The Reel Critics Network S1 E7: The Oscars- Were We Right or Were We Wrong?

In this episode we recap The 97 Academy Awards and compare our predictions with what actually occurred. We talk a bit about Angie Stone and her career, Brazil and Carnival, Food and The Best Philly Cheesesteak and professionalism in Journalism. 

Episode Transcript

Reggie Ponder, The Reel Criti (00:00):
I do.
And here we go.
I'm Reggie ponder the realcritic, and this is the real
critic network.
And I am here with my co hostKathia was Kathia How are you?
How are you?

Kathia Woods (00:18):
I'm good.
I'm good.
Got some sleep, getting backinto things.

Reggie Ponder, The Reel (00:23):
That's always good.
We skipped a week last week andmostly because.
I was so locked into awardseason.
I am so glad it's over.
We're going to get into a littlebit about the awards who won.
I think you and I made somepredictions and some of my
predictions came true to mychagrin and we'll talk about

(00:46):
that.
But first we'll move into ourfirst segment, which is what's
on my mind.
And what's on my mind is theuntimely sudden death of Angie
stone.
It really did catch me bysurprise, I guess it's caught a

(01:06):
lot of people by surprise, butit really caught me by surprise
because.
I was somewhere and somebodysaid Angie Stone died.
I was like, Angie Stone died.
I had to go look it up.
And I said, oh my goodness, sheactually really did die.
Now, some people would say, whatdoes that have to do with film?

(01:28):
What, what does Angie Stone Haveto do with film.
Well, believe it or not, she wasin a number of films and
productions and things of thatnature.
Even though she's best known forher, she's best known for her
music.
She was in a number of films aswell.

(01:50):
And so I thought that from afilm perspective, I didn't see
everything.
So I had to do my research.
I actually had to do my researchbecause I knew she did film, but
I hadn't seen everything thatshe did.
And the first one most peopleshould have seen, and it was hot
chick, but the hot chick, sheplayed a madam, my booze, I

(02:13):
think it was.
She also was in the fightingtemptations as Alma.
She was in corn on tape asDiane.
She was in pastor Brown.
I forgot about that.
I actually need to go back andlook and see if I recognize her
in pastor Brown.
She, as she's also in the moviecalled school girls.
And so she was in a number ofthings from a film perspective,

(02:36):
not a lot of major roles, butshe did do film as well as
television.
I remember seeing her on Moesha.
From a television perspective,she did girlfriends, one on one,
Lincoln Heights.
She did R& B Divas Atlanta, andalso did Celebrity Wife Swap.
She played herself, and that wasone episode.

(02:56):
That was a funny episode.
That whole Wife Swap thing.
I can imagine.
That whole Wife Swap thing.
Didn't she also have a realityshow?
She had a, didn't she have areality show?
Was it on the Divas?
Yeah, she was on the divas.
She did the the R and B divasAtlanta.
And she did that for two tothree seasons.
And she was the main fixture onthat show.

(03:21):
Her music is really what I knowher for mostly.
And I thought I'd bring her upbecause my music person, I have
a co host who likes music.
Yeah.
What song what song hit you?
The one she made about thebrothers, I thought, but she was
really, and she had black menbrother?
Yes.
Where she had black men ofdifferent backgrounds and

(03:46):
different skews, justcelebrating black men, black.
I thought that was verybeautiful and it's still very
poignant.
To have something like that, doyou know what I mean?
And the video was really great,because I figured like everybody
she called, it was one of thosethings where she called,
sometimes you call people, hey,be in the video, and they'll be
like, well, I don't know, whoall going to be there?

(04:09):
And I feel like with this,everybody was like, when you
need me.
And it was, it's just a reallygood song.
I think she is one of thosepeople cause she's done
everything.
She comes from hip hop.
She sang background.
I did not know she sangbackground for Lenny Kravitz,
but she did.

(04:30):
And she has this very, very likevast background, right?
And obviously she had her owncareer.
But unfortunately, she did notalways get the love and support
because she wasn't what peoplethought of classically
beautiful.
So people were like, Oh, youcute.

(04:50):
You can sing these little doowop, doo wop, but we really not
putting money into you.
I think that is so true.
And I find it kind of weirdbecause she, in my opinion, she
was sultry.
She was sexy.
She was street.
Oh, I see.
I use my alliteration.
I use three S's.
Oh, I'm good.
I'm good.
But Reggie, you're also a grownman.

(05:13):
You know what I'm saying?
Yeah.
Yeah.
Yeah.
I thought she had it going onAnd you're right about that
particular song.
It, once you said it, it'splaying in my head and I can't
get it out.
And I know I can't start playingit because we don't have the
rights and they become the,getting ready to sue us and
stuff like that.
But yeah, I just want to saycondolences obviously to the, to

(05:35):
all of Angie Stone's friends andfamily.
And for me, Angie Stone willsurely be missed.
That was my, what's on my mind.
Before we get into the Oscars,do you have anything, what's on
your mind?
Well, I have something positive.
This week for those of you, wehad Ash Wednesday not that part.

(05:56):
We don't get through that.
Kevin struggles.
I like my me too, but I can dothis one, one time a week.
we are like we're not going todo that.
But this week.
was Carnival in Brazil.
Oh, my beloved Rio de Janeiro.
Let me do my heart for thosethat are listening to us.

(06:17):
I'm gonna do my heart.
And it was from Sunday tillTuesday, and I would love it so
much to see all the costumes andthe floats.
And the women, beautiful, and alot of chocolate black women up
there samba ing.
I grew up in somber schoolculture.

(06:39):
My mom used to do it.
And my dad was a musician.
Learned how to be a musician insomber school.
So I have a lot of memories inbeing raised.
One of my most fondest Halloweencostumes was me being Carmen
Miranda.
My friend Morim, our familyfriend Morim, may he rest in
peace, made my costume.

(07:01):
I was very lucky.
I was not a girl that bought hercostumes.
I had a family friend make mineand it was just really beautiful
to see.
The themes from 12 of the SambaSchools were centered.
And Afro centric culture and forall the black people.
And there's a lot of y'all thatalways are like, where is a

(07:23):
blackness?
Carnival is rooted in blackculture, in black rhythms and
black history.
It is part of the Brazilianculture.
And also a good portion of thosedisplays was rooted in.
God don't blame my kumba, whichis African religion.
I know some people like to sayit's voodoo and it's, devil

(07:47):
stuff and all of that.
But we have to remember is thatChristianity was forced upon us,
especially in the Americas.
That's why we're programming,excuse me, predominantly excuse
of Latin America is RomanCatholic.
Although evangelicals arerising, but predominantly it's
still Roman Catholic.
And to see that culturecelebrated.

