Updates, Improvements, and a Discussion with Kenice Mobley!

for listening. Yes, indeed, so we are. We're going to be getting back to uh, your regularly scheduled UM programming movie episode next week. But we wanted to just have a bit of a conversation, uh this week, a bit

of a conversation. It was a conversation, a full conversation, a whole last conversation, UM, because I think, like many people, we've been taking stock of not just our own ship, but of our shows shit, and so we just want to speak to that briefly before UM sharing a whole conversation we had with a friend of the cast and friend of us Mobli. Yes, yes, we'll get to that in a moment. But Jamie, Like you said, I've been

doing a lot of reflecting. You've been doing a lot of reflecting on our episodes that we've done so far and the movies that we've chosen to cover and the dearth of black movies in our episode history. Yeah. Which it's like we were talking about it because originally we were considering re releasing an older episode this week, and as we were going through our own catalog, and at this point we have hundreds of episodes, the pickings for a black directed and written movie were it was like,

I was mad at us, Like it, it's embarrassing. We should be embarrassing. Yeah, we and we are, and we we are to let all of our listeners know that it is. I mean, we like, there's no excuse for it. We we were just not We just weren't giving that the attention that it deserves. And um, going through our own catalog was, oh boy, it was a humbling experience because, UM, I think you know, very often, Um, the excuse that we have found to not cover black movies is that

we are a mainstream movie podcast. And what I don't think that I you know, I knew it, but I didn't think or articulate it well enough to the point where it, you know, became the reality of the show is well, what qualifies the term mainstream and mainstream I think in a lot of ways indicates whiteness because of money and because of in our specific world, where Hollywood

allocates this money and where it allocates its opportunities. So I think that we've really often found an excuse to cover more white movies than not because those were the directors and the writers that have been given those opportunities. But that's not an excuse. It's we're people that are more than capable of seeking out movies that are not written and directed by white people. I just I was

just like Jamie Caitlin, what thinking? But yeah, that's that's some of the conversations that we've been having about about the show. We also, of course always want to be bringing you all sorts of voices, especially black voices. UM, and we will continue to do so, and we want to do it more than we currently do. UM. I think we said this last week, but if if there are specific guests that you're like, I'd love to hear them on the show. UM, let us know. Hopefully we

can make it happened. But yeah, I think it's particularly with black movies, we have failed our audience in in just covering them, which will be rectified in the future and the immediate future too. So yes, yes, if there are movies that you would like to hear covered, also, let us know. But we've got we've got ship in the works indeed, And like I mean, the whole thesis statement of our show is the media that we consume

and how it influences individuals as well as culture. I mean, we we know already because we've talked about it on the show at large, that the underrepresentation or misrepresentation of any particular group contributes to a misunderstanding of that group. Um. For example, the miss and under representation of black people

black characters in cinema contributes to systematic racism. Yeah. Absolutely, and and in many, many, many cases, UM, it is white writers and directors perpetuating those stereotypes across all media across you know, we cover movies, but it's also very prevalent in television. It's it's everywhere, and and we do not want to be contributing to um erasing or misrepresenting or undercovering in particular black stories um or or or

any non white story. Really there are so many white stories, you know, possible to say the world is good, it's um. So we just kind of wanted to lead with that, and you know what, We're going to continue reflecting on it. But the main the main messages we recognize that we

have not covered enough black cinema. We have not, as individ Jewels, seen enough black cinema because we have the privilege of a lot of popular media being marketed to us and being in many ways about us, and that is something that we need to push past, like and so we talk about it more with Kinnis Um particularly, I loved like just talking about movies that are about black joy and like comedy and like there's just you know, so we just we just wanted to lead with that

and also say that we're committed to not just covering movies but also UM directing you to voices to follow. Will continue to elevate the voices of all of our guests, but our our black guests in particular. We will be UM directing you to if there's a guest We said this last week as well, but if there's a guest on the Battle cast that you enjoyed and you don't follow their stuff? What are you doing? Like the click

that fall button. It's not hard to make it right now, Um, and we are we apologize for our role in perpetuating the extreme whiteness of um Hollywood and at times, I think the extreme whiteness of feminism where we discussed this briefly as well. But um, there is a very traceable history of feminism being having a lot of asterisks being specifically for white women. Definitely, that is not what we're about. And um, we're you know, it's something that we're also

