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Speaker 1: Hey, everybody. Today's show is brought to you by Casper

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Speaker 1: brought to you by the Forever Dog podcast Network. Be

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Speaker 1: sure to check out more original comedy podcasts at forever

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Speaker 1: Dog podcast dot com. All right, enjoy the show. Come on,

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Speaker 1: my grandma and your grandma was sitting by the fire.

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Speaker 1: My grandma to your grandma, I'm gonna say, funny, you're

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Speaker 1: talking about hind I go on date Jagomofin Jagomo Don

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Speaker 1: Lost Culture rest Calling Greetings, Earthly, I hear an alien

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Speaker 1: you you heard me arrive? Can I be honest with you?

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Speaker 1: I was trying to thematically set the scene for our guests. Okay, Yeah,

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Speaker 1: that's honestly what I was doing. I clocked that. I

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Speaker 1: clocked that because look, um, he's other Worldslee. He's earned

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Speaker 1: the title of space prints, and I don't know if

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Speaker 1: he's really earned it as much as itself proclaimed. But

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Speaker 1: you know what we can get into that, we can

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Speaker 1: talk about that. I think there's I think it intersects

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Speaker 1: it both. I think that you're probably right. Okay, let's

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Speaker 1: go what are we even talking about? Oh come on,

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Speaker 1: let's go through the credit okay if you insist. So

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Speaker 1: first and foremost, you've seen his incredible work this season

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Speaker 1: as a writer on Saturday Night Live, like truly, hit

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Speaker 1: the culture hard in the face, hit the culture hard

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Speaker 1: in the face, truly, and and you know what, the

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Speaker 1: culture hasn't recovered. Culture has not, right. I hope they

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Speaker 1: don't recover. I hope they don't. That is vicious savage. Um.

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Speaker 1: And you can see him this summer in August at

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Speaker 1: the Edinburgh for Interested Goal. He's doing a month long

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Speaker 1: writer residency there. Check him out if you happen to

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Speaker 1: be in Edinburgh. One month long. One month long. It's

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Speaker 1: so long, I mean, but I mean, come on, I

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Speaker 1: mean the demand is there, honey. Absolutely, And of course

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Speaker 1: look out for the upcoming comedy Central half Hour, which

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Speaker 1: is going to be just fabulous savage culture, Savage garden,

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Speaker 1: Savage that is Julio Taures. How are you? I'm great.

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Speaker 1: I'm okay. That's good to hear that you're great. Yeah,

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Speaker 1: because I know you're going through something stressful, which is moving. Yes, okay, Yeah,

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Speaker 1: I am apartment hunting. Yes, I yes, And you're meeting

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Speaker 1: with a realtor after this, and I and I'm meeting

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Speaker 1: with Yes, I am rushing after this. So uh to

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Speaker 1: go see a place in Fort Green, which is not

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Speaker 1: the neighborhood that I saw myself in originally, that's gonna say, Yeah,

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Speaker 1: what what were you going to say? Well, I think

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Speaker 1: that you should be around sharp um like at very industrial.

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Speaker 1: I think you should see the brand all the way through. Yes,

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Speaker 1: to me, there's too much green and green for you personally,

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Speaker 1: there's I don't think like brown stones are for me.

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Speaker 1: I like I like glass. Yeah, I have like a

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Speaker 1: lot of glass. I saw a place in Williamsburg today

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Speaker 1: that was believed apartment number thirteen, and the the prize

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Speaker 1: is great. The location was perfect, perfect, The kitchen was

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Speaker 1: too big, Oh my gosh. Aesthetically was it good? It

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Speaker 1: was fine, it was It was a large bedroom and

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Speaker 1: a large living area and a kitchen that is daunting

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Speaker 1: in how big. There was so many cabinets. Wow, I

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Speaker 1: wouldn't know what to do with that. It's it's too much.

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Speaker 1: And I here's what I need. I need. I don't

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Speaker 1: need a kitchen. I just need like a mini fridge,

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Speaker 1: put like half of a nice coffee. But I'm not

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Speaker 1: going to finish drinking. Yes, and you want to see

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Speaker 1: what happens to it over time? Yes, yes, exactly, I don't.

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Speaker 1: I don't need all these Like there were so many cabinets.

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Speaker 1: It was truly upsetting. It was like I wouldn't be

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Speaker 1: I don't. Yeah, well you know what those Sometimes that

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Speaker 1: ship is very it seems one way is another. Like

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Speaker 1: we looked at our apartment and there were so many

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Speaker 1: cabinets and I was like, this is too many cabinets.

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Speaker 1: And guess what it ended up not being enough? No, No,

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Speaker 1: because you uh and your boyfriend first of all, or

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Speaker 1: two people, that's true. And second of all you you

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Speaker 1: enjoy making a meal maybe or like eating and he does. Okay, yeah,

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Speaker 1: I don't. I if it could not have a kitchen,

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Speaker 1: I would be so happy and take that extra space.

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Speaker 1: If you could reject, if you could reject domesticity wholesale, yes,

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Speaker 1: you would I saw another apartment that it was also

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Speaker 1: that was also reasonably prized even better location you mentioned

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Speaker 1: The last location was perfect, Yes, yes, but this is

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Speaker 1: even better, more than perfect, more than perfect. It had

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Speaker 1: a backyard that was so big it was upsetting because

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Speaker 1: what would I do with only a small corner? I don't.

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Speaker 1: I don't want to sit in my bed at night

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Speaker 1: and thinking about the acres that I have nothing to

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Speaker 1: do with. Are you just reversed to scale? In general?

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Speaker 1: Is there a room? No? No, I am not. If

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Speaker 1: if it were like a giant loft, I would take

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Speaker 1: it there. Yeah, but one has to equal function. Yes,

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Speaker 1: and also yes, and also a lot of these places

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Speaker 1: I would end up paying for things I don't need,

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Speaker 1: like a backyard, and I don't. I don't want it.

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Speaker 1: I don't want to be you know when I when

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Speaker 1: when I was shown that, I was like, well, what

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Speaker 1: do we say? I am not a creature of uh? What?

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Speaker 1: I want? I need air? I need Yes, I need

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Speaker 1: to be space up, creative space. Yes, like for for me,

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Speaker 1: for you, the plants can't take up the space that

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Speaker 1: your ideas and thoughts would take it up. Yeah. And

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Speaker 1: also just like I what am I going to like barbecue.

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Speaker 1: I know barbecue, although I would I would, I would

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Speaker 1: say you could do a bang up job just retrofitting

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Speaker 1: that backyard to your sensibility. I don't think, so I disagree,

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Speaker 1: and I passed. It's already done, already done. Here's someone

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Speaker 1: some like an ancient couple is the being there, and

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Speaker 1: they're probably they're probably so happy. They're probably the ancient couple.

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Speaker 1: If if a baby can exist in the space, it's

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Speaker 1: not for Julio exactly. You know what it should be

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Speaker 1: dangerous for a baby. It should be it should be like,

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Speaker 1: oh no, if the baby gets too close to that wall,

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Speaker 1: it'll break, It'll break. Yes, yes, I just I think

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Speaker 1: that you'll find it. I just don't know if you're

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Speaker 1: going to find it in Brooklyn. Is that weird to say?

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Speaker 1: Are you? Are you if you don't want to go

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Speaker 1: into Manhattan? No? No, I don't think I want to

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Speaker 1: go into Manhattan like I saw. Okay, I saw another

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Speaker 1: place today, h eighth floor, beautiful view Fork Green Uh. Small, Uh,

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Speaker 1: it's a it's a studio. Uh. The kitchen was as

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Speaker 1: big as a like a like a like an airplane kitchen.

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Speaker 1: So it was perfect. Okay. So like like those tiny

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Speaker 1: kids justin from to do what they needed exactly. It

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Speaker 1: was perfect. It was perfect except the I mean taking

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Speaker 1: a word, did you love Bowen? The building was frankly

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Speaker 1: classes class. It was classes. It was Their requirements almost

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Speaker 1: suggested that not only okay, it's reasonable for them to

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Speaker 1: want to know that I can't afford it, but it's

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Speaker 1: almost as if they wanted me to prove that I've

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Speaker 1: never been broke. It's insane as for that I've never

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Speaker 1: and that is I do not think so, honey, I

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Speaker 1: do not. Can I pitch something to you. I'm going

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Speaker 1: to pitch the Financial District. And you know I would

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Speaker 1: love the Financial District. I would. I fantasize of living

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Speaker 1: high up in the Financial District and just overlooking a

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Speaker 1: maze of gray buildings and it's there's no one there

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Speaker 1: at night. The abstagrams stories of Julio reaching his his

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Speaker 1: gnarled hand out casting a spell upon the Financial I

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Speaker 1: think that you living on top of all those men

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Speaker 1: with they're like dumb faces and big butts. I think

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Speaker 1: thinking about you raining over them. I think I want

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Speaker 1: you to live there because I want you to destroy them. Yes,

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Speaker 1: I want you to destroy them, and I think that

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Speaker 1: only you can do it. That's how I feel. What

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Speaker 1: do you think I would do it? As long as

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Speaker 1: the building isn't prissy? Because I have a I have

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Speaker 1: a little lightning bolt earring, yes, dangling from my from

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Speaker 1: my from my body. I can't be part of a

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Speaker 1: co op. It's too much. It's too it's too much

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Speaker 1: of a committee. I already. You know, I belonged to

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Speaker 1: two unions and I work for TELT. I don't. I

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Speaker 1: don't need more commitment. We've already. I don't been dragged

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Speaker 1: down by other people. You need, yes, I don't. I

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Speaker 1: don't need. Wow, I agree with you. You don't need it.

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Speaker 1: I need. But being being in a co op building,

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Speaker 1: that doesn't mean you have to necessarily be involved unless

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Speaker 1: you're on the board and I am. I know you

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Speaker 1: have to know. But that but that means that I

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Speaker 1: don't know. But that means that I I have proved

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Speaker 1: to them that I am worthy of their presence. I

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Speaker 1: don't think so, honey. I don't think so honey that

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Speaker 1: who needs Julio has transcended just having to seek out

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Speaker 1: that sort of approval. No, but I don't think anyone

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Speaker 1: should go through that sort of approval. I don't Yeah,

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Speaker 1: it's like the whole Like I I remember when I

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Speaker 1: learned that I had to apply for college. I was

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Speaker 1: out right, what is what is? What is with all

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Speaker 1: of this? And it's I'm just going to say it.

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Speaker 1: It's a very American thing of just having to prove

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Speaker 1: your your status over and over. And I was just

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Speaker 1: talking about this with my father. I was like, you know,

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Speaker 1: what's stupid, like the concept of college, Like you don't

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Speaker 1: actually have to be good at the ship that they

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Speaker 1: teach you in high school in the world, So why

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Speaker 1: is it so fucking high stakes? It's so stupid. S

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Speaker 1: A T is a joke. Well that's a corporation. That's

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Speaker 1: just the monopoly at college. But they make you feel like, well,

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Speaker 1: you know, there's there's everything you've done and then there's

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Speaker 1: the S A T S and they hold equal weight,

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Speaker 1: which I'm I think is changing, but I don't know.

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Speaker 1: I also, I was a college tour guide. What college? What?

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Speaker 1: What college? In the New School. I wanted them to

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Speaker 1: know them, to let me tell you. I know my

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Speaker 1: jo So you were a tour guide at the New School.

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Speaker 1: I was a tour at the New School. Uh, and

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Speaker 1: the only I was just reminded because I the s

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Speaker 1: A T requirement was something that I had to know.

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Speaker 1: But one of the many facts that I never learned.

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Speaker 1: I just sort of bluffed my way through the through

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Speaker 1: the tour. I think it's becoming less important. Well, I

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Speaker 1: think I feel like I can't believe you were you

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Speaker 1: were a college tour guy. I was very bad at it.

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Speaker 1: I was very impersonable. I uh, you know how you're

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Speaker 1: supposed to walk backwards and talk. Yeah, I refused to

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Speaker 1: do that. I never did that. I would just pick

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Speaker 1: them up from wherever. Wherever I picked up like the

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Speaker 1: welcome center or whatever the name of it was. No,

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Speaker 1: the welcome center right now for a facor was the

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Speaker 1: welcome center, and then I would just take them to

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Speaker 1: the first building and we would just walk in silence.

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Speaker 1: We were just walking out of silence. But when I

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Speaker 1: saw this one building that I had like bookmarked in

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Speaker 1: my head, I would turn to them and say, we're

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Speaker 1: almost there, and where was the ultimate places you were going?

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Speaker 1: Where was the destination? The destination was a building on

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Speaker 1: street and like closest sixth Avenue, So this is a

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Speaker 1: it's a well, you guys went to win one. It's

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Speaker 1: like almost the same deal where there's no I think

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Speaker 1: I exactly I know what place you're talking about too.

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Speaker 1: It was like a big new school building, but there

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Speaker 1: wasn't much intermingling between the n y U kids, and

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Speaker 1: I don't think because I feel like if it were

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Speaker 1: a person, it would be this very sort of like

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Speaker 1: career hungry eyes on the prize, uh, sort of like Miranda, Yes, yeah,

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Speaker 1: that's what it is. The New School just sort of

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Speaker 1: like rolls out of bed at noon and it's just

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Speaker 1: like hey, no, okay, no, Aiden, Aiden's maybe like brown brown. Well,

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Speaker 1: then when it's a new school a Blair from Gossip Girl,

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Speaker 1: the New School is unrepresented in media. Frankly, you're right,

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Speaker 1: we need to show that really gets a gets a

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Speaker 1: new school, the new School of hype. Yeah no, uh yeah. Listen,

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Speaker 1: we're talking about your your past, and I feel like

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Speaker 1: this is now, this is the moment we pose the

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Speaker 1: question to you, Julio Torres, Now what was I truly

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Speaker 1: don't know what it's coming because even though I love

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Speaker 1: the beginning of your podcast to get to what I think,

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Speaker 1: I think, Wholi just stops when he stops. Ab Julio

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Speaker 1: wants to I think. I think during this when the

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Speaker 1: same Taggart episode came out, Julio messaged me and said,

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Speaker 1: wow is lost Culture is just going to be the

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Speaker 1: first podcast I listened to all the way through and

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Speaker 1: it was. It was, but it was very close. Yes, yeah,

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Speaker 1: that's same Taggart episode got real shitty in the last

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Speaker 1: fifteen minutes. Did I have to say? I can say

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Speaker 1: it is. You know, it comes as a great honor

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Speaker 1: for Julio. Wait, hold on, you know what. I am

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Speaker 1: going to come for Taggart on because he came for

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Speaker 1: me and us. He came for us in our I

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Speaker 1: don't think so, honey, and he came for Kelly Clarkson

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Speaker 1: and I don't think so live show. Which okay, let's please,

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Speaker 1: you know what. Let's we'll get into it at first.

