Miss Me? - Listen Bitch! How To Cinema

Episode Date: February 2, 2026

Miquita Oliver and Jordan Stephens answer your questions about cinema.Next week, we want to hear your questions about bullying. Please send us a voice note on WhatsApp: [phone]. Or, if you like, send us an email: [e-mail] episode contains very strong language and adult themes. Credits: Producer: Natalie Jamieson Technical Producer: Will Gibson Smith Assistant Producer: Caillin McDaid Production Coordinator: Rose Wilcox Executive Producer: Dino Sofos Commissioning Producer for BBC: Jake Williams Commissioners: Dylan Haskins & Lorraine Okuefuna Miss Me? is a Persephonica production for BBC Sounds

This BBC podcast is supported by ads outside the UK. You're not at the office. You're solving murders in the Scottish Highlands. You're not in your car. You're in a candlelit carriage on the way to the ball. This winter, see it differently when you stream the best of British TV with Britbox. Catch a new original series like Riot Women. New seasons of fan favourites like Shetland. The body's been found. And on paralleled collections of Jane Austen, Agatha Christie and Moore. It's time to see it differently with Britbox. Watch with a free trial now at Britbox.com. Investing is all about the future.

So what do you think's going to happen? Bitcoin is sort of inevitable at this point. I think it would come down to precious metals. I hope we don't go cashless. I would say land is a safe investment. Technology companies. Solar energy. Robotic pollinators might be a thing.

A wrestler to face a robot. That will have to happen. So whatever you think, is going to happen in the future, you can invest in it at WealthSimple. Start now at WealthSimple.com. This week's episode of Miss Me contains very strong language, adult themes, and we bring back Blade. Wikita, are you?

You have to do it in a Scottish accent. Gladiator, ready. Don't you remember that guy from gladiators? I remember soft paddles that I fantasised about using on various people in my life. Oh, I thought you were talking about the gladiator. he wanted to kiss. No, just they had those little foam things that you just fucking hit people on the head with them.

Okay, well, there was an umpire and he had a very thick Scottish accent, so he'd be like, contestants, ready. Yeah. Gladiator, ready. And then I don't know what he said. I don't think you said welcome to listen, bitch, though. All I remember of my childhood is,

three, two, one, activate. What's that from? Robot was. Loser. Loser. You know that's right. Robot Wars was unfucking believable. And I did celebrity robot war. Of course.

Greatest moment of my life. We were so shit though. We were so shit. Did you actually have to build a robot? No, we didn't get, we didn't. It was worse. We had to pick a style of robot, and we were the last to pick. So we were left with literally the worst robot, although we somehow won.

Anyway, there's a whole other part of that story that I'll tell you another time, which is absolutely outrageous about what I called the robot, and it's very immature. Let's save your robot war victory story. Let's do that on ListenBitch robots, but the theme for this week's Listen Bitch is Cinema. Because we're classy, high-brow bitches.

And we've already been there. We've already been there with a meaty drop. We've had to extend the conversation. So first question, please. Hi, Makita and Jordan. This is David from Barry Island. I live in a townhouse. and I love the podcast.

So my question on cinema is, when did people start being so rude and annoying and selfish at the cinema? When did that become socially acceptable? Hi, Makita and Jordan. First time on this podcast. I've been listening since the beginning. I hope you are well. How do we feel about people crunching while you're trying to watch a movie? It drives me fucking insane.

Hi, Makita and Georgian. This is Kim from Manchester. As requested, Makita, just to let you know, I am calling from an apartment in the centre. My question for you is about cinema etiquette, so the do's and don'ts are cinema going. There's nothing worse than being distracted by the light from somebody's iPhone. I'm talking about people talking over the film

or using their phones or taking up too much space, not respecting people who have paid to actually watch the damn film. It does make me a little anxious when I go. So what do you think? What can we do to stop it? I want to stand up and scream, but I don't. I just moan quietly. Wow, what a ride. Okay. That's what it's like to have six questions at once on this bitch. One thing I would say, this particular subject is obviously really got people heated up. McKeeza, when's the last time we went to the cinema? Oh my God.

