{"id":47,"date":"2026-05-26T18:40:57","date_gmt":"2026-05-26T18:40:57","guid":{"rendered":"https:\/\/relocationacrossamerica.com\/?p=47"},"modified":"2026-05-26T18:40:57","modified_gmt":"2026-05-26T18:40:57","slug":"boots-rileys-zany-love-letter-to-theft","status":"publish","type":"post","link":"https:\/\/relocationacrossamerica.com\/?p=47","title":{"rendered":"Boots Riley\u2019s zany love letter to theft"},"content":{"rendered":"
\n

A few months back, I made the mistake of trying to buy a product from Target, a store where products are sold \u2014 allegedly. It was barely noon, but I\u2019d already flown halfway across the country on an early flight to visit my parents for the holidays, and spent two hours in a rental car driving from the airport. Exhaustion was setting in, but the deodorant I\u2019d packed needed to be replaced, so I found myself roaming the body care aisles, wincing under the fluorescent lights as my patience rapidly grew thinner.<\/p>\n

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It was unusually difficult to locate my brand, which I eventually realized was because it was hiding inside a plastic lock box, just in case a band of perfume-pilfering deodorant delinquents happened to breeze through town. Accessorizing the lock box was a button with bold white lettering screaming at me to \u201cPUSH FOR ASSISTANCE.\u201d I did as told,and was met with a robotic voice echoing the button\u2019s sentiment every five seconds. Help was on the way, God\u2019s voice assured me. It was not.<\/p>\n

My assistance never came, and the deodorant was never purchased. It stayed inside the lock box and my business went elsewhere. Loitering in the body care aisle of a big box store, hoping someone will arrive to quell the robot\u2019s tone so you can move through the world odor-free, is a uniquely modern humiliation ritual. Making a \u201cCVS run\u201d for toiletries has turned into a \u201cCVS crawl.\u201d It\u2019s virtually impossible to be in and out of a store in five minutes.<\/p>\n

Everything \u2014 even the things you\u2019d never imagine that anyone would care to steal \u2014 is locked away, awaiting a presumably human store employee to free it with their magic key and true love\u2019s kiss. But that process moves at a snail\u2019s pace, if it happens at all. Store employees don\u2019t get paid enough to hustle and, frankly, I don\u2019t want them to. The average sales associate at CVS makes minimum wage, has paltry benefits (if any), and is now being arsed with playing ye olde shoppekeep for toothpaste and socks, just so someone who needs these things but might not have the means to pay for them won\u2019t steal them. We live in an absurd reality.<\/p>\n

\n

What begins as a story of uber-fashionable outlaws transforms into a rallying cry for rightfully weary employees, measuring the steep cost of cheap labor to make a compelling case for tucking that eyeshadow palette or pack of batteries right into your pocket.<\/p>\n<\/div>\n

How fortunate we are that chronicling and exploding our absurd reality is writer-director Boots Riley\u2019s whole thing. Co-founder of the politically outspoken hip-hop group The Coup, Riley has devoted his career to being a thorn in the side of the elite, combining bold visual aesthetics with the candid, people-first messaging West Coast hip-hop is renowned for.<\/p>\n

In his work behind the camera thus far, Riley has taken aim at late-stage capitalism and Black American disaffection with graceful aplomb, becoming one of the defining voices in contemporary film with just one feature, the 2018 \u201cSorry to Bother You,\u201d under his belt.<\/p>\n

With his latest film, \u201cI Love Boosters,\u201d Riley has set his stylish sights on the manufactured theft crisis, turning this strange and often annoying microcosm of our contemporary lives inside-out to expose its many unseemly ramifications. Here, he assembles his own elite squad known as the Velvet Gang: Corvette (Keke Palmer), Mariah (Taylour Paige) and Sade (Naomi Ackie), a bewigged team of shoplifters, or \u201cboosters,\u201d who hit popular Metro Designers retail outlets in the Bay Area and resell whatever they can grab. The Velvet Gang practices FFF: Fashion-Forward Filanthropy \u2014 an intentional spelling mistake, or \u201cbranding,\u201d as Mariah calls it. This credo is their way of giving back while making a profit, and it doesn\u2019t hurt that it also works the Metro Designers\u2019 tyrannical founder, Christie Smith (Demi Moore), into a lather, either.<\/p>\n

