1
00:00:02,000 --> 00:00:04,920
Speaker 1: On the Bedel Cast, the questions asked if movies have

2
00:00:05,120 --> 00:00:08,960
Speaker 1: women in them, are all their discussions just boyfriends and husbands,

3
00:00:09,039 --> 00:00:14,120
Speaker 1: or do they have individualism the patriarchy? Zef invest start

4
00:00:14,240 --> 00:00:18,079
Speaker 1: changing it with the Bechdel Cast. Hello and welcome to

5
00:00:18,079 --> 00:00:20,480
Speaker 1: the Bechdel Cast. My name is Caitlin Darante, my name

6
00:00:20,560 --> 00:00:23,320
Speaker 1: is Jamie loft It, and we host a podcast about

7
00:00:23,360 --> 00:00:28,480
Speaker 1: how the representation of women in movies is usually not

8
00:00:28,800 --> 00:00:32,560
Speaker 1: very good. We've been hosting Ken doing it. Hell yeah.

9
00:00:32,680 --> 00:00:36,600
Speaker 1: So we use the Bechdel Test as a jumping off

10
00:00:36,640 --> 00:00:39,280
Speaker 1: point for the discussion of how women are portrayed in

11
00:00:39,280 --> 00:00:43,760
Speaker 1: a certain movie. Bechdel Test for all you roubes, of course,

12
00:00:43,880 --> 00:00:47,879
Speaker 1: being the media metric invented by cartoonist Alison Bechdel that

13
00:00:47,960 --> 00:00:52,159
Speaker 1: requires that, for our purposes, that two female identifying characters

14
00:00:52,159 --> 00:00:55,560
Speaker 1: with names talk about something other than a man in

15
00:00:55,640 --> 00:01:00,880
Speaker 1: conversation for just two lines of diala. Should we i'monstrate this?

16
00:01:01,880 --> 00:01:06,440
Speaker 1: We haven't done this. We haven't done that in a while. Okay, um, hey, Jamie,

17
00:01:07,200 --> 00:01:14,640
Speaker 1: what is your favorite? Oh my god, I forget how

18
00:01:14,680 --> 00:01:20,199
Speaker 1: to not talk about man? Okay, what, No, I'm gonna

19
00:01:20,240 --> 00:01:27,160
Speaker 1: keep going. Okay, what's your favorite Meryl Street movie. How

20
00:01:27,160 --> 00:01:31,440
Speaker 1: do you have to think about this? Oh? Is this

21
00:01:31,560 --> 00:01:36,280
Speaker 1: a transition? No question? No, But how are you not

22
00:01:36,360 --> 00:01:39,680
Speaker 1: remembering not only your favorite Meryl Street movie but your

23
00:01:39,720 --> 00:01:44,959
Speaker 1: favorite Oh my god, Doubt Dog is my favorite? Oh

24
00:01:45,000 --> 00:01:49,720
Speaker 1: my god, having a melt. Oh my god, Doubt is

25
00:01:49,760 --> 00:01:54,360
Speaker 1: my favorite movie. I can't. I don't know. I'm very sick.

26
00:01:54,440 --> 00:01:59,920
Speaker 1: I was like Julia and Julia that can't be Sorry,

27
00:02:00,040 --> 00:02:03,200
Speaker 1: we all have a lapse in our memories. I just

28
00:02:03,320 --> 00:02:06,320
Speaker 1: lost sight of who I am. Remember. I think it

29
00:02:06,400 --> 00:02:09,520
Speaker 1: was the pulp fiction episode that I kept accidentally calling

30
00:02:09,560 --> 00:02:18,160
Speaker 1: her Meryl Street. Yes, that was a fun slippy, I believe.

31
00:02:18,320 --> 00:02:23,800
Speaker 1: Forgot doubt. Jesus Christ. That's embarrassing. Okay, I forgive you.

32
00:02:23,880 --> 00:02:28,360
Speaker 1: I gotta be vulnerable on those airwaves. People need people

33
00:02:28,480 --> 00:02:31,079
Speaker 1: need it. So anyway that you know, we're talking about

34
00:02:31,080 --> 00:02:36,000
Speaker 1: Meryl Streep and her movies, so that passes to back

35
00:02:36,040 --> 00:02:39,480
Speaker 1: to me. We're taking another cruise down Meryl Street today

36
00:02:40,240 --> 00:02:45,040
Speaker 1: with another street fade. ALLU street heads out there, people

37
00:02:45,080 --> 00:02:51,239
Speaker 1: pounding Meryl Street, pounding the payment of the pornographic of

38
00:02:51,440 --> 00:02:55,560
Speaker 1: Meryl Street. Today we're talking about the devil Wares product.

39
00:02:55,720 --> 00:02:59,800
Speaker 1: That's right, two thousand six. Joint to join us in

40
00:02:59,840 --> 00:03:03,880
Speaker 1: our discussion. Is our guest today as a writer, editor

41
00:03:03,960 --> 00:03:07,760
Speaker 1: and co host of back Talk podcast on Bitch Media.

42
00:03:08,200 --> 00:03:12,160
Speaker 1: It's Amy Lamb. Hi, guys, welcome, thanks for being here.

43
00:03:12,440 --> 00:03:16,959
Speaker 1: I am very, very very excited to talk about this movie.

44
00:03:18,360 --> 00:03:21,160
Speaker 1: What is your history, your relationship? Why did you pick

45
00:03:21,240 --> 00:03:24,320
Speaker 1: this movie? So I had read the book, and I

46
00:03:24,400 --> 00:03:26,600
Speaker 1: don't even remember how I got the book. I was

47
00:03:26,680 --> 00:03:29,720
Speaker 1: living and teaching in China, and um, it was like

48
00:03:29,800 --> 00:03:32,360
Speaker 1: a week where there was no school. So I just

49
00:03:32,400 --> 00:03:36,320
Speaker 1: took this like um spontaneous trip with some other teachers,

50
00:03:36,600 --> 00:03:38,520
Speaker 1: and somehow I got the book. And I really don't

51
00:03:38,520 --> 00:03:40,120
Speaker 1: remember how I got the book. So I was like,

52
00:03:40,160 --> 00:03:45,800
Speaker 1: sometimes that book just appears inns. I'm wondering if it

53
00:03:45,880 --> 00:03:48,080
Speaker 1: was like at the guesthouse you were staying. I I

54
00:03:48,160 --> 00:03:50,840
Speaker 1: just have a terrible memory. But so I was reading

55
00:03:50,880 --> 00:03:52,680
Speaker 1: the book because I was also trying to avoid the

56
00:03:52,720 --> 00:03:55,640
Speaker 1: people I was traveling with. So it was one of

57
00:03:55,680 --> 00:03:57,320
Speaker 1: those thing stories. So I read it and the book

58
00:03:57,560 --> 00:04:02,240
Speaker 1: isn't that good, but it I studied um journalism as

59
00:04:02,240 --> 00:04:03,800
Speaker 1: my undergrad so I was like one of those people

60
00:04:03,840 --> 00:04:05,720
Speaker 1: where I'm like, maybe one day I want to be

61
00:04:05,760 --> 00:04:07,520
Speaker 1: in this media world, so I need to read it.

62
00:04:08,320 --> 00:04:10,640
Speaker 1: Like like I had known that like the woman who

63
00:04:10,640 --> 00:04:15,080
Speaker 1: wrote it, I'm forgetting her name, Laurenby. She had worked

64
00:04:15,160 --> 00:04:17,440
Speaker 1: at Bogan. This supposed to be based off of an

65
00:04:17,520 --> 00:04:19,359
Speaker 1: I Win tour. So I was just like, let me

66
00:04:19,360 --> 00:04:21,320
Speaker 1: read about this like boss lady or whatever. And also

67
00:04:21,320 --> 00:04:24,360
Speaker 1: because I my very first job out of school. I

68
00:04:24,400 --> 00:04:26,159
Speaker 1: don't know how much to say, but I had worked

69
00:04:26,200 --> 00:04:28,800
Speaker 1: for somebody who had these vibes and it was at

70
00:04:28,839 --> 00:04:32,400
Speaker 1: a media place, like she had these types of vibes

71
00:04:32,440 --> 00:04:35,279
Speaker 1: where like one example is um, everybody came to the

72
00:04:35,320 --> 00:04:37,880
Speaker 1: office at like ten or nine thirty, but I had

73
00:04:37,880 --> 00:04:40,560
Speaker 1: to come in half an hour early, just me so

74
00:04:40,600 --> 00:04:42,960
Speaker 1: that I could turn on her computer. Like this is

75
00:04:42,960 --> 00:04:46,560
Speaker 1: back in the day where like like like so that

76
00:04:46,640 --> 00:04:48,640
Speaker 1: I had to go into her office and like pushed

77
00:04:48,720 --> 00:04:51,320
Speaker 1: the power button and when I did it, she would

78
00:04:51,440 --> 00:04:53,120
Speaker 1: holler at me because I wasn't in her office. I

79
00:04:53,200 --> 00:04:55,800
Speaker 1: was like in the hall. She would be like, hey, man,

80
00:04:56,160 --> 00:04:57,880
Speaker 1: I knew I was like funk, I forgot to turn

81
00:04:57,880 --> 00:05:00,480
Speaker 1: on her computer. So like so I had experience, and

82
00:05:00,480 --> 00:05:02,039
Speaker 1: then so I wanted to read this book about another

83
00:05:02,160 --> 00:05:05,120
Speaker 1: like weird boss woman and I read the book and

84
00:05:05,160 --> 00:05:07,040
Speaker 1: I was just like, this is like a really fun read,

85
00:05:07,080 --> 00:05:09,720
Speaker 1: even though the writing wasn't like amazing. And I think

86
00:05:09,760 --> 00:05:11,479
Speaker 1: I read it an anticipation cause I knew the movie

87
00:05:11,480 --> 00:05:12,800
Speaker 1: was out because I wanted to watch the movie. And

88
00:05:12,800 --> 00:05:14,400
Speaker 1: this is one of those cases where the movie is

89
00:05:14,560 --> 00:05:17,119
Speaker 1: way better than the book. I haven't read the books.

90
00:05:17,800 --> 00:05:19,800
Speaker 1: The movie is just like so much more fun and

91
00:05:19,960 --> 00:05:23,120
Speaker 1: like lush and interesting look at, especially if you kind

92
00:05:23,120 --> 00:05:26,279
Speaker 1: of enjoy fashion in some way. So I was living

93
00:05:26,279 --> 00:05:28,560
Speaker 1: in China, so I had bought the bootleg version of

94
00:05:28,600 --> 00:05:31,240
Speaker 1: it like for like a dollar or something, and I

95
00:05:31,240 --> 00:05:33,800
Speaker 1: would watch it on repeat, like because I lived in

96
00:05:33,800 --> 00:05:37,159
Speaker 1: this like very cold department where like there's nothing to

97
00:05:37,160 --> 00:05:38,920
Speaker 1: do over the winter time. It was like always four

98
00:05:38,960 --> 00:05:41,559
Speaker 1: dy degrees and I was just like have a space heater,

99
00:05:41,680 --> 00:05:45,320
Speaker 1: like frying my legs. Why I would watch watch it

100
00:05:45,360 --> 00:05:46,960
Speaker 1: over and over again on my laptop, so I would.

101
00:05:46,960 --> 00:05:48,800
Speaker 1: I watched it repeat forever, and then I didn't watch

102
00:05:48,800 --> 00:05:50,719
Speaker 1: it for a long long time because it was like

103
00:05:50,960 --> 00:05:54,279
Speaker 1: like two thousand and seven, and recently I just started

104
00:05:54,279 --> 00:05:56,840
Speaker 1: watching it again and again and it titiuation of doing

105
00:05:56,839 --> 00:05:59,160
Speaker 1: this podcast, but also just it's just so fun. But

106
00:05:59,200 --> 00:06:01,159
Speaker 1: I think watching it now with like a fresh pair

107
00:06:01,160 --> 00:06:03,120
Speaker 1: of ice, just like, wow, this movie would be so

108
00:06:03,160 --> 00:06:05,440
Speaker 1: different than it was mad now and like the media

109
00:06:05,520 --> 00:06:07,800
Speaker 1: landscape or whatever. Yeah, that's why. I mean, it's only

110
00:06:07,800 --> 00:06:10,640
Speaker 1: twelve years old. But watching it back, you're just like, whoa,

111
00:06:10,680 --> 00:06:13,320
Speaker 1: there is a lot of stuff that this movie. Watching

112
00:06:13,320 --> 00:06:16,280
Speaker 1: it this time around was like a very interesting mixed

113
00:06:16,320 --> 00:06:19,240
Speaker 1: bag because and I am very attached to it. I

114
00:06:19,279 --> 00:06:22,120
Speaker 1: saw this movie when it came out in two thousands six,

115
00:06:22,200 --> 00:06:24,760
Speaker 1: I would have been in middle school, and it was

116
00:06:25,279 --> 00:06:28,080
Speaker 1: the perfect movie to see in middle school. I'd also

117
00:06:28,120 --> 00:06:31,120
Speaker 1: read the book where I would like go to and

118
00:06:31,160 --> 00:06:32,560
Speaker 1: I was in middle school, had to go to the

119
00:06:32,560 --> 00:06:36,159
Speaker 1: public library and then go to like the ladies fiction section,

120
00:06:36,600 --> 00:06:39,400
Speaker 1: so it's like hitting Meg Cabin books, but the ones

121
00:06:39,440 --> 00:06:42,599
Speaker 1: for adults, not the Princess Diaries. And then I read

122
00:06:42,640 --> 00:06:49,240
Speaker 1: all the Sophie Kinsella Shopoholic books, which were trash garbage,

123
00:06:49,240 --> 00:06:52,320
Speaker 1: as were the movies, but this was I read this

124
00:06:52,360 --> 00:06:55,000
Speaker 1: book too, and I totally agree with the amy. I

125
00:06:55,000 --> 00:06:57,479
Speaker 1: think that the movie is so much the book is

126
00:06:57,520 --> 00:06:59,800
Speaker 1: like so much fun to read and you can like

127
00:07:00,000 --> 00:07:03,400
Speaker 1: iTap through it because it's so that if and I've

128
00:07:03,600 --> 00:07:05,480
Speaker 1: read it in literally middle school, but even then I

129
00:07:05,520 --> 00:07:08,359
Speaker 1: was like, well, this is very like catty and pointed

130
00:07:08,440 --> 00:07:11,720
Speaker 1: and it's just sort of this like veiled hate letter

131
00:07:11,800 --> 00:07:16,160
Speaker 1: to Anna Wintour, which is fun to read. But the

132
00:07:16,240 --> 00:07:20,880
Speaker 1: movie definitely so I think, removes itself from the direct

133
00:07:21,000 --> 00:07:25,320
Speaker 1: like nature of the book. And yeah, so I saw

134
00:07:25,360 --> 00:07:29,400
Speaker 1: it with my mom and some friends in middle school.

135
00:07:29,560 --> 00:07:32,600
Speaker 1: We all loved it. Revisit it. It's like a comfort

136
00:07:32,640 --> 00:07:34,280
Speaker 1: food movie. I could have it on in the bat.

137
00:07:34,320 --> 00:07:36,880
Speaker 1: I think I've had it on the background of doing

138
00:07:36,920 --> 00:07:43,080
Speaker 1: other stuff multiple times since then. It is I find

139
00:07:43,120 --> 00:07:44,920
Speaker 1: that a lot of movies that I either have to

140
00:07:45,080 --> 00:07:47,760
Speaker 1: revisit or watch for the first time for this podcast

141
00:07:47,920 --> 00:07:50,360
Speaker 1: feel like a chore to get through, and I didn't

142
00:07:50,360 --> 00:07:51,960
Speaker 1: really feel like that for this movie. I was like

143
00:07:52,000 --> 00:07:54,040
Speaker 1: actually enjoying myself when I was watching it. And that's

144
00:07:54,080 --> 00:07:56,280
Speaker 1: not to say it's not without its problems, but I

145
00:07:56,320 --> 00:07:58,720
Speaker 1: was like, Okay, this is fun. I saw it for

146
00:07:58,880 --> 00:08:02,000
Speaker 1: the first time. I think it was around the time

147
00:08:02,040 --> 00:08:06,400
Speaker 1: that I was working in a similar professional scenario where

148
00:08:06,480 --> 00:08:11,840
Speaker 1: I had a veiled description, but I was living in

149
00:08:12,000 --> 00:08:14,880
Speaker 1: New York City ever heard of it. I was working

150
00:08:15,040 --> 00:08:18,640
Speaker 1: as an assistant at a literary management company. I didn't

151
00:08:18,640 --> 00:08:20,320
Speaker 1: know you did that. Uh. Yeah, that was like my

152
00:08:20,320 --> 00:08:23,400
Speaker 1: first real job out of college, which of course I

153
00:08:23,440 --> 00:08:25,280
Speaker 1: did go to and then I did go to uh

154
00:08:25,400 --> 00:08:28,720
Speaker 1: grad school for a master's degree screen running from Boston University. Um.

155
00:08:29,080 --> 00:08:31,320
Speaker 1: So I was working at this job and I was

156
00:08:31,840 --> 00:08:37,760
Speaker 1: an assistant to this guy who was very emotionally abusive

157
00:08:38,040 --> 00:08:42,560
Speaker 1: to his employees. He was racist, he was homophobic, he

158
00:08:42,800 --> 00:08:47,240
Speaker 1: was sexist. He constantly undermined my work and my value.

159
00:08:47,360 --> 00:08:50,000
Speaker 1: He he would make mistakes and then blame me for

160
00:08:50,080 --> 00:08:51,760
Speaker 1: them and then yell at me for them and stuff

161
00:08:51,800 --> 00:08:54,000
Speaker 1: like that. So like, this is like such a horrible

162
00:08:54,040 --> 00:08:57,079
Speaker 1: toxic work environment and watching this movie kind of like

163
00:08:57,800 --> 00:09:02,080
Speaker 1: triggered some mild pts that I have about that job.

164
00:09:02,760 --> 00:09:05,240
Speaker 1: Um but I still enjoyed the movie all the same.

165
00:09:05,240 --> 00:09:07,800
Speaker 1: But yeah, I I think I watched this movie around

166
00:09:07,840 --> 00:09:09,120
Speaker 1: the same time, So that would have been in like

167
00:09:09,160 --> 00:09:12,160
Speaker 1: two thousand nine ish that I saw the movie for

168
00:09:12,200 --> 00:09:13,920
Speaker 1: the first time when I was working at this job,

169
00:09:14,520 --> 00:09:17,520
Speaker 1: and I was like, yeah, this used to be my life,

170
00:09:18,760 --> 00:09:20,360
Speaker 1: but yeah, so that's my history. Was it I only

171
00:09:20,400 --> 00:09:23,120
Speaker 1: saw at the one time and then until rewatching it

172
00:09:23,200 --> 00:09:28,520
Speaker 1: for this episode. Shall I do the recap? Yeah, I've

173
00:09:28,600 --> 00:09:34,359
Speaker 1: I didn't. I'm so interested to hear everyone's repressed assistant memories.

174
00:09:34,520 --> 00:09:39,440
Speaker 1: This is fascinating. I was wondering if I was going

175
00:09:39,480 --> 00:09:44,000
Speaker 1: to have any Playboy flashbacks when I was walking, because

176
00:09:44,040 --> 00:09:47,800
Speaker 1: I've also worked at a print magazine, but no one. Uh.

177
00:09:47,840 --> 00:09:50,720
Speaker 1: If you're working at a magazine that is failing and

178
00:09:50,720 --> 00:09:55,080
Speaker 1: it no longer culturally relevant, the pressure is lower. It's

179
00:09:55,120 --> 00:10:00,640
Speaker 1: just kind of sad. It's just alcohol everywhere. So no

180
00:10:00,880 --> 00:10:07,319
Speaker 1: PTSD ties from me. Unfortunately. Alright, let's recount. Great, so

181
00:10:10,520 --> 00:10:13,440
Speaker 1: we're all, we're all part of this. We meet Andy Sachs.

182
00:10:13,440 --> 00:10:16,600
Speaker 1: That's Anne Hathaway's character. She interviews for a job to

183
00:10:16,640 --> 00:10:20,920
Speaker 1: be the second assistant of Miranda Priestley. She's a recent

184
00:10:21,080 --> 00:10:28,160
Speaker 1: brown grade. She's an aspiring journalist. She's gotten sorry, Lauren

185
00:10:28,240 --> 00:10:32,600
Speaker 1: Weisberger was a recent There's so many details of this

186
00:10:32,600 --> 00:10:36,280
Speaker 1: story where Lauren Weisberger changes one thing and she's like,

187
00:10:36,320 --> 00:10:40,040
Speaker 1: it's not me. Andy has a middle part, so we

188
00:10:40,120 --> 00:10:46,120
Speaker 1: know she is not a fashion icr um coated anne

189
00:10:46,160 --> 00:10:51,840
Speaker 1: Hathaway language and Miranda Priestley Meryl Street Street of course. Um.

190
00:10:51,920 --> 00:10:55,439
Speaker 1: She is the editor in chief. Of Runway, a like

191
00:10:55,600 --> 00:11:01,280
Speaker 1: high end fashion magazine, similar to him. We may know, Yeah,

192
00:11:01,520 --> 00:11:04,880
Speaker 1: I wonder what it could be. And she her whole

193
00:11:04,920 --> 00:11:09,360
Speaker 1: thing is that she is a bit. It's kind of

194
00:11:09,360 --> 00:11:12,080
Speaker 1: her thing. That's kind of her thing. She's very high maintenance,

195
00:11:12,080 --> 00:11:16,440
Speaker 1: she's very demanding, and she wears scarves big part of

196
00:11:16,440 --> 00:11:20,920
Speaker 1: her identity. I don't even know what that means, like

197
00:11:20,960 --> 00:11:25,160
Speaker 1: these French is it French French silk scarf? Yeah, which

198
00:11:25,200 --> 00:11:28,520
Speaker 1: is a play on Anna Winter always wears gigantic sunglasses

199
00:11:28,559 --> 00:11:31,440
Speaker 1: and make her look like a bug. The wild part

200
00:11:31,480 --> 00:11:34,360
Speaker 1: about when Andy comes into interview for the job, She's like, oh,

201
00:11:34,440 --> 00:11:38,440
Speaker 1: it was like the tempt Agency Center. It was between

202
00:11:38,480 --> 00:11:42,920
Speaker 1: this very glamorous, like high budget magazine and liked Trader

203
00:11:43,000 --> 00:11:47,000
Speaker 1: or something like that. And I was like, but really like, also,

204
00:11:47,160 --> 00:11:50,120
Speaker 1: don't say that in the interview, right there are so

205
00:11:50,559 --> 00:11:54,319
Speaker 1: the way she conducts herself in that interview is very strange,

206
00:11:54,559 --> 00:11:57,040
Speaker 1: the way everyone conducts themselves in that interview. But it's like,

207
00:11:57,080 --> 00:11:59,840
Speaker 1: imagine having the gall to go into an interview for

208
00:12:00,000 --> 00:12:03,239
Speaker 1: whether you care about the industry or not, like a

209
00:12:03,280 --> 00:12:05,160
Speaker 1: sought after job and just be like, I don't know

210
00:12:05,200 --> 00:12:07,840
Speaker 1: what this is. I don't know. I think I'm too

211
00:12:07,920 --> 00:12:11,080
Speaker 1: good for it, and who are you anyways, I'd like

212
00:12:11,120 --> 00:12:15,080
Speaker 1: the job, never heard of it. It's like I was

213
00:12:15,120 --> 00:12:17,520
Speaker 1: on Emily blunt side for that because only once. It's

214
00:12:17,559 --> 00:12:21,880
Speaker 1: like why did you hire her? It's like no one knows. Yeah,

215
00:12:22,000 --> 00:12:25,520
Speaker 1: So basically Miranda takes a chance on her because Andy

216
00:12:25,559 --> 00:12:27,199
Speaker 1: makes a case for herself and she's like, yeah, I

217
00:12:27,240 --> 00:12:29,920
Speaker 1: don't fit in here, but I'm smart and I learned fast,

218
00:12:29,920 --> 00:12:31,560
Speaker 1: and I'm a hard worker and I'll do a good job.

