Do the Right Thing – Mookie X

Full transcript of Do the Right Thing – Mookie X.

0:00KT: It's another week in the For Your Reference Household, and it is another, Do you know what that is Oti?

0:07Oti: actually? Degustation! Ah, ha,

0:10KT: I thought it was you getting into my panties.

0:14Oti: continental breakfast time.

0:17KT: Speaking of continental breakfast panties, um, friends and lovers, if you're looking for some more satiating. Cinema, um, set menu conversations, we did Hayao Miyazaki, The reference to the panties was Nausicaä, um, upskirt of the wind. We also did Taika Waititi. Quentin Tarantino, Jerome Tarantino, if you're cultural, um, Martin Scorsese, and Martin Scorsese, and Lily Gladstone was the reason why we didn't get where we needed to go, but where we needed to be is exactly where we are.

0:49Oti: Yeah.

0:50KT: Peep game. Uh, let's get on with the show. Hey, friends and lovers, welcome back to the sizzling For Your Reference podcast, You got your host KT and you've got your Mister Senor Love Daddy.

1:08Oti: Oti. Oh, did you cover Spike Lee more? If these are the introductions I'll be getting.

1:14KT: Tarantino, Alejandro, Spike Lee. know you're on the scenic route if you stand by me, stupid.

1:22KT: Welcome to our Reference Degustation where we take you through a month long celebration of Spike Lee Joints.

1:31KT: Is this the Lighthouse Family? Cause we're getting higher and higher. Tune in to Mister Senor Love Daddy. Curate the Wall of Fame and survive the rising heat of tension. Keep it nasty to your ears and the ears to your nasty. with Do the Right Thing this week. I feel alive! How are you feeling, Oti?

1:53Oti: A lot! Woohoo!

1:59KT: Thank you and welcome, friends and lovers. We do this Reference Degustation. We've done other filmmakers. We are very excited to do Spike Lee today. Get satiated. We do have a set menu. And if you're nasty, the chef might bring out some more specials. speaking of chefs and those that are out there cooking, shout outs to our guests and patrons. That have contributed to our common and recurring themes that we will be reviewing as we go through the Spike Lee films very quickly Produced written directed by the Spike Lee 2 million worldwide gross 37.3 million

2:47KT: We have She's Gotta Have It, we have School Daze, we're here at Do the Right Thing Whenever they talk about, uh, Spike Lee, I don't know, It's flagship the right word?

2:58Oti: is.

2:59KT: The most commonly associated, I think it's also in the Criterion, um, closet as well with Do the Right Thing. So

3:05Oti: Oh!

3:09KT: not the Roberts Calandria. No, not your friend Robert's closet.

3:13Oti: What? You're a universal. Mmm.

3:16KT: Studio Universal, Interesting. I think what's more interesting was that Cannes Q&A panel. Yes, friends and lovers, we wholeheartedly support and we do buy the whole features.

3:28Oti: Mm hmm.

3:29KT: But, uh, before we get to there, let's quickly do the cast. Very exciting time. Martin Lawrence's first film. I just said Martin Lawrence because I know we're not going to have time because I only have time for Rosie Perez. Excuse me very much. Thank you.

3:45Oti: we know you're thirsty.

3:47KT: I'm dying of thirst for Rosie Perez. Always. Oh my God, she was the best. Also, uh, Rosie Perez's first film. We have Spike Lee and, uh, we do have a theme to talk about Directors inserting themselves and I'm very excited, but I will say off top, um, he does it better than Tarantino and Scorsese, but let's keep going. You don't have Spike Lee crying in the third act, about white people.

4:15KT: Back to the cast, Um, Danny Aiello, Ossie Davis, Ruby Dee, Giancarlo Esposito, Bill Nunn, John Turturro. I'm sorry, I remember you with your rod and foot, I don't even think of Jesus roles. love John Turturro, Richard Edson, Roger Smith. Rosie Perez, Joie Lee, Martin Lawrence, and a whole slew, sorry, Sam Jackson was the credit. Just how you have Larry Fishburne in Boyz n the Hood, I think was still his credit at that time. Peep game, Morpheus, Friends and Lovers. Oh, okay, Um, well, this is a colossal time. I'm very excited. We made it on time to our

4:56KT: dinner reservation Oti. Um, let's get into our non spoiler, friends and lovers, there will be spoilers to come, but let's get into our non spoiler initial thoughts on the film.

5:07Oti: initial thoughts on Brooklyn. A searing day-in-the-life snapshot of social and racial tensions, Do the Right Thing transcends Brooklyn to confront global truths about race and community. Mandatory

5:19KT: Wow.

5:20Oti: I wanna

5:21KT: I want to go to your closet,

5:22Oti: I know, I said it.

5:25KT: From the distinct Fight the Power anthem, to the intricate character dynamics, Do the Right Thing lays a grounded and theatrical stage for the rising heat of then and

5:37Oti: Ben's been rising. It's as if they listen to Sean Paul and they keep him burning.

5:47KT: I love it because the color of the day is black, right? Oti?

5:51KT: Did you ever want to dream of a Jheri curl? or was that not a Kenyan phenomenon as well?

5:57Oti: Kenyan? Nah fam,

5:59KT: A Jheri curl and a gold chain? I see that. I don't know if we have a mentally conscious, but we have a good Catholic boy of Oti in Kenya. Give me your whole journey on Spike Lee as we are in the first course, and also because you've watched Do the Right Thing so many times, where are you from there to today? my love?

6:23Oti: Uh, weirdly, not weirdly, it's probably the sort of same case with a lot of people. My first Spike Lee movie was Malcolm X.

6:37Oti: Uh, that was my introduction to him. And then when I got older, my brother got me into Do The Right Thing, which is what we sort of watched multiple times throughout our growing up sort of years. Which is sort of, I sort of got a lot of the things that he was talking about, but I think I, it was more surface level. Same to the other stuff that I actually sort of loved back then. I think rewatching it now with such my big ass age right now, the lens is that much clearer. And it'll be interesting to sort of

7:17Oti: peel through those while we're going through the themes.

7:20KT: I've missed people.

7:31Oti: No one's surprised.

