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Is Across The Spider-Verse The Best SuperHero Movie Ever? · For All Nerds Show

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  You are now listening to four All Nerds Show, a podcast about geek and
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  pop culture from the perspective of people of color. Four All Nerds is hosted
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  com Slash for All Nerds. I am tho son of Olden. As long
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  as there is life in my breast, I'm running out of things to say.
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  Great another broken white boy for us. That's my secret. I'm always
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  I don't even know who you are. That's great car comes great responsibility.
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  I can do this all day. Well good flocked them in. And that's
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  another episode of views from the six one six The Black is MCU focused podcast
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  powered by four Owners, when we discussed everything in and around the Marble Cinematic
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  Universe. And that's one of your hosts, Tatiana King aka Tatiana King the
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  Conqueror aka Tachola Bread aka Tessa rac Thompson aka Flex Luthor, and I'm joined
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  by my always lovely co host, Thank you very much. I don't think
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  you were prepared because it's your boy, DJ Ben I mean aka Peter Parker,
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  Lewis, Tan Louse, Miles More, Aliases, Ben, Stacey Adams,
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  Spider punps jump up to get beat down Spider ghost Face and rest in
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  Crowler. Oh my god, the Stacey Adams won, h benad you won,
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  Say and the Triple kit on Chandra. That was good job. And
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  I mean, oh yes, y'all we are back. As mentioned, we
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  are talking things in and around the MCU and of course for this particular show
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  we got to see across the Spider Verse that's actually a Sony property. Just
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  to remind everyone so one that they will not let go now because as they
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  should. They got it. It's printing money. You'll never see that die
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  anywhere. Also, side no shouts to every Spider Man game on the PS
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  or the PlayStation, but the PS five, including the upcoming one that is
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  look crazy. You still have yet to play them, right? I played
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  the I played Miles Morales. Okay you didn't get good Okay, all right,
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  dope, dope, yeah, because oh, Lord of Mercy, that
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  I mean, that's those are the two of the best Spider Man stories ever
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  told to me, you know, the first. Yeah, I'm highly anticipated
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  this one. And of course, uh these films Into and Across also now
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  go up in my top ten Spider Man stories ever told. Listen, Ben,
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  I will have to echo that sentiment and and top it. This is
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  one of the best movies I've ever seen. Period. I say that I
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  put this on the scale of everything everywhere, all at once, just in
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  terms of storytelling, just in terms of everything that makes a work of art,
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  a work of entertainment, of course, but really a work of art.
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  End as as the saying goals, this is cinema. This is how
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  I feel about Spider Man across the multiverse, excuse me, the Spider Verse
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  across every verse at this point, because like I man, like, I
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  just never felt this way in a long time again, besides, like everything
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  everywhere, like, I was absolutely floored after seeing this film. Straight up,
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  I've seen it twice now. I actually went back and saw it again
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  right before we recorded this. We saw it yesterday together at a showing and
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  then it you know, released in theaters today, and so I went and
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  saw it again this afternoon, and that was the first time I tweeted about
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  this style. The first time I'd done that. When I was a kid,
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  Unforgiven by Clint Eastwood came out and I was a fan of Westerns,
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  but I'd never seen no ship like that before in my life. And so
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  when I saw it in theaters, I was like, what the fuck is
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  this? And I went on and called my boys, like, yo,
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  y'all come in to see this fucking movie tomorrow. And we went and saw
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  that drain again and that was like the first time that I can remember,
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  you know, other than like back in the day, we used to just
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  sit through joints over and over, you know, you sneak in a movie
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  and watch the drink at five times and one day as a kid. But
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  yeah, that was ah man, you know, see that was that error
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  when you could do shit like that. But you know, anyway, now,
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  it was like, that was the first time I've done that as a
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  grown ass man, you know, where I was like, no, I
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  need to see this again immediately, And so I went and saw it again
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  immediately, and I loved it more the second time. I don't like,
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  I loved everything everywhere when I first saw it. It's it's one of them
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  films like I love it. I think all Our sticks to me more out
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  of that year. Yeah, All Our Year might have been my favorite film
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  of that year and probably one of the greatest things I've ever seen in my
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  life. And right away across the Spider Verse, it's definitely itching as best
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  film of the year that I've seen so far. I mean, fuck,
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  it's so close, right, because that's the thing all right. This year
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  and over the last few years, there's been some animated films that to me
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  have just kept raising the bar, which started with Into the Spider Verse,
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  and then there was Mitchell Versus the Machines. The Mitchell's Versus the Machines on
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  Netflix completely raised the bar, right, and then you have Pixar. Richard's
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  been steady doing the same thing with like Red the Red Joint, which I
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  loved, but it's another Piaxar film like they've been like now, I want
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  to say stad because in terms of how they look it keeps getting better and
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  better, but storytelling wise, it's the same kind of thing for me,
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  right, And then the other one to raise the bar was Puss in Boots,
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  which came out five days before the year ended, so I kind of
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  counted for this year, and it's right up there with Into this, I
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  mean across the Spider Verse. I can't even act like it isn't you know.
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  That's another one I want to see. Yeah, you have to see
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  it because it's like it even though across I mean across the Spider Verse is
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  God damn it. You know, they're doing some shit in this movie,
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  but they were doing the shit in Pusser Boots. So it's like the bar
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  has been raised for animation, and I think it's started with Into the Spider
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  Verse, and I think right now, because of that, Into the Spider
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  Verse has the lead because Mitchell versus machines were doing a lot of things Into
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  the Spider Verse are doing, and so is Puss Some Boots, which is
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  like combining all these different mediums into its animation and doing different themes with like
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  frame rates where different themes are animated at different frame rates in the same shot,
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  and so it's all these little trip and there were so many new tricks
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  that even haven't seen this film twice now that I know, I'm like,
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  I had to figure it out. I was actually just a big name dropped,
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  but shout out to my brother and one of the creators and executive producers
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  on this one and one of the directors of the first film, Peter Ramsey
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  and friend of the show. Yes, And I was DM in him today
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  and my first DM to him, straight up and down, was YO,
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  how the fuck did they do that? Yeah? But I didn't say hello,
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  I didn't say any D. I just DM like, YO, how
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  the fuck? And he was like, Bro, I've seen it through its
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  incarnations. I've seen it from script to this to that to every cut.
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  And when I saw the final cut at the premiere, he was like,
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  how the fun did they do that? Right? And it's interesting because while
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  you're over there, DM h Peter Ramsey, who was one of the executive
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  producers, I'm over here talking to Frank Abney, who's one of the animators
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  and another prolific animator, you know, Friend of the show all that,
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  and he was telling me how he's never even and he and maybe as of
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  time you guys hear this, he would have, but he hadn't even seen
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  the final cut. Wow. And that's why I want y'all to know,
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  like literally the thousands of people, including the hundreds of animators that worked on
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  this, like a lot of them have not even seen like their work.
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  Or another thing like people don't realize is like when animators and people work on
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  films like this, like they work on certain parts, but they may not
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  see how it all fits into the whole big picture. Right. They may
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  see the trees without the whole forest, and then even then, like they
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  may not see the forest for a while, right, and then when they
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  do, it's just like it's just another new world that they're experiencing. So
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  for them to like when you see them on Twitter and all these other places,
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  given this feedback where they're like in total shock and they're just so happy.
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  This is genuine like because a lot of times they haven't even seen the
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  finished products. And so to see how their pieces or their contributions have come
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  together to create something so magical and magnificent that it pushes and drives this must
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  emotion towards positive emotion towards this film. Like that's a lot. That's a
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  lot, So I just want people to be aware of that. Yeah,
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  and we also mean you off the show. We distrusted us when what Kanda
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  Forever was turning out. And I was telling you, like, they'll have
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  these big Hollywood premiers and most of the people who work on it are not
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  there because they want people who look good on camera, they want all the
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  other superstars, people who don't work on it. But they you know,
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  they're like, oh, we can get this person to show up on the
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  red carpet, will give them two tickets. So that's how it usually works.
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  So, like you said, people who work on it, usually I
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  mean down to the majority will not see it at the premiere. They'll see
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  it and they might have to buy a ticket like the rest of us.
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  You know, that's just how it rolls down. They might get a screener,
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  but doubtful because with something like Into the Spider or Across the Spider vers,
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  Sony is not sending out a screener anyone because that, you know,
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  the bootlet possibility. So that's just not gonna happen unless you're I mean,
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  you know certain people are getting them. Yeah, not know animator please.
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  I also want to make sure we set the stage for how we saw this,
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  and thank you to the Doobe team who invited us to this particular screening.
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  Because they really speak on that too. We could speak on this and
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  I'm gonna I'm after I explained, Yes, after I explained what this was,
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  I allowed Ben to tell you, guys, the difference between how we
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  saw it, which was in Dobe Cinema. So this was a particular room
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  in the theater that we saw it in the Dobe cinema room which has Okay,
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  the way that they this displays the film, the colors that they displayed,
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  the vividness, the picture quality is much more rich and in depth than
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  most I guess I would say standard screens you see it in even probably different
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  than what you see in Imax as well. And I let them speak to
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  that in a second. And also you have the the Dobe at most approach
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  when it comes to the sound, right, so they they it was almost
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  a warning. But they one of the Dobe team members that even said to
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  us, Hey, as you guys are sitting there, if you hear like
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  whips and things coming from all around you, it's because that's how like their
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  sound is set up. And when I tell you, like our dead ass
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  in certain scenes in the movie, I was just looking around, like,
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  well, who's there? Like dead Ass felt like somebody was behind me on
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  my shoulder, and this and this and that like that Dobe Cinema experience was
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  completely different than what I was used to. I will say that like it.
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  And again I haven't had the back to back experience that Ben is gonna
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  be about to explain to you guys. But the way that the sound quality,
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  this scene quality, and also the cinema and stuff. We were in
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  these big comfy chairs had to recline on it. We was up in the
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  in the balcony and the skybox, if you will, so we was living
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  a life. It was a very very comfortable experience. I will say that.
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  So shouts again thank you to the Dobe team. Then I mean tell
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  me you saw it Indobe Cinema the first time and then the second time?
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  How did you see in a regular theater room? How did you see it?
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  Well, you have enough of a commercial so I'm not gonna do too
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  much. But I saw it the first time with you in Adobe, and
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  then today I went to the Alamo Drafthouse in Brooklyn, which is a theater
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  I love. And I'm a big theater head. You know. I have
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  been like a sent as a kid. I'm the type of kid who used
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  to sitting in the theater all day, you know. So even when I
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  first moved to New York, I did my research on what are the Illis
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  theaters? And there was this one joint that they closed down a few years
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  back. It was like a legendary joint. I got to go there.
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  It was like an old school theater, like I don't know when that drum
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  was built, but it was like the stream was massive and it wasn't Imax
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  obviously because it was well before that. So I love theaters, right,
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  So I was hyped for the Doobe. Doobe was dope as fucked. Um.
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  I saw the Alamo and it was great, you know, Alamo's great
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  screen everything, but the difference in that, yeah, difference in that Dobe
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  was that sound. I mean the screen was mad impressive as well, the
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  richness all that, but that sound from the opening of this film when Gwynn
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  is banging away on them drums, it just and how everything rotated through there.
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  So if you can see it in Dobe, I definitely that is.
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  I'm working with that Doobe theater. Like you said, even over most of
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  the our matches in New York, like like facts, big facts, so
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  if you see something and that says Dobe at most that's the sound that that
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  that's one point. If you see Dobe vision, the colors look different.
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  They even gave us a demonstration at the very beginning, and I was all
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  right, whatever. They was like, this is the color black. No,
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  this is actually what the color black it's like. So I was like,
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  all right, y'all onto something. So I will say, if you
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  do see that opportunity to try that first, you know you you'll get an
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  even more rich experience. But but again, think you to the Doobe team,
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  and with what Benami said, I do want to make sure we put
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  that warning this is a spoiler filled review. Yeah, so Allian said,
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  still, yeah, but we will for the most part. There's like,
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  especially towards the end of the film, we're gonna keep our mouth shut because
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  yes, it is a hell of twist at the end end the twist.
