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Speaker 1: Look maher oh, I see you my own and look

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Speaker 1: over there is that culture. Yes, wow, lost.

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Speaker 2: Cult lost culture.

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Speaker 1: Resta's calling Happy new Year to all the readers, publicist.

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Speaker 2: Finalists, and Katie's first and foremost. I thought this was

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Speaker 2: going to be a whole thing where I would have

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Speaker 2: been like the Larry David in the Curb episode where

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Speaker 2: Lennon parm wishes his happy New Year in the gym.

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Speaker 2: But it's like January eighteenth, and he goes, yeah, it's

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Speaker 2: too late. It's a little late. It's a little late.

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Speaker 2: I don't think it's too late. Listen.

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Speaker 1: We know we've been separated from our girls, and we

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Speaker 1: just want to tell you all we want to warmly

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Speaker 1: welcome you into twenty twenty four because that is the

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Speaker 1: energy we're bringing into twenty twenty four. Warmth, acceptance and inclusion. Yes,

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Speaker 1: wa I warmth, acceptance, inclusion, inclusion. It's actually a real

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Speaker 1: of culture.

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Speaker 2: Number eight.

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Speaker 1: The rules for twenty twenty four is WAI warmth.

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Speaker 2: Acceptance and inclusion. Mama, you can have said it better.

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Speaker 2: You cannot have said it better.

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Speaker 1: I want you to get into this is the list

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Speaker 1: of topics that we could discuss today.

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Speaker 2: Well, I'm not squinting for you, my girl, because are

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Speaker 2: you saying are you listing each movie individually for awards season?

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Speaker 1: I feel like, here's the thing with movies. They all

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Speaker 1: have their own story to tell, and so I feel

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Speaker 1: that you can't just lump them all unto Oscar films. Because,

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Speaker 1: by the way, how many have you seen of these

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Speaker 1: quote unquote Oscar films? And have you been enjoying them?

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Speaker 2: I've been really enjoying them for the most part. The

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Speaker 2: things that I haven't seen are Zone of Interest in

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Speaker 2: Killers of the Fower Moon. Let's just get that out

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Speaker 2: of the way.

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Speaker 1: Everything you see color purple yet either?

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Speaker 2: Did you see color? And color purple? And some other

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Speaker 2: things I want to see rustin. But yeah, those are

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Speaker 2: the main ones that I haven't seen. But I'm in

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Speaker 2: great shape for this time. In most other years, I

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Speaker 2: am really behind. But I think I'm kind of on topic.

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Speaker 1: I'm doing amazing now too. Like, actually, it's funny because

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Speaker 1: the two that I haven't seen are of the Flower

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Speaker 1: Moon and Zone of Interest. I think the reason why

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Speaker 1: I haven't seen them is because I don't think my

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Speaker 1: heart can take either one of them. Yeah, Like, I

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Speaker 1: feel like I want to sit down and like actually

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Speaker 1: receive them, but just the subject matter of both, I'm

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Speaker 1: just like, Okay, that's gonna be a lot of a lot.

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Speaker 1: And I think what's interesting about this year is it

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Speaker 1: seems like there's like a diversity of genre in the

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Speaker 1: types of movies that are being discussed now at the

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Speaker 1: end of the year, which I'm really appreciating. Wai you

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Speaker 1: know what warmth accept it's an inclusion is all over

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Speaker 1: the Oscar race this year.

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Speaker 2: Absolutely, just to.

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Speaker 1: List off some things that I've seen, I've seen salt burned,

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Speaker 1: poor things, all of us strangers, American fiction, the color purple, Maestro,

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Speaker 1: I watched The Holdovers, I watch Are you there? God,

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Speaker 1: it's me Margaret. There's a lot to discuss.

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Speaker 2: My other asterisk is have not finished, Maestro.

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Speaker 1: Should we start there?

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Speaker 2: Sure, although let's start with my least knowledgeable base. Yes, absolutely,

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Speaker 2: let's go tell me.

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Speaker 1: No, okay, you're not teasing me when you say that

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Speaker 1: you actually want me but you want my review? No?

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Speaker 2: No, yes, yes said, I'm sorry. My tone is a

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Speaker 2: little all over the place today.

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Speaker 1: No, no, no, no, Well, I just want to tell

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Speaker 1: you I don't think you need to resume this film.

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Speaker 1: Oh I did not like Maestro at all. I would

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Speaker 1: just describe it as so Maestro tells the story of

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Speaker 1: Leonard Bernstein and Felicia Monteleiagro, who is his wife. And

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Speaker 1: if you don't know Leonard Bernstein, he's obviously in one

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Speaker 1: of the most iconic musicians of the modern area century,

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Speaker 1: twentieth century. I mean he you know, it's just his

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Speaker 1: list of accomplishments are very long. West Side Story and

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Speaker 1: this tells the story of his marriage.

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Speaker 2: To Miss Felicia.

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Speaker 1: And it's written, directed, and starring Bradley Cooper.

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Speaker 2: Should be Felicia.

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Speaker 1: I think it should have been called by Felicia in

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Speaker 1: terms of what happens at the end of the movie.

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Speaker 1: So basically, like it tells the story of their marriage,

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Speaker 1: which was basically like The Beard dot Com. Like, really,

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Speaker 1: the movie should have been called The Beard dot Com

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Speaker 1: because it's like, you know, she willfully participates in this marriage,

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Speaker 1: I think, because she loves him for sure. They just

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Speaker 1: seem to have great bantath and then all of a sudden,

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Speaker 1: like the film flashes forward in time and she's like

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Speaker 1: aware of the fact that he's full on gay, like

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Speaker 1: fucks Gideon Glick, and all of a sudden like it really.

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Speaker 1: One thing I'll give it is it wasn't too long,

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Speaker 1: because we finally get to the end and she passes

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Speaker 1: away of cancer and it's very, very, very devastating. But

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Speaker 1: I would say this movie felt like a collection of

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Speaker 1: the wrong scenes from their life. Interesting, like, you get

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Speaker 1: to the end, and if this film is supposed to

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Speaker 1: be a love letter to her, like from Bradley Cooper's perspective,

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Speaker 1: then we don't really get a sense of who she

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Speaker 1: is or what she's given up to be with this man,

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Speaker 1: or you know, the sacrifices that she is making or

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Speaker 1: why she is making them, because you see them eat

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Speaker 1: and then you see them in like really establishing their

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Speaker 1: relationship and then it kind of she kind of just dies.

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Speaker 2: That's interesting.

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Speaker 1: By the way, we should say, if we're talking about

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Speaker 1: these films, you can just consider spoiler alert. But if

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Speaker 1: you know this, if you know Leonard Bernstein, you know

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Speaker 1: his life, yeah, consider the spoiler.

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Speaker 2: If this is where it's good that we're starting with

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Speaker 2: a biopick. Speaking of which, it's funny that you say

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Speaker 2: all these things. The people who've made this movie seem

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Speaker 2: to put a really fine point on this not being

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Speaker 2: a biopick and this being a love story, that this

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Speaker 2: is a love story, sure, And so the fact that

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Speaker 2: you're not quite you don't you're not sure where the

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Speaker 2: death is for Felicia as a film character or as

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Speaker 2: a subject in this biopick, let's say, or I'm sorry

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Speaker 2: love story kind of diminishes that idea.

