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Speaker 1: Hello, and welcome to Save for Protection of iHeartRadio. I'm

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Speaker 1: Annie ree.

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Speaker 2: An unlearn vocal bum and today we have an episode

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Speaker 2: for you about the movie The Menu.

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Speaker 1: Yes, we do because as we record and our ultimate

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Speaker 1: hope is this will come out on the same day.

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Speaker 1: It is, Friday, the thirteenth October Friday, the time.

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Speaker 2: Uh huh, so a very spooky day hypothetically, if you're

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Speaker 2: into that kind of thing, every day could be a

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Speaker 2: spooky day. But yes, our motto here isn't it.

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Speaker 1: But this is a pretty recent movie, So spoilers.

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Speaker 2: Yep, yep, yep, yep, yep. If you haven't watched it

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Speaker 2: and you would like to be surprised by it, then

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Speaker 2: just turn off this episode now, go go away, but

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Speaker 2: come back later. Come back later.

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Speaker 1: We'll be waiting for you.

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Speaker 2: Yeah. Absolutely.

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Speaker 1: Also content warning, it is kind of it delves into

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Speaker 1: a lot of stuff that is kind of dark.

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Speaker 2: Yeah, this is a this is a very very dark

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Speaker 2: comedy film. Content warning for suicidal ideation and stuff like that. Also, Hey,

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Speaker 2: I hope you're doing okay, take care of.

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Speaker 1: Yourself all right.

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Speaker 2: If you're not, if you're not into hearing about stuff

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Speaker 2: like that, then again, go away and come back later,

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Speaker 2: come back later. Yeah, we love you, we love you. Yeah.

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Speaker 1: Yeah. Yeah. So I remember when this movie came out.

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Speaker 1: I frequently watch clips from Seth Meyer's late night show

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Speaker 1: Okay sure, yeah, and they were kind of talking about

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Speaker 1: it because the we'll talk about it later, but anyway,

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Speaker 1: one of the people who's involved in that show was

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Speaker 1: involved in this, and I when I heard about it,

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Speaker 1: I was like, oh my god, I have to see

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Speaker 1: this because it sounded like, I mean, right up our alley,

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Speaker 1: because it was about like food culture, foodiism, problems in

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Speaker 1: the food world, but also kind of like a satire

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Speaker 1: and funny and like horror comedy thing. And I was like,

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Speaker 1: oh my god, I have to go.

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Speaker 2: That is all the things.

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Speaker 1: Yeah, yes, and hilariously enough, when I went, there's a

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Speaker 1: very fancy theater in Atlanta, and me and my friend

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Speaker 1: went to see it there, and it's a place where

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Speaker 1: you can like get a three course you're watching a movie.

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Speaker 1: And I felt like, I was like, Wow, I've watched

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Speaker 1: this movie. Well the meta, the meta. Yeah. Yeah, but

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Speaker 1: we had a great time. We loved it.

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Speaker 2: Oh that's terrific. Yeah. I went and saw it at

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Speaker 2: a little local theater with a pretty full house actually,

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Speaker 2: and I saw it with a row of people who

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Speaker 2: work in the restaurant industry, and we were laughing so hard,

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Speaker 2: Like there were so many moments in this film where

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Speaker 2: we had to stifle ourselves because like we were still

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Speaker 2: laughing about a terrible, terrible, wonderful joke that had haden,

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Speaker 2: and like the rest of the theater was not was

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Speaker 2: not laughing. And also there was more dialogue happening, and

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Speaker 2: we were like, okay, like hold it together, kids like that.

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Speaker 2: Uh So it was. It was glorious though, I mean,

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Speaker 2: like what a what a treat? What a treat to

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Speaker 2: watch something that you you feel like the creators get

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Speaker 2: it and and are and are talking about some things

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Speaker 2: that really deserve to be talked about in an entertaining way.

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Speaker 1: Yes, yes, because I remember watching it and like we're

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Speaker 1: gonna talk about it more. But the way it's set

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Speaker 1: up is you're kind of moving through this menu and

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Speaker 1: when the descriptions came up, I was just like oh no.

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Speaker 2: Yeah, oh yeah, uh huh. And like the deeper that

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Speaker 2: you get into the making of it, the more you're

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Speaker 2: like oh no, no, no. All of this was exactly

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Speaker 2: on purpose. They knew precisely what they were doing.

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Speaker 1: They really did well. Okay, So I guess that brings

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Speaker 1: us to our question. Sure, yes, the menu, what is it?

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Speaker 2: Well? The Menu is a very dark comedy film, to

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Speaker 2: the point that I would categorize it as horror about

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Speaker 2: issues in the restaurant industry in particular, but also like

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Speaker 2: greater issues in our twenty first century food industry and

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Speaker 2: food culture and food media perhaps in particular. It came

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Speaker 2: out in twenty twenty two, and the story follows a

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Speaker 2: young woman who goes on a date to this extremely expensive,

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Speaker 2: exclusive restaurant run by a fictional celebrity chef on his

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Speaker 2: own private island, where he controls everything about the food

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Speaker 2: production and the staff and the kitchen and the menu,

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Speaker 2: and you know, it's all very high concept, like the

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Speaker 2: dining room is adjacent to the open kitchen. Everything about

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Speaker 2: the meal is a performance, and every course it is

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Speaker 2: telling part of a story that the chef comes out

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Speaker 2: and like monologues at you about or at the twelve

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Speaker 2: plus diners who are you know, lucky enough to escort

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Speaker 2: a seat that evening. The kitchen staff is like militaristically

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Speaker 2: trained and precise, you know, very hierarchical, very like a

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Speaker 2: scoffe a very devoted to their chef, and all of

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Speaker 2: this is like it's like bordering like like normal, bordering

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Speaker 2: on like comedic levels of restaurant to begin with. But

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Speaker 2: then as the meal continues, it gets weirder and the

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Speaker 2: woman and the viewer realize that the chef actually deeply

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Speaker 2: hates everyone there, including and most acutely, himself, and that

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Speaker 2: he has planned this night, this menu, to kill himself

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Speaker 2: and everyone else there, with full knowledge and help from

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Speaker 2: his staff in the most performative way possible. Yep, yep, yep.

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Speaker 2: One of the lines early in the movie from this

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Speaker 2: character played by Nicholas Holt, who's this this like really obnoxious,

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Speaker 2: foody kind of guy. He says very dramatically, and you know,

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Speaker 2: not inaccurately, chef's play with the raw materials of life

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Speaker 2: and death itself.

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Speaker 1: Right, because the main character, she's trying to understand, like

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Speaker 1: what is it? What is it about this that you like?

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Speaker 1: Why are you so into it?

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Speaker 2: Yeah, this lady is on this date and played by

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Speaker 2: Anya Taylor Joy, she's on this date with with this

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Speaker 2: foody character and like, and he's so into it, and

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Speaker 2: she's just like, okay, I mean what like why like.

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Speaker 1: And she does, like to her credit, kind of trying

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Speaker 1: to understand it. It's like, okay, okay, does I get shared?

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Speaker 2: That was good? More on that later, Yes, all right.

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Speaker 2: So the film was written by Will Tracy and Seth

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Speaker 2: Reese or Rice perhaps I haven't heard it out loud,

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Speaker 2: who are both comedy writers with priors writing for the

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Speaker 2: Onion and on Succession and on Seth Meyer's Late Show.

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Speaker 2: The director, Mark Mylloyd, has done mostly television, is best

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Speaker 2: known for his work on Succession as well. He's also

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Speaker 2: done a stint on the Game of Thrones stuff like that.

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Speaker 2: And they put together a team that was just really

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Speaker 2: passionate about and appropriate for satirizing and commenting on the

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Speaker 2: very real and present problems in the restaurant industry in

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Speaker 2: very hilarious, very upsetting ways indeed.

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Speaker 1: And it's interesting to read interviews with them because from

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Speaker 1: what I understand, the two writers specifically came from different

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Speaker 1: like I'm really not into this type of tasting menu

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Speaker 1: experience and one who's like, I'm into it, but it

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Speaker 1: does make me uncomfortable. So so yeah, they they had

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Speaker 1: experience with it, They had specific restaurants they called out

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Speaker 1: about it. They did, Yep, they shure did, and not

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Speaker 1: even in a bad way. It called out it as

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Speaker 1: like too negative. I would just say that inspired.

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Speaker 2: There are visual references to some very particular, mostly no

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Speaker 2: defunct restaurants that that are like like three star Michelin

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Speaker 2: restaurants around the world.

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Speaker 1: Right, yes, So they definitely had done their research in

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Speaker 1: one way or another. So one thing that they did

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Speaker 1: for the background actors they only cast people who had

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Speaker 1: worked in the restaurant industry. They they had something of

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Speaker 1: a boot camp, and it was really important to the

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Speaker 1: director that people in the industry could watch it and

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Speaker 1: not think, oh, that's not how it goes that it would.

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Speaker 2: Yeah, yeah, that's right. Yeah, that's correct. Sure. Yeah. They

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Speaker 2: also had a because they filmed in the Savannah area

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Speaker 2: and Goal Savannah chef John ben Hayes also helped train

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Speaker 2: those actors in how to like move through the kitchen

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Speaker 2: and through service, like how exactly to hold the tweezers,

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Speaker 2: how exactly to you know, like keep your arms tucked

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Speaker 2: as you're doing this like kind of big work in

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Speaker 2: order to let everyone else work around you.

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Speaker 1: Right. I believe that's the island we tried to get

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Speaker 1: to go to oysters around it.

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Speaker 2: Yeah, yeah, yeah, yeah. They filmed on Jekyl Land or

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Speaker 2: Tybee Island, and which are both. If you're ever in Georgia,

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Speaker 2: if you're ever around the Savannah area, definitely take a

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Speaker 2: day trip or or hang out there. Those are lovely,

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Speaker 2: lovely places.

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Speaker 1: A lot of good tours, a lot of informational food tours.

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Speaker 1: I would say it's some good ghost tours too. Oh yes.

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Speaker 1: Dominique Crinn, who is the chef at San Francisco's Three

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Speaker 1: Michelin Start at the A. Krinn, was recruited to help

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Speaker 1: design the dishes of the film.

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Speaker 2: Yeah, and they said that they specifically wanted to hire

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Speaker 2: a a lady chef to come help them with this

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Speaker 2: because a lot of what they're talking about in the

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Speaker 2: film is this like toxic masculinity that happens in kitchens

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Speaker 2: and the issues surrounding that. I will say that Cren's

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Speaker 2: meals are only four hundred and ten dollars ahead, which

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Speaker 2: is way more reasonable than the fictional restaurant Hawthorn than

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Speaker 2: they're twelve hundred and fifty dollars ahead. That's yeah. Yeah.

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Speaker 1: I like how she seemed really cool with it too.

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Speaker 1: She was like, oh, I know what this is about.

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Speaker 2: Oh yeah, oh yeah. They apparently like they were like, oh,

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Speaker 2: we're never going to get her. She would never agree

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Speaker 2: to do something this goofy, and then she was like, oh,

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Speaker 2: I'm in Like yeah, it seems like some real Grimlin stuff.

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Speaker 2: Her pastry chef Jue Contreres also assisted.

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Speaker 1: Yes, But meanwhile Kendall Ginsler Chinceller, a New Orleans based

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Speaker 1: food stylist, was responsible for physically creating the dishes on st.

