1
00:00:00,920 --> 00:00:03,880
Speaker 1: On the Bell Cast, the questions asked if movies have

2
00:00:04,040 --> 00:00:07,920
Speaker 1: women in um, are all their discussions just boyfriends and husbands,

3
00:00:08,000 --> 00:00:13,039
Speaker 1: or do they have individualism the patriarchy? Zef invest start

4
00:00:13,160 --> 00:00:17,520
Speaker 1: changing it with the Bedel Cast. Hello, and welcome to

5
00:00:17,520 --> 00:00:20,320
Speaker 1: the Bechdel Cast. My name is Caitlin Darante. My name

6
00:00:20,360 --> 00:00:23,159
Speaker 1: is Jamie Loftus, and this is our podcast where we

7
00:00:23,239 --> 00:00:29,800
Speaker 1: talk about UH movies from an intersectional feminist lens. Caitlin,

8
00:00:29,880 --> 00:00:34,760
Speaker 1: do you have a poem prepared for today? Is there

9
00:00:34,760 --> 00:00:40,920
Speaker 1: any anything you'd like to share with the class? Here's

10
00:00:40,920 --> 00:00:44,559
Speaker 1: the thing I did. Used to write poetry because I

11
00:00:44,680 --> 00:00:51,120
Speaker 1: was once a teenager and and uh, actually this is

12
00:00:51,159 --> 00:00:53,479
Speaker 1: something that probably you, Jamie don't know this about me,

13
00:00:53,560 --> 00:00:56,760
Speaker 1: nor does really anyone. There was a time where in

14
00:00:56,800 --> 00:01:00,200
Speaker 1: my comedy career, I was like, what if I start

15
00:01:00,280 --> 00:01:05,720
Speaker 1: writing comedy poetry and that's on to something and that's

16
00:01:05,720 --> 00:01:10,000
Speaker 1: what people know me as like I'm the poetry comedian

17
00:01:11,560 --> 00:01:15,399
Speaker 1: because I've written several like comedic poems that I'm honestly

18
00:01:15,520 --> 00:01:20,040
Speaker 1: very proud of. But I didn't follow through with my plan.

19
00:01:20,319 --> 00:01:23,040
Speaker 1: Bring it back. Post pandemic is the perfect time you

20
00:01:23,440 --> 00:01:28,920
Speaker 1: can rebrand your the comedy poet again that I feel

21
00:01:28,920 --> 00:01:30,679
Speaker 1: like that's been a thing in the pandemic to like

22
00:01:30,720 --> 00:01:34,280
Speaker 1: some comedians have like started writing poetry. I don't know.

23
00:01:34,400 --> 00:01:37,240
Speaker 1: I am not one of them. I last read poetry

24
00:01:37,280 --> 00:01:40,640
Speaker 1: in front of people when I was twelve, and the

25
00:01:40,760 --> 00:01:44,280
Speaker 1: reception was really not good. I was like, it was

26
00:01:44,360 --> 00:01:47,360
Speaker 1: a poem about like I was like trying to really

27
00:01:47,400 --> 00:01:50,080
Speaker 1: like mesh with like the emo trend that was going on.

28
00:01:50,600 --> 00:01:53,640
Speaker 1: And so I wrote a poem called not just Eyeliner,

29
00:01:53,920 --> 00:01:56,720
Speaker 1: which was really confusing because I did not wear eyeliner

30
00:01:57,520 --> 00:02:01,840
Speaker 1: and I never had I wasn't allowed to. And so

31
00:02:02,000 --> 00:02:04,120
Speaker 1: I read this whole poem about how I'm more than

32
00:02:04,160 --> 00:02:07,520
Speaker 1: just eyeliner, and then someone after classes was like, you

33
00:02:07,520 --> 00:02:10,120
Speaker 1: don't wear an eyeliner? And I never wrote another poem

34
00:02:10,840 --> 00:02:15,880
Speaker 1: the end, I think that and of itself was a poem.

35
00:02:16,080 --> 00:02:19,400
Speaker 1: That story was very poetics. I should have been more

36
00:02:19,639 --> 00:02:21,200
Speaker 1: I should have been more confident. I would be like,

37
00:02:21,200 --> 00:02:24,600
Speaker 1: clearly you misunderstood it was a metaphor. There's a metaphor.

38
00:02:26,360 --> 00:02:30,119
Speaker 1: But instead I was like, I'm sorry and never wrote

39
00:02:30,160 --> 00:02:34,200
Speaker 1: a poem again. The movie we're talking about today is

40
00:02:34,240 --> 00:02:38,360
Speaker 1: poetic justice, like so hard to not interject right now

41
00:02:38,440 --> 00:02:43,440
Speaker 1: because I haven't been interrupted or introduced, so great, please

42
00:02:44,320 --> 00:02:47,840
Speaker 1: I have. There's comedy, so there are comedy poems on

43
00:02:48,280 --> 00:02:52,800
Speaker 1: like albums of mine, poems in between. Had a friend,

44
00:02:53,200 --> 00:02:55,400
Speaker 1: comedian friend I went to college with, and I had

45
00:02:55,480 --> 00:02:57,760
Speaker 1: him do interludes for every record I did for like

46
00:02:57,800 --> 00:03:00,919
Speaker 1: the first four records, and two of them are poems

47
00:03:01,160 --> 00:03:04,720
Speaker 1: because the albums are half rap and half poetry. I

48
00:03:04,760 --> 00:03:07,920
Speaker 1: have not been introduced yet, but the poems are funny.

49
00:03:08,160 --> 00:03:11,720
Speaker 1: Trust me. I'll tell you who I am later. Let's

50
00:03:11,760 --> 00:03:17,080
Speaker 1: just formally introduce you now. The voice you just heard

51
00:03:17,360 --> 00:03:21,560
Speaker 1: is that of a poet. Okay, first of all hip

52
00:03:21,639 --> 00:03:25,480
Speaker 1: hop artists, activists, host of the podcast Hood Politics. He's

53
00:03:25,480 --> 00:03:29,160
Speaker 1: got a poetry book coming out entitled terror Form. It's

54
00:03:29,320 --> 00:03:32,519
Speaker 1: Jason Petty a k A propaganda, a k A prop

55
00:03:32,960 --> 00:03:36,520
Speaker 1: That's that's me. You just told everybody my government name. Okay,

56
00:03:36,880 --> 00:03:41,200
Speaker 1: word but uh yeah, yeah, so wonder poel wanted to

57
00:03:41,240 --> 00:03:44,720
Speaker 1: look my homeboy, Alfonso mcfons. He said on my record,

58
00:03:44,760 --> 00:03:48,840
Speaker 1: he goes, why did the crip cross the road? Because

59
00:03:49,800 --> 00:03:51,640
Speaker 1: that was the end of the poem. I was like,

60
00:03:52,560 --> 00:03:57,040
Speaker 1: it's brilliant, it's good, it's good when poetry is funny.

61
00:03:57,200 --> 00:04:01,880
Speaker 1: It truly. I was like, it transcends, so I don't know,

62
00:04:01,920 --> 00:04:04,920
Speaker 1: I like get really excited, and then I also get

63
00:04:05,040 --> 00:04:09,040
Speaker 1: jealous because I'm like, how the fuck right they do that?

64
00:04:09,440 --> 00:04:12,520
Speaker 1: There's a line, dude, because there's some poems that are

65
00:04:12,600 --> 00:04:16,240
Speaker 1: attempting to be serious, but this, it is hilarious, you

66
00:04:16,279 --> 00:04:18,360
Speaker 1: know what I'm saying, because it's like this it's the

67
00:04:18,440 --> 00:04:22,680
Speaker 1: fake deep and then you're presenting it as if you're

68
00:04:22,720 --> 00:04:26,120
Speaker 1: a character, you know, so it becomes where it's like

69
00:04:26,240 --> 00:04:29,600
Speaker 1: I'm not supposed to laugh, but this is super funny,

70
00:04:30,160 --> 00:04:32,560
Speaker 1: you know. It's like it's many as many years as

71
00:04:32,600 --> 00:04:35,240
Speaker 1: I spent in like open mic scenes and and stuff

72
00:04:35,279 --> 00:04:37,640
Speaker 1: like that, and just you know, it's just you. It's

73
00:04:37,680 --> 00:04:42,520
Speaker 1: like you're you're a character, and like you don't know it,

74
00:04:42,640 --> 00:04:45,680
Speaker 1: and I'm like, I don't I shouldn't be laughing, but

75
00:04:45,720 --> 00:04:50,000
Speaker 1: it's so funny. I can't imagine the amount of cringe

76
00:04:50,240 --> 00:04:52,840
Speaker 1: you had to sit through it Poetry open mix, because

77
00:04:52,839 --> 00:04:54,640
Speaker 1: it's like a stand up of a mix. It's I

78
00:04:54,640 --> 00:04:57,840
Speaker 1: feel like a similar like or maybe just a different

79
00:04:58,000 --> 00:05:01,320
Speaker 1: a different brand of cringe that you have to sit there. Yeah,

80
00:05:01,360 --> 00:05:04,600
Speaker 1: the cringes like So there's two types. Right. There's the like,

81
00:05:05,160 --> 00:05:07,760
Speaker 1: especially at open mics, and you know the scene I

82
00:05:07,839 --> 00:05:10,120
Speaker 1: came from, it's like we want people to be involved,

83
00:05:10,120 --> 00:05:12,440
Speaker 1: like you want people to love the craft, love poetry,

84
00:05:12,680 --> 00:05:16,880
Speaker 1: and nobody has any ill thoughts towards a person if

85
00:05:16,880 --> 00:05:19,120
Speaker 1: it's like, yo, this is my second poem they've ever written,

86
00:05:19,160 --> 00:05:21,880
Speaker 1: you know what I'm saying, or like they're just trying.

87
00:05:21,920 --> 00:05:24,880
Speaker 1: So there's the air of humility. You know what I'm saying, Um,

88
00:05:24,920 --> 00:05:28,800
Speaker 1: that's understandable. It's cringe e. But it's like you know,

89
00:05:29,200 --> 00:05:31,159
Speaker 1: you know, you're learning. That's what open mics are for,

90
00:05:31,400 --> 00:05:34,279
Speaker 1: that's what you know for comedy, like the one am slot.

91
00:05:34,440 --> 00:05:37,200
Speaker 1: It's like this is you're working on something. So it's

92
00:05:37,200 --> 00:05:39,160
Speaker 1: like it's dope, Okay, come back next week. You're gonna

93
00:05:39,160 --> 00:05:42,039
Speaker 1: get better. Right. But then there's then there's the person

94
00:05:42,160 --> 00:05:44,560
Speaker 1: that's like in the name of God, all on the

95
00:05:44,600 --> 00:05:47,640
Speaker 1: Ancestors a sha like you know I had to that

96
00:05:47,960 --> 00:05:51,440
Speaker 1: walked up there holding sage and instance and you're just like,

97
00:05:51,560 --> 00:05:53,600
Speaker 1: what what do you what are you doing? What are

98
00:05:53,600 --> 00:05:56,520
Speaker 1: you doing? What are you doing? You know what I'm saying?

99
00:05:56,760 --> 00:05:59,279
Speaker 1: And so you're sitting through this like That's what I'm saying.

100
00:05:59,320 --> 00:06:02,640
Speaker 1: This like what I like to call the overwoke, Like

101
00:06:03,279 --> 00:06:06,640
Speaker 1: just you know, I can't play pool because the game

102
00:06:06,680 --> 00:06:08,680
Speaker 1: ain't over to the white ball hit the black ball

103
00:06:08,760 --> 00:06:11,880
Speaker 1: into the hole, Like, come on, man, bro, that's not

104
00:06:11,920 --> 00:06:14,120
Speaker 1: the that's not the fight dog, Like there's the there's

105
00:06:14,120 --> 00:06:15,960
Speaker 1: a fight, we gotta fight. I just don't think this

106
00:06:15,960 --> 00:06:19,320
Speaker 1: one's it, you know. So like there's a gang of

107
00:06:19,440 --> 00:06:22,080
Speaker 1: cringe you know, but it's the cringe of the one

108
00:06:22,120 --> 00:06:25,279
Speaker 1: that swears their brilliant. It's just that's the cringe. Yes,

109
00:06:25,520 --> 00:06:29,839
Speaker 1: you know that, But it does feel like kind of

110
00:06:30,480 --> 00:06:33,039
Speaker 1: a similar thing of like the cringe of a comedian

111
00:06:33,040 --> 00:06:37,480
Speaker 1: who's convinced they're hilarious when they are just demonstrably no

112
00:06:37,600 --> 00:06:40,640
Speaker 1: one is laughing. Yes, Like at the end there like

113
00:06:40,680 --> 00:06:44,960
Speaker 1: that audience was they didn't get it. I don't know

114
00:06:44,920 --> 00:06:48,560
Speaker 1: if they get it. I don't think any of us did. Man,

115
00:06:47,240 --> 00:07:00,000
Speaker 1: I'm people in there, not one person. Let's be extremely misunderstood. Goodness. Um,

116
00:07:00,120 --> 00:07:05,040
Speaker 1: so probly what's your relationship with the movie Poetic Justice?

117
00:07:05,760 --> 00:07:09,760
Speaker 1: Oh man? Where do I start? Um? The relationship? I

118
00:07:09,760 --> 00:07:13,400
Speaker 1: mean it may have to do it like my location

119
00:07:13,520 --> 00:07:16,600
Speaker 1: and my age group, like and who the director is.

120
00:07:16,960 --> 00:07:20,600
Speaker 1: I'm originally from South Central Los Angeles, so and at

121
00:07:20,640 --> 00:07:25,800
Speaker 1: the time, I'm in eighth grade, maybe somewhere around middle

122
00:07:25,840 --> 00:07:28,040
Speaker 1: school when this when this is happening, you know, I

123
00:07:28,080 --> 00:07:30,200
Speaker 1: mean maybe even probably younger than that. But like the

124
00:07:30,240 --> 00:07:33,080
Speaker 1: point is it was like black people didn't see ourselves

125
00:07:33,080 --> 00:07:36,600
Speaker 1: on camera like this, you know, the director from South Central,

126
00:07:37,040 --> 00:07:39,400
Speaker 1: you know what I'm saying. The story takes place in

127
00:07:39,480 --> 00:07:43,320
Speaker 1: South Central, right, and this was like obviously a launch

128
00:07:43,320 --> 00:07:45,920
Speaker 1: of so many other like sort of this like black Hollywood.

129
00:07:45,920 --> 00:07:48,640
Speaker 1: It's like new school Black Hollywood that I got to

130
00:07:48,760 --> 00:07:52,440
Speaker 1: like really experience this at like, you know, my whole

131
00:07:52,440 --> 00:07:54,960
Speaker 1: coming of age. Like everything that came out after this

132
00:07:55,120 --> 00:07:57,280
Speaker 1: was with boys in the hood and all this stuff

133
00:07:57,280 --> 00:07:59,520
Speaker 1: that was like this takes place in l A. You know.

134
00:08:00,160 --> 00:08:05,240
Speaker 1: So there's a very like emotional tie and and I

135
00:08:05,280 --> 00:08:09,600
Speaker 1: don't know if it can be understated or overstated the

136
00:08:09,640 --> 00:08:16,440
Speaker 1: transcendent nature of Tupac in Janet Jackson to to a

137
00:08:16,560 --> 00:08:22,160
Speaker 1: black youth, you know, you know, venturing into you know,

138
00:08:22,240 --> 00:08:26,600
Speaker 1: the beginnings of like coming out of childhood into boyhood

139
00:08:26,720 --> 00:08:30,440
Speaker 1: that like I just I don't know if there were

140
00:08:30,760 --> 00:08:35,800
Speaker 1: bigger stars than that, you know, and at the time,

141
00:08:36,559 --> 00:08:41,560
Speaker 1: I mean, it's Janet Jackson Man like coming, it's She's

142
00:08:41,600 --> 00:08:44,200
Speaker 1: like I just wonder if I just think, I just

143
00:08:44,240 --> 00:08:50,000
Speaker 1: think her mythos would probably be just as legendary as

144
00:08:50,000 --> 00:08:52,720
Speaker 1: Tupac if she passed, you know what I'm saying. But

145
00:08:52,800 --> 00:08:56,000
Speaker 1: since she lived, you know, she's got to this level

146
00:08:56,040 --> 00:08:59,240
Speaker 1: of icon that just Tupac's death and the mystery around

147
00:08:59,240 --> 00:09:02,640
Speaker 1: it like created a lot of the mythology. But like

148
00:09:03,320 --> 00:09:06,600
Speaker 1: the reality is there were no to human beings more

149
00:09:07,360 --> 00:09:13,040
Speaker 1: physically gorgeous, you know what I'm saying. So the relationship

150
00:09:13,120 --> 00:09:15,560
Speaker 1: not not only that it's like star studded, It's like

151
00:09:15,960 --> 00:09:18,840
Speaker 1: there's like these like deep cuts, like hell q Tip

152
00:09:18,880 --> 00:09:21,360
Speaker 1: from a tribe called Quest dies in the first scene,

153
00:09:21,480 --> 00:09:23,360
Speaker 1: you know what I'm saying. So it's like these are

154
00:09:23,640 --> 00:09:30,280
Speaker 1: stars for like Black America. Like again, I can't overstate this.

155
00:09:30,280 --> 00:09:33,960
Speaker 1: This movie is star studded for like a preteen black kid,

156
00:09:34,080 --> 00:09:36,760
Speaker 1: you know. So, which was why doing this pot is

157
00:09:36,800 --> 00:09:39,800
Speaker 1: so it's gonna be so painful for me because you

158
00:09:39,880 --> 00:09:43,240
Speaker 1: just want to protect you know, the emotional tie I

159
00:09:43,320 --> 00:09:46,920
Speaker 1: have to it. Yeah, Yeah, I mean it's like the

160
00:09:46,920 --> 00:09:52,520
Speaker 1: the emotional tie is immortal, is Yeah, yeah, Jamie, what

161
00:09:52,559 --> 00:09:56,080
Speaker 1: about you? What's your history with it? UM? I've seen

162
00:09:56,120 --> 00:09:58,800
Speaker 1: this movie before. I hadn't seen it in a long time.

163
00:09:58,880 --> 00:10:03,120
Speaker 1: I remember watching this movie view with friends in high school.

164
00:10:03,200 --> 00:10:06,840
Speaker 1: I think this was the first John Singleton movie I

165
00:10:06,920 --> 00:10:08,920
Speaker 1: ever saw, which I don't know if that's like you,

166
00:10:09,040 --> 00:10:11,360
Speaker 1: But I saw this and then I saw Boys in

167
00:10:11,400 --> 00:10:14,760
Speaker 1: the Hood later, which I know is like chronologically out

168
00:10:14,760 --> 00:10:19,360
Speaker 1: of order. But I really liked the movie because any

169
00:10:19,440 --> 00:10:22,760
Speaker 1: movie where there was a girl as a protagonist, especially

170
00:10:22,800 --> 00:10:24,079
Speaker 1: if I knew who it was, I was like, oh,

171
00:10:24,160 --> 00:10:27,400
Speaker 1: Jedi Jackson, this is great, And I really I really

172
00:10:27,440 --> 00:10:30,040
Speaker 1: liked it UM. And then but I haven't, like, I

173
00:10:30,080 --> 00:10:32,520
Speaker 1: haven't gone back to it in in a long time,

174
00:10:32,760 --> 00:10:37,320
Speaker 1: and I mean, there's definitely stuff to talk about. And

175
00:10:37,360 --> 00:10:41,760
Speaker 1: I also that the history and the um the way

176
00:10:41,800 --> 00:10:44,560
Speaker 1: that this movie I just didn't really kind of I

177
00:10:44,559 --> 00:10:49,360
Speaker 1: didn't know like the chronology of John Singleton's UM like movies,

178
00:10:49,440 --> 00:10:53,160
Speaker 1: and how this movie was made kind of in reaction

179
00:10:53,240 --> 00:10:56,120
Speaker 1: to feedback he got from having made Boys in the Hood,

180
00:10:56,200 --> 00:11:00,480
Speaker 1: and just the conversation happening around the movie UM is

181
00:11:00,600 --> 00:11:03,719
Speaker 1: just as interesting as as the movie itself. So I'm

182
00:11:03,920 --> 00:11:06,080
Speaker 1: I'm excited to talk about it. Yeah, it's been I

183
00:11:06,160 --> 00:11:08,440
Speaker 1: think at least ten years since I've seen it. What

184
00:11:08,520 --> 00:11:11,280
Speaker 1: about you, Caitlin. This is one that I had never

185
00:11:11,320 --> 00:11:15,680
Speaker 1: seen before, so I was excited to watch it for

186
00:11:15,720 --> 00:11:18,760
Speaker 1: the first time. I was also very caught off guard

187
00:11:18,800 --> 00:11:21,080
Speaker 1: when the first face you see in the movie is

188
00:11:21,120 --> 00:11:25,240
Speaker 1: Billy Zanes, and I was like, I know, Billy Zane cameo.

189
00:11:25,360 --> 00:11:32,200
Speaker 1: You're just like it's going. It was a bit jarring.

190
00:11:32,360 --> 00:11:34,760
Speaker 1: I always love to see Billy's Ane, but it's Billy

191
00:11:34,840 --> 00:11:38,679
Speaker 1: Zane and Lori Petty right, It's pretty I remember seeing

192
00:11:38,679 --> 00:11:43,359
Speaker 1: it in the theaters being like, what are they going, Oh,

193
00:11:43,400 --> 00:11:46,760
Speaker 1: it's a movie within a movie. It's a good bait

194
00:11:46,840 --> 00:11:49,760
Speaker 1: and switch. I forgot. I completely forgot that it opens

195
00:11:49,800 --> 00:11:53,360
Speaker 1: that way and it starts with like, correct me if

196
00:11:53,360 --> 00:11:56,360
Speaker 1: I'm wrong. It felt like, uh, like kind of bizarre

197
00:11:56,360 --> 00:11:59,720
Speaker 1: Woody Allen reference at the beginning, because they're like playing

198
00:12:00,240 --> 00:12:03,880
Speaker 1: Rhapsody and Blue over like the city Escape, and you're like, oh,

199
00:12:03,920 --> 00:12:06,240
Speaker 1: this is huh what is happening? And then it's Billy

200
00:12:06,320 --> 00:12:10,360
Speaker 1: Zane And then the movie started and you see like

201
00:12:10,559 --> 00:12:14,360
Speaker 1: the marquis for the movie at like the drive in

202
00:12:14,679 --> 00:12:16,680
Speaker 1: that they're out and in the name of the movie

203
00:12:17,040 --> 00:12:22,360
Speaker 1: is Deadly Diva or something like that, which is a

204
00:12:22,440 --> 00:12:25,800
Speaker 1: play on Sem Fei Tao obviously, which is a is

205
00:12:25,880 --> 00:12:27,920
Speaker 1: the title of a movie that Billy Zane was in

206
00:12:28,000 --> 00:12:31,120
Speaker 1: a couple of years earlier. So I did not know

207
00:12:31,160 --> 00:12:36,480
Speaker 1: that quite an easter egg. I liked that, um, that Justice.

208
00:12:37,000 --> 00:12:38,760
Speaker 1: It's going to be so hard for me to not

209
00:12:38,800 --> 00:12:43,000
Speaker 1: just say Janet Jackson that Justice. Um in that first

210
00:12:43,000 --> 00:12:46,319
Speaker 1: scene is like, this movie is really good. I was like, Oh,

211
00:12:46,400 --> 00:12:50,920
Speaker 1: it isn't she's talking about But Billy Zane isn't it?

212
00:12:51,040 --> 00:12:54,520
Speaker 1: So it's amazing. So in a way, she's completely right.

213
00:12:56,080 --> 00:12:58,040
Speaker 1: But anyway, yeah, I hadn't seen this movie. I was

214
00:12:58,080 --> 00:13:02,000
Speaker 1: excited to see it, and I'm excited. Who talk about it?

215
00:13:02,720 --> 00:13:07,240
Speaker 1: So should we get into the recap and go from there? Yeah,

216
00:13:07,559 --> 00:13:10,280
Speaker 1: and prop jump in whenever for the recap. The recap

217
00:13:10,440 --> 00:13:15,360
Speaker 1: is open seasons. It is so we like I said,

218
00:13:15,559 --> 00:13:19,240
Speaker 1: see Billy Zane and Lori Petty. It's revealed that they

219
00:13:19,240 --> 00:13:23,880
Speaker 1: are characters in a movie that Justice. Janet Jackson and

220
00:13:24,000 --> 00:13:28,000
Speaker 1: her boyfriend Marquel are watching at a drive in movie

221
00:13:28,040 --> 00:13:31,880
Speaker 1: theater in South central l A. But during the movie,

222
00:13:32,080 --> 00:13:35,320
Speaker 1: Marquel is shot and killed by a couple of guys

223
00:13:35,400 --> 00:13:39,240
Speaker 1: he had had some conflict with a few days prior there.

224
00:13:39,679 --> 00:13:42,440
Speaker 1: Let me let me jump in here. Uh, there's there's

225
00:13:42,440 --> 00:13:45,440
Speaker 1: some there's some like hood Easter eggs in this too

226
00:13:45,720 --> 00:13:48,319
Speaker 1: is like so obviously it opens once upon a time

227
00:13:48,320 --> 00:13:52,280
Speaker 1: in South central l A. The drive ins in Compton. Though,

228
00:13:53,040 --> 00:13:59,200
Speaker 1: so there's like hood shit happening because if you at

229
00:13:59,200 --> 00:14:02,280
Speaker 1: the time, if you're from south central, we have no

230
00:14:02,360 --> 00:14:04,920
Speaker 1: business going down to content, you know what I'm saying,

231
00:14:05,000 --> 00:14:08,640
Speaker 1: because like unless you know somebody down there, you shouldn't

232
00:14:08,640 --> 00:14:11,920
Speaker 1: be down there, you know what I'm saying. So but look,

233
00:14:12,040 --> 00:14:14,160
Speaker 1: everybody on a date, you ain't worried about it. He

234
00:14:14,200 --> 00:14:16,000
Speaker 1: probably forgot about the thing, you know what I'm saying.

235
00:14:16,000 --> 00:14:17,640
Speaker 1: And you see him looking in the mirror. Like there

236
00:14:17,640 --> 00:14:20,880
Speaker 1: were scenes in that that were so triggering is not

237
00:14:21,000 --> 00:14:24,920
Speaker 1: the word, but very familiar, you know what I mean.

238
00:14:25,040 --> 00:14:27,200
Speaker 1: So like that's the type of stuff that like if

239
00:14:27,200 --> 00:14:29,640
Speaker 1: you from for us, why this part of this movie

240
00:14:29,680 --> 00:14:32,720
Speaker 1: was so iconic. It makes you know the directors from

241
00:14:32,760 --> 00:14:37,760
Speaker 1: here because those things are like, Okay, yeah, that's that,

242
00:14:37,760 --> 00:14:40,080
Speaker 1: that's what would happen, because he wouldn't get shot in

243
00:14:40,120 --> 00:14:42,760
Speaker 1: his own hood, like, nobody would do that, and from

244
00:14:42,760 --> 00:14:44,920
Speaker 1: South Central one would do that. In South Central you

245
00:14:44,960 --> 00:14:46,520
Speaker 1: are you are on the other side of town, you know,

246
00:14:46,560 --> 00:14:49,280
Speaker 1: you further south. So that's a it's a just an

247
00:14:49,320 --> 00:14:52,160
Speaker 1: interesting like moment. And then again it's cu Tip from

248
00:14:52,160 --> 00:14:56,520
Speaker 1: a tribe called quest Like and I'm going, I'm at

249
00:14:56,560 --> 00:14:58,520
Speaker 1: the age when this movie is coming out that I'm

250
00:14:58,560 --> 00:15:01,520
Speaker 1: like falling in of with turns out what I'm gonna

251
00:15:01,520 --> 00:15:03,160
Speaker 1: do for the rest of my life. So I'm falling

252
00:15:03,160 --> 00:15:05,720
Speaker 1: in love with hip hop, you know. So to see

253
00:15:06,280 --> 00:15:09,240
Speaker 1: Tip in a movie, I was like, wait, rappers, can

254
00:15:10,120 --> 00:15:13,360
Speaker 1: you can be in movies? And I knew Tupac was

255
00:15:13,440 --> 00:15:18,320
Speaker 1: the star, but he don't count Tupac already in the stratosphere.

256
00:15:18,360 --> 00:15:23,520
Speaker 1: He's gone. But like I was like, but this, but Tip, okay,

257
00:15:23,840 --> 00:15:29,160
Speaker 1: he got to kiss you Jackson, you know, yeah, and

258
00:15:29,160 --> 00:15:31,680
Speaker 1: and and there and everyone is good in this movie too.

259
00:15:31,760 --> 00:15:35,240
Speaker 1: It's like whenever that the musician to actor pipeline is

260
00:15:35,240 --> 00:15:37,880
Speaker 1: not effective, but in this movie, I feel like it

261
00:15:38,360 --> 00:15:44,120
Speaker 1: very much works. Yes for sure. Yeah. So after the

262
00:15:44,160 --> 00:15:49,120
Speaker 1: death of Marquel, some time passes, Justice writes poetry to

263
00:15:49,720 --> 00:15:52,840
Speaker 1: help her cope with her grief and to just generally

264
00:15:52,880 --> 00:15:56,280
Speaker 1: make sense of the world. But it's all Maya Angelou

265
00:15:56,440 --> 00:16:00,040
Speaker 1: poetry that is happening throughout the movie, and some of

266
00:16:00,040 --> 00:16:02,640
Speaker 1: it like I don't know. I was like, maybe I

267
00:16:02,680 --> 00:16:06,120
Speaker 1: just didn't know a lot of her poetry when I

268
00:16:06,120 --> 00:16:07,480
Speaker 1: saw this the first time, But now I was like,

269
00:16:07,560 --> 00:16:12,040
Speaker 1: oh wait, wait, that's it's a phenomenal woman. I know,

270
00:16:14,520 --> 00:16:17,080
Speaker 1: but it's so I mean, it weaves in so seamlessly.

