 --> 01:01:20,800
Speaker 5: ready to put Ryan Coogler up there with with singular

1265
01:01:20,840 --> 01:01:24,479
Speaker 5: figures in black film history or cult classic or Jordan

1266
01:01:24,560 --> 01:01:25,920
Speaker 5: Peel is there already?

1267
01:01:26,040 --> 01:01:29,600
Speaker 1: Okay, okay, so let's let's okay, okay, we have we

1268
01:01:29,640 --> 01:01:35,400
Speaker 1: have Spike Lee indoctrinated, we have George Tillman, and we

1269
01:01:35,680 --> 01:01:40,480
Speaker 1: have John Singleton. Now those are we would say top

1270
01:01:40,520 --> 01:01:42,240
Speaker 1: three with the most cult classics.

1271
01:01:42,400 --> 01:01:44,880
Speaker 5: Essentially, those are the bar bar.

1272
01:01:44,360 --> 01:01:49,040
Speaker 2: Are we including Ryan Coogler and Jordan Peele? Today?

1273
01:01:49,040 --> 01:01:55,080
Speaker 5: Out waitan cooler, fruit fille station, blather Senters, Creed movies.

1274
01:01:55,720 --> 01:02:01,280
Speaker 3: He's there, he produced produced on uh uh, Judas.

1275
01:02:01,920 --> 01:02:06,640
Speaker 4: Mentioned Black Panther, right, Judas and blacks Yeah, the Marvel stuff.

1276
01:02:08,360 --> 01:02:10,680
Speaker 4: I think he's a sending there. I think he's if he's.

1277
01:02:10,520 --> 01:02:12,960
Speaker 2: But you wouldn't put him there yet.

1278
01:02:12,640 --> 01:02:13,800
Speaker 3: Senators, doesn't put him there.

1279
01:02:13,800 --> 01:02:15,840
Speaker 2: That I was about to say with that opening, I

1280
01:02:15,880 --> 01:02:17,120
Speaker 2: think I would say yes.

1281
01:02:17,240 --> 01:02:20,080
Speaker 5: And if I said he didn't write anybody's coachails, he

1282
01:02:20,120 --> 01:02:21,880
Speaker 5: wrote that people.

1283
01:02:22,920 --> 01:02:27,800
Speaker 1: Okay, Okay, however, okay, my only reason why might want

1284
01:02:27,800 --> 01:02:29,880
Speaker 1: to remove him, like when we talked about the other

1285
01:02:29,960 --> 01:02:31,440
Speaker 1: three directors.

1286
01:02:31,840 --> 01:02:34,200
Speaker 4: Well, he's I think that he's right.

1287
01:02:34,320 --> 01:02:38,240
Speaker 1: The only reason here, here's why, here's why, and and

1288
01:02:38,280 --> 01:02:39,880
Speaker 1: this could be a bad take.

1289
01:02:39,920 --> 01:02:40,320
Speaker 2: I don't care.

1290
01:02:41,200 --> 01:02:45,200
Speaker 1: When we talked about those other three directors, they dealt

1291
01:02:45,240 --> 01:02:49,320
Speaker 1: with a broad range of cast. To know that the

1292
01:02:49,320 --> 01:02:53,000
Speaker 1: majority of the big hits that Ryan Coogler has is

1293
01:02:53,040 --> 01:02:55,760
Speaker 1: with Michael B Jordan's starring, and Michael b Jordan right

1294
01:02:55,760 --> 01:02:59,680
Speaker 1: now is being pedestaled as the leading black lead right now,

1295
01:02:59,880 --> 01:03:02,440
Speaker 1: I think it's as a Denzel, which I think is

1296
01:03:02,440 --> 01:03:05,480
Speaker 1: too early for him to be labeled that. So I

1297
01:03:05,480 --> 01:03:07,840
Speaker 1: think it's a cheap So for me, it is a

1298
01:03:07,920 --> 01:03:10,920
Speaker 1: cheat code. Like I said, why Spike Lee had Denzel

1299
01:03:10,920 --> 01:03:12,760
Speaker 1: with Malcolm X's to why we view it like that.

1300
01:03:13,040 --> 01:03:14,760
Speaker 1: I think it's a cheat code right now that Ryan

1301
01:03:14,840 --> 01:03:19,120
Speaker 1: Coogler has been able to pretty much also ascend at

1302
01:03:19,160 --> 01:03:21,200
Speaker 1: the same time that Michael B Jordan is getting this

1303
01:03:21,240 --> 01:03:22,000
Speaker 1: look at a Denzel.

1304
01:03:22,240 --> 01:03:23,000
Speaker 2: Imagine you come.

1305
01:03:22,880 --> 01:03:25,560
Speaker 1: Out as a director and you're able to fucking get

1306
01:03:25,600 --> 01:03:26,840
Speaker 1: Denzel for every fucking film.

