The Daily Show: Ears Edition - The History & Evolution of Black Horror Movies | Beyond the Scenes

Episode Date: October 23, 2023

What is the movie genre known as Black horror and how has the Black experience been portrayed over time in these films? Daily Show writer Ashton Womack, filmmaker and executive producer of Shudder’s "Horror Noire" documentary, Tananarive Due, author and screenwriter Steven Barnes, and author and educator Dr. Robin R. Means Coleman join Roy Wood Jr. to discuss the history and evolution of Black representation in film, specifically in the genre of Black horror.See omnystudio.com/listener for privacy information.

Survivor 47 is here, which means we're bringing you a brand new season of the only official survivor podcast on fire. And this season we are joined by fan favorite and Survivor 46 runner-up, Charlie, Charlie, I'm excited to do this together. Thanks, Jeff. So excited to be here, and I can't wait to bring you inside the mind of a survivor player for season 47. Listen to On Fire the official survivor podcast starting September 18th wherever you get your podcast. You're listening to Beyond the Scenes. This is the Daily Show podcast that goes a little deeper into segments and topics that originally aired on the show. Basically, this is what this podcast is, right?

You ever get like an entree and then they throw in a free dessert. You don't like an apple bees. They be like, congratulations on finishing your steak, pita pocket, chicken, steak Peter Pocket chicken nugget potato skins. You now get a free slice of chocolate cake that's been frozen in the freezer for three weeks. That's what this podcast is like. The Daily Show is your half rack of ribs, and then this podcast is that free ice cream sunday you get. I got to just stop talking about food. Listen, today's topic is one that we discussed on the Daily Show. I actually

discussed it. It was about, you know, black culture and scary movies and monumental filmmaking. We wrapped it all up into one segment and I did that on CP time. So yes, today we are talking about black horror. Roll the clip. Ha ha ha ha. When you think of Black Horror, you think of hits like Get Out or this year's remake of Candy Man, which reminds me, speaking of that, Candy Man, Candy Man,

Candy Man, Candy Man. I knew he wouldn't show up. Cheap bastard owed me $50. But we wouldn't have Jordan Peel if it weren't for the pioneering black horror films that today are mostly forgotten. Movies like Son of Engaghi, which in 1940 became the first horror film to feature an all black cast. And unlike a Medea Halloween, they were all played by different people.

Son of Engaggy book stereotypes by showing a black, middle-class family battling a monster in their home, paving the way for the Winslow family to do the same thing against Steve Urkel. Ooh, little suspenders. So a little later, we're going to be joined by some wonderful, wonderful panelists who are extremely qualified to talk about the subject at large. But first, I want to bring to bring to bring to to to to to to to to to to to to to to to to to to to to to to to to to to to to their their their their their their their their their their their theirc. their their their their their. their, black a black a black a black a black their, black a black a black a black a black a black a black a black a black a black a black a black a black a black a black a black a black a black a black a black a black a black their a black their a black their a their, their, their, their, their, their, their, their, their, their, their, their, their, their, their, their, they....... Wea.. the. Wea... the.. the. the.. the. the the the the the the the the their, their, panelists who are extremely qualified to talk about the subject at large. But first, I want to bring in my friend and daily showwriter Ashton Womack, who helped put the segment together on air.

Ashton, how are you doing? Do you have Omacron? No, I am doing fine. I said that backwards. I'm doing great. No, I don't have Omicron. I am thiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii. I am still still still still still thi. I am still still still still still still still. I'm thi. I am still. I am thi. I am thi. I am thia. I am thoom. I am thi. I am thiol. I'm thoom. I'm thoen. I'm thoen. I'm thoen. I'm th. I'm thi. I'm thi. I'm thi. I'm thi. I'm thi. I'm thi. I'm thi. I'm thi. I'm thi. I'm. I'm. I'm. I'm. I'm. I'm. I'm. I'm. I'm. I'm. I'm. I'm thi. I'm thi. I'm thi. I'm t. I'm not. I'm not. I'm doing. I'm doing. I'm doing. I'm doing. I'm doing. I'm doing. I'm doing. I'm doing. I'm doing. I'm doing. I'm doing. I'm doing. I'm doing. I'm doing. I'm t. I'm doing great. No, I don't have Omicron. I am COVID-free and yeah, no, enjoy myself. How you been running? I am still waiting on a PCR result from Martin Luther King weekend. Anyway, let's begin our conversation, Aston. What's your relationship with horror movies in general?

Let's just start there. Because I can't say your relationship with black horror because that wasn't what was pushed on us when we were young. Black horror existed. There's plenty of black people in horror movies, but there wasn't no Jordan Peel back in 92. Well, I'm older. Back in 82. He existed in 92.

He was a lot. Yeah, of course. So what's your relationship with horror? You're a fan of the genre in general? I'm not a, I, I, I, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it, it, it, it's, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it, it. There, it, it, it, it, it, it, it, it, it, it, it, it's, it's, it's, it's, it's, it's, it's a, it's a.. It's a there, there, there, there, there, there's a there's a there's a there's a there's a black, is is. It's a black, there's a black, there's a black, there's a black, there's a black, there's a black, it's a black, it's. So what's your relationship with horror? You're a fan of the genre in general? I'm not a, horror movies, you know, they're not, I'm not a huge fan, but you said like, I did get introduced to horror movies through basically black horror movies,

through tales from the hood, through Candy Man, what feels like, I didn't know they were black horror movies at the time. That's just what my family was watching. So we was watching, I know people say, tales from the crypt ain't black, but something about, something about him, like, yeah, something about the crib keeping. I don't know. I don't know if this will make sense or not. I enjoy thrillers, but horror is more difficult for me, especially if it's the, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I thi, I thi, I thi, I thi, I thi, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I th, I th, I th, I thi, I thi, I thi, tha, tha, tha, tha, tha, ta, ta, ta, tell, tha, tha, tha, thi, thi, I thi, I thi, thrillers, but horror is more difficult for me, especially if it's the, I call it the mind fuck horror, where you can't see the thing that's killing everybody

for two acts and they don't reveal it until the magical third part of the movie. So as a child, I had night terrors, which if you're not familiar with that daily show audience, night terrors are when your brain is awake but your body still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still still the the the the the the the the the the the the the the mind. I the mind. I the mind. I the mind the mind. I the mind. I the mind. I the mind, I the mind the mind, I the mind, I the mind, I the mind I the mind I the mind I the mind I the mind I the mind I the mind I I I I I I I I I I I I I I I I I I I I I the mind I I I the mind I the mind I the mind I the mind I the mind, I the mind, I the mind, I the mind, I the mind, I the mind, I the not familiar with that daily show audience, night terrors are when your brain is awake but your body still sleep and it's one of the most hallucinated-filled experiences you'll ever go on without narcotics. So I went to see Gremlins, the O.G. Grimlins, 84, maybe. And my aunt, I love my Aunt J.P., but for whatever reason, bro, she

bought me the stripe, the green grimlain. Why would you buy me the villain, Grimlan? Because she wanted, you as a kid? That's what you used. Buy the gizmo, by the good guy. But she bought me a stuffed animal stripe, and so I would have these bouts with sleep paralysis where I would wake up and I would just see shadows on the wall. And after she bought me that stripe stuffed animal, I know what I saw, I was there when I saw it. It walked down off the bookshelf and pointed at me, like on some, if you ever tell anybody, I did this shit to your mother I'll kill you. And then it crawled back up on the bookshelf and never moved again.

The next morning I threw it in the trash. Also I believe in ghosts so for me like in real life and some real life shit. Do you sleep with all the lights on? No, I'm a thug, but... So, when I watch movies about the supernatural and like the Exorcist, I've never finished because it was too scary, which I guess is a compliment to the film. Yeah. You know, some of the Stephen King stuff I could rock with, you know, tales from the hood I could rock with, like I appreciated that. But I'm not, like I know people who only see horror. Yeah. Who only watch horror and I appreciate the genre, but it's a very delicate balance for.

If you only watch horror, you need to talk to a specialist because that is not a healthy diet of entertainment. You can't only watch. That says something. That's like when you put a, you ask a little kid to draw and they just draw like, this is mommy getting stabbed by dad. Like, oh, this kid needs to be talked to you. So when we did this thing for CP time, and I'll tell you the impetus for where I wanted to go with the idea, the ideation of it and everything, but I don't know how I got down this rabbit hole, but I really, oh, Halloween comes out and Halloween H2O.O.