219
00:12:31,679 --> 00:12:36,679
Speaker 1: So Miranda hires her. We've met Emily played by Emily Blunt,

220
00:12:37,040 --> 00:12:41,080
Speaker 1: and she is similarly like ruthless and um kind of

221
00:12:41,120 --> 00:12:44,480
Speaker 1: dismissive of Andy, and she's like the first assistance, so

222
00:12:44,559 --> 00:12:47,240
Speaker 1: she gets the more important responsibilities and she gets to

223
00:12:47,280 --> 00:12:51,719
Speaker 1: go to Paris for a week with Miranda, and she

224
00:12:52,720 --> 00:12:55,839
Speaker 1: lives and dies for it. We learned about the book,

225
00:12:55,880 --> 00:12:58,319
Speaker 1: which is like a mock up of the current issue,

226
00:12:58,520 --> 00:13:00,880
Speaker 1: which Miranda looks at and gives notes on every night,

227
00:13:01,200 --> 00:13:05,880
Speaker 1: hard copy. This is like, shockingly, I don't magazines are

228
00:13:05,920 --> 00:13:08,679
Speaker 1: weird because it's like print is dead, right, and it

229
00:13:08,760 --> 00:13:14,280
Speaker 1: also was dead in two thousand and six, but still

230
00:13:14,800 --> 00:13:17,920
Speaker 1: pretty pretty dead. I do have to introject a little

231
00:13:19,120 --> 00:13:22,480
Speaker 1: because Bitch Media also makes a print magazine four times

232
00:13:22,480 --> 00:13:25,000
Speaker 1: a year. It's a quarter Ofly magazine, and it is

233
00:13:25,080 --> 00:13:28,240
Speaker 1: I mean, it's very expensive. So I think that's why

234
00:13:28,280 --> 00:13:31,440
Speaker 1: it's super dead. It is super dead, and like which

235
00:13:31,520 --> 00:13:33,640
Speaker 1: media is like read or funded? So like we're always

236
00:13:33,679 --> 00:13:36,880
Speaker 1: doing the annoying kind of do we need to us

237
00:13:36,920 --> 00:13:39,680
Speaker 1: that we can keep printing this magazine campaigns? But yeah,

238
00:13:39,720 --> 00:13:41,360
Speaker 1: like we do. We do have to do a book

239
00:13:41,920 --> 00:13:43,240
Speaker 1: so that you can print it out and look at

240
00:13:43,240 --> 00:13:44,600
Speaker 1: it and see what it looks like when it's going

241
00:13:44,640 --> 00:13:46,520
Speaker 1: to go to print. But the wild thing that I

242
00:13:46,559 --> 00:13:49,920
Speaker 1: think about Andy' is that like she's like, what's a book? Right,

243
00:13:50,080 --> 00:13:52,319
Speaker 1: I'm like, oh, you went to Northwestern. You guys never

244
00:13:52,400 --> 00:13:56,239
Speaker 1: like printed things up to prove that she studied journalists them,

245
00:13:56,320 --> 00:13:58,160
Speaker 1: you know, So like there are these moments where it's

246
00:13:58,160 --> 00:14:04,120
Speaker 1: just like I'm is, like, why did you write? Andy? Like, yeah,

247
00:14:04,160 --> 00:14:06,240
Speaker 1: there's like certain things that if she were yeah, like

248
00:14:06,280 --> 00:14:09,760
Speaker 1: if she were a journalism major, she would know about

249
00:14:09,760 --> 00:14:13,120
Speaker 1: a mockup, you would think, But it is at every

250
00:14:13,160 --> 00:14:16,520
Speaker 1: magazine I ever, the book is still a thing. It's

251
00:14:16,559 --> 00:14:20,800
Speaker 1: still a yeah, there used to be this man, who

252
00:14:21,160 --> 00:14:24,840
Speaker 1: are old editor in chief at Playboy, would drive the

253
00:14:24,880 --> 00:14:28,960
Speaker 1: book to Hugh Hefner's freaky mansion every day at four

254
00:14:29,120 --> 00:14:32,720
Speaker 1: pm and you have to be like, do this, and

255
00:14:32,720 --> 00:14:34,680
Speaker 1: then you have to drive the book back. It was

256
00:14:34,720 --> 00:14:38,160
Speaker 1: like a whole and I'm just like, can we teach

257
00:14:38,240 --> 00:14:41,320
Speaker 1: you Heffner how to use email? And the answer is like, no,

258
00:14:41,600 --> 00:14:46,000
Speaker 1: you can't. That's the thing this movie is that it's

259
00:14:46,040 --> 00:14:49,400
Speaker 1: like such an important responsibility to deliver the book that

260
00:14:49,920 --> 00:14:53,080
Speaker 1: normally it would be the second assistants job. But until

261
00:14:53,200 --> 00:14:57,960
Speaker 1: Miranda trusts Andy to not be like a dangerous person,

262
00:14:58,600 --> 00:15:00,800
Speaker 1: she she's not going to do it. Um, get rid

263
00:15:00,800 --> 00:15:06,200
Speaker 1: of that middle part and then we'll talk. We meet Nigel,

264
00:15:06,600 --> 00:15:11,040
Speaker 1: which is Stanley Tucci, the teach if you will teaches

265
00:15:11,080 --> 00:15:14,480
Speaker 1: in rare form in this movie, yes, the tach. I mean,

266
00:15:14,720 --> 00:15:19,320
Speaker 1: his character is all over the place. But I love

267
00:15:19,360 --> 00:15:23,360
Speaker 1: when gets work, which is a lot he's in movies.

268
00:15:26,040 --> 00:15:31,800
Speaker 1: Touch okay, touch in Alfred Molina both delivered killer performances

269
00:15:31,880 --> 00:15:35,440
Speaker 1: in Feud last year, so good for them, good for them.

270
00:15:35,560 --> 00:15:39,720
Speaker 1: I mean Tooch was nominated, Alfred, as we know, was snubbed.

271
00:15:40,640 --> 00:15:43,960
Speaker 1: So but you know what Alfred was on our podcast

272
00:15:44,760 --> 00:15:49,800
Speaker 1: was the real winner here. So Andy is having a

273
00:15:49,840 --> 00:15:53,160
Speaker 1: really hard time with the job at first because Miranda

274
00:15:53,520 --> 00:15:58,960
Speaker 1: is a devil who wears product I love. I love

275
00:15:59,120 --> 00:16:01,800
Speaker 1: that stu very ridiculous shot of her getting out of

276
00:16:01,840 --> 00:16:05,440
Speaker 1: the car and then these zoom in on that Bag's

277
00:16:05,480 --> 00:16:13,520
Speaker 1: like just so, it's just it's so, it's like such

278
00:16:13,520 --> 00:16:17,760
Speaker 1: an obnoxious filming the device. But I like loved it,

279
00:16:17,960 --> 00:16:21,640
Speaker 1: so I thought it was fun. I like the things

280
00:16:21,760 --> 00:16:24,280
Speaker 1: that this movie chooses to knock you over the head with.

281
00:16:24,520 --> 00:16:28,600
Speaker 1: I'm usually okay, I'm like, you know what, she is

282
00:16:28,680 --> 00:16:35,640
Speaker 1: a devil and she and she there's no way around it. Meanwhile,

283
00:16:35,880 --> 00:16:39,880
Speaker 1: Andy has a boyfriend named Nate and in Entourage, who

284
00:16:40,120 --> 00:16:43,240
Speaker 1: is Vince whatever the fuck his name is in Entourage,

285
00:16:43,400 --> 00:16:47,440
Speaker 1: a show that I unfortunately did watch six seasons of. Yeah,

286
00:16:47,480 --> 00:16:50,200
Speaker 1: I'm embarrassed about it. Now we all have her, we

287
00:16:50,280 --> 00:16:53,560
Speaker 1: all have her things that are dark. Um, and she's

288
00:16:53,600 --> 00:16:56,200
Speaker 1: got her friends and they're all like, wow, your jud

289
00:16:56,360 --> 00:16:59,920
Speaker 1: sounds crazy. Oh my god. Tracy Tom's is one of

290
00:17:00,080 --> 00:17:05,240
Speaker 1: the friends from Rent. Yes, always criminally underused and supporting

291
00:17:05,320 --> 00:17:07,879
Speaker 1: role she's given. She's great. We don't even learn her

292
00:17:07,960 --> 00:17:13,520
Speaker 1: name until like towards the end of the movie, she's like, Lily, Hey,

293
00:17:13,880 --> 00:17:16,879
Speaker 1: you're like, oh, oh, your name is Lily. Also, the

294
00:17:17,040 --> 00:17:21,119
Speaker 1: guy that the my crush from mad Men is in

295
00:17:21,200 --> 00:17:28,160
Speaker 1: the friend group to Summer. Yeah. Yeah, he's a first

296
00:17:28,280 --> 00:17:32,040
Speaker 1: I will never watch mad Men again. But he was

297
00:17:32,119 --> 00:17:35,200
Speaker 1: the cutest. He was kind of like a beta. Yeah

298
00:17:35,440 --> 00:17:38,040
Speaker 1: in mad Men, right, he's a thick beta boy. He's

299
00:17:38,040 --> 00:17:41,400
Speaker 1: like a thick a thick horny beta. I guess thick

300
00:17:41,480 --> 00:17:45,680
Speaker 1: horny beta. Yeah, that about that. I think that's like

301
00:17:45,760 --> 00:17:52,119
Speaker 1: your new line of merch just for thick horny uh.

302
00:17:52,160 --> 00:17:55,480
Speaker 1: And then yeah, there is that scene where Miranda gives

303
00:17:55,520 --> 00:18:01,560
Speaker 1: this big monologue about Marillion, and she's the iconic monologue

304
00:18:01,640 --> 00:18:05,399
Speaker 1: of the movie. Yeah, besides when she says I'm the

305
00:18:05,520 --> 00:18:09,920
Speaker 1: devil and product I didn't write, I didn't see it

306
00:18:10,680 --> 00:18:16,240
Speaker 1: happens in like four Guys. It's in that shot where

307
00:18:16,280 --> 00:18:18,280
Speaker 1: you see her for the first time she loves to

308
00:18:18,560 --> 00:18:30,760
Speaker 1: camera watching the world where gonna get the double foot version,

309
00:18:30,880 --> 00:18:34,000
Speaker 1: and there's a lot of Meryl Street breaking the fourth wall.

310
00:18:37,000 --> 00:18:38,479
Speaker 1: So then Andy is starting to get at the hang

311
00:18:38,560 --> 00:18:41,160
Speaker 1: of the job, but she is also like still making

312
00:18:41,280 --> 00:18:45,120
Speaker 1: mistakes and she's like why doesn't Miranda appreciate my work

313
00:18:45,119 --> 00:18:48,119
Speaker 1: because she goes to Nigel for advice, and then we

314
00:18:48,200 --> 00:18:52,840
Speaker 1: get one of the most intense anti millennial tirades I've

315
00:18:52,880 --> 00:18:56,119
Speaker 1: ever heard in a movie that seemed bugged me. I mean,

316
00:18:56,400 --> 00:18:58,399
Speaker 1: and this was like two thousand six is like the

317
00:18:58,560 --> 00:19:02,920
Speaker 1: beginning of like you won't think you're so special, don't you?

318
00:19:03,280 --> 00:19:06,800
Speaker 1: He pays for everything, and it's just like she just

319
00:19:06,960 --> 00:19:09,440
Speaker 1: wants to be you know, she's making like two dollars

320
00:19:09,520 --> 00:19:13,520
Speaker 1: an hour and it's being screamed at, can you and

321
00:19:13,640 --> 00:19:15,919
Speaker 1: he's like, yeah, you need to. Like it's like an

322
00:19:16,000 --> 00:19:19,520
Speaker 1: old man saying like I had to walk five miles

323
00:19:19,640 --> 00:19:23,240
Speaker 1: in the snow to be whipped by Meryl Streep and

324
00:19:23,680 --> 00:19:27,119
Speaker 1: like that sort of we'll get to that, but that

325
00:19:27,240 --> 00:19:31,159
Speaker 1: whole vibe was like, oh, this is like early millennial

326
00:19:31,280 --> 00:19:34,160
Speaker 1: hatred and movies. He also says, which is a line

327
00:19:34,200 --> 00:19:36,320
Speaker 1: that gets repeated a number of times in the movie,

328
00:19:36,400 --> 00:19:38,399
Speaker 1: but it's like a million girls would kill to have

329
00:19:38,560 --> 00:19:41,119
Speaker 1: your job. And that's something my old boss said to

330
00:19:41,200 --> 00:19:44,560
Speaker 1: me regularly when I was like, I've been doing a

331
00:19:44,640 --> 00:19:46,480
Speaker 1: good job and he's like, you know what, you million

332
00:19:46,520 --> 00:19:48,480
Speaker 1: girls would kill to have the job you have right now,

333
00:19:48,520 --> 00:19:50,960
Speaker 1: and it was like, no, they wouldn't stop sucks stick away.

334
00:19:51,480 --> 00:19:53,680
Speaker 1: It's from the book because all over the book I

335
00:19:53,720 --> 00:19:57,000
Speaker 1: don't remember, like, but it says like multiple characters say

336
00:19:57,040 --> 00:19:58,679
Speaker 1: that to her, and so that's one of the things

337
00:19:58,760 --> 00:20:01,280
Speaker 1: that definitely carried over in the movie. Makes sense, they're

338
00:20:01,280 --> 00:20:04,600
Speaker 1: a gas lady work environment, but that seems like a

339
00:20:04,720 --> 00:20:08,320
Speaker 1: reflection of at least her experience, and it sounds like

340
00:20:08,359 --> 00:20:11,680
Speaker 1: a lot of a lot of us. Yeah, it's a

341
00:20:11,800 --> 00:20:14,359
Speaker 1: way to be like, hey, you're disposable. So if you

342
00:20:14,520 --> 00:20:17,879
Speaker 1: don't do a better job, like yeah, like I can

343
00:20:17,960 --> 00:20:19,920
Speaker 1: be mean to you, and if someone's mean to you,

344
00:20:20,040 --> 00:20:23,760
Speaker 1: don't say anything, or we'll just be mean to someone else. Yeah, exactly.

345
00:20:23,800 --> 00:20:25,520
Speaker 1: You know, listening to you guys say this, I'm like,

346
00:20:25,560 --> 00:20:27,359
Speaker 1: oh my god, that is because like so when I

347
00:20:27,440 --> 00:20:29,920
Speaker 1: read the book and I watched the movie, I was like, yeah,

348
00:20:30,040 --> 00:20:32,000
Speaker 1: I'm really girls would die for that job. Andy do

349
00:20:32,119 --> 00:20:41,399
Speaker 1: a better I guess, well that he's probably not factually incorrect,

350
00:20:41,760 --> 00:20:44,000
Speaker 1: like there would be someone who would take her job

351
00:20:44,040 --> 00:20:47,040
Speaker 1: in a second, but just like the standard of like yeah,

352
00:20:47,119 --> 00:20:50,080
Speaker 1: if you want to be in an entry level position,

353
00:20:50,600 --> 00:20:53,920
Speaker 1: you have to be flogged, like it's just like take

354
00:20:53,960 --> 00:20:57,720
Speaker 1: the abuse that we give you brutal. Yeah, okay. So

355
00:20:57,880 --> 00:21:01,000
Speaker 1: then he's like, okay, I'll give you some some cute

356
00:21:01,080 --> 00:21:05,520
Speaker 1: clothes Andy, and so she gets an off screen makeover,

357
00:21:05,640 --> 00:21:08,040
Speaker 1: but a makeover none the last we middle part nowhere

358
00:21:08,080 --> 00:21:12,200
Speaker 1: to be, It's gone, all of that. I love that,

359
00:21:12,560 --> 00:21:15,080
Speaker 1: Like there's a little this movie is just old enough

360
00:21:15,280 --> 00:21:17,399
Speaker 1: that you need to listen to the music cue to

361
00:21:17,520 --> 00:21:19,720
Speaker 1: figure out if it's a cute outfit or not, because

362
00:21:19,720 --> 00:21:22,920
Speaker 1: it's not a cute outfit. Now, like the outfit Andy

363
00:21:23,000 --> 00:21:25,560
Speaker 1: walks into the office with it's like this weird like

364
00:21:25,760 --> 00:21:29,720
Speaker 1: gossip Girl private school jacket. You're like, what is this?

365
00:21:30,400 --> 00:21:32,920
Speaker 1: But the music is like no, no, no, no no no.

366
00:21:33,400 --> 00:21:40,280
Speaker 1: I was like, oh, I guess this is good. I

367
00:21:40,359 --> 00:21:42,960
Speaker 1: still don't know anything about fashion, which according to this movie,

368
00:21:43,040 --> 00:21:46,359
Speaker 1: I should just fucking go and live in a hole.

369
00:21:47,240 --> 00:21:50,000
Speaker 1: But I still can't tell if outfits are good or not.

370
00:21:50,240 --> 00:21:53,920
Speaker 1: So I don't know anyway. So um, So she shows

371
00:21:54,000 --> 00:21:56,280
Speaker 1: up to work. She's looking all sleek and high fashion.

372
00:21:56,600 --> 00:22:04,520
Speaker 1: Emily's like, oh my god, like even Miranda is impressed.

373
00:22:04,840 --> 00:22:07,560
Speaker 1: And then Andy is like given her friend's present, she's

374
00:22:07,560 --> 00:22:09,879
Speaker 1: talking about fashion stuff they're like, wow, you drink the

375
00:22:09,920 --> 00:22:12,679
Speaker 1: kool aid and chriss And then after she gives them

376
00:22:12,720 --> 00:22:17,159
Speaker 1: these they means her friends are like they don't they

377
00:22:17,200 --> 00:22:20,200
Speaker 1: don't get it. So those scenes, Yeah, I'm excited to

378
00:22:20,240 --> 00:22:23,600
Speaker 1: talk about those scenes because her friends because she is

379
00:22:23,760 --> 00:22:26,919
Speaker 1: being weird and I don't have Has that ever happened

380
00:22:26,920 --> 00:22:28,880
Speaker 1: to either of you? Where like you get a new

381
00:22:29,000 --> 00:22:31,440
Speaker 1: job or you get really into something and then your

382
00:22:31,480 --> 00:22:33,920
Speaker 1: friends are kind of like, oh yeah, like James really

383
00:22:33,960 --> 00:22:36,920
Speaker 1: into this fucking weird ship right now, like when I

384
00:22:37,080 --> 00:22:41,480
Speaker 1: do me every day with Paddington, But like, has it

385
00:22:41,560 --> 00:22:44,600
Speaker 1: ever caused it? Actual? Like, I don't know, I've worked

386
00:22:44,720 --> 00:22:49,359
Speaker 1: for real tension freaky Okay, I've had experiences like that before.

387
00:22:51,160 --> 00:22:58,879
Speaker 1: I already apologize for Actually I actually have a bone

388
00:22:58,920 --> 00:23:02,240
Speaker 1: to pick with you. No, I just like my my

389
00:23:02,440 --> 00:23:04,760
Speaker 1: cousins didn't like when I was going through a phase

390
00:23:04,840 --> 00:23:08,200
Speaker 1: in my career where I was when I was butt

391
00:23:08,320 --> 00:23:13,840
Speaker 1: chugging on on Camra. So that was are they concerned

392
00:23:13,840 --> 00:23:17,440
Speaker 1: about your health? No? That's if they had been concerned

393
00:23:17,440 --> 00:23:19,879
Speaker 1: about my health, I would have been like, oh it's

394
00:23:20,280 --> 00:23:24,879
Speaker 1: I am too, But they weren't. They were just like,

395
00:23:25,080 --> 00:23:27,280
Speaker 1: not a good look. What if you want to run

396
00:23:27,359 --> 00:23:30,840
Speaker 1: for office? And I was like, screw you, guys. Rand's

397
00:23:30,960 --> 00:23:41,280
Speaker 1: calling left the table anyways, relatable soon and then Andy

398
00:23:41,359 --> 00:23:46,359
Speaker 1: goes to an event and she meets Christian Thompson. Colored

399
00:23:46,400 --> 00:23:49,760
Speaker 1: Hair writer whose work she admires, is played by Simon

400
00:23:49,800 --> 00:23:54,520
Speaker 1: Baker Flush colored Hair, a blond adult male. She starts

401
00:23:54,520 --> 00:23:57,359
Speaker 1: to get the hang of the job. She finally does

402
00:23:57,440 --> 00:24:00,400
Speaker 1: something well enough. I think it's like a hair Potter

403
00:24:00,600 --> 00:24:05,480
Speaker 1: based plot point that gets her for Miranda to trust

404
00:24:05,520 --> 00:24:08,000
Speaker 1: her to deliver the book. She considers quitting for a

405
00:24:08,080 --> 00:24:11,280
Speaker 1: brief moment, but then like Christian Thompson saves the day

406
00:24:11,440 --> 00:24:14,760
Speaker 1: with the Harry Potter book and causing a rift with entourage,

407
00:24:15,600 --> 00:24:19,080
Speaker 1: so their their relationship is tense um and then lately

408
00:24:19,359 --> 00:24:21,120
Speaker 1: Emily has been making a lot of mistakes at work,

409
00:24:21,200 --> 00:24:23,920
Speaker 1: so Miranda is like, hey, Andy, I want you to

410
00:24:24,040 --> 00:24:26,080
Speaker 1: go to Paris with me instead of Emily. And then

411
00:24:26,160 --> 00:24:28,440
Speaker 1: like Andy has to tell Emily this, it's like this

412
00:24:28,520 --> 00:24:31,480
Speaker 1: whole thing. She gets hit by a taxi. She and

413
00:24:31,720 --> 00:24:34,440
Speaker 1: Nate break up, and then she goes to Paris and

414
00:24:35,359 --> 00:24:40,400
Speaker 1: kisses a fucking creep. We'll talk about him in a moment. Yeah,

415
00:24:40,440 --> 00:24:42,000
Speaker 1: he's like you want to get published in The New

416
00:24:42,080 --> 00:24:49,119
Speaker 1: Yorker gives. My favorite part is when they're in Paris

417
00:24:49,320 --> 00:24:53,720
Speaker 1: walking around together and Andy says like, I never understood

418
00:24:53,800 --> 00:24:57,080
Speaker 1: what it was about Paris, but it's so beautiful and

419
00:24:57,240 --> 00:25:03,840
Speaker 1: he's like, yeah was the scene? Yeah? Um. And then

420
00:25:04,359 --> 00:25:08,080
Speaker 1: Andy learns that they're going to replace Miranda as editor

421
00:25:08,119 --> 00:25:12,240
Speaker 1: in chief with a younger woman named Jacqueline, and she

422
00:25:12,359 --> 00:25:14,720
Speaker 1: goes to tell Miranda about it, and she's like, it's

423
00:25:14,720 --> 00:25:17,800
Speaker 1: fine and don't worry. And then it turns out Miranda

424
00:25:18,160 --> 00:25:21,120
Speaker 1: to save her job, she sells out Nigel, who thought

425
00:25:21,160 --> 00:25:22,919
Speaker 1: he was going to be made partner of this new

426
00:25:23,000 --> 00:25:27,000
Speaker 1: fashion company, but instead, like Miranda shoves Jacqueline into that

427
00:25:27,119 --> 00:25:29,199
Speaker 1: position so that she can keep her job. And then

428
00:25:29,280 --> 00:25:31,200
Speaker 1: and he's like, well you did to Nigel. I could

429
00:25:31,280 --> 00:25:34,160
Speaker 1: never do something like that, and Miranda's like like, honey,

430
00:25:34,880 --> 00:25:38,119
Speaker 1: you already did, and she's like, you're right, I suck.

431
00:25:38,440 --> 00:25:41,560
Speaker 1: And then she she walks away, she quits her job.

