It’s a love story, but not like you’ve seen before.
“Let me leave all that does not carry me.”
Bring me your mistakes.
“The question, ‘Where are you from?’ in our current America is a slur disguised with a question mark, a passive-aggressive microaggression saying you are other, saying you are not from here, saying you are not nor will ever be one of us, saying go back to where you came from.”
But the butcher steals it.
The Good Men Project community connects with via phone call at least once a day. What other media company does that?
“We prayed for our children to have clean drinking water, for the lead to be sifted out, throat by throat. We got a gun.”
“When a white girl says, ‘Cash me ousside, how bout dat?’ She’s dropping hard consonants in order to sound harder, to sound tougher. She’s creating a caricatures of Black identity, built on negative stereotypes.”
Would you still perform your art, even if nobody was watching?
A man is convinced he’ll die on his 10,000th day. Then he meets a girl.
“We can all find something to protest and still, when white people do it, they call it a party, when Black folk do, they call it a riot.”
“The clock is a more complicated machine than the gun, and certainly the knife, but they all have the same final trick.”
Mohamed is deeply shaken and suspicious when his estranged eldest son Malek returns home from Syria to rural Tunisia with a mysterious young wife in tow. The emotional complexities of a family reunion and past wounds lead to tragic consequences.
A British soldier is trapped with a German enemy. Then they rediscover their humanity.
“When have Blacks in America not been living in a state of emergency?”
“The bank ain’t never been our God, money ain’t never been our Messiah, we got too much faith built up in family.”