1307
01:03:27,280 --> 01:03:29,720
Speaker 4: I'm but they get them before he's gone. Every track

1308
01:03:31,240 --> 01:03:33,520
Speaker 4: is there, you know why. You know why he's there,

1309
01:03:33,600 --> 01:03:36,560
Speaker 4: and he's there because off a movie we haven't even

1310
01:03:36,600 --> 01:03:37,200
Speaker 4: seen yet.

1311
01:03:37,360 --> 01:03:37,840
Speaker 2: What movie.

1312
01:03:37,840 --> 01:03:40,480
Speaker 4: He got Denzel to be on Black Panther three.

1313
01:03:40,960 --> 01:03:44,200
Speaker 2: He did. Okay, huh okay, So.

1314
01:03:44,160 --> 01:03:46,080
Speaker 4: Now he has he had his Denzel.

1315
01:03:46,560 --> 01:03:47,040
Speaker 2: He hasn't.

1316
01:03:47,160 --> 01:03:48,080
Speaker 4: Now he has Denzel.

1317
01:03:48,320 --> 01:03:49,880
Speaker 3: Now he has Denzel. That's a good point.

1318
01:03:50,000 --> 01:03:53,320
Speaker 5: What about Jordan pe I'm not gonna lie I got

1319
01:03:53,440 --> 01:03:58,160
Speaker 5: get out us and Nope, So I would like to see.

1320
01:03:58,240 --> 01:04:00,600
Speaker 1: Also, by the way, I'm a huge fan of keyn

1321
01:04:00,680 --> 01:04:03,840
Speaker 1: Pill So I love that he comes from actually the

1322
01:04:03,840 --> 01:04:08,960
Speaker 1: sketch comedy and realm, and he's leaning into Here's the

1323
01:04:09,000 --> 01:04:13,360
Speaker 1: reason why I'm gonna say yes, only because when we

1324
01:04:13,640 --> 01:04:16,360
Speaker 1: started off earlier in this in the pod, when we

1325
01:04:16,360 --> 01:04:21,120
Speaker 1: were talking about the nineties, the seventies, the eighties, the sixties,

1326
01:04:21,760 --> 01:04:26,000
Speaker 1: we leaned into all of these genres that weren't even

1327
01:04:26,520 --> 01:04:29,680
Speaker 1: What Jordan Peel has done is create a genre for

1328
01:04:29,880 --> 01:04:33,680
Speaker 1: us that hasn't been represented before at all. And so

1329
01:04:33,880 --> 01:04:36,040
Speaker 1: even though yes it's a little it's a little weird.

1330
01:04:36,080 --> 01:04:38,320
Speaker 1: And how he does it, because he leans into black

1331
01:04:38,360 --> 01:04:41,920
Speaker 1: trauma a lot, and how he depicts horror essentially in

1332
01:04:41,960 --> 01:04:45,280
Speaker 1: his films, I think it's well executed, wilverritten. He's dealing

1333
01:04:45,320 --> 01:04:48,240
Speaker 1: with a broad range of a cast in just these

1334
01:04:48,240 --> 01:04:50,920
Speaker 1: first three, and he has the one coming out as well,

1335
01:04:51,280 --> 01:04:56,040
Speaker 1: what is it called us you with Marlon Wayne's and

1336
01:04:56,080 --> 01:04:58,840
Speaker 1: so it's gonna be interesting to see him continue in

1337
01:04:58,880 --> 01:04:59,200
Speaker 1: that job.

1338
01:04:59,520 --> 01:05:00,320
Speaker 3: It's called him him.

1339
01:05:00,520 --> 01:05:03,000
Speaker 4: And he did something that most of the guys, like

1340
01:05:03,040 --> 01:05:06,240
Speaker 4: the Spikes, the Ryans that they that they've done thus far.

1341
01:05:06,480 --> 01:05:09,640
Speaker 4: He introduced new actors and acts he has to the

1342
01:05:09,640 --> 01:05:12,680
Speaker 4: follo that now we know who Daniel k is. Yeah,

1343
01:05:12,720 --> 01:05:13,960
Speaker 4: he's a household name.

1344
01:05:14,240 --> 01:05:16,400
Speaker 1: Well, to be fair, Daniel Daniel was also in Judas

1345
01:05:16,400 --> 01:05:18,680
Speaker 1: in The Black Messiah right, yes he was, if I'm

1346
01:05:18,680 --> 01:05:23,960
Speaker 1: not mistaken, Yeah, yeah, I agree, that's that's his man

1347
01:05:22,600 --> 01:05:27,440
Speaker 1: that so yeah, I think it's I think it's I

1348
01:05:27,440 --> 01:05:28,640
Speaker 1: think it's really interesting.

1349
01:05:29,640 --> 01:05:31,040
Speaker 2: I would I would put Jordan.

1350
01:05:30,840 --> 01:05:33,800
Speaker 1: Pill there, Ryan Coogler, I know you just and you

1351
01:05:33,800 --> 01:05:35,240
Speaker 1: put him in there. So yeah, I would say those

1352
01:05:35,280 --> 01:05:37,480
Speaker 1: would be the top five. Now, us doing our own

1353
01:05:37,520 --> 01:05:38,360
Speaker 1: list right now.

