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Speaker 1: Look Mayer, Oh, I see you, my own Bowen. Look

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Speaker 1: over there is that culture. Yes, wow, lost cult.

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Speaker 2: Ding, dull lost cult calling I'm in my scab era.

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Speaker 1: No, don't say that they're gonna come for us. Oh,

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Speaker 1: I know, I'm upset actually about people. Okay, we're getting

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Speaker 1: off on this foot. We're gonna talk about Drew.

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Speaker 2: What are we doing?

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Speaker 1: Okay, so wow, immediately thrust into the topics at hand.

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Speaker 1: And yeah, don't apologize. You're about to apologize.

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Speaker 2: I was about to apologize. So you know me so well.

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Speaker 1: Bowen is saying he's a scab right now because he's

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Speaker 1: wearing a Mickey Mouse hat, and I have to say,

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Speaker 1: Mickey apparel is actually one of the cutest things ever. Stop.

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Speaker 1: You should you should get in with the House of Mouse.

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Speaker 1: I really think after all that they.

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Speaker 2: Don't want me. They don't want me, they don't want you.

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Speaker 2: The closest Dike out was Fox Searchlight.

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Speaker 1: Wow. Wow, and then not even Fox Searchlight, just search Light,

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Speaker 1: just search Light. We can't talk about this, but this See,

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Speaker 1: here's the thing. Can we talk about the difference between

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Speaker 1: supporting a project that has a waiver yes and scabbing?

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Speaker 1: Because it feels like the girls are still very confused, right,

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Speaker 1: and there's much to say.

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Speaker 2: I'm out here not I was gonna say shamelessly plugging

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Speaker 2: dicks the musical, But what's like the level beyond shameless,

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Speaker 2: Like there is no shame and yet there is no

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Speaker 2: shame to be had, do you know what I mean?

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Speaker 1: It's like I would say, you are within the bounds

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Speaker 1: promoting the project because the project got a waiver from SAG.

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Speaker 2: We got the interim agreement last Wednesday. I had to

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Speaker 2: pack my bags and rush to the airport and it

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Speaker 2: was a thrill and it was so lovely to be

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Speaker 2: in Toronto. We are so grateful, so lucky that we

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Speaker 2: got it. Grateful to the union, Grateful to A twenty four.

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Speaker 2: And this is what I said on stories. It's like,

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Speaker 2: if you on an ethical perspective, if you like universalize

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Speaker 2: the max, It's like if everyone were to do this,

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Speaker 2: if everyone were to promote their interim Project agreement, then

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Speaker 2: what happened is the strike would be over because then

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Speaker 2: everybody is on board with SAG and WGA's terms like that.

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Speaker 2: This is how it works, Like the unions win. It

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Speaker 2: is a very thought out strategy. Why these things exist

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Speaker 2: there's a reason why there's no consumer boytal and there's

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Speaker 2: a reason why there are interim agreements. It's because you're

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Speaker 2: able to publicize the way that this can work out,

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Speaker 2: in the way that the studios are being so so

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Speaker 2: so terrible in austere with how they are like negotiating

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Speaker 2: or not even negotiating with the unions.

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Speaker 1: First of all, I'm so happy that the film was

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Speaker 1: so well received. Dick the musical did so well at Tiff,

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Speaker 1: and it's so exciting. I mean, you can now listen

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Speaker 1: to All Love what did they call it? All Love

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Speaker 1: Is Love? It's called All Love Is Love? So fun.

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Speaker 1: You can listen to All Love Is Love, which originally

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Speaker 1: was titled God as a Fagot. But I guess, you know,

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Speaker 1: to sort of make sure that we don't scare kids off.

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Speaker 1: We want kids, of course, to see the film. We

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Speaker 1: want young impressionable minds to be I guess, as simply put,

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Speaker 1: groomed by the film. And so in order to groom me.

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Speaker 2: Keep going.

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Speaker 1: But in order to correctly really groom these kids the

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Speaker 1: way we want to groom them, we have to make

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Speaker 1: sure we hide the title of the song. And by we,

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Speaker 1: I mean Josh and Aaron and everyone involved in the movie.

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Speaker 1: I am not. I just feel spiritually involved in Dixon Musical.

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Speaker 1: But God is a fagot. You can listen to it

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Speaker 1: now on Spotify and bring your kids into the room.

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Speaker 1: It's important they hear this so they can become demon

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Speaker 1: fagots as well. God faggots. It's really important we conflate

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Speaker 1: this with Christianity too, And that's how we move our

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Speaker 1: agenda forward, because we are, of course demon sucubis fagots

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Speaker 1: who want to mold the minds of children first and foremost,

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Speaker 1: so we can create an army which then can push

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Speaker 1: our agenda forward and hopefully exterminate everyone who doesn't agree

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Speaker 1: with us. That is, of course the mission.

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Speaker 2: Yeah, the mission is for this army of demon faggots

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Speaker 2: to deface one statue, one Confederate statue. That's it, right,

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Speaker 2: We're keeping our goals very manageable and achievable. It's just

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Speaker 2: one statue.

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Speaker 1: Yeah, and we won't say which. We won't say which

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Speaker 1: because we need the element of surprise. That's how a

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Speaker 1: war works, That's how civil war is going to work

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Speaker 1: in this case. You know what I mean. We're not

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Speaker 1: going to tell you what we're gonna attack, but just

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Speaker 1: that we're gonna attack, you know what I mean?

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Speaker 2: You are full on joker mode right now. I can

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Speaker 2: feel it.

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Speaker 1: I'm radicalized. I am a demon faggot from hell and

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Speaker 1: I am on the ground and I feel this movie

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Speaker 1: has empowered me. And I have to say this film

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Speaker 1: Dixon Musical has radicalized me to be the groomer I am,

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Speaker 1: and I'll be groom You're about to see me, Grumman,

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Speaker 1: that's great. If it's not clear, these are a little

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Speaker 1: bit of jokes, a little bit of jokes on the pod,

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Speaker 1: A little bit.

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Speaker 2: What else do we do? We want to say before well,

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Speaker 2: what I want to.

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Speaker 1: Say is that people, especially with platforms, and this is

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Speaker 1: me being entirely serious, need to understand and do their

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Speaker 1: research about who they are calling scabs, which is a

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Speaker 1: really damning label to put someone on in a time

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Speaker 1: like this, is to call someone who is granted a

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Speaker 1: waiver by the union a scab, or to say, look,

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Speaker 1: if it's a strike, it's a strike. That is not true.

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Speaker 1: And it's really really, really disheartening to see people attack

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Speaker 1: each other based on misinformation or you know, worse than

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Speaker 1: just based on misinformation, based on just wanting to get attention, right,

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Speaker 1: and I genuinely think that that is the case for

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Speaker 1: a couple people. I do not want to get messy,

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Speaker 1: but it's just interesting who some people choose to name

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Speaker 1: and who some people choose to leave out of their criticisms.

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Speaker 1: And that's all I'll say about that. But I will

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Speaker 1: say that when you are out here saying scab, scab,

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Speaker 1: scab towards people who are working on a project that

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Speaker 1: has a SAG waiver, you have a at this point

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Speaker 1: willful I think, misunderstanding of what is going on here

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Speaker 1: and how the strike is working. And do us all

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Speaker 1: a favor and secondarily yourself, but do us all a

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Speaker 1: favor by not spreading that misinformation and not being harmful.

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Speaker 2: Right now, Yes, I understand on a cognitive level what

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Speaker 2: a waiver does. It creates this exceptional circumstance where you go, well, hey,

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Speaker 2: if they're able to do it, then why can't you

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Speaker 2: know the rest of us or whatever. It's not even that,

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Speaker 2: it's like they think that that is anti labor and

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Speaker 2: it's literally literally not it's literally not because it's this

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Speaker 2: is a kind of like action that I think people

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Speaker 2: seem to overlook the fact that there is a centralized

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Speaker 2: place where all of these decisions are made and we're

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Speaker 2: in the strike is because there is a central negotiating committee.

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Speaker 2: There's a national board within these unions that like got

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Speaker 2: us into these strikes for very good reasons, and it's

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Speaker 2: those same entities that are thinking really far ahead and

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Speaker 2: communicating with us effectively. I think I think every time

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Speaker 2: the WGA emails come in, I'm like, Okay, here we go.

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Speaker 2: What's this going to be in a way that I'm like,

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Speaker 2: this is going to be like dense with information and

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Speaker 2: we have to interpret this and whatever. But with the

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Speaker 2: interim agreements, there's a reason why SAG has it even

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Speaker 2: like backed down from that either like there has been pressure,

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Speaker 2: like a non negligible pressure from people within the union

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Speaker 2: who are like, hey, maybe we do this less, and

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Speaker 2: SAG is like, loll no, it's actually helping the cause.

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Speaker 2: And actually the other side is invested in you wanting

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Speaker 2: to mislabel people as scabs or create tension within this

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Speaker 2: action that like weakens us and weakens our side. The

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Speaker 2: thing is AMPTP is this disparate group of companies like

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Speaker 2: one sells you phones, one sends you stuff in cardboard boxes.

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Speaker 2: One is a streamer, Like, these are all companies with

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Speaker 2: different goals and different interests, and they are the ones

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Speaker 2: that are like really really really not on the same page.

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Speaker 2: And that is to our advantage. And the fact that

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Speaker 2: there are these conversations within the like you know, the

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Speaker 2: people who make these front facing videos and like make

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Speaker 2: a whole thing about this, I feel like that is

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Speaker 2: playing directly into that situation for us where we look

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Speaker 2: like we're kind of.

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Speaker 1: Crumbling, disorganized, inviting wear a mask. Also, it's like, if

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Speaker 1: a film or a project has an interim agreement, that

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Speaker 1: probably does mean that they made that interim agreement with

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Speaker 1: a studio or company that is probably not the problem.

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Speaker 1: And that's another thing I think, because it's like you

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Speaker 1: now start to hear that like a lot of the

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Speaker 1: studios are like fed up with this, and the reason

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Speaker 1: why we're not. They're not at the table right now

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Speaker 1: is because they're infighting because they really want what I'm

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Speaker 1: saying to end this. And so what I feel like is,

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Speaker 1: if there is a problem, we need to start saying

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Speaker 1: who that problem is and start targeting those people, Like

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Speaker 1: I'll just say it, if the problem is Netflix, we

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Speaker 1: need to start saying the problem is Netflix. Yeah, yeah, Like,

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Speaker 1: if that is true, let's start saying it's true. And

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Speaker 1: I also think there's a really interesting thing that might

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Speaker 1: happen where some studios just break with the AMPTP and

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Speaker 1: say like, fuck it whatever. But I think we're getting

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Speaker 1: to the point now where it's gonna become pretty obvious

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Speaker 1: who the problem is and where the problem is. And

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Speaker 1: I just wonder, at what point do we start actually

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Speaker 1: saying that, Like, of course, obviously the whole system is

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Speaker 1: the issue, and the whole system needs to change, but

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Speaker 1: it feels like it can outsid. I have a few holdouts,

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Speaker 1: and I'll just say if the issue is.

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Speaker 2: Netflix, Netflix, Yeah, let's just say it's Netflix. Yeah, that's

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Speaker 2: actually a role of culture. Yeah, role of culture number seven,

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Speaker 2: The issue is Netflix, So let's just say say Netflix.

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Speaker 1: At this point, it's just like how much more tired

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Speaker 1: can we all fucking get? I've forgotten how to act.

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Speaker 1: I don't know if you have.

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Speaker 2: I don't know the first thing about acting or writing.

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Speaker 1: Really literally, I'm not confident that when I get back

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Speaker 1: on screens, Oh, I'll be with myself. I'm telling you, Boing,

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Speaker 1: I don't think I've acted seriously. I don't think I've

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Speaker 1: acted in over a year.

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Speaker 2: It's within you, Matt, It's within you. It's all abou

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Speaker 2: connecting with your inner self. Thank you and you you

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Speaker 2: do that every day.

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Speaker 1: You are mine.

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Speaker 2: I really do?

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Speaker 1: You really know? Because I look at you and I'm

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Speaker 1: so inspired. I'm so inspired by your gifts. Just stupid

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Speaker 1: bit I will look at you sometimes I'll be like,

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Speaker 1: I'll have to stop myself from reaching out into your

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Speaker 1: shoulder and telling you these words. I'm inspired by your gift.

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Speaker 1: Because there has to be a separation between best friends

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Speaker 1: and number one fan. You know what I'm saying. It's like,

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Speaker 1: if I told you what a fan I was, you

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Speaker 1: would get a stalkerl agreement on me. You'd get a

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Speaker 1: you get a tro temporary restraint and order.

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Speaker 2: What is mutual stalking if not best friendship that's from

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Speaker 2: one division, that's from one division, that's actually real culture

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Speaker 2: number nine?

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Speaker 1: What is mutual stocking if not best friendship that's from

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Speaker 1: one division.

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Speaker 2: I am your number one fan. I will out of nowhere.

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Speaker 2: Readers Katie's helpuses finalists be like, oh my god, Matt,

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Speaker 2: remember that one time you did this. I'm a fucking kid, Stan,

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Speaker 2: I stand this girl.

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Speaker 1: We stand each other.

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Speaker 2: You know how much I stand you.

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Speaker 1: You know you're that girl to me. Are you gonna

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Speaker 1: cry right now?

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Speaker 2: I could.

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Speaker 1: I don't be crying, Oh my god, be crying because

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Speaker 1: I can't get TecTile with you right now on this

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Speaker 1: virtual it feels like it's fucking April twenty twenty. I

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Speaker 1: can't even reach out to you and console you.

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Speaker 2: Feels like April twenty twenty all over again. Not March.

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Speaker 2: March was an amazing month top to bottom. Twenty twenty.

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Speaker 2: I was out there.

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Speaker 1: Oh, March twenty twenty was the life. Oh I loved it.

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Speaker 1: It was so incredible to look around, see nothing, see nothing.

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Speaker 2: Me playing animal crossing, going well, it's only going to

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Speaker 2: be two weeks.

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Speaker 1: Guess I'm in my yeah, oh me fucking. When I

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Speaker 1: think of March twenty twenty, I think of two things,

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Speaker 1: A global pandemic and parvity. That was when I fully

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Speaker 1: got into survivor, the turning point of my life.

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Speaker 2: The turning point I was going to say that I

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Speaker 2: am not all the way done with The Morning Show

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Speaker 2: season two yet you have one day I know, well,

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Speaker 2: I mean by the time this episode comes out the

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Speaker 2: season will be on Apple TV.

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Speaker 1: No, no, not the season, the first two episodes. So

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Speaker 1: remember this is not a show that releases all at once.

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Speaker 2: That's right. We actually can't talk about this.

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Speaker 1: No, we can talk about watching the show. We just

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Speaker 1: can't be like promoting show like we can sit. Oh,

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Speaker 1: I'm going to ring my own neck. I swear to god.

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Speaker 1: We can't be like this show comes out this time

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Speaker 1: on this day. But we can be like we're watching

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Speaker 1: this show. Like for example, like I will say many

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Speaker 1: things on this episode, one of which will be how

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Speaker 1: much I enjoyed seeing Bottoms. I am not going to

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Speaker 1: promote the movie, but I'm going to talk about how

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Speaker 1: much I enjoyed it. That is within our rights as

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Speaker 1: a podcaster. During Speck, we checked, we checked, But you

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Speaker 1: got to finish that second season before it comes back.

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Speaker 2: Do they all just get COVID and die?

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Speaker 1: Is what I say. They don't all get COVID and die.

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Speaker 1: In fact, none of them get COVID and die. They

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Speaker 1: do get COVID and almost die, or at least Jennifer

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Speaker 1: Aniston's gasps repeatedly, I'm dying, I'm dying, I'm dying. You

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Speaker 1: have to get to it. I'm telling you, it's what

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Speaker 1: happens to By the way, I for some reason was

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Speaker 1: looking back in our like shared dms or whatever, and

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Speaker 1: there was a moment where you posted a story which

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Speaker 1: was me telling you Jennifer Aniston gets COVID and becomes

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Speaker 1: Joe Rogan in the finale of the Morning Show, and

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Speaker 1: you just said omg and posted it to your story.

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Speaker 1: Oh yeah, oh yeah.

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Speaker 2: I posted the text because you don't know the Dushen

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Speaker 2: laughter that I laughed when I saw that text, and

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Speaker 2: I was like, I gotta post this to stories.

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Speaker 1: Now, what is Dushin because Dushen feels like what we

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Speaker 1: do before we about to meet up with that man duche.

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Speaker 2: I'm dous I'm Dushen, and I'm bending over and I

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Speaker 2: get right like Jonathan Groffin looking girl.