271
00:16:17,160 --> 00:16:19,520
Speaker 1: It's yeah, And I feel like that's a really good

272
00:16:19,600 --> 00:16:23,560
Speaker 1: choice by John Singleton to to just like go to

273
00:16:23,680 --> 00:16:27,040
Speaker 1: the master and not be like, let's see how this goes,

274
00:16:27,280 --> 00:16:31,320
Speaker 1: because yeah, and it's like it's almost like it's like

275
00:16:31,480 --> 00:16:35,720
Speaker 1: feminism for his time, because I don't know who's more

276
00:16:35,720 --> 00:16:38,000
Speaker 1: who's more iconic than my Angelo, like you know what

277
00:16:38,040 --> 00:16:40,800
Speaker 1: I'm saying. And to say that that's the driving voice

278
00:16:40,800 --> 00:16:43,440
Speaker 1: of this film, I guess in ninety one you could

279
00:16:43,480 --> 00:16:45,120
Speaker 1: be like this is feminism, you know what I mean

280
00:16:45,680 --> 00:16:50,360
Speaker 1: I mean by yeah, by by just like including women's

281
00:16:50,440 --> 00:16:52,920
Speaker 1: voices at all as a male writer write about women.

282
00:16:52,960 --> 00:16:55,640
Speaker 1: It's like the bar is low, but that's not nothing.

283
00:16:55,880 --> 00:16:59,520
Speaker 1: And her poetry, and I was also just like so

284
00:17:00,200 --> 00:17:07,120
Speaker 1: psyched at her at her cameo later in the aunt

285
00:17:07,200 --> 00:17:11,760
Speaker 1: June and then so we hear this poetry as voiceover

286
00:17:11,880 --> 00:17:14,960
Speaker 1: throughout the entire movie. It kind of comes in and out.

287
00:17:15,960 --> 00:17:21,520
Speaker 1: Um professionally, Justice is a hairstylist. Aisha played by Regina

288
00:17:21,600 --> 00:17:26,080
Speaker 1: King is one of Justice's clients and best friend. The

289
00:17:26,400 --> 00:17:31,520
Speaker 1: salon owner, Jesse played by Tyra Farrell, asks Justice when

290
00:17:31,560 --> 00:17:34,800
Speaker 1: she's gonna get over Marquel and find herself a good

291
00:17:34,800 --> 00:17:40,040
Speaker 1: man as if on cue a postman. Lucky that's Tupac

292
00:17:40,680 --> 00:17:44,960
Speaker 1: enters the salon, flirts with Justice, but she kind of

293
00:17:45,000 --> 00:17:48,760
Speaker 1: works with him and he's like, never mind. And then

294
00:17:49,240 --> 00:17:54,760
Speaker 1: Lucky's friend Chicago played by Joe Torrey, asks him to

295
00:17:55,119 --> 00:17:59,600
Speaker 1: come along on a drive to Oakland. He's bringing his girlfriend,

296
00:18:00,119 --> 00:18:02,480
Speaker 1: so Lucky asks if he can hook him up with

297
00:18:02,840 --> 00:18:06,640
Speaker 1: one of Chicago's girlfriend's friends. Right here, real quick. Again,

298
00:18:06,680 --> 00:18:10,080
Speaker 1: another like uh thing that the rest of us are

299
00:18:10,080 --> 00:18:16,080
Speaker 1: catching is like again, okay, obviously, Regina King becomes the

300
00:18:16,119 --> 00:18:19,159
Speaker 1: Regina King we all know now, but at the time,

301
00:18:19,440 --> 00:18:23,120
Speaker 1: at least for our community. Again, she's already a star,

302
00:18:23,880 --> 00:18:26,040
Speaker 1: you know, so she was, you know, she had the

303
00:18:26,200 --> 00:18:29,320
Speaker 1: two to seven, a little sitcom when she was she

304
00:18:29,359 --> 00:18:31,640
Speaker 1: was a little girl. And then Joe Torre was like

305
00:18:31,760 --> 00:18:34,640
Speaker 1: the host of Comic View and like deaf comedy jam.

306
00:18:34,680 --> 00:18:39,399
Speaker 1: So these dudes, Like again, it was like this movie

307
00:18:39,480 --> 00:18:43,560
Speaker 1: is so stacked, you know, and like and I can't

308
00:18:43,600 --> 00:18:45,920
Speaker 1: get over. Like that was one thing that like, now

309
00:18:46,000 --> 00:18:49,159
Speaker 1: as an adult looking back at it, I was like, dang, John,

310
00:18:49,160 --> 00:18:51,400
Speaker 1: he broke the bank for this thing, man, because this

311
00:18:51,400 --> 00:18:54,560
Speaker 1: this mug is stacked, right. And then the second thing

312
00:18:54,720 --> 00:18:58,240
Speaker 1: I was thinking about two is like, now looking back,

313
00:18:58,400 --> 00:19:02,000
Speaker 1: I'm like, Pockets supposed used to be our Lucky's character

314
00:19:02,160 --> 00:19:05,080
Speaker 1: is supposed to be he's one of the good ones.

315
00:19:05,840 --> 00:19:08,439
Speaker 1: And I'm like, and that's the juxtaposition because again the

316
00:19:08,480 --> 00:19:12,000
Speaker 1: bars low he's got a job, you know what I'm saying,

317
00:19:12,280 --> 00:19:15,399
Speaker 1: He wants to take care of his kids. He sees

318
00:19:15,440 --> 00:19:17,840
Speaker 1: the gangster dudes doing the thing, he's choosing to do

319
00:19:17,960 --> 00:19:20,720
Speaker 1: something else, you know what I'm saying. So you're supposed

320
00:19:20,760 --> 00:19:25,239
Speaker 1: to see him as not as toxic as all the

321
00:19:25,280 --> 00:19:27,760
Speaker 1: other Now I'm just like I look at him now

322
00:19:27,760 --> 00:19:30,040
Speaker 1: and I'm just like this the bare minimum bat like.

323
00:19:30,240 --> 00:19:33,160
Speaker 1: But but at the time I was like, yeah, man, Luck,

324
00:19:33,200 --> 00:19:38,240
Speaker 1: you're good dude, you know. Yeah, well, I mean he

325
00:19:38,480 --> 00:19:41,399
Speaker 1: that that comes up pretty early in the movie too,

326
00:19:41,440 --> 00:19:44,439
Speaker 1: that like he's he's a father and he takes his

327
00:19:44,760 --> 00:19:48,320
Speaker 1: kid out of like a really toxic situation at home

328
00:19:48,400 --> 00:19:51,760
Speaker 1: and goes home with his mom. Yeah, yeah, that's what

329
00:19:51,880 --> 00:19:55,919
Speaker 1: happens next. But he negs women every step of the

330
00:19:55,920 --> 00:20:01,720
Speaker 1: way the whole time, like every you got something to say.

331
00:20:03,600 --> 00:20:07,919
Speaker 1: We also learned about his musical aspirations. He one of

332
00:20:07,920 --> 00:20:10,600
Speaker 1: the reasons he wants to go to Oakland. They're on

333
00:20:10,640 --> 00:20:15,320
Speaker 1: like a postal service run. But he also intends to

334
00:20:15,359 --> 00:20:19,400
Speaker 1: meet up with his cousin Khalil, because they're both aspiring

335
00:20:19,600 --> 00:20:25,040
Speaker 1: musicians who like collaborate on different things. Meanwhile, it turns

336
00:20:25,119 --> 00:20:29,760
Speaker 1: out that Aisha is the one who is dating Chicago

337
00:20:30,240 --> 00:20:34,639
Speaker 1: So and when he asks if she knows anyone who

338
00:20:35,119 --> 00:20:38,640
Speaker 1: like she can hook Lucky up with, she's like, oh yeah,

339
00:20:38,720 --> 00:20:43,120
Speaker 1: my friend Justice. Hey, Justice, take this drive with us.

340
00:20:43,240 --> 00:20:46,480
Speaker 1: And she's like no thanks, But she ends up going

341
00:20:46,520 --> 00:20:51,280
Speaker 1: anyway because she and Jesse have a hair show in

342
00:20:51,400 --> 00:20:54,160
Speaker 1: Oakland and her car won't start, so she's like, well,

343
00:20:54,240 --> 00:20:56,240
Speaker 1: I guess I'll get a ride in this mail truck.

344
00:20:56,680 --> 00:20:58,600
Speaker 1: So when she shows up, she's like, wait a minute,

345
00:20:58,760 --> 00:21:03,000
Speaker 1: I recognize this guy, and so she and lucky. You're

346
00:21:03,000 --> 00:21:05,560
Speaker 1: both kind of like yea, you know, they have this

347
00:21:05,600 --> 00:21:08,960
Speaker 1: little history of like her him hitting on her, her

348
00:21:09,040 --> 00:21:12,000
Speaker 1: rejecting him, so they're like and then it turns into

349
00:21:12,040 --> 00:21:18,040
Speaker 1: this fun road movie. My sister is uh, quite a

350
00:21:18,080 --> 00:21:21,720
Speaker 1: few years outer than me, so she's actually at the time,

351
00:21:21,800 --> 00:21:25,320
Speaker 1: she's like the age of the characters, and so like

352
00:21:25,520 --> 00:21:29,080
Speaker 1: there's not one outfit that Justice is wearing that my

353
00:21:29,119 --> 00:21:31,040
Speaker 1: sister didn't have, you know what I mean, almost like

354
00:21:31,280 --> 00:21:33,000
Speaker 1: like this girl looks like my sister, you know, all

355
00:21:33,040 --> 00:21:35,000
Speaker 1: of the burning the edges of her braids, Like it's

356
00:21:35,040 --> 00:21:37,840
Speaker 1: like this is the way we lived, you know. And um,

357
00:21:37,880 --> 00:21:40,760
Speaker 1: but I remember asking my sister. I used to always

358
00:21:40,760 --> 00:21:44,840
Speaker 1: ask because like she always had these quick comebacks when

359
00:21:45,520 --> 00:21:47,000
Speaker 1: you know, guys were hitting on her. Since I was

360
00:21:47,040 --> 00:21:49,760
Speaker 1: so much younger, I was always her alibi. So I

361
00:21:49,800 --> 00:21:51,840
Speaker 1: went to so many things that I probably shouldn't have

362
00:21:51,840 --> 00:21:55,120
Speaker 1: gone to you because I was the alibi for her

363
00:21:55,160 --> 00:21:57,360
Speaker 1: to tell our parents, you know what I'm saying, Like,

364
00:21:57,720 --> 00:22:00,320
Speaker 1: you know, tell my mom where she was. Yeah, she

365
00:22:00,400 --> 00:22:02,920
Speaker 1: was just like oh, you know, like she would pick

366
00:22:02,960 --> 00:22:04,600
Speaker 1: me up from school and I'd be like, oh, thanks

367
00:22:04,600 --> 00:22:08,520
Speaker 1: for the right home. We'd end up somewhere in Burbank.

368
00:22:08,760 --> 00:22:11,119
Speaker 1: You know what I'm saying, at like some dude's house.

369
00:22:11,760 --> 00:22:13,840
Speaker 1: You know, they're breaking up bricks. You know what I'm saying,

370
00:22:13,880 --> 00:22:16,159
Speaker 1: Because she's hollering at the boy. You know, So I

371
00:22:16,240 --> 00:22:19,560
Speaker 1: was just her alibi, right, So anyway, UM like, hey,

372
00:22:19,600 --> 00:22:20,879
Speaker 1: you want to go get Jack in the box and

373
00:22:21,240 --> 00:22:24,160
Speaker 1: on jacket. But we'd stopped by seven other houses were jack.

374
00:22:24,359 --> 00:22:28,240
Speaker 1: The point is I was always in these like adult situations.

375
00:22:28,280 --> 00:22:30,399
Speaker 1: I probably shouldn't have been it, but I used to

376
00:22:30,440 --> 00:22:33,880
Speaker 1: always witness her shoot dudes down, and she would get

377
00:22:33,880 --> 00:22:37,240
Speaker 1: creative after a while and and like little things like

378
00:22:37,760 --> 00:22:39,840
Speaker 1: it was like hey, hey, hey, hey, hey, you got

379
00:22:39,920 --> 00:22:44,840
Speaker 1: a name? And she'd be like don't everybody? Or so

380
00:22:44,960 --> 00:22:46,600
Speaker 1: can I get your number? It's like you gotta get

381
00:22:46,600 --> 00:22:49,560
Speaker 1: your own. So she would like she was just super creative,

382
00:22:49,560 --> 00:22:52,080
Speaker 1: and I just remember thinking like, why are you so mean?

383
00:22:52,560 --> 00:22:54,240
Speaker 1: And that was because you know, I'm a little boy.

384
00:22:54,320 --> 00:22:56,760
Speaker 1: So I was just like, and I'm still nervous to

385
00:22:56,920 --> 00:23:00,919
Speaker 1: like walk up to like Yalanda Zalez and ask her

386
00:23:00,960 --> 00:23:02,840
Speaker 1: to dance, you know what I'm saying, Like, I'm still

387
00:23:02,880 --> 00:23:05,560
Speaker 1: just a nerd kids, So I'm just like, why are

388
00:23:05,600 --> 00:23:09,040
Speaker 1: you that would kill me if Yolanda said that to me,

389
00:23:09,400 --> 00:23:12,199
Speaker 1: Like I would never ask anyone ever, like why are

390
00:23:12,240 --> 00:23:15,400
Speaker 1: you so mean? You know? And she was just trying

391
00:23:15,440 --> 00:23:18,800
Speaker 1: to explain to me, like Jason, this happens every day

392
00:23:19,119 --> 00:23:22,879
Speaker 1: all the time. Every day She's like, fools, don't understand no,

393
00:23:23,200 --> 00:23:25,679
Speaker 1: like you just you And after a while it just

394
00:23:25,680 --> 00:23:28,160
Speaker 1: gets boring. So You're like, I'm just gonna entertain myself.

395
00:23:28,480 --> 00:23:31,199
Speaker 1: But at the time, I was like, Okay, dang, my

396
00:23:31,240 --> 00:23:35,240
Speaker 1: sister's mean, you know, so the way so the way

397
00:23:35,280 --> 00:23:38,320
Speaker 1: that she the way Justice just kept shutting his food down,

398
00:23:38,840 --> 00:23:41,439
Speaker 1: you know what I'm saying. I was like, no, wonder

399
00:23:41,480 --> 00:23:43,520
Speaker 1: he's so mad, you know what I'm saying. She just mean,

400
00:23:43,680 --> 00:23:47,280
Speaker 1: why are you so mean? You know? Not like I mean,

401
00:23:47,280 --> 00:23:49,800
Speaker 1: here had two sisters, I had another sister, same way.

402
00:23:49,840 --> 00:23:51,800
Speaker 1: But she used to just stare my other My other

403
00:23:51,800 --> 00:23:54,040
Speaker 1: sisters passed away. She was just staring dudes. They would

404
00:23:54,040 --> 00:23:55,959
Speaker 1: say stuff, she would just look at them, just silent.

405
00:23:56,640 --> 00:23:59,359
Speaker 1: That's the ultimate punishment too. I wish I had I

406
00:23:59,400 --> 00:24:01,680
Speaker 1: wish I had the Constitution to do any of this.

407
00:24:01,680 --> 00:24:06,480
Speaker 1: This sounds amazing. Dog, my sid they were cold, my sisters,

408
00:24:06,520 --> 00:24:11,360
Speaker 1: they were cold, say but like, and I honestly it

409
00:24:11,440 --> 00:24:17,159
Speaker 1: wasn't until adulthood that I really understood like you, oh

410
00:24:17,160 --> 00:24:20,920
Speaker 1: oh you just because I was like, dog, I would

411
00:24:20,920 --> 00:24:22,720
Speaker 1: be crushed. I mean if I said this to me,

412
00:24:23,200 --> 00:24:26,520
Speaker 1: you know. But I'm also not going like, I'm not

413
00:24:26,560 --> 00:24:29,800
Speaker 1: doing that either. I'm saying so probably why nobody's saying

414
00:24:29,800 --> 00:24:35,439
Speaker 1: it to me makes a difference. Yes, oh yeah, she's

415
00:24:35,560 --> 00:24:44,840
Speaker 1: just reacting to being constantly harassed basically. Um So that's

416
00:24:44,840 --> 00:24:48,080
Speaker 1: what happens. For the first chunk of this trip where

417
00:24:48,080 --> 00:24:51,040
Speaker 1: they set off on this drive to Oakland, Justice and

418
00:24:51,160 --> 00:24:54,679
Speaker 1: Lucky do not get along. He's like, why are you

419
00:24:54,680 --> 00:24:56,879
Speaker 1: so quiet? Why are you so mean? You're so stuck up?

420
00:24:56,960 --> 00:24:59,440
Speaker 1: And then he calls her a bit several times. They

421
00:24:59,440 --> 00:25:03,040
Speaker 1: get into a screaming match, which results in Justice getting

422
00:25:03,040 --> 00:25:05,000
Speaker 1: out of the mail truck in the middle of nowhere.

423
00:25:05,359 --> 00:25:08,359
Speaker 1: Lucky drives off, but Aisha is like, do you have

424
00:25:08,400 --> 00:25:10,160
Speaker 1: to stop and go back and pick up my friends?

425
00:25:10,200 --> 00:25:12,320
Speaker 1: What are you gonna do? They're like hours away, and

426
00:25:12,359 --> 00:25:14,440
Speaker 1: I was like, oh no, that was clearly the grape vine.

427
00:25:14,520 --> 00:25:16,360
Speaker 1: If you're from l A, You're like, that's the grape

428
00:25:19,240 --> 00:25:21,800
Speaker 1: There's nothing there. Don't get out the car there and

429
00:25:21,880 --> 00:25:24,159
Speaker 1: no one's gonna no one's gonna drive by for a while,

430
00:25:24,480 --> 00:25:27,960
Speaker 1: no one's gonna see Yeah, So they go back and

431
00:25:28,000 --> 00:25:31,679
Speaker 1: get her. Justice eventually gets back in. They make a

432
00:25:31,760 --> 00:25:36,960
Speaker 1: stop where Chicago and Lucky talk about women in relationships,

433
00:25:37,040 --> 00:25:40,879
Speaker 1: Justice and Asia talk about men. This is what again.

434
00:25:40,960 --> 00:25:44,800
Speaker 1: John Singleton's brilliance is like he sneaks in an amazing

435
00:25:45,680 --> 00:25:48,920
Speaker 1: socio cultural lesson in the same way Boys in the

436
00:25:49,000 --> 00:25:53,120
Speaker 1: Hood has this like one moment about gentrification that's like

437
00:25:53,640 --> 00:25:56,560
Speaker 1: so iconic where Lawrence Fishburn is teaching them about ownership

438
00:25:56,560 --> 00:25:59,040
Speaker 1: and like gentrification and stuff like that. In this moment,

439
00:25:59,040 --> 00:26:01,400
Speaker 1: they're just at this your store and she's like, yo,

440
00:26:01,440 --> 00:26:04,280
Speaker 1: where the oldie that's like old English like malt liquor.

441
00:26:04,960 --> 00:26:07,400
Speaker 1: Justice is like, oh, they don't sell that outside the hood,

442
00:26:08,160 --> 00:26:10,960
Speaker 1: And it's like that just quick, like you know what

443
00:26:10,960 --> 00:26:14,280
Speaker 1: I'm saying that quick like ha, like this just he

444
00:26:14,280 --> 00:26:18,159
Speaker 1: he just sneaks these like singers in, you know what

445
00:26:18,200 --> 00:26:20,280
Speaker 1: I'm saying that are a part of the story. So

446
00:26:20,440 --> 00:26:23,640
Speaker 1: you don't feel like you're being preached at you know, yeah,

447
00:26:24,000 --> 00:26:29,000
Speaker 1: totally yeah. And then they leave from that little rest

448
00:26:29,040 --> 00:26:32,760
Speaker 1: stop or whatever, and then they're driving again, they smell

449
00:26:32,880 --> 00:26:37,400
Speaker 1: some barbecue. They realize it's coming from the Johnson family

450
00:26:37,440 --> 00:26:41,360
Speaker 1: reunion and they're like, oh, let's stop and see if

451
00:26:41,359 --> 00:26:46,160
Speaker 1: we can get some food. Um, which works. They mistake

452
00:26:46,240 --> 00:26:51,280
Speaker 1: them for being part of this family and then beat

453
00:26:52,600 --> 00:26:55,600
Speaker 1: This is my favorite scene in the movie by far.

454
00:26:55,960 --> 00:27:00,680
Speaker 1: I loved this family reunion. UM. During this time, also

455
00:27:00,800 --> 00:27:04,240
Speaker 1: Justice and Lucky chat a bit. They start to find

456
00:27:04,320 --> 00:27:09,240
Speaker 1: some common ground. Then Aisha and Chicago get in a

457
00:27:09,359 --> 00:27:13,320
Speaker 1: huge fight. They have to leave the family reunion and

458
00:27:13,359 --> 00:27:16,800
Speaker 1: get back on the road. Justice calls Aisha out for

459
00:27:16,840 --> 00:27:21,840
Speaker 1: her alcohol abuse. They then make another stop at an

460
00:27:21,880 --> 00:27:27,320
Speaker 1: African cultural fair. Justice and Lucky keep warming up to

461
00:27:27,440 --> 00:27:32,240
Speaker 1: each other. Meanwhile, Aisha and Chicago's relationship is falling apart.

462
00:27:32,560 --> 00:27:36,280
Speaker 1: I think it really like speaks to the pacing that

463
00:27:36,920 --> 00:27:39,959
Speaker 1: John Singleton is able to achieve here, where like by

464
00:27:40,000 --> 00:27:41,399
Speaker 1: the time they got to the fair, I was like,

465
00:27:41,760 --> 00:27:46,680
Speaker 1: this is all happening in one day day, like, which

466
00:27:46,720 --> 00:27:49,200
Speaker 1: makes sense for that drive, but I was like, it's

467
00:27:49,320 --> 00:27:53,000
Speaker 1: just paste so like methodically of like whatever you can

468
00:27:53,000 --> 00:27:55,240
Speaker 1: tell kind of early it's like, Oh, Janet Jackson is

469
00:27:55,280 --> 00:27:57,919
Speaker 1: going to she's going to fix him, She's going to

470
00:27:58,000 --> 00:28:00,200
Speaker 1: change him to it too, or that's where it seems

471
00:28:00,240 --> 00:28:03,840
Speaker 1: like it's going and it happens in the day and

472
00:28:03,920 --> 00:28:07,320
Speaker 1: it's like again, it's it's stupid. I just I just

473
00:28:07,400 --> 00:28:10,159
Speaker 1: bleed Los Angeles or California. So I just noticed this

474
00:28:10,200 --> 00:28:13,520
Speaker 1: type stuff that they chose to take pH rather than

475
00:28:13,560 --> 00:28:17,720
Speaker 1: the five. Yeah, and it's like three hours longer to

476
00:28:17,840 --> 00:28:20,040
Speaker 1: go a pH. So it's like, this is the worst

477
00:28:20,040 --> 00:28:22,840
Speaker 1: way to go, you know, in your mail carriers. Don't

478
00:28:22,840 --> 00:28:25,000
Speaker 1: you know that? You know? But how you going to

479
00:28:25,080 --> 00:28:28,600
Speaker 1: have like the iconic like beach scenes because you're definitely

480
00:28:28,640 --> 00:28:31,639
Speaker 1: not going to get like a Pan African festival, you

481
00:28:31,640 --> 00:28:34,680
Speaker 1: know what I'm saying going through Fresno. Yeah, you know

482
00:28:35,320 --> 00:28:39,280
Speaker 1: it's dairy farms, you know. So I get it that

483
00:28:39,360 --> 00:28:40,920
Speaker 1: you had to do that for the look, but yeah,

484
00:28:41,040 --> 00:28:43,760
Speaker 1: like you don't hit you until, like you said that,

485
00:28:43,760 --> 00:28:47,520
Speaker 1: you're like, wait, this was a day, you know, like

486
00:28:47,520 --> 00:28:50,200
Speaker 1: a lesser writer could have really made it feel like

487
00:28:50,240 --> 00:28:53,480
Speaker 1: a day. But it just like everyone does go through

488
00:28:53,520 --> 00:28:55,960
Speaker 1: like some manner of an arc in the space of

489
00:28:56,320 --> 00:29:01,040
Speaker 1: like whatever ten am to eight at night. I also

490
00:29:01,120 --> 00:29:04,080
Speaker 1: love how Lucky keeps being like we have a schedule

491
00:29:04,200 --> 00:29:06,240
Speaker 1: to stick to, we have to like we gotta get

492
00:29:06,240 --> 00:29:10,200
Speaker 1: there at a certain time, so let's take the PC

493
00:29:09,840 --> 00:29:17,200
Speaker 1: and three hours to the drive. Yes, it's ridiculous goodness.

494
00:29:17,320 --> 00:29:22,880
Speaker 1: So these relationships are these dynamics are changing Chicago and

495
00:29:22,920 --> 00:29:28,920
Speaker 1: Aisha's relationship is falling apart. Chicago hits Aisha and there's

496
00:29:29,400 --> 00:29:33,600
Speaker 1: some violence there. So they leave Chicago behind. They're like,

497
00:29:33,680 --> 00:29:38,200
Speaker 1: fuck you dude. He lenges a justice as well, doesn't he. Yeah, yeah,

498
00:29:38,320 --> 00:29:40,080
Speaker 1: that's what said Lucky off to be like all right,

499
00:29:40,120 --> 00:29:41,520
Speaker 1: because at first he was like, it has none of

500
00:29:41,560 --> 00:29:44,120
Speaker 1: my business, you know, and it's like just when you're

501
00:29:44,120 --> 00:29:47,080
Speaker 1: ready to like like Lucky, yeah, and then he's like,

502
00:29:47,200 --> 00:29:50,360
Speaker 1: I'm not gonna jump, not gonna intervene when a woman

503
00:29:50,520 --> 00:29:54,760
Speaker 1: is being by your friends. Yeah. It's so crazy because

504
00:29:54,800 --> 00:29:58,120
Speaker 1: it's like and then now I'm being generous here, but

505
00:29:58,240 --> 00:30:02,480
Speaker 1: it's like in something just he's like that fool's my coworker.

506
00:30:03,080 --> 00:30:06,520
Speaker 1: We just get along like we're not wait really homies,

507
00:30:06,640 --> 00:30:09,719
Speaker 1: Like this is funny? Is my friend freeds a work friend?

508
00:30:10,440 --> 00:30:14,040
Speaker 1: You know? And again I'm obviously I don't feel like this,

509
00:30:14,120 --> 00:30:17,640
Speaker 1: but he's like, I Usha is mouthy. She is kind

510
00:30:17,640 --> 00:30:21,280
Speaker 1: of like berating him at a level. Well, I probably

511
00:30:21,320 --> 00:30:23,560
Speaker 1: obviously I wouldn't date somebody that toxic or be in

512
00:30:23,560 --> 00:30:26,600
Speaker 1: a relationship that toxic already. But the point is is like,

513
00:30:27,680 --> 00:30:31,400
Speaker 1: rather than crying, which is what any other well processed

514
00:30:31,480 --> 00:30:34,240
Speaker 1: human would do, at that moment, he decides to hit her,

515
00:30:34,600 --> 00:30:37,920
Speaker 1: you know, and then when he lunches at justice is

516
00:30:37,960 --> 00:30:41,800
Speaker 1: when yeah, he jumps in. But I I I remember

517
00:30:41,840 --> 00:30:47,320
Speaker 1: feeling like Regina King is the most familiar character in

518
00:30:47,400 --> 00:30:50,760
Speaker 1: this in the way that she's playing it, because again,

519
00:30:50,760 --> 00:30:52,480
Speaker 1: it's one of those things where you're like, oh, you're

520
00:30:52,520 --> 00:30:55,880
Speaker 1: really from here, like you're really from Los Angeles, and

521
00:30:55,920 --> 00:30:59,000
Speaker 1: I can tell you know, Janet, it's kind of hard

522
00:30:59,040 --> 00:31:02,440
Speaker 1: to suspend really because we're like, well, you're a Jackson, right,

523
00:31:02,760 --> 00:31:06,080
Speaker 1: you know what I'm saying, Like, yeah, you know you

524
00:31:06,080 --> 00:31:10,959
Speaker 1: were Michael Jackson's little sister, Like how I can't you

525
00:31:11,000 --> 00:31:14,040
Speaker 1: didn't go to Crunshaw High, Like I know you didn't,

526
00:31:14,080 --> 00:31:16,480
Speaker 1: So it's kind of hard. You played the hell out

527
00:31:16,480 --> 00:31:18,400
Speaker 1: of that role. But it's kind of hard like Regina,

528
00:31:18,480 --> 00:31:23,240
Speaker 1: you like naht and vernth like I know you from here,

529
00:31:23,600 --> 00:31:25,960
Speaker 1: you know, I'm saying. So the way that she was

530
00:31:26,040 --> 00:31:29,200
Speaker 1: just like got dog, the way she was tearing that

531
00:31:29,320 --> 00:31:32,720
Speaker 1: food down, you know what I'm saying, and uh it

532
00:31:32,800 --> 00:31:37,000
Speaker 1: to me, it just it's just highlighted, like to get bigger,

533
00:31:37,200 --> 00:31:40,440
Speaker 1: to get like more meta. Here, just highlighted just how

534
00:31:40,480 --> 00:31:43,840
Speaker 1: you guys talk about intersectional like what interlocking systems of

535
00:31:43,840 --> 00:31:50,520
Speaker 1: injustice does, how institutionalized racism, how it eventually trickles down

536
00:31:51,080 --> 00:31:55,240
Speaker 1: to us hating each other, you know what I'm saying,

537
00:31:55,360 --> 00:31:59,640
Speaker 1: and never having the space to process that hate, and

538
00:31:59,720 --> 00:32:04,240
Speaker 1: it turns into clear and evident domestic violence, you know

539
00:32:04,280 --> 00:32:08,640
Speaker 1: what I'm saying. So much so that again within our community,

540
00:32:08,640 --> 00:32:10,800
Speaker 1: there's one thing, there's one thing that black people learn,

541
00:32:11,080 --> 00:32:12,840
Speaker 1: especially when you grow up the way I grow up

542
00:32:13,280 --> 00:32:17,400
Speaker 1: is mind your fucking business, Joe saying, like you look,

543
00:32:17,640 --> 00:32:19,360
Speaker 1: I hear what's going on over there. We don't call

544
00:32:19,400 --> 00:32:21,760
Speaker 1: the police. Where I'm from, police mess around, shoot me.

