Blast-Off Girls

The film opens in a crowded nightclub where Boojie Baker and his loyal assistant Gordy watch Charlie, a band that has clearly been put through the mill. The group gripes about the royalties they've been fleeced out of and storms out, exposing Boojie's predatory instincts. This moment establishes Boojie's pattern of exploiting unknown acts to line his own pockets.

In a local bar Boojie and Gordy stumble upon The Faded Blue, a five-man garage rock group. He promises them fame and renames them The Big Blast, dressing them in designer suits. He seduces a recording engineer and uses photographic evidence to blackmail him into letting The Big Blast cut a single.

Boojie's tactics pay off as The Big Blast records a single under pressure, and airplay pushes them toward stardom. The band basks in growing fame while Boojie quietly controls the contracts and profits. The studio becomes a factory for hits rather than a space for artistic collaboration.

As The Big Blast's name gains traction, the members begin to question why they aren't receiving money for their work. They realize Boojie's control over contracts and profits binds their financial future to his terms. The veneer of fame hides the growing sense of exploitation.

The five confront Boojie in his office, accusing him of swindling them and demanding upfront payment for future work. Boojie refuses to renegotiate and maintains tight control over their careers. He coyly invites them to a party, pretending to mend fences while setting the stage for a trap.

Boojie hosts a party filled with liquor, women, and marijuana to smooth over tensions. A 'police detective' arrives to raid the gathering, but Boojie uses his police connections to bail the band out if they sign new, harsher contracts—five years with a much larger share of profits. The band agrees, fearing the consequences of defying him.

One by one the members sign the extended contracts, ceding control of their work to Boojie. The five-year terms cement Boojie's hold on their profits, and internal tensions begin to gnaw at the group. Gordy remains Boojie's loyal assistant, further entrenching the system.

After the deal, a fake detective asks Boojie for marijuana, underscoring the underworld behind Boojie's empire and the price of staying in show business. Boojie handles the demand with his usual ruthless efficiency. The exchange reveals how deeply entangled Boojie is with corruption.

Back in the studio, the group struggles to cut a follow-up hit. Internal bickering intensifies as artistic differences clash with Boojie's demands. The pressure of the new arrangements accelerates the disintegration of their creative cohesion.

During a television appearance Boojie has lined up, the band arrives drunk and delivers a thinly veiled musical flip-off to him. The moment humiliates Boojie on camera and jeopardizes his carefully crafted image. In the aftermath, they rip up their contracts in a bold act of rebellion.

Humiliated and defeated, Boojie and Gordy storm out of the studio, heading off to scout for another act to manipulate. The cycle of exploitation appears ready to begin again, as Boojie mutters that 'that's show business.' The band, for its part, seems to have learned a hard lesson about control and independence.

The film ends on a cynical note about the music industry, with Boojie still chasing new talent and the band reflecting on their manipulated fame. The closing moment hints that the pursuit of success often trumps art, leaving both sides wary of the next deal and the next player in show business.