WEBVTT - Greta Gerwig's Drag Race (feat. Hari Nef)

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<v Speaker 1>You are a mysterious woman, elusive, and you're also she's

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<v Speaker 1>she any not me, not on my mate? Yo, yo yo,

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<v Speaker 1>what is your child mother? Yo's going down the stoor

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<v Speaker 1>like Welcome to Like a Virgin, the show where we

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<v Speaker 1>give yesterday's pop culture, today's takes, I'm ros Damo and

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<v Speaker 1>I'm Fran Toronto and versions. If you haven't yet, you

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<v Speaker 1>need to take out your little smartphone right now, right now,

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<v Speaker 1>pull up your you know, web browser of choice and

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<v Speaker 1>go to Paige Treon dot com slash Like a Virgin

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<v Speaker 1>to become a patron a found to become a founding

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<v Speaker 1>patron and get weakly exclusive bonus episodes. And then when

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<v Speaker 1>you're done, if you're feeling if you're feeling um like

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<v Speaker 1>in a shopping mood, go over to Like a Virgin

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<v Speaker 1>for twenty sixty nine dot com period to buy our

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<v Speaker 1>merch Buying that youre l was one of the most

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<v Speaker 1>gratifying moments of my career. Honestly, um we it must

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<v Speaker 1>also be said, you know, I'm realizing now patron not

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<v Speaker 1>a very gender friendly word. Maybe maybe y'all are matrons.

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<v Speaker 1>Maybe maybe there's an option to be a patron and

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<v Speaker 1>an option to be. I mean, we can't actually do that,

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<v Speaker 1>but like just like just because it's we're gonna start,

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<v Speaker 1>We're gonna start a competing service called Matron. Yeah, Matreon, yeah,

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<v Speaker 1>zam Matreon z Oh god, you know what thing is?

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<v Speaker 1>I'm sure that exists. Yeah, and it's just like extremely

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<v Speaker 1>flop tina. Yeah, they only sell like fluid fluid beauty products. Oh,

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<v Speaker 1>flow fluid beauty. Can't wait to see what they cook

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<v Speaker 1>up from Pride this year? This year? Oh my god,

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<v Speaker 1>how are you feeling about Pride? All things considered? Are

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<v Speaker 1>you getting any inquiries yet? Are you? Are? You know?

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<v Speaker 1>And let me tell you my DMS and my email

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<v Speaker 1>are open for any and all opportunities. Yes, I'm very

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<v Speaker 1>very bookable. I'm very submissive and bookable. Maybe that'll be

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<v Speaker 1>a hot um Yeah, no it should be. I mean, honestly, virgins,

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<v Speaker 1>if you want a crowdsource and and give us feedback

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<v Speaker 1>on the merch like an item you want, we're already

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<v Speaker 1>seeing some cool suggestions. And also, if you're a Patreon subscriber,

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<v Speaker 1>you are welcome to tell us what you want to

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<v Speaker 1>hear from our Patreon. You cannot tell us what you

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<v Speaker 1>want to hear if you don't subscribe. Once you get on,

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<v Speaker 1>you get absolutely no. Once you get on, you can

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<v Speaker 1>tell us what's missing. Um, yeah, that's that's something we're

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<v Speaker 1>going to figure out. Um. Down the road is like,

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<v Speaker 1>you know, a lot of Patreon people are like on

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<v Speaker 1>Discord or whatever, and like we're just we're just not

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<v Speaker 1>going to do that. But we we we talked to

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<v Speaker 1>the people at Patreon. They were like, um, are you

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<v Speaker 1>interested in you know, Discord, And we were like, no,

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<v Speaker 1>heart emoji, yeah, I'm good, love and enjoy. Um. We

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<v Speaker 1>do want to engage with you, though, and we want

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<v Speaker 1>to find a way to do that in a cool

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<v Speaker 1>social chatty way. And so you know, we're developing that

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<v Speaker 1>as we go. But Discord, it's gonna be a no

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<v Speaker 1>from me, dog, It's gonna be a no no no

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<v Speaker 1>no no no no no no no wait. How does

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<v Speaker 1>jesse j do it? No no no no no no

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<v Speaker 1>no no no no. I can't I can't do it.

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<v Speaker 1>No one can do it. But um, we also have

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<v Speaker 1>to acknowledge what you heard just before we started talking

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<v Speaker 1>was a brand new theme song, which was is song

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<v Speaker 1>of the Summer, iconic. It absolutely song of the Summer.

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<v Speaker 1>We have already submitted it to the Grammys, to the

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<v Speaker 1>Recording Academy, and um, it's gonna win rock the vote.

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<v Speaker 1>Life Marks did say we're going to EGA and that

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<v Speaker 1>will be the gum. Well she said we were going

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<v Speaker 1>to win an Oscar and I said, oh, right, right right,

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<v Speaker 1>you're all that you will, but that's because you're about

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<v Speaker 1>those stretch goals, you know. Yes. And also Katie from

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<v Speaker 1>Muna said that she would absolutely read the romance novel

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<v Speaker 1>you know of the cover of our new show art

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<v Speaker 1>and I told her she should also write a song

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<v Speaker 1>for the adaptation of the like a Virgin romance novel.

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<v Speaker 1>My jaws dropped because like all of the ideas were

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<v Speaker 1>just flowing through my head. First of all, we just

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<v Speaker 1>need a virgin to write that fan fiction. So like,

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<v Speaker 1>if you want to take this, I mean you have

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<v Speaker 1>I you of my concept and the virgins are clearly

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<v Speaker 1>interested in this concept because I'll okay, we'll give you

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<v Speaker 1>a little tease on something that you hear on Patreon.

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<v Speaker 1>We had a question about um fran and I's possibly

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<v Speaker 1>overlapping ven diagram sexual history right, and um, we won't

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<v Speaker 1>be spilling any details there. Those are Paywald but if

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<v Speaker 1>you want to hear if fran and I are you know,

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<v Speaker 1>sister wives or just wives? Yea you Patreon dot com

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<v Speaker 1>slash like a virgin. Yes, but if you want a

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<v Speaker 1>ghost write this novella, we're here for it, Katie. If

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<v Speaker 1>you want to write an original song for the like

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<v Speaker 1>a virgin pulp fiction lesbian romance, we I mean, that's

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<v Speaker 1>right up your alley. That's truly like, that is muna,

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<v Speaker 1>that is something. Can you imagine us? Can you imagine

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<v Speaker 1>us doing a love scene in a film? I can,

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<v Speaker 1>because obviously we would play ourselves. Yeah, we would play ourselves.

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<v Speaker 1>Although you know, according to gen Z, I don't know

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<v Speaker 1>if you're aware of all this gen Z like puritine discourse,

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<v Speaker 1>they want all sex scenes banned from film? What then? Yes,

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<v Speaker 1>so Z has gen Z has decided that, um, it's

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<v Speaker 1>a weird and grow to simulate sex in film at

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<v Speaker 1>all times a like period, and that there should only

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<v Speaker 1>be sort of you know, fade to Black PG thirteen

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<v Speaker 1>love scenes and no sex should take place ever. And

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<v Speaker 1>if you're interested in seeing that, you're a perv. Yeah,

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<v Speaker 1>I mean that's stupid. Obviously, I also like very stupid.

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<v Speaker 1>You and I are very like we resist a lot

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<v Speaker 1>of gen Z bashing on this podcast sometimes because it

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<v Speaker 1>just like ages us so hard. So I will say,

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<v Speaker 1>like some of jay Z, I'm sure there are a

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<v Speaker 1>lot of slutty jay Z people out there, jay Z

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<v Speaker 1>slutty gen Z jay Z slutty gen Z folks out there,

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<v Speaker 1>and they're probably listening to this podcast. But like, listen, girls,

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<v Speaker 1>if you are a member of Generation Z and you

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<v Speaker 1>don't Generation Z, as British people would yes Generations said,

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<v Speaker 1>if you don't think that we should be having sex

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<v Speaker 1>scenes and films and TV shows like it's just your

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<v Speaker 1>light year life, your prudishness is going to have such

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<v Speaker 1>a rude awakening when you enter the world because like,

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<v Speaker 1>we're all out here fucking and doing drugs like that's

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<v Speaker 1>we are all fucking and sucking, fucking sing and except

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<v Speaker 1>very sexual people and people that tend to have prudish

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<v Speaker 1>ideas about sex are usually people that aren't having a

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<v Speaker 1>ton of search. I'm not gonna joy And I feel

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<v Speaker 1>like I, as someone who was extremely prudish when I

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<v Speaker 1>was young, definitely had a bit of a culture shock

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<v Speaker 1>when I, you know, entered gay World and then later

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<v Speaker 1>on trans World and I'm like, oh, like, there's no

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<v Speaker 1>room for being a prude here, Like you don't have

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<v Speaker 1>to be a big old, come guzzling slut. Yes, And

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<v Speaker 1>I just want to say to me, it does not

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<v Speaker 1>there does not seem to be a huge leap and

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<v Speaker 1>ideology from there should be no sex scenes in movies too,

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<v Speaker 1>there should be no drag queen story hours. Like just

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<v Speaker 1>kind of think about which side of history you're trying

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<v Speaker 1>to be on me very very flattening. It's very very unfun.

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<v Speaker 1>It's just an unfun take, Isn't it crazy? How timely

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<v Speaker 1>this week's episode of Drag Race ended up being with

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<v Speaker 1>the drag loose of it all, like coming amidst you

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<v Speaker 1>know what felt, especially in the past like week or two,

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<v Speaker 1>the boiling point of all the conversations around drag and

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<v Speaker 1>you know, like legislation to criminalize it. I was shook.

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<v Speaker 1>I mean obviously, like we've been screaming about trans health

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<v Speaker 1>care for kids like for years and obviously this like

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<v Speaker 1>mainstream of attack on drag has been happening for a while.

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<v Speaker 1>But yeah, it was like kind of crazy because the

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<v Speaker 1>boiling point where you know, Melissa McCarthy and all these

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<v Speaker 1>like you know, Padre Pascal. All these celebrities are posting

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<v Speaker 1>on it, like a few Sundays ago happening right in

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<v Speaker 1>tandem with this, like you know, PSA on drag Race

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<v Speaker 1>that they filmed what a year ago, year and a

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<v Speaker 1>half ago, Like that's I was. I was shook, but

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<v Speaker 1>I guess it's kind of also sad that message is

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<v Speaker 1>just always relevant, it is. I thought it was a

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<v Speaker 1>very good rusical. Yeah, I mean I usually love the rusicals,

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<v Speaker 1>and this was a standout. I don't necessarily think it

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<v Speaker 1>was a standout in terms of how it was performed,

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<v Speaker 1>but the actual songs themselves. I mean it was no

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<v Speaker 1>all stars to iconic Queens through History moment, but it

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<v Speaker 1>was you know up there. Yeah, I felt the same.

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<v Speaker 1>I definitely like there were some boring there were some

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<v Speaker 1>people that were like boring, but like I thought everyone

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<v Speaker 1>was great, Like I didn't think anybody was bad, And

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<v Speaker 1>I also felt, to be totally honest, like Selena Stitis

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<v Speaker 1>was amazing and added great, was like so good on

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<v Speaker 1>choreo and was really emotive in the rusical specifically, which

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<v Speaker 1>is why I'm like, where does the runway matter? Like

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<v Speaker 1>if it's like a bit of a wash on the rusical,

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<v Speaker 1>like let's incorporate Runway into this critique and it feel

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<v Speaker 1>like they're just like playing the producer game or whatever.

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<v Speaker 1>But did you see that video of Selena as Titti's

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<v Speaker 1>dragging Ross Matthews. I did, She's not wrong? Who who?

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<v Speaker 1>I think that a lot when I'm looking at you know,

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<v Speaker 1>Carson Cressley and Ross Matthews, like literally, who are they

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<v Speaker 1>to be talking about what people wear? And and I

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<v Speaker 1>say this as like, I really love Selena as Titties.

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<v Speaker 1>I thought I was so im I was rooting for

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<v Speaker 1>in the beginning, so happy with what she contributed to

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<v Speaker 1>the season. I really wish she was wearing something else

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<v Speaker 1>when she said that PSA because she like I was like,

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<v Speaker 1>it's like you can't shout about fashion and like wear

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<v Speaker 1>this like busted channel knockoff that like doesn't fit you properly. Um,

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<v Speaker 1>but I I love And my favorite genre of content

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<v Speaker 1>is a queen, you know, slandering the show against their

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<v Speaker 1>nondisparagement agreements, like I'm thinking about have you seen that

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<v Speaker 1>video of Gia Gunn where she's like completely naked in

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<v Speaker 1>a gay bar and go, yeah, fucking miss RuPaul. Have

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<v Speaker 1>you seen that. Um, yes, so it's so good. Um

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<v Speaker 1>you were not happy with the Kate Bush lip sync though,

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<v Speaker 1>I mean I wasn't either. I think Kate Bush should

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<v Speaker 1>storm into the studio and demand both of their heads

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<v Speaker 1>on a platter. Yeah, and then take a shit on

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<v Speaker 1>their into their skulls and set them on fire. If

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<v Speaker 1>you're got to give us Park and Bark, you gotta

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<v Speaker 1>give us emotion. You gotta give us like, uh, just

0:11:36.360 --> 0:11:40.920
<v Speaker 1>the thing that they constantly seemed to be forgetting, especially

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<v Speaker 1>Lucy Leduca, who you know I hate. Who I know

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<v Speaker 1>that you hate is that they're doing drag like you're

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<v Speaker 1>doing drag drag, Like, be a drag queen. Don't just

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<v Speaker 1>like your lip sync in your bedroom like I was

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<v Speaker 1>getting bedroom lip sync, Like, make a choice and make

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<v Speaker 1>it extreme. It's like the same thing with Lucy and

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<v Speaker 1>her fucking non existent Beyonce baby bump. I should be

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<v Speaker 1>able to see that baby bump from space. Yes, back,

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<v Speaker 1>you are a drag queen. I should be able to

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<v Speaker 1>see your Kate Bush lip sync from the back of

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<v Speaker 1>the club. Yeah. Agree. I mean it's hard, it's hard

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<v Speaker 1>to like, it's hard to root for Lucy when she's

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<v Speaker 1>like so like I'm the best time to shit, I

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<v Speaker 1>should be winning all these challenges and she's so not

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<v Speaker 1>like she is mediocre, like she Luck's new arms track,

0:12:40.880 --> 0:12:45.440
<v Speaker 1>Lucks the woman that you are. I this week she

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<v Speaker 1>made me follow her on Twitter. H it was fucking honestly,

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<v Speaker 1>she is she a good Twitter follow have you have

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<v Speaker 1>you seen? I don't know, I haven't looked might but

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<v Speaker 1>I did follow. I did follow her. Um, she made

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<v Speaker 1>me watch on talked. I haven't done that all this season. Yeah,

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<v Speaker 1>you know what. It was kind of disappointing. It wasn't

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<v Speaker 1>as dramatic as I was hoping it would be. But

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<v Speaker 1>that was an iconic runway moments when she car no

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<v Speaker 1>reason when she went down the line complimented every girl

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<v Speaker 1>and then read Lucy Luduca to filth like she she

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<v Speaker 1>it's very law roach going. You ain't that? Oh God,

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<v Speaker 1>I'm like, okay, here's here's my honest thoughts on Lucy.