reflecting on. So uh for sure, Yeah, thanks, thanks for for being here. You know, if you if you're a listener of the show, you already know Kennie and she was kind enough to talk to us about I mean, she's a she's a movie buff and we love her and we hope you enjoyed the conversation. Yeah, So, without much further ado, let's cut to the conversation that we had with our dear friend knee Smobile and we are joined now with one of our favorite guest favorite friends,

just general wonderful hero. Uh it's our friend kend Hello. I've never been called a hero. I'm gonna you know what me people who save other people's lives. I was gonna list professions, but some of those, Like now I feel like I can't. I can't endorse an entire profession of any kind because there's so just the people who have saved people's lives. Those are the heroes. That's you're

also our hero. Yeah, that's true. And if listeners out there you remember Kenese from our Back to the Future episode which is on our Matreon as well as our Casino Royal episode on our main feed. So friend of the Cast returning third timere among the three time I want to I want you guys to do what SNL does and like what if I get on five times I want to jacket? Oh we should do that. They do? You get like a like a smoking jacket, like a maroon velvet smoking jacket, and it has like five timeslove.

I just watched a way too much SNL, so I know that, like really well, but yes, that is the heartwarming and so weird to me. It's like Alec Baldwin has a jacket. I don't want him to have a jacket, but he does. He does, has that five times jacket as we're recording this. Cops just got canceled for yes, wait, Cops the TV program. Yeah, oh my god, the profession person is over. We we did its, no for now,

it's just the television program is over. But that but as far as media goes, that is a really good step. But there's I didn't even know it was still on. I've seen so many tweets say that they're like, they're still make Cops. Yes, they're still having the Boys in Blue run after people who were confused. When how long has that show been on. It's been on since about the eighties, nineties, eighties. I think it's thirty two seasons is what I saw. My word. Oh boy, well, defund

Cops the show, and they did. They did. It's a start, it started, it's a start. Well, yeah, I guess we want to just take an opportunity to reflect on our show's history, what we can do moving forward as the host of this show to make sure we are being

as inclusive and as intersectional as possible. Uh yeah. So there are some podcasts that talk about film, and the only time they talk about black film is when it's like this is a big, important black film and it is being nominated for Academy Awards, and because they do that,

it is often black films that center on pain. So hey, I'm a big fan, but also my pushes to please include movies that incorporate black joy, silly black movies, movies that aren't necessarily like critical darlings, but fan darlings, because it's not just I swear to God if I have to listen to another podcast where it's like, Okay, let's dissect twelve years of Slave and let's talk about whipping scenes for along that, and I'm like, who is this fun for? Like, so, yeah, that's nice. What are some

of your favorites? Favorite movies that celebrate black joy? Uh? So, every Thanksgiving I watched a double feature of Coming to America and Trading Places. Love those movies. I don't know what it is about Thanksgiving and Eddie Murphy, but mentally those two things are paired forever. So Everythanksgiving I watch those really fun comedies. Also, Dope, have you guys seen this. It's one of the best teen movies of the last decade, and I think it doesn't get a lot of props.

I think it's I just think it's so funny. Why haven't we covered dope? Oh? Please please do? And it has Oh there's a lady in it who's like in a bunch of other things that I really like. And she's like a teen and sometimes she is very much so dressed like a teenage boy, and sometimes she's like super glamorous, but she's fantastic. Sorry to bother you, how Stella got her groove back? I just saw this, Like, I know I should have seen it years ago, but

I just saw it earlier this year. The way they shoot Tay Digs is a thing of beauty, and I just I think it's important that we recognize that Bad Boys is hilarious. Bad Boys too. I haven't seen Bad Boys three because it came out when theaters were completely shutting down. I don't think a lot of people think of this as a black film. But it's directed by Spike Lee Inside Man, with Denzel Washington and Clive Owen.

It's a really fun bank heist movie. Has to hotel at four and oh, it has a ton of people. William Dafoes in it, it's Jodie Foster. Check it out and yeah, it's really it's great. It's high energy. Yeah, I just am a big fan. UM good hair Chris Rocks documentary about the hair care industry in the black community. Girls Trip is hilarious. Uh. This is available on Amazon Prime, and I know Amazon is bad, but this movie is good. Uh.