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Speaker 1: Well, I think, especially as someone who has just written

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Speaker 1: and directed a huge love story, you know, a polar

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Speaker 1: critically polarizing, but like massively successful love story with a

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Speaker 1: star is born. I think that something that's like, if

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Speaker 1: you're to compare the two, something that's really there and

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Speaker 1: a star is born. And maybe it's because he was

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Speaker 1: working with a template that's like very tried and true,

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Speaker 1: which is already a story that's kind of mapped out

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Speaker 1: for him. Is that you really get a sense of

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Speaker 1: who they both are before the relationship takes them in

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Speaker 1: a certain direction that's like a codependent one and ultimately

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Speaker 1: a toxic one and ultimately a tragic one. And that

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Speaker 1: is very similar here. But the thing that's missing from

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Speaker 1: Maestro is you don't really get a sense of who

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Speaker 1: she is. You don't really get a sense of like

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Speaker 1: you know that she's an actress. You know that she's

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Speaker 1: like maybe talented. You sort of get a sense that

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Speaker 1: she's talented, but you don't really understand that being with

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Speaker 1: him is a major sacrifice or it's a worthy sacrifice

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Speaker 1: for her entire life, because she kind of just ends

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Speaker 1: up a sad, regretful person. And in that way, it's like,

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Speaker 1: it's sure it's a love story, but like what for?

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Speaker 1: To what end? And I guess that's my note for

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Speaker 1: this whole thing, Like to what end do we have

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Speaker 1: this movie? Like is it is it a ego project?

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Speaker 1: Because it feels like that, to say nothing of their performances,

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Speaker 1: which I think are good and I would say even

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Speaker 1: carries great, But I just don't know what what we're

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Speaker 1: what we have this for?

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Speaker 2: Uh huh, I'm again, I have to finish this movie,

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Speaker 2: so I don't really have a great place to talk

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Speaker 2: about this from. But I if we're gonna compare A

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Speaker 2: Star Is Born to this, I find it really a

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Speaker 2: bit of a miss that the meeting of Felicia and

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Speaker 2: Leonard is sort of feels a little like cursory or something.

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Speaker 2: It feels like it's just checking off some biopic box.

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Speaker 2: But then, if you're gonna like make that the central

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Speaker 2: thing in the whole movie. It feels kind of glossed over.

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Speaker 2: Like when they first meet, it's pure If you just

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Speaker 2: look at the writing of that scene when they first meet,

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Speaker 2: it's like it's pure exposition. Everything out of both over

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Speaker 2: the mouths is so you did this and this and

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Speaker 2: this and this why yes? And you were this and

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Speaker 2: this and this and this, and they're but they're like

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Speaker 2: playfully laughing while drinking and then they go do this

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Speaker 2: cute little thing. It doesn't have that magic of a

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Speaker 2: Star is Born, where those first eighteen twenty minutes are sublime,

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Speaker 2: are so good no matter what, like, no matter what

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Speaker 2: you think of the rest of the film, that is

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Speaker 2: a great film because of that introductory thing into their

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Speaker 2: meeting or they're the first moments of their love. I

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Speaker 2: just wonder what this movie would be like if it

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Speaker 2: actually started at the point where it bursts into color

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Speaker 2: and we actually could marinate a little bit more in

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Speaker 2: the reality of what their life was, which is she

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Speaker 2: was married to a gay man who did eat up

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Speaker 2: all the air in the room. And that's a story

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Speaker 2: we've heard kind of a lot, like the subservient, like

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Speaker 2: long suffering wife, so like what is the new twist

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Speaker 2: on that? Because we never see her receive the information

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Speaker 2: that her husband is gay from him, we imagine that

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Speaker 2: it's happened because she's aware of it, Like she doesn't

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Speaker 2: freak out when she sees him making out with you know, men,

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Speaker 2: like which she does, Like there's no discovery. And then

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Speaker 2: I just wonder why, like if we went to the

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Speaker 2: trouble to create this movie, like where is the conflict,

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Speaker 2: where is the dramatic tension? It's like all happening off

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Speaker 2: screen in a way that feels almost experimental and failed

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Speaker 2: in an experimental sense, do you know what I mean?

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Speaker 1: Like because at the end she passes away and it

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Speaker 1: is sad, but you're more like lacking at the end

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Speaker 1: because you feel like you didn't actually hear her story,

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Speaker 1: you know what I'm saying.

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Speaker 2: And so it's that thing where the new spin would

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Speaker 2: have been, and like make it about her, don't make

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Speaker 2: it about Leonard Bernstein. It's right because he did eat

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Speaker 2: up all the year in the room in that marriage.

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Speaker 2: Mm hmm. Shift the focus and put it on her.

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Speaker 2: Then that becomes an actual compelling love story, right.

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Speaker 1: And I feel like she gets like top billing in

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Speaker 1: this movie, Carrie Mulligan does, and like, I think a

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Speaker 1: condescending way because it's all about him basically, and then

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Speaker 1: she sort of takes over the movie for like thirty

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Speaker 1: five minutes towards the end when she's dealing with her

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Speaker 1: cancer diagnosis and understanding that, like, you know, her life

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Speaker 1: is what it is. And then I think the movie

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Speaker 1: hints at this narrative, which really could have been expanded

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Speaker 1: on more, that like she had been there for him

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Speaker 1: his entire life, to make him maybe more palatable or

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Speaker 1: maybe more his life easier in the public eye, which

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Speaker 1: the movie tells you over and over again he's really

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Speaker 1: struggling with like the public eye, its et cetera. But

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Speaker 1: it doesn't feel like that theme is really explored that

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Speaker 1: now he's gonna be there for her and her hour

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Speaker 1: of need, Like it's there, but it's not dramatic expanded

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Speaker 1: on in a way. And when you combine all of

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Speaker 1: this with like the nose of it all and the

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Speaker 1: budget of it all and the Bradley Cooper of it all,

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Speaker 1: it kind of just feels a little bit like you

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Speaker 1: can see behind his eyes him knowing the whole time

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Speaker 1: that he's winning an oscar for this in a way

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Speaker 1: that in the sea of everything else I'm watching right now,

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Speaker 1: like I don't respond to that much. It just feels

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Speaker 1: like all your departments can be a ten. But if

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Speaker 1: your script is a four and you have lines like

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Speaker 1: oh what a pair, you know those two things don't

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Speaker 1: go together. And the bizarre, stupid, heavy handed text the

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Speaker 1: beginning of the movie, which is like, you know, a

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Speaker 1: piece of art is supposed to provoke questions, not answers,

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Speaker 1: and not everything just as it seems. It's just like, okay, great,

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Speaker 1: the relationship didn't seem like it would be one that

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Speaker 1: we would all want, but it worked for that. I'm

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Speaker 1: ahead of this, a million years in front of it,

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Speaker 1: just like.

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Speaker 2: You have any questions after watching that movie, No, certainly,

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Speaker 2: because I think I think you understand it pretty fully right.