(08:09):
Now, some people did get theirfeathers in the web.
Why is everything our ways inAfrican culture?
And I was really happy to see alot of white commentators saying
this.
The summer schools go back to1910 1920s 1930s with that
culture being established.
It used to run into scent, andI'm going to date myself through

(08:31):
the center of Rio de Janeiro,where it was more accessible.
To the common man whereeverybody could see it, right?
You would just like you wouldwhen you go see a parade, you
get there early enough.
You have your spot and yoursnacks and you're in like Flynn.
But now unfortunately is at thatstadium where ticket prices can
be.
Absolutely outrageous, right?

(08:54):
And the way that they succumbthat is they do the technical,
they do a technical rehearsal inthe summer dome, obviously, so
they can get the floats and thespacing and everything organized
because you only have a certainamount of time to do your what
they call you to feel yourdisplay.
So they do.
technical rehearsals in thesummer and all of the summer

(09:14):
schools are centered andheadquartered in the favelas in
the black, predominantly blackand brown communities where the
working class people live andthey do rehearsals and things
like that.
But I just want to say as ablack Brazilian, it gave me
immense proud to have Thecarnival director say we are

(09:37):
going to present carnivalcentered in black culture, black
Brazilian culture, we're goingto celebrate a kind of the least
roots are the least roots arepresently like the direct route
will be to Angola.
Hence they also speakPortuguese.
We know why colonization, butit's just, I love that they were

(09:58):
like, we don't care how youfeel.
Y'all got all this other stuff,right?
This time of year, we're doingus.
It's going to be black.
We're going to talk about blackpeople.
Manguera talked about samephenomena that's happening in
America where every 23 minutesin Rio, in the poverty stricken
areas, a young black boy ismurdered.

(10:21):
You do the math, but again, it'sjust a joy and the beauty and
the different skews of blacknessSizes, we're just celebrating
ourselves and for four days Youhave unity you have peace And
you have exaltation.
And also mother nature said,come on through with the sun,

(10:42):
come on through with the heat.
So it was beautiful weather.
So you can go to YouTube and youcan see it.
But that was like, you knowwhat, why Rome was burning and
the state of the union was goingon.
And I said, not today, Satan,I'm going to watch my summer
schools.
So this is going to be like theonly time, the only time between
you and me.

(11:02):
You and I that I am not going tosay anything negative about
Brazil.
I am going to let you have thismoment because have told the
truth.
It is absolutely beautiful tosee the festivities, the
culture, all of that just It'sso exciting and it actually

(11:23):
really warms the heart when youlook at it.
So this is going to be the time.
But when we start going back tothe soccer and basketball, it's
going to be a lot, it's going tobe a rough road when we'll come,
I also want to add one thing,families.
Like I just said, I was raisedin it because of my parents were
in it.
There are families, you seekids, you see elders,

(11:43):
generations and everything, andshout out to the singer for Beja
flow, who's been with the summerschool for 50 years, the summer
school one first place, and he'sretiring after 50 years of being
the voice of the summer school.
He sang through it when he wasfighting cancer and everything.
May God bless him.
And may he have a happyretirement.

(12:04):
But the one thing that alwaysgets me is wow, the women are
always so naked.
Why do they have this and that?
Nudity in the other parts of theworld, right?
Nudity does not always meansexuality.
I'm trying to keep it cutebecause we do try to keep it
cute.
People being comfortable intheir skin, in their bodies.

(12:25):
When you go to the beach inBrazil and you see women in
bikinis or whatever, they'rethere with their families.
It's generation.
It's mom, dad, aunties,everything.
It's not looked at as sexual.
Yeah.
It's a hot climate.
It's like that in Latin America,people are very comfortable.
You're not taught to be ashamedof your body.

(12:45):
You're not taught to ashamed ofnudity.
So I think, in America, we're alittle bit more repressed.
And the moment somebody like,listen, we literally had theses
of young blue Ivy being in adress, having a little bit of
makeup.
And people said that her boobsare hanging out.
That girl was 12 at the time.
What boobs did she have at 12?

(13:06):
So I do want, need people tounderstand is.
Your discomfort should not bepushed at other people's
discomfort, and not everythingis sexual.
So it's really interesting.
And we may have a separatediscussion about this, not only
as it relates to overallculture, but as it relates to
the movies and our culture inthe movies and what we show.

(13:29):
So we might be able to come backand visit that.
My daughter, Bobbi always getson me with my, because I'm
somewhat of a prude in thatregard.
So I'm like, don't do this,don't do that.
And yeah.
Absolutely puts forth what youjust said is that it's not about
me being sexual is me beingcomfortable in my skin and the

(13:50):
way in which the rest of theworld looks at partial nudity
and even nudity is justdifferent than the way in which
we look at.
I think that's a really goodpoint.
Let's revisit that at some pointbecause I think it plays itself
in the way in which we see filmsand people in the films as well.
That's it for what's on our mindand this segment is Were we

(14:15):
right or were we wrong?
We're gonna talk about theoscars and we're gonna go
through maybe Five or sixcategories.
I know, I know, I know you heardus talk about the Oscars before
so we'll try to make it as shortas possible, but there's some, I
have some problems with whathappened at the Oscars this

(14:36):
year.
And so we'll start with thegranddaddy of them all, because
that's really where it allemanated from, and I had some
issue.
So my question is, or my commentis.
Was Anor really the best movieof the year?

(14:58):
No.
I, this is, I, the best exampleI always bring up is when Out of
Africa beat The Color Purple.
It won all the awards.
Who do you know, sitting at thehouse going, I need to see Out
of Africa?
And I'm saying across the board.
Black, white, young, old.

(15:18):
But we all remember The ColorPurple.
And we got to also remember itdid not win one Academy Award,
the original color purple andbut the best movies, the best
movies don't always win the topaward.
Like Sean Baker, and I saidthis, and I stand by this, I

(15:38):
don't know the man, I don'tdislike the man, I've been very
honest about it, that his workdoesn't speak to me, and that's
okay.
But you mean to tell me in theworld of Spike Lee, that gave us
the movies that he gave us?
That has never had a studio homewhere a studio said, Spike, you
will get a hundred milliondollars to film your next four

(15:59):
movies.
In a world of Martin Scorsese,they, you mean Sean Baker has
more Academy Awards than StevenSpielberg, then Sean, then
Martin Scorsese and Spike Lee.
No black man has ever won, noblack person, forget black man,

(16:21):
has ever won best director.
This is where people tune out.
This is why people look at theAcademy Awards and go, this is
just y'all, this is like acountry club, right?
Because we're really, if we'rereally, and also, we've said
this time and time again, whenthey do the talk to the
anonymous voters, right?
And I really would like to bethat person when I go why aren't

(16:43):
you watching all the movies?
Don't you feel you have aresponsibility as a voter to
watch all the movies?
I do.
Do I love all the movies?
Did it take me a hope and aprayer to get through the
Brutalist and Queer?
Absolutely.
But I got through it.
Do you know what I mean?
And when you know, was Iwatching like, Anora and going
like, this seems like aknockoff.