Um Jesus Christ Really? Okay I mean that's an answer in itself Wait no no no When it was the last time I went to the cinema

I actually can't remember That's fucking terrible I do like the cinema I love the cinema I love the cinema And this is It couldn't be better timing This

I didn't even Of course This is what people Don't ask about etiquette Of course As you know I just watched Marty Supreme the other day, right?

Now, there's some important parts about this I need to discuss. Firstly, I go cinema. I love cinema, but usually I'm late in terms of not to the actual film, I'm watching a film that everybody's already seen. And then when I go to a screening, sometimes it's not even in like a particularly popular cinema. It'll be like kind of

not that busy. The difference about this viewing was that Martin's Supreme is incredibly popular. So we realized me and Jade that we were actually watching a film in its like, you know what I'm saying? It's still up there. Wow. Right.

We got a sofa. You know, and every man, they got little sofas. Yeah, me and Jada on there. On the left, these two girls walk in, right? And when I tell you that these two walk in and are talking, they're chatting like they're literally like in the living room. No. And this is the thing, right, was I know what I'm like.

I know I get overstimulated by sounds. Obviously, we've gone through this extensively with the play. I have it in my immediate life. Sometimes overhead lights do me, all this kind of stuff, right? I promise, I tried, I used all the energy in my soul. to equalize it. I thought, you know what, maybe they're only talking

when it's loud, you know, maybe when it's the quiet scenes they keep it down, da-da-da-da. Right. And then we hit one quiet scene. They're just like,

ad-da-da-da-da-da. What, just gabbing away? Sheet. On Snapchat. Oh, my God. On Snapchat in the tank. At least, rolling through the air, hit the screen,

watching Marty Supreme. Because they're there to be part of a moment, not to watch a film. And so, like, they're talking and talking, And then I just, and I literally, I just went, guys, seriously, keep it down. Did you? And she looked rattled, yeah, but they did whisper from that point.

Okay. And also, I had shown them respect before, I moved things on my arm, so they could have their feet. You know what I mean? I wasn't being a dick from the jump. So I think they were like, I wasn't trying to like be rude. I was just like, guys, seriously. And they were, they whispered since, and the rest of the film was fine. And they were actually the loudest people in cinema.

So I think it was like. Bad luck. Yeah. And even Jade, who, believe me, hates me. and shit like that. She was like, you know what? Even I could fucking hear them. And Jade's way better

at like zoning in on that shit. But I do remember thinking like, wow, I've heard about this before. People saying that people are on their phone just texting. But I mean, imagine if people are being told constantly that three minute clips are too long to hold someone's attention,

then two and a half hour films are at a cinema. People are used to second fucking screening. Yeah, yeah, second screen. And then they, you know, they were engaging with the film. You know, it's okay to like whisper to the person you're with talking about it.

It's just a volume of which you do. do it and, you know, they weren't completely ignorant. The other thing about it, which is crazy, is there's a blessing and a curse of every man. Because you can get normal food, yeah, like... Oh my God, stop. Not cutlery on plates. So this guy, I don't know what it was that he had, but when I'm telling you, this man was hitting metal with metal.

No. To get the end of his thing. I'm like, what world do you think you're in, Rue Boy? It's like, he sounded like a cow in a field. What, literally like... No, it was a... It's like, but this is what I mean. I actually think that...

that's too much. It's like, it's not dinner theatre. That's why I actually don't like every man menus. I think it's too much. People eat kebabs. No, no, no, no. I'm here for it. Do you honestly, I'm saying actually, somehow their menu subsidises the amount of popcorn and sweet noise. Because that in the main cinema, insane. What of all the types of food to have in a cinema, brother? You think nachos and popcorn are you all right?

You found the loudest food possible and been like, yeah, let's put that all... Like what? But that's kind of weird because popcorn is historically what you eat at the cinema. So kind of in a weird way, the sound of people eating popcorn I see as an accompaniment to the film. It's like, that's the usual. Yes, I can get, I can accustom myself to the frequency of popcorn, yeah. But even with popcorn, you have to do it in moments of crescendo. I realize that too, you can't be shoving that hand into the popcorn in a moment of silence.