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Speaker 1: That movie is up.

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Speaker 2: It's an ass And I think that's a cop up,

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Speaker 2: because I think miss Fanel was saying the same thing

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Speaker 2: to in interviews, where she was like, all we wanted

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Speaker 2: to do was to make people think something, feel something,

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Speaker 2: think about what though, but what exactly? Meanwhile, not to

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Speaker 2: tie into many other things, but like your ghosts is

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Speaker 2: in these interviews being like our movie isn't really about anything.

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Speaker 2: It's just about exploration and discovery because that's what the

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Speaker 2: character goes through. So there's no really message there, and

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Speaker 2: I'm like, that's really refreshing to hear that we don't.

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Speaker 2: There's no takeaway from this really beautiful film, and there

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Speaker 2: doesn't have to be for everything necessarily for the takeaway

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Speaker 2: to be whatever your takeaway is. That doesn't really ring

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Speaker 2: authentic to me.

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Speaker 1: I mean, it's another way of saying which I actually

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Speaker 1: respect her for saying, which is I didn't really have

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Speaker 1: anything to say, because, to be honest with you, the movie.

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Speaker 2: I don't like saying. I don't think she's saying that.

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Speaker 1: By the way, let's talk about Selburn. So Selburn is

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Speaker 1: definitely a fucking moment right now. And here's what I

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Speaker 1: loved about Saltburn. What I loved about Saltburn. It looked stunning,

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Speaker 1: It was beautiful, It was gorgeous sets, the cinematography is excellent.

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Speaker 1: I love the production design. I think that Emerald Fanel

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Speaker 1: is really creative and has a really good taste when

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Speaker 1: it comes to music in her movies. I think that

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Speaker 1: she often creates moments that are certainly iconic, and I

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Speaker 1: was I would say entertained the entire time, like the

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Speaker 1: way I'd be entertained watching like an MTV movie or

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Speaker 1: like a Netflix movie or something like that, you know

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Speaker 1: what I mean. Like, but when you're an Academy Award

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Speaker 1: winning screenwriter and you're tackling class, you know what I mean.

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Speaker 1: I guess I just assumed it would have more to

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Speaker 1: say than it did, because it ultimately said nothing and

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Speaker 1: almost makes a deliberate choice to be pulp. And I

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Speaker 1: have said before, like it's okay that she is a

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Speaker 1: pulpy filmmaker, Like it doesn't have to be a read

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Speaker 1: on her or a drag on her. It's just that

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Speaker 1: there were so many moments scripting wise where this could

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Speaker 1: have been something more or something not as heavy handed.

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Speaker 1: I also liked, I think half the performances in the

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Speaker 1: movie are really fucking good. It's just that when the

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Speaker 1: script goes to a Kouka bird place, the performances can't

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Speaker 1: can't help but lean into like craziness, and then everyone

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Speaker 1: looks a little silly because the script gets silly, you

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Speaker 1: know what I mean. Like, and ultimately, what I really

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Speaker 1: didn't like about this is, and again spoiler alert, this

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Speaker 1: idea that the big reveal is he was just a

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Speaker 1: psychopath and he was literally behind everything from the second

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Speaker 1: and the movie started. Like if that's true, then there

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Speaker 1: are so many.

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Speaker 2: Whole in this plot.

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Speaker 1: Yeah, like this reveal and a montage at the end

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Speaker 1: of the movie where it was him all along. First

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Speaker 1: of all, we've seen this a million fucking times, a

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Speaker 1: million times and more compelling than this.

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Speaker 2: Yeah. No, I think it kind of undermines the entire

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Speaker 2: third act where Jacoblordi takes into his parents like that, Like, well,

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Speaker 2: then he wouldn't go into the house. She just wouldn't go. Sorry, Yeah,

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Speaker 2: these are big, These are big spoilers, But I think

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Speaker 2: the movie is a moment and that is an accomplishment totally.

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Speaker 1: Becka producer. Beckett says people are just horning TVH. I

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Speaker 1: think that's a lot to do with it. And I

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Speaker 1: think that also she's satisfying a lot of people with

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Speaker 1: this movie. And like I said, I was entertained the

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Speaker 1: entire time. It's just that, like you wish it would

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Speaker 1: have meant something, you were not I was, were you bored?

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Speaker 2: I was literally gonna say that I was bored, And

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Speaker 2: I fast forwarded through by the time. I but by

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Speaker 2: the time, so when you when you watch Vampire Kunlingus

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Speaker 2: and you watch like, you know, come bath tub lapping,

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Speaker 2: by the time it gets to like graveplot fucking, I'm like,

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Speaker 2: I get it, let's keep it moving, right, But I

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Speaker 2: think it's diminishing returns on stunts period in anything right,

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Speaker 2: like we reach a critical mass and I feel like,

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Speaker 2: I feel like it has all of these really weird,

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Speaker 2: interesting pacing issues. I think, yeah, half the performances being

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Speaker 2: great seems right to me. I could go into I

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Speaker 2: don't know.

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Speaker 1: I don't want to got anyone for their performances. There

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Speaker 1: are some that are really bad in this, really really bad.

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Speaker 2: I will pick on one person who I have never

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Speaker 2: ever ever cared for. Okay, m I think Rosamond Pike

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Speaker 2: has never pulled it off ever. No, I think she has.

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Speaker 2: I take it back. Jane Bennett absolutely mm hmmm, gone girl.

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Speaker 2: I'm like, oh, yeah, you're petishizer. It should have been

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Speaker 2: like a Jennifer Aniston. It should have been it should

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Speaker 2: have been Reese, you know, was perfect.

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Speaker 1: I think gon Girl was originally Reese Witherspoon because she

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Speaker 1: and then David Senter, the director, told Reese it can't

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Speaker 1: be you because people have a sense of you already.

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Speaker 1: So they cast Rosamond Pike, which to me felt like

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Speaker 1: a weird choice because Rosamond Pikes, I don't know anyone

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Speaker 1: who looks like a killer more than from frame one

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Speaker 1: in Gone Girl, like.

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Speaker 2: A huge compliment, huge compliment to her. She looks like

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Speaker 2: an intense, murderous woman, and I love that.

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Speaker 1: I think she's really good at playing a fucking idiot.

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Speaker 1: And I think here's what I'll say about her in

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Speaker 1: this movie. She definitely has her lines, you know, she

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Speaker 1: she gives her lines. I think she's good in the

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Speaker 1: scene where he is telling her that he has to

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Speaker 1: fitions about their cousin or whatever, their adopted you know

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Speaker 1: friend or whatever. Like, I think she's good in the movie.

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Speaker 1: I don't understand Farley. I don't understand watching this movie

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Speaker 1: and walking away and being like, the supporting performance from

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Speaker 1: an actress in this movie that is stand out is

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Speaker 1: Rosamund Pike. Alison Oliver, who plays the sister.

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Speaker 2: Valencia, that she was amazing.

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Speaker 1: She ACKs that up.

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Speaker 2: She was I think maybe the only actor who elevated

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Speaker 2: the dialogue from pulp into something filmic into something like

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Speaker 2: oh wow, this is great, Like, this is really really

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Speaker 2: great performance. And then that image of her at the end,

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Speaker 2: I'm like, that whole character beautifully tragic. The entire arc.

