The family adopts Michael and, you know, the film just again, cannot stop beating you over the head with how strange and alien this all seems to him.

There's a scene where they find him walking home.

This is kind of how the adoption starts.

He's like walking home or walking somewhere in the rain.

He doesn't really have a place to sleep, it seems.

And Sandra Bullock sets him up on the couch. And it really seems like the director, who by the way is also the director of one of Will's favorite films, saving Mr. Banks.

He clearly told Quentin Aaron like, okay, act the scene like your character has never seen a couch before.

Like the institution of couchdom is an entirely alien concept.

And then just when you think like, okay, well, the scene can't get, like, that's it.

How can it lay it on any more thick?

He, like, looks at the coffee table, and there's a book of Norman Rockwell paintings.

And you're like, you're like, you're like, come on.

I could not believe it.

So, just when you thought this movie couldn't get any more racist. It does something that is like, not since D.W.

Griffith, have we seen racism this pure in a movie where he takes an aptitude test?

Because look, they can tell he's a great athlete because he has natural rhythm, you know?

Like, sorry, I hate saying this. That is the movie's perspective.

He's, he's blunt force power, you know?

He just came out of the womb, a great athlete.

But they're trying to justify letting him study at the school.

And when he does aptitude tests, the teacher say, well, he does, he does bad at all these things, but he's in the 98th percentile for protective instincts.

Protective instincts.

...