WEBVTT 00:00.197 --> 00:03.853 Mist! Turn that motherfucking shit down! Nigga, what the fuck you want 00:04.353 --> 00:07.945 from me? Nigga, you know what the fuck I want, nigga. I want your motherfucking 00:08.059 --> 00:11.583 Dayton's and your motherfucking stereo. And I'll take a double burger with cheese. 00:12.181 --> 00:15.300 What?! Motherfucker, order my motherfucking food! 00:16.285 --> 00:19.015 Hi, may I take your order please? 00:20.194 --> 00:22.391 Uh, let me have a double burger, 00:23.412 --> 00:27.028 uh, some fries— What the fuck I said with cheese, nigga? Shit. Hey yo, 00:27.303 --> 00:29.966 uh, make that a double burger with cheese. 00:32.237 --> 00:35.145 See, y'all made me shoot your stupid ass over nothing. Hey, come on, 00:35.225 --> 00:38.359 man. We supposed to be brothers. Oh, what? You trying to get smart? 00:39.440 --> 00:41.858 Nigga, are you trying to kick some knowledge? Nigga, fuck that, nigga. Give me your 00:42.358 --> 00:44.309 motherfucking jewelry, nigga. Take that shit off. 00:46.300 --> 00:51.573 Oh, you got a pager too? You're ballin', huh? You're ballin'? This motherfucking 00:51.606 --> 00:54.680 shit. Better me than the motherfucking cops, nigga. 00:56.275 --> 01:00.159 It's 2 Dads 1 Movie. It's the podcast where two middle-aged dads sit 01:00.659 --> 01:04.217 around and shoot the shit about the movies of the '80s and '90s. Here are 01:04.717 --> 01:06.800 your hosts, Steve Paulo and Nic Briana. 01:08.469 --> 01:12.031 Hello everybody, welcome to another episode of 2 Dads 1 Movie. I'm Steve. 01:12.095 --> 01:15.625 And I'm Nic. Today we are moving to 1993 01:15.929 --> 01:19.171 in the, uh, 2 Dads 2 Decades march through the '80s and '90s. 01:19.235 --> 01:22.620 We cleared the '80s a while ago, but now it's 1993. And today we 01:23.120 --> 01:26.327 are watching the Hughes Brothers, uh, urban classic Menace 01:26.375 --> 01:29.760 II Society. And Nic, you brought this one to the table. I actually hadn't seen 01:30.260 --> 01:32.392 it before, but tell me a little bit about why you brought Menace II Society 01:32.460 --> 01:35.792 Society to us today. Yeah. Uh, so this was, you know, part of this 01:36.292 --> 01:39.447 kind of wave in the early '90s of these, like, for lack of a better 01:39.947 --> 01:42.666 term, they'd be referred to as these like hood movies or whatever, right? So we 01:43.166 --> 01:45.966 got our Boyz II Men and New Jack City. And I think you mean Boyz 01:45.998 --> 01:49.330 n the Hood. Huh? Yeah. Jesus. Fuck. 01:49.411 --> 01:53.133 Shit. Fuck. Motown Philly. You know, I was looking 01:53.262 --> 01:55.950 right at the number 2. There you go. Yeah. I can see that. 01:57.000 --> 02:00.540 Um, leaving that in, by the way, I'm not cutting that out. Yeah. No. 02:00.848 --> 02:04.146 So back to Bell Biv DeVoe: The Movie. Um, Yeah, 02:04.162 --> 02:07.320 so we had these different movies and colors and, uh, 02:07.753 --> 02:11.937 I mean, there were different levels of them. There was some real low-budget dog 02:12.437 --> 02:15.624 shit, like, can we shoehorn a rapper into a role and like try to get 02:16.124 --> 02:20.353 something from that? And then there were some really like thoughtful, artistically done 02:20.417 --> 02:23.607 movies, uh, done during this time. And I was obsessed, like in 02:23.703 --> 02:27.567 high school I was obsessed with this kind of culture. I love rap 02:28.067 --> 02:31.222 music. Me and some of my friends had like a rap group and everything, 02:31.238 --> 02:34.075 and like this was right up my alley. So I caught this, I think, 02:34.139 --> 02:37.681 in high school and ended up watching it a bunch on repeat 02:38.181 --> 02:41.831 in college. Certain things like the characters really— it's 02:42.331 --> 02:45.179 one of those movies, it's a very serious movie, it's a very kind of bleak 02:45.679 --> 02:48.752 movie, but watching it a ton, the characters become funny to me. 02:48.880 --> 02:52.261 So it's like their lines that they say would start to crack 02:52.761 --> 02:54.745 us up, and when I'm watching it, I'm like, oh yeah, this is what we 02:54.793 --> 02:58.158 would say in this situation. That is not a goofy or whimsical moment at 02:58.658 --> 03:02.179 all in this movie. Um, but I think it is like, as a, uh, 03:02.259 --> 03:05.626 snapshot of the time and Boyz n the Hood, 03:05.770 --> 03:09.364 or, you know, by its original title, Boyz II Men, is definitely 03:09.460 --> 03:13.069 the one that people would bring up if they're talking about one movie of 03:13.569 --> 03:17.657 this era. And this is one that I feel like was up there and covered 03:18.157 --> 03:21.138 some things that Boyz n the Hood didn't. And I thought maybe this would be 03:21.186 --> 03:24.201 a fun one to chit-chat about. And I can't believe you haven't seen it. 03:24.378 --> 03:27.410 So yeah, it'd be interesting to hear what you think first time. Fun is an 03:27.506 --> 03:30.746 interesting word to use. Nothing about this movie 03:31.246 --> 03:34.500 is fun. Yeah. My familiarity with this sort of genre of film 03:35.000 --> 03:37.647 from that era First of all, you and I were very different people, I think, 03:37.711 --> 03:41.164 in high school. I was in theater and I listened basically exclusively to industrial music 03:41.664 --> 03:44.296 and dated a girl who painted her fingernails black. So like, you know, the hip-hop 03:44.360 --> 03:48.087 world was a little outside my purview, outside of like Snoop 03:48.587 --> 03:50.368 Dogg and Dre and like stuff that everybody knew, you know what I mean? 03:50.416 --> 03:53.130 So this one slipped by me for that reason, I think. 03:53.676 --> 03:55.925 I think it was in college I finally got around to watching like "Boyz n 03:56.425 --> 03:59.892 the Hood," "Higher Learning," "Colors," and a few others. So I'm definitely familiar with like 04:00.037 --> 04:02.719 the grouping of movies, but you know, in my mind it's always like kind of 04:03.219 --> 04:06.600 like "Boyz n the Hood" was like, sort of the artistic achievement of 04:06.840 --> 04:09.227 the category. And I didn't really think very too much of the other. So it 04:09.243 --> 04:12.753 was interesting to jump into this and get a like a pretty different 04:13.185 --> 04:16.630 feel to it because I do think that Boyz n the Hood, while also bleak 04:17.130 --> 04:21.261 and tragic and many things like, has more moments of levity. And this movie kind 04:21.761 --> 04:23.617 of doesn't. I mean, there are, there are, there are a few things, right, 04:23.665 --> 04:26.020 that happen that are a little bit funny. But man, it is, it is dark. 04:26.084 --> 04:29.658 And then the more interesting thing and more interesting and interesting 04:29.690 --> 04:32.973 thing for me about this was that I'd seen several of the kind of adjacent 04:33.473 --> 04:36.863 films. And of course I had seen the Wayans brothers' Don't Be 04:37.363 --> 04:39.204 a Menace II Society or Drinking Your Juice in the Hood. And there's so many— 04:39.704 --> 04:42.929 It's a great companion to that. I mean, clearly there were parts of this movie 04:43.429 --> 04:46.187 that I saw this. It felt a little bit like when, you know, we have 04:46.252 --> 04:49.526 watched something earlier and I hadn't 04:50.026 --> 04:52.947 seen— Oh, I hadn't seen Cape Fear, but I'd seen the Simpsons episode that spoofs 04:53.447 --> 04:55.855 Cape Fear. So there were these elements where I went, oh shit, okay, that's what— 04:56.000 --> 04:59.142 that's the literal moment they're referencing in Don't Be a Menace. Okay, cool. And in 04:59.642 --> 05:02.876 the culture, like there's parts of this movie that are referenced directly in a a 05:02.892 --> 05:06.394 lot of hip-hop songs too, like over the years and stuff. So yeah, it has 05:06.490 --> 05:10.073 like seeped in. Like, this is a very important movie, um, to that 05:10.186 --> 05:13.576 culture for sure. Definitely. All right, well, let's dive into the facts on Menace 05:14.076 --> 05:16.774 II Society. Before we do, I just wanted to say real quick, Nick, congratulations, 05:16.791 --> 05:19.780 this is our 60th episode. Just want to call that out real quick. 05:19.860 --> 05:23.274 Episode 60. So that's cool. Um, but on the movie, 05:23.532 --> 05:27.065 Menace II Society came out on May 26th, 1993 with an R rating 05:27.500 --> 05:31.049 and a running time of 97 minutes, directed by the Hughes brothers, Alan and Albert 05:31.549 --> 05:35.539 Hughes. Written by Albert Hughes, Alan Hughes, and Tiger Williams. Starring Tyran 05:36.039 --> 05:39.194 Turner, Lorenz Tate, and Jada Pinkett. Scores on Rotten Tomatoes, 05:39.387 --> 05:42.513 84%, very high score. IMDb, a 7.5, 05:42.529 --> 05:45.238 that is very solid. And 2 thumbs up from Siskel and Ebert. 05:46.264 --> 05:49.887 It won the best movie of the year at the 1994 05:50.387 --> 05:53.542 MTV Movie Awards. Wow. Couldn't find anything else real, real kind of 05:53.558 --> 05:56.476 high level, but that is actually quite the honor. The MTV Movie Awards were like 05:56.976 --> 06:00.334 a legit, kind of more of a People's Choice kind of adjacent thing. Not necessarily 06:00.834 --> 06:03.050 the Oscars, Golden Globes, but it was like a legitimate thing to win. For sure. 06:03.131 --> 06:06.554 Yeah. Uh, on a $3.5 million budget, which is like so 06:06.603 --> 06:10.370 interesting. Uh, the last couple of weeks, we— the last several 06:10.870 --> 06:13.107 weeks, we've been in the like $20 to $40 million range of a lot of 06:13.607 --> 06:16.392 these movies. And you'd think, oh, as we're going through time, you know, those numbers 06:16.892 --> 06:19.189 are only going to go up and up. But this being a $3.5 million picture, 06:19.318 --> 06:22.681 it looks great, it sounds great, the acting's great, you know, but they were able 06:23.181 --> 06:25.640 to do a lot with that amount of money. And it made $27.9 million at 06:26.140 --> 06:28.634 the box office. Doesn't necessarily sound like a huge amount on its face, but that's 06:28.795 --> 06:31.508 8 times what it costs. So it's definitely, uh, by all, 06:32.105 --> 06:35.480 uh, measures, that is a hit movie for sure from both the critical and, 06:35.900 --> 06:39.406 uh, uh, commercial means. I don't know what I'm trying to 06:39.906 --> 06:42.460 say. It did well. That's what I'm trying to say. All right, let's go ahead 06:42.492 --> 06:45.143 and begin our conversation on Menace II Society. And Nick, why don't you kick us 06:45.643 --> 06:48.274 off? How do we start? Uh, so we got a cold open to this film, 06:48.532 --> 06:51.874 uh, and we're started with just a black screen. We get some audio, 06:52.084 --> 06:55.515 and it's, uh, the two kind of main characters of the film, Kane and O-Dog. 06:55.598 --> 06:57.891 Yes, who are, uh, on their way into a liquor store. Kane is played by 06:59.530 --> 07:03.487 Tyron Turner, he's the main protagonist of this film. And then O-Dog 07:03.567 --> 07:07.269 is his best friend who's kind of the crazy one out, as we'll 07:07.769 --> 07:11.114 see. I mean, he's truly one of the more terrifying 07:11.162 --> 07:14.751 characters that we have seen without even blinking 07:14.928 --> 07:18.629 about it. The crazy thing is there's no sadistic 07:19.030 --> 07:22.378 delight in the way that we see these evil laughs. It's more just like, 07:22.459 --> 07:26.208 ha, that shit was funny when I killed that guy anyway. So he's one 07:26.240 --> 07:29.622 to keep an eye on. So Kane and O-Dog go into this liquor 07:30.122 --> 07:33.822 store and they're kind of chit-chatting with each other and they're both clearly like 17, 07:33.854 --> 07:37.541 18 years old. They're not of age to go buy a 40, but they go 07:38.041 --> 07:41.244 back to the cooler. And as they're in there, the owners of the liquor 07:41.744 --> 07:45.315 store, it's like an Asian-owned liquor store, probably Korean given like the dynamics in LA 07:45.815 --> 07:49.563 during that time. And they're kind of following them around. And, you know, 07:49.948 --> 07:53.539 I think we're fair to guess that there have been like historically 07:53.571 --> 07:57.226 times where them or their friends or people that these owners 07:57.322 --> 08:00.835 are just assuming are the same crew have caused all kinds of trouble. So they're 08:00.851 --> 08:04.110 following him around the store and, you know, they're like, we don't want any trouble. 08:04.158 --> 08:06.342 Just get out. And they're like, well, why are you giving me all this shit? 08:06.406 --> 08:09.986 Like, hurry up and buy. Like, get out of here, right? Yeah. Yeah. And as 08:10.082 --> 08:13.871 they're leaving, Kane goes to pay for the 40s and he's 08:14.371 --> 08:18.558 like, hey, get my change to O-Dog. And O-Dog gets into it with 08:18.606 --> 08:22.299 the cashier. And the guy basically says, I feel sorry for your mother as 08:22.799 --> 08:25.911 he's walking away. And it does this zoom in on O-Dog's face, 08:25.975 --> 08:29.009 which is just like, all right, this guy's fucking flipped. 08:29.507 --> 08:33.757 You know, you feel sorry for who? And he goes after him and immediately takes 08:34.257 --> 08:37.832 his gun out. He kills this guy behind the register, goes to the woman, 08:38.169 --> 08:41.473 uh, that, you know, probably his wife who's working there, like, yo, give me the, 08:41.553 --> 08:44.665 give me the videotape. Like, let's get the surveillance tape. Takes her to the back, 08:45.066 --> 08:48.499 kills her. Very, very dark. Comes and robs this guy, and then 08:48.531 --> 08:51.884 they take off. Yeah, it's interesting. One of the first moments where I was like, 08:51.900 --> 08:55.461 okay, I haven't seen this, but like, I've seen this. Yeah, was the exact way 08:55.653 --> 08:59.147 O-Dog delivers 'What'd you say about my mama?' Like, that has been, 08:59.180 --> 09:03.010 I think, quite deliberately referenced in so many other pieces like just that. And sometimes 09:03.202 --> 09:05.782 for a laugh, right? But it's like, obviously not funny here. 09:06.647 --> 09:08.314 But it was interesting because when that happened, I was kind of like, oh man, 09:08.330 --> 09:11.583 this is— that was my first clue. I'm going to get a bunch of pieces 09:11.615 --> 09:14.964 that originated here, right? But have seeped into other parts of culture. And that was 09:15.464 --> 09:18.249 like the first way. It's the way he delivered that. It was like such a 09:18.749 --> 09:23.826 fantastic kind of line delivery because it doesn't have to be dangerous 09:23.874 --> 09:27.528 sounding, but the way Loren State delivered it, it sounds so dangerous, 09:27.640 --> 09:31.470 right? You know immediately this man behind the counter is in incredible trouble. 09:31.886 --> 09:35.460 And of course, that's, that's what happens. We then get Kane's 09:35.476 --> 09:39.225 voiceover, which there's a lot of narration voiceover in this movie. We've seen 09:39.257 --> 09:42.863 this in recent pictures as well. We had Wayne Campbell talking to the audience, 09:42.943 --> 09:45.811 you know, like last week and, yeah, and a couple weeks ago, a few weeks 09:46.311 --> 09:48.567 ago, we had Goodfellas where there was lots of narration to kind of explain things. 09:49.097 --> 09:51.198 And so we get a little bit of that and we start kind of like 09:51.698 --> 09:54.615 with this, how did we get here? Kind of historically run-up kind of thing. 09:54.663 --> 09:57.791 And we start with the Watts riots in 1965. And there's a lot of like 09:57.855 --> 10:01.400 really great, I love that they made the footage here super pixelated 10:01.900 --> 10:05.812 and kind of grainy and like, you know, and very like filmed 10:06.312 --> 10:08.298 on a potato, like kind of thing. It was like, it was just a cool 10:08.798 --> 10:11.410 effect to kind of show us we're showing you the past, but obviously there's gonna 10:11.910 --> 10:15.421 be so many parallels to the future, to the present once we get 10:15.921 --> 10:19.732 there. And we get this whole flashback sequence with young Kane, how he grew 10:19.812 --> 10:23.578 up. His dad, played by Samuel L. Jackson, was a drug dealer 10:23.594 --> 10:25.934 and his mom was a heroin addict. And so it's like clear that like he 10:26.434 --> 10:30.373 started like he didn't have a chance from jump street about not being 10:30.485 --> 10:32.793 part of this life. Like, no, where he was born into, 10:34.075 --> 10:36.382 you know, obviously you can work your way out of the area, but like what— 10:36.414 --> 10:40.373 or out of the situation, but where you're starting from, right? He has no 10:40.421 --> 10:43.738 advantages there. There's nothing that is like given to him or set up for him. 10:44.091 --> 10:46.559 He is coming into the world in kind of one of the hardest ways to 10:46.575 --> 10:49.845 do so. At least in the United States, in the— he would have been 10:49.861 --> 10:52.361 born, what, in the late '70s, right, based on, on all this. So yeah, 10:52.586 --> 10:55.984 very interesting. And then yeah, no positive examples anywhere, 10:56.369 --> 10:59.928 you know. And, um, and young Kane, I mean, so much is told to us 10:59.960 --> 11:03.823 through this scene of his parents' party that they're having. So we 11:03.887 --> 11:06.997 get to see like what this young child is being exposed to, who, who his 11:07.093 --> 11:10.652 role models are, right? Um, so one of the— he's kind 11:11.152 --> 11:14.451 of talking about, you know, his dad was a drug dealer, you know, the riots 11:14.467 --> 11:17.625 stopped, the drugs started, so drugs started flowing into the community. 