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Speaker 2: Yeah, because that's a little bit of a different thing

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Speaker 2: of you know, cooking to cook and cooking for camera.

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Speaker 2: If something has to set up for twelve hours.

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Speaker 1: Right, And I did read many quotes about the difficulty

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Speaker 1: of filming foam that I really enjoyed, but apparently that

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Speaker 1: was very hard for them to do.

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Speaker 2: And I was like, yeah, that makes sense, Yeah totally,

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Speaker 2: because foam, right like it'll you know, it dissipates or

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Speaker 2: it doesn't dissipate, it'll collapse after about a minute. And

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Speaker 2: even the stuff that they were doing that was like, Okay, no,

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Speaker 2: we can really get it to set up. It holds

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Speaker 2: for three minutes, and that's not that's not how filming works,

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Speaker 2: you know, right and so right, you know, like like

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Speaker 2: if there's a scallop dish, you might have a real

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Speaker 2: scallop for the actor to eat in one particular take,

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Speaker 2: but if it has to sit there for more than

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Speaker 2: like yeah, like a few minutes, you're you might use

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Speaker 2: a potato instead. So anyway, but they did really make

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Speaker 2: versions of these fancy dishes for the actors to really

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Speaker 2: eat or not eat as the case maybe Yeah. Kren

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Speaker 2: said that she wanted them to really be experiencing something,

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Speaker 2: and the kitchen actors were really cooking food that would

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Speaker 2: have gone with each course in the background of various scenes. Wow,

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Speaker 2: I know every it's a multi course meal, and each

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Speaker 2: course they have these like kind of title cards in

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Speaker 2: the middle of the film that show the dish, these

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Speaker 2: like kind of like sweeping shots of each dish and

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Speaker 2: very much in the style of Chef's Table. It turns

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Speaker 2: out the second unit director was David Gelb, who has

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Speaker 2: done documentaries like Judo, Dreams of Sushi and Chef's Table.

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Speaker 2: The film calls out that foodie character is like, oh, yeah,

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Speaker 2: I've watched every episode of Chef's Table like two or

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Speaker 2: three times. It's adorable it is, and so yeah, they

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Speaker 2: filmed on location here in Georgia at Jekyland or Tybee Island,

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Speaker 2: and then also the interiors of the restaurants of the

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Speaker 2: restaurant was on a sound stage, and their production designer

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Speaker 2: Ethan Todman created the restaurant for those stages. Kren later

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Speaker 2: hired him to redesign her restaurant.

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Speaker 1: Oh, I love that. That's awesome, so good, so good. Well,

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Speaker 1: what about the nutrition?

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Speaker 2: Who boyer? I would say, definitely consume this media. But

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Speaker 2: the question of to eat or not to eat is

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Speaker 2: something that is a little bit integral to the film,

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Speaker 2: and we will get into that in another minute.

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Speaker 1: We will. We do have one number for.

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Speaker 2: You, Yeah, like one and a half numbers. So The

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Speaker 2: Menu debuted at number two at the box office the

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Speaker 2: weekend that it opened, behind only Wakanda Forever, which I

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Speaker 2: think is just fair, you know. And it's grossed about

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Speaker 2: eighty million dollars versus its budget of about thirty million,

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Speaker 2: so not too shabby. I think it was Searchlight's biggest

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Speaker 2: opening weekend for a film.

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Speaker 1: I think, Oh, it was so fun when it came out,

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Speaker 1: because anytime a horror movie comes out I'm like, oh,

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Speaker 1: I gotta go.

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Speaker 2: Yeah.

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Speaker 1: But this movie when it came out, it was very vague,

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Speaker 1: like I had a kind of concept of what it

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Speaker 1: would be, but I thought there was going to be

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Speaker 1: more cannibalism.

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Speaker 2: Sure, I always assume that a food horror film is

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Speaker 2: going to be cannibalism. It was less that way less

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Speaker 2: that yeah, way.

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Speaker 1: Less, but a lot of other horrifying things which we're

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Speaker 1: going to get into.

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Speaker 2: Oh yes, yeah, yeah, so yeah, we're gonna get more

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Speaker 2: into the dishes and the concepts explored in this film.

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Speaker 2: But first we are going to get into a quick

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Speaker 2: break for a word from our sponsors.

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Speaker 1: They we're back, Thank you sponsor.

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Speaker 2: Yes, thank you, okay, so uh in. In this fictional restaurant, Hawthorne,

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Speaker 2: the chef is this fictional celebrity chef by the name

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Speaker 2: of Julian Slowick, played brilliantly, I would say, by Ray Fines,

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Speaker 2: and he meticulously sets up this entire dinner as commentary,

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Speaker 2: like every course and every staff member and every guest

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Speaker 2: has a role to play, whether they realize it or not.

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Speaker 1: Yes, exactly. And I would say one of the biggest

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Speaker 1: commentaries in this movie is the working class of like

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Speaker 1: who works at this restaurant, and then who can afford

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Speaker 1: to eat there? Yeah, and kind of the the very

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Speaker 1: stark difference in that and then why they're eating there. Okay,

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Speaker 1: here's a quote from screen rant. The twelve guests consist

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Speaker 1: of wealthy businessmen, celebrities, food critics, and others who can

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Speaker 1: afford such an expensive restaurant experience, standing in stark contrast

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Speaker 1: with the kitchen staff, who lives and works on the

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Speaker 1: island with the chef to earn their living and provide

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Speaker 1: the service the wealthy minority has paid for.

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Speaker 2: Yeah. Like, as the guests are walking in or walking

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Speaker 2: to the dining room, they take a boat to the island,

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Speaker 2: walk kind of around the island. They're shown some of

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Speaker 2: the farm and the smokehouse and all of that kind

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Speaker 2: of stuff, and they're shown the literal military bunk where

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Speaker 2: the entire kitchen staff stays.

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Speaker 1: Mm hmm.

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Speaker 2: Yeah.

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Speaker 1: Yeah, And it feels very like, you know, in the

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Speaker 1: way a restaurant will be kind of, oh, this is

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Speaker 1: where we grow organic whatever whatever. It feels very like

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Speaker 1: see how much they're working as sort of a part

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Speaker 1: of like, oh, you can appreciate this more even though

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Speaker 1: pretty much everyone there are jerks to the staff.

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Speaker 2: Oh yeah, no, all of the guests are very entitled,

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Speaker 2: so right, okay, so everyone who scores a seat at

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Speaker 2: this final dinner is representative of issues in the industry

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Speaker 2: in some way. There's the restaurant critic whose reviews make

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Speaker 2: or break not only restaurants but lives, you know, who

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Speaker 2: doesn't even seem to see food as a pleasure anymore,

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Speaker 2: but rather something to dissect. There's the wealthy couple who

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Speaker 2: go because they can not because they're enjoying it or

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Speaker 2: even really paying attention to it. There's the finance bros

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Speaker 2: from the investment firm that keeps the place afloat, who

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Speaker 2: feels so entitled royal treatment but don't really appreciate anything

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Speaker 2: that they do get, you know. There's the Hollywood celebrity

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Speaker 2: like scrambling for status. There's the foodie who has absolutely

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Speaker 2: no industry experience but thinks he's an expert. Like everyone

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Speaker 2: there is an entitled perk in their own special way.

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Speaker 1: Yeah yeah, there's a lot of like the food critics like, oh,

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Speaker 1: this emulsion, it's not working, and then she gets a

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Speaker 1: whole thing.

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Speaker 2: Yeah yeah, she comments snidely to her dining partner, about

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Speaker 2: the fact that one of the sauces was broken, and

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Speaker 2: then the staff brings her increasingly large bowls of broken sauce,

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Speaker 2: and it gets more and more uncomfortable, and it's my

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Speaker 2: favorite thing.

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Speaker 1: Oh gosh, it does. Here's a quote from Looper. The

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Speaker 1: menu attacks privilege head on, exposing to the audience what

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Speaker 1: it means for love and passion to be taken out

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Speaker 1: of someone's craft. Every character who attends Chef Julian's special

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Speaker 1: Evening finds themselves there because of their greed, exorbitant riches,

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Speaker 1: or rampant privilege.

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Speaker 2: Yeah, there are only two guests who don't fit this,

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Speaker 2: and those are Chef Julian's mother, who is an alcoholic who,

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Speaker 2: through her own failures as a parent, set Chef Julian

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Speaker 2: on his path to this terrible dark place. And then

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Speaker 2: our main character who gives the name Margo that's not

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Speaker 2: her real name, played by Annie Taylor Joy. Again, Yeah,

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Speaker 2: it turns out that she was not the original partner

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Speaker 2: that her date the food he played by Nick Holt,

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Speaker 2: was going to bring. It turns out that she is

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Speaker 2: a sex worker who he hired, and he treats her

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Speaker 2: with just such complete disdain isn't even the right word.

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Speaker 2: Like he just talks down to her constantly and aggressively.

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Speaker 1: Oh yeah, like she can't possibly know anything. Again, this

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Speaker 1: is the guy who doesn't know anything. He's just watched

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Speaker 1: a lot of chefs day.

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Speaker 2: Yeah, he's just right. He's just a fanboy and he

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Speaker 2: but he thinks that because he's watched all of this,

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Speaker 2: and because he knows what a paca jet is, that

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Speaker 2: he knows what it's like to be industry.

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Speaker 1: Right, and he's he definitely sees her as completely disposable

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Speaker 1: because he knew what was going to happen.

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Speaker 2: Yeah, it turns out that he also right knew that

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Speaker 2: chef was going to murder everyone at this dinner and

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Speaker 2: hired her anyway.

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Speaker 1: And didn't tell her perhaps Yeah spoiler.

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Speaker 2: Alert anyway, Yeah, more spoilers.

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Speaker 1: I didn't want to mention here, and we're about to

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Speaker 1: go into these food descriptions in a second, But as

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Speaker 1: a part of this, I feel like one of the

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Speaker 1: early signs of oh, I see what's going on here

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Speaker 1: is when everyone is served a breadless bread plate and

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Speaker 1: it's basically exactly what it sounds like. It's all these sauces.

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Speaker 1: There's a description of the bread is served, yes, yes,

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Speaker 1: and like the history of it, of being kind of

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Speaker 1: this working class thing and all of this stuff, but

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Speaker 1: none of them get it, basically very clearly implying none

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Speaker 1: of the guests deserve the bread. It is very much

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Speaker 1: like the privilege being denied something in their life. The

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Speaker 1: finance bros definitely were like, oh, this is funny, but

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Speaker 1: can we get some bread?

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Speaker 2: But what about my bread?

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Speaker 1: Right? And they're like, no, no bread. Yeah. Yeah.

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Speaker 2: The amazing mader d character is just like no.

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Speaker 1: No, no. But that does bring us to the descriptions,

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Speaker 1: which kind of move us through the movie. They kind

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Speaker 1: of are telling you like, Okay, this is what we're

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Speaker 1: going to tackle right now.

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Speaker 2: Yeah, yeah, hoofta, yes, okay, right, so this is a

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Speaker 2: multi course meal. I can't count what like ten courses, sure,

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Speaker 2: and right, almost all of them are presented in this

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Speaker 2: very chef's table way, with those sweeping close up shots

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Speaker 2: of the plating and the descriptions on the screen and

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Speaker 2: gentle fon accompanied by a monologue from chef Slowick, and

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Speaker 2: the cooking technology and techniques involved are very posh, very

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Speaker 2: molecular astronomy.