7:32KT: What a You know, when we first started off this podcast, Miyazaki made sense, and that was the reason why we did a Reference Degustation, because we knew we were going to cover Miyazaki, so it made sense just to do it as one set, and be able to have discussions across similar themes, especially because Miyazaki has a way of weaving. You know, um, better environmentalism than Avatar. Ayo, Jimmy Cameron, what's good? Um, so, you know, there were certain directors that would be interesting to view as a set, and it would

8:13KT: be interesting to, like, we knew we were going to do it, so we might as well do it as a special occasion as well. So, um, Spike Lee was definitely on the cards to cover, and I'm so glad that we are finally here. Friends and lovers, there's always films that, you know, you put in the back of your pocket for a rainy day, like, you know, it's going to be great, but you're keeping it there for a moment where you just need that slice of joy, you know, when life is just a bit too hard, and you know, it's just, it's a, it's like a good wine, it's a great quality chocolate, like, you know, you're going to enjoy yourself and get into the different sort of layers, so I am so glad that we have the podcast to be able to review it and we can experience it with you all friends and lovers.

9:03KT: If you think you can do it without a refresher, if you're nasty, otherwise pause us, we'll be here, we'll be sitting, we'll be feeling good. Um, and you can come back to this episode, but I'm so excited to talk about it. And it was no surprise to anyone that this is a great film. I am excited to get into other Spike Lee films to see You know, the, the, the sort of resonance and, you know, I keep referencing that Cannes Q&A panel. Um, but there was like two questions, even one back to back. There was even an American journalist asking where all the drugs were.

9:44Oti: It's in Washington, right? Where are all the drugs?

9:47KT: I see them with drugs. Where is it?

9:51Oti: is blacks. It has to be drugs.

9:54KT: You had to say that specifically. Um, and I don't know if it was in jest or if he meant it. He said it was going to make that film one day. Um, or maybe it was in Juice. Shoutouts to Ernest Dickerson. Go and check out our Juice review, uh, Friends and Lovers. But I am very excited, um, to get into this. And there's such a sanctity and there's such a trepidation that I have because not only is it a well regarded, critically acclaimed film, I also love it so much and I always get so, um, nervous to review it. Am I reviewing it right?

10:32KT: Am I doing it in its totality? So, let's get into it. Our general questions. We are kicking off with Andre. All of his films are considered a Spike Lee joint. It is a Spike Lee joint. How do you feel on the joint scale? 10. I think it's great. Direction and stylistic choices. This is Cameron. Even though the movies you're watching aren't the most vibrant visually, use of color and film stock to evoke feeling.

11:07Oti: and

11:09KT: Mm hmm.

11:11Oti: Uh, you'd mistake it for Kenyan heat,

11:24KT: Tell us you're working on Do the Right Kenyan Thing, hey.

11:29Oti: Uh, it was, it was definitely present.

11:32KT: And, uh, in the special behind the scenes interviews, Spike and Ernest were talking about, it was, it was a known sort of trick to use radiators, but even the use of colors, right. They stayed away from blues. It was yellows. It was earthy sort of tones.

11:51Oti: Yeah, um, because radiators will look cool and all, but it's already been done. Let's try something different. Colors can also evoke that sort of same emotion and feeling.

12:04KT: It's summer over here. So it was very, very hot. Um, in so called Australia. Cameron also mentions bright colors, Okay. We have. four people's worth, um, contributing to this particular common recurring theme and stylistic choice. You know what it is. We're covering Spike Lee films. You know, we're talking about the double dolly shot. So let's go through it. We have Ben, Spike's double dolly shot, and in brackets, he wrote when it looks like the character is floating towards the camera. Brent, double dolly shot. Pretty sure every one of his films has it at least once.

12:49KT: Cameron, double dolly shot. People speaking straight to the camera, saying manifestos or their direct thoughts. Country Boy also said, double dolly shot. Also check out our rap beef, uh, shout out to Cameron and Country Boy, um, as well as Andre. It's yes. Yeah. It's a Spike

13:08KT: a Spike. It's a Spike Lee joint. Um it's a yes but I do want to talk about it for a bit. We haven't really spoken about because I don't think it's necessarily in these themes, but when I said that there's a groundedness and there's a theatricalness, this film feels like a play And for someone that's very character driven and, uh, you know, character dynamic driven. That is the highest of praise to me. that This could be a play. Right? Because the dialogue is so great. The dynamics are so great. Everything that has the vivaciousness is through the character sort of dynamics and interactions that we have. And, you know, there was even a character that said Are you done with your soliloquy?

13:57KT: Um, so before we even talk about the Double Dolly shot, There are so many things to praise and love and lord and accolade about Do The Right Thing. And one of them has to absolutely be the elevated art that we get in Do The Right Thing. And that's not to say that there are other films that cover, you know, black stories that aren't elevated. What I mean by that is, there is a level of gliding on. Bed Stuy on the rising heat of temperatures, and I, I leaned over and I whispered to you, I was like, this rising, this rising heat is racial tension, but, you know, I don't think I'm, it's not a stretch. I'm pretty sure this is Spike Lee, and I'm pretty sure I'm correct.

14:41KT: Um, but the way that it was done, It felt like a play, and even when you had John Turturro, and he even talked about it as well, like, he was worried about the backlash that he might get. Because it wasn't just the N word, he was using the E R Through his character Pino. Um, and he was worried. He said, there was a lady at craft services that like, Came up to him and said I hate you But he was worried about that but the general sort of response was people loved him. They're like, hey you're in the thing, he said, the thing. um So when it came to those moments and obviously I will give the floor to you, and I will give all importance to you, but just to say. There were yucky racist, like I don't think we even need to qualify whether they were.

15:30KT: There were racist soliloquies, you know, in Pino's character in particular, that it didn't feel as piercing, it didn't feel as sharp, because the way that the world was set was, it was set in a theatrical way. So it felt like it was more of an art form, it was more of an expression of. Through Spike Lee, as opposed to, this is the attitudes that I feel about black people.

15:58Oti: You're right, like, this is the, what, 6th, 5th degustation we're doing? And, we didn't come into sort of the racial, sort of, tensions, or even mentions, um, until we got into the, Tarantino and Scorsese sort of realm.

16:20KT: Yeah, because in Scorsese films, there's always a black person, even if there's no characters there's

16:26Oti: there's, there's, there's a sort of the seven degree separation between, you know, a black person and a Scorsese film, you know, sort of the Kevin Bacon effect And it doesn't feel like it's well rounded, as if it's part of the character, it's part of the world.

16:41KT: Yeah. You just want to say the shit you always wanted to say. It's Like, uh, in, in Green Book, was it the wife that put the cup in the bin? Or when

16:56Oti: when you, or when you watch Departed right now and the way they said the N word, like eww, brother man. Wait, did you

17:04KT: it?