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Speaker 1: I went to Dashume. I had to do sheen because

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Speaker 1: because I was gonna be like Jonathan Groffin looking later

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Speaker 1: that night after Dushome, which was not the place to

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Speaker 1: go eat beforehand. Dushen after Dashume is title of that after.

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Speaker 2: By the way, we're excited for London, We're excited for Berlin,

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Speaker 2: We're excited for we are excited.

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Speaker 1: And coming and wait, we do have one thing to

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Speaker 1: for sure announce, which is that our guest for our

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Speaker 1: Amsterdam show is the one, the only, Michelle Collins. Okay,

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Speaker 1: someone spilled sauce. Someone just spilled the tea that Michelle

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Speaker 1: will be joining us in Amsterdam live.

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Speaker 2: Can you even I can't, and I even I listened

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Speaker 2: back to this. Someone spilled some story.

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Speaker 1: It's brilliant.

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Speaker 2: Michelle Collins is a treasure, a global treasure at this point.

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Speaker 1: I mean literally one of the reasons why we're even

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Speaker 1: doing the show there because she's there.

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Speaker 2: One thousand percent. We're on the way to booking someone

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Speaker 2: in Berlin that I hope works out. I mean, we're

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Speaker 2: huge fans of this legendary, legendary. We might have talked

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Speaker 2: about this person on the podcast a couple months ago.

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Speaker 1: Who knows it's busted Queen, she's flying out.

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Speaker 2: I would fly up busted. By the way, Yes, yes,

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Speaker 2: Daniel and everyone at you know work in the Ice Palace,

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Speaker 2: please use me for any and all pole quotes. And Matt,

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Speaker 2: I mean both of us, absolutely, we will say anything

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Speaker 2: you want to say. The Underwear Party the best experience

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Speaker 2: anyone can have in humanity.

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Speaker 1: You him to be used for pop quotes. I'm still

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Speaker 1: on the door at Titanique.

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Speaker 2: That is the cheapest. Millions of people around the world

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Speaker 2: are seeing that quote.

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Speaker 1: It's just it's just so funny, Broan, because it's just

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Speaker 1: the word unbelievable. And then it says Matt Rogers lost

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Speaker 1: count unbelievable. You wouldn't believe it? Did you say it?

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Speaker 1: Or did you not? You said it? I said it,

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Speaker 1: and I'm proud to have said it.

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Speaker 2: I mean, I mean, what is your poll quote for

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Speaker 2: Guts by Olivia Rodrigo.

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Speaker 1: My pull quote for Guts is the following It's forwards.

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Speaker 1: I know, that's right. Ah, that's good. Let's talk about

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Speaker 1: the big pop girly album of the moment. Guts, so

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Speaker 1: Olivia Rodrigue's long awaited sophomore album. And you know, the

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Speaker 1: sophomore album is maybe the most important album in the

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Speaker 1: pop girly life cycle. To be honest with you, wouldn't

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Speaker 1: you agree?

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Speaker 2: Melodrama, fearless, m h either say a monster or born

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Speaker 2: this way, depending on you.

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Speaker 1: Depending on how you identify, I mean, depending on how

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Speaker 1: you identify in terms of Katie Perry teenage dream. Oh

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Speaker 1: my god, I mean, talk about that enough.

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Speaker 2: How Katie fully liked it away with Sophomore Slumpness and

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Speaker 2: was like, this is one of the great pop.

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Speaker 1: Albums Breakaway, break Away. I mean, it's when you come

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Speaker 1: in galvanized bah yep. So basically like it's when you

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Speaker 1: solidify whether you're a thing or not, and like, am

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Speaker 1: I going to And it also sort of says I'm

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Speaker 1: a pop star who reinvents.

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Speaker 2: Oh, by the way, stripped, stripped my everything.

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Speaker 1: Mm hmmm. So this is like where you say I'm

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Speaker 1: sort of engaging in being engaging in my own brand

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Speaker 1: in this way, or I'm a reinventress. And it's basically

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Speaker 1: where you're saying if you're worth yourself, because with a

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Speaker 1: debut album, you can spend pretty much an entire lifetime

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Speaker 1: creating it, you know what I mean, and we don't

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Speaker 1: know about it, whereas the sophomore album usually comes like

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Speaker 1: two years later and there's an expectation on it that

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Speaker 1: was not there for a debut album, and also you

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Speaker 1: probably had to do it in a shorter amount of time.

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Speaker 1: And I think that what Olivia Rodrigo has delivered here

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Speaker 1: is the promise of the premise with her, which is

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Speaker 1: that she is this girl she's this gen z callback.

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Speaker 1: I mean, this album could literally be like the Clueless soundtrack.

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Speaker 1: It could be the Ten Things I Hate About You soundtrack.

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Speaker 1: It could be and she stays reference while also being

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Speaker 1: reverential and also her own thing. I don't think the

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Speaker 1: album is perfect, but I will say I think it's

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Speaker 1: like a nine out of ten. I think if she

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Speaker 1: ever dips into mimicry a little too far, I'm over

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Speaker 1: the song. But what we have here is an excellent

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Speaker 1: sophomore album. Some of the stuff that she's getting into

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Speaker 1: here is just like really beyond her years Lyrically, She's

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Speaker 1: an incredible singer and musician. I think it was the

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Speaker 1: right choice to dig in with this co writer Daniel Nigro.

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Speaker 1: I think that you really can tell it's a focused

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Speaker 1: vision and I'd love to get into the tracks. But

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Speaker 1: what's your take on the album as a whole.

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Speaker 2: I think she has broken a mold that I think

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Speaker 2: no one really had a problem with. But now I'm

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Speaker 2: realizing it's kind of exhausting what these girls have to

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Speaker 2: go through. Where she was like, I'm gonna do my

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Speaker 2: second album, I'm gonna like double down on like this

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Speaker 2: one genre funnel that I had on the first and

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Speaker 2: I'm going to say fuck it to like the concept

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Speaker 2: of eras, you know what I mean. It's like, I'm

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Speaker 2: going to stick to the same I'm going to stick

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Speaker 2: to purple still, I'm gonna like it's gonna be four letters.

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Speaker 2: Like it's it's hard to say if this is a

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Speaker 2: continuation of Sour or if it's its own thing. And

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Speaker 2: I feel like it's very much she doesn't care about that.

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Speaker 2: She's not playing the game the way that like the

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Speaker 2: girls have been like forced to play it in a way,

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Speaker 2: you know, you know what I mean. And the vocals

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Speaker 2: are's just very agile vocally, and it does dip into mimicry.

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Speaker 2: I think with one specific song that you and I

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Speaker 2: were talking about a couple of days ago, Yeah, with

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Speaker 2: Lacy where you I didn't really make the connection, but

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Speaker 2: it is giving Lord.

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Speaker 1: I thought it was Lord. I thought I actually thought

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Speaker 1: I accidentally was on skip or like you know, when

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Speaker 1: Spotify will be like this is music you'll like if

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Speaker 1: you're listening to this. For some reason, I was like, oh,

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Speaker 1: how when did this switch over to Lord? And then

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Speaker 1: I saw it was her, and I was a little

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Speaker 1: surprised to feel like it was so lord just because

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Speaker 1: she whether or not she deserved to get in trouble

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Speaker 1: for it. On the last album, she did get in

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Speaker 1: trouble for the sound a likeness, but so I was

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Speaker 1: surprised they weren't a little bit more careful about that,

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Speaker 1: especially on that song. But really it's only that song,

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Speaker 1: like the rest of it, Like I forgive the young

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Speaker 1: girl pop girly generation for the way that they sing,

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Speaker 1: you know what I mean, because like it's just it's

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Speaker 1: a style. It's like when Mariah and Whitney came out

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Speaker 1: and everyone was singing like that. Yeah, you know what

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Speaker 1: I mean, Like we've seen this before. I'm not gonna

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Speaker 1: drag or knock the girls for no doing that thing

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00:21:40,000 --> 00:21:41,639
Speaker 1: where they put a lisp on an s because they

405
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Speaker 1: makes it seem like they're sounding more Indian smart.

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Speaker 2: But Olivia, it's it's very actually smart challenge. She's like

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Speaker 2: putting on glasses in her vocals. But m Olivia is

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Speaker 2: one of the girls out here though who she can't

409
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Speaker 2: give you quiet Billie Eilish that bedroom thing. But then

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Speaker 2: I think she is one of the girls out there

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Speaker 2: who's like bringing us back to screaming, you know, like yeah,

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Speaker 2: like hitting you with it with a loud, big vocal,

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Speaker 2: and I kind of like that we could possibly go

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Speaker 2: back to that direction at some point.

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Speaker 1: Yes, I love the way she uses her voice and

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Speaker 1: this is the difference. So she's two things. She's a

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Speaker 1: great singer and she's a great recording artist. Like the

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Speaker 1: way that she uses her voice in Bad Idea right,

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Speaker 1: so fun you wouldn't really even know this is like

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Speaker 1: probably one of the better singers of her generation, you

421
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Speaker 1: know what I mean. It's just like I'm giving you this,

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Speaker 1: and you know she's singing down on Vampire and so

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Speaker 1: much of this is so well sung and well articulated,

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Speaker 1: and her voice carries emotion so well. But I love

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Speaker 1: the way she's produced. I love the way she's her

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Speaker 1: voice is layered. I really like how confident she is

427
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Speaker 1: in just being so soft on the mic as well

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Speaker 1: as being really loud. She this album, I think, uses

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Speaker 1: her instrument in a way that is even more full.

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Speaker 1: And I would say that Guts feels bigger than Sour,

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Speaker 1: which of course had some really big moments, but this

432
00:23:09,800 --> 00:23:14,040
Speaker 1: feels like the big moments are bigger and the small moments.

433
00:23:14,080 --> 00:23:16,480
Speaker 1: What I really like about this album and what I

434
00:23:16,520 --> 00:23:20,359
Speaker 1: looked for from the first album was it's got much

435
00:23:20,440 --> 00:23:24,159
Speaker 1: more perspective, Like whereas I felt that first album was

436
00:23:24,200 --> 00:23:28,680
Speaker 1: about heart, a relationship or a situation and about an emotion,

437
00:23:29,560 --> 00:23:33,480
Speaker 1: this I feel is much more holistic in terms of

438
00:23:33,520 --> 00:23:37,080
Speaker 1: who she is, and I think I would consider this

439
00:23:37,440 --> 00:23:41,879
Speaker 1: a real follow up to Sour. I almost feel like

440
00:23:41,920 --> 00:23:44,600
Speaker 1: that's why it's called Guts, and like the way that

441
00:23:44,600 --> 00:23:48,440
Speaker 1: they're stylized. Similarly, I feel like this is like part

442
00:23:48,520 --> 00:23:53,400
Speaker 1: two of an artist's you know, mission statement thus far,

443
00:23:53,520 --> 00:23:56,400
Speaker 1: which is like, I'm a grow in this world, growing up,

444
00:23:56,680 --> 00:24:00,239
Speaker 1: I'm becoming a woman. I've been through hard star off

445
00:24:00,320 --> 00:24:02,440
Speaker 1: and I know I'll go through hard stuff and I'm

446
00:24:02,520 --> 00:24:08,359
Speaker 1: unabashedly emotional. And there's something really cool about that in

447
00:24:08,480 --> 00:24:11,600
Speaker 1: terms of the genre that she's chosen to express that,

448
00:24:11,760 --> 00:24:16,240
Speaker 1: because it does feel like it's perfectly a messed with

449
00:24:16,359 --> 00:24:19,720
Speaker 1: like what's stylistically and anesthetically trending right now. It just

450
00:24:19,760 --> 00:24:23,240
Speaker 1: feels like she is the voice of this generation, maybe

451
00:24:23,320 --> 00:24:26,479
Speaker 1: even like in a different shade of the way Billy is.

452
00:24:26,600 --> 00:24:29,080
Speaker 1: You know what I'm saying totally totally.

453
00:24:30,040 --> 00:24:34,320
Speaker 2: I think that the bookends of this album first and

454
00:24:34,440 --> 00:24:36,399
Speaker 2: last track are the thesis.

455
00:24:36,440 --> 00:24:37,960
Speaker 1: You know, it's like mm hmm.

456
00:24:38,040 --> 00:24:39,920
Speaker 2: All American bitch, we can we can do a track

457
00:24:39,960 --> 00:24:42,120
Speaker 2: by track All American Bitch, I think is the perfect

458
00:24:42,240 --> 00:24:43,960
Speaker 2: sort of and that's the very ten Things I Hate

459
00:24:43,960 --> 00:24:46,680
Speaker 2: About You soundtrack. It's like, yeah, it's like sunshine on

460
00:24:46,800 --> 00:24:48,640
Speaker 2: the window and then it goes into like a full

461
00:24:48,680 --> 00:24:51,920
Speaker 2: fucking rocker, yeah, rock thing. What am I saying? But

462
00:24:51,960 --> 00:24:53,320
Speaker 2: you do that shot of like two Things I Hate

463
00:24:53,320 --> 00:24:55,000
Speaker 2: About You where it's like that crane shot from like

464
00:24:55,040 --> 00:24:56,879
Speaker 2: the outside the house and then it like goes in

465
00:24:56,960 --> 00:24:58,040
Speaker 2: on Julia styles.

466
00:24:58,160 --> 00:24:58,480
Speaker 1: Mm hmm.

467
00:24:59,000 --> 00:25:02,359
Speaker 2: I think that that is, first of all, love that

468
00:25:02,440 --> 00:25:05,040
Speaker 2: she is like every twenty year old girl out there

469
00:25:05,080 --> 00:25:08,600
Speaker 2: reading Joan Diddy and going all American bitch. Wow, I'm

470
00:25:08,600 --> 00:25:11,679
Speaker 2: gonnae that. Like, I just think that is such a

471
00:25:11,720 --> 00:25:15,040
Speaker 2: perfect song of the ending of that song so good,

472
00:25:15,200 --> 00:25:17,159
Speaker 2: like I'm grateful all that time.

473
00:25:17,760 --> 00:25:20,280
Speaker 1: It's a great opener, it launches you in. She released

474
00:25:20,280 --> 00:25:22,159
Speaker 1: a live performance of it, which is great. I mean,

475
00:25:22,240 --> 00:25:24,560
Speaker 1: she's like, I love how committed she is to all

476
00:25:24,560 --> 00:25:26,399
Speaker 1: of it, you know what I mean, Like what I

477
00:25:26,440 --> 00:25:28,760
Speaker 1: really appreciate her is it really feels like it's about

478
00:25:28,800 --> 00:25:33,600
Speaker 1: the music. Yes, I don't feel like I'm being forced

479
00:25:33,600 --> 00:25:35,720
Speaker 1: a personality, you know what I mean. And that's not

480
00:25:35,760 --> 00:25:38,440
Speaker 1: a knock on her personality. I think she seems cool,

481
00:25:38,480 --> 00:25:40,639
Speaker 1: and I think she seems really smart and talented. But

482
00:25:41,280 --> 00:25:44,800
Speaker 1: I love that, you know, even in the press that

483
00:25:44,840 --> 00:25:47,920
Speaker 1: she's done, she's obviously really smart because she's completely been

484
00:25:47,960 --> 00:25:51,400
Speaker 1: able to navigate all these traps that are being said

485
00:25:51,440 --> 00:25:54,359
Speaker 1: for her, which are for her to talk badly about

486
00:25:54,400 --> 00:25:58,960
Speaker 1: Taylor and for her to you know, comment on certain

487
00:25:58,960 --> 00:26:01,800
Speaker 1: situations that could then be sensationalized. And it is a

488
00:26:01,840 --> 00:26:05,400
Speaker 1: credit to her and you know, the people around her

489
00:26:05,400 --> 00:26:09,560
Speaker 1: that she is not becoming that narrative because she has

490
00:26:09,640 --> 00:26:14,280
Speaker 1: so clearly written a song about that and yet will

491
00:26:14,440 --> 00:26:18,720
Speaker 1: not fall victim to the media sensationalizing that can happen.

492
00:26:19,200 --> 00:26:22,000
Speaker 1: And of course I'm talking about the Grudge, which you know,

493
00:26:22,119 --> 00:26:26,800
Speaker 1: it's written so specifically that we know what this is

494
00:26:26,880 --> 00:26:29,919
Speaker 1: talking about. But also I listened to it again with

495
00:26:30,040 --> 00:26:35,000
Speaker 1: the mentality of but is this universal? Could an argument

496
00:26:35,119 --> 00:26:37,200
Speaker 1: be made that this is not about that relationship? And

497
00:26:37,240 --> 00:26:40,160
Speaker 1: the answer is yes. I think that we're all listening

498
00:26:40,160 --> 00:26:43,800
Speaker 1: to it with a certain lens, like is she responding

499
00:26:43,800 --> 00:26:46,959
Speaker 1: to the fact that Taylor, you know, as a result

500
00:26:47,000 --> 00:26:51,280
Speaker 1: of you know, alleged mimicry on Deja Vu and One

501
00:26:51,320 --> 00:26:53,680
Speaker 1: Step Forward, Three Steps Back on the last album, got

502
00:26:53,800 --> 00:26:56,919
Speaker 1: songwriting credit for her and Antonov on those tracks. Like,

503
00:26:57,040 --> 00:26:59,480
Speaker 1: is it that disappointment that's being funneled into that song?

