WEBVTT - The Devil Wears Prada with Amy Lam

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<v Speaker 1>On the Bedel Cast, the questions asked if movies have

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<v Speaker 1>women in them, are all their discussions just boyfriends and husbands,

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<v Speaker 1>or do they have individualism the patriarchy? Zef invest start

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<v Speaker 1>changing it with the Bechdel Cast. Hello and welcome to

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<v Speaker 1>the Bechdel Cast. My name is Caitlin Darante, my name

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<v Speaker 1>is Jamie loft It, and we host a podcast about

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<v Speaker 1>how the representation of women in movies is usually not

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<v Speaker 1>very good. We've been hosting Ken doing it. Hell yeah.

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<v Speaker 1>So we use the Bechdel Test as a jumping off

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<v Speaker 1>point for the discussion of how women are portrayed in

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<v Speaker 1>a certain movie. Bechdel Test for all you roubes, of course,

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<v Speaker 1>being the media metric invented by cartoonist Alison Bechdel that

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<v Speaker 1>requires that, for our purposes, that two female identifying characters

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<v Speaker 1>with names talk about something other than a man in

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<v Speaker 1>conversation for just two lines of diala. Should we i'monstrate this?

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<v Speaker 1>We haven't done this. We haven't done that in a while. Okay, um, hey, Jamie,

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<v Speaker 1>what is your favorite? Oh my god, I forget how

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<v Speaker 1>to not talk about man? Okay, what, No, I'm gonna

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<v Speaker 1>keep going. Okay, what's your favorite Meryl Street movie. How

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<v Speaker 1>do you have to think about this? Oh? Is this

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<v Speaker 1>a transition? No question? No, But how are you not

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<v Speaker 1>remembering not only your favorite Meryl Street movie but your

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<v Speaker 1>favorite Oh my god, Doubt Dog is my favorite? Oh

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<v Speaker 1>my god, having a melt. Oh my god, Doubt is

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<v Speaker 1>my favorite movie. I can't. I don't know. I'm very sick.

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<v Speaker 1>I was like Julia and Julia that can't be Sorry,

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<v Speaker 1>we all have a lapse in our memories. I just

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<v Speaker 1>lost sight of who I am. Remember. I think it

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<v Speaker 1>was the pulp fiction episode that I kept accidentally calling

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<v Speaker 1>her Meryl Street. Yes, that was a fun slippy, I believe.

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<v Speaker 1>Forgot doubt. Jesus Christ. That's embarrassing. Okay, I forgive you.

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<v Speaker 1>I gotta be vulnerable on those airwaves. People need people

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<v Speaker 1>need it. So anyway that you know, we're talking about

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<v Speaker 1>Meryl Streep and her movies, so that passes to back

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<v Speaker 1>to me. We're taking another cruise down Meryl Street today

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<v Speaker 1>with another street fade. ALLU street heads out there, people

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<v Speaker 1>pounding Meryl Street, pounding the payment of the pornographic of

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<v Speaker 1>Meryl Street. Today we're talking about the devil Wares product.

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<v Speaker 1>That's right, two thousand six. Joint to join us in

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<v Speaker 1>our discussion. Is our guest today as a writer, editor

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<v Speaker 1>and co host of back Talk podcast on Bitch Media.

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<v Speaker 1>It's Amy Lamb. Hi, guys, welcome, thanks for being here.

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<v Speaker 1>I am very, very very excited to talk about this movie.

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<v Speaker 1>What is your history, your relationship? Why did you pick

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<v Speaker 1>this movie? So I had read the book, and I

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<v Speaker 1>don't even remember how I got the book. I was

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<v Speaker 1>living and teaching in China, and um, it was like

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<v Speaker 1>a week where there was no school. So I just

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<v Speaker 1>took this like um spontaneous trip with some other teachers,

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<v Speaker 1>and somehow I got the book. And I really don't

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<v Speaker 1>remember how I got the book. So I was like,

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<v Speaker 1>sometimes that book just appears inns. I'm wondering if it

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<v Speaker 1>was like at the guesthouse you were staying. I I

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<v Speaker 1>just have a terrible memory. But so I was reading

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<v Speaker 1>the book because I was also trying to avoid the

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<v Speaker 1>people I was traveling with. So it was one of

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<v Speaker 1>those thing stories. So I read it and the book

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<v Speaker 1>isn't that good, but it I studied um journalism as

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<v Speaker 1>my undergrad so I was like one of those people

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<v Speaker 1>where I'm like, maybe one day I want to be

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<v Speaker 1>in this media world, so I need to read it.

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<v Speaker 1>Like like I had known that like the woman who

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<v Speaker 1>wrote it, I'm forgetting her name, Laurenby. She had worked

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<v Speaker 1>at Bogan. This supposed to be based off of an

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<v Speaker 1>I Win tour. So I was just like, let me

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<v Speaker 1>read about this like boss lady or whatever. And also

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<v Speaker 1>because I my very first job out of school. I

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<v Speaker 1>don't know how much to say, but I had worked

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<v Speaker 1>for somebody who had these vibes and it was at

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<v Speaker 1>a media place, like she had these types of vibes

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<v Speaker 1>where like one example is um, everybody came to the

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<v Speaker 1>office at like ten or nine thirty, but I had

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<v Speaker 1>to come in half an hour early, just me so

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<v Speaker 1>that I could turn on her computer. Like this is

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<v Speaker 1>back in the day where like like like so that

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<v Speaker 1>I had to go into her office and like pushed

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<v Speaker 1>the power button and when I did it, she would

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<v Speaker 1>holler at me because I wasn't in her office. I

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<v Speaker 1>was like in the hall. She would be like, hey, man,

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<v Speaker 1>I knew I was like funk, I forgot to turn

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<v Speaker 1>on her computer. So like so I had experience, and

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<v Speaker 1>then so I wanted to read this book about another

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<v Speaker 1>like weird boss woman and I read the book and

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<v Speaker 1>I was just like, this is like a really fun read,

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<v Speaker 1>even though the writing wasn't like amazing. And I think

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<v Speaker 1>I read it an anticipation cause I knew the movie

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<v Speaker 1>was out because I wanted to watch the movie. And

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<v Speaker 1>this is one of those cases where the movie is

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<v Speaker 1>way better than the book. I haven't read the books.

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<v Speaker 1>The movie is just like so much more fun and

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<v Speaker 1>like lush and interesting look at, especially if you kind

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<v Speaker 1>of enjoy fashion in some way. So I was living

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<v Speaker 1>in China, so I had bought the bootleg version of

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<v Speaker 1>it like for like a dollar or something, and I

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<v Speaker 1>would watch it on repeat, like because I lived in

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<v Speaker 1>this like very cold department where like there's nothing to

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<v Speaker 1>do over the winter time. It was like always four

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<v Speaker 1>dy degrees and I was just like have a space heater,

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<v Speaker 1>like frying my legs. Why I would watch watch it

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<v Speaker 1>over and over again on my laptop, so I would.

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<v Speaker 1>I watched it repeat forever, and then I didn't watch

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<v Speaker 1>it for a long long time because it was like

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<v Speaker 1>like two thousand and seven, and recently I just started

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<v Speaker 1>watching it again and again and it titiuation of doing

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<v Speaker 1>this podcast, but also just it's just so fun. But

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<v Speaker 1>I think watching it now with like a fresh pair

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<v Speaker 1>of ice, just like, wow, this movie would be so

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<v Speaker 1>different than it was mad now and like the media

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<v Speaker 1>landscape or whatever. Yeah, that's why. I mean, it's only

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<v Speaker 1>twelve years old. But watching it back, you're just like, whoa,

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<v Speaker 1>there is a lot of stuff that this movie. Watching

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<v Speaker 1>it this time around was like a very interesting mixed

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<v Speaker 1>bag because and I am very attached to it. I

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<v Speaker 1>saw this movie when it came out in two thousands six,

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<v Speaker 1>I would have been in middle school, and it was

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<v Speaker 1>the perfect movie to see in middle school. I'd also

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<v Speaker 1>read the book where I would like go to and

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<v Speaker 1>I was in middle school, had to go to the

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<v Speaker 1>public library and then go to like the ladies fiction section,

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<v Speaker 1>so it's like hitting Meg Cabin books, but the ones

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<v Speaker 1>for adults, not the Princess Diaries. And then I read

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<v Speaker 1>all the Sophie Kinsella Shopoholic books, which were trash garbage,

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<v Speaker 1>as were the movies, but this was I read this

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<v Speaker 1>book too, and I totally agree with the amy. I

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<v Speaker 1>think that the movie is so much the book is

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<v Speaker 1>like so much fun to read and you can like

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<v Speaker 1>iTap through it because it's so that if and I've

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<v Speaker 1>read it in literally middle school, but even then I

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<v Speaker 1>was like, well, this is very like catty and pointed

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<v Speaker 1>and it's just sort of this like veiled hate letter

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<v Speaker 1>to Anna Wintour, which is fun to read. But the

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<v Speaker 1>movie definitely so I think, removes itself from the direct

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<v Speaker 1>like nature of the book. And yeah, so I saw

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<v Speaker 1>it with my mom and some friends in middle school.

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<v Speaker 1>We all loved it. Revisit it. It's like a comfort

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<v Speaker 1>food movie. I could have it on in the bat.

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<v Speaker 1>I think I've had it on the background of doing

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<v Speaker 1>other stuff multiple times since then. It is I find

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<v Speaker 1>that a lot of movies that I either have to

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<v Speaker 1>revisit or watch for the first time for this podcast

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<v Speaker 1>feel like a chore to get through, and I didn't

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<v Speaker 1>really feel like that for this movie. I was like

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<v Speaker 1>actually enjoying myself when I was watching it. And that's

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<v Speaker 1>not to say it's not without its problems, but I

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<v Speaker 1>was like, Okay, this is fun. I saw it for

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<v Speaker 1>the first time. I think it was around the time

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<v Speaker 1>that I was working in a similar professional scenario where

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<v Speaker 1>I had a veiled description, but I was living in

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<v Speaker 1>New York City ever heard of it. I was working

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<v Speaker 1>as an assistant at a literary management company. I didn't

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<v Speaker 1>know you did that. Uh. Yeah, that was like my

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<v Speaker 1>first real job out of college, which of course I

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<v Speaker 1>did go to and then I did go to uh

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<v Speaker 1>grad school for a master's degree screen running from Boston University. Um.

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<v Speaker 1>So I was working at this job and I was

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<v Speaker 1>an assistant to this guy who was very emotionally abusive

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<v Speaker 1>to his employees. He was racist, he was homophobic, he

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<v Speaker 1>was sexist. He constantly undermined my work and my value.

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<v Speaker 1>He he would make mistakes and then blame me for

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<v Speaker 1>them and then yell at me for them and stuff

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<v Speaker 1>like that. So like, this is like such a horrible

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<v Speaker 1>toxic work environment and watching this movie kind of like

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<v Speaker 1>triggered some mild pts that I have about that job.

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<v Speaker 1>Um but I still enjoyed the movie all the same.

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<v Speaker 1>But yeah, I I think I watched this movie around

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<v Speaker 1>the same time, So that would have been in like

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<v Speaker 1>two thousand nine ish that I saw the movie for

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<v Speaker 1>the first time when I was working at this job,

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<v Speaker 1>and I was like, yeah, this used to be my life,

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<v Speaker 1>but yeah, so that's my history. Was it I only

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<v Speaker 1>saw at the one time and then until rewatching it

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<v Speaker 1>for this episode. Shall I do the recap? Yeah, I've

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<v Speaker 1>I didn't. I'm so interested to hear everyone's repressed assistant memories.

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<v Speaker 1>This is fascinating. I was wondering if I was going

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<v Speaker 1>to have any Playboy flashbacks when I was walking, because

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<v Speaker 1>I've also worked at a print magazine, but no one. Uh.

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<v Speaker 1>If you're working at a magazine that is failing and

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<v Speaker 1>it no longer culturally relevant, the pressure is lower. It's

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<v Speaker 1>just kind of sad. It's just alcohol everywhere. So no

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<v Speaker 1>PTSD ties from me. Unfortunately. Alright, let's recount. Great, so

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<v Speaker 1>we're all, we're all part of this. We meet Andy Sachs.

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<v Speaker 1>That's Anne Hathaway's character. She interviews for a job to

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<v Speaker 1>be the second assistant of Miranda Priestley. She's a recent

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<v Speaker 1>brown grade. She's an aspiring journalist. She's gotten sorry, Lauren

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<v Speaker 1>Weisberger was a recent There's so many details of this

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<v Speaker 1>story where Lauren Weisberger changes one thing and she's like,

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<v Speaker 1>it's not me. Andy has a middle part, so we

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<v Speaker 1>know she is not a fashion icr um coated anne

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<v Speaker 1>Hathaway language and Miranda Priestley Meryl Street Street of course. Um.

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<v Speaker 1>She is the editor in chief. Of Runway, a like

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<v Speaker 1>high end fashion magazine, similar to him. We may know, Yeah,

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<v Speaker 1>I wonder what it could be. And she her whole

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<v Speaker 1>thing is that she is a bit. It's kind of

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<v Speaker 1>her thing. That's kind of her thing. She's very high maintenance,

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<v Speaker 1>she's very demanding, and she wears scarves big part of

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<v Speaker 1>her identity. I don't even know what that means, like

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<v Speaker 1>these French is it French French silk scarf? Yeah, which

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<v Speaker 1>is a play on Anna Winter always wears gigantic sunglasses

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<v Speaker 1>and make her look like a bug. The wild part

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<v Speaker 1>about when Andy comes into interview for the job, She's like, oh,

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<v Speaker 1>it was like the tempt Agency Center. It was between

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<v Speaker 1>this very glamorous, like high budget magazine and liked Trader

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<v Speaker 1>or something like that. And I was like, but really like, also,

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<v Speaker 1>don't say that in the interview, right there are so

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<v Speaker 1>the way she conducts herself in that interview is very strange,

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<v Speaker 1>the way everyone conducts themselves in that interview. But it's like,

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<v Speaker 1>imagine having the gall to go into an interview for

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<v Speaker 1>whether you care about the industry or not, like a

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<v Speaker 1>sought after job and just be like, I don't know

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<v Speaker 1>what this is. I don't know. I think I'm too

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<v Speaker 1>good for it, and who are you anyways, I'd like

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<v Speaker 1>the job, never heard of it. It's like I was

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<v Speaker 1>on Emily blunt side for that because only once. It's

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<v Speaker 1>like why did you hire her? It's like no one knows. Yeah,

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<v Speaker 1>So basically Miranda takes a chance on her because Andy

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<v Speaker 1>makes a case for herself and she's like, yeah, I

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<v Speaker 1>don't fit in here, but I'm smart and I learned fast,

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<v Speaker 1>and I'm a hard worker and I'll do a good job.

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<v Speaker 1>So Miranda hires her. We've met Emily played by Emily Blunt,

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<v Speaker 1>and she is similarly like ruthless and um kind of

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<v Speaker 1>dismissive of Andy, and she's like the first assistance, so

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<v Speaker 1>she gets the more important responsibilities and she gets to

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<v Speaker 1>go to Paris for a week with Miranda, and she

0:12:52.720 --> 0:12:55.839
<v Speaker 1>lives and dies for it. We learned about the book,

0:12:55.880 --> 0:12:58.319
<v Speaker 1>which is like a mock up of the current issue,

0:12:58.520 --> 0:13:00.880
<v Speaker 1>which Miranda looks at and gives notes on every night,

0:13:01.200 --> 0:13:05.880
<v Speaker 1>hard copy. This is like, shockingly, I don't magazines are

0:13:05.920 --> 0:13:08.679
<v Speaker 1>weird because it's like print is dead, right, and it

0:13:08.760 --> 0:13:14.280
<v Speaker 1>also was dead in two thousand and six, but still

0:13:14.800 --> 0:13:17.920
<v Speaker 1>pretty pretty dead. I do have to introject a little

0:13:19.120 --> 0:13:22.480
<v Speaker 1>because Bitch Media also makes a print magazine four times

0:13:22.480 --> 0:13:25.000
<v Speaker 1>a year. It's a quarter Ofly magazine, and it is

0:13:25.080 --> 0:13:28.240
<v Speaker 1>I mean, it's very expensive. So I think that's why

0:13:28.280 --> 0:13:31.440
<v Speaker 1>it's super dead. It is super dead, and like which

0:13:31.520 --> 0:13:33.640
<v Speaker 1>media is like read or funded? So like we're always

0:13:33.679 --> 0:13:36.880
<v Speaker 1>doing the annoying kind of do we need to us

0:13:36.920 --> 0:13:39.680
<v Speaker 1>that we can keep printing this magazine campaigns? But yeah,

0:13:39.720 --> 0:13:41.360
<v Speaker 1>like we do. We do have to do a book

0:13:41.920 --> 0:13:43.240
<v Speaker 1>so that you can print it out and look at

0:13:43.240 --> 0:13:44.600
<v Speaker 1>it and see what it looks like when it's going

0:13:44.640 --> 0:13:46.520
<v Speaker 1>to go to print. But the wild thing that I

0:13:46.559 --> 0:13:49.920
<v Speaker 1>think about Andy' is that like she's like, what's a book? Right,

0:13:50.080 --> 0:13:52.319
<v Speaker 1>I'm like, oh, you went to Northwestern. You guys never

0:13:52.400 --> 0:13:56.239
<v Speaker 1>like printed things up to prove that she studied journalists them,

0:13:56.320 --> 0:13:58.160
<v Speaker 1>you know, So like there are these moments where it's

0:13:58.160 --> 0:14:04.120
<v Speaker 1>just like I'm is, like, why did you write? Andy? Like, yeah,

0:14:04.160 --> 0:14:06.240
<v Speaker 1>there's like certain things that if she were yeah, like

0:14:06.280 --> 0:14:09.760
<v Speaker 1>if she were a journalism major, she would know about

0:14:09.760 --> 0:14:13.120
<v Speaker 1>a mockup, you would think, But it is at every

0:14:13.160 --> 0:14:16.520
<v Speaker 1>magazine I ever, the book is still a thing. It's

0:14:16.559 --> 0:14:20.800
<v Speaker 1>still a yeah, there used to be this man, who

0:14:21.160 --> 0:14:24.840
<v Speaker 1>are old editor in chief at Playboy, would drive the

0:14:24.880 --> 0:14:28.960
<v Speaker 1>book to Hugh Hefner's freaky mansion every day at four

0:14:29.120 --> 0:14:32.720
<v Speaker 1>pm and you have to be like, do this, and

0:14:32.720 --> 0:14:34.680
<v Speaker 1>then you have to drive the book back. It was

0:14:34.720 --> 0:14:38.160
<v Speaker 1>like a whole and I'm just like, can we teach

0:14:38.240 --> 0:14:41.320
<v Speaker 1>you Heffner how to use email? And the answer is like, no,

0:14:41.600 --> 0:14:46.000
<v Speaker 1>you can't. That's the thing this movie is that it's

0:14:46.040 --> 0:14:49.400
<v Speaker 1>like such an important responsibility to deliver the book that

0:14:49.920 --> 0:14:53.080
<v Speaker 1>normally it would be the second assistants job. But until

0:14:53.200 --> 0:14:57.960
<v Speaker 1>Miranda trusts Andy to not be like a dangerous person,

0:14:58.600 --> 0:15:00.800
<v Speaker 1>she she's not going to do it. Um, get rid

0:15:00.800 --> 0:15:06.200
<v Speaker 1>of that middle part and then we'll talk. We meet Nigel,

0:15:06.600 --> 0:15:11.040
<v Speaker 1>which is Stanley Tucci, the teach if you will teaches

0:15:11.080 --> 0:15:14.480
<v Speaker 1>in rare form in this movie, yes, the tach. I mean,

0:15:14.720 --> 0:15:19.320
<v Speaker 1>his character is all over the place. But I love

0:15:19.360 --> 0:15:23.360
<v Speaker 1>when gets work, which is a lot he's in movies.

0:15:26.040 --> 0:15:31.800
<v Speaker 1>Touch okay, touch in Alfred Molina both delivered killer performances

0:15:31.880 --> 0:15:35.440
<v Speaker 1>in Feud last year, so good for them, good for them.

0:15:35.560 --> 0:15:39.720
<v Speaker 1>I mean Tooch was nominated, Alfred, as we know, was snubbed.

0:15:40.640 --> 0:15:43.960
<v Speaker 1>So but you know what Alfred was on our podcast

0:15:44.760 --> 0:15:49.800
<v Speaker 1>was the real winner here. So Andy is having a

0:15:49.840 --> 0:15:53.160
<v Speaker 1>really hard time with the job at first because Miranda

0:15:53.520 --> 0:15:58.960
<v Speaker 1>is a devil who wears product I love. I love

0:15:59.120 --> 0:16:01.800
<v Speaker 1>that stu very ridiculous shot of her getting out of

0:16:01.840 --> 0:16:05.440
<v Speaker 1>the car and then these zoom in on that Bag's

0:16:05.480 --> 0:16:13.520
<v Speaker 1>like just so, it's just it's so, it's like such

0:16:13.520 --> 0:16:17.760
<v Speaker 1>an obnoxious filming the device. But I like loved it,

0:16:17.960 --> 0:16:21.640
<v Speaker 1>so I thought it was fun. I like the things

0:16:21.760 --> 0:16:24.280
<v Speaker 1>that this movie chooses to knock you over the head with.

0:16:24.520 --> 0:16:28.600
<v Speaker 1>I'm usually okay, I'm like, you know what, she is

0:16:28.680 --> 0:16:35.640
<v Speaker 1>a devil and she and she there's no way around it. Meanwhile,

0:16:35.880 --> 0:16:39.880
<v Speaker 1>Andy has a boyfriend named Nate and in Entourage, who

0:16:40.120 --> 0:16:43.240
<v Speaker 1>is Vince whatever the fuck his name is in Entourage,

0:16:43.400 --> 0:16:47.440
<v Speaker 1>a show that I unfortunately did watch six seasons of. Yeah,

0:16:47.480 --> 0:16:50.200
<v Speaker 1>I'm embarrassed about it. Now we all have her, we

0:16:50.280 --> 0:16:53.560
<v Speaker 1>all have her things that are dark. Um, and she's

0:16:53.600 --> 0:16:56.200
<v Speaker 1>got her friends and they're all like, wow, your jud

0:16:56.360 --> 0:16:59.920
<v Speaker 1>sounds crazy. Oh my god. Tracy Tom's is one of

0:17:00.080 --> 0:17:05.240
<v Speaker 1>the friends from Rent. Yes, always criminally underused and supporting

0:17:05.320 --> 0:17:07.879
<v Speaker 1>role she's given. She's great. We don't even learn her

0:17:07.960 --> 0:17:13.520
<v Speaker 1>name until like towards the end of the movie, she's like, Lily, Hey,

0:17:13.880 --> 0:17:16.879
<v Speaker 1>you're like, oh, oh, your name is Lily. Also, the

0:17:17.040 --> 0:17:21.119
<v Speaker 1>guy that the my crush from mad Men is in

0:17:21.200 --> 0:17:28.160
<v Speaker 1>the friend group to Summer. Yeah. Yeah, he's a first

0:17:28.280 --> 0:17:32.040
<v Speaker 1>I will never watch mad Men again. But he was

0:17:32.119 --> 0:17:35.200
<v Speaker 1>the cutest. He was kind of like a beta. Yeah

0:17:35.440 --> 0:17:38.040
<v Speaker 1>in mad Men, right, he's a thick beta boy. He's

0:17:38.040 --> 0:17:41.400
<v Speaker 1>like a thick a thick horny beta. I guess thick

0:17:41.480 --> 0:17:45.680
<v Speaker 1>horny beta. Yeah, that about that. I think that's like

0:17:45.760 --> 0:17:52.119
<v Speaker 1>your new line of merch just for thick horny uh.

