Brother (REVIEW): Masculinity Done Right | Ep286 - Black on Black Cinema - Black Movie Reviews

Episode Transcript
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Speaker 1 (00:00):
I have no idea and Mona hear lesson about the village.
Right now, go find the last down before me change.

Speaker 2 (00:17):
Let's rapportas on it.

Speaker 1 (00:19):
You know.

Speaker 3 (00:20):
Hello and welcome to a brand new episode of Black
and Black Cinema. I'm your host, Jay, I'm here with
my co host Michael.

Speaker 1 (00:26):
Hey a Tiara.

Speaker 3 (00:28):
Hey, All right, guys, we are back. This is episode
two eighty six. Brother. This is the twenty twenty two
Canadian drama film. This is an adaptation of David uh
Chernandi's award winning novel of the same name. The film
centers around the relationship between Francis and Michael, two black

(00:49):
Canadian brothers growing up in Scarborough District of Toronto in
the early nineteen nineties. I had not seen this. I
don't think any of us had seen this before. This
is starring Aaron Pierre, Lamar Johnson and Marcia, Stephanie Blake
and Keana Madeira. I'll go first look. I thought this

(01:10):
was very good. I at first I was like, wait,
how old is Aaron Pierre? Because he like what the
ages are fucking me up? Because I've only seen him
in Rebel Ridge, which he feels like a full ass
adult obviously, and in this movie, it's like, I'm sorry,
is he supposed to be a high schooler? Like, all right,

(01:31):
it's a little weird. I think it's the mustache that
makes him with or without, makes him look wildly different
in age. But yeah, I thought this was very good.
I thought the two principal actors, Aaron Pierre and Lamar Johnson,
we're both very good. It's a very indie movie. Mia,
you can speak to that later. I know you have
your opinions on that, but I liked it. I thought it.

(01:53):
I thought it was good. I thought the performance by
everybody all around was pretty good. It's a sad movie
a lot of ways, but it's like the the sort
of the anecdote to the whole like red pill movement
that I think kind of needs to be pointed out
for a lot of people. Here's these like especially the
older brother. Aaron Pierre's character is this big, strong guy

(02:15):
who is actually very nice to people and like behaves
in a way that I think stereotypes would normally not
allow him to play so and it shows a little
bit of his range as an actor. I mean, he's
still very stoic in this, but I did enjoy his performance.
So yeah, I like the movie overall, Michael, here I go.

Speaker 1 (02:38):
It's it's fine. You know, if you want a balanced
movie diet, you know, you gotta you should watch you know,
these types of movies. But I've seen a lot of
these types of movies, and this movie has the unfortunate

(03:00):
distinction of not standing out from a lot of indie
black dramas, right like this is it seems to follow
all the tropes and it is. It's good. Some of

(03:22):
the performances are, you know, really good. I think Aaron
Pierre's performance is really good, and I think Lamar Johnson's
performance is really good. Like I don't necessarily have anything negative,
too negative, other than like this is exactly what I
thought it was going to be.

Speaker 3 (03:41):
Yeah, And.

Speaker 1 (03:44):
I'm trying not to hold it against the movie. It's
not the movie's fault, right that it is. You know
that you get exactly what you think you're going to get, right,
But it doesn't bring anything new to the table. And
by that I mean it doesn't bring any different types

(04:06):
of filmmaking techniques. The story is not you know, anything
to write home about. It is. It is a story
that I agree with you These here's here's you got.

(04:29):
You got these two black men. One of them is,
you know, the the prototype for what a masculine man
is supposed to be, and he plays against that, right,
which is good, right, like there are there are, we
come in all forms. But yeah, it just it just

(04:51):
kind of is. It just kind of is, and it's
it's it's slow, I think, deliberately slow, but slow nonetheless,
and it's fine. It's not the best of these types
of movies that I've seen. But you know, if you

(05:12):
wanna if you want to have a sad you know,
go ahead and go ahead. And if you want to
see what you know this green Lantern can do before
he gets into uh into if you've only seen Aaron
Pierre and Rebel Ridge and you want to see him
do something somewhat different, then yeah, check it out. But

(05:37):
you know it's all right.

Speaker 4 (05:40):
Yeah, I thought it was really sad. I think like,
if if the story doesn't bring anything new, I think
that's more of the the author, the original author suh
who you know, didn't really tell an original that much

(06:02):
of an original story. What I did like, though, was
how nonlinear the movie was, so like going to the
past and and then present day because it forces you
to pay attention to the movie.

Speaker 5 (06:17):
Like I think there was one part where.

Speaker 4 (06:20):
I was like, Uh, it was what's her name's father
who I think had died of like cancer or something,
and I missed like one scene, and I was like,
and I think that we were back in the past.
I was like, Oh, he's he is alive. And then
I realized because I missed missed the part, so you
do have to really pay attention to it. So I
did like to use like a non linear way of storytelling.

(06:44):
I I felt like, Lamar Johnson, not Jackson.

Speaker 5 (06:50):
I want to come Lamar Jackson so bad.

Speaker 4 (06:53):
I I felt so empathetic towards him because it's character
was so sweet and yet lived in the shadow of
his brother, of his much taller doesn't look anything like
him brother, light skinned brother, which I was like, are

(07:14):
we sure they have the same father, But I guess
they do. And the thing that that also surprised me
was like the I did have some questions about one
of the themes in there of being queer, because it's it's
in the film, it's not super like in your face
were explicit, but considering that these are the children of

(07:39):
Caribbean immigrants, Jamaican immigrants at that I was a little
surprised we didn't see anything.

Speaker 3 (07:50):
Response what.

Speaker 4 (07:53):
Yeah, I would because because I was I was like, huh,
I was like, does so do people know or are
and there?

Speaker 5 (08:00):
And everyone's okay, I don't think they knew.

Speaker 1 (08:03):
Yeah, I don't think they knew. I don't think they knew.

Speaker 5 (08:06):
It was so obvious, like like to the point where.

Speaker 3 (08:10):
Was obvious to you before that was revealed. It was curious.

Speaker 5 (08:16):
It became obvious to me.

Speaker 4 (08:22):
The the first scene where they're all partying and the
cops come, oh interesting, So because like because because I
was saying like, I don't know, it was it was
the like all over the shoulder. It was sort of
like like these these little nuances in their body language,

(08:42):
and ME go like, huh, okay, I can I guess
I can see why he would stay here for the music,
not just for the music apparently, but also but also
Michael noticed too, and it's just they just don't They
don't say anything directly about it, which I thought was interesting.
But at but yet in one of the in the

(09:03):
scene that I'm referring to, the way that Francis reacts,
I was like, how does no one does no one
else find this a little strange that he's reacting this
way with cops in the room, And okay, sure, but
even but even then, when when you're when when we're
in two thousand and one, you know, ten years later,

(09:25):
it's still not really explicitly said, because again, like you
have parents of queer children who will not admit their
children of career even after their kids passed, because it's
it's just something that that they don't want want to confront.

Speaker 5 (09:40):
So I thought that was I thought that was really interesting.

Speaker 4 (09:45):
Also, just the the concept of fatherhood and or lack
of a lack of lack of having a father and
single motherhood is a strong, strong theme in this movie.
And actually, and sitting here in your guys' perspective, probably
particularly yours, Micah, since you are the father of two boys,

(10:08):
if you think that this story turns out any differently,
or their story turned out any differently, if they do
have if if their father is somewhat involved in their lives, and.

Speaker 1 (10:22):
Then different that are not necessarily.

Speaker 3 (10:27):
Different, do not recommend it for a character.

Speaker 4 (10:39):
And then the concept of like of choices, and it's
like where do you where does nature versus nurture kicking
and the influence of your environment and and how it
wraps up in your identity, particularly your your blackness. Again
another subtle theme with the with the whole robbery thing
and young France's reaction to that and kind of how
he says why why his little brother is scared with us?

(11:01):
That was interesting, but also how he ends up embodying
a lot of the a lot of those stereotypical qualities
later on in life, even though he seems like this
gentle giant Francis had a lot of issues man, and
and the way that it wrapped up. I was like,
I get it, Like I I don't think it's right,
but considering what you look like, where you are and

(11:22):
who you're interacting with, you gotta.

Speaker 5 (11:26):
You can't act act in that way.

Speaker 3 (11:31):
That's a that's an interesting point.

Speaker 4 (11:34):
So yeah, I mean, overall I did. I did enjoy it.
It's it's very sad because it's because it's it is predictable.
But it's predictable not just because of uh, you know,
because this is someone someone broke the sail and everything
like that.

Speaker 5 (11:50):
It's it's predictable because we've we've.

Speaker 4 (11:52):
Seen it we've we probably know people who grew up
feeling they had to compensate for the identities and end
up getting wrapped up in some nonsense and then you know,
tragedy happens. It's it happens, happens, all happens all the
time unfortunately.

Speaker 3 (12:10):
So yeah, it's interesting because the movie what I found
before we kind of go into a scene by scene here,
Like the thing that I found the most from like
as I'm watching is like I had complete existential dread
throughout the entire movie because I know that Aaron Pierre's
character dies, Like that's obvious in the right there, there's

(12:33):
right they tell you early, but it's you know, it's
not a spoiler if you watch the trailer, and it's
sort of like what effect does he have on his brother,
you know, after his death and throughout his life. It's
the whole point of the movie. And I'm just thinking, Okay,
what is going to be his undoing? Right? And there
are so many like is it going to be this,

(12:56):
this factor We're gonna introduce this these here are these
guys you know, I don't know, selling drugs or beating
up people or whatever, Like is it gonna be that Oh,
here's a guy at the bus stop threatening his brother.
It's gonna be that. Uh he gets it too. This
fight with this bouncer, is it gonna be.

Speaker 5 (13:10):
That haves a blade.

Speaker 3 (13:14):
That was kind of intimidating moment. I was like, that's
I was crazy. It really flies in the face of light. Nah,
these gay dudes are weak. I'm like, I don't know, man,
I wouldn't grab a knife and I'm as straight as
the fucking arrow. Get the hell out of here, like
I grabbed it.

Speaker 1 (13:28):
Like he called him a sodomite and then tried to
threaten him with a knife, And it was just like.

Speaker 5 (13:36):
Oh, you know what.

Speaker 4 (13:38):
Before for I think the theme of like being in
like the theme would be insecure again did not come
from the place where I thought it would come from,
because again the LGBTQ factor in here, the queer fact.
I was like, oh, I thought that. I thought it
would have been like this, But no, okay, this is
very progressive for nineteen ninety one, which my other, my

(14:00):
other little this maybe nitpicky, but I was so confused
with the styling.

Speaker 5 (14:04):
I was like, I was like, what year is this?

Speaker 4 (14:06):
Is this supposed to nineteen ninety one because that person's
hairstyle does not stream nineteen ninety nine one to me.
So but I was like, I don't know, maybe it's
Canada one. I don't really do with Toronto.

Speaker 3 (14:16):
Yeah, I feel like, yeah, there's probably there's probably a
Canadian aspect to that. You're like, they're like nine minutes
behind us type of shit. But then also like the
early nineties still had a lot of residual eighties shit
in it, right, like it yeah, only come out like
when we think of the nineties in style, we generally
think like ninety six, right, like the style has well

(14:37):
been distance from the eighties, but like nineteen ninety like
nigga still have like perms and shit, like.

Speaker 4 (14:44):
The first season of Martin, and it didn't look like
any of that. It looked like people in twenty twenty
one djusting up for what they thought people in nineteen
ninety one looked like. But I was like, I was like,
you look a little you do the little two put together.

Speaker 3 (15:03):
For yeah, they're too polished, right right, Yeah, but it
is it is interesting, like the whole thing, and we'll
talk about it, the whole thing of like, oh, you know,
he's scared, like the younger brother is scared. He like
the older brother keeps pointing out how Francis keeps pointing
out how he's scared. It's like he wasn't scared of
those things, like you were those things, right, And it's

(15:24):
just that that sort of masking that he does throughout
the movie where he is actually scared of certain things,
but he has this I don't want to say toxic
masculinity because that's not really what it is, but it
is this cloak of masculinity that is kind of dumped
on young men to say, you have to act this way.
And he tries to teach his brother the same things

(15:46):
which he ended up kind of doing, and his brother
is slowly kind of coming to terms with what those are.
But it Francis is a fascinating character because, yeah, he
is by all accounts, like, you know, down the ballot
look of a person who you'd be like, that's a
manly man right there, type of shit. But he pushes

(16:08):
against all of that. His personality and everything pushes against
all the stereotypes, which makes him interesting. Yeah, yeah, I
thought he was a rather interesting character. All right, let's
let's get into the movie. So it starts out this
is the like Chiara said, this is the early nineteen nineties,
and and we've got Francis and Michael who are Jamaican.

