"Boomerang" Movie Review | The Main Ingredient With Chris Ellis Podcast - Ep.1

What if a film could redefine societal norms and set a new standard for representation? Join us on The Main Ingredient with Chris Ellis as we sit down with Trae Beauchamp to unpack the cultural gem that is "Boomerang." Eddie Murphy's portrayal of Marcus Graham not only captivated audiences in 1992 but also made a significant impact by showcasing successful Black professionals in a sophisticated, yet relatable setting. We share our personal experiences of watching this iconic film then and now, appreciating its enduring smart writing and celebration of Black excellence.

We kick things off by dissecting Marcus's intriguing character arc—from his confident, womanizing ways to his vulnerable moments filled with emotional turmoil. His interactions with Jacqueline and Angela reveal deeper themes of power dynamics, superficiality, and the real-life consequences of one's actions in relationships. Memorable scenes and the stellar performances from Robin Givens, Halle Berry, and Martin Lawrence add layers of humor and authenticity, making the film a classic worth revisiting.

As we explore the film's lasting impact, we celebrate its groundbreaking portrayal of Black relationships and issues that remain relevant even today. The final scenes, filled with raw emotion and heartfelt vulnerability, resonate deeply, leaving an indelible mark on viewers. Eddie Murphy's remarkable achievement, coupled with the film's cultural significance, earns "Boomerang" a solid nine out of ten in our book. Tune in to hear our comprehensive analysis and why this film still holds a special place in our hearts.

Chapters

• 0:00 Discussion of Boomerang 1992 Film
• 4:32 Executive Player Establishes Dominance Through Women
• 7:48 Marcus' Insecurities Revealed Through Appearance
• 11:45 Marcus' Pursuit of Jacqueline's Affections
• 20:14 The Power Play of Seduction
• 30:45 Exploring Marcus' Love vs Lust
• 40:26 Marcus Dealt Humiliation at Work
• 47:06 Betrayal and Redemption in Corporate Drama
• 55:20 The Power of Seduction & Betrayal
• 1:05:58 Marcus and Jacqueline's Betrayal and Fallout
• 1:11:14 Boomerang

Transcript

Chris Ellis: 0:00

We actually might be talking about in this movie two women who are playing him for a fool. Because what if Angela whole thing was? I'm gonna be cool with his partner, because dudes do it all the time, oh, constantly. It was a jump cut time. It was like jumping too fast. Yeah, right, right, because you were just on Jack with him Exactly. All of a sudden, you in love with a whole nother person. That quick, right, fast, right, fast. What's up y'all? My name is chris Ellis and this is the Main Ingredient with Chris Ellis.

Chris Ellis: 0:47

Today I'm here with the homie, rey Beauchamp, and we're here talking about the movie 1992 smash blockbuster, boomerang. How you doing, trey? What's going on, brother? You ready to talk about it man? Yes, sir, man Appreciate you for having me here, man. Thank you, man, I appreciate you being here, man. I mean definitely we. We ain't hooked up in a minute, been a minute, brother. It's time to get it back going, for sure. So let's get into it.

Chris Ellis: 1:12

Boomerang 1992. Uh, directed by reginald hudlin, story by eddie murphy, starring eddie murphy as marcus graham rob. Robin Givens as Jacqueline Breuer. Haley Berry is Angela Lewis. David Allen Greer is Gerard. Martin Lawrence is Tyler. Grace Jones is Helen. Stranger, stranger. Eartha Kitt is Lady Eloise, chris Rock is Boney T and Layla Rashan the sexy. Layla Rashan is Christy the movie.

Chris Ellis: 1:45

Like I said, the movie was done in 1992. It had a budget of $40 million and it made $131 million at the box office Says a lot. That's a hit back then. Blockbuster back then For a black movie yeah, for real, that's major. That's major.

Chris Ellis: 2:03

How did you feel about watching this when it first came out, compared to recently watching? Wow, that's a great question, man, back in the day when I first watched it, to be honest, I just like the premise of the movie. Just look like a player doing his thing. You know what I mean. He didn't really. I was 92. I think about 92. I was Fif, 15, maybe you know what I mean. So it was a different time in your life. So, just looking at what's going on as far as the movie player having a good time doing what he do, you know what I mean. Yeah, it was just a fun movie. You know what I mean. Eddie Murphy Eddie Murphy was the man he was. You know what I mean, especially in 92. I mean coming off all that Beverly Hills Cop stuff, right, beverly Hills Cop. And you got Halle Berry, yeah, come on, robin Gibbons. Robin Gibbons, a young Martin Lawrence, yeah, I mean David Allen Greer, all these players that we grew up watching. You know what I mean. Back then they were in a heyday, you know what I mean. So it was just a great movie to watch. You know what I mean. A lot of sexual energy. You know what I mean Just fun. You know what I mean. Back then it was just a great movie, something that entertained us as a community and our culture. You know what I mean. And it was great. Man, it was just a fun movie back then.

Chris Ellis: 3:15

When I watched it back then, I was 92. I was 20. Right, so I was kind of moving and grooving, had my own apartment and stuff. So I yeah, you were more than that level. Yeah, I was more older, so I can kind of I was kind of understanding what the movie was actually about, stuff like that right, but it was refreshing to see all those black faces right and, uh, see a movie where it was like a smart writing. You know screenplay was written right and it was just wasn't.

Chris Ellis: 3:43

We had a lot of ratchet shit back then. Yeah, we did. We had a lot of hood shit, a lot of ghetto shit, good stuff. Yeah, we had the boys in hood and menace and all that stuff. Great movies, great movies. But it was more hood related, exactly, and this was more executive or more sophisticated. It was very sophisticated, right. Right, it wasn't the black culture appreciated it, but I think they appreciate it more now. Now they do because they know what it's like.

Chris Ellis: 4:08

I'm saying, back then it was a little different, because we haven't really seen anything like that. No, I mean, so it was. It was kind of a the whole thing was just like them. You see, successful black people actually doing stuff without, like you said, there's no drug involvement, none of that. They're just in just a regular society making money. Yeah, like they're just in a, just a regular society making money, living like they're supposed to and doing things like that and living life. You know what I mean? Living life, you know living life, yeah, so let's get into it.

Chris Ellis: 4:32

So we got the opening scene where mark marcus he walks through the office like he does every morning. Yeah, it's hundreds of ladies. Yes, they on his heels, they on his, they on him, they on his head. He's a player of all players, man. He just it exudes off of him as soon as he walks in the building, every female in the building takes. You know, double take, you know what I mean. So it's something about a man like that for every female in the building to be on like that. Plus, he's an executive.

Chris Ellis: 5:00

Yeah, black man in this black facility with all these black women. You know they're drawing the power as it is. Yeah, but that guy, that opening what I like about the opening scene it kind of lets you know that he is him. Yeah, he walks in there exactly. I'm that dude exactly, because they're literally not talking about nobody else in the office but him. But him, he's that dude and he's young and he's handsome and he got the bread, he got the smarts to have a job like that, all of it like it. I like. I like how they established that he's the man right from the very beginning. They let that be known from the gate. They let it be known from the gate, all these beautiful black faces, but he's the man, right, uh?

Chris Ellis: 5:39

And then, after that first opening scene, he goes to meet up with his buddies, tyler and gerard, which is Martin Lawrence and David Allen Greer, and they're talking about women, as they always do, right, and Martin is saying one-liners and David Allen Greer is saying one-liners, but they actually they're more cracking jokes on David Allen Greer's character because he's more, I guess, like Kind of square, squaresh. You know what I mean. A little square, a little bit, you know I mean. But you always have one of them in the group, you always got one of them. Ain't nothing wrong with that. But martin like came out straight, was like you don't get no pussy, you're right. And then it rubbed his ass the completely wrong way. After that he didn't like that at all. He was like man, y'all ain't gotta get on me like that. I like taking it slow, right, hey, you do what you do. You put you around a couple of players right here and then you know they like to get active quickly. Yeah, they like to get active quickly.

Chris Ellis: 6:27

So while they're talking, the beautiful, super sexy Layla Rashan walks by. Mark sees her through the window with her dog, yeah. And then you get the roof Right and her character's name is Christy, right, so he goes outside, outside, buys a leash from a couple to act like that's savage bro, wild boy. That's the wild boy. He said 20 for the leash and the dude look at her like so he, he walks around yelling out rufus or whatever the dog name is, right, right, and, and so she hears him, she stops. She's kind of gullible you could tell super gullible, she's kind of gullible. And, matter of fact, what I noticed was like the character that she plays in this, uh, she was kind of dingy like that in harlem nights, yeah, which is another eddie murphy. Yeah, you're right, right, and I feel like he told her to be the same person. Yeah, because it seemed like she was. Just, she was still in the clouds, she was in. Because I'm like I'm listening to her talk and she was talking like she was talking to a baby. Right, right, right, I'm like that's how she was talking in harlem nights. Gold star for marcus. Yeah, I'm like, oh, she's special. Yeah, yeah, same type of attitude, though. So he, he plays or he gets her. Enough, they exchange numbers, right, they eventually meet up, they have sex, you know, and he does the foot check, yeah, so we all know about the whole.

Chris Ellis: 7:48

That was one of the big scenes back then. Like he checked her foot, he checked her feet, pull the covers back, pull the sheets back, her feet. He said, look like hammer time, hammer time. It was hammer time. She had the knuckles, it was ugly down there. He was like like, nah, that's a wrap he wasn't having.

Chris Ellis: 8:06

But what was weird was that, like he said, he said one thing I paid attention to. He said uh, he's looking for a woman of perfection, right, he wasn't. In the beginning. He wasn't really about what was on the inside, he wanted perfection on the outside, right, all service level. It was all service level when, all service level.

Chris Ellis: 8:21

When he saw the feet, he was like, oh, she's not perfect, right, you got all this, but your feet ain't right, right, I know I ain't mad at him, I feel him. I don't want no ugly dogs either, oh for sure. I'm just saying but goddamn, but feet are something you can get worked on. Yeah, I'm like you gonna throw our whole body away. We can figure that out. Like, why did you? You tripping dude, but that's that egotistical shit, that's just in this right, you know, and that kind of showed how marcus was, might have been kind of insecure, yeah, oh yeah, because that that's kind of an insecure dude, yeah, and he tripping over something that small, like you real talk, because she, she embodied everything else that you wanted. She had everything else, everything else, but you worried about the feet. Come on, bro, we could fix that.

