WEBVTT

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Oh, shit. Let me check it out.

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That's the hype! Newest, latest. Let me tell you

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the story of Right Hand Left Hand. It's a tale of good and

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evil. Hate. It was with

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this hand that Cain iced his brother. Love.

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These 5 fingers, they go straight to the soul of man.

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The right hand, the hand of love.

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The story of life is this.

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Static. One hand is

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always fighting the other hand. And the left hand is kicking

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much ass. I mean, it looks like the right hand

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love is finished. But hold on, stop the presses, the right hand's coming

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back. Yeah, he got the left hand on the ropes now,

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that's right. Yeah! Ooh, it's a devastating right! And Hate is

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hurt! He's down! Ooh! Ooh, left hand!

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Hate KO'd by Love.

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If I love you, I love you.

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But if I hate you— There

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it is, Love and Hate. I love you,

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bro. You bet. Reed Rahim, check you later.

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Peace. It's 2 Dads, 1 Movie.

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It's the podcast where 2 middle-aged dads sit around and shoot the

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shit about the movies of the '80s and '90s. Here are your hosts,

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Steve Paulo and Nic Briana.

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Hello, everybody. Welcome to another episode of 2 Dads 1 Movie. I'm Steve. And I'm

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Nic. And today Nic has brought us the 1989 Spike Lee joint,

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Do the Right Thing. Nic, what's your background with Do the Right Thing? Why did

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we watch it this week? Well, You know, so now we're what,

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75, 70, 78? This episode's 78

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now. Uh, and I, a lot of times with the choices lately, I've been thinking

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about who do we need to, um,

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who do we need to see that we haven't seen yet? Yep. And, uh,

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and this was one that, uh, I realized, oh, we haven't seen Spike Lee yet.

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And he made a lot of very important movies in the '80s and '90s.

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Yeah. Uh, very impactful, very like kind

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of known, just general figure in our culture. Like if you don't know his movies,

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you'd still know who he is, what he looks like and everything. He's, you know,

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at the— at taunting Reggie Miller or being taunted

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by Reggie Miller at the basketball games and shit. Um, and this is one

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that I saw probably in college, but I haven't seen since then. And I had

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a conversation with a, with a buddy of mine a couple weeks ago, and he

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was asking me like, what movie did you quote the most as a kid?

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Okay. And we were kind of talking back and forth. I was like, what about

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you? He was like, oh, Do the Right Thing. And he's interesting.

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a white dude, mid-40s from Seattle. And it's funny that this was

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like his thing. So I was like, oh, that's interesting that it hit. 'Cause I

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saw it and I remember liking it, but it's not like a part of me

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'cause I only saw it that one time. So I thought this would be a

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good one to revisit. There's a lot of people in this that we like.

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And yeah, I think it'll be a different kind of film. So what about you,

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Steve? Have you seen Do the Right Thing before? No, this is the first time

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that I saw it. I felt very much when I saw it come up on

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our planning list, I'm like, oh cool. I'm like looking, you know, it was funny.

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I was looking forward to it, but I was also kinda like, man, what I

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know of it, it's like, it's like pretty heavy. It's, it's, it's, you know,

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important in a way that it challenges you, you know, and that's very different from,

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say, last week's movie Mallrats, which doesn't challenge anyone but the actors with the dialogue.

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I was challenged. Yeah, fair enough, fair enough. Not challenged in a good way like

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this movie challenges you. So yeah, I, uh, had never seen it before. Obviously,

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like you said, very familiar with Spike Lee himself as a, as a cultural figure,

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um, but not as familiar with his work, which is a shame and something that

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I, I absolutely look forward to continuing to fix through this project and,

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and watching a bunch of movies from the era. 'Cause like you said, he was

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a very, very, important filmmaker of the time. And, you know, this was the movie,

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I don't think it was his first film, but it's kind of what put him

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on the map culturally and made him a cultural force.

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And so, yeah, very excited to talk about it. It certainly has been,

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or, you know, was an interesting experience to watch. I watched it yesterday

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actually, so. All right. Fresh in my mind. But let's go ahead and jump into

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the facts on Do the Right Thing. The film was released

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on June 30th, 1989 with an R rating and a running time of 120 minutes.

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Written and directed by Spike Lee, it also stars Spike Lee, alongside Danny Aiello,

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Ossie Davis, and Ruby Dee. Scores on Rotten Tomatoes,

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92%, 7.9 on IMDb.

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So both incredibly high scores, like really solid scores. And then

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Siskel and Ebert gave this one 2 thumbs up. A significant amount of awards

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activity in 1989 and 1990. 2 Oscar nominations, though it did not win

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in 1990, one for Best Supporting Actor for Aiello and one for Original Screenplay

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for Lee. At the 1990 Golden Globes, it had 4 nominations, though no wins,

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for Best Drama Film, Best Director for Lee, Best Supporting Actor for Aiello,

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and Best Screenplay for Lee as well. At the 1989 NAACP

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Image Awards, it was nominated for Outstanding Picture. Spike Lee

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was nominated for Lead Actor, and Rosie Perez was nominated for Supporting Actress.

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None of them won, but Supporting Actor was won

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by Ossie Davis, who played DeMayer, and, uh, the Lead Actress actually

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went to Ruby Dee, who played Mother Sister. So those were 2 wins. Interesting for

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that to be a lead actress role. I think that had a lot more to

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do with who Ruby Dee is in the context of, you know,

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the Image Awards. That awards, yeah, for sure. Yeah, that's a, that's a sign of

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respect to Miss Dee. And then in 1999, the film was added to the

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National Film Registry. Absolutely valid and good that it was.

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On a $6.5 million budget, which like I think was half of

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that was spent in the last 20 to 30 minutes of the movie. Yeah,

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almost assuredly. It pulled in $37.3 million at the box office. Doesn't sound

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like a lot, but almost 6 times what it cost. It's definitely a hit movie.

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This was a success from a monetary standpoint. And then, you know, we all know

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kind of where it's lasted as a, as a cultural—

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from a cultural standpoint. So why don't you kick us off, Nic? How does this

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movie begin? Yeah, so, uh, this is one of my favorite intros, and I told

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you before we started the pod that I played this for a few people,

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uh, in the weeks since I've watched this movie because I, because I enjoy it

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so much. I mean, first we get very like kind of quiet, like jazz

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saxophone, like Lift Every Voice and Sing or whatever that's playing,

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and then it goes right into like Public Enemy's Fight the

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Power, which is like 1989, uh, Public Enemy off the

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Fear of a Black Planet album, and like their production was very

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like frantic, very like lots of noises coming from different

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places. They described it almost as like the Phil Spector Wall

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of Sound type production thing where it's just it's chaos and stuff, and it's

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kind of meant to sound. It's like it feels like being in the middle of

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a busy city. You know all these noises around there, and Fight the Power is

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playing, and we have a solo dance number, albeit in like.

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Rotating different outfits by Rosie Perez, who is fucking

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locked in during this, giving it 1,000%. She's not smiling.

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She's not enjoying herself. She is absolute focus during this and

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doing like actual good dance moves, but really some hilarious looking

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dance moves here. And I don't think hip-hop dance had evolved at this

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point yet to what it is today. So you're kind of like, all right,

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you were experimenting a little bit. It looks like you threw a little tap dance

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in there and stuff, but really enjoyable scene. And if you get horned up for

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Rosie Perez, then, uh, this is, this is your kind of shit. Yeah. And,

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and she looks great. She, she— the dancing is interesting. It is.

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It looks a little bit like a mix between like an old, uh, DJ Jazzy

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Jeff and the Fresh Prince video and maybe something like CNC Music Factory. Like,

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there's that kind of, you know, so there's that element to it. Um, we should

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mention, of course, that Rosie Perez was a complete unknown at this time. She gets

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the end introducing credit, uh, in the opening credits. Uh, Spike Lee discovered her dancing

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at a club in Brooklyn and basically asked her to be in this movie.

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And, and, you know, she agreed. And we'll get into some details because I got

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some good backstory there, uh, later on in the film. But basically Basically, this was

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her introduction to the world as an actress. Yeah. And so the first thing you're

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seeing is like four and a half minutes of her dancing. Like you said,

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multiple outfits, whatever. But to this one song, and of course it's an incredibly good

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song, and it is played through this whole movie. This this

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movie is scored by two people: Branford Marsalis basically

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doing a significant amount of jazz work

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in the background, right? I don't know if it was pre-recorded stuff or if Marsalis

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did stuff specifically for the movie. I'm not 100% sure, but he is credited

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with. you know, a lot of the music. Yeah. And then most of the rest

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of the soundtrack is some element of Fight the Power either being looped or

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we're hearing part of the whole song or, you know, sometimes it's everything but the

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vocal track. Like there's all these ways where that song is used in numerous places

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throughout the movie, obviously most commonly through Radio Raheem's boombox, which we'll get to

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in a minute. But yeah, so there's, you're gonna hear a lot of Fight the

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Power and a lot of really beautiful Branford Marsalis jazz. Yeah, the jazz.

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And this is kind of a through line through the Spike Lee movies that I've

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seen. He loves The jazz as like as the score of

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a film. Yeah, the music. Like he'll put hip hop in, but I mean,

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he got game. The movie that he made where Denzel's like the basketball player

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with Ray Allen as his son and stuff. Movie that is just built to have

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like an all hip hop soundtrack, but it is an all like kind of jazz

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and classical soundtrack. Like Spike Lee is very much like an artiste

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in that way. One thing about Branford Marsalis: he had this group

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in the early '90s. Called Buckshot Lafonque,

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uh, and it was L-E-F-O-N-Q-U-E, Buckshot Lafonque.

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And they did this great like jazz hip-hop hybrid. They had like DJs and

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stuff and put out a couple albums, really cool shit. So, uh, check that out

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if you're into it. It follows a bit of the vibe of this movie.

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Yeah. Um, so yeah, so after our dance sequence, we're greeted

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by the radio DJ who we're gonna kind of see throughout this movie, Señor Love

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Daddy, right? Yeah, Mr. Señor Love Daddy, played by the

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great Samuel L. Jackson, and he's kind of, you know, hey,

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you know, we're waking up today in Brooklyn and it's gonna be a hot one.

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They're kind of laying the, um, laying the scene out for

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us that it's a hot day. He says a jerry curl alert,

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you know. So like, this is just gonna be one of

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those fucking miserable hot days in the city. Do we think this is the sweatiest

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movie we've seen? Because Predator was an incredibly sweaty movie. Uh, there's a couple others

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we've seen that were really— Rocky IV is an incredibly sweaty movie. But like,

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this is an incredible— I mean, this— the heat is a character in this movie.

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You feel it. I mean, you definitely— the way that, that this movie

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progresses and the tension builds and the feeling of the heat builds and everything,

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um, it's, it's for sure a top 5 sweatiest movie. Because I don't know if

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you can beat Bill Duke like shaving sweat off his— squeegeeing sweat off his face

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with a disposable razor in Predator. I think we can slot it in too.

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I think Predator number 1 sweatiest movie, Do the Right Thing number 2 sweatiest movie

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so far. I think we can do that. All right, sounds good. But yeah,

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they're gonna say it's gonna be over 100 degrees, and of course this is You

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know, Bed-Stuy, Brooklyn in the '80s, like, I can't imagine there's all that much working

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AC. There's no central air in these buildings. If you're lucky to have a

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box AC, you know, you're, you, you, you're George and Wheezy. You made it.

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You made it on your way out. Sitting next to it all day. You're not

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in this movie if you do. You're inside your house next to your AC.

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And I want to mention here a couple things. So Senior Love Daddy does,

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uh, uh, act as, I think in many ways, and I'm not the only one

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to have said this, I'm not trying to say this is like a unique take,

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but he's like a classical Greek chorus. Uh, there's a lot of this movie

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that's classically Aristotelian, classically Greek. You have this, we have 3 characters we'll meet who

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sit on on the corner,

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ML, Coconut Joe, and Sweet Dick Willie, we'll see later,

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they also act as sort of like a dual chorus along with Senior Love Daddy,

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but you get this sort of narration. A lot of people, these characters, they comment

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on what they're seeing, but they don't act. Yeah. They never get involved in what's

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actually happening. They're just there to like comment on it, to point out what's going

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on. And so these two, you know,

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really, these two groups basically, Senior Love Daddy on one end and the 3 guys

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on the other, like really represent that motif from classical Greek plays

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and Greek tragedies. In addition, this is very Aristotelian in that

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like the whole thing takes place in one day. Yep. The whole thing takes place

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in one location. It's all that one block, right? There's a handful of buildings,

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but like nobody walks more than a block in any direction at any point

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in the movie. And everything, you know, like, and then there's just like one set

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of characters that doesn't really change. We have a few people come in and out

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of the scene or in and out of this world, but like for the most

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part, we are with this same group of people the whole day long. Yeah.

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With a couple of exceptions late, but like, yeah. So it's

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gonna be hot, 100 degrees is legit. We first wake up with Ossie Davis,

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one of the best actors in this movie and in any movie he's ever been

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in. Uh, one of the most likable presences out of anyone.

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Like, you feel like if you need like a, a comforting grandpa type character,

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like you want that message delivered by Ossie Davis. 100%. And, and he, he's fantastic

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in this. And he wakes up and it is sweaty. Now, one first thing you

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notice when you see Ossie Davis, whose character's name is DeMayer, they call him DeMayer.

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And first thing you'll notice is there are a lot of empty beer bottles on

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that man's side of that man's bed. Uh, but he's got a fan trying to

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blow right on him and he's still just laying in bed sweating. And it's like

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early, like the sun's up and it's obviously summer. Yeah. But it is like maybe

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8 AM or something, or it is early and it's already sweltering for these folks.

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And so it's going to be a crazy hot day. And this is, you know,

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this is East Coast humidity heat where it's not cooling down

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at night. It's getting down to 82 at night, you know?

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So you're never getting that like, okay, at least the house can

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cool up. Um, so we're introduced to some of these other characters. One character,

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uh, in this movie who I think is just— is very well played because

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there's a way to do it that would really fuck it up, but I think

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The actor, and his name is escaping me right now. The character's name is

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Smiley. Yes. And Smiley is like a mentally disabled guy who's kind

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of out on his own. And what he does is he's walking around and he

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makes money by selling photographs of Malcolm X and Martin Luther King

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and stuff. Yeah. And so we get a scene of him kind of

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like pointing to the picture and he has a really tough speech impediment.

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Yes. So he's struggling through his words, but he's like, you know, this is

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Malcolm and this. Yeah. And, you know, he's appearing

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throughout the film. So that's one guy that we see. Here. And he like does

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art on them, like he like has markers, he'll like draw on them, like he

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like dries them. Yeah, all that stuff. He says like, this is Martin Luther King,

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this is Malcolm X, you know, he puts an X above. Malcolm X said,

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what are you guys— and then he sells them for like $1, $2. Yeah,

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what he tries to do, and that's kind of how he tries to make his

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money. Yeah, yeah. And then we're introduced to our main character,

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Mookie, played by Spike Lee, who I think throughout this movie, very good

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actor. I mean, not distracted in any way by it. I think it helps that,

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you know, he knows his limitations as an actor. He knows how he speaks.

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Like, he was able to write this exactly for himself. So that,

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that definitely comes across. Yeah, interesting juxtaposition when Kevin Smith would

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write crazy dialogue for everybody else and his character was basically speechless because he played

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a deliberately silent character. Exactly, exactly.

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This is much better. We're gonna have Sylvester Stallone play the Micro Machines man

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in an upcoming biopic.

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So, so Mookie is a— he's, he's at home and he's

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kind of counting his cash, right? So he's about to go into work, he's counting

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through his cash, he's sleeping on like a pullout couch. Yep. And then he goes

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in and And, uh, I didn't know that this

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was his sister at first, right? So I was a little bit like, what is

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happening? Yeah, yeah. But, you know, kind of brother and sister, how they'd be like

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wrestling and fighting. So he goes into the sister's bedroom. So it's this one-bedroom

14:56.530 --> 14:59.530
apartment that he and his sister share. It's like her place. She's letting him crash

15:00.030 --> 15:02.370
is really what it is. Yeah. And it looks like, I mean, he's counting through

15:02.870 --> 15:05.290
his money probably every day trying to do that, like, I'm saving up for my

15:05.790 --> 15:08.490
own place, whatever, like the way you do when you're saving and all your money's

15:08.990 --> 15:11.420
in cash, which is a fun era of your life where you're just like,

15:12.470 --> 15:15.820
it's the worst. So, uh,

15:16.320 --> 15:19.420
so her— he's— his sister says, you know, okay, you're going to work. Yeah,

15:19.920 --> 15:23.340
go to work. Get to work. Yeah. Uh, and where Mookie works is this pizza

15:23.840 --> 15:26.740
place called Sal's Pizzeria. Oh, excuse me, you mean Sal's Pizzeria.

15:27.240 --> 15:30.240
Pizzeria. That's right. He says pizzeria the whole time and it throws me off,

15:30.740 --> 15:34.060
but I'm sure that that's Danny Aiello doing research and knowing a real, like,

15:34.560 --> 15:37.560
New York Italian would say pizzeria. You wouldn't say pizzeria. But it threw me off

15:38.060 --> 15:40.480
every time he said it. But I am, I am, I am, uh, deferring to

15:40.980 --> 15:43.540
Mr. Aiello. I believe he probably knows what he's doing. He got the supporting actor

15:44.040 --> 15:47.820
nod. He gets nominated. He gets it. Yeah, so the Italians pull

15:48.320 --> 15:51.860
up to there. So we've got Danny Aiello in the Cadillac, very Italian.

15:52.360 --> 15:55.140
Yes. And they're opening up their store. So they own this pizzeria, which is in

15:55.640 --> 15:59.240
like a predominantly Black neighborhood. And we've got Sal, played by Danny Aiello,

15:59.740 --> 16:03.260
the dad. And he has 2 sons who are Pino, played by

16:03.760 --> 16:06.660
John Turturro. Yes, and Vito. And Vito. And I forget that actor's name, but we

16:07.160 --> 16:08.760
saw him as the valet in Ferris Bueller's Day Off. Ferris Bueller's Day Off.

16:09.260 --> 16:10.500
That's what I thought. I wasn't 100%. I didn't look it up ahead of time,

16:11.000 --> 16:13.060
but I'm like thinking about it now. That nose, man, that had to be him.

16:13.560 --> 16:15.520
What country you think this is? That's him. So he's Vito. He's the younger brother.

16:16.020 --> 16:19.039
John Turturro's Pino is the older brother. Yeah.

16:19.600 --> 16:23.142
And Mookie works for Sal. He's a delivery guy basically for Sal's Famous

16:23.642 --> 16:26.637
Pizzeria. Right. And he's on his— and he's on his way to work. One thing

16:26.653 --> 16:30.580
about Mookie, and this is a Spike Lee thing where you're

16:31.080 --> 16:34.139
gonna get the message, like the history of Black

16:34.639 --> 16:38.259
America is everywhere in his films, right? So Mookie, even he's wearing a Jackie

16:38.275 --> 16:42.218
Robinson jersey, he's wearing an Africa medallion and stuff like this

16:42.718 --> 16:45.889
is everywhere, like Jordans, like everything is kind of covered. A lot of times

16:46.389 --> 16:48.903
I think later, you know, he changes, he ends up wearing like a Sal's Famous

16:49.240 --> 16:52.700
shirt later, but like his shorts are basically the colors of the Jamaican flag.

16:53.200 --> 16:56.480
They're like the green, black, yellow of the Jamaican flag. And so there's— he's always

16:56.980 --> 16:59.860
making references to something else in Black culture, whether it's Black American culture or international

17:00.360 --> 17:03.620
Black culture. Um, and, uh, let's see.

17:04.120 --> 17:06.860
So Mookie gets to work and he's about— and there's kind of an argument between

17:07.360 --> 17:10.320
Sal and his sons about, hey, why don't you sweep up? Hey, uh, why don't

17:10.820 --> 17:13.340
you have Vito fucking sweep up? Hey, why don't you have Mookie sweep up?

17:13.840 --> 17:16.470
He never does anything. And they're trying to pass this on here. So So the

17:16.970 --> 17:20.610
sons are frustrated at the situation. They don't like—

17:21.110 --> 17:24.030
they— well, at least it's really, you know. Yeah, yeah. So Turturro Pino is very

17:24.530 --> 17:26.910
frustrated at this. He doesn't like the neighborhood. He doesn't like the people. He's kind

17:27.410 --> 17:31.270
of a dick and stuff. So, uh, in walks the mayor into the pizza

17:31.770 --> 17:35.070
place and, um— oh no, he goes into the store, doesn't he?