(16:35):
They're they're Jamaican immigrants in Toronto, right, So it explains
their sort of interesting accents at first, because I have
to watch this movie using a VPN because they don't
have it on the Netflix here. When I turned on,
I turned on my VPN and I started playing this
on Netflix. I thought that the audio track was someone

(16:59):
doing avoistover for Airba. I was like, what the fuck
is this? And I was like, oh right, they're supposed
to be Jamaican. Every I like, I was like, like
what why are the Spanish subtitles or like why is
the Spanish language on? But I was completely confused at first.
So it's definitely he does not sound like his normal self,

(17:20):
but they are for some reason. They have a desire
to climb power lines, which on a scale of things
from one to ten that I will never do, ten
being things I will absolutely never do. This is a ten.
This feels like a bad idea to me. No, even
the buzzing in the beginning of the movie made me uneasy.

Speaker 5 (17:41):
I do know, would you have not done that as
a teenager.

Speaker 3 (17:44):
I would not have done it. Look, that's a green
eggs and hand situation. I wouldn't have done it with
a mouth, not in a house, like, not with a
goat or a boat. Like. No, I'm not climbing power lines.
I've always been a sensible person. That's no fuck that. No,
absolutely not. I don't care how strong this nigga is.
Watch me. Yeah, I'm gonna watch you do it from
down here. Absolutely not. No, Michael, I know you're you are, Like.

Speaker 1 (18:09):
Yeah, you are you crazy? I deal with I used
to work at a wasteboater treatment plant and we had
a guy who electrocuted himself, and they promoted him because
it was so incompetent that they were like, we got
to promote this guy to get him out of the
shop before he kills himself with someone else. So they

(18:29):
promoted him and gave him a desk job. That's how
bad it was. It's like, Jesus, you're.

Speaker 3 (18:35):
You're much more of a risk averse person.

Speaker 1 (18:38):
Yeah, very much so.

Speaker 3 (18:41):
Tr This seems like this right up your ally.

Speaker 1 (18:43):
Oh yeah, gallivant and gallivant and taking trips all over
the place.

Speaker 4 (18:48):
I don't think I would be too See I'm a
rule follower, so I would be way too afraid to
do this.

Speaker 1 (18:54):
You're not breaking into a substation.

Speaker 4 (18:57):
Nope, No, Yeah, welcome to I'm at home.

Speaker 3 (19:02):
Three cowards, Yeah, three scared niggas with sense.

Speaker 4 (19:08):
I'd be so afraid about that. Someone will tell my
mom and I would just feel like, you know, wait.

Speaker 3 (19:13):
You're more afraid of someone telling your mom than being electrocuted, because.

Speaker 4 (19:17):
I in my list and like, and I'd be like,
what if I felt and died, Yeah.

Speaker 3 (19:26):
Then somebody gonna tell your mom. She gonna be pissed.

Speaker 5 (19:29):
Yeah, exactly scary.

Speaker 3 (19:32):
No, absolutely not that.

Speaker 1 (19:34):
And if you die like that, then like nobody's gonna
feel for you, because you would have fucked up the
power grid. So like everybody's inconvenienced. So like everybody's gonna
hate you even though you're dead. Yeah, people hating you
when you're dead. It's only reserved for like certain people,
you know what I mean?

Speaker 5 (19:52):
Exactly, yeah, exactly, I'm so sure.

Speaker 3 (20:00):
Close one day, one day, we'll get that news.

Speaker 5 (20:03):
One day.

Speaker 3 (20:05):
Can't get you fast enough. So the movie switches to
sort of modern times ten years after the events of
the sort of the mainline of the movie, right where
we see we see Michael meet up with Aisha, a
girl that he grew up with, and she's sort of

(20:25):
back in town, and they they go back to his place.
His mom is sitting on the couch watching TV, sort
of catatonic to be honest, and you know, they're they're
they're talking, and you know, she's like, Hey, what's going
on with your mom. He's like, no, she's just watching TV. Like, nah, oh,
there's something wrong, Like there's something legitimately wrong. He's like, no,

(20:48):
she's just quiet, you know, trying to sort of he
knows that there's something wrong. Michael is well aware, but
he's just trying to sort of deny that to himself.
Then time switches back to let's call this the sort
of the main period in the movie where Francis is alive.

(21:08):
So they're two teenage like high school age boys, and
like they have a closer relationship with their mom. They
listen to the music weirdly like when their kids it
looks like it's like the nineteen sixties, but okay, and
so they have this like, certainly Francis has this kind

(21:29):
of deep relationship with music connected to his mom. As well.
She is a waitress, I think, and she works like
crazy hours, so she like leaves them when they're young,
young boys, she leaves them at home, locks the door.
She's like, look, I'll be back in the morning. Like

(21:50):
eat your food, don't watch TV. After eight. It tells
Frances he needs to look after his brother.

Speaker 1 (21:55):
You know What's like, what's the point of the shot
where like they're all waiting at the bus stop. The
mom and all the random people are just waiting at
the bus stop.

Speaker 3 (22:06):
They're all immigrants. They're all immigrants to Toronto. That's that's it.
And just the very like the veriability of all the people.
I mean, everybody there is is a person of color
and they're all different shapes shades.

Speaker 1 (22:22):
That's it, all right.

Speaker 3 (22:25):
Yeah, I mean does it need to feel like a
video game loading screen? No it doesn't, but it's like
immigrant in the game. But yeah, the shot is solely
to show, you know, the characters in Kim's Convenience. I guess, um,
it's a good show if you never watch. So it's

(22:46):
just it's just kind of showing the really the scariness
of having to be an immigrant, single mom, leaving your
kids by yourself. I mean, this isn't even an immigrant
story like that. This happened to black parents a lot
and single parents all over the world, have you.

Speaker 4 (23:01):
And also and also where they live to they live
in a very I think it's a Scarborough, right, so
a dangerous part of Toronto.

Speaker 3 (23:11):
Is this where Drake is from?

Speaker 4 (23:13):
Probably or on Terry. I don't know, is it is Scarborough, Scarborough.

Speaker 1 (23:18):
I don't know where I'm from. I'm from America. I
don't know where shit is.

Speaker 5 (23:23):
Oh yeah it is in Toronto.

Speaker 3 (23:27):
Or Toronto if you're like kind of from that area.
So yeah, I don't know if that's a bad neighborhood
or not. I assume it is, just considering the story
didn't look didn't look the best, little unsavor. But we
see a couple of moments of the guys going to school.
Francis is kind of the heart throb of the school

(23:49):
all the all the girls are always talking about him,
and Michael is just kind of left in the background,
right and he's he's just just being a kid.

Speaker 4 (24:00):
Thought to you asked a question Jay, how old is
Aaron Pierre? Because because I was like, he looks really
young here and in like rever Rich, he looks like
a good like thirty years old.

Speaker 3 (24:12):
Well he is, he's like thirty one in reality. Oh okay, yeah,
but yeah he looks he looks super young here. And
then I mean the woman who plays Ayisha is like
thirty two. I looked that up, so I didn't feel
weird when I was like, damn, she's really attractive.

Speaker 5 (24:29):
She's married to who played Jelly in real life.

Speaker 3 (24:32):
Oh yeah, oh that's cool. Yep, all right, so everybody
everybody's involved. That's dope.

Speaker 1 (24:36):
It's a family affair.

Speaker 3 (24:38):
Yeah, it was like, how old is she? Thirty two? Good?
He'll totally fine about uh oh Jesus about objectifying this woman. Yeah,
she's an adult. I mean I feel bad for doing
that sort of, but at least everybody is, you know,
above age. It's cool I to get myself in trouble.
So then we see, uh, the point where Michael is

(25:00):
kind of walking in the neighborhood and this guy is like, hey, hey,
what are you listening to? And he Michael lets him
hold his his walkman because it's like, you know, nineteen
forties or whatever, and and so the guy like pushes
him and he's like kind of a dick to him.
And then just then Francis, his big brother, walks up.
The guy's like, oh much respect Francis, and he's like, nah,

(25:23):
fuck out of here, like, don't don't ever touch my brother.
And I didn't even notice at this point, but Jelly
is with him.

Speaker 5 (25:32):
Oh I didn't know this that either.

Speaker 3 (25:34):
No, I just thought it was just like some random dude.

Speaker 1 (25:36):
But yeah, I just laying the seeds.

Speaker 3 (25:39):
Yeah. So, and this scene is solely to show you,
like he doesn't let people fuck with his little brother, right,
Like he just doesn't. And he's a physically intimidating guy.
One because he's thirty years old or twenty eight years
old at the time of this movie, but he's a
physically intimidating guy, especially to the other teenagers because they're

(26:01):
all like this guy seems like, I don't know, whatever
you want to call, like the alpha dog or whatever
the fuck, right, And so he's always kind of just
looked after his brother.

Speaker 1 (26:11):
He's like just being a good dude.

Speaker 3 (26:13):
You see them when they're younger again, they're reading comic books,
not a Green Lantern comic, so that's but yeah, like
even as a little kid, you see other girls their
age like looking at Francis.

Speaker 1 (26:28):
Like like, oh my god, he's so cute right.

Speaker 3 (26:30):
Like, so there's just this general this guy could be
a lady's thing if he wanted to be kind of
vi always around him. And then later on we see
they kind of flesh into sort of the modern time
and you see Michael who sees Ayesha in the store

(26:50):
and she's looking all good or whatever, and so he's like,
all right, let me go home. Uh krak open his
bottle of Jurgons and go to work.

Speaker 4 (26:57):
Uh.

Speaker 3 (26:57):
And the scene is just hilarious because his brother walks
right in, catches him and just walks right the fuck out,
like god damn it.

Speaker 5 (27:05):
They shared a room, right, did they share a room?

Speaker 3 (27:09):
You know?

Speaker 4 (27:10):
His face where he walked was like no reaction, He's
just like all right, right up.

Speaker 3 (27:15):
It was like Grandpa Simpson in that gift, like right
the funk around. Look, man, y'all gotta go just get
a lot? Is not that?

Speaker 4 (27:25):
When when this scene happened, I was I was like,
I was like, huh, why are we just like in
this scene?

Speaker 5 (27:29):
Then he grabs at sho.

Speaker 3 (27:30):
I was like, eh, crows, hey, spoiler alert everyone. Yeah,
even whatever, dude, you're lust thing after at the gym.
He go right home and he's like, yeah, they even
more so this is coming over so yeah and look

(27:55):
classic brother brother move here. Uh. Immediately the scene after
they're they're hanging out and Francis is like, here you go,
and he gives them a fucking Ebony love porn magazine.
He's like, don't rush through it, and they just laugh
it off. I mean it's like, yeah, they're brothers, and
this is how I assume porn mags always end up

(28:15):
in the woods. That's just a thing. I don't know why,
but it is.

Speaker 1 (28:20):
Tierr.

Speaker 3 (28:20):
You wouldn't understand that, but every dude understands that. It's
just the.

Speaker 5 (28:24):
What why would why would it?

Speaker 3 (28:26):
I don't know. I don't know. There's all like most
young guys found porn porn magazines somewhere in the woods
when they were young. I don't know why they're there.

Speaker 1 (28:35):
Yeah, I don't know why.

Speaker 3 (28:36):
It's true. You know you can I'm telling you it
is universally true.

Speaker 1 (28:39):
Thing. There was There was like some there was like
a wooded area on Winers Road by that by that
old radio hotel had a mattress in it. Tr a mattress.

Speaker 3 (28:58):
That's disgusting. See that's worth watching video are better, wild better?
That's what Look, that's why, that's why the population needs women.
Do think can just be put the brakes on us

(29:19):
for a little bit because when they're we're fucking psychos
like we are. Who's putting the mattress outside? That's nasty?

Speaker 4 (29:26):
Yeah?

Speaker 3 (29:26):
Why you know why?

Speaker 1 (29:28):
Yo?

Speaker 3 (29:28):
You know why? You know why?

Speaker 1 (29:32):
Yo?

Speaker 4 (29:33):
I don't need to know this much about men. You
don't askally Micah question because you're I mean, you're your
boys are still they're they're still like babies. But like,
do you talk to your oldest about defending his little brother?

