Nickel Boys (REVIEW): Unique Perspective of our Dark History | Ep278

This week on Black on Black Cinema, the crew returns to discuss the film Nickel Boys. Based on the Pulitzer Prize-winning novel by Colson Whitehead, "Nickel Boys" chronicles the powerful friendship between two young African-American men navigating the harrowing trials of reform school together in Florida.

Episode Transcript

Speaker 1 (00:05):
I have no idea less sure about the villains. Right now,
go find the last down before I make change.

Speaker 2 (00:17):
Hey, let's wrap it, change, so on it.

Speaker 1 (00:19):
You know.

Speaker 2 (00:21):
Hello, Welcome to a brand new episode of Black on
Black Cinema. Another. Hey, I'm here with my co hosts Micah. Hey,
Hey everybody, Terrence.

Speaker 3 (00:33):
You all right?

Speaker 2 (00:35):
So we are back. This is episode two seventy eight
Nickel Boys. Look, if you have not watched this movie,
it is available for rent. It's out there. It was
nominated for an Oscar, so you should you should watch it.
This is obviously the twenty twenty four American historical drama
film based on the twenty nineteen Politzerprise winning novel Nickel

(00:56):
Boys by Colson Whitehead. This is directed by El Ross
and starring Ethan I think it's harass or maybe it
is pronounce Harris.

Speaker 1 (01:07):
I don't know.

Speaker 2 (01:08):
Brandon Wilson and da V Diggs and Angreen new ellis
Taylor of course, so I'll go first. I hadn't seen this.
I don't think any of us had seen this prior
to the episode.

Speaker 3 (01:21):
Right.

Speaker 2 (01:25):
Look, the general premise here is about two young boys
who are sent to this sort of like reform school
of sorts in Florida that is just notorious for just
a bunch of physical abuse of the of the kids there,
very specifically the black children. In this story, it's a

(01:47):
sort of a fictionalized version of a real place. What
was it called? Like the Dose are the historic Doser
School in Florida which operated for one hundred and eleven
years and was revealed to be highly abusive of the
kids there, including killing them. So this takes place in
It starts out in nineteen sixty two, but I think

(02:08):
the vast majority of it, the vast majority of the
movie is in the late sixties. Look, I thought it
was I thought it was really good. I thought it
was tremendous. Actually, it has a hook, which like a
sort of a gimmicky hook, which is it's shot in
the first person and then it ping pongs between two
different people. But in the first person, I can see

(02:32):
why people would be like, ah, that's a gimmick. But
it puts you really in the seat of all of
the bigotry and hateful shit that happened to them, and
it makes it feel like you went through it, which
I think is actually quite powerful. So yeah, I don't
really have much in the way of complaints about this movie.
I thought Everybody was really good. It tells a really

(02:52):
good story. It has an ending that is pretty interesting.
I feel like if you know the if you know
a little bit about the actors involved, you can kind
of see some of it coming. But other than that, yeah,
I thought it was great. I'm not surprised to V
Diggs is involved in this because he kind of involves
himself in pretty solid shit all the time. So yeah,

(03:16):
it's a it's a definitely recommendation for me. Terrence your thoughts.

Speaker 3 (03:25):
I recognize that this is a good movie, right, It's
shot well, the acting is good, the gimmick, the first
person perspective I appreciate, But it didn't the movie just
didn't click for me, Like it was a slog to
get through. Like one I was like, it took me

(03:46):
three days to get to this movie because I was
just like, I understand that the act, the subject matter
is like a serious but like, there's more than one
of these these academies, right, these boys, these reformatory school
for boys. It's probably one hundreds of them all the
country that was doing the same exact thing. Oh, it's
not a story that's specifically unique to this place. I

(04:07):
can appreciate the stories that was told.

Speaker 1 (04:09):
I just this shit was boring.

Speaker 3 (04:11):
I know it's not supposed to be like action heavy
or anything like that, but but to me, I was
just like, I don't know if I liked this movie.
Is it the subject matter or just just the place.
I've seen a hundred movies with this subject matter. It's
the pacing. It's way too long. First of all, it
does this the cardinal sin for me as far as
like indie movies go, where they just linger on shots

(04:32):
that don't further the story at all.

Speaker 1 (04:34):
I'm like, what was the point?

Speaker 3 (04:36):
Right in the very beginning the first ten minutes turned
first ten to fifteen minutes.

Speaker 1 (04:39):
Of the movie, I'm like, what are we doing here? Like,
what the fuck is going on?

Speaker 2 (04:43):
It looks good? Yeah, it looks.

Speaker 3 (04:46):
Really good, but I'm like, then it was more. It
was in four x three, like niggay, I don't have
a four x three television two twenty twenty five. A
lot of things just irked me about this movie, and
I got, like I said, I can knowledge that is
a good movie.

Speaker 1 (05:01):
It's just one that I really didn't much.

Speaker 2 (05:03):
I don't think that's I don't think that's a I
don't think it's a bad assessment. I mean, I think
that's fair. I get your thoughts.

Speaker 1 (05:11):
I enjoyed it it. I do have the same issues
that Terrence has. I don't care that it's for two minutes. Yeah,
you know, like it's it's it's long. It's long. It's long. Yeah,
and you you can exactly and everything you said about like, okay, well,

(05:33):
like I understand like leaning on certain shots and stuff
like that. But and I I can appreciate the first
person perspective, but with that comes like the like lingering shots, right,
Like can you imagine doing a first person review of
this podcast? And it's just like, you know, us looking

(05:56):
at it.

Speaker 2 (05:57):
I mean, that's what we're doing. It's just not fit.

Speaker 1 (06:02):
Like right, but it just it's but we're doing it,
but like someone else isn't like seeing it through our eyes.
Like it's just kind of just kind of odd, you know.
But I do get I do get it. And quite frankly,
I when I was watching, I was like, Wow, why
don't more movies do this, especially if they're adapted from books.

(06:27):
You know, a lot of books are told in the
first person. I wonder why people don't do this, And
then you know, an hour and forty two minutes into it,
I'm like, oh, this is why they don't do it,
because like this movie's not over yet, and it was.
It was a little disorienting, and you know in the

(06:48):
beginning because you're like, what is going on here? Right,
and they try their best to kind of establish that,
like you're seeing this through the first person, but you know,
once you realize it and you kind of get used
to affect the game nigga, right, But once you get
it and you get used to it, it's you know,
it's fine. That's just the style of the movie. Uh,

(07:10):
the subject matter is sad, Like this movie is really
really sad. It's it's not you know, Mississippi damned right
where it's not like I'm gonna blow my brains out right,
but like this is this is a very sad story
with a very sad ending to me. And you know,

(07:34):
I can't it's hard to imagine things like this happening,
but they did. And it's hard to imagine, well you
know what I mean, Like I mean, I get well, yeah,
like it's it's not hard to imagine things like this happened.
It's hard to imagine that, Like I don't know that
like that, like this was only thirty forty years ago,

(07:58):
Like that's that's the thing that's right, Like these are
these are horrific conditions that you know, this is some
ship that like you know, you think that that it's
in like the Antebellum self, Like no, yo, this this happened, yea,

(08:22):
well within if you had an older brother, this happens
within his lifetime, you know what I mean? Like this
is we are not that far removed from this from
stuff like this, aren't that much better? Right, And and
that's and that's what this is an allegory for, right.

(08:43):
And I appreciate the dual protagonists representing like you know,
idealism and cynicism, and you know, I appreciate that like, hey, man,
like too much idealism gonna get you get your hurt man,
like like it it's it's a wild it's a wild

(09:07):
thing because like you don't want to tell young people
that they can't be idealistic. But in the real world, right,
like realism matters, Right, you gotta you gotta be frank
with people. And and that's what made me really sad
because I've uh I I've gone through my life, especially

(09:28):
in my in my in my younger days, you know,
trying to be idealistic and not as idealistic as as
L would. But you know, I used to believe that,
you know, people were inherently good, and no they're not.
They're not at best. At at best people are uh

(09:52):
self preserving and they don't you know they I mean, look,
that's look self preserving at best.

Speaker 2 (10:06):
They did the self serving and then they get to.

Speaker 1 (10:09):
Evil, right Like it's that's that's the spectrum. And and yeah,
it just is. It's something that you don't see people
like tell you right. Like like Anthony Mackie came on,
was on the Pivot podcast and he said something, and
he said something Anthony Mackie, he he doesn't have a

(10:34):
way with words. I think because I understood what he
was trying to say, but he the way he said
it made it sound weird, right. He said something to
the effect of success isn't earned, it's given, right in
that if you have to you know, everybody does as
much as they can and unless someone chooses you to

(10:57):
be the one, then you know you were given that.
But it's not it's it's And I can appreciate the
fact that, like he's trying to be real with people, right, Like,
you can't just be like, hey, if you work hard,
you study hard, all this stuff is gonna happen for you,
and it's gonna be great. Right, you could be the president, right.

Speaker 2 (11:22):
For a lot of you.

Speaker 1 (11:23):
For for the vast majority of you, Right, that's not
gonna happen. And I appreciate the fact that he's trying
to be a realist. But at the same time, like,
that's a weird way to phrase it, right, Like.

Speaker 2 (11:37):
Yeah, you can't tell a generation to not try. Like,
that's not that's not a really.

Speaker 1 (11:43):
Right, that's the implication that like, no matter how hard
you work, you're never gonna make it, like unless somebody
gives it to you, unless.

Speaker 3 (11:51):
Someone the talent. Yeah, I'm like I get what he's saying,
because he's not wrong. Not he's not one hundred percent.

Speaker 1 (11:57):
Wrong, right, Like he's not Take take for.

Speaker 3 (12:00):
Instance, I've I've just been shouting this woman's praisings for
like the last four or five years. Doc for instance,
they're calling her an industry plan right, like she just
came out of nowhere. She's been an incredibly talented artist
for like the last five years, but the last two
months he's wont to Grammy in the last two months
now she's like hot shit. But that's because TDE saw

(12:23):
something in her and now they're giving her a super push.
Now she's getting all the success in the world.

Speaker 1 (12:27):
That she deserved.

Speaker 3 (12:28):
But prior to that, she was incredibly talented before all
of that, but no one would pay attention, right, I mean,
that's how life works.