17:05Oti: that?

17:05KT: You're saying It like you earned it.

17:09Oti: Man, you'd think it was Drake over there saying it 37 times, man.

17:13KT: his diamonds, man. The nerve of you, Dennis.

17:15Oti: Um, but it's sort of like, And Pino's character, you know, the way they do it, even with the way Sal was brought into the world, he has this facade as if, ooh, at toughest level, you think man's caring as fuck. When you think about it,

17:34KT: Mmm.

17:36Oti: Pino is the offspring of that.

17:38KT: It had to, and Spike Lee

17:39Oti: had to come somewhere.

17:42KT: it sprouted.

17:43Oti: Even in the interview, you had a lady say, Oh, why did they burn it down when Sal was such an upstanding guy?

17:50KT: off.

17:51Oti: And it's the, it's the meniscus of what Sal was doing throughout the whole fucking movie that they missed. They're those people.

18:03KT: We're going to get into those people, There are different themes Oti, unless you want to get

18:06Oti: you know, No, no, Just saying on the, like, on, on how it was set up and how it was brought up. Even Pino saying those words, because we had that moment where we got the different characters saying, uh, disparaging things about the other sort of racial community or group. And he didn't feel as. it

18:34KT: it didn't feel sharp. It didn't feel real. Yeah. so we need to go to the dolly shot. But before we go to the dolly shot, I guess the thing that I was trying to put across was, there, there's obviously a lot of racism that goes on through the film. But it didn't feel like it penetrated me emotionally until the end scene. That's what I mean. Because you have, you have a lot of racism. I don't think we need to say if it's racist or not. It was all very racist. But it didn't feel like it stung when I was watching it.

19:10KT: That's why I wanted to hear your thoughts on that.

19:12Oti: And that's where they opened the curtains.

19:14KT: Huh?

19:15Oti: That's why they show you everything that is wrong with the What's wrong with society at that point

19:22KT: Yeah. You're not just watching a film. This is some real shit, Because, as an audience, I'm watching it. I'm appreciating the art of the soliloquies. I'm appreciating the creativity and the groundedness that we have. We are talking about some real shit. But it really felt real once we got to the cops and the Radio Raheem scene. That's what I'm saying.

19:45Oti: And that's what it You're, you're, you're pulling up the

19:49KT: sort

19:49Oti: because now we're peering into sort of reality, the theatrics take a back seat.

19:55KT: You're not just here for a film, this is some real

19:57Oti: is a real thing. And this is where shit gets real. And that those actions can further be, you know, taken a front by Mookie, who then make has to make a decision on what his response is, because up until that point. And I know we had sort of disagreeing, uh, opinions on what it meant throughout the movie up until Mookie made his decision. So when he made that decision, it's, it's, it's because of everything up until that. And it's, it's the moment. It's like, this, this is the stand. This everything that's been happening that has been against and I was there for it. was there for it. It was all for a reason. It was all building up.

20:47KT: I'm saying to you, when you were watching these moments of Pino or Sal saying these racist things, did it feel like it had a sting? Or did the sting feel like it was made to affect at the end? That's more what I'm asking.

21:02Oti: At the end, it didn't feel as if, oh, eek, you know, I didn't feel as if I'm clutching my pearls.

21:10KT: Uhhuh,

21:11Oti: or or feel as if I'm being taken out of the movie because I still felt as a part of the theater. as opposed to when some random ass guy just says some random shit about black people and I'm like, hey. you know, when I'm not even prepared to hear that. You know, it's not even about being prepared. It's it's how it's

21:31KT: prepared. It's, it's hard to think about. Uh,

21:38Oti: But yeah, you're right. Like it, it, it sort of hit different and you could tell that you could tell the pen that writes, you know, and the intention isn't really always too. Um, to, to either put you down, whatever, because it's clear enough throughout the movie.

21:55KT: this is also, uh, you know, I love Martin Scorsese for his importance of the role he plays in cinema, particularly in like film restoration. Um, but that's also why we vetoed. We need to do not just directors, but writer directors. Right. Because at that point we can actually get down and have a deep conversation about the way the film was made because there's a lot of, oh, maybe it was a writing thing and it's like, nah, bruv, this is all you and we can talk about

22:29Oti: and then you can zoom into sort of the Tarantino lens where we'd go through, let's say, Django and everything sort of that happens to our tertiary black character. is vividly described. That is

22:46KT: You know, you've

22:50Oti: you've got D'Artagnan. D'Artagnan means nothing in the world of Django, but we know everything that happened to D'Artagnan. So we're here, you have your major characters and everything like that, but you always have this tertiary characters that come into the world that brutality will be reigned upon. the likes of which you've never seen, and you're like, Hey, now, Is this necessary? Yeah. You know? Does it play a role into building the narrative of either Django or Hilda running away, or, you know, it does nothing at the end of it, it just felt really istic for no

23:37Oti: rhyme or reason.

23:40KT: So the double dolly shot, because we're going to get that a lot through all of Spike Lee's films. I haven't seen, actually I haven't seen any of them except for, um, BlacKkKlansman. But we're going to get the double dolly shot. Even in the Inside Man with Clive Owen. I don't know if that's if that's considered a joint or a half joint, but Spike Lee did direct that film. Um, we got the double dolly shot. There. So I guess just because we're going to have this as a recurring theme throughout all the films and in most cases it will be met.

24:15KT: I loved how effective it was. It wasn't just let's zone in on this character. It was Cameron that talked about speaking straight to the characters, um, camera saying manifestos or the direct thoughts. These are the things that we didn't necessarily see expressed to its fullness. And do the right thing, right? We have the Korean shopper in our Um, and you know, we have the Puerto Rican guys as well. Like there's so many different ethnic groups. I haven't watched Spielberg's In the Heights. Is it called? Um, so I'm just going to regard this as a portrayal of different ethnic Um, but you see.

25:00Oti: I thought In the Heights didn't have any black people

25:04KT: Well, that's Spielberg's world. Unless the color is purple. The color of the day is black. Um, But that's where you see the totality. of how they're feeling, right? Pino expresses himself as much as he can at any every opportunity he can, but you see there's so much more that he wanted to say

25:28Oti: Yeah.

