Watch 'The Search' (Season 2, Episode 4 Of 'Awkward Black Girl')

Television
by Tambay A. Obenson
September 14, 2012 1:12 PM
42 Comments
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Watch season 2, episode 4 of Awkward Black Girl starring Issa Rae below, which debuted yesterday; it's titled The Search, in which J finally decides to search for a new job, but just when things are looking up, White Jay throws a curveball.

By the way, Issa Rae was a guest on FX’s Totally Biased last night.

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42 Comments

  • Kendra | September 20, 2012 9:22 AMReply

    She lost me completely when she tried to turned slave rape into a joke. If I wanted to put up with that, I'd watch some hipster bullshit on YouTube.

  • Kelea | September 20, 2012 3:42 PM

    Right. That didn't sit too well with me either. It wasn't that simple and whether it was intended or not it sort of trivializes the struggle.

  • CareyCarey | September 18, 2012 2:50 AMReply

    Okay, lets bring this home. I never said a series should not have a plot, nor did I say anything that would imply this -->"Anyone that tells you it's only about the jokes isn't going to be working for very long". Nope, never did I say the success of sitcoms were all about jokes. Now, some had concerns on ABG's lack of development in Jay's relationships. Others thought ABG's success hinges on a "stronger" plot-line. I opened by saying this--> No amount of rationalizing, analyzing or justifying can defend the indefensible... she's just not funny." In essence, I was disagreeing with the aforementioned suggestion. In fact, I said exactly that-->"this is a web series that's going for instantaneous reactions (by way of) funny lines, funny characters, amusing and hip and quirky dialog. It's not about a stronger "plot" nor tighter storylines." XI said "I'm gonna have to disagree CareyCarey. I think a stronger plot is key." HELLUVA said, "It depends on what style of "sitcom" we're talking about" And Akimbo said something very interesting--> "but even with all the jokes and funny characters in the world, you need an actual story to move it along and keep people interested. I'll take good/captivating storytelling over laugh out loud moments, though both would be nice." I agree with Helluva, it depends on the style of the sitcom... and a captivating story and laugh out-loud moments would be nice. However I question the notion that a "story" is needed to keep people "interested". But in the end, there has been thousands of "pitched" sitcoms with seemingly great plotlines and wonderful premises, with room to develop the relationships of the characters. HOWEVER, less than 1% ever make it to the tv. Of those that do appear, a minuscule few would be considered "successful". Most were taken off the air after 1, 2 or 3 seasons. WHY? It WAS NOT because of an underdeveloped plot-line, nor the lack of developing the character's relationships. I believe all that talk and emphasis on plots and storylines, is simply that; superficial fluff that's taylor made for talking head points. They sound real good and are great selling points, but the winds beneath the wings of situation comedies are not plotlines nor character development. It's the weekly -- episode by episode -- TALENT OF THE ACTORS, situations that inspires laughter, inspires feelings of excitement and stimulating intelligent dialog, jokes etc,. In respect to "Martin" Gina's departure forced the writers to fill a huge void. Which meant they had to change gears and shift some of the load/focus on Pam, Cole and Tommy (increasing their lines and responsibility). I've recently seen all the episodes that did not include Gina. Was the show as funny or amusing after Gina's departure? Some were and some where not. Why? Neither of the remaining actors were as talented or funny as Gina. Another problem involves many of Martin Lawrence's multiple characters (i.e. Sheneneh, Edna (Mama) Payne, abrasive Otis, Pimpin' Jerome, white man Bob, etc) who generally played off Tisha Campbell's character (Pam). With the reduction of those HELLAVA funny characters because of Tisah's departure and the remaining cast taking larger roles, the series stopped being as funny. Is the plot the key? Obviously not. Does all of this depend on the type of humor and the type of "sitcom" we're talking about. I'd say absolutely yes.

  • Adam Scott Thompson | September 17, 2012 1:34 PMReply

    That "baby-voiced nigga" was always my favorite. I thought he might mess around and Urkel the show! LOL

  • Hmmm | September 16, 2012 8:21 PMReply

    She cannot be taken seriously. These episodes are becoming even more terrible and she is doing nonsense videos like that Ratchetpiece Theatre series!! She will continue to have a following because she continues to monopolize on ignorance within the Black community and its constituents and ignorant "urban" culture & many people love to wallow in ignorance (I'm sure she welcomes all races) produced by Black Americans. The "episodes" seem like afterthoughts, and she is trying to spread these lackluster episodes out. I don't believe she has the resources to fully expand yet because she is not looking in the right places. She may not have a clear vision either. Who is taking this seriously? If you asked me, she should have wrapped season 1 and turned this nonsense into a movie. At least she could have went out with a "bang" and moved onto something new. But it's getting worse with each episode.