Speaker 1 (12:38):
Opportunities, opportunities come and they go, and that's why, you know,
you gotta seize opportunity. That's what he's talking about, right,
Like he's talking about you gotta seize you gotta you
gotta an opportunity has to present itself and sometimes opportunity.
You can't make opportunity all the time, right, but you
gotta be you gotta be success is what opportunity plus luck,

(13:00):
Like you.

Speaker 2 (13:00):
Gotta like opportunity plus timing.

Speaker 1 (13:03):
Yeah, something like that, where it's it's you have to
you have to kind of be ready at all times, right,
and that's where the preparation comes in. Right. But you know,
so I get what he was trying to say. It
was just a weird way of saying it. But but
I appreciate the fact that he's he's being real. And
that's what this movie is. This movie is showing you

(13:24):
two sides of of an experience, and you are not
and the the idealism is great, but if you're too
idealistic without a sense of realism, a sense of groundedness,
it gets you killed. Man, And nobody wants to teeth right,

(13:44):
nobody wants that.

Speaker 2 (13:46):
Yeah, And and you know, into and to that point.
On the other end, being cynical all the time is
not a particularly good work either, right, Like, it doesn't
benefit you either, like, and it ain't never gonna work out.
It never gonna work out. Well, yeah, life is definitely
not gonna work out if you don't try. Like, yeah,
you're right, it won't. It's a self fulfilling prophecy. So

(14:08):
like on one side, you have you have one character
being like, hey, like we can do this, we can
fight back and all this other stuff, and the other
character is like, you know, be real, like here's all
this stuff that's going on. But in the end you
have the guy who was the more cynical quote unquote
realist realize that you gotta kind of believe a little bit.

(14:29):
You gotta have a little bit of that umph to
get you from you're realistic, like, Okay, maybe we can
do this, but you gotta believe that shit too, Like
there has to be a level of there has to
be like a foot on your back to push you forward,
and you have to generate that. But that means you
got like, you gotta believe in yourself, right, you gotta
believe that you can do these things. You know, healthy

(14:53):
doss Skepticism is a good thing that keeps human beings alive,
but not so much that you don't want to leave
you stup is basically the the argument of the story.
But yeah, I thought it. I thought it was really good.
Interestingly enough, the writer of the book what's his name,
Uhad In his Wikipedia it is interesting, it says, after

(15:19):
dealing with slavery and his Politzerprize winning novel The Underground Railroad,
Whitehead did not want to write another quote another heavy book. However,
he felt the election of Donald Trump compelled him to
do so. Whitehead deliberately narrowed the scope of the book
and grounded it in the grounded it for the sake
of realism, choosing not to include the speculative or fantastic

(15:39):
elements of his other novels. Zone One or.

Speaker 1 (15:42):
The Underground Railroad.

Speaker 2 (15:43):
Incidentally, Zone One is a movie or a book, a
post apocalyptic book where the United States is ravaged by zombies. Okay,
like what a wild difference in stories that the Underground
Railroad is nickel boys. Okay, cool? But yeah, I mean,
I think I'm happy to see, especially black writers and

(16:05):
black artists saying like meeting the moment, like you can't
write fluff shit like all the time. Right now, you
got to deal with some real shit because there's real
shit going on outside. So I appreciate that, all right,
But let's get into the actual movie itself. So the
film opens up in nineteen sixty two and Jim Crow

(16:26):
era Tallahassee, Florida, which feels like that's just tellhasee Florida
all the time.

Speaker 1 (16:30):
Yeah it is, it is.

Speaker 3 (16:33):
I don't even know what Tallahassee is.

Speaker 1 (16:35):
That's it's in the Panhandle, like close to close to
southern Georgia, Like it's not, Yeah, you don't want to
go there, no, no thanks.

Speaker 2 (16:49):
And so this is where we first get our introduction
to the sort of the first person, the first person perspective,
and you see Elwood, who is the main character here,
who were seeing everything through his eyes. You see Elwood
sitting in class and his teacher apparently is a freedom writer,

(17:10):
and his teacher has like a big gash over his
eye because he was he was hit by like a
white man who had him with like a tire iron
or some shit like that. He opens the class with,
my the first order of business in my class will
be to strike out at the latest epithets of white youth.
I was like, god, damn, Like, this is a hell

(17:31):
of a start to a class.

Speaker 1 (17:32):
Good for you. I like it.

Speaker 2 (17:35):
And Ellwood is actually like has drawn a cartoon of
a man being hung in his textbook, which was really
fucked up and disturbing. But he by basically all of
this is kind of like establishing and this is that
like first ten minutes that terms is talking about. That's
a little like. I also was like, okay, what are

(17:55):
we what are we doing? Like what is the what
is the actual narrative of the story. But it's all
establishing that Elwood was just kind of this nice kid
who never did anything wrong, grew up, you know, in
nineteen sixties Florida reads comic books. I think he's reading
The Silver Surfer. Like he just he's got a good

(18:16):
relationship with his mom. He's just a good kid. And
then he's he's offered a chance to go to a
technical school by his teacher that's like free, and so
he'd be able to take classes and like, you know,
kind of move forward in life. Then we see a
scene of him and some other some other black kid
getting pulled over by the cops and having this white

(18:38):
man like poke at them with a cane. I guess
he's accusing them of stealing or doing something, and he's
just kind of treating them like they're not human beings.
And that's where the first person perspective to me starts
to feel very important, right, like, oh okay, Like you're
seeing the way this like racist old white man is
treating them from their perspective, not just third person like

(19:01):
across the street type of ship. And the old white
man seems to get a little bit of joy out
of treating these these young black kids like garbage, Like
you know, he kind of gives a little bit of
a smirk as he as he kind of walks off
and the cops let him go, so who knows why.

Speaker 1 (19:18):
He pulled hadn't pulled over two?

Speaker 2 (19:23):
Yeah, So you know, fucking picture right at a certain point, Uh.

Speaker 1 (19:31):
Like they want an auction block Like yeah, God damn
yeah for.

Speaker 2 (19:37):
The NFL combine anyway, I mean, what do you guys
think that is? This guy? This Negro's got some thick thighs.
I bet he can run fast. Like, what the fuck
do you think that is?

Speaker 1 (19:50):
We just pay more money.

Speaker 2 (19:53):
They just got white boys for sale. Now, that's that's
the difference. So then he joins h some sort of
I'm not sure what the name is, but it's some
sort of organization. They're like protesting and doing like kind
of like counter sit ins and that type of stuff.
So he's he's involved in that, kind of encouraged by

(20:14):
his mother or assuming his grandmother played by auntenu Ellis Taylor,
who is just fantastic and everything. I mean, I don't
have any more things to say about her performance. It's
always great. She's just really really good and everything. So
then he's you know, he's he's off and he's kind
of like doing this thing, and he's out getting ready

(20:36):
to go to this technical college and he's kind of
just walking. I guess hitchhiking, and this guy picks him up,
and the black dude picks him up, and he's got
this like nice car. He's like, he's got the conked
out hair, all this shit, and he picks him up
and they get pulled over because this dude definitely stole
this car, and so he gets he also gets arrested,

(21:00):
and that is the impetus at twenty minutes to send
him off to the rest of his life, which is
fucked up because he's just in the stolen car. So
even though he got picked up, it doesn't matter. By
the way, that's what happens in reality in twenty twenty five.
If you're in a stolen car and you didn't know,
you also going to jail. Be careful with the type
of friends you have.

Speaker 1 (21:23):
I mean, I.

Speaker 2 (21:23):
Remember my mom told me that, like, don't hang out
with so and so because them niggas ain't going nowhere.
And then they got arrested for stealing cars. I was like,
you're right, got it. I fucked that I'd have to
worry about Micah stealing a old Geo storm that niggas that.

Speaker 1 (21:39):
Was his car. Yeah, cool to fuck you want that?

Speaker 2 (21:42):
Right?

Speaker 1 (21:44):
He could barely sit.

Speaker 2 (21:46):
So then he sent off to Nicol Academy, and this
is where things just kind of start going fucking left.
They do an interesting thing where they play clips of
the Defiant Ones, which is was that sorry Sidney Poitier
and Tony Curtis where they they were convicts who escape

(22:08):
They were, you know, chained to each other. White Man,
Black Man, which is maybe a movie we should do
at some point. It's pretty close movie.

Speaker 1 (22:17):
No, I think we did flood.

Speaker 2 (22:24):
We did not? Is that the nigga virgin of the
Defiant Ones who the movie Lawns fishburn was in that
movie Lawns Fishburne and one of the bald Ones was
in that movie? Am I thinking of the same movie? No,
I'm not thinking of the same movie. I'm thinking of
what's the comedy about, Like the dude who is like

(22:47):
a black dude?

Speaker 3 (22:48):
Who did do the fucking Defiant Ones? I just looked
it up. I wasn't on it.

Speaker 2 (22:54):
Oh we did, you're right, you're right?

Speaker 3 (22:57):
What was that like, didn't y'all do it?

Speaker 2 (22:59):
It was?

Speaker 3 (23:00):
It was three years ago January.

Speaker 1 (23:03):
Yeah, we might have to go back and listen to it.

Speaker 2 (23:06):
Yeah, it'll be like movies A brand new stop doing that,
for the love of God. So yeah, so they play
a clip from a movie that we obviously remembered, and
that's so funny. That's right. They ended up in that
like shit town, that's right. But as he's driving and

(23:27):
it kind of cuts to that, and then it cuts
back into the movie. As they're driving up to nicol Academy.
He's in the car with like two white boys and
there they're also kids that are not you know, they're
they're disipute, right, And but they're let off at the
Big House. They get out, you know, they probably get
a cool glass of lemonade.

Speaker 3 (23:49):
Right.

Speaker 1 (23:51):
Menjul Then so that's true, right're right, right?