H.L.Coolejay, if I'm not mistaken. The one with L.O.Coolejay. The one with L.O.Coojay. the one with L.L.Cooljay gets shot, he lives. And just as a joke, I go, wow, that's funny. L.L. Kooljj. Didn't die. He's a brother, didn't die. I wonder if other people haven't done. Has L.L. Kuljay ever died? And then I went through L.O.C.C.C.D.B. and he's never died on camera. The only one you can maybe argue was rollerball, but they never showed the body body body body body body body body body body body body bodythe body. So then I remembered in screen two that Omar Epps died before the opening credits. Omar Epps and J. to Pinkett Smith.

So I was like, that's gotta be the quickest death on camera. That's funny. And then I'd pitch, and so you know at the daily show, you can just pitch, hey, LL.L.C. O'C. thu thi thi th th th th th th th th th th to th th th th to th th th the to thoe thoe thoe thooooooooooooooooooooooooooooooooooooo-s they. they. too-s too-I too, to to to to to to to to to to to to to to to to to to to to to to to to to to to to toe, toe, toe, toe, toe, the toe, toe, toe, too. too. too. tooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo. the too really, really fast. Do what you will with that. I would be in my office. And you all came back with all of this, so like just walk us through the creative, like what research did you all have to, you know, start going through to kind of connect

all of this? Oh, it was, the research was, the research part was really fun. What movies did you choose to feature? thua thua? thua? th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. to, to, to, to, to, th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, to, to, to, to, to, to, to. to. to. to. to. to. to. to. to. the the the the the problem. We have so many movies like you don't even realize like what qualifies as black horror movies is it's almost subjective in the sense of like like in early times when there was like a movie called Son of Anygaggy it was the first quote-unquote black horror movie because it was also the first all black production black director black staff so it just had no choice but to be the first black black like black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black black the the the the the the the the the the the the the the the the their their their their their their their their movie their movie their movie their movie their movie movie movie movie movie movie their movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie their movie movie movie movie movie their movie movie their movie their movie their movie their movie their their their their their their their their their their their their their their their their their their their movie their movie their movie their movie their movie their movie their movie their movies like like like like like like like like like like like like like like like like like black black black black. the it it just had no choice but to be The first black like black horror movie and like it would we had to choose that one because that was like the pioneer But like the process was very hard because there were so many like just move classic movies that I just you forget their horror movies because they're black movies like?

One that didn't get in was we had a lot of good ones one that didn't get in was what? What's the Eddie Murphy. the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie classic classic classic classic classic classic classic classic classic classic movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie movie. that that that that that that that that that their that that that their that their their their the the movie movie movie movie movie movie movie movie. the the their horror movies because they're black movies. Like, one that didn't get in was, we had a lot of good ones. One that didn't get in was, what's the Eddie Murphy movie, where he's Vampire in Brooklyn? Oh, man. I was fighting so hard for Vampire and Brooklyn, because that movie was just, to me, it was just part of my, my child. Horror and comedy is a tough genre genre, tou f tou f to tou f to tou f to tou f to tou, tou, tou, tou, to, t, t, t, t, t, t, t, t, thi, thi, their, their, their, their, their, the, thi, their, their, their, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the movie, the movie, th.......... th. th. th. th. th. th. thi, thi, thi, thi, thi, thi, thi. to. too. too. too. to to to the the the today, the the the the the the the the the the the the thi, the. tough genre to nail, just in general. And that's one of the few movies that actually did. And I think Zambi Land did a pretty good job of it too,

but that, Sean of the Dead, but that's more British type stuff. But yeah, vampire in Brooklyn was a good one. Yeah, when he said, he got stabbed, and he was like, this is mytattued on my brain. The heart. This is my heart. This is my stomach. This is my heart.

This is my stomach. This is my heart. You should know the rules, they go. John Witherspoon describing to Alan Payne how he saw Eddie Murphy turn into a a werewolf and then a vampire he flip flopped he did flip flop on me you've seen somebody flip flop on you flipping and it was still scary the final fight was still scary he was up in a like that was that's a perfect I mean get out is like a modern day funny scary black horror movie whatever, like that was, that's a perfect, I mean, Get Out is like a modern day funny, scary, black horror movie, whatever. That was perfect movie back then, but it didn't make it because we had other, so good choices, I think, too.

I'll give you another example of what I'm talking about, about me and horror. So, in the actual script, right? It calls for me me to me to me the to me the the the th th the th. th. th. the th. th. th. the th. th. the th. the th. th. the th. th. thi thi. thi. It thi. It thi. It was thi. It was thi. It was th. It was th. It was th. It was th. It was th. It was, that. It was, th. It was, th. It was, th. It was, th. It was, th. It was, th. It was, th. It was, th. It was, th. It was, th. It was, th. It was, th. It was, th. It was, th. It was, thi. thi. thi. thi. the the the thi. the thi. the the tha. the the the the the thatea. the the thatea. tha. tha. tha. tha me to say Candyman five times into him. You was actually scared. I don't know, yes, like legit. Yeah, I was not comfortable with that. I feel you. I've been asked to do a lot of wild stuff on this show. I've eaten a lot of wild foods. I just left Idaho talking to some very wild people.

I can't wait. Like, Candyman, the OG Candyman, I finished it, but that one was a battle. Like, I, like, you know I watch horror now? I watch horror with two other things going on around me. You know, I, like, I'm not immersing. I'm not surround sounding myself. I'm not doing none of that. But, yeah, yeah, the, the, the, the, the, the, the, th, th, th, th, th, like, th, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, tha, tha, tha, tha, tha, tha, tha, tha, tha, tha, tha, tha, tha, tha, tha, tha, tha, tha.a, tha, tha, tha, tha, tha, th Yeah, I'm not immersing. I'm not surround sounding myself. I'm not doing none of that. But yeah, when they when they wrote in the script that I had to say candy man five times, sorry. I'm like, y'all just gonna have it. Can you all dub over my voice? So, so then the middle ground that we reached was,

I would say the first candy man as I turned to the mirror. So that candy man don't count. I'm you go check the tape. Candyman show up you like no no I have my fingers crossed the whole time. I'm not I'm not doing that, dog. I'm not doing that. That's so funny. Try this again. Candyman.

Oh, there you are. Where's my money, Daniel? I don't get horror movies. I watch them for entertainment. But to me, this is gonna be a bad metaphor, especially for a black ass podcast like this, but I liking it for me, I don't like hot food, I don't like spicy food. I don't like adding spices to my food for no reason.

So scaring myself for no reason. I'm like, why don't I go watch record Ralph? Why am I here take a break right now because I wanna get the panel on to discuss exactly what you're talking about. Because my girlfriend watched Lovecraft Country. I, she watches, this is how we support black shows in our house. She watches it live, we still DVR.

And then I play it back in the DVR rating, so you get the DVR rating rating rating rating rating rating rating rating rating rating rating rating rating rating rating rating rating rating rating rating rating rating rating rating get the DVR rating in addition to the live rating. But I didn't watch it. I'm like racism is scary enough. Y'all didn't edit the monsters on top of their race. Like I would watch all the peaceful parts but when the screen would get dark and a monster, all right, let me go check.

She hit you with the, let me, you don't need to see this. She loved it, but I'll be. the, the, the, the, the, the, the, the, the, the, the, th. the, th. the, th. th. th. th. th. th. that, that, th. that, th. that, that, th. thi, the, you, you, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, th............. th. th. th. th. th. th. th. the, thr. to, to. to. to.. to.. to............................................ I we'll be right back. This is this is a great topic that I'm low-key scared to even go down. Candyman might show up in this damn. I know he just might pop up. I heard y'all say my name five times I heard uh beyond the scenes we'll be right back. Hey everybody John Stewart here. I am here to tell you about my new podcast. The weekly show It's going to be coming out every. We to. to. to. to. to. to to to to to to to to to th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. this. this. this. this. this. the th. this. this. this. this this this. this this this this this this this this the the the the the the the the the the th. I th. I th. I th. I th. I th. I th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. the. the. the. the. the. to to to the. to to tell you about my new podcast, The Weekly Show, it's going to be coming out every Thursday. So exciting. You'll be saying to yourself, TGID. Thank God it's Thursday. We're going to be talking about all the things that hopefully obsess you in the same way that they obsess me. The election. Economics. Earnings calls. What are they talking about on these earnings calls? We're going to be talking about ingredient to bread

ratio on sandwiches. And I know that I listed that fourth, but in importance it's probably second. I know you have a lot of options as far as podcasts go, but how many of them come out on Thursday? I mean, talk about innovative. Listen to the weekly show with John Stewart wherever you get your podcast. Beyond the scenes we are back we are talking black horror. Daily show writer Ashton Womack with me there in the first break, man. You know what else we forgot that was a horror comedy, low-key? It wasn't a black movie, but horror comedy was child's play. Ooh. Like, I don't know if on purpose, but when I go back and watch that first one, that one still makes me laugh and