  • hmmm | September 16, 2012 8:52 PM

    You're ignorant for that lame interpretation. I said ignorance **WITHIN** the black community. Oh, you're going to tell me that's not true?

  • Carl | September 16, 2012 8:35 PM

    "she continues to monopolize on ignorance within the Black community and its constituents and ignorant "urban" culture". You're ignorant for suggesting that the "black community" is ignorant. Humor has no boundaries.

  • bondgirl | September 16, 2012 7:17 PMReply

    How much are we supposed to overlook just because this chick is black? I turned my back to the bad acting, low production value, and casting choices because I felt she would get stronger in the writing dept and compensate with dialogue. However, the writing is DOUBLY WACK this season! She didn't make a lateral move, it was straight downhill into a snow-covered tree...wtf? The non-black token (Cece) always bothered me, especially since everybody grumbles about black ppl being the token, until a Chinese/Indian/insert brown ethnicity takes their place. Where's the low talker and the narcissistic boss? Why take away the supporting cast that actually made her shine? When I think back to comments about ABG vs Girls or this show being on HBO, I laugh heartily. She's not ready, and matter of fact, she's >>><<< close to fucking it up. I'm still rooting for her success, but for the love of God Issa, step your writing game UP! Form test groups or something.

  • Charles Judson | September 17, 2012 11:25 AM

    Rewatch the shows and movies you find the funniest and that were also (cult) hits. The majority of them had at minimum standard sitcom A, B, C plot structure. More importantly, the most memorable episodes also usually had the simplest plots. The Gordon Catrell episode of THE COSBY show is as simple as you can get, yet it's an episode almost everyone remembers out of 200 episodes. SEINFELD's "The Bet" episode another example. THE HANGOVER as a film has one of the simplest beginnings and plot structures in the world, three friends who lost their memory have to find the fourth so they can get him to his wedding. COMING TO AMERICA: A pampered prince travels to America to find a wife who will accept him for who is. A DIFFERENT WORLD doesn't have many story arcs, but the ones they had were both subtle and overt. From turning Dewayne into more of a smooth nerd with ambition and Whitley from a one-note side character to a more well rounded lead, to the romantic storylines like Dewayne and Whitley or Ron and Freddie. Even the direction they took the characters career wise. Dewayne coming up with a computer game that's a success, while a little bit cheesy, works when you've setup how much of a math whiz the man is and even send him to Japan for a job. It's not live in a dorm room season 1, move into a store season 3 craziness. Conversely, you can also see how if you don't know what do with characters, or plan ahead, they can feel out of place. Jaleesa they shoehorned her back into her own show by having her elope in between seasons. Which basically robs the character of her storyline of being a non-traditional student who was at least 7 years older than all the other characters at the start of the show, and the most level headed. They struggled to find ways to keep Jalessa there. Didn't work. In fact, notice how less funny THE COSBY SHOW, A DIFFERENT WORLD, MARTIN, et cetera become when they wrestle with figuring out where to take characters, or when the shows were strongly built on a central premise and the premise changes. The core to MARTIN was always Martin and Gina. Once you pull her out, the show instantly becomes weaker. Not to mention the episodes in which the show's standard plotting was jettisoned for wackier storylines--this for a show that already was willing to be silly--that turned some people off for good. CHEERS on the other hand can lose it's main romantic pairing half way through and still run for another five years. THE COSBY SHOW becomes a pale imitation of itself when it has to find ways to bring kids back into the show so they can raise a new generation. Don't sleep on how much structure and arcs affect how funny and watchable your shows are. Anyone that tells you it's only about the jokes isn't going to be working for very long.