545
00:32:22,240 --> 00:32:24,160
Speaker 1: I'm the one that called. They go, so we don't

546
00:32:24,200 --> 00:32:26,240
Speaker 1: call it. You stay out of their business. They stay

547
00:32:26,240 --> 00:32:28,200
Speaker 1: out of mind. We don't know what they got going on,

548
00:32:28,600 --> 00:32:29,840
Speaker 1: you know what I'm saying. And most of the time

549
00:32:29,880 --> 00:32:32,480
Speaker 1: it's for better or for worse, you know, but like look,

550
00:32:32,480 --> 00:32:35,000
Speaker 1: they just now they're crazy. You just stay out of that, Like,

551
00:32:35,040 --> 00:32:36,400
Speaker 1: don't worry don't get in the middle of that. You

552
00:32:36,400 --> 00:32:38,160
Speaker 1: don't know, you don't know which one of them connected.

553
00:32:38,200 --> 00:32:40,360
Speaker 1: You mess around, they mess around, called their cousin. You

554
00:32:40,400 --> 00:32:42,400
Speaker 1: catch a spray bullet for standing up in the middle

555
00:32:42,400 --> 00:32:44,560
Speaker 1: of this. Stay out of it, you know what I'm saying.

556
00:32:44,880 --> 00:32:47,720
Speaker 1: And all of that toxicity just sits in our like

557
00:32:48,320 --> 00:32:51,959
Speaker 1: just in our community, so that like the obvious answer

558
00:32:52,040 --> 00:32:55,400
Speaker 1: right now is to funk out the car and stop this,

559
00:32:55,600 --> 00:32:57,520
Speaker 1: like you know what I'm saying, or not even don't

560
00:32:57,560 --> 00:32:59,720
Speaker 1: even let it get there, like the minute they start,

561
00:32:59,760 --> 00:33:02,160
Speaker 1: like Okay, y'all, you know what I'm saying, Like you

562
00:33:02,240 --> 00:33:04,520
Speaker 1: stopped that before even gets to that. But you just

563
00:33:04,760 --> 00:33:08,000
Speaker 1: learned from being in such a like just growing up

564
00:33:08,000 --> 00:33:10,920
Speaker 1: with such toxicity to like, no, let me stay out

565
00:33:10,920 --> 00:33:13,760
Speaker 1: of that. You all know, you know what I mean? Yeah, Yeah,

566
00:33:13,840 --> 00:33:16,920
Speaker 1: That's part of what I'm really interested to talk about

567
00:33:17,760 --> 00:33:20,160
Speaker 1: Lucky in general, because it seems like he is like

568
00:33:20,200 --> 00:33:23,320
Speaker 1: on a kind of path towards like altering some of

569
00:33:23,360 --> 00:33:25,800
Speaker 1: those But but I feel like the movie does kind

570
00:33:25,840 --> 00:33:28,760
Speaker 1: of give you the context of why he feels that way,

571
00:33:28,800 --> 00:33:32,480
Speaker 1: even when you're like I completely disagree with what he's

572
00:33:32,520 --> 00:33:35,600
Speaker 1: either tolerated or how he's acting. I feel like John

573
00:33:35,640 --> 00:33:37,880
Speaker 1: Singleton does do a good job of giving you the

574
00:33:37,920 --> 00:33:41,560
Speaker 1: context of like this is not a vacuum. Yeah. Yeah,

575
00:33:41,680 --> 00:33:44,680
Speaker 1: because when you think of Lucky's character, you juxtaposed that

576
00:33:44,800 --> 00:33:48,840
Speaker 1: to tone Loke, which was the other baby daddy who's

577
00:33:49,080 --> 00:33:52,400
Speaker 1: also remarkably famous at the time, you know what I'm saying.

578
00:33:52,800 --> 00:33:56,360
Speaker 1: So you you juxtaposed it to him, to the dude

579
00:33:56,400 --> 00:33:59,400
Speaker 1: that you know, his baby mama was sleeping with, to

580
00:33:59,520 --> 00:34:01,440
Speaker 1: the hood that the you know, the project building that

581
00:34:01,520 --> 00:34:04,400
Speaker 1: they live in, and then the homies that drive up

582
00:34:04,440 --> 00:34:07,080
Speaker 1: that got guns in the car. You're like, you juxtapose

583
00:34:07,520 --> 00:34:10,920
Speaker 1: who Lucky is in relation to what he's around all

584
00:34:10,920 --> 00:34:14,640
Speaker 1: the time. You're like, I understand you. I understand that

585
00:34:14,680 --> 00:34:18,000
Speaker 1: you believe you are making the better choices, you know,

586
00:34:18,640 --> 00:34:21,160
Speaker 1: And that's like that's the part that like again, it's

587
00:34:21,239 --> 00:34:25,600
Speaker 1: like if I could put that like on that emotion

588
00:34:25,640 --> 00:34:29,440
Speaker 1: on billboards, especially when we start talking about police brutality

589
00:34:29,440 --> 00:34:31,200
Speaker 1: and George Floyd and stuff like that, when you move

590
00:34:31,200 --> 00:34:34,120
Speaker 1: into things like please understand the context here, you know

591
00:34:34,120 --> 00:34:36,279
Speaker 1: what I'm saying, Like, there's a lot of hurdles were

592
00:34:36,360 --> 00:34:39,120
Speaker 1: jumping over, you know, and it's not it's not an excuse,

593
00:34:39,239 --> 00:34:43,360
Speaker 1: but again it's context, right, and you even see police

594
00:34:43,760 --> 00:34:47,640
Speaker 1: hassling people in the neighborhood. Yeah, the movie is not

595
00:34:47,719 --> 00:34:50,920
Speaker 1: about that, but it's something that you get a glimpse

596
00:34:50,960 --> 00:34:54,120
Speaker 1: of because like this is their reality. It's another like

597
00:34:54,200 --> 00:34:57,560
Speaker 1: very yeah, really smooth John Singleton, like the like you're

598
00:34:57,560 --> 00:35:00,759
Speaker 1: saying prop with like the convenience start a scene where

599
00:35:00,800 --> 00:35:03,600
Speaker 1: it's just like something that happens, and then they keep

600
00:35:03,640 --> 00:35:06,480
Speaker 1: moving through the world. But it's like, oh yeah, that

601
00:35:06,680 --> 00:35:11,640
Speaker 1: is like a very intentionally done for sure. So let's

602
00:35:11,640 --> 00:35:16,240
Speaker 1: see they've let they've left Chicago behind. Justice and Lucky

603
00:35:16,480 --> 00:35:21,560
Speaker 1: get even closer. He talks more about his musical aspirations.

604
00:35:21,560 --> 00:35:25,760
Speaker 1: She tells him about her family history. They finally kiss,

605
00:35:26,280 --> 00:35:29,560
Speaker 1: and I believe it's implied they have sex. If I'm

606
00:35:29,560 --> 00:35:33,360
Speaker 1: not mistaken that we cut a chat with a blanket.

607
00:35:33,480 --> 00:35:36,520
Speaker 1: You're just like maybe, I don't know. It's like it's

608
00:35:36,560 --> 00:35:41,239
Speaker 1: sunset there. Well, the main indication is shortly after that

609
00:35:41,360 --> 00:35:44,000
Speaker 1: they're back in the car and Lucky he's like, I

610
00:35:44,040 --> 00:35:46,600
Speaker 1: have to tell you something and she's like, oh no,

611
00:35:47,040 --> 00:35:49,799
Speaker 1: you're not gonna tell me that you have something as

612
00:35:49,880 --> 00:35:53,120
Speaker 1: in like an s T I I was like no, no, no,

613
00:35:53,239 --> 00:35:57,520
Speaker 1: nothing like that. I have a daughter. And she's like, well,

614
00:35:57,520 --> 00:36:01,560
Speaker 1: why didn't you tell me that? Sooner? The ultimate sexually

615
00:36:01,600 --> 00:36:08,879
Speaker 1: transmitted um right yo. I was actually pretty taken back

616
00:36:08,960 --> 00:36:12,640
Speaker 1: as to like why she reacted so largely about him

617
00:36:12,680 --> 00:36:16,440
Speaker 1: having a child, because I was like, wait, why, like

618
00:36:16,480 --> 00:36:20,160
Speaker 1: why is she furious about this like that? I I

619
00:36:20,280 --> 00:36:22,640
Speaker 1: guess again like product of my time, Like I wouldn't

620
00:36:23,200 --> 00:36:25,319
Speaker 1: I would have been relieved if somebody would have been like,

621
00:36:25,320 --> 00:36:27,600
Speaker 1: I have something to tell you that I would be nervous.

622
00:36:27,600 --> 00:36:29,840
Speaker 1: And she was like, yo, did you just give me something?

623
00:36:30,280 --> 00:36:33,400
Speaker 1: And then he's like no, I have a daughter. Oh

624
00:36:33,640 --> 00:36:35,320
Speaker 1: all right, cool? How old is she? You know what

625
00:36:35,360 --> 00:36:36,840
Speaker 1: I'm saying, Like, tell me about her? Do you have

626
00:36:36,880 --> 00:36:38,719
Speaker 1: any pictures? Like? You know, Like I feel like that

627
00:36:38,719 --> 00:36:42,040
Speaker 1: would have been such a relief rather than like outraged,

628
00:36:42,239 --> 00:36:44,319
Speaker 1: you know, I was kind of I mean, there's like

629
00:36:44,360 --> 00:36:47,280
Speaker 1: a few points in how Justice has written that I'm

630
00:36:47,320 --> 00:36:50,400
Speaker 1: a little kind of confused on like the choices that

631
00:36:50,440 --> 00:36:54,640
Speaker 1: were made that is like set up, and I think

632
00:36:54,719 --> 00:36:57,319
Speaker 1: is it's at the family reunion scene where Justice says

633
00:36:57,400 --> 00:36:59,719
Speaker 1: something like or maybe it's in that scene where it's

634
00:36:59,719 --> 00:37:03,840
Speaker 1: just their thoughts are being voiceovered while they're at the beach,

635
00:37:04,719 --> 00:37:06,879
Speaker 1: where she's like, oh, he looks like he has a kid,

636
00:37:07,040 --> 00:37:09,400
Speaker 1: or like I I feel like it was implied that

637
00:37:09,480 --> 00:37:12,640
Speaker 1: maybe she was like that's too much work, that's too

638
00:37:12,719 --> 00:37:15,480
Speaker 1: much like, yeah, I don't really know. It was kind

639
00:37:15,480 --> 00:37:21,320
Speaker 1: of unclear um why. Yeah, she does ask him about

640
00:37:21,320 --> 00:37:23,479
Speaker 1: it at the family reunion. She's like, oh, you seem

641
00:37:23,560 --> 00:37:26,239
Speaker 1: like the type who would have a kid, and rather

642
00:37:26,280 --> 00:37:29,200
Speaker 1: than confirming that at the time, he's just like he

643
00:37:29,280 --> 00:37:34,560
Speaker 1: says like, ha ha, anyway, I'll never tell Oh yeah, yeah,

644
00:37:34,560 --> 00:37:37,080
Speaker 1: I forgot about that part because she was kind of like, yeah,

645
00:37:37,239 --> 00:37:40,080
Speaker 1: like dragging him as if like you got baby stashed

646
00:37:40,120 --> 00:37:41,840
Speaker 1: everywhere you don't even take it care of, you know

647
00:37:41,880 --> 00:37:43,719
Speaker 1: what I mean. He's like, yeah, you don't even know,

648
00:37:43,960 --> 00:37:47,680
Speaker 1: you know what I mean? Yeah, because he's a good dad, yeah,

649
00:37:48,640 --> 00:37:56,880
Speaker 1: relatively stomping out of somebody yeah yeah, and then leaving

650
00:37:56,920 --> 00:37:59,720
Speaker 1: her for the weekend with his mom, which she told

651
00:38:00,040 --> 00:38:03,279
Speaker 1: him not to do. She's like, I'm raising this using

652
00:38:03,320 --> 00:38:09,200
Speaker 1: this baby. Take it back back anyway. So right as

653
00:38:09,280 --> 00:38:13,080
Speaker 1: this is all happening, they have arrived in Oakland, only

654
00:38:13,120 --> 00:38:16,480
Speaker 1: to discover that Lucky's cousin Khalil has just been shot

655
00:38:16,520 --> 00:38:24,000
Speaker 1: and killed, and Lucky is devastated and he tells Justice like, oh,

656
00:38:24,040 --> 00:38:27,440
Speaker 1: if we had gotten here sooner, this would have never happened.

657
00:38:27,680 --> 00:38:30,840
Speaker 1: And he blames Justice and the time they spent together

658
00:38:31,440 --> 00:38:34,960
Speaker 1: for like not allowing him to prevent this from happening

659
00:38:34,960 --> 00:38:38,840
Speaker 1: to Khalil, and he storms off. Justice is very hurt.

660
00:38:39,400 --> 00:38:42,640
Speaker 1: She This is when we get the voice over poem

661
00:38:43,200 --> 00:38:47,360
Speaker 1: Phenomenal Woman Lucky. We see him dealing with his grief,

662
00:38:48,080 --> 00:38:51,320
Speaker 1: and then sometime later back in l A, Lucky brings

663
00:38:51,360 --> 00:38:56,320
Speaker 1: his daughter Kesha into the salon where Justice works. He apologizes,

664
00:38:56,960 --> 00:39:00,040
Speaker 1: they kiss and make up, and the movie ends with

665
00:39:00,320 --> 00:39:05,040
Speaker 1: Justice doing Keisha's hair. So that's the story. Let's take

666
00:39:05,080 --> 00:39:09,120
Speaker 1: a quick break and we will come back to discuss,

667
00:39:16,040 --> 00:39:19,200
Speaker 1: and we're back where to the beginning here. There's there's

668
00:39:19,280 --> 00:39:23,520
Speaker 1: so much to talk about. Is there anything that jumps

669
00:39:23,560 --> 00:39:26,040
Speaker 1: out to you right away? Prop? I mean, it's hard

670
00:39:26,080 --> 00:39:29,319
Speaker 1: to not think about it in terms of like when

671
00:39:29,360 --> 00:39:33,799
Speaker 1: I first saw it versus you know, a married man

672
00:39:34,000 --> 00:39:36,160
Speaker 1: with two children. Now you know what I'm saying, Like

673
00:39:36,840 --> 00:39:40,600
Speaker 1: it's kind of like there's like two mes you know

674
00:39:40,680 --> 00:39:43,360
Speaker 1: watching it? Now you know what I'm saying um, and

675
00:39:43,480 --> 00:39:47,000
Speaker 1: the me when I first saw it again as like

676
00:39:47,080 --> 00:39:51,080
Speaker 1: a preteen just mesmerized with the posters on my wall

677
00:39:51,239 --> 00:39:53,239
Speaker 1: just came to life in this movie. You know what

678
00:39:53,320 --> 00:39:57,080
Speaker 1: I'm saying, Um in the city that I grew up in.

679
00:39:57,239 --> 00:40:01,160
Speaker 1: You know. So there's so much like black star power

680
00:40:01,239 --> 00:40:05,480
Speaker 1: in there that that like emotions kind of like override

681
00:40:05,520 --> 00:40:09,080
Speaker 1: a lot of the like clear problematic. You know what

682
00:40:09,080 --> 00:40:11,560
Speaker 1: I'm saying things now as a father that I'm just like,

683
00:40:12,239 --> 00:40:14,799
Speaker 1: damn man um. So yeah, So I think that like

684
00:40:15,560 --> 00:40:19,200
Speaker 1: the idea of like at one time I saw the

685
00:40:19,239 --> 00:40:24,560
Speaker 1: women in this film as strong as leads. As Like

686
00:40:25,200 --> 00:40:28,160
Speaker 1: I'm like, no, this is a great depiction of women,

687
00:40:28,280 --> 00:40:30,520
Speaker 1: you know what I'm saying, Like, you know, like what

688
00:40:30,560 --> 00:40:33,200
Speaker 1: do you mean? Like she's a business owner. She's telling

689
00:40:33,200 --> 00:40:36,279
Speaker 1: her men ain't ship, you know, and you know she like,

690
00:40:36,920 --> 00:40:38,920
Speaker 1: you know, she doing her thing, and that was in

691
00:40:38,920 --> 00:40:41,319
Speaker 1: a bad relationship, but you know that happens, you know,

692
00:40:41,360 --> 00:40:45,440
Speaker 1: and and Justice went through some serious trauma, and you

693
00:40:45,440 --> 00:40:48,160
Speaker 1: know she had up walls and she knew doing her things.

694
00:40:48,239 --> 00:40:50,279
Speaker 1: She in that big house by herself, and you know,

695
00:40:50,480 --> 00:40:52,480
Speaker 1: she's got a very cute cat. She's got the cute

696
00:40:52,480 --> 00:40:55,360
Speaker 1: cat and now she's fine happiness. That's dope. Yeah, she

697
00:40:55,400 --> 00:40:57,960
Speaker 1: writes my Angelo poems like I mean, come on, dude,

698
00:40:58,080 --> 00:41:00,640
Speaker 1: like how is where's the problem? You know what I'm saying.

699
00:41:01,000 --> 00:41:03,880
Speaker 1: So I think it's it's like it left me interrogating

700
00:41:04,480 --> 00:41:07,000
Speaker 1: kind of doing some like revisionist history with my own

701
00:41:07,719 --> 00:41:12,480
Speaker 1: sort of opinions and understanding. Um So I think that

702
00:41:12,560 --> 00:41:15,279
Speaker 1: like that's the that's the main thing that like in

703
00:41:15,320 --> 00:41:19,000
Speaker 1: relation to like I don't know if bect illness is

704
00:41:19,000 --> 00:41:22,840
Speaker 1: a word in relation to that where I'm just like heang, dude,

705
00:41:22,920 --> 00:41:29,600
Speaker 1: like wow, you know, uh, you just walk away going yeah,

706
00:41:29,680 --> 00:41:31,920
Speaker 1: because you're so used to I'm so used to seeing

707
00:41:32,640 --> 00:41:37,840
Speaker 1: bad depictions of black men that I forget to notice

708
00:41:37,880 --> 00:41:40,080
Speaker 1: everything else, you know what I mean. It's like your

709
00:41:40,120 --> 00:41:43,120
Speaker 1: triag ng and this sitting down for this really made

710
00:41:43,160 --> 00:41:48,879
Speaker 1: me notice more. Yeah. And I mean especially when you

711
00:41:48,880 --> 00:41:50,680
Speaker 1: you know, you see a movie like this in your

712
00:41:50,960 --> 00:41:55,640
Speaker 1: formative years and like how influential it was, and when

713
00:41:55,680 --> 00:41:59,960
Speaker 1: you read like interviews and stuff from John Singleton, who

714
00:42:00,000 --> 00:42:04,040
Speaker 1: who says with this movie, he wanted to show South

715
00:42:04,120 --> 00:42:07,000
Speaker 1: Central in a different light than had been depicted before

716
00:42:07,440 --> 00:42:11,040
Speaker 1: in movies. He wanted to focus on the women in

717
00:42:11,440 --> 00:42:16,040
Speaker 1: his community. He wanted to tell a story specifically about

718
00:42:16,040 --> 00:42:19,280
Speaker 1: black people in South Central falling in love. Like that's

719
00:42:19,840 --> 00:42:23,319
Speaker 1: that was his inspiration. And because there were so few

720
00:42:23,480 --> 00:42:27,560
Speaker 1: movies of that nature, especially during this time, that's a

721
00:42:27,680 --> 00:42:34,400
Speaker 1: very strong, powerful thing. That doesn't Lucky being a problematic

722
00:42:34,719 --> 00:42:38,840
Speaker 1: figure and a toxic person in different areas of his

723
00:42:38,920 --> 00:42:42,160
Speaker 1: life doesn't negate all of this, all of that stuff,

724
00:42:42,160 --> 00:42:46,440
Speaker 1: all of like the power that comes with that representation.

725
00:42:47,239 --> 00:42:50,120
Speaker 1: So yeah, like I totally understand like kind of being

726
00:42:50,120 --> 00:42:54,920
Speaker 1: of two minds about it. You can't like there's no that.

727
00:42:56,000 --> 00:42:58,960
Speaker 1: The thing about like the again, the mythology around Tupac

728
00:42:59,160 --> 00:43:02,799
Speaker 1: is like in all the movies he's in, you know,

729
00:43:03,000 --> 00:43:05,040
Speaker 1: he's Bishop and Juice, you know what I'm saying, He's

730
00:43:05,040 --> 00:43:07,640
Speaker 1: Striker in like you know, Above the Rim, all these

731
00:43:07,680 --> 00:43:11,880
Speaker 1: like iconic like movies that part of build his his

732
00:43:11,880 --> 00:43:16,680
Speaker 1: his mythology. It's hard to see a film and only

733
00:43:16,760 --> 00:43:20,680
Speaker 1: see him at that as that character, Like I still

734
00:43:20,760 --> 00:43:24,120
Speaker 1: see Tupac, you know what I'm saying, And all that

735
00:43:24,200 --> 00:43:29,160
Speaker 1: Tupac was and stood for as far as like in

736
00:43:29,200 --> 00:43:34,600
Speaker 1: a lot of ways reimagining of black masculinity. You know,

737
00:43:34,760 --> 00:43:37,840
Speaker 1: he was actually very well read. You know, he's my

738
00:43:37,840 --> 00:43:39,600
Speaker 1: My father was a black panther. You know, his mother

739
00:43:39,680 --> 00:43:41,879
Speaker 1: was a black panther. So it's like there's this like

740
00:43:42,640 --> 00:43:46,040
Speaker 1: this rage against the machine attitude about him, you know

741
00:43:46,080 --> 00:43:50,279
Speaker 1: what I'm saying, And that like he represents in a

742
00:43:50,280 --> 00:43:52,719
Speaker 1: lot of ways. You know, if you think about like

743
00:43:52,840 --> 00:43:57,880
Speaker 1: active gang membership, it's really a small percentage of humans

744
00:43:57,880 --> 00:44:00,200
Speaker 1: in South Central, you know what I'm saying. So, like

745
00:44:00,440 --> 00:44:02,600
Speaker 1: it's cool to see a movie that's not about the

746
00:44:02,640 --> 00:44:04,560
Speaker 1: four kids in the back of the room, you know

747
00:44:04,600 --> 00:44:07,160
Speaker 1: what I mean. That's more about the other twenty five

748
00:44:07,200 --> 00:44:09,920
Speaker 1: of us trying to just finish high school, you know,

749
00:44:10,480 --> 00:44:12,719
Speaker 1: but having to intersect with this all the time. You know,

750
00:44:13,400 --> 00:44:21,200
Speaker 1: it's hard to separate even now the character Lucky from Tupac. Yeah,

751
00:44:21,320 --> 00:44:23,880
Speaker 1: and it sounds like this movie. I didn't know this

752
00:44:24,320 --> 00:44:26,120
Speaker 1: for sure when I first saw this movie, but that

753
00:44:26,200 --> 00:44:31,200
Speaker 1: it's in it's partially based on an experience that Tupac

754
00:44:31,360 --> 00:44:37,760
Speaker 1: had between So I read that on the scholarly journal

755
00:44:37,800 --> 00:44:43,200
Speaker 1: Wikipedia that here it is that the like the seed

756
00:44:43,320 --> 00:44:47,840
Speaker 1: of this movie was about a like brief relationship Tupac

757
00:44:47,880 --> 00:44:52,080
Speaker 1: had with a poet named Anne Marie rose Um who

758
00:44:52,160 --> 00:44:59,080
Speaker 1: he met between takes of Juice. That's crazy that so,

759
00:44:59,160 --> 00:45:01,919
Speaker 1: I I don't know exactly I wasn't able to find

760
00:45:01,920 --> 00:45:04,440
Speaker 1: the exact like did he bring this to John Singleton,

761
00:45:04,520 --> 00:45:06,120
Speaker 1: I don't really know, but it sounds like he had

762
00:45:06,120 --> 00:45:10,200
Speaker 1: had a similar um a similar experience to this, at

763
00:45:10,280 --> 00:45:13,399
Speaker 1: least in the abstract, to the point where like this

764
00:45:13,440 --> 00:45:16,920
Speaker 1: poet Emery Rose had box braids and that was the

765
00:45:16,960 --> 00:45:20,000
Speaker 1: reason that Janet Jackson like had her hair the way

766
00:45:20,040 --> 00:45:22,920
Speaker 1: she did in this point. And so it is like

767
00:45:23,040 --> 00:45:26,160
Speaker 1: Lucky and Tupac, I guess that they're kind of like

768
00:45:27,040 --> 00:45:31,520
Speaker 1: connected in this this really personal way, which yeah, I

769
00:45:31,560 --> 00:45:34,920
Speaker 1: had no idea that that was a thing. And I

770
00:45:34,960 --> 00:45:39,640
Speaker 1: think that, like I have some stuff that that John

771
00:45:39,719 --> 00:45:43,520
Speaker 1: Singleton R. I. P. Has Has said over the years

772
00:45:43,640 --> 00:45:46,440
Speaker 1: about this movie. It's really interesting because it's like I

773
00:45:46,480 --> 00:45:49,759
Speaker 1: think that it's it's not necessarily the most important thing

774
00:45:49,760 --> 00:45:52,400
Speaker 1: to know, but I just think it's like, I don't know,

775
00:45:52,520 --> 00:45:55,200
Speaker 1: I'm like, holy shit, he was only twenty five when

776
00:45:55,239 --> 00:45:59,200
Speaker 1: he made this movie. That is like, so didn't know that,

777
00:45:59,600 --> 00:46:01,759
Speaker 1: which means he was even younger when he did Boys

778
00:46:01,800 --> 00:46:04,560
Speaker 1: in the Hood. Yeah, he was. He is like a

779
00:46:04,640 --> 00:46:08,960
Speaker 1: huge history making Artists. He was the youngest person ever

780
00:46:09,000 --> 00:46:11,880
Speaker 1: to be nominated for Best Director at the Academy Awards.

781
00:46:11,880 --> 00:46:15,360
Speaker 1: He was twenty four when Boys in the Hood was nominated.

782
00:46:15,719 --> 00:46:19,799
Speaker 1: This was his first movie after that. He's only when

783
00:46:21,440 --> 00:46:26,120
Speaker 1: it's so wild and I mean it's even with the

784
00:46:26,320 --> 00:46:28,640
Speaker 1: like issues I do have with this movie, it's like

785
00:46:29,640 --> 00:46:32,560
Speaker 1: you can't not respect the ship out of like the

786
00:46:33,040 --> 00:46:36,120
Speaker 1: creative risk this is to take coming off of like

787
00:46:36,239 --> 00:46:39,399
Speaker 1: Boys in the Hood was this gigantic success. It was,

788
00:46:39,520 --> 00:46:43,080
Speaker 1: it was huge, it was iconic. And then he I

789
00:46:43,120 --> 00:46:44,920
Speaker 1: was going through kind of the interviews he was doing

790
00:46:44,920 --> 00:46:49,560
Speaker 1: in for Poetic Justice, and he just talked about how he, like,

791
00:46:50,120 --> 00:46:52,440
Speaker 1: I just wanted to do something else and was like

792
00:46:52,560 --> 00:46:56,680
Speaker 1: not afraid to try something else. And even though this movie,

793
00:46:56,800 --> 00:46:59,480
Speaker 1: I guess that this movie was not as like critically

794
00:46:59,560 --> 00:47:02,040
Speaker 1: a claim him as Boys in the Hood, but it was,

795
00:47:02,680 --> 00:47:04,520
Speaker 1: you know, he did what he wanted to do, and

796
00:47:05,160 --> 00:47:08,000
Speaker 1: I don't know, there's a lot of kind of dissonance.

797
00:47:08,040 --> 00:47:09,759
Speaker 1: There's some stuff that he says that I'm like, oh,

798
00:47:09,800 --> 00:47:12,000
Speaker 1: this is so cool and insightful, and then there's other

799
00:47:12,000 --> 00:47:16,520
Speaker 1: stuff that feels very of its time. Um, So I'll

800
00:47:16,560 --> 00:47:18,600
Speaker 1: just I guess, uh, some of some of the stuff

801
00:47:18,600 --> 00:47:22,320
Speaker 1: that really that really I thought was really cool, he Kaitly,

802
00:47:22,360 --> 00:47:24,239
Speaker 1: and you've alluded to a lot of it already. Was

803
00:47:24,320 --> 00:47:27,440
Speaker 1: he wanted to show like love in the Hood, He

804
00:47:27,480 --> 00:47:30,400
Speaker 1: wanted to do a road movie. He wanted to have

805
00:47:30,800 --> 00:47:33,759
Speaker 1: a black female protagonist at a time where that was

806
00:47:33,880 --> 00:47:37,920
Speaker 1: not a choice that most directors were going to make

807
00:47:37,960 --> 00:47:41,319
Speaker 1: it all and he did that very intentionally. And then

808
00:47:41,640 --> 00:47:43,640
Speaker 1: on the other end, something that I thought was really

809
00:47:44,280 --> 00:47:48,560
Speaker 1: interesting and feels like, oh, the nineties really were a

810
00:47:48,640 --> 00:47:53,640
Speaker 1: very different time. Was he was kind of asked, um,

811
00:47:53,680 --> 00:47:55,920
Speaker 1: I'm I'm pulling from a Village Voice interview here from

812
00:47:57,080 --> 00:48:00,800
Speaker 1: but he's asked, like, so, you've made this like woman's movie,

813
00:48:01,160 --> 00:48:04,880
Speaker 1: and he is, really, he really does not want that

814
00:48:05,520 --> 00:48:07,680
Speaker 1: label put on the movie. And I think the quote

815
00:48:07,719 --> 00:48:10,760
Speaker 1: is interesting. He says, uh, this is not a woman's movie.