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  What the twist? You know? That was some night that was like when
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  a good night. But we want talking about we won't baking. Yeah,
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  we won't give away the deepest of plot points, but we will stay some
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  details that it would be better if you have seen the movie first. So
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  we're going to talk about the themes, you know, as we used to
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  do our views or as we do our views, because there's a very big
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  theme that my second viewing became super apparent to me and really blew my mind
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  and really fucked me up just in general. So um, I guess we
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  should just talk about that before we even get into the themes. I mean,
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  that is the theme, like, you know, like this the big
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  theme you know that I was, you know, it's playing to you to
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  you know, yeah, go ahead, all right, Well, since you
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  have seen the film, right and for everyone who has seen the film,
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  and if you have this in spoiler film review, the main I would say
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  story of this film is that Miles Morales distrovers the existence of the Spider Verse
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  and he finds out that due to his creation in the first film, he
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  is a problem and Spider Man twenty ninety nine has issues with him, and
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  because of that, they get into conflict and has issues with how Miles is
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  dealing with the spot who is the main villain of this series and well not
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  the other series, but of this film and will be the main villain of
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  the next one. And Miles is determined to save his family and save everyone,
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  as he expressed in the first one, and Miguel feels like you cannot
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  save everyone. Miguel Spider Man twenty ninety nine. So that's pretty much right,
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  the main. Yeah, that's the main. That's the main. I
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  mean, without it, there's a lot more to it. I mean,
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  Spider Gwen Gwen Stacy has an amazing storyline. I want to get into howl
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  that develops and how fucking incredible that is. But that's the main conflict of
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  this film, right, and so upon why the second time I really keep
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  something about it? Right? Is this film about the stories that we tell
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  ourselves and that we are told to us and our creation, stories that lead
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  to our identities and who we are as people, right, the stories about
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  ourselves, stories we tell about ourselves. Yes, and then also when it
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  comes to the stories that we are told and that we love and ingest,
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  do we only care about a story if it's cannon. Miguel Spider Man twenty
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  ninety nine seems to only care about stories of his cannon. He also makes
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  another point where he says, only like when a story falls off its cannon,
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  only some of them can be saved, right, And that is when
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  it started hitting me when I'm watching this movie, because I'm like, because
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  as a huge comic head, first off, I know that people hold and
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  I've made a lot of jokes about this, people hold cannon in the highest
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  regard, and when stories are non cannon, they don't seem to care about
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  them. They flip out like Spider Man twenty nine and nine Miguel was doing.
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  There was a huge filip out a few years back, about ten years
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  back, when Star Wars got owned by Disney and they erased the extended universe
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  and where like those are now considered legends in the Star Wars cannon, those
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  are not sure cannon. They're just stories that are told and they may or
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  may not be and now they're like adopting some of them into the cannon.
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  But people were super upset, And when it happened, I was like,
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  why are y'all some upset? Like you read those stories, right, it
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  still matters to you. It's so interesting, Ben, because and there's two
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  points I want to make about you. There's two points I want to make
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  about that that idea of the very fanboy istic viewpoint of things have to be
• 17:49
  cannon, right. One, especially DC Marvel whatever whatever, comic book.
• 17:56
  Really at this point that you're thinking of, there has been so even from
• 17:59
  the cover of the comic itself to the stories and the characters and the different
• 18:03
  variations. The idea of divergent stories and variations of the same character has always
• 18:11
  been there. That is one aspect that has never not generally not been there.
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  So to me, that very stayed idea of things have to only be
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  cannon. It's is what is the one I'm looking for? Like it's it's
• 18:29
  hustling backwards right because it's just like that's not like that's that's listening, y'all,
• 18:33
  that this is why listens, because this is this is the terminology I
• 18:36
  use this hustling backwards to me because like comics were built on just being so
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  black and white right like it was to me. It was built on allowments
• 18:45
  of freedom, imagination and the idea like especially with with when you look at
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  Marvel, there's so many variations of where character can go and and Spider Man
• 18:56
  itself grant its own by Sony right now, but in Spider Man itself,
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  you've been seeing this Spider verse Spider I, like you've been seeing these variations
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  or the thought that oh that can't happen because that's not Cannon's preposterous to me,
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  And I always felt like that limited mindset was so strange. And it's
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  interesting because it is like that, and even though Sony owns the rights to
• 19:19
  the film versions, the comics and everything else and still being produced by Marvel,
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  and that's where all these ideas come from. But in that sense,
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  like it wouldn't be until they did the Spider Verse thing and you saw,
• 19:30
  I can't remember the name of the giant robot. It still didn't show up
• 19:33
  in this one. It damned well better be in the next one. But
• 19:37
  there's this giant robot from like the seventies Spider Man, and until it showed
• 19:41
  up in the comics, I mean, people talked about it, but people
• 19:44
  were waiting for it to show up in the comments so it could be Cannon.
• 19:47
  And then it's like, now it's Cannon. Now it matters, you
• 19:49
  know. But that's my point. Those stories still matter to you, right.
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  And then another thing that was one of the meta levels this is that
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  the non and in Spider Man in real life, in the comics at least
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  rarely make it right. Spider Man twenty ninety nine, it's a perfect example.
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  This Spider Man twenty ninety nine comes from the twenty ninety nine universe,
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  which came out in like I want to say, about ninety four ninety five,
• 20:15
  Marvel came out with this line of comics and they were running along the
• 20:18
  same time as the regular comics, but they featured characters. They had Spider
• 20:22
  Man twenty nine nine, Punisher twenty ninety nine, Doomed twenty ninety nine,
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  I want to say, a Fantastic four. Maybe I might have got that
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  wrong on them, but eventually it featured you know, variations of everyone,
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  Avengers, you know, the X Men, everybody, you know, one
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  hundred years into one hundred plus years into the Future twenty ninety nine, and
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  so that's when Miguel first debuted as debuted as a character and was popular for
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  about five six years to about the rest of the ninety two This one the
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  huge nineties busts of comics happened when Marvel could publish one hundred different titles a
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  month maybe and make you know, goog hobs off all of them. So
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  once the implosion happened, stuff like twenty ninety nine went by the wayside because
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  the main Marvel universe is always going to be the one. Peter Parker is
• 21:08
  always going to be the one. Okay yep. And so that was pretty
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  much the end of his run until a few years back they brought it back.
• 21:15
  So it's like for like twenty years he had no comics and maybe made
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  an appearance here and there, nothing but was forgotten except for the fans of
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  twenty nine, for the super fans, right to mainstream audiences like yourself.
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  You said, this was the first time you ever heard of this dude when
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  you saw the movie. So he's one of the forgotten Spider Man. He's
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  one of the non cannon universes that don't make it right. Then we go
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  back to this movie. In this movie, h Miles Morales has revealed as
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  the Annaly. He's the one that mates it even though he's non cannon,
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  and that it goes back to real life. Miles Morales is like the first
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  time ever that another version of Spider Man has become as or if not more
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  popular. I remember when he debuted and people were like, oh, you
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  know, I mean, it's all the hating gets today. What I'm d
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  black Spider Man. He you Spider Man. Winders, Peter Booker, how
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  can it be yea? And this is after the existence of the Spider Verse
• 22:15
  and Spidiverse. Spider Verse actually comes after Miles. Spider Verse actually does come
• 22:19
  from Miles, like Miles Frums from the Ultimate Universe, which was another all
• 22:25
  shoot, right, the Ultimate Universe was um This is like mid two thousands.
• 22:30
  The Ultimate Universe was Marvel's attempt to tell all the stories that they told,
• 22:34
  but to a younger audience without the hindrance of of thirty years of Cannon,
• 22:41
  sixty years of Cannon. So they had Ultimate Spider Man, which was
• 22:44
  a super dope series written by Brian Michael Binds and Brian Michael Bendis wrote like
• 22:49
  a hundred issues of Peter Parker going through high school, all the stories that
• 22:52
  Stanley had all told but just updated. And we see a lot of those
• 22:56
  versions in this Green like the Green Goblin who was in the first etc.
• 23:00
  So it was this Ultimate Universe and the Ultimate Universe Peter Parker dies and Miles
• 23:06
  takes over. It was outrage. It was complete pandemonium, even though this
• 23:11
  had nothing to do with the normal Cannon, just the fact that a black
• 23:15
  man obviously was taking over Spider Man was outrage, but he was immensely popular,
• 23:19
  so popular that when the Ultimate Universe folded because they weren't selling no copies
• 23:25
  and Marveled did this whole thing where the incursions came together and all the universes
• 23:29
  crashed together, Miles was the only survivor of the Ultimate Universe and moved over
• 23:33
  to the six one six because that's how popular Miles Morales is, because he's
• 23:37
  an anomaly amongst everything. Got it. So the movies operating on fucking levels.
• 23:45
  And that was like, so the movie is operating on Cannon outside of
• 23:49
  Cannon, about the Cannon inception of Cannon Light and talking about why we are
• 23:55
  so slavishly devoted to Cannon, and that is something that has always been an
• 23:59
  issue with me. And it was messing up because even like it was funny
• 24:03
  during the first viewing, I kind of got distracted a minute because I started
• 24:07
  getting some deep thought about the stories we tell and I was like, yo,
• 24:11
  I'm sitting here watching this story, and I was like, why do
• 24:12
  humans love stories so much? You know? And I started thinking about that,
• 24:15
  like why are we sitting around to We've been doing this since the campfires,
• 24:18
  you know, We've always sat around and told each other's stories, and
• 24:22
  so I was like, why is that? So that kind of lost me,
• 24:25
  but I realized that's what this film is about. It's about the stories
• 24:29
  we're telling and the stories we tell ourselves. So it was kind of intentionally
• 24:33
  for me to get lost in that train of thought. And then on second
• 24:36
  viewing, I started getting the real stuff about how it's about Cannon and how
• 24:38
  Miguel represents those type of people who only care about themes when they're cannon and
• 24:42
  it has to be cannon or nothing else. And the second that leads to
• 24:48
  the second point I was gonna make about that that mindset of Miguel because I
• 24:53
  thought about it, he reminded me of the TVA, because that idea of
• 24:57
  policing and controlling what timeline should and over this case, what variants should stay,
• 25:03
  what are important, what's not, what should be pruned? Like he
• 25:07
  essentially operated as a one man TVA, like wanting to say, hey,
• 25:11
  you're not important, you don't matter, you're not supposed to be here,
• 25:14
  or this is not supposed to happen in this story. Granted there were actual
• 25:18
  consequences to things not going according to the quote unquote plan, but he operated
• 25:23
  on a sense that everything had a predetermined destiny and that there was no way
• 25:29
  to change it. And much like as I mentioned, much like how the
• 25:32
  TVA that how their modus operandi was it is or was, And I just
• 25:37
  found that funny, like seeing that that that diconomy there and then hopefully what
• 25:41
  we'll get to see is that it has proven wrong. We don't know yet,
• 25:45
  but I really like that you made that understand that had I guess theme
• 25:49
  that first theme, because like it gave me those points of similarity yep.
• 25:53
  And then even if it's found on that even further, it goes back to
• 25:56
  like what I was saying about fans, how fans only wanted to see the
• 26:00
  same story being told, even an Ultimate Spider Man, which I love to
• 26:03
  death. It was basically the same Stanleys stories that were told in the nineteen
• 26:07
  sixties, updated for a modern age. But because I hadn't read those Stanleys
• 26:11
  stories thoroughly, I knew them through just you know, the general absorption of
• 26:15
  Spider Man lore. It was very dope to me, and plus it was
• 26:19
  updated for a modern age so I could relate to it better. So I
• 26:22
  was like, this is dope, But I also like the fact that they
• 26:26
  made changes and it's like what the last final Fantasy, the Remate did where
• 26:30
  people were upset that the story changed, But it's like, why do you
• 26:33
  want the same story that we told you twenty years ago into nineties nostalgia familiarity?
• 26:41
  That's if you've got a Spider Man, your uncle Ben gotta fucking die
• 26:45
  and it's like why, dog, Like, why can't it be a Spider
• 26:48
  Man with two healthy parents and his uncle? Why does it always have to
• 26:52
  be the same story? And I want to introduce that as the next theme
• 26:56
  for across the Spider Verse because that exact point you're making about, how like
• 27:03
  it's the same stan Lee's story told fifty times over fifty years, over time
• 27:07
  like that, that's also a very that was also a very intentional and meta
• 27:14
  approach that this film took, where it literally, like you guys see it
• 27:18
  in the trailers, how there's there's thousands of Spider men, Spider women,
• 27:22
  spider people, whatever you want to call them, and those stories that that's
• 27:27
  the let's call it the template Stanley Peter Parker's story, even though the Spider
• 27:33
  person might look a little different, it's played out over and over and over
• 27:37
  and over and over again. And then there's a question of that Ben is
• 27:41
  ringing, which is can we do something different? Is it really gonna break
• 27:45
  everything? Is it really break the timeline? Can we just do something different?
• 27:48
  Can Uncle Ben not died to your point? Right? And also like
• 27:52
  are the questions of are all of these spider people truly different? Are they
• 27:56
  all truly unique? Or are they may be unique in external view? Right?
