Dishing about what you’re reading is one of life’s greatest pleasures. Even better if your audience has read the same book. Reading with others also provides space to deepen community, ignite conversations and share moments of joy. Los Angeles needs that more than ever right now as we continue to shoulder a heavy 2025 marked by fires and ICE raids. But how to choose a book to get started? The best books to read in groups inspire a dialogue. They have sparkling prose and unshakable narratives. These were the guiding factors for compiling our recommendations for all kinds of readers.
We surveyed 200-plus luminaries in the book and journalism worlds to make this in-depth list. The voters included prizewinning authors, indie bookstore owners, a Man Booker Prize judge, Ivy League professors, literary agents, lauded journalists and several zealous book club members. To ensure an especially varied selection, the editors gave a final curatorial pass.
The list includes 10 categories for every type of reader, whether you reach for literary fiction or romance. We also crowned an “Ultimate Book Club Pick,” which is the title that received the most votes out of all the books by a landslide, and happens to be eerily prophetic (find it among the “Make-Believers” selections). Of course, we couldn’t include every worthy book. Let us know your picks and pull up a chair next to us. Why not read together? — Sophia Kercher
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Families, in their various flavors, have been essential to television since that light first flickered on. They may be ideal or nightmarish, or both, or in between, and we take to them — be they Waltons or Addamses or Simpsons — according to our own experience or desires, having known families of our own or wanted something other than what we had.
In “Schitt’s Creek,” Dan Levy co-created — with his father, Eugene, yet — one of the medium’s greatest family comedies. It was a show that grew over time from a basic premise about rich people who lose their money and are forced to live at close quarters in adjoining motel rooms to a paean to love, understanding and acceptance. It swept the comedy categories at the 2020 Emmys, including acting awards for both Levys, Catherine O’Hara and Annie Murphy and writing and directing trophies for Dan.
“To family” are in fact the last words spoken in the first season of “Bad Mistakes,” Levy’s noisy, funny new show, co-created with Rachel Sennott and now streaming on Netflix — though given what precedes it, it’s less a blessing than a curse. Levy plays Nicky, a pastor at a sparsely attended suburban New Jersey church of no evident denomination. He’s out as gay, but supposedly celibate; that he has a boyfriend, Tareq (Jacob Gutierrez), is known only to Tareq; this, of course, creates a secret, which will create pressure, which will create comedy.
Sister Morgan (Taylor Ortega) is an elementary school teacher, a job that doesn’t quite jibe with everything else we see about her — it’s barely represented, anyway, summer having come — and a very longtime boyfriend, Max (Jack Innanen), who has decided that now is the moment to propose. She had once tried acting in New York, which means that she lived a wilder life once and is something of an improviser. Their mother, Linda (Laurie Metcalf), who owns a hardware store, is running for mayor and the campaign is being managed by extra daughter Natalie (Abby Quinn).
The series begins as their grandmother is dying, and at Linda’s command, they rush out to buy her a present — Linda is trying to squeeze in an “early birthday” before her mother passes. And because she is that sort of person, Morgan shoplifts what she imagines is a cheap necklace from a convenience store. (Attendant Yusuf, played by Boran Kuzum, will have much to do.) The necklace isn’t cheap, it turns out, for no particularly good reason, and the convenience store isn’t just a convenience store, but a kind of waystation for stolen goods run by local Russian mobsters. As a result, Morgan and Nicky find themselves forced to run errands for them, under threat of death, or worse.
The show gets very complicated on its way to a circular semi-conclusion; there is a lot going on, with Linda’s mayoral ambitions and various relationship issues. (Elizabeth Perkins plays Max’s mother, bridging storylines.) But it’s a good ride, and classic in its way; searching the phrase “get mixed up with gangsters” brings forth a host of old comedies. Through the dodgiest situations, brother and sister do not hesitate to argue. Nicky would love to be anywhere else, while Morgan finds it invigorating. Though it is all improbable, the parts do mesh neatly; they make television sense.
Finally, the series rests on the shoulders of the three principal players, who are just a pleasure to watch; the camera obliges by moving in close. Levy brings a soft-spoken breathlessness you may recognize from his David Rose on “Schitt’s”; his softly muttered “OK,” which might just mean “stop talking,” is almost a trademark. Ortega brings a kind of poignance to her reborn wild child, while Metcalf plays Linda with a kind of small-town operatic intensity, eyes popped and pronunciation precise — she’s like a country cousin to O’Hara’s Moira Rose — as if she were onstage pitching to the back row of the theater.
