Hard Truths (REVIEW): Family Support Through Trauma | Ep284 - Black on Black Cinema - Black Movie Reviews

Episode Transcript
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Speaker 1 (00:00):
I have no idea and many lesson about the villains
right now, don't find the last down before make change.

Speaker 2 (00:17):
Let's wrapper chase on it. 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 2 (00:26):
Hey.

Speaker 3 (00:27):
All right, guys, we are back. This is episode two
eighty four.

Speaker 2 (00:30):
Hard Truths Uh.

Speaker 3 (00:31):
This is the twenty twenty four comedy drama film written
and directed by Mike Lee Uh set in London. Its
plot follows the plight of a depressed and naysay woman
played by Marion Jean Baptiste, and the relationship with her
jovial sister, Chantell, played by Michelle Austin. Look, so we're going,

(00:53):
you know, across the pond. We don't do enough foreign
films in my opinion, so I'm excited to do this.
And neither one of us has seen this ahead of time. Michael,
what were your thoughts on this?

Speaker 2 (01:05):
You know, there's a there's a movie out about a
woman who's just kind of been put through the wringer,
and you know, she's she's having a really bad time
of it, and and and a lot of people have
wanted us to, you know, think about doing it and

(01:29):
I can't, and I'm really glad that I remember. This
movie exists about a black woman who's having a real
hard go of it and is and I think it's
I think this movie is fascinating. I won't say it was,

(01:52):
it was a fascinating watch, right, because it's hard to say, like, oh,
this is enjoyable right in there there are moments, Yeah,
there are funny moments, but like this is yeah, it's
a comedy drama, but this is this is very much grounded, right,
Like you know, everyone wants us to do Straw, but

(02:13):
like Straw is unbelievable, right whereas this is, this is
this is kind of like Straw. But like if a
normal person like yeah, wrote it has.

Speaker 3 (02:33):
Yeah, now your first instinct was correct.

Speaker 2 (02:36):
I mean that like if a normal person like this
is this is normal. This is this is what what
real life actually looks like. Right, Like you know, people
people say, oh, well, you know Tyler Perry, he's writing,
he's writing real life. He's writing in real life. And

(02:56):
you know those extremes I suppose happen, No they don't,
but but this happens far more frequently, Like like this woman.
This character reminded me of my aunt Ruth, not to this,
not to this extreme, but she was a woman that

(03:20):
would criticize and you know she she liked people, but
she didn't like people, and she you know, she she
had like a little bit of depression, but we didn't
know what it was, you know what I mean.

Speaker 3 (03:37):
Yeah, that's a big that's a big part.

Speaker 2 (03:40):
Of this movie. Would argue, Yeah, yeah, you don't quite
know what's going on. We don't quite know what's going on.
And it is is a perfect movie to you know,
compliment the preview episode for it about taking care of
yourself and you know, talking to people and maybe seeking

(04:01):
therapy or some sort of help when you need it. Yeah.
This this was This was a fascinating movie, man. And
I was watching with my wife. She was like, yeah,
I thought there was gonna be like a plot twist, right,
or at least like a happy ending quote unquote, And
I'm like, that is the twist. Right. Life is fucking hard, right,

(04:24):
Life is hard, and life doesn't have easy answers, and
life doesn't wrap itself up and life doesn't necessarily figure
itself out. Yeah, this was fascinating, man. I like, I
like I recommend it, but like, I'm probably not gonna
watch this again for my own enjoyment, but I would

(04:49):
watch it if I needed to try and convey a
message to someone and not know how to speak to
them about okay, Like like like if I need to
talk to somebody that like might have some sort of
that might be in some sort of depressive state, and

(05:13):
it's because it's difficult in our community to kind of
bring that stuff up in any community, but especially our community, right, Like,
you know, especially if you are an older person, like
they don't want to hear go to therapy, right, I
would sit down with them and watch this movie, and

(05:33):
you know, hopefully generation this is you are you right? Right?
Like I would, I would hope that this would generate
some sort of conversation.

Speaker 3 (05:45):
Yeah, fact, So Yeah, I thought this was really fascinating.
First off, I think it's written and directed quite well,
so shout out to Micha Lye for that. But Mary
and John Baptiste puts in a fucking clinic on playing
a person who is going through it, right.

Speaker 2 (06:06):
She's great. I think she's a.

Speaker 3 (06:07):
Wonderful actress all the time. But I really enjoyed her
in this. What I when I'm watching the movie, all
I could think was, Okay, Like, she clearly has like agoraphobia, right,
which is like the fear of like out or like
open spaces, right, you know, just it's kind of a

(06:27):
fear of fear of open spaces, that sort of thing.

Speaker 2 (06:30):
She clearly has that.

Speaker 3 (06:32):
And then it's just the sort of emotional the lack
of emotional regulation is just put on full display throughout
like these scenes, and you're just like, oh, oh, okay,
we are not together, like we we are. This is
far beyond, far beyond sort of the agoraphobia type of stuff.

(06:56):
And like all I could think of is, like I'm
immediately started after I finish it, it's like just googling, like
what are the like what could be the diagnosis for
someone who has these like all of the things that
she's kind of going through. And it jumped out at
me and I was like, oh, yeah, that makes sense.
Borderline personality disorder, right, like, which comes from child potentially

(07:20):
from like childhood traumas and you know, abuse and things
like that. And if you're watching the movie, they have
this scene which we'll get to. They have the scene
in the graveyard and it goes. It's like half the
movie is you sort of ramping up to seeing this
woman and you're like, what the fuck? Like, I feel

(07:40):
like people who are not particularly open to understanding or
just don't have the understanding of people with mental illness
would just be like that first half would be like, Wow,
she's a raging bitch, right Like, I just feel like
that would be the easiest diagnosis. And then the graveyard
scene hits, and you're like the movie's like, Hey, in
case you haven't picked on this, here's her humanity and

(08:02):
here's like why she may be the way that she is.
And I feel like you go from being like, Wow,
this woman is a real pain in the ass to
hitting that scene and being like, I feel deeply sad
for this character, right Like, I feel like that's the
sort of the arc I would imagine for a lot
of the audience, and it really does. It really does

(08:26):
a good job of sort of putting you in the
seat of people who have to deal with her in
that first half or first third brother and you're just
kind of like, Oh, this woman is a royal pain
in my ass. To then this major scene and then
after that you're like you kind of see you start
to see her from either sort of behind her eyes

(08:49):
or from the people who are closest to her, her sister,
her husband, and her son, and then you're just like,
oh shit, like maybe everything I thought about this person
is kind of like a half assed understanding. Look, it's
it's a one. It's a wonderfully done film. Like it's
very simple in a lot of ways. And I don't

(09:11):
mean that as a negative. I mean like, sometimes you
like you got a point to make and you and
you make it and it just it comes across very cleanly,
and I think that's what happens in this movie. But
I really enjoyed it. But if you are just like
mental illness, like is it real? Yeah, Like I feel
like maybe you won't get this, but maybe you get

(09:35):
it in the last two thirds of the movie. But
I think they did a really wonderful job of kind
of pulling.

Speaker 2 (09:41):
You through that. So yeah, I really enjoyed it. Yeah.
I do recommend it to people, and especially people who
who don't who don't quite get, you know, why people
might be the way they are. Yeah, Yeah, I just
I was very very impressed, very impressed with this. This

(10:03):
is this is uh, this is one of one of
my one of the better movies I've seen that that
we're reviewing here.

Speaker 3 (10:10):
Yeah, no, it's it's kind of a sleeper, right, like
like okay, like this is it's a little bit of
a slow start and then things start popping off and
you're like, oh shit, and you just kind of like
you start going down this rabbit hole, right And just
in the amount of stuff that I read about sort
of trauma and you know, sort of emotional disregulation and

(10:31):
stuff like that, it was just like some of that
stuff was like blaring. It's just like these like giant
flashing lights. But yeah, I thought Marian Jean Baptiste did
a really good jockey bang. I just thought she was excellent,
really really good.

Speaker 2 (10:48):
And her husband, Curtly I believe his name, the character's
name is, is.

Speaker 3 (10:55):
This this poor son of a bitch, Like he's just
my man. Is like he's hanging on the wing of
a plane, dude, like just like just trying to get
through it.

Speaker 2 (11:05):
And the sun. Moses is also just kind of a.

Speaker 3 (11:09):
Kind of a victim of the circumstances as well, which
is just really kind of sad to see in.

Speaker 2 (11:15):
A lot of ways.

Speaker 3 (11:15):
So yeah, I just yeah, everybody. Everybody's got a role
to play. There's a couple of things. I'm curious of
your thoughts on with some of the other characters.

Speaker 2 (11:24):
But yeah, I thought I thought it was good. I
really really enjoyed it.

Speaker 3 (11:28):
So if you, if you have a chance to watch
Heart Truths, I would highly recommend it. I think both
of us would.

Speaker 2 (11:34):
So there's a lot of there's a lot of like,
the plot is not meaty, so we're probably gonna be
you know, stepping through through some of it. We're gonna
we're probably gonna jump around a bit. So the movie.
The movie opens up and the character's name is Pansy

(11:56):
Pansy Deacon. You know, somebody named Deecon is crazy? What
a shock, right and right? And she wakes up, uh screaming, right,
like she's having like bad dreams, night terrors and stuff

(12:19):
like that. She wakes up screaming and she does this
a lot in the uh in the in the movie.
I remember, uh, the my wife before she was my wife,
we would you know, when our relationship was uh early

(12:39):
but but steady. I would wake up and I hated
my job. Right, this was when I had that job
that I hated, right, uh. And I would wake up
and I would curse. Every day. I would wake up
and I would say.

Speaker 3 (13:00):
Shit, right, and that's a wild way to wake up.

Speaker 2 (13:06):
And I would do it so much that she said,
you really need to stop that. You need to you
need to figure you need to figure out what's wrong,
and you need to stop because you shouldn't be waking
up every day cursing like like and not like not
like swearing like cursing right, and and it and she

(13:30):
was right, and you know, we talked about it. And
it was because it was because of my job, because
I hated it and it sucked.

Speaker 3 (13:39):
And she said, do you work there? By the way,
the United States patent true?

Speaker 2 (13:44):
One year? And it was.

Speaker 3 (13:46):
No, it wasn't that long, was it?

Speaker 2 (13:49):
It was one year? And it was it was. It
was awful. It was awful.

Speaker 3 (13:55):
But I've told I've never seen you board depressed it
by entire life.

Speaker 2 (14:00):
I did that year christ Man chasing money, chasing money
like a hole man, right, right, it just cruise.

Speaker 3 (14:11):
Oh, look at this job makes so much money. That's
not that's not a winning argument, you like, it's not.

Speaker 2 (14:17):
Right, It really isn't.

Speaker 3 (14:18):
It is the job I had when I made the
most money. I was like, I would rather throw myself
out of this fucking building than to be here.

Speaker 2 (14:26):
Like money is not like you, hey, you pay you
can pay you a six figure salary. We got a
bash each and every one of your digits with a
hammer every day. You're not gonna do it. Yeah, get
out of here.

Speaker 3 (14:43):
That's what it felt like at my last job mentally, right.

Speaker 2 (14:48):
So, and she and she was like, look, you gotta
you can't, you can't do and and you know, and
this is kind of the reason why, because like this woman,
this character is something, this is this is what they
call generational trauma, Like this is the result of it, right,
like year, decades upon decades of shit just kind of

(15:10):
happening and not going your way and stuff like that.
And she caught that early. She's like, look, if I'm
gonna marry you, you can't like be taking all this
in and not letting some of it out and not
talking about it, because that's how you get embittered with
the world. And that's what this character is. She and
she starts off cursing, and it just reminded me of that.