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Speaker 1: Yeah.

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Speaker 2: So all right, so going through the courses. There's like

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Speaker 2: a pre amuse bouche of sorts that's served on the

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Speaker 2: boat over a single raw oyster with a I always

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Speaker 2: say this wrong, minnette, minion, minnonette. I've always said mignette,

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Speaker 2: No mignette. You know more French than I do, sure,

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Speaker 2: and emulsion of that it's the vinegar sauce that you

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Speaker 2: can put on an oyster. Yeah, and then lemon caviar,

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Speaker 2: you know, little little agar or whatever, bubbles of lemon

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Speaker 2: and an oyster leaf because puns.

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Speaker 1: Always always because funds.

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Speaker 2: Yes, once they're seated, there is another amuse bousch, tiny

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Speaker 2: compressed balls of cucumber and melon surrounded by milk, snow

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Speaker 2: and charred lace. I don't know what that means.

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Speaker 1: Me either.

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Speaker 2: Yeah. Great. Then the first course called the Island, which

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Speaker 2: is a single ross gallop plated with plants and rocks

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Speaker 2: from around the island and a slush of melting sea water.

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Speaker 1: It looks nice, but it doesn't look like food, is

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Speaker 1: what I'll say about that one.

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Speaker 2: I mean, I would eat a single raw oyster at

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Speaker 2: a fancy restaurant and I would be real excited about.

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Speaker 1: It, absolutely, But it looks kind of like a rock but.

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Speaker 2: The rest of the plate is rock, not like edible pantna.

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Speaker 2: It's rocks. It's mostly rocks. The second course is then

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Speaker 2: the breadless bread plate with six little dots of sauce

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Speaker 2: and like a little spatula to kind to kind of

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Speaker 2: eat them with taste them with. The third course Houfta,

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Speaker 2: is called Memory, which is a build your own taco

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Speaker 2: plate served with house tortillas and smoked chicken thigh al pastor.

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Speaker 2: This is where things start getting aggressively stranger, because the

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Speaker 2: chef serves it with little scissors in each chicken thigh

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Speaker 2: and describes how he had to stab his father in

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Speaker 2: the thigh with a pair of sewing shears to stop

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Speaker 2: him from hurting his mother one day. It's a very

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Speaker 2: intense film, and the tortillas are printed with embarrassing images

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Speaker 2: for each individual patron.

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Speaker 1: Yeah.

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Speaker 2: Yeah, they really did use a laser printer to really

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Speaker 2: print images on edible tortillas for the actors to eat. Yeah.

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Speaker 1: I heard that they kind of had seen that before,

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Speaker 1: And I'm like, oh, is this a thing at restaurants? Oh?

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Speaker 2: No, getting increasingly more disturbing. The fourth course is called

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Speaker 2: the Mess. The dish itself seems fine. It's a roasted

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Speaker 2: filet of beef plated with a potato coned feet, pressure

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Speaker 2: cooked vegetables you and a bone marrow involves a live

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Speaker 2: suicide as it's as it's plated, then a palate cleanser

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Speaker 2: berghamuttin red clover tea. Yeah, as we all need after

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Speaker 2: that kind of thing. Yeah. Uh. Next up, Man's Folly

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Speaker 2: served only to the ladies, which is a little bit

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Speaker 2: of crab with that foam that was so difficult to

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Speaker 2: keep on set which is a yogurt way by the way,

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Speaker 2: garnished with dried sea lettuce, calp and umibushi. There is

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Speaker 2: a special side dish for one dude, the dude who

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Speaker 2: kind of won the Men's trying to escape round a

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Speaker 2: soft boiled egg, a crem fresh and maple syrup garnished

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Speaker 2: with flowers and shives. Supplemental course, Tyler's Bullshit, which is

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Speaker 2: undercooked lamb in an inedible shallot leak butter sauce with

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Speaker 2: an utter lack of cohesion. Yeah. That was a fun one, yea.

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Speaker 1: And they put that up there.

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Speaker 2: Oh yeah, oh yeah, the utter lack of cohesion really

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Speaker 2: got me. Yeah, because because chef is like is finally like, oh,

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Speaker 2: a foody character. If you think you know so much,

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Speaker 2: how about you get in the kitchen and cook me something.

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Speaker 1: And he's like, bring me leaks.

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Speaker 2: Oh oh, it's very tense and very very very funny.

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Speaker 2: Another supplemental course, just a well made cheeseburger, a double

433
00:26:31,400 --> 00:26:35,000
Speaker 2: stack with American cheese and pickles, served with crinkle cut fries.

434
00:26:36,440 --> 00:26:39,520
Speaker 2: Looks so good, so good, looks so good. She does

435
00:26:39,560 --> 00:26:42,000
Speaker 2: ask for it medium. I don't believe that was medium.

436
00:26:42,000 --> 00:26:42,840
Speaker 2: That was a double stack.

437
00:26:44,960 --> 00:26:47,000
Speaker 1: Also, for a while, you could buy this. There were

438
00:26:47,080 --> 00:26:48,360
Speaker 1: restaurants that were serving it.

439
00:26:48,720 --> 00:26:51,360
Speaker 2: I mean, a good double stack, is okay? All right?

440
00:26:51,400 --> 00:26:52,240
Speaker 2: Hold on, I.

441
00:26:54,560 --> 00:26:56,600
Speaker 1: Well they did it specifically with the menu.

442
00:26:56,720 --> 00:26:59,400
Speaker 2: Oh okay, all right. Well that's cute but.

443
00:27:00,880 --> 00:27:01,400
Speaker 1: Interesting.

444
00:27:03,840 --> 00:27:07,600
Speaker 2: I read somewhere that this particular double stack was in

445
00:27:07,680 --> 00:27:12,119
Speaker 2: reference to Hugh Hugh accents uh am I saying his

446
00:27:12,280 --> 00:27:15,560
Speaker 2: last name right. He's a he's a local Atlanta chef

447
00:27:15,800 --> 00:27:18,920
Speaker 2: and and he has a couple, uh kind of kind

448
00:27:18,920 --> 00:27:22,399
Speaker 2: of famous places around Atlanta, and he was doing a

449
00:27:22,480 --> 00:27:25,439
Speaker 2: very similar double stack at Empire States South and uh

450
00:27:25,480 --> 00:27:27,280
Speaker 2: and I read that that was the inspiration for that.

451
00:27:27,440 --> 00:27:30,760
Speaker 2: I would say that the Atlanta double stack is a

452
00:27:30,920 --> 00:27:36,159
Speaker 2: particular thing that is not specific to him. Yeah, I

453
00:27:36,160 --> 00:27:40,080
Speaker 2: think I think it's from Little Food Store in Cabbage Town.

454
00:27:41,520 --> 00:27:46,560
Speaker 2: I think everyone else is copying Little's. Any Way, I

455
00:27:46,640 --> 00:27:50,600
Speaker 2: love this. Okay, I'm getting I'm getting away from the point.

456
00:27:50,920 --> 00:27:53,080
Speaker 2: Back back to the film. Okay, Finally we have the

457
00:27:53,080 --> 00:27:56,960
Speaker 2: dessert course, which is deconstructed somemores. The ingredients listed on

458
00:27:57,000 --> 00:28:01,160
Speaker 2: the screen are marshmallows, chocolate, Graham crackers. The customers, the staff,

459
00:28:01,200 --> 00:28:02,080
Speaker 2: and the restaurant.

460
00:28:03,760 --> 00:28:08,200
Speaker 1: Listen, that scene was wild. If you haven't seen it

461
00:28:08,320 --> 00:28:11,159
Speaker 1: and you're listening to this, it's what it sounds like.

462
00:28:12,760 --> 00:28:15,120
Speaker 2: They blew it up. They blew it all up.

463
00:28:15,520 --> 00:28:19,760
Speaker 1: Yeah, put on like big chocolate hat and vest of.

464
00:28:19,680 --> 00:28:23,920
Speaker 2: Like marshmallow vests, marshmallow like capelts, kind of like little

465
00:28:23,960 --> 00:28:28,919
Speaker 2: marshmallow conchos, and then splattered the sauces on the floor

466
00:28:29,400 --> 00:28:35,120
Speaker 2: and then let everything on fire. Uh yeah, yeah, that's

467
00:28:35,160 --> 00:28:39,080
Speaker 2: what happens. This is a copy of Oh gosh, I'm

468
00:28:39,080 --> 00:28:41,840
Speaker 2: forgetting the name of the restaurant, but there is a

469
00:28:41,960 --> 00:28:45,040
Speaker 2: very fancy restaurant that kind of famously did a deconstructed

470
00:28:45,080 --> 00:28:49,200
Speaker 2: somemores on a full tabletop like they would they would

471
00:28:49,200 --> 00:28:52,440
Speaker 2: do a version of this. That's yeah, they would do

472
00:28:52,440 --> 00:28:56,760
Speaker 2: a version of Less Murder, only a tabletop, not the

473
00:28:56,760 --> 00:29:01,440
Speaker 2: whole floor. Uh. Then I guess one more supplemental. I

474
00:29:01,440 --> 00:29:03,800
Speaker 2: guess they're given gift bags at the end containing some

475
00:29:03,800 --> 00:29:04,640
Speaker 2: housemade granola.

476
00:29:05,200 --> 00:29:07,920
Speaker 1: That's actually like one of my favorite parts. I think

477
00:29:07,920 --> 00:29:12,760
Speaker 1: that's hilarious. I love that they pay, they pay for

478
00:29:12,880 --> 00:29:14,000
Speaker 1: the meal at the end.

479
00:29:14,200 --> 00:29:18,120
Speaker 2: They're they're fully aware that they're about to get blown.

480
00:29:17,920 --> 00:29:20,480
Speaker 1: Up, and they pay for the meal.

481
00:29:20,360 --> 00:29:22,760
Speaker 2: And they give them their credit cards and then they

482
00:29:22,880 --> 00:29:24,560
Speaker 2: get right. Mm hmm.

483
00:29:25,760 --> 00:29:26,720
Speaker 1: I love it so much.

484
00:29:26,880 --> 00:29:27,560
Speaker 2: It's beautiful.

485
00:29:28,480 --> 00:29:31,840
Speaker 1: And then it cuts to Margo, who gets away and

486
00:29:31,880 --> 00:29:34,560
Speaker 1: we'll talk about this more in a second, but eats

487
00:29:34,600 --> 00:29:37,719
Speaker 1: the cheeseburger that she took as a doggie bag and

488
00:29:37,960 --> 00:29:41,440
Speaker 1: wipes her face with the men with the menu as

489
00:29:41,520 --> 00:29:48,080
Speaker 1: everything is blown Pretty good, it's it's a little on

490
00:29:48,120 --> 00:29:49,000
Speaker 1: the nose, but it's great.

491
00:29:49,040 --> 00:29:49,440
Speaker 2: It's great.

492
00:29:49,520 --> 00:29:51,240
Speaker 1: Yes, oh, oh gosh.

493
00:29:51,320 --> 00:29:51,640
Speaker 2: Yes.