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<v Speaker 1>I I have a lot of empathy for the try

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<v Speaker 1>hard girls, right like she's getting a jan at it

0:13:37.440 --> 0:13:41.480
<v Speaker 1>and I have I personally identify with with the jan

0:13:41.960 --> 0:13:43.960
<v Speaker 1>at it and yeah, because you're because you're a little

0:13:43.960 --> 0:13:46.480
<v Speaker 1>bit of a jam. I love to try hard. It

0:13:46.600 --> 0:13:48.840
<v Speaker 1>is a terrible downfall of mine. It makes me look

0:13:48.840 --> 0:13:50.559
<v Speaker 1>like a loser a lot of the time. But like,

0:13:50.600 --> 0:13:55.200
<v Speaker 1>why would we punish people for trying really hard? Lucy, Yeah,

0:13:55.280 --> 0:13:58.160
<v Speaker 1>it's because it is fun and lux knows that. Um.

0:13:58.160 --> 0:14:01.439
<v Speaker 1>But like Lucy, like in the the room, Phoebe coming

0:14:01.440 --> 0:14:03.920
<v Speaker 1>in the chat, you'd like to try hard? Accept an

0:14:03.920 --> 0:14:07.360
<v Speaker 1>acting class? Oh my god, shut the I was there

0:14:07.480 --> 0:14:13.280
<v Speaker 1>to observe. How dare you, Phoebe? Um. I have to say, Lucy,

0:14:13.400 --> 0:14:15.480
<v Speaker 1>like I was breaking my heart because like if I

0:14:15.520 --> 0:14:18.240
<v Speaker 1>was on drag race and these two girls are ganging

0:14:18.320 --> 0:14:21.280
<v Speaker 1>up on me because like look looks and what's her face?

0:14:21.440 --> 0:14:25.280
<v Speaker 1>We're ganging up on her very adamantly, and I, you know,

0:14:26.000 --> 0:14:28.360
<v Speaker 1>it did definitely. I was like, this isn't shade anymore.

0:14:28.400 --> 0:14:30.800
<v Speaker 1>This is very personal. So if that happened to me, Rose,

0:14:31.920 --> 0:14:34.040
<v Speaker 1>you know what would happen. I would bug out, Like

0:14:34.440 --> 0:14:36.440
<v Speaker 1>I would bug out because I'd be like, people don't

0:14:36.440 --> 0:14:39.000
<v Speaker 1>really been there. Yeah, exactly, I would bug out, would

0:14:39.000 --> 0:14:40.800
<v Speaker 1>be like people don't like me and I need to

0:14:40.840 --> 0:14:42.920
<v Speaker 1>freak out. But but on the flip side of this,

0:14:43.880 --> 0:14:46.280
<v Speaker 1>you can kind of smell when the other girls don't

0:14:46.320 --> 0:14:48.640
<v Speaker 1>like a certain girl, right, it doesn't matter how good

0:14:48.680 --> 0:14:51.200
<v Speaker 1>you are. How the other girls treat you in the

0:14:51.240 --> 0:14:54.680
<v Speaker 1>room gives us information for what kind of report you

0:14:54.720 --> 0:14:57.280
<v Speaker 1>were building with them while this show was being filmed.

0:14:57.320 --> 0:14:59.520
<v Speaker 1>And I don't know if there have been like solidarity

0:14:59.560 --> 0:15:02.520
<v Speaker 1>footpost for like Lucy, because I imagine she's getting tons

0:15:02.520 --> 0:15:04.320
<v Speaker 1>of hate, but I thought a lot, I mean not

0:15:04.360 --> 0:15:07.560
<v Speaker 1>to like deserved. Yeah, sure, I don't believe anybody deserves

0:15:07.600 --> 0:15:10.080
<v Speaker 1>hate online because you know, it's like so horrible. But

0:15:10.120 --> 0:15:14.080
<v Speaker 1>like shell work, bullying works, Lucy does have a loose

0:15:14.120 --> 0:15:16.040
<v Speaker 1>grip on reality. It reminded me a little bit of

0:15:16.360 --> 0:15:22.200
<v Speaker 1>Valentina because in her first season, but Valentina was thickening yes, yes, exactly,

0:15:22.520 --> 0:15:25.280
<v Speaker 1>um slightly well, Lucy had a lot of misses, but

0:15:25.320 --> 0:15:27.480
<v Speaker 1>like a lot of her drag, especially at the beginning,

0:15:27.600 --> 0:15:30.960
<v Speaker 1>so polished, so good, the body was right like her,

0:15:31.160 --> 0:15:34.280
<v Speaker 1>she'd classic drag and I think she looked so good.

0:15:34.640 --> 0:15:37.680
<v Speaker 1>But like if although the girls don't like you, that's

0:15:37.720 --> 0:15:41.200
<v Speaker 1>saying something to me, And like Valentina, I stand the

0:15:41.240 --> 0:15:44.760
<v Speaker 1>whole season. And then I watched what happened in the

0:15:44.840 --> 0:15:48.360
<v Speaker 1>reunion and I was like, oh, the she the other

0:15:48.400 --> 0:15:51.440
<v Speaker 1>girls do not like her? The other she was like,

0:15:51.560 --> 0:15:54.360
<v Speaker 1>just she didn't build rapport. That's like community is so important,

0:15:54.360 --> 0:15:57.160
<v Speaker 1>that's what. Rapport is so important. Shade is so important

0:15:57.200 --> 0:16:00.400
<v Speaker 1>to like understand and balance And yeah, I don't know.

0:16:00.720 --> 0:16:04.200
<v Speaker 1>You're right. Community is so important. Community is stories matter.

0:16:04.520 --> 0:16:10.680
<v Speaker 1>Stories are so important. Storytelling is so powerful. Stories. Stories

0:16:11.120 --> 0:16:18.000
<v Speaker 1>are some of the most powerful stories that exist. Oh

0:16:18.040 --> 0:16:21.640
<v Speaker 1>my god, well, Um, with that, Rose, do you have

0:16:21.680 --> 0:16:25.440
<v Speaker 1>any thoughts ahead of our season two into like our

0:16:25.480 --> 0:16:32.480
<v Speaker 1>season two premier Season two premiere, Um sorr storring Harry enough, Yes,

0:16:33.080 --> 0:16:37.240
<v Speaker 1>Harry is of all the Diva dolls. She is definitely one,

0:16:37.480 --> 0:16:42.720
<v Speaker 1>if not the og of generation. Harry is an actress,

0:16:43.040 --> 0:16:48.120
<v Speaker 1>a girl about town, an it girl thinker. Truly you can.

0:16:48.280 --> 0:16:50.880
<v Speaker 1>You can find that out on her letterbox Diva. Yes

0:16:51.200 --> 0:16:54.760
<v Speaker 1>she Oh, she is a cinophile and we are not,

0:16:55.320 --> 0:16:58.360
<v Speaker 1>and we, especially me, we are not. I don't quite

0:16:58.360 --> 0:17:00.960
<v Speaker 1>remember if she like schooled us in the cinephile region,

0:17:01.000 --> 0:17:03.920
<v Speaker 1>but I definitely knew nothing about David Lynch and so

0:17:04.280 --> 0:17:06.880
<v Speaker 1>I'm glad we got into that. We as well as

0:17:07.560 --> 0:17:09.480
<v Speaker 1>sharing a lot more about the Barbie movie than I

0:17:09.480 --> 0:17:12.120
<v Speaker 1>thought she was going to just sick, yes, as well

0:17:12.160 --> 0:17:15.159
<v Speaker 1>as her love I think what Harry does very well

0:17:15.440 --> 0:17:21.359
<v Speaker 1>is a careful but also like Waka Doo, juxtaposition of

0:17:21.440 --> 0:17:24.720
<v Speaker 1>high brow and low brow is kind of Harry's whole stick,

0:17:24.840 --> 0:17:45.160
<v Speaker 1>and she does it very well. I think probably all

0:17:45.200 --> 0:17:48.359
<v Speaker 1>of us moved to LA when we did, you know

0:17:48.600 --> 0:17:53.080
<v Speaker 1>for some kind of santasy of the Hollywood dream, which

0:17:53.600 --> 0:17:58.159
<v Speaker 1>in watching Mulholland Drive, I definitely like saw in the

0:17:58.200 --> 0:18:01.119
<v Speaker 1>fantasy and I did like I mean it was I

0:18:01.160 --> 0:18:02.960
<v Speaker 1>watched it for the first time last night. I'd never

0:18:03.000 --> 0:18:05.280
<v Speaker 1>seen it and like, I am like somewhat of a

0:18:05.359 --> 0:18:08.800
<v Speaker 1>David Lynch girl, like I do love Twin Peaks, but

0:18:09.080 --> 0:18:11.199
<v Speaker 1>it was just like a cultural blind spot for me

0:18:11.320 --> 0:18:17.240
<v Speaker 1>and I it's a weird It's a weird movie. Well,

0:18:17.320 --> 0:18:20.720
<v Speaker 1>speaking of Twin Peaks, did you know that Mulholland Drive

0:18:20.840 --> 0:18:24.600
<v Speaker 1>was originally supposed to be a television show? Yes? I

0:18:25.080 --> 0:18:29.040
<v Speaker 1>read something about that, but can you expand please? He

0:18:29.200 --> 0:18:33.480
<v Speaker 1>shot it to be in the wake of Twin Peaks's success.

0:18:33.520 --> 0:18:40.960
<v Speaker 1>This kind of like ABC souped up glamour version of

0:18:41.680 --> 0:18:47.919
<v Speaker 1>the David Lynch dark drama pretty Girl sensation, and he

0:18:48.040 --> 0:18:51.000
<v Speaker 1>screened it for the executives and they were like, no,

0:18:51.080 --> 0:18:53.800
<v Speaker 1>Tino Shade, What the fuck is there? Yeah? And so

0:18:54.080 --> 0:18:57.560
<v Speaker 1>and this is what I love. He got Canal Plus

0:18:58.160 --> 0:19:03.720
<v Speaker 1>to finance the completion of Twin Peaks, I mean Mulholland

0:19:03.840 --> 0:19:09.360
<v Speaker 1>Drive as a film, which is like the French public Access.

0:19:10.080 --> 0:19:12.399
<v Speaker 1>They fund a lot of French it's it's like a

0:19:12.440 --> 0:19:17.200
<v Speaker 1>French company. David got that, like Foreign Overseas Art House,

0:19:17.920 --> 0:19:23.800
<v Speaker 1>which in France was public Access coin to somehow complete

0:19:24.400 --> 0:19:27.399
<v Speaker 1>this black box or should I say blue box of

0:19:27.600 --> 0:19:33.080
<v Speaker 1>a pilot that he had constructed with the original intention

0:19:33.119 --> 0:19:35.520
<v Speaker 1>for it to go on and on and on. And

0:19:35.600 --> 0:19:38.840
<v Speaker 1>I think, which is so crazy to think about. Yeah,

0:19:38.880 --> 0:19:43.000
<v Speaker 1>and Lynch was creating, you know, he creates, and I

0:19:43.080 --> 0:19:45.200
<v Speaker 1>think he did this with Twin Peaks. So he creates.

0:19:45.240 --> 0:19:47.199
<v Speaker 1>He sets up these narratives that he doesn't even know

0:19:47.240 --> 0:19:50.119
<v Speaker 1>where they're going. He has kind of a I guess,

0:19:50.240 --> 0:19:54.280
<v Speaker 1>a spidy sense of where it could go. He sets

0:19:54.320 --> 0:19:56.320
<v Speaker 1>up all the pieces, but like he doesn't know, like

0:19:56.400 --> 0:19:58.679
<v Speaker 1>who the killer is, he doesn't know whose dream it is,

0:19:58.760 --> 0:20:00.760
<v Speaker 1>He doesn't know. He doesn't know who killed Laura Palmer.

0:20:01.320 --> 0:20:04.400
<v Speaker 1>It's not about that. No, he didn't, and they forced

0:20:04.480 --> 0:20:09.080
<v Speaker 1>him to say who it was because that was the

0:20:09.119 --> 0:20:11.800
<v Speaker 1>demand of the TV audience. He didn't want to reveal that. Yeah,

0:20:11.840 --> 0:20:14.480
<v Speaker 1>and that's when the show becomes unwatchable is when you

0:20:14.520 --> 0:20:16.919
<v Speaker 1>know who the killer is. I mean, I guess that.

0:20:17.080 --> 0:20:19.439
<v Speaker 1>Like it makes so much sense about Mulholland Drive because

0:20:19.480 --> 0:20:22.960
<v Speaker 1>watching it, it is so like it's like a series

0:20:23.000 --> 0:20:26.760
<v Speaker 1>of vignettes, even more than it is like a narrative film.

0:20:27.280 --> 0:20:30.320
<v Speaker 1>And I really liked you know, Okay, So I will

0:20:30.320 --> 0:20:34.639
<v Speaker 1>admit at first I was very bored watching it, and

0:20:34.680 --> 0:20:37.399
<v Speaker 1>I was and I was on my phone, and then

0:20:37.760 --> 0:20:41.280
<v Speaker 1>it really just started to draw me in and I

0:20:41.359 --> 0:20:43.920
<v Speaker 1>was so transfixed by it. And it is such an

0:20:44.160 --> 0:20:47.040
<v Speaker 1>LA movie, and I think, like that's such a like

0:20:47.080 --> 0:20:50.320
<v Speaker 1>almost boring thing to say, because like so many movies

0:20:50.320 --> 0:20:54.280
<v Speaker 1>are LA movies. But I don't know it like it

0:20:54.359 --> 0:20:58.879
<v Speaker 1>has this hypnotic thing that I think Hollywood definitely has.

