WEBVTT - The Devil Wears Prada 2: 2 Way 2 Run

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<v Speaker 1>That is a sound effect of a sidekick circa two

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<v Speaker 1>thousand and six, alerting all of you virgins that we

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<v Speaker 1>are here with another episode of like a Virgin. Yes

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<v Speaker 1>we are, We're back, baby. This is our first proper,

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<v Speaker 1>like actual main feed episode that we're putting out, not

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<v Speaker 1>just on Patreon.

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<v Speaker 2>In a while, And honestly, we are so generous. This

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<v Speaker 2>is like the juiciest possible episode we could be giving

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<v Speaker 2>to y'all without a paywall, Like you're welcome for this

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<v Speaker 2>free episode. We're about to pop the fuck off today.

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<v Speaker 1>We were born talking to you. We're talking met Gala,

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<v Speaker 1>we're talking gay HBO shows, but most importantly, we are

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<v Speaker 1>talking the devil is product too uh, the Devil's product

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<v Speaker 1>to to devil to product to run too way way

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<v Speaker 1>to run.

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<v Speaker 2>Yeah, let me tell you we were born to review

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<v Speaker 2>this movie.

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<v Speaker 1>We were. But we're gonna we're gonna edge you all

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<v Speaker 1>a little bit. We're gonna save the discussion for later

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<v Speaker 1>in the episode. First, we have a couple of you know,

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<v Speaker 1>trending topics. We have a moose boosh of so just

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<v Speaker 1>some stuff that that we wanted to talk about before

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<v Speaker 1>we get into our main discussion of the episode. Because

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<v Speaker 1>we know we're gonna go long. Yes, And I guess

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<v Speaker 1>we should start with the most topical of them, which

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<v Speaker 1>is that the met Gala was last night. Yes, and

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<v Speaker 1>it was shipped from a butt.

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<v Speaker 2>It was shipped from a butt.

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<v Speaker 1>Is okay? This is a question I want to post

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<v Speaker 1>to you. Is the met Gala over?

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<v Speaker 2>I think the met Gala has kind of over. I

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<v Speaker 2>think that it is undeniable that there is no event

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<v Speaker 2>that would better encapsulate like the imagination of the fashion world.

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<v Speaker 2>There's no there's nothing can ever touch it in terms

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<v Speaker 2>of like what it's accomplished on the you know, thrills

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<v Speaker 2>and chills in vava voom of it all in the

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<v Speaker 2>fashion world. Like. And I think when the theme is good,

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<v Speaker 2>the met Gala is good to be honest, like even

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<v Speaker 2>when yes, like I think that Metala is good when

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<v Speaker 2>the theme is good, like I'm sorry, Like I loved

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<v Speaker 2>the Camp met Gala. I thought it was fabulous.

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<v Speaker 1>Yes, but I do think that the Camp met Gala

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<v Speaker 1>this killed the met Gala. And since then everyone's showing

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<v Speaker 1>up either in something really boring because they don't want

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<v Speaker 1>to get torn apart online, or they show up looking

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<v Speaker 1>like party City. I wanted to yell at Heidi Clume

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<v Speaker 1>last night, like fucking like fucking Fifi O'Hara to Sharon Needles,

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<v Speaker 1>go back to party city where you belong.

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<v Speaker 2>Here's okay, So I'm actually gonna start to disagree with

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<v Speaker 2>you right now?

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<v Speaker 1>Is that okay?

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<v Speaker 2>I actually think that Heidi Klume brought what I believe

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<v Speaker 2>is the best you can bring to a met Gala theme.

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<v Speaker 2>I'm girl this this night.

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<v Speaker 1>Charlie is the babes.

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<v Speaker 2>Here's the thing, fashion and subjective. If you don't like

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<v Speaker 2>something that somebody is wearing, nine times out of ten,

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<v Speaker 2>you know it might actually be really fab and you

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<v Speaker 2>actually are just not the person that doesn't like it.

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<v Speaker 2>And then other times it's like, oh no, no, we

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<v Speaker 2>can unanimously agree that that is a go, go, go go. Sorry,

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<v Speaker 2>Hudson Williams, you look like Tyler Ashley wearing like the dress,

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<v Speaker 2>like if the dress was cut into a suit, and

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<v Speaker 2>and that is actually giving him too much credit because

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<v Speaker 2>Tyler Ashley looks much better than him. Sorry, but with

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<v Speaker 2>Heidi Klune, that is avant garde. The Megala is about

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<v Speaker 2>avant garde couture, go there fashion. If you are not,

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<v Speaker 2>you cannot wear this anywhere else but the Megala. And yes,

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<v Speaker 2>was Heidi Klum giving Halloween Town, Yes.

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<v Speaker 1>Halloween Town too, calibars revenge.

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<v Speaker 2>Calibars revenge. But was it fashion ten thousand percent? And

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<v Speaker 2>you know, Anakia, I think like that was like a

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<v Speaker 2>much more reserved version of like that I did for.

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<v Speaker 1>Me works not only because our good Judy Laurel Charleston, Yes,

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<v Speaker 1>worked worked on that, but one could argue that they

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<v Speaker 1>had the party city quality because it's like an encased

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<v Speaker 1>like wig like it's a lot of make up, a

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<v Speaker 1>lot of prosthetic work. Yes, but that to me, I

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<v Speaker 1>just think I'm here for you on fashion being subjective.

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<v Speaker 1>I just the I guess the place where I'm coming from,

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<v Speaker 1>and I think both of these, both of our opinions

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<v Speaker 1>are valid. Yes, uh, the place I'm coming from.

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<v Speaker 2>Sorry again, but it's fine.

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<v Speaker 1>Okay, Well you guys. You guys will be used to

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<v Speaker 1>hear interruptions on the podcast. The I guess where I'm

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<v Speaker 1>coming from is I think what people like Heidi Klume

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<v Speaker 1>or like Jared Leto when he came in the first

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<v Speaker 1>suit are doing it. It's just going past fashion and

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<v Speaker 1>into costume. Well, but that's the thing Diva, the theme

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<v Speaker 1>is costume art. So if the theme is costume art,

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<v Speaker 1>it actually makes sense that this year, out out of

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<v Speaker 1>any every other year, like yes, bad Bunny should wear

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<v Speaker 1>like an old man face. Like actually that was like

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<v Speaker 1>a bit confusing to me, Like the about how he

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<v Speaker 1>looked like sexy Colonel Sanders, he did look sexy. He

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<v Speaker 1>did look sexy. I mean, he's gonna be hot as

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<v Speaker 1>fuck when he's seventy.

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<v Speaker 2>What I can agree with you, So so what I

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<v Speaker 2>I think every single year celebrities struggle to interpret the

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<v Speaker 2>theme because if you're not aware, the theme of the

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<v Speaker 2>Met Gala exhibit is always different than the theme of

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<v Speaker 2>the actual Met Gala. And if the theme of the

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<v Speaker 2>metal exhibit is the dressed body, the theme of the actual

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<v Speaker 2>metal is costume art, and those and then and then

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<v Speaker 2>celebrities are kind of like, you know, getting their pannies

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<v Speaker 2>all up in a bundle, trying to figure out how

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<v Speaker 2>the fuck to interpret the theme. And they think that

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<v Speaker 2>they should also reference the Met Gala like exhibit theme,

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<v Speaker 2>and then they try to combine them and like it's

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<v Speaker 2>like it's always a bit of a mess. Like and

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<v Speaker 2>so to me, like when I look at when I

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<v Speaker 2>try to evaluate, like the looks at the Mechala, I'm

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<v Speaker 2>usually wanting to like reward somebody that's really fucking going there,

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<v Speaker 2>And like I do think Heidi Klum, even though it

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<v Speaker 2>wasn't my favorite look of the night, like embodies that

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<v Speaker 2>I also think Madonna like was given like.

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<v Speaker 1>They're they're does they're deuce there does seem And I

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<v Speaker 1>actually think that this was nowhere better exemplified than with

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<v Speaker 1>hud Con Hudson Williams and Connor Story. Right, what we

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<v Speaker 1>have now is people either doing way too little because

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<v Speaker 1>they don't want to look a fool, or because they're

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<v Speaker 1>contractually obligated towards something boring, or they do too much

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<v Speaker 1>and they do look a fool. And I think Connor

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<v Speaker 1>Story showing up in his best Macy's mal drag looking

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<v Speaker 1>like miss ma'am she in a YSL look that has

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<v Speaker 1>been worn by at least five other celebrities on various

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<v Speaker 1>red carpets, that is just doing too little and is boring.

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<v Speaker 1>And then Hudson Williams shows up looking like Moira Rose

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<v Speaker 1>from The Crow movie on his street and it's like

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<v Speaker 1>and it's like, I guess I get where you're coming.

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<v Speaker 1>From friend because with him, I'm like, you know what,

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<v Speaker 1>at least he tried something. Yeah, yeah, like it was

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<v Speaker 1>it was gogogo, but like, you know what, he went

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<v Speaker 1>for it and he looks.

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<v Speaker 2>Like the dress cut up into a suit. You know,

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<v Speaker 2>the dress from the.

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<v Speaker 1>Dress, the color changing dress. Yes, is it black? Is

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<v Speaker 1>it black and blue? Or brown and yellow?

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<v Speaker 2>That's what it looks like.

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<v Speaker 1>You know what it was Neither it was none of

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<v Speaker 1>those colors. No, it's black. It was black and blue. Baby,

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<v Speaker 1>No it's black and white. No, it was his suit.

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<v Speaker 1>His suit was white.

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<v Speaker 2>No, it's absolutely blue.

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<v Speaker 1>Am I cry? You're color blind? Baby? That's blue and

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<v Speaker 1>no it's white. See.

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<v Speaker 2>This is the thing about the dress. This is why

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<v Speaker 2>it's the dress.

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<v Speaker 1>We have another the dress. We have another. We just

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<v Speaker 1>discovered live on air that we have another in the dress.

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<v Speaker 1>You do the Balenciaga Shmata, the Hudson Williams war to

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<v Speaker 1>the met Gala.

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<v Speaker 2>I also can't believe that's Balenciaga.

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<v Speaker 1>I need the version.

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<v Speaker 2>I can back me up on this otherwise, I really

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<v Speaker 2>I mean, yes, okay, I am color blind. But anyways, okay,

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<v Speaker 2>so here's the other thing about the theme. It as

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<v Speaker 2>because it's costume art, right, It's like the challenge of

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<v Speaker 2>it is, like how do you connect this idea of

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<v Speaker 2>the of the dress body using the human form as

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<v Speaker 2>a canvas for artistic expression. A lot of celebrities were

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<v Speaker 2>explicitly referencing works of art, which I thought was cool, Like.

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<v Speaker 1>Some cases that really worked, Like my favorite look of

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<v Speaker 1>the night was Hunter Schaeffer in Prada, which was like

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<v Speaker 1>a specific reference of this climmed painting and so mean,

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<v Speaker 1>like no one has ever looked more beautiful or like

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<v Speaker 1>ethereal or statuesque as her, And I love that that

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<v Speaker 1>It's like an overt, explicit reference but through the lens

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<v Speaker 1>of fashion and through the lens of Prada specifically, Like

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<v Speaker 1>that's a very Prada dress, right it is. But I

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<v Speaker 1>don't think that everyone who.

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<v Speaker 2>Tried to do that exceeded, like I thought Madonna that

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<v Speaker 2>I don't know if you were able to, like look

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<v Speaker 2>at the painting that Madonna is referencing.

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<v Speaker 1>It's did I did see it?

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<v Speaker 2>It's the Leonora Carrington piece. Like what she did was

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<v Speaker 2>fucking cool, even though I actually think that the fabric

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<v Speaker 2>that was draped around her was like not super expensive

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<v Speaker 2>looking and it could have looked could have been a

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<v Speaker 2>little cleaner, but everything was amazing.

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<v Speaker 1>It was very cool what she wore.

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<v Speaker 2>Yeah, she always kind of eats the megala up too.

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<v Speaker 2>I think she always kind of slays. Yeah, if I

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<v Speaker 2>remember correctly.

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<v Speaker 1>I mean CARTI I always liked Prty was amazing. Someone

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<v Speaker 1>I like posted on my Instagram story and someone replied like,

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<v Speaker 1>she looks like a tumor. I was like, yes, that's

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<v Speaker 1>why I like it, right, That's that's the point.

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<v Speaker 2>But obviously, like Heidi Klum's like piece, also her her

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<v Speaker 2>outfit was also referencing like a work of art.

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<v Speaker 1>I did see Rachel Settler. I did see one meme

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<v Speaker 1>of Heidi's outfit where it had been like edited to

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<v Speaker 1>be all bright colors, and it was like, this is

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<v Speaker 1>what the statue would have originally looked like in Greek

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<v Speaker 1>and Roman times. Like you know how how we're always

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<v Speaker 1>debunking that, like those kinds of statues are just like white, right.

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<v Speaker 1>Oh yeah, it's so funny to explain memes on I know.

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<v Speaker 2>But I you know, is to go back to your

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<v Speaker 2>initial question, is the met Gala dead? I think it's

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<v Speaker 2>been dead. I think that this year in particular, and

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<v Speaker 2>we'll get into this in the doublewarest product to review,

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<v Speaker 2>but this year in particular where you know, I believe

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<v Speaker 2>Willie Norris referred to them as Missus Goblin and mister

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<v Speaker 2>Goblin as co chairs of the the met Gala twenty

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<v Speaker 2>twenty six.

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<v Speaker 1>It is.

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<v Speaker 2>It is such a dark, dark moment actually for the

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<v Speaker 2>future of fashion, the future of this brand as it were,

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<v Speaker 2>within the met Gala, and a kind of reinforcement of

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<v Speaker 2>everything we didn't like about the Metcala before, right like before.

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<v Speaker 1>Only it's only crystallized into becoming.

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<v Speaker 2>Worse, exactly like every before AOC war that a Gooba

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<v Speaker 2>go go tax the rich dress. Okay, we were, we were,

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<v Speaker 2>we were watching the Megala and being like tax the rich,

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<v Speaker 2>tax the rich.

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<v Speaker 1>Like as far as I, as far as I, as

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<v Speaker 1>far as I saw last night, I didn't see any

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<v Speaker 1>gowns with things written on them.

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<v Speaker 2>So that progress. That's that's a win for me, real progress.

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<v Speaker 2>I totally agree. Yeah, I I feel.

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<v Speaker 1>Very it was.

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<v Speaker 2>It is very chilling actually for Jeff Basis and Lauren

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<v Speaker 2>Sanchez to be there and not just there but so present,

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<v Speaker 2>Like can I say something, yes, you think Lauren Sanchez

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<v Speaker 2>looked good? I didn't mind her dress, girl, I mean

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<v Speaker 2>the piece of art that she's referencing, like whatever, it's

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<v Speaker 2>a more iconic paint, but it's boring. It's boring. She

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<v Speaker 2>looks good, Yeah, she looks good, undeniable. You know Milania

0:13:06.200 --> 0:13:09.240
<v Speaker 2>Trump also looks good a lot of the time. Yeah,

0:13:09.559 --> 0:13:13.640
<v Speaker 2>you know, people that are horrible can also be clint.

0:13:13.640 --> 0:13:16.000
<v Speaker 1>I may look at Emily Charlton and the Devil is

0:13:16.000 --> 0:13:16.440
<v Speaker 1>Product too.

0:13:16.559 --> 0:13:21.000
<v Speaker 2>Will get there, baby, the missus Sanchez of the fictional world.

0:13:22.520 --> 0:13:24.640
<v Speaker 1>Okay, who was your favorite look of the night.

0:13:25.080 --> 0:13:27.760
<v Speaker 2>I really did love an ox look.

0:13:28.040 --> 0:13:30.960
<v Speaker 1>I really looked amazing. What did you think of What

0:13:31.000 --> 0:13:36.000
<v Speaker 1>did you think of Beyonce? It's a little a little matronly.

0:13:36.200 --> 0:13:41.240
<v Speaker 2>No, Beyonce and Rihanna, like, uh, they can really do

0:13:41.400 --> 0:13:43.960
<v Speaker 2>no wrong to me. I'm sorry to lump them together,

0:13:44.000 --> 0:13:46.240
<v Speaker 2>but they are actually like Beyonce hasn't gone to the

0:13:46.240 --> 0:13:48.600
<v Speaker 2>Mecallen a while, but which she does, she always wins,

0:13:48.640 --> 0:13:51.000
<v Speaker 2>And every time Rihanna goes to the Mecalic she wins.

0:13:51.720 --> 0:13:54.080
<v Speaker 2>And the two of them felt like I felt like

0:13:54.200 --> 0:13:57.800
<v Speaker 2>Rihanna was pretty. She looked pretty immaculate, But was it

0:13:57.840 --> 0:14:00.000
<v Speaker 2>the kind of like, oh my god, I will never

0:14:00.200 --> 0:14:03.959
<v Speaker 2>ever forget what you wore to this met Gala. No,

0:14:04.040 --> 0:14:10.000
<v Speaker 2>and that the same went for Beyonce. Like I I

0:14:10.040 --> 0:14:12.760
<v Speaker 2>think that there there are just two of the I

0:14:12.760 --> 0:14:15.400
<v Speaker 2>would say that two of the most central figures of

0:14:16.000 --> 0:14:18.680
<v Speaker 2>the met Gala and people that we expect to really

0:14:18.760 --> 0:14:23.160
<v Speaker 2>turn the fuck out. It's exciting to always see Beyonce there.

0:14:23.400 --> 0:14:25.520
<v Speaker 2>But I kind of wish she had gone with something

0:14:26.080 --> 0:14:31.800
<v Speaker 2>that was just a little more campy or more of

0:14:31.840 --> 0:14:36.320
<v Speaker 2>a reference or like I didn't quite I think the

0:14:36.440 --> 0:14:41.120
<v Speaker 2>concept was like it just didn't have a concept, if

0:14:41.160 --> 0:14:41.600
<v Speaker 2>that makes sense.

0:14:42.240 --> 0:14:44.240
<v Speaker 1>It was like, look at my sparkly bones.

