The Ringer-Verse - Reactions to Sinners | The Midnight Boys

Episode Date: April 20, 2025

The Boys are back to give you all of their thoughts on Ryan Coogler’s latest film, ‘Sinners.’ Intro (0:00) Spoilers Ahead (2:08) Initial Reactions (5:40) Character Analysis (13:23) Nitpicks (45:47) Midnight Meter (58:58) Hosts: Van Lathan, Charles Holmes, Jomi Adeniran, and Steve Ahlman Producers: Aleya Zenieris, Jonathan Kermah, Jon Jones, and Steve Ahlman Additional Production Support: Arjuna Ramgopal Learn more about your ad choices. Visit podcastchoices.com/adchoices

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problems may occur. Before treatment, get checked for infections and tuberculosis. Tell your doctor if you have an infection, flu-like symptoms, or need a vaccine. Explore what's possible. Ask your doctor about Tramphia today. Call 1-800-526-7736 to learn more or visit Trimfairadio.com. This episode is brought to you by WeatherTech. Everyone knows winter is the MVP and making a mess. You don't need Weather Tech floor liners in the summer unless you hit the beach or go camping. Then you'd want a cargo liner. Or a road trip goes sideways, ketchup goes rogue, ice cream drips.

Yeah, you'd be pretty happy about those WeatherTech seat protectors. So just to be clear as the mud, you're inevitably going to step into the summer. You don't need WeatherTech unless you plan on doing summer. Visit weathertech.com today. Welcome into the Rearverse. This is, of course, the ringer's Nexus podcast feed for All Things Fandom. We are Steve, the architect almond,

the builder and tinger of things. We are, Jomi, the explainer at dinner on. You've got questions. He's got answers. Old Man, Van, here. The receding resurgent hair line. Coke, baby, Chuck, the 24-carried Clositor,

aka the brunch holiday. Together, we are known as at all midnight, boys. Oh, whew! Also, socials, Insta, where we are cooking right now. With gas. Twitter, Facebook, TikTok, Jomi. Oh, dude.

The job has been saved. that this. I don't know. A lot of game left, but that Arthur clip is going crazy, dog. That's feeding families. Brother. Like, what? 1.2 million views as we currently go right now, that does not happen for clips like that. Appreciate y'all for

support and like it, man. Y'all locked in. Love y'all. If you love the Midnight Boys, share it with your friends. Things are going good over here with the Midnight Boys. Continue to share it with your friends. We appreciate the support and the love for everyone. Yeah. Especially some of the support and the love. from some people

who I've known for a while but that now I know all my homies and that really matter in the culture It's a great great thing And for this room

That you're about to set up Okay got you I got you Yeah You keep talking Keep talking Please You fucking around

Put it y'all on This morning I was like The homies is Is coming at me Right How many? How many?

Oh man That's got to be a lot. You want to know who's the most ancient of all the, we was talking about before you got here. You know how Kerm never, Kerm never comes out of the booth. Ah, ah, ah, don't do this. Don't do this. He's like a clip dropped. I'm like, not that type of clip,

Kerm. You fucking horny, motherfucker. Kern, we got to talk about some more than the poem about it. Well, you two, like, comment, subscribe, share. You can watch every midnight boy's house of art episode on YouTube.com backslash at reverse and also Spotify. On today's show. on today's show we got a special movie edition

the movie boys because we had to give you guys our take on the most talked about the most well reviewed the most buzzed about film in theaters right now Ryan Coogler's sinners that arrives today in theaters we've all synced it

and we're ready to talk about it okay this is a actually important. We will be spoiling centers in this podcast today. Yes. Yes. Now, this is different than the usual animus I have for the spoiler warning.

Okay. Normally, I get pissed off when it's time to talk about spoilings for shit like Superman. Newsflash, Krypton blows up. Okay? Oh, all right. This is different, though. There's a lot of twists and turns. and very important things to learn in this movie.

If you have not seen sinners, this will probably not be a podcast for you. And the movie is so great to me, just let you guys know, that I don't want you to ruin the film for you right now until you've listened, until you've watched it. Pause the podcast now, get you a ticket. I think we can safely say we all recommend this movie highlight.

See it and then come back and put the bottom back. It's good. It's great. We all had a great time watching it, but you will not get the full experience unless you watch it for yourself. Right. So roll the spoiler warning. Most weeks, don't play attention. This is this. Pay attention.

We're getting ready to talk about you're listening to a reaction podcast. The spoilers are coming. All right. Chuck is going to bring you the Midnight Manifest. All right. This is your Midnight Manifest. for sinners directed and written by Ryan Coogler starring Michael B. Jordan, Haley Steinfeld, Miles Caiton, Jack O'Connell, Whomey Masaku, Jamie Lawson, Omar Miller, buddy Guy, and Delroy, Lindo.

We start with two twins and World War I veterans, Smoke and Stack, who returned to their home in the Mississippi Delta to open a troop joint using funds they made ripping off Chicago gangsters, the brothers by a sawmill from a clan-affiliated man known as Hogwood, where they plan to throw their first party. Smoke and Stack then recruit their cousin Sammy and Delta Slim to form the blues, along with Smoke's witchy lover Annie, a cute singer, Perlene, and Chinese immigrants, Grace and Bo. Trouble begins when Stacks' old flame, Mary, a passing white woman, arrives at the juke joint wanting to rekindle hold flame with Stack.

When a trio of white vampires arrive on the juke's doorstep, Annie turns them away, sensing something malevolent. So instead, the vampiric leader Remnick turns Mary, who infiltrates the party and bites Stack, also turning him into a vampire, all hell breaks loose as the partygoers lead the sawmill and run right into the vampire's arms. From there, Smoke, Sammy, Delta, Annie, Perlene, and Grace wage a war against the vampire horde. Smoke and Sammy are the only two to make it out alive, but Sammy leaving his church background to follow his love but a blues,

and Smoke mowing down Hogwood and his clan buddies before reuniting with Annie and their daughter in the afterlife. But in an after-credit scene, it's revealed that Smoke allowed his brother to escape with his light-skinned lover, and that has been your midnight manifest. and we're not going to bullshit. Van, gut reaction after you walk out of the theaters, seeing sinners. This is why we do it. Hell yeah.

The reason why we do it, I want to say we, I mean, the reason why we tell stories, is to deepen knowledge and understanding of cultural celebration, of human frailty, and to communicate emotionally with one another. Now, sinners is not a no-beenomeness.

is not a Nobel Prize winning effort. And it's also not a perfect movie. But what it is is a complete piece of inspiration on screen. From the music to the performances,

to the setting, to the back-sorting biography of the individual pieces of culture that exists in the movie, it is an achievement. I mean, I think the reason that I love this movie,

so much is I think it's so, we don't think of black directors at least in the modern incarnations of the last decade or so with being able to deliver this type of blockbuster, not because they can't but because I don't think enough of them get

an opportunity or when they get the opportunity various things happen. And I think what I realized with sinners is that this is a beautiful movie, it's shot incredibly, there's so many important themes. But when I was sitting in there, it reminded me being a kid in the 90s, the early 2000s, and having just a big movie that hits you in the gut emotionally.