Michelle Pfeiffer and Elle Fanning in “Margo’s Got Money Troubles,” premiering April 15, 2026 on Apple TV.
(Allyson Riggs/Courtesy of Apple)
In “Margo’s Got Money Problems, premiering Wednesday on Apple TV, Elle Fanning plays the title character, a college student flattered into bed by her married-with-children writing professor, Mark (Michael Angarano), despite my shouting at the screen for her not to do it. Soon she is pregnant, and soon after that the essentially single mother of baby Bodhi, unable to find work or the time to write. (As the heroine, we assume her talent.)
Presumably in search of some normalcy, Margo’s mother, Shyanne (Michelle Pfeiffer), a former good time girl — but still sparkly — has become engaged to Kenny (Greg Kinnear), Christian, square and sincere; the Ralph Bellamy of the piece, you are not asked to take him quite seriously (though Kinnear plays him straight). Shyanne’s ex-husband is Jinx, a former professional wrestler, played by Nick Offerman with the low-key affect of Ron Swanson, dialed down even further; depression and drug addiction will do that to you. Fresh out of rehab, he trades a championship belt for a motorcycle and joins the household; though he left Margo early, and unlike Shyanne, he proves to have a marvelous, easy way with Bodhi. (The baby himself, or babies — they use twins for this job — are themselves marvelous.)
Also in residence is roommate Susie (Thaddea Graham), a chirpy cosplayer — and coincidentally Jinx’s biggest fan — whose skills will become valuable as Margo, needing cash, sets off into the world of OnlyFans. First picking up tips describing followers’ penises in terms of Pokémon (no explanation has been thought necessary), she pivots to video, mounting increasingly elaborate sexy sci-fi productions alongside Susie (sets and costumes), Jinx (narrative advice, stunt coordinator) and OnlyFans veterans KC (Rico Nasty) and Rose (Lindsey Normington), a fabulous tag team to whom Margo turns for advice. (Margo does seem to take things over, but it’s her name in the title, so there you go.) This introduces an element of Mickey and Judy, my uncle’s got a barn, let’s put on a show comedy. More important, it creates a team, melding the family you make with the family you have.
It’s as sweet as can be. Apart from sleeping with one’s professor — students, do not do this! — the show is positive about just about everything: motherhood, daughterhood, professional wrestling, second chances, sex work, cosplaying and the way art shows up in strange places. Only Marcia Gay Harden, as Mark’s mother, Elizabeth, is an outright villain, and you will hate her.
The series was created by David E. Kelley (Mr. Michelle Pfeiffer), from Rufi Thorpe’s 2024 novel, once again under the umbrella of Nicole Kidman’s Blossom Films (following their collaborations on “Big Little Lies,” “Nine Perfect Strangers” and “Love & Death”), with its house style of well-upholstered capital-Q Quality (as distinct, in its pop-cult, way, from prestige). (Kidman has a small role as a wrestler-turned-lawyer and it’s been a while since I’ve seen her this well used.) “Margo’s Got Money Problems” can be terribly sentimental, almost corny — the climax is pure Hollywood — but undeniably effective. And if its mix of comedy and drama can be a little destabilizing, you won’t need to worry about where it ends up.
Pastry chef, baker and champion of whole grains Roxana Jullapat opened Friends & Family in East Hollywood nine years ago, a forerunner among a new wave of artisanal bakeries in Los Angeles. Her first book, “Mother Grains,” served as an introduction to baking with freshly milled ancient grains such as rye, barley, buckwheat, corn, oat, rice, sorghum and local wheat. Her follow-up cookbook, “Morning Baker,” centers the same whole grains with an emphasis on incorporating them into easy, everyday bakes and weekend projects, from muffins and scones to viennoiserie and naturally leavened and yeasted breads, along with French toast, pancakes, waffles, doughnuts and quiche. With the first book, “I didn’t anticipate that people were so ready and hungry for cooking and baking with grains,” she said recently. “They were ingredients they already had in their kitchen.” The follow-up book is also a snapshot of Friends & Family’s morning bake, the daily production of several dozen kinds of pastries that fill the pastry case to overflowing. There are recipes that are easy to jump into, and there is a chapter devoted to whole-grain croissants, made with spelt and whole wheat. A primer on her favorite flours and recommended millers is a vital resource.