(15:32):
I was like, Jesus Christ, this could have been me,
This could have been me. This could have been me, uh,
someone who eventually married somebody that that she didn't really love,
just to not be alone. That's that's something. Well not
not your wife, you no, but someone you know, like

(15:53):
it could have happened to me.

Speaker 3 (15:54):
You like, look, this is a yeah, this coming over
to my house, you and your sad ass family sitting.

Speaker 2 (16:04):
There, we're drinking, having a guitar. I guess we'll I'll
come right. I ain't even know that outlet. I ain't
because I don't drink. I didn't even have that outlet. So, yeah,
she woke and then we kind of see she wakes
up cursing, and we kind of see what this character is. Right.
She's she's hyper clean, right, she keeps a sterile household, right,

(16:29):
like no plants, No, you don't even have a plant,
you know, like it's super clean, which you know, I'm
all for, but like, there's no plants in the house,
there's no life in the house. And she's she's wiping
down things that are already clean, and and she just
wakes up miserable, and she goes and her son is there,

(16:51):
and he's twenty two and he's living in the house
and he's just like he's he's he's depressed because he
feels like everything he does is wrong, right, because this
woman is passing down this trauma to her child, right
to the next generation. Right, And he's just like I

(17:13):
gotta get out the house, right, like I'm going for
a walk. And she just chastises him about going for
a walk, and.

Speaker 3 (17:20):
Yeah, she's a she she says that she's afraid that
people will accuse him of loitering, right because she's afraid
the cops are going to be like harassing him and
stuff like that. Which again, that's that's a part of
the sort of the agoraphobia, Like there is a fear
of fear as well, right, Like she is she's terrified
for herself going out. I mean she does, but like

(17:41):
I don't really enjoy that shit. And she's also afraid
of what could potentially happen to her son, even though
he's like I'm just going for a walk. Like there's
nothing about Moses, I mean besides, like he's just like
a big, dark skinned dude. Like there's nothing about him,
Like he's not into drugs or you know what I mean,
Like there's nothing about him that's menacing. Or anything to
a potential other person, except for like he's a black.

Speaker 2 (18:01):
Man like that, that's just it.

Speaker 3 (18:05):
I don't know for some reason. I mean, yes, I
think there is a level of depression with him, but
I also I also saw him as being kind of
coded as being uh not neurotypical. I don't know if
you caught that at all, Like at least it felt
it felt that way to me in some of the scenes.

Speaker 2 (18:24):
I didn't get that. I don't know. I figure, you know,
I figured they cast this guy for a reason, right,
Like he is the way he's made up, he's made
up to look kind of shabby. He's kind of slovenly,
he's not in the best like shape for what we
would traditionally consider someone to be in shape. He's a

(18:47):
big dude. Yeah, he's just a big dude. And yeah,
I just didn't I just didn't get it. But you know,
maybe right at one point, she he's kind of like
playing with playing with a toy and listening to like
music or whatever, and his mom comes in and starts

(19:07):
screaming at him about his you know, lack of ambition, right,
and you know, he he flips her off when she leaves, right,
because he's he's just like yo, fuck you yo, like
I can't, but like at the same time, like that'shit mom, right,
and you're not gonna you know, white we don't do

(19:28):
what white people do and just start like cursing out
our parents and.

Speaker 3 (19:31):
Ship, No, that's not that's not a thing. That's definitely not.

Speaker 2 (19:37):
I've met some of the boogiest black people in the
world and none of their kids curse them out or
they don't curse their their parents out, Like get out
of him, man, Like, no, I don't understand that. Absolutely.

Speaker 3 (19:53):
Here here's the reason why I thought he was coded,
and I just remembered it's not. I don't think it's
in this scene, but later on he's reading a child's
book called The Big Book of Planes, and I just
thought that was I was like, okay, that's like, yeah,
he's clearly into planes, like he's playing like a flight
simulator thing, but like he's reading what looks like a
kid like a book for like a three or four

(20:15):
year old. So it was like, I just thought that
was kind of odd, and I think that's that was
probably one of the things that make me think he
was sort of coded for not being neurotypical. I mean,
he's clearly cool. He's got a Nintendo Switch, so I
mean you gotta respect that. We do see a scene

(20:35):
of Curtly, her husband, and his work partner. They're taking
out a taking out a radiator out of somebody's house,
not not theirs, and they just go stand outside and
there's a lot of scenes like this where his work
partner is like, yeah, it's a nice day and Curtly's like, yeah,

(20:56):
like it is. And I was like, what is the
point of the scene, And then by the end of
the movie, I was like, Oh, these are his only
like moment, like this is his like respite from the
sort of the madness that is his house when he
comes home. Like so it's like, yeah, just staring up
at a nice day after like doing some more, it's like, yeah,

(21:18):
this is really nice, and this is the only kind
of enjoyment I get before I go into my home.
That is just I mean, it's it's really rough. Like
it's just really rough for him. I don't wish that
on anybody. Maybe a few people, but not him.

Speaker 2 (21:34):
He seems like, uh, not wanting to go home, Like
my home life is that bad that like I don't
want to be there. Yeah, rather be like Jesus Christ
or or I'd rather just be anywhere else. She does.

Speaker 3 (21:56):
She has a freak out on Moses that I thought
was valid. I'm not gonna make that like sandwich or
whatever and just leave the knife of peanut butter all
over the counter. That would piss me off to It's
like twenty to get your ass up. In that moment,
I was like, you know what, Pansy, no fucking nuts.
But yeah, that's where she yells a him about having
dreams and ambition, and he's just he's just like, you know,

(22:20):
he's like every other gamer. He's not doing shit with
his life.

Speaker 2 (22:22):
Because gamers are like the laziest people in the world.
Is how I read this scene.

Speaker 3 (22:27):
And yeah, they're just fucking He's just sitting there. He's
not responding to her. He's just she's just yelling at him,
and she's like, I am not your servant, which is
how she ends up seeing and slams the door. And
then I was where he was.

Speaker 2 (22:39):
Like, fuck you, mom.

Speaker 3 (22:42):
Uh hears so for his own personal safety. And then
we see we see Pansy laying on the couch. She's
watching TV and she keeps getting up and like looking outside.
It's like because she's she's just she has an energy
about her just just she can't relax. She cannot just

(23:07):
enjoy I mean quite literally, she says she cannot enjoy life,
which I'm just like, get this woman some fucking help man,
like like therapy and or drugs.

Speaker 2 (23:22):
You need them, you know.

Speaker 3 (23:23):
She's like, she's she's like borderline personality disorder, Like yo,
you can't pray that shit away, like you just can't,
like your mind is not regulated, Like it's just.

Speaker 2 (23:33):
Not it's sad. It's fucking sad.

Speaker 3 (23:37):
And then her husband comes home and she's just like
he's like, hey, you good, and she's like, nah, I'm
not good. And it just starts just what seems like
a solid soliloquy of just pissed off complaints about the
most random ship.

Speaker 2 (23:54):
It's like that Chris Brock bit where it's like as
soon as the husband comes home, he gets one foot
in the door, and it's like and it's just like,
what the fuck I just got in the door, and
where's my big piece of chicken? Like, what the what
the hell?

Speaker 3 (24:13):
Yeah, No, it's definitely that, like I thought of it
as that you know in Fences when you meet Denzel
Washington and he has that monologue for like the first
it's like four and a half five minutes where like
you meet him and he never stops talking. He's like
he ends up talking to like two or three people,
gets all the way to his house, from his from

(24:33):
his job, all the way through talking in the backyard,
all the way to the dinner table. He never stops talking.
And then like the monologs, that's what this is like.
And you're like, god, damn, like what do you like
what is going on? And she's just complaining about everything,
the kitchen floor, birds out back, the neighbors, some ballhead

(24:54):
made like.

Speaker 2 (24:55):
What the fuck, Like what the fuck is a baby
gonna do with pockets? Put a baby knife from the baby.
But I mean, look, the dinner seems funny, yo, Like
her complain well like like it's just it's just amusing
to me, right, oh yeah, going off like this is
like these were like moments like this were very like

(25:16):
Curbby Enthusiasm esque to me, right, like oh yeah no,
they're legitimately yeah like Larry David like musings about things
that just don't.

Speaker 3 (25:26):
Matter, right, Yeah, it's it's it is what's it's the
lighter parts, right, like this is that this is the levity.

Speaker 2 (25:37):
Of the movie.

Speaker 3 (25:40):
And then you see Curtly goes and sees Moses in
his room and he's like, hey, how you doing. He's like, yeah,
I'm good. It's like you go out today? Yeah, where'd
you go? And then Moses just doesn't say anything, and
he's I think he's just he's tired of having to
explain himself as.

Speaker 2 (25:57):
A human being. I think he doesn't know where. I
think he doesn't know where he's going. I think, quite literally,
that's why he didn't answer, because he doesn't know where
he's going, because he doesn't have any direction. He feels
like his mom. He feels like everything he does, his
mom's gonna complain about his dad. You know, fathers and sons.
It's weird, yo, it's weird, like like the Huxtable's got

(26:21):
everybody all fucked up, man like it is. It's not
you know, it's weird.

Speaker 3 (26:29):
Well, it's not constant banter like I have that with
my daughter. I'm like sometimes I'm like I.

Speaker 2 (26:33):
Don't know what to talk about right now exactly, and
it's just like and you know, yeah, you need to
be more open and you need to talk more. That's
why I make a conscious effort to like how is
your day? Like what did you do today? Right? Like?
And you know, and and I'll do that, but then

(26:53):
my son will be like nothing, and then like.

Speaker 3 (26:57):
I was gonna know how open is he about that?

Speaker 2 (27:00):
Because my daughter is not. She's very much a close
It depends on what it is, right Like if he
didn't have an eventful day, like he obviously did things,
but he won't there's nothing right like he went to
camp to day and was like, there's what you do today?
Like nothing? Oh, I went and did a paddle boat.
I was like, oh okay, well then that's something that's

(27:21):
trying to get right. And I'm trying to get better
at like follow ups right.

Speaker 3 (27:25):
Yeah, because my wife is My wife is amazing at
that because she's she's trained as a teacher.

Speaker 2 (27:30):
She she understands what I'm like.

Speaker 3 (27:32):
All right, that was a good answer, awesome, Great?

Speaker 2 (27:40):
What kind of responses are we like? Give me but
it's true true, But and and that's and that's you know,
that's I feel like I feel like these this father
and son have that relationship right like like because they
but but they don't want to like talk ship on
their mom slash wife. That's the thing that they have

(28:01):
in common. It's just like, Yo, what the fuck is
going on? Yeah? See wild right?

Speaker 3 (28:07):
I mean it is really it is quite funny to
try to have those conversations with your kids, especially at
the age r kids are, right, they're six and and
it's just kind of one of those things where you're
just like, what's going on over there? Like when you're ten,
you got better stories, right, Like when you're ten twelve
years old, you can just you can keep up with

(28:29):
your parents, right, Like you can, dude. You know what
I try to do. I try to throw in things
that create questions in her head. Like We'll be reading
a book or whatever, and I'm like, what do you
think about that? And she's like, like, we had a
whole conversation this morning reading a book and somehow, like

(28:49):
somehow like a tiger was brought up or whatever. She's like, well,
tigers are very mean. And I was like, well, they're
not really mean. They're like protecting their cubs and stuff,
and she was like oh, and then she started like
she just went off in the whole thing, and I
was like, well, remember in Zootopia, like not all the
predators are bad. They were like they're actually pretty good
unless something else happens. And she was like oh okay,
and so she like goes in this whole tangent. I

(29:10):
was like, cool, now we can have a conversation, right, Like,
but like, how was your day? I ain't do nothing,
you know, I'm like I'm stuck.

