Insecure (2016) s05e11 Episode Script

1 WOMAN: That is a series wrap on our queen, Issa Rae.
(CHEERING AND APPLAUSE) She said, baby, I'm afraid to fall in love ISSA RAE: You guys, I am just incredibly humbled, blessed, uh (CRYING): I love you.
I love you, too.
(LAUGHING) This show has been a part of the revolution.
The way you showcase our humanity, and portray us with grace and accountability.
The way you love your city.
The way you love your people, black people in your city, is part of the revolution.
The way you always give and share credit where credit is due is part of the revolution.
The way you created and collaborated with the intention of our fucked up, incredible, and beautiful black full humanity baked into the identity and heart of this show is part of the revolution.
The way you look so damn good (CHEERING) even when you ashy (ALL LAUGHING) is part of the revolution.
The way you recognize every step of the way, that it's a collaborative and collective effort.
There are no heroes.
We get us free.
With this show, you made big girls feel seen, you made dark-skinned women feel seen, you made toxic black men feel toxic (ALL LAUGHING) and understood.
You made people realize things about their mental health.
Together, y'all shifted culture.
There is no revolution without art.
(APPLAUSE) ("LIFE'S A BITCH" BY RADIANT CHILDREN PLAYING) La, la, la, la, la, la La, la, la, la, la, la Oh, it's easier said than done But don't you worry 'bout those little things PRENTICE PENNY: I would've never thought six years ago we'd all be here, but I just want to say that making a show, just working in for a long time, and not bein' able to see people that look like me.
To be able to do a show like that here, that, like, now sets the groundwork that people wanna make more shows like us is just really special.
You don't get to be a part of those things a lot.
(CHEERING) Let's shoot this shit for another three months, guys! Season six! (LAUGHING) You know, I came into this not knowing anything about television, and not necessarily feeling confident in my role.
I had a web series, and, you know, to have a mentor who's so selfless, and has put his ego aside time and time again to make sure that I was able to create the show that I wanted to make with the people I wanted to make it with, I'm coming out of this a different person, a better person, and I hope you guys are, too.
Thank you to the love of my life, my brother.
(LAUGHING) (DOWNTEMPO MUSIC PLAYING) ISSA: We are back at Stanford shooting the very first episode of the final season at my alma mater.
This is crazy.
Nobody gets to do this.
Stanford has never done this before, and they let us shoot here.
I actually got mad because I didn't want the characters to go to Stanford.
Because of a props mistake in season one, we just ended up establishing them as that, so, I was like, "Fuck!" But then, we just went with it, so, no, I did not imagine we'd be back here shooting, but when we came out with the idea for a reunion, it just made so much sense, and felt so meta perfect for this season.
We're coming back to the place where Issa and Molly became friends.
(INDISTINCT CHATTER) It feels so good to be back.
LAURA KITTRELL: It's sort of picking up from last season, post Issa-Molly fight with them, sort of, on their road to reconciliation.
Things are still a little bit awkward, but you can tell they both want to be back in that good place.
When I was at Stanford, I was into theater because I had been in plays all of high school.
And then, I was super into film because of "Love & Basketball," specifically.
I wasn't really thinking about TV because TV wasn't really that poppin' then.
There just wasn't enough representation then, and there was nothing on television that made me feel like, "Oh, I wanna make what they're making.
" I mean, I love "The Office," I love those kind of shows, and, obviously, "Curb" and, and "Seinfeld," and that's what influenced me to try to write television later on, but I never thought about starring in my own TV show.
(ON COMPUTER): Stupid bitch nigga, I hope you drown.
That'll turn my frown upside down.
AMY GRAVITT: I first heard about Issa Rae, the way a lot of people did, seeing her web series.
I think what she showed in "Awkward Black Girl" is something that we look for in all of our shows, which is we want the audience to be able to recognize themselves, and on the comedy side, specifically, we want them to be able to laugh in recognition.
What Issa showed was that she was willing to put herself out there, and mine her own humanity for laughs.
(RAPS): Call me Lil' Kim 'Cause I got a crush on you Wanna make you my boo Carpool with you to school Be starin' at you in geometry Fantasize about you on top of me I'm a virgin, but I promise thee I got that ill Nana, no foxy The development process with HBO was long, but it was necessary.
Issa had an initial idea for the show, we went into HBO, we pitched it to Amy Gravitt and Casey Bloys.
It was set in the nonprofit world, and it was just about my experiences, and it still was, kind of, similar to "Awkward Black Girl," but I didn't wanna do "Awkward Black Girl" all over again.
And in doing that pitch, I was nervous as fuck.
I was reading off of the paper in the meeting because I'm not the type to be able to just engage people, and, "Oh, look at my show.
" I was just like, this is what it's 'bout to be.
This is it.
They bought it in the room.
They said, "Exciting.
Let's do it.
" And then, we were in development, probably, about a year and a half, two years.
When I tell you, comin' from the Internet world, I was like, "I can make this shit right now.
Like, what is the problem?" She had this notion that she wanted to do a workplace comedy.
The idea was centered much more around what, ultimately, became We Got Y'all.
We would meet from time to time as she was developing the outline, and talk about the script, but also, she would have these stories about a friend of hers, and I think, at one point, she even showed us a text, and it was in that moment that Casey was like, "That's the show.
"It's you and your friend, and the world around both of you.
" He did not sad face you.
I will slap you right Bish, what? That's my life.
ISSA: I got to rewriting, and then, I was also like, "Ooh, fuck it.
" Like, I'm puttin' all elements of my life in here.
You hungry? - Just - Take it! Pop, pop, pop.
Pot pie.
So, I can say this is rooted in authenticity, this is a real story.
And that's when they were like, "Okay, green light.
" TT THE ARTIST: Welcome to the life of the rich and the fly ISSA: I had to find a showrunner.
HBO sent a couple people my way.
Ashley Holland, who is an agent, was like, "You should think about Prentice Penny.
" First time we met in person was when you came to my book signing - in Eso Won.
- Yes, Eso Won, yep.
ISSA: And then, we ended up usin' Eso Won so much for the show - Yes, I wrote you a letter - Yeah.
To see like, "Hey, this is what I thought I would bring to it.
" But I'm curious, what was it like to get the letter? 'Cause people don't send each other, like, - letters anymore for anything.
- ISSA: No.
It went such a long way.
Obviously, I hadn't gotten a letter from anybody, and to see, like, what you identify with knowin' that, you know, we were in the same area, knowin' that you had worked in the nonprofit world.