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Speaker 2: I'm like, and that's that's acting. That is I think

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Speaker 2: she's the only m anyway, Sorry, I'm getting Here's what

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Speaker 2: I'll say.

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Speaker 1: I agree with you, she's the best performance in the movie.

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Speaker 1: I like Barry in the movie a lot.

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Speaker 2: Either.

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Speaker 1: Barry Kron's performance in the movie is fucking great, and

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Speaker 1: I think Jacob does what he needs to do. Again,

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Speaker 1: I wish they was more about that character that made

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Speaker 1: you really understand why he was the apple of his

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Speaker 1: family's eye, you know what I mean. But Barry, I

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Speaker 1: think is really excellent until the script forces him to

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Speaker 1: play too broad because he once he starts changing his

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Speaker 1: personality every second for every character he meets. You're watching it, like, oh,

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Speaker 1: of course he's like evil, you know what I mean.

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Speaker 1: There's no surprise at the end of the movie that

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Speaker 1: he is as diabolical and as psychotic as he seems,

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Speaker 1: because they've been telegraphing it now at that point, for

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Speaker 1: like over an hour, and so you completely take the

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Speaker 1: wind out of the sails of like what you've got

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Speaker 1: at that point, which is this you know, she's clearly

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Speaker 1: inspired by talented mister Ripley here, which is this like

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Speaker 1: love story that's becoming obsessive and you feel like maybe

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Speaker 1: he doesn't have control over to then say, oh, just kidding.

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Speaker 1: He had control over it the entire time. He's actually

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Speaker 1: the smartest person in the world, Mama. If that's true,

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Speaker 1: how come he didn't have a failsafe for when Ja

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Speaker 1: Jacob brings him to his family's house.

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Speaker 2: He didn't have a way to get in, That's what

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Speaker 2: I'm saying. Yeah, yeah, yeah, he was wonderful.

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Speaker 1: And he was at the end, like when that when

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Speaker 1: that script gets crazy and he's giving that monologue to

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Speaker 1: Rosamund Pike when she's intubated, It's like the only thing

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Speaker 1: that's missing is a snidely whiplash mustache, you know what

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Speaker 1: I mean. That's that's all that's missing, is like him

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Speaker 1: in a top hat and a cane being like It's like.

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Speaker 2: Okay, I was wondering the entire time, like wait, so,

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Speaker 2: like why does why does he shift completely at the

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Speaker 2: midpoint personality wise? It would have been more interesting if

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Speaker 2: like it wasn't a masterminded plot the whole time, because

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Speaker 2: then it just then he is just kind of a

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Speaker 2: dimensionless point.

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Speaker 1: Yeah, when you're watching a movie and it is very

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Speaker 1: clear to you that someone is being manipulative, that is

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Speaker 1: not a good performance of manipulation. You know what's a

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Speaker 1: great performance of manipulation. Emma Stone in the Favorite That

397
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Speaker 1: is a perfect performance of manipulation because you don't have

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Speaker 1: a finger on her, and that's why that's a great script.

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Speaker 1: But here it's just like, yeah, obviously, when a script

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Speaker 1: has obvious plot holes and you can point out and

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Speaker 1: be like no, then it doesn't deserve to be in

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Speaker 1: a scripting conversation. By all means, nominate the movie for cinematography.

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Speaker 1: By all means, in my opinion, nominate Alison Oliver. By

404
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Speaker 1: all means. There's things that are great about this movie,

405
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Speaker 1: but this whole thing of like the final montage being

406
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Speaker 1: this gag, it's not watch three other movies. And I

407
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Speaker 1: don't mean to be like a snob. I just mean

408
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Speaker 1: to be like, you can like watching him lock up

409
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Speaker 1: the com and fuck the grave and also be like, yeah,

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Speaker 1: this movie could have been better if it was about

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Speaker 1: one thing and if there was like research on anachronisms

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Speaker 1: like research on like ways that they could that he

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Speaker 1: could have actually covered this up, like just thinking beyond

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Speaker 1: the premise a little bit more and beyond the pulp

415
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Speaker 1: a little bit more to make this something durable even.

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Speaker 2: The period of it is thinly applied. And to me,

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Speaker 2: it just kind of comes off as this like convenient

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Speaker 2: way out of like smartphones as a plot device, like

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Speaker 2: literally like as a way of like them looking up

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Speaker 2: the sky. But uh again and which it's like not

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Speaker 2: that the internet didn't exist in that this family would

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Speaker 2: have access to like I don't know like who like

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Speaker 2: regularly takes in these like interlopers. Yeah, doesn't like have

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Speaker 2: a way of anyway. My thing is, please someone talk

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Speaker 2: me off the sledge because it's actually driven me to

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Speaker 2: the brink of insanity.

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Speaker 1: I think I know where you're gonna go.

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Speaker 2: I looked it up schools in the UK. Yeah, go

429
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Speaker 2: buy just like in America, Class of graduating year, this

430
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Speaker 2: movie is supposed to take place in the summer I

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Speaker 2: guess of two thousand and seven. And then you see

432
00:23:01,920 --> 00:23:06,520
Speaker 2: the banner behind Barry Kyogins first scene welcome Class of

433
00:23:06,520 --> 00:23:13,919
Speaker 2: two thousand and six, which, to me, to an unsuspecting

434
00:23:13,960 --> 00:23:16,679
Speaker 2: audience makes them until it gets to like these obvious

435
00:23:16,760 --> 00:23:20,080
Speaker 2: like chronological markers later on. It makes me think that

436
00:23:20,160 --> 00:23:22,280
Speaker 2: this movie takes place in two thousand and two. It

437
00:23:22,320 --> 00:23:23,719
Speaker 2: starts off in the fall of two thousand and two,

438
00:23:23,760 --> 00:23:25,920
Speaker 2: and then it ends in the rest of It takes

439
00:23:25,920 --> 00:23:27,720
Speaker 2: place in Saltburn the summer of two thousand and three.

440
00:23:28,680 --> 00:23:32,400
Speaker 2: I'm immediately lurched into two thousand and seven because of

441
00:23:33,280 --> 00:23:36,040
Speaker 2: the super Bad on VHS, which hadn't come out on

442
00:23:36,119 --> 00:23:38,959
Speaker 2: VHS by that point. And then Emerald Fanella has an

443
00:23:38,960 --> 00:23:41,480
Speaker 2: interview has been like, no, it's okay, Like the dad's rich,

444
00:23:41,520 --> 00:23:44,160
Speaker 2: so he must be connected enough to receive like a screener.

445
00:23:44,760 --> 00:23:45,840
Speaker 1: Wait does she say that?

446
00:23:46,320 --> 00:23:49,239
Speaker 2: She literally said that, you're kidding. I'm not.

447
00:23:50,119 --> 00:23:52,000
Speaker 1: She said to dad was rich enough to get us

448
00:23:52,080 --> 00:23:53,840
Speaker 1: where where I have to know where.