0:17:52.160 --> 0:17:55.480
<v Speaker 1>And then yeah, there is that scene where Miranda gives

0:17:55.520 --> 0:18:01.560
<v Speaker 1>this big monologue about Marillion, and she's the iconic monologue

0:18:01.640 --> 0:18:05.399
<v Speaker 1>of the movie. Yeah, besides when she says I'm the

0:18:05.520 --> 0:18:09.920
<v Speaker 1>devil and product I didn't write, I didn't see it

0:18:10.680 --> 0:18:16.240
<v Speaker 1>happens in like four Guys. It's in that shot where

0:18:16.280 --> 0:18:18.280
<v Speaker 1>you see her for the first time she loves to

0:18:18.560 --> 0:18:30.760
<v Speaker 1>camera watching the world where gonna get the double foot version,

0:18:30.880 --> 0:18:34.000
<v Speaker 1>and there's a lot of Meryl Street breaking the fourth wall.

0:18:37.000 --> 0:18:38.479
<v Speaker 1>So then Andy is starting to get at the hang

0:18:38.560 --> 0:18:41.160
<v Speaker 1>of the job, but she is also like still making

0:18:41.280 --> 0:18:45.120
<v Speaker 1>mistakes and she's like why doesn't Miranda appreciate my work

0:18:45.119 --> 0:18:48.119
<v Speaker 1>because she goes to Nigel for advice, and then we

0:18:48.200 --> 0:18:52.840
<v Speaker 1>get one of the most intense anti millennial tirades I've

0:18:52.880 --> 0:18:56.119
<v Speaker 1>ever heard in a movie that seemed bugged me. I mean,

0:18:56.400 --> 0:18:58.399
<v Speaker 1>and this was like two thousand six is like the

0:18:58.560 --> 0:19:02.920
<v Speaker 1>beginning of like you won't think you're so special, don't you?

0:19:03.280 --> 0:19:06.800
<v Speaker 1>He pays for everything, and it's just like she just

0:19:06.960 --> 0:19:09.440
<v Speaker 1>wants to be you know, she's making like two dollars

0:19:09.520 --> 0:19:13.520
<v Speaker 1>an hour and it's being screamed at, can you and

0:19:13.640 --> 0:19:15.919
<v Speaker 1>he's like, yeah, you need to. Like it's like an

0:19:16.000 --> 0:19:19.520
<v Speaker 1>old man saying like I had to walk five miles

0:19:19.640 --> 0:19:23.240
<v Speaker 1>in the snow to be whipped by Meryl Streep and

0:19:23.680 --> 0:19:27.119
<v Speaker 1>like that sort of we'll get to that, but that

0:19:27.240 --> 0:19:31.159
<v Speaker 1>whole vibe was like, oh, this is like early millennial

0:19:31.280 --> 0:19:34.160
<v Speaker 1>hatred and movies. He also says, which is a line

0:19:34.200 --> 0:19:36.320
<v Speaker 1>that gets repeated a number of times in the movie,

0:19:36.400 --> 0:19:38.399
<v Speaker 1>but it's like a million girls would kill to have

0:19:38.560 --> 0:19:41.119
<v Speaker 1>your job. And that's something my old boss said to

0:19:41.200 --> 0:19:44.560
<v Speaker 1>me regularly when I was like, I've been doing a

0:19:44.640 --> 0:19:46.480
<v Speaker 1>good job and he's like, you know what, you million

0:19:46.520 --> 0:19:48.480
<v Speaker 1>girls would kill to have the job you have right now,

0:19:48.520 --> 0:19:50.960
<v Speaker 1>and it was like, no, they wouldn't stop sucks stick away.

0:19:51.480 --> 0:19:53.680
<v Speaker 1>It's from the book because all over the book I

0:19:53.720 --> 0:19:57.000
<v Speaker 1>don't remember, like, but it says like multiple characters say

0:19:57.040 --> 0:19:58.679
<v Speaker 1>that to her, and so that's one of the things

0:19:58.760 --> 0:20:01.280
<v Speaker 1>that definitely carried over in the movie. Makes sense, they're

0:20:01.280 --> 0:20:04.600
<v Speaker 1>a gas lady work environment, but that seems like a

0:20:04.720 --> 0:20:08.320
<v Speaker 1>reflection of at least her experience, and it sounds like

0:20:08.359 --> 0:20:11.680
<v Speaker 1>a lot of a lot of us. Yeah, it's a

0:20:11.800 --> 0:20:14.359
<v Speaker 1>way to be like, hey, you're disposable. So if you

0:20:14.520 --> 0:20:17.879
<v Speaker 1>don't do a better job, like yeah, like I can

0:20:17.960 --> 0:20:19.920
<v Speaker 1>be mean to you, and if someone's mean to you,

0:20:20.040 --> 0:20:23.760
<v Speaker 1>don't say anything, or we'll just be mean to someone else. Yeah, exactly.

0:20:23.800 --> 0:20:25.520
<v Speaker 1>You know, listening to you guys say this, I'm like,

0:20:25.560 --> 0:20:27.359
<v Speaker 1>oh my god, that is because like so when I

0:20:27.440 --> 0:20:29.920
<v Speaker 1>read the book and I watched the movie, I was like, yeah,

0:20:30.040 --> 0:20:32.000
<v Speaker 1>I'm really girls would die for that job. Andy do

0:20:32.119 --> 0:20:41.399
<v Speaker 1>a better I guess, well that he's probably not factually incorrect,

0:20:41.760 --> 0:20:44.000
<v Speaker 1>like there would be someone who would take her job

0:20:44.040 --> 0:20:47.040
<v Speaker 1>in a second, but just like the standard of like yeah,

0:20:47.119 --> 0:20:50.080
<v Speaker 1>if you want to be in an entry level position,

0:20:50.600 --> 0:20:53.920
<v Speaker 1>you have to be flogged, like it's just like take

0:20:53.960 --> 0:20:57.720
<v Speaker 1>the abuse that we give you brutal. Yeah, okay. So

0:20:57.880 --> 0:21:01.000
<v Speaker 1>then he's like, okay, I'll give you some some cute

0:21:01.080 --> 0:21:05.520
<v Speaker 1>clothes Andy, and so she gets an off screen makeover,

0:21:05.640 --> 0:21:08.040
<v Speaker 1>but a makeover none the last we middle part nowhere

0:21:08.080 --> 0:21:12.200
<v Speaker 1>to be, It's gone, all of that. I love that,

0:21:12.560 --> 0:21:15.080
<v Speaker 1>Like there's a little this movie is just old enough

0:21:15.280 --> 0:21:17.399
<v Speaker 1>that you need to listen to the music cue to

0:21:17.520 --> 0:21:19.720
<v Speaker 1>figure out if it's a cute outfit or not, because

0:21:19.720 --> 0:21:22.920
<v Speaker 1>it's not a cute outfit. Now, like the outfit Andy

0:21:23.000 --> 0:21:25.560
<v Speaker 1>walks into the office with it's like this weird like

0:21:25.760 --> 0:21:29.720
<v Speaker 1>gossip Girl private school jacket. You're like, what is this?

0:21:30.400 --> 0:21:32.920
<v Speaker 1>But the music is like no, no, no, no no no.

0:21:33.400 --> 0:21:40.280
<v Speaker 1>I was like, oh, I guess this is good. I

0:21:40.359 --> 0:21:42.960
<v Speaker 1>still don't know anything about fashion, which according to this movie,

0:21:43.040 --> 0:21:46.359
<v Speaker 1>I should just fucking go and live in a hole.

0:21:47.240 --> 0:21:50.000
<v Speaker 1>But I still can't tell if outfits are good or not.

0:21:50.240 --> 0:21:53.920
<v Speaker 1>So I don't know anyway. So um, So she shows

0:21:54.000 --> 0:21:56.280
<v Speaker 1>up to work. She's looking all sleek and high fashion.

0:21:56.600 --> 0:22:04.520
<v Speaker 1>Emily's like, oh my god, like even Miranda is impressed.

0:22:04.840 --> 0:22:07.560
<v Speaker 1>And then Andy is like given her friend's present, she's

0:22:07.560 --> 0:22:09.879
<v Speaker 1>talking about fashion stuff they're like, wow, you drink the

0:22:09.920 --> 0:22:12.679
<v Speaker 1>kool aid and chriss And then after she gives them

0:22:12.720 --> 0:22:17.159
<v Speaker 1>these they means her friends are like they don't they

0:22:17.200 --> 0:22:20.200
<v Speaker 1>don't get it. So those scenes, Yeah, I'm excited to

0:22:20.240 --> 0:22:23.600
<v Speaker 1>talk about those scenes because her friends because she is

0:22:23.760 --> 0:22:26.919
<v Speaker 1>being weird and I don't have Has that ever happened

0:22:26.920 --> 0:22:28.880
<v Speaker 1>to either of you? Where like you get a new

0:22:29.000 --> 0:22:31.440
<v Speaker 1>job or you get really into something and then your

0:22:31.480 --> 0:22:33.920
<v Speaker 1>friends are kind of like, oh yeah, like James really

0:22:33.960 --> 0:22:36.920
<v Speaker 1>into this fucking weird ship right now, like when I

0:22:37.080 --> 0:22:41.480
<v Speaker 1>do me every day with Paddington, But like, has it

0:22:41.560 --> 0:22:44.600
<v Speaker 1>ever caused it? Actual? Like, I don't know, I've worked

0:22:44.720 --> 0:22:49.359
<v Speaker 1>for real tension freaky Okay, I've had experiences like that before.

0:22:51.160 --> 0:22:58.879
<v Speaker 1>I already apologize for Actually I actually have a bone

0:22:58.920 --> 0:23:02.240
<v Speaker 1>to pick with you. No, I just like my my

0:23:02.440 --> 0:23:04.760
<v Speaker 1>cousins didn't like when I was going through a phase

0:23:04.840 --> 0:23:08.200
<v Speaker 1>in my career where I was when I was butt

0:23:08.320 --> 0:23:13.840
<v Speaker 1>chugging on on Camra. So that was are they concerned

0:23:13.840 --> 0:23:17.440
<v Speaker 1>about your health? No? That's if they had been concerned

0:23:17.440 --> 0:23:19.879
<v Speaker 1>about my health, I would have been like, oh it's

0:23:20.280 --> 0:23:24.879
<v Speaker 1>I am too, But they weren't. They were just like,

0:23:25.080 --> 0:23:27.280
<v Speaker 1>not a good look. What if you want to run

0:23:27.359 --> 0:23:30.840
<v Speaker 1>for office? And I was like, screw you, guys. Rand's

0:23:30.960 --> 0:23:41.280
<v Speaker 1>calling left the table anyways, relatable soon and then Andy

0:23:41.359 --> 0:23:46.359
<v Speaker 1>goes to an event and she meets Christian Thompson. Colored

0:23:46.400 --> 0:23:49.760
<v Speaker 1>Hair writer whose work she admires, is played by Simon

0:23:49.800 --> 0:23:54.520
<v Speaker 1>Baker Flush colored Hair, a blond adult male. She starts

0:23:54.520 --> 0:23:57.359
<v Speaker 1>to get the hang of the job. She finally does

0:23:57.440 --> 0:24:00.400
<v Speaker 1>something well enough. I think it's like a hair Potter

0:24:00.600 --> 0:24:05.480
<v Speaker 1>based plot point that gets her for Miranda to trust

0:24:05.520 --> 0:24:08.000
<v Speaker 1>her to deliver the book. She considers quitting for a

0:24:08.080 --> 0:24:11.280
<v Speaker 1>brief moment, but then like Christian Thompson saves the day

0:24:11.440 --> 0:24:14.760
<v Speaker 1>with the Harry Potter book and causing a rift with entourage,

0:24:15.600 --> 0:24:19.080
<v Speaker 1>so their their relationship is tense um and then lately

0:24:19.359 --> 0:24:21.120
<v Speaker 1>Emily has been making a lot of mistakes at work,

0:24:21.200 --> 0:24:23.920
<v Speaker 1>so Miranda is like, hey, Andy, I want you to

0:24:24.040 --> 0:24:26.080
<v Speaker 1>go to Paris with me instead of Emily. And then

0:24:26.160 --> 0:24:28.440
<v Speaker 1>like Andy has to tell Emily this, it's like this

0:24:28.520 --> 0:24:31.480
<v Speaker 1>whole thing. She gets hit by a taxi. She and

0:24:31.720 --> 0:24:34.440
<v Speaker 1>Nate break up, and then she goes to Paris and

0:24:35.359 --> 0:24:40.400
<v Speaker 1>kisses a fucking creep. We'll talk about him in a moment. Yeah,

0:24:40.440 --> 0:24:42.000
<v Speaker 1>he's like you want to get published in The New

0:24:42.080 --> 0:24:49.119
<v Speaker 1>Yorker gives. My favorite part is when they're in Paris

0:24:49.320 --> 0:24:53.720
<v Speaker 1>walking around together and Andy says like, I never understood

0:24:53.800 --> 0:24:57.080
<v Speaker 1>what it was about Paris, but it's so beautiful and

0:24:57.240 --> 0:25:03.840
<v Speaker 1>he's like, yeah was the scene? Yeah? Um. And then

0:25:04.359 --> 0:25:08.080
<v Speaker 1>Andy learns that they're going to replace Miranda as editor

0:25:08.119 --> 0:25:12.240
<v Speaker 1>in chief with a younger woman named Jacqueline, and she

0:25:12.359 --> 0:25:14.720
<v Speaker 1>goes to tell Miranda about it, and she's like, it's

0:25:14.720 --> 0:25:17.800
<v Speaker 1>fine and don't worry. And then it turns out Miranda

0:25:18.160 --> 0:25:21.120
<v Speaker 1>to save her job, she sells out Nigel, who thought

0:25:21.160 --> 0:25:22.919
<v Speaker 1>he was going to be made partner of this new

0:25:23.000 --> 0:25:27.000
<v Speaker 1>fashion company, but instead, like Miranda shoves Jacqueline into that

0:25:27.119 --> 0:25:29.199
<v Speaker 1>position so that she can keep her job. And then

0:25:29.280 --> 0:25:31.200
<v Speaker 1>and he's like, well you did to Nigel. I could

0:25:31.280 --> 0:25:34.160
<v Speaker 1>never do something like that, and Miranda's like like, honey,

0:25:34.880 --> 0:25:38.119
<v Speaker 1>you already did, and she's like, you're right, I suck.

0:25:38.440 --> 0:25:41.560
<v Speaker 1>And then she she walks away, she quits her job.

0:25:41.640 --> 0:25:43.440
<v Speaker 1>She throws her phone, and then she throws her like

0:25:43.600 --> 0:25:49.119
<v Speaker 1>sidekick into a fountain, like yes, two thousand sicks. And

0:25:49.240 --> 0:25:52.800
<v Speaker 1>then she gets a job. I don't exactly know what

0:25:53.000 --> 0:25:57.320
<v Speaker 1>magazine it's meant to be the newspaper, and then she

0:25:58.840 --> 0:26:02.560
<v Speaker 1>tries to get back together with her. It doesn't happen

0:26:02.560 --> 0:26:05.160
<v Speaker 1>because he's like, maybe we'll work something, maybe we'll figure

0:26:05.240 --> 0:26:07.159
<v Speaker 1>something out, and she's like, yeah, maybe we will, and

0:26:07.240 --> 0:26:10.000
<v Speaker 1>then that's the end. He's moving to Boston. Yeah, but

0:26:10.080 --> 0:26:12.840
<v Speaker 1>then he's just said, like the way he phrases it

0:26:12.880 --> 0:26:15.119
<v Speaker 1>as wild because it's like she's apologizing to him and

0:26:15.200 --> 0:26:18.960
<v Speaker 1>she owes him an apology and he's like, yeah, it's fine.

0:26:19.040 --> 0:26:20.800
<v Speaker 1>I got a job in Boston. And she was like,

0:26:21.000 --> 0:26:24.200
<v Speaker 1>oh wow. And he's like, so, I guess we're moving there.

0:26:24.320 --> 0:26:27.120
<v Speaker 1>And it's like there should be a discussion, right because

0:26:27.119 --> 0:26:30.800
<v Speaker 1>he's like, there's cheese in Boston and bread, so I

0:26:30.880 --> 0:26:35.359
<v Speaker 1>can still make you bread cheese sandwiches. It would, but

0:26:35.480 --> 0:26:40.199
<v Speaker 1>then she gets it's unclear who knows. But anyway, that's

0:26:40.200 --> 0:26:42.280
<v Speaker 1>pretty much the end of the movie. Let's take a

0:26:42.400 --> 0:26:50.080
<v Speaker 1>quick break and don't come right back to discuss, and

0:26:50.160 --> 0:26:54.080
<v Speaker 1>we're back. I guess what. There's been three sequels written

0:26:54.119 --> 0:26:58.000
<v Speaker 1>to the Devil wors product, which, between Amy and myself

0:26:58.080 --> 0:27:00.639
<v Speaker 1>we agree was not a well written book. First Place

0:27:01.119 --> 0:27:03.320
<v Speaker 1>was mainly a hit because it's a hit piece on

0:27:03.400 --> 0:27:07.600
<v Speaker 1>Anna Wintour, but Laura Wisberger, she's still grinding him out

0:27:08.160 --> 0:27:13.080
<v Speaker 1>in the there's the Devil Wares product, there is Last

0:27:13.160 --> 0:27:19.480
<v Speaker 1>Night at Chateau Marmont, There's Revenge Wars product, and most recently,

0:27:19.880 --> 0:27:24.800
<v Speaker 1>there is When Life Gives You Lulu lemon okay, just

0:27:24.920 --> 0:27:27.960
<v Speaker 1>published last year. You know, I love a good six copy.

0:27:28.080 --> 0:27:31.720
<v Speaker 1>I love a good play on words, So I appreciate that.

0:27:32.560 --> 0:27:35.399
<v Speaker 1>I respect the working writer. So I love I love

0:27:35.480 --> 0:27:38.040
<v Speaker 1>a working writer. I don't love a book called When

0:27:38.119 --> 0:27:42.120
<v Speaker 1>Life Gives You Lu? But do you make Lulu Lemonade?

0:27:42.320 --> 0:27:44.800
<v Speaker 1>I mean, I guess we have to buy and find out.

0:27:45.520 --> 0:27:48.680
<v Speaker 1>So where should we start? Oh, there's so there's so

0:27:48.840 --> 0:27:52.320
<v Speaker 1>much to talk about and a lot of shades of

0:27:52.440 --> 0:27:55.720
<v Speaker 1>gray in terms of how everything is is dealt with.

0:27:55.840 --> 0:27:59.600
<v Speaker 1>I don't know where. Where did you let me point out?

0:28:00.160 --> 0:28:03.200
<v Speaker 1>In the very opening shots of the movie, like over

0:28:03.280 --> 0:28:08.160
<v Speaker 1>the credits, we are seeing disembodied female body parts putting

0:28:08.240 --> 0:28:12.720
<v Speaker 1>on bras, putting on underwear, stockings, and then it becomes

0:28:13.200 --> 0:28:15.840
<v Speaker 1>a like one of these girls is not like the

0:28:16.000 --> 0:28:20.840
<v Speaker 1>other montage where it's like all these conventionally beautiful women

0:28:21.000 --> 0:28:23.600
<v Speaker 1>putting on all their like fancy laundre and their makeup

0:28:23.720 --> 0:28:26.640
<v Speaker 1>and their like skirts and high heels, and we contrast

0:28:26.760 --> 0:28:30.240
<v Speaker 1>that with Anne Hathaway's character, who is dressed in a

0:28:30.280 --> 0:28:33.200
<v Speaker 1>way that's you know, perhaps not quite as hyper feminine

0:28:33.280 --> 0:28:35.440
<v Speaker 1>as these other shots were seeing ar say, she's not

0:28:35.640 --> 0:28:39.880
<v Speaker 1>like the other girl. That's exactly what the movie is saying.

0:28:39.960 --> 0:28:42.520
<v Speaker 1>And it's like the other women are like counting out

0:28:42.640 --> 0:28:45.400
<v Speaker 1>seven almonds for breakfast, and then she's eating like a

0:28:45.520 --> 0:28:48.520
<v Speaker 1>bagel and cream cheese. The others are taking like taxis

0:28:48.600 --> 0:28:51.000
<v Speaker 1>or town cars. She takes the subway. So it's like

0:28:51.160 --> 0:28:53.920
<v Speaker 1>very much like a it's like setting up a working

0:28:54.000 --> 0:28:57.680
<v Speaker 1>girl kind of character for her. I think it's still

0:28:57.840 --> 0:29:02.080
<v Speaker 1>like this. This movie comes out five years after The

0:29:02.160 --> 0:29:06.240
<v Speaker 1>Princess Diaries, and Anne Hathaway is still We're still suspending

0:29:06.280 --> 0:29:11.320
<v Speaker 1>our disbelief to be like what an ugo like Jesus correct,

0:29:11.360 --> 0:29:14.600
<v Speaker 1>Why why is this where Anne Hathaway is type cast?