Speaker 2 (29:18):
I don't know what to do, you know, because I
can't say why, Like I'm trying to learn how to
say why. More like, well, why do you think this? Right?
Why do you think this? Why do you think that?
I can't say that. Would you do nothing? Why?

Speaker 3 (29:33):
Well, nigga, I don't know what. I'm sick, right, that's
my job. I say why until it drives you crazy?

Speaker 2 (29:41):
Uh yeah. It was like the other morning I was
driving her to.

Speaker 3 (29:43):
School and somehow we got we were talking about like this.
She was like where does like cause she doesn't know
what God is. She was like somebody said something here
sturn school and she was like, What's What's God?

Speaker 2 (29:57):
I was like, wow, I love you.

Speaker 3 (30:03):
No why one of us believe in it? So so
she was like you know what, I was like a
long time ago, some kid was like something something Jesus.

Speaker 2 (30:10):
She was like, who is that? That was like, very good,
you're doing great, Zeus.

Speaker 3 (30:16):
You're right, he's in your class.

Speaker 2 (30:17):
Knock it off, you know him.

Speaker 3 (30:21):
But yeah, she's something about the solar system or something,
and she was just like, well, where does that all start?

Speaker 2 (30:26):
And I was like, well, there's a.

Speaker 3 (30:27):
There's something called a Big Bang theory. And I was
talking to her about that, and like.

Speaker 2 (30:31):
She was like kind of getting it a little bit.

Speaker 3 (30:32):
I mean again, she's six, and and she's like, oh,
like and then people came and you know, we're on
Earth and all that sort of stuff.

Speaker 2 (30:41):
And I was like yeah.

Speaker 3 (30:41):
And then I asked her because I was like all right,
he was a perfect like let me love a question
in and just like let that explode into thirty other questions.
I was like cool, this, this will last us the
entire drive. And I was like, okay, so why do
you think some people are different colors?

Speaker 2 (30:56):
Then?

Speaker 3 (30:57):
And she was like, well, I guess the sun is
not in certain areas.

Speaker 2 (31:01):
And I was like.

Speaker 3 (31:02):
Fuck yes, And I was like all I keep going
explain it. I was like, what about white people? She
was like, is it because they're made of snow and
I was like, all right, that's very funny.

Speaker 2 (31:09):
It's like but I just let her go.

Speaker 3 (31:12):
And right, and then you could have this interesting, fun
conversation with her.

Speaker 2 (31:15):
But yeah, the six your old daughter knows that white
people are snowflakes.

Speaker 3 (31:20):
She does know well every day when she works up.
I was like, never forget, never forget what they did
to us, which is m no, but what are those books?

Speaker 2 (31:31):
What are those books we have for her?

Speaker 3 (31:33):
Anna and Andrew, They're like, they're kids books. They take
place in DC and it's a black family and so
they just like they deal with black ass issues. They're like,
all right, we're going to Ghana to you know, go
on the trip. And they're like, here's the port of
no return. This is where slaves are taken. I'm like, god, damn,
these are like little kids. But Jesus, yeah's actually really

(31:55):
adorable books. But yeah, it does not hold back. This
is Frederick Douglas. Look what white people. It's terrible type
of ship.

Speaker 2 (32:03):
So that's amazing. M Yeah.

Speaker 3 (32:06):
So they have they have a really hard time just
sort of talking because Pansy she eats up all the
space too, right, Like she's just sitting there and she's
just doing another one of these monologues talking about how
people at the grocery store who like ask you to like,
you know, sign up for some petition.

Speaker 2 (32:25):
She was like, they're scammers. They want your phone number
in your email.

Speaker 3 (32:28):
And and and your your social Security number, your postal code.

Speaker 2 (32:32):
It was like, Okay, what a lot of that's not true.

Speaker 3 (32:35):
Relax and then you know they'll come in your house
and kill my only child, and like and Moses is like.

Speaker 2 (32:45):
They both stopped, like what.

Speaker 3 (32:49):
The fuck are you talking about? But no one says anything.
And because that I have to imagine that level of
I don't want to say trauma, but that that level
of trying I'm trying to be you know, respectful, that
level of sort of mental whatever mental situation she's going through,

(33:11):
that's got to just take up so much oxygen in
the room, right because you're trying, you're trying not to
like you don't want to get in the way, right
Like if Moses says something, he's gonna get his fucking
head torn off. If Currently says something's gonna get his
head torn off for whatever reason, like who knows. And
so they're both trying to like walk out very thin line.
But I mean ultimately it damages all of them because

(33:33):
they're just standing there, just taking this ship instead of
going fucking Hold up for a second, what the.

Speaker 2 (33:40):
Being friends with a blowhard of thirty years? I know
that you know when they start going, they're kind of
like juggernauts. Man, sometimes you just gotta let them go
and then you know, you gotta weave your way in. Yeah,
to make your point across.

Speaker 3 (34:00):
No, that's true, and I'm glad. I'm glad Terrence is
not here this week to really uh get to be
that that person.

Speaker 2 (34:06):
It's really.

Speaker 3 (34:09):
They're never self aware. They're never self aware. Really, I
I am. I'm not just one of these douchebags on
the internet who says this. But I am a non
neurotypical person, right, I don't think I have borderline personality disorder,
but maybe might could be a better judge of character
for that, Like I don't know, maybe, Uh it's a

(34:30):
lot of similarities, but yeah, it's look, I I realize
that like it's you know, it's it's a it's a
it's a thing, Like it really is a thing. Again,
I don't think I'm where Marion, uh Jean Faptiste's character is.

Speaker 2 (34:48):
But no, I think very few people are. But I
do think those people exist, and I think they exist
more than one hund Oh. Yeah.

Speaker 3 (34:59):
At first I was like, is she manic depressive or
something like that? But she doesn't have any mania. I
mean no, not like happy mania, right, which is what.

Speaker 2 (35:08):
You would think of. Yeah, Like she doesn't. She's always
on ten, right, She's never on two, never, unless she's sleeping,
and even then she's not because she's having these weird
dreams and she's waking up screaming, right, Like I'm assuming
she's having weird dreams. She's waking up screaming, and people

(35:32):
who have a good night's sleep do not wake up screaming,
like they just don't. Like her mind is always working,
and that's terrifying to me. Yeah, yeah, because it's it's
she's she's she's hyper aware, and that is I don't know,

(35:54):
I don't know. We cut to a scene of her sister,
who is a hairdresser, and it's a funny little scene
of you know, just like people doing what they when
in the hairdresser, right, Like she's she's she she's got
a client and the client is just kind of telling

(36:16):
this story about like how her husband is kind of
like like she she the client is like, oh, I
got to hot all these graves and these gray hairs,
and my husband he's you know, he's got black hair.
And because he don't know, he don't worry about nothing.
Uh and hearing these like British and West Indian accents

(36:39):
is like, man, I kind of want to move there.

Speaker 3 (36:41):
Man, Look, look, look, look, I had I had a
thought when I watched this movie. I was like, you know,
if you're looking for some good looking as African women,
you don't want to go all the way to Africa.
Apparently Britain is loaded with him, because here you go, bro,
Like god damn, it's as Nigerian women.

Speaker 2 (37:03):
And this scene is really funny. Look.

Speaker 3 (37:05):
Also, the sort of West African thing of sucking your
teeth when you're kind of annoyed by something is one
of the funniest things to me. I love it, Like culturally,
I just think it's I just think it's hilarious, even
though I find mouth annoyeds just to be obnoxious generally.
But yeah, her whole idea of there's all this like
I could just leave him type of shit. I could

(37:26):
still be out there, it's like relax, like relax.

Speaker 2 (37:30):
Just just relax. Uh.

Speaker 3 (37:32):
Now that you couldn't make because she's a very good
looking woman. But there's a lot of talk of just
like just leave them girl, fuck them, everybody fuck them,
like you know, like, nah, that's like.

Speaker 2 (37:43):
Relax, relax um. But her sister, her sister is.

Speaker 3 (37:48):
Single, she left her husband, so I think that's that's
a part of it. And that being juxtaposed to Pansy,
who very much stayed with Curtly even though you find
out like she doesn't she doesn't like him, right, And
the fuck the thing is like later on her sister's like, yeah,

(38:09):
just come stay with us. Fuck fuck fuck Curtly and Moses,
like you know, they're grown men, they'll be fine.

Speaker 2 (38:16):
And I'm thinking to.

Speaker 3 (38:17):
Myself, she doesn't like them because she's she's unregulated, Like
is that really her feeling, you know what I mean?
Like like she does this thing where she kind of
validates it, but at the same time, I'm like.

Speaker 2 (38:34):
I mean, I don't know, I don't know how long
it has been this way. She could have been like
this for thirty years, right, like she I think this
is I think I think this is I think this
stems from from childhood, right because at the oh, she's
had right, she's had these feelings ever since. You know,

(38:55):
you know, mom liked you, always liked you better, right Like,
She's always had these feelings. And you know, she says
she married Curtly initially because she was afraid of being alone,
not because she loved him, right Like. I will take
her at her word when she says that, and I

(39:17):
get what the sisters. The sister is doing what the
sister is supposed to do. She's she's she's saying, look,
if you don't like this person, maybe he is the
reason why you are acting like this. Maybe you should leave,
maybe you maybe you won't be alone. You've got me,
yeah that I want her to get what the sister

(39:37):
was doing at that point.

Speaker 3 (39:39):
I do, I guess, and this is my own personal bias,
but I was I was waiting for someone to be like,
you need to go talk to somebody, and that never
happens in the movie, right Like, and maybe she has
tried in the past or whatever.

Speaker 2 (39:55):
But it's like.

Speaker 3 (39:57):
The ending is incredibly sad to me, Like it really is,
and I feel horrible for the husband, and I feel
horrible I feel horrible for Curtly and I feel horrible
for Pansy, especially like Moses has kind of a kind
of a nice ending. Actually again looking for some fine
Nigerian women. Just go sit in a fucking park in London.

(40:20):
It'll work out for you. But give you gummy worms.

Speaker 2 (40:22):
It's amazing. Who doesn't like those? So yeah, it's I
don't know.

Speaker 3 (40:29):
I was I was kind of hoping that there was
gonna be some moment of like, but you know, to
like your wife's.

Speaker 2 (40:34):
Port, like there's no happy ending.

Speaker 3 (40:35):
It's like, yeah, the ending is like, yeah, life sucks.
So yeah, I was just hoping that somebody would say,
like her sister would be, look, you need to get
some you need to go talk to somebody, and then
she would like maybe be like all right, I'll see right,
Like even if it was that, not that she goes
to therapy and it's all fixed.

Speaker 2 (40:53):
But here's the thing though, here's the thing. How many people,
especially with people of that generation, even consider that to
be an option.

Speaker 3 (41:01):
Well that's that's yeah, I think that's very much probably
the point. Yeah, which which sucks because this is never
going to get better, right, Like Curtly is not the
problem like he's just not the problem. Like, Okay, you
might have married the guy because of you know, he
didn't want to be alone, fair enough, right, but he's
not the problem. Like that guy is literally in the

(41:24):
nothing in that character has ever done anything, and from
what we can see that was even remotely negative towards
her or anything. He is unbelievably just like whatever you
want to do, Like he doesn't really push back on anything,
he doesn't really say anything.

Speaker 2 (41:42):
All right, I can't watch He's fun British woman while
I'm talking movie for a second.