449
00:23:53,880 --> 00:23:55,840
Speaker 2: She said that, I think it's on like her Vanity

450
00:23:55,880 --> 00:23:59,040
Speaker 2: Fair thing. I have to throw my head back in

451
00:23:59,240 --> 00:24:03,400
Speaker 2: cackle and break off my damn vertebra because of how

452
00:24:03,440 --> 00:24:04,199
Speaker 2: funny that is.

453
00:24:05,440 --> 00:24:08,159
Speaker 1: Oh my god, and it's like.

454
00:24:08,200 --> 00:24:14,320
Speaker 2: Fucking them screaming mister Bright's side, which is like okay,

455
00:24:14,359 --> 00:24:16,160
Speaker 2: but at that point it was already like a four

456
00:24:16,240 --> 00:24:19,240
Speaker 2: year old song, so to be fair.

457
00:24:19,280 --> 00:24:21,639
Speaker 1: We would scream mister bright'side too if it came on

458
00:24:21,720 --> 00:24:22,439
Speaker 1: karaoke and.

459
00:24:22,440 --> 00:24:25,040
Speaker 2: The summer of two thousand and seven, or because I

460
00:24:25,080 --> 00:24:30,200
Speaker 2: think mister Bright's side, I'm gonna say that song had

461
00:24:30,240 --> 00:24:32,560
Speaker 2: reached like a little bit of a valley a fallo

462
00:24:32,680 --> 00:24:35,120
Speaker 2: period before it resurged into.

463
00:24:35,000 --> 00:24:37,360
Speaker 1: As a classic like it does now in twenty twenty four.

464
00:24:37,600 --> 00:24:40,600
Speaker 2: This is what I'm saying. It's very clearly an anachronism.

465
00:24:40,680 --> 00:24:43,320
Speaker 2: Not an anachronism, but like a chronological marker for us

466
00:24:43,320 --> 00:24:45,440
Speaker 2: as an audience in twenty twenty three, twenty twenty four.

467
00:24:46,560 --> 00:24:52,639
Speaker 2: Then the MacBook on Jacob Elordie's desk is I think

468
00:24:52,800 --> 00:24:56,040
Speaker 2: I'm I'm about eighty percent sure, like a two nine

469
00:24:56,080 --> 00:24:59,720
Speaker 2: ten model. So these departments can be at a ten sure,

470
00:24:59,760 --> 00:25:03,560
Speaker 2: like like with Bradley, But the departments are hampered by

471
00:25:03,600 --> 00:25:06,600
Speaker 2: their direction. And if the director doesn't really give a

472
00:25:06,600 --> 00:25:08,960
Speaker 2: shit about these details, even though she is this like

473
00:25:09,040 --> 00:25:13,359
Speaker 2: aesthetically bold big swing director, I'm like, well, then what's

474
00:25:13,400 --> 00:25:15,199
Speaker 2: the point then? Like are you even good at that

475
00:25:15,320 --> 00:25:17,560
Speaker 2: part in which you profess to be good?

476
00:25:18,160 --> 00:25:21,600
Speaker 1: You know what? Some British people have defended a lot

477
00:25:21,680 --> 00:25:21,840
Speaker 1: of this.

478
00:25:22,040 --> 00:25:24,320
Speaker 2: Yeah, and they say that it is from the Brits

479
00:25:25,119 --> 00:25:26,320
Speaker 2: and you realize.

480
00:25:26,200 --> 00:25:29,280
Speaker 1: I'll say this, I sort of am seeing this British

481
00:25:29,320 --> 00:25:34,920
Speaker 1: guy right of him fucking loves Saltburn. He loves sultburn.

482
00:25:35,080 --> 00:25:37,600
Speaker 1: He's a super well read guy. He's like, what, has

483
00:25:37,640 --> 00:25:38,040
Speaker 1: a lot.

484
00:25:37,920 --> 00:25:39,520
Speaker 2: Of interesting things to say about class?

485
00:25:39,800 --> 00:25:42,840
Speaker 1: And I was like, does it. I'm like, if it does,

486
00:25:43,359 --> 00:25:44,520
Speaker 1: what exactly is it saying?

487
00:25:44,560 --> 00:25:47,639
Speaker 2: Because go see Parasite. Go watch Parasite.

488
00:25:48,040 --> 00:25:51,160
Speaker 1: I just feel like when it's revealed that he's actually

489
00:25:51,200 --> 00:25:54,680
Speaker 1: from like at least middle class upbringing, which, by the way,

490
00:25:54,720 --> 00:25:58,520
Speaker 1: that scene drove me nuts because while Barry's parents are

491
00:25:58,520 --> 00:26:02,000
Speaker 1: talking to Jacob, Barry sitting there rocking back and forth

492
00:26:02,080 --> 00:26:04,600
Speaker 1: in his seat like a psycho, and I'm like, is

493
00:26:04,680 --> 00:26:07,000
Speaker 1: no one gonna ask him? What the fuck is up?

494
00:26:07,119 --> 00:26:09,560
Speaker 1: Like this is the weirdest movie ever. Like his parents

495
00:26:09,600 --> 00:26:11,639
Speaker 1: are just like, oh, you're back, yay, we didn't know

496
00:26:11,640 --> 00:26:13,520
Speaker 1: where you were. Sit here while we talk to your

497
00:26:13,600 --> 00:26:15,919
Speaker 1: new friend and you rock back and forth like a

498
00:26:15,920 --> 00:26:20,000
Speaker 1: mental patient. I'm like, I'm sorry, what is going on here?

499
00:26:20,040 --> 00:26:23,359
Speaker 1: What reality are we in? And again I'm watching it

500
00:26:23,400 --> 00:26:25,359
Speaker 1: with a smile on my face because I'm like, what,

501
00:26:25,960 --> 00:26:29,760
Speaker 1: but don't talk to me about this script. Don't talk

502
00:26:29,800 --> 00:26:32,320
Speaker 1: to me about the script. I'm sorry. You know what

503
00:26:32,359 --> 00:26:35,200
Speaker 1: it's when I say too many cooks, not enough cooks.

504
00:26:35,760 --> 00:26:40,240
Speaker 2: Oh, British people sound smart, and so this guy that

505
00:26:40,280 --> 00:26:44,520
Speaker 2: you're seeing, I'm sure he's very intelligent. I'm sure he's

506
00:26:45,200 --> 00:26:50,399
Speaker 2: league smarter than me. I don't know about that. I

507
00:26:50,480 --> 00:26:54,440
Speaker 2: don't know about whatever the class commentary is here. I

508
00:26:54,520 --> 00:26:57,160
Speaker 2: think the idea of like watch Out for the middle

509
00:26:57,200 --> 00:27:00,880
Speaker 2: class people interloping in like upper class story, I think

510
00:27:02,280 --> 00:27:05,280
Speaker 2: somewhat interesting. It's been done before, but I'd love to

511
00:27:05,280 --> 00:27:09,600
Speaker 2: see more of it. I don't know that it's presented

512
00:27:09,640 --> 00:27:12,359
Speaker 2: in this compelling package that people seem to think that

513
00:27:12,400 --> 00:27:13,000
Speaker 2: this movie is.

