Hey pod! We are back from taking a much-needed break!

Tonight, we’re talking about Is God Is, which is a must-see from us. We HIGHLY recommend watching it in theaters before it leaves. Otherwise, it is available to rent or buy on Amazon Prime.

Is God Is is a southern gothic revenge thriller that follows twin sisters, Racine and Anaia, who set out on a cross-country mission to murder their abusive father as instructed by their mother. Both them and their mother were left permanently scarred as babies when he set their mother on fire. The film is written and directed by Aleshea Harris who also wrote the play that the film is based on and it stars Kara Young, Mallori Johnson, Vivica A. Fox, Sterling K. Brown, and Janelle Monae.

Joining us on the podcast tonight are two women who are NO strangers to the podcast.

Cocoa Rae David, a New York-based visual artist, curator, photographer, filmmaker, and business owner of By Cocoa Rae LLC, who creates captivating portraits and art of unique and diverse people and captures their true essence. You can visit her website here and follow her on Instagram here: https://www.instagram.com/bycocoarae. She also has a studio, art gallery, and event space called Da Purp which you can follow here: https://www.instagram.com/da_purp.

Brianna Milon, a published author, communications professional and model who blends creativity and connection in everything she does. You can follow her on Instagram here: https://www.instagram.com/suunnybri.

Wherever you’re listening from, hit that subscribe button, give us a 5-star rating, share this episode and leave a comment to let us know what you thought of tonight’s episode. Follow us on Facebook, Instagram, Tiktok, & Threads.

Visit ourvoicesproject.com and sign up for our newsletter for more information about what we do. We’ll be back with more episodes every Thursday with old and newly released movies that center Black, Brown, and Indigenous folks, general movie news, and interviews with film festival programmers/curators, film critics, and filmmakers!

This has been Jackie McGriff, your host for this episode of Representation in Cinema. As always, thank you again for listening!

Representation in Cinema is produced by Chris Lindstrom and brought to you by the Lunchador Podcast Network.

Mentioned in this episode:

Our Voices Project - Land Acknowledgement

Joe Bean Roasters

Visit joebeanroasters.com to get fresh roasted specialty coffee either by the bag or with a Perpetual Joy subscription!

Common Thread

Check out Common Thread on Lunchador! https://feeds.captivate.fm/common-threads-hardcore/

Hey Pod.

We are back after taking a much needed break.

If this is your first time listening and or watching welcome to Representation in Cinema.

We talk about the films that center Black, Brown and Indigenous voices as well as on the film industry itself.

I'm Jackie McGriff, your host and the founder, director and co producer at Our Voices Project, a production company that shares the stories and lived experiences of Black, Brown and Indigenous peoples through visual storytelling and truth telling.

We are community engaged filmmakers who firmly believe that you cannot center the stories of Black, Brown, Indigenous peoples without also being in community and in solidarity with them.

If you're watching on YouTube, make sure you hit that subscribe button, all right?

If you're watching or listening on your preferred podcast platform, hit that follow button.

If you enjoyed tonight's episode, please rate us five stars and let us know your thoughts.

Tonight we are going to be talking about Is God Is which you if you're able to catch it in theaters right now, I would highly suggest that you run those box office numbers up.

Okay.

Otherwise it is available now for rent and or buy on Amazon Prime, I believe also too on Fandango.

So but be sure to check that out.

If you do have the opportunity in the theaters, I would highly suggest you do.

Is God Is is a Southern gothic revenge thriller that follows twin sisters Racine and Anaya who set out on a cross country mission to murder their abusive father as instructed by their mother.

Both them and their mother were left permanently scarred as babies when he set their mother on fire.

Intense.

The film is written and directed by Alicia Harris who also wrote the play that the film is based on and it stars Kara Young, Malorie Johnson, Vivica A.

Fox, Sterling K. Brown and Janelle Monae.

Joining us on the podcast tonight are two women who are no strangers to the podcast.

First we start with Coco Ray David, a New York based visual artist, curator, photographer, filmmaker, a warranting photographer or award winning filmmaker and business owner.

I got to put it in there.

You already know business owner of by Coco Ray llc who creates captivating portraits and art of unique and diverse people and captures their true essence.

Welcome back Coco.

Glad to be back.

And of course we have Brianna Milan, a published author, communications professional and model.

That's right y'.

All.

Who blends creativity and connection in everything she does.

Welcome back Bri.

Thank you for having me.

Okay, so thank you both for being here.

Let's get started.

I want to know your initial reactions.

I will start with Bri.

Let us know what you like, what you didn't like all the things.

So I love seeing Vivica A Fox.

Yes.

You know, that is a woman we grew up with.

We killed from Kill Bill to Two Can Play that Game to Independence Day.

Independence Day.

Like, she is an icon.

So also to all the holiday movies she's been doing in Keeping Me Alive in the last couple years.

I think it's really powerful that she's able to go from where people would say is her ending or, you know, doing the Holly movies to now she's in a box office hit with actors who are also very much of today and of the time.

So love seeing her.

But overall, I enjoyed the movie so much.

I enjoyed the sisters interactions with each other.

I enjoyed the really realistic view on abuse and abusive parents and.

Yeah, and I really enjoyed it.

I'm excited to talk more about it today.

How about you, Coco?

Initial thoughts?

I really enjoyed the movie especially, like the visual storytelling.

Like the way they play with colors, the way that they played with subtitles and language.

Yeah.

Like the Southern gothic field.

Like just instinctual.

You understand, like when you look at this story.

And on top of that, black women rage.

Yeah, Black women rage.

We don't get a lot of that.

And I feel like sometimes we get movies like that.

It's always from the perspective of a white male.