0:14:44.880 --> 0:14:48.360
<v Speaker 2>Yeah, like and she's the queen of body, and so

0:14:48.440 --> 0:14:51.240
<v Speaker 2>I like see how it could be like body, Like, yes,

0:14:51.320 --> 0:14:52.720
<v Speaker 2>I'm dressed. Is the kind of place I.

0:14:52.680 --> 0:14:54.800
<v Speaker 1>Should have just reworn her Herpes dress.

0:14:55.160 --> 0:14:57.600
<v Speaker 2>She should have just rewarn Herpees dress, which actually looks amazing.

0:14:57.640 --> 0:15:00.400
<v Speaker 2>But instead she was like, let me let me be,

0:15:00.560 --> 0:15:03.280
<v Speaker 2>let me like be this statue of Liberty.

0:15:03.400 --> 0:15:06.360
<v Speaker 1>If I was like Jack Skellington, realness.

0:15:05.920 --> 0:15:10.520
<v Speaker 2>Yeah, the Statue of Liberty designed by Scarrowsky. I mean

0:15:10.520 --> 0:15:12.080
<v Speaker 2>it doesn't look bad. I'm looking at it right now.

0:15:12.120 --> 0:15:14.520
<v Speaker 1>No, it doesn't look bad. It's just and I think

0:15:14.560 --> 0:15:17.320
<v Speaker 1>a lot of things last night, and this is also

0:15:17.360 --> 0:15:19.600
<v Speaker 1>a preview about how I feel about the movie we'll

0:15:19.640 --> 0:15:21.200
<v Speaker 1>be talking about later. A lot of the things didn't

0:15:21.240 --> 0:15:23.000
<v Speaker 1>look bad. I just wasn't really gagged.

0:15:23.160 --> 0:15:27.360
<v Speaker 2>I wasn't really gagged. But I think my favorite, I

0:15:27.400 --> 0:15:32.600
<v Speaker 2>mean my favorite favorite favorite, I think it was a knock.

0:15:33.320 --> 0:15:36.160
<v Speaker 2>I really did love the same looks that you loved.

0:15:36.280 --> 0:15:41.880
<v Speaker 1>I love the dipa with the hands, this woman in

0:15:41.920 --> 0:15:44.680
<v Speaker 1>this Robert One dress that had hands on it, that moved.

0:15:44.800 --> 0:15:49.080
<v Speaker 2>That was so wait not Jordan Roth No, okay.

0:15:48.760 --> 0:15:54.560
<v Speaker 1>No, thank no different different person. Okay, I are we

0:15:54.880 --> 0:15:55.560
<v Speaker 1>can we I.

0:15:55.480 --> 0:15:57.320
<v Speaker 2>Think we can move on. I think we can move on.

0:15:57.480 --> 0:16:04.480
<v Speaker 1>Let's talk about something homo erotic. Hell yeah, Melsey's new album.

0:16:04.640 --> 0:16:06.760
<v Speaker 2>Oh I bet you were talking about half Man Okay, half.

0:16:06.640 --> 0:16:10.800
<v Speaker 1>Mels either either of those things. Well, like a brief

0:16:11.000 --> 0:16:13.680
<v Speaker 1>brief thoughts about Melcie's new album. Really, it's just I

0:16:13.720 --> 0:16:17.160
<v Speaker 1>also Melcy Melsey has a new album, and you should

0:16:17.200 --> 0:16:21.120
<v Speaker 1>listen to it because Melsie of is the most slept

0:16:21.120 --> 0:16:25.480
<v Speaker 1>on spice girl okay, and has been making really good,

0:16:26.120 --> 0:16:33.000
<v Speaker 1>super super gay dance music the entire time she's been

0:16:33.280 --> 0:16:37.080
<v Speaker 1>in like since the Spice Girls wor Thing. So listen

0:16:37.160 --> 0:16:40.640
<v Speaker 1>to her album. It's really sexy and fun and like

0:16:41.080 --> 0:16:43.840
<v Speaker 1>everything on it sounds like being at a gay bar

0:16:44.440 --> 0:16:47.800
<v Speaker 1>in like two thousand and three.

0:16:48.640 --> 0:16:51.560
<v Speaker 2>Yeah, it is giving kind of two thousand and three,

0:16:51.600 --> 0:16:55.440
<v Speaker 2>Like it reminded me a bit of like it's kind

0:16:55.440 --> 0:16:57.760
<v Speaker 2>of okay. So I don't love the album. I only

0:16:57.800 --> 0:16:59.440
<v Speaker 2>listened to it once. I really did not. I'm not

0:16:59.480 --> 0:17:02.080
<v Speaker 2>going to return to it. I'm sorry because in part

0:17:02.120 --> 0:17:05.359
<v Speaker 2>because it's but two thousand and three rings true because

0:17:05.359 --> 0:17:09.960
<v Speaker 2>it's kind of giving, like kids Bop Calise, Like it's

0:17:10.119 --> 0:17:12.640
<v Speaker 2>like a little bit, it's a little bit like.

0:17:12.600 --> 0:17:16.040
<v Speaker 1>It's one long Hex's Hector remix. Yeah.

0:17:16.359 --> 0:17:22.159
<v Speaker 2>Yeah, And I love like Ogo Boga gay guy music,

0:17:22.200 --> 0:17:24.439
<v Speaker 2>Like I love like like I'm just gonna bop to

0:17:24.480 --> 0:17:26.679
<v Speaker 2>this and it's like it's pretty fab and.

0:17:26.800 --> 0:17:29.280
<v Speaker 1>The kind of music you're gonna hear while you're buying

0:17:29.640 --> 0:17:31.520
<v Speaker 1>a pie at the Eagle.

0:17:34.000 --> 0:17:38.000
<v Speaker 2>Their annual Christmas Paea. Yeah, when they have their annual

0:17:38.040 --> 0:17:40.320
<v Speaker 2>Christmas pie. Like if you if you're not aware, The

0:17:40.359 --> 0:17:45.600
<v Speaker 2>Eagle in New York City has an annual Paea events

0:17:45.960 --> 0:17:46.240
<v Speaker 2>of a.

0:17:46.200 --> 0:17:49.640
<v Speaker 1>Place you'd more want to eat shellfish than the Eagle.

0:17:49.440 --> 0:17:51.639
<v Speaker 2>Than the eagle on the rooftop of the eagle, and

0:17:51.680 --> 0:17:56.320
<v Speaker 2>the whole eagle smells like fish, like hot fish, fish

0:17:56.320 --> 0:17:57.320
<v Speaker 2>and saffron.

0:17:58.119 --> 0:17:58.320
<v Speaker 1>Yeah.

0:17:59.320 --> 0:18:02.960
<v Speaker 2>Yeah, I can't even begin to tell you how much

0:18:03.000 --> 0:18:06.520
<v Speaker 2>the Melcy album reminds me exactly of Pay at the Eagle. Yea,

0:18:06.920 --> 0:18:11.000
<v Speaker 2>it is I love like I. Okay, here's something else

0:18:11.000 --> 0:18:14.440
<v Speaker 2>that I'll say. I was at the New York City

0:18:14.480 --> 0:18:19.880
<v Speaker 2>Center gala sitting at a table with Teffi and Miss

0:18:19.960 --> 0:18:24.600
<v Speaker 2>Benny a few weeks ago, and when Melsey got up

0:18:24.600 --> 0:18:28.560
<v Speaker 2>there to perform, she was wearing literally jeans and a

0:18:28.560 --> 0:18:33.600
<v Speaker 2>T shirt. She looked so effortless, she was so controlled,

0:18:33.640 --> 0:18:36.080
<v Speaker 2>she was so like she immediately fell all of this

0:18:36.200 --> 0:18:39.520
<v Speaker 2>love from the room and they just hit the track.

0:18:40.000 --> 0:18:45.560
<v Speaker 2>They put her in some nasty, nasty stage lighting, the

0:18:45.760 --> 0:18:50.159
<v Speaker 2>cook the sound quality in a gala space Chippiani specifically

0:18:50.320 --> 0:18:56.240
<v Speaker 2>so nasty, and she has nary a backup dancer, prop

0:18:56.320 --> 0:19:00.959
<v Speaker 2>nor piece of Chorean baby, and she got that whole

0:19:01.080 --> 0:19:07.080
<v Speaker 2>room on their mother fucking me standing up screaming because

0:19:08.000 --> 0:19:11.119
<v Speaker 2>she's pretty bad. I mean, she did do Spice Girls songs,

0:19:11.280 --> 0:19:16.000
<v Speaker 2>which was revelation, revelatory, but do you know how hard

0:19:16.040 --> 0:19:24.800
<v Speaker 2>it is too to do a gala performance in nasty,

0:19:25.359 --> 0:19:29.560
<v Speaker 2>nasty overhead lighting with bad sound in a fucking well,

0:19:29.600 --> 0:19:34.840
<v Speaker 2>everybody sits and eats their fucking cold short ribbon mashed potatoes,

0:19:34.920 --> 0:19:35.720
<v Speaker 2>like please.

0:19:37.000 --> 0:19:39.560
<v Speaker 1>I was good. It was actually pretty good.

0:19:39.480 --> 0:19:43.359
<v Speaker 2>But I I had to me, I like, she gained

0:19:43.359 --> 0:19:43.640
<v Speaker 2>so much.

0:19:43.880 --> 0:19:44.200
<v Speaker 1>I didn't.

0:19:44.240 --> 0:19:46.000
<v Speaker 2>I'm not I didn't grow up on the Spice Girls.

0:19:46.000 --> 0:19:47.960
<v Speaker 2>I used to think that the Spice Girls were a

0:19:48.000 --> 0:19:53.439
<v Speaker 2>fictional band, like like, yeah, I didn't know where they

0:19:53.480 --> 0:19:58.920
<v Speaker 2>were real and I I I have no attachment to

0:19:58.960 --> 0:20:01.720
<v Speaker 2>Melsey or to the Spicy And so for she gained

0:20:01.720 --> 0:20:03.359
<v Speaker 2>so much respect from me in that moment because I

0:20:03.400 --> 0:20:05.840
<v Speaker 2>was like, you're such a great performer, you're feeling all

0:20:05.880 --> 0:20:06.320
<v Speaker 2>of the love.

0:20:06.520 --> 0:20:10.080
<v Speaker 1>She always so much with little she did. I didn't

0:20:10.080 --> 0:20:13.080
<v Speaker 1>know that she always did those runs in the songs,

0:20:13.119 --> 0:20:16.359
<v Speaker 1>like she was always the one belting on the bridge.

0:20:17.240 --> 0:20:19.480
<v Speaker 2>I don't know if you listened to it, but did

0:20:19.480 --> 0:20:23.399
<v Speaker 2>you buy any chance to listen to Nina Geracci's I

0:20:23.440 --> 0:20:24.160
<v Speaker 2>Love My Computer?

0:20:24.640 --> 0:20:24.840
<v Speaker 1>No?

0:20:25.200 --> 0:20:27.960
<v Speaker 2>Okay, sorry, just like while we're on the side to me,

0:20:28.200 --> 0:20:31.080
<v Speaker 2>yeah I did. Actually I'll send it to you again,

0:20:31.119 --> 0:20:34.440
<v Speaker 2>but no, I'll just look, are are you okay, Lou Pilled.

0:20:34.440 --> 0:20:35.000
<v Speaker 1>Do you like Okay?

0:20:35.200 --> 0:20:38.439
<v Speaker 2>I like ok okay, so I'm recently okay Lou Pilled.

0:20:38.720 --> 0:20:42.240
<v Speaker 2>She performed at Here in New York, and opening for

0:20:42.400 --> 0:20:44.720
<v Speaker 2>I wasn't there, but opening for her was Nina Giacci,

0:20:45.080 --> 0:20:47.440
<v Speaker 2>and I had heard about Nina Geracci, but I had

0:20:47.480 --> 0:20:49.680
<v Speaker 2>never really engaged, and I was like, you know what, actually,

0:20:49.920 --> 0:20:52.000
<v Speaker 2>let me give it a listen. And her twenty twenty

0:20:52.040 --> 0:20:56.440
<v Speaker 2>five album I Love My Computer is actually and I'm

0:20:56.440 --> 0:20:58.560
<v Speaker 2>so late to this, but like one of my favorite

0:20:58.560 --> 0:21:01.120
<v Speaker 2>things I've listened to is such a long fucking time,

0:21:01.320 --> 0:21:03.280
<v Speaker 2>Like I don't know if you would love it, Rose,

0:21:03.320 --> 0:21:07.080
<v Speaker 2>because it is like quintessential pots and pants, like Pete,

0:21:07.160 --> 0:21:12.720
<v Speaker 2>like insane, like Sophie Sophie time, PCP like noise music,

0:21:13.000 --> 0:21:17.399
<v Speaker 2>not PCP PC PC noise PC noise.

0:21:17.480 --> 0:21:21.920
<v Speaker 1>Yeah, girl, I mean I I was there at the beginning.

0:21:21.480 --> 0:21:26.080
<v Speaker 2>And I was there when the scrolls were I was there.

0:21:28.000 --> 0:21:30.360
<v Speaker 2>Please listen to the album and then we'll discuss.

0:21:30.080 --> 0:21:33.840
<v Speaker 1>The other time. Let's talk about something slightly less homoerotic

0:21:33.880 --> 0:21:37.080
<v Speaker 1>than Melcy half Man.

0:21:38.800 --> 0:21:39.760
<v Speaker 2>I told you to watch this.

0:21:40.520 --> 0:21:44.000
<v Speaker 1>Watch it was it was like I knew that it

0:21:44.080 --> 0:21:46.639
<v Speaker 1>was happening, and I planned to watch it when it

0:21:46.680 --> 0:21:48.760
<v Speaker 1>came out, but I didn't know that it had started.

0:21:48.840 --> 0:21:51.200
<v Speaker 1>So like you reminded me of that because I did

0:21:51.200 --> 0:21:54.040
<v Speaker 1>watch Baby Reindeer. I think we maybe talked about it.

0:21:54.160 --> 0:21:58.879
<v Speaker 1>Did you watch it? Yeah as well? Yeah, and it's

0:21:58.920 --> 0:22:03.040
<v Speaker 1>you're right, It's was so extremely my shit. It is

0:22:03.160 --> 0:22:10.679
<v Speaker 1>so like a virgin core toxic, toxic, homo erotic, you know,

0:22:11.359 --> 0:22:18.679
<v Speaker 1>flashback storytelling young gay guys in love, old gay guys

0:22:18.680 --> 0:22:21.760
<v Speaker 1>in love beating each other up. One of them, one

0:22:21.760 --> 0:22:25.359
<v Speaker 1>of them looks like every man who's ever messaged me

0:22:25.400 --> 0:22:28.959
<v Speaker 1>on grinder. I'm talking about Richard gadd. He's just like,

0:22:29.600 --> 0:22:32.399
<v Speaker 1>it's so right that he was a chaser and Baby

0:22:32.440 --> 0:22:35.480
<v Speaker 1>Reindeer because he just looks like he's such a chaser,

0:22:35.600 --> 0:22:38.600
<v Speaker 1>Like he looks like a chaser, exactly like a chaser,

0:22:39.080 --> 0:22:44.280
<v Speaker 1>especially especially a European chaser. Let me tell you, half Man,

0:22:44.560 --> 0:22:48.840
<v Speaker 1>Richard Goad's half man on HBO Max is literally prestige

0:22:49.400 --> 0:22:54.639
<v Speaker 1>stepbrother porn like his family dick, but elevated. Yes it is.

0:22:54.720 --> 0:22:57.960
<v Speaker 2>I mean it is like slightly soapy like the Sometimes

0:22:57.960 --> 0:23:01.320
<v Speaker 2>this script is like very like river Dale melodrama, but

0:23:01.480 --> 0:23:04.040
<v Speaker 2>like I half man.

0:23:03.920 --> 0:23:07.080
<v Speaker 1>But that works because half of it is with you know, teenager.

0:23:07.280 --> 0:23:09.960
<v Speaker 2>Yes, and actually we should tell the versions. We should

0:23:10.000 --> 0:23:10.960
<v Speaker 2>tell the versions of the plant.

0:23:11.119 --> 0:23:14.280
<v Speaker 1>So the premise of it is there are these two

0:23:14.320 --> 0:23:17.240
<v Speaker 1>boys who go to the same high school in the nineties.

0:23:18.040 --> 0:23:21.439
<v Speaker 1>Their moms are lesbians who are living together, and so

0:23:21.480 --> 0:23:24.760
<v Speaker 1>they are forced into this kind of you know, pseudo

0:23:25.160 --> 0:23:26.480
<v Speaker 1>brother relationship.

0:23:27.160 --> 0:23:30.359
<v Speaker 2>They each have like a lesbian it's like lesbian stepmothers,

0:23:30.520 --> 0:23:33.240
<v Speaker 2>right like, and they kind of hate each They kind

0:23:33.240 --> 0:23:33.960
<v Speaker 2>of hate, kind of.

0:23:33.880 --> 0:23:36.760
<v Speaker 1>Hate each other. They kind of yeah, they like they

0:23:36.840 --> 0:23:41.879
<v Speaker 1>I think they hate the what having queer moms in

0:23:42.000 --> 0:23:46.720
<v Speaker 1>the eighties in Scotland turns their lives into And that's

0:23:46.800 --> 0:23:50.680
<v Speaker 1>why one of them, who is gay like seems really

0:23:51.520 --> 0:23:55.719
<v Speaker 1>closeted and the other one, who seems maybe kind of

0:23:55.760 --> 0:24:00.639
<v Speaker 1>by pan whatever, is just like very tied up in

0:24:00.720 --> 0:24:03.480
<v Speaker 1>sort of talks masculinity. And then like the framing of

0:24:03.520 --> 0:24:06.520
<v Speaker 1>the show is that years later, the gay one is

0:24:06.600 --> 0:24:10.680
<v Speaker 1>getting married to a man and his brother shows up

0:24:10.800 --> 0:24:13.439
<v Speaker 1>at the day of his wedding after being released from

0:24:13.480 --> 0:24:17.560
<v Speaker 1>prison and like beats him up. But like, you know,

0:24:17.680 --> 0:24:21.160
<v Speaker 1>that seems like sort of a like a warm hug

0:24:21.359 --> 0:24:21.800
<v Speaker 1>for them.