What the fuck you're doing, boss? You can't be taking people out of that moment of silence. You know what I'm saying? Do you actually do that? Do you wait for it? You've got to wait for there to be a chase scene and then you're like, they shove it in your face.

That's true, actually. And that's etiquette. Wait for the chase scene. That's etiquette, bra. That's what I'm trying to say. But these, man, but smashing out, opening a packet Harrybows or whatever behind me,

what are you doing? What are you doing? That frequency is not, you shouldn't be having that in a cinema. Serious. But can I just say, I agree that I feel like there needs to be a reminder before screens.

They have the finger, turn your phone off. No, we need to go deeper than that. We need to go, can everybody remember, you're not at home. You're in a community environment, right? Yeah.

Please keep talking, discussion to a minimum. Please make sure your phone lights aren't distracting and obvious. It's there something ceremonial about the silence of cinema. Yes, yes. You have to just go into it. It's a group experience. We have to, sorry, it's the last bit of my rant. I swear, you're going to have two questions.

This whole listen, bitch, but I'm not going to say this. Is that there is a world where people making noise in cinema is the best thing if it's about the film. This is the thing. Yeah. I've been in cinemas with people where they, like, I'm one of those people. I remember I was so invested in a film once. I think it was Juno when I was a kid.

When the dad's getting creepy with Juno, I literally screamed out, get away from her. I mean, I was so into it. I was like, get away from her! In the thing, but in the context of the film, you know, a passion. Interesting film to have a really violent reaction to. That's good. No, do you not remember the bit in Juneau where she's pregnant?

And then he's dancing with Jason Bateman. Yeah, and you've trusted him, the whole film. And you're like, fucking stop touching him. Yeah. You know what I mean? And the fighter, Christian Beow and I jumped up. I jumped out of my seat when he was fighting. And I had to say sorry.

But that kind of investment, that's part of it. But you know what? It's like a football game or like a sports game. It's like that feeling of being, you know, I go to Arsenal. People aren't on their phones. People are watching the fucking game. Oh my God. No way.

You're in the thing. It's theatre. And there's something about that consciousness of everyone together focused on the same thing, which heightens the experience. There's also a sense of feeling like people aren't in it. So it's like you're not as in it. It's kind of meant to be a bit like fucking church. It's like we're here to do this together.

I watched Get Out with a group of select. It actually was selects like black British creatives in Soho. And it was the most insane cinema experience of ever. Because we hadn't, like I said, we hadn't experienced, certainly for me, I hadn't experienced anything like that with that film. And Jade said the same thing. you watch it in America, people were screaming, brother. I had the thing like, get, kick him, get away, don't do that.

Because it's like, it's visceral. That is an incredible experience to share with people. Anyway, sorry, I'm done now. Now we really will bloody have another question. But that was good. That's what happens if you give us six questions in one. Hey, guys, I'm Lorena. I live in the side of France, but I'm from Colombia originally.

And I've been listening to the podcast for a year now, and I love it. So thank you. And about cinema, well, you know it's such a combination of arts. And for example, I've never been drawn to, I don't know, things like costume design or directing, but I watched this film by Savir Dahlane, Lawrence anyways. And it blew my mind. It awakened this curiosity. Like, it made me wonder how I would tell a story with images.

And now I'm doing photography. So have you ever watched a film that kind of sparked an artistic passion you didn't know you had? Love you guys. Bye-bye. Incredible, by the way. Incredible question. Also, as a bit of pop trivia, Zavia Dolan directed the video to Hello. Lionel Richie? Adele. Oh.

Okay. I loved that lady and I loved her question. There's a great film called Peter's Friends. It was on at the electric cinema in Portobello and it was a great cinema and do you remember like you know there'd be a big poster I mean there still is but it was like more exciting

it was just a brilliant British film I realised the other day directed by Kenneth Branagh with Stephen Fry and Emma Thompson and Imelda Staunton and it's just about friends in London in the 80s and they all go to this country house and it's just very well made

very well written very funny great storyline great acting and it made me well when I was a kid it made me want to be grown up, but then when I watched it again in Sri Lanka with Phoebe, it made me see certain things that I was thinking about within, like, directing and stuff. Sick. I didn't know Kenneth Branagh had made it.