• 28:02
  You may see a black woman, you may see a white man,
• 28:03
  you might see a punky, might see a buttoned up, collared kind of
• 28:07
  guy. But are they all intrinsically the same exact archetype. Yes, it's
• 28:12
  even funny that Marvel used to do this thing, like every ten or fifteen
• 28:15
  years they would try and reinvent Spider Man. And I remember when I was
• 28:18
  combing up the one with Speedball and don't don't ask if you don't know my
• 28:23
  man's name was, so I won't ask, you know, And I even
• 28:27
  knew Speedball as a reference to drugs, So I was like, wow,
• 28:30
  that's wild. But you know, his name was Speedball. He had some
• 28:33
  weird powers about balancing and shit, but he was his whole thing with Spider
• 28:37
  Man. Teen you know gets the powers accidentally, somebody dies because he's not
• 28:42
  ready and responsible has to put on a mask and hide himself from the populace
• 28:48
  who loves Speedball but hate the normal dude. It was the same shit worked
• 28:52
  for like, you know, fifty or so issues, flop out, gone,
• 28:55
  nobody remembers that nigga, you know, and they did that over and
• 28:57
  over again until they got to my I was Morales and this was the first
• 29:00
  time it's stuck in. It was hilarious because this when it was like,
• 29:03
  this is Spider Man again, but he black, and that, you know,
• 29:07
  it was enough because all these other dudes have been white, honestly,
• 29:11
  and as we know, diversity and inclusion will always get you more because there's
• 29:17
  more of us than there are at them. It's the Little Mermaid, but
• 29:21
  she's black, soaking it's the same. It's literally the same story again,
• 29:29
  and that's the whole part about it. People will get up and arm and
• 29:32
  try to iView bombit because they're so freaking racist, not even knowing. At
• 29:37
  the end of the day, it's literally the same story again. Nothing has
• 29:41
  intrinsically changed. And then also what really made Mile stick and even though he
• 29:47
  was started by Brian Michael. Business was the fact that they included you know,
• 29:49
  his mom is Puerto Rican, his dad is Dominican. So it has
• 29:53
  this like you know, they had that culture, and other writers have come
• 29:57
  on and people you know, just grewted that right away because you hadn't seen
• 30:02
  that yet a lot of them mcu. There weren't a lot of Latin heroes
• 30:06
  and on the forefront, and he just caught on. But like once again,
• 30:10
  that doesn't happen normally. It's just, oh no, this is not
• 30:12
  my cannon. I don't give a shit. And so that's why he's a
• 30:17
  miracle, and that's why these films are miracles. I mean, and we've
• 30:21
  talked about this, like if you can go back to the records of Foreign
• 30:22
  Nurves, because I used to talk about how, you know, Miles was
• 30:25
  such an important character because of that, and even on the first film,
• 30:29
  I felt shout out to our brother Beans, like when we were standing in
• 30:33
  line for the first into the Spider reverse, He's like, this is better
• 30:34
  than Black Panther, and why I don't know if it is. To this
• 30:37
  day, I think they're comparable, but I feel like this is a more
• 30:41
  important film, just like I feel how in the lower run I feel Blackish
• 30:48
  it's a more important show. Well, I Blackish Abbot Elementary is a more
• 30:52
  important show than Black than Black Panther is a film. Do you think black
• 30:59
  people at are as humans? Humans? That's the part before being heroes and
• 31:04
  being heroes. But what Avid Elementary does is showing and what this film does
• 31:10
  and show black people and brown people being heroes as humans. You know,
• 31:15
  in everyday life they're being heroes. You know me, all cops are bastards,
• 31:21
  and this film got me over here rooting for my boy, you know,
• 31:23
  cops right routing from you know, for pops. You know what I'm
• 31:27
  for twelve, you know, ruling for twelve because my man is a good
• 31:30
  dude and I feel him, you know. Yeah. So like even though
• 31:36
  it's a been a propaganda you know copas propaganda, you know, all the
• 31:41
  stills it in this stays you know, excuse you're overlooking in this case,
• 31:45
  because it made the story so helped make the stories so good. And I
• 31:48
  see what you're saying now, Ben, I mean with that like it well,
• 31:52
  when I was what I was about to say. When I say bring
• 31:53
  it down, I meant bring it down, to an even more relatable level,
• 31:56
  like this isn't even though yes, Miles has been hours okay, but
• 32:00
  everything that this movie talks about the very very perfect, beautifully honest, I'm
• 32:06
  sorry, I'm gonna say perfect, perfectly written storyline. It's so humanistic in
• 32:15
  nature. It's it's less a way. I mean, even though, yes,
• 32:17
  the powers are cool, but it's less about the powers and more about
• 32:21
  the person inside. It's more about the human interactions. It's more about the
• 32:23
  relationships between characters and how they play off of each other, how they don't,
• 32:29
  how they got static with each other, how they love each other,
• 32:31
  how everything everything, Like quite literally, this film explores the depths of humanity
• 32:40
  and going both ways negative and positive. All right, And speaking on that,
• 32:46
  I want to get into the Gwin and my Ulf relationship. But before
• 32:51
  we do that, I want to talk about because we're talking about the writing,
• 32:53
  I want to talk about the opening of this film and how it opens.
• 32:57
  For the good solid ten to fifteen minutes. It was twin Stacey.
• 33:00
  It was like twenty minutes and that was just the intro of Gwen Stacy.
• 33:06
  No Miles at all, other than being in a photograph and what a daring
• 33:09
  risk that was, and then to pull it off with verve, you know,
• 33:15
  like like it was look how we pulled that bitch off, you know,
• 33:19
  like like it was pulled off so adptly. Because as I was sitting
• 33:27
  there, like I was already in awe, and then the title screen came
• 33:30
  on and I literally pushed back in my chat. I said, Nigga,
• 33:34
  that was just the intro, and it told Gwen's whole story, like the
• 33:38
  story that we never really got in the first film. In that twenty minutes.
• 33:43
  Gave her everything we ever gave her a feature film, And it's what
• 33:47
  Pixar used to do. It's prime, give you a feature film before the
• 33:53
  credits, the shorts and the shorts like the shorts, Like when you watch
• 33:59
  Up, the first fifteen minutes. Up is a film before it goes on
• 34:05
  its own journey. It tells you the story of his life in fifteen minutes,
• 34:07
  yeah, and then it goes on this other journey. And what other
• 34:10
  films used to do that was like Indiana Jones. You can watch any of
• 34:14
  the original Indiana Jones three films, and the first before the credits drop,
• 34:17
  there's a short film of Indiana Jones doing some wild shit and it's a whole
• 34:22
  film right there, but it's a quick short film. And so films have
• 34:25
  always done this trick, you know, great writing, great films, but
• 34:30
  to feature it on a whole last another character, like I mean Gwen Stacy
• 34:37
  is also a well like character anyway, but in the film, in the
• 34:40
  films since the MC like Ghost Spider, the Gwen Stacey version, she's particularly
• 34:45
  new to the comics, you know, Like Gwen Stacy is a character who
• 34:49
  has been dead forever. That's been Cannon, and that's been one of them
• 34:52
  things was never disturbed, Like there's Uncle Ben, Gwen Stacey. It used
• 34:58
  to be Jane Gray, and used to be Bucky Barnes, where the four
• 35:01
  people in Marvel who never would fucking come back. I don't give a damn
• 35:06
  what if you bring them back. It's a ghost, it's a somebody faking.
• 35:10
  You know, it's super dude. They pull off the mask. You're
• 35:14
  not Barnes, you know it. That was like from down high, it
• 35:19
  was never changing. And then the first with gene Grade, she came back,
• 35:22
  and then the second was Bucky he came back as Winter Soldier, and
• 35:27
  then Gwenn and Uncle Ben were still like nodding these niggas is dead, you
• 35:31
  know what I mean. And then they brought back gwyn Stacy in an alternate
• 35:35
  universe. It was you know this still in the main universe, she still
• 35:38
  did, you know, and that ain't never changing. But they did this,
• 35:40
  and it was a lot of rage because people are like, no,
• 35:44
  gott be dead, you know. And it's like talks an alternate universe and
• 35:46
  this universe she gets been in the you know who. But once again you
• 35:53
  put a woman when it's always been a man, and you retell the same
• 35:57
  story. And also, like I have said this before, I've said this
• 36:00
  be four years ago to you, Like just because Marvel or whoever it is,
• 36:06
  killed off a character, it don't mean not that's where to come back
• 36:07
  except for you know these maybe four don't. But but everybody else I've seen
• 36:14
  people get killed off five six times and they come back right like they can
• 36:17
  relate a story or it's like, oh, someone so resurrect them. It's
• 36:20
  just like none of the all of this is when it says it's not immutable,
• 36:23
  right like you can do whatever, you can do whatever, it's it's
• 36:28
  free and and there are no rules to everything, and that goes back to
• 36:32
  everything that we've been talking. It goes back to everything everywhere, all wants
• 36:37
  and the concepts of of of the of Spider Verse, and of course if
• 36:42
  you're talking and that's adjacent to them to you, but the MC the m
• 36:45
  to you itself of the multiverse, right, like everything is true, everything
• 36:50
  is possible, and that is very that is done with incredible taste and incredible
• 36:59
  professional just just an exceptional level of talent that this film was able to show
• 37:06
  that, like that everything and anything is absolutely possible, and especially towards the
• 37:10
  very The big twist in the end is just the things that it just pushes
• 37:16
  you. It just puts you in a position to understand that whatever you thought,
• 37:22
  it's probably not that. Whatever you think could be, it's probably more
• 37:24
  like it like it's teaching you to expand what its expand your horizons, diversify
• 37:30
  your bonds. Like to me, that's this film is one of those lessons.
• 37:36
  And then here's another theme anyway, diversify your bonds and my guy,
• 37:39
  like everything you thought, there's more to it. Your horizons need to be
• 37:45
  expand everything everything like from the way like the characters I kept talking about how
• 37:51
  the way the characters interacted, like their relationships grow and fold in on each
• 37:55
  other and expand and contract in so many different ways. Gwenn and her father,
• 38:00
  Gwenn and Miles, Gwenning, these new niggas from This the Spider,
• 38:05
  This, the Spider Virtual just Q like it's it's and it's happening so rapidly
• 38:10
  that one of the adjectives I used for this film is that is so kinectic.
• 38:15
  This film moves. It's fucking moving the whole time. And I don't
• 38:20
  think it's too fast. I just think you're it's for me. It was
• 38:23
  never a dull point. There was never a slow area that there was essentially
• 38:30
  no real downtime, if I hope, and I'm using that and I hope
• 38:34
  I'm I'm meaning that in the in the most positive light there was. I
• 38:38
  mean, there's definitely peaks and values vales, but peaks and values. Yeah,
• 38:44
  you can have time. I mean when I say downtime, I'm talking
• 38:45
  about films where you're like, yeah, this is the time I could go
• 38:47
  go to the bathroom and I miss nothing. It was quite literally, if
• 38:51
  you missed a frame, you missed some key information. Yeah, and we'll
• 38:57
  get to the Easterns at the end of this. But that is something ill
• 38:59
  to say, wrong for the Easters. That's something that I really love about
• 39:01
  this. To me, none of the Easterns distract or add from the story
• 39:07
  and this it's so much. They're not the point of this. It's not
• 39:09
  the point. It's it's beautiful. It's beautiful, sary garnish things, Yeah,
• 39:15
  I mean, and that and that's requires third and fourth and fifth viewings,
• 39:19
  to be quite honest with you, because it's so it's so substensive garnish
• 39:23
  that acquires multiple viewings to even notice half the time. Yeah, such extensive
• 39:28
  garnish to notice. And also it's irrelevant to this beautiful story that they told.
• 39:34
  And that's what I love because in a lot of these films, a
• 39:37
  lot of these you know Lately and MCU films and all them, people go
• 39:40
  for Easter eggs. You know, there are whole YouTube videos dedicated to,
• 39:45
  you know, pointing out everything. And you'll be here for ten days trying
• 39:50
  to do that with this film. And it's okay, and and then you
• 39:52
  be clear, it's okay, that's what you came for. But this film
• 39:55
  is so well done. It does has no reliance easter eggs. It's quite
• 40:00
  literally there because they could. And that's some ballers. That's some boiler ish
• 40:06
  to me, like you're doing it because you can not, because you have
• 40:08
  to. That's how good they did this film. I mean, I for
• 40:13
  one screamed out loud when I saw Julia Carpenter. I actually had to google
• 40:19
  her name because I didn't know her true name. Julia Carpenter. She was
• 40:22
  a spider She is a Spider Woman who appeared in Marvel's first Secret Wars when
• 40:28
  Jessica Drew was out of the picture for a while. I think Bil Jessica
• 40:31
  had lost her powers at the time, so she was out of the picture.
• 40:34
  She'd retired from being Spider Woman. And so when Secret Wars happened,
• 40:37
  when the Beyond Her brought everybody to the Other's planet, this new shorty showed
• 40:40
  up. And her costume, if you google it, is a variation of
• 40:45
  the black and white Spider Man costume. And that's what it was said first
• 40:49
  inspired Spider Man when he got his black and white costume, because he gets
• 40:52
  his a few little later. So I always loved her because she had a
• 40:54
  dope costume and had different powers than the rest of the Spider people too,
• 40:58
  so she was kind of ill. So when she showed up, I was
• 41:00
  like, oh shit, you know, she don't say it damn word.