17:35.570 --> 17:37.910
Or does the mayor go into the pizza place? I think. And they offer him

17:38.410 --> 17:41.650
some money to sweep, right? That's right. So, uh, so the mayor's

17:42.150 --> 17:45.210
like, oh, you know, who's gonna sweep up today? And Sal, you know, gives him

17:45.710 --> 17:48.366
the broom and he puts a dollar on the counter. He's like, hey, I think

17:48.866 --> 17:52.150
you left something there. So he's like— he knows how to

17:52.650 --> 17:56.526
exist in this neighborhood and reduce the amount of friction. Like, Sal knows

17:56.542 --> 17:59.940
how to flow despite being an outsider. He's embraced these people.

17:59.988 --> 18:02.184
He knows who to take care of and who to be nice to and all

18:02.684 --> 18:05.903
this stuff. You get the sense that Sal's has been there for like 30-plus years,

18:06.256 --> 18:09.222
right? And that the neighborhood was maybe different 30 years prior.

18:09.302 --> 18:12.909
And it would've sort of been, you know, maybe 1950, late 1950s, right,

18:13.069 --> 18:16.387
is when the Sal's maybe opened. And, you know, it was probably a more

18:16.435 --> 18:19.689
Italian neighborhood then than it turned into. And so Sal stuck it out.

18:19.866 --> 18:22.527
out and it's still there, you know. But he said all these people that are

18:23.027 --> 18:25.268
here now, they all grew up eating my pizza. Like, they all grew— and by

18:25.768 --> 18:29.228
the way, it is the shittiest looking pizza. Horrible. Oh my God.

18:29.340 --> 18:32.145
It— I, I don't know why. It must be expensive to get that right on

18:32.645 --> 18:34.566
a film set, you know what I mean? To like do it well and have

18:35.066 --> 18:38.044
it available for every shoot, because the pizza looked god-awful the whole movie long.

18:38.301 --> 18:41.828
Yeah, I have, I have many pizza-related— it's like my

18:41.844 --> 18:45.130
main problems with this movie have to do with the presentation of the pizza.

18:45.210 --> 18:48.560
The pizza box doing The fucking box. All right,

18:49.060 --> 18:51.750
boxes are so big. We'll just let's just go through this piece of stuff.

18:52.250 --> 18:55.780
Take it aside here. Okay. Number one, Mookie pizza delivery

18:56.280 --> 18:58.800
guy. You're in a city. You don't need a car. You just walk to pizza

18:59.300 --> 19:02.820
places. But a he doesn't have the warmer bag thing, which nothing

19:03.320 --> 19:06.740
whatever. But he has this box that's like just halfway open

19:07.240 --> 19:10.580
as he's walking with it. It's the flimsiest looking box I've ever seen

19:11.080 --> 19:13.140
in my life. Right? It doesn't look anything like a pizza box. Like I've never

19:13.640 --> 19:15.740
seen pizza come in a box like that. Now I was also nine years old

19:16.240 --> 19:18.297
when this movie came out. But like yeah, no pizza. I remember. pizza, even from

19:18.797 --> 19:21.767
back in the day, was in that thicker, like, corrugated cardboard, so it has some

19:22.267 --> 19:25.638
heft. Seriously, this looks like it's a bunch of manila folders folded into the shape

19:26.138 --> 19:29.381
of a pizza box. Okay, literal paper.

19:29.863 --> 19:32.770
Uh, number 2, the look of the pizza. It looks terrible. It looks like a

19:32.850 --> 19:36.272
real-life version of the pizza that, like, the Ninja Turtles

19:36.304 --> 19:40.062
would eat. Like, just crappy. Like, yeah, and then little specks of color,

19:40.078 --> 19:42.616
not even like, what is that? Yeah, peppers? What is— what is on there?

19:42.681 --> 19:46.434
Toppings? Yeah, yeah. And then when Sal— when people order slices,

19:46.498 --> 19:50.683
he's just throwing individual slices into the oven, right, that look uncooked.

19:50.747 --> 19:53.489
That's the thing. Like, that's the thing that— so if you go to like Pizza

19:53.989 --> 19:56.343
My Heart, right, they'll do that. They'll do it because they've already made the pizza

19:56.843 --> 20:00.352
and they're just warming the one slice, but it's clearly been cooked. The stuff that

20:00.852 --> 20:04.168
Sal's throwing into that pizza oven doesn't look cooked. It looks raw.

20:04.377 --> 20:07.696
Like, yeah, whatever, it looks terrible. There's another scene where

20:07.744 --> 20:11.079
Pino is like slicing the pizza before it goes up, right?

20:11.127 --> 20:14.330
And he He is barely contacting the pizza with the fucking wheel.

20:14.400 --> 20:17.760
I have a feeling it's because they probably told him, don't do it for real,

20:18.260 --> 20:20.880
'cause we'll do multiple takes, and we don't wanna replace the pizza every time.

20:21.380 --> 20:24.640
It had to be that. It's exactly the, um, why do the actors never wipe

20:25.140 --> 20:27.680
the blood off their face? Like, 'cause that's hours of makeup. Why is the coffee

20:28.180 --> 20:30.600
cup empty? It's like all kinds of reasons that just have to do with it

20:31.100 --> 20:33.880
being a movie. Like, yeah, exactly. Um, and then there's one more scene where,

20:34.380 --> 20:37.840
uh, where Sal is like, he's kneading the dough. Oh my

20:38.340 --> 20:42.010
God. But he keeps adding like a handful of flour, a handful of flour

20:42.510 --> 20:45.210
onto the top. Like, you're fucking it up, Sal. 3 months ago, I was in

20:45.710 --> 20:47.670
New York for work. 3 months ago, I went to an offsite. I was in

20:48.170 --> 20:51.710
Manhattan. I was in Tribeca for the entire week. And we did a team-building exercise

20:52.210 --> 20:54.590
at an Italian place, kind of closer to Brooklyn, but still in Manhattan, but like

20:55.090 --> 20:58.350
close to the East River. And it was like this whole— it's a big Italian

20:58.850 --> 21:01.570
restaurant, and they do this like pizza-making event thing in the back, right? So we

21:02.070 --> 21:03.690
all got to like make our own pizzas, and they showed us like how to

21:04.190 --> 21:06.950
do this. And they brought us the dough, and we did some like smoothing and

21:07.450 --> 21:09.805
some flour, whatever. We didn't start with a dough. with the whole thing, but they

21:09.837 --> 21:12.793
helped us. But they were talking about a handful of things like, do not use

21:13.293 --> 21:16.970
too much flour. Yeah. Do not knead it too much 'cause you'll destroy the like

21:17.051 --> 21:20.248
air bubbles that are in it that you actually want because that makes the gluten

21:20.280 --> 21:22.979
like, if you move it too much, it'll be too chewy and like thin.

21:23.493 --> 21:26.112
So I was sitting there watching Danny Aiello, A, throw flour all over that thing

21:26.208 --> 21:29.887
constantly, which is just not a great idea. Careful. And manipulating the hell out of

21:29.903 --> 21:33.100
that pie. Like so, that crust, he was doing so much. I'm like, Danny,

21:33.438 --> 21:37.250
Danny, you gotta stop. Like Sal would know. not to touch the dough that much.

21:37.750 --> 21:40.170
You know what I mean? You know to say pizzeria, and you know to not

21:40.670 --> 21:44.170
add the flour. He, he was dealing with the pizza the way that the doctor

21:44.670 --> 21:48.070
was dealing with Ray Jackson in Bloodsport, where he just kept like touching him with

21:48.570 --> 21:52.010
the stethoscope over and over. It's like, you don't have to keep doing stuff.

21:52.510 --> 21:55.490
It's like talking, stop digging into Bill Paxton's back, the bullet's not coming out.

21:55.990 --> 21:59.370
You know what I mean? Like, okay, I, I think

21:59.870 --> 22:02.950
we could like set aside the pizza stuff. But that's, that's important there, uh,

22:03.450 --> 22:06.223
that we got that right. I'm glad we covered it. Okay, so, um, So the

22:06.723 --> 22:10.458
mayor, the mayor, dumb mayor, has been paid to sweep

22:10.958 --> 22:14.261
up. We have another group of 3 people, or 4 people, I think.

22:14.485 --> 22:18.063
3 guys, 1 girl. Oh yeah, Lawrence. I don't really

22:18.095 --> 22:21.609
know the names. They're not super important to this, but, but it goes back and

22:22.109 --> 22:25.170
forth to them, and I think they kind of show like they're like the people

22:25.670 --> 22:29.229
whose minds can be changed throughout this movie. Yeah, I think they're honestly kind of

22:29.729 --> 22:33.385
meant to be a little bit of an audience avatar, at least

22:33.885 --> 22:35.018
for Black folks watching the film. It's kind of like, this is the people that

22:35.518 --> 22:37.903
are most like you. They're just viewing this. They understand where things are coming from,

22:37.968 --> 22:40.997
but they're just here to see and to understand that way. As a white person,

22:41.013 --> 22:43.562
obviously, I don't feel the same connection, and I don't think I'm supposed to.

22:43.610 --> 22:45.903
This is not a movie, you know, in a lot of ways for us,

22:45.935 --> 22:49.798
although it is for everybody. But like, this was a movie made specifically to tell

22:50.006 --> 22:53.613
folks like that, this is art that speaks to you, speaks like

22:54.113 --> 22:56.787
you. You should see this. And I think those characters are meant to like represent

22:56.803 --> 23:00.137
that within the story for the audience. Yeah. Yeah. 'Cause there

23:00.249 --> 23:03.343
are important things that this group of people like bring to the table.

23:03.440 --> 23:07.022
Bear in this movie. The— and then we get to

23:07.522 --> 23:10.415
see Radio Raheem. Yes, I was played by Bill Nunn. Like,

23:10.496 --> 23:13.858
big tall guy, dude. Yeah, quiet dude. You've seen him in a lot of stuff.

23:13.906 --> 23:17.249
He's been in— here

23:17.297 --> 23:20.656
I go, not giving any— that's like a hip-hop apotamus moment for me.

23:22.020 --> 23:24.868
No, he was in a series of movies. It wasn't the Bourne City, but he

23:25.368 --> 23:29.543
was in a trilogy or something. It wasn't the Bourne movies. Darn But

23:30.043 --> 23:31.501
he's in a ton of shit. He's in a lot of stuff, yeah. And,

23:31.533 --> 23:34.839
uh, and very good in this. So, so he's a big

23:35.339 --> 23:38.803
dude. I, I don't know if he's supposed to be kind of slow.

23:38.931 --> 23:41.981
I think he's just more like a quiet giant in the neighborhood,

23:42.045 --> 23:45.656
keeps to himself. But his point of pride is he has this big-ass

23:45.672 --> 23:48.544
boombox, which at the time, dude, imagine how much that would've cost,

23:48.946 --> 23:52.733
you know, relative to other stuff. So he has this huge 3-foot-wide boombox,

23:53.054 --> 23:55.895
and he's always walking around just blasting the shit out of it. Oh my God.

23:55.943 --> 24:00.789
Playing Fight the Power everywhere he goes. It's the most enormous

24:01.289 --> 24:03.086
Like boombox that I've ever seen. Like I don't love the term, but we we

24:03.586 --> 24:06.060
heard it back in this day of ghetto blaster. Yeah, this is that kind of

24:06.560 --> 24:08.584
thing because it's just so enormous. Later on in the movie, and we'll get to

24:09.084 --> 24:11.076
it at some point, but like he has to buy batteries for it, and he

24:11.576 --> 24:13.729
needs 20 D batteries. Yeah,

24:14.758 --> 24:18.684
that must weigh eight pounds just the batteries. Like that's ridiculous.

24:18.781 --> 24:21.870
I know that's crazy. Oh, I hate having to use a big battery. They're so

24:21.902 --> 24:25.730
expensive. So DeMayer goes into the

24:26.196 --> 24:29.260
into the kind of grocery liquor store. Sorry, go ahead. Yes,

24:29.760 --> 24:32.600
so Bill Nunn was in the Spider-Man movies, the Tobey Maguire Spider-Man movies. He was

24:33.100 --> 24:35.860
Robbie Robertson. I knew there was something he was in, like a trilogy of things.

24:36.360 --> 24:40.480
So yeah, that's where I recognized him from. So DeMaio goes

24:40.980 --> 24:44.580
into the liquor store. So the businesses we have in this neighborhood, we got Sal's

24:45.080 --> 24:48.620
Pizzeria, right, owned by the Italians, owned by Sal. And then kind of across the

24:49.120 --> 24:52.280
street from Sal's, we have a grocery store, like a convenience type thing.

24:52.560 --> 24:55.460
Fruit and Vegetable Delight. Right, Fruit and Vegetable Delight. Which is owned by this Korean

24:55.960 --> 24:59.590
family. Yes, exactly. And there's definitely tension between

25:00.090 --> 25:03.210
the local Black population and the Korean owners of this,

25:03.710 --> 25:05.810
you know, back and forth. Not to the degree that we saw in Menace II

25:06.310 --> 25:09.630
Society. True. But, but of the same ilk, of the same roots.

25:09.750 --> 25:13.490
Yeah, exactly. And they talk more about it later, which is, you know, it's interesting

25:13.990 --> 25:16.430
what they say about it. Yeah. So DeMayer goes in there and he makes a

25:16.930 --> 25:19.570
big deal that they have no Miller High Lights in the store, which is the

25:20.070 --> 25:22.950
first relatable— hey, Spike Lee, you want to make this relatable to white guys?

25:23.450 --> 25:26.550
You got me, dog. Everybody in this movie drinks Miller, by the way. It's either

25:27.050 --> 25:30.013
Miller Lite, Miller Genuine Draft, or Miller Brewery. Yep. And, uh,

25:30.173 --> 25:32.744
so the mayor like throws a fit and he has to buy a Miller Lite,

25:32.888 --> 25:36.969
which he settles for. God, he's so mad. And Ossie Davis is so good

25:37.469 --> 25:40.166
at this stuff. And, and I think, I think the mayor gets too drunk too

25:40.214 --> 25:43.475
easily on too few beers, given that he's clearly an alcoholic. And he gets

25:43.975 --> 25:45.017
offended. Yeah, off a Miller Lite in the morning. Off a Miller Lite in the

25:45.517 --> 25:48.825
morning. But give it to Davis. He, he plays this balance between how

25:48.937 --> 25:53.259
angry he is here before he's had his beer and how his character acts

25:53.371 --> 25:57.250
later. Yeah. After a few beers. It's fucking perfect

25:57.750 --> 26:00.510
is how he does it. Right. And, and he's— so he gets his beer and

26:01.010 --> 26:04.090
he goes outside, right? So he's just cracking his beer in front of someone's house

26:04.590 --> 26:07.810
and starts drinking it. He starts getting, uh, yelled at by this woman in the

26:08.310 --> 26:11.850
window who's our sister— mother, mother, sister, mother, sister, played by Ruby Dee,

26:12.350 --> 26:16.010
uh, Ossie Davis's real-life wife. Yes, exactly. Um, and, you know, she's like,

26:16.510 --> 26:18.990
ah, you drunk, get out of here! I don't want to look at you drinking

26:19.490 --> 26:22.670
in front of my window. He's like, oh, come on, mother sister, I'm just out

26:23.170 --> 26:25.910
here trying to have a nice day. You know, you'll be nice to me before

26:26.410 --> 26:30.070
the end of the day. And it's— yeah. But it's so sweet.

26:30.570 --> 26:33.810
Like, between the two of them, it's so, like, innocent. It's different than,

26:34.310 --> 26:36.910
like, the tension in a lot of the rest of this movie. And we should

26:37.410 --> 26:40.190
make sure people know, like, Ossie Davis and Ruby Dee were married in real life.

26:40.310 --> 26:43.330
They got married in, like, the '40s. Like, they'd been married, like, 40 years when

26:43.830 --> 26:47.750
this movie was made. They also both were major parts of the civil rights

26:48.250 --> 26:52.110
movement in the '60s. They were both personal acquaintances with both Martin Luther King Jr.

26:52.610 --> 26:55.790
and Malcolm X. They spoke at rallies. They were involved in the major events.

26:56.290 --> 26:57.870
I mean, it's like, these people are actual— Hugely important people in American history.

26:58.370 --> 27:01.634
Hugely important civil rights activists. Who also happen to be incredibly

27:01.666 --> 27:05.372
talented actors, who also happen to be married to each other. Like, they are

27:05.580 --> 27:09.302
royalty, certainly among, like, you know, American Black

27:09.350 --> 27:12.783
culture. Ossie Davis and Ruby Dee are fantastic and wonderful, and they're great in

27:12.959 --> 27:16.408
this. And there's something that they bring to these characters,

27:16.424 --> 27:19.087
especially as we get, you know, at the end, the way that things kind of

27:19.587 --> 27:23.129
finish with these two, that just plays so seamlessly because

27:23.161 --> 27:26.385
of the connection between the actors that probably just wouldn't have been there even with

27:26.885 --> 27:30.509
incredibly talented actors who didn't have that other level of connection that these two have.

27:31.183 --> 27:34.569
It really plays off amazingly well. And they are, they are in many ways the

27:35.069 --> 27:38.612
standout characters of this, of this movie. Yeah, definitely, definitely.

27:39.431 --> 27:43.282
Um, let's see, uh, introducing some other characters here. So we get,

27:43.362 --> 27:46.507
uh, we get Rosie Perez's character, Tina, right? Tina.

27:46.892 --> 27:50.438
And Tina has a little boy, uh, named, uh, Hector, right?

27:50.583 --> 27:54.097
And that's, that's Mookie's child. That's correct. And Tina is kind of— she's living

27:54.113 --> 27:56.985
with her mom, and it looks like the mom's a little irritated.

27:57.033 --> 28:00.090
You're always making me take care of this baby. And you know, your man's a

28:00.590 --> 28:04.310
loser. She can't stand him. Which, dude, I understand. Like, Mookie doesn't

28:04.810 --> 28:07.190
live with him. Like, I don't know how often he's seeing the kid, right?

28:07.690 --> 28:09.970
But he lives down the block. It's not like he's far. And they're not— Tina

28:10.470 --> 28:13.610
talks about not seeing Mookie for a week. Dude, he lives like 2 buildings over.

28:14.110 --> 28:15.730
Like, how do you not see each other? Stick your head out the window.

28:16.230 --> 28:19.450
He's walking— he's got a floppy pizza box walking down the street. He just keeps

28:19.950 --> 28:21.390
telling her, hey, I gotta make that money, I gotta make that money. And it's

28:21.890 --> 28:23.790
like, yeah, but you're working as a delivery guy at a pizza place. Like,

28:24.290 --> 28:26.417
there's no— there's no evening, and you know, there's no evening work. here. Yeah,

28:26.497 --> 28:29.882
like you could absolutely see your kid in the evenings if that's what you wanted

28:30.382 --> 28:34.118
to prioritize. Totally, totally. Um, so we see her and then we see,

28:34.278 --> 28:37.406
uh, the 3 old guys we talked about, right? ML, Sweet Dick Willie,

28:37.727 --> 28:40.567
and Coconut Joe. Coconut Joe, and who played by Frankie Faison.

28:40.615 --> 28:44.128
Frankie Faison. And then Robin Harris is Sweet Dick Willie, who we might know from

28:44.241 --> 28:47.594
Bebe's Kids. That's right. Um, and then, uh, and the other actor

28:48.094 --> 28:50.882
I didn't recognize, but I didn't— but yeah, very, um,

28:51.524 --> 28:54.668
Coming to America conversation topics, because I think

28:55.168 --> 28:58.820
the first thing is just about Like Mike Tyson beat your ass.

28:59.320 --> 29:02.300
Yeah, because Tyson was from Brooklyn, right? Yeah, yeah. And there was a there's a

29:02.800 --> 29:05.900
scene where there is like a Tyson mural painted up there. Yeah, which is very

29:06.400 --> 29:09.780
common. Somebody big comes from your neighborhood, like you get a mural there. Yeah.

29:10.280 --> 29:13.700
But it's funny that ML is talking about it shows how dated

29:14.200 --> 29:18.100
this movie is. He's talking about global warming. Remember that?

29:18.600 --> 29:21.980
That never happened. Oh, we should have listened to ML,

29:22.480 --> 29:24.320
dude. There's a couple of great lines in here, one of which I know.

29:24.763 --> 29:28.328
Quentin Tarantino stole whole cloth, which is— I can't remember which of the characters says

29:28.828 --> 29:30.844
it to which, but they're talking about whooping each other's ass or whatever. And one

29:30.892 --> 29:33.967
said— I think Sweet Dick Willie says, you dream about whooping my ass, you better

29:34.467 --> 29:38.040
wake up and apologize. And of course, in Reservoir Dogs, Mr. White says to Mr.