Michael B. Jordan beat the allegations. This nigga is like, not only a star, but he was acting his ass off. I really, it was just incredible, like, seeing like two, like more than two, but like seeing these black creators be able to put a blockbuster of this scale on the screen and nail it. I was, I was blown away. You know what? There's also something else here. We're going to talk about the individual pieces of the movie.

We're going to talk about first Michael B. George's performance. But before we even get into breaking the film down, you know, a lot of times, this movie in a way is an indictment of filmmaking. All right? Because what we're told a lot of times is that you can't commit to one thing,

too much unless you you lose something else. You can't commit to story that much because if you commit to story then your action suffers. You can't commit to visuals too much because if you commit to visuals then your performances

suffer. I think the thing about Ryan Coogler, who probably already is, we talked about a little bit on the big pick, probably already is movie for movie the most commercially successful black director ever, right? He makes films that are just steeped in culture, but at the same time are accessible for everyone.

I would even say Notch as a black director of his generation, when you think of directors in that age gap, when we think of like blockbuster directors, like, can you name me someone else who has the resume of a Fruitvale Station, Creed, two Black Panthers, now sinners, all critically acclaimed, all made so much money at the box. Like, I don't know white director. I don't know who's really operating on that type of level with that level of consistency. And the reason why that's important to say is because you can't have it all. You just have to care.

Yeah. Listening to him described, and we talked about it a little bit on the podcast, listening to him describe how intentional he was about the visual of the film, how intentional he was about how he wanted you to watch the film, just tells you that he's doing what he's. he loves. He's going to take some chances. He's going to take some big swings. Some of them are going to be singles. Some of them are going to be home runs. There are going to be some doubles in

there. But you're going to get a full ball game when you go home. You watch a Michael B. Excuse me, Ryan Coogan movie. Mitt boys. Now, I was with Jomey in the theater. Oh, you were? Jome came to watch the movie at the Grove. And I know that Jomey was bricked up. Was it a little awkward?

I mean... So I know that he was bricked up. Sure. So I'm going to turn it over to the men boys, but Jomey, if there things about the movie that you can't remember because Haley Steinfeld said Hey are you going to be able to steal this pussy from one night? Are there things that you can't remember? If there's things that you can't remember,

that's okay. We know you was bricked up. I mean, come on. I mean, Perlaine. I mean, come on, man. You was double-bricked. You was interracial bricked up. You was bricked up like, you was right-hand. Did you tell me some bail? I'm a milk merchant man.

Wow. To me, Perlene was the, you know what, Alea's going to be so disappointed. Alaya's not here at the moment. I know, and we can't let her down. But we talked about how great Michael B. Jordan was. We talked about how amazing Ryan Coorley was. And then we went to how fine Perlene and, and.

We got shit. All right, it's cool. Go ahead. Let's get, boys, which I got. You talk about Ryan Kugler, and I think the thought for me was just the, it's an achievement with intent and stuff. storytelling because coming in, I'm thinking this is a movie about vampires and this is a movie about, you know, it's going to be a horror film. And it is, it is those things. But it's

really a movie about music and how that change, how that can change your life and how that inspiration can, you know, make you do things that you normally thought you wouldn't be able to do. And the movie starts with, with Sammy, right? The movie ends with with Sam. Like The whole thing was just something that I was not expecting going into the film, but as I'm leaving, as I'm walking out, I'm like, wow. Just an absolute achievement of surprising me, but at the same time letting me know, like, oh, this is something that is not only like familiar, but it's something that we haven't seen in movies in a minute. just Ryan Coogler's intention of making you feel like this is something that is new

but also something that you've seen before is just honestly like incredible. With every Ryan Coogler movie that I see, I'm reminded about the importance of giving a shit and it was some advice that I got from somebody about like if I were to start like work in a creative space like your technical ability and your artistic intent and all of these things can be measured in very deliberate and specific ways

that people think can be good or bad. But if you really give a shit, it shows. And I don't know anybody else that gives more of a shit than Ryan Coogler about the movies that he makes. Filled with intention, filled with purpose, filled with like kind of every four quadrant that you could hope for in a movie that he is aware of, that he puts on the screen for you. And even if you don't rock with it 100%,

you rock with his intention and his vision. And the fact that he gives a shit with all of those things really shows like the most with this movie. I think this might be his best movie. So the movie is, it's interesting. It's grounded by the character of Sammy. This episode is brought to you by Spectrum Business. Fast, reliable internet means everything for your business.

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Get 20% off your first purchase at viori.com slash Simmons and discover the versatility of Viori clothing. Exclusions apply, visit the website for full terms and conditions. AKA Preacher Boy, that's what grounds the movie. The movie is elevated and oriented by the performance of Michael B. Jordan as Smoke and Stack. Yeah. Were you surprised that? Because I was worried when I realized that this was a twin movie, I was like, it's really

difficult for one actor to play twins. And at first, it was a little jarring. I'm like, can Michael Be Jordan do this? And honestly, it took like 15 or 20 minutes and I was like, I was it. I was just like, okay. So this is the most interesting part of it for me. Cougler, through the characters of Smoke and Stack, deconstructed. the movie star of Michael B. Jordan.

Yeah. He let Michael B. Jordan be, the womanizing, hyper-charismatic, hyper-masculine, smooth-talking pimp in one performance. And in the other performance, he let him be a man that is brooding, hurting, seeking something deeper, but completely ruthless and unflinching. And I didn't know that,

Michael B had that in. Like that more quiet, simmering performance, I was like, oh, he, like, Coogler unlocked something in Michael B. Jordan that I wasn't expected. Mike's been doing it for a long, long time. And his, it's, it's, what he's capable of as a performer, we've seen it. We saw it in Frueville. We saw it as Killmonger. But once again, when you are locked in with a director and a writer and a writer who

knows who you are, they can bring the best out of it. There's like a couple of directors and actors, even in like smaller scale things that you don't, might not notice that they often collaborate, and it's because they know exactly how to use them. And they know where their strengths are, and they know exactly where they excel. Cooler and Jordan, obviously, for the years that they've been working together,

they know their strengths. And I think that the first time that he can use the instrument that is Michael in, an actor that he is shown to be, this is probably like a violin player playing an elegant piece on, in a symphony. Like, this is the comedy the best use of his instrument so far. Like, all right.

What? What? No, I'm sorry. Go forward to say it. No, you looked, you went this way. I thought, because he said playing instrument, I thought you're going to be inappropriate, just because that's what you do.

Well, I'll be inappropriate. I think the best, here's the thing. I know we're being all respectful because this is a very poor film. But I appreciate at the halfway mark of this fucking movie, I was just like, don't tell me this, made a Don't Invite White People to Cookout Movie.