25:29KT: And it was more about him and it wasn't a double dolly shot and there are so many different scenes, but you also have, you know, Mookie's character. saying, Who's your favorite athlete? Michael Jordan. Who's your favorite TV? I, think it might've been the Cannes where he mentioned, um, Bill Cosby and Oprah, but it's like, it's Prince. It's Michael Jackson. It's Michael Jordan. It's Arsenio. Right. I think that was in the panel, not in the film. But the point is so many of your favorite people are black and they had that moment with, uh, Pino's character.

26:03KT: And He's like, well. black black. it was so interesting because as much as he said outwardly, there was so much he was like, that was like beneath the surface with him. And, you know, even in that moment, Mookie's like, you just want to be black. You hate that you're not black. Um, even when he was talking to his dad, he's like, Oh, you know, my friends are making fun of you, et cetera, et cetera, Which brings another layer. There's no way friends and lovers in the For Your Reference household. We're not getting to racism now, Even though we have a nice little, note in the spreadsheet to talk about it later

26:40KT: And the dad was like those are not your friends and it's like do you think you're the better white? You're still a problem

26:47Oti: Because he feeds those people.

26:49KT: You're still them peopling. Okay. All right. Um, but the dolly shots I think was so effective Um, I'm still new to Spike Lee, so I haven't seen She's Gotta Have It or School Daze. So I imagined the dolly, the double dolly shot was in there, um, but I would say it made sense in the format of Do the Right Thing.

27:10Oti: You'll see that.

27:21KT: it

27:22Oti: is it four? I think I always just default to five from Letterboxd to this.

27:30Oti: we'll get to see the different moments and paint a better picture at the end of it all.

27:35KT: other as we go along. Um, there, there's quite a lot, um, across the board. We have from Brent. Music in general, namely jazz and hip hop. Also from Brent. his dad, Bill Lee, we saw in the credits. Terence Blanchard on the musical score. We have Andre, Spike Lee was known for his love of jazz music and innovative use of modern music during his career. Cameron, military marches in the music score to signify determination rather than destruction. Ooh, come on Cameron! Um, and Country Boy, the use of music, uh, hip hop and jazz. So, there's a lot in there.

28:24KT: Bill Lee, tick. Terence Blanchard, tick.

28:28Oti: Mm

28:30KT: And can we say, there's something to be said about creators, about filmmakers that have the same team throughout their career. Obviously there are differences and shit, but when you have some real people making real shit, it shows.

28:46Oti: Yeah. it does.

28:48KT: Um, jazz and hip hop, I think that's, that's quite apt. We have, this is also for me, friends and lovers, because I am very ignorant and I will, um, admit to that, but don't, you don't need to give me a cookie for admitting I'm ignorant. A sow. Oh, okay. That kind of felt like you, The jury's still out.

29:10Oti: I'm not Greg, was he?

29:11KT: I'm not Juror #2, Oti.

29:14Oti: ha Ha ha you'd wish.

29:15KT: ha ha. ha. Um. Yeah. Ha ha ha. Uh, that's a different white

29:22Oti: Yeah, it

29:23KT: Yes, Um, Public Enemy.

29:25Oti: Hmm.

29:26KT: I did, obviously, I've heard Fight the Power, and I've heard Fight the Power many times. I thought it was a case where they just licensed a popular song. And put it into Do the Right Thing. And again, there is not much more that I can say that hasn't already been said. But there is so much to sploosh over Spike Lee. The fact that he had the ability to connect and network and see the value in others. And be able to curate that into a wholly realized film, like Do the Right Thing. The fact that Fight the Power was an anthem in Do the Right Thing. And that's where that anthem is from is fucking wild.

30:10Oti: like it feels like a lost art

30:13KT: was it playing in matatus?

30:16Oti: was too young to take my

30:17KT: of matatus,

30:21Oti: but Um, yeah, I Do the Right Thing was big. And like I said, it's it feels like a lost art where cinema now we don't get those You know, with every blockbuster, you get a bumping soundtrack, a song that will just carry the, you know, build up the anticipation, you know, even as wacky as how the Wild Wild West was. Fucking hell, people were bumping to that shit, going to watch Wild Wild West. So yeah, missing those days.

30:55KT: said, I'll grab

30:59Oti: I, I, I prefaced myself. Why

31:02KT: what's your problem with

31:08Oti: into a fast food restaurant? Is

31:11KT: Um, Mister Senor Love Daddy. if you're nasty, get your Love daddies where you can. Um, Cameron mentioned military marches and the music score to signify determination rather than destruction. I feel like this will come into play into other films. I feel like um, we were very very focused in Not just Bed Stuy, but the specific world. that was created. so it wouldn't really make sense to necessarily have That unless you heard military marches, I might be wrong.

31:46Oti: No

31:48KT: Okay, let's move on. This is Ben. Documentary footage cut in to remind motherfuckers that real life and filmmaking are one and the same I think this is kind of the same thing I was saying about Cameron. This is a world of realness, but it's not necessarily the real world Right, so I would say no, there was no documentary footage because this movie was a documentary

32:13Oti: Again, last scene with Radio Raheem could have been picked from any day kid.

32:22KT: And you know what was really sad, was seeing the Q&A panel in Cannes in 1989, where Spike Lee talked about this, about young black men, but young black people being killed at the hands of police. And seeing the 30 year anniversary where Spike Lee. You know what I mean?

32:42Oti: I'm still saying the same thing. And the most interesting, I think, well not the most interesting, one of the interesting things you said while we were watching this is like, I wonder what the backlash would have been like? And I was like, what do you mean by backlash? And then fast forward while we were watching the Cannes interview, and everyone was an uproar at how Spike did it, and they were talking about, Oh, how could you do this? How could you use Malcolm X? What do you think? Are you proposing violence?

33:15KT: then, so they asked that question like five times, and once it was made clear that there was a Martin Luther King reference as well as a Malcolm X reference, they were like, why is Malcolm X the last message? It's like, fuck off and shut

33:29Oti: fuck off and shut up. Right. And to paint on to the matter is. He compared white directors covering black issues and none of them got any sort of backlash the way Spike

33:44KT: Well he was saying about the Working Girl, Rain Man, you wouldn't ask where they got their drugs from.

33:51Oti: He didn't ask anything to Spielberg when he did. The Color Purple. So

33:57KT: once it becomes a black film, once

33:59Oti: it becomes a black film, then everything is under microscope and spark can say things because, Hey, he needs to fucking all, he needs to solve all the fucking problems. And the fact that he had to preface that he didn't, he is just a director, he, a writer, a filmmaker, you wouldn't expect to have answers from any other film.