0:24:23.200 --> 0:24:28.800
<v Speaker 2>Yeah, it's so it has every single trope in gay

0:24:28.880 --> 0:24:30.120
<v Speaker 2>porn that I need.

0:24:31.040 --> 0:24:33.320
<v Speaker 1>The it has. It's like, you know what I love.

0:24:33.440 --> 0:24:36.360
<v Speaker 1>It's like the trope that that it the best does

0:24:36.400 --> 0:24:39.199
<v Speaker 1>for me. It's like the bad boy but he cares

0:24:39.240 --> 0:24:45.600
<v Speaker 1>about you. He hates everyone, but he cares about you. Yes, bitch,

0:24:45.800 --> 0:24:50.760
<v Speaker 1>that's so. It's so fan fiction. Like baby this this

0:24:50.880 --> 0:24:52.720
<v Speaker 1>show has read this fan fiction before.

0:24:52.920 --> 0:24:58.000
<v Speaker 2>To be honest, Yeah, like baby, this fan fiction has everything.

0:24:57.760 --> 0:25:02.080
<v Speaker 1>Seen this boom before, like the cum shot.

0:25:03.160 --> 0:25:04.919
<v Speaker 2>Can we we should list some of the things that

0:25:05.000 --> 0:25:08.119
<v Speaker 2>happen in the show that are like so like mind

0:25:08.119 --> 0:25:09.240
<v Speaker 2>blowing Lee Homer Rods.

0:25:09.240 --> 0:25:13.720
<v Speaker 1>Okay, So, in the first episode, after the two boys

0:25:13.760 --> 0:25:18.600
<v Speaker 1>have been moved in together by their mothers, the bad

0:25:18.680 --> 0:25:21.239
<v Speaker 1>boy sneaks in in the middle of the night with

0:25:21.440 --> 0:25:27.119
<v Speaker 1>his girlfriend I guess and basically huge ticks you basically

0:25:27.320 --> 0:25:31.000
<v Speaker 1>uses I like she is She very much is like

0:25:31.080 --> 0:25:33.840
<v Speaker 1>consenting in this scenario, but the way the dynamic plays

0:25:33.840 --> 0:25:38.240
<v Speaker 1>out is he kind of fucks the the other kid

0:25:38.320 --> 0:25:38.840
<v Speaker 1>with her.

0:25:39.359 --> 0:25:43.840
<v Speaker 2>He uses her to fuck him once again prestige step

0:25:43.840 --> 0:25:47.200
<v Speaker 2>brother porn. They sneak in through the window. They the

0:25:47.880 --> 0:25:50.760
<v Speaker 2>bad brother in her start to fuck The girl goes ugh,

0:25:50.920 --> 0:25:52.720
<v Speaker 2>aren't you? Are we gonna wake him up? He's literally

0:25:52.760 --> 0:25:54.840
<v Speaker 2>like three feet away, Like he's literally three feet away

0:25:54.880 --> 0:25:56.879
<v Speaker 2>in the bed Like that is such like it is

0:25:57.000 --> 0:25:59.680
<v Speaker 2>such gay porn logic, like, oh, are we gonna wake

0:25:59.720 --> 0:26:00.000
<v Speaker 2>him up?

0:26:00.119 --> 0:26:00.239
<v Speaker 3>Up?

0:26:00.480 --> 0:26:05.520
<v Speaker 2>I'm like, girl, he's wide away, he's what I like what.

0:26:05.680 --> 0:26:06.840
<v Speaker 1>Eye opened like watching?

0:26:06.920 --> 0:26:11.639
<v Speaker 2>Like, yeah, breaks up jerking off. They realize he's awake,

0:26:12.000 --> 0:26:14.520
<v Speaker 2>and then they start to they kind of like they're like, oh,

0:26:14.520 --> 0:26:15.280
<v Speaker 2>you're such a pev.

0:26:15.400 --> 0:26:20.720
<v Speaker 3>He's such a fucking pev. Oh yeah, And you have

0:26:20.760 --> 0:26:23.240
<v Speaker 3>to keep in mind throughout all of this. They're Scottish

0:26:23.480 --> 0:26:26.159
<v Speaker 3>right now. Their names are Nile and Reuben. I I

0:26:26.760 --> 0:26:28.760
<v Speaker 3>had to look it up love the sandwich.

0:26:28.760 --> 0:26:32.680
<v Speaker 2>Oh you're such a fucking pav Nile anyways, and so

0:26:32.840 --> 0:26:35.000
<v Speaker 2>they're like, you like us so much, wanted you fuck up.

0:26:35.440 --> 0:26:38.320
<v Speaker 2>And then instead of instead of the step brother, instead

0:26:38.320 --> 0:26:40.960
<v Speaker 2>of the mean step brother, Reuben fucking the girl. He

0:26:41.320 --> 0:26:44.200
<v Speaker 2>puts the girl on top of his stepbrother and then

0:26:44.320 --> 0:26:47.919
<v Speaker 2>holds his hand and breathes into his mouth, and and

0:26:47.920 --> 0:26:50.520
<v Speaker 2>and and teaches him how to suck through it. He

0:26:50.600 --> 0:26:56.640
<v Speaker 2>literally talks coaches him through fucking his first woman woman.

0:26:56.280 --> 0:26:59.520
<v Speaker 1>Her hips using like That's what I mean when I

0:26:59.560 --> 0:27:03.119
<v Speaker 1>say yes, he's he's using her to fuck the brother.

0:27:03.400 --> 0:27:03.920
<v Speaker 1>It was.

0:27:05.440 --> 0:27:12.639
<v Speaker 2>Wais crazy. Also, I was bricked up. Also like he

0:27:12.680 --> 0:27:15.560
<v Speaker 2>has like wet dreams about his stepbrother.

0:27:16.440 --> 0:27:17.160
<v Speaker 1>He like.

0:27:18.680 --> 0:27:21.679
<v Speaker 2>He like is like constantly They're constantly like the the

0:27:21.680 --> 0:27:23.720
<v Speaker 2>the younger brother is like constantly like looking at him

0:27:23.760 --> 0:27:27.240
<v Speaker 2>shirtless and being like they wake up spooning. Yes they wait,

0:27:27.440 --> 0:27:29.439
<v Speaker 2>right they they in the in the kind of beginning

0:27:29.480 --> 0:27:31.280
<v Speaker 2>of the series, they really don't get along and he

0:27:31.640 --> 0:27:34.800
<v Speaker 2>Reuben is very much so the bully to this younger kid, Nile,

0:27:35.160 --> 0:27:40.480
<v Speaker 2>this younger stepbrother Nile. And yeah, no they they they

0:27:40.520 --> 0:27:44.760
<v Speaker 2>get in a fight and then they fall asleep together

0:27:44.960 --> 0:27:47.439
<v Speaker 2>like embracing. But it's like a fight embrace when they

0:27:47.440 --> 0:27:49.280
<v Speaker 2>wake up, and it's like so romantic.

0:27:49.800 --> 0:27:51.119
<v Speaker 1>You're so romantic.

0:27:51.160 --> 0:27:54.160
<v Speaker 2>It's so romantic. That's a thing, is like, because I mean,

0:27:54.200 --> 0:27:55.880
<v Speaker 2>and their minds you they're not I guess they are.

0:27:55.920 --> 0:27:58.680
<v Speaker 2>Are they actually step brothers. The moms aren't married, are they.

0:27:58.560 --> 0:28:01.320
<v Speaker 1>They kick they can't get married and they eighties in Scotland.

0:28:01.040 --> 0:28:04.760
<v Speaker 2>Right, so really they're women, and so it's like they

0:28:04.800 --> 0:28:07.360
<v Speaker 2>are still step brothers. But it's just all of the kind.

0:28:07.400 --> 0:28:10.200
<v Speaker 2>They refer to each other as brothers. Yes, they do,

0:28:10.520 --> 0:28:15.400
<v Speaker 2>and that's why that way it's so it's so hot roads.

0:28:15.119 --> 0:28:17.960
<v Speaker 1>And then in the second episode, we add another man

0:28:18.119 --> 0:28:24.560
<v Speaker 1>to the equation who is so extremely beautiful, and.

0:28:25.480 --> 0:28:27.320
<v Speaker 2>He has one of those gay guy faces where you're like,

0:28:27.400 --> 0:28:30.159
<v Speaker 2>I want to protect you and cuddle you, and like

0:28:30.480 --> 0:28:31.720
<v Speaker 2>I want to make sure you're going to be able.

0:28:31.640 --> 0:28:35.680
<v Speaker 1>To single earring in your in your gay ear uh

0:28:35.720 --> 0:28:38.080
<v Speaker 1>and make sure that you feel comforted. And I want

0:28:38.080 --> 0:28:41.800
<v Speaker 1>to bake you a loaf of sour dough and I

0:28:41.880 --> 0:28:44.160
<v Speaker 1>want to slowly finger your ass.

0:28:44.280 --> 0:28:47.120
<v Speaker 2>Yeah, and and and mind you, like the two step

0:28:47.120 --> 0:28:52.360
<v Speaker 2>brothers have like all of this like internalized homophobia, internalized

0:28:52.560 --> 0:28:59.440
<v Speaker 2>like toxic masculinity. That then complicates niles potential relationship with

0:28:59.480 --> 0:29:00.880
<v Speaker 2>this new twink.

0:29:00.800 --> 0:29:03.640
<v Speaker 1>Which I love it, which is also complicated, And I

0:29:03.680 --> 0:29:06.120
<v Speaker 1>love that they have this discussion in the second episode

0:29:06.120 --> 0:29:08.840
<v Speaker 1>that he's like, I know it's a rational for me

0:29:08.960 --> 0:29:11.960
<v Speaker 1>to feel weird about being gay. I literally have a

0:29:12.040 --> 0:29:15.560
<v Speaker 1>gay mom. I know that it's okay, but for some

0:29:15.880 --> 0:29:21.040
<v Speaker 1>reason that actually only makes it harder for him yep, yep,

0:29:21.360 --> 0:29:24.280
<v Speaker 1>and which is very interesting, Like I.

0:29:24.200 --> 0:29:26.720
<v Speaker 2>Don't know how you feel about the script sometimes like

0:29:26.800 --> 0:29:30.480
<v Speaker 2>sometimes it is like a little schmaltzy, it is okay.

0:29:30.720 --> 0:29:34.120
<v Speaker 1>I thought that a couple times while watching, but yeah, whatever.

0:29:34.240 --> 0:29:36.680
<v Speaker 2>But but the thing is, like it I don't remember

0:29:36.800 --> 0:29:40.360
<v Speaker 2>if Baby Reindeer was like at times smaalty. I think

0:29:40.400 --> 0:29:43.040
<v Speaker 2>it was okay because I remember that just like it

0:29:43.200 --> 0:29:45.440
<v Speaker 2>just feeling there was so much realism in that, but

0:29:45.520 --> 0:29:47.880
<v Speaker 2>I guess it does it. There is still like a

0:29:48.040 --> 0:29:51.600
<v Speaker 2>very it's a melodrama baby, And like I can definitely

0:29:51.600 --> 0:29:54.760
<v Speaker 2>tell that he's a playwright, you know, because that is

0:29:54.760 --> 0:29:58.560
<v Speaker 2>where he got his star in experimental theater and oh shit, comedy.

0:29:59.040 --> 0:30:00.960
<v Speaker 2>Oh that's so I didn't think about that, but that's

0:30:01.000 --> 0:30:04.360
<v Speaker 2>so true. Like plays by their very nature are like

0:30:04.400 --> 0:30:08.520
<v Speaker 2>anti realism. They're like all small, they're schmaltz and melodrama.

0:30:08.680 --> 0:30:11.160
<v Speaker 1>And then so we find out in the second episode

0:30:11.200 --> 0:30:18.120
<v Speaker 1>that in the future the Nile is marrying Albi, so

0:30:18.200 --> 0:30:21.160
<v Speaker 1>they've like been together or maybe on and off all

0:30:21.160 --> 0:30:24.360
<v Speaker 1>this time, we don't know. And the flat the flashback

0:30:24.400 --> 0:30:27.360
<v Speaker 1>in the episode and the flashback in the second episode

0:30:27.480 --> 0:30:32.160
<v Speaker 1>ends with Reuben beating the shit out of Albi, and

0:30:32.200 --> 0:30:35.640
<v Speaker 1>we see that as an adult, he's still scarred from

0:30:35.680 --> 0:30:37.320
<v Speaker 1>it so and he went to jail.

0:30:37.400 --> 0:30:37.960
<v Speaker 2>He goes to jail.

0:30:37.960 --> 0:30:42.040
<v Speaker 1>He goes to jail, and oh girl, I'm plugged. I'm

0:30:42.120 --> 0:30:45.200
<v Speaker 1>sure he fucked some people in the ass. Oh got

0:30:45.240 --> 0:30:49.960
<v Speaker 1>fucked in mass Oh for sure. Speaking of getting fucked

0:30:49.960 --> 0:30:55.000
<v Speaker 1>in the ass, is it time? Is it time? Okay? Rose?

0:30:55.280 --> 0:30:57.240
<v Speaker 2>When we sat down in the theater to watch Devil

0:30:57.240 --> 0:30:57.840
<v Speaker 2>Wars product to.

0:30:58.760 --> 0:31:03.680
<v Speaker 1>And which I had already scene it twice, Rose shepherded

0:31:03.960 --> 0:31:07.600
<v Speaker 1>my viewing into reality. Oh yeah, right.

0:31:07.640 --> 0:31:11.400
<v Speaker 2>At first I was like, oh, actually, I think I

0:31:11.400 --> 0:31:13.560
<v Speaker 2>have predictions and Rose was like okay, and I was like, actually,

0:31:13.560 --> 0:31:15.240
<v Speaker 2>maybe I'm going to tell you my predictions now, so

0:31:15.360 --> 0:31:17.120
<v Speaker 2>they're locked and you can tell me, like which one

0:31:17.120 --> 0:31:19.200
<v Speaker 2>of them and then we can It'll be like a

0:31:19.200 --> 0:31:22.040
<v Speaker 2>galgan on which ones are like true and false? And

0:31:22.240 --> 0:31:25.160
<v Speaker 2>one of my predictions that happened in the film. And

0:31:25.200 --> 0:31:27.520
<v Speaker 2>it was so crazy. When this happened, I said, I said,

0:31:27.720 --> 0:31:30.440
<v Speaker 2>I I know that Anne Hathaway is going to take

0:31:30.480 --> 0:31:33.840
<v Speaker 2>it up the ass and she did and she did.

0:31:33.840 --> 0:31:36.400
<v Speaker 1>It was crazy. Opening scene of the movie. It was

0:31:36.400 --> 0:31:38.640
<v Speaker 1>a wild So if you haven't seen it, at the

0:31:38.680 --> 0:31:41.000
<v Speaker 1>opening scene of the movie, it's kind of recreating from

0:31:41.040 --> 0:31:43.480
<v Speaker 1>the first movie. You know, Andy's brushing her teeth in

0:31:43.480 --> 0:31:45.600
<v Speaker 1>front of the mirror, and so for this one they

0:31:45.680 --> 0:31:49.120
<v Speaker 1>updated it so she's using an electric toothbrush, and then

0:31:49.160 --> 0:31:52.160
<v Speaker 1>the camera pulls back and you see that she's just

0:31:52.200 --> 0:31:55.600
<v Speaker 1>gnnent over the sink and Miranda is behind her with

0:31:55.720 --> 0:32:01.000
<v Speaker 1>a strap in the ass. You know, it's about women's

0:32:01.000 --> 0:32:03.680
<v Speaker 1>empowerment ultimately, and you're like, it's about it's about how

0:32:03.680 --> 0:32:07.560
<v Speaker 1>she's more of a confident character this year, this this movie,

0:32:07.680 --> 0:32:10.240
<v Speaker 1>and you're like, wow, okay, so I wonder what else

0:32:10.240 --> 0:32:11.600
<v Speaker 1>has changed in twenty years.

0:32:11.680 --> 0:32:17.640
<v Speaker 2>Yeah, if you're not aware, the film is literally based

0:32:17.640 --> 0:32:20.640
<v Speaker 2>and it's like it literally takes place in twenty twenty six,

0:32:20.720 --> 0:32:24.520
<v Speaker 2>like it could not actually be more present day, and

0:32:24.840 --> 0:32:27.440
<v Speaker 2>it's in a very shocking shocking way. Like there's a

0:32:27.480 --> 0:32:30.400
<v Speaker 2>scene where like Anne Hathaway's like in her apartment there's

0:32:30.440 --> 0:32:33.200
<v Speaker 2>like an oh Mary tote in the background, Like it

0:32:33.320 --> 0:32:36.120
<v Speaker 2>is like so of this time.

0:32:36.200 --> 0:32:39.240
<v Speaker 1>And I think the way that it's the most of

0:32:39.440 --> 0:32:43.680
<v Speaker 1>this time is and and this kind of you know

0:32:43.800 --> 0:32:47.560
<v Speaker 1>leads us like we'll talk a little bit and please spoilers.

0:32:47.640 --> 0:32:50.920
<v Speaker 1>Spoilers besides and getting fucked in the ass, which is

0:32:50.920 --> 0:32:54.360
<v Speaker 1>a huge spoiler, a huge spoiler, and we wanted, we

0:32:54.400 --> 0:32:57.920
<v Speaker 1>wanted everyone to know that it happens. But yeah, I

0:32:57.920 --> 0:33:00.840
<v Speaker 1>think this is probably a good place to talk, just

0:33:00.880 --> 0:33:03.600
<v Speaker 1>like briefly about the premise of the movie, because I

0:33:03.640 --> 0:33:06.640
<v Speaker 1>think one of the things that I was most surprised

0:33:06.720 --> 0:33:11.640
<v Speaker 1>by this film, the thing that I never thought would happen,

0:33:12.440 --> 0:33:17.200
<v Speaker 1>was that it was actually about something. There was a plot.