432
00:25:41,640 --> 00:25:43,440
Speaker 1: She throws her phone, and then she throws her like

433
00:25:43,600 --> 00:25:49,119
Speaker 1: sidekick into a fountain, like yes, two thousand sicks. And

434
00:25:49,240 --> 00:25:52,800
Speaker 1: then she gets a job. I don't exactly know what

435
00:25:53,000 --> 00:25:57,320
Speaker 1: magazine it's meant to be the newspaper, and then she

436
00:25:58,840 --> 00:26:02,560
Speaker 1: tries to get back together with her. It doesn't happen

437
00:26:02,560 --> 00:26:05,160
Speaker 1: because he's like, maybe we'll work something, maybe we'll figure

438
00:26:05,240 --> 00:26:07,159
Speaker 1: something out, and she's like, yeah, maybe we will, and

439
00:26:07,240 --> 00:26:10,000
Speaker 1: then that's the end. He's moving to Boston. Yeah, but

440
00:26:10,080 --> 00:26:12,840
Speaker 1: then he's just said, like the way he phrases it

441
00:26:12,880 --> 00:26:15,119
Speaker 1: as wild because it's like she's apologizing to him and

442
00:26:15,200 --> 00:26:18,960
Speaker 1: she owes him an apology and he's like, yeah, it's fine.

443
00:26:19,040 --> 00:26:20,800
Speaker 1: I got a job in Boston. And she was like,

444
00:26:21,000 --> 00:26:24,200
Speaker 1: oh wow. And he's like, so, I guess we're moving there.

445
00:26:24,320 --> 00:26:27,120
Speaker 1: And it's like there should be a discussion, right because

446
00:26:27,119 --> 00:26:30,800
Speaker 1: he's like, there's cheese in Boston and bread, so I

447
00:26:30,880 --> 00:26:35,359
Speaker 1: can still make you bread cheese sandwiches. It would, but

448
00:26:35,480 --> 00:26:40,199
Speaker 1: then she gets it's unclear who knows. But anyway, that's

449
00:26:40,200 --> 00:26:42,280
Speaker 1: pretty much the end of the movie. Let's take a

450
00:26:42,400 --> 00:26:50,080
Speaker 1: quick break and don't come right back to discuss, and

451
00:26:50,160 --> 00:26:54,080
Speaker 1: we're back. I guess what. There's been three sequels written

452
00:26:54,119 --> 00:26:58,000
Speaker 1: to the Devil wors product, which, between Amy and myself

453
00:26:58,080 --> 00:27:00,639
Speaker 1: we agree was not a well written book. First Place

454
00:27:01,119 --> 00:27:03,320
Speaker 1: was mainly a hit because it's a hit piece on

455
00:27:03,400 --> 00:27:07,600
Speaker 1: Anna Wintour, but Laura Wisberger, she's still grinding him out

456
00:27:08,160 --> 00:27:13,080
Speaker 1: in the there's the Devil Wares product, there is Last

457
00:27:13,160 --> 00:27:19,480
Speaker 1: Night at Chateau Marmont, There's Revenge Wars product, and most recently,

458
00:27:19,880 --> 00:27:24,800
Speaker 1: there is When Life Gives You Lulu lemon okay, just

459
00:27:24,920 --> 00:27:27,960
Speaker 1: published last year. You know, I love a good six copy.

460
00:27:28,080 --> 00:27:31,720
Speaker 1: I love a good play on words, So I appreciate that.

461
00:27:32,560 --> 00:27:35,399
Speaker 1: I respect the working writer. So I love I love

462
00:27:35,480 --> 00:27:38,040
Speaker 1: a working writer. I don't love a book called When

463
00:27:38,119 --> 00:27:42,120
Speaker 1: Life Gives You Lu? But do you make Lulu Lemonade?

464
00:27:42,320 --> 00:27:44,800
Speaker 1: I mean, I guess we have to buy and find out.

465
00:27:45,520 --> 00:27:48,680
Speaker 1: So where should we start? Oh, there's so there's so

466
00:27:48,840 --> 00:27:52,320
Speaker 1: much to talk about and a lot of shades of

467
00:27:52,440 --> 00:27:55,720
Speaker 1: gray in terms of how everything is is dealt with.

468
00:27:55,840 --> 00:27:59,600
Speaker 1: I don't know where. Where did you let me point out?

469
00:28:00,160 --> 00:28:03,200
Speaker 1: In the very opening shots of the movie, like over

470
00:28:03,280 --> 00:28:08,160
Speaker 1: the credits, we are seeing disembodied female body parts putting

471
00:28:08,240 --> 00:28:12,720
Speaker 1: on bras, putting on underwear, stockings, and then it becomes

472
00:28:13,200 --> 00:28:15,840
Speaker 1: a like one of these girls is not like the

473
00:28:16,000 --> 00:28:20,840
Speaker 1: other montage where it's like all these conventionally beautiful women

474
00:28:21,000 --> 00:28:23,600
Speaker 1: putting on all their like fancy laundre and their makeup

475
00:28:23,720 --> 00:28:26,640
Speaker 1: and their like skirts and high heels, and we contrast

476
00:28:26,760 --> 00:28:30,240
Speaker 1: that with Anne Hathaway's character, who is dressed in a

477
00:28:30,280 --> 00:28:33,200
Speaker 1: way that's you know, perhaps not quite as hyper feminine

478
00:28:33,280 --> 00:28:35,440
Speaker 1: as these other shots were seeing ar say, she's not

479
00:28:35,640 --> 00:28:39,880
Speaker 1: like the other girl. That's exactly what the movie is saying.

480
00:28:39,960 --> 00:28:42,520
Speaker 1: And it's like the other women are like counting out

481
00:28:42,640 --> 00:28:45,400
Speaker 1: seven almonds for breakfast, and then she's eating like a

482
00:28:45,520 --> 00:28:48,520
Speaker 1: bagel and cream cheese. The others are taking like taxis

483
00:28:48,600 --> 00:28:51,000
Speaker 1: or town cars. She takes the subway. So it's like

484
00:28:51,160 --> 00:28:53,920
Speaker 1: very much like a it's like setting up a working

485
00:28:54,000 --> 00:28:57,680
Speaker 1: girl kind of character for her. I think it's still

486
00:28:57,840 --> 00:29:02,080
Speaker 1: like this. This movie comes out five years after The

487
00:29:02,160 --> 00:29:06,240
Speaker 1: Princess Diaries, and Anne Hathaway is still We're still suspending

488
00:29:06,280 --> 00:29:11,320
Speaker 1: our disbelief to be like what an ugo like Jesus correct,

489
00:29:11,360 --> 00:29:14,600
Speaker 1: Why why is this where Anne Hathaway is type cast?

490
00:29:15,400 --> 00:29:18,800
Speaker 1: There are moments pre Andy getting rid of her middle

491
00:29:18,920 --> 00:29:23,840
Speaker 1: part uh and wearing less layers that it seems like

492
00:29:23,920 --> 00:29:27,160
Speaker 1: it's referencing the Princess Diaries in in terms of like

493
00:29:27,200 --> 00:29:30,960
Speaker 1: how people treat her and all this. It's just I'm

494
00:29:31,040 --> 00:29:33,640
Speaker 1: just like man, I'm tired of having to pretend Anne

495
00:29:33,640 --> 00:29:35,920
Speaker 1: Hathaway is ugly. I don't have any more belief to

496
00:29:36,040 --> 00:29:40,120
Speaker 1: suspend right. And it's when she starts to change her

497
00:29:40,200 --> 00:29:43,440
Speaker 1: look that that coincide story wise with her getting better

498
00:29:43,680 --> 00:29:48,240
Speaker 1: at her job. And when whenever she goes to Nigel

499
00:29:48,320 --> 00:29:50,280
Speaker 1: to be like, what can I do to be taken

500
00:29:50,320 --> 00:29:54,680
Speaker 1: more seriously here? Her idea is to dress better, which

501
00:29:54,760 --> 00:29:56,960
Speaker 1: makes sense it is a fashion magazine, but like, that's

502
00:29:57,520 --> 00:30:00,840
Speaker 1: it seems like that's the only idea she It's not like,

503
00:30:01,080 --> 00:30:04,360
Speaker 1: how else can I be better at the administrative aspects

504
00:30:04,440 --> 00:30:07,080
Speaker 1: of my job? Like? And she we do see her

505
00:30:07,240 --> 00:30:11,120
Speaker 1: improve in those ways, but her main idea to like

506
00:30:11,640 --> 00:30:14,360
Speaker 1: be better at her job is to look better. But

507
00:30:14,400 --> 00:30:15,880
Speaker 1: I think I wonder if that's like a game she

508
00:30:15,960 --> 00:30:18,240
Speaker 1: has to play to earn the respect of Miranda so

509
00:30:18,320 --> 00:30:21,480
Speaker 1: that Miranda doesn't treat her like ship as much. Yeah,

510
00:30:21,520 --> 00:30:23,600
Speaker 1: because I think when Miranda does see that she puts

511
00:30:23,640 --> 00:30:27,400
Speaker 1: effort into dressing better, then she gives her a little

512
00:30:27,400 --> 00:30:30,000
Speaker 1: bit more respect and actually starts calling her by her name.

513
00:30:30,640 --> 00:30:32,760
Speaker 1: You know, I think that's really telling when she does

514
00:30:33,000 --> 00:30:34,760
Speaker 1: decide to and it was, and it wasn't after she

515
00:30:34,880 --> 00:30:37,320
Speaker 1: did like heroic things job wise, but it is because

516
00:30:37,360 --> 00:30:40,520
Speaker 1: she noticed that she dressed right, Like she's not doing

517
00:30:41,080 --> 00:30:44,640
Speaker 1: necessarily a better job, she just looks different doing it, Yes,

518
00:30:45,320 --> 00:30:48,760
Speaker 1: and that's what garners the respect. And then real quick

519
00:30:48,800 --> 00:30:52,240
Speaker 1: back to the opening sequence, where like I was thinking,

520
00:30:52,280 --> 00:30:54,120
Speaker 1: those women you were seeing who were like putting on

521
00:30:54,280 --> 00:30:57,240
Speaker 1: all like the high fashion items would be the other

522
00:30:57,320 --> 00:31:00,400
Speaker 1: women women who were interviewing for that job, and that

523
00:31:00,520 --> 00:31:03,600
Speaker 1: might be what's implied. But we don't see those women again,

524
00:31:04,120 --> 00:31:07,120
Speaker 1: so they're basically just on screen so that we can

525
00:31:07,280 --> 00:31:11,600
Speaker 1: one see they're like disembodied female body parts and to

526
00:31:11,760 --> 00:31:14,520
Speaker 1: demonstrate how Andy is not like the other girls. So

527
00:31:14,600 --> 00:31:17,600
Speaker 1: like that's the only function. I kind of disagree with that. Yeah,

528
00:31:17,680 --> 00:31:20,560
Speaker 1: I think that a lot of I mean, the first

529
00:31:20,840 --> 00:31:24,120
Speaker 1: like ten minutes of this movie are so tight in

530
00:31:24,280 --> 00:31:26,480
Speaker 1: terms of like you get everything you need to know.

531
00:31:26,680 --> 00:31:29,800
Speaker 1: I thought that that was also just conveying a theme

532
00:31:29,880 --> 00:31:33,880
Speaker 1: of like presenting you with the Runway woman type of

533
00:31:34,200 --> 00:31:37,560
Speaker 1: like here's an example of a woman who uses this

534
00:31:37,720 --> 00:31:40,479
Speaker 1: magazine as her bible. It's like, I think on one

535
00:31:40,480 --> 00:31:44,800
Speaker 1: side of the screen, we're seeing people who presumably subscribe

536
00:31:45,000 --> 00:31:48,000
Speaker 1: to Runway or at least the ideas that Runway is selling.

537
00:31:48,120 --> 00:31:52,120
Speaker 1: And uh so I think that there's enough function. And I'm,

538
00:31:52,320 --> 00:31:56,280
Speaker 1: you know, always for calling out when like women's bodies

539
00:31:56,320 --> 00:31:59,920
Speaker 1: are being used in like weird crops and like sexualized crops.

540
00:32:00,040 --> 00:32:02,160
Speaker 1: But I didn't. I didn't think that that was what

541
00:32:02,800 --> 00:32:04,760
Speaker 1: that sequence was trying to do. It didn't seem like

542
00:32:04,760 --> 00:32:06,880
Speaker 1: they were trying to sexualize it. It is kind of

543
00:32:07,040 --> 00:32:10,480
Speaker 1: like an oversimplification of like some women be like this,

544
00:32:10,800 --> 00:32:14,240
Speaker 1: other women be like this, But at least to me,

545
00:32:14,400 --> 00:32:17,040
Speaker 1: tied into like the theme. Sure it was effective and

546
00:32:17,160 --> 00:32:21,280
Speaker 1: demonstrating that type of women and stuff like that. And

547
00:32:21,400 --> 00:32:23,239
Speaker 1: the strange thing was that, like, I think there are

548
00:32:23,400 --> 00:32:25,320
Speaker 1: at least two or three different women of color and

549
00:32:25,400 --> 00:32:29,200
Speaker 1: that opening montage and then Lily you know what I

550
00:32:29,240 --> 00:32:31,720
Speaker 1: mean for the rest of the movie. So they were like,

551
00:32:31,880 --> 00:32:34,080
Speaker 1: I think they are used as props in this way

552
00:32:34,160 --> 00:32:37,040
Speaker 1: to to to franciate Andy from like the other types

553
00:32:37,080 --> 00:32:39,080
Speaker 1: of women, like you're saying, like the runaway ish women.

554
00:32:39,760 --> 00:32:43,000
Speaker 1: But it's interesting that they casted women who very much

555
00:32:43,040 --> 00:32:44,720
Speaker 1: didn't look like her in terms of women of color,

556
00:32:44,760 --> 00:32:48,120
Speaker 1: but then didn't like plant more women of color throughout

557
00:32:48,160 --> 00:32:51,720
Speaker 1: the world of Runway or just New York City or

558
00:32:51,840 --> 00:32:54,040
Speaker 1: like people she interacted with. This is one of those

559
00:32:54,120 --> 00:32:56,640
Speaker 1: movies that takes place in a New York City where

560
00:32:56,880 --> 00:33:00,200
Speaker 1: only white people live and work. And I bet when

561
00:33:00,240 --> 00:33:02,640
Speaker 1: they cast it, um, the Lily character, they were like,

562
00:33:02,680 --> 00:33:04,360
Speaker 1: we needed, we need a person of color in this

563
00:33:04,600 --> 00:33:06,680
Speaker 1: that's what. Yeah. It really just feel like they just

564
00:33:06,760 --> 00:33:09,320
Speaker 1: slotted her in. And because I was like trying to

565
00:33:09,360 --> 00:33:11,360
Speaker 1: think about like the representation of people of color in

566
00:33:11,400 --> 00:33:13,240
Speaker 1: this movie, and I was like, wow, looks when I'm

567
00:33:13,280 --> 00:33:16,120
Speaker 1: calling just like the opening moments, which is very really interesting,

568
00:33:16,200 --> 00:33:18,240
Speaker 1: but that like they don't speak, they're just like they're

569
00:33:18,280 --> 00:33:20,920
Speaker 1: to be looked at. Um. So that was like a

570
00:33:21,520 --> 00:33:23,520
Speaker 1: thing where I was thinking, like what are they trying

571
00:33:23,560 --> 00:33:25,920
Speaker 1: to do here? And I don't really have an answer.

572
00:33:25,960 --> 00:33:28,520
Speaker 1: I was just like pontificating on it. Yeah, I know

573
00:33:28,800 --> 00:33:32,160
Speaker 1: that's important to note, and especially with like Lily's character,

574
00:33:32,680 --> 00:33:36,280
Speaker 1: where she is so shoehorned into the storyline because we

575
00:33:36,320 --> 00:33:39,120
Speaker 1: don't know anything about her Caitlin, like we're saying we

576
00:33:39,200 --> 00:33:41,920
Speaker 1: don't know her name, and very late in the movie

577
00:33:42,280 --> 00:33:45,680
Speaker 1: and she's I thought, even like even worse than a

578
00:33:45,880 --> 00:33:48,920
Speaker 1: classic like best friend in a movie role we're at

579
00:33:49,000 --> 00:33:51,280
Speaker 1: least most best friend in the movie roles, you know

580
00:33:51,320 --> 00:33:54,000
Speaker 1: at least something about them, you know, like where they work,

581
00:33:54,160 --> 00:33:56,200
Speaker 1: how do they know each other, how long have they

582
00:33:56,280 --> 00:33:59,120
Speaker 1: known each other? How do they feel about literally anything

583
00:33:59,200 --> 00:34:01,880
Speaker 1: other than what's opening to the protagonist. But like Lily

584
00:34:01,960 --> 00:34:06,400
Speaker 1: is there to provide exposition and like besides her boyfriend,

585
00:34:06,520 --> 00:34:10,040
Speaker 1: whose nate is that rate, but to like provide some

586
00:34:10,200 --> 00:34:12,959
Speaker 1: sort of like you've changed. Like that's the only reason

587
00:34:13,360 --> 00:34:17,640
Speaker 1: we do know job vaguely, which is that she is

588
00:34:17,680 --> 00:34:22,960
Speaker 1: an artist who has a gallery show New York. To

589
00:34:23,520 --> 00:34:26,319
Speaker 1: those two women in the job have the only two

590
00:34:26,440 --> 00:34:29,000
Speaker 1: jobs that women are allowed to have in movies, especially

591
00:34:29,080 --> 00:34:30,600
Speaker 1: when you live in New York City, which is you

592
00:34:31,239 --> 00:34:33,640
Speaker 1: work at a gallery or you work at a magazine.

593
00:34:34,719 --> 00:34:37,480
Speaker 1: So I mean there's like a lot of boring stuff

594
00:34:37,520 --> 00:34:40,480
Speaker 1: to explore in that friendship. And I think they've known

595
00:34:40,520 --> 00:34:42,600
Speaker 1: each other, she said, like I'm known for sixteen years,

596
00:34:42,600 --> 00:34:44,080
Speaker 1: so we know that they must have known each other

597
00:34:44,120 --> 00:34:47,080
Speaker 1: as like high school student or like or something. But

598
00:34:47,440 --> 00:34:49,160
Speaker 1: it's so funny that you guys are bring them that,

599
00:34:49,239 --> 00:34:50,920
Speaker 1: like there's only two types of jobs that you can

600
00:34:50,960 --> 00:34:53,520
Speaker 1: have there because even her jobs served as a plot

601
00:34:53,560 --> 00:34:56,080
Speaker 1: point because it didn't make sense when they go to

602
00:34:56,120 --> 00:34:59,080
Speaker 1: that gallery opening and Lily's like, hey, I designed this

603
00:34:59,280 --> 00:35:01,120
Speaker 1: to like you to go to the back and start

604
00:35:01,160 --> 00:35:02,640
Speaker 1: from the back and go to the front, which makes

605
00:35:02,760 --> 00:35:05,440
Speaker 1: zero sense in terms of like design of experiencing a

606
00:35:05,520 --> 00:35:08,120
Speaker 1: gallery show, like who goes to the back to work

607
00:35:08,160 --> 00:35:10,800
Speaker 1: them to the front. But it's a plot thing because

608
00:35:11,400 --> 00:35:13,720
Speaker 1: it makes Andy go to the back and then Christian

609
00:35:13,800 --> 00:35:16,400
Speaker 1: meets her there and then they're like they're having their

610
00:35:16,440 --> 00:35:19,520
Speaker 1: secret rendezvous and then like he kisses her and it's

611
00:35:19,600 --> 00:35:23,239
Speaker 1: supposed to look like sneaky um. But she could not

612
00:35:23,400 --> 00:35:26,280
Speaker 1: have said that made made her gallery show look ridiculous.

613
00:35:26,640 --> 00:35:28,440
Speaker 1: It could have been like they have a look around

614
00:35:28,600 --> 00:35:30,320
Speaker 1: and then like and he could have just been in

615
00:35:30,360 --> 00:35:33,239
Speaker 1: the back, right, But like, even when they're giving Lily

616
00:35:33,280 --> 00:35:35,600
Speaker 1: an interesting job, they made her look like a dummy

617
00:35:36,840 --> 00:35:39,360
Speaker 1: just so that like we could usher ushered them and

618
00:35:39,440 --> 00:35:42,440
Speaker 1: block them into the back of the gallery. Have no sense.

619
00:35:43,280 --> 00:35:46,920
Speaker 1: Rude the Lily character. I mean, the movie fails her

620
00:35:47,560 --> 00:35:51,400
Speaker 1: in every way. It's such a I just love crazy

621
00:35:51,480 --> 00:35:55,960
Speaker 1: Tom so much. She's great. Well, we can talk about

622
00:35:56,360 --> 00:36:01,480
Speaker 1: the fact that this movie is one of the guiltiest

623
00:36:01,680 --> 00:36:05,120
Speaker 1: examples of a movie that like portrays the trope of

624
00:36:06,120 --> 00:36:09,840
Speaker 1: a career woman who is successful and in a leadership

625
00:36:10,000 --> 00:36:15,880
Speaker 1: role in in her professional life. She is a fucking bit. Yeah,

626
00:36:16,320 --> 00:36:19,120
Speaker 1: there's like a lot of like second I feel like

627
00:36:19,200 --> 00:36:22,040
Speaker 1: we've been coming up against all these like very strong

628
00:36:22,160 --> 00:36:26,800
Speaker 1: second wave feminism, like cautionary tales. Recently when I was

629
00:36:26,880 --> 00:36:30,040
Speaker 1: doing some background and and and I I will say

630
00:36:30,080 --> 00:36:33,120
Speaker 1: I think Miranda's character is presented in the movie. I

631
00:36:33,160 --> 00:36:35,080
Speaker 1: don't think in the book, but presented in the movie

632
00:36:35,160 --> 00:36:39,359
Speaker 1: with more nuance and backstory than you get for most

633
00:36:39,440 --> 00:36:43,520
Speaker 1: of these characters who, like prior to this movie are

634
00:36:43,719 --> 00:36:47,759
Speaker 1: used strictly as like if you don't settle down, this

635
00:36:48,040 --> 00:36:50,279
Speaker 1: will be you. And you're just like I mean, if

636
00:36:50,280 --> 00:36:53,080
Speaker 1: you think about like Glenn Close and Fatal Attraction is

637
00:36:53,239 --> 00:36:57,200
Speaker 1: like this successful career woman and her lack of like

638
00:36:57,320 --> 00:37:02,120
Speaker 1: a heteronormative perfect life drives her insane into murder. And

639
00:37:02,920 --> 00:37:07,080
Speaker 1: there's another movie that I don't know why, I saw

640
00:37:07,160 --> 00:37:08,480
Speaker 1: it a bunch of times when I was younger, but

641
00:37:09,360 --> 00:37:14,520
Speaker 1: a movie called Working Girl. In Sigournie Weaver is the

642
00:37:14,600 --> 00:37:18,400
Speaker 1: mean lady boss and that um and she steals an

643
00:37:18,480 --> 00:37:22,120
Speaker 1: idea from her secretary who's Melanie Griffith. It's a similar

644
00:37:22,200 --> 00:37:27,800
Speaker 1: stock character whose background goes completely unexplored. I think this,

645
00:37:28,120 --> 00:37:32,319
Speaker 1: I don't know, the Miranda conversations tricky, but this movie

646
00:37:32,400 --> 00:37:35,680
Speaker 1: attempts to address some of those trumps, but it doesn't.

647
00:37:36,280 --> 00:37:39,720
Speaker 1: I don't know, it doesn't effectively comment on our subvert

648
00:37:40,200 --> 00:37:43,200
Speaker 1: quite enough for me, But I do think it's interesting that,

649
00:37:43,640 --> 00:37:46,160
Speaker 1: you know, if you look at especially like the Glenn

650
00:37:46,280 --> 00:37:51,120
Speaker 1: Close character, usually a woman with ambition has to shoulder

651
00:37:51,280 --> 00:37:54,680
Speaker 1: some horrible consequence of that ambition. And that's like one

652
00:37:54,760 --> 00:37:57,040
Speaker 1: choice with the Miranda character that I thought was like

653
00:37:57,280 --> 00:38:01,120
Speaker 1: cool and interesting is that Miranda is horrible. She fucks

654
00:38:01,160 --> 00:38:04,920
Speaker 1: Stanley Tucci over, she doesn't apologize for it, and she

655
00:38:05,000 --> 00:38:08,200
Speaker 1: suffers no consequences, which is, you know, a very corporate

656
00:38:08,320 --> 00:38:12,719
Speaker 1: feminism take on that. But you didn't usually see that

657
00:38:12,840 --> 00:38:15,680
Speaker 1: with like an ambitious woman. She's usually punished by the story.

