The One About Sinners

Summary

Sibling Rivalry Episode: "The One About Sinners"

Date: May 19, 2025
Hosts: Bob the Drag Queen & Monét X Change

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Overview

This episode delivers a classic dose of Sibling Rivalry’s signature chemistry and comedic banter, as Bob the Drag Queen and Monét X Change dive deep into the new film "Sinners." They offer sharp, insightful (and frequently hilarious) commentary on the movie’s themes, its depiction of race and community, and its value as a cultural artifact. Along the way, they riff about their own recent escapades (including an impromptu business meeting meltdown), explore the nuances of code-switching and cultural accent, pitch a new segment idea for Monet’s show, and share unfiltered thoughts about drag, friendship, and the entertainment industry.

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Segment Breakdown & Key Highlights

Comedy, Gifts, and Tech Shenanigans

[01:12 – 05:00]

• Monét shows off "nipple thingies" Bob gave her ("They're nipple thingies. You put them on your nipples and then they look like you have nipple piercings." – Monét, 01:23)
• Bob tests out a new voice fx pedal, altering his audio live, leading to some silly banter about swallowing helium versus sulfur hexafluoride.
• Playful back-and-forth about trading gadgets versus drag memorabilia ("What are you gonna give me?" – Bob, 03:50).
• Early signs of the central theme: friendship, friction, and playful rivalry.

Drag Lap Karaoke: Pitching a New Segment

[07:37 – 14:37]

• Bob pitches the new "Drag Lab Karaoke" segment for Monet’s show:
  • “Drag Lab Karaoke is a segment that happens in Monet Talks. You split from the episode for one second… But what makes Drag Lab Karaoke different is they are putting on silly garments… No one's in full drag fantasy.” (Bob, 10:37)
  • Suggested guests: Adore Delano, Amber Riley, Sza, Rihanna, Beyoncé, Whitney Houston, Adele.
  • Monet quickly gets behind the idea, joking about landing dream guests, including Beyoncé and Rihanna.
  • “What if Drag Lab Karaoke gets so fierce, so popular that Beyonce wants to come on?” (Monét, 15:04)
  • “I think Beyonce would be easier to get than Rihanna.” (Bob, 15:09)

The "Sinners" Movie: In-Depth Discussion

[16:22 – 56:15]

Praising the Film

[16:22 – 17:35]

• Bob and Monet praise the film “Sinners” as one of the best movies of the past decade.
• “This is one of the best movies we've seen in the past five years.” (Monét, 16:58)
• Comparing it favorably with “Everything Everywhere All at Once” and “Wicked.”

Film Critique, Themes, and Representation

[38:01 – 54:43]

• Discusses the film’s use of vampires as metaphor for systemic oppression and racism.
• Bob: “Maybe it is to show that the social blunders of racism are a human thing. Like, I don't think that animals are racist… once you have this collective mind, they seem to have gone beyond race.” (39:46)
• They explore the turning of racist characters into vampires who presumably lose their old biases:
  • "Once the racist people became vampires, I think they stopped being racist, too." (Bob, 38:47)
• Jacob provides context on the vampire’s origins, highlighting the Irish identity and the theme of occupation as a link to African-American struggle.
  • “So maybe he has a sympathy for what African Americans are going through, even though… the Irish would have an understanding of what it means to be living under occupation.” (Bob, 41:49)

Witchcraft, Black Spirituality, and Avoiding Cliché

[42:44 – 44:06]

• Monét and Bob are thankful the film doesn’t fall into Christian horror tropes.
• “We are inherently black folks. We are inherently a little witchy.” (Monét, 44:04)
• Show appreciation for the film’s inclusion of witchcraft, voodoo, and hoodoo as part of black identity.

Representation & Layers of History

[44:39 – 49:04]

• Dissects the 1930s setting and themes of Jim Crow, Great Depression, and black community self-policing.
• Monét: “I love the community…when he starts setting up for the party…teaching her about how to negotiate for herself…like, being responsible for each other.” (44:34)
• Discusses the role of Chinese-Americans in the South, representation in the film, and accents as cultural markers.

Would You Take the Vampires’ Deal?

[36:09 – 37:49, 54:22 – 55:21]

• Bob presents a hypothetical: “Would you have accepted the vampire’s deal?”
• Monét: “No, I would not have accepted it. The entire metaphor of the vampires in this—they’re just like systemic oppression…they’re dangling this thing, saying they’re going to help you, but he really had no intention of doing that…” (36:45)
• Bob: “I would have taken up on their offer.” (54:22)
• Discussion transitions to the spiritual stakes—Monét sees Annie’s refusal as linked to her belief in soul preservation and reuniting with her lost child after death.

Tangent: Sibling Rivalry Off-Screen

[21:19 – 33:18]

• Recounting a chaotic, impromptu in-person business meeting at Monet’s place:
  • Bob and Jacob show up unannounced during Monet’s cleaning ("I am in my home…doing some housework." – Monet, 21:30).
  • Both share their side, highlighting their stress (“You came in really hot and very intense in my home when I had no intentions of you coming over.” – Monet, 24:52).
  • Jacob jumps in as a tiebreaker, confirming everyone’s confusion and fluster.
  • Ultimately, Monét mediates and helps resolve the debate—leading Bob to praise her: “Monet mediated between me, Jacob and Jay…she really was the voice of reason in that moment.” (33:53)

Accents & Code-Switching

[49:10 – 53:56]

• Examination of cultural and regional accents in Asian and Latino communities, code-switching, and authenticity.
• “All of my…friends who were not black who lived in my neighborhood, they had black accents…we never thought anything of it because they just talked like everyone around them.” (Bob, 50:28)
• Both reflect on their own code-switching as black professionals.
• Debate over whether non-black folks adopting a black accent is problematic:
  • Bob: “I do think sometimes people who have that take just did not grow up in a black community with white people who talk like black people.” (52:58)

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Notable Quotes & Memorable Moments

• "You fucking 1% ass bitch." – Bob, teasing Monet for almost saying "foyer" when recounting the surprise visit ([23:04])
• “We're in our mid-30s. We have to organize sex now.” – Monét, joking about practicalities of adult life ([07:21])
• “Honey, you know, as I just said, I did. Oh, my God, I'm such an asshole.” – Monet, on forgetting to return Blair St. Clair’s call ([04:36])
• “Once the racist people became vampires, I think they stopped being racist, too.” – Bob ([38:47])
• “We are inherently black folks. We are inherently a little witchy.” – Monét ([44:04])
• "Name another film with two pussy eating scenes in it." – Bob, on the movie's sex scenes ([55:28])
• "I think that your guest should be like, I think your first guest should be Adore Delano." – Bob, pitching Drag Lab Karaoke ([11:28])
• "I feel like we need to, like, a part two...I want to watch it again with New eyes and new information and process it differently." – Monét, emphasizing the movie’s depth ([54:09])

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Major Timestamps

• 01:12 – Monet reveals nipple giftery, Bob's audio pedal shenanigans
• 07:37 – Drag Lab Karaoke pitch begins
• 16:22 – Transition to discussion of "Sinners" and soundtrack
• 21:19 – The “chaotic business meeting” story told in three different perspectives
• 36:09 – Vampire deal hypotheticals
• 38:01 – Deep dive into vampires as metaphor for racism/systemic oppression
• 42:44 – Witchcraft and spirituality in black culture
• 49:10 – Southern/sociolinguistic accents, code-switching
• 54:09 – They agree to rewatch and revisit the movie
• 55:28 – Discussion of sex scenes in "Sinners"

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Tone

As always, the episode balances sharp cultural critique with roast-level humor and affectionate shade. Both hosts are vulnerable and authentic, sharing personal experiences–from Monet’s accidental ghosting of friends to Bob’s business meeting stress breakdown and the joys and politics of drag and black identity.