Yeah. I was like, oh yeah, you can just do what you want. That, yeah, I mean, that is a really exciting signification that you are a director because I was thinking that I've got a friend who's an amazing director, really brilliant eye. He did a few episodes of like industry and champions called Caleb. Caleb Femmy, shout out. Wow.

And we were talking about this. And I realize when watching this two direct, there's Michael Henicki and Ruben Oostelin, the guy of the Triangle of Sadness, Force Major, but they both do this thing where they have extended tripod shots and they just fix on the characters. And regardless of whether or not there's an engaged interactive conversation, they're just focused on one thing.

It makes me excited. And the fact that I can even identify that it's that choice that makes me excited means that in the future, if I ever do think about it, I know what I would like to see. you know what I'm saying? Yes. So you've had that?

Yeah, a lot. I mean, I'm doing a lot of studying at the moment, watching lots and lots of different things. And just remembering why I like stuff. Yeah, but you're paying attention to the direction. That's not always a normal thing, you know. There's good directors, but... Is that not?

Right. I don't think so. Like, I love... Like, actually, American beauty, I would say, it really makes me love cinema. And you know what it is? It's because, I mean, the script by Alan Ball is so excellent and just of such a brilliant,

high level. No spoon feeding there. And it's such a simple script, actually. But Sam Mendez, you know, he was a novice and he was British and he sort of, I don't know, he sort of put this kind of glean on American suburbia through his sort of Britishness that I liked. I don't know what it was, but I just love the way that film is made. And, and, oh, well, I love the fact that he plays so much, you know, that beautiful, now very famous, brilliant scene with Mina Savari covered in the rose petals as he fantasises about her. So he was really playing

and I realised that like everything else I'm bloody doing every job I have you can, if you can if you're lucky enough and I've built a life where I'm lucky enough

to have jobs where I find the play and everything and I think it's about going back to that just like how do you want to play because you can play? No totally. It's up to you.

I'm sure maybe we can really like talk about directing and moments where directing has like shifted a whole space. I can think of times where like people directors have stepped into franchises

and made locations that were already accustomed to into characters and it's like that, it's just sometimes that goes unseen because the focuses on other things but in terms of being inspired by a film I actually don't have a direct answer

but I'm just going to go with what I instinctively felt and when I was a child my mum had got us this desktop computer and it was the first time that there was like an iTunes library where you could buy films and watch them at home

which was like You know, obviously you could watch DVDs and VHS or whatever, but it was just a little bit easier. Anyway, the reason I'm saying this, why am I saying this? Ah, there's a French film. I love French cinema. There's a French film called Tell No One or Ni de le Poisson, something like that. And it is an amazing, well, I haven't actually seen it since I was a kid,

but when I watched it as a kid, as a teenager, I have this vivid memory of it finished and I just didn't move for like five minutes. I've never, I can't remember the last time. I was so spellbound by the experience. And the reason why I'm mentioning it in terms of it being inspiring was that the soundtrack to this film, which I still listen to to this day, just completely amassed to me,

this unbelievable relationship between audio and visual. And like the composition of films and TV shows. And like before, if I wasn't ever to become what I am now, I really at school, especially at college, one of my top full-backed ideas would have been to be a musical supervisor. The musical supervision on TV shows, for example, like... Here's a mad shout-out. Old-school Holyoaks, yeah, old school.

I'm talking like mid-noughties. No, no, I'm being dead ass. What about it? What about it? No, no, I'm talking like, Who Killed Claire vibes? That era was insane. Like, I remember thinking, you're playing like Portis Head and shit. Oh, no, not Portis Head.

massive attack. And yes, yes. Massive attack. Because I remember thinking, wow, like, it's so subverted in relationship to EastEnders and other soaps. And obviously it kind of changed in the end. But that and then Luther, I remember watching Luther. And then there's this, like, see a song at the end of the deepest episode in the first season.