1354
01:05:38,520 --> 01:05:41,640
Speaker 2: But I think and okay, but do you want to

1355
01:05:41,640 --> 01:05:42,800
Speaker 2: know what also sucks about.

1356
01:05:42,680 --> 01:05:43,640
Speaker 4: Us doing that?

1357
01:05:43,280 --> 01:05:47,360
Speaker 1: What's so we're gonna do what most most lists normally

1358
01:05:47,360 --> 01:05:48,320
Speaker 1: do is leave out the women.

1359
01:05:49,360 --> 01:05:52,480
Speaker 4: M No, we're not, We're actually not.

1360
01:05:55,840 --> 01:05:57,040
Speaker 2: You can't even say her name.

1361
01:05:57,600 --> 01:05:59,560
Speaker 1: I think right now though, but we're not going to

1362
01:05:59,600 --> 01:06:02,200
Speaker 1: add them because they're also current. But we do have

1363
01:06:02,280 --> 01:06:05,280
Speaker 1: Lena Waits, Ama and Isa I would say those are

1364
01:06:05,320 --> 01:06:10,120
Speaker 1: the upcoming three for and marro mara Is who just

1365
01:06:10,160 --> 01:06:13,360
Speaker 1: did Forever, but I didn't know how much she actually

1366
01:06:13,360 --> 01:06:16,160
Speaker 1: has an extensive past in what she's been a part

1367
01:06:16,160 --> 01:06:17,440
Speaker 1: of producing or writing.

1368
01:06:19,000 --> 01:06:22,000
Speaker 2: Brock Kills. So we have and you know.

1369
01:06:21,960 --> 01:06:24,320
Speaker 1: What, we could just blame patriarchy on that as so

1370
01:06:24,400 --> 01:06:26,680
Speaker 1: why women have are taking so long?

1371
01:06:27,200 --> 01:06:27,720
Speaker 2: You know what I mean?

1372
01:06:27,760 --> 01:06:30,760
Speaker 1: We could just blame patriarchy as so why women are

1373
01:06:30,800 --> 01:06:33,320
Speaker 1: just given their just due in the film and Hollywood

1374
01:06:33,400 --> 01:06:37,280
Speaker 1: space currently and making paving away for themselves. I will

1375
01:06:37,280 --> 01:06:40,360
Speaker 1: say too, if you watch first on the call sheet,

1376
01:06:41,360 --> 01:06:45,880
Speaker 1: it's interesting the difference in men speaking about the trajectory

1377
01:06:46,040 --> 01:06:50,160
Speaker 1: of black men in Hollywood compared to the second part

1378
01:06:50,160 --> 01:06:53,040
Speaker 1: of it, where women talk about their their gripes.

1379
01:06:53,360 --> 01:06:55,320
Speaker 2: It's just it shows you.

1380
01:06:55,640 --> 01:06:58,400
Speaker 1: To me, it's a clear distinction of how patriarchy has

1381
01:06:58,440 --> 01:07:02,640
Speaker 1: infiltrated and affected how both black women and black men

1382
01:07:02,680 --> 01:07:06,240
Speaker 1: have been able to excel in Hollywood, specifically in film.

1383
01:07:06,680 --> 01:07:07,640
Speaker 2: So y'all check that out.

1384
01:07:08,160 --> 01:07:10,440
Speaker 1: I'm not sure if y'all agree with us. When I here,

1385
01:07:11,920 --> 01:07:15,200
Speaker 1: look at you googling. He said, do you know the

1386
01:07:15,280 --> 01:07:15,880
Speaker 1: black woman?

1387
01:07:16,200 --> 01:07:16,840
Speaker 3: But if we do a.

1388
01:07:16,800 --> 01:07:18,800
Speaker 5: TV episode, there's a lot of black women that are doing.

1389
01:07:19,520 --> 01:07:21,920
Speaker 4: I'm a big Power Stars fan, So I was like, wait, an, I.

1390
01:07:21,880 --> 01:07:25,200
Speaker 1: Can't remember that, and that's fifty seers, so like, that's

1391
01:07:25,200 --> 01:07:26,360
Speaker 1: still really good women.

1392
01:07:26,840 --> 01:07:30,320
Speaker 2: But okay, okay, do you want to do so?

1393
01:07:30,360 --> 01:07:31,800
Speaker 3: I know we're going to play a game and tally

1394
01:07:31,880 --> 01:07:33,000
Speaker 3: up some points, but do you want.

1395
01:07:32,840 --> 01:07:35,640
Speaker 2: To look down? Let's play a game. You know what?

1396
01:07:35,800 --> 01:07:37,200
Speaker 2: You know what? You know what? You know what?

1397
01:07:37,680 --> 01:07:42,600
Speaker 3: I feel like, here's the thing with that Selma twelve.

1398
01:07:42,360 --> 01:07:45,960
Speaker 5: Years of slave, talk about it, the help Color Purple,

1399
01:07:46,240 --> 01:07:47,640
Speaker 5: I'm astide.