I was like, "Oh, this guy seems to get it.
" So, that letter, by the time you came to the book signing, I was already like, "Oh, this dude seems cool.
" And I hadn't read shit that you did until I had already said yes.
- 'Cause I was just like, "Oh yeah, he " - "He seems cool.
" Which is almost how we made every decision.
(LAUGHING) DIRECTOR: And camera, action! The director process, to find one, was soul-crushing.
HBO wanted someone, uh, established, and I think for them, they wanted someone who had a name.
And so, we found someone, and they flew me to New York to meet this director, and after that meeting, I was like, "I don't think he gets the show.
" We had several other directors who I was fans of, but still didn't quite get the show to me.
Casey was like, "If you had to take a risk, who would you want?" And I was like, "There's this director I've been following", Melina Matsoukas, who could be dope.
" People really didn't give opportunities to directors like me.
I had done, primarily, music videos and commercials, and I had really broken in that space, but it didn't translate to film and TV.
And so, I was offered a lot of series that I didn't relate to.
When I read this, I saw myself in the words, fell in love with her on the page, and then, I met her, and I was like, "She ain't so bad.
Maybe we can collaborate.
" We did a Skype meeting, and it was terrible.
(CHUCKLES) It was like, "Girl", "you knew that we've been going and seeing these other directors.
You ain't come prepared.
" I was on the East Coast.
I was visiting my family, and, you know, the WiFi wasn't working.
It was just really hard to connect.
I knew I liked them.
They weren't sure if they liked me yet.
Her rep was like, "What happened? How did it go?" And I was like, "Bitch, what the fuck? What happened? Like, tell her to come correct.
" And she was like, "Let me get her another meeting.
I will prep her.
" I watched every comedy pilot possible, and I put together a real treatment and pitch deck, and I brought it with me, and that meeting was phenomenal.
It was everything.
She blew us all away, and we knew that she was the one.
MELINA MATSOUKAS: When we were creating the pilot, I didn't really think about it as something that hadn't been done before.
I just thought about it as how I approach any project.
I wanted to really get inside of who Issa Dee was, what influenced her, and who she spoke to and for, and I wanted everything to feel really authentic to that character.
So, do y'all have any questions? Don't be shy, guys.
Fire away.
When she was editing, she called me up, and said, "Hey, would you come down, "and watch my cut before I show them? I just want to get someone else's feedback.
" And she played it back for me, and I'll never forget this, but I watched that cut, I got really emotional, and it was almost I was silent.
And she was like, "Ya hate it.
" And I was like "No, I think they're gonna love it.
" It was the first time I realized how important a show like this could be, and how I hadn't seen a black woman represented in that way.
The show was gonna be a success.
Like, I knew I was like, there is no way people can see this beautifully crafted pilot, beautifully shot, beautifully acted, and the humanity in the comedy, and the relatability, and how could you not give a show like this a chance? And, um, you know, legend has it that, uh, when they turned in the edit, and we got a series pickup, it was, supposedly, like one of the fastest pickups in HBO's history, and I think that shows just how much work and love and, and energy was really put into getting that pilot right.
It's my fault, okay.
I'm sorry, guys.
("BLESSED" BY SAINT BODHI PLAYING) I just walked up on my boyfriend Kissing on The next-door neighbor But it's cool (INDISTINCT CHATTER) Shall we? Look at us lookin' like a diversity brochure.
(ALL LAUGHING) AMANDA SEALES: I just remember, the first audition, I had went in for jalapeño poppers.
- Tasha.
- AMANDA: For Tasha.
The description said "hood hot.
" And I was like, "I am not hood hot," 'cause you have to know your strengths, and I'm shaped like an iPhone, sleek lines and rounded edges, so I knew that I wasn't going to get cast in that role.
So, I went in, and I was like, "Vickie, I'm never gonna book this.
Is there anything else?" And she was like, "What else we got back there?" And she's like, "Oh, they got early 30s.
Ivy League graduate.
" And I was like, "That's my life!" SPEAKER: Sophomore year, you hooked up with that chick that looked like Lisa Turtle.
That's different.
See, with women, we can hook up with each other, and we're not considered gay.
It's different for men.
So, my very first audition with Vickie was like, "How come I don't know you?" I was like, "'Cause it's L.
A.
, "and nobody knows a little black girl like me who don't have no agent, no nothing.
" After it was done, she was like, "You're good You're good.
" And she really kind of stepped up every time she came back to audition.
You'd give her a note, she'd take it.
She was like a diamond that you just needed to, kind of, shine a little bit.
"Sorry, but I'm not looking for a relationship " Sad face.
The fourth one, that was like, "Oh, if y'all don't want me.
" (LAUGHS) That's how I felt walkin' down Rodeo Drive and Beverly.
I think I skipped It was the scene where we had the fight in the car, and I added the like, okay, the slam lock is on, and, like, I just I couldn't get out.
I was like, I'mma, I'mma do it.
I'mma go for it, and I was like, "Open this damn door!" Muthafucka, open the door! - The child lock's on.
- Shut the fuck up! YVONNE ORJI: They were like, "Ah, that's funny.
" I was like, "Oh, that was a choice.
" Didn't know how this was gonna go, so I felt really good after that.
Between audition three and four, it was between paying my cell phone bill, and getting a private coach.
And I was like "I'mma have to get this private coach.
" If I get the job, I hope they can contact me another way 'cause Sprint is dead, okay? I'm the only one on the show that's been a director, cast member, and writer, and it's been incredible.
Natasha went from being a writer in the room to being Kelli in a very specific way.
A lot of times, we'll read it as a room to kind of see, like, how does it feel.
She just read Kelli so great, that we couldn't imagine anybody else being as funny as Natasha was being Kelli.
You ever see "Lock Up Abroad"? - The gon' lock a broad up.
- (LAUGHING) Oh god, a favorite Kelli line.
That is so hard.
I improvise so much, so sometimes I don't remember what's an actual line, or something I've said, or something I've said never made the air.
I do like, "Remember me different.
" Only because I say that in my, my real life all the time.
Fuck it! You said Beyoncé.
(ELECTRICITY ZAPPING) Remember me different.
Just like, don't look at me doing this.
And I also love, "You know what that is?" Growth.
You a big girl.
ISSA: You know, we wanted to make - a good - PRENTICE: Yeah.
- Show at the end of the day.
- PRENTICE: Yeah.
And I remember, I was talkin' to Jonathan, we were wrapping, and he was like, "You know this never works.
