1 00:00:00,880 --> 00:00:04,680 Speaker 1: Look man, oh, I see you. Why why and look 2 00:00:04,720 --> 00:00:14,319 Speaker 1: over there? How is that culture goodness dulling? And you know, 3 00:00:14,480 --> 00:00:18,319 Speaker 1: some things to address up top as usual. This is 4 00:00:18,400 --> 00:00:22,520 Speaker 1: day three of our unplanned saga. We thought we could 5 00:00:22,720 --> 00:00:26,599 Speaker 1: get all of this out and pay respects within one 6 00:00:26,680 --> 00:00:29,760 Speaker 1: two hour chunk, and yet we that was the hubristic 7 00:00:30,240 --> 00:00:33,280 Speaker 1: sort of journey that we were on on this episode, 8 00:00:33,280 --> 00:00:34,960 Speaker 1: and we overcame our fatal flaw and now we are 9 00:00:35,000 --> 00:00:37,479 Speaker 1: going to hopefully get through the rest of the Top 10 00:00:37,560 --> 00:00:40,159 Speaker 1: twenty five. I think we can do it. We've returned 11 00:00:40,200 --> 00:00:43,239 Speaker 1: to a situation where we're drinking vodka red ball. We 12 00:00:43,320 --> 00:00:46,720 Speaker 1: have actually returned a bookend, so we are actually back 13 00:00:46,720 --> 00:00:49,279 Speaker 1: to alcohol consumption, which I feel good about. But one 14 00:00:49,280 --> 00:00:51,600 Speaker 1: thing I don't feel great about is you know, as 15 00:00:51,600 --> 00:00:54,120 Speaker 1: we said yesterday, there was going to be some changes 16 00:00:54,440 --> 00:00:58,040 Speaker 1: and removals and additions to the list, because that can 17 00:00:58,200 --> 00:01:01,800 Speaker 1: happen um and Bowen Yang has chosen to take off 18 00:01:01,800 --> 00:01:05,440 Speaker 1: the list. He actually argues, it is not a part 19 00:01:05,440 --> 00:01:07,399 Speaker 1: of culture, and I think it is a part of culture. 20 00:01:07,400 --> 00:01:11,280 Speaker 1: It was even in the top. Okay, let's talk about it. 21 00:01:12,040 --> 00:01:13,920 Speaker 1: I will not I'll get to I want you to 22 00:01:13,959 --> 00:01:16,080 Speaker 1: say it. I'll get to what. I replaced what we're 23 00:01:16,120 --> 00:01:18,399 Speaker 1: about to reveal with once we get to it. But 24 00:01:18,640 --> 00:01:21,640 Speaker 1: I took out first of all, let me know, this 25 00:01:21,680 --> 00:01:23,160 Speaker 1: is what I have to say up top before we 26 00:01:23,200 --> 00:01:26,240 Speaker 1: get into this. The way we wrote this list was 27 00:01:26,240 --> 00:01:28,080 Speaker 1: we started with number one, we don't need to know 28 00:01:28,080 --> 00:01:29,920 Speaker 1: the process. But they don't need to know the process. 29 00:01:30,040 --> 00:01:33,119 Speaker 1: They don't need to know the process. So it felt 30 00:01:33,120 --> 00:01:34,840 Speaker 1: like very sort of like a stream of consciousness that 31 00:01:34,840 --> 00:01:37,240 Speaker 1: we were just putting in random things willy nilly and 32 00:01:37,400 --> 00:01:39,840 Speaker 1: not really giving thought to the order when we've been 33 00:01:39,840 --> 00:01:43,039 Speaker 1: giving thought to the order this whole time. Um absolutely 34 00:01:43,319 --> 00:01:45,839 Speaker 1: big old freak by making the stallion, beat out Jonas 35 00:01:45,840 --> 00:01:48,840 Speaker 1: sal conventing the polio vaccine for empirical reasons. We agree 36 00:01:48,840 --> 00:01:51,360 Speaker 1: on that. We agree on that one. I took out 37 00:01:51,840 --> 00:01:56,280 Speaker 1: Christina Ricci, who was I think at the twenty took 38 00:01:56,280 --> 00:01:58,880 Speaker 1: out Christina Ricci, and they replaced it with something much 39 00:01:58,920 --> 00:02:04,040 Speaker 1: more significant, Christina Richie, I mean, after Adam's family, like 40 00:02:04,080 --> 00:02:06,440 Speaker 1: what was like the big moment, like that darn cat 41 00:02:06,680 --> 00:02:12,160 Speaker 1: white snake, moan um black snake like Beau that was tough, 42 00:02:12,480 --> 00:02:14,320 Speaker 1: and who else is in the movie justin Timber like 43 00:02:14,400 --> 00:02:17,080 Speaker 1: who Cares and Samuel l and I just want to 44 00:02:17,080 --> 00:02:21,120 Speaker 1: say something. You don't just fly through Adams family. I 45 00:02:21,160 --> 00:02:23,560 Speaker 1: don't see Wednesday Adams and if for you to say 46 00:02:23,600 --> 00:02:25,360 Speaker 1: that Christina Ricci is not a part of culture. She 47 00:02:25,440 --> 00:02:27,680 Speaker 1: was also iconically in the Cold Black episode of Gray 48 00:02:27,680 --> 00:02:29,760 Speaker 1: as Anatomy. It's unbelievable what you do in the way 49 00:02:29,800 --> 00:02:32,280 Speaker 1: you act and behave. I don't think she is the moment. 50 00:02:32,400 --> 00:02:34,799 Speaker 1: She is not a moment. She was such a moment. 51 00:02:34,919 --> 00:02:40,120 Speaker 1: She invented dead pan, she invented dead pand but dead 52 00:02:40,160 --> 00:02:44,960 Speaker 1: Pan Jendine Garoffalo found dead and j Raffalo found dead. 53 00:02:45,520 --> 00:02:47,880 Speaker 1: When we called it out to that Christina, I mean 54 00:02:47,919 --> 00:02:50,080 Speaker 1: she had invented dead pan. I want to say that 55 00:02:50,080 --> 00:02:52,600 Speaker 1: what I replaced Christina reach me with, well, we will 56 00:02:52,760 --> 00:02:54,040 Speaker 1: talk about this when we get to it. And I 57 00:02:54,080 --> 00:02:57,000 Speaker 1: would argue a huge moment for the culture, an actual moment, 58 00:02:57,360 --> 00:03:03,120 Speaker 1: someone doing something and it affect serious. Look at Christina 59 00:03:03,240 --> 00:03:06,840 Speaker 1: Ricci's efforts to film and television, I don't understand that 60 00:03:06,919 --> 00:03:09,919 Speaker 1: when when she was in Adam's family, turning those lines, 61 00:03:09,960 --> 00:03:13,040 Speaker 1: those one liners, it had never been seen before. One 62 00:03:13,040 --> 00:03:16,120 Speaker 1: on a wishes, no wishes, Oh my god, we Nona 63 00:03:16,240 --> 00:03:20,440 Speaker 1: sadly did not make the list. She did make went 64 00:03:20,520 --> 00:03:22,360 Speaker 1: on a writer is not on the list, not even 65 00:03:22,400 --> 00:03:25,840 Speaker 1: for her SAG Awards, um faces, not even for her 66 00:03:25,880 --> 00:03:28,640 Speaker 1: with the Christmas lights, not even for her during her 67 00:03:28,680 --> 00:03:32,880 Speaker 1: actual peak. I mean, okay, Matt, I think it's time 68 00:03:32,919 --> 00:03:36,240 Speaker 1: to dive into the top fighte us not agreeing on 69 00:03:36,440 --> 00:03:40,560 Speaker 1: Christina Ricci. I think we agree on literallycent of the list, 70 00:03:40,720 --> 00:03:44,000 Speaker 1: and that includes what we're about to say. So of 71 00:03:44,120 --> 00:03:50,640 Speaker 1: two hundred items is point well, so my statistics weren't 72 00:03:50,640 --> 00:03:52,280 Speaker 1: exactly dead on. No, no no, no, I no, I'm just 73 00:03:52,320 --> 00:03:53,800 Speaker 1: doing the math and I'm like, okay, yeah, I think 74 00:03:53,840 --> 00:03:57,280 Speaker 1: like distributed over the two hundred there are parts of 75 00:03:57,440 --> 00:03:59,520 Speaker 1: each item on the list that we disagree on. Yes, 76 00:03:59,840 --> 00:04:02,800 Speaker 1: I think that, But that's part of partnership and concession, 77 00:04:02,920 --> 00:04:04,960 Speaker 1: and that's part of moving forward. You know. We can't 78 00:04:05,000 --> 00:04:06,840 Speaker 1: agree on everything. Yes, we just want to clear up 79 00:04:06,880 --> 00:04:08,920 Speaker 1: something too. Um. We had people reach out through saying, 80 00:04:09,280 --> 00:04:10,760 Speaker 1: oh God, I hope this person doesn't make it on 81 00:04:10,760 --> 00:04:12,200 Speaker 1: the list, or this person doesn't make it on the list, 82 00:04:12,240 --> 00:04:14,200 Speaker 1: like people that they seem to dislike, and we go 83 00:04:16,680 --> 00:04:21,960 Speaker 1: that's not yes, exactly, this is not the biggest impact people. 84 00:04:22,120 --> 00:04:25,039 Speaker 1: It is the We should clarify that it's cultural moments 85 00:04:25,080 --> 00:04:28,960 Speaker 1: that were positive that positively effective. This is cultural canon 86 00:04:29,240 --> 00:04:32,760 Speaker 1: and there's no place for your negativity or disagreement. You 87 00:04:32,839 --> 00:04:35,160 Speaker 1: are not the culture is that's we are. We say 88 00:04:35,200 --> 00:04:38,640 Speaker 1: the list. Oh no, but I'm saying it's no negative people. 89 00:04:38,680 --> 00:04:39,880 Speaker 1: I know what you're saying. There's not a lot of 90 00:04:39,920 --> 00:04:42,839 Speaker 1: negative stuff in the list because that's not actually contributing 91 00:04:42,880 --> 00:04:45,039 Speaker 1: to culture. Exactly. You have to be positive to contribute 92 00:04:45,040 --> 00:04:47,160 Speaker 1: to culture, and that's actually really culture number twelve. You 93 00:04:47,200 --> 00:04:49,719 Speaker 1: have to be positive to contribute to culture. You know, 94 00:04:50,480 --> 00:04:54,400 Speaker 1: even the quote unquote nasty moments on the list, including 95 00:04:54,480 --> 00:04:57,600 Speaker 1: Rosie and Elizabeth's fight on the view or contribute positively 96 00:04:57,600 --> 00:05:01,640 Speaker 1: in a way exactly. And even Jamie Jamille is multiple 97 00:05:01,680 --> 00:05:04,560 Speaker 1: slash conflicting stories about getting chased by bees that positively 98 00:05:04,720 --> 00:05:07,560 Speaker 1: contributed to the culture. It positively contributes to the culture 99 00:05:07,640 --> 00:05:11,279 Speaker 1: because it makes it more of a possibility that she 100 00:05:11,400 --> 00:05:14,280 Speaker 1: has done on Snatch Game soon. Yes, I think that 101 00:05:14,320 --> 00:05:17,320 Speaker 1: when you when here's the thing about Jamila Jamil and 102 00:05:17,360 --> 00:05:21,080 Speaker 1: we hope someone is playing a really good long game 103 00:05:21,600 --> 00:05:27,080 Speaker 1: because she's making herself iconic for questionable things and that 104 00:05:27,160 --> 00:05:30,400 Speaker 1: is going to make her an amazing Snatch Game character. Yes, 105 00:05:30,480 --> 00:05:34,120 Speaker 1: I agree with the drag queen one day. Uh you, Matt. 106 00:05:34,160 --> 00:05:35,800 Speaker 1: You know. My theory on Lady Gaga is that her 107 00:05:35,800 --> 00:05:38,600 Speaker 1: whole career, every part of her career, has been performance 108 00:05:38,600 --> 00:05:40,400 Speaker 1: of fame. I feel Jamie Jamil is doing the same 109 00:05:40,480 --> 00:05:42,440 Speaker 1: kind of performance. Are on the same level, I would 110 00:05:42,480 --> 00:05:44,480 Speaker 1: even say, so, what we're saying is Jamila Jamil is 111 00:05:44,520 --> 00:05:48,919 Speaker 1: actually a war holy and sort of artist, yes, but 112 00:05:49,000 --> 00:05:53,400 Speaker 1: with sort of like um pull quotes, with pull quotes, 113 00:05:53,600 --> 00:05:59,440 Speaker 1: with seemingly playing a heightened version of a character that 114 00:05:59,480 --> 00:06:03,239 Speaker 1: she played on a TV show. Yeah. Um, it's so fascinating. 115 00:06:03,480 --> 00:06:05,599 Speaker 1: I mean, it's a fascinating thing. And the fact that 116 00:06:05,640 --> 00:06:09,680 Speaker 1: she gets the center chair on Legendary makes absolutely no sense. 117 00:06:09,720 --> 00:06:14,520 Speaker 1: And yet there she is announcing stealing stuff from Deshaun Wesley, 118 00:06:14,560 --> 00:06:16,520 Speaker 1: being like, actually, I'm gonna be the one to explain 119 00:06:16,600 --> 00:06:19,760 Speaker 1: what the moneyball situation is. It's it's it's amazing. No, No, 120 00:06:19,960 --> 00:06:22,919 Speaker 1: I'm not dragging him saying it's it's performance. Are it 121 00:06:23,040 --> 00:06:25,680 Speaker 1: is it's performance? I'm not dragging. I'm not dragging. To me, 122 00:06:25,800 --> 00:06:29,159 Speaker 1: there's actually nothing funnier than a beautiful woman being traced 123 00:06:29,200 --> 00:06:32,680 Speaker 1: by a bee. Like beautiful woman being chased by and 124 00:06:32,800 --> 00:06:35,520 Speaker 1: in fact chased by so many bees that it plagues her. 125 00:06:36,480 --> 00:06:39,919 Speaker 1: To me, there's not much funnier than that than that. 126 00:06:41,320 --> 00:06:44,680 Speaker 1: I mean, Macaulay Culkin wishes in My Girl, oh honey. 127 00:06:44,839 --> 00:06:48,120 Speaker 1: I mean, first of all, not a beautiful woman, not 128 00:06:48,279 --> 00:06:52,560 Speaker 1: a beautiful woman at the time, like a fine looking boy. 129 00:06:53,040 --> 00:06:56,839 Speaker 1: Now when you come out and you say I was 130 00:06:56,920 --> 00:07:00,160 Speaker 1: chased by bees, and that's that's what persecutes me. That 131 00:07:00,200 --> 00:07:04,360 Speaker 1: actually takes away from McAuley, and that is a problem. 132 00:07:04,600 --> 00:07:09,840 Speaker 1: Now we wish we could say Macaulay was on the list. 133 00:07:10,200 --> 00:07:12,200 Speaker 1: He's not. He's not on the list. He's not on 134 00:07:12,240 --> 00:07:14,160 Speaker 1: the list. He did not make the list. Not even 135 00:07:14,200 --> 00:07:16,720 Speaker 1: Anna Klumsky on the list. No one from My Girl 136 00:07:16,760 --> 00:07:19,280 Speaker 1: on the list, no one from No one from the 137 00:07:19,320 --> 00:07:21,840 Speaker 1: cast of Home Alone on the list. Not even not 138 00:07:21,880 --> 00:07:25,360 Speaker 1: even Katherine Mahara, who I think has made a career 139 00:07:26,680 --> 00:07:30,720 Speaker 1: that would um sort of definitely weren't consideration for the list. 140 00:07:31,720 --> 00:07:33,360 Speaker 1: She just didn't make She just didn't make it. She 141 00:07:33,720 --> 00:07:37,040 Speaker 1: couldn't even really match up with Nicole Scherzinger on honorable mention, 142 00:07:37,120 --> 00:07:40,000 Speaker 1: so she wasn't even an honorable mention, although it's nothing 143 00:07:40,000 --> 00:07:42,320 Speaker 1: against her, it's just she didn't make the list this time. 144 00:07:42,400 --> 00:07:44,520 Speaker 1: It was not a moment. You know, when we get 145 00:07:44,680 --> 00:07:48,560 Speaker 1: to our foode, there's gonna be a whole new list. Yes, 146 00:07:48,840 --> 00:07:52,680 Speaker 1: and we'll talk about her then, but for now, no, no, um, 147 00:07:52,720 --> 00:07:56,160 Speaker 1: and we will. Let's just say this is Would you 148 00:07:56,160 --> 00:07:58,360 Speaker 1: say that this is a living document, Matt, I would 149 00:07:58,400 --> 00:08:02,240 Speaker 1: say that all documents are lived ng in a way. Okay, 150 00:08:02,320 --> 00:08:05,760 Speaker 1: I I love that, Thank you so much. Um. I agree. 151 00:08:05,800 --> 00:08:08,920 Speaker 1: I agree that this is a living document because it 152 00:08:09,200 --> 00:08:11,920 Speaker 1: comes from We're actually going to talk about where documents 153 00:08:11,960 --> 00:08:14,360 Speaker 1: come from in rule number twenty sorry and number twenty 154 00:08:14,360 --> 00:08:16,800 Speaker 1: four on the list. Absolutely. Um, So what do you 155 00:08:16,840 --> 00:08:18,640 Speaker 1: say we actually get the beginning? I say, we get 156 00:08:18,640 --> 00:08:21,320 Speaker 1: the beginning, all right. So, um, there's twenty five things 157 00:08:21,440 --> 00:08:24,080 Speaker 1: that are in the top twenty five moments of culture, 158 00:08:24,160 --> 00:08:26,280 Speaker 1: and we are so excited and we have plenty of 159 00:08:26,320 --> 00:08:31,160 Speaker 1: time to really get into it, really get into it. Okay, Okay, 160 00:08:31,360 --> 00:08:34,160 Speaker 1: number twenty five. I can't believe that we're finally counting 161 00:08:34,200 --> 00:08:36,079 Speaker 1: on the top twenty five. This is really this feels 162 00:08:36,080 --> 00:08:40,599 Speaker 1: really cool. Number five on the list is every actress 163 00:08:40,679 --> 00:08:48,400 Speaker 1: and drop dead gorgeous the fact that, and why shouldn't 164 00:08:48,440 --> 00:08:51,160 Speaker 1: she be first? Rightfully? So, I mean when she did 165 00:08:51,200 --> 00:08:54,600 Speaker 1: that dance with Jesus, Oh my God, just too good 166 00:08:54,640 --> 00:08:57,920 Speaker 1: to be true, and when she was a face on 167 00:08:57,960 --> 00:09:02,480 Speaker 1: Mount Rushmore. I mean a gene performance you gotta talk about. 168 00:09:02,520 --> 00:09:05,760 Speaker 1: Here's the alley you gotta talk about. You know, say 169 00:09:05,800 --> 00:09:08,960 Speaker 1: what you want, but she is giving you everything? Is 170 00:09:09,000 --> 00:09:12,480 Speaker 1: that for me or my gown? Sade works by their 171 00:09:12,520 --> 00:09:16,320 Speaker 1: don again? Um? Okay? And then you had Allison Janny 172 00:09:16,559 --> 00:09:19,360 Speaker 1: and Alison Janny at Ellen Barkin, Ellen Barkin, Ellen Barkin 173 00:09:19,400 --> 00:09:21,760 Speaker 1: and Allison Janny the duo to end all duo, duo 174 00:09:21,840 --> 00:09:24,880 Speaker 1: to end all duo, as you had not an actress. 175 00:09:25,320 --> 00:09:27,920 Speaker 1: I don't mean to miss gender. Will Sasso, Will Sasso 176 00:09:28,080 --> 00:09:31,920 Speaker 1: in in a fun role. So this this, this item 177 00:09:32,000 --> 00:09:35,760 Speaker 1: is every actress and dropped. And you say Will Sasso 178 00:09:36,040 --> 00:09:38,439 Speaker 1: and you know and the way that all those movies 179 00:09:38,480 --> 00:09:39,840 Speaker 1: are a little tough to watch because they have an 180 00:09:39,880 --> 00:09:43,319 Speaker 1: aged well, um, will say, so there there's there is 181 00:09:43,360 --> 00:09:46,439 Speaker 1: potentially enable us to performance. That's that's there. That's problematic, right, 182 00:09:46,600 --> 00:09:49,400 Speaker 1: But we acknowledge we don't celebrate Will Sass. So we 183 00:09:49,480 --> 00:09:52,000 Speaker 1: say that Will Sasso is there, but that this is 184 00:09:52,000 --> 00:09:53,800 Speaker 1: about the actress not on the list, not on the list, 185 00:09:53,920 --> 00:09:55,800 Speaker 1: but he's not on the list. Who is on the 186 00:09:55,800 --> 00:09:58,959 Speaker 1: list has cast Maine on mat TV. She has made 187 00:09:58,960 --> 00:10:01,040 Speaker 1: the list prior, but not Will Sassa does not make 188 00:10:01,040 --> 00:10:03,400 Speaker 1: the list as part of the number twenty five every 189 00:10:03,400 --> 00:10:05,600 Speaker 1: actress and dropped Dead Gorgeous who does make the list 190 00:10:05,679 --> 00:10:09,520 Speaker 1: is Kirsten Dunst. Kirsten duns now here's the thing about 191 00:10:09,600 --> 00:10:13,000 Speaker 1: Kirsten Dunst. Another iconic moment that could have made the 192 00:10:13,040 --> 00:10:15,400 Speaker 1: list but did not was the toothbrushing scene and bringing 193 00:10:15,440 --> 00:10:19,120 Speaker 1: on bringing on. That was very close to making the list. Um. 194 00:10:19,160 --> 00:10:21,480 Speaker 1: But what she does here and dropped Gorgeous is the 195 00:10:21,600 --> 00:10:24,840 Speaker 1: next level and every actress in this has done next 196 00:10:24,920 --> 00:10:29,320 Speaker 1: level work. Yes. Um. Another Kirsty moment, if I might add, 197 00:10:29,400 --> 00:10:33,200 Speaker 1: that did not make the list, but her being separated 198 00:10:33,800 --> 00:10:36,680 Speaker 1: um from her dog and Marie Antoinette in the beginning, 199 00:10:37,160 --> 00:10:39,640 Speaker 1: very emotional. She was very sad to be leaving that 200 00:10:39,679 --> 00:10:43,200 Speaker 1: dog and to be married to this you know, short Frenchman. 201 00:10:43,600 --> 00:10:46,040 Speaker 1: So you really love it? Have you seen on becoming 202 00:10:46,040 --> 00:10:48,599 Speaker 1: a god? I saw the pilot and the way she 203 00:10:48,679 --> 00:10:51,760 Speaker 1: sort of screams after she shoots the bullets into the 204 00:10:51,880 --> 00:10:54,760 Speaker 1: lake after at the crocodiles. The end of the episode. 205 00:10:55,360 --> 00:11:00,760 Speaker 1: I love the way she skin and we talked about 206 00:11:00,760 --> 00:11:04,000 Speaker 1: the skins what appears to be an actual lie of crocodile. 207 00:11:04,040 --> 00:11:05,680 Speaker 1: In the beginning of the second episode of I'm Becoming 208 00:11:05,679 --> 00:11:07,640 Speaker 1: a God, we did talk about this, how you were 209 00:11:07,679 --> 00:11:11,760 Speaker 1: pretty pretty convinced it was recodile crocodile, and well, it 210 00:11:11,760 --> 00:11:13,400 Speaker 1: would be an alligator if it was in Florida. I'm 211 00:11:13,400 --> 00:11:15,600 Speaker 1: sorry it was an alligator, but she peels the skin 212 00:11:15,679 --> 00:11:17,720 Speaker 1: and the scales. Yeah, but I feel it must have 213 00:11:17,760 --> 00:11:21,160 Speaker 1: been a prop, And I was saying that I don't know. 214 00:11:22,000 --> 00:11:24,360 Speaker 1: I don't think there's a prop budget or an effects 215 00:11:24,360 --> 00:11:28,080 Speaker 1: budget to make I mean, you know, taken up with Peter, 216 00:11:28,160 --> 00:11:32,280 Speaker 1: but they might have actually bought some dead gators. So 217 00:11:32,600 --> 00:11:36,360 Speaker 1: you think that As someone who knows the magic, IM 218 00:11:36,480 --> 00:11:39,600 Speaker 1: not saying that I know. I think this was a 219 00:11:39,640 --> 00:11:42,600 Speaker 1: real alley. I'm not saying that I have any specific 220 00:11:42,600 --> 00:11:45,640 Speaker 1: industry knowledge, but it just seemed like a real alligator. 221 00:11:45,640 --> 00:11:49,400 Speaker 1: We're going to need the set designer or props Department 222 00:11:49,640 --> 00:11:52,440 Speaker 1: of Becoming a God in Central FORID, so please reach 223 00:11:52,480 --> 00:11:57,360 Speaker 1: out regardless. This has been twenty five every actress dropped 224 00:11:57,360 --> 00:11:59,480 Speaker 1: out of Gorgeous and we have to say, just before 225 00:11:59,480 --> 00:12:03,680 Speaker 1: we got Murphy is to this guy, you were the one. 226 00:12:03,960 --> 00:12:07,960 Speaker 1: And please understand that you were also iconic and clueless 227 00:12:08,000 --> 00:12:11,000 Speaker 1: for saying you're a virgin who can't drive, and that 228 00:12:11,080 --> 00:12:12,640 Speaker 1: you also did not make the list for that, but 229 00:12:12,679 --> 00:12:14,200 Speaker 1: you do make the list as part of the drop 230 00:12:14,240 --> 00:12:17,240 Speaker 1: out of Gorgeous cast. We do give props to Uptown Girl. 231 00:12:17,960 --> 00:12:21,440 Speaker 1: Uptown Girls, and we love you Britney Murphy. And we 232 00:12:21,440 --> 00:12:23,760 Speaker 1: talked about this, I mean many at this point, many, many, 233 00:12:23,800 --> 00:12:26,959 Speaker 1: many people have put forward the theory that had she 234 00:12:27,040 --> 00:12:29,599 Speaker 1: been alive, were she still alive today, she would have 235 00:12:29,600 --> 00:12:32,440 Speaker 1: won an Oscar right now. I think my theory is 236 00:12:32,480 --> 00:12:34,240 Speaker 1: she would have been one of the queens of television. 237 00:12:34,320 --> 00:12:36,360 Speaker 1: She would have been the queens of peak TV. I 238 00:12:36,360 --> 00:12:38,560 Speaker 1: don't think Oscar for her. I think two or three 239 00:12:38,559 --> 00:12:42,480 Speaker 1: Emmy's Got Could you imagine a Brittany Murphy led like 240 00:12:42,880 --> 00:12:46,320 Speaker 1: Prestige TV show? I can't imagine it. How good would 241 00:12:46,320 --> 00:12:49,280 Speaker 1: that be? It would be amazing. She peeked before her time. 242 00:12:49,960 --> 00:12:54,240 Speaker 1: We love Brittany. Brittany. Now another thing we love talk 243 00:12:54,320 --> 00:12:57,600 Speaker 1: about living documents from before this rule number. I keep 244 00:12:57,600 --> 00:12:59,920 Speaker 1: calling them rules because we famously do. Rules of culture 245 00:13:00,040 --> 00:13:02,679 Speaker 1: is a little paradigm shift number twenty four on the 246 00:13:02,720 --> 00:13:07,920 Speaker 1: top two lists in two moments, Moments and cultural history 247 00:13:08,160 --> 00:13:14,160 Speaker 1: is the invention of paper. Huge. Um. I know, I 248 00:13:14,200 --> 00:13:16,200 Speaker 1: know things are a little bit tense when we think 249 00:13:16,240 --> 00:13:20,520 Speaker 1: of Chinese person right now. I can't believe you just 250 00:13:20,559 --> 00:13:22,960 Speaker 1: said that. You know, I know there's there's tension, and 251 00:13:23,080 --> 00:13:27,800 Speaker 1: there's potentially yet another pandemic, uh, potential flu that's coming 252 00:13:27,800 --> 00:13:30,040 Speaker 1: out of We can't talk about that. Um, that's not 253 00:13:30,080 --> 00:13:31,800 Speaker 1: what we're we're talking about. We're talking about the invention 254 00:13:31,840 --> 00:13:35,480 Speaker 1: of paper, which was people think it's Egyptian. It's an 255 00:13:35,480 --> 00:13:38,280 Speaker 1: Egyptian invention that papyrus has started at all. Now it 256 00:13:38,360 --> 00:13:41,839 Speaker 1: was the Chinese who took a bunch of started it 257 00:13:41,920 --> 00:13:44,640 Speaker 1: all started all in a different way, in a different way. 258 00:13:45,480 --> 00:13:49,360 Speaker 1: Some man um took a bunch of leaves, um ground 259 00:13:49,480 --> 00:13:51,679 Speaker 1: and wood and ground them into the mulch and then 260 00:13:51,760 --> 00:13:54,360 Speaker 1: laid it out and let it flattened it, let it 261 00:13:54,440 --> 00:13:56,960 Speaker 1: soak in the sun, and then they got the idea 262 00:13:57,000 --> 00:13:59,040 Speaker 1: to write on it. I can't believe this is true. 263 00:13:59,280 --> 00:14:02,320 Speaker 1: This is paper came from China. This is the anecdotal fact. 264 00:14:02,960 --> 00:14:05,360 Speaker 1: So paper is a Chinese invention, not Egyptian. And we 265 00:14:05,400 --> 00:14:07,320 Speaker 1: have to that's actually a role of culture, role of culture. 266 00:14:07,400 --> 00:14:15,720 Speaker 1: Number papers actually invention China, not Egyptian. So unfortunately Egypt 267 00:14:16,720 --> 00:14:20,160 Speaker 1: this you lose this from, this is not yours. And 268 00:14:20,360 --> 00:14:22,760 Speaker 1: I just have to say, we would not have so 269 00:14:23,360 --> 00:14:27,520 Speaker 1: many amazing things if we hadn't had paper. We wouldn't 270 00:14:27,560 --> 00:14:30,400 Speaker 1: have had, you know, the journals that Tellership wrote her 271 00:14:30,440 --> 00:14:33,400 Speaker 1: songs in. We wouldn't have had the napkin that U J. 272 00:14:34,120 --> 00:14:38,280 Speaker 1: Jk Rolling wrote and we we celebrate her. We would 273 00:14:38,320 --> 00:14:42,640 Speaker 1: have had the paper that um was a fast similar 274 00:14:42,800 --> 00:14:46,240 Speaker 1: on the Google document that JK. Rowling wrote her seven 275 00:14:46,280 --> 00:14:49,640 Speaker 1: paragraphs transperob excreed on that she would later published onto 276 00:14:49,720 --> 00:14:52,720 Speaker 1: her own website. And you'll also noticed that no Harry 277 00:14:52,760 --> 00:14:55,360 Speaker 1: Potter appears on the list of culture. And honestly a 278 00:14:55,480 --> 00:14:58,360 Speaker 1: month ago that would have sounded crazy, but not anymore, 279 00:14:58,440 --> 00:15:02,640 Speaker 1: But not anymore anymore. And I want to say Taylor 280 00:15:02,680 --> 00:15:05,320 Speaker 1: Swift's journals, Yes, thinking Matt. Without paper, we would not 281 00:15:05,400 --> 00:15:07,840 Speaker 1: have the notes ap Apology, which was in many ways 282 00:15:08,520 --> 00:15:11,400 Speaker 1: innovated and perfected by miss Taylor Swift apps. I would say, 283 00:15:11,520 --> 00:15:13,360 Speaker 1: I mean, she wants to be removed from this narrative. 