34:18KT: Yeah.

34:20Oti: Yeah. Well, why should he give you solutions to everything?

34:23KT: Yeah.

34:25Oti: Fuck off, man. I was so angry.

34:27KT: Yeah, fuck off. Like, what, what else is there to say, Right. And there were also questions being asked of different attitudes of particular characters, and I think it was talking about the men that were just chilling, um, on the side. And, you know, about the attitudes of, you know, you business this, business that, you're never going to run a business. you know, it was that whole conversation about why are Koreans coming in, you know, they're coming out of nowhere and they own all of the fruit and vegetable

34:59Oti: and vegetables there

35:00KT: And there was a whole conversation of like, you're saying all of this shit, but when are you going to start a business? Right? And there was a journalist that asked that at Cannes and Spike Lee's like, I'm the hardest person on black people, right? It's every like I, anyone can get it. And he agrees with that because it was interesting hearing that question after a sea of very white Eurocentric, specifically French. Can I just say, okay, friends and lovers, you may be comfortable. I don't fucking care if you're comfortable because we're having this conversation. Watching

35:39KT: that Q&A panel in Cannes in 1989 after Spike Lee, if it fucking matters to you. Went to film school and has the credentials if it fucking matters to you Went through Universal a major studio if that fucking matters to you Was being denigrated To lowly like there were even questions about the ghetto and asking him To answer and speak to how this film reflects the ghetto, right? Friends and lovers You may be french. You may be european Let's save some time. You may be white. watching is limited by your very experience. Sometimes, maybe all the time, you will come across a legendary filmmaker like Spike Lee. All you need to do

36:38KT: is shut your fucking mouth, sit down and you might learn something. Don't try and contort it into what you think it is, on what you think black people should behave.

36:49Oti: think one of the craziest, not really, it always feels while you're watching this interview is, Oh, America this, America that, that's where

37:00KT: Like America's the problem.

37:02Oti: That's the problem. And then Spike actually said, you've got Nigerians, Algerians here that you're treating badly. What the fuck?

37:12KT: Yeah.

37:13Oti: Why are you acting as if this is a foreign problem? Why are you acting as if this doesn't have happen worldwide?

37:19KT: on now.

37:20Oti: You know

37:20KT: Yeah.

37:21Oti: and then this is also goes back to sort of the removal of Maybe maybe this is not the forum for

37:29KT: No, No. No, it is

37:31Oti: But the ADOS bullshit once you leave your fucking boundary

37:35KT: have asked what you're

37:37Oti: You are fucking black regardless of what you think you are

37:40KT: Okay,

37:41Oti: And the shit that you expect in this world will fucking hit you wherever you are I'm just saying anyway, that's just my qualm. But anyway When you go back to the movie. when you go back to the movie,

38:00KT: was you were J rocket. I was Kenji. I was like, whoa, whoa, whoa, whoa. And you're like, get out of the way. All right, fine. Yeah. I, hope

38:10Oti: when you go back to the movie he makes sure that he brings up the responsibility of black people, pulling themselves up. He says, I don't think I've ever seen a movie with so many Keith Sweat references.

38:23KT: Right?

38:24Oti: Man, it must've been big in the, in 1988.

38:29KT: Who's bigger? Nobody. Don't get it twisted. Nobody.

38:34Oti: people talking about? You're gonna, you're gonna, you're gonna see if you can't get sweat. Bro, that killed me.

38:40KT: All I knew is that you're getting the sheet sweat listening to Keith Sweat. That's all I knew.

38:46Oti: I'm gonna, I'm gonna. Man, you're not Keith Sweat. Come on, let's do it, man. Man, I love Keith Sweat. Jesus Christ.

38:58KT: a time. What time. Are you money long? Do you wish you had a time machine? It's so interesting because I love, this is like review jazz. We're literally just going wherever we want. Um, so we kind of already covered it. This theme is racism and the black American experience. I feel like we've pretty much, unless there are other characters that we haven't necessarily spoken about, I do want to give some time to Da Mayor and Mother Sister, because we haven't really spoken about them too specifically. And I have added it to the watch list, friends and lovers. Um, you know, there's a, there's a lot of films that I'm looking forward to

39:41KT: checking out that were referenced. Either Ossie was in it, uh, or Ruby Dee was in it, um, that I'm excited to talk about. But even the two of them had a very interesting journey because Nothing Da Mayor could do or say would alleviate any of the prejudices. Maybe well deserved because she said he reminded her of, her ex husband and tenant,

40:07Oti: right?

40:09KT: It was interesting following their journey because that in and of itself is a microcosm. Right?

40:15Oti: I don't know. Um, in Kenya you have these names called, uh, Azi, which is pretty much names that have meaning, so. don't know what mother sister fucking meant in this regard. I think I've always struggled with it even back then. Maybe it's an American thing. I don't know. But to

40:35KT: maybe it's like, you know, um, like, Aboriginal communities have like sister girl, maybe like that. But even that is hard to explain.

40:43Oti: Yeah, because I took some incestuous shit that was happening there. Like, bruh.

40:49KT: Why are you just telling us Keep, keep that Oti? It's

40:55Oti: sister and mother at the same time. I don't know. Sometimes it's

40:58KT: there's Oti and KT pleasure, sometimes there's just Oti pleasure. Okay? I don't need to know! I might accidentally see the screen, but I don't need to know! We didn't need your George R. R. Martin in our Spike Lee episode, is there anything, we do have another theme later on, so maybe we'll just keep going. this is casting slash characters, Spike Lee cameo appearance in brackets or full blown member of the core cast. And this is Ben. so this is where I want to have the conversation. It makes sense. Stan Lee, rest in peace. He's not necessarily a great, like 100 percent overlap comparison. Um, but you would have him show up in Marvel shit, right? And that made sense. And that was cute. And we love it. We love a cute cameo. right? Then we get

42:01KT: the indulgent, self absorbed cameos, like Tarantino. He did not need to be in Pulp Fiction. He did not need to be in Django. He

42:12Oti: That was one of the worst acting and worst scenes I've ever seen. Right?

42:14KT: How are you desecrating your own film? You could have made it better by not being in there. I could have got more Ving Rhames.

42:22Oti: Yeah.

42:24KT: It said everyone, ever.

42:25Oti: haven't

42:26KT: It's how I? got through Mission Impossibles.

42:28Oti: contribution to Baltimore's. I mean Baby Boy.

