Black Cult Classics | Bonus Episode - Selective Ignorance with Mandii B

Episode Transcript
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Speaker 1 (00:00):
Hey, guys, welcome to another episode of Selective Ignorance. However,

(00:03):
before we get to this week's episode, I want to
remind you guys to purchase my book No Holds Barred,
a dual manifesto of sexual exploration and power. So feel
free to go to your local bookstores preferably queer owned,
black owned, or woman owned to support them, but also
just click the button on Amazon, Barnes and Nobles, or

(00:23):
wherever you read your books. Again. That is No Holds Barred,
a dual manifesto of sexual exploration and power, written by
yours truly and my co host of the Decisions Decisions podcasts, Weezy.
Make sure y'all get that. Now let's get to this
week's episode. This is Mandy B. Welcome to Selective Ignorance,
a production of The Black Effect Podcast Network and Iart Radio.

(00:44):
Y'all already know what time it is. Welcome to another
episode of Selective Ignorance with your girl, Mandy B and y'all.
This is the place where the facts are real, the
opinions are reckless sometimes, and for this episode this week,
the nostalgia is Hella black. Now listen, we love our classics,

(01:05):
will quote them. Memum and defend them like they're Oscar worthy.
But if we're being real, some of these films are
objectively terrible. That's right. We are getting into black cult
classics this week. How did we even make some of
these is what I'm gonna ask, But yet a lot
of us still adore them. Here's where it gets deeper. However,

(01:25):
over the past few decades, the way we're represented in film,
it's been interesting, to say the least, from the type
casting of our most talented actors to the fact that
some of our most celebrated characters are based on the
three archetypes. It's giving limited options and recycled troops. So
today we're asking why do we celebrate the mess? What
makes a movie a Black classic, and how much of

(01:47):
that nostalgia is covering up the fact that we might
be laughing at ourselves more than we think. Rob your
popcorn Gangs. It's kind of a solo episode this week,
and we are digging into black classic cult films and
it's going to be a cultural ride. Welcome guys to

(02:11):
another episode. Hey, hey, y'all already know I'm joined by
my producer, the Extraordinaries. I have a king with me
right next to me. Today. You're not in the you're
not behind the glass today.

Speaker 2 (02:25):
You got promoted today.

Speaker 1 (02:27):
Now you got promoted. That's crazy. We got Jason over
there live from from from Jersey, and we're getting into it.
I guess. So when y'all see me or hear me,
if you guys are watching or listening, when we do
these kind of solo episodes where it's just me and
my producers, we're really going to get into cultural topics,

(02:49):
list things that kind of allow all of us to
get to go off a little bit more and for
y'all to get to know why I chose these two
dope ass motherfuckers as my producers. How are you feeling today?

Speaker 3 (03:01):
King?

Speaker 4 (03:01):
Excellent? Excellent.

Speaker 5 (03:02):
Shout out to everybody that's tapping into the Selective Ignorance
podcast who will subscribed. Please I encourage you to tell
a friend, Tell a friend, this is not the malarkey
shit out there, just having great conversations and having discourse
along the way as we should, and still go out
to eat and have lunch and do whatever afterwards.

Speaker 1 (03:20):
I ain't gonna want you malarkey. Just made you sound
really really old, malarkey.

Speaker 6 (03:26):
I think that's like one of the old like Biden
word decades that the bid word.

Speaker 4 (03:32):
Will you prefer me to talk why in speech?

Speaker 3 (03:35):
No?

Speaker 1 (03:35):
No, no, no, no no. You know what's crazy about
you saying that? I feel myself saying type shit way
more than I want to. I'm not doing twin. No,
nobody is my twin first, but like, but like I'll
literally be talking either about business and stuff and I'm
literally saying type ship and I'm like, oh my god.

Speaker 5 (03:57):
And then I was we have to say that bridge
phrase between the statement or it's literally just.

Speaker 1 (04:04):
But I don't know why I'm saying type ship. And
then I realized, like y'all know, I like my little
wayans and I had to ignore that. My last little
boot that I was just talking to out on the
West Coast, he was calling me fine ship, and I'm like,
I don't like find ship like hate it. No, I
don't like find shit. First off, I'm not a fine

(04:25):
piece of ship. No, find ship is crazy, like ship
ain't fine.

Speaker 4 (04:31):
I digress.

Speaker 1 (04:32):
I digress it's crazy because I mean and we'll probably
talk about it this episode. Clearly there's been slanging things
that have been used throughout our Black film as well,
and so jive turkey is crazy.

Speaker 3 (04:49):
That's a good one all time.

Speaker 1 (04:51):
I mean, I mean, I think, I think for me,
we didn't really hear it in music. But if we
go into the films that were from like New York,
that's where we heard son kid be Like. We didn't
hear that otherwise outside of the film and television really
because we weren't hearing it even on like reality shows
and stuff like that. We only heard that type of

(05:12):
lingo be used in black films.

Speaker 5 (05:16):
Created it comes from the prisons, I want to say.
And then it transitioned into the streets.

Speaker 1 (05:22):
Okay, it became.

Speaker 4 (05:25):
The cool speech, so to speak. Now we call it, Oh,
what is it?

Speaker 3 (05:30):
A A V E?

Speaker 6 (05:31):
A What is that African American? African American banacular?

Speaker 1 (05:36):
What's the E?

Speaker 2 (05:37):
I earned my check today?

Speaker 1 (05:38):
But no, no, no, no, what's the part. I'm not gonna
it's just a V.

Speaker 4 (05:44):
No.

Speaker 1 (05:44):
I think it's a A V E. By the way,
if it's not, y'all ain't taking my mother.

Speaker 6 (05:49):
No.

Speaker 3 (05:50):
So the E is English for English.

Speaker 1 (05:54):
Okay, so you are missing a letter soonics Ebonics, I guess,
used to be what we called as.

Speaker 4 (06:01):
It was with Champagne ebonics, with yours.

Speaker 2 (06:06):
I guess though, diploma there you go.

Speaker 1 (06:09):
Oh my god, well, I guess then to start to
start off this conversation to see where we land on
our points and views and things. By the way, y'all
get ready to be mad. I don't know if you're
listening to us in the car, if you listen to
us at your workplace, if you got us, send your
headphones or not, be prepared to disagree with us. I
think that when we talk about these type of subject matters,

(06:31):
the reality is it is subjective at the end of
the day. So what I say, Bible and I'm pretty
sure I'm gonna disagree with this old head ass nigga
and this Puerto Rican on the motherfucker.

Speaker 4 (06:42):
I'm in between.

Speaker 1 (06:43):
What is in between?

Speaker 4 (06:44):
I'm og?

Speaker 1 (06:46):
But your og? You you you old school.

Speaker 4 (06:50):
But there you go in the middle, young og.

Speaker 1 (06:53):
A young og. Okay, I gotta do it. So then
let's start with all of us defining just so that
the listeners kind of know where we're coming from. What
makes a black classic. So, in terms of films, what
makes a movie an actual classic? To you, I'm gonna
throw it off to you a king first, because you're
actually the only full black person.

Speaker 3 (07:13):
Disgusting, privileges, privilegious.

Speaker 5 (07:18):
I hope that ship means something soon you know what's
going on. But anyway, what makes a Black Colt classic.
I think the anticipation, think the film delivering to the
expectation of the anticipation. I think who's in it, you know,
the actors. Let's let's take it if for example, Sinners. Yes,

(07:41):
we saw the anticipation by the casting. Who was on it.
That was the anticipation, right, it was like, oh ship,
Ryan Coogler, It's Michael B. Jordan's all these dope caster
of characters, right, and then we get to see it,
and then they gave us the idea that was all horror,
But it wasn't.

Speaker 4 (07:57):
It was historical. It was messaging.

Speaker 5 (08:00):
Is a lot of social commentary in it, and it
became something before I saw it. The reviews I saw
was people want to see it a second and third time.

Speaker 1 (08:08):
But you're saying this, but let's generalize it.

Speaker 7 (08:10):
We're not talking about centers here. We don't talk about
of what now. It sits in a place where I
just want to see it over and over and it's
now it's like yo, after four times, So I think
that that's.

Speaker 1 (08:22):
The I think, I think, But I think what you're
saying right now is unfair to the conversation at all.
The fact the Senate just came out. We we can't
even classify it as a classic just yet. It just
came out. So in terms of how you because we're
not going to be talking about centers today, were talking
probably Friday, ballet, Jews, love basketball.

Speaker 4 (08:38):
The subjectvies like.

Speaker 5 (08:40):
Music that you know is instant, that's why we call
it instant classic.

Speaker 1 (08:44):
I actually hate that. I hate that you're doing it.
We are talking about cold classics. So to me for
you to I hate I hate the label. I hate
the labeling actually right now, I hate the labeling of
calling ship a classic right now, Like there's been there's
been songs that nigga's like, oh it is gonna be
a classic, Nigga, no one's playing it a month later.

(09:06):
So I want okay, so you don't have a definition, basically, Okay,
hey you don't know. So I'm gonna go, Yeah, I'm
gonna go and set this up. I'm gonna set it
up so that we know what the hell we talking
about today. I will take one from you. I do
think a classic leads to whoever is featured in the film.