The Last Black Man in San Francisco. Uh. Music and the way that that was shot Great Creed was so good it made me join a gym. Like I left the Summerville Theater in Davis Square, Centerville, Massachusetts, and I walked to a Boston sports club directly and I joined it because I was like, Kennis, you need to change your life. This is media being influential. Yes, I mean I would say it changed my life, but I did not continue to go. I went for a few months

and then I stopped. Widows It's not lighten upbeat, but it is again. I love a heist film. Oh no, Widows, h I love getting a crew together, plan and a crime committing a crime. It's great. And Steve McQueen is one of my favorite directors. I think the way that he shoots things is so interesting. Uh. And he got Colin Farrell to be at once likable and hateable, which is I think a fantastic lane for Colin Farrell. Um us get out, of course, I Am not your Negro.

Also on Amazon Prime Sorry, City of God, Oh the Brazilian. I think it's important to show like black people across the planet because we are I'm sure, um, but that was one of my I made my mom watch that when I was in high school. I just found it so moving. Uh and love and Basketball. That's going to be my list, uh, my current list of very very good, not homework feeling black movies. Nice. Yeah, those that's a great list. Yeah, and we need to cover a lot

of those. Yeah, that's on I mean, and and for listeners too, if there are movies from black directors um or black writers that you would love to see covered in the show, We're looking out for ones we haven't seen or heard of, um as well. So you know at us baby, We're we're ready for sure. Yeah. And if I'm not mistaken, most of the films that you listed, just like Kinis, have black either writers or directors. Not all of them, but I think most of those did.

I think most of them do. I think some of the ones, especially the ones that are older, like Bad Boys Coming to America, I don't think those have black directors. Um, right, Um, but there are a fair number of black narratives and film that don't have black filmmakers behind the camera. And I think we talked about this on like the Hidden Figures episode and things like that, Um, Spider Man into the Spider Verse on the Matrian episode. We did about

that movie. There's a whole there's I can't think of any others off the top of my head right now, but I know they're out there because historically movies about all types of people have still mostly been made by white men. Specifically speaks to the fact that black creatives have not been given opportunities, their work has not been prioritized all those issues that lead to just there being exactly the help Green Book nightmares such as those, and I mean the help I think as of this recording

is still in the top ten on Netflix. So mad. It makes me so mad. Who is I don't know these people and I don't want to meet them, But who are these people that are like, you're right, I will help with racial just this by watching a story about a black domestic worker who is deprived of her rights. Yes, that's what I will do. That's that's that seems like

a good idea. To me, okay, and I this may be too much, and I recognize that, but to me, the help trending on Netflix is akin to the fact that like ebony pornography, ebony and air quotes pornography is like rising up the porn hub charts because people are like, I am doing a good deed, I am helping racial justice right now. It's it's a complete missing the mark thing,

but we keeps happening and it's making me mad. Yeah, it's so cringe e. And and there's there's a tweet from former guests on the show The Best de She's so cool. She really is. She when she lived in New York, and I was just like, that's a cool lady, fellow Massachusetts rest from there. I was getting the Massachusetts vibes.

We're all so cool. But she she she had some because we we circulated a list of black movies and where you could watch them right now, a list that was circulating that was like Netflix, Hulu, you know, just to start. But I also tweeted something I wanted to share where she said, all the anti racist watch lists that don't include Daughters of the Dust or Losing Ground or Hollywood Shuffle or Ganja and Hess or The Watermelon

Woman or Love and Basketball, remember Loving Get Out? You like black movies, Surprise l W doesn't have to be homework? Which I which which is? I mean that hit for me as well as just like we should just be watching more black movies and you know, as a show, if the powers that be are not bringing it to us and not pushing it, then it's on us. We're a movie podcast. We need to seek it out. It's not like we're watching movies. It's fun. It's fun. Hollywood

Shuffle is a really fun movie. I haven't seen it. It's great. I am going to admit right now that I don't think. I think I saw it in college, but I haven't seen it since then, so I remember none of the details because I don't remember my youth so the same. Yeah, I saw it in college and not sense, but I remember being really funny and like

providing some you know, compelling commentary. Yeah. I think celebrating black movies that aren't just about black pain will also help with that because I think the perception is if you're watching a weighty black movie or like an important black movie, it's gonna be a about race and civil rights or slavery and be depressing as hell and something that you have to sit through like homework, and I know that is not the case. So just doing more of a iety of black movies I think is important

for sure, absolutely because it's yeah, it's movies like that. Yeah, well, Jamie, to touch on something you mentioned about, like if the powers that be don't like basically the point that I'll arrive at, so I'll just get there. We all we all went to film school, right, We studied film school.