(17:05):
Sopranos, you know what I mean?
It is just, it's very, verydifferent.
You know what I mean?
And also I want to pointsomething out, like just it's
preposterous.
Does this man won four Oscarsand why not?
That's insane.
You know what I mean?
But also I want to also saythat.
Sean Baker talked about it costhim 8 million to make this

(17:27):
movie.
And he's movies are not, movies,this is a little indie movie,
but the Oscar campaign that Neonput it out cost 18 million.
So while you guys made a moviefor 8 million, they invested 18
million in making sure That theright people saw it.

(17:49):
So what's really interestingabout that is that neon did the
film with did the film that Ithink, didn't they do the film
that Ava DuVernay wasn't theydid that, right?
Yes.
And the criticism back then was,is that Neon is such a small
kind of boutique organizationthat they didn't really know

(18:13):
what to do with it.
They didn't really put somemoney behind it and Origin went
nowhere.
So the fact that you would put18 million behind that movie
versus Origin is just, it'scrazy.
Where did the money come from,beloved?
Absolutely.

(18:34):
So I'm a couple more mentions onfor me as we relate as it
relates to best picture.
It's my opinion, but the rule iswas better.
The complete unknown was better.

(18:54):
Conclave was better, Doom Part 2was better, Amelia Perez was
better, I'm Still Here wasabsolutely better, Nickel Boys
was better, The Substance maybenot, and Wicked was better.
Eight of the other films, in myopinion, were better, and my
choice for the best movie of theyear was not even in there, and

(19:17):
that was Sing Sing.
I think a movie has to move you.
I'm not talking about you're inthe film.
In the theater and you're like,Oh, that was cool.
But when you get out, myquestion is, will you be talking
about that movie?
And then after you're out, willyou say to yourself, I'll go
back and see it again?

(19:38):
Just wasn't that movie for me,but I'll rest it on that and
move on to the next categories.
And since we're talking about aNora, huh?
Who were the nominees for bestactress?
Cynthia Erivo, Carla Gasson.
Fernanda Torres, Demi Moore, andMickey Madison.

(20:02):
And Mickey Madison won.
And I said, and I stand on that,because I own what I say, the
Academy pulled a real lifesubstance.
Explain that one for me.
Well, because in the substance,Demi Moore's character was
discarded for being too old fora younger girl, right?

(20:24):
So she went and she took themedicine to make herself
younger, right?
Mm hmm.
And she was the younger girlversion, like the fame and
everything.
So she basically killed off, theolder version.
So in this particular case, theacademy said.
It's you're cute what you did,but we're gonna go with the

(20:47):
younger upstart.
So hence life imitated art.
You pushed all the old ladies tothe side for the young girl.
Now, I think with Cynthia, theissue is not that she didn't do
a phenomenal job because thatopening, she wants to get
improved.
That she's the real deal.

(21:07):
I don't care how you feel aboutCynthia.
You can talk about her hate herlook, say that she ran her mouth
about God knows well, but youcannot say she can't sing.
That is a boldface lie.
You a hater if you say that.
And you cannot say that shebrought more than singing to the
table.
Yeah.
And because she did, shebrought, she did.
She brought.

(21:28):
singing to the table.
And when you talk about nuanceand depth and all that type of
stuff, as it relates to herperformance, it's there.
Oh, absolutely.
We care about Elphaba in themovie because of Cynthia.
And I think the thing withWicked is because there's a part
two, the Academy is like, well,let us see what part two looks

(21:49):
like, because part one wasreally good.
Is part two going to be as goodas part one?
I don't buy that.
But I don't buy that.
I do think that's how they work,though.
But no, that is not how theywork.
Look at what happened with Dunepart one.
It won six.
It won six.
Now, it didn't win in the majorcategories.
It won in some of the technicalcategories but Wicked won

(22:11):
nothing.
It won this.
It was Dune part one.
It won costume.
It won costume.
That's what it won.
You do have to acknowledgePaul's way.
Oh, no doubt.
But yeah, no doubt.
That was huge, by the way,because Paul absolutely killed
it.
And I couldn't get my interviewwith Paul.
I'm so upset because that, Ofall the people that I wanted to
talk to, Paul was my guy.

(22:34):
You're going to get a shot withround two, but go ahead, Reggie.
Because he was absolutelyphenomenal.
So thank you for the correction.
It did win something.
I just don't buy it because Doompart one, won six Oscars.
But we got to acknowledgethough, right?
Again, this is where the Academybecomes, very hypocritical.

(22:57):
They don't acknowledge filmslike that.
They acknowledge the technicalaspect.
They don't acknowledge any ofthe acting or the direction that
it takes to make a movie likethat because it is a big movie
and it made a ton of money.
Academy sometimes has a problemwith projects and things that

(23:17):
make money.
There's no doubt.
Which is crazy, right?
No doubt.
When you look at it though, I dothink Wicked is getting the Lord
of the Rings treatment.
One, two, we're nominated for aslew of awards, and then three,
finally the last chapter at one.
Now I do think it's DeLulu.
That you're going to nominate apicture for best picture, but
not the director.

(23:37):
Did it direct itself?
No.
That's crazy.
Like you're acknowledging thatthis is a best picture.
You're acknowledging that thetalent that was directed had
great direction to bring out thevery best in itself, but you're
not acknowledging the director.
Make it make sense.
Like you sound crazy.
And I understand about spreadingthe love, but I do think that

(23:59):
somebody like a Dennis DeLureWho made Dune and I love Dune,
and I also think he was therecipient of making this type of
film where the technology wasthere, but the earthworm scenes,
him riding the thing, all ofthat is freaking spectacular,
like you can't throw specialeffects in there and expect it

(24:21):
to, so there's an ignorance,just like there's an ignorance
with horror films that needs tobe.
Overcome.
You know what I mean?
So I do think that and I do wantto say one more thing about this
whole Demi Moore thing.
For us movie buffs.
Remember Demi Moore made a moviecalled striptease, right?
She was at the time she madethis movie the highest paid

(24:43):
actress She made I want to say10 million dollars something
like maybe 20 million dollars inbetween those two and she was
Lamented for that.
She did not get the support Itwas considered she was running
for the money right because shetook her clothes off in a movie.
It was considered cheap, right?