504
00:26:59,840 --> 00:27:04,200
Speaker 1: I think yes, But the song is very beautifully about

505
00:27:04,240 --> 00:27:07,639
Speaker 1: being let down and I thought about the people who

506
00:27:07,720 --> 00:27:09,879
Speaker 1: have let me down in my life, and every word

507
00:27:09,920 --> 00:27:13,320
Speaker 1: of that song spoke to that and the specific, you know,

508
00:27:13,600 --> 00:27:19,080
Speaker 1: feeling of not being able to understand someone's motivations and

509
00:27:19,280 --> 00:27:22,520
Speaker 1: not being able to understand when someone has acted with

510
00:27:22,600 --> 00:27:26,680
Speaker 1: cruelty towards you. There's something really universal about that song

511
00:27:26,760 --> 00:27:29,160
Speaker 1: that that I think she needs to be given more

512
00:27:29,200 --> 00:27:30,680
Speaker 1: credit for totally.

513
00:27:31,160 --> 00:27:34,960
Speaker 2: And I think the only layer of specificity that she

514
00:27:35,160 --> 00:27:38,520
Speaker 2: puts on top of that is that it's clearly about

515
00:27:38,920 --> 00:27:41,919
Speaker 2: a mentor figure, and then people make the lead to

516
00:27:41,960 --> 00:27:44,600
Speaker 2: tailor and she knows. She's very aware of that, I think.

517
00:27:44,680 --> 00:27:47,000
Speaker 2: But yeah, you're right, it is very Yeah, if you

518
00:27:47,000 --> 00:27:49,359
Speaker 2: do a close read on the lyrics, you're like, well,

519
00:27:49,400 --> 00:27:53,440
Speaker 2: this is just about personal disappointment, and it could be romantic,

520
00:27:53,520 --> 00:27:55,320
Speaker 2: it could be this, it could be that. But I

521
00:27:55,359 --> 00:27:58,720
Speaker 2: think I can't specifically quote a lyric, but I feel

522
00:27:58,720 --> 00:28:00,760
Speaker 2: like she says something to the like I looked up

523
00:28:00,800 --> 00:28:01,240
Speaker 2: to you or.

524
00:28:01,160 --> 00:28:03,800
Speaker 1: Something, Yeah, you have everything.

525
00:28:04,080 --> 00:28:08,600
Speaker 2: That kind of is the biggest giveaway. But also when

526
00:28:08,600 --> 00:28:11,400
Speaker 2: you're disappointed like that, when you don't understand someone's intentions

527
00:28:11,480 --> 00:28:14,960
Speaker 2: or motivations for something that's a cognitive thing you go to,

528
00:28:15,080 --> 00:28:17,280
Speaker 2: It's like, you have everything, why do you want something

529
00:28:17,320 --> 00:28:17,600
Speaker 2: from me?

530
00:28:17,920 --> 00:28:20,199
Speaker 1: Yeah? I felt this way, and that was part of

531
00:28:20,240 --> 00:28:22,480
Speaker 1: the realisten I did to it. I was like, you know,

532
00:28:22,520 --> 00:28:24,199
Speaker 1: the people in my life that I looked up to

533
00:28:24,280 --> 00:28:27,760
Speaker 1: and then showed me who they really were, Like, does

534
00:28:27,800 --> 00:28:30,400
Speaker 1: this work? It? Does? You know what I mean?

535
00:28:30,520 --> 00:28:30,600
Speaker 2: Like?

536
00:28:30,640 --> 00:28:33,920
Speaker 1: And I think that a lot of girls that age,

537
00:28:33,920 --> 00:28:36,359
Speaker 1: and a lot of people in general are going to

538
00:28:36,640 --> 00:28:43,120
Speaker 1: really identify, especially people who are, you know, learning to

539
00:28:43,120 --> 00:28:46,080
Speaker 1: deal with new success, learning to deal with new situations,

540
00:28:46,120 --> 00:28:49,040
Speaker 1: learning to do with new influences, learning to deal with

541
00:28:49,120 --> 00:28:53,040
Speaker 1: what it means when someone finally sees you and then

542
00:28:53,120 --> 00:28:55,920
Speaker 1: you can really see them. Yeah.

543
00:28:56,080 --> 00:28:58,000
Speaker 2: I mean if I'm in high school right now, in

544
00:28:58,000 --> 00:29:01,760
Speaker 2: this element, oh yeah, like it's over for sure, Like

545
00:29:01,840 --> 00:29:03,360
Speaker 2: this is my entire personality.

546
00:29:03,640 --> 00:29:07,200
Speaker 1: Oh yeah, she's fostering a connection with her fans that

547
00:29:07,320 --> 00:29:09,800
Speaker 1: is going to be forever. Like I think this album

548
00:29:09,880 --> 00:29:11,400
Speaker 1: solidifies her for sure.

549
00:29:12,040 --> 00:29:14,720
Speaker 2: Totally love Bad Idea Well, no, so what she doesn't

550
00:29:14,760 --> 00:29:17,560
Speaker 2: love All American Bitch and Bad Idea Right is like

551
00:29:18,720 --> 00:29:21,960
Speaker 2: even though those are like talkie songs or something, it's

552
00:29:22,000 --> 00:29:24,800
Speaker 2: like on Bad Idea Right, it's like on the Last

553
00:29:24,960 --> 00:29:28,560
Speaker 2: Seeing You Tonight, like yeah, really sends it in the

554
00:29:28,600 --> 00:29:32,320
Speaker 2: right way. And then at the end of All American Bitch,

555
00:29:33,080 --> 00:29:36,320
Speaker 2: I know my place. I know my place like yeah,

556
00:29:36,520 --> 00:29:39,080
Speaker 2: so like vocally like.

557
00:29:39,040 --> 00:29:39,960
Speaker 1: She's an actress.

558
00:29:40,480 --> 00:29:43,800
Speaker 2: She's an actress. She's an actress. That Idea right is

559
00:29:43,880 --> 00:29:46,640
Speaker 2: pure like performance, it's pure, like I'm gonna give you

560
00:29:46,720 --> 00:29:49,240
Speaker 2: like the line read quote unquote on like but.

561
00:29:49,200 --> 00:29:51,520
Speaker 1: I really can't remember when, but I really can't remember when.

562
00:29:51,880 --> 00:29:55,120
Speaker 1: So good. It's really good. And you know, I just

563
00:29:55,160 --> 00:29:56,960
Speaker 1: feel like they were in the booth and getting these

564
00:29:57,000 --> 00:29:59,520
Speaker 1: takes and being like yes, yes, yes, you know, like

565
00:29:59,680 --> 00:30:03,160
Speaker 1: she's she scores again and again, and I will say,

566
00:30:03,960 --> 00:30:09,680
Speaker 1: you know where she really shines for me. And I'm

567
00:30:09,720 --> 00:30:13,640
Speaker 1: super susceptible to this shit because you know, the Pisces rising,

568
00:30:13,680 --> 00:30:17,280
Speaker 1: Pisces cancer moon is gonna jump out emotional girl the

569
00:30:17,320 --> 00:30:20,960
Speaker 1: house down, but when she goes to ballad Town, I

570
00:30:21,000 --> 00:30:26,200
Speaker 1: am I'm really with her. And it's not just that,

571
00:30:26,320 --> 00:30:28,920
Speaker 1: but like the song Logical, the song Making the Bed,

572
00:30:29,000 --> 00:30:32,960
Speaker 1: that area of the album. I just really, really really

573
00:30:33,040 --> 00:30:38,560
Speaker 1: was impressed by her specificity and her perspective and how

574
00:30:38,680 --> 00:30:42,280
Speaker 1: much she's willing to share, because that's another area that

575
00:30:42,400 --> 00:30:45,320
Speaker 1: I was wondering if we'd get into. Is it's like

576
00:30:46,040 --> 00:30:50,120
Speaker 1: this idea of when you're at that age and really

577
00:30:50,160 --> 00:30:52,720
Speaker 1: at any age where you've been through like a threshold,

578
00:30:52,760 --> 00:30:54,440
Speaker 1: like where you've had like a watershed moment, there's a

579
00:30:54,440 --> 00:30:57,160
Speaker 1: bunch of new people surrounding you, and she talks and

580
00:30:57,200 --> 00:30:59,680
Speaker 1: making the Bed about how like she looks around and

581
00:30:59,720 --> 00:31:02,840
Speaker 1: doesn't recognized the situations she's in, doesn't like it feels

582
00:31:02,840 --> 00:31:05,760
Speaker 1: like she's like, you know, numbing herself out with like

583
00:31:05,840 --> 00:31:08,400
Speaker 1: drugs and alcohol. And by the way, she is so twenty,

584
00:31:08,760 --> 00:31:11,360
Speaker 1: you know what I mean. So it's like not to

585
00:31:11,360 --> 00:31:13,760
Speaker 1: say that there's anything negative or nefarious about that, but

586
00:31:13,880 --> 00:31:16,760
Speaker 1: like she has had the world place at her feet.

587
00:31:16,920 --> 00:31:19,200
Speaker 2: She probably saw Dick's the musical and she was a demon,

588
00:31:19,840 --> 00:31:20,680
Speaker 2: became a demon.

589
00:31:20,960 --> 00:31:24,080
Speaker 1: Just this girl is really susceptible to grooming to grooming

590
00:31:24,200 --> 00:31:28,960
Speaker 1: and please Dear God know that we're kidding, but I'm

591
00:31:28,960 --> 00:31:31,360
Speaker 1: just saying. It's like she says in the in the

592
00:31:31,440 --> 00:31:33,720
Speaker 1: last song Teenage Dream, like when am I gonna stop

593
00:31:33,720 --> 00:31:35,880
Speaker 1: being wise beyond my years and just be wise? Like

594
00:31:36,480 --> 00:31:38,920
Speaker 1: I guess the thing is like, it is really impressive

595
00:31:38,960 --> 00:31:41,280
Speaker 1: that she's able to articulate these things so young, So

596
00:31:41,400 --> 00:31:44,200
Speaker 1: like she is quote unquote wise beyond her years, and

597
00:31:44,240 --> 00:31:46,480
Speaker 1: I think that like she's got a point there where

598
00:31:46,480 --> 00:31:48,760
Speaker 1: it's just like, you know, just accept me for who

599
00:31:48,760 --> 00:31:51,320
Speaker 1: I am. But the fact is, like it is impressive

600
00:31:51,320 --> 00:31:53,760
Speaker 1: that she's able to get this across so cogently and

601
00:31:53,880 --> 00:31:58,560
Speaker 1: so so musically appealing at the same time.

602
00:31:58,720 --> 00:32:00,160
Speaker 2: But you know what she's gonna write. She's gonna right

603
00:32:00,200 --> 00:32:02,760
Speaker 2: from the other side of that thought when she's like

604
00:32:02,800 --> 00:32:05,680
Speaker 2: in her thirties and she's gonna be like, oh, like

605
00:32:05,880 --> 00:32:09,200
Speaker 2: I this is the moment in song of when you

606
00:32:09,240 --> 00:32:14,000
Speaker 2: realize that you're like, quote unquote like older. Yeah, yeah,

607
00:32:14,160 --> 00:32:16,920
Speaker 2: like that that's the moment that is like the tea

608
00:32:17,000 --> 00:32:17,959
Speaker 2: right now for us.

609
00:32:18,040 --> 00:32:20,920
Speaker 1: I mean, yes, well it's happening with Taylor Swift. She

610
00:32:21,120 --> 00:32:24,360
Speaker 1: literally did it. That's what antihero is. You know what

611
00:32:24,480 --> 00:32:28,480
Speaker 1: I mean, It's like that's what nothing new is or whatever. Yeah, yeah, yeah,

612
00:32:28,520 --> 00:32:30,920
Speaker 1: I mean so much of that. Like the sometimes I

613
00:32:30,960 --> 00:32:33,120
Speaker 1: feel like I'm everybody is a sexy baby and I'm

614
00:32:33,120 --> 00:32:37,560
Speaker 1: a monster on the hill is only a line young

615
00:32:38,000 --> 00:32:40,920
Speaker 1: when you feel like they're gonna toss you out of

616
00:32:40,920 --> 00:32:43,600
Speaker 1: the way, and there has to be something to that.

617
00:32:43,920 --> 00:32:45,920
Speaker 1: I mean, we've seen it be a narrative in Taylor's

618
00:32:45,960 --> 00:32:47,920
Speaker 1: stuff now for the last few years. Like she even

619
00:32:47,960 --> 00:32:52,160
Speaker 1: gets into it in the Miss Americana documentary about like yeah,

620
00:32:52,200 --> 00:32:54,320
Speaker 1: oh yeah, what's gonna happen when they're done with you?

621
00:32:54,680 --> 00:32:56,920
Speaker 1: I believe the way she phrased it was how much

622
00:32:57,000 --> 00:32:58,480
Speaker 1: longer I'll be tolerated?

623
00:32:58,840 --> 00:33:03,080
Speaker 2: Which is a lot to think about me. Yeah, you know,

624
00:33:03,240 --> 00:33:05,360
Speaker 2: I had a dream about Taylor. I had a dream

625
00:33:05,360 --> 00:33:07,840
Speaker 2: that like we were like backstage somewhere and then she

626
00:33:08,000 --> 00:33:10,720
Speaker 2: was like, yeah, well, I don't really know what my

627
00:33:10,760 --> 00:33:12,200
Speaker 2: life is going to be after this tour, Like she

628
00:33:12,320 --> 00:33:14,680
Speaker 2: was like, wait, this is so uninteresting.

629
00:33:14,720 --> 00:33:16,920
Speaker 1: Oh my god. She was opening up to you in

630
00:33:16,960 --> 00:33:17,760
Speaker 1: the dream fun way.

631
00:33:17,800 --> 00:33:22,280
Speaker 2: She was like, yeah, like after this, like I don't

632
00:33:22,280 --> 00:33:24,040
Speaker 2: know what the fuck I'm doing, which is like not

633
00:33:24,560 --> 00:33:25,040
Speaker 2: at all.

634
00:33:25,280 --> 00:33:27,600
Speaker 1: Well, you know what that is? What that's your subconscious

635
00:33:27,680 --> 00:33:31,240
Speaker 1: asking that question about yourself totally? What am I going

636
00:33:31,320 --> 00:33:35,760
Speaker 1: to do after Aerostours done? Exactly? What is your next era?

637
00:33:36,160 --> 00:33:45,480
Speaker 2: Dreams are about replacement, sublimation, something standing in for another thing. Absolutely, hmmm, absolutely,

638
00:33:45,520 --> 00:33:48,640
Speaker 2: Quina Quina. I would say another one of my favorite

639
00:33:48,680 --> 00:33:49,880
Speaker 2: songs is Love is Embarrassing.

640
00:33:49,960 --> 00:33:53,880
Speaker 1: I fucking I love embarrassing. Her performance on Love is embarrassing.

641
00:33:53,920 --> 00:33:59,320
Speaker 1: That like bizarre, like choice fer It's very ferky, it's weird.

642
00:33:59,760 --> 00:34:02,320
Speaker 1: I love it. I My thing is I don't think

643
00:34:02,320 --> 00:34:05,240
Speaker 1: she can be weird enough. I want to hear all

644
00:34:05,320 --> 00:34:09,799
Speaker 1: that weird shit because that is what makes an icon.

645
00:34:10,040 --> 00:34:12,880
Speaker 1: Yeah you know what I mean? Like yeah, yeah, she's,

646
00:34:13,760 --> 00:34:16,839
Speaker 1: like I said, referential yet reverential. And I would say

647
00:34:16,880 --> 00:34:20,439
Speaker 1: anything she can do to dig into something no one

648
00:34:20,480 --> 00:34:23,600
Speaker 1: else would do is where she's gonna shine, because it's

649
00:34:23,640 --> 00:34:25,759
Speaker 1: far and few between those moments on this album where

650
00:34:25,760 --> 00:34:28,760
Speaker 1: I'm like, oh, this sounds like Lord, but they are there,

651
00:34:29,239 --> 00:34:32,600
Speaker 1: and I feel like she so has her own identity

652
00:34:32,640 --> 00:34:35,600
Speaker 1: and her own musical identity and her own thing, so

653
00:34:35,640 --> 00:34:37,120
Speaker 1: she should just keep going.