To laugh or to cry? It’s a question that feels a little too familiar of late — one confronted often while watching “Maddie’s Secret,” the debut as writer-director from comedian and performer John Early.
Playing the title role with an unnerving sincerity and startling sense of vulnerability, Early stars as Maddie Ralph, a young woman climbing the ranks as a Los Angeles food influencer while secretly hiding her struggle with bulimia.
Early’s performance is a truly remarkable highwire act, all the more so for the wig, padding and prosthetics he wears to play the character. Made in the earnest style of a disease-of-the-week television movie without ever tipping over into winking irony, the film is both funny and tender.
“That, to me, is Maddie’s true secret,” says Early, 38, on a recent video interview from the apartment he is renting in New York City while appearing onstage in Wallace Shawn’s new off-Broadway play “What We Did Before Our Moth Days.”
“The secret of the movie — the real twist of the movie — is not any kind of trope-y reveal,” Early says. “The twist is actually a tonal twist. What I hope is then that becomes funny: the sheer commitment to the stakes of it.
“At any given moment, you can experience it as totally sincere, you can absorb it genuinely and be moved by it,” Early continues, “or you can take a little break and step out of it and find it uproariously funny that we’re even doing this to begin with.”
John Early, front, and Eric Rahill in the movie “Maddie’s Secret.”
(Magnolia Pictures)
Early’s skillfully wrought psychodrama, which had its world premiere at last fall’s Toronto International Film Festival, is now the opening-night selection for this year’s Los Angeles Festival of Movies, playing Thursday at Eagle Rock’s Vidiots with members of the cast present for a Q&A, and then again on Friday at 2220 Arts + Archives in Historic Filipinotown.
“Maddie’s Secret,” which opens in theaters June 12, makes for a fitting kickoff for this year’s event. Though the programming includes movies from all over the world, organizers ended up leaning heavily into films made in Los Angeles.
“This year it really does feel like a homegrown festival,” said Sarah Winshall, LAFM’s co-founder and festival director. “What it ended up doing is making us think about L.A. as a small town as a result.”
“I think the movie is an incredible accomplishment,” said Micah Gottlieb, LAFM co-founder and artistic director. “It’s made by somebody who’s not just a great comedian but also is a cinephile, knows the history of cinema, is trying to make something that fits within that lineage, while also just making an all-out entertaining movie.”
“Maddie’s Secret” was shot in the same workaday, creative-class neighborhoods where LAFM unspools. (Maddie’s house in the movie is Early’s own home.) The actor and filmmaker describes it as a “very Echo Park, Silver Lake, Eagle Rock, Frogtown, Glassell Park, Highland Park, Los Feliz movie.”
The story is also rooted in Early’s own complicated feelings about the L.A. food scene.
“It’s completely born out of my time in L.A. and my initial shock when I was confronted with a burgeoning restaurant scene,” says Early, who grew up in Nashville and moved to L.A. from New York in 2016.
“Not to always be talking about millennials, but it seemed very much of my generation,” he says, “specifically these kinds of restaurants where the food is really expensive but you’re sitting on a milk crate, eating lots of Middle Eastern food made by white people. There was just something very funny about all of it to me, even though I completely also sincerely loved it and still do.”
The film’s supporting cast is drawn largely from Early’s own circle of friends, including his most frequent collaborator, the comedian and writer Kate Berlant, along with Conner O’Malley, Claudia O’Doherty, Eric Rahill and Vanessa Bayer. The film’s production designer Gordon Landenberger is his ex-boyfriend and Early is excited that a number of other key collaborators, including costume designers Kimme Aaberg and Izzy Heller and cinematographer Max Lakner, are working on a feature for the first time, just as he is as writer-director.
“I think I wanted to force myself at gunpoint into a place of innocence and naivete,” says Early. “I think this movie is a strange mutation of the camp tradition.”
(Justin Jun Lee / For The Times)
Berlant plays Maddie’s best friend in the film. She and Early have worked together on shorts, live performances and their 2022 Peacock special “Would It Kill You to Laugh?” The two always share what they are developing and so Berlant first heard about “Maddie’s Secret” when it was just percolating as an idea.
“It was a very wild proposition,” she recalls with a laugh while driving down L.A.’s Beverly Boulevard. “He’s like, ‘I’m going to play a woman who’s struggling with bulimia.’ I was like, ‘Good luck.’ I was astonished that he totally pulled it off and he’s such a true filmmaker. It was kind of miraculous.”