658
00:38:16,120 --> 00:38:19,480
Speaker 1: That's true, and we do see the line where Andy

659
00:38:19,600 --> 00:38:24,080
Speaker 1: is talking about Miranda and says something like, yeah, she's tough.

660
00:38:24,160 --> 00:38:26,360
Speaker 1: But if Miranda were a man, no one would notice

661
00:38:26,360 --> 00:38:28,839
Speaker 1: anything about her except how great she is at her job.

662
00:38:28,920 --> 00:38:30,600
Speaker 1: So that is like one of the few attempts the

663
00:38:30,680 --> 00:38:34,560
Speaker 1: movie makes a being like see, we get it feminism, right,

664
00:38:35,120 --> 00:38:38,399
Speaker 1: which is something. Yeah, I agree that, Like it's it's

665
00:38:38,560 --> 00:38:42,480
Speaker 1: hard to like place Miranda in a way. Like like

666
00:38:42,600 --> 00:38:44,560
Speaker 1: we said earlier, I was just like maybe I'm just

667
00:38:44,680 --> 00:38:48,160
Speaker 1: like a forever gasolate person. But like I was just like,

668
00:38:48,239 --> 00:38:50,239
Speaker 1: Miranda is just really good at her job, you know,

669
00:38:50,320 --> 00:38:52,800
Speaker 1: and like, yeah, she has like her really bitchy moments,

670
00:38:52,880 --> 00:38:56,560
Speaker 1: and but but even her bitchy moments are like so beautiful,

671
00:38:56,640 --> 00:38:58,880
Speaker 1: like that you know that montage of her like slamming

672
00:38:58,920 --> 00:39:01,160
Speaker 1: her purse and her coat on the on the desk,

673
00:39:01,280 --> 00:39:04,080
Speaker 1: I'm like, I will just watch that montage sometimes I

674
00:39:04,120 --> 00:39:08,000
Speaker 1: will just google it and like look up and not

675
00:39:08,120 --> 00:39:10,120
Speaker 1: just watching because I'm like, yes, like I look at

676
00:39:10,160 --> 00:39:12,759
Speaker 1: the outfit she's wearing. I look at what Andy is wearing,

677
00:39:12,760 --> 00:39:14,239
Speaker 1: and look at the reactions, and look at what she's

678
00:39:14,320 --> 00:39:16,319
Speaker 1: I want to hear again what she's asking for. She's

679
00:39:16,360 --> 00:39:18,359
Speaker 1: just asking for a vague ship, Like where's that piece

680
00:39:18,400 --> 00:39:20,239
Speaker 1: of paper I had in my hand? I'm like, yeah,

681
00:39:20,280 --> 00:39:25,120
Speaker 1: where is that? But like I think that for somebody

682
00:39:25,280 --> 00:39:27,239
Speaker 1: of her caliber and like the job that she does,

683
00:39:27,320 --> 00:39:29,200
Speaker 1: sometimes like you just have so much ship going on,

684
00:39:29,320 --> 00:39:32,160
Speaker 1: you just can't keep track of everything, but like because

685
00:39:32,200 --> 00:39:34,680
Speaker 1: it's being delivered through a woman and not a man,

686
00:39:34,920 --> 00:39:37,040
Speaker 1: Like I think we have like feelings about that because

687
00:39:37,080 --> 00:39:40,160
Speaker 1: we expect women to act a specific way. So I

688
00:39:40,280 --> 00:39:42,640
Speaker 1: do feel like, yeah, like she's not a very kind

689
00:39:42,719 --> 00:39:45,120
Speaker 1: boss a lot of the times, she can't be really

690
00:39:45,160 --> 00:39:53,320
Speaker 1: hard to work for, but she's the devil's always, just

691
00:39:53,360 --> 00:39:57,120
Speaker 1: in case you forgot, I am the devil. But I

692
00:39:57,200 --> 00:39:59,800
Speaker 1: wonder if like this is just on the spectrum of

693
00:40:00,080 --> 00:40:02,320
Speaker 1: women who work and this is how they behave, Like

694
00:40:03,080 --> 00:40:05,200
Speaker 1: maybe she's on the far end of like a really

695
00:40:05,400 --> 00:40:07,759
Speaker 1: not great boss, but it's just like one of the

696
00:40:08,040 --> 00:40:11,200
Speaker 1: portrayals of women who work and like, you know, and

697
00:40:11,360 --> 00:40:13,360
Speaker 1: if we think that like women bosses who aren't like

698
00:40:13,400 --> 00:40:15,560
Speaker 1: that are just bitchy and awful, then like that will

699
00:40:15,560 --> 00:40:17,440
Speaker 1: always just be a trope. But I just kind of

700
00:40:17,560 --> 00:40:19,520
Speaker 1: lay her on that spectrum because like there are moments

701
00:40:19,560 --> 00:40:21,440
Speaker 1: where I think, I think it's a maryle thing that

702
00:40:21,520 --> 00:40:23,480
Speaker 1: gave her this nuance where you know, like when she

703
00:40:23,520 --> 00:40:27,400
Speaker 1: answered her phone her daughter called, She's like, oh hey, Bubsy,

704
00:40:27,480 --> 00:40:29,800
Speaker 1: I'm like, oh my gosh, she's a mom, you know,

705
00:40:30,560 --> 00:40:32,840
Speaker 1: or like even when she sucked selling teacher over for

706
00:40:32,920 --> 00:40:36,160
Speaker 1: that job. I was like, she's saving herself because like

707
00:40:36,400 --> 00:40:39,440
Speaker 1: the industry is agist or like the industry doesn't want

708
00:40:39,480 --> 00:40:42,600
Speaker 1: to pay her what she's worth, right, So I'm sorry Stanley.

709
00:40:42,640 --> 00:40:45,120
Speaker 1: But like, also Stanley is a man, Like he doesn't

710
00:40:45,160 --> 00:40:47,279
Speaker 1: have to work for her if he doesn't want to write, Like,

711
00:40:47,400 --> 00:40:49,480
Speaker 1: if he wanted to go off on his own, I'm

712
00:40:49,520 --> 00:40:51,040
Speaker 1: sure he could ask permission be like yeah, you kind

713
00:40:51,040 --> 00:40:52,759
Speaker 1: of me ever kind of leave She's I think she's

714
00:40:52,760 --> 00:40:55,200
Speaker 1: reasonable enough to be like yes, which to some extent

715
00:40:55,480 --> 00:40:58,759
Speaker 1: Stanley knows because when it happens, he just sits there

716
00:40:58,840 --> 00:41:01,120
Speaker 1: and it's like my time, look, and it's it's a

717
00:41:01,160 --> 00:41:03,960
Speaker 1: sad moment. It's a difficult moment for that character. But

718
00:41:04,360 --> 00:41:06,400
Speaker 1: you're totally right, Yeah, it's like she is saving her

719
00:41:06,440 --> 00:41:09,400
Speaker 1: ass because no one else is going to, like, no

720
00:41:09,480 --> 00:41:11,840
Speaker 1: one is going to come to bat for an older

721
00:41:11,960 --> 00:41:15,760
Speaker 1: woman trying to survive in a very high pressure environment,

722
00:41:15,800 --> 00:41:17,640
Speaker 1: which I think you know, you see proven over and

723
00:41:17,760 --> 00:41:20,799
Speaker 1: over right, and one of the things that doesn't get

724
00:41:20,880 --> 00:41:24,879
Speaker 1: talked about enough where we see the trope of professional

725
00:41:25,400 --> 00:41:29,040
Speaker 1: women in high status jobs being portrayed as being these difficult,

726
00:41:29,160 --> 00:41:33,600
Speaker 1: heinous women. But what gets ignored is that if they

727
00:41:33,640 --> 00:41:37,560
Speaker 1: are perhaps acting that way sometimes it probably has something

728
00:41:37,600 --> 00:41:40,120
Speaker 1: to do with the fact that women in order to

729
00:41:40,200 --> 00:41:44,120
Speaker 1: be taken seriously in the professional sphere and to climb

730
00:41:44,280 --> 00:41:48,400
Speaker 1: the ladder, they have to work harder than they're like

731
00:41:48,520 --> 00:41:51,560
Speaker 1: male counterpart. They might have to be kind of more

732
00:41:51,880 --> 00:41:56,120
Speaker 1: ruthless and just like any number of things to be

733
00:41:56,560 --> 00:42:01,200
Speaker 1: taken seriously, because, yeah, the industries are exists, they are agist,

734
00:42:01,320 --> 00:42:05,400
Speaker 1: and for her to behave this way is probably a

735
00:42:06,080 --> 00:42:09,560
Speaker 1: direct response to the way that women are treated in

736
00:42:09,920 --> 00:42:14,680
Speaker 1: every aspect of their life. Right. It's another thing that

737
00:42:14,840 --> 00:42:17,520
Speaker 1: this movie avoided for me. It's a it's not a

738
00:42:17,600 --> 00:42:21,520
Speaker 1: trope that really existed as much in two thousand six.

739
00:42:21,600 --> 00:42:24,759
Speaker 1: I think it's like a slowly emerging one. Uh that

740
00:42:24,840 --> 00:42:26,640
Speaker 1: I don't know if I'm going to articulate it right,

741
00:42:26,840 --> 00:42:31,040
Speaker 1: but um, this sort of avoids the Miranda character, avoids

742
00:42:31,120 --> 00:42:35,160
Speaker 1: the tropes of like a girl boss character where the

743
00:42:35,320 --> 00:42:38,080
Speaker 1: girl boss trope is something that drives me nuts, whether

744
00:42:38,200 --> 00:42:42,040
Speaker 1: it's like someone performed being a performative business person or

745
00:42:42,320 --> 00:42:46,000
Speaker 1: in in a in a piece of narrative fiction where

746
00:42:46,160 --> 00:42:51,000
Speaker 1: it's like a woman who is a capitalist at her core.

747
00:42:51,640 --> 00:42:53,600
Speaker 1: Even if you know she's she's good at her job.

748
00:42:53,719 --> 00:42:56,920
Speaker 1: She's a business owner, she's a capitalist, but then posits

749
00:42:56,960 --> 00:42:59,879
Speaker 1: it as like, but I'm like one of you. It's

750
00:43:00,040 --> 00:43:03,080
Speaker 1: like Cheryl Sandberg is like peak girl Boss, where it's

751
00:43:03,080 --> 00:43:07,200
Speaker 1: like someone who's doing a bad thing but is treated

752
00:43:07,360 --> 00:43:11,640
Speaker 1: like oh no, but she's actually like yes, queen, you know,

753
00:43:11,920 --> 00:43:14,680
Speaker 1: and and and she she uses like the veil of

754
00:43:14,719 --> 00:43:19,200
Speaker 1: feminism to feel like me being empowered empowers you. And

755
00:43:19,280 --> 00:43:21,480
Speaker 1: I don't think Miranda does that. Miranda's just a person

756
00:43:21,600 --> 00:43:23,879
Speaker 1: working a job. And she has like self awareness because

757
00:43:23,920 --> 00:43:26,319
Speaker 1: because like there's that scene where like her and Mr

758
00:43:26,400 --> 00:43:28,640
Speaker 1: Priestley are going to divorce and she's like doesn't have

759
00:43:28,680 --> 00:43:30,600
Speaker 1: any makeup on. And I think that the credit to

760
00:43:31,400 --> 00:43:36,799
Speaker 1: how nuanced Miranda's is to mistreat. But you know, she's

761
00:43:36,840 --> 00:43:39,080
Speaker 1: like she's her face is bare, and she's just like, oh,

762
00:43:39,160 --> 00:43:41,439
Speaker 1: the tabloids are gonna eat this up. Like they should

763
00:43:41,480 --> 00:43:43,080
Speaker 1: pay me because they write so many pieces about me.

764
00:43:43,120 --> 00:43:45,160
Speaker 1: She's like there's so much self awareness there. She knows

765
00:43:45,200 --> 00:43:47,920
Speaker 1: what she's projecting, but fuck it because she needs to

766
00:43:48,160 --> 00:43:51,000
Speaker 1: make this excellent publication and like and she knows what

767
00:43:51,120 --> 00:43:53,880
Speaker 1: she's doing. Yeah, she's like and she's not like a

768
00:43:54,040 --> 00:43:57,960
Speaker 1: faker the way that a lot of people present themselves

769
00:43:58,000 --> 00:44:00,680
Speaker 1: in similar roles, which takes a certain out of like

770
00:44:01,200 --> 00:44:04,520
Speaker 1: conviction and courage to be like, no, I'm selling ship.

771
00:44:04,760 --> 00:44:07,279
Speaker 1: I know how to do it better than anyone, so

772
00:44:07,960 --> 00:44:10,919
Speaker 1: pay me for doing that, and not like you're saying,

773
00:44:10,960 --> 00:44:12,799
Speaker 1: like covering it with a veil of like no, I'm

774
00:44:12,880 --> 00:44:15,200
Speaker 1: for all women. It's like, no, Miranda is here to

775
00:44:15,360 --> 00:44:17,400
Speaker 1: do a job. She's here to do a job, and

776
00:44:17,440 --> 00:44:19,600
Speaker 1: there's a lot of forces that are going to make

777
00:44:19,640 --> 00:44:22,360
Speaker 1: it more difficult for her to do that job. But

778
00:44:22,520 --> 00:44:26,440
Speaker 1: like I think, I wonder then if like, because you know, feminism,

779
00:44:26,640 --> 00:44:29,440
Speaker 1: corporate ties feminism or marketplace feminism is so trending now,

780
00:44:29,480 --> 00:44:32,440
Speaker 1: so I think that's why Girl Boss tropes are like flourishing.

781
00:44:32,800 --> 00:44:35,480
Speaker 1: But if it was as trendy then because like feminism

782
00:44:35,600 --> 00:44:38,080
Speaker 1: was still very much like a four letter word, you know,

783
00:44:38,200 --> 00:44:40,000
Speaker 1: like just even ten years ago, which is so wild

784
00:44:40,040 --> 00:44:42,719
Speaker 1: to think about. But if it wasn't, I wonder what

785
00:44:42,840 --> 00:44:46,439
Speaker 1: would have happened to the Miranda character. I know, well, yeah,

786
00:44:46,719 --> 00:44:49,200
Speaker 1: that's just like what if I don't know, I mean,

787
00:44:49,280 --> 00:44:52,480
Speaker 1: I guess how do people view in the wintour right now,

788
00:44:53,400 --> 00:44:56,879
Speaker 1: because it does seem like most women there's I would

789
00:44:56,920 --> 00:45:00,879
Speaker 1: imagine some pressure right now for been working in high

790
00:45:00,960 --> 00:45:04,839
Speaker 1: levels of business to put on that mask. And that's

791
00:45:04,880 --> 00:45:07,319
Speaker 1: not to say that it's not at least sincerely held

792
00:45:07,400 --> 00:45:11,320
Speaker 1: in part, but it's just I don't know, corporate feminism

793
00:45:11,400 --> 00:45:13,759
Speaker 1: frees me the funk out of like we think you're

794
00:45:13,760 --> 00:45:17,800
Speaker 1: beautiful by this soap. Also we're waging war and me

795
00:45:17,960 --> 00:45:24,279
Speaker 1: and mar sorry like that, Cheryl Samberg, Cheryld Samberg. She's

796
00:45:24,320 --> 00:45:28,560
Speaker 1: the scariest personal life. But I I wonder if if

797
00:45:28,800 --> 00:45:30,520
Speaker 1: if this movie came out today, if that would be

798
00:45:30,640 --> 00:45:33,839
Speaker 1: sort of addressed. But there's not. I mean, it's weird

799
00:45:33,960 --> 00:45:40,120
Speaker 1: any any manner of Like outright feminist statements are strictly

800
00:45:40,239 --> 00:45:45,680
Speaker 1: made by Andy and are usually shot down. Right, We've

801
00:45:45,680 --> 00:45:48,440
Speaker 1: got to take another quick break, but we'll be right

802
00:45:48,640 --> 00:45:55,960
Speaker 1: back after that. Amy, going back to the scene that

803
00:45:56,000 --> 00:45:59,400
Speaker 1: you were talking about really briefly, where Miranda is talking

804
00:45:59,440 --> 00:46:03,560
Speaker 1: about her like impending divorce. So that's an example that

805
00:46:03,680 --> 00:46:06,600
Speaker 1: we see in a movie where it's a character who

806
00:46:07,200 --> 00:46:11,080
Speaker 1: is a professional, successful woman but her personal life is

807
00:46:11,120 --> 00:46:17,160
Speaker 1: in shambles basically, which is perhaps sometimes a realistic portrayal,

808
00:46:17,360 --> 00:46:20,960
Speaker 1: especially when it's you know, the man, the husband who

809
00:46:21,080 --> 00:46:26,359
Speaker 1: resents the fact that his what, his wife is successful

810
00:46:26,640 --> 00:46:30,680
Speaker 1: and you know, feels threatened by that or emasculated by

811
00:46:30,719 --> 00:46:34,120
Speaker 1: that or whatever, because it's a really subtle moment in

812
00:46:34,160 --> 00:46:37,160
Speaker 1: the movie. But whenever Andy is delivering the book to

813
00:46:38,200 --> 00:46:41,600
Speaker 1: Miranda's house for the first time and like was like, yeah,

814
00:46:41,640 --> 00:46:44,920
Speaker 1: it's a good idea to go upstairs and she overhears

815
00:46:44,920 --> 00:46:49,319
Speaker 1: a conversation where Miranda's husband is saying something like, oh,

816
00:46:49,960 --> 00:46:52,840
Speaker 1: you know, people are looking at me in the restaurant

817
00:46:52,920 --> 00:46:56,560
Speaker 1: thinking he's waiting for her yet again, which shows that

818
00:46:56,680 --> 00:46:58,640
Speaker 1: he is threatened by the fact that what people think

819
00:46:58,719 --> 00:47:02,160
Speaker 1: of him. Yeah, So on one hand, it's like, yeah,

820
00:47:02,239 --> 00:47:06,320
Speaker 1: you see this what maybe a realistic portrayal of like

821
00:47:06,440 --> 00:47:10,759
Speaker 1: a man being threatened by his wife's success, his wife's success.

822
00:47:11,880 --> 00:47:16,239
Speaker 1: But then you also have to see a woman who

823
00:47:16,400 --> 00:47:20,880
Speaker 1: is successful in her profession have her personal life be

824
00:47:21,000 --> 00:47:25,600
Speaker 1: compromised basically, so it I don't really quite know how

825
00:47:25,680 --> 00:47:29,680
Speaker 1: to feel about it. For the most part, it worked

826
00:47:29,760 --> 00:47:32,800
Speaker 1: for me for the most part, I mean partially because

827
00:47:33,040 --> 00:47:38,080
Speaker 1: this movie has the benefit of getting to be like, well,

828
00:47:38,160 --> 00:47:41,000
Speaker 1: it's technically based on Anna Wintour, and a lot of

829
00:47:41,120 --> 00:47:45,000
Speaker 1: that personal life stuff is adapted from Anna Wintour's life

830
00:47:45,080 --> 00:47:48,600
Speaker 1: with two field marriages, two kids, trying to balance mother

831
00:47:48,680 --> 00:47:52,040
Speaker 1: and and the reason I liked seeing I mean just

832
00:47:52,200 --> 00:47:57,000
Speaker 1: learning anything about a character like Miranda's personal life in

833
00:47:57,120 --> 00:48:01,600
Speaker 1: a way that doesn't make her comple lately tragic in

834
00:48:01,680 --> 00:48:03,960
Speaker 1: a way that might have been easy, the easy choice

835
00:48:04,000 --> 00:48:06,279
Speaker 1: of like, well, she's so good at her job, but look,

836
00:48:06,360 --> 00:48:09,600
Speaker 1: her personal life is difficult, and instead of leaving it

837
00:48:09,800 --> 00:48:11,759
Speaker 1: that we go back to her job and watch her

838
00:48:11,920 --> 00:48:14,239
Speaker 1: be really fucking good at her job and ruthless in

839
00:48:14,280 --> 00:48:19,440
Speaker 1: her job. Again, so there's like some nuance presented. I

840
00:48:19,480 --> 00:48:22,080
Speaker 1: don't know it. There is a weird, like halfway nous

841
00:48:22,400 --> 00:48:26,920
Speaker 1: of implying that, like, while her personal life is suffering

842
00:48:27,320 --> 00:48:30,000
Speaker 1: in this very specific way. But then I'm like, I

843
00:48:30,080 --> 00:48:33,440
Speaker 1: guess if you had shown like, and she's actually an

844
00:48:33,480 --> 00:48:36,759
Speaker 1: incredible mother and no one credit like that would have

845
00:48:36,960 --> 00:48:40,040
Speaker 1: felt very hollow and disingenuous as well, Because, of course,

846
00:48:40,640 --> 00:48:43,200
Speaker 1: and this is kind of implied about her a number

847
00:48:43,280 --> 00:48:46,840
Speaker 1: of times, there is still this expectation of Miranda to

848
00:48:46,920 --> 00:48:50,400
Speaker 1: like be a mother that is not usually put on

849
00:48:50,960 --> 00:48:55,120
Speaker 1: male professionals at that level. They're like, oh, well, isn't

850
00:48:55,120 --> 00:48:57,080
Speaker 1: there a nanny. Isn't there a mom that's taking care

851
00:48:57,080 --> 00:48:58,800
Speaker 1: of the kids, But she's still expected to have the

852
00:48:58,840 --> 00:49:02,960
Speaker 1: same level of you know, affection and and and doting

853
00:49:03,040 --> 00:49:07,520
Speaker 1: nous that a stereotypical mother did, which they which is again,

854
00:49:07,560 --> 00:49:10,400
Speaker 1: there's a lot of stuff that feels halfway addressed. I

855
00:49:10,520 --> 00:49:13,239
Speaker 1: think for the thing about their marriage ending, in a

856
00:49:13,320 --> 00:49:17,440
Speaker 1: way I kind of not appreciated it, but like I

857
00:49:17,520 --> 00:49:19,279
Speaker 1: think it spoke to this notion that like, oh we

858
00:49:19,320 --> 00:49:20,719
Speaker 1: can have it all, like you know, like was that

859
00:49:20,840 --> 00:49:23,560
Speaker 1: second wave of feminism which whichever waiver that we think

860
00:49:23,600 --> 00:49:25,320
Speaker 1: that like women were being told like you can't go

861
00:49:25,440 --> 00:49:27,800
Speaker 1: to work and you can have a family, etcetera, etcetera,

862
00:49:27,960 --> 00:49:30,200
Speaker 1: And and like I think that like our generation and

863
00:49:30,239 --> 00:49:32,759
Speaker 1: women is like, no, you guys are you guys are

864
00:49:32,880 --> 00:49:36,200
Speaker 1: fucking tired, You fucking are miserable. You you divorce your

865
00:49:36,239 --> 00:49:38,840
Speaker 1: partners because it's really hard to do this. And some

866
00:49:39,000 --> 00:49:40,880
Speaker 1: of us are childless or some of us like have

867
00:49:41,080 --> 00:49:43,960
Speaker 1: kids and don't work because it's that's why people have wives.

868
00:49:44,280 --> 00:49:46,359
Speaker 1: That's why men have wives that they can have a job.

869
00:49:46,400 --> 00:49:47,919
Speaker 1: I often think that my partner, I'm like I wish

870
00:49:47,960 --> 00:49:50,279
Speaker 1: I had a fucking wife, so like that all this

871
00:49:50,360 --> 00:49:53,399
Speaker 1: ship just just even like something I like, I'll give

872
00:49:53,480 --> 00:49:55,279
Speaker 1: him like you know, burba feet. I'm like, I wish

873
00:49:55,320 --> 00:49:57,320
Speaker 1: I had a wife to my feet because he didn't

874
00:49:57,360 --> 00:50:01,960
Speaker 1: do it good. I I have it all either, But

875
00:50:02,080 --> 00:50:04,799
Speaker 1: I'm saying like in that moment made me think, like, yes,

876
00:50:04,920 --> 00:50:06,840
Speaker 1: like she's really good her job and it can be

877
00:50:06,920 --> 00:50:09,520
Speaker 1: in the sacrifice of her personal life, but she chose it.