Speaker 1 (29:51):
Yes? Uh, Jay and I were talking about that when
he came, uh came to America U and he actually
saw it in action. He my my eldest son. Is.
I told him, you know you got to you gotta
be you know, you got to look out for him,
You got to protect him, right because I'm trying to

(30:12):
instill like the the the urge to help people into
into them and he and he takes it serious. He's
very like, you know, I'll stand over here so he
doesn't touch this. You know that we have a couple
of transformers on our electrical transformers on our route to

(30:35):
walk into school, and he was like, I'll stand over
here so he doesn't touch it right like, and he's
you know if if he thinks he's gonna fall, like,
he's like no, like he's he's yeah. I try to
instill that in him. But at the same time, he
takes that more seriously than defending himself, and I need

(30:55):
him to also defend himself. You can't of other people
if you can't help yourself.

Speaker 3 (31:04):
You gotta put your You gotta put your oxygen mask
on first.

Speaker 1 (31:07):
As I say, the same thing airplane rules is airplane rules.
You put your oxygen mask on first, then you help
other people. Because but yeah, no, I I I very
much try. I'm trying to instill that because I had
a brother that I did not get a chance to

(31:28):
uh have any real experiences with because he died. So
I'm trying to make sure that like, hey, like, is
y'all too right? Like you two gotta look off of
each other, and you're the oldest one, so you gotta
watch out for him. And when Spence, when the youngest

(31:51):
one gets a little older and can understand certain concepts,
I'm gonna pull him aside. And I'm gonna say, look,
you don't have to much your brother, because your brother
is you know, he's a lover and you're a fighter,
and I'm gonna need you. I'm gonna need you guys
to have each other's back, all right. I'm gonna show

(32:12):
him that scene in Civil War whereas Captain Buckie beating
the funk out of a billionaire and say, this is y'all,
y'all gotta beat the ship out of billionaires.

Speaker 4 (32:22):
But don't but but don't fight too much. End up
having what happened in this movie because one is definitely
was definitely a fighter.

Speaker 3 (32:30):
Yeah, exactly worth.

Speaker 1 (32:34):
Yeah, yeah, don't be dumb like this character was. This
character was kind of blinded by his that that's That's
another thing that I appreciate about about Francis is that
he he seems like a real character. He doesn't seem
like a particularly bright guy, but he is noble. But

(32:58):
he's noble to a fault, and I know people like that,
and yeah, it's great. You should want to be noble,
you should want to protect people. But like, at the
same time, like we need you some common sense.

Speaker 3 (33:16):
Yeah, I am not the person referring to I am
not noble. To a fault. No, no, I have a
noble ceiling.

Speaker 5 (33:28):
I will also add this that France was a little selfish.

Speaker 3 (33:33):
But do you think so mm hmm, yeah, Okay, I
can see it. I disagree, I don't.

Speaker 4 (33:40):
But but but it's a selfishness that you can only
you can't really see past it. And when your Frances
were eighteen, probably eighteen nineteen, you just maybe if you've
ever if you've ever watched Beverly Hills, not into and
o Air, Pierre would have been a perfect cast over
back then. Yeah, but like he's supposed to be eighteen

(34:06):
or whatever, you at that.

Speaker 5 (34:08):
Age, you don't. You can't.

Speaker 4 (34:10):
You can't really dig that far past your current emotional
state or your selfishness.

Speaker 3 (34:16):
That's you're still thinking through. You're amigdala, you're like a
low level animal, Okay, like you're you're completely fight or
flight type of behavior. That's this is just true, right,
And you know that's not not a negative, it's just
it's a part of growing up.

Speaker 1 (34:31):
It just does.

Speaker 3 (34:33):
Look this this next scene I thought was very funny,
where Michael clearly has this thing for Ayisha, I get it,
and he sees her in the library at school. I
guess or just the local library. And he walks over.
He's like, hey, uh, do you mind if I sit
here at this table? And he's so fucking awkward. And
she used to read like Style magazine, so you know,

(34:56):
she's just being a kid, right, just just reading just
a magazine, not anything super serious. Apparently she's super super smart,
but she's just being a kid reading a magazine. He
picks up like, like, I forget what is it? The
like it's some very serious book and she's like He's
like yes, he's holding it in a way that a

(35:16):
person who is definitely not reading would hold a book.
And she's like, yes, are you enjoying the book? He's like, yes,
this is one of my Favoriterich books. It's like, oh yeah,
I like the part where it's about Oedipus Rex who
kills his own father and sleeps with his mother. He's like, oh,
is that what this book is about? Like, probably shouldn't
have picked this book up, and yeah, it's a it's

(35:39):
an adorable meet cute like it actually is very good.
This dude, it's super nervous. And she's like, yeah, oh,
I know your brother. Everybody knows your brother, you know,
all the girls in the neighborhood talk about him all
the time, again like trying to really throw you off
the scent of Francis's story, which it worked for me.
I guess, my gatar, it was malfunctioning that day I

(36:01):
watch this movie and so like again he's also living
in the shadow of his brother, like that is just
his brother's popular and he's just himself. Then you know
that that all goes well. And of course with any
happy scene there's immediately a fuck up one that comes
right behind.

Speaker 4 (36:20):
You know something just real quick. It's uh yeah, because
he is trying to go up in the shadow his brother.
But I just found it's just because Michael in this
in this dynamic, he would think that the little brother
is going to be the more insecure one. But I
found that Michael was probably a little bit more grounded
and and more comfortable with himself.

Speaker 5 (36:42):
Than probably than than what his brother gave him credit.

Speaker 3 (36:45):
For that I would agree with. I. I think that
his brother is Francis is constantly trying to tell him
like and this is like the classic male ship that
is just embedded in us from the time we can,
you know, say two words, which is like gott to
look tough, got to be super confident all the time.

(37:05):
Like he's he's not so much teaching him how to
be a man as much as he's teaching him how
to put on this mask of masculinity, right, Like, that's
a very different thing, And I think a lot of
people mistake those those two things, like a lot of
in the real red Pill movement, it's a lot of
like putting on this mask of masculinity, not so much
of like, hey, use your your your strength and all

(37:27):
these other things. Not just to like physically intimidate people,
or to be aggressive towards people, or to stoke fear
in people so that they they respect you out of
fear like those that's not actually, at least in my opinion,
that's not what it should be used for. But they
have this sort of the reason why you can do
all of these like what do they have, like these

(37:49):
courses and shit that they sell is because that's all
just a mask, right Like put on this uniform of
being a man through these nine steps and then you'll
be you'll be well on your way. It's like, Okay,
being a man is a lot more complex than that,
and a lot more nuanced. But they're like, but for
forty five ninety five an hour, I too can teach
you how to be a man that's.

Speaker 4 (38:07):
Stupid so that you cannot attract any women because you're
doing it for other men.

Speaker 3 (38:13):
Yeah, I feel like yeah, no, it's like you're not
gonna get understand it.

Speaker 1 (38:21):
I'll never understand it. Yeah. Oh men, men not supposed
to shower. Men not supposed a shower. They're supposed to
have a musk that attracts women.

Speaker 3 (38:30):
What No, women, they're like, I like a guy who
smells good, nigga, what do you think they say? Like,
you think they sell a coloone for you to smell
like a foot?

Speaker 4 (38:45):
Like, no, contrary contrary to what some men in that
in that movement thing like, we like people who are
who smell nice, dress well for themselves and are very
kind people.

Speaker 3 (39:02):
Yeah, yeah, I saw what.

Speaker 1 (39:06):
You know, what you want.

Speaker 4 (39:10):
I'm just I'm just a woman who likes men, and
it's just trying to tell men what women like. But
if I've realized this, it's not about me. It's it's
about impressing other dudes.

Speaker 3 (39:21):
You thank you, Finally you get it. It's like I'm
just a woman. Well, no, one's perfect.

Speaker 5 (39:27):
Okay, my man, my manly for this man like, oh
are you are you into? Are you into men?

Speaker 3 (39:32):
No?

Speaker 5 (39:32):
I like women? Like are you sure?

Speaker 4 (39:34):
I mean because if you if you don't, it's cool,
it's it's totally fine, like you know, nothing wrong with that,
But it just feels it feels like one of us
is not being honest about who we are, staying.

Speaker 3 (39:45):
In your truth sir, Like it's it's to me that's
always been one of the weirdest things of like I'm
going to talk to these single dudes about how to
get a wife. Why they don't know? None of them know.
He's like frush and fit nose too clowns.

Speaker 4 (40:03):
Which ironically, for instance, I felt very comfortable, was probably
very comfortable in his truth that he liked like at
least that he really like Jelly. Actually probably thought he's
probably bisexual because I thought he was flirting with Ayesha
for a little bit.

Speaker 3 (40:17):
No, no, like.

Speaker 1 (40:21):
He knows that his brother likes her, you know what
I mean.

Speaker 3 (40:25):
I think was more like like especially when they have
that moment when they're at the club and he's like
they're doing the DJ ship, Oh.

Speaker 4 (40:32):
Yeah, He's like hell yeah, Like Yeah, he looks so proud.

Speaker 3 (40:39):
Yeah, he was just proud of his brother, right, like
type of ship. Like if he was straight, he'd been
like yeah tap dad like, but like he's not, so
that'd be like a bit of a weird thing.

Speaker 1 (40:48):
Like to say.

Speaker 3 (40:49):
But he just looked proud that his brother was growing
up and like going about his business in a good way.
I think that's kind of That's that's how I read it.
I mean when he comes in when they're in the
apartment listening to music, I was like, you get out.
You're fucking this up for me.

Speaker 5 (41:04):
Yeah, I know that.

Speaker 4 (41:05):
That's that's what That's why I thought that he was
scoring because I was like, what are you doing? Like,
do you not stop? Stop singing lyrics with her? Get out?

Speaker 3 (41:13):
Yeah?

Speaker 1 (41:13):
He being a dick, he's been, he's being a dick.
He's been a brother.

Speaker 3 (41:19):
Thanks my girl, Like what are we doing right?

Speaker 4 (41:21):
Like your your voice is way too deep for all
of this to just to just be playing around like that.

Speaker 5 (41:26):
Stop old, be be a mon a.

Speaker 3 (41:39):
You're not allowed accent unless.

Speaker 1 (41:42):
That's okay.

Speaker 5 (41:44):
My dad should make it say these things.

Speaker 3 (41:48):
I mean, that's true, you can. But when I said
I'm an asshole, you.

Speaker 5 (41:56):
Just a regular old American black.

Speaker 3 (42:02):
I'm sorry. He's not an exotic.

Speaker 5 (42:07):
Thing to say. You know, you're a black American. Oh
you're just black American, bitch.

Speaker 3 (42:13):
What like? That's it? You ain't mixed like damn.

Speaker 5 (42:18):
You just got dropped off sooner before I did. What
are you talking about?

Speaker 4 (42:22):
My ship?

Speaker 3 (42:22):
Out of here? What you like? Plantains were like bananas?

Speaker 1 (42:25):
So what?

Speaker 3 (42:26):
I love the warst the dumbest thing in the world
these people hate. Damn for nigga, that's the same boat.
It was the same.

Speaker 5 (42:37):
The only thing we need to come to an agreement
on is black queens forever snow Bunny's never one thing
we need to agree.

Speaker 1 (42:44):
You gotta say it two more times. Don't count.

Speaker 5 (42:48):
Black queen snow.

Speaker 3 (42:53):
It's like candy Man. You can't just say this ship.

Speaker 1 (43:00):
Yeah.

Speaker 3 (43:00):
If you say if you say black wings forever snow bunnies,
never in the mirror three times, doctor Umbar will show.

Speaker 5 (43:06):
Up to you, do five p down.

Speaker 1 (43:12):
That school is getting not getting me all right, brouh
we are not hoteps. I just think that it's so funny.

Speaker 3 (43:21):
I've not heard that term in a long time. Actually,
I think he replaced the whole term you're just like
you're just aid, doctor Umar. At this point, so Michael
is walking home and he sees something that I would
argue is just really fucked up and really horrendous. This
guy's getting beat up by a group of other guys

(43:43):
in his neighborhood. And they are kicking and punching this
dude and like really fucking this guy up. And then
the one guy pulls out a bottle of lighter fluid
and then like sprays it all over the guy and
then and then pulls out a lighter. I don't know
if it was really gasoline in the in the bottle.

(44:04):
I fucking hope not. But that's a terrifying thing to do. Like,
that's a really terrifying thing to do to a person,
Like you can just beat me up, y'all. Like they
kicked the guy's front teeth out.

Speaker 1 (44:14):
Like message received, Yeah, some money on fire, bro, like or.

Speaker 3 (44:20):
Even threatened to do it like that. No, that's up.
That's what we're doing. Is this how you see? That's
what happens when when you'll have guns, right, maybe get
these niggas a like this.

Speaker 5 (44:39):
You know, I didn't have a moment.

Speaker 4 (44:41):
I think I think it was a scene where I
was like, I was like, thin, g it down like
this in Canada, y'all do this. Jesus animals better than me.
I mean, y'all supposed to be better than us. Yeah.