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Speaker 1: Let's let's start at the beginning before we can get

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Speaker 1: to that cultural high point in Julio's life, which is

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Speaker 1: hating Kelly Clarkson. Um, this is the question. I don't Clarkson,

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Speaker 1: I don't I have the reference that you have. Okay,

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Speaker 1: that's fair, that's fair. This is the question we ask

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Speaker 1: all of our guests, Julio, which is what was the

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Speaker 1: culture that made you say, you know, growing up as

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Speaker 1: a young Julio, culture is for me, I want to

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Speaker 1: step in a cultural direction. What was the culture that

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Speaker 1: made you think I could use culture? Does that make sense?

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Speaker 1: It does not? Okay, answer whatever it means to you.

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Speaker 1: Whatever it means to you, And can you give me

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Speaker 1: examples of previous and you know, you know, well you're

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Speaker 1: talking about films that influenced you. Television, I see, have

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Speaker 1: musical artists also perhaps maybe your upbringing, things like in

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Speaker 1: the culture that's that influenced you. For those of you

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Speaker 1: who are not in the room and are listening to

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Speaker 1: the podcast, when I've been grabbing at the air trying

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Speaker 1: to in the culture just sort of grabbed the air

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Speaker 1: in abstract everything For me, Julio, everything is tangible, yes, yes, yes,

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Speaker 1: that's what you are, A tactile, very like kinesthetic tangible. Yes,

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Speaker 1: um um, I think that No, please, please please, I

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Speaker 1: was going to bring up Mary Alice Young, but that

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Speaker 1: is kind of I want him to bring it. Okay,

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Speaker 1: Well all right, all right, sorry, Well that was I

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Speaker 1: was already fully full form a cultural person. Yes, I

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Speaker 1: think that I grew up watching very old American TV

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Speaker 1: shows that I thought were current, Yes, that I love

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Speaker 1: the dream of Genie. Oh my god, I thought I

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Speaker 1: was under the impression that I dream of Genie was

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Speaker 1: being shot, uh like weekly California something. And then I

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Speaker 1: and then I came to learn that years have passed

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Speaker 1: and that I was looking at a Yes, I love

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Speaker 1: the agreement Genie I loved. So Genie had this like

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Speaker 1: pink outfit in a pink bottle, but Genie's evil twin

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Speaker 1: had this. She was a brunette and she had this

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Speaker 1: of course sexy green outfit and the inside of her bottle,

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Speaker 1: and we're coming back to the first topic of conversation.

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Speaker 1: The inside of her bottle was had just had a

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Speaker 1: gray marble table with a fruit plate in the middle,

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Speaker 1: well color the walls which it was in green accents,

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Speaker 1: but it was not as like oppressively filled with fabric

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Speaker 1: like her sisters. So that is the apartment I'm looking

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Speaker 1: for it. Did you have you found yourself drawn to

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Speaker 1: Genie's twine? Yes, that makes a lot of end to

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Speaker 1: me that out of I haven't thought about I dream

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Speaker 1: of Genie, and like I think about a dream of

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Speaker 1: Genie maybe once a day. That makes a lot of

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Speaker 1: sense to me. Yeah, like the magical aspect, the like Yeah,

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Speaker 1: I loved just wondering what Genie did inside her bottle

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Speaker 1: when she was waiting around for the astronaut to come

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Speaker 1: back home. Ye major Anthony Nelson, Oh my goodness, yeah,

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Speaker 1: I guess did you watch that one? I barely watched.

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Speaker 1: I dream of Genie. I love always aware of it.

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Speaker 1: Were you a Brady Bunch fan? Okay? Nothing that was um.

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Speaker 1: I didn't really care for anything where the concept of

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Speaker 1: the show was family. I was. I was reading that

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Speaker 1: from you, yea. I that always rubbed me the wrong way.

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Speaker 1: The hokey nous and the the lesson learned at the

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Speaker 1: end of it. I never had. I could never stomach

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Speaker 1: like Full House, any of those or any of those shows.

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Speaker 1: Wow about Threes Company, I never saw. Okay, I think

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Speaker 1: that you should go back and revisit Threes Company because

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Speaker 1: of the show is the very convoluted president premise. It's basically,

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Speaker 1: this guy, Jack Tripper, pretends that he's gay so that

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Speaker 1: he can move in with these two hot women, one blonde,

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Speaker 1: one brunette. And this is very important cause I had

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Speaker 1: no idea that wasn't the plot. I thought yea in

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Speaker 1: the seventies. I thought the plot was just together, people

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Speaker 1: lived together. So wait, so then he's not throughout the

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Speaker 1: of course not. He's on television right, so throughout the

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Speaker 1: he's a lad. He has a lead role. But the

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Speaker 1: so there. So was he hiding his heterosexuality throughout the show?

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Speaker 1: It was so stupid, But it was like just stupid

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Speaker 1: enough that it was like believed by a broad audience.

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Speaker 1: It was he wanted to live with these women, to them,

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Speaker 1: I guess, just to look at them, or maybe eventually

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Speaker 1: revealed that he was actually straight. I don't know how

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Speaker 1: the show turned out, but he was parading as a

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Speaker 1: gay man. What what What were the I cringe to

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Speaker 1: think of. What were the techniques that he used to

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Speaker 1: He didn't act super gay. I think he just like

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Speaker 1: wore loud paned once in a while, got it. See.

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Speaker 1: I'm not familiar with Three Company either. I think we

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Speaker 1: all should go back and revisit it. I don't think so.

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Speaker 1: I think I don't think it's I don't think it

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Speaker 1: deserves our that's fine too, I don't think it deserves

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Speaker 1: our tribute. You know, rule number seventy nine of culture,

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Speaker 1: No one has to do anything. What number is that

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Speaker 1: no one has to do anything? Well? What about Okay,

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Speaker 1: I think you know what the spiritual successor if I

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Speaker 1: dream of Genie is Bewitched. What do we think of

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Speaker 1: not the success of the contemporary contemporary? They were on

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Speaker 1: at the same time, I believe, But I got my

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Speaker 1: I had my timetable so warped as you know. But

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Speaker 1: I I think that it was on at the same time.

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Speaker 1: I think that it was just I think it was

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Speaker 1: sort of like a deep impact Armageddon type deal where

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Speaker 1: you can have like two of like kind of the same.

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Speaker 1: I here's here's what's ah. I should have liked Bewitched

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Speaker 1: more because she was she was a witch with agency

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Speaker 1: as opposed to a Genie that's submissive. She was also dumb, captive, dumb. Yeah,

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Speaker 1: Barbara Eden played her like sweet and naive and where

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Speaker 1: as the lead and Bewitched she was Elizabeth something. I think.

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Speaker 1: So she was very uh, she's very proactive, and she

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Speaker 1: was very much the head of the of the household. Yeah.

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Speaker 1: Did you see the remake with Kiman. I did see

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Speaker 1: the remake with Nicole Kidman. I think I think what

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Speaker 1: the majority thought, which is that Christian Jennowit steals the

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Speaker 1: film was she she wasn't She played the neighbor I

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Speaker 1: remember as in a post wicked world and as a

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Speaker 1: little little gay boy me being so excited that Christian

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Speaker 1: General was But the premise of the movie was the

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Speaker 1: day we're filming the TV show. Making the TV show

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Speaker 1: very stupid doesn't need to be that dumb. It was

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Speaker 1: just very There were a lot of levels. There's still

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Speaker 1: a lot. It was working a lot of levels. And I,

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Speaker 1: you know, nic Nicole Kidman is one of my favorite actresses,

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Speaker 1: and I think that's why I that's why I watched it.

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Speaker 1: But ah, I like roughly of of be watched. What

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Speaker 1: is it about Nicole for you? Um that she can

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Speaker 1: play weak in a very commanding and powerful way. That's it,

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Speaker 1: very very astute there. Yeah, that is what it is.

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Speaker 1: That she My favorite movie of hers and maybe one

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Speaker 1: of my favorite movies ever, it was Birth, Birth. In Birth,

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Speaker 1: she plays this very very wealthy New Yorker who is

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Speaker 1: getting remarried. She's a widower. She's a widow. She's getting remarried, remarried,

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Speaker 1: and during her engagement party, this little boy knocks on

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Speaker 1: their door. She opens the door and She's like, Hi,

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Speaker 1: who are you? And the boy says that he is

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Speaker 1: the reincarnated spirit of her deceased husband, and then they

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Speaker 1: have a relationship, and then she sort of cheats on

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Speaker 1: her fiance with this little boy. And it is. Her

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Speaker 1: trembling is so powerful. If there's a scene which is

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Speaker 1: literally a five minute close up on her face as

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Speaker 1: she watches opera, Yes, and it's it will leave you shook.

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Speaker 1: It is. It's true. And even in her loud performances,

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Speaker 1: like even in her big performances like Mulan Rush, I've

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Speaker 1: never seen Mulan Ruth. You will you will love it?

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Speaker 1: What I yes, I think that she cops bloody, You'll

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Speaker 1: love it. She she dies fantastically of tubercularn And I

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Speaker 1: think that you're going to be irritated by the first

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Speaker 1: thirty minutes of it, But you gotta stick with it, Julio,

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Speaker 1: because you will appreciate what's happened in that portion of

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Speaker 1: the film later on. We're going to out. Julio right

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Speaker 1: now is one of those people who just just doesn't

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Speaker 1: get the diegetic concept of musicals. He doesn't understand why

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Speaker 1: they have to sing. It takes me. Yes, you know

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Speaker 1: who doesn't get it buzzlerman. Okay, oh oh interesting, and

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Speaker 1: that's why Julio will connect to it. Yeah, it's a connect.

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Speaker 1: It's fully batched and saying okay, but but talk us

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Speaker 1: through your I'm not going to say disdain, but you're

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Speaker 1: you're just um your skepticism of musicals as a concept.

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Speaker 1: I think that the suspension of disbelief where a character

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Speaker 1: is having a conversation and then they break into songs

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Speaker 1: is just I can't make that leap. Okay, but what

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Speaker 1: about like in the movie adaptation of Chicago, for instance,

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Speaker 1: where you find out that all these numbers are taking

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Speaker 1: place in the protagonist's mind. What about that? Now that

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Speaker 1: makes sense because the protagonist presumably has a very musical

402
00:25:14,760 --> 00:25:16,600
Speaker 1: but she wants to be famous and so she and

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Speaker 1: thematically it fits. Yes, but no, you don't like just

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Speaker 1: breaking into songs. For example, of this sentence, what's your

405
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Speaker 1: reaction to this sentence? I can no longer speak, so

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Speaker 1: I must sing? Oh wait, what is that from? That's

407
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Speaker 1: just the rule of musicals when you can when the

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Speaker 1: emotion gets so big that you can no longer speak,

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Speaker 1: you must singly. Because that's how I literally live my life.

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Speaker 1: I don't. I don't express my emotions musically, and maybe

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Speaker 1: that's where I can't h connect. But you are a

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Speaker 1: lover of music, sure, but you just don't express myself music.

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Speaker 1: It's like yeah, no, I don't. Yeah, you have to

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Speaker 1: connect with the form on on a personal level and

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Speaker 1: in a way that's like I want, I'm interested in

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Speaker 1: in executing the form. I mean does that sound Yeah?

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Speaker 1: It's like okay. So it's like, uh, say a musical

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Speaker 1: where there's stockbroker is getting coffee and his life is

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Speaker 1: going wrong and he puts his coffee down and then

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Speaker 1: he starts singing. Yes, I don't think that that man

421
00:26:25,840 --> 00:26:29,480
Speaker 1: has a musical spirit, so why is he doing that?

422
00:26:30,040 --> 00:26:33,160
Speaker 1: I understand. So I had to succeeding business without really trying.

423
00:26:33,320 --> 00:26:36,399
Speaker 1: Is not for Julio, but the producers might be because

424
00:26:37,280 --> 00:26:42,520
Speaker 1: b Stock in the producers wants to be a producer. Yes, okay, great,

425
00:26:42,600 --> 00:26:45,400
Speaker 1: this is fascinating. You know, I think I think it's

426
00:26:45,440 --> 00:26:48,600
Speaker 1: not that you don't like musicals. Maybe you don't. I

427
00:26:48,600 --> 00:26:50,080
Speaker 1: don't want to tell you what you like, but I'm

428
00:26:50,160 --> 00:26:52,879
Speaker 1: just saying there could be ones that would hit with you.

429
00:26:53,000 --> 00:26:55,680
Speaker 1: You know what I think you would like? Nine oh,

430
00:26:55,960 --> 00:26:59,359
Speaker 1: nine is. I think I think you would like it

431
00:26:59,600 --> 00:27:04,480
Speaker 1: because because the diadetic of it like does work. It's

432
00:27:04,520 --> 00:27:09,440
Speaker 1: like this tortured Italian film director Widow Contini, and he

433
00:27:09,640 --> 00:27:12,560
Speaker 1: is having a lot of trouble, he's having like a

434
00:27:12,680 --> 00:27:16,480
Speaker 1: block artistically, and he sees the nine women in his

435
00:27:16,640 --> 00:27:19,000
Speaker 1: life that have influenced him, and he muses on appear

436
00:27:19,040 --> 00:27:21,240
Speaker 1: to him in song and performed for him. And I

437
00:27:21,359 --> 00:27:25,000
Speaker 1: think that you would like that. However, the movie is

438
00:27:25,680 --> 00:27:37,639
Speaker 1: like Cruz Fergie, isn't it and steals the home. She

439
00:27:37,720 --> 00:27:40,600
Speaker 1: sings a song called the Italian and it's just like

440
00:27:40,760 --> 00:27:46,119
Speaker 1: she plays this hooker from his childhood who sexually awoken him. Um.