(25:04):
And then fast forward, she's now62 years old and a 25 year old
is getting an award for playinga stripper.
And I don't have a problem withsex workers or anything like
that.
But I do think the hypocrisy,something that other woman did
was considered cheap.
And now you have a youngerversion of herself playing

(25:27):
someone like that, and she'sconsidered a dreamer.
We're using all types of niceadjectives.
Unbelievable.
To say that it's earthshattering.
We stay telling on ourselves.
Yeah, I just didn't think thatit was earth shattering.
Let's move on to best actor.
So in that best actor category,I thought it would be Adrian
Brody and it was Adrian.

(25:47):
We had Adrian Brody, TimothyChalamet for a complete unknown,
Colman Domingo for Sing Sing.
By the way, he looked fabulous.
Always Ray fines for conclave.
And then we had Sebastian Standfor The Apprentice.
I felt that Adrian Brody wasgonna win and good for them.
Good for them.
The Brules three and a halfhours, that is a long film.

(26:10):
I just.
Need a potty break if you'regoing to make a movie that long.
That's all I'm asking.
Well, it's also, okay.
Can we also talk about, I thinkAdrian Brody is a good actor.
Never going to say he's not, butit's the same type of role that
he won for the piano, right?
So you're basically rewardinghim for playing similar
characters, right?

(26:31):
And I get it was two differentfilms.
And again, people did not watchSing Sing cause you cannot tell
me what Coleman did.
And I think the issue is onceagain, When we humanize
ourselves as black people, asminorities, underscore bold,
flashing lights.

(26:51):
Then they have a hard time now,if he would have been beaten and
kicked down the steps and allthis other stuff in prison, they
would have been with it.
There is a bias there right now.
I think Timothy is young.
He has time.
I think he's a good actor, butnot for this movie.

(27:12):
Do you know what I mean?
I don't think this movieshowcase what it was trying to
do.
And I don't agree with that.
I think it's showcase.
Yeah, I'm just saying, I thinkit's showcase what we're trying
to do with the question where Imight agree with you is that was
this the best performance forhim?
And I think I do think whatSebastian standard is also more

(27:35):
impressive because he took a manthat is very divisive.
very troublesome that we'restill dealing with now.
And he gave a differentperspective and he could have
went really tacky and cheap andyou have to be careful not to
make a character, but he didn't.

(27:58):
And again, a great example ofsomebody that came to prominence
and fame via superhero movie.
But he has range and I thought,I would have been okay with him
winning.
But again, I just think it's Wevote for what we're comfortable
with and it shows that we're notwatching black films.

(28:18):
Oh, I think that that isabsolutely the case.
Well, Adrian Brody has won andthat's for best actor.
Let's look at best supportingactress.
I thought this was the lock withme.
I thought, okay, this is what Ithought.
I thought everybody, and wetalked about it a little bit,
right?
I think people were fed up withCarla and her antics.

(28:41):
Fed up, they, they weren'tfeeling this movie to begin with
and she gave them the out,right?
I think that movie probablywould have won best picture, but
when she did all of that, theywere like, we weren't feeling
that.
A lot of voters have issues withNetflix and they said, Oh,
there's our excuse.
We don't look bad if we don'tvote for it, but they're like,

(29:03):
we can't punish Zoe for herfoolery.
So the votes went, so you had,so it won for best song and it
won for best supporting actress.
Do you know what I mean?
But I also noticed that Zoe,when she said, I think my past
was very Intentive with herwords because Of you know who,

(29:29):
because really you should havepointed out the lead.
You should, I mean, normally.
But you cannot, you cannot dothat.
It was really interesting in thebeginning, a monologue that,
that Conan said that she washere.
She's like, Oh, she's here.
I was like, Oh, wow.
And made a little, made a littlejokey joke.

(29:51):
I found out for him though,because it's like the elephant
in the room.
She didn't walk the carpet,which I didn't think she would.
And I'm pretty sure that Netflixwas like, don't you dare step on
that carpet.
You done ran your mouth enough.
Nothing you have on is thatamazing that we need to talk
about it on the carpet.
I didn't even know she didpictures.
So she got there, took her seat.
And also, Pay attention wherethey seated her.
That's how you knew she wasn'tgoing to win.

(30:12):
Cause all the other bestactresses were a little closer.
Zoe seat was closer, right?
He was like in the middle.
She wasn't like, they were like,girl, just take your seat.
Cause we know you not winning.
So she's probably look.
I gotta go to the Oscars.
Come on now.
I'm nominated.
Oh yeah.
She was gonna go I knew she wasgonna go, even if she would've
had to fly coach and take 16flights.

(30:33):
I, she would go I gotta go.
So I knew that Zoe would win.
You said Zoe would win.
And then when you look at thecompetition on this.
for me, maybe the outside personwould have been Ariana, yeah.
And you know what?
And Clayton from variety saidthat is about, I say Isabelle's
not winning.
It's about in that movie forthree minutes, that movie is

(30:56):
dominated by the voices of themen.
She got her SAG award, go takethat and put that on a mantle.
But I was like, they weren'tvoting for her.
If anything, I would havethought like you.
If they felt so fed up with thiswhole nonsense, they would have
gone Ariana, but they weren'tvoting for Isabella.
So when we moved to bestsupporting actor, Karen Culkin

(31:16):
won up against Yuri Borisov,Edward Norton, Guy Pearce and
Jeremy Strong.
I thought that Karen was goingto win because if you looked at
every other award, very, verysimilar to what happened with
Zoe Saldana they swept, theyswept the award.
So I didn't think this was asurprise at all.
Kudos to Karen and you got anycomments on that?

(31:40):
No.
It was very underwhelming.
I was like, just give the manhis award and just keep it
pushing.
And so then we moved to bestdirector.
We can already talked about it.
Sean Baker won for Nora and hewon over the brutalists of
Bradley Corbett.
James Mango for a completeunknown.
Jack, I do art or Amelia Perez.

(32:01):
And your girl, Coralie Farragut,is that how you pronounce her
name?
For the Substance.
We're just gonna say, oh girl,for who directed The Substance.
Yeah, there we go.
So he won, we already talkedabout what we felt about Sean
Baker.