11:17.673 --> 11:20.862 His dad was a drug dealer, his mom was a heroin addict. And, 11:20.958 --> 11:24.163 um, it shows him as like a, I don't know, 6-year-old child, give or take. 11:24.243 --> 11:27.143 He comes out to the stoop during this party, he sneaks out in his PJs, 11:27.303 --> 11:30.428 and there's two kind of like early 20s type guys out there who are 11:30.928 --> 11:34.273 like guys who maybe look after him, who understand how shitty his parents are 11:34.773 --> 11:37.958 but don't know enough to like properly rescue, you know, 11:38.038 --> 11:40.842 they just know this is fucked up where we live. Well, and this is— I 11:41.342 --> 11:43.838 think even these guys are younger. I think really we're supposed to see these two 11:44.111 --> 11:46.578 as the same age as Kane and O-Dog during the rest of the movie because 11:46.610 --> 11:49.271 there's this, but there's this bookend, right? So we get to at the end that 11:49.319 --> 11:52.606 really kind of like mirrors this image. Um, but yeah, I mean, it's, it's, 11:52.686 --> 11:56.486 it's just, you know, the, the one of the main stories of 11:56.551 --> 11:59.757 this movie, and we get it starting from the very beginning, is how breaking cycles 12:00.257 --> 12:03.092 is, is very difficult, if not impossible, right? Even when you try to break cycles, 12:03.669 --> 12:06.459 sometimes it works against you. And this is the, the setup of like, how did 12:06.491 --> 12:09.746 Kane get to where he is when we first start the movie, right? 12:09.858 --> 12:12.905 Essentially, how did he get to where he had to be to be in that 12:13.405 --> 12:16.529 convenience store when O-Dog killed those people, right? Yeah. And, and this is like he 12:16.674 --> 12:19.933 had no chance. This was it. And, and he's out there and these two guys 12:19.965 --> 12:22.437 are like, hey, you know, give this kid a drink, right? Right. You know, 12:22.453 --> 12:25.471 and, and they give him a sip of brandy and stuff. He's like, what the— 12:25.648 --> 12:29.180 and then he's asking if he can hold their gun, right, and stuff. 12:29.260 --> 12:32.214 And, you know, his mom comes out right as he's about to like kind of 12:32.246 --> 12:35.554 take a look at this gun. Uh, so this guy, his kind 12:36.054 --> 12:38.572 of mentor when he was a kid, is this guy named Purnell. So that's who 12:38.652 --> 12:41.991 we see there at the beginning. Yep. Um, so then, uh, 12:42.521 --> 12:45.796 we go to like a later in that night scene of the party Right. 12:45.877 --> 12:49.072 You know, it's kind of winding down. There's a card game. Samuel L. Jackson, 12:49.409 --> 12:52.958 the buddies are playing cards and there's a conversation with one of his friends 12:53.458 --> 12:55.527 like, hey, now that you're out of the joint. Yeah, you have the money you 12:56.027 --> 12:58.401 owe me. Right. And this guy, of course, being very tough with him, like, 12:58.417 --> 13:01.355 fuck you. Like, I'll pay you, pay you when I fucking feel like it. 13:01.436 --> 13:05.193 Yeah. You know, this back and forth, very tense scene. Yeah. Samuel L., 13:05.867 --> 13:09.159 whose name is Tatloss, and he pulls out a gun on this guy, points it 13:09.659 --> 13:12.930 at him. This guy's completely unfazed. No, squeeze that shit. You know, I just spent 13:13.430 --> 13:15.048 5 years in the joint. You think I'm scared because you got a pistol, 13:15.064 --> 13:17.534 motherfucker? And then pop, pop, pop, pop, pop. 13:18.015 --> 13:21.432 So, uh, the voiceover of Kane says, that was the first time I've ever seen 13:21.448 --> 13:25.137 my father kill anyone, but it wouldn't be the last. Yeah. And this is like, 13:25.297 --> 13:28.489 you know, sets us up for who he is now as we get to Watts, 13:28.505 --> 13:32.195 1993. Right. And so now we're present, back to 13:32.695 --> 13:36.381 present day basically, uh, and Kane is graduating high school, which, which is an accomplishment 13:36.429 --> 13:39.173 for sure, and something that the people around him are you know, 13:39.317 --> 13:43.235 congratulate him for and kind of recognize as like an achievement. His parents are both 13:43.267 --> 13:46.462 gone. He says that his mother overdosed at one point and his father, I think, 13:46.479 --> 13:49.497 died when he was like 10. Yeah. So really, if you think about then when 13:49.513 --> 13:52.018 he said that wasn't the first time or that was the first time I saw 13:52.518 --> 13:55.197 my father kill somebody, but not the last, he must have seen more murders in 13:55.294 --> 13:57.638 just a couple of years because his father only lived a few more years from 13:58.138 --> 14:00.432 that point. So, you know, that's just kind of like when you think about the 14:00.932 --> 14:04.574 compression of that timeline. But yeah, so he is out 14:05.074 --> 14:07.815 You know, out of school, all done, you know, ready. His grandparents are where he 14:08.315 --> 14:11.906 lives. He lives with his grandparents. They're very congratulatory of him. His grandfather is a 14:11.922 --> 14:14.858 Bible thumper. You know, he's always quoting the Bible. He's very into religion. 14:15.195 --> 14:18.580 I love the grandparents, by the way. It's just like, it's the 14:18.644 --> 14:22.238 one of the only like comforting presences in this entire movie, 14:22.751 --> 14:26.810 which is interesting because they are, but also like the sort of— I 14:26.922 --> 14:30.848 like that they chose to have the grandparents not purely be Oh, 14:31.041 --> 14:33.316 well, these are just good people who took him in, whatever. But by having the 14:33.816 --> 14:36.688 religious angle of it, there's an element there that to me is interesting of, 14:37.043 --> 14:40.398 you know, did the grandfather especially take Cain in 14:40.575 --> 14:43.683 out of a sense of like love and sort of like whatever? Or what did 14:43.715 --> 14:45.342 he feel like it was duty? This is what I have to do as a 14:45.842 --> 14:48.241 Christian. Like, yeah, I don't actually want to do this, but this will help me 14:48.741 --> 14:51.753 get into heaven. Like that kind of stuff is always an interesting— there's an interesting 14:51.785 --> 14:55.843 sort of element there to people's motivations if they're religiously driven. Not that it takes 14:55.907 --> 14:58.564 away the good that you do, but it is this kind of an interesting take. 14:58.629 --> 15:02.747 And given that they are you know, they are not the only characters with religious 15:02.795 --> 15:06.213 sort of like drive behind them, that there are others. And they're, you know, 15:06.453 --> 15:10.512 the Hughes brothers are clearly making statements about how religion does or does 15:10.561 --> 15:13.432 not help. Yeah. In a situation like this, I think it was an interesting choice 15:13.932 --> 15:16.465 to have the grandfather especially be so religious. Yeah, definitely. 15:17.203 --> 15:20.075 Uh, and also, I mean, it is one of those things that's kind of the 15:20.091 --> 15:23.235 only thing you could cling to at some point. Sure. You don't blame people 15:23.735 --> 15:27.392 for leaning hard into that where it's like Open your front fucking door and 15:27.892 --> 15:31.677 then open the barred door that covers that door and then open the bulletproof door 15:32.177 --> 15:35.257 that opens that. Look outside and maybe I'll stay in here with my Bible. 15:35.498 --> 15:38.949 Right? Yeah. Fair enough. Yeah. So we're moving through 15:39.449 --> 15:42.770 like these different kind of like scenes of Kane's life after, 15:43.123 --> 15:46.654 you know, his senior year of high school ends and he's headed now to a 15:47.154 --> 15:51.357 house party with his cousin Harold. Cousin Harold's played by this guy named Safir. 15:51.470 --> 15:54.766 He's a rapper from the Bay Area. He passed away recently. 15:55.280 --> 15:58.880 Check out Safir. He had this group with Razz Kass and Xzibit that 15:59.380 --> 16:02.560 was called the Golden State Project, and they had a good song that 16:03.060 --> 16:06.865 used like the NBA theme song. So yeah, check out Safir. Roundball Rock. Interesting flow. 16:07.188 --> 16:10.295 Roundball Rock from John Tesh. That's all nice. I was not familiar with Safir, 16:10.344 --> 16:13.385 but I am of course familiar with the maybe much more famous Bay Area rapper 16:13.434 --> 16:16.668 who appears later in the movie. Yeah, but yeah, I didn't realize there were multiple. 16:16.814 --> 16:20.210 Yeah, a lot of rappers in this movie. Yeah. So, so he arrives at this 16:20.710 --> 16:22.612 party with Cousin Harold. This party is at Doc's house, and Doc is played by 16:23.112 --> 16:26.914 another rapper named Poo Man. Who's not like very notable 16:27.414 --> 16:30.904 as a rapper, right? Uh, so we get to like walk through and then meet 16:31.404 --> 16:33.644 his buddies who are shooting dice in the back. So this is kind of the 16:34.144 --> 16:37.218 crew that we have. We have Kane, Tyron Turner, the main guy. We got O-Dog, 16:37.234 --> 16:40.663 who we saw earlier at the liquor store. Yeah, we've got their friend 16:40.759 --> 16:44.140 Awax, who's kind of like— he's described as a few years older than 16:44.640 --> 16:48.115 them, and he just kind of liked to instigate stuff and watch other people get 16:48.147 --> 16:51.335 in trouble. And he's very well played by another rapper named MC8. 16:51.833 --> 16:55.121 Then we have Sharif, who's their friend, who is probably like, 16:55.667 --> 16:58.779 you know, getting into shit with them at some point, but had converted to 16:58.811 --> 17:02.116 Islam. Right now he's kind of like straight edge, trying to keep them off 17:02.616 --> 17:05.613 it, trying to talk to them about Islam. Yeah, very, very Louis Farrakhan style. 17:05.709 --> 17:09.656 Exactly. Islam. Yeah, exactly. And then their other friend Stacy, who's kind 17:10.156 --> 17:13.393 of like the smooth, like, player. He's like, he's a football player. He's going to 17:13.893 --> 17:16.923 move to Kansas to play football. That's a plan that they have. Yeah. 17:17.260 --> 17:20.356 Later on. And I recognize the actor, but I'm not sure from where. 17:20.404 --> 17:23.314 He's been in a couple things. He has not been in very much. Okay. 17:24.025 --> 17:27.420 Um, so that's kind of like the crew that they have. Okay. And, 17:27.501 --> 17:30.977 uh, so we're at the party, we meet everyone, and then, you know, Cousin Harold's 17:31.477 --> 17:33.726 hungry, so I, I gotta go get some food. Let's head out to Jack in 17:34.226 --> 17:36.928 the Crack. Right. Which is something that I— my friends and I used to call 17:36.977 --> 17:38.755 Jack in the Box Jack in the Crack, and I had no idea why. 17:39.176 --> 17:42.280 It rhymes from this though. It might have been around. It might have been around, 17:42.296 --> 17:45.449 but also like, I mean, '93, I was only 13. I don't think 17:45.465 --> 17:47.495 I started using that term until I was 16 or 17 with friends going to 17:47.995 --> 17:51.267 the, you know, Jack in the Box. So it's just funny that either I heard 17:51.767 --> 17:53.806 it from someone who heard it from this. Yeah, right. And so I never had, 17:54.063 --> 17:55.718 you know, put it to— but somebody— I was— when they said Jack in the 17:56.218 --> 17:58.418 Crack, I went, oh, we used to call it Jack in the Crack. To hear 17:58.918 --> 18:02.081 some Jack in the Crack. Yeah. Um, yeah, 18:02.097 --> 18:05.535 so they're gonna go over to, uh, to Jack in the Box. Kane drives 18:05.632 --> 18:09.054 with Cousin Harold, who he describes earlier as like kind of a guy he looks 18:09.554 --> 18:12.186 up to. This is my cousin. He lives in Long Beach. He's a real hustler. 18:12.251 --> 18:15.900 He's got a house. He's got a Beamer. He's got a fat pocket. 18:15.948 --> 18:19.086 Like, this is a guy I want to be. Yeah, exactly. So they're going to 18:19.198 --> 18:23.029 Jack in the Box. Awax and the other crew, it's like, well, I gotta get 18:23.045 --> 18:25.161 gas first, so we'll do that and then we'll meet you there. 18:26.010 --> 18:29.440 And then we get a very dramatic shot here as 18:29.937 --> 18:32.662 Kane and Harold pull up to the Crenshaw, uh, 18:32.742 --> 18:36.140 stoplight. We get a 2 as it turns from green to 18:36.188 --> 18:39.346 red, right? So they're stuck at this light and they're just kind of talking, 18:39.971 --> 18:43.161 and they're both fucking drunk, by the way. Yeah, they've been drinking 40s at this 18:43.177 --> 18:46.271 party. Uh, I do love Cousin Harold's like Man, 18:46.287 --> 18:49.241 I'm fucked up. And Kane's like, oh, what'd you have to drink? 18:49.290 --> 18:52.693 He's like, all I had was 2 40s. That's a lot. 2 40s of what? 18:52.886 --> 18:56.177 2 40s of IEDs, baby. And if you were a 40 drinker, if you 18:56.677 --> 19:00.014 were a malt liquor aficionado like I was, St. Ives, like, 19:00.255 --> 19:04.220 right below Camo as something that would absolutely destroy 19:04.365 --> 19:07.720 you. So Cousin Harold driving off 2 IEDs, I have to commend 19:08.220 --> 19:11.429 just in like the technical sense of that being difficult. So I have a funny 19:11.929 --> 19:14.158 story about 40s because I remember— so this is— this will be a great story 19:14.658 --> 19:17.737 in case anybody Greg, if you're out there listening, pay attention. 19:18.286 --> 19:22.569 Back in high school, my best friend's older sister's boyfriend bought 19:23.069 --> 19:24.992 us beer for a party. Like we gave him money and like an order, 19:25.008 --> 19:28.086 like a shopping list. Be like, hey man, please. Like we were all, we wanted 19:28.586 --> 19:30.342 like, I don't know why, but we were all into Henry Weinhardts at the time. 19:30.406 --> 19:33.629 So like, you know, so we got some fancy, cheap beer, but it was still 19:34.129 --> 19:36.729 cheap. So we're like, get us some Weinhardts, get us some like Rolling Rock, 19:36.810 --> 19:39.769 get us some, I think like Red Wolf. I think that was a big thing, 19:39.801 --> 19:42.161 right? Yeah. So the stuff, and we gave him a bunch of money and we're 19:42.210 --> 19:44.829 like, hey, you know, make sure you get yourself, like get yourself a six-pack of 19:45.329 --> 19:46.570 something, like whatever. And he goes, no, no, I can buy my own beer. 19:46.619 --> 19:49.504 It's like, if there's any money left over, I'll just like get some random stuff 19:50.004 --> 19:52.190 for you. We're like, all right, cool. So he leaves, uh, goes to do that. 19:52.238 --> 19:55.200 When he comes back, he's got— the dude was good at all of our orders, 19:55.249 --> 19:59.018 no change, but like all the correct stuff. And then 4 40-ounce 19:59.035 --> 20:02.350 bottles: Old English, St. Ives, King Cobra, 20:02.511 --> 20:05.794 and Country Club. And it was Country Club. Let me just say, that was 20:06.473 --> 20:09.338 one of the more interesting nights of my young life. 20:11.026 --> 20:14.781 Yeah, that stuff hit real different than here. And like, look, 20:14.877 --> 20:18.376 there's, there's a lot of rap songs, like you'll hear Ice Cube and stuff talking 20:18.392 --> 20:21.922 about how, you know, this was formulated to cause like violence 20:22.422 --> 20:26.351 and strife in the community. And when you drink it, you're like, yeah, fucking maybe, 20:26.415 --> 20:29.769 right? Yeah, possibly pre-4 Loco. Because really, 20:30.587 --> 20:32.898 it does something different to you. Yeah. 20:34.150 --> 20:37.904 So, so Kane and Harold here at the light. Yeah. Their friends 20:38.404 --> 20:41.689 are getting gas, and then this van pulls up on Kane and Harold, 20:42.154 --> 20:45.425 guns in their faces immediately. Yeah, get out the car, get out the car, 20:45.441 --> 20:48.985 like screaming at him. Yeah, yeah. And what Harold turns to Kane, and he's like, 20:49.771 --> 20:54.117 Kane, get out the car. I'm not going out like a chump. Like, just immediately 20:54.617 --> 20:58.671 makes the decision that, yeah, his life is not worth as much as his reputation 20:59.171 --> 21:02.248 of like protecting his car, or, or if he feels like he's fucked anyway, 21:02.280 --> 21:05.699 or whatever. But It was such like a quick resignation. 21:05.795 --> 21:09.472 And also, he's 2 40s deep, but also he's better at drinking 21:09.504 --> 21:12.715 2 40s than I would be, right? Fair. Um, so yeah, 21:12.779 --> 21:16.712 this shit was crazy. Kane goes to get out and Harold makes a— not 21:17.212 --> 21:20.983 even a move towards his gun, and they just light him up and blast 21:21.483 --> 21:24.082 him, and it is absolutely brutal. And they catch Kane in the shoulder as well, 21:24.290 --> 21:27.710 it looks like, or, you know, he's definitely shot. And I do think that Harold's 21:28.210 --> 21:31.705 calculus in that moment was basically you know, an innate understanding 21:32.282 --> 21:36.002 that his life would be immeasurably 21:36.210 --> 21:39.289 worse if word got out that he just gave up his car. Yeah. Right? 21:39.337 --> 21:41.999 Like if he survives this incident, 21:42.480 --> 21:46.023 but survives by, you know, just giving it up, getting out 21:46.523 --> 21:49.038 of the car, giving up the car and whatever, like his life on the street 21:49.538 --> 21:51.764 where he lives and in the communities that he's in, like, is going to be 21:51.780 --> 21:54.923 immeasurably worse. He's gonna be a target for everyone who ever catches wind of 21:55.423 --> 21:58.596 this. And so he decides in that moment, I mean, you know, if I've got 21:59.096 --> 22:02.223 a 1% chance of surviving this, that's the chance I'm gonna take. 22:02.287 --> 22:04.437 I mean, you know, in his mind— His whole rep is built on being the 22:04.694 --> 22:08.546 guy who would never give up his car. Exactly, yeah. And so it's incredibly 22:09.046 --> 22:13.312 tragic that that's the calculus he has to make, but also incredibly logical. 