Look at all these slave masters posing on Yodaller.

This is the chorus to run the jewels just in a song which asks us to recognize the truth

about the portraits that have been in our wallets and purses this whole time.

It's also what I thought of first, when I saw we had rolled the magic 120-sided die and it gave us the film we're discussing today, dead presidents.

But while the song is a emphatic rejection of the injustices our country collectively

ignores and in some cases even canonizes today's film takes

place within three periods of this injustice, moments in places which act as

inflection points in our main character's lives.

There's a Bronx yet to be touched by the scourge of drugs while our characters here are young and hopeful.

Even if a Keith David character is omnipresent.

There's the Vietnam conflict where innocence is lost,

even though Keith David isn't even around.

And then finally a post-Vietnam Bronx, a home-transformed opportunities few, and a return to their

pre-war lives impossible, where not even Keith David's character can fix this.

At this point our main characters become desperate and radicalized and

when your Keith David character can't fix your problems.

It's time to blow shit up.

And so for the purposes of our war movie podcast,

in this war film, war is the inciting incident,

a turning point that pivots the story into a genre-bending descent

into slash, heist film. And you don't have to watch the film to know that when your

heist plan turns into a descent into situation

...