(32:21):
So I do want to mention a coupleof categories.
And then the last category Iwant to talk about is costumes,
so we can spend a little timethere.
The one that I was surprised at,so I'm going to watch Flo, is I
was surprised that Flo won.
The Wild Robot was the moviethat moved me this year.

(32:42):
It, and when I say it moved me,it really did.
When I left that theater inToronto, at TIFF, I was filled.
It had the message aboutprogramming people, connection
and growth and all the otherthings that it said just

(33:03):
resonated with me.
I was surprised to flow one.
Any thoughts there?
No.
Okay.
I think flow is a very goodmovie.
It was like between flow and thewild world, but I think the wild
world, but I think there wassomething now you want to talk
about a little independentmovie.
That is flow.
That is flow.
And it just spoke to people.

(33:24):
And also the fact that it wasalso believe nominated for best
picture.
So I do think I was okay withthat.
You know what I mean?
I thought the wild world wasgoing to win, but it wasn't one
of those things where you'relike, eh, Yeah, but you're like,
you know what?
Okay.
Yeah.
Yeah, you're right with that.
You're right It wasn't one ofthose things where I was mad,

(33:44):
but it was one of those thingslike wow, okay I exactly what
you said.
I will be repeating what yousaid.
So absolutely and then The othertwo that I want to mention
before we get into costumedesign, cause we'll end our
Oscar discussion on costumedesign is best original
screenplay and best adaptedscreen.
So for best original screenplay,you had a Nora, the brutalist, a

(34:07):
real pain, September five, andthe substance.
I felt, I think I said this inour last podcast.
I felt that Anora would probablywin this.
Is that, that they were, they,even if it didn't win best
picture, I thought they wouldsplit the baby and give it to a
Nora for best originalscreenplay.

(34:28):
They just didn't split the baby.
They just said the baby getsmilk.
gets the baby, gets everything.
The baby needs the pacifier,gets the pacifier, gets the
milk, and gets the crib.
Any thoughts on Best original.
No, I would have liked Ben.
No, no, it just, it is, and thenthe last one that I want to talk

(34:51):
about before we get to costumeis Best Adapted Screenplay.
And that was won by Conclave.
And I'm happy, however, I wasrooting for Nickel Boys or Sing
Sing for this one.
I was hoping they would actuallysplit the baby.
They did because they gave it toconclave.

(35:13):
I just thought that the pedestalthat everybody was putting
Romell on as we related tonickel boys, that he should have
won something.
And I was really hoping thatthey're very similar.
I was just hoping that he, thathe might win that.

(35:35):
And then sing, sing, of course,I, it would have been really
cool to see Clarence Macklin.
Winning an Oscar.
I like there as well.
I got to talk to him a couple oftimes on the red carpet and
interview him.
I like Greg.
What was such a lovely soul,man, Clarence Macklin winning a

(35:56):
Oscar would have just, it justwould have warmed my heart.
Absolutely.
I didn't think they were goingto win because I don't think
they watched the movie.
Do you know what I mean?
And I would have loved forNickel Boys to win, but I'm glad
Conclave did win becauseConclave was a good movie.
It was, it really was.
And it was able to keep thesecret.

(36:19):
You know what I mean?
Absolutely.
And it did well.
And also we got a, we talk aboutset design and things like that.
They recreated the Vatican.
Like that, it wasn't like theypopped a tent and threw a CGI
screen and inserted all that.
They recreated the Vatican.
So to me, it's like in a, thatis, talk about a dialogue driven

(36:44):
film, right?
It does not work if you don'thave great dialogue, you got to
have the Vatican and all thegowns and everything.
And we were sitting to our edgeof our seats.
And there is a person that hasseen that film, that I know,
that loves good dialogue, thatisn't at the end going like,

(37:05):
What?
I love stuff like that where youhave twists and turns.
When I tell you, when I wassitting there in that theater at
TIFF, The way the whole likepeople, you know how people
can't shut up or can't get offtheir phones or whatever for
that one.
People were locked in and it isjust, it's one of my favorite
films and it's a film that Ihave seen more than once.

(37:27):
And I can honestly tell you forme, it can come on cable or
whatever the thing is withstreaming and I will absolutely
sit there and watch it again.
I'm in total agreement with thatbecause actually you missed some
stuff with the dialogue there.
There's so many, I guess whatyou would call Easter eggs in
the dialogue that the secondtime I saw it, I was, Oh, I

(37:51):
missed that.
I did.
Oh, they were referring to thisjust very, very smart, a very,
very smart piece of dialogue.
And it's also a good discussion,like the discussion in there is
so current, but I do think, Ithink, it's one of my favorite
films.
I, as I said, Conclave as I'vedubbed as fans of Conclave,

(38:12):
Conclave Hive.
I think we talked about this,but the other dialogue film that
I liked a lot this year was.
Heretic.
I really doesn't acknowledgehorror.
Horrible.
Say that again.
They don't acknowledge horror.
Heretic was really good.
And I thought if we lived in areal just world, Hugh Grant

(38:36):
would have been nominatedbecause he was phenomenal in
that.
If he wouldn't have done what hedid, like he made it scarier he
really did, but he didn't justmake it scarier because he was
scary.
He also made it scary becausethe dialogue, the dialogue was
the kind of dialogue that we askourselves about religion.

(38:57):
And then we brush away sometime.
We question ourselves, why arewe doing this?
And do we really believe this?
And will we go to the ends ofthe earth for this?
And that dialogue brought allthe questions that either you
have asked yourself individuallyor somebody has asked you
challenging, why are you abeliever?

(39:18):
And it was brilliant to me.
It was really, it's really good.
But again, type of movie we'regoing to look at again, we're
going to know the twists andturns.
It's crazy.
We're going to sit there andcover our eyes.
We're going to be like, Oh myGod, girl, don't do it.
Don't you knock on that door,right?
And because it is, it takes youthere and because you like you

(39:41):
said, it says Easter eggs andyou're trying to understand like
when should the girls reallyleft other than not knocking the
door or when he said, when did,when should they have realized
that he's, that ain't the houseto be.
There's no pie.
There's no pie.
But talking about brilliance,moving on to our last category.

(40:01):
is best costume.
I'm a let's I'm give you thefloor for this one because you
go to Broadway plays.
You watch all of the movies andthe live things that the Paul
Taswell has done.
This is something that you, Ipaid attention to it too, but I
know for a fact Kathia Woodspaid attention to this.

(40:23):
Listen, we need to do a betterjob as media covering the below
the line talent, and I even hatethat whole terminology below the
line, meaning cinematography,set design, costuming, hair and
makeup, because without it, youdon't have a movie, right?
Especially these types ofmovies.
Like we leaned in because hair,makeup, costuming, in this
particular case, the costumingwas beautiful, right?