29:38.170 --> 29:41.322
Pink, I think, or Mr. Orange, uh, you know, if you shoot me in a

29:41.822 --> 29:45.248
dream, you better wake up and apologize. Nice. So he, like, stole whole cloth that

29:45.264 --> 29:48.896
line Quentin Tarantino did. Beautiful. Homage. Sure. Uh,

29:49.121 --> 29:51.615
and the other line that I love from this is somebody referred to somebody else

29:52.115 --> 29:55.134
as being 30-cent Was it thirty cents away from having

29:55.166 --> 29:58.740
a quarter? Yeah, I fuck it. That was oh my god, that's beautiful. Also,

29:58.756 --> 30:01.016
there's something I noticed earlier. I think to this point we've seen it a few

30:01.516 --> 30:05.488
times. I remember hearing recently, you know, there's all this like gen, like like early,

30:05.504 --> 30:08.854
like young Gen Z slash Gen Alpha, like slang, right? That's like take, you know,

30:08.934 --> 30:11.675
no cap this and like whatever, all this stuff. And one of the things they

30:12.175 --> 30:15.073
say a lot is in order to say like I agree with you or or

30:15.105 --> 30:17.718
yeah yeah like like we're on the same page, they say bet. Yeah, bet.

30:18.311 --> 30:21.019
And I know I'd heard like yeah, all this slang stuff is just borrowed.

30:21.210 --> 30:24.840
Black American slang, like, you know, and I didn't realize, but like that word bet

30:25.340 --> 30:28.360
is used in that context numerous times in the first like 20 to 30 minutes

30:28.860 --> 30:30.960
of this movie. Oh yeah. People just saying like, yeah, bet, you know, kind of

30:31.460 --> 30:33.500
thing. And then it's like the society also. Yeah. It's just funny to me that

30:34.000 --> 30:36.420
like, I, you know— That's how long it takes people to catch up. That's the

30:36.920 --> 30:39.560
thing. It's like, so, so it takes 30 years for this slang to get probably

30:40.060 --> 30:43.000
completely stopped being used in that community to get picked up, you know,

30:43.500 --> 30:45.900
by a, by a broader societal group in the United States. But I just thought

30:46.400 --> 30:49.480
it was interesting. Yeah. And the scenes with these 3, with these 3 men,

30:49.980 --> 30:53.209
and one thing to talk about with this movie is there's so much thought put

30:53.709 --> 30:57.201
into how every single shot looks. Oh yeah. And it is just striking

30:57.233 --> 30:59.782
the way it looks. They're sitting in front of this great red wall, the 3

31:00.282 --> 31:02.491
of them, and they have this kind of like polka dot, like Wonder Bread pattern

31:02.924 --> 31:06.627
umbrella above them. Yeah. And it's just visually great every time

31:06.675 --> 31:10.217
it shows these guys. So, you know, very well framed. It looks excellent.

31:10.442 --> 31:13.552
Yeah. We go back into Sal's.

31:13.728 --> 31:16.405
Another pizza thing that I noticed that I didn't bring up again. Okay.

31:17.030 --> 31:20.156
The Parmesan that they offer at Sal's is the green can of Kraft

31:20.236 --> 31:23.459
Parmesan. The like powdered, it's not even like grated real Parmesan. stuff, you can

31:23.507 --> 31:27.830
tell it's powdered crap. Yeah, that's what— like, no self-respecting Italian

31:27.862 --> 31:31.268
is gonna— like, I had one Italian side of

31:31.768 --> 31:35.876
my family, right? And then one Irish side of my family who hated

31:35.893 --> 31:39.070
Italian people because my grandfather was in World War II,

31:39.619 --> 31:42.748
right? So he was racist against Italians from World War

31:43.248 --> 31:47.483
II. This is the cheese that you use if you're racist against Italians.

31:47.838 --> 31:49.674
I gotcha. This is what we had at that house.

31:51.750 --> 31:55.850
So funny thing is, we have 2 containers of grated cheese We

31:56.350 --> 31:59.430
have the green Kraft stuff because that's what my kids have. And I have like

31:59.930 --> 32:03.130
real actual grated Pecorino Romano because that's what I like on burgers. There we go,

32:03.630 --> 32:06.230
dude. There we go. You can't, you can't short yourself on the cheese. Plus you

32:06.730 --> 32:10.690
can't, you can't make cacio e pepe with that green stuff. So there's

32:11.190 --> 32:13.680
way too much like gluten mixed in with it or whatever. Comes out like glue.

32:14.830 --> 32:18.270
Um, so, so one of our other characters, I think this might be the last

32:18.770 --> 32:21.630
new person we're being introduced to here, is we got Buggin' Out.

32:22.130 --> 32:25.400
Yes. Right, played by Giancarlo Esposito. Who is

32:25.900 --> 32:29.080
just great. His look, his haircut, like, just the

32:29.580 --> 32:33.220
glasses, everything. It's such a perfect look of this era. Yeah. Um,

32:33.720 --> 32:37.120
and he's, he's like kind of a— I think he's not like

32:37.620 --> 32:40.700
a bad guy, but he's just, he's more of an instigator. He's, he's gonna let

32:41.200 --> 32:43.400
you know when he's upset about something. He's kind of trying to start shit,

32:43.900 --> 32:46.320
like, hey, this is fucked up, guys. Like that kind of dude. Yeah, he kind

32:46.820 --> 32:48.900
of reminds me of some of the characters in movies like, uh, whether it's like

32:49.400 --> 32:52.280
Higher Learning or like, you know, Dangerous Minds, even, even Menace, like where there's these

32:52.780 --> 32:56.050
like sort of somewhat, uh, um, elevated thinking,

32:56.550 --> 32:59.550
like, like not reactionary but like revolutionary type thinkers, where it's kind of like,

33:00.050 --> 33:02.150
you know, hey man, like we can't just sit down and let this shit keep

33:02.650 --> 33:05.130
happening, we got to do something about it, right? And he plays that role here,

33:05.630 --> 33:08.270
Buggin' Out does. And so, and so initially he wants extra cheese because he thinks

33:08.770 --> 33:11.270
there's not enough cheese on the pie, and he's right, it looks like dog shit.

33:11.770 --> 33:15.210
And so Sal tells him, no, that's an extra dollar. $2. So it's $1.50

33:15.710 --> 33:18.290
for a slice and extra cheese is $2, so it's $3.50 for an extra cheese

33:18.790 --> 33:21.490
slice. I don't think so. I think he meant the I did some research.

33:21.990 --> 33:23.890
I mean, in some of the reviews it was saying— it was talking about it

33:24.390 --> 33:27.170
being $3.50. Interesting. That's only because I thought at first, I'm like, okay, it's just

33:27.670 --> 33:30.970
50 cents extra. But I think it's like, fuck you

33:31.470 --> 33:33.930
if you try to alter my menu items. I gotta double your price on you.

33:34.430 --> 33:37.830
More than double. Yeah. So he grabs that grated stuff to just load it

33:38.330 --> 33:41.350
up. And he's just like batting the back of it. So, but he gets pissed

33:41.850 --> 33:44.850
off because there is, in Sal's, there is a Wall of Fame and it's all

33:45.350 --> 33:48.810
Italian people. It's like a handful that I recognize are Joe DiMaggio, Frank Sinatra,

33:49.310 --> 33:52.660
Sophia Loren was up there. De Niro, Pacino. De Niro, Pacino. Like, you know,

33:53.160 --> 33:55.900
it's those kind of people, right? So it's like mostly kind of like older folks,

33:56.400 --> 33:58.980
mostly Italian Americans. It's not like Mussolini was up there, you know, but it's like,

33:59.480 --> 34:02.640
right, you know, mostly Italian Americans or people who got popular in entertainment or sports

34:03.140 --> 34:06.300
in America, you know, Rocky Marciano, like stuff like that, right?

34:06.800 --> 34:09.040
But it's all Italian people. And Buggin' Out's looking up and he's like, hey,

34:09.540 --> 34:11.380
Sal, man, when are we gonna get some brothers up here? Like, we gotta get

34:11.880 --> 34:15.080
some Black folks up on the wall. Like, this is our neighborhood. We spend— he

34:15.580 --> 34:18.938
says this numerous times— much money. We spend much money here. You gotta put

34:19.438 --> 34:22.612
up some Black folks up on the wall. And Sal's like, fuck you, this is

34:22.628 --> 34:25.596
my restaurant. I'm Italian. This is the Italian Wall of Fame. This is like,

34:25.837 --> 34:29.029
you know, the Scottish Wall of Fame in Serbian Experter. Same idea. This is

34:29.045 --> 34:32.655
the Italian Wall of Fame. Hashtag Walls of Fame. Yeah, exactly. Hashtag Walls of Fame.

34:33.618 --> 34:38.062
But it's like, so, you know, here's the thing. The initial conflict

34:38.562 --> 34:41.607
here, this conflict starts a lot of chain reactions, right?

34:41.976 --> 34:45.487
And in this initial conflict, I have zero sympathy I do not in

34:45.987 --> 34:49.446
any way agree with Buggin' Out. I personally feel like it is your business,

34:49.590 --> 34:52.956
it is your place. If you are going to hone in

34:53.036 --> 34:56.786
on the ethnic background of the food itself and of your own family and make

34:57.286 --> 35:00.857
that your decoration, there should be zero problem with that. That's my initial feeling

35:00.953 --> 35:03.709
on that. But yeah, no, I totally— there's a lot more that happens. Yeah,

35:03.934 --> 35:07.844
I get that too. And I think that Buggin' Out walks around

35:08.344 --> 35:11.707
with like the weight of the history of Black America on his shoulders at all

35:12.207 --> 35:15.364
times, right? Takes it on, yeah. So from his perspective, he's like, like, all right,

35:15.541 --> 35:18.912
sure, it's your restaurant, sure, it's your wall. This is the only fucking place

35:19.412 --> 35:22.572
we have to eat. So all the Black people in this neighborhood can't go anywhere

35:22.764 --> 35:25.108
and look at anybody that looks like them, you know?

35:25.638 --> 35:29.201
Here's the thing. I think— so what is— I understand Buggin' Out's complaint,

35:29.362 --> 35:33.407
and it is a valid complaint, but I also think that Sal has the

35:33.439 --> 35:37.613
final sort of say. And to be fair, Buggin' Out's initial response

35:37.629 --> 35:41.064
to boycott Sal's, I agree with that as well. Yeah, don't spend

35:41.564 --> 35:43.890
your money there if you don't Don't feel welcome. Yeah, for sure. Hundred percent.

35:44.390 --> 35:47.790
And and Sal's reaction though, you know, Sal is upset because bugging out.

35:48.290 --> 35:51.010
I mean, he's he's like coming pretty slick. Oh, she puts some fucking brothers on

35:51.510 --> 35:54.730
the wall. Like he's making a scene and everything. So Sal grabs a baseball bat

35:55.230 --> 35:57.849
and he walks over. He's like, "Oh, I ought to bash your head in." And

35:58.349 --> 36:02.110
smartly, Pino was surprising, you know, with how he acts later. Takes the

36:02.610 --> 36:05.790
bat from Sal and and they're like, "Hey, Mookie, why don't you ask your friend

36:06.290 --> 36:09.070
to leave?" And Mookie, you know, because you're the black guy, you're gonna get this.

36:09.932 --> 36:13.159
'Cause honestly, like, there's gonna be less static if

36:13.544 --> 36:17.044
your friend kicks you out than if these people are adversarial towards

36:17.060 --> 36:20.416
him. And Mookie is in many ways a bridge between the neighborhood community and

36:21.026 --> 36:24.381
Sal in a sense. Like, he is sort of the bridge between those worlds because

36:24.881 --> 36:27.351
he works there, so he's got some loyalty to Sal. Sal's good to him as

36:27.851 --> 36:30.113
a boss, it seems. You know, he gives him shit, but like, it seems like

36:30.161 --> 36:32.328
Sal's a pretty decent guy. He's a fair dude. Yeah, pretty decent guy to work

36:32.828 --> 36:35.796
for. Mookie wants the job, so he's there, but he's also, he's a member of

36:36.296 --> 36:39.521
this community. in the broader neighborhood. So he's got that bridging

36:39.633 --> 36:43.182
sort of personality. And so, yeah, Sal takes

36:43.682 --> 36:46.633
it too far even here. And there's just, you know, as we well know as

36:47.133 --> 36:49.748
we get through the movie, like, there's nobody in this movie who doesn't make a

36:50.248 --> 36:53.152
terrible decision at some point. Yeah, exactly. Every single person in this movie makes some

36:53.216 --> 36:57.599
decision or choice that you're like, oh, that was definitely an

36:58.099 --> 37:01.324
accelerationist way to go. Yeah, for sure. But this is where it starts, is Sal

37:01.388 --> 37:04.360
threatening Buggin' Out with a bat. That is not necessary even from the beginning,

37:04.860 --> 37:07.880
like at all. No. Yeah. And that, and that's like a big escalation, like,

37:08.380 --> 37:12.360
right early on. Yeah. Um, so Mookie has to kick Buggin' out, out of

37:12.860 --> 37:16.080
the pizza, out of the pizzeria. And, uh, and he goes on a delivery.

37:16.580 --> 37:19.520
Once again, no thermal bag. We don't care if this pizza stays warm. It's hot

37:20.020 --> 37:22.460
outside. What do you want, hot pizza? He says something about— I'm trying to cool

37:22.960 --> 37:25.040
it down for you. At some point he says something about like, I can't run

37:25.540 --> 37:28.480
with it because all the cheese slides to one side or something. Like, what?

37:29.370 --> 37:32.256
So, so as Mookie's on his way to make his,

37:32.673 --> 37:36.153
uh, to make his delivery, he's stopped by DeMaio, who's sitting on the step.

37:36.201 --> 37:39.873
He's like, Mookie! You know, he's already drunk, and you can tell he's this

37:39.969 --> 37:43.401
kind of character who's all— he's always got advice for people. He knows what everyone

37:43.433 --> 37:46.576
should be doing, even though he's kind of just a drunk who keeps to himself

37:47.076 --> 37:49.944
and doesn't— Yeah. You know, and he's like, Mookie, I gotta tell you something,

37:49.992 --> 37:53.520
you know, always do the right thing. And then he looks

37:54.020 --> 37:57.730
right into the camera for 30 straight seconds. Welcome to Do the Right

37:58.230 --> 38:01.870
Thing. Is he the only— is Mookie the only character Damer calls

38:02.370 --> 38:05.710
by his name? Because he calls almost everybody by doctor. Everybody's doctor.

38:06.210 --> 38:09.090
I like that, by the way. I really love saying doctor instead of son or

38:09.590 --> 38:12.650
man or whatever. It's a great character trait. Hey, doctor. But I think Mookie is

38:13.150 --> 38:16.090
like— Mookie and I think Jade, Mookie's sister, he refers to her possibly by her

38:16.590 --> 38:18.790
name as well. But I think other than that, he calls everybody doctor. Yeah,

38:19.290 --> 38:22.250
yeah. Oh, and then Sal. He does call Sal Sal, but like, still. Um,

38:22.750 --> 38:25.410
but most of the people Damer refers to as doctor. Uh, but yeah, he delivers

38:25.440 --> 38:29.540
the title and sort of the theme of the movie, and that's fine. That happens,

38:30.040 --> 38:32.060
you know, a lot. The next thing that happens is they open up a fire

38:32.560 --> 38:35.360
plug, a fire hydrant, right? Somebody's able to like unscrew the top and it starts

38:35.860 --> 38:38.520
spraying everywhere. And this is Martin Lawrence and his friends. I love that shit,

38:39.020 --> 38:42.620
by the way. Movies that have the open fire hydrant, I feel like that

38:43.120 --> 38:46.040
always bumps it up for me. Well, and they were like, they were scraping these

38:46.540 --> 38:48.220
cans on the ground, and I was like, what the hell is that for?

38:48.720 --> 38:50.680
I didn't realize what it was for until I saw them using it to angle

38:51.180 --> 38:53.545
the thing, which is all that soap Fucking smart. I love that. Like, I,

38:53.818 --> 38:57.077
I love any situation where there's this like innovation where it's like, all right,

38:57.109 --> 38:59.727
we don't have a pool, we don't have a fucking water park, we don't have

38:59.759 --> 39:03.050
transportation to the beach, whatever. Yeah, yeah, what are we gonna do? And they find

39:03.550 --> 39:05.619
a way to, to make it work and they're, they're having a blast. And it's

39:06.119 --> 39:09.361
a great scene of kind of, oh, we got some relief. Like, we've been getting

39:09.393 --> 39:12.427
hotter and hotter and hotter this whole time and more tense and more tense.

39:12.989 --> 39:16.153
Ah, finally, like, the tension's gone forever. We got the fire hydrant.

39:16.217 --> 39:19.710
You got the fire hydrant going. Uh, and then driving down the street

39:20.210 --> 39:23.950
in another big Cadillac is Phil Leotardo from The Sopranos. That's right.

39:24.450 --> 39:27.270
And he is like, starts, he says, hey, you keep that fire hydrant away from

39:27.770 --> 39:30.090
me. He's in a convertible. Yeah. And the windows are down and everything. He goes,

39:30.590 --> 39:32.030
this is a classic, like, you don't, don't get that water. And they're like,

39:32.530 --> 39:34.500
just go, you'll be fine, just go, we won't, you know, you'll just go.

39:34.510 --> 39:37.050
He's like, okay. He drives up and sure enough, as soon as he gets nearby,

39:37.270 --> 39:40.490
they aim it right at him. They basically fill his car with water, soak him,

39:40.990 --> 39:43.890
and he gets out and he's screaming and, you know, he's so pissed off he's

39:44.390 --> 39:48.150
gonna kill somebody. Basically. Yeah, he's fucking pissed. And, and again, like, he's a

39:48.650 --> 39:52.290
character of like the ethnic guy who's fed up with the other ethnicities that

39:52.790 --> 39:55.940
he has to share his city with, right? Everyone thinks it's their own city.

39:56.010 --> 39:59.050
Um, but even neighborhood, I feel like this is— because later on there's some Italian

39:59.550 --> 40:01.350
guys that show up. Like, it feels like this is a very like either Black

40:01.850 --> 40:05.210
or Italian. Yeah, kind of neighborhood. Like, yeah. Uh, there's a comical

40:05.710 --> 40:08.490
amount of water in the car when they open the door. It's like, dude,

40:08.990 --> 40:11.810
it's like Frank Drebin's pile of pistachio shells outside.

40:12.310 --> 40:16.204
Exactly. Oh man. Uh, and But, you know, the cops

40:16.704 --> 40:19.779
show up. Yeah. And there's a couple of cops. There's this like kind of taller

40:19.811 --> 40:23.049
blonde cop who's actually Danny Aiello's son, Rick. Yeah, right. And then

40:23.097 --> 40:26.062
this other guy with a mustache. But the other guy with the mustache, by the

40:26.562 --> 40:28.275
way, who is that guy? So I don't know his name, but if you've seen

40:28.387 --> 40:31.192
Get Shorty— have you seen that movie? No. Oh, at the very end of Get

40:31.692 --> 40:35.183
Shorty, he shows up as this like cartel boss who tells Delroy Lindo that

40:35.683 --> 40:38.710
he's going to have his henchman Cesar— and he says something like, uh, perhaps I

40:39.210 --> 40:41.691
have, uh, I can't remember the kid, like Juan and Cesar staple your tongue to

40:42.191 --> 40:45.240
your And like, he's there to like get his son back who's been killed unbeknownst

40:45.740 --> 40:47.640
to him. But yeah, it's like, it's the first place I always think about is

40:48.140 --> 40:50.100
like this character from Get Shorty, but he's been in a ton of other stuff

40:50.600 --> 40:53.840
as well. Yeah, so a couple kind of well-known, uh, cops. And the,

40:54.340 --> 40:58.620
the, the uniforms are so funny because, uh, now like, yeah, these uniforms

40:59.120 --> 41:02.600
are meant to be so like intimidating and like militarized

41:03.100 --> 41:06.100
looking. Yeah, this looks like a stripper cop uniform. I was thinking it looks like

41:06.600 --> 41:10.120
Danny DeVito in Friends going to be a stripper. Exactly, a stripper cop

41:10.620 --> 41:11.960
uniform, right? They even roll the little sleeves at the end or whatever to make

41:12.460 --> 41:16.740
them shorter. Like, it's crazy.

41:17.240 --> 41:20.240
So, so as Phil Leotardo is getting pissed and the cops are just like,

41:20.740 --> 41:22.940
yeah, we're not gonna do anything about this. Like, I suggest you get out of

41:23.440 --> 41:26.660
here before these people get really pissed, you know, 'cause he's threatening. Yeah. And it's

41:27.160 --> 41:29.779
a, it's a mob of people and he's the only guy. Like, yeah, get the

41:30.279 --> 41:33.100
fuck out of here. The big white cop shuts off the fire hydrant. He's got

41:33.600 --> 41:35.400
the wrench and he shuts off. He says, don't turn this back on. Like,

41:35.900 --> 41:38.400
you're not allowed to do this. I'll come back and I'll bust heads or whatever.