0:20:59.280 --> 0:21:02.240
<v Speaker 1>Hypnotic is very I think, kind of a Lynchian thing,

0:21:02.359 --> 0:21:04.600
<v Speaker 1>like there is something that kind of like grips you

0:21:04.680 --> 0:21:06.680
<v Speaker 1>into the work and then all of a sudden you're

0:21:06.720 --> 0:21:08.960
<v Speaker 1>just like, I have no idea what I'm watching a

0:21:09.000 --> 0:21:11.439
<v Speaker 1>lot of the time, but like I'm in this world

0:21:11.520 --> 0:21:14.760
<v Speaker 1>because it's so weird and you're trying to like figure

0:21:14.760 --> 0:21:17.920
<v Speaker 1>it out. What was your experience of like first watching

0:21:17.960 --> 0:21:20.360
<v Speaker 1>this movie, I guess, or why do you think it's

0:21:20.400 --> 0:21:23.240
<v Speaker 1>maybe a little bit emblematic of like who you are

0:21:23.480 --> 0:21:25.600
<v Speaker 1>or like what are you like to make? I think

0:21:25.600 --> 0:21:30.880
<v Speaker 1>what drew me into it was the way it felt

0:21:31.560 --> 0:21:35.600
<v Speaker 1>like a dream or a dream that I've had. It

0:21:35.720 --> 0:21:38.679
<v Speaker 1>has the logic of a dream, in the pacing of

0:21:38.720 --> 0:21:42.240
<v Speaker 1>a dream. I think that the is this boring? Oh wait,

0:21:42.400 --> 0:21:45.200
<v Speaker 1>now I'm like glued to the spot and I can't

0:21:45.200 --> 0:21:48.359
<v Speaker 1>look away. I think that's part and parcel to how

0:21:48.400 --> 0:21:52.600
<v Speaker 1>David Lynch deals with time. His beats do not go

0:21:52.920 --> 0:21:57.760
<v Speaker 1>snap aty snap snap snap. You know Aaron Sorkin like

0:21:57.880 --> 0:22:02.159
<v Speaker 1>dialogue moving it. It's there's very little sense of urgency. Yeah,

0:22:02.200 --> 0:22:04.680
<v Speaker 1>it takes a long time for things to happen, but

0:22:04.800 --> 0:22:07.760
<v Speaker 1>you get the sense that something is happening with how

0:22:08.400 --> 0:22:12.119
<v Speaker 1>the camera moves and you know, with Angelo Battle Lamentes

0:22:13.160 --> 0:22:18.760
<v Speaker 1>score kind of like leading you down into this dream path.

0:22:19.320 --> 0:22:24.359
<v Speaker 1>And also even the way that it's scripted, the way

0:22:24.480 --> 0:22:33.160
<v Speaker 1>he arranges words and the way conversations are had, it's

0:22:33.320 --> 0:22:36.960
<v Speaker 1>not naturalistic. It's kind of like two people in two

0:22:37.040 --> 0:22:40.840
<v Speaker 1>different dreams trying to send each other the same message

0:22:41.560 --> 0:22:46.159
<v Speaker 1>or a different message, Like that scene when they're talking

0:22:46.240 --> 0:22:51.160
<v Speaker 1>in winkies in the diner in the daytime. There's that

0:22:51.240 --> 0:22:54.679
<v Speaker 1>like score in the background that lets you know something

0:22:54.760 --> 0:22:58.040
<v Speaker 1>bad is happening, but you're in this like pretty pink

0:22:58.119 --> 0:23:01.879
<v Speaker 1>diner and the sun is shining. I loved that juxtaposition

0:23:02.200 --> 0:23:09.000
<v Speaker 1>of the sunshine and I guess evil or or darkness daytime.

0:23:09.080 --> 0:23:12.280
<v Speaker 1>And I think that is that is so Los Angeles

0:23:12.359 --> 0:23:16.280
<v Speaker 1>as knowing that some of the ugliest, grossest, most evil

0:23:16.320 --> 0:23:21.760
<v Speaker 1>things are happening in the most brightly lit possible places. Yeah,

0:23:21.840 --> 0:23:24.280
<v Speaker 1>the whole movie. I feel like maybe a lot of

0:23:24.280 --> 0:23:27.119
<v Speaker 1>his work is just very like suspended ten, Like what

0:23:27.200 --> 0:23:30.119
<v Speaker 1>if suspended tension had like no payoff, you know what

0:23:30.160 --> 0:23:32.680
<v Speaker 1>I mean. You're really like on the edge of your

0:23:32.680 --> 0:23:34.920
<v Speaker 1>seat for kind of nothing a lot of the time.

0:23:35.119 --> 0:23:38.959
<v Speaker 1>And that is you know, part of the gag. But

0:23:39.040 --> 0:23:41.240
<v Speaker 1>I I mean, I I fell asleep. I will not

0:23:41.320 --> 0:23:43.320
<v Speaker 1>lie because this was last night and I am but

0:23:43.359 --> 0:23:45.800
<v Speaker 1>I but when as soon as she finds as soon

0:23:45.840 --> 0:23:49.320
<v Speaker 1>as she's like, you know, she's like Rita, your friend, Rita,

0:23:49.560 --> 0:23:52.000
<v Speaker 1>you know, And and she finds out that like Rita's not.

0:23:52.119 --> 0:23:54.880
<v Speaker 1>That's when I was just like, oh, I understand, kind

0:23:54.920 --> 0:23:57.600
<v Speaker 1>of like the people always say in Hollywood, They're like,

0:23:57.600 --> 0:23:59.920
<v Speaker 1>what's the engine of this thing? Like, what's the engine?

0:24:00.200 --> 0:24:03.720
<v Speaker 1>And I feel like a lot of the movie was

0:24:03.800 --> 0:24:07.240
<v Speaker 1>like disinterested, I guess, in the engine and more interested

0:24:07.280 --> 0:24:10.119
<v Speaker 1>in like the characters and like the dream state of

0:24:10.119 --> 0:24:14.040
<v Speaker 1>it all and the vibe. Yeah about the vibes. Yeah, Well,

0:24:14.080 --> 0:24:19.320
<v Speaker 1>she names herself Rita after looking up at that poster

0:24:20.080 --> 0:24:24.960
<v Speaker 1>of Rita Hayworth and Gilda, which I also watched recently

0:24:25.040 --> 0:24:29.199
<v Speaker 1>for the first time, which is another movie about a

0:24:29.240 --> 0:24:32.560
<v Speaker 1>beautiful woman with great hair who is pretending to be

0:24:32.720 --> 0:24:37.760
<v Speaker 1>somebody she's not. So Lynch is kind of put in

0:24:37.840 --> 0:24:41.440
<v Speaker 1>it right in your face with the there is a woman,

0:24:41.880 --> 0:24:45.960
<v Speaker 1>and she's beautiful, and she's not what she seems to be,

0:24:47.000 --> 0:24:52.040
<v Speaker 1>and that alone is sort of the seed of what

0:24:52.320 --> 0:24:56.680
<v Speaker 1>made the femme fatale back in you know, the forties

0:24:56.680 --> 0:25:01.119
<v Speaker 1>and fifties, This idea of a woman who is tricking

0:25:01.240 --> 0:25:07.080
<v Speaker 1>you and she seems to be in control, but she's

0:25:07.280 --> 0:25:12.840
<v Speaker 1>really in trouble. But by the rules and standards of

0:25:12.880 --> 0:25:16.200
<v Speaker 1>the time, all of this is not a great thing

0:25:16.280 --> 0:25:19.120
<v Speaker 1>for a woman to be and quite frequently the fem

0:25:19.200 --> 0:25:23.480
<v Speaker 1>fatals were actually quite masculine, which is I think what

0:25:24.040 --> 0:25:28.200
<v Speaker 1>rendered them fatal in that sense. Even if they didn't

0:25:28.200 --> 0:25:31.439
<v Speaker 1>look masculine, they had these kind of like you know,

0:25:31.720 --> 0:25:37.040
<v Speaker 1>boyish or mannish ways of you know, talking or playing

0:25:37.080 --> 0:25:39.480
<v Speaker 1>people or even just maneuvering, you know, because you were

0:25:39.480 --> 0:25:43.840
<v Speaker 1>so used to seeing a kind of passive, pretty pleasing

0:25:43.920 --> 0:25:46.720
<v Speaker 1>woman at the time. Well, because what's more dangerous than

0:25:46.800 --> 0:25:51.840
<v Speaker 1>a woman who takes some of masculinity for herself cling cloves,

0:25:52.000 --> 0:25:54.199
<v Speaker 1>cling close and fatal attraction or just gland close in

0:25:54.240 --> 0:25:57.760
<v Speaker 1>general or something like that. Well, it's it's interesting because

0:25:58.160 --> 0:26:04.840
<v Speaker 1>mulholland Dry takes Naomi Watts's character Betty slash Diane and

0:26:04.960 --> 0:26:12.199
<v Speaker 1>kind of um dissects a single woman into kind of

0:26:12.200 --> 0:26:14.560
<v Speaker 1>these two ideas of what a woman should be. Instead

0:26:14.600 --> 0:26:17.920
<v Speaker 1>of like the femme fatale, you know, like the Lauren

0:26:17.960 --> 0:26:21.760
<v Speaker 1>Bacall or somebody like that, with like the big shoulders

0:26:21.840 --> 0:26:24.600
<v Speaker 1>and kind of the raspy voice. It's like there's Diane

0:26:24.640 --> 0:26:31.840
<v Speaker 1>Selwyn who's like, you know, a druggy, bitter lesbian that's

0:26:31.840 --> 0:26:38.240
<v Speaker 1>the kind of new fem fatal and then she is um,

0:26:38.320 --> 0:26:41.240
<v Speaker 1>she sublimates or she is split from her she is

0:26:41.240 --> 0:26:46.200
<v Speaker 1>somehow connected to Betty Elms, who's this like sweetest pie

0:26:47.119 --> 0:26:52.560
<v Speaker 1>blonde little bimbo. Well, it's like the two film archetypes.

0:26:52.560 --> 0:26:55.480
<v Speaker 1>It's the ingenue and the fem fatal. And this movie

0:26:55.680 --> 0:27:00.000
<v Speaker 1>is about, I mean about movies, and we talk about

0:27:00.040 --> 0:27:02.040
<v Speaker 1>like how annoyed we are about like stories that are

0:27:02.080 --> 0:27:06.040
<v Speaker 1>about stories and movies that are about But this is

0:27:06.080 --> 0:27:09.880
<v Speaker 1>like about Hollywood and the way that it like rips

0:27:09.920 --> 0:27:12.880
<v Speaker 1>people apart. And I did like do a little like

0:27:13.760 --> 0:27:16.320
<v Speaker 1>reading and like watched a video essay after I watched

0:27:16.320 --> 0:27:19.719
<v Speaker 1>the movie about how it's like about how it's like

0:27:19.880 --> 0:27:25.679
<v Speaker 1>about the idea, like about how Rita is supposed to

0:27:25.720 --> 0:27:29.159
<v Speaker 1>represent the idea of like the casting couch in Hollywood

0:27:29.200 --> 0:27:33.560
<v Speaker 1>and like women who trade their sexuality for success, and

0:27:33.680 --> 0:27:35.800
<v Speaker 1>like I mean, I'm sure this is the thing with

0:27:35.880 --> 0:27:38.919
<v Speaker 1>David Lynch. It's like sure that is an interpretation of

0:27:38.960 --> 0:27:42.600
<v Speaker 1>the movie that if it makes sense to you, like Okay,

0:27:43.080 --> 0:27:46.239
<v Speaker 1>I think there's many other interpretations of this movie. And

0:27:46.280 --> 0:27:47.919
<v Speaker 1>I think there's also a version of it where you

0:27:47.920 --> 0:27:50.280
<v Speaker 1>watch it and you don't interpret it and you just

0:27:50.400 --> 0:27:55.719
<v Speaker 1>take this beautiful fever dream of a film and are like,

0:27:55.840 --> 0:27:57.679
<v Speaker 1>that is a piece of art that I watched and

0:27:57.720 --> 0:28:00.280
<v Speaker 1>that will like linger in my mind for the rest

0:28:00.280 --> 0:28:02.960
<v Speaker 1>of my life, the way that some dreams do, where

0:28:02.960 --> 0:28:07.600
<v Speaker 1>you don't aren't necessarily able to extract any meaning from them,

0:28:08.080 --> 0:28:12.840
<v Speaker 1>but they haunt you forever. Yeah, I think that He's

0:28:12.840 --> 0:28:15.359
<v Speaker 1>like it's almost like David Lynch isn't really interest doesn't

0:28:15.359 --> 0:28:17.520
<v Speaker 1>want it to be interpreted. You know. Well, he has

0:28:17.560 --> 0:28:20.720
<v Speaker 1>said time and time again he's like refused to say

0:28:20.760 --> 0:28:23.680
<v Speaker 1>what the film is really about. But yet on the

0:28:24.280 --> 0:28:27.760
<v Speaker 1>DVD release of the film, there's a bunch of questions

0:28:28.040 --> 0:28:32.200
<v Speaker 1>that he like prompts you with for watching the film,

0:28:32.240 --> 0:28:36.440
<v Speaker 1>and they're all very vague and like ephemeral, and it's

0:28:36.480 --> 0:28:38.840
<v Speaker 1>like it's kind of a troll, which I love. Right now,

0:28:39.360 --> 0:28:42.120
<v Speaker 1>I'm so surprised, I know about that list. It's like

0:28:42.160 --> 0:28:44.320
<v Speaker 1>a ten list thing. It's like the keys to this mystery.

0:28:44.640 --> 0:28:46.840
<v Speaker 1>I'm so surprised that he did that. There's so many

0:28:46.960 --> 0:28:50.480
<v Speaker 1>like silly little nuggets for these art films that you

0:28:50.560 --> 0:28:52.800
<v Speaker 1>can find in the like kind of post y two

0:28:52.880 --> 0:28:56.840
<v Speaker 1>K DVD sort of like extra's industry. He didn't want

0:28:56.840 --> 0:28:58.880
<v Speaker 1>to provide any of that, but it was kind of

0:28:58.920 --> 0:29:02.000
<v Speaker 1>like this nace way of getting it to an audience,

0:29:02.040 --> 0:29:05.640
<v Speaker 1>like command David, just like throw us a bone here, No,

0:29:05.760 --> 0:29:10.520
<v Speaker 1>but he doesn't explain. And you know, right now, I'm

0:29:10.520 --> 0:29:13.640
<v Speaker 1>actually doing this play in New York called Des Moines,

0:29:13.680 --> 0:29:18.840
<v Speaker 1>which is by Dennis Johnson, who's this amazing novelist and

0:29:19.800 --> 0:29:25.000
<v Speaker 1>poet and also playwright. And the play that I'm doing

0:29:25.080 --> 0:29:28.520
<v Speaker 1>right now totally exists in this dream logic that goes

0:29:28.600 --> 0:29:34.480
<v Speaker 1>between realism and naturalism and then total surrealism. And frequently

0:29:35.560 --> 0:29:38.200
<v Speaker 1>we're looking at this text or we were, and we

0:29:38.280 --> 0:29:41.760
<v Speaker 1>don't know what we're saying. And Dennis Johnson is no

0:29:41.800 --> 0:29:44.120
<v Speaker 1>longer with us, so the playwright isn't in the room,

0:29:44.120 --> 0:29:46.120
<v Speaker 1>and this is his last play, so this is kind

0:29:46.160 --> 0:29:48.680
<v Speaker 1>of just like a treasure map that he left us.