1400
01:07:49,400 --> 01:07:53,680
Speaker 1: Okay, my thing is we also said, and this is

1401
01:07:53,720 --> 01:07:58,120
Speaker 1: why I'm gonna here's my thought on it. Okay, none

1402
01:07:58,160 --> 01:08:03,800
Speaker 1: of those are classics because outside of the Color Purple,

1403
01:08:05,160 --> 01:08:08,600
Speaker 1: none of them really have replay value. They're not movies

1404
01:08:08,600 --> 01:08:10,480
Speaker 1: that you put on when you cuddle in with a nigga.

1405
01:08:10,480 --> 01:08:13,440
Speaker 1: They're not movie that you put on for family viewing.

1406
01:08:13,840 --> 01:08:17,760
Speaker 1: They are I think they are needed for historical context

1407
01:08:17,800 --> 01:08:20,040
Speaker 1: of what shit was really like, but I would not

1408
01:08:20,160 --> 01:08:24,400
Speaker 1: put any slave movie into cult classic because the replay

1409
01:08:24,479 --> 01:08:28,559
Speaker 1: value on them is very slim, and to me, I

1410
01:08:28,560 --> 01:08:30,840
Speaker 1: think we just need to watch it and support it.

1411
01:08:31,400 --> 01:08:33,439
Speaker 1: But it's not one that many people go back to.

1412
01:08:33,720 --> 01:08:35,920
Speaker 1: That's why I would not put anything but the color

1413
01:08:35,920 --> 01:08:37,320
Speaker 1: purple into that.

1414
01:08:37,880 --> 01:08:39,960
Speaker 4: But there's a caveat that should be with slave movies.

1415
01:08:40,120 --> 01:08:41,920
Speaker 4: I don't think you want to watch them over. I

1416
01:08:41,960 --> 01:08:44,560
Speaker 4: think once you get it the first time, which is

1417
01:08:44,600 --> 01:08:48,040
Speaker 4: why I think it's enough. Like Glory. You ever seen Glory,

1418
01:08:48,640 --> 01:08:51,120
Speaker 4: I can't watch that again to see Denzel getting beat

1419
01:08:51,160 --> 01:08:53,160
Speaker 4: and he got the whelps on his back. I got it,

1420
01:08:53,200 --> 01:08:57,040
Speaker 4: like I totally get it. YO powerful movie. But that's

1421
01:08:57,080 --> 01:08:58,920
Speaker 4: I don't need to see it again my point. You

1422
01:08:58,960 --> 01:08:59,439
Speaker 4: know what I'm saying.

1423
01:08:59,720 --> 01:09:01,920
Speaker 1: I think movies, but I think that that's why they

1424
01:09:01,960 --> 01:09:05,160
Speaker 1: would not be considered cult classics at all, because they're

1425
01:09:05,200 --> 01:09:07,639
Speaker 1: actually movies that I don't think white people go back

1426
01:09:07,640 --> 01:09:08,000
Speaker 1: to watch.

1427
01:09:08,040 --> 01:09:10,120
Speaker 2: And we don't even go back to watch. It's like

1428
01:09:10,439 --> 01:09:11,000
Speaker 2: they could.

1429
01:09:10,800 --> 01:09:13,960
Speaker 1: Be powerful, but they're not CLT classics. No, No, I

1430
01:09:13,960 --> 01:09:16,519
Speaker 1: think I think they're necessary, right.

1431
01:09:17,080 --> 01:09:19,639
Speaker 4: I don't think we put a classic, we just say powerful.

1432
01:09:19,720 --> 01:09:22,519
Speaker 2: I think they're powerful. I think there are I think

1433
01:09:22,520 --> 01:09:23,240
Speaker 2: they're historical.

1434
01:09:23,920 --> 01:09:27,080
Speaker 5: I don't think we need to want to see they remember.

1435
01:09:27,240 --> 01:09:29,760
Speaker 4: I remember everything about them, so it's like, and.

1436
01:09:29,720 --> 01:09:31,439
Speaker 1: Some of them I don't want to remember. I think

1437
01:09:31,560 --> 01:09:33,599
Speaker 1: I think Django might be the only one I can't

1438
01:09:34,000 --> 01:09:36,920
Speaker 1: watch multiple times, and it's because I got Leonardo and

1439
01:09:36,960 --> 01:09:40,840
Speaker 1: motherfucking Jamie boxing at home and Samuel l like other

1440
01:09:40,920 --> 01:09:41,639
Speaker 1: than that, though.

1441
01:09:41,560 --> 01:09:44,400
Speaker 5: No, no, I was, I was gonna say, y'all sounded

1442
01:09:44,439 --> 01:09:46,880
Speaker 5: like an NPR segment until you want that at the end.

1443
01:09:47,960 --> 01:09:49,920
Speaker 3: That was. That was good.

1444
01:09:50,120 --> 01:09:51,920
Speaker 5: So let's let's let's close it out with this game.