The two of us have master's degrees from Boston. Don't like to bring up film We would never bring it up, but continue just reflecting back on the movies that get mentioned in like film textbooks, the movies that get screened in classes unless you specifically take like a class on black cinema, just general film classes. And maybe this has changed in the years that I have gone to school,

or maybe this is the for certain schools. But the two different brag the two different schools I went to for film school, they were like, um, yeah, so there were some important black films like Do the Right Thing and Boys in the Hood and probably some other ones. Also there was a whole black exploitation movement and um the end, that's all you need to know. And they really just completely gloss over and did not make a

priority of teaching film students about black cinema. And should the onus have been on me to seek more out for myself? Yes, did I do that? Not to the extent that I should have. So yes, that is yet another area that you know I will work on. We also we went to the same place. I remember I had to fight with my professors a little bit to take a race and gender course because that wasn't part of the master's degree program. It was an undergraduate class. And I was like, I really think I should be

getting of this information. And it was there where I saw she's got to have it. It was there where I saw Paris is burning. It was there that I saw like any representation of people who looked like me. Because in screenwriting class, in film history class, we did a lot of stuff. I mean I saw every single Coen Brothers film, and like dozens of films by like

French all tour directors. But I still don't think like I can confidently say that in school I didn't see a single African film, like no films that were made in Africa. Um, and I still haven't really seen those like it. Just I think the only director that even came up was Spike Lee, but that was it. M M. It's it's frustrated because it's I I feel the same way like it was on me to seek out more and I didn't do as much as I should have.

But I think especially when we're talking about media and media education, which is what we have allegedly done from time to time between like talking about our various educational degrees now for Billina, but like there there there is all. There's just in like film education and in media studies, it's so white, like it's and and again. It's like kind of embarrassing too, like be aware of it at

the time, but not say enough about it. Where I think I brought this up on the show before I took a class called like Wilder, Alan and Kaufman, like just three like it's and and again. It was like, yeah, the black films that we studied were very like it was just the same three movies that you hear about in every course, and it's like we can't just that means that first of all, there should be black film professors employed in universities and also just no matter who's

teaching there. You know, I Kenneth, you shouldn't have had to watch every Cohen Brothers movie that so I saw all of them except Lady Killers because they weren't going to do that. They weren't going to make us watch the Lady Killers. Yeah, that's not signed that decision. I think they would want to get rid of that as part of their candidate. And I'm wondering what Tom Hanks thinks about it. I just it is. I mean, that's

like something that I don't know. I feel naive for not interrogating that more fully while I was in school, But I hope and I think now just based on um I did a little research into like today's students, uh smarter than me? Yes, And there is there has been more pushback ULM schools to not just teach. It feels like the same fifty movies no matter what school you're going to. Basically they all got this same syllables from online and they were like, yep, check, we are

doing the cannon and that's it. And if you want to see anything that's outside of that cannon, if you want to see people of color that are directors. If you want to see female directors, you have to go and seek those out. And it's frustrating that, I mean, as as valuable as those classes are and as happy as I am that they exist, that the stories are still other two. A separate class like that just indicates that the school doesn't feel that black film is film.

They're like, no, this is a separate it's a separate thing. This is a class that's raised in gender where film as an opponent, but we're not really counting it. And what I think it does is it produces uh and has produced generations of film scholars and film critics who simply don't believe that works by black artists exist. Like they're like, oh, it's not like it's kind of referring back to like the Oscar so White campaign. It's not

that we are doing something bad. It's just that the system hasn't turned out any filmmakers versus I haven't done the research to know to go out and seek these films out. And again it you know, correct me if

I'm wrong. I think that in terms of the diversity of how many black film critics are being put on and given the appropriate reach is also like an issue that comes up with us all the time, where there's so many movies that we've covered that are like, well, keep in mind, this movie got mixed reviews, but probably because everyone who reviewed it was a white man and this movie was not for them, and so that's why

they were just like I didn't get it. See like that is infuriating, and I agree, yeah, and and so we're gonna aim to But I mean, we've had a number of um black film critics on the show before, like Joel Monique is like one of the best in the game. She's amazing. Um Ashley Ray as a writer I really enjoy reading and she's t best just she is just on all the time. I love her so much. And um and Danielle Radford is another amazing black media critics. There.