Speaker 2 (23:56):
And so yeah, they get let off at the Big House,
and then of course they drive his black ass over
to like the worst part of the fucking place. And yeah, yeah, yeah, Again,
this is nineteen like I don't know, sixty five, sixty seven,
some shit like that, and yeah, we're still we're still

(24:18):
dealing with the exact same setup as plantation slavery. I
find that to be deeply unsurprising. And I know everyone
loves to say there's racism all over the country. Yeah,
and there's different types of racism in the South. It's

(24:38):
just different because they really trying to hold onto the
exact same shit they always used to do. I mean, again,
I'm not saying that these type of fucking shitty places
didn't happen in the North. I'm not saying that. I'm
just saying that this being in Florida is not a
particular particular surprise to me. Even if it was open now,

(24:58):
I wouldn't be surprised.

Speaker 1 (25:01):
The entire state that's garbage.

Speaker 2 (25:03):
So yeah, so you start you start to get this
understanding that this is just a it's not even it's
not even like a prison. It's it's a plantation like that,
just quite literally. They just work these young kids, damn
near to death sometimes to death, and but they have
the chance of getting out, which feels like bullshit and

(25:23):
it feels like a like a thing you're just dangling
in front of them that is a complete life.

Speaker 1 (25:27):
Well, yeah, like Terrence alluded to earlier with the you
know prison allegory, like they don't get out until they're eighteen,
Like they're not getting out for good behavior whatever, like
because they get paid to keep them there and you know,
put them to work, right, just like real prisons. You
you get, you get all these prisoners to do this

(25:49):
forced labor, and the prison profits from that.

Speaker 2 (25:54):
Yeah, which is why for profit prisons should be illegal
in my opinion, I I don't understand how anybody can
justify it. Your business model is destroying people's lives. Yeah,
let's just make more of them. Great, cool, great idea.
So so from there we we meet. I forget this

(26:14):
one white dude's name. I've seen him in a number
of movies. I forget his character's name, but he's a
piece of it in this movie.

Speaker 1 (26:19):
That's all you need to.

Speaker 2 (26:21):
Know.

Speaker 3 (26:21):
It's Hamish, which one the dude.

Speaker 2 (26:24):
Who's like, yes, that is that is like his rolling right,
that's a that's Batman. Yeah that wild yeah, which is
wild to say, but like he did kind of nail them,
not gonna lie.

Speaker 1 (26:41):
He did. Man, I had to eat I had to
eat Jim Crow because he was real good as as Batman.

Speaker 2 (26:49):
Who the fuck knew we're gonna pick I don't know
the guy Hamish, Get the funk out of here. That guy, no,
it turns out, is really good. Yeah. So he he
basically bring down that there are four different levels that
you can become at this at this school. You you
start as a grub. That's great, so you know, d

(27:10):
human humanizing, then you can become and explorer, a pioneer,
and then finally an ace. Once you hit ace, then
they let you go and you can go back with
your family. If your family will have.

Speaker 1 (27:23):
You, is what he said, have you?

Speaker 2 (27:25):
Yeah, yeah, they want their kids back. Like, I know,
you don't think black people are human beings.

Speaker 1 (27:31):
I got it.

Speaker 2 (27:32):
I wanted to punch as much slash.

Speaker 1 (27:33):
Of his face.

Speaker 2 (27:35):
So yeah, he's he's really a garbage person. That becomes
far more evident later on. But you could, you know,
good fashion a guest here as well. So before we
go on, let's take a quick break and then we're
gonna come back and then sort of talk about anything
else that these guys are are are in on a
day to day lish, so we'll be right, all right.

(28:00):
So then we meet mister was It Blakely. He's the
sort of the the overseer for he's the black overseer
for all the black kids.

Speaker 1 (28:11):
And.

Speaker 2 (28:13):
Like, I guess he's trying to be kind mostly yeah,
he's just he's mostly like clean, standing up straight. You know,
if you do good, the white man will be kind
to you, Like, okay, buddy, we we all know that's
not true. Like, let's knock this ship off.

Speaker 1 (28:32):
I mean, look, he represents black baby boomers, right, Like
that's every black baby boomer that I that I have
been in contact with, or you know, they may not
be like, well the white man might do something good
for you if you dose this Like no, but they're like,
sit up straight, that's your problem, that's your hairstyle.

Speaker 3 (28:57):
Well you also have to realize this takes place in
what sixty four and he's probably in his sixties, so
that wouldn't mean this motherfucker was one of like nineteen
o two and he dealt with some real, real severe
shit's live.

Speaker 2 (29:12):
Yeah, the fact that he made it out is right,
fair enough.

Speaker 1 (29:17):
I look, he black, I'll give him a benefit of
the doubt.

Speaker 2 (29:24):
I mean, he's not doing anything that I at least
that I recall that is like overtly.

Speaker 1 (29:29):
Horizonment heinous, right, right, he's not Steve knows right from
you know, Django Ango.

Speaker 3 (29:38):
But he probably knows what's going on.

Speaker 2 (29:40):
Of course, you can't do anything right, right, Yeah, he's not.
He's not a Stephen character. Thankfully, they're they're put in
some sort of class where they're they're taught like math
and stuff like that. I mean, it's all all of
this is under the guise of like it's a reform school.
It's not so bad, right, and you're then there's this

(30:03):
sort of slow reveal of the sort of horrendous nature
of these people, like they don't actually really give a
fuck about these black children. Especially then you get to
see like the white boys there, they're playing football and
Ellwood is like, oh cool, we get to play football.
And they're like, they get to play football. You don't
get to play a goddamn thing. Get the fuck out
of here. And then they got like a half Mexican

(30:25):
kid and they're trying to decide where he goes. Does
he get to go with the niggas or does he
get to stay with the white people?

Speaker 4 (30:32):
Uh?

Speaker 2 (30:32):
Maybe half the time, like on daylight saving time he
can hang white people. I don't know.

Speaker 1 (30:36):
That's how racism works. So that's racism works. If you
if you just look back, you know, like the why
are you talking funny? Yeah, that's all right, all right,
helping black people. Trump is Trump is doing stuffs. You
got to help us, all right, Okay.

Speaker 2 (30:59):
Please vote for right, who you vote for?

Speaker 1 (31:02):
Right, Because as much as as much as I think
Morgan Freeman's kind of a not so good guy. Uh,
he did say one of the most famous lines in
black history. I ain't got to do nothing but stay
black and die.

Speaker 2 (31:16):
Yeah, yeah, I mean yeah, Like, if you voted for Trump,
don't come calling to me. They're according my cousin Sion
right exactly.

Speaker 3 (31:31):
I don't.

Speaker 1 (31:32):
I don't care.

Speaker 2 (31:33):
Like if you if you're a Latin person, then you
didn't vote for this ship. Yeah we can stand together,
absolutely no problem.

Speaker 1 (31:38):
You voted for it.

Speaker 2 (31:39):
Well, no, I don't give a funk about you. Get out. Bye,
I'll see you down here when you come back. Like,
I don't give funk that we're not your friends. But
so like we we hear like I guess the white

(32:00):
guys at the camp or kind of like howling outside
and saying something about ice cream or whatever. I didn't
really understand the scene at all. It was just very
weird to me. I thought maybe they were gonna come
in and like try to fight the black kids or
some shit that did not materialize. Then we see a

(32:20):
scene of them all like rushing to take a shower.
They have like one piece of soap between all the boys,
which is.

Speaker 1 (32:28):
And one faucet. Yeah, god damn, all right.

Speaker 2 (32:34):
It seems unbelievably fucked up. So then we uh, we
finally see Elwood sits down at lunch and he sits
across from this one guy I forget John Turner. Is
that Turner or just Turner?

Speaker 1 (32:52):
Right?

Speaker 2 (32:54):
I mean he sits across from Turner and he's asking
him like, oh, where you from? And he's like the
first person who's like really friendly to him. And this
is the point in the movie where it ping pongs
between their perspectives because at first, I was like, what
the fuck is going on?

Speaker 1 (33:10):
Like copy of the movie a couple of times happened.
It was weird because like, at first, it's Ellwood's perspective, right,
and you you hit the scene and you know, hey,
I'm Turner, this is you know Chicken Pete and you
know bull rog or whatever, right, and then and then

(33:34):
you see a shot of someone who we assume as
Elwood sitting in a train car and you see the
passage of time right, like it's it's and it's like
it's like, okay, well, I guess you know, sometime is
quite a bit of time has passed, right, Like, I
guess that's what this scene represents. And then it comes

(33:55):
back to the same scene but with Turner's perspective, and
it's like, yeah, all right, well yeah, why'd you have
that train cars shot of just time passing it? Like
it's little stuff like that that like, well, I understand
you need to I understand you need a break to
switch between the two perspectives, but what did that mean?

Speaker 2 (34:18):
Well, it's it's it's about the end of the movie,
Like that's a that's a foreshadow of the end of
the movie, like that happens at the end.

Speaker 3 (34:25):
Yeah, yeah, but like, okay, that's really weird cut it right.

Speaker 2 (34:31):
I feel like there could have been a different thing
to intercut or like anything, right, But why they chose
why he chose that particular thing, I don't know. I
mean it's just sort of artistic license. But yeah, because
I was like, okay, why why is he's saying the
same thing to this kid that we just heard him

(34:53):
say before? And I was like, oh, okay, I got it,
because I would just we never were going to see
what el would look like and told maybe the very
end of the movie, right, And.

Speaker 1 (35:01):
When I when I saw the passes of Time. I'm like, oh, okay,
well we're still Elwood. And a new kid came in.

Speaker 2 (35:09):
And that's actually another and.

Speaker 3 (35:11):
Then the new kid is telling him basically give him
the same spiel that right, that okay, yeah, but that
I was just like, okay, so we're we flipped to him.
But what the fuck was the train car for? But
it doesn't reveal itself, like you said, it don't reveal
itself to the end. So it's kind of like, well,
all right, four, okay whatever, sure.

Speaker 2 (35:34):
Right, and you know what, actually I do Okay, I'm
gonna spoil the end. Okay, I do actually get it right,
but you you the only way to get it is
to have seen the entire movie and then look.

Speaker 3 (35:44):
Seeing the movie right.