Speaker 3 (44:54):
I did not care for that at all. And the
guy who they beat up, he just he just starts
laughing maniacally. I didn't really understand the point of that. Yeah, besides,
maybe that was just like a trauma response of like
thinking he was gonna be killed and then he doesn't,
and then he just kind of loses the ship.

Speaker 4 (45:16):
Yeah, you should put some bullies in the face, by
the way, punch your bullies in the face the first time.

Speaker 3 (45:23):
Yeah, before they grow up and get bigger than you,
they go lift some weights. Then we see the young
boys when they're kids. They're watching TV and they're watching
the news and it shows like apparently Canadian news will
show footage of people being straight up murdered, which is crazy,

(45:46):
but they're watching these guys like rob a convenience store.
This is like a report and they actually showed these
black dudes shooting this this woman who runs a convenience store,
and that instilled some sort of fucked up thoughts. In France,
as his head. I will say, Michael, you made the
point earlier that this movie gives you everything that you

(46:07):
thought it would. The one thing I would say that
it does push back against at least my stereotype. Was
I thought for sure, or not my stereotype, but but
my assumption. I thought for sure that they were going
to have him like Francis leave the house and then
start selling drugs, which which I appreciate it. It's like, yeah,

(46:27):
we don't need to we don't need to do that.
Francis had put a chair in front of the door
because he was so afraid after seeing that news report.
But he said when his mom came home and was
banging on the door because she couldn't get in. When
she came home, he said that Michael was afraid of
of these of these uh, these black these black killers

(46:50):
as he as he called them, I believe, And she
was like, no, they're just they're criminals. So like you
don't you don't need this to find they're not.

Speaker 1 (47:02):
They're not exclusively black, So.

Speaker 4 (47:05):
You know, I did think that they were, and they didn't.
They didn't really do this amiss something. But I did
think they were going to play into the anti blackness
or internalized anti blackness aspect of of uh Francis being
noticeably lighter than his brother, and then and that plant

(47:28):
that being part of the reason why people might have
thought of him as being a little bit more attractive,
and then him kind of like taking that uh seeing
seeing seeing the robbery and then associating with, oh, it's
black people because on the news cast the person is
like armed black two black men, And it felt very

(47:52):
like even when I heard, I was like, all right,
calm down, Like why you gotta say black like that?
But I did wonder if Francis what was going to
internalize some of that growing up, but they didn't really
touch on it.

Speaker 1 (48:05):
Yeah, that's another thing about this movie is a lot
of things get introduced, but like just and maybe maybe
that was just maybe that's my fault as the viewer,
just kind of looking for something that isn't there. But
a lot of things get introduced and then just kind

(48:26):
of like you like you just just at hand waved
a way. And I'm not talking about like him being queer,
right Like, I don't actually think they handled that pretty elegantly,
right Like if we're gonna like if we're gonna if
we're gonna we should normalize same sex relationships. So you know, like,

(48:48):
don't make a big deal out of it when you
see it, right, snoop, right, like, oh, I don't know
what my grandson right, like, you know, just don't make
a big deal of it. And it's just there right. So,
But some of the things, like you know, some of
the colorism, like like oh, these two black men and

(49:09):
then they then they really zoom in on that black
face of the guy that that that robbed the place,
you know, through the CCTV footage.

Speaker 3 (49:17):
And.

Speaker 1 (49:19):
I don't know, man, it just it feels like it
feels like this movie is really trying to like say
a lot of things, but they're not really saying it.
It's talking loud and saying little.

Speaker 5 (49:35):
I think, you know, I think it says what it
wants to say.

Speaker 4 (49:38):
But I think it makes you wonder, honestly, if the
writers forgot they if it was on those situations where
they introduced and they were just like, oh, yeah, why
are we you zooming on his black face?

Speaker 5 (49:47):
Is that their father?

Speaker 1 (49:48):
Is it?

Speaker 5 (49:49):
What's her name's father?

Speaker 4 (49:50):
Who? What's the significance of it? And sometimes I wonder
when did they forget or if they were so wrapped
up in the other things in the movie that were
probably more importantly, we're just like you guys would just
bypass it.

Speaker 1 (50:05):
Yeah, this is one of those things where you're muted
by the way. This is one of those things where
the parts are greater than the sum.

Speaker 3 (50:13):
M m m. The funny thing is I think that
there may also have been this idea of like these
ideas of anti blackness or you know, queer you know,
queer identity and things like that. They happen and they're

(50:33):
just a part of life, and it's not that's just
not the story, right, so right, so it could just
be like you see that and you go, well, these
black criminals and then the mom is like, no, that's
not how this is, and she corrects it, and he goes, oh, okay, okay, yeah,

(50:55):
you know what I mean, and it's just like all right,
in like that happens in life all the time, right,
You run across situations, you have assumptions about things, and
it gets corrected or something like that, and you just
never you're like, all right, got it, put it into
my fucking mind, and I will not think that way anymore,
or I won't say these things or do these things.
But in a movie, when you do that, like I understand,

(51:17):
I could understand doing it from a these are real
people kind of situation, but in a movie things when
you tee them up, it's like a Chekhov's gun kind
of thing, like you're just putting things into the viewer's
head that this is going to have significance, and then
when it doesn't be off, it feels like a plot hole,
so to speak. But it and look, it might be right.

(51:37):
It could easily be what Tiara is saying, is like
they put that in there like ah, we don't have
time or we forgot about it. That's totally possible. It
happens in movies. Or it could just be what I'm
talking about as well, and they're just like, this is
a part of who he is. And it was a
fleeting moment. But in a movie that comes off it
could come off a little weird.

Speaker 5 (51:55):
Is yeah, So I don't know I can buy what
you said. I think, you know, I think if it
wasn't for the fact that they zoomed in on that.

Speaker 4 (52:08):
Guy's face in the video, I probably would have been like, Okay,
you know, they squashed it. But it felt like they
were trying to make it a point to show. Yeah,
you know that it was like, I mean, a black
guy who happened to turn his face up towards the
camera as he was robbing his store.

Speaker 3 (52:24):
Right one, it's not that hard. I robbed convenience source
all the time. Excuse me, Bodega's and no, I mean
the I agree. I thought that that was going to
be a thing. At first, I was like, Oh, is
that one of the kids in the neighborhood? And then
I realized, like the time frame, like that didn't make sense.
But I also thought maybe that was going to be

(52:46):
a character that they deal with at some point, like
maybe it was their dad, Like that was That was
the thought I had too, But again it's never addressed,
so it could be a fleeting thought or it could
just be they I didn't really think this out too thoroughly,
so I honestly don't know. I think both answers are
totally reasonable assumptions as a viewer. Then we see a

(53:11):
we see a scene where Francis is like, look, I'm
going out, and his mom's like, oh, I'm just about
to make dinner. You know, take your brother with you
if you're gonna go and he's like, nah, fuck that thinking.

Speaker 1 (53:23):
This is when I had my suspicion. Uh when he
said that, right, because like these two are not inseparable,
But like, well, why why don't you want to take
your brother?

Speaker 3 (53:39):
Yeah?

Speaker 1 (53:39):
I just curious.

Speaker 3 (53:42):
It's so funny that this did not ring loud to
me at all. I was like, oh, he was like
he's older and he wants to go hang out, you know,
with some more adult like.

Speaker 1 (53:53):
Friends, yeah, and do some adult things.

Speaker 3 (53:59):
Yeah. And then he took a woman in the back,
so I was like, oh, ship Like but nah, I
thought he was gonna use that dirty mattress Mike. I
found him the lot near his house.

Speaker 5 (54:10):
Growing up, people did people did not use that mattress.

Speaker 1 (54:17):
I don't know. But what is a mattress doing in
the woods? I mean throwing in the woods?

Speaker 3 (54:25):
I look, it's a disgusting, but val yes, it's.

Speaker 5 (54:32):
Far connected to cold case.

Speaker 3 (54:37):
Or somebody was Yeah, somebody was getting somebody's getting warm
on that mattress.

Speaker 1 (54:44):
Grows.

Speaker 3 (54:46):
So we see a scene after this of the shop
teacher just kind of shitting on Francis's spice rack is
fucked up, and trans I was like, all right, cool,
fuck you, fuck this, I quit and he drops out
of school. I like that all the white adults in

(55:09):
this movie are given the Charlie Brown treatment of like
you can't see their faces, and it's basically like, well,
wah wah wah wah wah, and all the black kids
like to like even the cops, you never really see
their faces. White people in the in black people's lives
are not important. I think that's the message of trying
to sell and I agree.

Speaker 2 (55:31):
So.

Speaker 3 (55:33):
And by the way, I would love for black movies
to do this all the time, for like non significant
white characters to just never be like fully shown. That
would just be hilarious. They get home, or Francis gets
home from from school. Obviously his mother knows that he
quits school, and she immediately slaps him with the force

(55:54):
of five Jamaican women.

Speaker 1 (55:55):
And that was a slap man.

Speaker 3 (55:59):
Yeah, he deserves it. Deserve that's your culture, y'all. Just
you're just smacking your kids around Jamaica.

Speaker 5 (56:07):
I wouldn't know. No one has ever hit me like that,
So my parents are progressive like that.

Speaker 3 (56:16):
No progressive progressive Jamaicans.

Speaker 4 (56:19):
Okay, aggressive, Now that my parents would have dared to
hit me not like that.

Speaker 5 (56:28):
Well, you know what, as you know, what if I
were a boy and did that, probably.

Speaker 1 (56:33):
Yeah, my father did your father? Oh No, he didn't
smack me in the face. No, he took a belt
and took skin off of my leg quite literally got
in trouble for it.

Speaker 3 (56:46):
Jesus, did you take it to the white meat?

Speaker 1 (56:50):
Yes, he did.

Speaker 3 (56:53):
What happened to me, I probably deserved it. Uh, don't
beat your kids. That's not cool, Like it really.

Speaker 1 (56:59):
Is so funny. Thing is he did it because I
was stealing, and it didn't stop me from stealing.

Speaker 5 (57:05):
So, so are you saying that the death penalty is
not effective?

Speaker 1 (57:15):
Things aren't Things aren't really deterrents like like people think
they are. You're just kind of putting an issue to
the side. You're not really.

Speaker 3 (57:26):
For the ground.

Speaker 4 (57:29):
There could be a lot of issues that could be
put to the side, you know, just speaking for myself,
me and myself, I feel as though, you know that
some things could just resolve things permanently.

Speaker 5 (57:42):
But I'm not advocating for the death penalty, just.

Speaker 1 (57:46):
I am.

Speaker 3 (57:47):
No, I don't death penalty except for very very special,
high level cases. Yeah, I can think of a few
treason Hello, firing squad. That's pretty good one. I think
they should just push him off a hill, like just

(58:10):
not a mountain, a hill, because it would be more embarrassing,
Like just just push and be like, climb up, and
if you can't climb up, we're gonna throw you in
a river. Like you just increasingly shitty things to have.
And they should put it on and we can use
that the fund to pay off the debt.

Speaker 1 (58:28):
Give him this sissifus treatment. Just push a rock up
a hill forever.

Speaker 3 (58:35):
I would pay good money. I would subscribe, but ten
twenty dollars. I would subscribe just as I could turn
on any time like he's still going good and have
a black shocking with a taser every time he stops good.
My favorite thing. So we see at this point Francis

(59:02):
is working at I don't know, home depot or whatever.
Heckingers maybe he's not says he's not in school. Then
we see Michael is back home. He's he's convinced Ayisha
to come over. Smart man. Uh he says, oh my
mom is my mom is at work until like seven

(59:24):
and my brother won't be back for a long time.
And she's like, oh okay, bet he's like, all right,
the first thing they think to do is listen to records. Okay,
all right, Lee Roy, Uh, let's throw a minute. So
they're sitting there listening to music. OL Cool Jay, Nina

(59:46):
Simone and the Talking Heads, solid choices all around, and
so they're listening to music.

Speaker 4 (59:55):
Uh.

Speaker 3 (59:55):
Francis comes home. He on his way home. He helps
us this little girl named Goose with her bike, because
again he is just a really good dude. He comes
in the house, he walks in, he sees Aisha and
Michael listening to records. They're not doing anything untoward, but
she's definitely not supposed to be there. And he does

(01:00:17):
the most parent shit ever. He opens the door and
pushes the door all the way open. Then he sits
down across with him. He's like, Hey, how's it going.
You're chilling? Yeah, I remember we used to be in
English class together. You were really smart. Like, get the
fuck out, Yeah, bro, I'm trying to make something happen.