654
00:34:37,520 --> 00:34:39,440
Speaker 2: We don't know if that's like a label thing though, right,

655
00:34:39,440 --> 00:34:42,600
Speaker 2: if they're like, we want a song that sounds like blank,

656
00:34:43,400 --> 00:34:43,640
Speaker 2: you know.

657
00:34:44,280 --> 00:34:47,719
Speaker 1: What I'll say is I would actually I would imagine

658
00:34:48,120 --> 00:34:52,000
Speaker 1: the label is pretty hands off musically, but probably in

659
00:34:52,080 --> 00:34:56,320
Speaker 1: her shit aesthetically and totally right. But I would imagine

660
00:34:56,320 --> 00:34:58,480
Speaker 1: they care a lot more about the way things are

661
00:34:58,520 --> 00:35:01,560
Speaker 1: marketed than the way things sound, because they're not experts

662
00:35:01,600 --> 00:35:02,840
Speaker 1: in that sure.

663
00:35:03,080 --> 00:35:06,440
Speaker 2: But then it it's funny because to think about Taylor,

664
00:35:07,160 --> 00:35:09,560
Speaker 2: I feel like with the nineteen eighty nine it's like, well,

665
00:35:09,640 --> 00:35:11,560
Speaker 2: you have a song that sounds like him and I

666
00:35:11,560 --> 00:35:13,080
Speaker 2: wish you would, and you have a song that sounds

667
00:35:13,120 --> 00:35:18,280
Speaker 2: like Lana in the streams and then lo and behold

668
00:35:18,440 --> 00:35:20,160
Speaker 2: like they're in the squad, you know what I mean.

669
00:35:20,440 --> 00:35:23,680
Speaker 2: So that's like the Taylor move. But I feel like

670
00:35:24,920 --> 00:35:28,400
Speaker 2: with Olliviate's like, I'm gonna write a song that sounds

671
00:35:28,400 --> 00:35:30,160
Speaker 2: like I'm gonna sound like Billy here and I'm gonna

672
00:35:30,160 --> 00:35:33,239
Speaker 2: sound like Lord there, and the fact that they're not

673
00:35:33,360 --> 00:35:38,359
Speaker 2: like Buddy Buddy makes it more susceptible to like you're

674
00:35:38,400 --> 00:35:40,680
Speaker 2: cribbing a little, And that makes any sense.

675
00:35:41,000 --> 00:35:44,000
Speaker 1: Yes, But I would say like, on first listen to

676
00:35:44,040 --> 00:35:46,480
Speaker 1: the album, I was so thrown by Lacy I was like, wait,

677
00:35:46,960 --> 00:35:49,600
Speaker 1: really sounds like lord huh uh huh. So then I

678
00:35:49,640 --> 00:35:51,440
Speaker 1: thought it was a bigger issue with the album than

679
00:35:51,480 --> 00:35:53,359
Speaker 1: it ended up being because I listened to it again

680
00:35:53,400 --> 00:35:55,680
Speaker 1: and I'm like, she really doesn't need to do that.

681
00:35:56,080 --> 00:35:59,080
Speaker 1: Sound like that many other people too much, like not

682
00:35:59,320 --> 00:36:02,040
Speaker 1: more than a there's a million other pop girls coming up,

683
00:36:02,120 --> 00:36:04,440
Speaker 1: like I don't know, like because again I have the

684
00:36:04,440 --> 00:36:07,080
Speaker 1: thing happen where it's like I like a certain song, right,

685
00:36:07,120 --> 00:36:09,840
Speaker 1: and then it'll give me ten different artists. All the

686
00:36:09,840 --> 00:36:12,520
Speaker 1: girls sound the same. They all sound the same, And

687
00:36:12,560 --> 00:36:16,280
Speaker 1: the fact is that is so much less a problem

688
00:36:16,280 --> 00:36:19,040
Speaker 1: with Olivia Rodrigo than everyone else. But because she is

689
00:36:19,080 --> 00:36:22,040
Speaker 1: so much more public and because she is that girl, right,

690
00:36:22,239 --> 00:36:24,680
Speaker 1: she's gonna get picked on it. But the truth is,

691
00:36:25,640 --> 00:36:29,759
Speaker 1: had she not been in interviews saying yes, Deja Vu

692
00:36:30,040 --> 00:36:34,000
Speaker 1: was really inspired by Taylor Swift's Cruel Summer, Like, had

693
00:36:34,040 --> 00:36:37,239
Speaker 1: she not been like so obvious in the one step

694
00:36:37,239 --> 00:36:39,640
Speaker 1: soarwarth three Steps Back, I mean that's literally the same

695
00:36:40,080 --> 00:36:43,239
Speaker 1: chord and manner of playing as the other song, like

696
00:36:43,320 --> 00:36:44,959
Speaker 1: she wouldn't be you know.

697
00:36:44,960 --> 00:36:48,920
Speaker 2: That wasn't quite the same battle as Deja Vu was

698
00:36:48,960 --> 00:36:51,520
Speaker 2: because with one step word with that song, it was like,

699
00:36:51,760 --> 00:36:55,200
Speaker 2: oh no, this is a sample from New Year's Dead. Yeah, right,

700
00:36:55,440 --> 00:36:58,840
Speaker 2: and like that was like not as contentious I think, yeah,

701
00:36:58,880 --> 00:37:01,680
Speaker 2: but yeah, you're right. It's like she in her like

702
00:37:01,880 --> 00:37:05,040
Speaker 2: debut era, rookie move, whatever you want to call it,

703
00:37:05,080 --> 00:37:07,759
Speaker 2: was like, yes, I am inspired by these people, and

704
00:37:07,800 --> 00:37:10,239
Speaker 2: then that kind of left her open to.

705
00:37:10,320 --> 00:37:14,000
Speaker 1: These yeah things, because in my opinion, Taylor and Jack

706
00:37:14,040 --> 00:37:16,680
Speaker 1: have no right having writing credit on Deja Vu, because

707
00:37:16,680 --> 00:37:19,400
Speaker 1: then go through all the other girls of that generation

708
00:37:20,040 --> 00:37:22,360
Speaker 1: and pick out the ways in which they've been inspired

709
00:37:22,360 --> 00:37:24,680
Speaker 1: by Taylor Swift and take writing credit on all of that.

710
00:37:24,800 --> 00:37:27,920
Speaker 1: I mean, like, it's just, yeah, that is ridiculous to me,

711
00:37:28,239 --> 00:37:30,520
Speaker 1: and I felt was to prove a point in a

712
00:37:30,560 --> 00:37:33,160
Speaker 1: way that would really hurt me if I was Olivia,

713
00:37:33,600 --> 00:37:36,080
Speaker 1: Like I completely understand that.

714
00:37:36,000 --> 00:37:38,040
Speaker 2: As an eighteen year old at the time.

715
00:37:38,040 --> 00:37:42,040
Speaker 1: Especially as someone who has said this is my hero, Like,

716
00:37:42,239 --> 00:37:44,760
Speaker 1: I don't think that was cool, and I'll just say

717
00:37:44,800 --> 00:37:48,279
Speaker 1: that the other song, yeah, literally, right, but deja Vu,

718
00:37:48,800 --> 00:37:49,600
Speaker 1: I don't think.

719
00:37:50,560 --> 00:37:53,040
Speaker 2: Yeah, I was gonna say something else. Oh my god,

720
00:37:53,120 --> 00:37:55,240
Speaker 2: Chapel Road does backing vocals on some of these songs.

721
00:37:55,520 --> 00:37:58,120
Speaker 2: Really yeah, Like I think it's in the if you

722
00:37:58,160 --> 00:38:00,319
Speaker 2: look at the like the personnel or whatever. In like

723
00:38:00,360 --> 00:38:03,319
Speaker 2: write ups, it's been like she's enlisted people kind of

724
00:38:03,360 --> 00:38:05,360
Speaker 2: like contemporaries or whatever, whatever you want to call it.

725
00:38:05,440 --> 00:38:07,359
Speaker 2: Like Chapel Roone like does a lot of backing stuff

726
00:38:07,400 --> 00:38:11,240
Speaker 2: on the album on guts Oh amazing. I love Olivia

727
00:38:11,320 --> 00:38:13,280
Speaker 2: sees it. She's like you for sure.

728
00:38:13,360 --> 00:38:16,400
Speaker 1: I mean, first of all, I watched the live performance

729
00:38:16,400 --> 00:38:19,719
Speaker 1: of Kaleidoscope last night. Chapel Roone released a live performance

730
00:38:19,760 --> 00:38:25,640
Speaker 1: of Kaleidoscope. She is so the next one, and I

731
00:38:25,719 --> 00:38:28,040
Speaker 1: really feel like everyone needs to if you haven't already

732
00:38:28,040 --> 00:38:31,719
Speaker 1: turned your attention, turn your attention. She should be up

733
00:38:32,200 --> 00:38:34,880
Speaker 1: talk about like best new artists, like that should be

734
00:38:34,880 --> 00:38:38,120
Speaker 1: a name in the conversation, especially with fifteen thousand nominees

735
00:38:38,160 --> 00:38:40,799
Speaker 1: like this girl. I don't know when exactly her album

736
00:38:40,840 --> 00:38:42,080
Speaker 1: comes out. Is there a day for it?

737
00:38:42,320 --> 00:38:43,560
Speaker 2: Is September twenty second?

738
00:38:43,680 --> 00:38:48,400
Speaker 1: Oh my god, it's coming yep. And she's the major.

739
00:38:48,600 --> 00:38:51,920
Speaker 1: And also if you've seen her show live in the

740
00:38:51,920 --> 00:38:54,160
Speaker 1: past like six seven, eight months, because she was touring,

741
00:38:54,239 --> 00:38:56,360
Speaker 1: like you know that some of the new music that

742
00:38:56,440 --> 00:38:58,760
Speaker 1: she's done in the show that's still coming is really

743
00:38:58,760 --> 00:39:01,959
Speaker 1: really good. She is an amazing ballad called Coffee that's

744
00:39:01,960 --> 00:39:05,920
Speaker 1: not out yet, but I mean every single single that

745
00:39:06,000 --> 00:39:08,920
Speaker 1: she has released, I've been like, oh my god. Not

746
00:39:09,040 --> 00:39:12,200
Speaker 1: only am I excited, but I remember this from the show.

747
00:39:12,040 --> 00:39:14,360
Speaker 2: Like every song that never happened.

748
00:39:14,520 --> 00:39:20,920
Speaker 1: Yes, every song has full memorability and identity and value

749
00:39:21,040 --> 00:39:24,720
Speaker 1: in that way where I just know this debut album

750
00:39:24,800 --> 00:39:26,960
Speaker 1: is gonna give, give, give, give, give, give, give, give, Give,

751
00:39:27,360 --> 00:39:28,439
Speaker 1: He's gonna give the give.

752
00:39:28,680 --> 00:39:31,640
Speaker 2: I can't wait. Rise and Fallow the Midwest Princess Love.

753
00:39:31,880 --> 00:39:35,200
Speaker 2: She's so her own thing. I feel it's like she's

754
00:39:35,200 --> 00:39:38,440
Speaker 2: just doing tiktoks from her from her room. Yeah, not

755
00:39:38,520 --> 00:39:40,239
Speaker 2: that that's like, you know, unique to her and like

756
00:39:40,280 --> 00:39:41,920
Speaker 2: other pop girls aren't doing that, but it's like she

757
00:39:42,200 --> 00:39:45,080
Speaker 2: there's something very She's a real one.

758
00:39:45,200 --> 00:39:48,560
Speaker 1: There is an extremely old soul there, which is really

759
00:39:48,600 --> 00:39:52,360
Speaker 1: exciting because she's also young and stupid. But this is

760
00:39:52,400 --> 00:39:54,280
Speaker 1: why I described to her when I left the concert

761
00:39:54,360 --> 00:39:58,120
Speaker 1: as Annie Lennox meets Kesha, because there is a love,

762
00:39:58,239 --> 00:40:02,719
Speaker 1: that spirit in there that is connected to this instrument,

763
00:40:02,800 --> 00:40:07,759
Speaker 1: which is so incredible. But there is there is a

764
00:40:07,800 --> 00:40:12,399
Speaker 1: real frivolousness, but it's yet it's still really thought out

765
00:40:12,440 --> 00:40:15,720
Speaker 1: and targeted, like it it is a pop star creation,

766
00:40:15,880 --> 00:40:19,839
Speaker 1: but it's also self aware and it's fun, but it's

767
00:40:19,880 --> 00:40:24,759
Speaker 1: also soulful and that is really exciting.

768
00:40:26,239 --> 00:40:27,759
Speaker 2: You and I are kind of opposites in this way

769
00:40:27,760 --> 00:40:29,680
Speaker 2: where you're a balad girl and I'm not so. But

770
00:40:29,800 --> 00:40:33,719
Speaker 2: even on Casual, I'm like, ooh, this is such a

771
00:40:33,760 --> 00:40:35,760
Speaker 2: lovely little mood. Would you call it casual?

772
00:40:36,120 --> 00:40:38,799
Speaker 1: Oh? Strip it down? It like is? I mean, I

773
00:40:38,800 --> 00:40:41,319
Speaker 1: would call it mid tempo, but like, strip it down?

774
00:40:41,360 --> 00:40:44,160
Speaker 1: That's beautiful song. And that's the thing is this album

775
00:40:44,200 --> 00:40:46,239
Speaker 1: when it comes out. I feel like when you think

776
00:40:46,239 --> 00:40:48,160
Speaker 1: about the song, so she's released thus far, you're not

777
00:40:48,239 --> 00:40:51,560
Speaker 1: gonna think ballid, but like it's gonna give balance. Because

778
00:40:51,560 --> 00:40:54,280
Speaker 1: I'm telling you this. You gotta watch the live performance

779
00:40:54,320 --> 00:40:58,960
Speaker 1: of Kaleidoscope. I Lovescope and then this song Coffee That's coming.

780
00:40:59,239 --> 00:41:01,680
Speaker 1: I remember she sang it in the concert and I

781
00:41:01,760 --> 00:41:06,239
Speaker 1: was pretty fresh at that point. Basically the lyrics were

782
00:41:06,280 --> 00:41:08,960
Speaker 1: like I don't want to get coffee with you because

783
00:41:09,400 --> 00:41:12,560
Speaker 1: it's not just coffee for me, Like it's so much more,

784
00:41:12,680 --> 00:41:16,520
Speaker 1: like there's so many ways I can fall if I

785
00:41:16,640 --> 00:41:20,400
Speaker 1: even give you a little bit, and so she just

786
00:41:20,480 --> 00:41:25,040
Speaker 1: plays with this idea. I remember afterwards, I like turned

787
00:41:25,080 --> 00:41:28,040
Speaker 1: around to everyone around me, strangers. I was there with

788
00:41:28,120 --> 00:41:31,720
Speaker 1: Sudie and Matthew Vaughan, who was my producer for my special,

789
00:41:31,800 --> 00:41:35,319
Speaker 1: who introduced me to her a straight man. He was like,

790
00:41:35,320 --> 00:41:37,799
Speaker 1: you got to check out chaverone. Man, she's looking sick.

791
00:41:37,920 --> 00:41:40,719
Speaker 1: He had been sincere a billion times. And I was

792
00:41:40,760 --> 00:41:43,279
Speaker 1: like turning around to everyone and being like fuck and

793
00:41:43,320 --> 00:41:46,439
Speaker 1: everyone was like, yeah, like this is the real thing.

794
00:41:47,040 --> 00:41:49,440
Speaker 1: That's why I compare it to early Gaga is because

795
00:41:49,760 --> 00:41:54,319
Speaker 1: there was a palpable excitement that was like literally on

796
00:41:54,360 --> 00:41:57,240
Speaker 1: everyone's skin. I mean people were like, it's a movement

797
00:41:57,280 --> 00:41:57,800
Speaker 1: out a moment.

798
00:41:58,000 --> 00:41:59,920
Speaker 2: You are not the first person that I've talked to.

799
00:42:00,000 --> 00:42:02,520
Speaker 2: It was like I went to her show in this

800
00:42:02,600 --> 00:42:04,560
Speaker 2: city and it was giving early Gaga and it was

801
00:42:04,600 --> 00:42:08,319
Speaker 2: like Matt Rogers. My sister said the same thing.

802
00:42:08,640 --> 00:42:11,000
Speaker 1: Yeah anyway, And you know, I don't send you a

803
00:42:11,000 --> 00:42:14,920
Speaker 1: lot of music because I'm like, I assume you've already

804
00:42:15,000 --> 00:42:18,080
Speaker 1: like heard it, or like it's someone that's like it's

805
00:42:18,080 --> 00:42:22,480
Speaker 1: like when I sent you, who was I like, Okay,

806
00:42:23,800 --> 00:42:27,319
Speaker 1: it's like sixteen years after. I'm like, oh my god, FK.