Speaker 2 (35:45):
Right, So in the end, Turner takes on the identity
of Elwood. Later on the passage of time. It is
not I mean, it is the passage of time on
the train, but it is him transitioning into this other case.
Like that's that's the that's the reason for putting that's
in there, you know what I mean? Like that makes sense. Yeah,
but you would not understand that unless you've seen the

(36:08):
entire movie. Know what the ending is and then go back.
Ah right, I got it, like it. Movies like that.
When movies do things like that, it's clever, but it's
not as clever as you think because it kind of
requires a second viewing. And so they're just things that
you miss if you've never seen the movie again, you know,
if you just watch it and go on with my
deck so that it makes sense.

Speaker 3 (36:28):
And this is not a movie. This is not like
a This is not like a repeat viewing movie.

Speaker 2 (36:33):
Watch it every Saturday, break on this fucking watch this
and I'll watch it with you.

Speaker 3 (36:39):
I'm not gonna do that.

Speaker 2 (36:41):
No, yeah, I may watch this with my wife again
the hell right, right, but yeah, thank you, yeah.

Speaker 1 (36:49):
But watching this again because I don't I don't like
feeling sad. I want to watch movies because like I'm
I'm a I'm a punk bitch. But the only way
I'll watch again is with my is with my children,
and you know, when both of them are old enough
to get it, right, I ain't watching it a third time, right, yeah,

(37:11):
the age for.

Speaker 3 (37:13):
Like twenty years from now, you got.

Speaker 2 (37:18):
I'mn't even gonna have streaming.

Speaker 3 (37:20):
So basically, what you're saying is you're not gonna ever
watch this because you're probably gonna fint exist.

Speaker 1 (37:25):
I was looking at this movie.

Speaker 2 (37:26):
Yeah, because you'll have Alzheimer's by then. You'll be sixty
five fucking years old.

Speaker 1 (37:31):
Yeah yeah, Look, if you want kids, uh, don't have
a baby at forty one if you can help it.

Speaker 2 (37:39):
Goddamn glutton for punishment. Good Yeah, I was smart thirty nine,
just under the mark real brun well.

Speaker 1 (37:49):
I did both, so it's not yeah.

Speaker 2 (37:53):
Yeah, how your knees, buddy tired?

Speaker 1 (37:56):
Yeah?

Speaker 2 (37:56):
Yeah, I'm saying that my kid is fucking eighteen.

Speaker 1 (38:03):
I'm like, chilling right, it's gonna be past my bedtime
in about forty five minutes, So get going, all right.

Speaker 2 (38:13):
So so from there we we get the transition, and
now we're in Turner's perspective, and I guess it kind
of jumps back and they're they're showing him being introduced
to like picking oranges and shit like that. Uh.

Speaker 1 (38:28):
Look.

Speaker 2 (38:28):
One of the most disturbing things about this fucking scene
that really bothers the shit out of me is the
one kid is like five years old.

Speaker 3 (38:36):
He's three, yes, carrying a basket. I'm like, what did
he do to get himself? Here because it doesn't seem
like he could there was any possible thing he could
have done to be at this fucking school.

Speaker 2 (38:47):
But I mean that's just how they treated black children.
They were all criminals or whatever. I do find it funny,
like they show this little boy, his kid's got a
fucking perfect lineup, Like it's like nineteen is like fucking Christmas,
fuck my child, and fresh to day they're like, but
that doesn't matter the time he got a line up,

(39:08):
Shut the fuck up. They have pro tractors and ship
how to do it right, So, yeah, they they have
all these uh again these are these are young teenage
black boys picking oranges out in the Tallahassee Florida fucking sun,
which is insane.

Speaker 1 (39:28):
Right.

Speaker 2 (39:32):
So then at one point Elwood tries to help a
kid who is getting beaten up or or yeah was
this out, Yeah this was Elwood. He goes to help
somebody and he gets fucking he gets his lights fucking
punched out by these other kids. And so yeah, fucking
welcome to the Nicol Academy. And all these kids are

(39:53):
kind of give him a hard time. Kids are laughing
at him after he got fucking beat up. So life
is just really fucking hard for Elwood. It really is.
But because the boys were fighting, they get disciplined, and
this is, uh, this is when you really find out
just how horrendoushit is. They're taken out in the middle
of the night to the shack where White House.

Speaker 1 (40:21):
Hmm, I think that's what they called it. Great real classic.

Speaker 2 (40:27):
So they brought to this place and uh, they're basically whipped.
They're they're they're made to put their hands on some
sort of fucking thing that they're holding in this room,
and they just they whip them. Again, this is the
nineteen sixties, not the eighteen sixties.

Speaker 3 (40:47):
The one thing that I did appreciate about the movie
is like as he's walking up these steps, like there's
a several different scenes in the movie where like some
foulship is about that happen, And the score, the score
of the movie sounds like a horror movie because of
the entire time. Yeah, sound like something from Silent Hill.
You seem it was. It's really unnerving. Uh So I

(41:10):
give him credit for that because this is super fucked up.

Speaker 2 (41:13):
Yeah, I agree, it.

Speaker 1 (41:15):
Feels very uncomfortable.

Speaker 2 (41:18):
I did. Let's succeed it. Yeah, yeah, no, that I
mean that is, it is quite a real thing. Like
the soundtrack or the score, as you said, is just
really eerie the entire time, like like I don't want
to be here. I don't want to be running in
this shit. Yeah, I mean they show the character has

(41:38):
a Bible as he's you know, as he's taken him
off to whip him. These are young boys, I mean
there was fourteen thirteen, fourteen years old.

Speaker 1 (41:51):
And no, you know, spare the rod, spoil the child.
That's what I was told, you know, just fucking insane religion.

Speaker 2 (42:00):
Yeah, the same religion that used.

Speaker 1 (42:01):
To justify slavery. Real, real cool.

Speaker 2 (42:05):
I know that's not a thing people like to hear,
but that's reality, Like it just is. And then we
see an older Elwood, like in the modern time, researching
this place and like finding photos and being you know,
being very sad and about what he's you know, remembering

(42:26):
and that sort of thing. Uh. And if you have
never watched a movie before, you might not have known
that that was d V. Diggs. But I knew immediately
the second he talks.

Speaker 3 (42:38):
I didn't know he was in the movie.

Speaker 2 (42:39):
I didn't either, But the same I don't know if
it's in this scene that he talks, but the second
he talked in the movie, I was like, yeah, no,
it's that's clear.

Speaker 1 (42:45):
That's who it is. His voice is just very specific.

Speaker 2 (42:50):
We see Elwood like back in the nineteen sixties, wake
up in sort of like in the infirmary type of
thing after he's been whipped. And also of this stuff
I failed to mention. When the boys are all taking
a shower, you can see whip marks on the back
of some of the boys in the shower, which I
was like, well, that's fucking horrendous. When did that happen?
And then soon after that to you and you go, okay,

(43:13):
got it. Audre Ellis Taylor comes to the Nicol Academy
trying to see Elwood, but they will not let his
grandmother see him. They're told she's told that he's sick,
which is, you know, he's in the infirmary, but I
don't think they'd let her see him even if he wasn't.

(43:35):
She's just trying, she's trying something to sort of get
some connection to him and want to see him, make
sure he's okay. But she just she finds this young
black kid who's you know, walking on the campus and
she's like, look, do you know him? Can you give him? Oh,
that's right, that's right because it's from his perspective. And

(43:55):
she gives him something to give to Elwood, and she
gives him a hug, and she's like, because I can't
hug my grandson, but you'll have to do. And you know,
his hugs are so weak, because I don't think they
just don't know how to interact with people, Like I
don't think it's about physical weakness. I just think it's
just emotionally, they just don't know how to connect anymore

(44:17):
because they've just been treated like less than human basically.
So it's a pretty pivotal moment, I think, because here
you have this woman trying to reconnect and you also
had Turner saying like, nobody's gonna come and save you,
nobody gives a shit about you outside and everything else,
like the cynicism versus the sort of the optimists.

Speaker 1 (44:42):
Yeah, this conversation is where, you know, the themes in
the movie really kind of clicked for me. This is
when I started getting, you know, or a little more
invested in the movie because you know, we're kind of
well past the gimmick. We kind of get used to it,

(45:03):
and these type of conversations with one's self are kind
of what make the movie for me.

Speaker 2 (45:11):
All Right, all right, all right, let's say a quick
break and come right back. All right, So from there,
I'm gonna speed up a little bit. We see Turner
going to visit Elwood in the in the infirmary. He
like ate some soap to make himself like fake sick
or whatever, just so he could get a couple of

(45:33):
days off from from working. Sounds very smart, sounds like
a thing I would do. I can be the linking.

Speaker 1 (45:41):
Or just work. What the fuck.

Speaker 2 (45:45):
In Florida? All right? You get down there and picked
some fucking oranges? You, I guarantee you faking illness. After
a while you'll be tired. They you know, it's Florida.
So they find some. They find a gecko at one point,
try to sell them insurance.

Speaker 3 (46:00):
Did he ever give him the paper?

Speaker 1 (46:02):
No, he didn't.

Speaker 3 (46:03):
He never gives him the fucking Yeah, he didn't give
him the fucking letter.

Speaker 1 (46:07):
Whatever. No, they say. He says it later on in
the movies, like, man, I'm really so I should have
I guess I should have gave you those papers and
el what is like it don't matter. Now the lawyer
is gone.

Speaker 2 (46:23):
At one point, we see the they got they got
the uh they got the boys, you know, digging ditches,
and uh, it looks like a grave. I don't know
if it's not. It's not necessarily said, but I don't know.

(46:44):
It feels like a grave to me. Then during class,
I go I literally thought this was a dream sequence.
During class, there's a fucking alligator or whatever the fuck
y'all have in Florida, just rolling around the class and
these black kids are just standing on chairs so they
don't get bitten. What kind of fucking hillbilly ash is

(47:09):
going on in that state? It's fucking insane.

Speaker 3 (47:15):
And who perspective were we looking at from at this point?
Turner or was it Elwood? Someone was looking in the classroom.

Speaker 2 (47:26):
I want to yeah, I want to say it's probably
Turner's perspective, but I don't know. Well, the very next scene, uh,
the characters looking at and it's Elwood, Yeah, cause he's good.

Speaker 1 (47:40):
It's darker.