" He was like, "You know, like a creator", "and a showrunner who come together, there's always, like, a power play.
" I, I feel like the first time that you bucked up, and then, bucked up is the wrong word was just in the depiction of, of Lawrence.
- Mm-hm.
- That, that made such a difference.
He could've been written in - such a different way - Right.
If we didn't have, like, - your perspective, your as a man.
- Yeah.
- (LAUGHING) - As a man, what he not gon' do.
I actually heard about "Insecure" I'mma give this brother a shout-out.
Clarence Hammond calls me one day, and he was like, "Yo, have you heard of 'Insecure'?" And I was like, "No, what's that?" And he was like, "It's Issa Rae's new pilot at HBO, "and it just got greenlit.
You should read it.
There's a character in there you're perfect for.
" And now mind you, I read the script, and I'm, literally, thinking he's talkin' about Daniel, not Lawrence.
Lawrence is sittin' on the couch, he's eatin' cereal, he forgot his girl's birthday.
You know, I'm just gettin' my shit together.
You've been gettin' your shit together for four years, Lawrence.
In no way in my mind did I think that this dude was talkin' about Lawrence bein' the perfect character for me.
And I remember walkin' in, and I did Lawrence first.
My shoulders were, kind of like hunched over, very didn't want to be there, but I felt like that's where Lawrence was in his head, and then, I remember I, like, put my sides down, turned around, and I was like, "Bam!" Like, "Let's do this.
" And, like, all of a sudden, was like a whole new person to do Daniel.
I was like, "Oh, I booked that.
" Three weeks later, I get a phone call, "and they're like," Hey, they wanna test you -on 'Insecure.
'" -All right, cool.
But I never asked my rep what character they wanted to test me on, so I actually thought I was going to read for Daniel again.
And then, found out that I was going to do Lawrence.
So, what're you sayin'? ISSA: I didn't think that Lawrence would make it past the first season, let alone the first episode.
Jay Ellis is so great.
Like I think about "Breaking Bad.
" Jesse wasn't supposed to be a main character.
It was supposed to just follow Walt, and Jesse is, obviously, the show, and I think about that with Jay Ellis.
Like he was just so phenomenal that every single time we'd break stories, we'd wanna see what Lawrence was doing.
The hands-down moment I knew the show was a success was after our season finale.
I remember Prentice bein' like, "Yo, the finale.
People gonna go crazy when they see the finale.
" And I read it, and I was like, "I don't think so.
"Like, it's, it's, it's not that crazy of a ending.
Like what are you talkin' about?" But I read the ending, and realized I was gonna be butt naked.
(MOANING) ISSA: When I logged onto Twitter, just independent of anything, saw people tweeting about Issa and Lawrence.
And I was like, I'm not on the hashtag.
It was just My entire timeline was people I followed or people retweeting arguing about these two characters.
And I was like, "This is incredible.
" I'm getting chills now.
Like, they're just talkin' about these characters, and they're invested in these characters.
That was amazing.
I didn't see it comin', man, but it hit people in a way that, still to this day, I just don't know if I've seen a sex scene hit people like that before.
ISSA: We wanted to celebrate the bodies of men on this show in the way that they weren't celebrated on other shows, as opposed to the female body 'cause we've seen that before.
(INDISTINCT CHATTER) PRENTICE: I like that wording.
I did a interview with a magazine, and Did I ever tell you this? A woman asked me, "Why " "is the sex so graphic on the show? Is that the way black people do it?" - (LAUGHING) - What? JAY ELLIS: On God.
- On - AMANDA: A white woman? Like, but what kind of white? Like, Euro white? Like, American white? WADE ALLAIN-MARCUS: Yeah, you talkin' like Karen white? - A Karen.
- KENDRICK SAMPSON: I, literally, just told my family not to watch.
I tried to tell my family, they said But you naked half the time on Instagram anyway.
- What's the issue? - But it's my titties, not my dick.
- Okay.
- Or like my ass.
- Cue marker.
- ISSA: Ahh! - Hey.
- Hey, sorry, I, I wasn't tryin' to scare you.
You know, when you ended things, I, I understood.
You know, I had a son on the way, and I was movin', but things are different now.
I'm different now.
And I would hate to leave here tonight knowin' that, I don't know, I could've said somethin' and I didn't.
Or like I didn't fight hard enough for you.
(INDISTINCT CHATTER) ISSA: That was passion! I loved how you were, were makin' that point.
I want to try a take where time is of the essence, - the whole conversation for you.
- Run it? Yeah, just, just run it - Okay.
- 'cause you don't know how much - of a window you, actually, have.
- Yeah.
- Okay.
Okay.
- Okay? Cool.
KENDRICK: Prentice is mad at me 'cause he's team Lawrence.
It's very thinly veiled.
(CHUCKLES) He be actin' like he's unbiased, but he's not.
I'mma get it out of him.
I'm figurin' out what's gonna go on in the finale.
I always rooted for Issa and Lawrence.
And then, I honestly believe, in season four, I got to a point where I was like, "Yo, some things just don't work out.
They tried and it didn't work.
" Going into season five, I don't know if I was team Lawrence.
Early on in our conversations, just breaking the stories, Issa, the person, was like, "Issa, the character, would be a dumb bitch to stay with Lawrence.
" But, throughout breaking the season, I think she started to come around to, "Well, does that have to be the way?" And as we started breaking the season, Issa, the person, also got on board with that ending, too.
LAURA: Last year, once we did the episode where Lawrence and Issa have the whole night together, we basically wrote an episode about how they're soulmates, and so, by the time we got to this season, it's like, we've told the world that they're soulmates, so they have to end up together, or we're basically saying that the protagonist of our show doesn't deserve to be with her soulmate.
So, I think there, ultimately, was no other way to end the show.
Tonight made me happy.
You make me happy.
When we first started as a room, and we were talking about Issa's arc as a character, we actually talked a lot about what it meant for her to stay at We Got Y'all.
There was something really limiting about that, and we we're just like, "Why is she still here "if she, herself, has established that she don't wanna be here?" And it makes me think even her romantic arc.
In the beginning, we were like, "Oh, by the end of season one, she's gonna kiss Daniel.
" And if our goal is to show a black woman who is flawed, and a black woman who isn't all, like, you know, white suits, red wine, no spills, then we have to show her make flawed decisions.
And that means quitting your job without knowing exactly what you're doing next.
That means fuckin' the dude, not just kissin' the dude.