(01:00:40):
It could have worked. He just stands there. He's just
standing there and there, just talking about you know, rock
him or whatever, and just fucking up the whole thing.
And Michael couldn't look more uncomfortable.

Speaker 2 (01:00:52):
In this scene, He's like, yeah, so you ready to leave?

Speaker 3 (01:00:57):
For got she's top and do five hundred push up
before she got here for nothing? Come on, And so
she's like she does the she says the dreadit words,
uh that you that no man wants to hear from
a pretty woman. I think I should go. And he's like,

(01:01:19):
all right, see you, and then she leaves, and at
that point Michael should have been like, Yo, what the
fuck what are we doing right now? And then he says, yeah, mom,
Mom said she'll be home at seven, and Francis just
walks out of the room, gets dinner ready or whatever,
and sits down and just says they sit down and eat.

(01:01:39):
His mom comes in, proving that he kind of ran
her out of there like he was being a brother,
but also like, now your mom's gonna be okay, I
missed that, yeah kind of say, because she she definitely
comes home. I think a bit sooner than he was expected,
is my guests it. So yeah, he was just like,

(01:02:04):
oh shit, like when you when you when you look
at Michael, like his response when his mom comes in
is a little like oh okay, ship, so uh, I
think he was just kind of secretly like appreciative that
his brother was like, see if I would have let y'all,
do you think you know you got you ass blusted?

(01:02:26):
Uh what you know, shout out them. That's cool. You
still could have told me. And so then Francis they're
they're they're sitting there outside later on and he's like, look,
I'm gonna leave home, but you know, like we both
need to take care of mom. Like I'm gonna send
money and all this other shit, but you know I

(01:02:48):
need you know, I need you to be the man
of the house when I'm gone.

Speaker 1 (01:02:52):
Uh.

Speaker 3 (01:02:52):
They walking home and they see an altercation between some dudes.
One of them pulls out a gun and kills a
guy from their neighborhood, shoots a mright in the back.

Speaker 1 (01:03:05):
They're got guns in count Yeah.

Speaker 3 (01:03:09):
Mmm, this isn't This isn't Britain. They just know how
to control themselves.

Speaker 1 (01:03:16):
Apparently not, because this dude just shut this. Uh this dude,
and look here's here's the thing noble to a fault,
right Like, I'm sorry, yo, like a real you got
to be a real special person for me to see
you get shot in the back and then run toward you.

Speaker 4 (01:03:37):
And uh no, you know they still well even leading
up to that, like you know, when they kept walking
and like like they clearly see that something is happening
where there's an altercation happening and you just see friends
just like keep walking like like it's nothing.

Speaker 5 (01:03:53):
I'm like, what are you doing?

Speaker 4 (01:03:54):
I'm like at first, I was like, this is probably
a good time to turn around, but kind of like
how you mentioned really jail was like, man.

Speaker 5 (01:04:01):
But is this how he dies?

Speaker 3 (01:04:04):
There's so many like.

Speaker 1 (01:04:07):
Yeah, there's so many close calls, man, Yeah.

Speaker 3 (01:04:11):
Yeah.

Speaker 1 (01:04:13):
And the fact that they cut to the present where
his mother is still you know, traumatized, right, she has
burned on the stove and she's like, I'm just trying
to make you some eggs, and then she's just just
peeling the egg and shredding it to pieces because she's
not like there, You're like, oh, well did it happen?

(01:04:34):
Like the movie keeps you The movie tries to keep
you guessing a bit. At one point, the mom is
on the phone with an operator trying to get a
hold of Francis just just she just says his first
name and spells it right. She's she's obviously still very

(01:04:59):
trauma tized because it is it is quite obvious that
Francis is not around anymore.

Speaker 5 (01:05:07):
Wait a minute, the part where she's like on the phone, yeah,
that was in the present.

Speaker 1 (01:05:14):
Yeah yeah, the movie kind of so the present is
right after that scene in the alley where the guy
gets shot and then the younger brother wakes up. He
wakes up in the present because he hears the you know,
he smells you know, smoke or whatever and runs to
the kitchen and the mom is traumatized. That's that's how

(01:05:37):
you know this is the present. So yeah, it's it's look, man,
losing a child is uh. I've seen what it does
to people firsthand. One of the most horrific things I've
ever seen is a is a child's casket. Man, Like,
it's it's it's just it's just heartbreaking. So I can't

(01:06:05):
it just it's sad and I know what it does
to people. So this is this is a pretty decent
acting from the mom in this. In these couple of scenes,
it does convey the I think probably some of the
trauma that you have to kind of deal with. It

(01:06:30):
then cuts quick quickly to the past where the boys
are young and you know, she's talking about you know, well,
well Michael is afraid of the black the black robbers
or whatever. And that's when the mom is like, nah, man,

(01:06:51):
like they're just criminals. They you know, it's not that
they're black, it's that they're criminals, which is let's go
for a pick.

Speaker 3 (01:07:02):
I mean, there's there there's so much of that, like
a hyper focus on like well, you know the color
of criminality, right like, and I can understand that from
a like a statistic standpoint, but it tells so little
of the story of why these things happen, right Like,

(01:07:27):
for instance, conservatives always made these aren't well, you know, murders,
you know, black on black crime is really high, and
you know, you know, murders are always, you know, are
so predominantly happen, you know, at the hands of black
people and stuff like that. It's like, yeah, dig into
the numbers there, buddy, Like you know, black on black
crime is you know, ninety something percent, Like what's white

(01:07:47):
on white crime, like eighty two eighty six? People just
kill people who are near them, like right, Like that
is the most normal thing. I mean normal. It is
fucked up, but you know it's a it's a normalized thing.
What's Asian Asian crime probably pretty fucking high in Asian areas, right,
So it's there's so much to those kind of statements

(01:08:12):
that are so purposely misleading.

Speaker 1 (01:08:16):
Yeah, I mean there, you know, it's it's like it's
like the old thing, numbers don't lie, people do correct. Yeah,
you're just using you're just using random statistics to try
and you're manipulating statistics to try and get you know,
your poet across.

Speaker 3 (01:08:35):
Yeah. So it and it, and it always comes off
as disingenuous because you don't actually give a shit about this,
Like right, it's like, uh, there, there's all this crime
in Baltimore. We got to stop all this violent crime
in Baltimore. You know what they did to get the
murder rate and violent crime down. They spent money on
programs to help people in those areas. You know what happened.

Speaker 5 (01:08:57):
Yeah, no, no, but not that, no no, no, no, no,
send jail.

Speaker 3 (01:09:01):
Right, Like send in the military. How is that going
to fix it by ramping up people's anxiety and violence?
And yeah, people love having military tanks and shit in
the streets. Super fucking helpful. Like how did they do
in Chicago? Same thing? They just put money into places
to help those areas.

Speaker 4 (01:09:24):
Turn turn, turns out when people actually have money and security,
they tend to do less crime.

Speaker 3 (01:09:33):
Yeah, if households were together and people had money and
they had services and things like that, you know how
many people would join a gang. They wouldn't. They join
a gang because they don't have anything. They join a
gang for security. They join a gang because they don't
have what are they called third places, right?

Speaker 5 (01:09:52):
You know the third places right, like places.

Speaker 3 (01:09:55):
To go play basketball or stuff. When you don't have
those things, people go to other They need something else
to do.

Speaker 5 (01:10:02):
So when you eliminate all them, kids really need that. Kids,
I mean everyone needs it, but.

Speaker 3 (01:10:10):
Third places, especially in America, third places are really important.

Speaker 5 (01:10:14):
But there was and they're disappearing.

Speaker 3 (01:10:16):
Yeah, they have been for decades because people are like,
I we don't have money for that. Why are these
kids shooting each other at eleven o'clock at night? Because
they used to play basketball, my nigga and they were fine.

Speaker 5 (01:10:25):
Well.

Speaker 4 (01:10:25):
And and and also places like malls, arcade arcades, places
where people could just go.

Speaker 1 (01:10:34):
You've been to a mall, Jesus, they're big here.

Speaker 3 (01:10:38):
They're big here.

Speaker 4 (01:10:38):
But yeah, we have we have we have some pretty
big malls here, but they're all like fancy with like
a lot of fancy stores, but like White Marsh or
Towson always Mills Mall, like those would be the places
that we will go security, and.

Speaker 3 (01:10:56):
They're all gone right.

Speaker 5 (01:11:00):
To the avenue.

Speaker 3 (01:11:04):
I feel we're like extra that.

Speaker 4 (01:11:23):
Uh.

Speaker 3 (01:11:25):
I used to love that song.

Speaker 2 (01:11:26):
What was it?

Speaker 3 (01:11:27):
I don't know that well, I guess I was walking
down the avenue. Hey, all you knuckleheads, I love that song.
That was Baltimore Ship. So yeah, having those places is
really beneficial. So when you eliminated them, crime spikes, and
that's almost anywhere. So they witnesses killing rightfully. So they
run away because nobody's trying to get fucking shot, and

(01:11:51):
they gets stopped by the police. They get picked up
by the police, and the police, of course bring them
home in front of the whole neighborhood. Not a good
look getting out of a police car. And they go upstairs,
and you know, Francis is like, I'm leaving, I'm leaving.
His mom is like, you ain't going nowhere, and he
yanks the bag from her and then she slams up

(01:12:12):
against the bed and like he didn't he didn't actually
mean to hurt his mom. Like, the one thing I
will say is both of the boys are extremely respectful
to their mother. Like they just start he didn't, he
didn't mean to do that, and he and he clearly
feels bad about him. So he leaves. The mom is
very upset, and Michael is there to sort of pick

(01:12:33):
up the pieces. He's there, you know, standing on the
bus stop with his mom, make sure she gets on. Okay, Like,
got a lot of responsibilities. Now. He goes over to
see Ayisha, and Ayus's dad is like, he's he's pulling
to me, the fuck are you doing here to see

(01:12:55):
my daughter? Type of ship. I didn't. I didn't appreciate
her response, which is, oh, he's fine, Like she was was.

Speaker 4 (01:13:04):
She was like, she's like, I'll be back and going out.
And I was like, oh, y'all could just do that
and just be like, I'll be back seeing.

Speaker 3 (01:13:11):
Dad in there? Ship you hear a grumbling through that,
that fucking thick glass.

Speaker 5 (01:13:20):
I didn't.

Speaker 4 (01:13:20):
I just didn't know that back in nineteen any one
you could just tell your parents, I'm I'm leaving bye.

Speaker 5 (01:13:27):
Your black parents that white kids privilege, that's right. My
mother was Portuguese, that's right.

Speaker 1 (01:13:34):
That's right.

Speaker 3 (01:13:34):
Yeah, pretty privilege. Her dad was like, and with the.

Speaker 5 (01:13:40):
Boy, a boy who just got brought home by the
by the cops.

Speaker 4 (01:13:45):
No, no, no, no, because because because they witnessed the shooting,
they were witnesses to a shooting.

Speaker 3 (01:13:53):
I wish, I wish.

Speaker 4 (01:13:54):
I thought I didn't realize that that was like that
that parents and maybe maybe this is a Canadian thing.

Speaker 3 (01:14:01):
I don't know, maybe, but I can tell you this,
but someone boy comes up to my house and he's like, hey,
I want to take your daughter out. I'm like, hey, Carlos,
didn't I just didn't. I just see you getting pulled
up by the cops. No, get the.

Speaker 5 (01:14:18):
Whatever you could say, you can say him right here.

Speaker 3 (01:14:19):
Yeah, audio is my neggro Like, I get out of here.

Speaker 5 (01:14:27):
I need to talk to her then talk.

Speaker 3 (01:14:29):
Yeah, through the through the glass sundlight.

Speaker 5 (01:14:34):
I'm gonna be right here listening like.

Speaker 3 (01:14:40):
Angry is angry middle aged Jamaican man just dealing with
a bunch of bullshit. I get it. So I did not.
I did not appreciate this this next moment very much.

Speaker 4 (01:14:53):
Uh.

Speaker 3 (01:14:54):
She sees that they're standing outside and they're talking, and
you know, she gives him a hug and he returned
because duh. And they see the cops harassing some of
the kids in the neighborhood because they're trying to find
out who did the shooting. And she sees that and
she gets pissed and she she uses her her pretty
privilege and she picks up a rock and breaks one

(01:15:16):
of the cops windows.

Speaker 5 (01:15:18):
What the man.

Speaker 3 (01:15:21):
Was like, my dog skin as standing right here.

Speaker 5 (01:15:24):
Please, just got picked up by the cops yesterday. What
are you doing? And why does she even do that? Like,
what what are you man?

Speaker 3 (01:15:34):
I get it that look, that's that's her privilege. She
didn't even think to run. She got She sat down
on the swings three feet away from where she just
committed a fucking felony.