41:38.480 --> 41:41.620
But then the other guy, the shorter kind of Hispanic guy, is telling Leotardo like,

41:42.066 --> 41:44.359
Hey, you better get out of here before— and this is the racist part— before

41:44.859 --> 41:47.356
these people take your, like, wheels off your car, strip your car for parts or

41:47.856 --> 41:50.658
whatever. And so he does eventually leave. And this is the point where it's like

41:51.139 --> 41:54.121
the cops get introduced. They're in this movie a lot, you know,

41:54.185 --> 41:57.760
several other times. And this first interaction that they have with the neighborhood is

41:57.872 --> 42:01.335
fine. Yeah, it's not terrible. I think it's like you

42:01.835 --> 42:05.102
expect a little bit of dickishness from any authority figure,

42:05.166 --> 42:07.795
which is fine. I mean, it's kind of part of their job, right? They can't

42:08.295 --> 42:11.401
be too much like buddy-buddy with everything. But they go there, they shut the hydrant

42:11.901 --> 42:14.670
off, they tell the guy who doesn't belong there to leave to help you.

42:14.710 --> 42:18.110
And I think that's okay. I think it's— look, it's still ACAB all day,

42:18.610 --> 42:21.410
every day. But yeah, this was not— certainly compared to other interactions with the police

42:21.910 --> 42:24.510
in this and other movies, this wasn't that bad. No, this was fine. No.

42:25.010 --> 42:27.900
Uh, but yeah, so then, uh, this is where I put the note in my,

42:27.990 --> 42:31.590
my notes here that just says, these are all the absolute

42:32.090 --> 42:35.870
worst pizzas I have ever seen, dot, ever, dot. So yeah.

42:36.370 --> 42:40.590
Yeah, I wrote down Turturro pizza slicing fail. Uh, that's my thing.

42:41.090 --> 42:43.570
We're big pizza guys. I don't know, you guys think of this as a movie

42:44.070 --> 42:47.490
podcast. This is actually a pizza podcast, and, uh, it's disguised as a

42:47.990 --> 42:50.570
movie podcast. We just really want to talk about movies with pizza. I wonder if

42:51.070 --> 42:53.290
I should go back and look at how many of our 78 movies featured in

42:53.790 --> 42:56.690
some prominent way pizza, right? Like Home Alone, like, you know, there's a whole lot

42:57.190 --> 43:00.630
of them for sure. Um, so, so Mookie is back

43:01.130 --> 43:04.430
at the, at the pizzeria, and he's talking to Vito, the younger brother,

43:04.930 --> 43:08.650
who's— Vito is, is, um, him and Mookie get along very well.

43:09.150 --> 43:12.490
They're like buds. Yeah, and Vito respects Mookie, and, and he's able to talk to

43:12.990 --> 43:15.910
him. He's able to kind of even kind kind of vent to him about Sal

43:16.410 --> 43:19.230
and about Pino and stuff. They act like brothers as well. Mookie and Vito do.

43:19.730 --> 43:22.130
Pino is his own, on his own little planet there. But yeah, because we don't

43:22.630 --> 43:25.670
know exactly how long Mookie has worked there, but even if he hasn't worked there

43:26.170 --> 43:28.190
a long time, he's probably been a guy in the neighborhood for a long time.

43:28.690 --> 43:31.470
I bet he's known these guys 100%. And, and Mookie's telling Vito, he's like,

43:31.970 --> 43:35.090
hey, Pino's gonna keep messing with you. You just gotta beat his ass.

43:35.590 --> 43:38.070
Like, that's plain and simple. You just gotta beat his ass to stop this.

43:38.570 --> 43:40.630
Like, even if he's your brother, like, sometimes he's gotta, you know, you gotta defend

43:41.130 --> 43:44.064
yourself. Yeah, don't let him do that. So it's like a kind of a recurring

43:44.113 --> 43:46.871
theme of like, stand up for yourself here. Yep, exactly.

43:47.945 --> 43:50.912
And then we meet, we meet a group of Puerto Rican characters sitting on the

43:51.412 --> 43:54.632
stoop. They're the ones drinking, drinking a lot of Miller Genuine Draft is their beer

43:54.680 --> 43:58.528
of choice. They have, I think they have like every Miller product

43:59.028 --> 44:02.217
in every type of vessel, right? Bottles and cans. And like,

44:02.441 --> 44:06.097
why don't you go in on a 12-pack, guys? You're buying these individual

44:06.209 --> 44:09.273
cans for the bodega. You're gonna go broke, man. Exactly. Exactly.

44:09.819 --> 44:13.112
Oh man. Um, um, yeah, so the, the Puerto Ricans are

44:13.612 --> 44:17.191
sitting on their stoop, and, uh, I think right before this is

44:17.384 --> 44:20.902
when Mookie popped into the radio station to make a delivery of

44:21.079 --> 44:24.596
the food. And, uh, and the radio DJ Samuel was like, okay,

44:24.677 --> 44:26.685
who do you want to put this song out to? He's like, this one goes

44:27.185 --> 44:29.977
out to Tina. And he starts playing a song, right? And, uh, and the Puerto

44:30.477 --> 44:33.800
Ricans are sitting there playing their boombox. Yep. But then Radio Raheem's

44:34.300 --> 44:37.020
coming up the street and His boombox is 3 times bigger. He's not dealing with

44:37.520 --> 44:40.320
a competing boombox. No, he walks up, he's playing Fight the Power still, and all

44:40.820 --> 44:42.450
of them yell at him, hey man, like, knock it off, turn that down.

44:42.460 --> 44:45.400
And so then one of them gets up and turns their boombox up, so briefly

44:45.900 --> 44:49.400
is louder than— and then Raydio just cranks his up and it just blows

44:49.900 --> 44:51.640
away everything else. So they turn theirs off like, okay man, it's like a little

44:52.140 --> 44:54.220
battle. Yeah. And the Puerto Rican guy's like, all right, all right, you got me,

44:54.720 --> 44:57.660
you got me, fine. And then he walks away and he does like the,

44:58.160 --> 45:01.860
um, the Judd Nelson Breakfast Club, like, fist in

45:02.360 --> 45:04.740
the air. I won this. And gets like high-fived by a little kid.

45:06.520 --> 45:10.261
That's right. Uh, yeah, so I enjoy that there. Yeah. Um,

45:10.325 --> 45:14.050
so now Vito and Mookie are, are still talking and stuff, right?

45:14.484 --> 45:17.839
And they're having this great '80s sports argument about,

45:17.936 --> 45:21.484
uh, about who's the best pitcher. Uh, is it— and Mookie's like,

45:21.548 --> 45:24.985
oh, it's Dwight Gooden. And, and, uh, Vito's like, no, it's Roger Clemens.

45:25.081 --> 45:28.132
This is also a Mets versus Yankees thing as well. Oh yeah, yeah,

45:28.148 --> 45:30.958
because Clemens was on the Red Sox back then. Oh, was he? Oh, that's right.

45:31.038 --> 45:34.758
Oh shoot. Um, and it is interesting that these guys are into

45:34.790 --> 45:37.227
like Boston, you know, a lot of Boston stuff. But, uh,

45:37.996 --> 45:40.946
it's funny that that was an argument at the time, and it was like maybe

45:40.978 --> 45:44.248
a legit argument for a couple years. It was 100% at first. Yeah,

45:44.328 --> 45:47.918
Gooden was amazing at the beginning of his career. And then—

45:48.335 --> 45:51.926
and so excited too. I mean, for him to come along to that Mets team

45:52.342 --> 45:55.548
at that time and be so good at age like 20, 19,

45:55.564 --> 45:58.898
like when he first came in the league, was insane. But, you know, history has

45:59.075 --> 46:02.443
proven that Well, the cocaine hit him as hard as it hit Strawberry.

46:02.539 --> 46:05.908
Yeah, yeah. And had even worse effects. So yeah. So, um,

46:06.549 --> 46:08.667
they're kind of interrupted here. Uh,

46:09.838 --> 46:12.982
Buggin' Out is showing up. He's got his new Jordans and stuff, and they're,

46:13.110 --> 46:16.318
they're hanging out in the street. Yeah. And this white dude walks through

46:16.818 --> 46:20.601
with his bike wearing a Larry Bird jersey, right? Long-haired white dude

46:20.649 --> 46:23.970
played by John Savage, who we might have seen in Enter the Dragon as a

46:24.098 --> 46:26.777
karate guy. Oh, that's right. Yeah. It's a weird role for him,

46:26.793 --> 46:30.210
but But he goes in there and he— I don't know if he steps on

46:30.710 --> 46:33.770
or runs over, uh, Buggin' Out's shoe. I think it's the, the bike tire.

46:33.930 --> 46:36.680
The bike tire runs over his shoe. So he smudges his fresh Jordan, right?

46:36.910 --> 46:40.070
Yeah. And they're all in this guy's fucking face, right?

46:40.570 --> 46:44.350
He is the perf— it's so funny how little the,

46:44.850 --> 46:48.750
um, the picture of the gentrifying white guy has changed.

46:49.250 --> 46:52.370
Yeah, yeah, yeah. Right? Yeah. So definitely a guy who's bringing his bike up to

46:52.870 --> 46:56.070
his fucking apartment. He's got long hair. He's kind of like, oh, what do I—

46:56.570 --> 47:00.330
I own this brownstone. So Buggin' Out is just like, just getting increasingly pissed at

47:00.830 --> 47:02.849
him, right? So he's like, what the fuck? He's like, you smudged my shoe,

47:03.349 --> 47:05.950
what's wrong with you? He's like, well, I live in this neighborhood. Who told you

47:06.450 --> 47:09.630
you could live in my neighborhood? Well, I own this brownstone. Who told you you

47:10.130 --> 47:13.790
could buy a brownstone in my neighborhood? You know, so they're all going after him.

47:14.290 --> 47:16.910
One of the guys in the crowd is like, Black Panther would whoop his ass.

47:17.290 --> 47:20.550
Like, uh, so kind of a funny scene of that

47:21.050 --> 47:23.530
tension there. And, and he goes off into his place. So I realized as I

47:24.030 --> 47:27.299
was watching this thing thing, and I'm like, oh fuck,

47:27.363 --> 47:30.846
like I'm wearing a Boston Celtics hat right now. And I felt like

47:30.894 --> 47:34.136
just the worst, you know, I'm not doing

47:34.636 --> 47:38.228
the right thing here as far as watching this movie. And I went to look

47:38.292 --> 47:40.683
at my wife and go comment, and I was just gonna be like, hey,

47:40.700 --> 47:43.396
can you believe I'm like— and I look back and she's wearing one of those

47:43.508 --> 47:46.718
red light therapy masks. Oh. I'm like, Jesus Christ,

47:46.782 --> 47:48.916
fucking Spike Lee, kill us both right now.

47:50.184 --> 47:54.180
Oh man. So then we cut back to our trio of

47:54.680 --> 47:57.420
kind of corner guys, and they're talking about how the Koreans who own the store

47:57.920 --> 48:01.240
and how, you know, nobody in the area who owns a store is Black.

48:01.740 --> 48:05.460
And so that's, you know, they're having this conversation about some of that. We get—

48:05.960 --> 48:09.620
And they're saying, you know, like, either they're super smart or

48:10.120 --> 48:13.360
we're super dumb. That's what ML's saying to it. And it's— I mean, it's an

48:13.860 --> 48:17.840
illustration of, like, that's how the psyche can go in those situations,

48:18.340 --> 48:20.620
right? Right, exactly. Is you bring it back down on yourself, even though it's,

48:21.120 --> 48:24.503
you know, a lack of opportunity and historical stuff. All this shit. Yeah. Um,

48:24.855 --> 48:27.900
yeah, and the cops drive by them, right? I think, yeah, at this point.

48:27.964 --> 48:31.185
So, so the cops drive by the 3 old men there, right? And the cops

48:31.685 --> 48:34.615
are just kind of looking at them like, what a waste, right? And then the

48:35.115 --> 48:37.820
3 old men are watching the cops, right? And they stop talking, right,

48:37.836 --> 48:40.944
completely, as the cops drive by and they're staring them down. It's like, what a

48:41.444 --> 48:45.351
waste, you know? So as I was saying before we were so rudely

48:45.851 --> 48:49.488
interrupted— Man, you weren't saying anything. They're a very

48:49.536 --> 48:53.037
funny trio. Uh, we also get the mayor sending a kid in

48:53.133 --> 48:56.216
for a quart of beer, uh, which is an interesting way to

48:56.264 --> 48:58.930
refer to it because that would be like, what, 32 ounces? That's a lot of

48:59.430 --> 49:01.820
beer. I mean, you never see him drinking like, you know, any out of anything

49:02.320 --> 49:04.951
bigger than a can. Yeah, yeah. At one point he does. Um, and then Pino

49:04.967 --> 49:07.648
and Mookie have a conversation in the— in Sal's,

49:08.082 --> 49:11.727
and this is a conversation where like, I can't— I don't really know what Pino's

49:11.775 --> 49:15.580
point is, but he is talking about

49:16.080 --> 49:18.290
you know, just sort of like Blacks versus whites or Blacks versus Italians, whatever it

49:18.790 --> 49:21.787
might be. And Mookie is like, man, don't you— you like Black, like you like,

49:21.867 --> 49:25.717
you know— Who's your favorite? Who's your favorite basketball player? Magic Johnson. You know,

49:25.733 --> 49:28.220
who's your favorite like singer or whatever? It's like all these different stuff and it's

49:28.720 --> 49:31.652
a lot of Black folks. And he— and his comment is, they're more than Black,

49:32.134 --> 49:36.064
quote unquote, which is like showing us the depth of Pino's racism

49:36.564 --> 49:40.347
here, right? He's even figured out how to, how to balance

49:40.395 --> 49:44.150
his anti-Black racism with the fact that there are Black entertainers

49:44.327 --> 49:47.792
and sports stars that he appreciates. And he can both of those. That's not

49:48.292 --> 49:51.050
cognitive dissonance. He can hold both those views at once. And it's sort of this,

49:51.226 --> 49:54.869
it's the exact same sort of argument that people will make of all races about,

49:54.917 --> 49:57.548
quote, one of the good ones, right? They think people do this all the time.

49:57.901 --> 50:00.918
And this is an example of Pino embodying that racist

50:01.418 --> 50:04.672
viewpoint. Or you have some good qualities that transcend your race.

50:05.603 --> 50:09.600
Yeah, in spite of who you are. In spite of who you are, You did

50:10.100 --> 50:13.420
okay, right? Or whatever, which is like horrifically insulting, right? Yeah. And you know,

50:13.920 --> 50:17.380
it's a good scene though. I mean, Mookie working on Pino, 'cause he could just

50:17.880 --> 50:20.860
be like, fuck this guy forever. I'm not talking to you unless I have to

50:21.360 --> 50:24.940
talk to you. But he's like, he's trying, you know? And he's standing up for

50:25.440 --> 50:28.440
himself. Like, he's pointing out Pino's bullshit to him, which is, you know,

50:28.940 --> 50:33.200
not a lot of people probably do. For sure. So now we've got DeMaio sitting

50:33.700 --> 50:37.300
down and he's kind of, he's getting fucked with by Martin Lawrence and this crew

50:37.800 --> 50:40.230
of the 4 guys, right? Right? And they're just kind of like, you're a fucking

50:40.730 --> 50:43.850
loser, man. You're all drunk. Yeah, DA. Uh,

50:44.350 --> 50:47.350
it's DA Mayor because DA stands for drunk ass, right? And they're saying all this

50:47.850 --> 50:50.810
stuff to him, you know, get a job, respect yourself. And, and the mayor's like,

50:51.310 --> 50:53.790
you don't know me, you don't know my pain. Like, you don't know what it's

50:54.290 --> 50:57.970
like to, to have 5 kids starving and you can't do nothing about

50:58.470 --> 51:02.010
it. And, you know, like, real, you know, he's really opening up

51:02.510 --> 51:04.770
to them, but they're not sensitive to that. And they're like, you know what you

51:05.270 --> 51:07.455
should do? Get a job. Right. Yeah, like, that would never happen to me because

51:07.955 --> 51:10.068
I would get a job and get food on my kids' table. Yeah, which is

51:10.244 --> 51:13.627
not a bad argument. It sounds like DeMayer probably drank too much for a

51:14.127 --> 51:16.961
long time in his life. For sure, for sure. I mean, DeMayer is definitely,

51:17.378 --> 51:20.552
um, he's hiding a lot of shame in trying to be this,

51:20.680 --> 51:24.127
like, wise old man in the neighborhood. But I mean, he, he does

51:24.143 --> 51:26.339
not feel like he has any of the fucking answers.

51:27.317 --> 51:30.556
Um, so, uh, Mookie, uh,

51:31.806 --> 51:35.076
Let's see here. Oh, Mookie's talking to Tina on the phone.

51:35.669 --> 51:39.228
Here's another Sal's Pizzeria thing that confused me, and maybe this was an '80s thing.

51:39.500 --> 51:42.610
Okay. The phone for the pizzeria is

51:42.723 --> 51:45.977
a payphone? That's weird. That's bad

51:45.993 --> 51:50.128
for business. Here's my thought. I wonder,

51:50.497 --> 51:53.912
okay, I wonder if it was only for income. So like, here's, I think,

51:53.928 --> 51:57.550
the idea. Incoming calls can come to that phone number. They can

51:57.631 --> 52:00.740
list that in the phone book as the number for Sal's Pizzeria, right?

52:01.157 --> 52:03.990
And so incoming calls don't cost them anything on their own, right? You answer a

52:04.490 --> 52:07.850
payphone, you're not putting money, right? Right. And then they could

52:08.350 --> 52:11.060
earn money potentially. Maybe they have a deal with the phone company or whatever,

52:11.070 --> 52:14.230
or just like not have to pay. They don't have to pay for the line

52:14.730 --> 52:18.070
'cause the phone company put in a payphone. So then it's like, you know,

52:18.570 --> 52:19.529
'cause you go into restaurants, some people will be like, hey man, can I use

52:20.029 --> 52:21.470
your phone, make a call real quick? Before cell phones, right? This was a thing

52:21.970 --> 52:23.910
that would happen in bars or whatever. And this way they can say, yeah,

52:24.410 --> 52:26.810
sure, go put your dime in the thing and go ahead. So that they don't

52:27.310 --> 52:29.510
have to like pay for a phone line and let people use it. If people

52:30.010 --> 52:32.210
wanna use it, they can, but they gotta pay for it. Right. But phone numbers

52:32.710 --> 52:35.308
coming in, phone calls coming in, in, can they— can answer and take orders.

52:35.421 --> 52:38.168
I think that's the idea, but it is very weird. But it's so important as

52:38.668 --> 52:42.539
a pizzeria to keep the phone lines open, you know? So you wouldn't want anybody

52:42.555 --> 52:45.576
on your fucking phone. No, it's very strange for sure. Kind of odd there.

52:46.251 --> 52:48.790
Um, let's see. Oh, so, uh,

52:49.545 --> 52:52.919
Pino— and so Mookie is talking to Tina

52:53.419 --> 52:56.599
on the phone here. Uh, yeah, so I think he's talking to Tina on the

52:56.615 --> 52:59.971
phone. They're like, hey, get off the phone, whatever. Um, and then

52:59.987 --> 53:03.608
Pino— yeah, this is where the conversation with Pino comes, where he's telling him about

53:04.108 --> 53:07.230
his favorite entertainers are Black and all this stuff. Because Pino drops an N-bomb.

53:07.294 --> 53:10.002
Yes, he does. Uh, hate to see it.

53:10.242 --> 53:13.191
Yeah. You know, but, uh, but very— you know, it hits hard,

53:13.623 --> 53:16.972
right? And what, uh, one thing that Mookie says to Pino is like,

53:16.988 --> 53:19.841
you know, I bet deep down you wish you were Black. And the other thing

53:19.857 --> 53:22.388
that he brings up is something that comes up in a lot of like a

53:22.437 --> 53:25.914
Black and Italian back and forth and different things, is the idea

53:26.414 --> 53:30.461
that the Italians that are from like Sicily or whatever, actually like,

53:30.606 --> 53:34.334
you know, mixed with like African ancestry and stuff. And Moroccan in particular.