There are so many wonderful black film critics, and I think it is like changing slowly, but in terms of like are they getting the appropriate microphone and reach and are they being put on in the way that they deserve to be, I think that there's still ways to go, and we'll commit to showcasing those voices because sometimes you see like a random white guy review a movie that they just clearly they didn't even attempt to put it like, it's just most film critics assume that the movie they're

watching is made for them specifically. Yes, it's wild. I've heard and I do listen to a few film podcasts, and there is one that I like, but it is led by two white men, and just the nuances that they miss out on entirely because they're not familiar with the culture makes them say, oh, this isn't very deep or these scenes aren't well active. But it's like they're operating on something that you just haven't taken the time to think critically about, versus not saying anything at all.

And we have those blind spots too, and it's like, yeah, it's like just stuff that we need to commit to working and figuring out. And I'll repeat this podcast recommendation again just because I've been listening to even more of it than I usually do. But black men can't jump in Hollywood, go to it. It's so funny, and I hope that well we'll have them on the show as well.

Yeah that and like there's I think a discussion to be had around I guess like the must see movies of the year, and how it's very seldom that they

are black movies. I think that like get Out was a recent exception, but like it's it's very rare that there will be critical darlings or movies that like critics by and large love and say like, you got to see this, this is the musty movie of the year because it is like white critics mostly or historically leading the narrative of like what movies you have to see, and which results in us getting every Richard Linklater film being one that you absolutely have to see because is

it is it boyhood universal? Everyone feels it strongly about it has been in their forties. Everyone feels that way. That killed me. I was like, it was fine. I don't know, everyone's okay, right, they really they really played us with that one. That was so I didn't see it until last year, and I was just like, what that was what I was have to see? They were really betting on that kid growing up to be a good actor. Yeah, yeah, no, but I mean that was

a tangent. But yeah, I I totally agree. And I think again it's where we have a platform where we talk about film. I include us in in that as well, and that's like, that is something that we need to get better at. Is um even if the marketing department is not going to tell us this is a must see movie, it's like, you know, let's seek out the movie, let's watch it, let's talk about it. It's truly the easiest thing in the world to do, and uh, we'll

be doing it much more. Yeah, when I was growing up, I lived kind of between one theater which was in a wider neighborhood, in one theater which was in a blacker neighborhood. And even then it was really clear to see which movies were advertised and pushed where so, like a black movie would be maybe on one screen playing twice a day at the big one in the white neighborhood, but then you go over to the black neighborhood and

it would be on like four screens. It felt like they were like, come and see this maybe, but we don't anticipate that this audience could have any interest in this type of story, which is so limiting, Like for it it just and it just assumes whiteness is the dominance.

It assumes whiteness it is the dominance, and that it fulfills the prophecy that that movie won't make as much money because they're not putting it in as many places, and so it has to like it had every theater has to sell out or it has to blow out sales records in order to be considered a success. Like why like Girls Trip made so much money, but it had to be very good in order to make that money,

if that makes sense. And also framing, I remember Girls Trip being framed as like a surprise success and like, what is that supposed to be indicating? Fucking like Queen Latifa? Is it? How is it a surprise that Jada Pinkett Smith Tiffany had, Like, yeah, it had such a major movie stars. Yeah, it was. It is very good. I liked it a lot. I loved it. It's very funny. There's a very specific SNL skit, Tom Hanks. It's on Black Jeopardy. Did you guys see this? I know it

doesn't sound super familiar. I think it's one of the best sketches that SNL put out for a while, But it's Tom Hanks. He's on Black Jeopardy, which is a bit that they do that's really recurring, and they ask a question about a media movie and he answers it right away and everyone is shocked. They're like, you know, all of media. He's like, it's a it's a heartwarming

film where they talk about God. I've I feel like that hits with a lot of people, and it just everyone was shocked and like, yeah, I guess I guess it does. I think that if they approached it more like that, that these are themes that are fairly universal that a lot of people can relate to, that these

films would have wider releases and bigger openings. Absolutely, That's the thing about storytelling is that, sure, there are some movies that are geared for a more specific niche audience, but like a lot of movies in general try to appeal to as large of an audience as possible by exploring very universally relatable themes. And many black films do this.

And for film marketers to assume that a white audience couldn't connect with a story with a black protagonist or a story that explores a black experience like that is ludicrous and Hollywood needs to get a clue and like invest in black creatives too, because it's just it's such a like, you know, such a cyclical issue of like, you know, if black creators don't get the money to make their movie, then there's automatically less movies to market.