Like, I was so happy that they were able to express it with a black woman director and two twins who are.

Had every right to feel how they felt.

You know, like they all felt so many different things.

But I really enjoyed it.

It was.

Got me out of my seat a couple times.

People were next to me like, oh my God.

Like, you know, but yeah, yeah, yeah, yeah.

I, I mean, I would echo both of what you said when you're talking about the way that they interact with one another.

I liked how there's, there's moments where they're speaking kind of like in third person to one another, which is like.

A black experience in general.

But they took it to the next level.

Like they were having full on period, comma sentences and it was so.

And their faces, you.

But you could tell what, what they face, right?

You understood.

Oh, yeah.

But they were going into detail, you know, and really gave that twin, that twin vibe.

Yeah, yeah.

The also too, when they're having those conversations.

I just being the film nerd that I am, like the, the, the way the use of sound.

I was telling Coco.

It was crazy.

But we're not owls, so this is how, this is how we roll but so it's fresh.

And so when we.

When I was watching it, the use of sound, especially for, like, when they're kind of having that inner dialogue, the kind of like, telepathy or again, the way that twins are able to express themselves without even speaking.

Whenever you see one of those subtitles, there's this, like, little sound.

It almost sounds spiritual and, you know, ethereal.

Like, the way in which it always kind of comes through.

It's like this, like, kind of other presence.

It's.

It's very.

It's very interesting the way that they played with that also, too.

Like, again, the.

The differences between the twins.

Like, again, there are twins, but they are their own individual people.

And I just love that.

While there's all this, like, kind of playing off of one another, they're very much their own person.

And the actresses, fantastic.

Oh, yeah.

In both roles, they both have their own personality.

And you can.

I can just.

I'm terrible with names, and I didn't see it last night, so I'm gonna say I need you.

I hate Racine and Anaya.

Racine.

Racine.

You could feel her through the screen.

Oh, my God.

Like, she.

She just really embodied that chaotic energy of.

Yep.

That little girl who beat up the boy in the first scene, she had that energy throughout the entire movie.

Yeah.

And the actress just had it.

The aura was just really there.

Yeah.

That first scene, like, just letting you know, off top, this is exactly the kind of movie you're going to get.

And I also, too, love how, like, except for, like, the.

I guess, like the last part.

So it was interesting to me.

Like, there was some things that.

There's some violence you're.

You're seeing, like, on screen, but there's others that they choose to not show you.

It's more.

Right.

Inferred.

So, like, that beginning, first of all, it's set in black and white, right.

You know, kind of this is a time change.

This is back in the day.

These are the two girls, right?

And so, you know, kid calls her ugly.

So her.

Her.

Her.

Her sister ugly.

So she goes, takes the bet and, you know, you take care of business.

Takes care of business.

She's like, you're not going to talk about my sister this way, and handles it off camera.

But you hear what's going on, right?

And then the sister's kind of just like sitting there.

And then when she comes back, you know, the, the sister, right, who had been called ugly, she kind of like puts her head on her shoulder and just lets, you know, the kind of relationship they have, but also, like, especially who, like, Racine is, like, versus, like, who Anaya is.

And just establishing that in the first jump, I already knew, I'm like, oh, okay.

Like, okay.

This is the type of time that this movie's on.

Right.

Which is what you would expect.

Racine became the protector.

Oh, for sure.

For sure.

As soon as the father did everything he did, she became the person that's supposed to protect her mom and her sister.

Yeah, yeah, yeah.

And I don't know if you are.

So I. I'm an eldest daughter, and Coco is an eldest daughter.

I'm an eldest daughter in spirit.

Okay.

So respects.

I. I'm the four.

I'm fourth of six, but there's a first set, and we have a big gap.

And I.

But I was the one.

I was still taking care of kids really early, so I became, like, another mom and grew up early.

And now as an adult, I'm.

Yeah.

Was there the wheels in my name?

I know that's.

I take care of all of that stuff with my past.

So it's like.

It's like I'm an oldest child.

Yep.

So then did anything especially, like, with Racine, because, of course, she's oldest by, like, a few seconds.

Right.

Like, did anything for you.

I know it did for me.

But anything for you kind of like, resonate either one of you, like, especially with her character and being sort of like, holding that title.

Right.

You know, taking care and protecting, you know, your sister.

Well, for me, it's just nature, you know, So I know for me, I've.

It's kind of hard being the older sister, but you have two sisters who are, like, very dominant.

Like, they'll.

They'll move.

Like, they're like my dog.

Not saying dogs, but, like, if I jump, they're gonna be, like, how high?

Like, that's how they always rolled.

But as an older sister, it's like, I see things beyond, you know, and instinctually, like how Brie said about, like, being a mom, like, having that role of making sure everybody's good, everyone's okay.

Yeah.

Everyone has ten fingers and toes.

Make sure you count, you know?

And, of course, being left in charge of siblings who are younger, making sure that they're not getting caught up in stuff, making sure people are coming home at certain times, making sure that they're alive and breathing.

Because I've had moments like that where you're just like, you can't.

Like, I can't have you die on me, because I got it.

I have to take care of you.

Like, I have to make sure you're good and stuff.

So I felt like with her especially, like, she's shorter, she's the shortest.

Right.

You know, and me, I have a sister who's taller than me, my baby sister.

So sometimes people think because you're small, you can't do anything.

It's like, no, I'm the worst one.

She's in command, you know, and how much.

Even just how she taught to Anaya, like, the way she talked to her and even just setting authority, like, we're doing this.

This is how we're going to do it.

If you don't do, I'll do it.

Like, taking on those roles and responsibilities even to say, I'll do.

You don't have to do it, I'll do it.

Right.