That means lying to your partner, and saying, "I'm in this," and then, turning around, and, like, talkin' to this guy at your event.
"We were like," What are the bad things "she can do that she can correct from that make her more dynamic and more believable as a character?" (DOWNTEMPO MUSIC PLAYING) (INDISTINCT CHATTER) PRENTICE: One of the things that I was looking for when I was assembling the room was learning from the certain way of things I had been seeing for the last seven years.
I knew that I didn't want repetitive voices.
The thing is if "Oh, if I have a black woman, I don't need any other black women.
" And no black woman can speak for all black women, right? While the agents were sending us voices that felt like, "Oh, I'm gonna send you eight Issas.
" "But I was like," I have Issa.
"I don't need eight Issas.
I need something that's gonna be contrary to Issa.
" Writing on "Insecure" has been one of the most fulfilling experiences of my life.
It's the safest I've ever felt in a room.
I never felt like anything I pitched was too stupid or, like, too bad.
I felt like I could say anything.
Every season of the show, we just wanted to make each other laugh, and make Issa laugh, and it just, honestly, felt like a conversation with friends where you happen to be breaking plot at the same time.
I always feel like you have to let writers have lives.
That's the tithe you have to give to make a show.
Otherwise, they're just in a writers' room all the time.
Prentice did a lot to be like, "Okay, on Fridays, we're gonna have a happy hour.
" We're going to have social events on the weekends.
"Like we went to Disneyland.
" We did things that made us feel like friends, and it just made us better at our jobs because we were open and sharing, and, like, giving ourselves to the content.
I was very proud of the rooms that we assembled, and I think it spoke to the fact that we didn't have a lot of turnover in our room.
From the first three seasons were all the same writers, and then, obviously as a blessing, those writers got opportunities, right, as a part of being on the show, and then, we replenished with four more amazing writers, and those writers stuck with us till the end.
ISSA: Good morning.
When Issa comes to me, she goes on a vacation.
She's on some island right now.
I like early calls.
Early calls mean you get out earlier sometimes.
It's always great to be able to work, and my thing is this always starts at the top, and however the lead is, is kinda what you get, and, I have to say, we doin' really good over here with our lead.
I'm old-school.
I can go back to working on "Martin.
" (CHUCKLES) And I did "The Bernie Mac Show.
" Been doin' this for a minute, but this is such an amazing talent because you're working with younger, amazing group of people that's taken this industry to another level.
With their creativeness, you know? I love that.
This is my time to make love to the hair.
(LAUGHING) I always say that her hair and my hands have a love affair, so.
(ISSA SPEAKING) (FELICIA LAUGHS) I love you, too.
You not gonna deny it? Wow.
I love you, too.
But this hair is everything.
It's my favorite.
Now, I found out about, uh, "Awkward Black Girl" because natural hair was emerging, and, uh at that time, I was runnin' around with Jill Scott who really did help a lot of people to look at natural hair very differently.
I remember people sayin', "Have you seen 'Awkward Black Girl'? You need to see it.
Her hair is natural.
" I just remember a time in history where you would see a woman with short hair or short afro, and not really think much about it, but they made it a really big deal that Issa had natural hair and, um, and had cut it off.
You know, and talked about that on her show.
So, I started watchin' it, and I was like, "Oh, this is good.
" You know I get it, and then, every now and then, I'll get these messages from women sayin' "I can't wait for the next season to see what you're gonna do with the hair.
" 'Cause then I get ideas for work and goin' out, and I'm like, "Well, that's great that you really are "anticipating the next season, or the next episode for the hair.
" When I look back at all the photos that I've taken of the hairstyles we've done, it's like, it's like a thousand hairstyles.
It's crazy.
I do not plan these styles, you guys.
(FELICIA LAUGHS) They, literally, are kinda like a creation between Issa and I in the morning.
Sometimes, I have an idea of what I want, but once I see the wardrobe, it could change.
Yeah, it's off the cuff.
There's our superstar! - Hey, I'm so glad we're doing this.
- ISSA: Me too.
Well let me show you what our brand partnership looks like.
Brand perception and awareness are both up significantly coming off of the last handful of events MELINA: I didn't really wanna make a comedy that looked like any other comedy.
Cinematically, I was like, "I think we can push this, and we can allow it to live "in a different space 'cause it's a very specific show, and so, it should have its own look.
" Everything was kinda based in authenticity, and having it feel as real as possible, and lighting black people in a way that I was used to, where we're like celebrating their bodies, and their skin, and their joy.
We were pretty successful the first year.
Second year, Ava came on board, and she came from indie film, and I really loved her work and aesthetic.
I already had strong ideas on what I would do differently.
I felt like there were some missed opportunities, visually, in terms of how to incorporate cinematography into the DNA of the show.
One of the things that I said when I kinda went in there was, "You're missing how cool this show is.
"You're missing literal color in people's skin, in Los Angeles, the warmth, the architecture.
" I just wanted to feel the environment more in this visual storytelling.
I just think that "Insecure" is more than just a comedy.
It's part of a cultural movement.
It's part of visual culture, and I just wanted it to be that, to show up for that.
(INDISTINCT CHATTER) Okay, so I want everybody to look at me.
I just wanna make sure nobody's being blocked.
(LAUGHS) Just make sure I don't lose you.
- Nathan? - KENDRICK: Uh, yeah.
Sorry, would you look at me? (PRENTICE SPEAKING) - She looks good, right? - (PRENTICE SPEAKING) Did you tell her that? I told her soon as she got here.
I said, "You look " I said, "You look beautiful.
" - I'm gonna tell her again.
- Go for it.
I mean, I mean, I love this floral.
Yvonne looks great.
Yvonne looks great, Issa looks great, I think Issa's shoes really set that outfit.
- I think Huh? - (SHIONA SPEAKING) (PRENTICE SPEAKING) (LAUGHING) I guess costumes, to me, is-is just like cinematography which is like production design, right? There's a story in all of it.
And I really believe in how we tell a story visually.
The show is also about, like, the diversity of black people and women.
Each person has to have their own style, and their own sense of expression.
You know your neck's not long enough for these turtlenecks? Well, girl, I'm exchangin' all these.
Condola got me meetin' in all these fancy spots, and I gotta rotate my wardrobe to keep up.
MELINA: I remember first and second season, we would have clothes, but, you know, we had limited budgets, and I remember in the pilot, like, Issa on stage, that's my outfit.
Wore that for New Year's one year, and I was like, "This is perfect.
" - You love this.
- I love that.
SHIONA TURINI: I think it's cute.