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Conclusion

Monét and Bob agree that “Sinners” is a powerful, multi-layered film deserving further analysis—so much so that they promise a second episode post-rewatch. The episode is rich with pop culture, thoughtful discussions, lived black queer experience, and signature sibling-style banter, making it a must-listen for fans of both film and drag discourse.

Transcript

[A]

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[B]

my name is Bob the Drag Queen

[C]

and I'm Monet's James.

[B]

And this is sibling rivalry. On this week's episode, Monet cashes in on her friendship with Blair St. Clair.

[D]

We talk all about sinners.

[B]

And we find out what made Monet say this.

[D]

Just talk to me for a second. Just talk to me for a second. How are you doing? And we find out what made Bob say this.

[B]

You fucking 1% ass bitch.

[D]

I want to show you all something.

[B]

What?

[D]

Bob got me these.

[B]

Yeah, they're great.

[D]

I have to say, I'm kind of into it a lot.

[B]

I knew you would like them.

[D]

They're nipple thingies. You put them on your nipples and then they look like you have nipples piercings.

[B]

Well, I got them for you because I. Wait, this sweater is not going to be the tee because we can't see because of the sweater. Oh, it look. Yeah, girl, on this camera, it sure looks like a nipple piercing, like straight up.

[D]

No, it doesn't.

[B]

No, it does. Do it again. You got to flash it, though. You can't show too much. How are they sticking? Are they suction? Is there adhesive on them?

[D]

There's not. So that's what that was going to be my aversion to doing them because I'm like, girl, I'm not putting. I'm not putting a pros aide every time I put these on. But. But I've never put anything on them and they just stick. I'll be like, hey, guys, look.

[B]

Yeah, Monet. Looks like a nipple piercing.

[D]

It's too light.

[B]

I'm telling you, it looks like a fucking nipple piercing.

[D]

I got. I got. I got. I got light skinny nipples.

[B]

I got something new and I want to. You tell me. You think about it.

[D]

Oh, God. What is it?

[B]

Can you tell that I'm using a little bit of a thing here?

[D]

I get what.

[C]

This is. Why it took you so long to get your audio working.

[B]

This is not why it took so long. But do you. What do you think of my little bit of voice boxing here?

[D]

What do you. What is that?

[B]

What.

[D]

What is that? That's a question.

[B]

Do you think it sounds kind of cool?

[D]

It sounds crazy, but I can't hear

[B]

myself because I don't have headphones on.

[D]

Wait, it only works when you do this.

[B]

Well, you have. Well, you have to be really, really close to the mic. So you'll see how. Like, back here it's not doing it, but up here it is doing it.

[D]

I can't. When you're speaking, I can't really tell, to be honest.

[B]

But you gotta always do a little bit of a.

[D]

Is it a pedal?

[B]

But also this little mother here. What does it sound like?

[D]

It's a pedal?

[E]

Answer me.

[B]

What does it sound like now?

[D]

It sounds like you have helium. You swallow helium and what does it sound like on this side? It's like you swallowed sulfur hexafluoride.

[B]

Bitch, you're not in Breaking Bad.

[D]

I'm just saying what I. Sulfur hexaflexify and what it sounds like to me.

[B]

That's how you sound, actually. The hypothesis. The thymus of the nigga.

[D]

Is it a pedal? Sorry.

[B]

It is a petal. Yes.

[D]

I can't.

[B]

I have two. You want one?

[D]

Yeah, give it to me.

[B]

What are you gonna give me?

[D]

I have these nipple things I got a friend gave me.

[B]

I think you know what I want, and it's right behind you.

[D]

Okay. It's not that deep. If I could also just get someone to get. I can buy one.

[B]

I can get one of those, too. Okay, then they gave out 10 of them on your season.

[D]

Then go get it.

[B]

Then you go get it. You don't even know what that's called. I know where to get that. You don't even know what this is called, girl.

[D]

You think you're the only one in the world that knows how to get a fucking.

[B]

I think I'm the only one on this fucking call who knows.

[D]

This is true. But I have a team of people that have helped me get everything else I need in audience. I do. I do.

[B]

She's got a dame.

[D]

I do declare.

[A]

Whoa.

[B]

Monet Empires.

[D]

Honey, you know, as I just said, I did. Oh, my God, I'm such an asshole.

[B]

I'm glad we agree on that.

[D]

Sinclair called me.

[B]

Who called you?

[D]

Blair Sinclair. After I just said I do declare. I literally just popped in my head. She called me, like, a few months. Like, two months ago, and I was like. I was doing a thing. I was like, oh, I'm gonna call Blair back. Blair Blaine, care. And then, as I just said, I. Due to Claire, it just made the connection to My brain that I never call her back.

[B]

How long ago was this?

[D]

It's like two or three months ago.

[B]

She's not going to answer.

[D]

I know. Okay, so what is the line that you like, you know this bitch is shady. I'm like, I'm not. They're going to call me. I'm not going to answer. They call me back. What is the line there?

[B]

For me, it's not a line because I just. Soon I got busy. Now if. If it's like multiple, like I'm not

[D]

one of those, like one time multiple.

[B]

If you like leave me on red multiple times. And I'd be like, okay, this is the person I want to talk to. Me. But if it's one time, I just assume you got busy. Especially if I speak as infrequently as you and Blair St. Clair speak to each other.

[D]

You don't know how infrequently. You don't. You do not know that. At least two months.

[B]

At least two months. And that's why when she's speaking to you, you don't even return her phone calls.

[D]

I forgot to call back. I need to text her right now before I forget.

[B]

You wouldn't forget to return Kimchi's phone call, like for two months.

[D]

You wouldn't forget to. Fuck Kimchi.

[B]

You wouldn't forget to return Naomi Smalls phone call for two months. So what I'm assuming is you speak less frequently than you and Kim G. And Naomi Smalls do.

[D]

Blair, it's Monet. I am so sorry.

[B]

You're on the broadcast, you're on the podcast. She's demonetizing you. She's done with words. She's demodifying your presence.

[D]

So, so, so, so, so, so, so, so sorry.

[B]

Blair, she's using you for clicks.

[C]

Sorry.

[D]

I apologize.

[B]

Blair, she's using you for clicks.

[D]

Shut the fuck up.

[B]

Did my voice go through good?

[D]

No, it didn't.

[B]

Because you're not wearing headphones.

[D]

I am wearing headphones.

[B]

Monet. Bitch, I'm not slack.

[D]

I'm wearing the RuPaul's.

[B]

And I.

[D]

Yep. Yes.

[B]

And which goes first? Okay. All right.

[D]

Yeah, Bob, the From. And what season was he?

[B]

Okay, they're like the season you're filming right now. RuPaul.

[D]

Oh, okay. Got it, got it, got it. I get it.

[B]

My, my. I had. Okay, so I have a pitch for Monet. So I've been thinking about this. I was driving home last night from your place and I was gonna call you after the.

[D]

Yo, Bob, is. You are such a psychopath. You're a psychopath of a person.

[B]

This is not. When y' all hear what I'm saying, you're like, why is Monet calling Bob?

[D]

No, it's just. Not just thing. It's just the. Bob, you're just. You're hilarious.

[A]

Go ahead.

[D]

What happened?

[B]

So when I was leaving your place last night, I was gonna call, but I know that you and Andy were trying to have your private time, so I didn't want to interrupt you, even though Andy texted me during whatever y' all were doing, just so you know.

[D]

Anyway, Andy and I were fucking last night. We're.

[B]

He text me while you were fucking.

[D]

We're in our. We're. We're. We're in our mid-30s. We have to. We have to organize sex now.

[B]

Mid. We're rounding down. So I. Interesting. Anyway, so drag lap karaoke, y'.

[E]

All.

[B]

Isn't this great when y' all watch this? So I think that I.

[D]

Well, can you give us some context? So last night, Bob and. Bob and his friend Tal came over.

[B]

Tal's my partner. You can say it's partner.

[D]

Oh, okay. I don't know. I don't want to break the news.