You know, that's a lot.

And so she carries so much on her, even though she didn't physically, like, you know, besides her hand.

Right.

And Anaya being physically, you know, deformed.

Not.

I don't even want to say deformed, but like having the most.

Yeah.

The scarring on her face, it's the most visual.

Yeah.

You know, and then, of course, Racine is just.

It's on her hand, but she always.

It's.

They always focus on her hand.

She's always doing stuff with her hands, you know, so, yeah, she's.

She's a firecracker.

But I respect it as an older sister, you gotta.

Gotta hold it down.

How about you, Bri?

See, it's kind of like, yes, I have the.

I want to take care of.

I'm gonna make sure.

I'm gonna ask, did you drink your water?

Did you eat?

But at the same time, my sis, My little sister, that's the firecracker.

Like, people would be like, what are you talking about?

You are your own spark.

Absolutely.

But when it comes to throwing some blows for somebody, it's my little sister.

I'm a scaredy cat.

I don't fight.

That's not in me.

But she's the pit bull, and I honestly saw her in Racine a little bit.

Cause my little sister, the heart she has, it really shines through.

And I saw a lot in that racing.

Yeah, yeah, for me, it's.

I. I definitely saw that, like, being the protector.

But.

And the thing is, is, like, I like for me.

So it's my.

It's just me and my younger sister, and I was always the.

And we were like four years apart, so I was taking on that protector role.

But then I was also.

I was Also, the sensitive.

They're more emotional one out of the bunch.

She was the.

At some point, like, she not necessarily came to character, but, like, I guess that gave her free reign to just be the class clown, like, the comedian.

Like, she could just be.

So.

So there was that, like, if anything, my sister is like, the, you know, the.

The fixer.

So she's like, you know, breaking things apart, putting it back together, like, those kinds of things.

Whereas I was try.

I was, like, being both.

So there was.

There's a lot.

Like, you know, if someone would say something against my sister, I'd be the first one.

Like, okay, what are we.

What are we doing?

Like, you know, and I, Like, I never actually got into a fight, but, like, I think I was, like, a big enough kid that that was enough.

That that was enough.

So.

Yeah, but I definitely.

I definitely resonated a little bit, especially with, like, just wanting to make sure that, you know, my sister's okay and, you know, that no one is stepping to her or saying anything terrible about her.

Do we think that Racine was willing to take on more because she got less of a scar?

That's a good question.

Yeah.

Oof, girl.

See, I'm supposed to be asking the question.

No, it's fine, because this is a dialogue, but, like, I was like, well, dang.

Oh, that is a good question.

I. I think.

I think, yeah, because I think.

I mean, you have to feel.

You have to feel some guilt about that because you're supposed to be.

Even as a young kid.

And I think that's.

That may be also why she feels that she has to protect her.

Because from what we understood, what we learned in the movie, like, it was.

It was received.

Who was it?

It was Anaya that was the one.

Who tried to get the guy.

I think she was trying to, like, help put the fire on her mom.

So she probably felt guilty that she didn't help her mom as much.

Right, exactly.

And so she has.

Right.

So she has less scarring.

So, I mean, it would make sense.

She feels this kind of.

It's not an obligation.

She feels this responsibility, right, To.

To care after her, not only just as the eldest daughter, but then also the one who.

She's watched this happen, and she feels like, well, that, like, almost, like, survival skill.

Yeah.

Yes.

Yeah, yeah, yeah.

Great question.

Yeah.

Oh, my gosh.

Is.

Was there anything that you were saying, anything else before I move on to, like, any dislikes?

What.

Was there anything else that kind of, like, caught your eye or that you really enjoyed in the film?

I want to go back to the way they did the past and how it's not black and white.

Like, see, not even.

Yeah.

Like sepia.

Yeah.

But the way they play with color in that.

Like the tv.

Yeah.

It was the only thing that was in color, which I was like, oh, that's crazy.

The blood, too.

Yeah.

With the lawyer.

I'm trying to think what else.

There was a couple other.

I think those are the ones that stood out the most because I was like, the way they play with color, emphasizing different things.

Like, lawyer seed was a little rough, but at the same time, thinking about their childhood, and that was the only thing I was in color.

And just how sometimes we feel nostalgic about the past.

And colors are always, like, one of the things that kind of come up, but just seeing how everything else was just sepia.

Yeah.

The fire, too.

Yeah.

Color as well.

Yep.

Yeah, that's.

Yeah.

It's interesting.

Yeah.

I have to rewatch because I don't even think I clock.

Like.

Like, you see it, like, you.

You watch the movie.

Of course.

But I don't think I took note.

Like, oh, there's things in color, but they weren't here.

And.

Yeah.

Okay.

I'm a buy it on Prime.

I did it in theaters.

I'm a buy it on Prime.

I have to rewatch it again.

Absolutely.

That was.

I. I really enjoyed so, like, their journey.

So, like, when they're coming from their.

Their mom's house and they're on their way down south, like.

Or.

No, sorry.

When they're coming.

When they are not.

Even before they got.

Even before they got to their mom's house, when they're on their journey south, they're, like, making all these stops, like, at the.

The station.

Like, they're dancing, they're twerking.

They're, like, doing all these things and stuff, and it's just more just, like, seeing, like, that these two, like, interact with one another.

Right.

They're their own girls.

They are like, there's the confidence.

There's, like, all of this, and it's just, like, a moment to, like, celebrate black women.

It's just like they're just being themselves.

I feel like the whole movie had part.

Had little pieces, like.

Like, Viva could get her hair braided.

I know.

In the bed.

Right.

I wish I had three.

Give me three people, please.

And even just how they reacted to her when they're.