Chris Ellis: 8:58

It's almost like a grown man seeing a beautiful woman. She take off her clothes, she got stretch marks and you tripping over the stretch more. Now you ain't looking at nothing else on her body but stretch marks. It's like getting a little too particular. You get too particular, like come on now, none of us are perfect, nobody's perfect. Stop playing games, man. She got everything else you need. She got everything else. But now I feel it so it. Then it gets to. Uh.

Chris Ellis: 9:20

Marcus gets on the elevator. No, before he gets on the elevator, he sees jack linton. Yes, he sees jacklyn. Uh, and it she takes his breath away. She's beautiful bad. They throw it in slow motion. The hair double take, double take. That was a dope shot. They do the double take. Yeah, you know, they get the close-up on the lips. I'm like, oh she, she look kind of bad, for now they're all around and shit like that. 2024, she look good. No, she was bad, she was bad. I was like, damn, jacqueline was bad back then she was bad. So he gets, he runs up to her, he says a weak line, she laughs at him Right elevator, and they press the same button exactly and they find out that they're going to the same spot.

Chris Ellis: 10:08

But what marcus didn't know is that jackalene's company bought out his company, exactly so now she's his boss, exactly. He finds out that lately lady eloise played him exactly. Lady eloise got some, got some dick yep, and lied to him saying that she was going to put him in a position and she didn't run nothing. And she didn't run. Jack Maloney was like she don't even run the company, just her name, just her name. It's ran by some dudes in Paris. Right, exactly, she got nothing to do with nothing. She don't have no control. And then he finds out he got there.

Chris Ellis: 10:46

That was a tough one to swallow too. That was tough because earth, earth was probably about 70 back then. Jesus christ, rip earth the kid, rip earth the kid. Yes, but earth the kid was, oh, he was a cougar, what we would have called her. Indeed, definitely boy. He said turn the lights off. Can you get it any darker? To get it any darker? That was hella funny. No lights, I don't want to see nothing. No, that was hella funny. But but what it showed me was that jacqueline eartha, eartha, kitt's character, a lady eloise, was just an older version of jack. Indeed, that's that would be jack willing in 30 years, 30, 40 years, right, because the mentality was the same. Yeah, indeed, it was think about it, right, and she's trying to get to that level. She's trying to get to that level and she's gonna be playing me in the same way. Lady eloise did that, jesus christ. So it was kind of like, oh yeah, she had known that past, so now we.

Chris Ellis: 11:45

So now we get to a part where they have the big company event where they announce Stranger and the new fragrance and stuff like that. So they got Lady Eloise up there. Stranger, marcus, jacqueline, marcus' friends are there Gerard and Tyler. We meet Stranger. She gets dropped down out of a helicopter, out of a helicopter in a box, in a big ass box, in the middle of the goddamn party. Out the sky. People like what the fuck is this Out the fucking sky In a box? They open the box. She's on a chariot, yes, being carried by white guys that are naked. Four white horsemen Four white horsemen Ain't that some shit? And she's whooping their ass as she takes off in a chariot.

Chris Ellis: 12:42

Oh my God, that whole scene. Every time I watch it, just I just crack the hell up, man. It's just so much symbolism and shit that goes. It is, and I see this shit. It is hilarious. And now that we're talking about I forgot about that was another uh, uh, that was some more white people. That was actually in it. Yeah, right, that was other white people. Yeah, that was another white people I forgot about because they, because they, but like eight people in the whole booth, right, right, that's but um and for for.

Chris Ellis: 13:08

For those who don't know and maybe weren't old enough to know, um, grace jones, who played helen strong jay, was a mega star back in the day, superstar. She was a superstar, superstar back in the 1900s, you know, superstar, she had hit records, right, she was in movies, right, like she was, she was big, she was huge, she was huge. So I want people to understand when they go back and go do the history on grace jones. Grace jones for real, for real, star, mega star. Yeah, he didn't put in this movie for nothing, no, for real. And she played the hell up that road too, boy, oh, man, when they in the oh, we'll get to that, right, jesus christ.

Chris Ellis: 13:52

What was weird about this event was marcus already knows at this point in time that jacqueline is his boss, right, they work together, right? This motherfucker still trying to fuck her that way? He don't give a fuck, though he don't even care, right? He said he got a mission to. Jacqueline is his boss, right, they work together, right? This motherfucker still trying to fuck her? He don't give a fuck, though he don't even care, man? No, he don't. He got a mission to conquer. His mission is to knock this shit down, dude, and he's going to conquer that mission at all costs. This is your boss. You know, this is your boss, and she already told you. She's like listen, I don't do that with my employees. She said that. She told him, she gave him. She said I just don't do it. She said that and the nigga said well, I quit. She was like you can't quit, I need you, she needs you, which is so weird because in 2024, your ass will be in HR and suspended so fast trying to get with your boss.

Chris Ellis: 14:39

1900 is a lot different brother. This is a lot different brother, oh my God. Different times, different times For real, super different, like, even if we even go back to the first scene, it was either the first scene or the second scene, when he was in the office, right, and he was how he was looking at the women. Yeah, you can't even look at women in the office like that, like look them up and down. Like, oh Right, right, you will go to hr just for looking at a co-worker, the wrong, like if they say you made me feel uncomfortable, right, that's all, it's a wrap. You and hr right there, all it takes any type of uncomfortable vibes, it's a wrap. It's a wrap. They'd be like we heard you out there double taking. Yeah, right, you're gonna need to stop double take. Right, take a quick glance of three seconds, keep it moving. We only doing glances in this office. Different time, like you said, though, man, different times, man.

Chris Ellis: 15:28

So marcus invites after the party, after the big celebration, the strong day celebration, marcus invites, uh, jacqueline over to his house to have a business dinner, right when he really trying to smash, that's all he's trying to do. Once again, he's back trying to smash. Player gonna play? No, player is gonna play. That's what he's gonna do. Yeah, help it. He in the game.

Chris Ellis: 15:49

You know he's trying to get this shit over with jacklin comes over, he takes like 15 seconds to open the door right and, for those who don't know, that's how players used to do. Like, you don't rush to the door, you gotta give a little delay in the delay in the game. You don't answer the phone as soon as it rings. Nah, you let it ring for a while because you don't want to seem desperate. Some real player, shit, that's a player. Player 101, right, don't ever see. Let him see. You sweat, take it easy. Yeah, take it easy.

Chris Ellis: 16:16

So he opens the door, she comes in, they have a nice little talk, they have dinner and stuff like that. He finds out that, uh, she's a nicks fan, right, they was watching the nicks and enjoying the bulls, right, and it pissed him off. Uh-huh, she wasn't paying attention to nothing he was really trying to do. She was watching mike. She was watching mike. Matter of fact, she's like marcus, could you go give me a beer? Exactly since when they get a beer, hey for me. Hey, we all in. Now we have to watch mike, and tonight we're having a good night in my mind, yeah, yeah, but not in marcus mind.

Chris Ellis: 16:48

Well, you can tell marcus was such a ladies man that he wasn't. Actually, he was definitely one of the dudes who would not be watching sports, right? No, even if he wasn't with a chick, right, he wasn't sitting at home watching. That's not his thing. That was not his thing because he was not interested in sports at all. No, he was just trying to knock him down, man, had he been on a, on a real player, uh shit, he would have played like he likes sports, right, just to have a bond with it. Because if you've seen the female is loving sports, maybe that's your end game, right, there, right, and that's easy. That's easy. Come on, that's mike, and you're talking about new york. We in new york you know what I mean to play in in the Knicks. Let me take you to a game. Let's go to a game. You know you could have got some ass on the game tickets. You know what I'm saying? That's some different player, shit. He wasn't on that, though.

Chris Ellis: 17:34

So Marcus gets mad, obviously, because they didn't have sex. You know he gets mad. Another get together with his fellas. I think they exercise whatever they're working out, yeah, and they crack more jokes on david allen grier's character gerard, he's still ain't getting no pussy, he's still. And then martin says that jacqueline must be gay. Yeah, right, because he, you ain't hit that shit yet. And marcus hits him first time out every time, right, right. So he was like she must be gay and did it. It fades out with marcus saying, no, it's gonna take a little more time, right, he understood. Yeah, it's gonna take a little bit more time, you know she's a little more. You know she's more sophisticated, high class. She might be playing the same games too, right, and he, he kind of meeting his match a little bit, you know, meeting his match, you know. So he gotta go a little harder. He's, he's meeting his match.

Chris Ellis: 18:24

And what I like about the movie is that they're kind of you see the scales teetering, yeah, right, though you ain't got as much power as you think. Mark is like exactly, she kind of got you right. You have to put a little more work, brother, you had to put in some work. She wants to do the same thing you, you want to do to her exactly, but you ain't about to get it as easy as you got it with christy, with layla rachelle. She ain't them, you know. I mean she not. Then she's a little different. You don't get a gold star. No messing with jack. No, not that you're like good, good luck, bro, how about that?

Chris Ellis: 18:55

Jacqueline invites marcus on a business trip to new orleans. Yeah, they go to new orleans. Matter of fact, it's all three of them angela, jacqueline and marcus. Somehow marcus ends up sitting next to angela, yeah, on the flight. There on the flight, yeah, angela says something to the fact of I know you, you kind of crushing on jacqueline a little bit, you feeling her, and I get it. And marcus kind of starts seeing like, oh, you paying attention to what we got going on over here, blah, blah, blah, right.

Chris Ellis: 19:24

And that's when I kind of figured like, okay, this is about to be the next love story, because she, she really paying attention, crushing on him, you can see it, you know, crushing on him. Big she is, I mean because, like, as you said, he is the man, so obviously she's seeing the type of shit he's doing with her. You know what I mean and the way he's feeling about her and and they working close to each other, yeah, in proximity, you know what I mean. So it's hard not to he's, he's, he's that guy, you know what I mean. So, and she bad too. She's bad too. You know she's bad too. At one point angela's told him like if I was a dude, right, I'd mess with jacqueline too, exactly so she knew how fine jacqueline was. You know what I mean. Yeah, just the optics, she's just fine. She's fine, she's successful, right, elegant, elegant, like I said, she's really like a younger version of Lady Eloise, indeed, just a younger version, right.

