Reels & Riddims
Welcome to Reels & Riddims!
Mikelah and Kerry-Ann, two friends and culture enthusiasts, give their eclectic mix of commentary and reviews in world of TV, Film, and Concerts. From dissecting storylines in TV and film that feature Caribbean characters, to the irresistible 'riddims' of the concerts, Reels and Riddims got you covered.
Reels & Riddims
Netflix's Brother: A Canadian-Jamaican Drama
In this episode, we discuss the Canadian-Jamaican drama, "Brother," a film that highlights the narratives of identity, family, and the immigrant experience within Toronto's vibrant Scarborough district. The story follows two brothers, Michael and Francis, as they grapple with the impact of familial absence and the struggles of immigrant families, uncovering themes of community and identity.
Throughout the episode, we emphasize the importance of personal interpretations and diverse backgrounds in shaping our perceptions of immigration and cultural identity. The film's open-ended narrative invites viewers to engage with the story on a personal level, allowing for a range of interpretations that reflect individual experiences and perspectives.
Join us for an engaging exploration of "Brother."
Connect with us:
- @reelsandriddims on Instagram
- Website | YouTube
A Breadfruit Media Production
Hello everyone, and welcome to another fresh episode of Reels to the Rhythms. I am Makayla and I'm Kerri-Ann. Hello, today we are going to be talking about a movie, and it hails from our sister country.
Speaker 2:Canada Neighbor to the north, not sister country Neighbor to the north.
Speaker 1:Neighbor to the north Canada, canada. Honestly, I've watched this a while ago, so Kerry had to catch up on watching it. I'm going to re-watch it because I had watched it a long time ago, but it's Brother. So Brother, it is available on Netflix, but it is a Jamaican-Canadian story. So we've talked about the UK Jamaican story. Now we're out, we're going to go up, as Kerry just said, to a Canadian-Jamaican story, and so Brother was actually released in 2022. It is a Canadian drama, written and produced and directed by Clement Virgo, and it is a adaptation of the book of the same name, which was written by David Shariandia. I don't know if you can see me, I'm going to read the book, but it is about two brothers who are based in Scarborough, which is an area into Scarborough.
Speaker 2:It's not Scarborough. We will say it's Scarborough.
Speaker 1:Scarborough, scarborough. Yeah, thank you, scarborough.
Speaker 2:Like bro, bro, yeah, scarborough, we said borough, because Brooklyn, we said the borough of Brooklyn.
Speaker 1:Yes, yeah, but them not say borough Me, I, we said the borough of brooklyn.
Speaker 2:yes yeah, but them not said borough.
Speaker 1:You know so, okay, the way me or me want to say it. You know okay, but anyway, it's a section in toronto, canada. Where are the people then? And it is, uh, at the time I think they're both in high school, so one is like a senior, uh. So one brother, his name is Francis, played by Aaron Pierre, and the other brother, michael, is played by Lamar Johnson. So it's about their relationship. They are children of immigrant parents. We know the mom is Jamaican. I'm not sure if the father is Jamaican. The father is not in the picture. He is of caribbean descent.
Speaker 2:We don't know the backstory of um, how they met I think it alludes to them, be him being jamaican but again yes we'll get more into this, but I think the story has more to do with the impact of the father being missing from their lives.
Speaker 1:Yes, yes, and, and the toll it took on their mother. So it it's a drama like through and through, um, and it's something that we haven't seen, I think, which I I really enjoyed watching. It's a serious drama, um, about the two brothers and their perspectives, um, but I love the cinematography on it and how it's just shot really well. It's a little bit dark and you can tell the different scenes of when they go back. So, spoiler alert, the older brother, francis, dies, and you can tell in the scenes where Francis is not in it's much darker than the scenes where he is actually in, and so that distinct contrast between Francis being present and him not is also visually part of the movie. So I thought it was really well written, well acted.
Speaker 1:I think the actors did a really, really good job. That was the first thing that I noticed. I noticed it the first time and I even noticed it even more the second time that I watched it, but I really enjoyed the storyline. I liked how they developed the characters and they really did leave a lot to the imagination. So what? What did you think?