say this. What about leprecon for? All the leprecons, that's all comedy. I tell you this much, all of these white roles that we recast in black and like, you know, adding all this diversity, I am happy that when they redid Childs play with Brian Tyree Henry. When I first heard he was in it, I, I, I, I, I was like, I was like, I was like, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, tho, tho, tho, tho, tho, the, the, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, thed, thed, thed, thed, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, tho, tho, tho, tho, tho, tho, thoed thoed, thooooooooooooooooooooooooooooooooooooed, thed thed th it, I was like, Lord, they finned to make Chuckie a Black Doll. That would be hilarious. This is not the representation. That would be hilarious. Because I thought he was cast as the voice of Chuck. I'm like, oh no, he's an actual character. Let's bring in three guests for today's episode. First up we have an award-winning author, educator, and executive producer of Shutter's Horror-Nuar, a history of black horror. Tonana Rieve Du. Tonina, how are you doing today? Amazing. It's hard to hear all this

horror slander, but I'm doing great. We are just two men there are just cowards. Okay, that's all we are. We're just cowards. Also joining us, a New York Times best-selling author, screenwriter, an educator, Stephen Barnes, what say you to lepricon in space? Lepricon in space, you know, it may have had its time, but when you were talking about Chuckie, when I remember, I think it was in the second movie where he was going to transplant his soul into a black kid and he said Chuck he's gonna be a bro my ultimate plot to finally say the N-word I'm sorry is that too serious can we not talk about serious police moving over there to find he finally get stopped that's hilarious I'm sorry is that too

serious can we not talk about serious police reform in this program Chuck he finally gets stopped. That's hilarious. I'm sorry, is that too serious? Can we not talk about serious police reform in this program? And joining us lastly, Northwestern's Vice President and Associate Provost for Diversity and Inclusion and the author of Horror Blacks and American Horror Films from the 1890s to the present, Dr. Robin R. Means Coleman, what's say you to Lepricon Part 5? Do we need a remake of Lepricon? We need as many leprocons in our lives as possible. Five, six, seven. You hear that Kevin Hart? There's a role.

Oh. A black Leprecon is the pot of gold at the end of the diversity rainbow. There it is. So since we're talking about black horror then we have to first define it because Ashton and I fumbled all over that in the first segment because we don't know what technically makes a black horror film, you know, what makes that, what are the rules for that subgenre? Tonana Reeve, I'll start with you. Oh, shoot, okay. Yes.

My opinion about it is black horror can be as many kinds of stories as black stories as black creators come up with. Sometimes it's just that there's a black lead. Like you can have a film like the girl with all the gi. th. th. th. th. th. th. th. th. I, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. And, th. th. th. th. th. th. th. th. th. the, the, the, the, the, the, the, the, the, the, what, what, what, what, what, what, what, what, what, what, what, what, what, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, th. And, the th. And, they. And, they. And, they. And, they. And, they, they. And, they. And, they. And, the the the the the the th. And, what, that there's a black lead. Like you can have a film like The Girl with All the Gifts, which is not a black movie. It was written by a white author, but they cast the lead black like George Romero did in Night of the Living Dead and hey, it's not just that the lead is black but it has a sensibility that is sort of interrogating society and shifts in society and rules of society. So it has kind of a black personality, even if it might have a white director. But yeah, black director, black lead, and a black sensibility. Or just filling up an invisible, like addressing invisibility, like we exist.

We don't even have to do anything black. We just exist. Okay. So then for my other two for for my other two here on the panel Define for me when you recognize that this was a genre that you felt drawn to that you got something out of like, you know I know we all have our own favorite film genres. What was it about or what is it about horror? That you go yes, scare me. You're already black. Well first I think let's start with a definition of horror. Horror would be a film who the primary emotion they want you to experience is dread horror. So whatever it is that they're doing, you know, it could be supernatural, it could be science fiction, you know, supernatural,

the exorcist, science fiction, alien. It could be psychological horror, psycho, but they want you to feel that emotion. So what Tenarrierierie you said you said you said you said you said you said you said you have you have you have you have you have you have you have you have you have you have you have you have you have you are you are you are you are the the the ex the ex the ex the ex the ex the ex. the ex. the ex. the ex. the ex. the ex. the ex. the ex. the ex. the ex. The the ex. The the ex. The the ex. The the ex. The the ex. The the ex, the ex, the ex, the ex, the ex, the ex, the ex, the ex, the ex, the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the but they want you to feel that emotion. So what Tononareve said, who is my good lady wife, is that black horror would then be horror films that have a black perspective, it's a diasporic performer or writer or director or in some way connects to that. So being black in America is a matter of constantly knowing that you're under a low level of attack. I mean, the mortality statistics just say that for a fact. So if white people, and people all over the world like dark stories, stories that touch the question of death, black people I think have even more reason to need to balance their emotions. Screaming and laughing, both release tension.

Yeah, well, black people do that both. When they laugh, they scream. That makes sense. That's right. So to be able to keep your, keep your emotions in a healthy range. We watch comedies to release tension, we watch horror or suspense movies or somebody's crawling across, some huge monument being shot at by spies, increases our tension level, drops our tension level. We're trying to survive. We're trying to stay in the Goldilocks zone where it's not too much tension and it's

not too much relaxation because both and it's not too much relaxation because both of them will will take you apart. We're just trying to survive but we have some very special needs in that sense. For me, black horror is fun, it's funny, it's entertaining, but most importantly black horror hails my blackness. It speaks to black life and culture, certainly as Steve said, the socio and political, but it is also about my style of my music and my aesthetic. Black horror is, it is life, it's blackula, it's tales from the hood, it's Candyman 2021, not Bernard Rose's Candyman 1992. Black horror is deaf by Temptation that had James Bond

the third, Samuel L. Jackson, Kadeem Hardison. It is all of the things that says there's an insider conversation that we're having about black people and blackness and black ideologies and it may speak to an external audience, but we're not going to do all the definitional work to bring you in. This is about you, it's for you. Yeah, oh, I love that. I can't remember it was Tony Morrison who was like, I don't have to write my stories for anybody outside of, for anybody.

For anybody, I'm writing to that, writing stories for us to understand, for the person, the people who need to understand, understand and white people or any other audience having to try to, she doesn't have to like write to help explain to the white audience, to other people audience. This is for us. I love that sentiment. Black horror is FOOB. It's for us. It's four that's biased. It's that's biased. that's biased. that's biased. that's fi. that's fi. that's fi. that's that's that's that's that's that's that's that's that's that's that's that's that's that's that's that's that's that's that's to that's to that's that want to lean into tension and lean into scares like y'all are saying, it's like life is hard enough, racism is hard enough. Like I said in the documentary horror noir, black history is black horror and we could just put a period there, but the person who loved horror first in my life was my late mother, Patricia Stevens, she was a civil rights activist who had tear gas thrown in her face at the age of 20, so she th so th so th so th so th. th. th, so th, but th, but th, th, th, th. th. th. So th. So thi thi thi thi thi thi thi thi thi thi thi all thi' thi, like, thi thi' thiol-and, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, thi thi thi thi thi thi. And, thi-a-a'-a'-a'-a'-a'-a'er-a'er-a'er-a'er-a'er-a'er-a'er-a'er-a'er-a'er-a'er-a. And, like, like, like, Patricia Stevens, due. She was a civil rights activist who had tear gas thrown in her face at

the age of 20, so she wore dark glasses the whole rest of her life, even indoors. She loved horror. And I think for her, it was about leaching out the trauma, not bringing it more. She'd already lived the trauma. She knew trauma was real. But monsters, zombies, zombies, zombies, ghosts, which she did not believe in by the way, ghost, imaginary horror was soothing and helped put a face to that monstrosity and once in a while the characters can win, they can beat the monster. Now even if the characters were all white, I remember being on a panel of the science fiction convention once that somebody asked me, why do I like watching Slash and I would say,

because I enjoy watching white people die? Yeah. The whole audience cracked. It was was was was was was was was was was was th. It was th. It was th. It was th. It was th. It's th. It's th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. I was, th. I was, thi. thi-a, thi-n. I th. I th. I th. I th. I'm, th. I'm, th. I'm, th. I'm, th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. th. I. I. I. I. I. I. I. I th. I'm th. I'm th. I'm th. I'm th. I'm th. I'm th. I'm theeea. I'm thea. I'm thea. I'm thea. I'm theea. I'm thea. I'm thea. I the. I would say, because I enjoy watching white people die. And the whole audience cracked up and I said, you know what's really funny, you think I'm kidding. Oh, oh. Ooh. Ooh. If you're going to exclude us from the movies, it's like, I'm sorry. So, but when we started appearing in there more, then it's that, it's feeling seen. It's feeling that, okay, we're part of this continuum too.