0:33:18.280 --> 0:33:21.480
<v Speaker 1>What you're saying in comparison to the last movie, comparison

0:33:21.520 --> 0:33:23.200
<v Speaker 1>to the last movie, which is basically a bunch of

0:33:23.240 --> 0:33:29.280
<v Speaker 1>montages strung together. And I assumed, because you know, this

0:33:29.320 --> 0:33:35.400
<v Speaker 1>is nostalgia bait, this is a you know, cash grab, reboot, remake, sequel, whatever,

0:33:36.640 --> 0:33:39.640
<v Speaker 1>that it would just be another you know, compilation of montages.

0:33:39.880 --> 0:33:42.720
<v Speaker 1>And in fact, it kind of was still I mean,

0:33:42.760 --> 0:33:45.800
<v Speaker 1>it was at least it had a story. It had

0:33:45.960 --> 0:33:50.240
<v Speaker 1>it had a plot that that really drove the film.

0:33:50.280 --> 0:33:55.240
<v Speaker 1>That it really stayed very dedicated to exploring that story,

0:33:55.760 --> 0:33:58.400
<v Speaker 1>and that story was very of its time. So for

0:33:58.440 --> 0:34:02.280
<v Speaker 1>anyone who hasn't seen it, the double and I guess

0:34:02.280 --> 0:34:04.880
<v Speaker 1>if you don't want to, but just want to hear

0:34:04.960 --> 0:34:08.600
<v Speaker 1>us talk about it, Doubles Proud of Too starts off

0:34:08.800 --> 0:34:13.400
<v Speaker 1>with Andy losing her job at her paper. All of

0:34:13.480 --> 0:34:16.319
<v Speaker 1>the staff are laid off well, and it's while they're

0:34:16.320 --> 0:34:17.280
<v Speaker 1>at an awards ceremony.

0:34:17.320 --> 0:34:20.440
<v Speaker 2>It's a kind of like The Guardian, the New York Times.

0:34:20.760 --> 0:34:28.400
<v Speaker 2>It's a prestige journalistic independent, like you know, Publications, last institution.

0:34:28.960 --> 0:34:31.759
<v Speaker 1>At the same time this is happening, a story is

0:34:32.080 --> 0:34:37.400
<v Speaker 1>breaking that Runway wrote this kind of glowing piece about

0:34:37.440 --> 0:34:39.560
<v Speaker 1>what we're I guess supposed to assume is a sort

0:34:39.600 --> 0:34:42.719
<v Speaker 1>of like she and stand in Yeah, And so they're

0:34:42.760 --> 0:34:48.879
<v Speaker 1>getting canceled and the CEO decides and we'll learn more later.

0:34:49.320 --> 0:34:52.080
<v Speaker 1>This was one of my favorite twists of the movie.

0:34:52.280 --> 0:34:55.759
<v Speaker 1>The moment that I awed the most was that the

0:34:56.040 --> 0:34:59.840
<v Speaker 1>CEO is sent a viral video of Anne Hathaway preach

0:35:00.160 --> 0:35:05.600
<v Speaker 1>about how important journalism is, something that would, I'm sorry,

0:35:05.760 --> 0:35:09.160
<v Speaker 1>never go viral, never ever, ever, not in a single

0:35:09.480 --> 0:35:12.960
<v Speaker 1>not a single timeline, would that go viral? No one cares.

0:35:14.719 --> 0:35:18.440
<v Speaker 1>And he's like, and he's like, well, let's hire her

0:35:19.040 --> 0:35:22.319
<v Speaker 1>to be the new features editor and gain some credibility

0:35:22.400 --> 0:35:25.719
<v Speaker 1>back right, And he does this behind Miranda's back. So

0:35:25.920 --> 0:35:30.000
<v Speaker 1>Andy's back at Runway, but the two are clashing, even

0:35:30.080 --> 0:35:34.320
<v Speaker 1>though Andy writes this you know, sort of Meyakulpa apology

0:35:34.440 --> 0:35:37.520
<v Speaker 1>letter that lots of people like the sentiment of, but

0:35:37.760 --> 0:35:39.600
<v Speaker 1>no one actually reads. And I thought that was a

0:35:39.840 --> 0:35:42.640
<v Speaker 1>very funny running joke in the movie, that no one

0:35:42.840 --> 0:35:45.879
<v Speaker 1>actually read the article, and like that says so much

0:35:45.920 --> 0:35:47.080
<v Speaker 1>about the state of media.

0:35:47.800 --> 0:35:51.000
<v Speaker 2>So many, like, so many different things they can give

0:35:51.040 --> 0:35:54.640
<v Speaker 2>this movie credit for. Among them, it's depiction of journalism

0:35:54.800 --> 0:35:56.880
<v Speaker 2>and very if you know, you know, kind of funny

0:35:56.920 --> 0:36:01.320
<v Speaker 2>things about the world, the non existent world of journalism,

0:36:01.400 --> 0:36:04.760
<v Speaker 2>and how yes, like nobody actually clicks on the stories

0:36:04.800 --> 0:36:06.759
<v Speaker 2>that go viral. They read the headline, they read the

0:36:06.800 --> 0:36:08.719
<v Speaker 2>Instagram post and that's it, you know.

0:36:10.560 --> 0:36:15.719
<v Speaker 1>So so Andy, through this reconnects with Emily, who is

0:36:15.840 --> 0:36:21.480
<v Speaker 1>now a high up executive at Dior, has something to

0:36:21.560 --> 0:36:23.520
<v Speaker 1>do with advertising and retail.

0:36:23.600 --> 0:36:23.759
<v Speaker 2>There.

0:36:25.280 --> 0:36:27.960
<v Speaker 1>Andy is like struggling at Runway, but she manages to

0:36:28.120 --> 0:36:30.960
<v Speaker 1>land a big interview with Lucy lou who is a

0:36:31.120 --> 0:36:36.719
<v Speaker 1>divorced billionairess. Miranda looks like she's finally going to get

0:36:36.800 --> 0:36:40.160
<v Speaker 1>the big global head of content job she really wants

0:36:40.280 --> 0:36:45.440
<v Speaker 1>because things have turned around. But then shockingly, the CEO

0:36:45.800 --> 0:36:49.520
<v Speaker 1>of Elias Clark, which owns Runway, dies and his son

0:36:49.719 --> 0:36:53.759
<v Speaker 1>takes over wants to totally restructure the company, and he

0:36:53.880 --> 0:36:59.759
<v Speaker 1>decides to use Emily's connection to Justin Throw's you know

0:37:00.160 --> 0:37:05.080
<v Speaker 1>of Jeff Bezos stand in character to buy the magazine

0:37:05.280 --> 0:37:09.160
<v Speaker 1>that's Justin Throw, Yes, in a lot of prosthetics Why

0:37:09.840 --> 0:37:11.880
<v Speaker 1>But it turns out Emily is doing this for her

0:37:11.960 --> 0:37:16.480
<v Speaker 1>own gain. Then, in a last ditch effort to save things,

0:37:16.640 --> 0:37:20.839
<v Speaker 1>Andy and Miranda team up to get Lucy Lu's billionaire

0:37:22.360 --> 0:37:25.279
<v Speaker 1>divorcee to buy the company and they all get to

0:37:25.960 --> 0:37:28.120
<v Speaker 1>keep their jobs, and we find out that it was

0:37:28.400 --> 0:37:32.480
<v Speaker 1>Nigel who sent the viral clip which again would never

0:37:32.600 --> 0:37:39.239
<v Speaker 1>go viral in any reality, to Irv's son played by

0:37:39.280 --> 0:37:42.560
<v Speaker 1>bj Novak, and he says, I think something like you

0:37:42.640 --> 0:37:44.800
<v Speaker 1>thought this job just fell into your lap. And I

0:37:44.920 --> 0:37:47.400
<v Speaker 1>think that was the sweetest moment of the movie.

0:37:49.040 --> 0:37:51.040
<v Speaker 2>I thought, for me, the sweetest moment of the movie

0:37:51.160 --> 0:37:53.320
<v Speaker 2>was when they sold the company to the good billionaire,

0:37:53.440 --> 0:37:54.440
<v Speaker 2>not the bad billionaire.

0:37:54.600 --> 0:37:57.360
<v Speaker 1>Well, actually, the actual sweetest moment of the movie was

0:37:57.560 --> 0:38:00.160
<v Speaker 1>when Miranda fucks Andy. Y.

0:38:00.520 --> 0:38:04.320
<v Speaker 2>Yeah, it was a really tender moment. Okay, So backing

0:38:04.400 --> 0:38:06.400
<v Speaker 2>up a few First of all, I one of the

0:38:06.520 --> 0:38:08.800
<v Speaker 2>actual that was a prediction that I made Another prediction

0:38:08.880 --> 0:38:10.680
<v Speaker 2>that I made was that Miranda would get canceled, but

0:38:10.760 --> 0:38:13.480
<v Speaker 2>I predicted that correctly. But I also said that it

0:38:13.520 --> 0:38:14.880
<v Speaker 2>would happen to you. You thought it was going to

0:38:14.920 --> 0:38:16.480
<v Speaker 2>be in the midpoint.

0:38:16.160 --> 0:38:21.239
<v Speaker 1>Drama of the movie, which I thought the same thing too,

0:38:22.080 --> 0:38:25.080
<v Speaker 1>And I love that it happens right at the beginning.

0:38:25.120 --> 0:38:28.720
<v Speaker 1>Obviously would happen, and it's kind of the inciting incident,

0:38:29.080 --> 0:38:31.560
<v Speaker 1>but it doesn't go much further than that, and it

0:38:31.640 --> 0:38:35.200
<v Speaker 1>doesn't be that into the ground because honestly, it's such

0:38:35.239 --> 0:38:39.840
<v Speaker 1>a tired concept at this point. I'm so happy that

0:38:40.000 --> 0:38:42.439
<v Speaker 1>they didn't really run it through kind of the same

0:38:42.520 --> 0:38:46.719
<v Speaker 1>way that I was really happy that they got all

0:38:46.840 --> 0:38:50.399
<v Speaker 1>of the real obvious callbacks to the first movie out

0:38:50.480 --> 0:38:52.800
<v Speaker 1>of the way right up front, Like you have that

0:38:52.960 --> 0:38:56.839
<v Speaker 1>shot in during the opening credits, when Andy's walking past

0:38:56.920 --> 0:38:59.160
<v Speaker 1>the met of the person holding up the two belts,

0:38:59.800 --> 0:39:03.480
<v Speaker 1>and like they they indulge in those things, and like

0:39:03.680 --> 0:39:07.000
<v Speaker 1>all of the kind of trailer jokes that are references

0:39:07.320 --> 0:39:11.239
<v Speaker 1>to the original movie, they're all of the ones that

0:39:11.320 --> 0:39:13.560
<v Speaker 1>were in the trailer. Those are really the only ones

0:39:13.640 --> 0:39:16.600
<v Speaker 1>that are in the movie. Like no one ever says Cerulean,

0:39:17.560 --> 0:39:20.880
<v Speaker 1>Like it's they they were very measured with that kind

0:39:20.880 --> 0:39:22.120
<v Speaker 1>of stuff, which I appreciate.

0:39:22.440 --> 0:39:25.319
<v Speaker 2>Yeah, they well, they were able to they were able

0:39:25.360 --> 0:39:29.279
<v Speaker 2>to plant really delicious Easter eggs without like really kind

0:39:29.280 --> 0:39:31.520
<v Speaker 2>of looking directly at Cameron spending a lot of time

0:39:31.560 --> 0:39:34.440
<v Speaker 2>in it. Like there's a moment where there is some

0:39:34.680 --> 0:39:37.000
<v Speaker 2>like a street vendor like holding up two different kinds

0:39:37.000 --> 0:39:39.440
<v Speaker 2>of belts that look exactly the same, and it's a

0:39:39.560 --> 0:39:43.120
<v Speaker 2>reference to like the belt, like the belt monologue or whatever.

0:39:43.760 --> 0:39:48.240
<v Speaker 2>Andy wears a cerulean sweater vest and the last scenes

0:39:48.400 --> 0:39:51.600
<v Speaker 2>of the movie that is referential to that moment. Also

0:39:51.680 --> 0:39:54.239
<v Speaker 2>when they're the movie kind of starts with the met

0:39:54.320 --> 0:39:58.360
<v Speaker 2>gala and as Miranda is ascending the stairs, there is

0:39:58.440 --> 0:40:01.440
<v Speaker 2>a huge banner on the side the museum that says

0:40:01.880 --> 0:40:05.799
<v Speaker 2>spring Florals, which I thought, again, I thought that was clever,

0:40:05.960 --> 0:40:09.160
<v Speaker 2>but it is again those little easter eggs, and then

0:40:09.200 --> 0:40:09.680
<v Speaker 2>again like.

0:40:09.880 --> 0:40:12.160
<v Speaker 1>It gets them out of the way right up front.

0:40:12.239 --> 0:40:14.600
<v Speaker 1>It Like I do feel like so much of the

0:40:14.640 --> 0:40:18.000
<v Speaker 1>way this movie is structured and is like a bait

0:40:18.080 --> 0:40:21.160
<v Speaker 1>and switch of what of the movie that you're expecting

0:40:21.239 --> 0:40:24.480
<v Speaker 1>it to be and the movie that it actually wants

0:40:24.560 --> 0:40:28.319
<v Speaker 1>to be. And I really appreciated that, Like it really

0:40:28.440 --> 0:40:33.040
<v Speaker 1>does follow all the same beats as the first movie.

0:40:33.600 --> 0:40:36.879
<v Speaker 1>You know, she gets the job, she's bad at the job,

0:40:37.520 --> 0:40:41.000
<v Speaker 1>she gets a makeover, she gets slightly better at the job,

0:40:41.160 --> 0:40:43.640
<v Speaker 1>she gets good enough that she gets sort of pulled

0:40:43.719 --> 0:40:48.320
<v Speaker 1>into the more kind of behind the scenes machinations. She

0:40:48.520 --> 0:40:51.560
<v Speaker 1>tries to solve things on her own. Miranda sort of

0:40:52.239 --> 0:40:55.240
<v Speaker 1>you know, thwarts her. Like it hits all those same beats,

0:40:55.320 --> 0:40:59.680
<v Speaker 1>but in updated ways that are all tied around this

0:40:59.760 --> 0:41:02.440
<v Speaker 1>story worry about like really examining what this kind of

0:41:02.560 --> 0:41:08.800
<v Speaker 1>legacy media it is in our contemporary time. And I

0:41:08.960 --> 0:41:13.919
<v Speaker 1>thought that was really surprising in a good way. Like again,

0:41:14.040 --> 0:41:18.320
<v Speaker 1>I just I was so surprised at help like competently

0:41:18.600 --> 0:41:21.919
<v Speaker 1>this movie that I thought would be like nothing was made.

0:41:22.560 --> 0:41:26.640
<v Speaker 2>I totally I it's okay, just a level set with

0:41:26.680 --> 0:41:30.239
<v Speaker 2>the virgins. I didn't really like this movie, like I

0:41:30.800 --> 0:41:32.600
<v Speaker 2>would say, I would give it a two on letterbox.

0:41:32.880 --> 0:41:37.680
<v Speaker 2>I obviously had complete and total delight during many moments

0:41:37.719 --> 0:41:40.080
<v Speaker 2>of the film, and I enjoyed the fan service and

0:41:40.120 --> 0:41:45.080
<v Speaker 2>the callbacks, but among other moments, and also everything Emily

0:41:45.120 --> 0:41:47.880
<v Speaker 2>Blunt did was like amazing. We'll talk about her, but

0:41:48.200 --> 0:41:51.440
<v Speaker 2>For me, my favorite parts of the film, aside from

0:41:51.480 --> 0:41:56.600
<v Speaker 2>Emily Blunt, were the criticisms and references to what the

0:41:56.680 --> 0:41:57.960
<v Speaker 2>world of journalism is today.

0:41:58.000 --> 0:41:58.719
<v Speaker 1>I thought that was so.

0:41:59.080 --> 0:42:02.800
<v Speaker 2>I thought they were so and so on the nose,

0:42:03.120 --> 0:42:06.360
<v Speaker 2>if not at times like scarily two on the nose,

0:42:08.600 --> 0:42:12.239
<v Speaker 2>on the larger theme of truly like the film is

0:42:12.360 --> 0:42:15.480
<v Speaker 2>truly about a dying industry. And if any of you

0:42:15.719 --> 0:42:21.680
<v Speaker 2>read the cover story in Vogue with the real Miranda

0:42:21.719 --> 0:42:24.759
<v Speaker 2>Priestley and the woman that Miranda Priestley is based on

0:42:26.080 --> 0:42:27.840
<v Speaker 2>moderated by weirdly.

0:42:29.200 --> 0:42:35.640
<v Speaker 1>Greta Gerwig, I wonder if that's because meryll Is playing

0:42:35.960 --> 0:42:40.520
<v Speaker 1>is allegedly playing Aslan in the Narnia movie. The Greta's tracting,

0:42:40.600 --> 0:42:41.960
<v Speaker 1>Oh my gosh, she would eat that up.

0:42:42.600 --> 0:42:45.040
<v Speaker 2>But I mean, I I just think that Greta Gerwig

0:42:45.120 --> 0:42:47.600
<v Speaker 2>is just kind of in the Vogue world as a

0:42:47.640 --> 0:42:50.279
<v Speaker 2>whole and has always called to do things. But there's

0:42:50.320 --> 0:42:53.120
<v Speaker 2>a moment where Meryl Streep says something to the effect

0:42:53.160 --> 0:42:55.719
<v Speaker 2>of like something something, this is about a dying industry,

0:42:56.120 --> 0:43:01.440
<v Speaker 2>and Anna literally says like, oh, well, you know, like

0:43:01.560 --> 0:43:03.480
<v Speaker 2>she kind of gets a little defensive on like she

0:43:03.600 --> 0:43:06.320
<v Speaker 2>kind of tries to course correct that statement and nuance

0:43:06.440 --> 0:43:09.000
<v Speaker 2>it and like basically she's always asserting that the that

0:43:09.080 --> 0:43:12.080
<v Speaker 2>media is not dying, and Miranda like backs like she

0:43:12.280 --> 0:43:15.000
<v Speaker 2>and Miranda Elamel. Meryl Streep like literally backs up like

0:43:15.080 --> 0:43:16.799
<v Speaker 2>she's like, oh right right, that's not what I meant.