Speaker 2:Yeah, so let's back up you know, you call the name you call the name of the one of the main characters and since then Francis's character, which is played by Pierre, is the lead in rebel Ridge, which is on Netflix Right, and he's of some Caribbean background, maybe born in the UK, then moved to Canada and some Jamaica and Curacao mix up somewhere in there, and I think the mom also is of Caribbean heritage. To your point, like the movie started and we know immediately, I know Francis is larger than life and you get that sense in the way his brother looked up to him. You know, especially as kids, even as teenage boys, the way Francis just walked through the school and people know who he is. You know gangs and people are war and whatever and he just is like Switzerland, like he has this gravitas about him right that people just like I think even one point the girl, what him like look like?
Speaker 2:he did like the bread. I was like girl, no, don't do it.
Speaker 1:I thought she was getting yo the weird, or she did that like oh hi, Francis, I was just like the thing said Aisha did not go get tech wear. He might have brought that, but I know, but Francis thinks so highly of Michael and he's so protective of him that he wouldn't do that. But he knows that if she, I'm like, if he wouldn't do that, but he knows that if she, I'm like, if she had violated and tried to like talk him up, it would have been a wrap for her like yeah, it would have been a bigger problem.
Speaker 2:So I'm glad he didn't make a move on aisha so I mean, and at some point I realized, okay, something is going on with francis, and at one point may I guess, guess, francis drop off at the light tower, like what happened.
Speaker 1:I was waiting for that, the entire show. I'm like yo, the man must have just dropped off. So even like what do you think the symbolism of them climbing that tower?
Speaker 2:I don't know. To me it was just like it's really about escaping, escaping the everyday life that they had. And you know, for me it was good to hear the familiar communities in the series and knowing how to make those visual references, but for me I appreciated hearing the Canadian Caribbean experience and seeing how it played out. You know, the barbershop places of community where you go buy food, like all of those things, and violence and discrimination also playing out in similar ways. Right, I think it was important for us to see that, even though we know it. It was important to see how that is played out in a place where it's not like Brooklyn but it also has a suburban-y type feel if you're comparing the town or the city to American cities. So just seeing how that plays out in a different context, I like that.
Speaker 1:you said that. I did think too that he was going to just fall off of that and honestly I thought it was gonna be the younger brother, not the older brother. Um, so I love how they interweave that story Michael's story and Francis's story but the story is really from Michael's perspective, if you will. What you learn about Francis you learn through the eyes of Michael distinctively right. So there are a lot of things that we don't understand about Francis and you don't get the answers to. But there is a lot of thoughts, and you kind of alluded to it in the beginning when you shared that their father isn't present.
Speaker 1:However, their lack of presence forced Francis to kind of feel like this father-brother to Michael, and he was that, to be completely transparent, because you know, you saw the scenes where you know, the mom had to go to work at night and she locked the door, she made sure they had dinner, cut off the TV certain time. But you also saw the vulnerability of Francis from a younger age. So he was always toying with that, being himself and almost replacing his father, and I think when they went to go, look for their father. That's what he was kind of yearning for. He was yearning for the release of that responsibility because it felt like he never really got to be his own self, if you will be his own self, if you will.
Speaker 2:I mean, I think what Francis and Michael showed and my husband called it out is the burden of being the oldest right and the level of responsibility that you get and I can't speak for any other, you know, but I'm sure it exists in other cultures the burden and responsibility that you bear when you're the oldest and they're younger kids to take care of, like I know what that's like and and also so. So the scene was. I'll tell you the scene and how. You know my husband called it out and how I related to that. Husband called it out and how I related to that.
Speaker 2:So there was a scene where, francis, they pour out the drinks, they mix the drinks, them set the table for dinner, set the knife out, everything set down and they sat at the table and, like one minute, the mother opened the door and walk in and my husband was like you see that, you see how they know her schedule. I felt that right, because we know the parents' schedule to the point that you have to make sure that everything is in order. So the minute they step through the door, you're almost like catering to them or you have to make sure that everything in the house. Pick and span them, not supposed to look left and say something for the, or look right and say something. You understand what I'm saying, like the level of you know, knowing her routine and and the fact that Francis knew that.
Speaker 1:But Michael didn't. Because remember the scene when cover up the window, the fire, and she come in and she said me look like somebody with a file on the window for the other people, yo, that was probably like the funniest moment of the whole show. Poor Michael, again, he hasn't had the burden of needing to know mom's every move. But now that Francis has moved out and there's no food, he's not doing much and and all of a sudden, like them not have curtain, and so him taking part himself and gonna take the woman, good, good file and pierce it over right back window, and my lady come over, said me, look, like me is a woman.