53:34.398 --> 53:37.901
Yeah, so like you're part— you're part black, and they fucking

53:37.917 --> 53:41.163
hate hearing that. More than racist Italians. He's like, your hair is curly,

53:41.291 --> 53:44.987
kinkier than mine. That's right. You know, which is true. John Turturro's got

53:45.487 --> 53:48.393
that, that head of very sort of natty kind of hair, and that's how he's

53:48.893 --> 53:52.560
always had it. Yeah. So they have this conversation, then we get this great scene

53:53.060 --> 53:56.720
here where it's kind of zooming in on these 4 different characters who were

53:57.220 --> 54:00.420
just letting out a string of racial insults, right? So we've got

54:00.920 --> 54:03.620
Mookie, who's talking about the Italians, like, you wop guinea,

54:04.120 --> 54:07.380
whatever, saying this stuff. They— Pino saying his terrible stuff about Black

54:07.880 --> 54:11.120
people. Then we've got the Puerto Rican guy who's saying stuff about

54:11.620 --> 54:15.180
the Koreans, right? Right. And we've got the cop who's saying stuff about the

54:15.680 --> 54:18.620
Puerto Ricans, I believe. I think that's right. And then the Korean who's saying stuff

54:19.120 --> 54:21.740
about Ed Koch and like Jewish people. Jewish folks. Yep, exactly. Uh, so that's like

54:22.240 --> 54:25.200
this scene And it's, you know, very well done. It's,

54:26.402 --> 54:30.266
as far as like a flowing movie, it definitely stops things short to

54:30.766 --> 54:34.450
like give you these 3, these like 5 scenes. But yeah, I think it's incredibly

54:34.950 --> 54:38.185
effective. And I did mention you earlier, like Spike Lee did this in The 25th

54:38.685 --> 54:41.856
Hour. Okay. Which is another early 2000s movie of his that I think is

54:41.872 --> 54:45.190
really well done. But it's kind of a Spike Lee thing of having these like

54:45.254 --> 54:48.589
extended, you know, people talking right to the camera in the middle of the film.

54:48.637 --> 54:51.779
It's like Wes Anderson framing things in the middle of the shot. Like sometimes directors

54:52.279 --> 54:55.946
just get like a signature. Yeah. You know, they put on things. So then,

54:55.994 --> 54:59.198
yeah, so then here's where we see Sal manipulating the dough too much because they're

54:59.698 --> 55:02.403
in the restaurant talking about getting off the phone and all that, whatever. I think

55:02.903 --> 55:06.136
we cut later to Mookie is now delivering pizza again, and I think it's to—

55:07.306 --> 55:10.527
I think he's taking it— no, not to Tina yet. He's gonna go deliver pizza.

55:11.120 --> 55:14.485
He runs into Rahim, and Rahim's got these new rings that say love and hate

55:14.501 --> 55:17.946
like along his knuckles. And there's a very long sort of like Radio

55:18.446 --> 55:21.503
Rahim giving an explanation of like punching with the love and the hate or whatever.

55:21.551 --> 55:25.405
Yeah, yeah. It's kind of thing. Um, and then Raheem goes into Sal's to

55:25.905 --> 55:29.229
get his, uh, to get a slice, and he's got the boombox going,

55:29.261 --> 55:32.025
and Sal screams at him to turn it off. Like, he's absolutely screaming.

55:32.137 --> 55:35.495
Eventually Radio does turn it down so he can get his,

55:35.752 --> 55:39.062
his slice or whatever, but it's very tense. So it's very loud,

55:39.078 --> 55:42.500
and, you know, no service until you turn that off. 2 slices, right? Back and

55:43.000 --> 55:45.505
forth. And he calls it jungle music and shit. Sal's being pretty shitty about it

55:45.553 --> 55:49.410
for sure. Yeah, definitely is. Yeah. Um, but also, you you know,

55:49.910 --> 55:52.990
correct. Like, yeah, walking into a business, you got to turn that shit just— if

55:53.490 --> 55:56.530
not off completely, at least down quite a bit. It's incredibly loud. They all have

55:57.030 --> 56:00.710
to scream to be heard over the sounds. It is ridiculous. Uh, Mookie ends up

56:01.210 --> 56:03.790
buying one of those photos from Smiley. Like, he had run into him a few

56:04.290 --> 56:06.030
times, like, I'll get you later, I'll get you later. And he, and he gets

56:06.530 --> 56:10.090
one of those pictures from him. Um, and Mookie, I think, wants to go home

56:10.590 --> 56:12.650
to take a shower in the middle of the day. He's really hot. I just

56:13.150 --> 56:16.150
got to cool down. And his sister is pissed that he's not taking work seriously.

56:16.650 --> 56:19.770
Yeah. It's like, what's she doing though? I'm not sure. I think she's

56:20.270 --> 56:22.690
supposed to be a student or something. I'm not sure. I'm not sure. We see

56:23.190 --> 56:26.370
her braiding mother sister's hair at one point, but like, I don't really know.

56:26.870 --> 56:29.500
Freelance braid business. I don't know what she does. Maybe she is in school.

56:29.670 --> 56:33.070
Yeah. Uh, the DJ, the Samuel L., this is

56:33.570 --> 56:36.770
another kind of Spike Lee thing where he does this long like roll call.

56:37.270 --> 56:39.590
He's like, oh, if you've been listening to us for a while, here's our roll

56:40.090 --> 56:43.150
call. It's like 20 or 30 artists, like at least. Oh, so long. It goes

56:43.650 --> 56:47.150
forever. And he's, you know, oh, we got Eric B. and Rakim and Charles Mingus

56:47.650 --> 56:50.320
and Miles Davis and James Brown and all that. And he lists so many.

56:50.770 --> 56:53.790
He doesn't list Michael Jackson, which is weird, 'cause I went and listened to it

56:54.290 --> 56:57.490
twice. I'm like, that's an odd one to leave out, 'cause he's hitting almost every

56:57.990 --> 57:00.850
other important artist of the time. I also don't think I heard 2 that I

57:01.350 --> 57:05.170
kind of thought I would as he was going on, Billie Holiday and Etta James.

57:05.670 --> 57:08.770
I kind of would've expected to get, 'cause Ella Fitzgerald was in there. So I

57:09.270 --> 57:11.410
was kind of expecting, but no, just didn't happen. You know, obviously there's so many

57:11.910 --> 57:14.469
they could've picked. You can't get everyone. But like, yeah, Michael Jackson I think was

57:14.581 --> 57:18.513
a, a pretty, um, interesting, uh, uh, omission, right? I mean,

57:18.529 --> 57:21.819
he mentioned Prince and a handful of other like contemporaries of Jackson, but a little—

57:22.319 --> 57:24.483
it was interesting. And, and, you know, another Spike Lee thing where he's like,

57:24.548 --> 57:28.159
look, you know, I'm gonna make an enjoyable, entertaining movie, but certain parts

57:28.659 --> 57:31.385
of this movie are like a pill pocket to insert like the history of Black

57:31.885 --> 57:34.980
America for you to like, you know, investigate later. Yeah, we're hitting you over the

57:35.480 --> 57:37.242
head with this shit because we want you to be like, oh, who is that?

57:37.291 --> 57:40.880
Yeah, look into it. Exactly. Yeah. So,

57:41.380 --> 57:44.620
so Pino is done with this, right? He doesn't

57:45.120 --> 57:47.380
want to be in the right thing. He's like, "This sucks. I hate this neighborhood.

57:47.880 --> 57:50.940
My friends are all making fun of me for coming to this neighborhood, for working

57:51.440 --> 57:54.780
here. I'm sick of N." Yeah, exactly. Right? Like,

57:55.280 --> 57:57.600
why? Why can't we open a place in our own neighborhood? He's talking to Sal.

57:58.100 --> 57:59.600
He's talking to his dad. He's like, "We should move out of this." And Sal's

58:00.100 --> 58:01.580
like, "I've been here for like thirty something year." I can't remember what he says,

58:02.080 --> 58:04.580
but like for a long time I've been here doing this here. This is where

58:05.080 --> 58:08.100
this belongs. This Sal's Famous belongs here. This is in this neighborhood. These people grew

58:08.600 --> 58:11.261
up on my pizza. Like I'm not moving. Yeah. Like this is. The business.

58:11.373 --> 58:14.934
This is the history. Like, we're not leaving. And Pino doesn't get it.

58:15.046 --> 58:17.549
And Smiley comes up to the window and is, you know, he's stuttering, but he's

58:18.049 --> 58:20.677
trying to like get him to buy one of the pictures or whatever. And Pino

58:21.177 --> 58:23.628
basically just screams at him to get the fuck out of here, whatever. Um,

58:23.660 --> 58:27.077
I think at that point Sal actually gets up and like does buy. Yeah,

58:27.574 --> 58:30.670
here, here you go, Smiley. Gives him a couple bucks. And, um,

58:31.424 --> 58:35.482
you know, Sal is— this scene

58:35.579 --> 58:39.156
I think is so important for Sal's character because he could have been just a

58:39.269 --> 58:42.721
cartoony— like, if we need like an angry racist Italian guy, like, boom,

58:42.737 --> 58:46.349
he nailed it. That's Pino. But right, but like to get to the depth of

58:46.849 --> 58:49.914
Sal actually being like, like, I've seen the kids grow old, I've seen

58:50.106 --> 58:53.093
old people get older, like, these people grew up on my food and I'm proud

58:53.593 --> 58:56.320
of that. Yeah. And you know, it's, it's a, it's a common thing here and

58:56.820 --> 58:58.567
in a lot of other movies. I don't know about specifically for Lee, but like,

58:58.953 --> 59:02.469
you know, the idea of food as like the ultimate kind of method

59:02.969 --> 59:06.162
of communication, right? The ultimate way of like handing down stories, the ultimate way

59:06.662 --> 59:10.111
of like showing love for people, And hospitality, right? Food is like the ultimate

59:10.611 --> 59:13.403
version of that, and I think that's very true across cultures. I mean,

59:13.885 --> 59:17.208
really every culture in the world, in their own way, food is how they express

59:17.337 --> 59:20.837
like love and caring. And so, and that's kind of what Sal is—he doesn't

59:21.337 --> 59:23.936
like nail it on the head exactly that that's the point, but that is kind

59:24.436 --> 59:28.142
of the point. He's talking about how they are embedded in this community because

59:28.255 --> 59:31.514
this community has grown up on his food, loves has eaten his food for years,

59:31.627 --> 59:34.803
and he shares that continues to share that. And it's like, also, I think to

59:34.819 --> 59:37.608
him is a source of pride of like, all these folks who are not Italian

59:38.201 --> 59:41.792
keep coming to my restaurant to eat my heroes and my pizza and my whatever

59:42.292 --> 59:45.255
else because they love my Italian food. And that's an incredible source of pride for

59:45.755 --> 59:49.279
him. Totally, totally. Um, and it like, just so important to

59:49.343 --> 59:52.950
have that scene there, right? Yeah. Uh, so Smiley, he buys the

59:53.030 --> 59:56.830
picture from Smiley, and, um, and Buggin' Out is going around still

59:56.862 --> 01:00:00.404
trying to get this like petition to boycott sales. Buggin' Out is, uh,

01:00:00.629 --> 01:00:03.851
using a toothbrush to try to scrub that scuff off his Jordans. Not working

01:00:04.351 --> 01:00:06.720
very well. very well. Jade comes up to him and she's saying how she's gonna

01:00:07.220 --> 01:00:10.020
go get a slice and, you know, whatever, she's gonna go see Mookie at Sal's.

01:00:10.520 --> 01:00:12.600
And Buggin' Out's like, no, no, you can't do it, we gotta boycott. And he,

01:00:13.100 --> 01:00:15.940
you know, she doesn't buy it, so she goes into Sal's. And Sal immediately,

01:00:16.440 --> 01:00:19.300
you can tell, is like sweet on Jade, like really, you know, really kind of

01:00:19.800 --> 01:00:22.380
flirting with her. You know, it's like, oh, so your beautiful face needs to come

01:00:22.880 --> 01:00:26.960
in here more often, like all this stuff. And it's, it's, it's kind of gross,

01:00:27.460 --> 01:00:29.840
like a little bit, because Jade's like, well, yeah, like early 20s, and Sal is

01:00:30.340 --> 01:00:33.531
like 60 years old. Yeah. It's a little Bruh, like, back off. Like, she's definitely

01:00:33.595 --> 01:00:36.608
young enough to be your daughter by quite a ways. Totally.

01:00:36.688 --> 01:00:39.044
Uh, and you know, but he's telling her how beautiful her big brown eyes are

01:00:39.544 --> 01:00:42.409
and like all this stuff. Um, Mookie does not like this. But before we get

01:00:42.909 --> 01:00:45.229
to that part, uh, we get back to Radio Raheem walking down the street,

01:00:45.357 --> 01:00:48.194
and boy, suddenly Fight the Power don't sound so good.

01:00:48.258 --> 01:00:51.751
Yeah, it's slowing down. Like, which is so funny because

01:00:51.767 --> 01:00:55.565
like that's not the effect that anybody of today's

01:00:56.065 --> 01:00:59.603
generations would understand as like they would never hear that because that is specifically what

01:00:59.619 --> 01:01:02.599
happens as a tape deck, right? It's gotta be a tape. Yep. Because it's like

01:01:03.099 --> 01:01:06.829
it starts returning the little, you know, spools slower. So because

01:01:07.329 --> 01:01:10.514
like a CD might start skipping but then would just cut out. And certainly for

01:01:10.530 --> 01:01:14.199
like, you know, an MP3 player, an iPod, something streaming Spotify, it would just stop

01:01:14.699 --> 01:01:17.724
working. Like there wouldn't be a signal of an indicator of this. But this is

01:01:18.224 --> 01:01:21.313
so specific to a tape deck and it's so great. I mean, if it was

01:01:21.409 --> 01:01:25.158
a CD player, cinematically to show the battery dying

01:01:25.414 --> 01:01:28.287
kind of stinks. It's not that Cool. Yeah. So with the tape deck, it really

01:01:28.319 --> 01:01:31.547
does give you that like slow down there. So Raheem

01:01:31.596 --> 01:01:35.033
goes into the Korean grocery store, and he needs

01:01:35.065 --> 01:01:37.844
his D batteries, right? Twenty D batteries.

01:01:38.358 --> 01:01:41.875
Yeah. And they're you know kind of misunderstanding him at first.

01:01:41.988 --> 01:01:45.971
Like oh, you need C batteries. Like no, no, no, no. D motherfucker D.

01:01:46.373 --> 01:01:50.244
Which this is a hip hop connection here. Okay. The the

01:01:50.308 --> 01:01:53.778
Kanye West song Good Morning, which opens the Graduation album. Yeah.

01:01:53.858 --> 01:01:57.050
He has a line where. he's like, I mean, damn, did you even see the

01:01:57.550 --> 01:02:01.070
test? I got D's, motherfucker, D's. Rosie Perez. So he,

01:02:01.570 --> 01:02:05.270
he references Rosie Perez's titties and Radio Raheem's line in one line in that

01:02:05.770 --> 01:02:08.310
movie. So, uh, I don't know what's happened to that guy since then, but shout

01:02:08.810 --> 01:02:12.390
out him. I'm sure he's fine. Um, so, so he gets his batteries,

01:02:12.890 --> 01:02:16.070
like, very contentious, but he gets his batteries. And, uh, and he's like, count those

01:02:16.570 --> 01:02:19.730
motherfuckers. He's so angry. They hate each other so much. I mean, this is a

01:02:20.230 --> 01:02:23.357
menace to society, like, tension level Like, and there's a really interesting thing. He notices

01:02:23.389 --> 01:02:25.862
that they're taking from like the back of the rack, they're not pulling up the

01:02:26.362 --> 01:02:28.368
front. So he asks them about the date on it because there's an expiration date

01:02:28.868 --> 01:02:31.291
on batteries, and it's a couple years away still, so it'll be fine. But he's—

01:02:31.484 --> 01:02:33.941
he knows to ask like, oh, you're not giving me the shit that's gonna die

01:02:34.070 --> 01:02:37.668
tomorrow? Like, you know, right? Also, I looked it up, 20 D-cell batteries weigh

01:02:38.168 --> 01:02:41.346
about 6 pounds altogether. I mean, that's insane, like how heavy that is.

01:02:41.844 --> 01:02:45.715
Um, but yeah, I wonder how much, uh, playtime he's getting out

01:02:46.215 --> 01:02:49.590
of like that loud, that consistent He shouldn't worry about the expiration

01:02:50.090 --> 01:02:52.570
date. He's like, these are gonna be— this is a week, right? A week at

01:02:53.070 --> 01:02:55.790
most. It'd have to be. But 20 is a shit ton of batteries. A lot

01:02:56.290 --> 01:03:00.050
of batteries. 20 Ds. Um, so the mayor goes

01:03:00.550 --> 01:03:04.100
into the, into the Korean store, or he's outside and he's looking at the flowers,

01:03:04.250 --> 01:03:07.330
the fresh flowers on display. And he's like, oh, I'd like to buy all these

01:03:07.830 --> 01:03:10.770
flowers. And they're like, they're very expensive, you know? Yeah. Like, hey, you're used to

01:03:11.270 --> 01:03:14.410
spending a bucket of time on, on a beer. He's like, it's okay. Like,

01:03:14.910 --> 01:03:18.170
I'll pay for them. I'll pay for them. Right. Yeah, very nice that he goes

01:03:18.670 --> 01:03:22.190
and like brings them to mother's sister. Mother's sister. She doesn't want to. She doesn't

01:03:22.690 --> 01:03:24.390
want anything to do with him still. She's sitting on her windowsill, but he mentions

01:03:24.890 --> 01:03:26.660
like, hey, it's the summer out here. All you can smell is the garbage.

01:03:26.950 --> 01:03:29.970
Yeah. So here's some flowers. So at least your world smells a little better,

01:03:30.470 --> 01:03:32.670
which is really sweet. Like that he gave a practical reason for it. Yeah,

01:03:33.170 --> 01:03:34.630
exactly. Yeah. It's not just because he's sweet on her. It's he's trying to help

01:03:35.130 --> 01:03:38.050
out. Like yeah. And then we get back to the three, the three sort of

01:03:38.550 --> 01:03:41.790
corner gentlemen chit chatting some more. One thing I noticed in all this conversation

01:03:42.290 --> 01:03:44.950
is that sweet the actor playing Sweet Dick Willie keeps looking straight at the camera,

01:03:45.450 --> 01:03:47.810
and I don't think he was supposed to. Like it really feels like. I don't

01:03:48.310 --> 01:03:50.490
know if he was doing— or if he had like a lazy eye, but yeah.

01:03:50.990 --> 01:03:52.630
No, he looks like he looks right at it a couple times and then glances

01:03:53.130 --> 01:03:56.530
back to the other actors. But it's like when he's not looking right at either

01:03:57.030 --> 01:03:58.870
of the other 2 men he's on screen with, he kind of looks straight at

01:03:59.370 --> 01:04:02.130
the camera, which is like, really breaks things a little bit for me. But hey,

01:04:02.630 --> 01:04:05.310
what are you gonna do? It is what it is. And this is when the

01:04:05.810 --> 01:04:08.090
ice cone man shows up. Is that what we would call this guy? He's got

01:04:08.590 --> 01:04:11.550
a big block of ice and he just, you know, shaves off a bunch of

01:04:12.050 --> 01:04:14.690
ice, puts it in a little cone, and throws like some flavored syrup on it,

01:04:15.190 --> 01:04:18.115
right? It looks like maybe a quarter for the kids. And the kids are super

01:04:18.163 --> 01:04:21.969
happy about this at first, and they're lining up, they're giving— but then— The

01:04:22.033 --> 01:04:25.614
real ice cream truck comes. The classic sounds of The Entertainer playing

01:04:25.710 --> 01:04:28.777
out of the ice cream truck come around the corner, and all the kids are

01:04:29.277 --> 01:04:32.438
like, well, fuck the ice cone, snow cone bullshit. I want real thing.

01:04:32.968 --> 01:04:35.906
So they start running up, and there's this young boy running through the street to

01:04:36.406 --> 01:04:39.712
try to chase the ice cream truck. And for whatever reason, a crazy fast car

01:04:40.193 --> 01:04:44.802
is coming down the street, like, unreasonably fast. Yeah, yeah. DeMayer notices

01:04:44.994 --> 01:04:48.030
and basically has to tackle the boy to keep

01:04:48.530 --> 01:04:50.989
the two of them from being hit by this car. And he saves this boy's

01:04:51.489 --> 01:04:54.210
life. I mean, really. Yeah. But the boy does scrape up his elbow. He looks

01:04:54.710 --> 01:04:56.870
kind of hurt. It was a young kid. He's like a 10-year-old maybe or something.

01:04:57.130 --> 01:05:00.350
And he looks like he's all kind of mad about it. The mom comes up

01:05:00.850 --> 01:05:03.550
and is like, what happened? You know? And he's like, oh, Demare knocked me down.

01:05:04.050 --> 01:05:06.130
Like screaming. And she's like, you should be ashamed of yourself. Well, Demare gives her

01:05:06.630 --> 01:05:09.430
the story. Like, hey, your son was running in the street. There was a car.

01:05:09.930 --> 01:05:13.290
I just saved us both. You know, like, you're welcome, basically.

01:05:13.790 --> 01:05:16.990
She starts whooping his ass, the little boy's ass, so hard. Everybody around

01:05:17.490 --> 01:05:20.630
her is like, whoa, yo, yo. Like, what are you— you don't need

01:05:21.130 --> 01:05:23.250
to do that. And she's like, I will not take fucking advice on how to

01:05:23.750 --> 01:05:26.670
parent my kid, you know? Which, like, I get, but also that was not at

01:05:27.170 --> 01:05:30.410
all unnecessary. No, not at all. And I mean, part of it is that

01:05:30.910 --> 01:05:34.390
I think, uh, they just inherently don't believe DeMayer because he's an

01:05:34.890 --> 01:05:37.030
old drunk and full of shit. But it was funny the way he told the

01:05:37.530 --> 01:05:40.190
story, because the way you just said it, that's what he should have said.