441
00:27:46,440 --> 00:27:50,320
Speaker 1: And it's incredible that the nine women that formed him

442
00:27:50,440 --> 00:27:55,639
Speaker 1: are tall and thin and Gordon. One of them is okay, okay,

443
00:27:55,840 --> 00:27:59,840
Speaker 1: and one of the one of them is Sophia Loran Old. Yeah,

444
00:28:00,400 --> 00:28:07,720
Speaker 1: Sophia's it was just Lallona just Guard the Moon. Yes, yes,

445
00:28:09,240 --> 00:28:13,320
Speaker 1: full culture, full culture, full culture, but it's it's it's

446
00:28:13,400 --> 00:28:15,280
Speaker 1: fun at first. You would love Kate Hudson and it

447
00:28:15,400 --> 00:28:17,760
Speaker 1: She's so fucking dumb and it so bad. She's so

448
00:28:17,960 --> 00:28:22,280
Speaker 1: bad at it. Um Okay. Favorite Nicole a whisper where

449
00:28:22,320 --> 00:28:23,800
Speaker 1: does this I was gonna ask where does this fall time?

450
00:28:23,960 --> 00:28:27,000
Speaker 1: What is this fall timeline wise? When it's four? Wow,

451
00:28:27,160 --> 00:28:31,119
Speaker 1: so this is post Oscar. I was gonna when you

452
00:28:31,200 --> 00:28:34,240
Speaker 1: ask that question, I was going to say that it's

453
00:28:34,240 --> 00:28:37,719
Speaker 1: said in winter, but it was it's very cold, it's

454
00:28:37,760 --> 00:28:41,040
Speaker 1: set in winter. It's like like a bitter January. I think,

455
00:28:41,320 --> 00:28:43,800
Speaker 1: which is which is exactly where you want it? Which

456
00:28:43,840 --> 00:28:45,920
Speaker 1: is exactly where you want But but I would say,

457
00:28:46,680 --> 00:28:49,120
Speaker 1: go ahead, what does this resolve in the third act

458
00:28:50,040 --> 00:28:53,760
Speaker 1: or whatever? I just right, it's a child, It's just

459
00:28:53,880 --> 00:28:57,280
Speaker 1: a child. Well, these are the questions that you have

460
00:28:57,360 --> 00:28:59,400
Speaker 1: to answer it for yourself. Right, I think it is

461
00:28:59,600 --> 00:29:02,040
Speaker 1: kind of a been ended. But after she won her Oscar,

462
00:29:02,840 --> 00:29:06,720
Speaker 1: she did get very experimental. And what I noticed about

463
00:29:06,840 --> 00:29:10,560
Speaker 1: Nicole Kimmon's filmography, which I really appreciate. She works with

464
00:29:11,640 --> 00:29:16,320
Speaker 1: every director like she has worked with everybody, and you

465
00:29:16,440 --> 00:29:18,080
Speaker 1: know what I heard is really good. But just coming

466
00:29:18,120 --> 00:29:21,880
Speaker 1: out is that movie The Big Guy, which is Sophia Copa,

467
00:29:21,960 --> 00:29:26,560
Speaker 1: who is a huge influence where she's Yeah, I love

468
00:29:26,640 --> 00:29:34,040
Speaker 1: Sofia love I even love the the films that objectively

469
00:29:34,200 --> 00:29:39,640
Speaker 1: I I am like this. Maybe it's not her like somewhere. Yeah,

470
00:29:39,720 --> 00:29:42,560
Speaker 1: like somewhere, but I I still I adore them. That

471
00:29:42,800 --> 00:29:46,800
Speaker 1: aligns very well with Julio Sofia. I love a long,

472
00:29:47,040 --> 00:29:51,240
Speaker 1: atmospheric pan. Yes, uh and just sort of just like

473
00:29:52,960 --> 00:29:57,200
Speaker 1: the climax is is someone that moves their index finger. Yeah.

474
00:29:58,200 --> 00:30:01,640
Speaker 1: I also love a good anachronism, like when Marie Antoinette's

475
00:30:01,640 --> 00:30:06,880
Speaker 1: waking Yeah converse her converse. Yes, Yes, I thought that

476
00:30:07,000 --> 00:30:09,400
Speaker 1: was really good. Yes, that movie is very funny. I

477
00:30:09,480 --> 00:30:12,640
Speaker 1: really like that movie. To see. My favorite trailer of

478
00:30:12,720 --> 00:30:17,719
Speaker 1: all time, great trailer. I love the font, you love

479
00:30:17,800 --> 00:30:23,200
Speaker 1: the we love, we love the fun I think I

480
00:30:23,760 --> 00:30:27,880
Speaker 1: I imagine that. I think that if I were to

481
00:30:28,000 --> 00:30:34,200
Speaker 1: run for president, my campaign one of my campaign videos

482
00:30:34,280 --> 00:30:40,040
Speaker 1: would just be reenacting the Marie Antoinette trailer. Yeah in verse,

483
00:30:40,120 --> 00:30:46,560
Speaker 1: I yes, just me looking down as I've led everyone down. Yeah,

484
00:30:46,920 --> 00:30:50,160
Speaker 1: oh my god, that's seen when she comes to and

485
00:30:50,200 --> 00:30:54,000
Speaker 1: they all stop. Oh man. You know. I love Kirsten Dunst.

486
00:30:54,040 --> 00:30:57,440
Speaker 1: I've said it on this many times. I think she's actress.

487
00:30:58,480 --> 00:31:01,680
Speaker 1: I think she's amazing, and she she's not as skilled

488
00:31:01,720 --> 00:31:03,720
Speaker 1: as Nicole in that in that same regard of playing

489
00:31:03,760 --> 00:31:08,320
Speaker 1: week so powerfully, but she does have that like mysterious

490
00:31:08,440 --> 00:31:10,760
Speaker 1: naive beauty too. There's a naive beauty too. I think

491
00:31:10,800 --> 00:31:12,640
Speaker 1: she can do anything. She can do anything, I really,

492
00:31:12,720 --> 00:31:16,600
Speaker 1: I really do. I think she can play dumb broad comedy.

493
00:31:17,120 --> 00:31:22,760
Speaker 1: I think she can do super small melancholia like this

494
00:31:22,960 --> 00:31:27,640
Speaker 1: kind of like kind of really small, like almost emotionless

495
00:31:28,240 --> 00:31:32,480
Speaker 1: but still so full. I just remembered something that Do

496
00:31:32,640 --> 00:31:36,560
Speaker 1: I have this right that your main Matt Rogers, your

497
00:31:36,680 --> 00:31:42,560
Speaker 1: main comedic influence is Eva Longoria? Yes? And I don't know.

498
00:31:43,400 --> 00:31:46,440
Speaker 1: I can't remember if I decided that this was the

499
00:31:46,560 --> 00:31:49,360
Speaker 1: case or if you told me. But also, Tara Read

500
00:31:49,440 --> 00:31:54,360
Speaker 1: a big influence. Um terror read Maybe maybe Tera read

501
00:31:54,480 --> 00:31:56,000
Speaker 1: is like an influence on the way I live my

502
00:31:56,240 --> 00:32:01,400
Speaker 1: life in terms of how I execute comedic material. Is

503
00:32:01,440 --> 00:32:04,680
Speaker 1: a huge influence on me. What about Eva Longoria? Because

504
00:32:04,720 --> 00:32:07,200
Speaker 1: I see it, I see it. But what about Eva?

505
00:32:07,960 --> 00:32:12,280
Speaker 1: Can you articulate why you connect to her? It's the

506
00:32:12,360 --> 00:32:16,360
Speaker 1: way she takes space, and it's the way that she

507
00:32:17,040 --> 00:32:21,880
Speaker 1: because she has an It's the way that she gets

508
00:32:21,920 --> 00:32:24,680
Speaker 1: a script and says, here's the funny. I feel it

509
00:32:24,760 --> 00:32:26,320
Speaker 1: in this. I see it in the same way she

510
00:32:26,400 --> 00:32:31,640
Speaker 1: does every single joke in Desperate Housewives. M the way

511
00:32:31,720 --> 00:32:37,480
Speaker 1: she reads all her lines is onto a clutch and

512
00:32:37,600 --> 00:32:41,360
Speaker 1: just sort of like smacking someone with the kind Yes,

513
00:32:43,200 --> 00:32:47,720
Speaker 1: it's the here's the pattern of Eva Longoria. Hey, hey, this, this, this,

514
00:32:48,160 --> 00:32:54,920
Speaker 1: this case, this right, well, this this this His eyes

515
00:32:55,240 --> 00:32:57,720
Speaker 1: are so wide open right now, And that's something I

516
00:32:57,800 --> 00:33:01,280
Speaker 1: know I have for myself sometimes in my performancess, my

517
00:33:01,360 --> 00:33:05,959
Speaker 1: eyes are too open. Oh yeah, to Eva, I think

518
00:33:06,040 --> 00:33:10,000
Speaker 1: Eva Longoria huge and also Amy polar huge, both big old,

519
00:33:10,280 --> 00:33:14,600
Speaker 1: big old, big old choices and like sharp, like very

520
00:33:14,640 --> 00:33:20,720
Speaker 1: good with the one liner. Amy Poehler is uh more evident,

521
00:33:20,800 --> 00:33:27,840
Speaker 1: of course, because you both have the same comedic Yeah.

522
00:33:28,240 --> 00:33:38,520
Speaker 1: But Longoria is such a true she was in general

523
00:33:38,560 --> 00:33:40,320
Speaker 1: hospital and and but I think Julia was going to

524
00:33:40,400 --> 00:33:42,120
Speaker 1: say she came out of hospital, might be wrong. She

525
00:33:42,200 --> 00:33:43,280
Speaker 1: was on one of them. She came up in the

526
00:33:43,360 --> 00:33:49,200
Speaker 1: Corpus Christie, Texas Christie. She actually was known as the

527
00:33:49,280 --> 00:33:53,560
Speaker 1: Dell close of Corpus Christie. Yeah, we have to take

528
00:33:53,560 --> 00:33:55,760
Speaker 1: a quick break, but when we get back, we're going

529
00:33:55,800 --> 00:33:57,920
Speaker 1: to get into Desperate Housewives, because I think it's what

530
00:33:58,240 --> 00:34:01,920
Speaker 1: joins the three of us all together most um. And

531
00:34:02,040 --> 00:34:07,240
Speaker 1: we'll be right back with jo bitch, I hope that

532
00:34:07,320 --> 00:34:09,840
Speaker 1: you're sitting down at this moment because I'm about to

533
00:34:09,920 --> 00:34:12,800
Speaker 1: give you something. It's a little bit of an offer.

534
00:34:13,719 --> 00:34:16,279
Speaker 1: They're gonna want to take advantage of this. Okay, for you,

535
00:34:17,040 --> 00:34:19,239
Speaker 1: the listeners of Lost Culture Esis and thank you so

536
00:34:19,360 --> 00:34:23,879
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545
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546
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548
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551
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555
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569
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578
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610
00:37:53,120 --> 00:37:57,719
Speaker 1: Come on, and we're back with Julio Taure. We took

611
00:37:57,760 --> 00:37:59,759
Speaker 1: a break that was maybe half a second long, but

612
00:38:00,000 --> 00:38:02,120
Speaker 1: know but because I have to go look at that apartment.

613
00:38:02,840 --> 00:38:04,640
Speaker 1: He's got an appointment. But to you at home, it

614
00:38:04,760 --> 00:38:06,480
Speaker 1: felt much longer. And you know what they call that

615
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616
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Speaker 1: they actually just experienced a little bit of an offer,

617
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Speaker 1: a little bit of an offer from Casper Mattress or

618
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Speaker 1: We're not sure that's a very specific demographic. Sure, it's

619
00:38:23,719 --> 00:38:26,960
Speaker 1: the same person, it's the same it is. It's the

620
00:38:27,000 --> 00:38:30,520
Speaker 1: same person who um just live as an young urbanite

621
00:38:31,520 --> 00:38:35,840
Speaker 1: who has difficulty making choices, so they need to options

622
00:38:37,120 --> 00:38:40,759
Speaker 1: who is difficulty making huge important life choices about They

623
00:38:40,800 --> 00:38:44,440
Speaker 1: are comforted. They are, they're liberal, but they are comforted

624
00:38:44,520 --> 00:38:47,040
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625
00:38:47,040 --> 00:38:48,560
Speaker 1: want to take a risk because you don't want to

626
00:38:48,560 --> 00:38:50,040
Speaker 1: take a risk. Yes, but they think it is a

627
00:38:50,120 --> 00:38:53,719
Speaker 1: risk that they're shopping Kasper Mattress and Parker. Are you

628
00:38:53,800 --> 00:38:56,320
Speaker 1: gonna have to edit this out because no, No, I

629
00:38:56,360 --> 00:38:59,000
Speaker 1: think they know who they are. Okay, companies know who

630
00:38:59,040 --> 00:39:01,120
Speaker 1: they are. I just I just got my eye exam

631
00:39:01,200 --> 00:39:03,640
Speaker 1: at Morby Parker this past two Wow. And there we

632
00:39:03,719 --> 00:39:05,840
Speaker 1: are compensating, and there we go, and there we go

633
00:39:06,120 --> 00:39:09,080
Speaker 1: that what makes us professional. There we go, Um, okay,

634
00:39:09,480 --> 00:39:13,799
Speaker 1: Desperate House, Yes, come on talk. I mean, when did

635
00:39:13,880 --> 00:39:16,560
Speaker 1: we find out that this was the one the tide

636
00:39:16,640 --> 00:39:20,719
Speaker 1: that that bound us together. I think we just like

637
00:39:20,800 --> 00:39:25,319
Speaker 1: we're quoting Mary Alice, we were just think breathlessly said yes, Yes,

638
00:39:27,320 --> 00:39:30,239
Speaker 1: I think it happened like really early on because I

639
00:39:30,400 --> 00:39:33,680
Speaker 1: know I met you at Ethnic Realness. Yes, I feel

640
00:39:33,719 --> 00:39:36,399
Speaker 1: like it was one of those gay as group conversations

641
00:39:36,840 --> 00:39:42,480
Speaker 1: like three people end up rising to the top of It.