Speaker 1:But when I put a fire in my window, I don't know why, I found that and even in that moment it was funny. But he was legitimately like why is she this upset over it? Like he just did not have an understanding and he could not understand why she would react that way. But that is something that if Francis was there that wouldn't have even happened. And so Michael had to almost step into this role, especially as Francis passed and even since he almost feels like he's not going to be as good at it as his brother and and the fact that mom is now sick, which she was showing signs of that early, and now he has this new burden.
Speaker 2:Was she showing signs of that early or was she showing? I think it's a direct relation to francis. That's what triggered yes yes yeah but fran.
Speaker 1:But francis did what didn't die at that time, he had just left and it was such a void for her that that's why it was an onset. So the the scene with the foil, francis hadn't died yet, he just wasn't in the house. And so when she came home and she saw that and then automatically she switched and she's like do you smell the dill? And meanwhile she just threw the jar of pickles and she doesn't remember that she threw the jar and Michael is bleeding and he's like's mango, he ain't have no mango. And I I think that was like the early onset of her just not being 100% there and and, to be honest, maybe she's been operating in this space and Francis leaving was a trigger and then him dying, just like compounded it.
Speaker 2:There was something else. How much spoiler we want to give? I think the triggers If it be all of that means I review.
Speaker 1:sure We'll tell the people that we're sorry, but then go back and watch.
Speaker 2:I think Francis in school being frustrated, so I think again the burden of being the oldest, but Francis also having high ambition and expectation of himself being in school and when he was like all they do is funnel them through shop class Right, and we hear him say it, but it's not until we visually see the shop class of all the black kids in the class Right.
Speaker 2:And he's been criticized because he didn't make a salt and pepper shaker and the guidance counselor is basically suggesting that this is the only job that he can have. And um being very frustrated and that's what triggers his mom because in his mom's mind is like yo, just yo, go to school, finish, like you know what Caribbean and maybe any immigrant parent would say. And he's very frustrated because he just, you know, he has very high expectations. Um, maybe high to the point that it's a derailer to to the scene. That ultimately happened when they went and did the demo for the DJ. Yes, that's a very frustrating thing, but he had put all the eggs and hopes and ambition in that basket that it was just like he broke.
Speaker 1:Yeah, it was his one dreamy opportunity thing and he's not used to being a dreamer, at least acting it out in any any way. You know, francis we, as we've seen has always been the responsible one, and so he feels like he hasn't been allowed to dream, allowed to dream, and so he probably believes it's a right of pat, like he, he has the right to dream. Like, why can, why can't I? I'm still very young, I should be able to make this happen. Um, and when he is met with that adversity, like you said, he broke and and then in the shop, you know, it was just the the nail on the coffin to have the cops come in and raid them for the upeenth time. They're like it settles into him like shit. Maybe I'm never going to be anything, so why, you know, even put in the effort. Yeah, that was definitely tough to watch and it just was just like damn.
Speaker 2:I think also with the other things that comes up Aisha's dad and even Aisha going where she go and come back, and a theme that I've heard before in Carry On Friends. They don't know a lot about their parents before they were in Canada. They heard but they never really experienced it, and I'm not sure when the timing of this is, but it goes back to what Tristan was saying in that episode, like they didn't get to go back to Jamaica a lot. Right, aisha clearly didn't go to Jamaica, so she went on our own little you know pilgrimage to Jamaica to learn where her father came from, and so that is one thing that you know. You have a privilege because, unlike Tristan, you go back more often. I have that privilege because I was born there.
Speaker 2:So it made me realize that we cannot discount or underestimate the lack of experience or what happens to someone who's born to people of Caribbean heritage but they don't get to go back home, see where their parent, grandparent comes from or experience it in a way outside of the product of tourism. Comes from or experience it in a way outside of the product of tourism, because that is not the same as reconnecting with your family and that is difficult, compounded if the family isn't there or whoever, whether it's your mother, your grandfather. They no longer have those ties back home. So it's very hard to make those connections and I can see how, you know, francis and Michael might have a difficult time because it was just them and their mother. There was no grandmother, there was no uncle, there was none of that for them.
Speaker 1:There weren't even any neighbors really and truly which is you know like she? She literally just went to work, kept to herself which is, you know like she?