[B]

I don't want to break the news. I don't believe in, like, soft launching and hard launching. I think that's kind of tacky.

[D]

I know you and Jacob said I love you on the first day. You clearly, clearly, clearly, clearly.

[B]

It was not the first day.

[D]

That's what y' all said.

[B]

We did not say we. We said. We started singing right away. We did not say the first day. That's not what we said. You're rewriting history.

[D]

So what's. Okay, I want to be very clear

[B]

what I said in the last Claire. Literally speaking of Claire, call her.

[D]

The fans sounded in the comments like, no, Monet. Bob said the first date.

[B]

I did not say first date.

[D]

You may have misspoke back then.

[B]

Jacob could chime in because he was there for the conversation. He was there for the conversation that you and I had as well.

[D]

And I'm telling you. But I think you may have misspoke because you said the first day. That's why we were all gagged.

[B]

I did not say the first. I said right away. I said we were like. We chose not to make a big deal of being like, you know, folks, like, I'm gonna say it. I love you. Did I just say I love you for the first time? That's you and Andy.

[D]

Okay, well, that's you and Andy being like.

[B]

And the first time I said I love you was at Disney World, and

[D]

Mickey Mouse came by, and we fucked him. We'll let. We'll let the. The Southern rivalry historians, because, you know, they be knowing. They'd be knowing the episode, the time,

[B]

the date, Monet exchange videos. Run the clip.

[D]

Ooh, this is gonna be good. Anyway, so what are you gonna do with your.

[B]

Cause y'. All. Y' all don't know this. Cause that episode hasn't dropped yet, but one of the most delicious. Ooh, I had a victory of Monat that was so delicious recently.

[D]

What was that?

[B]

I forgot already what you had to do. You had to do something, and I sat on your back while you did it. Put it that way.

[D]

It was great.

[B]

And I was bulking.

[D]

Honey, wait, Jacob. Jacob's had a question.

[C]

Can you flip the pillow really quick?

[B]

Oh, thank you.

[D]

No. Jacob, why do you fucking.

[B]

I think Taylor keeps flipping my pillow. I think Taylor keeps flipping my pillow when I'm not looking. Imagine.

[D]

Imagine if I had a picture of me just in the background, just like this the whole time. You know how distracting that would be? And weird.

[B]

I'm going, I think it looked cute.

[D]

Anyways, so Bob has offered a new partner to the firm. Tyler's made partner to the firm. And then. So. So Bob and Tao came over last night, and then I had this karaoke machine, and I was like, oh, let's just do some karaoke. So Bob, Tao, and I did karaoke in my drag lab. And honestly, we went live on TikTok. I had some videos on my phone. It was very fun. I had a good time doing drag lab karaoke. It was fun. Was like, so this in true Bob fashion, he's like. He's like, monet, you need to do this. I was like, what? He's like, drag lab karaoke. You have to do this.

[B]

So here's my thought process. I only have five minutes to pitch before we go to break. So let me give you my pitch. Okay.

[D]

Elevator bitch.

[B]

Go ahead. So drag lap karaoke. I think that drag lab karaoke is a segment that happens in Monet Talks. You split from the episode for one second. You go over to drag lab karaoke. I was thinking to myself, you probably don't want to go to your home to film it. So I was thinking what you could do is film it here in my drag lab. Hear me out. But what makes drag Lab karaoke different is they are putting on silly garments and, like, they're wearing, like, bits and pieces of drag. No one's in. Like, it's not like, full drag Fantasy.

[D]

Bad drag.

[B]

Yeah, bad drag.

[D]

Also, can we borrow the gold drag,

[B]

Bitch, don't play with me. Anyway, but it's slight interview, but I was thinking to myself, like, I think that your guest should be like, I think your first guest should be adored Delano.

[D]

I already had her on the.

[B]

I know, but would you let me fudgeing talk?

[D]

Go ahead.

[B]

Do you cut everyone else off when they're pitching you? Is this what it's like to have to pitch tomona exchange?

[D]

You'd be like, ah, well, when Patty and Ty pitch ideas, we have like a formal meeting. We're doing another job. You're like, let's stop our other job.

[B]

It is formal. What's more formal than where you are being paid? Where I pay you to work, I pay your salary. You pay my salary. We've already covered this. We're not paying ourselves. That's a legal. That's illegal. So I pay your salary. I pay your salary.

[D]

Ok. What the fuck is illegal? Not, not, not. That's illegal. Illegal. What? Illegal? Legends.

[B]

That's how I speak. Claire. Claire it up.

[D]

That's not illegal.

[B]

Illegal.

[D]

What do you say? Illegal.

[B]

Yes.

[D]

Illegal. No. That's illegal.

[C]

Illegal.

[D]

What? Finish your sentence.

[B]

Adore Delano Duran. BER is a guest. Amber Riley.

[D]

I had Amber Riley already.

[B]

But on. Amber Riley you can get. I will grace you and I will do. But I think what make. Okay, obviously this is obviously some sort of a kick on carpool karaoke, right? Clearly what made carpool karaoke fun was they were singing their song, but also singing other songs too. So I'll come in and I'll do like one of my songs, but then I'll do Devil Went down to Georgia and Bareilly will do like and I'm telling you or one of her songs from her album. And then she'll also sing like Big girl energy.

[D]

Love her song.

[B]

Or she'll sing something like, I don't know, fucking a song she would never sing. Like Good Morning Baltimore.

[D]

Oh, that'll be fun. We're doing it. I'm gonna do drag. Like karaoke.

[B]

So you get people to sing. So they would never sing drag lap karaoke. And because Monet and I are in the same building, our studios are in the same suite. You could just walk right over and then you'd be kind of hosting, but it'd be mostly just the karaoke. Like, but the interview is really on the couch and the drag lab karaoke is like a five minute segment where you sing like one or two songs. You can do two every Episode doesn't have to have drag lab karaoke. You know what I mean?

[D]

Mm, no. I think Dragon Life Cargo is very fun.

[B]

Shea Coulee could sing. Cocky, yes, but cocky, no. I probably want to see, like, drive or one of her newer songs.

[D]

Oh, yeah, true.

[B]

But then she would sing Feed Me from. And then you could play Seymour.

[D]

Okay. I'm into a drag. I'm into drag. Like karaoke. I'm into it, but I want to

[B]

be very clear about the illegal activities you're not allowed to do in my space. I will have. I will have things you're. You can't. You don't have carte blanche to touch anything you want in my space. There would be. There would be a collection of drag and stuff that you all could wear. But I think it's really a really a cute idea.

[D]

I think. I think. I think it's really cute too. I think it's a really good idea, and I think I'm gonna do it.

[B]

Who are some guests it says is the season finale. I mean, I could get Sza.

[D]

Do it easily.

[B]

So we start by, like, we gotta rank up. We have, like, if we get Grammy nominated Duran Bernard, then we can eventually get a Sza.

[D]

Yeah, for sure.

[B]

Right?

[D]

Um, yeah. I mean. I mean, she doesn't. There's not a way. But what if. What if drag left? Karaka gets so fierce, so popular that Beyonce wants to come on.

[B]

I think Beyonce would be easier to get than Rihanna.

[D]

No. I think. No.

[B]

I can't get this girl to sing a song. I wonder what they. What they. How they had to trick her into a Super Bowl. She thought it was something else.

[D]

I think we get Rihanna. I mean, Rihanna. Okay. The girl. Okay. My dream. My dream list would be Sza, Rihanna, Beyonce, Whitney Houston. If I can get all four of those.

[B]

Jesus Christ, Monet.

[D]

What?

[B]

That's not.

[D]

They do.

[C]

They do.

[D]

They do holograms. I would do a hologram.

[B]

Oh, nay. Adele.

[D]

Adele. A girl after her Vegas. So she said.

[B]

I am not.

[D]

She's done, girl. She's done. Adele is not singing for like 10 years.