878
00:50:10,080 --> 00:50:12,880
Speaker 1: I think that's what in the end, like feminism is about,

879
00:50:12,920 --> 00:50:15,759
Speaker 1: like whatever you choose. And in that scene, she's not

880
00:50:15,880 --> 00:50:17,799
Speaker 1: that sad that the marriage ended. Like if you hear

881
00:50:17,840 --> 00:50:19,800
Speaker 1: what she says, she said at how it's going to

882
00:50:19,880 --> 00:50:22,600
Speaker 1: affect her kids. Yeah, yeah, she says, I don't care

883
00:50:22,719 --> 00:50:24,880
Speaker 1: what anybody writes about me, but my girls. It's so

884
00:50:25,000 --> 00:50:27,000
Speaker 1: unfair to my girls, right, So, And I think that

885
00:50:27,080 --> 00:50:29,399
Speaker 1: was like you know, the script's way and Miranda's way

886
00:50:29,400 --> 00:50:32,000
Speaker 1: of saying, like the job is way more important to

887
00:50:32,040 --> 00:50:35,080
Speaker 1: her than her marriage, but her kids are maybe like

888
00:50:35,360 --> 00:50:37,759
Speaker 1: the number one. And I think that was important to

889
00:50:37,800 --> 00:50:40,640
Speaker 1: point out and and I think it's it was necessary

890
00:50:40,680 --> 00:50:42,920
Speaker 1: so that we're not thinking like a Miranda type of

891
00:50:43,000 --> 00:50:45,200
Speaker 1: person can be who she is and then also have

892
00:50:45,320 --> 00:50:47,480
Speaker 1: like a really great support system because it's maybe not

893
00:50:47,719 --> 00:50:52,279
Speaker 1: completely realistic. And I appreciated that. I liked I I

894
00:50:52,480 --> 00:50:56,200
Speaker 1: liked it, and it's like there the trophiness that I

895
00:50:56,400 --> 00:50:59,040
Speaker 1: loved about, Like the only scene where Miranda is not

896
00:50:59,200 --> 00:51:04,680
Speaker 1: wearing make up and you're just like, Jane Fonda does

897
00:51:04,719 --> 00:51:07,640
Speaker 1: it all the time, and Grays and Frankie, I love it.

898
00:51:08,680 --> 00:51:11,399
Speaker 1: Jane Fonda does this thing and Grace has anyone see

899
00:51:11,440 --> 00:51:14,000
Speaker 1: yes okay? In the first episode of Grace and Frankie

900
00:51:14,040 --> 00:51:17,560
Speaker 1: where Jane Fonda apparently had some sort of wire around

901
00:51:17,680 --> 00:51:22,040
Speaker 1: her head to hold her skin, yes, her head and

902
00:51:22,120 --> 00:51:27,240
Speaker 1: falls off. In the pilot episode, I saw a beauty

903
00:51:27,280 --> 00:51:30,400
Speaker 1: regimen of a caliber even I wasn't familiar of that.

904
00:51:30,600 --> 00:51:33,080
Speaker 1: Like I don't know, I love Grace and Frankie. Jane

905
00:51:33,160 --> 00:51:35,919
Speaker 1: Fonda has a wire around her head like to pull

906
00:51:36,360 --> 00:51:39,080
Speaker 1: to pull back, but it was a wire attached to

907
00:51:39,200 --> 00:51:43,759
Speaker 1: her wig. She also Jane Fonda is a legend. I mean,

908
00:51:43,960 --> 00:51:46,480
Speaker 1: but even like when Merrit streets bare face, they do

909
00:51:46,600 --> 00:51:48,399
Speaker 1: these clothes up on her face and I'm like, girl,

910
00:51:48,440 --> 00:51:51,759
Speaker 1: who is your doctor because good job? Or what is

911
00:51:51,800 --> 00:51:55,279
Speaker 1: the wire wearing? Because where yes, because like her skin

912
00:51:55,400 --> 00:51:57,920
Speaker 1: is looking good and like it's very good skin. I

913
00:51:58,000 --> 00:52:00,400
Speaker 1: have a high deff helemet. I don't know if you

914
00:52:00,480 --> 00:52:03,760
Speaker 1: guys have one. I do, like like I was thinking

915
00:52:03,880 --> 00:52:06,279
Speaker 1: like like she either has a really good doctor or

916
00:52:06,400 --> 00:52:08,680
Speaker 1: like some kind of like wire thing, but like she

917
00:52:08,800 --> 00:52:10,880
Speaker 1: looks magnificent in it. She can't go bare face. But

918
00:52:11,000 --> 00:52:12,640
Speaker 1: like for us as viewers like, oh my god, so

919
00:52:12,760 --> 00:52:14,359
Speaker 1: brave that like a woman with gray hair and went

920
00:52:14,440 --> 00:52:18,160
Speaker 1: bare face. You know, I'm we're conditioned to think that way,

921
00:52:18,560 --> 00:52:20,960
Speaker 1: and we're conditioned to think, wow, she looks so good

922
00:52:21,200 --> 00:52:23,680
Speaker 1: pause for her age, and it's like, no, like she

923
00:52:24,400 --> 00:52:27,120
Speaker 1: looks good. Yeah, that's a way of like the society

924
00:52:27,280 --> 00:52:29,279
Speaker 1: feels that way too. I think the movie like wants

925
00:52:29,320 --> 00:52:31,360
Speaker 1: you to be like I don't know, some mix of

926
00:52:31,440 --> 00:52:34,120
Speaker 1: like either like wow, she looks different or like wow

927
00:52:34,239 --> 00:52:37,640
Speaker 1: she looks good like for her age. I don't know

928
00:52:37,719 --> 00:52:41,120
Speaker 1: that the movie is necessarily like this should be normalized

929
00:52:41,239 --> 00:52:45,719
Speaker 1: like that. I don't think that that's intention vibe um,

930
00:52:46,080 --> 00:52:48,520
Speaker 1: but we all we all like I'm having to undo

931
00:52:48,600 --> 00:52:52,319
Speaker 1: a lot of conditioning where I like, we'll catch myself thinking,

932
00:52:52,400 --> 00:52:54,040
Speaker 1: oh wow, she looks really good for her age. But

933
00:52:54,160 --> 00:52:56,600
Speaker 1: it's like, no, that's a horrible way to think, because

934
00:52:56,800 --> 00:52:59,440
Speaker 1: like we are conditioned to think that with women age,

935
00:52:59,560 --> 00:53:03,200
Speaker 1: they you know, they lose their value. And you know,

936
00:53:03,320 --> 00:53:06,359
Speaker 1: we have this standard of beauty that says that only

937
00:53:06,440 --> 00:53:09,560
Speaker 1: young women can be considered attractive, and like, I'm not

938
00:53:09,680 --> 00:53:13,439
Speaker 1: having to undo a lot of this thinking. Still, shall

939
00:53:13,480 --> 00:53:17,400
Speaker 1: we talk about Andy? Yes, let's talk about Andy. Andy

940
00:53:17,960 --> 00:53:22,520
Speaker 1: is an interesting and interesting character. I right at the

941
00:53:22,600 --> 00:53:26,040
Speaker 1: top we briefly talked about her interview. But I've just

942
00:53:26,200 --> 00:53:30,400
Speaker 1: never seen anyone succeed with such a flippant attitude towards

943
00:53:30,520 --> 00:53:33,680
Speaker 1: the very powerful job they're applying to. But you know,

944
00:53:33,880 --> 00:53:37,600
Speaker 1: she does um, but she does. There is there is

945
00:53:37,719 --> 00:53:40,080
Speaker 1: like another a narrative for her too, that is like

946
00:53:40,600 --> 00:53:43,400
Speaker 1: trying to have it all and personal life suffers as

947
00:53:43,440 --> 00:53:47,799
Speaker 1: a result. That happens as well, and it's weird. It's

948
00:53:47,880 --> 00:53:51,920
Speaker 1: like the resolution to that is a little confusing to me,

949
00:53:52,160 --> 00:53:55,960
Speaker 1: where it's like she's trying to have it all, but

950
00:53:56,080 --> 00:53:59,480
Speaker 1: then her friends and her boyfriend are like you've changed,

951
00:53:59,600 --> 00:54:03,799
Speaker 1: which she has, uh, And then she decides, fucking I'm

952
00:54:03,840 --> 00:54:08,200
Speaker 1: throwing my sidekick into the fountain, And then I don't know,

953
00:54:08,280 --> 00:54:10,440
Speaker 1: I mean The ending is kind of ambiguous for her

954
00:54:10,520 --> 00:54:12,480
Speaker 1: of like is she in a relationship? Does that what

955
00:54:12,600 --> 00:54:14,239
Speaker 1: she wants? Like we don't. We still don't really know,

956
00:54:14,400 --> 00:54:16,160
Speaker 1: But it didn't bother me too much. I think when

957
00:54:16,200 --> 00:54:18,600
Speaker 1: the film came out, you know, like ten years ago

958
00:54:18,680 --> 00:54:20,600
Speaker 1: or whatever, I think we wanted to think that like

959
00:54:20,640 --> 00:54:22,720
Speaker 1: they were still together and that those things were important.

960
00:54:22,760 --> 00:54:24,600
Speaker 1: But I think that there are like new memes now

961
00:54:24,680 --> 00:54:27,200
Speaker 1: when people talk about the movie where they're like, can

962
00:54:27,239 --> 00:54:29,520
Speaker 1: we talk about how trash her boyfriend and friends were?

963
00:54:30,120 --> 00:54:32,279
Speaker 1: Like they were not good, Like they're not a good

964
00:54:32,280 --> 00:54:35,600
Speaker 1: support system, you know, Like who moves to New York

965
00:54:35,640 --> 00:54:37,480
Speaker 1: City and thinks that they're going to get like some

966
00:54:37,560 --> 00:54:39,840
Speaker 1: amazing job right off the bat. Nobody does, you know,

967
00:54:39,920 --> 00:54:41,400
Speaker 1: So like this notion that like she moved to New

968
00:54:41,480 --> 00:54:43,520
Speaker 1: York City, she's struggling on a job, like and all

969
00:54:43,560 --> 00:54:46,719
Speaker 1: you guys do put fun at her ship on her, yes,

970
00:54:47,400 --> 00:54:49,719
Speaker 1: and almost like risk her losing her job at one

971
00:54:49,760 --> 00:54:52,680
Speaker 1: point when they like throw her phone around when yeah,

972
00:54:53,160 --> 00:54:58,319
Speaker 1: I was on Andy's side and being horrible. There's also

973
00:54:58,400 --> 00:55:02,320
Speaker 1: a moment early on where her friend Doug says something

974
00:55:02,440 --> 00:55:06,520
Speaker 1: like Miranda Priestley is famous for being unpredictable, and and

975
00:55:06,680 --> 00:55:08,440
Speaker 1: he's like, how do you know who she is? And

976
00:55:08,560 --> 00:55:11,319
Speaker 1: I don't, And then Doug says, I'm actually a girl.

977
00:55:11,960 --> 00:55:16,280
Speaker 1: And then Lily says that would explain a lot. I, Darling,

978
00:55:17,040 --> 00:55:21,680
Speaker 1: no what you meant by that? So I guess it's implying, Yeah,

979
00:55:21,760 --> 00:55:25,920
Speaker 1: like only a woman would know who a fashion icon is.

980
00:55:26,160 --> 00:55:28,759
Speaker 1: That's reductive. And then for Lily to say like, oh, yeah,

981
00:55:28,800 --> 00:55:30,360
Speaker 1: that would explain a lot that you're a girl, Like

982
00:55:30,480 --> 00:55:34,680
Speaker 1: that sounds weird, some sort of weird gender phobic thing.

983
00:55:35,560 --> 00:55:42,359
Speaker 1: Two six we a lot of weird exchanges. Uh. Super

984
00:55:42,400 --> 00:55:44,800
Speaker 1: producer Sophie just also made the note that we do

985
00:55:45,000 --> 00:55:47,440
Speaker 1: we do you learn a little bit about Andy's family

986
00:55:47,520 --> 00:55:49,640
Speaker 1: life and and her when she goes to dinner with

987
00:55:49,719 --> 00:55:53,279
Speaker 1: her dad, there's a very similar vibe of like why

988
00:55:53,320 --> 00:55:56,040
Speaker 1: aren't you working? And I'm like, she's twenty two, what

989
00:55:56,160 --> 00:55:59,839
Speaker 1: are you talk And we only know her dad, never

990
00:56:00,040 --> 00:56:02,920
Speaker 1: meet her mom gets mentioned, but yeah, we don't know

991
00:56:02,960 --> 00:56:05,520
Speaker 1: anything about her mom. At least she's not a Disney princess.

992
00:56:05,600 --> 00:56:10,399
Speaker 1: The mother's alive, but just never just not allowed to be. Yeah,

993
00:56:10,560 --> 00:56:12,200
Speaker 1: the only thing I was one of the biggest things

994
00:56:12,200 --> 00:56:14,439
Speaker 1: I remember that about that scene is when he gives

995
00:56:14,480 --> 00:56:17,480
Speaker 1: her a check and she's just like, oh, you shouldn't

996
00:56:17,520 --> 00:56:19,680
Speaker 1: have but yes, but but also like it was no

997
00:56:19,800 --> 00:56:22,400
Speaker 1: big deal. And I was like, oh, that's so what

998
00:56:22,560 --> 00:56:26,280
Speaker 1: a life. I know. I have never, I have really

999
00:56:26,600 --> 00:56:28,560
Speaker 1: never because that that has been a check for like

1000
00:56:28,680 --> 00:56:31,279
Speaker 1: thousands of dollars. Yeah, what I mean what was that?

1001
00:56:31,840 --> 00:56:34,400
Speaker 1: It was to help with her rent I think in

1002
00:56:34,560 --> 00:56:41,239
Speaker 1: New York and that fucking apartment that she had apartment iguantique. Yeah. God.

1003
00:56:41,400 --> 00:56:43,359
Speaker 1: And when I was were I guess twenty two if

1004
00:56:43,400 --> 00:56:46,840
Speaker 1: she's a recent grid like yeah, I mean when I

1005
00:56:46,960 --> 00:56:49,920
Speaker 1: was in college, my dad used to have these jars.

1006
00:56:51,000 --> 00:56:54,480
Speaker 1: Uh it was for my brother, and he would put

1007
00:56:54,960 --> 00:56:57,840
Speaker 1: dimes in one of the jars that he just found

1008
00:56:57,960 --> 00:56:59,759
Speaker 1: or god has changed, and he put nickels in the

1009
00:57:00,040 --> 00:57:03,520
Speaker 1: third jar, and at the end of every month, he'd

1010
00:57:03,640 --> 00:57:06,759
Speaker 1: cash out the jars and some and and that would

1011
00:57:06,800 --> 00:57:09,080
Speaker 1: be like it would always be like twenty bucks. But

1012
00:57:09,239 --> 00:57:12,800
Speaker 1: that was like my dad's version of that. He's like,

1013
00:57:12,880 --> 00:57:15,360
Speaker 1: here all the times I found this month, I found

1014
00:57:15,400 --> 00:57:17,880
Speaker 1: two hundred dimes. And sometimes it would be a dime month,

1015
00:57:18,000 --> 00:57:20,440
Speaker 1: or sometimes it'd be my brother's dime month. And if

1016
00:57:20,480 --> 00:57:22,680
Speaker 1: it was a shitty month. You get like literally a

1017
00:57:22,760 --> 00:57:25,360
Speaker 1: check for five dollars. It's like it's a nickel month.

1018
00:57:27,000 --> 00:57:30,000
Speaker 1: Shut up, my coloftus and his many jars. There's a

1019
00:57:30,040 --> 00:57:32,280
Speaker 1: penny jar. But and I was like, I don't. I

1020
00:57:32,360 --> 00:57:35,280
Speaker 1: don't my dad collected pennies in a jar too. What

1021
00:57:35,440 --> 00:57:37,680
Speaker 1: is it with? What is the dad dad in coin jars?

1022
00:57:38,240 --> 00:57:42,200
Speaker 1: My dad doesn't have a jar. Now I feel left jars.

1023
00:57:42,720 --> 00:57:45,000
Speaker 1: I got to bring them over. If they have jars,

1024
00:57:45,120 --> 00:57:47,920
Speaker 1: they will put coins in them. So my dad used

1025
00:57:47,960 --> 00:57:49,600
Speaker 1: to like I used to bring my laundry home to

1026
00:57:49,640 --> 00:57:51,960
Speaker 1: do when I was in school or after I just graduated,

1027
00:57:52,400 --> 00:57:54,320
Speaker 1: and then like take food, and he would like make

1028
00:57:54,440 --> 00:57:56,880
Speaker 1: fun of me. He'd be like, oh, like here comes

1029
00:57:56,960 --> 00:58:00,560
Speaker 1: my homeless daughter. So like that's my across the one

1030
00:58:00,600 --> 00:58:02,680
Speaker 1: I saw her dad to slip her a check like

1031
00:58:02,760 --> 00:58:05,760
Speaker 1: it was no big deal. I was like yeah, I

1032
00:58:05,880 --> 00:58:08,400
Speaker 1: was like, but but literally, I think that's how you

1033
00:58:08,480 --> 00:58:09,880
Speaker 1: have to survive. And then that's why, like you know,

1034
00:58:10,040 --> 00:58:11,760
Speaker 1: in the media world we talk about like who gets

1035
00:58:11,800 --> 00:58:13,680
Speaker 1: to be interns or like who gets to be like

1036
00:58:13,920 --> 00:58:16,840
Speaker 1: very low paid workers um to get their foot in

1037
00:58:16,880 --> 00:58:19,280
Speaker 1: the door so that they can then become like high

1038
00:58:19,320 --> 00:58:21,440
Speaker 1: paying editors and stuff. It's like people who come from

1039
00:58:21,880 --> 00:58:23,840
Speaker 1: a background where like they do have a support system

1040
00:58:23,880 --> 00:58:26,800
Speaker 1: in that way. But that was a moment I was like, well,

1041
00:58:26,880 --> 00:58:30,440
Speaker 1: thanks for showing that because you do feel for her

1042
00:58:30,440 --> 00:58:34,360
Speaker 1: a little. Yeah, it is useful to have that context.

1043
00:58:34,440 --> 00:58:37,760
Speaker 1: And and like seeing the check past. I wonder if

1044
00:58:37,840 --> 00:58:40,120
Speaker 1: that was done intentionally to be like, and this is

1045
00:58:40,200 --> 00:58:43,080
Speaker 1: the only way that I don't know, it's not clear.

1046
00:58:43,160 --> 00:58:46,280
Speaker 1: It seems like she's pretty low paid at Runway. I

1047
00:58:46,360 --> 00:58:50,080
Speaker 1: mean those assistant jobs always are. Yeah, so the see

1048
00:58:50,360 --> 00:58:53,640
Speaker 1: seeing the check past. I wish we were addressed a

1049
00:58:53,720 --> 00:58:56,440
Speaker 1: little more because it is useful to have that context

1050
00:58:56,480 --> 00:59:00,600
Speaker 1: of like, she's miserable and she's still very privileged to

1051
00:59:00,800 --> 00:59:04,320
Speaker 1: have this safety net to fall into, or or to

1052
00:59:04,440 --> 00:59:07,280
Speaker 1: even imply that she has a plan B outside of

1053
00:59:07,360 --> 00:59:11,000
Speaker 1: this low paid nightmare job that she has is something

1054
00:59:11,040 --> 00:59:13,200
Speaker 1: I don't know, because the film doesn't do enough of

1055
00:59:13,280 --> 00:59:16,160
Speaker 1: a job of telling us like, oh, she needs this

1056
00:59:16,280 --> 00:59:19,200
Speaker 1: job for money. It tells us repeatedly she needs his

1057
00:59:19,280 --> 00:59:21,200
Speaker 1: job so she can move up. That's her meal ticket

1058
00:59:21,280 --> 00:59:25,120
Speaker 1: into whatever job in publishing she wants. Yes, I think

1059
00:59:25,160 --> 00:59:27,280
Speaker 1: that's another reason why that check scene stood I was like, Oh,

1060
00:59:27,320 --> 00:59:30,720
Speaker 1: I forgot that. Maybe she can't make rent. You know, right,

1061
00:59:31,280 --> 00:59:34,440
Speaker 1: it would be interesting to see more of a dive

1062
00:59:34,560 --> 00:59:37,240
Speaker 1: into that side of things. But I mean in two

1063
00:59:37,280 --> 00:59:39,160
Speaker 1: thousands six, no one was talking about that. I feel

1064
00:59:39,160 --> 00:59:43,000
Speaker 1: like that was like approaching like late two thousand's early

1065
00:59:43,040 --> 00:59:46,960
Speaker 1: two thousand tents was like peak unpaid internship. Shut up

1066
00:59:47,000 --> 00:59:48,800
Speaker 1: and take it and if you can't afford to do it,

1067
00:59:48,960 --> 00:59:52,360
Speaker 1: fuck you, find another job. I think what was confusing

1068
00:59:52,400 --> 00:59:54,440
Speaker 1: is that, like the film was trying to make us

1069
00:59:54,800 --> 00:59:56,880
Speaker 1: or maybe it's trying to make us feel away about

1070
00:59:56,920 --> 01:00:00,280
Speaker 1: the industry, like not just media or publication, but the

1071
01:00:00,320 --> 01:00:06,120
Speaker 1: fashion industry, but then glamorizing it so much because because

1072
01:00:06,120 --> 01:00:08,520
Speaker 1: we're supposed to understand that Andy thinks it's frivolous and

1073
01:00:08,760 --> 01:00:13,400
Speaker 1: just stuff. Um, and then and then she starts to

1074
01:00:13,520 --> 01:00:15,840
Speaker 1: wear the stuff and that and the other amazing montage

1075
01:00:15,880 --> 01:00:19,160
Speaker 1: this movie has so many Mota game is strong, and

1076
01:00:20,280 --> 01:00:22,960
Speaker 1: like I said, I like YouTube from a lot different

1077
01:00:23,000 --> 01:00:26,280
Speaker 1: and leisure, but then it glamorizes. So that's what left

1078
01:00:26,320 --> 01:00:29,000
Speaker 1: me confused. It's like, so does she appreciate it at

1079
01:00:29,040 --> 01:00:30,880
Speaker 1: the end or does she still think it's bullshit and

1080
01:00:30,960 --> 01:00:32,960
Speaker 1: she's happy she's got because when she showed up to

1081
01:00:33,000 --> 01:00:35,640
Speaker 1: that newspaper job interview, she looks good, she had a

1082
01:00:35,800 --> 01:00:39,360
Speaker 1: nice so she was changed from But then she gives

1083
01:00:39,360 --> 01:00:41,320
Speaker 1: all of her clothes if she got in Paris to

1084
01:00:41,640 --> 01:00:45,280
Speaker 1: Emily is like, she just kind of like a weird

1085
01:00:45,560 --> 01:00:49,360
Speaker 1: what I mean, it's what she should take her out

1086
01:00:49,400 --> 01:00:51,520
Speaker 1: to dinner, like there, I don't know that Emily would

1087
01:00:51,520 --> 01:00:53,600
Speaker 1: want to hang out with her, and Emily doesn't eat.