494
00:29:52,720 --> 00:29:55,200
Speaker 1: But one thing with Margo is like, pretty early on,

495
00:29:56,800 --> 00:30:01,160
Speaker 1: you realize this isn't her scene. Yeah, And one of

496
00:30:01,200 --> 00:30:05,320
Speaker 1: the things she kind of immediately establishes is that she's

497
00:30:05,480 --> 00:30:09,120
Speaker 1: perfectly capable of deciding what she wants to eat how

498
00:30:09,200 --> 00:30:12,520
Speaker 1: much to eat? And that's in the face of both

499
00:30:12,560 --> 00:30:15,880
Speaker 1: the foodie jerk who hired her and took her to

500
00:30:15,920 --> 00:30:18,840
Speaker 1: this island, but also the chef who's kind of like, now,

501
00:30:18,880 --> 00:30:21,680
Speaker 1: I promise everything on the menu has been calculated. You're

502
00:30:21,680 --> 00:30:23,760
Speaker 1: not going to get too full. It doesn't make sense

503
00:30:23,800 --> 00:30:25,960
Speaker 1: unless you eat everything. And she's like, no, I'm good.

504
00:30:26,080 --> 00:30:27,560
Speaker 2: You're like, no, I'm good. I'm not going to eat

505
00:30:27,600 --> 00:30:29,680
Speaker 2: your sauces. I'm not going to eat your sauce plate.

506
00:30:29,760 --> 00:30:32,640
Speaker 2: I don't need these sauces. I'm not interested. And I

507
00:30:33,000 --> 00:30:37,320
Speaker 2: think that he's genuinely wounded because I think he's like,

508
00:30:37,360 --> 00:30:41,080
Speaker 2: but eat, but this is but this bulsh is my life.

509
00:30:41,400 --> 00:30:44,680
Speaker 2: If you don't subscribe to it, what am I Also,

510
00:30:44,720 --> 00:30:48,280
Speaker 2: he clocks immediately that she doesn't belong there, like, you know,

511
00:30:48,280 --> 00:30:51,200
Speaker 2: aside from from from literally her not being on the

512
00:30:51,200 --> 00:30:54,760
Speaker 2: original guest list, he immediately clocks that she is also

513
00:30:54,880 --> 00:30:58,960
Speaker 2: in some kind of service industry. Yes, and I think

514
00:30:59,000 --> 00:31:00,680
Speaker 2: he wants to impress her more than he wants to

515
00:31:00,720 --> 00:31:02,400
Speaker 2: impress literally anyone else in the room.

516
00:31:02,400 --> 00:31:05,360
Speaker 1: From that moment on, I agree, and they have a

517
00:31:05,400 --> 00:31:08,160
Speaker 1: pretty big that's sort of the culmination of how she

518
00:31:08,240 --> 00:31:12,160
Speaker 1: gets out, but they have they have a big conversation

519
00:31:12,200 --> 00:31:16,680
Speaker 1: about being the service industry and quote shoveling this shit. Yeah,

520
00:31:17,320 --> 00:31:21,640
Speaker 1: but yeah, I do think like it's interesting to see

521
00:31:21,680 --> 00:31:25,760
Speaker 1: her juxtapose against Nicholas Holt's character, who is like, I

522
00:31:25,800 --> 00:31:28,840
Speaker 1: love every sauce. Have you tried these sauces when basically

523
00:31:29,720 --> 00:31:30,720
Speaker 1: there's no food.

524
00:31:31,760 --> 00:31:33,760
Speaker 2: Yeah.

525
00:31:33,960 --> 00:31:36,040
Speaker 1: She's like what She's like.

526
00:31:36,200 --> 00:31:39,200
Speaker 2: No, it's not you haven't given me food.

527
00:31:40,200 --> 00:31:43,560
Speaker 1: Right, right. And there's also like a running through line

528
00:31:43,560 --> 00:31:47,120
Speaker 1: of she smokes, and he keeps telling her like, oh,

529
00:31:47,120 --> 00:31:49,080
Speaker 1: that's going to ruin your palate. You're not going to

530
00:31:49,760 --> 00:31:55,040
Speaker 1: appreciate this if you keep doing that, and he does

531
00:31:55,080 --> 00:31:57,520
Speaker 1: that a lot. So like when they have the first

532
00:31:58,280 --> 00:32:02,840
Speaker 1: amuse bouche on the boat, the Oyster Tyler who's Nicholas

533
00:32:02,840 --> 00:32:07,680
Speaker 1: Holt's character explains to her because she basically is like

534
00:32:07,720 --> 00:32:09,680
Speaker 1: I just like the oyster, Like I good with just

535
00:32:09,680 --> 00:32:12,719
Speaker 1: the oyster. I don't need all this other stuff. Yeah,

536
00:32:12,760 --> 00:32:16,080
Speaker 1: and he explains to her like, you're wrong. Your palette

537
00:32:16,120 --> 00:32:22,800
Speaker 1: is wrong. You don't appreciate the genius of what's happening here. Yeah,

538
00:32:22,840 --> 00:32:26,600
Speaker 1: And yeah he talks like he's this authority. And then

539
00:32:26,680 --> 00:32:28,280
Speaker 1: later as we discussed.

540
00:32:30,000 --> 00:32:32,120
Speaker 2: I mean, I mean there's there's certainly I mean, like

541
00:32:32,160 --> 00:32:35,680
Speaker 2: you can be you can love food right like without

542
00:32:35,760 --> 00:32:38,240
Speaker 2: being particularly adept at cooking it, Like I would put

543
00:32:38,480 --> 00:32:43,440
Speaker 2: myself in that category. I can I could also, like

544
00:32:43,680 --> 00:32:47,040
Speaker 2: slightly embarrassingly probably be the guy who's sitting in a

545
00:32:47,080 --> 00:32:49,840
Speaker 2: restaurant being like, was that Bergamont in the in the

546
00:32:51,200 --> 00:32:54,160
Speaker 2: in the tea? I think I tasted Bergamont? Was that it?

547
00:32:55,920 --> 00:33:00,000
Speaker 2: But you know, like like doing that without being schmoe

548
00:33:00,080 --> 00:33:05,480
Speaker 2: about it, I think is really really the line yeah yeah,

549
00:33:05,720 --> 00:33:10,440
Speaker 2: Margo says about the breadplate to Tyler. She's like, he's

550
00:33:10,480 --> 00:33:14,320
Speaker 2: basically insulting you, like chef is basically insulting you with

551
00:33:14,400 --> 00:33:16,880
Speaker 2: this dish. And he immediately goes, oh, you don't get it.

552
00:33:18,360 --> 00:33:18,920
Speaker 1: Yeah.

553
00:33:18,960 --> 00:33:21,920
Speaker 2: He calls her a child at one point, and when

554
00:33:22,120 --> 00:33:24,320
Speaker 2: she's like, dude, you cannot talk to me like that,

555
00:33:24,440 --> 00:33:30,920
Speaker 2: he's like, actually I can because I'm paying Yeah, oh yeah,

556
00:33:30,960 --> 00:33:33,840
Speaker 2: and like this for better or worse. Like I'm still

557
00:33:33,840 --> 00:33:35,640
Speaker 2: not exactly sure how I feel about it, But the

558
00:33:35,680 --> 00:33:38,640
Speaker 2: parallel that the movie draws between service work in the

559
00:33:38,680 --> 00:33:41,120
Speaker 2: sex industry and service work in the food industry is

560
00:33:41,160 --> 00:33:42,240
Speaker 2: really direct.

561
00:33:42,600 --> 00:33:46,200
Speaker 1: It is it is And one thing that I kept

562
00:33:46,240 --> 00:33:50,920
Speaker 1: thinking about was when you're seeing all of these kind

563
00:33:50,920 --> 00:33:53,720
Speaker 1: of entitled rich people in this place for one reason

564
00:33:53,800 --> 00:33:56,600
Speaker 1: or another, is this whole idea of the experience, which

565
00:33:56,640 --> 00:34:01,160
Speaker 1: we've talked about before, where like when food becomes everything

566
00:34:01,240 --> 00:34:05,680
Speaker 1: but eating the food, it becomes like you're there for

567
00:34:06,200 --> 00:34:10,200
Speaker 1: your Instagram picture or status or because it's your birthday

568
00:34:10,239 --> 00:34:12,839
Speaker 1: and it's not really your birthday, but your investors will

569
00:34:12,840 --> 00:34:17,160
Speaker 1: pay for it. Like yeah, yeah, And that's the thing

570
00:34:17,239 --> 00:34:20,719
Speaker 1: with Nicholas Holt's character, Tyler I kept thinking about, like

571
00:34:21,480 --> 00:34:23,440
Speaker 1: does he really like this food or is he so

572
00:34:23,800 --> 00:34:30,120
Speaker 1: dedicated to this chef, to the celebrity chef the idea

573
00:34:30,160 --> 00:34:33,960
Speaker 1: what he does, right, that's genius and he's gonna love it.

574
00:34:34,160 --> 00:34:37,360
Speaker 2: Yeah, Like were all of those dishes actually like close

575
00:34:37,400 --> 00:34:43,040
Speaker 2: your eyes good or was he just high on the experience?

576
00:34:43,440 --> 00:34:48,640
Speaker 1: Yeah, exactly, And and that the whole the chef is

577
00:34:48,680 --> 00:34:51,720
Speaker 1: like looming over everything, like both him and the idea

578
00:34:51,719 --> 00:34:57,640
Speaker 1: of him, and like loving this celebrity chef, fearing this

579
00:34:57,719 --> 00:35:02,320
Speaker 1: celebrity chef, respect the chef. When it came to the staff,

580
00:35:02,360 --> 00:35:05,560
Speaker 1: he was like a deity in this restaurant on this island.

581
00:35:05,760 --> 00:35:11,919
Speaker 2: Oh yeah, yeah, yeah, and that kind of worship has

582
00:35:12,000 --> 00:35:16,080
Speaker 2: clearly gone to his head, but to everyone else's as well,

583
00:35:16,160 --> 00:35:20,799
Speaker 2: Like it's really it's this really insidious concept that has

584
00:35:20,880 --> 00:35:21,919
Speaker 2: taken deep root.

585
00:35:22,960 --> 00:35:27,320
Speaker 1: Yeah, because it's like everyone expects something of him because

586
00:35:27,360 --> 00:35:29,719
Speaker 1: he's this, but they also are the ones sort of

587
00:35:29,960 --> 00:35:30,759
Speaker 1: who made him this.

588
00:35:31,760 --> 00:35:34,360
Speaker 2: Yeah yeah, I mean I'm the same for everyone in

589
00:35:34,400 --> 00:35:36,040
Speaker 2: that room exactly.

590
00:35:37,960 --> 00:35:42,279
Speaker 1: And then that sort of divorcing of what food is,

591
00:35:42,600 --> 00:35:47,799
Speaker 1: of what eating is, is also throughout this movie. So

592
00:35:48,000 --> 00:35:52,799
Speaker 1: early on the chef introduces himself, he gives this whole

593
00:35:52,800 --> 00:35:57,440
Speaker 1: speech like, look, I'm asking you one thing. Don't eat,

594
00:35:57,719 --> 00:35:58,000
Speaker 1: do not.

595
00:35:58,120 --> 00:36:01,880
Speaker 2: Eat, taste, savor, relish, but don't eat.