[B]

Let's talk about Adele singing after this break.

[E]

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[B]

And we're Black. Look around.

[D]

Everybody on mute.

[B]

I really liked the music in the movie centers.

[D]

Oh my God, the movie. The soundtrack is so, so good. So I haven't actually went back and

[B]

listened to the soundtrack though.

[D]

I did.

[B]

I mean, I Real time Eddie and

[D]

I have been listening to it. And then last night he's like, babe, can I tell you something? I was like, what? He was like, the songs I really like are the vampire ones. I was like, of course.

[B]

Honestly, they ate. When they did a little. Their little. They ate. I gotta be honest, their little bluegrass or whatever song. I don't know what kind of music you would call that. It kind of ate.

[D]

Yeah. Sinners. I mean, not just them, the whole fucking movie. I'm like, this is one of the best movies we've seen in the past five years. Would you say, yeah, I'm gonna go ahead and.

[B]

I'm gonna go ahead and say that

[D]

and like, it's a good contender for like. I'm trying to think. The last movie that I went to, the movie, the last film I saw, I was like, oh my God. And I wanna go back right away. And was so thoroughly impressed by every aspect of it. And I can't remember what that is.

[B]

For me, it was everything, everywhere, all at once.

[D]

Okay, I agree.

[B]

Wicked. Everything, everywhere, all at once. Sinners, for me in the past 10 years are the best movies.

[D]

Yeah, I would agree with that. And I know that Everywhere all at Once was a really great film. When I went to go see that, it was like Andy and I went to a midnight showing. I had just come back from a tour. I had worked.

[B]

We get it. Oh my God.

[D]

I would work. I worked all day, so I. No, shade.

[B]

I'm bragging when you're talking. Why you always gotta drop in a break? Why can't you just like, talk like a normal person?

[D]

No, shade. I fell asleep in Everywhere, Everywhere, All. Everything Everywhere, all at Once. But not because it was a boring movie. I was just so exhausted.

[B]

So you haven't finished it?

[D]

I had never finished it.

[B]

You were nothing, Nowhere.

[D]

At any point in time.

[B]

Do you want to apologize to Michelle? Yeoh.

[D]

Michelle, I'm so sorry. But Michelle's a great actress and you made up. And I felt like I atoned for my sins by going to see her in Wicked. She was so good.

[B]

What about Jamie Lee Curtis?

[D]

Jamie Lee Curtis? I use her memes all the time, so I think that's how I've paid penance.

[B]

And last but not least, Stephanie, you have anything to say? Stephanie's shoe.

[D]

That's Andy's friend who went to school. I actually texted Sexton.

[B]

He slept during his friend's movie. That's a question that might seem offensive.

[D]

Oh, God. What?

[B]

Why did Andy go to, like, why did Andy go to school with so many Asian people?

[D]

It's Bowen Yang and Stephanie Hsu. Who else?

[B]

I feel like he's sold more like he's always like, oh, I was Bowen Yang's first kiss. I was Stephanie Hsu's first gay friend. Like, it's like I was Jackie Chan's cousin.

[D]

No, he went to the NYU Tisch School, the experimental theater wing. All these weird experimental theater kids.

[B]

You think Asian people are weird?

[D]

No, it's not just. It was also. What's his name? The one from Spider Man.

[B]

Her name is Stephanie Germanotta. Lady Gaga?

[D]

No, Lady Gaga didn't go to the same time as Andy or they weren't in the same.

[B]

Lady Gaga's older than Lady Gaga's my age?

[D]

Yeah.

[A]

Yeah.

[B]

Are you older than Andy?

[D]

No, Andy's older than me.

[B]

Not much. How old is he? Like 36.

[D]

He's 35.

[B]

You're not 34.

[D]

I'm 35.

[B]

Are you the same age?

[D]

No, but he was born in August, I was born in February. So he's six months older than me.

[B]

That's the same age, Monet.

[D]

No, he's not.

[B]

You're born the same year.

[D]

He's six months older than me.

[B]

But you're the same age. Your age is not down to the day. Your age is down for half the year.

[D]

For half the year. And he's about to be 36. I'm gonna be 35. I have to say.

[B]

What?

[D]

No, we know because we were born in a year. Oh, my God. He was born in 89, I was born in 90. So he is older than me.

[B]

Don't raise your voice at me.

[D]

I just did. What you gonna do about it anyway? Sinners. Yeah, it is. It was such a great film. And there's so many. Cause I wanted to. I was gonna go back and watch it on Saturday night, but Taylor was supposed to come over.

[B]

Taylor.

[D]

Bob was. They were putting up them fucking black panels I see behind him. So Taylor's supposed to come over at 2 o'. Clock, at like 3 o'. Clock. He's like, we're still here. 5 o'. Clock. He's like, girl, we're still going. Then Bob was supposed to bring tape for him. Bob took four of him to bring the motherfucking tape. Well, I had. I know you had drama, but it Held everyone's day back. So then as literally as I'm stepping out the house, y'. All. To go back to the. To lead to the theater. Cause I bought my tickets. Cause I'm like, I'm not waiting for these motherfuckers all day. I went to the tickets as I'm leaving, and her Taylor said, hey, so we're heading over now. I was like, hold on. Let me see if I can cancel my ticket first. And then I did. And then they came over and we. So I didn't go see it again.

[B]

Are you gonna acknowledge that. That Taylor did not come by himself?

[D]

Yeah, Taylor and his boyfriend came, and then Bob and his boyfriend came.

[B]

Yeah. Do you want to thank me and Jacob for coming over, too?

[D]

No.

[C]

Really quickly. Can you talk about our impromptu business meeting from your perspective, Monet?

[D]

What? We had a business.

[C]

When we came over for the business meeting, it was the same day.

[B]

We should all give our perspective.

[D]

Oh, my God, y'.

[B]

All.

[D]

Yes. We're all gonna give our perspective.

[B]

And I wanna hear Jacob's perspective, and I want y' all to hear my perspective. And I think I was valid.

[D]

So let me tell you something, Yara. Ok. I am in my home. Bob and I had not spoken.

[B]

Sebastian, why are you so Jamaican today? In my home. I did not say that. Here I am in my home.

[D]

Ariel. So I was not supposed to talk to. I had not spoken to Bob all day. Bob and I had no plans on meeting, no communications the entire day. So I'm in my home, I'm cleaning up. I knew I had people come over the next day. So I was cleaning my. Annie makes fun of me, but I clean outside. I was. I was scrubbing the porcelain outside because it was really dirty. Anyway, so I'm doing some. Doing some housework. Doing.

[B]

I saw it. It was gross.

[D]

Doing some housework, doing some chores. And I hear my ring. My ring doorbell things. I'm like, okay, who the fuck is. I thought it was a delivery. Cause you know, Amazon, you're missing the

[B]

part why the doorbell rang. And I keep telling you, this is your story. This is your story.

[D]

Right?

[B]

This is your story. My bad.

[D]

So I hear the doorbell ring. I go to the front door, and it's Bob and Jacob. I'm like, what y' all doing here? Bob was like, monet, why don't you answer your phone? I was like, I didn't have it on me.

[B]

I was cleaning.

[D]

And, Monet, I would try to call you. I was like, okay, what's up, girl? That's not How I.

[B]

You tell your story, I'm gonna tell mine.

[D]

And I was like, okay, what's up? He's like. He's like, can I come in, please? I was like, of course. So we come in. Him and Jake are coming. They sit at my table in the front. And holding up.

[B]

I can tell you came this close to saying foyer, you fucking 1% ass. But you almost said it. I saw it on your face. Of course, I had the servant come between them. Foyer.

[D]

Anyway, so I'm holding Colleen in my hand, and Bob and Jacob sit at the table. Jacob is smiling, and Jacob is laughing. I'm like, what's going on? So Naval was like, so then. So Naval's like, monet, we need to have a meeting. I was like, okay. And holding Colleen. Colleen is like, squirreling around in my head like, yo.