  • Helluva | September 17, 2012 7:50 AM

    It depends on what style of "sitcom" we're talking about. Something like "A Different World" definitely has through-lines, such as the ongoing plot/drama of Dwayne & Whitley which kept most people who enjoyed the show enthralled. Many sitcoms that have that "will these two get together" element rely on this type of plotting. Of course ADW was also funny, just maybe not laugh-out-loud funny in the way other comedies are. Several of the more recent cable-based "comedies," especially those centered around female protagonists, are also heavily plot-focused. Based upon what Issa seems to be aiming for, a stronger throughline would definitely improve the strength of the show.

  • CareyCarey | September 17, 2012 4:04 AM

    And btw Akimbo, how you been doin'? We haven't been in a conversation/post together (I believe) since Andres Seawood's second to the last post. I surely could have used your "assistance"/feedback in that debacle. ** BIG EVIL GRIN**

  • CareyCarey | September 17, 2012 3:43 AM

    True that Akimbo, a plot is essential, but that has never been my argument. I am suggesting that a "plot" is not an "action". As Charles said in another post, when one puts the "message" in front of great storytelling ( in this case, the situations that inspires laughter, feelings of excitement, stimulating intelligent dialog, etc) it's akin to putting too many eggs in the wrong basket, or putting too much empathizes on areas that's not going to sustain the viewer. Sure, the situations you mentioned could have been MORE deeply developed, but again, it's the lines and the executions of those lines that matters the most. Heck, you gave us ending scenarios, now what? We have the plots ending, so that's all we need, right? Success at hand, stop right there. And again, we cannot merely cast-off the early situation comedies by saying they "still had a plot". Yes they did, but the central point to their success was the lines and the EXECUTION OF THOSE LINES. And Akimbo, think about it, how are you receiving good/captivating storytelling? I am suggesting that it's not merely the particulars of the "plot", it's the "actions" on the screen and the feelings they gave you. And one more time, what was the central plot in Seinfeld? Anyway, maybe you guys are suggesting that within "each episode", Issa should have a continuing plot-line throughout THAT 10 minute episode, and not rely on "skits"? Or are you actually saying all the episodes should have a continuing "theme" that the viewer can follow week after week? I believe that's what some are saying. They want to stay engaged with a storyline that peaks their interests/anticipation. Is that the crux of your argument?

  • Akimbo | September 17, 2012 2:12 AM

    @CC, each episode of the aforementioned sitcoms (situation comedy) still has a plot, even if some lacked arcs. They set up a situation or problem and had it pay off in a hilarious way by episode's end. For example, Rachel's newly addicted to Pottery Barn, but her roommate Phoebe hates it. Now Rachel Has to do everything in her power to hide the truth. What will happen when Phoebe finds out? Hilarity. In this episode, Jay hunts for jobs and...she doesn't get laid. They set up a situation, failed to follow through, and didn't even pay off a previous storyline they randomly reintroduced at episode's end. Not that the jokes were funny, but even with all the jokes and funny characters in the world, you need an actual story to move it along and keep people interested. I'll take good/captivating storytelling over laugh out loud moments, though both would be nice.

  • Carey | September 17, 2012 1:49 AM

    @Xi, I meant to include Seinfeld. Did it have a definable "plot"? It was said to be a sitcom about absolutely nothing *lol*. Each new episode did not depend on the previous one. Granted, the worlds of each character evolved and grew over time, but in respect to ABG, we're talking about a 6-10 minute web-series.

  • CareyCarey | September 17, 2012 1:12 AM

    Whatsup Xi, I truly understand what you're saying, but when I look at other successful series, be it webseries or tv, the plot is not what engages the viewers, nor what makes them laugh. Look at Friends, Martin, The Cosbys and The Carol Burnett Show, just to name a few, each episode stood on it's own. Granted, the main characters had "connections/relationships" with each others, and there was a plotline. However, it was the gags, jokes, fresh dialog, witty dialog and how each performer/actor enhanced their lines with facial and body movements, that was the central reasons behind the viewer's enjoyment, NOT THE PLOT. In most cases, there was no central "plot". This is comedy, not a character driven drama.

  • Xi | September 17, 2012 12:11 AM

    I'm gonna have to disagree CareyCarey. I think a stronger plot is key. Nothing about this season has me on the edge of my seat the way I was in season one for her first date with white Jay, or the night she worked on the project with Fred. I do agree that a focus group would help the writers see which jokes are hitting and the jokes that are falling flat.

  • Laura | September 16, 2012 9:28 PM

    @Bondgirl, you're starting to sound like CareyCarey with your use of metaphors and "take no prisoners" approach. If it black it can still be wack.

