14 chapters across the catalog
A listener shares how the Netflix algorithm defaults to Japanese audio based on their viewing habits, leading to a discussion on how streaming services profile users. The hosts critique the practice of changing movie cover art to feature minority characters based on the perceived race of the viewer. They argue that these "insulting" assumptions are driven by data purchased from credit card companies and search histories.
Thomas Sowell argues that IQ differences are often the result of "isolated cultures" rather than potential. The hosts apply this to "Black Twitter" and the "hijacking" of hip-hop as a delivery system for negative indoctrination. They also reveal that Netflix allegedly manipulates artwork based on a user's perceived race to keep them within an "isolated" digital experience.
The discussion focuses on Chris Rock's refusal to involve the LAPD or make an immediate public statement. Mo Facts suggests that Rock is likely waiting for a lucrative Netflix stand-up special to address the incident. They also posit that Rock avoided pressing charges to prevent being labeled a "snitch" within the Black community.
A clip of BLM co-founder Patrisse Cullors interviewing with Jemele Hill is analyzed. Cullors claims she stepped down due to "right-wing attacks" and FBI threats rather than financial scrutiny. Mo dismisses this as damage control, noting that Cullors and other leaders were "Marxist-trained" tools who are now being discarded by the professional fundraising apparatus.
Entertainment Industry Economics and the Value of Disgraced Catalogs
The conversation explores the financial implications of a celebrity's death or disgrace on their content catalog. The hosts discuss how *The Cosby Show* was de-platformed following the allegations and speculate on whether the show's value might rebound now that the conviction is overturned. They also highlight the inconsistency in how the industry treats disgraced artists, noting that R. Kelly's music is often removed while collaborations with other artists remain active.
In an interview with Mark Lamont Hill, Patrice Cullors attributes her wealth to book deals, a YouTube deal, and a Netflix contract rather than BLM donations. The hosts remain skeptical, noting that "creative" deals are often used to funnel money to political figures. They compare her to a "mega-church preacher" who uses emotional appeals to secure financial support.
The hosts discuss the "rewriting of history" in modern media, citing Netflix shows like Bridgerton that feature racially diverse aristocrats in historically white settings. They argue this creates a false sense of historical reality for younger audiences and serves a broader agenda of multiculturalism. The discussion links these media trends to the global Black Lives Matter protests and their impact on traditional European institutions like the monarchy.
The hosts discuss the growing rift between older and younger generations of Black Americans regarding the tactics of the Civil Rights era. Mo Facts explains how younger people often view the sacrifices of their elders as "stupid" because they lack the historical context of government-enforced segregation. They link this generational friction to the "spells" cast by social media algorithms, as described in the Netflix documentary The Social Dilemma.
A producer suggests exploring the impact of music on the civil rights movement, specifically mentioning Nina Simone. The hosts discuss why figures like Al Sharpton and Jesse Jackson have operated safely for decades while radical leaders like Malcolm X and Fred Hampton were assassinated. They also recommend the Malcolm X docuseries on Netflix.
The hosts discuss their current living situations during the April 2020 pandemic lockdowns. One host describes managing children's screen time and obsessive behavior while stuck at home. A technical delay for the episode is attributed to a router failure and ISP issues, leading to a brief discussion about reverting to physical media like DVDs and Redbox during internet outages.
Dr. Oz and Dr. Drew provide commentary on TMZ regarding the mass hysteria surrounding COVID-19, urging healthy people to focus on protecting the elderly rather than panicking. They criticize the hoarding of medical masks by the general public and suggest that the population has been "primed" for this panic by entertainment products like the Netflix series *Pandemic* and the movie *Contagion*.
The hosts discuss the Obamas' transition to storytelling via Netflix and the placement of the Obama Presidential Center in Chicago's Jackson Park. They argue the library is a strategic "economic engine" designed to facilitate gentrification by signaling to white residents that it is safe to return to the area.
A conspiracy theory is proposed linking Kanye West to "The Family" (also known as The Fellowship), a secretive Christian organization in Washington D.C. The group, which runs the National Prayer Breakfast, is described as a "Christian Boule" that exerts influence over world leaders. The hosts suggest West may have been inducted into this power center to facilitate his political ambitions.
The Obamas' $65 million Netflix deal and their first film, "American Factory," are discussed as tools for storytelling. The film explores how Chinese industrial practices affect Middle America, which the hosts find ironic given Obama's own policy history regarding trade with China. They conclude that if a marketer can tell a compelling story, they can lower a person's natural barriers and sell them any idea.
