The Rewatchables - ‘Boyz n the Hood’ With Bill Simmons, Sean Fennessey, Van Lathan, and Logan Murdock

Episode Date: June 29, 2021

The Ringer’s Bill Simmons, Sean Fennessey, Van Lathan, and Logan Murdock revisit the 1991 classic ‘Boyz n the Hood’ starring Laurence Fishburne, Cuba Gooding Jr., and Ice Cube. Directed by John Singleton. Hosts: Bill Simmons, Sean Fennessey, Van Lathan, and Logan Murdock Producer: Craig Horlbeck Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Save at Whole Foods Market. We're also brought to you by the ringer.com as well as the ringer podcast network. You can hear Logan Murdoch on the Ringer NBA show. You can hear Van Lathen on Higher Learning and the Ringerverse. And you can hear Sean Fennessey on The Big Picture. Today you'll hear them with me. We're going to tackle one of the best movies the last 30 years. Boys in the Hood.

That's next. Five minutes away from your nice, safe neighborhood. There's a war going on. The news isn't covering it. Either they don't know, don't show, I don't care about what's going on in the hood. Boys in the Hood. It's the kind of news

that usually gets buried, rated R. All right, Van Schen and Logan are here. Boys in the Hood. 30th anniversary. Crazy. Can't believe it. Yet another event

that makes me just feel old. Van, why does this movie mean so much, Steve? It means a lot because it was eye-opening for me. I actually saw this movie in California. Even though I grew up in Louisiana, we saw this.

We moved out here for a couple of years, right? I think it was like 89 to like literally the riots happened. My dad was like, we're out. But I remember going to the theater to see the movie and having it wash over people just how accurate of depiction of life in South Los Angeles was at that time, you know?

And just the cultural phenomenon that it was to where we talk about like monoculture and how things have changed now and they'll become things the same way they used to. This was everywhere. This was like you had to see it. You had to be there. Think about it. As a family, we're talking about mother, father, two kids.

We went to the movies to see this. It's not exactly a fuzzy family film, but like my dad wanted us to check it out. He wanted us to know it was almost like John Singleton wrote the book on South Central Los Angeles dysfunction with this. or grow part of it, a big chapter. A movie existed when you were alive, Logan. This is like the second movie we've done where I wasn't alive when it came out. Yeah, I know.

I know. I appreciate you guys bringing me on despite that. It was basically an excuse to get you to like. We're actually doing this in person right now. Yeah, this is cool. I mean, similar to a van, but a different experience, right? Like, my dad always used to talk about how he used to watch it. And, you know, we're from Oakland and from the Bay.

And, you know, Oakland and Los Angeles have a bit of a kinship, right? We have a bit of like, you know, everybody got a cousin in L.A. So there was definitely similar things that I could see from that movie. But the biggest thing from that was just, it was one of the first movies I saw on cable that I always wanted to rewatch. It was one of those things where it was like, man, this is a movie about black people, directed by black people, and something that I can kind of relate to, right? I really could, and I'm sure we'll get into this throughout this show, but I really related to Trey, right? Like, I wasn't, I'm not no hood dude, but I knew all those people, right? I'm sure Van knows a dope boy or knows these different types of characters.

And I saw a lot of myself in that. And it was one of the first movies where I kind of saw a lot of myself in. There's a revolution happening at this point because do the right things two years earlier. Townsend makes Hollywood shuffle. When was that 88? Yeah. And we have this run, New Jack City and King of New York, which we did, Jungle Fever, Boys in the Hood, and Juice on a couple years. and Hollywood had shied away.

And then all of a sudden, guess what happens? These movies are making money. Do you look at this as, when we talk about eras, Sean? This is a distinct era. Doesn't it feel like it? Well, it is the... It is the culmination of a lot of studio executives noticing what's happening in independent movies

and reacting to that and saying, we actually should give a young black filmmaker money to make a movie and release it in 2000 theaters, which is not something that was happening before this. This is a, not only is it a hugely emotional and culturally important movie, it's a big hit. You know, it's a very well-known instantaneous movie. It made stars of all of the stars of the movie, and it made stars of the filmmaker. And it's a Columbia Pictures movie.

It's not, it didn't come from some weird direct-to-video company that was trying to make money on the side. It wasn't made by some weirdo like Able Ferrar, you know, helicoptering into New York City, Grime Life. It's made by a person from this place, telling an honest story, but also supported by a system that historically didn't give filmmakers like him a chance. So it's important in that way. That doesn't mean that it created a revolution of filmmakers who got to do that. And that's kind of what's interesting about it is not just what happens in the movie, but what we learn and what the studios do after that. It's like the second coming of the black exploitation in the 90s, right, where you have these

black films that are cheap to make, but they make a lot of money. And we saw that with the Mac in the 70s. We saw that with Foxy Brown and all these things. And it was just like the second coming of that. Coffee. Coffee and all these types of movies. And you kind of see, oh yeah, black films can make bread too for a major studio. It was like we had to prove ourselves all over again. Like we didn't help save the movie industry in the 70s. It was like we had to do it again. You know what I mean?

And it was one of those things where we was one of those things that was like, damn, we just need a chance. And we got that in that revolution used to be. Well, I look at it like, so in the 70s, this was being represented all over the place in TV and movies. And I'm just like growing up in New England, but all these shows on TV. Different movies like the ones you mentioned.

I remember seeing, what was the one with Lawrence Hilton Jacobs in the theater? Cornbread Earl and Me? Yeah, Cornbread Errone. All those. And then it kind of stops right around 7980. And all of a sudden, this is gone. And then it comes back in a big way. But I still don't understand what happened for those eight years.

Well, I think... It's basically Eddie Murphy and that's it. I think that's kind of what happened. I think that you had megastars coming to film. Like 80s, because... become the megastar film decade and you see megastars and you almost kind of feel like those movies are enough. Like when you have Axel Foley out there, you say, okay, there's a black guy.

So there's a movie. That's, you know, that's black. Or when you have a film that's more of a historical concept film, like the color purple, you start to say, hey, there you go. We're out there. And you start to see these people pop up and they're around and you see them. but something different happens around the end of the 80s that really propels this type of storytelling

into the forefront, and that's hip-hop. So, like, when hip-hop comes along, even this movie, this movie is just like a living NWA record, right? And even when you go out to New York and you have New Jack City, like the soundtrack and the vibe of the streets have been so detailed and so explained by the music that these films came right after it

to give it a like sort of a wider push to a wider audience. So when I see, even when you see Ice Cube in this movie, it doesn't really feel like he's playing a part at all. It feels like he's living the rhymes that had been around. And Hollywood actually took notice, if you ask me, of just how popular the music had been. The music itself had completely crossed over. NWA was top five without any singles being played on the radio.

There's an audience for this. People want to know more about this, and so they followed suit. You know, when a movie's great, it's bringing you into some world, right? You're just in there, and we're in this world. It's less than two hours, and I feel like I know everybody.

I feel like I spend 10 hours with these people. Nowadays, I think this would be a Netflix show. I think it's pretty clear they would not make this as a movie. But it's amazing to me. he's 24 when he makes this. Yeah. This has gone wrong. So many times where somebody's like,

all right, here's my vision, but it's like a guy who's or a woman who just doesn't know how to put the pieces together. The mystery of this movie to me, and I get it. It was a passion project. He spent years trying to make the script. It was very autobiographical. But yet, Sean, that's usually it doesn't work where the movie's actually good.

I think this is in the running for best first movie anyone's ever made. Well, in addition to it being really great and arguably the greatest debut ever, it's crazy that they let him make it. The story of this historically, and it's certainly true for black filmmakers, but it's true for a lot of filmmakers. If you're 24 and you're out of film school and you're like, I have a very important autobiographical story, guess what? So does every other person who graduated from film school. They're like, I have a dream film. It's about my life, my life matters. I need to see it on screen.

Same thing for books, right? I mean, how many people have done like, I just got out of college. here's my passion project and everything's super autobiographical. And 99% of the time the people who have power and money say, that's cute kid. Why don't you take this job over here, punch up that script, keep working on it, and maybe 10 years from now we'll let you make it. But, I mean, there's a very short list of people who were sub 30 who made a movie this good. Let's hear.

I attach Sean with this. Let's hear the list. I think there's three key ones. It's Orson Wells, obviously, Citizen Kane. It's 25 years old. Who is that? Orson Wells. Arguably the most important filmmaker of all time.

And then two people who were operating right around the same time as Singleton. Soderberg, who's 26 when he makes sex lives and videotape. Shout out to Baton Rouge. And Quentin Tarrantino, when he's 28, when he makes Reservoir Dogs. Very similar stories for both of those guys who they said, I wrote this movie. This movie is very, very important to me. I have a very clear vision of it.

Other people tried to make the film, and they were like, under no circumstances, will the movie be made unless I direct it? I think the biggest thing for that, though, was that John Singles had actually had an ally at Columbia. Blank in her name, I really hope we can get this in post.

But she was really instrumental in helping out John get this film. And she was a black woman who got promoted, right? Who got promoted after this film done. But you kind of need that, especially when you're from a minority background, you do need someone to come to bat for you.

And it was a perfect storm of somebody seeing his vision and also his passion to where like, no, fuck that. I'm going to make this film. And you can kind of see that from, John early on. He was one of those guys that was very fearless at a young age, because you don't see people that fearless at that young of an age right out of college. You said, nah, I made it out of my circumstance. I made it through USC. I'm going to make this film because you're not

going to pigeon, you're not going to parachute somebody in, this is quote, from Idaho or somewhere else, to make a film about South Central in a place that I know better than everybody else. And that was really important. Well, you think about best first movies. You mentioned a couple. Get Out, Jordan Peel. Sure. American Beauty. Duel. Spielberg's first one, Mad Max, Bottle Rocket, Reservoir Dog, Shawshank, Frank Darabant was older at that point. Most of those people were in their 30s

when the first movie. The difference here is the dude's 24. How old was Spike when he made? She's got to have it. Very young. Very young. He's probably mid-20s, right? I think what's weird about this is this also became the best movie he ever made. Right. Which, yeah, this was his Get Richard Die Try. Yeah. Yeah.

You know, this was, you know, he explodes out. You've heard all the buzz. And then you go into it, and, you know, I'm comparing it to the classic that 50 dropped. Do you just disrespect Power of the Dollar, though? I mean, I feel like Power of the Dollar comes first. The Power of the Dollar is great, but Get Rich a Die trying is the 50 cent out. I think that you're disrespecting Baby Boy, but that's important.

Baby Boy is dope, too. Look, I love John Singleton. I love a lot. But this movie, like, you watch it, it just has a different texture to it. Yeah, it does. This is his ministry to the film-going public. This is the story that he had to tell And to the point that we're making

A lot of guys don't get the chance To tell the story that they have to tell Until they've told every other story That people have told them that they have to tell So something else I will say about him Because we compare him with Quinn and a couple of these other guys He is Conventional in the way

Or was conventional in the way that like He went to a Blue Blood Film school Yep You know what I mean? Like he like he went to Filmmaker. Yeah, he went to the film school. It's like you almost compare him to Cougler of today.

Fruvel isn't Boys in the Hood, but, you know, it's the movie that... Both USC alum's. I should mention Frueffel. That's another one. Yeah, Fruvill, it's not Boys in the Hood, but it's the movie where, okay, here's the kid out of SC. This is the story that he's telling from where he's from. Look how great this is. This is the next guy.