514
00:27:13,880 --> 00:27:18,200
Speaker 1: I just don't think she is creating the best versions

515
00:27:18,320 --> 00:27:19,360
Speaker 1: of these things.

516
00:27:19,880 --> 00:27:22,640
Speaker 2: I wish her the best. I'm very excited to see

517
00:27:22,640 --> 00:27:23,160
Speaker 2: what she does.

518
00:27:23,720 --> 00:27:27,639
Speaker 1: I am a fan. And here's the thing, Like, I

519
00:27:27,640 --> 00:27:30,320
Speaker 1: think it was Beyonce who said, you know you that

520
00:27:30,400 --> 00:27:32,600
Speaker 1: bitch when you cause all this conversation. You know who

521
00:27:32,600 --> 00:27:35,360
Speaker 1: has an oscar her? You know who doesn't me? And

522
00:27:35,960 --> 00:27:41,960
Speaker 1: that's fine. It's just like I feel a little perplexed

523
00:27:42,000 --> 00:27:46,560
Speaker 1: about praise when it comes to screenwriting, when they have

524
00:27:46,720 --> 00:27:49,840
Speaker 1: such obvious holes and this is not the first time.

525
00:27:50,080 --> 00:27:53,320
Speaker 1: And like I said, I completely get. And when she

526
00:27:53,400 --> 00:27:56,120
Speaker 1: won the Oscar for a promising young woman, I didn't agree,

527
00:27:56,200 --> 00:27:58,520
Speaker 1: but I applauded because what she had done, what she

528
00:27:58,560 --> 00:28:02,159
Speaker 1: had created, had had an impact and it spoke to

529
00:28:02,280 --> 00:28:05,360
Speaker 1: a lot of people to what end is this movie?

530
00:28:05,440 --> 00:28:06,080
Speaker 1: You know what I mean?

531
00:28:06,160 --> 00:28:06,280
Speaker 2: Like?

532
00:28:06,680 --> 00:28:09,200
Speaker 1: Where is that? And it's okay that it's just pulp,

533
00:28:09,960 --> 00:28:11,640
Speaker 1: you know what I mean. That's fine. You know how

534
00:28:11,640 --> 00:28:14,240
Speaker 1: many male directors are out there fucking pulp way worse

535
00:28:14,280 --> 00:28:18,520
Speaker 1: than this. Yeah, all these opportunities. It's really fun to watch.

536
00:28:18,600 --> 00:28:20,520
Speaker 1: I think I had maybe a lot more fun watching

537
00:28:20,560 --> 00:28:22,359
Speaker 1: it than you seem too, because I didn't fast forward

538
00:28:22,400 --> 00:28:24,440
Speaker 1: a second of this. I watched it with my mouth

539
00:28:24,520 --> 00:28:28,960
Speaker 1: open laughing. But then at the end when he rips

540
00:28:28,960 --> 00:28:31,680
Speaker 1: that intubator out of her goddamn mouth and it is

541
00:28:31,720 --> 00:28:34,200
Speaker 1: like ha ha ha ha ha and dances to murder

542
00:28:34,240 --> 00:28:37,600
Speaker 1: on the dance floor, which yeah, I've hit fifteen times

543
00:28:37,640 --> 00:28:41,360
Speaker 1: on my Spotify since watching it. I had to say,

544
00:28:41,480 --> 00:28:45,640
Speaker 1: this movie had nothing. It had everything and nothing. It

545
00:28:45,720 --> 00:28:47,560
Speaker 1: was great downs, beautiful gowns.

546
00:28:48,600 --> 00:28:50,720
Speaker 2: Wow, thank you for that.

547
00:28:51,640 --> 00:28:54,320
Speaker 1: And here's the thing, we're not even being cunted, because

548
00:28:54,360 --> 00:28:56,000
Speaker 1: I loved almost everything else I saw.

549
00:28:56,440 --> 00:28:58,480
Speaker 2: We're not being cunsed, but we're getting we're getting the

550
00:28:58,520 --> 00:29:01,120
Speaker 2: continous out of the way. First again, we're going to

551
00:29:01,560 --> 00:29:05,000
Speaker 2: let's not spoil too much of the other films. Of

552
00:29:05,040 --> 00:29:06,600
Speaker 2: the other films, yeah, because.

553
00:29:06,360 --> 00:29:08,680
Speaker 1: I feel like those haven't been like cultural conversations in

554
00:29:08,720 --> 00:29:11,400
Speaker 1: the way this one has. Let's start with all of us, strangers.

555
00:29:11,800 --> 00:29:12,719
Speaker 1: What were your thoughts.

556
00:29:13,600 --> 00:29:18,680
Speaker 2: I really really enjoyed it, loved I think I got

557
00:29:18,720 --> 00:29:21,240
Speaker 2: lost in the sauce a little bit after the midpoint,

558
00:29:22,200 --> 00:29:25,280
Speaker 2: after a moment where he and Paul Mescal's character go

559
00:29:25,360 --> 00:29:28,880
Speaker 2: out and they went to They did go to Royal

560
00:29:28,920 --> 00:29:31,920
Speaker 2: Vauughell Tavern, which we've been to, which is where took

561
00:29:31,920 --> 00:29:35,440
Speaker 2: Princess Diana. Yes, we've been to that bar multiple times,

562
00:29:35,520 --> 00:29:37,760
Speaker 2: and so that's where they go out in that scene,

563
00:29:37,800 --> 00:29:41,000
Speaker 2: and then from there it kind of starts to unravel

564
00:29:41,000 --> 00:29:46,040
Speaker 2: in this really beautiful way, and the ending snatched me.

565
00:29:46,160 --> 00:29:48,840
Speaker 2: Bald Well.

566
00:29:48,880 --> 00:29:51,040
Speaker 1: First of all, I just want to say this is

567
00:29:51,040 --> 00:29:54,680
Speaker 1: by Andrew High, who, Yeah, one of my favorite movies

568
00:29:54,760 --> 00:29:57,680
Speaker 1: this weekend, and I'll never forget, and I actually was.

569
00:29:57,920 --> 00:30:00,480
Speaker 1: I was a looking fan this first seas of looking.

570
00:30:00,520 --> 00:30:03,360
Speaker 1: I thought got really good by the end. And I

571
00:30:03,480 --> 00:30:07,840
Speaker 1: always love Andrew High's work, and I was really excited

572
00:30:07,840 --> 00:30:10,680
Speaker 1: about this because I'm a really big fan of the

573
00:30:10,800 --> 00:30:14,400
Speaker 1: entire cast. Yes, and this did not disappoint. I think

574
00:30:14,480 --> 00:30:19,880
Speaker 1: Andrew Scott is so fucking good in this. There's a

575
00:30:19,960 --> 00:30:22,440
Speaker 1: moment he has a scene with Jamie Bell, who also

576
00:30:22,520 --> 00:30:23,520
Speaker 1: is not getting talked about.

577
00:30:23,640 --> 00:30:25,680
Speaker 2: I know the exact moment you're talking about.