Speaker 2 (47:41):
So yeah, I don't know, man, I'm I'm not a
fan of just a fucking alligator in the classroom. Like
I was on a tour the other day and they're like, oh,
there's there's a little crocodiles in the water. I was like,
or no. My wife said, hey, are there alligators in
this water? And the guy was like, no, there's crocodiles,
but they're little. I was like, for you, somehow you

(48:02):
think those things are different. I'm not a scientist. I
don't know. Is their headshake is different? Like do we
got teeth? Then it bite? Like the fuck I get
out of here. This is a this is a uh.
This is a difference without a distinction. So they they

(48:26):
they start doing like boxing training, like they're having fun
teaching the kids boxing or the kids are have fun
learning boxing. And Turner at one point tries to tries
to hook up Elwood with like this cushed job with
this one white boy that works there, and they basically
go around and just like sell ship, like they take

(48:51):
stuff from the black the black kids, and they just
sell ship so they can make some money and chill
out and hang out in the truck and shill like that.
And so he does that with them, but he doesn't
like it because he's like it was kind of like
fucked up and unethical because he's, you know, he's just
a good kid and you know he's an idealist. I

(49:11):
didn't trust his white boy the second I saw his face.
I just didn't. I didn't uh in these kind of movies.
I'm sorry. You know, trust is trust is not earned.
I need I need third party verification. I do not
trust you. Hey, it's the nineteen sixty I could be
your friend.

Speaker 5 (49:31):
No, disagree, Yeah, I don't make highly unlikely.

Speaker 1 (49:37):
Yeah, I don't trust no white people.

Speaker 3 (49:39):
No before nineteen twenty twenty, twenty twenty, fucking.

Speaker 1 (49:46):
I don't know.

Speaker 2 (49:47):
No, that's a fair No, I mean yeah, necessarily, Yeah.

Speaker 3 (49:53):
Who got president? Yeah, I don't trust any motherfucker. Sorry,
what color had already as a deficit to me? You
got to prove to me.

Speaker 2 (50:02):
Yeah you do. Yeah, you're you're already starting below.

Speaker 1 (50:05):
No, you don't get the benefit of the doubt.

Speaker 2 (50:08):
Ah, No, I don't. I don't really Like this is
gonna sound weird but also make totally perfect sense. I
don't think I plan on making new white friends. I
think all the white friends. Yeah, no new friends, No
new friends. I think I've hit the I think I've

(50:28):
hit the line. Like if you were in before the
buzzer of the election, buzzer beater, like that's it. Like, No, No,
I feel like you gotta work, you gotta want, you
gotta work twice as hard to get half as much
of my respect going forward. I'm sorry, dude, I gotta

(50:50):
a couple of white why with no problem? Y'all made
it in under the buzzer. I like, I like y'all
new ones.

Speaker 3 (50:58):
No, no, I interact with you at all. No. I
haven't interacted with a white person that I didn't have
to interact with in a very long time. I'm just
trying right now. Well, Mexico, you.

Speaker 2 (51:12):
Probably don't have out. That's why there's white people here.
That's what I look. There's white just.

Speaker 1 (51:18):
Like white Mexicans, like white Americans who moved down.

Speaker 2 (51:22):
Both both both I'm talking about. I mean Spain. Spain
is in Europe, okay, like now they say they're white,
like not me, Like I was born in Mexico, okay,
and all of your lineages from where Spain and then
you're white. Yeah, trust me. The brown ones, they're very

(51:45):
easily identifiable. They tend to be the cooler one, honestly so,
so at this point I didn't like that one. I
seem like a dick. They're all hanging out chilling him
like I guess some sort of dormitory, and like everything
is kind of feeling okay. I think they got air

(52:05):
conditioned or is that a light? Are you doing all right?
They got the they got the Latin dude, he's in
there with them. They get uh Elwood and uh Turner.
They get the job to like do some painting and
helping out some white lady that I guess lives near
the campus or on the campus. I have no.

Speaker 1 (52:24):
Idea that's Spencer. That's uh Spencer's wife. Yeah, that's Batman,
which is the most which makes this, which makes this,
which makes it Spencer is Hamish link.

Speaker 3 (52:40):
Later, I thought that was the Oh I thought that
was that was ridding around picking up.

Speaker 1 (52:49):
Money and ship for people. No, that's Hamish character, which
makes this the most unbelievable part of this movie. Hey boys,
you want you want to use my pool?

Speaker 3 (53:07):
No?

Speaker 2 (53:07):
Hell no, dude, no, no, thank you. Take your trousers off, bitch,
Are you out of your fucking husby? Just literally seven
minutes ago in the movie, Absolutely not keep you know,
I'm putting on two pairs of jeans. Get the fuck
out of here. No, hell no, you know she's she's

(53:29):
portrayed as like, I'm just like, I'm just a white woman.
I'm just I'm a nice little white lady. I'm just
a nice white lady. No big deal. Do not trust Sorry,
there are flashing lights going off in my fucking head.
Absolutely not. But this is this scene to me, is

(53:50):
very it's telling, and it's insidious, right, Like, she doesn't
actually do anything wrong in fairness, she really doesn't, but
what is in one degree? I was like, and where's
the part where you're like he rate me, Like, where's
that part coming? Because like it's and they wouldn't be

(54:12):
a shock, right, But here's what's insidious about this scene.
Many young black boys were killed during these times, and
Jim Crow and and before many were killed young boys,
very specifically because they fell victim to being kids, right,

(54:34):
their kids, even though their kids in this fucked up situation,
someone's like, hey, go enjoy the pool, have fun. They're
fucking kids, of course, like it's hot, I'm in fucking Tallahassee, Florida,
and somebody's like you can use my pool. Fuck, yeah,
this sounds awesome. And they paid prices.

Speaker 1 (54:51):
For that, right.

Speaker 2 (54:52):
They were brutalized. They were whipped. They were you know,
they were killed. You know, it's like to be like,
that's how insidious whiteness can be in those moments, is
that you take advantage of young boys naivetey, right, Like
they're just they're just kids, so they don't realize the

(55:15):
like implications and the danger that they in fact put
themselves in. And even by the way that she put
them in, she put them in that terrible fucking position
because she's like, oh, just have fun. Luckily nothing happened,
but if Hamish had came come to the house at
that time, he would have shot both of them. But

(55:35):
she's just like, oh, everything's fine. I'm just a calm
white lady, like cool and reality exists, right. So yeah,
it's just this sort of insidiousness of just hurting young
kids because they make the mistake of forgetting they live
in the world, but they are still young.

Speaker 1 (55:55):
This is is just awful.

Speaker 2 (55:59):
We see somebody being dragged off at one point in
while they're like sort of in in a building, which
is kind of fucked up. I don't even understand what
the fuck happened.

Speaker 3 (56:16):
Again, there was a lot of interspersed cuts of what
like did that happen. Was this in the school or
was this like a something else?

Speaker 2 (56:26):
No, I mean I think it was in the school.
I think it was just I mean I think they
they were just kind of showing like these are just
shit that happened, like sometimes like we know a couple
of the kids, but there are plenty of other kids
that like, shit just happen, like it's just commonplace. At
least that's that's what I got out of it. I mean,
I don't know, I mean, because they're they're intercutting it
with what seems like gray footages of like like a crevass,

(56:54):
right like like what could be considered like a grave.
There's a massy yeah, like with like all these shoes there,
which to me felt like holocaust, right that that's what
that That's what it invoked me too. So I mean
it also was a holocaust, right so even though why

(57:15):
people try like not to admit that, But that's that's
the Uh, that's kind of what I got out of it.
So I think that imagery was very much purposeful. But
then you see like the half Latin kid is like, hey,
like everything's cool with you. I don't I don't know
what's going on with him. I don't know if he

(57:36):
was like they had him beaten up the other kid.
I have no idea.

Speaker 1 (57:43):
We we get to a scene where where Elwood and
Turner are kind of just chilling in a little hide
and spot, and incomes uh Spencer, the U the name
of the superintendent. Uh some about that name Spencer, where
people who have it are just kind of assholes sometimes.

(58:07):
He they the two the two protagonists over here, Spencer
talking to I think his name is Griff. He is
the uh the he looks like looks like that guy
you smoke crack, don't you. He looks like it looks
like that kid. And he's he's like a really good boxer, right,

(58:29):
and he's and and Spencer's like, look, I need you
to take a dive in the third, right because it's
the season of given, okay, And you know you can
beat him, but I need you to take a dive.
But you know, just just know that you could beat him,

(58:50):
and then you're just gonna have to live with that,
all right, because it's better to give than received. So
give this white boy the.

Speaker 2 (58:58):
Victory, and you take a dive, right, so you don't
keep an ask woman?

Speaker 1 (59:04):
Right? And uh, and the night of the night of
the fight, because that's what they do here. They they
have underground boxing matches in reform school.

Speaker 2 (59:18):
Race based.

Speaker 1 (59:20):
Yeah yeah, I was boxing and.

Speaker 2 (59:25):
Yeah still kind of is you know, let's see if
this nigger can beat this white boy? Like all right,
answers yes all the time.

Speaker 1 (59:36):
So this is interesting. I just noticed this the during
the boxing match, you know, the crowds are segregated, and
the Spanish guy is sitting with the black people, and
one of the white guys comes over and says, hey,
come on over our side, come come on over our
close enough and and he and he does, and look

(59:58):
maybe he doesn't know better, or you know, maybe he
just wants to be close to whiteless. You know, I
don't know. I don't know. I have a feeling, but
I don't know.

Speaker 2 (01:00:11):
There's a lot.

Speaker 1 (01:00:14):
Help us, please uh nob in glace.

Speaker 2 (01:00:24):
And uh.

Speaker 1 (01:00:25):
And you know, the black kid bull Rug is kind
of whooping up on his dude, and the camera uh
pans over it to just like oh, it's it's the
second round. And you know, black dude is whooping up
on the white guy, and and our two protagonists are like, yo,
is he going to do it? Or like what's going on?