0:29:49.160 --> 0:29:51.800
<v Speaker 1>And I think that Mulholland Drive is really fascinating on

0:29:51.840 --> 0:29:56.440
<v Speaker 1>the level of acting too, because you know, particularly Naomi

0:29:56.480 --> 0:30:00.920
<v Speaker 1>Wats's performance, you can see her making choices. She knows

0:30:00.960 --> 0:30:04.040
<v Speaker 1>what she's saying. She probably received the script and said,

0:30:04.080 --> 0:30:07.040
<v Speaker 1>oh my god, like what does this mean? This could

0:30:07.120 --> 0:30:10.360
<v Speaker 1>go any which way? You know, like at the you know,

0:30:10.440 --> 0:30:15.680
<v Speaker 1>like even that repeated line like we don't stop here

0:30:16.360 --> 0:30:18.600
<v Speaker 1>that you know, Laura Maria Harring says at the beginning,

0:30:18.720 --> 0:30:22.520
<v Speaker 1>and I believe Naomi Watts says at the end dialogue

0:30:22.520 --> 0:30:27.160
<v Speaker 1>when that happens, right, like what does that mean? Who's we?

0:30:28.960 --> 0:30:32.760
<v Speaker 1>Why isn't she saying like what's going on? Or like hey? Why?

0:30:32.880 --> 0:30:36.320
<v Speaker 1>It's like what you have to make a choice as

0:30:36.360 --> 0:30:38.280
<v Speaker 1>an actor if you don't know what you're saying, you

0:30:38.320 --> 0:30:39.960
<v Speaker 1>have to choose what you're saying. And you have to

0:30:40.040 --> 0:30:43.480
<v Speaker 1>let the playwright and the filmmaking or the theater making

0:30:43.600 --> 0:30:45.800
<v Speaker 1>or all the other people working on it, they can

0:30:45.840 --> 0:30:48.200
<v Speaker 1>work out the logic. If you know what you're doing,

0:30:49.040 --> 0:30:51.840
<v Speaker 1>then something will read on screen. And I think that

0:30:51.920 --> 0:30:55.680
<v Speaker 1>Mulholland Drive is this impossible alchemy of like Naomi Watt's

0:30:55.680 --> 0:31:00.400
<v Speaker 1>making choices, Laura Maria Harring making choices. I believe Peter Deming,

0:31:00.560 --> 0:31:03.320
<v Speaker 1>the cinematographer, correct me if I'm wrong. That's who did

0:31:03.360 --> 0:31:06.320
<v Speaker 1>Twin Peaks. I hope it's the same person making choices.

0:31:06.480 --> 0:31:11.400
<v Speaker 1>Angelo Battlamenti making choices, Mary Sweeney the editor making choices,

0:31:12.520 --> 0:31:18.480
<v Speaker 1>Tatiana like everybody's making their own choice, and David Lynch

0:31:18.600 --> 0:31:21.800
<v Speaker 1>is just kind of I think like encouraging everybody. I

0:31:21.840 --> 0:31:25.080
<v Speaker 1>think what David Lynch has is a trust of his collaborators.

0:31:25.160 --> 0:31:27.960
<v Speaker 1>I don't think he's this like rigid outer guy. I'm

0:31:28.000 --> 0:31:29.719
<v Speaker 1>sure he knows exactly, you know. I know that he

0:31:29.760 --> 0:31:31.440
<v Speaker 1>knows what he wants, like, you know, down to the

0:31:31.480 --> 0:31:37.240
<v Speaker 1>color of the lipstick and whatever. But it's really this

0:31:37.320 --> 0:31:40.440
<v Speaker 1>multi valenced thing. Even just like talking about it, I'm

0:31:40.440 --> 0:31:43.640
<v Speaker 1>struggling too, because it doesn't do justice to what it

0:31:43.720 --> 0:31:47.440
<v Speaker 1>feels like to watch it, for sure, And I feel

0:31:47.440 --> 0:31:49.880
<v Speaker 1>like you can see the relationships I guess that he

0:31:49.960 --> 0:31:53.000
<v Speaker 1>has with the actors because of like what isn't said

0:31:53.000 --> 0:31:57.200
<v Speaker 1>and what you can't necessarily explicitly parcel. And I think

0:31:57.280 --> 0:31:59.800
<v Speaker 1>that's what gets me so wet about David Lynch in

0:32:00.160 --> 0:32:04.360
<v Speaker 1>Stay in Age because all the content, almost all the

0:32:04.400 --> 0:32:07.560
<v Speaker 1>content that we're kind of presented, you know, in the

0:32:07.600 --> 0:32:11.200
<v Speaker 1>age of like peak streaming TV, it's all so on

0:32:11.240 --> 0:32:16.719
<v Speaker 1>the surface, it's all so recappable. It's also let's like

0:32:17.280 --> 0:32:20.680
<v Speaker 1>find the memes and all the Easter egg yeah, recap

0:32:20.760 --> 0:32:24.080
<v Speaker 1>reboot memes, yeah, all that stuff. You know, everything has

0:32:24.080 --> 0:32:27.360
<v Speaker 1>to mean something, everything has to be plucked out right,

0:32:27.440 --> 0:32:30.440
<v Speaker 1>and like, you know, I watch all those YouTube videos too,

0:32:30.480 --> 0:32:33.920
<v Speaker 1>But it's like the economy of like meaning on YouTube

0:32:33.960 --> 0:32:37.200
<v Speaker 1>and how people can build entire careers on pointing at

0:32:37.240 --> 0:32:39.120
<v Speaker 1>something and saying what it means. I know, I'm going

0:32:39.160 --> 0:32:48.040
<v Speaker 1>to make a YouTube video about that here. Yeah, I mean,

0:32:48.200 --> 0:32:52.080
<v Speaker 1>you know, pardon my non binary vibes, but I'm just like,

0:32:52.360 --> 0:32:57.840
<v Speaker 1>does it all need to be explained? Can can we

0:32:57.960 --> 0:33:02.280
<v Speaker 1>chew on a little fucking mystery bag? Like? Can can?

0:33:02.320 --> 0:33:05.080
<v Speaker 1>Can we sit with a question mark? Can we sit

0:33:05.160 --> 0:33:08.560
<v Speaker 1>on it? What happened to mystery? It's very I feel

0:33:08.560 --> 0:33:12.200
<v Speaker 1>like Lexie Featherston just like about to fall out that window,

0:33:12.360 --> 0:33:17.960
<v Speaker 1>like nobody, why where's mystery? Nobody wants to have fun anymore? Well,

0:33:18.200 --> 0:33:21.400
<v Speaker 1>Charlotte famously says in season one that it's important to

0:33:21.440 --> 0:33:25.080
<v Speaker 1>remain a creature of miss. I think that's after Carrie farted.

0:33:27.400 --> 0:33:47.600
<v Speaker 1>Probably what did you make of the Lesbian? Could you

0:33:47.640 --> 0:33:51.960
<v Speaker 1>even call it that? I sapphic, but I also felt

0:33:52.080 --> 0:33:55.520
<v Speaker 1>like it was not. I think if that movie came

0:33:55.520 --> 0:33:58.720
<v Speaker 1>out today, there would be like a them dot Us

0:33:59.080 --> 0:34:02.640
<v Speaker 1>cover about it. There would be like it would there

0:34:02.640 --> 0:34:05.920
<v Speaker 1>would be so much extracted from that and in fact,

0:34:06.080 --> 0:34:08.520
<v Speaker 1>like what I thought about it in in the movie

0:34:08.719 --> 0:34:11.719
<v Speaker 1>is that in the story that it's telling, Like it's

0:34:11.760 --> 0:34:16.440
<v Speaker 1>such a logical conclusion of what these women are experiencing together, yes,

0:34:16.480 --> 0:34:21.080
<v Speaker 1>which is that they are like this. They become immediately

0:34:21.080 --> 0:34:23.880
<v Speaker 1>obsessed with each other and they are like ciphers of

0:34:23.880 --> 0:34:27.160
<v Speaker 1>each other and there's this like doubling and doppelgangering, and

0:34:27.200 --> 0:34:29.960
<v Speaker 1>of course the logical conclusion is that they fuck. And

0:34:30.000 --> 0:34:33.399
<v Speaker 1>it's not about like are they queer, like what are

0:34:33.440 --> 0:34:37.640
<v Speaker 1>the political implications of it? It just like it's there's

0:34:37.719 --> 0:34:41.120
<v Speaker 1>all the this energy swirling around them, and the logical

0:34:41.160 --> 0:34:43.520
<v Speaker 1>conclusion is that they fuck because they're obsessed with each other.

0:34:43.600 --> 0:34:47.200
<v Speaker 1>I mean, you know that that famous line that Betty says,

0:34:47.360 --> 0:34:51.080
<v Speaker 1>I want to with you. That's like the pansexual anthem

0:34:53.120 --> 0:34:58.239
<v Speaker 1>to with you. It's not about gender, it's about you,

0:34:58.440 --> 0:35:03.200
<v Speaker 1>about you baby. And then the end of the movie

0:35:03.360 --> 0:35:06.800
<v Speaker 1>is kind of like okay, like what might the real

0:35:06.880 --> 0:35:11.919
<v Speaker 1>world implications of this be? And it's like, i mean,

0:35:11.960 --> 0:35:16.640
<v Speaker 1>like fascinating, but almost less interesting to me than that

0:35:17.320 --> 0:35:21.520
<v Speaker 1>like ecstatic moment of them fucking when it's just like

0:35:21.600 --> 0:35:25.400
<v Speaker 1>this has to happen. Yeah, it's that it's that moment

0:35:25.480 --> 0:35:30.359
<v Speaker 1>where it's revealed to them. It's it's after they come

0:35:30.360 --> 0:35:33.439
<v Speaker 1>back from Club Sencia. So they've just had this like

0:35:34.160 --> 0:35:39.040
<v Speaker 1>supernatural surreal reckoning that nothing is real and that there

0:35:39.160 --> 0:35:43.920
<v Speaker 1>is no band, there is no god, there is no

0:35:44.760 --> 0:35:47.040
<v Speaker 1>could you know, there's no man behind the curtains, there's

0:35:47.040 --> 0:35:51.040
<v Speaker 1>no man behind the curtain, there's there's there's no engine.

0:35:51.160 --> 0:35:55.280
<v Speaker 1>I mean, it's it's almost kind of like a godlessness

0:35:55.440 --> 0:35:58.799
<v Speaker 1>and a nihilism. It's like, you know, what else do

0:35:58.880 --> 0:36:01.480
<v Speaker 1>we have in this moment but each other? What else

0:36:01.520 --> 0:36:07.480
<v Speaker 1>can we consume in like get inside but each other? Um?

0:36:08.040 --> 0:36:12.040
<v Speaker 1>You know. I mean I think that that's very reflective

0:36:12.080 --> 0:36:14.960
<v Speaker 1>of like what sex is and what can make it

0:36:15.040 --> 0:36:17.600
<v Speaker 1>really cool. But it's not a version of sex you

0:36:17.640 --> 0:36:22.279
<v Speaker 1>often see in the movies because sex is often used

0:36:22.320 --> 0:36:26.440
<v Speaker 1>for plot, and we all know that plot is not

0:36:26.520 --> 0:36:31.320
<v Speaker 1>the thing here. Yes, sex is vibe. That really is it.

0:36:31.440 --> 0:36:34.759
<v Speaker 1>It's not plot driven sex. It's no, it's it is

0:36:34.800 --> 0:36:39.239
<v Speaker 1>the vibe. Well, I love that. I want to have

0:36:39.480 --> 0:36:46.280
<v Speaker 1>just non plot driven viby sex. I'm having viby sex

0:36:46.320 --> 0:36:50.440
<v Speaker 1>that is not plot driven. Plotless sex is Yeah, that

0:36:50.640 --> 0:36:52.800
<v Speaker 1>is the vibe. I guess I kind of am two.

0:36:53.600 --> 0:36:56.480
<v Speaker 1>I had sex in an office stairwell last way. Oh,

0:36:57.640 --> 0:37:00.720
<v Speaker 1>that's kind of plot driven on his bike, on his break,

0:37:00.800 --> 0:37:04.840
<v Speaker 1>that's very plot driven, honestly. No, but it wasn't. But

0:37:04.920 --> 0:37:10.880
<v Speaker 1>it wasn't the cracked smile. We just saw that the

0:37:11.160 --> 0:37:17.440
<v Speaker 1>that the visions cannot see. Anyways. So you're a theater

0:37:17.520 --> 0:37:20.600
<v Speaker 1>girl now, yeah, in and out of the theater. Okay.

0:37:20.600 --> 0:37:23.239
<v Speaker 1>So what's the next project for you? Um? The next

0:37:23.239 --> 0:37:29.399
<v Speaker 1>project is UM the Seagull Oh my god. Yeah, it's

0:37:29.440 --> 0:37:32.759
<v Speaker 1>an adaptation of The Seagull by Thomas Bradshaw. It's called

0:37:32.760 --> 0:37:38.000
<v Speaker 1>The Seagull Woodstock, New York and it's at the New

0:37:38.080 --> 0:37:42.799
<v Speaker 1>Group at the Pershing Square Signature Center on forty second Street. Um.

0:37:42.960 --> 0:37:45.800
<v Speaker 1>I'm playing the role of Sasha, which is a version

0:37:46.080 --> 0:37:52.160
<v Speaker 1>of the original Masha. Um. Parker Posey is playing the irena.

0:37:52.360 --> 0:37:59.840
<v Speaker 1>Oh my god, Party Girls Unite absolutely. Nat Wolf is

0:38:00.080 --> 0:38:04.319
<v Speaker 1>playing the Constantine character who I'm in love with my

0:38:04.360 --> 0:38:10.839
<v Speaker 1>friend Patrick Foley from Fake Friends, that amazing queer theater collective.

0:38:11.520 --> 0:38:14.839
<v Speaker 1>He is, you know, playing the guy who's in love

0:38:14.920 --> 0:38:16.920
<v Speaker 1>with me and I hate him and then I marry

0:38:16.960 --> 0:38:21.680
<v Speaker 1>him spoiler alert. So I'm super excited for that. And

0:38:21.760 --> 0:38:24.840
<v Speaker 1>that goes until April ninth. I think the performances start

0:38:25.440 --> 0:38:28.640
<v Speaker 1>like the first or second week in February, so that's

0:38:28.680 --> 0:38:31.640
<v Speaker 1>what I'm here doing. And then after that it'll be

0:38:32.840 --> 0:38:36.000
<v Speaker 1>you know, May or April or whatever. I don't know.