284 00:15:13,840 --> 00:15:15,800 Speaker 1: Who could forget what she wants? She would very much 285 00:15:15,840 --> 00:15:18,920 Speaker 1: have liked to been excluded from this narrative. I was 286 00:15:18,960 --> 00:15:21,640 Speaker 1: not aware that I was being called a bit or 287 00:15:21,720 --> 00:15:26,800 Speaker 1: something like where's the footage of where she is? Notes 288 00:15:26,840 --> 00:15:30,960 Speaker 1: app queen and and a lyrics pass on a notes 289 00:15:31,040 --> 00:15:35,160 Speaker 1: app queen. Only the young can run, Only the young 290 00:15:35,480 --> 00:15:40,320 Speaker 1: can run. Yeah, um, let's just say this has kind 291 00:15:40,360 --> 00:15:43,160 Speaker 1: of become about notes app, this is about paper when 292 00:15:43,200 --> 00:15:45,680 Speaker 1: it was really about paper. And that's actually a comment 293 00:15:45,840 --> 00:15:49,400 Speaker 1: on were we aware we were making the comment? You decide, 294 00:15:49,440 --> 00:15:52,720 Speaker 1: you decide. So Number twenty three on the list is 295 00:15:53,360 --> 00:15:57,440 Speaker 1: Bond girls. You know these girls. These are the girls 296 00:15:57,480 --> 00:16:00,680 Speaker 1: in every Bond movie. Of course I'm talking about James Bond, 297 00:16:00,720 --> 00:16:03,160 Speaker 1: but it was right to say his name, his last 298 00:16:03,280 --> 00:16:06,000 Speaker 1: name first, because that's what he does in this town. 299 00:16:06,160 --> 00:16:08,280 Speaker 1: Make no mistake. They are not his possessions. They're not 300 00:16:08,400 --> 00:16:11,760 Speaker 1: his there autonomous women. They are the girls of the 301 00:16:11,880 --> 00:16:16,440 Speaker 1: Bond um sort of you know, film genre, and so 302 00:16:16,720 --> 00:16:20,440 Speaker 1: many amazing women starting with Ursula Andrews running all the 303 00:16:20,480 --> 00:16:22,960 Speaker 1: way up to him. Is Anna da Arms that's going 304 00:16:23,000 --> 00:16:26,320 Speaker 1: to come out next year. Girl. We have seen Denise 305 00:16:26,440 --> 00:16:29,760 Speaker 1: Richards play a Bond girl. We have seen Terry Hatcher Michelle, 306 00:16:30,280 --> 00:16:33,800 Speaker 1: we have seen Michelle Yo. We have seen miss my 307 00:16:34,000 --> 00:16:38,840 Speaker 1: favorite Bond girl, Bombkaen play of course Zenia on the 308 00:16:38,920 --> 00:16:42,840 Speaker 1: top and killed men? Was she squeezed with her thighs? 309 00:16:42,880 --> 00:16:44,960 Speaker 1: And this is the camp that I'm looking for in 310 00:16:45,120 --> 00:16:48,720 Speaker 1: James Bond? Thank you? And is is this? Are these 311 00:16:48,800 --> 00:16:52,360 Speaker 1: movies bringing the camp? Would you say? I don't know 312 00:16:52,440 --> 00:16:54,840 Speaker 1: that Anna da Armis is going to serve camp to me, 313 00:16:55,040 --> 00:16:57,360 Speaker 1: you know? And I want a little goofy now I 314 00:16:57,400 --> 00:16:59,520 Speaker 1: want That's the thing is. It's like it's the same 315 00:16:59,560 --> 00:17:01,440 Speaker 1: thing with with Batman movies, you know what I mean, 316 00:17:01,560 --> 00:17:03,520 Speaker 1: Like we're going to get into but we're gonna get 317 00:17:03,520 --> 00:17:07,360 Speaker 1: into that. I appreciate that The Dark Night and Christopher 318 00:17:07,400 --> 00:17:09,960 Speaker 1: Nolan had its dark moment, but at its heart, I 319 00:17:10,119 --> 00:17:14,040 Speaker 1: want Joel Schumacher sort of gay camp nipples on the 320 00:17:14,080 --> 00:17:16,280 Speaker 1: batsuit and I kind of want the equivalent of that 321 00:17:16,359 --> 00:17:18,439 Speaker 1: with James Bond. I want him to say something corny 322 00:17:19,080 --> 00:17:23,200 Speaker 1: and literally every woman in the entire place like drowns 323 00:17:23,240 --> 00:17:26,000 Speaker 1: in their own wetness. I love that about James. But 324 00:17:26,160 --> 00:17:29,960 Speaker 1: I love that about James Bond. I mean a full fantasy, 325 00:17:30,080 --> 00:17:32,480 Speaker 1: like there are no actual women like this who behave 326 00:17:32,560 --> 00:17:35,840 Speaker 1: like this in the world too. Are so capable and 327 00:17:35,920 --> 00:17:39,320 Speaker 1: so smart and yet completely horny enough and so hot 328 00:17:39,359 --> 00:17:42,880 Speaker 1: and so horny enough to like let those things kind 329 00:17:42,920 --> 00:17:45,399 Speaker 1: of slide out of their humanity when they see James Bond. 330 00:17:45,720 --> 00:17:50,920 Speaker 1: What is your Bond girl name? Oh my god, m hmm, 331 00:17:51,480 --> 00:17:55,000 Speaker 1: this is hard, This is hard. I have mine, Dr 332 00:17:55,160 --> 00:17:59,040 Speaker 1: Natasha nut that's really good. And they call me Dr 333 00:17:59,160 --> 00:18:02,439 Speaker 1: nut Doctor, and they call me doctor Nut. Where are 334 00:18:02,480 --> 00:18:06,040 Speaker 1: you meeting, Mr Bond? P I have my PhD in 335 00:18:06,480 --> 00:18:12,200 Speaker 1: um quantum physics. And also you getting that nut get 336 00:18:12,320 --> 00:18:17,200 Speaker 1: this nut. Dr Natasha Nutt meets James Bond actually in 337 00:18:17,760 --> 00:18:22,639 Speaker 1: uh sort of science bunker very close to the Arctic. 338 00:18:23,760 --> 00:18:28,600 Speaker 1: It's way up north. Because I've actually been. My knowledge 339 00:18:28,960 --> 00:18:32,560 Speaker 1: is so severe that I have they have to put 340 00:18:32,600 --> 00:18:35,359 Speaker 1: me very far away, so he has to come to 341 00:18:35,440 --> 00:18:38,520 Speaker 1: the Arctic to sort of, you know, get to know 342 00:18:38,680 --> 00:18:41,560 Speaker 1: me a little bit better. And let's just say that 343 00:18:41,800 --> 00:18:46,640 Speaker 1: things get a little hot at the Arctic pole and uh, yeah, 344 00:18:47,240 --> 00:18:51,080 Speaker 1: I die in the movie after you give after we 345 00:18:51,200 --> 00:18:55,840 Speaker 1: have intelligence? Fine, blowing sex. I give crucial intelligence and 346 00:18:55,960 --> 00:18:59,920 Speaker 1: then I'm actually, um, this is this is so sad. 347 00:19:00,480 --> 00:19:04,680 Speaker 1: Dr Natasha Nutt gets um impaled on the North Pole. 348 00:19:07,280 --> 00:19:10,000 Speaker 1: It exists, there's a poll there, there's a poll there, 349 00:19:10,080 --> 00:19:14,439 Speaker 1: and get Santa. She gets impaled on it when they 350 00:19:14,600 --> 00:19:17,440 Speaker 1: befriend Santa. And then it turns out that Santa is 351 00:19:17,440 --> 00:19:21,920 Speaker 1: a Russian op. And you said Dr nut specializes in 352 00:19:22,040 --> 00:19:26,960 Speaker 1: Arctic science. Um no, I said, she specializes in physics 353 00:19:27,040 --> 00:19:29,720 Speaker 1: and getting that nut and getting that nut. She has 354 00:19:29,800 --> 00:19:32,439 Speaker 1: to live by the Arctic Circle because they don't want 355 00:19:32,480 --> 00:19:35,240 Speaker 1: anyone to find her. Amazing. She's such an amazing mind. 356 00:19:36,040 --> 00:19:40,480 Speaker 1: And she also looks like young Kyle Richards. Oh my god, 357 00:19:40,880 --> 00:19:44,399 Speaker 1: you know Amanda Kimmel Circus Survivor China. Ye, she actually 358 00:19:44,440 --> 00:19:48,240 Speaker 1: looks like me. A k a Amanda Kimmel Circus Survivor China. 359 00:19:49,119 --> 00:19:51,760 Speaker 1: You guys have the same face very much. So I 360 00:19:51,880 --> 00:19:55,800 Speaker 1: have my name. I knew it, Okay, she doesn't drink alcohol. 361 00:19:55,920 --> 00:20:00,960 Speaker 1: So her name is youth pastor Tita Taylor, Tita Taylor 362 00:20:01,720 --> 00:20:07,679 Speaker 1: Tester Taylor, Teo Taylor. And her name is Titta Taylor Taylor, 363 00:20:07,800 --> 00:20:09,879 Speaker 1: and she's a youth pastor and she has. She's actually 364 00:20:10,000 --> 00:20:13,440 Speaker 1: an op. She works for Always Option, works for the 365 00:20:13,560 --> 00:20:16,240 Speaker 1: n s A. She has crucial information on the Archdiocese 366 00:20:16,320 --> 00:20:19,480 Speaker 1: of Colorado because I mean, I think the reason I 367 00:20:19,560 --> 00:20:22,359 Speaker 1: took the role was because the characters from Colorado. That's 368 00:20:22,880 --> 00:20:25,760 Speaker 1: she gives James Bond for some reason. James Bond is 369 00:20:25,800 --> 00:20:27,680 Speaker 1: in the Rockies. She gives James Bond information on the 370 00:20:27,760 --> 00:20:31,080 Speaker 1: Archdiocese of Colorado for burying a lot of like scandalous 371 00:20:31,119 --> 00:20:35,480 Speaker 1: activity from the Catholic Church. Does she die? She lives, 372 00:20:35,960 --> 00:20:39,960 Speaker 1: She lives, lives, and she becomes I want to say, 373 00:20:40,760 --> 00:20:44,240 Speaker 1: a Fox News commentator. Oh no, I see when that happens. 374 00:20:44,359 --> 00:20:46,400 Speaker 1: She's she's the intelligence expert that they bring on Wait 375 00:20:46,440 --> 00:20:48,200 Speaker 1: did I tell you they brought me back for another 376 00:20:48,280 --> 00:20:51,280 Speaker 1: Bond movie, but to play a different character. Her name 377 00:20:51,440 --> 00:20:58,159 Speaker 1: is Who's her name is? Lifa, Lifa l e A 378 00:20:58,440 --> 00:21:01,399 Speaker 1: f A. What's her story? Oh my god? She blends 379 00:21:01,440 --> 00:21:08,520 Speaker 1: into the trees camo queen and a hunting expert. Yes, 380 00:21:08,960 --> 00:21:12,680 Speaker 1: so she's a hunting expert and camouflage expert, and she 381 00:21:13,160 --> 00:21:15,560 Speaker 1: meets James Bond when he has to um spy in 382 00:21:15,640 --> 00:21:18,000 Speaker 1: the trees. She's only in it for a really short 383 00:21:18,080 --> 00:21:22,280 Speaker 1: time lifa. Um, she's incredibly hot. She has triple age tits, 384 00:21:23,040 --> 00:21:25,440 Speaker 1: and she is able to get up in the trees 385 00:21:25,480 --> 00:21:28,800 Speaker 1: and blend in and do the same and um she 386 00:21:29,520 --> 00:21:31,760 Speaker 1: she We don't find out if she lives. Her dies, 387 00:21:32,359 --> 00:21:34,080 Speaker 1: which makes me feel like they want to ask me back, 388 00:21:34,119 --> 00:21:36,080 Speaker 1: They want to ask you back. I took on another role. 389 00:21:36,280 --> 00:21:38,560 Speaker 1: You did. Congratulation, Thank you so much. This is a 390 00:21:38,560 --> 00:21:41,600 Speaker 1: different character. What is it? Um? She is a genius 391 00:21:41,720 --> 00:21:46,440 Speaker 1: at puzzles. Her name is Ruby Cubics and she has 392 00:21:46,720 --> 00:21:50,640 Speaker 1: Consoli Cube with her pussy. Oh my god, that fucking bit. 393 00:21:51,400 --> 00:21:53,960 Speaker 1: Oh my god, that fucking bit. She's the best. No, 394 00:21:54,119 --> 00:21:56,160 Speaker 1: but she's actually so nice. She's not a bit, she's 395 00:21:56,240 --> 00:21:58,760 Speaker 1: very nice. I just feel like I know you. You're 396 00:21:58,800 --> 00:22:01,320 Speaker 1: like just getting out my fresh rason in jealousy. Okay, okay, 397 00:22:01,359 --> 00:22:02,840 Speaker 1: I see what you're saying. Yeah, which is as a 398 00:22:02,920 --> 00:22:08,480 Speaker 1: term of endearment. Um, Ruby Cubics can solve a puzzle. Um, yeah, 399 00:22:08,600 --> 00:22:11,960 Speaker 1: she's she She runs Sparkle dot com. Oh my god, 400 00:22:12,200 --> 00:22:14,560 Speaker 1: we all love Sparkle. Why does James Bond need to 401 00:22:14,880 --> 00:22:18,520 Speaker 1: go to Sporkle headquarters just because like there's there's a 402 00:22:18,640 --> 00:22:20,600 Speaker 1: there's a glitch on one of the puzzles that's like 403 00:22:20,640 --> 00:22:24,280 Speaker 1: a name as many vice presidents as you can, and 404 00:22:24,400 --> 00:22:26,159 Speaker 1: there's one name that Pop Step that is not an 405 00:22:26,160 --> 00:22:31,240 Speaker 1: actual vice president trickery. It's Lifa. So James Bond has 406 00:22:31,280 --> 00:22:33,560 Speaker 1: to wonder why his old flame Lefa is on the 407 00:22:33,680 --> 00:22:37,959 Speaker 1: Sparkle dot com registrate are going to bring back actually 408 00:22:37,960 --> 00:22:40,400 Speaker 1: in the same movie. We're in the same movie. Oh 409 00:22:40,480 --> 00:22:43,520 Speaker 1: my god, that's so exciting. Fun, that's so fun. Well, 410 00:22:43,560 --> 00:22:47,159 Speaker 1: I hope that our characters develop because I think that 411 00:22:47,320 --> 00:22:49,359 Speaker 1: something I thought about my two characters that I played 412 00:22:49,400 --> 00:22:51,119 Speaker 1: in James Bond, my two Bond Girls, is they just 413 00:22:51,200 --> 00:22:53,159 Speaker 1: weren't developed enough. So I'd love to see, you know, 414 00:22:53,760 --> 00:22:57,080 Speaker 1: some different kind of writers, and I'd love to see 415 00:22:57,080 --> 00:22:59,760 Speaker 1: Phoebe waller Bridge right my character. I want Ryan Johnson 416 00:22:59,800 --> 00:23:02,560 Speaker 1: to come right mind, okay, because you know he's he 417 00:23:02,560 --> 00:23:04,560 Speaker 1: wrote a wonderful rules for both Daniel Craik and Anna 418 00:23:04,600 --> 00:23:06,680 Speaker 1: to armis after their bodies. Yes, I think that we 419 00:23:06,720 --> 00:23:08,560 Speaker 1: can get them together and see what they do. I mean, 420 00:23:08,680 --> 00:23:10,879 Speaker 1: that's not our job, but it is our job to 421 00:23:11,000 --> 00:23:15,000 Speaker 1: demand um our characters be more developed. So anyway, that 422 00:23:15,119 --> 00:23:18,920 Speaker 1: was for Bond Girls. Congratulations Bond Girls. You made. It's 423 00:23:18,960 --> 00:23:22,560 Speaker 1: in a way, it's congratulations to us, Um twenty two. 424 00:23:22,680 --> 00:23:25,760 Speaker 1: This really means a ton to you. Um. Kate Bush, 425 00:23:25,920 --> 00:23:28,800 Speaker 1: the queen of being a young white girl musical genius. 426 00:23:29,040 --> 00:23:32,520 Speaker 1: I thought it was very important to Addison without Kate Bush. 427 00:23:33,000 --> 00:23:34,959 Speaker 1: Kate Bush made it acceptable for a seventeen year old 428 00:23:34,960 --> 00:23:37,439 Speaker 1: girl to be a musical genius. And before that there 429 00:23:37,480 --> 00:23:39,640 Speaker 1: were none. There were none before that, it was only 430 00:23:39,760 --> 00:23:43,600 Speaker 1: Mozart representing for them exactly. So you had Kate Bush, 431 00:23:43,800 --> 00:23:45,760 Speaker 1: then you had. If you didn't have Kate Bush, you know, 432 00:23:45,960 --> 00:23:49,239 Speaker 1: you wouldn't have had your Fiona Apples, your Lords, your 433 00:23:49,280 --> 00:23:51,560 Speaker 1: Billie eilish is he would not have Seventeen is that 434 00:23:51,600 --> 00:23:53,560 Speaker 1: magic number for these girls to be like okay, now 435 00:23:53,600 --> 00:23:55,440 Speaker 1: you're ready. I mean I want to I want to 436 00:23:55,440 --> 00:24:00,480 Speaker 1: see someone really you know Taylor absolutely Taylor fifteen. Wow. 437 00:24:00,720 --> 00:24:04,159 Speaker 1: When she received public not like acclaim I want Taylor, 438 00:24:04,359 --> 00:24:05,600 Speaker 1: I was gonna say, you know what it's gonna say. 439 00:24:05,640 --> 00:24:07,360 Speaker 1: I was like, I can't wait for the day when 440 00:24:07,800 --> 00:24:10,920 Speaker 1: a fifteen year old girl comes forward and you know, 441 00:24:11,359 --> 00:24:13,080 Speaker 1: breaks the mold and says it's okay to be a 442 00:24:13,119 --> 00:24:15,720 Speaker 1: fifteen year old young white girl teen musical genius, But 443 00:24:15,800 --> 00:24:18,320 Speaker 1: Taylor already did that. She kind of already broke that open. 444 00:24:18,359 --> 00:24:20,760 Speaker 1: So I guess now we're just gonna come out here 445 00:24:20,760 --> 00:24:24,000 Speaker 1: and busted open. Although who did do that and everyone 446 00:24:24,080 --> 00:24:27,760 Speaker 1: kind of forgets is Miss Jojo herself. Joanna Levesque should 447 00:24:27,800 --> 00:24:29,159 Speaker 1: be on the list, and she's not unless she did 448 00:24:29,240 --> 00:24:30,520 Speaker 1: not make the list. But she really should be on 449 00:24:30,520 --> 00:24:32,360 Speaker 1: the should be unless she did not actually make the list. 450 00:24:32,400 --> 00:24:34,600 Speaker 1: But Jojo, Oh my god, do you want to know 451 00:24:34,720 --> 00:24:36,640 Speaker 1: something crazy funcked up? I might have talked about this before, 452 00:24:37,080 --> 00:24:39,800 Speaker 1: but when when Leave Get Out came out, I thought, 453 00:24:40,359 --> 00:24:43,720 Speaker 1: because I was the same ages Jojo, I was like, Okay, 454 00:24:43,720 --> 00:24:47,840 Speaker 1: well she's talented and famous, so I guess I guess 455 00:24:47,920 --> 00:24:51,000 Speaker 1: I have no shot at fame. I understand that, do 456 00:24:51,040 --> 00:24:52,359 Speaker 1: you know what I mean? It's like, oh, there's only 457 00:24:52,440 --> 00:24:54,879 Speaker 1: so many spots left for for people our age to 458 00:24:54,880 --> 00:24:57,280 Speaker 1: be famous, right exactly. We did not recall at the 459 00:24:57,400 --> 00:25:01,399 Speaker 1: time the being told that we would A UM, I 460 00:25:01,840 --> 00:25:04,600 Speaker 1: totally understand that, I think. So I'm just I just 461 00:25:04,720 --> 00:25:06,280 Speaker 1: want to own up to the fact that when Jojo 462 00:25:06,320 --> 00:25:08,320 Speaker 1: first broke out into scene, I were jealous. My first 463 00:25:08,800 --> 00:25:11,240 Speaker 1: emotion was jealous. I think the first thing I thought 464 00:25:11,320 --> 00:25:13,520 Speaker 1: was empowered because I was like, oh, a thirteen year 465 00:25:13,560 --> 00:25:16,359 Speaker 1: old can become famous, it can happen for me. And 466 00:25:16,440 --> 00:25:18,840 Speaker 1: so I thought, okay, well, then within the next year 467 00:25:19,000 --> 00:25:22,879 Speaker 1: or so, I'm gonna be giving you everything JoJo's giving you. 468 00:25:24,960 --> 00:25:27,720 Speaker 1: That's that's true, that's fair. I felt empowered. I chose 469 00:25:27,840 --> 00:25:30,240 Speaker 1: to see one of my peers when they were succeeding. 470 00:25:30,720 --> 00:25:34,840 Speaker 1: I chose to feel empowered. And you need to go 471 00:25:34,960 --> 00:25:39,159 Speaker 1: to therapy about this. The way that you have treated Jojo, 472 00:25:40,080 --> 00:25:43,760 Speaker 1: and you know now understanding the way that your feelings 473 00:25:43,760 --> 00:25:46,720 Speaker 1: about her started totally and I totally get the way 474 00:25:46,760 --> 00:25:48,960 Speaker 1: you treat her. Now, what do you mean because you 475 00:25:50,160 --> 00:25:51,960 Speaker 1: just put it on the list, You didn't put her 476 00:25:52,000 --> 00:25:54,040 Speaker 1: on the list? Can I say something about Jojo? Though? 477 00:25:54,160 --> 00:25:59,880 Speaker 1: This isn't me canceling Jojo? I best not miss Joe 478 00:26:00,280 --> 00:26:04,640 Speaker 1: normalized going through your significant other's phone. So what that's 479 00:26:04,760 --> 00:26:07,760 Speaker 1: an invasion of privacy? So it's I don't first of all, 480 00:26:07,880 --> 00:26:12,080 Speaker 1: is that a felony. It might be some states some states. Well, 481 00:26:12,320 --> 00:26:13,920 Speaker 1: I just want to say, you have to do what 482 00:26:14,040 --> 00:26:16,720 Speaker 1: you need to do when you feel your partner is trifling. 483 00:26:17,720 --> 00:26:21,240 Speaker 1: I feel this way, Okay, I would I would you? 484 00:26:21,640 --> 00:26:24,080 Speaker 1: I just want to I feel this way. I just 485 00:26:24,160 --> 00:26:26,159 Speaker 1: want to say, this is a thing that has not 486 00:26:26,359 --> 00:26:29,040 Speaker 1: escaped my mind. And it's a Matt Rodgers original. Of course, 487 00:26:29,440 --> 00:26:31,359 Speaker 1: Matt Rodgers can turn a damn phrase like no one, 488 00:26:31,480 --> 00:26:34,160 Speaker 1: no one else. We were watching something the other night, 489 00:26:34,280 --> 00:26:37,640 Speaker 1: Disney fairy Tale Wedding, but for some reason like Joey Forte, 490 00:26:37,680 --> 00:26:40,240 Speaker 1: oh no, no, this this couple was in Greece, and 491 00:26:40,280 --> 00:26:42,680 Speaker 1: then oh yes, and then I I was like, you 492 00:26:42,760 --> 00:26:45,399 Speaker 1: know what if Matt Rodgers were Joey for Tone's age 493 00:26:45,560 --> 00:26:48,080 Speaker 1: and the circle two three four, whenever Big Back Creek 494 00:26:48,080 --> 00:26:50,359 Speaker 1: wedit came out, he would have played the Joey for Tone. 495 00:26:50,400 --> 00:26:52,600 Speaker 1: I should have played that part. And so Matt Rodgers 496 00:26:52,840 --> 00:26:55,080 Speaker 1: rises up from his seat and goes, I should have 497 00:26:55,119 --> 00:26:58,840 Speaker 1: played that role. I I and the emphasis on the eye, 498 00:26:58,960 --> 00:27:04,359 Speaker 1: the second eye powerful, I feel really and that character 499 00:27:04,480 --> 00:27:06,800 Speaker 1: was gay, right? I don't think so. I think Joey 500 00:27:06,840 --> 00:27:08,680 Speaker 1: for Tone comes out and what I'm telling you he 501 00:27:08,880 --> 00:27:10,960 Speaker 1: is he is. Joey for Tone is gay in my 502 00:27:11,000 --> 00:27:14,080 Speaker 1: Big fack Creek wedding. What are you doing, Hans, I'm 503 00:27:14,119 --> 00:27:16,080 Speaker 1: literally I'm looking at the screen trying to get someone 504 00:27:16,160 --> 00:27:18,240 Speaker 1: to help you, Hans. Look it up. Hans, you have 505 00:27:18,359 --> 00:27:21,080 Speaker 1: to look this up. Please please, and let us know 506 00:27:21,240 --> 00:27:23,320 Speaker 1: if if Joey for Tone was gay in My Big 507 00:27:23,359 --> 00:27:24,800 Speaker 1: Fat Reek, we no, we would have. We would have 508 00:27:24,840 --> 00:27:26,200 Speaker 1: we would have remembered it, because then we would have 509 00:27:26,240 --> 00:27:27,840 Speaker 1: thought about Lance and we've been like, oh, Joey for 510 00:27:27,960 --> 00:27:29,920 Speaker 1: Tone came out before Lance bast did. Like, no, we 511 00:27:29,960 --> 00:27:32,080 Speaker 1: would have anyway. This is the end of number twenty two, 512 00:27:32,119 --> 00:27:34,320 Speaker 1: which is Kate Bush, the Queen of being a young 513 00:27:34,400 --> 00:27:38,760 Speaker 1: white girl. Hold on, Hans, we're getting an answer from Hans. 514 00:27:39,440 --> 00:27:45,040 Speaker 1: My big free Gay and the second one, Angelo, the 515 00:27:45,119 --> 00:27:47,960 Speaker 1: comical cousin played by Joey for Tone, comes out as 516 00:27:48,040 --> 00:27:51,399 Speaker 1: gay to his family and introduces them to his partner. Um, 517 00:27:53,560 --> 00:27:58,040 Speaker 1: thank you, Hans, Thank you, Hans. I really quick before 518 00:27:58,040 --> 00:28:00,240 Speaker 1: we move on. Yeah, talk about I know it was 519 00:28:00,280 --> 00:28:02,520 Speaker 1: important to you to talk about Kate Bush. Oh no, no, 520 00:28:02,640 --> 00:28:04,239 Speaker 1: we just love Kate Bush. I mean Hounds of Love, 521 00:28:04,280 --> 00:28:05,800 Speaker 1: one of the best albums of all time, Running up 522 00:28:05,800 --> 00:28:08,040 Speaker 1: that Hill, one of the best songs of all time. Um, 523 00:28:08,480 --> 00:28:10,320 Speaker 1: you know, the beginning of Quarantine, I was I was 524 00:28:10,359 --> 00:28:12,479 Speaker 1: getting very very sad, like we all were. And then 525 00:28:12,720 --> 00:28:15,960 Speaker 1: one of the soothing comforting watches that I had was 526 00:28:16,280 --> 00:28:19,200 Speaker 1: a YouTube documentary or I should say a documentary on YouTube, 527 00:28:19,200 --> 00:28:21,440 Speaker 1: a bootleg of a documentary on YouTube about Kate Bush 528 00:28:22,119 --> 00:28:25,280 Speaker 1: Beautiful beautiful watch. I want to say, unrelated that the 529 00:28:25,560 --> 00:28:27,800 Speaker 1: I the emphasis on Matt has such a mastery of 530 00:28:27,920 --> 00:28:31,119 Speaker 1: phonetics in the English language and really leveraging them. And 531 00:28:31,200 --> 00:28:32,879 Speaker 1: I don't know my way, but I do know my 532 00:28:33,000 --> 00:28:36,360 Speaker 1: heart and the heart comes your heart through phonics. Yes, 533 00:28:37,160 --> 00:28:39,840 Speaker 1: Matt has. Really I have a theory now in comedy 534 00:28:40,080 --> 00:28:42,520 Speaker 1: that Matt helped me excavate, which is the words that 535 00:28:43,200 --> 00:28:47,040 Speaker 1: that and now I that has such comic power, comedic power. 536 00:28:47,680 --> 00:28:50,680 Speaker 1: Um the blank that that has UM going to have 537 00:28:50,800 --> 00:28:53,280 Speaker 1: to blank on that one? Why did you do that 538 00:28:53,440 --> 00:28:57,120 Speaker 1: to me? Um? The word that is so powerful? Because 539 00:28:57,120 --> 00:29:00,080 Speaker 1: it just because your brain is trying to fill the 540 00:29:00,160 --> 00:29:03,160 Speaker 1: blanks with an infinite amount of unknowns with that, You're like, 541 00:29:03,240 --> 00:29:05,720 Speaker 1: what is what? That could be anything? It literally could 542 00:29:05,720 --> 00:29:07,320 Speaker 1: be anything. It could be a noun or, it could 543 00:29:07,360 --> 00:29:10,240 Speaker 1: be sort of any old thing. It provides just amount 544 00:29:10,280 --> 00:29:14,000 Speaker 1: it's it's it's really a transaction between you, the reader 545 00:29:14,160 --> 00:29:17,880 Speaker 1: of that as a word, and UM, the person saying that. 546 00:29:18,000 --> 00:29:20,840 Speaker 1: Because it's they're starting a dialogue. They're saying the word that, 547 00:29:21,000 --> 00:29:22,680 Speaker 1: and it's up to you to fill in the blanks 548 00:29:22,720 --> 00:29:25,640 Speaker 1: of what that is. Well, whenever you say the word 549 00:29:25,800 --> 00:29:28,120 Speaker 1: that in a sentence, or if you're trying to get 550 00:29:28,160 --> 00:29:30,800 Speaker 1: something across and you use the word that, what you 551 00:29:30,880 --> 00:29:34,720 Speaker 1: are referring to is the comedic thing you are thinking about. 