0:43:16.840 --> 0:43:19.239
<v Speaker 2>I meant this like it's a real It was a

0:43:19.360 --> 0:43:23.520
<v Speaker 2>really funny interaction. If anybody reads that interview, I actually

0:43:24.800 --> 0:43:29.520
<v Speaker 2>it's is it like the the most like dishiest interview

0:43:29.560 --> 0:43:32.960
<v Speaker 2>ever know. But if you are someone who you know,

0:43:33.239 --> 0:43:36.760
<v Speaker 2>worships at the altar of Anna Wintur and you're interested

0:43:36.840 --> 0:43:38.279
<v Speaker 2>in in who she is as a person and what

0:43:38.360 --> 0:43:40.960
<v Speaker 2>she thinks about the industry, I thought that was fascinating.

0:43:41.480 --> 0:43:43.279
<v Speaker 2>I also didn't know that they're that both Meryl Streep

0:43:43.280 --> 0:43:45.320
<v Speaker 2>and Anna Winter is seventy five. That's kind of crazy.

0:43:46.880 --> 0:43:50.400
<v Speaker 2>But uh, in thinking about this movie and what it

0:43:50.480 --> 0:43:53.520
<v Speaker 2>has to say about quote unquote a dying industry, I

0:43:53.600 --> 0:43:56.320
<v Speaker 2>thought it was so crazy that they have essentially like

0:43:56.680 --> 0:43:59.719
<v Speaker 2>a stand in family for the New Houses, which is

0:43:59.760 --> 0:44:02.719
<v Speaker 2>the company that owns Conde Nast and usurps it in

0:44:03.000 --> 0:44:06.320
<v Speaker 2>and yes, when like side when like side New House died,

0:44:06.600 --> 0:44:09.759
<v Speaker 2>like like his son took over and like Anna had

0:44:09.840 --> 0:44:12.920
<v Speaker 2>to like develop a new relationship with a completely new

0:44:12.960 --> 0:44:15.720
<v Speaker 2>new house. Like it was referencing all so many things

0:44:16.160 --> 0:44:18.200
<v Speaker 2>like that, where I was kind of like, wow, that's

0:44:18.239 --> 0:44:21.520
<v Speaker 2>like scary on the nose. I Also another thing that

0:44:21.880 --> 0:44:24.279
<v Speaker 2>the film kind of touches on is this idea that

0:44:24.600 --> 0:44:27.200
<v Speaker 2>as an editor, actually like a lot of your job

0:44:27.280 --> 0:44:30.279
<v Speaker 2>isn't really editing. A lot of your job is like

0:44:30.880 --> 0:44:34.719
<v Speaker 2>impressing advertisers and making sure that advertisers are happy. And

0:44:34.800 --> 0:44:36.719
<v Speaker 2>I thought that that was really fascinating.

0:44:37.000 --> 0:44:42.160
<v Speaker 1>And also publishing articles directly in the CMS on your phone.

0:44:42.480 --> 0:44:48.120
<v Speaker 2>Yes, that's how I published all my articles. I also

0:44:48.239 --> 0:44:53.080
<v Speaker 2>really loved that they're you know, to the point of

0:44:53.160 --> 0:44:56.800
<v Speaker 2>one of my predictions when when Miranda Priestley was canceled,

0:44:57.960 --> 0:45:02.520
<v Speaker 2>that there is this ongoing theme throughout the film that

0:45:03.200 --> 0:45:06.560
<v Speaker 2>Miranda Priestley is out of touch, or that at the

0:45:06.719 --> 0:45:07.400
<v Speaker 2>very least.

0:45:07.320 --> 0:45:08.600
<v Speaker 1>She is struggling to.

0:45:10.120 --> 0:45:16.840
<v Speaker 2>Like she's struggling to adapt to the media world post

0:45:17.760 --> 0:45:19.719
<v Speaker 2>late nineties early offs when she was allowed to be

0:45:19.880 --> 0:45:20.520
<v Speaker 2>mean to people.

0:45:21.239 --> 0:45:24.120
<v Speaker 1>I was one of my favorite running bits was Simone

0:45:24.200 --> 0:45:27.680
<v Speaker 1>Ashley as her assistant, constantly telling her you can't say

0:45:27.760 --> 0:45:31.239
<v Speaker 1>that that is so funny. I thought us they could

0:45:31.280 --> 0:45:33.520
<v Speaker 1>have even it was used just enough. I thought, I

0:45:34.280 --> 0:45:36.839
<v Speaker 1>think it could have gotten a little too overkill.

0:45:37.040 --> 0:45:37.160
<v Speaker 2>HM.

0:45:38.520 --> 0:45:40.800
<v Speaker 1>So I really appreciated there were several times where I

0:45:40.840 --> 0:45:43.360
<v Speaker 1>thought there was like a surprising amount of restraint in

0:45:43.440 --> 0:45:46.680
<v Speaker 1>this movie. One of those being the cameos. Like there

0:45:46.719 --> 0:45:49.400
<v Speaker 1>were some good ones, but they were used pretty sparingly.

0:45:49.760 --> 0:45:53.120
<v Speaker 1>Like Donna Tulliversaci has a great cameo where she's having

0:45:53.239 --> 0:45:57.080
<v Speaker 1>lunch with Emily. That was fabulous. Gaga has a cameo

0:45:57.880 --> 0:46:03.279
<v Speaker 1>she and mar To have some crazy beef. So that

0:46:03.400 --> 0:46:06.080
<v Speaker 1>was a really funny scene. And obviously, like there are

0:46:06.120 --> 0:46:10.120
<v Speaker 1>other people kind of sprinkled in the background. Mark, Okay,

0:46:10.160 --> 0:46:14.000
<v Speaker 1>we had slight technical difficulties, but we're back. Fran, What

0:46:14.160 --> 0:46:16.360
<v Speaker 1>did you think of the cameos in the movie?

0:46:18.080 --> 0:46:23.200
<v Speaker 2>I kind of lived for the Karras Swisher jumpscre was

0:46:24.040 --> 0:46:29.400
<v Speaker 2>that was so cut cuckoo, so loudly in the theater

0:46:30.080 --> 0:46:34.160
<v Speaker 2>and no one else was laughing because nobody knows who

0:46:35.800 --> 0:46:40.040
<v Speaker 2>in downtown Brooklyn on a Tuesday, there were plenty of

0:46:40.120 --> 0:46:42.000
<v Speaker 2>people who knew who Kara Swisher was.

0:46:43.080 --> 0:46:44.360
<v Speaker 1>Yeah, what are what are?

0:46:44.600 --> 0:46:46.760
<v Speaker 2>Karras Swisher stands called swishies.

0:46:46.400 --> 0:46:48.160
<v Speaker 1>Swish Swish witches.

0:46:48.719 --> 0:46:54.600
<v Speaker 2>Swisher Yes, Swisher jets, Swisher know such a mad joke.

0:46:55.200 --> 0:47:00.440
<v Speaker 2>Mark Jacobs was a really good cameo. Someone Jacobs cameo,

0:47:02.440 --> 0:47:03.320
<v Speaker 2>you did, okay?

0:47:03.360 --> 0:47:03.600
<v Speaker 1>Cool?

0:47:03.719 --> 0:47:07.279
<v Speaker 2>I love that I did not predict any cameos. I

0:47:07.360 --> 0:47:09.359
<v Speaker 2>only predicted that Andy would get fucked up the ash

0:47:09.400 --> 0:47:12.080
<v Speaker 2>and she did correctly. And that and I also predicted

0:47:12.080 --> 0:47:14.160
<v Speaker 2>that Miranda would get canceled, which was correct, even though

0:47:14.160 --> 0:47:16.880
<v Speaker 2>it didn't happen to the midpoint as I suggested. And

0:47:16.960 --> 0:47:18.560
<v Speaker 2>then as far well, we'll talk about the ending, but

0:47:18.600 --> 0:47:20.279
<v Speaker 2>I did predict something about the ending that kind of

0:47:20.360 --> 0:47:25.680
<v Speaker 2>came true. But wait, there was a I think I

0:47:25.800 --> 0:47:30.240
<v Speaker 2>think Ashley Graham was in this had a cameo. Lauren

0:47:30.320 --> 0:47:34.160
<v Speaker 2>Chan had a cameo. Heidi Klume had a cameo.

0:47:34.640 --> 0:47:37.120
<v Speaker 1>I think there's a difference between a cameo and someone

0:47:37.239 --> 0:47:43.279
<v Speaker 1>being in a shot of a film. That's true. They

0:47:43.320 --> 0:47:46.960
<v Speaker 1>were essentially extras, you know what, who.

0:47:46.880 --> 0:47:50.839
<v Speaker 2>Also felt like an extra? Caleb Hearing Can I say,

0:47:51.440 --> 0:47:54.160
<v Speaker 2>why would you hire Caleb Hearn, who is such a

0:47:54.280 --> 0:47:57.680
<v Speaker 2>fucking star and it's so fucking funny. Why would you

0:47:57.760 --> 0:48:01.040
<v Speaker 2>bring him into this film and not give him and

0:48:01.200 --> 0:48:03.680
<v Speaker 2>this is like me being protective of Caleb not give

0:48:03.760 --> 0:48:07.399
<v Speaker 2>him literally one line of comeding material. He had maybe

0:48:07.440 --> 0:48:09.600
<v Speaker 2>three or four lines in the film, not one single

0:48:09.680 --> 0:48:10.439
<v Speaker 2>one of them was funny.

0:48:10.719 --> 0:48:12.359
<v Speaker 1>He had a couple he had didn't d me funny

0:48:12.480 --> 0:48:17.239
<v Speaker 1>little jokes. But I do agree. I think if I'm

0:48:17.320 --> 0:48:21.759
<v Speaker 1>being generous to the filmmakers, I would say, like, if

0:48:21.840 --> 0:48:24.799
<v Speaker 1>you're bringing in someone who like has their own sort

0:48:24.840 --> 0:48:29.080
<v Speaker 1>of like persona and like comedy style, you have to

0:48:29.160 --> 0:48:32.800
<v Speaker 1>find a way to fit them into this like picture

0:48:33.520 --> 0:48:36.000
<v Speaker 1>like seamlessly and have them kind of scale back the

0:48:36.080 --> 0:48:39.040
<v Speaker 1>thing that they do when it's just them. But I

0:48:39.440 --> 0:48:43.200
<v Speaker 1>kind of agree. And one of my criticisms of the movie,

0:48:43.280 --> 0:48:47.279
<v Speaker 1>which like I did really enjoy but I didn't love.

0:48:47.400 --> 0:48:49.040
<v Speaker 1>I gave it a three and a half. I gave

0:48:49.080 --> 0:48:51.640
<v Speaker 1>it three and a half stars on Letterbox. One of

0:48:51.680 --> 0:48:55.000
<v Speaker 1>my big criticisms is that it even though I left

0:48:55.320 --> 0:48:57.920
<v Speaker 1>a lot it could have been funnier I wanted. I

0:48:58.080 --> 0:49:01.000
<v Speaker 1>just it wasn't funny for jokes, And like, even though

0:49:01.040 --> 0:49:04.320
<v Speaker 1>I did chuckle and outright laugh a couple of times,

0:49:04.360 --> 0:49:08.320
<v Speaker 1>there was no moment where I really was like cackling

0:49:08.480 --> 0:49:09.000
<v Speaker 1>with laughter.

0:49:10.400 --> 0:49:13.080
<v Speaker 2>No, that my my biggest laugh was the cares the chass.

0:49:13.480 --> 0:49:16.759
<v Speaker 1>My biggest laugh was when Andy and Emily are meeting

0:49:16.840 --> 0:49:19.680
<v Speaker 1>up at the end and and Andy says, so, how

0:49:19.760 --> 0:49:24.880
<v Speaker 1>are things a coach? Because Emily from Dior to coach

0:49:25.080 --> 0:49:29.560
<v Speaker 1>that that was so so good. Also Miranda's line where

0:49:29.600 --> 0:49:32.000
<v Speaker 1>she's talking about body body positivity, which she calls it

0:49:32.040 --> 0:49:35.760
<v Speaker 1>body negativity, right, but but it's positive.

0:49:35.840 --> 0:49:39.319
<v Speaker 2>Why that could have been those bits I thought could

0:49:39.320 --> 0:49:41.680
<v Speaker 2>have been funnier, but I I I totally agree it's

0:49:41.760 --> 0:49:45.520
<v Speaker 2>the comedic material was not there as much in this film,

0:49:45.719 --> 0:49:47.920
<v Speaker 2>aside from Emily Blunt, who to me was the m

0:49:47.960 --> 0:49:52.040
<v Speaker 2>v P of and know all hits, all hits, no

0:49:52.200 --> 0:49:55.239
<v Speaker 2>misses if you're not the mill. So we kind of

0:49:55.280 --> 0:49:58.480
<v Speaker 2>said this in our in our plot summary. But Emily

0:49:58.560 --> 0:50:04.000
<v Speaker 2>Blunt is dating Jeff Bezos esque billionaire who is priming

0:50:04.160 --> 0:50:08.600
<v Speaker 2>to buy the conde esque est conde nast esque.

0:50:08.440 --> 0:50:12.759
<v Speaker 1>Well buying the company. He's just buying Runway Right for

0:50:13.840 --> 0:50:16.759
<v Speaker 1>Emily so she can become the editor in chief and

0:50:16.800 --> 0:50:21.200
<v Speaker 1>push Miranda out because Miranda allegedly pushed her out of

0:50:21.360 --> 0:50:24.160
<v Speaker 1>Runway Right exactly.

0:50:24.440 --> 0:50:31.000
<v Speaker 2>And and so it is an interesting parallel to what

0:50:31.320 --> 0:50:34.279
<v Speaker 2>was And this is not like they're they're essentially working

0:50:34.280 --> 0:50:36.719
<v Speaker 2>off of rumors and and what I'm saying is not truth.

0:50:36.840 --> 0:50:43.240
<v Speaker 2>This is like unverified hearsay. But last there was allegedly,

0:50:43.280 --> 0:50:48.120
<v Speaker 2>allegedly allegediciously, there were a lot of there was a

0:50:48.160 --> 0:50:50.400
<v Speaker 2>lot of talk about the town, that the Bezos were

0:50:50.440 --> 0:50:56.200
<v Speaker 2>priming Conye Nast to buy it, and that Jeff Bezos

0:50:56.440 --> 0:50:59.680
<v Speaker 2>was going to give Vogue to his wife Lauren Sanchez

0:50:59.719 --> 0:51:02.400
<v Speaker 2>as a birthday presenter or as an anniversary presidenter, some

0:51:02.480 --> 0:51:07.440
<v Speaker 2>wedding president whatever, and hilariously that did not happen. Instead,

0:51:07.440 --> 0:51:10.319
<v Speaker 2>they bought the Met Gala essentially. I mean they bought

0:51:10.360 --> 0:51:13.240
<v Speaker 2>the wing, the Kanye Ast wing of the Met Museum,

0:51:13.480 --> 0:51:15.200
<v Speaker 2>and they were a pointed as the chairs.

0:51:15.680 --> 0:51:18.480
<v Speaker 1>They basically bought that. That's why I loved fine that

0:51:18.680 --> 0:51:22.319
<v Speaker 1>Miranda says to Emily when she's like telling her why

0:51:22.440 --> 0:51:24.120
<v Speaker 1>she pushed her out of frontway, and she's like, you're

0:51:24.160 --> 0:51:29.040
<v Speaker 1>not a visionary, You're a vendor. Yes, any much goes

0:51:29.160 --> 0:51:32.240
<v Speaker 1>for those people as well. They are not creative people.

0:51:32.600 --> 0:51:33.400
<v Speaker 1>They are vendors.

0:51:34.480 --> 0:51:37.279
<v Speaker 2>And there's a lot there's a lot of like real

0:51:37.520 --> 0:51:40.319
<v Speaker 2>there's real world parallels that are like stretched in such

0:51:40.360 --> 0:51:44.200
<v Speaker 2>a way like Lauren Sanchez is actually a journalist, or

0:51:44.320 --> 0:51:46.560
<v Speaker 2>she has a background in journalism and she's passionate about it.

0:51:46.680 --> 0:51:49.440
<v Speaker 2>I don't think that there was ever talks that she

0:51:49.480 --> 0:51:52.520
<v Speaker 2>would become the editor in chief, but there were certainly

0:51:53.120 --> 0:51:56.680
<v Speaker 2>whispers that she would become like a high up editor

0:51:56.760 --> 0:51:59.560
<v Speaker 2>or something like that. And famously, in the midst of

0:51:59.640 --> 0:52:06.400
<v Speaker 2>all this happening, the day after Anna announced that she

0:52:06.640 --> 0:52:08.760
<v Speaker 2>was stepping down as the editor and she's a Vogue,

0:52:09.200 --> 0:52:12.759
<v Speaker 2>Lauren Sanchez was on the cover of Vogue, And so

0:52:12.880 --> 0:52:17.840
<v Speaker 2>there was a very funny real real world comparison in

0:52:17.920 --> 0:52:20.920
<v Speaker 2>the film where Emily Blunt is you know, she's like

0:52:21.040 --> 0:52:22.880
<v Speaker 2>supposed to be this kind of like vapid. She's this

0:52:23.000 --> 0:52:25.520
<v Speaker 2>vapid character and she's talking about how she thinks should

0:52:25.560 --> 0:52:28.200
<v Speaker 2>be she should be on the first cover, which is

0:52:28.360 --> 0:52:31.560
<v Speaker 2>crazy to think about. It's a very like ugly Betty Core.