0:29:15.400 --> 0:29:18.800
<v Speaker 1>There are moments pre Andy getting rid of her middle

0:29:18.920 --> 0:29:23.840
<v Speaker 1>part uh and wearing less layers that it seems like

0:29:23.920 --> 0:29:27.160
<v Speaker 1>it's referencing the Princess Diaries in in terms of like

0:29:27.200 --> 0:29:30.960
<v Speaker 1>how people treat her and all this. It's just I'm

0:29:31.040 --> 0:29:33.640
<v Speaker 1>just like man, I'm tired of having to pretend Anne

0:29:33.640 --> 0:29:35.920
<v Speaker 1>Hathaway is ugly. I don't have any more belief to

0:29:36.040 --> 0:29:40.120
<v Speaker 1>suspend right. And it's when she starts to change her

0:29:40.200 --> 0:29:43.440
<v Speaker 1>look that that coincide story wise with her getting better

0:29:43.680 --> 0:29:48.240
<v Speaker 1>at her job. And when whenever she goes to Nigel

0:29:48.320 --> 0:29:50.280
<v Speaker 1>to be like, what can I do to be taken

0:29:50.320 --> 0:29:54.680
<v Speaker 1>more seriously here? Her idea is to dress better, which

0:29:54.760 --> 0:29:56.960
<v Speaker 1>makes sense it is a fashion magazine, but like, that's

0:29:57.520 --> 0:30:00.840
<v Speaker 1>it seems like that's the only idea she It's not like,

0:30:01.080 --> 0:30:04.360
<v Speaker 1>how else can I be better at the administrative aspects

0:30:04.440 --> 0:30:07.080
<v Speaker 1>of my job? Like? And she we do see her

0:30:07.240 --> 0:30:11.120
<v Speaker 1>improve in those ways, but her main idea to like

0:30:11.640 --> 0:30:14.360
<v Speaker 1>be better at her job is to look better. But

0:30:14.400 --> 0:30:15.880
<v Speaker 1>I think I wonder if that's like a game she

0:30:15.960 --> 0:30:18.240
<v Speaker 1>has to play to earn the respect of Miranda so

0:30:18.320 --> 0:30:21.480
<v Speaker 1>that Miranda doesn't treat her like ship as much. Yeah,

0:30:21.520 --> 0:30:23.600
<v Speaker 1>because I think when Miranda does see that she puts

0:30:23.640 --> 0:30:27.400
<v Speaker 1>effort into dressing better, then she gives her a little

0:30:27.400 --> 0:30:30.000
<v Speaker 1>bit more respect and actually starts calling her by her name.

0:30:30.640 --> 0:30:32.760
<v Speaker 1>You know, I think that's really telling when she does

0:30:33.000 --> 0:30:34.760
<v Speaker 1>decide to and it was, and it wasn't after she

0:30:34.880 --> 0:30:37.320
<v Speaker 1>did like heroic things job wise, but it is because

0:30:37.360 --> 0:30:40.520
<v Speaker 1>she noticed that she dressed right, Like she's not doing

0:30:41.080 --> 0:30:44.640
<v Speaker 1>necessarily a better job, she just looks different doing it, Yes,

0:30:45.320 --> 0:30:48.760
<v Speaker 1>and that's what garners the respect. And then real quick

0:30:48.800 --> 0:30:52.240
<v Speaker 1>back to the opening sequence, where like I was thinking,

0:30:52.280 --> 0:30:54.120
<v Speaker 1>those women you were seeing who were like putting on

0:30:54.280 --> 0:30:57.240
<v Speaker 1>all like the high fashion items would be the other

0:30:57.320 --> 0:31:00.400
<v Speaker 1>women women who were interviewing for that job, and that

0:31:00.520 --> 0:31:03.600
<v Speaker 1>might be what's implied. But we don't see those women again,

0:31:04.120 --> 0:31:07.120
<v Speaker 1>so they're basically just on screen so that we can

0:31:07.280 --> 0:31:11.600
<v Speaker 1>one see they're like disembodied female body parts and to

0:31:11.760 --> 0:31:14.520
<v Speaker 1>demonstrate how Andy is not like the other girls. So

0:31:14.600 --> 0:31:17.600
<v Speaker 1>like that's the only function. I kind of disagree with that. Yeah,

0:31:17.680 --> 0:31:20.560
<v Speaker 1>I think that a lot of I mean, the first

0:31:20.840 --> 0:31:24.120
<v Speaker 1>like ten minutes of this movie are so tight in

0:31:24.280 --> 0:31:26.480
<v Speaker 1>terms of like you get everything you need to know.

0:31:26.680 --> 0:31:29.800
<v Speaker 1>I thought that that was also just conveying a theme

0:31:29.880 --> 0:31:33.880
<v Speaker 1>of like presenting you with the Runway woman type of

0:31:34.200 --> 0:31:37.560
<v Speaker 1>like here's an example of a woman who uses this

0:31:37.720 --> 0:31:40.479
<v Speaker 1>magazine as her bible. It's like, I think on one

0:31:40.480 --> 0:31:44.800
<v Speaker 1>side of the screen, we're seeing people who presumably subscribe

0:31:45.000 --> 0:31:48.000
<v Speaker 1>to Runway or at least the ideas that Runway is selling.

0:31:48.120 --> 0:31:52.120
<v Speaker 1>And uh so I think that there's enough function. And I'm,

0:31:52.320 --> 0:31:56.280
<v Speaker 1>you know, always for calling out when like women's bodies

0:31:56.320 --> 0:31:59.920
<v Speaker 1>are being used in like weird crops and like sexualized crops.

0:32:00.040 --> 0:32:02.160
<v Speaker 1>But I didn't. I didn't think that that was what

0:32:02.800 --> 0:32:04.760
<v Speaker 1>that sequence was trying to do. It didn't seem like

0:32:04.760 --> 0:32:06.880
<v Speaker 1>they were trying to sexualize it. It is kind of

0:32:07.040 --> 0:32:10.480
<v Speaker 1>like an oversimplification of like some women be like this,

0:32:10.800 --> 0:32:14.240
<v Speaker 1>other women be like this, But at least to me,

0:32:14.400 --> 0:32:17.040
<v Speaker 1>tied into like the theme. Sure it was effective and

0:32:17.160 --> 0:32:21.280
<v Speaker 1>demonstrating that type of women and stuff like that. And

0:32:21.400 --> 0:32:23.239
<v Speaker 1>the strange thing was that, like, I think there are

0:32:23.400 --> 0:32:25.320
<v Speaker 1>at least two or three different women of color and

0:32:25.400 --> 0:32:29.200
<v Speaker 1>that opening montage and then Lily you know what I

0:32:29.240 --> 0:32:31.720
<v Speaker 1>mean for the rest of the movie. So they were like,

0:32:31.880 --> 0:32:34.080
<v Speaker 1>I think they are used as props in this way

0:32:34.160 --> 0:32:37.040
<v Speaker 1>to to to franciate Andy from like the other types

0:32:37.080 --> 0:32:39.080
<v Speaker 1>of women, like you're saying, like the runaway ish women.

0:32:39.760 --> 0:32:43.000
<v Speaker 1>But it's interesting that they casted women who very much

0:32:43.040 --> 0:32:44.720
<v Speaker 1>didn't look like her in terms of women of color,

0:32:44.760 --> 0:32:48.120
<v Speaker 1>but then didn't like plant more women of color throughout

0:32:48.160 --> 0:32:51.720
<v Speaker 1>the world of Runway or just New York City or

0:32:51.840 --> 0:32:54.040
<v Speaker 1>like people she interacted with. This is one of those

0:32:54.120 --> 0:32:56.640
<v Speaker 1>movies that takes place in a New York City where

0:32:56.880 --> 0:33:00.200
<v Speaker 1>only white people live and work. And I bet when

0:33:00.240 --> 0:33:02.640
<v Speaker 1>they cast it, um, the Lily character, they were like,

0:33:02.680 --> 0:33:04.360
<v Speaker 1>we needed, we need a person of color in this

0:33:04.600 --> 0:33:06.680
<v Speaker 1>that's what. Yeah. It really just feel like they just

0:33:06.760 --> 0:33:09.320
<v Speaker 1>slotted her in. And because I was like trying to

0:33:09.360 --> 0:33:11.360
<v Speaker 1>think about like the representation of people of color in

0:33:11.400 --> 0:33:13.240
<v Speaker 1>this movie, and I was like, wow, looks when I'm

0:33:13.280 --> 0:33:16.120
<v Speaker 1>calling just like the opening moments, which is very really interesting,

0:33:16.200 --> 0:33:18.240
<v Speaker 1>but that like they don't speak, they're just like they're

0:33:18.280 --> 0:33:20.920
<v Speaker 1>to be looked at. Um. So that was like a

0:33:21.520 --> 0:33:23.520
<v Speaker 1>thing where I was thinking, like what are they trying

0:33:23.560 --> 0:33:25.920
<v Speaker 1>to do here? And I don't really have an answer.

0:33:25.960 --> 0:33:28.520
<v Speaker 1>I was just like pontificating on it. Yeah, I know

0:33:28.800 --> 0:33:32.160
<v Speaker 1>that's important to note, and especially with like Lily's character,

0:33:32.680 --> 0:33:36.280
<v Speaker 1>where she is so shoehorned into the storyline because we

0:33:36.320 --> 0:33:39.120
<v Speaker 1>don't know anything about her Caitlin, like we're saying we

0:33:39.200 --> 0:33:41.920
<v Speaker 1>don't know her name, and very late in the movie

0:33:42.280 --> 0:33:45.680
<v Speaker 1>and she's I thought, even like even worse than a

0:33:45.880 --> 0:33:48.920
<v Speaker 1>classic like best friend in a movie role we're at

0:33:49.000 --> 0:33:51.280
<v Speaker 1>least most best friend in the movie roles, you know

0:33:51.320 --> 0:33:54.000
<v Speaker 1>at least something about them, you know, like where they work,

0:33:54.160 --> 0:33:56.200
<v Speaker 1>how do they know each other, how long have they

0:33:56.280 --> 0:33:59.120
<v Speaker 1>known each other? How do they feel about literally anything

0:33:59.200 --> 0:34:01.880
<v Speaker 1>other than what's opening to the protagonist. But like Lily

0:34:01.960 --> 0:34:06.400
<v Speaker 1>is there to provide exposition and like besides her boyfriend,

0:34:06.520 --> 0:34:10.040
<v Speaker 1>whose nate is that rate, but to like provide some

0:34:10.200 --> 0:34:12.959
<v Speaker 1>sort of like you've changed. Like that's the only reason

0:34:13.360 --> 0:34:17.640
<v Speaker 1>we do know job vaguely, which is that she is

0:34:17.680 --> 0:34:22.960
<v Speaker 1>an artist who has a gallery show New York. To

0:34:23.520 --> 0:34:26.319
<v Speaker 1>those two women in the job have the only two

0:34:26.440 --> 0:34:29.000
<v Speaker 1>jobs that women are allowed to have in movies, especially

0:34:29.080 --> 0:34:30.600
<v Speaker 1>when you live in New York City, which is you

0:34:31.239 --> 0:34:33.640
<v Speaker 1>work at a gallery or you work at a magazine.

0:34:34.719 --> 0:34:37.480
<v Speaker 1>So I mean there's like a lot of boring stuff

0:34:37.520 --> 0:34:40.480
<v Speaker 1>to explore in that friendship. And I think they've known

0:34:40.520 --> 0:34:42.600
<v Speaker 1>each other, she said, like I'm known for sixteen years,

0:34:42.600 --> 0:34:44.080
<v Speaker 1>so we know that they must have known each other

0:34:44.120 --> 0:34:47.080
<v Speaker 1>as like high school student or like or something. But

0:34:47.440 --> 0:34:49.160
<v Speaker 1>it's so funny that you guys are bring them that,

0:34:49.239 --> 0:34:50.920
<v Speaker 1>like there's only two types of jobs that you can

0:34:50.960 --> 0:34:53.520
<v Speaker 1>have there because even her jobs served as a plot

0:34:53.560 --> 0:34:56.080
<v Speaker 1>point because it didn't make sense when they go to

0:34:56.120 --> 0:34:59.080
<v Speaker 1>that gallery opening and Lily's like, hey, I designed this

0:34:59.280 --> 0:35:01.120
<v Speaker 1>to like you to go to the back and start

0:35:01.160 --> 0:35:02.640
<v Speaker 1>from the back and go to the front, which makes

0:35:02.760 --> 0:35:05.440
<v Speaker 1>zero sense in terms of like design of experiencing a

0:35:05.520 --> 0:35:08.120
<v Speaker 1>gallery show, like who goes to the back to work

0:35:08.160 --> 0:35:10.800
<v Speaker 1>them to the front. But it's a plot thing because

0:35:11.400 --> 0:35:13.720
<v Speaker 1>it makes Andy go to the back and then Christian

0:35:13.800 --> 0:35:16.400
<v Speaker 1>meets her there and then they're like they're having their

0:35:16.440 --> 0:35:19.520
<v Speaker 1>secret rendezvous and then like he kisses her and it's

0:35:19.600 --> 0:35:23.239
<v Speaker 1>supposed to look like sneaky um. But she could not

0:35:23.400 --> 0:35:26.280
<v Speaker 1>have said that made made her gallery show look ridiculous.

0:35:26.640 --> 0:35:28.440
<v Speaker 1>It could have been like they have a look around

0:35:28.600 --> 0:35:30.320
<v Speaker 1>and then like and he could have just been in

0:35:30.360 --> 0:35:33.239
<v Speaker 1>the back, right, But like, even when they're giving Lily

0:35:33.280 --> 0:35:35.600
<v Speaker 1>an interesting job, they made her look like a dummy

0:35:36.840 --> 0:35:39.360
<v Speaker 1>just so that like we could usher ushered them and

0:35:39.440 --> 0:35:42.440
<v Speaker 1>block them into the back of the gallery. Have no sense.

0:35:43.280 --> 0:35:46.920
<v Speaker 1>Rude the Lily character. I mean, the movie fails her

0:35:47.560 --> 0:35:51.400
<v Speaker 1>in every way. It's such a I just love crazy

0:35:51.480 --> 0:35:55.960
<v Speaker 1>Tom so much. She's great. Well, we can talk about

0:35:56.360 --> 0:36:01.480
<v Speaker 1>the fact that this movie is one of the guiltiest

0:36:01.680 --> 0:36:05.120
<v Speaker 1>examples of a movie that like portrays the trope of

0:36:06.120 --> 0:36:09.840
<v Speaker 1>a career woman who is successful and in a leadership

0:36:10.000 --> 0:36:15.880
<v Speaker 1>role in in her professional life. She is a fucking bit. Yeah,

0:36:16.320 --> 0:36:19.120
<v Speaker 1>there's like a lot of like second I feel like

0:36:19.200 --> 0:36:22.040
<v Speaker 1>we've been coming up against all these like very strong

0:36:22.160 --> 0:36:26.800
<v Speaker 1>second wave feminism, like cautionary tales. Recently when I was

0:36:26.880 --> 0:36:30.040
<v Speaker 1>doing some background and and and I I will say

0:36:30.080 --> 0:36:33.120
<v Speaker 1>I think Miranda's character is presented in the movie. I

0:36:33.160 --> 0:36:35.080
<v Speaker 1>don't think in the book, but presented in the movie

0:36:35.160 --> 0:36:39.359
<v Speaker 1>with more nuance and backstory than you get for most

0:36:39.440 --> 0:36:43.520
<v Speaker 1>of these characters who, like prior to this movie are

0:36:43.719 --> 0:36:47.759
<v Speaker 1>used strictly as like if you don't settle down, this

0:36:48.040 --> 0:36:50.279
<v Speaker 1>will be you. And you're just like I mean, if

0:36:50.280 --> 0:36:53.080
<v Speaker 1>you think about like Glenn Close and Fatal Attraction is

0:36:53.239 --> 0:36:57.200
<v Speaker 1>like this successful career woman and her lack of like

0:36:57.320 --> 0:37:02.120
<v Speaker 1>a heteronormative perfect life drives her insane into murder. And

0:37:02.920 --> 0:37:07.080
<v Speaker 1>there's another movie that I don't know why, I saw

0:37:07.160 --> 0:37:08.480
<v Speaker 1>it a bunch of times when I was younger, but

0:37:09.360 --> 0:37:14.520
<v Speaker 1>a movie called Working Girl. In Sigournie Weaver is the

0:37:14.600 --> 0:37:18.400
<v Speaker 1>mean lady boss and that um and she steals an

0:37:18.480 --> 0:37:22.120
<v Speaker 1>idea from her secretary who's Melanie Griffith. It's a similar

0:37:22.200 --> 0:37:27.800
<v Speaker 1>stock character whose background goes completely unexplored. I think this,

0:37:28.120 --> 0:37:32.319
<v Speaker 1>I don't know, the Miranda conversations tricky, but this movie

0:37:32.400 --> 0:37:35.680
<v Speaker 1>attempts to address some of those trumps, but it doesn't.

0:37:36.280 --> 0:37:39.720
<v Speaker 1>I don't know, it doesn't effectively comment on our subvert

0:37:40.200 --> 0:37:43.200
<v Speaker 1>quite enough for me, But I do think it's interesting that,

0:37:43.640 --> 0:37:46.160
<v Speaker 1>you know, if you look at especially like the Glenn

0:37:46.280 --> 0:37:51.120
<v Speaker 1>Close character, usually a woman with ambition has to shoulder

0:37:51.280 --> 0:37:54.680
<v Speaker 1>some horrible consequence of that ambition. And that's like one

0:37:54.760 --> 0:37:57.040
<v Speaker 1>choice with the Miranda character that I thought was like

0:37:57.280 --> 0:38:01.120
<v Speaker 1>cool and interesting is that Miranda is horrible. She fucks

0:38:01.160 --> 0:38:04.920
<v Speaker 1>Stanley Tucci over, she doesn't apologize for it, and she

0:38:05.000 --> 0:38:08.200
<v Speaker 1>suffers no consequences, which is, you know, a very corporate

0:38:08.320 --> 0:38:12.719
<v Speaker 1>feminism take on that. But you didn't usually see that

0:38:12.840 --> 0:38:15.680
<v Speaker 1>with like an ambitious woman. She's usually punished by the story.

0:38:16.120 --> 0:38:19.480
<v Speaker 1>That's true, and we do see the line where Andy

0:38:19.600 --> 0:38:24.080
<v Speaker 1>is talking about Miranda and says something like, yeah, she's tough.

0:38:24.160 --> 0:38:26.360
<v Speaker 1>But if Miranda were a man, no one would notice

0:38:26.360 --> 0:38:28.839
<v Speaker 1>anything about her except how great she is at her job.

0:38:28.920 --> 0:38:30.600
<v Speaker 1>So that is like one of the few attempts the

0:38:30.680 --> 0:38:34.560
<v Speaker 1>movie makes a being like see, we get it feminism, right,

0:38:35.120 --> 0:38:38.399
<v Speaker 1>which is something. Yeah, I agree that, Like it's it's

0:38:38.560 --> 0:38:42.480
<v Speaker 1>hard to like place Miranda in a way. Like like

0:38:42.600 --> 0:38:44.560
<v Speaker 1>we said earlier, I was just like maybe I'm just

0:38:44.680 --> 0:38:48.160
<v Speaker 1>like a forever gasolate person. But like I was just like,

0:38:48.239 --> 0:38:50.239
<v Speaker 1>Miranda is just really good at her job, you know,

0:38:50.320 --> 0:38:52.800
<v Speaker 1>and like, yeah, she has like her really bitchy moments,

0:38:52.880 --> 0:38:56.560
<v Speaker 1>and but but even her bitchy moments are like so beautiful,

0:38:56.640 --> 0:38:58.880
<v Speaker 1>like that you know that montage of her like slamming

0:38:58.920 --> 0:39:01.160
<v Speaker 1>her purse and her coat on the on the desk,

0:39:01.280 --> 0:39:04.080
<v Speaker 1>I'm like, I will just watch that montage sometimes I

0:39:04.120 --> 0:39:08.000
<v Speaker 1>will just google it and like look up and not

0:39:08.120 --> 0:39:10.120
<v Speaker 1>just watching because I'm like, yes, like I look at

0:39:10.160 --> 0:39:12.759
<v Speaker 1>the outfit she's wearing. I look at what Andy is wearing,

0:39:12.760 --> 0:39:14.239
<v Speaker 1>and look at the reactions, and look at what she's

0:39:14.320 --> 0:39:16.319
<v Speaker 1>I want to hear again what she's asking for. She's

0:39:16.360 --> 0:39:18.359
<v Speaker 1>just asking for a vague ship, Like where's that piece

0:39:18.400 --> 0:39:20.239
<v Speaker 1>of paper I had in my hand? I'm like, yeah,

0:39:20.280 --> 0:39:25.120
<v Speaker 1>where is that? But like I think that for somebody

0:39:25.280 --> 0:39:27.239
<v Speaker 1>of her caliber and like the job that she does,

0:39:27.320 --> 0:39:29.200
<v Speaker 1>sometimes like you just have so much ship going on,

0:39:29.320 --> 0:39:32.160
<v Speaker 1>you just can't keep track of everything, but like because

0:39:32.200 --> 0:39:34.680
<v Speaker 1>it's being delivered through a woman and not a man,

0:39:34.920 --> 0:39:37.040
<v Speaker 1>Like I think we have like feelings about that because

0:39:37.080 --> 0:39:40.160
<v Speaker 1>we expect women to act a specific way. So I

0:39:40.280 --> 0:39:42.640
<v Speaker 1>do feel like, yeah, like she's not a very kind

0:39:42.719 --> 0:39:45.120
<v Speaker 1>boss a lot of the times, she can't be really

0:39:45.160 --> 0:39:53.320
<v Speaker 1>hard to work for, but she's the devil's always, just

0:39:53.360 --> 0:39:57.120
<v Speaker 1>in case you forgot, I am the devil. But I

0:39:57.200 --> 0:39:59.800
<v Speaker 1>wonder if like this is just on the spectrum of

0:40:00.080 --> 0:40:02.320
<v Speaker 1>women who work and this is how they behave, Like

0:40:03.080 --> 0:40:05.200
<v Speaker 1>maybe she's on the far end of like a really

0:40:05.400 --> 0:40:07.759
<v Speaker 1>not great boss, but it's just like one of the

0:40:08.040 --> 0:40:11.200
<v Speaker 1>portrayals of women who work and like, you know, and

0:40:11.360 --> 0:40:13.360
<v Speaker 1>if we think that like women bosses who aren't like

0:40:13.400 --> 0:40:15.560
<v Speaker 1>that are just bitchy and awful, then like that will

0:40:15.560 --> 0:40:17.440
<v Speaker 1>always just be a trope. But I just kind of

0:40:17.560 --> 0:40:19.520
<v Speaker 1>lay her on that spectrum because like there are moments

0:40:19.560 --> 0:40:21.440
<v Speaker 1>where I think, I think it's a maryle thing that

0:40:21.520 --> 0:40:23.480
<v Speaker 1>gave her this nuance where you know, like when she

0:40:23.520 --> 0:40:27.400
<v Speaker 1>answered her phone her daughter called, She's like, oh hey, Bubsy,

0:40:27.480 --> 0:40:29.800
<v Speaker 1>I'm like, oh my gosh, she's a mom, you know,

0:40:30.560 --> 0:40:32.840
<v Speaker 1>or like even when she sucked selling teacher over for

0:40:32.920 --> 0:40:36.160
<v Speaker 1>that job. I was like, she's saving herself because like

0:40:36.400 --> 0:40:39.440
<v Speaker 1>the industry is agist or like the industry doesn't want

0:40:39.480 --> 0:40:42.600
<v Speaker 1>to pay her what she's worth, right, So I'm sorry Stanley.