  • CareyCarey | September 16, 2012 9:00 PM

    Charles, I have to disagree. I believe you're over-analyzing this series. A test group is always an asset, even if one does not have a defined direction. In this case, this is a web series that's going for instantaneous laughs, amusing, hip and quirky dialog. It's not about a stronger "plot" nor tighter storylines. I mean, lets say the plot was tight(er) and the storyline more consistent, does that automatically translate to funny, amusing and highly entertaining? No, I'd say not. Of course we can agree that "more time" is always a plus, but test groups can be used at any time and for multiple purposes. Besides, they don't have to be "brought in". There are several college "groups", small and large, that would love to assess the creative works of other artists. And in that process, Q&A's would speak to every part of what we believe are missing. Don't sleep on test groups... their size, their purpose and assets.

  • Charles Judson | September 16, 2012 8:25 PM

    From a writer's perspective, there's not a lot test groups can do for her till she gets a handle on what these seasons are about and where she wants to take the characters. There's a reason a writer-producer like David Chase started to take a few extra months between seasons on THE SOPRANOS. Or, why it is Vince Gilligan who wanted to breakup the last season of BREAKING BAD in two even more than AMC. All so he could give him and his writing staff time to reboot and tackle the back half with fresh eyes. I continue to use THE GUILD as an example of what you can do with a web series because all 5 seasons tell a continuing story, however each season has its own particular arc, antagonists, and well articulated cast who we've learned something new about over the life of the series. I think Issa can pull it out if she has the courage to pull the plug on something like ROOMIELOVERFRIENDS--can the stakes in episode 2 be any lower or undefined? Again, watching someone try not do something is dramatically boring--and focus on making AWKWARD BLACK GIRL what it has the potential to be. A month between episodes, that are only 10 minutes long, should make for stronger plotting and tighter storylines. Not to mention the opportunity it gives to rewrite and reshoot scenes that don't work or are weak.

  • Carey | September 16, 2012 7:37 PM

    Bondgirl, there it is--->Form test groups or something! When it's all said and done she needs help. I don't anything about the woman's character. She could be a control freak or has to be the star, hence taking away her support cast and not getting input from other writers (maybe she is), but she has to find a way to test each segment/skit/flow within each episode before dropping them on us.

  • Priss | September 16, 2012 2:05 PMReply

    Go easy. She's in bigger leagues now with the Pharell thing and the magazines and exposure and that's got to come with pressure to perform. This was flimsy but the woman has a voice. I hesitate at calling the series a shark jump just yet. This wasn't good - if fact, it was downright bad - but I want her to succeed so will continue to support.

  • Charles Judson | September 16, 2012 4:11 PM

    The problem isn't that she's jumped the shark. In fact, I don't see a problem, per se, and I more see opportunity. From my perspective, neither Issa Rae or ABG has reached their full potential yet, and never really did in the first season. Of what's out there, ABG has one of the stronger premises, an untapped potential for interesting storylines, a willingness to push the comedic envelope and a Writer-Lead who could join the ranks of Bill Cosby, Richard Pryor,
    Woody Allen, Lena Dunham, etc. And I don't see Pharell as a step up or much of a help in focusing they show to strive for more. I Am Other feels like leftover bits and pieces of rejected or underdeveloped MTV concepts circa 1997. It's disappointing because they should have the clout to really take audiences off the beaten path and really blow their minds finding the Others out there. I'm not sure it was intentional, but it feels like a subversion of underground culture that can't totally shake, or at least acknowledge, the influence of its commercial underpinnings.

  • Akimbo | September 16, 2012 12:47 PMReply

    That was...pretty bad. Felt forced, over-the-top, and painful. If J was really an African (-American?) studies major, then the Middle Passage fantasy is not only unfunny and stupid, but also incongruous. Poor Cece has been downgraded to a one-note clown and the Js have absolutely no sexual chemistry. Just let them hook up offscreen and tell us they did it; I don't think anyone wants to see it.

  • Xi | September 16, 2012 11:49 PM

    Say that! I'm still banking on Fred.