1445
01:09:52,000 --> 01:09:52,599
Speaker 2: Okay, let's play.

1446
01:09:52,880 --> 01:09:55,600
Speaker 5: Let's do obviously, you guys see this. It's always on

1447
01:09:55,680 --> 01:09:58,000
Speaker 5: social media. How many black movies have you seen?

1448
01:09:58,320 --> 01:10:01,280
Speaker 2: Oh god, for one more. We're not gonna do this, y'all,

1449
01:10:01,280 --> 01:10:02,479
Speaker 2: not gonna remove my black cart.

1450
01:10:02,960 --> 01:10:05,120
Speaker 3: It's gonna be fifty. This is just to see us three.

1451
01:10:05,400 --> 01:10:07,519
Speaker 2: Let's let's let's go first, Let's do twenty.

1452
01:10:07,680 --> 01:10:09,040
Speaker 5: Let to do twenty of them, all right, So I'm

1453
01:10:09,040 --> 01:10:11,840
Speaker 5: gonna read twenty of them, y'all tally up real quick,

1454
01:10:11,880 --> 01:10:13,120
Speaker 5: and then added the three of us.

1455
01:10:13,120 --> 01:10:14,080
Speaker 3: We'll see what our score is.

1456
01:10:14,080 --> 01:10:17,240
Speaker 5: So we're just gonna go one to twenty alright, ready,

1457
01:10:17,640 --> 01:10:18,599
Speaker 5: boys in the hood.

1458
01:10:18,479 --> 01:10:22,680
Speaker 2: Yep, Oh wait, we're just keeping our own clothes, one

1459
01:10:22,920 --> 01:10:23,200
Speaker 2: for each.

1460
01:10:23,520 --> 01:10:24,720
Speaker 3: Have you seen it? You get a point?

1461
01:10:24,880 --> 01:10:26,960
Speaker 1: Okay, let's see. Let's see how black y'all are to please.

1462
01:10:27,000 --> 01:10:29,080
Speaker 1: If you are listening to this, play this at home, let's.

1463
01:10:28,960 --> 01:10:31,880
Speaker 5: Do right and definitely yeah, add us at us on

1464
01:10:31,920 --> 01:10:37,400
Speaker 5: social media and so one set it off, New Jack

1465
01:10:37,520 --> 01:10:45,040
Speaker 5: City Friday, menace to society, juice above the rim, paid

1466
01:10:45,080 --> 01:10:47,200
Speaker 5: in full, do the right thing.

1467
01:10:47,760 --> 01:10:49,280
Speaker 3: So that's ten. I'm gonna jump around.

1468
01:10:49,360 --> 01:10:50,840
Speaker 5: I don't want to mix up the variety of So

1469
01:10:50,840 --> 01:10:56,160
Speaker 5: that's ten, right there, Yeah, all right, Crooklyn, how high belly,

1470
01:10:57,080 --> 01:11:04,719
Speaker 5: so plain, the best Man, drum line, more money, white Chicks, moonlight,

1471
01:11:05,479 --> 01:11:08,080
Speaker 5: stomp the yard in this Christmas?

1472
01:11:09,280 --> 01:11:16,280
Speaker 3: Okay, all right, all right, so.

1473
01:11:16,280 --> 01:11:18,720
Speaker 5: That should be Actually I think I read twenty one of.

1474
01:11:18,640 --> 01:11:25,320
Speaker 3: Them there, okay, ten and then I started here. Yeah,

1475
01:11:25,360 --> 01:11:26,200
Speaker 3: so that was twenty one.

1476
01:11:26,479 --> 01:11:27,240
Speaker 2: It was twenty one.

1477
01:11:28,960 --> 01:11:31,760
Speaker 5: A king, he king, you got the black car privileges?

1478
01:11:32,479 --> 01:11:33,080
Speaker 2: How'd you do.

1479
01:11:36,800 --> 01:11:38,200
Speaker 3: In twenty one? What was your score?

1480
01:11:38,360 --> 01:11:39,360
Speaker 4: Nineteen out of twenty one?

1481
01:11:39,439 --> 01:11:40,559
Speaker 2: Damn same nineteen?

1482
01:11:41,240 --> 01:11:46,840
Speaker 5: Damn you are not blacker than us? Twenty black black

1483
01:11:48,200 --> 01:11:51,160
Speaker 5: Latino Afro Latina over here.

1484
01:11:51,479 --> 01:11:54,760
Speaker 4: Thank you guys for tuning in that is corrazy.

1485
01:11:55,400 --> 01:11:59,080
Speaker 2: Now you getting the fuck out of here? Do you

1486
01:11:59,120 --> 01:12:00,400
Speaker 2: remember which one you seen?

1487
01:12:00,720 --> 01:12:01,679
Speaker 4: What was the last three?

1488
01:12:02,920 --> 01:12:05,479
Speaker 3: The last three, the last go to the last five?

1489
01:12:06,240 --> 01:12:08,559
Speaker 5: Last five were what drum line?