You know, do we not feel? Do we not fear? And it's, is it not fun to watch us in those situations? The difference between the original Candyman and the remake is stark? The original candy man was black trauma for white audiences. The reimagined Candyman was from our perspective. It wasn't the white gaze. White people could come and watch it if they appreciated it, but it wasn't for them.

And I think that that shift is important. So Dr. Coleman, I'm curious what was your relationship with horror growing up because what I'm starting to see if Tanana Reeves background and my backgrounds are any proof, a lot of it starts early on in what you tend to gravitate toward. Because I had weird real life what I believe there's a demon is trying to kill me. I don't want to see nothing about no fake demons. What was your relationship growing up? What do you think it was that drew you to this genre?

So I get to claim horror because I am from Pittsburgh, born and raised, and for true horror fans, that's all I have to say. If you need to buy a vowowowowowowowowowowowowow to buy to buy to buy to buy to buy to buy to buy to buy to buy to buy to buy to buy to buy a to buy a to buy a to buy a to buy a to buy a to buy a to buy a to buy a to buy a to to to the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the., the, theat, theateat, treat, trueaugh, truea.e, theat, theat, theat, theat, theat, the, a vow, Pittsburgh is the land of George Romero. It is the land of Night of the Living Dead. It is where Night of the Living Dead was filmed in and around. So horror for me is in my DNA. That's awesome. Yeah. Yeah. Romero used real-life Pittsburghers in Night of the Living Dead. Those were people that we saw, we recognized. They were our neighbors. They were people that we saw, we recognized, they were our neighbors. They were cast as militia, and we knew that that was the black experience in Pittsburgh

to have to do battle with those police. So for me, again, it's in my DNA. So, since you all are historians on this genre, and I'm sure you saw the segment that I did with a terrible mustache glued to my face of the films that we were able to fit into it you know Ashton already talked about that in the first segment that we didn't really we weren't able to get to everything but we did you know mentioned son of and gaggy we did talk about Rachel True's role in the craft what were some of the bigger ones that you all think th th th th th th th th th th th th th th th th th th th th th th th. thi all all all all all all all all all all all all all thi thi thi thi thi thi the the the the the to the to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the to to to to the to were some of the bigger ones that you all think we missed? Blackula.

Yeah, we did a segment on it like during it. We mentioned it slightly because blackula is so interesting. It's so funny. The only issue was it was during the, it was like, we summed it up in a black exploitation era where it was black, black, and Mr. Hatt. Where they would just add black to any horror movie. And that, it, it, it, it, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th. th. th. th. th. th. th. th. th. th. th. th. that, the, th. the, the, the, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, they. they. th. th. th. th. th. th. th. th. th. th. th. the. the. the. the. the. the. the., where they would just add Black to any horror movie, and then that was like, that's a hit. So I wish we would have went in deeper because Blackula's so funny and like,

how it was like received at the time. It's a cult classic now, but at the time people were like, this is some shucking and jive and I'd say, of the dead because Ken Faray was one of the very first black leads in a horror film who got to survive. And a black priest delivered one of the most chilling lines I've ever heard, which is when the dead walked the earth, we must stop the killing or lose the war. And so that made that a black horror movie for me, you know, is the idea of the thematics of it being expressed by a black man and a black man surviving the damn movie. I'm going to put another shout out in for Blackula.

I don't know, I thought it sort of shed the black exploitation era. I mean, this is a movie that's about a delayed move through the middle passage. And here we are, you know, in Watts, in LA, saying there's a connection between slavery and what we're experiencing in America today. Well because of the actor involved, was it William Marshall? Yes, William Marshall. Yes, director by William Crane. He brought fantastic gravitas to that role.

Think about that, that movie with a bad actor in it, and it would have been trash, but he elevated everything. He treated that as if it as if that as if that as if that as if that as if that as if that as if that as if that as if that movie with a bad actor in it and it would have been trash, but he elevated everything. He treated that as if it was Shakespeare. I mean, I just, I love that movie. It was important. That's why I have to forever give a shout out to black creators who get opportunities. Like how did William Crane, like in his 20s, how did he even get that opportunity to direct a movie? But so often when we do th th th th th th th th tho th and when we do when we do th. When we do th. When we do th. When we do the th. their th. th. their th. th. th. th. th. th. th. th. th. to to to to thi. to to to to to to to to to to to to to to th. the, th. th. th. I th. I th. I th. I th. I th. I th. I th. I th. I th. I th. I th. I th. I, th. I, th. I, th. I, tos, tos, tos, tos, tos, tos. I tos. tos. tos. tos. tos. tos. tos. tos. tos. I'm tos. I'm tos. I'm tos. I'm tos. I'm tos. I'm tos. I'm a movie? But so often when we do get those opportunities, we want to do more. I'm sure the producers would have been happy just for him to slap something together. But he brought in, you know, the very beginning in the movie, people who haven't seen it. It's been a minute.

William Marshall's character is arguing with Count Dracula about the, holding court, you know, and it's like, whoa, when is the last time you saw yourself in the 1700s, right? It's just, so, and all the Swahili and the history, some of it a little misguided and try, but, but just really trying to do more. And I also mentioned what was supposed to be a knockoff of Blackula, but which became a great film in its own right, which was, which was, and, and, and, and, and, and, and, to, and, to, th and, th and, th and, th and, the, the, the, the, and, and, and, thi, and, and, and, and, and, and, and, and, and, and, and, and, and, and, the, the, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, the, the, the, the, the, the, the, the, the, the, the, the, the, the, they.., they.. And, they. And, they. And, they. And, they.. And, the. And, the. And, the. And, the. And, so, the. And, so, they. And, and, and, which was Ghan Jens. With Bill Gunn, they were like, hey, why don't you do a black vampire movie like Bacula? And he's like, okay, I will do a movie, but it is not going to be like Bacula. And he did his own meditation on immortality and love and death and history. And I just love seeing artists trying to work within a system that isn't really interested in our stories, but it's just often interested in profiting off of our stories.

Genera films can have an advantage and break through to an audience because genre films have fans that love that genre, just love it, and we'll go see almost anything within it. So a black horror film is not only gonna get black audiences, but it's gonna get genre audiences, people who want good horror. And that that that that that that that that that th, and th, and th, and th, and th, and th, th, th, thus, thus, thi, thi, thus, thus, thi, thus, thus, thus, thus, thi, thi, thi, thi, thi, try, try, try, try, try, try, try, try, try, try, try, try, t, t, t, t, t, t, t, t, t, t, t, t, t, t, t, t, t, t, t, try, try, try, try, try, try, try, try try try try try try try try try try try try try try try try try try People who want good horror. And that actually helps to make the world more porous, where it's possible. It may be difficult to get through that barrier, but it's not impossible.

It's less impossible. So these movies actually made a difference. They got people behind the camera, not just standing as actors. One of the best examples of that is Get Out, you know, which is one of the reasons we're all here right now. When Jordan Peel made Get Out and released it in 2017, you know, as he said in horror noir, he made that film to work for the black audiences. If it doesn't work for the black audiences, it's a fail. But it made $250 million dollars. So clearly, it worked for way more than the black audiences. It gave so much attention to this subgenre of black horror and has created so many opportunities.

Like even our documentary got the green light the day he got his Oscar. Wow, wow. So then because you all are so versed in this genre, I would be honest and saying that because I don't watch enough horror, I miss some of the nuance that you all are talking about. So in the broader sense, where do they get horror wrong?

Like are there racist troops and undertones that the casual viewer might not pick up on. Tonon Ariva, like to start with you. Oh my gosh, there are so many. And of course, I can't wait to hear what to do with us. the their. their. their. And, their, th. And, their, their, th, th, th, their, th, th, their, their, th. And, th. And, to, to, to, to, to, to, to, to, to be, thi, to, to, to, to, to, to, tho, tho, tho, th. So, th. So, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, tho, tho, tho, th. And, th. And, their, their, their, their, their, their, their, their, their, tho, too, too, too. And, toooooooooooooooooooooooooooooooooooo. So, too. So, tho, to't wait to hear what Robin has to say. There are so many troops. Like they never know what to do with us, but then when they do put us in the movie, it's not usually a compliment, right? If they write a black character, it's meant to be someone who is a sacrifice. The sacrificial Negro is what we call that tro. The magical Negro. Oh, seriously. in Alien 3, go ahead Ripley, I'll fight the alien.