[B]

I'm like.

[D]

I'm like, on. I'm tense. Cause mom is coming to my home, yelling about, answering the phone, making sure we have a meeting. I'm like, what's going on? I'm holding Colleen, who's my familiar. She comforts me when I'm feeling distressed. And I was like, monet, Monet, Monet, can you please put Colleen down? I was like, why?

[B]

And Monet, you got.

[D]

You. You have to put the cat down. I was like, no. I was like, I like to hold her. She really comfortable. She's like. He's like. And he starts telling me this thing about the podcast. He's like, monet, you have to put Colleen down. Or can I get something to drink? Something. Something needs to happen. I was like, okay. So I give Bob a glass of Kool Aid. Crystalite. It was not Kool Aid. It was Crystalite, Red Crystalite. And then we get to have this busy meeting about the podcast.

[B]

Something that they're. How we should get Kool Aid at the house. Jake, we need Kool Aid at the house.

[D]

At your house.

[B]

Your house, too. What happened at your house?

[D]

I don't want no Kool Aid in my house.

[B]

I don't drink it over. You don't have to drink it, but it'll be for me.

[D]

So then we have begin to have our business meeting about something. And Bob also had some stress happen in his personal life that day. So I think the stress of personal stuff was clouding a lot of things. And you came in really hot and very intense in my home when I had no intentions of you coming over. And I was minding my own business.

[B]

But you said. You told me that I can come over whenever I want.

[D]

Yeah, sure. But yelling.

[B]

Yelling, Jacob. Okay, now let's have our side of the story. Jacob.

[D]

Our Jacob has his own he wants to tell.

[B]

Jacob, tell your part, Jacob.

[C]

So we were in a business meeting. It was me, me and Bob in the car on the phone with Jay, our editor, talking about some production stuff. And we realized we needed Monet on the call. And Bob called Monet and she didn't answer. And he was like, okay, well, we're near her house.

[D]

We're just gonna go over

[C]

and see if she's there. So he made a sharp turn. We drive by Monet's house. He gets there, he's like, is her car there? Her car's here. We're going in.

[D]

We're going in. Like you go to fucking Vietnam.

[C]

Jay is still on the phone. And he goes up and he rings the doorbell. And you don't answer at first. And he's like, I know she's here. I know she'.

[D]

God.

[C]

And then Monet was like. Mon came very confused, and Monet was standing, and Bob was like, monet, can you sit down? And Mon was like, I'm holding Colleen. I'm going to stand. He's like, no, Monet, you need to sit down.

[D]

It's very Bob. Very Bob.

[C]

And then the rest. The rest lines up with what Monat was saying.

[B]

Okay, so let me.

[D]

Thank you, Jacob. I forgot about the sit down. It was the sit down first.

[B]

I'm going to explain everything now, and it will all makes sense and no one will have any questions. So I got. I. I got a new car. I'm getting rid of my old car, and I'm trading it for a new car. So my new car was getting delivered. I thought it was getting delivered to my studio. It was not. We were putting up the wall. I was like, oh, it be a second. I go outside, I'll get my new car, and then I'll just, you know, swap it out, whatever. Turns out the car is being delivered to my home, which is about 20 to 25 minutes away from the studio, depending on how heavy traffic is. So I had to leave the wall, which you can see is done, behind me. I had to leave the wall. So I left. It was supposed to be just me doing the wall by myself. And then Taylor was like, no, I'll help you do the wall. And then Taylor was like, I'll bring in my boyfriend. And then Jacob was like, I'll come to help set up. So it ended up being four of us here, which honestly was fantastic. Once we all started working together, we really zoomed through this wall. And thank you to Alex and Taylor and Jacob for helping. But I was like, fuck, I have to go home to go get my car. Okay? So I drive back to my home, to my apartment, and then the guy shows up with a car. He's like, I need proof, insurance. I need driver's license. And did you sign the contract? I said, can I just sign the contract?

[D]

My life is suspended. What am I gonna do?

[B]

I said, can I just sign the contract right now? He was like, no, you have to sign it, like, digitally. I was like, but you have that clipboard. I can't just sign the contract right here on the clipboard that you have. He was like, no, I have no access to the. I said, you don't have access to the contract you need me to sign? He's like, no, we sent you to this email. So I went back. I could. I. I could not find the email. The email, by the way, the email was not sent. I checked with Kennedy, checked my thing. This contract did not. It was nowhere to be found. Nowhere to be found. They delivered me a car with no contract. And then I said, but that's my car. I'm looking at it. I said, I paid for that car. He goes, yeah, I know. I mean, I didn't pay for. I made a down payment on the car. He goes, yeah, but, like, you can't. You can't have it. I was like, that's my. You just gotta take my car. I said, am I going to get my money back? He goes, I don't know. I'm just delivering the car. And I said, give me a second. Let me try to find it. So I'm trying to call Kennedy, trying to see if we can find this contract, and then the guy goes, I can only wait 15 minutes. I said, then go. I said, then just go. He goes, you sure? I said, what's the other option? I said, are you gonna give me my car? He was like, no. I was like, then just go on, girl. Just take the car. Go about your business. So I go, so I'm.

[D]

You went back to your apartment?

[B]

Yeah. So I am now irritated because I took a break from this wall to go get the car. And then Taylor was in about, like,

[D]

20, 20, 20, 25 minutes.

[B]

So I'm now. I have now. I was at the apartment for, like, eight minutes before he got there. So I am now. I have now left the studio where I was supposed to be helping Alex and Taylor do this wall behind me. And I am now about 40 minutes later. So Taylor's like, please grab some tape. Please grab some tape before you come back so we can put this up on the wall. I said, okay, I'm headed back. Me and Jacob have a conversation about something that's really cool that we're gonna actually be revealing to you all very, very soon. On. You probably actually already know about it by now, right?

[D]

Right, Jacob? Oh, well, yeah. By this. Yes.

[B]

Do they know about it now, Jacob?

[C]

Yeah, yeah, yeah.

[B]

So, as you all know, Naomi Small is gonna be joining us because Monet is under the foot of Paramount and

[D]

she is too scared.

[B]

And she's too scared. Okay, well, then why are you still on the podcast and Naomi's.

[D]

Yeah, Bob is doing a bit. And you know what you're doing.

[B]

That's your address too. If she showed up and gathered you by the. By the.

[C]

By the.

[B]

By the drip hairs of your eyebrows,

[D]

I could do pit stop and watchery. But Bob knows why I can't do it. He's being. He's being ridiculous.

[B]

Anyway, Monet got gathered by Paramount because she's a. She's a corporate shilling. So at this point, we're trying to figure out how to do this thing with it. Cause Naomi doesn't have a setup like this at home. She doesn't do a lot of podcasting and stuff. So Naomi comes into the studio. So we're trying to get it all set up, and we're trying to figure out how to do. Because this is. We're on. We're miles apart from each other, but we don't do it in the same room very often. As you all know, we rarely record together, so we're trying to figure out how to do it. And I'm like, I want to use these angles. I want to use these things. I want to use multiple cameras. And then Jay and Jacob are like, I don't want to use multiple cameras. I want to use one camera. I was like, I want to use multiple cameras. We're going back and forth. I want to use multiple. I only use one. I was like, I need Monet's opinion. Because Jacob and Jay were tag teaming the shit out of me, whooping my ass. I couldn't. I didn't have a leg to stand on. I said, monet's going to have my back. I know Monet would agree with me. So I call Monat.

[D]

Beep, beep, beep, boop.

[B]

In my hour of need, Monet does not answer the phone. Now I am already like, oh, and I still need to go get tape. Keep in mind, I still need to go get tape to do this wall. So I'm like, I'm going to Monae's. I'm going to Monet's house. We're driving back. I'm like five minutes.

