The second interaction between uc-ish berkeley literature grad student adam merkin (calum worth) and his struggle rap mentor, behn grymm (jackie long), issues behn, who is african american, granting adam—very well caucasian—permission to apply the “n-word.” adam does, and straight away regrets it, despite the fact that his whole grad thesis facilities across the word’s use in african-american “poetry,” academia insulating the awkward white child in opposition to taking responsibility for his inherent, inherited racism. That “permission,” behn implies to adam, accompanies the kid’s want to be informed by a marginalized network that all of his appropriation, all of his have a look at and love and theorizing approximately art that technically isn’t his, is ok. Which in itself is racist, because, as behn’s spouse (candice renee) later yells at adam, anticipating the ins and outs of black way of life, of black lifestyles, to be explained to ignorant white people—waiting for all black humans to act as non-public gatekeepers for all white human beings—best condones that ignorance, removing responsibility from the oppressor even as fortifying racist inequality. Irrespective of what adam does, he’s being racist, and with the aid of trying no longer to be racist, he simplest digs himself in even deeper. That's pretty an awful lot bodied’s factor: adam is an asshole.
Even though bodied ostensibly charts the rise of adam to battle rap godhood, it's far as a good deal about adam accepting his whiteness as it is approximately the cultural phenomenon of conflict rap and to whom that phenomenon belongs. It probably isn’t irrelevant, given how screenwriter alex larsen emphasizes the trenchant meanings of language, to interpret the film’s title as an expression of physical dominance: warfare rap is equally intellectual and athletic, an expression of one’s identification as an expression of one’s lifestyle as an expression of the way one looks. Which might be why kahn treats bodied as a subversive sports activities film, positioning his underdog because the predicted winner of the huge sport—a war rap between adam’s crew and the ersatz antagonist, megaton (dizaster), over a false impression regarding megaton’s porn famous person girlfriend—which represents greater than just a simple competition, but a metaphorical struggle among empirical societal forces. Nonetheless, adam triumphing doesn’t trade adam’s gingery whiteness, or change his background because the privileged son of a well-known author (anthony michael hall, og white guy), or deliver him returned what he was willing to sacrifice (lady friend, academic career, home and mattress) to win. As behn scolds adam ultimately, “phrases have consequences,” and irrespective of how secure adam idea he became inside this cultural area he thought he had get entry to to, no matter how tons he’s celebrated for his bars, he’s still and in all likelihood will continually be, as such a lot of people call him, “a racist piece of shit.” adam doesn’t win because he’s eventually regularly occurring, he wins due to the fact he’s eventually prevalent that he’s a racist piece of shit. Bodied brashly and brilliantly asks us to do the equal.