There you go. Exactly. Oh my God, I haven't blocked that out. I can't wait to get it after all. I got one for you. I love Charles Studdin. I have to block that out. The spiritual guide is another one.

And yeah, there was also this idea that black characters were the first to die, which isn't always true, obviously, but it happens so much that that became a trope to. I think mine are, you hit the sacrificial Negro, the black authority figure, tun in your badge, you know, that kind of thing. Oh my God, where does that come from? Always, always obese, never a sexual threat. That's right. Wow. The scared Negro, the bug-eyed Mantan, Morland, and Spider-Baby. The voodoo boogie person practitioner, the

sassy sidekick. Oh my gosh, there are so many- Yeah, child's play had the voodoo man. Yeah, lurping in the rainbow. Mmm. Love West Craven, but that one he didn't get right. Look, the first time I noticed that trope, I mean, when I used to go see these movies and the kids, you know, when I was a little kid, and the kids in my neighborhood would ask me after I came back, how did they kill the brother this time? So I knew that this was going on going going going going going going going going going going going going going going going going going going going going going going going going tho tho tho tho tho th th th th thi thi thi thi th thi thi thi thi thi the the the the the the that thi. the the the that that that that that that that that that that that that that that th. the the the the the. the the the th. th. th. th. th. th. th. th. the the the the the the the the the the the the the. the. the. the. the. the. the. the. the. the. the. the thean. the. the the the thean. thean. the. th movie called Damnation Alley. I ditched high school and went to go see with my buddy Dan Penal and we're watching Damnation Alleynay, where George Prepard and Jan Michael Vincent and Paul Winfield are traveling across a

nuclear wasteland in an atomic Winnebago and they go to like the ruins of Las Vegas and out of the ruins of Las Vegas comes the last woman in the world and she's white. And I turned to my friend Dan, I said they're going to kill Paul Winfield. And so he said, why would you say that? You know, well, he said, you're so cynical. I said, wait, five minutes later he got eaten by giant cockroaches. Giant cockroaches. After the movie, Dan asked me, how did you know? I said, it was simple.

She was the last woman in the world. They weren't going to pretend he wasn't interested, and they weren't going to let him compete for her. The only option they had was to kill him, and that's what they did. And I understood right then that look for disproportionate death connected to, you know, reproductive competition. Black men cannot be cock blockers. Well, the white man must have access to a potential reproductive partner. And once I saw that, it was easy to see everywhere. And I actually compiled a list of 200 movies in which all the black men died.

All of them. Anybody with at least one line of all the black men. You cannot name a movie of an American film in which all the white people in which all the white people. In which all, you, to, to, to, to, to, to, to, to, to, to, the white, to, to, to, to, the white, to, to, the white, the white, to, the white, to, to, to, the white, the white, to, the white, the white, the white, the white, the white, the white, the white, the white, the, the, the, the, the, the, the, the, the, the, the, the, the white, the white, the white, the white, the white, the white, the white, the white man, the white man, the white man, the white man, the white man, the white man, the white man, the white, the white man, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the white, the, the black men died. All of them. Anybody with at least one line of all the black men. You cannot name a movie of an American film in which all the white people die if anybody else survives. There actually is one. I finally found one movie in which all the white people died and somebody black survived. But 200 times. It's like, what do you do with that emotional sense? They like watching us die. It's a very uncomfortable

feeling to be sitting in an audience watching people, you know, having fun with Paul Winfield dying in Rath of Khan, Pineville died and serpent in the rainbow, Paul Winfield dying in Terminator. Generally, generally to protect. Just just one actor has died over. He's done the spiritual guy, he's done the sacrificial Negro. He's done it all. He made a whole career ride. That's, you know, that's the roles that were available. He should do L.O.

Coo Jays contract and try to live. Right. And it don't make sense. It doesn't make sense that like black people are always the first to die because I know black people in real life and we're the first to run. Exactly. Whatever something about to happen, white people walking towards the danger, we're like, it's got to go. That's the crazy part. Like.

It's their fantasy. It's a fantasy of the person creating the movie. You know, they don't, you know, on some deep emotional level, that's that's tribal competition. And it's, you know, this is why we have to get control of the means of production in that sense. Oh, so then to that point right there, Stephen. So then to that point, as we look at the evolution, and you all have been very complimentary of Jordan Peel and everything that Monkey Paw has been doing, you know, as of late. Lovecraft Country. There were two things that I found interesting about Lovecraft Country. One, it dealt with something that was extremely complex, which was racism. And they even put it a little bit more front and center than get out did by making the show itself a period piece. But could you also talk a little bit about, and I guess I'll start with the ladies. Talk to me a little bit about the evolution of the role of women in horror right

now because it seems to be that there are more women being, you know, kind of pushed to the forefront as leads, especially when you talk about, you know, the updated Candyman that they just did as well. Right. So Nia de Costa did such a fantastic job with the updated Candyman that they just did as well. Right, so Nia DeCosta did such a fantastic job with the new Candyman and brought such a great sensibility to that story. And Misha Green, Monkey Pa brought on to be the showrunner for Lovecraft Country. So I think Monkey Pa is doing a lot

to elevate women, directors, women, showrunners. There are a lot of independent black filmmakers who's starting to get a glow-up now. Nikiatu-Jusu-su is an independent filmmaker. She did a vampire piece called Suicide by Sunlight where black people were protected by Melanin. And she's doing a feature film now called The Nanny, which I can't wait to see. I watch anything she does. So this is a, you know, and I'm not a director but I'm so excited to have my first horror adaptation with Steve. We co-wrote a couple of episodes of the horror anthology film that's on Shutter, and it's going to be a series in February. I don't know if you

heard that Robin. It's going to drop on AMC. It's a series. Oh, love it. So with two episodes, two segments per episode. And it really th th th th th th th th th th th th th th th th th th th th th th th. It really th. It really th. It really th. It really thi thi thi thi thi thi thi to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to th. to th. th. th. th. th. th. th. th. th. th. th. the the, the, the, the the, the the the the the the the the the theoooooooooooooooooooooooo. tho. the with two episodes, two segments per episode. And it really is a beautiful time for black women. And I think not just black creators, you have to understand that Jordan Peele and Monkey Pah have opened doors for all marginalized creators and horror, especially, to get that meaning, to catch that executive's ear. I think for me, what's interesting about talking about women in this context, when we're talking about a horror renaissance, it is being led by women.

It's being led by folks like Tanana Rieve do. Horror isn't always just about, you know, these sociopolitical issues. Horror is also, it's not always about black trauma. Horror is entertaining in Tanana Rieve with, with, with, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, w, wi, th, th, th, th, in th, in th, in th, in th, th, in thi, in thi, in th, in th, in th, in th, in th, in th, in th, in th, in th, in th, in th, in th, in th, in th, in th, in th, in th, in women, in women, in women, in women, in women, in women, in women, in women, th, th, th, th, th, th, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thiaugh, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, these sociopolitical issues. Horror is also, it's not always about black trauma. Horror is entertaining and Tanana Reeve with contributions like the Lake, where or J.D. Dillard with sweetheart, where as creators or as women on the screen, they are just leading the charge about the complex, innovative,

entertaining, funny stories that women can tell. And it's not always trauma porn, but it is about our life. It's about our culture. And that's really amazing. And I would say as a horror film historian, then they're standing on the shoulders of folks like Casey Lemons and Eve's Bayou, which is so important to the sort of center and remind folks that that's out there. And so I think women are the horror renaissance.

So after the break, I wanna talk a little bit more about the future of horror and where you think it's going, and what can people do to make sure that the studios are getting it right? And when I say people, I'm talking talk talk talk talk talk talk talk talk talk talk talk talk talk talk talk talking talking to to to to to to to the to to the to to to the to to to to to to to talk to talk to say to say to say to say to say to to to center to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to to be to be to be to be to be to be their their their their their the the the the the the the the the the the the the the the the the the the the the the the the the the the the.s. the toooomea. tooome. tooome. tooome. too sure that the studios are getting it right? And when I say people, I'm talking about people like myself, people that are on the inside, on the production side of things. And then I'm going to give you all time to think about this. So I'm going to ask it now.