01:05:40.690 --> 01:05:43.090
He should have said, there was a car coming and I saved him. He's like,

01:05:43.590 --> 01:05:47.230
there I was, minding my own business. It's like, you don't start a fucking story

01:05:47.730 --> 01:05:50.280
that way, dude. It tells a whole tale. That is for sure. But the car

01:05:50.780 --> 01:05:53.920
was flying. It almost looked like it was the Phil Leotardo guy coming back

01:05:54.420 --> 01:05:56.880
to, like, mow somebody down. Was it a Cadillac? I don't know. I don't think

01:05:57.380 --> 01:05:59.780
so. Oh, man, that would have been good. But it was like the only reason

01:06:00.280 --> 01:06:03.580
it would be traveling that fast is for revenge. Yeah, it's crazy. Exactly.

01:06:04.080 --> 01:06:07.620
Oh, man. So then Sal, I think, and Jade are chatting, right? Yes.

01:06:08.120 --> 01:06:11.720
Yes. And Mookie, like, when it shows Mookie's face during this,

01:06:11.780 --> 01:06:14.920
Spike Lee does a great, like, I'm not impressed,

01:06:15.080 --> 01:06:18.520
like, this is not my shit face. Like, he really does the face

01:06:19.020 --> 01:06:23.000
I was making during Mallrats. But he

01:06:23.500 --> 01:06:26.340
is like, he's like, hell no. He's like, come on, Jade, we're out. And he

01:06:26.840 --> 01:06:29.100
doesn't even say like, hey Sal, I gotta go talk to my sister. He's just

01:06:29.600 --> 01:06:32.340
like, nope, we're done. Like pulling her by the wrist, like full line. And this

01:06:32.840 --> 01:06:35.760
is his older sister, we should point out, like, you know. Uh, but yeah,

01:06:36.260 --> 01:06:38.320
he pulls her out and it's just like, stay away from Sal's, don't come in

01:06:38.820 --> 01:06:40.260
here no more. And she's like, what are you talking about? Like, I've been coming

01:06:40.760 --> 01:06:44.080
to Sal's forever. Don't come in here no more, stop it. Um, and this

01:06:44.580 --> 01:06:47.640
is— and you know, she's basically like, whatever, Mookie, I'mma go, right? So she leaves.

01:06:48.218 --> 01:06:50.721
And this, I think, is when we start to get the weather— or the,

01:06:50.817 --> 01:06:54.380
the, the light starts to change around here. This is— it's now dusk. It's starting

01:06:54.412 --> 01:06:58.182
to look like it might be cooling down. Um, and,

01:06:58.407 --> 01:07:02.210
uh, basically Mother Sister and, and DeMare are chatting a little bit more,

01:07:02.675 --> 01:07:05.210
and Mother Sister seems to be warming up to him a little bit. I mean,

01:07:05.243 --> 01:07:08.532
the flowers, I do think, kind of poked through the, the hard exterior. And he's

01:07:09.032 --> 01:07:12.704
telling this story about how he played baseball in like 19— the

01:07:13.204 --> 01:07:15.940
1930s or whatever, in like probably in the Negro Leagues or whatever. but it's like

01:07:16.440 --> 01:07:19.860
he's trying to tell any impressive story he can to tell her just how,

01:07:20.360 --> 01:07:22.500
you know, I used to be something, you know, kind of thing. Totally, yeah.

01:07:23.000 --> 01:07:26.260
And it's like, and you know, to be fair, like he's

01:07:26.760 --> 01:07:29.300
getting through to her. I feel like he's definitely getting through to her. He is

01:07:29.800 --> 01:07:32.780
bit by bit. And these two, you know, I mean, look again, Dee and Davis

01:07:33.280 --> 01:07:36.700
just have obvious chemistry 'cause of who they are in real life. But even

01:07:37.200 --> 01:07:40.410
in the world of this block, these are kind of the only two like age-appropriate

01:07:40.600 --> 01:07:43.240
people for each other at their ages. You know what I mean? It's like not

01:07:43.740 --> 01:07:46.180
a whole lot of dating options if that's something you wanna do. Right side of

01:07:46.680 --> 01:07:50.420
the two of you, right in your neighborhood. And, and mother's sister does say,

01:07:50.720 --> 01:07:53.980
uh, you know, like, I saw what you did. Yeah, that was pretty brave what

01:07:54.480 --> 01:07:57.140
you did, you know. And he's— and then he's like excited about that. She's like,

01:07:57.640 --> 01:08:01.000
all right, like, fucking chill. That's all you get from me right now. Right,

01:08:01.500 --> 01:08:04.860
right, right. It's not done yet, but yes, you know, winnowing away. Uh,

01:08:05.360 --> 01:08:08.240
so Mookie goes off now to visit Tina. Well, he's delivering. He's delivering. She's ordered

01:08:08.740 --> 01:08:11.600
a pizza, so she's got to deliver to Tina. And, uh, and of course she's

01:08:12.100 --> 01:08:14.780
there with Hector, the, the kid, and with her mom who doesn't like him.

01:08:15.280 --> 01:08:18.160
It's Mookie. Yeah. And, uh, and he goes in there and he's like immediately trying

01:08:18.660 --> 01:08:21.600
to get some shit happening with her, right? And I love this line of hers,

01:08:22.100 --> 01:08:25.960
like, no rawness is jumping off tonight. I just want to

01:08:26.460 --> 01:08:29.920
say that to my wife. Hey, I'm sorry, baby. No rawness is jumping off tonight.

01:08:30.420 --> 01:08:33.679
She's like, yeah, of course. It's not your fucking birthday. It's too hot to do

01:08:34.179 --> 01:08:37.260
the nasty. No, but he also— like, she keeps— she has a bit of a

01:08:37.760 --> 01:08:40.040
sailor's mouth. I mean, she curses a lot. Totally. But she does— he does say

01:08:40.540 --> 01:08:42.460
something like, what are you doing cursing around the boys so much? And she goes,

01:08:42.960 --> 01:08:46.040
I don't fucking curse that much. Yeah, she's, she's funny

01:08:46.540 --> 01:08:49.983
in this. It's and forth. And, um, and Mookie's like, all right, like, here,

01:08:49.999 --> 01:08:52.713
stand on the bed, like, take your clothes off, I'll be right back. And he

01:08:53.213 --> 01:08:56.247
goes into the kitchen and her mom is with Hector there, and her mom's like

01:08:56.809 --> 01:08:59.844
speaking to Hector in Spanish. Yeah. And this is where Mookie— you know, we see

01:08:59.860 --> 01:09:03.394
every, every character's biases, right? And Mookie's like, English, I want

01:09:03.894 --> 01:09:07.586
my son to speak English, right? And, uh, and he grabs some ice cubes out

01:09:08.086 --> 01:09:10.397
of the fridge, right? And then we get this kind of like goofy scene.

01:09:10.461 --> 01:09:13.995
It could totally be one of those like ultra like slow

01:09:14.075 --> 01:09:17.412
R&B horny scenes, but he's just like naming

01:09:17.428 --> 01:09:20.638
her body parts and cooling them off individually with the ice cube, right?

01:09:21.199 --> 01:09:24.986
Uh, we do see some titties, uh, which is great. She— like,

01:09:25.050 --> 01:09:27.152
real quick, that we should talk about real quick, like, like Rosie Perez has been

01:09:27.652 --> 01:09:30.586
on, on record about how uncomfortable she was with this scene. Like, very uncomfortable,

01:09:30.602 --> 01:09:34.260
right? She was a brand new actress, had never acted before. The man who discovered

01:09:34.276 --> 01:09:37.550
her and was directing the movie was also this scene partner,

01:09:37.566 --> 01:09:40.358
right? So there's a lot of sort of like power imbalance. Tarantino,

01:09:40.711 --> 01:09:43.294
Uma Thurman type shit a little bit. Oh yeah, a little bit. Absolutely. And,

01:09:43.503 --> 01:09:46.469
and, you know, the reason that it is cropped the way it is, is that

01:09:46.969 --> 01:09:49.771
she couldn't stop crying during the part where he was putting the ice cubes on

01:09:50.271 --> 01:09:52.271
her breasts. So that's why it's cut that way. I was thinking it was just

01:09:52.771 --> 01:09:56.022
a body double. No, it's not a body double. It's actually Rosie Perez. And— but

01:09:56.522 --> 01:09:59.997
she was crying. She was so— 'cause— and what she said in her autobiography,

01:10:00.109 --> 01:10:03.619
she said that she was angry at herself

01:10:03.700 --> 01:10:06.456
for not standing up for herself and not wanting to do the scene. So once

01:10:06.956 --> 01:10:09.229
she'd agreed to it and was doing it, she then got so angry that it

01:10:09.729 --> 01:10:12.531
was like tears of anger, basically. So they couldn't use any shots that included her

01:10:13.031 --> 01:10:16.786
face. 'Cause it obviously would've ruined the scene. Um, just to

01:10:17.286 --> 01:10:19.579
kind of wrap it up, like, she also— they both have come out with— Spike

01:10:20.079 --> 01:10:22.903
Lee apologized to her, talked about how, you know, he was young at the time

01:10:23.403 --> 01:10:26.082
as well, but he definitely sort of, like, insisted upon things that, you know,

01:10:26.098 --> 01:10:29.036
clearly in retrospect she was not that comfortable with, and that he could, you know,

01:10:29.068 --> 01:10:32.825
should have done it differently. They are still friends. They have— there is absolutely no

01:10:32.841 --> 01:10:35.651
bad blood between Perez and Lee. Nice. So, like, they figured it out and squashed

01:10:36.151 --> 01:10:38.685
it. But for a while, like, this was something that really sat poorly with her.

01:10:38.750 --> 01:10:41.591
with her, uh, in the way that this worked out. And so I think it's

01:10:42.091 --> 01:10:44.624
just an interesting sort of like footnote because this is supposed to be sexy and

01:10:44.640 --> 01:10:47.530
it is supposed to be goofy in a friendly way. Like, you know, it's a

01:10:47.546 --> 01:10:50.868
very lighthearted moment in a movie with not a lot of lighthearted moments. Him naming

01:10:50.901 --> 01:10:53.886
the body parts and then showing like— it's an interesting way to do the scene.

01:10:53.950 --> 01:10:56.631
But oh, that's, that's very good, uh, background. Yeah,

01:10:56.647 --> 01:10:59.376
because I was fully convinced. I was like, oh, it's got to be a body

01:10:59.392 --> 01:11:01.270
double because why would you not show her face? I thought the same thing,

01:11:01.318 --> 01:11:03.774
and that's when I went down the rabbit hole of figuring out, was that— did

01:11:04.274 --> 01:11:06.230
Rosie Perez use a body double and do the right thing? Was like the first

01:11:06.730 --> 01:11:09.360
Google search, and I started like looking through articles and different stuff, and it's like,

01:11:09.408 --> 01:11:12.290
no, it was definitely her, but that's why they couldn't use any shot that included

01:11:12.790 --> 01:11:15.710
her face. Yeah. All right, well, thanks for that research. That's great.

01:11:16.210 --> 01:11:19.190
Um, so, uh, we're back at Sal's now, right? Yeah,

01:11:19.690 --> 01:11:22.670
yeah. And, uh, and the cops are in there to pick up their food,

01:11:22.770 --> 01:11:25.930
and they're chit-chatting with Sal. They're obviously going there a lot, right? They're cops in

01:11:26.430 --> 01:11:29.590
the neighborhood and buddy-buddy. And of course they have to be talking about fucking Donald

01:11:30.090 --> 01:11:32.990
Trump here. I know, it's so weird because he said— because they say, how long

01:11:33.490 --> 01:11:34.850
are you going to be open, Sal? He goes, well, you know, like, whatever,

01:11:35.350 --> 01:11:36.730
we'll close tonight. No, no, no, no, no. How long are you going to stay

01:11:37.230 --> 01:11:39.100
in the neighborhood And he goes, oh, what are you talking about? I'm a real

01:11:39.600 --> 01:11:42.020
estate, you know, I own all this stuff. What am I gonna leave? Okay,

01:11:42.520 --> 01:11:44.800
Mr. Trump. Like, you know, kind of thing. Which is like, you know, for those,

01:11:45.300 --> 01:11:47.540
uh, listening who weren't around in the '80s, Donald Trump used to be this,

01:11:48.040 --> 01:11:51.240
uh, like rich, like famous rich guy in the '80s. Like kind of cartoonishly rich

01:11:51.740 --> 01:11:54.740
guy, famously like was a dick and stuff. So he got talked about a lot

01:11:55.240 --> 01:11:57.500
in the '80s and '90s. I don't know whatever happened to him, but yeah,

01:11:58.000 --> 01:12:00.180
that's— he was mentioned a lot in our movies. Nic, I have really bad news

01:12:00.680 --> 01:12:04.110
for you. What? I haven't read the paper, uh, since 2015. What's happened? We'll talk

01:12:04.610 --> 01:12:06.430
about it after the pod. Don't worry, folks, I'll fill them in. We'll talk about

01:12:06.930 --> 01:12:10.010
it later. Oh, man, that's gonna be a conversation. Anyway, so, yeah, so the cops

01:12:10.510 --> 01:12:13.790
are there, uh, and this is when Pino pulls Vito into the back, right?

01:12:14.290 --> 01:12:15.650
And he's kind of like, yeah, I gotta talk to you. And they— it looks

01:12:16.150 --> 01:12:17.630
like they're gonna get into a fucking fistfight at first. I mean, I know it's

01:12:18.130 --> 01:12:20.710
brothers, but they are going hard at each other. And Pino is basically trying to

01:12:21.210 --> 01:12:24.110
say to Vito, you can't trust Mookie. He'll stab you in the back. All their

01:12:24.610 --> 01:12:27.010
people do. I mean, he's being racist and everything. And Vito is basically like,

01:12:27.510 --> 01:12:29.490
look, he's got both guys in his ears now on other sides, right? He had

01:12:29.990 --> 01:12:32.200
Mookie in his ear earlier that if you keep letting people You know, do what

01:12:32.700 --> 01:12:34.440
he's gonna do, say what he's gonna say. Like, he's just gonna— he's gonna whoop

01:12:34.940 --> 01:12:37.040
your ass, he's gonna stay on top of you and whatever. Now he's got Pino

01:12:37.540 --> 01:12:40.320
saying, you can't trust Mookie, Mookie's gonna backstab you. So Vito is stuck between these

01:12:40.820 --> 01:12:44.260
two things. He basically goes to Pino, he's like, hey, I like Mookie, I trust

01:12:44.760 --> 01:12:47.340
Mookie, I don't think Mookie's got anything bad for me. I think you're wrong about

01:12:47.840 --> 01:12:50.280
Mookie in particular. At least he doesn't go as far as to say, I think

01:12:50.780 --> 01:12:53.540
you're wrong about Black folks altogether, right? But at least about Mookie, like, nah,

01:12:54.040 --> 01:12:56.200
come on, Mookie's like— he's like— he's like one of us. He's like, you know,

01:12:56.700 --> 01:12:58.760
he's one of the Sal's people. Like, what are you talking about, Pino? And so

01:12:59.260 --> 01:13:02.615
Pino does not get what he wants out of that interaction with Vito.

01:13:02.936 --> 01:13:06.066
Vito leaves the back room kind of not, you know, not listening to Pino,

01:13:06.082 --> 01:13:08.859
and Pino is stuck kind of like, goddamn it, you know? And, and Pino,

01:13:09.035 --> 01:13:12.245
a good example of like the evidence

01:13:12.745 --> 01:13:16.242
that those type of guys generally provide when they're making those arguments, because he says,

01:13:16.595 --> 01:13:19.756
read your history, it's historical. It's, it's the

01:13:19.788 --> 01:13:22.661
old version of do your own research. Now, now you get a fight with some,

01:13:22.998 --> 01:13:25.490
you know, asshole conservative online, it's like, well, do your own research. I was like,

01:13:25.990 --> 01:13:28.670
bro, you need to do your research because you're the one that said the mRNA

01:13:29.170 --> 01:13:33.060
vaccine turns everybody like sterile. You do the research because I'm pretty sure you're wrong.

01:13:33.170 --> 01:13:36.650
Like, fuck. Um,

01:13:37.150 --> 01:13:39.010
okay. Uh, I think we get radio and Bug in the back. Okay. Yeah.

01:13:39.510 --> 01:13:42.290
So now, now we're— shit's starting to pop off here, right? We're hitting— we're heading

01:13:42.790 --> 01:13:46.240
into a climax. We can feel things building. The night— it is now nighttime basically,

01:13:46.650 --> 01:13:49.830
or late dusk, right? It's twilight or night, whatever. And,

01:13:50.330 --> 01:13:53.480
uh, the day is wrapping and there is continued to be— there is more more

01:13:53.980 --> 01:13:57.920
tension as we're going on. And Buggin is trying to get people to

01:13:58.420 --> 01:14:01.440
do this boycott. He really wants to boycott Sal's, but Radio is like, yeah,

01:14:01.940 --> 01:14:03.820
man, I was pissed off. They made me turn my shit down last time I

01:14:04.320 --> 01:14:06.380
went in there. That pissed me off. What do we do about it? Yeah,

01:14:06.880 --> 01:14:09.920
yeah. And they're, um, and, and, uh, Buggin asks Raheem,

01:14:10.420 --> 01:14:13.460
he's like, do you have any other tapes? He's like, I, I like this one.

01:14:13.680 --> 01:14:16.690
He's like, yeah, but I hear it all the time. I like this one.

01:14:17.220 --> 01:14:20.600
Yeah. Uh, and what did they threaten up? They threatened to boycott,

01:14:21.100 --> 01:14:23.807
right? And they're yelling back and forth with Sal. Well, it's like right before that,

01:14:23.871 --> 01:14:27.319
Sal says he's going to change the name of Sal's Famous Pizzeria to Sal and

01:14:27.819 --> 01:14:31.248
Son's Pizzeria, right? And says specifically to Mookie, there will always be

01:14:31.748 --> 01:14:34.921
a job here for you, Mookie. Like, Pino is like, what the fuck? Like,

01:14:35.001 --> 01:14:37.310
I don't want to do this shit, and I'm not gonna— you know, I think

01:14:37.810 --> 01:14:40.565
in his mind he's thinking, when I take over, ain't no fucking Mookie working for

01:14:40.598 --> 01:14:43.292
me. Like, fuck this. Like, you know, but he is like clearly not pleased that

01:14:43.792 --> 01:14:47.285
his dad is talking about this long-term continued being in

01:14:47.785 --> 01:14:50.796
that neighborhood, continuing to work with, quote, these people, like whatever, right?

01:14:51.101 --> 01:14:54.691
Pino is not pleased with it. And this is when Rahim and Buggin

01:14:54.964 --> 01:14:58.410
and Smiley all show up in the place. Yeah. And Radio's got

01:14:58.910 --> 01:15:01.488
the boombox going, right? He's got his new batteries, so he's got Fight the Power

01:15:01.988 --> 01:15:05.271
just going, right? They're closed, right? And they go to let in

01:15:05.528 --> 01:15:08.878
like Martin Lawrence and like the 3 crew. They're like, hey, hey, like let us

01:15:08.926 --> 01:15:11.571
just get one slice, whatever. Yeah. So it's like, hey, they love my pizza.

01:15:11.635 --> 01:15:14.729
Yeah, 4 slices and then we're closed. Yeah, that's it. Hey, I could, I could

01:15:14.745 --> 01:15:18.750
use the $6. Let's open up. I need to give people more pizza.

01:15:19.250 --> 01:15:21.630
Right. So, so they come in, um,

01:15:22.130 --> 01:15:26.050
and, uh, and they're having their pizza. And then of course, since the

01:15:26.550 --> 01:15:29.630
door's open and they're inside, first of all, I would have been like, sure,

01:15:30.130 --> 01:15:32.910
but it's a to-go situation. Like, we're not posting up at the table. Yeah,

01:15:33.410 --> 01:15:36.190
yeah, yeah. Uh, well, especially because like they kind of like kick the garbage bag

01:15:36.690 --> 01:15:38.310
that Vito's— but I mean, they are a little shitty about the fact that they

01:15:38.810 --> 01:15:41.230
are trying to close up. These customers, they should have been like— because they got

01:15:41.730 --> 01:15:43.550
a fucking window there. He's got the window opens up. He could be like,

01:15:44.050 --> 01:15:45.888
yeah, wait right Right here. I'll make some slices and I'll give them to you

01:15:46.388 --> 01:15:48.963
out the window. Would have been, as it turns out for sure, much smarter.