642
00:39:42,719 --> 00:39:49,800
Speaker 1: Is so funny to me that that show is so

643
00:39:50,120 --> 00:39:55,200
Speaker 1: present in my mind, given that I think I have

644
00:39:55,400 --> 00:40:00,759
Speaker 1: an accurate assessment of its quality. But I think the

645
00:40:00,960 --> 00:40:04,520
Speaker 1: first season is actually truly good. The pilot was so

646
00:40:04,920 --> 00:40:10,759
Speaker 1: so funny and so fun Yes, um uh, And I

647
00:40:11,760 --> 00:40:17,360
Speaker 1: don't I think I've ever crossed the street to my

648
00:40:17,480 --> 00:40:24,000
Speaker 1: apartment without thinking yes and imagining a car just hitting

649
00:40:24,280 --> 00:40:30,320
Speaker 1: hitting me, and someone neatly from above narrating it, and

650
00:40:30,400 --> 00:40:35,960
Speaker 1: there being a crane overhead shot. The cranes did so

651
00:40:36,160 --> 00:40:39,759
Speaker 1: much of the work for that show. Yes. Now I

652
00:40:39,880 --> 00:40:43,719
Speaker 1: have to ask you, um, was there a character that

653
00:40:43,800 --> 00:40:46,800
Speaker 1: you identified with most? Because I have one. No, I

654
00:40:47,200 --> 00:40:51,240
Speaker 1: I can't say I connected to I could I connected

655
00:40:51,480 --> 00:41:00,160
Speaker 1: esthetically to Terry Hatcher, No, what a mess, Marcia Cross. Uh,

656
00:41:02,000 --> 00:41:04,920
Speaker 1: it's it's that very it's that very gay boy fetish

657
00:41:05,000 --> 00:41:10,319
Speaker 1: I singing like trapped domesticity. That was just so uh

658
00:41:11,520 --> 00:41:16,600
Speaker 1: like it was it was just so easy. Yeah. I

659
00:41:16,640 --> 00:41:19,040
Speaker 1: think they did a really good job of covering every base.

660
00:41:19,280 --> 00:41:21,520
Speaker 1: Like you know, it's like with one of them, I

661
00:41:21,600 --> 00:41:24,720
Speaker 1: gave up my youth, the when I gave up my control,

662
00:41:24,800 --> 00:41:29,440
Speaker 1: I give up my sanity. They covered all their basis

663
00:41:29,520 --> 00:41:36,480
Speaker 1: of a womanhood, all the bases. I just think like

664
00:41:37,200 --> 00:41:40,000
Speaker 1: it really read to me like a fucking whatever. I

665
00:41:40,160 --> 00:41:43,759
Speaker 1: was like fifteen year old. I was like, yeah, this

666
00:41:43,920 --> 00:41:46,840
Speaker 1: is accessible for me, and I had no right. It

667
00:41:46,920 --> 00:41:50,560
Speaker 1: was like access. It was like porn. It was like like, oh,

668
00:41:50,719 --> 00:41:53,759
Speaker 1: this part of my brain really gives into this. There's

669
00:41:53,760 --> 00:41:57,720
Speaker 1: a very like primal I understood it, and there's something

670
00:41:57,800 --> 00:42:02,200
Speaker 1: to that. But also I did think a lot of

671
00:42:02,280 --> 00:42:05,120
Speaker 1: it was actually great, Like I mean, it succeeded on

672
00:42:05,280 --> 00:42:10,320
Speaker 1: so many levels. I remember the pilot, the scene that

673
00:42:10,680 --> 00:42:13,160
Speaker 1: made convince me that I that this was a show

674
00:42:13,239 --> 00:42:20,480
Speaker 1: that I would enjoy, uh Felicity Hoffman's heels against the

675
00:42:20,719 --> 00:42:25,160
Speaker 1: bottom of the pool. Yeah, and then the train of

676
00:42:25,280 --> 00:42:29,640
Speaker 1: her her black her black blouse or whatever they were.

677
00:42:30,040 --> 00:42:31,879
Speaker 1: They were at a wake, it was was it a wake?

678
00:42:32,239 --> 00:42:33,640
Speaker 1: And then she had to drag her twins out of

679
00:42:33,680 --> 00:42:37,080
Speaker 1: the pool. Yes, and wow, Felicity had to give up

680
00:42:37,120 --> 00:42:42,480
Speaker 1: her career, her career. She at parents are given up.

681
00:42:43,120 --> 00:42:47,360
Speaker 1: Lynette had given up her career. Yes, Um, I I

682
00:42:47,400 --> 00:42:52,280
Speaker 1: thought was so sexy was Lynette's husband Tom? Oh you okay?

683
00:42:52,360 --> 00:42:56,520
Speaker 1: So that you that you? Oh? Well, he looks yeah,

684
00:42:56,800 --> 00:42:59,279
Speaker 1: he was so hot. No, I was gonna say, he

685
00:42:59,400 --> 00:43:03,839
Speaker 1: looks like I know you're into. He's very American, he's

686
00:43:03,960 --> 00:43:07,719
Speaker 1: very all American, very like he'll he'll barbecue, he'll like

687
00:43:08,560 --> 00:43:14,560
Speaker 1: put away the wrenches. He but I do. I mean

688
00:43:14,840 --> 00:43:18,919
Speaker 1: he just needs the mac and cheese. Terrible diet, terrible. Yeah,

689
00:43:19,440 --> 00:43:22,640
Speaker 1: Carlos here on me just as like as a as a.

690
00:43:22,800 --> 00:43:24,360
Speaker 1: I don't think I was attracted to any of the

691
00:43:24,400 --> 00:43:27,600
Speaker 1: men in that show. Really, I was attracted for sure.

692
00:43:29,560 --> 00:43:33,840
Speaker 1: And then you know that show I had the opposite

693
00:43:33,880 --> 00:43:38,879
Speaker 1: problem that the rest of television, which is it had

694
00:43:39,000 --> 00:43:41,640
Speaker 1: no idea how to write for men. And it was

695
00:43:41,800 --> 00:43:46,480
Speaker 1: so funny to see the painful, painful, painful dialogue between

696
00:43:46,520 --> 00:43:50,279
Speaker 1: two men on that show. It was just brutal. Like

697
00:43:50,680 --> 00:43:53,160
Speaker 1: there was this scene where I can't I can't remember

698
00:43:53,280 --> 00:43:56,320
Speaker 1: what what part of the show it was, but I

699
00:43:56,400 --> 00:44:00,759
Speaker 1: think Mike was reading a book, uh, and he was

700
00:44:00,840 --> 00:44:04,319
Speaker 1: imprisoned for some reason. And then there's other there's other

701
00:44:04,560 --> 00:44:07,680
Speaker 1: like Con walks up to him and goes, what are

702
00:44:07,680 --> 00:44:10,400
Speaker 1: you reading? And then he just grabs his book and

703
00:44:10,520 --> 00:44:12,839
Speaker 1: throws it away and goes, I guess I'll just wait

704
00:44:12,880 --> 00:44:19,160
Speaker 1: for the movie. It was like who is writing? Yeah,

705
00:44:19,600 --> 00:44:21,200
Speaker 1: I'm sure a lot of the writing if you go

706
00:44:21,320 --> 00:44:24,080
Speaker 1: back and watch it wasn't actually good. Although I do

707
00:44:24,320 --> 00:44:28,000
Speaker 1: think a great TV moment that is oft overlooked is

708
00:44:28,080 --> 00:44:31,680
Speaker 1: the dinner party scene where everyone's laughing and then uh,

709
00:44:31,800 --> 00:44:35,920
Speaker 1: and then Marcia Cross's character says Rex cries when he ejaculates,

710
00:44:36,320 --> 00:44:39,040
Speaker 1: Like that's great, And I think that is like, but

711
00:44:39,120 --> 00:44:41,480
Speaker 1: you know what, because Desperate House Eyes brought back narrative

712
00:44:41,560 --> 00:44:45,560
Speaker 1: TV because we were in this reality like, oh, because

713
00:44:45,600 --> 00:44:47,960
Speaker 1: it was a huge hit and so people were like, oh,

714
00:44:48,000 --> 00:44:50,759
Speaker 1: maybe scripted things are that. That was when it was

715
00:44:50,840 --> 00:44:52,560
Speaker 1: turning around. Yeah, I felt like that was like the

716
00:44:52,640 --> 00:44:57,320
Speaker 1: golden age of YE was born. It had paved the

717
00:44:57,480 --> 00:45:01,440
Speaker 1: way back for us. I truly did honestly, it was

718
00:45:01,840 --> 00:45:04,720
Speaker 1: because Desperate Housewives started hitting at the same time Lost

719
00:45:04,719 --> 00:45:08,520
Speaker 1: started hitting. It was Lost Desperate house but also Desperate

720
00:45:08,560 --> 00:45:17,520
Speaker 1: Housewives spawned uh, the Real Housewives Orange County. Yes, and

721
00:45:19,239 --> 00:45:21,000
Speaker 1: oh no no, because that was a hyperd I'm sorry.

722
00:45:21,080 --> 00:45:23,240
Speaker 1: The Real house Was of Orange County was a hybrid

723
00:45:23,360 --> 00:45:28,120
Speaker 1: between Desperate house and they wanted to try to combine

724
00:45:28,160 --> 00:45:30,080
Speaker 1: those brands. Were you know, C person, did you watch

725
00:45:30,120 --> 00:45:32,160
Speaker 1: the O C? I did? I love the O C.

726
00:45:32,400 --> 00:45:37,840
Speaker 1: I Uh. I really really enjoyed them, and I will always,

727
00:45:39,400 --> 00:45:44,439
Speaker 1: I think, in perversity, enjoyed teen dramas. I have seen

728
00:45:44,480 --> 00:45:47,680
Speaker 1: every episode of Riverdale. That's a blunt spot for us.

729
00:45:47,760 --> 00:45:49,880
Speaker 1: Come on, we gotta watch we gotta watch it. Do

730
00:45:50,040 --> 00:45:52,960
Speaker 1: we have to watch it? I think you should. It's uh.

731
00:45:53,600 --> 00:45:56,560
Speaker 1: It is mostly a TV show, but a huge part

732
00:45:56,640 --> 00:46:00,959
Speaker 1: of it is a cover girl commercial. UM, a hot

733
00:46:01,080 --> 00:46:04,840
Speaker 1: ginger guy on. There's a hot guy who's they his

734
00:46:04,960 --> 00:46:11,240
Speaker 1: hair red um and their entire scenes. There's a scene

735
00:46:11,320 --> 00:46:15,239
Speaker 1: where the female protagonist is looking at herself in the

736
00:46:15,280 --> 00:46:18,120
Speaker 1: mirror and she's putting on lipstick because she was putting

737
00:46:18,120 --> 00:46:20,560
Speaker 1: on her cover girl lipstick, and then her mother walks

738
00:46:20,640 --> 00:46:26,239
Speaker 1: in and goes, what is that scarlet rose, and and

739
00:46:26,800 --> 00:46:30,960
Speaker 1: and the said, I mean, like, yes it is. And

740
00:46:31,000 --> 00:46:33,280
Speaker 1: then she like wipes the lipstick off of her enhanced

741
00:46:33,320 --> 00:46:35,680
Speaker 1: her another lips thing and goes, I think you're more

742
00:46:35,719 --> 00:46:42,319
Speaker 1: of a like pale pink god and like beautiful long

743
00:46:42,400 --> 00:46:45,560
Speaker 1: shots of the product. It's a cover girl commercial and

744
00:46:45,640 --> 00:46:49,200
Speaker 1: it's relationship building and it's a promotion. The only clip

745
00:46:49,239 --> 00:46:51,200
Speaker 1: I've seen of Riverdale I saw the first like ten

746
00:46:51,280 --> 00:46:53,400
Speaker 1: minutes of the pilot, which which was gorgeous, which was

747
00:46:53,480 --> 00:46:57,960
Speaker 1: like them being on the boat like searching for whatever. Well, yeah,

748
00:46:58,080 --> 00:47:03,719
Speaker 1: it was the they're really going for this hyper stylized yea,

749
00:47:04,760 --> 00:47:12,480
Speaker 1: every frame is foggy, yes, actually yeah, because they are

750
00:47:12,600 --> 00:47:18,840
Speaker 1: like very moody shots of like diners, a lot of neon.