Chris Ellis: 20:14

So they go on a trip. They go on a New Orleans trip. They basically, yeah, he knocked him down. Finally, he knocked him down, or she knocked him down, yeah well, yeah, she was in control of this whole situation. She was in control of the whole situation, yeah, and he just got sucked in like a vacuum. He took that shit like fuck it, all the games they was playing. All she had to say was this one thing Marcus, come over here. Right, that's it, it was over.

Chris Ellis: 20:42

When they was on the dashboard. He was, he was fucking with her a little bit, you know what I mean. And she started like hold on, ok, you know what Time to go? Yeah, that's all she said. She controlled that whole situation Like all right Time to go, let's go. Yeah, he like all right else down. No, he was like okay, let's go, baby. So they walked, yeah, went to the hotel. All she had to do is say marcus, come here. They start kissing it. It gets to cracking. That's right.

Chris Ellis: 21:11

What I did not expect was for her to control the sexual situation. Yeah, he didn't expect that either, though he didn't expect that. No, he allowed that shit to happen, though, you know what I mean. So he went ahead and said, fuck, he let it happen. He kind of bitched up a to happen, though, you know what I mean. So he went ahead and said, fuck, he let it happen. He kind of bitched up a little bit. Like you know, I've been waiting for this shit for so long. I finally got it, and you know he let her take, take tt. She took the upper hand after that. Yes, she did, you know. Yes, so I was on him, though ain't no player shit, but it happens though. No, it happens.

Chris Ellis: 21:44

What can you do, especially when you finally accomplish something that you've been trying to do for a minute? Yeah, and she made your ass work for a little bit harder than anybody else did. Yeah, at least in your recent type of shit. You know what I mean. So, but what I saw from from her side was like, sometimes you think you got that, you got the pussy right, but she really got the dick. She did. Indeed, she played you the whole time. That's what I'm saying. Some women can make you feel like you had the advantage. They played you the whole time.

Chris Ellis: 22:15

That realization, though, once you start realizing that shit, like damn, because now, nigga, you chasing her, you chasing her right, you know what I mean, you chasing her right it gets to it even got to the point to like, after the new orleans trip, they go back to the office. He trying to kiss up on her in the office. Yeah, like, hold on, bro, you doing a little too much now. She, like new orleans, was new orleans man, and that's it. I'll leave that there, right, you can tell from the look on his face he didn't understand what she was trying to say. Nah, he was kind of, he was thrown off because he thought he was no, he thought he was good. Now, like, I believe not. You know, now we can be.

Chris Ellis: 22:50

You know, you feel like, nah, bro, yeah, she wanted to keep business, business. Exactly one of the characteristics about her that I liked is like, right, she understood business is business and personal was personal. Exactly, mark has never understood that. Nah, because he kept all that shit together. He kept it all. He played in office. That's what I'm saying. So how can you not? I mean, that was his lifestyle. You know what I mean.

Chris Ellis: 23:09

But you got to realize the caliber of women you're dealing with. Yeah, you know what I mean. This is a different caliber of woman. This ain't none of them. You know what I mean. This is a little different, bro. You got to treat it. Treat it as such. Yeah, I mean, but he wasn't prepared for that. So it was like I said she knew what she was doing. Women is sharp. We know that. Super she, a woman like that, yeah, I mean she knows the hell she doing super show.

Chris Ellis: 23:27

I got this nigga, you know, I mean, you know. And he, like he fell right into her shit again, mean Super, sure. I want to say the first time I had sex was the time when he was like he put his I Thumb in his mouth, was like I got to call my mama. Right, right, oh, my God, she had you like that. You got to call your mama. He did do that. You forgot about that or what. He put his thumb in his mouth and said I got to call my mama. I said, oh, she got him. Yes, she did, oh, my God. Which let me know that she had the upper hand the whole time, for sure, for sure. She knew her bedroom skills was probably going to get him acting just how he was acting. Yeah, and he was bitching up in that thing. Oh man, I forgot about that, damn. He said I got to call my mom. Yeah, he did.

Chris Ellis: 24:13

Nigga started sucking his thumb and everything, sucking his thumb like a baby, like a baby. I was like, okay, I can kind of play with this dude. However, I want to play with him right and to where. The next day, when he was trying to kiss up on her, she she told him what it was, pushed him all, but then she said we can hook up again. When I check my schedule exactly three weeks later, right, he couldn't take that shit, man. He was lost, like super lost. He was like three weeks, yeah, right, he's in his feelings too, though he couldn't even help. I'm like this nigga, he over here, stressing like the phone calls, like every phone call, that ring like hello, chuckling like this nigga, like what are you doing, bro? You only got it one time. You only got it one time. You only got it one time. Come on, I mean you got it, you only got it one time and, honestly, I feel like they.

Chris Ellis: 25:10

When he has sex, the sex was so good to him it put him in scent mode immediately. It must have been the way he was acting. He was on some other show. I'm like we're from pimp to simp immediately. Quick man, he was on some other shit. I'm like you went from pimp to simp immediately. Man and but and but.

Chris Ellis: 25:24

That again, that says a lot about who he really is, though you know what I mean. How it changes. Character changes a lot. You know what I mean. Yeah, the based upon sexual experiences that he feel like he conquered or got you or tried to conquer. You know I mean, right end up. Nah, nigga, she conquered your ass. It wasn't what you thought she was gonna happen to happen. That's not the way it worked out. You know what I mean, because now, your ass fiending for her ass all day. She don't give a fuck about you. To be honest with you, she don't. She don't she doing her own thing? Don't she? More of a savage than he ever was? That's what people need to understand. That's my point. So he, like he over here, bitched up up behind her. Nigga, she doing her thing. Jacqueline was more. If mark was on 10, jacqueline was on 15 on savage mode easy on, a real easy right and she, she had an on and off switch.

Chris Ellis: 26:10

We in new orleans is on and cracking, we get back to it. All it's off, it's a wrap, right, and he ain't used to that, you know. I mean, he was never used to that, but that's the thing though. That's the point about the thing is this you know, you get what you get what you give. Sometimes, yeah, I mean sometimes we're gonna see how you deal with it, yeah, and look, we, we get to see it. You know what I mean? Well, that's I kind of like. That's why I really like the term boomerang, right, because some people would consider what we saw in this movie karma, but that wasn't really karma. No, it was a boomerang.

Chris Ellis: 26:38

Exactly what you threw out came in right back, right back, right back. Same shit. It came right back, right back and it was quick in a real way, in a real way, and it was quick, right, it's knocked him off his game. He didn't know what to do. Oh man, if it wasn't for him ended up, you know, moving on with Angela, then he would have really been lost. He would have been super lost, super, super lost. He might have been suicidal For real, really been lost. He would have been super lost, super, super lost. He might have been suicidal for real, because he don't know what to do, because he never experienced that before, though. Yeah, I mean because normally for him if he knocks something down, it's like that's my territory. Now I run that. You know what I mean. He never took a l before, not when it came to women, probably in life. Yeah, he was so successful, right, we? He might not never took a l ever in his life in. You know what I mean Because he didn't know how to deal with it.

Chris Ellis: 27:23

He didn't know how to deal with it at all. He really didn't. And that's understandable though, because if you've never been through that type of shit before, of course it's foreign to you, so you want to feel some type of way and try to get through it, but he just, to me, went the wrong direction. You got to go nuts man and realize who the fuck you are. You still are Marcus Nigga. You run this shit. He realized that after he went through what he had to go through to get there. You know what I mean, but still, it just took a little minute.

Chris Ellis: 27:50

During all this he had introduced Angela to Gerard Right, and they started hanging out, indeed, but from the very beginning I was like she ain't really liking gerard, like that. I mean angela really is kind of just settling, yeah for him right, but for gerard that's a dime piece to him. Oh for sure, I mean she did. I mean holly berry is holly berry, I mean. But I mean even, but, like you said, gerard, she was. I mean just keeping it real. She was a little above his level. She was. You know, I'm just keeping it a buck because only because of the type of character he was, was, you know, I'm just to be keeping it a buck because only because of the type of character he was, yeah, you know, I mean, he was very square. You know what I mean. He wasn't ready for that type of right.

Chris Ellis: 28:29

You know, that's a baddie, you know. I mean yeah, you know, even though they try to make her seem like she was more of a yeah, tomboyish homegirl, trying to give her that, she's still a baddie. That's, that's holly berry. I don't give a damn what you try to do. Yeah, she's still. A matter of fact, she's such a baddie that I, in that one scene with the parents. The mother said she looked like one of marcus's girls. Indeed, yeah, that was made, that was a, that was, that was a gem right there, that part. She looked like one of marcus's girls, exactly, that's how good she looked to another woman, exactly, mama saying that type of shit, then you know so, but still.

Chris Ellis: 29:03

But, like you said, she was a little much for him, but she was willing to give him a chance. You know what I mean. Like why not? You know what I mean. She was willing to give him a chance. He cool. You know what I mean. Ain't nothing wrong with him and he's a good dude. He got a good job. You know what I mean. He's doing his thing.

Chris Ellis: 29:17

He was a nice guy. Yeah, right, right, and that's a nice, and that's exactly what he was there. Yeah, he was a nice guy. Yeah, he was a nice guy. He was, he was, um, his country, as his parents was. He was more cultured. Yeah, like he was. He was watching, he was looking at art with her and stuff like that.

Chris Ellis: 29:33

So I felt like she, she looked at him like this could possibly be, he could possibly be boyfriend, material, right, but there's no sexual energy, no sexual chemistry? None of that. No, it wasn't. She wasn't feeling them like she was feeling Marcus, yeah, right, yes, you could tell that was a different vibe, completely. It was a whole different vibe and that came out blatantly on Thanksgiving.

Chris Ellis: 29:55

So, yes, yes, but before we get there, before we get there, so three weeks after they smashed new orleans, he sets up the next date, the next day. Yes, he get. He got tickets, just like a concert or play or something. Play, yeah, it was a play that we're going to, uh, somewhere downtown, one of the theaters down there. Yeah, she showed up like two, three hours late. They missed the play. Dinner was cold. He was acting like he was. He was acting like a little bitch. He was losing his shit.