1490
01:12:08,760 --> 01:12:10,280
Speaker 3: More money, White Chicks?

1491
01:12:12,160 --> 01:12:15,440
Speaker 5: Moonlight stopped the yard this Christmas?

1492
01:12:15,760 --> 01:12:16,160
Speaker 4: Moonlight.

1493
01:12:16,560 --> 01:12:19,200
Speaker 2: I knew you ain't seen moon Moonlight. That's crazy.

1494
01:12:21,200 --> 01:12:26,000
Speaker 4: I want to know you ain't see moon like check it.

1495
01:12:26,600 --> 01:12:29,640
Speaker 4: Since you said that. And I'm not homophobic, just like,

1496
01:12:31,439 --> 01:12:32,439
Speaker 4: should I put this out there?

1497
01:12:32,479 --> 01:12:33,479
Speaker 2: Yes, put it out there.

1498
01:12:33,560 --> 01:12:39,200
Speaker 4: My core friends know this ship, like people who Okay,

1499
01:12:40,320 --> 01:12:42,519
Speaker 4: I never watched the Wire.

1500
01:12:43,720 --> 01:12:44,080
Speaker 3: Mm hmm.

1501
01:12:45,200 --> 01:12:47,360
Speaker 2: So because you didn't watch the Wires, why you didn't

1502
01:12:47,360 --> 01:12:47,960
Speaker 2: watch Moonlight?

1503
01:12:48,040 --> 01:12:51,080
Speaker 4: No, I'm just trying to know, explain to you the

1504
01:12:51,240 --> 01:12:53,800
Speaker 4: things that I haven't that I missed, that I have

1505
01:12:54,000 --> 01:12:56,639
Speaker 4: to do that I haven't done yet.

1506
01:12:56,960 --> 01:12:59,120
Speaker 2: And so the Wire and Moonlight are two things you

1507
01:12:59,200 --> 01:12:59,920
Speaker 2: have to sprano.

1508
01:13:00,200 --> 01:13:01,559
Speaker 4: I haven't watched No, no, no, Why.

1509
01:13:01,520 --> 01:13:02,519
Speaker 2: You bring the whites in here?

1510
01:13:03,160 --> 01:13:06,120
Speaker 3: Okay, yeah, that's not that's not what this episode.

1511
01:13:06,280 --> 01:13:09,080
Speaker 4: My bad bad, all right, pineapples on pizza, by the way,

1512
01:13:09,120 --> 01:13:13,400
Speaker 4: But look the why I haven't watched it Moonlight. I'll

1513
01:13:13,400 --> 01:13:17,160
Speaker 4: get to it. No, I'm not it had nothing to

1514
01:13:17,200 --> 01:13:19,120
Speaker 4: do with just some some things. It's just like, all right,

1515
01:13:19,840 --> 01:13:21,280
Speaker 4: there's movies now that I gotta get to.

1516
01:13:21,640 --> 01:13:23,680
Speaker 2: Okay, So Moonlin you just gotta get to.

1517
01:13:23,720 --> 01:13:26,280
Speaker 4: Ye, Yeah for sure. Okay on the next episode, our

1518
01:13:26,280 --> 01:13:30,080
Speaker 4: next recording, because we both record now, right, I watch Moonlight.

1519
01:13:30,200 --> 01:13:32,160
Speaker 4: I'll come back with a thirty second recap.

1520
01:13:32,280 --> 01:13:33,519
Speaker 2: Okay, I like to see it.

1521
01:13:33,720 --> 01:13:34,120
Speaker 3: That's good.

1522
01:13:34,160 --> 01:13:35,960
Speaker 4: We're gonna hold you which ones that you watch?

1523
01:13:36,479 --> 01:13:38,759
Speaker 2: I didn't see My Money or Crookland.

1524
01:13:38,800 --> 01:13:39,879
Speaker 4: You gotta watch Crookland.

1525
01:13:39,960 --> 01:13:41,759
Speaker 2: Yeah I didn't. I haven't seen Crookling.

1526
01:13:41,840 --> 01:13:44,519
Speaker 4: More Money was cool, but I think you like Crookland.

1527
01:13:44,520 --> 01:13:46,599
Speaker 1: The fact that you just want to say, what movie

1528
01:13:46,680 --> 01:13:49,000
Speaker 1: I hadn't seen? You don't know my life?

1529
01:13:50,160 --> 01:13:53,240
Speaker 2: Yeah no, it was Krookling, Crookling and More Money? Okay.

1530
01:13:53,479 --> 01:13:55,599
Speaker 1: And Jason, no one cares about you because you apparently

1531
01:13:55,600 --> 01:13:57,360
Speaker 1: only wait.

1532
01:13:57,080 --> 01:13:57,760
Speaker 2: Wait, which one?

1533
01:13:58,160 --> 01:13:58,400
Speaker 3: Wait?

1534
01:13:58,439 --> 01:14:00,559
Speaker 2: Which one movie did you not see? Because you only

1535
01:14:00,600 --> 01:14:01,360
Speaker 2: got one line?