751
00:47:20,000 --> 00:47:21,680
Speaker 1: There you go. I love it. But then the other

752
00:47:21,719 --> 00:47:23,279
Speaker 1: clip I saw was I think it was Reggie or

753
00:47:23,320 --> 00:47:26,480
Speaker 1: someone that the clip of that guy saying look I'm

754
00:47:26,520 --> 00:47:29,839
Speaker 1: a WEIRDO. Okay, I'm weird, that's my thing or whatever

755
00:47:29,880 --> 00:47:32,360
Speaker 1: it was in paraphrasing, yes, yes, this is this is

756
00:47:32,400 --> 00:47:39,640
Speaker 1: a sort of like Donnie Dark esque narrator who you

757
00:47:39,760 --> 00:47:45,000
Speaker 1: can tell that they take that character deeply seriously. And

758
00:47:45,160 --> 00:47:47,400
Speaker 1: I and I would be willing to guess that They're like,

759
00:47:48,360 --> 00:47:51,759
Speaker 1: we'll get you an Emmy nod for Wait, we're talking

760
00:47:51,800 --> 00:47:57,279
Speaker 1: about Yeah. I think Julio. Julie was telling me over

761
00:47:57,360 --> 00:47:58,960
Speaker 1: text one day because I like, I saw that clip

762
00:47:59,040 --> 00:48:00,239
Speaker 1: and I was and I knew who he was watching,

763
00:48:00,320 --> 00:48:01,759
Speaker 1: Riverdal and I was like, I just saw this clip.

764
00:48:01,800 --> 00:48:03,880
Speaker 1: It's ridiculous, and he was like, oh yeah, but you

765
00:48:04,000 --> 00:48:07,040
Speaker 1: know that God that actor is like texting his manager like, hey,

766
00:48:07,160 --> 00:48:09,920
Speaker 1: like this is the tape. Just just just following up.

767
00:48:09,960 --> 00:48:14,040
Speaker 1: I think this is my free consideration submitsition like deth

768
00:48:14,120 --> 00:48:17,719
Speaker 1: least that yes, it's it's a it's a deathly serious performance.

769
00:48:18,160 --> 00:48:21,200
Speaker 1: Desperate Housewives and Lost were also the two shows that

770
00:48:21,400 --> 00:48:23,800
Speaker 1: got me into and I hate that this was a

771
00:48:23,880 --> 00:48:25,840
Speaker 1: big part of my personality when I was in high school.

772
00:48:25,880 --> 00:48:27,960
Speaker 1: But I would go on like online and go to

773
00:48:28,040 --> 00:48:31,759
Speaker 1: the forums like the like the like gold Derby was

774
00:48:31,840 --> 00:48:34,880
Speaker 1: the website I went to and like really talk about

775
00:48:35,000 --> 00:48:37,680
Speaker 1: who was going to win Emmy's like I really cared

776
00:48:37,680 --> 00:48:40,600
Speaker 1: about and I was into the race. I knew what

777
00:48:40,680 --> 00:48:45,360
Speaker 1: everyone's tapes were. Yeah, I knew. I knew what everyone's

778
00:48:45,360 --> 00:48:48,400
Speaker 1: tapes were. I still know that Terry Hatcher submitted the

779
00:48:48,520 --> 00:48:53,600
Speaker 1: episode Impossible season one and Felicity Hoffman one submitting the pilot.

780
00:48:54,640 --> 00:48:59,800
Speaker 1: What let me tell you, nobody thought that Felicity Hoffman

781
00:48:59,800 --> 00:49:02,000
Speaker 1: would in the Emmy. They thought it was all Terry Hatcher.

782
00:49:02,239 --> 00:49:06,719
Speaker 1: They your forum or I think that the industry on

783
00:49:06,960 --> 00:49:10,000
Speaker 1: the Forum, we're all like, it's gotta be Terry Hatcher.

784
00:49:10,040 --> 00:49:12,000
Speaker 1: It's gotta be Terry Hatcher. But Emmys are gonna want

785
00:49:12,000 --> 00:49:14,440
Speaker 1: their own. I was a husband speech, and that's what

786
00:49:14,520 --> 00:49:18,320
Speaker 1: everyone was saying. The narrative was that Terry Hatcher, despite

787
00:49:18,440 --> 00:49:21,759
Speaker 1: I think everyone knowing the most talented person on the show.

788
00:49:23,040 --> 00:49:27,440
Speaker 1: What I think the juiciest role was Marsha Cross. Well,

789
00:49:27,480 --> 00:49:30,400
Speaker 1: Felicity has amazing. I just thought she got shitty material.

790
00:49:30,480 --> 00:49:35,200
Speaker 1: Did in Felicity when the Golden Globe for Transamerica? Yes,

791
00:49:37,480 --> 00:49:39,880
Speaker 1: she was a winner for Desperate Housewives, and she was

792
00:49:39,960 --> 00:49:42,359
Speaker 1: the only one got it, gotta got it. And then

793
00:49:42,400 --> 00:49:46,520
Speaker 1: I think, um, Mrs McCluskey wont like a guest Emmy. Um.

794
00:49:47,160 --> 00:49:49,360
Speaker 1: But for me, I thought, for me, what I remember

795
00:49:49,400 --> 00:49:53,319
Speaker 1: about Desperate Housewives is Eva Longoria and Nicola Sheridan. Yeah,

796
00:49:53,560 --> 00:49:59,320
Speaker 1: they're there like the tramps. I always say, like I

797
00:49:59,400 --> 00:50:03,160
Speaker 1: always tell Um Bowen and Sam that their next Live

798
00:50:03,239 --> 00:50:05,480
Speaker 1: on broad Gay should be the pilot at Desperate Housewives,

799
00:50:05,520 --> 00:50:11,200
Speaker 1: And I'm Eadie, oh yeah, yes, is that on the pilot.

800
00:50:11,960 --> 00:50:15,080
Speaker 1: It is in the pilot. IM just washing my car

801
00:50:15,440 --> 00:50:18,360
Speaker 1: and then just like her, like really holing it up

802
00:50:18,400 --> 00:50:20,520
Speaker 1: on the street. You know what line reading I still

803
00:50:20,600 --> 00:50:23,160
Speaker 1: remember to this day from Eadie from Nicolete Sheridan is

804
00:50:23,160 --> 00:50:25,040
Speaker 1: when she I think it's the second or third episode

805
00:50:25,120 --> 00:50:27,839
Speaker 1: is Terry Hodg was talking to Mike Telfino, Susan's talking

806
00:50:27,880 --> 00:50:30,440
Speaker 1: to Mike and then Dye shows up and she hands

807
00:50:30,520 --> 00:50:39,000
Speaker 1: Mike a sausage putinesca y. Yeah, yeah, yeah she was.

808
00:50:39,640 --> 00:50:41,719
Speaker 1: She was sizing up tery agra one time, and she

809
00:50:41,880 --> 00:50:51,359
Speaker 1: just goes you clever, little shrewd. Truly entertainment created by

810
00:50:51,840 --> 00:50:57,480
Speaker 1: a gay man for young gay men, Yes, using uh

811
00:50:57,920 --> 00:51:02,040
Speaker 1: woman as props, and it's but they were so happy

812
00:51:02,080 --> 00:51:06,520
Speaker 1: about it was it's it's the sort of show Bis

813
00:51:06,680 --> 00:51:08,759
Speaker 1: version of just playing with barbies. It's the show Bids

814
00:51:08,840 --> 00:51:11,160
Speaker 1: version of it, as Cold School would say, like trying

815
00:51:11,200 --> 00:51:15,240
Speaker 1: on mommy's dresses, and by a gay man who insisted

816
00:51:15,239 --> 00:51:17,560
Speaker 1: in that every episode be that be the title of

817
00:51:17,560 --> 00:51:23,560
Speaker 1: a Sondheim song you Gotta come on. Queer art, queer art,

818
00:51:25,680 --> 00:51:29,480
Speaker 1: one of them. We are the ladies who lunge every day,

819
00:51:29,600 --> 00:51:32,200
Speaker 1: little every day, a little time. But I have to say,

820
00:51:32,800 --> 00:51:36,040
Speaker 1: the funniest part about Desperate House Lives is you could

821
00:51:36,040 --> 00:51:37,320
Speaker 1: tell they made the show and they were like, this

822
00:51:37,480 --> 00:51:39,520
Speaker 1: is fun. We know we don't you know, it's great.

823
00:51:39,920 --> 00:51:42,160
Speaker 1: And they were all like genuinely happy to just have

824
00:51:42,400 --> 00:51:45,200
Speaker 1: those parts and be able to be leads on the tellos,

825
00:51:45,200 --> 00:51:48,319
Speaker 1: and they truly became the superstars of television. And then

826
00:51:48,719 --> 00:51:50,239
Speaker 1: you can see it all getting to their heads and

827
00:51:50,280 --> 00:51:52,520
Speaker 1: they were like, no, I want the juicy, dramatic storyline

828
00:51:52,560 --> 00:51:57,399
Speaker 1: with me. It's my That was funny. Came very early

829
00:51:57,480 --> 00:52:02,200
Speaker 1: on though, that's for the rest of their Yeah, there,

830
00:52:02,480 --> 00:52:05,280
Speaker 1: it's it's so it's so incredible. Can you imagine bowing

831
00:52:05,360 --> 00:52:09,160
Speaker 1: for a second that Okay, so you are with a

832
00:52:09,200 --> 00:52:14,680
Speaker 1: group of your peers and you, presumably, as legend has it,

833
00:52:15,239 --> 00:52:17,960
Speaker 1: say that you want to be at the center of

834
00:52:18,000 --> 00:52:21,640
Speaker 1: the photo shoot, right, and you you have this very

835
00:52:22,239 --> 00:52:26,720
Speaker 1: if this is what happened, you have this very selfish moment.

836
00:52:27,440 --> 00:52:32,279
Speaker 1: Can you imagine that that the ripple effect of that

837
00:52:33,080 --> 00:52:42,600
Speaker 1: request just echoing and echoing through decades, the point where

838
00:52:42,680 --> 00:52:47,000
Speaker 1: like three up and coming Brooklyn comedians in the year

839
00:52:47,120 --> 00:52:52,920
Speaker 1: TV are still calling her out on the audacity on

840
00:52:53,040 --> 00:53:01,440
Speaker 1: this unforgivable I'm thankful. I've never felt more open. For God,

841
00:53:01,719 --> 00:53:09,000
Speaker 1: It's insane because I I have sent like emails. I

842
00:53:09,080 --> 00:53:13,080
Speaker 1: have sent my emails that, oh my goodness, if I

843
00:53:13,560 --> 00:53:15,799
Speaker 1: if you were the terry in those emails, if they were,

844
00:53:16,800 --> 00:53:18,520
Speaker 1: if the if the young gays were to find out,

845
00:53:18,560 --> 00:53:20,359
Speaker 1: they'd still be talking about I don't think. I don't think,

846
00:53:20,840 --> 00:53:24,400
Speaker 1: but I have had like small moments where I've been like,

847
00:53:25,000 --> 00:53:26,759
Speaker 1: this is how it has to happen. I love it.

848
00:53:27,160 --> 00:53:28,920
Speaker 1: You have to be like that. I was following one

849
00:53:28,960 --> 00:53:32,920
Speaker 1: of Julio's email chains with this Edinburgh, this Edinburgh residence.

850
00:53:33,120 --> 00:53:34,719
Speaker 1: What you read the what was? I think I read

851
00:53:34,719 --> 00:53:36,880
Speaker 1: a few of the things, but you were just like, um,

852
00:53:37,880 --> 00:53:40,279
Speaker 1: you were I forget what it was, but you were

853
00:53:40,320 --> 00:53:44,359
Speaker 1: just very reasonably resolute with what you wanted. You were like, um,

854
00:53:45,719 --> 00:53:47,960
Speaker 1: I forget it specifically what was? But I remember reading

855
00:53:47,960 --> 00:53:50,120
Speaker 1: that chain. I was like, yeah, no, Julio's right. I

856
00:53:51,400 --> 00:53:54,360
Speaker 1: was put up in a hotel room for it was

857
00:53:54,440 --> 00:53:56,719
Speaker 1: the hotel. It was about the hotel. It's always about

858
00:53:56,719 --> 00:54:00,800
Speaker 1: the hotel. It was always about the hotel I was.

859
00:54:00,920 --> 00:54:03,680
Speaker 1: I was put in a hotel room recently at this

860
00:54:03,880 --> 00:54:10,680
Speaker 1: very nice hotel. But the the view was just overlooked

861
00:54:10,719 --> 00:54:17,120
Speaker 1: the courtyard, which is restive and unacceptable. Oh my, yes,

862
00:54:18,320 --> 00:54:23,759
Speaker 1: and it's well, it's gonna be a month. But even

863
00:54:24,000 --> 00:54:27,200
Speaker 1: even so, I mean like, this is a lesson in

864
00:54:27,920 --> 00:54:30,759
Speaker 1: advocating for your salesman's and picking your your battles. I

865
00:54:30,840 --> 00:54:34,319
Speaker 1: think because I am a very reasonable vegan. I am

866
00:54:34,320 --> 00:54:36,719
Speaker 1: a vegan. I have that di restriction, but I'll go

867
00:54:36,840 --> 00:54:40,080
Speaker 1: to any restaurants. Work. You have made it work multiplications

868
00:54:40,080 --> 00:54:43,160
Speaker 1: when moving now together. Yes, it's like Nicki Minaj says,

869
00:54:43,840 --> 00:54:46,359
Speaker 1: if I show up to a photo shoot and there's

870
00:54:46,400 --> 00:54:49,279
Speaker 1: some sliced pickles on a board, no, you know what,

871
00:54:49,400 --> 00:54:54,480
Speaker 1: I am gonna leave. So if I accepted the pickle juice,

872
00:54:55,719 --> 00:54:57,719
Speaker 1: I would be drinking pickle juice right now. They don't

873
00:54:57,719 --> 00:54:59,239
Speaker 1: ask jay Z you know what when jay Z does

874
00:54:59,280 --> 00:55:01,520
Speaker 1: something like that, based he's when when Wayne does something

875
00:55:01,560 --> 00:55:05,840
Speaker 1: that I think that he's stuff. Um. But this Wholio

876
00:55:05,920 --> 00:55:07,600
Speaker 1: is saying that this is a lesson in picking your

877
00:55:07,640 --> 00:55:11,600
Speaker 1: battles because you're reasonably again, you're a reasonable eater. But

878
00:55:12,440 --> 00:55:15,319
Speaker 1: when it comes to a hotel room view, it must

879
00:55:15,560 --> 00:55:17,680
Speaker 1: meet a standard and they will walk over you as

880
00:55:17,719 --> 00:55:21,040
Speaker 1: a gay man. That I don't think that, I think

881
00:55:21,080 --> 00:55:25,320
Speaker 1: think a couple. Did I ever work in a hotel?