And it's like, just sends shivers through your, it's just really. And with tell no one, there was, it's first time I heard, like, maybe Jeff Buckley's cover of Lilit Wine. Oh, my God. Groove Armada, Hands of Time, and these songs came in just cemented, like Lalloc Wine,

the main character is running down along this street. And they're just like, I just remember getting overwhelmed by the power of like what a song can do to a scene. So that really inspired me. No, absolutely. What a song could do to a scene

and actually that's what I've been doing. I've been making a lot of playlists around the projects that I'm working on. And I'm like, you can just, I've always done that. It's like, music is. such a guider and a force within film. And I've had this amazing thing that happens just a lot.

And Quincy does say, when you're in an edit or you're in a studio or even this, like, well, I do too much research and you're like, to leave it. He always says leave 10% for magic, right? Leave that space for magic to step in. And when you put a song, go away, whoever you are, mom, no. I don't have time for you. I'm quoting Quincy Jones. Brilliant.

Golly back. when you lay a song to a scene and you just think maybe it will work maybe it will work and it works by every beat with someone moving and a camera shot it's bigger than you

it's bigger than you it's like okay we were meant to do this I imagine it's like when you make a song and you're like fuck let's just wrote itself no but there's another is another of even one time when I did my first film at my first series I tried to do the composition

with my friend because I was just very overambitious yeah sounds about right No, but seriously, when we pitched on it, the feeling of, like, watching a scene and then, like, hitting a chord or a note and the distance between it or the sparsity or, like, the note matching and body movement, like, it was, I couldn't even, like, it's so, like, it's just of another world. Like, it brought me so much joy.

Sounds like it brought you a little closer to God, which is what all great art should. Potentially. And I was talking to Jade other day because, you know, one of the greatest tensions of them annual experience nowadays is our engagement with the Harry Potter franchise. Yeah, but I would say what you were saying about directors stepping into a place. I know you're going to talk about. Quaron. But you're talking about how about how about Zappa?

When Alfonso stepped in, I was like, this is bad man, Harry Potter. That's what I was talking about. He made Hogwarts. Changed. That's it. It's shit changed. John Williams score. Absolutely.

How can a single person, same as Star Wars, say a Mission Impossible, same a fucking James Bond. These people sat down and went two seconds, let me just create like an infinitely sequence of notes that will alter people's consciousnesses. What if I hear, dun dun dun dun dun dun dun. I'm a wizard. I'm literally,

I just become magic. Yeah, dun dun dun dun dun. Yeah, but also, I told you I watched that John Williams documentary. It's fucking fantastic. You'll love it. And within it, it's like the rushes of Spielberg with John, with jaws without the music. And John Williams is like, what about...

Don't check! John... Sorry, sorry, sorry. John Williams did jaws. Nah, this guy's a goat. Yeah. Do do. And it's like, you have a villain.

Hans Zimmer as well, obviously, obviously. The mad thing about him is, it's like musical absurdism because it's like he's obviously an unbelievably accomplished entire composer. However, the biggest impact he had on cinema in recent years, two things. One, holding like a single eerie note that just goes like, he does it in dark night

at the beginning. The first like 15 minutes of dark night, there is a single siren sound that just beds the entire thing. Trailers, right? You know the whole, that's Hans Zimmer. The whole, you see, you even see like little TikTok versions of it now where you have like medleys and being on and then it changes. Oh, you wouldn't know because you're not on TikTok like that, but no, no, no, I'm not on TikTok, but I understand the work of Hans Zimmer, thank you very much. Yes, I'm saying that whole horn, big, crash, like that is, that is like, literally revolutionized how people engage with action and thriller and suspense. Well, interesting, because that's what I love.

God, I love revolutionaries because I just love people that are brave enough to listen to their instincts and do something in their own way and change the fucking world with that. But what he did with Rain Man was unbelievable because it was a road film through America. So it could have been rock music and guitar music, and he did it with electronic music. So it's more like, you know, all that. And it changed the film. It gave it this kind of modern edge

and sort of interesting cerebral quality, which makes sense because we're talking about a kind of genius, savant, autistic young man. Let's have a break. You're quite heated up by all this cinema chat, aren't you? It's in your blood. It's in your grandmother. Father's blood.