When she told the story, they're like, just the whole.

Just the visual way they just tell the story.

The.

All of it.

Yeah.

Why do You.

Why do you think that is?

Because that was something like.

We can also get into symbolism a little bit more, too, of course.

But, like, why do you think that there were those?

I don't know.

To me, because.

Because.

Because Racine, like, refers to her mom as God.

Right.

She's the one who made us.

And then there's these three, like, people that are like, you're braiding her hair and everything.

Like, I mean.

I mean, anytime I've ever gotten my hair braided, there's only been one person.

But there's the fact that she's, like, sitting in, like, she's.

She's.

She's set up in bed.

Right.

Obviously, like, she's.

And, you know, she's dying and, you know, they look kind of like her caretakers, but they're, you know, braiding her hair and stuff.

Did that.

Does that spring up anything like, like, symbolically for you, or is it just again, like, three women and.

Because again, if.

If she's referred to as God and then there's these three.

Right.

Why not?

Two?

Why not, you know, One.

Yeah.

I feel like just from talking about that scene, like, it kind of gives like, angels a little bit, like, making sure she's all right, intending to her.

But I also feel like, because they.

They also, like, react and they're like emotions.

They're.

They kind of personify those a little bit more, too.

Yeah, Like, I have to sit on that one.

Interesting how they had that set up because it was very ethereal, low key, the way they had her set up.

And even to the point when she was going to smoke, like, they.

She didn't have to lift nothing.

Right.

You know, she not saying she.

You know, everything she was dealing with.

But even just when she started telling the story and they kind of gasped and, like, turned away, it was giving.

Very theatrical, too.

Like, not a chorus.

But you know how sometimes.

Yeah.

There's always like that added.

Right?

Like.

Well, because it's based off of a play.

Yeah.

And that would make sense because there usually is, like.

It's like it.

It's a group of people that are usually kind of like the, The.

The audience or it's like.

It's like.

It's like they.

They are our kind of, like, guides to, I guess, like, how we should be reacting or feeling or whatever.

Like.

Yeah, there's usually that.

I don't know if I'm getting that wrong.

I usually, you know, with.

With plays, there's always like that ensemble or chorus.

Yeah.

Yeah, that's it.

Yeah.

So that's what it was.

Definitely giving a bit for the way that everything was going.

But also, like, my brain was, like, fixated on the framing of when they came through the curtains.

And just the way that was laid out.

And then that's how you can.

I feel like even with the words coming up, when they're telepathically talking to each other, like, I like how they leave enough space to just have those words appear.

Yeah.

You know, so there was.

For me, it was a lot of visual cues and a lot of, like, visual storytelling that goes, like, beyond.

And of course, talking about Sterling.

Seeing Sterling in a different role, like.

Yeah.

And only seeing his mouth.

Like his.

Yeah, it was his mouth.

Yeah.

Because you could see, like, it was.

It was like a tell.

Like, you.

You.

You of course, don't see his entire face.

Like, it's more towards, like, the end.

But throughout the film, you are only seeing his mouth.

And there's a certain thing that he does, like, with his mouth that you can tell he's about to do something else insane.

I thought that was very interesting.

Yeah.

I. I don't like having a movie where I don't root for Sterling Cape.

No, no.

I know.

He really played.

He was.

The look.

His eyes was very different.

He's in a new lane for me with Easter and.

And all the terrible men.

Okay.

That have just great started.

Blair Underwood.

I know.

Like, I can't stand him.

Clifton Powell.

I just.

Right, Exactly.

Every time.

Great actor.

He did.

Fantastic at being easy to hate.

Right.

And it broke my heart at the end when baby girl believed him.

I was like, girl, don't trust.

Don't trust.

But you gotta.

You know, I've been watching a lot of Iyanla Van Zant lately.

Oh, my goodness.

Listen.

Oh, my God.

She's so entertaining.

And.

But in the episodes, a lot when she would talk about the trauma, she would always say, when you experienced that trauma, you stopped aging.

Yeah.

No, that is still a little girl wanting her father and wanting her parent and just basically, like, maybe this can be.

And having that tiny hope.

And that's why I saw myself more into her than the other sister.

Because the other sister was there.

That never would have happened.

He had to take her out in order to even manipulate the other one, to be honest.

She's too trusting.

Right.

Throughout the film, you see that she's too trusting.

Right.

And there it is again.

That's why I'm sitting there like, girl, like, no, this is not.

I'm just waiting for the tide.

Him to switch.

And I'm like, girl, no, this is not.

Believe.

Believe people the first.

Believe people the first time.

Exactly.

Exactly.

Like, he's never.

You see.

Like, it's even in his.

In his kid.

His other kids.

It's like, right?

No, because something was off of both.

Those boys and the other boy, because I was.

I was just.

The other one and that.

First of all.

Can we talk about that, y'?

All for real?

Cuz, that was her name.

Oh, my Lord.

Divine.

Her name is Divine.

And I'm like, okay.

Also, like, now listen.

Okay, Now, I somewhat regularly attend church, and I don't remember.

Okay.

Church having that many people, like, swearing up and down.

I'm like, what church is this?

Because, you know, growing up, that was definitely not.

Yeah, that was.

That was very much frowned upon.

So I'm like, sitting here, I'm going, this is.

This is crazy.

And then the fact that she's defined and I don't.

Yeah, it was just.

It was so extra.

I was like.

I mean, church is kind of like that to an extent, but of course, it's like, over the top.

Like, listen, then for her to open up the shrine.

I know, girl.

The shrine.

I was like,.

Like, oh, it was good.

Because what?

Because what?

And then also, like, it had been.

You had a full grown man as a kid.

Yes.