(40:47):
And this man has been doing thegood Lord's work for a very,
very long time.
Like he is not the guy that,that has been out here.
He color purple, Hamilton,Memphis, those are Broadway
show.
Ain't too proud to beg.
He gave us those costumes, and Iam happy that he won.

(41:10):
Let's also dissect the fact.
The Academy has been around foralmost 100 years.
There have been two blackcostume designers that won.
Ruth Carter won twice for BlackPanther and Wakanda Forever, and
now Paul Taswell.
A hundred years, beloved, ahundred years, which goes to
show you the bigger problem isthat there are not enough black

(41:32):
costume designers in the guild.
We talk about this all the time.
People say, why isn't there morehair and makeup people?
Because they make it next toimpossible and very expensive
for you to get into the guild.
But Paul Tazewell said somethingelse that I thought it was
important.
He said, I tried to be forothers.

(41:54):
What I didn't have coming up,right?
And when I, when you look at theshows that I listed right now,
what are those shows?
They are predominantly blackshows.
It was black creatives thatsaid, we're going to hire this
black man or black and Browncreators.
Cause Lin Manuel is withHamilton and he also did in the

(42:14):
Heights.
I'm going to get the black guyto do it.
Because he is amazing and hehappens to be black.
So I think when he said that, Ithink that went over some
people's head.
I was also covering the Oscar,so I was in the press room.
But when he said, I try to befor others what I didn't have
coming up.
And that's the same thing RuthCarter is.

(42:36):
It's so important to see someonedoing something.
So you can believe that you cando it too.
And it's important to see thisbeautiful, elegant, elegant
black man up there, tailored tothe tease with his statue.
And it doesn't mean that heneeded the statue to validate
his work cause you don't, butthe kids watching the clips and

(43:00):
the tick tocks or whatever youask you have there of Glinda in
her gown and also Bob in thatCape and everything.
That came from a black creativespace and it's and I love that
he said that and I pray.
That it opens up moreopportunities for more black and
brown people to be in that spacebecause him when I tell you

(43:21):
walked into the room, the roomwas like, yeah, we were all
like, yeah, and I hope you feltthe love that is absolutely
beautiful.
I have to mention.
That if you don't know about hiswork, I'm going to do it here.
I'm just going to say a fewother things that he's worked
on.
The first that I took notice wasLackawanna blues.

(43:43):
I Lackawanna blues.
If you think about.
The costuming and the beauty inthat film, it is stunning.
But then you get to the whizlive, you get Jesus Christ
superstar live.
Now, when we talk about JesusChrist superstar, and that was

(44:04):
one of those first plays onBroadway that everybody was
talking about, that it isquintessential.
It is the coup de gras, if youwill.
It is the one.
And he did for that.
He did Harriet.
He did Hamilton.
This guy, he did West SideStory.
When you think about his body ofwork, you're like, this guy is

(44:28):
amazing.
And you were mentioning thatonly two black folks have won.
Three have actually beennominated.
You had Ruth Carter beingnominated three times.
really happy that Ruth E.
Carter, excuse me, was nominatedfor Malcolm X as well.
She was nominated for Malcolm Xin Amistad in the set in 1992

(44:53):
and 1997.
So for four times she's beennominated, but then Sharon Davis
was nominated for Ray and fordream girls.
And then now Paul Tazwell is,has won.
As a African American man.
So just thought I'd mentionthat.
Hundred years, almost you hadthree.

(45:13):
Three, three and two, one,right?
And again, like we gotta, I'mhappy.
I'm, but also don't give you,you get no points for me because
you gave, it took you almost ahundred years to give.
Acknowledgement to somebody.
Cause we as black people beforewe get any type of Tink Tink

(45:34):
award, we, our resume gotta belike 800 credits.
And Paul Tazewell has touchedevery part of entertainment from
TV to stage.
That's why I want, that's why Iwant to mention that just to
know that this wasn't a DEIhire.
So again, it's more than like Itell people, like I saw the

(45:56):
display of the costumes atCinemaCon last year.
If you really, if you have anopportunity to ever see these
costumes up close, and I hopethat when this run is done, they
take them to the Smithsonian orFashion Institute or the
Metropolitan Museum and put thembehind the glass.
The exquisite, exquisite detail.

(46:19):
This is not something throwntogether because the man, like
you can tell the thought, andeven in an Elsa boss costuming,
because she's wearing black andsometimes you don't see it in
the movie.
There are details into hercorset that are within that, to
show the differentiation betweenthe two characters.

(46:41):
And I think, it's just, again,this beautiful and again,
elegant, elegant black man outthere.
No doubt about it.
That's it for our Oscar talk.
We actually went a little longon our Oscar talk, but we won't
have to talk about award season.
We'll probably mention it causewe'll probably mention it but so

(47:02):
we're going to move into ourlast.
category, which is rent andrave.
I don't know what you had forrent and raise.
So I'm going to, I'm going tokick off our rent and raise
segment.
And in the rent and raisesegment for me, it's all about
food.
I talk about my daughter, Bobbia lot.
Not that I don't talk about mydaughter, Carri but I get to see

(47:25):
my, my, my daughter, Bobbi on aregular basis.
And that means that she isalways in my business.
Always in my business and Lentis a began and for Lent she
comes into my office and shesays to me, Dad, what you're
going to give up for Lent?
Nothing.

(47:45):
I'm not giving up anything.
You got to give up something,you know, you need none.
And she goes through this wholething and I'm giving up some
things for Lent.
So I'm giving up juice.
Pop.
We call it pop.
Y'all call it soda.
I don't even understand you Eastcoast people, but anyway, it's
pop here in Chicago.

(48:07):
So I'm giving up juice and pop,meaning that basically all I can
drink is water.
So that's going to be very, veryinteresting.
It's been two, three days andI'm already fiending for
something else other than water.
I'm giving up candy.
I am a candy person.
If you know me, if I'm going toa movie, I'm sneaking candy in,
I'm walking candy in, I'm eatingcandy, and I'm giving up dairy.

(48:30):
Now, I'm vegan ish, so I'm notdoing a lot of dairy, but I like
cheese, so I was not giving upmy cheese.
So I've given up all of thosethings for Lent, and I am just
not a happy camper.
Since it's all about food andyou used to be a Philadelphia
person and I'm giving up cheese.
My question to you is this, whenyou came to Chicago, I took you

(48:54):
to the Chicago spots.
This is the best place to getthis.
This is the best place to getthat, whatever.
I'm not going to have it forLent.
But what's the best place to geta Philly cheesesteak?
I just need to know.
Come on, Tati.
First of all, I need us to avoidthe tourist traps of Genos and
Pats.
That's for them other people.