But also the comparison that you have between Cougler and John Singleton's are both talking about something from home. Right. From where they from. I remember, like, Fruvelle for me was my boys in the hood. You know, we went to, I went to Grand Lake Theater when it first came out, right? And you could see actually, like, Ryan and his brothers all outside. It was really a family, organic type of grit type of movie like that, right, to where they didn't have a lot of money.

They had to figure it out. And you finally saw something like, man, Oakland's on screen. It's not like we didn't have Oakland films before. It's not like you didn't have L.A. films before. But she spoke about a. specific demographic of people that hadn't had their stories told. And I think that's the similarity that you have between Cougler and Singleton. Well, you had do the right thing, does it in Brooklyn, and then this does it in L.A.,

but this isn't like that far away from that Colors movie with Sean Penn and Duval, which was basically like the way cops are the heroes. Even that, though. And the blacks are other terrible gangsters. This movie is a revolution against that. Yeah. Singleton specifically cites it. He's like, I saw that film and I did not understand why this movie is about

the cost. Makes no sense. Yeah. This movie is like completely, we had all seen colors, right? There was two and a half years before this movie. Right. Colors was a phenomenon in its own right. You know, like when Ice-T came on and Ice-T does the soundtrack and then you're watching the movie, you got young Don Chito colors in it of itself. But it still was copaganda.

It still was a look at people's lives through the lens of the people that police them. And this was just completely different, you know? And I think that shows, that's why film is so important. right because for the most part you see like you said the copaganda but then when you see a film that is as great as boys in the hood from another perspective that shows the world that you know black folks aren't just beasts right that we're just not you know just up to no good and that we i think this humanized black folks in a way where you know man black folks are trying you even see in the beginning where doe boy um he's broke and he's it starts off he's like yo man i just want to get some food I ain't got no money, but I'm gonna get some food. That's basic survival instincts. And I think that you don't see, and you see the graduation of that

and the dope boy of what he is at the end of the thing. But it humanizes of like why this happens. People are poor. These people don't have the same advantages. They don't have these advantages that white folks have. They don't have all these things. And I think that that really humanized black folks

in Los Angeles in a way that I don't think colors did. Well, and the other piece, there's no corny monologues in this movie. Anytime somebody has like a, I don't want to say a speech, like a long piece of dialogue, it's really good and it's organic and it feels that that speech Fishburn gives

in front of the empty lot, which is one of the best moments of the movie, that could be so bad in the wrong hands, right? And he basically sums up three big picture issues all like organically with this weird crowd that gathers around him and it's like, this just shouldn't be good and it's completely riveting. I don't know.

There's just, from a filmmaking standpoint, and it became Spike, first is Singleton immediately because it was hard not to think of it. I think Singleton tried to get a job with Spike on Do the Right Thing and didn't get it. So there was a little animosity and then eventually I think they got together. But they got pitted against each other right away. And, you know, that's a media thing. That's what we do sometimes with this stuff. But Spike does Malcolm X. What was that, a year later?

And then just he kind of leaves him behind. I just don't think, obviously they're both black filmmakers at the same time, but they don't have a lot in common. They're obviously thinking about the environments that they grew up in and it's important to tell the stories that they're telling, but Singleton, to your point, Van, is a very conventional filmmaker. He's a studio filmmaker. He's more like Rob

Reiner. He totally is. I mean... There's so many stand by me touches in this. He's trying to make the studio movie. He's trying to make a... It's not a crowd pleaser. It's crushing, but it's a classical melodrama. You know, it's a, it's like these kids coming of age, and then there are traumatic events that happen and you get very attached to

the characters. Spike was doing something very different. I mean, Spike was provoking audiences, very purposefully, trying to spark debate. I think Singleton is trying to create awareness and empathy for people. And while Spike has some of that and Singleton has some of what Spike had,

they weren't really trying to make the same kinds of movies specifically. I think also the difference between Spike and Singleton was, I think Spike was a bit more fully formed as a director when he made his first movie. You know, and research in this, you see I think I read somewhere that

Singleton was literally he got the film from a camera standpoint and from a storytelling standpoint got better as they kept doing the story because he was getting better as a director and so I think that's a bigger difference as well is just that you know Spike was a bit fully formed

coming out of school more than Singleton and it's weird to say that because I think by all accounts this is Singleton's best movie. Well they're also making two completely different films Spike is making especially when he first starts Spike is making small, almost art pieces that are very rich and textured in terms of... I see how he uses color. Yeah, you know what I mean?

He's making... And Singleton is attacking a gigantic societal issue. And he's telling a story from so many different perspectives, right? Like, there are so many different people have their arcs played out in this movie. It's just kind of different. One is a studio film and one is, you know, one guy makes independent films. Now, Spike, by the time we get to do... do the right thing, it's a little different.

But she's got to have it. We're talking, what? Four characters, like 60% of the movie is pornographic-level sex. You know what I mean? But no, it's a great film. I love it. But I'm just saying, it's totally different. What?

They had an unbelievable eye for talent. Man. And I think that's like Spike's best quality that probably doesn't get mentioned of in Singleton. It's funny because in hindsight. In hindsight, this is an ensemble cast. In hindsight, right? And, you know, he just finds, he finds Angela Bassett, gave Angela Bassett a shot at this, right?

What about Ice Cube? Ice Cube? Yeah. To make in a movie for six months. Regina King. He bowed all these people around at the right time. I mean, Regina King happened on 227, but it was like a completely, it was like totally different when we saw her. We was like, oh shit.

Even Fishburn, who was on Peewey Herman. He had worked a little bit. He had been around, yeah. He had been around, but this is the kind of part. that he deserved to get. Ooh, good segue. It's one of the biggest Oscar travesties of the 90s,

and maybe of all time. We talked about it during the City Slickers podcast because Jack Pallant's won best supporting actor. Fishburn was not nominated. And when you watch this movie, and if you watch it

with somebody who's never seen it before, you could tell that person, you know, Fishburn won best actor for him, be like, oh, yeah, of course. He should have not nominated. Yeah. And this was the same Oscars that Singleton did get nominated.

He became the youngest director ever to get nominated. More importantly, first black director, which... Even seeing it in the Wikipedia, I'm like, wait a second. Is that... It's like one of those. It's like, oh... But that speaks to... That speaks to number one.

It speaks to the movies that weren't getting made at that point. That's the whole... That's it. That speaks to the movies that just weren't getting made. If you look at guys now like Barry Jenkins or Steve McQueen or, you know, even... Even, we talk about the color purple, and I have this running argument with people on Twitter, especially when I want to troll people and get them really fucking pissed off.

I ask the question, is the color purple a black movie? You know? And people go, yo, of course it's a black movie. The source material comes from a black woman, author, blah, blah, blah. I'm like, Spielberg directed that shit. So can the movie be a black film with a white guy at the helm? The answer is obviously, of course, culturally it can. But still, in today's day and age, you would never, ever, ever, ever, ever see a white dude and a director to share for a movie like that.

Ever. Remember Ali when Spike got mad that Michael Mann was the one that was doing Ali? That was in 2000s. There have been a couple in recent years that I've been surprised. Like, Hidden Figures was directed by a white man. So it does still happen from time to time. but the point you're making is right on. For some reason,

Hidden Figures feels different, though. Yeah, maybe it does. It feels different. I don't know why. Come back to me on that, but it feels different. Like,

if it's a bunch of motherfuckers and we all out in the color purple era and then, I don't know, dog. Fucking somebody, you know what I'm saying? If Theodore Melfi

had directed the Underground Railroad, you'd be like, this is fucked up. Yeah, yeah. But to your point, I guess it still does. But, like, that, the fact that no one had ever been nominated,

It just shows you the types of films that we weren't getting. But even the movies that Logan was citing, coffee and the whole black exploitation era, all those directors are white. That's Jack Hill, Jack Starrett. It's all of these guys who are working for these expectations. The same thing with the TV shows. They were all written by right guy, Sanford and Son, the Jeffersons.

I have this one to throw at you in terms of hyperbole. I think this is one of the best father-son movies of all time. And it actually made me go try to make my list of what I thought were the best ones ever. and I think it's this one Kramer versus Kramer the godfather Wilder Field of Dreams

A Bronx Tale and a movie I don't love but I think has to be included boyhood just because it was so ambitious with how their relationship and how they did it over the years but my point is there's not a lot of great father-son movies

and this is ultimately I know it's for all the reasons we mentioned why it's so important but ultimately it's a father-son movie and it's about that relationship Yeah I think the biggest thing and I think I think me and Van were talking about this before we started recording just how much emotion you got out of watching this film at a certain age.

And I felt that emotion I was watching Trey in Furious styles, right? Because Furious just wasn't Trey's father. He was in a lot of ways that whole neighborhood's father. You talk about the first scene when Trey goes to meet Furious. Who's the one that's there? Doe Boy and little Chris, they're over here saying, yo, man, can you break my leaves up? I gave you some bread. And, like, he's looking out for these other kids.

And, um, but there's also a little bit, yeah, yes. You think so? Because are you doing a zag? Well, I'm a, I don't think so? Let me tell you why. Was he a good neighbor? Well, let me tell you why I'm Zach. I think he in the movie, and this is why he reminds me of my dad.

He reminded me a lot of my dad. My dad didn't give a damn about your kids. Like, he just didn't give a fuck. My father was like, hey, Van, be in this house. See the mother, see the mother little motherfuckers over there? He did say that verbat. Yeah, see the mother little motherfuckers right there? You're going to be in the house because dang, it ain't going to happen for that.

And even at the- But you think that they looked up to him? They all did, right? No, I think they were afraid of him, like just like they were afraid of my father. Remember, even at the end of the movie, he goes, hey, yo, I'm sorry about your friend. But that's their problem. You're my problem. Yeah.

And I think that goes to show, now I think the people, I think they respected him, but I think that goes to show you sometimes the survival mentality, my father used to tell me, he used to be like, yo,

the reason why I'm doing this with you is because you have to be more scared of me than you are at him. So when they ask you to do something, you can't do it. Because you have to be, forget about what they're going to say. You have to be afraid

about what I'm going to do. And so in that situation, I think that, I think that that shows you sometimes that being in a, a place where survival is like always on your brain, sometimes it actually stops you from being a good neighbor. Sometimes it stops you from caring about the kids next door

because you have to worry about your kids so much. They might get wet it up. I think if your pronoun is a he that there, and you have a father like that, there's only certain things that that father can tell you, right? And I think you got that during, you got a lot of, Trey got a lot of guidance that a lot of those other kids couldn't get.

He just did, you know, when they go out to Palis Verdes and, they go and, you know, and play around and stuff and they have like the sex talking, things like that. I feel like Trey was a bit more sure of himself in a lot of like than Dole Boy was. And even Ricky was to a certain extent. It really helped him to have, I don't know it's cliche and I really don't want it to be a cliche thing, but just to have both parents in the house.

And that's just the, based on circumstances, it didn't happen for those other kids. But I think it's set up Trey in a lot of ways that it didn't set up those other kids. Yeah. Fishburn. You don't want me to tell the story about my authoritarian upbringing? Should I not tell it? Tell it. Tell it, we want to know.

When you were living in Englewood? My father, it wasn't much different. Sean's going to go. You grew up in a house of cops. My dad used to come in and laid out a switch. Hey, did your mom cut your hair too? Did your mom cut your hair too? That's one of the things that age your worst, by the way, is the haircuts in this movie.

We'll talk about it. Yeah. But did your dad? Did your dad cut your hair? One time he did. My dad used to always cut my hair every, like, I couldn't go to a barbers while I was, like, in sixth grade. And I remember, like, that's, scene in particular was really good when he was like fake cutting his hair.