1088
01:00:53,760 --> 01:00:58,760
Speaker 1: So we talk about it really quick, just sort of

1089
01:00:58,800 --> 01:01:01,040
Speaker 1: going off of what you just saying. A wait, what

1090
01:01:01,120 --> 01:01:04,440
Speaker 1: were you just saying? It's about fashion? Oh okay, So

1091
01:01:05,160 --> 01:01:08,920
Speaker 1: I agree that this movie very much, for all of

1092
01:01:09,000 --> 01:01:12,040
Speaker 1: the good things it does, does end up being like

1093
01:01:12,480 --> 01:01:15,160
Speaker 1: so if you think that the fashion industry is stupid

1094
01:01:15,200 --> 01:01:19,280
Speaker 1: and manipulative, you're stupid and like you're just you just

1095
01:01:19,360 --> 01:01:22,919
Speaker 1: haven't given it a fair shake, which is a very

1096
01:01:23,560 --> 01:01:27,320
Speaker 1: reductive basic message of like, actually fashion good. It reminds

1097
01:01:27,320 --> 01:01:29,120
Speaker 1: me of all the pageant movies we've been doing on

1098
01:01:29,240 --> 01:01:34,480
Speaker 1: this podcast recently, where it's a similar, a more muted

1099
01:01:34,600 --> 01:01:37,200
Speaker 1: version of what happens to Sandra Bullock and Miss Congeniality

1100
01:01:37,280 --> 01:01:40,600
Speaker 1: where she goes in with the middle part saying like

1101
01:01:41,120 --> 01:01:45,280
Speaker 1: I'm a feminist, this industry is bullshit and saying things

1102
01:01:45,360 --> 01:01:47,520
Speaker 1: that like I think the movie by the end is like,

1103
01:01:47,840 --> 01:01:51,040
Speaker 1: but it's not like that when it's like we sort

1104
01:01:51,080 --> 01:01:54,200
Speaker 1: of in or like yeah, there's a lot of truth

1105
01:01:54,320 --> 01:01:58,040
Speaker 1: to what she's saying, but Ann Hathaway's character here too, Yeah,

1106
01:01:58,080 --> 01:02:01,040
Speaker 1: it's like by the end, I don't think that we're

1107
01:02:01,080 --> 01:02:03,480
Speaker 1: supposed like even when she was like this is just

1108
01:02:03,720 --> 01:02:08,760
Speaker 1: stuff and that the Cerulean monologue is so good, but

1109
01:02:09,160 --> 01:02:13,120
Speaker 1: it is trying to prove that. It's like, no, this

1110
01:02:13,360 --> 01:02:16,760
Speaker 1: is actually good and you should be participating in it,

1111
01:02:16,880 --> 01:02:19,000
Speaker 1: and you can't not participate in it, so you may

1112
01:02:19,040 --> 01:02:22,080
Speaker 1: as well just immerse yourself in it, which is sort

1113
01:02:22,120 --> 01:02:25,160
Speaker 1: of like a similar message we get from Miss Congeniality

1114
01:02:25,160 --> 01:02:30,920
Speaker 1: about pageants of like instead of defying this industry, find

1115
01:02:31,080 --> 01:02:34,600
Speaker 1: a way that you're comfortable participating in it, which is

1116
01:02:34,760 --> 01:02:37,040
Speaker 1: like not the greatest because like at the end of

1117
01:02:37,080 --> 01:02:39,680
Speaker 1: that monologue, like Randa just straight up like like that

1118
01:02:40,080 --> 01:02:42,600
Speaker 1: color you're wearing, we literally chose that for you, Like

1119
01:02:42,720 --> 01:02:44,880
Speaker 1: like you're saying, like, even if you don't choose to

1120
01:02:44,920 --> 01:02:48,080
Speaker 1: participate in it, like you are in it because we

1121
01:02:48,320 --> 01:02:50,200
Speaker 1: forced it on you, so you better embrace it. And

1122
01:02:50,520 --> 01:02:53,440
Speaker 1: but the way the movie shapes like Andy's arc is

1123
01:02:53,520 --> 01:02:55,800
Speaker 1: that like girls looking good at the end, you know,

1124
01:02:55,920 --> 01:02:59,040
Speaker 1: so like as view are, you're like like she's glowing

1125
01:02:59,240 --> 01:03:01,880
Speaker 1: her skins good. Now she's a size four, you know,

1126
01:03:02,000 --> 01:03:05,560
Speaker 1: like how yeah, and she's a celebrating it. And but

1127
01:03:05,880 --> 01:03:08,160
Speaker 1: it's not telling the viewer to be like to be

1128
01:03:08,240 --> 01:03:10,600
Speaker 1: like oh my god, Andy, It's it's telling the viewer

1129
01:03:10,720 --> 01:03:12,840
Speaker 1: like yes girl, you know. So it's like it's such

1130
01:03:12,880 --> 01:03:16,440
Speaker 1: a confusing message. And I think Andy's ark is even

1131
01:03:16,480 --> 01:03:19,520
Speaker 1: way we're confusing the Miranda's ark because like from Miranda,

1132
01:03:19,600 --> 01:03:22,720
Speaker 1: were like, oh is she really evil devil, worst product boss?

1133
01:03:23,120 --> 01:03:24,680
Speaker 1: Or can she be more? And I'm work given more

1134
01:03:24,760 --> 01:03:27,560
Speaker 1: of like a nuance, I think because maybe Meryl Street's performance.

1135
01:03:27,560 --> 01:03:31,840
Speaker 1: But with Andy, it's like it's really really confusing, especially

1136
01:03:31,840 --> 01:03:34,200
Speaker 1: because like early on, I forget who she says it too,

1137
01:03:34,320 --> 01:03:37,400
Speaker 1: but she says something like, oh, just because I have

1138
01:03:37,560 --> 01:03:40,000
Speaker 1: this job doesn't mean I'm going to change everything about myself.

1139
01:03:40,160 --> 01:03:43,240
Speaker 1: And then she changes a lot of stuff about herself,

1140
01:03:43,640 --> 01:03:46,360
Speaker 1: including the way she presents herself, including her the way

1141
01:03:46,400 --> 01:03:51,400
Speaker 1: she treats other people. Yeah, it's it's she goes through

1142
01:03:51,600 --> 01:03:56,360
Speaker 1: this arc that I can't say I necessarily admire, and

1143
01:03:56,440 --> 01:03:58,600
Speaker 1: I get by the end when she, you know, does

1144
01:03:58,720 --> 01:04:02,080
Speaker 1: the symbolics throwing of the phone into the fountain and

1145
01:04:02,200 --> 01:04:05,680
Speaker 1: walking away from Miranda, it's like, Okay, she like has

1146
01:04:06,080 --> 01:04:11,280
Speaker 1: reordered her priorities and she is like she changed back

1147
01:04:11,600 --> 01:04:16,360
Speaker 1: for the better. But the movie does frame her becoming

1148
01:04:16,440 --> 01:04:19,760
Speaker 1: this new stylish person is like such a glamorous, wonderful

1149
01:04:19,880 --> 01:04:23,880
Speaker 1: thing for her that it sends mixed messages. I think,

1150
01:04:24,120 --> 01:04:27,400
Speaker 1: And I think like, even as like useless as Nate is,

1151
01:04:27,520 --> 01:04:29,720
Speaker 1: he does say one thing where I'm like, oh, funk, yes,

1152
01:04:29,800 --> 01:04:32,680
Speaker 1: when um he's mad at her for something, maybe when

1153
01:04:32,920 --> 01:04:34,800
Speaker 1: she didn't go to her birthday party, or like oh

1154
01:04:34,840 --> 01:04:36,400
Speaker 1: when he when she has to go to Paris, and

1155
01:04:36,800 --> 01:04:38,200
Speaker 1: he was like, you know what, I don't care that

1156
01:04:38,200 --> 01:04:40,320
Speaker 1: if you're into this stuff as long as you did

1157
01:04:40,360 --> 01:04:43,320
Speaker 1: it with conviction. And that's the feeling I get about Andy.

1158
01:04:43,360 --> 01:04:45,680
Speaker 1: It's like like I don't care she's into this stuff.

1159
01:04:45,680 --> 01:04:47,320
Speaker 1: I don't care she feels like she needs to lose weight,

1160
01:04:47,360 --> 01:04:49,760
Speaker 1: Like that's she can have her own agency and she

1161
01:04:49,800 --> 01:04:52,360
Speaker 1: can make those decisions. Um, and if she thinks she

1162
01:04:52,400 --> 01:04:54,720
Speaker 1: looks better and clothes whatever. That's like her thing like

1163
01:04:55,080 --> 01:04:58,000
Speaker 1: live your life, but at least like be into it

1164
01:04:58,080 --> 01:05:01,000
Speaker 1: and like live that, and then I would respect that

1165
01:05:01,120 --> 01:05:03,040
Speaker 1: more than like this weird wishy washing us, because is

1166
01:05:03,120 --> 01:05:05,520
Speaker 1: even when she throws the phone in the fountain, I

1167
01:05:05,600 --> 01:05:07,840
Speaker 1: didn't think it was like, oh, I'm taking back my

1168
01:05:07,960 --> 01:05:11,520
Speaker 1: life again, like I renounced this lifestyle because like Maranda

1169
01:05:11,600 --> 01:05:13,240
Speaker 1: just got done doing that thing like everybody wants to

1170
01:05:13,280 --> 01:05:16,360
Speaker 1: be us. I thought of it as like Andy being

1171
01:05:16,480 --> 01:05:19,640
Speaker 1: mad that Miranda just called her out on going to Paris.

1172
01:05:20,760 --> 01:05:24,040
Speaker 1: Oh yeah, because it wasn't so much like everybody wants

1173
01:05:24,080 --> 01:05:26,120
Speaker 1: to be us, because that is true, and you know what,

1174
01:05:26,240 --> 01:05:27,760
Speaker 1: Andy did want to be there and and he was

1175
01:05:27,840 --> 01:05:30,320
Speaker 1: that it was because like Miranda just like said, well

1176
01:05:30,400 --> 01:05:33,360
Speaker 1: you just did it to Emily, you know, which, which

1177
01:05:33,440 --> 01:05:35,720
Speaker 1: wasn't that fair for her to say because Emily, you know,

1178
01:05:35,800 --> 01:05:41,080
Speaker 1: got hit by a car. But yeah, that I mean,

1179
01:05:41,640 --> 01:05:45,040
Speaker 1: And and that is a confusing like it's a confusing

1180
01:05:45,120 --> 01:05:47,160
Speaker 1: message to send because it's like, you see what Miranda

1181
01:05:47,240 --> 01:05:51,720
Speaker 1: is saying, but then it's implied that the solution to

1182
01:05:52,240 --> 01:05:56,440
Speaker 1: that is just to leave that industry. And then it's fine,

1183
01:05:56,760 --> 01:05:59,400
Speaker 1: I don't know, it just seemed like an overly simplified,

1184
01:05:59,480 --> 01:06:04,560
Speaker 1: resolute shin. Andy's character is weird, and it's it's frustrating because, like,

1185
01:06:04,720 --> 01:06:08,080
Speaker 1: like the Sandra Bullock Miss Congeniality character, I largely agree

1186
01:06:08,120 --> 01:06:10,480
Speaker 1: with everything that she says at the beginning of the movie,

1187
01:06:11,200 --> 01:06:13,600
Speaker 1: and I agree with her more at the beginning of

1188
01:06:13,640 --> 01:06:15,400
Speaker 1: the movie than I do at the end. Yeah, so

1189
01:06:15,480 --> 01:06:18,120
Speaker 1: then what was the point of the journeying? I guess right,

1190
01:06:18,240 --> 01:06:20,200
Speaker 1: That's why I like, in a way, we think of

1191
01:06:20,360 --> 01:06:23,960
Speaker 1: this movie as like Andy's story, But like when I

1192
01:06:24,080 --> 01:06:26,320
Speaker 1: finished watching the movie, I'm like, I want to know

1193
01:06:26,360 --> 01:06:29,520
Speaker 1: more about Miranda. Yeah, I want to know, like, well,

1194
01:06:29,560 --> 01:06:31,240
Speaker 1: who is she dating after this? Like what are her

1195
01:06:31,320 --> 01:06:33,880
Speaker 1: kids grow up to be? Like who's her new assistance?

1196
01:06:33,880 --> 01:06:36,080
Speaker 1: Will happened to Emily? You know, like like Andy's just

1197
01:06:36,480 --> 01:06:39,000
Speaker 1: like this conduit by which I get to learn about Miranda.

1198
01:06:40,560 --> 01:06:42,960
Speaker 1: I want the best for Emily to Emily. I mean,

1199
01:06:43,240 --> 01:06:48,000
Speaker 1: Emily's character is kind of cartoony and how she's presented,

1200
01:06:48,040 --> 01:06:50,479
Speaker 1: and Emily Blunt is like so fun in this movie.

1201
01:06:50,520 --> 01:06:53,560
Speaker 1: It's one of her first parts ever. I mean, it's

1202
01:06:53,600 --> 01:06:55,920
Speaker 1: weird because I think the movie counts on you being

1203
01:06:56,040 --> 01:06:58,480
Speaker 1: so on Andy's side that you're supposed to be like, Oh,

1204
01:06:58,560 --> 01:07:01,360
Speaker 1: Emily is so uppity and me but like most of

1205
01:07:01,440 --> 01:07:04,440
Speaker 1: the time she's right. She can be harsh, but she

1206
01:07:05,160 --> 01:07:08,640
Speaker 1: is usually right where she's confused as to why Andy

1207
01:07:08,680 --> 01:07:12,040
Speaker 1: got the job, So was I. She's like, you don't

1208
01:07:12,080 --> 01:07:14,680
Speaker 1: know anything about this job you just got, like why

1209
01:07:14,720 --> 01:07:16,760
Speaker 1: did you apply? And that's supposed to be like mean

1210
01:07:16,840 --> 01:07:20,080
Speaker 1: and dismissive, but it's like, but why like and and

1211
01:07:20,320 --> 01:07:23,640
Speaker 1: the fact that her store her like b plot gets

1212
01:07:23,680 --> 01:07:25,760
Speaker 1: so out of control that she gets literally hit by

1213
01:07:25,800 --> 01:07:29,160
Speaker 1: a car was like, I, I don't know, it's like

1214
01:07:29,440 --> 01:07:32,400
Speaker 1: she I thought, like ten years later watching her, it

1215
01:07:32,440 --> 01:07:34,400
Speaker 1: was like there was a more grounded plot than the

1216
01:07:34,480 --> 01:07:36,560
Speaker 1: movie gave it credit for, because she's just supposed to

1217
01:07:36,600 --> 01:07:39,760
Speaker 1: seem like Andy stealing my life and a very like

1218
01:07:40,600 --> 01:07:43,960
Speaker 1: female competition in the workplace is narrative that was kind

1219
01:07:44,000 --> 01:07:47,520
Speaker 1: of was pretty tired and again counts on you being

1220
01:07:47,520 --> 01:07:50,120
Speaker 1: on Anne Hathaway side no matter what. But I liked

1221
01:07:50,160 --> 01:07:52,720
Speaker 1: Emily's character and it was so clear that she knew

1222
01:07:52,800 --> 01:07:54,760
Speaker 1: exactly what she was doing and was really good at

1223
01:07:54,800 --> 01:07:56,520
Speaker 1: it and dedicated her life to it. And I don't

1224
01:07:56,600 --> 01:08:00,280
Speaker 1: understand why Andy would get preference over her like it doesn't.

1225
01:08:00,800 --> 01:08:02,920
Speaker 1: And I think that sometimes the implication is like, well,

1226
01:08:03,000 --> 01:08:05,280
Speaker 1: she wants it too badly, and it's like what she's

1227
01:08:05,320 --> 01:08:08,760
Speaker 1: working too hard she's doing I don't know. Yeah, my

1228
01:08:08,960 --> 01:08:12,360
Speaker 1: main takeaway from that is that it is like kind

1229
01:08:12,400 --> 01:08:16,160
Speaker 1: of promoting the trope of you know, women who work

1230
01:08:16,280 --> 01:08:19,479
Speaker 1: together or who are in close proximity to each other.

1231
01:08:19,960 --> 01:08:22,599
Speaker 1: They got to be competing because that's just how women are.

1232
01:08:23,080 --> 01:08:27,479
Speaker 1: And I was surprised or I don't know, I just

1233
01:08:27,520 --> 01:08:31,840
Speaker 1: supposed that I was expecting something more along the lines of, oh, well,

1234
01:08:32,240 --> 01:08:36,000
Speaker 1: they're both working in this like toxic work environment and

1235
01:08:36,080 --> 01:08:38,439
Speaker 1: it's like high stress job. You think they would bond

1236
01:08:38,520 --> 01:08:41,240
Speaker 1: over the fact that there's in similar roles in dealing

1237
01:08:41,280 --> 01:08:44,280
Speaker 1: with similar things, and there would be like solidarity there

1238
01:08:44,880 --> 01:08:48,519
Speaker 1: that they can bond over. But Andy is not good

1239
01:08:48,560 --> 01:08:50,640
Speaker 1: at her job and doesn't know what she's doing. But

1240
01:08:51,120 --> 01:08:55,360
Speaker 1: that's true, that's true of anyone who starts out at

1241
01:08:55,400 --> 01:08:57,719
Speaker 1: a job. I mean, she's way more behind than probably

1242
01:08:57,800 --> 01:08:59,840
Speaker 1: most you know, she doesn't even know where she is

1243
01:09:00,200 --> 01:09:02,880
Speaker 1: in the beginning. Like I don't know, I think if

1244
01:09:03,160 --> 01:09:05,920
Speaker 1: if a if a new coworker of any gender, approached me.

1245
01:09:06,000 --> 01:09:08,760
Speaker 1: It's like, excuse me, what is this. It's like, I

1246
01:09:08,840 --> 01:09:11,120
Speaker 1: don't have time for this. Like but but there's no

1247
01:09:11,280 --> 01:09:14,040
Speaker 1: nuance in the way that's presented. And it's also always like, well,

1248
01:09:14,160 --> 01:09:16,240
Speaker 1: feel bad for Andy because this lady is being so

1249
01:09:16,360 --> 01:09:19,200
Speaker 1: mean to her. And then the actual first time they

1250
01:09:19,360 --> 01:09:22,719
Speaker 1: really bonded was when they meet at that benefit dinner

1251
01:09:23,320 --> 01:09:25,160
Speaker 1: and Emily was like, oh my god, you look cheek

1252
01:09:25,240 --> 01:09:28,080
Speaker 1: for the first time. And then Andy says to Emily like, well,

1253
01:09:28,160 --> 01:09:30,040
Speaker 1: you look skinny. It is and he's like, oh my god.

1254
01:09:30,439 --> 01:09:34,559
Speaker 1: Saying that bonding scene is crazy. It's like the scene

1255
01:09:34,600 --> 01:09:37,799
Speaker 1: where Emily blunts is a bunch of like really troubling

1256
01:09:37,920 --> 01:09:42,559
Speaker 1: stuff about her her eating disorder and and and it's

1257
01:09:42,600 --> 01:09:45,320
Speaker 1: just like, while you look amazing, and then she's like, cool,

1258
01:09:45,360 --> 01:09:47,840
Speaker 1: we're friends now. It's like this is what we bought

1259
01:09:47,920 --> 01:09:52,080
Speaker 1: it over, not the mutual abuse you also, and like

1260
01:09:52,240 --> 01:09:54,280
Speaker 1: at no point that does Andy go like, what you

1261
01:09:54,640 --> 01:09:58,439
Speaker 1: eat a cube of cheese a day? Like can we

1262
01:09:58,600 --> 01:10:03,479
Speaker 1: run down is eating disorder? Her? All the white stuff

1263
01:10:03,520 --> 01:10:06,479
Speaker 1: in the movie where we I think the first mention

1264
01:10:06,600 --> 01:10:10,280
Speaker 1: of it is Andy is getting corn chowder for lunch.

1265
01:10:10,680 --> 01:10:14,120
Speaker 1: Stanley Tucci's character makes fun of her and she's like, what,

1266
01:10:14,280 --> 01:10:16,439
Speaker 1: none of the girls here eat anything? And he says

1267
01:10:16,520 --> 01:10:19,600
Speaker 1: not since two became the new four. Zero became the

1268
01:10:19,720 --> 01:10:21,519
Speaker 1: new two. And then she's like, well, I'm a six

1269
01:10:21,640 --> 01:10:25,120
Speaker 1: and he's like, which is the new fourteen? So like

1270
01:10:25,360 --> 01:10:30,240
Speaker 1: body shaming her. Um, Miranda says she's speaking to Andy.

1271
01:10:30,320 --> 01:10:33,000
Speaker 1: She says, I said to myself, take a chance, hire

1272
01:10:33,080 --> 01:10:35,720
Speaker 1: the smart fat girl. It seems like they're trying to

1273
01:10:36,000 --> 01:10:39,120
Speaker 1: go for satire here sometimes, but it just doesn't work.

1274
01:10:39,479 --> 01:10:42,360
Speaker 1: It doesn't work because Miranda's like sincere in other ways.

1275
01:10:43,640 --> 01:10:48,040
Speaker 1: And and Stanley, who's called Stanley Tucci, who he goes in,

1276
01:10:48,439 --> 01:10:52,000
Speaker 1: he like starts nicknaming her six. He's calling her six

1277
01:10:52,600 --> 01:10:54,879
Speaker 1: like and all the and there's nothing in this closet

1278
01:10:54,920 --> 01:10:58,160
Speaker 1: that will fit a size six like and then yeah,

1279
01:10:58,200 --> 01:11:01,080
Speaker 1: he's like, you're getting chowder. Like he's just like he's

1280
01:11:01,160 --> 01:11:03,840
Speaker 1: furious anytime a woman eats, and it is it is

1281
01:11:03,880 --> 01:11:08,040
Speaker 1: a trigger for him women being nourished. And then at

1282
01:11:08,080 --> 01:11:10,639
Speaker 1: the end of the way that all sort of wraps

1283
01:11:10,720 --> 01:11:13,120
Speaker 1: up is that he says something like you bet your

1284
01:11:13,400 --> 01:11:16,760
Speaker 1: side sticks ass, and then Andy says, I'm afar now

1285
01:11:17,040 --> 01:11:21,280
Speaker 1: and he's like really like at a moment they bonded,

1286
01:11:21,439 --> 01:11:26,479
Speaker 1: everyone's bonding over these very sinister body standard things, which yeah,

1287
01:11:26,760 --> 01:11:30,240
Speaker 1: I feel like it must be an attempt at satire

1288
01:11:30,479 --> 01:11:33,719
Speaker 1: to some degree, but also it's not. It doesn't land

1289
01:11:33,800 --> 01:11:36,120
Speaker 1: for me. I just I see this and I'm like, oh,

1290
01:11:36,320 --> 01:11:40,280
Speaker 1: they are idolizing small body types. That's what we're supposed

1291
01:11:40,280 --> 01:11:42,760
Speaker 1: to take away from the movie. Yeah, No, I think

1292
01:11:42,800 --> 01:11:45,839
Speaker 1: it's it thinks it's being cute and clever with that stuff.