Speaker 4 (01:15:47):
With your friend who was just who was just picked
up by the police yesterday. He's dark skinned. And you
see the cops. They're more cops in the neighborhood because
they're trying to figure out who was responsible for shooting
that boy and injuring that girl.

Speaker 1 (01:16:01):
What are you doing?

Speaker 3 (01:16:06):
Oh yeah, I would have gotten I would have been mad.
I was like, what is happening right now? Yeah? She
just sat down like nah, I'm good, don't worry about it.

Speaker 1 (01:16:16):
I got it out of my system, all right.

Speaker 3 (01:16:18):
Now, what.

Speaker 1 (01:16:20):
What you mean now what.

Speaker 4 (01:16:22):
With a billy club like I did it, I would
say he could probably say I'm never talking to you again.

Speaker 5 (01:16:29):
But he loves that girl. There's nothing that she could
do for him to be like.

Speaker 3 (01:16:35):
Nah, yeah, I mean the last time he sees like
he It's kind of a cool transition they have her.
She she breaks the glass, she sits down on the
swings and then as she sits down, it switches to
the modern time and she's back in town. She's a

(01:16:56):
world traveling computer programmer. And now she looks like Crease Summer.
And so, yeah, he still stuck. He's still stuck there
because of what's happened, and she has like gone around
the world. But she still loves him like it is.
It is very obvious, and he is still very much

(01:17:17):
in love with her. But she she's she seemed a
little bit more I guess, a little bit more naive
of the world when she was young, which is obvious
because she's young. But she's a little bit more traveled
and things like that. So she's got she's got a
vibe of like a vibe of maturity. Where he kind

(01:17:39):
of just feels stuck because he kind of does, and
she wants to like kind of kind of pay respects
to her brother or to his brother and have some
friends over and who knew what happened to him and
everything else. Keep in mind, this is like ten years
after the events happened to Francis. The mom is having

(01:18:03):
some issues. She goes down to the river without shoes,
which is apparently a telltale sign that ship is not
going well. And because black people do not walk out
of the house without shoes, not a thing. We don't
do that, sane ones. Maybe sometimes I do, but like
you're not saying, so that tracks ye in fairness, but

(01:18:28):
never outside of my property. So then we see we
see Michael go into the fridge. I assume that Michael
and Micah had the same diet because he's got mustard,
ketch up, some old milk. I mean, he's actually got
he's got.

Speaker 1 (01:18:49):
Ten way more things, yeah than I This niggas a chef.

Speaker 3 (01:18:54):
If what you had differentge half a half a pizza
and and a bottle of must her the war, And
so Michael's not eating, he's not taking care of himself.
His mom comes home, she's like, yo, why do you
have aluminum foil on the fucking windows? And I don't

(01:19:17):
know that she's really mad about that. She she isn't,
but she just kind of needs something to flip the
fuck out about. And he's like, well, it reflects the sun,
and she was like oh okay, and he's like, well,
I thought it was a good idea. And she takes
like a jar of pickles or whatever and throws it
at the at the wall and she's like pretty fucking
pissed and he's just like, okay, sorry, But she's she's grieving.

(01:19:41):
I mean, this is post Francis dying. So she's just
she's just a fucking mess.

Speaker 1 (01:19:51):
I love when I love listening to Jamaican people get mad.
It's just funny to.

Speaker 3 (01:19:57):
Me, does your dad do that? Does he do that
sucking thing? Yes? Yeah, I feel like that's a recluest,
like he ain't a he ain't a real Jamaica.

Speaker 4 (01:20:07):
If yes, yes, yes, yes, yes, why I got why
have we're got of trouble like that?

Speaker 5 (01:20:14):
So but I did hear it a lot when he
was upset, and I still hear it.

Speaker 3 (01:20:19):
Yes, good, he should be upset, but.

Speaker 5 (01:20:23):
All the but only now when we talk about what's
going on in the United States.

Speaker 3 (01:20:27):
Yeah, he's like the whole lot of tea sucking going
on every two seconds. Like you know what, you're right right,
pops moving with you? Hey, there you go. Yeah, I
got they got the internet over there, you'd be good.

Speaker 5 (01:20:46):
Yeah, got the beach. Healthcare is free.

Speaker 3 (01:20:51):
I mean like you're making a lot of good points.
I'm just saying, like it's really nice. Then where where
Jamaica does he live? He's living king Then is he
a real nigga?

Speaker 4 (01:21:01):
No?

Speaker 5 (01:21:02):
No, he he lives in the center of the island.

Speaker 3 (01:21:05):
I don't know what that means. I only know Kingston
and like Rios over there.

Speaker 5 (01:21:09):
Oh yeah, there there is.

Speaker 1 (01:21:13):
Rios. Is it eight?

Speaker 2 (01:21:15):
It's eight Rios is not just one, it's eight eight.

Speaker 5 (01:21:27):
Don't you don't you live by the Rio Grande?

Speaker 4 (01:21:29):
You know?

Speaker 3 (01:21:31):
Yes, absolutely, I don't know where lives at. I do
not live. So so he meets up with with with
Francis at this point, Francis's got he's got a car.
He's like, oh, how did you how did you get
this car? He's like, I bought it right because I

(01:21:53):
was like, I don't sell drugs. Come on, man, it's like, no,
I bought it. It's like, oh, okay, like does he
in it? Like he just got a job.

Speaker 5 (01:22:03):
I thought that car.

Speaker 3 (01:22:07):
Now he said he said he bought it. Maybe they
bought it together. Maybe they.

Speaker 5 (01:22:13):
Mm hmmm.

Speaker 3 (01:22:15):
Are they married?

Speaker 5 (01:22:16):
We'll make joint purchase with with folcure that engage and
married too.

Speaker 3 (01:22:20):
Well, maybe they can.

Speaker 1 (01:22:21):
Wait in the wed You don't know.

Speaker 3 (01:22:25):
I don't know. I don't know what. I don't know
what the Canadian laws are. I have no idea. So
they try to they try to go see their father
and they go to this apartment building and they ring
the doorbell or the buzzer, and the guys like what
which is a lovely way of picking up your intercom?

(01:22:48):
And he's like, oh, it's it's Michael in Francis and
he was like long pause, now you got the wrong place.
And it was like all right, cool. So obviously this
is the dad, but he doesn't want to have anything
to do with them. So at this point, you know,

(01:23:08):
Michael's pretty distraught because he's like, no, I don't think
that is that was my dad, even though I think
he knows that it was, but he just didn't want
to have anything to do with him. Michael and I
should sleep together, lucky him and Francis is pretty heartbroken
about the ship not working out with his dad. And

(01:23:30):
then this is the part where if you don't know
that he's gay, then maybe your eyes don't work. Jelly
consoles him, like, you know, just like two homeboys would do. Obviously,
two straight, strapping young men would do, just like, c
lean into me, brother.

Speaker 4 (01:23:46):
I love the scene so much. I was like, oh
my god, we find we finally get to see him
be vulnerable with someone.

Speaker 3 (01:23:53):
Yeah, is it a little Is it a little weird that,
like you see that vulnerability with Francis's character and meanwhile
it's interspersed with Michael giving Ayesha an orgasm.

Speaker 5 (01:24:07):
I assume like, actually, yeah, so you know what's the thing.

Speaker 3 (01:24:12):
And I had to thought when when I was like,
this is my vulnerability.

Speaker 5 (01:24:17):
Well, I think it's supposed to show, you know.

Speaker 4 (01:24:21):
I think as if you're you're you're looking at this
and you're like, okay, uh, Francis is this like picture
of traditional masculinity, and traditional masculine is always assuming that
someone is straight. And he's like a big move fossil
looking dude, and here he is being consoled, which is
a great movie, by the way, I love that, but

(01:24:45):
here he is being consoled by but not just not
just like another man, but another man who was significantly
smaller than him, and and that and because I know
that's that's another reason why I was like, did no
one know know that they were together? Because in that
DJ scene, like I was like, Jelly's really small. He
looks like he can fit directly under Aaron Pierre's big arm.

Speaker 5 (01:25:08):
Oh my god, so adorable.

Speaker 4 (01:25:10):
But the way that he's like holding him, he's holding
francis like he's so delicate, And that's such a contrast
to how we've gotten to know Franks up to this point.
Whereas with Michael, you know, Michael, I thought I always
felt Michael was the more grounded one. But Michael was
also not very emotional either, right, he doesn't really show

(01:25:31):
emotion until you get to really like the later scenes
where there where they spend more time with the president.

Speaker 5 (01:25:36):
And I think this the sex scene here is to
probably give you a picture of what traditional.

Speaker 4 (01:25:44):
Mastering Wily will look like for someone his age, Like
you're you're dealing with this with you know, well, having
sex with someone probably for the for the first time
instead of just kind of feeling the intimacy with just
you know, being held.

Speaker 3 (01:25:59):
That's no. I think that's a great analysis of that scene. Actually.
So from there we see flashback to sort of ten
years the timeline ten years post all of what happened,
and Jelly is at Like Michael comes home, I says,

(01:26:20):
there with his mom, and Jelly is there alongside it,
alongside them. And it's interesting because this is where I thought, oh, Okay,
they're gonna classic classic Jamaican immigrants. They're gonna make a
big deal about him being queer. Right. No, no, no,

(01:26:40):
Like there's clearly there is a twinge of like, I
know what you guys are, I know what you're trying
to do type of thing you're trying to Like, I
know why he's here because he cared about him and
all this other stuff. But he's not like I need
you to get out of here because you're gay, Like
there is none of that. He is just so he

(01:27:04):
is trying to protect his mom so much in this
which isn't which is kind of a bullshit excuse. He's
actually trying to protect himself.

Speaker 5 (01:27:11):
Yep.

Speaker 3 (01:27:12):
But that's I would argue, it's the same thing his
brother did to him. Right, he wasn't so much trying
to protect his brother, though he was to some degree,
like in the most obvious of ways, but he was
more trying to protect himself, right, and.

Speaker 4 (01:27:27):
Even to like and like yeah, I think, yeah, you're
absolutely right. And it made me think of, you know,
was Michael unable to really move on? Because you know,
we'll get to to how Francis dies, But it's just
like considering that, is Michael so stuck.

Speaker 5 (01:27:48):
In that day? Like is he is? He playing that?
And as a result, he's keeping his mother there too.

Speaker 1 (01:28:00):
But it's the same cycle that Francis has with Michael.
If Francis is afraid of something, he'll be like, oh, well,
Michael's afraid of it, so we gotta do this. Right,
He's doing the same thing, using his mother as a scapegoat. Basically,
you know, he doesn't want all these people here, He

(01:28:21):
doesn't want all this, Like he is still mourning in
his own way, but you know, the whole men are
not allowed to show emotion otherwise it's gay, so.

Speaker 3 (01:28:39):
He doesn't.

Speaker 1 (01:28:41):
He feels like, I guess he feels like he can't
show that emotion, so he uses his mother as a scapegoat,
like because he's not he's not there yet, he's not
at that point yet where he can kind of accept this,
and everything is just going to remind him of that.

(01:29:02):
So instead of instead of calling an operator and can
you find my brother? Right, like, this is how he's
doing it. And yeah, it's like I get the like,
I get the the the parallels, and I get the
you know, the performances are actually really good, and I

(01:29:27):
get it. Hm, we get a well maybe I don't.

Speaker 3 (01:29:35):
I think you're yeah right, I think you're absolutely right
about that. We get a scene of the two brothers
there at a bus stop and uh, this dude comes
over and he's like he just refers to him as
a bitch, which I was like, I mean, you don't

(01:29:56):
have to walk around with an unbroken jaw, like you
just you don't.

Speaker 1 (01:29:59):
Have all right, all right, Canadian Romani Malco, like you
can walk around and called his giant dude a bit
if you want.

Speaker 3 (01:30:12):
But this seems like a mistake, but man, like it's
just right.

Speaker 1 (01:30:15):
Yeah, Like he calls the asdomite at one point, and it's.

Speaker 5 (01:30:18):
Like, so interesting choice of words to use. That's all
the people just I don't know.