Investing is all about the future. So what do you think is going to happen? Bitcoin is sort of inevitable at this point. I think it would come down to precious metals. I hope we don't go cashless. I would say land is a safe investment. Technology companies. Solar energy.

Robotic pollinators might be a thing. A wrestler to face a robot, that will have to happen. So whatever you think is going to happen in the future, you can invest in it at WealthSimple. Start now at WealthSimple.com. Welcome back to Miss me. We're discussing cinema today. It feels really good,

feels really good, and it feels really right. Next question, please. Hi, my name is Becca. I'm a huge fan of the podcast, and I'm also a really big fan of the cinema. So when I saw this was the topic you were talking about, I was really excited. My thought is about going the cinema on your own.

What are your thoughts on this? Do you think you should go on your own or do you think it's better to experience with other people? I started doing solo cinema trips a couple of years ago and I was really nervous when I first started but then I looked around and it was actually really half and half. I just love the experience and I actually now prefer going on my own than I do with other people.

What do you think? Do you think that it should be an experience shared or do you think there's something great going on your own. Oh, Becca, I'm so excited that you asked this question. I'm just about to start doing this. You don't do it. I would have thought with your solo spaghetti trips,

that cinema would have been a natural evolution. It's true. At least it's a dark room. A little less official. Yeah, no, I don't know why I don't take myself to the cinema more because I love doing things on my own. I like shopping on my own, big time. I really like, you know, taking long walks on my own.

This is new, though. No? Yeah. No. What is? Being alone. Like him being on my own? Very new.

Yeah, no, sure. Yeah, not very new. I'm talking about last four years. Yes, last four years, sure. And I guess that is relatively new. A friend of mine was saying that he goes to the cinema on his own all the time. And I was like, I would love that. It's so good.

I would actually love that. But I've got a list of, like, I do really like the cousin. But I really want to go to the Prince of Wales cinema. that Namer and Flingo to a lot. Shout out Prince Charles' cinema, by the way. Yeah, is that the one in Lester Square? Yeah, it puts out classics all the time and shit. It's a fucking institution.

So shout out Prince Charles. We went to this amazing thing with Gemma's dad. Gemma Baron's dad is Steve Baron. He directed Ninja Turtles film, first one. Come on. Right? And they had like a big like, Steve Barron, well done. And they screened it.

That's the last time I went to the cinema. Wow. And that was like three years ago. So thank you, Becca. I think it's a really good thing to do on your own. You need to do the solo thing. I'm being told that you need to go on your own to watch sentimental value, Miquita.

What's sentimental value? It's a film by the same director as he did a film called The Worst Person in the World, also a good film. Oh, right, and is it with the same Renate? Yeah. Is it what she's up for the Oscar for? I watched that other film,

The Worst Person in the World. I thought it was very, very good. So I will watch that. What is her name? I just want to get it, right? It's Renate, something. How refreshing for us to struggle saying a Scandi,

last name and not just an African last name that I'm kind of liking, I'm liking that. Yeah, everyone is struggling. We've been so distracted, being annoyed that people can't pronounce African last names. I've forgotten that I'm incapable of pronouncing Scandy last names that have like letters glued together and shit. Like, my mind's blown.

We're going with Renatee Risvan. Yeah, that one. We're going with Renate. Rizsum. Thank you very much. Fantastic actor. She is, and she's about to have, not even about to, isn't she Oscar nominated?

She's going to have a big, big season. She's hot stuff, she's hot stuff. She's hot shit. She's the hot ticket in town. Good luck to her. Let's have the final question for this week's Listen, Bitch. It's been lovely to discuss cinema with my friend Jordan and you, the world. Hello, Jordan and Makita.

Natalie here from Inverness in the Highlands. Okay, serious question. Serious question. Jordan, have you lost your mind as much as I have, waiting for Blade to come out? like what is going on. What a question. I can't believe that lady said waiting for Blade to come out.