So I'm like, it's been all these years, decades still, and we're still holding on to.

Okay, but.

But he.

We also know that this man is a master manipulator.

True.

All right.

This man is able to spin whatever tail he needs to to get who he wants, and who knows what kind of situation that was.

Yes.

Also having this child like him eventually, first of all, I didn't think we'd see him again.

Right.

I wasn't thinking that either.

And for him to be the one trying to kill them, to stop from killing this man who burned them and their mother.

Get out my face.

Right?

Like, you don't understand what this man did to me.

And he was my daddy first.

Right.

Right.

If I want to kill him, I can.

Like, I thought, like, at first, I thought, who was after them?

Like, I'm like, how did the.

How did the other twins find out that, you know, they were on their.

Their way or whatever?

Because I.

So I was, like, confused at that point.

And then when we saw it was him, I was like, oh, of course.

Crazy craziness.

But also love seeing Erica Alexander.

Yeah, she did.

She's fantastic.

Yeah, they managed to fit in a lot of people I love and small, but impactful characters.

Yes, yes.

Speaking of small and impactful characters, we can also move on to Janelle Monae, who is also fantastic in her role.

The whole.

Not today, not today was just.

I mean, so this woman clearly is also, like, traumatized.

She's trying to get up.

She's also a victim.

But then when the two girls come up to her and they're like, this is what our daddy did to us.

And she's like, I don't care what he did.

And I'm like, damn, ma'.

Am.

And again.

And I'm also too.

And that's where it got me, because I'm thinking, like.

Like, oh, my gosh, what's her name?

Now I've.

Now I've.

Iana.

Or I. Anaya.

Thank you.

I was like, I can't help you.

I was like, I had them in the beginning.

I don't know why I'm blanking on it now.

No, no.

I was like, anaya, I'm like, thinking, oh, this woman, clearly, like, she is.

She's trying to escape.

Right.

It's a clearly an abusive household.

The way that she's, like, rearranging, like, his clothes and everything and stuff.

It's like, also, she's peeing into a.

Bottle as she's in the clean.

Right?

Yeah.

And I'm like.

And I'm like, okay.

Like, clearly she.

She needs help and she's getting out.

So I thought she would be sympathetic.

And lo and behold.

Right.

Nah.

Yeah.

So.

Because she also stayed with him for how long?

Oh, yeah, Because.

Yeah, because, you know, the two boys.

Yeah.

So that's.

That's.

That's what, maybe 17 years?

I don't.

Of course you're not trying to victim blame here.

Absolutely not.

Not trying to blame.

Of course not.

But it's also possible that she loved every part of him at some point.

Yeah.

You know.

Yeah.

They got to somewhere.

But I do think she was incredible in the role in showing emotion, and I was very sad to see her die.

I know, I know.

I was like, racine, girl, girl, girl, girl.

But she spat in her face.

She did.

She did.

It was.

It was.

It was.

If she didn't do that, I think, of course.

But it was that it just.

That upset over everything.

I was like.

Cause you could have did.

You didn't have to do that.

You really did.

Seriously.

The most disrespectful thing.

Just like, pumpkin.

Yeah.

That's all I think about ever.

Because that was the correct reaction every time.

Every.

So that's why I was like, it's Fun.

Ooh.

Yeah.

My other thing I've realized is the way, like, Sterling Kay's character, like, moved with these women.

Like, you had twin daughters.

Yeah.

You did what you did to them then with Divine, which I was also wondering if he didn't stay with Divine because of how powerful she was.

She was really, like, worshiping the ground this guy was walking on even after he wasn't there anymore.

But she had one boy.

Just for him to have another woman and have twin boys and trying to, like.

And staying with them, like, the way that he was moving, like, trying to forget.

Like, not trying to forget, but it's like you can move on from all this trauma that you're causing along the way.

Like, it wasn't gonna come and bite you.

Like.

Right.

You know, so everything.

And it was just the psychology of that was just, like, sick.

You know, you just kept going along with this and trying to create a better life for yourself just for the boys to die.

Now you have some remorse about that, because he was asking the question, like, who did you kill first or with.

Yeah, Anaya.

Yeah.

He was sitting at the table, but.

His love for them was even.

Yeah, I know.

Like, lopsided.

And I think it was the weirder one that he preferred, the tall one.

Right.

He preferred that one because he said he was gonna use.

He was, like, making something of himself.

Right.

Versus the other one, which we found out real quick is.

Is more like him.

Yeah.

You know, it's always a quiet one.

You know, at least in the.

The case of those two.

Yeah.

It's.

There was so much.

There was so much in that.

Okay, so anything that you didn't like in the film, is there anything that you were kind of like.

I don't.

I'm not sure about this in the.

Film.

Because I can definitely.

I mean, I can definitely start.

We're gonna get into, like, the.

I mean, if you want to jump to the ending, like, you know, talking about.

Talking about that.

Yeah, I see.

I see.

I see the wheels turning.

Bri, I want to hear yours.

That's.

That's what I'm like To hear yours.

Yeah.

Yeah.

Okay, so I.

Now, this is.

This is about the ending.

I understand script wise.

Okay.

Why Alicia ended it the way that she did.

I didn't like it, though.

I did not like the way that it ended.

Like.

Sure.

Like, I'm happy for Anaya, you know, getting to birth her child and then she's getting to raise her child and everything like that.

That.

That's.

That's cool.

But the fact that all of this time.

And I was.

And I was telling Coco this, like, last night, I was like, maybe it's.

Maybe it's because I'm the eldest daughter.

Maybe it's because of all the trauma that Racine has been through.

And also too, like, she has been on this mission from God, right?

Because she sees her mother as God.

She's been on this mission.