And he's kind of side-eyeing of his stuff. Fishburn 29 when he made this movie, which is the craziest fact in the movie, he's only seven years older than Cuba Gooding. Fishburn was one of those guys who always seemed seven years older than he was, and almost like a Greg Oden type situation. Even now I'm black as he seems older than he is. Yeah, because he was in Apocalypse now. What was he, 17?

Yeah, I think he younger than that. Or 16? Yeah. And he's like, has a real part. He's on the boat for 20 minutes. I like to think of this movie as the sequel to that. Oh. Because he went to Vietnam.

Ooh. And then he came back. Oh, that would have been a great question. We know his name in Apocalypse now, and it's not Furious. It's not furious style. Is that true? Oh, I would have looked at it. It's not furious style.

That was his name. But still, I like to think of this movie. As soon as he said that, I'm like, oh, wow. This is the guy from Apocalypse now. He went to the Army. He came back. Boom. I would not be shocked at all of that crossed John Singleton's mind.

that when he was writing it, you know? Let's do Fishburn for two minutes here. We had Tarantino on when we did, which one was that, King of New York? And Tarantino did this whole impassioned argument that he thought Fishburn was the best actor of the 90s, and there's these two forks of the road with Fishburn. One was... It's a heartbreaking story. Yeah, it's tough.

One was Pulp Fiction, and the other was Die Hard with a vengeance, right? And both times, Sam Jackson takes the part for reasons that had to do with his agents and stuff like that. And it just kind of never totally happens for him, even though it should have. And this turned out to be his best performance, I think, in a movie. I would put this first. And it's kind of like the best Denzel part of the Denzel air that Denzel didn't play. I turners up there. I was just going to say what's love got to do with.

Also, the thing with Fishburn is like he has that low-key presence, but he's been in movies. It's a little setter and live charactery, right? Really? He's got the wig. Like, you have props. He's got no props in Bois. I learned about I-Turner through. He's great in that movie.

I think R. Turner is Lawrence Vigbring. He's great in that movie. I just think it's easier to play a character that is to play the dad in this movie. I think he is at this time at the absolute. He's getting the best parts. He goes, King of New York, Boys in the Hood, Deep Cover, What's Love Got to Do With It? Then Your Favorite Searching Bobby Fisher and then Higher Learning where he plays the purchase of Fisher. I can't get enough of that movie.

I love that. He's good in that movie, too. So that's a pretty damn good run, even though he doesn't get Pulpiction and he doesn't get the blockbuster and die hard. And he had Matrix, bro, he's fine. He came back later. He's fine. Matrix, Matrix when he made his money.

So Singleton nominated for Best Director, Best Original Screenplay. Youngest Ever to be nominated for director, first Black director, obviously. The cast, we mentioned it, Ice Cube, Cuba Gooding, Lawrence Fishburne, Nealong,

Morris Chestnut, Angel of Bassett, Tara Farrell, Regina King. All of them went on to do more stuff than this. Six million dollar budget made $69 million. It was only released

in 811 theaters. Wow, killing that per screen average. There were some states that probably didn't get a lot of boys in hood screening, so I'm guessing. They might have avoided a couple of them. A big proponent of this movie, our guy, Raj. He did it, Raj. He wrote the big review. It went to Khan.

There's funny, if you really care about this movie, you want to Google it, Google some of the stories about it, where they go to Khan. And Singleton had, like, never left California before. And all of a sudden, he's with Madonna and all these people, and his head's just spinning. it becomes a thing at con Eber gives it four stars is crying in the theater It was like a legendary It was a legendary era

Yeah No not that that it was just a legendary film Legendary Khan thing Yeah where they were like over the rafters clapping And it was just like And they did some merch stuff too That kind of made it a thing Like Singleton said at one point

He saw Madonna wearing a Boys in the Hood t-shirt Nobody had even seen the movie yet And he was just like what's happening to my life Can you imagine that 24 He's 24 Madonna So, Ebert said... This is pre-Poc Madonna, man.

Yeah. Yeah. It's pre-Pak Madonna. Ebert said, by the end of Boys in the Hood, I realized I had seen not simply a brilliant directorial debut, but an American film of enormous importance. And I think that still stands. We're going to take a break.

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All right. I have too many rewatchable scenes. I usually try to keep it between six and eight, and that became impossible with this movie. We'll start with the burglar breaking into Furious's house. We get some tension right away. The two holes through the door. And then the cop showing up.

And all of a sudden, the tension in the movie does this. And it's like, oh, we're off now. I think the biggest misconception with this movie, there's like a lot of violence. There's not a lot of violence in this movie. There's a lot of tension, though. There's a lot of, like, what the fuck is going to happen. And that's one of the first scenes where it's like, you get the dude creeping.

And it's great camera work in this because they're not filming the person that's breaking into the house. They're filming the mirrors on the floor. They're filming the bathtub. It's just building suspense. And then when you see the bathtub, it's just like drip of water and water the whole scene. It's so much suspense. And that's the start of it. Next one.

You want to go see a dead body. Rick, why you have to bring that ball? I ain't saying nothing if it get took. Y'all want to see a dead body? Yeah. Unabashed, Stand By Me, Omage, where they had the producer from Stand By Me Merkard for the movie, Singleton loved it. And it's the four guys just like in there.

And they go off. And only in this time, they only have to go like five feet, and there's the dead body. Can I ask a quick question for the table about that? So when Kendrick does the you want to see a dead body line, do you think he's overtly referencing boys in the hood? or stand by me. Shut up. Nice question.

Although I wouldn't be surprised if Kendrick was a big stand-by-me for him. I don't know. I don't know. I don't know. That's a cultured brother right there. But I'm going to go with boys in the hood.

Stolen football. I appreciate that the guy threw the football back. I just... But Ricky dropped it. But that he dropped it. That was the point, though. That was a very important scene. Can I do that?

This is going to be one of my nipicks. Can I do this now? Was young Ricky a good enough athlete? I never... He kept that. He had a dream, no. He kept that. I didn't like his throwing motion, and he dropped the pass.

His tape looked good, though. He was kind of, his burst. His burst was incredible. But that was later. Later, Ricky. I'm saying young, 10-year-old Ricky, I don't feel like they cast that one correctly. I don't really have, you guys can look at my paper. I don't really have any overacting scenes, and it's just the, this is question marks.

But I think one overacting scene, I'm sorry, we're going switching. Did you switch categories? I'm sorry, I'm sorry, but if you brought it up, we brought it up. We'll get to it. Anyway, he goes, little man, catch. That's probably not a great one. Can I say it? Can I say some real quick?

That's one of the most important scenes in the movie. It is, it is. And one reason why is because, so in that scene, number one, Do Boy can see the street. Ricky Kent. Doe Boy says, hey, somebody going to take that ball, lead a ball at home. Doe Boy is brave to the point he loves his brother,

but he thinks he's soft. All of that stuff. it's coming back, right? But also in the guys who stole the football, yo, every time I watch a movie and some dudes on the block just completely fuck over a kid like that, I always go, not true,

because there's going to be one of those guys that's going to be like, hey man, yo, give him his ball back. Like, I've never seen it to where it's been, and it's dehumanizing. It makes people look like they run in packs and they're out to exploit and hurt people every single time. There's going to be somebody that tries to take your ball.

Yeah. That definitely will be. But if it's enough dudes, somebody's going to be like, hey, man, give him his ball back. Like, seriously, like, okay, you had your fun. Give him his ball back. All, y'all, peace out. Get out of here. And, like, when you watch the movie, you think, and you see the guy the whole time he's peeping it, you think, there you go.

These are human beings that, like, are in, and it's just a little small thing that only somebody with John's experience would, like, would add to the movie. Also, bro who gave him back the ball, you can kind of see that, right? Like, you referenced it just now of him looking and like, damn, this is fucked up, what's going on. But you also be like, yo, man, that dude could have been Ricky. He probably could have had those dreams. It just didn't work out for him, right? And you see that in that move. You see that where he's like, yo, give me the, and he's also an OG and the thing.

Like, give me the fucking ball back or go do it. And that was a very humanizing scene. Also, it establishes a lot of things that going into that setting, it shows the divide between Ricky and Do Boy that's bigger than them because the mom clearly favors doughboy. Clearly, I mean, I have Doe Boy. Clearly favors Ricky.

Yeah. And is always like shitting on Doe Boy. He internalizes that and internalize that. But Ricky is still his little brother. He's going to bite for him. And you see that and they come back around to that at the end of the movie. You know, Sean was the guy who stole everybody's ball.

That's just not. I can tell. I was just absolutely not. In fact, I sincerely mean this. I was the guy was like, give that kid his ball back. I literally was that dude. That's great. How many of your homies was jacking kids with a ball?

I will admit to be with some bullies. Come on. Come on. I've spent some time with some bullies. Next rewatchable scene. We're not even close to be done. The father-son fishing scene. Any fool with a dick can make a baby, but only a real man can raise his children.

I wasn't but 17 when your mother was pregnant with you. All of my friends was dropping out of high school, hanging out on corners, in front of liquor stores, getting drunk, getting high. some of them was robbing people some of them was even killing people Fishburn's just dropping gems It's too good

Any fool of the dick Can make a baby But only a man can raise his children It's just great Drive home leaving the Uchild side All of it's great The barbecue scene

Which does a lot of stuff In five minutes Yeah Because we have to like That's the first time We're in the present Yeah And he sees Ice Cube

And it's clear It's like Oh these two but it doesn't seem like they're as close as they were. Because he spent so much time in jail. And then they do the jail reveal. But they do it all in a way that's not like he was in jail. That's why they, it's just really, really smart.

I love the party scenes when you, the establishment party scenes, right? Where seven different stories are happening at once, right? We get introduced, what, 15 characters in five minutes? We get introduced to Neil Long, which makes that the best thing. Regina Kings. Virginia King. throwing 98, she's coming in hot. I just love in this,

I love when you talk about Regina King. This movie is a reminder of how much I love women from L.A., specifically black women from L.A. You see different types. You see, you see, Neil Long, who is about to, you know, it's just, I don't even want to say of reverence,

but then you also see Regina, Regina King, who's, you know, the ratchet around the gray girl. I love her just as much. And I just, I love how diversified. And you see yo-yo in the back. You see them all chilling. Like, this looks like a party that I want to go to.

This is Logan pushing for poetic justice rewatchables right now. Oh, we're here. We hear. Oh, yeah, yeah, yeah. A lot of those characters come back to. A lot of people come back. The USC recruiting visit is another scene that does a lot in a short amount of time. What are you interested in besides playing ball?

What you mean? I mean, what would you want to major in? What kind of degree would you like to pursue? I'm just asking, because... you know there's a strong possibility that you won't go into the NFL after college. Just a fact. It happens. And I heard that before. Well, actually, I was thinking about major in business.

See, I got this friend named Trey who's always talking about going into business and all. Plus, I like computers. Maybe I could do that. What do you think? Young brother, I think you can do anything you put your mind to. And the actor is actually good Some of his As he's kind of solving things I have him coming up

And recasting couches I have a better idea for an actor for this But he's You can see him just kind of processing Like Oh Ooh Also one of the kid

Oh On that scene If I remember correctly Those are real helicopters And then he's just like really just Like when the recruiter is looking up That jumped out to me watching And he's like

He's looking up and seeing it And it made it so or organic. And the guys on the port. He got five guys on the porch. And bro, it's like, what? Get out of his way. Like, let me get a.

Or when Del Boy is like, stop fucking motherfucking cursing all the motherfucking time. Yeah. My mama's in here. And then the dude is like, yo, I want a scholarship. And he's really sincere. Like, bro, I really want to get out of my circumstance. Give me a scholarship. I play baseball.