Chris Ellis: 30:26

When she finally showed up, in a trench coat, he was he, he, he had an attitude. Oh man, he was pissed off, he was mad. I spent 200 on those tickets, right, blah, blah, blah, blah, blah, blah. And I'm sitting there thinking to myself like but bruh, she right in front of you right now. She made it. You need to stop tripping, gotta relax, go ahead and get them.

Chris Ellis: 30:45

Yams, right, this is the fuck you're waiting for, right you know? Did you really want to go to this show anyway, or were you waiting for this part, right? You know what I mean. You didn't even want to go to the show. She's here now. Let her ass the fuck in, I mean, and and do what you gotta do. Let her apologize. Matter of fact, it's easier now because dinner's already ruined, so you don't need to go to dinner now. All right, straight to the bedroom, right, and she ain't got shit on, niggas, don't have nothing. She wants to apologize to you. Let her in, let her in.

Chris Ellis: 31:15

She was getting ready to leave, like bro, until he was like well, wait, hold on, hold on, hold on. He had to catch yourself. Yeah, yeah, I, I don't want to be too stupid. Yeah right, I'll let this go out the door. Yeah, but he'd be in his feelings, man, that's the problem. You gotta get out that shit.

Chris Ellis: 31:29

Marcus was definitely in his feelings the entire movie, the entire movie. Even though he's trying to be a player yeah right, he's trying hard in his feelings a lot. The entire movie, especially when it came to jacqueline. I mean, when it came to her, yeah, I mean he couldn't help it. You know what I mean, and I, I get it. As a man. He's always somebody you know what I mean that you. There's some about him that they captivate your ass. You know what I mean. Yeah, and that happened. You know what I mean, and I guess that was his kryptonite. Yeah, you know what I mean, so I get it, but it's again, you don't know how you're gonna deal with that situation until you get into it. You know what I mean.

Chris Ellis: 32:04

And for him it was rough, it was rough. It was rough, it was rough and, like I said it, I don't, I don't feel like marcus has ever took an l not, and that was his first l and he just didn't know how to process it. And his partners they such suckers they couldn't even help him get through it. No, because they ain't been through it themselves. No, they ain't been through none of that shit yet. So you know they was always making jokes like marcus always gets the baddies, marcus always get the best girls. So they don't even know how it is to be on marcus's level right of women, right. So they can't even help him through the process. Okay, because they ain't. They ain't got no chicks, they ain't got nobody. Well, yes, this is a dynamic man, it really is.

Chris Ellis: 32:41

So, after they smash, a pivotal point is she leaves 200 on the dresser. Oh yeah, she, that's a gold piece of work for that boy. She a gold piece for that boy. That's big pimping. Right there she's like here you go your money for your, for them, tickets too. That's big pimping. He woke up. I was like where you going? He's like I gotta go. Yeah, left the 200 on the dresser and dip and was out.

Chris Ellis: 33:09

Some players had the food clutching the sheets, like this. And that was the moment oh man, anybody watching the movie that was the boomerang moment. Yeah, I just got played for real. He, I think that when he realized that's why he was clutching his sheets the way he was, he's like oh shit, I'm the woman now. Right, look at me, nigga, I'm bitching up in my own business. Look at me, this bitch just let me $200 on my shit and dipped out on me, which means she never forgot about the beginning of the conversation when you were yelling about the $200. Right, you never get that 200 right. Right, because you made that an issue. Yeah, to begin with, first thing out your mouth was you know, I spent my 200 on these tickets. Oh, she heard that loud and clear. Oh, oh, is that. Right, we basically talking about 200. Okay, we're gonna eliminate the money aspect. I'm gonna get you back that 200. I got you 200. I just wore you out, got a little stress relief and got your 200 back. I don't hear nothing from you, right, right, oh, my god, she was a player, though. Bounced out on him, man, she was a cold piece.

Chris Ellis: 34:12

So we get to a once again, another business dinner. This time is, uh, jacqueline, marcus and strong jay. Oh jesus, yeah, that business. We know about that scene, mercy. So Jacqueline has to go to the bathroom, to the ladies room. Yes, stranger pushes up on Marcus and says that Jacqueline told her that he moves his ass very well in bed. Moves his ass very well in bed, exactly those words. Look at this, what you and Jacqueline talk about my ass in bed, what the hell is going on here? Talks, yeah, having conversations, which means Jacqueline was running that mouth for so, for, so she let she blabbering, she blabbering. Which means who else she didn't tell, right, oh, all them chicks in the office knew 200 women and all they was all laughing at his ass.

Chris Ellis: 35:04

He was walking through that place. I mean it was awful, but yeah, but strange, so strange. Basically was like well, I'm pushing up to that, right, if you giving up the draws, like that, we all gonna share, right, we're gonna. I need some action. Yeah, and she was prepared. Boy, she was serious about it. Boy, strange, andanjay got no drawers on. Charanjay was a fool man. Oh my God, charanjay was a fool.

Chris Ellis: 35:27

I like the fact that when he tried to flip it and say well, she was like what, are you gay? He was like oh, yeah, I am gay. She was like no, you're not gay, he's gay and he's gay, started pointing people out the restaurant. Then she said you know the guy. You just don't want to fuck me. How you going to turn this pussy down? Oh my God, could you stop saying pussy, pussy, pussy, pussy. Everybody turning around, like it was some embarrassing shit.

Chris Ellis: 35:54

That's one of the most classic scenes ever, though, man. That is a classic scene. That shit was just. That's just poetry. Just watching that whole shit. Yeah, it's so real, just, she's like pussy here, pussy here. You know what I mean. Then he go to her outside, she trying to find a cat Right In a restaurant. Nigga, come on. That shit was hilarious. I love that scene, man. It almost feels like that scene. I exactly go for it, yeah, right. And you got eddie murphy ad-libbing. Oh my god, her crazy ass. That shit was. That's beautiful. It almost feels like they just said just go for it.

Chris Ellis: 36:30

That felt like a real conversation. It would have been had had marcus found out something like real shit. That would have been a real conversation, because when jacqueline came back, he was pissed the fuck. Oh, he was mad. He was a hottie. What the fuck you doing, talking about everybody? We'll be doing bed? Oh, he was mad. He was mad, which, once again, that's a boomerang effect, because most men would be proud, right, that she's spreading around. He good in bed, right, but he was on some like I don't want nobody knowing what we do in bed, right, and that's normally the woman. Women would do that, right, right, but he in a different situation now, though, because now it's like damn, like you said, I'm the bitch, yeah, I mean pretty much.

Chris Ellis: 37:04

The power dynamic changed completely. It changed completely. What was funny was like, as he was trying to tell her how mad he was right, jacqueline really didn't give a fuck, she was laughing at the nigga. It was like shit, my bad, I didn't think it was that serious. Like come on, marcus, yeah, like, come on, marcus, what are we doing here? We just having sex like I wasn't even as serious, I'm just matter of fact. She probably thought about like this, I'm helping you out, I'm telling 200 women you good in bed, what you tripping on. But he was in his feelings exactly. But here's the thing I want to I want to get to before we move on.

Chris Ellis: 37:39

Do you think marcus was in love? In love with Jacqueline, or in lust? I think it was more lust than anything, man, because I don't think he even really knew what love was yet. You know what I mean? He still was infatuated by her and her surface level shit, her looks, how bad she was. You know what I mean, that type of shit. I don't think he looked at her. He looked at her like I at her, like an accomplishment. You know what I mean. I conquered this goal. She's so bad. Nobody thought I could knock her down, and once I did, I realized she got a little more than just that. But I don't think it was love, though, because I don't think he really understood what it's like to feel like that until later. He found out about love later. Later on, love smacked him up the side of the head a little bit later, as it does. You know what I mean.

Chris Ellis: 38:28

So they were at dinner. She explained to him like she didn't think it was that big of a deal. Right, they go outside. Stranger started tripping, yeah, wilding out, jacqu, and be like you going to the goddamn video shooter. We're going to sue your ass. We have to Right. Right, you on a contract, ain't? No, you don't want to do it. You've been paid already. You already signed the document. You already signed it. We're going to sue the hell out of your ass. Period. So they send her on her way. Right, marcus is still out there tripping.

Chris Ellis: 39:06

Yeah, he in his feelings. I feel like he wanted to cry. You can look at him, though he was hurt. Though, man, you know, when you start looking up, you can't look at the person you're trying to talk to because you kind of want the tears started. He was in that mode no eye contact, no eye contact. He's looking up, talking, right, that's usually when somebody about to cry, it's a problem, man, you don't hurt his man feelings. You know what I mean.

Chris Ellis: 39:18

But the issue I'm having with this scene is like, bro, if you feel in a certain way about her, tell the truth, right, don't tell her. Well, maybe we should go separate ways. You know you don't want to go separate ways with her Real shit. You know you don't want to see this woman walk away from you Real shit. So why are you going to play yourself and tell her to walk away? Because his ego won't allow him to do it. You know what I mean. That's the fucking problem. You know what I mean. You got to get off that bullshit. You got to get off that bullshit. Stop playing with yourself, man. You either want this shit or not. Yeah, stop playing with yourself. You know what I mean, because you're going to let this shit get away and you're really going to miss it. You're really going to miss it. You want to act all hard and shit because you and your feelings still playing games with himself and maybe the reason why he, he didn't check his ego and tell her how he really felt is that he he probably knew in the back of his mind she probably still being on some player shit, like real shit. I really don't want to do that with you, right, and it's hard for me to trust the fact that, if she could, you know what I mean. It's like it's still it's. You know it's a thin line. You know what I mean. You gotta be in line. You're walking that shit. Yeah, it's tough man, you know, I'll feel it, you know. But you gotta, you gotta make the right choice though. You know what I mean, you know.