• 41:02
  She just falls up real quick, and I'm like, oh, but that's
• 41:05
  what I mean. It was relevant. If you don't know about that,
• 41:07
  it doesn't matter, and it's not one of those things where you're like you
• 41:10
  feel like, damn, I'm missing out, like I'm not shoting. I
• 41:14
  mean not to call the Flash specially because I really enjoyed that film, and
• 41:16
  that's something will we have another review coming for. But there are things in
• 41:20
  that film where I felt like, unless you know it, it doesn't matter,
• 41:23
  and it's like it takes time out of the movie, and it's relevant
• 41:29
  to the story where it's kind of like slowing down things because that could be
• 41:32
  chopped for those who don't know and it won't matter, and for those who
• 41:37
  do know, all this is oh I know that reference, Yeah, but
• 41:40
  it's not story. It's a lot of that stuff that could have been clipped
• 41:43
  to that point because and I still love the film. There was like two
• 41:46
  or three people who were like oh yeah, and I'm like, what the
• 41:49
  hell a y'all talking? But like Marvel did this like when they first interduce
• 41:52
  Stanos, I would never forget me in a The Avengerance film And at the
• 41:58
  end credit scene, Dano says, I guess I'll do it myself, and
• 42:00
  I, damn there jumped out of my seat. Dude next to me,
• 42:02
  because I'm going to saw that by myself. Dude next to me, damn
• 42:05
  there jumped out of his seat. And his girlfriend, who's sitting with him,
• 42:07
  it's like, who is that loud? Because she had no idea who
• 42:15
  the fuck that was? And so but that was perfect for an in credit
• 42:19
  scene. But when you take up time in the film with who the fuck
• 42:22
  is that reference, it's like you're just doing it to do it. And
• 42:28
  that's why I like this film ain't doing it as I mean, there are
• 42:31
  literally thousands of Eastern thousands. There's thousands, none of them to me,
• 42:37
  even though I caught, like Junior Carpenter and I caught, I mean,
• 42:39
  I'm naming all these spider people in that lobby scene. I'm like, yo,
• 42:43
  oh my god. Oh, But it didn't matter, you know,
• 42:46
  because beside that, I'm like, Yo, this story, the story,
• 42:50
  the story is relations and I wouldn't I just want to hone in on this
• 42:54
  Gwen and Miles relationship because I think it's so beautifully done. Like they are
• 43:00
  both characters who have all these damage and all these things going on with them,
• 43:05
  and they're young and you're it's floring love and they're blowing these feelings for
• 43:09
  like the first time. And Miles like Miles to me, I mean his
• 43:14
  hair, everything was me at that fucking age, because I was like,
• 43:16
  like Miles was a handsome young man, but I was a kid who was
• 43:20
  so geeped out and so like just into my own head all the time that
• 43:23
  I couldn't even see myself as I was, especially as I hit puberty and
• 43:27
  started to grow, and like people are like, yo, Ben's you know,
• 43:30
  looking, and I'm like, what are you talking about? I'm you
• 43:32
  know, I'm gonna play some duchess the dragon jail, Like I wouldn't get
• 43:37
  that. And so when women started taking interest to me and stuff, I
• 43:39
  was just like Miles, I was just trying to feel it out. So
• 43:43
  seeing that ship and seeing like where they don't even kiss, they barely can't
• 43:46
  even hold hands into film, but they clearly love each other and they clearly
• 43:51
  know it, and they're also trying to avoid the cannon that they know,
• 43:55
  avoid the destiny, right is avoid the pre determine, timeline, tell their
• 44:01
  own story. Man. It's it's when that Nigga was like, yo,
• 44:08
  you know, but you know she's like in every universe when false fort Spider
• 44:14
  Man and he's like, well maybe we can you know, be she says
• 44:17
  it doesn't end well. It doesn't end well because she didn't want to let
• 44:21
  him know. She want to let them know right right right? You know
• 44:22
  you the inter me falling off a bridge in my neck? Yeah, bro.
• 44:27
  It's also a lesson, and it's also a lesson in like what happens
• 44:30
  when you keep too many secrets from someone and how they get out, but
• 44:34
  also the complexities and the difficulties and reasoning about why people keep secrets and why
• 44:40
  they they do it for your own protection or to try to help make your
• 44:45
  life better, But it always comes out to light, right, and the
• 44:50
  damage of that whether whether you know, whether you want to call a lie,
• 44:53
  what do you call it? You know, a lie by omission?
• 44:54
  What do you call it? Oh, I'm just holding part of this information
• 44:59
  from you. Withholding it formation, how that cast ripple effects, especially when
• 45:04
  you're talking about like someone's life and predetermined destinies and all this other stuff.
• 45:07
  And and also just the fact that if you hold the information, the fact
• 45:10
  that they're gonna find out anyway, one way or another, and it's going
• 45:15
  and it may be a worse effect than if you just said it out right.
• 45:19
  Maybe you did help them, maybe you didn't, I don't know.
• 45:21
  Right like that, those are the all the different pathways of the decisions you
• 45:24
  make in life and where it can take you, and all the different variations
• 45:28
  and the variants of yourself. And that's why one of the reasons that we
• 45:32
  are expounding on just why this film is so damn good and why it's it's
• 45:38
  Jesus, it's such it's so beautifully written. It's just I was like when
• 45:44
  it was over, I was, I guess because I was inside myself.
• 45:49
  I just I just it just felt like I was watching and reading someone's heart,
• 45:55
  like several people's hearts. Obviously this thousand people working on this, but
• 46:00
  like it was hard trying to sound like a plane of tiar heart. It
• 46:05
  was hard. It was outrageous how it was. And this is something that
• 46:14
  I was like talking to Peter Ramsey today, he was telling me that the
• 46:19
  original plan was for it to be like an hour longer, like it was
• 46:22
  not going to end where it ends, and I would have sat right then
• 46:24
  and there. I would have sat right through it too. But I'm also
• 46:28
  happy and that shows y'all editing and stuff words out and can change the whole
• 46:31
  thing because they realized and he's like, having seen that longer cut, he
• 46:36
  realized that, He's like, no, this is you know, this was
• 46:38
  the magic, the magic because you know it is a bit cliffhanger and we
• 46:42
  got away the year. But it's like much more than that, because it
• 46:45
  would have been an hour more and then there's still would have been another film,
• 46:49
  you know, it wouldn't have been like this would have been the whole
• 46:51
  thing all once and still have been another one might have made it, or
• 46:55
  I'm not sure, because I think there was also a cut where it would
• 46:59
  have been everything three hours and it just would have left so much on the
• 47:01
  table. It would have Yeah, and from a story perspective, I understand
• 47:07
  why they did what they did. That that actually makes a lot of sense.
• 47:09
  Now. Granted, while we all say we would have just sat there
• 47:13
  for another two to three hours, the facts it's just like, let's savor
• 47:17
  what we had to right and let's get out of that that the Netflix I
• 47:22
  did work. I just want everything right now, Like perhaps you should marinate
• 47:27
  on what you just saw, glean some understanding and idea and lessons and this
• 47:30
  and this and that and watch it and also if you and and I'm not
• 47:37
  trying to dumb it down, but just from a business perspective, it makes
• 47:38
  more sense to chop it up into more than one film. So yeah,
• 47:42
  it is that baby. Hey, Peter Ramsey, executive producer, I love
• 47:46
  to see it, you know what I mean? I mean and again,
• 47:50
  and I know he didn't make that necessarily make that business intension. Say,
• 47:52
  let's be clear, there's a big corporation behind this. They don't they want
• 47:58
  their money's worth. So there's that. But also that like I say that
• 48:01
  words out because the version would have been a three hour film that might have
• 48:05
  shortened a lot of scenes in this one that we saw and then shortened scenes
• 48:08
  and you know the next one that we're gonna see instead of letting these scenes
• 48:13
  breathe and like have that opening where you have twenty minutes of gwinn Stacy,
• 48:16
  which god damn it, Like you said, I was the same way.
• 48:20
  I couldn't. I'm sitting there like, oh my god, this is so
• 48:22
  good, it's so good. And then you know it's the graffiti slap.
• 48:25
  The sticker gets slapped, and that's you know, and this is the intro
• 48:30
  we didn't have started the film, start the main the whole movie, like
• 48:35
  a whole ass movie. And then right, so we talked about when we
• 48:37
  talked about my Miles, we got to talk about my man Miguel because you
• 48:40
  also mentioned this earlier and I want to go back to it. But we
• 48:45
  talked about going and miles relationship we didn't like talk about like them, particularly
• 48:50
  like Miles himself about well, we'll get into that. Yeah. I mean
• 48:54
  it's also you know, we don't want to spoil everything, you know,
• 48:57
  we don't. We don't need to tell everybody. No, no, like
• 49:00
  seeing my man growing into a man, I'm gonna say, that's what I
• 49:02
  really mean, Like, yeah, he's clearly a different person than what you
• 49:07
  saw on the previous film. You see actual character growth that's not like the
• 49:10
  Simpsons. Yes, physical, mental, emotional group. Really, I really
• 49:19
  love to see it. And look, I know certain people have problems with
• 49:22
  my man shmid Moore, you know what I mean. But he is a
• 49:24
  young black man working and surviving in Hollywood. It is difficult enough as it
• 49:30
  is an insane world that man lives in every day. I cannot understand it,
• 49:34
  and especially being as young as he is, I will I'm willing to
• 49:37
  forgive him for saying dumb shit. It's self now years ago, so letter
• 49:44
  and he's and what I want to point out and give him his flowers White's
• 49:46
  ear. He's doing a fucking incredible job as Miles Morales over these two films,
• 49:52
  absolutely absolutely incredible to have grown from the younger Miles to the Miles that
• 49:57
  is growing into the man now. And it's the animation work is incredible to
• 50:01
  you know, physically change. And there's like certain shots like the shot of
• 50:06
  Miles when he's about to follow Gwyn and he looks back out into the city
• 50:09
  before he jumps into the spiders, and it's like, this is a grown
• 50:12
  ass man looking back in the city. Like that shot right there. I
• 50:15
  was like, Oh, this is grown man. You know, he's around
• 50:19
  his parents, he's still you know, more of a kid because he's like
• 50:22
  fifteen or sixteen in this phone. Yeah, I think sixteen sixteen, sixteen,
• 50:25
  yeah, and so yeah, and so that's like but that shot when
• 50:30
  he's by himself, and it's so you know, it's little touches like that
• 50:34
  because he buys some he's not with his parents. He's about to go out
• 50:36
  into the real world of the spiders. So he's looking back at the old
• 50:40
  world that he's leaving behind. And it's like, this is a grown ass
• 50:44
  man about to make grown ass man. And I still want to make the
• 50:46
  point, man, what you're saying, like grown ass man in terms of
• 50:51
  the world that he's about and growing, he's still a child. He's like
• 50:54
  baby, he's still a big baby. And and I just want to make
• 50:59
  that distinction. But because that happens a lot with with young black kids in
• 51:01
  general, like they try to real interceds, that's what happens with young black
• 51:07
  kids. Real life will not allow young black kid to be a young black
• 51:10
  kid. Real life is gonna make you a man, whether you know.
• 51:14
  And that's for our parents who are their best to shield us from because they
• 51:17
  know that this world of toxic whiteness is don't come at you and give you
• 51:22
  real life decisions like I had, I would faced for real life decisions at
• 51:27
  fifteen sixteen, because I was a black boy decisions, adult decisions, life
• 51:31
  or death decisions at fifteen or sixteen, because you know, I was faced
• 51:36
  with cops, et cetera. I was faced with guns, etcetera. And
• 51:37
  I wasn't even living in though, Like why I'm not selling dope on the
• 51:42
  court. You weren't in the super hood or nothing, but no, but
• 51:44
  I was a DJ. I was out, you know, I'd be out.
• 51:47
  I was enjoying myself. I draw to parties and just by doing something
• 51:51
  like that, you be in situations where it's life. When you're minding your
• 51:54
  business. As we see time and time again, you're living in life,
• 51:58
  mining in your business and then worse by the environment and the powers that be.
• 52:01
  And because everyone around me, the rest of the black people were not
• 52:06
  in as good a situation as I was. So you know, that's what
• 52:08
  happened. So it's like that's what this film is. You know it were
• 52:15
  because it's like it touches on it. It shows you what you know blacknesses.
• 52:17
  But it also is like he's also a superhero, and he's super about
• 52:22
  to be faced and superhero, which is life for death posicians and a lot
• 52:25
  of the especially again I speak on this as a Marvel adjacent movie, just
• 52:30
  evens next phase, bringing the younger characters and trying to tell their stories about
• 52:35
  them coming up to become the next crop of Avengers and things like that.
• 52:38
  We talked about a lot when we saw Kamala Khan with her with her show,
• 52:43
  how we really love seeing her pathway through high school and you get to
• 52:46
  see the real life implications of growing up and then growing up with powers and
• 52:51
  how you have to balance that with family and culture. And we see that
• 52:55
  time and time again with Miles and and that's one of the reasons why his
• 53:00
  story in this overall story is so beautiful because it also has deep culture rooted
• 53:05
  within it. Cultures actually, I mean just culture. It's it's amazing,
• 53:12
  uh you. We actually talked a lot about a bit about um Gwen Stacy,
• 53:19
  who was also voiced by Hailey stein Steinfeld, which is she's one of
• 53:22
  my faves. I know she's true Grid, true Grid, go watch it
• 53:27
  up. So good, so good, and she was a little girl in
• 53:30
  that basically so good Jeff with broad ass men who are like eating them.