882
00:55:25,600 --> 00:55:27,799
Speaker 1: Oh no, I'm not talking about the hotel work. I'm

883
00:55:27,840 --> 00:55:31,319
Speaker 1: talking about people in general. Like they think, oh, if

884
00:55:31,360 --> 00:55:33,719
Speaker 1: he has a request, it's just fun. It's just like

885
00:55:33,840 --> 00:55:37,000
Speaker 1: he's just being like, you know, you're looked at it

886
00:55:37,080 --> 00:55:41,040
Speaker 1: with a certain sense of more like you're like you're

887
00:55:41,040 --> 00:55:43,279
Speaker 1: petty because you're petty, and that's funny. Yeah, when when

888
00:55:43,320 --> 00:55:45,799
Speaker 1: you're dealing with people, it's like, I think, I think

889
00:55:45,920 --> 00:55:49,160
Speaker 1: that you are taking least seriously as a wife, and

890
00:55:49,280 --> 00:55:53,080
Speaker 1: then gay man and then straight man. I don't know

891
00:55:53,200 --> 00:55:55,600
Speaker 1: if this is connected to that thesis or not, but

892
00:55:55,719 --> 00:55:59,040
Speaker 1: I think that I spend a lot of my day

893
00:56:00,120 --> 00:56:07,640
Speaker 1: just uh convincing people, perhaps deceptively, o perhaps truthfully that

894
00:56:07,840 --> 00:56:12,960
Speaker 1: I am not as difficult as you might think I am.

895
00:56:13,200 --> 00:56:15,040
Speaker 1: I agree, though, I think it's I think it's truth.

896
00:56:15,080 --> 00:56:17,600
Speaker 1: I think that's truthful. Oh yeah, it is. You know

897
00:56:17,640 --> 00:56:20,440
Speaker 1: how many people, Well Henry, when I first started dating him,

898
00:56:20,880 --> 00:56:23,399
Speaker 1: said to me about Bowen, and this is from coming

899
00:56:23,400 --> 00:56:25,520
Speaker 1: from another game man. He's like, I didn't expect Boonen

900
00:56:25,600 --> 00:56:28,160
Speaker 1: to be so nice because online presence is so severe.

901
00:56:31,440 --> 00:56:34,560
Speaker 1: A boy who eats the mcflury every day he's left,

902
00:56:36,239 --> 00:56:38,200
Speaker 1: do not put that on the atmosphere. He'll be like, no,

903
00:56:38,760 --> 00:56:42,399
Speaker 1: I'm healthy. Henry loves Halo tops. Now what's a Halo talk.

904
00:56:42,760 --> 00:56:45,759
Speaker 1: It's this creation that they've found out that it's like

905
00:56:45,800 --> 00:56:48,480
Speaker 1: a substitute ice cream. Just don't eat any type of

906
00:56:48,520 --> 00:56:51,279
Speaker 1: ice cream. There you go, that's hard for people who

907
00:56:51,440 --> 00:56:54,399
Speaker 1: love ice cream. I'm a garbage, I'm trash. I will

908
00:56:54,440 --> 00:56:56,920
Speaker 1: eat anything if it's bad for me. That's what I need.

909
00:56:58,080 --> 00:56:59,960
Speaker 1: I just want to close the loop on this vanity fair.

910
00:57:00,320 --> 00:57:03,680
Speaker 1: Shoot the conversation, because we're not done with her. We're

911
00:57:03,680 --> 00:57:07,360
Speaker 1: not done with her in life. You're either in moment

912
00:57:07,400 --> 00:57:09,719
Speaker 1: to moment you're either a Terry Hatcher demanding to be

913
00:57:09,760 --> 00:57:12,879
Speaker 1: in the center, or your Marshal Cross calling that ship

914
00:57:13,000 --> 00:57:16,040
Speaker 1: out and being like, no, there should be no center.

915
00:57:16,160 --> 00:57:17,680
Speaker 1: I'm sorry, I'm tapping on the table. There should be

916
00:57:17,680 --> 00:57:19,880
Speaker 1: no center. Is that? Is that? Is that how the

917
00:57:20,000 --> 00:57:23,160
Speaker 1: legend goes that it was Martians who I don't know

918
00:57:23,360 --> 00:57:25,400
Speaker 1: who it was that put their foot down and said

919
00:57:25,440 --> 00:57:28,000
Speaker 1: this is stupid. But all I know it should have

920
00:57:28,080 --> 00:57:30,880
Speaker 1: been all in a rotating platform and it should have

921
00:57:30,920 --> 00:57:36,040
Speaker 1: been a gift. It was a fold out cover. I

922
00:57:36,160 --> 00:57:42,880
Speaker 1: remember what they should have because you're you know what

923
00:57:42,920 --> 00:57:44,280
Speaker 1: they should have done was they should have done that

924
00:57:44,360 --> 00:57:47,400
Speaker 1: novelty cover thing where you didn't know who like that's

925
00:57:47,560 --> 00:57:50,080
Speaker 1: you collect every kind like sometimes you get well with

926
00:57:50,240 --> 00:57:54,280
Speaker 1: Terry in the middle. Sometimes you get one with seven

927
00:57:54,320 --> 00:57:59,680
Speaker 1: different that's what they want, different prints, Oh man, make

928
00:57:59,720 --> 00:58:03,000
Speaker 1: them all seem like miserable nightmares. I mean, come on,

929
00:58:03,320 --> 00:58:05,080
Speaker 1: I you know what we can We can choose to

930
00:58:05,160 --> 00:58:08,320
Speaker 1: be the Terrys in our lives or the Marcia's you

931
00:58:08,800 --> 00:58:11,400
Speaker 1: and and if these are the two choices that I

932
00:58:11,440 --> 00:58:14,240
Speaker 1: don't think you ever you were ever not Marcia. I

933
00:58:14,280 --> 00:58:16,320
Speaker 1: don't think you ever not calling people out on there

934
00:58:16,680 --> 00:58:20,720
Speaker 1: me specifically, wow, okay, that you point at things and

935
00:58:20,920 --> 00:58:24,840
Speaker 1: go that's classes a lot. Yeah, yeah, yeah, sure, And

936
00:58:24,960 --> 00:58:27,320
Speaker 1: I don't but I could do a better job of

937
00:58:27,400 --> 00:58:30,320
Speaker 1: balancing that out with the Terry Hatter side of demanding,

938
00:58:30,600 --> 00:58:36,720
Speaker 1: of demanding something yeah, but not necessarily deserved. What was

939
00:58:36,800 --> 00:58:39,040
Speaker 1: her claim to wanting the center I guess it's like

940
00:58:39,400 --> 00:58:41,880
Speaker 1: the only two of them that are still working are

941
00:58:42,360 --> 00:58:47,720
Speaker 1: Eva and um Felicity. Felicity has has a marquee role

942
00:58:47,920 --> 00:58:52,120
Speaker 1: on the anthology American Crime, and I think that she'll

943
00:58:53,520 --> 00:58:55,640
Speaker 1: work forever she does. She has like the lead part

944
00:58:55,720 --> 00:58:59,040
Speaker 1: on her and Regina King. You know when I, uh

945
00:58:59,520 --> 00:59:03,240
Speaker 1: in high school, when I sort of just sort of

946
00:59:03,320 --> 00:59:05,560
Speaker 1: woke up and decided that I wanted to be a

947
00:59:05,680 --> 00:59:10,320
Speaker 1: comedy writer. I happened. I kind of, No, that's not

948
00:59:10,400 --> 00:59:16,080
Speaker 1: what happened. I had um Uh, I will get into that,

949
00:59:16,240 --> 00:59:22,439
Speaker 1: but I wrote a pilot uh when I was maybe

950
00:59:22,480 --> 00:59:26,720
Speaker 1: like eighteen, and I cast it. I cast it it

951
00:59:27,280 --> 00:59:33,800
Speaker 1: and going I think solely by her, like Lewis and

952
00:59:33,920 --> 00:59:39,280
Speaker 1: Clark credit. I cast Harry Catcher as the lead and

953
00:59:40,080 --> 00:59:42,680
Speaker 1: it was like a Terry Hatcher maybe Molly Shannon role,

954
00:59:43,160 --> 00:59:48,160
Speaker 1: but Terry Hatcher Molly maybe the biggest career prior she

955
00:59:48,520 --> 00:59:50,640
Speaker 1: I as a child, I thought she was on Lowis

956
00:59:50,680 --> 00:59:52,360
Speaker 1: and Clark. I was like, that is the most beautiful woman.

957
00:59:52,600 --> 00:59:57,080
Speaker 1: She score job. Yeah, and I also casted Jane Karkowski

958
00:59:57,160 --> 01:00:02,920
Speaker 1: based solely on Ally McBeal icon. Yeah, that's you know what,

959
01:00:03,120 --> 01:00:05,920
Speaker 1: that's that's the seed that that's where all this, that's

960
01:00:05,960 --> 01:00:07,800
Speaker 1: the the seed crystal. Okay, should we move on. Jane

961
01:00:07,880 --> 01:00:12,240
Speaker 1: Krikhowski always keeps coming back in something fierce, like she's

962
01:00:12,440 --> 01:00:16,320
Speaker 1: always she's so funny, she's so good. And also she

963
01:00:16,600 --> 01:00:19,200
Speaker 1: actually to bring it back. Was in the Tony musical,

964
01:00:19,680 --> 01:00:23,040
Speaker 1: The Tony Musical, the Broadway Musical nine, and she wanted

965
01:00:23,080 --> 01:00:25,800
Speaker 1: Tony for that performance. She played the role that Penelope

966
01:00:25,880 --> 01:00:28,680
Speaker 1: Cruz plays in the movie I didn't and she wanted

967
01:00:28,760 --> 01:00:33,560
Speaker 1: Tony her a call from the Vatican was like, from

968
01:00:33,640 --> 01:00:36,200
Speaker 1: the call from the Vatican, that's the best. That character's

969
01:00:36,240 --> 01:00:39,040
Speaker 1: big number. That another number, it's a ballot called simple

970
01:00:39,160 --> 01:00:42,080
Speaker 1: later in the show. But hers was like, very this

971
01:00:42,320 --> 01:00:47,320
Speaker 1: is this is sort of based an eight and a half. Yes,

972
01:00:47,920 --> 01:00:52,680
Speaker 1: almost directly so, uh, but she um had a very

973
01:00:52,760 --> 01:00:56,520
Speaker 1: famous performance of that number because she came down upside

974
01:00:56,560 --> 01:01:00,200
Speaker 1: down from the top of the ceiling and lowered and

975
01:01:00,280 --> 01:01:02,880
Speaker 1: and then did the whole number and then like the

976
01:01:03,080 --> 01:01:07,040
Speaker 1: number ended with her going back up. Descending and ascending

977
01:01:07,160 --> 01:01:10,720
Speaker 1: is so funny. It's never not funny. Super Bowl Whippy

978
01:01:10,760 --> 01:01:16,400
Speaker 1: goldending and ascending is very difficult to achieve that it is.

979
01:01:16,640 --> 01:01:19,120
Speaker 1: It is very very funny. I love it. Beyonce is

980
01:01:19,120 --> 01:01:21,480
Speaker 1: descended twice from the from the v M as she

981
01:01:21,640 --> 01:01:24,600
Speaker 1: came down baby boy and then what was this? What

982
01:01:24,680 --> 01:01:27,040
Speaker 1: was the second one? Bring here's one of the most

983
01:01:28,200 --> 01:01:30,080
Speaker 1: uh I And I don't think that this is talked

984
01:01:30,080 --> 01:01:36,240
Speaker 1: about enough. But the most embarrassing part about being a performer,

985
01:01:37,040 --> 01:01:41,120
Speaker 1: I think isn't performing or like being seen, or like

986
01:01:41,240 --> 01:01:47,240
Speaker 1: even like bombing, is leaving the stage because there is

987
01:01:47,480 --> 01:01:52,439
Speaker 1: no there is no good way of doing it. I've

988
01:01:52,480 --> 01:01:55,200
Speaker 1: discovered how I Alyssa Edwards my way off the stage.

989
01:01:55,240 --> 01:01:58,560
Speaker 1: Now I point and I just embarrassing. I wish it

990
01:01:58,640 --> 01:02:01,280
Speaker 1: could be a blackout and I could uh not be

991
01:02:01,400 --> 01:02:04,120
Speaker 1: there at all. Don't think about it anymore. Just leave confidently,

992
01:02:04,160 --> 01:02:05,760
Speaker 1: and then norm will think about it. I think if

993
01:02:05,800 --> 01:02:07,520
Speaker 1: there's anyone, I don't think anyone thinking about it, but

994
01:02:07,520 --> 01:02:10,640
Speaker 1: I'm thinking about it. You you can invent the news

995
01:02:11,320 --> 01:02:13,439
Speaker 1: the new way in which people like fit. I think

996
01:02:14,240 --> 01:02:17,720
Speaker 1: this is so true. It's it is embarrassing. See. I

997
01:02:17,840 --> 01:02:20,920
Speaker 1: think it's triumphant. Okay, all right, I think I think

998
01:02:20,960 --> 01:02:22,320
Speaker 1: it's a frame of mind. I think it's a state

999
01:02:22,360 --> 01:02:26,680
Speaker 1: of mind. I think coming out is worse no entering.

1000
01:02:27,080 --> 01:02:30,360
Speaker 1: There's more at stake, and and entering is heaven, entering

1001
01:02:30,520 --> 01:02:35,360
Speaker 1: is hello er. I don't know. I think I think

1002
01:02:35,720 --> 01:02:39,080
Speaker 1: a lot is decided in the first minute, so I

1003
01:02:39,200 --> 01:02:42,560
Speaker 1: think that your entrance is a part of that. And

1004
01:02:42,680 --> 01:02:45,480
Speaker 1: I've thought more about my entrances than I have my exits.