(49:15):
Beloved.
I like Max's, which is on broadand eerie, you saw it in the
movie Creed, I think at Max'sfor a chicken steak.
I also don't mind Della Sandra'sDella Sandra's is on the other
side of Matt neon Coe Rocksboro,which is not the bougie side,
but it's still good.

(49:35):
I think for a chicken steak,Ishka Bibbles on South street,
you can't miss it.
Like you get that and you getthe boardwalk fries.
I'm also old school.
I do not like cheese whiz on mycheese steak.
I like American cheese.
I like fried onions and ketchup.

(49:56):
I know I'm not necessarily a bigperson on mayonnaise, but you
know what?
And Jim's steak is back.
So if you do for a late night,Jim's steak will hit, you're out
late and you had a couple ofdrinks.
You need to soak up your stomachand hit up Jim's steak plenty of
time.
But, even when Eve said that,Eve was like, for chicken steak

(50:18):
ish kabobbles.
And as soon as she said that,immediately saw, and I'm not
talking the little sit downjoint that they have, I'm
talking about the little Thatyou have to slide in behind the
counter, you have to eat at thecounter because they got the
stools and then the window onSouth Street that is chef's
kiss, the other thing too isprobably just like in Chicago,

(50:40):
do not get in line and not knowwhat you're going to why you're
in line, look over the menu, getyour order together.
Don't be over there being like,Ooh, what, when and why?
Because you will get yelled at.
People are like, We don't gottime.
It's like when you go toLorenzo's for a slice, number
one, they don't take a card.
They only take cash, which iscrazy in 20.
The slice is like this big.

(51:01):
Those of you that know on Southstreet, right?
The line goes out the door, theydon't let you in late night, and
it's like one, two people can bein that little space, you gotta
order.
While you in that line, decidewhat you want on the freakin
slice.
Don't be up there and be like,ooh, what do you have, cause
people on the outside don't belike, sir, you've been in line
for 40 minutes, cause you knowhow Philadelphia is.

(51:23):
But I do.
Yes.
And so I, so here's my, you gavea lot there, but I only can go
to one place.
I only can go to one place.
I want a chili cheese.
I mean, I'm Philly cheese.
And if we were in Philadelphiatogether, I'd be like, let's go,
let's go support the blackpeople over there at Max's and

(51:43):
get our order.
And you also got to get some hotpeppers.
If you like a little cake, getthe peppers and put that in
there.
Or you can fight in it.
And it just is, yeah it's not,and that's something you should
have every day, but it, once ina while you got to live a little
dangerously and treat yourself.
Now there are some places forthose of you, I don't live that

(52:05):
life.
I like me bless you.
If you're vegan, veganassociated, vegetarian, if you
know a place, that's where Igotta go.
I have to go these days.
There is, there are spots thatdo a salmon cheesesteak.
I can ask around.
That is not my ministry.
Love that for y'all, but we'regonna leave it at that.

(52:27):
We're gonna leave it at that.
So that was my that's that wasmy rant and rave.
It was all about food.
I have to give up something.
But I can't wait to get back tosomething.
I don't know what your rant andrave is about today.
So what do you got?
What you got?
We're in this crazy space ofjournalism.
I don't know if y'all saw it,but Vanity Fair does a regular

(52:49):
Oscar party.
We love it.
And there were two ladies thatwere on a, that are on a show.
With whatchamacallit on Bravocalled Summer House.
It's a reality show.
Your young girls will probablyknow what it is.
We a little bit too old to be.
And everybody and their mamathat is not on that doesn't go

(53:13):
to the main award show.
There's several parties.
There's the Elton John party.
There's several parties aroundtown.
The Carters do their gold party,which is like the last party of
the night.
And there are gazillion events,right?
And so Vanity Fair throws one ofthe biggest ones.
It's a lot of press and Meg theStallion went to that one,
right?
And Meg looks.

(53:34):
Beautiful.
And people had things to say,but Hannah.
So Vanity Fair hired HannahBurner and her, they, they have
a podcast called giggles, right?
That came out of, and I get it.
Hannah is a comedian.
She made her and page toseveral, her own page were their

(53:55):
red carpet host.
But they meet Megan and they sayto her, and I quote I stare my
day with you and only you know,your music has literally, when I
want to fight someone, I listento your music.
That's what they said to Meg,because you want to throw that
fighting ish out the window andyou want to get cute and be a

(54:18):
bad.
When people are talking ish, Igo turn on Meg Thee Stallion,
burner at it.
Now, mind you, not only did shesay that, but Meg said, no, she
turned it around.
She said, I don't really makemusic like that.
I do make more like turnoutmusic.
But the other thing is, soyou're asking her these

(54:39):
questions and they're not givingher an opportunity to answer.
It's like the moment.
Was all about them and Megbecame the co star in their
shtick.
It would be different if she wasin on the shtick, but she
wasn't.
And it just created a veryawkward, micro aggressive, and

(55:00):
dare I say, in a little bit aracist moment, even though it's
not intentional, because we knowthat aggression and black women
are two words that always getthrown around.
Now, here's me.
Number one is you blame VanityFair because you hired this crap
show.
You know that these two girlsare not trained also the

(55:22):
producer, because you're notgoing to let these two girls
just roam free.
The producer standing thereshould have been like, no, like
somebody should have hit up asign and be like, course,
correct something or whisperedsomething in their ear and be
like, you need to wrap this upbecause this is looking back.
And then number three is thereis this need for companies like

(55:45):
vanity fair.
And I get it.
Cause right now journalism isthe hunger game to hire these
influencers with it.
Any type of training.
But even if there was trainingand this is what happened,
that's really bad, right?
But this idea, because they havea following and they're trying
to get a younger crowd, thatthat crowd is going to watch

(56:05):
these two girls on the carpet.
And because they see them doingsomething with Vanity Fair.
Therefore, that crowd, which isGen Z ers, is going to stay and
start supporting and readingVanity Fair.
And we know that it doesn't worklike that.
Our kids are not, you and I bothhave kids in their 20s.
They're not sitting around thehouse saying, I need to know
what's going on over there atVanity Fair.

(56:27):
No, they watched the trainwreck.
They're not even watching thislive.
There's just worse.
They're watching it on theYouTube channel and they're fast
forwarding.
They're wanting to see thecontroversy.
They're watching the tick tocksand then they're going back to
their lives.
So there's no rhyme or reasonwhy those two on the carpet and
now the whole conversation isnot about how great the party
is, how great everybody looks.