22:13.504 --> 22:17.404 Like, given his set of circumstances, it is a perfectly logical conclusion 22:17.904 --> 22:21.111 to come to, which is part of the tragedy, so. Yeah, and I mean, 22:21.224 --> 22:23.711 a lot of the tragedy of this is just the, 22:25.233 --> 22:29.238 the kind of smallness of the world that, that these characters 22:29.738 --> 22:33.564 all live in, right? Where such a small range 22:34.064 --> 22:37.377 of things actually matter to them. Yeah. Despite being young 22:37.489 --> 22:40.693 and able-bodied and healthy and having mobility and having cars and 22:41.193 --> 22:44.137 living in LA. Like, you hear so much about these people who live, you know, 22:44.153 --> 22:47.758 3 miles from the ocean and have never seen it in their life because 22:47.806 --> 22:51.154 literally the only thing that matters is that neighborhood and that reputation 22:51.170 --> 22:54.775 and all that stuff. So yeah, it really shows like how tiny the fucking 22:54.871 --> 22:58.781 world is. Yeah. And even like the scene of AWACS and the other people 22:58.797 --> 23:02.131 going to get gas, which is just a little bit of something else to happen 23:02.163 --> 23:05.657 while this— Harold's getting shot is like they're 23:05.689 --> 23:09.423 playing dice earlier. They're throwing like 20s and hundreds down and all this stuff. 23:09.776 --> 23:13.366 And then when he actually goes to get gas, he gets $3 worth of gas. 23:13.430 --> 23:17.678 That's right. Yeah. So it's almost like our world, like money is 23:17.774 --> 23:20.675 for dice and drug dealing. But when I come out into the real world, 23:20.995 --> 23:25.521 I am broke and scrapping and like, it's fucking crazy. So Yeah, 23:25.554 --> 23:29.022 so Cousin Harold is— he's dying. I mean, but he's clearly 23:29.103 --> 23:32.232 going to die. So the choice is we got to get Kane to the hospital 23:32.248 --> 23:35.327 now. Harold's dead, we've got to leave him here. And Sharif is like, we can't 23:35.827 --> 23:37.838 just leave him here in the middle of the road. They're like, look, he's dead, 23:37.854 --> 23:40.657 we got to deal with that shit another time. And Sharif's like, fuck it, 23:40.673 --> 23:43.094 I'm going to stay with them. And they all go to the hospital. Yeah, 23:43.191 --> 23:46.887 with Kane. Yeah, um, some pretty wild stuff. Great scene of 23:47.387 --> 23:50.861 them bursting in. I do love the urgency, like this whole shot of them 23:51.077 --> 23:54.513 bursting into the ER and bringing him, and he's bloody, and they're all 23:54.562 --> 23:57.551 covered in his blood, and he's struggling to breathe. And they go up to the 23:57.632 --> 24:00.379 desk and like, bitch, we need a doctor right now. She's like, you gotta fill 24:00.879 --> 24:03.499 out these forms. Fuck your forms. Like, fuck your forms, we need a doctor. 24:04.243 --> 24:07.137 Um, and honestly, they are absolutely 100% correct. 24:07.234 --> 24:09.998 Like, there needs to be no form, no nothing. Like, get a triage nurse in 24:10.498 --> 24:14.168 here immediately. Like, this man seriously has been shot but is clearly alive, which means 24:14.184 --> 24:17.238 you have a chance to save him. Yeah, like, yeah, I mean, the fuck your 24:17.271 --> 24:20.244 form should be like its own wing of the hospital, you know, where it's like, 24:20.325 --> 24:23.388 look No, we are post-paperwork here. That's supposed to be the ER. 24:23.870 --> 24:26.131 ER is supposed to be the fuck your forms part of the house. So when 24:26.631 --> 24:30.653 are the forms over with? Exactly. So yeah, so Kane is 24:30.846 --> 24:33.717 brought in and, you know, they do a good job here of like outside of 24:34.217 --> 24:37.181 him being the main character and the narrator of the voiceover and therefore knowing the 24:37.681 --> 24:41.350 movie's not over yet. You know, if the Hughes brothers had decided that 24:41.850 --> 24:43.499 this was the end of the movie and that this did kill him and we 24:43.999 --> 24:45.296 then get a flashback for the rest of it, it wouldn't have shocked me. 24:45.344 --> 24:48.629 Like they really laid in, like, just how hurt he is. I mean, he's like 24:48.661 --> 24:52.783 coughing up blood and doing— it's just really nasty, uh, and it's clearly a serious 24:53.283 --> 24:56.136 injury. But he is, he is okay because we immediately cut to, like, you know, 24:56.168 --> 24:58.827 I guess a few days, maybe a week later. He's still in the hospital, 24:58.843 --> 25:02.150 but he's bandaged up. He's— they've got him watching It's a Wonderful Life on TV, 25:02.166 --> 25:05.374 I think. He's watching, like, old, uh, kind of mobster movies. 25:05.471 --> 25:08.623 Oh, that's right. He's saying, like, you know, I didn't have anything 25:08.639 --> 25:11.629 to do in the hospital except for watch old gangster movies and think about my 25:11.694 --> 25:15.343 cousin. So he's just like kind of— yeah, he's in revenge mode. That's the only 25:15.375 --> 25:18.146 thing that he's thinking about right now. Right. But Ronnie comes to the hospital, 25:18.195 --> 25:21.103 right? Yeah. So Ronnie comes to pick him up. That's right. Yeah. 25:21.457 --> 25:24.690 So that's, that's very nice. And then when he's back with the 25:24.722 --> 25:28.043 grandparents, so now he's kind of like post-hospital, I get to hang with 25:28.059 --> 25:31.085 my grandparents. I can't really go out and stuff. And he's got on the bench. 25:31.246 --> 25:35.162 Yeah. It's a Wonderful Life with his grandparents, which, uh, Menace II Society 25:35.259 --> 25:41.648 Christmas movie. I mean, more Christmasy than Rocky IV, so Um, 25:41.825 --> 25:45.327 so, you know, you can— it's a— it's first of 25:45.827 --> 25:49.665 all just a great general— I think if you're a filmmaker, you probably have a 25:50.165 --> 25:53.119 dream to be like, I need to throw a little homage to It's a Wonderful 25:53.135 --> 25:56.557 Life in my movie, because so many movies show It's a Wonderful Life in 25:56.573 --> 25:59.513 them. You know, it's something about— I think it's something about Frank Capra, and it's 25:59.545 --> 26:02.276 something about the early days of American cinema, and something, you know, I mean, 26:02.292 --> 26:05.489 there's all this, this, you know, history built in there. And I 26:05.989 --> 26:11.051 feel like Capra is the the studious filmmaker versus 26:11.164 --> 26:14.455 like Wells or Hitchcock, who I think like more people recognize, like, oh yeah, 26:14.472 --> 26:17.492 they did really amazing stuff, you know, early in the days of American cinema. 26:17.541 --> 26:20.541 But Capra, like Mr. Smith Goes to Washington, Mr. Deeds Goes to Town, It's a 26:21.041 --> 26:24.869 Wonderful Life, like that's a different kind of Americana that was being, he's like the, 26:24.982 --> 26:27.743 what is it? The Rockwell or whatever of, or no, 26:28.631 --> 26:32.086 Norman, oh fuck it, whatever. Yeah, Norman Rockwell. It was Rockwell, yeah, yeah, yeah. 26:32.247 --> 26:35.009 Saturday Evening Post, that shit, right? Like, yeah, he's like that, but for movies from 26:35.509 --> 26:36.755 that era, right? And so there's, I feel like, especially if you're the Hughes brothers, 26:36.787 --> 26:39.461 you're making this movie, 26:40.039 --> 26:43.891 the more distinctions and comparisons you can draw to that. 26:44.373 --> 26:47.904 Oh, this is what little town America is versus what you're showing people. Yeah. 26:48.097 --> 26:51.404 It's just such a great, like, kind of dichotomy and contrast. And it's, 26:51.757 --> 26:54.903 you know, and then again, the fact that, you know, the grandparents are here just, 26:54.984 --> 26:58.018 just trying to live their lives in the middle of everything going on in Watts 26:58.034 --> 27:00.377 and they're watching It's a Wonderful Life. I mean, there's just, well, there's something so 27:00.877 --> 27:04.407 bucolic about it. It's a Wonderful Life. The whole purpose of the movie is showing 27:04.455 --> 27:07.665 this guy that he has reasons to live. Right, right. So it 27:08.165 --> 27:11.532 is kind of fun. It's like one of those things, like the Art 27:12.032 --> 27:14.854 of War thing I talked about during the Wall Street episode where I was looking 27:14.886 --> 27:17.854 for this little like subtle hint to the Art of War and then he just 27:18.354 --> 27:21.000 bangs you over the head with it. Right. So right after this, they're watching It's 27:21.500 --> 27:24.096 a Wonderful Life and O-Dog pops in. He's like, hey, Cain, you know, you come 27:24.596 --> 27:28.285 hang out. And he goes and he comes in to sit down and the grandfather's 27:28.785 --> 27:33.066 talking about these kids like, you know, I don't like what I'm hearing. Basically saying 27:33.259 --> 27:36.787 so casually, I know you guys have killed people, right? And the Bible says 27:36.819 --> 27:39.654 you shouldn't do that. Yep, exactly. And, uh, you know, 27:40.346 --> 27:44.113 chapter and verse. They end up going outside. So it's like, oh, Grandpa always 27:44.145 --> 27:48.565 telling us not to kill people, this fucking guy. And when they walk outside, 27:48.629 --> 27:52.373 Grandpa opens the door and he says, Cain, do you care whether you live 27:52.470 --> 27:56.221 or die? And then Cain takes a beat and kind of like looks down. 27:56.350 --> 27:59.184 Well, O-Dog's just kind of like, man, forget this shit, let's get out of here. 27:59.732 --> 28:02.709 And Cain's like, I don't know. Yeah. And then he walks away. So it was 28:02.806 --> 28:06.132 like grandpa's watching It's a Wonderful Life and being like, yeah, hey, 28:06.357 --> 28:09.651 Kane is, Kane is George Bailey. So real quick on 28:09.700 --> 28:13.087 that. This is interesting. So, uh, in the, uh, last few weeks, you, you and 28:13.103 --> 28:15.297 I took a couple weeks off recording. The audience doesn't know that cuz we put 28:15.797 --> 28:17.378 out an episode every week, but we record these in batches. So it had been 28:17.878 --> 28:20.703 like 5 weeks, I think, between sessions. And in that time I, I, I wrote 28:20.784 --> 28:22.852 a screenplay for the first time in my life, which is a lot of fun. 28:22.965 --> 28:26.035 I finally did it, which is great. Um, one of the things that I studied 28:26.535 --> 28:29.331 in learning how to write is like the, the structure. Of movies and like how 28:29.380 --> 28:31.962 you kind of have to have these elements. And one of the things that they— 28:32.026 --> 28:35.540 you need somewhere in the movie, usually early, is what they call the theme stated, 28:35.973 --> 28:39.117 right? So like, what is your movie about? And, you know, 28:39.165 --> 28:42.309 whether or not it's literally a character saying something out loud that does it or, 28:42.373 --> 28:44.411 you know, an image that you're showing to the audience that sort of does it. 28:44.716 --> 28:47.202 But somewhere along the lines, you got to like make it clear what's this movie 28:47.702 --> 28:50.795 about? And this is a very clear theme stated from Grandpa here, 28:50.876 --> 28:54.100 right? Do you care if you live or die? That is the theme of the 28:54.600 --> 28:57.297 entire movie. 2 Dads 2 Decades movie. Yeah. And I think we already— here's the 28:57.330 --> 29:01.432 fun thing I thought about it is that Harold already gave us that theme in 29:01.448 --> 29:04.886 his decision to not give up his car. Right. But it was subtle. 29:04.951 --> 29:07.129 If that's all that had been there, it wouldn't have been quite as obvious. 29:07.177 --> 29:10.017 So having Grandpa say it does make sense. It's a little on the nose to 29:10.517 --> 29:13.339 just come right out and say it, but that's okay. It's important that we get 29:13.564 --> 29:16.215 this moment and it's important for Kane's character that he has to think about it 29:16.715 --> 29:19.075 for a second. Right. Right. And I think that, you know, like you said, 29:19.107 --> 29:21.855 O-Dog is immediately dismissive. Like, this isn't even a question you need to think about. 29:21.919 --> 29:25.532 Like, fuck it, let's just go. Yeah. Right. You know, sort of like 29:25.789 --> 29:28.945 approach with thoughts like this to just be like, fuck it, that's not important. 29:29.009 --> 29:32.454 What's important is like, where's my next dollar coming from? Where's, you know, 29:32.470 --> 29:35.581 like what's going to happen next? Like that's what's important. All this philosophical thinking bullshit. 29:35.677 --> 29:39.341 I don't want to do it. But Kane very tellingly takes— 29:39.631 --> 29:43.246 there's a beat of 3, 4 seconds before he even responds. So he is clearly 29:43.909 --> 29:46.500 thinking this over. Yeah. And the fact that he can't come to an answer, 29:46.516 --> 29:49.819 like just like he does says he doesn't know, is again sort of 29:50.319 --> 29:53.080 just the entire theme of the movie encapsulated. So that's, telling us what the rest 29:53.580 --> 29:56.559 of the movie is going to be about. Totally. Yeah. Yeah. And, um, 29:58.034 --> 30:00.744 and I don't know, maybe they have to bang us over the head with that 30:01.244 --> 30:04.656 a little bit just so that this doesn't seem like more of an exploitative movie, 30:05.089 --> 30:08.792 potentially this type of scenario. But, um, so, so Kane 30:09.292 --> 30:12.784 is out there with O-Dog, and what O-Dog tells him, he's like, uh, he's like, 30:13.025 --> 30:16.905 we found the guys who shot you and Harold, you down with the 187? 30:16.953 --> 30:20.544 Like, we're gonna go kill these guys. And Kane's like, all right, let's do 30:21.044 --> 30:24.854 it. Yeah. So they end up at one of their friend's house, like getting 30:24.887 --> 30:28.364 the guns together and everything. And they're watching the surveillance 30:28.429 --> 30:32.215 video that O-Dog had taken earlier from the convenience store. So he's 30:32.715 --> 30:36.333 circulating this among his friends. So some of his other friends are there. We've got 30:36.591 --> 30:40.241 Luloke, who I think it's his house and played by Too Short. 30:40.289 --> 30:43.590 Yes. Who we love to see in this. And then Chauncey, 30:43.703 --> 30:46.858 who's not played by a rapper. He's an actor named Clifton Powell. He's in a 30:47.358 --> 30:50.131 ton of shit. Pinky in Next Friday, man. Yeah, he's very, very funny in this. 30:50.362 --> 30:53.950 And he's like, a level— him and Luloke, 30:53.999 --> 30:57.205 I think, are kind of a level above them. They're maybe like, you know, 30:57.221 --> 31:00.924 3, 4, 5 years older. Yeah, they get Kane and O-Dog 31:00.972 --> 31:03.841 to kind of do some of their dirt, as we see in a little bit. 31:04.418 --> 31:08.362 Um, but now we've got Kane and O-Dog with AWACS 31:08.586 --> 31:12.081 driving around in the car. Yeah, looking to do their drive-by. They're looking 31:12.113 --> 31:15.784 for the guys and having a conversation about like Kane saying, 31:16.280 --> 31:19.903 hey, like, I don't want to shoot any kids or old people. And they're like, 31:20.544 --> 31:23.350 like, who's gonna be old out at midnight? And like, I don't give a fuck 31:23.850 --> 31:27.407 who I kill. And very like callous about that. And, uh, all this 31:27.503 --> 31:31.192 whole time we have Love and Happiness by Al Green playing underneath it, 31:31.208 --> 31:34.335 which I, I really, really love that. And, uh, 31:34.640 --> 31:37.768 I didn't think that song would make me want to do a drive-by the first 31:38.268 --> 31:40.959 time I heard it, but that's all it makes me want to do here. 31:42.820 --> 31:46.252 Um, so yeah, they're driving around and they end up spotting these guys 31:46.364 --> 31:49.572 at like a burger stand, right? Just getting roasted by 31:50.072 --> 31:53.276 the girl who's working at the burger stand, trying to get a freebie. Really funny, 31:53.341 --> 31:57.092 like knowing that these guys are about to get shot, but also they're 31:57.108 --> 32:00.522 getting demoralized by asking for free food, and this girl is 32:00.554 --> 32:04.145 just like standing hard and, and roasting the shit 32:04.645 --> 32:08.169 out of both of them. Yeah. Um, yeah, so we get a, 32:08.393 --> 32:11.503 a pretty gruesome, uh, scene here. It was interesting 32:11.599 --> 32:14.388 too, I think, uh, you know, so, so again, not having seen this before, 32:14.436 --> 32:17.610 my first time through, I was thinking to myself, boy, I also hope nobody 32:18.110 --> 32:21.057 kills any, any kids especially. I mean, old people, like, that would suck, but like, 32:21.153 --> 32:23.766 you know, whatever. Um, so it was kind of nice that it was a very 32:23.782 --> 32:26.129 like, uh, because I, you know, I couldn't tell at at the beginning where it 32:26.629 --> 32:28.956 was just gonna be a drive-by. Was this gonna be like a home invasion kind 32:28.972 --> 32:31.281 of thing? Were they gonna bust down a door to do this? Like, what was 32:31.378 --> 32:33.607 it, right? And sure enough, these guys are kind of out in the open. 32:33.817 --> 32:37.763 They don't really do a drive-by. What is it? Awax parks, 32:38.085 --> 32:39.968 and then O-Dog and Kane come out and kind of go around the side of 32:40.468 --> 32:43.060 the building, and they come around, and O-Dog's got a shotgun, I believe. So they're 32:43.560 --> 32:45.788 going, but one of the guys, he takes a few shots, but then he runs 32:45.885 --> 32:49.217 off. And, you know, I was thinking to myself, like, I don't 32:49.717 --> 32:51.141 know, I'm always like trying to think like, oh, how's this gonna come back and 32:51.641 --> 32:53.599 like fuck the characters over with this? And I thought, man, this guy's gonna get 32:54.099 --> 32:56.189 away. And then it's gonna be like, that's gonna be it. They're gonna have like 32:56.689 --> 32:59.459 a hit on him, like whatever. No, AWACS catches him as he comes around, 32:59.475 --> 33:02.665 be like, hey man, you, you need some help, homie, you need some help. 33:02.890 --> 33:06.561 And then, okay, so that's— that revenge is handled. So Harold's killers 33:06.593 --> 33:09.446 and the person who shot Kane, they're dead now. Um, 33:09.959 --> 33:12.780 yeah, so, yeah, so he's like, 33:12.925 --> 33:16.419 you know, this has happened, 33:16.595 --> 33:20.218 right? And we're back to kind of Kane sitting back in his bedroom, 33:20.763 --> 33:24.146 and he says, uh, gun on the pillow this time though. Yeah, like, and he 33:24.646 --> 33:27.705 goes, uh, I thought killing those fools would make me feel good, but it really 33:28.205 --> 33:31.255 didn't make me feel anything. And he's like, all it really showed me is 33:31.287 --> 33:34.242 that I could kill someone and I could do it again if I had to. 33:34.338 --> 33:37.374 Yeah. Um, so really rough. 