552 00:29:35,080 --> 00:29:37,600 Speaker 1: So you are referencing what is in your mind's eye 553 00:29:37,720 --> 00:29:45,600 Speaker 1: without explicitly verbalizing the comedic object or subjective or subject. 554 00:29:45,680 --> 00:29:49,160 Speaker 1: Even and our book is coming out, I can't forget 555 00:29:49,240 --> 00:29:52,479 Speaker 1: that one. Can't forget that one. Um, we really need 556 00:29:52,560 --> 00:29:54,360 Speaker 1: to do a book. We should do a book the 557 00:29:54,480 --> 00:29:57,040 Speaker 1: rules of culture. And we've been saying this for years, 558 00:29:58,200 --> 00:30:01,760 Speaker 1: but now will you be allowed to do a book? Yes? Um, 559 00:30:02,480 --> 00:30:05,320 Speaker 1: it just has to be the right thing, rules of culture. 560 00:30:05,520 --> 00:30:08,560 Speaker 1: There's something you don't want to do that it just 561 00:30:08,680 --> 00:30:14,760 Speaker 1: feels first thoughts, it's not our book book, it's just fun. 562 00:30:14,880 --> 00:30:18,840 Speaker 1: There's another way to sort of, you know, long form, 563 00:30:19,800 --> 00:30:22,280 Speaker 1: sort of meditate on culture in a way that only 564 00:30:22,720 --> 00:30:24,440 Speaker 1: you and I can. I mean, this guy's this is 565 00:30:24,520 --> 00:30:27,880 Speaker 1: such a masturbation right now. No, I think it would 566 00:30:27,880 --> 00:30:31,320 Speaker 1: be easy to put together just the one rules of culture. 567 00:30:31,520 --> 00:30:33,560 Speaker 1: We go through pick the ones we liked there dumb, 568 00:30:34,360 --> 00:30:36,040 Speaker 1: how is it different from this, We're already doing it, 569 00:30:36,120 --> 00:30:39,080 Speaker 1: but in audio form, we there's something that, there's something new, 570 00:30:39,280 --> 00:30:42,880 Speaker 1: there's something new we can do to monetize, maximalize, maximalize, guys. 571 00:30:43,480 --> 00:30:45,720 Speaker 1: That was number twenty two. That was number twenty k Bush, 572 00:30:45,720 --> 00:30:47,400 Speaker 1: the Queen of being a young White girl, musical genius. 573 00:30:47,440 --> 00:30:49,760 Speaker 1: Let's move on to number twenty one, number one, another 574 00:30:49,880 --> 00:30:53,960 Speaker 1: musician when Gwen Stefani was Brunette and the cool video. 575 00:30:54,960 --> 00:30:58,120 Speaker 1: This I mean music video is one of the best 576 00:30:58,240 --> 00:31:00,120 Speaker 1: music videos that has been put out by a off 577 00:31:00,200 --> 00:31:04,600 Speaker 1: star in the modern era. It was I think the 578 00:31:04,840 --> 00:31:07,920 Speaker 1: third single, I want to say, What You're waiting For, 579 00:31:08,560 --> 00:31:11,440 Speaker 1: Holli Back, No, No, Holliback Girl, which Rich first it 580 00:31:11,520 --> 00:31:13,680 Speaker 1: was the fourth single, then Rich Go, Halliback Girl, and 581 00:31:14,160 --> 00:31:16,160 Speaker 1: um what You're waiting For and not in not order, 582 00:31:16,200 --> 00:31:17,560 Speaker 1: but those are the first three. It was what You're 583 00:31:17,560 --> 00:31:20,000 Speaker 1: waiting For, Rich Girl. Holliback Girl, I believe was the 584 00:31:20,080 --> 00:31:21,880 Speaker 1: third single and it was the biggest song on the album. 585 00:31:21,960 --> 00:31:24,440 Speaker 1: And then she really is cool because often what you'll 586 00:31:24,520 --> 00:31:27,160 Speaker 1: do is once you have a talk about the marketing, 587 00:31:27,720 --> 00:31:30,240 Speaker 1: once you have so the way it used to go anyway, 588 00:31:30,280 --> 00:31:33,200 Speaker 1: and it sometimes goes like this is the girls would 589 00:31:33,200 --> 00:31:36,400 Speaker 1: release a huge first single that they were confident with, 590 00:31:36,560 --> 00:31:40,400 Speaker 1: like blow the radio the funk up. So, for example, 591 00:31:40,560 --> 00:31:44,000 Speaker 1: let's say for this while Breakaway was the first single 592 00:31:44,080 --> 00:31:46,200 Speaker 1: off of Breakaway, the album by Kelly Clarkson, that was 593 00:31:46,280 --> 00:31:48,680 Speaker 1: really more of a promotional single for Princess Diary, So 594 00:31:48,960 --> 00:31:50,920 Speaker 1: I don't really count it as the first single from 595 00:31:50,960 --> 00:31:53,360 Speaker 1: Breakaway despite that being the title of the album. I 596 00:31:53,480 --> 00:31:56,480 Speaker 1: think the first single, and this is not the best 597 00:31:56,560 --> 00:31:59,680 Speaker 1: one to one is since You've Been Gone or Breakaway 598 00:32:00,440 --> 00:32:01,800 Speaker 1: that we can relate it to L A m B. 599 00:32:01,960 --> 00:32:03,640 Speaker 1: What You're waiting for was the song they felt was 600 00:32:03,680 --> 00:32:05,920 Speaker 1: going to be the biggest radio hit. What happens is 601 00:32:05,960 --> 00:32:07,680 Speaker 1: after you have that big radio hit is you hit 602 00:32:07,760 --> 00:32:10,160 Speaker 1: them again with like the same flavor of song to 603 00:32:10,240 --> 00:32:12,560 Speaker 1: show what the album is doing, that you are part 604 00:32:12,640 --> 00:32:16,080 Speaker 1: of the pop conversation. That is these types of up tempo, 605 00:32:16,200 --> 00:32:18,960 Speaker 1: hooky songs. So behind these days alives for Kelly rich 606 00:32:19,040 --> 00:32:20,600 Speaker 1: girl no no no no no no no no no 607 00:32:20,680 --> 00:32:24,479 Speaker 1: no no no no no no, for these hooky songs 608 00:32:24,560 --> 00:32:28,000 Speaker 1: that are sort of still upbeat and fun. But what 609 00:32:28,200 --> 00:32:33,920 Speaker 1: happened here with like sort of Kelly and Gwen. It's 610 00:32:33,960 --> 00:32:36,640 Speaker 1: a little bit different. After the big song comes out, 611 00:32:36,760 --> 00:32:39,120 Speaker 1: you want to pull back. You have the free reign 612 00:32:39,200 --> 00:32:41,480 Speaker 1: to do whatever you want. And that's why when you 613 00:32:41,600 --> 00:32:46,360 Speaker 1: hear your because of Us, you're thinking of us after ry, Yeah, 614 00:32:46,400 --> 00:32:49,600 Speaker 1: I'm talking about hot and Cold and I kissed the 615 00:32:49,640 --> 00:32:52,360 Speaker 1: girl came thinking of you. You take your big ballad 616 00:32:52,440 --> 00:32:54,560 Speaker 1: swing after you've had a couple of hit songs and 617 00:32:54,720 --> 00:32:58,720 Speaker 1: cool swung hard and and I think it was a 618 00:32:58,800 --> 00:33:01,320 Speaker 1: home run for me, like quality wise, I don't know 619 00:33:01,400 --> 00:33:03,960 Speaker 1: if it was a huge hit. I think it's one 620 00:33:04,000 --> 00:33:05,960 Speaker 1: of her best songs. I think it's absolutely one of 621 00:33:06,000 --> 00:33:08,120 Speaker 1: her best songs. I love that it's about something specific, 622 00:33:08,240 --> 00:33:12,240 Speaker 1: and the video is stunning, and the video is evocative, 623 00:33:13,040 --> 00:33:15,840 Speaker 1: and I think the biggest visual pull I have from 624 00:33:17,040 --> 00:33:20,280 Speaker 1: she's so iconically blonde that like to flashback in time 625 00:33:20,400 --> 00:33:24,760 Speaker 1: and she's brunette. It really does like take you somewhere else. 626 00:33:24,840 --> 00:33:28,600 Speaker 1: I mean it, I think, like for just this stupid 627 00:33:28,680 --> 00:33:31,200 Speaker 1: simple thing of like and in the past, she's brunette, 628 00:33:31,560 --> 00:33:34,200 Speaker 1: and that shows the growth art direction. But it does 629 00:33:34,440 --> 00:33:36,840 Speaker 1: read and it does work, and she does perform like 630 00:33:37,040 --> 00:33:40,040 Speaker 1: her youth and her brunette hair well, and she looks 631 00:33:40,080 --> 00:33:42,240 Speaker 1: good as a brunette. And she looks younger as a brunette, 632 00:33:42,440 --> 00:33:44,560 Speaker 1: Oh my god. And that's not to say that she 633 00:33:44,600 --> 00:33:46,960 Speaker 1: doesn't look young. She has not remained looking young. She 634 00:33:47,080 --> 00:33:50,040 Speaker 1: looks more distinguished and professional. She's like we know in 635 00:33:50,160 --> 00:33:53,120 Speaker 1: the modern day of the video, because the video is 636 00:33:53,520 --> 00:33:56,640 Speaker 1: her ex boyfriend from way back. Her first love comes 637 00:33:56,680 --> 00:33:58,959 Speaker 1: to see her in her mansion and her gwen ste 638 00:33:58,960 --> 00:34:03,560 Speaker 1: funny mansion and like italy um with his new girlfriend, 639 00:34:03,600 --> 00:34:06,640 Speaker 1: who's of course a brunette. Of course a brunette. So 640 00:34:06,720 --> 00:34:08,920 Speaker 1: they sit down and they're talking, and as they're kind 641 00:34:08,960 --> 00:34:13,080 Speaker 1: of having a cup of coffee and talking and exchanging words, ideas, thoughts, memories, 642 00:34:13,160 --> 00:34:16,440 Speaker 1: et cetera, they flashed back to their old days. As 643 00:34:16,480 --> 00:34:18,839 Speaker 1: the song Cool plays and the lyrics go, after all 644 00:34:18,920 --> 00:34:21,279 Speaker 1: that we've been through, I know we're cool. And it 645 00:34:21,360 --> 00:34:23,600 Speaker 1: also hearkens back to the other item on our list, 646 00:34:23,680 --> 00:34:26,200 Speaker 1: describing things as cool. Describing things as cool, that's the 647 00:34:26,239 --> 00:34:29,840 Speaker 1: conversation that we're having culturally in this list. Her on 648 00:34:29,920 --> 00:34:33,560 Speaker 1: the bed just kind of rolling the iconic and and 649 00:34:34,080 --> 00:34:36,399 Speaker 1: my favorite part of this song is towards the end, 650 00:34:36,680 --> 00:34:38,800 Speaker 1: it's it's the song is sort of like has resolved. 651 00:34:38,840 --> 00:34:41,200 Speaker 1: It's sort of the Dave Numa of the song and 652 00:34:41,280 --> 00:34:45,239 Speaker 1: she and she just does the little melodic flourish. I 653 00:34:45,280 --> 00:34:54,080 Speaker 1: will call it. It's so genius a Nuca. I mean, 654 00:34:54,160 --> 00:34:57,479 Speaker 1: it's so cool. She's so good. She's actually really really 655 00:34:57,520 --> 00:35:01,640 Speaker 1: good vocalist, and she's incredibly singular. Of course. I mean, look, 656 00:35:01,719 --> 00:35:03,560 Speaker 1: she's not belting on the song. It's a ballad, but 657 00:35:03,640 --> 00:35:05,960 Speaker 1: she's not like she's like, it's restrained, it's controlled. It's 658 00:35:06,080 --> 00:35:10,480 Speaker 1: so good you never hear it covered because everyone's like 659 00:35:10,600 --> 00:35:12,359 Speaker 1: it was done right the first time. Yeah, and also 660 00:35:12,480 --> 00:35:14,759 Speaker 1: like it feels like it was so specifically written by 661 00:35:14,880 --> 00:35:18,399 Speaker 1: her for her that and produced for her that it's 662 00:35:18,440 --> 00:35:21,080 Speaker 1: like it's not a range song at all. And I 663 00:35:21,200 --> 00:35:23,640 Speaker 1: think honestly, if you heard other people trying to sing it, 664 00:35:23,760 --> 00:35:28,000 Speaker 1: they would sound like stupid or because it's her song 665 00:35:28,120 --> 00:35:31,479 Speaker 1: and her moment and that video. I love a music 666 00:35:31,560 --> 00:35:34,360 Speaker 1: video that takes us on an emotional journey. All of 667 00:35:34,480 --> 00:35:37,080 Speaker 1: these ballads I'm referring to have amazing music videos, and 668 00:35:37,200 --> 00:35:40,520 Speaker 1: thinking of You video is wonderful, starring Matt Dallas. The 669 00:35:40,640 --> 00:35:44,480 Speaker 1: Because of You video was directed by Vadim Proldman who 670 00:35:44,680 --> 00:35:49,040 Speaker 1: directed House of Sandon fog Okay and was in that 671 00:35:49,360 --> 00:35:53,560 Speaker 1: And Kelly Clarkson wrote the treatment and that's incredible and 672 00:35:54,160 --> 00:35:58,400 Speaker 1: all these songs music videos and Cool is the best 673 00:35:58,960 --> 00:36:03,000 Speaker 1: fourth single ballad video that era from that era. And 674 00:36:03,200 --> 00:36:07,080 Speaker 1: it was a moment and the visuals are amazing, the 675 00:36:07,239 --> 00:36:09,799 Speaker 1: bridge when the two of them are looking at each other. 676 00:36:09,920 --> 00:36:13,560 Speaker 1: The editing in the video was incredible. Gwenne Gwenneth. Gwen's 677 00:36:13,680 --> 00:36:16,000 Speaker 1: acting in the video is amazing. At the end of 678 00:36:16,040 --> 00:36:19,799 Speaker 1: the second verse, girl Girl. Maybe this is not worth saying, um, 679 00:36:20,800 --> 00:36:23,520 Speaker 1: but I feel like the reason why it's not covered, 680 00:36:23,560 --> 00:36:25,160 Speaker 1: This is such a great observation that you don't hear 681 00:36:25,160 --> 00:36:27,680 Speaker 1: it covered. The reason it's not covered because is because 682 00:36:27,719 --> 00:36:34,080 Speaker 1: Cool melodically, lyrically, production wise, perfect match, perfect intersection. You 683 00:36:34,200 --> 00:36:36,680 Speaker 1: can't really innovate on it. And like, let's do like 684 00:36:36,760 --> 00:36:39,520 Speaker 1: a let's do like a pair down orchestral version of Cool. 685 00:36:39,600 --> 00:36:42,160 Speaker 1: Let's do like a like a bluesy what it's like. No, 686 00:36:42,280 --> 00:36:44,439 Speaker 1: it's like, it's perfect as it is. There's no reason 687 00:36:44,480 --> 00:36:46,759 Speaker 1: to funk with it. I think it did not get 688 00:36:46,800 --> 00:36:49,480 Speaker 1: the critical attention that it deserved at the time. I 689 00:36:49,520 --> 00:36:51,360 Speaker 1: think it's one of those songs, and let's listen to 690 00:36:51,440 --> 00:36:54,359 Speaker 1: it now, because it holds up. I believe it would 691 00:36:54,360 --> 00:36:57,359 Speaker 1: be I believe it would do well for her even today, 692 00:36:57,480 --> 00:36:59,520 Speaker 1: like if she put it on an album today, and 693 00:36:59,560 --> 00:37:01,239 Speaker 1: it would do very well, honest with you, Like I 694 00:37:01,360 --> 00:37:02,799 Speaker 1: know L A. M B Is not on the list, 695 00:37:02,840 --> 00:37:04,800 Speaker 1: but a lot of the songs on l AM except 696 00:37:04,840 --> 00:37:08,560 Speaker 1: her obvious Missus could work now. That album was like 697 00:37:09,040 --> 00:37:12,319 Speaker 1: forward thinking and progressive musically and lyrically in a way 698 00:37:12,400 --> 00:37:17,319 Speaker 1: that I think we're not really understanding as an Asian person. 699 00:37:17,360 --> 00:37:20,600 Speaker 1: I have such complicated feelings about but you love that 700 00:37:20,719 --> 00:37:23,040 Speaker 1: at the time. I loved it at the time. Uh 701 00:37:23,360 --> 00:37:26,160 Speaker 1: my most listened to album through high school, especially freshman year, 702 00:37:28,680 --> 00:37:33,600 Speaker 1: thank You What You're Waiting For? The I mean, if 703 00:37:33,680 --> 00:37:35,360 Speaker 1: you think about that, like think about that song. That 704 00:37:35,440 --> 00:37:37,920 Speaker 1: song is her having a conversation with her, like having 705 00:37:37,960 --> 00:37:41,480 Speaker 1: an inner battle where she has this savageur let's say, 706 00:37:41,520 --> 00:37:44,279 Speaker 1: I'm not trying to like invoke a specific person too much, 707 00:37:44,480 --> 00:37:46,760 Speaker 1: but it's her, like the voice in her head battling 708 00:37:46,840 --> 00:37:49,719 Speaker 1: with like her trying to like tell herself that she 709 00:37:49,800 --> 00:37:52,440 Speaker 1: can go solo, Like isn't that crazy? Yeah? And that's 710 00:37:52,440 --> 00:37:55,200 Speaker 1: to be the first single. It's so interesting and also 711 00:37:55,320 --> 00:37:57,480 Speaker 1: like the writing on that album is very specific and 712 00:37:57,560 --> 00:38:00,440 Speaker 1: it really feels like a personal journey. Also, how many 713 00:38:00,520 --> 00:38:03,000 Speaker 1: times have we seen Alice in Wonderland referenced as a 714 00:38:03,360 --> 00:38:06,640 Speaker 1: lyrical concept and as a visual concept. Since that not 715 00:38:06,760 --> 00:38:09,040 Speaker 1: to say she's the first that did it, but the 716 00:38:09,120 --> 00:38:13,160 Speaker 1: first I can remember. Like it's such an obvious match, 717 00:38:13,320 --> 00:38:16,320 Speaker 1: like hot music and like the whole fame thing with 718 00:38:16,400 --> 00:38:19,040 Speaker 1: the Alison Wonderland of it all, so it should feel 719 00:38:19,080 --> 00:38:21,400 Speaker 1: on the nose, but that felt really specific. Maybe it 720 00:38:21,480 --> 00:38:24,239 Speaker 1: was the TikTok of it all. Yeah, but that song 721 00:38:24,440 --> 00:38:27,440 Speaker 1: was really good and most of her album is really good. 722 00:38:27,480 --> 00:38:31,280 Speaker 1: The song of the real thing um bubble Electric Electric 723 00:38:31,400 --> 00:38:33,400 Speaker 1: is the production of bubble Papa Electric. If you can 724 00:38:33,640 --> 00:38:36,320 Speaker 1: get a good pair of headphones on and blast bubble 725 00:38:36,719 --> 00:38:41,080 Speaker 1: pop electric like like just it's like it's car it's 726 00:38:41,120 --> 00:38:46,160 Speaker 1: carbonated like it like it goes between. It's crazy. Yeah, 727 00:38:46,600 --> 00:38:50,160 Speaker 1: it was unreal and that actually that lost the pop 728 00:38:50,280 --> 00:38:54,239 Speaker 1: vocal Grammy album Grammy to you know what we take 729 00:38:54,320 --> 00:38:59,680 Speaker 1: away and we agree, we agree, but here's the thing. 730 00:39:00,080 --> 00:39:02,680 Speaker 1: The vocal Kelly has better vocals, right, if you're but 731 00:39:02,840 --> 00:39:06,920 Speaker 1: it's the award is for Pop Vocal Album, so and 732 00:39:07,320 --> 00:39:09,560 Speaker 1: when you say better vocals, it's like, yes, Kelly is 733 00:39:09,600 --> 00:39:14,080 Speaker 1: a quote unquote better singer on paper. However, Kelly won 734 00:39:14,239 --> 00:39:17,239 Speaker 1: the Pop Female Vocal Grammy for Since You've Been Gone, 735 00:39:18,040 --> 00:39:21,960 Speaker 1: and so I feel like she had a Grammy that year. Therefore, 736 00:39:22,160 --> 00:39:25,120 Speaker 1: like as an album, maybe L A MB just because 737 00:39:25,200 --> 00:39:29,560 Speaker 1: Breakaway I don't think holds up as much in retrospect. 738 00:39:29,600 --> 00:39:33,000 Speaker 1: I think it's very pop rock of the moment, whereas 739 00:39:33,200 --> 00:39:35,120 Speaker 1: L A m B. You can listen to it now 740 00:39:35,200 --> 00:39:39,040 Speaker 1: and be like, this was like a dance pop electric 741 00:39:39,200 --> 00:39:43,480 Speaker 1: album with interesting concepts. She's doing so much. She's doing 742 00:39:43,840 --> 00:39:47,800 Speaker 1: a million different like chameleonic things like pre Gaga. Like 743 00:39:47,920 --> 00:39:50,400 Speaker 1: she was like, oh, she can like do like Madonna. 744 00:39:50,480 --> 00:39:53,279 Speaker 1: Material Girl asked like eighties Madonna, and she can do 745 00:39:53,520 --> 00:39:56,080 Speaker 1: like you know, no doubt Scott, she could. She could 746 00:39:56,080 --> 00:39:57,800 Speaker 1: do it all and like and she could like do 747 00:39:58,040 --> 00:40:01,480 Speaker 1: like a pop hook that fits nicely with like a 748 00:40:01,600 --> 00:40:04,040 Speaker 1: hip hop bridge or whatever, and like just even like 749 00:40:04,080 --> 00:40:06,799 Speaker 1: Bubbapapa electric, just like being like come on, Johnny, when 750 00:40:06,800 --> 00:40:08,880 Speaker 1: you get in getting over here, it's like what are you? Like? 751 00:40:09,000 --> 00:40:11,279 Speaker 1: What are you doing? Like You're doing so many things 752 00:40:11,360 --> 00:40:14,000 Speaker 1: and I think they somehow all work together, and that's 753 00:40:14,080 --> 00:40:16,680 Speaker 1: really what pop should be, you know what I mean? 754 00:40:17,000 --> 00:40:19,920 Speaker 1: Like she that Phone was a really fun album, and 755 00:40:20,840 --> 00:40:23,320 Speaker 1: like we're talking about with cool like didn't miss You 756 00:40:23,400 --> 00:40:25,840 Speaker 1: with the emotional stuff too, because this this song is 757 00:40:25,960 --> 00:40:29,879 Speaker 1: very specifically about her breakup with the guy from No Doubt, 758 00:40:30,560 --> 00:40:33,440 Speaker 1: so that was like her first love and how they 759 00:40:33,560 --> 00:40:35,960 Speaker 1: moved on, and it's it's if you've ever been in 760 00:40:36,000 --> 00:40:40,000 Speaker 1: a relationship and it's ended and you can look back 761 00:40:40,040 --> 00:40:42,000 Speaker 1: on it, really the way that you can have a 762 00:40:42,000 --> 00:40:44,960 Speaker 1: difficult relationship with anyone in years later, how you realize 763 00:40:45,000 --> 00:40:50,439 Speaker 1: it's just a sort of uh moment on the long 764 00:40:50,600 --> 00:40:54,200 Speaker 1: road that is your many memories together. I love It's beautiful. 765 00:40:54,520 --> 00:40:56,279 Speaker 1: I'm so glad you included this and that we're having 766 00:40:56,320 --> 00:40:59,319 Speaker 1: such an in depth conversation, but I really am. And Okay, 767 00:40:59,400 --> 00:41:01,520 Speaker 1: let me shout out a couple more songs of that album, 768 00:41:02,040 --> 00:41:10,360 Speaker 1: um Uh, Crash, Crash that Baby Do Meet Wait and 769 00:41:10,440 --> 00:41:14,000 Speaker 1: Crash into Me Real Hard and the last the last 770 00:41:14,040 --> 00:41:16,239 Speaker 1: track on A Long Way to Go, like a song 771 00:41:16,360 --> 00:41:18,879 Speaker 1: about a long way to go. It's a song about 772 00:41:18,960 --> 00:41:22,160 Speaker 1: like race relations a song about race relations. So with that, 773 00:41:22,760 --> 00:41:25,799 Speaker 1: tell me quickly talk about the Harajuko girls of it all, 774 00:41:25,840 --> 00:41:28,160 Speaker 1: because yes, she would say that it was that it 775 00:41:28,239 --> 00:41:31,120 Speaker 1: was an homage, it was an appreciation, but it really 776 00:41:31,200 --> 00:41:34,440 Speaker 1: did seem to overtake a lot of visuals on that album. 777 00:41:34,480 --> 00:41:36,400 Speaker 1: And so I'm wondering, what are your thoughts on this? 778 00:41:36,520 --> 00:41:39,000 Speaker 1: Have you thought about it? I thought about it. I don't. 779 00:41:39,000 --> 00:41:40,759 Speaker 1: I haven't really, I will say, I haven't really come 780 00:41:40,800 --> 00:41:43,280 Speaker 1: to like a conclusive and you won't speak for everyone, 781 00:41:43,360 --> 00:41:48,200 Speaker 1: hear yourself, So let's just listen say that. Um in 782 00:41:48,280 --> 00:41:50,160 Speaker 1: the way that I feel like, like the worst sin 783 00:41:50,280 --> 00:41:53,560 Speaker 1: you can commit when you are stepping in an appropriative, 784 00:41:53,760 --> 00:42:01,080 Speaker 1: risky direction is to dehumanize the subject, the cultural subject. 785 00:42:02,520 --> 00:42:05,040 Speaker 1: Do I feel like the Herojuical girls were dehumanized a 786 00:42:05,120 --> 00:42:08,120 Speaker 1: little bit because they were just kind of props props 787 00:42:08,160 --> 00:42:10,880 Speaker 1: and following her around the red carpets, and then they 788 00:42:10,920 --> 00:42:15,920 Speaker 1: were even in the Sweet Escape era, So I can't tell, 789 00:42:16,719 --> 00:42:20,279 Speaker 1: I really can't tell, but that is weighed against her, 790 00:42:20,520 --> 00:42:23,480 Speaker 1: like I think being very visually inspired in a way 791 00:42:23,560 --> 00:42:32,000 Speaker 1: that like, honestly like kind of trivializes Asian bodies in 792 00:42:32,080 --> 00:42:34,239 Speaker 1: a way that a lot of white people and not 793 00:42:34,360 --> 00:42:37,160 Speaker 1: even just this is not like an actual political term, 794 00:42:37,200 --> 00:42:39,640 Speaker 1: but like non Asian people to humanize Asian people in 795 00:42:39,680 --> 00:42:41,400 Speaker 1: a way that's like, oh, like whatever, it's like, I 796 00:42:41,440 --> 00:42:44,160 Speaker 1: mean the way that we casually sort of talk about 797 00:42:44,160 --> 00:42:49,000 Speaker 1: Asian people and like in human terms. I feel like 798 00:42:49,320 --> 00:42:53,480 Speaker 1: that like is something that she probably couldn't compartmentalized and 799 00:42:53,520 --> 00:42:57,800 Speaker 1: partition out against her actually genuinely going probably visiting Tokyo 800 00:42:57,840 --> 00:42:59,799 Speaker 1: and like going to shian Juka, going to Harajuka, going 801 00:42:59,840 --> 00:43:03,760 Speaker 1: to forever being like, oh, I love this and wanting 802 00:43:03,800 --> 00:43:08,040 Speaker 1: to incorporate it in her aesthetic. I think that it's 803 00:43:08,560 --> 00:43:13,359 Speaker 1: I I agree, and it's interesting how you can get 804 00:43:13,480 --> 00:43:17,120 Speaker 1: so much right in the pursuit of art and expression, 805 00:43:17,520 --> 00:43:20,560 Speaker 1: and then on this, while getting so much right, you 806 00:43:20,640 --> 00:43:23,080 Speaker 1: can still get some things. And I think it's actually 807 00:43:23,160 --> 00:43:28,000 Speaker 1: a really interesting example of um looking back, and that 808 00:43:28,320 --> 00:43:31,360 Speaker 1: was the white privilege is assuming this can be something 809 00:43:31,480 --> 00:43:33,560 Speaker 1: that I try on like a costume, like I'm trying 810 00:43:33,640 --> 00:43:35,960 Speaker 1: on the sort of fifties thing in the bubble pop 811 00:43:36,040 --> 00:43:39,960 Speaker 1: electric thing, Like she genuinely felt it was a viable 812 00:43:40,000 --> 00:43:44,319 Speaker 1: aesthetic choice for her, which just speaks to the sort 813 00:43:44,360 --> 00:43:47,440 Speaker 1: of blindness to privilege which would never be made now. 814 00:43:48,000 --> 00:43:51,120 Speaker 1: So it's I think that the cultural conversation around L A. 815 00:43:51,280 --> 00:43:53,279 Speaker 1: M B is kind of We're a little nervous to 816 00:43:53,320 --> 00:43:55,680 Speaker 1: talk about it because of that, But let's not be 817 00:43:55,800 --> 00:43:57,959 Speaker 1: nervous to talk about it. Let's talk about the fact 818 00:43:58,040 --> 00:44:01,040 Speaker 1: that like that is something would not be done now 819 00:44:01,160 --> 00:44:03,919 Speaker 1: because we know better and we're we're actually our eyes 820 00:44:03,960 --> 00:44:08,480 Speaker 1: are open to how this subjugates people. But also, you 821 00:44:08,520 --> 00:44:10,840 Speaker 1: know that album is great. This and this is the 822 00:44:10,880 --> 00:44:14,479 Speaker 1: other piece of it. I there's a there's there's there's 823 00:44:14,560 --> 00:44:17,200 Speaker 1: one coin that's about sort of assimilation that um, I 824 00:44:17,320 --> 00:44:20,319 Speaker 1: think I related to when this album came out, which 825 00:44:20,440 --> 00:44:24,480 Speaker 1: was Wow. Gwen Stefani is saying how cool Asian culture 826 00:44:24,560 --> 00:44:26,440 Speaker 1: is that I feel cool, But that is sort of 827 00:44:26,480 --> 00:44:28,839 Speaker 1: this limit this assimilation is thought of like a white 828 00:44:28,880 --> 00:44:30,520 Speaker 1: person has to be like it has to say I'm 829 00:44:30,520 --> 00:44:31,680 Speaker 1: cool to be cool, has to say I'm cool to 830 00:44:31,719 --> 00:44:34,239 Speaker 1: be cool. Um. But then the flip side of that is, 831 00:44:34,280 --> 00:44:37,560 Speaker 1: I mean, any assimilationist thought is that one racial group 832 00:44:37,600 --> 00:44:41,400 Speaker 1: can be developed to be more like another. And I 833 00:44:41,480 --> 00:44:42,960 Speaker 1: feel like on the other side of that, like Gwen 834 00:44:42,960 --> 00:44:45,239 Speaker 1: Stefani is sort of like in a way, like what 835 00:44:45,320 --> 00:44:46,880 Speaker 1: I was telling myself back then was like, no, but 836 00:44:47,000 --> 00:44:49,480 Speaker 1: she wants this, like she wants this esthetic and she's 837 00:44:49,480 --> 00:44:52,960 Speaker 1: actually saying that we don't need to be developed and 838 00:44:53,040 --> 00:44:55,799 Speaker 1: that the way that like we as East Asian people 839 00:44:55,840 --> 00:44:58,160 Speaker 1: are is like find the way. It is so like, 840 00:44:58,400 --> 00:45:00,879 Speaker 1: there's it's so complicated. I mean her lyrics are literally 841 00:45:00,920 --> 00:45:02,880 Speaker 1: you got the wicked style. I love the way that 842 00:45:03,000 --> 00:45:05,880 Speaker 1: you are. I am your biggest fan. So but and 843 00:45:06,040 --> 00:45:08,320 Speaker 1: it's it's so it's like is she saying that or 844 00:45:08,440 --> 00:45:11,680 Speaker 1: is or is she acting the role of we don't 845 00:45:11,680 --> 00:45:14,000 Speaker 1: have to listen again? But I don't think it's as 846 00:45:14,040 --> 00:45:16,400 Speaker 1: simple as canceled that album, you know what I mean? 847 00:45:16,480 --> 00:45:18,600 Speaker 1: Which is which is I think a good example of 848 00:45:19,840 --> 00:45:22,359 Speaker 1: a lot of the way things get talked about now. Yes, 849 00:45:22,440 --> 00:45:26,439 Speaker 1: that you can hold opposing thoughts currently and appreciative work 850 00:45:26,560 --> 00:45:30,440 Speaker 1: while also critiquing it for its many faults and we 851 00:45:30,880 --> 00:45:36,919 Speaker 1: we that was number when was Brunette and the cool video. 