And after the break, we're going to discuss this as a group, after we get done with the actual meat and potatoes............. And to to to to to to to to to to to to to to to be. to be. to be. to be. to be. to be. to be. the to be. to be. to be. to be. the the to be. the the the to be, to be, to be, to be, to be, to be, the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the the th. th. the. the. the the. the. theateateateateateateateau. And, theatea.ea. And, toea.ea. And, toea. And, toeananananetee. And, the the with the actual meat and potatoes of this, I want everyone to think what to you was the funniest black death on camera in any horror movie? Like they died and for whatever reason you laughed instead of being scared. I have two. I'm gonna give you time to think about it but just just just stew on that for a second. We'll be right back time to think about it, but just just do on that for a second. We'll be right back. This is beyond the scenes. Hey everybody, John Stewart here. I am here to tell you about my new podcast, the weekly show coming out every Thursday. We're gonna be talking about the election, earnings calls. What are they talking about on these earnings calls? We're going to be talking about ingredient to bread ratio on sandwiches.

I know you have a lot of options as far as podcasts go, but how many of them come out on Thursday? Listen to the weekly show withthe growth of it and how Ashton and I are both scaredy cats who wouldn't dare go, like I don't even fool with haunted houses no more. Right. Like just the, even when they sign the waiver, you know, you go to some of them haunted houses now and they be like, hey, uh, just so you know, they can't touch you and which ruins the whole, like I'm supposed the, you, you, you, you, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, th. And, th. And, thi, thi, the, the, th..... And, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th, th... And, th. And, th. And, thi, thi, thi, thi, thi, thi, thin, thi, thi, thi, and, thi, thi, and, thi, thi, thi, thi, thi, and, thi, th like, hey, just so you know, they can't tou tou and it, which ruins the whole, like I'm supposed to be feared that I might get murdered, I'm still scared. After they announce the rules of the haunted house, I'd like to talk with the panel now about

the future of black horror. You know, Stephen, the ladies already already discussed in the previous segment, just about how there are a lot more women leading the charge. And Jordan P.O. has left the door, not only did he leave the door open. He cracked open three, four more doors, dropped a ladder down from that door, posted directions to how to get to the doors. But even with that, Stephen, do you think that there's still a struggle in getting more black actors and actresses and more representation in front and behind the camera in the world?

It's representation behind the camera that matters. If you don't have the directors, the producers, the executive producers, the people who are in the pipeline to the money, then those are the people whose dreams say, oh, this script and not that one, this actor and not that one, this scene, but not that one. It has to be the people behind the screens, behind the scenes. And that's what made the difference after the black exploitation error in the early 70s. It went boom and bust within only about four years. But a lot of people got jobs and they burrowed their way into the industry. And that's what you have to do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do the the the the the the the the the the their, people. People. People. People. People. People, people. People, people. People, people, people, people, people, people, people, people, people, people, people. People, people. People, people. People, people. People, people. People, people. People, people. People. People. People. People. People. People. People. People. People. People. People. People. People. People. People. People. People. People. People the the the the the the their, people their, people their, their, their their their their their their, their, their, their, their, their, their, like, like, like, like, like, like, like, like, their, like, their, their, their, their, their, el have set the tone. He has shown that because he is a world-class funny man, he knew the moment at which to release the tension. He knew what the audience, when the audience needed to be relieved.

He was dealing with social dynamite in that movie, the question of do we, do we, how do you know who your ally is? Even the best people with the best intentions, you know, are saying hideous things and behind those, not everyone who smiles at you is your friend. So I think it, it, it allowed us to tap into very real social tensions that have existed for centuries and drop that tension enough that you could have water cooler conversations with your white employees, your white friends about issues that are critical for us moving

forward. So what I think is important is to study the successes. The beautiful thing is if people like Jordan Peel can make money, then three or four people can make bombs and it's okay and the Hollywood can't just completely forget about it. You need, you know, most sperm don't get, thi thi thi thi thi thi thi thi thi thi thi thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, thi, about thi, about thi, about th, about th, about th, about th, about th, about th, about th, th, th, th, th, th, th, th, th, th, th, th, th, th, the, they they they they, they, thi, they, thi, thi, thi, thi, that that that that the, that, that, that, that, that, that, theeean, thean, need, you know, most sperm don't get to the egg, you know what I'm saying? That mutation, that change is brutal and violent. What we're trying to do right now, we need to be able to have at least nine filmmakers fail for every person who succeeds because that's what it is that happens. That's what happens. Most people don't make it. So what I think people need to do is study the successes. If this is your heart,

if this is what you really want to do, then make, you know, the way to get to make a five million dollar movie, which is what Jordan Peel did, is you first make a 500 dollar movie. In other words, you use your iPhone, you write a one-act play. You get some actors from the local drama department and you put it on yourself and you put it up on YouTube. Then you raise the money to make a slightly more expensive one. It's critical that we have everybody who watches these things and loves them, starts doing it if that's what they want to do. Some of those people will be the geniuses that we need to carry this forward. Some of there, there are people out there who who, who, who, who, who, who, who, who, who, who, who, their, their, their, their, their, their, their, their, their, and thi. thi, and thi, and thi, and thi, and thi, and thi, and thi, thi, and thi, and thi, and thi, and thi, and thi, thi, thi, thi, thi, thi, thi, thi, thi, their, their, their, their, their, their, their, their, their, their, their, their, their, their, their, thi. thi. thi, thi. thi. thi. thi. thi. thi. to, to, tooi. tooi. tooi. tooi. tooi. tooi. thi. thi. thi. thi. thi, thi. th we need to carry this forward. Some of their, there are people out there who are so talented, so smart, and they need to understand that the technology has gotten to the point where you can make a cheap movie and it looks great. So it's right down to did you care?

Did you write a script told the truth? Did you actually scare yourself? You know, and out of all those people who tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, thi, thi, tho, tho, tho, tho, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, their, their, their, their, their, to, togu, togu, togu.. too, too, the, the, thea, thea, tha, tho, tho, their, the people who try that, a few of them will succeed, and those are the ones that we need. I definitely have a question about the future of black horror movies, especially talking about your point to Jordan Peterson, Jordan Peel, not the same guy. Men's rights advocate, that's a black man's advocate. Yeah, Jordan Peterson's movie would have been a different perspective. A slightly different, yeah. But your point about Jordan Peel's social commentary on, the big question was asked about allyship.

And so my question is, how, when will it, when will it be in our future where our black horror movie, movies aren't centered around racism as if race. It's already happened. Us was not about racism. As if race- It's already happened. Us was not about racism, it was my class. And then I'm really glad you asked that, Ashton, because I was going to talk about how we're kind of at a crossroads now with black horror. Like just the-

Baba Duke scares me. The Baba, I don't know what that ain't racist. Right? No, that's one of the things I, Mama Duke. That's the thing I love about, I know I'm involved with it, but I love about the horror noir anthology is that it's six different stories and like Robin said, it's not all about racism as the monster. I mean, yes, those are valid stories and those are important stories. But sometimes we're just existing, sometimes it's funny aspects of our culture. We have to have the room to be all different shades of human

within black horror and the crosswords we're at now, because Steve was talking about there have to be projects that fail. Well, there isn't a whole lot of leeway for Hollywood executives when it comes to failure. That's why so many of the movies we look back on now from the 90s, it's called Classics, Tales from the Hood, Eves Bayou, they didn't get second chances. Those directors, we didn't get Tales from Hood too until after Get Out. And right now you hear this cry, like executives will say, oh, well, black audiences aren't interested in trauma porn.

And this is something I find to be like a very troubling sort of development because yeah there've been a few movies that have leaned into racism as the monster and some do it well and some don't Roy I'm a huge fan of your comedy so I think of the black history museum routine like as a black artist when you get that opportunity right you're like what you did to us right that doesn't work in a horror right that doesn't work in a horror movie. Some films yell, shouting in your face, the lynching isn't the horror. That's intergenerational memory. That's triggering us. We need like what Nia DeCasa did, what candy meant, make it fantasy horror, like the body transformation. That didn't happen to my great uncle. He didn't turn into a a creature, you know, so you have to have a little bit of a distance. So I like to say artists have to be aware that lynching is not horror,

okay, and audiences have to be aware, give us some space and time to form this subgenre and to allow the artist to rise because this is a system that, you know, there's been some more openness since Get Out and after George Floyd, unfortunately, but those doors in some way systemically can't wait to shut. Can't wait to shut. I know, oh yeah, no, totally understand that. And so it's because I'm, I love that you said they give a space and time to grow and figure out the genre because I'm totally, I'm not against us to seeing like racism in a metaphorical sense of how it's affected my life in a horror movie. I get out obviously was proof of that for me. But I like other things do scare me. Like if student loans scare me, make a horror movie about that.