33:37.615 --> 33:40.714 And so we have to go to like something 33:40.763 --> 33:44.392 normal for a minute, and we have Kane going to visit Ronnie. And we talked 33:44.892 --> 33:48.761 about Ronnie a little bit earlier. Ronnie's played by Jada Pinkett. Yeah. Um, and Ronnie 33:48.938 --> 33:52.471 is Purnell's girlfriend, or was Purnell's girlfriend before he 33:52.487 --> 33:55.683 went to jail. So Purnell is kind of his mentor we saw earlier that gave 33:56.183 --> 33:59.320 him the liquor on the stoop. Yeah. And everything. And she has a son who's 33:59.337 --> 34:03.386 maybe, I don't know, 5, 6 years old. Yep. Uh, Anthony. So Kane 34:03.886 --> 34:06.221 is kind of like, he takes it upon himself a bit to watch out for 34:06.269 --> 34:09.167 them. He tries to give them money, tries to just check in on him because 34:09.199 --> 34:12.339 it was his dude's family and he's trying to like be a good friend. 34:12.419 --> 34:15.478 Yeah. Anthony's Parnell's son. They— I think he said that Ronnie was like 34:15.978 --> 34:19.022 pregnant when Parnell went away, right? Shortly after Parnell went away for life. We learned 34:19.522 --> 34:21.744 he's life with no possibility of parole. And they don't say what he did, 34:21.760 --> 34:24.578 but I mean, you can imagine murder, I would assume, at that point. But like, 34:24.594 --> 34:29.412 you know, so that like Kane looks at it as Purnell 34:29.912 --> 34:32.068 would do this for me. Like if I was in this situation and I was 34:32.149 --> 34:35.320 gone and I left behind a kid, like Purnell would take care of that kid. 34:35.368 --> 34:37.264 So I'm going to do that. Yeah. And I'm going to take care of Ronnie. 34:37.312 --> 34:39.627 I'm going to take her. So he's always trying to slip her cash, you know, 34:39.643 --> 34:42.391 put money into her sock drawer, like whatever, just give her a job. But she's 34:42.520 --> 34:45.598 all— he's always like trying to help out. And, and she's, you know, 34:45.856 --> 34:49.053 it's a very nuanced character, Ronnie. I think, you know, she, she obviously cares for 34:49.553 --> 34:52.616 Kane. She obviously loved Purnell, at least at one time. And, you know, 34:52.696 --> 34:55.989 but now she's a mom, so like nothing else trumps that, 34:56.069 --> 34:58.944 right? For her, it's just all about, you know, how can she take care of 34:59.444 --> 35:02.638 Anthony? How can she provide for him? Um, and as she sees her son getting 35:02.879 --> 35:06.429 older and sees like this world that they're in get reflected in him more 35:06.929 --> 35:10.765 and more, she's just like disgusted by this whole like situation that 35:11.265 --> 35:14.668 they're expected to survive, right? Because now she has the perspective not of, 35:15.166 --> 35:18.636 oh, a, a boyfriend or maybe husband, somebody like that's the 35:19.136 --> 35:21.992 person who's involved in this, and I have that creates certain things she has to 35:22.492 --> 35:25.253 deal with or reconcile in her head. Now it's, my own son is gonna grow 35:25.381 --> 35:28.770 up in this? That is not acceptable. That's something where she 35:28.834 --> 35:31.741 sees that she, or I mean, she comes to see, I think, over the course 35:32.241 --> 35:36.029 of the story, that she has some agency here and she can change this thing 35:36.045 --> 35:39.289 that we were talking about earlier, breaking cycles. Like, she's gonna try to break 35:39.337 --> 35:42.790 the cycle of like, you know, Anthony does not have to grow up where Parnell 35:42.806 --> 35:45.954 grew up. Anthony does not have to end up the way Kane and O-Dog 35:46.454 --> 35:49.037 are turning out, right? Like, it doesn't have to be that way. And the things 35:49.069 --> 35:52.084 that— The things that Cain is saying to him, 35:52.821 --> 35:55.963 Cain is cursing him around, or Anthony curses and she's 35:56.463 --> 36:00.404 like, "Hey, no cursing in the house." And Cain's like, "Oh, you gotta learn how 36:00.452 --> 36:03.465 to talk like that if you're going to be hard." Yeah, yeah, yeah. She's like, 36:03.497 --> 36:07.104 "It's not even about being hard." She's just like, "You're teaching him how 36:07.604 --> 36:10.775 to survive in this area that I have no intention on fucking raising him in." 36:10.871 --> 36:13.083 And he's 5. Yeah, he's this little kid. 36:14.382 --> 36:17.764 But Cain also is kind of a good— good fun, at least like a fun 36:17.941 --> 36:21.255 uncle, good big brother. Like, he does care about this. Oh, absolutely. He does want 36:21.755 --> 36:24.359 to look out for him, right? So he shows up and the kid is like, 36:24.424 --> 36:26.763 hey, you want to play me at boxing? So they're going to play this video 36:27.263 --> 36:30.410 game, right? Looks like Genesis based on the controllers that they're holding. So, so we're 36:30.459 --> 36:34.283 playing some, uh, some Sega Genesis and there's like sitting 36:34.299 --> 36:37.835 down on the floor and then Kane's like, hold on a minute, and like 36:38.335 --> 36:40.984 leans back, pulls his gun off from his waist because it's like jabbing into him, 36:41.610 --> 36:44.775 and, uh, sets it on the table. And immediately Anthony, that's all he cares about. 36:44.824 --> 36:49.051 He's like, yo, let me see that gun. And He's 36:49.099 --> 36:52.882 showing Anthony basically how to hold the gun, and Ronnie walks 36:53.382 --> 36:57.146 in and sees and is justifiably fucking, fucking furious. I mean, that, that would 36:57.274 --> 37:00.480 probably be at least a, you're not 37:00.980 --> 37:03.013 allowed at my house until I've had some time to think about this thing, 37:03.125 --> 37:06.492 right? Yeah, at least give me a moment. Yeah. And, and, and he knows like 37:06.992 --> 37:09.169 how bad it is because the first thing out of his mouth is it's not 37:09.217 --> 37:11.766 loaded. Yeah. So it's like, all right, so you already know this is a fucking 37:11.798 --> 37:14.884 terrible idea. You had to like go that route out even to make this 37:14.932 --> 37:17.492 something. You know, it's just like, it's, it's so funny the way people tell on 37:17.524 --> 37:20.921 themselves when it comes to like knowing they've done wrong. Yeah, it's not really 37:21.421 --> 37:24.286 about admitting things. It's like you try to spin it as soon as you get 37:24.786 --> 37:27.764 caught in it. And that's what he does. And she's not having it quite well. 37:28.231 --> 37:32.290 Ronnie is one of the more, um, logically kind of consistent 37:32.338 --> 37:35.646 and morally consistent characters in the movie in a lot of ways. And so she's 37:36.146 --> 37:38.405 just not having this. She's, she tells him get the fuck out, won't take his 37:38.422 --> 37:41.334 money. He tries to give her more money and she's like, no, He eventually like 37:41.834 --> 37:44.064 literally drops it on the ground as he leaves, and I don't think she doesn't 37:44.564 --> 37:46.810 pick it up. Like, she just kind of like— she's disgusted by it. Yeah. 37:46.890 --> 37:50.246 So, um, yeah. And so there's a quick 37:50.406 --> 37:54.195 shot from there of just their other friends, like O-Dog and Awax, 37:54.260 --> 37:57.262 are just kind of hanging at the stoop in the projects where they live, 37:57.792 --> 38:02.480 and the cops pull up and do a one-time, which is basically the cops rushing 38:02.593 --> 38:06.189 up on a crowd of people to bust whoever they can, like nothing announced. 38:06.788 --> 38:10.910 Just not, not something you want the police department 38:11.410 --> 38:14.871 that represents you to be doing to the population. Like, it's not effective. It's just 38:15.241 --> 38:18.420 kind of one of those like police terror tactics where they're going back and forth 38:18.920 --> 38:21.665 on each other. So we get to see this guy who's trying to buy, 38:22.182 --> 38:24.943 uh, crack from AWACS, and he's got $2. He's like, man, I got $2. 38:25.072 --> 38:28.502 He's like, no, come with $20. He's like, I got $2. Hey, I got 38:29.002 --> 38:32.448 these, uh, cheeseburgers, you know, I'll give you these. So he's trying to negotiate that. 38:32.496 --> 38:36.160 We see that guy a little later. Yeah. Yeah, we are 38:36.273 --> 38:39.691 at now Chauncey's house, and once again all the friends are still 38:39.739 --> 38:43.431 like watching the robbery tape. Yeah. So this is going around, like every guy that 38:43.931 --> 38:47.732 comes in is watching. I don't— it's very short, like the relevant 38:47.764 --> 38:50.926 part of it is very short, right? So that VHS 38:50.990 --> 38:54.072 is starting to get worn. I mean, yeah, it's just— and just the— like, 38:54.088 --> 38:57.137 I know, you know, O-Dog is not— is not being shown to us as either 38:57.637 --> 39:01.487 the most sort of like ethical or really most intelligent of the characters in this. 39:01.567 --> 39:05.399 I mean, of the characters in his friend group. He's not the smartest by several 39:05.479 --> 39:09.053 leaps, but like, God, like you gotta know this 39:09.117 --> 39:12.434 is you showing evidence of a crime to people, 39:12.450 --> 39:15.847 people, you know, and not a small crime. It's not a video of you 39:16.347 --> 39:18.828 shoplifting. This is murder one. Like this is not, you know what I mean? 39:18.876 --> 39:23.571 Like I don't, like I just, and again, this is part of my reality 39:23.764 --> 39:26.263 and where I was brought up and how and everything coming into where it's like, 39:26.328 --> 39:28.827 I don't understand this. But I bet it, 39:29.276 --> 39:32.740 makes sense in some way for this person to act this way. But it's just 39:33.240 --> 39:35.210 like, to me, it's like, no, this is so clearly like, this is just gonna 39:35.710 --> 39:38.850 hurt you, man. Like, don't, don't— this is so self-destructive. It has to 39:39.350 --> 39:42.570 not even occur to you that there would be a consequence, right? And O-Dog is 39:42.666 --> 39:46.290 almost like— I haven't looked into this, but I bet someone could do like a, 39:46.371 --> 39:49.754 uh, a Fight Club type analysis that O-Dog was just like 39:50.254 --> 39:53.875 a Tyler Durden this whole time, because there's no explanation of his origin. 39:53.923 --> 39:57.292 Like, he doesn't have a house, he doesn't have parents, He didn't come from anywhere. 39:57.340 --> 40:01.369 He's just like a pure, like, unfiltered id of like what 40:01.869 --> 40:05.044 you would think the most evil person in that scenario is going to do to 40:05.544 --> 40:08.816 just like amuse themselves or survive. He never gets arrested. He never gets shot. 40:08.896 --> 40:12.010 You know, he's like, oh, what if you're right, dude? What? I mean, 40:12.427 --> 40:16.054 how many other people? Well, but he's— hmm. Here's the question. 40:16.118 --> 40:18.012 I've never had— not thought of that till you thought— till you mentioned it. 40:18.060 --> 40:21.302 But the question I would want to go back and watch this movie is how 40:21.366 --> 40:24.689 many people directly speak to O-Dog when Kane 40:24.737 --> 40:28.395 is not not present. Because if that happens, it would cut that 40:28.895 --> 40:31.924 out. But it seems like we see O-Dog shooting crap, you know, 40:31.941 --> 40:35.245 shooting dice, and then Kane walks up, but O-Dog immediately interacts with Kane. Yeah. 40:35.454 --> 40:38.679 Okay, so maybe he wasn't actually shooting dice, right? There's all these elements where he's, 40:38.759 --> 40:41.904 he's in a group or with Kane alone. We never see O-Dog alone, and we 40:42.404 --> 40:45.610 never see O-Dog with someone who isn't Kane on their own. I don't think so. 40:45.658 --> 40:48.128 That would be the kind of question mark of like, the only time we see 40:48.628 --> 40:52.588 him actually, we do see him in a minute here. But I don't 40:52.652 --> 40:56.118 know, it's interesting thought, but just like we're probably jumping into sense 40:56.182 --> 40:59.389 anyway, right? So even if the actual guy isn't supposed to be that, 40:59.422 --> 41:02.477 it's like he is that, like serving that purpose. I mean, 41:02.493 --> 41:05.619 he is the id. Kane is the ego, right? O-Dog is 41:05.652 --> 41:07.920 the id, Kane is the ego in a lot of ways. Yeah, yeah. So, 41:08.001 --> 41:11.715 and Sharif would be the superego, right? Um, okay, 41:11.731 --> 41:14.942 so, so we're at Chauncey's house, they're hanging out, they're watching the video. Uh, 41:15.200 --> 41:18.443 there's a knock on the door and Chauncey's gonna go wake up, so they 41:18.460 --> 41:22.284 send Chauncey to answer his door and there is a very nerdy-looking 41:22.396 --> 41:25.522 white dude with probably the worst haircut I've ever seen. 41:25.571 --> 41:29.194 Terrible. It's like, I don't even know how to 41:29.694 --> 41:33.058 describe it, dude. It's like a bowl cut of a different haircut. Like, 41:33.299 --> 41:36.746 it just, it just has this hard cutoff on the sideburns that 41:37.246 --> 41:40.402 I don't understand, but then it poofs out. Anyway, so this guy is, 41:40.658 --> 41:44.362 he's like a business crime associate of theirs and probably trying to 41:44.862 --> 41:48.130 do some kind of insurance fraud. That's what it sounds like. And he gives Chauncey 41:48.146 --> 41:51.935 a picture of this this car, like, you know, black 1990 Nissan Maxima. 41:52.127 --> 41:55.532 It's got to look just like this, basically saying steal this car, fucking light 41:56.032 --> 41:58.069 it on fire, we'll say it was this car that we have title to, 41:58.166 --> 42:00.767 we're going to claim the insurance money, something like that. Uh, 42:01.201 --> 42:04.638 and Chauncey sends Awax and O-Dog and Kane, 42:04.734 --> 42:07.368 like, they're out kind of doing his dirty work looking for this car. Yeah, 42:07.384 --> 42:10.660 exactly. And, and it's— they go into a parking garage and, 42:10.933 --> 42:13.101 you know, it looks kind of— not a lot of people around, but we do 42:13.601 --> 42:17.242 get real quick and notice that a security guard notices them drive in And, 42:17.418 --> 42:19.582 you know, they find a car, which it was funny. I don't even think it 42:20.082 --> 42:21.698 was the same model. I think it was like a Honda Prelude or something. 42:21.778 --> 42:24.438 It was black, but it like wasn't the right car. But anyway, 42:25.352 --> 42:27.740 O-Dog and Kane get out and they go, you know, he's got the jimmy, 42:27.756 --> 42:31.395 whatever Kane does, like for the window. And they go and they steal the car 42:31.459 --> 42:34.793 and they get the alarm. You know, it looks okay, except that the security 42:34.809 --> 42:37.998 guard has called the cops. So as they go to try to exit, 42:38.175 --> 42:41.429 boom, here come the cops rolling right up onto them. They ditch the car, 42:41.637 --> 42:45.214 run back into the parking garage, try to hide. But of course, The cops have 42:45.262 --> 42:48.009 the most racist dog in the world, the German Shepherd. That's right, German Shepherd. 42:48.057 --> 42:52.058 Immediately hunts them down. And we don't see the dog attack the 42:52.558 --> 42:56.171 two. This is a good example of using your budget wisely. 42:56.251 --> 42:59.577 Yes. Trying to show us a dog attack would have been very— It would look 43:00.077 --> 43:02.566 bad. It would either look wrong or be very expensive to get right. So doing 43:02.614 --> 43:05.313 it all where we're kind of looking at the wheels of a car that we 43:05.813 --> 43:08.639 know they're kind of behind as they're yelling to get the dog off of them, 43:08.687 --> 43:11.914 right? It just gives us the thing. So. Yeah, so they 43:12.414 --> 43:15.827 go and then, uh, yeah, right. So they're both caught and, uh, and what Kane 43:16.327 --> 43:18.938 says— so Kane is in jail, so we kind of— he gets a voiceover as 43:18.970 --> 43:22.610 he's walking into jail and he's an adult, he's a, he's a man, 43:22.754 --> 43:26.667 so he's in adult jail and he's looking around and everything. Uh, he said 43:27.167 --> 43:30.452 it was his first offense, so he didn't really get much, uh, thrown at him. 43:30.500 --> 43:34.060 Instead of GTA, it was like attempted joyriding. That's right. 43:34.509 --> 43:37.555 Uh, and then O-Dog was a minor, so he got, he got let off. 43:37.636 --> 43:40.426 Off. He had to do some time with like the boys ranch or something. 