(09:27):
So I think knowing that we have those historical legends,
we have the Eddie Murphy's, we have the Denzel Washington's,
we have at this point the Angela Bassis, the Viola Davis. Like,
there's certain names that knowing that they're gonna be featured,
could lend it to be essentially a classic, and then
I will do cultural impact. I think cultural impact is

(09:48):
gonna be very big in the way that we we
look at this, and I know we're gonna break down
also the genres of them, because you have your your
romance ones like The Love Joe and the Love and
Basketball Is. Then you have your comedies like the Fridays.
You have your hood classics, the Minister Societies and Belly
and Juice and all those things. So to me, it's

(10:10):
gonna be cultural impact. It's gonna be replay value. I
think that's very important. I don't think you become a
classic without someone wanting to see it. It was so
funny because because even we know Christmas now they played
Friday after next or next Friday like every year, like

(10:30):
and the Baby Boy gets played. So I think replay
value is very important, and we're not gonna add it here,
but I do think soundtracks essentially lend heavily to keep
it like, yeah, maybe we'll get into soundtracks one day.
But I think the fact that you can sit here
and listen to certain songs and it makes you literally

(10:52):
think of the movie, I think that makes it. I
think that lends to the cultural impact of what makes
a classic. And then we'll get into the ones that
we believe are overhyped and maybe shouldn't have been a
cult classic, but I think they become classics only because
of who was in it, And so we'll kind of
do the full circle moment of why that is. Did

(11:13):
you agree or want to add on to anything that
I said, just so that we know what we're.

Speaker 3 (11:17):
Yeah, no, I think that's good.

Speaker 2 (11:19):
I think it's I think it's I think director matters.
I think casting matters.

Speaker 6 (11:23):
And then to a King's point, there's a messaging and
a language that it speaks to make it know that
it's like ours, and that's what makes like repeatability of
it right like and Friday, like you're watching it.

Speaker 2 (11:34):
It's super La shit, New jack City is New York shit.

Speaker 6 (11:37):
Like, there's like coded languages and messages that make it that,
you know, like it's an our film, and you know
to your point, like once it gets to like the
part we're watching it over and over and over again,
then it gains like that cult status.

Speaker 1 (11:50):
It's crazy because I didn't even consider the geographical aspect
of it, Like like I viewed la as Friday, I
viewed New York as there's so many films out of
their New Jack City. I would say New Jack City
a little bit, but that's a little older than Juice, right,

(12:10):
both of uptown.

Speaker 4 (12:11):
Yeah, I think you.

Speaker 5 (12:12):
Kind of give you a lens of what was happening
too during that time, Like even if we saw it,
I saw Juice first before I saw a New Jack City,
so it's like, oh, this has happened before. Yeah, essence
pre dates whatever's going on with Juice.

Speaker 1 (12:26):
And then I and then we'll get into I would
say I'd like to wrap up at the end where
not that I'm saying that, uh, color doesn't matter here,
but I'd like to know the black films that we
do believe is ours but transcended and became global global
things like I would like I would like maybe for
us to debate at the end, like is bad? It's

(12:48):
bad boys us? Or is it? I mean, clearly that's
a global sensation. You have.

Speaker 6 (12:53):
What's the one you want to talk about?

Speaker 2 (12:57):
That?

Speaker 4 (12:57):
Which one?

Speaker 1 (12:59):
Not which one? Malcolm xIC. Yeah, that's movies.

Speaker 4 (13:03):
That's a but uh you mean the questionable ones?

Speaker 1 (13:06):
No, no, no, the one that's uh he played the.

Speaker 3 (13:08):
Games, he played the American gangs.

Speaker 1 (13:10):
American games. So I do hold that for the n Jason,
if you could bring it back or training you know
what I mean. I want to know which ones kind
of transcended and becomes bigger than and And I say
that because even when we talk R and B, and
y'all get another episode about that too. When we talk
R and B, sometimes once the song gets too big,
people want to take it out of R and B

(13:31):
to make it pop. So I think that we do
that as well with some of our own films. So
where are we starting this conversation? Jason?

Speaker 3 (13:39):
Lead? So lead us to the watta Yeah. So, so
it's interesting, I think.

Speaker 6 (13:44):
So we're gonna talk about genres, right, Yeah, Like you
mentioned a little bit with like Hood films and Black Sultation.
It's funny because prior to the seventies, it used to
just be called race films.

Speaker 3 (13:57):
Oh, it was just called it was just called race films.

Speaker 6 (14:00):
And it was very on the nose, written by black people,
cast by black people, for black people, right, And that's
where you got like in the heat of the night
early like Sydney Partier movies twenties, thirties, forties.

Speaker 2 (14:12):
Obviously he was in the sixties.

Speaker 1 (14:13):
He was in the sixties.

Speaker 6 (14:14):
Yeah, yeah, but I felt like it was like very direct,
this is what it is. And then now it changes
and there's a lot a lot of different names for it, right,
which we'll get into it in the conversation.

Speaker 1 (14:23):
But so we want to go straight to the seventies
and eighties first, we want to start.

Speaker 3 (14:27):
Yeause, I think that's I think that's where it started.

Speaker 6 (14:29):
I finact Blax's plotation is kind of where it started.
And then there's a clip. Have either one of y'all
seen Is It Black Enough for You? The Netflix documentary? No,
So it's his brother. He's a film critic. His name
is Elvis Mitchell, right, longtime film critic. Does his first
actual film. This documentary came out in twenty twenty two.

(14:49):
It was called Is It Black Enough for You? And
it's exploring black plotation era and why it's important.

Speaker 2 (14:54):
But I have this clip. We could play it or not.

Speaker 1 (14:56):
Yeah, no, go ahead and play it.

Speaker 6 (14:58):
So he's basically playing there's no genres. If it's a
black film, it's a black film.

Speaker 1 (15:02):
So I'm gonna say, oh, okay, got let's do it.

Speaker 8 (15:07):
We said black film itself is a genre. So there
is no black musical. It's a black film. There is
no black romantic comedy. It's a black film. There is
no black fantasy film. It's a black film. So when
these films fail, they don't feel as genre films. They
fail it's a black film, which is to say, oh, well,
nobody want to see that black film. I guess they

(15:28):
don't want to see black films anymore. And there was
an executive once said to me, yeah, they don't want
to black still want to see themselves in historical jlblems.
And I said, based on what how many black people?
You know?

Speaker 1 (15:42):
Oh okay? Hearing that, yes and no, And I guess
even because so even at the top of the year,
right like knowing we went to see one of them
days Kiki Palmer and Sis. They did. They classified that
it was a comedy essentially right. But I think we

(16:02):
as a culture leaned into it as a black film
because they had two black leads. But it was still
a comedy, and when they looked at the numbers and
what it brought, it was one of the highest grossing
comedies of this year. They didn't say black comedies of
this year. I think we do that for ourselves actually,
to more so distinguish what films are for us and

(16:23):
what are not, because if we if we discussed Centers
as well, it was a horror film, which I think
we leaned into calling it even a black horror, because
we don't have we I think we never had the
opportunity a to be in horror films because we were
always the first one to die in any sort of
that genre. But maybe he had a point that we

(16:45):
didn't really want to see ourselves in those certain genres either.
Like it wasn't until recently that.

Speaker 6 (16:50):
We even started saying I think he was talking about
the whites. When he was saying that.

Speaker 1 (16:54):
You think he was talking about the whites, But I
think we do that.

Speaker 2 (16:58):
To us.

Speaker 4 (16:59):
I don't know, it's too so what do you think
the first the first part.

Speaker 6 (17:03):
Of it, But let's go to the first part, realid,
because you said it the Kiki par movie is do
you you it like they're just it's a black movie.
It's not a black comedy, it's a black If it's
a black cast, it's a black movie.

Speaker 1 (17:13):
If it's a black cast, it's a black movie. Do
I agree with that? And I can only say no
because I don't think Bad Boys is a black movie.

Speaker 3 (17:25):
So that's an interesting one.

Speaker 1 (17:26):
You know what I mean, like so and so, I
don't know if it's the global reach.

Speaker 6 (17:30):
But also okay, no question about the Bad So the
Bad Boys and I think we'll get into that right
next to The Bad Boys was written.

Speaker 2 (17:37):
For two white actors.

Speaker 3 (17:38):
It was I know and so and so that's just
black leads.

Speaker 6 (17:42):
But it wasn't necessarily like black cast, black director. It
wasn't the whole thing like the race movie kind of stuff.
It was okay, okay, so this is this is all
white people, and we just so happened to put Will
Smith because he was a movie star mark Because.

Speaker 1 (17:54):
So this is gonna sound kind of problematic, right, So,
I mean with dating an actor, I've talked to mini
actors and and here like roles and I know, we
just saw Woody McCain talk about being type cast as
a criminal and things like that. This is gonna sound
maybe a bit problematic. Maybe we only can classify something
as a black film if it is literally written with

(18:16):
N word use and a and written for black factors.
Because because because when you think of characters that could
be colorless, right like Hancock, you had Will Smith, and
even though he's a black actor, that's not a black
film because any color actor could have played that. I think,
I think even anything historical, like if we go to

(18:37):
American Gangster, it was leaning into a black character. But
I also maybe don't view that as a black film
because it was something historical Judas and the Black Messiah
that I even consider.

Speaker 6 (18:48):
It's no, it's about Hampton.

Speaker 1 (18:53):
It's about Fredhampton, but it's a historical thing that took place,
and it wasn't really for us, like it was for
a global aspects of something that happened. Hold on something
that happened historically. I would even I would even want
to remove it. Malcolm X. Honestly too, I know you
said it earlier, hold On, hold on, shut the fuck up.

(19:13):
I would even say, Malcolm X, anything in terms of
black history, when put into film, I don't necessarily believe
that that makes it a black film or a cult classic.
I don't think. I think because it's something that is
dictating something that is historically true, and this is the
representation in oftentimes I want you to look it up.
A lot of those films are directed by white people.

Speaker 2 (19:36):
These two are not.

Speaker 4 (19:36):
These two or not those.