0:38:36.040 --> 0:38:38.799
<v Speaker 1>I have stuff coming out. The Idol on HBO will

0:38:38.840 --> 0:38:42.360
<v Speaker 1>be coming out, which I'm in. I did an episode

0:38:42.360 --> 0:38:46.920
<v Speaker 1>of this anthology series on Apple called Extrapolations, which is

0:38:46.960 --> 0:38:51.560
<v Speaker 1>basically Black Mirror but with climate change and celebrities. Okay,

0:38:52.000 --> 0:38:54.600
<v Speaker 1>I am not one of those celebrities. Was made very

0:38:54.680 --> 0:39:02.000
<v Speaker 1>clear to me when we were shooting. I shot this

0:39:02.080 --> 0:39:09.320
<v Speaker 1>episode with Marianne Cotillard, Forrest Whitaker, Toby Maguire, and Asa Gonzalez,

0:39:09.360 --> 0:39:12.279
<v Speaker 1>and it was and while we were shooting it, they

0:39:12.360 --> 0:39:16.640
<v Speaker 1>like announced the four of them and not me. It

0:39:16.719 --> 0:39:18.319
<v Speaker 1>was like wow, we were shooting. I was just like

0:39:18.360 --> 0:39:20.400
<v Speaker 1>I saw the announcement. I was like, oh work. They

0:39:20.400 --> 0:39:22.400
<v Speaker 1>did announced me later in like a larger one with

0:39:22.440 --> 0:39:26.440
<v Speaker 1>other people, but I was I was like, oh work. Um,

0:39:26.680 --> 0:39:29.680
<v Speaker 1>so like that'll come out at some point and then

0:39:30.000 --> 0:39:35.320
<v Speaker 1>you know, the pink Elephant. Come on, Barbie, let's go pretty.

0:39:36.239 --> 0:39:40.760
<v Speaker 1>Don't say that. I am in the Barbie movie, which

0:39:40.840 --> 0:39:43.880
<v Speaker 1>will be coming out on July twenty first, and you're not.

0:39:45.880 --> 0:39:47.800
<v Speaker 1>Isn't that when it comes out? I don't know. Is

0:39:47.840 --> 0:39:50.000
<v Speaker 1>it twenty third? I think it's twenty first. No, No,

0:39:50.040 --> 0:39:55.600
<v Speaker 1>it's the day Oppenheimer comes out, Barbenheimer and Pink Pink Elephant.

0:39:55.600 --> 0:39:58.440
<v Speaker 1>I assume you're not yet ready to talk about it

0:39:58.520 --> 0:40:01.279
<v Speaker 1>press wise, you're not in the press her Barbie, So

0:40:01.560 --> 0:40:03.880
<v Speaker 1>I'm not on the press drunket, but you know everybody,

0:40:03.920 --> 0:40:06.879
<v Speaker 1>everybody gets asked about it. Yeah, and you know it's

0:40:07.160 --> 0:40:11.359
<v Speaker 1>it's always a sound bite. Very yeah. I mean there's

0:40:11.719 --> 0:40:16.120
<v Speaker 1>actually still so little about the final product that I know.

0:40:16.200 --> 0:40:20.640
<v Speaker 1>I haven't seen anything. I know what I shot, and

0:40:20.719 --> 0:40:27.239
<v Speaker 1>I know what the script is, and I'm so excited

0:40:27.840 --> 0:40:31.640
<v Speaker 1>to see it. Yeah. Yeah, that trailer got me very hype.

0:40:32.000 --> 0:40:35.080
<v Speaker 1>It's wild. Yeah, I got you hype. Could never could

0:40:35.080 --> 0:40:37.319
<v Speaker 1>never be predicted. Like, I feel like there's so much

0:40:37.320 --> 0:40:40.120
<v Speaker 1>about it where you're just like you you don't understand,

0:40:40.160 --> 0:40:42.239
<v Speaker 1>you don't really know what you're you're getting going into

0:40:42.280 --> 0:40:44.319
<v Speaker 1>the movie, but you think you have an idea. And

0:40:44.440 --> 0:40:46.040
<v Speaker 1>I don't think that's what the movie is going to serve.

0:40:46.040 --> 0:40:47.439
<v Speaker 1>I hope, what do you think it's going to serve?

0:40:47.840 --> 0:40:51.000
<v Speaker 1>I think it's gonna serve like fucking weird, Like I hope,

0:40:51.120 --> 0:40:53.680
<v Speaker 1>like I hope it's weird, and I hope it's like

0:40:54.520 --> 0:40:57.520
<v Speaker 1>I don't know not to I don't know. I think

0:40:57.520 --> 0:41:00.319
<v Speaker 1>I just like was I think the movie helped very

0:41:00.360 --> 0:41:03.279
<v Speaker 1>unserious and very willing to make fun of one of

0:41:03.320 --> 0:41:06.040
<v Speaker 1>the most recognizable entities on the planet. And I thought

0:41:06.080 --> 0:41:08.120
<v Speaker 1>I didn't know that that was going to happen because

0:41:08.160 --> 0:41:14.160
<v Speaker 1>it's Coprode with Mattel. Yeah, that's exactly what it is. Yeah,

0:41:14.320 --> 0:41:20.839
<v Speaker 1>Mattel gave Greta and Noah and us a lot of freedom.

0:41:20.880 --> 0:41:26.920
<v Speaker 1>They really trusted us to go there. I think, knowing

0:41:27.160 --> 0:41:30.600
<v Speaker 1>that we would have to go there in order to

0:41:30.640 --> 0:41:35.480
<v Speaker 1>make a film about this doll, this idea of a woman,

0:41:35.640 --> 0:41:38.560
<v Speaker 1>this with this loaded history, how do we make sense

0:41:38.560 --> 0:41:43.400
<v Speaker 1>of this in the present? I think they knew the

0:41:43.600 --> 0:41:47.000
<v Speaker 1>envelope had to be pushed in order for it to

0:41:47.480 --> 0:41:53.080
<v Speaker 1>you know, quite frankly sell. And that's what we did.

0:41:53.440 --> 0:41:55.719
<v Speaker 1>I mean, that's so refreshing in the world of like

0:41:56.239 --> 0:42:00.160
<v Speaker 1>existing ip and everyone being so precious about how you

0:42:00.160 --> 0:42:02.840
<v Speaker 1>get to play with the toys and in what sandbox

0:42:02.960 --> 0:42:07.160
<v Speaker 1>Like it sounds like the box was maybe a little bigger, dirtier,

0:42:07.239 --> 0:42:12.120
<v Speaker 1>or whatever, dirtier, I don't know, but bigger certainly. I mean,

0:42:12.160 --> 0:42:15.520
<v Speaker 1>I think it is going to be. It's it's not

0:42:15.640 --> 0:42:20.920
<v Speaker 1>like a squeaky clean thing for all ages, I imagine.

0:42:20.920 --> 0:42:23.279
<v Speaker 1>I think all ages can enjoy it, but it's definitely

0:42:24.360 --> 0:42:27.760
<v Speaker 1>there are definitely adult ideas and adult themes and adult

0:42:27.880 --> 0:42:34.800
<v Speaker 1>vibes in it that will hopefully play to a wide audience.

0:42:34.880 --> 0:42:37.480
<v Speaker 1>I thought about drag Race a lot when I was

0:42:37.520 --> 0:42:39.600
<v Speaker 1>shooting it. No way, Yeah, it was kind of like

0:42:39.640 --> 0:42:44.279
<v Speaker 1>Greta gerwigs drag Race and you were you a contestine

0:42:44.360 --> 0:42:48.360
<v Speaker 1>or you know, because I'm there for like sixteen hours

0:42:48.360 --> 0:42:51.120
<v Speaker 1>a day, I've got this wig on my head, I'm

0:42:51.120 --> 0:42:54.279
<v Speaker 1>painted from hedge of how I'm singed, and you know,

0:42:54.320 --> 0:42:57.720
<v Speaker 1>today it's a comedy challenge. Today, it's an acting challenge. Today,

0:42:57.719 --> 0:43:03.920
<v Speaker 1>it's a dance challenge today, um, not a sewing challenge.

0:43:04.080 --> 0:43:07.880
<v Speaker 1>But it was very much I kind of had to

0:43:07.920 --> 0:43:12.120
<v Speaker 1>do everything I had ever learned how to do. Ever,

0:43:12.400 --> 0:43:17.160
<v Speaker 1>going back to when I was five, and I don't know,

0:43:18.320 --> 0:43:22.120
<v Speaker 1>I thought a lot about like RuPaul when I was

0:43:22.200 --> 0:43:24.480
<v Speaker 1>making the film, and about like what he says on

0:43:24.600 --> 0:43:27.040
<v Speaker 1>drag Race, what he encourages the girls to do, like

0:43:27.440 --> 0:43:30.239
<v Speaker 1>to act the fool and to let it all hang

0:43:30.320 --> 0:43:33.640
<v Speaker 1>out and to not take yourself so seriously and to

0:43:33.719 --> 0:43:39.920
<v Speaker 1>make grew laugh and Greta would laugh. She was like

0:43:40.080 --> 0:43:42.480
<v Speaker 1>she would be holding it in and you would just

0:43:42.600 --> 0:43:47.640
<v Speaker 1>hear this, and that's how you knew. We started saying

0:43:47.680 --> 0:43:51.080
<v Speaker 1>this thing after every take. I forget where this came from,

0:43:51.120 --> 0:43:55.879
<v Speaker 1>but it was all about, um, mommy, say you like it. Mommy,

0:43:55.920 --> 0:43:58.880
<v Speaker 1>say you like it, Mommy, say you like it. That's that,

0:43:59.000 --> 0:44:02.200
<v Speaker 1>That's what we used to say. That's so funny, her mother.

0:44:02.840 --> 0:44:07.000
<v Speaker 1>I mean, you know, it's when you have all the

0:44:07.080 --> 0:44:11.200
<v Speaker 1>power of like you know, the Warner Brothers, you know,

0:44:11.320 --> 0:44:14.000
<v Speaker 1>hair and makeup and costume department behind you. Shout out

0:44:14.000 --> 0:44:16.800
<v Speaker 1>to Jacqueline Duran costume designer, shout out too if on

0:44:16.880 --> 0:44:19.080
<v Speaker 1>a Primeriic hair and makeup designer. When you have all

0:44:19.200 --> 0:44:22.960
<v Speaker 1>that behind you and on you, you can act really foolish.

0:44:22.960 --> 0:44:29.279
<v Speaker 1>And so yeah, true, yeah, no, it's it's that movie

0:44:29.320 --> 0:44:32.480
<v Speaker 1>took everything I had. It was exhausted. It was two

0:44:32.600 --> 0:44:35.960
<v Speaker 1>like two and a half plus months, and like, you know,

0:44:36.160 --> 0:44:38.479
<v Speaker 1>it's like I'm not even like the biggest role in it.

0:44:38.480 --> 0:44:39.880
<v Speaker 1>It's like I'm kind of like it's like I'm in

0:44:39.880 --> 0:44:45.480
<v Speaker 1>a bunch of scenes I like, show up like surf gunt,

0:44:46.480 --> 0:44:50.440
<v Speaker 1>but say a couple funny things. You know. It's it's

0:44:50.440 --> 0:44:54.720
<v Speaker 1>a big ensemble piece. It's it's it's far and wide,

0:44:54.960 --> 0:44:58.400
<v Speaker 1>and you know, I don't know how it's going to

0:44:58.480 --> 0:45:02.759
<v Speaker 1>turn out in the edit, but I've heard that there

0:45:02.920 --> 0:45:05.960
<v Speaker 1>is a version. Greta came to my play and she

0:45:06.040 --> 0:45:09.240
<v Speaker 1>said that there is a cut now that she likes.

0:45:09.280 --> 0:45:12.439
<v Speaker 1>And I think that test screenings are going to start soon,

0:45:12.480 --> 0:45:15.319
<v Speaker 1>which like the very idea that petrifies me. And I

0:45:15.360 --> 0:45:17.719
<v Speaker 1>don't know. I'm just like I'm trying to just treat

0:45:17.719 --> 0:45:20.600
<v Speaker 1>it like this job I did, Like I don't want

0:45:20.600 --> 0:45:23.800
<v Speaker 1>to get caught up in the hype. I believe nothing

0:45:23.840 --> 0:45:26.360
<v Speaker 1>beautiful can bloom in the hype. In the light of

0:45:26.400 --> 0:45:29.560
<v Speaker 1>the hype. I just want to hope for the best.

0:45:30.160 --> 0:45:32.839
<v Speaker 1>It's very Hollywood of you. Well, I don't know. I mean,

0:45:32.880 --> 0:45:34.520
<v Speaker 1>like there's been so many times where I thought something

0:45:34.560 --> 0:45:35.840
<v Speaker 1>was going to come out and change my life and

0:45:35.840 --> 0:45:37.560
<v Speaker 1>it totally flopped and then nothing changed and I was

0:45:37.600 --> 0:45:40.880
<v Speaker 1>back in the breadline. You know, Like that's Hollywood is

0:45:40.920 --> 0:45:43.040
<v Speaker 1>like You're like, it's going to change and then everything's

0:45:43.320 --> 0:45:45.759
<v Speaker 1>the same, but it took like three years to get

0:45:45.760 --> 0:45:48.480
<v Speaker 1>to the climax of whatever you thought the change was

0:45:48.520 --> 0:45:51.319
<v Speaker 1>going to be because Hollywood runways are so long. And

0:45:51.360 --> 0:45:55.279
<v Speaker 1>then you're Diane at the end of Mulholland paying to

0:45:55.360 --> 0:46:00.000
<v Speaker 1>have your lover killed. Okay, wait, so I didn't get

0:46:00.040 --> 0:46:04.399
<v Speaker 1>through the end. Someone dies at the end? Um, you're

0:46:04.440 --> 0:46:07.719
<v Speaker 1>not gonna tell me, no, But it's like, it's who. Well, yes,

0:46:08.120 --> 0:46:11.080
<v Speaker 1>I mean, yes, someone does die at the end, one

0:46:11.080 --> 0:46:14.319
<v Speaker 1>of the women. But does she I don't know? Bury

0:46:14.360 --> 0:46:17.719
<v Speaker 1>your gays? Wow, I mean, do you actually want to

0:46:17.960 --> 0:46:20.080
<v Speaker 1>It doesn't I can't even even giving you the plot

0:46:20.080 --> 0:46:22.799
<v Speaker 1>details doesn't really mean anything. It's the same thing. It's

0:46:22.800 --> 0:46:25.000
<v Speaker 1>like if I told you who killed Laura Palmer, It's

0:46:25.040 --> 0:46:28.399
<v Speaker 1>like that wouldn't really doesn't really, I don't even matter.