Speaker 2:she literally just went to work, kept to herself as a kid. As a kid it didn't seem like there were any neighbors, but as they got older, you know, it felt like Michael made a concerted effort to interact with the kids because he fixed the little girl bicycle, the little girl who ended up getting shot with a stray bullet. You know, like they're aware of the other kids, but for them growing up it just feels like it was just them in the house.
Speaker 1:It was just Michael and Francis yeah and that is very hard and I think that that's that kind of goes back to that mentality of like what's in the house stays in the house and, yeah, talking my business out on the road, and so they know and they're in proximity with one another and even when Aisha came back and she was talking about her dad, um, and their mom was kind of like reflecting, aisha said I know that you and my dad are from the same village in Jamaica, and she was just like tell me more about Kampala. Like she skirted, talking about her past, and so there was something there that she clearly wants to forget and it's something that I think Michael was actually like. Michael wasn't pushing the conversation, but he wanted to hear what she was going to say.
Speaker 2:I didn't read it that way. I felt like she overlooked it because she was more interested in Kampala and I was like what happened there? Was their father supposed to be in Kampala? Was he there and did he not come back? Or did he go like something in her life around that? Maybe it was a dream of hers to go there or something. And that's why I was trying to get a good look in the passport when Francis picked up his mother's passport and put it in the wallet, because I was like was she there? Was she supposed to go there? Was someone there? Like it wasn't clear. So I didn't think it was because she was avoiding. I didn't interpret it that way. That could very well be a way. But I also felt like maybe it was someplace she was supposed to go. Someplace she's been, but she has some connection, um, to that place, whether she, you know, like I said, she was supposed to go or whatever.
Speaker 1:So yeah, well, I would, I. And the reason I made that assumption is because Kampala is in Africa, yeah, so it's very rare for in that timeframe, to to be not that it didn't happen, but to to dream and thinking about about that like as a as a dreamy place, didn't really?
Speaker 2:Yeah, but also at the time it's very afro-centric, you know it's um I didn't think it necessarily.
Speaker 1:Yeah, yeah, odd, it's very after that we watched the same scene, that we were thinking different thoughts and again it let the the the movie really left a lot of yeah interpretation, which in some cases I think that you get annoyed by, but in some, like in this case, I thought it was beautiful the way that they left a lot of things unsaid. Yeah, but how did you feel about that?
Speaker 2:and I think that's the beauty of it. Right like there, there are things that you, we see it very differently, just very different experiences. You, you also know somebody who might have a similar experience, so I'm using that as a lens to guide me through this narrative of what's potentially happening, and I think that's why it was good, because then you're not necessarily forcing people to a particular thought You're looking at. Yes, we all have a similar immigrant experience. You pick up, leave one place, come to another place, but how we all experience the place or living in the place will vary, and so leaving room between the lines to kind of fill in more detail is going to be nuanced and unique, based on the lens that you experience immigration or you know whether you did it, experience it directly or indirectly, because you're a second or third generation, and I think that's why you and I see it very differently, because we never got into her life before and to me it felt like her and the father in the scene where they were all dancing. They look like they did fine, they were happy some way.
Speaker 2:It felt like maybe there were students, aspiring students, right, which is one of the ways that I know people particularly go to Canada at the time, right, they were aspiring students and they had dreams of maybe. You know, this is me, you know thinking, oh, maybe they went to Canada to get some more education and they decided that, okay, they probably had an opportunity to go on a mission or something. That's just how I saw it, given that she's a nurse right, and the very specialized aspect of being a nurse. And that's how I looked at it, because I know a lot of people who went that route and had many opportunities because they're nurses. So if we look at the immigration story, you know in the UK, you know you want teacher, you want nurse, right, and because of those, those professions, they are able to have more. And did she not have more because she had the kids?
Speaker 2:you know, and so you know just stuff like that.
Speaker 1:The direction of the film was so open ended, right Like he clearly had an intimate relationship with his friend Jelly, but it didn't distinctly talk about what that relationship was like. So Francis and his friend Jelly, who was a DJ, they clearly had an intimate relationship and I do think everyone around them knew how close they were, but they weren't like title driven or like it doesn't, nor were they affectionate in nor were they.
Speaker 1:Yes, weren't affectionate in public. It also doesn't clearly state whether Francis was gay or bisexual state whether Francis was gay or bisexual.
Speaker 2:So I think that it leaves a lot for interpretation, right, and we're only making this inference from a scene where Francis is clearly upset I think it was after the visit from the father and Jelly hugs him, but not a broski hug, you know, like tap on top back, it's a, it's a hug, um yeah, it's a.