Speaker 1 (19:38):
Two are not. But first off, too, fred Hampton. Fred
Hampton wasn't even taught to us in black history growing up.
A lot of us were introduced to the Black Panthers
in Chicago and Fred Hampton that story through the film.
So what I'm saying is when we think about and
by the way, it depends which Malcolm X movie, there's
like three or four in bitches, So I know not
all of them were directed by knowledge. I acknowledge.

Speaker 4 (20:03):
You mentioned.

Speaker 5 (20:04):
You mentioned a few things though you said that one
education part of it. He said that you wasn't taught
about Fred Hampton in school. They would never teach about
any type of black panther.

Speaker 1 (20:14):
Uh, but I knew about the Black Panthers, but they're not.

Speaker 5 (20:17):
But they're not teaching it from the context of how
or given us the representation of what it was, the purpose.
We always hear about it as a radical organization first
and foremost, and then and then everything else after that.
I think when you hearing you speak about it, I
hear what rings in my mind is fooble for us,

(20:38):
by us, And I just hear for us, by us,
and for those who want to participate, welcome. But we
can't deny the intention behind making these movies. It's for
us to show us, you know, from a historical standpoint,
how great we are, how great we are, and our thinking,
our writing, just telling these stories. So I think that

(20:58):
that's why we get categorize in it's a black film
that black people, just like the super Bowl. When you
look at the outcry from different news news networks, they
didn't understand what Kendrick did. But all I saw with
the numbers, everybody else is watching it, right, they're curious
and they're like it. But the people who didn't understand it,

(21:19):
for whatever reason, they were like, I don't understand.

Speaker 4 (21:21):
This because it was really for us, for us, by us.

Speaker 1 (21:24):
So man, by the way, I do want to let
you know, Yes, I know you only want to We're
only you only want to acknowledge. Spike Lee but the
first Malcolm X film that was released in nineteen seventy
two was directed and written by a white screenwriter and
film maker, Arnold Pearl.

Speaker 2 (21:45):
Okay, yeah, I.

Speaker 4 (21:45):
Never heard of it. But no, I've never heard of it.

Speaker 1 (21:49):
That is another Malcolm X movie. I know we want
to acknowledge only Denzel Malcolm.

Speaker 3 (21:53):
We'll watch I'm a Crystaler for Columbus that movie. Man,
do you have a question? You were starting to cook though,
you were starting to cook when you were.

Speaker 6 (22:00):
Talking about Hancock and different actors who they could play
and and what makes it and we kind of got
the rail with the Malcolm X of it all, but
you were starting to cook about the idea of if
it's written by uh black writers cash but black you
were about to go into like yes.

Speaker 1 (22:17):
So so here's the thing. We can consider certain actors
because I know we'll get into our actress too. Certain
actors go beyond the quote unquote black film genre because
they are considered and this is going to sound crazy,
as black actors colorless actors, so their role is not

(22:38):
dependent on them being black. So we can we can
say actors like that would be.

Speaker 4 (22:43):
Freeman, Morgan.

Speaker 3 (22:45):
Freeman.

Speaker 1 (22:46):
Denzel is a colorless actor. I would say, I wouldn't
even say Martin Lawrence, but Will Smith is a colorless actor,
and you have these guys that don't play. Wesley Snipe
could could be considered that even though yeah he has
a ring.

Speaker 3 (23:04):
He had he had an eighteen months fan when he
was there.

Speaker 1 (23:06):
But when I say colorless actors, it's they could play
a role that they could, They could, they can. Jackson, Samuel.

Speaker 5 (23:15):
Absolutely, he got the most. Does he have hold of
record for the most film feature films?

Speaker 1 (23:22):
Does he not always play those? Hold on? Does? Okay?
Does Samuel Jackson he does be playing?

Speaker 3 (23:29):
Don't let him?

Speaker 1 (23:31):
Does Samuel Jackson not only play a coon or a
super black and black man.

Speaker 4 (23:39):
Like Sammy Jackson?

Speaker 1 (23:41):
Yes, I saw it like like, first off, the fact
that you just put the D in Django Nigga, the
D is silent. The fact that you just said did Jango, which,
by the way, lets be very clear tricky because definitely
I think a black film, but that's quit In Tarantino.

Speaker 3 (23:58):
So yeah, I think it's a white and I think
it's for you think you think you think.

Speaker 1 (24:04):
Jango was for white people? With the with the amount
I just recently watched it I think Jango might have
the most nigga counts in any film I've ever seen, Like,
Django may have more more nigga counts than Belly. Like like,
this is where I said the North wasn't really using
the in word in their films. They were using the
yo son yo be yo this yo my guy. No,

(24:25):
they weren't saying nigga like that.

Speaker 4 (24:27):
You think hip hop has something to do the music
of hip hop has something to.

Speaker 5 (24:30):
Do with the the overuse or more usage of it,
I'm not gonna lie.

Speaker 1 (24:35):
Oh yeah, I think I think hip hop uses it
a lot more than films. But I think that black
films steer clear of the use of the in word
as well for global like to become maybe global things.
Because you know what else is crazy. I've been watching
all these old films lately because I've been trying to
get into my script writing back. Even if you go
watch like Now, these is gonna be the real black

(24:57):
cult classics that I think a terrible movies. But if
you watch like the two can play that game. If
you watch the even like a Love Jones, Love and Basketball,
Poetic Justice, things like that, all of those films, even
those are black ass films, and I think they were
made for us, not really. I'm sure they would have

(25:19):
liked to be bigger than they were, but they're kept
to just us. The usage of black language wasn't really
there either, Like it's so crazy how much more. Yeah,
we could say hip hop has an influence essentially when
we get into like the Fridays, those those type of movies,
but they weren't using the inWORD. And maybe I could
do like a chet gpt what black film uses the

(25:42):
in word the most? Niga? I think Django might literally
use the inn word more than any of our black holes.

Speaker 3 (25:47):
But that's that's that's that's that's.

Speaker 6 (25:49):
Spike Lee's whole beef with Quentin Tarantino that he feels
like he always puts it into a movie.

Speaker 1 (25:53):
I see, you know what I mean, what other film
did he do that with?

Speaker 6 (25:59):
I think Jackie Brown maybe obviously there's fiction or Samuel L.

Speaker 2 (26:05):
Jackson's doing it.

Speaker 3 (26:06):
Jangle was obviously like Jango.

Speaker 1 (26:08):
Jango had Jango had Leonardo saying nigga, okay, like it
had like I think every white character got an in word.

Speaker 4 (26:16):
But then.

Speaker 1 (26:19):
They got what I would have got. I would have
liked to know what that set looked like because they
had no crackers flying with the inward in that movie.

Speaker 5 (26:26):
I was like, but would that movie have been the
movie that we get without the emphasis of that word.

Speaker 1 (26:33):
Maybe not. And I mean clearly they did it purposely,
but I think it's for white people.

Speaker 6 (26:38):
It did to make white people feel uncomfortable because it
was a slave movie.

Speaker 1 (26:42):
It was a slave movie.

Speaker 3 (26:43):
It was the category we'll get in chill.

Speaker 1 (26:46):
It was a slave movie.

Speaker 3 (26:47):
But yeah, listen, some John category's some job.

Speaker 1 (26:50):
Let's let's debate a little thoughts.

Speaker 6 (26:52):
I think this one maybe just a quick stick are towing.
I don't know how far how long we'll stay into it.
But blax quotation obviously, like I mentioned early here, there's
that film, There's a Black Enough four.

Speaker 2 (27:03):
You talks a lot about it.

Speaker 6 (27:04):
So black flotation it's really kind of taking the history
and legacy of race films, but then adding the black
power movement towards it. Right, And so this is where
you get a lot of movies where black cast members
or the male or women or the leads they're taking
out whitey. That's where you hear like the turn whitey
for the first time or the man right like that was.

Speaker 2 (27:24):
Always like the villain in the movie.

Speaker 6 (27:26):
That's where you get like Fred Williamson and Black Caesar,
Superfly with Max Julian, you get Pam Grid.

Speaker 2 (27:34):
And Foxy Brown and Coffee.

Speaker 6 (27:37):
I feel like with theirs, if you if you want,
if you didn't have the context to watch it at
the time, you may be thinking that these are movies
that are kind of laughable, but like most.

Speaker 1 (27:50):
Of them were placed into the comedy genre. Those are
I go hold you as soon as we got to Black,
Black Dotation, Black Jesus Christ.

Speaker 6 (28:02):
And by the way, I'm thinking of well recent well.

Speaker 1 (28:06):
If you even want to consider the recent ones, maybe
in the last two decades, like you have the Dolomite
with who was Dolomite? That was uh was that Eddie Murphy?

Speaker 6 (28:15):
Yeah, but but that was Eddie Eddie Murphy's like it
was a comedic homage to like the Rudy Ray Moore.

Speaker 1 (28:21):
Well, then you also got like Undercover Brother with Eddie Griffin, right,
And so for me, I think.

Speaker 6 (28:28):
But I will say, but I think those are spoofs
more than Black Plotation, Like those are like Wayne's Brothers spoof.

Speaker 1 (28:34):
I hate these films. These are I think are if
we lean into like just the stereotypes, like I think
this shows women is just being these overly sexual beings.
I feel like it shows the men is pimps, and
like it literally to me is is a is an

(28:54):
indication of pimp and whole culture essentially for us. And
so the stereotype said I think I always see in
these types of films from the seventies. I hate it.
I think it makes us look corny, it makes its cheesy.
It makes also the writing is also the worst for
if these are films written for us, created by us,

(29:16):
I think the dialogue is fucking so rudimentary. I don't
even want to watch it.

Speaker 4 (29:19):
Like I would, have you ever seen Koli high before koly?

Speaker 5 (29:22):
How's a good one if you haven't won a good one?
My dad used to I remember I watched Uptown Saturday night.
I thought that as a kid, I was like, oh,
this ship is fire. I never really was.