43:40.522 --> 43:42.959 It was something, it was like he did say something that he had to go 43:43.459 --> 43:45.429 do, but it was like for a week, it was like something minimal, you know, 43:45.509 --> 43:48.860 he's a kid. So, um, so, so they're like 43:48.957 --> 43:52.340 out, you know, they're, they're out. And we get the scene back in 43:52.840 --> 43:55.820 the alley with the crackhead who was trying to get the, the $20 for $2, 43:56.573 --> 43:59.588 and he's talking to O-Dog, he's like, hey, come on, man, like just hook me 43:59.620 --> 44:02.106 up this one time. Yeah, he's like, nah, man, get the fuck out of here. 44:02.587 --> 44:06.242 I got these cheeseburgers, I get these double cheeseburgers that bag did not have 44:06.742 --> 44:10.387 enough weight to hold 2 double cheeseburgers. I, I would— I'm suspicious 44:10.500 --> 44:13.624 of that. So he was at the very least lying about the contents of that 44:14.124 --> 44:17.346 bag. Um, and, and he says to O-Dog, he's like, come on, man, 44:17.395 --> 44:20.841 I'll suck your dick. And he's like, what the fuck did you say? He's like, 44:20.938 --> 44:24.344 I'll suck your— he shouldn't have doubled down on that. Suck your dick. He should 44:24.844 --> 44:27.050 have been like, I, I don't know, man, these drugs are making me crazy. 44:27.146 --> 44:30.190 Exactly. The response from O-Dog made it clear that like that wasn't gonna happen. 44:30.239 --> 44:34.051 That's not a way— that's not a payment method that's gonna be accepted. Repeat yourself, 44:34.099 --> 44:37.415 please, I didn't catch that. Confirm this new deal that you'd like to 44:37.915 --> 44:40.295 offer? Like, no, he was fucking pissed. So it's, yeah, doubling down on it. 44:40.375 --> 44:43.974 And, uh, so yeah, you know, then O-Dog just shoots and kills 44:44.006 --> 44:47.476 this guy. And I don't— did he die? Oh, for sure. I thought 44:47.976 --> 44:50.839 he shot him in the dick and he— that's why he was like doubled over 44:51.339 --> 44:54.469 or whatever. But I think they just didn't want to use a squib. That's fair, 44:54.566 --> 44:58.082 that's okay. But, uh, but yeah, so then Awax 44:58.582 --> 45:00.745 and the, and the other girl who's kind of part of their crew are standing 45:00.762 --> 45:04.082 over there looking at O-Dog and it's not like, oh my God, 45:04.115 --> 45:07.764 yeah, it's just like, man, you're stupid. Yeah, right. Why are you doing that shit? 45:07.828 --> 45:12.023 What's wrong with you? Are you killing that crackhead? Very, very kind of like— it's 45:12.523 --> 45:15.631 so weird because like Goodfellas, like the same kind of psycho shit, 45:15.647 --> 45:19.884 like Tommy in Goodfellas. Oh yeah. Does similar, like emotionally 45:19.997 --> 45:23.192 driven psychotic shit, you know? And the friends 45:23.224 --> 45:26.418 also have very casual reactions to him. And I don't know 45:26.531 --> 45:30.305 why it feels— it's because they didn't give any kind of like funny how element 45:30.805 --> 45:34.504 to O-Dog. Like there's not a charisma behind it. It's just like a 45:35.004 --> 45:38.646 blankness of like, I'm just unpredictability 45:39.223 --> 45:42.691 personified. This is— I mean, look, there's, there's an element, there's an element of— to 45:43.191 --> 45:46.544 be totally honest, there's an element of latent like kind of prejudice or whatever underneath 45:47.044 --> 45:49.610 it all. The white characters, the black characters, like that's— you can't ignore that, 45:49.626 --> 45:53.013 right? There's that. It feels different because we've been trained by society 45:53.029 --> 45:56.240 that it is different. I think the age of the characters though does actually play 45:56.740 --> 46:00.188 in as well. Knowing that O-Dog is 17 years old, it just 46:00.688 --> 46:04.104 feels different than Tommy DeVito at 30 killing Spider. You know what I mean? 46:04.345 --> 46:07.571 It does just feel different because he's a kid too. And then I think there's 46:08.071 --> 46:11.872 the element of, you know, that when Tommy DeVito kills somebody or 46:11.969 --> 46:15.500 Jimmy kills somebody in Goodfellas, there is a system around 46:16.000 --> 46:19.255 them to sort of protect them when that happens. They are part of an organization 46:19.688 --> 46:23.268 that is sworn essentially to protect them. And we know O-Dog and 46:23.300 --> 46:26.009 Kane, they don't have have that. Yeah, right. So there, there is a, a, 46:26.169 --> 46:29.598 um, a vulnerability that this kind of creates for them. Every time they 46:29.630 --> 46:32.867 kill somebody or beat somebody up or whatever, as we find out later, 46:33.140 --> 46:36.409 it adds an enemy to the roster. And so, and then if you're, you know, 46:36.521 --> 46:40.030 even Tommy not made, he was still protected by the fact 46:40.530 --> 46:43.364 that he worked for Paulie and like all this stuff. So there's definitely, um, 46:44.293 --> 46:46.537 a difference there. But I think, and I, you know, the race part I'm not 46:47.037 --> 46:49.357 going to ignore, but I do think the age and then the system of support 46:49.501 --> 46:53.334 that the gangsters, the mobsters have that these kids in Watts don't, 46:53.350 --> 46:55.917 I think is what makes it feel so different. And then you're right, the Tommy 46:56.157 --> 46:59.173 character in Goodfellas is played for laughs in a way that O-Dog never is. 46:59.429 --> 47:03.102 Yeah, yeah. So brutal, you know, O-Dog takes this guy out. 47:03.151 --> 47:06.214 So very quick scene, but this is another very 47:06.262 --> 47:09.085 memorable in the culture kind of thing, right? Oh yeah, I'll suck your dick. 47:09.165 --> 47:12.710 I'll suck your dick, yep. So Caine finds out now that 47:12.903 --> 47:16.736 his fingerprints were lifted off this broken 40 bottle from the robbery 47:16.832 --> 47:19.463 earlier, 'cause he was printed when he was processed earlier, 47:19.960 --> 47:23.184 and now he's being questioned by the cops. And we get one 47:23.684 --> 47:27.098 of our favorites, the great Bill Duke. I was super stoked to see this scene. 47:27.275 --> 47:30.499 And again, great version of this in Don't Be a 47:30.999 --> 47:34.654 Menace. Yes, like this crosses over very well to that. But we 47:34.718 --> 47:38.311 get Bill Duke, you know, very no-nonsense, you know, going through the 47:38.343 --> 47:42.081 details. So you bought the bottle of beer at 11:15, 47:42.354 --> 47:45.385 you sure about that? He keeps repeating that, and then a couple times later he 47:45.885 --> 47:49.446 goes Goes, so you're telling me for sure you bought the bottle of beer at 47:49.946 --> 47:53.020 12:15? And Kane's like, yeah, yeah, 12:15, you know, 47:53.036 --> 47:56.010 if I'm not mistaken. You know you don't fucked up. 47:56.317 --> 47:59.503 You know you fucked up, right? You know that. So he catches him 48:00.003 --> 48:03.416 in this kind of trick, but really the cops don't have actual shit on 48:03.916 --> 48:05.533 him. Well, they don't have the tape, so they don't have evidence. It's like, 48:05.791 --> 48:08.550 and he, you know, the— there— it's not enough to say, yeah, you killed this 48:08.598 --> 48:12.035 guy because a broken bottle, right? Because someone 48:12.067 --> 48:14.742 else was coming in. Yeah, yeah, we were leaving and all this stuff. Yeah. 48:15.047 --> 48:18.588 Um, so Kane, he's home from jail, but he's sick, 48:18.893 --> 48:22.354 as happens many times. And I think this is like, you don't see 48:22.854 --> 48:25.046 this in every movie. Like, a lot of times if you go to jail for 48:25.546 --> 48:28.748 more than a couple days, you will come home sick because everyone's constantly fucking sick 48:29.248 --> 48:32.466 there. So Kane is home and he's puking and everything, and Stacy and Sharif 48:32.995 --> 48:35.270 show up to his house to go pick him up. Hey, we're gonna go take 48:35.770 --> 48:38.203 you to get this new car. Yeah, yeah, yeah. And they're kind of talking about 48:38.703 --> 48:42.244 their plan to, uh, to move to Kansas, right? Right. 48:42.292 --> 48:45.565 Stacy's gonna go play football, Sharif's gonna come with him because what else is there 48:45.597 --> 48:48.934 for us here? Yeah. And, uh, and Kane is not really— 48:49.432 --> 48:52.833 he's not down for that. Yeah, why would I go to Kansas? What are you 48:52.897 --> 48:56.106 doing? Yeah, yeah, yeah. But at least his friends are trying a little bit to 48:56.606 --> 48:59.909 be like, yeah, I don't know either, but yeah, it's not this. Yeah, yeah, 49:00.101 --> 49:02.845 exactly. Yeah, yeah. Um, so Kane, uh, 49:03.150 --> 49:07.594 he, he gets his new car, which is a sick Mustang 5.0, 49:07.738 --> 49:11.154 looking really good. And what he says as he's driving away 49:11.266 --> 49:14.312 in it for the first time, he's like, I had the dope ride, but I 49:14.812 --> 49:18.239 was sitting on some bullshit. I needed rims bad. I love that. 49:18.303 --> 49:21.525 It's one of the urgencies of this movie. It's like, goddamn it, I need 49:22.025 --> 49:25.388 those rims. This fucking stock bullshit is not going to fly, 49:25.533 --> 49:27.905 man. So he's like, yeah, you know, I knew exactly how to get them. 49:27.953 --> 49:31.320 I'm going to catch some dude slipping. And sure enough, he comes up. 49:32.025 --> 49:35.840 There's like a burger place drive-through. He sees the reflection. 49:36.016 --> 49:38.469 He sees this guy pull up next to him and with the rims that he 49:38.517 --> 49:41.996 wants. Yeah. And there's like a devil face. Face in the rim. 49:42.189 --> 49:46.696 There's like— I read about this after the fact, like years ago, but there's 49:47.196 --> 49:50.450 kind of like a, like an evil-looking face in the rim that like looks at 49:50.950 --> 49:53.530 him. I, I need to pause it and see exactly where. I definitely missed that. 49:53.594 --> 49:56.850 I didn't catch that. But I— because this is kind of where he's doing his 49:56.946 --> 50:00.315 own crimes. He's not doing revenge anymore. I'm doing stuff for my own account. 50:00.411 --> 50:03.282 And it's not something like— yeah, yeah, there's, there's, 50:03.298 --> 50:06.715 there's, there's no— there's no driving factor behind it other than 50:06.731 --> 50:09.858 his own desire. Except that I need I want the thing that's on the inside 50:10.358 --> 50:13.993 of my tires on my car to look different than the perfectly functional 50:14.041 --> 50:17.295 one that I have. Correct. Exactly. Very important. This scene, 50:17.391 --> 50:21.094 though, and I'll kick it back over. But this scene here, when he pulls up 50:21.594 --> 50:25.630 on this guy slipping at the drive-thru, first of all, the guy plays 50:25.982 --> 50:28.899 slipping the best I've ever seen in my life. 50:29.012 --> 50:32.442 I mean, it's really funny how this guy is acting, right? So Kane 50:32.554 --> 50:35.840 creeps into his passenger side of his door as he's about to order it like 50:36.340 --> 50:39.456 a fast food place. And he's like, he's like, man, what the fuck do you 50:39.553 --> 50:42.593 want from me? He's like, I'll take your rims, your wallet, 50:43.030 --> 50:46.571 and your fucking pager, and I'd like a double burger with cheese too. 50:46.846 --> 50:50.255 He's like, what? He's like, order my fucking food. So he goes through, 50:50.320 --> 50:52.808 and I think this should be the intro to the movie because I think this 50:53.308 --> 50:56.084 is the funniest, uh, it is one of the few funny scenes for sure. 50:56.213 --> 50:59.434 Yeah, so, and the way this guy goes to order, he's not panicked or 50:59.934 --> 51:03.832 anything, he's just very, uh, yeah, let me get a, uh, double burger. I said 51:04.332 --> 51:07.807 cheese fries. I said with cheese. So good. 51:08.243 --> 51:11.169 So, so Kane came up on his rims and he took this guy out. 51:11.621 --> 51:14.272 Yep. And then the next time we see the 5-0, of course it's got those, 51:14.385 --> 51:17.599 those nice beautiful rims on it. Yeah, we got Computer Love by Zapp and 51:17.615 --> 51:20.567 Roger playing, which is a great song. And we're going to a cookout, I believe, 51:20.600 --> 51:23.472 right? Yeah, picnic out in the park. Uh, it looked like 2 Shorts there on 51:23.504 --> 51:26.103 the grill. I think that's who that was. Bullshitting on the grill, they say. 51:26.395 --> 51:29.873 Lulu's over there bullshitting on the grill. And, uh, and this 51:30.373 --> 51:31.782 is when we meet, uh, so we got everybody kind of hanging on. This is 51:32.282 --> 51:35.322 when we meet meet Charles Dutton's character. Uh, it's Sharif's dad, was the butler, 51:35.450 --> 51:39.291 right? Mr. Mr. But yeah, yeah. And he's, you know, obviously he's, 51:39.387 --> 51:42.812 uh, uh, you know, a literal father for, for one of the characters, but also 51:42.861 --> 51:45.340 clearly a father figure for a lot of these guys. They've known him for a 51:45.840 --> 51:47.755 while, you know, they're chatting with him, whatever. We learn a little bit later, 51:47.771 --> 51:50.798 I think he's a teacher at the school, right? So, um, but he's talking to 51:51.298 --> 51:53.310 him, and I do love there's this thing where, you know, Sharif is like— because 51:53.407 --> 51:56.393 one of them, O-Dog, maybe is smoking a joint, right? And Sharif's like, man, 51:56.409 --> 51:59.264 tell these— tell these kids What they doing? You know, Dad, tell him. And he's 51:59.764 --> 52:02.032 like, oh, I used to smoke a little weed for myself. Like, and he's just 52:02.532 --> 52:04.930 like, come on, Sharif, you can't, you can't be perfect all the time, you know, 52:04.946 --> 52:08.780 kind of thing. He, he has the, like, the right amount of 52:09.197 --> 52:13.134 authority to come at these kids with. Like, he knows I can't be a hardliner 52:13.634 --> 52:16.572 on every single thing, you know, so I have to be allowable to this so 52:16.588 --> 52:19.770 that I can even get breakthrough to you guys in some fucking way. These kids 52:19.882 --> 52:23.080 are killing people and selling crack. If I give them shit for smoking pot, 52:23.337 --> 52:27.046 I'm never going to talk to them ever again. That's ridiculous. So very smart sort 52:27.546 --> 52:30.494 of balance, which again, very indicative of a teacher in that environment who's got to 52:30.994 --> 52:33.959 deal with kids like that year after year. I mean, he teaches in this neighborhood, 52:34.007 --> 52:37.295 so he's, he's had similar, if not those exact kids at some point. 52:37.375 --> 52:40.503 Right. So before that, real quick, 52:40.759 --> 52:43.839 Kane had met this girl in the parking lot. Oh, that's right. 52:43.887 --> 52:47.239 He pulled up his new 5.0 with the rims, so he knows that he can 52:47.739 --> 52:51.121 actually get this girl if he hits on her. And this chick named Ileana. 52:51.185 --> 52:54.361 Yeah. And I love that when he parts with her, he goes, take care of 52:54.393 --> 52:57.153 that body, which I've never had the, 52:57.618 --> 53:01.052 uh, I've never had the guts to say. So yeah, so Mr. Butler, 53:01.357 --> 53:04.052 um, and they're also saying he's like, uh, 53:04.598 --> 53:07.406 sits down and immediately they're like, oh yeah, bring Mr. 53:07.470 --> 53:10.968 Butler a plate, like bring him some barbecue. And we used to say this in 53:11.000 --> 53:14.353 place of like, beer me or whatever, we'd be like, bring Mr. Butler a 53:14.853 --> 53:17.225 plate, which means like, get me whatever you're getting out of the fridge. 53:18.124 --> 53:20.498 And, uh, I do like he asked for a heavy plate, a nice size plate. 53:20.723 --> 53:24.436 That's what he put it. Yeah, nice Nice size plate. I love Charles Dutton. 53:24.500 --> 53:27.441 He's such a good actor. He is so good. And you know, him and Bill 53:27.553 --> 53:30.944 Duke both like just hitting their shot. It's like, 53:31.088 --> 53:33.985 all right, we need 2 minutes off the bench from you at the end of 53:34.485 --> 53:37.721 the quarter while we rest our starters. And they're just draining threes from half court. 53:37.769 --> 53:41.231 They are a pair of Andre Iguodala bringing that ring to Golden State. You know 53:41.731 --> 53:45.265 what I mean? Like, so, so now we're back in Mr. 53:45.329 --> 53:48.689 Butler's classroom and Sharif is kind of like talking to his dad after class and 53:49.189 --> 53:52.833 Kane comes to meet them there, you know? And I like Mr. 53:52.898 --> 53:56.488 Butler giving Sharif shit. So we find out that he's a Christian and Sharif has 53:56.521 --> 53:59.838 converted to Islam and stuff, but he's very accepting of it. 53:59.903 --> 54:03.402 And he's just like, hey, like, it's not my thing, but my goal is like 54:03.467 --> 54:05.994 for you to live your life, for you to become a better man, for you 54:06.494 --> 54:09.911 to survive. And he's talking to him about like when Kane comes in, 54:10.266 --> 54:13.241 he's like, you know, you're going to move to Kansas with him because what are 54:13.741 --> 54:17.218 you going to do here? Yeah. Like you're a Black man in America. 54:17.364 --> 54:19.848 The hunt is on and you're the prey. You know, you got one thing to 54:20.348 --> 54:23.681 do is survive. Yeah. Yeah. And, uh, you know, it's fucking, it's pretty 54:23.729 --> 54:27.569 powerful. He's, he's very good. I want to be, if there's something 54:27.665 --> 54:31.232 I need to learn, I would love an AI Charles S. Dutton to like pop 54:31.280 --> 54:34.558 up and, and like reiterate it for me. Yeah. You know? So there's an interesting 54:34.590 --> 54:37.611 thing that happens in this scene in the, in the, um, uh, classroom as well. 54:37.787 --> 54:40.117 And, and actually I had it as a note much earlier, but I wanted to 54:40.617 --> 54:42.865 call it out here cause I know it happens here too. This is one of 54:43.365 --> 54:46.849 maybe 4 or 5 scenes in the movie that do not involve, um, 54:47.346 --> 54:50.923 any visual police presence. A couple of the other ones that I know for sure 54:50.971 --> 54:54.274 happened are with O-Dog and Kane walking around their 54:54.804 --> 54:58.155 housing complex, right? And where Kane's grandparents live. 54:59.310 --> 55:03.447 It's either the sounds of a helicopter or the sounds of distant sirens. 