816
00:48:11,080 --> 00:48:13,600
Speaker 1: Don't say that, or you'll have every feminist in town

817
00:48:13,640 --> 00:48:15,959
Speaker 1: coming out for attack. It's a film with a black

818
00:48:16,000 --> 00:48:18,799
Speaker 1: woman as a central character, directed by a black man,

819
00:48:19,440 --> 00:48:23,160
Speaker 1: which is like all true, but I think it's it's

820
00:48:24,239 --> 00:48:26,759
Speaker 1: I'm trying to think of this is not the first

821
00:48:26,760 --> 00:48:29,080
Speaker 1: time I've heard a quote similar to that from a

822
00:48:29,120 --> 00:48:32,160
Speaker 1: male director of Like in the nineties, you know, it's

823
00:48:32,200 --> 00:48:36,880
Speaker 1: like men were not considering themselves feminists and like labeling

824
00:48:36,880 --> 00:48:39,520
Speaker 1: yourself a feminist if you were a man, there was

825
00:48:39,560 --> 00:48:41,920
Speaker 1: this stigma attached to it. And that comes across in

826
00:48:42,000 --> 00:48:44,920
Speaker 1: Lucky's character too when he talks about like you're not

827
00:48:44,960 --> 00:48:48,240
Speaker 1: one of those feminists, right, and then immediately it's like, oh, yeah,

828
00:48:48,280 --> 00:48:52,480
Speaker 1: he does not think kylie of feminists. Um, and it's

829
00:48:52,760 --> 00:48:54,759
Speaker 1: I don't know, I just I thought that that was

830
00:48:55,000 --> 00:48:57,480
Speaker 1: that was such a like interesting of the time thing

831
00:48:57,560 --> 00:49:00,439
Speaker 1: to say of like the idea of label in your

832
00:49:00,480 --> 00:49:04,360
Speaker 1: movie as feminist made it less marketable, where it's like,

833
00:49:04,440 --> 00:49:08,040
Speaker 1: now that's not really the case at all. You know.

834
00:49:08,200 --> 00:49:14,080
Speaker 1: It's in in Black Twitter. Uh there's this other podcast

835
00:49:14,120 --> 00:49:17,480
Speaker 1: with Joe Button's and and these other you know men.

836
00:49:17,560 --> 00:49:23,080
Speaker 1: They were discussing, um, post New Deal, just like breakdown

837
00:49:23,120 --> 00:49:25,480
Speaker 1: of the black family, you know, um, some of the

838
00:49:25,960 --> 00:49:30,319
Speaker 1: sort of clear and obvious like disenfranchisement and like just

839
00:49:30,560 --> 00:49:33,440
Speaker 1: the psi op that like the nation did on the

840
00:49:33,480 --> 00:49:38,160
Speaker 1: psyche of black men, right, you know. Um, and you

841
00:49:38,200 --> 00:49:41,400
Speaker 1: know after the war effort offering things to you know,

842
00:49:41,800 --> 00:49:43,920
Speaker 1: black mothers, the you know who were now the head

843
00:49:43,960 --> 00:49:46,080
Speaker 1: of the house because either men were at war or

844
00:49:46,120 --> 00:49:48,160
Speaker 1: whatever the case. Maybe he was trying to make this

845
00:49:48,320 --> 00:49:53,640
Speaker 1: argument that like part of what even deeper deeply destroyed

846
00:49:54,320 --> 00:50:00,360
Speaker 1: the black male psyche was. This is his argument was that, uh,

847
00:50:00,360 --> 00:50:02,320
Speaker 1: it's like, let me make this clear, Okay. This is

848
00:50:02,440 --> 00:50:07,799
Speaker 1: his argument was that, um, when we came back, you know,

849
00:50:08,239 --> 00:50:10,680
Speaker 1: finally got on our feet after the war efforts and

850
00:50:10,680 --> 00:50:13,120
Speaker 1: stuff like that, and you know, after dealing with all

851
00:50:13,160 --> 00:50:15,960
Speaker 1: it took to try to finally get rights and you know,

852
00:50:16,200 --> 00:50:21,520
Speaker 1: get jobs as black men, that our women chose the

853
00:50:21,760 --> 00:50:27,680
Speaker 1: money over us, so they kept getting government subsidies and

854
00:50:27,760 --> 00:50:30,440
Speaker 1: kind of being like, oh, we actually don't need husbands.

855
00:50:30,520 --> 00:50:33,480
Speaker 1: They chose to go to work, they chose to go

856
00:50:33,560 --> 00:50:36,840
Speaker 1: do their own things. So he said, in our psyches,

857
00:50:36,880 --> 00:50:40,280
Speaker 1: we started feeling like, dang, this was supposed to be temporary,

858
00:50:40,320 --> 00:50:42,200
Speaker 1: Like this was supposed to be until we can get

859
00:50:42,200 --> 00:50:46,759
Speaker 1: ourselves together. But you're choosing the money over us, and

860
00:50:46,840 --> 00:50:51,560
Speaker 1: that choice he's he says, like, you know, travel through

861
00:50:51,600 --> 00:50:55,239
Speaker 1: the rest of our sort of like collective traumas if

862
00:50:55,280 --> 00:50:57,359
Speaker 1: you will. So when you move forward into this black

863
00:50:57,400 --> 00:51:04,399
Speaker 1: feminist movement, his argument is that even that movement has

864
00:51:04,719 --> 00:51:09,560
Speaker 1: helped to destroy the confidence of black men, and why

865
00:51:09,560 --> 00:51:12,160
Speaker 1: why can't whack y'all can't get your ship together. He's like, well,

866
00:51:12,200 --> 00:51:15,879
Speaker 1: here's why, you know, or here's part of why. It's

867
00:51:15,920 --> 00:51:18,879
Speaker 1: his argument, he's saying, Black families were always strong pro

868
00:51:19,080 --> 00:51:21,520
Speaker 1: pre Jim Crow, pre artists. You had, we had all

869
00:51:21,600 --> 00:51:24,719
Speaker 1: kinds of support, whether it was through our churches or

870
00:51:24,880 --> 00:51:28,040
Speaker 1: in double a CP, like the family unit was. We

871
00:51:28,080 --> 00:51:30,920
Speaker 1: had a very tight nuclear family in the black community

872
00:51:30,920 --> 00:51:32,919
Speaker 1: historically because we had to survive, you know what I'm saying.

873
00:51:33,200 --> 00:51:37,720
Speaker 1: So his argument is like this destroyed us, to which

874
00:51:38,960 --> 00:51:41,319
Speaker 1: I'm like, okay, far be it for me to like,

875
00:51:41,880 --> 00:51:44,320
Speaker 1: you know, disagree with my elders, you know what I'm saying.

876
00:51:44,320 --> 00:51:46,720
Speaker 1: Like I'm not gonna you know, like I'm not gonna

877
00:51:46,719 --> 00:51:49,840
Speaker 1: do that, but I am gonna say it's like we

878
00:51:49,920 --> 00:51:51,920
Speaker 1: had this unit. But it's like I feel like we

879
00:51:51,960 --> 00:51:56,200
Speaker 1: have yet to like be honest with ourselves about how

880
00:51:56,280 --> 00:52:00,640
Speaker 1: bad patriarchy existed in Black families, Like I feel like

881
00:52:00,680 --> 00:52:03,920
Speaker 1: we don't want to admit misogyny in our homes and

882
00:52:04,040 --> 00:52:09,360
Speaker 1: because we're like, well, let's be real, prop our families

883
00:52:09,360 --> 00:52:11,640
Speaker 1: are led by we already know women are in charge

884
00:52:11,640 --> 00:52:13,560
Speaker 1: and our college is very different. Were not liked in

885
00:52:13,640 --> 00:52:16,000
Speaker 1: white people, you know what I'm saying, Like that's like,

886
00:52:16,080 --> 00:52:19,319
Speaker 1: that's like the argument among among the black community is

887
00:52:19,360 --> 00:52:21,759
Speaker 1: like or at least this this argument is like, well

888
00:52:21,800 --> 00:52:24,000
Speaker 1: at least we're not bad as them, you know what

889
00:52:24,040 --> 00:52:27,239
Speaker 1: I'm saying, Like we treat our women differently than everybody else.

890
00:52:27,320 --> 00:52:32,960
Speaker 1: And I'm like, okay, okay, I mean my grandma ran

891
00:52:33,160 --> 00:52:35,839
Speaker 1: ran the house, you know. I mean I understand that, right,

892
00:52:36,200 --> 00:52:39,960
Speaker 1: but let's not let's not lie to ourselves fellas, you

893
00:52:40,040 --> 00:52:42,800
Speaker 1: know what I'm saying. And I feel like this statement,

894
00:52:42,960 --> 00:52:45,240
Speaker 1: like again with Lucky talking about you know what in feminists?

895
00:52:45,239 --> 00:52:47,840
Speaker 1: Are you or or him saying no, this ain't no

896
00:52:47,920 --> 00:52:50,720
Speaker 1: feminist movie. I think in a lot of ways again,

897
00:52:50,760 --> 00:52:53,680
Speaker 1: if we talk about like the triaging of like okay,

898
00:52:53,680 --> 00:52:55,800
Speaker 1: well we all black, so we all suffering, you know

899
00:52:55,840 --> 00:52:57,680
Speaker 1: what I'm saying. So I don't understand why you're parsing

900
00:52:57,719 --> 00:53:00,719
Speaker 1: this particular thing out. You know, you feel me like

901
00:53:00,800 --> 00:53:02,840
Speaker 1: it's like that's the attitude, and it's like, actually, we

902
00:53:02,920 --> 00:53:05,919
Speaker 1: treat your a hell of different, you know what I'm saying. Then,

903
00:53:06,000 --> 00:53:09,160
Speaker 1: Tyler and Tanner, do you know what I'm saying? Like

904
00:53:09,440 --> 00:53:11,160
Speaker 1: we don't talk to our women the way that they

905
00:53:11,160 --> 00:53:12,960
Speaker 1: talk to them white ladies. We don't. We don't talk

906
00:53:13,000 --> 00:53:14,520
Speaker 1: like you know what I'm saying. So you have this

907
00:53:14,640 --> 00:53:17,000
Speaker 1: attitude about it. So when you talk about feminists like

908
00:53:17,000 --> 00:53:19,560
Speaker 1: hold on dog, like, nah, is that is that you

909
00:53:19,680 --> 00:53:21,720
Speaker 1: hanging from them lynch and trees? No, that's us hanging

910
00:53:21,800 --> 00:53:24,719
Speaker 1: you know, So you have this defense. I feel like

911
00:53:25,239 --> 00:53:28,640
Speaker 1: that we are still I'm saying. It's like to my shame,

912
00:53:29,080 --> 00:53:32,520
Speaker 1: like we're still reckoning with the reality of like, na,

913
00:53:32,640 --> 00:53:35,920
Speaker 1: we got blood on our hands, Like Claretta Scott King

914
00:53:36,000 --> 00:53:41,120
Speaker 1: was not allowed to talk, Like that's Martin Luther King's wife, yourself,

915
00:53:41,160 --> 00:53:44,680
Speaker 1: I'm saying, like he didn't let her talk because women

916
00:53:44,719 --> 00:53:47,200
Speaker 1: don't belong in the pulpit, Like what did you talking about, bro? Like,

917
00:53:47,280 --> 00:53:49,799
Speaker 1: let's be honest, you know what I'm saying. And I

918
00:53:49,840 --> 00:53:53,680
Speaker 1: feel like this, uh, this moment that you're bringing up

919
00:53:53,760 --> 00:53:56,960
Speaker 1: is like again like connected to where we're at now,

920
00:53:57,000 --> 00:53:59,879
Speaker 1: which is obviously very different where like it's like, yo, no,

921
00:54:00,000 --> 00:54:02,880
Speaker 1: we're all about like nah, lead black women, black women, voices,

922
00:54:02,920 --> 00:54:04,360
Speaker 1: black women, you know what I'm saying. So it's like

923
00:54:04,400 --> 00:54:08,080
Speaker 1: it's interesting to see I feel like if we still

924
00:54:08,160 --> 00:54:10,520
Speaker 1: have what I know we do, we still have a

925
00:54:10,560 --> 00:54:13,479
Speaker 1: lot of reckoning we need to do with like our

926
00:54:13,680 --> 00:54:18,040
Speaker 1: roles as black men with misogyny and patriarchy, you know,

927
00:54:18,480 --> 00:54:20,520
Speaker 1: because they because the rap stuff is easy. You know

928
00:54:20,560 --> 00:54:22,520
Speaker 1: what I'm saying, I need a gangster bitch like he was.

929
00:54:22,840 --> 00:54:25,640
Speaker 1: He was singing out in the cars like Okay, that's obvious.

930
00:54:25,719 --> 00:54:28,239
Speaker 1: All right, that's easy. We know that stuff. You know

931
00:54:28,239 --> 00:54:30,399
Speaker 1: what I'm saying, I'm talking about life for real, for real,

932
00:54:30,600 --> 00:54:33,440
Speaker 1: you know what I mean. Thank you for for kind

933
00:54:33,480 --> 00:54:36,640
Speaker 1: of like like breaking that down and unpacking that because

934
00:54:36,640 --> 00:54:40,680
Speaker 1: it that does like give such a clearer context to

935
00:54:41,360 --> 00:54:45,399
Speaker 1: where John Singleton is coming from there and then like regardless,

936
00:54:45,680 --> 00:54:49,000
Speaker 1: he does center a black woman and this yeah, and

937
00:54:49,400 --> 00:54:52,239
Speaker 1: a young black woman where you know, well we'll we'll

938
00:54:52,280 --> 00:54:56,240
Speaker 1: talk about justice his storyline more. But it's you know it,

939
00:54:56,239 --> 00:54:59,160
Speaker 1: it was I get not surprising, but always just like

940
00:54:59,480 --> 00:55:04,160
Speaker 1: holy ship like discouraging to go back and see how

941
00:55:04,400 --> 00:55:09,000
Speaker 1: few black women were directing movies at all, much less

942
00:55:09,239 --> 00:55:12,960
Speaker 1: directing stories that reflected their own experience back in the nineties.

943
00:55:13,000 --> 00:55:17,080
Speaker 1: It's extremely low number. There was, I think, most notably

944
00:55:17,120 --> 00:55:19,800
Speaker 1: in terms of wide release. There was Julie Dashes Daughters

945
00:55:19,800 --> 00:55:23,760
Speaker 1: of the Dust, and then Cheryl Dounier is the Watermelon Woman.

946
00:55:24,080 --> 00:55:27,560
Speaker 1: But outside of that, it was so it's like, you know,

947
00:55:27,920 --> 00:55:31,680
Speaker 1: set it off, Stella got a groove Back, but those

948
00:55:31,680 --> 00:55:34,480
Speaker 1: were both directed by men, you know, and exactly, yeah,

949
00:55:34,520 --> 00:55:35,719
Speaker 1: that's what I was gonna say. And I was like,

950
00:55:35,800 --> 00:55:39,960
Speaker 1: and they're still as relates to men, especially how Stella

951
00:55:39,960 --> 00:55:42,520
Speaker 1: gotta groove back, you know what I'm saying right right, absolutely,

952
00:55:42,680 --> 00:55:46,319
Speaker 1: And it's so it's it's like, ultimately, it's I think,

953
00:55:46,360 --> 00:55:51,200
Speaker 1: like a worthwhile creative risk that John Singleton like tried

954
00:55:51,360 --> 00:55:53,480
Speaker 1: to tell this story even though it's like, you know,

955
00:55:53,640 --> 00:55:56,600
Speaker 1: we'll we'll talk through it. But the fact that it

956
00:55:57,280 --> 00:56:00,080
Speaker 1: but it's also equally frustrating that it's like, you know,

957
00:56:00,920 --> 00:56:03,759
Speaker 1: would a black woman have written this story a little

958
00:56:03,840 --> 00:56:07,840
Speaker 1: more cogently, a little clearer probably, but it wasn't it

959
00:56:08,120 --> 00:56:13,279
Speaker 1: just the money and the movement was not um, you know,

960
00:56:13,360 --> 00:56:16,160
Speaker 1: giving them the resources they needed. It. It's it's never

961
00:56:16,440 --> 00:56:20,320
Speaker 1: you know, a lack of talented directors or writers. It's

962
00:56:20,360 --> 00:56:24,040
Speaker 1: it's the fact that it's. Yeah, seeing how few wide

963
00:56:24,040 --> 00:56:27,319
Speaker 1: releases from black women came out in the nineties is

964
00:56:27,440 --> 00:56:34,440
Speaker 1: just incredibly discouraging. Yeah, let's take another quick break and

965
00:56:34,480 --> 00:56:44,520
Speaker 1: then we'll be right back. Should we talk about the

966
00:56:44,560 --> 00:56:52,560
Speaker 1: relationship between Justice and Lucky the problems there in the

967
00:56:53,000 --> 00:56:58,160
Speaker 1: put it off long enough, I mean, you know, the

968
00:56:58,200 --> 00:57:02,560
Speaker 1: foundation of the bay sis of this relationship. He comes

969
00:57:02,560 --> 00:57:06,960
Speaker 1: into the salon, he tries to flirt with her and

970
00:57:07,080 --> 00:57:10,399
Speaker 1: ask her out, which to me that was like like

971
00:57:10,600 --> 00:57:13,000
Speaker 1: he'd at least in the context of the way that

972
00:57:13,040 --> 00:57:16,400
Speaker 1: he did it, it was like fine, like whatever, But

973
00:57:16,480 --> 00:57:20,680
Speaker 1: then he does not take being rejected well. So that's

974
00:57:20,800 --> 00:57:22,920
Speaker 1: kind of where we're starting off. Then at the beginning

975
00:57:22,960 --> 00:57:25,880
Speaker 1: of their road trip, we talked about this a little

976
00:57:25,920 --> 00:57:28,640
Speaker 1: bit already, but he calls her mean, he calls her

977
00:57:28,680 --> 00:57:32,040
Speaker 1: stuck up, He calls her an angry bitch, a feminist,

978
00:57:32,480 --> 00:57:35,800
Speaker 1: and it's all because she's just like quiet and not

979
00:57:36,680 --> 00:57:42,080
Speaker 1: responding to him talking about like wanting a quote gangster bitch,

980
00:57:42,120 --> 00:57:45,240
Speaker 1: and like I do like that. That's made out to

981
00:57:45,280 --> 00:57:48,280
Speaker 1: seem a little embarrassing for him because he's like mumbling,

982
00:57:48,320 --> 00:57:53,480
Speaker 1: and it was like, you look, so why do yeah? Uh?

983
00:57:53,920 --> 00:57:56,440
Speaker 1: I used to once upon a time, like I taught

984
00:57:56,520 --> 00:57:59,680
Speaker 1: high school and I had a section where I had

985
00:57:59,720 --> 00:58:03,400
Speaker 1: to tea like beginning level of psychology, right, and the

986
00:58:03,440 --> 00:58:06,600
Speaker 1: kids loved it inner city school and um, so we

987
00:58:06,640 --> 00:58:09,120
Speaker 1: got to like all the like post Freudian stuff like

988
00:58:09,440 --> 00:58:13,480
Speaker 1: reaction formations and like projection and stuff like that. Like, um,

989
00:58:13,520 --> 00:58:17,600
Speaker 1: it was like the most effortless and endless source of

990
00:58:17,640 --> 00:58:21,360
Speaker 1: examples I could give these like ninth graders as to

991
00:58:21,440 --> 00:58:23,560
Speaker 1: like what this is? You know what I'm saying. So

992
00:58:24,080 --> 00:58:27,560
Speaker 1: this this was a perfect example like of reaction formation

993
00:58:27,600 --> 00:58:29,640
Speaker 1: where it's like, hey, you want to go out with me? No,

994
00:58:29,800 --> 00:58:33,680
Speaker 1: that's because you're ugly, Like what like you know what

995
00:58:33,720 --> 00:58:36,840
Speaker 1: I'm saying, Like, bro, you just got look take it

996
00:58:36,840 --> 00:58:41,360
Speaker 1: on the chin. Everybody takes else, you know, everyone takes else, bro,

997
00:58:41,640 --> 00:58:44,560
Speaker 1: And you just take it on the chin. Live to

998
00:58:44,560 --> 00:58:48,200
Speaker 1: fight another day, you know. But just that perfect example

999
00:58:48,600 --> 00:58:52,160
Speaker 1: of like I tease, I tease my, UM, I tease

1000
00:58:52,200 --> 00:58:56,080
Speaker 1: my wife and my my my my older daughter. Um.

1001
00:58:56,120 --> 00:59:00,640
Speaker 1: About like how as a little boy you start learning

1002
00:59:00,640 --> 00:59:04,880
Speaker 1: how to process rejection somewhere around fifth grade, you know,

1003
00:59:05,000 --> 00:59:08,440
Speaker 1: because like because of how big the reaction is, of

1004
00:59:08,480 --> 00:59:12,680
Speaker 1: how gross boys are, when you finally felt enough courage,

1005
00:59:13,280 --> 00:59:16,080
Speaker 1: you know what I'm saying to like you know, and

1006
00:59:16,080 --> 00:59:18,520
Speaker 1: and poor kid don't let the kid be queer, you

1007
00:59:18,520 --> 00:59:20,760
Speaker 1: know what I'm saying, Like, you know, when you first

1008
00:59:20,800 --> 00:59:23,360
Speaker 1: have to start figuring out what it means to get

1009
00:59:23,360 --> 00:59:26,320
Speaker 1: a know, you know, and like and having to like

1010
00:59:26,800 --> 00:59:28,960
Speaker 1: by That's why I'm like, by the time you get

1011
00:59:29,000 --> 00:59:31,040
Speaker 1: to high school or get outside of high school and

1012
00:59:31,080 --> 00:59:34,240
Speaker 1: you see like the clearly this guy's a douche bag

1013
00:59:34,840 --> 00:59:37,800
Speaker 1: get more yes is than you, You're like, well, I

1014
00:59:37,800 --> 00:59:40,480
Speaker 1: guess is that the way to Is that how you

1015
00:59:40,680 --> 00:59:44,280
Speaker 1: do it? Like you know, or you're just like whatever,

1016
00:59:44,360 --> 00:59:47,560
Speaker 1: you whatever, bit you're stupid, you know, it's like okay, man,

1017
00:59:48,040 --> 00:59:50,440
Speaker 1: like you have to learn how to process. No, you know,

1018
00:59:51,280 --> 00:59:54,640
Speaker 1: I wish that that was like that there, Yeah, I mean,

1019
00:59:54,680 --> 00:59:58,800
Speaker 1: I mean, but it's like so few kids are taught

1020
00:59:58,880 --> 01:00:02,360
Speaker 1: how to deal with rejection. I feel like that's that. Yeah,

1021
01:00:02,400 --> 01:00:05,360
Speaker 1: Like when you're growing up, I feel like there's almost

1022
01:00:05,840 --> 01:00:07,920
Speaker 1: I guess, unless you're really lucky or you have like

1023
01:00:08,040 --> 01:00:12,880
Speaker 1: parents who are fucking on it, like which almost nobody does.

1024
01:00:13,480 --> 01:00:16,400
Speaker 1: Uh right, Like no, Like I I don't know a

1025
01:00:16,560 --> 01:00:18,400
Speaker 1: kid in the world that grew up and then you know,

1026
01:00:18,480 --> 01:00:21,640
Speaker 1: around fifth grade, it's like they were told regardless of gender,

1027
01:00:21,720 --> 01:00:24,680
Speaker 1: like hey, if you're you know, here is like a

1028
01:00:24,840 --> 01:00:28,800
Speaker 1: way that you can ask someone something that is respectful

1029
01:00:28,920 --> 01:00:32,000
Speaker 1: and like here's how to judge boundaries, and here's how

1030
01:00:32,040 --> 01:00:35,400
Speaker 1: to deal with rejection that isn't just lashing out. And

1031
01:00:35,800 --> 01:00:39,120
Speaker 1: but it's like, I feel like those conversations are really

1032
01:00:39,240 --> 01:00:43,360
Speaker 1: rare with with kids and and would make a huge

1033
01:00:43,640 --> 01:00:48,160
Speaker 1: fucking difference. Yes, I'm so impressed with Like I hate

1034
01:00:48,200 --> 01:00:50,040
Speaker 1: to use the term gen z, but that's where my

1035
01:00:50,120 --> 01:00:53,120
Speaker 1: daughter refers to herself as so like the amount of

1036
01:00:53,160 --> 01:00:56,280
Speaker 1: like we during when the pandemic started, you know, we

1037
01:00:56,280 --> 01:00:58,160
Speaker 1: we totally got on this, like all right, we're gonna

1038
01:00:58,160 --> 01:01:00,480
Speaker 1: show you all of the movies from from our childhood,

1039
01:01:00,520 --> 01:01:02,560
Speaker 1: you know what I mean. Like so and she's like,

1040
01:01:02,680 --> 01:01:05,280
Speaker 1: I mean, my my other daughter is dope, like totally

1041
01:01:05,280 --> 01:01:08,320
Speaker 1: an anime. She's like a Star Wars nerd. Like like

1042
01:01:08,360 --> 01:01:10,600
Speaker 1: she's dope, you know what I'm saying. Like, you know,

1043
01:01:10,720 --> 01:01:13,960
Speaker 1: she got like a little fake slitherin tattoo on her arm,

1044
01:01:14,080 --> 01:01:16,959
Speaker 1: like she's cool, you know what I'm saying. Um, So,

1045
01:01:17,160 --> 01:01:19,680
Speaker 1: at some point we was like, all right, Breakfast Club,

1046
01:01:19,760 --> 01:01:22,240
Speaker 1: weird Science, Like, let's show her all these flicks, right,

1047
01:01:22,480 --> 01:01:25,600
Speaker 1: And as we're showing them, specifically, what gave us pause

1048
01:01:25,760 --> 01:01:29,000
Speaker 1: was like when we got to Weird Science and you know,

1049
01:01:29,360 --> 01:01:32,280
Speaker 1: they're making this woman, you know what I'm saying, and

1050
01:01:32,480 --> 01:01:36,800
Speaker 1: so like, my my daughter's like, what the funk is this?

1051
01:01:36,960 --> 01:01:39,720
Speaker 1: Like just like you know, she's like cussing at us

1052
01:01:39,720 --> 01:01:44,000
Speaker 1: because she's like, this is y'all gotta nah, hony, like

1053
01:01:44,120 --> 01:01:46,120
Speaker 1: this don't ride you know what I'm saying. It's like

1054
01:01:46,320 --> 01:01:48,880
Speaker 1: so proud of her, you know what I mean, for

1055
01:01:48,920 --> 01:01:51,520
Speaker 1: her already knowing like no no no no no no

1056
01:01:51,520 --> 01:01:53,120
Speaker 1: no no no no no no no no no no,

1057
01:01:53,520 --> 01:01:56,760
Speaker 1: we're not She's like, y'all watch this. This is a movie.

1058
01:01:57,000 --> 01:02:00,680
Speaker 1: He thought this was good good. Yeah, it's just and

1059
01:02:00,720 --> 01:02:02,600
Speaker 1: it's like all these different moments. She was like the

1060
01:02:03,000 --> 01:02:04,800
Speaker 1: breakfast Club she rocked with, you know what I mean.

1061
01:02:04,880 --> 01:02:07,400
Speaker 1: She was like, Okay, this you know obviously because it's

1062
01:02:07,400 --> 01:02:10,080
Speaker 1: about it's a coming age is much different movie. But

1063
01:02:10,160 --> 01:02:12,280
Speaker 1: like some of the other stuff he was trying to

1064
01:02:12,280 --> 01:02:16,960
Speaker 1: show her, she was just like nah or not, this

1065
01:02:17,080 --> 01:02:19,960
Speaker 1: is horrible. Yeah. I was like you know what I'm

1066
01:02:20,120 --> 01:02:21,959
Speaker 1: me and my wife are like, yo, I'm super proud

1067
01:02:22,000 --> 01:02:26,360
Speaker 1: of this little girl. Just nah. She's like no, just no, no,

1068
01:02:26,560 --> 01:02:30,280
Speaker 1: and I was like, okay, future future Bectel cast guests, Yeah,

1069
01:02:30,360 --> 01:02:34,600
Speaker 1: the sounds of it, yeah, oh gosh, yeah, this the

1070
01:02:34,600 --> 01:02:37,640
Speaker 1: basis of this relationship. And then that that argument that

1071
01:02:37,760 --> 01:02:41,280
Speaker 1: having the in the truck ends with him screaming at

1072
01:02:41,320 --> 01:02:43,800
Speaker 1: her saying like fuck you bitch, get out of here,

1073
01:02:43,920 --> 01:02:47,840
Speaker 1: like all this stuff, and then again not a great

1074
01:02:48,040 --> 01:02:51,480
Speaker 1: foundation on which to build a romance. And yet I'd

1075
01:02:51,560 --> 01:02:54,919
Speaker 1: argue she he doesn't necessarily deserve a second chance after

1076
01:02:55,000 --> 01:02:57,840
Speaker 1: the way he treats her like in that first conversation,

1077
01:02:58,080 --> 01:03:01,120
Speaker 1: and and the way she stands up for herself is

1078
01:03:01,160 --> 01:03:05,400
Speaker 1: like again it's it's like it's interesting to watch with

1079
01:03:05,440 --> 01:03:08,720
Speaker 1: like I was trying to put on goggles with like

1080
01:03:09,320 --> 01:03:12,520
Speaker 1: mixed results, but like the way that she's standing up

1081
01:03:12,520 --> 01:03:15,040
Speaker 1: for herself I think is like pretty cool and like

1082
01:03:15,240 --> 01:03:19,080
Speaker 1: very like direct. And but he interprets this as like,

1083
01:03:19,400 --> 01:03:22,520
Speaker 1: you know, you're being aggressive, you're being cold, you know.

1084
01:03:22,880 --> 01:03:25,480
Speaker 1: But she she says like, don't call me a bit.

1085
01:03:25,640 --> 01:03:27,960
Speaker 1: You don't know anything about me. I'm a black woman.

1086
01:03:28,000 --> 01:03:30,200
Speaker 1: I deserve respect. Don't call me a bit. If I'm

1087
01:03:30,240 --> 01:03:32,480
Speaker 1: a bit, your mother's a bit. And just like all

1088
01:03:32,520 --> 01:03:35,160
Speaker 1: this stuff that is like you know, she has like

1089
01:03:35,200 --> 01:03:39,400
Speaker 1: the top of mind comebacks that anyone would want to have,

1090
01:03:40,360 --> 01:03:43,240
Speaker 1: but he just takes it all, you know, at the beginning.