1293
01:11:45,840 --> 01:11:48,559
Speaker 1: But I don't know for me it totally. And it's

1294
01:11:48,680 --> 01:11:51,000
Speaker 1: it's so pervasive because there are like other times where

1295
01:11:51,040 --> 01:11:53,559
Speaker 1: like Miranda talks about like a model that got hired,

1296
01:11:54,000 --> 01:11:55,880
Speaker 1: and she also makes a remark I think about the

1297
01:11:55,920 --> 01:11:59,040
Speaker 1: models wait, like called her frumpy or something, but that

1298
01:11:59,160 --> 01:12:00,719
Speaker 1: I think that was deaf. Only one of those moments

1299
01:12:00,760 --> 01:12:02,320
Speaker 1: where I was just like the funk, you know what

1300
01:12:02,360 --> 01:12:05,160
Speaker 1: I mean? Like and if I if I wasn't who

1301
01:12:05,240 --> 01:12:07,120
Speaker 1: I am and have had my own issues with like

1302
01:12:07,400 --> 01:12:10,439
Speaker 1: you know, eating stuff, but like I've recovered unhealthy now

1303
01:12:10,560 --> 01:12:12,680
Speaker 1: or whatever. But if I was, I think if I

1304
01:12:12,760 --> 01:12:14,479
Speaker 1: was younger and more impressional, why I'd be like, oh

1305
01:12:14,600 --> 01:12:16,840
Speaker 1: this is I wouldn't even think it was satire. I

1306
01:12:16,880 --> 01:12:18,920
Speaker 1: would just think this is like a normal thing. Yeah,

1307
01:12:19,240 --> 01:12:23,040
Speaker 1: that like adult people talk about in their work, which

1308
01:12:23,120 --> 01:12:25,080
Speaker 1: is like really fucked up. And if you're a kid

1309
01:12:25,280 --> 01:12:28,439
Speaker 1: seeing that movie, because I remember that Emily bluntline so

1310
01:12:28,720 --> 01:12:31,920
Speaker 1: specifically because I saw some smood and I was like thirteen,

1311
01:12:32,560 --> 01:12:36,320
Speaker 1: and that was like some early proto Jamie eating disorder,

1312
01:12:36,439 --> 01:12:39,920
Speaker 1: like peak era, and it at the time sounded to

1313
01:12:40,000 --> 01:12:42,479
Speaker 1: me like a literal suggestion of something you could do

1314
01:12:43,520 --> 01:12:46,840
Speaker 1: versus Oh, they're trying to make a comment on how

1315
01:12:47,320 --> 01:12:51,599
Speaker 1: body centric this. It's just if you're gonna bring up

1316
01:12:52,080 --> 01:12:57,280
Speaker 1: the issue of body shaming in the fashion industry, valid

1317
01:12:57,600 --> 01:13:00,840
Speaker 1: huge part of the industry, but like make it very clear,

1318
01:13:01,120 --> 01:13:04,400
Speaker 1: especially if you're marketing your movie at young people, that

1319
01:13:04,560 --> 01:13:07,360
Speaker 1: you're being critical of it and that it's unreasonable and

1320
01:13:07,479 --> 01:13:10,439
Speaker 1: that it shouldn't be an objective because yeah, like the

1321
01:13:10,600 --> 01:13:13,479
Speaker 1: cube cheese line was like, oh, you can do that,

1322
01:13:14,320 --> 01:13:17,519
Speaker 1: even though Emily Blunt is like subtextually saying like and

1323
01:13:17,760 --> 01:13:20,560
Speaker 1: it's killing me and I'm almost dead, but all I

1324
01:13:20,680 --> 01:13:23,080
Speaker 1: got was like, oh, cube of cheese, you won't die sick,

1325
01:13:23,360 --> 01:13:26,599
Speaker 1: like and like she follows that me they be saying like, oh,

1326
01:13:26,640 --> 01:13:28,439
Speaker 1: I think she says like, I'm one stomach flew away

1327
01:13:28,439 --> 01:13:31,640
Speaker 1: from being a zero my goal away, and she's like

1328
01:13:31,760 --> 01:13:34,320
Speaker 1: she's sick during that scene, she has a cold. So

1329
01:13:34,400 --> 01:13:36,960
Speaker 1: I'm thinking, like are you are you there yet? Like

1330
01:13:37,560 --> 01:13:40,280
Speaker 1: you know, like is this the stomming cool that you're getting?

1331
01:13:40,360 --> 01:13:43,360
Speaker 1: Like okay, go, you know, like there's no like critique

1332
01:13:43,400 --> 01:13:45,160
Speaker 1: of it. There's no Andy being like no, maybe we

1333
01:13:45,200 --> 01:13:47,240
Speaker 1: should like why don't we step aside and you have

1334
01:13:47,439 --> 01:13:49,880
Speaker 1: something that's not a cube of cheese. There's nothing like that,

1335
01:13:50,000 --> 01:13:51,880
Speaker 1: Like all of the things that are talked about with

1336
01:13:51,920 --> 01:13:54,439
Speaker 1: wet stuff. Is just very matter of fact. She's part

1337
01:13:54,479 --> 01:13:57,400
Speaker 1: of this world and like you should aspire for it.

1338
01:13:57,720 --> 01:14:00,080
Speaker 1: And the fact that Andy is like super excited to

1339
01:14:00,160 --> 01:14:01,680
Speaker 1: be down to a size four at the end of

1340
01:14:01,720 --> 01:14:06,760
Speaker 1: the movie, like that just drives the very wild thing

1341
01:14:06,800 --> 01:14:09,800
Speaker 1: about that is that she looks the same, you know

1342
01:14:09,800 --> 01:14:11,240
Speaker 1: what I mean, from the beginning the end of the movie.

1343
01:14:11,320 --> 01:14:13,479
Speaker 1: So then like if you have like body dysmorphia and

1344
01:14:13,520 --> 01:14:15,639
Speaker 1: you're like you're thinking that this person who's the same

1345
01:14:15,640 --> 01:14:17,479
Speaker 1: body size from the beginning to the end is actually

1346
01:14:17,479 --> 01:14:20,760
Speaker 1: has actually fluctuated, it'll just like feed into anybody this

1347
01:14:20,840 --> 01:14:25,800
Speaker 1: morphia that you might have. It's yeah, this movie mishandles

1348
01:14:25,920 --> 01:14:31,080
Speaker 1: that theme, and it also made me dislike Stanley Tucci's character,

1349
01:14:31,200 --> 01:14:33,559
Speaker 1: who I loved at the time the movie came out,

1350
01:14:33,560 --> 01:14:35,559
Speaker 1: and I still like, I have a lot of love

1351
01:14:35,600 --> 01:14:38,000
Speaker 1: for that character, but so much of the focus is

1352
01:14:38,200 --> 01:14:41,479
Speaker 1: on that and then it's like that's where they bond

1353
01:14:41,600 --> 01:14:44,200
Speaker 1: and we sort of touched on how his character is

1354
01:14:44,320 --> 01:14:47,080
Speaker 1: also very much like, no, you need to accept abuse

1355
01:14:47,120 --> 01:14:50,439
Speaker 1: in the workplace, and you know, just do it until

1356
01:14:50,840 --> 01:14:52,960
Speaker 1: you get you know, you'll get praise when you're doing

1357
01:14:53,000 --> 01:14:55,479
Speaker 1: a good enough job, which is you know, not just

1358
01:14:55,680 --> 01:14:58,840
Speaker 1: like a hallmark of abusive work relationships, but all of

1359
01:14:59,000 --> 01:15:02,920
Speaker 1: them and and sends I think, I mean, that seemed

1360
01:15:02,920 --> 01:15:06,360
Speaker 1: to be a value that the movie held earnestly based

1361
01:15:06,400 --> 01:15:09,120
Speaker 1: on how it turns out. It's like, well, if you

1362
01:15:09,200 --> 01:15:12,559
Speaker 1: are working around the clock for low pay, you change

1363
01:15:12,960 --> 01:15:17,400
Speaker 1: your appearance entirely, then you can become successful. And the

1364
01:15:17,479 --> 01:15:19,400
Speaker 1: movie doesn't really challenge that in any way because that's

1365
01:15:19,439 --> 01:15:23,240
Speaker 1: what happens is he is that character or queer coded

1366
01:15:24,040 --> 01:15:26,320
Speaker 1: I believe, yeah, yeah, he says like um when he

1367
01:15:26,400 --> 01:15:28,920
Speaker 1: talks about like his background of how he was like

1368
01:15:28,960 --> 01:15:31,679
Speaker 1: a little gay boy, he used to sneak a runway

1369
01:15:31,760 --> 01:15:35,160
Speaker 1: and would read under his covers. He doesn't make it

1370
01:15:35,240 --> 01:15:37,880
Speaker 1: clear that it's specifically him that he's talking about, but

1371
01:15:38,200 --> 01:15:41,160
Speaker 1: you can make that connection pretty easily. So that's yet

1372
01:15:41,200 --> 01:15:43,680
Speaker 1: another example that we see in a movie of a

1373
01:15:43,960 --> 01:15:47,760
Speaker 1: queer character who gives a makeover, which is something that

1374
01:15:47,840 --> 01:15:50,400
Speaker 1: we see so often. And I really didn't like about

1375
01:15:50,520 --> 01:15:53,000
Speaker 1: that makeover except for the fact that it mercifully took

1376
01:15:53,000 --> 01:15:58,360
Speaker 1: by soft screen. Was was that comes at the end

1377
01:15:58,560 --> 01:16:02,400
Speaker 1: of this long gas lighting except abuse in the workplace scene,

1378
01:16:02,960 --> 01:16:05,800
Speaker 1: and then the writer has the goal to make it

1379
01:16:06,000 --> 01:16:09,840
Speaker 1: Andy's idea to be like, hey, why don't you give

1380
01:16:09,920 --> 01:16:12,839
Speaker 1: me a makeover? I was like, you've just failed everyone,

1381
01:16:13,040 --> 01:16:15,600
Speaker 1: every character in this scene by having it be like

1382
01:16:16,640 --> 01:16:19,240
Speaker 1: I mean, that's so true. I hadn't thought about that

1383
01:16:19,280 --> 01:16:22,720
Speaker 1: because it would be one thing if maybe Nigel suggested it.

1384
01:16:22,960 --> 01:16:25,400
Speaker 1: It was like forced on her. Not that anything you

1385
01:16:25,400 --> 01:16:27,040
Speaker 1: should be forced on anyone, but like the fact that

1386
01:16:27,120 --> 01:16:30,040
Speaker 1: they put it on the character just felt weird. I

1387
01:16:30,080 --> 01:16:32,240
Speaker 1: don't know. And if you think about her makeover and

1388
01:16:32,280 --> 01:16:33,960
Speaker 1: the clothes that she ends up wearing, it was just

1389
01:16:34,040 --> 01:16:36,240
Speaker 1: such a generic makeover, like I had nothing of like

1390
01:16:36,360 --> 01:16:38,960
Speaker 1: who Andy might be you know how like if you

1391
01:16:38,960 --> 01:16:40,640
Speaker 1: watch makeover show, he was like, Oh, you like to

1392
01:16:40,720 --> 01:16:42,640
Speaker 1: wear things like this, Let's get you things like that,

1393
01:16:42,720 --> 01:16:44,640
Speaker 1: but like better to fit you better, or like a

1394
01:16:44,720 --> 01:16:46,799
Speaker 1: color pellette that might like help you with your features

1395
01:16:46,840 --> 01:16:50,880
Speaker 1: better or whatever. Yeah, but she's literally like wearing like

1396
01:16:51,200 --> 01:16:54,960
Speaker 1: fashion spreads. Yeah, it's just whatever free clothes are available

1397
01:16:55,439 --> 01:16:59,000
Speaker 1: that happened to fit her. And she's very comfortable in

1398
01:16:59,080 --> 01:17:02,120
Speaker 1: this she's walking in for and she was like, yeah,

1399
01:17:02,320 --> 01:17:04,200
Speaker 1: thatstuff was like fun to look at. But I was

1400
01:17:04,320 --> 01:17:07,479
Speaker 1: just like, girl, really like not even not even one

1401
01:17:07,520 --> 01:17:09,960
Speaker 1: twisted ankle or you know, are being like, oh, the

1402
01:17:10,000 --> 01:17:12,360
Speaker 1: skirt is kind of too type this wol doesn't feel

1403
01:17:12,439 --> 01:17:14,120
Speaker 1: right against my skin none, none of that. She's just

1404
01:17:14,240 --> 01:17:16,040
Speaker 1: like dives right into it. And I think that's why

1405
01:17:16,040 --> 01:17:18,240
Speaker 1: I just feel so weird about the anti character in

1406
01:17:18,320 --> 01:17:22,719
Speaker 1: this movie. She's like so like she's telling us verbally

1407
01:17:22,840 --> 01:17:24,800
Speaker 1: like I don't want to do this, but then all

1408
01:17:24,800 --> 01:17:27,439
Speaker 1: of her actions were saying like I'm feeling this very

1409
01:17:27,560 --> 01:17:32,160
Speaker 1: freely and happily, and it's making my life better. It

1410
01:17:32,240 --> 01:17:35,560
Speaker 1: looks so much better. Can we talk? I know this

1411
01:17:35,640 --> 01:17:38,920
Speaker 1: episode is already so long. Can we briefly talk about

1412
01:17:39,080 --> 01:17:43,120
Speaker 1: the Christian Thompson character and how he is a fucking

1413
01:17:43,240 --> 01:17:47,400
Speaker 1: horrible creep that the movie does not really acknowledge or

1414
01:17:47,439 --> 01:17:49,880
Speaker 1: punish him for. Um, I'll just kind of run through

1415
01:17:49,880 --> 01:17:51,840
Speaker 1: a list of the things that he does. When he

1416
01:17:51,920 --> 01:17:55,920
Speaker 1: first meets Andy, he tells her that you'll never survive Miranda.

1417
01:17:56,000 --> 01:17:58,839
Speaker 1: So basically he's nagging her and doesn't have any confidence

1418
01:17:58,880 --> 01:18:02,439
Speaker 1: in her abilities. Um, he keeps calling her Miranda girl

1419
01:18:02,840 --> 01:18:07,320
Speaker 1: instead of calling her by her name, hot, stripping her

1420
01:18:07,400 --> 01:18:12,280
Speaker 1: of her identity and individuality. Well. Also, to be fair,

1421
01:18:12,360 --> 01:18:15,080
Speaker 1: Miranda does that to her for most as well. True,

1422
01:18:15,120 --> 01:18:18,000
Speaker 1: but we're also you know, Miranda's framed as someone that

1423
01:18:18,080 --> 01:18:20,479
Speaker 1: we're not meant to like. At least while she's doing that,

1424
01:18:21,280 --> 01:18:24,840
Speaker 1: he says he like sees her in this beautiful gown,

1425
01:18:24,920 --> 01:18:27,280
Speaker 1: and he says, oh, you're a vision. Thank god I

1426
01:18:27,360 --> 01:18:31,439
Speaker 1: saved your job, and she, to be fair, does challenge

1427
01:18:31,479 --> 01:18:33,639
Speaker 1: that and says, well, I figured a few things out

1428
01:18:33,680 --> 01:18:35,799
Speaker 1: on my own too, But it's a man taking credit

1429
01:18:35,880 --> 01:18:38,240
Speaker 1: for something you shouldn't take credit for her and taking

1430
01:18:38,240 --> 01:18:41,599
Speaker 1: credit for a woman's work. Basically, he's also offering her

1431
01:18:41,840 --> 01:18:45,240
Speaker 1: a way to get ahead in exchange for basically a

1432
01:18:45,360 --> 01:18:48,360
Speaker 1: sustained flirtation with him that we're led to believeable lead

1433
01:18:48,400 --> 01:18:51,559
Speaker 1: to sex. And ye he keeps saying like I'll introduce

1434
01:18:51,640 --> 01:18:55,439
Speaker 1: you to you know, this editor or whatever. Every time

1435
01:18:55,520 --> 01:19:03,519
Speaker 1: a guy says that, bt dubbs, they're lying everything every time. Well,

1436
01:19:03,560 --> 01:19:05,599
Speaker 1: I just I just think about like my first year

1437
01:19:05,760 --> 01:19:09,760
Speaker 1: living here a lot and like every child who approaches you,

1438
01:19:09,840 --> 01:19:13,040
Speaker 1: and it's like, yeah, no, I know, like blah blah blah.

1439
01:19:13,320 --> 01:19:17,320
Speaker 1: It's never true. They always know someone influential's cousin who

1440
01:19:17,479 --> 01:19:20,800
Speaker 1: they're on terrible terms with, Like awful news to be

1441
01:19:20,840 --> 01:19:25,960
Speaker 1: because I'm relying on that introduction the random man, but

1442
01:19:26,160 --> 01:19:28,679
Speaker 1: just like seeing it done in this particular way of like, yeah,

1443
01:19:28,800 --> 01:19:32,160
Speaker 1: I know an editor. I'm like interesting, what's their name? Like,

1444
01:19:33,080 --> 01:19:37,280
Speaker 1: how do you know them? I'm so fucking skeptical of everyone.

1445
01:19:37,360 --> 01:19:40,840
Speaker 1: But and then he feels like she owes him for

1446
01:19:40,960 --> 01:19:44,320
Speaker 1: like the Harry Potter book favor, which is a kid

1447
01:19:44,960 --> 01:19:47,400
Speaker 1: how he oh he has access to that, but he

1448
01:19:47,520 --> 01:19:49,000
Speaker 1: has a friend who was a friend of a friend

1449
01:19:49,040 --> 01:19:51,240
Speaker 1: of a cover designer, which is not how any of

1450
01:19:51,280 --> 01:19:56,800
Speaker 1: that that whatever? Okays? Like, yeah, I was gaslighting J

1451
01:19:56,960 --> 01:20:01,080
Speaker 1: K Rowling a couple of years ago, so she loved her.

1452
01:20:01,280 --> 01:20:03,640
Speaker 1: She likes, Okay, here's how I think he did it.

1453
01:20:04,360 --> 01:20:07,599
Speaker 1: I think that he was gaslighting JK. Rowling and then

1454
01:20:07,640 --> 01:20:10,000
Speaker 1: she was like, fuck you, I'm out of here. But

1455
01:20:10,640 --> 01:20:13,759
Speaker 1: she stayed logged into her Google drive on his computer

1456
01:20:14,320 --> 01:20:16,479
Speaker 1: and he never logged out, and so he has all

1457
01:20:16,520 --> 01:20:19,679
Speaker 1: of her documents. Maybe I think that he was performing

1458
01:20:19,880 --> 01:20:23,800
Speaker 1: the what's the unforgivable curse? That it makes it like

1459
01:20:23,880 --> 01:20:26,640
Speaker 1: mind controls you, not the crucial curse. I think that's

1460
01:20:26,680 --> 01:20:29,040
Speaker 1: the torture one. I forget what this curch is called

1461
01:20:29,200 --> 01:20:34,479
Speaker 1: her and like, yeah, basically like cursed her into giving

1462
01:20:34,920 --> 01:20:38,080
Speaker 1: him the manuscript. I think that if someone finds seven

1463
01:20:38,120 --> 01:20:40,640
Speaker 1: how many horr cracks? Is it seven? Seven? If you

1464
01:20:40,720 --> 01:20:43,519
Speaker 1: find all seven hor cracks, is he gets normal colored hair?

1465
01:20:44,479 --> 01:20:48,120
Speaker 1: I actually would watch the film of like people trying

1466
01:20:48,160 --> 01:20:50,040
Speaker 1: to figure out how he got the manuscript and then

1467
01:20:50,160 --> 01:20:53,880
Speaker 1: they would explore it with via Your Guys series. I

1468
01:20:53,920 --> 01:20:56,160
Speaker 1: would watch that there isn't just one to detective and

1469
01:20:56,200 --> 01:21:00,439
Speaker 1: be like it was a bad lead. Got a super producer, Sophie,

1470
01:21:00,920 --> 01:21:03,800
Speaker 1: thank you so much, says the imperious curse. So he

1471
01:21:03,920 --> 01:21:08,920
Speaker 1: was imperious cursing and okay, so finally the worst thing

1472
01:21:09,000 --> 01:21:13,479
Speaker 1: he does is that he they're in Paris, he kisses her.

1473
01:21:13,800 --> 01:21:17,679
Speaker 1: She keeps saying, after that acid exchange, Paris is pretty.

1474
01:21:21,960 --> 01:21:26,120
Speaker 1: He kisses her, she says no, I think three different times,

1475
01:21:26,720 --> 01:21:29,280
Speaker 1: and then he keeps pushing past the no keeps kissing

1476
01:21:29,360 --> 01:21:33,479
Speaker 1: her and implied like a no means yes, like like

1477
01:21:34,200 --> 01:21:37,080
Speaker 1: well I'm out of excuses, and he's like, thank goodness.

1478
01:21:37,240 --> 01:21:40,240
Speaker 1: So then they keep kissing and it just shows a

1479
01:21:40,320 --> 01:21:42,880
Speaker 1: man pushing past the know, a woman being worn down,

1480
01:21:43,000 --> 01:21:47,880
Speaker 1: and the whole thing being framed as romantic rather than predatory,

1481
01:21:47,960 --> 01:21:53,920
Speaker 1: which she's happening. She does give consent, yes, and she

1482
01:21:54,040 --> 01:21:56,679
Speaker 1: even says like I've had too much to drink everything.

1483
01:21:57,040 --> 01:21:58,920
Speaker 1: She lays out all the reasons why it's not a

1484
01:21:58,960 --> 01:22:02,240
Speaker 1: good idea, and with the movie, the movie makes her

1485
01:22:02,320 --> 01:22:04,560
Speaker 1: consent so that us as viewers don't think he's a

1486
01:22:04,600 --> 01:22:07,519
Speaker 1: fucking rate exactly right, exactly, and we see this all

1487
01:22:07,600 --> 01:22:10,640
Speaker 1: the fucking time, and this is yet another example of

1488
01:22:10,720 --> 01:22:12,280
Speaker 1: how I would have loved for that scene to end

1489
01:22:12,360 --> 01:22:16,080
Speaker 1: to be like because also they're in Paris. It's empty,

1490
01:22:16,920 --> 01:22:20,720
Speaker 1: there's no one in Paris in this movie, and so

1491
01:22:20,840 --> 01:22:23,759
Speaker 1: it's just like she I don't think the movie intensis.

1492
01:22:23,760 --> 01:22:26,360
Speaker 1: I think they just couldn't afford extras this day. But

1493
01:22:26,560 --> 01:22:29,960
Speaker 1: like they're they're totally in the middle, Like she's drunk

1494
01:22:30,080 --> 01:22:33,559
Speaker 1: and alone in a strange city with no one around

1495
01:22:33,760 --> 01:22:36,479
Speaker 1: in the middle of the night, and so there's always

1496
01:22:36,560 --> 01:22:39,639
Speaker 1: that like fear and pressure on women to say yes

1497
01:22:39,840 --> 01:22:42,639
Speaker 1: because what is the like what if he gets angry

1498
01:22:42,680 --> 01:22:47,280
Speaker 1: at being rejected and then you're physically harmed. They couldn't

1499
01:22:47,280 --> 01:22:50,839
Speaker 1: afford extras this day, but it was something that occurred

1500
01:22:50,880 --> 01:22:54,800
Speaker 1: to me, And it's still framed as like, Wow, she

1501
01:22:54,960 --> 01:22:57,560
Speaker 1: finally hooked up with the whole flesh, because then it

1502
01:22:57,640 --> 01:22:59,800
Speaker 1: cuts to the next morning and she's in his bed,

1503
01:23:00,000 --> 01:23:03,320
Speaker 1: presumably they've had sex, like and the movie frames the

1504
01:23:03,360 --> 01:23:06,760
Speaker 1: sex as consensual, and I think and I think they

1505
01:23:06,880 --> 01:23:08,840
Speaker 1: put her there so that she could discover that like

1506
01:23:09,000 --> 01:23:11,200
Speaker 1: he had the mock up of the new issue of

1507
01:23:11,240 --> 01:23:14,760
Speaker 1: the magazine when Jacqueline becomes the editor. So it's like

1508
01:23:15,320 --> 01:23:18,080
Speaker 1: they put her in a situation where she probably didn't

1509
01:23:18,120 --> 01:23:19,680
Speaker 1: really want to have sex with him, but she did.

1510
01:23:20,320 --> 01:23:22,120
Speaker 1: But so that like there's two things that are happening,

1511
01:23:22,200 --> 01:23:23,560
Speaker 1: it can move a plot point and had said that

1512
01:23:23,640 --> 01:23:25,960
Speaker 1: like she discovers this, but also to that as viewers,

1513
01:23:26,120 --> 01:23:28,439
Speaker 1: maybe we feel a way about her stepping out on

1514
01:23:28,600 --> 01:23:32,200
Speaker 1: Nate even though like they're technically broken up. Um, but

1515
01:23:32,400 --> 01:23:34,640
Speaker 1: like I think that even ten years ago, I was

1516
01:23:34,680 --> 01:23:37,080
Speaker 1: just like this is weird, Like I wasn't even mad

1517
01:23:37,120 --> 01:23:38,880
Speaker 1: at her or anything. I could care less about her

1518
01:23:38,920 --> 01:23:41,559
Speaker 1: and Nate at that point, right Nate who says, why

1519
01:23:41,640 --> 01:23:44,800
Speaker 1: do you women have so many begs? You get one bag,

1520
01:23:44,880 --> 01:23:47,640
Speaker 1: you put out your stuff in it, and then we

1521
01:23:47,840 --> 01:23:54,160
Speaker 1: got her, Adrian, thank you so much. It's she should

1522
01:23:54,240 --> 01:23:58,160
Speaker 1: just you know, maybe shop around for a worthy man

1523
01:23:59,640 --> 01:24:03,439
Speaker 1: or no man or no man. I mean, the thing

1524
01:24:03,640 --> 01:24:06,840
Speaker 1: with with this genre is that it's still kind of

1525
01:24:06,920 --> 01:24:12,080
Speaker 1: subscribes to the like having it all, noss of second

1526
01:24:12,120 --> 01:24:15,840
Speaker 1: way feminism, of like saying like, no, she can have both,

1527
01:24:16,000 --> 01:24:18,720
Speaker 1: and and still holding that up as like in a

1528
01:24:18,880 --> 01:24:21,920
Speaker 1: best case scenario, this is what you'd have, and not

1529
01:24:22,120 --> 01:24:25,799
Speaker 1: presenting any sort of fulfillment as a person with anything

1530
01:24:26,040 --> 01:24:31,240
Speaker 1: but the completely happy career and home life, which, like

1531
01:24:31,280 --> 01:24:34,479
Speaker 1: you were saying, Amy is just like it is a

1532
01:24:34,640 --> 01:24:39,640
Speaker 1: great ideal, but then it's you know, in practice, you

1533
01:24:40,000 --> 01:24:43,320
Speaker 1: just have to be working twice as hard. So even

1534
01:24:43,360 --> 01:24:46,880
Speaker 1: if you do have a successful career and a successful relationship,

1535
01:24:46,880 --> 01:24:50,880
Speaker 1: family life, whatever, very often you find yourself like feel

1536
01:24:51,000 --> 01:24:55,080
Speaker 1: completely hollow as a stretch so thin. Yeah, and then

1537
01:24:55,160 --> 01:24:57,040
Speaker 1: you can't and then you're like, Okay, I did what

1538
01:24:57,160 --> 01:25:00,800
Speaker 1: I was told, but now I feel nothing. Why is that?