Because when the three vampires show up and they're trying to convince they just like, Hey, yo, let us in. Hey, listen. When I was hearing their little Peter Paul and Mary side, I was like, I don't know. They were having, they were, they were cut up. Hell no. I was like keep them white people out. That was, only you.

I was going to say this. Maybe not we picking Robin's bones or whatever. By the way, what a crazy weird ass song. That was a beautiful. That was a beautiful rendition of the song. When they were doing the Irish jig joint, that was crazy. That was great.

Hold on, hold on. That part of it. That part, the little, we go pick Robin's bones clean when they come to the thing. I'm like, they weird. And they're doing, I'm not fucking with that. But when they was in the Irish jig,

doing the river dance in the line and doing that? No, no, no. I like that river dance shit. I fuck with the river dance. Was it stack dancing with Haley? Yeah. Yeah. Everybody.

Omar right there like, oh shit. The vampires is having a good time. By the way, there are messages in the movie, though, and they're not heavy-handed. But they're messages in the movie like, I want your gifts. I need your gifts. I need what you do in order to help me.

I need everyone to assimilate to what I am. Those messages might not be top of mind in the movie, but they are there. And it's actually very masterful the way that that movie does it, because the offer that Jack O'Connell Donald's character really makes is a bid or an appeal to community, an appeal to, like, know that like the world that you're in, like, you've been lied to. Like, I see all these memories and I see how this town has been fucking you guys over.

Like, you're not even, like, the mill that you're in isn't even like your property. It's a killing floor that they're just going to kill you in a week from now because you're on their land, like that you just happen to sell them or to buy off of them. And it's like, it's this wonderful thing of like making it like an appealing and enticing and seductive like bid to your community and sense of self in order for your own self-preservation. It's sold in a very attractive way. Well, asking you to become something else.

Exactly. Asking you to become subhuman in order to access something that you don't have. Right. Which is oftentimes a choice that if you are from a community that doesn't have access is what you're asked to do. You're asked to become a weapon.

You're asked to become a mark. You're asked to be something less than what you are, less than a part of your community, to rise with something else. And everybody over there seems like mindy. I mean, smoke, I think the genius of, like, the smoke character is he's already dead.

Like, he's already, like, he is given himself over to money and ruthlessness. And he's seen World War I. He's seen this racism. He's gone to Chicago. And the relationship that he has with Preacher Boy, both Michael B. Jordan's characters have with Preacher Boy, is seeing this individual who still has a level of innocence,

still has talent, can still use his art and his music to connect people, but also to escape. And like, see, like, there's this heartbreak on Smoke's face and be like, you don't want to be here. You don't need to be in this juke joint. You don't want money, all of this, you don't want to cross over this.

And to your point, I'm like, there's all those little threads in the movie. And I think a less, I think most directors would have been, very heavy-handed with a bunch of that. And this is just like, you could just watch it as an action film. And then when you get home, you're like, oh, shit, that's what they were trying to do. You could watch it as a horror

movie, you can watch it as an action film, you can watch it as a musical. Yeah. Yeah. I mean, I think we've popularly, we've glazed Michael Lee Jordan. We talked about Jack O'Connell. We were, that's a lot of glazed. That's not glazed, though. That's not glazing. It was, what you mean? Glazing is retiring somebody's number when they have. Right.

Yeah. They haven't played for your franchise. Yeah, when they have like a 10 and 7. That's Glaze. But we haven't glazed. He was good in the movie and we're talking about why. I don't know. Did he be,

so Michael B. Jordan beat the allegations. I feel like a lot of people. I always thought Michael B. Jordan was a competent and a good actor. I feel like people were throwing shots. People were trying to throw shots. People were throwing shots at Michael B. I think he definitely quiet the noise after this.

They definitely quieted the noise. Right. Like there's no, no, there's no room for conversation. I think what he did as Spoken Stack in this movie, to your point, dividing the personalities that we see in Michael, Mechle-B Jordan performances.

I mean, those two monoliths of him go out there and just be excellent for, what, two and a half hours was incredible. He was great, Jack O'Connell was great, but I think the two people who we got to talk about next are Miles Katten as Sammy. That's where I thought you go. Oh. And Delroy Lindo as Doug.

as Delta Slim. Oh, Delroy was killing it. Delroy was awesome. Because we're like two opposite ends of the spectrum where we've seen Delroy and a lot of stuff. We know his caliber. We know he can do. And even in this movie, like him as a comedic relief was just excellent. When he tastes the Irish beard?

He's like, but then he still has that moment. Remember, in the car, we saw him about his homie. We flashed that bread when he didn't have to and got gotten. You're seeing the theater like, yo, that was crazy. And then later movie, I think I shit myself. Like, you crack it up.

And then Miles, we had never seen, we haven't seen him before. This is his first rule. This is his first rule. And he carries the movie. He is the heart of the film from literally the first scene. So we see him in the car driving off at the end of the movie. Beautiful singing voice, too. Beautiful singing voice.

And he can actually play the guitar for me. Oh, yeah. He was on tour with her. Like he was a, yeah. Remember, he represents the innocence of the film. whether or not that innocence is corruptible which Smoke and Stack have two different different opinions on that

Smoke is a protector, Stack is a pen. So Stack wants you to show your ass so you can get that money. Smoke wants you to protect the things that are going to be long lasting like in your life, right? And so those two things are pulling on him and then the decision he makes

at the end of the movie is just for himself. Yeah, right. It's just, it's for himself. It's for freedom. It's for expression. It's, it's for himself. But he even doesn't know at that point that smoke has been protecting him his entire life. Right.

Yeah. I mean, but that's why I love that performance in the story. Because like smoke, there's this thing about him where even when he goes back with Annie and he's like near the grave, you're just like, oh, he's lost so much. And he's such a broken man. and to see him almost transform into an action hero, I thought the movie was over. And then when they go back

and he's mown down the clan members, I was like, yo. This is, this is, it was electric. Yeah, yeah. It really is having his cake and eating it too and earning every bit of that cake. But even that, though, that right there was so that he could die.

Yeah. He takes the mojo off. And he doesn't want to live in a world or his brother. He don't want to live in the world without the family of people that he had made. He had survived. It was over. He could have gotten his car and he could have left.

But he made the decision to take the mojo off and to rid the world of the remaining evil that was around there before he said goodbye. Then why do he let his brother live? I mean, he just couldn't kill him. Yeah. He couldn't kill him. He just couldn't kill him. I mean, but the evil. still there. No, no, no, no, no. He can't look at his brother as evil. He just couldn't kill him.

The evil that he's talking about, I mean, he essentially took the clan on because he knew if it was one v. fucking 20 that he was going to get killed. And he assigns a bit of righteousness to his brother to be like, hey, leave preacher boy alone. I have a question. The rest of his life. I have a question. If you kill 20 people, even if they claim members, do you still go to heaven? I'll tell you what. I'll tell you this. I'll tell you this. If I see my wife and baby and whatever afterlife I'm in, I'm happy. How about that? Yeah, but I mean, it's like, you probably, I mean, we frowned upon it.