  • Charles Judson | September 16, 2012 12:45 PMReply

    I'm curious why there's a month lag between episodes, not the best way to build up momentum. As for this episode, I did find the Slavery-Colorism joke funny. Watched it several times in a row and laughed every damn time. It's up there with "Rap and Poetry had a baby called Spoken Word. I wish I could abort that baby," line from the first season. In fact that episode drops more than a few good lines and moments. I do think Issa Rae and her crew know how to land a comedic punch and land it hard. However, since season one they've been hindered by repetitious beats, a very loose season structure, a lack of raised stakes episode to episode and too much "Almost" plotting. J and White Jay have almost slept together. The phone call reenactment with her boss almost has impact on her job. The Jingle kinda has some importance but her failing doesn't dramatically change anything other than she looks for a new job--in the least visually interesting and impactful way possible, online--and she almost has a new job because of it. The asides can definitely be funny, but as with FAMILY GUY, when they don't have an bearing on the plot, it's more of a waste. What if someone in the office HAD figured out she was looking for a new job? What if she had gotten the Jingle job and she awkward blew it when she thought she had it made? What if the next episode she had awkwardly tried to go to corporate to convince them she had the better jingle? What if she had slept with White Jay already and in true J fashion it was awkward as hell and now we're watching the repercussions? Watching J try to erase a bad night of sex by blowing White Jay's mind would be infinitely funnier and relatable than watching her trying to have sex. The premise of the show in my mind is a still missed opportunity. How J's Awkwardness get her into trouble and puts obstacles in her way should be more of the show, not something we see more often in her head, and definitely not something that doesn't back her into dramatic corners. Watching characters almost do anything is never terribly interesting.

  • Jmac | September 17, 2012 12:20 AM

    Well, I think everyone here has the same end goal (almost everyone). We want her to do better and have some faith that she will with more time and effort. I never did understand the Issa Rae v. Dunham comparison discussions - outside of the theme of supporting and nurturing black talent so they can eventually reach a similar level of success. However, ABG was always just a cute, amusing little web series (in early season 1) and nowhere near tv show quality. As much as I want to chalk ABG as being "practice" for Issa I do question why she would take $50K or so in viewer donations to finish Season 1 and start Season 2 and get interviewed on national tv if she wasn't going to pursue this wholeheartedly nor had plans to step up her game. ABG has lots of potential and although I agree Issa isn't quite there yet I believe she can get there. I'm willing to wait but I'll still be on the lookout for more talent and better talent.

  • CareyCarey | September 16, 2012 4:32 PM

    @ JMac, in all honesty I was thinking the same thing. First, writing comedy is VERY hard. Second, I can safely assume there's not heaps of money to despense to those involved. And generally, a "team" writes the scripts, banging it out over several days. Think Saturday Night Live and 30 Rock. They have a huge cast and crew of seasoned PAID professionals. Plus, one doesn't really know if their stuff is amusing, funny or whatever, until it's performed in front of an audience. So Issa Rae has her hands full. You know, in short, it's awefully difficult to get feedback from those you respect and those who understand your "art", your voice, your goals and the demands it takes to put on something of this nature. And again, as I mentioned, money is always a pressing issue. So although I hit her pretty hard, I have to sit back and consider everything she's working with.

  • JMac | September 16, 2012 3:54 PM

    Good analysis. Maybe AWB is a side-gig for everyone - that's why there's a month between each episode? I still get the feeling this is just supposed to be for fun and not as a serious attempt at developing a solid sitcom/web series.

