In the original movie, he had two girlfriends. However, his sex life has undergone an intriguing update. The casual misogyny which was a feature of the first film is still in the picture вЂ“ especially when the men in white are airing their thoughts on the bitches and whores of their acquaintance, and when he's not doing deals and socialising with Atlanta's artistic set, Youngblood is looking in on his strip club, where the camera gets very excited about the amount of flesh on display. Watching them go to work is like witnessing a mobile hospital on the move вЂ“ except you wouldn't want to be a patient.Д«ut they're so busy with their wardrobe that they don't create quite enough mayhem to keep Youngblood completely busy, so he's also given the opportunity to tangle with a Mexican drug cartel and two crooked cops with designs on his cocaine proceeds.

In a curious inversion of the old Western convention which put the villain in a black hat, they dress in white, drive white cars, use white guns and get buried in white coffins. The most diverting thing about them, however, is their fashion sense. Standing in his way is a rival gang who want him dead. Unwilling to leave empty-handed, he's planning one last job, so big that it will set him up forever. Priest (Trevor Jackson), too, has had enough of the business. It was an interpretation which ignored the fact that Curtis Mayfield's soundtrack, which has since become a soul classic, resonated with his belief that drug-trafficking was the single most destructive force in African-American society. Drugs were always a feature of the films, causing the first one to be condemned by some for glorifying the trade and those who lived by it.

The setting, too has changed, moving from Harlem to Atlanta, home of trap music, a brand of Southern rap with connotations of gangsterism and drug dealing. Trevor Jackson's Youngblood Priest has had enough of the drugs business and wants to go straight вЂ“ after one last deal.

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