596
00:36:02,640 --> 00:36:07,440
Speaker 1: Yes, right, And later when Marco's like, hey, you know what,

597
00:36:07,520 --> 00:36:10,200
Speaker 1: I'm good, don't want to fill up, He's like, now

598
00:36:10,280 --> 00:36:12,319
Speaker 1: you got to eat. I promise you. I planned this

599
00:36:12,320 --> 00:36:15,000
Speaker 1: whole thing. And she's like, nah, but you just told

600
00:36:15,080 --> 00:36:15,960
Speaker 1: us not to eat.

601
00:36:16,840 --> 00:36:20,200
Speaker 2: He's like, you know that's not what I meant. Yes, okay,

602
00:36:20,239 --> 00:36:22,120
Speaker 2: it is what you said, dude.

603
00:36:22,360 --> 00:36:26,719
Speaker 1: Yes. He seems very confused by her. He's like, oh no,

604
00:36:27,640 --> 00:36:33,920
Speaker 1: I haven't faced this in a while. And ever heck yes,

605
00:36:36,160 --> 00:36:40,080
Speaker 1: and every dish, as you might you might be able

606
00:36:40,120 --> 00:36:43,120
Speaker 1: to tell from Louren's going over them tells a story.

607
00:36:43,840 --> 00:36:46,480
Speaker 1: And here's the quote I found from one of the writers.

608
00:36:47,920 --> 00:36:52,000
Speaker 1: There's something relentless about all of these tasting menus. Screenwriter

609
00:36:52,080 --> 00:36:56,080
Speaker 1: wil Tracy says, you can't leave. You're being held hostage

610
00:36:56,080 --> 00:36:59,640
Speaker 1: by a story which they're telling you for hours.

611
00:37:01,200 --> 00:37:03,239
Speaker 2: He was the one who had this experience of this

612
00:37:03,320 --> 00:37:06,360
Speaker 2: kind of tasting menu and then was like, I feel

613
00:37:06,360 --> 00:37:08,840
Speaker 2: like there's there's there's a there's an idea here, there's.

614
00:37:08,680 --> 00:37:09,399
Speaker 1: A nugget here.

615
00:37:09,560 --> 00:37:12,799
Speaker 2: Yeah. Yeah, that was he said that to bone up

616
00:37:12,840 --> 00:37:14,320
Speaker 2: a teeth who.

617
00:37:15,040 --> 00:37:17,400
Speaker 1: It is true. I hadn't thought about it in that

618
00:37:17,440 --> 00:37:20,120
Speaker 1: way before because I've done plenty of tasting menus. I've

619
00:37:20,160 --> 00:37:24,560
Speaker 1: never done anything quite on skill, but but I've done

620
00:37:24,560 --> 00:37:26,800
Speaker 1: plenty of tasting minis, and it is true. At a

621
00:37:26,880 --> 00:37:27,839
Speaker 1: certain point, you're like.

622
00:37:32,880 --> 00:37:36,439
Speaker 2: Yeah, yeah, so sorry, Yeah, you either have to buy

623
00:37:36,480 --> 00:37:42,279
Speaker 2: into it completely or you're gonna be it's gonna be weird.

624
00:37:42,719 --> 00:37:46,839
Speaker 1: It's it is gonna be weird, and especially like with

625
00:37:46,880 --> 00:37:51,520
Speaker 1: those food descriptions and like the personal history people might

626
00:37:51,560 --> 00:37:56,560
Speaker 1: pour into it. Yeah yeah, yeah, which is something else

627
00:37:56,640 --> 00:37:59,520
Speaker 1: like this movie really does tackle a bunch of things

628
00:37:59,560 --> 00:38:05,200
Speaker 1: I would say, burnout big one abuse. I think the

629
00:38:05,239 --> 00:38:08,880
Speaker 1: whole idea of when he's talking about his past, his

630
00:38:09,000 --> 00:38:13,000
Speaker 1: childhood and the abuse in it with Taco Tuesday and

631
00:38:13,040 --> 00:38:15,160
Speaker 1: how that's gone elevated. That was the dish that put

632
00:38:15,239 --> 00:38:16,000
Speaker 1: him on the map.

633
00:38:17,920 --> 00:38:24,319
Speaker 2: Yeah, these Alpa store printed image tortilla taco self make

634
00:38:24,360 --> 00:38:26,720
Speaker 2: your own taco. Yeah.

635
00:38:27,840 --> 00:38:29,879
Speaker 1: I think that's We talked about that a lot too,

636
00:38:29,920 --> 00:38:35,200
Speaker 1: of like when something I don't know that isn't that

637
00:38:35,320 --> 00:38:39,960
Speaker 1: expensive but gets put on expensive restaurant menus and what

638
00:38:40,000 --> 00:38:40,600
Speaker 1: that says?

639
00:38:41,320 --> 00:38:45,239
Speaker 2: Yeah yeah right, like like what yeah, how that how

640
00:38:45,239 --> 00:38:49,239
Speaker 2: you can possibly charge you know, like twelve hundred bucks

641
00:38:49,280 --> 00:38:51,799
Speaker 2: ahead and serve tacos.

642
00:38:51,040 --> 00:38:57,760
Speaker 1: Like going on like yeah, yeah, and yeah, definitely there's suicidality,

643
00:38:58,000 --> 00:39:03,560
Speaker 1: there's not being good enough to be a celebrity chef, sexism,

644
00:39:03,719 --> 00:39:08,520
Speaker 1: being harassed, not being respected as a chef, which definitely

645
00:39:08,680 --> 00:39:12,040
Speaker 1: shines through in the Man's Folly dish which is only

646
00:39:12,080 --> 00:39:13,120
Speaker 1: served to women.

647
00:39:13,800 --> 00:39:17,080
Speaker 2: Right And the reason that that dish is part of

648
00:39:17,680 --> 00:39:21,480
Speaker 2: the menu, as he, along with his siue chef, tells

649
00:39:21,520 --> 00:39:24,840
Speaker 2: the story, is that his sue chef, who is a woman,

650
00:39:25,680 --> 00:39:29,400
Speaker 2: he tried to sleep with her and when she rejected him.

651
00:39:29,560 --> 00:39:34,400
Speaker 2: He like cold shouldered her for months in their workplace

652
00:39:36,000 --> 00:39:41,400
Speaker 2: and uh, and it comes out as she's serving this

653
00:39:41,480 --> 00:39:47,439
Speaker 2: dish to the ladies that it was her idea. The

654
00:39:47,640 --> 00:39:54,440
Speaker 2: entire this, this giant mass murder suicide was her idea.

655
00:39:54,960 --> 00:40:02,640
Speaker 2: The whole thing was his woman, Sue's idea, and he

656
00:40:02,680 --> 00:40:05,719
Speaker 2: has been taking credit for it this whole time and

657
00:40:05,840 --> 00:40:09,200
Speaker 2: will continue as soon as this one little respite moment

658
00:40:09,520 --> 00:40:10,759
Speaker 2: among the women is over.

659
00:40:11,400 --> 00:40:17,080
Speaker 1: M Yeah, it's a very funny and dark scene where

660
00:40:17,120 --> 00:40:18,920
Speaker 1: all the women are sitting around the table and they're like,

661
00:40:19,000 --> 00:40:26,640
Speaker 1: so we all have to dive in, and she's like it. Also,

662
00:40:26,760 --> 00:40:31,040
Speaker 1: I think it's pretty telling when because there's plenty of

663
00:40:31,080 --> 00:40:35,080
Speaker 1: signs something's wrong early on, but when the chef kills

664
00:40:35,160 --> 00:40:40,719
Speaker 1: himself and then everyone keeps eating, they keep eating like that,

665
00:40:40,880 --> 00:40:43,719
Speaker 1: they bundle up the body and they're like, all right,

666
00:40:43,960 --> 00:40:45,000
Speaker 1: it must be part of the show.

667
00:40:45,080 --> 00:40:48,640
Speaker 2: It must be yea during the mess. Yeah, dude kills

668
00:40:48,680 --> 00:40:52,000
Speaker 2: himself and then right everyone's like, oh is it theater? Okay,

669
00:40:52,040 --> 00:40:54,000
Speaker 2: these tacos are great or this?

670
00:40:54,120 --> 00:40:54,319
Speaker 1: Yeah?

671
00:40:54,360 --> 00:40:57,080
Speaker 2: I love filet. Here we go like okay.

672
00:40:58,000 --> 00:41:02,480
Speaker 1: Yeah, just kind of the like willing to look away

673
00:41:02,760 --> 00:41:06,680
Speaker 1: of the dances being done, so we have to talk

674
00:41:06,680 --> 00:41:14,560
Speaker 1: about the cheeseburger. So basically, at this point, Margo has

675
00:41:14,600 --> 00:41:19,680
Speaker 1: seen a picture of the chef Julian when he was

676
00:41:19,760 --> 00:41:22,319
Speaker 1: younger and he was first starting out. He was making hamburgers,

677
00:41:23,320 --> 00:41:25,319
Speaker 1: and she's like, oh, I've got to get out of here.

678
00:41:25,440 --> 00:41:29,719
Speaker 1: I'm going to die. And so she stands up and

679
00:41:29,760 --> 00:41:31,120
Speaker 1: claps her hands.

680
00:41:30,960 --> 00:41:35,480
Speaker 2: Which is a recurring thing before every course, the whole

681
00:41:35,560 --> 00:41:39,680
Speaker 2: kitchen staff or a chef Julian claps and the whole

682
00:41:39,760 --> 00:41:42,600
Speaker 2: kitchen staff comes to attention and it's very jarring.

683
00:41:42,640 --> 00:41:46,919
Speaker 1: Every time it is extremely jarring. So she does it

684
00:41:46,480 --> 00:41:49,560
Speaker 1: and says, I would like to send something back, which

685
00:41:49,600 --> 00:41:53,440
Speaker 1: is something Nicholas Holt's character has said, you never do that.

686
00:41:53,520 --> 00:41:56,520
Speaker 1: And she's like, I would just send something back. I'm hungry.

687
00:41:57,080 --> 00:42:01,960
Speaker 1: Everything I've eaten was made without passion or care. And

688
00:42:02,760 --> 00:42:06,560
Speaker 1: the chef is obviously like, oh, no, flabbergasted, this can't

689
00:42:06,600 --> 00:42:11,520
Speaker 1: be And it boils down to him saying what would

690
00:42:11,520 --> 00:42:16,720
Speaker 1: you like? We can make you yeah, whatever whatever you want. Yeah,

691
00:42:16,760 --> 00:42:19,040
Speaker 1: and she says, just a good cheeseburger. I don't know

692
00:42:19,040 --> 00:42:20,640
Speaker 1: if you know how to make it. I just want

693
00:42:20,640 --> 00:42:24,520
Speaker 1: a good cheeseburger and he's like, no, no, no, I

694
00:42:24,600 --> 00:42:27,560
Speaker 1: know how to do it. And it's really kind of

695
00:42:27,560 --> 00:42:30,040
Speaker 1: funny because they talk about like American cheese and the

696
00:42:30,120 --> 00:42:32,880
Speaker 1: white it's a good cheese for this, and like crinkle fries. Anyway,

697
00:42:33,760 --> 00:42:38,920
Speaker 1: but he makes this cheeseburger for her and it seems

698
00:42:38,960 --> 00:42:41,279
Speaker 1: to remind him of why he got into this in

699
00:42:41,320 --> 00:42:45,640
Speaker 1: the first place, like the love of cooking. And she

700
00:42:45,760 --> 00:42:48,879
Speaker 1: takes a bite of it. It looks delicious. It's only

701
00:42:48,960 --> 00:42:50,839
Speaker 1: nine dollars in something since.