  • CareyCarey | September 16, 2012 2:01 AMReply

    You guys know the words to this EN VOGUE slow jam, so sing along... "Many say that I'm too young to let you know just where I'm coming from. But you will see, it's just a matter of time my love will surely make you mine. Well, I'm livin' in a world of ghetto life, everyone seems so uptight. But nothin's wrong and it's alright with my man. People out there can understand I'm giving him something he can feel, to let him know this love is real. Giving yawl something y'all can feel to let you know this love is real." Goddamn! That's my mfkin' jam! Yes sir... GIVING HER SOMETHING SHE CAN FEEL. Now here we are gathered together trying to understand what Issa Rae is giving us. Some have said "something is missing." One said they can't put their finger on it. And, of course, we have the intellectuals doing their thang... "There's a lack of character development"... "She's a wannabe chick who's using hipster humor and prurient jokes" but she's not hip and she's kissing on a white guy. Now I say, cutout the analysis paralysis, the over-analyzing or over-thinking that we love to engage in. Tell it like it T-I-IS, the sh*t just ain't funny -- PE-RI-OD! Now check this, in respect to giving us something we can "feel", the other day I was watching Young Man With A Gun starring Kirk Douglas and Lauren Bacall. Well, Lauren was a privileged trust fund baby who was a medical student, studying "art" and psychology. One day Kirk (who was in love with her but she was playing him) was playing his horn in the corner of a swanky joint. Lauren started asking him a lot of deep questions concerning the intricate details of Jazz. He tired to blow her off b/c he wasn't trying to "discuss" Jazz. She finally said "Aren't you interested in understanding the roots of jazz and why you're so engrossed by it." He dropped the horn from his lips, peered in her eyes and said, "Baby, I don't want to understand it, I just play it. I feel it, and when it's good, everybody feels it, so we don't have to talk about it or understand it. I'll leave that for you and your high-class friends." Yep, Issa Rae may be talented, but she has obviously met her match. No amount of rationalizing, analyzing or justifying can defend the indefensible... she's just not funny. When she resorted to blackface, mammy jokes and stanky poomtang humor, it's time to call this one -- another love TKO.

  • Carey | September 16, 2012 3:06 AM

    Opps... damn, he didn't have a "gun". The title is Young Man With a HORN.

  • JaySmack | September 15, 2012 2:46 PMReply

    Great another Felecia Day/Lena Dunham wannabe. A chick who creates a web "series" based on hipster humor, prurient jokes and pretending to be edgy. If white people do racial/racist humor to be "edgy" she'll one-up them by degrading herself and by extension blacks in general. Why the world actually likes this garbage?
    The fact anyone does --or would even want to-- watch such crap proves society is swirling around the toilet bowl.
    Won't be long now!

  • Lauren | September 15, 2012 4:13 PM

    @Jaysmack- I agree with you!

  • Rane | September 15, 2012 7:51 AMReply

    Ms Rae spits the N word more than folks at a KKK convention...so not funny! SMDH

  • JMac | September 14, 2012 11:19 PMReply

    Best episode this season. Liked a lot of the jokes and setups, esp. Darius's slow walk-by and the talking like a white girl to a potential employer bit. I think the show is better when they don't focus entirely on the relationship part and just let her be herself.

  • BluTopaz | September 14, 2012 8:40 PMReply

    Tough crowd. I thought it was funny, esp the Middle Passage Exhibit and I don't like jokes about slavery.

  • MicheleB | September 14, 2012 4:46 PMReply

    Hmm. I'm kind of annoyed with this season of ABG as well. One of the main problems is the month long space between episodes. Then the ep's length are varied. Honestly, in a month's time I forget all about this show. As far as critiquing what's missing, it seems like this season isn't developing Jay's relationships the way they did it season 1. (Her friendship with Cici, her nemesis Nina, Darius etc. ) I love Issa, she got a GREAT cast together and that's one of the things that made it so special. This season is focusing more on her (Jay). --I'll continue to support the show though.

  • NinaG | September 14, 2012 9:42 PM

    Good point about the lack of development in Jay's relationships. Characters and relationships aren't changing and that is why the time gap between episodes seems like a bigger deal this season than it did last season.

  • cinexa | September 14, 2012 4:08 PMReply

    Yeah, this is just not what it was in season 1. I cant put my finger on it, I know..it's not funny anymore. Season 1 was LOL funny. Now i'm trying to find the jokes.

  • Avery | September 14, 2012 3:26 PMReply

    I appreciate her talent, and last season was hilarious, but this season leaves much to be desired. Something's off, but I hope it gets back to its quirky heights soon.

  • artbizzy | September 14, 2012 1:41 PMReply

    Loved this episode! Lots of comedic risks taken here and I found it very funny and on point. I really like how over the top, creative and campy ABG is. A lot was packed into these 10 minutes and I thought overall it worked well. Some of my favorite parts in this one and in ABG in general are during the things she imagines could happen as well as flashback scenes mixed in with what is going on now. The social commentary mixed in with the comedy and the awkwardness..always has me rolling. Get it, Issa!

  • the black police | September 14, 2012 1:17 PMReply

    So sad to say this: it was terrible.

  • Wow | September 14, 2012 2:34 PM

    Right...but to stay positive I will say I definitely got my money's worth.

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