Speaker 4 (29:34):
A fan of the Shaft and me neither. Maybe I
respect it, but I just that wasn't my entry.

Speaker 5 (29:42):
But I would to your point, I would definitely look
at those I think you have some.

Speaker 1 (29:46):
Of all the films that we could consider cult classics
like and we'll get into the stereotypes and clearly all
the different genres. This is my least favorite genre.

Speaker 6 (29:54):
So I wanted to use the stereotypes to then flip
it to because we're a little young for that category.
But so then the eighties, right, and then you have
the eighties were largely dominated by Eddie Murphy and just
keeping like stereotypes of mind in the back of your head.
He started a lot of movies that were big that
were written for white people. So you have like Beverly Hills,

(30:15):
Cop Trading Places, forty eight hours and so, and you
go back and watch those and a lot of what
you're saying about black exploitation, I feel about the Eddie
Murphy movies total writing stereotypes. But he was just such
a fucking star, and he was so talented that he
made these movies that were probably really bad cult classics

(30:35):
because we're rewatching it for him, you know, a cult classic.

Speaker 1 (30:39):
Oh, y'all gonna get on me, y'all gonna get on me.
And it's fine, But only could we talk about Eddie
Murphy coming to America.

Speaker 4 (30:49):
What are you about to say though, the first one
or the second one?

Speaker 1 (30:52):
No one acknowledges the second The second one did not happen.
They thought that at exactly yeah, that was that Christopher Columbus.
So so Coming to America is one of those films
that absolutely is a cult classic. It shows up on
TV every uh what Thanksgiving or Christmas. It's it's something

(31:13):
that everyone watches. It's things, it's mimable, good morning, my
neighbor is like, it's you know, people know the lines
from it. Hated it, hated it even watched it recently.
I think to me even storyline plot was the script
was now you gotta take a break. Why oh, now

(31:34):
you leave it? Jason his camera, I am not going
to be a part. I think that it's one of
the films that are pedestal that if you watch it
again today, so that is I hate it. But also
to be too, I do think that that came from
an era and if you watch first on the Call Sheet,

(31:56):
which is a documentary recently from from the eighties lead
into the nineties, there were so many black black actors
that didn't think that they had a chance in hell
because that's the era of all the comedians getting this place.
So you had Bill Cosby, who even at the time
was in his prime. He got into the television aspects

(32:16):
of it. But you had Eddie Murphy in the films,
and then we saw even in the early nineties is
when we started being introduced to Martin Lawrence having his
own ship. We had Jamie Fox, we had Steve Harvey.
At a certain point in in our film filmography, comedians
were getting those looks before actors were. And it's why

(32:37):
we we waited until we got the Denzel's, we got
the who's Who's there?

Speaker 6 (32:43):
Making a good point because evenel started in TV right
like I think in the eighties, like comedians were running it,
and so they were running.

Speaker 2 (32:52):
They had to get TV work, But.

Speaker 5 (32:53):
That was that was the entry point because exactly a
black actor still had the hoops and had to go
through hoops and bounds just to get seen and get
the roles. Now it's different, the game is open, but
before they had to struggle. And there's a piece that
I want to add in here with Norman Lear with
all of the the shows that he directed, Jefferson, The Jeffersons,

(33:18):
Good Times, Archie Bunker, even tying in the Jeffersons with
actually Bunker from a societal social commentary, you had the
Italian family and then.

Speaker 4 (33:26):
The the N word, you know what I mean. But
all of that stuff I think plays into what you said.

Speaker 5 (33:33):
All of the comedians Red Fox, What was George Sherman
Hemsley comedians Red Fox?

Speaker 1 (33:41):
So then I think we know that these okay, sixties, seventies, eighties.
I think, however, we're cult classic essentially was born, and
I want to make sure we get into the nineties
because the nineties is where we actually got to have
essentially full black cast. This is where women were were

(34:01):
on film, the same as Mannats. When we got away
from the comedians and the mega superstars and we started
getting the vivocate Foxes, we started getting the Morris Chestnuts.
We started having our own actors that, unfortunately, I also say,
became a detriment to their careers because they were that's
all they were do.

Speaker 3 (34:19):
Y'all think Morris Chestnut is a good actor.

Speaker 1 (34:21):
No, And now that I'm older, and maybe because everyone
has veneers, I wish he would have got his teeth
straightened early. Maybe that gave him character. But when I
look at Moriens Chestnut bothers me. He's not good at all.
He reminds me of Okay, y'all know, Well, maybe y'all
don't know if y'all knew, if y'all are new here,
if y'all are new here. I think that l O

(34:44):
cool J looks like a thumb, like I never thought
he was really that sexy. So he does the same
shit that Morris Chestnut does, though it's the lick lip
and shit, bro what presence the fact that also also
the fact shout out to the fact that his double
is Charlemagne the guy like I don't know how boys

(35:04):
just nut got all of this like love like he
was not the best looking things and sliced bread.

Speaker 2 (35:10):
We look aunties think the young.

Speaker 1 (35:13):
Well, let's be also very clear because I want to
make sure I hold credence to the fact that I
have to save smoke for the light skin niggas more.

Speaker 4 (35:21):
Damn it sucks.

Speaker 1 (35:23):
He sucked into Tyler Perry film and I love what's
the ship criminal Minds? Baby girl like no he like.

Speaker 5 (35:34):
Probably he has on on on Criminal Minds.

Speaker 4 (35:40):
He owned that role. I can't see another person playing in.

Speaker 1 (35:42):
That role because for for I guess majority, they look attractive.
So I think that that's another thing that maybe dumbed
down criteria. By the way, no, no, and it's not mine.
It's not mine either. But I do think unfortunately that's
where we got the range of a lot of mediocre
because I do think for a lot of our films,

(36:03):
they leaned into looks heavily first, which is why we
had the Lisa Rays, the Vivac Fox, the Sonilathans, and
so then I ended up transcending the quality.

Speaker 3 (36:13):
What are you talking about?

Speaker 2 (36:14):
I love looking at them on screen.

Speaker 4 (36:18):
See what I have presence.

Speaker 1 (36:20):
Yeah, but so and so I do think that that
leads to where when you watch a lot of these
films today, it's like who the range? Where is it?
It's not really there, which is why we can also
remove the Angela Bassetts, who's transcended with her acting abilities,
and the Viola Davises and things like that. But I

(36:42):
think for when we really lean into the black cult classics,
if you are thirty five plus and go back and
watch it today away from your thirteen year old, seventeen
year old, twenty one year old vision, it's like, whoa,
this is the movie?

Speaker 3 (36:59):
I like.

Speaker 1 (37:00):
I do that with Love and Basketball, terrible Love and
Basketball today. Mind you, you don't even know that was
a Christmas gift for me growing up, I said, Mom,
I want to love in Basketball DVD. I had like
the poster on my wall. I thought that that was
the type of love I wanted in my life. I
go back to watching it, terrible, terrible. Want to say,

(37:27):
so can we lean into.

Speaker 4 (37:31):
Do you think you have impact?

Speaker 1 (37:34):
I think it had impact for the time that it released,
like to be a fair even currently watching and I
know it's a it's TV, so I don't want to
go into too much of the comparison. Forever was written
with more, with more emotion and dialogue and plot than
love and basketball. Love and Basketball. Also for the people

(37:55):
that you liked when you go back and watch it
as an adult, Toxic, he was terrible, Q he wasn't
even that great of a niggle. Then Tyra Banks comes
in love that she was in it. She can't act
for shit. Then Sonnai Lathan was really like lean and
I don't know. I think when you go back and
watch this as an adult, it's like, why did I

(38:18):
like it so much? And I think that that's what
we do to a lot of our classics. When you
go back and watch it as an adult, you're looking
at it from a viewpoint of you want to be entertained,
but you're also looking more at the storyline and it's like, Ooh,
this sucks. The acting ain't good. The quality of this
is not what I remember it to be. And it
might be because back when we labeled them classics, we

(38:41):
were just excited to see.

Speaker 4 (38:42):
Us right because we gave we gave what grace?

Speaker 1 (38:47):
Why do you want to invite that hole to god?

Speaker 3 (38:50):
I saw her sneaking up behind. I saw her question.

Speaker 1 (38:54):
Maybe that's what it is.

Speaker 3 (38:55):
Does a cult classic have to be good? M because
with the about you're talking about the.

Speaker 6 (39:01):
Quality, like, I'll watch I'll watch Paper Soldiers anytime it
comes on. I don't think it's a good movie, but
I think I do think it's a black classic comedy.

Speaker 1 (39:11):
Does does a classic have to be good to be
a classic?

Speaker 2 (39:16):
At classic?

Speaker 1 (39:17):
You know what I mean? I mean some nicks they
never left, they block, so maybe it's good to them,
you know what I mean? Maybe it's good to them
once you become world traveled and stuff, and you know,
you watch more outside the genre. No, I think. I
think then maybe that is what I'm doing, and maybe
this is the half white to me. Maybe maybe it's

(39:38):
coming out that I would like to see better from
us essentially, and so when I go back and look
at it, I believe we could do better. And so
knowing something we have, no we've been I mean clearly, yes, centners,
you know what I mean.

Speaker 3 (39:50):
Clearly hold on y'all, y'allo, go on ahead, y'all in
twenty twenty five.

Speaker 1 (39:53):
Yeah, yeah, we're back in to night.

Speaker 3 (39:55):
Okay.

Speaker 1 (39:55):
So then I would compare it then to the major
films of the nineties, like and what were So then
we can talk about bad boys now.