55:03.640 --> 55:06.911 And they are in 4 or 5 scenes. Like I said, only counting the 55:07.411 --> 55:10.856 ones where there aren't visual police presence. That's in addition. But the number of times 55:11.356 --> 55:15.013 that we either just get the background noise of a helicopter or distant sirens is 55:15.110 --> 55:18.917 so good. It's such fantastic like world-building 55:19.046 --> 55:22.580 and sort of like this underlying sort of like 55:23.046 --> 55:26.355 tension or presence of like malice that's there. It's like, 55:26.677 --> 55:29.633 it's just— It's like a 2 Dads 1 Movie podcast. 55:29.729 --> 55:33.248 Constant sirens. Exactly. But I love it 55:33.748 --> 55:37.248 because at no point in any of the scenes do any of the characters, 55:37.505 --> 55:39.883 not only do they not reference those sounds, they don't notice them. 55:40.573 --> 55:44.582 They do not react to them. They don't bump. They don't look up. They don't— 55:44.646 --> 55:47.757 there is nothing that anyone on screen reacts to. And yet I know I 55:47.773 --> 55:50.628 heard it every single time because it's a fucking sound of a helicopter or sirens. 55:50.676 --> 55:53.659 Like, it's hard to miss. And you know that in a movie scenario, 55:54.204 --> 55:56.834 those don't sneak in the way they sneak in on us as people drive by. 55:56.995 --> 56:00.507 Those are deliberately placed there. And so it's just— this was one of 56:01.007 --> 56:02.944 the— this was one of the times I thought it was really poignant because it's, 56:03.281 --> 56:06.857 it's Mr. Butler talking to Kane about you know, 56:06.953 --> 56:10.767 being hunted. And here are police sirens off in the distance. And it's just, 56:10.799 --> 56:13.844 it was, I thought it was really well placed here. The other major one that 56:14.344 --> 56:17.081 I noticed was that immediately following Kane, do you really want to live or die? 56:17.369 --> 56:21.119 I don't know. The next sequence of Kane and O-Dog at that point walking through 56:21.619 --> 56:25.638 this neighborhood and talking was all, all the background noise was helicopter the entire 56:26.138 --> 56:28.731 time. And so those are two spots where I noticed it and really felt like, 56:28.747 --> 56:32.257 God, this does such a good job of like ramping up the tension and 56:32.273 --> 56:35.321 sort of underlining the scene without making any of the 56:35.821 --> 56:39.188 characters even acknowledge that it's there. Yeah, great, great choice by the Hughes brothers. 56:39.557 --> 56:42.654 Yeah, that's, that's a great, that's a great observation. 56:42.927 --> 56:46.296 And yeah, just that it's like ever-present to the point that 56:46.796 --> 56:49.650 you're just Elwood Blues living under the L train. We like go so often, 56:49.682 --> 56:51.254 I don't even know. Exactly. 56:52.747 --> 56:55.940 So let's see, Kane and Sharif, so they 56:56.004 --> 56:59.454 have this great conversation with Mr. Butler, right? And then Kane and Sharif are kind 56:59.954 --> 57:02.691 of driving away and just chit-chatting and everything. And Sharice's like, oh, what happened to 57:03.060 --> 57:06.345 the chick you met at the barbecue? He's like, yeah, I fucked her. The way 57:06.845 --> 57:09.870 he said it, like, none of my friends ever say anything to me like that, 57:09.966 --> 57:13.219 please. Like, I— there needs to be some kind of a, yeah, like, 57:13.556 --> 57:16.745 none of this dead serious look. It's so, so creepy. 57:17.402 --> 57:21.071 Um, but they get, they get picked up by the cops, and Kane is 57:21.103 --> 57:24.308 talking about how, you know, the cops would sometimes just pull us over 57:24.808 --> 57:27.961 just to fuck with us and everything. And we get a very visceral, 57:28.073 --> 57:31.293 like, police brutality scene, kind of very similar to The Boys in 57:31.793 --> 57:34.465 the Hood. And the cop is being super racist, you know, put your hand in 57:34.965 --> 57:37.974 the hood, this hood's hot. I thought you boys like barbecue, like just saying disgusting 57:38.006 --> 57:41.563 shit. Yeah. And the cops start beating them up and basically the cops 57:42.011 --> 57:45.215 beat them up and drop them off in like the SA neighborhood, 57:45.375 --> 57:49.092 right? The Latina neighborhood, thinking that, oh, they're going to get beat up more 57:49.220 --> 57:52.585 when we drop them, even killed. And the scene where you 57:53.085 --> 57:55.116 don't know what's going to happen, I think this scene is very well done because 57:55.388 --> 57:59.524 we go straight from the cops kind of beating them in the car to these 57:59.717 --> 58:02.847 Mexican guys hanging out, working on a car, drinking 40s, whatever. 58:03.473 --> 58:06.507 And then they see them get dropped off and they say, you know, the essays 58:06.603 --> 58:09.268 were cool though, they took us to the hospital. Yeah, these guys look straight out 58:09.768 --> 58:12.559 of To Live and Die in LA. Like, they've got that look for every different 58:13.059 --> 58:16.106 kind of guy. Yeah, that's true. Was an NES ice hockey type lineup, dude. 58:16.411 --> 58:20.168 We had every, every single body, every style of cholo was there. It was 58:20.668 --> 58:24.325 really good. I did love that the essays were helpful and not another source of 58:24.582 --> 58:27.452 strife for them. I wish those characters came back somewhere. I would think it would 58:27.952 --> 58:30.688 have been interesting. Probably too tied up nicely, but it would have been nice if 58:31.188 --> 58:33.797 like— I wanted more of them. I wanted more of those guys. Like, I don't 58:33.813 --> 58:35.960 know, I just like— and I guess that's just a different movie. But like, 58:36.024 --> 58:39.789 well, it's funny, it's almost like you, you live with this mentality 58:39.901 --> 58:43.009 that fuck everyone, nothing matters, this world 58:43.509 --> 58:46.598 doesn't matter, there's no community, there's just today, there's just like what I need to 58:46.630 --> 58:50.075 do. And then you're put in like the most extreme situation of 58:50.575 --> 58:53.392 like testing that, right? If you are really in a community where nobody gives a 58:53.440 --> 58:56.632 fuck about each other, nothing matters, Those guys would have beat you up. Those guys 58:57.132 --> 58:59.684 would have robbed you. Those guys would have whatever. And then they show this like 58:59.845 --> 59:02.656 actual kindness and actual humanity towards them. 59:03.298 --> 59:06.607 But it doesn't register with Kane and O-Dog that they're like, oh, 59:06.688 --> 59:09.756 like, this is what it's all about is the actual fucking people. 59:09.884 --> 59:13.177 These guys face the same bullshit from the cops. These guys have the same bad 59:13.193 --> 59:16.582 schools. They have the same kind of shit as us. But it doesn't click there. 59:16.647 --> 59:20.116 But the movie does show us that it's like, there's the— you're the fucking 59:20.180 --> 59:24.286 same. You know, there is, there is a path through that 59:24.786 --> 59:27.814 is not just to avoid everything. Like, there is a path through that, that exists. 59:27.942 --> 59:31.711 It's— but, you know, it also— there are cultural differences between 59:32.211 --> 59:35.062 the Latino sort of inner-city culture in LA at this time and the Black inner-city 59:35.078 --> 59:38.189 culture. And I'm sure fighting for resources, and, and there's 59:38.221 --> 59:40.771 not going to be enough to go around, so there's always going to be— and 59:40.867 --> 59:44.235 the conflict, the racism affected them differently. You know, I don't— I'm not going 59:44.735 --> 59:48.532 to speak for the racist LAPD at the time, but they probably were more interested 59:48.708 --> 59:51.769 in, you know, fucking up the day of a young Black man than of a 59:52.269 --> 59:54.381 young Latino man. I don't know for sure, but it kind of feels that way. 59:54.813 --> 59:57.009 So, you know, it's not exactly the same, but you're right, it is, it is 59:57.057 --> 01:00:00.310 an interesting, um, juxtaposition of like, you know, these are people with, 01:00:00.326 --> 01:00:03.563 yeah, like I said, very similar, if not exactly the same, very similar circumstances. 01:00:03.707 --> 01:00:07.233 And yet, right, there is, there is, we're shown this difference. Yeah. Um, 01:00:07.249 --> 01:00:10.101 and that is interesting. But, um, but yeah, then, uh, 01:00:10.261 --> 01:00:13.692 there's a really great little sequence with Ronnie sitting with Anthony and Anthony 01:00:13.708 --> 01:00:17.610 asking like, why did, you know, the cops beat up Kane? 01:00:17.659 --> 01:00:20.677 Did he do something wrong? And she kind of tells him like, not really, 01:00:20.710 --> 01:00:24.628 no. Like, they just— this happens, you know? And it's that conversation that 01:00:25.128 --> 01:00:28.418 I'm sure every, you know, Black mother has had to have with her son 01:00:28.918 --> 01:00:32.191 at some point. And that's horrible. And, you know, but it was very well done. 01:00:32.336 --> 01:00:36.061 It's one of Jada Pinkett's better scenes in the movie, you know, playing against 01:00:36.190 --> 01:00:39.562 off this 5-year-old. But like, she's playing this— that you can see it 01:00:40.062 --> 01:00:43.142 in her eyes and her face. That every line, every sentence 01:00:43.174 --> 01:00:46.527 she speaks, she's thinking about it as she says it, that it's, "How do I 01:00:46.560 --> 01:00:48.752 pick the right words to say this?" I have an answer, but how do I 01:00:49.252 --> 01:00:52.344 translate this to a 5-year-old that doesn't disturb him, but doesn't lie to him? 01:00:52.537 --> 01:00:55.725 He's gotta understand, right? I'm not gonna just out and out bullshit him 01:00:56.724 --> 01:00:59.171 because I need him to grow up understanding these things, but also he's 5, 01:00:59.219 --> 01:01:01.642 so I can't just say exactly what I'm thinking, you know? And I don't wanna 01:01:02.142 --> 01:01:06.004 terrify him, right? And that's an incredibly crazy difficult 01:01:06.504 --> 01:01:09.319 line to walk. And so anyway, Jada Pinkett does a great job here one of 01:01:09.819 --> 01:01:12.688 her best scenes in the movie. And she's probably, you know, of the major characters, 01:01:12.704 --> 01:01:16.026 probably the best actor in the film. But yeah, really great moment between 01:01:16.526 --> 01:01:19.346 her and Anthony. I really like that scene a lot. Yeah, and very important. 01:01:19.442 --> 01:01:22.733 And the last thing that Anthony asks Ronnie is, "Is Kane 01:01:22.814 --> 01:01:26.137 gonna die, Mama?" Right. She's like, "No, no, Kane's not gonna die." Yeah, yeah. 01:01:26.879 --> 01:01:30.150 So we're at the hospital now where, you know, Kane's been beaten up and 01:01:30.650 --> 01:01:34.256 he is like physically beaten up but mentally defeated. 01:01:34.336 --> 01:01:37.600 The way his attitude is, he's like, like, fuck this, what's the point? 01:01:37.648 --> 01:01:40.297 I just got the shit beat out of me again. After he had kind of 01:01:40.797 --> 01:01:44.456 decided like, all right, well, maybe I'll— I just talked to Mr. Butler, 01:01:44.472 --> 01:01:47.973 maybe I'll think about possibly changing something, and then immediately 01:01:48.005 --> 01:01:51.762 gets brutalized by the cops. Yeah. Um, but he's talking to Ronnie in the hospital, 01:01:51.922 --> 01:01:55.471 and Ronnie says, hey, uh, by the way, I got offered a 01:01:55.971 --> 01:01:58.506 job in Atlanta. Yeah. Or I got offered a job that pays, you know, 01:01:58.522 --> 01:02:02.023 a salary I can live off of. Yeah. And it's in Atlanta. And she says 01:02:02.071 --> 01:02:05.814 this through a door, which is very funny. And, 01:02:05.895 --> 01:02:09.205 uh, and Kane's just like, yeah, you know, go. Like, 01:02:09.831 --> 01:02:13.302 I'm not gonna stop you. Like, what the fuck? And then she's like, I want 01:02:13.802 --> 01:02:16.692 you to come with me. And she starts kissing him because he's been fighting this. 01:02:16.756 --> 01:02:20.195 And it seemed like Ronnie has been interested in him, he's been interested in her, 01:02:20.211 --> 01:02:24.292 but he has enough, uh, reverence slash fear of Purnell that 01:02:24.792 --> 01:02:27.409 he's like, nah, that's something we don't do, is I don't mess with his lady. 01:02:27.590 --> 01:02:30.874 Lady. Like, that's just like against the very limited code that we have. 01:02:30.938 --> 01:02:33.656 That's something that we don't— and I think even Stacy earlier in the movie had 01:02:33.673 --> 01:02:36.099 said something about it, or you, you with that? Because I'd be trying to fuck 01:02:36.599 --> 01:02:37.944 her. Like, and he's like, no, no, like, that's Purnell's girl. And he's like, 01:02:37.976 --> 01:02:41.745 yeah, he's on life with no possibility of parole, man. Like, what are you doing? 01:02:41.810 --> 01:02:45.412 Like, you know what I mean? Like, so the, the seed was planted. 01:02:45.460 --> 01:02:48.998 But yeah, he's been sticking with this honor, sort of honor code with 01:02:49.014 --> 01:02:52.778 Purnell that he wouldn't, he wouldn't go for his girl. Yeah. Yep. 01:02:52.880 --> 01:02:55.914 Um, so now we're kind of at Zooming forward, and we're like the end of 01:02:56.414 --> 01:03:00.281 the summer, the last— the going away party because Kane and 01:03:00.378 --> 01:03:03.830 Ronnie and Anthony are going to move to Atlanta and Stacy and 01:03:03.846 --> 01:03:07.362 Sharif are going to move to Kansas. So we have kind of like a getting 01:03:07.378 --> 01:03:11.264 away, going away party at Ronnie's house. Yeah, I love the consistent 01:03:11.312 --> 01:03:14.684 reference of a 40 as just a beer. Yeah, right. 01:03:14.845 --> 01:03:17.398 Get me a beer. It's really funny. You know what? 01:03:17.895 --> 01:03:21.353 My mom used to work for the US Census, and she 01:03:21.853 --> 01:03:24.165 would have to go and like do the actual surveys and there would be like 01:03:24.197 --> 01:03:27.716 affiliated surveys. So you have the census every 10 years, but then they're 01:03:27.797 --> 01:03:31.556 always doing surveys about different demographics and different, you know, 01:03:32.279 --> 01:03:35.348 whatever, consumer habits and stuff. Yeah. And one of the 01:03:35.848 --> 01:03:39.446 questions they had was like, how many beers would you say you drink in a 01:03:39.688 --> 01:03:43.311 day? Like, how many alcoholic drinks do you have in a day? Parentheses, like alcoholic 01:03:43.811 --> 01:03:46.821 drink is one glass of wine, one beer, whatever. Yeah. And she said that they 01:03:46.837 --> 01:03:49.642 had to clarify, like, one beer is one 12-ounce beer. 01:03:50.683 --> 01:03:54.147 Because it's like, oh, a beer is the container that holds my beer. 01:03:54.244 --> 01:03:56.704 Like, what do you mean? It's a science. 4 Tall Boys. Like, what do you 01:03:57.204 --> 01:04:00.570 mean? It's the vessel that the beer is inside equals 1 beer. Yeah. 01:04:00.812 --> 01:04:04.161 So I like that they were, they're just calling it beers in this. I also 01:04:04.661 --> 01:04:06.382 was on the topic of like the, how many drinks have you had thing? 01:04:06.447 --> 01:04:09.152 It's always like 1.5 ounces of hard liquor, right? Because that's how much you would 01:04:09.652 --> 01:04:12.249 put like in a single cocktail. 4 ounces of wine, which I got to tell 01:04:12.749 --> 01:04:16.469 you as a certified sommelier, I can tell you if somebody poured me a 4-ounce 01:04:16.485 --> 01:04:19.447 glass, I would ask where the rest of it is. Yeah, you smack it with 01:04:19.947 --> 01:04:22.394 the back of your hands. That is a little too much for like, uh, 01:04:22.506 --> 01:04:25.678 like a tasting flight. Yeah, right, because that should be maybe like 2, but that 01:04:26.178 --> 01:04:28.007 is not enough to be a glass that I paid for. I need 6 to 01:04:28.169 --> 01:04:31.598 8 ounces minimum. Yeah, dude, 4 ounces is some bullshit. 