702
00:42:50,840 --> 00:42:53,640
Speaker 2: Yeah, gratuity included. Yeah, mm hmmm.

703
00:42:54,040 --> 00:42:57,240
Speaker 1: And she's like, okay, my eyes are bigger than my stomach.

704
00:42:58,840 --> 00:42:59,359
Speaker 1: Is that right?

705
00:42:59,640 --> 00:43:00,160
Speaker 2: Yeah?

706
00:43:00,239 --> 00:43:02,279
Speaker 1: Yeah, And it's like, can I take this to go?

707
00:43:02,560 --> 00:43:05,040
Speaker 2: And he lets her, and he gives her a doggy

708
00:43:05,080 --> 00:43:06,759
Speaker 2: bag and lets her and lets her go and she

709
00:43:06,920 --> 00:43:07,840
Speaker 2: flees the island.

710
00:43:08,880 --> 00:43:11,000
Speaker 1: Yes, and everyone else is kind of like.

711
00:43:11,000 --> 00:43:12,799
Speaker 2: It's kind of like wealth, good on you. Yep, you go.

712
00:43:13,080 --> 00:43:14,799
Speaker 2: I guess I'm just sitting here now. I guess I'm

713
00:43:14,840 --> 00:43:16,680
Speaker 2: just waiting for my death, which I deserve, which I

714
00:43:16,719 --> 00:43:19,640
Speaker 2: have come to realize over the course of this ten course.

715
00:43:19,440 --> 00:43:22,799
Speaker 1: Meal, over the course of the east courses. Here we

716
00:43:22,840 --> 00:43:27,799
Speaker 1: are yep, yes, yep, yes, and that brings us to

717
00:43:27,800 --> 00:43:33,400
Speaker 1: the Amors. The final thing kind of becoming part of

718
00:43:33,440 --> 00:43:33,840
Speaker 1: the menu.

719
00:43:35,239 --> 00:43:36,200
Speaker 2: Yeah.

720
00:43:36,719 --> 00:43:39,960
Speaker 1: I felt it was very just desserts sort of messaging,

721
00:43:42,360 --> 00:43:45,799
Speaker 1: and I do love that they kept reiterating the menu

722
00:43:45,960 --> 00:43:48,280
Speaker 1: only makes sense if you have all the dishes.

723
00:43:48,680 --> 00:43:48,879
Speaker 2: Yeah.

724
00:43:48,960 --> 00:43:51,080
Speaker 1: So I feel like they've all come to this point.

725
00:43:50,880 --> 00:43:54,680
Speaker 2: And they're yeah, They're like, well here we are, yeah,

726
00:43:54,719 --> 00:43:58,880
Speaker 2: and uh yeah. Ra Raf finds a chef, s Loowick,

727
00:43:59,320 --> 00:44:05,360
Speaker 2: gives one last impassioned monologue about how bad some Moores

728
00:44:05,400 --> 00:44:08,680
Speaker 2: are but everyone seems to love them, so he's going

729
00:44:08,719 --> 00:44:12,800
Speaker 2: to do it anyway. And apparently Ray Fines actually basically

730
00:44:12,840 --> 00:44:15,920
Speaker 2: wrote that monologue. He didn't the character didn't originally have

731
00:44:15,960 --> 00:44:19,279
Speaker 2: a final one, and Rafe went to the director and

732
00:44:19,320 --> 00:44:22,440
Speaker 2: writers and was like, hey, uh, I think he needs one,

733
00:44:22,520 --> 00:44:24,640
Speaker 2: right because you know, like this is his moment, this

734
00:44:24,800 --> 00:44:28,759
Speaker 2: is his you know, ego moment. So they're like, you're right,

735
00:44:29,360 --> 00:44:31,239
Speaker 2: and good job, we'll just put that in there. Great.

736
00:44:32,239 --> 00:44:34,919
Speaker 1: Yeah.

737
00:44:35,000 --> 00:44:38,200
Speaker 2: Yeah. Apparently I read so many like making of things

738
00:44:39,520 --> 00:44:43,800
Speaker 2: over the past couple days. Apparently to create the smors

739
00:44:44,000 --> 00:44:46,040
Speaker 2: on the set, because they turned the entire floor of

740
00:44:46,040 --> 00:44:49,960
Speaker 2: the restaurant into this giant splatter somemors thing. But you

741
00:44:50,040 --> 00:44:52,440
Speaker 2: can't just splash down a bunch of sauce and then

742
00:44:52,480 --> 00:44:56,319
Speaker 2: film around it for multiple hours that you would track

743
00:44:56,360 --> 00:44:59,279
Speaker 2: it everywhere. It wouldn't It would not be good. Even

744
00:44:59,280 --> 00:45:01,440
Speaker 2: if it was just like paint and not real food, NA,

745
00:45:01,600 --> 00:45:04,239
Speaker 2: it would be it would be bad. So to create it,

746
00:45:04,600 --> 00:45:10,320
Speaker 2: they actually did splash down stuff on set. Then I

747
00:45:10,760 --> 00:45:12,440
Speaker 2: get a little bit mundy about the details here, but

748
00:45:12,440 --> 00:45:15,479
Speaker 2: but basically they Yeah, they actually splashed stuff down on set,

749
00:45:16,000 --> 00:45:19,120
Speaker 2: then projected an image of that onto the floor of

750
00:45:19,160 --> 00:45:23,000
Speaker 2: a different room of a parallel set. They used that

751
00:45:23,040 --> 00:45:26,600
Speaker 2: as a template to build up resin models of the

752
00:45:26,640 --> 00:45:30,040
Speaker 2: real stuff, and then before they cleaned up the actual stuff,

753
00:45:30,239 --> 00:45:33,240
Speaker 2: they traced around it with black light activated transparent markers.

754
00:45:34,800 --> 00:45:37,720
Speaker 2: So then when it was time to film, they busted

755
00:45:37,760 --> 00:45:41,840
Speaker 2: out these black light headlamps and brought in their plastic

756
00:45:41,880 --> 00:45:46,879
Speaker 2: models and laid them down on these invisible lines on

757
00:45:46,960 --> 00:45:51,000
Speaker 2: set just perfectly. Apparently the actors were there and they

758
00:45:51,000 --> 00:45:52,960
Speaker 2: were totally incredulous. That's a quote.

759
00:45:53,760 --> 00:45:56,560
Speaker 1: Wow, that's wild.

760
00:45:56,840 --> 00:45:59,600
Speaker 2: I love this. I love this so fun.

761
00:46:01,880 --> 00:46:06,640
Speaker 1: Wow. Okay, well, as we wrap up here, we're going

762
00:46:06,680 --> 00:46:09,759
Speaker 1: to run over some quick things that this really dealt

763
00:46:09,760 --> 00:46:12,440
Speaker 1: with when it comes to trauma and the restaurant industry.

764
00:46:12,480 --> 00:46:14,879
Speaker 1: But they're all deserving of their own episodes that are

765
00:46:14,880 --> 00:46:15,880
Speaker 1: not horror movie based.

766
00:46:16,000 --> 00:46:18,480
Speaker 2: Oh oh absolutely absolutely. I mean you know, like that's

767
00:46:18,680 --> 00:46:20,799
Speaker 2: that's the fun of horror movies, you know, like you

768
00:46:20,840 --> 00:46:23,719
Speaker 2: get to kind of again in an hopefully entertaining way,

769
00:46:23,880 --> 00:46:26,320
Speaker 2: deal with some of these like really big, real issues.

770
00:46:27,040 --> 00:46:29,640
Speaker 2: And we've touched on some of these topics a little

771
00:46:29,640 --> 00:46:32,880
Speaker 2: bit and some of our interviews before. But yeah, no,

772
00:46:33,000 --> 00:46:36,319
Speaker 2: definitely definitely need need full episodes about all of this.

773
00:46:37,239 --> 00:46:42,000
Speaker 1: Yes, So one of the things that was throughout this

774
00:46:42,239 --> 00:46:44,560
Speaker 1: was the review system and how damaging that can.

775
00:46:44,440 --> 00:46:50,719
Speaker 2: Be, Yeah, Kren. Dominique Kren told The New York Times.

776
00:46:51,280 --> 00:46:54,520
Speaker 2: We work eighteen hours a day, every day under pressure

777
00:46:54,600 --> 00:46:58,080
Speaker 2: to feed thousands of people a perfect meal. And one

778
00:46:58,120 --> 00:47:00,759
Speaker 2: person can walk into the restaurant and put you down,

779
00:47:01,239 --> 00:47:06,000
Speaker 2: or a writer can judge you for using too much salt, which.

780
00:47:05,840 --> 00:47:08,040
Speaker 1: Is a great quote because we all have different preferences.

781
00:47:08,960 --> 00:47:10,000
Speaker 2: Oh sure, and.

782
00:47:10,000 --> 00:47:12,520
Speaker 1: Maybe I would love that amount of salt and someone

783
00:47:12,680 --> 00:47:13,520
Speaker 1: will think it's too much.

784
00:47:13,600 --> 00:47:15,880
Speaker 2: Oh absolutely, yeah, yeah, and and right and like and

785
00:47:15,920 --> 00:47:19,160
Speaker 2: like what is perfection that's in that that's that's literally

786
00:47:20,120 --> 00:47:22,920
Speaker 2: wild to think that you could possibly ask for perfection

787
00:47:23,040 --> 00:47:24,680
Speaker 2: out of every dish to come out of the kitchen

788
00:47:25,000 --> 00:47:28,160
Speaker 2: under those kind of circumstances, especially mm hmmm.

789
00:47:29,480 --> 00:47:33,160
Speaker 1: Something else that was throughout this film was mental health

790
00:47:33,160 --> 00:47:36,279
Speaker 1: and suicidality in the restaurant industry.

791
00:47:36,360 --> 00:47:42,480
Speaker 2: Yeah. In in that dish the Mess, I think it's

792
00:47:42,680 --> 00:47:47,360
Speaker 2: uh chefs Loowick who who's as he's describing the dish,

793
00:47:47,400 --> 00:47:51,160
Speaker 2: he says something about the that it represents the mess

794
00:47:51,160 --> 00:47:54,640
Speaker 2: you make of your life, your body, your sanity that

795
00:47:54,680 --> 00:47:56,760
Speaker 2: you give to making other people happy.

796
00:47:58,000 --> 00:47:58,600
Speaker 1: Mm hmmm.

797
00:47:59,640 --> 00:48:01,960
Speaker 2: And of course our mental health in the restaurant industry

798
00:48:02,040 --> 00:48:07,080
Speaker 2: is a very very very serious topic, and there there

799
00:48:07,120 --> 00:48:11,560
Speaker 2: are luckily a lot of really great resources that are

800
00:48:11,600 --> 00:48:15,680
Speaker 2: being developed these days. There's a there's a few great

801
00:48:15,719 --> 00:48:18,359
Speaker 2: programs here in Atlanta to help to help people out.

802
00:48:18,400 --> 00:48:20,480
Speaker 2: But you know, like this is an industry that frequently

803
00:48:20,520 --> 00:48:29,000
Speaker 2: you don't have health insurance, and uh so when these pressures,

804
00:48:29,040 --> 00:48:34,000
Speaker 2: these physical and mental pressures happen as they do, as

805
00:48:34,040 --> 00:48:38,120
Speaker 2: they inevitably do, you don't have a really good place

806
00:48:38,120 --> 00:48:41,920
Speaker 2: to turn. And it's an issue.