When the Velvet Gang gets word that Christie is launching a line of $100,000 suits, the trio hatches a plan to get their hands on the merchandise before anyone else can, stumbling into a horrifying and hysterical conspiracy in the process. What follows is a sometimes frustrating, often hilarious hodgepodge of observations about the innate folly of living in a world where treating employees with basic respect is seen as optional.<\/p>\n

In a time of growing economic disparity, when the chasm between the working class and the one percent is so enormous that it has virtually destroyed upward mobility, \u201cI Love Boosters\u201d rips into the establishment with biting satirical flair. What begins as a story of uber-fashionable outlaws transforms into a rallying cry for the rightfully weary employee, measuring the steep cost of cheap labor to make a compelling case for tucking that eyeshadow palette or pack of batteries right into your pocket.<\/p>\n

Yes, \u201cI Love Boosters\u201d is proudly pro-theft. And what\u2019s so wrong about that, really? The benevolent shoplifter knows as well as any store manager and corporate CEO that loss margins are baked into the budget. Excluding mom-and-pop shops and small businesses, essentially every store expects to lose a certain amount of money in merchandise each fiscal year. That\u2019s just how the retail business operates, which is precisely why seeing so many items locked away behind a theft-protection system reminiscent of an M.C. Escher illustration feels so outrageous.<\/p>\n

What\u2019s the point in shopping at a store if you can\u2019t actually, you know, shop there? These unnecessary preventative measures aren\u2019t just a nuisance for the consumer; they\u2019re a hassle for the overworked, underpaid employee who spends their shift telling customers, \u201cNo, we don\u2019t have more of that in the back.\u201d The stores are no longer stores. They\u2019ve become monuments to corporate greed \u2014 zones of atrophy, boredom and total disempowerment.<\/p>\n

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But the way Riley\u2019s screenplay portrays the average shoplifter may help the film skirt the inevitable pearl-clutching and finger-wagging. Corvette, a promising and hard-working designer herself who aspires to Christie\u2019s brilliance, is tormented by nightmares of rich people complaining about the generation who \u201ccan\u2019t expect everything to be handed to them.\u201d She imagines a massive ball of bills and paper forms rolling around Oakland, following her every move. Like many young people today, she was born into a world that isn\u2019t fit to accommodate her, no matter how hard she works.<\/p>\n

So, why not take something for herself? The wealthy \u2014 the figures who control the world, the Bezoses and Musks and Sarandoses \u2014 have no problem stealing. They take our data, our time and our attention, and then turn around and monetize it, selling it for profit to ensure that we continue to fund their wives\u2019 frivolous trips into space. \u201cI should have it all: colors, patterns, beauty,\u201d Corvette tells Grayson (Will Poulter), the manager of a Metro Designers outlet, during a job interview. \u201cIt\u2019s mine anyway.\u201d<\/p>\n

Her words bear a wonderful complexity thanks to Palmer, who\u2019s perfectly cast in her lead role. She delivers this line with both humor and a remarkably unassuming depth, a weight that suggests her character has far more on her mind than just shoplifting. \u201cMine,\u201d in this sense, doesn\u2019t simply allude to something Corvette will steal; she\u2019s referring to all the invisible things that comprise a mass-produced product \u2014 the labor and energy and time. She\u2019s speaking collectively as a member of the working class, expressing solidarity with those whose lives are devoted to work, all in pursuit of being able to live with a modicum of comfort, and maybe, one day, to buy something beautiful they\u2019ve long coveted.<\/p>\n

Her sentiment takes on a much more literal meaning when Corvette finds out that Christie ripped off one of her designs for Metro Designers\u2019 latest collection. Suddenly, \u201cI Love Boosters\u201d widens its scope to comment on white people\u2019s proclivity for erasing Black artistry and co-opting it as their own, before tightening its aperture once more to refine its messaging about labor, all at a frenetic pace. At times, it\u2019s a discombobulating experience, and the film would surely benefit from giving its ideas more space to breathe.<\/p>\n