1091
01:03:43,280 --> 01:03:46,520
Speaker 1: And again it's like, you know, she heals his misogyny

1092
01:03:46,560 --> 01:03:50,920
Speaker 1: in a day, um, but at the beginning, I mean

1093
01:03:50,960 --> 01:03:55,280
Speaker 1: he he, you know, is not receptive to it at all. Yeah,

1094
01:03:55,360 --> 01:03:58,440
Speaker 1: I think the journey of like of Lucky in some ways,

1095
01:03:58,920 --> 01:04:02,120
Speaker 1: obviously everybody a different scale. I think I relate to

1096
01:04:02,440 --> 01:04:06,080
Speaker 1: in the sense that like it depending on how trash

1097
01:04:06,160 --> 01:04:10,120
Speaker 1: you actually are, like most, well I'll not say mostly,

1098
01:04:10,160 --> 01:04:13,480
Speaker 1: but I'll say like homies I'll run with like we

1099
01:04:13,640 --> 01:04:18,320
Speaker 1: never saw ourselves as problematic because we knew problematic dudes,

1100
01:04:18,800 --> 01:04:21,720
Speaker 1: you know what I'm saying. So we're like, no, that

1101
01:04:21,760 --> 01:04:23,720
Speaker 1: food is a problem. You don't stand what I'm saying,

1102
01:04:23,760 --> 01:04:29,080
Speaker 1: Like he trash, Like that's a scumbag, douchebag, that food's trash,

1103
01:04:29,440 --> 01:04:32,000
Speaker 1: you know what I'm saying. So I think in his head,

1104
01:04:32,240 --> 01:04:34,480
Speaker 1: it's like that's what I'm saying, Like she heals his

1105
01:04:34,560 --> 01:04:36,600
Speaker 1: misogyny because I feel like in a lot of ways,

1106
01:04:37,560 --> 01:04:40,280
Speaker 1: obviously I was never there, but I know in a

1107
01:04:40,280 --> 01:04:44,560
Speaker 1: lot of ways, like I've had, you know, corrective moments,

1108
01:04:44,960 --> 01:04:46,600
Speaker 1: you know, what I'm saying in the sense to where

1109
01:04:46,640 --> 01:04:49,440
Speaker 1: you like you don't come in, you come in thinking

1110
01:04:49,480 --> 01:04:52,280
Speaker 1: you're different, you know what I mean. And so for

1111
01:04:52,360 --> 01:04:54,160
Speaker 1: him to be like why are you so quiet? What

1112
01:04:54,240 --> 01:04:56,560
Speaker 1: you right? And it's like in his head he's like, no,

1113
01:04:56,680 --> 01:04:59,320
Speaker 1: I'm being approachable, like I'm tring. I'm trying to have

1114
01:04:59,360 --> 01:05:02,560
Speaker 1: a conversation with you, like you feel me like dang,

1115
01:05:02,600 --> 01:05:04,960
Speaker 1: I'm you riding in the car like you know, I

1116
01:05:05,400 --> 01:05:09,320
Speaker 1: don't understand what I'm doing wrong, you know. Uh, but

1117
01:05:09,520 --> 01:05:12,520
Speaker 1: having that arc you know, again, this ain't to defend him,

1118
01:05:12,520 --> 01:05:14,480
Speaker 1: but what I'm saying is like that's the part that's like,

1119
01:05:14,800 --> 01:05:18,840
Speaker 1: in my mind in some ways relatable, you know, little

1120
01:05:18,880 --> 01:05:22,080
Speaker 1: stuff like I thought when I got married, like, yo,

1121
01:05:22,120 --> 01:05:24,480
Speaker 1: it's my job to take care of I'm gonna take

1122
01:05:24,480 --> 01:05:26,440
Speaker 1: care of all the household bills, you spend your money on,

1123
01:05:26,560 --> 01:05:28,080
Speaker 1: what you want to spend your money on, because I'm

1124
01:05:28,080 --> 01:05:29,440
Speaker 1: a real man, you know what I'm saying, I take

1125
01:05:29,440 --> 01:05:32,080
Speaker 1: care of out you feel me, It's like, well, you

1126
01:05:32,080 --> 01:05:34,480
Speaker 1: know we can have a conversation about it. To ask

1127
01:05:34,960 --> 01:05:38,920
Speaker 1: and I was like, oh yeah, you know, like so

1128
01:05:39,080 --> 01:05:41,800
Speaker 1: like that type of like you know what, I don't

1129
01:05:41,800 --> 01:05:43,480
Speaker 1: know where I got Where did I get that from?

1130
01:05:43,520 --> 01:05:47,080
Speaker 1: But then you started questioning like you know, absolutely correct,

1131
01:05:47,200 --> 01:05:49,280
Speaker 1: you know? Or like when we were dating, Hey, you

1132
01:05:49,320 --> 01:05:51,160
Speaker 1: want to go out? And I would feel weird about

1133
01:05:51,200 --> 01:05:54,760
Speaker 1: saying like I don't have the money to go out today,

1134
01:05:54,840 --> 01:05:56,560
Speaker 1: you know what I'm saying, Like, but I didn't know

1135
01:05:56,600 --> 01:05:58,880
Speaker 1: how to say that, so I would try to come

1136
01:05:58,960 --> 01:06:01,800
Speaker 1: up with like a million other things and she'd be like,

1137
01:06:02,280 --> 01:06:06,120
Speaker 1: I got it, And I'm like you sure, like, well

1138
01:06:06,160 --> 01:06:07,760
Speaker 1: I gotta go nowhere, you know, and she's like what

1139
01:06:07,800 --> 01:06:11,280
Speaker 1: the man? Like, I'm telling you it's cool, you know?

1140
01:06:11,720 --> 01:06:14,360
Speaker 1: So not that For me, it was like that sort

1141
01:06:14,360 --> 01:06:18,080
Speaker 1: of evolution to where it was more like obviously knew better,

1142
01:06:18,160 --> 01:06:21,080
Speaker 1: Like again, I just wasn't that much trash to know

1143
01:06:21,360 --> 01:06:23,760
Speaker 1: that ppposed to talk to nobody like this, but but

1144
01:06:23,840 --> 01:06:26,560
Speaker 1: you don't. But there's there's levels to this ship, you

1145
01:06:26,600 --> 01:06:28,800
Speaker 1: feel me Like if you don't, you don't realize it

1146
01:06:28,840 --> 01:06:31,800
Speaker 1: until somebody pointed out you know what I'm saying, um

1147
01:06:31,880 --> 01:06:34,960
Speaker 1: and and and and I think like anybody like you

1148
01:06:35,040 --> 01:06:40,360
Speaker 1: get defensive when you already see yourself as not what

1149
01:06:40,520 --> 01:06:42,320
Speaker 1: someone's calling you, you know what I mean? I always

1150
01:06:42,680 --> 01:06:44,400
Speaker 1: I feel like the best example of this is just

1151
01:06:44,480 --> 01:06:49,560
Speaker 1: like talking to white men about racism. It's scary. It's

1152
01:06:49,560 --> 01:06:51,960
Speaker 1: scary for them to think that they're guilty. You know

1153
01:06:52,000 --> 01:06:54,480
Speaker 1: what I'm saying. So when you start going, na, bro,

1154
01:06:55,400 --> 01:06:57,200
Speaker 1: now you too, do you know what I'm saying? Like

1155
01:06:57,640 --> 01:07:00,280
Speaker 1: that's hard, you know, um, but if you if you

1156
01:07:00,400 --> 01:07:03,720
Speaker 1: down like and like I said, I'm down, So I'm like, nah,

1157
01:07:03,800 --> 01:07:06,080
Speaker 1: show me, you know what i mean? Like, all that

1158
01:07:06,120 --> 01:07:09,280
Speaker 1: to say is delpas. She stood up to him and

1159
01:07:09,320 --> 01:07:12,320
Speaker 1: as as hood as she did, you know what I'm saying,

1160
01:07:12,480 --> 01:07:15,480
Speaker 1: and as like you know, fuck you, fuck you fuck

1161
01:07:15,560 --> 01:07:18,400
Speaker 1: you know I'm saying like whatever it was she met

1162
01:07:18,520 --> 01:07:21,640
Speaker 1: him there. You know what I'm saying is like it's

1163
01:07:21,680 --> 01:07:24,200
Speaker 1: just it's crazy. It's not crazy. I'm not supposed to

1164
01:07:24,200 --> 01:07:26,840
Speaker 1: say that one, but it's it's it's a trip. I

1165
01:07:26,880 --> 01:07:29,400
Speaker 1: think I'm actually glad. Y'all added that to the email.

1166
01:07:29,440 --> 01:07:30,680
Speaker 1: I don't know if it's gonna make this in there,

1167
01:07:30,720 --> 01:07:34,200
Speaker 1: but like that's what I'm saying, that's akin, that's growth,

1168
01:07:34,280 --> 01:07:35,320
Speaker 1: you know what I mean. That's so I was like,

1169
01:07:35,400 --> 01:07:37,800
Speaker 1: you know what, I never I never thought about that.

1170
01:07:38,760 --> 01:07:41,680
Speaker 1: We didn't either, ye bring it up to us. Yeah,

1171
01:07:41,760 --> 01:07:44,400
Speaker 1: it's just been the past couple of years. Yeah, we're

1172
01:07:44,400 --> 01:07:50,360
Speaker 1: all on a journey and in many arenas to unlearned

1173
01:07:50,960 --> 01:07:54,920
Speaker 1: things grow as people. We're all on our own little

1174
01:07:54,960 --> 01:08:01,760
Speaker 1: mail truck to Oakland in a way, making stop taking

1175
01:08:01,760 --> 01:08:07,919
Speaker 1: the long route, the male truck of life man. And

1176
01:08:08,000 --> 01:08:10,120
Speaker 1: then so then they, you know, they do start to

1177
01:08:10,160 --> 01:08:14,720
Speaker 1: find common ground in this like connection. You know, they're

1178
01:08:14,880 --> 01:08:18,439
Speaker 1: they both have like artistic aspirations that are similar. Like

1179
01:08:18,520 --> 01:08:23,040
Speaker 1: she writes poetry, he writes hip hop music. Um or

1180
01:08:23,080 --> 01:08:25,080
Speaker 1: I guess do we even learn that that's what he does?

1181
01:08:25,439 --> 01:08:28,439
Speaker 1: I'm unclear. You hear when you hear the real to reels,

1182
01:08:28,479 --> 01:08:30,760
Speaker 1: when you hear the recordings of his cousin Win the Base,

1183
01:08:30,880 --> 01:08:33,240
Speaker 1: which fun fact, was Coolio. I don't know if you know,

1184
01:08:33,400 --> 01:08:36,360
Speaker 1: did you recognize a voice as soon as he started playing,

1185
01:08:36,400 --> 01:08:41,200
Speaker 1: I was like, that's Coolio. Yeah, so John second thing

1186
01:08:41,280 --> 01:08:46,680
Speaker 1: out everybody, everybody? Yeah, so uh so in what he

1187
01:08:46,720 --> 01:08:49,280
Speaker 1: was saying, yeah that pop was like or Lucky was

1188
01:08:49,320 --> 01:08:51,679
Speaker 1: like I help him with ideas, but it's like it's

1189
01:08:51,720 --> 01:08:53,559
Speaker 1: his So it sounds like he's like I'm more of

1190
01:08:53,560 --> 01:08:56,160
Speaker 1: a producer, you know, got it, got it, got it? Yeah.

1191
01:08:56,320 --> 01:08:59,240
Speaker 1: So even so they have you know similar aspirations, so

1192
01:08:59,280 --> 01:09:02,639
Speaker 1: that you know, they find areas to connect, and then

1193
01:09:03,240 --> 01:09:05,760
Speaker 1: things fall apart again when he does that thing that

1194
01:09:05,800 --> 01:09:10,200
Speaker 1: he keeps doing is like projecting. He blames the time

1195
01:09:10,200 --> 01:09:13,759
Speaker 1: he spent with her for not being able to prevent

1196
01:09:13,840 --> 01:09:17,560
Speaker 1: the death of his cousin, and you know, sabotage is

1197
01:09:17,800 --> 01:09:22,400
Speaker 1: this relationship, and then comes back and apologizes a little,

1198
01:09:22,560 --> 01:09:26,400
Speaker 1: you know, some time later, and she forgives him. I

1199
01:09:26,439 --> 01:09:29,400
Speaker 1: do like the women in the salon. They don't I

1200
01:09:29,400 --> 01:09:32,519
Speaker 1: don't think they even know what the context was, but

1201
01:09:32,640 --> 01:09:35,320
Speaker 1: they were just like I wouldn't have forgiven him. I

1202
01:09:35,320 --> 01:09:39,519
Speaker 1: wouldn't forgive him. They were the best dude and the way.

1203
01:09:39,600 --> 01:09:41,519
Speaker 1: And then before that happened, when I was looking at

1204
01:09:41,520 --> 01:09:44,160
Speaker 1: the cheating girl and she was just like she didn't

1205
01:09:44,200 --> 01:09:46,040
Speaker 1: think I know who that is, I was like, dog,

1206
01:09:46,080 --> 01:09:51,320
Speaker 1: this is the realist right now. So I guess what

1207
01:09:51,360 --> 01:09:53,600
Speaker 1: I'm saying is it was very hard for me to

1208
01:09:53,720 --> 01:09:58,840
Speaker 1: root for this romantic relationship because of how horribly Lucky

1209
01:09:58,960 --> 01:10:02,719
Speaker 1: treats Justice throughout the whole story, and especially at the beginning.

1210
01:10:03,439 --> 01:10:07,000
Speaker 1: And I was far more interested in the friendship between

1211
01:10:07,080 --> 01:10:12,840
Speaker 1: Justice and Aisha than Justice and Lucky. Yeah, I I liked.

1212
01:10:12,880 --> 01:10:16,080
Speaker 1: I mean, I guess the last thing I'll say about

1213
01:10:16,120 --> 01:10:19,280
Speaker 1: Justice and Lucky is again it's like I also was

1214
01:10:19,320 --> 01:10:24,160
Speaker 1: not rooting for their romantic relationship, but I do appreciate

1215
01:10:24,439 --> 01:10:29,120
Speaker 1: how John Singleton kind of gives like context in depth

1216
01:10:29,280 --> 01:10:32,519
Speaker 1: where you need it, where it's like sometimes when a

1217
01:10:32,640 --> 01:10:35,280
Speaker 1: character acts out and lashes out against someone and you

1218
01:10:35,320 --> 01:10:37,479
Speaker 1: have no contact for it whatsoever, you're like, oh, funk

1219
01:10:37,560 --> 01:10:40,479
Speaker 1: that person, Like that's awful. That's not how you treat people.

1220
01:10:41,080 --> 01:10:43,960
Speaker 1: But especially with that, with that sort of last beat

1221
01:10:44,000 --> 01:10:47,200
Speaker 1: where it's like, I mean when when they when they

1222
01:10:47,240 --> 01:10:51,840
Speaker 1: get to Oakland and immediately like something awful happens and

1223
01:10:52,080 --> 01:10:55,160
Speaker 1: Lucky is like reeling and doesn't know what to do,

1224
01:10:55,240 --> 01:10:58,280
Speaker 1: and it's it just felt like, yeah, he was like

1225
01:10:58,520 --> 01:11:04,160
Speaker 1: projecting his anger like frustration at at someone he could

1226
01:11:04,240 --> 01:11:07,280
Speaker 1: hurt in that moment because he was so hurt, and

1227
01:11:08,080 --> 01:11:10,559
Speaker 1: you know, it's like not right and it's not like

1228
01:11:10,640 --> 01:11:12,960
Speaker 1: Justice is deserving of that anger in any way, but

1229
01:11:13,040 --> 01:11:15,080
Speaker 1: in that moment, you're like, oh, he just this anger

1230
01:11:15,200 --> 01:11:18,320
Speaker 1: is just gonna hit someone. The first person that's there

1231
01:11:18,400 --> 01:11:21,280
Speaker 1: is who it's going to hit. And I appreciate it

1232
01:11:21,320 --> 01:11:23,280
Speaker 1: that they took that moment with him in the basement

1233
01:11:23,280 --> 01:11:28,600
Speaker 1: when he's listening back to to Coolio, but that like

1234
01:11:28,680 --> 01:11:31,519
Speaker 1: they give you that moment of vulnerability and he finally

1235
01:11:31,560 --> 01:11:34,839
Speaker 1: does like he's able to cry, but it's only by himself.

1236
01:11:35,040 --> 01:11:37,639
Speaker 1: And just like moments like that, I was like, Oh,

1237
01:11:37,720 --> 01:11:41,000
Speaker 1: that's like I'm still not rooting for them to end

1238
01:11:41,080 --> 01:11:44,920
Speaker 1: up together, but I appreciated the kind of like depth

1239
01:11:44,960 --> 01:11:47,599
Speaker 1: of the storytelling there. I wish we honestly, I wish

1240
01:11:47,600 --> 01:11:50,679
Speaker 1: we got more, you know, more of that with with

1241
01:11:50,800 --> 01:11:56,880
Speaker 1: Justice in general. I yeah, there's I like Justice a lot.

1242
01:11:57,439 --> 01:12:01,639
Speaker 1: I liked and I don't even mind at the movie

1243
01:12:01,720 --> 01:12:03,640
Speaker 1: kind of takes this time and letting you know what

1244
01:12:03,720 --> 01:12:06,840
Speaker 1: her background is, Like I think that could be like

1245
01:12:06,840 --> 01:12:10,240
Speaker 1: a really cool storytelling approach of like you find out

1246
01:12:10,280 --> 01:12:12,160
Speaker 1: something kind of late in the game, you're like, oh,

1247
01:12:12,200 --> 01:12:14,560
Speaker 1: that kind of makes sense for why you are the

1248
01:12:14,600 --> 01:12:16,639
Speaker 1: way you are and why you react the way you do.

1249
01:12:16,960 --> 01:12:19,439
Speaker 1: But I just like, I don't know, Yeah, I wish

1250
01:12:19,479 --> 01:12:22,920
Speaker 1: that we just got to see more of of her

1251
01:12:23,400 --> 01:12:26,880
Speaker 1: outside of the Lucky dynamic, like you were saying, Caitlin

1252
01:12:26,960 --> 01:12:31,320
Speaker 1: like with Ayesha and yeah, yeah, and that like I

1253
01:12:31,360 --> 01:12:34,040
Speaker 1: love how important her poetry is to her, but it's

1254
01:12:34,040 --> 01:12:36,000
Speaker 1: like you don't really get that. It doesn't really come

1255
01:12:36,040 --> 01:12:39,760
Speaker 1: into the story that much where I don't know, Like

1256
01:12:40,040 --> 01:12:42,400
Speaker 1: I like how it's woven in, but there's just I

1257
01:12:42,600 --> 01:12:45,600
Speaker 1: thought there was more opportunities to like dig into that,

1258
01:12:45,680 --> 01:12:47,960
Speaker 1: because it's like you're presented the movie like this is

1259
01:12:47,960 --> 01:12:51,280
Speaker 1: going to be all about her, and then it's kind

1260
01:12:51,280 --> 01:12:54,520
Speaker 1: of it's kind of more it becomes more ensembly, yeah,

1261
01:12:54,520 --> 01:12:57,679
Speaker 1: because then you cut away after the first few minutes

1262
01:12:57,720 --> 01:13:01,760
Speaker 1: of like setting up her exposition and stuff, you cut

1263
01:13:01,760 --> 01:13:04,360
Speaker 1: away from her and you get a bunch of backstory

1264
01:13:04,600 --> 01:13:10,439
Speaker 1: on Lucky and like his job and his daughter and

1265
01:13:10,760 --> 01:13:12,760
Speaker 1: stuff like that. And I was like, oh, we're kind

1266
01:13:12,800 --> 01:13:18,280
Speaker 1: of we're not seeing justice for like many many minutes

1267
01:13:18,320 --> 01:13:20,080
Speaker 1: in a row, which is kind of a weird choice

1268
01:13:20,080 --> 01:13:23,679
Speaker 1: considering she's like poised as being the protagonist of this movie.

1269
01:13:23,720 --> 01:13:26,479
Speaker 1: But I don't know. I I agree that I would

1270
01:13:26,479 --> 01:13:29,599
Speaker 1: have liked to see a little bit more of her

1271
01:13:29,920 --> 01:13:33,519
Speaker 1: interior life. It's the same amount that Lucky gets, because

1272
01:13:33,520 --> 01:13:35,400
Speaker 1: I feel like you get a lot of Lucky's home

1273
01:13:35,439 --> 01:13:37,160
Speaker 1: life and you get a lot of his work life,

1274
01:13:37,160 --> 01:13:39,840
Speaker 1: and you, I guess you do get justice his work life,

1275
01:13:39,840 --> 01:13:41,840
Speaker 1: and you see her at the salon and talking with

1276
01:13:41,880 --> 01:13:44,920
Speaker 1: their coworkers, but you don't like her home life is

1277
01:13:44,920 --> 01:13:48,120
Speaker 1: so solitary, which makes sense later, but you just it

1278
01:13:48,200 --> 01:13:50,360
Speaker 1: just feels like there's a piece of her story that

1279
01:13:50,560 --> 01:13:52,920
Speaker 1: is like I just, yeah, I guess I can't like

1280
01:13:52,960 --> 01:13:56,000
Speaker 1: describe it, right, But no, I never I Yeah, it's

1281
01:13:56,080 --> 01:13:59,040
Speaker 1: it's great. I always I did think that, like the

1282
01:14:00,080 --> 01:14:01,960
Speaker 1: scene when he goes picks up his daughter, and I said,

1283
01:14:01,960 --> 01:14:04,160
Speaker 1: I was like, it's kind of long, like you know,

1284
01:14:04,600 --> 01:14:07,120
Speaker 1: and because I get it that you're he's developing the

1285
01:14:07,439 --> 01:14:09,800
Speaker 1: plot here, but like, yeah, I was like, it's good.

1286
01:14:10,120 --> 01:14:12,400
Speaker 1: It probably could have been shorter, you know. And then

1287
01:14:12,880 --> 01:14:15,960
Speaker 1: the yeah, the glimpse into whatever is going on under

1288
01:14:16,000 --> 01:14:19,439
Speaker 1: the surface with with Justice is just that one scene

1289
01:14:19,439 --> 01:14:21,240
Speaker 1: at home when she's taking care of herself, making the

1290
01:14:21,280 --> 01:14:23,280
Speaker 1: faces and the mirror and stuff like that. We're like

1291
01:14:23,520 --> 01:14:25,560
Speaker 1: where I'm like, oh my gosh, she's depressed, you know

1292
01:14:25,600 --> 01:14:28,240
Speaker 1: what I mean, But I don't know why she's depressed,

1293
01:14:28,280 --> 01:14:30,679
Speaker 1: and maybe you're trying to hold that for the reveal

1294
01:14:30,760 --> 01:14:34,120
Speaker 1: to the end. But uh, yeah, like I I when

1295
01:14:34,160 --> 01:14:36,320
Speaker 1: you said you were interested in her friendship with Aisha

1296
01:14:36,360 --> 01:14:39,439
Speaker 1: a little more that, like, Yeah, that really got my

1297
01:14:39,479 --> 01:14:45,120
Speaker 1: wheel spinning, because that's definitely left unresolved and as we

1298
01:14:45,240 --> 01:14:47,639
Speaker 1: far as we know, Chicago still somewhere on the northern

1299
01:14:47,640 --> 01:14:54,640
Speaker 1: coast Chicago or hooever, still wandering fifteen miles outside of

1300
01:14:55,439 --> 01:14:59,360
Speaker 1: to this day, he'd have lost his job. You know

1301
01:14:59,360 --> 01:15:02,320
Speaker 1: what I'm saying. They where our truck yet delivering a

1302
01:15:02,400 --> 01:15:05,400
Speaker 1: Michael Ravenport. They're really in the middle of nowhere by

1303
01:15:05,439 --> 01:15:09,040
Speaker 1: the time he gets kicked off. Yeah. I think one

1304
01:15:09,040 --> 01:15:11,559
Speaker 1: of the reasons too that I felt like there was

1305
01:15:11,600 --> 01:15:15,760
Speaker 1: something missing with Justices characterization is that a lot of

1306
01:15:15,760 --> 01:15:20,000
Speaker 1: the conversations she has early on with people are her

1307
01:15:20,320 --> 01:15:23,240
Speaker 1: and her boss Jesse, like the owner of the salon,

1308
01:15:23,800 --> 01:15:26,639
Speaker 1: and her and Nisha, but they're the conversations are about

1309
01:15:26,720 --> 01:15:28,679
Speaker 1: you need a man. When are you going to find

1310
01:15:28,680 --> 01:15:31,880
Speaker 1: yourself a good man? Um, which is you know, I

1311
01:15:31,920 --> 01:15:36,160
Speaker 1: guess the very nineties movie thing to do, especially for

1312
01:15:36,160 --> 01:15:38,160
Speaker 1: this genre, but like also I think a very like

1313
01:15:38,320 --> 01:15:42,200
Speaker 1: men writing women thing to do. Yeah, yeah, which I

1314
01:15:42,240 --> 01:15:48,639
Speaker 1: can't meet. I can't argue there. I thought though, like

1315
01:15:49,040 --> 01:15:51,680
Speaker 1: the age of the owner or the person saying that

1316
01:15:51,760 --> 01:15:54,519
Speaker 1: to me is like that's where you get away with it.

1317
01:15:54,880 --> 01:15:58,800
Speaker 1: Because that is something that our aunties would say to us,

1318
01:15:59,479 --> 01:16:01,479
Speaker 1: you know what I'm and so when I so even

1319
01:16:01,520 --> 01:16:03,120
Speaker 1: then when I think back to myself, like they say,

1320
01:16:03,160 --> 01:16:05,360
Speaker 1: when you wat your little girlfriend, you got to a

1321
01:16:05,360 --> 01:16:07,519
Speaker 1: little you keep God, Jay's keep him a little girlfriend,

1322
01:16:07,520 --> 01:16:09,439
Speaker 1: a little pretty little thing, don't you know what I mean?

1323
01:16:09,479 --> 01:16:12,400
Speaker 1: So that's so are are like elders would say stuff,

1324
01:16:12,880 --> 01:16:16,280
Speaker 1: say stuff like that to us. But as a movie choice,

1325
01:16:17,240 --> 01:16:20,720
Speaker 1: I think it's, yeah, that's that's a trip. It's you know,

1326
01:16:21,040 --> 01:16:24,240
Speaker 1: next to a woman who owns her own business, like

1327
01:16:24,360 --> 01:16:27,720
Speaker 1: you know, clearly fine, like she doing her thing, you

1328
01:16:27,720 --> 01:16:29,880
Speaker 1: know what I'm saying. Like, so it's interesting that that

1329
01:16:29,920 --> 01:16:32,000
Speaker 1: would be your responses. And to me, she come off

1330
01:16:32,040 --> 01:16:35,200
Speaker 1: as somebody that like, men are toys. To me, I

1331
01:16:35,280 --> 01:16:37,240
Speaker 1: used them when I feel like them. You know, yeah,

1332
01:16:37,400 --> 01:16:39,720
Speaker 1: I wrote down what she said. She said, a man

1333
01:16:39,800 --> 01:16:43,120
Speaker 1: ain't nothing but a tool. You have to know when

1334
01:16:43,160 --> 01:16:44,559
Speaker 1: to take them out of the box and when to

1335
01:16:44,560 --> 01:16:46,720
Speaker 1: put him back in. And if you lose one, you

1336
01:16:46,760 --> 01:16:48,559
Speaker 1: just go out and get yourself another one. So for

1337
01:16:48,640 --> 01:16:52,280
Speaker 1: that for her to be this like, yeah, just you know,

1338
01:16:52,600 --> 01:16:54,720
Speaker 1: use men whenever you want, which is like also not

1339
01:16:54,960 --> 01:16:58,599
Speaker 1: the best advice, but for her to also be like,

1340
01:16:59,200 --> 01:17:02,160
Speaker 1: but you're never We're gonna find happiness until you find

1341
01:17:02,200 --> 01:17:05,080
Speaker 1: yourself a man who loves you and who you love

1342
01:17:05,120 --> 01:17:07,479
Speaker 1: forever and ever. I was like, mm, there's a little

1343
01:17:07,520 --> 01:17:10,000
Speaker 1: bit of dissonance there. That was where I was just

1344
01:17:10,040 --> 01:17:13,919
Speaker 1: like like I And John Singleton does say in interviews

1345
01:17:14,000 --> 01:17:16,120
Speaker 1: that he he spoke to a lot of the women

1346
01:17:16,120 --> 01:17:19,280
Speaker 1: in his life and women he knew from South Central

1347
01:17:19,320 --> 01:17:21,800
Speaker 1: to build out this world. But I feel like, yeah,

1348
01:17:21,840 --> 01:17:24,000
Speaker 1: it's in those moments where you kind of feel like

1349
01:17:24,200 --> 01:17:27,519
Speaker 1: the male author is is showing a little bit where

1350
01:17:27,880 --> 01:17:31,000
Speaker 1: I like that, Like the three women we get to know,

1351
01:17:31,360 --> 01:17:34,760
Speaker 1: I guess Jesse, Ayisha, and Justice, like they're all very

1352
01:17:34,880 --> 01:17:38,599
Speaker 1: different people and they have really different approaches to life.

1353
01:17:38,640 --> 01:17:41,160
Speaker 1: They have really different outlooks, but you really only get

1354
01:17:41,200 --> 01:17:44,559
Speaker 1: to see those outlooks like either in like quick flashes

1355
01:17:44,600 --> 01:17:46,880
Speaker 1: of friendship, like you get kind of a tease with

1356
01:17:47,080 --> 01:17:49,760
Speaker 1: Justice and Ayisha, but mostly you see how these like

1357
01:17:49,960 --> 01:17:54,120
Speaker 1: really distinct personalities react to relationships with men only. And

1358
01:17:54,160 --> 01:17:56,840
Speaker 1: I would have liked to see these, like I thought,

1359
01:17:56,880 --> 01:18:00,519
Speaker 1: pretty like well crafted characters of like you have a

1360
01:18:00,560 --> 01:18:02,879
Speaker 1: woman who's a little older and owns her own business,

1361
01:18:02,920 --> 01:18:05,880
Speaker 1: and like just men are tools to her. And then

1362
01:18:05,920 --> 01:18:10,400
Speaker 1: you have Ayisha, who's like young and like exploring herself

1363
01:18:10,400 --> 01:18:13,320
Speaker 1: and she's like struggling with alcoholism. And then Justice is

1364
01:18:13,360 --> 01:18:16,880
Speaker 1: so introverted and it's like, you know, let's let's talk

1365
01:18:16,880 --> 01:18:20,679
Speaker 1: about some other stuff too. Like there, those are so different.