Me too. Iona's fiancé, Jan, is a director. And from the ends, he's from Lubbock Grove. And he was going to be directing the new Blade for Marvel. And then the writer's strike fucked it up. They were like in Atlanta about to start filming. We were so excited. Yeah, with Maharsha Ali.

With Maharshala Ali. Like, what a cast. They even gave the little thing at the end. of Eternals to signal. Can I just say, we don't even have the time for me to get into this. Can I just say...

How much you love Blade? It's McKita. No, because it changed my life too when I watched it. So Blade was Jade's first crush, yeah? And so she was into this vibe. I had briefly engaged, but like not really engaged.

So we sat down and watched the three Blades, yeah? Like recently. Oh. And, Makita, I... So you'd never engaged with the first Blade when it came out. No, I was a kid. Oh shit.

Yeah, because I was about 12. But like, McKita, man. Like, I just, like, when Jade puts, recommends these things, I know they're going to hit, but like, I don't, I changed my fucking display picture to Blade after watching that shit. I was like, I was, I was, no, no, Keith is really defined. So this is serious.

Because the people aren't deep in Blade's energy and character. Like, it is gone from the Marvel universe, that kind of vibe of, he is like very sure of what's going on he's a cool customer bro like he Jordan I didn't even realize it was Marvel I watched it like when we lived in like Sherlock Muse or something me mom and got off

and I was like who's this guy but it was a really well made film Stephen Dorf is also very good in it but it's just like it's so dark the first two are good the third ones work I bet the third one's total shit also Ryan Reynolds is actually really fucking annoying in it sorry I don't know if that's unpopular opinion but

oh he's a good can keep out of Blade. The directing of Blade 1 as well, that the actual direction is fucking sick. And, oh, so cool. Like, Blade is just so cool. And can I just say, the reason why Blade hits me on a different level, right, is it's like, I know this is like kind of a running theme in heroes,

but like he really is, I think there's a quote from the Blade game, which I feel like might be like my outlook on an entirety of my purpose in life, yeah, which is that he says, Okay. I'm made to destroy the darkness I was birthed from. That's it. I'm like as a basic principle of like, except I'm getting so mad at it. Like as like a Jungian principle like Carl Jung, when I'm talking about integrating the shadow,

when you think about Blade, like he is half of the thing that he is going to fight. And he needs that half in order to destroy it. But he needs to hunt it. Yes. It's fucking good storytelling. The day walker. Like he has the ability. That's what the vampires call him, the daywalker, because he can split between both worlds.

and they hate him, but he's a fucking bad boy. Do you know what it's a bit like being, Jordan? What? Mix race. Maybe. It is a bit like being mixed race. I'm not saying that they have something blady for you, Jordan. I don't know what it is, but it's blady.

Unfortunately, Jordan, I don't think, well, what I can say is this. I am not involved in it, and I'm not sure what the status is of the film. I was really excited to be a part of that Marvel universe and specifically engaging Blade but my involvement, I'm no longer involved and I'm really not sure what the status is. Delroy Lindo! He was supposed to be in a his one's a fucking joke!

Just casually saying, The thing is Jordan. Thanks for asking. The thing is Jordan. Thank you, Jordan. That was lovely. It was lovely to delve into cinema with you. Next week's Listen Bitch theme

is Bullying. Jordan thinks it's important we'll do it together. Bullying. See you next week. Love you. Bye. Bye-bye. Thanks for listening to Miss Me.

This is a Perce of Onica production for BBC Sounds. Ever wondered what's really going on behind the biggest celebrity scandals. From Justin Baldoni versus Blake lively to Kim Kardashian's sex tape lawsuit to Brigitte McCron fighting claims she was born a man.

These stories dominate your feeds, but what's the truth? That's where our podcast, Fame Under Fire, comes in. I'm Inishka Matanedowity, and each week we dig deep into the legal battles and controversies everyone's talking about with expert analysis and exclusive scoops. New episodes of Fame Under Fire Drop every week. Listen now and subscribe on BBC Sounds.