Speaker 6 (40:04):
So nineties well them, But nineties nineties is when let's
say representation, there was a temporary reprieve where Hollywood was
giving black folks representation. There's the hood films, I would say,
everything started with boys in the Hood. Then there's the
love films obviously, you know, Loving Basketball, Love Jones. Let's

(40:24):
I want to I want to debate which had greater
impact for both those nineties hood films or the nineties
love films. I'm just gonna read some hood films just
to get y'all quick. Let's do a speed round, quick takes.

Speaker 1 (40:37):
Okay, hood films, Okay, you do hood films. And I
got some other things that I want to add to it.

Speaker 2 (40:44):
Okay, boys in the hood, Okay called classic.

Speaker 3 (40:46):
Yeah, nay, y'all like it.

Speaker 6 (40:47):
Thumbs up, thumbs down all the way up, yep, all right,
menace to society yep, yes, all right. Uh New Jak City, yes, yep, juice, yes,
south Central.

Speaker 1 (41:01):
See when you started getting into these like.

Speaker 4 (41:06):
But no, it's no.

Speaker 5 (41:07):
Well, first off, but that was my trip to LA
before I got to actually got to l A. I
thought it wasctly exactly what you said about Harlem. I
thought that's what the depiction of Compton, LA was.

Speaker 1 (41:21):
I think for me though, once we started leaning into
these becoming cult classics because of the rappers, it's like, eh,
like you know what I mean, I think it took
it down for me. Like I think because Tupac was
so legendary, is why we associate that film as being
a cult classic. Nahs And you know, well.

Speaker 5 (41:41):
No, because the narrative when Belly came out was that
people were hating because it was rappers on it. But
then as time progressed, everybody's the memes Belly's a classic,
and I'm like, well, the same people that was fifteen
years younger. It was like, oh no, I just can't
Act and they're quoting DMX, they're quoting The Banana, the

(42:04):
Method Man, Nebraska, you know all that ship.

Speaker 1 (42:07):
I can't wait till we say which one had the
most impact because I have I want to know y'all
thoughts on it.

Speaker 6 (42:12):
Okay, So now, quick, quick, quick, love movies stumped up
right now, I just want to put them out there
so our audience those kind of movies we're talking about.

Speaker 2 (42:18):
So we mentioned Love and Basketball.

Speaker 1 (42:21):
Even though technically that came out in two thousand. We
have Love Jones, we have Waiting to excel. How Stella
got a groove back? Poetic Justice was three yes, yes, okay,
and then we got it.

Speaker 3 (42:33):
We got a yeah at ak you heard that.

Speaker 1 (42:36):
I want I want to add in here two more
genres before we pick uh. In comedy, you had house Party, Boomerang, Friday,
The Natty Professor, and Life. And then there was also
considered music dancing culture genre where you had the five heartbeats,
baps c before why Why do Fools Fall in Love?

(42:57):
And then of course you also have the biopics and
historical Malcolm X, What's Love Got to do with It?
Panther and the Hurricane. So of the genres and i'd
like for y'all sitting in your seats, but are those
nineties ones? These are all nineties. Everything I just said
was nineties. So the only one that snuck in from
the two thousands that we're adding in here is love
and basketball. So we have urban dramas and coming of age,

(43:20):
which was the Boys in the Hood, Minister Society Hood ones.
We have the biopics and historical we have romance and dramedy,
comedy and music and dance. Which one do you guys
think of these genres had the biggest biggest impact on
where we now view either not only black films and
cult classics, but for black films excelling now into the

(43:43):
two thousands.

Speaker 2 (43:44):
I say love films.

Speaker 6 (43:47):
I like the Hood ones myself personally, but I feel
like a lot of those actors and actresses from those
love films in the nineties are still working today actively,
So I agree.

Speaker 1 (43:57):
I like your point. I disagree with the common with
the category, and this is gonna make me sound like
a hypocrite, but that's fine, okay. By the way, I
think the the Hood movies were the worst. Uh hated them,
not hated them like that, But don't think that they
excelled us as actors getting into the space as stereotypes,

(44:18):
specifically in the nineties about what what what we were,
especially with the rise of hip hop.

Speaker 5 (44:23):
But remember they were doing it. They were showing a
lens of the communities that they were. It wasn't just like, Okay,
we're gonna make these scripts based on nothingness. These these
were elements that actually was in real time.

Speaker 1 (44:34):
No, they were. They were And so that's why y'all
are gonna hate my choice in this because I think
that they could be considered colorless essentially. But and they
also had the comedians. I think, I think comedy and
what we saw in the nineties from comedy mind you. Yeah,
there was also a comedic element even though it was

(44:55):
considered action. I think with bad Boys lights, it's still
like incredible and I think and I think allowed people
to take a series even Nutty Professor. Let's be very clear,
Fantastic was fantastic. And I want to add in Doctor
Doolittle in here too, But I don't want to give
Eddie Murphy that much credit because I just said that
Coming to America was ass but also Friday, where it

(45:19):
outed the hood element into it a little bit, but
then you saw a little bit more. I think Boomerang
and House Party as well. You can't go like I
think that run between High between ninety and ninety eight ninety,
like that whole nineties run of comedy I think was
able to accelerate beyond. I will say, though you're right
with romance, those are whatever for whatever reason. The ones

(45:44):
I consider cult classics and that are great, and that
the actors in most of those films are still acting
today and still present today. And I think Birth the
Real like the Angela Bascids, the I mean Sonata and
put a high up there.

Speaker 5 (46:01):
But I don't know that other non non black folks
are watching these movies today.

Speaker 1 (46:08):
I think I think Life. I think non black people
are watching Life today. Nettie Professor, doctor Doolittle. House Party
just got to remake. To me, I mean, okay, I'm
gonna I mean, I'm not acknowledging it. There's nothing but influences,
but it did you know what's crazy? You know, you
know it's crazy though to be fair, and we're not

(46:29):
gonna bring the whites too much into this, but I
would say that is specifically why the romance portion of
this is why I think all of these are co classics.
I think the cultural impact and how we view love
and how we are able to see ourselves with emotion,
with passion, with things that you know, we're not looking

(46:52):
at guns, We're looking at like real life situations and love.
I think it's why people are really loving forever right
now because we haven't seen that in Soular. That's why
I think the romance and dramedy I align with you
kind of then, Jason on this, I think that that had.

Speaker 3 (47:06):
That's one of the cast of Love Jones, And.

Speaker 1 (47:09):
Look at the cast of how Sella Got a Groove Back.
Oh no, I'm thinking of writing to excel. First off,
Nia Long is still yeah, I'm not gonna lie. You're right,
You're right, You're right. Romance and dramedy I think had
the biggest impact of all of these genres for where
black films are, and I think I think romance and

(47:31):
the hood ones would lean most into being cult classics
because they are for us, for us, by us. Essentially.

Speaker 5 (47:44):
What about when you think about the best Man too, right,
they converted that into.

Speaker 1 (47:47):
The Man the Wood, Yeah, Wood, I know the it
doesn't get as much. I've had people don't really. But
what's also crazy about this? I will say during this time,
my other problem would be, and of course I want
black actress to work. If you like, do the one,

(48:09):
if you do, too, could play that game if you do.

Speaker 3 (48:13):
Uh.

Speaker 1 (48:13):
There's a couple other ones where Nigga they rotated the
same actors all deliver Us from Eva like it was
the same actors and all these films, and it's like
you had to remember that this wasn't a sequel or
this wasn't a prequel, because this is a whole different story.
They're different characters, but they played a lot of the
same people as well. I will say I just recently

(48:38):
watched Waiting to Excel, Oh, which, by the way, one
that's not on here, which I want to say, is
one of the biggest cult classics for us soul food.

Speaker 3 (48:51):
Soul food.

Speaker 1 (48:52):
Soul food was not on my list. It's on your
life when I say soul food, and that was not
even romance. Shout out to George Tillman and create like
directed by a black filmmaker. I also will say, I
don't think I don't even think I was, and maybe
because I'm young, clearly and y'all could jump on me

(49:13):
if you want. I don't think I knew that Waiting
to Excel was directed by Forest Whitaker. I knew John
Singleton was poetic justice, but I did not know that
Waiting to Excel was forced Whitaker. So Waiting to Excel
watching that today, seeing that they were all in their
thirties and seeing that every single one of their problems

(49:33):
is what the fuck me and my homegirls are dealing
with today. Lets us know, y'all, niggas wasn't ship for decades.

Speaker 4 (49:39):
Wowa.

Speaker 1 (49:40):
Waiting to Excel is probably the most recent today today
movie that that still fits today. Like it's like wow,
even though yes, they only flip phones and house phones
and shit like that. To me, the plot, the writing,
the conversations are timeless, and I think that that's what
I kind of like, Like, I mean, I wish we

(50:01):
grew since then. I wish niggas stopped being cheaters and
fuck niggas, and I wish women stopped falling for it.
But to watch it, it resembled to me the our story.
I know we have girlfriends, I know we have the
things on film, even sex and the City. The fact
that so many people watch it today Waiting to Excel
held its plot and is relatable, well written, well directed,

(50:26):
well shot even today. That's probably one of my favorite
ones from this list.

Speaker 2 (50:31):
You know who was influenced by those movies too?

Speaker 3 (50:33):
Who Tyler Perry. Okay, so you're ready to talk about
Tyler Perry.

Speaker 1 (50:39):
I will say, moving forward, erase whatever I have said
on any of my previous shows. Tyler Perry is goat.
He is king, and what he is putting out right now,
I know y'all can laugh about him in the dress
with Medea. By the way, the media movies ain't bad either,
Like I love Diary of a Mad Black Woman like

(51:02):
his in the films where he shows up as Medea,
those are Colt classics. I know y'all could sit here
and pat him in a dress because I really think, honestly,
And here goes to my other hot take. The reason
why we have hated Tyler Perry for the last two
decades like we have up until now he's dropping this
fire on Netflix. I say that the reason that most

(51:24):
of the black community has not respected.