She's always.

And even before then, she's always felt that she's needed to protect her sister.

So her entire life has been devoted, right, to other people, whether it's her sister, because.

And then, of course, like, she.

That's what she wanted to do, and then turn around and then also get a mission again from God.

I'm using quotes because she sees her mom as her as God, right?

So she sets off across that mission, finishes admission, but then she's the one who ends up getting killed.

I like.

I don't know if I like that, you know, because it's like, from a script writing standpoint, I'm like, okay, if we're.

Because you could also see throughout the film, you know, there are.

I mean, they are.

You know, they were made by both their mother and their father, so there's going to be traits of their father that they carry with them.

And you could see that with Racine.

And so I guess if you're.

If they've always been kind of codependent, these two twins, you're essentially kind of cutting off the part, right?

That is, you know, that will show up in other ways in a very, like an abuse, almost like an abusive way, or.

It is an abusive way.

So I. I can kind of see it from, like, that perspective, another perspective that I've heard and also kind of felt too, because I'm like, something about this doesn't sit well with me is.

Is that it's this idea of a.

Of a.

Of a woman, especially a black woman, being punished for.

For revenge, for rage, for, you know, enacting violence with violence.

Like, well, not.

I mean, she had violence against her, and so she's seeking out retribution.

And so this is idea of like, well, if you.

If you avenge your mother and your.

Yourself and your sister, you will still be punished for it.

So.

Yeah, and I've heard kind of.

I've heard.

I've heard that argument.

And I think for me, it's.

It's.

It's a little bit of that.

It's definitely, though, also too, just feeling like.

Like this is.

Yeah, it didn't.

It just didn't Sit well with me.

Okay.

I hadn't heard those takes.

Okay.

So I am also processing.

Yeah, but I.

And they're good takes.

I think the thought of a black woman having to go through all this and do all of this and do the things that actually are necessary to be done winds up not being able to reap the fruits of her labor.

Yeah.

I think where my mind took it was metaphorically of like, it feels like this has always been a good versus evil.

Or there's a quote unquote good twin and there's a quote unquote evil twin.

And what is it?

My brain.

I'm not religious, so please.

But it's like the devil falling from heaven, Right?

Did he fall alone?

No, no.

He felt he fell with like, other.

Other angels who also wanted to help him overthrow one third.

Yeah.

Yeah.

So I'm just.

I didn't think he was going to go down alone.

And if it's going to be someone, it's going to be the twin that's most like him.

Yeah.

And I understand that part.

And I think that because I'm such a matter of fact, in my head, I'm just like, that's what makes sense.

But also taking it from a perspective of just this black woman who has traveled this country, lived her life for other people, and never actually got to live her own life and make her own decisions and pursue something else, you know?

Yeah.

Lots of trauma to think about.

Yeah.

Like a life full of trauma and then like carry out this mission.

That is also, like, very traumatic then only just to die in the end.

Also, I'm just like, how after being.

After being.

You're burning alive.

How do you have enough energy to pull somebody into the tub with you?

That's just.

It's the evil.

That's just me.

It's that strong evil won't die.

Listen, that is the evil.

Okay.

I would have screamed like spongebob, but I'm indoors.

But that is.

That is what I feel.

And they did a great job at making that man my worst enemy.

And they.

And it wasn't the ways they showed him in the film.

Right.

Like, not even showing all of him, just showing those pieces was so sinister.

Right.

It's just like, I don't want to see all of you.

But you're Sterling K. Brown.

I know.

And you know what?

I would not be surprised if she.

She made that decision.

Because everybody loves, I don't know a person who doesn't like Sterling K. Brown.

Otherwise we don't know them.

We don't Know you.

Because.

Because why?

How?

But, like, it's because he's so popular, right?

You know, you have this face.

It's just.

It's kind of.

It's a.

It's a.

It's a dissonance.

Like, you're like.

But this is.

This is Sterling K. Brown.

Like, that you can't be evil.

Like, that's such a smart way to introduce someone that wouldn't normally be a villain.

Exactly.

That is so smart.

Exactly.

If that was done intentionally, even if it wasn't done intentionally, but to have that thought process of, like, if that was why she did it.

Yeah, that's so smart.

Yeah.

Yeah.

So shout out to you, Alicia.

Yes.

Especially with that deranged look, the son who chased after the twins.

Yeah.

Yes.

So I was like, oh, my God.

Like.

Like, the performances were incredible.

Incredible, incredible.

Yeah.

So I don't know.

So.

No, that's.

They're all good points.

And like, I said, I'm like, script wise, like.

Like, I understand it.

I understand it.

I think, for me, I think I was like, oh, what is it?

Well, like, what is it?

That is kind of, like, poking at me a little bit.

It's like, why don't I feel comfortable about this?

Because normally when that happens in a film or something similar happens, I'm like, well, yeah, of course.

That's the natural ending.

Right.

It was something about this that I.

Was like, ooh, you also identified with Racine.

I. Yeah.

I mean, not.

I mean, obviously, like, I'm not.

Right.

I'm not violent.

Like, listen, we have healthy ways of connecting her anger anyway.

Right, Exactly.

That's that safe place, you know?

But yes, because I think I was also explaining that to Coco as well last night, like, when we were watching it.

I said, I think it's because, you know, because, you know, we're.

That's what you do, right?

Like, after a film, you know, you.

If there's so much to process, you kind of.

You have to, like, kind of sit with it and you have to, like, talk about it, you know, in the parking lot.

Because that's what we did, you know?

And as I'm processing through, I'm like, why is this not sitting right with me?

And I'm like, she's the eldest daughter.

She's the eldest daughter is hitting me.

Yeah.

So.