0:46:28.440 --> 0:46:32.359
<v Speaker 1>I don't remember who killed. There're certain plot things like

0:46:32.400 --> 0:46:35.360
<v Speaker 1>that that I kind of just choose not to accept

0:46:35.360 --> 0:46:38.520
<v Speaker 1>in certain things, like I don't accept that Carry ended

0:46:38.600 --> 0:46:41.359
<v Speaker 1>up with Big not really. Oh, who do you think

0:46:41.400 --> 0:46:43.239
<v Speaker 1>she should have ended up with? Yeah? No, no, it's

0:46:43.280 --> 0:46:45.759
<v Speaker 1>not a who. It's like she could have ended up

0:46:45.800 --> 0:46:47.719
<v Speaker 1>with any of them. She could have ended up with none.

0:46:47.719 --> 0:46:50.880
<v Speaker 1>Of them, you know, like, do I believe that in

0:46:50.960 --> 0:46:55.720
<v Speaker 1>like the spiritual truth of twin peaks that spoiler alert,

0:46:55.960 --> 0:47:00.919
<v Speaker 1>like Leland Palmer killed Laura Palmer. Like, no, not necessarily,

0:47:01.040 --> 0:47:04.000
<v Speaker 1>because that's not what the show's about. Sex and the

0:47:04.000 --> 0:47:09.000
<v Speaker 1>City isn't about Carrie finding true love. It's about her

0:47:09.560 --> 0:47:13.560
<v Speaker 1>looking for it, and that's what's so interesting about the show.

0:47:13.800 --> 0:47:19.000
<v Speaker 1>And it's about four girls and the and the city

0:47:19.080 --> 0:47:24.960
<v Speaker 1>being the fifth character or Stanford is the only real character,

0:47:25.920 --> 0:47:29.560
<v Speaker 1>and the other four girls are dreams. I was listening

0:47:29.760 --> 0:47:35.160
<v Speaker 1>to another podcast the other day where somebody said that

0:47:35.400 --> 0:47:40.040
<v Speaker 1>Sex and the City is about like four gay men

0:47:40.239 --> 0:47:43.800
<v Speaker 1>living the gay lifestyle and it's just like women. Yeah,

0:47:43.840 --> 0:47:47.960
<v Speaker 1>oh that's absolutely that's you know, like the Darren star

0:47:48.120 --> 0:47:52.040
<v Speaker 1>Michael Patrick King fantasy Yeah avatars, Yeah, for like what

0:47:52.320 --> 0:47:54.400
<v Speaker 1>a lot of like gay men were living out because

0:47:54.600 --> 0:47:58.000
<v Speaker 1>it's like if six hetero women were fags. Literally, I

0:47:58.040 --> 0:48:03.239
<v Speaker 1>mean that's like part of why it was. But that's

0:48:03.280 --> 0:48:05.680
<v Speaker 1>like why it was amazing, because like you were watching

0:48:06.120 --> 0:48:08.760
<v Speaker 1>like women have sex in ways that you had never

0:48:08.840 --> 0:48:11.200
<v Speaker 1>seen before, at least in those first few seasons where

0:48:11.200 --> 0:48:13.360
<v Speaker 1>you were just like, yeah, what like women fucking like

0:48:13.520 --> 0:48:16.799
<v Speaker 1>gay men well, the first episodes, literally Carris columnists. Can

0:48:16.840 --> 0:48:19.840
<v Speaker 1>women have sex like men? Like? That is the premise

0:48:19.920 --> 0:48:24.240
<v Speaker 1>of the whole show. And you know what we can

0:48:23.560 --> 0:48:31.920
<v Speaker 1>we have and we will continue to meland. Okay, the

0:48:31.960 --> 0:48:36.279
<v Speaker 1>trans reclamation of Fire Island is a thing as of

0:48:36.360 --> 0:48:38.719
<v Speaker 1>last summer. Can we talk about that? Okay? No? No,

0:48:38.800 --> 0:48:42.560
<v Speaker 1>Like I first started coming there, I leaned into the mice. Yeah,

0:48:42.680 --> 0:48:46.080
<v Speaker 1>little asmr. I first started coming to Fire Island like

0:48:46.200 --> 0:48:50.560
<v Speaker 1>three summers ago, and I was just like, I am

0:48:50.680 --> 0:48:55.120
<v Speaker 1>going to plant my flag on this gay island because

0:48:55.160 --> 0:48:59.040
<v Speaker 1>I belong here. I Am going to like party like

0:48:59.120 --> 0:49:01.680
<v Speaker 1>these gays. I'm going to have sex like these gays.

0:49:02.120 --> 0:49:05.360
<v Speaker 1>I'm going to like rent beautiful homes like these gays,

0:49:05.400 --> 0:49:07.879
<v Speaker 1>because like I belong here. The spirits are telling me

0:49:08.280 --> 0:49:11.600
<v Speaker 1>that I belong here. I'm supposed to be here. And

0:49:11.719 --> 0:49:15.320
<v Speaker 1>it's not just me, it's the dolls, the dolls. Where

0:49:15.360 --> 0:49:17.160
<v Speaker 1>are the dolls. I know where the dolls are. The

0:49:17.200 --> 0:49:20.320
<v Speaker 1>dolls can't afford to pay these like crazy rental prices.

0:49:20.360 --> 0:49:24.080
<v Speaker 1>So I'm like, if there's if there's anywhere where I'm

0:49:24.120 --> 0:49:27.160
<v Speaker 1>like willing to admit that I am like nakedly social

0:49:27.160 --> 0:49:31.400
<v Speaker 1>climbing and flying to it is Fire Island. Yes, you

0:49:31.480 --> 0:49:33.759
<v Speaker 1>have to do some wealthy people there so that we

0:49:33.800 --> 0:49:35.840
<v Speaker 1>can import you know, we need like a doll invasion

0:49:35.960 --> 0:49:40.560
<v Speaker 1>of Fire Island. We need to become the wealthy people. No,

0:49:41.040 --> 0:49:46.080
<v Speaker 1>because there's there's there's like a like, yeah, sub population

0:49:46.280 --> 0:49:48.400
<v Speaker 1>of like broke twins who just got to be on

0:49:48.480 --> 0:49:51.640
<v Speaker 1>Fire Island all summer and and they inherit it or

0:49:51.680 --> 0:49:55.120
<v Speaker 1>they fucked someone's daddy or whatever, you know, yeah, or no,

0:49:55.200 --> 0:49:59.879
<v Speaker 1>like they got brought out there for sex. Like right,

0:50:00.239 --> 0:50:03.960
<v Speaker 1>I would love to create that or help to create

0:50:04.000 --> 0:50:06.600
<v Speaker 1>that for the dolls. And I'm and I'm literally like

0:50:06.640 --> 0:50:10.160
<v Speaker 1>marching around to all these houses being like have you

0:50:10.200 --> 0:50:22.440
<v Speaker 1>ever listened to Ethel? I'm like you're like you're witness Noine.

0:50:23.840 --> 0:50:26.160
<v Speaker 1>But but I'm also just like running around and you know,

0:50:26.280 --> 0:50:29.000
<v Speaker 1>like I met um somebody who I dated for several months.

0:50:29.000 --> 0:50:30.759
<v Speaker 1>Since you're like in a pool and Fire Island, It's

0:50:30.760 --> 0:50:33.319
<v Speaker 1>like I'm planting that blag too. I'm like, y'all can

0:50:33.480 --> 0:50:35.319
<v Speaker 1>like got with the dolls too. It's like it's like

0:50:35.360 --> 0:50:37.120
<v Speaker 1>we're we're fun too. Like this is like like like

0:50:37.320 --> 0:50:39.319
<v Speaker 1>we're a part of this too. It's like I don't know,

0:50:39.880 --> 0:50:50.120
<v Speaker 1>I really feel like that place is the platonic, spiritual,

0:50:51.600 --> 0:50:54.520
<v Speaker 1>explosive ideal of what that place is supposed to be.

0:50:54.880 --> 0:50:59.160
<v Speaker 1>Imagine when everybody is there, Yes, you know, you can

0:50:59.200 --> 0:51:03.279
<v Speaker 1>really see that on BAFO weekend. BAFO is this arts

0:51:03.400 --> 0:51:06.920
<v Speaker 1>organization that does this series of residencies all somewhere on

0:51:06.920 --> 0:51:09.600
<v Speaker 1>Fire Island, and in August they have this performance festival

0:51:09.640 --> 0:51:14.600
<v Speaker 1>there and their programming is diverse and obviously queer centered,

0:51:14.640 --> 0:51:17.960
<v Speaker 1>and like everybody comes out for this weekend and you

0:51:18.000 --> 0:51:21.160
<v Speaker 1>see a crowd that is more racially diverse, socioeconomically diverse,

0:51:21.280 --> 0:51:24.759
<v Speaker 1>gender diverse, and everybody's there and like, those are the

0:51:24.800 --> 0:51:27.720
<v Speaker 1>people at the fancy house parties, those are the people

0:51:27.840 --> 0:51:31.280
<v Speaker 1>on the beach ascending, those are the people at the club.

0:51:31.360 --> 0:51:34.080
<v Speaker 1>And it doesn't usually look like that. It's usually just

0:51:34.160 --> 0:51:36.400
<v Speaker 1>like I'm hanging with the white gays and like kumbaya.

0:51:36.920 --> 0:51:40.439
<v Speaker 1>But when it does look like that, it's literally like

0:51:41.239 --> 0:51:43.879
<v Speaker 1>the most beautiful thing I've ever seen. It's paradise. I'm

0:51:43.920 --> 0:51:46.279
<v Speaker 1>all in. It's like we said this when after we

0:51:46.360 --> 0:51:50.320
<v Speaker 1>had this like really lovely like Fire Island summer week

0:51:50.440 --> 0:51:53.440
<v Speaker 1>and after we left, like Rose was like it's crazy

0:51:53.520 --> 0:51:54.880
<v Speaker 1>or I think we were like in the pool and

0:51:55.000 --> 0:51:57.000
<v Speaker 1>Rose was like, it's crazy, how like this is like

0:51:57.040 --> 0:51:59.520
<v Speaker 1>one of the most beautiful places on the planet inhabited

0:51:59.560 --> 0:52:01.759
<v Speaker 1>by some of the worst people alive. Like you know

0:52:01.800 --> 0:52:03.440
<v Speaker 1>what I mean, Like obviously there are a lot of

0:52:03.480 --> 0:52:07.200
<v Speaker 1>amazing people there too, but well, but don't you think

0:52:07.239 --> 0:52:12.680
<v Speaker 1>that that's relative to where our population like like imagine

0:52:12.719 --> 0:52:15.879
<v Speaker 1>if you were in like Easthampton. Sure, yeah it would

0:52:15.920 --> 0:52:19.000
<v Speaker 1>be it would be much worse. But that feeling was

0:52:19.080 --> 0:52:23.480
<v Speaker 1>like so much because of how um how different it

0:52:23.600 --> 0:52:26.920
<v Speaker 1>was this summer when for once, this was the first

0:52:26.920 --> 0:52:28.680
<v Speaker 1>time when we rented a house for a week that

0:52:28.800 --> 0:52:32.200
<v Speaker 1>like we had the house. It wasn't like going and

0:52:32.200 --> 0:52:34.160
<v Speaker 1>staying with someone where they had brought out all the

0:52:34.200 --> 0:52:37.319
<v Speaker 1>people they wanted to fuck and then like they're one

0:52:37.880 --> 0:52:41.879
<v Speaker 1>trans friend and like lesbian friend, and it's like really

0:52:41.920 --> 0:52:44.839
<v Speaker 1>different when you have the house and you get to

0:52:44.880 --> 0:52:47.200
<v Speaker 1>curate the people who come out there and the people

0:52:47.200 --> 0:52:51.320
<v Speaker 1>who they bring out, and like that just breeds more

0:52:51.400 --> 0:52:54.719
<v Speaker 1>and more of the girls and the dolls being out

0:52:54.760 --> 0:52:58.040
<v Speaker 1>there and that that is how we you know, take

0:52:58.040 --> 0:53:03.479
<v Speaker 1>it back right, And I think that gay men need

0:53:03.560 --> 0:53:07.680
<v Speaker 1>to kind of abide by this one guiding principle. My

0:53:07.760 --> 0:53:10.279
<v Speaker 1>friend was talking about this other day about what he

0:53:10.320 --> 0:53:12.960
<v Speaker 1>looks for while dating and a partner, you know, as

0:53:13.320 --> 0:53:15.120
<v Speaker 1>gay guy, one of my best friends. He was like,

0:53:15.360 --> 0:53:17.759
<v Speaker 1>the number one thing I look for when dating, like

0:53:18.239 --> 0:53:21.839
<v Speaker 1>in the gay dating pool, is like, does this man

0:53:22.280 --> 0:53:26.320
<v Speaker 1>love women? If you want to be my lover, you

0:53:26.520 --> 0:53:30.320
<v Speaker 1>gotta get women alls, but also the lesbians and also

0:53:30.480 --> 0:53:32.879
<v Speaker 1>just like girls, there are so many gay men who

0:53:33.160 --> 0:53:36.920
<v Speaker 1>don't enjoy the company of women, who don't see women,

0:53:37.000 --> 0:53:42.759
<v Speaker 1>don't don't write not like the hottest take. But when

0:53:42.800 --> 0:53:45.640
<v Speaker 1>you actually zoom out and think about it, it's like

0:53:46.800 --> 0:53:54.080
<v Speaker 1>gay life is better with women. Literally, literally it just is.

0:53:54.600 --> 0:53:58.600
<v Speaker 1>And I think that you know so many of like

0:53:58.960 --> 0:54:02.240
<v Speaker 1>you know, the party gays, and just like the giggdy gays,

0:54:02.320 --> 0:54:04.360
<v Speaker 1>like they're always I think a lot of them always

0:54:04.360 --> 0:54:08.200
<v Speaker 1>have these very generic complaints about the homogeneity in their

0:54:08.200 --> 0:54:12.160
<v Speaker 1>social circles and in their sexual circles. Like you can

0:54:12.239 --> 0:54:16.000
<v Speaker 1>solve that problem by just bringing women around, whether or

0:54:16.040 --> 0:54:19.879
<v Speaker 1>not you're hanging with them, whether or not you're like

0:54:19.960 --> 0:54:22.520
<v Speaker 1>you know, getting a little MIXI and like loving on

0:54:22.560 --> 0:54:25.640
<v Speaker 1>them or sucking on them, Like gay is just better

0:54:25.680 --> 0:54:43.840
<v Speaker 1>with women. Six gay guys on trans girls. There's a

0:54:43.920 --> 0:54:49.880
<v Speaker 1>very special marriage there. Yeah. Yeah, because gay guys get

0:54:49.920 --> 0:54:56.560
<v Speaker 1>to be a man to that woman in a way

0:54:57.560 --> 0:55:01.960
<v Speaker 1>that they were like shamed and admonished for it and

0:55:02.000 --> 0:55:04.560
<v Speaker 1>then had to mourn probably at a young age, like

0:55:04.640 --> 0:55:07.000
<v Speaker 1>never ever being able to be a man to a

0:55:07.080 --> 0:55:11.080
<v Speaker 1>woman in that way. And trans girls get to like

0:55:11.320 --> 0:55:14.600
<v Speaker 1>receive that and have a man to their woman and

0:55:14.680 --> 0:55:17.640
<v Speaker 1>be a girl to that man in a way that

0:55:17.719 --> 0:55:20.600
<v Speaker 1>feels very I think far away for a lot of us.