807
00:48:42,080 --> 00:48:45,600
Speaker 1: Yeah, And I would also say, like I'm constantly reminded

808
00:48:45,680 --> 00:48:48,799
Speaker 1: because I live kind of near a strip of restaurants

809
00:48:51,160 --> 00:48:52,640
Speaker 1: that a lot of people who work in the industry

810
00:48:52,680 --> 00:48:55,439
Speaker 1: don't get home until three am. Oh yeah, Like there's

811
00:48:55,440 --> 00:48:58,680
Speaker 1: schedules is very different than a lot of our schedules.

812
00:48:58,719 --> 00:49:03,200
Speaker 2: So yeah, that's a tree. Yeah yeah. And I mean also,

813
00:49:03,520 --> 00:49:07,920
Speaker 2: you know, like a substance misuse is really rampant because

814
00:49:08,000 --> 00:49:10,520
Speaker 2: at a certain point, you know, like you're you're around

815
00:49:10,600 --> 00:49:14,480
Speaker 2: booze at the least all the time, and how else

816
00:49:14,560 --> 00:49:18,160
Speaker 2: do you get a numb your emotions and your physical

817
00:49:18,200 --> 00:49:20,680
Speaker 2: pain and all of that. And you know, like it's

818
00:49:20,719 --> 00:49:25,319
Speaker 2: a really seductive kind of kind of agent in a

819
00:49:25,320 --> 00:49:27,279
Speaker 2: lot of those spaces. And and I know a lot

820
00:49:27,320 --> 00:49:29,200
Speaker 2: of people in the industry who are sober as a

821
00:49:29,239 --> 00:49:33,120
Speaker 2: result of it, and good for them, and it's horrifying

822
00:49:33,120 --> 00:49:33,959
Speaker 2: that they've had to go there.

823
00:49:34,840 --> 00:49:38,839
Speaker 1: M h yeah. And that that's also something else that

824
00:49:39,640 --> 00:49:44,040
Speaker 1: this this movie addresses is the sexual harassments and misogyny

825
00:49:44,200 --> 00:49:47,360
Speaker 1: in the restaurant industry. And I think we have seen

826
00:49:48,680 --> 00:49:55,240
Speaker 1: in recent years a lot of celebrity chefs get accusations

827
00:49:56,080 --> 00:50:02,640
Speaker 1: against them and fall away because of that, which yeah good.

828
00:50:03,200 --> 00:50:04,560
Speaker 2: Oh yeah, oh yeah.

829
00:50:04,800 --> 00:50:05,080
Speaker 1: Yeah.

830
00:50:05,120 --> 00:50:07,399
Speaker 2: There was a scandal that was happening. I think while

831
00:50:07,400 --> 00:50:09,799
Speaker 2: this movie was being made with oh gosh, what was

832
00:50:09,800 --> 00:50:15,879
Speaker 2: the name of the place, the Willow in New York where, Yeah,

833
00:50:15,920 --> 00:50:20,680
Speaker 2: it was coming out that all of this bad stuff

834
00:50:20,719 --> 00:50:24,560
Speaker 2: had happened, and there's a whole expos and then I

835
00:50:24,560 --> 00:50:29,239
Speaker 2: think in the New York Times and who was also

836
00:50:29,280 --> 00:50:32,080
Speaker 2: interviewing the filmmakers around that time about all of these

837
00:50:32,080 --> 00:50:35,839
Speaker 2: same issues, and it's like, yep, this is yeah. I mean,

838
00:50:35,840 --> 00:50:39,640
Speaker 2: this is like a funny example, funny and scare quotes,

839
00:50:39,760 --> 00:50:41,560
Speaker 2: but it's also very real.

840
00:50:42,440 --> 00:50:48,759
Speaker 1: Yeah it is so. I mean, obviously it's pretty dark,

841
00:50:49,200 --> 00:50:52,080
Speaker 1: but we do recommend it if this is your thing.

842
00:50:52,440 --> 00:50:56,920
Speaker 2: Oh yeah, oh my gosh. I really do enjoy this film.

843
00:50:56,920 --> 00:50:59,440
Speaker 2: I mean also I will say that the acting is

844
00:50:59,760 --> 00:51:05,960
Speaker 2: just aces across the board. Everyone, everyone is bringing everything.

845
00:51:06,080 --> 00:51:10,319
Speaker 1: It's beautiful. Yes, yeah, I love it. I feel like

846
00:51:10,400 --> 00:51:14,520
Speaker 1: everyone's had some kind of experience that informed there, and

847
00:51:14,600 --> 00:51:18,839
Speaker 1: I really enjoyed it. And it's funny, Like I think,

848
00:51:18,880 --> 00:51:23,479
Speaker 1: if you listen to this show and you in any

849
00:51:23,520 --> 00:51:29,280
Speaker 1: capacity enjoy some dark comedy or horror, you'll it's very funny.

850
00:51:29,320 --> 00:51:31,279
Speaker 1: For people who enjoy food media.

851
00:51:31,000 --> 00:51:36,240
Speaker 2: I think, yes, yeah, there's a few descriptions of the food,

852
00:51:36,440 --> 00:51:38,759
Speaker 2: and or just like like the way that things are phrased,

853
00:51:38,920 --> 00:51:41,440
Speaker 2: like when the when the matter d is is like,

854
00:51:41,480 --> 00:51:44,080
Speaker 2: feel free to go watch our chefs as they innovate.

855
00:51:44,239 --> 00:51:47,360
Speaker 2: I'm like, oh my goodness, yes, oh my gosh, I

856
00:51:47,400 --> 00:51:48,000
Speaker 2: forgot about that.

857
00:51:48,120 --> 00:51:53,680
Speaker 1: Yep, oh so good, so good. But I think that's

858
00:51:53,680 --> 00:51:54,879
Speaker 1: what we have to say for now.

859
00:51:55,360 --> 00:51:57,879
Speaker 2: I think it is. We do have some listener mail

860
00:51:57,920 --> 00:52:00,160
Speaker 2: for you, though, and we are going to get to

861
00:52:00,200 --> 00:52:01,560
Speaker 2: that as soon as we get back from one more

862
00:52:01,600 --> 00:52:12,520
Speaker 2: quick break for a word from our sponsors, and we're back.

863
00:52:12,560 --> 00:52:15,360
Speaker 1: Thank you, sponsor, Yes, thank you, and we're back with

864
00:52:22,200 --> 00:52:35,320
Speaker 1: Friday the thirteenth. Okay. Sheldon wrote about Twizzlers the Memories

865
00:52:35,360 --> 00:52:38,440
Speaker 1: of these Things about ten years before I retired, I

866
00:52:38,480 --> 00:52:42,600
Speaker 1: went through a period that lasted two years. Whizzler's lunch.

867
00:52:43,360 --> 00:52:46,040
Speaker 1: Every day. I would walk to the nearby dollar store

868
00:52:46,200 --> 00:52:49,000
Speaker 1: and get a one pound pack of Twizzlers, walk back

869
00:52:49,000 --> 00:52:51,399
Speaker 1: to my office and sit at my desk and eat

870
00:52:51,440 --> 00:52:56,240
Speaker 1: the entire pound for lunch. When coworkers would comment, I'd respond,

871
00:52:56,719 --> 00:52:58,839
Speaker 1: it's cheap and it's fat free.

872
00:52:59,280 --> 00:53:02,080
Speaker 2: Now it wasn't.

873
00:53:01,800 --> 00:53:05,280
Speaker 1: As bad as it may seem. I was a cycle commuter.

874
00:53:05,760 --> 00:53:08,200
Speaker 1: I would burn a lot of calories on my daily commute,

875
00:53:08,280 --> 00:53:11,480
Speaker 1: especially when writing in the snow in the winter. I

876
00:53:11,560 --> 00:53:15,080
Speaker 1: really needed a lot of calories, and the Twizzlers did

877
00:53:15,080 --> 00:53:18,520
Speaker 1: the job. Asthma side, I went through a bit of

878
00:53:18,600 --> 00:53:21,160
Speaker 1: time when I would take a six mile bike ride

879
00:53:21,160 --> 00:53:23,520
Speaker 1: to an Italian deli to get one of their fantastic

880
00:53:23,600 --> 00:53:26,640
Speaker 1: sandwiches for my lunch. It turned out that the ride

881
00:53:26,640 --> 00:53:29,480
Speaker 1: to get the sandwich burned more calories and the sandwich

882
00:53:29,520 --> 00:53:32,560
Speaker 1: gave me, so my lunch was technically a loss, albeit

883
00:53:32,719 --> 00:53:36,600
Speaker 1: a good tasting. Now, oh, I mean if you find

884
00:53:36,600 --> 00:53:37,840
Speaker 1: a good sandwich.

885
00:53:37,680 --> 00:53:42,200
Speaker 2: Oh, I mean right right? Yeah, absolutely, yeah, And that

886
00:53:42,640 --> 00:53:44,799
Speaker 2: level you do reach a level of workout where right

887
00:53:44,840 --> 00:53:46,440
Speaker 2: you're like, you're like, oh, heck, how am I going

888
00:53:46,520 --> 00:53:50,120
Speaker 2: to eat enough? How? What can I do?

889
00:53:51,800 --> 00:53:56,640
Speaker 1: A pound of Twizzlers. We had a coworker who was

890
00:53:56,680 --> 00:54:00,000
Speaker 1: really into Twizzlers and he would just leave them around

891
00:54:00,080 --> 00:54:04,120
Speaker 1: on their office in my early days of back when

892
00:54:04,120 --> 00:54:05,040
Speaker 1: it was housed of works.

893
00:54:05,080 --> 00:54:06,560
Speaker 2: Oh I don't I don't know, this might be before

894
00:54:06,560 --> 00:54:07,520
Speaker 2: my time. I don't remember this.

895
00:54:08,400 --> 00:54:10,600
Speaker 1: Oh yeah. He would just leave them and I was

896
00:54:10,640 --> 00:54:15,040
Speaker 1: always kind of perplexed by it. I love that he

897
00:54:15,200 --> 00:54:17,600
Speaker 1: wanted to share. He loved them so much.

898
00:54:18,040 --> 00:54:20,680
Speaker 2: Like open bags or like little singles.

899
00:54:20,320 --> 00:54:23,320
Speaker 1: Or just little singles singles.

900
00:54:22,960 --> 00:54:26,680
Speaker 2: Okay, singly rapped, not just like random.

901
00:54:27,880 --> 00:54:33,520
Speaker 1: In the wild wizzer. But I just remember at the

902
00:54:33,600 --> 00:54:37,239
Speaker 1: time being kind of befuddled by the whole thing. I

903
00:54:37,280 --> 00:54:42,799
Speaker 1: appreciated it. What I was also like, huh, you got

904
00:54:42,800 --> 00:54:44,480
Speaker 1: some connect to Twizzlers.

905
00:54:44,840 --> 00:54:48,080
Speaker 2: Uh, stop working, what's happening?

906
00:54:48,360 --> 00:54:52,160
Speaker 1: Yeah, the suspicion immediately, you know, sure, of.