0:40:42.640 --> 0:40:45.120
<v Speaker 1>But like, also Stanley is a man, Like he doesn't

0:40:45.160 --> 0:40:47.279
<v Speaker 1>have to work for her if he doesn't want to write, Like,

0:40:47.400 --> 0:40:49.480
<v Speaker 1>if he wanted to go off on his own, I'm

0:40:49.520 --> 0:40:51.040
<v Speaker 1>sure he could ask permission be like yeah, you kind

0:40:51.040 --> 0:40:52.759
<v Speaker 1>of me ever kind of leave She's I think she's

0:40:52.760 --> 0:40:55.200
<v Speaker 1>reasonable enough to be like yes, which to some extent

0:40:55.480 --> 0:40:58.759
<v Speaker 1>Stanley knows because when it happens, he just sits there

0:40:58.840 --> 0:41:01.120
<v Speaker 1>and it's like my time, look, and it's it's a

0:41:01.160 --> 0:41:03.960
<v Speaker 1>sad moment. It's a difficult moment for that character. But

0:41:04.360 --> 0:41:06.400
<v Speaker 1>you're totally right, Yeah, it's like she is saving her

0:41:06.440 --> 0:41:09.400
<v Speaker 1>ass because no one else is going to, like, no

0:41:09.480 --> 0:41:11.840
<v Speaker 1>one is going to come to bat for an older

0:41:11.960 --> 0:41:15.760
<v Speaker 1>woman trying to survive in a very high pressure environment,

0:41:15.800 --> 0:41:17.640
<v Speaker 1>which I think you know, you see proven over and

0:41:17.760 --> 0:41:20.799
<v Speaker 1>over right, and one of the things that doesn't get

0:41:20.880 --> 0:41:24.879
<v Speaker 1>talked about enough where we see the trope of professional

0:41:25.400 --> 0:41:29.040
<v Speaker 1>women in high status jobs being portrayed as being these difficult,

0:41:29.160 --> 0:41:33.600
<v Speaker 1>heinous women. But what gets ignored is that if they

0:41:33.640 --> 0:41:37.560
<v Speaker 1>are perhaps acting that way sometimes it probably has something

0:41:37.600 --> 0:41:40.120
<v Speaker 1>to do with the fact that women in order to

0:41:40.200 --> 0:41:44.120
<v Speaker 1>be taken seriously in the professional sphere and to climb

0:41:44.280 --> 0:41:48.400
<v Speaker 1>the ladder, they have to work harder than they're like

0:41:48.520 --> 0:41:51.560
<v Speaker 1>male counterpart. They might have to be kind of more

0:41:51.880 --> 0:41:56.120
<v Speaker 1>ruthless and just like any number of things to be

0:41:56.560 --> 0:42:01.200
<v Speaker 1>taken seriously, because, yeah, the industries are exists, they are agist,

0:42:01.320 --> 0:42:05.400
<v Speaker 1>and for her to behave this way is probably a

0:42:06.080 --> 0:42:09.560
<v Speaker 1>direct response to the way that women are treated in

0:42:09.920 --> 0:42:14.680
<v Speaker 1>every aspect of their life. Right. It's another thing that

0:42:14.840 --> 0:42:17.520
<v Speaker 1>this movie avoided for me. It's a it's not a

0:42:17.600 --> 0:42:21.520
<v Speaker 1>trope that really existed as much in two thousand six.

0:42:21.600 --> 0:42:24.759
<v Speaker 1>I think it's like a slowly emerging one. Uh that

0:42:24.840 --> 0:42:26.640
<v Speaker 1>I don't know if I'm going to articulate it right,

0:42:26.840 --> 0:42:31.040
<v Speaker 1>but um, this sort of avoids the Miranda character, avoids

0:42:31.120 --> 0:42:35.160
<v Speaker 1>the tropes of like a girl boss character where the

0:42:35.320 --> 0:42:38.080
<v Speaker 1>girl boss trope is something that drives me nuts, whether

0:42:38.200 --> 0:42:42.040
<v Speaker 1>it's like someone performed being a performative business person or

0:42:42.320 --> 0:42:46.000
<v Speaker 1>in in a in a piece of narrative fiction where

0:42:46.160 --> 0:42:51.000
<v Speaker 1>it's like a woman who is a capitalist at her core.

0:42:51.640 --> 0:42:53.600
<v Speaker 1>Even if you know she's she's good at her job.

0:42:53.719 --> 0:42:56.920
<v Speaker 1>She's a business owner, she's a capitalist, but then posits

0:42:56.960 --> 0:42:59.879
<v Speaker 1>it as like, but I'm like one of you. It's

0:43:00.040 --> 0:43:03.080
<v Speaker 1>like Cheryl Sandberg is like peak girl Boss, where it's

0:43:03.080 --> 0:43:07.200
<v Speaker 1>like someone who's doing a bad thing but is treated

0:43:07.360 --> 0:43:11.640
<v Speaker 1>like oh no, but she's actually like yes, queen, you know,

0:43:11.920 --> 0:43:14.680
<v Speaker 1>and and and she she uses like the veil of

0:43:14.719 --> 0:43:19.200
<v Speaker 1>feminism to feel like me being empowered empowers you. And

0:43:19.280 --> 0:43:21.480
<v Speaker 1>I don't think Miranda does that. Miranda's just a person

0:43:21.600 --> 0:43:23.879
<v Speaker 1>working a job. And she has like self awareness because

0:43:23.920 --> 0:43:26.319
<v Speaker 1>because like there's that scene where like her and Mr

0:43:26.400 --> 0:43:28.640
<v Speaker 1>Priestley are going to divorce and she's like doesn't have

0:43:28.680 --> 0:43:30.600
<v Speaker 1>any makeup on. And I think that the credit to

0:43:31.400 --> 0:43:36.799
<v Speaker 1>how nuanced Miranda's is to mistreat. But you know, she's

0:43:36.840 --> 0:43:39.080
<v Speaker 1>like she's her face is bare, and she's just like, oh,

0:43:39.160 --> 0:43:41.439
<v Speaker 1>the tabloids are gonna eat this up. Like they should

0:43:41.480 --> 0:43:43.080
<v Speaker 1>pay me because they write so many pieces about me.

0:43:43.120 --> 0:43:45.160
<v Speaker 1>She's like there's so much self awareness there. She knows

0:43:45.200 --> 0:43:47.920
<v Speaker 1>what she's projecting, but fuck it because she needs to

0:43:48.160 --> 0:43:51.000
<v Speaker 1>make this excellent publication and like and she knows what

0:43:51.120 --> 0:43:53.880
<v Speaker 1>she's doing. Yeah, she's like and she's not like a

0:43:54.040 --> 0:43:57.960
<v Speaker 1>faker the way that a lot of people present themselves

0:43:58.000 --> 0:44:00.680
<v Speaker 1>in similar roles, which takes a certain out of like

0:44:01.200 --> 0:44:04.520
<v Speaker 1>conviction and courage to be like, no, I'm selling ship.

0:44:04.760 --> 0:44:07.279
<v Speaker 1>I know how to do it better than anyone, so

0:44:07.960 --> 0:44:10.919
<v Speaker 1>pay me for doing that, and not like you're saying,

0:44:10.960 --> 0:44:12.799
<v Speaker 1>like covering it with a veil of like no, I'm

0:44:12.880 --> 0:44:15.200
<v Speaker 1>for all women. It's like, no, Miranda is here to

0:44:15.360 --> 0:44:17.400
<v Speaker 1>do a job. She's here to do a job, and

0:44:17.440 --> 0:44:19.600
<v Speaker 1>there's a lot of forces that are going to make

0:44:19.640 --> 0:44:22.360
<v Speaker 1>it more difficult for her to do that job. But

0:44:22.520 --> 0:44:26.440
<v Speaker 1>like I think, I wonder then if like, because you know, feminism,

0:44:26.640 --> 0:44:29.440
<v Speaker 1>corporate ties feminism or marketplace feminism is so trending now,

0:44:29.480 --> 0:44:32.440
<v Speaker 1>so I think that's why Girl Boss tropes are like flourishing.

0:44:32.800 --> 0:44:35.480
<v Speaker 1>But if it was as trendy then because like feminism

0:44:35.600 --> 0:44:38.080
<v Speaker 1>was still very much like a four letter word, you know,

0:44:38.200 --> 0:44:40.000
<v Speaker 1>like just even ten years ago, which is so wild

0:44:40.040 --> 0:44:42.719
<v Speaker 1>to think about. But if it wasn't, I wonder what

0:44:42.840 --> 0:44:46.439
<v Speaker 1>would have happened to the Miranda character. I know, well, yeah,

0:44:46.719 --> 0:44:49.200
<v Speaker 1>that's just like what if I don't know, I mean,

0:44:49.280 --> 0:44:52.480
<v Speaker 1>I guess how do people view in the wintour right now,

0:44:53.400 --> 0:44:56.879
<v Speaker 1>because it does seem like most women there's I would

0:44:56.920 --> 0:45:00.879
<v Speaker 1>imagine some pressure right now for been working in high

0:45:00.960 --> 0:45:04.839
<v Speaker 1>levels of business to put on that mask. And that's

0:45:04.880 --> 0:45:07.319
<v Speaker 1>not to say that it's not at least sincerely held

0:45:07.400 --> 0:45:11.320
<v Speaker 1>in part, but it's just I don't know, corporate feminism

0:45:11.400 --> 0:45:13.759
<v Speaker 1>frees me the funk out of like we think you're

0:45:13.760 --> 0:45:17.800
<v Speaker 1>beautiful by this soap. Also we're waging war and me

0:45:17.960 --> 0:45:24.279
<v Speaker 1>and mar sorry like that, Cheryl Samberg, Cheryld Samberg. She's

0:45:24.320 --> 0:45:28.560
<v Speaker 1>the scariest personal life. But I I wonder if if

0:45:28.800 --> 0:45:30.520
<v Speaker 1>if this movie came out today, if that would be

0:45:30.640 --> 0:45:33.839
<v Speaker 1>sort of addressed. But there's not. I mean, it's weird

0:45:33.960 --> 0:45:40.120
<v Speaker 1>any any manner of Like outright feminist statements are strictly

0:45:40.239 --> 0:45:45.680
<v Speaker 1>made by Andy and are usually shot down. Right, We've

0:45:45.680 --> 0:45:48.440
<v Speaker 1>got to take another quick break, but we'll be right

0:45:48.640 --> 0:45:55.960
<v Speaker 1>back after that. Amy, going back to the scene that

0:45:56.000 --> 0:45:59.400
<v Speaker 1>you were talking about really briefly, where Miranda is talking

0:45:59.440 --> 0:46:03.560
<v Speaker 1>about her like impending divorce. So that's an example that

0:46:03.680 --> 0:46:06.600
<v Speaker 1>we see in a movie where it's a character who

0:46:07.200 --> 0:46:11.080
<v Speaker 1>is a professional, successful woman but her personal life is

0:46:11.120 --> 0:46:17.160
<v Speaker 1>in shambles basically, which is perhaps sometimes a realistic portrayal,

0:46:17.360 --> 0:46:20.960
<v Speaker 1>especially when it's you know, the man, the husband who

0:46:21.080 --> 0:46:26.359
<v Speaker 1>resents the fact that his what, his wife is successful

0:46:26.640 --> 0:46:30.680
<v Speaker 1>and you know, feels threatened by that or emasculated by

0:46:30.719 --> 0:46:34.120
<v Speaker 1>that or whatever, because it's a really subtle moment in

0:46:34.160 --> 0:46:37.160
<v Speaker 1>the movie. But whenever Andy is delivering the book to

0:46:38.200 --> 0:46:41.600
<v Speaker 1>Miranda's house for the first time and like was like, yeah,

0:46:41.640 --> 0:46:44.920
<v Speaker 1>it's a good idea to go upstairs and she overhears

0:46:44.920 --> 0:46:49.319
<v Speaker 1>a conversation where Miranda's husband is saying something like, oh,

0:46:49.960 --> 0:46:52.840
<v Speaker 1>you know, people are looking at me in the restaurant

0:46:52.920 --> 0:46:56.560
<v Speaker 1>thinking he's waiting for her yet again, which shows that

0:46:56.680 --> 0:46:58.640
<v Speaker 1>he is threatened by the fact that what people think

0:46:58.719 --> 0:47:02.160
<v Speaker 1>of him. Yeah, So on one hand, it's like, yeah,

0:47:02.239 --> 0:47:06.320
<v Speaker 1>you see this what maybe a realistic portrayal of like

0:47:06.440 --> 0:47:10.759
<v Speaker 1>a man being threatened by his wife's success, his wife's success.

0:47:11.880 --> 0:47:16.239
<v Speaker 1>But then you also have to see a woman who

0:47:16.400 --> 0:47:20.880
<v Speaker 1>is successful in her profession have her personal life be

0:47:21.000 --> 0:47:25.600
<v Speaker 1>compromised basically, so it I don't really quite know how

0:47:25.680 --> 0:47:29.680
<v Speaker 1>to feel about it. For the most part, it worked

0:47:29.760 --> 0:47:32.800
<v Speaker 1>for me for the most part, I mean partially because

0:47:33.040 --> 0:47:38.080
<v Speaker 1>this movie has the benefit of getting to be like, well,

0:47:38.160 --> 0:47:41.000
<v Speaker 1>it's technically based on Anna Wintour, and a lot of

0:47:41.120 --> 0:47:45.000
<v Speaker 1>that personal life stuff is adapted from Anna Wintour's life

0:47:45.080 --> 0:47:48.600
<v Speaker 1>with two field marriages, two kids, trying to balance mother

0:47:48.680 --> 0:47:52.040
<v Speaker 1>and and the reason I liked seeing I mean just

0:47:52.200 --> 0:47:57.000
<v Speaker 1>learning anything about a character like Miranda's personal life in

0:47:57.120 --> 0:48:01.600
<v Speaker 1>a way that doesn't make her comple lately tragic in

0:48:01.680 --> 0:48:03.960
<v Speaker 1>a way that might have been easy, the easy choice

0:48:04.000 --> 0:48:06.279
<v Speaker 1>of like, well, she's so good at her job, but look,

0:48:06.360 --> 0:48:09.600
<v Speaker 1>her personal life is difficult, and instead of leaving it

0:48:09.800 --> 0:48:11.759
<v Speaker 1>that we go back to her job and watch her

0:48:11.920 --> 0:48:14.239
<v Speaker 1>be really fucking good at her job and ruthless in

0:48:14.280 --> 0:48:19.440
<v Speaker 1>her job. Again, so there's like some nuance presented. I

0:48:19.480 --> 0:48:22.080
<v Speaker 1>don't know it. There is a weird, like halfway nous

0:48:22.400 --> 0:48:26.920
<v Speaker 1>of implying that, like, while her personal life is suffering

0:48:27.320 --> 0:48:30.000
<v Speaker 1>in this very specific way. But then I'm like, I

0:48:30.080 --> 0:48:33.440
<v Speaker 1>guess if you had shown like, and she's actually an

0:48:33.480 --> 0:48:36.759
<v Speaker 1>incredible mother and no one credit like that would have

0:48:36.960 --> 0:48:40.040
<v Speaker 1>felt very hollow and disingenuous as well, Because, of course,

0:48:40.640 --> 0:48:43.200
<v Speaker 1>and this is kind of implied about her a number

0:48:43.280 --> 0:48:46.840
<v Speaker 1>of times, there is still this expectation of Miranda to

0:48:46.920 --> 0:48:50.400
<v Speaker 1>like be a mother that is not usually put on

0:48:50.960 --> 0:48:55.120
<v Speaker 1>male professionals at that level. They're like, oh, well, isn't

0:48:55.120 --> 0:48:57.080
<v Speaker 1>there a nanny. Isn't there a mom that's taking care

0:48:57.080 --> 0:48:58.800
<v Speaker 1>of the kids, But she's still expected to have the

0:48:58.840 --> 0:49:02.960
<v Speaker 1>same level of you know, affection and and and doting

0:49:03.040 --> 0:49:07.520
<v Speaker 1>nous that a stereotypical mother did, which they which is again,

0:49:07.560 --> 0:49:10.400
<v Speaker 1>there's a lot of stuff that feels halfway addressed. I

0:49:10.520 --> 0:49:13.239
<v Speaker 1>think for the thing about their marriage ending, in a

0:49:13.320 --> 0:49:17.440
<v Speaker 1>way I kind of not appreciated it, but like I

0:49:17.520 --> 0:49:19.279
<v Speaker 1>think it spoke to this notion that like, oh we

0:49:19.320 --> 0:49:20.719
<v Speaker 1>can have it all, like you know, like was that

0:49:20.840 --> 0:49:23.560
<v Speaker 1>second wave of feminism which whichever waiver that we think

0:49:23.600 --> 0:49:25.320
<v Speaker 1>that like women were being told like you can't go

0:49:25.440 --> 0:49:27.800
<v Speaker 1>to work and you can have a family, etcetera, etcetera,

0:49:27.960 --> 0:49:30.200
<v Speaker 1>And and like I think that like our generation and

0:49:30.239 --> 0:49:32.759
<v Speaker 1>women is like, no, you guys are you guys are

0:49:32.880 --> 0:49:36.200
<v Speaker 1>fucking tired, You fucking are miserable. You you divorce your

0:49:36.239 --> 0:49:38.840
<v Speaker 1>partners because it's really hard to do this. And some

0:49:39.000 --> 0:49:40.880
<v Speaker 1>of us are childless or some of us like have

0:49:41.080 --> 0:49:43.960
<v Speaker 1>kids and don't work because it's that's why people have wives.

0:49:44.280 --> 0:49:46.359
<v Speaker 1>That's why men have wives that they can have a job.

0:49:46.400 --> 0:49:47.919
<v Speaker 1>I often think that my partner, I'm like I wish

0:49:47.960 --> 0:49:50.279
<v Speaker 1>I had a fucking wife, so like that all this

0:49:50.360 --> 0:49:53.399
<v Speaker 1>ship just just even like something I like, I'll give

0:49:53.480 --> 0:49:55.279
<v Speaker 1>him like you know, burba feet. I'm like, I wish

0:49:55.320 --> 0:49:57.320
<v Speaker 1>I had a wife to my feet because he didn't

0:49:57.360 --> 0:50:01.960
<v Speaker 1>do it good. I I have it all either, But

0:50:02.080 --> 0:50:04.799
<v Speaker 1>I'm saying like in that moment made me think, like, yes,

0:50:04.920 --> 0:50:06.840
<v Speaker 1>like she's really good her job and it can be

0:50:06.920 --> 0:50:09.520
<v Speaker 1>in the sacrifice of her personal life, but she chose it.

0:50:10.080 --> 0:50:12.880
<v Speaker 1>I think that's what in the end, like feminism is about,

0:50:12.920 --> 0:50:15.759
<v Speaker 1>like whatever you choose. And in that scene, she's not

0:50:15.880 --> 0:50:17.799
<v Speaker 1>that sad that the marriage ended. Like if you hear

0:50:17.840 --> 0:50:19.800
<v Speaker 1>what she says, she said at how it's going to

0:50:19.880 --> 0:50:22.600
<v Speaker 1>affect her kids. Yeah, yeah, she says, I don't care

0:50:22.719 --> 0:50:24.880
<v Speaker 1>what anybody writes about me, but my girls. It's so

0:50:25.000 --> 0:50:27.000
<v Speaker 1>unfair to my girls, right, So, And I think that

0:50:27.080 --> 0:50:29.399
<v Speaker 1>was like you know, the script's way and Miranda's way

0:50:29.400 --> 0:50:32.000
<v Speaker 1>of saying, like the job is way more important to

0:50:32.040 --> 0:50:35.080
<v Speaker 1>her than her marriage, but her kids are maybe like

0:50:35.360 --> 0:50:37.759
<v Speaker 1>the number one. And I think that was important to

0:50:37.800 --> 0:50:40.640
<v Speaker 1>point out and and I think it's it was necessary

0:50:40.680 --> 0:50:42.920
<v Speaker 1>so that we're not thinking like a Miranda type of

0:50:43.000 --> 0:50:45.200
<v Speaker 1>person can be who she is and then also have

0:50:45.320 --> 0:50:47.480
<v Speaker 1>like a really great support system because it's maybe not

0:50:47.719 --> 0:50:52.279
<v Speaker 1>completely realistic. And I appreciated that. I liked I I

0:50:52.480 --> 0:50:56.200
<v Speaker 1>liked it, and it's like there the trophiness that I

0:50:56.400 --> 0:50:59.040
<v Speaker 1>loved about, Like the only scene where Miranda is not

0:50:59.200 --> 0:51:04.680
<v Speaker 1>wearing make up and you're just like, Jane Fonda does

0:51:04.719 --> 0:51:07.640
<v Speaker 1>it all the time, and Grays and Frankie, I love it.

0:51:08.680 --> 0:51:11.399
<v Speaker 1>Jane Fonda does this thing and Grace has anyone see

0:51:11.440 --> 0:51:14.000
<v Speaker 1>yes okay? In the first episode of Grace and Frankie

0:51:14.040 --> 0:51:17.560
<v Speaker 1>where Jane Fonda apparently had some sort of wire around

0:51:17.680 --> 0:51:22.040
<v Speaker 1>her head to hold her skin, yes, her head and

0:51:22.120 --> 0:51:27.240
<v Speaker 1>falls off. In the pilot episode, I saw a beauty

0:51:27.280 --> 0:51:30.400
<v Speaker 1>regimen of a caliber even I wasn't familiar of that.