Speaker 3 (01:30:27):
I mean, he's the F word, I guess, right, like
I feel like that, like it's it was nineteen ninety probably,
but maybe up there in Canadia. That's so. Then, uh,
you know, Francis steps in because this guy, you know,

(01:30:51):
pulls like a fucking Rambo knife out and you know,
kind of threatens Michael with it. And meanwhile, the whole time,
Francis is just sitting there like just fucking stone cold, right,
like just not not doing anything. And Michael was like, yeah,
all right, man, like hey fuck off right, like that's
literally what he says, which sets the guy off. By

(01:31:12):
the way, he wanted to fight him anyway, anything would
have said them, it wouldn't have mattered. And so the
guy pulls a knife. Francis stands up, grabs the knife
by the blade with his hand and just holds it
and the guy is like trying to pull the knife
out of his hand, and meanwhile Francis is just bleeding

(01:31:35):
and he's just staring at the guy until the guy
lets go with a knife. Yeah, like you got it done,
like you got a big don you know what I'm
the bitch for If I'm being honest, I'm sorry for
what I said. And then the guy walk off. That's
pretty intimidating, Like, bro, you don't have a green lantern

(01:31:56):
ring and nothing that's gonna hurt. But that was dope.
That was that was that was dope. It was a
it was a tough ass scene. That's you know, that's
that type of like this is that red Pill ship
where guys were like, you gotta be able to protect people. Man,
you got like, okay in that scenario, cool, no worries.

(01:32:19):
I'm not I'm not mad at it. I would have
probably just punched that guy. I'm not really trying to
grab the blade of a knife. That feels a little
too far, but yeah, he's he's protecting his brother and
he's not backing down. Cut back into the you know,
the modern times at the present time. Michael comes home

(01:32:44):
and there's a bunch of people in his house and
he flips the fuck out. He's like, yo, I told
you I didn't want all these strangers in my house.
Everybody get out, get out. And they were all friends
with Francis, and you know, they were sad about what happened,
and and so you know, Michael has largely kept to himself,
so he hasn't really interacted with anybody from the neighborhood

(01:33:06):
probably much at all since his brother was killed, so
I should be back in town. Has kind of drudged
up all of this, and again he is using the
idea of covering for his mom and what she needs, uh,
when in actuality, like like I said, is actually what
he needs.

Speaker 1 (01:33:24):
Yeah. He even like during the blow up, he even
like she's like, yo, we were just the mom is
like we were just talking and listening to music, right,
Like she's coming out of it, right, she's trying to
come out of it. And he drags her into the
room as if like I'm protecting you.

Speaker 3 (01:33:43):
Yeah, like.

Speaker 1 (01:33:45):
I got is her. It's like nah, man, like it's look, man,
grief is hard, man, it really is. And you know,
I think this movie for or as you know, nonchalant
as I am about it, I do think it does

(01:34:09):
bring you through the stages of grief very well.

Speaker 3 (01:34:13):
Yeah, yeah, I would agree. I mean I guess you
get to acceptance at the very end, right before the credits,
like the Yeah, they don't give you too much time there.
He is, he is there's not a lot of denial,
but there's a whole lot of fucking.

Speaker 5 (01:34:29):
Anger he's spent. So I mean this is ten years, right,
so he's probably what in his mid to late twenties.

Speaker 4 (01:34:37):
That's a lot of a lot of time that he
spent being stuck in this this this loop of grieving
his brother and also like keeping his mother there, really
keeping his mother there with him too.

Speaker 1 (01:34:53):
Yeah.

Speaker 3 (01:34:54):
So yeah, yeah, they neither one of them can break
out of the cycle.

Speaker 1 (01:34:59):
They just can't.

Speaker 3 (01:35:00):
She she doesn't have she's trying to, like, she she's
not trying to lean on him, which I appreciate, to
like get herself out of it. But she doesn't have
another adult to pull her on it, right, Like, she
doesn't have a husband or somebody who could possibly help
her pull out, pull her out of it. She only

(01:35:20):
has his younger brother who saw him as like a superstar.
So he is going through a level of grief that
is just unbelievable.

Speaker 4 (01:35:31):
You know, there's actually there's actually another trope this movie
did not do, which is like the trope of having
the single the single black mom think of her sons
as like like her husband's pseudo husbands.

Speaker 5 (01:35:45):
She like she let them be her kids.

Speaker 4 (01:35:48):
I mean, she disciplined them, of course, but but I
feel like that like they could have easily gone gone
back direction with Francis, Like I don't know, she tells
Frances like, you know, be a man and everything like that,
but I never felt like she's that she saw Francis
as like her, like someone who should be like her partner,
because I think that's like a trope that we see
in some movies like this or or when you have

(01:36:11):
like a.

Speaker 5 (01:36:11):
Single mom with with sons. And they didn't do that.

Speaker 3 (01:36:15):
It's not just a movie t.

Speaker 4 (01:36:17):
Yeah, yeah, that happens in real life too, so and
they didn't do that, which which I really which I
really appreciated and like, And it didn't occur to me
until now that they know.

Speaker 5 (01:36:27):
She doesn't lean on him either.

Speaker 4 (01:36:30):
For throughout throughout this grooping process, not not more than
like there will be deemed I think as normal, Like
she's not blaming him or anything like that. It's just
she's if anything, she's probably wrestling with herself to figure
out like what could she have done? Because I mean,
how can you not think that whether it's fair or

(01:36:50):
not right?

Speaker 1 (01:36:51):
Right?

Speaker 4 (01:36:53):
But yeah, and then there was a scene and I
and I was wondering, I was like, is this a
did this happened. I think it was a scene where
they were like kids and they were dancing in the
living room with their mom, and the mom was like
with the man. I think what I think is partably
like their father. Was that a real scene or was
that like a oh this this is how it should

(01:37:14):
have been or what what could have been?

Speaker 3 (01:37:16):
I read that that that was a real scene. But
the father is hazy for a reason, right, Like you
can't you can't quite see who he is for a reason.
So maybe that was at a time that was a
moment in time that was things were good or complete
or however you want to look at it. But then

(01:37:36):
that was about it, so I don't know. So then
we see a scene of Michael and Aisha. They go
to uh this club that Jelly and uh Francis are

(01:37:56):
kind of throwing. Well it's their barbershop, I guess. And
but they have these like little parties or whatever, and
you know, they're rapping and they're doing like DJing and
ship and things are going good. And this is a
scene what we're talking about, where we're watching h Francis
looks so proud of his brother, you know, having you know,

(01:38:19):
scoring with us. This beautiful girl right like, and that's
his like, that's clearly his girlfriend, and he's just proud
to watch his brother grow up. Right things that things
are going well. Cops busting later on, because you know,
brown kids having a good time and not bothering anybody
is definitely a reason to be suspicious, and so they

(01:38:44):
harass them and you know, just kind of treat them
like shit, just kind of fucked up.

Speaker 2 (01:38:50):
Uh.

Speaker 3 (01:38:51):
Then we see another scene again. That scene of the
cops is like, h is this gonna be the moment?
Is this the moment? Then we see Jelly is going
to DJ for like to be on some like TV
show or excuse me, a record contract and he goes

(01:39:12):
to this like he's at this contest and they all
go to support him and everything, and he doesn't do
that well, he does, he does okay, and Francis really
knows in the moment that it's not going well. I
guess he can just he knows music and he can
just sense of like the other guys watching are not

(01:39:32):
impressed by this guy's DJ skills, and so that eventually
is over and they realize that it's not gonna work
out and the guy's kind of a Dick to him
by the way, and so they leave, and you know,
Francis doesn't really want to accept the loss, And that

(01:39:53):
is exactly the type of feeling you would have if
your significant other was putting their heart into something and
they weren't being rec A nice sport question.

Speaker 5 (01:40:02):
What did you guys think of the set?

Speaker 1 (01:40:06):
It felt I don't know music.

Speaker 3 (01:40:08):
It felt too old, but it was nineteen ninety, so
like not really you know that. Like I'm like, there's
a lot of old ass songs. I was like, oh right,
these are new ass songs for them, Like this shit
came out six weeks ago. It was fine, it started
slowing down in a really weird way.

Speaker 1 (01:40:27):
In the end.

Speaker 3 (01:40:27):
I was like, you ain't gonna win, dog, Like you
ain't keeping the tempo Like in the beginning, I was like,
I was, I was all in, But at the end,
I was like, but I would have I would have
told Fransis. I'd be like, yeah, we're gonna call you,
like please don't don't punch me.

Speaker 5 (01:40:43):
I like, it was just like, I don't know music.

Speaker 1 (01:40:45):
That's what I don't know.

Speaker 5 (01:40:48):
That's what I'm gonna say whenever I don't like something.

Speaker 1 (01:40:51):
Like yeah, yeah, that's the most polite way of you know,
I'm ignorant.

Speaker 5 (01:40:58):
Like what do you think about?

Speaker 3 (01:41:01):
You just just asked the same question back to them.
Don't you do what you do with uh my six
year old?

Speaker 1 (01:41:08):
What do you think? And then I'll tell you.

Speaker 3 (01:41:12):
How do I do this? How do you think you
should do that? So they're outside of the contest, and
and Transis is like trying to get back in to
talk to the producer, and the guys like, nah, you're
not going back in, like the funk out here, and
he's like, all right, all right, we're going in. He's like,

(01:41:33):
I don't think so, my nigga, And by the way,
what the yeah, like no, no, this is the first
time you hear somebody you hear a black person say
nigga in this movie. Is in the scene which I
found to be interesting and it and it is the

(01:41:53):
first time you're really you see you see uh Francis
like hit somebody right, Like I got the feeling when
he first calls him a nigga, like he didn't like
that shit, and maybe that ties back to that whole
like black criminals, anti blackness thing, like he didn't like
being kind of associated with that like his response is

(01:42:15):
like a little like the fuck, like nah, don't say that,
and then these bodyguards proceed to beat the shit out of.

Speaker 1 (01:42:24):
You don't see him hit him though, like he swings, Yeah,
but you don't see him. You don't see him commit
like acts of violence. You know, Yeah, I think so,
because like he's he's very much like this, very like
you know, noble like badass for a heart of gold, right,

(01:42:46):
who will who will harm himself to protect someone he
cares about. But this is the first time that you
see him lash out and you don't really see it,
but this is the first time that the movie shows
him really lash out at somebody, and ultimately it's the

(01:43:08):
start to you know, his death.

Speaker 3 (01:43:12):
Yeah, this is interesting, Yeah it does. Uh we see him.
Francis is like pretty fucked up. My guess is, like
he's acting very weird. Mike guess is he has like
a concussion or something because he got like they beat
him pretty severely.

Speaker 1 (01:43:31):
So they're all trying and they made they made they
made Michael watch it, you know, like he held his
head like.

Speaker 3 (01:43:39):
Look at it. That feels fucked up, like fucked up,
and that scenes in the trailer. I was like, is
that a cop doing that to him like that, like
that's what's happening in Toronto, Jesus Christ. So I think
he I think he has some sort of of like

(01:44:01):
some sort of concussion or something like that, which is
why he's acting a little bit odd. And yeah, they're
all trying to be like, hey man, you need to
get to the hospital. He eventually makes it to the barbershop.
The police come in and they're like, hey, there was
a fight, Well what happened to this guy? And he's like, uh, yeah,
he fell down, but he's good. And Francis is talking

(01:44:25):
back to the cops like he's white and he's like, yo,
I was like, remember them niggas on TV. They can't
call him brother, Like, don't get it twisted. And so
he's basically being verbally, you know, pretty verbally aggressive with

(01:44:45):
the police, which look, he's not wrong in what he's saying,
like fuck off, but at the same time, like cops
loves to be unbelievably offended by being disrespected by people
who because white people can talk to cops any old
fucking way, and I'm just like, oh crazy. So then

(01:45:08):
you know, they're like, look, you need to you need
to fucking relax. And then you know, he he flips
out and he like he's like gets in their face
and he sees one of the cops touches Jelly and
he says, like, don't touch him. Francis says, don't touch him,
and he like reaches, I guess, like to help Jelly,

(01:45:31):
and the other cop shoots, uh Francis and kills him
because that was his that was his boyfriend or significant
other or whatever, and he was very protective of him.
So and it's the first time you see him more
protective of someone else when his brother is around.

Speaker 4 (01:45:52):
I was just about to say that, I was gonna say, like,
you know, you would have thought if he if he
did die with his brother as a witness, it would
have been protecting his brother.

Speaker 5 (01:46:02):
Yeah, it was, but it was protecting the love.

Speaker 2 (01:46:06):
Of his life.

Speaker 3 (01:46:07):
Yeah. But just goes to show you that is in
and of itself, like that is a big part of
the lesson, is that you should protect the people that
you care about the most. And it's not that he
doesn't care about his brother, but he thought that his
you know, his boyfriend was in danger, in mortal danger,

(01:46:27):
and that is who he went to at the time,
which I think is a good by the way, I
think that's a good way of ending Francis's story. Is
that again, you know, sort of subverting what you thought
would happen, of like him rescuing Michael. It's not Michael, right, Yeah,
I thought I thought that was that was a cool

(01:46:48):
uh cool And.