And this guy, he's not scared of these guys. No. He's not scared of him. He just gets it. It's like, hey, do you have a scholarship? Do you want a scholarship? What do you do you? do. You know, it's not like he's like,

he's not scared of them. He, he recognizes them. He drove up like to drive, I was like, no, I'm here. Yeah, he recognizes them. He just got to, he's got to get inside to get the player. It's probably not the first time he's ever, he's ever visited a home like that. What do you think of the recruiting tape, Sean? I mean, incredible. Shades of

Lenny Tomlinson. I mean, he just has the total package. It's got the, got the size, got the speed. Do you think they use like a real? I'm trying to, I thought you were going to have something for me. I was like, is that Barry Sanders? I thought you were going to have something for me. Because I was thinking late 80s

but I couldn't find it. I looked. I have a question, though. Ricky wore number five. And we all know the significance of number five at USC. Oh, did Reggie Bush wear five for Ricky? I don't know.

There's a question. Again, this is unanswerable questions. Sorry. You're out of pocket here. I'm going to be honest with you. Parts of me things that maybe Reggie's childhood didn't include boys in the hood. Probably not.

But what are recruiting pits for like, what are recruiting pits for USC though, right? Like, every kid now wants a USC Ricky jersey. I got to say there, lots of movies have had really good recruiting visit scenes. Like, there's a good one in all the right moves. Yeah. When they go to see Tom Cruise before he gets kicked off the team and the guy's like, eh, with the school?

And Tom Cruise is going, basically. Yeah, I don't know if your school is good enough for me. But thanks for your time. And the guy's like, okay. And hood movies, Georgetown, a USC for private schools, get a lot of hood love. Like it a lot. Well, Georgetown for obvious reasons, because that was school in the 80s. Oh, yeah, above the room.

We have not done that one yet. More rewatchable scenes. The scene on the lot, Fury is talking about keeping black neighborhoods black. They want us to kill ourselves. Does that whole model. Gentrification. First time I ever heard the term. Same.

It's called gentrification. That's what happens when the property value of a certain area is brought down. Huh? You listening? Yeah. To bring the property value down. They can buy the land at a lower price. Then they move all the people out, raise the property value,

and sell it at a profit. Now what we need to do is we need to keep everything in our neighborhood, everything black. Black owned with black money, just like the Jews, the Italians, the Mexicans, and the Koreans do. Ain't nobody from outside bringing down the property value. It's these folks shooting each other and selling that crack rock and shit. Well, how you think the crack rock gets into the country?

We don't own any planes. We don't own no ships. But we are not the people who are flying and floating that shit in here. I know every time you turn on the TV, that's what you see, black people. Selling the rock, pushing the rock, pushing the rock. Yeah, I know. But that wasn't a problem as long as it was here. It wasn't a problem until it was in Iowa,

and it showed up on Wall Street where there are hardly any black people. Now, if you want to talk about guns, Why is it that there's a gun shop on almost every corner in this community? Why? Tell you why. For the same reason that there's a liquor store on almost every corner in the black community. Why? They want us to kill ourselves.

You go out to Beverly Hills, you don't see that shit. But they want us to kill ourselves. Yeah, the best way you can destroy your people, you take away their ability to reproduce themselves. And also, like, going back from when we were talking about how we, you know, seeing this movie as a dog. I'm from the Bay, which is probably the ground zero for gentrification in all of America right now, at Williamsburg as well. But seeing that justification scene now, like really, really fucked with me when I watched this recently because I'm just like, this is maybe what age is the worst, right? Like, what age is the worst, what age is the best? That justification scene was really, really, especially in a place like Compton, it was really like fucked up to watch again.

Logan, you are in every category throughout this entire. I like it. He's not calling him between the lines. He's fine. We locked in a show. Was that the Oscars clip that Fishbird never got to show at the Oscars? To your point before? That's probably that one, right?

Probably, but honestly, with a different actor, that scene is kind of bad. Like, it is actually very didactic. It is very essayistic. But he simultaneously is way ahead of the curve culturally on that conversation. Because right around, I want to say early 2000s is when that becomes a huge talking point in New York. Because New York City, Brooklyn starts to get fulfilled. with hipsters a little like me

and they're pushing people out of their own communities after they spent 30 years running the value of those properties down. So he's ahead of the

curve, but there are parts of the movie that do feel like a guy who just graduated from college wrote a movie. It's, to be honest with you,

if I'm keeping an all the way gang, so that scene is very heavy-handed. And it's, it's, you know, there's some prophylistizing

that's going on there and there's like there's some fucking, like that is, that is, the movie does get at a certain

point you have something to say the movie does get preachy. And the reason... But that's why Fishburn's so important. Fishmore, he makes it work. Man, if that's the wrong actor, that's a bad scene. It makes it work, but that type of, that doesn't, that's not going to happen. Like, you're not going to roll up and start sitting in front of an 8 people. And we're not now having an impromptu community meeting.

Then the old man comes over. The old man comes over, the old man representing the other generation. Hold on. That is not an old man. That is Whitman Mayo. That's great. Put some respect on him. his name.

That was Grady. That was Grady. It's a comedy legend. Logan doesn't know that show. You don't know Sanfordson. You're talking about. I know Sanfordson. Oh, I'm saying, sure.

I'm going to be, I'm just making, damn, grandparents with Sanford's. But, but no, so. Brady was a legend. And to be real with you, there are a couple of different, the cop, the black cop, is a hard character to watch at this point.

I mean, it's, it, he, I get that there are guys like that. But he literally says, that's why I took this job. so I could fight. And that's the whole knock as oh, they just want to be bullied.

So, you know, there are a couple of points in there. It's not always perfect, but, you know, it worked because I lost fish money. More rewatchable is the, uh,

gunshots in the air, and crambling and then train, Ricky gets stopped by the cops, which has, obviously, um, in the last two years has become, um,

even more of a poignant scene. Not that it was it back then. Bill, you dropped a couple of octaves right there, bro. Bill what is? Bill, Bill, Bill was like There's a very serious

in a very serious episode of the main girl watchables. Bill Simmons talks about No, like you... By the way, Cuba was a good actor. I think he got pigeonholed by the Jerry McGuire showed me the money

and then he was kind of like he became like a character of himself but I think he's really good in this movie. I'm surprised you wanted to do so much fish burn at the top as opposed to Cuba because this is really Cuba's movie. Yeah, it is. And he became a pretty major star,

and he's had a very odd last 10 years. And just proceeded to make the worst decisions that you could possibly make after that. After OJ, he was... I feel like even that was coming. But I'm just talking about the fucking kangaroo movie with Crockadale Dundee. Was that joint?

Was that... Like, he made a movie with Crockadile Dundee or somebody like that. Yeah, I thought apart with What Dreams May Come, with Robin Lambs. That was when... I know, but Jerry McGuire, like, he just...

I think he tried... There was judgment night and there was a couple of movies in there where I think he went for it and you should have stayed here on this wavelength for like... Few good men. Cameo. Cameo on a few good men.

I think Snowdogs is when it really comes. Snowdogs was really good. But he was fantastic as Rod Titwell. He was fantastic as Rod Titwell. Incredible. Fantastic. But he made some pretty poor decisions in his career.

I think Rod Tidwell... I still believe it's the greatest sports movie character of an actual athlete, the greatest creation, Rod Tidwell. Explain how I don't understand. Athlete in a movie.

I think it's the best, most realistic, best one, just everything. I think it brings the most of the table. Rod Tidwell versus any other fake athlete in a movie. If you're saying like Apollo Creed,

all these other... Could a white writer-director get away with writing Rod Tidwell now is interesting? No, I don't think so. No, that's, yeah, that's fair. Because he's a character of a black athlete. But at the time, it felt like

it was right on. on time for that the sort of the diva persona. But was he a character though? Because they did, they died through some stuff though. I feel I felt and I felt like think about the era. We're in the above the rim the program era of people in sports movies. That was actually

a real character. I felt like he kind of ran Jerry a little bit though. I feel I wonder what he told her like say you love black people. I felt like I felt like he ran Jerry a little bit. I don't think people would have, I wouldn't have no problem with it. I felt Like, he kind of, Jerry, he had... Bro, Jerry, Dad. Can you write the diva-water receiver is the challenge?

Yeah, maybe not now. On the other hand, reunion with Regina King, he's a family man in that movie. There are parts. He's a nuanced character for sure. I love... Kissing his babies, loving his, you know, the whole nine. A day he was a great actor. It's weird what happened to him.

He was a really great screen persona. And by the way, he's, like, he was, he popped up in American gangster as Nicky Barnes for like five minutes. And I remember looking at him, I'm like, Look at him go from being all hedonistic and laughing and all of that to sinister in that. I'm like, this guy can act. Like, this guy can act. I think he was good in the OJ miniseries.

It was great. This guy can act. Directed by John Singleton. Yeah, he just took some bad roles, made some bad decisions. I have four rewatchable scenes left, but it's basically the last 20 minutes of the movie. I hesitate to call Ricky get shot a rewatchable scene. But it is a rewatchable scene because if you're flipping channels and it's going to be the last 30 minutes of boys, the hood, you're probably going to watch.

The Ricky scene, when I talk about tension, it's all building up to that crescendo moment, right? Where the guy, they bump into the guy, and then you see the dude in a red hat, and you're not really sure, and he winds up taking a fucking shotgun and shooting Ricky. It's the signature scene,

and it's just, that's what the whole movie builds up to that scene. And that's... Don't nitpick it yet. It's coming later. Saddest movie deaths of all time. I didn't want to rank these I just made a list Ricky

Paul Walker of Fast 7 I'm counting it even though his character didn't totally die That's one of the saddest Number 2? No I didn't I'm not ranking these Fredo

Devere in terms of a deerment Frato huh Champ John Voight Oobat Goose and Top Gun Tough Sunny Corleone Mickey Rocky's trainer

and Rocky 3 Tony Stark I did that one for you Thank you appreciate that Marley Marley me If you love dogs

Some people have Mufasa in here From Lion King I don't personally Count cartoon characters Listen bro Y'all wasn't outside None of y'all was outside

In these Lion King streets How are you How are you? I'm saying You guys weren't a kid doing it I was 11 I don't count cartoons And then

Apollo Creed Oh you're missing one Give me one G baby Harbaugh Oh my God Bro I shouted real tears with G baby. Like that's Keanu's greatest five minutes of his career.

Yeah, be honest with you, bro. Gee Baby speech, you guys. Like, I don't know if that would have come out. Like, I don't know if that making us look at that. That shit was fucked. Yeah. Like, that was terrible, bro. Like, I'm telling you, man, when I think about, I get angry when I think about that.

Like, that was terrible. Like, oh, the drama's over. It's time to go. This little dude got a fucking hole in them. And they showed it. It's like they showed a kid with a hole in them, a child. Like that one was, I'm getting angry. You're right.

That might have been the most shocking movie death of all time. Bro, it's fucking insane. The memeification of it now, like it's on it's on Twitter now and you see like the kid. But no, bro, every one I see the memes, I'm like, fuck whoever killed G Baby. Yeah. I remember I did a tweet about it once and it was just, I was like, why did they kill G Baby? It was just like a random and it was just streams of replies of outraged people. The movie matters, and hardball is not good.

Y'all are on a hardball gold-plated yacht to Hardball Island. Fair. All right. Oh, okay. Anyway. One more than, one more than since the movie matters, and this one affected me as a kid, Julia Roberts still Magnolius. Hmm.