WOMAN: And I think it looks good on her.
SHIONA: But then, are we wasting it here? - Well, it's never a waste.
- Yeah.
I loved this but with a different shirt.
SHIONA: When I started at "Insecure," the aesthetics of the main characters were pretty much already carved out, which was a unique challenge because I continued that narrative, but added my own twist, my own personal touch.
For Issa, we elevated her a little bit, and that was really exciting to see.
Diversity's always top of mind.
In addition to just the team that we hire, we really try and focus on using, and shooting, and purchasing designers of color, black women, um, young up-and-comers in L.
A.
, and that's a way that we can support, and support financially just designers of color within our community.
When it came to work on episode 507 with Amy, I pitched her the idea of only featuring black female designers on our principles.
I wanted to try and feature black female designers for, like, every aspect from the earrings to the shoes to, of course, all of the clothing.
She was really, really up for it.
It presented a lot of different challenges, but at the same time, it really gave us an opportunity to champion and support black female designers in a way that we haven't really done on the show.
We've, obviously, incorporated them in different costumes, but never a true focal point.
And I think it really played into the story of these women coming together, one of the last times, and supporting each other as they are moving through the world and now moving on to different experiences.
AMY ANIOBI: I'm directing episode 507, which is called, "Chillin', Okay?" It's a really special episode 'cause it's all the girls together almost the entire episode.
It's basically one of these times, like you're plannin' to go out with your friends, and then, you just never make it out.
So, it's playback, action, camera.
You start smoking, and then, on action, Issa, that's when you deliver your line.
I've been working on "Insecure" since the very beginning.
I feel like I worked on pre- "Insecure" because I wrote for "Misadventures of Awkward Black Girl.
" "Insecure" is a show that has really different levels of directors, and a lot of new talent.
And I had so many friends ask me from season one, like, "Are you gonna direct?" And I was always like, "Ooh, no.
The show? It's so hard.
" Really it was growing as a producer on set, and supporting so many different types of directors, and seeing how they work.
I felt like, for four seasons, I was shadowing directors.
ISSA: I'm not about to argue with someone who went to Scared Straight for high school.
(LAUGHING) - KELLI: I went there, too, so.
- All right, let's cut.
When I came to "Insecure," it was the first time I'd been on a set where people of color were at the top, and the vibe on set, and the people, it was diverse for real.
It wasn't "PA diverse," it wasn't "one person over here diverse.
" It was diverse in all aspects.
This is the first show that I've ever been on where when I get into a scout van, which includes director, cinematographer, assistant director, that I'm the only white guy in the van.
And that is the first time in 30 years that that's ever happened, and I'm not straight, so there were no straight white guys in the van.
AVA BERKOFSKY: I see a lot of women in the camera department 'cause I make it that way.
This show has been all about giving people that shot, and I was given that shot, and I want to give that shot to other people.
When it comes to giving people chances, people will show you that they're ready, and I just love passionate people.
I love to be around people who love to do the work, who are about it.
That kind of tells you all you need to know.
First time I met Issa was 2009, Issa did this workshop.
I won the "Insecure" On Set Contest that HBO put on.
At the end of 2016, the winners of the contest got to move to LA, and work on the show as set PAs.
Afterwards, I, like, stood in line to talk to her.
I'm like, "Hey, you know, I'm writing now.
" I really hadn't had any real eyes on my work yet.
I was so bold.
Even though I was PA-ing, I tried to let people know, "I'm a writer, and that's what I'm trying to do," talkin' to Issa whenever I got an opportunity to do so.
She read my pilot script, and KINDSEY YOUNG: Issa personally emails me, "and she was like," Hey Kindsey, not sure what you're up to, "but we, potentially, have a spot opening up for writer's assistant in the writers' room if you're interested.
" And I'm like, "Duh, of course, I'm interested.
" I dropped everything, and I came to become a showrunner's assistant, and a writer's PA for season one of "Insecure.
" Now I'm a showrunner of "Rap Shit" for HBO Max, so, I mean, I don't know.
(LAUGHS) It's crazy.
PRENTICE: Six years ago, none of those people had professional writing jobs, and now they're showrunners and writers on other shows.
You know, I see how, in five seasons, we've given, uh, eight first-time directors, their, their opportunity to direct their first episode of TV.
I think seven I think seven writers over the last five seasons, go on to get their own overall deals.
We've seen six of our writers from these five seasons, go on to become showrunners, post- "Insecure.
" You know, we've hired and broken in two costume designers, a new DP to television, and across the board, you really do see growth.
That is a true testament to their legacy, and to the legacy of the show, is that we always, always, always tried to open many doors for as many people as possible.
ANTHONY SIMS: So, I met Issa Rae at a 7-Eleven, randomly, years ago, before "Insecure.
" We talked about Hollywood, and what we each do.
So, fast forward years later.
She's very successful.
I have a wife and kids, and I'm tryin' to figure out the best way to support my family.
I thought getting into a union is probably one of my best opportunities.
When COVID hit, I was pretty discouraged, didn't think it was gonna happen.
So, I happened to work on a show with one of the producers from "Insecure.
" I was wearing, I think, an "Insecure" hoodie or a hat.
And he asked and said, "Oh, do you know Issa?" Like, "Do you work on the show?" And I said, you know, "I do.
" Was tellin' her about how hard it is to get into a union, and she said to me, "There's always a way.
" Let me see what I can do.
If I can get you on the show, and help count towards your days, like, that's a win, right? And it's also a win for inclusion, and making sure that, again, this show is continuing to create opportunities.
Uh, fast forward a few months and I got a call.
It worked out.
This show means so much to me.
It's helpin' me take care of my family.
I can go home, and look at my wife, and she's proud of me.
(SMOOTH R&B PLAYING) AMBER HALEY: We were told at the beginning of this season that we were going to have an art walk in this area, and so, that we should look for artists in Crenshaw and Inglewood, black artists in particular.
KAY LEE: Creatively, to put this all together, took a good three weeks, but to really, physically, put it together, we did it in two days.
Issa is very specific in embracing all the locations that we've seen in all five seasons of "Insecure.
" If it wasn't gonna be Leimert Park Plaza, it wasn't gonna be There wasn't really an option.
(LAUGHS) There wasn't really an option.
Hey, look who's over here shoppin' KEVIN BRAY: The black Art Walk is an event where Los Angelian African-American artists are able to show off their work.
And as with everything Issa does, there's a verisimilitude that has to do with what the real world is doing, and what she's doing in the show.