If a movie is made by a black creative, it's automatically marketed less because there is this like prevalent assumption that, no matter how many times it's proven wrong, is always assumed over and over and over that black movies won't sell as well even though it's it's so frustrated, like constantly multiple times a year proven wrong. Um, but you know, it just becomes like this vicious circle. And since we cannot count upon the entertainment industry to improve, which it

does so so so so so so slowly. Um, but it truly, I mean I feel like it does come down to like individuals being like I am going to look outside of what is literally put in front of me by because and also like so often what is put directly in front of us, as we discussed on

the show constantly, it sucks. Um so yeah, And I mean part of that responsibility is ours to like go and research the films that aren't maybe in the mainstream because Hollywood refuses to try to let them be in the mainstream, and to watch those films and share them

with our audience and our friends and everyone everyone around us. Um, what I think we want to do now is just encourage our listeners to do the same work that we are committing to in terms of discovering more black cinema consuming it, and will also be using like more of our platform, more of our social media to direct you

where we can. And we're always like, we want to hear what you're watching, um, what you'd like to see covered on the show, which our listeners have never been shy about letting us know, so we trust, we trust that that will continue. But we uh, we're going to prioritize more finding voices to elevate and uh show to you with our with our humble baby platform. Um yeah, And I honestly like we're focusing on black cinema right now, but we could stand to cover more movies about other

underrepresented groups. We could we there's movies about black, brown, Asian indigenous people. We could cover more queer movies, more international movies, like not just English language American movies, Like there's just a whole scope of things that we can Definitely, the thing is we can read and we should do it more. Indeed, another thing that we are going to do moving forward is an adjustment to our nipple scale.

We've always treated it as how does this movie represent women? Um, But that is something that we of course realize isn't all inclusive. So what we're going to do instead, and this is what we've done with the podcast, with the

discussions itself, but we're just changed in the official rules. Yeah, extending it to the nipple scale is rather than and how does the movie represent women, It's more how does the movie hold up when we're looking at it from an intersectional feminist lens um, And that way it's more inclusive, it's more intersectional. That is what we're going to do moving forward. Yeah, because we we also fully acknowledged I mean, we always say that the Bechtel test is a flawed metric, um.

But one of the ways in which it is a flawed metric is that you know, by and large, we don't have the numbers on this, but we've seen movies. I think that oftentimes the Bechdel test is most often and passed between two white women. And so you know, it's on us to be taking and coming at the entire show through an intersectional lens, and that means, like we always do, we will be talking beyond the Bechdel Test.

But even with our own metric and with how we're approaching the Bechtel Test, we're we're going to be kind of making that a little more focused in a little

more clear moving forward. And I think that that I also want to give a hat tip to past guests Danny Fernandez UM for making that point on a recent Twitter thread that Um, she just mentioned the Bechtel Test often caters to white women, UM, which is absolutely true, and we will be more mindful in you know, pointing that out for sure, when a movie does pass, it's often between two sis white women. And while that's not nothing, it's definitely not everything. Not everything. What a great way

to put it, um. And And also that I mean, speaking of the Bechtel Test, and you know, listeners, you know that we only use that as a really springboard to inspire a larger conversation. There's still a way that we could approach even how we treat the Bechtel Test is being more inclusive. Because we've always said, you know, female identifying characters who speak to each other. I've I've seen renditions of it where it's women, fems and non

binary people if they speak to each other. So it's basically just broadening it up to more identities on the gender spectrum speaking to each other and still allowing that to pass. So UM, moving forward, I think that would be a good idea to implement. Um. And with that, thank you so much Kennie for being here. Of course, thank you so much for having me. Of course, Um, where can people follow your stuff online? What would you like to plug? You can find me online at Kennese

mobili on all the platforms. That's Twitter, that's Instagram, that's Venomo. If you're nasty, I don't know why I said that, but you get it right now. Yeah, but only if you're that's weird. Um, I take it back my bed okay. Uh. And also you could listen to my podcast which is called Love out Town, which Caitlin you have been a guest on and Jamie was a guest on one of the first incarnations of the pot Yeah he actually can you both that of on both People about Town, right

and then Love About Town? Uh huh. Thanks for having me, Um, Yes, please follow Cannie and Venmo hur at least ten dollars, preferably more. And you know you can follow us in our all the normal places, um Instagram and Twitter as well you know the other stuff we don't need to hawk our merch right now. Um yeah. Well, and we'll be back next week spoiler alert or during Tangerine next week. Yes, so excited love that movie. Yeah. Thanks everyone for listening, and we'll be back next week. Bye bye