Speaker 3 (41:52):
But yeah, like there's nothing about him that felt, at
least from an outsider's perspective, offensive to her as a character.
But I feel like she is just everything is offensive, right, Like, so,
like does she care about Curtly? Maybe maybe not by
the end, I'm not so sure. I don't know, right,

(42:14):
but it's like you're under the fog of whatever she's
got going on, which is really I mean, there's a
lot of people who have very strong feelings one way
or the other about about a person, and then they
take medication or they go to therapy and it changes
for better or for worse. They're like, oh I thought
I would really want to be with this person. They're like,

(42:35):
I don't want to be with this motherfucker at all.
I gotta get the fuck out of here, or the
vice vice versa. It's like maybe I didn't think this
was gonna work, and it's like, oh shit, then I
you can, like the glasses come off, in rose colored glasses,
so to speak, come off, and then you're like you
can see that person for real and who they are.
So I that was that was a part of my disappointment,
But that's that's my own personal bias, is what I

(42:57):
would what I would say. So, but I don't know,
like it would be really hard to be married to
somebody like that, because I mean it's clear that currently
cares for her quite a bit, right, like he does.
I mean I assume like he wanted to marry her, right,
but I don't like, what did he see at that time?

(43:21):
Was she like this that whole time?

Speaker 2 (43:24):
Like how long did they date? Nine minutes? Because like
like I'm.

Speaker 3 (43:29):
Out, God, for real, just take it to the grocery store.
See how it works out.

Speaker 2 (43:34):
It's not gonna I mean, you know, any any number
of scenarios could have happened, right, She could have he
was could they could have they could have had oops
of baby twenty two years ago. That's true. True, Let
is do it like any any number of scenarios could
could could occur, but get rid of it. So there's

(43:58):
a so we we get so we meet the sister
and we see this. She has two adult daughters name
fine and sexy, and I think their names are Kayla
and Alicia, and and yeah, basically we just kind of

(44:21):
established like who these people are, right Like, the sister
Chantelle and her daughters are quote unquote normal, right They
They're they're living life. They you know, the sister is
very cheerful. The daughters are you know, just you know,

(44:42):
chatting about men and you know, doing what women do
or whatever. And we see that they are quote unquote neurotypical.
And the interactions between Pansy and Chantel are some of
the best in the in the movie because you know,

(45:04):
it is still Pansy complaining, but she is complaining to
someone who loves you, we know, loves her unconditionally and
is patient with her right to patient and not tolerant. Right, Like,

(45:25):
there's a there's a difference. I hate I hate when people,
especially on our side of the political aisle. They're like,
you know, they use the word tolerant like it's not
a good word. It's not it's really not. To tolerate
someone is to like put up with in.

Speaker 3 (45:43):
Spite of right, right, Like I'm very tolerant.

Speaker 2 (45:48):
Right, you may think that, but like that's that that
uppity ship that people hate, right. And then and there's
a big difference between like being tolerant of someone and
actually like being invested in them, accepting. Yeah, and it's
it's some of the better stuff, and it's it's it's

(46:10):
it's really really good dialogue. And Pansy's and Chantel was like, hey,
you know you're gonna come with me to see to
mom's gravesite. Uh, you know, it's Mother's Day and we
you know, let's just do flowers. And she's and you know,
Pansy's she she's very like, you know, resistant to that.

(46:33):
She's like, you know, right, you did, you did, Like,
what the fuck is what's the point right, what's the
point of of dropping the flowers off? She ain't gonna
see them, whok is It's like and you know, the
sisters an like, come on, come on, like do it.
She's like, I'm not committing to nothing. All right, I

(46:54):
cut Tod. We cut to a scene roastery store. This
is uh no, this is uh this is the Marlow
furniture funny. This is this is man. You have there
been a greater furnure. Yeah, this is the Larry David

(47:17):
part portion of the move of the movie. Right, Like,
you know, she sees people on the you know, testing
couches and and she's yelling and screaming at them like
what the fuck are you? Like what are y'all doing?
Like over there can laying all out and stuff like that,
and what what what's like like cut it out, get
a room?

Speaker 3 (47:35):
Basically right, she was like, are you purchasing the sofa
you're over here? Because it's like it's it's like a
boyfriend girlfriend or husband, wife or whatever. And they're young,
right yeah, they're like probably buying their first couch. And
the wife is like laying up on the guy like
oh this could be us and stuff, and she comes
up she's like, you're all gyrating all over the place,
perspiring up the couch, like get the fuck off this.

(47:59):
She's so like she's just he's just she mad for
no reason, like these people he bothered nobody, Jesus mad
for no reason. Then this uh, this woman comes up
and works at the furniture store. She's like, oh, can
I help you? She's like, yeah, I'm looking at a couch.

Speaker 2 (48:15):
He's like, well, we.

Speaker 3 (48:16):
Got loads, we got chairs. And she just proceeds to
rip this white woman to fucking shreds for no reason,
for no reason.

Speaker 2 (48:26):
It's like, what you think I can't do it? I
could walk, I know what I want. I'm not looking
for chances. I'm looking for sofas. Like what the She's like,
I'm not an invalid.

Speaker 3 (48:36):
She was like, I wasn't suggesting you were an invalid.

Speaker 2 (48:39):
I'm sorry.

Speaker 3 (48:42):
That ship had me fucking cracking up. She's so mad, like.

Speaker 2 (48:47):
Oh, I'm just trying to help. I don't need your help,
like Jesus fucking Christ.

Speaker 3 (48:51):
And that's the time I would get fired from that job.
I'd be like, yo, go fuck yourself.

Speaker 2 (48:56):
Need this ship. I mean, I thought this woman was
about to because like she away and then immediately come
back and she's like, look, I'm just trying to do
my job. You ain't doing your job. You harassing me.
Go show off and share your expertise with someone else.

Speaker 3 (49:10):
No, no, no, you're buried in the lead because she's
like because the white girls got like she doesn't have
big boobs, right, She's just standing there right like, but
she's like, why why don't you go show you up expertise,
She's like showing he was.

Speaker 2 (49:23):
Like she wasn't at all. She's just standing.

Speaker 3 (49:28):
Like the right, it's the least sexy fucking thing you
could wear. It's just hilarious. It's like, I've I know,
ever feel sorry for white people almost in any scenario. Ever,
this is the one time like, oh, I go, I
do nothing. You're just trying to help. It's like, all right,

(49:49):
you're just getting personal.

Speaker 2 (49:50):
She's like you threatening me, Like what the fuck are
you talking about? Jesus Christ?

Speaker 3 (49:56):
No, this this this character could be on East.

Speaker 2 (49:59):
I don't like your face. She wear too much makeup. Well,
now you're personal. You're threaten to me, Like, yo, what
what's going on? She was like, you're intimidating me. What
if that makeup comes off on all the furniture? You
just being selfish?

Speaker 3 (50:17):
Yeah, we'd be like me some furniture moving in there,
Like Yo, all right, Pansy, we gotta fight.

Speaker 2 (50:22):
You gotta calm down.

Speaker 3 (50:24):
Oh shit, and of course she asked her the manager
and then she you know, as the woman walks off,
she immediately leaves because she knows that she's gone too far.
But like she cannot regulate her emotions.

Speaker 2 (50:38):
It's like it's like those people who just like have
to argue and cannot back down. Ever, you just gotta argue,
just gotta needle them. I think, what was it You
see something on the internet and you just gotta argue. Yeah,
I mean that's what the internet. They didn't make it

(50:58):
for information, They made it to you with dumb people
on the internet. Duh.

Speaker 3 (51:03):
Again, if I see something happen on the Internet, I
can't turn away. Yeah, So she goes into she goes
into the car, and again she Yeah, she's in the
parking lot in her car, and she's just sitting right
and again.

Speaker 2 (51:20):
She's just she's seething.

Speaker 3 (51:21):
She's seething right, like after reading a YouTube comment. She's
just seething.

Speaker 2 (51:26):
She cannot believe she has to live on the planet
with these people. And this black dude drives up. He's well,
you know, I think I think honestly, when she's in
the car that first seen where she's like gives that
like really big, like exhale. I think she regrets it, right,

(51:47):
I think she regrets what she did to that woman. Yeah,
I get that, but she's like like fuck, like like
she she can't she knows she can't help herself. It's
like when you know something's wrong but you don't know
what it is or how to fix it, and it's
incredibly frustrating. I think she's really really frustrated at this,

(52:08):
angry at herself. She's very much angry at herself. And
then here comes another perfect like curb moment right where
some dude is just like, hey you you sweetheart? Are
you leaving? And and she, you know, he doesn't, she
doesn't see him because she's like in her in her

(52:29):
head and yeah, this is one of those Larry David
moments where it's like, Okay, Larry Davis, not the problem here, right,
Like like this dude.

Speaker 3 (52:39):
Is the fucking problem, right, Like he fucking the guy
Like he flips out, yeah, like come on yo.

Speaker 2 (52:45):
Like he gets out the car and he starts like
yelling like hey, I'm talking to you right, are you
leaving or not? Are you just I've been driving around
for twenty minutes trying to find a space and I'm
one hundred percent team Pansy right here, Like, does it
look like I'm leaving now? Yo? Get out, get ahead now, Yo.

(53:06):
This guy I'm pro.

Speaker 3 (53:09):
I'm pro sob with the cardboard over the window, like
get out of here. Look, I'll tell you this, I'll
give you. I'll give you a personal story. I was
once when Arundel Mills Mall opened a like originally it
is back in the day.

Speaker 2 (53:23):
This is very local story.

Speaker 3 (53:25):
It was a huge mall near Baltimore, and I was
meeting up with people at like daven Busters or whatever
the fuck that place is, and the parking lot is
loaded because one it's like five six o'clock in the
on a weekday, so it's like everybody leaving work type
of shit. And it's also a new mall, so everyone's like, oh,

(53:47):
they got a daven Busters, Like it's amazing, right because
apparently people have never had shitty chicken wings and bowling
in the same place and ski ball, Oh my god.
So I'm driving around this fucking parking lot. I'm driving around,
driving around, and I'm around for like thirty minutes trying
to find a spot because it's just none except for
Valet parking, go fuck yourself. I'm driving around and well

(54:09):
there was not someone sitting in their car.

Speaker 2 (54:11):
There was somebody. There was a spot, and I'm like
about to pull in.

Speaker 3 (54:15):
I'm like xanadu.

Speaker 2 (54:17):
I found the spot and the asshole pulled through, like
in the next aisle.

Speaker 3 (54:22):
He pulled through, and I fucking lost it.

Speaker 2 (54:25):
I was this guy. I was worse.

Speaker 3 (54:27):
I was like, your motherfucker, like, what are you doing?

Speaker 2 (54:31):
And someone pulled in behind him.

Speaker 3 (54:32):
I was like like I fucking flipped out, And so yeah,
I agree with the guy in the sper that's a
different scenario.

Speaker 2 (54:42):
That is a different scenario. Your spot was stolen. She
has that spot and he's asking her to move out
of it. No, No, you don't know what I'm doing.
I could be waiting for somebody, you know. All she
had to do. His answer, he was like, all you

(55:03):
have to do is mind your fucking business. How about that?
Well fair enough? Uh, hey can you move out of
that spot? What if I just pulled in? You don't know,
as I'm waiting for somebody, I'm waiting for somebody, you
don't know. Get the funk out of it. Is hilarious.

(55:26):
Their exchange was fucking hilarious. She called him like a nutterer,
and she was like, you ain't getting none of it.
You ain't get you. You ain't got nobody to give
you no nut. And she was like, see that's your problem.
You got sperm on the brain. And he's like yep,
and ain't none of it for you.

Speaker 3 (55:41):
I was like, god, she says, you have because this
is amazing. She goes your sperm on the red goes yeah,
and none of it is for.