• 53:39
  We have Shimick Moore as Miles as Miles Moreles absolutely Issacar Isaac as Miguel O'Hara
• 53:47
  Spider Man twenty ninety nine. Right, all right, let's stop there real
• 53:52
  quick because before we get to the rest of the characters, I do want
• 53:53
  to touch on Miguel, and you touched on this earlier, and I think
• 53:59
  this is full true. I don't think mcgel is completely right. I think
• 54:02
  he's operating on what he knows. Once again, as a fan who only
• 54:07
  operates on what they know and because of what they grew up on, has
• 54:10
  to be the way it is he's experience. In my experience, this is
• 54:15
  how God be. So you're fucking off for God to die all you know
• 54:21
  what I mean? If you could be a Spider Man, you know,
• 54:24
  so like Uncle Bench right do Yeah? So I think in the second film,
• 54:29
  you know, or the third film and the trilogy, we're gonna learn
• 54:31
  and he's gonna learn because I don't think he's the obviously he's not the villain
• 54:36
  of the series, and he donna have to come around or die, you
• 54:38
  know, that could happen. But I think I don't think that he's completely
• 54:43
  right in this film. That's you know, and I'm when I say that,
• 54:45
  I mean about his theories about the Spider Verse. I don't think so
• 54:49
  either. Yeah, a lot of people aren't completely right about their approaches and
• 54:53
  their decisions they make and all operate off that. Back on what I said
• 54:58
  about this being so humanistic as a story, and forget about the fact that
• 55:01
  it's animated. Take away the animation. This is put put in live actually
• 55:07
  all live. Actually, if you wanted to this, this shit still works.
• 55:09
  Put it in a book. Put in you read the it's gonna work.
• 55:14
  I put it in an audio book. Still works. I've read enough
• 55:17
  scripts and when it's a great movie that it's in a it's a great fucking
• 55:22
  script. Ain't never been a great movie without a great fucking script. Yeah,
• 55:25
  I ain't seen it. Yeah, in my life, I ain't never
• 55:32
  seen it. If you got one, let me know. I'd like to
• 55:36
  know about it. You know, documentary. Maybe they ain't got a spript,
• 55:38
  but you know, and I do hope that they show that he's not
• 55:40
  right because he's so freaking rigid, Like he reminded me of Hawkman and the
• 55:45
  fans. Yes, he also reminded me of Hawkman and that because Man's was
• 55:51
  like straight up black Adam. He was such a cop, and I'm like,
• 55:57
  god damn, like relax, sir, That's how I felt about Like,
• 56:00
  I mean, look, look who when teeps relating to as father figures.
• 56:07
  But he was unyielding her father, like her father. And I'm still
• 56:10
  talking about Miguel, unyielding, unwavering. This man was the freaking terminator.
• 56:16
  I literally sat there said he's t too, like like the whole entire team
• 56:20
  one thousand. The whole fucking time he was on screen, he was so
• 56:23
  aggy, and I was just like, are you And it reminds me like
• 56:28
  you just fans that just are so violently oppressive against anything different from the norm.
• 56:35
  I'll tell you how good this movie is and how great Spider Man twenty
• 56:38
  ninety nine. I was one of the people, like I said, I
• 56:43
  was reading comments all through that are and ignored the twenty ninety nine run like
• 56:46
  it never happened. I never read an issue, did not give a damn
• 56:50
  maybe read one annual or something along the way. That was it. Now
• 56:53
  I came over this movie. I went on comment Staldian downloaded Spider Man twenty
• 56:59
  ninety nine and started reading that of course you did. I was like oh,
• 57:05
  I gotta know about this nigga, like I got to read all his
• 57:07
  story. I love this nigga, like I'm about to read Spider Park after
• 57:13
  that, and yeah, and on that, Let's get to the rest of
• 57:15
  yes and prove because my man, Big Daniel Daniel, the King of the
• 57:24
  DSS Society, the Dark Skinned Society, the DSS Man like Daniel Man Damn
• 57:31
  Hobart Hoby Brown also known as Spider Pump God stand out in this film,
• 57:38
  standout character, stand out fucking introduction just everybody's slow motion introductions was amazing because
• 57:46
  Spider Man twenty nine and his musical store like twenty nine nines, a little
• 57:52
  notes was almost up. There were problems, problems. Has the best theme
• 57:58
  star, yes, and it's anyone in this series so far, but twenty
• 58:04
  ninety nine Blade Runners like futuristic theme when he first shut up was fucking oho.
• 58:09
  I gotta get that South that s was fire. Spiderpunk was so beautifully
• 58:14
  played, first of all, acted voice acted in general great great too,
• 58:19
  I mean really really really good, indible, incredible, and it's just and
• 58:22
  and of course you know the whole the punk slash uk sland slash anarchy,
• 58:30
  I mean really like f the PM and Prime Minister, you know, and
• 58:36
  he's back. Shout out to my brother A watch, big fan of the
• 58:39
  show. If y'all don't know, you can go on tight or whatever streaming
• 58:43
  service right now, I look up a watch a wate dope ass artists,
• 58:49
  incredible music, also an incredible writer and British and African and a revolutionary and
• 58:57
  like as soon as I saw the from My Turn to Top down after nothing,
• 59:00
  that right there, I call text of immediately, like, bro,
• 59:05
  you are going to be in love with this man, because you know that
• 59:07
  is how a Watte rolls, you know, straight up revolution all day,
• 59:12
  fuck everything. Yeah. I was a big fan of spider Punk in this
• 59:15
  film, Like I knew I would like him as a character just a little
• 59:19
  bit that I saw him and during the early times of previews and stuff.
• 59:22
  But I really really enjoy mister anti establishment and mister anti anti anti everything social
• 59:30
  club, anti everything, Yeah, anti everything and anti being anti you know,
• 59:37
  like anti so fucking contradictory. I love it, Like he's super He's
• 59:40
  a conundrum. Yes, he is a walking contradiction. He lives and breathes
• 59:45
  and and luxuriates in his own contradiction, and like we talked about the different
• 59:52
  states of animation, and they did this in the first film, where like
• 59:55
  nor Ham, all these characters are all rendered and animated completely differently, completely
• 1:00:01
  differently. I mean I loved him on the second on the first time,
• 1:00:05
  but the second time I was my jaw was dropping watching Spider Punk interact with
• 1:00:09
  Miles, just the way his characters animated, and like at one point Miles
• 1:00:15
  watched and pushes his leg aside, and my jaw dropped, Like, how
• 1:00:20
  y'all doing this shit? I asked, let me talk about the animation ricks,
• 1:00:24
  like I have to ask them, Like for Peter Ramsdy, I don't
• 1:00:29
  know you asked him. He said, you said, how did you do
• 1:00:30
  this? And he said he don't know, Like I mean, he knows,
• 1:00:32
  he knows. The second time, like there's so many tricks. How
• 1:00:37
  did they just keep stepping up their game? This is a masterclass beyond everything
• 1:00:42
  else we said, this film is a masterclass and animation. Wait before we
• 1:00:47
  let's draw to the last. We got to talk about my man's the last
• 1:00:52
  other Spider Man and I don't have did you actually really say much about Jessica
• 1:00:57
  Drew Spider Woman didn't. We didn't talk about Jessica Drew enough, and we
• 1:01:01
  didn't talk about all. Yeah. I just want to say I love I
• 1:01:07
  was looking forward to Spider Woman because it's a Ray. He's a Ray is
• 1:01:10
  like one of my top people period, and I love the fact there's a
• 1:01:14
  black another black Spider character, Spider Woman. All that she was cool.
• 1:01:19
  It was fuck motorcycles, all that stuff. I didn't realize this, and
• 1:01:22
  Ben said that it was during the previews and everybody knew. But maybe I
• 1:01:25
  just missed it, or maybe I purposely just ignored it, didn't realize it.
• 1:01:30
  She's pregnant, yes, she is during the film and like visibly pregnant
• 1:01:34
  visibly and it raises all kinds of questions, right all right, now,
• 1:01:37
  to go into the history of Jessica Drew real quick. Jessica Drew is the
• 1:01:40
  second Spider Woman. The first is Valerie the librarian, who was a black
• 1:01:45
  woman, and you know, it's a real weird story, but she's cannon
• 1:01:50
  for those who want to argue about it. Anyway, Jessica Drew is like
• 1:01:52
  the original main Spider Woman, and she was a Caucasian woman and she had
• 1:01:58
  a long run and I want to say seventies. I was for me out
• 1:02:00
  of reading that shit. I don't know nothing, you know, I just
• 1:02:02
  know about her through you know, general ongoings. But she had a long
• 1:02:07
  run and then she retired like I told you, and other people took up
• 1:02:12
  the mantle for a while. Different things happened then she I want to say
• 1:02:16
  that once again, this might have been Brian Michael business bringing her back around,
• 1:02:22
  Like I'm not sure who brought her back around, but they brought her
• 1:02:24
  back around, and then she got powers, she got pregnant, etc.
• 1:02:28
  There's a lot of controversy. There's a famous cover where she's on the cover
• 1:02:31
  of her comment being pregnant and people were upset about it, you know,
• 1:02:35
  woo. But all the time she was Caucasian, so there was some uproar
• 1:02:39
  once again, as usual Wind characters, but this one's identified as jess drew
• 1:02:44
  and they actually show you other Spider women. There's Jessica Drews in the background
• 1:02:49
  who are Caucasian, and but once again her being pregnant and black was some
• 1:02:54
  uproar. But I just I wasn't sure how I was gonna be handled.
• 1:02:58
  And I was, you know, a little like because I knew going in
• 1:03:00
  and it was I mean, like her introduction is like right up there with
• 1:03:05
  all the rest's amazing, the will you adopt me? What? What?
• 1:03:09
  What? Between her and when it's like some of the most amazing comedic timing,
• 1:03:15
  like Issa and Hayley Steinfeld are just doing it right there. I mean
• 1:03:20
  through every great interactions, great interactions. Once again, fantastic writing because the
• 1:03:25
  writing, the actors are acting out what they're and yes, their talent is
• 1:03:30
  also lending to the vision and the and the explanation and what you see of
• 1:03:36
  the character. It was written, it was written, it was said said
• 1:03:39
  you know, um, yeah, it was written because it was like,
• 1:03:43
  you know what what like will you adopt me? You know, after she
• 1:03:45
  realizes that she's pregnant and just out there serving fools with no problems, right,
• 1:03:50
  And there's there's two sides that people may look at that they may be
• 1:03:53
  like, yo, that's so powerful showing a black spider woman. That's and
• 1:03:59
  thank you for mentioning this was actually already in previous stories when she was white.
• 1:04:01
  But she's pregnant, she's still doing a damn thing. And you actually
• 1:04:04
  see that repeated because well you see there because he's also and you see him
• 1:04:10
  in the Castle as the Peter Parker that we met from last movie. Yes,
• 1:04:14
  Peter B. Parker, he's been showing trails, okay, but also
• 1:04:17
  the little one. Yes, that's also all all this is once again comic
• 1:04:23
  knowledge as well that may Day Parker is the daughter of Peter and Mary Jane
• 1:04:28
  in an alternate real you see that, So it's not like she's the only
• 1:04:30
  one you I mean, you have her. She's pregnant. Peter B.
• 1:04:33
  Parker's is fucking in the middle of fights like out and out day with his
• 1:04:40
  infant daughter in the Little Kangaroo Palace. And I was just like waiting a
• 1:04:45
  spider Man man, a little croche spider Man mat like and you know,
• 1:04:48
  granted she's she's a little bit more than a regular baby, but still like
• 1:04:51
  the fact that it's like bring your child, an unborn child to work day,
• 1:04:55
  like it's it's pretty powerful. So on that end, that's one that's
• 1:05:00
  inspection. There are there's another set of people who are like, once again,
• 1:05:03
  you're showing a black woman doing everything that she's a superhero and she and
• 1:05:06
  she's she's doing everything while she's carrying and this you know, I'm like,
• 1:05:12
  well, I mean, I hate it, you know, but like someone
• 1:05:15
  once said that there is no culture. I mean not once. Recently I
• 1:05:18
  read this, there's no culture in American culture without Black culture. Like not
• 1:05:23
  no culture, but like, no, every culture comes from us. And
• 1:05:27
  I was thinking about it for a second, I'm like, oh, on
• 1:05:30
  some levels, yes, I'm not sure, but it is our fate,
• 1:05:33
  you know, as black people, Like black women are gonna save the world
• 1:05:35
  and black men are gonna you know, get killed, you know, while
• 1:05:39
  it happens a whole world out here. But that is like part of like,
• 1:05:48
  you know, that's why I get it when black men women are like,
• 1:05:50
  I'm tired of being the one saving the world from my fam. That
• 1:05:54
  is what we're gonna do, you know that. Like I was talking to
• 1:05:57
  Mellow Marketer Shops Mellow, and it was about we're talking about the whole WJ
• 1:06:00
  strike and a lot of information came out recently about I'll say his name because
• 1:06:04
  that's my man's good my man, Damon Lindelow, and how he acted,
• 1:06:09
  and so I hit him Mellow and I was like, yo, man,
• 1:06:11
  I fuck with Damon, you know, just one of my heroes. And
• 1:06:14
  then man, it was a pure strumbag. Like, if I had my
• 1:06:16
  dream job of working on Loss at the time, which was my dream job
• 1:06:20
  of being a writer on Loss, it would have been the end of my
• 1:06:23
  career because I would have wanted to punch this fuck under face. I would
• 1:06:28
  have fired. It would have been over. I already know how it would
• 1:06:30
  go now because I didn't have the same experience on American guys. But to
• 1:06:32
  this day, even on American guys I had, you know, there were
• 1:06:35
  issues, and I know because I spoke my mind. It's one of the
• 1:06:40
  reasons why I'm not constantly working to this day, because I didn't give a
• 1:06:44
  shit, you know, And that's just how it is, and I will
• 1:06:46
  never give a shit, you know. Sorry, but it is. So.