But Riley\u2019s brain works overtime, and when his concepts work, they feel as radical as any protest film. He posits that all the various forms of our modern alienation are connected, drawing throughlines that are both preposterous and incisive as he shows his work. A B-plot about strange local news clips \u2014 with inspired cameos from Jason Ritter and Kara Young, whose chiron \u201cCrying Black Mother Demands More Police\u201d implies that there\u2019s an insidious larger scheme afoot \u2014 plays like a running joke until it ties the whole film together.<\/p>\n

\n

The wealthy \u2014 the Bezoses and Musks and Sarandoses \u2014 have no problem stealing. They take our data, our time and our attention, and then turn around and monetize it, selling it for profit to ensure that we continue to fund their wives\u2019 frivolous trips to space. Why shouldn\u2019t Corvette take something for herself?<\/p>\n<\/div>\n

But \u201cI Love Boosters\u201d is not a conspiracy-minded movie. Rather, it\u2019s a pragmatic game of connecting the dots, revealing a damning picture of widespread corruption. If you miss a step or skip ahead, the final result might look a little off, but even what\u2019s visible of the intended design is a testament to Riley\u2019s dexterity. Even in the film\u2019s most convoluted moments, there\u2019s a fire of dissent percolating just beneath its surface.<\/p>\n

In the final act, which culminates in Christie\u2019s hotly anticipated fall runway show, Riley successfully closes the circle. The set piece is a daring, madcap, Wes Anderson-esque romp through San Francisco all the way to the Metro Designers factory in China, where worker conditions are grim and hazardous. It\u2019s not a far cry from the real-life environment in fast fashion factories. Yet horrific reports about 18-hour workdays and a piecework pay scale of pennies per item haven\u2019t deterred consumers from buying up the synthetic crap Shein and the drop-shippers peddle. It\u2019s a cycle: Consumers want to save money because they don\u2019t earn enough in the first place, and that demand drives terrible working conditions for the people who make the clothes. The only people benefiting from this endless loop are the Christie Smiths of the world, who will do whatever it takes to maintain their comfort and control.<\/p>\n

Here, Corvette and the Velvet Gang realize that this is about much more than shoplifting some clothes and reselling them at a discount. Their operation stands to make a real change. Theft can be a tool to communicate a large-scale message \u2014 or, at the very least, try to communicate one. Everything quickly comes into perspective. Why would Metro Designers respond to an uptick in theft by spending the money to turn their stores into armored safes with round-the-clock guards, when their employees get 30 seconds for lunch and can\u2019t afford the store\u2019s products on their own wages? Why lock up deodorant when a company could use that cash to pay their employees enough to stop living paycheck-to-paycheck? Isn\u2019t it funny how the money to implement theft protection is no problem, while workers see no changes to their paycheck?<\/p>\n

\u201cI Love Boosters\u201d argues that theft can be an efficient mechanism for exposing the disparity between the haves and the have-nots. It\u2019s a tool to clarify where the money comes from and where it\u2019s going. If stealing creates a forced transparency, putting more power in the hands of the worker, then good: That\u2019s precisely where it should be. Boosting isn\u2019t a solution, but it is an equalizer, reminding upper management that a different title and fatter salary don\u2019t exempt them from compassion, inside or outside the store.<\/p>\n

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In “I Love Boosters,” Keke Palmer’s brigade of bandits makes labor uprisings into next season’s hottest trend<\/p>\n","protected":false},"author":1,"featured_media":46,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[17],"tags":[94,4,95,96,97,98,99,26,100,101,102,103],"class_list":["post-47","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","tag-boots-riley","tag-commentary","tag-demi-moore","tag-fast-fashion","tag-i-love-boosters","tag-kara-young","tag-keke-palmer","tag-movies","tag-naomi-ackie","tag-shoplifting","tag-taylour-paige","tag-will-poulter"],"yoast_head":"\nBoots Riley\u2019s zany love letter to theft - Relocation Across America<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationacrossamerica.com\/?p=47\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Boots Riley\u2019s zany love letter to theft - 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