Speaker 5 (01:46:51):
You know, I do wish you know, I'm sorry.

Speaker 4 (01:46:53):
I'm so glad we got to see him apologize to
his mother and we got that because it felt like
almost like a goodbye. I mean, I kind of it
kind of was, because he does that same night, but
when he says like, I'm so sorry for being a
shitty sun, for breaking your heart, for disappointing you, it's

(01:47:17):
just it's so and she and.

Speaker 5 (01:47:19):
She's like and she's like, you know, it's all right,
It's all right.

Speaker 4 (01:47:21):
And I remember in that moment, I was thinking, like,
oh my God, like like like keep him at home,
came home, because you just kind of felt that the
moment was coming. But I am, I guess glad we
got that. But I also thought it was really interesting,
like and you know, before he dies and before the
cops come and he says, he talks about how the

(01:47:45):
people around him are losers and that and then they'll
always be dreaming and how they're basically never gonna get anywhere.
And I was like, oh man, this is not like
he's like he's really crashing out because this is not
about you know, the peace people who have welcomed him
after he decided to leave home at and he left
home because he decided to drop out of school because

(01:48:07):
he decided to to uh To to curse out his
his his teacher and the way and before before his
life ends, he decides and saw his own community because
he saw that opportunity with uh At. The audition was
not just for Jelly, it was for him too. It

(01:48:27):
was for him to kind of prove that he can
really make something out of himself outside of his own environment. Right,
and the one time he hears no or his first
real obstacle in that in that in that journey, he
crashes out and then ends up dying because of it.

Speaker 5 (01:48:49):
That is so sad and so tragic.

Speaker 4 (01:48:52):
But you see, but you see, like unfortunately, young people
especially like maybe like boys or something like that, who
who grow up around those folks make decisions like that
all the time, life ending decisions.

Speaker 5 (01:49:05):
That's the real tragedy of it, because with a little
bit more.

Speaker 4 (01:49:10):
With even a little bit more emotional maturity and him
kind of really taking like a day even at night
to kind of calm down, he probably would have seen like, Okay,
we have another chance.

Speaker 1 (01:49:21):
This was not the end.

Speaker 3 (01:49:23):
You know, that sort of dire view of the world
when you're eighteen is incredibly silly, right, Like, you know,
people make it in their forties like you have, but
when you're eighteen, it feels like you get one shot
at this and that's it. Right now, it's understandable. Everybody

(01:49:44):
believes that, right, Yeah, there's nobody. You know, maybe people
are a little bit more enlightened now, I fucking doubt it,
but everybody believes it. You gotta there's only one turn,
one chance, brow and like if it doesn't work out,
then like, no, that's that's not true.

Speaker 4 (01:50:00):
But you know, and this is where I think it
comes where your environment really matters, because who has France
has been able to see make it to that to
that level of success. His father's not there, his his
mother has been we can probably guess, has been working
the same type of job for years now.

Speaker 5 (01:50:18):
And what and what did we see, like.

Speaker 4 (01:50:20):
The dinner when they were for Christmas, and she was like,
it's gonna be a little quiet this year. I can't
get y'all gifts, but I'm gonna get a new job
of the new year. So showing that she does not
have real great jobst ability. She's working over time trying
to provide for them. He hasn't seen anyone.

Speaker 5 (01:50:38):
Like make it.

Speaker 1 (01:50:40):
Yeah. Look, I've said it, and I've said it before
I've had my kids, and I say it emphatically now
that I do.

Speaker 3 (01:50:53):
You can't.

Speaker 1 (01:50:55):
You gotta let boys gotta be boys, Like you can't
rush them to adulthood, like being a man is not
you can't. You can't learn how to be a man
through on the job training, and like you can't raise
yourself to be like these are kids man like well
kids in the movie right like they they like you said,

(01:51:20):
they don't have examples. Uh and even all the male
figure not even just a dad man like you need
like a you need like a you need someone there,
anybody right at this point, you need anybody. I'm not
I'm not trying to downplay, you know, the hard work
that single parents do. I'm not trying to downplay the

(01:51:42):
hard work that you know, right, But I do feel
like you need a male influence in your life, even
if you come from like a home that has two moms. Uh,
you know, get some uncles uh to kind of help

(01:52:03):
you along, get a get a male teacher to help
you along, Like I know, it's I know for a
long time it was, I guess fashionable to just be like,
men ain't ship, and then that boomerangued back into men
saying women ain't ship. And no, I do think that

(01:52:25):
you need a balance. I do think you need both
I and especially for boys, right like, but they got
up there, but they also got to have the right
male influence, right like, there's and there's there's a ton
of male influence out there who just like treat women
like shit and it's it's an Ora boros man and

(01:52:48):
they don't know what that means. It's a snake eating
its own tail, right like you some like I follow
a lot of accounts that are male positive, but also
I follow a lot of male accounts that are female

(01:53:11):
positive because like, you need because you because you need that,
people need to people need to see that. Like men
are going around and they're saying, hey, like and when
I say they're female positive. They're not just like give
a woman three hundred dollars because right, No, they're calling

(01:53:35):
out No, they're they're they're they're female positive because they're
calling males out on their bullshit. Yeah, or by the way,
or calling women out on their bullshit or calling women
out on it, right, like you gotta yeah, man, like
this movie, if if anything, it illustrates why you know,

(01:53:56):
you can't rush kids to be adults because they don't.
They won't, they don't know what to do.

Speaker 3 (01:54:05):
No, I agree with almost everything you said. I'll push
back on one part of that, which is young girls
also need this, right, like it is deeply important to
have a balance of and again, to Micah's point, even
if you have two moms, we have two dads, you

(01:54:25):
still need a balance of both of those. I hate
this term, but like those energies, right, I hate male energy.
This is fucking stupid. But yeah, I fucking hate I
hate that term because it's it's it's just dumb.

Speaker 4 (01:54:40):
I would just say we because we all embody masks
and femine energy.

Speaker 1 (01:54:44):
Every person does, Yeah, every person, because you're made up
of men and women, like a kind of a combination
of a man and a woman.

Speaker 3 (01:54:52):
Yeah, so just you're a filthy relax. So that's why
mission impossible too, as all it wasn't. But the point
being that you need in order to function in the world,
you are going to interact with men, and you're going
to interact with women. If you want a daughter who

(01:55:13):
grows up, if she's straight and grows up to marry
a man who's not gonna treat her like dogshit, she's
got to have a father or some male figure to
be like to recognize what a good man is. If
you want your son to grow up to marry a
woman who's not gonna treat him like shit, is gonna
be respectful to him in all the other same ways,
he needs a mother who treats him in a way
that he knows what a woman is and how to

(01:55:36):
be treated and what a kind person is. You need that,
and boys need men to be like. Look, here's how
you act as a man in the world. And you
use your positions because you are going to be given
privileges that women are not going to be given, and
you need to understand how to use that to speak
up for people. Like one of the things I hate
is like that red pill narrative of like protection, protection,

(01:55:58):
but protection isn't just physical, right, you also protect people
who are marginalized, who are treated less than you. If
you're a white man, you got all the fucking power
in the world, so maybe stand up for people who don't. Right,
That's what protection should be used for, not just in
case of a bar fight type of logic, like there's
more to life than that.

Speaker 1 (01:56:20):
Right, because they always use that, They always use that
bullshit knowing that. It's like, it's like that scene in
Fight Club where Tyler Deurtan is like, I want you
to go out and pick a fight with somebody. Most
people don't want to fucking fight, bro, So you're not
going to be the one that's going to have to
get out there and do some protecting. But but you

(01:56:41):
gotta cook and clean every single day. Well, motherfucker, you
gotta fight somebody every day to protect me. How about that?

Speaker 3 (01:56:48):
How about how about it? Uh, if it's your first life,
you have to fight, you gotta fight, right, right.

Speaker 1 (01:56:55):
It's not like it's not like that scene in that
Spider Man cartune where Mary Jane jumps out a window
just to see if Spider Man with save them, save.

Speaker 3 (01:57:03):
Them, right, like.

Speaker 1 (01:57:09):
Right, like like what's going on? Like you're not you're
not fighting every day, but you want me to do
all lists every day? Like nah, you know that's bullshit,
that's bullshit, that.

Speaker 3 (01:57:17):
Is And so I think it's I think it is
has become and it should have always should have been
this way, but it is increasingly important for people to
understand that young girls and young boys they need both.

Speaker 4 (01:57:33):
And okaha, no, that's it, I'll say, Like I will
also add that I think as adults, it's really important
because because I think about that teacher right who told Francis,
oh your your your your shelves are crooked.

Speaker 5 (01:57:51):
And did you know that do you use a lever?

Speaker 4 (01:57:55):
And like that scene was just so cruel because here
you are a white man, a teacher, someone who is
who is who is charged with, you know, shaping these
minds and helping them learn life skills at the end
of the day, right, and here you are criticizing this

(01:58:16):
this young man, uh unnecessarily and in a way that's
that's not that's not productive, it's not it's not here
to help them get better. And here you are surprised
by his response. It's not not saying that that that
the response was appropriate, but neither was was your what's
your conduct? But there are a lot of adults who

(01:58:37):
hate young people, kids, teenagers and not, and not in
the sense of like, you know, because every every young
person is.

Speaker 5 (01:58:47):
Is annoying at some point, right because.

Speaker 4 (01:58:50):
Yeah, but but it's but it's like, but they they
have this such disdain for some for some young folks
because I think they see them and they and they're
they're almost jealous that of these kids that they have
an opportunity to make something of their lives and know
way that they never did. But also, at the same time,
as adults, you have to remember and I know this

(01:59:13):
sounds so like old uh in a way, but it's
like you have to remember that you were also the
fat age and remember that you're seeing things through a
full not just a fully formed brand, but through life
experience and you were lucky to be able to make
it through that experience and be relatively okay and.

Speaker 5 (01:59:33):
Mentally and somewhat mentally sound. And they're just starting.

Speaker 4 (01:59:36):
They don't even know how to really manage their emotions.
They don't know what they want to do yet, they
don't know how to how to express themselves and in
the healthiest way. And that's even with kids who come
from probably even great households, with partly more functioning households too.
But yet you're purposely working around kids who likely do
not come from that. And they're immigrant kids too, so

(01:59:57):
they're probably so they also have to assimilate.

Speaker 5 (01:59:59):
To that culture.

Speaker 4 (02:00:00):
It's just it's a it's just it's another point in
the movie that really shapes unfortunately Francis's life, his trajectory.
And it's really sad because it's because that's that's beyond
the parents. Like, I mean, parents can only do so much,
but they but once your kids go out into school
and they influenced by other adults, you know, you have.

Speaker 5 (02:00:23):
To content with that too. The kids have to content
with that as well.

Speaker 3 (02:00:26):
Yeah, well what did they say. Once your kids like sixteen,
they listen more to their friends than they do do
their parents. So that's why you you get sixteen years
to front load as much information and morality into your children,
and then for the most part, you're fucked. Yeah, and
then when they're like twenty, like you know what, you're
making a lot of good points really was interesting, but

(02:00:47):
you know, but you.

Speaker 4 (02:00:48):
Know, but like I said, you know, they never had
Francis get into a gang. I mean, he wasn't like,
you know, he he he was smart to not want
to do that. He had a he had a he
had a that he he wanted to get into music.
That's something a lot of people want to do. It's
just the way that it was channeled. And and France
has made some you know, France, Francis always seemed like

(02:01:12):
he like he was a hothead too, so he did
have to own own his own his actions there. But
his fatalistic view of the world turned out to be
pretty fucking fatal, which is ex said, really really tragic.
And Michael, on the other hand, yeah, he was in
the shadow of his brother. But you know you at

(02:01:35):
every turn where Michael was uh confronted with possibly being
with with the anaviolent situation, Michael's first was first reactions.

Speaker 5 (02:01:45):
To be like, hey, you know, let's let's not do this,
let's de escalate if we can.

Speaker 4 (02:01:49):
Okay, here's my headphones, and yeah, you're probably gonna beat
me up and I'll probably let you, uh or whatever.

Speaker 5 (02:01:55):
But that Michael was was the complete opposite in a
lot of ways.

Speaker 3 (02:02:02):
Yeah, one hundred percent agree. All right, I think that
is I think that is it for us. It's good
to be back. So we will be back next week
with another preview episode. Uh for episode to eighty seven.

Speaker 1 (02:02:17):
I believe so. Letter guys see you bye.

Speaker 3 (02:02:23):
Yeah yeah yeah

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Brother (REVIEW): Masculinity Done Right | Ep286

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Brother (REVIEW): Masculinity Done Right | Ep286