Speaker 2 (51:28):
Half a following.

Speaker 1 (51:30):
No, let's be fair clear, he does. But I'm also
talking about the Twitter streets. We're talking about the public outrage.

Speaker 3 (51:35):
Right.

Speaker 1 (51:35):
So I would say the majority of the point of
views as to why people hate Tyler Perry has more
to do with their homophobia than what he really is
putting out. I don't think that the fact that most
of our black actors have come up and said, you
ain't putting me in a dress to get it to
get ahead, and Tyler Perry is purposely writing himself in

(51:57):
address and has created this character of a woman kind
of the Mammy as well. Like I think people don't
like the homophobia of it all. I think that's the
only issue they mad that he was purposely getting into
a dress all of these years for so long, when
a lot of our other black actors was like you
not getting me in address?

Speaker 3 (52:17):
Right?

Speaker 5 (52:18):
But that's the key, right, It's like, Okay, you don't
want to do those roles, that's fine, or if you
don't want to watch that type of content, that's fine.
You have a choice, do you?

Speaker 1 (52:27):
Also?

Speaker 5 (52:28):
I don't think they have to be I think I
don't know if you can ignore, you know, the creativity
behind what he does and in his world, the space
that he's own, you can't deny that.

Speaker 1 (52:41):
I will say. The only other interesting thing which I
like that he brought to me different elements of what
could happen across like black families and black stories. I
think he's done an excellent job doing that, because then
you know, you got the church girl that ends up
with HIV because she cheated on her husband. You got
I do know that the trope that y'all don't like

(53:03):
that the black, dark skinned man is the aggressor and
the savior is the light skinned man. But he's getting
away from that in his television shows. All the niggas suck,
every shade of brown is a fuck nigga, and then
you do have like all these women battling, which I
think is interesting that he he creates that that dynamics

(53:24):
so much like all of the different nuances of each character.
If you look at what he's putting out now, it's
great TV. And what it reminds me of is what
I used to read when I was a kid, So
Beauty and Black and I haven't watched his latest show
just yet, but Beauty and Black to me is pretty
much Zay Sistersojia Eric Dumot all of the books that

(53:47):
we actually we grew up reading that we have to
but it's what Tyler Perry is actually putting into film
in a great way and not a too by way
and shout out too, because Tobe is putting out some
good stuff too, But Cayler Perry's literally showcasing all of
these elements of storytelling. And so I want him to
stop getting the hate that he's getting, right.

Speaker 6 (54:06):
Yeah, no, it's Did you ever see that clip when
Jamie Fox was talking about when he worked with Olivier
Stone for the first time on any given Sunday and
he said that he kept on getting cut like the
director was saying cut, cut, stops up, and Jamie King
said he was.

Speaker 2 (54:23):
I mean, Jimmie Fox said he was so shouty because.

Speaker 6 (54:25):
He was coming from TV, and so I remember on
The Jimmie Fox Show it was very shouty, kind of hammy,
and when he came to do a movie, they're like, Yo,
this is this is different, Like we don't do that here,
like just relax, be more authentic. And I feel like
that kind of same idea when you think about Tyler
Perry that he unit came from doing theater and plays, yeah,
and plays have some of that like you come on stage,

(54:48):
everybody claps and there's a little bit of hamminess to it,
and I think he brought that to his movies, and
I think people weren't prepared or kind of understood his
background and got that part of it, and I felt
like that gave him kind of like undue hate for
a long time.

Speaker 2 (55:01):
And obviously, like the net Fit, you.

Speaker 1 (55:02):
Think that's why that Tyler Perry got the under hate.

Speaker 6 (55:05):
I think at the beginning because like the BHD stuff
and the Netflix stuff is more polished, but Pomidia movies
they were really essentially theater on film.

Speaker 1 (55:15):
Which which I wonder if that's why maybe he purposely
put these people in these bad wigs and that, like
you know what I mean, theater, That's what I'm saying.
So where we're sitting here, like now, Tyler, why you
put Shamart in that fucking lace wig with the braids?
Or why do are the women coming as dishovel? But
you're right maybe from where he comes from and plays

(55:35):
them Broadway, but also like you ain't gotta be as
polished to put out still good quality content, Like it's
the entertainment value of it all. It's not like, sorry,
I'm not giving y'all the lot of wigs on film,
you know, but I don't know. Do you Do you
like Tyler Perry?

Speaker 4 (55:51):
I don't dislike him. I think I look at these
guys as.

Speaker 6 (55:55):
If you take Tyler Perry's name off of stuff and
people watched it, they would like it, and then after
the fat can be surprised that it was a Tyler
Perry project.

Speaker 1 (56:02):
Well, that's the thing. I think people go into Tyler
Perry right now, hate watching to not like it.

Speaker 5 (56:07):
If they watch it, though, I think they people should
be fake outraging you watch it, Like at the end
of the day, what I'm not going to read a
James Baldwin book because what he's brilliant?

Speaker 1 (56:19):
Yeah? Right?

Speaker 4 (56:21):
The same thing with Tyler Perry. Now, I know that
I get the gripes.

Speaker 5 (56:25):
People are like, all right, is there more to it
than what he's you know? But I think there's depth
into his movies. I just think that, unfortunately, the first
layer is the homophobious stuff.

Speaker 1 (56:38):
With as big as he is, with him reaching billionaire status,
with him having the cultural impact that he has today.
Do you feel like this is a controversial question, do
you feel like Spike Lee got lazy? Do you feel
like Spike Lee has it because he did he redid.

(57:00):
You're shaking your head, but I want to know, Like,
for how we view Spike Lee. I don't think he's
done much currently. I know he has a movie coming out,
I think, and I know he did the film What's
What's the What's What's the one that actually didn't do
too well. It was a remake of his film as
a Netflix show.

Speaker 4 (57:17):
Oh she's gotta have got.

Speaker 3 (57:21):
That wasn't really him. That was his wife, Yeah, okay,
was the produce on it.

Speaker 4 (57:26):
I think Spike is a he's fine art.

Speaker 5 (57:30):
It takes time to put that type of He understands
who he is.

Speaker 4 (57:34):
And remember before we talked about what makes a classic.

Speaker 5 (57:38):
It's the anticipation, the cast, and then the expectation.

Speaker 4 (57:42):
That's what he creates.

Speaker 5 (57:43):
So when they dropped the trailer for this thing without
any announcement, they just dropped.

Speaker 1 (57:48):
It highest to lowest, except.

Speaker 5 (57:54):
We were in the stir and he created the So
now we have the expectation and we already know Dezelgon
deliver of it right, and we have.

Speaker 6 (58:01):
The Spikes Spikers goat right, So what's the Spikers go?

Speaker 4 (58:05):
Yeah?

Speaker 2 (58:07):
Because I want to go finish.

Speaker 5 (58:08):
I'm saying in terms of like you know, to your
point about why Spike in comparison to Tyler, Tyler.

Speaker 4 (58:13):
Got a lot of duds too.

Speaker 1 (58:15):
I think, I think though, and you have, yes, quality versus.

Speaker 3 (58:18):
Quantity, but I think he puts out a lot.

Speaker 1 (58:20):
But I think for do the right thing to be
considered Spike Lee's most iconic film and for us to
put him on the pedestal that he is, I've seen, well,
I don't know if that's his most iconic because again
that's Denzel. I don't know if that becomes the iconic
film that it is. But I don't think it becomes
the iconic film and Denzel is not cast it there.

Speaker 6 (58:42):
I think it's argument because I mean, yes, like a
great coach has to have a great player, great director
has to have the great actor.

Speaker 2 (58:47):
It's both of them amplifying.

Speaker 1 (58:49):
Yeah, okay, okay.

Speaker 3 (58:50):
But the Spike thing I want to talk I want to.

Speaker 2 (58:52):
I want to because I want to.

Speaker 6 (58:53):
Talk about singular figures in black cinemas. I'm glad we're
talking about Spike Jungle Fever. Jungle Fever's my favorite Spike
Lee movie, and I feel like that's such a black
film because it's not about you walk into it thinking
that it's about Wesley Snipes and the Italian woman and
sort of like the races that happening, but it's really

(59:13):
about drugs and and how it breaks up a family
with like Gator Holly Berry's character. Yeah, And I feel
like I feel like Spike Lee's greatest movies have that
where it's a lot of insider talk, right because like
white people are looking at it and they're seeing it
and they're like, oh, it's about jungle fever, right, Like
it's about this and it has like elements to feel
like Romeo and Juliet. But when we're watching it, we're like, oh,

(59:35):
I know, I have a Gator in my family. I
have a family, and I get that story. And I've
seen the way that that's either torn apart at my
house or my uncle's house.

Speaker 2 (59:44):
And I feel like that those.

Speaker 6 (59:45):
Are the things that make like a great black film
but also like a cult classic because it's speaking to
us in coded language and coded experiences that we know.

Speaker 3 (59:53):
Well.

Speaker 1 (59:53):
No, I think that that's why to me, the film
that resonates high like where everyone has a person in
their family like that, that would be soul food depiction,
bro of of everything you had the bread winning woman.
You had the man just getting out of prison that's
trying to you. You had Bird that had the the

(01:00:15):
smooth man that's coming in trying to help. You had Yeah,
you had Bird. Then you had uh, who was the cousin, cousin,
cousin Fay? Is it Faye, the one who cheated with Oh? Yeah,
you had her coming in and she was the rich
aunty like you had the children in the film. You
had big Mama, like you know what I mean, like

(01:00:36):
to me, that had all of the elements and also
not in a very stereotypical way, but a way that
everyone could see somebody in their in their family or
someone in their life. Is that I think that I don't.
I don't think that you see that so much in
all these other films.