Good one. Oh, that's a good one. Yeah. I was also thinking a late-breaking one is Howard at the end of Uncut Gems is one that you were just like, oh, God, damn. That was inevitable, though. Like, I did. Not me.

Not me. Not me. I was like, no. No, when he got killed, I was like, thank you. you. I was one like, he deserves this. Jesus Christ. I'm sorry,

he's been fucking over so many people. He's been fucking hot. I'm sorry. I'm giving Logan the DIA waiter's award. Ricky getting shot. We're going to go until later in Nipix. I really want to break it down. Furious stops Trey.

Doe Boys Revenge. And then the ending are my last three. What is the most rewatchable scene for you, Sean Fantasy? It's hard because the Ricky getting shot scene is definitely one of the most affecting movies to this day, no matter how many times you watch it.

There's very few movies and how you guys, you guys know, I watch a lot of movies, still tear up every time it happens, which is incredible, the power of that movie, but I don't want to watch it a lot. I do want to watch the barbecue. You know, I do want to watch Ricky getting recruited.

Yeah, you want to go to the barbecue. You want a plate? Am I invited? That is really what's most important here. You're five. I think you're in. I also love the barbecue scene. I think you're good.

I meant for the barbecue and the ending are my two favorites. Okay. Barbecue and the ending are my two favorites. I'm going to be honest with you. I shouldn't like this. I like the revenge ride. Yes. Like the revenge ride, first of all, from him getting out and just, that's the most rewatchable scene

because that is some powerful filmmaking. Like, Doe Boy actually gives the last part of his humanity to his revenge. If the guy's on the ground, a guy turns around, I didn't do it, the boy hesitates. And then it's like, and then boom, boom, boom, it's over. That was it.

Like that scene right there, that scene shows how men like become monsters. There was pain that was driving them to go do that. They were, they felt morally in the right. And really, when you're watching the movie, this is how great this film is. When you're watching the movie,

you want them to get those guys. Of course, it's a Western. Yeah, like you want them to get those guys when really it's all part of the same cyclical dysfunction that ends up with everybody losing. And so like when I watch that every time I think, well, damn, like this is what the movie's about. This is the problem that has to be solved for the movie to for the questions to be answered

for this movie that means something. Yeah. What's wild is this is like when I say that it humanizes black folks in a way, it's like, bro, you see how someone can turn into this monster because Doe Boy winds up. being turned into a monster at the end, but Trey is about to be that. Do you see him when he walked? And he's about to go to, he's about to go to college.

He's about to go to, was he going to go to Morehouse? He's going to one of those other schools, right? He's about to get out. But even then he's, and he knows he's about to get out. He's like, fuck that. I'm about to go avenge the death of my friend who died in my fucking arms, right? And you see, and I'm like even getting emotional with this, but you see that happen. And, you know, it really just humanizes that.

And you just see like, yo, man, these are just folks just trying to figure shit out. Kids, really. Kids just trying to figure shit out. It's crazy. I think one of the reasons this movie is so brilliant

and I think it's one of the best movies the last 30 years. It sets up that moment when he comes back and Fishburn and he's playing with the balls and he's waiting and he's like, he's basically his work's done. He's like, I've trained my son

for the last 17 years for this moment right here to make the right choice. I don't know if he made it or not. And then he comes back, but he never tells him what happened. Fishburn just closes the door. And I don't know. I thought that was a really smart decision.

There's actually in the research, the studio gave him two notes. One was to add a fistfight between Doe Boy and Ricky right before the climax, which he did that. The other one was when he sees his dad at the end, they wanted a much more explicit reconciliation. Here's what happened.

Big hug. And Singleton's like, fuck that. We're not doing it. He stuck to his guy. guns. Right. That was a good decision. Good decision. And actually a good decision to have the fight between Doboy and Ricky, too, because I actually think it helps that on top of everything else, Doboy has the regret of that was my last moment with this guy. They weren't fighting each other in that way. They were fighting all the, that's what goes back to the mom thing, right? And I don't know

how she does a different job. He's a single mother. But like, you see like he's fighting like, damn, bro, I just want to be accepted. Like Doe Boy is fighting. Like, bro. And Ricky is a symbol of that. He He loves Ricky, obviously. Man, Doe was just popping some shit. There was no reason for him to fight that boy. Like, Doe, this is your older brother being a dick. He said, fuck you. Let it go.

You get the shit. She and my wife, man, all right? Shit. Might as well be. Y'all got a family and shit. Techmo ball playing motherfucker. Fuck you, man. Why don't you go store with me?

Sure, man. What? You don't fuck me. Fuck your wife. That's why you got a baby than that. Hey, man, you're biggie on my face, all right? What's over with Brandon? Hey, you're a fuck, man.

Hey, yo, yo, wait a minute. Wait a minute, hey, man. But that scene does something so much more powerful because one of the crazy things about the death scene with Ricky is, usually in these movies, somebody gets shot, and you see them get shot, and that's it. They carry the body all the way back to the house, and they put him the body on the couch.

No one he's dead. Knowing he's dead. And you have the crying kid blaming the death on, Do Boy, in the room. After she hugs him. Right after that is so crushing. And you know Doe Boy, obviously, has a million things going through his head. He's thinking about the fight that they just had, the final moments that they had together.

And then what part he did or did not play? And what part of, how much of this cycle is he a part of, really? That choice to show that moment is crazy. It hurts to watch it, even now. It's painful. We have more categories when we take a break. What's age the best? I really like the young.

I like when they go back. time in movies and I like Trey and his young buddies. I like the whole thing. Pleasure. I like the stand-by-me shadow, especially at the end when Do-Boy fades away, which is a direct

River Phoenix homage to stand-by-me. The use of the helicopters, I'd never seen that done in a movie like that before, and it almost becomes a character in the movie. It was kind of inevitable because it was always there no matter what. They couldn't control a helicopter going over there, yeah.

It's just, it's just, added, I can't even explain it. I mean, it's real. We live in L.A. We hear it every day now, but it was different back then, obviously, over South Central. Which I didn't know. That was the thing, so I came out here. And it was like, did you hear it all the time? They had it up in the

bay, too, and it was like, that was one of the things that made it familiar in a weird way. I don't know if we got helicopters in the budget in Baton Rouge. I don't know. I'm sure we do. Cheaps. But, like, yeah, but I don't know if we got the helicopters, but I never would hear. You guys have those swamp boats. Yeah, swamp boat, airboats.

You know what I'm saying, going on? Morwood's age the best. In the opening scene with the kids, the Reagan Bush poster with the bullet holes in it. It's a little overt, but I kind of liked it. I could see him writing that in college and being like, yeah, and this rigging, but yeah, it's a good one. This was one of the first things I remember from a pop culture standpoint

that pushed that the SITs were culturally biased. I don't know if I saw that in a movie or a TV show before. And then Shaq and Blue Chips. That's the Mount Rushmore. Those are the two. The SETs are culturally biased. The blue Volkswagen convertible is fantastic. I just wanted to point that out.

The trades, I'm so tired of this shit meltdowns, really good. I just have Angela Bassett as an alien because she doesn't look really any different than she does now in this movie. She looks better. I have a similar one. I just don't understand it. And by way, I'm not saying that she didn't look great in this movie.

I'm saying she looks better. Yeah. She looks amazing. She looks better now. Like a 40-year run of her just being a smoke show and I don't know. She doesn't age. What is going on?

I have this in my notes. It's along the same line. It's Nealong. Same thing. Nealong. Looks very similar. It looks amazing. John Singleton's mailman cameo,

his age well. I didn't even know it the first time I saw this. I didn't realize that to the director's commentary on the DVD. I didn't even know that was him. It's a little Alfred Hittacaque homage. Also Spike Lee-ish, too. He got that. Spike Lee cameo-ish.

Great closing credit song. Had a surviving South Central. Amazing. Two shorts in this movie too, so that age really well. And the other stuff we mentioned, the father, son, angles, and all the other stuff we mentioned. Anything else for what's age is the best for you guys? Age the worst or age the best? Age the best.

Okay. Do you want to have an ice cube conversation now? I was going to do it for Apex Mountain. Okay. Because putting him in context at this time. Why don't? Let's do that. Do 1991 Ice Cube.

I mean, Singleton Identity. Defying him to do this is crazy. Can we just say one thing that age was and he'll get right into Ice Cube? It's ambition, bro. That really aged the best because John Singleton was this intern at Arsenio Hall show. Security. Security. Security.

But can you imagine like an 18-year-old, 19-year-old kid telling Ice Cube, NWA Ice Cube, y'all got a movie for you, bro. I'm going to do this. And Ice Cube's like, all right. And then every time he sees him, y'all, I got a movie for you, bro. And then to the point where one of the nights he sees Ice Cube, Ice Cube gives John Singleton a ride back to his dorm at USC. That's how persistence. I'll say persistence aged well, age the best.

That's a good trade for a director. Give us the 91 Ice Cube. He's left NWA. He's about to start basically waging war on NWA and Jerry Heller on record. He just wraps his first album with the Bomb Squad. And then he's starting up his second album, Death Certificate, which is him basically fully embracing West Coast Sound, Funk, G-Rap. and he's probably the single most provocative musician in America at this time.

For good and for ill. Some of those songs are crazy and inspirational and have aged beautifully. And some of those songs have a lot of fucked up stuff in them right now. But a genuinely singular artist and a person, it was like Elvis Presley getting plucked to appear in movies. The idea that somebody was like, Ice Cube has to be in American movies now, and is now literally one of the 35 or 40 most successful movie stars of the last 30 years. That's crazy.

To that point, it's like, this was, this was a rare moment. Like, people don't get the moment that Cube got with this movie. This was a rare moment, a rare moment to completely redefine and then define yourself at the same time. It's a redefinition of Ice Cube for us who knew Ice Cube, right? Because we hadn't seen them in this. And then for a lot of America, who didn't know Ice Cube yet as a singular entity other than being with NWA, it was a definition of him. And look,

to Sean's point, you know, Cube was running around with the nation. Cube was like, you'd answer, you'd ask Cuba question at that time and you wouldn't know

who the fucking answer would offend, right? But this kind of put him in front of the academy. This put him on the map as a movie star. It's one of the most impactful, consequential debut performances of anyone ever

in terms of, hey, now, this dude is out here. Because, look, a couple of years after this, I mean, I think the Glass Shield is in the middle of there. So you got a couple of days. But after this, I mean, we get to Friday, and now he's cuddly. Yeah. You know what I mean?

Like, this set up a completely different career trajectory for him. And it was a chance that Singleton took. I remember everybody was talking about that. He just said, I have to have Ice Cube in the movie. And it made the movie more authentic. Then you want to have NWA in the movie, too, but it just didn't work out because of they broke up. Remember, he's trying to get Ice Cube in the late 80s like, yo, bro, I'm in college, but I got something for you. And they just happened to break up.

There's a whole legacy of musicians getting thrown in movies. And this works out about as well as it could have worked out. We've seen this happen badly all over the place in the 50s, 60s, 70s, 80s. I mean, it helped because he was playing an NWA member. Like, he was playing. He still brought. He still knelt that role. help that he could act.

Yeah, he nailed that. He nailed that role. And he was so, like, the fact, this is a compliment. He was at the beginning of his acting career. So it was very raw,

but I think this was his best performance. What's age the worst? Beepers, just always weird to see beepers now in a movie. Like, whoa, beeper. Van mentioned the haircuts.

I don't love the just me and you montage with Trey and his girlfriend and she's clumsy. It's kind of all over the place. It's the corniest part of the whole movie. Great song, though. I don't personally,

this is a personal thing. I don't love the crows and credits of Trey went to Morehouse. I think we could have ended with Ice Cube just fading and I think that could have been the end of the movie. I don't know if you need the other stuff. I liked it. I really did. I mean, maybe it's because it's all I know of that.