Berlant describes their shared sensibility, the ability to simultaneously play comedy and pathos, as a kind of freedom. “Just the underlying absurdity or joke really gives you the ability to go to these really intense emotional places,” she says. “It gives you the permission to go to places that otherwise would be too unbearably saccharin.”
For Early it was also a chance to fulfill his longtime desire to play an old-school ingénue.
“I think I wanted to force myself at gunpoint into a place of innocence and naivete,” says Early. “I think this movie is a strange mutation of the camp tradition.”
“I was astonished that he totally pulled it off and he’s such a true filmmaker,” says Kate Berlant, Early’s longtime collaborator. “It was kind of miraculous.”
(Justin Jun Lee / For The Times)
He references Susan Sontag’s famous essay “Notes on Camp” to say there are two kinds of camp humor, one that is unknowing and another that is knowing. It is near impossible now to genuinely create the first kind, but the process of making “Maddie’s Secret” was in a sense about being the second and striving for the first.
“In the age of the internet and in the kind of crumbling, depressing world we live in, it’s almost impossible to be the first kind of camp,” says Early, “to feel innocent and naive and to twirl. But obviously there is a part of me, there’s a part of all of us, that is very childlike and innocent and has hope. So I think this movie, it knows itself to be camp but it’s aching to be more like the first kind of camp. It’s aching to be pure and naive.”
Though it may be easy to place what Early is doing in the tradition of drag performers such as Divine’s work with filmmaker John Waters, to Early his performance in “Maddie’s Secret” sits outside of it.
“Drag is often obviously about a certain kind of extravagance and fabulousness and Maddie is very humble,” he says. “And so I don’t really see it as drag. It didn’t feel like drag doing it, whatever that means. It honestly just felt like acting to me.”
In dealing with the serious topic of bulimia, Early was careful never to make the eating disorder the joke. He points to a trio of TV movies — 1986’s “Kate’s Secret,” starring Meredith Baxter Birney; 1997’s “Perfect Body,” starring Amy Jo Johnson; and 1981’s “The Best Little Girl in the World,” starring Jennifer Jason Leigh — along with Lauren Greenfield’s 2006 documentary “Thin” as key influences on how he approached the film’s depiction of the illness. (Other non-bulimia influences include Alfred Hitchcock’s “Marnie,” Paul Verhoeven’s trashy “Showgirls” and Adrian Lyne’s “Flashdance.”)
“I don’t find bulimia itself funny,” says Early. “The genre of these movies — that’s what’s funny. It’s the emotional pitch of those movies and the way that they’re made and the acting style and the kind of moralistic quality while being totally pervy. All that was funny to me. And then also putting contemporary life — young, gentrified L.A. food-content influencer culture — putting all that through a melodrama-style filter, that was funny to me.”
While writing the screenplay, Early says he often found himself weeping, overtaken by the emotions of what he was creating. “I guess I’m not above the genre at all,” he admits.
But playing the part was another matter, having sold everyone involved in the production on a very specific tone and conception of what they would do together.
“I was like, ‘I am so stupid, I can’t believe I have put myself in this position,’” Early says, laughing at the memory. “I had set myself up to do the thing that I really had no proof that I could do, which is to play an almost Juliet kind of character who’s going through these extreme things. And I was the one that promised everyone that we would take it seriously. And then suddenly I was like ‘OK, well you have to do it. You actually have to do it.’”
Even if Early was uncertain in the moment, the result is undeniable: a dizzying, disarming blend of humor and emotion — and one of the year’s boldest performances.
That’s for sure. It’s reminiscent of the panic that followed Joe Biden’s wretched debate performance in Atlanta, the biggest disaster to hit the city since a 2009 flood caused more than half a billion dollars in damage.
In California, the high anxiety is a result of the state’s “jungle” primary, in which all candidates appear on the same ballot, regardless of party, with the top two finishers advancing to a November runoff. With so many Democrats running, there’s the genuine prospect of them splintering partisan support, resulting in the leading GOP candidates — Chad Bianco and Steve Hilton — grabbing both slots and moving past June 2.
How likely is that to happen?
I can’t say. And Nostradamus is away on spring break.