Speaker 2 (01:00:52):
So that was George Tilman. He also did that was
George Shellman.

Speaker 1 (01:00:55):
He also did the.

Speaker 2 (01:00:55):
Barbershop Biggie Movie.

Speaker 1 (01:00:59):
And he did George Foreman.

Speaker 6 (01:01:02):
Yeah, so a lot of good movies. John Singleton, we
haven't talked about John Singleton a lot. We mentioned Boys
in the Hood, but there's also Poetic Justice, Baby Boy
and Nigga, Snowfall and Snowfall obviously, so I feel like
he's a singular figure. Would y'all are you ready to
put Ryan Coogler up there with with singular figures in
black film history or cult classic or Jordan Peel is

(01:01:25):
there already?

Speaker 1 (01:01:26):
Okay, okay, so let's let's okay, okay, we have we
have Spike Lee indoctrinated, we have George Tillman, and we
have John Singleton. Now those are we would say, top
three with the most cult classics.

Speaker 3 (01:01:42):
Essentially, those are the bar bar.

Speaker 1 (01:01:44):
Are we including Ryan Coogler and Jordan Peele today?

Speaker 3 (01:01:49):
Out wait Cooler.

Speaker 6 (01:01:51):
Fruit, Fille Station, Blan Senters, Creed movies. He's there, he
produced produced on uh uh, Judas and.

Speaker 5 (01:02:01):
Mentioned Black Panther, right, Judas and Blacks Yeah, the Marvel stuff.

Speaker 4 (01:02:08):
I think he's a sending there. I think he's if he's.

Speaker 1 (01:02:10):
But you wouldn't put him there yet.

Speaker 3 (01:02:12):
Sentats doesn't put him there.

Speaker 1 (01:02:13):
That I was about to say with that opening, I
think I would say yes.

Speaker 6 (01:02:17):
And if I said he didn't write anybody's coachails, he
wrote that.

Speaker 1 (01:02:22):
Okay, Okay, however, okay, my only reason why might want
to remove him, Like when we talked about the other
three directors.

Speaker 4 (01:02:31):
Well, he's I think that he's right.

Speaker 1 (01:02:34):
The only reason here, here's why, here's why, and and
this could be a bad take, I don't care. When
we talked about those other three directors, they dealt with
a broad range of cast. To know that the majority
of the big hits that Ryan Coogler has is with
Michael B Jordan's starring, and Michael b Jordan right now

(01:02:56):
is being pedestaled as the leading black lead right now,
I think it's as a Denzel, which I think is
too early for him to be labeled that. So I
think it's a cheap So for me, it is a
cheat code. Like I said, why Spike Lee had Denzel
with Malcolm xis to why we view it like that.
I think it's a cheat code right now that Ryan
Coogler has been able to pretty much also ascend at

(01:03:19):
the same time that Michael B Jordan is getting this
look at a Denzel. Imagine you come out as a
director and you're able to fucking get Denzel for every
fucking film.

Speaker 4 (01:03:27):
I'm but they get them before he's gone. Every track
is there you why? You know why he's there?

Speaker 5 (01:03:33):
And he's there because off a movie we haven't even
seen yet. What movie he got Denzel to be on
Black Panther three?

Speaker 1 (01:03:40):
He did? Okay, huh okay, So.

Speaker 5 (01:03:44):
Now he has he had his Denzel. He hasn't and
now he has Denzel.

Speaker 2 (01:03:48):
Now he has Denzel.

Speaker 3 (01:03:49):
That's a good point.

Speaker 6 (01:03:50):
What about Jordan pe I'm not gonna lie I got
get out us and Nope, So I would like to see.

Speaker 1 (01:03:58):
Also, by the way, I'm a huge fan of keyn
Pill So I love that he comes from actually the
sketch comedy and realm, and he's leaning into Here's the
reason why I'm gonna say yes, only because when we
started off earlier in this in the pod, when we
were talking about the nineties, the seventies, the eighties, the sixties,

(01:04:21):
we leaned into all of these genres that weren't even
What Jordan Piel has done is create a genre for
us that hasn't been represented before at all. And so
even though yes it's a little it's a little weird.
And how he does it, because he leans into black
trauma a lot, and how he depicts horror essentially in

(01:04:41):
his films, I think it's well executed, will written. He's
dealing with a broad range of a cast in just
these first three, and he has the one coming out
as well, what is it called us you with Marlon
Wayne's and so it's gonna be interesting to see him
continue in that job.

Speaker 2 (01:04:59):
It's called him him.

Speaker 5 (01:05:00):
And he did something that most of the guys, like
the Spikes, the Ryans that they that they've done thus far.
He introduced new actors and acts he has to the
follo that now we know who Daniel k is.

Speaker 4 (01:05:12):
Yeah, he's a household name.

Speaker 1 (01:05:14):
Well, to be fair, Daniel Daniel was also in Judas
in The Black Messiah, right, yes he was, if I'm
not mistaken, Yeah, yeah, I.

Speaker 6 (01:05:20):
Agree, that's that's his man that.

Speaker 1 (01:05:25):
So yeah, I think it's I think it's I think
it's really interesting. I would I would put Jordan Pill there,
Ryan Coogler, I know you just and you put him
in there. So yeah, I would say those would be
the top five. Not us doing our own list right now,
but I think and okay, but do you want to
know what also sucks about.

Speaker 4 (01:05:42):
Us doing that? What's up?

Speaker 1 (01:05:44):
So we're gonna do what most most lists normally do
is leave out the women.

Speaker 4 (01:05:49):
M No, we're not, We're actually not.

Speaker 1 (01:05:55):
You can't even say her name, I think, right, now though,
but we're not going to add them because they're also current.
But we do have Lena waits Ama and I would
say those are the upcoming three for and mar Bro
mara Is who just did Forever, but I didn't know
how much she actually has an extensive past in what
she's been a part of producing or writing brock Kills.

(01:06:19):
So we have and you know what, we could just
blame patriarchy on that as to why women have are
taking so long, you know what I mean? We could
just blame patriarchy as so why women are just given
their just due in the film and Hollywood space currently
and making paving away for themselves. I will say too,
if you watch first on the call sheet, it's interesting

(01:06:42):
the difference in men speaking about the trajectory of black
men in Hollywood compared to the second part of it,
where women talk about their their gripes. It's just it
shows you to me, it's a clear distinction of how
patriarchy has infiltrated and affected how both black women and

(01:07:02):
black men have been able to excel in Hollywood, specifically
in film. So y'all check that out. I'm not sure
if y'all agree with us when I here, look at
you googling, he said, but do you know the black woman?

Speaker 3 (01:07:16):
But if we do a TV.

Speaker 5 (01:07:17):
Episode, there's a lot of black women that are doing
I'm a big Power Stars fan, so I was like,
wait a minute, I can't remember that.

Speaker 1 (01:07:22):
And that's fifty seers, so like that still really good women.
But okay, okay, do.

Speaker 3 (01:07:29):
You want to do so?

Speaker 2 (01:07:30):
I know we're going to play a game and tally
up some points, but do you want.

Speaker 1 (01:07:32):
To look down? Let's play a game. You know what?

Speaker 4 (01:07:35):
You know what?

Speaker 3 (01:07:36):
You know what?

Speaker 1 (01:07:36):
You know what?

Speaker 6 (01:07:37):
I feel like, here's the thing with that, Selma twelve
years of slave talk about it, the help Color Purple,
I'm astide.

Speaker 1 (01:07:49):
Okay, my thing is we also said, and this is
why I'm gonna here's my thought on it. Okay, none
of those are classics because outside of the Color Purple,
none of them really have replay value. They're not movies
that you put on when you cuddle in with a nigga.

(01:08:10):
They're not movie that you put on for family viewing.
They are I think they are needed for historical context
of what shit was really like, but I would not
put any slave movie into cult classic because the replay
value on them is very slim, and to me, I
think we just need to watch it and support it.

(01:08:31):
But it's not one that many people go back to.
That's why I would not put anything but the color
purple into that.

Speaker 5 (01:08:37):
But there's a caveat that should be with slave movies.
I don't think you want to watch them over. I
think once you get it the first time, which is
why I think it's enough. Like Glory. You ever seen Glory?
I can't watch that again to see Denzel getting beat
and he got the whelps on his back. I got it,
like I totally get it. YO powerful movie.

Speaker 4 (01:08:56):
But that's I don't need to see it again my point.
You know what I'm saying.

Speaker 1 (01:08:59):
I think movies, But I think that that's why they
would not be considered cult classics at all, because they're
actually movies that I don't think white people go back
to watch. And we don't even go back to watch.
It's like they could be powerful, but they're not CLT classics. No, No,
I think I think they're necessary, right.

Speaker 4 (01:09:17):
I don't think we put a classic, we just say powerful.

Speaker 1 (01:09:19):
I think they're powerful. I think there are I think
they're historical. I don't think we need to want to
see they remember.

Speaker 4 (01:09:27):
I remember everything about them, so it's like, and.

Speaker 1 (01:09:29):
Some of them I don't want to remember. I think
I think Django might be the only one I can't
watch multiple times, and it's because I got Leonordo and
motherfucking Jamie Foxing at home and Samuel l like. Other
than that, though, no, no.

Speaker 6 (01:09:43):
I was I was gonna say, y'all, sounded like an
MPR segment until you want that at the end.

Speaker 3 (01:09:47):
That was. That was good. So let's let's let's close
it out with this game.

Speaker 1 (01:09:52):
Okay, let's play.

Speaker 6 (01:09:52):
Let's do obviously, you guys see this. It's always on
social media. How many black movies have you seen?