You're not supposed to kill. But at the same time, they was about the rule. They was playing members. By the rules of the Old Testament, let's not get into me. I don't know. My question for Joe, Matt. Did I sit in school? Jomey.

Be real. What's up? You let Mary into the function. Bro, this movie's 10 minutes long if he stars in this. Are you, are you letting me see? This movie's 10 minutes long. Because here's the thing. My man, Stack was trying to front on her on her and the train station.

I'm like, you in love, bro. Stop. He's like, Are you sure? Man. Bro, Stack was like, when she was talking and keep your voice down,

man. People can be hearing this, bro? Meanwhile, flash forward, 45 minutes later, they had to join and he's just all up on her,

man. I mean, obviously, yeah, she's getting in. That's not a question. It's the most obvious thing. If Omar Miller's at the door,

like, I don't know if you get it. I'm like, if you don't know, if you don't know, if you don't know, if you don't know, right,

right? Well, listen. Why are you shaking your head, because, man, it was dangerous. She, like, see, that just shows you how Jomey is.

The reason why they wasn't letting her up in there is because if the wrong person saw her in there, they come in there and they kill everybody. Jomi don't care about it. Sometimes you got to cut this, but there's nothing, there's nothing like the wrong white girl showing up to a party with black,

I'm like, he's about to get fucking get on. She's about to say some shit. So I'm like, people go get on. I'm always like that type of. Oh, no. Oh, no.

We used to be at the party and like, Somebody, three sisters, like, okay, so this wouldn't happen at parties at Southern, right? Because at parties at Southern, we all black. But if you went to a black party on LSU's campus, it would be some white people there a lot of times. Sometimes in the crew of black girls at LSU, they might have a white friend that's in the dorms with them or something like that. She comes through with a hair braider or whatever. I don't know.

And then she walked in. and you're like, oh, shit, I can't wait to see how this is going to. You know what I'm saying? You just, because she don't get drunk. And then all of a sudden, she's going to try to drop down and get an eagle on. She's going to fall. She's going to spill something. And the niggas from the north side, they don't know.

Wait, what's the drink line on take care? Oh. When white girl says, you're going to be in some trouble. I'm telling you. I don't know what hurt. It happened before or that, you know, that cheeky black. come on and some of that shit like that that whole talking that shit and all of a sudden the nigger come out

her friends are cool with the nigger the other people not cool with the niggas crazy I always like that I always like the wrong white person in any situation how is this going to get fucked up I just you want to incite chaos or you just want to see I love the chaos I just watch to see because they are going to fuck up right yeah

I just watch to see by the way not only they're going to fuck up uh huh they have less of a margin for error because so many people don't want them then. So you come in there and you step on the road. Who is this? And then, oh my God. The leash is so short. It is a fascinating social experiment

though because you're just like waiting for that. What I loved was eventually it's going to be a joie in the party, right? Yep. Uh-huh. And he's going to talk to her. And if there's a sister in there that's not with that, that's when they start doing the thing. That's a trouble. We get off this.

I love it when there would be always, we want a sister at the party that would talk loud so that a white girl could hear. Oh, yeah. Yeah. But not directly to her. Like, we came up in this bitch to hang out with the capas.

We didn't know it was going to be white bitches in this motherfuckers. And I'm like, oh, shit. She's talking to you. Wait, you're an asshole. You're an instigator. You're an instigator at the party. Yes. Hey, hey, hey.

Brittany. She's talking to you, man. Isn't that another white bitch in here? You're going to let that slide. That disrespect. That's crazy. Oh, she over here fucking with your girls, man. your girl, Britney, she's in trouble.

So here's the thing with Mary, the minute she was like, hey, yo, I'm going to go talk to the white people. I'm like, all right, it's about to get fucked up. Well, like, that's also, that's also on stack. Yeah, it's also on stack, man. Trying to chase that bread, bro. Like, hey. Stack did nothing wrong. Setting her outside.

Stack is a real lover boy. You know what I'm saying? He was trying to protect her. I'm with stack. Nah, I mean, he gave her the gun. But, like, he was one of the, they were like, yo, I try to go outside. I get this money. You didn't have to do that.

You know what the important part about all of this is? There's plot utility here. Yeah. So the part of all of this is, okay. So think about what we learn. This is what I love about story. We learn that in smoke a stack coming back and trying to do something for the people of their community, that there are problems.

This isn't Chicago. So in Chicago, if you opened up a Jew joint, people are going to come play with American money. Here, though, the legacy of slavery. lives on. So you can actually live a life just being paid in plantation credits. Those plantation credits are only meant to be spent at those plantation general stores, right?

Which essentially keeps you dependent on that plantation, which means you're not accumulating wealth. And if you don't accumulate wealth, the rest of your community won't accumulate wealth. Because when you go somewhere else to spend money inside of your community, it will force you back to the plantation where that money is good. Stack

is, smoke is saying, this is not the way America works. Stack, and what is the name of his character, his girl's character in the movie? Annie. Annie. Annie. Stack and Stack and Annie are saying,

smoking Annie. Or, no. Stack. You're right, you're right, you're right. Yeah, Stack and Annie are saying that's the way things are here. Right. That develops into them needing more money. But also in the beginning, he has to leave. But also in the beginning of the movie, a genius bit of writing is like, we learn so much about Stack because he comes back, he's the big gangster or whatever coming back to his hometown. And when he sees the girl and he's like, yo, lay on the horn, he's teaching her like a teachable moment about like, smoke.

Smoke. Yeah. This is how you negotiate. Right. You know, he's like, it's like, it's like 20 cents isn't going to do it. And you realize you're like, oh, there's something good in him. There's something where it's like he's learned something traveling the world. He's learned something being in Chicago. And he's trying to your point, he's trying to get his people to realize like, Hey, American way. This is the new American way. It's the American dollar.

And to your point, they're still like, even Annie's like, yo, do you still believe in this shit? And the funny thing is, um, is like, not only does she believe in it, his, her protection, like that belief is what protects them at the end. And I was like, oh, I forgot that. he was wearing the mojo. And when his brother is trying to bite him, I'm like, fuck, like, hell yes.

But also, he could, yeah. I'm saying Masako in that, in that, in that movie, incredible. Amazing. Incredible. She adds, like, so much heart and so much. What were you about to say? No, I'm saying, first of all, she's sexy. She was the first.