0:51:30.600 --> 0:51:33.080
<v Speaker 1>Like I don't know, I love Grace and Frankie. Jane

0:51:33.160 --> 0:51:35.919
<v Speaker 1>Fonda has a wire around her head like to pull

0:51:36.360 --> 0:51:39.080
<v Speaker 1>to pull back, but it was a wire attached to

0:51:39.200 --> 0:51:43.759
<v Speaker 1>her wig. She also Jane Fonda is a legend. I mean,

0:51:43.960 --> 0:51:46.480
<v Speaker 1>but even like when Merrit streets bare face, they do

0:51:46.600 --> 0:51:48.399
<v Speaker 1>these clothes up on her face and I'm like, girl,

0:51:48.440 --> 0:51:51.759
<v Speaker 1>who is your doctor because good job? Or what is

0:51:51.800 --> 0:51:55.279
<v Speaker 1>the wire wearing? Because where yes, because like her skin

0:51:55.400 --> 0:51:57.920
<v Speaker 1>is looking good and like it's very good skin. I

0:51:58.000 --> 0:52:00.400
<v Speaker 1>have a high deff helemet. I don't know if you

0:52:00.480 --> 0:52:03.760
<v Speaker 1>guys have one. I do, like like I was thinking

0:52:03.880 --> 0:52:06.279
<v Speaker 1>like like she either has a really good doctor or

0:52:06.400 --> 0:52:08.680
<v Speaker 1>like some kind of like wire thing, but like she

0:52:08.800 --> 0:52:10.880
<v Speaker 1>looks magnificent in it. She can't go bare face. But

0:52:11.000 --> 0:52:12.640
<v Speaker 1>like for us as viewers like, oh my god, so

0:52:12.760 --> 0:52:14.359
<v Speaker 1>brave that like a woman with gray hair and went

0:52:14.440 --> 0:52:18.160
<v Speaker 1>bare face. You know, I'm we're conditioned to think that way,

0:52:18.560 --> 0:52:20.960
<v Speaker 1>and we're conditioned to think, wow, she looks so good

0:52:21.200 --> 0:52:23.680
<v Speaker 1>pause for her age, and it's like, no, like she

0:52:24.400 --> 0:52:27.120
<v Speaker 1>looks good. Yeah, that's a way of like the society

0:52:27.280 --> 0:52:29.279
<v Speaker 1>feels that way too. I think the movie like wants

0:52:29.320 --> 0:52:31.360
<v Speaker 1>you to be like I don't know, some mix of

0:52:31.440 --> 0:52:34.120
<v Speaker 1>like either like wow, she looks different or like wow

0:52:34.239 --> 0:52:37.640
<v Speaker 1>she looks good like for her age. I don't know

0:52:37.719 --> 0:52:41.120
<v Speaker 1>that the movie is necessarily like this should be normalized

0:52:41.239 --> 0:52:45.719
<v Speaker 1>like that. I don't think that that's intention vibe um,

0:52:46.080 --> 0:52:48.520
<v Speaker 1>but we all we all like I'm having to undo

0:52:48.600 --> 0:52:52.319
<v Speaker 1>a lot of conditioning where I like, we'll catch myself thinking,

0:52:52.400 --> 0:52:54.040
<v Speaker 1>oh wow, she looks really good for her age. But

0:52:54.160 --> 0:52:56.600
<v Speaker 1>it's like, no, that's a horrible way to think, because

0:52:56.800 --> 0:52:59.440
<v Speaker 1>like we are conditioned to think that with women age,

0:52:59.560 --> 0:53:03.200
<v Speaker 1>they you know, they lose their value. And you know,

0:53:03.320 --> 0:53:06.359
<v Speaker 1>we have this standard of beauty that says that only

0:53:06.440 --> 0:53:09.560
<v Speaker 1>young women can be considered attractive, and like, I'm not

0:53:09.680 --> 0:53:13.439
<v Speaker 1>having to undo a lot of this thinking. Still, shall

0:53:13.480 --> 0:53:17.400
<v Speaker 1>we talk about Andy? Yes, let's talk about Andy. Andy

0:53:17.960 --> 0:53:22.520
<v Speaker 1>is an interesting and interesting character. I right at the

0:53:22.600 --> 0:53:26.040
<v Speaker 1>top we briefly talked about her interview. But I've just

0:53:26.200 --> 0:53:30.400
<v Speaker 1>never seen anyone succeed with such a flippant attitude towards

0:53:30.520 --> 0:53:33.680
<v Speaker 1>the very powerful job they're applying to. But you know,

0:53:33.880 --> 0:53:37.600
<v Speaker 1>she does um, but she does. There is there is

0:53:37.719 --> 0:53:40.080
<v Speaker 1>like another a narrative for her too, that is like

0:53:40.600 --> 0:53:43.400
<v Speaker 1>trying to have it all and personal life suffers as

0:53:43.440 --> 0:53:47.799
<v Speaker 1>a result. That happens as well, and it's weird. It's

0:53:47.880 --> 0:53:51.920
<v Speaker 1>like the resolution to that is a little confusing to me,

0:53:52.160 --> 0:53:55.960
<v Speaker 1>where it's like she's trying to have it all, but

0:53:56.080 --> 0:53:59.480
<v Speaker 1>then her friends and her boyfriend are like you've changed,

0:53:59.600 --> 0:54:03.799
<v Speaker 1>which she has, uh, And then she decides, fucking I'm

0:54:03.840 --> 0:54:08.200
<v Speaker 1>throwing my sidekick into the fountain, And then I don't know,

0:54:08.280 --> 0:54:10.440
<v Speaker 1>I mean The ending is kind of ambiguous for her

0:54:10.520 --> 0:54:12.480
<v Speaker 1>of like is she in a relationship? Does that what

0:54:12.600 --> 0:54:14.239
<v Speaker 1>she wants? Like we don't. We still don't really know,

0:54:14.400 --> 0:54:16.160
<v Speaker 1>But it didn't bother me too much. I think when

0:54:16.200 --> 0:54:18.600
<v Speaker 1>the film came out, you know, like ten years ago

0:54:18.680 --> 0:54:20.600
<v Speaker 1>or whatever, I think we wanted to think that like

0:54:20.640 --> 0:54:22.720
<v Speaker 1>they were still together and that those things were important.

0:54:22.760 --> 0:54:24.600
<v Speaker 1>But I think that there are like new memes now

0:54:24.680 --> 0:54:27.200
<v Speaker 1>when people talk about the movie where they're like, can

0:54:27.239 --> 0:54:29.520
<v Speaker 1>we talk about how trash her boyfriend and friends were?

0:54:30.120 --> 0:54:32.279
<v Speaker 1>Like they were not good, Like they're not a good

0:54:32.280 --> 0:54:35.600
<v Speaker 1>support system, you know, Like who moves to New York

0:54:35.640 --> 0:54:37.480
<v Speaker 1>City and thinks that they're going to get like some

0:54:37.560 --> 0:54:39.840
<v Speaker 1>amazing job right off the bat. Nobody does, you know,

0:54:39.920 --> 0:54:41.400
<v Speaker 1>So like this notion that like she moved to New

0:54:41.480 --> 0:54:43.520
<v Speaker 1>York City, she's struggling on a job, like and all

0:54:43.560 --> 0:54:46.719
<v Speaker 1>you guys do put fun at her ship on her, yes,

0:54:47.400 --> 0:54:49.719
<v Speaker 1>and almost like risk her losing her job at one

0:54:49.760 --> 0:54:52.680
<v Speaker 1>point when they like throw her phone around when yeah,

0:54:53.160 --> 0:54:58.319
<v Speaker 1>I was on Andy's side and being horrible. There's also

0:54:58.400 --> 0:55:02.320
<v Speaker 1>a moment early on where her friend Doug says something

0:55:02.440 --> 0:55:06.520
<v Speaker 1>like Miranda Priestley is famous for being unpredictable, and and

0:55:06.680 --> 0:55:08.440
<v Speaker 1>he's like, how do you know who she is? And

0:55:08.560 --> 0:55:11.319
<v Speaker 1>I don't, And then Doug says, I'm actually a girl.

0:55:11.960 --> 0:55:16.280
<v Speaker 1>And then Lily says that would explain a lot. I, Darling,

0:55:17.040 --> 0:55:21.680
<v Speaker 1>no what you meant by that? So I guess it's implying, Yeah,

0:55:21.760 --> 0:55:25.920
<v Speaker 1>like only a woman would know who a fashion icon is.

0:55:26.160 --> 0:55:28.759
<v Speaker 1>That's reductive. And then for Lily to say like, oh, yeah,

0:55:28.800 --> 0:55:30.360
<v Speaker 1>that would explain a lot that you're a girl, Like

0:55:30.480 --> 0:55:34.680
<v Speaker 1>that sounds weird, some sort of weird gender phobic thing.

0:55:35.560 --> 0:55:42.359
<v Speaker 1>Two six we a lot of weird exchanges. Uh. Super

0:55:42.400 --> 0:55:44.800
<v Speaker 1>producer Sophie just also made the note that we do

0:55:45.000 --> 0:55:47.440
<v Speaker 1>we do you learn a little bit about Andy's family

0:55:47.520 --> 0:55:49.640
<v Speaker 1>life and and her when she goes to dinner with

0:55:49.719 --> 0:55:53.279
<v Speaker 1>her dad, there's a very similar vibe of like why

0:55:53.320 --> 0:55:56.040
<v Speaker 1>aren't you working? And I'm like, she's twenty two, what

0:55:56.160 --> 0:55:59.839
<v Speaker 1>are you talk And we only know her dad, never

0:56:00.040 --> 0:56:02.920
<v Speaker 1>meet her mom gets mentioned, but yeah, we don't know

0:56:02.960 --> 0:56:05.520
<v Speaker 1>anything about her mom. At least she's not a Disney princess.

0:56:05.600 --> 0:56:10.399
<v Speaker 1>The mother's alive, but just never just not allowed to be. Yeah,

0:56:10.560 --> 0:56:12.200
<v Speaker 1>the only thing I was one of the biggest things

0:56:12.200 --> 0:56:14.439
<v Speaker 1>I remember that about that scene is when he gives

0:56:14.480 --> 0:56:17.480
<v Speaker 1>her a check and she's just like, oh, you shouldn't

0:56:17.520 --> 0:56:19.680
<v Speaker 1>have but yes, but but also like it was no

0:56:19.800 --> 0:56:22.400
<v Speaker 1>big deal. And I was like, oh, that's so what

0:56:22.560 --> 0:56:26.280
<v Speaker 1>a life. I know. I have never, I have really

0:56:26.600 --> 0:56:28.560
<v Speaker 1>never because that that has been a check for like

0:56:28.680 --> 0:56:31.279
<v Speaker 1>thousands of dollars. Yeah, what I mean what was that?

0:56:31.840 --> 0:56:34.400
<v Speaker 1>It was to help with her rent I think in

0:56:34.560 --> 0:56:41.239
<v Speaker 1>New York and that fucking apartment that she had apartment iguantique. Yeah. God.

0:56:41.400 --> 0:56:43.359
<v Speaker 1>And when I was were I guess twenty two if

0:56:43.400 --> 0:56:46.840
<v Speaker 1>she's a recent grid like yeah, I mean when I

0:56:46.960 --> 0:56:49.920
<v Speaker 1>was in college, my dad used to have these jars.

0:56:51.000 --> 0:56:54.480
<v Speaker 1>Uh it was for my brother, and he would put

0:56:54.960 --> 0:56:57.840
<v Speaker 1>dimes in one of the jars that he just found

0:56:57.960 --> 0:56:59.759
<v Speaker 1>or god has changed, and he put nickels in the

0:57:00.040 --> 0:57:03.520
<v Speaker 1>third jar, and at the end of every month, he'd

0:57:03.640 --> 0:57:06.759
<v Speaker 1>cash out the jars and some and and that would

0:57:06.800 --> 0:57:09.080
<v Speaker 1>be like it would always be like twenty bucks. But

0:57:09.239 --> 0:57:12.800
<v Speaker 1>that was like my dad's version of that. He's like,

0:57:12.880 --> 0:57:15.360
<v Speaker 1>here all the times I found this month, I found

0:57:15.400 --> 0:57:17.880
<v Speaker 1>two hundred dimes. And sometimes it would be a dime month,

0:57:18.000 --> 0:57:20.440
<v Speaker 1>or sometimes it'd be my brother's dime month. And if

0:57:20.480 --> 0:57:22.680
<v Speaker 1>it was a shitty month. You get like literally a

0:57:22.760 --> 0:57:25.360
<v Speaker 1>check for five dollars. It's like it's a nickel month.

0:57:27.000 --> 0:57:30.000
<v Speaker 1>Shut up, my coloftus and his many jars. There's a

0:57:30.040 --> 0:57:32.280
<v Speaker 1>penny jar. But and I was like, I don't. I

0:57:32.360 --> 0:57:35.280
<v Speaker 1>don't my dad collected pennies in a jar too. What

0:57:35.440 --> 0:57:37.680
<v Speaker 1>is it with? What is the dad dad in coin jars?

0:57:38.240 --> 0:57:42.200
<v Speaker 1>My dad doesn't have a jar. Now I feel left jars.

0:57:42.720 --> 0:57:45.000
<v Speaker 1>I got to bring them over. If they have jars,

0:57:45.120 --> 0:57:47.920
<v Speaker 1>they will put coins in them. So my dad used

0:57:47.960 --> 0:57:49.600
<v Speaker 1>to like I used to bring my laundry home to

0:57:49.640 --> 0:57:51.960
<v Speaker 1>do when I was in school or after I just graduated,

0:57:52.400 --> 0:57:54.320
<v Speaker 1>and then like take food, and he would like make

0:57:54.440 --> 0:57:56.880
<v Speaker 1>fun of me. He'd be like, oh, like here comes

0:57:56.960 --> 0:58:00.560
<v Speaker 1>my homeless daughter. So like that's my across the one

0:58:00.600 --> 0:58:02.680
<v Speaker 1>I saw her dad to slip her a check like

0:58:02.760 --> 0:58:05.760
<v Speaker 1>it was no big deal. I was like yeah, I

0:58:05.880 --> 0:58:08.400
<v Speaker 1>was like, but but literally, I think that's how you

0:58:08.480 --> 0:58:09.880
<v Speaker 1>have to survive. And then that's why, like you know,

0:58:10.040 --> 0:58:11.760
<v Speaker 1>in the media world we talk about like who gets

0:58:11.800 --> 0:58:13.680
<v Speaker 1>to be interns or like who gets to be like

0:58:13.920 --> 0:58:16.840
<v Speaker 1>very low paid workers um to get their foot in

0:58:16.880 --> 0:58:19.280
<v Speaker 1>the door so that they can then become like high

0:58:19.320 --> 0:58:21.440
<v Speaker 1>paying editors and stuff. It's like people who come from

0:58:21.880 --> 0:58:23.840
<v Speaker 1>a background where like they do have a support system

0:58:23.880 --> 0:58:26.800
<v Speaker 1>in that way. But that was a moment I was like, well,

0:58:26.880 --> 0:58:30.440
<v Speaker 1>thanks for showing that because you do feel for her

0:58:30.440 --> 0:58:34.360
<v Speaker 1>a little. Yeah, it is useful to have that context.

0:58:34.440 --> 0:58:37.760
<v Speaker 1>And and like seeing the check past. I wonder if

0:58:37.840 --> 0:58:40.120
<v Speaker 1>that was done intentionally to be like, and this is

0:58:40.200 --> 0:58:43.080
<v Speaker 1>the only way that I don't know, it's not clear.

0:58:43.160 --> 0:58:46.280
<v Speaker 1>It seems like she's pretty low paid at Runway. I

0:58:46.360 --> 0:58:50.080
<v Speaker 1>mean those assistant jobs always are. Yeah, so the see

0:58:50.360 --> 0:58:53.640
<v Speaker 1>seeing the check past. I wish we were addressed a

0:58:53.720 --> 0:58:56.440
<v Speaker 1>little more because it is useful to have that context

0:58:56.480 --> 0:59:00.600
<v Speaker 1>of like, she's miserable and she's still very privileged to

0:59:00.800 --> 0:59:04.320
<v Speaker 1>have this safety net to fall into, or or to

0:59:04.440 --> 0:59:07.280
<v Speaker 1>even imply that she has a plan B outside of

0:59:07.360 --> 0:59:11.000
<v Speaker 1>this low paid nightmare job that she has is something

0:59:11.040 --> 0:59:13.200
<v Speaker 1>I don't know, because the film doesn't do enough of

0:59:13.280 --> 0:59:16.160
<v Speaker 1>a job of telling us like, oh, she needs this

0:59:16.280 --> 0:59:19.200
<v Speaker 1>job for money. It tells us repeatedly she needs his

0:59:19.280 --> 0:59:21.200
<v Speaker 1>job so she can move up. That's her meal ticket

0:59:21.280 --> 0:59:25.120
<v Speaker 1>into whatever job in publishing she wants. Yes, I think

0:59:25.160 --> 0:59:27.280
<v Speaker 1>that's another reason why that check scene stood I was like, Oh,

0:59:27.320 --> 0:59:30.720
<v Speaker 1>I forgot that. Maybe she can't make rent. You know, right,

0:59:31.280 --> 0:59:34.440
<v Speaker 1>it would be interesting to see more of a dive

0:59:34.560 --> 0:59:37.240
<v Speaker 1>into that side of things. But I mean in two

0:59:37.280 --> 0:59:39.160
<v Speaker 1>thousands six, no one was talking about that. I feel

0:59:39.160 --> 0:59:43.000
<v Speaker 1>like that was like approaching like late two thousand's early

0:59:43.040 --> 0:59:46.960
<v Speaker 1>two thousand tents was like peak unpaid internship. Shut up

0:59:47.000 --> 0:59:48.800
<v Speaker 1>and take it and if you can't afford to do it,

0:59:48.960 --> 0:59:52.360
<v Speaker 1>fuck you, find another job. I think what was confusing

0:59:52.400 --> 0:59:54.440
<v Speaker 1>is that, like the film was trying to make us

0:59:54.800 --> 0:59:56.880
<v Speaker 1>or maybe it's trying to make us feel away about

0:59:56.920 --> 1:00:00.280
<v Speaker 1>the industry, like not just media or publication, but the

1:00:00.320 --> 1:00:06.120
<v Speaker 1>fashion industry, but then glamorizing it so much because because

1:00:06.120 --> 1:00:08.520
<v Speaker 1>we're supposed to understand that Andy thinks it's frivolous and

1:00:08.760 --> 1:00:13.400
<v Speaker 1>just stuff. Um, and then and then she starts to

1:00:13.520 --> 1:00:15.840
<v Speaker 1>wear the stuff and that and the other amazing montage

1:00:15.880 --> 1:00:19.160
<v Speaker 1>this movie has so many Mota game is strong, and

1:00:20.280 --> 1:00:22.960
<v Speaker 1>like I said, I like YouTube from a lot different

1:00:23.000 --> 1:00:26.280
<v Speaker 1>and leisure, but then it glamorizes. So that's what left

1:00:26.320 --> 1:00:29.000
<v Speaker 1>me confused. It's like, so does she appreciate it at

1:00:29.040 --> 1:00:30.880
<v Speaker 1>the end or does she still think it's bullshit and

1:00:30.960 --> 1:00:32.960
<v Speaker 1>she's happy she's got because when she showed up to

1:00:33.000 --> 1:00:35.640
<v Speaker 1>that newspaper job interview, she looks good, she had a

1:00:35.800 --> 1:00:39.360
<v Speaker 1>nice so she was changed from But then she gives

1:00:39.360 --> 1:00:41.320
<v Speaker 1>all of her clothes if she got in Paris to

1:00:41.640 --> 1:00:45.280
<v Speaker 1>Emily is like, she just kind of like a weird

1:00:45.560 --> 1:00:49.360
<v Speaker 1>what I mean, it's what she should take her out

1:00:49.400 --> 1:00:51.520
<v Speaker 1>to dinner, like there, I don't know that Emily would

1:00:51.520 --> 1:00:53.600
<v Speaker 1>want to hang out with her, and Emily doesn't eat.

1:00:53.760 --> 1:00:58.760
<v Speaker 1>So we talk about it really quick, just sort of

1:00:58.800 --> 1:01:01.040
<v Speaker 1>going off of what you just saying. A wait, what

1:01:01.120 --> 1:01:04.440
<v Speaker 1>were you just saying? It's about fashion? Oh okay, So

1:01:05.160 --> 1:01:08.920
<v Speaker 1>I agree that this movie very much, for all of

1:01:09.000 --> 1:01:12.040
<v Speaker 1>the good things it does, does end up being like

1:01:12.480 --> 1:01:15.160
<v Speaker 1>so if you think that the fashion industry is stupid

1:01:15.200 --> 1:01:19.280
<v Speaker 1>and manipulative, you're stupid and like you're just you just

1:01:19.360 --> 1:01:22.919
<v Speaker 1>haven't given it a fair shake, which is a very

1:01:23.560 --> 1:01:27.320
<v Speaker 1>reductive basic message of like, actually fashion good. It reminds

1:01:27.320 --> 1:01:29.120
<v Speaker 1>me of all the pageant movies we've been doing on

1:01:29.240 --> 1:01:34.480
<v Speaker 1>this podcast recently, where it's a similar, a more muted

1:01:34.600 --> 1:01:37.200
<v Speaker 1>version of what happens to Sandra Bullock and Miss Congeniality

1:01:37.280 --> 1:01:40.600
<v Speaker 1>where she goes in with the middle part saying like

1:01:41.120 --> 1:01:45.280
<v Speaker 1>I'm a feminist, this industry is bullshit and saying things

1:01:45.360 --> 1:01:47.520
<v Speaker 1>that like I think the movie by the end is like,

1:01:47.840 --> 1:01:51.040
<v Speaker 1>but it's not like that when it's like we sort

1:01:51.080 --> 1:01:54.200
<v Speaker 1>of in or like yeah, there's a lot of truth

1:01:54.320 --> 1:01:58.040
<v Speaker 1>to what she's saying, but Ann Hathaway's character here too, Yeah,

1:01:58.080 --> 1:02:01.040
<v Speaker 1>it's like by the end, I don't think that we're

1:02:01.080 --> 1:02:03.480
<v Speaker 1>supposed like even when she was like this is just

1:02:03.720 --> 1:02:08.760
<v Speaker 1>stuff and that the Cerulean monologue is so good, but

1:02:09.160 --> 1:02:13.120
<v Speaker 1>it is trying to prove that. It's like, no, this

1:02:13.360 --> 1:02:16.760
<v Speaker 1>is actually good and you should be participating in it,

1:02:16.880 --> 1:02:19.000
<v Speaker 1>and you can't not participate in it, so you may

1:02:19.040 --> 1:02:22.080
<v Speaker 1>as well just immerse yourself in it, which is sort

1:02:22.120 --> 1:02:25.160
<v Speaker 1>of like a similar message we get from Miss Congeniality

1:02:25.160 --> 1:02:30.920
<v Speaker 1>about pageants of like instead of defying this industry, find

1:02:31.080 --> 1:02:34.600
<v Speaker 1>a way that you're comfortable participating in it, which is

1:02:34.760 --> 1:02:37.040
<v Speaker 1>like not the greatest because like at the end of

1:02:37.080 --> 1:02:39.680
<v Speaker 1>that monologue, like Randa just straight up like like that

1:02:40.080 --> 1:02:42.600
<v Speaker 1>color you're wearing, we literally chose that for you, Like

1:02:42.720 --> 1:02:44.880
<v Speaker 1>like you're saying, like, even if you don't choose to

1:02:44.920 --> 1:02:48.080
<v Speaker 1>participate in it, like you are in it because we

1:02:48.320 --> 1:02:50.200
<v Speaker 1>forced it on you, so you better embrace it. And

1:02:50.520 --> 1:02:53.440
<v Speaker 1>but the way the movie shapes like Andy's arc is

1:02:53.520 --> 1:02:55.800
<v Speaker 1>that like girls looking good at the end, you know,

1:02:55.920 --> 1:02:59.040
<v Speaker 1>so like as view are, you're like like she's glowing

1:02:59.240 --> 1:03:01.880
<v Speaker 1>her skins good. Now she's a size four, you know,

1:03:02.000 --> 1:03:05.560
<v Speaker 1>like how yeah, and she's a celebrating it. And but

1:03:05.880 --> 1:03:08.160
<v Speaker 1>it's not telling the viewer to be like to be

1:03:08.240 --> 1:03:10.600
<v Speaker 1>like oh my god, Andy, It's it's telling the viewer

1:03:10.720 --> 1:03:12.840
<v Speaker 1>like yes girl, you know. So it's like it's such

1:03:12.880 --> 1:03:16.440
<v Speaker 1>a confusing message. And I think Andy's ark is even

1:03:16.480 --> 1:03:19.520
<v Speaker 1>way we're confusing the Miranda's ark because like from Miranda,

1:03:19.600 --> 1:03:22.720
<v Speaker 1>were like, oh is she really evil devil, worst product boss?