42:32KT: I mean, Friends and lovers, I am partial to my African squats. Um, let let's put that subcategory there. Um, but you know, even with Scorsese. as well. There are moments where Scorsese will, it's, it is more of like a background sort of cameo. That Killers of the Flower Moon, friends and lovers. Please go and check out Killers of the Flower Moon, and my little cookie to you was the title, Killers of the Flower Moon, Only Murders in the Colony. Now go and watch Killers of the Flower Moon, because we tear Scorsese's ass apart. Try and insert himself in the third act and cry over white people, fuck off.

43:15Oti: Fuck those

43:17KT: Fuck him.

43:18Oti: Such, uh, I don't know who makes these decisions or who's there in, in his presence when decisions are being made, because he had someone who would be like, FA, don't. don't, do that. Fucking hell

43:31KT: no. Because they all think he's doing a thing.

43:33Oti: just wanker bullshit. At that point, I'm like, bro, what are you doing?

43:37KT: absolutely. And this is where we I, again, am very new. to Spike Lee's filmography, and seeing that he had a core role in this film, I wasn't sure how it was going to go. However, I hate the word humility. I would say that there is a discernment that Spike Lee has, that even though he casts himself into a core role, it doesn't detract from the overall messaging and the overall artistry of his films.

44:13Oti: He's got very interesting eyes.

44:17KT: you know I am trying to have a respected establishment over here,

44:25Oti: don't don't know. His eyes kept on, I kept on, I kept on looking at his eyes.

44:32KT: Bring your next Rosie Perez, we'll see how big your eyes get.

44:36Oti: For real. Yeah, yeah,

44:42KT: can we focus on his acting ability now?

44:44Oti: I thought he was really Mookie. Right? Even, even, even today, like, you know? still holds up. Spike Lee.

44:59KT: good. Mookie is the one to initiate In quotes because I hate the phrasing of this but the violence or the destruction of Sal's, right? Which could then be interpreted as you know fighting against fight the power right resisting um, you know, A sense of triumph after what happened to Radio Raheem, right? Or maybe even a sense of triumph, just a catharsis, an expression of, right? He's the first one to do it. And I personally loved it. Um, I will express how I'm feeling, but again, I will put what you say over what I say. I

45:56KT: will. Um, not because of genders, but because of culture. Um, I loved that we had, and I guess, so it's two things. How do we feel Mookie was as a person, as a character? And why do we think he's the one that initiated it by throwing the trash can into the window? So here are my two. I feel like Mookie was always about it. There were moments where he's like, Sal, don't test me. Pino, don't test me. They're saying, get rid of your little friends, right? with Martin Lawrence, get him out, right? And he's like, I'll do it.

46:38KT: but don't think I'm here to placate you. Don't think I'm one of the friendlies. Don't think I'm one of the good ones. Because I will fuck you up. Don't mess up around me. I felt that it was very clear throughout the whole film. Um, I also love that there are different levels. Because at the end of the day, no one's going to accept this disrespect, Right? But there are different ways of expressing So, when Mookie threw that trash can, I was like, fuck yes. And I said fuck yes from a filmmaking point of view, because I feel like, and Spike Lee said it in the Q&A

47:15KT: panel at Cannes as well, that Mookie is that kid that you would invite over. That you wouldn't be worried about turning your back around. He's the safe option and he's the one that instigated it.

47:28Oti: he's a good black.

47:29KT: And that speaks volumes.

47:31Oti: I, I took it differently. I took it as an epiphany.

47:38Oti: once everything happened, he, he took that moment and reflected on everything that happened before. And what his next move would be. He was irritated by as long as he was getting paid. He was fine

47:55KT: Interesting.

47:55Oti: I thought as long as He stayed within You know, he could curtail it. He'll be like, ah, don't test me bro, but he would never really do Because nothing has really escalated to a point of him needing to do anything So when you have Buggin' Out coming and being like Well, the pictures of the black people, while it seemed trivial, it still spoke to a wider societal issue,

48:26KT: Uh huh.

48:28Oti: Spike was like, come on cause this ain't it.

48:31KT: Yeah

48:33Oti: So up until when you get to the point where Radio Raheem gets killed.

48:38KT: Uh huh

48:40Oti: He sees everything. And even when the whole kerfuffle was happening at Sal's, that's when Sal was saying, you N words, you war, you war. And that's where he's like, fam, this guy has never been about us. This guy who always talked well about me, it's because he put me in a box to, maybe not to the celebrity level. He's like, oh, this is one of the good blacks.

49:08KT: Yeah.

49:09Oti: I still saw them as the blacks. He still saw them as those people, so it wasn't clear until

49:19KT: it was always there.

49:20Oti: the wall. Then he's, you know what? Fuck these people

49:24KT: Yeah.

49:26Oti: And you're like, that's when your true self comes

49:28KT: Cause I saw Sal as racist.

49:31Oti: I saw Sal as racist too.

49:32KT: And I, I just, I don't think I want to speak to the white people or people even if you're not white. I don't think I want to talk to people that don't think Sal was racist. He's like grandfather racist, you know what I mean? He's still racist.

49:46Oti: I feel like because the one thing that kept on bothering me at least I think While I watched it back then that I never really had The mind to think about father was Pino Why was fucking Pino like that?

50:03KT: Yeah,

50:04Oti: and Pino is only surrounded by fucking two other people.

50:09KT: Yeah

50:09Oti: Vito isn't really, Vito isn't really, um, Uh, his, His is more, his

50:18KT: less

50:19Oti: you know, yeah. And Pino is the one carrying, he's older, spent more time with the dad,

50:26KT: Yeah.

50:26Oti: and that's where he gets his philosophy from. So he might have gone a step more radical. And he did way better than the dad, or sort of, he did way less than the dad. It was still there. It was part of his foundation. So Sal has always been that for me. So even re watching it now, and the moments and the weird things he says. There's like little crumbs of things he says and the way he says it. that it's like, yes I'm here, yes I'm Sal, yes I'm Sal in this community. But I'm serving this community for those people

51:07Oti: and even when he comes, the cops come and he's like, when are you living here? He's like, nah, I'm living here, It's because He knows he's got this people on his grasp

51:18KT: Yeah.

51:20Oti: He's not living that. He's got that colonial mindset

51:25KT: I'm talking about. Because at the end of the can't afford like, I know there was a line there that like there were so many pizzerias where they were. But I was like, fuck off. You guys can't afford to be in the rich white areas you want to be in. Fuck off.