1536
01:14:02,720 --> 01:14:04,679
Speaker 1: You know what that means me the old ass nigga.

1537
01:14:04,680 --> 01:14:07,280
Speaker 1: At this point, you and I say, drum line is crazy.

1538
01:14:07,560 --> 01:14:10,000
Speaker 4: It was any particular reason why you didn't see it,

1539
01:14:10,080 --> 01:14:11,360
Speaker 4: Like it just.

1540
01:14:11,360 --> 01:14:14,280
Speaker 1: Didn't get there as you were going through that list.

1541
01:14:14,360 --> 01:14:17,240
Speaker 1: I do think maybe we have to somehow figure out

1542
01:14:17,240 --> 01:14:18,800
Speaker 1: a part to at this point, maybe we have someone

1543
01:14:18,880 --> 01:14:21,360
Speaker 1: come and join us, maybe an actor, because we didn't

1544
01:14:21,439 --> 01:14:25,559
Speaker 1: lean into at all, like the drum lines that bring

1545
01:14:25,640 --> 01:14:29,719
Speaker 1: it on, the uh, the love Don't Cost a thing, SMP,

1546
01:14:29,800 --> 01:14:31,640
Speaker 1: the yard there was and I guess those were the

1547
01:14:31,640 --> 01:14:33,599
Speaker 1: two thousands. We didn't make it to the two thousands,

1548
01:14:34,600 --> 01:14:37,040
Speaker 1: but the revival of what that looked like, but also

1549
01:14:37,080 --> 01:14:39,680
Speaker 1: the fact that I think that that created we were

1550
01:14:39,760 --> 01:14:42,479
Speaker 1: leaning into what the white people were doing at that time,

1551
01:14:42,520 --> 01:14:45,599
Speaker 1: which was like the teenage love affair essentially, like we

1552
01:14:45,600 --> 01:14:48,799
Speaker 1: were leaning into the high school and college love story,

1553
01:14:48,920 --> 01:14:50,920
Speaker 1: which is what we were seeing with Ten Things I

1554
01:14:50,960 --> 01:14:53,920
Speaker 1: Hate About You, and like we actually had a black

1555
01:14:54,000 --> 01:14:57,000
Speaker 1: version of mimicking what the white films were getting a

1556
01:14:57,280 --> 01:14:58,240
Speaker 1: rom com essentially.

1557
01:15:00,000 --> 01:15:01,519
Speaker 2: Ayways, we'll do that. Maybe maybe I'll have one of

1558
01:15:01,560 --> 01:15:02,120
Speaker 2: my active.

1559
01:15:01,880 --> 01:15:04,160
Speaker 1: Friends come join us and talk about the dynamics of

1560
01:15:04,200 --> 01:15:07,400
Speaker 1: what the two thousands and twenty ten's look like for.

1561
01:15:07,479 --> 01:15:11,200
Speaker 2: Us in film. AnyWho, I don't think that.

1562
01:15:12,160 --> 01:15:15,080
Speaker 1: Yeah, I also don't think that we were that ignorant,

1563
01:15:15,080 --> 01:15:16,960
Speaker 1: Like y'all could come to me about my take coming

1564
01:15:16,960 --> 01:15:19,200
Speaker 1: to America was not that great, neither was loving basketball.

1565
01:15:19,360 --> 01:15:23,840
Speaker 1: Those was maybe my my ignorant takes that someone may essentially.

1566
01:15:24,200 --> 01:15:30,200
Speaker 4: Can't jump who white man can't jump first? And I'm just.

1567
01:15:31,640 --> 01:15:34,080
Speaker 1: The fact that the fact that the lead was there

1568
01:15:34,120 --> 01:15:35,479
Speaker 1: was a white lead and a black lead.

1569
01:15:35,640 --> 01:15:37,240
Speaker 2: I don't know about that one being a black film.

1570
01:15:37,640 --> 01:15:42,960
Speaker 4: No, No, it was super black. It was Wessy Snipes's like, well,

1571
01:15:42,960 --> 01:15:43,439
Speaker 4: now you're.

1572
01:15:43,280 --> 01:15:47,599
Speaker 2: Getting into colorism. It's a little bit. Anyway.

1573
01:15:47,640 --> 01:15:50,080
Speaker 5: You want a final word on American Gangster Training Day,

1574
01:15:50,120 --> 01:15:51,559
Speaker 5: bad Boys.

1575
01:15:51,600 --> 01:15:52,599
Speaker 2: Not really a final word.

1576
01:15:52,600 --> 01:15:56,519
Speaker 1: I would say those three things, though they were with

1577
01:15:56,640 --> 01:16:00,479
Speaker 1: black leads, I think those were. I think that's also

1578
01:16:00,600 --> 01:16:03,360
Speaker 1: very hypocritical of me to say they're not black films

1579
01:16:03,360 --> 01:16:04,920
Speaker 1: if they're blockbuster hits.