0:52:33.160 --> 0:52:36.360
<v Speaker 2>But yeah, the real world comparisons were really fascinated to

0:52:36.440 --> 0:52:39.239
<v Speaker 2>me over and over again, Like some of them were

0:52:39.280 --> 0:52:41.799
<v Speaker 2>references to the last movie, but also references to real life,

0:52:41.880 --> 0:52:44.200
<v Speaker 2>like the fact that you know, Anna can't really see

0:52:44.239 --> 0:52:47.319
<v Speaker 2>without her glasses, or the idea that she like has

0:52:47.520 --> 0:52:49.520
<v Speaker 2>she always wants hard copies, which is so tea. She

0:52:49.680 --> 0:52:53.360
<v Speaker 2>literally always wants everything printed out. There are lots of

0:52:53.440 --> 0:52:56.600
<v Speaker 2>different things about, you know, the real world comparison to

0:52:56.719 --> 0:52:59.680
<v Speaker 2>journalism that I the the film's real world comparison to

0:52:59.719 --> 0:53:02.520
<v Speaker 2>journal some that I always enjoyed. But the Anna of

0:53:02.560 --> 0:53:04.879
<v Speaker 2>it all I thought was also fascinating. And I think

0:53:05.400 --> 0:53:06.879
<v Speaker 2>I don't know if we how much we can dig

0:53:06.920 --> 0:53:12.600
<v Speaker 2>into this conversation considering considering my position as yes, a

0:53:12.719 --> 0:53:15.800
<v Speaker 2>unique perspective is someone who recently left a job working

0:53:15.840 --> 0:53:20.280
<v Speaker 2>for Anna Winter or as her direct report. But Anna's

0:53:20.360 --> 0:53:24.400
<v Speaker 2>involvement in this film is like novel and honestly thrilling

0:53:24.480 --> 0:53:29.080
<v Speaker 2>to watch and uh and a complete and complete stark

0:53:29.200 --> 0:53:32.319
<v Speaker 2>contrast to how we viewed her when the first movie

0:53:32.440 --> 0:53:34.640
<v Speaker 2>was coming out. So if for the Virgins, if you're

0:53:34.680 --> 0:53:38.160
<v Speaker 2>not aware, when the first film came out, Anna showed

0:53:38.239 --> 0:53:40.839
<v Speaker 2>up to the premiere wearing Prada, which is like such

0:53:40.880 --> 0:53:45.480
<v Speaker 2>a fucking serve, and she continued to kind of like

0:53:45.560 --> 0:53:47.920
<v Speaker 2>not necessarily be in the conversation of the film, but

0:53:48.040 --> 0:53:50.840
<v Speaker 2>to be a good sport about it all something that

0:53:50.960 --> 0:53:55.880
<v Speaker 2>was to be And so this time around, Devil was protato.

0:53:56.280 --> 0:53:59.960
<v Speaker 2>Anna is literally stumping for she is literally another piece

0:54:00.160 --> 0:54:04.319
<v Speaker 2>our rep for this film, which is super super fascinating,

0:54:05.000 --> 0:54:07.279
<v Speaker 2>especially given the subject matter of the film and the

0:54:07.320 --> 0:54:10.160
<v Speaker 2>film's like comparisons to the real world and like the

0:54:10.200 --> 0:54:13.759
<v Speaker 2>allegations of the whatever whatever whatever. But it is like

0:54:14.080 --> 0:54:18.359
<v Speaker 2>so wild actually too in this press in this press

0:54:18.400 --> 0:54:20.160
<v Speaker 2>circuit for Double Wars predat too for it.

0:54:20.239 --> 0:54:21.279
<v Speaker 1>To be revealed that.

0:54:23.160 --> 0:54:26.759
<v Speaker 2>Anna called the real Emily into her office. The real

0:54:26.800 --> 0:54:30.520
<v Speaker 2>Emily is sorry that the Emily from the film is

0:54:30.600 --> 0:54:36.400
<v Speaker 2>based on a an editor. Wait, real Emily Double Wars Prada,

0:54:36.960 --> 0:54:41.480
<v Speaker 2>I need to look it up. Her name is Leslie Freemar.

0:54:41.600 --> 0:54:43.600
<v Speaker 2>She calls Leslie Freemart in her office and she goes,

0:54:44.239 --> 0:54:47.320
<v Speaker 2>do you know like a woman, do you know a

0:54:47.360 --> 0:54:49.560
<v Speaker 2>woman named like blah blah blah, and like talks about

0:54:49.560 --> 0:54:52.239
<v Speaker 2>the woman who wrote Double Wars Praduct And Leslie's like,

0:54:52.280 --> 0:54:55.960
<v Speaker 2>oh yeah, that was like your assistant. She was like, well, uh,

0:54:56.400 --> 0:54:58.560
<v Speaker 2>she wrote a book about us, and you do not

0:54:58.760 --> 0:55:02.279
<v Speaker 2>come off looking good like it, which is like, such,

0:55:02.440 --> 0:55:06.239
<v Speaker 2>it's so delicious to hear that, especially since in this second.

0:55:06.000 --> 0:55:07.520
<v Speaker 1>Film there is this.

0:55:09.000 --> 0:55:14.240
<v Speaker 2>Scene, this final scene where Miranda Priestley literally confronts Andy

0:55:14.280 --> 0:55:16.279
<v Speaker 2>and says Okay, I heard you were writing a book

0:55:16.280 --> 0:55:18.440
<v Speaker 2>about me for three hundred fifty thousand dollars. And Anna

0:55:18.600 --> 0:55:23.320
<v Speaker 2>and Hathaways is like is like, and Miranda's like, Honey,

0:55:24.120 --> 0:55:28.120
<v Speaker 2>when somebody talks about you, they are dying. Someone is

0:55:28.280 --> 0:55:31.360
<v Speaker 2>dying to tell you that information, like people are running

0:55:32.600 --> 0:55:33.600
<v Speaker 2>to meet.

0:55:33.440 --> 0:55:36.040
<v Speaker 1>With you and to tell you incredibly.

0:55:37.080 --> 0:55:37.960
<v Speaker 2>Incredibly true.

0:55:39.080 --> 0:55:39.879
<v Speaker 1>And so yeah.

0:55:40.040 --> 0:55:45.719
<v Speaker 2>But for for Anna Wintour too, actually just you know,

0:55:46.800 --> 0:55:50.880
<v Speaker 2>bust open the fourth wall, as it were, and to

0:55:51.120 --> 0:55:53.840
<v Speaker 2>be a part of this film's promotion, it's kind of

0:55:54.000 --> 0:55:56.640
<v Speaker 2>like mind breaking, like how do you feel about it all?

0:55:57.719 --> 0:56:00.839
<v Speaker 1>Like I don't know. I guess I'm I'm a lot

0:56:01.000 --> 0:56:03.200
<v Speaker 1>less interested in that part.

0:56:03.000 --> 0:56:08.279
<v Speaker 2>Of it, Like, oh, I guess, yeah, okay, it is

0:56:08.520 --> 0:56:09.400
<v Speaker 2>it adds.

0:56:09.160 --> 0:56:11.479
<v Speaker 1>Something to the movie for me, but I'm really trying

0:56:11.600 --> 0:56:18.239
<v Speaker 1>to I think meet this movie on like a very

0:56:18.400 --> 0:56:23.520
<v Speaker 1>kind of in world basis, and you know, like I

0:56:23.680 --> 0:56:27.360
<v Speaker 1>really hate like this is all. This is all promo,

0:56:27.800 --> 0:56:32.920
<v Speaker 1>you know, and I find promo really annoying and cynical

0:56:33.080 --> 0:56:36.080
<v Speaker 1>and like it's all so it's all about the bottom line.

0:56:36.160 --> 0:56:40.080
<v Speaker 1>But I do think it's interesting, especially because during that

0:56:40.280 --> 0:56:44.680
<v Speaker 1>scene where Miranda tells Andy, oh, I know about the

0:56:44.719 --> 0:56:47.560
<v Speaker 1>book deal, which gets like a really big gasp from

0:56:47.600 --> 0:56:49.920
<v Speaker 1>the audience both times I saw the movie, because you

0:56:50.000 --> 0:56:51.600
<v Speaker 1>think it's going to be this thing that's going to

0:56:51.719 --> 0:56:54.799
<v Speaker 1>cause this huge you know, falling out between them. It's

0:56:54.840 --> 0:56:58.399
<v Speaker 1>threaded through the movie. And then of course Miranda knew

0:56:58.400 --> 0:57:01.680
<v Speaker 1>about it, and she's says to Andy, she tells Andy,

0:57:01.880 --> 0:57:04.759
<v Speaker 1>you know, you should write it. People should know what

0:57:04.920 --> 0:57:07.359
<v Speaker 1>it takes to do this job. But then I think

0:57:07.600 --> 0:57:10.319
<v Speaker 1>I really like that. She also says, who knows, maybe

0:57:10.320 --> 0:57:12.800
<v Speaker 1>if you write it truthfully enough, it'll give me another

0:57:12.920 --> 0:57:15.960
<v Speaker 1>couple of years at the top. Because ultimately, what these

0:57:16.000 --> 0:57:19.720
<v Speaker 1>people know is if you're being talked about, no matter

0:57:19.800 --> 0:57:23.120
<v Speaker 1>what the context is, you are relevant. And I do

0:57:23.360 --> 0:57:27.280
<v Speaker 1>think we can extrapolate maybe how that fits into the

0:57:27.360 --> 0:57:30.480
<v Speaker 1>real life inspirations of this film and why they are

0:57:30.640 --> 0:57:33.880
<v Speaker 1>supportive of it. Because you're going to be part of

0:57:33.960 --> 0:57:36.440
<v Speaker 1>the story no matter what, you might as well use

0:57:36.480 --> 0:57:42.840
<v Speaker 1>it to your advantage. Yeah, girl, that is so ty.

0:57:43.360 --> 0:57:43.840
<v Speaker 1>It's true.

0:57:45.760 --> 0:57:50.280
<v Speaker 2>And yeah, the even though like there's so many different

0:57:50.320 --> 0:57:53.200
<v Speaker 2>things about that, I have to say that I there's

0:57:53.200 --> 0:57:54.760
<v Speaker 2>so many different things about the ending that I have

0:57:54.920 --> 0:57:58.400
<v Speaker 2>grievances with, which is like, you know, I predicted that

0:57:58.480 --> 0:58:00.680
<v Speaker 2>Miranda would be like the kind of one to save

0:58:00.760 --> 0:58:04.200
<v Speaker 2>the day, and in some ways she was like they

0:58:04.240 --> 0:58:06.880
<v Speaker 2>were executing on her plan ultimately, but she.

0:58:06.920 --> 0:58:09.640
<v Speaker 1>And and teamed up to do it. They teamed in

0:58:09.960 --> 0:58:12.240
<v Speaker 1>and you know, they do. They did it through means

0:58:12.360 --> 0:58:16.240
<v Speaker 1>that they wouldn't have had without Andy coming to the company,

0:58:16.440 --> 0:58:19.280
<v Speaker 1>you know, and and Miranda tells her like, you know,

0:58:19.360 --> 0:58:21.520
<v Speaker 1>She's like, I'm going to shows all day. You have

0:58:21.680 --> 0:58:22.480
<v Speaker 1>to figure this out.

0:58:23.600 --> 0:58:28.160
<v Speaker 2>Yeah, exactly. Well, my god, there's so I was also

0:58:28.240 --> 0:58:32.640
<v Speaker 2>sorry this is a a little bit of a tangent.

0:58:32.680 --> 0:58:34.960
<v Speaker 2>But I'm also thinking about how like when in the

0:58:35.160 --> 0:58:38.480
<v Speaker 2>very beginning of the film, when Andy walks into Miranda's

0:58:38.480 --> 0:58:43.960
<v Speaker 2>office and then you know, Miranda calls like fire, like

0:58:44.080 --> 0:58:47.080
<v Speaker 2>you turned to me, You turned.

0:58:46.880 --> 0:58:49.000
<v Speaker 1>To me, and what did you say? This feeling a

0:58:49.040 --> 0:58:52.240
<v Speaker 1>little familiar, a little triggering.

0:58:52.520 --> 0:58:56.240
<v Speaker 2>Maybe you know what was triggering, and maybe this is

0:58:56.280 --> 0:58:57.760
<v Speaker 2>where we can end.

0:58:57.880 --> 0:59:00.280
<v Speaker 1>Oh no, I still have more. I still have more.

0:59:00.440 --> 0:59:04.720
<v Speaker 2>Okay, great, great, okay, So well then maybe actually before

0:59:04.760 --> 0:59:08.560
<v Speaker 2>I I was gonna talk about Andy's fucking boyfriend, but

0:59:08.720 --> 0:59:11.840
<v Speaker 2>I also the movie. But do we want to is

0:59:11.880 --> 0:59:13.600
<v Speaker 2>there more to say on the ending before we get.

0:59:13.480 --> 0:59:16.760
<v Speaker 1>Into Yeah, well, I wanted to get your thoughts on

0:59:17.960 --> 0:59:22.240
<v Speaker 1>whether you think the end of this movie is hopeful

0:59:22.680 --> 0:59:28.280
<v Speaker 1>or nihilistic, because the day is saved, but it's very

0:59:28.400 --> 0:59:30.240
<v Speaker 1>much saved for now.

0:59:32.120 --> 0:59:35.400
<v Speaker 2>Yeah, I mean the film with the film ends on

0:59:35.480 --> 0:59:39.320
<v Speaker 2>a shot where Nigel, Miranda, and Andy are all in

0:59:39.400 --> 0:59:42.880
<v Speaker 2>their own schmancy offices like working and enjoying working at

0:59:43.640 --> 0:59:48.160
<v Speaker 2>Runway and it I think it. It is supposed to

0:59:48.200 --> 0:59:50.360
<v Speaker 2>be obviously very hopeful ending. It also makes it feel

0:59:50.400 --> 0:59:52.640
<v Speaker 2>like there's there should be a double Worst Product three. Sorry,

0:59:52.800 --> 0:59:55.160
<v Speaker 2>like I kind of honestly would watch a double Worst

0:59:55.160 --> 0:59:56.800
<v Speaker 2>Product three. But there I understand that.

0:59:57.280 --> 0:59:59.760
<v Speaker 1>Our friends over at Every Outfit Podcast came up with

0:59:59.800 --> 1:00:02.960
<v Speaker 1>a perfect title for it. They said that the third

1:00:03.000 --> 1:00:06.160
<v Speaker 1>one should be called, uh, the Devil's Product. That's all.

1:00:07.720 --> 1:00:15.240
<v Speaker 2>That's all so good and but in in in the

1:00:15.320 --> 1:00:21.120
<v Speaker 2>real world, sorry, there is nothing more horrifying than the

1:00:21.280 --> 1:00:24.600
<v Speaker 2>idea of working at a media company until.

1:00:24.520 --> 1:00:27.440
<v Speaker 1>They love to work, that's what and they I love

1:00:27.520 --> 1:00:30.520
<v Speaker 1>that there's that moment. It's an inverse. It's an inversion

1:00:30.800 --> 1:00:34.240
<v Speaker 1>of the car scene from the first movie where Miranda says,

1:00:34.720 --> 1:00:36.920
<v Speaker 1>you know, everyone wants this, everyone wants to be us,

1:00:37.000 --> 1:00:38.920
<v Speaker 1>you did it, you did it to Emily. But in

1:00:39.000 --> 1:00:42.280
<v Speaker 1>this one she says they're actually they're bonding, but for

1:00:42.400 --> 1:00:45.440
<v Speaker 1>a positive thing. And Miranda says, I just love to work,

1:00:45.600 --> 1:00:48.840
<v Speaker 1>don't you, And and he's like yes, and I just

1:00:49.160 --> 1:00:52.600
<v Speaker 1>like don't. I don't. I don't. I can't at all.

1:00:53.640 --> 1:00:57.160
<v Speaker 1>But I do think that the movie, the end of

1:00:57.200 --> 1:01:01.120
<v Speaker 1>the movie is both is both hopeful and realistic. Like again,

1:01:01.280 --> 1:01:03.240
<v Speaker 1>because yeah, they save the day, but they save it

1:01:03.320 --> 1:01:06.280
<v Speaker 1>for now. There is very much the awareness that this

1:01:06.520 --> 1:01:11.120
<v Speaker 1>can't go on forever. Yes, And but what I what

1:01:11.240 --> 1:01:15.440
<v Speaker 1>I did like, was I noticed this. So you know,

1:01:15.520 --> 1:01:18.320
<v Speaker 1>the first movie ends very famously with that scene of

1:01:18.800 --> 1:01:21.600
<v Speaker 1>you know, Andy walking across the street and oh my god,

1:01:21.680 --> 1:01:24.360
<v Speaker 1>Anne Hathaway is just so good at walking around New

1:01:24.440 --> 1:01:27.400
<v Speaker 1>York City and looking at stuff. No one doesn't like her,

1:01:27.640 --> 1:01:28.600
<v Speaker 1>No one doesn't like her.

1:01:28.640 --> 1:01:30.840
<v Speaker 2>No one does by your hair blowing in the wind,

1:01:31.040 --> 1:01:33.040
<v Speaker 2>turn turn, walk before across the.

1:01:33.040 --> 1:01:35.920
<v Speaker 1>Series like kind of fake out of that ending. So

1:01:36.200 --> 1:01:40.280
<v Speaker 1>you know, after after Andy and Emily have their little lunch,

1:01:40.480 --> 1:01:43.640
<v Speaker 1>there's a scene where Andy is walking back to Runway

1:01:43.680 --> 1:01:46.200
<v Speaker 1>and it seems like it's gonna kind of do the

1:01:46.280 --> 1:01:49.680
<v Speaker 1>same thing, you know, she's like walking by herself, She's

1:01:49.840 --> 1:01:52.959
<v Speaker 1>like a girl on the go. But then her.

1:01:52.960 --> 1:01:54.240
<v Speaker 2>Face is the map of the world.