I don't know another way, but I think that was just really, really good at how... I resent the fact that... I resent the fact that they had to leave us with the fact that Doe Boy got two weeks later. I wish I didn't have to know that. Because I mean that.

Like, I've always resented that about the movie. We know because he fades into nothing. Like, that's it. I think the movie just ends right there, and that's it. It's in stark contrast to the way to do the right thing ends, too. Singleton opens this movie with the kind of profound statement about how many black men are killed

in the city and that he details, he sets up what this movie is going to be, very clearly. But then at the end of the movie, he uses it to pull the narrative further along, and at the end to do the right thing, it's very clearly Malcolm and Martin and the two ways of seeing progress. And then he's hitting you over the head with

the message, not with the story of the characters. And the message is ultimately more important than the story of the characters in this space and do the right thing. So it's just they're contrasting each other. I would like to point one thing out that we're not looking at a singular epidemic of black-on-black crime. The overwhelming majority of people who are murdered are murdered by people within their same community, all right?

The only thing that really didn't age well at all was the narrative of the specific narrative of black on black crime as if we, it's proximity. So just, I know, I know that that was the thing in the early 90s, like it was like black on black, it's proximity. It has nothing to do with race or even of culture. It's who's around you. That's who you commit crimes against. That's who commits crimes against you. So. I think the gentrification speech.

just meant to put some nuance on that? That's when he's like, why are there gun stores on every corner, why are their liquor stores on every corner in the neighborhood? There's its intentionality to it, yeah. Any other would say, police brutality? Larry Fishburn? Not the actor, the name, Larry Fishburn.

Oh, that's a good one. Yeah, it's actually really good. He went to Lawrence. Yeah, we'll talk about that in a bit. Lawrence with a you. Very famous name. Other people, other great performers have used the fishburn name.

Casting what ifs. I didn't say Lawrence Olivier, but you went the other fishburn. Casting what ifs? This was a doozy. Will Smith offered the roll of tray. Decide to do fresh Prince of Bel Air instead. He'd have knocked that shit. There's a hundred versions of movies

Will should have made instead of the stupid movie he made. There's so many versions of this. I thought he would have made. He would have mashed this shit. Yeah. He made me a little too tall. But like, because you towering over everybody, but will, early will, like six degrees of separation will. You know what I would have liked to see Willing?

Not Trey. I would have liked to see him. That would have been cool to see him as Ricky. Tall guy. Maybe he doesn't play football. He plays basketball. Not going to USC goes to UCLA or something like that. Or tight end.

Or tight end or something like that. I thought the same thing. I would have rather have seen him as Ricky, but either part would have been great. And I think he could have done it. I think at that point is you said six degrees of separation. That's my favorite Will Smith movie. He's great.

Yeah. The role of doughboy was specifically written for Ice Cube. Logan told that story. The studio cast him and did not know about the NWA thing, which I thought was really funny. That just shows where hip-hop was at the point. He's a musician. Oh, cool. They have no idea.

He has this whole baggage. But you understand, like, hip-hop wasn't what it is now, right? It's still, like, in its infancy. It's still, like, a niche thing. It's still a black thing. Like, we fucked with it. But it wasn't- Not N-WA.

No, but they were... I would have thought they would have known about fuck the police. There's a world where they don't know in the way. No, I'm sure the studio people

don't know but they were pretty infamous. The tea kettle is simmering like right at this moment. Like we're right on the verge of this becoming the dominant cultural musical force. But still on the verge though,

right? Still on the verge. And then Singleton won in NWA you stepped on this category too. But... It's my last rewatchable. Cube had left NWA already.

Singleton had to recast the roles for the entourage, including the chain snatcher scene where they decided to put the guy who got beaten up, they put an EZE shirt on him. Yeah. He got beat up. So went all the way around. EZE went from being in the movie

to getting beaten up. Best that guy, aka the Joey Pants Award. I got to give this to the USC recruiter because he's been in a lot of stuff. I never do his name. His name is John Cothran. John Cother.

I had him too. I got somebody else too. I have one. Okay. Who do you got? Monster. The guy, Is that who you had?

No, I didn't. Monster, because you see him, just like that dude. I don't know his name now. And I honestly had to Google know that his name was Monster in the movie. Okay. So I got Vante Sweet, who, this guy pulled off an incredible tufer. And I don't know if anybody else pulled this off. He was in both Miss Society and Boys in the Hood.

That's a hatchery. So in Mississippi, he's Sharif. But who is he in Bosnard? He's the guy who takes the ball. That's a good one. He's the guy who takes the ball. And those two movies are up against each other. That for the title.

I think they both exist in different places for different reasons. And the minutes thing is a completely different argument. But I got Vante sweet. Now, Vante, he worked a lot, but I got him, I got Vante sweet. I got one more. Yeah. Jesse Lawrence Ferguson, who plays a black cop. A cop.

who is in Fish State of Pritzburg. What are you one of them, he's Jack Hammer. He's a role in 60s. I don't know why, but that's live, you laugh all the time. Also,

all the people in this movie were that guy. Like, there was a moment when Regina King was of that girl. Yeah, yeah, yeah.

So many people in this movie, Morristchett's not evolved into a bigger star. Regina evolved into a bigger star. Tyra Farrell? Like she, yeah, she definitely was.

And isn't white men can't jump like right after this? Right after. Yeah. Vincent Hanna, give me all you got a word for overacting. You met,

Who did you mention already for this? The guy with the guy who took the one. Oh, that, yeah, mean guy. He goes, he goes. Hey, little man. Yeah. Catch. It's like, hey little man.

Bro, it's definitely the black hop. It's definitely. Can I make the case for Regina King? For Regina King? For Regina King at the barbecue? You just finished June Teeth and you're going to say that about that? I'm just for the barbecue. Just from the barbecue scene.

You don't think she dotted up in the barbecue scene? We're just talking about dialing up. I'm not criticizing. I'm just saying. I don't know. I'm not saying it up. I don't know if this is the proper form for me to tell you, but no, she was not dialing it up at all. I know what you're saying.

So we're going to black guy. I've seen her do better work in a scene. No, let's be honest. She wasn't too Regina King levels. I think she was filling out her. Yeah. Jud Nelson Award for a person who was in a different movie. I give this to the evil cop.

I'm not sure what movie that guy. I was in this movie or was he in like an episode of Starsky and Hutch from I don't know what was going on with that character. Right. He doesn't just, he doesn't just hate crime. He hates Africans. Like,

he just hates the hate. He got his job so he could fucking pull over a Trey and Ricky. Right. That's just weird. It's just weird. Yeah. And he started fucking with Trey as a child. Yeah.

It's like a whole lifetime. No, no, no. I feel like. He, he, remember, Trey was going to give him Dap when he was a kid? He felt burned? And he got, he felt, no, it wasn't, he was taking whatever he had out on Furious on Trey when he was an adult, is what I think. He's a little cartoony. A little bit.

Deon Waiters Award, our nominees, our evil cop, who's not going to win. Angel Bassett, who qualified. She's only in like three scenes. Yeah. My guy Whitman Mayo. Uh-huh. I wouldn't say it's his best work. It's not.

And then, uh, I think the winner is, uh, Tire Farrell. I think she's in three. scenes. She's doing a lot of stuff. I love when she's not hitting on Trey but like projectile hitting on Trey with the dad. Yeah, like basically like how's your dad he's doing that whole thing? Fieris had

a lot of women after him. Remember because Brandy's mom was like, liked him too? Oh yeah. Like she was and Trey Fierreys was like, why don't she never call me? Let me tell you something. Fieris had it going. It was a joke the way my mom reacted. It was a joke.

It was the way, it was the sleeves white t-shirt? It was, like, it was a whole thing with Larry at that point, Larry Fishburn. But you know why it's the mom? You know why it's Tyra Ferell? It's because the range, she went from hardened mom to, hardened wife. To, like, like, she was super vulnerable and terrified when Ricky got you. Temtress, to nervous recruiting visit, mom.

Nervous, she went into full, like, sorry to bother you, white voice. during that whole thing. She just, she did a lot in the little time that she was on screen. It's a very important character, too. It's just like,

she played, I don't know, like, two times I know her is in white man can't jump and boys in the hood. And she plays, by and large,

the same character. Can I ask you a quick question about, um, somebody that had a very big crush on in this movie? Okay. So Alicia Rogers,

who plays doughboy's girlfriend. No, excuse me, Ricky's, uh, mother's, yeah, the baby mother for Ricky.

who was also in the first time I ever saw her do you know what movie? With kid play. Class act. She like, she's super cute in class act. She was the shit. And those are the only two movies she ever made.

She just disappeared. She never did anything ever again. It's like the one in New Jack's, New Jack City. Tracy Camilla Johns. Do you know, though, that the only time I ever realized that she was in class act was when I was re-watching this movie,

I had never put together. I knew her from class act Because by way Class Act is amazing Huge fan Like class act is amazing And then I see her I'm like oh that's the girl from class act

She never acted again So weird She's good Sean I'm gonna give you the 1992 best supporting actress Okay Mercedes Rule 1 for the Fisher King Good performance

Great great Great performance Diane Rambling Rose As mother Can't say I remember that one She's never seen Rambling Rose Juliet Lewis In a performance

in a movie that is now a little weird. Kate Nelligan and the Prince of Tides. Okay. Jessica Tandy, fried green tomatoes. I love that movie. I'm going to say Tyra Farrell could have cracked that one in a different world.

Because Julia and Lewis was interesting. It's much, much, much more egregious that Fishburn was not nominated. Oh, 100%. I'm just saying. If we were going for... If she had one or two more big scenes, maybe she would have gotten a look.

Okay. Elegant. did not expect to hear that name on this podcast. Recasting Couch. Morgan Freeman is the USC recruiter. Just one scene. Morgan Freeman's like, holy shit. Morgan Freeman's in this movie?

Joe Clark has lost his job and not he's been recruiting for S. No. Just the Morgan's just like, oh my God, it's the Morgan Freeman scene for 30 years. Oh, here we go. Morgan would make it about him. Come on. He would make it about him. He would.

I think the thing that's good about this recruiter is he makes it a lot of, I know you guys talk about it. Eddie Murphy, I don't want to compare these two guys. But, you know, I heard Wesley Morris say that Eddie was very, it was just forgiving in his things. He didn't take over the scene. Yeah. And this guy didn't.

He made it about Ricky, which it is about Ricky. Like, Joe Clark would have been like, well, like, no, I don't want Morgan Freeman to do it. There's a lot of Morgan Freeman slander. I like him. I like him as a star. Any recasting couch? You have anything?

I actually thought this movie's really well cast. I was just trying to figure out the USC recruiter. I went through a whole... Could Sam Jackson have been the USC recruiter? I thought about Sam Jackson, too. You know what I thought? I thought Denzel is furious. Does that work?

Yeah. I thought it was a Denzel part. Yeah. Could Sam Jackson do furious stuff? Nah. And not at that point in his career. I thought maybe like five years later. It's so hard to replace people in a movie

where it feels like he discovered like five or six people. But Denzel could have been furious. Sure, sure. A couple half-ass center research things. So they paid 50K to Easy for the rights to Boys in the Hood. Interesting. Easy got paid but then got the shit beaten out of them in the movie or the t-shirt. Yeah, just to use the title, Boys in the Hood, the way it was spelled everything.