1366
01:18:21,360 --> 01:18:24,360
Speaker 1: I also found a ton of joy in the hint

1367
01:18:24,600 --> 01:18:28,920
Speaker 1: of like the the gay relationship between the two male

1368
01:18:29,000 --> 01:18:35,640
Speaker 1: hair stylists. Okay, unclear about what exactly was. So the

1369
01:18:35,720 --> 01:18:37,840
Speaker 1: call was, I don't know if you caught this. The

1370
01:18:37,920 --> 01:18:43,080
Speaker 1: call was when he's on the colonies, he's got aids. Oh,

1371
01:18:43,320 --> 01:18:45,200
Speaker 1: that was the call. That's why he was freaking out

1372
01:18:45,240 --> 01:18:49,679
Speaker 1: and he's fighting with this other stylists. Yeah. Yeah, so

1373
01:18:50,200 --> 01:18:53,960
Speaker 1: that's it's this whole other story happening because again, a

1374
01:18:54,080 --> 01:18:59,280
Speaker 1: very well known trope in inner city living is your

1375
01:18:59,400 --> 01:19:03,200
Speaker 1: male hair stylists is most likely gay, you know, and

1376
01:19:03,360 --> 01:19:06,439
Speaker 1: uh so it's a trope, but it comes from something,

1377
01:19:06,479 --> 01:19:09,559
Speaker 1: you know what I'm saying. So like that moment, to me,

1378
01:19:10,360 --> 01:19:14,919
Speaker 1: I was like, again, this is John Singleton sneaking, sneaking

1379
01:19:14,960 --> 01:19:17,679
Speaker 1: the things in you know what I'm saying, and them

1380
01:19:17,760 --> 01:19:20,120
Speaker 1: kind of dealing with that. I kind of wished, And

1381
01:19:20,160 --> 01:19:22,080
Speaker 1: I mean, I know it's like such a side story.

1382
01:19:22,080 --> 01:19:23,599
Speaker 1: It would have been such a derailment, but I kind

1383
01:19:23,600 --> 01:19:26,000
Speaker 1: of wish they would have liked finished that one a

1384
01:19:26,000 --> 01:19:31,439
Speaker 1: little bit more, you know what I'm saying. But I

1385
01:19:31,479 --> 01:19:35,320
Speaker 1: was like, what is going on here? Yeah, we're looking

1386
01:19:35,320 --> 01:19:39,040
Speaker 1: at it with like post stigma, Like at the time

1387
01:19:39,080 --> 01:19:41,200
Speaker 1: there was still such a stigma, so you know, you

1388
01:19:41,240 --> 01:19:43,479
Speaker 1: can only hand at it, you know again back to

1389
01:19:43,600 --> 01:19:48,880
Speaker 1: like the black male persona of themselves and like things

1390
01:19:48,920 --> 01:19:50,720
Speaker 1: that we're still not ready to admit. You know what

1391
01:19:50,720 --> 01:19:53,360
Speaker 1: I'm saying. I think I think it kind of goes

1392
01:19:53,400 --> 01:19:58,599
Speaker 1: back to that, but I had now, like again looking back,

1393
01:19:58,840 --> 01:20:00,960
Speaker 1: like I appreciate him doing that. You know what I'm saying.

1394
01:20:00,960 --> 01:20:03,880
Speaker 1: I'm glad you like at least started down that road,

1395
01:20:04,040 --> 01:20:05,880
Speaker 1: you know what I'm saying, to like have a little

1396
01:20:05,880 --> 01:20:08,479
Speaker 1: more inclusive understanding of like all that it means to

1397
01:20:08,560 --> 01:20:10,599
Speaker 1: be you know what we are, because it's not like

1398
01:20:11,640 --> 01:20:13,640
Speaker 1: it's not like there wasn't l G B t Q

1399
01:20:13,880 --> 01:20:15,920
Speaker 1: in the nineties, you know what I'm saying, Like it

1400
01:20:16,000 --> 01:20:18,760
Speaker 1: didn't just appear like you know, I've always been here,

1401
01:20:18,800 --> 01:20:21,080
Speaker 1: you know what I'm saying. Yeah, Yeah, I'd be curious

1402
01:20:21,400 --> 01:20:24,160
Speaker 1: what our queer listeners think of that, because I honestly,

1403
01:20:24,200 --> 01:20:26,599
Speaker 1: I'm like, this is blowing my mind because I did

1404
01:20:26,640 --> 01:20:30,040
Speaker 1: not know how to read that scene at all. I

1405
01:20:30,040 --> 01:20:33,200
Speaker 1: could be wrong, I could be absolutely wrong, but like

1406
01:20:33,560 --> 01:20:35,360
Speaker 1: the way that she was patting his back, the way

1407
01:20:35,360 --> 01:20:37,559
Speaker 1: that he was looking, the way that the character was,

1408
01:20:38,200 --> 01:20:39,880
Speaker 1: I was like, this is the type of stuff again,

1409
01:20:39,960 --> 01:20:41,560
Speaker 1: going back to the South Central stuff. This is the

1410
01:20:41,600 --> 01:20:43,080
Speaker 1: type of stuff that in my mind, I'm like, that

1411
01:20:43,120 --> 01:20:45,240
Speaker 1: looks real familiar to me, you know what I mean.

1412
01:20:45,680 --> 01:20:47,920
Speaker 1: And I'd be really interested to hear what your queer

1413
01:20:47,920 --> 01:20:51,840
Speaker 1: audience says too, because again, this was like I'm coming

1414
01:20:51,840 --> 01:20:54,679
Speaker 1: at it from a black lens, you know, and I'm like,

1415
01:20:54,960 --> 01:20:56,600
Speaker 1: that's what it would look like to me, you know

1416
01:20:56,640 --> 01:20:59,960
Speaker 1: what i mean, Like at least then, you know, I'm

1417
01:21:00,200 --> 01:21:02,639
Speaker 1: that's what it was looked like then, you know, especially

1418
01:21:02,720 --> 01:21:05,920
Speaker 1: at a time where queerness and and the like, you know,

1419
01:21:05,960 --> 01:21:11,360
Speaker 1: aids panic was so widely just cooked into media. That's yeah,

1420
01:21:12,439 --> 01:21:14,280
Speaker 1: that's why. That's why it's like I drew that conclusion too,

1421
01:21:14,280 --> 01:21:16,880
Speaker 1: because we was still we're still like I mean, at

1422
01:21:16,920 --> 01:21:20,040
Speaker 1: there was so we was only a few years out

1423
01:21:20,040 --> 01:21:22,280
Speaker 1: of thinking that it only happened to queer people, you

1424
01:21:22,280 --> 01:21:24,759
Speaker 1: know what I'm saying, Like, at the end of the eighties,

1425
01:21:24,800 --> 01:21:27,519
Speaker 1: that's we actually thought that it was only this community,

1426
01:21:27,560 --> 01:21:31,439
Speaker 1: you feel me. So I think that there's like that moment,

1427
01:21:31,680 --> 01:21:34,600
Speaker 1: in my mind, was his attempt to humanize in the

1428
01:21:34,600 --> 01:21:36,759
Speaker 1: way that he knew how you know, I mean, obviously

1429
01:21:37,160 --> 01:21:42,320
Speaker 1: it's you know what I'm saying. It definitely, I'm sure

1430
01:21:42,479 --> 01:21:46,040
Speaker 1: like opened the door, if only by a small crack

1431
01:21:46,640 --> 01:21:50,600
Speaker 1: as far as representation goes, because so many movies of

1432
01:21:50,640 --> 01:21:54,040
Speaker 1: that era, if there was an inclusion of any queer characters,

1433
01:21:54,120 --> 01:21:58,680
Speaker 1: it was they were the butt of a joke, coated tropes. Yeah,

1434
01:21:58,720 --> 01:22:02,559
Speaker 1: all the all the stuff. Yeah, and yeah, so it's like, yo,

1435
01:22:02,640 --> 01:22:05,120
Speaker 1: he's still a trope, you know what I'm saying. So like,

1436
01:22:05,360 --> 01:22:10,080
Speaker 1: but like you said, like I felt as though this

1437
01:22:10,160 --> 01:22:12,360
Speaker 1: was much now. Granted, when I was a preteen, I

1438
01:22:12,400 --> 01:22:14,680
Speaker 1: didn't catch this, Like I felt like I caught it

1439
01:22:14,800 --> 01:22:17,760
Speaker 1: in this in watching it this weekend, you know what

1440
01:22:17,760 --> 01:22:21,240
Speaker 1: I'm saying. Um, And I actually thought, like, that's actually

1441
01:22:21,240 --> 01:22:24,960
Speaker 1: a much more powerful moment than I would have guessed,

1442
01:22:25,000 --> 01:22:28,000
Speaker 1: you know. And and again giving John Singleton his propers

1443
01:22:28,320 --> 01:22:32,600
Speaker 1: as to like how he processes and sneaks in political

1444
01:22:32,640 --> 01:22:34,840
Speaker 1: issues into his movies. I was like, this is probably

1445
01:22:34,960 --> 01:22:38,880
Speaker 1: one of those moments. It's tricky because during that time

1446
01:22:39,280 --> 01:22:42,040
Speaker 1: it was seen as a big risk for filmmakers to

1447
01:22:42,160 --> 01:22:46,960
Speaker 1: include queer characters at all. So yeah, and it might

1448
01:22:47,000 --> 01:22:50,040
Speaker 1: have been that reason that like the fact that we

1449
01:22:50,080 --> 01:22:52,799
Speaker 1: don't even know what that phone call was about because

1450
01:22:53,400 --> 01:22:55,559
Speaker 1: we can only just sort of like speculate and fill

1451
01:22:55,600 --> 01:22:58,760
Speaker 1: in the gaps, just speaks to the fact that like

1452
01:22:59,240 --> 01:23:04,479
Speaker 1: so little time time is dedicated to these characters. That again,

1453
01:23:04,600 --> 01:23:08,400
Speaker 1: was it's like just a very nineties thing. So while

1454
01:23:08,439 --> 01:23:13,000
Speaker 1: I appreciate like the the attempt at inclusion, it's all

1455
01:23:13,080 --> 01:23:15,719
Speaker 1: it's like very much still like a product of its

1456
01:23:15,920 --> 01:23:19,639
Speaker 1: time in terms of like we get so little, it's

1457
01:23:19,760 --> 01:23:26,479
Speaker 1: not that meaningful. Yeah, yeah, Like I would just be

1458
01:23:26,479 --> 01:23:28,400
Speaker 1: curious to know what our listeners think, yea, because it

1459
01:23:28,439 --> 01:23:30,880
Speaker 1: wasn't even reading for me. Maybe it did in the time.

1460
01:23:30,920 --> 01:23:34,640
Speaker 1: And again it's it's like, you know, the frustrating thing

1461
01:23:34,680 --> 01:23:39,720
Speaker 1: here is ultimately like there should have been more projects

1462
01:23:39,760 --> 01:23:42,960
Speaker 1: by queer directors that were championed and and and there

1463
01:23:43,000 --> 01:23:45,120
Speaker 1: were in the nineties, but but certainly not to the

1464
01:23:45,120 --> 01:23:47,439
Speaker 1: extent that was needed, and so it's like, you know,

1465
01:23:47,479 --> 01:23:50,960
Speaker 1: it's not all on John Singleton to do every single thing,

1466
01:23:51,240 --> 01:23:54,759
Speaker 1: but it's but that said, it's like it's yeah, it's

1467
01:23:55,240 --> 01:23:58,120
Speaker 1: that feels kind of like an incremental thing that even

1468
01:23:58,720 --> 01:24:01,680
Speaker 1: like to him. And because at this time, it's like

1469
01:24:01,880 --> 01:24:05,760
Speaker 1: having a black female central character was perceived as a

1470
01:24:05,840 --> 01:24:09,880
Speaker 1: creative risk, and including queer people in any way was

1471
01:24:10,160 --> 01:24:13,519
Speaker 1: perceived as a risk. And so you know, none of

1472
01:24:13,560 --> 01:24:18,680
Speaker 1: it is perfectly done, but most directors wouldn't even touch it.

1473
01:24:19,400 --> 01:24:23,960
Speaker 1: So it's yeah, it's very very complicated. I hope this

1474
01:24:24,000 --> 01:24:26,599
Speaker 1: isn't a derailment, but it might. Well if you ever

1475
01:24:26,600 --> 01:24:31,479
Speaker 1: you start something like that, it probably is right, but

1476
01:24:32,240 --> 01:24:35,439
Speaker 1: take it away. Yeah, in the way that you're saying, like, hey,

1477
01:24:35,479 --> 01:24:40,240
Speaker 1: having a queer main character, having a black female, or

1478
01:24:40,240 --> 01:24:43,519
Speaker 1: just a female lead in general being a risk, Like

1479
01:24:43,720 --> 01:24:47,519
Speaker 1: I wonder sometimes I just I get into these like

1480
01:24:47,880 --> 01:24:52,639
Speaker 1: thought bubbles of like why was why and how did

1481
01:24:52,680 --> 01:24:59,040
Speaker 1: that become a belief? It just seems like of all

1482
01:24:59,240 --> 01:25:04,559
Speaker 1: the places for a prejudice or patriarchy to like put

1483
01:25:04,600 --> 01:25:08,519
Speaker 1: their flag in the sand at like why why this?

1484
01:25:08,520 --> 01:25:11,840
Speaker 1: This seems like you know what what reminded me of

1485
01:25:11,880 --> 01:25:16,720
Speaker 1: this thing. Like I watched um Hysterical on f X

1486
01:25:16,760 --> 01:25:19,840
Speaker 1: about like female comics, and they were talking about this

1487
01:25:19,920 --> 01:25:24,400
Speaker 1: thing like this women aren't funny thing and that like

1488
01:25:24,479 --> 01:25:26,519
Speaker 1: a lot of female comics face and I just feel

1489
01:25:26,560 --> 01:25:31,200
Speaker 1: like this is the most that's impossible to defend, like

1490
01:25:31,320 --> 01:25:34,600
Speaker 1: that trope, like why would you put your flag of

1491
01:25:34,720 --> 01:25:37,439
Speaker 1: all the things to put your flag on you know

1492
01:25:37,439 --> 01:25:38,920
Speaker 1: what I'm saying, So the whole So I felt like

1493
01:25:38,960 --> 01:25:41,800
Speaker 1: that with like female comics not beyond like what is

1494
01:25:41,800 --> 01:25:45,360
Speaker 1: you talking about? Like you can't defend that, Like that's

1495
01:25:45,400 --> 01:25:49,439
Speaker 1: an improvable and why would funny be gendered? Like this

1496
01:25:49,560 --> 01:25:52,680
Speaker 1: is stupid? Like why that one? So to me? So

1497
01:25:52,800 --> 01:25:55,000
Speaker 1: to me when I think about like well, what's the

1498
01:25:55,080 --> 01:25:58,960
Speaker 1: risk to have a gaycare why? Like what like show

1499
01:25:59,040 --> 01:26:02,360
Speaker 1: me the film that failed, Like do you know what

1500
01:26:02,400 --> 01:26:05,800
Speaker 1: I'm saying? That had a woman living, Like what is

1501
01:26:05,840 --> 01:26:08,400
Speaker 1: you talking about? Just so that's what it makes me.

1502
01:26:08,439 --> 01:26:09,800
Speaker 1: That's what it makes me think when you're like, well

1503
01:26:09,800 --> 01:26:13,160
Speaker 1: it was a risk, Like what Like why is that

1504
01:26:13,240 --> 01:26:17,960
Speaker 1: a risk? Like I mean? And what is like that mental?

1505
01:26:18,080 --> 01:26:20,559
Speaker 1: I mean? And what it boils down to is that

1506
01:26:20,920 --> 01:26:23,240
Speaker 1: the people in charge of the film industry are still

1507
01:26:23,240 --> 01:26:26,400
Speaker 1: a majority old, straight white, So it's like, it's it's

1508
01:26:26,520 --> 01:26:29,120
Speaker 1: it's not I think that it's presented as a risk.

1509
01:26:29,400 --> 01:26:31,880
Speaker 1: But we I mean, we've talked about this a zillion

1510
01:26:31,960 --> 01:26:35,280
Speaker 1: times on the show. When there are women centered in stories,

1511
01:26:35,280 --> 01:26:37,360
Speaker 1: when there are black women centers in stories, where there

1512
01:26:37,360 --> 01:26:40,679
Speaker 1: are queer people centered in stories, most of those movies

1513
01:26:40,760 --> 01:26:46,760
Speaker 1: do extraordinarily well. Because that's like, so it's it's it's

1514
01:26:46,800 --> 01:26:49,080
Speaker 1: frustrating to have it presented as like, well, this is

1515
01:26:49,120 --> 01:26:50,960
Speaker 1: a creative risk and you're like, but what about like

1516
01:26:51,560 --> 01:26:56,400
Speaker 1: all five brillion examples, you know, and here are billions

1517
01:26:56,439 --> 01:27:00,120
Speaker 1: of dollars in revenues. That's what I mean. Yeah, what

1518
01:27:00,200 --> 01:27:03,040
Speaker 1: I mean, it's an indefensible position. So I'm like, if

1519
01:27:03,040 --> 01:27:05,320
Speaker 1: you run the studio and you're telling me that's a risk,

1520
01:27:05,600 --> 01:27:09,280
Speaker 1: and then I show you seventeen home runs, then I'm like,

1521
01:27:09,360 --> 01:27:12,000
Speaker 1: what the where are you getting this from? Like that

1522
01:27:12,040 --> 01:27:14,200
Speaker 1: don't why don't you just say what it really is?

1523
01:27:14,600 --> 01:27:16,800
Speaker 1: You know what I'm saying. And so that's the part

1524
01:27:16,840 --> 01:27:18,639
Speaker 1: that like, that's the part that I just go, God,

1525
01:27:18,720 --> 01:27:24,760
Speaker 1: this just blows my mind. Yeah, a derailment was a derailment? No, Well,

1526
01:27:24,800 --> 01:27:28,240
Speaker 1: I mean it's it's it's very relevant to like our

1527
01:27:28,400 --> 01:27:31,840
Speaker 1: our show because it is because, like like you said, Jamie,

1528
01:27:32,320 --> 01:27:37,520
Speaker 1: the people who historically have run the studios run the industry,

1529
01:27:37,560 --> 01:27:40,880
Speaker 1: which is yeah, and still mostly do. This is Hollywood

1530
01:27:41,280 --> 01:27:44,599
Speaker 1: is and always has been, and probably always will be,

1531
01:27:45,280 --> 01:27:51,640
Speaker 1: only concerned about profit margins and the very specific demographic

1532
01:27:51,680 --> 01:27:56,960
Speaker 1: of people who are making the business and creative decisions

1533
01:27:57,760 --> 01:28:02,360
Speaker 1: regarding movies perceive certain stories to be a risk, even

1534
01:28:02,360 --> 01:28:07,680
Speaker 1: though again there's so much evidence to the contrary, verifiably false.

1535
01:28:08,120 --> 01:28:10,920
Speaker 1: But then what will happen is like someone else comes to,

1536
01:28:11,560 --> 01:28:14,880
Speaker 1: you know, the studio and says, Okay, I have an

1537
01:28:14,920 --> 01:28:19,080
Speaker 1: idea for another black superhero movie, for example, and they'll say, well,

1538
01:28:19,080 --> 01:28:22,720
Speaker 1: we already have one of those. We don't right when

1539
01:28:22,800 --> 01:28:27,400
Speaker 1: it's like, can you give a second of thought to this? Yeah, yeah,

1540
01:28:28,160 --> 01:28:32,240
Speaker 1: you already have forty seven thousand white superhero I'm just like,

1541
01:28:32,280 --> 01:28:36,280
Speaker 1: have we seen the Marvel Universe? Like, what is you

1542
01:28:36,320 --> 01:28:39,880
Speaker 1: talking about? There's plenty of space. Yeah, it's not a

1543
01:28:39,920 --> 01:28:42,759
Speaker 1: defensible vision, but I feel like it is, especially in

1544
01:28:42,760 --> 01:28:46,680
Speaker 1: in the nineties. I mean up until pretty recently, it

1545
01:28:46,800 --> 01:28:51,960
Speaker 1: was like not a position that most Hollywood people would question.

1546
01:28:52,080 --> 01:28:54,679
Speaker 1: They're like, oh yeah, totally, yeah, no, there can only

1547
01:28:54,720 --> 01:28:58,839
Speaker 1: be one movie with black women as a protagonist. Totally

1548
01:28:58,920 --> 01:29:02,680
Speaker 1: makes sense, you know, yeah, yeah, It's just like I

1549
01:29:02,760 --> 01:29:04,680
Speaker 1: just I get meta on those things where I'm just

1550
01:29:04,720 --> 01:29:08,240
Speaker 1: like why this, Like why is that the thing? Like

1551
01:29:08,320 --> 01:29:11,880
Speaker 1: there's of all that, like you can't because again, you

1552
01:29:11,920 --> 01:29:16,160
Speaker 1: can't defend this, that's there's clear evidence otherwise I just

1553
01:29:16,160 --> 01:29:19,520
Speaker 1: don't understand why that's the thing. Well, it's the infuriating

1554
01:29:19,560 --> 01:29:21,559
Speaker 1: thing too, because it reaches the point with those kinds

1555
01:29:21,560 --> 01:29:26,240
Speaker 1: of executives where they are like their own prejudices and

1556
01:29:26,720 --> 01:29:30,799
Speaker 1: like discomfort with stories that do not reflect them directly,

1557
01:29:30,960 --> 01:29:33,360
Speaker 1: reaches the point where they're leaving money on the table

1558
01:29:33,400 --> 01:29:39,560
Speaker 1: for kind of reason. Yes, it's yeah, ridiculous. It's very frustrating,

1559
01:29:39,760 --> 01:29:44,320
Speaker 1: and I think both of you are hilarious. Women are funny.

1560
01:29:45,240 --> 01:29:51,040
Speaker 1: Did it we myth busted? Busted? I just feel like,

1561
01:29:51,160 --> 01:29:53,200
Speaker 1: I mean, we're not talking about I know this is

1562
01:29:53,200 --> 01:29:55,160
Speaker 1: not what this episode is about, but it's just it's

1563
01:29:55,240 --> 01:29:58,040
Speaker 1: front of mind because I'm just like, where did y'all

1564
01:29:58,080 --> 01:30:02,160
Speaker 1: even get that? Like? Who? I'm like you, where did you? Like?

1565
01:30:02,200 --> 01:30:03,920
Speaker 1: I feel like y'all y'all just pulled that one out

1566
01:30:03,920 --> 01:30:07,280
Speaker 1: your gask like, there's no you have there's no reason,

1567
01:30:07,400 --> 01:30:09,800
Speaker 1: there was no way you could have ever drawn that

1568
01:30:09,840 --> 01:30:14,280
Speaker 1: conclusion by living on earth, Like, that's just not how

1569
01:30:14,360 --> 01:30:18,840
Speaker 1: you why. I had a guy that I was very

1570
01:30:18,880 --> 01:30:22,400
Speaker 1: briefly dating and not dating after this comment from him

1571
01:30:22,880 --> 01:30:28,080
Speaker 1: say to me specifically, pretty women can't be funny. Um,

1572
01:30:28,360 --> 01:30:31,759
Speaker 1: and I said, number one, thank you for calling me pretty.

1573
01:30:31,840 --> 01:30:42,600
Speaker 1: Number two funk off forever. Yeah, essentially, Yeah, that's ridiculous. Yeah, anyway,

1574
01:30:43,000 --> 01:30:48,240
Speaker 1: poetic justice, any other any other uh one thing I

1575
01:30:48,240 --> 01:30:54,040
Speaker 1: wanted to bring up. Aisha does this thing again. Regina

1576
01:30:54,120 --> 01:30:57,160
Speaker 1: king Is is amazing. She's only twenty two in this movie,

1577
01:30:57,240 --> 01:31:02,719
Speaker 1: I'm like, so good. Her performance is incredible. She's she's

1578
01:31:02,760 --> 01:31:06,080
Speaker 1: so she brings the comedy and humor I mean speaking

1579
01:31:06,080 --> 01:31:08,479
Speaker 1: of women being hilarious. The humor that she brings to

1580
01:31:09,280 --> 01:31:13,400
Speaker 1: every role I've ever seen her in is just like staggering.

1581
01:31:13,960 --> 01:31:16,639
Speaker 1: I love her character. She does do this thing though

1582
01:31:16,680 --> 01:31:18,920
Speaker 1: that that bothered me and it felt, you know, of

1583
01:31:19,000 --> 01:31:20,960
Speaker 1: the of the time, and it's still a thing that

1584
01:31:20,960 --> 01:31:24,599
Speaker 1: that happens today. Where one of the reasons that her

1585
01:31:24,640 --> 01:31:30,559
Speaker 1: relationship with Chicago is is not is not great is

1586
01:31:30,600 --> 01:31:34,640
Speaker 1: that she is constantly be rating him for his inability

1587
01:31:34,680 --> 01:31:39,000
Speaker 1: to maintain an erection and his premature ejaculation. Yeah, which

1588
01:31:39,000 --> 01:31:42,960
Speaker 1: we've talked about on this show pretty recently. Yeah, yeah,

1589
01:31:43,000 --> 01:31:47,480
Speaker 1: we talked about penis size specifically and like how problematic

1590
01:31:47,520 --> 01:31:50,400
Speaker 1: it is to shame people for having a small penis.

1591
01:31:51,000 --> 01:31:56,400
Speaker 1: And then like with Aisha, she's insulting Chicago's like quote

1592
01:31:56,479 --> 01:32:00,880
Speaker 1: manhood and like deliberately trying to emasculate to him for

1593
01:32:01,040 --> 01:32:05,559
Speaker 1: the things that he's experiencing, which is similarly problematic. But

1594
01:32:05,600 --> 01:32:08,680
Speaker 1: that's a complicated issue though, because it's like that in

1595
01:32:09,080 --> 01:32:10,920
Speaker 1: the fact that that is not how you should talk

1596
01:32:10,920 --> 01:32:13,040
Speaker 1: to your partner in no way justifies the way he

1597
01:32:13,080 --> 01:32:18,599
Speaker 1: reacts to it, which is absolutely you know, yeah, totally. Yeah. Yeah,

1598
01:32:18,680 --> 01:32:22,040
Speaker 1: that's the interlocking thing that like it's still like her

1599
01:32:22,120 --> 01:32:26,000
Speaker 1: character is. I mean, it's spot on, like that's that's

1600
01:32:26,000 --> 01:32:28,960
Speaker 1: a hood girl, you know what I'm saying, who in

1601
01:32:29,000 --> 01:32:33,880
Speaker 1: her brain is doing the right thing? Because man at ship,

1602
01:32:34,560 --> 01:32:37,200
Speaker 1: so they only want me for this, So I'm gonna

1603
01:32:37,200 --> 01:32:38,880
Speaker 1: get what I need from him, you know what I'm saying.

1604
01:32:39,400 --> 01:32:43,240
Speaker 1: And it's like it's almost like you know, yeah, it's

1605
01:32:43,320 --> 01:32:45,680
Speaker 1: using the tools of the oppressor against them. Like so

1606
01:32:45,760 --> 01:32:48,200
Speaker 1: this it's that's what she's doing. It's like this is

1607
01:32:48,600 --> 01:32:51,519
Speaker 1: this is what it means to be a boss is

1608
01:32:52,080 --> 01:32:54,880
Speaker 1: you rerate the people up under you. So it's like

1609
01:32:55,360 --> 01:33:00,400
Speaker 1: she's just doing what toxic masculine culture taught you to do.

1610
01:33:00,600 --> 01:33:03,320
Speaker 1: You know what I'm saying, you'd be a person into submission,

1611
01:33:03,360 --> 01:33:05,439
Speaker 1: you know what I'm saying. And I think that that's

1612
01:33:05,840 --> 01:33:09,160
Speaker 1: again that's the part that like, I mean, I grieve now,

1613
01:33:09,600 --> 01:33:12,280
Speaker 1: you know seeing that image. You know what I'm saying.

1614
01:33:12,800 --> 01:33:15,560
Speaker 1: I know it's a movie, but it's like, yeah, you

1615
01:33:16,000 --> 01:33:18,240
Speaker 1: I just I see my childhood, you know what I'm saying.

1616
01:33:18,240 --> 01:33:20,240
Speaker 1: I see I see the girls I grew up with,

1617
01:33:20,320 --> 01:33:22,600
Speaker 1: you know what I'm saying, And uh, I grew up

1618
01:33:22,600 --> 01:33:26,400
Speaker 1: in a mixed black and Latino community, so like like

1619
01:33:26,520 --> 01:33:29,800
Speaker 1: I know this exact version in the Latino world, you

1620
01:33:29,800 --> 01:33:33,280
Speaker 1: know what I'm saying. And it's just coming from this

1621
01:33:33,439 --> 01:33:36,200
Speaker 1: environment that you you this is all you know, Like

1622
01:33:36,600 --> 01:33:39,960
Speaker 1: all you know is like a boss runs things, don't

1623
01:33:39,960 --> 01:33:42,439
Speaker 1: take no ship from nobody. You know, you ain't got

1624
01:33:42,439 --> 01:33:44,280
Speaker 1: no love for house, you know what I'm saying. You

1625
01:33:44,400 --> 01:33:46,840
Speaker 1: just have this like attitude where it's like it's no love.