Chris Ellis: 40:26

And eventually he did, you know, he picking, chose when he wanted to get in his feelings about shit, right, and he didn't man up at the at the times he could have manned up right, kind of reversed. Uh, yeah, yeah, he could have, he didn't. He never did, didn't. No, you're right, he didn't. He kind of stayed in simp mode, right, so long. That jackman was like no, we're gonna keep you right in that box, right, you're gonna stay in simp mode, stay there, right, right, and he was like cool with it, like all right. He was like all right, you say, so long as you can give me some pussy, yeah, and I mean it's cool, you know, because, honestly, going back to new orleans trip, all he had to be is like, well, you go back to the hotel, I'm about to knock some other shit down, right, I'm out, I'll see you later. I'll see you later, right, keep doing you like you've been doing. Keep doing you. I'm about to knock off like six of them tonight and I'm gonna keep it pushing right. He goes to the hotel and, just like scent mode number one, right. So he, I felt like there were certain parts in the movie where he could have really checked jack williams by just standing up and being a man right, without even yelling at her no extra shit, just keep, continue to do what you normally do, as they say now that standing on business.

Chris Ellis: 41:31

He just could have just stood on business, right, and she would have respected that. Because jack welling was a type of woman like you got to be that way with her, right, you have to. You have to because if she, she, like, like I said, she, she's hunting, so why she out there hunting? If she sees some weakness and she's gonna pounce on that shit, she's gonna take over like, okay, you can't show no weakness, you gotta keep showing me that you still are. You show me who you are. Yeah, the beginning, you can't switch up on me. Yeah, you're gonna catch feelings and get soft on the nigga. You know what I mean. Yeah, you know. So she's gonna take advantage of that. She's's going to take advantage Now.

Chris Ellis: 42:00

Do you feel like Jacqueline was smashing other dudes too, or do you think she was really exclusive and she really liked Marcus like that? I think she had an opportunity to, but I think the type of woman that she is, she would only have one man at a time. Gotcha, because this type of woman that she is, I don't see her being out. Her being out just fucking niggas. Yeah, she don't seem like that type of, because it might fuck up her bag too. Right right, they show a better job on some crazy shit. Right right, she would only do one dude at a time like that, and she knew.

Chris Ellis: 42:33

But the thing is she don't need a nigga though. If she wants to fuck, she will. That's how that's true, you know. So she's like. You know she was so bad she wouldn't have to chase. No, I'm sure she got to. You know, call her a fucker. She went whenever she was type of shit, you know.

Chris Ellis: 42:46

But it's probably good to have a, do you know if you can find somebody you want to fuck? And it seemed like she was fucking with him like that. But she didn't want what he want. You know what I mean. He wanted way more than what you want. You know, I feel she wasn't on that shit. She was like no, come on, we're fucking around, we're having a good time, that's it. You know what I mean? Which was so weird because him being an executive, her being an executive, if he would have just played his role, they could have had a lot of fun together, just fucking around, just fucking around. They could have had a whole lot of fun together, right, but he got his feelings and shit. He don't want nobody else, right? No, no, no, no, no. And you're like come on, bro, that's what it really was about. This is mine. I don't want nobody else getting what I get. Come on, you gotta, you gotta fall back. But she was only gonna give it to you, bro, regardless. You didn't have to trip like that, bro. She's an executive, she out here fucking like that. That's what I'm saying. But niggas get all in their feelings and egotistical and be like no man, it's mine. We go from the breakup On the corner. Jacqueline walks away Right.

Chris Ellis: 43:51

The very next day he comes into the office. He's the laughingstock of the entire office. It's women coming down the steps, walking past him, laughing at him, everybody. He might be coming in at nine. They heard this bullshit at six in the morning, right, about him nine. They heard this bullshit at six in the morning about him. Right, they got all the tea the night before they got all the tea. However, they got it back in the 90s. They told everybody in the office. Everybody knew that this nigga is a clown. Now he's been simped up to her ass, that he called his mama after sex, called his mama. She told him everything, everything. I mean they laughing at him, every single one of them chicks that was smiling when he first got there, all laughing at him, and then Jacqueline turns around with a big smile. Good morning, marcus. Good morning Like I just ruined you in this office. Super giggle session right afterwards Super giggle, super giggle and this nigga walking through here with his head down looking like what the fuck is going on.

Chris Ellis: 44:45

He know he played himself, of course, down. Looking like what the fuck is going on. He knew he played himself, of course. Yeah, I mean he's in his feelings even more now. Yeah, he like he feeling destroyed inside. Yes, which you know. I mean he knew he played a cell. Oh, yeah, for sure.

Chris Ellis: 44:54

That office interaction took him into a kind of a spiral of like he was depressed. No, he was hurt. Man, he was hurt, he was depressed I mean all them chicks that he was showing you so much love for so long. And this chick come around and change your whole life in a matter of two weeks yeah, you know what I mean. And now you reduced to this type of person compared to who he was two weeks ago. You know what I mean. That'll change your whole soul. Yeah, and quick, you know what I mean. Yeah, so he like damn, and that's his workplace. So it's like no matter what happens after all this, you still got to see these women Right.

Chris Ellis: 45:27

And then there you go, the boomerang again. You know what I mean Same shit, the same old shit. You know what I mean. So, honestly, the yams you could have got, you might not even get none of the office yams no more. Nah, that's why it's a wrap for that. Him no more. You know I mean. You lost a lot of respect. You're a clown now. Yeah, yeah, man, you lost a lot of respect. You were a clown, you were a big simp, you a clown. Even the lowest level secretary there's like I'm cool, yeah, yeah, you might have to catch the like, the temp. The new ones coming, the new one, the fresh meat, as they call it. You catch the tips coming in because he wasn't gonna get no high level moody, no more, that's a wrap.

Chris Ellis: 46:05

And maybe see this this is this the cold game of jacqueline. Maybe that was the point of her doing that. I'm gonna make sure he don't. He ain't been, he ain't gonna be to knock nothing down. Yeah, you never know what her man you don't know. You know you don't know what her objective is. Right, right, you know, but you know she's an executive, so she's thinking shit through. For sure. Mark is like we've been saying, he and his feelings. Yeah right, jacqueline thinking this whole shit through. Exactly. How's this going to play out? Am I going to end up in HR? Right, she didn't thought all this shit out, she took steps ahead, she way ahead of him.

Chris Ellis: 46:36

Which goes back to women are it's easier for a woman to be sneaky than men. They think it through, think it completely through, they think it all the way through. They already have that shit mapped out, man, they already got it mapped out. So I mean, especially when a dude is in his feelings, he's not even thinking about what she's thinking about. Correct, all you're thinking about is trying to get what you want. You know what I mean. Yeah, her mind is somewhere else. Yeah, I mean completely different from where you at, completely. That's why the whole, the whole thing of it's harder.

Chris Ellis: 47:06

It's harder on a man when he finds out his woman cheats, because we know they've been thinking about who they've been cheating with for a long time. Oh yeah, it's been thought out. They don't anymore. It's been on their mind. So they've been wanting to fuck their co-worker dude who's been giving her compliments and shit like that opportunity hasn't presented itself. It was just an opportunity and so all they, all they gotta come up with is me and my girls are gonna go on a trip right and when, actually, she and monterey with a whole nother dude for the whole weekend. Yeah, the co-worker right, women think that shit through a dude. He'll just be in the bathroom fucking a co-worker, like we just do dumb shit, like we'll just be in the bathroom and literally fucking a co-worker in the bathroom. We'll get caught in the bathroom fucking somebody. Oh, oh man, we don't think about none of this shit. But that's the different dynamic between the man and the woman. Man it is totally niggas, is a lot more impulsive and just correct. Let's just like animalistic nature, that right heat of the moment type of shit. It's a heat ofistic nature, that right Heat of the moment you have this shit. It's a heat of the moment, then heat of the moment and opportunity yeah, right, and niggas will find that real quick. Yeah, find it real quick, and it'd be on like that. It's crazy.

Chris Ellis: 48:17

So now we get to Marcus is in a spiral of depression, he's losing it and Angela sees this and angela takes him to some art school where she's volunteering to teach kids yeah, the kids, yeah, to try to cheer him up and it kind of works. Yeah, all right, kind of cheers him up a little bit, but he's still kind of like I still miss jack. He's feeling still he can't help it. He like the kids made me feel a little better, right, but jack, we made me feel a lot better. He's still lost in that shit. He better still lost in that shit. You still lost in that. What else you say? Lost in the sauce? Yeah, man, still lost in the sauce, super lost in that shit.

Chris Ellis: 48:54

But uh, I mean thank god for angela, though thank god for angela, for real, angela was like his saving grace. Yeah, man, it was his save because it was like we've been saying it's 200 women that's in that damn office, right, she, the only one that thought about how he, what he was going through, right, the only one, right, right, and actually gave a fuck and actually gave a fuck and actually wanted to kind of help him see another way through the depression or whatever he was going through. Yeah, right, because it was so clear, right, you know he he wasn't working. Matter of fact, she approached jacqueline and said whatever you're doing him, could you stop doing it to him? Didn't say that she's like damn, what you mean? Yeah, but you all up in our shit, don't worry about him, he will be all right. Yeah, he'll be fine, but jacqueline, jacqueline, right, she didn't say that angela show right there that she had had Marcus's back by even approaching her boss. Real shit, on some bullshit.

Chris Ellis: 49:50

Yeah, and this was more about work than anything. It was more about work. It was definitely about work, right, but she's approaching her boss. Yeah, right, that's a. You gotta be down for whatever to do some shit like that. Real shit, real shit, real shit, cause your boss could be like bitch, you know what. Take two weeks off, right, since you all, in my shit, seriously, jackal really could have went there with her, because they both knew what was going on. They bought, everybody knew, they had the conversations about it too. They were doing it, giggling about this shit a couple times. You know what I mean. So, but still, but yeah, she was. She was kind of a little savage asking her, even saying that she was a savage for that. Yeah, even though it. But the only thing that saved it, like you said, it was work related yeah right, so Jacqueline really couldn't get on her about it because it was only about work. Yeah right, she didn't say I'm trying to smash Marcus too. No, none of that. She said yo, it's messing with his work. Yeah right, and it was. And it was. It really was Because he told that one, mr Nasty, to make whatever type of commercial he wanted to make.

Chris Ellis: 50:39

He asked twice. He said whatever you want, whatever I want. He said yeah, man, you got it. Man, you got it. That is the last dude you give that much freedom to.

Chris Ellis: 50:57

That shit he made was some crazy shit. That shit was crazy. That shit was crazy. There's no way in the world I was making no TV.