0:55:20.680 --> 0:55:26.319
<v Speaker 1>There's kind of this like this like frequently sexless heterosexuality

0:55:26.360 --> 0:55:29.120
<v Speaker 1>that happens between like this is gays and the dolls

0:55:29.320 --> 0:55:34.240
<v Speaker 1>where they can actually create the Norman Rockwell, the Norman

0:55:34.320 --> 0:55:38.359
<v Speaker 1>Rockwell picture together, and I think that that's like the

0:55:38.400 --> 0:55:41.279
<v Speaker 1>glue that binds it. They It's like we kind of

0:55:41.280 --> 0:55:49.440
<v Speaker 1>can create this illusion of heterosexual belonging while still being

0:55:49.520 --> 0:55:53.200
<v Speaker 1>our queer selves, Like we can get the affirmation and

0:55:54.040 --> 0:55:56.080
<v Speaker 1>the thrill of living our own little thing at the

0:55:56.120 --> 0:55:58.360
<v Speaker 1>same time. I totally get what you're saying. There is

0:55:58.400 --> 0:56:04.359
<v Speaker 1>a sort of romanticism in the relationship between a gay

0:56:04.360 --> 0:56:07.359
<v Speaker 1>man and his doll. Yeah. Like my best friend Ryan

0:56:07.360 --> 0:56:12.920
<v Speaker 1>and I like there is we are soulmates siblings and like,

0:56:13.080 --> 0:56:14.840
<v Speaker 1>you know, when we go to the movies, we hold

0:56:14.880 --> 0:56:19.200
<v Speaker 1>hands and like there is there is something like I mean,

0:56:19.280 --> 0:56:23.080
<v Speaker 1>there's nothing sexual about it, but there is a romanticism

0:56:23.120 --> 0:56:26.640
<v Speaker 1>and a tenderness there that does feel very much like

0:56:27.200 --> 0:56:32.800
<v Speaker 1>we are filling out that role of you know, whatever,

0:56:32.840 --> 0:56:36.600
<v Speaker 1>whatever is expected of a man and a woman being

0:56:36.640 --> 0:56:40.319
<v Speaker 1>together in society, and tenderness is such an elusive thing.

0:56:40.360 --> 0:56:43.600
<v Speaker 1>I think for both you know, sis men in the

0:56:43.640 --> 0:56:46.160
<v Speaker 1>gay dating pool and sex pool and like trans women

0:56:46.360 --> 0:56:52.320
<v Speaker 1>in you know, the trans straight dating pool or sex pool,

0:56:52.480 --> 0:56:57.200
<v Speaker 1>I think that having that communion coming together in a

0:56:57.239 --> 0:57:02.040
<v Speaker 1>way that is like essentially societally sanctioned in this like

0:57:02.120 --> 0:57:05.239
<v Speaker 1>header a way, it does create this sense of like

0:57:05.760 --> 0:57:07.920
<v Speaker 1>I got that too, and it's nice that I have that.

0:57:09.200 --> 0:57:12.520
<v Speaker 1>I mean, aside from also affirmation, I do feel like,

0:57:12.760 --> 0:57:15.520
<v Speaker 1>you know, there's like a language that you click into

0:57:15.640 --> 0:57:18.320
<v Speaker 1>really quickly. But I think a lot of like gay

0:57:18.360 --> 0:57:21.840
<v Speaker 1>men like or maybe I'm speaking broadly, but like I

0:57:21.880 --> 0:57:23.280
<v Speaker 1>feel like a lot of gay men that I don't

0:57:23.320 --> 0:57:27.440
<v Speaker 1>know don't have trans people are trans friends in their life,

0:57:27.480 --> 0:57:29.880
<v Speaker 1>and I feel like there's a lot of like you're

0:57:29.920 --> 0:57:31.919
<v Speaker 1>just like and that's so sad. Yeah, it's really sad.

0:57:31.920 --> 0:57:33.440
<v Speaker 1>It's kind of like why. But I think that a

0:57:33.440 --> 0:57:35.240
<v Speaker 1>lot of that has to do with like the fear

0:57:35.360 --> 0:57:38.720
<v Speaker 1>of what they don't know, and yet they I think

0:57:38.760 --> 0:57:41.080
<v Speaker 1>a lot of people that just don't inhabit like trans

0:57:41.120 --> 0:57:44.840
<v Speaker 1>spaces or trans circles just don't know that you actually

0:57:44.840 --> 0:57:48.040
<v Speaker 1>have so much in common. Obviously very different experiences, but

0:57:48.120 --> 0:57:50.840
<v Speaker 1>there's so much overlap. There's so much in your own

0:57:50.960 --> 0:57:54.320
<v Speaker 1>languages that you can exchange. I mean, I don't think

0:57:54.360 --> 0:57:57.120
<v Speaker 1>it's a crime not to have trans people in your life.

0:57:57.120 --> 0:57:58.400
<v Speaker 1>If they're not in your life. I mean, there are

0:57:59.280 --> 0:58:02.960
<v Speaker 1>people freak quently want to forget in all these conversations

0:58:02.960 --> 0:58:05.720
<v Speaker 1>that like there are so few of us. Yeah, I

0:58:05.760 --> 0:58:07.440
<v Speaker 1>think it's more of a crime when there are no

0:58:07.480 --> 0:58:12.680
<v Speaker 1>women in your life. Yeah, particularly particularly with gay men,

0:58:12.800 --> 0:58:16.720
<v Speaker 1>because there is such a celebration of femininity, because the

0:58:16.800 --> 0:58:20.400
<v Speaker 1>gay men are bumping the divas, they are watching drag race,

0:58:20.520 --> 0:58:24.280
<v Speaker 1>they are talking about celebrities, and yet they have no

0:58:24.640 --> 0:58:29.600
<v Speaker 1>actual physical proximity to women. That and I'm fucking weird,

0:58:29.840 --> 0:58:32.240
<v Speaker 1>and back to drag race. Honestly, like, I think that's

0:58:32.280 --> 0:58:36.360
<v Speaker 1>part of why so much of like, you know, contemporary

0:58:36.440 --> 0:58:38.560
<v Speaker 1>drag Race not so much like Drag Race of your

0:58:38.600 --> 0:58:39.800
<v Speaker 1>but a lot of drag Race right now is like

0:58:39.800 --> 0:58:42.400
<v Speaker 1>really hard to watch, like the communities, like the people

0:58:42.400 --> 0:58:45.080
<v Speaker 1>that are consuming it. It's like there's just like ache

0:58:45.080 --> 0:58:48.240
<v Speaker 1>feeling around. I don't know what you're describing, I guess,

0:58:48.240 --> 0:58:50.520
<v Speaker 1>And also just the show. It's like not just good anymore.

0:58:50.640 --> 0:58:55.000
<v Speaker 1>But I still watch every season. I'm can I confess something, Yes,

0:58:56.080 --> 0:59:02.760
<v Speaker 1>I watch drag Race, so I know you, Like, I

0:59:02.760 --> 0:59:06.640
<v Speaker 1>don't just watch drag Race. I watch like the YouTube

0:59:06.680 --> 0:59:11.720
<v Speaker 1>recaps and like conspiracy theory videos. I've rewatched every season

0:59:11.760 --> 0:59:14.680
<v Speaker 1>of drag Race, like the main Drag Race and All Stars.

0:59:14.680 --> 0:59:17.680
<v Speaker 1>I've rewatched all of them, like at least twice, like

0:59:17.800 --> 0:59:20.840
<v Speaker 1>some of them like five ors. Like It's literally the

0:59:21.000 --> 0:59:25.000
<v Speaker 1>thing that I will turn on when I'm like tired

0:59:25.480 --> 0:59:28.520
<v Speaker 1>and I want to just like have a little laugh.

0:59:28.800 --> 0:59:32.840
<v Speaker 1>Which comfort show. It's my comfort show. It used to

0:59:32.880 --> 0:59:35.160
<v Speaker 1>be Sex in the City, but I made a vow

0:59:35.240 --> 0:59:36.920
<v Speaker 1>to myself because I've watched Sex in the City more

0:59:36.920 --> 0:59:38.760
<v Speaker 1>than twenty times. I made a vow to myself to

0:59:38.760 --> 0:59:40.880
<v Speaker 1>stop watching sex I'm not going to watch it again

0:59:40.960 --> 0:59:43.560
<v Speaker 1>until I'm Carrie in season one years old, which is

0:59:43.600 --> 0:59:47.160
<v Speaker 1>thirty two because I think that show kind of like

0:59:47.320 --> 0:59:50.080
<v Speaker 1>wired my brain for dating in a way that places

0:59:50.080 --> 0:59:52.440
<v Speaker 1>like Fire Island have helped me get out of. But

0:59:53.240 --> 0:59:55.000
<v Speaker 1>now it's Drag Race, and I'm actually trying to get

0:59:55.000 --> 0:59:56.440
<v Speaker 1>out of that too, because I've like run out of

0:59:56.480 --> 0:59:58.560
<v Speaker 1>Drag Race a little bit, and I like can't keep

0:59:58.600 --> 1:00:02.080
<v Speaker 1>doing this to myself. But like, I'm actually so obsessed

1:00:02.160 --> 1:00:05.120
<v Speaker 1>with Drag Race, and I think it's like this amazing show.

1:00:05.200 --> 1:00:08.520
<v Speaker 1>I mean, like, yes, there are issues that people have

1:00:08.640 --> 1:00:12.960
<v Speaker 1>pointed out that are valid in the fandom is like

1:00:13.320 --> 1:00:18.200
<v Speaker 1>rot rotation, the fantom is rotted to the electric chair,

1:00:18.680 --> 1:00:20.800
<v Speaker 1>but in you know, like I think, in order to

1:00:20.840 --> 1:00:24.160
<v Speaker 1>watch Drag Race like sustainably, you have to actually also

1:00:24.240 --> 1:00:26.640
<v Speaker 1>be like a fan of drag and like of queens

1:00:26.680 --> 1:00:28.800
<v Speaker 1>who aren't on the show, and you have to support

1:00:29.400 --> 1:00:31.720
<v Speaker 1>local drag, which like I actually don't do as much

1:00:31.760 --> 1:00:33.320
<v Speaker 1>as I could, but I still do as much as

1:00:33.360 --> 1:00:37.960
<v Speaker 1>I can. Um. The issue about supporting local drag is

1:00:38.000 --> 1:00:40.960
<v Speaker 1>that like the queens to me are like Pearls before swine,

1:00:41.040 --> 1:00:44.800
<v Speaker 1>Like I don't want to go to those clubs, yeah yeah,

1:00:44.840 --> 1:00:49.280
<v Speaker 1>and be in community with everyone there. One can only

1:00:49.280 --> 1:00:52.200
<v Speaker 1>do so much no, but I just saw Sharlene and

1:00:52.240 --> 1:00:55.640
<v Speaker 1>Karnate perform at the Poetry Project twenty four hour marathon,

1:00:55.680 --> 1:00:57.080
<v Speaker 1>and I love that they had drag up in the

1:00:57.120 --> 1:01:01.480
<v Speaker 1>Poetry Project. Um that's how it should be. Um yeah,

1:01:01.520 --> 1:01:04.240
<v Speaker 1>I mean Brooklyn Jag is really it, Like I think

1:01:04.320 --> 1:01:06.919
<v Speaker 1>for New York, I'm I'm not really out in Hell's

1:01:07.000 --> 1:01:10.120
<v Speaker 1>kitchen much. You're not going to industry And I don't

1:01:10.120 --> 1:01:14.320
<v Speaker 1>even know if that no feet cost extra? Do you?

1:01:14.400 --> 1:01:19.080
<v Speaker 1>I'm fascinated by a really good to live by. I

1:01:19.120 --> 1:01:22.560
<v Speaker 1>think everyone that's that should be everyone's resolution for twenty

1:01:22.640 --> 1:01:25.840
<v Speaker 1>twenty three feet cost extra. I really want to be

1:01:25.880 --> 1:01:29.080
<v Speaker 1>a guest judge on Rutbaul Jager's Routpaul, if you're listening,

1:01:29.160 --> 1:01:31.480
<v Speaker 1>I really really want it, Babe, that's in the cart.

1:01:31.640 --> 1:01:36.040
<v Speaker 1>I think that's really matter when yeah, it's yeah, it's

1:01:36.080 --> 1:01:42.160
<v Speaker 1>not an if. I I love drag. Drag is like

1:01:42.680 --> 1:01:45.440
<v Speaker 1>a huge kind of inspiration for like, I'm kind of

1:01:45.440 --> 1:01:49.479
<v Speaker 1>in my wig era right now. No, I'm wearing wigs

1:01:49.520 --> 1:01:53.960
<v Speaker 1>and everything we love. Yeah, it's it's drags. So wait,

1:01:54.000 --> 1:01:56.480
<v Speaker 1>what's your favorite season or rather maybe not favorite season,

1:01:56.480 --> 1:01:58.960
<v Speaker 1>but this season you always returned to or the comfort season.

1:01:59.760 --> 1:02:04.960
<v Speaker 1>The comfort season is kind of where it all began

1:02:05.040 --> 1:02:08.960
<v Speaker 1>for me, which is sort of season four, I think,

1:02:09.000 --> 1:02:11.760
<v Speaker 1>I mean season five has kind of emerged more recently

1:02:11.760 --> 1:02:14.600
<v Speaker 1>as like this is sort of like the season, like

1:02:14.680 --> 1:02:20.680
<v Speaker 1>this is kind of when it peaked. No, it's it's Jinks,

1:02:21.800 --> 1:02:24.760
<v Speaker 1>and season four is Sharon, Season four is Sharon. Actually

1:02:24.800 --> 1:02:27.360
<v Speaker 1>think season five is the true Girl, not just because

1:02:27.400 --> 1:02:29.680
<v Speaker 1>of the queens, which are I don't think we've ever

1:02:29.720 --> 1:02:32.080
<v Speaker 1>seen a season of that caliber with the casting, but

1:02:32.120 --> 1:02:35.360
<v Speaker 1>also because of the storyline, like we've never had anything

1:02:35.360 --> 1:02:40.200
<v Speaker 1>like Cocoa and Alyssa since Coco, and like that's why

1:02:40.280 --> 1:02:43.360
<v Speaker 1>it was good. And then like Jings versus Rulaska talks

1:02:43.400 --> 1:02:45.880
<v Speaker 1>like we've like we don't have that shit anymore. They're

1:02:45.920 --> 1:02:48.080
<v Speaker 1>all too nice. It was like it was like biblical

1:02:48.600 --> 1:02:53.439
<v Speaker 1>but totally biblical. It was it was David versus the Goliaths. Yeah,

1:02:54.960 --> 1:02:59.760
<v Speaker 1>it was less self perception, you know, less self editing.