01:15:49.430 --> 01:15:52.875
Yeah, much better here. Yeah. Um, so,

01:15:53.213 --> 01:15:56.666
uh, oh, and we have, uh, Buggin', Raheem, and Smiley,

01:15:57.086 --> 01:16:00.411
um, where they're, where they're kind of yelling back and forth and he's like,

01:16:00.508 --> 01:16:03.285
I'll fuck you up quick. Yeah, yeah, right. And then Buggin' goes,

01:16:03.479 --> 01:16:06.847
2 times. Or Raheem goes, I'll fuck you up quick. And Buggin' goes, 2 times.

01:16:06.977 --> 01:16:10.826
And Smiley's like, 3 It's

01:16:10.890 --> 01:16:14.259
a good moment. I say that actor was making that like

01:16:14.324 --> 01:16:18.527
a— It's not cartoonish. No, it's not. Really well done. It's like a respectful

01:16:19.040 --> 01:16:22.987
portrayal of a person with a speech impediment and probably with, with some learning disability

01:16:23.487 --> 01:16:26.356
or other mental handicap. I mean, the guy nails it for sure. Um,

01:16:26.837 --> 01:16:29.436
and it's interesting the way that Sal is talking about this because it's kind of

01:16:29.936 --> 01:16:32.388
like the big theme of the movie is that like, okay, well, if you're a

01:16:32.888 --> 01:16:35.179
son of Sal, like, you will be an owner of this pizza place someday.

01:16:35.516 --> 01:16:38.628
If you're just a guy who works here exactly as much as the sons and

01:16:39.128 --> 01:16:41.757
does exactly the same shit as them, you will always have a job as an

01:16:42.257 --> 01:16:45.687
employee here someday. So it's like there's no way for the,

01:16:45.767 --> 01:16:49.024
the Black people to get any kind of ownership of their actual neighborhood,

01:16:49.120 --> 01:16:53.131
right? 100%. Um, yeah, so, uh, so yeah, Buggin' and Raheem

01:16:53.211 --> 01:16:56.098
walk in and they're ready to fucking fight, right?

01:16:56.371 --> 01:16:59.612
They've got— he's got the boombox blasting. We've got some back and forth,

01:16:59.644 --> 01:17:02.997
like screaming back and forth. Turn that shit down. And Buggin's like, put some

01:17:03.013 --> 01:17:05.932
Black people on the fucking Wall of Fame. Like, put some Black people on that

01:17:06.045 --> 01:17:09.186
wall, right? And Sal drops the N-word. I think the only time he

01:17:09.686 --> 01:17:12.391
does in this movie is here. And then gets the bat and is like,

01:17:12.407 --> 01:17:15.964
I'm gonna fucking stop this. And they're screaming, screaming, screaming. And he starts wailing on

01:17:15.996 --> 01:17:20.018
the boombox. I mean, destroys the boombox. Yeah. With that bat, completely destroys

01:17:20.518 --> 01:17:24.136
it. And everybody is silent. Everybody is— I mean, everybody's looking.

01:17:24.713 --> 01:17:28.495
Everyone's looking around to see, well, what's the next thing that happens? Because nobody's quite

01:17:28.995 --> 01:17:32.533
sure what should happen next. Right. And then

01:17:32.741 --> 01:17:35.357
Ray Radio bursts across the counter,

01:17:35.389 --> 01:17:38.951
grabs Sal by the neck, drags him out, and they're

01:17:39.063 --> 01:17:41.984
out into the street in just moments. Yeah. And it is a huge fight.

01:17:42.128 --> 01:17:45.514
Basically, Radio Raheem is choking Sal potentially to death.

01:17:45.562 --> 01:17:48.370
I mean, he really has his hands around his throat. Yeah, he's much bigger than

01:17:48.870 --> 01:17:51.869
him. He's on top of him. Yeah. Um, and the whole neighborhood is out now

01:17:51.917 --> 01:17:54.950
in this fight, and there's people trying to, trying to pull it, you know,

01:17:54.966 --> 01:17:58.640
trying to, uh, trying to break it up and everything. The cops arrive, uh,

01:17:58.656 --> 01:18:01.802
pretty quickly. Yes. So the whole neighborhood hood's out, the cops are there,

01:18:01.947 --> 01:18:05.496
and the cops come and they pull Radio Raheem off of Sal, right?

01:18:05.641 --> 01:18:09.190
And they immediately have their nightsticks around his neck, right? So they're choking

01:18:09.238 --> 01:18:12.466
him, like he's subdued. He's still trying to get back to Sal,

01:18:12.546 --> 01:18:15.870
but like there's plenty of cops there that he is fully overpowered. Yes,

01:18:16.320 --> 01:18:19.002
you know, they could get him into a car, whatever. And as big as Radio

01:18:19.050 --> 01:18:22.583
is, the, the cop played by Rick Aiello is even bigger. Yeah. And so

01:18:23.083 --> 01:18:26.678
he has him around the neck with that nightstick and off the ground. Yeah,

01:18:26.743 --> 01:18:30.435
because you can see his feet are inches above the ground, right? And, and they're

01:18:30.935 --> 01:18:34.095
choking him to death. And it's crazy. I mean, just watching this, this scene,

01:18:34.448 --> 01:18:37.739
and the people around him are screaming like, you can't do that shit! Like,

01:18:37.819 --> 01:18:41.415
let him go! He's dying! You're killing him! Like, whatever. And as,

01:18:41.671 --> 01:18:44.689
uh, Buggin' Out is getting like put into the car,

01:18:44.721 --> 01:18:47.450
he's being arrested, right? And he's like, what the fuck, right?

01:18:48.189 --> 01:18:51.881
They, they fucking killed, uh, Radio Raheem. Yes. And, um,

01:18:51.897 --> 01:18:54.754
they drag his body into one of the cop cars. Not like an ambulance,

01:18:54.770 --> 01:18:57.982
not an EMT. response, just throw his body into the back of a

01:18:58.482 --> 01:19:01.452
cop car. Pure self-preservation by these cops, right? Ridiculous.

01:19:01.661 --> 01:19:05.371
Avoiding accountability and self-preservation. They don't call for medical

01:19:05.871 --> 01:19:08.905
assistance, whatever. They throw this man's body into the car and they,

01:19:09.066 --> 01:19:12.873
and they leave. And this aftermath is you have, you know, this, this very

01:19:12.985 --> 01:19:15.860
well-known person in the society who's been murdered in front of everybody,

01:19:16.455 --> 01:19:19.956
and this chaos at the pizza place. This is where Smiley,

01:19:20.374 --> 01:19:23.634
after this scene, is so distraught. I I

01:19:23.682 --> 01:19:26.632
fucking lost it. This was the scene where I was like,

01:19:26.872 --> 01:19:30.623
holy shit. Like the— again, this actor, I need to learn his

01:19:30.735 --> 01:19:34.438
name because I brought him up so many times. But that was just so powerful.

01:19:34.486 --> 01:19:38.205
It's just like this guy who doesn't really have a full understanding

01:19:38.705 --> 01:19:42.004
of what's going on necessarily and has seen this incredibly traumatic thing.

01:19:42.276 --> 01:19:45.931
And the other thing is there's nobody for Smiley. No. Yeah, there's nobody looking after

01:19:46.431 --> 01:19:48.736
him. He is kind of on his own. He might have a parent or grandparent

01:19:49.009 --> 01:19:52.118
back at the house, but there's nobody He's out on the streets

01:19:52.618 --> 01:19:56.173
on his own. And he gets shit from a lot of the groups, except Buggin',

01:19:56.446 --> 01:19:59.635
Raheem, and Mookie all treat Smiley very well. And Sal did too. I mean,

01:19:59.651 --> 01:20:03.081
to be fair, Sal also treated Smiley well. But like, among the Black community,

01:20:03.113 --> 01:20:06.351
really, Smiley's an outsider to a lot of these people, except for,

01:20:06.799 --> 01:20:09.684
you know, Radio and Buggin' and Mookie. And now Radio's dead. So it's like,

01:20:09.829 --> 01:20:12.762
of the 3 people that seem to care about Smiley at all,

01:20:13.755 --> 01:20:17.346
one's dead, the other's been arrested. He doesn't know when, if he'll see Buggin' again.

01:20:17.842 --> 01:20:20.487
And then there's Mookie, but it's like, yeah, he is just a stranger. And we

01:20:20.987 --> 01:20:23.533
have another point here where— and I love the way Spike Lee did this in

01:20:23.549 --> 01:20:27.044
these 2 different moments really close to each other— it's another moment of silence.

01:20:27.557 --> 01:20:31.164
Everybody looking around, not knowing what's gonna happen next. Like, where do we go from

01:20:31.664 --> 01:20:34.931
here? What is the response to this? Yeah. And Mookie, of all

01:20:35.431 --> 01:20:38.426
people, walks across the street, dumps out a trash can,

01:20:39.019 --> 01:20:41.728
walks right up to Sal's, and just launches it through the window.

01:20:42.289 --> 01:20:45.447
And it starts a complete and absolute riot. Yep.

01:20:45.656 --> 01:20:48.219
Um, people are destroying Sal's pizzeria.

01:20:48.700 --> 01:20:52.866
Um, and at one point it's actually Smiley that lights a match and

01:20:53.366 --> 01:20:54.564
just drops it on like a bunch of like— I don't know if it's like

01:20:55.064 --> 01:20:59.259
napkins or rags or whatever, but like the place goes up in flames

01:20:59.291 --> 01:21:03.136
super fast. And, and Sal and the boys are kind of like across

01:21:03.636 --> 01:21:07.126
the street now, like looking at this happen, right? Uh, and nobody's,

01:21:07.142 --> 01:21:10.795
nobody's going after Sal or Pino or Vito right now. Um,

01:21:10.827 --> 01:21:14.192
but they're watching this happen and, you know, the, the people in the neighborhood Like

01:21:14.692 --> 01:21:17.844
you said, this is not this is not a do the right thing type moment,

01:21:17.876 --> 01:21:21.321
but this is also like yeah, I understand this. It's a

01:21:21.821 --> 01:21:25.102
response that has a valid core to it, right? It's a

01:21:25.230 --> 01:21:28.658
potentially inevitable result of what's been happening,

01:21:28.771 --> 01:21:32.135
right? Yeah. Even though it's like on an individual basis, you're like

01:21:32.635 --> 01:21:35.980
yeah, I probably wouldn't do that, but that many people someone's gonna fucking do that,

01:21:35.996 --> 01:21:39.793
right? So it's interesting that it's Mookie. And then there's a moment here where some

01:21:39.825 --> 01:21:42.933
of the crowd, including ML, who we know has an issue with the Korean grocers,

01:21:42.949 --> 01:21:46.340
they turn towards the Korean grocer and is like. You're next kind of thing.

01:21:46.840 --> 01:21:50.120
And the Korean guy keeps saying, "I'm black, I'm black, I'm like you." And they're

01:21:50.620 --> 01:21:52.280
like, "What do you mean you're black?" But it's like what he's saying is,

01:21:52.680 --> 01:21:55.360
"The whites hate me just as much as the whites hate you, man. The cops

01:21:55.860 --> 01:21:58.200
bug me just as much. Like we're on the same side of this, even if

01:21:58.700 --> 01:22:01.360
we're not totally the same." Right. But he doesn't have the mastery of the English

01:22:01.860 --> 01:22:04.140
language to like fully say all that. So he keeps saying like what he means

01:22:04.640 --> 01:22:07.480
to be saying is, "I'm not white, I'm not white," which is also more accurate

01:22:07.980 --> 01:22:10.840
maybe. But he's just trying to point out like they fuck with us too,

01:22:11.340 --> 01:22:14.280
man. They they are they don't respect me either. We're on your side of this.

01:22:14.780 --> 01:22:17.220
All that was bullshit, you know. And it's not like you know, but that's And

01:22:17.236 --> 01:22:20.875
that's an example of this tension spilling out into places where it's not

01:22:21.019 --> 01:22:24.787
constructive, right? There would, and to the crowd's credit, they do not

01:22:25.287 --> 01:22:28.249
attack the Korean grocery, but it looks like for a moment they might. And it

01:22:28.298 --> 01:22:31.456
really, that would be incredibly counterproductive, even more so than

01:22:31.664 --> 01:22:35.111
enacting on Sal's, the vengeance for Radio's death. Right.

01:22:35.207 --> 01:22:39.375
Right, that at least has a through line of logic that attacking the Korean grocer

01:22:39.875 --> 01:22:42.758
would not. Yeah. And like I said, to their credit, they don't. This is when

01:22:43.258 --> 01:22:46.915
the fire— fire— yeah, people show up, the firemen, right? So the firemen

01:22:47.415 --> 01:22:50.367
show up and they're— and they're trying to put the fire out. Yes. But also

01:22:50.383 --> 01:22:54.107
the crowd is very unruly behind them. And then again,

01:22:54.316 --> 01:22:58.072
Spike Lee being fucking brilliant and tying it together from like the joy we saw

01:22:58.572 --> 01:23:01.652
from the open fire hydrant earlier in the movie to now flashing

01:23:01.764 --> 01:23:05.633
back to like the '60s and Black people being sprayed with fire hoses

01:23:06.133 --> 01:23:09.742
to keep them away from, you know, whatever they're doing. Yeah. So the firemen now

01:23:09.790 --> 01:23:12.824
are kind of turning against the crowd to keep spraying them with— it's just this

01:23:13.324 --> 01:23:16.543
horrific scene. of just chaos and people screaming, uh, sister,

01:23:16.575 --> 01:23:19.492
mother, or mother, sister. No! No! Just like,

01:23:20.198 --> 01:23:23.323
oh, man. There was— I, I— when I was watching this, I immediately picked up

01:23:23.823 --> 01:23:26.673
on the reference to, to the riots in the '60s and using fire hoses as

01:23:26.769 --> 01:23:30.360
crowd control. Um, it was actually only when we were talking earlier in this

01:23:30.456 --> 01:23:33.758
episode about the fire hydrant scene at the beginning that I really put two and

01:23:34.258 --> 01:23:38.502
two together on that part of it, where, you know, Lee juxtaposing that joyous

01:23:38.726 --> 01:23:42.493
use of the exact same physical mechanism, right? The fire hydrant. Now, they didn't have

01:23:42.993 --> 01:23:45.250
a hose, but it came out of the hydrant fast, hard, you know, whatever.

01:23:45.298 --> 01:23:48.200
But it was like a moment of joy because it was like something that they

01:23:48.248 --> 01:23:52.560
were doing because they intended to do it as a community. It was like self-inflicted,

01:23:52.576 --> 01:23:55.670
essentially, but just not violent and whatever. Yeah.

01:23:55.734 --> 01:23:59.116
And then to have that same physical mechanism turned on them

01:23:59.165 --> 01:24:02.707
by the powers that be is what turns it mostly into something that's horrific.

01:24:02.932 --> 01:24:05.929
And I thought it really was a great juxtaposition. But I'll be honest, I caught

01:24:06.042 --> 01:24:09.664
the historical, you know, sort of reference to it much quicker in the

01:24:10.164 --> 01:24:13.079
moment. And it was more on rethinking through everything when we got to the fire

01:24:13.579 --> 01:24:16.398
hydrant conversation. Conversation earlier in this episode. I was like, oh shit. And then like

01:24:16.879 --> 01:24:20.423
in just a few hours they're gonna be attacked by that same fire hydrant essentially,

01:24:20.567 --> 01:24:23.358
right? Right. Yeah. Um, yeah, great.

01:24:23.454 --> 01:24:27.382
Really, really powerful, chaotic scene. I think one of the last parts

01:24:27.882 --> 01:24:29.964
that we see here— so Mookie and Jade are just kind of sitting on the

01:24:30.464 --> 01:24:33.973
steps like watching all the chaos. And, uh, and one of the last things of

01:24:34.037 --> 01:24:37.405
this scene is we see Smiley walk into Sal's

01:24:37.469 --> 01:24:42.312
with his picture of Martin, uh, Luther King and Malcolm

01:24:42.812 --> 01:24:43.517
and he sticks it on the wall, on the Wall of Fame there. Yep.

01:24:43.662 --> 01:24:46.037
So they get their picture up on the wall. So they get their picture on

01:24:46.054 --> 01:24:49.505
the wall there. And there's a great, a great little moment between, uh, Demayor and

01:24:49.521 --> 01:24:53.389
Mother's sister where Demayor comforts her because, you know, she's distraught just over

01:24:53.614 --> 01:24:56.214
all the violence and all the things happening. This building is now on fire in

01:24:56.246 --> 01:24:59.793
their neighborhood. And, and, and imagine people that age, yeah, what they've

01:25:00.293 --> 01:25:03.806
seen. Yeah, right. And the same kind of shit like over their entire life and

01:25:04.306 --> 01:25:07.915
just hoping every year that like it gets better. And then something like this happens,

01:25:07.964 --> 01:25:11.587
you just lose your You're fucking— Yep. Ugh. And then, uh, we cut to the

01:25:12.087 --> 01:25:15.322
next morning. Um, I think maybe first we see Demare and Mother Sister together in

01:25:15.338 --> 01:25:18.977
the morning. Apparently they comforted each other over the night at Demare's apartment.

01:25:19.586 --> 01:25:22.840
Uh, there, Mookie and Tina— wakes up with Tina because he promised

01:25:22.872 --> 01:25:25.180
her he'd be back that night, and he did come back. It's good for him.

01:25:25.677 --> 01:25:29.235
Um, but I love that Mookie is like, I gotta go get paid. Sal owes

01:25:29.735 --> 01:25:32.072
me my money from last week. Yeah. And I'm thinking to myself, bro, you're the

01:25:32.169 --> 01:25:35.326
one that threw the trash can through the window. I would not expect to get

01:25:35.826 --> 01:25:39.560
paid for that week. And when Mookie goes to get the money from Sal,

01:25:39.961 --> 01:25:43.393
and Sal pays him, I am so conflicted

01:25:43.893 --> 01:25:46.745
about how I feel about that. Like, there's a part of me that says,

01:25:47.082 --> 01:25:50.242
this is Sal being a stand-up guy. There's part

01:25:50.742 --> 01:25:54.556
of me that says, this is Sal deliberately insulting Mookie, showing him, yeah, here's your

01:25:55.056 --> 01:25:58.101
pittance. Mm-hmm. Right? I've got plenty of money, so fuck off.

01:25:58.245 --> 01:26:01.100
Like, you know, kind of thing. There's a lot. And then for Mookie, it's both

01:26:01.132 --> 01:26:03.666
like, yeah, you were owed that money. You worked that week. You should have been

01:26:03.682 --> 01:26:07.410
getting paid. And also, like, how dare you? Dare you? You started the riot that

01:26:07.910 --> 01:26:11.430
burned this man's building, you know, his entire business down, right? And so many conflicting

01:26:11.930 --> 01:26:15.170
things. He's like, you couldn't begin to pay for that window, right? And he's just

01:26:15.670 --> 01:26:19.490
like, you have fucking insurance, just pay me my money. Yeah, like, and you know,

01:26:19.990 --> 01:26:23.590
realistic too, right? Sure, businesses are insured. Yeah, but, uh, but yeah, the way that

01:26:24.090 --> 01:26:26.670
he's paying Mookie, it is like, is he trying to insult? Because he wads up

01:26:27.170 --> 01:26:30.510
the $100 bills and Sal says, or, uh, Mookie says, I, I'm owed $250.

01:26:30.700 --> 01:26:34.300
That's right. Yeah. And, uh, Sal throws $500 at him, right? Wads him

01:26:34.800 --> 01:26:37.700
up. And Mookie's like, picks $300. He's like, I'll owe you $50. Yeah. That's right.

01:26:38.200 --> 01:26:40.000
Take the rest of it back. I don't want more than I'm owed. Yeah.

01:26:40.500 --> 01:26:43.500
And they have this back and forth and then Mookie's just like, yeah, I'm gonna

01:26:44.000 --> 01:26:46.580
go see my, uh, I'm gonna go see my kid. Yeah. And he picks up

01:26:47.080 --> 01:26:49.720
the other $200 off the ground. Well, I mean, when push comes to shove,

01:26:50.220 --> 01:26:51.510
he's not gonna leave it there. No. You know what I mean? That's the thing.

01:26:51.560 --> 01:26:53.960
No, not at all. If Sal's really not picking it up, Mookie'll take it.

01:26:54.460 --> 01:26:56.680
But like, yeah. Yeah. I mean, this is Sal. This is the do the right

01:26:57.180 --> 01:27:00.473
thing moment for Sal. Yeah. Honestly. where he's like, yeah, this guy destroyed my whole

01:27:00.505 --> 01:27:03.776
business, but he did work. I do owe him for what— for

01:27:04.276 --> 01:27:05.731
the work he did. I mean, I get it. That's what I'm saying. Like,

01:27:05.940 --> 01:27:09.498
you know, it's— it's— Sal is a very— I'm very, very conflicted about Sal

01:27:09.998 --> 01:27:13.089
as a character. He obviously also is deeply racist. You know, he's not as open

01:27:13.589 --> 01:27:16.824
about it as Pino. He's got elements of his personality, Sal does,

01:27:17.497 --> 01:27:20.880
that clearly— maybe it's this way. Maybe it's, yes,

01:27:20.928 --> 01:27:24.503
he's racist deep down, but more regular people

01:27:24.631 --> 01:27:27.837
cross that good— one of the good ones line for him than for Pino.