Chris Ellis: 51:10

It was crazy to the point to where that thing is about to get fired over there, jack, will it save the job? They was about to fire. Jack said they was gonna fire, they're gonna let you go, they're gonna let you go over this damn commercial. He's like she said I talked him into keeping you right. Yeah, that's when they kind of rekindled a little bit. That's right, but that once again jacqueline, being in her masculine part, was letting him know I'm still running this shit regardless. You only got a job because of me, right, right, you only getting pussy because of me, right. You only got a job because right, especially now, because they're gonna let your ass go, especially now. That dumb shit you just pulled because you was in your fucking feelings about me and shit, let this nigga do this crazy ass.

Chris Ellis: 51:52

And you never even watched it before you show it to the people. Man, she pulled out a goddamn what was it? Uh, uh, the perfume, perfume, fragrance, screaming loud as hell. Oh, this, it was crazy man, that's some wild shit. But, bro, you are an executive. You didn't watch the commercial right before you.

Chris Ellis: 52:13

These dudes flew in from paris right to watch this bullshit. He was lost in the sauce, brother. He was gone, super lost. He was gone and you could tell right there jacqueline when she talked to him and told him that she kept the job. You could see the look ofacqueline when she talked to him and told him that she kept the job. You could see the look of disappointment in her kind of like a, a parent, a child, right, right, it's like damn, I thought you're gonna get all a. Yeah, right, this guy f's, he just, you just fucked it all up, you just fucking. I see you in private school. Right, you got all s bro. That's how she was looking at him. Like bro, she look defeated. You know. I mean like, come on, look defeated. Because she gave him the keys, yeah, right, because he was it.

Chris Ellis: 52:48

Had he stayed in the right frame of mind, he would have done great, he would have done the right because he would have checked dude. He's like no, we ain't doing all that, right, right. So I'm saying so because in the beginning movie he checked dude about the, the banana, right. And the dude said no, I see a nipple, I'm drooling, I'm drooling, I'm drooling. Stronge was something else. Oh my God, stronge was crazy.

Chris Ellis: 53:10

Matter of fact, a quick tidbit off subject the nipple scene that was Melvin Van Peeples oh yeah, was the old dude that was editing. That was Mario Van Peeples' dad. Oh, yes, his dad. That's his pops, that's his right, right, rest in peace. He's gone now.

Chris Ellis: 53:26

That was melvin van peeple's, and that scene where they were looking at the nipple was an actual scene. I was supposed to make it in the movie, really never made it, okay, okay, but they just kept that editing scene where they were sitting there looking at it. Yeah, but it was an actual scene where she took off all her clothes, right, and walked through a goddamn mall. Yeah, I remember, because they had to film it somewhere. I'm like they filmed, they filmed in the mall. Yeah, I remember, because they had to film it somewhere. I'm like they filmed. They filmed it in the mall, right, and it was just like this was 1992, right, and the movie people wasn't letting eddie no, not back then, we ain't about to let you let up this black bitch walk in this goddamn mall in 1992. No, that's a bit. So they had to cut that out the movie, but they did keep the nipple part. They kept that little part in there and, and, like I said, rest in peace to Melvin Van people. That was dope that Eddie Murphy put him in the movie because he didn't have to put him in the movie. No, he didn't, he didn't have to put him in the movie at all. That whole scene is dope, it's dope, it's dope.

Chris Ellis: 54:19

So now we get to Gerard's parents. Oh boy, they have a dinner at Marcuscus's career because marcus got the fly black bachelor career. Yes, sir, the fly bachelor, super fly, in new york, downtown manhattan, somewhere like that. It's like what's your rate? Like 15 000 a month, bro, like what you doing out here. He was good, he was executive man, you know, I mean he getting that along in that new jack city, buddy, what's going on? That shit was nice boy, some player, shit right there, the real players, right for real. So gerard's parents, uh, john witherspoon and bebe drake, beanie drake, uh, who are playing mr and mrs jackson, yeah, they come over. They bring a bucket of chitlins, bucket of trough, a trough, the huge bucket right, the huge painter's bucket, like you're getting ready to paint a building type bucket Full of chitlins, full of chitlins. They come over. Everybody hugged the parents because clearly they're all friends. They know the parents, right, right.

Chris Ellis: 55:20

And the first thing the mama says is she looks like one of Marcus's girls, marcus's girls. That says, is she looks like one of marcus's girls. Marcus's girl. That's deep. Yeah, it says a lot right there.

Chris Ellis: 55:29

That says everything like damn, she is a baddie and she's a baddie. And what is she? And she, thank you. What is? She's above my son's pay, right? What is she doing with this man? Is she paying this chick or what the fuck is going on? She's definitely the mother understands. She is above my son's pay grade, right? My son is a square because I raised him to be a square, exactly. And this bitch is bad. Yes, he's a baddie. She's a baddie even with no makeup on. For real, she's highly fucking buried, come on. But even a dad, he's like agatha, what's her name? Oh, yeah, angela, he, angela. Once he got that name down, he realized like yeah, he kissed her on the hand like 15 times before he let it go Like, goddamn, you gonna keep kissing her on the hand, right, right, like she's a cutie.

Chris Ellis: 56:17

But see, then you start to see, like when they're having dinner, the dynamic between Angela and him. You know what I mean. Yeah, you start seeing it. Yeah, like a little, you know back and forth between them two which makes them seem like okay, they might be an okay type of a little couple together. You know what I mean. You kind of felt like they could work in another lifetime, right, just not while she crushing on marcus no, no, it's not. If marcus is around, he's the son, indeed, and she's gonna rotate around the sun, right, I don't know who the fuck. You is right, but she's crushing on marcus heavy, and that that was kind of the, that was kind of the issue, I think.

Chris Ellis: 56:50

I feel like this is what I feel, like I feel like if marcus would have sat them two down and literally would have said out his own mouth I don't have no feelings for you, angela, right, and my partner really likes you, so we will never be nothing if he'd have put his foot down and said it like that, I feel like angela would still roll with gerard. This he probably would have, probably would have. But because there was that gray line and it was, yeah, the window was still open. You know what I mean? Still, oh, yeah, it was still, oh, it was still kind of like, right, he told me he he wouldn't fuck me, right, right. So I mean, hey, there's still a possibility, there's still a possibility, right.

Chris Ellis: 57:28

So we actually might be talking about in this movie, two women who were playing him for a fool. Yeah, because what if angela whole thing was I'm gonna be cool with his partner, right, because dudes do it all the time. Oh, constantly, constantly. She like I'm gonna be cool with his partner, but when the time strikes I'm getting on him. Right, because it felt like that's what she did that that night. I mean yeah, because you look at the whole night after, you know the dinner was great and everything and they had a good time talking and shit. She's still there. You know what I mean. She's still there. You know, helping clean up or whatever she could have left. She could have left, everybody else left, all right.

Chris Ellis: 58:05

And they end up falling asleep on the couch together and this nigga, marcus is marcus at the end of the day. Yes, you know, I mean he, he, it's like in him, he can't help it. You know what I mean. Right, it's a chick next to him, like it's. You know it's late night mood is this and that. You know what I mean. And and obviously she fed right into it. She fed right, right into it. She already was feeling them. She already was. It's kind of. It is what it is. You know what I mean, and you can see it building up as the movie went along. You know what I mean. You can see it from when they had the conversation on the airplane, the conversation about Jacqueline, other type of shit, you know, and it just kind of progressed. Yeah, you know what I mean and yeah, it's a wrap when that happened, you know.

Chris Ellis: 58:55

Then fireworks, you know I mean this could be me being petty in this, because I love this movie today. Oh yeah, for sure, me too. But I have a nitpick. Uh-huh, the nitpick, the only nitpick I got in this whole film was I didn't like the sped up process from when they had sex, him and Angela, right To them becoming a fucking couple. The next scene, yeah, they were a couple. Yeah, hella quick. And then the next scene she was living with him. Yeah, right, had her art shit all in his damn man cave, shit. You didn't get to see how it progressed. You didn't see none of that progress.

Chris Ellis: 59:22

Yeah, right, I felt like they should have showed them going on dates, like really having a relationship. Right, show a little more background, show some background. I understand it's a movie. You only got a limited time, right, right, but you went from one night at dinner, kiss, sex. We, a full blown couple, right, even at the job we like yeah right, lovey dovey. Even after they separated, there was a time lapse again. That right, lovey-dovey. Even after they, um, separated, there was a time lapse again. Where to where? That's true, you didn't see her that's just a few months where she moved on to a new job and became a new executive somewhere else. She was a boss somewhere else.

Chris Ellis: 59:54

I'm saying so the time lapse, they just didn't give it to us the way they should. Yeah, I mean, it was just like we didn't know, you know, so I feel you, yeah, so, so I'm gonna try to explain in in filmmaker terms. Right, they probably ran out of money toward the end of the film. Okay, it was like we are over budget, right, we gotta speed this up, right, so we can't put those things, we can't put them scenes in there. We don't have enough time to draw this whole thing out, so let's just wrap it up real quick, right, and they did a pretty decent job because we knew what was going on. We knew, so, we know. I mean, right, it was just like it was.

Chris Ellis: 1:00:27

It was it was a jump cut time. It was like jumping too fast. Yeah, right, right, because you were just on jack with it exactly all of a sudden you in love with a whole nother person. That quick, right, fast, which put me in like damn marcus, you were super stiff bro. God damn bro, like that, those real shit, I think you just be falling in love with. You fell in love with her and then you fall in love with her, bro, both times, because you had sex with her one time. Right, nigga, you losing it quick boy. What are we doing? What are you doing? Man? You need the big homies to get with you. You need some OGs in your life. He getting his feelings fast, especially now. He done, got done over once already, so now he open to it now. However, he had a cheeky sleep, but he kind of got his guard up a little bit. It's dope to see. It's dope to see. Now I want to get back to the dinner.

Chris Ellis: 1:01:21

So another little gem that I told you I was going to drop in this podcast was, like a lot of people might not know that John Witherspoon's character, mr Jackson, he people might not know that john witherspoon's character, uh, uh, mr jack. He was not supposed to be in the film. Oh really, he was not supposed to be in the film. The film was already done. Oh really, the whole film was done and eddie requested to get john in that whole scene.