852 00:45:37,080 --> 00:45:39,880 Speaker 1: So that was appropriation of her Brunette's famously a Blonde. 853 00:45:46,120 --> 00:45:49,120 Speaker 1: Um okay, so number twenty talk about music videos Kellie 854 00:45:49,160 --> 00:45:53,440 Speaker 1: Preston and she the one and only time to talk 855 00:45:53,480 --> 00:45:56,680 Speaker 1: about this. This is huge for you. She was amazing 856 00:45:56,960 --> 00:45:59,719 Speaker 1: and this is exactly what I'm talking about. Only time 857 00:45:59,760 --> 00:46:04,359 Speaker 1: she was amazing, the only time been a star since 858 00:46:04,400 --> 00:46:06,520 Speaker 1: Jerry McGuire. Well, I don't even I know. I'm not 859 00:46:06,600 --> 00:46:09,040 Speaker 1: even giving her that because you can't watch this video 860 00:46:09,080 --> 00:46:11,000 Speaker 1: and tell me she is not everything and more. And 861 00:46:11,120 --> 00:46:13,200 Speaker 1: this is exactly the same kind of thing, which is 862 00:46:13,719 --> 00:46:18,239 Speaker 1: music videos to ballads that elevate the moment. Yes, this 863 00:46:18,719 --> 00:46:21,920 Speaker 1: was such a bop on Songs about Jane, A great 864 00:46:22,040 --> 00:46:24,960 Speaker 1: album when Maroon five first came out, Oh my god, 865 00:46:25,080 --> 00:46:27,920 Speaker 1: I was obsessed with this album. Talk about this love 866 00:46:28,040 --> 00:46:31,400 Speaker 1: Harder to Breathe, She will be loved, Sunday Morning, everything 867 00:46:31,480 --> 00:46:33,920 Speaker 1: on that album The Sun. There's so much good shit 868 00:46:34,040 --> 00:46:37,759 Speaker 1: on their back. When they were like rock, like light rock, 869 00:46:37,880 --> 00:46:42,040 Speaker 1: like alternative pop, like whatever they were rock. They were 870 00:46:42,120 --> 00:46:46,160 Speaker 1: rocked back when Maroon five was rock, especially Culture number thirty, 871 00:46:46,400 --> 00:46:55,520 Speaker 1: back when five was rock rock. Why um about Kelly Preston. 872 00:46:55,640 --> 00:46:59,719 Speaker 1: She was performing her ass off in this She knew 873 00:46:59,760 --> 00:47:02,440 Speaker 1: ex athlete the assignment which is to be capital T 874 00:47:02,680 --> 00:47:06,440 Speaker 1: capital M that milf. Yes, and she was that and 875 00:47:06,600 --> 00:47:09,880 Speaker 1: honestly serving. At the end during the montage when she 876 00:47:09,960 --> 00:47:12,279 Speaker 1: realizes that Adam Levin has chosen her daughter over her 877 00:47:12,480 --> 00:47:15,720 Speaker 1: when she slaps her husband's newspaper and runs towards the fountain, 878 00:47:15,760 --> 00:47:20,320 Speaker 1: and it's like like Harry rich White worming acting. And 879 00:47:20,360 --> 00:47:22,080 Speaker 1: then when Adam Levin runs to her, You're like, you 880 00:47:22,200 --> 00:47:24,719 Speaker 1: bet your ass. And then that close of the video, 881 00:47:24,760 --> 00:47:28,279 Speaker 1: which there's all three of their eyes, Kelly Press, Kelly 882 00:47:28,320 --> 00:47:31,600 Speaker 1: Preston the capital T capital M that milf even though 883 00:47:31,600 --> 00:47:34,319 Speaker 1: the M is already capitalized, no matter what is milf? 884 00:47:34,480 --> 00:47:38,239 Speaker 1: And it's an acronym. Bitch oh ship here, Well, we'd 885 00:47:38,280 --> 00:47:42,160 Speaker 1: have to ask miss Webster, Miss John Chow, who popularized 886 00:47:42,200 --> 00:47:45,799 Speaker 1: the term in American pie. John cho did not make 887 00:47:45,840 --> 00:47:48,359 Speaker 1: the list. John Show did not make the listspite being 888 00:47:48,560 --> 00:47:52,000 Speaker 1: the perennial Asian hunk. Yeah, he's such a hunk. And 889 00:47:52,160 --> 00:47:55,200 Speaker 1: I let me tell you, did you did you? Did 890 00:47:55,239 --> 00:47:59,400 Speaker 1: you see searching? It's too scary for me. There's actually 891 00:47:59,560 --> 00:48:02,080 Speaker 1: it's not that scary. The actual disturbing moment is when 892 00:48:02,680 --> 00:48:05,080 Speaker 1: he thinks that his daughter has been fucking his brother. 893 00:48:05,960 --> 00:48:07,759 Speaker 1: But it's it's a fake out. There's a moment where 894 00:48:07,760 --> 00:48:10,040 Speaker 1: you're like where he thinks that his daughter ran away 895 00:48:10,080 --> 00:48:13,120 Speaker 1: to go fuck her uncle. And and I remember, I 896 00:48:13,160 --> 00:48:15,640 Speaker 1: think I saw it with Joel or someone, but turning 897 00:48:15,680 --> 00:48:17,680 Speaker 1: to Joe and I was like, this is fucked up 898 00:48:17,719 --> 00:48:20,400 Speaker 1: beyond anything. And then it's a fake, getting like, oh, 899 00:48:20,440 --> 00:48:22,879 Speaker 1: thank god, did you think the movie was really going there? Yes? 900 00:48:23,000 --> 00:48:25,640 Speaker 1: And I was like this I'm not comfortable with and 901 00:48:25,800 --> 00:48:28,120 Speaker 1: if this isn't if there's an incest plot line here, 902 00:48:28,200 --> 00:48:31,400 Speaker 1: like I don't regardless of any plot terms that did 903 00:48:31,440 --> 00:48:35,320 Speaker 1: not make although I'm just missing the list. Was Deborah 904 00:48:35,360 --> 00:48:38,640 Speaker 1: Messing in Searching, Yes, playing a cop, playing a cop 905 00:48:38,960 --> 00:48:43,760 Speaker 1: who there's a spoiler, but let's just say all cops 906 00:48:43,880 --> 00:48:50,239 Speaker 1: are bad, bad, bad, bad, best are best, especially miss 907 00:48:50,280 --> 00:48:52,600 Speaker 1: Debora Messing in Searching. Let's keep going. We don't we 908 00:48:52,640 --> 00:48:55,520 Speaker 1: don't really agree with her, Let's keep going. Number nine, 909 00:48:55,840 --> 00:49:01,239 Speaker 1: This is huge, iconic Nicki minajes bossed up monologue. Can 910 00:49:01,320 --> 00:49:03,279 Speaker 1: you kind of just inform the readers about what this 911 00:49:03,440 --> 00:49:06,440 Speaker 1: is because this is educational film. Crew had been following 912 00:49:06,520 --> 00:49:08,520 Speaker 1: Nicki Minaj to film a documentary that was going to 913 00:49:08,600 --> 00:49:12,200 Speaker 1: be on MTV, I believe um during the Pink Friday era. 914 00:49:12,520 --> 00:49:15,560 Speaker 1: So right as she was sort of becoming Nicki Minaj 915 00:49:16,320 --> 00:49:20,040 Speaker 1: post mixtapes, post monster Verse, right on the brink of 916 00:49:20,440 --> 00:49:24,239 Speaker 1: a list she had arrived at a photo shoot the 917 00:49:24,920 --> 00:49:28,440 Speaker 1: crafty spread. It was not to her liking and included 918 00:49:28,480 --> 00:49:31,399 Speaker 1: such things as pickle juice, which sliced pickles on a board, 919 00:49:31,520 --> 00:49:34,239 Speaker 1: nice pickles on a board, but she specifically references like 920 00:49:34,280 --> 00:49:37,200 Speaker 1: the brine like pickle juice. Well, she goes on to say, 921 00:49:37,840 --> 00:49:41,279 Speaker 1: if I had accepted the pickle juice, I'd drinking pickle 922 00:49:41,360 --> 00:49:45,240 Speaker 1: juice right now. So basically what happens here is she's 923 00:49:45,280 --> 00:49:48,640 Speaker 1: talking about how she recently has stormed off of a 924 00:49:48,680 --> 00:49:51,680 Speaker 1: photo shoot and I guess it made some headlines. And 925 00:49:51,800 --> 00:49:54,120 Speaker 1: she said, I stormed off a photo shoot because when 926 00:49:54,120 --> 00:49:56,279 Speaker 1: I got there, it was cheap and it was like 927 00:49:56,760 --> 00:49:59,640 Speaker 1: sliced pickles on a board and nothing. And I can't 928 00:49:59,640 --> 00:50:01,839 Speaker 1: imagine and ever being treated like that if I were 929 00:50:01,920 --> 00:50:05,960 Speaker 1: a man, Because she said she knows from watching Little Wayne, 930 00:50:05,960 --> 00:50:08,000 Speaker 1: because she came up under Wayne. What she says, she says, 931 00:50:08,040 --> 00:50:10,960 Speaker 1: I came up under Wayne, and Wayne has his way 932 00:50:11,000 --> 00:50:15,080 Speaker 1: of doing things, and he says like, I'm gonna get 933 00:50:15,200 --> 00:50:17,160 Speaker 1: the things the way I want them, and while I'm asking, 934 00:50:17,160 --> 00:50:19,440 Speaker 1: I'm gonna blow this weed in your face all day, 935 00:50:19,480 --> 00:50:23,600 Speaker 1: and it's acceptable because he's a man. Meanwhile, a woman 936 00:50:23,719 --> 00:50:25,800 Speaker 1: is expected to show up wherever they're asked to be, 937 00:50:26,360 --> 00:50:28,760 Speaker 1: deal with the situation, and be grateful at all times. 938 00:50:29,440 --> 00:50:32,120 Speaker 1: So what she's really doing in the year of Our Lord, 939 00:50:32,160 --> 00:50:36,520 Speaker 1: I'm gonna guess, is saying the sexism in the industry 940 00:50:36,640 --> 00:50:39,279 Speaker 1: and all over the place is crazy and the double 941 00:50:39,280 --> 00:50:42,319 Speaker 1: standard is wild. And when a woman speaks out of turn, 942 00:50:42,920 --> 00:50:47,080 Speaker 1: she is What's the word she uses is assertive. She's 943 00:50:47,120 --> 00:50:50,600 Speaker 1: a bit. When a man is assertive, he's a boss, 944 00:50:50,800 --> 00:50:54,399 Speaker 1: he's bossed up. And I'm not get a connotation behind 945 00:50:54,440 --> 00:51:00,840 Speaker 1: being about step a bit. And then she says Donald 946 00:51:00,960 --> 00:51:05,759 Speaker 1: Trump can say you're fired, why can't Martha still run 947 00:51:05,800 --> 00:51:07,319 Speaker 1: her company and be the same way. Now, I don't 948 00:51:07,320 --> 00:51:10,360 Speaker 1: know if this is a one the best, but I 949 00:51:10,440 --> 00:51:13,000 Speaker 1: will say she was a seer and that she was 950 00:51:13,760 --> 00:51:17,239 Speaker 1: knowing that Donald Trump was doing whatever the fuck she's 951 00:51:17,280 --> 00:51:20,440 Speaker 1: not wrong and everyone bowed down. And mind you, this 952 00:51:20,560 --> 00:51:22,120 Speaker 1: is five years before we heard he was gonna run 953 00:51:22,160 --> 00:51:27,200 Speaker 1: for President States of America. But she is so energetic 954 00:51:27,400 --> 00:51:31,080 Speaker 1: and correct and get clear about her expression. Yeah, you 955 00:51:31,120 --> 00:51:34,239 Speaker 1: should all google it because our YouTube it or whatever, 956 00:51:34,640 --> 00:51:39,000 Speaker 1: because it's a Really she just is so great. That's 957 00:51:39,040 --> 00:51:41,360 Speaker 1: her mission statement right there, she's like, I'm going to 958 00:51:41,440 --> 00:51:43,640 Speaker 1: be bossed up and it's not going to be a 959 00:51:43,680 --> 00:51:47,760 Speaker 1: gender connotation. Like I had I accepted the pickle juice, 960 00:51:47,960 --> 00:51:51,600 Speaker 1: would be drinking pickle juice right now. Huge, And I 961 00:51:51,640 --> 00:51:53,839 Speaker 1: don't think. I think what she's saying is should rather 962 00:51:54,000 --> 00:51:58,120 Speaker 1: not drink pickle juice. Um, you know it's a little tough. 963 00:51:58,520 --> 00:52:00,640 Speaker 1: Let's talk about her now. It's a little I don't 964 00:52:00,680 --> 00:52:04,080 Speaker 1: really listen to Queen Radio. Mean that's more her sort 965 00:52:04,120 --> 00:52:07,880 Speaker 1: of stream of consciousness, like really kind of be a 966 00:52:08,000 --> 00:52:11,360 Speaker 1: little just just just just just just like talking like 967 00:52:11,520 --> 00:52:17,000 Speaker 1: expressing nikki brain onto an audio format and you're just 968 00:52:17,160 --> 00:52:20,759 Speaker 1: kind of it's it's maximalist. I wish she didn't feel 969 00:52:20,880 --> 00:52:25,920 Speaker 1: she had to do that. I feel like she I 970 00:52:26,040 --> 00:52:28,480 Speaker 1: will always follow her, I will always live. Yeah, I don't. 971 00:52:28,520 --> 00:52:31,560 Speaker 1: I I don't judge or I'm not a detractor to Nikki. 972 00:52:31,760 --> 00:52:34,239 Speaker 1: I'm a Nikki barbed for life. I'm a barbed for life. 973 00:52:35,320 --> 00:52:39,759 Speaker 1: I feel like I feel like Nikki is finding her 974 00:52:39,760 --> 00:52:42,120 Speaker 1: way back. I hope so. I hope so, and I 975 00:52:42,239 --> 00:52:47,040 Speaker 1: hope that like this weird, that this weird thing people 976 00:52:47,120 --> 00:52:50,040 Speaker 1: have with like oh she's done now, because there's other 977 00:52:50,200 --> 00:52:55,240 Speaker 1: younger people that are in her, like specific Lane quote unquote, 978 00:52:55,480 --> 00:52:57,279 Speaker 1: that are going to take a spot away from her 979 00:52:57,320 --> 00:52:59,880 Speaker 1: because they're all so different. This is such a boring 980 00:53:00,000 --> 00:53:02,080 Speaker 1: conversation almost to have because obviously they are. And if 981 00:53:02,120 --> 00:53:05,200 Speaker 1: you're still out there being like, well, Megan the Stallion 982 00:53:05,320 --> 00:53:07,560 Speaker 1: and Cardi b are coming from nicky spot, you are 983 00:53:07,719 --> 00:53:11,920 Speaker 1: so dumb because we should have them all. But and 984 00:53:12,000 --> 00:53:13,520 Speaker 1: and Nikki, I think it is doing a better job now. 985 00:53:13,560 --> 00:53:15,239 Speaker 1: I mean, Cardi is a different story, but I mean 986 00:53:15,360 --> 00:53:18,560 Speaker 1: she as she's collapped with Megan, she's clapped with joe 987 00:53:18,640 --> 00:53:21,279 Speaker 1: Ja kat And and Jojo Doja's Cat's a whole different story. 988 00:53:21,360 --> 00:53:23,719 Speaker 1: Definitely didn't make the list. Dojo No Dojo was not 989 00:53:23,800 --> 00:53:27,440 Speaker 1: on the list, unfortunately, and weirdly enough, Cardi's not on 990 00:53:27,480 --> 00:53:31,200 Speaker 1: the list. And that's it's no, it's not against Carton. 991 00:53:31,840 --> 00:53:33,960 Speaker 1: And we're not saying by saying we're Barbs that we're 992 00:53:34,000 --> 00:53:37,000 Speaker 1: not Cardi B stands. We love Cardi and very important. 993 00:53:37,680 --> 00:53:40,320 Speaker 1: But but the Boss Step moment is a moment. The 994 00:53:40,360 --> 00:53:42,040 Speaker 1: Boss Step moment is a moment, and we can't forget. 995 00:53:42,640 --> 00:53:45,520 Speaker 1: And another moment, which is number eighteen on our list 996 00:53:46,040 --> 00:53:50,240 Speaker 1: is Barber Cook Kennedy Center Honors performance. She did not perform, obviously, 997 00:53:50,280 --> 00:53:52,440 Speaker 1: she was on the balcony. No, she was being honored 998 00:53:53,120 --> 00:53:57,560 Speaker 1: by the women of Broadway, which include Laura Osness, Ms. 999 00:53:57,640 --> 00:54:03,399 Speaker 1: Kelly O'Hara, Mrs Rebecca Luker, Miss Sutton Foster, The Close, 1000 00:54:03,480 --> 00:54:07,640 Speaker 1: Miss McDonald, Miss Patty Lapone, all the ladies got together 1001 00:54:08,080 --> 00:54:10,239 Speaker 1: to honor Barbara Cook, who was really one of the 1002 00:54:10,360 --> 00:54:14,640 Speaker 1: muses of Sondheim, for her Kennedy Center Honors achievements. And 1003 00:54:14,960 --> 00:54:21,120 Speaker 1: it was an absolute slagh from top to bot. Want 1004 00:54:21,160 --> 00:54:22,960 Speaker 1: a career and what a way to get honored by 1005 00:54:23,200 --> 00:54:27,680 Speaker 1: all the women, the girls girls, and they came out 1006 00:54:27,760 --> 00:54:30,600 Speaker 1: one by one and sang their songs. Glenn Close sang 1007 00:54:30,880 --> 00:54:33,360 Speaker 1: Losing My Mind from Folly's and it was just she, 1008 00:54:33,680 --> 00:54:37,400 Speaker 1: Glenn Close actually slayed. It was unbelievable. Then Sutton came 1009 00:54:37,440 --> 00:54:39,719 Speaker 1: out with her. Everybody says, don't the pelvic floor of 1010 00:54:39,800 --> 00:54:44,000 Speaker 1: do like they're literally her sound shooting through her top 1011 00:54:44,080 --> 00:54:48,160 Speaker 1: of her head. Unbelievable. Patty Lapone, come rad or come shine. 1012 00:54:48,640 --> 00:54:51,440 Speaker 1: You've never experienced a performer like. You've never experienced a 1013 00:54:51,480 --> 00:54:53,320 Speaker 1: performing like I spent the entire time Barbara Cook just 1014 00:54:53,440 --> 00:54:56,800 Speaker 1: sitting up on that damn balcony next to Meryl Street 1015 00:54:57,440 --> 00:55:01,080 Speaker 1: living Meryl's living. But Barbara, from what I remember, Barbara 1016 00:55:01,239 --> 00:55:04,399 Speaker 1: is just chill as hell, just being like, Okay, she's 1017 00:55:04,440 --> 00:55:06,160 Speaker 1: soaking that. She's just soaking it in. But she's like 1018 00:55:06,239 --> 00:55:08,840 Speaker 1: not too effective. She's like, I mean, I did that. 1019 00:55:08,920 --> 00:55:11,400 Speaker 1: She's like I did that. My favorite thing is to 1020 00:55:11,560 --> 00:55:15,680 Speaker 1: watch people watch their Kennedy Sonor Honors happen. Yeah, I 1021 00:55:16,000 --> 00:55:18,759 Speaker 1: love it, and it's just so great. And Barbara Cook 1022 00:55:18,800 --> 00:55:22,680 Speaker 1: recently passed away, and she's she's just one of the greats, 1023 00:55:22,760 --> 00:55:25,160 Speaker 1: and you know she's one of the greats. When all 1024 00:55:25,239 --> 00:55:27,320 Speaker 1: of the greats show up, want to show up and 1025 00:55:27,560 --> 00:55:31,640 Speaker 1: never forget that. Aldre McDonald entered the performance with make 1026 00:55:31,680 --> 00:55:34,840 Speaker 1: your Garden Grow. It was unbelievablegeous all the ladies. That 1027 00:55:34,880 --> 00:55:36,320 Speaker 1: was a good year. That was Meryl, Barbara and I 1028 00:55:36,360 --> 00:55:39,439 Speaker 1: think yo yo maa, I believe yoyoma. Yeah, yeah, yeah, 1029 00:55:39,480 --> 00:55:41,200 Speaker 1: I was good here. And I think there was someone 1030 00:55:41,239 --> 00:55:44,600 Speaker 1: else too, but I'm I'm I'm losing it, but there 1031 00:55:44,680 --> 00:55:46,719 Speaker 1: was someone else up there that was important. But yeah, 1032 00:55:46,760 --> 00:55:48,520 Speaker 1: back in the day when Kennedy Center Honors was the 1033 00:55:48,560 --> 00:55:50,400 Speaker 1: thing that we were looking forward to because the president 1034 00:55:50,440 --> 00:55:57,000 Speaker 1: would be there. Let's keep going, Sandra, Oh, it's unbearable, 1035 00:55:57,160 --> 00:55:59,720 Speaker 1: and you took a piece of me. Monologues and Grayson 1036 00:55:59,760 --> 00:56:03,440 Speaker 1: at me. She had many, but these two rise above. 1037 00:56:03,719 --> 00:56:05,880 Speaker 1: You pitch these out, actually, and I'm glad you didn't. 1038 00:56:05,880 --> 00:56:08,719 Speaker 1: I agree with you. You chose these two monologues over her. 1039 00:56:09,920 --> 00:56:12,440 Speaker 1: How do you keep your edge, sir? Because I had 1040 00:56:12,480 --> 00:56:15,200 Speaker 1: it Season two finale Grazes anatomy, which we already covered. 1041 00:56:15,800 --> 00:56:19,279 Speaker 1: But unbearable is the single tier. I think you took 1042 00:56:19,320 --> 00:56:22,080 Speaker 1: a piece of me. It's also single tier. Unbearable is 1043 00:56:22,480 --> 00:56:25,320 Speaker 1: the monologue that she gives when she has to b 1044 00:56:26,080 --> 00:56:28,720 Speaker 1: is asking at the hospital, is asking for her sexual 1045 00:56:28,880 --> 00:56:34,560 Speaker 1: history because there's an STI situation at the hospital and 1046 00:56:34,920 --> 00:56:36,840 Speaker 1: she has to sort of admit that she's got a 1047 00:56:36,920 --> 00:56:41,160 Speaker 1: sexual history with burst by Um and she submits it 1048 00:56:41,680 --> 00:56:45,960 Speaker 1: and and they say, we understand this is hard for you, 1049 00:56:46,160 --> 00:56:48,560 Speaker 1: and she this is difficult for you, This is difficult 1050 00:56:48,560 --> 00:56:51,200 Speaker 1: for you, and then she kind of whipped around and 1051 00:56:51,760 --> 00:56:55,200 Speaker 1: serves this monologue about how it's not difficult. What's actually 1052 00:56:55,239 --> 00:56:58,040 Speaker 1: difficult is the reality of her situation, and she details 1053 00:56:58,400 --> 00:57:02,680 Speaker 1: what she's going through in a class Shonda overshare monologue. 1054 00:57:02,680 --> 00:57:04,640 Speaker 1: The other characters are probably like, literally, if this was 1055 00:57:04,719 --> 00:57:06,560 Speaker 1: real life, the other characters would be like, this is 1056 00:57:06,640 --> 00:57:10,440 Speaker 1: so inappropriate, it's so inappropriate for you to do what 1057 00:57:10,560 --> 00:57:13,560 Speaker 1: you're doing. But but what we get instead is that 1058 00:57:13,680 --> 00:57:17,000 Speaker 1: monologue where she essentially lays into them and says, it's 1059 00:57:17,040 --> 00:57:22,520 Speaker 1: not difficult, it's unbearable. I was his hand. No, I'm 1060 00:57:22,560 --> 00:57:24,760 Speaker 1: a ghost, and I do not wish him well. And 1061 00:57:24,840 --> 00:57:27,480 Speaker 1: I do not wish him well. That's how it ends. 1062 00:57:27,840 --> 00:57:29,959 Speaker 1: Oh my god. Yeah, because he's gone at that, because 1063 00:57:30,000 --> 00:57:33,520 Speaker 1: he's gone, he's gone. He's also abandoned her, and she 1064 00:57:34,240 --> 00:57:38,800 Speaker 1: really talk about giving a dropped in fucking emotional despare monologue. 1065 00:57:39,280 --> 00:57:41,959 Speaker 1: The moment is she sheds the single tear classics Andrew, 1066 00:57:42,000 --> 00:57:45,400 Speaker 1: but then she wipes it away and go, excuse huge, 1067 00:57:45,720 --> 00:57:46,960 Speaker 1: And then we have to talk about the other one, 1068 00:57:46,960 --> 00:57:51,360 Speaker 1: which it was the unseen hand to his brilliance, excuse me. 1069 00:57:54,000 --> 00:57:55,919 Speaker 1: And then and then I think it's like a couple 1070 00:57:55,960 --> 00:57:57,840 Speaker 1: of seasons later and maybe the next season whatever he's 1071 00:57:57,880 --> 00:58:01,400 Speaker 1: in six season seven based really there is a scene 1072 00:58:01,480 --> 00:58:06,640 Speaker 1: where Sandra as Christina Yang is having sex with her 1073 00:58:06,720 --> 00:58:11,960 Speaker 1: new boyfriend Owen in the on call room and he 1074 00:58:12,240 --> 00:58:16,040 Speaker 1: tries to get her to ignore a page from that 1075 00:58:16,240 --> 00:58:18,760 Speaker 1: that's calling her to a surgery, cardiac surgery, which she 1076 00:58:18,840 --> 00:58:21,120 Speaker 1: was just getting back into because Owen brought Teddy and 1077 00:58:21,240 --> 00:58:25,200 Speaker 1: to be her mentor, and so Christina is sort of 1078 00:58:25,800 --> 00:58:29,960 Speaker 1: reanimated at the hospital. Owen tells her to stay so 1079 00:58:30,040 --> 00:58:35,480 Speaker 1: they can keep fucking, and then Sandra later on realizes 1080 00:58:36,520 --> 00:58:39,880 Speaker 1: that Owen was sort of holding her back basically, and 1081 00:58:40,080 --> 00:58:43,400 Speaker 1: basically she was the character that always put her passion first, 1082 00:58:43,440 --> 00:58:44,960 Speaker 1: on her passion with surgery, and that was what she 1083 00:58:45,160 --> 00:58:49,640 Speaker 1: lived for, that was her lifeblood. So um, she's had 1084 00:58:49,720 --> 00:58:53,400 Speaker 1: this complicated relationship with Preston Burke, and then Owen tries 1085 00:58:53,480 --> 00:58:58,280 Speaker 1: to get her to put him and them before pursuing 1086 00:58:58,320 --> 00:59:02,360 Speaker 1: her career, and so she's ornery with him for hours 1087 00:59:02,440 --> 00:59:04,040 Speaker 1: after that, and then later on they get back to 1088 00:59:04,080 --> 00:59:06,800 Speaker 1: their apartment and she says, you were trying to screw 1089 00:59:06,880 --> 00:59:08,600 Speaker 1: me into submission, and he was like, I was just 1090 00:59:08,720 --> 00:59:12,120 Speaker 1: trying to connect, and then she drops in and she 1091 00:59:12,360 --> 00:59:14,560 Speaker 1: tells him what's really on her mind, which is that 1092 00:59:16,280 --> 00:59:20,480 Speaker 1: the Burke situation, the Burke relationship, she feels she lost 1093 00:59:20,680 --> 00:59:23,840 Speaker 1: a part of herself because she gave so much to 1094 00:59:23,920 --> 00:59:26,200 Speaker 1: the relationship. And it's also the first time she says 1095 00:59:26,240 --> 00:59:28,320 Speaker 1: I love you too. She says, I love you. I 1096 00:59:28,400 --> 00:59:31,000 Speaker 1: love you more than I love you. When you asked 1097 00:59:31,080 --> 00:59:33,960 Speaker 1: me to ignore Teddy's page, you took a piece of 1098 00:59:34,040 --> 00:59:40,080 Speaker 1: me that could never happened. I did it was It's 1099 00:59:40,240 --> 00:59:43,360 Speaker 1: so good. And she's just saying, she's declaring, she's like, 1100 00:59:43,800 --> 00:59:46,360 Speaker 1: I love you, I'm off relationships to work, but I 1101 00:59:46,520 --> 00:59:48,880 Speaker 1: love me more and I love what I love more, 1102 00:59:48,960 --> 00:59:52,880 Speaker 1: and you will never take me away from my passion 1103 00:59:53,040 --> 00:59:55,440 Speaker 1: and what makes me me. And that is the growth, 1104 00:59:55,560 --> 00:59:58,840 Speaker 1: and that is the character of Christina Yang taking her moment, 1105 01:00:00,080 --> 01:00:02,520 Speaker 1: the fact that she was emmulet and remains Emmy less, 1106 01:00:03,360 --> 01:00:07,240 Speaker 1: and we love Jody Comber and we love Ms Claire Foy. 1107 01:00:07,800 --> 01:00:10,320 Speaker 1: So it's just tough. But the fact of the matter 1108 01:00:10,560 --> 01:00:14,959 Speaker 1: is she should have an Emmy for playing Christina. It's ridiculous, 1109 01:00:15,320 --> 01:00:19,520 Speaker 1: even plaster. Why not I feel that that I I 1110 01:00:19,760 --> 01:00:23,160 Speaker 1: understand in seeing the Emmy losses that they've been for 1111 01:00:23,160 --> 01:00:25,680 Speaker 1: the last two years, I understand them. There's several years 1112 01:00:25,720 --> 01:00:29,480 Speaker 1: where like blythe Dan or why, which I'm like not understanding. 