Her master plan was she was gonna come down here, and she was gonna spend the money for us to be workin' in this community.
It ain't "Insecure" if we don't have a block party, if we don't have In the neighborhood where the blacks are.
(LOUD BEEPING) Ooh ooh.
Hello? I'm tryna shoot over here.
Oh, it's a Black Yukon Suge Knight is comin' through.
I don't know who's there, but here we are.
I said, it's not "Insecure" if we don't have a big (SPEAKER FEEDBACK) Y'all didn't disrespect other actresses like this.
- (RAP MUSIC PLAYS) - Oh, oh, now it's a party.
You know what? This is, this is why we do what we do.
They said, "Oh, the cameras is rolling? We havin' a party.
" (LAUGHS) I love it! So, you were saying, how does it feel to be shooting in a black neighborhood? (LAUGHS) This is, this is how it feels.
They're like, "It's a cookout.
It's a party.
Well, we gon' get in on it, too.
" I think that's not only Issa Dee, but Issa Rae's desire and mission is to promote the black community, especially, you know, one where there's so much culture, and there's so much art, and there's so much feeling here, and that's what "Insecure" does best.
Like, we bring people into this neighborhood, and we show how live it is.
It's not just the Hollywood Hills or Sunset Boulevard.
It's like, "Yo, Inglewood, Leimert Park.
We got stuff here, too.
" ALEX BURNS: Three weeks ago, we were shootin' down in Manhattan Beach, and I happened to go down this street called Hyde Park, where The Dunes apartment is located, and, literally, there was three families takin' photos, and we shot The Dunes like season two or three, and people are still goin' to The Dunes, takin' photos of "Insecure.
" So, it has proven to be a lot of positivity, acceptance from this show.
I'm extremely proud of Issa, extremely proud.
It's wild to me that The Dunes is a cultural landmark, just 'cause you don't think about those things when you're filming.
We moved out of those apartments by season two.
I get tagged at least three or four times a day, and people in pictures, and I think it's the dopest thing ever.
They treat it like the Hollywood Sign.
You know, when "Insecure" started, I would say it was like pulling teeth because we were really dead set on creating a certain authentic look to the show that we realized, workin' with older people in this industry who had been very seasoned vets in their jobs, weren't really used to.
We were askin' them to go to neighborhoods that other shows didn't film in.
We were askin' them to show us locations that they never even thought about being filmed at.
We fought really hard for that.
It's really refreshing being able to show new places, whether it's neighborhoods, or businesses on television.
It's a little different in South LA than other places.
It's different protocols you have to go by.
You go into certain neighborhoods, it's the hood logistics that needs to be dealt with.
You have to have somebody that knows the politics of Leimert Park in order to go in there and just film.
Everybody knows Issa, everybody loves Issa.
She employs a lot of black people in the community.
She puts a spotlight on a lot of communities that other TV shows don't.
We got to see the wonderful people who live and make this community work, and all of the great cultural things that it has to offer.
KIRA TALISE: I grew up on Normandie and Florence, so for anyone who's outside of L.
A.
, the only reason why they know my neighborhood is because that's where the riots started in the '90s.
That's not the best representation of the city of Los Angeles, but it is what it is.
I rep my city pretty hard, and it just feels really good to see the L.
A.
that we know and love represented, as opposed to the one that Hollywood, typically, portrays for us.
Everywhere we shoot is my stomping ground.
When we were in the Baldwin Hills Plaza, people that I grew up with is our security.
To be able to work, and see my friends, and they see me doing this, it Look at my smile.
You know what I mean? It's really dope.
I love the Thug Yoda representation because it's humanizing somebody who's quote unquote "blood" from our neighborhood.
Me and Nala was just about to go watch the Bear Bears.
"Care Bears," Daddy.
CHRIS SANFORD: You have these type of relationships with these people, and it's a very accurate description because it represents the side that's not shown.
Thug Yoda was based off of someone I had seen at the post office when In Inglewood when I was tryna drop my mail off.
Super, super hood post office.
And it was this dude on the phone in a wifebeater with his daughter in his arm just cussin', like like, "Yeah, nigga.
Don't, don't, don't fuckin' play me, my guy.
" And he would be like, "You good, baby girl? You good?" "All right, yeah, so " and I was like, "This is a character.
" I'm goin' to the Crenshaw Mall.
BOTH: Oh shit! So glad when I see a cafe that I go to, or a barber shop that my son goes to on my street on, on HBO, and with a whole bunch of white people watchin'.
But just, you know, let's not continue all the gentrification.
South L.
A.
is wonderful, but if maybe you wanna stay in another neighborhood, that's also fine.
I don't know why I told you about this neighborhood because y'all take everything.
Can we have anything? Leave! I've been blamed for gentrification.
The show has been blamed for gentrification.
Somethin' went L.
A.
viral on Twitter where this girl posted, "I went to Worldwide Tacos.
"It was a four-hour wait and I got the tacos, and I didn't like it.
" And she misquoted Worldwide Tacos as being in Inglewood, so people were like, "Bitch, you don't even know what you talkin' about.
" "Take your ass home.
That's why you watchin' the show.
"This is Issa's fault.
Like, didn't nobody tell you to review these tacos anyway.
" And I was like, "Damn, like, that's the " it's the beauty and the blessin' of, like, exposin' these businesses, but then, residents and locals being mad that people are coming in here being overly familiar with these places that are so dear to us.
("FENG SHUI" BY JIDENNA PLAYING) Talk down, niggas call it luck Rubber band, baby wanna fuck I been doing well, up andup Caught'em in Aspell, fuck you up ISSA: We had a night shoot on Saturday which means, you know, I got called at 6:00 PM, and we didn't finish until 5:50, we were in the van going back to set.
6:05, I was on my way home.
And then here we are.
Today is Monday, and I got picked up at 3:54 AM to come here.
- TRISTEN J.
WINGER: It's Wednesday.
- "Hi, I'm Issa Rae.
Life is so hard.
Oh my god.
I didn't have a " She didn't work on Saturday.
She didn't work on Saturday.
She was getting a massage, posting shirtless pictures of her doctor.
- That's what she was doin'.
- Sounds like hatred.
Sounds like someone's mad at my life.
"But I'm just Issa Rae.
I own everything, boo-hoo.
" - (ALL LAUGHING) - Why you have to laugh? Laughin' that hard in the background.
(INDISTINCT CHATTER) - (MOCKING LAUGHTER) - (CHATTER CONTINUES) KENDRICK: You know you gotta make it worse.