And then, of course, I heard and heard these kind of, like, other takes, and I was like, you know what?

I do not disagree with that, actually.

Also, I have to ask, do you think it also.

If.

If Racine had to choose that.

She would not choose that.

Oh, that's so good.

Bri is on fire, as per usual.

It was a great movie.

It was a great movie.

It really does make you great about those bonds and how you create them and what you put into them.

Yeah.

And Racine put everything.

Yeah.

You know, so it's not out of this world to think, like, if she had to say if it was my sister or me, like.

Because that's her still protecting.

Right.

Yeah.

Oh, yeah.

How many times as older siblings have we just thought about our siblings before ourselves?

We do that often, you know, and even just to the very end, you know, with everything happening, spinning to her.

Yeah.

Was just like, big.

We do everything.

Yeah.

Put ourselves on the back burner too much, so.

Oh, yes.

So that's why I was like.

I feel you on that.

Yeah.

It's like, thanks.

You didn't get anything out.

Like, you know, not out of it, but it's just like.

Yeah, Yeah.

I also thought about.

I don't know what.

When we were talking about that scene was the phrase hell hath no fury, like a woman's scorn.

Yes.

So I was like.

I didn't know if just seeing that was like, in hearing us talk about it was like, wow, that's kind of like a visual representation of, like, when you fester on something for so long and how even generational curses just keep going and keep going and how can consume us, you know, so.

Yeah.

Yeah.

Do y' all think also to the setting of it?

Because, like, this.

Of course, this takes place in the South.

Do you think, had it been said anywhere else, if it would have made it difference to the story?

I can't see someone in upstate New York doing this.

I don't.

In the field, we don't know.

You know, I do think there are places that you.

Nevada.

Right.

There are other backdrops where I think we could get a similar vibe.

It's like, isolated.

Right.

Yeah.

But it also wouldn't have the same black charm in black history.

Right.

That the south has.

So I. I think the south is really where you can.

Was the only backdrop for this when it comes to that.

Yeah.

Yeah.

Because I always wonder that, too, about.

We.

We were getting into another discussion, and actually.

Well, I'll lead us into this.

I. Yeah.

All of that makes sense.

You know, especially when you're talking about something that is very deeply rooted in black storytelling.

Right.

You know, there's.

Most of.

Most black folks within the US Are based in the South.

Right.

And so.

And that's where we, that's where we come from, right?

We, you know, through the transatlantic slave trade.

That's where a lot of us were, were dropped off.

And so it would make sense for that.

So.

And I was also just like thinking, I'm like, oh, well, would this make sense anywhere else?

I'm always wondering about that, like, setting and how setting plays a role, for sure.

But also, you know, looking back on this film and just kind of thinking through, I. I said to myself, I was like, you know, it was an amazing film.

I'll probably never watch it again.

Like, there are so many of our films, right, that center black folks that if you really like, kind of zoom out and take a look at the whole story, a lot of them are very, very sad.

I said this about sinners.

I said this about the Harder They Fall.

I said this about the, the Woman King.

I've said this about.

I mean, we got Black Panther, Wakanda Forever.

Like all of these different films, even to an extent, like, get out.

I was just about to say.

Yeah.

When you think about it, it's like, okay, cool, like, he's able to spoil alert, I guess, for anyone who hasn't seen it.

But also fix that quickly.

But like, but I mean, you see the cop car, so you're like, please, dear God, can we just get a break.

Right?

But then it turns out to be his friend.

But still, he's had to still go through so much trauma.

Right, right.

In order to get there.

So I just wanted to know, like, I mean, from each of, or hear from each of you, like, are there any stories that are centered on black folks where the storyline is.

We're just getting like, it's.

It's mostly like happy.

That is not a comedy, like any drama or thriller or, you know, fantastical or sci fi, anything like that, where it's mostly black or centered on black people.

And it's not, you know, it's not a bittersweet ending.

It's like a happy ending.

Well, I've told you this movie a bunch of times.

We have to watch it.

I already know.

Please do not.

Listen, I need.

Okay, before you say what you're about to say, I just need you to know that.

Listen, okay, we all had very different childhoods, okay?

And I did not movie is.

I did not get shown this movie.

The Wiz.

Yeah.

Oh, well, I was scared of the Wiz for a long time.

Okay, well, we could talk about that.

We could talk about that.

Because then I went to see it on Broadway and that helped me.

Okay.

The Movie.

Well, I know.

That's why I've been trying to get it done.

I know.

I know.

We.

Yes.

She's like, no, you gotta watch this with me because you need to see.

Even putting it on now.

My boyfriend said Nightmare Fuel.

Like, so it's got whimsy, though.

But.

It's got whimsy.

But they chose a hell of a backdrop.

They sure did.

You'll see why I was.

Okay, okay.

To be honest, we do all these remakes, and I don't know how that hasn't been touched.

I mean, it was Michael Jackson in Diana.

Yeah, but.

Absolutely.

But in terms of the.

Everything else around the film and Nipsey Russell and the rest, I just want to make sure.

Yeah, but.

But in terms of everything else about the film, I feel like we should have had a remake.

Yeah, it's a.

It's a good one, but I know there's a bunch of others.

Like, I mean, I know this one, this date, it's not dated, but was it a.

A Wrinkle in Time?

Oh, okay.

Yeah, that was.

I know, but that.

Yeah, there's that.

It's interesting because I was also thinking about that, too, but, like, I had watched it for the first time recently, and I was like, this was not a great film.

I. I didn't think so.

I didn't think it was a great film.

It has whimsy, and it's.

I mean, the.

The.

The central character.

Right, is a black girl.

So I'm like, okay, there is that.