1113 01:00:29,760 --> 01:00:32,280 Speaker 1: I don't understand Katherine Heigl winning an Emmy over Sandro 1114 01:00:33,520 --> 01:00:36,240 Speaker 1: and I love Katherine. We love Kathy in that role. 1115 01:00:37,000 --> 01:00:40,440 Speaker 1: This was after season three, and I feel like even 1116 01:00:40,560 --> 01:00:43,280 Speaker 1: even Christina had a better storylining season three. Oh season 1117 01:00:43,360 --> 01:00:51,640 Speaker 1: three with throws things and so like. Basically, Katherine Hiel 1118 01:00:51,720 --> 01:00:54,160 Speaker 1: is notable on Grey's Anatomy for the end of season two, 1119 01:00:54,720 --> 01:00:59,080 Speaker 1: the Denny relationship, and most notably her performance in the finale. 1120 01:00:59,200 --> 01:01:02,959 Speaker 1: In the last few episodes, she was driven insane because 1121 01:01:03,000 --> 01:01:04,720 Speaker 1: she thought she was going to lose this patient that 1122 01:01:04,800 --> 01:01:06,480 Speaker 1: she fell in love with. She had, of course the 1123 01:01:06,640 --> 01:01:10,440 Speaker 1: iconic what about Me monologue, which was a little overwrought, 1124 01:01:10,600 --> 01:01:13,000 Speaker 1: but he got the audience to feel certain like Sandra 1125 01:01:13,040 --> 01:01:16,200 Speaker 1: would never go that month. Well, she certainly went pretty big, 1126 01:01:16,280 --> 01:01:20,040 Speaker 1: but it felt better. Um, I don't even think Sandra's 1127 01:01:20,160 --> 01:01:21,840 Speaker 1: I mean, somebody said date me. I was gonna bring 1128 01:01:21,920 --> 01:01:23,640 Speaker 1: up somebody to date me. But that's like for some 1129 01:01:23,720 --> 01:01:26,760 Speaker 1: reason funny and like I don't know, it's like it's 1130 01:01:26,760 --> 01:01:29,680 Speaker 1: like fully intentional, like I think Katherine Heigl, if you'd 1131 01:01:29,680 --> 01:01:31,280 Speaker 1: ask her, like she fully lost. She was not in 1132 01:01:31,360 --> 01:01:34,440 Speaker 1: control when she goes I will never forgive you. I 1133 01:01:34,640 --> 01:01:38,800 Speaker 1: know for me love you. I don't know it worked 1134 01:01:38,880 --> 01:01:40,840 Speaker 1: for me, like I remember like, when I was watching it, 1135 01:01:40,960 --> 01:01:43,800 Speaker 1: it was really working for me, and my dad said, 1136 01:01:44,480 --> 01:01:47,720 Speaker 1: she's really overact. That's I agree with And I was like, 1137 01:01:48,040 --> 01:01:51,560 Speaker 1: I don't see it that way. I don't know, I 1138 01:01:51,640 --> 01:01:53,960 Speaker 1: don't know what it was speaking to me, but anyway, 1139 01:01:54,320 --> 01:01:56,800 Speaker 1: she wins the Emmy first season three, when really they 1140 01:01:56,840 --> 01:01:58,840 Speaker 1: were giving it to her for that and for being 1141 01:01:58,920 --> 01:02:01,000 Speaker 1: a new movie star and not which is what they 1142 01:02:01,040 --> 01:02:04,880 Speaker 1: were doing. They were anointing her and Sandra meanwhile was 1143 01:02:04,920 --> 01:02:07,640 Speaker 1: sitting there quietly doing work that was Emmy caliber for 1144 01:02:07,720 --> 01:02:12,280 Speaker 1: a decade well after she needed to be. Sandra's kind 1145 01:02:12,280 --> 01:02:14,440 Speaker 1: of inspiring me now to not ever watch my own 1146 01:02:14,440 --> 01:02:17,240 Speaker 1: stuff again. She doesn't watch her own stuff. This did 1147 01:02:17,400 --> 01:02:18,720 Speaker 1: I told you this right when the first time I 1148 01:02:18,760 --> 01:02:21,280 Speaker 1: met her Golden Clothes, she talks to me about like, 1149 01:02:21,360 --> 01:02:23,040 Speaker 1: oh my god, the lip sync was was so great, 1150 01:02:23,120 --> 01:02:26,200 Speaker 1: and she was like, um, you know, I had never 1151 01:02:26,680 --> 01:02:29,760 Speaker 1: even heard myself back in that scene until I saw 1152 01:02:29,800 --> 01:02:32,760 Speaker 1: you doing it. I told you this. I think, yeah 1153 01:02:32,880 --> 01:02:35,160 Speaker 1: now I remember, she and she like, yeah, she did 1154 01:02:35,280 --> 01:02:37,600 Speaker 1: say that. She was talking about how she and Shonda 1155 01:02:38,120 --> 01:02:40,479 Speaker 1: and the writers sort of like sparred of it because 1156 01:02:40,880 --> 01:02:42,920 Speaker 1: Sandra like wasn't She was like I don't think Christina 1157 01:02:42,920 --> 01:02:45,560 Speaker 1: would ever say this this way, and the writers were 1158 01:02:45,600 --> 01:02:47,160 Speaker 1: like no, and and then and then and then she 1159 01:02:47,240 --> 01:02:49,360 Speaker 1: was like and Shonda like God bless her, God lover, 1160 01:02:49,480 --> 01:02:52,640 Speaker 1: but Shanda like, it has to be word perfect when 1161 01:02:52,680 --> 01:02:56,240 Speaker 1: you're delivering her lines. And Sandra was like, that was 1162 01:02:56,440 --> 01:02:58,720 Speaker 1: one of the hardest days of my entire time at 1163 01:02:58,720 --> 01:03:01,640 Speaker 1: Grace for that like that monologue, because I had so 1164 01:03:01,720 --> 01:03:05,360 Speaker 1: many emotions around it, and and she was like I 1165 01:03:05,480 --> 01:03:07,320 Speaker 1: never watched I saw it. You do it again and 1166 01:03:07,440 --> 01:03:09,440 Speaker 1: like I was like, oh, I was like, okay, now 1167 01:03:09,480 --> 01:03:12,120 Speaker 1: I like have it. I'm at peace with that day. Wow. 1168 01:03:12,640 --> 01:03:15,520 Speaker 1: She's like I like, She's like, if that if that 1169 01:03:15,720 --> 01:03:19,640 Speaker 1: monologue like meant like whatever this is, I don't mean 1170 01:03:19,720 --> 01:03:22,800 Speaker 1: for this to sound I'm not. I'm not. I don't 1171 01:03:22,800 --> 01:03:24,320 Speaker 1: mean to like self. No. I mean I think it's 1172 01:03:24,320 --> 01:03:27,320 Speaker 1: an amazing insight into the way actors. Yes, and it 1173 01:03:27,520 --> 01:03:29,920 Speaker 1: taught me a lot about whatever acting. But she was like, 1174 01:03:30,520 --> 01:03:33,800 Speaker 1: if it meant if it like popped that much basically 1175 01:03:33,880 --> 01:03:35,160 Speaker 1: like for you to do it and like for you 1176 01:03:35,240 --> 01:03:36,919 Speaker 1: to be inspired to do it, like the nut means 1177 01:03:36,960 --> 01:03:38,840 Speaker 1: that like I did my job. I mean, here's what 1178 01:03:38,880 --> 01:03:42,160 Speaker 1: I'll say she rarely ever, if ever missed a beat 1179 01:03:42,200 --> 01:03:46,280 Speaker 1: for me on that character is iconic. Like and I 1180 01:03:46,400 --> 01:03:47,720 Speaker 1: just want to say before we move on to the 1181 01:03:47,800 --> 01:03:51,600 Speaker 1: next one, I just and we we referenced before when 1182 01:03:51,640 --> 01:03:54,560 Speaker 1: we talked about Carrie Bradshaw monologue. Put some respect on 1183 01:03:54,640 --> 01:03:57,720 Speaker 1: Ellen Pompeo's name. Yes, because she has been doing that 1184 01:03:57,800 --> 01:04:03,000 Speaker 1: show for it's gonna be almost twenty years and perfect 1185 01:04:03,160 --> 01:04:06,920 Speaker 1: in the role and also did all these monologues the 1186 01:04:07,000 --> 01:04:10,120 Speaker 1: same way and carried so much of that show through 1187 01:04:10,240 --> 01:04:13,000 Speaker 1: thick and thin and always makes it look easy. Yes. 1188 01:04:14,280 --> 01:04:16,640 Speaker 1: What did not make the list, unfortunately, when I think 1189 01:04:16,880 --> 01:04:19,800 Speaker 1: is an honorable mention is Ellen Pompeio At the moment 1190 01:04:19,840 --> 01:04:25,120 Speaker 1: when Ellen Pompeo was on a panel with Gabrielle Roberts, 1191 01:04:25,920 --> 01:04:28,520 Speaker 1: I'm not seeing enough color. I'm not seeing that color. 1192 01:04:28,760 --> 01:04:30,240 Speaker 1: And I didn't see enough color when I walked in 1193 01:04:31,280 --> 01:04:34,720 Speaker 1: and Gabrielle Union and and Gina just looking at each 1194 01:04:34,720 --> 01:04:37,320 Speaker 1: other being like, oh okay, Ellen's going there, and thank 1195 01:04:37,360 --> 01:04:39,720 Speaker 1: god that is ally should in action. And also not 1196 01:04:39,840 --> 01:04:42,080 Speaker 1: for nothing but the fact that Gina was there being like, yes, 1197 01:04:42,200 --> 01:04:48,640 Speaker 1: good job. L Actually years later, moving on number sixteen, 1198 01:04:48,720 --> 01:04:50,919 Speaker 1: number sixteen, I mean who could forget, could forget It's 1199 01:04:51,000 --> 01:04:57,360 Speaker 1: Titanic fever. Fever. Titanic was a cultural moment to rival 1200 01:04:57,680 --> 01:04:59,760 Speaker 1: some of the biggest cultural moments we've ever been through. 1201 01:04:59,760 --> 01:05:03,480 Speaker 1: I mean this was all encompassing, from music to film, 1202 01:05:03,560 --> 01:05:06,360 Speaker 1: two TV specials constantly on about it, to the world 1203 01:05:06,440 --> 01:05:10,040 Speaker 1: of tabloid that created around Leo and Kate like unbelievable 1204 01:05:10,360 --> 01:05:13,640 Speaker 1: history and appreciation for history. Yes, and it also really 1205 01:05:13,920 --> 01:05:16,880 Speaker 1: I mean how many Titanic exhibits sprouted up. I mean 1206 01:05:16,960 --> 01:05:19,800 Speaker 1: I went to several of them, like I became obsessed 1207 01:05:19,920 --> 01:05:22,960 Speaker 1: with the Titanic obsessed. My first CD ever, I mean 1208 01:05:23,000 --> 01:05:26,920 Speaker 1: I say my first album was Spice World was Spice. 1209 01:05:26,920 --> 01:05:32,360 Speaker 1: I'm sorry, but um first for CD purchase my parents 1210 01:05:32,400 --> 01:05:35,840 Speaker 1: buying me the Titanic score. I mean, from the score 1211 01:05:36,120 --> 01:05:40,320 Speaker 1: to the visuals, to the overbloated romance to Kate Winslet 1212 01:05:40,360 --> 01:05:42,880 Speaker 1: turning around in that fucking hat and making her like 1213 01:05:43,360 --> 01:05:49,200 Speaker 1: not screen debut but arrive star moments, Leo being Leo, 1214 01:05:49,480 --> 01:05:52,880 Speaker 1: that like gorgeous blonde, Harry ad like oh my, Billy 1215 01:05:53,000 --> 01:05:56,800 Speaker 1: Zane flipping over the table, Billy Zane being too much, 1216 01:05:57,080 --> 01:06:00,920 Speaker 1: Kathy Bates slang her little one liners, miss thing uh, 1217 01:06:02,000 --> 01:06:07,120 Speaker 1: miss Fabrizio being hot and crushed by a pylon, and 1218 01:06:07,200 --> 01:06:10,440 Speaker 1: then also the scene with the mother and Rose. Wait, women, 1219 01:06:12,600 --> 01:06:14,400 Speaker 1: do you want to say me working because it seems stress? 1220 01:06:17,120 --> 01:06:22,400 Speaker 1: I mean, I'm selfish. Why are you so selfish? I'm selfish? 1221 01:06:24,240 --> 01:06:30,200 Speaker 1: I mean a terribly written movie. Yes and no, like 1222 01:06:30,400 --> 01:06:33,960 Speaker 1: in terms of like it getting the broad strokes across 1223 01:06:34,480 --> 01:06:38,600 Speaker 1: it certainly did change anything about it? Like probably not 1224 01:06:39,240 --> 01:06:45,160 Speaker 1: he mean, did be do it? No? Um, but then 1225 01:06:45,200 --> 01:06:49,840 Speaker 1: they did fuck like right after Umm, oh god, I 1226 01:06:49,920 --> 01:06:54,400 Speaker 1: mean hate Winslet and Leo together, we have it down there, 1227 01:06:54,760 --> 01:06:57,320 Speaker 1: have it down there, I mean, just Titanic Fever. My 1228 01:06:57,400 --> 01:07:01,600 Speaker 1: heart will go on being the moment, being the moment 1229 01:07:02,160 --> 01:07:06,240 Speaker 1: and you know, the final shot of just the black 1230 01:07:06,280 --> 01:07:09,160 Speaker 1: and white photos, the final shot is of the boat 1231 01:07:09,240 --> 01:07:12,840 Speaker 1: under Underwell, honestly, you will still be emotionally affected by 1232 01:07:12,880 --> 01:07:16,000 Speaker 1: the film, That's true. It'll sneak on every now and 1233 01:07:16,040 --> 01:07:17,960 Speaker 1: then and you'll watch it and you'll be you will 1234 01:07:18,000 --> 01:07:19,880 Speaker 1: watch the whole thing. Oh, I mean, you know it's 1235 01:07:20,000 --> 01:07:22,240 Speaker 1: It was on v H one after Drag Race, for 1236 01:07:22,600 --> 01:07:26,320 Speaker 1: it was seven weeks in a row. It was was 1237 01:07:26,400 --> 01:07:28,360 Speaker 1: it on every week? It was on for some reason, 1238 01:07:28,480 --> 01:07:31,280 Speaker 1: like every week Season twelve of Drags. Honestly, it's probably 1239 01:07:31,280 --> 01:07:32,920 Speaker 1: because it's the only way they can get them to 1240 01:07:33,040 --> 01:07:35,800 Speaker 1: like keep watching after that. I can't. We're not going 1241 01:07:35,840 --> 01:07:40,280 Speaker 1: to strap in for four Okay, okay, girl, all right, 1242 01:07:40,680 --> 01:07:43,120 Speaker 1: let's Titanic peover was a fever, but it's not as 1243 01:07:43,240 --> 01:07:47,320 Speaker 1: big of a cultural moment as number. This is what 1244 01:07:47,560 --> 01:07:49,480 Speaker 1: I replaced Christina beat you with. Let me just say 1245 01:07:49,520 --> 01:07:51,040 Speaker 1: that up top, and I think I think it's a 1246 01:07:51,080 --> 01:07:56,200 Speaker 1: deserving spots, deserving substitution. Titanic not as impactful as AOC 1247 01:07:57,080 --> 01:08:00,760 Speaker 1: on a roof in college ALCS dancing is what gets 1248 01:08:00,800 --> 01:08:03,040 Speaker 1: her on the list. It's not just AOC is dancing. 1249 01:08:03,200 --> 01:08:06,280 Speaker 1: It's the backfiring from the right for being like, look 1250 01:08:06,360 --> 01:08:10,520 Speaker 1: at her being so whatever, I guess promiscuous. It truly 1251 01:08:10,560 --> 01:08:13,400 Speaker 1: did show that no matter what she did, we would 1252 01:08:13,400 --> 01:08:16,160 Speaker 1: all love her iro and we would she is our champion. 1253 01:08:16,360 --> 01:08:19,200 Speaker 1: She is our champion, and like, and then there was 1254 01:08:19,320 --> 01:08:20,680 Speaker 1: like a fun week of memes where like, you know, 1255 01:08:20,760 --> 01:08:23,360 Speaker 1: you do cut to the feeling overlaid on AOC dancing 1256 01:08:23,400 --> 01:08:28,080 Speaker 1: and you can do any song and have AOC just dancing, 1257 01:08:28,240 --> 01:08:32,800 Speaker 1: writhing around the wall on the roof, doing the little 1258 01:08:32,880 --> 01:08:34,560 Speaker 1: grape viney thing. She I don't know, it's not a 1259 01:08:34,560 --> 01:08:36,320 Speaker 1: grape vine, but she does a little dance move. Well, 1260 01:08:36,400 --> 01:08:40,200 Speaker 1: she's a fun person who seems like and I say 1261 01:08:40,280 --> 01:08:45,280 Speaker 1: this in the most like in a respectful, like positive way, 1262 01:08:45,520 --> 01:08:48,680 Speaker 1: she is so attractive and that when she is, yes, 1263 01:08:48,880 --> 01:08:51,000 Speaker 1: you can't help but look at her, like she has 1264 01:08:51,040 --> 01:08:54,400 Speaker 1: a star quality, she has a positive she carries the light, 1265 01:08:54,479 --> 01:08:57,240 Speaker 1: she carries the l And so when that, when that's happening, 1266 01:08:57,320 --> 01:08:59,120 Speaker 1: it's like a lot of people are going to be 1267 01:08:59,200 --> 01:09:01,120 Speaker 1: offended by that, and a lot of especially when it 1268 01:09:01,160 --> 01:09:04,080 Speaker 1: comes in a package that, um, they don't know what 1269 01:09:04,160 --> 01:09:06,559 Speaker 1: to do with. I think that, And I watched Knocked 1270 01:09:06,600 --> 01:09:09,960 Speaker 1: Down the House recently, and it's like there was no 1271 01:09:10,400 --> 01:09:14,880 Speaker 1: way that anyone that's like in a Trump universe would 1272 01:09:14,960 --> 01:09:19,000 Speaker 1: know how to deal with an incredibly smart, incredibly passionate 1273 01:09:19,680 --> 01:09:23,000 Speaker 1: on the right side of issues, charismatic young Latino woman 1274 01:09:23,600 --> 01:09:27,920 Speaker 1: who is speaking for a generation and beyond, and she 1275 01:09:28,200 --> 01:09:31,200 Speaker 1: really is the voice of a generation. She's talking about 1276 01:09:31,560 --> 01:09:35,800 Speaker 1: issues in terms of moral clarity, like in a way 1277 01:09:35,840 --> 01:09:37,639 Speaker 1: that we can all sort of get behind it because 1278 01:09:37,680 --> 01:09:40,360 Speaker 1: we're like, Okay, well, I guess this is the right thing, 1279 01:09:40,560 --> 01:09:43,400 Speaker 1: Like you know, like and like and it's not the 1280 01:09:43,479 --> 01:09:46,360 Speaker 1: right thing to like use religious purity as like a 1281 01:09:46,439 --> 01:09:49,640 Speaker 1: weapon against policy. It's like this so so you know, 1282 01:09:49,720 --> 01:09:52,920 Speaker 1: like a week ago back when the house uh beamed again, 1283 01:09:53,240 --> 01:09:56,600 Speaker 1: she's on something. Yeah, like she sort of like dismantled 1284 01:09:56,640 --> 01:10:00,960 Speaker 1: the idea that like religious pure as like this like 1285 01:10:01,120 --> 01:10:02,960 Speaker 1: moral compass is like is so fucked up and like 1286 01:10:03,080 --> 01:10:06,479 Speaker 1: not valid at all. And I'm probably misquoting and paraphrasing wrongly, 1287 01:10:06,560 --> 01:10:09,280 Speaker 1: but like she can speak on such a on such 1288 01:10:09,320 --> 01:10:12,040 Speaker 1: a clear level, like even like when she just got 1289 01:10:12,160 --> 01:10:14,840 Speaker 1: when she just won her primary a couple of years ago, 1290 01:10:15,040 --> 01:10:17,000 Speaker 1: a few years ago, and she was on Coldbart like 1291 01:10:17,080 --> 01:10:20,360 Speaker 1: the next day, and she just like inexperienced, you could 1292 01:10:20,400 --> 01:10:22,639 Speaker 1: technically say at the time, but she spoke so clearly 1293 01:10:22,680 --> 01:10:24,479 Speaker 1: about things, and everyone the audience is on board, and 1294 01:10:24,520 --> 01:10:27,680 Speaker 1: you're like, whoa. It's because she is not pretending to 1295 01:10:27,920 --> 01:10:31,640 Speaker 1: speak for or as anyone that she's not exactly And 1296 01:10:31,760 --> 01:10:35,200 Speaker 1: so when she's asked questions about what she wants done, 1297 01:10:35,760 --> 01:10:40,040 Speaker 1: despite quote unquote inexperience and quote unquote youth, that's not 1298 01:10:40,120 --> 01:10:42,479 Speaker 1: a part of the way she views the world or 1299 01:10:42,680 --> 01:10:45,040 Speaker 1: needs to view the world. Because she is speaking for 1300 01:10:45,200 --> 01:10:48,040 Speaker 1: what's right. Yes, she And there's an amazing scene in 1301 01:10:48,080 --> 01:10:50,439 Speaker 1: the beginning of Lockdown the House where she's talking about 1302 01:10:51,960 --> 01:10:58,519 Speaker 1: getting ready in terms of readying her appearance, and so 1303 01:10:59,200 --> 01:11:02,840 Speaker 1: it's incredible. And I really think that if you have 1304 01:11:02,920 --> 01:11:05,360 Speaker 1: a problem with AOC, it's something you have to deal 1305 01:11:05,400 --> 01:11:09,400 Speaker 1: with insult because she is is the future. I do 1306 01:11:09,560 --> 01:11:12,200 Speaker 1: believe that she will be a political voice that we 1307 01:11:12,320 --> 01:11:15,760 Speaker 1: look to for the next fifty years, for our lifetime. 1308 01:11:16,400 --> 01:11:18,280 Speaker 1: I think that she'll be relevant for the rest of 1309 01:11:18,320 --> 01:11:20,759 Speaker 1: our lifetime, depending on if she goes into the Senate, 1310 01:11:21,040 --> 01:11:23,160 Speaker 1: depending on if she continues in the House, depending on 1311 01:11:23,240 --> 01:11:28,240 Speaker 1: if she does eventually make a presidential run at some point. Regardless, 1312 01:11:28,760 --> 01:11:31,800 Speaker 1: she is going to be someone who is incredibly important. 1313 01:11:32,320 --> 01:11:35,439 Speaker 1: And I think that, um that's also going to make 1314 01:11:35,479 --> 01:11:37,880 Speaker 1: it pretty difficult for her, of course, and I but 1315 01:11:37,960 --> 01:11:41,080 Speaker 1: I think she's up to it right now. She's funneling 1316 01:11:41,200 --> 01:11:46,080 Speaker 1: a lot of thoughts, like like we're looking to her, 1317 01:11:46,840 --> 01:11:49,320 Speaker 1: um um, just just just to get a sense of, 1318 01:11:49,439 --> 01:11:51,559 Speaker 1: like of how to how to think about it. She's 1319 01:11:51,640 --> 01:11:53,760 Speaker 1: the amount of pressure she must be under. Yes, and 1320 01:11:54,040 --> 01:11:55,680 Speaker 1: I get to see Knocked Down the House, but you 1321 01:11:55,840 --> 01:11:58,479 Speaker 1: and Studie talking about the last. One of the final 1322 01:11:58,520 --> 01:12:01,479 Speaker 1: moments is oh yeah, don't don't give it away. It's 1323 01:12:01,560 --> 01:12:03,439 Speaker 1: it's her dad's saying something to her. But when he 1324 01:12:03,520 --> 01:12:07,240 Speaker 1: passes away, don't to say that. It's an unbelievable moment 1325 01:12:07,400 --> 01:12:09,760 Speaker 1: that is really rewarding if you watch the movie and 1326 01:12:10,000 --> 01:12:11,840 Speaker 1: learn more about her story than I think probably a 1327 01:12:11,880 --> 01:12:15,320 Speaker 1: lot of people now. And I'll just say, I'll put 1328 01:12:15,360 --> 01:12:17,519 Speaker 1: this into the ether on the podcast. Would love to 1329 01:12:17,600 --> 01:12:18,960 Speaker 1: have her as a guest, would love to have her 1330 01:12:18,960 --> 01:12:22,200 Speaker 1: as a guest. They ask is out, The ask is out. 1331 01:12:22,280 --> 01:12:25,840 Speaker 1: Let's put the pressure on um. We love al Z 1332 01:12:27,280 --> 01:12:28,960 Speaker 1: and she is the moment. Her dancing on the roof 1333 01:12:29,040 --> 01:12:31,360 Speaker 1: in college is the moment. Let's move on. Speaking of dancing, 1334 01:12:31,760 --> 01:12:35,800 Speaker 1: Oh my God, number fourteen, when Catherine Dada Jones said, 1335 01:12:38,439 --> 01:12:42,040 Speaker 1: and in all that jazz, I mean the crest of 1336 01:12:42,280 --> 01:12:50,080 Speaker 1: that song, the peak, just the sort of passionate happy 1337 01:12:50,360 --> 01:12:57,160 Speaker 1: rage that is she's about to get arrested, and it's 1338 01:12:57,200 --> 01:12:59,759 Speaker 1: a cry. It's her last cry as a free woman. 1339 01:13:00,439 --> 01:13:05,080 Speaker 1: And let's not forget the lyric that precedes this. No 1340 01:13:05,400 --> 01:13:12,800 Speaker 1: what's white fod and all it's so I mean like 1341 01:13:13,000 --> 01:13:18,639 Speaker 1: talk about a knockout, like no question about it. Else 1342 01:13:18,680 --> 01:13:21,080 Speaker 1: could have done that? That's she deserves could have No 1343 01:13:21,120 --> 01:13:22,519 Speaker 1: one else could have done it as well as she did. 1344 01:13:23,000 --> 01:13:24,800 Speaker 1: I mean, I don't think there's anything more to say here. 1345 01:13:24,880 --> 01:13:27,240 Speaker 1: In a movie where Renee's l Werger is the lead 1346 01:13:27,320 --> 01:13:31,519 Speaker 1: actress and absolutely slaying, the image you leave with is 1347 01:13:31,640 --> 01:13:35,479 Speaker 1: still Katherine Dada Jones. And that's with that Renee performance 1348 01:13:35,479 --> 01:13:37,720 Speaker 1: in it, which is culture didn't make the list. I 1349 01:13:37,880 --> 01:13:40,160 Speaker 1: think I think Katherine's doing more work. I mean, like 1350 01:13:40,439 --> 01:13:44,599 Speaker 1: between that and South Octango and I can't do it alone. 1351 01:13:44,880 --> 01:13:47,880 Speaker 1: She's doing so much. It's just she's doing a lot. 1352 01:13:48,080 --> 01:13:50,160 Speaker 1: But if you and Joel and I recently have talked 1353 01:13:50,160 --> 01:13:53,200 Speaker 1: about this on another party, actually with Nathaniel Rogers's podcast, 1354 01:13:53,360 --> 01:13:56,719 Speaker 1: Renee is the flat out lead and has the most 1355 01:13:56,840 --> 01:14:00,080 Speaker 1: to do. The reason why Catherine's Dada Jones is so 1356 01:14:00,360 --> 01:14:03,200 Speaker 1: iconic is because she almost makes you think they're doing 1357 01:14:03,320 --> 01:14:08,759 Speaker 1: equal stuff, but they literally aren't. Katherine is on another 1358 01:14:08,920 --> 01:14:10,560 Speaker 1: I think she knew this is going to be the 1359 01:14:10,680 --> 01:14:14,280 Speaker 1: role that defined her legacy. Wow, and and and it end, 1360 01:14:14,360 --> 01:14:18,479 Speaker 1: and you're right, I would say, I mean, okay, so done. 1361 01:14:19,320 --> 01:14:24,160 Speaker 1: Um Now number thirteen another movie moment Beyonce and Ali 1362 01:14:24,280 --> 01:14:29,759 Speaker 1: Larder's fight and obsessed. Fight coreo achievement, Fight Core, your achievement. 