Wait, no. Whoa. Why would you start that? I don't care, bro. That's a, that's a beautiful, you know, black. She's sexy. Secondly, this is what I always. also say the love story in this film that has been marketing it and portrayed to people is the story between Michael B. Jordan and Hallie Stinefield in the movie. And that's okay. Because there's a lot of heat and chemistry between them. However, the defining. Oh, yes. Oh, yes. Yeah. Connection is between Womeny Musaku and Michael B. Jordan's character of smoke. It's between Annie.

and smoke. She gets just as much screen time as Haley. She does. The defining, when I think about the central, the thing that grounds the movie and the relationship that grounds the movie, you might be able to sell Haley Seinfeld and Michael B. Jordan on a poster

for People magazine and all that stuff like that. I think it's very interesting, though, that when you watch the movie, the relationship is actually the most formative to the movie and actually the movie is oriented around. Most formative, most defined. Like, that's the relationship. Like, the one with Preacher Boy and Perlene, you know that's new.

The one with Haley and Stack, you're like, you see the vision. You, like, understand, like, what they've been through. Like, it's kind of short. But you, once he goes down to Hirsch's little, little house, and he puts down the flowers. Once he goes down, I thought we was talking about something else. Oh, that happens a lot. I mean, there's a lot. There are some eaters in this movie's a little Wayne song.

It's great. Let me finish my point. But he goes down and he lays down the flowers by the little thing and you understand, like, you immediately get what's going on between him and Annie. And they have, like, a past that is just filled with pain. Suffered. They've suffered. They've suffered and still find a way to come together at the end. It's still kind of, it's still nuts.

Can I ask y'all? Because I've been trying to, like, parts out. Because also what's very bold about this movie is the relationship between Stack and Mary, Haley Snipe. I was like, what is Google trying to say here? Because Haley is asked to do a very interesting thing where she's 1 eighth black. She's grown up in this community.

You can tell everybody knows her, knows her mother, and accepts her, but there is a level of, Stag's like, you made it out. You married a white man. This ain't safe for you. You don't want any parts of it. And she's so desperately wants to be there. And for her

to be the character that essentially brings the vampire element in. It's a Dr. Umar thing. It's a Dr. Umar thing. But think about it. Very layered. Very layered. It was a layer.

It is. But think about it, though. She was sent out to communicate with the white people. She was sent out to communicate with them. She was sent out to get what they had. They have money. And when they came in, first thing she says when she becomes a vampire

is we're going to kill all of y'all. So she goes out to, inside of that barn is community. And they're actually talking about it. Inside of that barn is community. There's legitimate and sincere cultural inspiration. It's people's pain being played with the guitar. There's lovemaking. There's connection being made.

It's people that, even in the conversation between Smokestack and Annie, they work so hard and they are unsung. The only thing that they have to spend are wooden nickels and plantations, it's all in there, but it's real.

Outside is something completely different. Outside of it represents the world. She brings them back in and then everybody has to die. And the only person that's left is Sammy and he has to play that pain for the rest of his life. Yeah. Right?

Because that's what he has to offer the world, the blues, the best day of his life of his life that turned into the night where everyone that he knew and loved was killed. But, you know, besides, but I also even thought it was an interesting Remick. We haven't talked about yet who's fantastic. Who's fantastic, the lead vampire. Jackalcom. You also have this interesting conversation about religion because he's even like, Sammy Preacher Boy is, do I go with the Blue? Who's do I go with religion, with Christianity? And Remick is just like, that shit was brought to me as well.

This isn't even a part of y'all. Like, what Preacher Boy is trying to connect to is something that is way more ancestral. He's way more, oh, it's way more about his people and where they come from in this lineage. And you have his father being like, hey, stay in this. Give him the medicine of Christianity.

Real quick, Steve. This is the part of the movie that at the premiere was most interesting. to me. Wait, specifically you're talking about the piercing the veil musical sequence. No, no, no, no. No, not talking about that yet. I love that though. Okay. We'll talk about that. There's a lot to say there.

I got one note. I got a lot of notes. So, at the end of the film, when Preacher Boy has fully been accosted by Jack O'Connell's character, preacher boy begins to pray. Oh, yes, this. And

when he begins to pray, there is a moment of hesitation where you think that perhaps this prayer will save him. And do you know what happens? All of the vampires start praying with him. They pray with him. And you realize that that has no effect on him. That's a statement.

You realize that that has no effect on him. That's not going to affect him. That is not in the theater in L.A., it's a black theater, right? it's a black event as far as the premiere was. It wasn't a black event, but a lot of black people there. People started clapping when he started praying. And then they very quickly realized that that was not saving him.

And when the vampires start praying with him, you go, oh, shit, preacher boy has to save himself. Yeah. Like, oh, like, this is not your show me across the power of God compels you type of of situation. Now, I do not know what's trying to be said right there. I actually I actually kind of really like this because it's only because, like, there's

I think the on the face thing is like God won't save you. You have to save yourself. That's a like on the nose reading of it. But also it's this thing where religion can also be distorted and like inflicted upon you as a way of

like keeping you and assimilate. you into something that you actually will be distorted into something terrible. He said it himself when he was like, I once, like, these words were forced upon me and I hated them, but I also found comfort in them. And you can find comfort in us too. I like that what he said at the end where it's like, okay, well, we'll pray with you if this gives you comfort in being with us. Because we can be all things.

I think they were mocking him. I don't, I actually don't think that. Oh, see, I think when he started praying, He was like, the words still bring me comfort, but I think they were mocking him. I think they were going like, that doesn't hurt us. Well, and again, this is like the kind of great, like, seduction of the vampire that can actually,

that, like, the vampire lore actually is, like, pretty good and well represented in this movie to make you think that, like, the person that's hunting you, the vampire that's hunting you, actually empathizes with you and, like, has a cause to hunt you. And, like, you have to actually let that, like, evil and hate in in order to be like, you know, taken over for it, dominated by it. I like the idea that him kind of like trying to assimilate himself with preacher boy to pray with him to empathize like, hey, you're being oppressed just as I was.

Like the Protestants came and took these things away from me and forced something, these words upon me. If you get comfort out of it, we can be that comfort with you and live a long time. And it was the same type of bid that he made. to the entire party where it's like you guys are getting fucked over. You can live with us and survive and thrive in a different way. And I think that he might actually earnestly mean that. I don't think he does. I think he's trying to expand his covenant.

But to a guy that's lived forever and probably has lived through like the Protestant revolution of like what, the 1600s and like probably was turned by a vampire that might have said the same thing to him. He's hungry. I understand. Yeah. I think, but this is the magic of the movie. Yeah.

Religion, race. All these subtexts are in the film. Effortlessly. And it doesn't feel bogged down. Yes. It's not heavy-handed. The whole thing, you could, again, like you said, you could watch it as musical. You watch it as a horror movie.

You can watch the acts movie. But at the same time, there's all these themes interwoven into the film that if you're not, even if you're not paying attention, you can still see underlined in the film. And if you, like, start going picking them more, like, oh, we talk about race. for 30 minutes. We talk about religion for 30 minutes. Like the whole thing is just so well-threaded that it just makes this movie feel so complete.