1626
01:33:46,880 --> 01:33:48,680
Speaker 1: It's pimping out here. I'm getting what I got. You

1627
01:33:48,720 --> 01:33:51,120
Speaker 1: feel me rather than and why should the men get

1628
01:33:51,160 --> 01:33:53,920
Speaker 1: it all? You feel me like I'm gonna do my

1629
01:33:53,960 --> 01:33:58,400
Speaker 1: pimp into you know, and m and I always say,

1630
01:33:58,479 --> 01:34:01,920
Speaker 1: like from a male perspect active, I use the term

1631
01:34:01,960 --> 01:34:04,800
Speaker 1: pimping on purpose because it's like, and we have a

1632
01:34:04,800 --> 01:34:06,880
Speaker 1: whole episode on the Top Politics about it where I'm

1633
01:34:06,880 --> 01:34:09,800
Speaker 1: like something about your soul has to crumble and die

1634
01:34:09,880 --> 01:34:13,200
Speaker 1: to be a good pimp, like you have like you

1635
01:34:13,640 --> 01:34:17,040
Speaker 1: have to be dead inside because of like what you

1636
01:34:17,160 --> 01:34:20,680
Speaker 1: have to do to another human being to be a

1637
01:34:20,720 --> 01:34:23,760
Speaker 1: successful one is like you can't do that and have

1638
01:34:23,800 --> 01:34:27,240
Speaker 1: a soul, Like it's just the two don't work, you know.

1639
01:34:27,720 --> 01:34:32,879
Speaker 1: So to me, it's like that PERSONA is the worst

1640
01:34:32,920 --> 01:34:35,840
Speaker 1: of us, you know what I mean, but it's presented

1641
01:34:35,960 --> 01:34:38,920
Speaker 1: as the most successful of us, the most alluring of us,

1642
01:34:38,920 --> 01:34:41,000
Speaker 1: because it's the most flashy, it's the most you know

1643
01:34:41,040 --> 01:34:44,160
Speaker 1: what I'm saying, Like nobody can hurt you, you know,

1644
01:34:44,320 --> 01:34:48,280
Speaker 1: because we spend so much time hurt all the damn

1645
01:34:48,320 --> 01:34:49,960
Speaker 1: time we heard, you know what I'm saying, So you

1646
01:34:50,040 --> 01:34:54,719
Speaker 1: just take on that that person And and then again,

1647
01:34:54,760 --> 01:34:56,880
Speaker 1: why scho the dudes have all the fun. So rather

1648
01:34:56,920 --> 01:35:01,160
Speaker 1: than like, you know, having this like a little boy,

1649
01:35:01,439 --> 01:35:04,799
Speaker 1: your soul is broke, you know. And I'm not gonna

1650
01:35:04,840 --> 01:35:08,000
Speaker 1: repeat that. It's like you you learned from the worst

1651
01:35:08,040 --> 01:35:10,400
Speaker 1: of us, you know, and and it's it's and you

1652
01:35:10,439 --> 01:35:13,120
Speaker 1: know and and be honest, like you know, lucky for me,

1653
01:35:13,200 --> 01:35:16,759
Speaker 1: Thank thank my lucky stars. Like even though my parents split,

1654
01:35:17,320 --> 01:35:19,280
Speaker 1: you know, my father was around, you know what I mean,

1655
01:35:19,400 --> 01:35:22,000
Speaker 1: so like and I was around a lot of like

1656
01:35:22,560 --> 01:35:24,439
Speaker 1: I knew a lot of dads, you know what I'm saying.

1657
01:35:24,720 --> 01:35:27,040
Speaker 1: And I was able to navigate away from a lot

1658
01:35:27,080 --> 01:35:31,280
Speaker 1: of those choices. But but don't get me wrong, him

1659
01:35:31,320 --> 01:35:34,600
Speaker 1: coming home with like bruised knuckles from working, you know,

1660
01:35:34,760 --> 01:35:37,160
Speaker 1: laying concrete all day, you know what I'm saying to

1661
01:35:37,200 --> 01:35:39,960
Speaker 1: an honest date's pay was very different than that sixty

1662
01:35:40,000 --> 01:35:42,559
Speaker 1: four and Paula, you feel me, came bouncing down the

1663
01:35:42,640 --> 01:35:45,400
Speaker 1: road with all these bad girls on his arms. You

1664
01:35:45,439 --> 01:35:48,080
Speaker 1: feel me, Um, it was very hard, you know what

1665
01:35:48,120 --> 01:35:51,000
Speaker 1: I'm saying. It's why why would you not desire that?

1666
01:35:51,120 --> 01:35:54,599
Speaker 1: You know? Um? So her character all that to say,

1667
01:35:54,600 --> 01:35:56,720
Speaker 1: her character actually kind of grieve me in a lot

1668
01:35:56,760 --> 01:35:59,720
Speaker 1: of ways. Because it just it reminds it reminded me

1669
01:35:59,760 --> 01:36:03,080
Speaker 1: of like just the like the allure you know what

1670
01:36:03,120 --> 01:36:07,599
Speaker 1: I'm saying, of taking on that persona and how it's

1671
01:36:07,640 --> 01:36:12,160
Speaker 1: like it's it's destroying her and it's destroying them, you

1672
01:36:12,240 --> 01:36:17,840
Speaker 1: know what I'm saying, and her alcohol like her, she's hurt,

1673
01:36:17,960 --> 01:36:19,960
Speaker 1: she's in pain. Yeah, I'm saying, So that's why you're

1674
01:36:20,000 --> 01:36:22,599
Speaker 1: doing this. Yeah, that's why I wish that there and

1675
01:36:22,680 --> 01:36:26,400
Speaker 1: this this does seem to be I haven't seen a

1676
01:36:26,439 --> 01:36:28,760
Speaker 1: few titles in like John Singleton's later work, but it's

1677
01:36:28,800 --> 01:36:31,400
Speaker 1: like I know that he's not generally like he doesn't

1678
01:36:31,400 --> 01:36:34,719
Speaker 1: want to spell out the moral for you, like clearly

1679
01:36:34,760 --> 01:36:36,439
Speaker 1: at the end of the movie, and I like totally

1680
01:36:36,520 --> 01:36:38,519
Speaker 1: respect that approach. I do wish that, like you you

1681
01:36:38,640 --> 01:36:43,000
Speaker 1: got like some sort of button for her character because

1682
01:36:43,000 --> 01:36:45,639
Speaker 1: I think that, you know what you're saying, prop makes

1683
01:36:45,640 --> 01:36:47,680
Speaker 1: total sense of like she is using the tools of

1684
01:36:47,720 --> 01:36:51,679
Speaker 1: the oppressor to survive. She's clearly and a lot of pain,

1685
01:36:52,439 --> 01:36:56,639
Speaker 1: and you don't really get a feeling for where she lands,

1686
01:36:56,760 --> 01:37:00,559
Speaker 1: even though it's so clear that she's like really hurting,

1687
01:37:00,600 --> 01:37:03,080
Speaker 1: and it's I think that that expands to what you

1688
01:37:03,120 --> 01:37:06,080
Speaker 1: were saying earlier, Caitlin is like, I think that just

1689
01:37:06,120 --> 01:37:11,120
Speaker 1: by exploring the Justice Aysha friendship and history would have

1690
01:37:11,880 --> 01:37:14,240
Speaker 1: served the movie overall because you just would have gotten

1691
01:37:14,280 --> 01:37:16,400
Speaker 1: more from both of them. Because with Justice, I mean,

1692
01:37:16,439 --> 01:37:21,120
Speaker 1: I think you the outside of that like conversation before

1693
01:37:21,360 --> 01:37:25,400
Speaker 1: she and Lucky Um hook up, the most of what

1694
01:37:25,439 --> 01:37:28,400
Speaker 1: we learned about her is like her telling us, and

1695
01:37:28,439 --> 01:37:31,519
Speaker 1: it's very internal, and she's so withdrawn from the people

1696
01:37:31,560 --> 01:37:34,320
Speaker 1: in her life, and it would have been Yeah, like

1697
01:37:34,360 --> 01:37:38,360
Speaker 1: I would have I like that you have so many

1698
01:37:38,479 --> 01:37:42,320
Speaker 1: different kinds of flawed people in this narrative. But yeah,

1699
01:37:42,360 --> 01:37:45,519
Speaker 1: like with with Ayisha and Justice specifically, I just would

1700
01:37:45,520 --> 01:37:48,799
Speaker 1: have liked to see those those flaws and those sources

1701
01:37:48,840 --> 01:37:52,320
Speaker 1: of hurt and like justices, grief and just like explore

1702
01:37:52,360 --> 01:37:56,360
Speaker 1: them a little more together and and not just see

1703
01:37:56,400 --> 01:38:00,599
Speaker 1: there her manifest through their relationships with men Um, because

1704
01:38:00,640 --> 01:38:02,240
Speaker 1: that's I mean, that scene on the side of the

1705
01:38:02,360 --> 01:38:04,960
Speaker 1: road with Justice and Aisha, that's such a powerful scene

1706
01:38:05,040 --> 01:38:09,800
Speaker 1: and like where you know, Aisha throws up justices like this,

1707
01:38:10,520 --> 01:38:14,240
Speaker 1: you're hurting me and you're hurting yourself and this brings

1708
01:38:14,320 --> 01:38:17,120
Speaker 1: me pain from my life because my mom did this

1709
01:38:17,200 --> 01:38:20,040
Speaker 1: and just all this stuff that you're just like, oh,

1710
01:38:20,200 --> 01:38:26,280
Speaker 1: more of that, Like I just I don't know, because yeah,

1711
01:38:26,280 --> 01:38:29,120
Speaker 1: that that Aisha Chicago storyline. I mean, it's it's so

1712
01:38:29,280 --> 01:38:33,479
Speaker 1: fucked up on on, you know, and and there's different

1713
01:38:33,600 --> 01:38:37,639
Speaker 1: levels of fault at play here, and nothing justifies how

1714
01:38:38,280 --> 01:38:42,160
Speaker 1: he physically abused her. And seeing someone set off by

1715
01:38:42,200 --> 01:38:46,640
Speaker 1: being masculated and responding with violence. Unfortunately, it's like you know,

1716
01:38:46,800 --> 01:38:50,400
Speaker 1: that's that's that doesn't come from nowhere, Like that happens

1717
01:38:50,479 --> 01:38:53,519
Speaker 1: all the time. And yeah, I just I wish that

1718
01:38:53,960 --> 01:38:57,960
Speaker 1: was still shocking. It was. Yeah, I didn't see it coming.

1719
01:38:58,280 --> 01:39:00,680
Speaker 1: I knew it was coming, and I still and I

1720
01:39:00,680 --> 01:39:05,000
Speaker 1: still was like like it's still like shook me. You know,

1721
01:39:05,040 --> 01:39:08,719
Speaker 1: like I know it's a movie and I've seen the movie,

1722
01:39:09,040 --> 01:39:11,000
Speaker 1: and I still can't believe he did that. You know,

1723
01:39:11,240 --> 01:39:13,479
Speaker 1: I do think that that it was like because we

1724
01:39:13,520 --> 01:39:15,160
Speaker 1: talked about on the show a lot of a lot

1725
01:39:15,200 --> 01:39:17,960
Speaker 1: of like because Chicago is kind of just like a guy,

1726
01:39:18,120 --> 01:39:21,840
Speaker 1: you know, he's like a pretty like he's just a guy.

1727
01:39:22,120 --> 01:39:27,639
Speaker 1: He loves his hairbrush. He's not in the union. He's

1728
01:39:27,680 --> 01:39:32,960
Speaker 1: not in the union. That's unfortunately most people. Yeah, but

1729
01:39:32,960 --> 01:39:37,000
Speaker 1: but like I always think it is like an interesting

1730
01:39:37,160 --> 01:39:43,400
Speaker 1: and often effective storytelling mechanism to like have a really common,

1731
01:39:44,040 --> 01:39:48,160
Speaker 1: you know, abuse tactic like Chicago physically lashing out at

1732
01:39:48,280 --> 01:39:51,160
Speaker 1: his partner like attributed to a normal guy, because that

1733
01:39:51,240 --> 01:39:54,080
Speaker 1: is more often than not, you know, like it's not

1734
01:39:54,160 --> 01:39:58,439
Speaker 1: generally supervillains walking through that. It's it's normal people. That

1735
01:39:58,560 --> 01:40:02,320
Speaker 1: it comes from this like very dark place of hurt

1736
01:40:02,479 --> 01:40:07,840
Speaker 1: and in his case, feeling emasculated, and that that that's

1737
01:40:07,880 --> 01:40:12,400
Speaker 1: coming from I don't know, Yeah, not having the like tools,

1738
01:40:13,520 --> 01:40:15,640
Speaker 1: you know, to just first of all, to not be

1739
01:40:15,680 --> 01:40:17,639
Speaker 1: in a relationship in the first place, because like there

1740
01:40:17,680 --> 01:40:20,680
Speaker 1: was y'all should have both known this, like this ain't

1741
01:40:20,680 --> 01:40:26,719
Speaker 1: gonna work. But like horrible humans, I'll say it toxically right,

1742
01:40:26,800 --> 01:40:29,120
Speaker 1: but like to have the tools to just kind of

1743
01:40:29,160 --> 01:40:31,680
Speaker 1: like stop a fight, which is something I feel like,

1744
01:40:32,560 --> 01:40:34,880
Speaker 1: you know, after so many years of marriage, it's we

1745
01:40:34,960 --> 01:40:36,760
Speaker 1: still I still have to catch myself too to be

1746
01:40:36,840 --> 01:40:39,000
Speaker 1: figure out how to stop a fight and go, okay, listen,

1747
01:40:39,840 --> 01:40:42,600
Speaker 1: here's here's what's coming up with me. Here's what it

1748
01:40:42,640 --> 01:40:45,559
Speaker 1: reminds me of. And we will never get any further,

1749
01:40:45,840 --> 01:40:48,800
Speaker 1: you know what I'm saying until this and this is

1750
01:40:48,840 --> 01:40:52,280
Speaker 1: dealt with because that's your your purposefully trying. That's one

1751
01:40:52,280 --> 01:40:55,280
Speaker 1: thing we made a real a big deal about, like

1752
01:40:55,520 --> 01:40:58,880
Speaker 1: was to be like, let's assume that no one's trying

1753
01:40:58,920 --> 01:41:02,679
Speaker 1: to hurt the other, Like I'm not trying to. I'm

1754
01:41:02,720 --> 01:41:06,880
Speaker 1: going to, but like assume that I'm not trying to,

1755
01:41:07,640 --> 01:41:10,919
Speaker 1: you know. But whenever like that feeling feels up where

1756
01:41:10,960 --> 01:41:12,960
Speaker 1: it's like, yeah, I feel like you're trying to hurt

1757
01:41:13,000 --> 01:41:15,840
Speaker 1: me or you're trying to one up me, like to

1758
01:41:16,000 --> 01:41:19,519
Speaker 1: have that like stop, stop the moment, step out of

1759
01:41:19,520 --> 01:41:23,200
Speaker 1: it for a second and just be like, I'm getting

1760
01:41:23,240 --> 01:41:24,800
Speaker 1: too much in the weeds. The point I'm trying to

1761
01:41:24,840 --> 01:41:27,240
Speaker 1: make is like black men need to go to therapy.

1762
01:41:28,800 --> 01:41:32,200
Speaker 1: It's the point I'm trying to make go to therapy.

1763
01:41:32,240 --> 01:41:36,080
Speaker 1: Fellas Like I would extend that to oh man, and

1764
01:41:36,120 --> 01:41:38,680
Speaker 1: I would extend that to all people. I was like,

1765
01:41:39,120 --> 01:41:44,439
Speaker 1: how about literally everybody? Yes, could God go to therapy?

1766
01:41:44,520 --> 01:41:49,160
Speaker 1: What I tell you dig like, oh, oh man, I'm

1767
01:41:49,200 --> 01:41:51,120
Speaker 1: just like if you just go to fam, you just

1768
01:41:51,120 --> 01:41:53,080
Speaker 1: need to go to therapy. You know what I'm saying, Like,

1769
01:41:53,280 --> 01:41:56,360
Speaker 1: just go to therapy, go to therapy. Just go to therapy. Okay,

1770
01:41:59,240 --> 01:42:01,360
Speaker 1: that's a ship. Would this whole movie would have been

1771
01:42:01,400 --> 01:42:07,040
Speaker 1: so much shorter, just wit the therapy that comes up

1772
01:42:07,080 --> 01:42:09,439
Speaker 1: a lot too on the show. We're like, this plot

1773
01:42:09,479 --> 01:42:11,960
Speaker 1: of this movie wouldn't have even happened if every of

1774
01:42:12,040 --> 01:42:16,719
Speaker 1: all these characters were just in therapy. Yeah, yeah, yeah,

1775
01:42:17,560 --> 01:42:20,200
Speaker 1: I wish. And there's like a part there. I liked

1776
01:42:20,240 --> 01:42:22,640
Speaker 1: that there was early in the movie so clear of

1777
01:42:22,680 --> 01:42:24,960
Speaker 1: an out for justice where her car doesn't start. I

1778
01:42:25,040 --> 01:42:26,920
Speaker 1: was like, oh, I just don't just don't get in

1779
01:42:26,920 --> 01:42:30,559
Speaker 1: the mail truck. Boom problem solved done. Yeah, you could

1780
01:42:30,600 --> 01:42:34,559
Speaker 1: just not go, can't make it. She had to go

1781
01:42:34,600 --> 01:42:36,880
Speaker 1: to her hair show though I know, yeah she did

1782
01:42:36,920 --> 01:42:39,240
Speaker 1: have she did have to get to the hair show. Yeah,

1783
01:42:39,400 --> 01:42:42,320
Speaker 1: she could have called her boss. She could car. Did

1784
01:42:42,320 --> 01:42:44,559
Speaker 1: I get a ride of Yeah, the car won't start?

1785
01:42:44,560 --> 01:42:46,559
Speaker 1: A girl? Can I go with you? Like easy? You

1786
01:42:46,600 --> 01:42:51,320
Speaker 1: wanted to go? But then the whole time and been

1787
01:42:51,360 --> 01:42:54,040
Speaker 1: like why are you? Why are you an old single?

1788
01:42:54,479 --> 01:43:00,880
Speaker 1: Twenty three? Like yeah, actually yeah, see a matter of fact,

1789
01:43:03,000 --> 01:43:06,080
Speaker 1: I guess she did kind of make the most logical

1790
01:43:06,160 --> 01:43:09,080
Speaker 1: choice given the information she had at that moment, you know,

1791
01:43:09,640 --> 01:43:12,120
Speaker 1: which is like look, I'll just I'll just sit here,

1792
01:43:12,160 --> 01:43:14,519
Speaker 1: I'll just write I don't know who the other guy is,

1793
01:43:15,640 --> 01:43:19,280
Speaker 1: plus her best friends. There my best friend. It's only

1794
01:43:19,320 --> 01:43:24,800
Speaker 1: a few hours that she was going to like, there's

1795
01:43:24,840 --> 01:43:29,840
Speaker 1: just a lot of things. No, rus three hours longer,

1796
01:43:30,240 --> 01:43:37,559
Speaker 1: Like why are you going that way? Lucky? Come on? Yeah? Uh?

1797
01:43:37,680 --> 01:43:42,599
Speaker 1: Does anyone have any other thoughts about the movie? Um?

1798
01:43:42,640 --> 01:43:47,080
Speaker 1: I wanted to share this quote from writer named Michelle

1799
01:43:47,080 --> 01:43:53,719
Speaker 1: Wallace who originally reviewed this movie uh in Entertainment Weekly.

1800
01:43:53,760 --> 01:43:58,880
Speaker 1: I was looking scrambling, one could say, to find, um,

1801
01:43:58,920 --> 01:44:01,920
Speaker 1: just just an in site from a black feminist of

1802
01:44:01,960 --> 01:44:04,360
Speaker 1: how this movie was received at the time, and I

1803
01:44:04,360 --> 01:44:06,760
Speaker 1: thought her writing was really interesting. So I just wanted

1804
01:44:06,800 --> 01:44:11,920
Speaker 1: to share this quote from her. She says, quote as

1805
01:44:11,960 --> 01:44:14,720
Speaker 1: a consequence of his unwillingness to take this work or

1806
01:44:14,800 --> 01:44:18,559
Speaker 1: indeed black female thought seriously, his poet has no voice,

1807
01:44:18,680 --> 01:44:22,280
Speaker 1: meaning John Singleton. He invents Injustice a character who seems

1808
01:44:22,280 --> 01:44:26,160
Speaker 1: capable of morality and intelligence, but then he gags her unquote.

1809
01:44:26,760 --> 01:44:30,000
Speaker 1: Um yeah, I mean the more I think about this movie,

1810
01:44:30,040 --> 01:44:34,240
Speaker 1: the more I'm like, how much of this is Justice's

1811
01:44:35,080 --> 01:44:40,120
Speaker 1: story and how much of it is it Lucky's still

1812
01:44:40,200 --> 01:44:42,720
Speaker 1: like it doesn't feel Yeah, I don't know, it's it

1813
01:44:42,840 --> 01:44:45,960
Speaker 1: centers around this this romantic relationship where we as we've

1814
01:44:45,960 --> 01:44:48,880
Speaker 1: talked about like don't get to know Justice all that well,

1815
01:44:49,760 --> 01:44:52,280
Speaker 1: I'm not even sure we can call her the protagonists.

1816
01:44:52,360 --> 01:44:55,320
Speaker 1: I think there's like a dual protagonist situation happening. Like

1817
01:44:55,880 --> 01:44:59,759
Speaker 1: I mean, it's it's unsurprising that like a man directing

1818
01:45:00,400 --> 01:45:04,080
Speaker 1: would like gravitate more towards the male character that he

1819
01:45:04,160 --> 01:45:07,240
Speaker 1: had created in terms of like having the audience experienced

1820
01:45:07,280 --> 01:45:11,840
Speaker 1: the story through a man's lens. But they're just felt

1821
01:45:11,880 --> 01:45:15,840
Speaker 1: like a bit of dissonance throughout the story For me,

1822
01:45:16,120 --> 01:45:19,479
Speaker 1: I agree, And I think that that's like the last

1823
01:45:19,640 --> 01:45:23,559
Speaker 1: thought that I had that Again, it's like, I'm very

1824
01:45:23,560 --> 01:45:26,439
Speaker 1: glad that this movie exists. I think that it was,

1825
01:45:26,600 --> 01:45:29,799
Speaker 1: you know, like a valiant effort and iconic in many ways,

1826
01:45:29,880 --> 01:45:34,960
Speaker 1: but particularly because John Singleton literally has the work of

1827
01:45:35,120 --> 01:45:41,200
Speaker 1: Maya Angelou here, who speaks to the black female experience

1828
01:45:41,360 --> 01:45:46,000
Speaker 1: so like eloquently, like most maybe most iconically ever in

1829
01:45:46,040 --> 01:45:49,040
Speaker 1: the US, um, I feel like it almost makes it

1830
01:45:49,120 --> 01:45:51,160
Speaker 1: stick out a little more how we don't know that

1831
01:45:51,240 --> 01:45:53,880
Speaker 1: much about Justice, particularly in the moment where she's reading

1832
01:45:53,880 --> 01:45:57,240
Speaker 1: Phenomenal Woman, one of the most famous poems of all

1833
01:45:57,320 --> 01:46:02,879
Speaker 1: time by anybody that is a about womanhood and about

1834
01:46:03,000 --> 01:46:06,880
Speaker 1: processing your own experiences. And during that sequence, I was like,

1835
01:46:07,080 --> 01:46:10,720
Speaker 1: I just felt like a little unearned because it's such

1836
01:46:10,760 --> 01:46:12,679
Speaker 1: a beautiful poem. And I was like, but I don't

1837
01:46:12,760 --> 01:46:15,599
Speaker 1: understand how this is about justice. I don't understand how

1838
01:46:15,680 --> 01:46:19,679
Speaker 1: Justice would write this poem about everything that just happened,

1839
01:46:19,760 --> 01:46:21,720
Speaker 1: you know what I mean, based right, based on the

1840
01:46:21,720 --> 01:46:23,960
Speaker 1: events of the story up until that point, like Okay,

1841
01:46:24,120 --> 01:46:29,519
Speaker 1: you were screamed at by a man to sex with

1842
01:46:29,600 --> 01:46:33,280
Speaker 1: a few hours later, like in that like, I don't

1843
01:46:33,439 --> 01:46:36,600
Speaker 1: is that like a men's idea of what is empowering

1844
01:46:36,640 --> 01:46:38,920
Speaker 1: for women? I just don't. I mean, and this is

1845
01:46:38,960 --> 01:46:43,599
Speaker 1: like not even a severe like burn to John Singleton's work,

1846
01:46:43,640 --> 01:46:46,280
Speaker 1: but it's because it's you know, it's hard to rise

1847
01:46:46,320 --> 01:46:49,400
Speaker 1: to Maya Angel's level. But I just felt like the

1848
01:46:49,439 --> 01:46:56,040
Speaker 1: story didn't rise to her poetry totally. Yeah, the last

1849
01:46:56,040 --> 01:46:58,479
Speaker 1: thing I wanted to because we've like referenced this earlier,

1850
01:46:58,640 --> 01:47:01,880
Speaker 1: but um Janet act and uh, you know, she grew

1851
01:47:01,960 --> 01:47:03,519
Speaker 1: up very rich, and I was like, oh, how did

1852
01:47:03,600 --> 01:47:06,280
Speaker 1: she prepare for this role? How how did she do it?

1853
01:47:07,000 --> 01:47:10,240
Speaker 1: She hung out with a hairdresser and three women from

1854
01:47:10,240 --> 01:47:13,800
Speaker 1: South Central and eight waffles for three weeks. That's how

1855
01:47:13,840 --> 01:47:18,479
Speaker 1: she prepared. It was just it was such a simple.

1856
01:47:18,520 --> 01:47:21,400
Speaker 1: And then she said, I grew up black and proud,

1857
01:47:21,439 --> 01:47:23,960
Speaker 1: and because I become from a wealthy family doesn't mean

1858
01:47:24,000 --> 01:47:26,200
Speaker 1: I can't relate to a working girl's pain. I was like,

1859
01:47:27,320 --> 01:47:29,200
Speaker 1: I don't know. She she hung out in ate waffles

1860
01:47:29,240 --> 01:47:30,760
Speaker 1: for three weeks and that was her friend. I know.

1861
01:47:30,800 --> 01:47:34,240
Speaker 1: I was just like, you know, there's this feelings of

1862
01:47:34,320 --> 01:47:39,600
Speaker 1: privilege jumping out there. Yeah, cool to not know that. Sorry, no,

1863
01:47:39,760 --> 01:47:41,720
Speaker 1: I'm saying for her, like for her it cool. She

1864
01:47:41,800 --> 01:47:45,439
Speaker 1: had just kept that to herself. Nothing. Yeah, I just

1865
01:47:45,439 --> 01:47:47,160
Speaker 1: say nothing. Oh, you know, it's acting. You know what

1866
01:47:47,160 --> 01:47:49,360
Speaker 1: I'm saying, Like we came from this, but it's not

1867
01:47:49,400 --> 01:47:52,439
Speaker 1: like we were always this, you know, right, Well, you know,

1868
01:47:52,479 --> 01:47:55,680
Speaker 1: I just want to go stay with the fan. I

1869
01:47:55,880 --> 01:48:00,880
Speaker 1: ate waffles for three weeks? What this Crossford? Yes, I

1870
01:48:00,880 --> 01:48:04,479
Speaker 1: canna tell you a funny story. Okay, I know for

1871
01:48:04,520 --> 01:48:06,840
Speaker 1: a fact, because would nobody that was at this thing

1872
01:48:07,120 --> 01:48:11,320
Speaker 1: would ever listen to this. So this is great. Um.

1873
01:48:11,320 --> 01:48:13,160
Speaker 1: Early on in the career, I was on this tour,

1874
01:48:13,720 --> 01:48:17,440
Speaker 1: uh two thousand and twelve, a bunch of us um

1875
01:48:17,640 --> 01:48:20,439
Speaker 1: and uh It just remind me of the Waffles thing. Uh.

1876
01:48:20,520 --> 01:48:23,120
Speaker 1: And I'm the only one on the tour that's from

1877
01:48:23,240 --> 01:48:25,800
Speaker 1: l A. Everybody else is there off from the south, right,

1878
01:48:26,479 --> 01:48:28,040
Speaker 1: give or take a couple of dudes from New York.

1879
01:48:28,520 --> 01:48:32,280
Speaker 1: So it's like our big tour bus tour first, like

1880
01:48:32,400 --> 01:48:35,360
Speaker 1: major thing. We're playing the Palladium. It's incredible, right, So

1881
01:48:35,400 --> 01:48:39,200
Speaker 1: it's like um again, l A boy, I can't believe

1882
01:48:39,200 --> 01:48:41,559
Speaker 1: I get to play the Palladium. This is like bucket list.

1883
01:48:41,600 --> 01:48:48,720
Speaker 1: Oh my god. Right, so we get there. The promoters like, hey, man, okay,

1884
01:48:48,920 --> 01:48:54,479
Speaker 1: it's twelve black men, right, twelve black men and our

1885
01:48:54,720 --> 01:48:58,559
Speaker 1: DJ who's Puerto Rican from New York and the homie

1886
01:48:58,600 --> 01:49:04,280
Speaker 1: Andy from syrac just like just Andy, like just lacrosse

1887
01:49:04,400 --> 01:49:09,840
Speaker 1: playing like Boston strong white boy. Right, But and Andy

1888
01:49:09,920 --> 01:49:12,280
Speaker 1: can wrap his ass off like he wanted those rappers.

1889
01:49:12,280 --> 01:49:15,560
Speaker 1: I know, just white boy from upstate New York. You

1890
01:49:15,560 --> 01:49:18,160
Speaker 1: know what I'm saying. So just so you know him,

1891
01:49:18,200 --> 01:49:22,000
Speaker 1: you already know him, right, So anyway, the promoter walks

1892
01:49:22,000 --> 01:49:23,920
Speaker 1: and he grows, man, I just want to congratulate you guys.

1893
01:49:23,920 --> 01:49:26,360
Speaker 1: You're playing the Palladium. You sold it out, guys, So like, hey,

1894
01:49:26,360 --> 01:49:28,840
Speaker 1: has a gift. You know, I'm gonna give you something

1895
01:49:28,920 --> 01:49:31,120
Speaker 1: just from l A to remember your thing. Right now again,

1896
01:49:31,120 --> 01:49:33,800
Speaker 1: I'm the native, right, everybody else not from l A.