578
00:30:25,960 --> 00:30:29,040
Speaker 1: Suffice it to say, there's a scene between Jamie Bell

579
00:30:29,240 --> 00:30:31,520
Speaker 1: and Andrew Scott. I won't say what the relationship is

580
00:30:31,560 --> 00:30:34,160
Speaker 1: because you should see it. But there's a moment where

581
00:30:35,480 --> 00:30:38,920
Speaker 1: Andrew Scott has like sort of an emotional break.

582
00:30:39,200 --> 00:30:42,440
Speaker 2: That comes out. It was only nowhere.

583
00:30:42,720 --> 00:30:45,440
Speaker 1: There's only been one other moment this year or maybe

584
00:30:45,440 --> 00:30:49,600
Speaker 1: two in film that I've like. Out of Nowhere just

585
00:30:49,680 --> 00:30:53,080
Speaker 1: had like an emotional reaction to it. And he's just

586
00:30:53,240 --> 00:30:57,880
Speaker 1: so gifted. Yea, Andrew is amazing, and I cross my

587
00:30:57,920 --> 00:30:59,920
Speaker 1: fingers that he gets nominated for an Oscar for this

588
00:31:00,520 --> 00:31:06,000
Speaker 1: because his sense of emotional discovery is so on point,

589
00:31:06,200 --> 00:31:09,560
Speaker 1: Like he's just so fresh, She's so easy to watch,

590
00:31:09,600 --> 00:31:14,400
Speaker 1: she's so likable, and he feels like broken yet open

591
00:31:14,440 --> 00:31:17,200
Speaker 1: in this way that is so good. He's got unbelievable

592
00:31:17,280 --> 00:31:21,200
Speaker 1: chemistry with Paul mescal who is such a fucking superstar,

593
00:31:22,000 --> 00:31:24,840
Speaker 1: Like I would nominate him for an Oscar for this

594
00:31:24,920 --> 00:31:31,360
Speaker 1: as well as well as Clairefoy Claire boy in this

595
00:31:31,520 --> 00:31:36,640
Speaker 1: movie is it's just so great And I would describe

596
00:31:37,160 --> 00:31:39,160
Speaker 1: the movie with the exact words that are like the

597
00:31:39,200 --> 00:31:41,520
Speaker 1: poll quotes from reviews on the poster. It is haunting

598
00:31:41,560 --> 00:31:44,640
Speaker 1: and heartbreaking. And I don't know if I like it

599
00:31:44,680 --> 00:31:46,720
Speaker 1: as much as Weekend because Weekend holds like a very

600
00:31:46,720 --> 00:31:49,080
Speaker 1: special place in my heart, I think from seeing it

601
00:31:49,160 --> 00:31:51,640
Speaker 1: ears prior to this and just it's in like the

602
00:31:51,680 --> 00:31:55,400
Speaker 1: fabric of my life. But this movie was like really

603
00:31:55,520 --> 00:31:59,280
Speaker 1: unforgettable and like very surreal and makes a lot of

604
00:31:59,800 --> 00:32:04,120
Speaker 1: interesting choices that make you think in ways that I

605
00:32:04,160 --> 00:32:07,440
Speaker 1: think the movies we've talked about thus far are like playing.

606
00:32:07,240 --> 00:32:10,720
Speaker 2: At Yes, they are playing at that, and I think

607
00:32:10,760 --> 00:32:15,400
Speaker 2: this is something that pulls it off much more elegantly

608
00:32:15,480 --> 00:32:17,640
Speaker 2: and does the thing of like bringing back an old

609
00:32:17,680 --> 00:32:20,560
Speaker 2: song and the power of love.

610
00:32:21,360 --> 00:32:23,120
Speaker 1: I mean, always on my mind was what I was,

611
00:32:23,560 --> 00:32:27,880
Speaker 1: what I was living for, Like, I don't know, it's

612
00:32:27,960 --> 00:32:30,920
Speaker 1: just like he's got such a great language as a filmmaker,

613
00:32:30,920 --> 00:32:32,560
Speaker 1: and he's got such a strong aesthetic, and it is

614
00:32:32,640 --> 00:32:35,000
Speaker 1: here despite the fact that ultimately this is a different

615
00:32:35,040 --> 00:32:36,480
Speaker 1: genre than he's like ever done.

616
00:32:36,960 --> 00:32:39,920
Speaker 2: I think this is a very big departure for him,

617
00:32:39,920 --> 00:32:41,880
Speaker 2: and I thought it was so amazing when I realized

618
00:32:41,920 --> 00:32:46,280
Speaker 2: what like. I went in pretty agnostic, and then when

619
00:32:46,360 --> 00:32:51,320
Speaker 2: I discovered what was happening, I was very captivated. And

620
00:32:51,360 --> 00:32:53,480
Speaker 2: I think that is a very important part of that

621
00:32:54,040 --> 00:32:56,960
Speaker 2: viewing experience for an audience member who maybe doesn't know

622
00:32:57,040 --> 00:32:57,720
Speaker 2: that going in.

623
00:32:58,400 --> 00:33:01,600
Speaker 1: I can't say enough about this movie. I really loved it,

624
00:33:01,680 --> 00:33:05,880
Speaker 1: and it's worth seeing for the acting, and it's worth

625
00:33:05,920 --> 00:33:12,360
Speaker 1: seeing for the really, really, really I think compelling emotional

626
00:33:12,400 --> 00:33:16,200
Speaker 1: story that it tells, and talk about a latent film

627
00:33:16,240 --> 00:33:23,000
Speaker 1: reveal that like actually hits. Yeah, it's this, I mean,

628
00:33:23,080 --> 00:33:27,040
Speaker 1: like it's it's just great. And I had a sense

629
00:33:27,040 --> 00:33:28,680
Speaker 1: of it as it was going, but I didn't see

630
00:33:28,680 --> 00:33:30,000
Speaker 1: it playing out that way.

631
00:33:30,240 --> 00:33:32,479
Speaker 2: So this was a great one. This was a great one.

632
00:33:33,000 --> 00:33:36,120
Speaker 2: Another trend notice saying between Murder and the dance Floor

633
00:33:36,160 --> 00:33:38,280
Speaker 2: and like faking goes to Hollywood and all of us strangers,

634
00:33:38,320 --> 00:33:42,400
Speaker 2: Indigo girls and Barbie fucking I don't know, like labby

635
00:33:42,480 --> 00:33:45,840
Speaker 2: Sa Frey and the holdovers like P I M P.

636
00:33:46,080 --> 00:33:48,360
Speaker 2: And Anatomy of a Fault a lot of like old

637
00:33:48,600 --> 00:33:52,360
Speaker 2: old songs kind of like create being very important features

638
00:33:52,400 --> 00:33:54,800
Speaker 2: in these movies and like them being all back in

639
00:33:54,840 --> 00:33:57,480
Speaker 2: the conversation in some fun way. That's another like trend

640
00:33:57,560 --> 00:33:59,600
Speaker 2: in this in this year, I think for movies where

641
00:33:59,600 --> 00:34:02,560
Speaker 2: I'm like, oh, that's fun, like make the song a thing,

642
00:34:02,680 --> 00:34:03,760
Speaker 2: a choice.