807
00:42:27,560 --> 00:42:30,879
Speaker 1: Twigs and you were like, you're the dumbest person in America. Yeah,

808
00:42:30,920 --> 00:42:34,160
Speaker 1: of course no, but like you know what I'm saying,

809
00:42:34,200 --> 00:42:35,560
Speaker 1: it's like, I don't send you a lot.

810
00:42:36,160 --> 00:42:39,120
Speaker 2: I was like, Nah, she's great, and she's she's she

811
00:42:39,120 --> 00:42:41,799
Speaker 2: she's been around since like twenty twelve, like j's a bit,

812
00:42:42,719 --> 00:42:43,399
Speaker 2: she's been here.

813
00:42:43,480 --> 00:42:45,680
Speaker 1: I don't know. It wasn't part of my landscape. But

814
00:42:46,719 --> 00:42:48,480
Speaker 1: Chapel I was like, I have to send this to

815
00:42:48,520 --> 00:42:49,680
Speaker 1: Bow and I was like, I don't think.

816
00:42:50,120 --> 00:43:00,960
Speaker 2: I'm so glad you did. Wait a minute, speaking of

817
00:43:01,000 --> 00:43:04,080
Speaker 2: other culture, that Math was ahead of Sudy and I

818
00:43:04,120 --> 00:43:05,560
Speaker 2: saw Shucked on Sunday.

819
00:43:06,239 --> 00:43:09,960
Speaker 1: Oh did you have the best time? I adored it. Yeah,

820
00:43:10,000 --> 00:43:12,759
Speaker 1: it was a blest. I just go this.

821
00:43:13,040 --> 00:43:17,520
Speaker 2: I want this on Broadway times. Give me a hundred

822
00:43:17,520 --> 00:43:21,000
Speaker 2: of these over like existing ip. You know what I'm saying.

823
00:43:21,400 --> 00:43:23,719
Speaker 1: Well, was Alex in it? Alex was in it?

824
00:43:23,760 --> 00:43:27,040
Speaker 2: Oh my god. They were sat and studying me. The

825
00:43:27,080 --> 00:43:29,840
Speaker 2: observation like if you like put in earplugs or if

826
00:43:29,880 --> 00:43:32,040
Speaker 2: you like put the whole show on you, if everybody

827
00:43:32,040 --> 00:43:34,719
Speaker 2: on mute challenged, but like Alex was still singing, like

828
00:43:34,920 --> 00:43:37,560
Speaker 2: it's just so effortless. Okay, so like podcasts our individual medium.

829
00:43:37,560 --> 00:43:40,120
Speaker 2: But study was just doing this like like like just

830
00:43:40,200 --> 00:43:40,919
Speaker 2: opening the mouth.

831
00:43:41,080 --> 00:43:42,360
Speaker 1: No, like no effort.

832
00:43:42,800 --> 00:43:45,840
Speaker 2: It's literally effortless coming from Alex Newell and you're like,

833
00:43:46,120 --> 00:43:50,520
Speaker 2: oh my god. Independently Owned was a triumph. That was

834
00:43:50,560 --> 00:43:52,240
Speaker 2: a twenty second applause.

835
00:43:52,840 --> 00:43:56,880
Speaker 1: Oh there was a mid song standing ovation when I

836
00:43:56,920 --> 00:44:00,640
Speaker 1: was there. Wow, Wow, it was a mid song standing ovation.

837
00:44:00,880 --> 00:44:04,880
Speaker 1: Or it was like wild. The energy was cray Z

838
00:44:05,320 --> 00:44:07,759
Speaker 1: that whole cast, to say nothing of the rest of

839
00:44:07,800 --> 00:44:12,920
Speaker 1: the music. Like the musicmus was great. Shout out Shane McAnally,

840
00:44:13,040 --> 00:44:16,200
Speaker 1: Gray Henson, Yeah, who wrote the music. It was a

841
00:44:16,400 --> 00:44:20,080
Speaker 1: big time country music songwriter. And and he's not the

842
00:44:20,080 --> 00:44:21,879
Speaker 1: only one. So I want to make sure I say

843
00:44:22,120 --> 00:44:26,239
Speaker 1: his partner's name in this because she's also made Oh yes, Oh,

844
00:44:26,280 --> 00:44:30,000
Speaker 1: Brandy Clark. Brandy Clark and Shane McAnally, shout out who

845
00:44:30,000 --> 00:44:33,840
Speaker 1: wrote the music. This music was great. The book Robert Horn.

846
00:44:34,360 --> 00:44:37,600
Speaker 1: Robert Horn just it was such a blast to watch.

847
00:44:37,640 --> 00:44:41,040
Speaker 1: It was so dumb and silly and just fun.

848
00:44:41,200 --> 00:44:46,640
Speaker 2: The direction to Jack O'Brien, Oh, Scott passed seet designer.

849
00:44:46,640 --> 00:44:49,359
Speaker 2: That's so cool. I know that guy, but I just

850
00:44:49,600 --> 00:44:52,360
Speaker 2: I just thought the whole cast, all the cast like

851
00:44:52,600 --> 00:44:56,680
Speaker 2: such precise comedic performance. Yeah, in a way that in

852
00:44:56,719 --> 00:44:58,200
Speaker 2: a way that kind of like and I don't mean

853
00:44:58,200 --> 00:45:00,680
Speaker 2: this in the pejority of sense, but it's like in

854
00:45:00,719 --> 00:45:03,840
Speaker 2: a way that kind of like transcends like Broadway comedy,

855
00:45:03,880 --> 00:45:07,279
Speaker 2: Broadway humor quote unquote, which we love, but this was

856
00:45:07,360 --> 00:45:10,920
Speaker 2: this was just pure like the dad jokes of course,

857
00:45:10,920 --> 00:45:13,560
Speaker 2: and me you laugh at how corny they are lol,

858
00:45:13,600 --> 00:45:16,560
Speaker 2: so to speak, but there are like genuine moments of like,

859
00:45:16,640 --> 00:45:18,680
Speaker 2: oh my god, I haven't laughed this much of a show.

860
00:45:18,719 --> 00:45:21,319
Speaker 2: And what Sudie was pointing out was you get all

861
00:45:21,360 --> 00:45:24,600
Speaker 2: the fucking dads in the audience howling along with the

862
00:45:24,680 --> 00:45:27,880
Speaker 2: moms and the kids, and like the TikTok influencers who

863
00:45:27,920 --> 00:45:29,120
Speaker 2: are like sitting next to.

864
00:45:29,040 --> 00:45:30,640
Speaker 1: You, like, yeah, it's a big old hit.

865
00:45:30,800 --> 00:45:34,160
Speaker 2: It's a big hit that like kind of invites everybody

866
00:45:34,200 --> 00:45:36,520
Speaker 2: to like just have a good time. And that's so weird,

867
00:45:36,600 --> 00:45:41,640
Speaker 2: that's so rare these days. But everyone great Henson, Ashley

868
00:45:41,760 --> 00:45:44,840
Speaker 2: Kelly who I met, she was so lovely. Andrew Durant,

869
00:45:44,840 --> 00:45:47,319
Speaker 2: who's great. John Bellman was the Gordy, he was such

870
00:45:47,360 --> 00:45:52,279
Speaker 2: a good villain turned like oh yeah, redeemed hero or

871
00:45:52,280 --> 00:45:54,720
Speaker 2: whatever in the end like that, it's just a lovely,

872
00:45:55,000 --> 00:45:57,319
Speaker 2: lovely time. And I really thought the marketing was very

873
00:45:57,360 --> 00:45:59,680
Speaker 2: effective because I think like, once you know, you know,

874
00:45:59,719 --> 00:46:01,440
Speaker 2: like when New York saw like these ads go up

875
00:46:01,440 --> 00:46:04,120
Speaker 2: on the train, we were like, what the fuck is this? Yeah,

876
00:46:05,280 --> 00:46:06,759
Speaker 2: And I think like it kind of makes you go

877
00:46:06,800 --> 00:46:10,120
Speaker 2: in blind and like have your expectations be like pretty

878
00:46:10,320 --> 00:46:12,799
Speaker 2: vague or nonexistent. And then the way they did this

879
00:46:12,920 --> 00:46:14,879
Speaker 2: was perfect because I went in being like I don't

880
00:46:14,880 --> 00:46:17,440
Speaker 2: know what I'm about to see, and then it starts off.

881
00:46:17,480 --> 00:46:19,960
Speaker 2: It's it's silly and frivolous and stupid and fun, and

882
00:46:19,960 --> 00:46:22,320
Speaker 2: then the Cornstalk's like lift up and die and everyone's

883
00:46:22,320 --> 00:46:26,239
Speaker 2: screaming on stage. I'm like, this is hilarious. I love it.

884
00:46:26,719 --> 00:46:28,879
Speaker 1: I'm so happy you guys both enjoyed it so much

885
00:46:29,000 --> 00:46:31,880
Speaker 1: because it was I had the best time, and I

886
00:46:32,000 --> 00:46:34,279
Speaker 1: agree it's a really it's one of those things where

887
00:46:34,320 --> 00:46:35,480
Speaker 1: it's like if your parents are coming to.

888
00:46:35,480 --> 00:46:39,200
Speaker 2: New York parents show, it's a great parent show.

889
00:46:39,239 --> 00:46:42,719
Speaker 1: It would be a huge hit. And I know that,

890
00:46:43,040 --> 00:46:45,440
Speaker 1: Like I think when it first came out, I was like, huh,

891
00:46:45,520 --> 00:46:47,680
Speaker 1: like just like everyone else, and then it ended up

892
00:46:47,719 --> 00:46:50,919
Speaker 1: being one of my faves that i'd seen. I also

893
00:46:51,000 --> 00:46:53,560
Speaker 1: experienced some New culture and I mentioned it at the top,

894
00:46:53,600 --> 00:46:57,680
Speaker 1: but I did go to see Bottoms. Huh. This was

895
00:46:58,080 --> 00:47:02,279
Speaker 1: so fucking good and if you haven't gone to see it,

896
00:47:02,480 --> 00:47:05,200
Speaker 1: you got it. I mean the way that gen Z

897
00:47:05,800 --> 00:47:10,600
Speaker 1: was really fed by guts and also Bottoms lately like this,

898
00:47:11,560 --> 00:47:16,560
Speaker 1: I ow and Rachel are such stars in it. Emma

899
00:47:17,200 --> 00:47:20,640
Speaker 1: Seligman the director, she can and will do it all.

900
00:47:20,920 --> 00:47:25,800
Speaker 1: I'm telling you, Like there is there is a style

901
00:47:25,880 --> 00:47:28,040
Speaker 1: of the way that she shoots the dialogue. She shoots

902
00:47:28,040 --> 00:47:32,320
Speaker 1: it very directly, like it's I can't even really, it's

903
00:47:32,400 --> 00:47:36,240
Speaker 1: just all the comedy just sings, and it is fucking

904
00:47:37,160 --> 00:47:42,000
Speaker 1: funny first and foremost, like of course it's it's about

905
00:47:42,040 --> 00:47:44,600
Speaker 1: their central friendship. But I just loved a movie that

906
00:47:44,760 --> 00:47:47,439
Speaker 1: just was like I just fucking laughed the entire time.

907
00:47:47,520 --> 00:47:50,400
Speaker 1: It's so much more violent than you think it's gonna be.

908
00:47:50,800 --> 00:47:53,640
Speaker 1: The entire cast like, and this movie is like Patrick

909
00:47:53,680 --> 00:47:55,560
Speaker 1: Rodgers said it best. He said it was like Dada.

910
00:47:56,120 --> 00:47:59,600
Speaker 1: It was like completely insane and unhinged, but in a

911
00:47:59,640 --> 00:48:02,759
Speaker 1: way where every actor was so like uniform in the

912
00:48:02,840 --> 00:48:06,239
Speaker 1: tone and knew exactly what they had to do, and

913
00:48:07,000 --> 00:48:10,000
Speaker 1: the two of them are like big, fun characters, but

914
00:48:10,040 --> 00:48:13,840
Speaker 1: they're also great anchors. The supporting characters are like really

915
00:48:14,600 --> 00:48:17,440
Speaker 1: crazy and like everyone's got their own thing that's like

916
00:48:17,640 --> 00:48:19,960
Speaker 1: very well defined, which is a compliment to the script

917
00:48:19,960 --> 00:48:23,320
Speaker 1: in the direction, like you don't feel like any characters

918
00:48:23,360 --> 00:48:27,040
Speaker 1: are thrown away. You know exactly who everyone is, and

919
00:48:27,560 --> 00:48:30,880
Speaker 1: it really feels like just like almost like a surreal

920
00:48:31,080 --> 00:48:33,759
Speaker 1: version of a high school comedy that we haven't seen

921
00:48:33,800 --> 00:48:36,360
Speaker 1: because people have been like, oh, you know that looks

922
00:48:36,400 --> 00:48:40,120
Speaker 1: like clueless or mean girls or easy a. No, this

923
00:48:40,320 --> 00:48:44,880
Speaker 1: is like its own like fucked up world. Yeah, And

924
00:48:46,120 --> 00:48:50,359
Speaker 1: I thought that that was like a really signature thing

925
00:48:50,440 --> 00:48:54,000
Speaker 1: on this movie. Is it It operates actually in like

926
00:48:54,040 --> 00:48:57,160
Speaker 1: outer space, right, but in a setting that's like familiar

927
00:48:57,280 --> 00:49:00,000
Speaker 1: enough to us that like in that way like references

928
00:49:00,120 --> 00:49:02,920
Speaker 1: all those movies, Like, for example, the football players are

929
00:49:02,960 --> 00:49:06,880
Speaker 1: never not in their football uniforms like they're in school,

930
00:49:06,920 --> 00:49:10,319
Speaker 1: like in their football giche the whole time, Like and

931
00:49:11,000 --> 00:49:13,480
Speaker 1: I just I can't say enough. I mean, you got

932
00:49:13,480 --> 00:49:14,800
Speaker 1: to see bottoms.

933
00:49:14,440 --> 00:49:17,040
Speaker 2: And it's so like just from what I know and

934
00:49:17,040 --> 00:49:19,160
Speaker 2: what I've heard, it's like so different from sugar Baby.

935
00:49:19,200 --> 00:49:21,279
Speaker 2: It's like, oh that nuts when you know MM is

936
00:49:21,280 --> 00:49:27,000
Speaker 2: gonna kill it. Completely different, Yeah, another data work Dix

937
00:49:27,040 --> 00:49:29,200
Speaker 2: the Musical, And actually I'm having not seen Bottoms. I

938
00:49:29,200 --> 00:49:30,799
Speaker 2: don't really know what people mean when they say this,

939
00:49:30,840 --> 00:49:32,839
Speaker 2: but I think a lot of like they're like, oh,

940
00:49:32,880 --> 00:49:35,799
Speaker 2: these two movies coming out within what however, you know

941
00:49:35,840 --> 00:49:39,200
Speaker 2: a month or two of each other, is like really

942
00:49:39,239 --> 00:49:43,440
Speaker 2: great datast Oh yeah, that's a nice moment for cinema

943
00:49:43,480 --> 00:49:46,160
Speaker 2: where that we might not have again for a long time.

944
00:49:46,160 --> 00:49:50,640
Speaker 2: Where it's like these ridiculous movies where Dicks Dix people

945
00:49:50,640 --> 00:49:53,360
Speaker 2: were like missing jokes because they were laughing in Toronto

946
00:49:53,840 --> 00:49:55,560
Speaker 2: and it was like, oh but wait, you missed that one.

947
00:49:55,600 --> 00:50:00,200
Speaker 1: It's like it's these psychotic two handers that made like

948
00:50:00,840 --> 00:50:03,600
Speaker 1: with you can tell without much of a budget. But

949
00:50:03,800 --> 00:50:06,480
Speaker 1: they have vision, you know what I mean, Like it

950
00:50:06,560 --> 00:50:10,239
Speaker 1: has a vision, it has a everyone's really unbrod with

951
00:50:10,280 --> 00:50:13,960
Speaker 1: what they're doing, and I don't know, it was inspiring

952
00:50:13,960 --> 00:50:17,880
Speaker 1: for me watching it. I was psyched. I just can't

953
00:50:18,160 --> 00:50:20,399
Speaker 1: tay enough. I mean, I knew I would like it,

954
00:50:21,080 --> 00:50:24,600
Speaker 1: but I was like blown away. And they're both such stars.

955
00:50:24,760 --> 00:50:27,359
Speaker 1: I know, I know, it's really cool.