1005
01:02:45,480 --> 01:02:49,200
Speaker 1: I almost never think about my exit because I have

1006
01:02:49,480 --> 01:02:55,840
Speaker 1: never successfully exited a performance. I think my dream exit

1007
01:02:56,600 --> 01:03:03,800
Speaker 1: is Margaret Hamilton's just melting, no cloud of fucking red smoke. Oh,

1008
01:03:04,040 --> 01:03:07,720
Speaker 1: the first exit, the explosion, and she gets like taken

1009
01:03:07,800 --> 01:03:10,240
Speaker 1: down in an elevator. That's that's pretty good. That's a

1010
01:03:10,320 --> 01:03:13,640
Speaker 1: pretty high tech request. See, I think you'll get rightfully

1011
01:03:13,720 --> 01:03:16,320
Speaker 1: read by the tech crew. But I will I will

1012
01:03:16,360 --> 01:03:18,960
Speaker 1: make a terry hat to ask demanding exiting a stage.

1013
01:03:19,000 --> 01:03:21,200
Speaker 1: I just realized it's almost as bad as being seen

1014
01:03:21,280 --> 01:03:25,640
Speaker 1: coming out of a bathroom. Wow. And with that we

1015
01:03:25,680 --> 01:03:28,280
Speaker 1: should move on to I don't think so honey, um,

1016
01:03:28,480 --> 01:03:32,120
Speaker 1: because our guest has somewhere to go. I don't think

1017
01:03:32,160 --> 01:03:36,360
Speaker 1: so honey student, I'm going to hate. I don't think

1018
01:03:36,400 --> 01:03:38,640
Speaker 1: so honey. Is the centerpiece of our show? Is the

1019
01:03:39,120 --> 01:03:45,800
Speaker 1: moment is at the end? Yes, the culmination really the

1020
01:03:45,920 --> 01:03:49,560
Speaker 1: moment that you gag for we're going to take one

1021
01:03:49,560 --> 01:03:51,360
Speaker 1: minute a rail against something in culture. But when do

1022
01:03:51,440 --> 01:03:54,120
Speaker 1: you have something I don't do? You know? Um? And

1023
01:03:54,200 --> 01:03:56,479
Speaker 1: that's very on brand for us, although I could sort

1024
01:03:56,520 --> 01:03:58,400
Speaker 1: of go off on something. Actually you know what, I

1025
01:03:58,440 --> 01:04:00,760
Speaker 1: will okay, all right, and her of our guests and

1026
01:04:00,960 --> 01:04:03,480
Speaker 1: never guess, Okay, this is gonna be um great, this

1027
01:04:03,640 --> 01:04:06,440
Speaker 1: is Matt Rodgers. I don't think so, Honey. Time starts now,

1028
01:04:06,680 --> 01:04:10,040
Speaker 1: I don't think so, honey. If you come for Kelly Clarkson, ever,

1029
01:04:11,040 --> 01:04:14,360
Speaker 1: don't you ever do this? Do you don't understand how

1030
01:04:14,480 --> 01:04:16,560
Speaker 1: much this girl has struggled? No, because you know what.

1031
01:04:16,800 --> 01:04:19,120
Speaker 1: She doesn't let you know. She just comes out there,

1032
01:04:19,120 --> 01:04:21,600
Speaker 1: plants her god damn feet, sings her fucking heart out,

1033
01:04:21,720 --> 01:04:24,640
Speaker 1: and she leaves the stage. Bitch. She has been through struggle,

1034
01:04:24,720 --> 01:04:26,880
Speaker 1: and I know that because I am too big of

1035
01:04:26,960 --> 01:04:29,600
Speaker 1: a fan. But the fact that she has just been

1036
01:04:29,640 --> 01:04:34,760
Speaker 1: there for us for the last sixteen I'm gonna makeup

1037
01:04:34,920 --> 01:04:38,280
Speaker 1: years and the fact that you never see her sweat

1038
01:04:38,480 --> 01:04:41,640
Speaker 1: but she's been through it means that is a superstar.

1039
01:04:42,080 --> 01:04:45,440
Speaker 1: She is the American idol. The American people fell in

1040
01:04:45,520 --> 01:04:48,000
Speaker 1: love with her, and that is no mistake. And when

1041
01:04:48,040 --> 01:04:50,560
Speaker 1: you come in here and you call her Starbucks. And

1042
01:04:50,600 --> 01:04:52,200
Speaker 1: when you come in here and you call her base

1043
01:04:52,280 --> 01:04:54,440
Speaker 1: and you call me Starbucks and you call me Basic.

1044
01:04:54,480 --> 01:04:57,200
Speaker 1: And if that's the case, bitch, meet me outside. I

1045
01:04:57,240 --> 01:04:59,040
Speaker 1: will meet you there and I'll be a belt and

1046
01:04:59,160 --> 01:05:02,640
Speaker 1: catch a breath, which is a little known single that

1047
01:05:02,680 --> 01:05:04,880
Speaker 1: should have been top of the charts, but the industry

1048
01:05:04,960 --> 01:05:07,960
Speaker 1: is out to get her more. Austin, I don't think so, honey.

1049
01:05:08,080 --> 01:05:10,840
Speaker 1: That's one minute. Wow. Did you just say that she

1050
01:05:11,080 --> 01:05:14,440
Speaker 1: doesn't let us know that she's been through struggle because

1051
01:05:14,480 --> 01:05:20,480
Speaker 1: that isn't what every song is about. That is That's

1052
01:05:20,480 --> 01:05:25,160
Speaker 1: okay because you know the constant reminder her music, her music,

1053
01:05:26,280 --> 01:05:28,520
Speaker 1: Her music is for you. It's not for her. She

1054
01:05:29,000 --> 01:05:31,840
Speaker 1: lets you live her song. She is. Matt has said

1055
01:05:31,920 --> 01:05:34,760
Speaker 1: she's the ultimate treadmill queen. Her treads are designed for

1056
01:05:34,840 --> 01:05:38,320
Speaker 1: the treadmill. So she's harnessing her her vulnerability and her struggle.

1057
01:05:38,400 --> 01:05:41,800
Speaker 1: But she's just you know, you're never going to hear

1058
01:05:41,800 --> 01:05:44,720
Speaker 1: about her feuding with another pop star in the news. Yes, no,

1059
01:05:44,920 --> 01:05:48,160
Speaker 1: she she seems to me like a very genuine, beautiful person.

1060
01:05:48,360 --> 01:05:51,640
Speaker 1: But I think that I it's sort of in the

1061
01:05:51,760 --> 01:05:56,360
Speaker 1: same area as Christmas where it's like, I, you know what,

1062
01:05:56,560 --> 01:06:00,680
Speaker 1: they're popular, people like it. I don't get it. I

1063
01:06:00,760 --> 01:06:03,280
Speaker 1: don't The part of my brain that should react to

1064
01:06:03,480 --> 01:06:07,080
Speaker 1: it isn't there. I understand that their pure joy, but

1065
01:06:07,800 --> 01:06:12,000
Speaker 1: um yeah, no, sure, okay, it's just that Julio has

1066
01:06:12,240 --> 01:06:16,640
Speaker 1: has called her Starbucks, and I like Starbucks. I like

1067
01:06:16,800 --> 01:06:18,840
Speaker 1: I like Starbucks. In fact, they know my name and

1068
01:06:18,960 --> 01:06:23,760
Speaker 1: the Midtown Starbucks they know my name at the sight.

1069
01:06:24,240 --> 01:06:28,160
Speaker 1: Whenever I've been to a Starbucks, I have pretended not

1070
01:06:28,400 --> 01:06:31,400
Speaker 1: to know what their sizes, the names of their sizes.

1071
01:06:31,560 --> 01:06:34,800
Speaker 1: And I always do that because I reflect Europe, to

1072
01:06:34,960 --> 01:06:37,720
Speaker 1: give in to their to their lingo. I get that

1073
01:06:37,840 --> 01:06:40,520
Speaker 1: to power play. Um okay, bone, are you ready? Um?

1074
01:06:40,720 --> 01:06:42,760
Speaker 1: Should I be preparing one of these? You need to

1075
01:06:42,840 --> 01:06:45,520
Speaker 1: have one? Bitch? No, it's fine, it's it's it's sometimes

1076
01:06:45,560 --> 01:06:47,360
Speaker 1: it's better when it just comes to you in the moment.

1077
01:06:47,920 --> 01:06:50,240
Speaker 1: But having just said I need to have one, bit,

1078
01:06:50,440 --> 01:06:52,600
Speaker 1: so I when you start thinking of one, So so

1079
01:06:52,720 --> 01:06:54,400
Speaker 1: I'll go and then you can start thinking of one.

1080
01:06:54,520 --> 01:06:56,600
Speaker 1: Here we go. This is I don't think so, honey,

1081
01:06:56,640 --> 01:06:58,760
Speaker 1: and his time starts now. I don't think so, honey.

1082
01:06:58,880 --> 01:07:01,840
Speaker 1: Swell a bottle. The new trendy Swell bottles. I have

1083
01:07:01,920 --> 01:07:04,320
Speaker 1: one right here, honey, and I love it. But this

1084
01:07:04,560 --> 01:07:06,680
Speaker 1: is the problem. I don't think so, honey, Swell Bottles.

1085
01:07:06,840 --> 01:07:09,680
Speaker 1: You do a bad job of masking the disgusting odor

1086
01:07:09,720 --> 01:07:11,760
Speaker 1: of my own saliva. And Honey, I don't want to

1087
01:07:11,800 --> 01:07:13,800
Speaker 1: be reminded that I have bad saliva. And I know

1088
01:07:13,840 --> 01:07:15,880
Speaker 1: why people, And look, I'm putting myself on blast, and

1089
01:07:15,960 --> 01:07:18,840
Speaker 1: that is how badly I need to put this message

1090
01:07:18,840 --> 01:07:20,720
Speaker 1: out there. I don't think so many Swell Bottles. I

1091
01:07:20,840 --> 01:07:22,680
Speaker 1: wash you every day, but you still, for some reason,

1092
01:07:22,720 --> 01:07:24,120
Speaker 1: you have this weird odor. I don't know. It's not

1093
01:07:24,200 --> 01:07:26,600
Speaker 1: something in me I have. I have great oral hygiene,

1094
01:07:26,600 --> 01:07:28,840
Speaker 1: but you're making me think. You're making me second guess myself.

1095
01:07:28,880 --> 01:07:31,560
Speaker 1: And I don't think so honey, Swell Bottles for making

1096
01:07:31,600 --> 01:07:34,760
Speaker 1: me think that something is wrong with my saliva. I

1097
01:07:34,840 --> 01:07:37,120
Speaker 1: don't want to have to think about, you know, minus

1098
01:07:37,120 --> 01:07:39,400
Speaker 1: saliva not doing its job breaking down carbohydrates in my

1099
01:07:39,480 --> 01:07:42,640
Speaker 1: mouth as I'm masticating and chewing on on carbohydrates. Honey,

1100
01:07:42,720 --> 01:07:45,000
Speaker 1: I don't think so many Swell bottles for being the

1101
01:07:45,120 --> 01:07:50,280
Speaker 1: warby Parker. I guess kill me of fucking insulating water. Bottles.

1102
01:07:50,400 --> 01:07:52,360
Speaker 1: But I don't think so, honey, Swell bottles for just

1103
01:07:52,560 --> 01:07:55,880
Speaker 1: pushing this lifestyle on me, I did making me think

1104
01:07:56,040 --> 01:07:58,600
Speaker 1: I'm less than because of my disgusting salive. I don't

1105
01:07:58,640 --> 01:08:02,320
Speaker 1: think so many Swell bottles. It's just it's it's it's

1106
01:08:02,400 --> 01:08:06,000
Speaker 1: making me feel very insecure about myself and about What

1107
01:08:06,120 --> 01:08:09,120
Speaker 1: you don't like about Swell bottles is that they retain

1108
01:08:09,240 --> 01:08:13,360
Speaker 1: the odor of my saliva after one use. And I

1109
01:08:13,520 --> 01:08:18,120
Speaker 1: think that's not that you haven't felt this with other Listen.

1110
01:08:18,240 --> 01:08:21,200
Speaker 1: I will. I will go to the gym and take

1111
01:08:21,360 --> 01:08:24,640
Speaker 1: you know, Equinox. I'll go to Equinox thank you with um,

1112
01:08:24,760 --> 01:08:27,200
Speaker 1: you know, just a bottle from the juice press that

1113
01:08:27,240 --> 01:08:30,240
Speaker 1: they have in each of their locations, and I'll use

1114
01:08:30,320 --> 01:08:32,160
Speaker 1: it just fine. And look, it's bad for the environment,

1115
01:08:32,200 --> 01:08:34,000
Speaker 1: I know, but at least I don't smell my disgusting

1116
01:08:34,080 --> 01:08:35,960
Speaker 1: breath on them. But for Swell, for some reason, it

1117
01:08:36,040 --> 01:08:39,360
Speaker 1: sticks to the metal. I want to see a breakdown

1118
01:08:39,640 --> 01:08:42,680
Speaker 1: of your spending it where it goes, because I'm very

1119
01:08:43,320 --> 01:08:47,639
Speaker 1: very curious. I've just I've am I okay, um, I'm

1120
01:08:47,680 --> 01:08:51,840
Speaker 1: not going to say I'm myself financially responsible. Don't say

1121
01:08:51,880 --> 01:08:55,960
Speaker 1: that but I I will reward myself when I think

1122
01:08:56,000 --> 01:09:00,639
Speaker 1: it's okay. Here's the question, where where don't you reward yourself?

1123
01:09:00,720 --> 01:09:02,760
Speaker 1: What are the what are the areas where you most

1124
01:09:02,800 --> 01:09:06,400
Speaker 1: people would spend more money than you spend less restaurants?