[D]

When you took a sharp turn, it

[B]

was not a. Jacob added that sharp turn. I. I turned like, like I normally do.

[C]

So hard 90 on the steering wheel, like fast and furious.

[B]

So I go to Monet's house. I do sacra. She's. I did that morning stress. I know she's here. Her car is here. I'm ringing the doorbell. No one answers. And I say, I know she's here. I said, this is her fucking car. I know she's here. I ring the doorbell again. Monet shows up very like a scared white woman at the hello. Holding her cat. Oh my God. There's a black guy and a small Jewish man at the door. Barry Marjorie Taylor Greene. They have space lasers and they're negroes.

[D]

Uh huh.

[B]

Me and Monet get in. I'm asking Monet to sit down because Jay is on speakerphone and she's too far from. In Yalls defense, I am too flustered because of the car, the tape, and the double team between Jay and Jacob that I can't just say, monet, I need you to sit down. Because if you sit down, Jay can hear you better. Monet is over at the. In the kitchen. Monet is still cleaning her disgusting grout outside that's covered in goop. Monet, Monet's walking around the house. I said, monet, Jay can't hear you. I did at some point say, Jake. And I did say, put the cat down because Colleen was screaming. You guys don't know this. If you touch Colleen, she screams. If you touch her tail, her paw, pick her up. Any physical contact you make with Colleen, she just starts screaming. This cat. So Colleen is screaming. Monet is far from the phone. Me and Jacob, Jacob is laughing. Jacob is over here cackling. And I'm like, please sit down. Monet's like, I don't want to sit down. What is going on? I said, monae, please just sit down, please.

[D]

I will say it was not explained to me what was going on.

[B]

I didn't have the words.

[C]

He was so stressed out and over the car situation, he didn't want to talk about it. So he just came in like he'd been through war. And he was like, I'm so stressed out, I don't want to talk about it.

[B]

And when I kept like, why are You. I'll talk about it later, but can we do this now? And he's like, why? What's gonna say, Monet? I'm stressed. Can you please just sit down? I'll tell you how to do this break. So I'm stressed out. And I'm like, monae, please just sit. I will tell you why I'm stressed later. Please just have a seat. Monae will not sit down, by the way. She didn't sit down the whole time. Just so y' all know. I have to relay what she's saying to Jay on the phone.

[D]

That's not true. I was talking to. That's not true. I was talking to Jay. That's not true.

[B]

Because she was so far from the phone. But I will say this. Monat did have my back.

[D]

I did, I did. I was trying to be the voice of reason.

[B]

Monat mediated between me, Jacob and Jay. Yeah, she really was the voice of reason in that moment, which I greatly appreciate. And we came to a beautiful conclusion. And I cannot wait till you all see. You've already seen it. You saw how beautiful the episode looks.

[D]

Yeah, I'm very excited about it.

[B]

Would you be a hostage negotiator? Um, you know what?

[D]

I am very good in high energy, tense situations. I always, I always think about, like, not always think about not, but, like, you know, me know, God forbid, like, I'm in, like, if, like I'm in, like, oh, my God.

[B]

If you don't get. If you don't give me the money, the dog gets it. They're negotiating.

[D]

Okay, tell me, what do you need? What do you want?

[B]

I need 80 pounds of wet dog food.

[D]

Wet dog food. Okay. Is there a particular brand?

[C]

Yes.

[B]

I need Purina Premium Dog Chow.

[D]

Okay.

[B]

And if you don't get it to me right now, this dog is getting blasted away and you have.

[D]

Don't. Yep, yep, we got you. We got it. It's coming.

[B]

And I need to see the dog food first.

[D]

Just talk to me for a second. Just talk to me for a second. How are you doing?

[B]

I'm well, but ask Cody how he's doing in about five minutes.

[D]

Okay, we have it coming. We have it. We have it coming.

[B]

4 minutes, 25 seconds.

[D]

Yep, yep, yep, we have it. Fly it in, please.

[B]

I don't see it. You have. You now have three. Ok, slide it over. Don't walk over here. Do not walk over here. Put it on a drone or, or

[D]

something so on a drone to you. It's coming to you.

[B]

And is there anything else in that? Whoa, Whoa, whoa, don't put it. Open it up and let me see the dog food.

[D]

It's locked. It is a sealed container. I promise you, Bob, we would never we to send it. Send it to swat. We'll lace your ass up. Like Queen Latifah said it all. I would think if I was on a plane and it was going down, I think I would be a good person to sit in the emergency exit lane because I would really be able to help everyone out. Like, I wouldn't, I wouldn't, like, I mean, yes, put my thing on for air, but I would not, like, say fuck everyone and just. I would help everyone, like, survive.

[B]

Would you have accepted the. Sorry to jump back. Would you have accepted the vampires deal?

[D]

What was. It was. Okay, which one, which deal?

[B]

Let us turn you to vampires. There was. The whole deal was turn to vampires. And also we're gonna go. We're gonna, we're gonna go get the Klansmen, by the way, obviously. And this needs to be said if you've not watched Sanners. Spoiler alert.

[D]

Oh, yeah, girl. Spoiler alert.

[B]

If you join us. And we're also. Because when they came to the door and they sang the little bluegrass song or whatever that kind of music was, a little folk music, they were like, just let us turn you. By the time they came back, they were like, just let us turn you.

[D]

Yeah, but I don't. But no, I would not accepted it because. But like, why? Like, like, there has to be a reason. Like, why.

[B]

Well, he's like, first of all, you get to live for a long time. Two, you're going to gain some powers. Three, you get to be. Join this community. Four, we're going to. I've given you. I have now told you, like, I give in good faith. I've said, the Klansmen who sold you this place, I already know because I literally know that now because I share the thoughts of this racist guys. This racist guy, his uncle or whatever it was, I think it was lady's uncle. They, The Klansmen are coming back and they're going to get you. I'm telling you that to offer you like, hey, look, I'm telling you the truth. They're going to come back and get you, and I plan on getting them for you. And you can join in and help us get them.

[D]

But so, but you had all the time to get them. But now. But you're just, you're, you're, you're. No, because I mean the entire, the entire metaphor of the vampires in this. They're just like. They're systematic oppression. They're lying. They're dangling this thing, saying that they're going to help you. But he really had no intention of doing that because he could have done it a long time ago.

[B]

Well, he already did get the two. He got that one Klansman.

[D]

Which one?

[B]

The white guy who joined him.

[D]

Oh, at the top.

[B]

No, no, no, no.

[D]

But he.

[B]

But he made.

[D]

He added him to their team.

[C]

He.

[B]

Yeah, I will say.

[D]

Adding Klansmen to the team.

[B]

Yeah. Imagine that he's.

[D]

That he.

[B]

That. Yeah. I will say this. I imagine that by the time he was gonna go over there, he'd just be growing his brood as opposed to actually just getting rid of them. He seemed more interested in growing the brood than he was in just killing people.

[D]

Yeah. So I think that. Which I think, again, is a really dope tool of Ryan Coogler to kind of show the systemic ways that racists work.

[B]

But it also seems like once you become a vampire, you're not racist anymore because you share consciousness with people of different experiences.

[D]

This is true.

[B]

That's why I don't think the vampire

[D]

was racist, the original one.

[B]

And I think that once the racist people became vampires, I think they stopped being racist, too.

[D]

Once the racist people became. Yeah, I mean, yeah, I guess they weren't attacking because. Yeah, they're all. Now they all have this, like, hive mind with their under one accord, operating with one goal, which is just to get more vampires to their. To their. To their coven. What do you call it? Brood? A vampire brew. Is that what it's called?

[B]

I think a vampire group is called a brood. Let me see. A brood.

[C]

Generally speaking, yes.

[B]

It is a family of young animals, especially of a bird. Oh. Ooh. I think they call vampire vampire brood. Yeah. A vampire brood usually consists of three or more members who gather together for hunting rituals and celebrations. Yep.

[D]

Interesting.