1:03:23.120 --> 1:03:24.680
<v Speaker 1>Or can she be more? And I'm work given more

1:03:24.760 --> 1:03:27.560
<v Speaker 1>of like a nuance, I think because maybe Meryl Street's performance.

1:03:27.560 --> 1:03:31.840
<v Speaker 1>But with Andy, it's like it's really really confusing, especially

1:03:31.840 --> 1:03:34.200
<v Speaker 1>because like early on, I forget who she says it too,

1:03:34.320 --> 1:03:37.400
<v Speaker 1>but she says something like, oh, just because I have

1:03:37.560 --> 1:03:40.000
<v Speaker 1>this job doesn't mean I'm going to change everything about myself.

1:03:40.160 --> 1:03:43.240
<v Speaker 1>And then she changes a lot of stuff about herself,

1:03:43.640 --> 1:03:46.360
<v Speaker 1>including the way she presents herself, including her the way

1:03:46.400 --> 1:03:51.400
<v Speaker 1>she treats other people. Yeah, it's it's she goes through

1:03:51.600 --> 1:03:56.360
<v Speaker 1>this arc that I can't say I necessarily admire, and

1:03:56.440 --> 1:03:58.600
<v Speaker 1>I get by the end when she, you know, does

1:03:58.720 --> 1:04:02.080
<v Speaker 1>the symbolics throwing of the phone into the fountain and

1:04:02.200 --> 1:04:05.680
<v Speaker 1>walking away from Miranda, it's like, Okay, she like has

1:04:06.080 --> 1:04:11.280
<v Speaker 1>reordered her priorities and she is like she changed back

1:04:11.600 --> 1:04:16.360
<v Speaker 1>for the better. But the movie does frame her becoming

1:04:16.440 --> 1:04:19.760
<v Speaker 1>this new stylish person is like such a glamorous, wonderful

1:04:19.880 --> 1:04:23.880
<v Speaker 1>thing for her that it sends mixed messages. I think,

1:04:24.120 --> 1:04:27.400
<v Speaker 1>And I think like, even as like useless as Nate is,

1:04:27.520 --> 1:04:29.720
<v Speaker 1>he does say one thing where I'm like, oh, funk, yes,

1:04:29.800 --> 1:04:32.680
<v Speaker 1>when um he's mad at her for something, maybe when

1:04:32.920 --> 1:04:34.800
<v Speaker 1>she didn't go to her birthday party, or like oh

1:04:34.840 --> 1:04:36.400
<v Speaker 1>when he when she has to go to Paris, and

1:04:36.800 --> 1:04:38.200
<v Speaker 1>he was like, you know what, I don't care that

1:04:38.200 --> 1:04:40.320
<v Speaker 1>if you're into this stuff as long as you did

1:04:40.360 --> 1:04:43.320
<v Speaker 1>it with conviction. And that's the feeling I get about Andy.

1:04:43.360 --> 1:04:45.680
<v Speaker 1>It's like like I don't care she's into this stuff.

1:04:45.680 --> 1:04:47.320
<v Speaker 1>I don't care she feels like she needs to lose weight,

1:04:47.360 --> 1:04:49.760
<v Speaker 1>Like that's she can have her own agency and she

1:04:49.800 --> 1:04:52.360
<v Speaker 1>can make those decisions. Um, and if she thinks she

1:04:52.400 --> 1:04:54.720
<v Speaker 1>looks better and clothes whatever. That's like her thing like

1:04:55.080 --> 1:04:58.000
<v Speaker 1>live your life, but at least like be into it

1:04:58.080 --> 1:05:01.000
<v Speaker 1>and like live that, and then I would respect that

1:05:01.120 --> 1:05:03.040
<v Speaker 1>more than like this weird wishy washing us, because is

1:05:03.120 --> 1:05:05.520
<v Speaker 1>even when she throws the phone in the fountain, I

1:05:05.600 --> 1:05:07.840
<v Speaker 1>didn't think it was like, oh, I'm taking back my

1:05:07.960 --> 1:05:11.520
<v Speaker 1>life again, like I renounced this lifestyle because like Maranda

1:05:11.600 --> 1:05:13.240
<v Speaker 1>just got done doing that thing like everybody wants to

1:05:13.280 --> 1:05:16.360
<v Speaker 1>be us. I thought of it as like Andy being

1:05:16.480 --> 1:05:19.640
<v Speaker 1>mad that Miranda just called her out on going to Paris.

1:05:20.760 --> 1:05:24.040
<v Speaker 1>Oh yeah, because it wasn't so much like everybody wants

1:05:24.080 --> 1:05:26.120
<v Speaker 1>to be us, because that is true, and you know what,

1:05:26.240 --> 1:05:27.760
<v Speaker 1>Andy did want to be there and and he was

1:05:27.840 --> 1:05:30.320
<v Speaker 1>that it was because like Miranda just like said, well

1:05:30.400 --> 1:05:33.360
<v Speaker 1>you just did it to Emily, you know, which, which

1:05:33.440 --> 1:05:35.720
<v Speaker 1>wasn't that fair for her to say because Emily, you know,

1:05:35.800 --> 1:05:41.080
<v Speaker 1>got hit by a car. But yeah, that I mean,

1:05:41.640 --> 1:05:45.040
<v Speaker 1>And and that is a confusing like it's a confusing

1:05:45.120 --> 1:05:47.160
<v Speaker 1>message to send because it's like, you see what Miranda

1:05:47.240 --> 1:05:51.720
<v Speaker 1>is saying, but then it's implied that the solution to

1:05:52.240 --> 1:05:56.440
<v Speaker 1>that is just to leave that industry. And then it's fine,

1:05:56.760 --> 1:05:59.400
<v Speaker 1>I don't know, it just seemed like an overly simplified,

1:05:59.480 --> 1:06:04.560
<v Speaker 1>resolute shin. Andy's character is weird, and it's it's frustrating because, like,

1:06:04.720 --> 1:06:08.080
<v Speaker 1>like the Sandra Bullock Miss Congeniality character, I largely agree

1:06:08.120 --> 1:06:10.480
<v Speaker 1>with everything that she says at the beginning of the movie,

1:06:11.200 --> 1:06:13.600
<v Speaker 1>and I agree with her more at the beginning of

1:06:13.640 --> 1:06:15.400
<v Speaker 1>the movie than I do at the end. Yeah, so

1:06:15.480 --> 1:06:18.120
<v Speaker 1>then what was the point of the journeying? I guess right,

1:06:18.240 --> 1:06:20.200
<v Speaker 1>That's why I like, in a way, we think of

1:06:20.360 --> 1:06:23.960
<v Speaker 1>this movie as like Andy's story, But like when I

1:06:24.080 --> 1:06:26.320
<v Speaker 1>finished watching the movie, I'm like, I want to know

1:06:26.360 --> 1:06:29.520
<v Speaker 1>more about Miranda. Yeah, I want to know, like, well,

1:06:29.560 --> 1:06:31.240
<v Speaker 1>who is she dating after this? Like what are her

1:06:31.320 --> 1:06:33.880
<v Speaker 1>kids grow up to be? Like who's her new assistance?

1:06:33.880 --> 1:06:36.080
<v Speaker 1>Will happened to Emily? You know, like like Andy's just

1:06:36.480 --> 1:06:39.000
<v Speaker 1>like this conduit by which I get to learn about Miranda.

1:06:40.560 --> 1:06:42.960
<v Speaker 1>I want the best for Emily to Emily. I mean,

1:06:43.240 --> 1:06:48.000
<v Speaker 1>Emily's character is kind of cartoony and how she's presented,

1:06:48.040 --> 1:06:50.479
<v Speaker 1>and Emily Blunt is like so fun in this movie.

1:06:50.520 --> 1:06:53.560
<v Speaker 1>It's one of her first parts ever. I mean, it's

1:06:53.600 --> 1:06:55.920
<v Speaker 1>weird because I think the movie counts on you being

1:06:56.040 --> 1:06:58.480
<v Speaker 1>so on Andy's side that you're supposed to be like, Oh,

1:06:58.560 --> 1:07:01.360
<v Speaker 1>Emily is so uppity and me but like most of

1:07:01.440 --> 1:07:04.440
<v Speaker 1>the time she's right. She can be harsh, but she

1:07:05.160 --> 1:07:08.640
<v Speaker 1>is usually right where she's confused as to why Andy

1:07:08.680 --> 1:07:12.040
<v Speaker 1>got the job, So was I. She's like, you don't

1:07:12.080 --> 1:07:14.680
<v Speaker 1>know anything about this job you just got, like why

1:07:14.720 --> 1:07:16.760
<v Speaker 1>did you apply? And that's supposed to be like mean

1:07:16.840 --> 1:07:20.080
<v Speaker 1>and dismissive, but it's like, but why like and and

1:07:20.320 --> 1:07:23.640
<v Speaker 1>the fact that her store her like b plot gets

1:07:23.680 --> 1:07:25.760
<v Speaker 1>so out of control that she gets literally hit by

1:07:25.800 --> 1:07:29.160
<v Speaker 1>a car was like, I, I don't know, it's like

1:07:29.440 --> 1:07:32.400
<v Speaker 1>she I thought, like ten years later watching her, it

1:07:32.440 --> 1:07:34.400
<v Speaker 1>was like there was a more grounded plot than the

1:07:34.480 --> 1:07:36.560
<v Speaker 1>movie gave it credit for, because she's just supposed to

1:07:36.600 --> 1:07:39.760
<v Speaker 1>seem like Andy stealing my life and a very like

1:07:40.600 --> 1:07:43.960
<v Speaker 1>female competition in the workplace is narrative that was kind

1:07:44.000 --> 1:07:47.520
<v Speaker 1>of was pretty tired and again counts on you being

1:07:47.520 --> 1:07:50.120
<v Speaker 1>on Anne Hathaway side no matter what. But I liked

1:07:50.160 --> 1:07:52.720
<v Speaker 1>Emily's character and it was so clear that she knew

1:07:52.800 --> 1:07:54.760
<v Speaker 1>exactly what she was doing and was really good at

1:07:54.800 --> 1:07:56.520
<v Speaker 1>it and dedicated her life to it. And I don't

1:07:56.600 --> 1:08:00.280
<v Speaker 1>understand why Andy would get preference over her like it doesn't.

1:08:00.800 --> 1:08:02.920
<v Speaker 1>And I think that sometimes the implication is like, well,

1:08:03.000 --> 1:08:05.280
<v Speaker 1>she wants it too badly, and it's like what she's

1:08:05.320 --> 1:08:08.760
<v Speaker 1>working too hard she's doing I don't know. Yeah, my

1:08:08.960 --> 1:08:12.360
<v Speaker 1>main takeaway from that is that it is like kind

1:08:12.400 --> 1:08:16.160
<v Speaker 1>of promoting the trope of you know, women who work

1:08:16.280 --> 1:08:19.479
<v Speaker 1>together or who are in close proximity to each other.

1:08:19.960 --> 1:08:22.599
<v Speaker 1>They got to be competing because that's just how women are.

1:08:23.080 --> 1:08:27.479
<v Speaker 1>And I was surprised or I don't know, I just

1:08:27.520 --> 1:08:31.840
<v Speaker 1>supposed that I was expecting something more along the lines of, oh, well,

1:08:32.240 --> 1:08:36.000
<v Speaker 1>they're both working in this like toxic work environment and

1:08:36.080 --> 1:08:38.439
<v Speaker 1>it's like high stress job. You think they would bond

1:08:38.520 --> 1:08:41.240
<v Speaker 1>over the fact that there's in similar roles in dealing

1:08:41.280 --> 1:08:44.280
<v Speaker 1>with similar things, and there would be like solidarity there

1:08:44.880 --> 1:08:48.519
<v Speaker 1>that they can bond over. But Andy is not good

1:08:48.560 --> 1:08:50.640
<v Speaker 1>at her job and doesn't know what she's doing. But

1:08:51.120 --> 1:08:55.360
<v Speaker 1>that's true, that's true of anyone who starts out at

1:08:55.400 --> 1:08:57.719
<v Speaker 1>a job. I mean, she's way more behind than probably

1:08:57.800 --> 1:08:59.840
<v Speaker 1>most you know, she doesn't even know where she is

1:09:00.200 --> 1:09:02.880
<v Speaker 1>in the beginning. Like I don't know, I think if

1:09:03.160 --> 1:09:05.920
<v Speaker 1>if a if a new coworker of any gender, approached me.

1:09:06.000 --> 1:09:08.760
<v Speaker 1>It's like, excuse me, what is this. It's like, I

1:09:08.840 --> 1:09:11.120
<v Speaker 1>don't have time for this. Like but but there's no

1:09:11.280 --> 1:09:14.040
<v Speaker 1>nuance in the way that's presented. And it's also always like, well,

1:09:14.160 --> 1:09:16.240
<v Speaker 1>feel bad for Andy because this lady is being so

1:09:16.360 --> 1:09:19.200
<v Speaker 1>mean to her. And then the actual first time they

1:09:19.360 --> 1:09:22.719
<v Speaker 1>really bonded was when they meet at that benefit dinner

1:09:23.320 --> 1:09:25.160
<v Speaker 1>and Emily was like, oh my god, you look cheek

1:09:25.240 --> 1:09:28.080
<v Speaker 1>for the first time. And then Andy says to Emily like, well,

1:09:28.160 --> 1:09:30.040
<v Speaker 1>you look skinny. It is and he's like, oh my god.

1:09:30.439 --> 1:09:34.559
<v Speaker 1>Saying that bonding scene is crazy. It's like the scene

1:09:34.600 --> 1:09:37.799
<v Speaker 1>where Emily blunts is a bunch of like really troubling

1:09:37.920 --> 1:09:42.559
<v Speaker 1>stuff about her her eating disorder and and and it's

1:09:42.600 --> 1:09:45.320
<v Speaker 1>just like, while you look amazing, and then she's like, cool,

1:09:45.360 --> 1:09:47.840
<v Speaker 1>we're friends now. It's like this is what we bought

1:09:47.920 --> 1:09:52.080
<v Speaker 1>it over, not the mutual abuse you also, and like

1:09:52.240 --> 1:09:54.280
<v Speaker 1>at no point that does Andy go like, what you

1:09:54.640 --> 1:09:58.439
<v Speaker 1>eat a cube of cheese a day? Like can we

1:09:58.600 --> 1:10:03.479
<v Speaker 1>run down is eating disorder? Her? All the white stuff

1:10:03.520 --> 1:10:06.479
<v Speaker 1>in the movie where we I think the first mention

1:10:06.600 --> 1:10:10.280
<v Speaker 1>of it is Andy is getting corn chowder for lunch.

1:10:10.680 --> 1:10:14.120
<v Speaker 1>Stanley Tucci's character makes fun of her and she's like, what,

1:10:14.280 --> 1:10:16.439
<v Speaker 1>none of the girls here eat anything? And he says

1:10:16.520 --> 1:10:19.600
<v Speaker 1>not since two became the new four. Zero became the

1:10:19.720 --> 1:10:21.519
<v Speaker 1>new two. And then she's like, well, I'm a six

1:10:21.640 --> 1:10:25.120
<v Speaker 1>and he's like, which is the new fourteen? So like

1:10:25.360 --> 1:10:30.240
<v Speaker 1>body shaming her. Um, Miranda says she's speaking to Andy.

1:10:30.320 --> 1:10:33.000
<v Speaker 1>She says, I said to myself, take a chance, hire

1:10:33.080 --> 1:10:35.720
<v Speaker 1>the smart fat girl. It seems like they're trying to

1:10:36.000 --> 1:10:39.120
<v Speaker 1>go for satire here sometimes, but it just doesn't work.

1:10:39.479 --> 1:10:42.360
<v Speaker 1>It doesn't work because Miranda's like sincere in other ways.

1:10:43.640 --> 1:10:48.040
<v Speaker 1>And and Stanley, who's called Stanley Tucci, who he goes in,

1:10:48.439 --> 1:10:52.000
<v Speaker 1>he like starts nicknaming her six. He's calling her six

1:10:52.600 --> 1:10:54.879
<v Speaker 1>like and all the and there's nothing in this closet

1:10:54.920 --> 1:10:58.160
<v Speaker 1>that will fit a size six like and then yeah,

1:10:58.200 --> 1:11:01.080
<v Speaker 1>he's like, you're getting chowder. Like he's just like he's

1:11:01.160 --> 1:11:03.840
<v Speaker 1>furious anytime a woman eats, and it is it is

1:11:03.880 --> 1:11:08.040
<v Speaker 1>a trigger for him women being nourished. And then at

1:11:08.080 --> 1:11:10.639
<v Speaker 1>the end of the way that all sort of wraps

1:11:10.720 --> 1:11:13.120
<v Speaker 1>up is that he says something like you bet your

1:11:13.400 --> 1:11:16.760
<v Speaker 1>side sticks ass, and then Andy says, I'm afar now

1:11:17.040 --> 1:11:21.280
<v Speaker 1>and he's like really like at a moment they bonded,

1:11:21.439 --> 1:11:26.479
<v Speaker 1>everyone's bonding over these very sinister body standard things, which yeah,

1:11:26.760 --> 1:11:30.240
<v Speaker 1>I feel like it must be an attempt at satire

1:11:30.479 --> 1:11:33.719
<v Speaker 1>to some degree, but also it's not. It doesn't land

1:11:33.800 --> 1:11:36.120
<v Speaker 1>for me. I just I see this and I'm like, oh,

1:11:36.320 --> 1:11:40.280
<v Speaker 1>they are idolizing small body types. That's what we're supposed

1:11:40.280 --> 1:11:42.760
<v Speaker 1>to take away from the movie. Yeah, No, I think

1:11:42.800 --> 1:11:45.839
<v Speaker 1>it's it thinks it's being cute and clever with that stuff.

1:11:45.840 --> 1:11:48.559
<v Speaker 1>But I don't know for me it totally. And it's

1:11:48.680 --> 1:11:51.000
<v Speaker 1>it's so pervasive because there are like other times where

1:11:51.040 --> 1:11:53.559
<v Speaker 1>like Miranda talks about like a model that got hired,

1:11:54.000 --> 1:11:55.880
<v Speaker 1>and she also makes a remark I think about the

1:11:55.920 --> 1:11:59.040
<v Speaker 1>models wait, like called her frumpy or something, but that

1:11:59.160 --> 1:12:00.719
<v Speaker 1>I think that was deaf. Only one of those moments

1:12:00.760 --> 1:12:02.320
<v Speaker 1>where I was just like the funk, you know what

1:12:02.360 --> 1:12:05.160
<v Speaker 1>I mean? Like and if I if I wasn't who

1:12:05.240 --> 1:12:07.120
<v Speaker 1>I am and have had my own issues with like

1:12:07.400 --> 1:12:10.439
<v Speaker 1>you know, eating stuff, but like I've recovered unhealthy now

1:12:10.560 --> 1:12:12.680
<v Speaker 1>or whatever. But if I was, I think if I

1:12:12.760 --> 1:12:14.479
<v Speaker 1>was younger and more impressional, why I'd be like, oh

1:12:14.600 --> 1:12:16.840
<v Speaker 1>this is I wouldn't even think it was satire. I

1:12:16.880 --> 1:12:18.920
<v Speaker 1>would just think this is like a normal thing. Yeah,

1:12:19.240 --> 1:12:23.040
<v Speaker 1>that like adult people talk about in their work, which

1:12:23.120 --> 1:12:25.080
<v Speaker 1>is like really fucked up. And if you're a kid

1:12:25.280 --> 1:12:28.439
<v Speaker 1>seeing that movie, because I remember that Emily bluntline so

1:12:28.720 --> 1:12:31.920
<v Speaker 1>specifically because I saw some smood and I was like thirteen,

1:12:32.560 --> 1:12:36.320
<v Speaker 1>and that was like some early proto Jamie eating disorder,

1:12:36.439 --> 1:12:39.920
<v Speaker 1>like peak era, and it at the time sounded to

1:12:40.000 --> 1:12:42.479
<v Speaker 1>me like a literal suggestion of something you could do

1:12:43.520 --> 1:12:46.840
<v Speaker 1>versus Oh, they're trying to make a comment on how

1:12:47.320 --> 1:12:51.599
<v Speaker 1>body centric this. It's just if you're gonna bring up

1:12:52.080 --> 1:12:57.280
<v Speaker 1>the issue of body shaming in the fashion industry, valid

1:12:57.600 --> 1:13:00.840
<v Speaker 1>huge part of the industry, but like make it very clear,

1:13:01.120 --> 1:13:04.400
<v Speaker 1>especially if you're marketing your movie at young people, that

1:13:04.560 --> 1:13:07.360
<v Speaker 1>you're being critical of it and that it's unreasonable and

1:13:07.479 --> 1:13:10.439
<v Speaker 1>that it shouldn't be an objective because yeah, like the

1:13:10.600 --> 1:13:13.479
<v Speaker 1>cube cheese line was like, oh, you can do that,

1:13:14.320 --> 1:13:17.519
<v Speaker 1>even though Emily Blunt is like subtextually saying like and

1:13:17.760 --> 1:13:20.560
<v Speaker 1>it's killing me and I'm almost dead, but all I

1:13:20.680 --> 1:13:23.080
<v Speaker 1>got was like, oh, cube of cheese, you won't die sick,

1:13:23.360 --> 1:13:26.599
<v Speaker 1>like and like she follows that me they be saying like, oh,

1:13:26.640 --> 1:13:28.439
<v Speaker 1>I think she says like, I'm one stomach flew away

1:13:28.439 --> 1:13:31.640
<v Speaker 1>from being a zero my goal away, and she's like

1:13:31.760 --> 1:13:34.320
<v Speaker 1>she's sick during that scene, she has a cold. So

1:13:34.400 --> 1:13:36.960
<v Speaker 1>I'm thinking, like are you are you there yet? Like

1:13:37.560 --> 1:13:40.280
<v Speaker 1>you know, like is this the stomming cool that you're getting?