Speaker 2:It's a soul consoling, intimate, intimate, consoling hug. Yeah. So we, this is the inference, you know, this is where we're making that, and but also he's very protective, more so of him, of jelly, especially when the police do the raid he gets irate don't touch him like don't touch him and it was like twice right.
Speaker 1:So he's very protective of jelly, the same way that he was protective of his brother, but in those instances where his brother and Jelly were in the same scene, he chose to protect.
Speaker 1:Jelly versus his brother. So I think that those are the kind of nuanced scenes that we do see. We also see Michael kind of coming into his own as a man and we see him grow in his relationship with Aisha. We know that they part ways and then they come together in Aisha's father's death. That's kind of what brings her back to the community and kind of unravels this kind of story. I think it's also interesting the scene with the party at the house and how like that. That left a lot for interpretation too. But I I think that that was just like such a dynamic scene, um, between jelly the mom, aisha and, uh, michael, and even how michael came back to apology. Like they weren't upset with michael, they were still like very yeah, because you know why?
Speaker 2:because I think we saw like after the whole raid and whatever and francis did, everybody splurged, everybody went, and so michael probably carried feelings like yo, nobody was there to get justice for francis really yeah and we saw how michael pushed aisha away. So aisha, go about our business and travel the world.
Speaker 2:And maybe a little bit of resentment michael is carrying because she did that, because you saw the same scene where in my sweep, the same place in this working in the same place where francis was working yes, so you, you have that um and michael not really being able to grieve because he's accommodating his mom's grief, yeah, and I also feel like in a minor, his mom almost forgetting that she has another child because she's so consumed with Francis's death. Yeah, Even when he was trying to console her, like at some point in the funeral, like she should flash him off or something. So a lot of complex emotions, you know, in there, and I think it couldn't be a proper Caribbean themed show if you didn't have parents with layered and complex emotions but not realizing that there are a lot box you know of things and you know we are. We're only seeing the symptoms of what's in that locked box of emotions and experiences.
Speaker 1:And so it's easy for us.
Speaker 2:It's easy for us to say well, them are wicked, but they're dealing with things. Yeah, I didn't even think that. Yeah.
Speaker 1:I didn't even think that Again. For me, it was really just a beautifully complex story, one that we haven't seen, so I highly recommend everyone watch. It was definitely a good watch.
Speaker 2:Yeah, definitely a good watch. It took me a long time to watch it because I needed to get in the headspace of you know watching it, because from the preview I knew it was a drama and there was a level of somberness to it at least.
Speaker 1:You know, I'm like oh something's not going to happen.
Speaker 2:So you kind of have to get in that headspace and I mean, as an aside, that's how I choose what to watch. What am I in the mood for? Do I want to laugh? Do I want action? You know something like that. So, yeah, I definitely recommend Brother. I hear the director come from Moby Virgo. Mr Virgo, yeah, I wouldn't know him. I'm just saying big up, you know, big up, you know Big up mommy.
Speaker 1:All right. So from a ratings standpoint, we have to go through our new rating system for brother. So from an accent standpoint, one to five, what would you give it?
Speaker 2:The mother accent was pretty good. The other accents again being the mix-up with the canadian and stuff, I think it was fine. I'll give it like a four. You know, if I consider the mother, um, francis and the little brother, their accents and where they all kind of balance out, I'd give it a four.
Speaker 1:Yes, I agree, I'd give it a four too. I think the mom at times she had slightly off, but I think, like Francis, the older brother was consistent, like I think I have a cousin that is from Toronto and to me that's how he speaks and like when I hear him, that's who I hear and it's definitely this mix of Canadian slang, caribbean, jamaican slang in it, like it just feel, it felt very authentic. And then, because the younger brother really didn't, he didn't really have an accent at all, so that was. It was kind of just him speaking pretty plain English, but you can hear like tonalities. It kind of reminds me of, like my younger, my oldest daughter, like how she kind of speaks in that way Like you could tell there's something there, but it's not as as overwhelmingly present as it is with Francis. So four, yes, all right on to the next character, depth. What would you give it, man?
Speaker 2:I think I'd give it a four. I wouldn't even say 4.5, like a high four. I just felt like, well, it is tough. I wanted to know a little bit about the father but, like I said, the father not being known allows us to color in and finish the story. So the characters were as strong as they were going to get, so I'll just give it a four, I think it's a five.