Chris Ellis: 1:01:38

The bang bang bang and all that stuff. That was all, uh, john witherspoon. None of that was in the script. None of that was in the script. I could see that eddie knew john witherspoon. None of that was in the script. None of that was in the script. I could see that eddie knew john witherspoon was so good he was gonna kill the scene and he did. Oh, because still to this day people know what bang bang, bang me one of the classic still to. And we say coordinate. Everybody knows what that means. Everybody knows the mushrooms would. And none of that was scripted.

Chris Ellis: 1:02:02

As though he flew in john witherspoon to do that one scene. He sent him the wardrobe. He said pick out the weirdest shit. You see that's. We came with the mushroom and the belt and all that and he said we're gonna, we're gonna, we're gonna hit record, we're gonna go at it, let's all go. And if one take that's how good witherspoon was with all that, that's dope. One take jake, it was go. That's's art, man, that's art. That's pure art. That's art, gotta love that. That's why he was revered as one of the one of the dopest comedians. That was kind of underrated, right Cause he can, he can be spontaneous like that, yeah, and he was dope man, he was dope. Rest in peace. No, john Witherspoon.

Chris Ellis: 1:02:42

Now we go from them kissing him and Angela kissing and stuff. So we do the. We go to the pool hall scene with Marcus and his boys. Yeah, they kicking it, they just chopping it up. Marcus mentions Well, he asked Gerard, so you're not really tripping off of Angela?

Chris Ellis: 1:03:02

None, right, gerard, right Is lying Saying I'm not really tripping, I don't matter to me, you know, just acting like it don't really mean. I want to say he said something. I had to let her go. Yeah, he did say something like that. He did let her go. Right, she's the baddie. Come on, we know better. We know better than that. Yeah, marcus looked at him like okay, you sure about that, sure you're right, good, right, you wouldn't trip if somebody wanted to holler at her. Oh no, I ain't tripping to mouth. Say so.

Chris Ellis: 1:03:31

He looks, he looks at marcus. He knows marcus's demeanor. Yeah, right, he know marcus is up to something. He know his partner. He know him very well. He know his partner, so he had to.

Chris Ellis: 1:03:40

He had to ask him did you sleep with her? Right, you knocked that shit down and he I want to say he didn't answer. At first he didn't know, he didn't have to answer, though once he didn't have to answer, once he didn't answer. You already knew. And then the look on and look on gerard face was like not again, right, not again, right, come on, but not this one, not this one, not this one. And he was like why you had, why you got to have all the women, right, I mean, and you think about your friend and you think about the type of person he is. You, you really want to make your boy feel like that. That's your partner. Yeah, that's your partner, you know. At least it should be, yeah, I mean.

Chris Ellis: 1:04:12

But again, it speaks to marcus, and the only thing he gives a fuck about is his own shit. Yeah, anything about his phone. It's homie. Anything about none of that shit. It's happening. She happened to be in a position. He ain't think nothing about gerard. He's gonna knock this shit down, right, I mean. But again, if that's your homie, though, and that's your real partner, you wouldn't. You wouldn't do that. Yeah, you're not supposed to be doing that, but I'm saying but. But in his mind is he just so focused on the shit that he want? I'm gonna get some pussy. Yeah, you know type of shit. Yeah, and show more of his character, who marcus is too. You know what I mean.

Chris Ellis: 1:04:43

Marcus, be on like a. He'd be on some conquest shit. Yeah, right, you see it, I gotta have it. And it's like no, bro, you don't have to have it, bro, you can let it go. You can let it go serious. Yeah, it ain't that serious, man, let your partner have some. Like dude, calm down, man, this is your homie, though. This is your homie home. He even said like you, like a brother to me. Exactly, you're not supposed to treat your brother like that. Give him some scraps. But the thing is in Marcus' mind, he don't even think about it. It just happened, it's natural. Yeah, he don't even think about it. Yeah, it's a natural thing. That's what he do, like fuck. Then he think about it later like damn, oh shit.

Chris Ellis: 1:05:33

I think people's feelings when he does shit like that, right, whether it's the woman or his own homeboys. You're hurting people, people, right. You're hurting people, right, just because of your desires exactly. It's seven billion women in new york city, seven million or whatever, and shit, it's like, right, you don't have to sleep with your friends, woman, man, there's so much, so much more. You, so many women out there, right, but it's just, you work with 200 women. What the hell, man? It's a cold game, man, but but that's the thing with people, though, people always hurt people as close closest to them, unfortunately. That's true. That's true, that's true.

Chris Ellis: 1:05:58

Unfortunately, we get to a point where marcus and jacqueline are celebrating, uh, a good commercial right that the people in paris came and they liked, are celebrating a good commercial Right that the people in Paris came and they liked that one was good and that was good and they approved it, right. And they have this little talk and during that talk, marcus gets feelings again. These things come up. Yeah Well, he's in her presence and he's feeling her vibe again, like, oh shit, he getting those same feelings. He was getting them feelings Back. Shit, he getting those same feelings. He was getting them feelings back again because she's, she's in his face, you know what I mean. And she's still badass.

Chris Ellis: 1:06:30

Jacklyn man looking beautiful as ever, you know, and she giving him his props, she like it's good to see the old mark is back, right, right, she's like it's good to see you back. And he started feeling his mac daddy vibes again started in the mac daddy vibe like it's jet magazine. Then it ends with her like right in his face. Yeah now, yeah, this is what I want to ask you, after it faded from her being in his face do you think they had sex or not? Because he came home late that night but we never saw whether they had sex or not. I think he did, because I think they did okay, because, just because of his vibe, when he came home, he walking in the house, just looking all suspect and shit walking around the bed and she all slow sliding in the bed.

Chris Ellis: 1:07:10

Nigga, act only, act like that if you did something wrong. Yeah, you know, I mean if you just got in the bed and just was walking in the house, but nigga, you walking in like trying to sneak in the bed, like you just look fishy, you know, and that was in on the cinematographer side. That was a dope shot. When he got in the bed, her eyes was closed and her eyes was open, opened up. Nigga, she was woke the whole time, bro, and every woman is like that. You ain't never sneaking in. No, nigga, she heard you open the door. Nigga, she don't have to make a move in that bed. No, she heard you come in the house, bro. Yes, nigga, she know when the nigga fucking thing, come on, stop playing games, try to slide in the bed. Ever, nigga, stop playing. That was a dope shot. Her just open her eyes like got you, yeah, got you. I like, I really like that shot. That was dope, that was really dope.

Chris Ellis: 1:07:55

So, uh, so the next morning he tries to, which was weird. You would think that if, if you cheated on your woman the next morning, you making eggs and bacon, like you being super nice, the next morning, right, right, right, he kind of walks in the kitchen and doesn't say nothing to her, yeah, which I don't understand. That was weird, bro, right, but I think that was weird man. But I think he felt bad about what he did. He felt bad, he felt guilty, he felt guilty, like guilty. He felt guilty like fuck man, like I know I didn't did that shit, because that's the vibes he was giving off. You know what I mean? Because she's looking at him like nigga, like what's up with you. Yeah, she was looking at him like, explain yourself, I just want to hear explanation, say something. But he didn't say that. Yeah, right, she had to start the conversation, exactly so, which made it worse for him.

Chris Ellis: 1:08:42

Exactly right, you already know you, you in the wrong as you in the wrong, bro, as it is, came out five in the morning. You'll come out here with like a lightweight attitude type of shit. You know what I mean. Like you, tripper, yeah, he you invite in trouble, you know. Then he says something to the fact of he saw jack one again and feelings came up and blah, blah.

Chris Ellis: 1:09:02

But he never correct me if I'm wrong. He never admitted to having sex. He didn't. He never admitted. He said he took a walk. Yeah, that's what he said. So that's why I was asking you like, do you think they had sex? I think it's just some of his, his bullshit he was throwing out. He was throwing some bullshit. He knocked him down. Yeah, I know he did, man. I know he got no niggas like that man. He knocked that shit down. Telling you, chris, he knocked it down one last time. He deflected like a motherfucker. He like no, I went on the walk, I declared my head. I know what that means he's back in there one last time. Right, yeah, he went to clear his shit.

Chris Ellis: 1:09:39

Okay, she said the one line that everybody still remembers to this day love should have brought your ass home last night, pushed and gave him a little mush in the head and stuff like that. And that was that one line that I think most women who saw it back then they still remember that to this day, oh yeah, for sure, and they still will quote it to their man to this day for real. And obviously she felt like he did because the way, how pissed off she was, she was mad, she was pissed the fuck off like I'm through. You know what I mean. Yeah, she was, love should have brought your ass home. She was heated, almost like she, like jacqueline sent him a, sent her a picture of him, right, she was mad like that, right. So in her mind, he did, he did. You know I mean it was a rap because she, she was done right, like I come get my shit later and I'm out. She was mad, she was mad, right, yeah, was mad, yeah. And then, like I said, after she dipped, it was like she was gone for a while. Yeah, yeah, she started, she hit reset and said I'm about to get him out of my system, right, and I feel like, honestly, I feel like if Marcus Wooden never came back in her life, she would have been fine. Oh, she would have been great. She was fine either way. She was good regardless. Right, right, she became a I want to say they say she was a creative director or something at the new job Right, she was a boss. She was clearly giving people orders, running the whole shit, running the whole shit. So she would have been okay and she was doing great for herself. She was doing great. Right, marcus did some slimy shit. He went and got the little kids from the art school yeah, right, right, right, just trying to, because he knew how she felt about them kids, whatever bait he could use, whatever bait he could to get in the door right and say his speech right, actually, it was, actually.

Chris Ellis: 1:11:14

I really liked the final scene. I really like how that played out, because it that's kind of how it really is. Yeah, right, you give your last ditch effort. Baby, I love you. I can't, you know, I can't breathe without you. Right, right, no, you, we've all been there. We've said that last speech. This is all or nothing. Man, man, it's the hell. Mary, this is it. It's the hell. It's gonna make or break this shit through the hell. Mary, right, and she said something that he knew he got, had her back. She said I'm scared. Right, she was crying too when she said it, because she really was, because she was scared, but she still had the feelings. She still had the feelings. She still had the feelings.