Speaker 2 (55:49):
You, you barren bitch.

Speaker 3 (55:54):
I was like, god damn, which is like that's that's
a perfect that's a perfect curb, Like you would just
play the music as it's like transitions to another scene,
like it was just wonderful that that scene was really
great because she was just like, yo, go fuck yourself
and he was like all right, mat go fuck yourself.
And they just started yelling at each other. So they
both they both got off some pretty solid inselfs.

Speaker 2 (56:15):
But but like here's the thing though, right like the
second she started feeling bad because like oh shit, like fuck,
maybe I've maybe I maybe I played that wrong with
that woman in there, right damn it, Like what am
I gonna? What am I gonna do? Right? That's gonna
be in my head all day. Here comes fucking British

(56:35):
Glenn Turman. Uh, what is what is with his bad
fucking attitude? She's mad all over again, like she's she's
just like she she gets the resolve to be mad
at the world, to get yeah and it and.

Speaker 3 (56:49):
It also feeds this this narrative that she has that
she's she's constantly harassed when she goes out, right, that
feeds into this fear of fear, making her agoraphobia that
much worse. Right, Like, and there's another scene coming out
where it's like she just has a hard time anytime
she goes out. Some ship hoops off. Look this ship

(57:10):
at the grocery store is wonderful. Again again, I love
this movie. They just like, I was a white person
in the scene not doing nothing. Now you're getting it too,
no reason, no reason at all.

Speaker 2 (57:24):
She was like, what the fuck did I do?

Speaker 3 (57:26):
Which, again I don't feel sorry for them, but it
was hilarious.

Speaker 2 (57:31):
Then we get.

Speaker 3 (57:33):
We get another scene of Chantelle working in the beauty
shop and yeah, just.

Speaker 2 (57:41):
Just just one. This woman is like, yeah, I meant
this cab driver and he he's like and he he
ended up like stalking me because like he knew he
knew where I lived at because I used him all
the time, and you know, he was a good looking

(58:03):
guy whatever, but like I didn't need him for a while,
and all of a sudden he wound up on my
doorstep and he was like, oh, I was just concerned
about you, like do you need anything or and and
she was like what this is so incredibly unprofessional. And
then Chantell's like, so, where y'all going on your date?
And she was like, well, you know, he taken me

(58:24):
to such and such, and you know, I might I
might wear a little something something, you know, to keep
the girlies out for him and shit. And she's like,
all right, all right, all right, well maybe I won't.
Just like, look, you just need to calm down, all right.
Chantelle is the voice of reason and ship and everybody's life.

Speaker 3 (58:43):
And it also just goes to show you, like these
are her interactions when she's out right, like, as as
bad as Pansy's experiences are sh Chantell's experiences are as
coded as normal as as anything right, just with stranger
and whoever she can just like she's just she's just

(59:03):
cann be a person in.

Speaker 2 (59:03):
The world with no problems.

Speaker 3 (59:07):
We has got to be rough being sister to somebody
who just cannot do that, right, Like you just cannot
have these like sort of regulated.

Speaker 2 (59:18):
Conversation so to speak. Yeah, she also says she's got
like six kids. I'm like, god, yeah, She's like, all right,
I guy, Well come on now, She's like, I ain't
giving it up on the first date. I already got
six kids. I'm just gonna, you know, wear something over
the shoulder and something that accentuate the good bits. You know,

(59:38):
I'm gonna put a fucking dress on. I mean, do
you girl, but like use a condom? Yeah, you got
six kids, lady. So Chantel is finished with the client
or the client goes to smoke a cigarette, and that's
probably what they call them there. I'm not saying that.

(01:00:01):
I'm not saying that now.

Speaker 3 (01:00:03):
Yeah, because he says it all the time otherwise, just
for our listeners.

Speaker 2 (01:00:06):
Yeh, cigarettes cigarettes, That's what I say. Cigarettes, And I'll
say retard it. I won't say that other word. I
don't want to be offensive, guys.

Speaker 3 (01:00:21):
I will say this. I was watching that show Tires
and they did have a joke and he was like, so,
what do you think you're you're the chink in your
armor is shake. Gillis was like like, I should have
you cracking up. I was like, yeah, we gotta stop
saying that. That phrase is insane.

Speaker 2 (01:00:36):
Yeah, yeah, stop saying that word. And uh so Chantell
goes to uh call her sister, and her sister's like,
I'm at to and she's like, hey, you come with
me to the to the cemetery of what. She's like,
I'm at the grocery store. I'll call you back.

Speaker 3 (01:00:51):
And no, she was like yelling at her.

Speaker 2 (01:00:53):
She was like, I'm not confirming anything. He's like, okay,
just relax, chill, man, just chill. And she's and the
cashier is sitting down and you know, ringing her up
or whatever, and and and Pansy's got something to say.
And this black woman is behind this white woman and

(01:01:14):
the white woman and the black woman is like, yo,
just leave her alone. She's doing a job. And and
and you know, can you just just be quiet and
so she can hurry up, and and Pansy says something
to the effect of said well.

Speaker 3 (01:01:27):
She says, I'm running late. I have a new client. Yeah,
I have a new client. And Pansy's like your gentleman
client is not my problem. Like god, I burst out laughing.
I was like, yo, one, that's two. That's a super
quick response. Like that was like like she would he

(01:01:49):
fucking nail that insult. Immediately, I was like, God damn,
it's pretty good. It's pretty good. Jesus Christ. Whatever she's
going on does not take away from her fucking ability
to be witty.

Speaker 2 (01:02:01):
It doesn't, right, Like God damn. And uh, you know,
they start arguing back and forth, and and you know
it's like you got back up, and the white woman
is like, you know, stop please right and and and
she tells the white woman she's like, oh you shut
up right, you're standing there looking like an Ostrich right,

(01:02:21):
and she I mean, I mean, she she got, she
got like she got like the underbite right like she
she's just a non existent chin and it just yeah,
it's just it's nothing there, man, I look nothing. I

(01:02:42):
was gonna be a dick.

Speaker 3 (01:02:43):
I was gonna say she kind of looked like Roger
Ebert at the end, which ain't that ain't that ain't right?

Speaker 2 (01:02:48):
I said he wasn't my favorite. Just say she looked
like a piece of string, just like she says in
this movie.

Speaker 3 (01:02:56):
Uh, that ship was funny, Like she was just she's
just so mean to them, like talking about you Ostrich.
I'm like, she got you dead to rights, my nigger,
like she kind of does.

Speaker 2 (01:03:13):
I don't know whose cash this cash is cracking the
funk up.

Speaker 3 (01:03:18):
She's like like like, oh my god, that's curcious.

Speaker 2 (01:03:27):
We had a we had a couple of quick scenes
to just kind of pad out the movie. We had
a scene of one of Chantelle's daughters, Kayla, who works
at like a fragrance factory I don't know what they're called,
and and they're they're testing out a new you know,

(01:03:51):
scent that is coconut free. Well, this this scene has
literally nothing to do so with anything.

Speaker 3 (01:04:00):
So the the only the only thing I thought of
because I was trying to sort of catch what what
this scene may be about. I think it's just a general,
like one of two things. The general like see white
people really ain't shit. Like she's being treated like dog
shit for for next to no reason. Right, Like she
has this she has this viable idea and this white

(01:04:23):
woman who is her boss doesn't like it, and so
she's being like incredibly dismissive and frankly pretty disrespectful to her,
like she's got like all this data, like this is
why we would go coconut free and look at look
at you know, all these people who would want this
and everything else. And she's just like, yeah, it's a
small demographic and I don't really give a shit, like
kind of likely dismissing what I assume are black people

(01:04:45):
who would benefit from us. But you know, I think
it's just that sort of like general like here's some
some good old fashioned British like you know, like white.

Speaker 2 (01:04:56):
Sort of racist.

Speaker 3 (01:04:57):
I don't even know if i'd say racism, but just
a very dismissive of way of behaving towards black folks.
And then I think the other aspect of that is
showing Chantelle's kids they have their own sort of like
inabilities in the world too, right, Like she can't be
honest with her sister about how this meeting went right

(01:05:20):
because she she wants to come off as everything is
okay all the time, and so not dealing with like
a level of disappointment, not dealing with whatever I don't
I don't want to say trauma, that's that's a big
word for this scene, but not dealing with this disappointment
that happens in the scene, So everything has to be
like happy, go lucky, And maybe that's a part of
like what Chantell has kind of dumped on them, is

(01:05:44):
just like you always need to be happy, you always
need to be positive, versus kind of truly dealing with
the situation, because that's also a bad thing, right where
you meet people and they're like, now, everything's great, it's
always great, it's perfect, it's perfect perfect. It's like, Okay,
you're gonna you're gonna have a falling down moment at
some point here, Like that's just the way you're acting
is not normal. So I think maybe that's that's also

(01:06:05):
a part of it, but I don't know. It doesn't
tie into the sort of the main plot of the
of the movie at all.

Speaker 2 (01:06:11):
But yeah, it could. It could. It could be gone,
and you wouldn't. The only thing you would miss is
this too beautiful woman. And uh, you know, yeah, that's
quite little. I'm perfectly fine with looking at Sophia brown

(01:06:31):
On in this movie. Yeah, well at any point.

Speaker 3 (01:06:36):
Yeah, oh and and I forgot that. We forgot to mention.
The next scene is the other sister at a meeting
with her boss, and her like they have a screw up,
but her boss is black, and it's like, oh, it's
our bad, it's not this is not your fault, right,
like there is. I think maybe that's also the juxtaposition
is look what it's like to work for black people,

(01:06:57):
what it's like to work for white people, Like, I
think that's also part of it. So and look, I'm
okay to put that in there. Again, you didn't need
the two scenes, but it's there's nothing harmful about it
because the movie's only an hour and a half anyway.

Speaker 2 (01:07:12):
But then you also get to see more of them,
so that's pretty great. Yeah, no one's losing these scenes
being in it.

Speaker 3 (01:07:22):
We see currently come home h and he's he's home
from work and he knows something's up because the kitchen
is a mess.

Speaker 2 (01:07:28):
He's like, oh shit, did Pansy die? Like what the
fuck is going on?

Speaker 3 (01:07:35):
He runs upstairs and he finds he finds Pansy uh
in the bed because she is you know, she's having
some sort of well I assume this is all from
the day of massive this regulation of like the furniture
store thing, and then the guy in the car, Like

(01:07:55):
that's a lot that would be extremely draining for someone.
And he goes and he wakes her up, and she's
like she fucking is flipping out. And again she wakes
up like yelling and screaming. Uh. And he says, hey,
it's like twenty five past six, like I'm just checking
on you, like the house is a mess, Like just

(01:08:17):
checking on you, okay, And she was like, cook dinner
for yourself, like kind of fuck you. If downstairs is
messed up, go clear it up, like fair enough. And
I think he was kind of just wonder what's going on,
but also you know, like you can put the groceries
away dog, like that's not a.

Speaker 2 (01:08:36):
Big deal, pretty easy. So yeah, yeah, she's and.

Speaker 3 (01:08:43):
Then she sort of goes off about her whole day
about how she saw some filthy.

Speaker 2 (01:08:48):
Woman on a couch and then and then try to
kill her in the car park.

Speaker 3 (01:08:53):
Yeah, so I try to kill her, like and cheer
yourself up with your fat faced baby and mind your busy.
I was like, okay, I don't even remember any of this,
like holy shit, And she's like, you don't know my suffering,
you don't know my pain. Go trip your husband put
a smile on his face for a change, and I'm like.

Speaker 2 (01:09:14):
What about you though.

Speaker 3 (01:09:16):
Like does he have a smile on his face ever?