[B]

I learned that from w. From wrestling.

[D]

Got it. I just also just. I think that in this film, like, I. I wonder why he. Like, why do you think he used vampires to convey this?

[B]

Well, maybe it is to show that the blunders of. The social blunders of racism are a human thing. Right. Like, I don't think that animals are racist. I do think that animals tend to not like people who they aren't used to seeing. So if a dog doesn't like black people, I don't think it's because the dog is racist. I think it's. The dog's not used to seeing black people. Right.

[D]

But you can't train A, you can train a dog to attack black people,

[B]

but the dog, the dog's not doing out of racism.

[D]

Right. It. But you. But, but, but if you teach a dog to attract only black people like they did in the 30s and 40s, like then you're teaching the dog to be raped because it's, it's not attack. Attacking white people, it's not attacking anything else.

[B]

You're not teaching the dog racism. You, you, you are giving the dog bias. But the dog isn't doing it based on race, it's doing it through training. Right, Right. So it's like, it's like a computer. If you have a computer that scans and if they see black people, it says no, the computer's not racist, it's just biased.

[D]

Yeah, fair.

[B]

So I feel like it was showing that racism is a human thing and vampires aren't human. And once you have this collective mind, hive mind, they seem to have gone beyond race. Maybe I might be slightly missing what's going on in the film, quite frankly. I mean, in the Coogler's.

[C]

So one of the. I think.

[B]

Who's going to write it?

[D]

I think him and his wife did it together. Let me double check.

[B]

Go ahead, Jake. What are you about to say?

[C]

He did write it. I think one of the, one of the things is that the vampire is much older than America. So he's from Ireland from the time when England was spreading their brand of Christianity across England. So I think he is old enough to be around before the conception of American slavery and the construction.

[B]

Well, he's also from an occupied place. Right.

[D]

He's Irish.

[B]

Occupied by Great Britain.

[D]

Yeah.

[B]

So maybe he has a sympathy for what African Americans are going through, even though I don't know. At the time, while those African Americans living there were not living on. They were living on occupied land, but it was Native American occupied land. It wasn't their land. They were, they were occupied people. Whereas the Irish would have an understanding of what it means to be living under occupation.

[D]

Yeah, this was. Yes. This was written, directed and produced. Written and directed by Ryan Coogler and I think his wife, y' all correct me if I'm wrong, but I've read some articles saying that his wife was also a part of it. Like she was indigenous, screenplaying it with him and writing and stuff like that and giving suggestions and all that. I'm pretty sure I saw that.

[B]

Woundme is amazing.

[D]

Wound me.

[B]

Wound me is the witch.

[D]

Oh, yes.

[B]

She played Annie.

[D]

Yeah. Which can I just say, I think

[B]

I'm saying her Name, Right.

[D]

Wound me though. I love that Coogler included this because you know so many black people, they be so scary about. Oh that's dark sided. That's that demon stuff. I'm like, we don't realize that like black people we are connected to this stuff. Like which witchcraft and what you call the stuff Voodoo and hoodoo. Voodoo and hoodoo, like that's all part of our connectedness to the earth and what we did before the introduction of fucking, fucking Catholicism and Christianity. Like it's part of who we are. And so I love that he didn't shy away from him. And I'm so happy that this movie did not become a Jesus thing. Oh, we can only get him with the cross. Like fucking Deliverance. Remember the Deliverance got Jesus all of a sudden.

[B]

Baby Deliverance, that's the, the, the, the Lee, Lee Daniels film, right? Yeah, yeah. Double Craft turned into a big religious propaganda piece and I was honestly insanely disappointed.

[D]

I know I, I think that's what

[B]

I mean because it could have been a camp cult classic but then it turned into a fucking, A fucking Jesus fest. Jes. Yeah, a Jesus fest at the end. I was so disappointed in that. We are inherently black folks. We are inherently a little witchy.

[D]

Yes we are.

[B]

We're nearly a scope. Omar Benson Miller, I don't think enough people are talking about his performance. He played Kornbread, the bodyguard, the front doorman.

[D]

Oh yeah, I love him.

[B]

Not enough people talking about how funny he was. He was so insanely funny.

[D]

He's very funny. I mean he's, he's, he's another person, another actor. I feel like only, only famous to black people. Like if, like if I saw him in Erewhon, I'm like oh my God. But I would never. He's one of those actors so I wouldn't know his name. But I've seen him in so many, he's been in so many things.

[B]

Yeah, I would not, I would not know his name. I'm reading it right now. I would not know Omar Benson Miller's name if I saw him.

[D]

Yeah. Also, I mean and also this, this movie, this, this film is set in the 1930s. So in that time in America. Things like that's Jim Crow, that's the Great Depression, that's fucking chain gangs. There's like so there's so many layers in like what is happening in America in this film. And I love the, I love the community that shit show. Like when him, when he town to start setting up for the party. First of all he gets this little girl, and he's teaching her about how to negotiate for herself, how to, like, advocate for herself. And don't just accept the first offer, counter it. Like, I love showing that when those two, like, black dudes are stealing from the car, he shoots him to teach him a lesson, but then gives him money to go back and to take care of his wounds. Like, that's like some community shit, like policing our own and, like, being responsible for each other. I love those subtle hints of that in there as well. I thought it was really dope.

[B]

That's awesome. So Buddy Guy plays the older version of Sammy.

[D]

Buddy Guy. I don't even know who that is.

[E]

He.

[B]

He plays the older version of Sammy at the very end. When. When.

[D]

When.

[B]

When.

[D]

Is he a famous musician?

[B]

He's a musician, yeah.

[D]

Oh. Can I tell you something kind.

[B]

I don't know if I should even mention this because it sounds shady, but it's just. You have to say now it's interesting, if nothing.

[D]

What?

[B]

Buddy Guy was born in 1936.

[D]

Whoa.

[B]

His wife. His wife was born in 1990. No, that can't be right. That cannot be right. No, he married her in 1991. Okay. Okay.

[D]

I mean, but that's like that guy that.

[B]

She was born in 1952. Girl.

[D]

That football guy, he's like 80 years old and his girlfriend's like, 25. Is. Is going all over the. The news.

[B]

She was born in 19. I apologize. Buddy Guy. And. And I know you listen to the podcast. Buddy. Buddy Guys was born in 1952. Jennifer Guy.

[D]

Got it.

[B]

There we go. I was like, Jesus Christ.

[D]

And I also love showing. Because, you know, for such a long time, you know, I mean, it's probably more, you know, it's something that I've seen depicted on film and in, like, articles which in, like, the Elliot Riots, yada, yada, yada. Sometimes you see this, like, this. This tension. I wasn't there. I don't know that allegedly exists between black people and Asian. Black Americans and Asian Americans. You know what I mean?

[B]

I grew up in a town with a lot of black people, a lot of Asian people. New York City has a lot of Asians. A lot of black people.

[D]

Yeah. And, like, so. But I didn't witness ascension, but again, I was. Sometimes I look through the eyes of, like, my. When I was in middle school, I was like, 10 12, 11 12. And I mean. I mean, I used to go into corner stores all the time that a lot of Asian folks would like. And I never felt, like, weird or there Were sometimes there are some microaggressive things that happen, and sometimes you think someone looks at you a little longer, whatever. But I think depicted on film and what from America's history I've seen is that there has been this tension that has existed between Asian Americans and black Americans and how we coexist in the same neighborhoods and blah, blah, blah, blah, blah. But in this neighborhood, they had these two Asian. The people who run the shop that they were getting the things for. I believe they were Chinese Americans there. And they were like. And they were part of the community. And when I was reading this little article, they were saying, I didn't know that they had brought Asian Americans into America to subsidize for African American slavery after we got free.