It's also made by Ava DuVernay.

Right.

So.

But.

And it.

Again, lots of whimsy.

It's very fantastical, like, all these things.

It has a great ending.

I'm just like, that's one out of how.

That's one out of how many?

Because I was about to say, oh, Jingle.

Django has a great ending, but they went through mad trauma.

Like, the idea got stolen and they lost the.

The matriarch.

Like, the father and daughter didn't talk anymore.

And.

But, I mean, it did have a great ending of them coming together and.

And them figuring it out.

But.

Yeah, along the way, they definitely.

But.

But that's life, right?

As corny as that sounds, right.

Is that life is going to be traumatic.

Of course.

You know, of course.

I.

A little bit.

A little bit.

And that's.

Or a lot.

Right?

And that's.

And that.

See?

And that's fine.

But I'm like.

I'm also just like, well, dang, can we get one where, like, listen, this is what I feel in my heart of hearts.

Okay, that.

The.

What is it the Magical Society of Negroes.

Yes.

It could have been.

What?

It could have been.

We were robbed because.

What the hell was that?

I write at dawn for what that could have been.

What the hell was it?

So that's what I'm saying.

I'm like.

I think.

I'm thinking we're getting our own, like.

Like, wizardry or witch, like, you know, school and stuff like that.

And I'm like, cool, great.

Awesome.

We've arrived.

No, it's all in the service of white people.

I'm like, oh, screw you guys.

Like, who signed up?

Who signed on to this?

I want to speak specifically to the filmmaker who just.

Just.

Just stop making movies.

Sorry, that's probably not the best thing to have said, you know, as a filmmaker myself.

Right, right, right, right.

But.

But also.

What?

Like, no.

Okay, take some time.

Take some time.

Okay?

Just reevaluate, reflect.

Reevaluate.

Go to Africa.

Reevaluate your life.

Get ground to touch some black people.

See, See and be around more black folks.

Wait, do we know if the director is.

Are they black?

Yes.

No, we're gonna check this out right now, actually, because then, depending on who it is, I'm gonna have some words.

What's it called?

Magical Society.

Wait, is it the Magical Society of.

I was just searching, and I'm like, oh, geez, I hope I'm getting the order of these books right.

I'm looking for research.

So the director is Kobe Libby, who appears to.

Appears to be black.

Toby.

Also producer note, the Wiz was remade, but it was a TV live movie.

Oh, that is true.

Queen Latifah is the wizard of Oz.

Neo was in it.

Dag.

Dag is the cowardly Cowardly Lion.

Elijah, Kelly, Naomi.

Yeah, so it.

It seems like it was fairly well received at the time.

I did watch that, and it was good.

But, you know, they do the lives.

But there are lives that have the movies.

Hairspray had a live and they got a movie.

So I give the Wiz the same treatment.

Give us another remake.

Hairspray has, like, three movies.

I. I love Hairspray.

Actually.

I do have three.

Yes.

Oh, my God.

Yeah.

So anyway, more movies with whimsy.

Black whimsy.

Black whimsy.

Where it's not dependent on any.

Anyone else.

It's just us, like, just getting to be again.

Fantastical.

Whimsical.

You know, weird.

It's fine.

You know, I.

And I like And I was thinking about that, like, what are some other movies?

Are there any other movies out there where we do kind of have that, like, you know, it is kind of following that kind of whimsical thing, but also just an all around feel good, like, movie.

You know, the photograph tried.

Okay, okay.

It tried to be something for us.

I don't think it hit quite the mark for me as someone who loves a good rom com, who loves Lakeith, who loves Issa.

Yes.

It was lighted beautifully.

They should have won an award for the lighting.

The brown people were lit up.

Well.

Yes.

But as far as the story, they tried to give us that non.

That love story that has feel good in it.

Yeah, yeah, yeah.

I still haven't watched Sylvie's Love.

Oh, I. I did watch that.

Okay.

I. I obviously am a Tessa Thompson fan.

Of course.

Okay.

We stand Tessa Thompson here on the podcast.

Yes.

And actually is.

God is.

Was produced by Tessa Thompson.

Thompson.

So we stand her here.

Yes.

But I think I, I liked Sylvie's Love.

I did enjoy it, but I, I think she has a good job at.

I love her roles.

Yeah.

This is.

Ain't about her, but listen, we should just do a Tessa Thompson podcast, to be honest.

Yeah.

She has.

She has more than enough.

Like we could just kind of span.

She's also now showing us her willingness to put other black stories.

Yes, yes, for sure.

Which is.

Which is what we need.

Right.

You know, once you get up there, you know, lifting as you climb.

You know, I think that's very important, especially given, like, the type of time that Hollywood is on, you know, and just in terms of like, you know, green lighting, independent films, especially ones that are centered on black, brown, indigenous folks.

So.

Yeah, quick note on that movie you just mentioned.

Sylvie's.

Sylvie's Love.

Yeah.

The co star is Namdi Asmua, who was a Pro bowl cornerback for, like, the Raiders.

Oh, so he's like the male lead in that movie.

I was just like, oh, that's.

That's interesting.

He's a.

He's a stunning man and also very charismatic.

So I'm not shocked that he's gotten into acting, but really cool.

Okay.

Fun fact.

Yes.

Fun facts with Chris Lindstrom, our producer.

And so.

No, that's great.

But yeah.

Any other thoughts just in terms of like, either movies, you know, that we'd like to see or, well, representation that we'd like to see, like moving forward.

Fat women.

Thank you.

Oh, my God, I love you for that.

Thank you.

We got Annie.

We got Annie who died.

Yes.

That's what I'm saying.

This brings us back to who was disrespected.

I was so mad.

No, very much so.