1:01:54.400 --> 1:01:56.880
<v Speaker 1>Is the map of the world played while Miranda was

1:01:56.960 --> 1:02:02.280
<v Speaker 1>fucking Andy in the ass, right right, But instead that

1:02:02.560 --> 1:02:05.960
<v Speaker 1>like little moment happens and then we go to Runway

1:02:06.200 --> 1:02:09.520
<v Speaker 1>and then the real ending of the movie is actually

1:02:10.600 --> 1:02:15.439
<v Speaker 1>her with this community that she's built through her job,

1:02:15.600 --> 1:02:18.280
<v Speaker 1>through loving to work, And so I do kind of

1:02:18.520 --> 1:02:21.640
<v Speaker 1>like that that growth of Like at the end of

1:02:21.720 --> 1:02:23.480
<v Speaker 1>the first movie, what she had to do was like

1:02:23.560 --> 1:02:25.920
<v Speaker 1>invest in herself, in her future. She was this woman

1:02:26.000 --> 1:02:28.560
<v Speaker 1>with a career ahead of her, she's walking her own path.

1:02:29.000 --> 1:02:32.720
<v Speaker 1>She's walking alone. Now as a woman in her forties,

1:02:32.960 --> 1:02:35.840
<v Speaker 1>it's more important for her to have a community around her,

1:02:36.040 --> 1:02:40.680
<v Speaker 1>to be, you know, mentoring the next generation of creatives.

1:02:40.760 --> 1:02:43.240
<v Speaker 1>We see her having these relationships with Caleb Heren, with

1:02:43.400 --> 1:02:46.640
<v Speaker 1>her assistant. So, like, I do think there is hope

1:02:46.680 --> 1:02:49.800
<v Speaker 1>in it, but I also think it is it's pretty.

1:02:50.480 --> 1:02:51.800
<v Speaker 1>It still is a little bleak.

1:02:53.600 --> 1:02:56.520
<v Speaker 2>Yeah, well it's funny because.

1:02:57.720 --> 1:03:00.520
<v Speaker 1>There is like this.

1:03:02.680 --> 1:03:05.520
<v Speaker 2>Stark contrast to the ending of the first film and

1:03:05.600 --> 1:03:07.760
<v Speaker 2>the ending of the second film. The end of the

1:03:07.880 --> 1:03:12.200
<v Speaker 2>first film, Andy decides she's not going to sell out, essentially,

1:03:12.440 --> 1:03:14.280
<v Speaker 2>and she wants to be a real journalist. She wants

1:03:14.320 --> 1:03:16.400
<v Speaker 2>to have a work, she wants to make work that

1:03:16.480 --> 1:03:18.560
<v Speaker 2>she is proud of, and she's not doing that at Runway,

1:03:18.600 --> 1:03:22.400
<v Speaker 2>and so she ditches it on this kind of morality

1:03:22.520 --> 1:03:25.440
<v Speaker 2>lesson that's like, oh, you don't have to be a

1:03:25.520 --> 1:03:27.880
<v Speaker 2>part of this like vapid, mean world of fashion. You

1:03:28.000 --> 1:03:30.400
<v Speaker 2>can actually just you can work a different way, you

1:03:30.440 --> 1:03:32.360
<v Speaker 2>can have a differ, you can enter a different workforce.

1:03:32.680 --> 1:03:34.760
<v Speaker 2>You don't have to like be mean to people to

1:03:34.800 --> 1:03:35.840
<v Speaker 2>get to the top, et cetera.

1:03:35.920 --> 1:03:37.720
<v Speaker 1>And then look how well that turned out for her.

1:03:37.920 --> 1:03:41.000
<v Speaker 1>She ended up going back to the same magazine twenty years.

1:03:40.840 --> 1:03:43.959
<v Speaker 2>Later and ain't and ain't that fucking true to life?

1:03:44.040 --> 1:03:44.360
<v Speaker 1>Baby?

1:03:44.760 --> 1:03:47.280
<v Speaker 2>Ain't that fucking true to life? I also had a

1:03:47.320 --> 1:03:49.840
<v Speaker 2>decade of media work before I had to go back to.

1:03:49.960 --> 1:03:52.720
<v Speaker 1>On it and as like, what the fuck? It was

1:03:52.920 --> 1:03:53.720
<v Speaker 1>so weird.

1:03:53.840 --> 1:03:56.400
<v Speaker 2>So to me, the ending of the second film is

1:03:56.600 --> 1:04:00.760
<v Speaker 2>so weird because it's the opposite. It's like, no, actually,

1:04:01.120 --> 1:04:04.720
<v Speaker 2>you can stay right work at this fuck and at

1:04:04.760 --> 1:04:07.600
<v Speaker 2>this fucky little company where where your boss and other

1:04:07.640 --> 1:04:09.440
<v Speaker 2>people in this environment are going to continue to be

1:04:09.560 --> 1:04:12.920
<v Speaker 2>disrespectful to house down boots and treat you like she.

1:04:12.960 --> 1:04:16.560
<v Speaker 1>Should't let your frob but husband played by Kenneth Branna

1:04:16.840 --> 1:04:19.720
<v Speaker 1>wait for you at home while you work, until they

1:04:19.800 --> 1:04:23.919
<v Speaker 1>literally have to drag your rotten corpse out of the building. Yes,

1:04:24.040 --> 1:04:26.120
<v Speaker 1>I love to work, don't you. That was chill. That

1:04:26.280 --> 1:04:29.439
<v Speaker 1>was that line. That was and it was so true

1:04:29.480 --> 1:04:33.960
<v Speaker 1>tool of capitalism, like that was capitalism. It was to

1:04:34.080 --> 1:04:35.880
<v Speaker 1>work its influence on us.

1:04:36.320 --> 1:04:40.840
<v Speaker 2>But but also alarmingly realist, like I'm I shouldn't be

1:04:40.840 --> 1:04:42.600
<v Speaker 2>talking about Anna as much, but Anna lives to work

1:04:42.680 --> 1:04:44.400
<v Speaker 2>like she is that I think that, you know, like

1:04:44.560 --> 1:04:47.360
<v Speaker 2>a lot of people who have any sort of like

1:04:47.480 --> 1:04:49.480
<v Speaker 2>perception of who she is as a public figure.

1:04:49.600 --> 1:04:50.480
<v Speaker 1>Yes, under she.

1:04:50.680 --> 1:04:54.400
<v Speaker 2>Really like nothing. She has a personal life, but no,

1:04:54.640 --> 1:04:57.560
<v Speaker 2>nothing like work is the reason to live.

1:04:57.600 --> 1:04:57.960
<v Speaker 3>But I do.

1:04:58.120 --> 1:05:00.040
<v Speaker 2>And and so for that to be the end and

1:05:00.520 --> 1:05:03.320
<v Speaker 2>the reason for the end of this film to be like, no, actually,

1:05:03.560 --> 1:05:05.000
<v Speaker 2>your reason to live is work.

1:05:07.960 --> 1:05:10.720
<v Speaker 1>I was like, even when you're seventy five year old millionaire.

1:05:11.840 --> 1:05:14.120
<v Speaker 2>If I were writing the fan fiction of this ending,

1:05:14.280 --> 1:05:17.320
<v Speaker 2>it would be that the Jeff Bezos does buy the

1:05:17.400 --> 1:05:20.880
<v Speaker 2>magazine and everybody gets a huge payout and then just

1:05:22.160 --> 1:05:23.200
<v Speaker 2>for the rest of my life.

1:05:23.560 --> 1:05:25.920
<v Speaker 1>Yes, yeah, I Andy.

1:05:25.960 --> 1:05:29.560
<v Speaker 2>Will go and get big beautiful titties, ffs, the house

1:05:29.600 --> 1:05:32.320
<v Speaker 2>sound boots and my hairline redone. And I still have

1:05:32.600 --> 1:05:36.920
<v Speaker 2>enough basis money left over to live my life without working.

1:05:37.280 --> 1:05:40.360
<v Speaker 1>That that's the the ending that they I have to

1:05:41.040 --> 1:05:43.600
<v Speaker 1>We've I've waited long enough. We have to talk about

1:05:43.600 --> 1:05:46.920
<v Speaker 1>the fashion in this fashion movie, because yes, was my

1:05:47.280 --> 1:05:54.120
<v Speaker 1>other pain point in this film. Oh interesting, Okay, specifically

1:05:54.560 --> 1:05:59.920
<v Speaker 1>with Andy ostensibly our main character. She did not wear

1:06:00.160 --> 1:06:04.160
<v Speaker 1>one sickening look in the entire movie. She had a couple.

1:06:04.520 --> 1:06:07.959
<v Speaker 1>She had a couple good looks. She had a couple

1:06:08.560 --> 1:06:14.080
<v Speaker 1>good looks. She did not wear one truly jaw on

1:06:14.200 --> 1:06:20.200
<v Speaker 1>the floor chanel boots ass sickening look through the whole film.

1:06:20.320 --> 1:06:24.360
<v Speaker 1>There were moments when she came close, but they had

1:06:24.440 --> 1:06:27.960
<v Speaker 1>her in that fucking Molly Rogers when I find you,

1:06:30.440 --> 1:06:33.680
<v Speaker 1>she was wearing the ugly patchwork dress to the Hampton's

1:06:35.040 --> 1:06:38.120
<v Speaker 1>I mean Miranda Hutt, theatress. Miranda had a couple of

1:06:38.160 --> 1:06:42.440
<v Speaker 1>good looks. I really loved her Dreas van Notten taskle jacket,

1:06:42.640 --> 1:06:46.520
<v Speaker 1>which got like a really nice moment in this extended sequence.

1:06:47.440 --> 1:06:50.160
<v Speaker 1>But Andy was like in all of these fucking like

1:06:50.400 --> 1:06:54.960
<v Speaker 1>separates and like button down shirts and vests and pirate

1:06:55.160 --> 1:06:59.240
<v Speaker 1>pants and that ugly Chanelle dress she wore in the

1:06:59.560 --> 1:07:02.440
<v Speaker 1>in a scene where she's trying to get them the company.

1:07:03.200 --> 1:07:09.160
<v Speaker 1>I just like this film. There were there were moments

1:07:09.240 --> 1:07:12.760
<v Speaker 1>of glamour and elegance. I really liked a lot of

1:07:13.960 --> 1:07:19.040
<v Speaker 1>simoone Ashley's wardrobe. I liked, you know, Emily is supposed

1:07:19.080 --> 1:07:21.440
<v Speaker 1>to be kind of a caricature of a fashion monster

1:07:21.640 --> 1:07:28.240
<v Speaker 1>and like everything is like to which But I actually

1:07:28.280 --> 1:07:32.800
<v Speaker 1>thought the I remember that being talked about, like Patricia

1:07:32.840 --> 1:07:35.480
<v Speaker 1>Field talking about that from the first movie, that Emily

1:07:36.200 --> 1:07:39.320
<v Speaker 1>is supposed to be like the cutting edge, like to

1:07:40.160 --> 1:07:43.560
<v Speaker 1>like trendy to the point of it being annoying. It's

1:07:43.640 --> 1:07:49.160
<v Speaker 1>tacky logo logo. I liked, you know, Andy's assistant in

1:07:49.280 --> 1:07:52.520
<v Speaker 1>her like real real go tier dress, like whatever. That's cute.

1:07:52.560 --> 1:07:57.760
<v Speaker 1>But no, there was nothing sickening. I did not gag

1:07:58.680 --> 1:08:00.400
<v Speaker 1>over anything once.

1:08:02.120 --> 1:08:07.400
<v Speaker 2>Yeah, I I so, I actually you're kind of changing

1:08:07.440 --> 1:08:09.200
<v Speaker 2>my opinion on this because I walked them out of

1:08:09.240 --> 1:08:11.840
<v Speaker 2>the movie feeling like, oh, actually, like everyone looked kind

1:08:11.880 --> 1:08:15.240
<v Speaker 2>of good. But I think and I think that there

1:08:15.480 --> 1:08:17.480
<v Speaker 2>there was like there was this There was a montage,

1:08:17.760 --> 1:08:21.559
<v Speaker 2>one of many, wherein they are going to a bunch

1:08:21.600 --> 1:08:24.400
<v Speaker 2>of different shows in a row, and each time they

1:08:24.640 --> 1:08:28.080
<v Speaker 2>walk into a show in Milan that Miranda and Andy

1:08:28.120 --> 1:08:29.040
<v Speaker 2>are wearing a different album.

1:08:29.280 --> 1:08:33.080
<v Speaker 1>Are good looks really? But again, like, yes, I think

1:08:33.080 --> 1:08:35.280
<v Speaker 1>we're really close to sight. There was one moment where

1:08:35.320 --> 1:08:38.680
<v Speaker 1>Andy's wearing like a leopard print coat with some like

1:08:38.960 --> 1:08:42.519
<v Speaker 1>green coming out of it, Like that was kind of

1:08:42.680 --> 1:08:47.120
<v Speaker 1>fears she. I love that she has a couple, like

1:08:47.280 --> 1:08:50.840
<v Speaker 1>her blue sequin dress is pretty, but again, like it's

1:08:50.960 --> 1:08:51.839
<v Speaker 1>not sickening.

1:08:53.120 --> 1:08:56.120
<v Speaker 2>I I thought, Miranda, I love the Dreas jacket Like

1:08:56.200 --> 1:08:58.160
<v Speaker 2>that was definitely one of my favorite moments. I also

1:08:58.280 --> 1:09:01.160
<v Speaker 2>really love the Valencia red dress that she had on

1:09:01.240 --> 1:09:03.519
<v Speaker 2>in the first scene. I thought that, Okay, that looked

1:09:03.560 --> 1:09:08.040
<v Speaker 2>really good. I think that Andy's kind of oh, what's

1:09:08.120 --> 1:09:13.280
<v Speaker 2>the word dumpiness translated into the fashion world in actually

1:09:13.280 --> 1:09:16.240
<v Speaker 2>a nice way. It's like, yes, like she is just

1:09:16.360 --> 1:09:17.920
<v Speaker 2>wearing like pantsuits and veal.

1:09:18.200 --> 1:09:19.800
<v Speaker 1>I just like but like it.

1:09:19.920 --> 1:09:22.799
<v Speaker 2>Actually I thought she looked good. I think Anne Hathaway

1:09:22.800 --> 1:09:23.360
<v Speaker 2>always looks.

1:09:24.240 --> 1:09:25.479
<v Speaker 1>Maybe that was my bias, but.

1:09:27.280 --> 1:09:29.200
<v Speaker 2>But you're right, a lot of those offices weren't giving

1:09:29.439 --> 1:09:33.280
<v Speaker 2>capital f fashion, and this actually was the film for

1:09:33.439 --> 1:09:35.920
<v Speaker 2>it to be like no, no, no, ditch everything you

1:09:36.000 --> 1:09:40.240
<v Speaker 2>thought about Andy, Let's get her back into the Balencia.

1:09:40.479 --> 1:09:42.400
<v Speaker 2>Let's get her back and she.

1:09:42.439 --> 1:09:46.200
<v Speaker 1>Thought a little. Nigel gives her clothes and and they

1:09:46.320 --> 1:09:49.200
<v Speaker 1>do take a lot of effort to I think, wrongly

1:09:49.520 --> 1:09:52.400
<v Speaker 1>address the criticisms of the first film and like over

1:09:52.560 --> 1:09:55.320
<v Speaker 1>explain a little like this is alone. You have to

1:09:55.400 --> 1:09:58.160
<v Speaker 1>bring it back, you know, like they're they're trying to

1:09:58.240 --> 1:10:00.120
<v Speaker 1>be a little more realistic than the sort of a

1:10:00.200 --> 1:10:04.200
<v Speaker 1>fantastical thing we got in the first movie. But you

1:10:04.320 --> 1:10:07.439
<v Speaker 1>know what, that's the one place in this film where

1:10:07.520 --> 1:10:11.120
<v Speaker 1>I really want to suspend my disbelief and I want

1:10:11.240 --> 1:10:15.760
<v Speaker 1>to see the best possible things you can pull. This

1:10:16.000 --> 1:10:21.400
<v Speaker 1>is the apex of fashion fantasy. And I wasn't getting that.

1:10:23.520 --> 1:10:28.200
<v Speaker 2>This is actually representative of something that happens in the

1:10:28.439 --> 1:10:33.200
<v Speaker 2>film industry, the Hollywood in general. If you have a

1:10:33.280 --> 1:10:37.479
<v Speaker 2>project and Patricia Field is on that project, she has

1:10:37.600 --> 1:10:40.880
<v Speaker 2>to stay on the project for life or you're done. Yes,

1:10:41.160 --> 1:10:45.599
<v Speaker 2>like that, As we learned to exist, as we learned

1:10:45.600 --> 1:10:47.640
<v Speaker 2>with that, Just like that, as we learned in so

1:10:47.680 --> 1:10:49.960
<v Speaker 2>many different iterations of things that did not no longer

1:10:50.040 --> 1:10:52.680
<v Speaker 2>had Pat Field. For Pat Field to not be a

1:10:52.720 --> 1:10:58.920
<v Speaker 2>part of this film, girl, everybody saw it, and I honestly,

1:10:59.040 --> 1:11:01.360
<v Speaker 2>you've really woken up because I was actually pretty blind.

1:11:01.439 --> 1:11:03.080
<v Speaker 1>That was I thought was like, oh, people look good,

1:11:03.280 --> 1:11:05.799
<v Speaker 1>but no. The thing that the Jena.

1:11:05.640 --> 1:11:09.719
<v Speaker 2>Skua that pat brings to a film as a costume

1:11:09.760 --> 1:11:13.640
<v Speaker 2>designer is a complete and total is complete and just

1:11:13.720 --> 1:11:14.200
<v Speaker 2>the way she.