956
00:50:28,280 --> 00:50:34,120
Speaker 2: They were lost cult guests first they became stars.

957
00:50:34,360 --> 00:50:37,120
Speaker 1: Well, we wanted to have them on now, but we're

958
00:50:37,160 --> 00:50:38,319
Speaker 1: not allowed to do that right now.

959
00:50:38,400 --> 00:50:42,399
Speaker 2: But soon we can literally say on this podcast, and

960
00:50:42,680 --> 00:50:45,439
Speaker 2: just so people are you know, jumping to anything. It's

961
00:50:45,520 --> 00:50:47,680
Speaker 2: like Matt can talk about how much he enjoyed this

962
00:50:47,760 --> 00:50:51,759
Speaker 2: movie having not been in it or been involved or

963
00:50:51,760 --> 00:50:53,960
Speaker 2: written it. But we are obviously where that we cannot

964
00:50:54,040 --> 00:50:56,080
Speaker 2: have the stars of the film come out come on

965
00:50:56,280 --> 00:50:57,440
Speaker 2: the podcast.

966
00:50:57,320 --> 00:50:59,920
Speaker 1: Right So, And I did actually want to loop at

967
00:51:00,160 --> 00:51:02,000
Speaker 1: to the beginning of this conversation because I do want

968
00:51:02,040 --> 00:51:06,400
Speaker 1: to talk about the Drew Barrymore thing, so like just

969
00:51:06,440 --> 00:51:09,239
Speaker 1: to make a distinction what she is doing. And we

970
00:51:09,320 --> 00:51:10,680
Speaker 1: love Drew Barrymore, we.

971
00:51:10,600 --> 00:51:12,799
Speaker 2: Love We've talked about how much we love her on this.

972
00:51:12,760 --> 00:51:15,719
Speaker 1: Oh she's a legend and well, but she is making

973
00:51:15,760 --> 00:51:18,120
Speaker 1: a big mistake, like she what she's doing is wrong,

974
00:51:18,800 --> 00:51:23,760
Speaker 1: and I'm actually really surprised that she's crossing.

975
00:51:23,400 --> 00:51:27,600
Speaker 2: Picket lines and her arguments don't make any sense like

976
00:51:27,840 --> 00:51:32,320
Speaker 2: her post. I'm like, a, this is not a public service.

977
00:51:32,360 --> 00:51:35,360
Speaker 2: You're doing a talk A daytime talk show is not

978
00:51:35,760 --> 00:51:40,160
Speaker 2: like this, mitzvah, you know what I mean. It's like

979
00:51:40,440 --> 00:51:45,320
Speaker 2: not this like amazing thing you're doing to like help

980
00:51:45,400 --> 00:51:49,040
Speaker 2: heal society's wounds at a time like this, So please

981
00:51:49,160 --> 00:51:52,560
Speaker 2: don't like frame it as that. And secondly, she's like,

982
00:51:52,640 --> 00:51:54,920
Speaker 2: don't forget I backed out of the you know, MTV

983
00:51:55,080 --> 00:51:57,200
Speaker 2: Movie Awards at the beginning.

984
00:51:56,880 --> 00:51:57,360
Speaker 1: Of a strike.

985
00:51:57,400 --> 00:52:00,560
Speaker 2: It's like, well, well it's going to be And you're

986
00:52:00,560 --> 00:52:04,920
Speaker 2: also going, well, then it is extremely meaningful and fucked

987
00:52:05,000 --> 00:52:08,520
Speaker 2: up that you would like kind of say fuck it

988
00:52:08,600 --> 00:52:10,239
Speaker 2: all after like a few months, you know.

989
00:52:11,160 --> 00:52:13,279
Speaker 1: Yeah, I think that what it is with Drew is

990
00:52:13,320 --> 00:52:16,120
Speaker 1: she's bleeding heart. I think her intentions are good. I

991
00:52:16,160 --> 00:52:18,719
Speaker 1: think she's thinking about her crew and her staff, and

992
00:52:18,760 --> 00:52:21,040
Speaker 1: I think she's also thinking about the longevity of the

993
00:52:21,040 --> 00:52:23,640
Speaker 1: show because I think that the show is very meaningful

994
00:52:23,719 --> 00:52:25,840
Speaker 1: to her. And I think she's looking around and seeing,

995
00:52:26,400 --> 00:52:28,680
Speaker 1: you know, series get canceled left and right, and I

996
00:52:28,760 --> 00:52:32,480
Speaker 1: think she's in a really you know, when you're the

997
00:52:32,800 --> 00:52:34,759
Speaker 1: lead of a daytime talk show like that, there's a

998
00:52:34,760 --> 00:52:37,239
Speaker 1: lot of pressure. So I understand that it might not

999
00:52:37,320 --> 00:52:41,520
Speaker 1: be an easy situation for her, but this decision should

1000
00:52:41,600 --> 00:52:44,120
Speaker 1: have been an easy one because you can't go out

1001
00:52:44,120 --> 00:52:48,360
Speaker 1: there and say, you know, we're in compliance, not talking

1002
00:52:48,400 --> 00:52:52,640
Speaker 1: about or promoting struck television shows and films when yours

1003
00:52:52,719 --> 00:52:56,120
Speaker 1: you want show and what we are, what we are

1004
00:52:56,160 --> 00:52:59,440
Speaker 1: showing here without any interim agreement or waiver or like

1005
00:52:59,520 --> 00:53:04,160
Speaker 1: any communication really with people that would advise her not

1006
00:53:04,239 --> 00:53:08,080
Speaker 1: to do this. Is what she's doing is this is

1007
00:53:08,120 --> 00:53:11,759
Speaker 1: the opposite of disruption in the industry, because what she's

1008
00:53:11,840 --> 00:53:15,480
Speaker 1: saying is I actually can do my show without my writers.

1009
00:53:16,280 --> 00:53:20,200
Speaker 1: And that is exactly the ideology that we are fighting against,

1010
00:53:20,880 --> 00:53:23,480
Speaker 1: because she is not attached to a studio or a

1011
00:53:23,520 --> 00:53:27,160
Speaker 1: system that is complying. She is simply just going back

1012
00:53:27,200 --> 00:53:31,600
Speaker 1: to work despite the fact that her writers aren't working,

1013
00:53:31,800 --> 00:53:35,680
Speaker 1: which is insulting and it is wrong.

1014
00:53:35,719 --> 00:53:39,440
Speaker 2: And it's not like she's like new to the business.

1015
00:53:39,400 --> 00:53:42,320
Speaker 1: No, And that makes it even more frustrating because another

1016
00:53:42,400 --> 00:53:46,520
Speaker 1: thing is, if she were concerned, she is certainly in

1017
00:53:46,520 --> 00:53:49,080
Speaker 1: a financial position to take care of her crew and

1018
00:53:49,120 --> 00:53:52,840
Speaker 1: her staff. And I'm not saying what anyone should do

1019
00:53:52,880 --> 00:53:55,759
Speaker 1: with their money. I'm not this is conjecture, really, but

1020
00:53:56,360 --> 00:54:01,279
Speaker 1: I mean, Kelly Clarkson is paying her staff, you know.

1021
00:54:02,040 --> 00:54:03,879
Speaker 1: And I don't mean to compare them, and I don't

1022
00:54:03,880 --> 00:54:06,680
Speaker 1: mean to put I'm just saying there is precedent for

1023
00:54:06,800 --> 00:54:09,319
Speaker 1: taking care of your staff, especially when you are Drew

1024
00:54:09,360 --> 00:54:13,279
Speaker 1: Barrymore No, you know what I mean. Like, compare them.

1025
00:54:13,320 --> 00:54:16,839
Speaker 2: They're two huge daytime talk show hosts, and one is

1026
00:54:17,560 --> 00:54:19,359
Speaker 2: not crossing the picket line and the other is.

1027
00:54:19,800 --> 00:54:22,399
Speaker 1: I just know that there comes a certain amount of

1028
00:54:23,040 --> 00:54:25,680
Speaker 1: you know, it becomes different when you do this with women.

1029
00:54:26,200 --> 00:54:28,239
Speaker 1: And I don't mean to do that. I'm just saying

1030
00:54:28,320 --> 00:54:32,000
Speaker 1: there is precedent for supporting your staff during this time

1031
00:54:32,080 --> 00:54:37,040
Speaker 1: that does not require that everyone cross a picket line now,

1032
00:54:37,160 --> 00:54:40,400
Speaker 1: especially now, and it's when these areas for what is

1033
00:54:40,440 --> 00:54:43,000
Speaker 1: acceptable and what is not acceptable should be really well

1034
00:54:43,000 --> 00:54:46,440
Speaker 1: defined and we should know better. For us to deliberately

1035
00:54:46,480 --> 00:54:49,120
Speaker 1: not know better and then try to excuse it publicly

1036
00:54:49,760 --> 00:54:52,840
Speaker 1: feels really oh yeah.

1037
00:54:52,880 --> 00:54:56,200
Speaker 2: And I feel like the how they're trying to control

1038
00:54:56,239 --> 00:55:00,000
Speaker 2: the narrative is also really strange because they kicked out

1039
00:55:00,080 --> 00:55:03,120
Speaker 2: two audience members who were just wearing pins. This is

1040
00:55:03,200 --> 00:55:10,120
Speaker 2: bad wearing pins, like barely even visible from the monitor.

1041
00:55:10,200 --> 00:55:12,160
Speaker 2: The screen, It's like, you can't the audience at home

1042
00:55:12,200 --> 00:55:14,479
Speaker 2: isn't going to clock it necessarily. So that's one.

1043
00:55:15,040 --> 00:55:15,320
Speaker 1: Two.

1044
00:55:15,440 --> 00:55:18,360
Speaker 2: They said they were kicked out because of security concerns.

1045
00:55:20,040 --> 00:55:22,760
Speaker 2: It's and then Drew has to put out a statement

1046
00:55:22,800 --> 00:55:24,719
Speaker 2: saying that she was not or someone has to put

1047
00:55:24,760 --> 00:55:26,200
Speaker 2: out a statement from the show saying that she was

1048
00:55:26,200 --> 00:55:29,040
Speaker 2: not aware of this, and it's not relevant.

1049
00:55:29,000 --> 00:55:31,759
Speaker 1: Right, it shouldn't have gotten there. And I mean, like

1050
00:55:31,800 --> 00:55:34,719
Speaker 1: I said, I had a lovely, wonderful time when I

1051
00:55:34,760 --> 00:55:37,279
Speaker 1: was on that show. I adored everyone that work there.

1052
00:55:37,360 --> 00:55:39,120
Speaker 1: It just feels like I wish that there was a

1053
00:55:39,120 --> 00:55:43,319
Speaker 1: little bit more consideration given to this decision because it

1054
00:55:43,400 --> 00:55:46,160
Speaker 1: is not the right thing. And I hate seeing people

1055
00:55:46,800 --> 00:55:50,200
Speaker 1: that otherwise are so beloved and have done the right

1056
00:55:50,239 --> 00:55:52,319
Speaker 1: thing and like so clearly have their heart in the

1057
00:55:52,360 --> 00:55:56,440
Speaker 1: right place make a big decision like this. That's wrong

1058
00:55:56,560 --> 00:56:01,319
Speaker 1: because you just know that she's getting like dragged all

1059
00:56:01,360 --> 00:56:04,520
Speaker 1: over and she doesn't not deserve it for this decision.

1060
00:56:04,600 --> 00:56:07,120
Speaker 1: It's just when she's a good person and is not

1061
00:56:07,280 --> 00:56:10,319
Speaker 1: someone who's like you know, not to name names, but

1062
00:56:10,400 --> 00:56:15,600
Speaker 1: like evil or actually deserving of the vitriol that they're getting,

1063
00:56:16,040 --> 00:56:18,400
Speaker 1: like or fucked up or part of a bad system,

1064
00:56:18,920 --> 00:56:23,560
Speaker 1: it sucks. I wish this hadn't happened. Yeah, yeah, but

1065
00:56:24,000 --> 00:56:27,840
Speaker 1: I wanted to say that, like there's a distinction between

1066
00:56:28,760 --> 00:56:31,319
Speaker 1: like what's going on with Drew Barrymore and what's going

1067
00:56:31,320 --> 00:56:34,279
Speaker 1: on with like actors in Venice who have waivers and

1068
00:56:34,360 --> 00:56:36,920
Speaker 1: like Josh Sharp and Aaron Jackson who have a waiver

1069
00:56:37,160 --> 00:56:39,440
Speaker 1: with SAG for a twenty four to be able to

1070
00:56:39,480 --> 00:56:41,360
Speaker 1: promote this movie and we will have them on the

1071
00:56:41,400 --> 00:56:45,960
Speaker 1: podcast and we're in compliance. So just try and understand

1072
00:56:46,120 --> 00:56:48,080
Speaker 1: before you react, because now it's getting to the point

1073
00:56:48,080 --> 00:56:50,120
Speaker 1: where it's like, do you actually have a reason to

1074
00:56:50,160 --> 00:56:52,200
Speaker 1: be upset or were you told you should be upset

1075
00:56:52,280 --> 00:56:55,800
Speaker 1: and so now you are like it just feels silly.

1076
00:56:56,080 --> 00:57:00,560
Speaker 2: Yeah, I think people are just informed by really whatever

1077
00:57:00,560 --> 00:57:02,759
Speaker 2: they're informed by, And I know that's what you're saying,

1078
00:57:02,760 --> 00:57:06,560
Speaker 2: but it's like that sometimes there is no like potting

1079
00:57:06,640 --> 00:57:08,759
Speaker 2: soil for it. It just kind of like shoots up

1080
00:57:08,840 --> 00:57:10,520
Speaker 2: like a weed. And you're like, I don't I don't

1081
00:57:10,520 --> 00:57:12,879
Speaker 2: have to. I understand. It's I guess at the beginning

1082
00:57:12,840 --> 00:57:16,280
Speaker 2: of the episode, I understand cognitively how these these waivers

1083
00:57:16,320 --> 00:57:19,560
Speaker 2: are strange and they're they're confusing and you don't know

1084
00:57:19,560 --> 00:57:22,640
Speaker 2: what to make them and you go, well, then what

1085
00:57:22,840 --> 00:57:25,720
Speaker 2: makes this strike effective? How can we be how can

1086
00:57:25,760 --> 00:57:29,320
Speaker 2: we when when this is like causing so much infighting,

1087
00:57:29,360 --> 00:57:32,560
Speaker 2: but that that is an outcome that the students are

1088
00:57:32,560 --> 00:57:36,000
Speaker 2: invested in for you, as in someone in the unions

1089
00:57:36,000 --> 00:57:41,720
Speaker 2: who is who is mischaracterizing something like this as scabbing, right.

1090
00:57:50,600 --> 00:57:52,480
Speaker 1: Haven't been bouncing your ass toabongos?

1091
00:57:53,240 --> 00:57:53,800
Speaker 2: Absolutely?

1092
00:57:53,800 --> 00:57:54,160
Speaker 1: Oh my god.

1093
00:57:54,160 --> 00:57:58,520
Speaker 2: We all watched the video between Things in Toronto and

1094
00:57:58,560 --> 00:58:01,160
Speaker 2: it was just like, God, this is so pussy tight,

1095
00:58:01,200 --> 00:58:01,720
Speaker 2: like a nun.

1096
00:58:03,120 --> 00:58:07,440
Speaker 1: I mean, I just have to say, I would go

1097
00:58:07,480 --> 00:58:09,280
Speaker 1: to met Gala in a roll. I can body every

1098
00:58:09,320 --> 00:58:13,480
Speaker 1: look and I can body every pose poetry the video

1099
00:58:13,640 --> 00:58:19,000
Speaker 1: is I love they look so unbelievable like and also

1100
00:58:19,280 --> 00:58:22,920
Speaker 1: just that last final heighten until like Cardi and that

1101
00:58:23,040 --> 00:58:26,280
Speaker 1: like Tricksie Mattel by way of Riba mac entire Wig.

1102
00:58:26,920 --> 00:58:32,840
Speaker 1: I was so into it. They look amazing.

1103
00:58:32,520 --> 00:58:36,160
Speaker 2: And I'm sorry, but the product placement is like perfect.

1104
00:58:36,520 --> 00:58:38,120
Speaker 2: I don't I'm not going to eat or drink any

1105
00:58:38,160 --> 00:58:42,040
Speaker 2: of that. But Carti sells the fuck out of it.

1106
00:58:42,360 --> 00:58:46,680
Speaker 2: She's enjoying whatever the pretzels chips I forgot. She's enjoying the.

1107
00:58:46,800 --> 00:58:50,000
Speaker 1: Nothing funnier to me than product placement. I love it

1108
00:58:50,320 --> 00:58:51,120
Speaker 1: lean in.