But one of California’s leading political savants, Paul Mitchell, has developed a helpful online tool to suss out the possibilities. Visitors to his site have run tens of thousands of simulations, which right now put the odds of a Democratic freeze-out at about 17% to 20%.
Which suggests it’s unlikely. But it’s also not impossible.
Why don’t some Democrats step aside, for the good of the party?
That’s easy for you to say.
Anyone putting themselves out there by seeking public office has to have a certain amount of faith, in both their capabilities and the prospect of good fortune smiling upon them. (Luck being a greatly undervalued factor in political success.)
To be clear, no one is running away with the gubernatorial contest. For all the talk of Republicans “leading” in the polls, it’s more like a four- or five-way tie for first place, when you factor in the margin of error. And 20% support — which is roughly what the top candidate receives in surveys — is hardly a number to strike fear in the heart of rivals.
Several of the candidates mired near the bottom of polls — Antonio Villaraigosa, Xavier Becerra,Betty Yee — are probably looking at the end of the line if they lose this race. So you can understand, if not necessarily agree with, their reluctance to drop out and call it a day, in the hope that, just maybe, that proverbial bolt of lightning will strike.
So why doesn’t someone force some candidates to drop out?
Like who? There is no Tammany Hall. This isn’t Chicago under Boss Daley. Modern-day California has never had that kind of all-powerful political machine.
The closest approximations were in San Francisco, where brothers Phil and John Burton held great sway, and Los Angeles, where another pair of siblings, Howard and Michael Berman, exercised enormous clout with their compatriot, Henry Waxman. But their influence was mainly limited to Congress, the Legislature and local politics. They weren’t kingmakers when it came to electing California governors.
And the two major political parties, which never wielded the power they enjoy in other states, have become even less influential in this entrepreneurial age of politics, when candidates raise their money online and boost their profile by going on the political chat shows on TV.
The governor could certainly try to pare the Democratic field. But he’d risk humiliating himself and hurting his presidential prospects in the process.
How so?
It would be embarrassing if Republicans were to seize the governorship on Newsom’s watch. (At least among those political insiders who pay attention to that kind of stuff.) It would also be embarrassing if the governor tried to muscle candidates aside and failed.
It’s not at all clear Newsom would have much clout. He isn’t particularly close to any of the candidates running. No one needed his blessing to enter the race, or his backing to sustain their candidacy. And there isn’t very much the term-limited governor, playing out his final months in office, can offer as incentive to quit.
Newsom also has to consider how it would look if he tried to ease out the laggards — whose ranks happen to include all the prominent candidates of color: Becerra, Villaraigosa, Yee and state Supt. of Public Instruction Tony Thurmond.
Ross Harrison, Senior Fellow at the Middle East Institute, says public talk of diplomacy between the US and Iran is hiding hardline positions, warning that despite the messaging, the situation is still likely heading toward military escalation.
As the war US-Israeli war on Iran enters its third week, Iran’s Foreign Minister Abbas Araghchi has said that his country has shown it is ready to take the war “as far as necessary” and that the conflict must end in a way “that our enemies will never again consider repeating these attacks”.
“Beast Mode” started as a phrase people used to describe the running style of former NFL running back Marshawn Lynch.
“I think it was just my relentlessness and my no-back-down type of demeanor when it came to running the ball, like, ‘Boy, that boy a beast,’” Lynch said. “And it’s like, yeah, when I get the ball, that’s what type of mode I’m in — I’m in beast mode.”
Lynch played 12 seasons for the Buffalo Bills, Seattle Seahawks and Oakland Raiders, amassing 10,413 in 2,453 carries with 85 touchdowns. Somewhere along the way, he said, the phrase “Beast Mode” evolved into “this persona bigger than myself.”
“The way that I get approached by kids and fans, like the way that they approach me is almost as if I am like a character so to speak, and I don’t think that I was doing it justice because I’m like, ‘Well s—, I’m just only a man,” the Super Bowl XLVIII champion said.
“But I believe in their mind what they had made up as Beast Mode is this larger-than-life, kind of surreal individual.”
An early look at a page from the upcoming “Beast Mode 510” graphic novel, starring Marshawn Lynch as the title character. Text will be added closer to the Oct. 6 publishing date.
(Art by Denys Cowan / Courtesy of AWA)
Lynch is embracing that perception of himself … and Beast Mode is about to become a literal comic book hero.