1:11:14.800 --> 1:11:18.519
<v Speaker 1>Has lies and yes it was a silence. Everything in

1:11:18.600 --> 1:11:21.760
<v Speaker 1>this film feels like it's a complete head to toe

1:11:21.880 --> 1:11:25.000
<v Speaker 1>runway look, like the way that celebrities often if you

1:11:25.040 --> 1:11:26.920
<v Speaker 1>want to pull something from a house, you have to

1:11:26.960 --> 1:11:29.960
<v Speaker 1>wear the whole look, head to toe, and it seems

1:11:30.120 --> 1:11:32.160
<v Speaker 1>like that's what happened here, and like there was a

1:11:32.200 --> 1:11:35.000
<v Speaker 1>little bit of that in the first movie because Chanelle

1:11:35.120 --> 1:11:37.360
<v Speaker 1>was one of Chanelle like gave them so many clothes

1:11:37.439 --> 1:11:39.320
<v Speaker 1>that Andy was in a lot of head to toe

1:11:39.360 --> 1:11:44.000
<v Speaker 1>looks from that season's collection, but everything had a little

1:11:44.080 --> 1:11:47.960
<v Speaker 1>Patricia Field spin on it, and like the closest we

1:11:48.120 --> 1:11:50.920
<v Speaker 1>get to that, here are some of Miranda's looks, like

1:11:51.000 --> 1:11:54.080
<v Speaker 1>some of her coats. There's also that amazing moment where

1:11:54.080 --> 1:11:56.120
<v Speaker 1>you see that Miranda has to hang up her own coats.

1:11:56.200 --> 1:11:58.920
<v Speaker 1>Now that that got a big chuckle out of me.

1:12:00.240 --> 1:12:03.840
<v Speaker 2>So funny. Oh, I'm looking at them, Miranda leopard coat moment.

1:12:04.240 --> 1:12:06.479
<v Speaker 2>I really do think the montage were in there wearing

1:12:06.520 --> 1:12:08.439
<v Speaker 2>tons of outfits and different outlets and wrote that to me.

1:12:08.760 --> 1:12:11.360
<v Speaker 1>Also, is when the fashion do you repeat the beat

1:12:11.720 --> 1:12:16.040
<v Speaker 1>of You know, we don't have like a Vogue montage

1:12:16.280 --> 1:12:19.080
<v Speaker 1>the way that we have in the first film, but

1:12:19.200 --> 1:12:22.040
<v Speaker 1>there is a montage early in the movie where Andy

1:12:22.200 --> 1:12:24.519
<v Speaker 1>is like trying to be good at her job and

1:12:24.920 --> 1:12:27.519
<v Speaker 1>we do see her in a bunch of different outfits

1:12:27.640 --> 1:12:30.040
<v Speaker 1>that you know, were to assume Nigel has given her

1:12:30.120 --> 1:12:33.920
<v Speaker 1>and like, again, some of them are very cute, and like,

1:12:34.280 --> 1:12:37.960
<v Speaker 1>if if they were in another movie or TV show,

1:12:38.320 --> 1:12:40.439
<v Speaker 1>I would maybe be gagged by them, because, like, the

1:12:40.600 --> 1:12:43.040
<v Speaker 1>level of fashion everywhere else would be so much further

1:12:43.160 --> 1:12:46.720
<v Speaker 1>below that. But here, I'm just expecting more and I

1:12:46.800 --> 1:12:47.320
<v Speaker 1>didn't get it.

1:12:48.840 --> 1:12:52.719
<v Speaker 2>Yeah, I'm sorry, it just wasn't. It wasn't the vibe.

1:12:52.840 --> 1:12:56.559
<v Speaker 2>It's okay, you know what else was in the vibe?

1:12:57.200 --> 1:12:58.760
<v Speaker 2>Andy's fucking boyfriend.

1:12:59.080 --> 1:13:02.040
<v Speaker 1>Well, I I told you when the movie started that

1:13:02.240 --> 1:13:05.280
<v Speaker 1>I knew from having seen it once before. When to

1:13:05.400 --> 1:13:08.800
<v Speaker 1>pee and the second that I knew he was about

1:13:08.840 --> 1:13:11.080
<v Speaker 1>to be on screen, I was on my way to

1:13:11.120 --> 1:13:15.200
<v Speaker 1>the bathroom. Was I was vaping in the bathroom? Hell yeah.

1:13:17.200 --> 1:13:20.280
<v Speaker 2>Every this man has four scenes in the movie, and

1:13:21.040 --> 1:13:23.800
<v Speaker 2>there was no reason for him them could have been.

1:13:24.479 --> 1:13:28.320
<v Speaker 1>That whole plotline could have been excised completely without impacting

1:13:28.400 --> 1:13:31.280
<v Speaker 1>the rest of the movie in any meaningful way. And

1:13:31.479 --> 1:13:34.719
<v Speaker 1>that is how you know as a writer that something

1:13:34.800 --> 1:13:35.439
<v Speaker 1>needs to be cut.

1:13:36.800 --> 1:13:42.560
<v Speaker 2>It was so so on the writing level, so embarrassing.

1:13:43.200 --> 1:13:47.120
<v Speaker 2>Sorry for that, for Andy to have this complete, like

1:13:47.720 --> 1:13:52.280
<v Speaker 2>non non issue, non impact, non like literally not involved

1:13:52.280 --> 1:13:53.000
<v Speaker 2>in whatsoever.

1:13:53.120 --> 1:13:55.479
<v Speaker 1>It was literally just like so she would have someone

1:13:55.600 --> 1:13:59.360
<v Speaker 1>to bring to that party, so she would have drama

1:13:59.720 --> 1:14:02.719
<v Speaker 1>in her life that was romantic and not just centered

1:14:02.760 --> 1:14:05.160
<v Speaker 1>around her career. When we don't that's not what we're

1:14:05.240 --> 1:14:07.439
<v Speaker 1>here for, No, did we not?

1:14:07.920 --> 1:14:10.639
<v Speaker 2>Did we learn nothing from the first level Wars product

1:14:10.680 --> 1:14:13.120
<v Speaker 2>where everyone came away from the film being like, the

1:14:13.320 --> 1:14:17.200
<v Speaker 2>real villain is the boyfriend blah blah blah blah, which

1:14:17.200 --> 1:14:18.759
<v Speaker 2>is stoke, which is fucking stupid.

1:14:18.920 --> 1:14:21.160
<v Speaker 1>Also it's weird. But in a movie that opens with

1:14:21.360 --> 1:14:25.320
<v Speaker 1>Miranda fucking Antie in the ass, well, Katie, as I

1:14:25.439 --> 1:14:29.320
<v Speaker 1>see plays in the background. And what should have happened

1:14:29.720 --> 1:14:33.599
<v Speaker 1>is that Miranda and Kenneth Brana should have invited Andy

1:14:33.680 --> 1:14:36.160
<v Speaker 1>to be their third because she had kind of a

1:14:36.280 --> 1:14:37.360
<v Speaker 1>vibe with both of them.

1:14:38.400 --> 1:14:38.599
<v Speaker 2>Yes.

1:14:38.880 --> 1:14:42.120
<v Speaker 1>I also because Andy and Emily are eventually gonna get

1:14:42.240 --> 1:14:44.200
<v Speaker 1>married and buy a house and Cherry Grove.

1:14:45.479 --> 1:14:48.600
<v Speaker 2>Yes, ten thousand percent. I mean when Andy walked in

1:14:48.840 --> 1:14:51.519
<v Speaker 2>the in the second film, when Andy walked into the

1:14:51.640 --> 1:14:54.960
<v Speaker 2>house and Kenneth Branna was like, go ahead, go upstairs,

1:14:55.640 --> 1:14:59.080
<v Speaker 2>so grave like it was giving swings.

1:14:58.680 --> 1:15:01.840
<v Speaker 1>And Miranda okay, And Andy walks up the stairs and

1:15:01.920 --> 1:15:04.320
<v Speaker 1>Miranda's just standing there with her strap on, and so

1:15:04.600 --> 1:15:07.360
<v Speaker 1>Andy just stops on the step that leads her at

1:15:07.400 --> 1:15:11.040
<v Speaker 1>the perfect heights to suck Miranda's silicone cop.

1:15:15.400 --> 1:15:21.879
<v Speaker 2>I. In the first movie, Andy's boyfriend is such a nuisance,

1:15:23.680 --> 1:15:27.559
<v Speaker 2>but at the very least in that film, the way

1:15:27.880 --> 1:15:30.920
<v Speaker 2>his like frustrations with her and her addiction to work

1:15:31.760 --> 1:15:35.760
<v Speaker 2>were actually created a stakes, stakes that were interesting to me.

1:15:35.880 --> 1:15:39.080
<v Speaker 2>And consequently he's also they were actually to be the

1:15:39.280 --> 1:15:40.879
<v Speaker 2>kind of angel on her shoulder.

1:15:41.960 --> 1:15:43.240
<v Speaker 1>And also he was hot.

1:15:43.360 --> 1:15:49.679
<v Speaker 2>Yes, this Australian realtor who his whole job is literally

1:15:50.000 --> 1:15:55.400
<v Speaker 2>tearing down historic buildings and building nasty, soulless like luxury

1:15:55.720 --> 1:16:02.600
<v Speaker 2>like apartment complexes. I could not imagine a worst, least imaginative,

1:16:03.040 --> 1:16:06.800
<v Speaker 2>like most anti Andy person for her to end up with.

1:16:07.560 --> 1:16:09.479
<v Speaker 2>And I don't even think that she should have had

1:16:09.520 --> 1:16:11.840
<v Speaker 2>a boyfriend in this film at all. It for her

1:16:11.920 --> 1:16:15.559
<v Speaker 2>to have a boyfriend actually is antithetical to the ethos

1:16:15.600 --> 1:16:19.400
<v Speaker 2>of the film, which is sorry about feminism. Sorry, I'll

1:16:19.439 --> 1:16:19.680
<v Speaker 2>say it.

1:16:20.040 --> 1:16:20.479
<v Speaker 1>I'll say it.

1:16:21.200 --> 1:16:22.920
<v Speaker 2>The film is supposed to be like I don't need

1:16:23.000 --> 1:16:25.400
<v Speaker 2>a man. I'm Miranda. The man is nothing like my

1:16:25.479 --> 1:16:27.120
<v Speaker 2>man means nothing to me. We're gonna get a divorce.

1:16:27.120 --> 1:16:29.120
<v Speaker 2>I'm gonna be married to my work. Same thing with Andy.

1:16:29.160 --> 1:16:31.920
<v Speaker 2>It's like this boyfriend is not supportive of me and

1:16:32.040 --> 1:16:33.560
<v Speaker 2>so like, you know, I'm just gonna go off and

1:16:33.600 --> 1:16:36.200
<v Speaker 2>do my own thing. It's like it just it didn't.

1:16:36.320 --> 1:16:38.960
<v Speaker 1>It was so it was such a doo doo kaka

1:16:39.600 --> 1:16:43.800
<v Speaker 1>of a b plot. So having to heat and there's

1:16:43.840 --> 1:16:49.360
<v Speaker 1>so many of a face an Australian accent is always bad. Yeah, nasty.

1:16:49.920 --> 1:16:52.360
<v Speaker 2>I still can't believe that he was like a fucking

1:16:52.800 --> 1:16:54.120
<v Speaker 2>luxury apartment hung.

1:16:54.080 --> 1:16:56.320
<v Speaker 1>And he even like they try to make it seem

1:16:56.400 --> 1:17:01.840
<v Speaker 1>like she's mean for dissing what he does. Girl are yeah, like,

1:17:01.960 --> 1:17:04.720
<v Speaker 1>are you kidding me? Like go back to Grammar Sea

1:17:05.000 --> 1:17:05.479
<v Speaker 1>you belong.

1:17:06.840 --> 1:17:07.040
<v Speaker 2>Yeah.

1:17:07.320 --> 1:17:08.120
<v Speaker 1>I like that that.

1:17:08.640 --> 1:17:14.240
<v Speaker 2>I think the film is at times confused about Andy's principles.

1:17:15.600 --> 1:17:17.519
<v Speaker 2>I think if we're thinking about the last film to

1:17:17.600 --> 1:17:20.360
<v Speaker 2>this film, and the fact that the film, the second film,

1:17:20.479 --> 1:17:25.400
<v Speaker 2>starts with her being this prestige journalist, guardian person who

1:17:26.000 --> 1:17:29.679
<v Speaker 2>is so proud to be underpaid to be making this work,

1:17:29.720 --> 1:17:32.280
<v Speaker 2>and then she decides to sell out for a job

1:17:32.360 --> 1:17:34.880
<v Speaker 2>that will pay her twice as much and she's like,

1:17:34.960 --> 1:17:37.600
<v Speaker 2>I can make meaningful work here, but in actuality, the

1:17:37.680 --> 1:17:40.840
<v Speaker 2>work was just sold to a billionaire. You are.

1:17:42.320 --> 1:17:45.439
<v Speaker 1>Wifed up with a real estate.

1:17:45.920 --> 1:17:50.280
<v Speaker 2>Mogul who is real estate mogul slum lord probably, and

1:17:51.479 --> 1:17:54.960
<v Speaker 2>you and Miranda are like work work work, work is life,

1:17:55.040 --> 1:17:55.759
<v Speaker 2>Life is work.

1:17:56.520 --> 1:17:57.160
<v Speaker 1>End of movie.

1:17:57.560 --> 1:18:00.439
<v Speaker 2>Like, I don't think the film actually unders stood who

1:18:00.479 --> 1:18:03.920
<v Speaker 2>Andy is. Sorry, And I'm like, I'm taking this so seriously.

1:18:04.000 --> 1:18:06.120
<v Speaker 2>Obviously it hits close to home because like I have

1:18:06.320 --> 1:18:09.160
<v Speaker 2>like been in so many different circumstances that have actually

1:18:09.240 --> 1:18:11.479
<v Speaker 2>happened in The Devil was Prada and that have actually

1:18:11.520 --> 1:18:13.479
<v Speaker 2>happened in The Devil was Proda too, and that has

1:18:13.600 --> 1:18:17.160
<v Speaker 2>actually happened in Ugly Betty, which came out three months

1:18:17.200 --> 1:18:20.000
<v Speaker 2>before the three months before The Devil Wars Proda too,

1:18:20.280 --> 1:18:22.400
<v Speaker 2>and a lot of it does actually like the same

1:18:22.439 --> 1:18:23.439
<v Speaker 2>events kind of transpire.

1:18:23.600 --> 1:18:25.360
<v Speaker 1>Like I, it means a.

1:18:25.400 --> 1:18:29.320
<v Speaker 2>Lot to me, and Andy is a figure that feels

1:18:29.520 --> 1:18:34.000
<v Speaker 2>a lot like someone that I and someone that I uh.

1:18:34.680 --> 1:18:37.519
<v Speaker 2>Andy's a character that I cherish, even though I like

1:18:37.960 --> 1:18:40.360
<v Speaker 2>it's so basic to like The Devil Wars Prada, I'm

1:18:40.400 --> 1:18:43.639
<v Speaker 2>not one of those fucking faggots, But like Andy as

1:18:43.640 --> 1:18:45.600
<v Speaker 2>a character does mean a lot to me, and I

1:18:45.720 --> 1:18:48.960
<v Speaker 2>think this second film really did her dirty and did

1:18:49.000 --> 1:18:52.280
<v Speaker 2>not understand who she is at all. That's what I'm there,

1:18:52.439 --> 1:18:57.640
<v Speaker 2>gonna two stars on Letterbox period and one stars for

1:18:57.720 --> 1:19:00.320
<v Speaker 2>Emily Blunt and the other stars for when he gets

1:19:00.360 --> 1:19:01.040
<v Speaker 2>fucked up the ass.

1:19:01.240 --> 1:19:03.639
<v Speaker 1>See that's what my half star and my three star

1:19:04.000 --> 1:19:07.920
<v Speaker 1>three and a half star ranking rights right right. Well,

1:19:08.240 --> 1:19:11.840
<v Speaker 1>I mean we've been yapping about this now for an

1:19:11.880 --> 1:19:15.439
<v Speaker 1>hour and a half. I think I'm sure you know

1:19:16.040 --> 1:19:20.639
<v Speaker 1>this will fold into the fabric of our lives. Although

1:19:21.000 --> 1:19:23.000
<v Speaker 1>even though I've now seen the movie twice, I don't

1:19:23.160 --> 1:19:27.000
<v Speaker 1>know that it has the rewatchability where I'm gonna like, now,

1:19:27.120 --> 1:19:29.960
<v Speaker 1>you know, watch it as soon as it's on Hrio

1:19:30.040 --> 1:19:35.280
<v Speaker 1>Max or whatever. But for this kind of legacy cash grab,

1:19:36.040 --> 1:19:40.639
<v Speaker 1>you know, like badly intentioned, bad for the world kind

1:19:40.680 --> 1:19:43.720
<v Speaker 1>of sequel, this was a pretty good version of it,

1:19:44.439 --> 1:19:49.240
<v Speaker 1>and I it was certainly better than Wicked two. Absolutely

1:19:49.840 --> 1:19:52.240
<v Speaker 1>good news, good news, and that we can give it

1:19:52.280 --> 1:19:55.880
<v Speaker 1>credit for it. We hope you've enjoyed this, and we

1:19:56.080 --> 1:19:59.080
<v Speaker 1>hope that you will join us over on Patreon where

1:19:59.800 --> 1:20:04.240
<v Speaker 1>we we are putting out weekly episodes. We are really

1:20:04.479 --> 1:20:07.439
<v Speaker 1>breathing new life back into the podcast once again, so

1:20:08.240 --> 1:20:11.120
<v Speaker 1>you will be seeing and hearing a lot more from

1:20:11.240 --> 1:20:14.080
<v Speaker 1>us in the weeks to come. But definitely join us

1:20:14.120 --> 1:20:16.960
<v Speaker 1>over on Patreon so you can get regular episodes. And

1:20:17.080 --> 1:20:19.120
<v Speaker 1>here what we have to say about all of this,

1:20:21.000 --> 1:20:25.000
<v Speaker 1>all this shit going on, And if you want us

1:20:25.160 --> 1:20:27.559
<v Speaker 1>to write a version of the Devil Wars product two

1:20:27.840 --> 1:20:30.360
<v Speaker 1>where Andy gets fucked in the ass by Miranda wearing

1:20:30.400 --> 1:20:34.000
<v Speaker 1>a strap on or possibly just Miranda with a cock,

1:20:34.520 --> 1:20:37.879
<v Speaker 1>you know, she could be she could be stealth Tranny

1:20:39.240 --> 1:20:45.240
<v Speaker 1>her sh cock. Let us know. And that's all. That's all.