1363 01:14:30,040 --> 01:14:34,040 Speaker 1: A chandelier gets dropped. I mean, one thing we have 1364 01:14:34,160 --> 01:14:36,720 Speaker 1: to say is a chandelier gets dropped. That's the end 1365 01:14:36,800 --> 01:14:38,240 Speaker 1: of the fight. The end of the fight is a 1366 01:14:38,360 --> 01:14:41,040 Speaker 1: chandelier dropped and crushes Ali Larder. But let's talk about 1367 01:14:41,080 --> 01:14:43,799 Speaker 1: the moment's proceeding. And you have to put some respect 1368 01:14:43,880 --> 01:14:47,120 Speaker 1: on Ali Larder's name because she commits to this movie 1369 01:14:47,600 --> 01:14:51,080 Speaker 1: all the way and it is, you know, not good. 1370 01:14:52,120 --> 01:14:54,880 Speaker 1: But she she is so crazy in the movie and 1371 01:14:55,000 --> 01:14:57,760 Speaker 1: so good and she is so believing in her insanity 1372 01:14:58,600 --> 01:15:00,640 Speaker 1: that when she gets to the end this movie, you 1373 01:15:00,720 --> 01:15:05,080 Speaker 1: think maybe she is going to kill But Beyonce, no, no, no, 1374 01:15:07,000 --> 01:15:10,000 Speaker 1: I mean, is it Beyonce pushes Ali Larder off the 1375 01:15:10,040 --> 01:15:14,280 Speaker 1: banister down the stairs. What happens is Beyonce gets home 1376 01:15:14,600 --> 01:15:18,120 Speaker 1: and sees Ali Larder in the jersey of her husband, 1377 01:15:18,160 --> 01:15:22,559 Speaker 1: Idris Alba, and did you not get my message? Because 1378 01:15:22,600 --> 01:15:25,120 Speaker 1: Beyonce has left a nasty message about leaving my family alone. 1379 01:15:25,479 --> 01:15:28,439 Speaker 1: And Ali is so crazy that Beyonce says, I'm gonna 1380 01:15:28,479 --> 01:15:31,679 Speaker 1: let the police deal with you, and shortly Thereafter, there's 1381 01:15:31,720 --> 01:15:34,479 Speaker 1: the moment where Alie says wait and she goes, don't 1382 01:15:34,840 --> 01:15:40,519 Speaker 1: touch me. Yes, that's best acting moment of her career. 1383 01:15:40,840 --> 01:15:46,880 Speaker 1: Don't don't touch me, seconded by her and Dream Girls 1384 01:15:47,560 --> 01:15:53,600 Speaker 1: Curtis your child. Yeah, okay, but don't don't touch me 1385 01:15:54,960 --> 01:15:57,800 Speaker 1: is her number one, and they then break out into 1386 01:15:57,920 --> 01:16:01,280 Speaker 1: a huge fight or beyond calls Ali Larder a bit 1387 01:16:01,920 --> 01:16:07,120 Speaker 1: many times the inversion of a black person calling the 1388 01:16:07,200 --> 01:16:10,000 Speaker 1: police on a white woman threatening to call the police 1389 01:16:10,040 --> 01:16:12,000 Speaker 1: on a white Well, the police couldn't get anything done, 1390 01:16:12,400 --> 01:16:15,240 Speaker 1: while the police couldn't get the Christine Lottie the detective, 1391 01:16:15,479 --> 01:16:17,679 Speaker 1: she could get nothing done. She was the biggest idiot 1392 01:16:17,720 --> 01:16:20,120 Speaker 1: in film. Might as well be Debra messing and searching 1393 01:16:20,160 --> 01:16:23,679 Speaker 1: an idiot cop might as well. But Beyonce threatening, bumbling, 1394 01:16:23,920 --> 01:16:25,680 Speaker 1: The cops could not deal with Ali Larder in New 1395 01:16:25,760 --> 01:16:28,960 Speaker 1: Jersey being psychotic. Well, they did not get the chance 1396 01:16:29,080 --> 01:16:32,840 Speaker 1: because Beyonce said, I'm absolutely gonna handle this myself and 1397 01:16:33,120 --> 01:16:37,160 Speaker 1: ended up with Ali Larder crammting through an attic barely 1398 01:16:37,200 --> 01:16:41,240 Speaker 1: finished attic smashing into a coffee table in a very 1399 01:16:41,479 --> 01:16:47,800 Speaker 1: enough Jennifer Lopez moment, Yes and was crushed by Oh God, 1400 01:16:48,760 --> 01:16:52,040 Speaker 1: yeah Beyonce. You could tell Beyonce's character was a little shocked, 1401 01:16:52,320 --> 01:16:54,720 Speaker 1: surprised that they did that, that it got that. And 1402 01:16:54,800 --> 01:16:57,680 Speaker 1: then the best is when Beyonce runs out covered in 1403 01:16:57,800 --> 01:17:02,200 Speaker 1: blood and like her hair. Tous Old Parcels. Christine Lottie 1404 01:17:02,200 --> 01:17:03,880 Speaker 1: as the detective finally guests to the house and goes 1405 01:17:04,080 --> 01:17:07,439 Speaker 1: what happened? And Beyonce goes, I think, you know what happened? 1406 01:17:08,160 --> 01:17:10,720 Speaker 1: And then I'm thinking, like, I mean, she doesn't know 1407 01:17:10,800 --> 01:17:12,680 Speaker 1: what happened. She doesn't know, she's an idiot, but she 1408 01:17:12,840 --> 01:17:14,320 Speaker 1: ran in the house and she can, we can knows 1409 01:17:14,400 --> 01:17:16,320 Speaker 1: whom that she found out. And then it ends on 1410 01:17:16,439 --> 01:17:19,080 Speaker 1: Beyonce and Idris Elba hugging, and it ends on the 1411 01:17:19,280 --> 01:17:22,880 Speaker 1: ugliest freeze frame in history. I can't believe Beyonce an 1412 01:17:22,920 --> 01:17:27,760 Speaker 1: EP on the project Okay who I actually think there's 1413 01:17:27,760 --> 01:17:31,439 Speaker 1: another acting moment and obsessed that Beyonce does not get 1414 01:17:31,479 --> 01:17:34,880 Speaker 1: credit for Idris Elba that they get in a fight, 1415 01:17:34,960 --> 01:17:38,479 Speaker 1: and Sala says, where do you suggest I go? Beyonce says, 1416 01:17:39,840 --> 01:17:42,679 Speaker 1: but until they suggests the four Seasons? I suggest maybe 1417 01:17:42,760 --> 01:17:47,519 Speaker 1: the four seasons. Amazing acting. Beyonce knows Carter Nala and 1418 01:17:47,720 --> 01:17:51,320 Speaker 1: the Lion King Black is King the upcoming visual album 1419 01:17:51,520 --> 01:18:02,080 Speaker 1: Actress Actress now moving on s King of performers, performers. 1420 01:18:02,160 --> 01:18:06,639 Speaker 1: This is number twelve. Brandy chevs defined gravity final riff 1421 01:18:06,760 --> 01:18:09,599 Speaker 1: and all the alphabets who have attempted this final riff. 1422 01:18:10,760 --> 01:18:13,400 Speaker 1: We have to respect women putting their lives on the 1423 01:18:13,560 --> 01:18:18,599 Speaker 1: line in order to serve entertainment. And this is war. 1424 01:18:19,040 --> 01:18:21,800 Speaker 1: This is playing alpha but is war. And that's a 1425 01:18:21,880 --> 01:18:25,479 Speaker 1: ruler culture Number forty nine playing alpha, but is war. 1426 01:18:26,600 --> 01:18:33,719 Speaker 1: And the wires, the suspensions because of the vocal health, 1427 01:18:34,240 --> 01:18:37,600 Speaker 1: because of the pressures, because of needing to go up 1428 01:18:37,640 --> 01:18:42,360 Speaker 1: into the air. Yes, yes, yes, I mean magic on stage. 1429 01:18:43,080 --> 01:18:46,000 Speaker 1: Talk about green paint being applied every single day. Can't 1430 01:18:46,000 --> 01:18:49,680 Speaker 1: be comfortable. It's war. It's theatrical war, theatrical war. And 1431 01:18:49,960 --> 01:18:53,360 Speaker 1: Brandy chevon Massey is a good soldier because she went 1432 01:18:53,439 --> 01:18:56,680 Speaker 1: out there and ripped her throat in half at the 1433 01:18:56,760 --> 01:19:00,640 Speaker 1: end of Act one. Google it, bitch, it's it's It 1434 01:19:00,880 --> 01:19:04,360 Speaker 1: never loses its impact. You watch all the time, and 1435 01:19:04,560 --> 01:19:07,360 Speaker 1: you feel the same way every time. It's remarkable. It 1436 01:19:07,680 --> 01:19:11,479 Speaker 1: is I can only imagine if I was there what 1437 01:19:11,920 --> 01:19:14,280 Speaker 1: I would do, And I don't think I would have 1438 01:19:14,320 --> 01:19:20,120 Speaker 1: survived being there a live do we do? We try it? No? No, okay, 1439 01:19:20,160 --> 01:19:22,000 Speaker 1: we don't try. We have to let just google you 1440 01:19:22,080 --> 01:19:23,880 Speaker 1: know what. We're going to put it into the episode later. 1441 01:19:24,280 --> 01:19:27,479 Speaker 1: Here is Brandy Chavon Massey's final riff and define gravity 1442 01:19:29,920 --> 01:20:11,040 Speaker 1: all of us. So now you know, incredible, incredible and 1443 01:20:11,160 --> 01:20:14,880 Speaker 1: you and that number twelve even feels low for me. Well, 1444 01:20:15,400 --> 01:20:17,920 Speaker 1: you know the rest of the list is pretty good. 1445 01:20:17,920 --> 01:20:20,240 Speaker 1: It's an amazing list. Let's keep going. But wow, and 1446 01:20:20,360 --> 01:20:22,599 Speaker 1: we just want to say respect to every woman who 1447 01:20:22,680 --> 01:20:29,519 Speaker 1: has respect to the original Ada Adina, Stephanie J. Block, 1448 01:20:31,920 --> 01:20:34,760 Speaker 1: Nicole Parker, Yes, all the women, all the women and 1449 01:20:34,880 --> 01:20:38,400 Speaker 1: sho Shanna Bean, So Shanna Bean, I mean eating a spinosa, 1450 01:20:39,280 --> 01:20:41,240 Speaker 1: I mean put some respect on these names. These women 1451 01:20:41,240 --> 01:20:44,400 Speaker 1: went went to war. They went to war, they went 1452 01:20:44,479 --> 01:20:51,160 Speaker 1: to war. Let's keep going. September number eleven, when PARV cameristas, 1453 01:20:52,040 --> 01:20:53,840 Speaker 1: We're sorry to be self indulgent. We had to. This 1454 01:20:54,000 --> 01:20:56,360 Speaker 1: was a moment of culture. We built that moment up. 1455 01:20:56,560 --> 01:20:59,320 Speaker 1: We and they believe we made it happen. Thank you 1456 01:20:59,400 --> 01:21:00,760 Speaker 1: readers for go on that journey with us. We know 1457 01:21:00,800 --> 01:21:02,600 Speaker 1: a lot of people started to watch Survivor because we 1458 01:21:02,640 --> 01:21:05,280 Speaker 1: would not shut the funk up about it. We hope 1459 01:21:05,320 --> 01:21:07,800 Speaker 1: you enjoy it. And you know, Survivors is going through 1460 01:21:07,840 --> 01:21:10,679 Speaker 1: its own racial recording right now. There's a Black Survivor 1461 01:21:10,800 --> 01:21:13,160 Speaker 1: sort of group, UM that is trying to get a 1462 01:21:13,200 --> 01:21:16,400 Speaker 1: meeting with CBS executives, and we support their movement absolutely. 1463 01:21:16,439 --> 01:21:20,040 Speaker 1: We need we need every season to feel like Cook 1464 01:21:20,160 --> 01:21:23,280 Speaker 1: Islands without the Battle of the Races of it all, 1465 01:21:23,320 --> 01:21:25,880 Speaker 1: because what what that season did was it not only 1466 01:21:25,920 --> 01:21:28,880 Speaker 1: introduced us to parven so many amazing characters in the franchise, 1467 01:21:29,439 --> 01:21:32,120 Speaker 1: but also what it did was it was a diverse cast. 1468 01:21:32,760 --> 01:21:35,600 Speaker 1: Now they incentivized that in terms of the entertainment and 1469 01:21:35,640 --> 01:21:39,640 Speaker 1: the viewing in a way that's you can say is harmful, um, 1470 01:21:39,760 --> 01:21:42,200 Speaker 1: And I think a lot of the contestants I thought 1471 01:21:42,280 --> 01:21:44,400 Speaker 1: was harmful. I recently watched an interview with you when 1472 01:21:44,439 --> 01:21:45,800 Speaker 1: he said when he found out what it was, he 1473 01:21:45,840 --> 01:21:49,679 Speaker 1: almost left, and he obviously did not leave. The spoiler 1474 01:21:49,760 --> 01:21:53,000 Speaker 1: alert he wins in one of the most dominant games played. 1475 01:21:53,160 --> 01:21:54,680 Speaker 1: I mean, he was going up against one of the 1476 01:21:54,720 --> 01:21:58,600 Speaker 1: best players ever, which is Part and Party before she 1477 01:21:58,720 --> 01:22:06,599 Speaker 1: realized her power. Um. But the moment of Part sort 1478 01:22:06,680 --> 01:22:14,160 Speaker 1: of becoming what she became, and I felt so it 1479 01:22:14,320 --> 01:22:16,760 Speaker 1: was so much fun to watch her in this Quarantine 1480 01:22:16,840 --> 01:22:19,720 Speaker 1: and she really did you know how sometimes like in 1481 01:22:19,800 --> 01:22:21,759 Speaker 1: your mind's eye, you have a stand in for yourself. 1482 01:22:23,200 --> 01:22:25,519 Speaker 1: For me, that was part for the first month and 1483 01:22:25,560 --> 01:22:28,439 Speaker 1: a half in Quarantine. I was just like, Parv is 1484 01:22:28,760 --> 01:22:31,720 Speaker 1: a spiritual beacon for me. She's amazing on the show. 1485 01:22:33,560 --> 01:22:36,320 Speaker 1: She's making me laugh, making me feel triumphant when and 1486 01:22:36,479 --> 01:22:40,880 Speaker 1: she's winning. And I love having being like like a 1487 01:22:40,920 --> 01:22:43,160 Speaker 1: different kind of character we've seen on the show. And honestly, 1488 01:22:43,320 --> 01:22:46,439 Speaker 1: Survivor kept me sane in the beginning of Quarantine, And 1489 01:22:46,479 --> 01:22:49,280 Speaker 1: the best part of watching Survivor was watching Parv And 1490 01:22:49,880 --> 01:22:53,000 Speaker 1: when part when we put out the ask to part, 1491 01:22:53,360 --> 01:22:56,280 Speaker 1: we were like, this maybe not gonna happen because we 1492 01:22:56,400 --> 01:22:59,920 Speaker 1: view her as a selab deity. And then she came 1493 01:23:00,040 --> 01:23:04,120 Speaker 1: on and it was a moment. It was so so wonderful, 1494 01:23:04,360 --> 01:23:07,400 Speaker 1: so charismatic, you know. I there was a moment several 1495 01:23:07,439 --> 01:23:10,519 Speaker 1: moments throughout the recording I remember very clearly, vividly in 1496 01:23:10,600 --> 01:23:13,639 Speaker 1: that damn zoom she but she was able to transcend 1497 01:23:13,720 --> 01:23:16,840 Speaker 1: the zoom and I was like, she's a star, and 1498 01:23:17,280 --> 01:23:21,880 Speaker 1: we think that We're just so proud of that moment 1499 01:23:22,040 --> 01:23:24,559 Speaker 1: and getting her on and that all the readers did 1500 01:23:24,600 --> 01:23:27,240 Speaker 1: their homework. That was a moment for the pod and 1501 01:23:27,479 --> 01:23:31,320 Speaker 1: it was it was a moment for the culture. By extension, 1502 01:23:31,720 --> 01:23:33,640 Speaker 1: who do you want to take to the end to 1503 01:23:33,800 --> 01:23:38,960 Speaker 1: four Girls? I mean, just an amazing moment. I watch it. 1504 01:23:39,520 --> 01:23:44,800 Speaker 1: Watch honestly respect Cook Islands, but watch Micronesia. Micronesia is 1505 01:23:44,880 --> 01:23:47,880 Speaker 1: the ship and Heroes versus Villains was like camp but 1506 01:23:48,160 --> 01:23:50,680 Speaker 1: also great. And this one's for you, and this one 1507 01:23:50,720 --> 01:23:54,759 Speaker 1: is for you, very good. This is for you, Jerry. Okay. 1508 01:23:54,840 --> 01:23:56,800 Speaker 1: So moving on to number ten. Something we talked about 1509 01:23:56,880 --> 01:24:01,599 Speaker 1: with PARV ten is ma mononym. We're not even saying 1510 01:24:01,600 --> 01:24:04,559 Speaker 1: the last name Maria. Maria and Mariah's appeared a couple 1511 01:24:04,600 --> 01:24:07,639 Speaker 1: of times throughout this list. Maria deserves her own spot. 1512 01:24:07,680 --> 01:24:09,280 Speaker 1: Talk about Mariah. I'm gonna give it for to you. 1513 01:24:09,479 --> 01:24:13,280 Speaker 1: You are the perennial Mariah expert. Mariah is the best 1514 01:24:13,320 --> 01:24:16,080 Speaker 1: of all time. She's one of the best pop songwriters 1515 01:24:16,160 --> 01:24:18,280 Speaker 1: of all times. She's one of the most prolific, She's 1516 01:24:18,280 --> 01:24:20,559 Speaker 1: one of the best singers of all time. Obviously, she's 1517 01:24:20,600 --> 01:24:23,880 Speaker 1: one of the best pop culture characters of all time. 1518 01:24:24,120 --> 01:24:26,760 Speaker 1: She is. She is a pop culture character, the gift 1519 01:24:26,800 --> 01:24:28,719 Speaker 1: that keeps on giving. She's one of the most shrewd 1520 01:24:28,800 --> 01:24:33,160 Speaker 1: business women in pop music. To create a Christmastly beast, 1521 01:24:33,200 --> 01:24:35,960 Speaker 1: anonymous with Christmas, and create a Christmas empire, to create 1522 01:24:36,000 --> 01:24:38,640 Speaker 1: a seasonal empire like that, she is one of the 1523 01:24:38,720 --> 01:24:42,040 Speaker 1: best ever. She never is boring, never a dull moment 1524 01:24:42,120 --> 01:24:44,880 Speaker 1: with Mariah and the Lambs, I I stand with you, 1525 01:24:44,960 --> 01:24:47,120 Speaker 1: I represent you. One of the best moments of the 1526 01:24:47,160 --> 01:24:50,439 Speaker 1: past few years for me was going down to Brooklyn 1527 01:24:50,520 --> 01:24:53,120 Speaker 1: and being there when she was interviewed about her amazing 1528 01:24:53,200 --> 01:24:55,439 Speaker 1: career as a songwriter when Caution came out Caution is 1529 01:24:55,439 --> 01:24:58,719 Speaker 1: an underrated abtion. Shame on the Grammys for not including 1530 01:24:58,760 --> 01:25:01,040 Speaker 1: it in the Best Album of the Year category when 1531 01:25:01,040 --> 01:25:03,960 Speaker 1: it was rightfully nominated. That's a controversy. I do not love. 1532 01:25:04,240 --> 01:25:09,439 Speaker 1: Also the Grammy's way under reward. Mariah M Butterfly one 1533 01:25:09,439 --> 01:25:11,719 Speaker 1: of the best albums of all time. Emancipation of MEEMI 1534 01:25:11,760 --> 01:25:14,360 Speaker 1: one of the best albums of all time. Just My 1535 01:25:14,479 --> 01:25:16,760 Speaker 1: Name Is Mariah Thelus Louie Lucianti is one of the 1536 01:25:16,840 --> 01:25:19,000 Speaker 1: best album titles of all time. I mean yeah, talk 1537 01:25:19,080 --> 01:25:23,800 Speaker 1: about like long titles being culture. That's the one right there. 1538 01:25:23,840 --> 01:25:26,880 Speaker 1: That's the one I gotta say. I might be an 1539 01:25:26,880 --> 01:25:29,679 Speaker 1: anomaly as as as a I'm not gonna I don't 1540 01:25:30,720 --> 01:25:32,840 Speaker 1: if I call myself a lamb. I feel like that 1541 01:25:33,360 --> 01:25:35,880 Speaker 1: you can call yourself a lamb. I don't have the 1542 01:25:35,960 --> 01:25:39,559 Speaker 1: encyclopedic knowledge that lamb's do. I love Mariah. I don't 1543 01:25:39,680 --> 01:25:44,240 Speaker 1: know that I have immersed myself. I mean, you love 1544 01:25:44,360 --> 01:25:48,760 Speaker 1: You're a scholar on Maria. I'm a lamb Lamb. I 1545 01:25:49,439 --> 01:25:52,160 Speaker 1: am that little boy that was in my room listening 1546 01:25:52,200 --> 01:25:54,240 Speaker 1: to all Mariah And I've said it on this podcast. 1547 01:25:54,280 --> 01:25:56,080 Speaker 1: But when I was in third grade, we had to 1548 01:25:56,120 --> 01:25:59,679 Speaker 1: do a free writing and um instead of doing free writing, 1549 01:25:59,680 --> 01:26:02,599 Speaker 1: I would just write down all the lyrics to Mariah songs. 1550 01:26:03,160 --> 01:26:05,880 Speaker 1: And my teacher thought they were my work. So she 1551 01:26:06,040 --> 01:26:07,760 Speaker 1: called a meeting with me and she was like, your 1552 01:26:07,840 --> 01:26:10,120 Speaker 1: poetry is so amazing. And then I looked at it 1553 01:26:10,160 --> 01:26:12,400 Speaker 1: and it was like literally lyrics from the song Breakdown 1554 01:26:12,680 --> 01:26:15,160 Speaker 1: by Mariah Carey and the Roof by Mariah carry all, 1555 01:26:15,200 --> 01:26:18,920 Speaker 1: like very adult themed things like in her vocabulary is 1556 01:26:18,920 --> 01:26:22,400 Speaker 1: famously a little bit advanced for pop music. Um So 1557 01:26:22,600 --> 01:26:25,400 Speaker 1: to think that my third grade teacher thought that me, 1558 01:26:25,520 --> 01:26:28,720 Speaker 1: an eight year old was capable of that. Mr. And 1559 01:26:28,800 --> 01:26:30,720 Speaker 1: Mrs Rodgers. I just wanted to have a meeting with you. 1560 01:26:30,960 --> 01:26:37,960 Speaker 1: Man is using the word nonchalantly, indefinitely. I'm telling you 1561 01:26:38,080 --> 01:26:40,479 Speaker 1: the a fact that Mariah had on me, I think 1562 01:26:40,520 --> 01:26:42,880 Speaker 1: says a lot, says a lot. I just really quickly 1563 01:26:42,920 --> 01:26:48,479 Speaker 1: wanted to say emotions. I think the you don't hear 1564 01:26:48,520 --> 01:26:52,160 Speaker 1: it covered, you don't hear it covered, But how could you. 1565 01:26:52,439 --> 01:26:54,320 Speaker 1: I wasn't even talking. I wasn't even talking about the single. 1566 01:26:54,320 --> 01:26:56,160 Speaker 1: I was talking about the album as a whole. I mean, 1567 01:26:57,040 --> 01:27:02,360 Speaker 1: um her MTV unplugged, her iconic cover of I'll Be There, 1568 01:27:03,120 --> 01:27:05,960 Speaker 1: I mean another one you don't hear covered, and you 1569 01:27:06,240 --> 01:27:08,320 Speaker 1: rarely hear mariah songs covered. You don't see a lot 1570 01:27:08,360 --> 01:27:11,599 Speaker 1: of girls out here singing my own, Like why would 1571 01:27:11,640 --> 01:27:13,920 Speaker 1: they ever attempt to sing my own? Not for nothing, 1572 01:27:14,040 --> 01:27:18,080 Speaker 1: but like, oh, I'm sorry, I actually accidentally played the song. 1573 01:27:18,680 --> 01:27:21,000 Speaker 1: I had to. I had to go and look at 1574 01:27:21,040 --> 01:27:22,840 Speaker 1: the title of the song. I didn't want to get 1575 01:27:22,840 --> 01:27:28,599 Speaker 1: it wrong. To be around you from emotions. And there 1576 01:27:28,680 --> 01:27:30,760 Speaker 1: are so many songs that we don't even talk about, 1577 01:27:30,920 --> 01:27:33,280 Speaker 1: such as All I Ever Wanted From, which is one 1578 01:27:33,320 --> 01:27:35,920 Speaker 1: of her songs from her first album or no, maybe 1579 01:27:35,920 --> 01:27:38,799 Speaker 1: that's from music Box. But also for every like tacky 1580 01:27:38,920 --> 01:27:42,280 Speaker 1: quote unquote songs she has, like hero I understand in 1581 01:27:42,400 --> 01:27:47,439 Speaker 1: respect that like those songs have a place heroes on 1582 01:27:47,520 --> 01:27:49,759 Speaker 1: the nose. And that's another song you don't hear covered 1583 01:27:50,640 --> 01:27:53,439 Speaker 1: because it might be a little on the nose. But 1584 01:27:54,240 --> 01:27:58,760 Speaker 1: touches people, touches people. You're right. I can't say enough 1585 01:27:59,160 --> 01:28:02,040 Speaker 1: even her failure, her biggest failure, Glitter is a culture moment, 1586 01:28:02,760 --> 01:28:06,680 Speaker 1: a culture moment that is tied to one of the 1587 01:28:06,880 --> 01:28:12,840 Speaker 1: worst tragedies in American history and stars padlock me. And 1588 01:28:13,000 --> 01:28:15,360 Speaker 1: that's what else can we say about silk? Thank you? 1589 01:28:15,560 --> 01:28:17,599 Speaker 1: Let's move on forward. This is we're in the top ten. 1590 01:28:17,680 --> 01:28:21,240 Speaker 1: We're in the top ten. Number nine. Mario cotars oscar 1591 01:28:21,360 --> 01:28:24,960 Speaker 1: speech the only one you can really sort of remember 1592 01:28:25,000 --> 01:28:27,280 Speaker 1: on a word for word level. Can you do it? 1593 01:28:27,960 --> 01:28:31,479 Speaker 1: Thank you life, Thank you love. And it is true 1594 01:28:31,560 --> 01:28:36,040 Speaker 1: there's some men as in this city. Make yourself so 1595 01:28:36,520 --> 01:28:45,320 Speaker 1: much what she'd be to me? Are you my life? Yeah? Yeah, 1596 01:28:46,080 --> 01:28:51,160 Speaker 1: I really am speechless now. And her English has only 1597 01:28:51,200 --> 01:28:54,800 Speaker 1: improved improve. I mean, it was the most charming moment ever. 1598 01:28:54,840 --> 01:28:56,559 Speaker 1: And also she looked stunning, and she was so surprised 1599 01:28:56,600 --> 01:28:59,040 Speaker 1: to win for Lavian Rose, one of the great best 1600 01:28:59,080 --> 01:29:01,599 Speaker 1: actress wins. I was so shocked the Academy went there, 1601 01:29:01,640 --> 01:29:03,680 Speaker 1: But they did, and they created a star and they 1602 01:29:03,760 --> 01:29:07,920 Speaker 1: also created a public truth. Thank you. Now to move 1603 01:29:08,000 --> 01:29:10,920 Speaker 1: on to what I think is I think the best 1604 01:29:11,040 --> 01:29:14,600 Speaker 1: acting performance on the list? Oh my god, yeah, this 1605 01:29:14,680 --> 01:29:18,200 Speaker 1: is number eight. This is a Poison Ivy. You have 1606 01:29:18,320 --> 01:29:21,400 Speaker 1: recently seen Batman and Robin I, it's been I hasn't 1607 01:29:21,400 --> 01:29:23,360 Speaker 1: been since the theater that I've seen Batman and Robin I. 1608 01:29:24,000 --> 01:29:27,760 Speaker 1: I have such an interesting, protected relationship with that film 1609 01:29:27,800 --> 01:29:30,240 Speaker 1: because I love it so much. What's happening in this 1610 01:29:30,400 --> 01:29:34,880 Speaker 1: film and in her performance is she has created a 1611 01:29:35,000 --> 01:29:39,920 Speaker 1: character which is May West meets Eartha kit meets Jessica 1612 01:29:40,000 --> 01:29:46,639 Speaker 1: Rabbit and has created something that fits so well into 1613 01:29:46,720 --> 01:29:49,719 Speaker 1: the assignment she was given in the tone of the movie, 1614 01:29:49,760 --> 01:29:56,439 Speaker 1: which is over the top, cartoon them fatale craziness. Most 1615 01:29:56,560 --> 01:29:58,360 Speaker 1: of her lines for the first half of the movie 1616 01:29:58,400 --> 01:30:02,800 Speaker 1: are by herself. She sells it completely. She does an 1617 01:30:03,120 --> 01:30:07,920 Speaker 1: iconic villain origin scene the shelves. The shelves get she 1618 01:30:08,120 --> 01:30:10,880 Speaker 1: she becomes Poison Ivy because a bunch of liquids get 1619 01:30:10,960 --> 01:30:14,559 Speaker 1: sort of chattered over her. Basically, she is sunken into 1620 01:30:14,600 --> 01:30:17,800 Speaker 1: the ground and liquids and venomous snakes and all sorts 1621 01:30:17,840 --> 01:30:20,559 Speaker 1: of poisons and toxins get sort of seeped into her 1622 01:30:20,600 --> 01:30:24,760 Speaker 1: body and bring her to life, We're to assume, but 1623 01:30:24,920 --> 01:30:28,600 Speaker 1: she goes from like crazy botanists to like eco terrorists. 