(01:00:47):
You know, like he whooping up on that dude, and
it was like, I don't worry about it. And then
the third round comes and you know, right, and and
and he doesn't take a dive, and it goes to
a split, it goes to a decision, and the black dude,
you know won because the black dude, you know, was
beating the hell out of you know, old tasty cake

(01:01:10):
over there, and and and as soon as as soon
as the ref stops the bout because you know, the
third round ended, he uh, you could see the hangdog
expression on on Griff. I think it is his name,

(01:01:31):
his face. This nigga forgot that he thought he was
like he looks over and Spencer was like, I thought
it was the second round. I didn't know it was over. Yeah,
And it's just it just kind of breaks my heart, man,
because like the killed kid is, yeah, they ended up

(01:01:56):
killing that kid man, and he's he's because he knows,
like he's like, oh, I swear, you know, I swear
I didn't. It's just it's just another sad moment in
this in this movie. For me.

Speaker 2 (01:02:10):
Man, it's an incredibly said uh situation, it really is.
And what it tells me, is I mean, this is
not a surprising turn of events. I'm sure it should.
Like this happened all the time. White people can't compete

(01:02:30):
with us fairly. Like when white people are forced to
compete with everyone, and I don't even just mean black people,
but like when white men are forced to compete with
everyone on a level playing field, they get really fucking
sad and like, we have to change the rules so
we don't have to do this anymore. That's what happens, Like,
that's what you're seeing right now in the they hate

(01:02:52):
actual competition because what they find out is there's a
whole lot of people will kick the shit out of
you in most things.

Speaker 1 (01:02:58):
Yeah, which is why, when, which is why when they
find like a white athlete who's like really good, like
exceptionally good, they they latch onto them no matter what
their you know, political leanings are. Like like with Kaitlyn Clark, Right,
Kaitlyn Clark is is a phienom in women's basketball, and boy,

(01:03:24):
she is the great white hope for a lot for
a ton of white people and white people that that
don't I think align with her politically.

Speaker 2 (01:03:34):
Well, like yeah, until she started coming out like no,
I owe my entire career to uh the like the
great black women in the w n b A.

Speaker 5 (01:03:44):
They're like, God, damn it, stop laying that you turned
your back on your own kind like what the fuck.

Speaker 3 (01:03:53):
She's like talking about.

Speaker 2 (01:03:59):
The fuck trying to I just want them to lower
the room so I can dumb because which is what
they should do, just saying they should lower the room.
But yeah, like it's really weird, but I truly believe that,
Like white men get really butt hurt about having to
compete on fair terms with everybody. They don't like it

(01:04:21):
because they've never had to the second that should happen
in baseball, what happened. They got their asses handed to them.
They hated it. I get Jackie Robinson the fuck out
of here, Like they hated that ship. Do you imagine
if they had to play Major League Baseball against Negro
league baseball players at their height. They waited till they

(01:04:41):
were like smoked. That's fucking destroyed, dude. And then what happened.
Black people started kind of pulling out of baseball. I wasn't.
It's just not a like we dominated a lot of
like the top tier ship in baseball for a long time, right,
like all the yeah game, when they integrated negro league

(01:05:03):
stats into Major League Baseball, it upended everyone.

Speaker 3 (01:05:08):
So this just doesn't even make any kind of sense.

Speaker 2 (01:05:11):
What oh wow, wow, right, and this is fucking fourteen
ninety two. These numbers are coming from right. But that's
the thing is they get really fucking upset, like, oh,
that's not fair. It's not fair. Not fair no, Like,
like even the arguments about DEI are hilarious, right, Like

(01:05:31):
you're you're getting a bunch of unqualified people. No, you're
just forced to now have to compete with people in actuality,
and they fucking hate it. They fucking hate it. And
the more they hate it, the more I enjoy it.
Like that's I do. I love it? Now, this isn't fair. Well,
get good, nigga, Like, I don't know what to tell.

Speaker 3 (01:05:52):
You, Like, I don't understand how, as a white person
you get on a flight and you see a black pilot. No,
but I guess you, as a white person, you don't
realize that black people have it harder.

Speaker 1 (01:06:05):
Maybe I don't.

Speaker 3 (01:06:06):
Understand how you don't understand it, And you're like, I'm
a little afraid. It's a nigga in the in the cockpit.
Can he fly the plane? Did they just give him
the job because he was black?

Speaker 1 (01:06:17):
Ow know, Like, what kind of sense does that make?
Like somebody broke that down. You think that these companies
with these billion dollar planes and this reputation are gonna
just hand it over to somebody, just give their plane
away to let anybody fly it.

Speaker 2 (01:06:38):
Let let let let jamal fly. It's fine, don't worry
about it. Look at the funk out of million dollars.

Speaker 1 (01:06:45):
No, they're not.

Speaker 3 (01:06:47):
And then the person that says that gets an interview
with the governor of California because why the fun would
you do that? Anyway? That's that's that's a that's a
whole difference.

Speaker 1 (01:06:57):
Yeah, I told him, I told him hard right.

Speaker 2 (01:07:00):
But look here's the thing. That's how that's how shameless
and how fucking stacked in their their benefit it is
to be a white man. Is that you guys can
completely disagree and he the one other guy is saying horrendous.
You're well, let's just hear him out.

Speaker 1 (01:07:20):
Let's hear you out.

Speaker 2 (01:07:21):
Why would you do Why fuck Charlie Kirk, Like, get
out of here. I pushed that nigga right into traffic.
If I was walking by, get the funk out of
my way like it move.

Speaker 3 (01:07:33):
But essentially a Nazi and this motherfuckers let's talk about it.
Why all right, Stephen al relaxed, gotta I don't. I don't.

Speaker 1 (01:07:45):
That's a deep, very deep cut, a deep local cut, racious.

Speaker 2 (01:07:53):
Science.

Speaker 1 (01:07:54):
But ye.

Speaker 3 (01:07:56):
Must be nice to be white man.

Speaker 1 (01:07:58):
Yeahs real.

Speaker 2 (01:07:59):
You can you imagine Can you imagine a black candidate
being like, I'm gonna sit down with the head of
the black Israelites and just have a chat. It'd be like, okay,
get the fuck out of here forever, like like, so
where did you get your wonder woman? Oh? Target interesting.
So it's like the idea of what it is like,

(01:08:21):
that idea of being having to fight on the same
playing field, it doesn't exist and it it Honestly, never
has I saw someone say, you know, we need to
go back to a meritocracy. America's never been a meritocracy
and it never has. You don't know what America. They
keep saying.

Speaker 3 (01:08:39):
That's what he that's what they keep saying. So Trump
and them keeps saying, it's got to be a meritocracy.
But you fire the black four star general and put
some dickhead know anything about the military in place, right,
he's a drunk in his stead.

Speaker 1 (01:08:54):
Like, like, what do you.

Speaker 3 (01:08:57):
Why did you pick him? Because he's white? No one
in any pusition of power knows what the fuck they're doing.
Why the fuck did Linda McMahon take the position of
why does she take the job? That means she's a
piece of shit because you know, you don't know shit
about the job. You just took it because I'm rich whatever.
Who gives a fuck olyndic man might be. I think

(01:09:18):
Linda mcmhon might be worse than Vince.

Speaker 1 (01:09:20):
Wow wow, okay, yeah, but look, look she's a woman.

Speaker 2 (01:09:26):
Behind the curtain type of thing. Yeah, what you just said.

Speaker 1 (01:09:30):
What you just said is my issue with white women
because like at least with the white man, they're smart
or they're dumb enough to be like, well, fuck you
nigger to my face, right, Like I can on some
weird level as a man, I can respect it, right

(01:09:51):
because it's direct, fuck you, fuck you back, right. But
you can see it coming.

Speaker 3 (01:09:57):
You can see it.

Speaker 1 (01:09:57):
I can see it coming, right, and and with and
with with white women, they tend to they tend to
try and play both sides and especially and it's on
our side too. Man, it's on our side too. If
black woman comes up and says, hey, women, we need
to come together. I need y'all, like what the fuck?

Speaker 2 (01:10:23):
Like?

Speaker 1 (01:10:24):
But the second the second that and look, it's not
just them, right, we were alluding to it earlier, but
I saw an article on the route where Latin folks,
uh probably who voted for Trump.

Speaker 2 (01:10:38):
Now these are these are magna Latin.

Speaker 1 (01:10:41):
Yeah, now they now they're like, now they're like, guys,
we got to come together, and we got to get
the black people to come help us. You know why,
you know why they think that, because because that's that's
all that has been done to us in this country.
Like we we know how to endure.

Speaker 2 (01:10:59):
That.

Speaker 1 (01:11:00):
That's why white people are flipping the fuck out because
they don't know how to endure. That's why one that
we know very well crashes out from time to time
and Terrence has to come on and say, we're gonna
be all right, man, We're gonna be all right. We're
gonna endure because because we know how to.

Speaker 2 (01:11:18):
We have we've had to, we've had to, and and
that that has long been my thought as well, Like, look,
I don't think it's gonna be easy for for black
folks at all. It's gonna suck fucking stuff. Yeah, man,
white people have never White people have never, like unless
you're talking about white people during the Great Depression, right,

(01:11:39):
unless you talk about white people doing a Great depress
they were like, Yo, we're literally eating being out of cane.
This ship is hard. Unless youre talking about those white people.
They've been through some ship. Modern white people they've never
had to suffer like this. They don't. And and by
the way, you only seven weeks in baby, like, you
ain't even hit a year yet. Writ you have two bucks?

Speaker 1 (01:12:01):
Right?

Speaker 2 (01:12:02):
You hit two fucking months? Yeah, wait till they strip
motherfuckers of their social security? Then what are you going
to do? Right, these are things that were never available.

Speaker 3 (01:12:12):
Put their guns to good use. So what I'm saying,
get the work, get the work, get to doing what,
get to using the second part of the Second Amendment. Yeah,
you create that well regulated militia to take on the
government that's fucking being incredibly tyrannical against you. But you know, oh,
you mad pussy. Which one is it? You're gonna do
what you're supposed to do or you wild pussy? Either

(01:12:33):
one or the other. I'm not a second amendment that
I don't have a gun, right, that's not my ministry.
You know what I'm saying, y'all niggas got a bunch
of guns.

Speaker 2 (01:12:42):
But that's your whole that's your whole fucking personality. Now
do it?

Speaker 3 (01:12:46):
Man?