Isn't that the mark of a good vampire movie? Because, like, vampires are always saying something. There's like a level of, like, what is this saying about society or whatever? And at every single point, Ryan Coogler is taking the popular conceptions of what we know about the vampire of, like, what does cross inviting a vampire into your home mean for a, a sawmill full of black people. What does it mean our version of these vampires to kill them?

What does it mean that it's white people who are coming to turn us into vampires? But they're all, once you're a vampire, we're all controlled by the same mind. We're all under the same. I was just like, oh. We feel your pain, you feel mine. Exactly.

Like there's ways where I was just like, oh, you just weren't making a dumb vampire movie. You're like, I'm using what we know about. And that's what all good sci-fi movies are. All good alien movies, everything. You're just like, it's not just an alien. a movie, it's telling us something deeper.

And I was like, that's what I thought was so really. And again, doesn't explain the vampire stuff. He's like, you know what vampires are. You know what we do. You know how you kill them. We don't even have to waste time with that. Let's just we get into it. I thought that was really smart too. Like, obviously, you've got to invite them to cross over.

The garlic, the wooded stakes and silver bullets. You don't need to like spend like five minutes. All right, here's how we kill these guys. This is like, no, we know ball. Yeah. If we didn't have to invite him, we would have to have wait. See, this is there. Because his thing, the blade. Where was Blade?

Well, the Blade vampire. So we don't need Blade, right? Because the Blade vampires, they don't have to be invited in. They'll just come in your shit. Well, they're, well, like, they're Daywalkers as well. So they can, like, kind of. What are you talking about? Well, is it, are you talking about Blade himself or the vampires in Blade?

Okay, yeah. So, so, but they don't have to, because, like, they don't have, they don't need to be invited in. So we, in that world, we got to have somebody killing these motherfuckers or we toast. I'm going to be honest if these vampires in this movie, I'd be fine. I'm just like, oh, all you telling me is I just got to stay inside and not invite anybody into my home. I do that shit already.

You know what I'm saying? Tell you something. I mean, we move on, but this is I'll tell you something. Okay. Yeah, but Hayley Steinfell's on the other side. Number one, there are a couple things about the vampires. Number one, they don't have super strength. Okay?

Yeah. All right. So we scrap it. You know what I mean? Like, I'm like, we scrap. No, no, no. I mean, if you have to, whoa, smoke was giving stack the hayes like,

But also, like, you shot Haley how many times she was like, bitch. Oh, no, no, no. What I'm saying is you got a chance, though. Yeah, you got a chance. Yeah. All right. And also, terrifying scene from the Colin Farrell Fright Night. You have to invite him in.

Oh, yeah. But do you remember what he did? He ripped up the gas lines. Right, yeah, yeah, yeah, yeah. Oh. So, like, in the Colin Farrell Fright Night, and the Colin Farrell Fright Night, rest of peace, Antoni Yelcher.

He's inside the house. and you have to be invited in but Kyle Failed's like, fuck it, he ripped he went into the thing because he got something and it was ripping up the gas lines and about to light the fucking house on fire if he didn't come out. If you don't come out.

I mean, I was pissed at what was the the woman, the Chinese woman who owned the store when she started screaming and let him. I was like, She did a star lord. Did a star. It was like,

she pulled a star lord. Grace, Grace. Grace star lorded us. I'm like, put a sock. I don't know, man. That's your daughter, man. You got a sloaf-you-know- I understand. I understand.

Grace, I would have, the minute Grace started yelling, I'd have thrown Grace outside the motherfucker. Like, jazz. Bye, Grace. You want to go fight, go fight. But here's the thing, I felt bad for her husband because I've been in that same exact situation where I've been with a girl, she's just like,

all right, all right, we got to leave, yo. Go get the car. I'm like, they shoot him outside. I don't want to go. I got the car ready. I'm like, I'm not going outside. That n'clock. came back in so smooth.

Yeah. I mean, he came back. Hey, come on. He's like jiggling the keys. Let's go. Let's go. Oh, nothing.

Don't worry about that. He's just hungry. He's like, he's like, he's like, you don't fucking care that cornbread is fucking eating this guy. It's all right, man. He's regular.

The acting post vampire transformation in the movie is fantastic. So good. I saw the red eyes. The red eyes were so effective. Such a simple, great little effect. And that's crazy because Kugler talked about this. He, that was his spot. by the Puss and Boots movie, The Last Wish.

Wait. He's locked in. Also, we have to talk about before we get to the midnight meter. So I had some bitpicks. Yeah. I was being a knitter. You know? I think a lot of people love this scene where it starts off great.

We got Preacher Boy. He's finally letting loose. He's at the jukebox. It's this shot. Like, everybody's dancing. I'm like, oh, this is beautiful. And shot in IMAX, too. This is great.

Yeah. Then a nigga starts crumping from like, like, 2010. I was like, ugh. See, so here's the thing, right? Everything about that scene, the crumpin was fine. I was like, the guitar, the DJ, the twerking was out. The twerking was like, all right. All right.

Because, again, the movie's just such a good job of immersing you in there. Uh-huh. I'm like, yo, this is 1939. We're in Mississippi. Tipy, man, I'm locked in. They're jerking. I'm like, I'm like, wait, wait, wait. It literally wakes me up out of the trance.

I'm like, oh, whoa, this is, yeah, I'm in the theater right now. I like it. So, okay. I like, no, no, no, I like to, it's a little corny. It's a little, it's a little. It's not, not to, it's not, okay. So I would say this is why I like it. Because on its face, this is a safe movie.

Yes. Because on its face, this is from dust till dawn. It's Tales from the Crip Demon Night. On its face, this is... It's a meat and potatoes vampires. A horde of vampires outside. But the movie has something more to say, and it never, ever shies away from saying it.

We're going to eat pussy when it's time to eat pussy. We're going to twerk when it's time to twert. We're going to sing when it's time to sing. And Ryan Cougar... And also, once again, that goes far. It does go far. However, narratively, Sammy's playing

is what alerted Ramek to the fact that they were there. No, no, no, no. It's, I think it works. Like, I like the scene from a story perspective. It was shot beautifully. A lot of people have come out of the movie being like transformed by that scene

talking about it. And like, I don't want to take anything away. It's just I wouldn't be Coke, baby, if I was a little bit like, I was like, it was literally just like, I mean, like, again, I'm so into this world. I'm so locked in on what's going on. I see them shaking ass at the corner.

I'm like, I don't know. I've seen it. I was just the cloned week last week. I just seen it. Yeah. They could have, I wanted, I wanted there to be, like, more ass-being shaped. Like a tip-trill shit? Yeah, I think they could have gone further.

Gone farther. I know some, you know, people that you could put in it. Cougs, if you're going to do a scene that goes to twerking, that's, first of all, I like that thick shit. But if you're going to go to that scene. But, like, let us, let us see the twerking. I want to see it. Wait, wait, wait, we do have to talk about how a horn in this movie was. Because I was not, I didn't.