01:27:28.141 --> 01:27:30.209
Like, you know what I mean? It's like maybe his bar for whatever that is

01:27:30.290 --> 01:27:33.451
his mind is lower, so therefore more regular people in the neighborhood he's

01:27:33.951 --> 01:27:37.511
all good with. Because it really did seem like on a person-to-person level, outside of

01:27:37.543 --> 01:27:40.977
Buggin' and Radio, he was pretty much cool with the people that came

01:27:41.477 --> 01:27:44.331
in, right? Oh, for sure. But clearly deeply ingrained racism.

01:27:44.379 --> 01:27:47.782
Deeply ingrained. Yeah. And I mean, generations of it probably,

01:27:47.894 --> 01:27:50.574
like, leading up to Sal. Um, so,

01:27:51.103 --> 01:27:54.666
so that is, uh, that's it. We get kind of a voiceover now by,

01:27:54.875 --> 01:27:58.807
by, uh, Mr. Dr. Love Daddy. And then

01:27:59.307 --> 01:28:02.420
we've got a couple of quotes up on the screen about, you know,

01:28:02.484 --> 01:28:05.759
the use of violence, one by Martin Luther King and one by Malcolm X as

01:28:05.775 --> 01:28:09.484
the movie ends. And there's deliberately no resolution here, right? Like,

01:28:09.548 --> 01:28:12.759
the 2 quotes are in conflict with each other. Martin's quote is specifically

01:28:12.775 --> 01:28:16.340
that violence is never the reason to do something, never the answer, never the right

01:28:16.388 --> 01:28:19.374
path, because it always begets more violence. It's always destructive.

01:28:19.759 --> 01:28:23.276
And Malcolm X's thing is like, I'm not supporting violence, but in self-defense,

01:28:23.308 --> 01:28:26.390
violence is not violence. It is defense. And that is something we absolutely have

01:28:26.422 --> 01:28:29.596
to do, right? So yeah, exactly. It's like if

01:28:29.692 --> 01:28:33.315
you refuse to use violence at all, you're opening yourself up for violence

01:28:33.815 --> 01:28:37.612
to be used against you. Exactly. So, um, so yeah. And then,

01:28:37.724 --> 01:28:40.481
and then the end of this film, a very Spike Lee thing, is where,

01:28:40.754 --> 01:28:44.281
you know, it says dedicated to the families of, and it lists, uh, these 6

01:28:44.781 --> 01:28:48.385
people: Eleanor Bumpurs, Michael Griffith, Arthur Miller, Edmund Perry, Yvonne Smallwood,

01:28:48.401 --> 01:28:51.687
and Michael Stewart. And I looked into these cases, and they all just talk

01:28:52.187 --> 01:28:55.282
about one of them. But, um, these are all people, you know, who were killed

01:28:55.667 --> 01:28:59.519
not necessarily by the police. Some were killed by, you know, different like racially motivated

01:28:59.535 --> 01:29:02.970
things, but all happened in New York. Eleanor Bumpurs, I think, was in the '70s.

01:29:03.307 --> 01:29:06.003
Uh, she was an old woman who was being evicted from her apartment,

01:29:06.581 --> 01:29:10.176
and the sheriff's deputies like forced her out and during the eviction,

01:29:10.513 --> 01:29:13.659
uh, shot and killed her during that. Yeah. Which is like, I,

01:29:13.739 --> 01:29:16.869
I'm very sad for her, but on the other hand, you know, the landlord wouldn't

01:29:17.369 --> 01:29:20.460
have been able to get Mark if he didn't get her. It's like, it's so

01:29:20.476 --> 01:29:23.842
disgusting to me. I mean, how much of this stuff happens in the fucking service

01:29:23.986 --> 01:29:27.128
of property? Yeah. Of protecting private property, right? And that's near the end of the

01:29:27.628 --> 01:29:30.798
film before it actually cuts to the quotes from King and Malcolm X.

01:29:31.375 --> 01:29:34.885
We hear the radio from like regular New York, not Senior

01:29:35.385 --> 01:29:37.642
Love Daddy, but like, you know, it says like, you know, the mayor's gonna look

01:29:37.690 --> 01:29:41.152
into like the disturbance in Bed-Stuy, Brooklyn last night and quote,

01:29:41.457 --> 01:29:44.550
you know, New York will not— New York City will not stand by

01:29:44.662 --> 01:29:47.629
while any property is destroyed. Right. And it's about, the properties, right? It's not about

01:29:48.129 --> 01:29:49.972
people, it's about the property. The one that— I don't know if you were going

01:29:50.472 --> 01:29:52.604
to keep going with those names, but Michael Stewart's the one that I think is

01:29:53.104 --> 01:29:56.023
important to call out. He died in exactly the way Radio Raheem died,

01:29:56.312 --> 01:29:59.827
with that chokehold. And that chokehold was outlawed specifically because of Michael

01:30:00.327 --> 01:30:03.695
Stewart's murder. Yeah. So the, the way that Raheem was killed was a—

01:30:03.855 --> 01:30:06.921
is a move that police in the early— from the early '90s on were not

01:30:07.421 --> 01:30:10.724
allowed. Like, it's illegal to do that. You cannot use, uh, a weapon,

01:30:10.821 --> 01:30:14.481
any kind of weapon or hard object directly on the throat or neck anymore.

01:30:15.958 --> 01:30:19.490
And so that— and it was Michael Stewart, was that case. And so, yeah,

01:30:19.507 --> 01:30:22.927
it's, you know, it's Spike Lee. Everything has a connection.

01:30:23.039 --> 01:30:26.620
Everything has a tie to real world, to the real culture, to real history.

01:30:27.438 --> 01:30:31.276
And there's— Spike Lee is nothing if not aware. Yeah.

01:30:31.453 --> 01:30:35.210
Everything he does, he is eminently and predominantly aware of

01:30:35.242 --> 01:30:39.289
how he and it and everything else fits into the broader broader conversation,

01:30:39.338 --> 01:30:42.697
the bigger historical picture. Like, this is a man who— there is nothing that

01:30:43.197 --> 01:30:46.473
is done by accident. This is all absolutely done with all of that context and

01:30:46.973 --> 01:30:50.489
culture in mind, and it makes for a spectacular film. Yeah, definitely.

01:30:51.553 --> 01:30:54.360
Well, that is it. That is it for Do the Right Thing. We have done

01:30:54.393 --> 01:30:58.029
the right thing, and here we are. It's time

01:30:58.529 --> 01:31:02.243
to rate. Yeah. So yeah, I'm really glad that

01:31:02.743 --> 01:31:06.707
we did this one. Yeah. I, I know I saw

01:31:07.207 --> 01:31:10.448
it once before, but I needed to see this again. And I actually watched this

01:31:10.480 --> 01:31:13.659
twice leading up to the pod because I wanted to have one full

01:31:13.691 --> 01:31:17.094
viewing, like no notes, just kind of like soak it in and everything.

01:31:17.608 --> 01:31:20.803
Um, and it's incredibly powerful and incredibly relevant. You know,

01:31:21.012 --> 01:31:24.817
it's crazy how like you change the outfits and you can make this movie

01:31:24.849 --> 01:31:27.787
about like today. Oh yeah. Although, I mean, honestly,

01:31:28.798 --> 01:31:32.443
the way that things have evolved where we've seen all these like livestream,

01:31:32.716 --> 01:31:36.907
you know, police snuff films over the this

01:31:37.052 --> 01:31:40.843
one probably wouldn't have even made the news just because, like, well, Radio Raheem

01:31:40.987 --> 01:31:45.164
was actually in a threatening sound.

01:31:45.324 --> 01:31:48.698
And it's crazy to think that, 'cause ultimately, they could have dealt with

01:31:49.198 --> 01:31:51.669
this. They could have arrested him. They could have de-escalated the situation. He was still

01:31:52.169 --> 01:31:54.769
executed in the street, right? He was executed in the fucking street, you know?

01:31:55.348 --> 01:31:58.785
And these things like the chokehold, that was, I think, the issue with

01:31:58.881 --> 01:32:02.785
Eric Garner, who was murdered in New York City in 2016 or 2017.

01:32:03.794 --> 01:32:07.162
And then we have like this, this effort

01:32:07.662 --> 01:32:11.219
to like posthumously make these people into criminals who are victims

01:32:11.267 --> 01:32:13.784
of police violence. Michael Brown, I think Ferguson,

01:32:14.602 --> 01:32:18.114
Missouri, 2014. And he was accused of like, well, he was stealing

01:32:18.226 --> 01:32:21.594
Swishers from the fucking store. It's like, what the fuck are we

01:32:21.658 --> 01:32:24.400
doing? Why is that a death penalty? What are we doing, dude? Yeah. So,

01:32:24.624 --> 01:32:27.719
um, I think this movie is just like, it's very powerful.

01:32:27.767 --> 01:32:31.217
It hits super hard. I mean, it hits harder knowing that none of this stuff

01:32:31.717 --> 01:32:35.730
has been resolved. We still see this all the time. Right. And— but

01:32:36.036 --> 01:32:39.296
God, so well done. And really, like, for as heavy of a

01:32:39.328 --> 01:32:42.010
movie as it is at the very end, I think it's an enjoyable watch.

01:32:42.123 --> 01:32:45.817
I really like— I really like Spike Lee as a filmmaker and as

01:32:46.317 --> 01:32:48.451
an actor in this. Honestly, I think he's very good.

01:32:49.832 --> 01:32:53.397
I am going to give— Do the Right Thing is a 4.5 out of 5

01:32:53.446 --> 01:32:56.369
for me. And I think honestly, in a couple of years, if I watch it

01:32:56.869 --> 01:33:00.237
a couple more times, it might creep more towards 5 territory. Because I've been thinking

01:33:00.737 --> 01:33:03.220
about this a ton since I've seen it. Yeah, so I mean, a few things

01:33:03.316 --> 01:33:05.801
I want to kind of echo or kind of talk about that you mentioned there.

01:33:05.882 --> 01:33:08.688
One thing is like, I was thinking for— this movie stuck with me hard,

01:33:08.704 --> 01:33:10.724
and it actually made me tear up a little bit about an hour and a

01:33:10.773 --> 01:33:13.659
half to 2 hours after I finished watching it. I just kept thinking about it

01:33:14.159 --> 01:33:16.866
and thinking through. And initially I thought to myself, the worst part is, is that

01:33:17.366 --> 01:33:20.555
nothing's gotten better in like 37 years or whatever. And my wife and I

01:33:21.055 --> 01:33:23.810
had a conversation about that, and she basically pointed out to me like, that's not

01:33:23.922 --> 01:33:27.673
really true. It's not that everything's better. But things have improved.

01:33:28.249 --> 01:33:31.758
When you live in a racist society, you have to celebrate every

01:33:31.774 --> 01:33:35.331
win and every bit of progress, because despair is a luxury.

01:33:35.636 --> 01:33:39.209
Sure. Okay? And, you know, things like that chokehold being outlawed, the fact that,

01:33:39.225 --> 01:33:41.965
yeah, we're just more aware of when these things happen. When Spike Lee made this

01:33:42.465 --> 01:33:45.858
movie, no one outside of the Black community that it was occurring to really understood

01:33:45.890 --> 01:33:49.687
what the police were doing to the Black community. Now, at least it's known across

01:33:49.816 --> 01:33:53.260
the country, and there are places where it's getting better. And I'm not saying that

01:33:53.760 --> 01:33:57.675
it's better-better, But it's like progress is getting made in small doses, not fast enough

01:33:57.755 --> 01:34:00.951
and not complete enough. But I think that if we allow ourselves to sort of

01:34:01.451 --> 01:34:04.548
think of this as not getting better at all, we miss out on,

01:34:05.046 --> 01:34:08.772
you know, recognizing the progress made and the sacrifices made by the people

01:34:09.272 --> 01:34:11.470
along the way. And so that's just something that I kind of wanted to call

01:34:11.970 --> 01:34:14.682
out because I felt quite a bit of despair kind of after watching this.

01:34:14.763 --> 01:34:18.103
But the reality is that it is better today than it was then.

01:34:18.633 --> 01:34:21.811
It is not a non-racist society in any way. any way, shape, or form,

01:34:22.308 --> 01:34:25.995
but we are seeing things getting better in some ways. And I think that

01:34:26.495 --> 01:34:29.907
we do need to kind of recognize that, personally, myself anyway. Yeah,

01:34:29.923 --> 01:34:33.802
I mean, yeah, there's been improvements. I guess my kind

01:34:34.302 --> 01:34:37.185
of— I'm more from the despair sense, just that we've seen these things that are

01:34:37.297 --> 01:34:40.888
on fucking video. We have video evidence of it,

01:34:40.984 --> 01:34:44.447
and still there's no justice for these people, you know? So that's what's

01:34:44.511 --> 01:34:48.903
like extra disgusting to me, because this situation would have been

01:34:49.403 --> 01:34:50.905
a word of, you know, the cop's word versus the community's word, and that's always

01:34:50.953 --> 01:34:54.383
going to go the cop's way. But if you have a videotape and

01:34:54.883 --> 01:34:58.052
it still doesn't go the way of justice, it's fucking crazy and maddening to me.

01:34:58.613 --> 01:35:01.321
Um, but yeah, I mean, there have been people who've been working very hard on

01:35:01.353 --> 01:35:04.606
this decades before this and decades after we're long dead,

01:35:05.103 --> 01:35:07.827
uh, that do need to be recognized for like what they've done to try to

01:35:08.327 --> 01:35:12.057
like mitigate this a little bit. For sure. Uh, as a movie, uh, I love

01:35:12.153 --> 01:35:15.800
the sort of like Aristotelian kind of Greek tragedy-like elements of

01:35:16.300 --> 01:35:19.660
this, our dual chorus, you know, even like there's

01:35:20.160 --> 01:35:22.760
all these kind of references to things that are great. Like, you know, Tina dancing

01:35:23.260 --> 01:35:26.320
at the beginning is very reminiscent of the opening of Bye Bye

01:35:26.820 --> 01:35:29.420
Birdie. I think it's Ann-Margret dances at the beginning of that. Like, you know,

01:35:29.920 --> 01:35:31.960
there's all these kind of things. Spike Lee is just such an intelligent filmmaker and

01:35:32.460 --> 01:35:34.980
such a— He's a movie guy for sure. Like, back to the first movie ever

01:35:35.480 --> 01:35:38.780
made. Exactly. He's really, yeah. Total cinema head, and it shows.

01:35:39.280 --> 01:35:42.712
And then there's so much that's very classically story-based. about this. I loved this

01:35:42.808 --> 01:35:45.870
movie. There is nothing about this movie that I would ask to be different.

01:35:46.655 --> 01:35:48.803
And so I'm gonna be a 5 out of 5 on Do the Right Thing.

01:35:48.915 --> 01:35:51.399
I really enjoyed it. All right. Thank you so much for bringing it to the

01:35:51.899 --> 01:35:55.213
podcast because I don't know that I would have gotten around to seeing—

01:35:55.229 --> 01:35:58.339
I don't know that I would have made a priority of seeing it. And that

01:35:58.675 --> 01:36:01.592
clearly would have been a mistake if I hadn't. But, but it turns out now

01:36:02.092 --> 01:36:04.397
I've seen it, I know it. I will absolutely be watching it again. It is

01:36:04.897 --> 01:36:07.987
a movie I will absolutely be showing my kids. Yeah, yeah. Mine are 12 and

01:36:08.487 --> 01:36:11.065
8, so maybe in— the 12-year-old, maybe when he's about 14, 15, we'll sit down

01:36:11.129 --> 01:36:14.518
and watch this, and I'll tell him, is, is the world exactly like this today?

01:36:14.726 --> 01:36:18.485
No. But is it different? Not really. Let's understand

01:36:18.985 --> 01:36:22.002
this relationship. And so there's that. So yeah, Do the Right Thing,

01:36:22.339 --> 01:36:25.246
uh, it's 9.5 out of 10. Awesome. Uh, from the 2 dads on Do the

01:36:25.746 --> 01:36:29.149
Right Thing. Well, uh, you're up next, Steve. What do we got coming

01:36:29.181 --> 01:36:32.634
up? Are we gonna stay on the same, uh— We are going to— same vibe.

01:36:32.714 --> 01:36:35.284
We are going to lighten things significantly. Uh,

01:36:35.685 --> 01:36:39.567
next week's will be— next week we'll We'll have a much, a much lighter-hearted conversation,

01:36:40.160 --> 01:36:43.766
um, because we're going to switch gears. Uh, actually very similar,

01:36:43.862 --> 01:36:46.971
I think it was like '88 or '89, very similar time period. Um, but we're

01:36:47.471 --> 01:36:50.528
switching gears very hard, uh, and we're going to do a little storytelling.

01:36:50.833 --> 01:36:54.294
Okay, we're going to follow along as, uh, Peter Falk,

01:36:54.743 --> 01:36:58.092
uh, reads to his grandson Fred Savage a beautiful story

01:36:58.204 --> 01:37:01.345
by S. Morgenstern called The Princess Bride.

01:37:01.634 --> 01:37:04.841
Wow, love this movie. This, this is another one of those movies that

01:37:05.341 --> 01:37:07.327
like, uh, I know a lot of people like it, but this hit so hard

01:37:07.827 --> 01:37:09.638
for theater kids when I was in high school. Like, this was like, this was

01:37:09.670 --> 01:37:12.942
an absolute— like, if you're a theater kid, you, you,

01:37:13.103 --> 01:37:17.258
you loved, you, you worshiped this movie. Uh, Cary Elwes and,

01:37:17.531 --> 01:37:20.804
you know, Robin Wright, uh, uh, Mandy Patinkin, Andre the Giant,

01:37:20.964 --> 01:37:25.119
uh, you know, it's just absolutely brilliant people up, down, left, and right. Wallace Shawn

01:37:25.536 --> 01:37:29.322
in this movie, they're all amazing. There's quotes that just will never ever

01:37:29.386 --> 01:37:32.641
die. You know, my name is Inigo Montoya, you killed my father,

01:37:32.657 --> 01:37:36.216
prepare to die. Or, you know, life is pain, anyone who says otherwise is trying

01:37:36.716 --> 01:37:38.909
to sell you something. Like, there are just so many things in this movie that

01:37:38.925 --> 01:37:42.211
will survive forever. Billy Crystal makes a great appearance. I cannot

01:37:42.711 --> 01:37:44.728
wait to watch this. Uh, are you familiar with The Princess Bride? I hope.

01:37:44.776 --> 01:37:48.079
Yeah, I'm familiar with this, and I feel like this, this is gonna be our

01:37:48.579 --> 01:37:51.990
biggest day one. I, I'm calling it now, is that I think our downloads for

01:37:52.490 --> 01:37:55.520
the first Princess Bride, first day of Princess Bride, is gonna Break our record,

01:37:56.020 --> 01:37:58.620
our internal record that we have. I think right now the Big Lebowski holds that

01:37:59.120 --> 01:38:01.380
title for day one downloads. But yeah, we'll have to check it out because yeah,

01:38:01.880 --> 01:38:04.730
The Princess Bride is one of those movies that people love. And I think honestly,

01:38:04.920 --> 01:38:08.540
I don't know, I have never met anyone who saw this movie and hated it.

01:38:08.780 --> 01:38:10.580
I know people who haven't seen it, and I know people who kind of don't

01:38:11.080 --> 01:38:14.380
care. Yeah, but like this is not Mallrats where it's polarizing that way. It's not

01:38:14.880 --> 01:38:17.040
divisive in any way. And for a lot of people, The Princess Bride is like

01:38:17.540 --> 01:38:20.320
a top five movie for sure for a lot of folks. So that is what

01:38:20.820 --> 01:38:24.469
we will watch. Beautiful. Next week. All right. That's a wrap. If you like

01:38:24.969 --> 01:38:27.259
what you hear, please consider heading over to Apple or Spotify and leaving us a

01:38:27.759 --> 01:38:30.386
5-star review. It helps new folks find the show. Be sure to check out our

01:38:30.886 --> 01:38:34.604
website at twodads1movie.com. That's the number 2 and the number 1. There you can explore

01:38:34.652 --> 01:38:37.682
the movies we've covered, sign up for our newsletter, The Rewind, and even

01:38:37.699 --> 01:38:41.194
get sneak previews of upcoming episodes. Once again, this has been Do the Right

01:38:41.210 --> 01:38:44.273
Thing, another episode of 2 Dads 1 Movie. I'm Steve. And I'm Nic.

01:38:44.417 --> 01:38:46.502
Thank you so much for listening, and we'll catch you next week. Thanks,