Interesting. 50K. Wow. Another Easy's paid day. Did you come up in your research, Logan? Look, I've found some tidbits for it. Did you miss that? When they remake the Johnny Knoxville movie The Ringer, are we going to get a check off of that?

I hope so. So apparently, because Singleton was so young, he relied on Fishburn a lot of the set. And one of the things Fishburn loved to do was have actors improvised because he had done a bunch of Coppola movies at that point. So he became the acting coach for these dudes. What did it? Which Coppola movies had he done?

Apocalypse now. What else? Two by the heart? One from the heart. One from the heart? I never saw that. Yeah. Did he do two by the heart?

Was that also a movie? My Coppola. My car, I had a, I don't fuck with. Oh my, get out of him. Stop. What are you talking about? A guy got, what, three good movies? Lucky?

He's got, he's got three good movies. The guy's got three good movies. Coppola's got three good movies. Shame on you. Three good movies. One, two, an apocalypse now. About that? What about that?

Oh, conversation, I'm about four. I ride for almost all of them at this point. I ride for Bram Stoker's Dracula. You ride for Jack? Yeah. I don't ride for John Grishman. I ride for the John Grish movie. Magic Johnson only has four good MVP seasons.

Tucker, a man in his dream. I ride for that. Wow. Also, there's a lot of cocaine involved. The outsiders? Rumblefish? Come on. Rumblefish sucks.

The outsiders, I'll give you. Single 10, when they would have shots and the scenes, he never told the actors. So they were always kind of jumpy. The jumpy thing when they are at Crenshaw, I mean, you're probably going to tell So if you want to tell you. No, go ahead.

Take it. Okay. So when they were doing the scene, when Trey and Ricky finished their SATs, apparently during that time, they had a threat to the set. Like somebody said, now I'm about to shoot everybody over here. So what they did was they put two trucks behind all the cameras, the big trucks. And John Singleton wouldn't tell anybody, I think, but Cube, all he told Cube, I think, was to drive off if you hear something.

And everybody heard gunshots. It really thought the people that threatened the set came back to shoot it up. And so that's a, and it only took one take. And everybody runs out, and that's an organic take, and they all filmed it. And great, great thing from Johnson. I feel like he would get in trouble now in 2021. Oh, yes, subjective people that type of trauma. Ice Cube owns the gold Chevy Impala.

The one that, is that, is it on, is it on Van's shirt right now? Is that the one? Yeah, there it is. Oh, wow. Dobo and his crew were based on the role in 60s. Ferris and his crew were based on the Crenshaw Mafia Bloods. So. Say that one word.

Crunched Shot Mafia Bloods? Yeah. There we go. What did I say the first time? You said it right. We're just move on. We just thought. We're out here in L.A.

We got to move around. Yeah, we got to relax. So apparently, this became people know that they're filming this movie, and they know that there's a scene where Ice Cube's going to kill three buds at a hamburger stand and they tell the producer it's not going to be here that's not happening if that happens we're killing we're killing lots of people don't do that so they have to move and they film it at eaterburger which is at the corner of krenshaw and stocker it no longer exists but is not i know exactly not anywhere near yeah not anywhere near where the

it's like one of being a better like scene this is more space right more space yeah that's right down from the mall. You know what that is down there for the Christian show? The Bloods Leader No. It's there's, yeah. It's right, right down for the mall.

It's where it looks like you're in an episode of 24. Well, you, the stocker comes like off of Lascina, yeah. Waka Flaka did a video at that mall once. So the Bloods leader was named Bone and he said he said some 14-year-old kid wanted to earn stripes is going to bust

the cap and ice cube if that scene happens at that burger stand. Wasn't Bone one of the leads in a training day? He was. He wasn't one of the leads, but he was one of the guys that was in the jungle. Bone is actually a reputable dude. Very notorious guy because it is bone that was into it with Shug Knight. A couple of years ago when Shug caught his case.

So, you know, Bon, got a lot of. Movie was originally called Summer of 84. That makes sense. Columbia offered to buy the script for $100,000, but said, You can't direct it. Singleton's like, fuck you. Huh, you did it. Which over and over again, over the course of Hollywood history,

if we've ever learned a lesson in the rewatchables, it's don't take the money, but sell out your total vision of how you thought the movie was going to go. Direct your own movie. That's the one thing we've learned. Sean, direct your own movie someday. I will take that advice to heart. And then Cube said when he read the script,

after all the time Singleton badgered him, he said, damn, they're actually going to make a movie about how he grew up. I didn't know it was going to be even interesting enough to be a movie, but the way John captured it, it was like cinematic beauty and he decided to do it. Everything else we covered.

Apex Mountain. One more thing. Go. There's a lot of John Hughes' influence in this movie. The guy who directed Breakfast Club, I think, what was it, Ferris Bueller's Day Off.

And you can kind of see that, right? You can kind of see the TV. Are you fucking explaining to us who John Hughes is? I'm doing it for the audience, bro. If I don't come out of the audience, bro. I know your motherfucking me. Before we're like

What the whole Wait a hold on Before we move on Before we move on before we move on Can I make my point So you guys Just real quick So you mean to tell me

That you guys do Maybe the most popular movie podcast in the world And I'm to believe That the people that are listening To this podcast Right now Don't know who John Hughes is

Just let me know Because I'll start I'll start going Hey Steve Spielberg You know the guy from jobs I'll start Because I didn't I didn't qualify

Spielberg earlier When we were doing My bad Logan, go ahead My, I just wanted to say. The last, hold on, hold on one second. The last time I did a pod with Van, I told him that my favorite new category of the show is Van says no. And now my new favorite category of the show is Van derail shit to make fun of somebody. That is like, that should be in a sub-category.

Hold on with Van Lathan. Okay. So anyway, John Singleton was by John Hughes films. And you could kind of see it even with the scene where they go to the, you know, go to Crenshaw, right? see Ricky with the Letterman's jacket on. It's like, hey, man, I'm here. It's his version of that. And you could kind of see the John Hughes influence throughout this film if you look back

through it. And that's something that's all. You're right, 100%. It is clearly here. Logan, I really like the point. Don't listen to Van. Don't listen to that. Oh, the point is brilliant.

Don't read your Van Twitter replies. Apex Mountain. John Singleton, unfortunately, I think yes. Got to be. I do like a lot of his movies. and since he passed, I think there's been a big reevaluation of the first five or six movies that he made.

Big reevaluation right now. You guys did higher learning, obviously. Rosewood, baby boy, and poetic justice. All good films, all interesting movies, all movies that are trying to do something and there's a little different inside of the Hollywood studio system. He did make some clunkers, though.

He did make some clunkers. Ice Cube. The actor? I think you could argue for Ice Cube. Ah, man, Friday. is going to be toughed up. When did the second album come out? Was it after this movie?

Or was it simultaneous? At one point, Ice Cube was the biggest rap star in the world. But is that this point here? Is it like a year later? It was a good day is what, 93? Something like that. So it's got to be Friday then. All right.

Fishburn. Larry Fishburn? The Matrix, yeah. Is it Apex Mountain for Larry Fishburn? For Larry Fishburn? Yeah, that's fair. Yeah. Eat a burger.

Okay. I don't even know where it was. Apparently, Heaterger was a real place. I googled it. I thought they made it up for the movie, but apparently it existed for a while. It did look a little generic when you did see it. It looked like they re-did it to make the signage and stuff. No, it actually existed.

Cube Gooding. No. I would say winning the Oscar. Jared Mouse, it's got to be. Characters named Stiles. Because you could also go Teen Wolf. Teen Wolf. The Spie Work?

No. I think this was. the apex. Angel Abasset, no, I heard Apex has just gone on for 40 straight years. She's an alien. Poring out of 40, which there's... That was great form in how he did it, though.

There's a possibility he might have been kind of invented slash popularized the concept in this movie. It was, it was, I don't want, obviously it existed. Cemented it. Yeah, but maybe, but I don't know, man, because like there's a lot of

I remember I saw it the first time I saw somebody doing it. It was actually in a documentary. Was it after this, though? I can't remember it. Because, like, we didn't really do it. And I don't know anybody that did in Louisiana. So I don't know. I don't know about that one.

But maybe, but this was like... The internet research on this is like he might have invented it. Because it was Mall 40. There's like some weird he might have gotten paid for it. Possibilities. For real? I mean, the Mall 40, they were... It's hard to believe.

I really don't know. It's hard to. believe that he would have invented it though because it comes back and is it more so than there's a teupac song right pour a little liquor yeah like that i feel like that was after the movie though it was but apex mountain yeah fair detricks mountain of poor all the liquors was the segment on real ones let's keep it detroit tagger hats that popularized it for sure not jack morris has something to say about that right jack more any other apex bands um any other apex

are girls are girls they picks mountain. Alicia, Rogers. Fair. I think class act might be. Lee-Long? No, not Lee-Long, right? No. No, no way.

No, that's best fan. Pickin' Nits. This is a big one for me. Uh-oh. We couldn't have gotten the three-minute football game scene with one of Ricky's games. Just to see how ill he was? Just gone to the stadium and, like, have Ice Cube accidentally bump somebody, and then, you know. Maybe the bump scene actually.

The bump scene. I just feel like, I just feel like, I just want. wanted to be at a game and I wanted to see different things. Crystal versus Dorsey. Maybe they didn't have the money to do it. Maybe not. It's a great call. I would have loved to see Ricky on the sidelines, catch a touchdown.

Right. Mention Fishburn's only seven years old of the Cuba Gooding in real life. It's a slight nitpick. Little Ricky needed to be a better athlete. Another scene I needed. So they mentioned Tecmo Bowl, but just give me 10 seconds of two people playing Tecmo Bowl. It's right there. This is the era.

Okay, there was one time you could have done the Tecmo Bowl. And that was when Monster has the gun But it winds up being a video game But I don't think you can do TechMobile Because for that scene you need a suspense And this thing is all about tension So that makes sense All right, let's get to it

What is Ricky doing in his final moments of his life? What is happening? What is he doing? These guys are driving around It's the same guys that pulled out a machine gun and shot in the air He has to stop to pee He has to

He's doing a... Doesn't he have to pee that bad? No, of course not. You can pee when you get to the crib. He decides to separate because it would be safer, but as soon as they separate, he's just walking one mile an hour doing a scratch card. It's like, are you scared or you're not scared? Right. So the whole thing doesn't make any sense.

Number one, Ricky is as elusive as anyone gets. We've seen it. He ran for 276 yards against Washington. Okay. But the reality is that, and we've talked about this so much, Ricky just acts as a sitting duck. Right. He couldn't jump in nobody's backyard. He doesn't do anything.

He runs in a straight line for the shotgun, which has a tremendous amount of range on it. Normally you don't get that much range on a double-barrel shoddy, but whatever. Just the entire thing, they did not act like a group of guys that had some guys out to kill them that were in their neighborhood all the time.

These guys were pulling up and threatening them all the time. They were not scared. They were not scared. Even the whole thing, Like they running through houses, they cutting. They're doing all that. Like for me, I'm not going to run through the house and then drop down in the alley where an alley is a straight, straight away.

You got streets on both sides. Yeah. And you're like, whoa, we're safe now. We're in this alley that very easily the car could pop out. And what's the point of splitting up? First of all, the point is splitting up. And I'll tell you, I thought about this for a second. No, the point is so that Cuba Gooding can run toward him and yell, Rick.