1:13:40.360 --> 1:13:43.360
<v Speaker 1>Like okay, go, you know, like there's no like critique

1:13:43.400 --> 1:13:45.160
<v Speaker 1>of it. There's no Andy being like no, maybe we

1:13:45.200 --> 1:13:47.240
<v Speaker 1>should like why don't we step aside and you have

1:13:47.439 --> 1:13:49.880
<v Speaker 1>something that's not a cube of cheese. There's nothing like that,

1:13:50.000 --> 1:13:51.880
<v Speaker 1>Like all of the things that are talked about with

1:13:51.920 --> 1:13:54.439
<v Speaker 1>wet stuff. Is just very matter of fact. She's part

1:13:54.479 --> 1:13:57.400
<v Speaker 1>of this world and like you should aspire for it.

1:13:57.720 --> 1:14:00.080
<v Speaker 1>And the fact that Andy is like super excited to

1:14:00.160 --> 1:14:01.680
<v Speaker 1>be down to a size four at the end of

1:14:01.720 --> 1:14:06.760
<v Speaker 1>the movie, like that just drives the very wild thing

1:14:06.800 --> 1:14:09.800
<v Speaker 1>about that is that she looks the same, you know

1:14:09.800 --> 1:14:11.240
<v Speaker 1>what I mean, from the beginning the end of the movie.

1:14:11.320 --> 1:14:13.479
<v Speaker 1>So then like if you have like body dysmorphia and

1:14:13.520 --> 1:14:15.639
<v Speaker 1>you're like you're thinking that this person who's the same

1:14:15.640 --> 1:14:17.479
<v Speaker 1>body size from the beginning to the end is actually

1:14:17.479 --> 1:14:20.760
<v Speaker 1>has actually fluctuated, it'll just like feed into anybody this

1:14:20.840 --> 1:14:25.800
<v Speaker 1>morphia that you might have. It's yeah, this movie mishandles

1:14:25.920 --> 1:14:31.080
<v Speaker 1>that theme, and it also made me dislike Stanley Tucci's character,

1:14:31.200 --> 1:14:33.559
<v Speaker 1>who I loved at the time the movie came out,

1:14:33.560 --> 1:14:35.559
<v Speaker 1>and I still like, I have a lot of love

1:14:35.600 --> 1:14:38.000
<v Speaker 1>for that character, but so much of the focus is

1:14:38.200 --> 1:14:41.479
<v Speaker 1>on that and then it's like that's where they bond

1:14:41.600 --> 1:14:44.200
<v Speaker 1>and we sort of touched on how his character is

1:14:44.320 --> 1:14:47.080
<v Speaker 1>also very much like, no, you need to accept abuse

1:14:47.120 --> 1:14:50.439
<v Speaker 1>in the workplace, and you know, just do it until

1:14:50.840 --> 1:14:52.960
<v Speaker 1>you get you know, you'll get praise when you're doing

1:14:53.000 --> 1:14:55.479
<v Speaker 1>a good enough job, which is you know, not just

1:14:55.680 --> 1:14:58.840
<v Speaker 1>like a hallmark of abusive work relationships, but all of

1:14:59.000 --> 1:15:02.920
<v Speaker 1>them and and sends I think, I mean, that seemed

1:15:02.920 --> 1:15:06.360
<v Speaker 1>to be a value that the movie held earnestly based

1:15:06.400 --> 1:15:09.120
<v Speaker 1>on how it turns out. It's like, well, if you

1:15:09.200 --> 1:15:12.559
<v Speaker 1>are working around the clock for low pay, you change

1:15:12.960 --> 1:15:17.400
<v Speaker 1>your appearance entirely, then you can become successful. And the

1:15:17.479 --> 1:15:19.400
<v Speaker 1>movie doesn't really challenge that in any way because that's

1:15:19.439 --> 1:15:23.240
<v Speaker 1>what happens is he is that character or queer coded

1:15:24.040 --> 1:15:26.320
<v Speaker 1>I believe, yeah, yeah, he says like um when he

1:15:26.400 --> 1:15:28.920
<v Speaker 1>talks about like his background of how he was like

1:15:28.960 --> 1:15:31.679
<v Speaker 1>a little gay boy, he used to sneak a runway

1:15:31.760 --> 1:15:35.160
<v Speaker 1>and would read under his covers. He doesn't make it

1:15:35.240 --> 1:15:37.880
<v Speaker 1>clear that it's specifically him that he's talking about, but

1:15:38.200 --> 1:15:41.160
<v Speaker 1>you can make that connection pretty easily. So that's yet

1:15:41.200 --> 1:15:43.680
<v Speaker 1>another example that we see in a movie of a

1:15:43.960 --> 1:15:47.760
<v Speaker 1>queer character who gives a makeover, which is something that

1:15:47.840 --> 1:15:50.400
<v Speaker 1>we see so often. And I really didn't like about

1:15:50.520 --> 1:15:53.000
<v Speaker 1>that makeover except for the fact that it mercifully took

1:15:53.000 --> 1:15:58.360
<v Speaker 1>by soft screen. Was was that comes at the end

1:15:58.560 --> 1:16:02.400
<v Speaker 1>of this long gas lighting except abuse in the workplace scene,

1:16:02.960 --> 1:16:05.800
<v Speaker 1>and then the writer has the goal to make it

1:16:06.000 --> 1:16:09.840
<v Speaker 1>Andy's idea to be like, hey, why don't you give

1:16:09.920 --> 1:16:12.839
<v Speaker 1>me a makeover? I was like, you've just failed everyone,

1:16:13.040 --> 1:16:15.600
<v Speaker 1>every character in this scene by having it be like

1:16:16.640 --> 1:16:19.240
<v Speaker 1>I mean, that's so true. I hadn't thought about that

1:16:19.280 --> 1:16:22.720
<v Speaker 1>because it would be one thing if maybe Nigel suggested it.

1:16:22.960 --> 1:16:25.400
<v Speaker 1>It was like forced on her. Not that anything you

1:16:25.400 --> 1:16:27.040
<v Speaker 1>should be forced on anyone, but like the fact that

1:16:27.120 --> 1:16:30.040
<v Speaker 1>they put it on the character just felt weird. I

1:16:30.080 --> 1:16:32.240
<v Speaker 1>don't know. And if you think about her makeover and

1:16:32.280 --> 1:16:33.960
<v Speaker 1>the clothes that she ends up wearing, it was just

1:16:34.040 --> 1:16:36.240
<v Speaker 1>such a generic makeover, like I had nothing of like

1:16:36.360 --> 1:16:38.960
<v Speaker 1>who Andy might be you know how like if you

1:16:38.960 --> 1:16:40.640
<v Speaker 1>watch makeover show, he was like, Oh, you like to

1:16:40.720 --> 1:16:42.640
<v Speaker 1>wear things like this, Let's get you things like that,

1:16:42.720 --> 1:16:44.640
<v Speaker 1>but like better to fit you better, or like a

1:16:44.720 --> 1:16:46.799
<v Speaker 1>color pellette that might like help you with your features

1:16:46.840 --> 1:16:50.880
<v Speaker 1>better or whatever. Yeah, but she's literally like wearing like

1:16:51.200 --> 1:16:54.960
<v Speaker 1>fashion spreads. Yeah, it's just whatever free clothes are available

1:16:55.439 --> 1:16:59.000
<v Speaker 1>that happened to fit her. And she's very comfortable in

1:16:59.080 --> 1:17:02.120
<v Speaker 1>this she's walking in for and she was like, yeah,

1:17:02.320 --> 1:17:04.200
<v Speaker 1>thatstuff was like fun to look at. But I was

1:17:04.320 --> 1:17:07.479
<v Speaker 1>just like, girl, really like not even not even one

1:17:07.520 --> 1:17:09.960
<v Speaker 1>twisted ankle or you know, are being like, oh, the

1:17:10.000 --> 1:17:12.360
<v Speaker 1>skirt is kind of too type this wol doesn't feel

1:17:12.439 --> 1:17:14.120
<v Speaker 1>right against my skin none, none of that. She's just

1:17:14.240 --> 1:17:16.040
<v Speaker 1>like dives right into it. And I think that's why

1:17:16.040 --> 1:17:18.240
<v Speaker 1>I just feel so weird about the anti character in

1:17:18.320 --> 1:17:22.719
<v Speaker 1>this movie. She's like so like she's telling us verbally

1:17:22.840 --> 1:17:24.800
<v Speaker 1>like I don't want to do this, but then all

1:17:24.800 --> 1:17:27.439
<v Speaker 1>of her actions were saying like I'm feeling this very

1:17:27.560 --> 1:17:32.160
<v Speaker 1>freely and happily, and it's making my life better. It

1:17:32.240 --> 1:17:35.560
<v Speaker 1>looks so much better. Can we talk? I know this

1:17:35.640 --> 1:17:38.920
<v Speaker 1>episode is already so long. Can we briefly talk about

1:17:39.080 --> 1:17:43.120
<v Speaker 1>the Christian Thompson character and how he is a fucking

1:17:43.240 --> 1:17:47.400
<v Speaker 1>horrible creep that the movie does not really acknowledge or

1:17:47.439 --> 1:17:49.880
<v Speaker 1>punish him for. Um, I'll just kind of run through

1:17:49.880 --> 1:17:51.840
<v Speaker 1>a list of the things that he does. When he

1:17:51.920 --> 1:17:55.920
<v Speaker 1>first meets Andy, he tells her that you'll never survive Miranda.

1:17:56.000 --> 1:17:58.839
<v Speaker 1>So basically he's nagging her and doesn't have any confidence

1:17:58.880 --> 1:18:02.439
<v Speaker 1>in her abilities. Um, he keeps calling her Miranda girl

1:18:02.840 --> 1:18:07.320
<v Speaker 1>instead of calling her by her name, hot, stripping her

1:18:07.400 --> 1:18:12.280
<v Speaker 1>of her identity and individuality. Well. Also, to be fair,

1:18:12.360 --> 1:18:15.080
<v Speaker 1>Miranda does that to her for most as well. True,

1:18:15.120 --> 1:18:18.000
<v Speaker 1>but we're also you know, Miranda's framed as someone that

1:18:18.080 --> 1:18:20.479
<v Speaker 1>we're not meant to like. At least while she's doing that,

1:18:21.280 --> 1:18:24.840
<v Speaker 1>he says he like sees her in this beautiful gown,

1:18:24.920 --> 1:18:27.280
<v Speaker 1>and he says, oh, you're a vision. Thank god I

1:18:27.360 --> 1:18:31.439
<v Speaker 1>saved your job, and she, to be fair, does challenge

1:18:31.479 --> 1:18:33.639
<v Speaker 1>that and says, well, I figured a few things out

1:18:33.680 --> 1:18:35.799
<v Speaker 1>on my own too, But it's a man taking credit

1:18:35.880 --> 1:18:38.240
<v Speaker 1>for something you shouldn't take credit for her and taking

1:18:38.240 --> 1:18:41.599
<v Speaker 1>credit for a woman's work. Basically, he's also offering her

1:18:41.840 --> 1:18:45.240
<v Speaker 1>a way to get ahead in exchange for basically a

1:18:45.360 --> 1:18:48.360
<v Speaker 1>sustained flirtation with him that we're led to believeable lead

1:18:48.400 --> 1:18:51.559
<v Speaker 1>to sex. And ye he keeps saying like I'll introduce

1:18:51.640 --> 1:18:55.439
<v Speaker 1>you to you know, this editor or whatever. Every time

1:18:55.520 --> 1:19:03.519
<v Speaker 1>a guy says that, bt dubbs, they're lying everything every time. Well,

1:19:03.560 --> 1:19:05.599
<v Speaker 1>I just I just think about like my first year

1:19:05.760 --> 1:19:09.760
<v Speaker 1>living here a lot and like every child who approaches you,

1:19:09.840 --> 1:19:13.040
<v Speaker 1>and it's like, yeah, no, I know, like blah blah blah.

1:19:13.320 --> 1:19:17.320
<v Speaker 1>It's never true. They always know someone influential's cousin who

1:19:17.479 --> 1:19:20.800
<v Speaker 1>they're on terrible terms with, Like awful news to be

1:19:20.840 --> 1:19:25.960
<v Speaker 1>because I'm relying on that introduction the random man, but

1:19:26.160 --> 1:19:28.679
<v Speaker 1>just like seeing it done in this particular way of like, yeah,

1:19:28.800 --> 1:19:32.160
<v Speaker 1>I know an editor. I'm like interesting, what's their name? Like,

1:19:33.080 --> 1:19:37.280
<v Speaker 1>how do you know them? I'm so fucking skeptical of everyone.

1:19:37.360 --> 1:19:40.840
<v Speaker 1>But and then he feels like she owes him for

1:19:40.960 --> 1:19:44.320
<v Speaker 1>like the Harry Potter book favor, which is a kid

1:19:44.960 --> 1:19:47.400
<v Speaker 1>how he oh he has access to that, but he

1:19:47.520 --> 1:19:49.000
<v Speaker 1>has a friend who was a friend of a friend

1:19:49.040 --> 1:19:51.240
<v Speaker 1>of a cover designer, which is not how any of

1:19:51.280 --> 1:19:56.800
<v Speaker 1>that that whatever? Okays? Like, yeah, I was gaslighting J

1:19:56.960 --> 1:20:01.080
<v Speaker 1>K Rowling a couple of years ago, so she loved her.

1:20:01.280 --> 1:20:03.640
<v Speaker 1>She likes, Okay, here's how I think he did it.

1:20:04.360 --> 1:20:07.599
<v Speaker 1>I think that he was gaslighting JK. Rowling and then

1:20:07.640 --> 1:20:10.000
<v Speaker 1>she was like, fuck you, I'm out of here. But

1:20:10.640 --> 1:20:13.759
<v Speaker 1>she stayed logged into her Google drive on his computer

1:20:14.320 --> 1:20:16.479
<v Speaker 1>and he never logged out, and so he has all

1:20:16.520 --> 1:20:19.679
<v Speaker 1>of her documents. Maybe I think that he was performing

1:20:19.880 --> 1:20:23.800
<v Speaker 1>the what's the unforgivable curse? That it makes it like

1:20:23.880 --> 1:20:26.640
<v Speaker 1>mind controls you, not the crucial curse. I think that's

1:20:26.680 --> 1:20:29.040
<v Speaker 1>the torture one. I forget what this curch is called

1:20:29.200 --> 1:20:34.479
<v Speaker 1>her and like, yeah, basically like cursed her into giving

1:20:34.920 --> 1:20:38.080
<v Speaker 1>him the manuscript. I think that if someone finds seven

1:20:38.120 --> 1:20:40.640
<v Speaker 1>how many horr cracks? Is it seven? Seven? If you

1:20:40.720 --> 1:20:43.519
<v Speaker 1>find all seven hor cracks, is he gets normal colored hair?

1:20:44.479 --> 1:20:48.120
<v Speaker 1>I actually would watch the film of like people trying

1:20:48.160 --> 1:20:50.040
<v Speaker 1>to figure out how he got the manuscript and then

1:20:50.160 --> 1:20:53.880
<v Speaker 1>they would explore it with via Your Guys series. I

1:20:53.920 --> 1:20:56.160
<v Speaker 1>would watch that there isn't just one to detective and

1:20:56.200 --> 1:21:00.439
<v Speaker 1>be like it was a bad lead. Got a super producer, Sophie,

1:21:00.920 --> 1:21:03.800
<v Speaker 1>thank you so much, says the imperious curse. So he

1:21:03.920 --> 1:21:08.920
<v Speaker 1>was imperious cursing and okay, so finally the worst thing

1:21:09.000 --> 1:21:13.479
<v Speaker 1>he does is that he they're in Paris, he kisses her.

1:21:13.800 --> 1:21:17.679
<v Speaker 1>She keeps saying, after that acid exchange, Paris is pretty.

1:21:21.960 --> 1:21:26.120
<v Speaker 1>He kisses her, she says no, I think three different times,

1:21:26.720 --> 1:21:29.280
<v Speaker 1>and then he keeps pushing past the no keeps kissing

1:21:29.360 --> 1:21:33.479
<v Speaker 1>her and implied like a no means yes, like like

1:21:34.200 --> 1:21:37.080
<v Speaker 1>well I'm out of excuses, and he's like, thank goodness.

1:21:37.240 --> 1:21:40.240
<v Speaker 1>So then they keep kissing and it just shows a

1:21:40.320 --> 1:21:42.880
<v Speaker 1>man pushing past the know, a woman being worn down,

1:21:43.000 --> 1:21:47.880
<v Speaker 1>and the whole thing being framed as romantic rather than predatory,

1:21:47.960 --> 1:21:53.920
<v Speaker 1>which she's happening. She does give consent, yes, and she

1:21:54.040 --> 1:21:56.679
<v Speaker 1>even says like I've had too much to drink everything.

1:21:57.040 --> 1:21:58.920
<v Speaker 1>She lays out all the reasons why it's not a

1:21:58.960 --> 1:22:02.240
<v Speaker 1>good idea, and with the movie, the movie makes her

1:22:02.320 --> 1:22:04.560
<v Speaker 1>consent so that us as viewers don't think he's a

1:22:04.600 --> 1:22:07.519
<v Speaker 1>fucking rate exactly right, exactly, and we see this all

1:22:07.600 --> 1:22:10.640
<v Speaker 1>the fucking time, and this is yet another example of

1:22:10.720 --> 1:22:12.280
<v Speaker 1>how I would have loved for that scene to end

1:22:12.360 --> 1:22:16.080
<v Speaker 1>to be like because also they're in Paris. It's empty,

1:22:16.920 --> 1:22:20.720
<v Speaker 1>there's no one in Paris in this movie, and so

1:22:20.840 --> 1:22:23.759
<v Speaker 1>it's just like she I don't think the movie intensis.

1:22:23.760 --> 1:22:26.360
<v Speaker 1>I think they just couldn't afford extras this day. But

1:22:26.560 --> 1:22:29.960
<v Speaker 1>like they're they're totally in the middle, Like she's drunk

1:22:30.080 --> 1:22:33.559
<v Speaker 1>and alone in a strange city with no one around

1:22:33.760 --> 1:22:36.479
<v Speaker 1>in the middle of the night, and so there's always

1:22:36.560 --> 1:22:39.639
<v Speaker 1>that like fear and pressure on women to say yes

1:22:39.840 --> 1:22:42.639
<v Speaker 1>because what is the like what if he gets angry

1:22:42.680 --> 1:22:47.280
<v Speaker 1>at being rejected and then you're physically harmed. They couldn't

1:22:47.280 --> 1:22:50.839
<v Speaker 1>afford extras this day, but it was something that occurred

1:22:50.880 --> 1:22:54.800
<v Speaker 1>to me, And it's still framed as like, Wow, she

1:22:54.960 --> 1:22:57.560
<v Speaker 1>finally hooked up with the whole flesh, because then it

1:22:57.640 --> 1:22:59.800
<v Speaker 1>cuts to the next morning and she's in his bed,

1:23:00.000 --> 1:23:03.320
<v Speaker 1>presumably they've had sex, like and the movie frames the

1:23:03.360 --> 1:23:06.760
<v Speaker 1>sex as consensual, and I think and I think they

1:23:06.880 --> 1:23:08.840
<v Speaker 1>put her there so that she could discover that like

1:23:09.000 --> 1:23:11.200
<v Speaker 1>he had the mock up of the new issue of

1:23:11.240 --> 1:23:14.760
<v Speaker 1>the magazine when Jacqueline becomes the editor. So it's like

1:23:15.320 --> 1:23:18.080
<v Speaker 1>they put her in a situation where she probably didn't

1:23:18.120 --> 1:23:19.680
<v Speaker 1>really want to have sex with him, but she did.

1:23:20.320 --> 1:23:22.120
<v Speaker 1>But so that like there's two things that are happening,

1:23:22.200 --> 1:23:23.560
<v Speaker 1>it can move a plot point and had said that

1:23:23.640 --> 1:23:25.960
<v Speaker 1>like she discovers this, but also to that as viewers,

1:23:26.120 --> 1:23:28.439
<v Speaker 1>maybe we feel a way about her stepping out on

1:23:28.600 --> 1:23:32.200
<v Speaker 1>Nate even though like they're technically broken up. Um, but

1:23:32.400 --> 1:23:34.640
<v Speaker 1>like I think that even ten years ago, I was

1:23:34.680 --> 1:23:37.080
<v Speaker 1>just like this is weird, Like I wasn't even mad

1:23:37.120 --> 1:23:38.880
<v Speaker 1>at her or anything. I could care less about her

1:23:38.920 --> 1:23:41.559
<v Speaker 1>and Nate at that point, right Nate who says, why

1:23:41.640 --> 1:23:44.800
<v Speaker 1>do you women have so many begs? You get one bag,

1:23:44.880 --> 1:23:47.640
<v Speaker 1>you put out your stuff in it, and then we

1:23:47.840 --> 1:23:54.160
<v Speaker 1>got her, Adrian, thank you so much. It's she should

1:23:54.240 --> 1:23:58.160
<v Speaker 1>just you know, maybe shop around for a worthy man

1:23:59.640 --> 1:24:03.439
<v Speaker 1>or no man or no man. I mean, the thing

1:24:03.640 --> 1:24:06.840
<v Speaker 1>with with this genre is that it's still kind of

1:24:06.920 --> 1:24:12.080
<v Speaker 1>subscribes to the like having it all, noss of second

1:24:12.120 --> 1:24:15.840
<v Speaker 1>way feminism, of like saying like, no, she can have both,

1:24:16.000 --> 1:24:18.720
<v Speaker 1>and and still holding that up as like in a

1:24:18.880 --> 1:24:21.920
<v Speaker 1>best case scenario, this is what you'd have, and not

1:24:22.120 --> 1:24:25.799
<v Speaker 1>presenting any sort of fulfillment as a person with anything

1:24:26.040 --> 1:24:31.240
<v Speaker 1>but the completely happy career and home life, which, like

1:24:31.280 --> 1:24:34.479
<v Speaker 1>you were saying, Amy is just like it is a

1:24:34.640 --> 1:24:39.640
<v Speaker 1>great ideal, but then it's you know, in practice, you

1:24:40.000 --> 1:24:43.320
<v Speaker 1>just have to be working twice as hard. So even

1:24:43.360 --> 1:24:46.880
<v Speaker 1>if you do have a successful career and a successful relationship,

1:24:46.880 --> 1:24:50.880
<v Speaker 1>family life, whatever, very often you find yourself like feel

1:24:51.000 --> 1:24:55.080
<v Speaker 1>completely hollow as a stretch so thin. Yeah, and then

1:24:55.160 --> 1:24:57.040
<v Speaker 1>you can't and then you're like, Okay, I did what

1:24:57.160 --> 1:25:00.800
<v Speaker 1>I was told, but now I feel nothing. Why is that?