Chris Ellis: 1:11:57

I feel, naturally, I don't say most women, I don't say all women, don't want to walk through life by themselves. So when she say something like she's scared, she don't want to do this by herself and she don't want to be fucking hurt again, she don't want to be hurt, she don't want to go through that shit. Right, I've seen aunties and my female cousins, stuff like that to the world. They look strong, strong black women, right, right, I've seen a vulnerable, yeah, them vulnerable, like yeah. But so you know what it's like when they cry like little girls. Yeah, right, because that's it, and everybody feels that pain on some level. Everybody, you're gonna feel it. You know what I mean. But it's just about how you deal with it and how you choose to let it out, to allow people to see it or not, you know, and everybody does it different. Yeah, you know, I mean so, so they did so. She says I'm scared, uh-huh. He says I am too. They kiss it in. That's pretty much into the movie. They have one other scene when they walk down the street, but it's not nothing major. Yeah, right, um. But all in all, I feel like it was a great.

Chris Ellis: 1:12:57

It was a great film, great effort from eddie murphy, it was. It was excellent how he. He made it more black than I've ever seen on the screen, real talk, more black than I've ever seen on the screen. But it was beautiful. And so many great actors in that movie. It was so, it was. The list just goes all the way down. All those people that was in that movie are all like legends now. Yeah, everybody, all of them. Yeah, everybody. It was a great, great, great movie, great cast. Honestly, boomerang is in.

Chris Ellis: 1:13:32

Like, as far as classic movies go, for me it's in my top 10, you know, I mean okay. Well, you know what? Let me explain. A seven is a good movie, right, right. A eight is a great movie, a nine is an excellent movie, and then 10 is a classic, like perfect masterpiece. I mean it's at least nine for me. You know what I mean. That's a good one, I mean because it's super up there, man. It's.

Chris Ellis: 1:13:54

This embodies so much of what our culture is like as black folks and the way we deal with relationships and issues. It's bigger than just the things you see as far as the business and how cultured these people are and how much money they have. It's real relationship shit and it's showing how people really deal with this shit and the feelings, and it's so real. You know what I mean. At the end of the day, and they're showing how people really deal with this shit and the feelings and and it's so real, you know. I mean because we we know how that shit goes. We've been through this type of shit.

Chris Ellis: 1:14:20

So when you get movies like that that can talk to you every time you see it I've seen this movie. I don't know how many times I've seen it. I can at least say at least 50 times, if not more. You know what I mean. And every time I watch it it's still something I'm going. If it's on tv, I'm going to watch it. Yeah, you know what I mean. It's like a baby boy. He's gonna be on tv so much you gotta watch it. I told you last night. I got home last night and 11 o'clock at night it was on bet, so I watched it again. Yeah, you know what I mean. So it's just like it's one of those movies, so it's definitely up there for me.

Chris Ellis: 1:14:50

I would give it at least a nine, a nine. Nine is solid. Yeah, I'm going to go ahead and go with the nine also. Yeah, I feel like, culturally, this was a huge movie for black people back then, definitely, but even more now because I feel like that movie was ahead of its time. Definitely Because you don't even see all black movies now. Yeah, he did this shit 30 years ago, right, when Hollywood was definitely like hell. No, y even see all black movies now. Yeah, he did this shit 30 years ago, right, and when hollywood was definitely like hell. No, y'all can't do this. And it's still culturally relevant right now. Relevant, this, the story, the relationships, are still what people deal with right now. Same shit. He was way ahead of his time, right. I feel like. I feel like a nine is is solid. I feel like nine is solid.

Chris Ellis: 1:15:36

I've always enjoyed the movie. I will always love the movie too. Man, it would definitely be a movie. I feel like a nine is solid. I feel like nine is solid. I've always enjoyed the movie. I will always love the movie Me too, man. It will definitely be a movie that, as I get older like now, I have grandkids once they get to a certain age, I'm going to have them watch it. Yeah right, because they're going to be going through the same shit too. Same shit. It affects love and relationships, affects everybody at some point in time in their life. You ain't never lie, brother. You know.

Chris Ellis: 1:15:53

I'm saying I feel like the story, the boomerang story, was told perfect. You play people like this, right might get played yourself. It's gonna come back to you, man. It's like be ready, right. And the thing is you don't know when it's going to happen. You don't know how it's going to happen, with who it's going to happen, but but it's going to come back to you. You know what I mean and don't, and it's just, it is great to see those stories unfold. You know what I mean and you see how people go through it and it kind of prepares you in a way to deal with shit. Yeah, I mean because it does see it. You know what I mean. So, but it's classic. I love that. Yeah, so we don't end it with this last question.

Chris Ellis: 1:16:27

The show was the main ingredient. Yes, sir, you tell me, what was the main ingredient that made you feel like this was a nine. What was it? What was the one thing about this movie? It could be the scenery, it could be the casting, it could be the script writing, it'd be whatever. What made you feel like it made you give it a nine, though for me it's the title itself.

Chris Ellis: 1:16:50

Oh, my god, I mean the main ingredient of the whole movie and the premise is the boomerang. Gosh, I mean the main ingredient of the whole movie and the premise is the boomerang, you know I mean, and the way they encapsulate that meaning of how things go around and come around within that movie. It's like it's perfect. You know what I mean. It shows you the essence of how it can happen. Yeah, you know what I mean. So that's to me, boomerang encapsulates everything. I mean that's the main ingredient in this thing. It's the Boomerang, it's the name of the movie, it's the name. It's the name. That's a good point of view On the real, because if you look at it, the whole movie is really about that. Yeah, that's what it's all about. You know what I mean and it really shows you how it goes back and forth and but in the sense of him and Angela, and the sense of him and his friends and their dynamic and the shit that goes around coming around with them, it's a lot to it. You know what I mean. So that's what I'm saying. I think that's the main ingredient in the name. You know what? You threw me for a loop with that. I didn't think you was going to say that the name that's kind of. That's actually kind of dope. That's actually kind of dope.

Chris Ellis: 1:17:57

For me, the main ingredient was the blackness. I love seeing all those black faces. I know when I first watched it I didn't hold it to the high regard. I hold it to now, right, right, but but because I was, you know, I was only 20 at the time, right, of course, but seeing how culturally, how important it was to see those black faces back then, like I said, when hollywood was not letting us do movies like that 92, 92, right, you make an all-black movie, house, party and shit, oh my god, a couple of those. If it wasn't stupid and goofy, they wasn't letting us do it, real shit.

Chris Ellis: 1:18:23

So for this black man and he did it with his own production company, right to make a movie, and he hired who he wanted to hire all black faces and pull it off. And it was a success. Super, because the number one thing hollywood says black movies don't sell, which is a fucking lie. Yeah, of course it is. It's a lie, the biggest lie ever. One of the some of the best movies ever are black, thank you, thank you for saying that for real.

Chris Ellis: 1:18:47

So it's like for me, the main ingredient was the blackness that he put into the movie, the culture that he put into the movie, the, the love, the story that he put in, the love between him and his homeboys. That's real shit, for real. You got real love for your partners like that. You can see it and you can see it. And it's like, even on that one scene where Tyler Martin Lawrence character brought them both over there to talk, when he was arguing he was like y'all need to talk, we brothers, we brothers, brothers. Talk, right, no fighting, no yelling, talk.

Chris Ellis: 1:19:19

When you have friends like that, though, that's what that. You're glad you said that, because that's a real ass scene. Yeah, we've all had that moment with our friends. We had those issues where niggas got to talk about it. Yeah, I mean, you know the same niggas I know. Yeah, you know what I mean. So we're all. You know what I mean. So we're all in there in that type of situation. I mean so, but but that's real, that's a real ass scene. And that's a real scene I mean because in this, in that, in this movie, they're grown men.

Chris Ellis: 1:19:41

Grown men that are friends, right from the sandbox. They're supposed to be able to talk to each other, exactly. It don't have to be no fight. But for what you know what I mean, especially over a woman, it's like, come on now. No, we can't talk about this real shit. Especially when it's your friend, like that. When it's your friend that's your homie man. Yeah, like just some fly-by-night person. No, that's somebody you know very well. Yeah, that's your dog. Yeah, it's a little different. So you got to fix that. You got to fix that. You got to and I mean, granted, if I'm Marcus should have said something right, like, don't lie about it, right, right, because I me you being like my brother, I would have left her alone, right, and had you said I'm in love with her.

Chris Ellis: 1:20:18

You know me, nigga, if you give me some little glimpse of light, nigga, I'm gonna take it. So you know me, stop playing, stop playing, right? So I feel like marcus had enough leeway to tell him. I would have told him that, right on that roof deck, right, I'd be like, dude, you should just told me, right, that I really want to build with this woman. So please leave her alone, right? And I would get that. Yeah, I would have just left her alone, for sure, I would have just left her alone.

Chris Ellis: 1:20:41

So, but those are conversations that have to be had, you know. I mean, they have to be, and they're difficult conversations, right? You're dealing with vulnerability, right? Right, you're dealing with people, emotions, for sure, because you always got them partners that play it off like he don't care about a girl, but he's really in love with her. See, that's the thing, though, really in love with her.

Chris Ellis: 1:20:57

That's the problem with a lot of black men, knows, being able to admit some shit, because the thing is going to make them look a certain type of way. Yeah, nigga, just be real with yourself, just be. All that matters, don't, nobody, don't worry about how you're gonna look, man, just admit to how you feel. Yeah, nothing wrong with that, and that's what problems with most niggas. They always feel like them feeling a certain type of way gonna make a nigga look at them or certain. Yeah, they feel like they're gonna look like a sucker. Yeah, but you look more like a sucker by not expressing how you feel exactly and you, you pretending to be something you're not. Thank you, you know what I mean. So keep it a buck and just be fuck it. Let it be what it is, keep it a buck, keep it a buck. But people tend not to do that and that's where we run into issues. You know what I mean, so you know.

Chris Ellis: 1:21:37

But my brother, Trae, I want to thank you for coming through, for sure, brother, doing boomerang with me. This is great man, this is super dope. Tell the people where they can find you. Oh, man, you can find me, uh, anywhere you listen to podcasts at. Uh, facts over feelings. I'm co-host, me and my homie, antonio ontario. We got sports podcast. You know, and much love to this man. Christopher Ellis is my dog from years and years. You know, he's the only reason why I do what I do in this podcast game. So much love to you for that, brother. Thank you, man. So y'all just heard it from Trey when to find him. I want to thank you Once again. My name is Chris Ellis and this is the Main Ingredient. With Chris Ellis, I'll catch you next time, peace.