I get that. But I think Rick was trying to leave. Trey and I'll tell you why. Ricky is way fashioning Trey. I think Ricky in the back of his mind was thinking, hey, this tray got slowing me down. If this really happens. You know what else was slowing him down

in the fucking scratch cards? Fuck that milk. Maybe don't do the scratch cards. Fuck that cornmeal. He wanted to bring the cornmeal back to his girl. Okay, but after that all that happens to him, bro, postmates would have been clutched during his time. It's the biggest flaw in the movie. You guys done blaming the victim? Yes. I just feel like

would not feel safe until they were home, knowing that these guys had just pulled out a machine gun a day earlier and then drove into their neighborhood. And put a double-barreled shotgun in Trey's face for nothing. Yeah. And the first scene did you see him? I have a picking nitslash, unanswerable question about that scene.

Go ahead. So at the beginning of the movie, they stopped Trey, they dropped the window, they stick the shotgun out, and they put it in his face. What song is playing? Ice Cube's a bird in the hand. My favorite ice cube song of all time.

It's a song about why young black men feel that they need to deal drugs and what the proposition is for growing up in that environment. Incredible writing, incredible beat on the song. Does Ice Cube exist in Do Boy's world? Is Ice Cube an artist in the world of Boys in the Hood? Wow. Jesus Christ, Sean. Is he like, is Do Boy like the biggest Ice Cube fan of all time?

Or are people like, is that Ice Cube or is that Do Boy? Do you have a rap career? Do you look just like it. Here's a thing, no. Here's a thing, no. Here's a thing that like, Doboy has a rap career, but he hasn't made it yet. You know, he has a hot thing. You know what this is? You know what this is?

You know what this is? This is Ocean's 13. Remember that terrible thing that they did? Ocean's 12. Was it 12? Yes. That terrible thing they did where... Julia Roberts.

Tesla looks like Julia Roberts. This is the same thing. It's the test Julia Roberts paradox. Is the movie where this has happened? Where, like, the beams have been crossed, basically. The wash when they're, like, Snoop and Dre are listening to Snoop and Dre. Or like Training Day when like Snoop is in.

I think they played the Snoop song during that time. Dre was also in that movie. Yeah. It's very pointed because that is the record that those guys would be listening to in that car. It's realistic. Any other nitpicks for you guys? No. Stop lying, bro.

Stop lying to your dad about sex to get points off. I just, I don't know if that's a nitpick, but don't do, you don't have to do that. I like that scene. We didn't mention it for most rewatchable, but I do like him telling the story in the way that Singleton stages that. And the way you hear his voice, but you watch the actors kind of mouthing the words. Like that is really cool. Does Furious believe Trey? Because Trey's clear in the line.

No, not at all. He knows. Could this be remade as a 10-episode Netflix show? It could. I think that's kind of sacrilegious. Yeah, I don't want it to. Please don't do that. All right, probably in answerable questions.

Did this movie create Buya? Bia? Stu Scott shows up in the Sports Center. probably 92-93 range I don't think he says boo-ya during a highlight until 95 did he do that because of Boys in the Hook

because somebody says it in this movie I don't think boo-ya I think no I don't think he got boo-ya from this? Oh I don't know if Stu got it from there but maybe he did

I think he did how do you come up with boo-ya Bia is the thing people say boo-ya Boo-ya people say boo-ya I'm so Stewart's I don't know but he would grab

I don't know but he would grab pop culture stuff that was part of how his shtick took off. Yeah. I think it's conceivable. That's why it's unanswerable. It's an unanswerable question.

It's a guy get boo-ya from. I think we could do it. I think we could do it too. Did this movie create pouring out of 40? We covered that. All right, Van, is this movie cursed? Oh, wow. So this is super, super weird.

So three of the people that are in the film, all right, passed away from really weird circumstances. So one of the guys, and I got the guy with the shotgun, he ended up going to jail for double homicide. And then when he went to jail for double homicide was killed by his cellmate in a satanic ritual. Oh. So the guy.

Tough way to go. Yeah, killed by a cellmate in a satanic ritual. Which one was that? The guy with the shotgun. I got to look at his name. Wait, oh, lights can do with the... Yeah, oh wow. Monster passed away, I think a couple of years after that.

Passifier, dude, no, pacifier. No, Duky, he's dead, too. He got shot. At a car race. Yeah, at a car race. And then Monster was killed. I can't remember what happened to him. I think it was an accident what happened with him

when I was looking these guys up. But I started to see, because what really... I remember I posted a back to... in the day, I posted a picture of shotgun dude and somebody was like, yo, Van, look into his story. And I did. And it is... What's the story? The story was, he ended up

going to jail for Dumbull Homicide. After he went to jail, they put him in a cell with somebody who then murdered him as part of a satanic ritual. That's actually a true thing. That's a real thing. And then other two, out of Doe Boy's crew, like two of the guys would die within, I think, five years of the movie being made

of the movie coming out. This is not compared to the poltergeist cursed. It doesn't. The poltergeist curse is much, much deeper. Way more fucked up. This is pretty good, though. Yeah. So, yeah, two of the guys died, like, almost...

All of our major stars from this movie are alive, though. But everyone, which is why it's not cursed. But not John Singleton, who was, I think, only 51 years old when he passed away. I mean, that's very young. Yeah. I have a good one for you guys. Give it. We're going to play out Ricky's USC football career.

Oh, let's do it. Here's the real-life USC. They go six and five with Larry Riley in 1992, Ricky's freshman year. Okay. They fire Larry Ray. They hire John Robinson. They go eight and five and 93.

Somebody else comes. Is this quarterback Tom Morinovich at all during this stretch? It's before that. I think it's a little before, yeah. Tom Morinovitz is the recruiting pitch. He's like, yo, you go hang with Todd and you guys go. I don't think they would have liked each other. Okay.

1994, USC goes eight three and one. They win the cotton bowl. Yeah. 95, they go 9-2 and 1. They win the Rose Bowl. That would have been Ricky Senior. That was Keishon was on that team, right? I'm saying.

So here are the running backs. So they have this guy, Sean Walters in 94, 976 yards, 11 TDs. The following year, he signs illegal with an agent, gets kicked off the team, replaced by Dionne Washington, 1109 yards, 6 TDs. I feel like Ricky is starting over both of those guys. So let me ask you a question. They never became NFL guys. So, and they got Keishon returning kicks and stuff. punts right there at that time, right?

Yeah, I think it's Ricky and Kishon. I think that might be undefeated in 95. So, hold on. We have to slow down this second because Kishon obviously is the number one overall draft picked by my New York Jets. So is it possible that Ricky could have been a New York jet? Or somehow, what's more likely, is he an L.A. Raider or an L.A. Ram? Let me go further.

Oh, wow. Could Ricky Baker be on the ESP and Morning Show with Kishon right now? Right now. I think he's a Raider, by the way. The USC guys? Yeah. I mean, he definitely could. Two guys, because they play college ball together?

Or, or, or, because he kind of teetered. He was like, maybe I could be, did he say, maybe I could be in, like, journalism where he said business, right? He said, I wanted to do business and computers or something. Yeah. Let's keep going, you know, could he be the GM of the Tampa Bay Bucks right now? Could he have replaced John Lynch? I was trying to go through all the college running backs, and it actually was kind of not a great era. Kajana Carter.

Yeah, it was like there was a lot of bus in the 93, 94-day-5-Ritch. As far as NFL bus, it was almost all the guys. Yeah. Like, remember, Rishon Salon was a big deal. He might have had a couple of good years with Chicago. I can't remember. Because John Carter was a big, huge deal from Penn State. Lawrence fucking Phillips.

Marshall Falk did okay. He did fucking fantastic. I'm giving you the... Or, or... I do have a question for you. Or does Ricky, maybe he doesn't figure out of SC and maybe goes to San Diego State? Nah, he's going to S. No, no, no, no, no.

I'm saying he goes to USC, right? But transfers to San Diego State. Isn't that where Ladenian went? Here's your... No, Ladanian went TCU. That's where Marshall Falkland. Marshall. Marshall.

Your 96 NFL draft, Kishan is the first pick. So Kishan is in the same class as Ricky Baker. Jonathan Ogden's fourth. Lawrence Phillips is sixth. Timbiak Batuka is eighth. Wow. He was a semi-bust. Let me do the running...

Napoleon Kaufman. Is he somewhere around there? Go Raiders. I'm getting you all the running backs. Eric B. End me? I had Napoleon Kaufman, Jersey, as a kid. We have... The boy of Coppler was ill, especially in college.

Eddie George is 14th. Oh, he was good. Mike Allstadt, second round. Oh, my guy! How about Kareemm Abdul-Jabar, the other one? From UCLA. I remember we had a couple of good games from Miami, right? Stephen Davis, who punched out...

Did he get punched out, or did he punch out the guy? Was he a panther? Remember he got the fight in the... No, he was a redskin. Oh, he wasn't. He wasn't a panther. He was a panther. He punched the dude out.

Didn't he played for the Redskins, too? Yes. Yes. Yes. Does Ricky, like, have a movie career? or no. There was a lot of running backs taken.

I think he gets drafted. There's like 30 running backs taken. Who else is there? Nobody good. It's like Richard Huntley, Jaris McPhail, Derek Harris, Tim Hall.

So anyway, the fact that he was, that Kishon, who was the most famous USC player before Bush and Linerd all, those dudes, the fact that they would have been

on the same team, kind of, Unstoppable. Yeah. I think they go 11 and O. Unstopable. What piece of memorabilia would you want from this movie?

Honestly, I'm going to be real with you, quick story, Because I have the hat on that I have right now, the South Central Cinema. This was, I have the, I have the memorabilia that I wanted from the film. I wanted the South Central Cinema hat.

Good man. Sean. I think it looked really cool if I left the office today in a gold Chevy and Pawa. I was about to say is Del's car. Yeah. I liked young Ricky's cheap USC jersey,

I think is a classic. What about the football? The football. Either one of those. I like both. You're going to take the football that man's dad gave him? What's like,

I got the football? Yo. I finally got it. Hey, which swap meet? did Rick could get his jersey from Ben? I don't know. Probably Slosson. Slawson?

Yeah. Who won the movie? Damn. John Singleton. I'm with Logan. I want to say Fishburn, but I think it's Singleton. Just because first Black director ever nominated for an Oscar and sets up a career. Yeah.

It's got to be Singleton. It's got to be Singleton. God damn. I want to get the Fishburn, but I want to say Cube so bad. There's a case. There's a case. I want to say, Cube's a Batman Cube, Cube's career, it just, it takes on a different form and a different shape after this.

Yeah. Ice Cube becomes, like, very rarely, I mean, obviously John Singleton, but very rarely does somebody explode on to the movie scene like Ice Cube did in this movie. That's a good one. A lot of nominees. A lot of nominees, man. We left out Regina King, who is probably the most successful and still killing it right now, man. There's a lot of people in this movie that are still killing it. How many Oscar winners did we have from this movie?

Because she eventually won one. So we got her. Fishburn hasn't won. Fishburn hasn't won. But he's been nominated. He's been nominated. Cuba Gooding won. So Cuba won.

She won. Angela Bassett was nominated. Fishburn was nominated for the same movie. Singleton nominated didn't win. Singleton nominated didn't win. Trying to think if there's anybody else in there. No. I think that's it.

Still pretty impressive. A lot of Oscar. All right. Boys in Hood, fan, Sean, Logan. Pleasure. Thanks, Bill. Always, guys. For show league. That's it for the podcast. We are back. Get this. Sunday night next week.

Not Monday night. Sunday night with a special July 4th episode. Hmm. I wonder why we picked July 4th for next week's movie. I guess you'll have to find out. The producer of this podcast was our guy, Craig Horleback. What a strapping, handsome lad he is. What a great producer. Thanks, Craig.

Enjoy the rest of the week. We will see you on. Sunday night on the rewatchables.