(56:49):
The conversation is about whathappened.
And to me, it's such an affrontbecause we have so many amazing
entertainment journalists thatare freelancers that lost their
jobs that would have killed forthis opportunity and really done
something with it.
And also they probably couldhave gotten them.

(57:10):
This is the sad part for lessmoney because these two weren't
going to do it for a hope and aprayer.
fee, which is what they give us.
And it goes to the biggerquestion.
Just because somebody has afollowing doesn't mean they
should do a job.
And I keep saying this and youand I both have work carpets.
I'm doing one today, tonight.

(57:32):
for the Housewives of Atlanta.
Pray for me at this.
Everybody like social media andYouTube and tick tock or
whatever the freaking thing isof the moment.
They think that being on thecarpet is just looking cute and
just being there like tonight.
I have to be there by 5 45.

(57:53):
Talent allegedly is not cominguntil 6 30.
We know it's probably going tobe closer to seven, right?
So you're going to be out thereand.
You got to look great.
You got to be prepared.
This is a job.
Yes, we get to have fun.
We get to do some amazing.
It is some fun, but to yourpoint, you also don't know who's

(58:15):
going to be on the carpet.
You think, you know, the mainfolks are going to be on the
conference.
I was just on the carpet and I'mlike, who is that person?
And the publicist didn't come upto me and tell me who they were.
So now I'm fumbling.
Right.
You have to be on your P's andQ's.
How do you get that person inwithout saying, I don't know who

(58:38):
you are.
Oh I didn't have questions foryou or whatever it is because I
didn't know you were going to beon the red carpet.
I mean, it's also, like I saidit's learning, know how to
pivot.
I'm like, if nothing else gowith the.
Every day.
Hey, Meg, you look beautiful.
Can you, your dress is very,your dress is a fashion

(58:58):
statement.
Who made your dress?
Cause her dress was verydifferent, right?
She could talk about thecollaboration between her and a
designer.
I want to fight, but I was like,everybody knows, even if you
don't listen to.
Makes music her whole brand ishot girl hot girl.
We're gonna be hot girl back hotgirls when she was getting her a

(59:19):
degree from southern she goes,you know We're gonna be hot girl
students because we're gettingour education everything about
meg is empowering and then it'salso is be conscious of the fact
that She was shot.
She had to go through this wholesituation with Tory Lanez.
The last thing that woman isadvocating for is violence.
When she had violence done uponherself.
It's like read the room.

(59:44):
And then also I'm like, I said,somebody else, she went on tour.
Gorilla opened up for her andGorilla right now is really,
really hot.
As far as female rappers.
They have songs together onGlorilla's album.
It's like, Hey, talk a littlebit about that.
Again, this is where you'repulling in your demographic, Gen
Zers, right?
And nothing else.

(01:00:04):
It's, we're celebrating movies.
Talk about, Hey Meg, it's beensuch a great, amazing year.
for women and movies like we'reseeing women like Demi Moore
getting their flowers.
You see somebody like MickeyMadison.
Is there a particularperformance that spoke to you
this year?
Now it may be a little boring.
It may be a little humdrum, butyou know what?

(01:00:24):
It opens the door for aconversation and she may mention
a movie to you that is not inthe purview and now you have a
really good conversation.
But these things I tell peopleall the time.
Experience teaches you how topivot.
The more you do it preparationand taking the assignment
seriously and not being.

(01:00:46):
And most importantly, I say thisall the time.
And again, nobody is checkingfor you.
Boo us the interviewers.
You know how we elevate ourbrand by doing a good job by
making it a positive experiencefor the talent.
Because then what happens iswhen you're back out on the
carpet and talent sees you.
They're gonna come over and walkover to you and talk to you

(01:01:08):
because they're like, you knowwhat?
The last time I spoke to so andso I remember, I know people
that remember me from myhairstyle remember me from
something that I wore, or justthe fact that I was actually
asking them about them.
There's something when it comesto certain influencers that
think that they're supposed tobe part of the STAR package, no.

(01:01:31):
Your job is to illuminate thetalent.
And you can still illuminateyour brand.
You're in the shop, beloved, butyou have to understand is you're
here to me and be respectful.
No doubt.
That was absolutely a rant and arave.
Thank you so much because Iwasn't part of that.
I'll ask you real quick becausewe're a little over, but did you

(01:01:54):
hit any parties yourself?
I did.
And listen, I feel like I wentthrough enough.
I went, you and I was at AFCAawards.
I was at CCA awards.
I was at I went to HollywoodAlliance with my friend, Felipe,
I went to a lot of FYC.
I went to the Suits LA partypremiere.
I mean, I have done my share ofparties this year.

(01:02:16):
Your girl was outside, right?
And I think the nice thing, it'salways, first of all, it's nice
to see you in person outside ofthe box.
It's nice to see our friends.
Also was it the celebration ofblack cinema at Latin cinema?
So I have been outside thisaward season and like I said,
it's always nice to see people.
It's always nice to connect withtalent and just to enjoy what

(01:02:40):
we, I always say, what we get todo is in spite of all the
headaches and up and down, I'mextremely grateful that we get
to do something that we love.
And oftentimes the benefit, thecherry on top, we get to do it
with people we like, like I getto do this with you and we get,
we built this friendship andcamaraderie because of this
work.

(01:03:01):
And so there is so much positivethat comes out of this and we're
all tired and Oscar night isalways long, sir.
I'm so glad they moved it up tostart at seven so we can be in
bed by midnight.
But I do think that I try toalways remember that, it could
be worse.
We get to talk about movies andwe get to see movies for free in

(01:03:24):
a time when movies are expensiveto go to for a lot of people.
So I try to lean on the side ofbeing grateful and appreciative
and say, we got to see somereally amazing work and looking
forward to 2025 bringing us somemore.
Well, I am appreciative of you.
Thank you so much.
This is the Real Critic Network.

(01:03:45):
That is Kathia Woods.
Kathia where can they find you?
You can find me everywhere at KA T H I A underscore Woods.
It's all across social media.
You can read my work atcupofsoulshow.
com.
You can read it at thePhiladelphia Tribune and the
Sacramento Observer.

(01:04:06):
Hey, hey, hey.
Well, you can check me out atNDIG.Com Vocalo.
org The Garfield Lawndale voicehere in Chicago and a couple
other places.
Uh with that, this is twocritics Two opinions and we had
those opinions but one mission.

(01:04:27):
That's where dialogue engageseducates and entertains and it
Occasionally escalates withthat.
We will see you guys next time