Two FBI agent brothers, Marcus (Marlon Wayans) and Kevin Copeland (Shawn Wayans), accidentally foil a drug bust. As punishment, they are forced to escort a pair of socialites (Anne Dudek, Rochelle Aytes) to the Hamptons, where they're going to be used as bait for a kidnapper. But when the girls realize the FBI's plan, they refuse to go. Left without options, Marcus and Kevin decide to pose as the sisters, transforming themselves from African-American men into a pair of blonde, white women Sign up at http://patreon.com/miniondeathcult for $5/month and get 2 bonus episodes a week
Um so okay so they're the white chicks now and they show up in the Hamptons uh and two guys hit on each of them so like two different pairs of guys uh hit on them and each time they react in their like real voices and threaten them uh and that's kind of like the whole thesis of this movie like wouldn't it be funny if white girls acted like black guys uh but
They also look like psychotic six-foot-tall porcelain dolls with ice blue irises, not areolas.
See, that's not how I read it.
See, what I read was, what if a black man had to walk a mile in a white woman's shoes?
Oh, okay.
What if they had to finally understand what it's like to be a white woman in the world?
You think that that's what this movie's about?
I think that's really what it's about.
I think it's about time black men understood the plight of white women.
Yeah, absolutely.
I think it is time.
That's what it was really about.
It's funny because one of them hits on one of them and he freaks out.
He's like, hey dawg, don't do that.
Don't you hit on me.
They threat him with violence a bunch.
And then he goes, hey man, remember we're white women.
But then he gets hit on.
And they both get a little taste of their own masculine medicine.
Uh, yeah.
But I think, you know, that's a charitable interpretation.
I think it's just funny for the audience to see a white woman go, Yo dawg, get the fuck off my shit!
People love that.
People love that.
If you know me, there's one thing I hate.
and it's uh that that like trope working like i hate every every like viral woman who's like like white lady or like white guy who's like the whole thing oh you know all the rap lyrics that's amazing or like oh my god you're doing urban dancing yeah you can do all the cool urban dances but you're but you're a white lady that's crazy and they have just so many followers That is what this movie is.
Sometimes it works.
Other times, not so much.
So she gets asked, you know, the white chicks now, the Waynes brothers in drag, drag and race play.
They get asked for, you know, their ID by the FBI agents who are working undercover.
So like their ex-teammates, you know, kind of, who they have like a little rivalry with, are posing as hotel workers to check them in in order to like keep it.
Because part of the FBI's operation, again, is keeping an eye on the Wilson twins, which is going to complicate things, folks.
The Waynes brothers, the white chicks, obviously don't have their IDs for being the Wilsons.
Which, like, they didn't think about that part?
That's like the easy part.
So he pretends to get offended and he begins drafting a letter to the owners of the Royal Hampton.
He says, Dear Mr. Royal Hampton, I am a white woman in America.
And he gets cut off, yeah, but it was great.
It was really good.
Really good line reading from him.
Most of the time I can't, like, stand them talking as white women.
It's really, really bad.
But it works, like, in this scene, just because I think the joke was funny enough.
Uh, but yeah, and then they're in the lobby of this hotel and they meet up with, uh, their Hampton friends who recognize them instantly.
Again, even though they're at least six inches taller and wearing flesh colored anonymous masks.
Like pale flesh colored.
Like they're not even giving these, these poor white women any credit.
They make them the pay.
These, these women have never been outside.
No.
And if they are outside, I'm surprised they didn't make a sunscreen joke.