1:25:01.320 --> 1:25:04.519
<v Speaker 1>And and so you know we'll figure it out one

1:25:04.560 --> 1:25:06.640
<v Speaker 1>of these days, we'll get it. Yeah, we need Oh,

1:25:06.800 --> 1:25:08.680
<v Speaker 1>here's what we need. We need a time turner, like

1:25:08.800 --> 1:25:12.920
<v Speaker 1>in Harry Potter three where Hermione. You know she is

1:25:13.000 --> 1:25:15.200
<v Speaker 1>going to all these different classes because she's traveling back

1:25:15.240 --> 1:25:17.400
<v Speaker 1>through time so that she can have it all and

1:25:17.479 --> 1:25:20.759
<v Speaker 1>do everything that she wants. So that's what we as women.

1:25:22.200 --> 1:25:26.560
<v Speaker 1>That's how many more that's Harry Potter references? Would you

1:25:26.640 --> 1:25:30.599
<v Speaker 1>like me to make? I mean, honestly, I'm good leaving

1:25:30.680 --> 1:25:36.519
<v Speaker 1>it here. I see baltimorre it over here and not

1:25:36.680 --> 1:25:41.599
<v Speaker 1>wanting to me to, you know, succeed. That's that's Baltimort's thing.

1:25:41.680 --> 1:25:46.240
<v Speaker 1>He doesn't want people to succeed. My favorite description of

1:25:46.320 --> 1:25:53.040
<v Speaker 1>Baltimore subjectives ever, Baldi word like above all hates success.

1:25:54.680 --> 1:25:59.960
<v Speaker 1>He wants to be the only successful one anyway. Baltimore

1:26:01.840 --> 1:26:07.760
<v Speaker 1>little slit nosed icon do does anyone have anything else

1:26:08.000 --> 1:26:10.320
<v Speaker 1>that they want to talk about before we wrap up?

1:26:10.600 --> 1:26:13.720
<v Speaker 1>We've talked about everything I had. There's so much to

1:26:13.720 --> 1:26:17.080
<v Speaker 1>talk about, so much. Well, does the movie pass the

1:26:17.120 --> 1:26:22.639
<v Speaker 1>Bechtel test? Yes, it does. Women talking about fashion, clothes,

1:26:22.920 --> 1:26:26.400
<v Speaker 1>the magazine, et cetera. There are you know, some conversations

1:26:26.400 --> 1:26:30.880
<v Speaker 1>about men, whether it's Nate or Simon or whoever. The

1:26:31.040 --> 1:26:33.800
<v Speaker 1>conversations that do pass a lot of the time are

1:26:34.160 --> 1:26:36.519
<v Speaker 1>and this isn't a criticism here or there, but they

1:26:36.600 --> 1:26:40.640
<v Speaker 1>do tend to be about hyper feminine topics, which we

1:26:40.760 --> 1:26:43.320
<v Speaker 1>see again and again and again. Yeah, where it's like,

1:26:43.960 --> 1:26:48.000
<v Speaker 1>you know, that whole exchange about Emily Blunt's eating disorder

1:26:48.080 --> 1:26:51.800
<v Speaker 1>and how it's cute passes. And to be clear, it's

1:26:51.840 --> 1:26:55.519
<v Speaker 1>there's nothing wrong, inherently wrong with talking about hyper feminine things.

1:26:55.600 --> 1:26:58.479
<v Speaker 1>But because we pretty much only see that in movies

1:26:58.600 --> 1:27:00.960
<v Speaker 1>where women are talking, they're only talking about either like

1:27:01.080 --> 1:27:04.680
<v Speaker 1>very domestic things or very hyper feminine things, and are

1:27:05.240 --> 1:27:08.879
<v Speaker 1>rarely talking about stuff that might be considered gender neutral

1:27:09.320 --> 1:27:12.880
<v Speaker 1>or you know, there's no one's talking about science, but

1:27:12.960 --> 1:27:15.720
<v Speaker 1>there's a lot of talk about work. Just done? Get

1:27:15.800 --> 1:27:17.720
<v Speaker 1>that done? How did you do this? Why aren't you

1:27:17.800 --> 1:27:28.680
<v Speaker 1>doing this? And paper? I really love where is it if? Okay,

1:27:28.800 --> 1:27:32.360
<v Speaker 1>what was it about? If only Andy used her wand

1:27:32.840 --> 1:27:37.200
<v Speaker 1>to summon it with the echio paper, she would have

1:27:38.120 --> 1:27:45.800
<v Speaker 1>oh dear, So anyway, okay, I just it's just not

1:27:46.080 --> 1:27:50.599
<v Speaker 1>for me. I understand. Let's write the movie on our

1:27:50.760 --> 1:27:54.280
<v Speaker 1>nipple scale zero to five nipples based on its portrayal

1:27:54.520 --> 1:27:59.679
<v Speaker 1>of women. This is another tricky one for me because

1:27:59.760 --> 1:28:04.920
<v Speaker 1>it is largely a female driven cast. It is a

1:28:05.640 --> 1:28:10.639
<v Speaker 1>movie that at least starts to explore the professional lives

1:28:10.720 --> 1:28:13.840
<v Speaker 1>of women and the sacrifices that maybe have to be

1:28:14.000 --> 1:28:17.760
<v Speaker 1>made and different things like that. Female relationships are a

1:28:17.880 --> 1:28:21.680
<v Speaker 1>huge part of the movie. But a lot of the

1:28:21.920 --> 1:28:24.800
<v Speaker 1>time in this movie, the female relationships are not going

1:28:24.960 --> 1:28:28.280
<v Speaker 1>very well. You know, we see this like archetypal successful

1:28:28.360 --> 1:28:32.040
<v Speaker 1>career woman who is very difficult to be around. You know.

1:28:32.120 --> 1:28:35.720
<v Speaker 1>There's the weird comments about wait all the time. And

1:28:35.840 --> 1:28:40.160
<v Speaker 1>body type. There's almost no diversity in terms of body

1:28:40.200 --> 1:28:43.280
<v Speaker 1>type and race. It's that weird New York city where

1:28:43.360 --> 1:28:46.520
<v Speaker 1>only white people live. There's just all kinds of problems

1:28:46.600 --> 1:28:49.840
<v Speaker 1>with this movie. So I'm going to give it. I'm

1:28:49.880 --> 1:28:52.120
<v Speaker 1>timpted to give it a too, because I think it's

1:28:53.280 --> 1:28:58.080
<v Speaker 1>it feels like it has its heart set in the

1:28:58.240 --> 1:29:02.640
<v Speaker 1>right place for two thousand's six. But we've progressed a

1:29:02.720 --> 1:29:05.640
<v Speaker 1>little bit as a society since then. Um so it

1:29:05.760 --> 1:29:09.840
<v Speaker 1>feels not so progressive today. But I think for the time,

1:29:10.080 --> 1:29:15.280
<v Speaker 1>it was, you know, attempting to do something. So I'll

1:29:15.320 --> 1:29:17.680
<v Speaker 1>give it a two and I'll give both of my

1:29:17.800 --> 1:29:25.200
<v Speaker 1>nipples to Meryl Street. Wow. Brian sub versa. I was

1:29:25.280 --> 1:29:28.040
<v Speaker 1>I was thinking too as well for this. Uh yeah,

1:29:28.400 --> 1:29:30.920
<v Speaker 1>I agree with you that the movie, for all of

1:29:31.000 --> 1:29:34.080
<v Speaker 1>its failings and and sort of I mean, it's weird,

1:29:34.160 --> 1:29:36.920
<v Speaker 1>there's not a uh there's very few topics I feel

1:29:36.920 --> 1:29:40.600
<v Speaker 1>like this movie completely fails. It's just that there's a

1:29:40.760 --> 1:29:43.479
<v Speaker 1>lot of gray area where it is maybe skewing on

1:29:43.560 --> 1:29:45.880
<v Speaker 1>the side of gray area that I agree with less.

1:29:46.640 --> 1:29:48.840
<v Speaker 1>But it is one of the few movies that you're like,

1:29:48.920 --> 1:29:51.280
<v Speaker 1>oh yeah, this is definitely a product of its time

1:29:51.360 --> 1:29:54.360
<v Speaker 1>that I don't think is like unwatchable. I think it's

1:29:54.360 --> 1:29:56.519
<v Speaker 1>still like a really fun movie. I'll watch it again.

1:29:57.320 --> 1:29:59.599
<v Speaker 1>It's trying to do a good thing. It's not quite

1:29:59.680 --> 1:30:02.479
<v Speaker 1>getting in there, but you know, we'll feel that way

1:30:02.520 --> 1:30:06.599
<v Speaker 1>about almost any movie made ten years ago, um, which

1:30:06.640 --> 1:30:09.000
<v Speaker 1>hopefully means the world is moving forward, but you know,

1:30:09.200 --> 1:30:14.840
<v Speaker 1>we live in an active hell, so you know, um yeah,

1:30:15.080 --> 1:30:17.120
<v Speaker 1>my mate. Take away from this viewing was the anti

1:30:17.240 --> 1:30:22.080
<v Speaker 1>character and like how inconclusive the journey is and and

1:30:22.439 --> 1:30:25.640
<v Speaker 1>and how frustrating it is to see young women with

1:30:25.800 --> 1:30:28.960
<v Speaker 1>strong opinions have those opinions neutralized over the course of

1:30:29.040 --> 1:30:31.720
<v Speaker 1>a movie. I don't love it, but I give it.

1:30:31.760 --> 1:30:34.120
<v Speaker 1>I give it two stars, and I'm giving them to littles,

1:30:34.439 --> 1:30:40.280
<v Speaker 1>so fucking kill me. Two nipples, and I'm giving the nipples,

1:30:40.760 --> 1:30:45.400
<v Speaker 1>which are star shaped pasties in this case to Tracy

1:30:45.520 --> 1:30:50.040
<v Speaker 1>Tom's who God damn it someday. I mean, she was

1:30:50.120 --> 1:30:52.600
<v Speaker 1>incredible and Rent just like swatch her and Rent but

1:30:52.720 --> 1:31:02.200
<v Speaker 1>Rent is don't say it. Rent is good. Okay. Well,

1:31:02.280 --> 1:31:05.280
<v Speaker 1>I'm like Sadden that you guys only giving it a

1:31:05.400 --> 1:31:07.720
<v Speaker 1>pair of nipples because I was sitting here and I'm like,

1:31:07.960 --> 1:31:11.320
<v Speaker 1>I think this is a solid, like three and a

1:31:11.400 --> 1:31:15.600
<v Speaker 1>half big nipples for me, and I think a lot

1:31:15.640 --> 1:31:18.439
<v Speaker 1>of it's Titan nostalgia. How much I just love the movie,

1:31:18.479 --> 1:31:21.439
<v Speaker 1>and that happens on this podcast, and it's just like

1:31:21.600 --> 1:31:24.679
<v Speaker 1>a fun movie to watch, and I just started really

1:31:24.720 --> 1:31:26.360
<v Speaker 1>thinking critically about because I knew I was going to

1:31:26.400 --> 1:31:29.719
<v Speaker 1>do this podcast, you know. But even for all its troubles,

1:31:29.800 --> 1:31:33.320
<v Speaker 1>I just love it. And yeah, I just love and

1:31:33.720 --> 1:31:36.160
<v Speaker 1>I love even even though it's like trying to talk

1:31:36.240 --> 1:31:39.600
<v Speaker 1>shit about fashion or like consumerism and how all of

1:31:39.680 --> 1:31:43.280
<v Speaker 1>that could be like frivolous, it's still glamorizing in such

1:31:43.320 --> 1:31:47.240
<v Speaker 1>a cute way that I mean, Andy wears some questionable

1:31:47.320 --> 1:31:49.280
<v Speaker 1>things that I don't even think we're in fashion then,

1:31:49.800 --> 1:31:53.040
<v Speaker 1>but it's fun to see like how they thought what

1:31:53.240 --> 1:31:56.040
<v Speaker 1>was fashionable then. And uh. And I think that the

1:31:56.200 --> 1:32:00.360
<v Speaker 1>glossiness of the film is something that making it beautiful

1:32:00.439 --> 1:32:03.080
<v Speaker 1>to look at and fun to watch, while also showing

1:32:03.479 --> 1:32:06.280
<v Speaker 1>a woman in power who even though we're supposed to

1:32:06.280 --> 1:32:08.920
<v Speaker 1>be told is like not a good person, but she's

1:32:08.920 --> 1:32:12.680
<v Speaker 1>still really competent in doing her job. Well. Uh, and

1:32:13.240 --> 1:32:16.120
<v Speaker 1>it's portrayed by Meryl Street. Is such a good thing,

1:32:16.400 --> 1:32:17.960
<v Speaker 1>you know. I think that like to have that piece

1:32:18.000 --> 1:32:20.360
<v Speaker 1>of art in the world. I just appreciated it. Yeah,

1:32:20.439 --> 1:32:23.160
<v Speaker 1>Like I definitely don't understand why they're people of color

1:32:23.200 --> 1:32:25.160
<v Speaker 1>in it, why there aren't more queer people in it

1:32:25.280 --> 1:32:29.560
<v Speaker 1>in the world of fashion. Yeah, that's yeah, I just

1:32:29.680 --> 1:32:31.720
<v Speaker 1>I don't understand why. You know, there are like lots

1:32:31.800 --> 1:32:34.519
<v Speaker 1>of more real world the stuff that isn't like being

1:32:34.560 --> 1:32:37.000
<v Speaker 1>insinuated in the world with a devil worse product. But

1:32:37.200 --> 1:32:39.320
<v Speaker 1>you know, it's it's a film whatever. But I think

1:32:39.360 --> 1:32:42.000
<v Speaker 1>that like storytelling could have been done just you know,

1:32:42.479 --> 1:32:44.760
<v Speaker 1>been more effective. And there are like really fucked up

1:32:44.760 --> 1:32:46.679
<v Speaker 1>portrayals of things that are happening, especially with the Simon

1:32:46.720 --> 1:32:52.080
<v Speaker 1>Baker character. But I just overlook that ship because I like,

1:32:53.360 --> 1:32:56.040
<v Speaker 1>I Hello, I'm a person who watches. The montage is

1:32:56.120 --> 1:33:00.000
<v Speaker 1>for fun, Like I love the folly in the montage

1:33:00.320 --> 1:33:01.760
<v Speaker 1>is like I love the fully of the of the

1:33:01.880 --> 1:33:06.599
<v Speaker 1>purses and the coats, you know, of them hitting the desk. Yeah,

1:33:07.479 --> 1:33:10.240
<v Speaker 1>I like. I like track the montage of her makeover

1:33:10.320 --> 1:33:12.519
<v Speaker 1>where she goes through all the different outfits. I like this.

1:33:12.680 --> 1:33:14.439
<v Speaker 1>I'm like, this is filmed in the day. Let's look

1:33:14.479 --> 1:33:16.720
<v Speaker 1>at all the inconsistencies of how it was, like how

1:33:16.760 --> 1:33:19.479
<v Speaker 1>we can track that it was, Like, I love watch.

1:33:19.840 --> 1:33:22.439
<v Speaker 1>I think it's because I love watching like the visuals

1:33:22.520 --> 1:33:26.800
<v Speaker 1>of this movie. So you're allowed. Yeah, I mean, there's

1:33:26.840 --> 1:33:30.439
<v Speaker 1>no there's no wrong answers. There's truly not. We're a

1:33:30.520 --> 1:33:32.680
<v Speaker 1>steel Like I'm being defensive. I'm just telling you why

1:33:32.720 --> 1:33:37.439
<v Speaker 1>I love. Yeah. Of course we're also extremely jaded, and

1:33:38.960 --> 1:33:41.920
<v Speaker 1>I mean I also gave writers of The Lost Dark

1:33:42.160 --> 1:33:45.120
<v Speaker 1>zero nipples, and I still deeply love that movie. So

1:33:45.600 --> 1:33:47.560
<v Speaker 1>you know, it's it's a journey that we're all on.

1:33:49.560 --> 1:33:51.679
<v Speaker 1>So I get one of my nipples to the fully artist.

1:33:55.360 --> 1:34:03.080
<v Speaker 1>If you're listening, hit me up. They're biggest fan. Uh

1:34:03.200 --> 1:34:06.960
<v Speaker 1>and definitely a nipple to Miss Meryl. A nipple to Lily,

1:34:07.360 --> 1:34:10.960
<v Speaker 1>who was like, you're saying criminally underused because her joy

1:34:11.120 --> 1:34:14.120
<v Speaker 1>at receiving that hideous mark shake comes back. Was like,

1:34:14.520 --> 1:34:16.080
<v Speaker 1>I was like, man, that bag is ugly, but you

1:34:16.200 --> 1:34:19.480
<v Speaker 1>love it, so I love it and Oscar worthy performance

1:34:21.640 --> 1:34:25.400
<v Speaker 1>trash and then I have a nipple to have a

1:34:25.479 --> 1:34:27.160
<v Speaker 1>nipple to the scene that I want to shout out

1:34:27.160 --> 1:34:29.040
<v Speaker 1>my to my friend Lara, she pointed out to me,

1:34:29.200 --> 1:34:31.599
<v Speaker 1>there's a scene where she comes in and he comes

1:34:31.640 --> 1:34:33.040
<v Speaker 1>into her apartment and she I think she just got

1:34:33.080 --> 1:34:35.240
<v Speaker 1>out of the shower and she's wearing like a bra

1:34:35.479 --> 1:34:37.639
<v Speaker 1>and a tank top and then she puts another tank

1:34:37.680 --> 1:34:43.200
<v Speaker 1>top over it, so pretty over it. So shout out

1:34:43.240 --> 1:34:47.080
<v Speaker 1>to all that layering of tanktops for no reason, I

1:34:47.200 --> 1:34:49.479
<v Speaker 1>didn't notice the tank top on a tank top. I

1:34:49.600 --> 1:34:51.599
<v Speaker 1>get that possibly up to it. I don't know either

1:34:52.040 --> 1:34:55.519
<v Speaker 1>anybody knows behind the scenes info on that. So so

1:34:55.680 --> 1:34:57.240
<v Speaker 1>that half a nipple goes out to my friend Laura,

1:34:57.280 --> 1:35:01.280
<v Speaker 1>who pointed out very good. Well, Amy, thank you so

1:35:01.439 --> 1:35:04.479
<v Speaker 1>much for being here, Thank you for having me talking

1:35:04.600 --> 1:35:08.320
<v Speaker 1>to us for hours? Um, what would you like to plug?

1:35:08.360 --> 1:35:10.600
<v Speaker 1>Where can people find you online? You can find me

1:35:10.680 --> 1:35:14.519
<v Speaker 1>online on the Twitter. My account is Amy A Doisy.

1:35:14.600 --> 1:35:17.400
<v Speaker 1>It's spelled A M y A d o y z

1:35:17.720 --> 1:35:20.040
<v Speaker 1>i E. It's like a graversial name I made up

1:35:20.080 --> 1:35:23.439
<v Speaker 1>when I was a punk kid. I also have a

1:35:23.520 --> 1:35:26.439
<v Speaker 1>website that has like literary event things that I hear

1:35:26.520 --> 1:35:29.280
<v Speaker 1>me now and then. Uh. It's called by Amy lamb

1:35:29.360 --> 1:35:33.160
<v Speaker 1>dot com like a byeline no spaces because I write fiction.

1:35:33.760 --> 1:35:36.400
<v Speaker 1>Um right now, I'm in school and working on a

1:35:36.520 --> 1:35:40.920
<v Speaker 1>novel about like a queer frontier pioneer story. Very cool, yes,

1:35:41.200 --> 1:35:43.519
<v Speaker 1>and I'm writing it as a novel, but one day

1:35:43.560 --> 1:35:45.840
<v Speaker 1>I want to see it made into a thing I

1:35:45.920 --> 1:35:49.000
<v Speaker 1>can watch. Well, I'm a screenwriter, so that I could

1:35:49.040 --> 1:35:54.320
<v Speaker 1>like adopt it. Asking about it on the back better

1:35:54.400 --> 1:35:59.479
<v Speaker 1>get Hella nipples be like, yes, would that not be cool?

1:36:00.000 --> 1:36:05.720
<v Speaker 1>I'm already like projecting it'll be like it happen. Well,

1:36:05.800 --> 1:36:08.839
<v Speaker 1>you can follow the Bechtel Cast on social media across

1:36:08.880 --> 1:36:12.040
<v Speaker 1>all the platforms at Bechtel Cast. You can go to

1:36:12.280 --> 1:36:16.599
<v Speaker 1>our you can join our patreon ak ur Matreon, which

1:36:16.680 --> 1:36:18.240
<v Speaker 1>is five dollars a month and it gets you to

1:36:18.520 --> 1:36:22.360
<v Speaker 1>bonus episodes every single month, plus our whole backlog of

1:36:22.520 --> 1:36:24.760
<v Speaker 1>episodes you get access to that. You can check out

1:36:24.800 --> 1:36:27.160
<v Speaker 1>our t public store, where there's always a lot of

1:36:27.240 --> 1:36:29.840
<v Speaker 1>fun designs, and then get a t public dot com

1:36:29.880 --> 1:36:33.840
<v Speaker 1>slash the backdel Cast. There's all sorts of ship you

1:36:33.920 --> 1:36:36.800
<v Speaker 1>can do on the internet. Right and review us on iTunes?

1:36:37.720 --> 1:36:41.200
<v Speaker 1>Does anyone ever? Sometimes people do that. Yeah, it helps

1:36:41.280 --> 1:36:45.320
<v Speaker 1>us out. Like every time the podcast is like do it,

1:36:45.400 --> 1:36:47.960
<v Speaker 1>I'm like, oh God, do that? But you should? You

1:36:48.160 --> 1:36:50.560
<v Speaker 1>should and be better. I hope you guys get some

1:36:50.680 --> 1:36:56.559
<v Speaker 1>like thick caveata boys. Unfortunately, if they also have flesh

1:36:56.600 --> 1:37:00.280
<v Speaker 1>colored hair, they will not like us. It's complex in it,

1:37:00.560 --> 1:37:06.320
<v Speaker 1>it's really complicated. But anyway, thanks again for for being here.

1:37:06.760 --> 1:37:09.640
<v Speaker 1>What a time we've had, And just a reminder that

1:37:09.720 --> 1:37:14.200
<v Speaker 1>the devil does wear products. To quote the movie, it

1:37:14.360 --> 1:37:15.640
<v Speaker 1>does alright by I