1109
00:58:51,720 --> 00:58:54,000
Speaker 2: The way she's putting these things in her mouth.

1110
00:58:54,160 --> 00:58:54,600
Speaker 1: She is.

1111
00:58:56,040 --> 00:59:01,960
Speaker 2: Selling it. She's she is experiencing pleasure unlike any and like.

1112
00:59:01,960 --> 00:59:05,280
Speaker 1: History, anyone has ever known. Anyone is experiencing pleasure unlike

1113
00:59:05,320 --> 00:59:08,640
Speaker 1: anyone has ever known. That's actually a rule of culture

1114
00:59:08,760 --> 00:59:09,600
Speaker 1: number thirty one.

1115
00:59:10,200 --> 00:59:13,680
Speaker 2: Cardi B is experiencing pleasure like anyone has ever known.

1116
00:59:14,520 --> 00:59:18,600
Speaker 1: Wow, I have to say, it's been on repeat. But like,

1117
00:59:19,320 --> 00:59:21,040
Speaker 1: was it you who told me that? Like the internet

1118
00:59:21,160 --> 00:59:22,480
Speaker 1: was split on it? Yeah?

1119
00:59:22,560 --> 00:59:22,880
Speaker 2: Are there?

1120
00:59:22,920 --> 00:59:25,200
Speaker 1: Like what are they? What's their point? I think their

1121
00:59:25,240 --> 00:59:25,840
Speaker 1: point is.

1122
00:59:27,400 --> 00:59:30,360
Speaker 2: It's it's this is basically the same as wop and

1123
00:59:30,400 --> 00:59:33,040
Speaker 2: you go, yeah, and what's the problem with that?

1124
00:59:33,920 --> 00:59:34,320
Speaker 1: And wop?

1125
00:59:34,360 --> 00:59:36,880
Speaker 2: It was clearly like a cod like early lockdown video,

1126
00:59:36,880 --> 00:59:38,760
Speaker 2: where like they were like not shooting, they were like

1127
00:59:38,800 --> 00:59:42,000
Speaker 2: far apart or whatever they're they're scissoring. Now are you happy?

1128
00:59:43,360 --> 00:59:47,240
Speaker 1: I mean, I I don't understand when something is a

1129
00:59:47,280 --> 00:59:51,880
Speaker 1: grand slam. Let's use a baseball analogy, shall we. If

1130
00:59:51,880 --> 00:59:55,320
Speaker 1: you have one home run and then there's another home run,

1131
00:59:55,800 --> 00:59:57,280
Speaker 1: you just hit two home runs.

1132
00:59:57,880 --> 00:59:58,640
Speaker 2: No one's mad.

1133
00:59:58,680 --> 01:00:01,400
Speaker 1: Would you Are you bored because of the second home run?

1134
01:00:01,800 --> 01:00:08,280
Speaker 1: Or are you cheering again? Boring people are bored? Masistor right,

1135
01:00:09,960 --> 01:00:13,240
Speaker 1: massis stor rate, Hey bitch, how many letters in devoured

1136
01:00:13,840 --> 01:00:19,640
Speaker 1: eight Girl, What's more? Plus four eight girl? What time

1137
01:00:19,880 --> 01:00:25,120
Speaker 1: is my favorite show? On eight o'clock? Thank you? Thank you?

1138
01:00:25,360 --> 01:00:27,840
Speaker 1: At e o clock. Oh, I wanted to say I

1139
01:00:27,840 --> 01:00:30,680
Speaker 1: went to the Jonah's Brothers concert not for me, and

1140
01:00:30,720 --> 01:00:33,640
Speaker 1: I got a lot of hate because I guess we're

1141
01:00:33,640 --> 01:00:35,760
Speaker 1: supposed to be on Sophie Turners quote unquote side.

1142
01:00:36,000 --> 01:00:38,320
Speaker 2: Can I just say, we don't know these people. We

1143
01:00:38,360 --> 01:00:40,320
Speaker 2: don't know these people. Although were you so were you

1144
01:00:40,320 --> 01:00:42,720
Speaker 2: at the show where Joe was like, if it's not

1145
01:00:42,760 --> 01:00:44,800
Speaker 2: from these lips, don't believe it.

1146
01:00:45,240 --> 01:00:47,240
Speaker 1: First of all, if he said that, I didn't hear it,

1147
01:00:47,320 --> 01:00:52,480
Speaker 1: and I don't. I don't know or care the.

1148
01:00:52,520 --> 01:00:54,440
Speaker 2: Rumor that I heard, and not that I know or

1149
01:00:54,520 --> 01:00:57,280
Speaker 2: carry either, but the rumor that I heard, and someone

1150
01:00:57,400 --> 01:00:59,720
Speaker 2: like quot quot beeted it in a really funny way.

1151
01:01:00,320 --> 01:01:05,840
Speaker 2: But that the headline is like, allegedly Joe had like

1152
01:01:06,040 --> 01:01:10,880
Speaker 2: ring camera footage of Sophie saying things on audio and

1153
01:01:10,920 --> 01:01:14,000
Speaker 2: like caught her saying something or doing something with someone

1154
01:01:14,080 --> 01:01:14,520
Speaker 2: or whatever.

1155
01:01:15,120 --> 01:01:16,960
Speaker 1: Often I didn't hear it about the ring camera of

1156
01:01:16,960 --> 01:01:17,200
Speaker 1: it all.

1157
01:01:17,240 --> 01:01:20,040
Speaker 2: So then someone quoted that and went and quoted that

1158
01:01:20,080 --> 01:01:22,760
Speaker 2: tweet and went she's been stealing.

1159
01:01:22,360 --> 01:01:29,400
Speaker 1: Amazon packages all over the city. Oh my god, Sophie,

1160
01:01:29,920 --> 01:01:33,320
Speaker 1: Amazon package thief caught by ring light. I want that

1161
01:01:33,360 --> 01:01:38,360
Speaker 1: scandal so bad, like Ron's actress twenty seven caught in

1162
01:01:38,680 --> 01:01:44,120
Speaker 1: widespread Amazon theft package Ski packages. Just like Sofa Sansa's

1163
01:01:44,120 --> 01:01:44,800
Speaker 1: face on a ring.

1164
01:01:44,800 --> 01:01:48,640
Speaker 2: Light, like a gorgeous face.

1165
01:01:49,120 --> 01:01:50,840
Speaker 1: Oh my god, what a star. She was, like, she

1166
01:01:50,840 --> 01:01:54,120
Speaker 1: should be on the HBO show. She is girl. I

1167
01:01:54,280 --> 01:01:57,000
Speaker 1: know Koreana. I will say I think there were three

1168
01:01:57,000 --> 01:02:01,400
Speaker 1: songs I recognized, one of which was Benning up you baby.

1169
01:02:02,280 --> 01:02:05,120
Speaker 1: That's a class. They have such and I'm just gonna

1170
01:02:05,120 --> 01:02:11,760
Speaker 1: say it, stupid little voices. Yeah, jealous I definitely shook

1171
01:02:11,800 --> 01:02:15,760
Speaker 1: my ass to that. I love jealousy the ocean, love that.

1172
01:02:16,280 --> 01:02:20,040
Speaker 1: And then I definitely was like, I'm a suck off oil.

1173
01:02:20,840 --> 01:02:21,520
Speaker 2: You had fun?

1174
01:02:22,160 --> 01:02:26,080
Speaker 1: I had fun. First of all, it's called five albums,

1175
01:02:26,120 --> 01:02:31,760
Speaker 1: one tour or something. It is so long, and they

1176
01:02:31,760 --> 01:02:33,760
Speaker 1: were doing their own little version of eras and I

1177
01:02:33,800 --> 01:02:37,479
Speaker 1: was just like, girl, we have to differentiate between the errors.

1178
01:02:37,520 --> 01:02:40,000
Speaker 1: That's what keeps the plot moving. Here. It feels very

1179
01:02:40,080 --> 01:02:41,920
Speaker 1: the same again and again again. But they are not

1180
01:02:42,040 --> 01:02:44,040
Speaker 1: my culture. They never were, they never will be. I

1181
01:02:44,040 --> 01:02:46,640
Speaker 1: have respect for what they do, and I honor any

1182
01:02:46,720 --> 01:02:49,200
Speaker 1: Joe Bros. Fans, but still haven't seen Camp Rock.

1183
01:02:50,240 --> 01:02:52,080
Speaker 2: I know what we talked about this how that that

1184
01:02:52,160 --> 01:02:55,600
Speaker 2: was just one microgeneration below us.

1185
01:02:55,080 --> 01:02:57,520
Speaker 1: Correct, and I think it may remain that way, although

1186
01:02:57,640 --> 01:02:59,200
Speaker 1: you never know. One of these days I might pop

1187
01:02:59,200 --> 01:03:02,960
Speaker 1: it on. Yeah, but I'm married to medicine wormholl right now.

1188
01:03:03,240 --> 01:03:05,160
Speaker 2: Oh get I need to get on your level.

1189
01:03:05,720 --> 01:03:08,040
Speaker 1: You have worked to do with morning show, so I

1190
01:03:08,080 --> 01:03:08,560
Speaker 1: have worked.

1191
01:03:08,400 --> 01:03:11,400
Speaker 2: To do with morning show. Thoughts on Salt Lake City,

1192
01:03:11,440 --> 01:03:12,720
Speaker 2: thoughts on Ronie thoughts.

1193
01:03:13,000 --> 01:03:16,160
Speaker 1: Great premiere of Salt Lake is back.

1194
01:03:16,880 --> 01:03:19,080
Speaker 2: Thank god? Oh that's back on tonight. I can't wait.

1195
01:03:19,440 --> 01:03:25,000
Speaker 1: Yes, Ken, not fucking wait, big night tonight eating I

1196
01:03:25,440 --> 01:03:28,360
Speaker 1: had Ronie actually put me to sleep this week, unfortunately.

1197
01:03:28,800 --> 01:03:32,640
Speaker 1: And what no one knows is that the Atlanta reunion

1198
01:03:32,760 --> 01:03:35,440
Speaker 1: at the last second was really giving.

1199
01:03:35,800 --> 01:03:37,960
Speaker 2: Gabe was Drew walked off? Is that what happened?

1200
01:03:38,120 --> 01:03:40,160
Speaker 1: She walked off, the walked back in, and then she

1201
01:03:40,360 --> 01:03:43,920
Speaker 1: sang her new song on stage two Ralph and it

1202
01:03:44,040 --> 01:03:50,880
Speaker 1: was so awkward but delicious, and it was it was something.

1203
01:03:51,000 --> 01:03:53,920
Speaker 2: More awkward than wh Nicki Minaj made Candace saying drive

1204
01:03:54,000 --> 01:03:57,200
Speaker 2: back it was more awkward than that. That was awkward

1205
01:03:57,440 --> 01:04:01,440
Speaker 2: because you're saying the entire song, Well, she's not a

1206
01:04:01,440 --> 01:04:03,600
Speaker 2: good she's not a seasoned performer. She knows not she

1207
01:04:03,600 --> 01:04:04,520
Speaker 2: would know not to do that.

1208
01:04:04,840 --> 01:04:06,640
Speaker 1: I would say her voice is good. But it was

1209
01:04:06,720 --> 01:04:09,040
Speaker 1: just like this man is really gonna sit here and

1210
01:04:09,080 --> 01:04:11,560
Speaker 1: like you're gonna sing this weird song just to a

1211
01:04:11,600 --> 01:04:13,920
Speaker 1: backing track. And the way she was like looking at

1212
01:04:14,000 --> 01:04:15,960
Speaker 1: him and pointing her finger in his face, I was like,

1213
01:04:16,040 --> 01:04:20,240
Speaker 1: this is this is a lot. Anyway, the season was terrible.

1214
01:04:20,320 --> 01:04:23,200
Speaker 1: The reunion was great. And that's all I guess I

1215
01:04:23,280 --> 01:04:24,080
Speaker 1: have to say about that.

1216
01:04:24,280 --> 01:04:27,040
Speaker 2: I told you this off pod. I've done a season

1217
01:04:27,120 --> 01:04:28,320
Speaker 2: nine rewatch of Atlanta.

1218
01:04:28,440 --> 01:04:29,360
Speaker 1: Oh, the best season.

1219
01:04:29,600 --> 01:04:31,520
Speaker 2: I just just just to get the foot lead up

1220
01:04:31,520 --> 01:04:32,960
Speaker 2: to who said that?

1221
01:04:33,560 --> 01:04:34,880
Speaker 1: Who had been saying that?

1222
01:04:35,320 --> 01:04:38,240
Speaker 2: Yep, oh you get that? And more, Oh you get

1223
01:04:38,360 --> 01:04:40,960
Speaker 2: Have you gotten to the reunion yet? I'm about to

1224
01:04:40,960 --> 01:04:42,720
Speaker 2: get to the READI but no, the whole season's excellent.

1225
01:04:42,720 --> 01:04:45,680
Speaker 2: I mean, like Phaedra, that's like the bomb in Padra's office,

1226
01:04:45,960 --> 01:04:50,080
Speaker 2: freaking frack, freakin' frack. And I mean yeah, like this

1227
01:04:50,160 --> 01:04:52,480
Speaker 2: show is a vibe and then you forget like this

1228
01:04:52,600 --> 01:04:56,040
Speaker 2: Fadra fucking left after this season, never to be seen again.

1229
01:04:56,080 --> 01:04:57,360
Speaker 2: Uti Ultimate Girl's strip.

1230
01:04:57,240 --> 01:05:00,440
Speaker 1: Wait until I know you see the reunion by the way,

1231
01:05:00,800 --> 01:05:03,360
Speaker 1: first ever four part reunion, because there was just so

1232
01:05:03,520 --> 01:05:09,760
Speaker 1: much going on, explosive, it was see I can't wait.

1233
01:05:09,800 --> 01:05:12,040
Speaker 1: I want you to really let me know when you

1234
01:05:12,080 --> 01:05:13,840
Speaker 1: are doing that so that I can be by by

1235
01:05:13,880 --> 01:05:14,440
Speaker 1: my phone.

1236
01:05:15,000 --> 01:05:19,120
Speaker 2: Yes, girl, when Atlanta's good, it's it's great. Yeah, it's

1237
01:05:19,280 --> 01:05:20,240
Speaker 2: it's really bad.

1238
01:05:20,600 --> 01:05:23,560
Speaker 1: It's dreary when it's bad, but when it's great, it's

1239
01:05:23,600 --> 01:05:24,840
Speaker 1: one of the best.

1240
01:05:26,680 --> 01:05:27,960
Speaker 2: That's true for a lot of things.

1241
01:05:28,480 --> 01:05:30,240
Speaker 1: Really, I'm going to get into it. Actually, I have

1242
01:05:30,280 --> 01:05:32,000
Speaker 1: a good idea for me. I don't think Sony.

1243
01:05:32,320 --> 01:05:34,920
Speaker 2: I have one that is about something we talked about

1244
01:05:34,920 --> 01:05:37,720
Speaker 2: and it might shock you and people. But I'm sorry,

1245
01:05:37,760 --> 01:05:39,960
Speaker 2: I'm leading with that before yours. That's so rude of me.

1246
01:05:40,560 --> 01:05:43,040
Speaker 1: Oh my god. Okay, Well, everyone is on the edge

1247
01:05:43,040 --> 01:05:43,479
Speaker 1: of their seat.

1248
01:05:43,480 --> 01:05:46,240
Speaker 2: This is no Honey, This is I don't think Sony.

1249
01:05:46,240 --> 01:05:49,960
Speaker 2: This is where we take one minute to really go

1250
01:05:50,040 --> 01:05:56,200
Speaker 2: into a polemic, honey, about something in culture that we hate, despise.

1251
01:05:56,520 --> 01:05:58,320
Speaker 2: This is Matt Rodgers. I don't think Sony. As time

1252
01:05:58,360 --> 01:05:59,720
Speaker 2: starts now, I.

1253
01:05:59,640 --> 01:06:02,080
Speaker 1: Don't think so, honey, if you're sleeping on Married to Medicine.