1:03:00.000 --> 1:03:02.240
<v Speaker 1>I'm like I but I what I also love from

1:03:02.280 --> 1:03:05.120
<v Speaker 1>like really more so like the first like one, two, three,

1:03:05.200 --> 1:03:08.680
<v Speaker 1>and then like four seasons, it's like they were all

1:03:08.920 --> 1:03:16.120
<v Speaker 1>kind of transsexual, like like they were all like cross dressing,

1:03:16.520 --> 1:03:19.600
<v Speaker 1>like they were all wearing like ready to wear they were,

1:03:19.680 --> 1:03:22.480
<v Speaker 1>you know, and and I know that they can't do

1:03:22.480 --> 1:03:26.919
<v Speaker 1>this anymore, but like I miss when Paul was like four,

1:03:27.160 --> 1:03:29.360
<v Speaker 1>they all these new glamour girls and they're sitting on

1:03:29.400 --> 1:03:34.120
<v Speaker 1>a big old secret. I know, I bring back, bring

1:03:34.120 --> 1:03:39.720
<v Speaker 1>back you, like like I miss, I miss the like

1:03:39.760 --> 1:03:42.920
<v Speaker 1>the lady boy jokes and the tranny jokes, since the

1:03:43.080 --> 1:03:48.280
<v Speaker 1>like she's got a dick Joe and how like like

1:03:48.280 --> 1:03:50.320
<v Speaker 1>like like all they could ever say on the runway

1:03:50.520 --> 1:03:53.560
<v Speaker 1>is like you know, veiled versions of like she's got

1:03:53.600 --> 1:03:58.920
<v Speaker 1>a dick under you. Like it's so good. I know,

1:03:59.120 --> 1:04:02.840
<v Speaker 1>make drag trap again. I know, and I'm sorry, but

1:04:02.880 --> 1:04:06.120
<v Speaker 1>like like the girls are gonna eat me a why

1:04:06.240 --> 1:04:09.520
<v Speaker 1>for saying this? But like I you know, like as me,

1:04:09.960 --> 1:04:19.160
<v Speaker 1>I do watch drag Race and like experience recognition. I like,

1:04:19.160 --> 1:04:22.680
<v Speaker 1>like I do watch drag Race and experience not only recognition,

1:04:22.800 --> 1:04:25.400
<v Speaker 1>but my friend Devin Diaz, who's you know, one of

1:04:25.400 --> 1:04:28.040
<v Speaker 1>my favorite writers and thinkers, She's like, drag Race is

1:04:28.080 --> 1:04:30.400
<v Speaker 1>such a hit with like you know, the millennial and

1:04:30.480 --> 1:04:33.360
<v Speaker 1>gen Z gays because it's a microcosm of like the

1:04:33.400 --> 1:04:38.760
<v Speaker 1>gay gig economy. Like RuPaul is like Intertuba. You have

1:04:38.840 --> 1:04:42.360
<v Speaker 1>to do all of these like stupid things, like you

1:04:42.440 --> 1:04:44.440
<v Speaker 1>have to do it all, like including like you know,

1:04:44.560 --> 1:04:47.560
<v Speaker 1>market yourself as a product. And like these poor queens

1:04:47.880 --> 1:04:51.320
<v Speaker 1>who are like you know, amazing makeup artists and like

1:04:51.360 --> 1:04:54.240
<v Speaker 1>hair artists and like you know, lip sync artists, actresses,

1:04:54.320 --> 1:04:56.440
<v Speaker 1>like they're gonna go home on a challenge where they

1:04:56.480 --> 1:04:59.120
<v Speaker 1>have to sell themselves as a product and like that's

1:04:59.160 --> 1:05:04.680
<v Speaker 1>not just a showbiz maybe that's America. Like this is commentary. No,

1:05:04.960 --> 1:05:08.560
<v Speaker 1>I think it's really brilliant, and I agree. I just

1:05:08.640 --> 1:05:11.200
<v Speaker 1>love Drag Race. I've said this on the pod before.

1:05:11.440 --> 1:05:14.360
<v Speaker 1>I even though I feel like it's declined in quality,

1:05:14.480 --> 1:05:17.040
<v Speaker 1>I do think that this panel of judges and Drew

1:05:17.080 --> 1:05:19.960
<v Speaker 1>and Michelle specifically are just like some of the best,

1:05:19.960 --> 1:05:22.360
<v Speaker 1>like the best that we can get in reality TV

1:05:22.520 --> 1:05:26.040
<v Speaker 1>and reality competition doing things that are like sublime and

1:05:26.240 --> 1:05:29.720
<v Speaker 1>cerebral and weird and inside jokey that you just don't

1:05:29.880 --> 1:05:33.760
<v Speaker 1>see in other shows. And now it's like franchised and

1:05:33.960 --> 1:05:38.080
<v Speaker 1>like you know this betham off that feels like something different,

1:05:38.120 --> 1:05:40.560
<v Speaker 1>but it's still I mean, I also watch like every

1:05:40.560 --> 1:05:46.280
<v Speaker 1>fucking episode. We need David Lynch as a drag race guestrate. Yeah,

1:05:47.640 --> 1:05:51.000
<v Speaker 1>he would. Actually, I feel like, you know, do right

1:05:51.200 --> 1:05:54.160
<v Speaker 1>by the queens that I always gravitate towards, like you know,

1:05:54.320 --> 1:05:59.360
<v Speaker 1>the Tammy Browns of Banina Bonina Browns, Yes of the world.

1:05:59.440 --> 1:06:04.600
<v Speaker 1>Tammy Brown kind of is a Lynchian figure, absolutely, because

1:06:04.680 --> 1:06:09.120
<v Speaker 1>there is there's She kind of is like a creature

1:06:09.160 --> 1:06:12.280
<v Speaker 1>of Mulholland Drive, because like the sort of world of

1:06:12.320 --> 1:06:16.400
<v Speaker 1>her character is this like idea of a Hollywood that

1:06:16.440 --> 1:06:21.920
<v Speaker 1>doesn't exist. I'm acting right, like like the she and

1:06:22.000 --> 1:06:26.480
<v Speaker 1>the magazine like it's very sunset boulevard. Wait that is

1:06:26.800 --> 1:06:29.880
<v Speaker 1>can I say? Can I say? That's so? I was

1:06:29.920 --> 1:06:32.720
<v Speaker 1>going to ask you when you were talking about like

1:06:32.760 --> 1:06:35.600
<v Speaker 1>Greta's drag race, I was going to ask you a

1:06:35.640 --> 1:06:39.640
<v Speaker 1>stupid question like what is which drag race archetype? Are

1:06:39.640 --> 1:06:42.360
<v Speaker 1>you in in this? Uh? In this contest? Like are

1:06:42.360 --> 1:06:45.160
<v Speaker 1>you the look queen? Are you the comedy queen? Are

1:06:45.160 --> 1:06:48.360
<v Speaker 1>you like the art performance like Willow Pill Jimbo type?

1:06:48.440 --> 1:06:54.200
<v Speaker 1>Like what are you giving? So certain? There's kind of

1:06:54.240 --> 1:07:01.680
<v Speaker 1>like a broadness and like a an endedness too. I

1:07:01.680 --> 1:07:05.440
<v Speaker 1>think a lot of the way the character some of

1:07:05.440 --> 1:07:08.520
<v Speaker 1>these characters are distinguished. I don't want to give away

1:07:08.560 --> 1:07:12.480
<v Speaker 1>too much, but I was asking about you personally. No, no, no, no, no,

1:07:12.640 --> 1:07:16.560
<v Speaker 1>I know, but like for me, I was sort of

1:07:16.600 --> 1:07:20.280
<v Speaker 1>like subliminally and like behind the scenes and what they

1:07:20.320 --> 1:07:25.120
<v Speaker 1>wanted to do with my character knowing, you know, frankly,

1:07:25.240 --> 1:07:28.600
<v Speaker 1>like they said, we want to use kind of like

1:07:28.640 --> 1:07:31.560
<v Speaker 1>what you're known for. So I'm kind of the look

1:07:31.640 --> 1:07:35.840
<v Speaker 1>Queen love. That's what we need, thats what we need. Yeah,

1:07:35.920 --> 1:07:40.760
<v Speaker 1>I've I've got a lot of costumes. I thought a

1:07:40.840 --> 1:07:45.200
<v Speaker 1>lot of them in their crazy and I actually kind

1:07:45.200 --> 1:07:48.880
<v Speaker 1>of helped design some of them. That's maybe that's fine,

1:07:49.040 --> 1:07:51.400
<v Speaker 1>not like design design, but like you know, I made

1:07:51.440 --> 1:07:55.080
<v Speaker 1>some I made color choices, I said, maybe that, you know,

1:07:55.720 --> 1:07:57.560
<v Speaker 1>it was fun, it was a clever I even you know,

1:07:57.760 --> 1:08:01.880
<v Speaker 1>helped call in some designer pulls as well. Yeah. No,

1:08:02.080 --> 1:08:05.160
<v Speaker 1>the power of the international implications of that. Oh listen.

1:08:05.200 --> 1:08:07.720
<v Speaker 1>If if there's one like bonus thing I can bring

1:08:07.760 --> 1:08:09.960
<v Speaker 1>to a film production, it's clothes. I've done that for

1:08:11.320 --> 1:08:15.480
<v Speaker 1>every film that I've done in the past couple of years. Um,

1:08:16.080 --> 1:08:18.240
<v Speaker 1>you know, there's there's this film that hasn't even been

1:08:18.240 --> 1:08:20.840
<v Speaker 1>announced yet that I shot before Barbie that I think

1:08:20.960 --> 1:08:24.360
<v Speaker 1>is going to be playing a festival later this year,

1:08:24.800 --> 1:08:30.439
<v Speaker 1>and um, you know I called in looks for that. Um, okay,

1:08:30.439 --> 1:08:32.800
<v Speaker 1>so you are the look queen. I am, I'm the

1:08:32.840 --> 1:08:38.800
<v Speaker 1>elusive Shantus and you're in your wig era, your Rita

1:08:38.880 --> 1:08:42.000
<v Speaker 1>when she puts on the blonde wig. Well, I mean,

1:08:42.040 --> 1:08:44.840
<v Speaker 1>we haven't even talked about the like blonde brunette thing,

1:08:45.160 --> 1:08:49.240
<v Speaker 1>which is so important, so important, truly, it's it's the movie,

1:08:49.320 --> 1:08:52.680
<v Speaker 1>it's thematically, you know, that's the engine. And now you're

1:08:52.720 --> 1:09:02.200
<v Speaker 1>a redhead. Yeah. I wonder why. I wonder why. What

1:09:02.360 --> 1:09:06.519
<v Speaker 1>could have prompted that decision? When did I go red?

1:09:07.520 --> 1:09:10.680
<v Speaker 1>What was I doing at the time? Connecting the dots?

1:09:10.920 --> 1:09:13.400
<v Speaker 1>But you are now an iconic redhead? I feel really,

1:09:13.640 --> 1:09:19.120
<v Speaker 1>I mean I am again, I only am saying it

1:09:19.160 --> 1:09:22.120
<v Speaker 1>didn't feel iconic. Yeah, thank you. Yeah, I think I'm

1:09:22.120 --> 1:09:23.720
<v Speaker 1>going to keep it for a second because it's just

1:09:23.760 --> 1:09:26.519
<v Speaker 1>going to keep popping up. And like, I don't know

1:09:26.560 --> 1:09:29.559
<v Speaker 1>when I went red, the demon came out. I went

1:09:29.600 --> 1:09:34.040
<v Speaker 1>red right before that Fire Island summer, and girl, the

1:09:34.120 --> 1:09:37.439
<v Speaker 1>demon the demon is quite frankly still out. The demon

1:09:37.560 --> 1:09:40.160
<v Speaker 1>is subdued by eight shows a week and not having

1:09:40.200 --> 1:09:42.960
<v Speaker 1>any energy to do anything other than have sex in

1:09:42.960 --> 1:09:47.720
<v Speaker 1>an office stairwell for like ten minutes. But um, yeah,

1:09:48.400 --> 1:09:54.599
<v Speaker 1>I'm so flattered that you think I'm elusive because I

1:09:54.640 --> 1:10:01.320
<v Speaker 1>don't feel that way, and I I'm like yeah, because

1:10:01.320 --> 1:10:03.960
<v Speaker 1>I'm I'm like, I'm extrovert. I'm an over sure and

1:10:03.960 --> 1:10:06.000
<v Speaker 1>it takes a lot of restraint not to just like

1:10:06.680 --> 1:10:10.479
<v Speaker 1>shit post all the time. Both Irl and Urel, well,

1:10:10.560 --> 1:10:14.360
<v Speaker 1>you seem to have um mastered it. I mean, virgins

1:10:14.400 --> 1:10:16.400
<v Speaker 1>you can't tell, but I mean there's not even a

1:10:16.439 --> 1:10:18.599
<v Speaker 1>person in here in the room. It's just like a

1:10:18.600 --> 1:10:23.040
<v Speaker 1>shifting shimmering that's kind of like a rip in the

1:10:23.080 --> 1:10:27.840
<v Speaker 1>fabric of the universe, has red hair on top, and

1:10:30.120 --> 1:10:43.040
<v Speaker 1>it's just a If you liked this episode with Harry,

1:10:43.360 --> 1:10:47.400
<v Speaker 1>you are in luck, babe, because there's more. We cut

1:10:47.479 --> 1:10:51.840
<v Speaker 1>a little bit from this conversation and put it on

1:10:52.040 --> 1:10:56.040
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1:10:56.120 --> 1:10:58.479
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<v Speaker 1>five dollars a month. That's a deal, babe. Slide into

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1:11:15.920 --> 1:11:19.519
<v Speaker 1>Lynch movie, what's your favorite season of drag Race? And

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1:11:26.920 --> 1:11:29.040
<v Speaker 1>but like Rose and I are are wearing the hat.

1:11:29.160 --> 1:11:33.160
<v Speaker 1>We're very QBC trying on the mallgoth hoodie. Okay, holding

1:11:33.240 --> 1:11:37.080
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<v Speaker 1>can follow me anywhere you want at Rosdamu and I'm

1:11:46.080 --> 1:11:48.760
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1:12:00.000 --> 1:12:03.559
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1:12:03.640 --> 1:12:07.679
<v Speaker 1>next week. Go to Patreon dot com slash Like a Virgin.

1:12:08.320 --> 1:12:16.720
<v Speaker 1>Bye h