Exactly. Sally Mae slowly chasing me like Jason. Art, you can say that art is about two things, who am I and what is true? And I think white racist would be very happy if they thoughts.......... And thi. And I think, and I think, and I think, and I think, and I think, and I thi, and I thi, and I thi, and I thi, and I thi, and I thi, and I thi, and I thi, and I'm, and I thi, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, like, thi. And I thi. And I'm like, th. And I think white racist would be very happy if they thought that we were constantly thinking about them and what they did to us. No, there is life. There is love. There is growing old. There is, you know, my child is sick. There is this, there is that. There is just the humanity that we are, and it is not defined by our past, although it is influenced by it. So I look forward to one to one one one one one one one one one one one one one one. the the the the reason. the reason. the reason. the reason. the reason. the reason. the reason. the reason. the reason. the reason. the reason. the reason. the reason. the reason. the reason, the reason, the the the th. th. thi. thi. thi. thi. th. th. th. th. th. th. their, th. th. th. th. th. the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, th. the, th. th. th. th. th. th. th. the, th. th. th. th. their, their, their, their, their, their, their, their, their, their, their, their, their is, their is, their is, their is forward to one of the reasons why I felt like I could struggle in the industry and I'd write stuff and they'd change the race of characters that I wrote and stuff like that. And it was like, okay, it's just my turn in the barrel. And if to see a generation coming after me

that doesn't have my wounds, that doesn't have my reflexive flinch at certain things, that's great. That's great. That's what I wanted. I want them to stand on my shoulder. I want them to see further than I could see and I'm so proud of them. Go out there and talk about love and life and death and horror without suggesting that white people define our existence. That's simply not true. It's never been true. In getting the Academy Award, what Jordan Peel did with Get Out is make us think that all horror needs to be art horror or elevated horror and that's why we're certainly talking about black horror as renaissance, that it's crossed over and it's become mainstream and it's always, it always has to be this really smart horror.

The 90s, we talked about leprecon, leprecon in the hood. The 90s are my favorite decade for black horror because it's none of that. I don't know what the 90s is about except that we added Z to all kinds of stuff. Bloods versus wolves, vampiompias. I mean, it was just zes exploding. And it was funny, and it was fun. And it was, you know, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, I, you, I, you, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, vampires. I mean, it was just Z's exploding. And it was funny. And it was fun.

And it was, you know, I mean, Bloods versus Wolves has got to be one of the funniest, unknown, undercover horror movies. Like it's Blood versus Crips, but it's like vampires versus were wolves. I mean, black horror genre has been around for a minute. And I appreciate the attention that Get Out is bringing to it, and it, and it, and it, and it, and it, and it, and it, and it, and it, and it, and it, and it, and it, and it, and it, and it, and it, I mean, the black horror genre has been around for a minute and I appreciate the attention that Get Out is bringing to it because it moves people to revisit. These actually really fun and funny. The hip-hop witch, come on. I mean, these are, these are funny.

What? That's hilarious. So, Dr. Coleman, what would you like to see? Is there anything new? Let's talk about beyond the horizon. Is there anything new? Is the the their their their th th th th th th th th th their th th th th thi their thi their their thi their their their their their their their their attention their attention the attention the attention thi ge. the attention ge ge thi thi their attention. their attention. their attention. their attention their attention the attention the attention the attention the attention the attention the attention the attention the attention the attention the attention the attention the attention the attention the attention their attention their attention their attention their attention their attention their th. th. th. th. th. th. th. th. thi. thi. Coleman, what would you like to see? Is there anything new? Let's talk about beyond the horizon. Is there anything new you would like to see? And we're talking about stepping away from racism or not letting racism be the spine of the story? What do you think is missing? Not in the critical way, but where do you hope that it goes now? I think we're there. And actually, and actually, and actually, and actually, and actually, and actually, and actually, and actually, the the the the the the the the the the tha, I tha, I tha, I tha, I tho, I tho, I tho, I tho, I tho, I tho, I tho, thi, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, tho, to, to, to, to, to, to, to, to, to, to, to to to to to to tho, tho, tho, tho, tho, tho, tho, tho, tho, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, tooooooooooooooomoomoomorrow, too, tothat it goes now? I think we're there and actually I think the two people on this call, Tenanarif Doe and Stephen Barnes, are leading that charge and you see that with

what they've done with horror and noir the anthology. But I, you know, I hope that they spend two seconds talking about what they did with the lake, which is sort of, it isn't that 90s kind of kitchy whore, but it reminds us that there are so many stories and so much depth within black horror that doesn't always have to be about struggle. Is this the late Lanier project to Ninoa Reeve? No, no. I had a short story called The Lake, I published several years ago and Steve and I co-wrote an adaptation of that story for Hoar and noir, and not totoo spoilery it's about the monster within you know it's about a lake that if you swim in it brings out your inner monstrosity and makes it outward and you know I'm one of those I guess I'm scared of the woods so anything with the title Lake wood's cabin lodge I will watch that movie and so I'm so excited that I had an adaptation of a story called The Lake.

So Notariev and I, there are things that we want to do. We've done some of those things in our writing, but I think that the challenge that we see right now is moving into doing more visual images. So we're looking for the stories that we can do a radio play, that's proof of concept. Right.

And if we do it right, we're working on our skills, we're gathering teams, we're showing people, and the intention is to be able to design a movie that can be done for funds that we can raise ourselves. Say quarter million dollars, $100,000. That's right, it's possible to do this and so we want to learn how to do this and our pod the podcast that we're starting is going to be walking people through the process of writing, getting your writing published, moving into

the visual genre, working in that and how to stay sane in the midst of all of that. Every one of us who succeeds at this needs to leave a a a a a to to to the to to to the to to to the to the to to to the to to to the to to to the t to the t to to to to to to to to to to to to to to to to to to to to to to to to to toe. toa toa. toa. toe. toe. toe. toe. toe. toe. toe. toe. toe. toe. toe. toe. toe. toe. to to to to to to to to to to to to to to to to to to to the. the. to the. the. the. the. theck. toeck. toeck. toeck. toeck.o.o. toeck. toeck.o. podcast. toeck. podcast. toeck. podcast. podcast. to of us who succeeds at this needs to leave a trail of breadcrumbs. Everybody needs to leave a trail of breadcrumbs so that the next generation coming up, black people, their allies, just people in general. This is the world that we're moving into, where we're not taking the poisons of the 20th century with us. It's like we the the th th th th th th th. It's not th. It's not th. th. th. th. It's not. th. th. th. th. th. th. th. th. th. th. thi. thi. thi. thi. thi. thi. thi. thi. thi. tooom-i. to to to to to to to to to to to to thoes. We're thi. We're not. We're not. We're not. We're not. We're not. It's. It's. It's. It's. It's. It's. It's. It's. It's. It's. It's. It's. It's. It's. It's. It's. It's. It's. It's t t tha. It's t t tha. It's tha. tha. thau. thau. thauu. today. tote. tote. tote. today. tote. thae. long as we acknowledge that it happened and that it was real and it did real damage. I don't mind going through rehab if you don't pretend you weren't driving the bus that hit me.

You know, it's like don't pretend, yes, I've got to do the work. Black people have got to do their own more about this podcast, because it seemed like this podcast, y'all trying to still get everything you want through the door, but you're trying to open the door for other people. Hell yes, that's what you have to do. I'm who I am because of my, because of people black and white and otherwise who helped me. So the only way I can pay those people back thap tham tham tham tham tho tho tho tho tho tho thus thus thus thus thus thus thus thus thus thus that that. that. that. that. thoes thoes thoes. thi. that. thoes. tho tho tho to tho tho tho their their their their their their their their their their their their their their their their their their their their their their their their their their their their thi. thi. thi. thi. thi. thi. thi. thr. thr. the. to to to to to to toooooooooooooooooooooooooooooooooo. to to the. the. is by doing all I can to give away that knowledge. I got everything I wanted out of life. I want, I want to see young creators coming up and we're going to be telling that truth. We're going to be spitting fire every Sunday at LifeWriding Podcast. to we're talking about a six-step process to take someone from not having any publications

to getting published. You know, it's never failed. And learning had a maneuver in Hollywood. I mean, I like to say, as soon as I learn it, I'm trying to tweet it out. I'm trying to pass it on because I've learned so much from other people through social media and we can't all meet in person. So a podcast will say, I said this. This is what happened. This is the time the pitching went well. This is what is real. You know, this is, and all we can do is tell the truth. And the truth from my position is I believe that people can have artistic careers. If you're willing to commit, the path has been laid if you're willing to actually commit. If you're willing to actually say I will give my heart in a a a the the the the the the the to. I. I the to. I the the to to be a the the the the to, I the the the the the the their. I the the the the their. I their their their their their the the their their their their their thi. thi. thioliolioliolioliol. thiol- their. their. their. the the the the the the the the the the the the the the the the the the the the the the the toe. toe. the the the the the the the the the the the the teckeckeckeckeckefficient. tefficient. teau. teau. te. te. te. te. tea. tea. tea. tea. tea. te willing to actually say, I will give my heart and my life and my energy to this, I want to be a comedian, I want to be an actor, I want to be a writer, I want to be a director.