• 1:06:50
  I was speaking to Mellow about it, and he's like, Ben,
• 1:06:53
  that is what that's you know, as it's tough, but that's our job,
• 1:06:58
  you know. We gotta getting these spots so we can take these people
• 1:07:01
  out. That's our job to save the world. M you know, ain't
• 1:07:09
  gonna be Nick Harry Tubman, you know what I mean. She didn't fucking
• 1:07:14
  do this so we could be like, oh, you know what I mean.
• 1:07:17
  It was much worse than what did she what did his mom say,
• 1:07:24
  your abbe, this ain't your life, nigga. You know what I mean.
• 1:07:28
  This drove to your this drokes to your ancestors. This is not my
• 1:07:30
  life. You know. I don't live this from myself. I've said that
• 1:07:34
  many times. I plant the tree, the seeds. I will never see
• 1:07:38
  the trees that grow from them. But I'm here to plant them seeds because
• 1:07:43
  somebody else planting seeds if they never saw the trees that I sitting under.
• 1:07:45
  That fucking shade of why there was out picking cotton, there wasn't no shade.
• 1:07:54
  You know what I mean? I can okay, I mean I lived
• 1:08:00
  through them. We all lived through them. Yeah, that's what this film
• 1:08:02
  talks about. Like you want to tell your own story, yes, and
• 1:08:04
  we all want to talk about story, you know. And I don't want
• 1:08:08
  to have to be the one to save the world. And maybe my great
• 1:08:10
  great grand kids can tell that story, yes, you know, but right
• 1:08:14
  now the world needs to be saved. And who else don't do it but
• 1:08:16
  use beautiful people. I'm gonna tell you right now, I get powers.
• 1:08:20
  I ain't saving nobody, I t I'm definitely saving this fucking world because I
• 1:08:28
  gotta live in it. It might it might involve be taking over the world,
• 1:08:31
  but you know, you know what, I'm making an omelet I might
• 1:08:40
  have. I'm gonna save the world, but I might take it over like
• 1:08:43
  I do. That's all I'm saying, Eggs, try to get crapped.
• 1:08:46
  If I'm making this omelet, I'm floating away with my jordans On. I
• 1:08:53
  don't know what to tell you. I've at least being like, nah,
• 1:08:57
  I'm I'm sitting in my jordans On, like get right on, UM help
• 1:09:05
  some people. Uh shout out to Brian Tyree Henry who plays Jefferson Davis who
• 1:09:12
  um Indian Uh Peter, because I don't have his name Peter, and that
• 1:09:20
  is who we need to shout out as well, because Okay, I don't
• 1:09:26
  know who that is. I'm not sure who that actor is, but he
• 1:09:28
  is a superstar to making if he has not already won, because just like
• 1:09:32
  Spider Park, I felt like he stole damn near every scene he was in.
• 1:09:36
  He did still a lot of scenes. Also, Oh you do know
• 1:09:41
  who he was Dopender in Deadpool, the Cab Driver and Deadpool. Okay,
• 1:09:47
  okay, okay, Yeah, he was mad funny in that dry. Yeah.
• 1:09:49
  Okay, hell yeah, okay, And I've seen him in some other
• 1:09:53
  stuff too. You know, he killed it. I mean he killed it
• 1:09:57
  as this thought, because this is another thing like going against Cannon. That
• 1:10:00
  was so ill and I don't I've never read Spider Man India where that story
• 1:10:02
  came from. Oh that's another one. I hope they featured this an africanum
• 1:10:08
  Spider Man who's gotta be in a next one. Oh man, I hope
• 1:10:11
  he shows up as well. But I loved it because he's a non struggle
• 1:10:15
  Spider Man and not something that's also usually the Cannon. It's spider Man must
• 1:10:20
  struggle through everything. And he was like, no, I wake up looking
• 1:10:25
  good. I ain't got to work out because I'm already buffed six months.
• 1:10:29
  This ship's mad easy. Every time I fight somebody, I win. You
• 1:10:32
  know. It's just like this is great. Both his parents, everybody was
• 1:10:35
  alive up to that point, you know. So it was that was an
• 1:10:40
  interesting take, and I loved his you know take, and also just all
• 1:10:43
  the little stuff about Chai Chai t and all that, you know, beautiful,
• 1:10:47
  and then that goes to that animation or something else I want to mention
• 1:10:50
  about the animation, then we can get into the hole in the animation.
• 1:10:54
  But how every universe had its own style, And what was really ill to
• 1:10:58
  me is how the Spider Man, like Miles and When would take on the
• 1:11:01
  characteristics of that universe while they were in it, like they started to become
• 1:11:05
  slightly more animated like that universe, while they still retained their own animation style
• 1:11:11
  from it. Like when they're in twenty ninety nine, everything is glistening because
• 1:11:15
  all the lights and how everything is shining in this beautiful Blade Runner. I
• 1:11:18
  mean not even Blade Runner, because it was more like Halo at its best,
• 1:11:21
  like World. You know, like everything was just looking listening, it
• 1:11:25
  said when they were underground and you see all the dirt and grime and all
• 1:11:28
  that, which was also like that twenty ninety nine world. Ma I could
• 1:11:31
  have been a whole movie in that because there was a whole lot going on.
• 1:11:34
  And I guess that's all from the comics, but that was like,
• 1:11:36
  it was a lot going on in that one. Yeah, that's the prefaces
• 1:11:40
  part of what we're talking about. Just and I said it before I bring
• 1:11:43
  it back. This is a true masterclass and animation and the levels the levels
• 1:11:50
  of what you could do and can do and maybe probably couldn't do until this
• 1:11:55
  film came out to pushing limits. This is this push is every limit envelope.
• 1:12:01
  You famiss them, you want to say, and it pushes it off
• 1:12:04
  the map. The world is flat, is on the It's somewhere in no
• 1:12:09
  man's land. This this film when we're talking about level and and yes,
• 1:12:12
  this is this is not an insult to any other really well done animation.
• 1:12:15
  This is just to me, this is just no, this is this is
• 1:12:19
  how it should be done. This is beyond anything I've ever seen at this
• 1:12:24
  point. And it's it's like what I love about hip hop or old you
• 1:12:28
  know, I mean all great hip hop, not just old any great hip
• 1:12:30
  hop and about it's about pushing the limit. And it's how always taking my
• 1:12:33
  how I feel about DJ and like I'm never trying to shit on any other
• 1:12:36
  DJ who I'm DJ Win, but I'm trying to make it difficult to DJ
• 1:12:41
  after me. And I want you to make it difficult to DJ after you
• 1:12:45
  because that makes me raise my barrow and this makes it difficult to and and
• 1:12:50
  it's going to push to your point. It's going to raise the bar and
• 1:12:53
  push future animation to what what do we say the levels? Raise the bar.
• 1:12:59
  I don't have to come. I'm about Jack, and that's like push
• 1:13:00
  the envelope, Push the envelope, and that's what I like. The first
• 1:13:03
  one did that, and then I felt like Mitchell versus the Machines responded,
• 1:13:08
  and then I felt like push some boots responded. Only two films where I
• 1:13:12
  felt like it was like when my man did the was that the control verse
• 1:13:15
  when you know it comes through Kenny did the control verse, and it was
• 1:13:18
  like, look, even if I hadn't mentioned your name, Nick, I'm
• 1:13:21
  shipping on everybody. What you gonna say and anybody like thissing me, it's
• 1:13:25
  about raising the bar, doing doper rhyme than this and very very much.
• 1:13:32
  Yeah, but it's that energy. But it's like, also just raise the
• 1:13:35
  bar, like you ain't got to say nothing about me, you ain't got
• 1:13:38
  dis me, but you gotta raise the bar of what you're doing. Yeah,
• 1:13:42
  And you know Mitchell versus Machines put some boots those in the two where
• 1:13:45
  I was like, all right, Spider versus y'all taught that ship. Now
• 1:13:47
  what y'all got? I don't know what kind of I came back with it.
• 1:13:53
  I don't know what kind of after effects three thousand and two point five
• 1:13:58
  program y'all got. I don't know what kind of room at this point,
• 1:14:01
  y'all using room size, I mean not room size, but y'all using some
• 1:14:04
  real, real, real big like to Lost Audi with Peter Ramsay is also
• 1:14:10
  involved. I really want to, I really legitimately want to know how they
• 1:14:15
  did this film because the level, the level of processing power, and the
• 1:14:19
  level of a planning it takes to have seventy maybe more different animation styles layered
• 1:14:29
  on top of each other in the same frame, yeah, and being consistent,
• 1:14:32
  not just that consistent, And then sometimes in the same scene, but
• 1:14:38
  when the shot changes between two characters, the animation style changes. Yeah,
• 1:14:44
  the background changes, the foreground changes, the way the characters drawn change.
• 1:14:46
  And yes, you could you could concay, Oh, that's easy because the
• 1:14:48
  camera's cutting away. But when it's happening so quickly, someone's saying two words
• 1:14:54
  and then the next words, it's a different view. I mean, if
• 1:14:57
  you want to make that right, you can say it's all easy because animated
• 1:15:00
  and nobody's like you know, but then it's easy's like and this film also
• 1:15:06
  loops, and that's and that's the cold whitest film is so cold. It
• 1:15:10
  loops in live action too. Yeah, I knew it was going to do
• 1:15:14
  that. I wasn't like because during the you know, lead up, the
• 1:15:18
  director said that we're going to you know, uh, the Indian dimension.
• 1:15:23
  We're going to twenty ninety nine and we're going into a secret dimension. So
• 1:15:27
  as soon as he said, I was like, Okay, when's Tom Holland
• 1:15:29
  showing up? You know, I knew it, but it wasn't Tom.
• 1:15:31
  But that was still fire. You get live action mixed with every animation,
• 1:15:40
  imagine and pop you didn't imagine before, and it's like, I feel like
• 1:15:44
  I'm downplaying how outrageous this stuff was because I can't come up with the proper
• 1:15:49
  explanations for what I saw, Like I, how did y'all do that?
• 1:15:58
  Yeah? Once again, how did y'all do that? Like, cano come
• 1:16:02
  on the show, explain to us, Please talk to us your boy.
• 1:16:05
  We're gonna have to have one of the animators on the show and have him
• 1:16:08
  talked through some of the stuff. Yeah, we're gonna have to. We
• 1:16:12
  need to because and like you know, I tweeted about that today. I
• 1:16:15
  said there there will be, there should be, and there will be books
• 1:16:19
  written about the animation. But I also once again go back to the writing
• 1:16:24
  and go back to that everything you saw on screen is probably in that sprip.
• 1:16:28
  And I was just so impressed with, like, you know, how
• 1:16:31
  lyrical, how you talked about, how physical, how connetic, how emotional,
• 1:16:39
  how everything, how to like the theme. Like when I made that
• 1:16:42
  tweet about the writing, I didn't I didn't even fully formed this thought about
• 1:16:45
  in my head that we talked about earlier, about how Miguel's Cannon and how
• 1:16:50
  you know, this whole film is about Cannon and about how Miles has traditionally
• 1:16:54
  been a you know, outlier, and that all coalesced afterwards, and I'm
• 1:16:58
  like, wait a minute, all that happen? Mean, Plus, this
• 1:17:00
  beautiful story is being told, you know, like once again that shit is
• 1:17:05
  just all that shit I mentioned it's just easter eggs, because that's irrelevant to
• 1:17:10
  this story that's really being told about Miles finding his own identity. And I
• 1:17:15
  mean, it's not a it's not irrelevant because it's trying to integral to the
• 1:17:17
  idea of what Miguel is doing. But it's also like a layer to that
• 1:17:23
  while it's not the main thing, because the main thing is Miguel's trying to
• 1:17:26
  save his universe. But when you really look at it, why is Miguel
• 1:17:30
  trying to save a universe? If you remove the Gardens's stolen meal, it's
• 1:17:32
  stuff. Oh it's the most delicious, it's the most delicious. It's the
• 1:17:36
  most five star Michelin delicious you can get. Let's talk about somebody Easter Eggs
• 1:17:43
  to be loved, because there's there before that, before that, the soundtrack.
• 1:17:47
  Okay, I mean I mentioned it, I mean I mentioned it.
• 1:17:53
  But one thing to the animation. They had a DJ. His hands were
• 1:17:58
  on the turntables. They should didn't do it right. They did it right.
• 1:18:01
  Everything was perfection. Okay, no notes, thank you, Hanka.