Hey, we 32. Yeah, yeah, yeah. No, that's not what I'm saying, though. But again, you come in, it's a vampire horror film, right? Mm-hmm. And, like, a lot of fucking. Vampires are horny. Yeah, vampires are, yeah.

And we, we, I don't know, maybe the new, I don't know how the new blacks do it. The new blacks. The new blacks. The new blacks. I don't know. No new blacks. But I'm from, I'm from the south. And we dance.

sweat and fuck. Well, what, where she was just like, yo, let me wash up for us a preacher boy,

like, don't even worry about that. Yo, I was like, my nigga. That was, that was fun. He had that on.

It was, that was like, it was good. And then later, when he goes, when smoke is just like, hey, yo,

just that, he goes, preacher boy runs over there. He sees him fucking. He's like, he's, shit, I can't.

I don't give a fuck. I don't give a fuck. I'm going to. The one that got me was, when she, when Haley, comes back after getting bit and she's like flirting with

Stack and she's like so you can rob banks and steal cards but you can't steal this pussy and literally the three black women sitting right next to me went oh! I was like

Hey man, Stack. I cannot blame you. I think you were a hot mess at that drool scene. Hold on. Hold on. That was crazy. Oh, Haley Sinfiel could drool. That was crazy. I don't. I'm not going to I don't condone the behavior because I definitely do condone it. I can do it and I understand it.

I can donate and understand. What smoke pulls up on Annie, I was, he was like, don't make me say it. I was like, she grabs that, I was like, dog, I can't be. Wow. That can't be. That was, I was like, she grabbed to me.

She said that in French, like, your body did not forget me. I am really interested to see how, how a generation that seems so adverse to the sex scene because we've talked about the sex scene kind of deals with this much sex no nudity. No, just sex. But just sex, which makes the sex seems almost more powerful.

Oh, yeah. Being that, like, you're not getting gratuitous nudity, but you are getting people who have a real desire for one another. I think what it is is as one of the young folk. People are always like, it's unnecessary things like that. I think for this movie, it's absolutely necessary. I mean, we can specifically

stack and marry. Like, that's how he gets bit. Like, that's very formative. For Annie and Smoke, that's, they love each other. Like, they're in love. That's them, after him being away for so long,

showing how much they care about each other. And for a preacher boy, that's him losing his innocence. Yeah. Right? That's him finally going over. Like, he's been all this time with his cousins. Like, this is,

he's, I imagine. And they said it's like, hey, this is what Stack would do, man. Stack would say so fine. What I love about is because of like vampires, traditionally sex is a part of it. I love that all of those scenes have to deal with all of these characters denying themselves something. Where they've all been away, whether it's preacher boy with religion, whether it's smoke having to come back and like, he's not just having sex with this woman that is like random to his life.

they had a child together. He left this woman and there is still something. This longing and like every single time a sex scene happened, like even with Stack and Haley, I was just like, oh, Stack is trying so hard to do actually what he believes is right, which is you will have a better life. If he passes white,

if you marry that white man, this is dangerous. And the minute he succumbs, it's just like, oh, you're a vampire now. Which brings me to, oh, what is that? Oh, no, well, and when he visits the grave in that first scene, like, he'll still deny himself, like, falling back into that love with his old flame.

Yeah. And she just pulls him right back. Smoke or stack? Smoke, excuse me. But, like, he wants to deny that because, like, that's a lot of pain that he wants to avert himself from. And that denial and then the subsequent seduction of the vampire to give everybody what they think they want just to ensnare them is, like, the perfect execution of

vampire story. I was crying real quick, though. And I don't know if it's the funny scene, but it was funny to me in the theater when they hear Sammy and Perlene going at it. And he's like, yeah, we got our stack, like, we got to get in there. And you can see like on a dime, he hears him, it's like, my nigga, hey, my little man. That's what I long to feel for you, Joe.

Saturday. Saturday. Wow. My little guy. my younger brother found that button. Oh, right. Meadee! No, no, let's talk.

What, before we go, let's talk about the mid-credit scene. Okay. That's your knit. That was a knit for me as well. No, I liked it. I liked it. I thought, like,

because I can understand the movie ending with him going off and finding, like, you know, whatever. Like, knowing that, like, not only did he go out and, like, make his own thing, like, he achieved something, right? Yeah. And to see Stack alive. was like holy oak oh god i loved all that coming back this motherfucker didn't need to me to goosges

coming back from a dots effects concert it's the 90s I was the 90s right we're supposed to be wearing a Jordan jersey like number one I mean you just needed the wardrobe you should honestly look like pock that would be the word the wardrobe there is important to let you know the era we're in I thought it was I thought it was interesting just that they number one that they escaped and and number two that he honored his brother's wish. Yeah, sure. I mean, again, I mean, I think he,

I think there's something innate within both of them, which is like, I literally a mirror image of me, like, if my brother's like, yo, don't do this, I will do that. I'm alive because of him. I'm going to, I want to say live for him because he's, like, actually dead, but, like, honor that last request. I mean, there is also a very spicy read

of that mid-credit scene because, Stack kind of says something beautiful where he's kind of being like, yo, that night was the last time that day was the last time I saw the son, the last time I saw my brother. And for him to become a vampire, for him to run away with Mary,

for him to assimilate to survive, there's something that he left behind. He left behind the South. He left behind his roots. Well, he didn't have a choice. He didn't have a... She did it to his dumb ass. But he could have done what,

what Annie asked for. which was like, yo, if I turn, instead of being assimilated, instead of, like, losing that part of, like, the music and the culture and the spirits, I'd rather you kill me. Like, I'd rather cross over because what does she say? She says, like, vampires, your soul is stuck. You can't cross over. You can't commune with something that is so important to our people.

And I do think that's why I would love to see a sequel of, like, what happens to stack when he denies himself that part, that part of his life? He can never go back. That's interesting. that, because I was making the joke in the theater. I was like, post-credit scene, man, sinners two, baby! And I was like, yeah, what's going to lend itself to a sequel? What's going to lend itself

to, like, having an important post-text? I did not realize that this was, like, the first thing they chronologically shot of this movie, this post-credit scene of them in this bar and, like, having Buddy Guy play the song. Frankly, if you have Buddy Guy and he'll play a song for you on camera, I'll just film that, and I don't

care. I'll put it in the movie somehow. I want a Bonnie and Clyde, Sinners, Too. with... I'll tell you exactly what I'd what I want. I want the Native Americans hunting vampires. Yeah, the Native Americans. Wait, I don't have you. I want that. No, I appreciated them. Them indigenous people were like,

the stuff started going down there. Yeah, you want, yo. He's like, hey, you got 10 minutes. You let somebody. He's like, the dude that you let in your house is a vampire. The homies was like, hey. Fuck that one. Yeah. Like, like, well, like,

and you're doing a lot of like, Hey, only, closing time. For her being what happened some years ago, let's go. They just went down. They gave a little shout when they left. You think maybe the ancestors of the Native American might be like, we got to get a stack and Mary out of here. Oh, no, they're going to be looking for them.