Speaker 2 (01:09:20):
Probably not?

Speaker 3 (01:09:21):
But I mean you go on through it, girl, I
just did. And then she starts flip out about having
to go and put flowers on her mother's grave and
and you know, just saying like that makes her sick,
and she just you know, doesn't like having to you know,
ball her eyes out or put down flowers or you know,

(01:09:41):
like and have her grief hijacked. And she says she's
sick to death of it, like all of it's coming out,
Like it's like when you're sick and you just like
start just vomiting. Like she's just all of this shit
is just coming out of her. And so she's like, no,
I'm not going to cook dinner, like go cook it yourself,
all right, all right and smash cup to guys doing

(01:10:04):
what the guys do, ordering takeout. I don't know how
to make all that like fried chicken, you got it?

Speaker 2 (01:10:14):
You get something for me, like no.

Speaker 3 (01:10:19):
Which is a sure, but she I guess she doesn't
eat meat or she.

Speaker 2 (01:10:26):
Just doesn't she doesn't like chicken or whatever, right, like
they that's how you know she she's not well. She
needs help. She's going against you. Yeah, come on now,
ye don't worry about it. I gotta I got a
doctor's appointment tomorrow. And then we and then she said,
I'm going to the dentist, right. She's like, something's wrong

(01:10:48):
with me. I'm I'm aching. I'm going to the doctor right.
And and then right before the scene ends, she sees
a fox in their yard and flips the fuck out,
and uh, He's like, the fox is looking at me
the other garden.

Speaker 3 (01:11:09):
This fox is like what is happening right now?

Speaker 2 (01:11:11):
Like I'm like, I'm just chilling, bro right now, you'll
got any rabbits or something? Man like yeah, yeah, yeah, yeah,
I smelled some chicken. Y'all have some chicken? Yeah, man,
I don't know. We cut to uh, we cut to
the doctor's office and and uh, a different doctor comes
out and she's like, hey, you know doctor Greenberg and

(01:11:36):
betterment is not here. And she's like, well, what happened
to him? Where is he in? The doctor? Doctor Goldberg
just being a dick, I mean and and uh, and
she says, well, I believe a close relative passed away,
so he flew to Israel. And and she's like, well

(01:11:58):
why why bother. Why bothered with the dead when the
living is suffering right here? Like what what the fuck
is the boy? Why is he going to see his
dead relative? When I'm here, I'm very important, okay. And
the doctor's just like you want to come in or

(01:12:19):
you want to wait for doctor Goldberg come back. She's like, no,
I'm here now, might as well. She called her a
mouse with glasses like this.

Speaker 3 (01:12:31):
She's so mean, and she's like, oh, do you want
me to examine your like your heart? No, I don't,
like I don't need any of that. It's like, I'm
sorry you a doctor? Like the fuck you talking about.
She's like, okay, lie back And she's like okay, do
you smoke or or drink? And she's like no, I
don't smoke or drink. She's like, do you take caffeine?
She's like, yeah, I have three cups of coffee in

(01:12:52):
the morning, one in the afternoon of my programs, and
sometimes I take a little espresso in the Evening's after
her and she was like, uh, do you ever think
about cutting back on the caffeine? Or she was like,
how long have you been a doctor? It's like five years.

Speaker 2 (01:13:09):
She was like, that doesn't feel long enough, five years
longer than you.

Speaker 3 (01:13:17):
Yeah, okay, get the fuck out of my office.

Speaker 2 (01:13:20):
How about that?

Speaker 3 (01:13:22):
And she's like, oh, well, doctor Goldberg, you know he's
got bedside manner, Like maybe you didn't learn as your
fancy student medical university place, but he's got bedside manner.
I'm like, I bet you give doctor Goldberg as much
of the fucking business when he's there. So she wasn't

(01:13:43):
allowed to do anything, so she can't.

Speaker 2 (01:13:45):
Help her because there's probably not anything physically wrong with her,
if we're being honest. Uh.

Speaker 3 (01:13:52):
Then she goes to the dentist's office, which, now, if
I was a dentist, I'd be like, get up, let's
get up, get out of my just get the fuck
out of here.

Speaker 2 (01:14:00):
Yo. Yeah, she kept moving while she's you know, probing
with her teeth, you know, like what the fuck talking
and sh shut up, shut up.

Speaker 3 (01:14:13):
This this poor this poor dentist. She's trying her best,
and uh, Pansy is just flipping out right like she
is having like oh this hurts ah, And she's like
the fast cuff is like, look, if you're not happy
with these services, you can go to another dentist office.
I get the fuck out, and you know what, respect

(01:14:33):
to that dentist. I agree, I'd be like, you need
to leave there. So, yeah, her her pain in her jaw,
which is probably that could probably be real, but who
the fuck knows, right, Like all of this stuff could
be sort of mentally uh induced. Although I feel like

(01:14:53):
when I I had like a jaw problem, I was
taking a medication and I wasn't like I just arded
the medication and it caused me to have like like
I would get I would get angry like a lot,
and I found like I had, I kept clenching my
jaw to the point like I literally called my doctor.

(01:15:17):
I was like, is this a normal thing? He's like, yeah,
your dosage is off. It's like because I would just
clench my jaw all the time to the point of
like absolute pain. So you know, you're you're uh, your neurology.

Speaker 2 (01:15:32):
Is important, like it is, so it could be real.
Then we see Moses.

Speaker 3 (01:15:40):
He's walking, He's doing one of his walks and he
gets harassed by uh Gray Value, Chris Rock and some
other dude and but they, you know, they make fun
of him, like, ah, you're fat whatever.

Speaker 2 (01:15:51):
I'm like.

Speaker 3 (01:15:52):
Stude's twenty two years old. He looks like Mark Henry.
I'm like, yo, pick these things up, yo, Like like
I like that dude looks like.

Speaker 2 (01:16:05):
If you push him to the brink, he's gonna break you.
Ye like like the world of Trouble. Just leave people alone,
you know, just leave people alone. But he's not. That's why,
that's what I'm saying.

Speaker 3 (01:16:16):
That's why I think he's coded as not being neurotypical right,
Like he's he's literally being treated in a manner of
like like a like a little kid being bullied by
these guys.

Speaker 2 (01:16:28):
Like it's just it's just I mean maybe you know,
I'm just slow to to throw that out there. No,
it's fair. No, I'm just I'm just saying that's how
it went to be. Yeah, I don't know. I don't know.
So after spending days leading up to the anniversary getting

(01:16:50):
into fights with strangers, Pansy goes with Chantel to the
to the Grave, where she insists that Pearl that mother
gave Shantel preferential treatment and put undeserved pressure on Pansy
after their father left them. As Chantelle denies the former claim,
Pansy admits her fear that her family hates her and

(01:17:12):
then Chantel and Chantell comforts her by promising that she
loves her despite her issues. So this is this is
another very powerful scene.

Speaker 3 (01:17:24):
No, I think it's the most powerful, to be honest.

Speaker 2 (01:17:26):
In the movie. Yeah. At one point, you know, they're
going back and forth and Chantelle was just like, why
can't you enjoy life? And Pansy says, I don't know.
And that's heartbreaking, man. Yeah, you know again, it's one

(01:17:49):
of those things where it's like, yeah, I know something's
wrong with me, but like what do I do? I
don't know what to do about it. It's just this
is who I am, Like, like I'm broken, and it's
you know, she says she's haunted and and and it's

(01:18:10):
not fair. That's a that's a heavy word man. To feel, yeah, man,
to feel yeah, man, yeah, yeah, yikes.

Speaker 3 (01:18:21):
And like this is literally just about the halfway point.
And then and this is this is what I was saying,
Like you just see her as it's like this is
a wild, raging bitch in every seed before this and
then in this, and you're like, ah, this poor fucking
woman because you you you see like she's vulnerable around

(01:18:41):
the one person she can be, which is her sister
who's like, look, gir I know you fuck grazy, okay, Like,
but I love you in spite of all of that, right,
I'm not just being tolerant of you as as it were.
And yeah, that that line of haunted, like you could
just and this is this is the difference between like

(01:19:03):
movies that got lasers in them in this type of acting.
When she says that and you look at her face
the way she says it, and they give a like
a two or three second moment of just you know,
no no speech, just facial expressions. That shit feels real,
like it feels you're like, it feels way more real

(01:19:24):
that this this woman who is going through this horrible thing.
Her saying the word haunted felt way more real than
the other movie where a woman is having a really
really bad day and a cop says, I'm gonna find
a legal reason to kill you.

Speaker 2 (01:19:45):
Like like it seems a bit rough. I mean it
just it just like, I mean there are levels to
this ship, right like and but.

Speaker 3 (01:19:57):
But you know what it, you know what it is,
and I'm not I don't want to pile on to
that guy. It sounds like he's got plenty of issues
of his own this week.

Speaker 2 (01:20:05):
Good fuck him. I don't care.

Speaker 3 (01:20:10):
But what it tells you, what it should tell you about,
especially about filmmaking. It's not all the it's not always
the over the top ship that sells it, right, Like
when you have a good actress and you have and by.

Speaker 2 (01:20:26):
The way, I don't think Taraji Pensen is a bad actress.
I'm not.

Speaker 3 (01:20:29):
I'm actually not comparing the two of them as actresses.
That's not my point. It's more of the way the writing.

Speaker 2 (01:20:36):
Yes, it's the material. It's the writing.

Speaker 3 (01:20:38):
When you have a good actress and both of them are,
you can if you if you build a scene like this,
I mean, this scene is textbook how you build a
scene of taking a person who you who you are
kind of supposed to not like, right, you're not really
supposed to like Pansy at this point in the movie,

(01:20:59):
Like you're just not. And and if you do, it's
because you may have like a more personal understanding of
potentially what she's going.

Speaker 2 (01:21:05):
Through, or you're very empathetic.

Speaker 3 (01:21:08):
But for the most part you're like, yeah, you're supposed
you recognize she's complex, but you're like, I get that,
but like you're just yelling at me.

Speaker 2 (01:21:16):
At the furnish just store mining. You're like, like, you're not.

Speaker 3 (01:21:18):
Supposed to like her, but the way her sister is
built up to this point of like this happy, go
a lucky person that everybody likes. And when her sister
turns around and it's like, why can't you enjoy life?
And her response isn't an insult for the first time
when called out about something, it's to agree with that
person and go, I don't know, I'm haunted by this,

(01:21:41):
Like it doesn't take You don't need a fucking bank
robbery and all this other shit to show two black
women going through shit.

Speaker 2 (01:21:48):
You just have to have proper dialogue.

Speaker 3 (01:21:50):
And that dialogue is far more powerful because you have to.
You're writing these characters to feel real, like chan't tell
when she turned like the haunted line is powerful and
it's delivered perfectly. But I think part of it that
makes it really land is that you never see Chantal

(01:22:12):
look sad. She's always happy, go lucky, except.

Speaker 2 (01:22:15):
For that moment she turns around.

Speaker 3 (01:22:17):
When she turns around, she she's got this sad face,
this like I don't understand what's wrong with you type
of shit that you've never seen her like that before,
and so you've never seen her that way, and you've
never seen Pansy in the way that she is, which is,
I'm fucking scared, man, like, I don't know. This shit

(01:22:39):
terrifies me. That's writing, right, That's what writing is. So
when people go, oh, you know, this movie is boring.
This when you want to talk about like film criticism
or understanding film, I shouldn stay film criticism, but understanding film.
Moments like this are what writing does. Great writing does
for even a simple scene of two people standing in

(01:22:59):
a great it can be powerful as shit, can be
more powerful than people shooting laser guns at each other
or robbing a bank or whatever.