[B]

So Chinese people were forced to work on the railroads. Right. So I'm assuming that. I'm assuming that these. If these people are meant to be Chinese, then they are probably maybe first generation Americans from Chinese railroad. Railroad workers. And I'm glad they show Chinese people with Southern accents because in the south, it is quite common for like Asian people and for Latino people to have thick Southern accents. Like my roommate in high school, in college, Jaime had a very. He was Panamanian. He had a very, very thick Southern accent. Incredibly thick Southern accent. And a lot of Asian kids had Southern accents too, especially if they were. If they were first generation Americans.

[D]

So same thing in St. Lucia. The Asian people live in St. Lucia. They have St. Lucian accents. So why do you think.

[B]

Why do you think New York Asians have New York accent?

[D]

I think you do see that this a little bit of my question. So when someone who grew up in

[B]

New York, he doesn't have a New

[D]

York accent, but it's kind of like a New York slash black New York accent that she got read for and she stopped doing it. But it wasn't an accent. Right?

[B]

I mean, actually, Jiggly fully had a New York accent.

[D]

She did.

[B]

You're right. Jiggly fully had a thick New York

[D]

accent, but Awkwafina got dragged for it. Remember this?

[B]

Well, she was putting it on a little bit too. Like Jiggly. That's how Jiggly talked. Yeah, Like, I never, I never heard Jiggly not talk. Like, you know, when she talk, she would talk like that. You know what I mean?

[D]

But when you see people who have like Southern black sense who are not black, but they grew up in that, like, is that the same thing?

[B]

So Jaime did. Jaime had a white Southern accent, but he grew up around.

[D]

So is he putting On a white one, as opposed to white.

[B]

No, he grew up around white people, though.

[D]

So I'm saying. But when you have white people and Latinx. Sorry. And Latino people and Asian people who grew up with black people in the south and they have black Southern accents, is that problematic?

[B]

Well, I grew up. So I grew up in a black community with white people who had black accents. Like, everyone who grew up in a black community knew a few folks who were not black, who were in the community. And all of my. Not all of my. But like, a lot of my friends who were not black who lived in my neighborhood, they had black accents. Like, they spoke like, they talked like black people. And we never thought anything of it because they just talked like everyone around them.

[D]

Right.

[B]

I think what it is when people catch you not talking like that, for real, I don't think anyone gave jiggly shit for it because she. That's how she really talks.

[D]

Right.

[B]

But if you. But if you do another interview and you don't. You don't sound like that no more.

[D]

Yeah.

[B]

You're like, hi. You know, everyone's like, whoa, whoa, whoa, baby. Whoa, whoa, whoa. What's going on here?

[D]

But I will say black people code switch, too. I co. Switch.

[B]

Yeah, but you still sound black. Yeah, like. Like, I think I. I think I sound black, but I have, like, my professional when I coast, which is basically just my. It's just my professional black voice.

[D]

Yeah, same.

[B]

So, like, if I'm talking to you, I was like this. And if I was doing a thing, I'd be like, hi, everyone, my name is Bob the Drag Queen, and I am. I do a podcast with Monet X Change, and we argue. We're best friends, but we truly, really love each other. Well, if I told you, I'd be like, I do a podcast with my best friend. Her name's Monet X Change. We argue a lot, but we really. But we were like, we're best friends, though, right?

[C]

So it.

[B]

For me, that's my code switching. It doesn't go full hi, you know.

[D]

Yeah.

[B]

Like, what do you. Like, what do you think about that?

[D]

I don't know. I don't know. Like, you know, anytime this. There was a. There was a time in TikTok when this was coming up a lot. Especially when you see content creators who. From the South. There were, like, two girls specifically come to mind. I cannot remember their names, but they were. But they were like, people, like, dragged them. They're like, you putting on this accent, it's not for who you are. And One of the girls, she was like, I literally am from College Park, Georgia. Like, this is like, I'm not. I'm not. I'm not doing a thing.

[B]

Oh, Clayton county, whatever.

[D]

Oh, sure. And she's like, I'm not doing an accent. Like, I'm like, Like, like, like. Like this hotel. Like. And, like, people were like, no, you're white. Stop talking like that. And then I remember, and I think she got. I mean, I haven't seen her content in a very long time, so I don't know if she just, like, went away, but her whole thing was like, guys, I'm not doing a thing. I'm not doing an accident. I'm born and raised here. I've been here since I've been a day old, and I am now. I. This is how I've always existed.

[B]

I do think sometimes people who have that take just did not grow up in a black community with. With white people who talk like black people. Like, would you say your neighborhood was black?

[D]

Yeah, I grew up in a very black. East lobby is very black.

[B]

And did you have any Asian kids who talk like that?

[D]

Yeah, I definitely knew Asian kids. That's all I knew white people that talk like that. I told you. I knew white people that. That said because they grew up in the. And they grew up in Vander Project.

[B]

The Asian folks weren't saying where I was from. The white folks wasn't saying I was from. They said nigger. That popped out a couple times.

[D]

There were a couple Asian people who would say, for sure. No, there was some.

[B]

There wasn't a couple of Puerto Ricans who would say, yeah, for sure. But they weren't. But there aren't. There aren't a ton of Puerto Ricans in. In Atlanta.

[D]

They were. They were Puerto Rican.

[B]

They weren't Puerto Rican.

[D]

No.

[B]

Not a lot of Vietnamese people in Atlanta.

[D]

Yeah. Anyway, back to Sinners. Yeah. There's just so much of Sinners that again. It's just such a great. I want to watch again because there's more. I've been reading, like, the New York Times articles and Variety. I want to, like, go back and, like, watch it again. In my opinion, Sinners is one of these movies that you should go and see twice. You should go and see it for

[B]

the first time, experience Sinners, do some

[D]

research on it, then go back and watch it again. Because there's so many. There's so much stuff in there. I feel like. I feel like we need to, like, a part two, like, after. I want to watch it again with New eyes and new information and process it differently.

[B]

To answer the question I asked you a while back, I would have taken up on their offer, but here's the thing. What Annie was saying was. Okay. Was Annie saying, kill me before I turn? Because if you turn, is your soul gone forever? Like, once you are a vampire, is your soul just, like, gone now? Why was it so important to die before you turn?

[D]

I think for her, knowing all the information she has about spirits and all the witchcraft of it all, she has no desire to be a part of that. She doesn't want to lose her soul. So she wants her soul to go because she wanted to go be with her kid that she lost. And I think if she turned, she would not get to go and be with her kid.

[B]

So you don't think that once you're a vampire, like, so stack or smoke. Which one was bad? Which one got turned to a vampire? One of them.

[D]

Smoke.

[B]

One arm got turned to a vampire. Once you're gone, you're just. Your soul belongs to the brood now.

[D]

Yeah, I think so.

[B]

There was a lot of pussy eating in this film.

[D]

It happened Twice.

[B]

And talk. That's. Name another film with two eating scenes in it.

[D]

I can't think. I had.

[B]

Yeah, there was a lot of. In this film. Quite a bit. I wasn't mad at it, but I was like, damn. Eating in this movie, honey. And. And it was. It was a lot of. A lot of.

[D]

There's a lot of.

[B]

It was not a ton of. Just the. The. The young man and then Stack or smoke. One of them. Yeah, I. Smokestack is such a great name for twins. Can we come up with some other names for twins? Lighthouse Light in house. Lumber and Jack.

[D]

Lumber and Jack.

[B]

If it's a. Boys and girl. Will and Grace.

[D]

Bo and Mo Bo.

[B]

Okay. They're doomed.

[D]

Wow.

[B]

They're doomed.

[D]

Okay, so, Bob, do we agree that we. That we can. We can talk about sinners again after we both watch it again?

[B]

I agree.

[D]

I agree, too. I think it deserves that.

[B]

All right, well, y' all see this in part 2 when Monet makes it back to the movie. And then. And then we're gonna do one on everything everywhere all at once.

[D]

I would like to do that, actually. So this is just a little light. Light. We're gonna go dig deeper and more in depth when you see it again.

[B]

Yeah.