51:42Oti: You know that you know you're

51:47KT: Yeah.

51:48Oti: fucking how many blocks to go and get another pizza. Yeah. In some fucking doing that. Yeah. Sal knows what Uh huh. And he's not he's not releasing that power. It's fucking power.

52:00KT: giving it up. Uh huh. Like, I'm the saviour to you. Yeah. I'm the priest that gives you those wafer biscuits and wine. Uh huh.

52:10Oti: But I fucking still abuse you

52:12KT: Yeah.

52:12Oti: I'll I'll take advantage I don't respect you. I don't see you as equals

52:18KT: to the sister, yeah.

52:20Oti: off man. Whoever saw this movie and thought Sal was one of the was one of the good ones you're missing You're watching a completely different movie.

52:29KT: Yeah.

52:30Oti: Sal has always been the problem,

52:33KT: Right? Did you have a Sal in your neighborhood?

52:42Oti: Many Sals. I had Sals in the fucking Catholic church.

52:47KT: At the altar. Yeah, I

52:48Oti: you know, they're giving you sacrament with one hand and fucking doing the other thing with the other

52:56KT: Jesus. Also shout out friends and lovers. I I wanted to live in this journey, so I haven't done a lot of research just in like general sort of thoughts and feelings of attitudes, um, of Spike Lee. But there was one moment where the missionaries were trying to talk to Mookie And he's like, no, thanks And I was like, I was like my man. I was like I knew something, something's brewing in there. And I have a brother in solidarity, but we never know. Yeah.

53:25Oti: Yeah. And, and just one little nugget for this theme of maybe not related to the movie particularly but the Catholic church and it's sort

53:35KT: in its own

53:37Oti: misgiving around the fucking world.

53:39KT: Uh,

53:41Oti: you never hear about fucking Africa, while it has one of the fucking biggest presence there. Make it make sense because you know shit is fucking going down and reported. We know it. We see it We don't say shit fucking up Angry, let's continue

53:59KT: Spotlight Colon Africa

54:02Oti: Has to be there has to be

54:05KT: Call Mark Ruffalo. Get him on the phone. Get Amy Adams on the phone. Rachel McAdams on the phone.

54:12Oti: Yeah

54:13KT: It needs to happen, Oti, and I think you're the one to do it.

54:16Oti: about

54:17KT: Stay angry, like Warwick Thornton said. Um, well, we're kind of I said stay angry. The next theme is scenes where multiple characters start ranting, usually racist, sexist, xenophobic shit, angrily in chorus with one another. This is Ben, also Country Boy, um, touched on the racism as well.

54:40Oti: We got it.

54:42KT: We got it.

54:43Oti: Yeah,

54:45KT: I want to have a whole conversation, friends and lovers. If you've made it this far, you are a real one. You might be sweating from the spice of the first course of the Reference Degustation, friends and lovers, I want to have this conversation. You had the conversations that you wanted to have. I want to have this conversation. It's so interesting when we. When we see the world for what it is, and how we mobilize together or against the pandemic, as well as George Floyd, as well as Black Lives Matters protests across the whole world, right? It was interesting to see the harmony and the disharmony in Do the

55:33KT: Right Thing. And I'm setting it up in a very beautiful way. I want to talk about the distinction between, you can say not like us, but I would say the distinction between black people seeing solidarity and not seeing solidarity. So when we had the Korean shop owner, they're like, yep, he's our guy, you know, we, we're all in this together. Right? So you have black Americans, you have Puerto Ricans, you have Koreans, But a line was drawn in the sand with the Italians. I don't think friends and lovers. I don't have time. I have a time for a lot of things.

56:15KT: Italian people are white. So I want to have this conversation now. Do you need me to tee it up more do you know what I'm asking

56:24Oti: Yo, KT, I got you. Oti West. Uh, Yeah, they're white and that's the distinction, right?

56:35KT: But are they the proxy for white people? Because there weren't, aside from the cops, there weren't really white people in this film.

56:41Oti: What do you mean proxy? They're white.

56:43KT: No, I mean, if we're having conversations about white people and the power hierarchy, the face you are giving

56:54Oti: they're there!

56:54KT: not, I'm not the French journalist in Cannes, You're not Spike Lee. I'm just asking, There's a broader conversation about how America and the Western world is set up and a lot of that power is benefited off white people. It's not always Italians, but Italians are the proxy in this film. Do you get me? Do you hear me? Do you feel me?

57:18Oti: I get you. I get you. Yes, as the representation of that because they are that. So when The coin sort of flips and Mookie and the rest of the community is like, you know what? fuck this shit. Fuck this people Because this shit ain't right Radio Raheem does not need to fucking die over bullshit like this over fucking radio

57:52KT: And Sal was like I had nothing to do with and It's like yes, he did

57:55Oti: yes, you did sir

57:56KT: Yes, you did.

57:57Oti: had your part to play You know what you did. So,

58:01KT: the part and you played it.

58:03Oti: so for that, yeah, that's a definite representation because they are who they are and that is why, and when the coin wanted to sort of turn to the Koreans and have them in the limelight, whilst I still agree with the narrative throughout the movie, that it doesn't make sense. For someone to be there for two months and they already have shops, whatever set up when people in the neighborhood cannot get loans, cannot do anything because of not get guarantees and all that. It's a vicious cycle and we know that the system is there to oppress. So the systemic racism.

58:49Oti: there's also uh, uh, uh, what is it? Not an appreciation but I'll real not a realization what i'm trying to say there's um acknowledgement That A you do get some shit You know,

59:08KT: Okay. But, but Korean immigrants aren't the reason why black people aren't getting opportunities. It's not. And that's where you peep game. Yeah. And that's why, because you could say Italians are immigrants. 'cause they are. But that's not the same conversation. That's Europeans fighting with fucking Europeans. Wa Wars were waged in Asia as well. Yeah, it's,

59:32Oti: Yeah. One of those things where it spoke to systemic racism. It spoke to not only the perception of black people to society. It meant that, you know what, if you had Sweet Dick Willie wanting to open a store, He can't get that loan to do anything because he can't get that guarantee as opposed to your Korean brother who's just come two months in. They can secure a loan to buy whatever. They can build a business. They can get that and guarantee that business to get more business.

60:21KT: business. but get business.

60:23Oti: Yeah.

60:23KT: Yeah. No, but can we talk about it even at the end scene where we have Mookie as well as Sal. Sal was crying, crying, crying. And Mookie's like, what are you talking about? You're going to get that back in insurance. And so it's like, it's not about the money. It is about the money. Fucking shut up. No one's crying for you.