1125
01:09:06,800 --> 01:09:09,960
Speaker 1: You don't go to restaurants. I don't. I'll go to them.

1126
01:09:10,160 --> 01:09:12,479
Speaker 1: I just don't like there are some people who will

1127
01:09:12,479 --> 01:09:15,719
Speaker 1: just spend like more money than is than I would

1128
01:09:15,760 --> 01:09:18,080
Speaker 1: ever ever would on a meal I would. I'll never

1129
01:09:18,160 --> 01:09:21,320
Speaker 1: seek out like a fancy restaurant to go to. UM.

1130
01:09:21,600 --> 01:09:28,040
Speaker 1: I'll keep it pretty fast, casual, pretty casual. UM. That's it. Roommates.

1131
01:09:28,520 --> 01:09:30,479
Speaker 1: I have roommates. And what else do I not splurge on.

1132
01:09:31,960 --> 01:09:39,800
Speaker 1: Let's look, I splurge on a lot. He spends that's great, Yes,

1133
01:09:39,880 --> 01:09:42,960
Speaker 1: spend the money. I bought a Nintendo Switch yesterday. I

1134
01:09:43,040 --> 01:09:44,920
Speaker 1: felt like I deserved. This is I don't know if

1135
01:09:44,960 --> 01:09:51,000
Speaker 1: you've covered this on the podcast, but you two comparable

1136
01:09:51,240 --> 01:09:56,200
Speaker 1: to the Journey of the Mayflower in its grandiosity and

1137
01:09:56,280 --> 01:09:59,880
Speaker 1: it's audacity. Took that what was it a hundred of

1138
01:10:00,040 --> 01:10:06,160
Speaker 1: fifty car ride to a Taylor Swift. Absolutely absolutely, and

1139
01:10:06,640 --> 01:10:12,120
Speaker 1: that status, just that sentence is so disgusting and let

1140
01:10:12,200 --> 01:10:15,760
Speaker 1: me tell you how expensive the fucking margharita's the margharita

1141
01:10:15,800 --> 01:10:17,439
Speaker 1: is in quotes we had when we got there where

1142
01:10:17,439 --> 01:10:21,880
Speaker 1: they they certainly didn't taste like that alcohol. And then

1143
01:10:21,920 --> 01:10:26,559
Speaker 1: they were each I spent and the beers were fourteen.

1144
01:10:27,040 --> 01:10:28,840
Speaker 1: It was crazy. I was like, I know how much

1145
01:10:28,880 --> 01:10:31,040
Speaker 1: money we're giving away right now. But it's like Taylor

1146
01:10:31,960 --> 01:10:34,080
Speaker 1: and now a different time. It was a different time.

1147
01:10:34,160 --> 01:10:37,040
Speaker 1: It was, it was different time, and then all of

1148
01:10:37,120 --> 01:10:41,719
Speaker 1: a sudden the world changed, yea, and no one could

1149
01:10:41,760 --> 01:10:46,479
Speaker 1: remain a political without absolutely, but she managed too. But

1150
01:10:46,640 --> 01:10:49,000
Speaker 1: now she's been gone for a long time, and I

1151
01:10:49,080 --> 01:10:50,840
Speaker 1: have a theory, and before we get to Julio's, I

1152
01:10:50,840 --> 01:10:52,519
Speaker 1: don't think it's funny. I want to say this theory.

1153
01:10:53,080 --> 01:10:56,240
Speaker 1: I think that Taylor Swift is going to come back,

1154
01:10:56,479 --> 01:10:58,720
Speaker 1: and I think she's rebranding right now, and I think

1155
01:10:58,760 --> 01:11:00,800
Speaker 1: she's waiting because everyone is coming out with your music

1156
01:11:00,880 --> 01:11:03,240
Speaker 1: right now. I think Taylor Swift is going to come back,

1157
01:11:03,280 --> 01:11:05,559
Speaker 1: and I think that it will be smart for her

1158
01:11:05,640 --> 01:11:07,599
Speaker 1: to go in the direction of being like the next

1159
01:11:07,760 --> 01:11:10,920
Speaker 1: like Pat Benatar. I think she's going to come back

1160
01:11:10,960 --> 01:11:14,240
Speaker 1: like with a really hard image like I've been through

1161
01:11:14,360 --> 01:11:18,040
Speaker 1: ship you put me through, and I like a dark

1162
01:11:18,160 --> 01:11:20,800
Speaker 1: phoenix rising from the As you see her met ball

1163
01:11:20,840 --> 01:11:23,320
Speaker 1: looks getting a little like more metallic and strange, and

1164
01:11:23,439 --> 01:11:26,320
Speaker 1: like I think that she I think I think her

1165
01:11:26,840 --> 01:11:29,240
Speaker 1: her good girl days are well in the past. I

1166
01:11:29,240 --> 01:11:34,000
Speaker 1: think was her exploring them more like risky side of

1167
01:11:34,080 --> 01:11:37,280
Speaker 1: her personality. And I think she is going to respond

1168
01:11:38,080 --> 01:11:42,240
Speaker 1: to the dragging that she's been through with some sort

1169
01:11:42,280 --> 01:11:46,160
Speaker 1: of like dark Taylor, and I think it's a good thing, okay, alright,

1170
01:11:46,200 --> 01:11:47,960
Speaker 1: I think will result interesting music. And also I heard

1171
01:11:47,960 --> 01:11:49,360
Speaker 1: a rumor she's trying to make it a hip hip

1172
01:11:49,400 --> 01:11:54,439
Speaker 1: hop album. Furious guys, we're gonna propa see it now.

1173
01:11:54,479 --> 01:11:56,719
Speaker 1: If Taylor Swift comes out with the hip hop album next,

1174
01:11:57,479 --> 01:11:59,679
Speaker 1: we will write the stream and we're gonna buy it. Okay.

1175
01:11:59,720 --> 01:12:04,040
Speaker 1: So I am sending one text message to the real

1176
01:12:04,800 --> 01:12:06,559
Speaker 1: church saying that I will be a little late. We're

1177
01:12:06,560 --> 01:12:09,599
Speaker 1: so sorry. Well we'll get you out of here. And no, no, please,

1178
01:12:09,680 --> 01:12:13,800
Speaker 1: I hope you edit that out. I yeah, okay, um,

1179
01:12:14,360 --> 01:12:16,160
Speaker 1: here we go. I will I will want to hear

1180
01:12:16,200 --> 01:12:18,519
Speaker 1: a whole transcript and I will choose what remains in

1181
01:12:18,560 --> 01:12:23,439
Speaker 1: the podcasts. But for now, yours Julio taures Is. I

1182
01:12:23,479 --> 01:12:27,040
Speaker 1: don't think so, honey. And your time starts now, how

1183
01:12:27,160 --> 01:12:29,760
Speaker 1: much time is it? One minute? Oh, that's too much.

1184
01:12:29,800 --> 01:12:35,000
Speaker 1: I don't. I don't think so, honey. Uh. Atheists who

1185
01:12:35,120 --> 01:12:44,040
Speaker 1: observed Christmas, I don't think. I don't. If you actively

1186
01:12:44,200 --> 01:12:48,040
Speaker 1: reject having a god all year, but then at the

1187
01:12:48,160 --> 01:12:50,639
Speaker 1: end of the year you give in because you want

1188
01:12:50,960 --> 01:12:57,960
Speaker 1: present and see your family, then stop masquerading you're a Christian.

1189
01:12:59,080 --> 01:13:03,120
Speaker 1: You accept Jesus Christ as your Lord and savior. Don't.

1190
01:13:03,880 --> 01:13:06,000
Speaker 1: Don't for a second tell me that you are that

1191
01:13:06,160 --> 01:13:09,120
Speaker 1: you are an atheist. No, you can't. You can't have

1192
01:13:09,240 --> 01:13:12,000
Speaker 1: it both ways. You cannot absolutely have it both ways.

1193
01:13:12,040 --> 01:13:15,200
Speaker 1: Stop looking at us. It's your time. Fifteen seconds. Uh,

1194
01:13:15,400 --> 01:13:19,679
Speaker 1: stop stop observing Christmas, and don't go to the birthday

1195
01:13:19,800 --> 01:13:25,840
Speaker 1: of this person who hates you. Yes. Seconds. If you stand,

1196
01:13:25,960 --> 01:13:29,880
Speaker 1: if you stick to the to the biblical God, then

1197
01:13:30,560 --> 01:13:34,280
Speaker 1: you know we are abomination. So don't go to his birthday. Listen,

1198
01:13:34,680 --> 01:13:38,200
Speaker 1: Christmas is post religious at this point. I think everyone

1199
01:13:38,320 --> 01:13:44,600
Speaker 1: everyone culture Christmas culture, every everyone says that Christmas is

1200
01:13:46,000 --> 01:13:48,479
Speaker 1: it's just buying. So I mean, I'm not saying anything

1201
01:13:48,520 --> 01:13:54,720
Speaker 1: that hasn't been said your takedown of Christmas. Don't observe it?

1202
01:13:54,880 --> 01:13:57,920
Speaker 1: Stop it? Why does the moment close on Christmas when

1203
01:13:58,040 --> 01:14:01,640
Speaker 1: they are profiting out of so many artists that have

1204
01:14:01,880 --> 01:14:04,560
Speaker 1: struggled because of Christianity? Well, there you go. If you

1205
01:14:04,640 --> 01:14:07,400
Speaker 1: can spin this in a way that speaks that, that

1206
01:14:07,560 --> 01:14:11,360
Speaker 1: speaks truth to power, then I'm on board. So MoMA,

1207
01:14:11,800 --> 01:14:14,320
Speaker 1: leave your doors open on Christmas. Yeah? I agree, there

1208
01:14:14,400 --> 01:14:17,280
Speaker 1: you go. That's that's that's ignore it. Ignore it. Um.

1209
01:14:17,560 --> 01:14:19,160
Speaker 1: But you're saying, don't even see your family, like I

1210
01:14:19,360 --> 01:14:22,840
Speaker 1: I understand not? Wow? Okay, all right? Do you not

1211
01:14:22,960 --> 01:14:25,400
Speaker 1: observe Christmas? I do not observe Christmas? No? What hell

1212
01:14:25,439 --> 01:14:29,519
Speaker 1: do they do? You observe my birthday? Which is when

1213
01:14:30,320 --> 01:14:34,400
Speaker 1: February eleven? That's a perfect birthday for you, is it? Yeah?

1214
01:14:35,120 --> 01:14:38,720
Speaker 1: What does that make you an aquarious squarious? I don't

1215
01:14:38,840 --> 01:14:41,120
Speaker 1: really know what that means. I will say this, we

1216
01:14:41,240 --> 01:14:47,120
Speaker 1: cannot be atheists and believe wholesale in astrology either. Can

1217
01:14:47,160 --> 01:14:50,000
Speaker 1: I be agnology? Yeah? I agree, we have to. We

1218
01:14:50,120 --> 01:14:55,280
Speaker 1: have to reserve some skepticism towards this, you know, basic pseudoscience. Okay,

1219
01:14:55,840 --> 01:14:58,800
Speaker 1: that was my little stupid soapo. No, I totally get that.

1220
01:14:58,960 --> 01:15:04,639
Speaker 1: I feel as the I'm agnostic because you can't know anything.

1221
01:15:04,840 --> 01:15:09,320
Speaker 1: You won't. I feel as though I'm agnostic because you can't,

1222
01:15:12,720 --> 01:15:16,360
Speaker 1: because that is the definition of agnosticism. You can only

1223
01:15:16,439 --> 01:15:21,000
Speaker 1: know the self, and that is solipsism. Wow, wow, guys,

1224
01:15:21,120 --> 01:15:23,559
Speaker 1: this has been a fantastic episode. We love our guest

1225
01:15:23,600 --> 01:15:26,000
Speaker 1: Toio Tores so much. Thank you for being and where.

1226
01:15:26,840 --> 01:15:29,840
Speaker 1: It's truly a joy, it really is. And we don't

1227
01:15:29,880 --> 01:15:32,040
Speaker 1: get to see you enough. No we don't, that's true.

1228
01:15:32,200 --> 01:15:34,360
Speaker 1: But look, it's the summer. It's the summer. But it

1229
01:15:34,520 --> 01:15:36,679
Speaker 1: is the summer. You're going to be across the pond

1230
01:15:36,760 --> 01:15:39,280
Speaker 1: in August. But we will see you. But where where

1231
01:15:39,280 --> 01:15:46,640
Speaker 1: can they find you? On the internet? Oh? I I

1232
01:15:47,280 --> 01:15:52,160
Speaker 1: like exiting stage. I couldn't possibly give my Twitter hand.

1233
01:15:52,200 --> 01:15:57,720
Speaker 1: But that you know what, you want to follow him

1234
01:15:57,760 --> 01:16:02,439
Speaker 1: to embarrassing yourself? There you go. It's too American. It's

1235
01:16:02,600 --> 01:16:10,240
Speaker 1: it's you said, it's too embarrassing. Being American is embarrassing. Absolutely. Um, listen, guys,

1236
01:16:10,360 --> 01:16:13,280
Speaker 1: thank you so much. I'm at Rogers and Yang. That's

1237
01:16:13,400 --> 01:16:17,320
Speaker 1: vires by what we should We should sign off in

1238
01:16:17,400 --> 01:16:21,679
Speaker 1: a in a desperate Housewivee's way, okay, which is yes, yes,

1239
01:16:22,120 --> 01:16:26,920
Speaker 1: everything does come to an end, but every end is

1240
01:16:26,960 --> 01:16:31,200
Speaker 1: the beginning that was like really bad, bye bye bye.

1241
01:16:35,280 --> 01:16:38,559
Speaker 1: This has been a Forever Dog production executive produced by

1242
01:16:38,640 --> 01:16:42,640
Speaker 1: Joe Cilio, Alex Ramsay, and Brett Bom. For more podcasts,

1243
01:16:42,720 --> 01:16:45,000
Speaker 1: please visit Forever Dog Productions dot com