• 1:18:08
  I mean, it's it's a rarity, even in twenty twenty three. It's
• 1:18:11
  so sad when DJs are on film, it's always done wrong. And there's
• 1:18:16
  like fucking a million DJs out here. Now. You could ask any of
• 1:18:19
  them and they're just tell you this is where your hands should go, you
• 1:18:23
  know, and they just they don't even do it. No, they don't
• 1:18:26
  bother. They're like, oh, just just minding every time it's always backwards
• 1:18:30
  for some reason. I just like mind blood anyway, they had it right
• 1:18:34
  soundtrack, I mean, phenomenal. And then once again needle drops, which
• 1:18:41
  have become too much in film, and I talked about this with Guardians of
• 1:18:45
  the Galaxy, the needle drops in this the rock Hilm that ain't no Love
• 1:18:49
  in the Heart of the City when that drop for that specific scene and specific
• 1:18:57
  that I'm not gonna talk about. No, we're not gonna talk about no
• 1:18:59
  more than that. Other than that, I will also mention once again as
• 1:19:00
  the DJ, when my man dropped the M forty four seven needle on the
• 1:19:05
  record Them Shits is now discontinued. That's the Sure. It's the Sure needle.
• 1:19:13
  It's discontinued. It's one of like DJ's favorite needles. And they're gone.
• 1:19:18
  Like you might have heard me tip down before the music dropped. And
• 1:19:21
  soon people I gass because my baby, you know, like I missed you,
• 1:19:27
  you know, so that it's real and in some universe. Yeah,
• 1:19:30
  And that was funny to me because I don't think they had the exact number
• 1:19:33
  right, you know, and because it's its other universe, and that's how
• 1:19:36
  they did a lot of the East stirs and stuff that I would talk about
• 1:19:39
  in a second. But that was beautiful to me because once again, it's
• 1:19:42
  attention to detail. It's like, yes, you know, Aaron would have
• 1:19:45
  the dope needle because this nigga's a dope ass nigga, you know what I
• 1:19:48
  mean. So, like the music, just everything you said was perfect.
• 1:19:51
  When when we came to the music and going into like you said, the
• 1:19:56
  Easter Eggs, I do want to just say that once more and really emphasize
• 1:20:00
  is the attention to detail. I mean, it's beyond there's a scene and
• 1:20:04
  it's it's almost incomprehensible how much detail they've put into. And that's why,
• 1:20:11
  like I personally, besides it just being a good film, even if I
• 1:20:14
  want to watch it one time just solely off of to try to see more
• 1:20:17
  of the Easter eggs in the I can't wait to be I want to watch
• 1:20:20
  it three times for the story, and then three more times just look at
• 1:20:24
  detail, because there was things and then clever details, unnecessary details. Details
• 1:20:30
  for the details in in miles room or his roommate's room. His roommate's fucking
• 1:20:34
  playing Spider Man five like, and it's like a very particular scene in the
• 1:20:42
  in the game, and it's the Amazing Fantasy. I think it's Amazing Fantasy
• 1:20:45
  sixteen cover, which is the debut of the original Peter Parker Spider Man.
• 1:20:51
  They showed him the first film, but it comes up again in here and
• 1:20:54
  in this one Miles is reading it and it's called Real Life Tales of Spider
• 1:20:59
  Man, because Spider Man with a real life person in this universe. I'm
• 1:21:03
  about to faint. It's so good, It's so good. And Miles has
• 1:21:06
  three pack in his uh notebook instead of twop that like the shifts from so
• 1:21:15
  from humans or Earth six one six US reality, right, like just just
• 1:21:18
  the just the little it's just the little shoutouts and stuff. Obviously, Sony
• 1:21:23
  gonna shot up themselves. You see the Sony heath on I'm wearing. Sonya
• 1:21:27
  was like, come on family Spot grabs Venomin when he goes Man like the
• 1:21:34
  Lego universe. And when I say when I say the attention to detail,
• 1:21:39
  like the cohesiveness to the and and we said, I've said it that I
• 1:21:45
  felt, and I want to make sure I'm very mindful about when I express
• 1:21:49
  what I'm saying in a moment, which is that I felt that this top
• 1:21:55
  the first film. The first film was absolutely necessary to give the groundwork,
• 1:21:59
  and then film pays homage to itself once again. We stand on the shoulders
• 1:22:03
  of giants, and this film stood on the shoulders of a giant, you
• 1:22:08
  know, and because of that, it allowed itself to be greater than it
• 1:22:11
  was. And it's just it's like I described it as an Empire stripes back.
• 1:22:15
  Star Wars is a perfect fucking movie, and an Empire stripes back is
• 1:22:18
  somehow better. But it's also because there's Star Wars. Because you have this
• 1:22:24
  perfect movie before it, you can come in an Empire stripes back and seemingly
• 1:22:28
  ruin Han, cut off Luke's hand and have Darth Vader be a father,
• 1:22:31
  you know, and fuck everyone's head up because you had this other movie that
• 1:22:35
  wasn't that and so and it's like, no, but we can take what
• 1:22:38
  you did and flip you, you know. And normally sequels don't take what
• 1:22:42
  you didn't flip you, you know, They just like do the same shit
• 1:22:45
  over. Yeah, tell me the same story again. This first film,
• 1:22:50
  be Giant, begets a giant, begets a giant, It gets a Titan.
• 1:22:56
  Yeah, like if if if the first Spider Verse film was a giant.
• 1:23:00
  This film was a Titan. Yeah, I agree, quite literally.
• 1:23:03
  It's it's it's Aaron versus arment, you know, at the Titan forms if
• 1:23:08
  you want to do, if you want to do attack on Titan analogies,
• 1:23:11
  right like just in terms of the the size and scope. Yeah, it's
• 1:23:15
  just on some other level that that you just it's unfathomable. And again,
• 1:23:21
  the attention to detail in in the the Eastern Eggs, the attention to detail
• 1:23:26
  in these characterizations, the scenes, the music, to look, the feel,
• 1:23:31
  and to have that in a in an environment where it's all blasting around
• 1:23:36
  you quite literally like this this is Yeah. And even on that um that
• 1:23:42
  you were talking about that the like the story and how it all came together,
• 1:23:46
  it's that was one thing like the stroke the first time I saw it
• 1:23:51
  where I was like, I don't know if I like this as much like
• 1:23:55
  the first one, because the first one is such your personal story. The
• 1:23:58
  second time I saw it, now over, you know, I did not
• 1:24:03
  feel that way. I felt that this I felt that this was no.
• 1:24:06
  I felt that this is a personal story on so many other levels so that
• 1:24:10
  it hit me into fucking heart on some of the other ways, and where
• 1:24:14
  it becomes it becomes like how I feel about the Guardians of the Galaxy trilogy
• 1:24:17
  right now, where I feel like that's an incredible trilogy and each one built
• 1:24:21
  on the last one in the film where it tells this complete story over all
• 1:24:27
  three. So I gotta see the next one and then you know, hopefully
• 1:24:30
  they stick the landing. I have all faith that they will, and I
• 1:24:32
  just believe that this will be a complete story where it's where it won't be.
• 1:24:38
  It's like any great run or comics. I can't like Peter David.
• 1:24:41
  I recently reread his whole run, and he's also the writer of the Spider
• 1:24:45
  Man twenty ninety nine run, which is making me want to dig into it
• 1:24:47
  also because I love that motherfucker and there's certain issues in that run I can
• 1:24:51
  pick out. It's like, this is a great issue, great issue,
• 1:24:53
  but it's the run. It's the story that he told over this whole run
• 1:24:59
  that is in credible to me and that holds such a place in my heart.
• 1:25:01
  And so that's why I mean where I don't even do that thing.
• 1:25:04
  It's just better than the other one because it's gonna be is this story that
• 1:25:08
  they told, a great story and so smart, this story that they're telling
• 1:25:12
  over these two It's like what we even do when we're reviewing shows. I
• 1:25:15
  always tell people that, don't you know, don't just this ship when you're
• 1:25:17
  in the third episode and you don't know what the writers have planned. It's
• 1:25:20
  a ten episode are if you don't know how it's going to go by the
• 1:25:25
  ten episode art right now, you can you can critique going that well,
• 1:25:30
  so they are, and you can extrapolate that. It's like, oh,
• 1:25:33
  this probably ain't gonna make it, and you can give up if you want
• 1:25:35
  whatever. But when this ship is two two episodes in of a three episode
• 1:25:40
  story, and the first two episodes have just built upon it in the most
• 1:25:42
  beautiful fucking way, I'm not really separating like one. Like I said,
• 1:25:45
  it's the giant stand on them shoulders, you know. So it's like,
• 1:25:48
  oh my god, they've done it, you know, over two movies,
• 1:25:51
  Like I'll better watch these two over and over again, you know. And
• 1:25:56
  when I say I can't believe it, not because I don't believe in people's
• 1:25:58
  abilities. I just cannot believe the strength the strength of of the Miles Morales
• 1:26:03
  strength of the Black Panther, how much of that it's in this like it's
• 1:26:10
  it's it's it's out of control. And just with everything we said, benha
• 1:26:15
  mean when it comes to this film with the rewatchability being so freaking high,
• 1:26:23
  this is this is a ten out of ten for me. I rewatched into
• 1:26:26
  the Spider Verse right before we went and saw this for the first time,
• 1:26:29
  and I was in tears. Like you know, I rewatched the first one
• 1:26:32
  and it was moments where I bawled out. And like I said, those
• 1:26:36
  those Spider Man games for ps. Five two of the only video games that
• 1:26:41
  both of them I bawled out while playing them. I bawled out this one.
• 1:26:45
  This story is more it's so like not like it's such a slow build
• 1:26:51
  to the emotions that where it hasn't made me cry while I'm watching it.
• 1:26:56
  You know, I didn't cry. I just it just stuck to my ribs.
• 1:27:00
  It sixth Oh my god, it's just it So it's just so good.
• 1:27:03
  But and one thing we haven't even talked about was the spot who is
• 1:27:06
  the villain? Yeah, I forgot about that. Nigga who's first of all,
• 1:27:12
  because I think he does an excellent job as well, yeah, and
• 1:27:14
  not that I forgot about. It's just like he's important to the story,
• 1:27:17
  Like the main thing is the real thing, both of miles. Right,
• 1:27:21
  Um, what's the Spot's real name? Is Patrick O'Hara. Yep, I
• 1:27:27
  mean so, I'm not even sure. And the funny thing is shout out
• 1:27:30
  to my brother Andrew Higgins, who I grew up with. He had the
• 1:27:33
  first appearance of The Spot, and I always loved the Spot. I always
• 1:27:38
  thought he was a dope ass character, but the way they did him in
• 1:27:41
  this made him horribly terrifying and also went like took him to an extreme that
• 1:27:47
  I never saw in the comics, where they connected him to all the multiverse
• 1:27:51
  and all that shit, and I just thought it was I thought that motherfucker
• 1:27:56
  was incredible. Um. I don't know why, maybe are not led to
• 1:28:00
  know this year, but this's gotta be the listening of who plays a Spot?
• 1:28:02
  Yeah, because it's no, it's actually because they had to in the
• 1:28:05
  credits, they had the after the name. It's not Jason Schwartzman, it's
• 1:28:09
  um, oh my god, it's the other dude. I can't remember his
• 1:28:13
  name. It's not h Midloven, it's Jason Schwartzman. It is Midloven,
• 1:28:17
  right, that's I don't know who this guy. No, no, no,
• 1:28:23
  no, no. Jason Schwartzman is from all I mean, I know
• 1:28:25
  they all look alike to you. But he was in Scott Pilgrim Versus the
• 1:28:29
  World, Yes, he was in He's the villain shop versus of the World.