Speaker 3 (01:09:58):
Oh god, for one more.

Speaker 1 (01:10:00):
We're not gonna do this, y'all not gonna remove my
black cart.

Speaker 3 (01:10:02):
It's gonna be fifty. This is just to see us three.

Speaker 1 (01:10:05):
Let's let's let's go first, Let's do twenty.

Speaker 6 (01:10:07):
Let do twenty of them, all right, So I'm gonna
read twenty of them, y'all tally up real quick, and
then add the three of us.

Speaker 2 (01:10:13):
We'll see what our score is.

Speaker 6 (01:10:14):
So we're just gonna go one to twenty alright, ready,
boys in the hood.

Speaker 1 (01:10:18):
Yep, oh, wait, we're keeping our own cloth. One point each.

Speaker 3 (01:10:23):
Have you seen it? You get a point?

Speaker 1 (01:10:24):
Okay, let's see. Let's see how black y'all are to please.
If you are listening to this, play this at home, let's.

Speaker 6 (01:10:28):
Do right and definitely yeah add us at us on
social media and so one set it off, New Jack City, Friday,
menace to society, juice above the rim, paid in full,
do the right thing.

Speaker 2 (01:10:47):
So that's ten. I'm gonna jump around.

Speaker 6 (01:10:49):
I want to mix up the variety of So that's ten,
right there, Yeah, all right, Crooklyn, how high belly, so plain,
the best man, drum line, more money, white Chicks, moonlight,
stomp the yard in this Christmas?

Speaker 2 (01:11:09):
Okay, all right, all right, so.

Speaker 3 (01:11:16):
That should be Actually I think I read twenty one.

Speaker 6 (01:11:18):
Of them there, okay, ten and then I started here. Yeah,
so that was twenty one.

Speaker 1 (01:11:26):
It was twenty one.

Speaker 3 (01:11:28):
A king, he king, you got the black car privileges?

Speaker 1 (01:11:32):
How'd you do.

Speaker 2 (01:11:36):
In twenty one? What was your score?

Speaker 4 (01:11:38):
Nineteen out of twenty one?

Speaker 1 (01:11:39):
Damn same nineteen? Damn you are not blacker than us?

Speaker 6 (01:11:44):
Twenty black black Latino, Afro Latina over here, Thank you
guys for tuning in.

Speaker 1 (01:11:53):
That is corrazy. Now you get the fuck out of here.
Do you remember which one you and seen?

Speaker 4 (01:12:00):
What was the last three?

Speaker 3 (01:12:02):
The last three, the last go to the last five?
Last five were what drum line?

Speaker 2 (01:12:08):
More money? White Chicks?

Speaker 6 (01:12:12):
Moonlight stopped the yard this Christmas?

Speaker 4 (01:12:15):
Moonlight.

Speaker 1 (01:12:16):
I knew you ain't seen Moonlight. That's crazy.

Speaker 5 (01:12:21):
I want to know you ain't see moon like check it.

Speaker 4 (01:12:26):
Since you said that. And I'm not homophobic, just like,
should I put this out there?

Speaker 1 (01:12:32):
Yes, put it out there.

Speaker 5 (01:12:33):
My core friends noticed ship like people who Okay, I
never watched the Wire.

Speaker 2 (01:12:43):
Mm hmm.

Speaker 1 (01:12:45):
So because you didn't watch the Wires, why you didn't
watch Moonlight?

Speaker 5 (01:12:48):
No, I'm just trying to know, explain to you the
things that I haven't that I missed, that I have
to do that I haven't done yet.

Speaker 1 (01:12:56):
And so the Wire and Moonlight are two.

Speaker 4 (01:12:58):
Things that you have to sano. I haven't watched No, no, why.

Speaker 1 (01:13:01):
You bring the whites in here?

Speaker 3 (01:13:03):
Okay, yeah, yeah, that's that's not what this episode.

Speaker 5 (01:13:06):
My bad bad all right, pineapples on pizza, by the way,
But look the why I haven't watched it Moonlight.

Speaker 4 (01:13:13):
I'll get to it. No, I'm not.

Speaker 5 (01:13:16):
It had nothing to do with just some some things.
It's just like, all right, there's movies now that I
gotta get to.

Speaker 1 (01:13:21):
Okay, some Moonlin you just gotta get to.

Speaker 4 (01:13:23):
Yeah for sure.

Speaker 5 (01:13:24):
Okay on the next episode, our next recording, because we
both record now, right, I watch Moonlight.

Speaker 4 (01:13:30):
I'll come back with a thirty second recap.

Speaker 1 (01:13:32):
Okay, I like to see it.

Speaker 2 (01:13:33):
That's good.

Speaker 4 (01:13:34):
We're gonna hold you which ones that you watch?

Speaker 1 (01:13:36):
I didn't see My Money or Crookland.

Speaker 4 (01:13:38):
You gotta watch Crookland.

Speaker 1 (01:13:39):
Yeah I didn't. I haven't seen Crookling.

Speaker 4 (01:13:41):
More Money was cool, but I think you like Crookland.

Speaker 1 (01:13:44):
The fact that you just want to say, what movie
I hadn't seen? You don't know my life? Yeah? No,
it was Krookling, Crookling and More Money? Okay. And Jason,
no one cares about you because you apparently only wait,
wait which one?

Speaker 3 (01:13:58):
Wait?

Speaker 1 (01:13:58):
Which one movie did you not see? Because you only
got one line? You know what that means? You the
old ass nigga. At this point, you know, I say,
drum line is crazy.

Speaker 4 (01:14:07):
It was any particular reason why you didn't see it,
Like it just.

Speaker 1 (01:14:11):
Didn't get there as you were going through that list.
I do think maybe we have to somehow figure out
a part to at this point, maybe we have someone
come and join us, maybe an actor, because we didn't
lean into at all, like the drum lines that bring
it on, the uh, the love Don't cost a thing, STMP,
the yard there was and I guess those were the

(01:14:31):
two thousands. We didn't make it to the two thousands,
but the revival of what that looked like, but also
the fact that I think that that created we were
leaning into what the white people were doing at that time,
which was like the teenage love affair essentially, like we
were leaning into the high school and college love story,
which is what we were seeing with Ten Things I
Hate About You, and like we actually had a black

(01:14:54):
version of mimicking what the white films were getting at
rom com essentially. Ayways, we'll do that. Maybe maybe I'll
have one of my active friends come join us and
talk about the dynamics of what the two thousands and
twenty ten's look like for us in film. AnyWho, I
don't think that. Yeah, I also don't think that we

(01:15:14):
were that ignorant, Like y'all could come to me about
my take coming to America was not that great. Neither
was loving basketball those was maybe my my ignorant takes
that someone may essentially.

Speaker 4 (01:15:24):
Can't jump who white man can't jump?

Speaker 1 (01:15:27):
First of the fact that the fact that the lead
was there was a white lead and a black lead.
I don't know about that one being a black film.

Speaker 4 (01:15:37):
No, No, it was super black. It was Wessy Snipes's like.

Speaker 1 (01:15:42):
Well, now you're getting into colorism. It's a little bit. Anyway.

Speaker 6 (01:15:47):
You want a final word on American Gangster Training Day,
bad Boys.

Speaker 1 (01:15:51):
Not really a final word. I would say those three things,
though they were with black leads, I think those were.
I think that's also very hypocritical of me to say
they're not black films if they're blockbuster hits.

Speaker 3 (01:16:06):
Or it's to be called right, it can't be caught well, No, I.

Speaker 1 (01:16:10):
Think that those are Those are global films, and I
think that white people, Spanish people, Indians, like everybody kind
of watches those films, and I don't think they feel
like they're seeing us represented as much as I could
say that with a poetic justice or minister society, those

(01:16:34):
they're looking at it and they're seeing us. I think
when you get into those kind of box office hits
that you just named again, I think those roles are colorless,
which is why I would take away those from being
maybe not a training day, no one, no training day,
you had the white guy alongside them for the whole time.

Speaker 6 (01:16:53):
Yeah.

Speaker 3 (01:16:53):
What's his name, Ethan Hawk?

Speaker 1 (01:16:57):
Yeah, so yeah, yeah, I just don't know if I
would consider those black films personally, Okay, so then we'll
leave that to you guys, Like, do films like that,
The Bad Boys, the Training Days? What was the other
one you had in there? American Gangster? Do films like that?
Do you consider those to be cult classic black films?

(01:17:18):
Do you distinguish black films? How do you identify what
is for us and what has essentially become for everyone.
It's kind of what our conversation wants today. And then
what are your thoughts and views on representation of how
we're depicted in films for us by us?

Speaker 4 (01:17:38):
Please and let us know your scores too.

Speaker 1 (01:17:40):
Let us know your scores. I hope that y'all enjoyed.
I know y'all still got a lot of me on
the mic, but hope y'all enjoyed my super producers A
King and Jason stepping in for this conversation. Listen at
the end of the day. You can hate it or
you could love it. Either way, are you choosing to
be selectively ignorant? Or are you choosing to get educated?
Y'all see you next week. Bye. Selective Ignorance a production

(01:18:06):
of the Black Effect podcast Network. For more podcasts from iHeartRadio,
visit the iHeartRadio app, Apple Podcasts, or wherever you listen
to your favorite shows.

Speaker 6 (01:18:15):
Thanks for tuning in the Selective Ignorance of Mandy B.
Selective Ignorance. It's executive produced to buy Mandy B. And
It's a full Court Media studio production with lead producers
Jason Mondriguez.

Speaker 3 (01:18:25):
That's me and Aaron A.

Speaker 2 (01:18:27):
King Howell.

Speaker 6 (01:18:27):
Now, do us a favor and rate, subscribe, comment, and
share wherever you get your favorite podcast

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