- What happened to you? - YVONNE: He's so bad.
KENDRICK: "I own everything.
" (INDISTINCT CHATTER, LAUGHTER) (JAMES SPEAKING) It did.
(JAMES SPEAKING) Good, it's out there.
You know, we can retweak We're gonna keep retweaking it.
You can ask Kira, our script coordinator, but I hit her up.
I finished it on Saturday and then, was like, "Cool, bet.
We'll send it out in the morning.
" And then, I dreamt about it, and I was like, "Oh fuck, I want change something.
" I was like, "Kira, did you send it?" She was like, "I sent it, but I can recall it.
" And so, I made another change, and then, had another idea.
I was like, "Kira, did you send it?" And she was like, "I was just about to press send.
I can send it back.
" And then, I read something else Like, like, literally, three times just 'cause I was like, this is the cast and crew seeing it, and I, I want the first impression to at least be Like, we know that we're gonna continue to work on this, but, like, I still feel confident in it.
And when I think about, you know, actors who have dedicated five years of their lives to this show, and crew members, if it just ends with a, "Aw, man, that's it?" Like, I don't want that feeling of, "I dedicated my life for five years.
This is it?" So, I just wanted to make sure that it was all represented, um, and I'm excited that we get to do a table read for it, but it feels like a weight has been lifted off my shoulders.
("COLD WAR" BY CAUTIOUS CLAY PLAYING) AMY ANIOBI: "Issa sighs as Quoia opens the door wide to Crenshawn's" "warehouse main room.
It's completely dark.
Issa steps inside.
" Quoia, why is it so dark? You got a night plumber? AMY ANIOBI: She flips on a switch and CAST: Surprise! AMY ANIOBI: It's Issa's 33rd birthday, and they're all gathered to celebrate her.
(INDISTINCT CHATTER) ("black TRUCK" BY MEREBA PLAYING) Ooh (LAUGHS) With this show, I'm most proud of the doors that it's opened.
It's showing black people's humanity and regular-ness during a time when that wasn't the focus for anything else on television.
And opening doors for so much other talent behind the scenes, in front of the camera.
I think that's what we'll be known for in the same way that, you know, "Girlfriends" did, and all these other legendary shows that, that came before us.
Thank you guys so much for coming, and making me look good in front of my new client.
- No problem.
- We got you.
Let's take a photo.
You got it.
- (CAMERA CLICKS) - Now, let's do a fun one.
- Nah.
- Nah, we're good.
Like, I love that I got to play Tiffany.
I think in the beginning, it was more a trope of like the bougie, light skin, AKA.
Where's Tiffany? Is she mad at me?! - I don't know.
She hide in the closet.
- TIFFANY: Yes, I know he's our little weed baby.
(TIFFANY CRIES) But I just wanna be home with you.
And we really got to see her develop into a mom, into a more compassionate friend, into, like, the truth-teller of the gang.
We're all doing great things.
Look at you getting fit.
Look at Kelli.
Look at Molly, taking interviews, taking names.
Look at Issa hmm.
I feel like people have come to see Tiffany as part of this legacy of bougie black women in television from Hilary Banks to Whitley Gilbert, and so, like, to be in the company of that within the African-American cultural canon is just like a dream.
MELINA: All right.
Let's do it, everybody.
Picture's up.
(INDISTINCT CHATTER) - PRENTICE: Good, cut.
- SPEAKER: It is time to say series wrap on Natasha Rothwell.
(CHEERING AND APPLAUSE) NATASHA ROTHWELL: I remember when I first got the show, "and I was just like," I don't know if Issa's made a huge mistake, or if I can do this.
" It's very vulnerable for me to say, but it's just true.
What the show has taught me over six years is that you can grow into those positions, and into those You know, to meet those expectations, and that we're only limiting ourselves when we don't, sort of, take those risks and chances, and have the courage to just try.
And I think that, again, it's about visibility, right, and not one singular black female voice.
And yet, Issa's voice is singular, and I think I'm excited for disruption, shaking the table, and infusing the culture of Hollywood with more black female voices.
AMY ANIOBI: "Now we are inside of an international hotel.
" "We're at a poppin' ass party.
" Everyone's dressed to the nines, "drinking and mingling as the DJ hypes the crowd.
" (INDISTINCT CHATTER) (LAUGHS) At a certain point, I'll crane back out, but we're craning in.
So, it'll just be super loose, and then YVONNE: Okay.
That's just what the scene is.
It'll be like getting in on steadicam.
- Yeah, yeah, yeah.
- Like, coming behind you guys.
All right, let's make a wedding.
(CHEERING AND APPLAUSE) Smile, Leonard, yeah.
Just listen to me Don't Just smile.
Smile at her.
Molly has really been a delicious character to embody.
She has taught me things.
I think I've taught her some things, though these are writers' words, but I would like to think that I brought my growth and my healing to her, but she also brought her growth and her healing to me.
By the time we get to the end of season five, it's just like she found herself.
PRENTICE: And cue Jay.
JAY: I don't think I've ever thought about where Lawrence's story should go as we've gone from season to season.
In my mind, it was always like, "Yo, I'm here for Issa's story.
" So, whatever Issa wants at the end of the day is, like, what I wanna do.
And being able to bring Lawrence's journey full circle from who he was in the beginning, from a dude sittin' on the couch, crippled in fear, who couldn't take care of himself, much less take care of anyone else.
To see him come full circle, to being a father, going after what he wants, being okay with just who he is, and, like, knowin' that I have figured myself out, and this is the type of relationship that I want in my life.
And it's crazy 'cause it just feels so real.
SPEAKER: We have to wrap up this day with the very multifaceted, emotional news that this is an "Insecure" series wrap on Jay Ellis.
(CHEERING AND APPLAUSE) JAY: You know, now that we're done it's the people, man.
(INDISTINCT CHATTER) Nigga, we did it.
Nigga, that shit.
(ALL LAUGHING) He did it.
You still got Y'all still got somethin' to do.
It's really rare to go to work every day and love not only the work but, like the people that you're with, and for all of us to walk out of this show six years later, and still love each other? It's all you could dream for.
Like, it's all you could Thank you.
It's all, uh It's all you could dream for in a show.
more wrap gifts, man.
It's the black Santa.
You know what I'm sayin'? Boom.
I'mma miss every single person we've had on our production, from sound to camera and Issa.
Um and Issa.
It is very rare to have the creator of your show also be your co-star, also be your biggest champion, and I'mma miss the shit out of that.