1580
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.

1581
01:16:10,680 --> 01:16:11,679
Speaker 2: Think that those are.

1582
01:16:13,479 --> 01:16:19,360
Speaker 1: Those are global films, and I think that white people,

1583
01:16:19,479 --> 01:16:24,839
Speaker 1: Spanish people, Indians, like everybody kind of watches those films,

1584
01:16:24,880 --> 01:16:27,679
Speaker 1: and I don't think they feel like they're seeing us

1585
01:16:27,760 --> 01:16:30,760
Speaker 1: represented as much as I could say that with a

1586
01:16:30,800 --> 01:16:35,400
Speaker 1: poetic justice or minister Society, those they're looking at it

1587
01:16:35,439 --> 01:16:38,240
Speaker 1: and they're seeing us. I think when you get into

1588
01:16:38,320 --> 01:16:41,599
Speaker 1: those kind of box office hits that you just named again,

1589
01:16:41,680 --> 01:16:44,360
Speaker 1: I think those roles are colorless, which is why I

1590
01:16:44,360 --> 01:16:47,000
Speaker 1: would take away those from being maybe not a training day,

1591
01:16:47,160 --> 01:16:51,680
Speaker 1: no one, no training day, you had the white guy alongside.

1592
01:16:51,280 --> 01:16:52,080
Speaker 2: Them for the whole time.

1593
01:16:53,680 --> 01:16:55,800
Speaker 4: Yeah, what's the name Ethan Hawk?

1594
01:16:57,640 --> 01:16:58,200
Speaker 2: Yeah?

1595
01:16:58,240 --> 01:17:02,200
Speaker 1: So yeah, yeah, I just don't know if I would

1596
01:17:02,240 --> 01:17:05,960
Speaker 1: consider those black films personally. Okay, so then we'll leave

1597
01:17:06,000 --> 01:17:08,640
Speaker 1: that to you guys, Like, do films like that, The

1598
01:17:08,720 --> 01:17:10,920
Speaker 1: Bad Boys, the Training Days? What was the other one

1599
01:17:10,920 --> 01:17:15,400
Speaker 1: you had in there? American Gangster? Do films like that?

1600
01:17:15,400 --> 01:17:18,599
Speaker 1: Do you consider those to be cult classic black films?

1601
01:17:18,600 --> 01:17:21,559
Speaker 1: Do you distinguish black films? How do you identify what

1602
01:17:21,720 --> 01:17:25,720
Speaker 1: is for us and what has essentially become for everyone?

1603
01:17:26,680 --> 01:17:29,439
Speaker 1: It's kind of what our conversation wants today. And then

1604
01:17:29,560 --> 01:17:33,360
Speaker 1: what are your thoughts and views on representation of how

1605
01:17:33,400 --> 01:17:37,240
Speaker 1: we're depicted in films for us by us?

1606
01:17:38,560 --> 01:17:40,880
Speaker 4: Please and let us know your scores too, Let us

1607
01:17:40,880 --> 01:17:41,400
Speaker 4: know your scores.

1608
01:17:41,439 --> 01:17:43,599
Speaker 1: I hope that y'all enjoyed. I know y'all still got

1609
01:17:43,600 --> 01:17:45,160
Speaker 1: a lot of me on the mic, but hope y'all

1610
01:17:45,240 --> 01:17:49,280
Speaker 1: enjoyed my super producers A King and Jason stepping in

1611
01:17:49,320 --> 01:17:51,640
Speaker 1: for this conversation listen. At the end of the day,

1612
01:17:51,680 --> 01:17:53,559
Speaker 1: you can hate it or you could love it. Either way,

1613
01:17:53,920 --> 01:17:56,479
Speaker 1: are you choosing to be selectively ignorant or are you

1614
01:17:56,640 --> 01:18:04,439
Speaker 1: choosing to get educated? Y'all see you next week. Bye.

1615
01:18:05,160 --> 01:18:08,519
Speaker 1: Selective Ignorance a production of the Black Effect Podcast Network.

1616
01:18:08,680 --> 01:18:13,400
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1617
01:18:13,520 --> 01:18:15,479
Speaker 1: or wherever you listen to your favorite shows.

1618
01:18:15,600 --> 01:18:17,880
Speaker 5: Thanks for tuning in the Selective Ignorance of Mandy B.

1619
01:18:18,080 --> 01:18:18,960
Speaker 3: Selective Ignorance.

1620
01:18:18,960 --> 01:18:21,320
Speaker 5: It's executive produced by man Dy b and it's a

1621
01:18:21,439 --> 01:18:26,280
Speaker 5: full Court Media studio production with lead producers Jason Mondriguez.

1622
01:18:25,680 --> 01:18:27,799
Speaker 3: That's me and Aaron A. King Howell.

1623
01:18:27,880 --> 01:18:30,880
Speaker 5: Now, do us a favor and rate, subscribe, comment, and

1624
01:18:30,960 --> 01:18:33,080
Speaker 5: share wherever you get your favorite podcast.