On Friday, Arists Writers and Artisans announced the graphic novel “Beast Mode 510,” which is scheduled to be released Oct. 6. Written by NAACP Image Award-nominated author Sheldon Allen and illustrated by Eisner Hall of Fame artist Denys Cowan, the book was “inspired and guided by” Lynch and is a “deeply personal love letter” to his hometown Oakland, according to a news release from AWA.
“At its center is Beast Mode: the 510’s legendary fixer and freelance sleuth whose rough exterior hides a code of loyalty and willingness to deal with problems others won’t touch,” the release reads. “If you’ve got a problem the authorities won’t handle, Beast Mode will. No invoices. No contracts. Just results.”
AWA chief creative officer Axel Alonso said when he was approached by Lynch and his team about possibly working on a project together, the idea of turning Beast Mode into an almost superhuman crime fighter quickly came to mind.
“To use a football analogy, when Marshawn and his people came to me and said, ‘Can you do anything with this, Beast Mode?’ it was like they gave me the ball on the one-yard line and I had to just walk it in — and Pete Carroll wasn’t the coach, so I could just go right in,” Alonso said, referring to an infamous play at the end of Seattle’s loss to New England in Super Bowl XLIX.
“It was as easy as that. I was like, come on, ‘Beast Mode’? So automatically I talked with Marshawn and said, ‘What’s important to you?’”
Lynch’s input has been key every step of the way, Alonso said, with the five-time Pro Bowl selection getting final say on every aspect. Lynch said he appreciates having his voice heard and being able to put his stamp on the project.
“From the start, we just sat down and had a conversation about where it was that we wanted to go, what is the kind of feel, the look that we want, the kind of tone that we want to tell the story,” Lynch said.
Seahawks running back Marshawn Lynch #24 of the Seattle Seahawks runs for a 67-yard touchdown against the New Orleans Saints during an NFC wild-card playoff game Jan. 8, 2011, at Qwest Field.
(Jonathan Ferrey / Getty Images)
An early look at pages from the upcoming “Beast Mode 510” graphic novel starring Super Bowl champion Marshawn Lynch as an underground crime fighter.
(Art by Denys Cowan / Courtesy of AWA)
“I can’t draw or nothing like that, but any type of update or anything Axel will get over to me and, you know what I mean, yea or nay. And then when it comes to like how certain characters would look, certain names, individuals — I would say I’m involved, but I’m not stepping on their toes.”
For Lynch, one of the top priorities was to bring attention to all the unique aspects of his beloved city.
“We kinda have Oakland being a character of its own,” he said. “The personality of what Oakland stands for is something that I would really like to highlight ‘cause I feel that my city gets overlooked. And then the amount of individuals that we have coming out of area, it’s also an opportunity to show a nod to a lot of the Bay Area cultures and icons that we have.”
Even though the book is fiction, Lynch insisted on authenticity in the depictions of the city and the people who live there, including the way they look, act and speak.
“I think the biggest thing will probably be just the way that I speak in general,” Lynch said. “Mother— from where I’m from, we talk with a certain type of a tone, a type of swag.”
An early look at a page from the upcoming “Beast Mode 510” graphic novel. Marshawn Lynch says his character was inspired by the larger-than-life persona fans sometimes associate with him.
(Art by Denys Cowan / Courtesy of AWA.)
And, judging from Lynch’s signature way of talking, a lot of profanity.
None of Lynch’s ideas has been toned down.
“This is an R-rated book,” Alonso said.
“I want this s— to be turned up to the max,” Lynch added, “so if a mother— do pick this up to read, it’s gonna be like, ‘Oh, this some real s—.’ As well as entertaining, as well as insightful and impactful.”
Lynch is used to keeping people entertained, including as the co-host of the “Get Got Pod” with former Seahawks teammate Mike Robinson and as an actor with numerous roles in TV and film (including a breakout performancein 2023’s “Bottoms”).
He said he’s proud of how the project is turning out.
“When you see work and be like, ‘Damn that s— was nice’ and you start thinking about the thought process and how they got to those points, how they got to those things that drew you in, those things that give you that warm feeling,” Lynch said, “I’m feeling like I’m living that as this s— is going.
“Which is crazy as f— because I played in Super Bowls, I walked the red carpet of f—in’ premieres, and this one feels like, out of a lot of s—, this one is capturing that feeling for me. I’m a [Black man] — you know we don’t feel too much. But when we do, we be like, ‘Oh yeah, you know this s— is special.’”