Speaker 2 (01:23:07):
Their kids are not really dead or whatever the fuck
is going on or is dead.

Speaker 3 (01:23:13):
But it's just it's just those it's just those moments,
like what is not said in those scenes it's sometimes
more powerful than what is said.

Speaker 2 (01:23:22):
Because after she.

Speaker 3 (01:23:22):
Says haunted chantell like she had looked back down, and
she looks up again because she recognizes how heavy of
a word that.

Speaker 2 (01:23:29):
Is to be used.

Speaker 3 (01:23:31):
So yeah, I mean, fucking no notes, no notes on
the scene. It's excellent. And she says it's not fair.
Pansy says it's not fair, like it's not fair that
my life is likeless, which is a wild thing to
be self aware and self effacing in that sort of

(01:23:52):
in that like level of psychosis, which is, yeah, I
does this scene. This scene for me was just fucking
as as the Brits would say, the tits she's is
I always found funny because food, but yeah, it's it's
it's just an excellency. It really is between two really

(01:24:12):
phenomenal actress actresses. And then at that moment from them
on out, Pansy's broken, like the rest of the movie,
that's it. Put her ass on the shelf. She is,
she is fucking done, like she doesn't have there ain't
no more fun ship from her, like I'm glad you
enjoyed the first half of the movie.

Speaker 2 (01:24:33):
Nah, I'm done. And she's just broken.

Speaker 3 (01:24:37):
And so this is this is just the whole thing
of like, get this woman some help. She was talking
to somebody and it's a it's actually a perfect moment
because the defenses are down, and that's that's exactly when
you need to talk to somebody. There's you know, at
least in my opinion, Uh, and then there's like white
dudes on motorcycles for some reason. Oh they're riding behind hers.

(01:25:02):
I guess one other buddy's died.

Speaker 2 (01:25:05):
Yeah, so okay, we see Andy Nelson who plays Kayla
uh running mm hmm. I'm fine with that.

Speaker 3 (01:25:16):
Yeah, they think a bit longer for me, I.

Speaker 2 (01:25:19):
Mean, you know, no, no notes again. The sisters go
to Chantelle's flat for a Mother's Day celebration with their families.
Pansy is convinced that her fears about her family not
loving her are true and is morose and silent at

(01:25:44):
one point, you know, and Chantel and her children are
like trying their best right to get open, and at
one point Chantel asks, uh, Curtly, uh, you know, how's
your people right? How's your mom right? His Mother's day?

(01:26:05):
How's your mother? And Curtly doesn't say anything. He's just
he's just sitting there eating, because like everyone is awkward
and every end, you know, the Deacon family is just
kind of dead inside.

Speaker 4 (01:26:21):
And that's what mey'all can't come up with my house, niggas,
what did you like?

Speaker 2 (01:26:35):
How did you take? How did you take? I couldn't.

Speaker 3 (01:26:37):
I couldn't get a beat on the whole, Curtly not responding,
what did you think of it?

Speaker 2 (01:26:41):
I thought I thought Curtly was. I thought Curtly was
just kind of going through the motions man when he's around,
when he's around Pansy, I I feel like he's just
kind of beating and broken down, right every time he
tries to say something, uh, he's yelled at or you know,

(01:27:04):
I think he just kind of shut down and that
that's that's pretty much just it. Yeah, that was I
don't even think it was thinking he just I want
to go home. Yeah, it's just like, let me enjoy
this meal before I got to go home back to

(01:27:26):
you know, my life. Can you imagine? I don't want to?
Are you just every day you open that door, you're like, fuck.

Speaker 3 (01:27:40):
God, damn life sucks.

Speaker 2 (01:27:46):
Yeah.

Speaker 3 (01:27:46):
And then we we see uh the one daughter Hello
and uh and uh Chantel. They go in the bedroom.
She's like, yo, what is like the fuck is going on?
Like why is everybody being weird?

Speaker 2 (01:27:59):
Uh?

Speaker 3 (01:28:01):
And she's like, oh, you know your aunt thinks that
we hate her and she's like, no, we don't hate her,
like fucking crazy, like the fuck is going on?

Speaker 2 (01:28:11):
And she's like, we don't hate people, like knock it off.
So Chantel pulls uh pansy aside and it's just like,
you know, what's up, and she's like, you know. They
have a discussion where she basically says, you know, I
never really loved Curtly. I just you know, married him

(01:28:35):
because I was afraid of being alone. And she's like, well,
then divorce him, and she's like, no, I can't do that,
and and she doesn't like them very much, including yes, yeah,
she says she don't like that. She said, I can't
stand the sound up his voice, mean her son.

Speaker 3 (01:28:58):
That's what I'm saying earlier, like what is that like?
Is that is that real? Or is that what she's
going through mentally? That sort of is the masket by
what she sees things that that that's.

Speaker 2 (01:29:15):
Like, it's it seems odd. I don't know, like I
don't know. I think I think I think, you know,
everything is like everything is usually a combination of a
lot of things, right, like nothing is very rarely are
things of binary choice. And I'm not saying you are

(01:29:36):
boiling it down to that. I'm saying, no, no, I
get that. Yeah, I'm saying, you know, I think that
she probably married Curtly out of fear, right because she
like you said, she she fears fear, right, Like she's
scared of everything, right, She's scared of being alone. I

(01:29:57):
think she married Curtly out of fear. She doesn't really
care form. I think she had the baby by mistake,
had Moses by mistake. She didn't necessarily want a child,
and that is breeds resentment, right, And I'm leaping right
like the movie doesn't. The movie doesn't intimate this, right,

(01:30:21):
but it is. This is what I'm gathering from this character, right,
because that's decent art does, right, you you kind of
flush things out, and I think she just I think
she doesn't like this is the type of person that
you put on suicide Watch. Yeah.

Speaker 3 (01:30:44):
No, there's a number of lines where even Chantel's like
like she kind of makes a face like I'm tired,
like I want to just close my eyes like forever,
or like you know, you got to be very specific
in those kinds of suations because that's what it does
feel like that. Yeah, I mean I would be like, again,

(01:31:05):
you really need to talk to somebody like you do
because your language feels a little scary to me, like
it just does.

Speaker 2 (01:31:13):
And she's you know, she's afraid of being alone. And
her sister's like, I did it. I'm alone and I
can do it, and I know you can do it
and you won't be alone, right like, because like you
have me, like it's it's it's incredibly touching. And you know,
she says, well, you know Carlton, which I assume is

(01:31:35):
their father, She's like, he shouldn't have left us, and
and she's like and the sister's like, well he did,
and like we can do this. This is is another
like she's like she was always criticizing me, right like
down to like talking about the mom, right and the
sisters like she couldn't have you know, the dad left.

(01:32:00):
She couldn't have done any of this without you, right, right,
And she knew it, but she didn't but she didn't
tell her that, right. Mom didn't tell Pansy that. And
you know it's hard, man. That's a lot of weight
to put on a kid. It's a whole lot of

(01:32:21):
weight to put on a kid. That's why I'm adamant
about keeping my about keeping my kids kids and not
letting them grow up too fast. And you know, they're
not little men, they're boys. Let them be boys because
life is gonna hit hard and fast, and you need

(01:32:42):
to be able to enjoy this shit now, otherwise you'll
be forty years old playing with fucking toys trying to
get your goddamn youth back. And it is kind of sad.
It is kind of sad and pathetic and lame. Look
I know what I am, and.

Speaker 3 (01:33:08):
I'm here to let you know in case for some
reason you forgot.

Speaker 2 (01:33:14):
Yeah.

Speaker 3 (01:33:14):
No, it's but like that that idea of losing your
spouse for whatever divorce or or God forbid death or
anything like that, and then having to lean heavily on
your kid in order to like help raise your other
kid or something like that.

Speaker 2 (01:33:30):
That happens them like a kid, right.

Speaker 3 (01:33:33):
Right, Like you're giving them all the responsibilities and then
also hammering them like for for you know, being a child.
It's like, Okay, I don't how do I deal with that?
That that's that's a that's a tough thing. That's a
that's a really tough thing. And look, we don't know
what kind of trauma Pansy went through. I mean there's

(01:33:57):
you know, there's there's things that are sort of like
touched on lightly, but and I have to imagine that
sort of like here, you need to be doing the
heavy lifting on some of this stuff kind of fucked
her up. And if she was already a kid who
was kind of vulnerable to those things, or maybe she
wasn't in the best of you know, just mental state,

(01:34:20):
and then having all those things dumped onto her could
have just broken her. Or she could have been totally
you know, you know, neurotypical, and those things fell onto
her and it was just too much and it broke her, right.

Speaker 2 (01:34:35):
But we don't know.

Speaker 3 (01:34:38):
But there's a scene here where Moses says that he
brought his mom flowers at the house, and you know,
but she had she had gone off so she couldn't
she didn't see them, and she just starts laughing. And
this isn't you know, this is in the moment where
she's not cracked the joke, cracked a smile even in

(01:34:59):
some to anybody who's just been sad. And she just starts
laughing and then she begins.

Speaker 2 (01:35:05):
To cry.

Speaker 3 (01:35:07):
And she says, you know, thank you, Moses, like in
the middle of her crying.

Speaker 2 (01:35:13):
And it's just.

Speaker 3 (01:35:18):
Like, there's a million ways I think to read this,
but the way I saw it was just like it
was an overwhelming moment to know that her son got
her flowers and then just sort of reminding her of
just putting flowers on her mother's grave and everything else,
and so she felt happy about it, which is where
the laughing came. But it doesn't like the laughing is

(01:35:42):
not a normal response to that, but she she doesn't
see the world in a quote unquote normal way. And
then the crying is this overwhelming aspect of like sadness
for where she can't enjoy these moments in a normal way, right,
like going back to the graveyard and her confession to

(01:36:02):
her sister. So it's and like everybody is just like whoa,
what the fuck is going on? And I don't think
she knows either, Like, you know, she's she's just again,
she's just going through these like rushes of emotion. She
said she she can't handle because she needs hell, yeah,
I think she you know, she's adamant that everyone in

(01:36:23):
her family hates her because you know, she doesn't really
care for them too much. And and you know the
fact that he bought her flowers unprompted was like contrary
to that, And it's like, oh, I guess I was wrong,

(01:36:45):
uh huh, Like maybe maybe maybe you know, he does
love me. Maybe they like she She's just everything is
kind of going through her head at one time. And
you know, there's no saying you got to laugh to
keep from crying. And I think that's what this started as.

Speaker 2 (01:37:07):
But you know, I think that I think that this
is that the crying is the result of not being
able to keep that up, and like you said, it's
just just to overcome with a lot of different emotions.

(01:37:27):
And you know when they go home, you know, they
get the flowers and she, you know, the first thing
she does is she puts them in a vase, right
because she is actually very appreciative of them. And and

(01:37:51):
then she I guess she is taking what her sister
said to heart about like you know, maybe you should
just kind of leave them and work on yourself, right,
put your put your mask on before helping other people. Right,
Like and as we said last week, like taking care

(01:38:12):
of you is not selfish, and it seems like it, right,
especially when you're in a relationship. And that's all people
do is talk about like sacrifice and what do I
bring to the table, and what do you bring to
the table.

Speaker 3 (01:38:29):
Like, by the way, if you ask somebody what do
they bring to the table, shut up.

Speaker 2 (01:38:34):
Right, like, dumbest fucking argument, Just shut up right. How
about let's how about let's build the table together? Dummy?

Speaker 3 (01:38:42):
Na Like what kind of gay as partnership?

Speaker 2 (01:38:47):
Is that? The word?

Speaker 1 (01:38:47):
World?