1254
01:06:02,520 --> 01:06:05,280
Speaker 1: I said it years ago about Potomac, and I feel

1255
01:06:05,320 --> 01:06:07,880
Speaker 1: we got some people, some readers, some finalists and publicists

1256
01:06:07,920 --> 01:06:10,000
Speaker 1: and katies to go in that direction. I am saying

1257
01:06:10,000 --> 01:06:12,480
Speaker 1: it now from Married to Medicine. This is one of

1258
01:06:12,520 --> 01:06:15,880
Speaker 1: the best shows on Bravo. Some of these reunions, Andy Cohen,

1259
01:06:16,160 --> 01:06:19,600
Speaker 1: your best work. The real shit happens on Married to

1260
01:06:19,640 --> 01:06:24,760
Speaker 1: Medicine reunions. Doctor Jackie is an icon, Doctor Simone is

1261
01:06:24,760 --> 01:06:29,480
Speaker 1: an icon. Quad Web I am a super fay second

1262
01:06:29,800 --> 01:06:33,000
Speaker 1: to Miss Quad. We all have to be watching Married

1263
01:06:33,040 --> 01:06:37,000
Speaker 1: to Medicine. It returns very soon. And Phaedra Parks, I

1264
01:06:37,040 --> 01:06:39,040
Speaker 1: think started dating a doctor just so she could get

1265
01:06:39,040 --> 01:06:41,320
Speaker 1: on the show. I don't know if that's a real relationship.

1266
01:06:41,360 --> 01:06:42,880
Speaker 1: It feels convenient to me, but I don't care because

1267
01:06:42,880 --> 01:06:45,480
Speaker 1: we're gonna get phage three. I'm Married to Medicine in

1268
01:06:45,520 --> 01:06:48,240
Speaker 1: the cast, and remember all these women are Atlanta women,

1269
01:06:48,280 --> 01:06:50,400
Speaker 1: so they are naturally friends. What I love about the

1270
01:06:50,440 --> 01:06:53,800
Speaker 1: show is the relationships are real. The marriages are really

1271
01:06:53,840 --> 01:06:57,080
Speaker 1: crumbling and being rebuilt. We see real movement at reunions

1272
01:06:57,120 --> 01:06:59,840
Speaker 1: and in the show. These women are funny and they're professionals.

1273
01:07:00,000 --> 01:07:01,120
Speaker 1: I don't think so hone if you're a sleep and

1274
01:07:01,120 --> 01:07:03,400
Speaker 1: I'm Married to med.

1275
01:07:02,680 --> 01:07:05,000
Speaker 2: And that's one a minute. I have caught a couple

1276
01:07:05,080 --> 01:07:07,400
Speaker 2: episodes and I remember being intrigued, and now you've really

1277
01:07:07,440 --> 01:07:08,080
Speaker 2: sold it to me.

1278
01:07:08,960 --> 01:07:11,280
Speaker 1: You want to know what it is. The steaks are

1279
01:07:11,360 --> 01:07:13,880
Speaker 1: so high. It doesn't feel like a stupid show because

1280
01:07:13,920 --> 01:07:17,040
Speaker 1: the steaks are high because well, I mean, not only

1281
01:07:17,160 --> 01:07:24,240
Speaker 1: like are they real friendships, but like they're really really

1282
01:07:24,280 --> 01:07:27,800
Speaker 1: really committed to what they do and passionate about what

1283
01:07:27,840 --> 01:07:31,720
Speaker 1: they do. And it was a really fascinating season. I

1284
01:07:31,760 --> 01:07:35,080
Speaker 1: believe it was season eight when COVID was hitting, and

1285
01:07:35,120 --> 01:07:39,240
Speaker 1: also you know, like the Black Lives Matter protests were happening,

1286
01:07:39,320 --> 01:07:41,960
Speaker 1: and it was just like a really really engaged season

1287
01:07:42,000 --> 01:07:46,040
Speaker 1: for them, and that it's just like a really, really,

1288
01:07:46,280 --> 01:07:50,280
Speaker 1: really fun and good show. And I would say, if

1289
01:07:50,320 --> 01:07:52,919
Speaker 1: you're a fan of the Housewives stuff and you haven't

1290
01:07:52,960 --> 01:07:55,360
Speaker 1: engaged with Married to Medicine, you're going to get everything

1291
01:07:55,400 --> 01:07:57,560
Speaker 1: you want from a Housewives franchise and more with Married

1292
01:07:57,600 --> 01:07:58,280
Speaker 1: to Medicine.

1293
01:07:58,640 --> 01:08:00,800
Speaker 2: Love love that can't wait to watch.

1294
01:08:01,240 --> 01:08:08,120
Speaker 1: Ooh and now we were teased earlier. God, you ever

1295
01:08:08,120 --> 01:08:09,400
Speaker 1: look at your phone and you haven't looked at it

1296
01:08:09,400 --> 01:08:11,040
Speaker 1: for a while, and you see the amount of stuff

1297
01:08:11,080 --> 01:08:11,520
Speaker 1: and you're.

1298
01:08:11,400 --> 01:08:13,760
Speaker 2: Like, I know, I know, No, I can't. I can't

1299
01:08:13,800 --> 01:08:15,680
Speaker 2: think about it, Okay.

1300
01:08:15,960 --> 01:08:18,760
Speaker 1: So anyway, that's happening to me, and I'm overwhelmed. But

1301
01:08:18,880 --> 01:08:20,400
Speaker 1: right now, what we're gonna do is we're gonna turn

1302
01:08:20,439 --> 01:08:22,080
Speaker 1: to bone Yang and we're gonna say, bone Yang, are

1303
01:08:22,120 --> 01:08:23,479
Speaker 1: you ready to tell you? I don't think so, honey,

1304
01:08:24,040 --> 01:08:28,320
Speaker 1: I am. Then that being the case, this is Bowen

1305
01:08:28,400 --> 01:08:30,320
Speaker 1: Yang's I don't think so, honey. As time starts now,

1306
01:08:30,840 --> 01:08:32,120
Speaker 1: I don't think so honey.

1307
01:08:32,840 --> 01:08:36,720
Speaker 2: Saying God damn in a song, I'm sick of it.

1308
01:08:36,880 --> 01:08:38,800
Speaker 2: Sometimes it feels like a shortcut to like fill in

1309
01:08:38,880 --> 01:08:41,240
Speaker 2: some syllables. Olivia is doing it, Taylor is doing it,

1310
01:08:41,560 --> 01:08:43,720
Speaker 2: They've all done it for too long and night it

1311
01:08:43,800 --> 01:08:47,120
Speaker 2: always hits the ear a little wrong. I don't like

1312
01:08:47,200 --> 01:08:51,280
Speaker 2: when someone says god damn. Like the only time I've

1313
01:08:51,439 --> 01:08:55,360
Speaker 2: liked god damn in a song is Beyonce Flawless. Otherwise

1314
01:08:55,439 --> 01:08:57,519
Speaker 2: I think, now, why did you have to say that?

1315
01:08:58,040 --> 01:09:01,040
Speaker 2: I don't like it. I don't like it. It just

1316
01:09:01,120 --> 01:09:07,640
Speaker 2: sounds off right. What does Olivia say? In the on guts, oh,

1317
01:09:08,160 --> 01:09:12,080
Speaker 2: like a goddamn vampire. And I'm like, goddamn vampire. Like

1318
01:09:12,520 --> 01:09:14,320
Speaker 2: it feels like first pass, I was like, you could

1319
01:09:14,320 --> 01:09:16,639
Speaker 2: have found a better two syllable thing to put in there.

1320
01:09:16,680 --> 01:09:18,280
Speaker 2: I'm just saying, not that I could do her job

1321
01:09:18,320 --> 01:09:21,000
Speaker 2: better than she can or Dan and igro, but I think,

1322
01:09:21,000 --> 01:09:22,720
Speaker 2: and I say, we got to cool it with the

1323
01:09:22,760 --> 01:09:25,920
Speaker 2: goddamns and songwriting these days. It's gotten to be too much.

1324
01:09:26,080 --> 01:09:26,679
Speaker 2: And that's it.

1325
01:09:27,160 --> 01:09:31,600
Speaker 1: And that's one minute. What about this, like a motherfucker vampire?

1326
01:09:32,800 --> 01:09:36,680
Speaker 1: Mo the fuck? Moll the fuck? I would like, I

1327
01:09:36,680 --> 01:09:39,800
Speaker 1: don't understand what's so? Are you religious?

1328
01:09:40,280 --> 01:09:42,479
Speaker 2: I'm not religious, but I don't like it when I

1329
01:09:42,880 --> 01:09:46,880
Speaker 2: just it's something something really doesn't sit well with me.

1330
01:09:46,960 --> 01:09:50,759
Speaker 2: When I hear goddamn being used a little a little

1331
01:09:50,800 --> 01:09:55,880
Speaker 2: gratuitously in songs, goddamn offends you. I don't mind when

1332
01:09:55,880 --> 01:09:59,599
Speaker 2: someone says it in conversation or in dialogue or anything

1333
01:10:00,120 --> 01:10:03,559
Speaker 2: and speaks it. I just think it's like, yeah, it's

1334
01:10:03,560 --> 01:10:05,519
Speaker 2: a war. It's a goddamn fight in my life. And

1335
01:10:05,600 --> 01:10:09,320
Speaker 2: you start, I'm like, but you didn't have to say goddamn, Taylor,

1336
01:10:09,360 --> 01:10:11,439
Speaker 2: you know what I mean? I just think goddamn is

1337
01:10:11,439 --> 01:10:14,919
Speaker 2: like it is, like it's just filler. It's just lyrical

1338
01:10:14,960 --> 01:10:15,559
Speaker 2: filler in me.

1339
01:10:15,680 --> 01:10:16,559
Speaker 1: Can I ask you a question?

1340
01:10:16,760 --> 01:10:18,479
Speaker 2: And it's not just Olivia and Taylor, obviously, it's like

1341
01:10:18,479 --> 01:10:20,600
Speaker 2: every Obviously it's a lot of foolish word. It's a

1342
01:10:20,640 --> 01:10:21,160
Speaker 2: lot of people.

1343
01:10:23,080 --> 01:10:25,880
Speaker 1: Do you accept it in Flawless by Beyonce because it's

1344
01:10:25,880 --> 01:10:29,000
Speaker 1: its own thing like goddamn, God, damn, damn and like

1345
01:10:29,040 --> 01:10:30,080
Speaker 1: a filler, So you don't, like.

1346
01:10:32,000 --> 01:10:35,360
Speaker 2: Okay, I must have reader's case, publicist, finalists who get

1347
01:10:35,360 --> 01:10:37,759
Speaker 2: who understand me. And if you don't, that's fine, I'm

1348
01:10:37,800 --> 01:10:40,760
Speaker 2: sure you do. But I I just I noticed that

1349
01:10:40,880 --> 01:10:43,400
Speaker 2: word a lot. And it's not because I'm religious or anything,

1350
01:10:43,400 --> 01:10:46,040
Speaker 2: but it is because I'm just like, we're really we're

1351
01:10:46,080 --> 01:10:50,759
Speaker 2: really doing this a lot. Just just just just notice,

1352
01:10:50,840 --> 01:10:53,559
Speaker 2: just notice anytime someone says god damn in a song,

1353
01:10:53,600 --> 01:10:54,120
Speaker 2: I just wait.

1354
01:10:54,160 --> 01:10:58,519
Speaker 1: I just think, hmm, did it need to be? Did

1355
01:10:58,560 --> 01:10:59,160
Speaker 1: it need to be?

1356
01:11:00,280 --> 01:11:03,800
Speaker 2: And and you got to think with Olivia, like when

1357
01:11:03,800 --> 01:11:06,200
Speaker 2: she was cursing on sour, I'm like, well, is she

1358
01:11:06,360 --> 01:11:08,280
Speaker 2: just doing this because it's like she can and she

1359
01:11:08,800 --> 01:11:10,960
Speaker 2: and it's shocking. And then I remember when what a

1360
01:11:11,000 --> 01:11:13,320
Speaker 2: moment was when Taylor started cursing in her songs. It

1361
01:11:13,400 --> 01:11:16,160
Speaker 2: was like, yeah, it's this, it's this thing where like

1362
01:11:16,360 --> 01:11:20,920
Speaker 2: it kind of grates against like the way these people

1363
01:11:21,640 --> 01:11:25,799
Speaker 2: have like recently developed in front of your eyes or something.

1364
01:11:26,360 --> 01:11:28,360
Speaker 2: I don't know, am I making any sense?

1365
01:11:28,560 --> 01:11:31,439
Speaker 1: You're making sense. I just think that you always want

1366
01:11:31,439 --> 01:11:33,120
Speaker 1: to challenge the girls too.

1367
01:11:34,000 --> 01:11:35,840
Speaker 2: I'm not no, I'm and I'm this is not a now,

1368
01:11:35,920 --> 01:11:36,680
Speaker 2: not even.

1369
01:11:37,439 --> 01:11:40,000
Speaker 1: I get it, but like it's one of those things.

1370
01:11:40,000 --> 01:11:41,960
Speaker 1: It's like something that you hear that like irks you.

1371
01:11:42,960 --> 01:11:45,680
Speaker 1: I'm irked, did you hear? And I think it's in

1372
01:11:45,800 --> 01:11:48,160
Speaker 1: logical When Olivia was like, I can't do this, I

1373
01:11:48,160 --> 01:11:50,760
Speaker 1: can't do this, I can't get you off. I know.

1374
01:11:50,880 --> 01:11:53,439
Speaker 2: I'm like I said, I said.

1375
01:11:54,160 --> 01:11:56,200
Speaker 1: I had to say grew. I'm that one. I literally

1376
01:11:56,240 --> 01:11:58,760
Speaker 1: grew And I was like, and I haven't grewed in a.

1377
01:11:58,800 --> 01:12:00,599
Speaker 2: Law that's a or just grew.

1378
01:12:02,760 --> 01:12:04,559
Speaker 1: Ooh, it's totally very clear. Right now.

1379
01:12:05,680 --> 01:12:07,680
Speaker 2: I'm not even getting it on Zoom because it's like

1380
01:12:07,960 --> 01:12:08,759
Speaker 2: it's like suppressing.

1381
01:12:08,800 --> 01:12:13,479
Speaker 1: You're not getting it on zoo. You didn't get that.

1382
01:12:13,600 --> 01:12:18,559
Speaker 2: I can tell that it sounds beautiful because you were

1383
01:12:18,560 --> 01:12:20,759
Speaker 2: giving Alex Newell. You were going you were just giving

1384
01:12:20,800 --> 01:12:26,200
Speaker 2: a perfect tone, but the face was neutral. Oh hmmm.

1385
01:12:27,280 --> 01:12:27,679
Speaker 1: Wow.

1386
01:12:28,439 --> 01:12:29,559
Speaker 2: Well anyway, that's.

1387
01:12:29,360 --> 01:12:32,519
Speaker 1: What makes me an amazing singer and recording artist because

1388
01:12:32,560 --> 01:12:37,920
Speaker 1: I can use the mic too to tell story. Goddamn vampire.

1389
01:12:38,960 --> 01:12:41,559
Speaker 2: See I just it sounds kind of like lame to me.

1390
01:12:42,040 --> 01:12:44,880
Speaker 1: It doesn't bother me, but now it does. You don't

1391
01:12:44,920 --> 01:12:46,600
Speaker 1: have to get right. I am a gay. I'm in

1392
01:12:46,640 --> 01:12:50,000
Speaker 1: the gay army with you. We're out to groom these kids,

1393
01:12:50,040 --> 01:12:54,519
Speaker 1: and we'll be grooming. Get out the way. We got

1394
01:12:54,520 --> 01:12:55,160
Speaker 1: grooming to do.

1395
01:12:55,680 --> 01:12:59,080
Speaker 2: We're gonna get put on a list when like you know,

1396
01:13:00,040 --> 01:13:02,599
Speaker 2: it's it's the it's Trump's second term or whatever.

1397
01:13:03,080 --> 01:13:06,759
Speaker 1: Jesus Christ, they're gonna ship us off far and they

1398
01:13:07,479 --> 01:13:14,760
Speaker 1: So how are you feeling about the election? Okay? So

1399
01:13:15,160 --> 01:13:18,519
Speaker 1: uh this has been lost culturistas. This has been really

1400
01:13:18,520 --> 01:13:21,559
Speaker 1: a great up. I think, So what's it called again?

1401
01:13:22,600 --> 01:13:31,559
Speaker 1: After jushome after I can't wait? I think. We always

1402
01:13:31,600 --> 01:13:34,200
Speaker 1: try to make you laugh. Girls, everyone listening out there,

1403
01:13:34,280 --> 01:13:35,800
Speaker 1: and if we made you laugh today, give us a

1404
01:13:35,800 --> 01:13:40,920
Speaker 1: five star review and nice comment. Hey, we end every

1405
01:13:40,960 --> 01:13:42,040
Speaker 1: episode with a song.

1406
01:13:42,800 --> 01:13:52,160
Speaker 3: Blood sucker bye bokerlea me try like Darna see Gosh,

1407
01:13:52,240 --> 01:13:55,000
Speaker 3: Darn is where you lost me there, and I understand.

1408
01:13:55,040 --> 01:13:59,519
Speaker 1: We want to change, but not just anything works. Bye

1409
01:13:59,520 --> 01:14:07,800
Speaker 1: Girl by Cyah