Yeah, they got to be. Yeah, they're going to be looking for them. Well, it's South Central LA. No, no, that's going to be, that's like, they're going to be, like, they're going to be looking for them. Okay, I already went down to say. They're going to be looking for them. They're going to be looking for them.

Because that's the only thing I want to see now, because if there's no Abraham Van Helsing, that's like, that's, that's, that's, that's, that's, that's, that's, that's, that's, I'm not thinking you're thinking about Abraham Lincoln Vampire Hunter. No, I'm thinking about Abraham Van Helsing. Sinners. You know who, Abraham. Yeah, Victor Von Helsing.

Wrong. All right. I'm thinking about Abraham Van Helsing. Don't play with me. Abraham Lincoln Vampire Hunter? Wrong. Who is Abraham? Oh, it is Abraham.

Okay. He cooked you. Why do you always do this, Steve? He cooked you. He cooked you. I'm thinking of, no, I'm thinking of Abraham Van Helsing. Great. Of Marvel.

Dracula's nim. No, not of Marvel. I'm thinking of Dracula's historic nemesis. Yes. Okay. It's time for the midnight meter. Wait, hold on. It's time for the midnight meter.

You got to get to the middle. Blade not showing up. Y'all don't want to see Blade a citizen's too? I don't want to see no Blade movie now. We don't get Martin Cooker direct Blade. Like, hey, man. Hell no. You're $6 billion.

We got to go back to the trenches. We got to stop. We got to stop this, man. We got to stop the... Blade versus Stag. Blade, the fuck stack up. Stack ain't got no powers. Oh, he might now because he's getting older.

Also, the only... I mean, the movie's supposed to be like a horror movie and, like, I don't like that stuff, but it was, like, totally fine for me. The one scene that did get me was when Haley was walking back. And then you started floats. I was like, oh, yeah, the floating was there. Like, is the...

I also hate that type of floating where it's like, it's just like, who... Woo! It's just like, oh, shit. All right, guys, midnight meter, proprietary technology. You know what it is. One to 10, normal scale. One being dog shit. 10 being amazing.

11, 12, fucking game changers. Mint boys, where are you at? I went first last time. This will be a 10 for me. Yeah. Yeah. Yeah. 10.

Time's going to tell on this one, but I think if sinners will endure for years to come if this is the trend that Hollywood goes on. Like, the importance of this movie in a time where, like, Marvel's on the back foot and we have this, like, original IP that's going to be like... I thought we wouldn't. I thought we wouldn't mention Marvel.

I was hoping. I mean, it was always going to get a play joke in there, but then he went and was talking about the slot. But it's this original IP that, like, from a big prominent director, then, like, it's going to be a statement of a movie. Yeah, until it becomes, you know, we get the center's HBO show.

That's fine. And then everybody's complaining. Well, we're here now. In order to be IP, you have to be P. Exactly. You have to be property. But hey, Google is getting it back in 25 years. Let's make that up.

Jemmy? I'm going to go to the 11. I think that this movie does something, again, that we haven't seen in film in a long, long time. It's kind of reminiscent to get out in a way. It's not like, obviously, not his first very tour debut, but you're watching a movie and you think you know what you're getting out of this film, and it's something completely different. The movie says, has something to say about a lot of things,

and it doesn't overstay, it's welcome. And we're going to argue about, like, how much movie, how much money the movie's going to make. But at the end of the day, I think this is a special effort from a special director with a special cast, and the entire thing is something that we're going to look back on and go. That was a moment. That was special. So I got to go to 11.

12th. Wow. I think of 12's fair. Yeah. The only reason I can't go 12 is because I don't know how much this movie's going to be. make. Yeah, the only thing would be the game changer, I admit. I think it

has an aspect of that. No, no, it's good. I just think it's too early to see if it is a game changer. I just don't know if it's going to make the money that we, a 12, should make. Okay, the reason why I say it'll be a game changer is because his movie is it will be

super successful. Yes. It's also incredibly important in breaking the curse of some of the IP spell that has been on us. And what I mean is changing the game to me is, of course, how popular something is, of course, how culturally relevant something is, of course how it penetrates pop culture, but also

when it goes against the grain in order to have a real impact in the marketplace and culturally. This movie is a game changer because it is distinctly musical, distinctly cultural. It is unfiltering and unflinching, and it will still win. It doesn't compromise at all. It doesn't compromise one iota, but it will still be the big deal that it should. It's a game changer in terms of its critical reception. The reception from audiences, I'm going 12.

Instant 12. Instant 12. That's right. Well said. I'm not bad about it. By the way, I understand that an insta 12 is controversial. Because, you know, sometimes 12, maybe 12 only in retrospect. But I'm going Insta 12. Sure.

That's fair. I'm, this movie is everything. I always complain about six. I'm not going to fucking six. All I'm going to say is I'm known as a hater. And people are always like, what do you want from shit? What do you want? What did it?

And this is the type of movie where it's like, I want directors and actors to tell their stories to, Be ambitious to leave it all on the fucking screen. This is not a perfect movie, but it doesn't need to be. Because it has so much heart. And I want more black artists to be given this opportunity. Because I think if you give black women this opportunity, black men this opportunity, we will start seeing. Like, you're going to reinvigorate this shit again.

And I'm so proud of Kugler and Michael B. Jordan, they did an amazing job. So I'm going to go with the strongest 10 possible. Wow. Strong 10. Hey. You guys. Sen. It's a hit. It's a triumph. That's a wrap. That's a wrap. Give it up from Michael B. George.

Yeah. I'm the Jordan Coulouse, man. Whomey. Haley, Jay. Everybody. Delway, Lindo. Miles Canton. Everybody. Fantastic. Ludwig. Everybody, man. The triumph.

That's a wrap this week on the Ring of Earth's Feed. This Monday, Midnight Boys will give you their reactions to the second episode of The Last of Us. Oh, yeah. Well, I like to call Plucking and Fucking. Also on Monday, the House of R gives you their deep dive. On Wednesday and or returns, we are back. The most back we've ever been. And we were going to react to it.

Our producers are John Jones. Thank you, John. Thank you, John. Thank you, John. Give it up for John. Yeah, John. Alias and there's Jonathan Kerma. Jomi, let's play a dinner on.

Hashtag Jummy B. Milking. Oh, one-eighths black. It's chocolate milk now. It's chocolate now. It's chocolate with a dash of cinnamon. Yeah. I know. It's like, you know what I'm saying?

Yeah. You know what I mean? Like, you know how if you, if you don't, you drink the nest quick, but it's still some chocolate. You know, stir. It's like when you, like, eat chocolate cereal, they drink the milk afterwards. Oh, daddy. And Jomi be milking, Jomi, brick, brick, brick, on a social, an additional production from Arjuna, Ryan Capow. Chalka.

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