1624 01:30:29,560 --> 01:30:31,880 Speaker 1: Unclear why if she wants to save all the plants 1625 01:30:31,920 --> 01:30:36,400 Speaker 1: in the world, she burns down uh lab in the 1626 01:30:36,520 --> 01:30:40,400 Speaker 1: middle of the forest um or the jungle or whatever 1627 01:30:40,520 --> 01:30:43,120 Speaker 1: she is, But it doesn't really matter because she's so 1628 01:30:43,280 --> 01:30:46,960 Speaker 1: go for broke. All of her lines are amazing, including 1629 01:30:47,000 --> 01:30:50,479 Speaker 1: the number one. As I told Lady Freeze when I 1630 01:30:50,680 --> 01:30:55,439 Speaker 1: pulled her plug, this is a one woman show. And like, 1631 01:30:56,200 --> 01:30:58,000 Speaker 1: correct me wrong. I feel like the framing on this 1632 01:30:58,240 --> 01:31:01,240 Speaker 1: is like skewed diag no. I don't know, maybe not, 1633 01:31:01,360 --> 01:31:04,720 Speaker 1: but it's just like such crazy, crazy choices on every 1634 01:31:04,800 --> 01:31:07,320 Speaker 1: level being made in that movie. But uma Thurman doing 1635 01:31:07,360 --> 01:31:09,840 Speaker 1: a lot of the work. I mean, because Arnold's not 1636 01:31:09,880 --> 01:31:12,320 Speaker 1: going to give you that love. That love Arnold's does well, 1637 01:31:12,880 --> 01:31:15,840 Speaker 1: and Arnold is not bad. He's not giving you like 1638 01:31:16,800 --> 01:31:19,040 Speaker 1: he's not kids. That actation he's not giving you earth 1639 01:31:19,080 --> 01:31:21,720 Speaker 1: a kid, he's not giving yours. He's not giving he's 1640 01:31:21,720 --> 01:31:23,680 Speaker 1: not giving you camp. I don't think beyond just like 1641 01:31:23,800 --> 01:31:27,160 Speaker 1: the costume of Mr free What's funny about Arnold's performance 1642 01:31:27,200 --> 01:31:31,640 Speaker 1: as Mr Freeze is it's Arnold doing these puns like 1643 01:31:32,000 --> 01:31:35,200 Speaker 1: he's just giving you. Arnold doing puns, and it's it's 1644 01:31:35,240 --> 01:31:37,760 Speaker 1: not an acting performance, although he does cry one tier 1645 01:31:37,800 --> 01:31:41,200 Speaker 1: word to believe um and he's good in it because 1646 01:31:41,200 --> 01:31:44,040 Speaker 1: it's like the assignment he was given was you do 1647 01:31:44,280 --> 01:31:47,599 Speaker 1: you as Mr Freed He did that. Buma has created 1648 01:31:47,640 --> 01:31:53,000 Speaker 1: a character and is selling it all the way and 1649 01:31:53,160 --> 01:31:56,680 Speaker 1: the script is insane, but she is fully committed to 1650 01:31:56,800 --> 01:32:00,920 Speaker 1: it her best performance and the stuming is amazing. She 1651 01:32:01,000 --> 01:32:05,200 Speaker 1: always looks stunning. Better than kill Bill, better than pulp fiction. Yeah, absolutely, 1652 01:32:05,720 --> 01:32:10,640 Speaker 1: forget the geriatric bad Come join me. This is you. 1653 01:32:11,320 --> 01:32:15,560 Speaker 1: It's infected, it's infected, it's infects infected and affected me 1654 01:32:16,040 --> 01:32:18,759 Speaker 1: in profound ways. You know who loves this, Patrick Rogers, 1655 01:32:18,800 --> 01:32:21,760 Speaker 1: Patrick Rogers, We love Patrick Rogers. I have never maybe 1656 01:32:21,800 --> 01:32:23,400 Speaker 1: I'm just like not in on the Conversation or in 1657 01:32:23,439 --> 01:32:26,280 Speaker 1: Batman and Robin, But Eartha Kid meets Jessica rabbit meets 1658 01:32:26,280 --> 01:32:29,400 Speaker 1: who else. I think May West, May West, I mean, 1659 01:32:29,760 --> 01:32:32,599 Speaker 1: I think May West is the clearest reference. But even 1660 01:32:32,680 --> 01:32:36,400 Speaker 1: just this like that, that's earth like, that's like doing 1661 01:32:36,439 --> 01:32:40,280 Speaker 1: it all. It's so clear where she got. I love that. 1662 01:32:40,439 --> 01:32:42,439 Speaker 1: I am obsessed. It's it's so good. We we should 1663 01:32:42,479 --> 01:32:44,360 Speaker 1: watch it tonight. Obviously we should, so, I bet so 1664 01:32:44,439 --> 01:32:47,639 Speaker 1: you want to watch it? Um with seven number seven 1665 01:32:48,560 --> 01:32:53,320 Speaker 1: Nancy Karragan and Tanya Harding saga and you know, God 1666 01:32:53,360 --> 01:32:57,120 Speaker 1: bless Ititania for humanizing Tanya. God bless I like it. 1667 01:32:57,600 --> 01:33:01,160 Speaker 1: I love Ititania um so oh much here, I mean, 1668 01:33:02,560 --> 01:33:05,800 Speaker 1: a tragedy on so many levels, so many levels. What 1669 01:33:06,040 --> 01:33:07,880 Speaker 1: do you want to say about this? What I like 1670 01:33:08,000 --> 01:33:11,240 Speaker 1: to say is this is really, I think one of 1671 01:33:11,280 --> 01:33:14,559 Speaker 1: the biggest media stories of the nineties. It was iconic 1672 01:33:14,640 --> 01:33:19,720 Speaker 1: Olympic drama. It was iconic class drama. This is what 1673 01:33:19,840 --> 01:33:21,400 Speaker 1: I this, This is what I wanted you to write, 1674 01:33:21,439 --> 01:33:23,640 Speaker 1: bat thank you. I mean, it's clearly there's a more 1675 01:33:23,760 --> 01:33:29,160 Speaker 1: complicated story here about what is asked of people when 1676 01:33:29,200 --> 01:33:32,640 Speaker 1: they get to that level of fame and attention, and 1677 01:33:32,800 --> 01:33:36,120 Speaker 1: what people forget is there's also so many factors that 1678 01:33:36,760 --> 01:33:40,960 Speaker 1: are involved in them being there and them sort of 1679 01:33:42,080 --> 01:33:44,880 Speaker 1: in terms of what they need to deal with, in 1680 01:33:45,040 --> 01:33:47,840 Speaker 1: terms of the advantages that one person is given over 1681 01:33:47,920 --> 01:33:51,200 Speaker 1: the other that are not looked at because the pulpy, 1682 01:33:51,280 --> 01:33:53,919 Speaker 1: straightforward a story is that there was a woman attacked 1683 01:33:54,240 --> 01:33:56,200 Speaker 1: and it's tragic. It's tragic that there was a woman 1684 01:33:56,240 --> 01:33:59,320 Speaker 1: attacked and Nancy Karagin did not deserve what she got. 1685 01:33:59,520 --> 01:34:02,040 Speaker 1: But I think the reason I like Itania is because 1686 01:34:02,040 --> 01:34:07,040 Speaker 1: it does shed light on the economic disparity and what 1687 01:34:07,240 --> 01:34:11,439 Speaker 1: abused us to a person, and um, you know it's 1688 01:34:11,560 --> 01:34:15,920 Speaker 1: it's so much more complicated then this woman doesn't like 1689 01:34:16,040 --> 01:34:19,040 Speaker 1: this woman. Yeah, it's so interesting that on face value, 1690 01:34:19,560 --> 01:34:22,000 Speaker 1: the news story was as big as it was without 1691 01:34:22,120 --> 01:34:25,559 Speaker 1: all this underlying stuff. Because the underlying stuff I think 1692 01:34:25,560 --> 01:34:27,519 Speaker 1: it would make the story. It's just as fascinating as 1693 01:34:27,600 --> 01:34:35,320 Speaker 1: the surface thing. Um yeah, I mean Tanya Harding seems 1694 01:34:35,360 --> 01:34:38,519 Speaker 1: to be doing well for herself now, I hope is. 1695 01:34:38,600 --> 01:34:40,800 Speaker 1: I feel like I did a cursory check up on 1696 01:34:40,880 --> 01:34:44,160 Speaker 1: her on Google the year that Ionia came out. It's like, Okay, 1697 01:34:44,200 --> 01:34:45,640 Speaker 1: good for her. I don't I don't, I don't know. 1698 01:34:45,720 --> 01:34:49,120 Speaker 1: I think that she like has a normal life now. Um, 1699 01:34:50,320 --> 01:34:52,760 Speaker 1: and I think that she felt very sort of validated, 1700 01:34:52,880 --> 01:34:55,080 Speaker 1: whatever that means. I mean, we don't know the truth 1701 01:34:55,120 --> 01:34:57,720 Speaker 1: of the situation flat out, and she felt, I guess 1702 01:34:57,920 --> 01:35:01,160 Speaker 1: like her story was being told in some regard. Um, 1703 01:35:01,840 --> 01:35:04,879 Speaker 1: but it is and again like it's an iffy, tricky, 1704 01:35:05,000 --> 01:35:09,240 Speaker 1: gray area situation because maybe there's no part of her 1705 01:35:09,320 --> 01:35:12,000 Speaker 1: that should be absolved represented as like a folk hero, 1706 01:35:12,520 --> 01:35:17,639 Speaker 1: because she very well could have been completely in on it. Sure, totally. 1707 01:35:17,840 --> 01:35:22,800 Speaker 1: But there's a really sort of dynamic, very like weird 1708 01:35:22,840 --> 01:35:28,000 Speaker 1: American story happening here. Yes, which is and also it's 1709 01:35:28,080 --> 01:35:30,600 Speaker 1: so crazy and hilarious that it takes place in the 1710 01:35:30,680 --> 01:35:34,519 Speaker 1: world of figure skating, because it's what it means when um, 1711 01:35:34,800 --> 01:35:38,000 Speaker 1: someone doesn't belong and where it takes them and where 1712 01:35:38,320 --> 01:35:43,280 Speaker 1: where the place it brings them to emotionally really fascinating 1713 01:35:43,320 --> 01:35:46,280 Speaker 1: in Shakespearean thank you for that, beautiful, I mean, you 1714 01:35:46,560 --> 01:35:48,519 Speaker 1: just did all the heavy lifting there. In terms of 1715 01:35:48,560 --> 01:35:51,639 Speaker 1: talking about this, listen, I mean, if you have anything 1716 01:35:51,720 --> 01:35:56,479 Speaker 1: to say about Nancy Antonia, you have the floor now, wonderful. Um, 1717 01:35:56,560 --> 01:35:58,160 Speaker 1: I I don't. I don't have anything to say, That's 1718 01:35:58,160 --> 01:36:01,120 Speaker 1: what I'm saying. I mean, I'm not nothing that would 1719 01:36:01,200 --> 01:36:05,720 Speaker 1: feel additive or um constructive. We've covered a culturally onto 1720 01:36:05,720 --> 01:36:07,920 Speaker 1: the list and to the seven spot. But what's number six? 1721 01:36:08,080 --> 01:36:11,080 Speaker 1: Number six is Amar Rosa's most powerful man in the 1722 01:36:11,200 --> 01:36:14,960 Speaker 1: universe monologue. This is right before Trump was inaugurated. This 1723 01:36:15,240 --> 01:36:18,600 Speaker 1: was omar Rosa in an unhinged interview. I mean we 1724 01:36:19,160 --> 01:36:21,800 Speaker 1: I don't think anyone's really seen the full the full interview, 1725 01:36:21,840 --> 01:36:23,840 Speaker 1: but in the snippet you have Omar Rosa many gult 1726 01:36:23,880 --> 01:36:29,200 Speaker 1: Stalworth Newman saying just sort of in a super villainous way, 1727 01:36:29,520 --> 01:36:33,559 Speaker 1: or in a super villain lackey way, sort of, I mean, 1728 01:36:33,880 --> 01:36:40,080 Speaker 1: mythologizing Donald Trump in a way that was really equal 1729 01:36:40,160 --> 01:36:44,959 Speaker 1: parts terrifying, inspiring and funny and ironic and stupid and pathetic. 1730 01:36:45,680 --> 01:36:47,760 Speaker 1: That I think it's just it's an iconic moment for 1731 01:36:47,880 --> 01:36:50,360 Speaker 1: for that intersection of things alone. He's a super villain. 1732 01:36:50,439 --> 01:36:53,680 Speaker 1: He's super villain. How much of this can we recite? Well, 1733 01:36:53,760 --> 01:36:56,560 Speaker 1: first of all, let's just let's just cut. We'll just 1734 01:36:56,640 --> 01:36:58,479 Speaker 1: play you the audio. We're gonna play you the audio. 1735 01:36:58,920 --> 01:37:04,200 Speaker 1: Every critic, every detractor, We'll have to bow down to 1736 01:37:04,400 --> 01:37:10,040 Speaker 1: President Trump. It's everyone who's ever doubted Donald whoever disagreed, 1737 01:37:10,439 --> 01:37:15,120 Speaker 1: whoever challenged him, it is the ultimate revenge to become 1738 01:37:16,000 --> 01:37:19,639 Speaker 1: the most powerful man in the universe. So that's that's 1739 01:37:19,640 --> 01:37:22,120 Speaker 1: what I'm talking about, and actually is it's the only 1740 01:37:22,800 --> 01:37:25,680 Speaker 1: instance where we've started, one of two instances where we've 1741 01:37:25,720 --> 01:37:28,600 Speaker 1: started the podcast with anything other than ding dong. This 1742 01:37:28,800 --> 01:37:31,080 Speaker 1: was the Io Debrie episode. Please listen. I think it's 1743 01:37:31,120 --> 01:37:33,720 Speaker 1: one of my favorite episodes because we start off the 1744 01:37:33,800 --> 01:37:37,880 Speaker 1: first twenty minutes only talking about Amarossa because she was 1745 01:37:38,040 --> 01:37:40,120 Speaker 1: in very much in the news and the culture that week. 1746 01:37:40,160 --> 01:37:41,880 Speaker 1: Oh you couldn't tell me it wasn't the biggest news 1747 01:37:41,920 --> 01:37:45,880 Speaker 1: story of the millennium, of the millennium, and yet it's 1748 01:37:45,920 --> 01:37:51,799 Speaker 1: only number six, but all the cultural history transcends millennia. 1749 01:37:52,200 --> 01:37:54,800 Speaker 1: I'm talking about since the beginning of culture. Yeah, I'm 1750 01:37:55,160 --> 01:37:57,920 Speaker 1: so try. How much do you know of it? Anyone 1751 01:37:57,920 --> 01:38:02,200 Speaker 1: who doubt anyone who ever doubted Donald, anyone ever did 1752 01:38:02,280 --> 01:38:06,680 Speaker 1: disagree we bow to what is the most powerful man 1753 01:38:06,760 --> 01:38:08,400 Speaker 1: in the universe. I mean, you all just heard it 1754 01:38:08,760 --> 01:38:10,920 Speaker 1: what we're just reciting, so now you can know just 1755 01:38:11,120 --> 01:38:14,360 Speaker 1: how incorrect and not off book Bonan is. And I 1756 01:38:14,520 --> 01:38:16,160 Speaker 1: am not even going to try it because I know 1757 01:38:16,280 --> 01:38:18,880 Speaker 1: I don't know it. But Omar Rossa. Okay, let's talk 1758 01:38:18,880 --> 01:38:22,400 Speaker 1: about Amar Rosa. What do you say? I mean, this 1759 01:38:22,600 --> 01:38:26,040 Speaker 1: is a person who has taken the spotlight in a 1760 01:38:26,160 --> 01:38:29,240 Speaker 1: way that I think no one could have known would 1761 01:38:29,320 --> 01:38:32,840 Speaker 1: and I I actually think she'll remain relevant for years 1762 01:38:32,880 --> 01:38:34,599 Speaker 1: to come. She'll find a way. She'll find a way. 1763 01:38:34,800 --> 01:38:38,080 Speaker 1: She's more interesting to me than not to draw this 1764 01:38:38,200 --> 01:38:40,639 Speaker 1: comparison in a very superficial way, but she's more interesting 1765 01:38:40,680 --> 01:38:43,519 Speaker 1: to me than a Candice Owens. Oh, not even a 1766 01:38:43,720 --> 01:38:47,560 Speaker 1: competition Omar Rossa. The fact that she had very publicly, 1767 01:38:49,240 --> 01:38:53,559 Speaker 1: she had a very public origin story. She is a superman. 1768 01:38:53,680 --> 01:38:55,960 Speaker 1: She's a supermoman. We all saw it in The Apprentice. 1769 01:38:56,040 --> 01:38:57,760 Speaker 1: The plaster fell in her head. She's playing basketball with 1770 01:38:57,800 --> 01:39:02,120 Speaker 1: all these kids. Um like the full the full package. 1771 01:39:02,160 --> 01:39:04,800 Speaker 1: In the beginning where she was talking about working at 1772 01:39:04,840 --> 01:39:08,479 Speaker 1: the Bill Clinton White House, how ironic. But um then 1773 01:39:08,520 --> 01:39:11,519 Speaker 1: the celebrity of celebrity parents, her calling Piers Morgan closeted 1774 01:39:12,240 --> 01:39:15,080 Speaker 1: her iconic feuds. I mean, never forget the one with 1775 01:39:15,160 --> 01:39:17,280 Speaker 1: Bethany and Wendy Williams. I was going to bring out 1776 01:39:17,280 --> 01:39:20,719 Speaker 1: the Bethany one because that's actually really interesting. You can't, 1777 01:39:20,760 --> 01:39:22,439 Speaker 1: I mean, you can poke holes in this obviously, but 1778 01:39:22,520 --> 01:39:25,960 Speaker 1: it's when she was on Bethany and she was like, see, you, 1779 01:39:26,080 --> 01:39:27,840 Speaker 1: as a white woman, get to be mediocre and move 1780 01:39:27,920 --> 01:39:30,040 Speaker 1: up in the world. We're not saying that Bethany's mediocre 1781 01:39:30,080 --> 01:39:31,920 Speaker 1: at all, but we're saying, I mean, she uses Bethany 1782 01:39:31,960 --> 01:39:36,120 Speaker 1: as an example of mediocrity, white medio mediocrity and inequities 1783 01:39:36,320 --> 01:39:39,000 Speaker 1: and skill and whatever or not not scale but like 1784 01:39:39,120 --> 01:39:42,439 Speaker 1: you know, career advancement and mobility. But it's like, but 1785 01:39:42,520 --> 01:39:44,360 Speaker 1: Ommors is like, you get to be mediocre and have 1786 01:39:44,479 --> 01:39:49,240 Speaker 1: this talk show and you can't you can't fully disagree 1787 01:39:49,280 --> 01:39:52,080 Speaker 1: with that. I mean, she's speaking truth in that situation. 1788 01:39:52,320 --> 01:39:56,600 Speaker 1: But and a rare Bethany could not answer back. Unfortunately. 1789 01:39:57,000 --> 01:40:00,960 Speaker 1: Bethany a very smart woman who could really like win 1790 01:40:01,040 --> 01:40:04,120 Speaker 1: any argument with with Carol Radswell. Let's say, I mean 1791 01:40:04,640 --> 01:40:06,200 Speaker 1: she met her match with omor Rose. I think that 1792 01:40:06,320 --> 01:40:08,680 Speaker 1: she learned a lot from that. Omar Rosa interactually think so. 1793 01:40:08,840 --> 01:40:11,040 Speaker 1: I think she learned a lot and brought it back 1794 01:40:11,240 --> 01:40:14,479 Speaker 1: to Real Housewives when she when she went back, yes, 1795 01:40:14,720 --> 01:40:16,439 Speaker 1: and you know she didn't want to go back. She 1796 01:40:16,479 --> 01:40:19,280 Speaker 1: didn't want to go back. Um, all right, so Almarrosa congratulations, 1797 01:40:19,320 --> 01:40:21,519 Speaker 1: you are number six. We are at the top five 1798 01:40:21,720 --> 01:40:26,920 Speaker 1: moments of culture history. These are huge moments for us 1799 01:40:27,120 --> 01:40:29,920 Speaker 1: and for the world for culture huge And number five 1800 01:40:30,240 --> 01:40:33,080 Speaker 1: is I was rooting for you. We were all rooting 1801 01:40:33,160 --> 01:40:41,080 Speaker 1: for you. How dare you, Tyra? You have really connected 1802 01:40:41,160 --> 01:40:46,280 Speaker 1: with this moment. I I am a vessel for Tira 1803 01:40:46,640 --> 01:40:50,519 Speaker 1: when and the times that I've performed this live. This 1804 01:40:50,600 --> 01:40:52,960 Speaker 1: would sort of be my little third appearance on this list, 1805 01:40:53,080 --> 01:40:55,760 Speaker 1: her third appearance on this list? Is it her third? 1806 01:40:55,840 --> 01:41:00,559 Speaker 1: I feel like there's more. She was on for Rabies. Yes, um, 1807 01:41:01,120 --> 01:41:06,040 Speaker 1: Tira in this moment, this is this stands is one 1808 01:41:06,080 --> 01:41:09,400 Speaker 1: of the best moments in culture. Obviously it's number five 1809 01:41:09,560 --> 01:41:14,040 Speaker 1: and of course, on a very concentric scale, best moments 1810 01:41:14,080 --> 01:41:15,840 Speaker 1: in reality TV history, one of the best moments in 1811 01:41:15,840 --> 01:41:18,840 Speaker 1: reality t V history. You really can't tell if she's 1812 01:41:18,880 --> 01:41:22,200 Speaker 1: being abusive or if she's being actually nurturing, and you 1813 01:41:22,320 --> 01:41:24,920 Speaker 1: can't tell if she's actually looking out for Tiffany or 1814 01:41:25,080 --> 01:41:27,760 Speaker 1: she wants to destroy this girl as she's done for 1815 01:41:27,840 --> 01:41:31,600 Speaker 1: many girls. I think it's literally all yeah, yeah, I 1816 01:41:31,720 --> 01:41:33,880 Speaker 1: think she wants She knows in the moment, in the 1817 01:41:34,000 --> 01:41:36,840 Speaker 1: deep back of her mind that she's being iconic, but 1818 01:41:37,040 --> 01:41:39,000 Speaker 1: also it comes from a real place. I bet she 1819 01:41:39,120 --> 01:41:42,200 Speaker 1: really was rooting for this girl. But it becomes the 1820 01:41:42,400 --> 01:41:46,439 Speaker 1: next level of reality TV star and startup and Tyra 1821 01:41:46,600 --> 01:41:56,719 Speaker 1: being iconic and also evil but powerful, powerful and convinced 1822 01:41:56,760 --> 01:42:01,200 Speaker 1: that she's correct. I have Tyra in a nutshell. It's 1823 01:42:01,240 --> 01:42:03,439 Speaker 1: Tyre in a nutshell. Oh my god. Yes, I mean 1824 01:42:03,560 --> 01:42:09,920 Speaker 1: Tyra a fascinating figure, someone who contains multitudes. I have 1825 01:42:10,080 --> 01:42:12,320 Speaker 1: never in my life yell yelled at a girl like this. 1826 01:42:13,680 --> 01:42:16,200 Speaker 1: When my mother yelled like to set me, it's because 1827 01:42:16,240 --> 01:42:21,280 Speaker 1: she loves me, like you you're you're in personal history there. Yeah, 1828 01:42:21,479 --> 01:42:23,760 Speaker 1: it's a lot. You're getting late. Yeah, it's a lot 1829 01:42:23,840 --> 01:42:25,559 Speaker 1: in the best way. And it's like you can tell 1830 01:42:25,920 --> 01:42:27,720 Speaker 1: the girl was like, oh my god. Had I known 1831 01:42:27,760 --> 01:42:29,040 Speaker 1: it was going to go here, I probably would have 1832 01:42:29,040 --> 01:42:32,320 Speaker 1: just smiled and said thank you. But also it's like, 1833 01:42:32,560 --> 01:42:36,080 Speaker 1: we don't really hear from the girl. No Tiffany Port Tiffany, um, 1834 01:42:36,479 --> 01:42:39,720 Speaker 1: where is she now? I think they interviewed her in 1835 01:42:39,800 --> 01:42:42,160 Speaker 1: recent years. I remember when we were writing top model 1836 01:42:42,200 --> 01:42:44,439 Speaker 1: recamps for Vulture, I like was just curious and I 1837 01:42:44,520 --> 01:42:46,599 Speaker 1: looked up with Tiffany how Tiffany was doing and Tiffany's 1838 01:42:47,320 --> 01:42:50,599 Speaker 1: understandably scarred by that moment. I would I would categorize 1839 01:42:50,600 --> 01:42:53,600 Speaker 1: that as a trauma. Oh yeah, I actually when it 1840 01:42:53,800 --> 01:42:55,920 Speaker 1: appears on television and the most popular reality show of 1841 01:42:55,960 --> 01:42:58,040 Speaker 1: the time, and that we're still we're still talking about 1842 01:42:58,040 --> 01:42:59,880 Speaker 1: this in some way today and to land it on 1843 01:43:00,040 --> 01:43:01,920 Speaker 1: or five on our rules of culture, that's got a sting. 1844 01:43:02,280 --> 01:43:04,960 Speaker 1: That's got a sting. Um. But Tiffany, we love you, Tyree, 1845 01:43:05,000 --> 01:43:08,360 Speaker 1: we love you. Um. Let's move on to number number four. 1846 01:43:08,560 --> 01:43:12,120 Speaker 1: I mean, here we go. Regina Hall as Brenda and 1847 01:43:12,200 --> 01:43:21,240 Speaker 1: the Scary Movie Films, comedy mastermind, mastermind, Cindy TV's leaking 1848 01:43:23,000 --> 01:43:29,240 Speaker 1: ugly bitch. Now, what the funk did that you? Pete? 1849 01:43:29,800 --> 01:43:34,639 Speaker 1: I know literally saw that ship, didn't I a comedy? 1850 01:43:34,960 --> 01:43:39,840 Speaker 1: What they all fake? Can comedy legend? Regina Hall I have. 1851 01:43:39,960 --> 01:43:42,120 Speaker 1: I'm on record of saying, if the world were fair, 1852 01:43:42,479 --> 01:43:44,880 Speaker 1: Regina Hall would be as big as Andrew Bullock. She 1853 01:43:45,000 --> 01:43:48,200 Speaker 1: can't do it all. She has the gravitas, she has 1854 01:43:48,320 --> 01:43:53,200 Speaker 1: the acting ability. She is I mean like deeply, deeply, 1855 01:43:53,520 --> 01:43:58,479 Speaker 1: deeply funny. It's like effortless efforts and that's like that 1856 01:43:58,720 --> 01:44:01,080 Speaker 1: voice she's doing. It's like a choice, like she's so 1857 01:44:01,320 --> 01:44:04,360 Speaker 1: in service against like just like and Batman Robin like 1858 01:44:04,840 --> 01:44:08,240 Speaker 1: so in the pocket of the tone of the movie Assignment. 1859 01:44:08,360 --> 01:44:10,439 Speaker 1: Oh my god. Every time she's on screen, it's like, 1860 01:44:10,840 --> 01:44:13,040 Speaker 1: we love being with an Affairs on Affais is amazing 1861 01:44:13,120 --> 01:44:14,880 Speaker 1: And she didn't make the list, but she is culture 1862 01:44:15,320 --> 01:44:18,280 Speaker 1: but for us to get even more excited when a 1863 01:44:18,320 --> 01:44:21,800 Speaker 1: new character comes in. Every time Brenda had to be there. Brenda. 1864 01:44:22,280 --> 01:44:23,880 Speaker 1: And then even though she dies in so many of 1865 01:44:23,920 --> 01:44:25,680 Speaker 1: the movies, they always bring her back because they know, 1866 01:44:26,200 --> 01:44:28,559 Speaker 1: oh my god, they know she died in the second one. 1867 01:44:28,600 --> 01:44:29,800 Speaker 1: She died in all of them. I think she died 1868 01:44:29,840 --> 01:44:31,720 Speaker 1: in most of them. I don't know if she died 1869 01:44:31,720 --> 01:44:33,360 Speaker 1: in the first one. She definitely dies in the second, 1870 01:44:33,360 --> 01:44:36,880 Speaker 1: because she definitely she gets Jada Pinkett Smith killed Scream Yes, 1871 01:44:37,040 --> 01:44:38,680 Speaker 1: and she died in the third. She died in the 1872 01:44:38,760 --> 01:44:41,160 Speaker 1: third when she gets killed by the ring girl. And 1873 01:44:41,240 --> 01:44:43,000 Speaker 1: then in the fourth one, I don't know. I can't 1874 01:44:43,000 --> 01:44:45,280 Speaker 1: remember if she dies or not. The fourth one is 1875 01:44:45,320 --> 01:44:47,720 Speaker 1: a blur to me, to be honest, it's not I 1876 01:44:47,840 --> 01:44:50,759 Speaker 1: I consider it a trilogy. I I ended after Scaring 1877 01:44:50,800 --> 01:44:52,560 Speaker 1: Movie three, and Scaring Movie three, of course, is the 1878 01:44:52,560 --> 01:44:54,479 Speaker 1: first that when PG. Thirteen and they still made it work, 1879 01:44:54,479 --> 01:44:56,760 Speaker 1: and I would say I would I would posit that 1880 01:44:56,840 --> 01:44:58,120 Speaker 1: in some ways it is the best of the three. 1881 01:44:58,320 --> 01:44:59,960 Speaker 1: Um I would also I would agree it's the best 1882 01:45:00,000 --> 01:45:02,280 Speaker 1: of the three and also like it didn't feel the 1883 01:45:02,320 --> 01:45:05,920 Speaker 1: need to be super because it wasn't urt. It was 1884 01:45:06,000 --> 01:45:09,519 Speaker 1: just irreverent PG. Thirteen humor that really suited the franchise 1885 01:45:09,560 --> 01:45:13,320 Speaker 1: and the performers. And Regina Hall, we give it up. 1886 01:45:13,479 --> 01:45:15,880 Speaker 1: She's a dream guest for me. I would love to 1887 01:45:15,920 --> 01:45:18,680 Speaker 1: have Regina Hall. We would talk about every single one 1888 01:45:18,720 --> 01:45:21,280 Speaker 1: of her projects in depth, support the girls. It would 1889 01:45:21,320 --> 01:45:25,160 Speaker 1: be like her inside actor studio moment Rest in Peace. 1890 01:45:25,200 --> 01:45:27,880 Speaker 1: James Lipton, we would love to serve as the substitute 1891 01:45:27,960 --> 01:45:30,439 Speaker 1: for anyone, especially Regina Hall, to talk about their working 1892 01:45:30,479 --> 01:45:34,680 Speaker 1: in depth. Way we feel we are the gay w 1893 01:45:34,840 --> 01:45:40,559 Speaker 1: TF James Lipton, WTF, Mark Marin James both white, white, 1894 01:45:41,280 --> 01:45:43,680 Speaker 1: Terry Gross a white man's name, not a white man, 1895 01:45:43,760 --> 01:45:45,320 Speaker 1: a white woman, but could be the name of a 1896 01:45:45,320 --> 01:45:48,280 Speaker 1: white man, could be and that we have to question. Yeah, 1897 01:45:48,840 --> 01:45:52,479 Speaker 1: number three, we're at the top three, Number three Spice 1898 01:45:52,520 --> 01:45:58,120 Speaker 1: World album and movie. I mean, let's talk about the 1899 01:45:58,120 --> 01:46:02,479 Speaker 1: album first. The album is incredible because it's giving you 1900 01:46:02,840 --> 01:46:05,200 Speaker 1: talk about the album, I'm just gonna name the singles, 1901 01:46:05,640 --> 01:46:09,000 Speaker 1: not the singles, but just some tracks. Spice up your 1902 01:46:09,040 --> 01:46:15,080 Speaker 1: life too much, stop Saturday Night divas. God, I mean 1903 01:46:15,800 --> 01:46:18,479 Speaker 1: even this not being the one with Wanna be on 1904 01:46:18,600 --> 01:46:21,640 Speaker 1: it or so Yeah. This I think is like the 1905 01:46:21,840 --> 01:46:26,960 Speaker 1: amped up progress version of Spice Girls. Also Spice Girls, 1906 01:46:27,520 --> 01:46:31,800 Speaker 1: they use the word feminism repeatedly. They were talking about 1907 01:46:31,960 --> 01:46:36,080 Speaker 1: being a feminist. They were talking about, you know, girl power, 1908 01:46:36,400 --> 01:46:42,479 Speaker 1: supporting women, friendship, positivity, all the messages that we're like, 1909 01:46:42,680 --> 01:46:44,920 Speaker 1: for some reason, dragging our feet to get to now 1910 01:46:45,000 --> 01:46:48,479 Speaker 1: in the year they were saying we were. They were 1911 01:46:48,520 --> 01:46:52,320 Speaker 1: the Angela Davis, a pop music saying the word Marxist. 