1897
01:49:34,200 --> 01:49:38,760
Speaker 1: So the guy breaks out. He's got stacks of Roscoe's

1898
01:49:38,840 --> 01:49:43,920
Speaker 1: Chicken and Waffles T shirts, right, and he's passing him out.

1899
01:49:43,960 --> 01:49:50,120
Speaker 1: He's like, uh, Waffles roscars right. So we're all looking

1900
01:49:50,160 --> 01:49:53,400
Speaker 1: at each other like did he just give us chicken

1901
01:49:53,439 --> 01:49:57,160
Speaker 1: and waffle T shirts? Did this? Did this promoter just

1902
01:49:57,200 --> 01:50:01,280
Speaker 1: give us that? Right? And and he's like this is awesome,

1903
01:50:01,840 --> 01:50:05,600
Speaker 1: Like oh my god, like what are you guys? Problems?

1904
01:50:06,000 --> 01:50:11,080
Speaker 1: You love Roscoe's, right? Didn't we go there for lunch? Guys? Right?

1905
01:50:11,960 --> 01:50:15,639
Speaker 1: So it's just like this promoter just gave twelve black

1906
01:50:15,680 --> 01:50:19,599
Speaker 1: men a waffle T shirt for selling out his venue.

1907
01:50:23,760 --> 01:50:26,240
Speaker 1: I wasn't mad as much as I was like, this

1908
01:50:26,280 --> 01:50:29,840
Speaker 1: is hilarious. He really like again because I'm from here.

1909
01:50:29,880 --> 01:50:33,479
Speaker 1: So I'm like, Bro, Bro, all the of all the

1910
01:50:33,520 --> 01:50:35,559
Speaker 1: gifts you could have given us, this man gave us.

1911
01:50:36,320 --> 01:50:37,879
Speaker 1: And I get it. It's next door to the padium.

1912
01:50:37,920 --> 01:50:41,200
Speaker 1: There's a Roscoe's next door to I understand, right, I understand,

1913
01:50:41,240 --> 01:50:43,800
Speaker 1: But at Samet, I was just like, Bro Waffles So

1914
01:50:44,040 --> 01:50:46,519
Speaker 1: I hadn't thought about that until you told me Janet

1915
01:50:46,600 --> 01:50:50,559
Speaker 1: Jackson and trep for this show winning eight waffles for

1916
01:50:50,600 --> 01:50:57,120
Speaker 1: three weeks. That's really what y'all think of us, chrazy.

1917
01:50:58,080 --> 01:51:01,479
Speaker 1: Oh my god, I wonder if John Ingleton new that

1918
01:51:01,600 --> 01:51:06,479
Speaker 1: was I don't know, that is hilarious. I just I

1919
01:51:06,520 --> 01:51:12,439
Speaker 1: haven't told that story a year. I'm sorry for resurfacing that. No,

1920
01:51:12,560 --> 01:51:14,920
Speaker 1: it's so good. And me and Hommie Andy, we still

1921
01:51:15,040 --> 01:51:17,160
Speaker 1: laugh at that story because he was just like that

1922
01:51:17,280 --> 01:51:19,880
Speaker 1: was He's like, this was my first lesson, Like because

1923
01:51:19,920 --> 01:51:22,840
Speaker 1: I was like, I don't understand the problem. Like, we

1924
01:51:23,520 --> 01:51:28,799
Speaker 1: love waffles, don't we. I was like, yes, Andy, waffles

1925
01:51:28,800 --> 01:51:34,040
Speaker 1: are delicious, They're amazing. I had some this morning. Yes,

1926
01:51:35,360 --> 01:51:39,240
Speaker 1: and now I'm hungry for waffles. We bought a new

1927
01:51:39,240 --> 01:51:42,200
Speaker 1: waffle iron two. You know what I'm saying, I might

1928
01:51:42,240 --> 01:51:48,280
Speaker 1: actually actually make waffles. Night waffles are special. Seriously, dude,

1929
01:51:48,720 --> 01:51:55,879
Speaker 1: night waffles breakfast for dinner is still a treat my favorite. Well,

1930
01:51:56,800 --> 01:52:01,160
Speaker 1: what's the Bechtel score? The movie does pass the Bechdel

1931
01:52:01,280 --> 01:52:08,120
Speaker 1: tests by our standards, which we forgot to talk about

1932
01:52:08,160 --> 01:52:10,720
Speaker 1: at the top of the show, but considering the like

1933
01:52:11,360 --> 01:52:16,559
Speaker 1: meaningful conversation between two people, two named characters of any

1934
01:52:16,640 --> 01:52:21,400
Speaker 1: marginalized gender. The because Justice and you should talk about hair.

1935
01:52:22,320 --> 01:52:25,800
Speaker 1: They talk about Asia's drinking problem. They do talk about

1936
01:52:25,920 --> 01:52:30,640
Speaker 1: men a lot, Yeah, as do Justice and Jesse. I

1937
01:52:30,680 --> 01:52:34,200
Speaker 1: think they exclusively talk about No, there's a scene where

1938
01:52:34,200 --> 01:52:37,680
Speaker 1: they talk about receipts. Yeah, they talk about receipts and

1939
01:52:38,000 --> 01:52:42,879
Speaker 1: like a rogue line about poetry. And I was like, okay,

1940
01:52:42,960 --> 01:52:46,760
Speaker 1: we got an exchange, but yeah, it wasn't that right.

1941
01:52:47,160 --> 01:52:49,680
Speaker 1: Oh and and and Jesse says something like why are

1942
01:52:49,680 --> 01:52:54,960
Speaker 1: you wearing that hat all the time? And that makes

1943
01:52:54,960 --> 01:52:59,200
Speaker 1: you thinks it's a lot of conversations about men. And then,

1944
01:52:59,240 --> 01:53:03,479
Speaker 1: in terms of our nipple scale zero to five nipples

1945
01:53:03,560 --> 01:53:08,680
Speaker 1: based on an examination of intersectional feminism as it applies

1946
01:53:08,760 --> 01:53:13,360
Speaker 1: to the movie, I feel like this one might get

1947
01:53:14,600 --> 01:53:16,840
Speaker 1: kind of a split down the middle. I feel like,

1948
01:53:16,880 --> 01:53:20,400
Speaker 1: maybe like a two point five where two point five

1949
01:53:20,439 --> 01:53:24,599
Speaker 1: nipples Yes, I'm so sorry to be bisecting a nipple

1950
01:53:24,680 --> 01:53:33,000
Speaker 1: and half harsh yeah to it and a half because yeah,

1951
01:53:33,040 --> 01:53:39,800
Speaker 1: I mean, I like Justice as a character, I love Aisha,

1952
01:53:39,960 --> 01:53:42,480
Speaker 1: I love their friendship. I just think there was opportunities

1953
01:53:42,520 --> 01:53:47,839
Speaker 1: to explore more about these women in the movie. I

1954
01:53:47,920 --> 01:53:51,680
Speaker 1: don't like that there are so many people telling Justice, Oh,

1955
01:53:51,760 --> 01:53:54,840
Speaker 1: you just need a man and then you'll be happy.

1956
01:53:55,320 --> 01:54:00,679
Speaker 1: I also cannot get behind the Justice Lucky relationship, especially

1957
01:54:00,720 --> 01:54:04,320
Speaker 1: after how we see him treating her early on. But

1958
01:54:04,760 --> 01:54:09,000
Speaker 1: I appreciate the general idea of wanting to center a

1959
01:54:09,040 --> 01:54:13,360
Speaker 1: story around black joy and black people falling in love

1960
01:54:13,760 --> 01:54:18,160
Speaker 1: while also showing these characters in their world and their

1961
01:54:18,200 --> 01:54:24,320
Speaker 1: circumstances and providing the context in a nuanced way. So

1962
01:54:24,840 --> 01:54:28,759
Speaker 1: two and a half nipples. I'll give one to Janet Jackson,

1963
01:54:28,880 --> 01:54:32,160
Speaker 1: I'll give one to Regina King, and I'll give one

1964
01:54:32,200 --> 01:54:37,320
Speaker 1: to cousin Pete my half nipple. And we all know

1965
01:54:37,440 --> 01:54:41,680
Speaker 1: Janet's nipple is pretty iconic. Man, it's it's a super

1966
01:54:41,720 --> 01:54:44,680
Speaker 1: Bowl nipple. I would I would recommend there's a really

1967
01:54:44,680 --> 01:54:48,880
Speaker 1: good episode of You're Wrong about about the super Bowl,

1968
01:54:49,520 --> 01:54:54,120
Speaker 1: the Super Bowl nip slip, and how demonized Janet Jackson

1969
01:54:54,200 --> 01:54:58,200
Speaker 1: was after that for no fucking reason. Fortunately, history is

1970
01:54:58,240 --> 01:55:05,000
Speaker 1: now correctly targeting Justin because I was just you know what, yes,

1971
01:55:05,560 --> 01:55:10,560
Speaker 1: because there's he is the villain. Even back then, yeah,

1972
01:55:10,800 --> 01:55:12,640
Speaker 1: even back then, I was like, oh, he digged in

1973
01:55:12,680 --> 01:55:17,160
Speaker 1: a bullet because you you physically did the act, Like

1974
01:55:17,240 --> 01:55:20,080
Speaker 1: what did you? How is this? I don't understand how

1975
01:55:20,160 --> 01:55:23,760
Speaker 1: you getting away with this? Like, yeah, that was I

1976
01:55:24,840 --> 01:55:30,440
Speaker 1: will pride myself being like something about this. How is

1977
01:55:30,840 --> 01:55:36,160
Speaker 1: how is this because she had a jewel on it?

1978
01:55:36,320 --> 01:55:40,480
Speaker 1: That's because it's certain she could put what she wanted

1979
01:55:40,640 --> 01:55:44,120
Speaker 1: and she didn't expected just because you I'm wearing underwear

1980
01:55:44,200 --> 01:55:46,480
Speaker 1: right now that on me, and I expected to be seen.

1981
01:55:47,600 --> 01:55:50,400
Speaker 1: It's clean. I like my underwear, but I don't think

1982
01:55:50,440 --> 01:55:54,440
Speaker 1: it's gonna be on camera. So leave that lady alone,

1983
01:55:54,600 --> 01:55:58,919
Speaker 1: you know it, don't really ill. We'll link that episode

1984
01:55:58,960 --> 01:56:01,640
Speaker 1: in the in the description because it's it's a it's

1985
01:56:01,640 --> 01:56:05,040
Speaker 1: a good one. They go in, uh like they do

1986
01:56:05,080 --> 01:56:08,600
Speaker 1: the deep lore for that story. I'll do, I'll do.

1987
01:56:08,880 --> 01:56:11,200
Speaker 1: I'll do a two point five as well. I think

1988
01:56:11,680 --> 01:56:14,160
Speaker 1: like there, We've talked a lot about it. I'm really

1989
01:56:14,200 --> 01:56:19,880
Speaker 1: glad that this movie exists. I'm glad that justice is

1990
01:56:20,360 --> 01:56:24,120
Speaker 1: centered in the way she is. I appreciate I just

1991
01:56:24,360 --> 01:56:28,120
Speaker 1: generally appreciate John Singleton's work and how he did, like

1992
01:56:28,680 --> 01:56:31,960
Speaker 1: from being a very young artist, like push himself to

1993
01:56:32,200 --> 01:56:36,840
Speaker 1: include more voices in his work. However, imperfectly it was

1994
01:56:36,920 --> 01:56:39,440
Speaker 1: done UM, which I think we've talked a lot about

1995
01:56:39,440 --> 01:56:43,840
Speaker 1: ways that it could have definitely been improved on UM

1996
01:56:43,880 --> 01:56:46,280
Speaker 1: because it's like there there was more to Justice than

1997
01:56:46,360 --> 01:56:48,440
Speaker 1: we got to see. And I feel like by trimming

1998
01:56:48,440 --> 01:56:52,160
Speaker 1: out some of the like excess talk about men and

1999
01:56:52,720 --> 01:56:55,839
Speaker 1: we could have, you know, more effectively explored her story.

2000
01:56:56,040 --> 01:56:58,200
Speaker 1: You could have explored the friendship with her and Aisha,

2001
01:56:58,360 --> 01:57:01,240
Speaker 1: and there was just like a lot left on the table.

2002
01:57:01,280 --> 01:57:03,360
Speaker 1: I felt like that it would have been really interesting

2003
01:57:03,440 --> 01:57:05,720
Speaker 1: to explore. And I also think that, you know, I

2004
01:57:06,120 --> 01:57:10,040
Speaker 1: would imagine and even though you know, John Singleton spoke

2005
01:57:10,080 --> 01:57:13,080
Speaker 1: with a number of black women to put this story together,

2006
01:57:13,320 --> 01:57:16,640
Speaker 1: you know, having black women in creative roles certainly would

2007
01:57:16,640 --> 01:57:19,760
Speaker 1: have served to fix some of these problems as well,

2008
01:57:19,800 --> 01:57:23,320
Speaker 1: I would imagine. But for for its time, I think

2009
01:57:23,320 --> 01:57:26,080
Speaker 1: it's doing a lot. I'm it was. It was really

2010
01:57:26,120 --> 01:57:30,360
Speaker 1: interesting to revisit. I'm not rooting for this relationship, but

2011
01:57:30,600 --> 01:57:35,760
Speaker 1: I'm rooting for the individuals involved. So I'll give it

2012
01:57:35,800 --> 01:57:39,680
Speaker 1: two point five one of justice, one of Ayesha, and

2013
01:57:39,720 --> 01:57:43,320
Speaker 1: then I'll give I'll give the half to the mail

2014
01:57:43,400 --> 01:57:51,040
Speaker 1: truck uh sacred vessel. Uh. Yeah, I actually I have

2015
01:57:51,200 --> 01:57:56,840
Speaker 1: no disagreements with your your assessment. Every time you keep

2016
01:57:56,840 --> 01:58:02,480
Speaker 1: saying you're not rooting for Justice and Lucky. In my brain,

2017
01:58:02,560 --> 01:58:06,320
Speaker 1: I keep going, Janet Jackson in Tupac, which is what

2018
01:58:06,360 --> 01:58:09,280
Speaker 1: I'm rooting for, you know what I'm saying, Because I'm like,

2019
01:58:09,320 --> 01:58:11,680
Speaker 1: I'm actually am rooting for Janet Jackson in Tupacs. And

2020
01:58:11,720 --> 01:58:15,440
Speaker 1: then I'm like, oh, which means I'm not rooting for

2021
01:58:16,320 --> 01:58:18,880
Speaker 1: Justice and Lucky, you know what I'm saying. So like

2022
01:58:18,960 --> 01:58:22,240
Speaker 1: I think that, So yeah, I think that. I guess

2023
01:58:22,280 --> 01:58:26,280
Speaker 1: I'll go to two point five too, because um, I

2024
01:58:26,320 --> 01:58:31,720
Speaker 1: feel like it's the best attempt of a man telling

2025
01:58:32,440 --> 01:58:35,480
Speaker 1: a woman's story. And do you understand I'm trying to

2026
01:58:35,480 --> 01:58:37,960
Speaker 1: say here, like if you if you're gonna do it,

2027
01:58:38,040 --> 01:58:40,200
Speaker 1: this is probably as good as it's gonna get, you know,

2028
01:58:41,280 --> 01:58:44,240
Speaker 1: because because it's not your story, you know what I'm saying. So,

2029
01:58:44,400 --> 01:58:47,000
Speaker 1: because I'm looking at myself going, I probably would have

2030
01:58:47,040 --> 01:58:49,080
Speaker 1: made a lot of the same decisions too, because I

2031
01:58:49,160 --> 01:58:52,040
Speaker 1: just I only know this from observing y'all, you know,

2032
01:58:52,480 --> 01:58:54,880
Speaker 1: from like that's that's what I see you guys talk

2033
01:58:54,920 --> 01:58:56,640
Speaker 1: about at the hair salon. You know what I'm saying,

2034
01:58:57,400 --> 01:59:00,960
Speaker 1: you know, And yeah, that's was like my auntie. You

2035
01:59:01,000 --> 01:59:03,240
Speaker 1: know what I'm saying, I know a girl like this,

2036
01:59:03,480 --> 01:59:05,200
Speaker 1: you know what I'm saying. I think it's because of that.

2037
01:59:05,320 --> 01:59:07,320
Speaker 1: So because I'm not them, you know what I mean,

2038
01:59:07,400 --> 01:59:08,920
Speaker 1: So I would if I were to tell the story,

2039
01:59:08,920 --> 01:59:12,240
Speaker 1: it would be that. So so I feel like, yeah,

2040
01:59:12,320 --> 01:59:14,960
Speaker 1: it's like this is the best any a man could get,

2041
01:59:15,120 --> 01:59:18,000
Speaker 1: you know, short of just saying handing the reins over

2042
01:59:18,400 --> 01:59:20,760
Speaker 1: to being like, hey can you write this? Can you

2043
01:59:20,760 --> 01:59:23,680
Speaker 1: write these characters? You know what I'm saying, uh, which

2044
01:59:23,680 --> 01:59:27,320
Speaker 1: would probably you know, obviously push it over the half

2045
01:59:27,400 --> 01:59:31,720
Speaker 1: mark at least, right, Yeah, I think the uh, the

2046
01:59:31,800 --> 01:59:35,520
Speaker 1: sort of the sage kind of Obi wan kenobi, you know,

2047
01:59:35,840 --> 01:59:40,640
Speaker 1: tone of the shop owner is at least worth a nipple.

2048
01:59:41,400 --> 01:59:44,160
Speaker 1: You know, she's a mentor, you know, maybe not the

2049
01:59:44,200 --> 01:59:47,640
Speaker 1: best one, but she is one, you know. You know.

2050
01:59:47,880 --> 01:59:51,680
Speaker 1: I think that that what pushes it over the top

2051
01:59:51,760 --> 01:59:57,960
Speaker 1: is Maya Angelo. And then yeah, so so I feel

2052
01:59:58,000 --> 01:59:59,640
Speaker 1: like I was gonna say I might that might give

2053
01:59:59,640 --> 02:00:03,120
Speaker 1: me a two point seven five because of because of

2054
02:00:03,160 --> 02:00:06,480
Speaker 1: the three mamas sitting at the table basically calling the

2055
02:00:06,520 --> 02:00:08,320
Speaker 1: girls out on their ship. You know what I'm saying,

2056
02:00:08,720 --> 02:00:10,640
Speaker 1: That was just like that girl ain't mo married than

2057
02:00:10,640 --> 02:00:13,240
Speaker 1: the man on the moon, like you was not married,

2058
02:00:13,280 --> 02:00:14,680
Speaker 1: look at her for you know what I'm saying, Like,

2059
02:00:14,960 --> 02:00:17,040
Speaker 1: so the mama's the mama's doing it. But then the

2060
02:00:17,120 --> 02:00:19,400
Speaker 1: mama's being as old school is like my man would

2061
02:00:19,400 --> 02:00:21,280
Speaker 1: never let me walk around here with you know what

2062
02:00:21,280 --> 02:00:23,120
Speaker 1: I mean. So it's like that's why you don't get

2063
02:00:23,120 --> 02:00:24,720
Speaker 1: a full nip, you know what I'm saying, because you're

2064
02:00:24,720 --> 02:00:27,840
Speaker 1: still perpetuating you know what I'm saying, stuff we're trying

2065
02:00:27,840 --> 02:00:33,680
Speaker 1: to get away from. But that moment of those you know,

2066
02:00:33,880 --> 02:00:39,440
Speaker 1: mother's again is like the authenticity of that to me

2067
02:00:40,640 --> 02:00:44,600
Speaker 1: is something that's so important, you know. But again it's

2068
02:00:44,640 --> 02:00:49,400
Speaker 1: like I could still see how that's a boy talking

2069
02:00:49,440 --> 02:00:52,600
Speaker 1: about his grandmother's you know what I mean, it's not

2070
02:00:52,640 --> 02:00:56,640
Speaker 1: necessarily a daughter talking about her grandmother's. You feel me

2071
02:00:56,680 --> 02:00:58,560
Speaker 1: so Like so I could still so I think that

2072
02:00:58,720 --> 02:01:00,440
Speaker 1: at the end of the day, it's a two five

2073
02:01:00,520 --> 02:01:03,120
Speaker 1: so or two point seven five, I think. So I'm

2074
02:01:03,120 --> 02:01:09,000
Speaker 1: gonna go nipple for Janet. Uh, it's gonna get hard here,

2075
02:01:09,960 --> 02:01:16,960
Speaker 1: so I'm gonna have to go nipple for um Aisha.

2076
02:01:17,320 --> 02:01:21,360
Speaker 1: I think half a nip goes to the store owner.

2077
02:01:22,120 --> 02:01:26,280
Speaker 1: I keep forgetting her name, Jesse, Jesse, half a nip

2078
02:01:26,280 --> 02:01:28,320
Speaker 1: goes to Jesse, and then the three four goes to

2079
02:01:28,360 --> 02:01:36,480
Speaker 1: Maya Angelo. Yeah, well probably, thank you so much. God,

2080
02:01:36,560 --> 02:01:38,680
Speaker 1: I have so much respect for you guys. I've been

2081
02:01:38,680 --> 02:01:40,840
Speaker 1: fan boying all week, telling my wife, like, dude, I

2082
02:01:40,840 --> 02:01:42,960
Speaker 1: get to be on this show. I'm so nervous they're

2083
02:01:42,960 --> 02:01:44,880
Speaker 1: gonna like this is gonna be so bad. I'm gonna

2084
02:01:44,920 --> 02:01:47,200
Speaker 1: put my foot in my mouth. So I thought about thinking.

2085
02:01:47,760 --> 02:01:49,240
Speaker 1: I thought about it at first. I was like, what

2086
02:01:49,400 --> 02:01:53,080
Speaker 1: is the most out of pocket horrible things. I'm just

2087
02:01:53,120 --> 02:01:54,840
Speaker 1: gonna open with it. Just get it out of the way,

2088
02:01:55,200 --> 02:01:59,960
Speaker 1: say something so wrong out the box, and just be done.

2089
02:01:59,640 --> 02:02:03,960
Speaker 1: I think you did absolutely fantastic. Oh my god, thank

2090
02:02:04,000 --> 02:02:10,520
Speaker 1: you so much. And tell us about your stuff, your

2091
02:02:10,520 --> 02:02:14,760
Speaker 1: social media, your book, your podcast. Yeah. The book goes

2092
02:02:14,800 --> 02:02:17,440
Speaker 1: along with like a series of eat like music EPs

2093
02:02:17,480 --> 02:02:20,760
Speaker 1: I've been dropping. They're all called terraform. It's um some

2094
02:02:20,760 --> 02:02:22,400
Speaker 1: of the stuff we're talking about here kind of like

2095
02:02:22,760 --> 02:02:25,600
Speaker 1: in a metaway kind of goes with the terraform is

2096
02:02:25,640 --> 02:02:29,120
Speaker 1: just you know, science fiction nerd word. When you find

2097
02:02:29,120 --> 02:02:32,000
Speaker 1: a distant planet, what you gotta do to make it livable.

2098
02:02:32,520 --> 02:02:35,880
Speaker 1: So the poetry and the music is around like, well,

2099
02:02:35,880 --> 02:02:38,720
Speaker 1: what if we did that here? Because Earth is becoming

2100
02:02:38,840 --> 02:02:43,360
Speaker 1: less and less livable, whether it's physical, uh like geologically

2101
02:02:43,680 --> 02:02:47,760
Speaker 1: or just socio culturally and interpersonally, just all these things

2102
02:02:47,760 --> 02:02:50,040
Speaker 1: and just really thinking, Okay, what if we could just

2103
02:02:50,120 --> 02:02:53,200
Speaker 1: start over and build this, build our civilization from scratch?

2104
02:02:53,440 --> 02:02:55,720
Speaker 1: Like what will we keep? What do we need to

2105
02:02:55,760 --> 02:02:59,200
Speaker 1: throw away? What? What are we not imagining? You know,

2106
02:02:59,560 --> 02:03:02,960
Speaker 1: like if we limited ourselves, Like for example, in the

2107
02:03:03,040 --> 02:03:05,640
Speaker 1: last in the last chapter of this poetry book, I

2108
02:03:05,680 --> 02:03:07,680
Speaker 1: asked the question that kind of like I feel like

2109
02:03:07,720 --> 02:03:11,040
Speaker 1: this this year podcast asked is like, imagine a world

2110
02:03:11,080 --> 02:03:15,240
Speaker 1: without patriarchy? And so somebody asked me that and I

2111
02:03:15,280 --> 02:03:18,960
Speaker 1: was like I can't, yeah, And it's just like I

2112
02:03:19,040 --> 02:03:21,080
Speaker 1: was like, I honestly can't because I might say, imagine

2113
02:03:21,080 --> 02:03:24,560
Speaker 1: where without misogyny, patriarchy, racism, imagine it? What what would

2114
02:03:24,560 --> 02:03:27,040
Speaker 1: it look like? And I was like, I was like,

2115
02:03:27,120 --> 02:03:30,920
Speaker 1: jazz came from racism because like because you segregated, you segregated.

2116
02:03:31,000 --> 02:03:33,240
Speaker 1: I was like, that's we came from. So I was like, dang,

2117
02:03:33,320 --> 02:03:36,720
Speaker 1: like I have a limited imagination, you know, so so

2118
02:03:36,720 --> 02:03:38,520
Speaker 1: so like, but what if we could, what is the

2119
02:03:38,560 --> 02:03:41,200
Speaker 1: world without patriarchy? What would have never happened? Where would

2120
02:03:41,240 --> 02:03:43,320
Speaker 1: we have gotten to? You know what I'm saying? So

2121
02:03:43,480 --> 02:03:45,440
Speaker 1: like so that so that a lot of ways, the

2122
02:03:45,480 --> 02:03:47,720
Speaker 1: book is like it's a challenge, you know, um, and

2123
02:03:47,760 --> 02:03:49,760
Speaker 1: the music is a challenge to like, yeah, just like

2124
02:03:49,880 --> 02:03:53,160
Speaker 1: imagine a better future, build a livable world. So that's

2125
02:03:53,200 --> 02:03:57,280
Speaker 1: the that's the poetry in the book, the music in

2126
02:03:57,360 --> 02:04:01,680
Speaker 1: the podcast, Uh, hood politics. I just believe like if

2127
02:04:01,680 --> 02:04:07,200
Speaker 1: you understand gang life, you understand geo politics. And even

2128
02:04:07,240 --> 02:04:09,360
Speaker 1: if it's even not even just gang life, if you

2129
02:04:09,400 --> 02:04:13,560
Speaker 1: survived eighth grade, you know, if you like figured out

2130
02:04:13,600 --> 02:04:15,760
Speaker 1: which like if you want if you knew how to

2131
02:04:15,840 --> 02:04:19,840
Speaker 1: navigate mean girls, or like just which table to sit

2132
02:04:19,880 --> 02:04:22,560
Speaker 1: at at lunch when you were a freshman, you know,

2133
02:04:22,880 --> 02:04:24,640
Speaker 1: you have to figure out which table to sit at,

2134
02:04:24,680 --> 02:04:29,000
Speaker 1: Like you actually understand geo politics. So I'm essentially like

2135
02:04:29,560 --> 02:04:33,720
Speaker 1: it's like thirty minutes of whatever like conversation during the

2136
02:04:33,800 --> 02:04:36,440
Speaker 1: zigeist that like you kind of feel like maybe I

2137
02:04:36,480 --> 02:04:39,960
Speaker 1: know what this is, but maybe I don't. I'm like,

2138
02:04:40,480 --> 02:04:42,600
Speaker 1: you know what it is, and I'm just gonna like

2139
02:04:42,760 --> 02:04:45,360
Speaker 1: lay it out in like kind of hood terms. You know,

2140
02:04:46,000 --> 02:04:49,400
Speaker 1: that's fun amazing, it's great. Thank you again so much

2141
02:04:49,440 --> 02:04:54,280
Speaker 1: for being here. What a treat it's been. Come back

2142
02:04:54,400 --> 02:04:57,320
Speaker 1: any time. Don't even play with me like that, because

2143
02:04:57,360 --> 02:05:01,040
Speaker 1: I will absolutely come back. I think you guys are like,

2144
02:05:01,120 --> 02:05:04,000
Speaker 1: I'm this is no gas Like. I think y'all are brilliant,

2145
02:05:04,080 --> 02:05:09,200
Speaker 1: and I think you're so fucking funny. But and the

2146
02:05:09,320 --> 02:05:13,080
Speaker 1: funny is is like it's smart, Like that's the I'm

2147
02:05:13,120 --> 02:05:16,280
Speaker 1: just like, god, these girls are it's just so funny.

2148
02:05:16,440 --> 02:05:19,440
Speaker 1: So yeah, so I appreciate you all. Man. Oh my goodness,

2149
02:05:19,800 --> 02:05:25,360
Speaker 1: I'm blessing you're not shut up. I can see you.

2150
02:05:26,840 --> 02:05:36,720
Speaker 1: I'm taking screenshots kin tote. Well, thank you. You're amazing.

2151
02:05:37,000 --> 02:05:43,120
Speaker 1: We're also big fans whatever than you. You can follow

2152
02:05:43,240 --> 02:05:47,840
Speaker 1: us on social media Twitter, Instagram, at pecktel Cast. We've

2153
02:05:47,880 --> 02:05:52,440
Speaker 1: got our Matreon at patreon dot com slash pecketel Cast,

2154
02:05:52,680 --> 02:05:56,240
Speaker 1: and it's five dollars a month and it's to bonus episodes,

2155
02:05:56,400 --> 02:06:00,920
Speaker 1: plus access to the back catalog and our merch store

2156
02:06:01,040 --> 02:06:04,440
Speaker 1: t public dot com slash the pectel Cast. We just

2157
02:06:04,480 --> 02:06:07,000
Speaker 1: did bored at two on the Matreon. If that's something

2158
02:06:07,040 --> 02:06:11,640
Speaker 1: that intrigues you, oh my god, I don't think I

2159
02:06:11,640 --> 02:06:16,280
Speaker 1: can handle that one um and let's all go write

2160
02:06:16,280 --> 02:06:20,440
Speaker 1: some poetry. Let's do it. Bye bye,