Speaker 2 (01:12:47):
Like, Well, if we could get black people out front,
uh huh no, y'all out front, y'all did this? You
go fix it? You go fix it. So yeah, I
mean but that, that to me is like that idea
of that. That's why the scene with the white woman
at the pool is so fucking scary because I'm like,

(01:13:07):
when's the shoe gonna drop? And you know, thankfully it didn't,
which I appreciated, I guess, but all of us, there's
no way. And it's not like that the three of
us are watching together, but I guarantee we all had
the same thought. Like I said, fuck no, absolutely that
when she said take her trousers off, I was like
fuck that, Like no, and I'm sitting in my office

(01:13:30):
alone watching.

Speaker 3 (01:13:31):
But then she gets up and leaves.

Speaker 1 (01:13:32):
I'm like, yeah, she about to.

Speaker 2 (01:13:33):
Go right see, And that's why I was like budget
get like like yeah, like when she offended and then
like she's gonna go say some shit.

Speaker 3 (01:13:40):
Yeah, yeah, that's ingrained in us show. It is no,
absolutely not. That ship was crazy. I was like, you
really to do that? But then again, he's like a kid,
like you said, he's like sixteen, seventeen years old. Don't
look it, but he's right.

Speaker 1 (01:13:58):
The kid a naughty, bad.

Speaker 2 (01:14:00):
And it's just that sort of insidious way that white
people could be and just taking advantage like yay, he's
a kid. I hate that nigga knew what he was doing,
like a dude, I'm fourteen and you said, caond, I
can use your pool. Yes, that's ask any white kid
they would have the same reaction, but they never were
given Black children especially or.

Speaker 3 (01:14:19):
Never given it would have known a little better because
he's the most cynical one, right, I mean, I know
he's supposed to be a.

Speaker 2 (01:14:24):
Kid, but yeah, yeah, I would have been.

Speaker 1 (01:14:28):
Like not like no thanks, I'm good.

Speaker 3 (01:14:33):
Paint something like.

Speaker 2 (01:14:34):
Y'all seem hot, super hot, Go ahead, glass of water
and I'll be fine. Yep, And you know what, you
sit it over there, you leave, I'll get it. I
don't want to be anywhere near you.

Speaker 1 (01:14:45):
We're good.

Speaker 2 (01:14:47):
Mm hmm, so yeah, I just yeah that that whole
idea of just competing on an equal playing field, I
find just the more and more I think about it's
like just white people in white men especially have never
had to You never had to, So don't talk about
it a Maritimes. You don't. You don't know what a
meritocracy is, you know, because if we're being honest, anytime

(01:15:11):
y'all have like, hey, we're gonna let in more minorities
in colleges, why are all the Asian kids doing better
at school than? That's a meritocracy, my nigga, Like what the.

Speaker 1 (01:15:22):
Yeah, because you don't feel like you gotta work that
hard and they do.

Speaker 3 (01:15:26):
Your fucking father owns a building and the guy on
the campus yep, whatever, yes, it's it's it's really fucked up.

Speaker 2 (01:15:35):
Yeah that that, And then that Asian dude.

Speaker 3 (01:15:37):
Was like the like, affirmative action fucked everything up, and
now your niggas ain't going to college now, yeah, you're
not accepting you Asian folks in college. Stupid motherfucker.

Speaker 2 (01:15:47):
But hey, black people, black people trying to right, we
tried to help you.

Speaker 1 (01:15:51):
Yep.

Speaker 2 (01:15:52):
The second they're just like you're being a useful idiot.
They're using you, they're lying to you, and they're using
you to kick your ass out and so that you'll
attack us. Hey, guess what gotcha? It works every time. See,
we've already figured this shit out. We've had hundreds of
years of this horseshit, This fucking Charlie Brown, I'm gonna

(01:16:13):
hold the football and move it at the last minute. Bullshit, y'all.
Y'all knewed it ship for some fucking reason.

Speaker 1 (01:16:18):
Also, it's not like it's not like they haven't been
oppressed in this country within a lot within their grandparents' lifetime.

Speaker 2 (01:16:29):
Like just like that's what so with Nigga within their lifetime.
Remember stop Asian hate that ship was doing. They're like, well,
maybe they like us again they fucking don't. They don't
kicking you in the head ways and ship over right,
Like like, oh, I didn't realize they didn't like us

(01:16:51):
with these h one p's.

Speaker 1 (01:16:53):
You're brown?

Speaker 2 (01:16:54):
What the fuck are you talking about?

Speaker 1 (01:16:56):
You're brown?

Speaker 2 (01:16:58):
I'll never forget when all that ship was popping up,
like the WhatsApp group with my wife's family, They're like,
what the fuck is wrong with these Indians who are
saying this like we're brown, like of course, like, yeah,
of course they hate you.

Speaker 1 (01:17:11):
Duh. Where's the aswammy about it?

Speaker 2 (01:17:15):
They got.

Speaker 1 (01:17:20):
Yeah, working with the What's.

Speaker 2 (01:17:24):
Kick them out real quick out before fucking inauguration day
because he was like, I think we should have more
more Indian folks. They have a better culture. And white
people were like, wait a minute. And then Elon Musk
was like he's right, and they were like, wait a minute.
We're mad about this, like we didn't like that. The
white guy also said it, but kicked the gut like

(01:17:47):
all right, bet yeah, we're better at programming in math
than you guys are.

Speaker 1 (01:17:54):
But they are though they are.

Speaker 2 (01:17:57):
Yeah. So so from there we see just you know,
Turner in Turning, el Ellwood are just becoming closer and
closer friends. Elwood at one point runs across the street
over to these white people because he thought he saw
Martin Luther King Jr. But it was just a cardboard cutout.

(01:18:18):
They're like, that's very funny to me.

Speaker 1 (01:18:22):
But even like you think the Reverend you think the
Reverend King is sitting here at an opening of a
grocery store, like problem.

Speaker 5 (01:18:35):
He bolted over there, yea, like in front of a
car right, like surprise, No, I just.

Speaker 2 (01:18:46):
Want to just by the way, uh ribsteak back then
with seventy nine cents a pounds.

Speaker 1 (01:18:51):
That's a that's a pretty good that's the pal. It's
very upsetting to me. I bet eggs were probably you're
probably both the ripstick and they gave you a dozen eight.

Speaker 2 (01:19:07):
We got too many eggs.

Speaker 1 (01:19:08):
Let's get it out of here.

Speaker 2 (01:19:09):
That's another thing we're all mad at each other for,
which makes me sense it's corporations. You're dumb fucks. So yeah,
he's like, look, you gotta basically this is another like
you gotta stop being a fucking dreamer, all right, Like
ain't nobody like, ain't nobody coming for you, bro, Like
that's just just ain't That's not how it's gonna work.

(01:19:31):
And we gotta save ourselves type of ship. Then we
fast forward in time where we see Elwood is obviously
de v digs. He he's in a bar and a
guy walks up to him and he's one of the
other kids from the Nickel Academy and they they're like

(01:19:55):
they're catching up and look this guy is giving off
of that. That feels like I just got out of
jail type of shit, and it's really uncomfortable, like he's
not doing anything wrong, but it just at any moment,
and maybe this is just my own personal feeling, like

(01:20:15):
I thought like at any moment, like they were gonna
get into a fight, Like it just felt it felt
really unset, like he felt like he was unsettled for
some reason.

Speaker 1 (01:20:24):
I didn't. I got the feeling, but I didn't get
that from it, right, I didn't get like at any
point he's gonna they're gonna get into a fight. I
got exactly what happened At any point this nigga's about
to ask me for something, and I don't know, no,
get away from me, get away from me. Now, I didn't.

Speaker 3 (01:20:45):
I didn't know what character this was, because again I
did think it was kind of convoluted for me. I
just went through going through the movie. He was there's
a scene that we actually skipped past like they were
doing like a little amontage of shit going on. That's
the same sequenced with the shoes. He was being sexually
abused by one of the fucking guards. This is one

(01:21:05):
of the kids that would be actually abused.

Speaker 2 (01:21:07):
Oh okay, because you see the guard walk out.

Speaker 3 (01:21:09):
He was he was leaning on the rail and the
other and the Hispanic kid was also being sexually abused
in that same scene.

Speaker 2 (01:21:16):
Yeah, because I saw the guard with like his his
shirt untocked and like that.

Speaker 3 (01:21:22):
Yeah, this was the kid that was in that scene.
He had like the patch in the back of his
head and his head was kind of fucked up. This
is him.

Speaker 2 (01:21:28):
Yeah, Oh okay, I didn't know that when first one,
I didn't realize. I didn't realize he was being sexually abused.
I thought maybe he was like beating them with a belt.
But that also makes sense.

Speaker 3 (01:21:41):
Yeah, so he's all fucked up, which, yeah, that God
Jesus twenty years later, Yeah, this is fucking it's super
fucked up man.

Speaker 1 (01:21:51):
It's fucking sad man.

Speaker 2 (01:21:53):
Yeah, And but he gets he gives off a vibe
of just general unease. But that makes sense, right, Like,
here is this this guy who's who's had his sort
of in a lot of ways, his innocence kind of
script from him. And you know, he clearly has a
drinking problem, and but he's trying to he's still trying
to get his life together. And so I guess I

(01:22:15):
guess he's in that scene. He's the kid getting dragged
down the hallway into the other part of the hallway
to be sexually abused. I guess in that scene you
can't you don't see his face. Yeah, so it's fucked up.
But yeah, that scene is just really really uneasy. And
he eventually asked like because he he realizes that Elwood

(01:22:38):
has Elwood mentions that he has like a moving company
that he runs, and this guy is like, all right, man, like,
if you need if you need anything, like, you know,
give me a call. I'm trying to look for work
and stuff like that, right, But he doesn't have a
card on him, and but he does, you know, he
takes this number and that he writes in on a
cockdawln napkin or something, and then it sort of fast forward.

Speaker 3 (01:23:00):
This is the point when I realized that this at
this is the point where I realized that this wasn't
l Wood. I didn't know that this guy that the
fast forward into the future wasn't Elwood until this point
because I'm like, this Niggas is too light skinned to
be It doesn't make any sense for him to be
so light gin When it was I didn't really recognize

(01:23:23):
his voice, and I'm like, oh, this is not him.
And and then and then I realized, oh, this is
not him. That's why this is not a first person's
perspective behind him and just a third person because it's
not really Ellwood. Oh okay, I get it now, but
it took me till this point.