01:04:31.954 --> 01:04:35.638 Like, um, so we're at Ronnie's house now, 01:04:35.687 --> 01:04:39.536 we have this party here, uh, Awax and Chauncey show up and they're 01:04:39.778 --> 01:04:43.144 like drunk as hell when they come up. Chauncey is starting to get a little 01:04:43.160 --> 01:04:45.619 creepy around Ronnie. He's definitely— he's like shows up and they're with women and he's 01:04:46.119 --> 01:04:49.536 just like, I wish Ronnie at? Where's Ronnie? And they're like, all right, man, 01:04:49.552 --> 01:04:52.989 chill out, chill out. Um, during this party, 01:04:53.326 --> 01:04:56.683 you know, very similar to the beginning of the film, here we've got 01:04:56.699 --> 01:04:59.670 the crew hanging out on the stoop in front, and his friends are giving him 01:05:00.170 --> 01:05:03.091 shit about, you know, leaving town and everything. And Anthony has come out of his 01:05:03.203 --> 01:05:06.817 bedroom. He was playing a little Genesis there. Yeah. And, uh, he comes 01:05:07.317 --> 01:05:10.848 out on the stoop and he's talking about, you know, the same 01:05:11.348 --> 01:05:13.626 kind of stuff that young Kane was. This is, this is the, that was some 01:05:13.658 --> 01:05:16.372 of the bookends, the sort of like, you know, the images at the beginning and 01:05:16.388 --> 01:05:19.694 the end mimicking Um, this is the, the cycle not breaking, 01:05:19.791 --> 01:05:22.884 right? Anthony being in this environment is doing exactly to him what 01:05:23.384 --> 01:05:26.380 it did to Kane, you know, 12 years before, whatever it was. And so, 01:05:26.688 --> 01:05:29.787 yeah, so there's that element. But Ronnie comes out and it's like, gets Anthony back 01:05:29.916 --> 01:05:33.111 to his, to his room and sit and tells Kane, I gotta talk to 01:05:33.127 --> 01:05:36.273 you, like, come in and talk to me. And so she confronts him about leaving 01:05:36.773 --> 01:05:38.534 with her. They actually hadn't decided. I think it was just Ronnie going away. 01:05:39.019 --> 01:05:42.557 Uh, Sharif and Stacy are going to Kansas, Ronnie's going to Atlanta, but Kane 01:05:42.654 --> 01:05:45.675 hadn't committed to going yet. But she basically confronts him about it and he says, 01:05:45.723 --> 01:05:48.197 yeah, I'm I'll go with you. And then they make love. 01:05:49.193 --> 01:05:51.714 I found it odd. You got all those people in the house, the kid's still 01:05:51.762 --> 01:05:54.780 clearly awake. Like, I don't know, this wouldn't work for me, but hey, the two 01:05:54.812 --> 01:05:58.602 of them needed this. So for the, for the music 01:05:58.666 --> 01:06:01.845 they used and for the way it was shot, that wasn't a quickie, 01:06:01.941 --> 01:06:04.719 you know what I'm saying? Like, you could have shown that it was a little 01:06:04.751 --> 01:06:08.219 like a little 8 Mile, Brittany Murphy style, you know, 01:06:08.300 --> 01:06:11.334 do it, do it like that. But this did look like, and it was a, 01:06:11.495 --> 01:06:15.069 it was an extended romance. This was Kelly McGillis and Tom Cruise in Top Gun. 01:06:15.182 --> 01:06:19.109 This was like, you know, take my breath away level. This was like— so, 01:06:19.670 --> 01:06:22.859 and I think it's funny that it cuts from there and then the guys 01:06:22.875 --> 01:06:26.306 are just kind of hanging out playing cards at the table, and Kane, 01:06:26.482 --> 01:06:30.152 you know, is sitting there and he's obviously a little, uh, conflicted because 01:06:30.652 --> 01:06:34.031 he's like, well, you know, I do really like this chick and I'm glad about 01:06:34.531 --> 01:06:37.461 that, but there is some guy in jail who's gonna be like, you know, 01:06:37.477 --> 01:06:40.908 get my wife's name out of your fucking mouth. And not just 01:06:41.408 --> 01:06:44.628 her name, by the way. And he's— he has this look on his face just 01:06:44.692 --> 01:06:47.979 like, what have I done? And also, I don't want anyone here to know what 01:06:48.479 --> 01:06:51.426 just happened. And then it kind of zooms out from Kane a little bit, 01:06:51.507 --> 01:06:55.034 and we see Stacy like leaning in with this look on his face, like, 01:06:55.435 --> 01:06:58.866 like, let me smell your fingers look that he has on his face. It's so 01:06:58.962 --> 01:07:02.362 fucking funny the way Stacy's just like, hey man, hey, how'd it go? 01:07:02.410 --> 01:07:05.536 I love that character. Stacy is one of the best characters of the kind of 01:07:06.036 --> 01:07:09.886 supporting characters. I enjoy him too. Funny. Yeah, but then Chauncey 01:07:09.902 --> 01:07:13.639 is pushing it. Chauncey is getting too handsy with Ronnie, you know, 01:07:13.655 --> 01:07:16.033 hey, come here, like whatever. I don't remember exactly what he's saying, but she is 01:07:16.131 --> 01:07:18.622 trying to like push him off, and Kane is starting to fume. I mean, 01:07:18.638 --> 01:07:21.664 he sees it and he, you know, just like whatever. And as soon as Chauncey 01:07:22.164 --> 01:07:25.580 kind of, you know, puts his hands on Ronnie, Kane hops up. 01:07:25.838 --> 01:07:28.869 Yeah, he says to O-Dog, he's like, dog, you strapped? He's like, you know it. 01:07:29.080 --> 01:07:31.917 Yeah, give me your gun. Yep. And he gets a gun, he pistol whips the 01:07:32.417 --> 01:07:35.880 shit out of Chauncey and just beats his ass with the gun, like real bad, 01:07:35.960 --> 01:07:39.333 real, real Henry Hill style. Yes, definitely. Uh, 01:07:39.349 --> 01:07:42.577 what are you looking at? You want some fuck up, right? Yeah. Um, yeah. 01:07:42.705 --> 01:07:46.319 And so of course during this, you know, Anthony like comes 01:07:46.819 --> 01:07:50.398 out of his bedroom and sees it, and then we have, uh, we have Ronnie 01:07:50.415 --> 01:07:53.643 like hurry to put him back in. But it— and it's a cool— the way 01:07:53.723 --> 01:07:57.048 this is shot, it's like a cutout of the side of a house. Very neat. 01:07:57.096 --> 01:08:00.822 Where we even see like the interior of the, of the walls and everything. 01:08:00.870 --> 01:08:03.488 Wes Anderson would steal this later for several of his movies. 01:08:04.387 --> 01:08:07.243 Um, and again, it's one of those things, like we've talked about this before, 01:08:07.371 --> 01:08:10.580 when you get filmmakers who kind of have their first shot at a 01:08:11.080 --> 01:08:13.724 real budget. Yeah, there's certain things in the movie where you're like, I bet he's 01:08:14.224 --> 01:08:17.077 always wanted to do that. He was able to spend the money. Yeah, finally made 01:08:17.577 --> 01:08:21.457 that work. Um, yeah, you know, so this is what Anthony experiences 01:08:21.473 --> 01:08:24.939 now. Kane, who's basically his father figure for all he ever knows, 01:08:25.484 --> 01:08:28.613 is being violent towards this guy at a party in his house, just like Kane 01:08:28.709 --> 01:08:32.309 experienced at the beginning. There. Exactly. Yeah. Um, so Chauncey got 01:08:32.423 --> 01:08:36.012 whipped, and Chauncey is like— he's a real dude, you know? He's not 01:08:36.512 --> 01:08:38.825 a made guy, but he's a real— he's a real fucking Russian outfit guy. 01:08:38.890 --> 01:08:41.824 You don't want to mess with this guy. He's a real Teddy KGB. 01:08:42.195 --> 01:08:45.403 He's, he's a G. I mean, he's, he's somebody on the street that, yeah, 01:08:45.419 --> 01:08:49.313 has a reputation. And, uh, so, so then we're 01:08:49.813 --> 01:08:52.977 getting— we're getting a fucking, uh, a, uh, tag here. 01:08:53.348 --> 01:08:56.823 Yeah, because— well, indirect, because we have Chauncey's 01:08:57.323 --> 01:09:00.137 house again. We got Doc, who's, I think, think, you know, the guy who had 01:09:00.637 --> 01:09:04.294 the house party earlier, the guy with the hat on, and he is watching boxing 01:09:04.326 --> 01:09:07.269 on TV, marked it down, right? And in the background, 01:09:07.334 --> 01:09:11.034 Chauncey is sitting at the dining table like dealing with some envelopes and 01:09:11.534 --> 01:09:14.392 stuff, and he's just like, oh man, he's like, hey, you should— hey, Chauncey, 01:09:14.408 --> 01:09:19.277 come see this guy getting his ass whooped. This looks like Kane whipping your ass 01:09:19.777 --> 01:09:22.313 last night. And then Chauncey's just like, man, fuck Kane, you know, Kane's not gonna 01:09:22.813 --> 01:09:26.152 be laughing when the police get a hold of this videotape. So Chauncey is mailing 01:09:26.329 --> 01:09:29.536 the fucking surveillance tape to the cops because of, you know, 01:09:29.552 --> 01:09:33.048 his upset about getting beat up by Kane. Which is interesting because this reminds 01:09:33.064 --> 01:09:35.421 me now, actually I hadn't clocked this when I first watched it, but I remember 01:09:35.921 --> 01:09:38.660 now that earlier in the movie, I think maybe when, 01:09:38.917 --> 01:09:42.044 um, uh, Too Short— I can't remember the character's name— Luloke or whatever, 01:09:42.060 --> 01:09:45.988 like, uh, hands the shotgun to O-Dog before they go out, 01:09:46.133 --> 01:09:49.244 Chauncey makes a comment about, man, this tape's amazing, 01:09:49.276 --> 01:09:51.553 make me a copy of this. Yes, one of the times they're watching it. 01:09:51.601 --> 01:09:55.010 Yes. And O-Dog looks like, "Mm, I don't know about that, man," like kind of 01:09:55.510 --> 01:09:57.999 thing. But clearly he did at some point, right? 'Cause there's no way O-Dog doesn't 01:09:58.031 --> 01:10:01.616 have that original on his phone, right? Chauncey has the original, O-Dog's got that. 01:10:01.972 --> 01:10:05.321 So clearly Chauncey has a copy. So O-Dog, who knows how many copies he's 01:10:05.821 --> 01:10:07.957 made for one thing, but he's clearly gotten to the point of making copies of 01:10:08.457 --> 01:10:12.072 his own felony crime. Yeah, very, very bad move. Yeah, 01:10:12.089 --> 01:10:15.319 and O-Dog even earlier is like, "Fuck that." He's like, "I'm gonna sell these for 01:10:15.367 --> 01:10:18.759 $59.95." That's right, yeah. Before actually, I think just 01:10:19.259 --> 01:10:21.976 before we got to this scene, scene with Chauncey sending the tape, Alina calls Kane 01:10:22.558 --> 01:10:25.550 and, uh, tells him that she's pregnant. And Kane, of course— now Kane had been 01:10:25.631 --> 01:10:29.220 told, I don't know, by Stacy or AWACS, somebody told him, oh, 01:10:29.252 --> 01:10:32.627 I know that girl, everybody's been dipping this. Sharif said, yeah, I know a 01:10:33.127 --> 01:10:35.696 couple of brothers that done eased up in that. Exactly. And so just how I 01:10:35.730 --> 01:10:39.292 talk about women. Absolutely. Yeah, definitely. Um, so Alina says, 01:10:39.422 --> 01:10:41.786 I'm pregnant. And he's like, what the fuck you telling me for? And she's like, 01:10:41.802 --> 01:10:43.924 because it's yours. Like, how the fuck you know that? Like, you— and she's like, 01:10:43.940 --> 01:10:46.584 you're the only one I've been with. Like, you know, maybe lately. But the point 01:10:46.632 --> 01:10:50.043 is, she's not just sleeping around, and she's crying, and he's just like, 01:10:50.189 --> 01:10:52.695 fuck, you don't fucking call me, that's not mine. Like, fuck off. And he's just 01:10:53.195 --> 01:10:56.028 like, there's no way. He's like, I wore a condom, fuck you. Like, or whatever, 01:10:56.109 --> 01:10:59.318 you know. And, and so it's totally cold and it's just like not having it. 01:10:59.415 --> 01:11:01.846 And then we, we cut away, and that's when we get to Chauncey sending in 01:11:02.346 --> 01:11:05.716 the tape. Um, but yeah, then it's, uh, I think next is we're 01:11:06.216 --> 01:11:09.367 in jail, we're visiting Purnell, right? So we're gonna go visit Purnell, and, uh, 01:11:09.723 --> 01:11:13.972 you know, Kane has not been to visit Purnell 01:11:14.472 --> 01:11:15.534 Yeah, that's right. Purnell would have been in jail for what, 5, 6 years if 01:11:16.034 --> 01:11:19.854 he went when she was pregnant with Anthony? Exactly. And, uh, and they go in 01:11:20.354 --> 01:11:24.013 there and first Ronnie's on there with Purnell and she plays this very well of 01:11:24.029 --> 01:11:27.353 just being like, I have to be here and I am so 01:11:27.417 --> 01:11:30.147 pissed that I even have to fucking see you right now, you know? 01:11:30.308 --> 01:11:34.049 So Ronnie's got to tell him, yeah, we're moving to Atlanta, Kane's coming 01:11:34.081 --> 01:11:36.699 with you, you know, Kane's coming with me, I'm taking your kid and everything. 01:11:37.277 --> 01:11:40.471 Um, but she can't even make eye contact because I can't do Can you imagine 01:11:40.567 --> 01:11:44.335 someone through— and I'm sure Purnell, he seems like he's 01:11:44.575 --> 01:11:48.118 had time to reflect or whatever, but sure, through his own fucking stupidity, 01:11:48.439 --> 01:11:51.340 got himself in this situation where she's a single mom all of a sudden, 01:11:51.388 --> 01:11:54.546 you know? Yeah. And, and who knows how he was to her and all that 01:11:55.046 --> 01:11:57.256 stuff. So there's a lot of like behind that, but she doesn't want to look 01:11:57.756 --> 01:12:00.702 at him. He ends up talking to Kane for a minute, and you know, 01:12:00.718 --> 01:12:04.357 he's telling Kane, he's like, you know, your letters got me through 01:12:04.373 --> 01:12:08.022 here at the beginning, and is really like a good kind of tender 01:12:08.522 --> 01:12:11.960 moment between 2 guys who aren't allowed to express their feelings. Yeah, yeah. No, 01:12:11.976 --> 01:12:14.611 it's very interesting. And he gives— and he also gives Kane, I think most importantly, 01:12:15.260 --> 01:12:17.496 the green light to go live your life. And if that means living it with 01:12:17.544 --> 01:12:20.283 Ronnie and with Anthony, please take care of them, that's fine. Like, basically, 01:12:21.515 --> 01:12:24.529 you're not coming out. I'm not leaving here. And I don't— and even if I 01:12:25.029 --> 01:12:27.204 did at this point, like, Ronnie wouldn't want anything to do with me anyway. 01:12:27.285 --> 01:12:29.571 So just, it's all good, man. Yeah. Like, I know you'll take care of her 01:12:30.071 --> 01:12:33.107 kind of thing, which is like, you know, just gives him that, that sort of, 01:12:33.123 --> 01:12:36.261 okay, that's one less thing I gotta worry about. In a life full of fucking 01:12:36.439 --> 01:12:39.690 threats and things to worry about, this is not one of those things. I can 01:12:40.190 --> 01:12:42.971 go ahead and feel comfortable about this decision. So it helps solidify for Kane, 01:12:43.004 --> 01:12:46.573 like, I'm moving to Atlanta. I'm moving to Atlanta with Ronnie and Anthony. I'm gonna 01:12:46.637 --> 01:12:49.496 raise Anthony like my own son. Like, he's got a plan now. There is this, 01:12:49.867 --> 01:12:53.002 there is a future literally right around the corner for him. 01:12:53.701 --> 01:12:55.684 Just a day or two away, they're gonna move to Atlanta. So couple days, 01:12:55.830 --> 01:12:59.126 dude, just lay low. Keep your head 01:12:59.223 --> 01:13:02.979 down, you know? Keep your eyes front and you'll be good. So I 01:13:03.043 --> 01:13:05.532 guess we may as well talk about it since it was on film. But, 01:13:06.479 --> 01:13:09.866 uh, so, so yeah, now we're back, 01:13:10.091 --> 01:13:13.205 um, and Kane, he pulls back up to his house, right? 01:13:13.286 --> 01:13:15.999 He gets out and he's like putting his wheel locks on or something, messing with 01:13:16.031 --> 01:13:19.627 his rims. And up behind him we see like a gun go to his head 01:13:20.127 --> 01:13:22.292 and we go, hey, get up off the car! That's right. And he turns around 01:13:22.308 --> 01:13:25.326 and it's O-Dog fucking with him, which is like, oh, you— it's not 01:13:25.826 --> 01:13:28.633 funny. Really gonna do that? What if I had quick reflexes? What if I had 01:13:29.133 --> 01:13:31.105 like a boot gun or something to whip out. 01:13:32.286 --> 01:13:35.941 So, so they're kind of chit-chatting and walking back towards his grandparents' 01:13:36.441 --> 01:13:39.672 house, and then we get a guy who approaches them who's like, hey, uh, 01:13:39.897 --> 01:13:42.853 which one of you is Kane? Yeah, yeah. And they're like, you know, 01:13:43.416 --> 01:13:45.409 who are you? Depends on who's asking. Yeah, I mean, that thing is like, 01:13:45.441 --> 01:13:48.093 I would never answer that question. Some rando walks up to you in that neighborhood, 01:13:48.110 --> 01:13:51.260 it's like, hey, which one of you so-and-so? Like, fuck you, man. Like, 01:13:51.551 --> 01:13:55.203 and this guy, this guy's— this guy's really trying to make fetch 01:13:55.703 --> 01:13:58.692 happen with pot Yeah, you know, he's, he's really, 01:13:58.869 --> 01:14:02.168 he's really leaning hard into partner, you know. So I'm Alina's cousin 01:14:02.184 --> 01:14:04.840 partner. She don't like the way you've been dogging her, and I don't either. 01:14:05.380 --> 01:14:08.160 He's like, hey man, I don't think you really know me, you know. Yeah. 01:14:08.467 --> 01:14:11.862 And he's like, we're supposed to fight over a bitch. He's like, you better watch 01:14:12.362 --> 01:14:15.160 who you be calling a bitch. And then Kane's like, yeah, you better watch who 01:14:15.660 --> 01:14:18.650 you be. And then just starts, yeah, destroying him. I mean, beating him up, 01:14:18.666 --> 01:14:21.719 stomping him. De Niro, uh, on Billy Batts 01:14:22.219 --> 01:14:26.063 style, you know, kicking him and everything. Uh, and then his grandfather comes 01:14:26.563 --> 01:14:29.770 out immediately, sees this, like, Kane, Kane, get in the house! Pulls him away. 01:14:30.316 --> 01:14:33.910 And the grandparents have had enough. That's it, you know, this is it. I can't 01:14:34.410 --> 01:14:36.799 have you in my house one more night. Yeah, you're done. He's like, well, 01:14:36.815 --> 01:14:40.490 I was gonna move to Atlanta with Ronnie in like a couple weeks. They can 01:14:40.990 --> 01:14:43.170 have a couple days. Yeah, can I just stay here till then? They're like, 01:14:43.555 --> 01:14:46.138 nope, get out of here. Like, I really hope you get your shit together, 01:14:46.219 --> 01:14:50.359 but I'm officially done with it. Which, very fair from the grandparents' perspective. 01:14:50.455 --> 01:14:53.804 Yeah. I mean, uh, they already knew some of the stuff that he 01:14:54.304 --> 01:14:57.361 was saying. Whatever else they're hearing, well, you forget about them needing to hear stuff 01:14:57.861 --> 01:15:01.283 directly from him. There has to be similar types of grandparents that live in that 01:15:01.315 --> 01:15:04.512 complex and people that are out talking and everything. They're retired, 01:15:04.528 --> 01:15:07.501 they're not out going to work, so they know what's going on. They probably know 01:15:07.581 --> 01:15:10.689 a lot about it. And there's going to be the things that happened that they 01:15:10.721 --> 01:15:14.245 know about, there's going to be rumors that they don't— neither did or didn't have, 01:15:14.278 --> 01:15:16.848 but they can't be sure about. So it's going to be, you know, and it's— 01:15:17.348 --> 01:15:19.629 yeah, people talk and people, you know, those kind of things just get spread around 01:15:20.129 --> 01:15:20.713 and they know who his best friend is, right? And they know what his best 01:15:22.500 --> 01:15:25.647 friend has done. So why would you not associate? At this point, if you think 01:15:26.147 --> 01:15:29.615 that the grandparents have not heard that there is a tape of O-Dog killing somebody, 01:15:29.663 --> 01:15:32.249 they've at least heard that rumor, you know what I mean? There's no way that 01:15:32.749 --> 01:15:35.123 this is getting spread around so much and that hasn't come back to them in 01:15:35.623 --> 01:15:38.544 at least somebody talking after church one day or something about like, did you hear 01:15:38.593 --> 01:15:41.371 what happened? There's the boy showing this tape around. Like, you know, that tape is 01:15:41.387 --> 01:15:44.905 like the Wayne's World going on. It's like their version of public access. 