60:41Oti: He thought he was entitled a certain, uh, privilege, to a certain, Understanding like he was I am, I am worried of you. I feed you like saint status. yeah.

60:58KT: Fuck that.

61:00Oti: Fuck that.

61:01KT: you want to hear what the next theme is? It's from Ben. Love Ben, nice guy. I, was going to say nice whites, but he didn't say that. Nice guy whites who show their true colors. I think we've spoken about them already unless you have anything else to say.

61:17Oti: I don't have anything else to add to that because everyone showed who

61:22KT: If people say that Do the Right Thing is their favourite film If Do the Right Thing is in their top 4 but if you're Oti and you get the black package, you have a top 5 in Letterboxd. I want to hear a detailed analysis to you why Do the Right Thing is your favourite film. If you're fucking white, if you're even Italian, if you're European, and Do the Right Thing is your favourite film, I need to hear detailed reasons as to why it's your favourite film. Because some of you guys move around like this is just something you watch and you turn off and you go back to your racist grandparents. Like, what the fuck are we doing here? We just keep creating new aliens for Avatar for you to feel like you understand our racisms. Fuck off.

62:12KT: But not Ben, we love Ben. Don't fuck off Ben. Um, two last ones we have from Brent. Denzel Washington, no. But we will see as we continue, um, I guess while we're here, will you qualify BlacKkKlansman?

62:26Oti: Yeah

62:29KT: Alright. Shoutouts to John David Washington and Malcolm Washington Not just for their recent film, but also being in the Criterion Closet Um Public Enemy from Brent. This is the last theme we have.

62:40Oti: Yeah, we do. Fight the Power. Fight the power of the beat!

62:45KT: Yeah, shoutouts to Oti. Maybe he's a public enemy because he was express yourself. Shoutouts to Tony Hawk. That song is always together. Um, with Tony Hawk's Pro Skater. We're cooling off, we're not done yet. There are some characters we haven't talked about. Smiley, I really liked.

63:08Oti: Smiley I liked. The fact that he wasn't even written in. He created his own character. Um.

63:15KT: But it had a through line. We haven't even really talked about Martin Luther King as well as Malcolm X. And we will be coming to Malcolm X, um, momentarily. Bye. It, it shows so much to. the storytelling, and that's what I was saying about, um, when we were watching Do The Right Thing, whenever there is a narrative, whether there is a driving plot or not, usually it's removing all of that noise, right? So we can just focus on the characters. Like, the character, it's a love story, so we're not focusing on work or family or whatever, we're just focusing on that, right?

63:53KT: I love that and Do The Right Thing, you know, even just delivering pizzas. We have Mookie's character. where he bumps into Da Mayor. Da Mayor's like, Doc, and you know, also, I'm assuming he addresses young boys as doctor as like an aspirational thing. I'm not sure if there was any sort of, um, Cliff notes in regards to that. But I thought that as like a sign of respect. Like, you know, I see you as a young king, as a doctor. Like, that sort of thing. Anyway. So he's like, trying to deliver the pizza. Um, Da Mayor's like, Doctor, I want to speak to you. I want to speak to you. And he's like, Okay, make it quick. I want to speak to you.

64:27KT: Make quick. Make quick. you know, and they have their conversation, and then he goes into the stairwell, and he sees Smiley, and smiley is like, please, please, please, like, please buy this picture, and he's like, please, please, I don't have money, I don't have money. Like, there's so much noise that's added to this, and that's literally how life is. It's never convenient, but Mookie was never cruel, he was never mean, whether it was Da Mayor, whether it was Smiley, it was never cruel, because whatever Mookie was going through, it wasn't everyone's fault.

64:57Oti: Yeah. 100%. And Smiley, I think introduces such important, you know, it's a juxtaposition between love and hate, uh, violence and pacifism. You know, it's what do you want and how do you want to achieve your goal? And I'll just say it straight up. Malcolm X was it. Fuck

65:23KT: That was

65:24Oti: That was just noise.

65:26KT: And

65:26Oti: And there's a reason why in the history of fucking Africa, everyone that held an ounce of of resilience or attitude like Malcolm X did was fucking executed. And they put in a lackey who would all say kumbaya because that didn't get us anywhere. Facts. Happened. And you know why that is. Kumbaya only takes you so far.

65:55KT: I know why that is, Oti Mandela. Um, but there's, like, there's so much about this film that speaks to, And if you're not angry after watching this film, you gotta, you gotta wake your ass up. cause it's time friends and lovers. Um, Oti will be the one throwing the trash can first.

66:23Oti: It's, it's,

66:24KT: it's it's been thrown. Um, but you know, there's, there's so much that I, I love about this film. And, you know, again, referencing the Cannes, uh, Q&A panel. There were journalists that were asking, you know, like promoting, you're promoting violence, even though it says self defense is, um, intelligence. You know, there were all this sentiment, right, about promoting negativity, et cetera, et cetera, et cetera. And this is what gets really frustrating, and this is, like, it's not just Europeans, it's Eurocentric, And this is what fucking pisses me off. because if you want to have a conversation about black Americans specifically, if we're talking about do the right thing, if we're talking about Spike Lee's vision, if we're talking about black Americans, and you're saying that

67:16KT: self defense violence isn't the answer. then what you're saying, and also I'm referencing Spike Lee, is you just want people to be annihilated. If you're not defending yourself against violence, you are the recipient of violence without the right for self defense. So, eat the whole meal, friends and

67:38Oti: Just be intelligent,

67:39KT: Just don't, yeah, but I will keep that to myself.

67:45Oti: So,

67:46KT: DMs, friends and lovers. Is there anything else you want to add, my love? we Yeah. Support the arts, friends and lovers. Support the arts that are so important. And drink deeply from the glass of storytelling, is what I Friends and lovers, if you are as wankery as us, usually in the Reference Degustation or just a normal degustation, you get a palate cleanser in between. dishes. This might, you might need a palate cleanser. Um, before we move into other films, but, uh, thank you so much for joining us on this journey. We're not going to do the For Your Reference sort of format because we will be recommending everything as a part of this tasting menu for Spike Lee.

68:56KT: If you want to find us on, uh, the socials, Twitter, Instagram, Blue Sky, we are at ForYourRefPod. We're also on FightThePower Podcast, if you'd like to leave a rating and review, And we'll see you guys in the next course.