Those of us who have made it, if we can leave a path, that trail of breadcrumbs, we can change the world. This is the time and the technology is their is scrambling. They're panicked because there are so many venues. There's probably a hundred times more channels than there were when I was a kid. There, you know, it's a, it's a sellers market. If you can understand how to organize yourself to get into position.

That's a thing. Getting into position is difficult. So Tanonariev is opening doors for people every day. I try to open all the doors for people I can't every day, you know, for black people and their allies and anyone who's willing to commit to the unity of humanity. Just I love you, you're my family. Nice.

So as we end this podcast, and we've been very respectful of the people that have contributed and the people who have done so many thankless things, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I th. th, I, I th, I th, I th, I th, I th, I th, I th... th. th. thi, I thi, I thi, I thi, I thi, I thi, I thi, I thi, I to to to to to to to, to to to today, to to to to today, to to today, thi, thi, thi, I that have contributed and the people who have done so many thankless things. I just want to end the podcast with us choosing which black person died the most hilariously, and it's no hard feelings because we've exalted you and everything that you've done up into this point in the podcast, so now we can have a laugh. Funniest Black Death on camera. One of them point in the podcast so now we can have a laugh. Funniest black death on camera.

One of them was in Freddie versus Jason, where this black girl basically tells Freddie to kill her so that her white friend could get away. It was so blatant that I sat down with my job. Yes, it was. No. Yes, it was. And he just, how sweet.

daq beat. You know what? That's good. He said that for real? He said the dark meat? You know what he said? You know what? Mmm, chocolate.

No, get out of here. What the? What? If it was a guy, it was chocolate with nuts, but that's a white riders were just shooting back then. Just say it. Just say it. Write, write, write, write, right, right, right, they, they, they, they, they, they, they, they, they, shooting back then. They're like, just say it, just say it, write it down. They gotta say it, what?

How sweet. Dark meat. Dr. Coleman, funniest black. Well, you talked about Omar Epps. There's one that's just slightly sooner into the movie and that's, um, black tribesmen number one in Monster from Green Hell. Oh, not to kill. No, that was the big insects, right? Two seconds and they're sort of inflatable and they squish him.

That's hilarious. It's insane. Yeah, I was so good. You're so good at this. To non a laugh. But it's just like, really? If it makes you laugh or if it's ridiculous, it would have to be, and all due respect, I love this actress, but Alfred Woodard and Annabow sacrifices herself for no reason, jumping out

out of a window. I mean, I was like, what? I mean, it's all time insulting. Yes, that would time insulting would be John Coffey in the Green Mile. Here, oh yeah. Not Dick Holleran in the Shining? That's bad. Well, Dick Holler in the Shining travel all that distance and get act in the chest. Which did not happen in the book by the way.

That's right. But like in the green mile, this guy, Tom Hanks knew he was innocent. Knew it. Touch his hand, saw the vision, you know, and they had smuggled this guy out to heal this white woman and to give this guy Viagra basically. And they had 20 minutes of stupid mouse tricks, but they did not have time for Tom Hanksksto pick up the damn phone and call the governor and say this man's innocent. Oh, he could have healed himself. So Dick couldn't, they couldn't shine and save Dick and say you're going to get an axe

to the chest. And he's healing everybody, but he couldn't save himself. Oh, come on. Those are the two most insulting deaths. Those are what we call the industry plot holes. Yeah, I mean, the thing is that Stephen King is a good guy and he walks a very interesting line. He could do the book The Green Mile and not offend me. The movie offended me horribly.

And in the shining, Dick Holler might have been a spiritual guy, but he wasn't sacrificial. And he wasn't the only one with powers either, so that was... That's right. Yeah. So it's okay. He has a deep well of real art artistry. King does, which allows him, just, even though he obviously didn't know many black people growing up, you know, in Maine, he treats us with a certain amount of dignity and respect. But these people making movies based on his stuff miss that completely.

Sometimes, yeah. Yeah, it's just a horrible. Jason takes Manhattan is. Oh, yeah, I remember that. And the boxing gentleman on the roof. And Jason just lets this dude beat his face in. The man is punching Jason in the face and is like gases himself, fists are bloody from just, and Jason's taking every blow.

And then the boxer just puts his hands down, black boxer, he just goes, all right, give me your best shot. And Jason uppercuts him and his head flies off mortal combat style, lands in a dumpster in the back of an alley, and then the lid falls on the dump. Flawness victory. What? I laugh for 20 minutes straight.

Oh, I was in the theater. Howling. What kind of looting toon shit is that? Howling. Ashton, we'll finish strong with you. Funniest black horror movie. Oh, bro, I haven't watched the horror movie since Nightmare Before Christmas. Uh, the last, I don't have, I can't think of a death, but I will say you guys have inspired me to write my own horror movie,

where L.L. Kuhjjjah dies multiple times. So, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, th, th, th, th, th, th, th. th. th. th. th. th. th. th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Yeah, th. Yeah, th. Yeah, th. Yeah, th. Oh, th. Oh, th. Oh, th. Oh, I, I, th. Oh, I, I, I, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Oh, th. Yeah. Yeah, I's. Yeah, I've. Yeah, I've. Yeah, I've. Yeah, I've. Yeah, I've. Yeah, I've. Yeah, I th. Yeah. Yeah, I you for the inspiration. You can have Morgan Freeman get a kiss in that same move. I'd appreciate it because he has not had a single kiss in his entire screen career. Yo, what? I've got a good name. I guess you would. L. L.L. Kuljjay is Mama Duke.

I like it. Let's write this script. Morgan Freeman's happening here? Morgan Freeman never kissing anybody. That might be the next CP time we do. I'd like to end also by a quick shout out to Samuel Jackson's death scene and deep blue sea. Absolutely. I know it's not necessarily black horror. But that's a pivotal, that's a pivotal scene. It was a wonderful death. We thought he was a lead Yeah, and then he got his ass chompped up and it was so out of the blue you were talking about a jump scare That was that was so random in the middle of a pep talk. That's right in the middle of a pep talk and they just chomped in and they just chopped into the the the tap the the the the the the the toc the the the the the toc I I I the tap I the the tap I tap tap tap their tap tap tap tap their tap. their their their their to to their their. their their to to to to to to to their. their. their. their. their. their. their. their. their. their. their. their. their. their. their. their. their. their. their. their. their. the the the the the the the top. top. top. top. top. top. tape. tape. tape. tope. tape. tape. top. tape. th. th. th. th. th. th. th. the. It was th. It was that and then they cut to Michael Rappaport just horrified

Hugging a pipe They built it all up Sam Jackson was all Because they've been bickering or whatever right you think water is bad wait until you've seen snow Yeah nature can be equal But it does hold a candle the man Now you've seen how bad things can get and how quickly? It's a heck yeah, but it doesn't hold a candle to man. Now you've seen how bad things can get and how quickly they can get that way, where they

can get a whole lot worse. So we're not gonna fight anymore. We're gonna pull together and find a way to get out of here. First, we're going to seal my house. That one wins. That one wins. That one wins. I was so horrified. I cannot thank you all enough for coming on the show. Like this has been downright a joy to Nana

Reef to Stephen Barnes, Dr. Robin Armeets, Coleman and Ashton. Thank you all so much for going beyond the scenes. I gotta pitch all some movies. Yeah. Yeah. Yeah. Listen to the Daily Show beyond the scenes on Apple Podcasts, the I-Heart Radio App or wherever you get your podcast. Explore more shows from the Daily Show podcast universe by searching the Daily Show, wherever you get your podcasts. Watch the Daily Show weeknights at 11. Watch the Daily Show weeknights at 11 10 Central on Comedy Central and stream full episodes anytime

on Fairmount Plus. This has been a comedy central podcast. Survivor 47 is here which means we're bringing you a brand new season of the only official Survivor podcast on fire and this season we are joined by fan favorite and survivor 46 runner-up Charlie Davis to bring you even further inside the action Charlie I'm excited to do this together thanks Jeff so excited to be here and I can't wait to bring you inside the mind of a survivor player for season 47th. Listen to on fire the official survivor podcast starting September 18th wherever you get your podcast.