01:15:45.162 --> 01:15:48.550 Yeah, it's real bad. Um, so the grandparents kick him out, and now we 01:15:48.695 --> 01:15:52.158 kind kind of fast forward here and we're on moving day and we're packing 01:15:52.658 --> 01:15:55.509 up the car. Yeah, sick Ford Aerostar, by the way. 01:15:56.022 --> 01:15:59.453 Nice looking, uh, nice shape of a van there. Um, 01:15:59.630 --> 01:16:02.852 so we're packing up the car, the guys are there, Sharif's there, 01:16:03.077 --> 01:16:06.797 Stacy's there, O-Dog's there, they're helping Ronnie and Anthony. 01:16:07.694 --> 01:16:11.542 And, um, we get kind of a flash away to 01:16:11.622 --> 01:16:14.845 Ilina's cousin who's leaving the house while Ilina's like, 01:16:14.909 --> 01:16:17.571 please, please, you don't have to do this. And he's like, I'm gonna handle this 01:16:18.071 --> 01:16:21.488 guy for you. Yeah, yeah. And does a goofy-ass fucking jog to the car where 01:16:21.988 --> 01:16:25.743 he's, he's doing the look both ways to cross the street like once every 0.5 01:16:26.243 --> 01:16:29.163 seconds as he jogs to the car. It's not exactly the same, but it reminded 01:16:29.211 --> 01:16:33.016 me of DJ Poo running away in Friday. I swear, 01:16:33.225 --> 01:16:36.805 they're spiritually related, those two, those two characters. 01:16:37.865 --> 01:16:40.964 Um, so Ileana's cousin now is in the car, and him and his crew, 01:16:41.156 --> 01:16:44.624 and they're all getting ready for a drive-by. Again, one of every different type of 01:16:45.124 --> 01:16:47.898 guy. It did a good job of mixing up looks and everything. But they got 01:16:47.914 --> 01:16:51.729 Uzis, they got Jerry curls, they got handkerchiefs, 01:16:51.761 --> 01:16:55.447 they got everything here. And, um, and they're heading towards the house 01:16:55.592 --> 01:16:59.102 as, you know, Kane and everyone's loading up. Ah, 3 more boxes 01:16:59.134 --> 01:17:01.859 and we're out of the hood forever. Everything's gonna be great. Yeah, 01:17:02.821 --> 01:17:05.866 yeah. And this is the scene then that, you know, uh, obviously this, this was 01:17:05.930 --> 01:17:09.296 also kind of like spoofed very directly in, in Don't Be a Menace. It's, 01:17:09.376 --> 01:17:12.310 it's a scene that, not having seen this movie, I knew exactly what was coming 01:17:12.358 --> 01:17:15.436 and like kind of the details of it just because it's, it has as it 01:17:15.645 --> 01:17:19.559 moved beyond this movie into the zeitgeist. But basically 01:17:20.059 --> 01:17:23.730 it's a series of shots of loading the van, talking about moving, the car coming 01:17:24.230 --> 01:17:26.778 down the street, putting some more stuff in the van, talking to Anthony, the car 01:17:27.278 --> 01:17:30.178 coming down the street. Now Anthony's on his bike and his little big wheel driving 01:17:30.678 --> 01:17:33.323 away and the car's coming down the street. And that is when we see, 01:17:33.676 --> 01:17:36.082 you know, they're not close enough and the drive-by basically begins. And it's not even 01:17:36.582 --> 01:17:40.237 necessarily a drive-by. They stop for quite a while and are just really 01:17:40.269 --> 01:17:43.837 emptying these clips into people. People. Sharif takes it first and it's just 01:17:44.144 --> 01:17:47.005 gone. I mean, like, no chance. Yeah, he probably takes 20, 30 bullets. 01:17:48.490 --> 01:17:51.591 Um, Kane, to his credit, immediately sees where Anthony is in 01:17:52.091 --> 01:17:54.837 all this and tries to run to him as O-Dog gets his gun out, 01:17:54.901 --> 01:17:58.295 is running the other direction and firing at the assailants. Yep. 01:17:58.441 --> 01:18:01.590 But really, I don't think hits anybody. I don't think anybody gets— no, it's like 01:18:01.816 --> 01:18:04.981 aimless shooting. You're just trying to lay cover for me, right? Yeah. 01:18:05.449 --> 01:18:08.061 But, uh, Kane, you know, I know it's— God, so here's the— what I wasn't 01:18:08.561 --> 01:18:10.813 sure about, I was not sure, sure, because I hadn't seeing it, I was like, 01:18:10.894 --> 01:18:13.814 fuck, do they actually let Anthony live through this, or does Anthony have to die 01:18:14.103 --> 01:18:17.473 to make the point here? I don't think that's true, but, but my worry was 01:18:17.973 --> 01:18:21.308 that as Kane runs to Anthony, that he will be drawing fire to— 01:18:21.324 --> 01:18:25.561 yeah, right, that was concerning to me. Um, thankfully they, 01:18:25.577 --> 01:18:28.866 they did have Kane sort of covering Anthony. So as they drive off, Ronnie and 01:18:29.366 --> 01:18:32.252 Stacy come running back out of the house, and Stacy goes over to Sharif, 01:18:32.316 --> 01:18:35.462 and then Ronnie runs up, you know, Anthony, Anthony, Anthony, or whatever, and Kane is 01:18:35.510 --> 01:18:38.639 kind of on top of him. She's able to pull him off, or maybe Stacy 01:18:39.139 --> 01:18:41.753 does, whatever. But like, the point is that Anthony is fine. Anthony, Anthony gets up, 01:18:41.769 --> 01:18:44.802 he hasn't been hit, whatever. So Ronnie and Anthony are okay, but Kane, 01:18:44.898 --> 01:18:47.851 again, like, there's no— just like Sharif, there's no coming back from this. This is 01:18:47.884 --> 01:18:51.126 not a shot to the shoulder. And this is a gruesome— 01:18:51.238 --> 01:18:54.528 yeah, scene. I mean, the, the blood, everything coming out 01:18:55.028 --> 01:18:58.428 of his mouth, it's really, really intense. Yeah. Uh, and you 01:18:58.460 --> 01:19:02.039 know, we get really like just kind of a heartbeat, you know, 01:19:02.408 --> 01:19:06.198 flashing in and out. And, uh, and Kane's voiceover at the end 01:19:06.246 --> 01:19:09.571 here, and he's like, you know, my, my grandpa— 01:19:10.021 --> 01:19:12.719 my grandfather once asked me if I care whether I live or die. 01:19:13.892 --> 01:19:17.169 I do, but now it's too late. And his voice is cracking at 01:19:17.669 --> 01:19:20.461 the end there. It's really, really great. Yeah, uh, by the actor. And, and yeah, 01:19:20.477 --> 01:19:24.252 just very, very heartbreaking. It was a tragic, tragic ending. Yeah, 01:19:24.397 --> 01:19:27.288 yeah, no, uh, no happy— no, no happy, 01:19:27.448 --> 01:19:30.932 uh, post-credits scene in this one. Yeah, so that's it. So that's it. 01:19:30.980 --> 01:19:34.686 And then we go to the song Straight Up Menace by MC8 in the credits, 01:19:34.830 --> 01:19:38.055 and, uh, that is it. That is Menace II 01:19:38.555 --> 01:19:41.969 Society. It's wild. Yeah, hell of a hell of a picture. And, and, you know, 01:19:42.210 --> 01:19:45.194 yeah, very interesting. So Nick, you brought this to the table. Why don't you, 01:19:45.274 --> 01:19:48.563 uh, give us your thoughts? Yeah, uh, it was interesting to kind of talk through 01:19:49.063 --> 01:19:51.852 this with somebody else because I'd only watched it with like the guys I've been 01:19:52.352 --> 01:19:55.927 watching it with for the last 20 years. Right, right. Um, it is like, 01:19:56.023 --> 01:19:58.911 you know, deeper than I give it credit for in my head because I'm just 01:19:59.411 --> 01:20:02.118 thinking of it it is this goofy collection of characters that I— yeah, like, 01:20:02.182 --> 01:20:06.095 but it is like important in its message. 01:20:06.271 --> 01:20:10.264 I mean, it is dark. It's not gonna be for everybody, 01:20:10.681 --> 01:20:14.209 uh, it's not a feel-good movie, but— right— it's an important thing 01:20:14.289 --> 01:20:17.961 to communicate where it's like, we're not trying to get 01:20:18.009 --> 01:20:21.441 these guys to change their lives. We're not trying to get them 01:20:21.941 --> 01:20:24.969 to improve their lives. The base level is, can we 01:20:25.469 --> 01:20:28.562 get these guys to just give fuck if they're alive or dead, right? Like, 01:20:28.818 --> 01:20:32.299 can we get the, the most basic level of like human 01:20:32.588 --> 01:20:36.326 existence— can we get them to care about that, right? And showing 01:20:36.422 --> 01:20:39.486 like what a struggle that is and the things that work against that. Yeah. 01:20:39.952 --> 01:20:43.272 And I think it's great. I love the Hughes brothers. I really like some of 01:20:43.772 --> 01:20:47.203 their subsequent movies. Their performances in this, I think— 01:20:47.989 --> 01:20:51.823 Laurence Tate, I really like him. Yeah. And again, it's like he's 01:20:51.839 --> 01:20:55.512 not supposed to be a psycho in this fun kind of Max 01:20:56.012 --> 01:20:58.639 Cady psycho kind of way. He's supposed to be a psycho in a way where 01:20:59.139 --> 01:21:02.599 you're just like, I can't even, like, I can't even predict 01:21:02.727 --> 01:21:06.670 what you're gonna do. Like, he's the Black Patrick Bateman. Like, there's an element 01:21:07.170 --> 01:21:10.886 of just like everything is just under the surface where it is in totality 01:21:10.982 --> 01:21:14.140 his personality. But on top of it, you can't tell when it's gonna come out 01:21:14.640 --> 01:21:16.545 or when it's gonna go. It just, it just, it just gets triggered. Yeah. 01:21:16.609 --> 01:21:20.376 And I feel like the Bateman character, who is like more cartoonish in some ways 01:21:20.876 --> 01:21:24.303 as a villain, is still kind of in the same ballpark as O-Dog. But Bateman 01:21:24.803 --> 01:21:27.638 has to at least exist in like a normal world. Yeah. You know, he has 01:21:27.654 --> 01:21:30.381 to go to work. He has to have always have a mask. It's like there's 01:21:30.397 --> 01:21:34.137 no requirement. Like, you're living there, you're just in this fucking soup of 01:21:34.153 --> 01:21:37.380 misery. Like, you don't have to have a job, you don't have to— it doesn't 01:21:37.880 --> 01:21:40.943 mention anything about him going to school. No, any of that shit. Yeah, uh, 01:21:41.072 --> 01:21:44.699 crazy. So yeah, Menace II Society, really fun. I like 01:21:44.764 --> 01:21:48.552 the soundtrack choices as well. I think that, um, the music is very well 01:21:48.680 --> 01:21:52.709 utilized, like the rap songs that they use, but also the Computer Love and 01:21:52.854 --> 01:21:56.465 Al Green song and stuff. I think is effective, the music and the flashback scenes. 01:21:57.268 --> 01:22:00.785 Um, this is a great movie. I would recommend this, uh, to anyone, 01:22:00.881 --> 01:22:03.851 and I think it's a great vision of that time. I'm gonna give Menace II 01:22:04.351 --> 01:22:07.368 Society a 4 out of 5. Nice, very cool. Um, yeah, so this was my 01:22:07.400 --> 01:22:10.611 first time watching Menace II Society, and like I said, I was familiar with some 01:22:11.111 --> 01:22:14.802 of the other, uh, pieces in sort of this, this subgenre of drama 01:22:15.302 --> 01:22:18.623 movies. Um, like Boyz n the Hood and Higher Learning— those are probably the 01:22:19.123 --> 01:22:22.027 first two that I really remember, like, feeling connected to in some ways. Um, 01:22:22.716 --> 01:22:25.959 And I think that Menace II Society hits on a lot of points for me. 01:22:26.364 --> 01:22:29.705 There are other parts where it maybe doesn't kind of like hold up as well. 01:22:29.753 --> 01:22:33.186 I think overall the acting of the ensemble is not quite as high as like 01:22:33.686 --> 01:22:36.018 in Boyz n the Hood. You know, I think that, and or in Higher Learning. 01:22:36.083 --> 01:22:39.029 I mean, those are just the two that I most associate, you know, from my 01:22:39.077 --> 01:22:42.352 knowledge of this era. And so there is, there is a sort of like a 01:22:42.852 --> 01:22:45.374 loss there in some ways. And the middle of this movie lags for me. 01:22:45.504 --> 01:22:48.817 There's definitely like, I found the middle kind of 30 to 45 minutes 01:22:48.898 --> 01:22:52.680 a little boring. The opening's great. You know, getting us to, to who 01:22:52.712 --> 01:22:55.761 is Kane up through Harold's murder. That's all fantastic. 01:22:56.146 --> 01:22:59.467 And then obviously the ending, everything from Alina saying, I'm pregnant all 01:22:59.579 --> 01:23:01.489 the way through to the end is great. But in between those two things, 01:23:01.521 --> 01:23:04.649 there's kind of, there's a lot of just like, hey, why does it suck so 01:23:05.149 --> 01:23:07.409 bad here? Hey, you should move. No, I don't want to. No, no, you should 01:23:07.441 --> 01:23:10.570 move. No, I don't want to. Hey. And it just, there's not a 01:23:11.070 --> 01:23:12.977 lot that happens in the middle of the movie. So that to me is a 01:23:13.477 --> 01:23:16.940 bit of an issue just on like a, as a film, I guess. So, 01:23:17.004 --> 01:23:19.699 but I did enjoy it. I do think it feels like an important movie. 01:23:19.944 --> 01:23:23.561 2 Dads 1 Movie. Obviously it's had massive impact culturally over 01:23:24.061 --> 01:23:27.388 the years, but I'm about a 3.5 out of 5 on Menace II Society. 01:23:28.079 --> 01:23:31.263 I think that's where I'm comfortable, like, landing. So that makes us a 7.5 out 01:23:31.763 --> 01:23:35.952 of 10 for Menace II Society from the Hughes brothers. That's the rating from the 01:23:36.016 --> 01:23:39.348 2 Dads. All right. Well, I think we're in line with IMDb and 01:23:39.848 --> 01:23:43.633 everything there. So yeah, that, that makes a lot of sense. Yeah. Okay. 01:23:43.714 --> 01:23:47.028 So that leads us to 1994 and that's my 01:23:47.061 --> 01:23:50.557 pick. So what do we get, Steve? Once again, I'm going to give us a 01:23:51.057 --> 01:23:54.485 little more tonal whiplash, right? We watched Wayne's World last week. Now we're Menace 01:23:54.985 --> 01:23:56.873 II Society this week. Next week, we're going to kind of whip back the other 01:23:57.373 --> 01:24:01.041 direction in a way. There is a filmmaker who I think is probably at this 01:24:01.541 --> 01:24:04.968 point more well known for his work in the early 2000s than in the '90s, 01:24:04.984 --> 01:24:09.087 but had 4 fantastic films, in my opinion, in the '90s and became 01:24:09.392 --> 01:24:13.367 incredibly influential to me on a few levels. 01:24:13.463 --> 01:24:15.549 One, he's a hockey fan. Hockey fan, and I didn't know that there were a 01:24:16.049 --> 01:24:18.374 lot of cool hockey fans back then, and I grew up loving hockey. Uh, 01:24:18.455 --> 01:24:21.521 he's a fat guy, or was, uh, was a fat guy, isn't so much anymore, 01:24:21.553 --> 01:24:25.776 and I have always been a fat guy. So there's that fantastic erudite 01:24:26.065 --> 01:24:29.292 writing, uh, screenwriting, whatever, and just this, the, 01:24:29.372 --> 01:24:32.952 the ultimate sort of DIY attitude, more so than Robert Rodriguez, 01:24:33.049 --> 01:24:36.356 more so than Quentin Tarantino. Um, we are going to watch the 01:24:36.856 --> 01:24:40.659 1994 comedy Clerks, written and directed by Kevin Smith. I am a huge 01:24:40.755 --> 01:24:43.114 Kevin Kevin Smith fan. I have met Kevin Smith once in my life and I 01:24:43.614 --> 01:24:47.731 hold it dear. I, you know, really looked up to him. I dressed 01:24:48.231 --> 01:24:51.509 as Silent Bob for more than one Halloween in college because I had 01:24:52.009 --> 01:24:55.211 the jacket and it just sort of fit the jacket and the beard. And yeah, 01:24:55.243 --> 01:24:59.494 so I'm a big fan of Clerks. I've seen it at least a dozen times. 01:24:59.769 --> 01:25:02.882 It's not my favorite of Smith's movies. It's not my favorite of Smith's movies from 01:25:02.914 --> 01:25:06.492 the '90s, but it's the first one. And I feel like getting the 1994, 01:25:06.541 --> 01:25:09.437 there's a obviously lots of good choices I could have made for '94, but I 01:25:09.937 --> 01:25:12.666 feel like this is a good time to just like, you know, kind of pop 01:25:13.166 --> 01:25:15.784 the seal on this part of my movie fandom. All right, give us our first 01:25:16.284 --> 01:25:19.089 Kevin Smith joint. Okay, any history with Clerks? 01:25:19.670 --> 01:25:23.139 Yeah, I think I've seen Clerks one time in high school, so yeah, 01:25:23.155 --> 01:25:25.462 I'm looking forward to checking this one out, and I know it's, 01:25:25.495 --> 01:25:29.122 it's very impactful, and we'll see how it holds up. Absolutely. All right, 01:25:29.138 --> 01:25:31.955 that's a wrap. So if you like what you hear, please consider heading over to 01:25:31.988 --> 01:25:35.209 Apple or Spotify and leaving us a 5-star review. It helps new folks find 01:25:35.709 --> 01:25:37.664 the show. Be sure to check out our website at twodads1movie.com. 01:25:38.859 --> 01:25:41.386 That's the number 2 and the number 1. There you can explore the movies we've 01:25:41.886 --> 01:25:44.897 covered, sign up for our newsletter, The Rewind, and even get sneak previews of upcoming 01:25:44.929 --> 01:25:48.924 episodes. We'd also love it if you followed us on Instagram, TikTok, and Bluesky at 01:25:48.956 --> 01:25:51.986 2 Dads 1 Movie. Once again, this has been Menace II Society, 01:25:52.019 --> 01:25:55.420 another episode of 2 Dads 1 Movie. I'm Steve. And I'm Nic. Thank you so 01:25:55.920 --> 01:25:57.564 much for listening. We'll catch you next week. Thanks everyone.