907
00:54:52,120 --> 00:54:58,840
Speaker 2: Course, yeah that would my stomach would not tolerate that

908
00:54:58,920 --> 00:55:03,160
Speaker 2: number of Twizzlers. But more and more power to you. Heck, yeah, absolutely, Yeah.

909
00:55:03,239 --> 00:55:06,719
Speaker 1: I also love it. It's like a two year period. Yeah,

910
00:55:06,719 --> 00:55:08,759
Speaker 1: that's someone who goes through periods of like I eat

911
00:55:08,800 --> 00:55:10,520
Speaker 1: this every day. I understand.

912
00:55:10,719 --> 00:55:19,480
Speaker 2: Oh sure, oh sure yeah. Oh, Christine wrote, I was

913
00:55:19,560 --> 00:55:22,000
Speaker 2: just listening to your mulberry episode from twenty twenty one,

914
00:55:22,000 --> 00:55:24,640
Speaker 2: which is perfect timing because my mulberry tree is in

915
00:55:24,680 --> 00:55:28,160
Speaker 2: the middle of its usual abundant harvest. This year's fruit

916
00:55:28,239 --> 00:55:31,080
Speaker 2: is small, but plentiful and very sweet. I usually get

917
00:55:31,080 --> 00:55:33,919
Speaker 2: around five kilos about eleven pounds of fruit per year,

918
00:55:33,960 --> 00:55:38,080
Speaker 2: which gets turned into pies, ice cream, jam, or alcoholic beverages.

919
00:55:38,600 --> 00:55:41,480
Speaker 2: I have no idea when mulberry trees arrived in Australia,

920
00:55:41,640 --> 00:55:44,560
Speaker 2: but it was probably fairly early into white settlement. The

921
00:55:44,640 --> 00:55:47,120
Speaker 2: black ones are dotted all over the place and locals

922
00:55:47,160 --> 00:55:50,520
Speaker 2: know the locations of all of them. They're probably invasive

923
00:55:50,560 --> 00:55:53,400
Speaker 2: here as well, though blackberries are a much worse problem.

924
00:55:53,880 --> 00:55:56,640
Speaker 2: When why people had to bring dangerous plants here when

925
00:55:56,640 --> 00:55:59,520
Speaker 2: Australia has so many amazing native fruits. I don't know,

926
00:55:59,880 --> 00:56:05,600
Speaker 2: but that's stupid white people for you, it is. The

927
00:56:05,680 --> 00:56:09,319
Speaker 2: mulberry episode was far more enjoyable than the corn dog episode.

928
00:56:09,719 --> 00:56:12,600
Speaker 2: We have a corn dog analog in Australia, the Pluto

929
00:56:12,719 --> 00:56:16,520
Speaker 2: pop or dagwood dog. This is always a Frankfurt save

930
00:56:16,640 --> 00:56:20,440
Speaker 2: Loy save loi sure type sausage dipped in wheat and

931
00:56:20,480 --> 00:56:23,680
Speaker 2: water batter and deep fried, served on a stick. They're

932
00:56:23,680 --> 00:56:27,279
Speaker 2: typically a show at fair food and I despise them,

933
00:56:28,200 --> 00:56:31,600
Speaker 2: just as I despise any Frankfurt based food product, including

934
00:56:31,640 --> 00:56:35,319
Speaker 2: hot dogs. In fact, Frankfurt sausage based food products are

935
00:56:35,360 --> 00:56:38,359
Speaker 2: probably the foods I despise the most, more even than

936
00:56:38,400 --> 00:56:41,520
Speaker 2: anything involving kale. I'm not sure how it goes in

937
00:56:41,560 --> 00:56:44,279
Speaker 2: the US, but frankfurts and save lois here are red

938
00:56:44,280 --> 00:56:47,880
Speaker 2: skinned sausages. Save Loys are a different size to frankfurts

939
00:56:47,920 --> 00:56:51,280
Speaker 2: and supposedly are made of a spiced pressed meat blend

940
00:56:51,440 --> 00:56:54,480
Speaker 2: that came from England and are apparently superior to frankfurts.

941
00:56:55,160 --> 00:56:58,680
Speaker 2: These are a reclaimed meat product, probably the bits of

942
00:56:58,760 --> 00:57:01,560
Speaker 2: unsold animal that we're done in the Tames in medieval times.

943
00:57:02,640 --> 00:57:05,640
Speaker 2: Save lois and frankfurts are equally vile as far as

944
00:57:05,680 --> 00:57:09,080
Speaker 2: I'm concerned. I never really liked them. But my undiaglothing

945
00:57:09,280 --> 00:57:11,840
Speaker 2: was set in Diamond by my brother, who cooked some

946
00:57:11,880 --> 00:57:14,719
Speaker 2: of these detestable things once for lunch. He put them

947
00:57:14,719 --> 00:57:17,000
Speaker 2: on the stove, then forgot about them. You boil them

948
00:57:17,000 --> 00:57:20,360
Speaker 2: to cook them, and the pan had boiled dry. It

949
00:57:20,440 --> 00:57:24,240
Speaker 2: was the smell that reminded him if you overcook them

950
00:57:24,320 --> 00:57:28,720
Speaker 2: Frankfurt's burst. The pan was full of this disgusting, bright

951
00:57:28,800 --> 00:57:32,280
Speaker 2: pink sludge, shot through with bits of red. My brother

952
00:57:32,400 --> 00:57:35,040
Speaker 2: and father proceeded to pile this muck on bread and

953
00:57:35,200 --> 00:57:39,800
Speaker 2: eat it. I could not. The mere memory makes me nauseous,

954
00:57:39,920 --> 00:57:43,240
Speaker 2: though that could be the bad thunderstorm overhead. I should

955
00:57:43,240 --> 00:57:46,560
Speaker 2: think about cheese instead. Good cheese. Is always worth thinking about.

956
00:57:48,160 --> 00:57:54,360
Speaker 1: True. True. I have to say I am a very

957
00:57:54,400 --> 00:57:56,480
Speaker 1: positive person. I think you would agree, Lauren.

958
00:57:56,640 --> 00:57:58,040
Speaker 2: Yeah, huh, but there.

959
00:57:58,000 --> 00:58:03,400
Speaker 1: Is something so delightful about reading somebody's true discussed.

960
00:58:04,120 --> 00:58:10,960
Speaker 2: Yeah food item like very real, real revulsion. Uh, Like

961
00:58:11,040 --> 00:58:15,920
Speaker 2: the words are fun, Like I really enjoyed it. I mean,

962
00:58:15,920 --> 00:58:19,240
Speaker 2: I'm sorry for your experience. Yeah, I'm sorry that you

963
00:58:19,240 --> 00:58:20,960
Speaker 2: had this food ruined for you, but you didn't really

964
00:58:21,040 --> 00:58:22,439
Speaker 2: like it to begin with, so I guess that's sort

965
00:58:22,440 --> 00:58:22,800
Speaker 2: of fine.

966
00:58:22,880 --> 00:58:25,920
Speaker 1: But yeah, and you're you got away with words. I

967
00:58:27,040 --> 00:58:30,520
Speaker 1: was moved. Yeah, places I didn't know it was gonna go.

968
00:58:30,960 --> 00:58:33,360
Speaker 2: Yeah, I had to. I had to retake the dumped

969
00:58:33,360 --> 00:58:38,280
Speaker 2: in the Thames line because I read it before. You know,

970
00:58:38,320 --> 00:58:41,920
Speaker 2: I'd actually read this before we got on MIC. But

971
00:58:42,280 --> 00:58:44,280
Speaker 2: but it was so funny that I just cracked up

972
00:58:44,280 --> 00:58:45,120
Speaker 2: in the middle of the line.

973
00:58:48,000 --> 00:58:51,120
Speaker 1: I do. I love it. And you know, I have

974
00:58:51,200 --> 00:58:53,440
Speaker 1: my foods I don't like and I do enjoy complaining

975
00:58:53,440 --> 00:59:00,720
Speaker 1: about them, so I understand. Oh geez, this is funny

976
00:59:00,720 --> 00:59:04,040
Speaker 1: because I'm actually going back to Universal because we have

977
00:59:04,080 --> 00:59:05,920
Speaker 1: more work travel coming up.

978
00:59:06,080 --> 00:59:07,880
Speaker 2: Oh oh right, yeah, yeah, yeah totally.

979
00:59:08,880 --> 00:59:10,000
Speaker 1: They have a corn dog.

980
00:59:10,480 --> 00:59:11,120
Speaker 2: Yeah.

981
00:59:11,240 --> 00:59:14,440
Speaker 1: Yeah. The last of us based corn Dog. Oh my gosh,

982
00:59:14,440 --> 00:59:15,200
Speaker 1: steps dog.

983
00:59:15,560 --> 00:59:18,320
Speaker 2: That's really silly. Okay, cool, Well I eat it.

984
00:59:18,520 --> 00:59:20,920
Speaker 1: I don't know, probably.

985
00:59:20,840 --> 00:59:25,360
Speaker 2: Well yeah, yeah, only huh. You have to you have

986
00:59:25,400 --> 00:59:27,680
Speaker 2: to for us, addie, and you have to let us

987
00:59:27,720 --> 00:59:29,560
Speaker 2: know what the experience is.

988
00:59:29,800 --> 00:59:39,200
Speaker 1: Yeah, well I will. I'm ready. I'm ready for this. Also,

989
00:59:40,360 --> 00:59:41,880
Speaker 1: congrats on your muleberries.

990
00:59:42,120 --> 00:59:45,760
Speaker 2: Yeah yeah, yeah, yeah, yeah yeah yeah. Let us know

991
00:59:45,840 --> 00:59:47,560
Speaker 2: what you wind up making from this patch.

992
00:59:47,920 --> 00:59:51,120
Speaker 1: Oh yeah, please, I love all the things you listed.

993
00:59:51,160 --> 00:59:53,200
Speaker 2: You have so many options, right yeah.

994
00:59:53,680 --> 00:59:58,320
Speaker 1: Yes, okay. Well, in the meantime, thanks to both of

995
00:59:58,360 --> 01:00:01,040
Speaker 1: these listeners for writing it. If you would like to

996
01:00:01,040 --> 01:00:03,400
Speaker 1: write to us, you can Our email is hello at

997
01:00:03,400 --> 01:00:04,600
Speaker 1: saverpod dot com.

998
01:00:04,720 --> 01:00:06,840
Speaker 2: We are also on social media. You can find us

999
01:00:06,840 --> 01:00:09,800
Speaker 2: on Twitter, Facebook, and Instagram at saverpod and we do

1000
01:00:09,840 --> 01:00:12,560
Speaker 2: hope to hear from you. Saver is production of iHeartRadio.

1001
01:00:12,720 --> 01:00:14,840
Speaker 2: For more podcasts from my Heart Radio, you can visit

1002
01:00:14,880 --> 01:00:18,040
Speaker 2: the iHeartRadio app, Apple Podcasts, or wherever you listen to

1003
01:00:18,080 --> 01:00:21,120
Speaker 2: your favorite shows. Thanks us always to our super producers

1004
01:00:21,240 --> 01:00:23,920
Speaker 2: Dylan Fagan and Andrew Howard. Thanks to you for listening,

1005
01:00:24,000 --> 01:00:25,440
Speaker 2: and we hope that lots of more good things are

1006
01:00:25,440 --> 01:00:33,680
Speaker 2: coming your way,