Speaker 2 (01:38:50):
And and she so she puts the flowers in a
vase and she goes upstairs and she takes all of
Kurtly's out of out of their closet. She throws them
out of the room and Curtly comes upstairs and he's like,
what's up with that? And she is pissed at him

(01:39:13):
because she's like, you, you, My sister asked you a
question and you couldn't be bothered to answer it. You
just sat there and you ate all her food. And
she said, how's your mom and this Mother's Day? And
you didn't have the decency to answer her. You just
sat there eating her food, stuffing your face like a pig.

(01:39:34):
You disgusted me.

Speaker 3 (01:39:37):
And Curtly, I thought, for once he was gonna say something.

Speaker 2 (01:39:43):
I thought like this was the moment when my wife
was like, oh shit, like he about to do something right,
like he about to be about to like flip out right.
And I'm so glad he didn't flip out.

Speaker 3 (01:40:00):
But he knows, he knows, he knows that her responses
are over the top, like he's.

Speaker 2 (01:40:07):
He's aware, he knows, but he's like, I'm only gonna
be so many motherfuckers, right, Yeah. And he goes and
he goes downstairs and he takes these flowers, something that
he knows that she likes, and he takes them out
of the vase and just throws them outside. You got
his that's his fuck you, right, that's his fuck you

(01:40:31):
to her. And I do believe that he cares for
this woman. I really do, but at at at some
point it's like I can't put up with this forever.
And when you throw somebody's clothes out of a room,
I mean that's the that's the universal signal for like

(01:40:53):
we're done right. Yeah.

Speaker 3 (01:40:55):
Also like it's it's a wild because like they don't
have a lot of stuff. She got rid of all
his shit in like two seconds.

Speaker 2 (01:41:00):
I was like, damn, that's all of all his worldly
possessions fit in a in a closet, like just.

Speaker 3 (01:41:07):
Smash that ship again like a dag wood sandwich. It
was like, get it the funk out of here. It's
fucked up.

Speaker 2 (01:41:13):
Like that's it. I'm trying to throw out of my stuff.

Speaker 3 (01:41:16):
Like you got a lot of T shirts you had
to pick up and walk off a shelf.

Speaker 2 (01:41:21):
Yeah, it's not gonna be easy for you. Yeah yeah,
and and she and and you know it was just
kind of his last like this is the last straw.
I'm gonna take something that you like, throw it out,
and and part of me is like good for you, right,

(01:41:45):
because like there are other people in this dynamic. Now.
I know we're talking a lot about Pansy because the
movie is about her, but it's also about the people
that are around you. And if you don't get help,
if you need especially if you know you need it,
it's not just you you're affecting. You are affecting the

(01:42:07):
people around you, and and and you know you are
affecting the people that care about you and love you,
and you know it's it's more than one person, basically.
And while I, while I am firmly in the you
need to take care of you, because you can't take

(01:42:27):
care of other people without taking care of you first,
Like that's all part of it, you know, like you
need to you need to be able to.

Speaker 3 (01:42:38):
I don't know, man, oh, I mean I think I
think the entire I don't want to say the entire
premise of the of the movie, but it feels like,
at least the relationship between Pansy and Chantelle is all
about sort of their cascading personalities and what they do
to their kids, right where Pansy sort of and not

(01:43:04):
to just the kids, but their their families in general.

Speaker 2 (01:43:06):
Like Pansy's.

Speaker 3 (01:43:12):
Ship that she's not going on pushes down to Moses
in very obvious ways. It pushes down to Currently in
very obviously obvious ways where he feels completely sort of
neutered as a husband to like say anything to her, right,

(01:43:32):
And Moses kind of feels the same way, right, so
he's just like I'm just going for a walk, like
this is the best best thing I can do is
just get the hell out of here.

Speaker 2 (01:43:40):
And then on.

Speaker 3 (01:43:42):
Chantelle's side, like she's she's made to two young women
who are very like happy, go lucky and everything else.

Speaker 2 (01:43:48):
So I do think it's just.

Speaker 3 (01:43:51):
Like it's a it's very much a nurture versus nature
kind of conversation that that I think is happening between
those two sisters and their families. But then we see
a scene of Curtly and his his business partner, by
the way, who pansy earlier was like, this guy's a

(01:44:12):
fucking moron. Basically, like turns out that guy it's like
really smart, Like he's just he's just kind of a
dork and knows like a lot of things.

Speaker 2 (01:44:19):
He's always like it's Trivia's trivia, and he's like, did
you know the Tower of Big Ben blah blah blah.
It's like, yes, yes, I did know that. Shut up.
But he's not a moron, Like, he's actually a pretty
smart guy.

Speaker 3 (01:44:31):
But him and Curtly are moving a tub that they
took out of a house and they're they're bringing it downstairs.

Speaker 2 (01:44:39):
One, why are you putting an old man at the park?
We all to wait at the bottom, you.

Speaker 3 (01:44:45):
Young ass down at the bottom.

Speaker 2 (01:44:48):
You know why? Because you said he's smart.

Speaker 3 (01:44:51):
He's like, oh, I guess who's back is not going
gonna get blown out? Is not probably the term I
should use in this scenario, Uh means something different anyway,
So he currently hurts his back pretty badly, I guess,
you know, like he rupture something or whatever. And he

(01:45:12):
takes Curtly home and he brings him into the living
room and sits him down and Curtly's like, uh, go
upstairs and get Pansy. She's she's she's upstairs and he
goes in and she's sleep and he's like trying to
wake her up and she freaks out.

Speaker 2 (01:45:27):
She's like, what are you doing in my house? And
he's like trying to explain. She's like I could have
been naked, and she's.

Speaker 3 (01:45:31):
Just yelling and just flip the fuck out, which is
not a good feeling if you're trying to like wake
somebody up to help their spouse, right, like, you know,
you don't want to be involved. And I think he
had you know, he knows Pansy, so he knows what
type of person she is, so.

Speaker 2 (01:45:48):
He didn't really going up there. I had to yell
from the hallway. Got raped on that door, like the
fucking police, Hey going up? Who is it is? Me? Relax? Relax? Please,
for love of God, don't yellmen.

Speaker 3 (01:46:09):
And so he currently is just sitting there, back is
fucked up, and his partner leaves, and then we smash
cut to seeing our boy Moses sitting sitting by a
fountain and he's got his headphones on.

Speaker 2 (01:46:26):
He's just chilling.

Speaker 3 (01:46:26):
Hey, bother, nobody and this, uh, this woman who is
super super cute offers him what appears to be a
gummy worm, and he's like, okay, I'll take one, of course.
And uh then she she's like, oh, can I come
sit next to you? And and she comes and sits
up next to him and is like talking to him

(01:46:50):
and like his life might be okay, right, He's you know,
this is this woman is I don't know if she's
like hitting on him, but probably a little bit, and
uh like he might he might, he might do all right,
So that that's a that's sort of like a good
a good ending for him. Again, if you're looking to
meet a beautiful Nigerian woman, apparently London is the place

(01:47:14):
if you can't find.

Speaker 2 (01:47:14):
Him in the US or don't want to travel to Nigeria.
We see uh Kurtly's partner.

Speaker 3 (01:47:23):
He leaves, and the movie just ends with Kurtly sitting
there with his back in complete spasm. He's sitting in
his chair and he's crying because he's in massive pain,
and Pansy is just sitting upstairs and she has not
left the bedroom.

Speaker 2 (01:47:40):
Yeah because like because like ship, like who's gonna help me? Right? Like, yeah,
I'm trying my best to help this woman, but like,
now I need help and I got nobody. That's how
I Yeah the thingle thug tear streaming down his face. Yeah,

(01:48:04):
and Pansy, you know, she's sitting up there, but like
I don't know if she's if it's just because she's
so anxious. I don't know if she's like doesn't want
to confront him because of the things he said. I
don't know, but she's just up there and uh and

(01:48:25):
then you know cut the black Uh yeah, man, it
was it was, it was this was this was a
fascinating movie. Yeah.

Speaker 3 (01:48:35):
Like that that ending, Like, like I was saying earlier,
that ending is satisfyed to me because it is. It
highlights the one thing that is to me, me myself personally,
is the most horrifying thing in life, is that you
would end up with somebody that in your most vulnerable moment,

(01:48:57):
they wouldn't help you, right, especially as you're getting older,
and they're just like now you you you on your own,
big dog, Like the fuck, like I partnership, Like, well,
you know you ain't rising and grounding enough or whatever, right,
So I'm out. See that's what happens when you base

(01:49:18):
your entire relationship on money.

Speaker 2 (01:49:19):
That's stupid.

Speaker 3 (01:49:20):
So yeah, but that's a that's a really that's a
really terrifying thing to get all the way to a
point where, I mean, they got a twenty two year
old son. They ain't gonna, like currently gonna be working forever, right,
Like they're older folks, right, they're probably in their sixties
at this point. But that idea that you do not

(01:49:44):
actually have a partner that you can rely on, especially
in a moment like this, is really fucking terrifying. Like
that's that feels very very scary to me. That's why
you should give a shit about who you marry, By
the way, you really should care about that, like, don't
do that shit on the wind, like if you if
you even want to get married. So yeah, I I

(01:50:08):
I appreciated the ending, and I just I don't know
if Pansy didn't go down on purpose, didn't go downstairs
on purpose, or thinks she couldn't.

Speaker 2 (01:50:17):
I can't. Yeah, I think she just couldn't do it.
I you know, for whatever reason, I feel like her
brain is telling her you can't go down there, and
I think you hear her. I think the look, you know,
you hear her, and you hear her inner monologue, you know,

(01:50:38):
debating about like why she can watch, why she should,
but why she can't, and and that's just you know,
acting through the eyes right like yeah, man, this this
was this was an interesting movie.

Speaker 3 (01:50:54):
This is some kind of is look the movie and
I know lasers in it, but this, this ship is
is really good.

Speaker 2 (01:51:01):
It is and at like it's just a testament a
great writing and great performances. It really is. I love
movies like this.

Speaker 3 (01:51:10):
I miss adult dramas and not the kind that you
have to you know, sign in for if you live
in tench.

Speaker 2 (01:51:19):
Not those types. But I like stuff like this because.

Speaker 3 (01:51:24):
And also foreign films are great too, because they don't
wrap shit up right, like they're like, nah, your life sucks,
like like if if this is a French film, they
would have just like shot each other or something weird
at the end, like life is horrible. But but you know,
non American films they will they will just they just
leave you in it, like you know, let you ste

(01:51:44):
in that sort of ambiguity, which is I think people
should be willing to do so any other party words
for hard truths.

Speaker 2 (01:51:55):
H no, No, this is this is a good movie.
I would check it out. Maybe it'll help you, you know,
reevaluate your own life, you know what I mean, Like
we all need little help and you know, go to

(01:52:15):
some more than yeah, go go talk to somebody, like
even if you can't Inford the therapist, My god, go
go go go talk to somebody. Get right, get right?

Speaker 3 (01:52:28):
Yeah yeah, I look fucking no notes, man, mental health
is real important. It just this, especially in our community,
we got a we got a whole heap of other
traumas that that are that came way before us, but
they are very much embedded in us, and we have

(01:52:48):
to deal with those things because then we also got
the like the regular ship of life on top of that,
and if you never dig into anything, it keeps piling
up like a game of Tetris until you lose. So
all right, that is it for us. Hopefully you guys
enjoy that conversation, and we will be back next week

(01:53:08):
for a previous episode for episode two eighty five.

Speaker 2 (01:53:12):
Later, guys, see you, yeah, yeah, yeah, we yeah

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Hard Truths (REVIEW): Family Support Through Trauma | Ep284

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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;}Hard Truths (REVIEW): Family Support Through Trauma | Ep284