1912 01:46:52,560 --> 01:46:56,200 Speaker 1: You said that moshing Forward Marxist feminism before any of 1913 01:46:56,240 --> 01:46:58,559 Speaker 1: the other girls. And then and the other girls still 1914 01:46:58,560 --> 01:47:00,720 Speaker 1: haven't really said come out and said that. And the 1915 01:47:01,400 --> 01:47:04,519 Speaker 1: iconic original storming out of a band member from the 1916 01:47:04,560 --> 01:47:09,400 Speaker 1: group during its peak, never Camul, never Jerry. I still 1917 01:47:09,720 --> 01:47:13,400 Speaker 1: I'm still a little hurt by Jerry. It's a part 1918 01:47:13,560 --> 01:47:16,080 Speaker 1: of the cultural canon that Jerry leaves, and it was 1919 01:47:16,120 --> 01:47:19,160 Speaker 1: written in the stars that she leaves, but she didn't 1920 01:47:19,240 --> 01:47:27,320 Speaker 1: leave before the movie, which I believe is actually the artistic, 1921 01:47:28,240 --> 01:47:31,320 Speaker 1: sort of real offering of the Spice Girls, because this 1922 01:47:31,520 --> 01:47:34,760 Speaker 1: is an actually funny movie. It's very funny, and it 1923 01:47:35,040 --> 01:47:39,880 Speaker 1: really it really breaks away from traditional movie structure, doesn't 1924 01:47:39,920 --> 01:47:41,840 Speaker 1: make any sense, and that's what it makes it great. 1925 01:47:41,880 --> 01:47:44,760 Speaker 1: It's like what we talked with Will about. Yes, yes, 1926 01:47:45,200 --> 01:47:48,800 Speaker 1: I mean it's there. It's their yellow submarine. It's there night. Yeah, 1927 01:47:48,840 --> 01:47:52,240 Speaker 1: it's literally like it's it's referencing that which is which 1928 01:47:52,240 --> 01:47:55,240 Speaker 1: is a cultural callback which we love. It's referencing the 1929 01:47:55,280 --> 01:47:56,920 Speaker 1: fact that they are as famous as the Beatles at 1930 01:47:56,920 --> 01:48:01,479 Speaker 1: the time. And also it's irrever big comedy that goes 1931 01:48:01,560 --> 01:48:05,719 Speaker 1: for the joke, like all scenes are sketches, big costume character, 1932 01:48:05,920 --> 01:48:10,040 Speaker 1: stupid cameos, dumb like stuff that we don't see anymore. 1933 01:48:10,120 --> 01:48:12,360 Speaker 1: And it's also it's commenting on the fact that they 1934 01:48:12,479 --> 01:48:15,960 Speaker 1: have a movie. Yes, and they don't give a ship 1935 01:48:16,120 --> 01:48:17,400 Speaker 1: or they give a ship, but it's like not in 1936 01:48:17,439 --> 01:48:19,559 Speaker 1: the ways that you would expect, right, And also it's 1937 01:48:20,439 --> 01:48:24,280 Speaker 1: the best supporting actress snub for posh Spice do that 1938 01:48:24,400 --> 01:48:29,280 Speaker 1: what's the line? This dress is dry clean? Yeah, very good. 1939 01:48:29,320 --> 01:48:33,080 Speaker 1: I can I don't know what's up Jerry, I spy 1940 01:48:33,280 --> 01:48:38,880 Speaker 1: with my little eyes something blue hospital. Shut up, Jerry, 1941 01:48:39,520 --> 01:48:44,479 Speaker 1: shut up. Jerry ran so that Regina George saying, shut up, 1942 01:48:44,880 --> 01:48:47,160 Speaker 1: shut up. In mean girls could run, could run? Could run? 1943 01:48:48,000 --> 01:48:50,400 Speaker 1: What are you talking about? You so skinny? It walks? 1944 01:48:50,400 --> 01:48:52,200 Speaker 1: So what could run? You said? It ran so we 1945 01:48:52,240 --> 01:48:54,880 Speaker 1: could fly? So it could fly. That's what I meant. 1946 01:48:55,320 --> 01:48:58,760 Speaker 1: Um Oh, and Hans head of content, Hansa saying what 1947 01:48:58,800 --> 01:49:01,360 Speaker 1: about about Coming? I'm and always we give love to Alan. 1948 01:49:01,400 --> 01:49:02,840 Speaker 1: We could give love to Alan coming, who was in 1949 01:49:02,920 --> 01:49:05,200 Speaker 1: Spice World. And Josy the PISTI cats. Oh yeah, I 1950 01:49:05,280 --> 01:49:08,920 Speaker 1: mean truly doing so much more work than he was required. 1951 01:49:08,960 --> 01:49:11,799 Speaker 1: But we're so happy. We're so happy. I mean, Spice 1952 01:49:11,840 --> 01:49:16,280 Speaker 1: World a moment in time and now we actually are 1953 01:49:16,400 --> 01:49:20,559 Speaker 1: arriving at the top two. At the top two, number two. 1954 01:49:21,600 --> 01:49:24,880 Speaker 1: Oprah's interview with Barbara Walters. We could clarify this is 1955 01:49:24,960 --> 01:49:29,879 Speaker 1: in Barbara Walters was interviewing Oprah. Obra was the subject. 1956 01:49:30,360 --> 01:49:32,400 Speaker 1: This is around the time when the show was ending. Yes, 1957 01:49:32,840 --> 01:49:35,960 Speaker 1: very emotional and it was emotionally thick. And I believe 1958 01:49:36,439 --> 01:49:39,800 Speaker 1: what makes this such an important moment is it's two 1959 01:49:39,880 --> 01:49:46,120 Speaker 1: women who were boundary breakers in media. In media, Barbara 1960 01:49:46,160 --> 01:49:49,080 Speaker 1: Walters the first woman to really break through in a 1961 01:49:49,160 --> 01:49:53,599 Speaker 1: broadcasting capacity and knocked down so many doors for everyone 1962 01:49:53,640 --> 01:49:56,439 Speaker 1: that would follow her, including Oprah, who in turn did 1963 01:49:56,560 --> 01:50:00,840 Speaker 1: that for women of color and black women, and like 1964 01:50:01,439 --> 01:50:05,200 Speaker 1: just two of the biggest women in media sitting down 1965 01:50:05,600 --> 01:50:08,160 Speaker 1: and having a conversation about what this means and how 1966 01:50:08,200 --> 01:50:10,400 Speaker 1: they've gotten to where they've gotten an legacy that they 1967 01:50:10,520 --> 01:50:13,760 Speaker 1: that they leave centered around Oprah obviously, but I think 1968 01:50:13,840 --> 01:50:16,519 Speaker 1: this is most notable for the Gail quote. The Gail quotes. 1969 01:50:17,960 --> 01:50:28,000 Speaker 1: She is the mother I never had. She is the 1970 01:50:28,160 --> 01:50:37,759 Speaker 1: sister everybody would want. She is the friend that everybody deserves. 1971 01:50:41,200 --> 01:50:48,000 Speaker 1: I don't know a better person. I don't know a 1972 01:50:48,120 --> 01:50:52,960 Speaker 1: better person. So now you understand the depth of feeling. 1973 01:50:53,760 --> 01:50:56,880 Speaker 1: Why is it making you cry? I never said that 1974 01:50:56,960 --> 01:51:00,360 Speaker 1: to her before. And what is in del liable to 1975 01:51:00,479 --> 01:51:03,200 Speaker 1: me from that interview is just anto. I don't know 1976 01:51:03,280 --> 01:51:06,160 Speaker 1: what the point was. She's talking about going on vacation 1977 01:51:06,200 --> 01:51:09,559 Speaker 1: with Gail and driving past a car dealership and then 1978 01:51:09,600 --> 01:51:12,240 Speaker 1: they go back to the car dealership to buy a car, 1979 01:51:12,439 --> 01:51:16,720 Speaker 1: and then I remember Oprah going why because I could? 1980 01:51:17,640 --> 01:51:20,679 Speaker 1: And You're like, Okay, this is the life of Oprah. 1981 01:51:20,760 --> 01:51:23,800 Speaker 1: She gets to just see a car on a dealership 1982 01:51:24,360 --> 01:51:26,560 Speaker 1: lot and just be like, I want to buy that. 1983 01:51:26,680 --> 01:51:31,280 Speaker 1: Let's turn around. Oprah is you know, she is the 1984 01:51:31,479 --> 01:51:34,479 Speaker 1: obviously the pannicle. There is I think no one more famous, 1985 01:51:34,600 --> 01:51:37,880 Speaker 1: or more powerful or more important but um and we 1986 01:51:38,000 --> 01:51:40,760 Speaker 1: and we are holding Opra to account, especially after disclosure 1987 01:51:40,800 --> 01:51:42,960 Speaker 1: where she is the subject. I mean, you see the 1988 01:51:43,280 --> 01:51:46,880 Speaker 1: arc between her from her sort of talking about the 1989 01:51:46,920 --> 01:51:49,240 Speaker 1: anatomy of trans people and being very fixated on that 1990 01:51:49,320 --> 01:51:51,800 Speaker 1: when she has a transguest on her show to sort 1991 01:51:51,840 --> 01:51:56,000 Speaker 1: of really kind of enlightening herself on the train. Yeah, 1992 01:51:56,040 --> 01:51:58,880 Speaker 1: well she's always had to do that. She she she 1993 01:51:59,120 --> 01:52:02,719 Speaker 1: in the beginning, I mean in um, the white woman 1994 01:52:02,760 --> 01:52:05,320 Speaker 1: who does amazing work on race, and she does that 1995 01:52:05,400 --> 01:52:08,120 Speaker 1: Exchane Jane Elliott. She had Jane Elliott on her show 1996 01:52:08,200 --> 01:52:11,880 Speaker 1: to over twenty years ago. I mean, like doing like 1997 01:52:12,320 --> 01:52:15,640 Speaker 1: hard work for such a wide base of people. I 1998 01:52:15,760 --> 01:52:19,080 Speaker 1: have to ask a question, which is, if Oprah still 1999 01:52:19,160 --> 01:52:22,639 Speaker 1: on the air and has such access to white women 2000 01:52:23,479 --> 01:52:27,080 Speaker 1: what she did, does Trump get elected? Yes, you've put 2001 01:52:27,160 --> 01:52:32,160 Speaker 1: you've positive this before. It's hard to say. Well, it's 2002 01:52:32,200 --> 01:52:36,080 Speaker 1: hard to say because while she did have such influence 2003 01:52:36,280 --> 01:52:40,360 Speaker 1: over that demographic we saw. We did see her endorse 2004 01:52:40,720 --> 01:52:44,040 Speaker 1: Hillary Clinton, obviously, and we saw every celebrity indoors silly Clinton. 2005 01:52:44,080 --> 01:52:46,559 Speaker 1: So it also calls into question the validity of celebrity 2006 01:52:46,640 --> 01:52:49,679 Speaker 1: endorsements in the year to where sixteen going forward, which 2007 01:52:49,720 --> 01:52:52,880 Speaker 1: may be different forever. But I do think that she 2008 01:52:53,439 --> 01:52:56,800 Speaker 1: is that special person who's able to break through the 2009 01:52:56,840 --> 01:52:59,800 Speaker 1: conversation and say this is my feeling and opinion on this. 2010 01:53:00,240 --> 01:53:03,040 Speaker 1: That's why the Golden Globes that will be Demila working 2011 01:53:03,160 --> 01:53:06,280 Speaker 1: was like a huge thing. And like, you know, I 2012 01:53:06,600 --> 01:53:13,639 Speaker 1: think Oprah is trying to occupy this like sagely place 2013 01:53:13,920 --> 01:53:17,040 Speaker 1: in the world now where it's like she's still doing 2014 01:53:17,080 --> 01:53:19,439 Speaker 1: like super Soul Sunday. She's still like has her media 2015 01:53:19,479 --> 01:53:22,080 Speaker 1: empire out there, but it's like I think she's made 2016 01:53:22,080 --> 01:53:26,040 Speaker 1: a conscious decision to like leave space for other people. 2017 01:53:26,160 --> 01:53:29,439 Speaker 1: But I don't, I don't know. There's a there's a 2018 01:53:29,760 --> 01:53:32,679 Speaker 1: major new act coming in her life and she'll figure 2019 01:53:32,720 --> 01:53:35,280 Speaker 1: it out, you think, But oh yeah, she'll like I know, 2020 01:53:35,439 --> 01:53:37,720 Speaker 1: she isn't like top of mind conversation right now, but 2021 01:53:37,880 --> 01:53:40,920 Speaker 1: there is a major new era of Oprah that we're 2022 01:53:41,040 --> 01:53:46,640 Speaker 1: going to see. Absolutely, I feel UM, a lot of 2023 01:53:47,880 --> 01:53:51,360 Speaker 1: not every not every experience sort of rolled into one person. 2024 01:53:51,479 --> 01:53:54,120 Speaker 1: But like, you know, you have a sexual assault survivor, 2025 01:53:54,200 --> 01:53:57,920 Speaker 1: you have a black woman, you have um a richer 2026 01:53:58,000 --> 01:54:01,519 Speaker 1: story X to riches story. I mean like she I 2027 01:54:01,560 --> 01:54:05,519 Speaker 1: think that. I think that's what in some ways gives 2028 01:54:05,640 --> 01:54:09,560 Speaker 1: her some credential to talk about to like be like 2029 01:54:10,680 --> 01:54:14,040 Speaker 1: the steward for other people's experience. That's why it's like, Okay, 2030 01:54:14,080 --> 01:54:16,800 Speaker 1: it's like Oprah wants me to listen in on a 2031 01:54:16,840 --> 01:54:19,080 Speaker 1: conversation she has with vern Cox Gray. I'm gonna listen 2032 01:54:19,080 --> 01:54:22,479 Speaker 1: to him. Like that's what's powerful about Oprah, And you 2033 01:54:22,479 --> 01:54:24,120 Speaker 1: don't really get that with a lot of other people 2034 01:54:24,160 --> 01:54:26,360 Speaker 1: and people in media, Like, no, she's one of a kind, 2035 01:54:26,640 --> 01:54:29,600 Speaker 1: one of a kind. This interview is huge. UM, I 2036 01:54:29,680 --> 01:54:32,920 Speaker 1: don't know a better person. What a line? I don't 2037 01:54:32,960 --> 01:54:36,600 Speaker 1: know a better person? She really, I don't know a 2038 01:54:36,680 --> 01:54:44,160 Speaker 1: better PERSONA yea, yeah, an amazing interview. UM, wonderful supplementary. 2039 01:54:44,880 --> 01:54:47,440 Speaker 1: Uh sort of viewing for this is they took it 2040 01:54:47,480 --> 01:54:49,480 Speaker 1: off YouTube, but they used to have a lot of 2041 01:54:49,800 --> 01:54:54,520 Speaker 1: the final Oprah episode on YouTube, and that is a wonderful, 2042 01:54:55,200 --> 01:54:57,280 Speaker 1: wonderful ride. You can find it somewhere. You can find it, 2043 01:54:57,280 --> 01:54:59,360 Speaker 1: somewhere that's probably in your daily emotions. Your video is 2044 01:54:59,400 --> 01:55:03,760 Speaker 1: something okay, And we've arrived at the number one moment 2045 01:55:03,960 --> 01:55:06,080 Speaker 1: of culture and I think we both agree there could 2046 01:55:06,120 --> 01:55:09,040 Speaker 1: be nothing else. And um, this has been a ride, 2047 01:55:09,080 --> 01:55:11,160 Speaker 1: has been a three episode arc, and here we land 2048 01:55:12,040 --> 01:55:16,760 Speaker 1: number one, the number one moment in pop culture history. 2049 01:55:16,920 --> 01:55:21,720 Speaker 1: Look into my eyes, Adele does seem there could be 2050 01:55:21,760 --> 01:55:27,200 Speaker 1: a no other? I mean it was the Adele doesn't 2051 01:55:27,200 --> 01:55:30,040 Speaker 1: even heard around the world. We're still dealing with the 2052 01:55:30,160 --> 01:55:34,280 Speaker 1: ripple effect. We have not yet begun to understand what 2053 01:55:34,520 --> 01:55:38,480 Speaker 1: happened when John Travolta came out onto the Oscar stage 2054 01:55:39,280 --> 01:55:46,040 Speaker 1: and said, the wickedly talented one and only which is 2055 01:55:46,240 --> 01:55:49,640 Speaker 1: not Adina Menzel never will be her name, and then 2056 01:55:49,720 --> 01:55:54,400 Speaker 1: the cut to her face of abject terror before she 2057 01:55:54,600 --> 01:55:58,040 Speaker 1: begins singing a song she has not until that point 2058 01:55:58,160 --> 01:56:02,560 Speaker 1: sung successfully live on the point, she had not sung 2059 01:56:02,640 --> 01:56:05,160 Speaker 1: it lot, which is which implies that she ended up 2060 01:56:05,200 --> 01:56:08,640 Speaker 1: singing it successfully and she did not. Um, And we love, 2061 01:56:08,720 --> 01:56:13,000 Speaker 1: we love, we love her, We love Diana and into 2062 01:56:13,040 --> 01:56:15,080 Speaker 1: the Unknown as one of my top songs of this year. 2063 01:56:16,000 --> 01:56:18,200 Speaker 1: I love aDNA so much. I think that she's earned 2064 01:56:18,240 --> 01:56:21,240 Speaker 1: her place as an a list, being part of several 2065 01:56:21,320 --> 01:56:26,240 Speaker 1: cultural phenomenons but none of them make the list, like 2066 01:56:27,280 --> 01:56:29,600 Speaker 1: but she is one of them, the final riff of 2067 01:56:29,680 --> 01:56:33,800 Speaker 1: defined gravity. But Adele does seem. I'll never forget the 2068 01:56:33,920 --> 01:56:36,200 Speaker 1: joy I felt coursing through my body when I realized 2069 01:56:36,200 --> 01:56:38,720 Speaker 1: what he had done. I don't know if it was 2070 01:56:38,880 --> 01:56:41,960 Speaker 1: joy that I felt at first. I was confused and shocked, 2071 01:56:42,080 --> 01:56:45,320 Speaker 1: and I remember being with a group of people and 2072 01:56:45,360 --> 01:56:48,960 Speaker 1: we were just like, wait, what, okay, let's just keep watching. 2073 01:56:49,040 --> 01:56:51,760 Speaker 1: And then it was this sort of like aftershock on 2074 01:56:51,840 --> 01:56:54,320 Speaker 1: social media that we were just on Twitter. Our friends 2075 01:56:54,360 --> 01:56:56,840 Speaker 1: were like, wait a minute, yeah, John Travolta didn't say 2076 01:56:56,840 --> 01:56:59,480 Speaker 1: her name right, Oh No. I knew exactly what had happened. 2077 01:56:59,560 --> 01:57:01,920 Speaker 1: The sect it it happened. I remember he said, Adele 2078 01:57:02,000 --> 01:57:03,880 Speaker 1: do seem. I was watching it with three other people. 2079 01:57:03,920 --> 01:57:07,440 Speaker 1: Amanda was there. I remember looking over we both through 2080 01:57:07,640 --> 01:57:10,280 Speaker 1: our bodies like it was like like what it looks 2081 01:57:10,280 --> 01:57:12,360 Speaker 1: like when someone gets struck by lightning, like the comical 2082 01:57:12,440 --> 01:57:14,680 Speaker 1: sort of like your body flies over the cross. My 2083 01:57:14,840 --> 01:57:19,800 Speaker 1: body flew. I was limbs flying in the air. Literally, 2084 01:57:19,920 --> 01:57:25,040 Speaker 1: my body went into a joy state that I cannot describe, 2085 01:57:25,560 --> 01:57:29,760 Speaker 1: and I just said, oh, And to see a DNA 2086 01:57:29,840 --> 01:57:33,520 Speaker 1: mentel stand there and to understand that he did not 2087 01:57:33,960 --> 01:57:39,360 Speaker 1: get her name was so shocking and joyful for me 2088 01:57:39,440 --> 01:57:41,960 Speaker 1: because I knew it would be funny later and it's 2089 01:57:42,000 --> 01:57:44,040 Speaker 1: a good joke now. They presented at the Oscars the 2090 01:57:44,040 --> 01:57:46,680 Speaker 1: next year. She was up on the if then forwards 2091 01:57:46,720 --> 01:57:52,080 Speaker 1: as adult does seem for weeks and he was you're 2092 01:57:52,080 --> 01:57:53,920 Speaker 1: saying that in the next year. It was that weird, 2093 01:57:53,960 --> 01:57:56,080 Speaker 1: creepy moment where he was like pinching your cheeks. But 2094 01:57:56,280 --> 01:57:58,640 Speaker 1: when you say, because I agree with you, when you say, 2095 01:57:58,960 --> 01:58:01,680 Speaker 1: we do not have not have begun to understand what happened, 2096 01:58:02,120 --> 01:58:03,440 Speaker 1: what do you mean that, Because I feel like, does 2097 01:58:03,440 --> 01:58:05,959 Speaker 1: this mean that you have like some conspiracy know no conspiracy. 2098 01:58:06,000 --> 01:58:08,600 Speaker 1: I just I just don't think we understand, like how 2099 01:58:08,840 --> 01:58:10,840 Speaker 1: good a moment that was for the culture, and we 2100 01:58:10,920 --> 01:58:13,880 Speaker 1: need to say it's number one, Like what could beat that? 2101 01:58:15,840 --> 01:58:19,000 Speaker 1: Some people might say, like them announcing la Land and 2102 01:58:19,120 --> 01:58:21,440 Speaker 1: really it was that the list. I think that was 2103 01:58:21,520 --> 01:58:24,520 Speaker 1: just honestly a stupid mess up, and it actually taints 2104 01:58:24,560 --> 01:58:26,800 Speaker 1: the fact that Moonlight flat out won that award. And 2105 01:58:26,840 --> 01:58:30,000 Speaker 1: I think it's kind of sucked that that happened. Adele 2106 01:58:30,080 --> 01:58:36,680 Speaker 1: does seem you cannot begin to draw any line from 2107 01:58:36,760 --> 01:58:40,480 Speaker 1: Indiana menzelto the same. It just came out of nowhere. 2108 01:58:40,760 --> 01:58:43,360 Speaker 1: But felt like it made so much sense to the 2109 01:58:43,480 --> 01:58:46,440 Speaker 1: fact that I was like, this changes things. This is 2110 01:58:46,800 --> 01:58:51,000 Speaker 1: camp comedy high like the most serious the event that 2111 01:58:51,040 --> 01:58:54,280 Speaker 1: takes itself and most seriously in the industry in the world, 2112 01:58:54,880 --> 01:58:59,280 Speaker 1: having something so stupid, so stupid, And here I was 2113 01:58:59,400 --> 01:59:03,200 Speaker 1: thinking that joke of it was that John Travolta was 2114 01:59:03,360 --> 01:59:06,960 Speaker 1: announcing Let It Go the coming out some of our time. 2115 01:59:08,600 --> 01:59:12,920 Speaker 1: But yet and yet actually so is this the conspiracy 2116 01:59:13,000 --> 01:59:17,080 Speaker 1: that John Travolta, through the name, through it and through 2117 01:59:17,120 --> 01:59:20,200 Speaker 1: the introduction set Adela's em to take the scent off 2118 01:59:20,280 --> 01:59:24,120 Speaker 1: that everyone would be like conspiracy. You're starting right now, 2119 01:59:24,480 --> 01:59:29,480 Speaker 1: John Travolta introducing let It Go? Is it because he's oh, 2120 01:59:29,720 --> 01:59:32,520 Speaker 1: Adele de Zim, what is that? You know? Like that's 2121 01:59:32,600 --> 01:59:36,040 Speaker 1: like that seems like a fun little truth. I mean, 2122 01:59:36,200 --> 01:59:41,080 Speaker 1: it's it's something that, um, I can't see it being 2123 01:59:41,120 --> 01:59:44,960 Speaker 1: replaced by anything else anything. You cannot be Adelasim. We're 2124 01:59:45,040 --> 01:59:47,440 Speaker 1: we're still talking about it. You watch it now, I mean, 2125 01:59:47,560 --> 01:59:49,320 Speaker 1: have we played it? But we haven't played it lay it, 2126 01:59:49,840 --> 01:59:51,840 Speaker 1: and there will always be a special place in my 2127 01:59:52,000 --> 01:59:54,920 Speaker 1: heart for the movie musical and for the songs that 2128 01:59:55,040 --> 01:59:58,680 Speaker 1: create the most memorable moments here to perform the Oscar 2129 01:59:58,760 --> 02:00:02,760 Speaker 1: nominated Gorge, the empowering song let It Go from the 2130 02:00:02,840 --> 02:00:08,160 Speaker 1: Oscar winning animated movie Frozen, Please Welcome the Wickedly Talented 2131 02:00:08,520 --> 02:00:12,320 Speaker 1: One and only does Okay, So that was a dell 2132 02:00:12,400 --> 02:00:14,720 Speaker 1: doz em. It still hits you the same way it 2133 02:00:14,800 --> 02:00:17,160 Speaker 1: did at first, maybe even more, maybe even harder, maybe 2134 02:00:17,160 --> 02:00:19,440 Speaker 1: in a different place. Thing is like no one really 2135 02:00:19,520 --> 02:00:22,080 Speaker 1: knows how. There's been like an agreement about around the way. 2136 02:00:22,160 --> 02:00:24,440 Speaker 1: Adele doesn't even spell which is a d e l 2137 02:00:24,480 --> 02:00:27,240 Speaker 1: E d A z e e M. But there's like 2138 02:00:27,320 --> 02:00:31,600 Speaker 1: an undel happening. There's like it could be spelled a 2139 02:00:31,880 --> 02:00:34,800 Speaker 1: n d e l n A s i M. It's 2140 02:00:34,840 --> 02:00:38,080 Speaker 1: a soft d if that even exists. Like so much happening, 2141 02:00:39,160 --> 02:00:41,280 Speaker 1: Like what is the root of that name? Does seem? 2142 02:00:41,360 --> 02:00:46,160 Speaker 1: Is that Egyptian? Like what's happening here that the sibilants 2143 02:00:46,280 --> 02:00:48,720 Speaker 1: on does seem? Like the s sound like it's it's 2144 02:00:48,760 --> 02:00:54,360 Speaker 1: an s c um a s c i like as 2145 02:00:54,560 --> 02:00:58,560 Speaker 1: does seem regardless whatever it is, it is the number 2146 02:00:58,640 --> 02:01:02,000 Speaker 1: one moment and culture has stree and rightfully so, and 2147 02:01:02,080 --> 02:01:05,360 Speaker 1: it takes its place. And this was a two hour 2148 02:01:05,480 --> 02:01:10,560 Speaker 1: episode for moments. You know what, I wouldn't change the word. 2149 02:01:10,600 --> 02:01:13,480 Speaker 1: If I wouldn't change the word, because we are lost cultures, 2150 02:01:14,360 --> 02:01:17,560 Speaker 1: and we examine the culture that we've all experienced and 2151 02:01:17,640 --> 02:01:19,120 Speaker 1: which has come before us and that will come in 2152 02:01:19,160 --> 02:01:22,680 Speaker 1: the in the future, and we say thank you so 2153 02:01:22,960 --> 02:01:26,600 Speaker 1: each cultural moment that we experience, each cultural moment of 2154 02:01:26,640 --> 02:01:29,960 Speaker 1: the experience. Well added this out, But Hans said, but 2155 02:01:30,040 --> 02:01:32,640 Speaker 1: you literally told us to edit words though, and that's true. 2156 02:01:33,320 --> 02:01:36,760 Speaker 1: But who lasked in the grand scheme of things wouldn't 2157 02:01:36,840 --> 02:01:40,080 Speaker 1: change the word, wouldn't change a word. So we hope 2158 02:01:40,240 --> 02:01:44,480 Speaker 1: you um tolerated us self indulging on such an on 2159 02:01:44,600 --> 02:01:48,520 Speaker 1: such a crazy skill that we would do six hours 2160 02:01:48,640 --> 02:01:53,600 Speaker 1: total of audio over three days consecutively to celebrate our 2161 02:01:53,640 --> 02:01:58,520 Speaker 1: two hundred episode, potentially on a miscount our two hundred episode, 2162 02:01:58,760 --> 02:02:02,000 Speaker 1: but to celebrate with two moments in history and culture history. 2163 02:02:02,240 --> 02:02:04,120 Speaker 1: But we had a blast doing it, and we haven't 2164 02:02:04,160 --> 02:02:06,200 Speaker 1: been in the same room recording in some time. And 2165 02:02:06,360 --> 02:02:09,120 Speaker 1: we had fun, and we hope you had fun. And 2166 02:02:09,440 --> 02:02:10,680 Speaker 1: I think we're not going to do it. I don't 2167 02:02:10,720 --> 02:02:12,520 Speaker 1: think so, honey. We're not doing anythink so honey. But 2168 02:02:12,600 --> 02:02:16,120 Speaker 1: hey this we might even encourage you to start your 2169 02:02:16,160 --> 02:02:18,000 Speaker 1: own list of the top two hundred moments and culture 2170 02:02:18,040 --> 02:02:20,760 Speaker 1: history and please send them to us and put them 2171 02:02:20,760 --> 02:02:22,200 Speaker 1: in a Google Docs send it's the lane, but your 2172 02:02:22,200 --> 02:02:26,480 Speaker 1: consideration F y C for UM. The next installment of 2173 02:02:26,520 --> 02:02:28,240 Speaker 1: this in two hundred, when we do this again in 2174 02:02:28,360 --> 02:02:31,000 Speaker 1: a couple of years, when we have our three and 2175 02:02:31,040 --> 02:02:35,320 Speaker 1: four hundred episodes. So it's a living document. As we said, 2176 02:02:35,600 --> 02:02:38,320 Speaker 1: it's a living document. And closing thoughts. I don't have 2177 02:02:38,360 --> 02:02:40,360 Speaker 1: really any closing thoughts, but I think that we're going 2178 02:02:40,400 --> 02:02:42,280 Speaker 1: to close things that we always close things, which is 2179 02:02:42,360 --> 02:02:47,920 Speaker 1: with a song Hell, nobody and all of us, no 2180 02:02:48,120 --> 02:03:06,880 Speaker 1: wizard there is or us Heather God may real ha. 2181 02:03:14,720 --> 02:03:20,280 Speaker 1: War it's war, yeah,