AMY ANIOBI: "We're in the hotel room.
The party's over.
" "Issa helps Molly take her wedding dress off.
"As Issa unzips and unclips the complicated dress, and Molly sways, still tipsy.
" Okay, just one more row.
How you feelin', girl? Happy.
Like really, really, really happy.
(SIGHS) As long as you're around, I'mma be okay.
Yeah.
Me too.
- I love you.
- I love you, too.
And, uh, cut.
SPEAKER: All right, let's cut.
Let's keep it quiet, yeah? - And that's it.
- (BELLS RINGS) SPEAKER: All right, everybody.
Bring up the house lights, and come on out here.
I'm gonna stay lyin' or I'm gonna start cryin'.
Let's go.
Come out here.
Oh no.
This is a series wrap Damnit.
This is series wrap on Yvonne Orji.
(APPLAUSE) Man, thank you all so mu Come on, man um, for real, thank you guys so much.
Issa, I owe so much to you.
We all do.
I'm so grateful that I got to rock with you by your side as your number two for six years.
You changed the heck outta my life.
Everybody, cast, crew, writers, Prentice I love the heck outta y'all.
Like, we did it.
We made a show.
The role that I'm most proud of is not even really being Molly, it's just being able to serve you.
That's what I take so much pride in.
I wanted to protect you 'cause you, literally, were the head, and I know that heavy is the head that wears the crown.
We did it.
We did it, yo! We did it! We always discussed in the room that the true love story of "Insecure" is Issa and Molly, and we wanted to show that you can get to a place, like, not with every friend, but in this friendship at least, that they were growing at different paces, and, eventually, lined up and grew in sync again by the end of the show, that they really realized that, "No, you're my person.
You're my friend for life.
" This wasn't a friendship for a reason or a season.
This is a friendship for a lifetime.
We ain't shit but some tricks.
Hello, what? - Pick up the phone.
Hello? - Oh, you so stupid.
- (BOTH LAUGHING) - Bottoms up.
This spiked? I love you.
SPEAKER: We are saying goodbye and goodnight and a series finale to Prentice Penny.
(CHEERING AND APPLAUSE) I don't know why I still have this on.
I'm COVID tested.
Um When we met, I always felt like if I was a young Issa, how would I want my person, a showrunner to be? And, uh, I It was very important for me that I walk away from this, that you could always say, "He helped me make the show I wanted to make and he never got in the way once.
" And that was always like my North Star.
And, you know, you realize, sometimes, you're just a brick in somebody else's story, and you have a bigger function to serve.
I would think about all the times I was the only black writer in rooms, and goin' through the things I went through for 17 years, good and bad, I tried to pour all of what I knew, everything I learned, every skill set I had was just to pour it into you, and you have exceeded, and have gone farther than I could've dreamed for you.
And the beauty is that you'll never know those things that I saw, you only create a new path, and I will miss you so much.
I love you.
And, um yeah, I don't know.
I love you.
I love you so much.
Thank you.
(APPLAUSE) - What I'mma do without you now? - You fine.
You got 18 shows.
- You good.
- (ALL LAUGHING) (INDISTINCT CHATTER) MELINA: And action.
Poor thing.
She went to bed at 4:00.
Had a 8:42 call time, I just looked at it.
That's what happens when you have your own show.
(LAUGHTER) SPEAKER: Go lie down, baby.
ANTHONY: Y'all got her talent ready.
MELINA: I hope, in the future, that people can take away from this, that it was a classic.
I really feel like it was a beautiful picture of how we live now.
When you think back to our era, you'll think back to "Insecure.
" But I also hope that there's so many other shows that follow in our footsteps, and really diversify that landscape.
And that's a cut of the last shot of "Insecure," the HBO series.
SPEAKER: That is a series wrap - on our queen, Issa Rae.
- Let's go! You guys, I am just incredibly humbled, blessed.
Uh but I'm just honored to know a lot of you.
When I, when I set out to do this Y'all know me.
I'm not, I'm not the topmost talented person, I'm not the funniest person.
I'm not I'm not - the, the best person - You're Issa Rae! But, you know, you aspire and you dream and you imagine, and, and I never imagined that I would get to work with all of you in support of this, and to meet so many amazing, talented people.
I think about my loved ones, uh, my brothers and sisters in cast, and how you guys have elevated me, how I've learned so much from you along the way.
I've learned so much about myself through you, and am just so blessed to, to be in your presence, and to know that I have family for life.
- That's a wrap! - (CHEERING) ("KINDA LOVE" BY TEAMARRR PLAYING) PRENTICE: When I look at other shows growing up, I had not seen a family that looked like mine in black television till I saw "Cosby," right? So, when I look at that show, I'm like, that show inspired me to think that, like, my representation of life can be on screen, and it just made me believe it was possible.
So, if I had to distill it down, I would hope that people would watch "Insecure" and go, "Oh, like, achieving at a high level, creatively, opportunity-wise is possible.
" And, sometimes, in this country, you don't always get to think that things that look like you are possible.
So, that's what I would hope the legacy behind it is, whatever people need it to be, to know that it's possible.
(CHEERING) (LAUGHING) - How you feel to be done, baby? - Baby, I'm tired, aight.
You too pretty, baby, you too pretty.
I started this shit, I poured out into this shit.
- We done, baby.
"Insecure," bitch! - We done! Yay! - I love you.
- I love you.
I love you.
Can we go eat? ALL: Hey! The hardest-working people in, in show business.
We did it! YVONNE: Right here! Right here! - Love you, boo.
- I love you more.
I just wanna go down as people's favorite show.
It's super simple.
Like, in the way that I talk nostalgically about the shows that shaped me, that make me smile when I think about them, that I reflect on a specific time in my life, happily.
Like, I want our show to do the same for people.
I want them to think about scenes and the first time they watched something, and imagine where they were at the time that they watched it, where they were in their lives.
I want it to be a part of who they are.
That would make me happy.
("KINDA LOVE" CONTINUES) I want that won't creep, won't sneak kinda love That so deep, I'm freak kinda love That, ooh Yeah, I want you Can you give me one good reason Not to f with you like that Can you give me one good reason Not to f with you like that Can you give me one good reason Not to f with you like that Can you give me one good, one good, one good reason Not to f it up like that, oh No, no, no, no, no, no Don't wanna f this up like that You're the boom to the bang When my front side get close When we bang when we boom What's the punchline for (POP) (SOFT INSTRUMENTAL MUSIC)