1539
01:25:01,320 --> 01:25:04,519
Speaker 1: And and so you know we'll figure it out one

1540
01:25:04,560 --> 01:25:06,640
Speaker 1: of these days, we'll get it. Yeah, we need Oh,

1541
01:25:06,800 --> 01:25:08,680
Speaker 1: here's what we need. We need a time turner, like

1542
01:25:08,800 --> 01:25:12,920
Speaker 1: in Harry Potter three where Hermione. You know she is

1543
01:25:13,000 --> 01:25:15,200
Speaker 1: going to all these different classes because she's traveling back

1544
01:25:15,240 --> 01:25:17,400
Speaker 1: through time so that she can have it all and

1545
01:25:17,479 --> 01:25:20,759
Speaker 1: do everything that she wants. So that's what we as women.

1546
01:25:22,200 --> 01:25:26,560
Speaker 1: That's how many more that's Harry Potter references? Would you

1547
01:25:26,640 --> 01:25:30,599
Speaker 1: like me to make? I mean, honestly, I'm good leaving

1548
01:25:30,680 --> 01:25:36,519
Speaker 1: it here. I see baltimorre it over here and not

1549
01:25:36,680 --> 01:25:41,599
Speaker 1: wanting to me to, you know, succeed. That's that's Baltimort's thing.

1550
01:25:41,680 --> 01:25:46,240
Speaker 1: He doesn't want people to succeed. My favorite description of

1551
01:25:46,320 --> 01:25:53,040
Speaker 1: Baltimore subjectives ever, Baldi word like above all hates success.

1552
01:25:54,680 --> 01:25:59,960
Speaker 1: He wants to be the only successful one anyway. Baltimore

1553
01:26:01,840 --> 01:26:07,760
Speaker 1: little slit nosed icon do does anyone have anything else

1554
01:26:08,000 --> 01:26:10,320
Speaker 1: that they want to talk about before we wrap up?

1555
01:26:10,600 --> 01:26:13,720
Speaker 1: We've talked about everything I had. There's so much to

1556
01:26:13,720 --> 01:26:17,080
Speaker 1: talk about, so much. Well, does the movie pass the

1557
01:26:17,120 --> 01:26:22,639
Speaker 1: Bechtel test? Yes, it does. Women talking about fashion, clothes,

1558
01:26:22,920 --> 01:26:26,400
Speaker 1: the magazine, et cetera. There are you know, some conversations

1559
01:26:26,400 --> 01:26:30,880
Speaker 1: about men, whether it's Nate or Simon or whoever. The

1560
01:26:31,040 --> 01:26:33,800
Speaker 1: conversations that do pass a lot of the time are

1561
01:26:34,160 --> 01:26:36,519
Speaker 1: and this isn't a criticism here or there, but they

1562
01:26:36,600 --> 01:26:40,640
Speaker 1: do tend to be about hyper feminine topics, which we

1563
01:26:40,760 --> 01:26:43,320
Speaker 1: see again and again and again. Yeah, where it's like,

1564
01:26:43,960 --> 01:26:48,000
Speaker 1: you know, that whole exchange about Emily Blunt's eating disorder

1565
01:26:48,080 --> 01:26:51,800
Speaker 1: and how it's cute passes. And to be clear, it's

1566
01:26:51,840 --> 01:26:55,519
Speaker 1: there's nothing wrong, inherently wrong with talking about hyper feminine things.

1567
01:26:55,600 --> 01:26:58,479
Speaker 1: But because we pretty much only see that in movies

1568
01:26:58,600 --> 01:27:00,960
Speaker 1: where women are talking, they're only talking about either like

1569
01:27:01,080 --> 01:27:04,680
Speaker 1: very domestic things or very hyper feminine things, and are

1570
01:27:05,240 --> 01:27:08,879
Speaker 1: rarely talking about stuff that might be considered gender neutral

1571
01:27:09,320 --> 01:27:12,880
Speaker 1: or you know, there's no one's talking about science, but

1572
01:27:12,960 --> 01:27:15,720
Speaker 1: there's a lot of talk about work. Just done? Get

1573
01:27:15,800 --> 01:27:17,720
Speaker 1: that done? How did you do this? Why aren't you

1574
01:27:17,800 --> 01:27:28,680
Speaker 1: doing this? And paper? I really love where is it if? Okay,

1575
01:27:28,800 --> 01:27:32,360
Speaker 1: what was it about? If only Andy used her wand

1576
01:27:32,840 --> 01:27:37,200
Speaker 1: to summon it with the echio paper, she would have

1577
01:27:38,120 --> 01:27:45,800
Speaker 1: oh dear, So anyway, okay, I just it's just not

1578
01:27:46,080 --> 01:27:50,599
Speaker 1: for me. I understand. Let's write the movie on our

1579
01:27:50,760 --> 01:27:54,280
Speaker 1: nipple scale zero to five nipples based on its portrayal

1580
01:27:54,520 --> 01:27:59,679
Speaker 1: of women. This is another tricky one for me because

1581
01:27:59,760 --> 01:28:04,920
Speaker 1: it is largely a female driven cast. It is a

1582
01:28:05,640 --> 01:28:10,639
Speaker 1: movie that at least starts to explore the professional lives

1583
01:28:10,720 --> 01:28:13,840
Speaker 1: of women and the sacrifices that maybe have to be

1584
01:28:14,000 --> 01:28:17,760
Speaker 1: made and different things like that. Female relationships are a

1585
01:28:17,880 --> 01:28:21,680
Speaker 1: huge part of the movie. But a lot of the

1586
01:28:21,920 --> 01:28:24,800
Speaker 1: time in this movie, the female relationships are not going

1587
01:28:24,960 --> 01:28:28,280
Speaker 1: very well. You know, we see this like archetypal successful

1588
01:28:28,360 --> 01:28:32,040
Speaker 1: career woman who is very difficult to be around. You know.

1589
01:28:32,120 --> 01:28:35,720
Speaker 1: There's the weird comments about wait all the time. And

1590
01:28:35,840 --> 01:28:40,160
Speaker 1: body type. There's almost no diversity in terms of body

1591
01:28:40,200 --> 01:28:43,280
Speaker 1: type and race. It's that weird New York city where

1592
01:28:43,360 --> 01:28:46,520
Speaker 1: only white people live. There's just all kinds of problems

1593
01:28:46,600 --> 01:28:49,840
Speaker 1: with this movie. So I'm going to give it. I'm

1594
01:28:49,880 --> 01:28:52,120
Speaker 1: timpted to give it a too, because I think it's

1595
01:28:53,280 --> 01:28:58,080
Speaker 1: it feels like it has its heart set in the

1596
01:28:58,240 --> 01:29:02,640
Speaker 1: right place for two thousand's six. But we've progressed a

1597
01:29:02,720 --> 01:29:05,640
Speaker 1: little bit as a society since then. Um so it

1598
01:29:05,760 --> 01:29:09,840
Speaker 1: feels not so progressive today. But I think for the time,

1599
01:29:10,080 --> 01:29:15,280
Speaker 1: it was, you know, attempting to do something. So I'll

1600
01:29:15,320 --> 01:29:17,680
Speaker 1: give it a two and I'll give both of my

1601
01:29:17,800 --> 01:29:25,200
Speaker 1: nipples to Meryl Street. Wow. Brian sub versa. I was

1602
01:29:25,280 --> 01:29:28,040
Speaker 1: I was thinking too as well for this. Uh yeah,

1603
01:29:28,400 --> 01:29:30,920
Speaker 1: I agree with you that the movie, for all of

1604
01:29:31,000 --> 01:29:34,080
Speaker 1: its failings and and sort of I mean, it's weird,

1605
01:29:34,160 --> 01:29:36,920
Speaker 1: there's not a uh there's very few topics I feel

1606
01:29:36,920 --> 01:29:40,600
Speaker 1: like this movie completely fails. It's just that there's a

1607
01:29:40,760 --> 01:29:43,479
Speaker 1: lot of gray area where it is maybe skewing on

1608
01:29:43,560 --> 01:29:45,880
Speaker 1: the side of gray area that I agree with less.

1609
01:29:46,640 --> 01:29:48,840
Speaker 1: But it is one of the few movies that you're like,

1610
01:29:48,920 --> 01:29:51,280
Speaker 1: oh yeah, this is definitely a product of its time

1611
01:29:51,360 --> 01:29:54,360
Speaker 1: that I don't think is like unwatchable. I think it's

1612
01:29:54,360 --> 01:29:56,519
Speaker 1: still like a really fun movie. I'll watch it again.

1613
01:29:57,320 --> 01:29:59,599
Speaker 1: It's trying to do a good thing. It's not quite

1614
01:29:59,680 --> 01:30:02,479
Speaker 1: getting in there, but you know, we'll feel that way

1615
01:30:02,520 --> 01:30:06,599
Speaker 1: about almost any movie made ten years ago, um, which

1616
01:30:06,640 --> 01:30:09,000
Speaker 1: hopefully means the world is moving forward, but you know,

1617
01:30:09,200 --> 01:30:14,840
Speaker 1: we live in an active hell, so you know, um yeah,

1618
01:30:15,080 --> 01:30:17,120
Speaker 1: my mate. Take away from this viewing was the anti

1619
01:30:17,240 --> 01:30:22,080
Speaker 1: character and like how inconclusive the journey is and and

1620
01:30:22,439 --> 01:30:25,640
Speaker 1: and how frustrating it is to see young women with

1621
01:30:25,800 --> 01:30:28,960
Speaker 1: strong opinions have those opinions neutralized over the course of

1622
01:30:29,040 --> 01:30:31,720
Speaker 1: a movie. I don't love it, but I give it.

1623
01:30:31,760 --> 01:30:34,120
Speaker 1: I give it two stars, and I'm giving them to littles,

1624
01:30:34,439 --> 01:30:40,280
Speaker 1: so fucking kill me. Two nipples, and I'm giving the nipples,

1625
01:30:40,760 --> 01:30:45,400
Speaker 1: which are star shaped pasties in this case to Tracy

1626
01:30:45,520 --> 01:30:50,040
Speaker 1: Tom's who God damn it someday. I mean, she was

1627
01:30:50,120 --> 01:30:52,600
Speaker 1: incredible and Rent just like swatch her and Rent but

1628
01:30:52,720 --> 01:31:02,200
Speaker 1: Rent is don't say it. Rent is good. Okay. Well,

1629
01:31:02,280 --> 01:31:05,280
Speaker 1: I'm like Sadden that you guys only giving it a

1630
01:31:05,400 --> 01:31:07,720
Speaker 1: pair of nipples because I was sitting here and I'm like,

1631
01:31:07,960 --> 01:31:11,320
Speaker 1: I think this is a solid, like three and a

1632
01:31:11,400 --> 01:31:15,600
Speaker 1: half big nipples for me, and I think a lot

1633
01:31:15,640 --> 01:31:18,439
Speaker 1: of it's Titan nostalgia. How much I just love the movie,

1634
01:31:18,479 --> 01:31:21,439
Speaker 1: and that happens on this podcast, and it's just like

1635
01:31:21,600 --> 01:31:24,679
Speaker 1: a fun movie to watch, and I just started really

1636
01:31:24,720 --> 01:31:26,360
Speaker 1: thinking critically about because I knew I was going to

1637
01:31:26,400 --> 01:31:29,719
Speaker 1: do this podcast, you know. But even for all its troubles,

1638
01:31:29,800 --> 01:31:33,320
Speaker 1: I just love it. And yeah, I just love and

1639
01:31:33,720 --> 01:31:36,160
Speaker 1: I love even even though it's like trying to talk

1640
01:31:36,240 --> 01:31:39,600
Speaker 1: shit about fashion or like consumerism and how all of

1641
01:31:39,680 --> 01:31:43,280
Speaker 1: that could be like frivolous, it's still glamorizing in such

1642
01:31:43,320 --> 01:31:47,240
Speaker 1: a cute way that I mean, Andy wears some questionable

1643
01:31:47,320 --> 01:31:49,280
Speaker 1: things that I don't even think we're in fashion then,

1644
01:31:49,800 --> 01:31:53,040
Speaker 1: but it's fun to see like how they thought what

1645
01:31:53,240 --> 01:31:56,040
Speaker 1: was fashionable then. And uh. And I think that the

1646
01:31:56,200 --> 01:32:00,360
Speaker 1: glossiness of the film is something that making it beautiful

1647
01:32:00,439 --> 01:32:03,080
Speaker 1: to look at and fun to watch, while also showing

1648
01:32:03,479 --> 01:32:06,280
Speaker 1: a woman in power who even though we're supposed to

1649
01:32:06,280 --> 01:32:08,920
Speaker 1: be told is like not a good person, but she's

1650
01:32:08,920 --> 01:32:12,680
Speaker 1: still really competent in doing her job. Well. Uh, and

1651
01:32:13,240 --> 01:32:16,120
Speaker 1: it's portrayed by Meryl Street. Is such a good thing,

1652
01:32:16,400 --> 01:32:17,960
Speaker 1: you know. I think that like to have that piece

1653
01:32:18,000 --> 01:32:20,360
Speaker 1: of art in the world. I just appreciated it. Yeah,

1654
01:32:20,439 --> 01:32:23,160
Speaker 1: Like I definitely don't understand why they're people of color

1655
01:32:23,200 --> 01:32:25,160
Speaker 1: in it, why there aren't more queer people in it

1656
01:32:25,280 --> 01:32:29,560
Speaker 1: in the world of fashion. Yeah, that's yeah, I just

1657
01:32:29,680 --> 01:32:31,720
Speaker 1: I don't understand why. You know, there are like lots

1658
01:32:31,800 --> 01:32:34,519
Speaker 1: of more real world the stuff that isn't like being

1659
01:32:34,560 --> 01:32:37,000
Speaker 1: insinuated in the world with a devil worse product. But

1660
01:32:37,200 --> 01:32:39,320
Speaker 1: you know, it's it's a film whatever. But I think

1661
01:32:39,360 --> 01:32:42,000
Speaker 1: that like storytelling could have been done just you know,

1662
01:32:42,479 --> 01:32:44,760
Speaker 1: been more effective. And there are like really fucked up

1663
01:32:44,760 --> 01:32:46,679
Speaker 1: portrayals of things that are happening, especially with the Simon

1664
01:32:46,720 --> 01:32:52,080
Speaker 1: Baker character. But I just overlook that ship because I like,

1665
01:32:53,360 --> 01:32:56,040
Speaker 1: I Hello, I'm a person who watches. The montage is

1666
01:32:56,120 --> 01:33:00,000
Speaker 1: for fun, Like I love the folly in the montage

1667
01:33:00,320 --> 01:33:01,760
Speaker 1: is like I love the fully of the of the

1668
01:33:01,880 --> 01:33:06,599
Speaker 1: purses and the coats, you know, of them hitting the desk. Yeah,

1669
01:33:07,479 --> 01:33:10,240
Speaker 1: I like. I like track the montage of her makeover

1670
01:33:10,320 --> 01:33:12,519
Speaker 1: where she goes through all the different outfits. I like this.

1671
01:33:12,680 --> 01:33:14,439
Speaker 1: I'm like, this is filmed in the day. Let's look

1672
01:33:14,479 --> 01:33:16,720
Speaker 1: at all the inconsistencies of how it was, like how

1673
01:33:16,760 --> 01:33:19,479
Speaker 1: we can track that it was, Like, I love watch.

1674
01:33:19,840 --> 01:33:22,439
Speaker 1: I think it's because I love watching like the visuals

1675
01:33:22,520 --> 01:33:26,800
Speaker 1: of this movie. So you're allowed. Yeah, I mean, there's

1676
01:33:26,840 --> 01:33:30,439
Speaker 1: no there's no wrong answers. There's truly not. We're a

1677
01:33:30,520 --> 01:33:32,680
Speaker 1: steel Like I'm being defensive. I'm just telling you why

1678
01:33:32,720 --> 01:33:37,439
Speaker 1: I love. Yeah. Of course we're also extremely jaded, and

1679
01:33:38,960 --> 01:33:41,920
Speaker 1: I mean I also gave writers of The Lost Dark

1680
01:33:42,160 --> 01:33:45,120
Speaker 1: zero nipples, and I still deeply love that movie. So

1681
01:33:45,600 --> 01:33:47,560
Speaker 1: you know, it's it's a journey that we're all on.

1682
01:33:49,560 --> 01:33:51,679
Speaker 1: So I get one of my nipples to the fully artist.

1683
01:33:55,360 --> 01:34:03,080
Speaker 1: If you're listening, hit me up. They're biggest fan. Uh

1684
01:34:03,200 --> 01:34:06,960
Speaker 1: and definitely a nipple to Miss Meryl. A nipple to Lily,

1685
01:34:07,360 --> 01:34:10,960
Speaker 1: who was like, you're saying criminally underused because her joy

1686
01:34:11,120 --> 01:34:14,120
Speaker 1: at receiving that hideous mark shake comes back. Was like,

1687
01:34:14,520 --> 01:34:16,080
Speaker 1: I was like, man, that bag is ugly, but you

1688
01:34:16,200 --> 01:34:19,480
Speaker 1: love it, so I love it and Oscar worthy performance

1689
01:34:21,640 --> 01:34:25,400
Speaker 1: trash and then I have a nipple to have a

1690
01:34:25,479 --> 01:34:27,160
Speaker 1: nipple to the scene that I want to shout out

1691
01:34:27,160 --> 01:34:29,040
Speaker 1: my to my friend Lara, she pointed out to me,

1692
01:34:29,200 --> 01:34:31,599
Speaker 1: there's a scene where she comes in and he comes

1693
01:34:31,640 --> 01:34:33,040
Speaker 1: into her apartment and she I think she just got

1694
01:34:33,080 --> 01:34:35,240
Speaker 1: out of the shower and she's wearing like a bra

1695
01:34:35,479 --> 01:34:37,639
Speaker 1: and a tank top and then she puts another tank

1696
01:34:37,680 --> 01:34:43,200
Speaker 1: top over it, so pretty over it. So shout out

1697
01:34:43,240 --> 01:34:47,080
Speaker 1: to all that layering of tanktops for no reason, I

1698
01:34:47,200 --> 01:34:49,479
Speaker 1: didn't notice the tank top on a tank top. I

1699
01:34:49,600 --> 01:34:51,599
Speaker 1: get that possibly up to it. I don't know either

1700
01:34:52,040 --> 01:34:55,519
Speaker 1: anybody knows behind the scenes info on that. So so

1701
01:34:55,680 --> 01:34:57,240
Speaker 1: that half a nipple goes out to my friend Laura,

1702
01:34:57,280 --> 01:35:01,280
Speaker 1: who pointed out very good. Well, Amy, thank you so

1703
01:35:01,439 --> 01:35:04,479
Speaker 1: much for being here, Thank you for having me talking

1704
01:35:04,600 --> 01:35:08,320
Speaker 1: to us for hours? Um, what would you like to plug?

1705
01:35:08,360 --> 01:35:10,600
Speaker 1: Where can people find you online? You can find me

1706
01:35:10,680 --> 01:35:14,519
Speaker 1: online on the Twitter. My account is Amy A Doisy.

1707
01:35:14,600 --> 01:35:17,400
Speaker 1: It's spelled A M y A d o y z

1708
01:35:17,720 --> 01:35:20,040
Speaker 1: i E. It's like a graversial name I made up

1709
01:35:20,080 --> 01:35:23,439
Speaker 1: when I was a punk kid. I also have a

1710
01:35:23,520 --> 01:35:26,439
Speaker 1: website that has like literary event things that I hear

1711
01:35:26,520 --> 01:35:29,280
Speaker 1: me now and then. Uh. It's called by Amy lamb

1712
01:35:29,360 --> 01:35:33,160
Speaker 1: dot com like a byeline no spaces because I write fiction.

1713
01:35:33,760 --> 01:35:36,400
Speaker 1: Um right now, I'm in school and working on a

1714
01:35:36,520 --> 01:35:40,920
Speaker 1: novel about like a queer frontier pioneer story. Very cool, yes,

1715
01:35:41,200 --> 01:35:43,519
Speaker 1: and I'm writing it as a novel, but one day

1716
01:35:43,560 --> 01:35:45,840
Speaker 1: I want to see it made into a thing I

1717
01:35:45,920 --> 01:35:49,000
Speaker 1: can watch. Well, I'm a screenwriter, so that I could

1718
01:35:49,040 --> 01:35:54,320
Speaker 1: like adopt it. Asking about it on the back better

1719
01:35:54,400 --> 01:35:59,479
Speaker 1: get Hella nipples be like, yes, would that not be cool?

1720
01:36:00,000 --> 01:36:05,720
Speaker 1: I'm already like projecting it'll be like it happen. Well,

1721
01:36:05,800 --> 01:36:08,839
Speaker 1: you can follow the Bechtel Cast on social media across

1722
01:36:08,880 --> 01:36:12,040
Speaker 1: all the platforms at Bechtel Cast. You can go to

1723
01:36:12,280 --> 01:36:16,599
Speaker 1: our you can join our patreon ak ur Matreon, which

1724
01:36:16,680 --> 01:36:18,240
Speaker 1: is five dollars a month and it gets you to

1725
01:36:18,520 --> 01:36:22,360
Speaker 1: bonus episodes every single month, plus our whole backlog of

1726
01:36:22,520 --> 01:36:24,760
Speaker 1: episodes you get access to that. You can check out

1727
01:36:24,800 --> 01:36:27,160
Speaker 1: our t public store, where there's always a lot of

1728
01:36:27,240 --> 01:36:29,840
Speaker 1: fun designs, and then get a t public dot com

1729
01:36:29,880 --> 01:36:33,840
Speaker 1: slash the backdel Cast. There's all sorts of ship you

1730
01:36:33,920 --> 01:36:36,800
Speaker 1: can do on the internet. Right and review us on iTunes?

1731
01:36:37,720 --> 01:36:41,200
Speaker 1: Does anyone ever? Sometimes people do that. Yeah, it helps

1732
01:36:41,280 --> 01:36:45,320
Speaker 1: us out. Like every time the podcast is like do it,

1733
01:36:45,400 --> 01:36:47,960
Speaker 1: I'm like, oh God, do that? But you should? You

1734
01:36:48,160 --> 01:36:50,560
Speaker 1: should and be better. I hope you guys get some

1735
01:36:50,680 --> 01:36:56,559
Speaker 1: like thick caveata boys. Unfortunately, if they also have flesh

1736
01:36:56,600 --> 01:37:00,280
Speaker 1: colored hair, they will not like us. It's complex in it,

1737
01:37:00,560 --> 01:37:06,320
Speaker 1: it's really complicated. But anyway, thanks again for for being here.

1738
01:37:06,760 --> 01:37:09,640
Speaker 1: What a time we've had, And just a reminder that

1739
01:37:09,720 --> 01:37:14,200
Speaker 1: the devil does wear products. To quote the movie, it

1740
01:37:14,360 --> 01:37:15,640
Speaker 1: does alright by I