• 1:28:34
  I guess so. Yeah, Grand Grand Budapest Hotel, yes, Russian
• 1:28:40
  part Huckabees and some other people, okay whatever, yeah him, yes,
• 1:28:45
  yeah, the spot, yeah he yes, he he's important again. He
• 1:28:49
  is important. No great though, Yes, we're obsessing over Miles and Gwen
• 1:28:58
  and all's other stuff. He is important to this story intrinsic obviously to the
• 1:29:02
  story because of how freaking terrifying he is. Yes, and also how you
• 1:29:06
  start yeah, yeah, and like, and I think that's what makes it
• 1:29:12
  more terrifying, because it's like you go from ignocuous and almost a joke to
• 1:29:16
  be like, oh okayis related quickly and yeah the way that And then also
• 1:29:24
  the reason why it's so scary, it's because it's it's it's a one minded
• 1:29:29
  track. It's a unyielding Remember I saularly about with Miguel and that unyielding terminator
• 1:29:34
  s NonStop, that goal of I'm going to be your nemesis. Yes,
• 1:29:39
  Cannon one mind, I don't care about shit else. I don't. It's
• 1:29:45
  on site, like it's on site. I mean you ruined my life,
• 1:29:49
  you know, I mean not really, I mean you were working for the
• 1:29:50
  campaign. You know it's debatable, but like you know all that imagine you
• 1:29:59
  have to cover. You have an op and day in, day out,
• 1:30:02
  there is no rest. It is on site for you anytime they get within
• 1:30:08
  two feet of your face. And he's constantly trying to power up. And
• 1:30:13
  he's a spot And I don't know if y'all know the Spots powers. I
• 1:30:16
  mean, if you see the movie, you know it. Poor don't ring
• 1:30:18
  about for anybody how terrifying that power is port on the next level by the
• 1:30:27
  fun way of using that power. Yeah, it's it's terrifying. So,
• 1:30:30
  uh, you know, there's there's a lot of like deep conversation about his
• 1:30:34
  story that I don't want to give away either, but like overall, it's
• 1:30:39
  just it's it's it's great writing, amazing, and it ties into everything that
• 1:30:45
  we talked about, like people wanting things to be a certain way and they
• 1:30:47
  have to be that way, and also Miles has to face up to some
• 1:30:51
  of the things that you know, when he did, you know, there's
• 1:30:54
  polateral damage to his actions, and you know, you can't save everyone,
• 1:30:59
  and this is going to be one of the things that happens is people are
• 1:31:01
  gonna get hurt and people are gonna want revenge. We said that, We
• 1:31:04
  said that for years. I mean, it's also the story of groups like
• 1:31:06
  Damage Control, like, well, what happens when that building collapses during the
• 1:31:11
  Avengers fight? What about the people inside who got caught up, who died,
• 1:31:14
  who didn't, who lost their job because X y Z happened? And
• 1:31:17
  and Spider Man was involved in Man And it was so funny because before the
• 1:31:20
  film started I turned the top Town, I was like, yo, I
• 1:31:23
  know who the spot is because I just watched in of the Spider Verse before
• 1:31:27
  I've seen this one, and rewatching it, I see the scene when king
• 1:31:30
  Pin standing in the lab with a bunch of sides and they all get blown
• 1:31:32
  up and Kingpin is the only one who's shown Later it's like, what happened
• 1:31:35
  to the rest of them niggas? And we always asked the question, well,
• 1:31:40
  what happened, right like, yeah, but you know what we think
• 1:31:43
  about you side, they got blowed up, you know, but then if
• 1:31:45
  one of them, you know, the story is always there, especially in
• 1:31:49
  these superhero stories, like what about the collateral damage and what about these people
• 1:31:54
  that are not being written about? There's a story there, yep. And
• 1:31:58
  it's a story that had as ripple effects butterfly effect, whatever you want to
• 1:32:01
  call it, on two greater stories. And it's played so well here and
• 1:32:06
  how much it expands, and it's going to expand through the next film,
• 1:32:11
  Like I just oh, yeah, yeah, better me. I no.
• 1:32:15
  And that's another thing, like I know him from the comments, but I
• 1:32:16
  ain't never seen that nigga look like he looked like at the end of this
• 1:32:18
  movie. And that was like, oh, it's a problem. That's that's
• 1:32:23
  a movie, big, big, big big. The problem job turned out
• 1:32:30
  to be a big problem. I was gonna say, you see him coming
• 1:32:31
  down, she walked the other way, But it don't matter, because he's
• 1:32:33
  gonna put a spot out and be in front of you. Don't matter.
• 1:32:41
  Horrific, uh anything anything else you wanted to mention Ben when it came to
• 1:32:45
  any Miles has a poster on his wall of asap Rocky's first album, and
• 1:32:51
  it is BRT Rocky for B right there Rocky instead of as Rocky Amazing.
• 1:32:59
  Oh my god, that is so cute. I love it. I love
• 1:33:02
  the again, the details and the cleverness. I love the Live Love Rocky
• 1:33:09
  album. I didn't see what they changed if they did change that now,
• 1:33:12
  but yeah, it was B B R T right the cleverness in there like
• 1:33:15
  BRT B right A B right motherfucker. There are people, there's people who
• 1:33:20
  worked on a movie. In the movie, go find them. There's there's
• 1:33:24
  just so many Eastern listen, so many snitch and it says it in right
• 1:33:30
  like and then you know, and they still follow the comic book format.
• 1:33:32
  You see the what I what I love the most. One of the things
• 1:33:36
  I love the most was when like you saw like certain spots, you saw
• 1:33:39
  the not spots with certain areas of the film, you saw the comic book
• 1:33:43
  notes, a little rectangles that would pop up with the asterisks editors as editors
• 1:33:46
  editors notes during the film. That's an editor's notes that that would that editors
• 1:33:51
  used to do that. Marvel used to be famous for this. I guess
• 1:33:54
  DC would too, but especially way back in the day. They don't do
• 1:33:56
  it as much anymore, but he used to be an editor with like if
• 1:33:58
  it be some obscure reference like the character like Ohdi Infinity Garlet, you know.
• 1:34:01
  Danels says that it'd be like, Ohdi Infinity Garlet was last seen an
• 1:34:05
  issue one something of this, or it'd be like this power does you know?
• 1:34:12
  Like when he talked about the extra dimensional the vulture, the Shakespearean vulture
• 1:34:16
  in the beginning of this was amazing. You see like formulas, but it's
• 1:34:20
  um da Vincian ship. So as he's flying, you see formulas in the
• 1:34:25
  air like it's just it's just it's it's out of control. I'm controlled the
• 1:34:32
  levels that it went and the thought and the and the comprehension that they have
• 1:34:39
  of what it means, what it means to go this film is what it
• 1:34:42
  means to go all in on a concept. Yeah, several concepts at once
• 1:34:46
  and execute it flawlessly. I'm personally, I'm sure other people do. I
• 1:34:53
  personally don't have no notes for this film. Nah, And that's the first
• 1:34:56
  in a long time. If I did, I'd eat them because it's like,
• 1:34:59
  what what do I know? Didn't do this film? You know,
• 1:35:00
  fuck it if it's job the stage, you know, I can live with
• 1:35:02
  them, you know, no notes, Yeah, I can live with them,
• 1:35:04
  because you know, it's still better than anything I would have done.
• 1:35:08
  Y'all got this. Y'all got this, you know by my graphic novel and
• 1:35:12
  hope it lives up to that, y'all. One. I'm trying to tell
• 1:35:17
  rhythmal stories like y'all are baby, you know. Yeah? Yeah, Um,
• 1:35:21
  I think we said enough, Ben, Yeah, I think. I
• 1:35:26
  mean, this is one of our longest for a movie. Yeah, but
• 1:35:29
  I think we made some Really, do you think we crushed on it enough?
• 1:35:31
  I think I think we crushed on it. You know, I don't.
• 1:35:33
  I don't think we're four all haters is one of our YouTube comments.
• 1:35:36
  Oh my god. And it's so funny when y'all say stuff like that,
• 1:35:40
  because it's clear you didn't watch the actual episode. Four pay attaching us at
• 1:35:44
  all, because you probably saw the cover and thought one thing and moved on.
• 1:35:47
  Watch what watch and actually listen to what we say and even what we
• 1:35:50
  write. You know, we're on an indowebs as well. We write teams,
• 1:35:54
  and you know, you'll probably see a nuanced understanding of how we feel
• 1:35:58
  about something, but that he said, thank you for watching. Thank you
• 1:36:01
  very much. Thank you everybody. Thank you everybody, haters and lovers alike.
• 1:36:05
  We appreciate you because a view is a view, and this is views
• 1:36:10
  from the six one six Power by Fourill Nerds. I am Tatiana King,
• 1:36:14
  He's DJ Ben Hamen. Those are the names you can find us on the
• 1:36:17
  interwebs. On socials. You can also follow for all Nerds to find out
• 1:36:23
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• 1:36:27
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• 1:36:30
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• 1:36:34
  do a few things for us. We do this because we love it.
• 1:36:38
  We have passion for this, and we are successful because of people who love
• 1:36:44
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• 1:36:47
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• 1:36:54
  only at this point main merch page. We saw a few spammi scams out
• 1:37:01
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• 1:37:06
  Shout out to Latina Scribbles, Shout out to Sketch Sawyer who helped bring
• 1:37:11
  a lot of our designs to life and our ideas to life. For these
• 1:37:15
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• 1:37:19
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• 1:37:24
  do not purchase, do not pass go when it comes to those random sites.
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  Only go to foreil nerds dot com, where you can get amazing designs
• 1:37:31
  such as this Wong was right shirt Batami has on the newest, latest and
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  greatest anti scroll Social Club with the puff print. Okay, and now another
• 1:37:42
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• 1:37:45
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• 1:37:50
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• 1:37:55
  you know, right, and I don't even be owned this week care like
• 1:37:58
  we care. You know, we specifically went and got puff print on this
• 1:38:00
  because we were like, yo, the puff print will look sick, you
• 1:38:03
  know, the regular flat print on this that ain't really giving nothing to the
• 1:38:06
  customer. So boom, we got the puff print and it's luxurious, my
• 1:38:15
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• 1:38:17
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• 1:38:23
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• 1:38:31
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  such as maybe exclusive merch, maybe access to screenings well before everybody else.
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  Access to free gifts and giveaways as well. We got a big one coming
• 1:39:00
  on that yeah man, as well as Patreon only episodes that you can't see,
• 1:39:04
  see or hear anywhere else. So please make sure you hit up that
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  us on the socials I mentioned earlier at four All Nerds on ig TikTok,
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  twitters, Twitch, Twitch dot tv, Slash for All Oh yes, oh
• 1:39:21
  yes, go ahead yeah on Twitch dot tv Slash for All Nerds. We
• 1:39:25
  are coming back in a big way. Not only do we have our shows
• 1:39:28
  streaming there, I just bought some new DJ equipment. I spent a pretty
• 1:39:31
  penny on it, so I'm going to be doing some marathon streams on that,
• 1:39:36
  I promise. Yeah, it's We're gonna put in some hours on there
• 1:39:40
  because I'm at the test is joint out and I'm gonna do it live,
• 1:39:43
  so you know, fuck are we doing it live? So perhaps when you
• 1:39:46
  hear this episode, you know, take a break and go over to Twitch
• 1:39:48
  because by the time you hear this Friday afternoon, yeah, I might be
• 1:39:53
  on there. Yeah yeah, I pretty much will be because you know,
• 1:39:56
  we're doing this right now Thursday night. But follow turn on the vacations.
• 1:40:00
  I promise you. I know I've said it many times in the past,
• 1:40:02
  but thanks to everybody at Patreon, we got the light set up. You
• 1:40:05
  know, we got everything cooking in this little studio that I call here,
• 1:40:09
  and thanks to my own you know wallet being emptied out, I bought some
• 1:40:13
  new equipment that I now have to use, you know, because since I
• 1:40:17
  bought it, I gotta use it. So I'm gonna be live on twitch
• 1:40:20
  dot tv Slash Foreigners and Twitch dot tv slash dj Ben I mean, because
• 1:40:25
  I got some other stuff coming on, some music coming and as y'all know,
• 1:40:30
  and if you don't know, my first ever graphic novel, Jimmy Hendricks
• 1:40:36
  Purple Haze from Tightened Comics, written by me and my brother Mellow Brown,
• 1:40:43
  with art by the motherfucking legend Tom motherfucking man Drake, drops November seventh.
• 1:40:49
  It is a sci fi fantasy, afrofuturist tale told in conjunction with the estate
• 1:40:57
  of Jimmy Hendricks. It is personally me the best thing I've ever written.
• 1:41:01
  I you know, I love it so much that I finally got to see
• 1:41:05
  the first three colored pages. I know, y'all see the cover. It's
• 1:41:10
  out there. Very soon y'all will start to see some material work from it.
• 1:41:15
  Please preorder it. Pre Ordering means the world to comic books and everything.
• 1:41:19
  It determines everything, like if we'll get a sequel to this bitch,
• 1:41:23
  all that good stuff. So please go to your local comic book shop,
• 1:41:27
  your local bookstore, tell them you want Jimmy Hendricks Purple Haze. And what
• 1:41:30
  were you gonna say? It's cannon. Not only is it cannon, it
• 1:41:35
  is a completely new story. And even though you know we were obviously inspired,
• 1:41:41
  we staying on the shoulders and giants. I feel like we were telling
• 1:41:44
  our own story now, one of the things that I struck out to do,
• 1:41:46
  because that's something else I'm wanted to mention. Another great comic book is
• 1:41:50
  The Wicked and Divine, and it was one of the inspirations for this book
• 1:41:54
  because The Wicked and Divine, just like Across the Spider Versus about telling original
• 1:41:59
  stories and the effect that the stories we tell ourselves have on us. And
• 1:42:02
  when we tell sos these stories, we feel like we have to live these
• 1:42:05
  stories instead of living new and original stories. And I really feel like Jimmy
• 1:42:11
  Hendricks Purple Hayes is a new and original story. I mean, it features
• 1:42:15
  a legend, but it is telling some wild shit that you ain't never seen
• 1:42:18
  Jimmy Hendricks involved in. I'll tell you that. So go pick it up.
• 1:42:23
  Like I say, I know, it's not this rock star ship,
• 1:42:26
  but it's some sci fi, fantasy, musical, blackest shit I've ever run
• 1:42:30
  wrote like I just like to describe it. It's at Aliens in comic book
• 1:42:33
  form. Go pick it up and thank y'all for the love on that.
• 1:42:38
  So so so proud of my brother DJ behind me. Be sure you are
• 1:42:43
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• 1:43:41
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• 1:43:45
  before, this has been an episode of views from the six one six.
• 1:43:48
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• 1:43:53
  good night. If you've been listening all the way to this very end and
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