Speaker 2 (01:23:38):
Yeah, And I hadn't thought until you just said that,
I hadn't thought about that's why they don't do the
first person perspective person r m hmm. Interesting, Yeah, because
you know, there, I'm sure showing that he is the
complexion he is is very much on purpose to kind
of make you go.

Speaker 3 (01:23:57):
This is the this is the part where they this
is the part I think they first showed that he's
not because I'm I'm like, oh, his hands is way
too fucking light, and I'm like, I didn't not pay
attention to the movie. I know, like I didn't recognize
I'll Dick's voice. Yeah, I still kind I mean because
it sounded like fucking Elwood to me.

Speaker 2 (01:24:21):
Yeah, And and you know maybe that that sort of
their tone of voice, like maybe they they chose him
like the young actor for that very for that very
reason too. So we see the like the kids are
getting like ice cream and everything else and Elwood basically
told Turner that he's gonna escape, like and so Turner

(01:24:42):
is like, you know, you're being a fucking idiot, like,
don't do that. They will kill you. And so.

Speaker 5 (01:24:50):
They you know, like.

Speaker 2 (01:24:54):
At that point, Elwood is obsessed with like this notion
of escaping. He's he's kind of just like not paying
a tension. He drops a bucket of nails. Yeah, he's
just completely zoned out. And he goes to like walk
up to you know, like the people running in the
place and say some ship. But then that one very
untrustworthy white guy is like, hey, you need to do

(01:25:15):
what I told you to do. Then everything is like cool, right,
He's like, hey, I'm like I'm like, I'm like cool man,
I'm like the guy. I'm the white guy. Everybody's cool with, right,
Like you know, I'll show with you in the truck Like,
no big deal again, no thanks, I'm good. So then.

Speaker 1 (01:25:38):
At one point, so during all this what happened here?
So during all this Elwood Elwood has been keeping a
diary of all of the His plan to try and
is to expose this place. So he's been keeping a
diary of all of the mistreatment that's been going on,
and he his plan is to somehow get it to

(01:26:00):
the news, right, And I think he says he gives
it to Turner because Turner's like, look, I can do it, right,
I can. I can slide it into this car over there,
because these people are coming in from the outside. I
can slide this thing in and it'll go outside. They'll
take it to the news, they'll and then they'll come
and save us, right, I get it. Just give me

(01:26:22):
the diary. And he does, but they turn right back
around and say, hey, here's here's this diary. That's that's
just here talking about all the ship that you do
to these kids. Here it is you can have it back, right.
And as a result, you know, they probably know Elwood's

(01:26:46):
like handwriting or whatever. Right, they the the the Academy
pieces it together that Elwood is the dude that is
trying to expose them, and we cut to a scene
of the Mexican kid, the Mexican kids talking to Turner
and they're like, yo, they caught Elwood. They got him

(01:27:08):
in the sweat box right now, they're probably gonna go
kill him. Man, So you're gonna have to You're gonna
have to do something. Yeah, you're gonna have to if
you want to save your boy, you gotta go do something, right.
So they attempt an escape, and I'm just you know,
fast forward to the end. They they attempt to escape

(01:27:31):
and they run away, and they get on bicycles and
they in the in the middle of the night, and
they just they just start going, right, They just start
pedaling as odd as they can, right. And the next
day they are pursued by Nico Academy in a car
and you know, yeah, this is this is this is

(01:27:56):
one of the saddest chase scenes I've ever seen man,
not sad in the in the like not said in
a pathetic sense, but said and a like god damn it,
Like you think you think you're gonna get this happy ending.
And and here comes the car and they, you know,
from Elwood's perspective, we see Turner cut into like a

(01:28:18):
field and he's just like, just run, bro And and
then we cut to from the other perspective and we
see Elwood being pursued by the by into into the
field by the car. At one point, Turner's like, zig zag, Wood,
you got a zig zag, Like you know, he's not

(01:28:38):
running away from a gator. You know, he's running away
from a fucking oldsmobile, right, like he's not right.

Speaker 2 (01:28:47):
I thought they were just gonna honestly, I thought they
were just gonna hit him with the car, like I did.

Speaker 1 (01:28:50):
I did too. But eventually they get out the car
and they shoot Elwood in the back and and he dies.

Speaker 2 (01:29:05):
And that's just as he The way he dies is
the way that you meet him too, right, Like his
perspective initially in the movie is him laying on the
ground looking up and everything else. So it's kind of
a full circle.

Speaker 1 (01:29:18):
Yeah. Yeah, and it's just it's just fucking sad man
because it's like, god damn it.

Speaker 2 (01:29:24):
And by the way, he was shot by the white
boy that we were supposed to trust. Yeah, very important.

Speaker 3 (01:29:30):
Yeah, And this is this is when basically Turner, I
guess he decides I'm going to take on the role
of l Wood because again, at this point he's running
and the cameras behind him. It isn't his point of
view anymore. It's like the cameras behind him.

Speaker 1 (01:29:49):
The third is the the third third person the tight
third person shot that the dav digs is is. So
if you didn't get it by now, like this is
this is confirmation that it's really sad because he goes and
he tells, he tells Hattie. Yeah, andree Ellis Taylor's character

(01:30:10):
and you know, Ellis Taylor is doing what Ellis Taylor
does is just act the ship out of that scene.
And then you know, uh, the the director Ramel Ross
gets his gets his spike leon and just starts playing,

(01:30:34):
just starts playing jazz, just a fucking jazz montage. And
you know it's and it's I mean, I I appreciated it.
And yeah, you see that shot of him and the
train card passing time, and it turns out he he
reached Tallahassee, where he delivered the news to his grandmother.

(01:30:58):
He then moves north, took Elwood's name. He marries Millie,
who that is, builds a life for himself and tries
to honor Elwood's legacy by embracing some of his ideas.
And when the government begins investigating the school turn or
decides to testify about his experiences. So it's yeah, this,

(01:31:23):
I mean, this is very much a mataz. Like a
lot is being said here in these last five minutes.

Speaker 2 (01:31:30):
And I think some of the footage is you know,
footage that they made for the movie, and then some
of it feels like that might have been footage about
the school that it was kind of real life based on.

Speaker 3 (01:31:41):
Yeah, they excavated over like two dozen actual unmarked graves
for the real the real fucking school of the Doji school.
They actually in Cala in Florida. They created a twenty
million dollar fund for some of the kids of some
of the adults that were abused in thesechus that it

(01:32:01):
had until the end of twenty twenty two or something
like that to uh put their bid in to get
some of that money. I'm like, that's psychological damage that
you're never going to be able to get rid of.
That money's not going to really help, you know.

Speaker 2 (01:32:13):
Also, why is there why is there a why is
there a limit on time? Hey, you gotta get it
in before Wednesday? Funk off? How about that?

Speaker 1 (01:32:23):
Why are you doing?

Speaker 2 (01:32:24):
That's weird.

Speaker 1 (01:32:25):
It's a very weird thing to do.

Speaker 3 (01:32:27):
It's Florida, you know. I don't want to get no money.
It wasn't just black dudes, it was white black though
it was it was but like the black ones got
it works of course, of course.

Speaker 2 (01:32:37):
Because shocking news. Yeah, I mean the Latin kid in
this movie was sexually assaulted. Right. So yeah, and I'm.

Speaker 3 (01:32:45):
Shout out to the black guy who tips like our
lives are all Madden all the time.

Speaker 4 (01:32:50):
Yeah, this is we come into this fucking funny man
nightmare mode, Man Dante must Die mode, christ one hit
one hit killed?

Speaker 2 (01:33:02):
Come on, can we get a break?

Speaker 3 (01:33:05):
Break?

Speaker 1 (01:33:05):
Yeah? Work harder.

Speaker 2 (01:33:09):
So yeah, it's Nickel Boys is very good. It's a
good it's a good movie. I recognize your your points, Terrence.
I don't think they're invalid. I think they're.

Speaker 3 (01:33:18):
Talking about it was better than watching it, to be honest.

Speaker 2 (01:33:22):
I mean, look, it's not.

Speaker 3 (01:33:23):
The movie for me.

Speaker 1 (01:33:24):
It was better than watching it for me, honestly.

Speaker 2 (01:33:26):
Yeah, And look, it's not an easy movie to just
be like let's turn this song like no big deal,
like fold a little bit of laundry. Watch Nickel Boys.
Not like that's not what's gonna happen. You go and
get sad. So that being said, I can guarantee you
the next movie will not make you feel that way.
Anger might be one of them, uh general general discussed perhaps, but.

Speaker 1 (01:33:50):
Yeah, I mean, look, not every episode can be the
next episode, right, So we gotta have you know, we Plus,
I I appreciate movies like this because, like I know,
people say, oh, I'm tired of like slave narratives and
stuff like that, but like this, this isn't. One, this
isn't a slave narrative, and two it's it's it's what

(01:34:15):
we know, right, and we need to we need to
have stuff like this. Lord knows you niggas don't read,
so we need to We need to have movies like this.
We need to have conversations like this. And you know,
there's nothing wrong with it. I like Tara said, I
think I like talking about it with my friends more

(01:34:37):
than and trying to have an educated conversation about it,
more than the act of sitting down and you know,
watching the sadness hit me in the face. But yeah,
you know, I had fun, and we'll have a different
kind of fun in two weeks. Yeah.

Speaker 2 (01:34:58):
Look, you know it takes all kinds. Like there's a
movie apparently on two be called I swear to god,
I'm not making this up. It's called The Grinch that
Stole Bitches. It's real. It's a real movie. So not
that that's what we were doing in two weeks, I
guess you it's not. But it takes all kinds. And look,

(01:35:19):
I think it's important to talk about the films like
this as well. So I can't believe I'm mentioning that
movie in the same breath as Nickel Boys, but sure,
but look, man, it takes all kinds. All right, That
is it for us for episode two seventy eight. We
will be back next week for a previous episode for
episode two seventy nine. Later see yeah.

Speaker 1 (01:35:41):
Yeah, yeah, yeah, yeah

Speaker 3 (01:36:01):
Everything