Speaker 1:It's a five for me. I really, really liked what they kept versus what they left out, and I think it left this beauty in the complexity of each person. Of course, we all wanted to know more, but I thought that it left so much to the imagination but not really, because I also think that it's indicative of the time and how a lot of people kind of grew up in that same manner, like there's so much that was unsaid that it usually just goes unsaid, yeah, um, until you just either never have the opportunity to work it out or identify it, or you do um, and it's usually later in life. So I think that the character development was splice is a five for me.
Speaker 2:Um, okay, storyline storyline storyline is a five solidly because, yes, it was just believable. I'll never forget what my husband said. He was like yo. Those kids knew their mom. They time it perfectly. They sit down at the table. Wait, I should must come to the door. It just connected in a way that made sense. It was a five Storyline five, five.
Speaker 1:For me too, I now got each Five. Yes, five, all right, music and sound Music and sound music and sound um for what they were trying to do.
Speaker 2:Uh, I think it was a four. I mean they they did do the dance, you know, in the barbershop which, at first, when they said they were going to what's the name of the friend, please? I thought it was like a restaurant, art club, I don don't remember, but it made sense. It's a barbershop, right, because everybody hang out. So I'd give it a four because for when they did play music it was on point and I guess could they have done more music. I don't know, I'd have to go back and think through, but for what they did, the selections were on point.
Speaker 1:Yeah, for me too they really intertwined the time period of the music, which I thought it was. It mirrored a lot of what was happening in the 90s from a hip hop perspective, mixing with dancehall and having both in both cultures, like that really happened in New York too. So it was nice to see. Again, I don't think music was the key component, but it did really play a huge part and I loved how it kind of brought the mom out of her trance a bit. You know, having company and dancing, and it wasn't like anything in particular, it just set the mood really nicely. So, uh, the reason why I gave it a four, I think where it fell flat for me was in the DJ competition.
Speaker 2:Yes, that's exactly what I was going to say. I was like why didn't never? Why did they go with this?
Speaker 1:Why didn why?
Speaker 2:them never go. That's exactly why I didn't want to. Even I was just like but then they're in america and maybe the dj, the competition was.
Speaker 1:No, I thought he was gonna bring it with some fire and some heat. Like like the way that he was rocking in the barbershop and the people was rocking, like they it wasn't strong enough and maybe that was the point. Like you know, that may have been the point. You know also, like they were nervous the selections it was their first time, so you know what I mean Like they didn't really know what to expect and so it was like in the barbershop it was like this raw talent that he had that he showcased and in the competition it's like he scaled it back right way back.
Speaker 1:It was just watered down it was so watered down and that, to me, was what like and like again it was. It was a weaker selection, but that might have been the point of what they chose from a story direction perspective, so that's why I gave it a four. Yeah, all right.
Speaker 2:Visual authenticity yeah, my watch is right after me just come back from toronto. I'm ping pong all over. So yeah, it gets a five.
Speaker 1:Yeah yeah, definitely a five for me as well, and I and I think it was just so beautifully shot too. Um, the the way I think I talk, I spoke about it earlier already, so, um, I'm not gonna belabor it go back, yeah I love the way that it was shot, so it's a five for me yeah, and so overall we gave it a 4.5 hollow, with scores average out you know, as you're there a minute typing the numbers listen. No, I'm excel spreadsheet. I calculate. I'm going to say it quickly.
Speaker 2:Matty, Listen. No, I'm an Excel spreadsheet.
Speaker 1:I calculate who said you're not good for maths.
Speaker 2:Eh, eh. Who said I'm not have system set up for plug-in Pink, pink, pink. That's what we do. But I'm really excited. I love that we have these categories and it gives depth to the conversation and I mean even the visual aspect. You know, this idea of cinematography is something that we don't talk about a lot, but that is such a critical role with two series years ago it was Insecure and Queen Sugar Ooh, queen Sugar is beautiful. They shot like Black people never look so pretty on TV. Ralph Angel.
Speaker 1:All right, we're not going to say we don't want next part.
Speaker 2:But it was just so good and I think, calling that out as an important element of shooting projects or, you know, around people of color, I think it's good, you know, to really show for the beauty and the emotion and the texture to come out in the story. So I'm excited, are we? This Reels to the rhythms, purr, purr, purr, purr. All right, until the next episode, and we have some fun ones coming up. I'm excited. Yes, yes, all right, later, later.