643
00:34:03,800 --> 00:34:08,000
Speaker 1: I mean, hearing fifty cent pimp jump out like seconds

644
00:34:08,000 --> 00:34:10,520
Speaker 1: into Anatomy of a Fall was like not what I

645
00:34:10,560 --> 00:34:13,320
Speaker 1: was expecting you at all. And then at some point

646
00:34:13,400 --> 00:34:15,480
Speaker 1: like they make the point of like saying it was

647
00:34:15,520 --> 00:34:17,840
Speaker 1: an instrumental version, and I was like, oh my god.

648
00:34:17,640 --> 00:34:20,760
Speaker 2: It so funny. And if you put on the subtitles,

649
00:34:20,840 --> 00:34:23,319
Speaker 2: like like I'm a subtitle girl, you put it on

650
00:34:23,360 --> 00:34:25,040
Speaker 2: it when it plays in the beginning, it's like P

651
00:34:25,120 --> 00:34:27,279
Speaker 2: I M P. By not by fifty cent, but by

652
00:34:27,360 --> 00:34:29,840
Speaker 2: like the instrumentalists, And I was like, oh, that's interesting.

653
00:34:29,920 --> 00:34:34,600
Speaker 2: Was that so I did fifty cent sample this thing originally?

654
00:34:34,760 --> 00:34:36,760
Speaker 2: But then like I think, it all kind of moved

655
00:34:36,760 --> 00:34:38,200
Speaker 2: back around in this perfect the.

656
00:34:38,239 --> 00:34:40,320
Speaker 1: Original artist was called the instrumentalist.

657
00:34:40,520 --> 00:34:42,640
Speaker 2: No no, no, no, no, was like on the subtitles

658
00:34:42,680 --> 00:34:44,720
Speaker 2: it said p I M P by like the names

659
00:34:44,840 --> 00:34:47,000
Speaker 2: of the people who are playing the instruments is what

660
00:34:47,040 --> 00:34:47,399
Speaker 2: it was said.

661
00:34:47,680 --> 00:34:50,480
Speaker 1: Oh yeah, oh and it says instrumentalists. Oh so yeah yeah,

662
00:34:50,520 --> 00:34:52,560
Speaker 1: see gave it away. God, I gotta got it.

663
00:34:52,760 --> 00:34:55,000
Speaker 2: Well, the CC like gave it away and said but

664
00:34:55,040 --> 00:34:57,000
Speaker 2: still the title of the song was still p Imp

665
00:34:57,160 --> 00:34:58,759
Speaker 2: even though fifty cents name didn't show up, and I

666
00:34:58,840 --> 00:35:01,480
Speaker 2: went right, oh, I guess if he sent sampled this

667
00:35:02,160 --> 00:35:06,080
Speaker 2: song also called Pimp by the people who like and

668
00:35:06,160 --> 00:35:08,560
Speaker 2: maybe that's true. Anyway, this is all this.

669
00:35:08,600 --> 00:35:10,319
Speaker 1: Should we talk about Anatomy of the Fall because I'm

670
00:35:10,360 --> 00:35:12,920
Speaker 1: also fresh from watching it. Yeah, so Anatomy of a Fall,

671
00:35:13,080 --> 00:35:15,239
Speaker 1: just to just to refresh everyone if you don't know.

672
00:35:15,280 --> 00:35:19,000
Speaker 1: Anatomy of a Fall is a courtroom drama starring Sandra

673
00:35:19,120 --> 00:35:22,359
Speaker 1: Huler and she's getting a lot of Best actress buzz

674
00:35:22,440 --> 00:35:25,360
Speaker 1: for this, and essentially it's like a courtroom drama slash

675
00:35:25,400 --> 00:35:28,800
Speaker 1: thriller slash drama like straight up drama, which is about

676
00:35:28,880 --> 00:35:33,719
Speaker 1: a woman who discovers her husband has fallen from the

677
00:35:33,800 --> 00:35:38,640
Speaker 1: attic of their ski, their chalet, and then she's put

678
00:35:38,680 --> 00:35:42,440
Speaker 1: on trial for the murder because there's no explanation for

679
00:35:42,520 --> 00:35:44,360
Speaker 1: why he would fall. It was she. She is the

680
00:35:44,360 --> 00:35:47,200
Speaker 1: prime suspect. She's in the house. You find out there

681
00:35:47,280 --> 00:35:51,760
Speaker 1: is like something bubbling in the house. There's domestic drama,

682
00:35:51,840 --> 00:35:54,920
Speaker 1: There's there's stuff bubbling there, and it's just this sort

683
00:35:54,920 --> 00:35:58,479
Speaker 1: of it's essentially a courtroom drama, and it's really well

684
00:35:58,520 --> 00:36:01,560
Speaker 1: done and it's pretty and it starts with an instrumental

685
00:36:01,640 --> 00:36:03,040
Speaker 1: version of Pimp.

686
00:36:04,520 --> 00:36:09,160
Speaker 2: I Want to Find the George Severis's Letterbox review.

687
00:36:09,200 --> 00:36:12,520
Speaker 1: Of Anatomy of All was he county about this?

688
00:36:13,239 --> 00:36:16,600
Speaker 2: No, he wasn't, but his review was very funny because

689
00:36:16,600 --> 00:36:20,839
Speaker 2: he said, so a woman kills her husband and now

690
00:36:20,840 --> 00:36:24,000
Speaker 2: she has to prove her queerness and court it's like

691
00:36:24,200 --> 00:36:27,120
Speaker 2: something along those lines. There's a queer element to it,

692
00:36:27,640 --> 00:36:33,279
Speaker 2: there is. This was great. I really enjoyed this. Maybe

693
00:36:33,440 --> 00:36:35,759
Speaker 2: it's not my favorite of the year, I don't think,

694
00:36:35,840 --> 00:36:38,040
Speaker 2: but I'm glad like it landed on people's radars. On

695
00:36:38,080 --> 00:36:42,440
Speaker 2: my radar, I really enjoyed watching it. Won the palmdor

696
00:36:42,680 --> 00:36:46,439
Speaker 2: can I think Justine Trier, the writer director also won.

697
00:36:47,560 --> 00:36:51,280
Speaker 2: She won the Palmd door But Sandra Ruler, great performance.

698
00:36:51,280 --> 00:36:53,560
Speaker 2: There's really wonderful and from.

699
00:36:53,360 --> 00:36:56,800
Speaker 1: The kid betrays nothing And it's a very specific performance

700
00:36:56,800 --> 00:37:00,279
Speaker 1: of greed because it's not like you really don't. No,

701
00:37:02,080 --> 00:37:05,640
Speaker 1: you don't know the entire time she's done this, and

702
00:37:05,719 --> 00:37:07,279
Speaker 1: you kind of really don't at the end.

703
00:37:07,760 --> 00:37:10,640
Speaker 2: I agree you don't. At the end, I was kind

704
00:37:10,640 --> 00:37:14,440
Speaker 2: of like, Eh, sure, whatever this I'm watching, and then

705
00:37:14,719 --> 00:37:17,440
Speaker 2: something kind of hits you in the last forty minutes

706
00:37:17,480 --> 00:37:20,160
Speaker 2: of the film where I think, oh, this movie, like

707
00:37:20,320 --> 00:37:25,800
Speaker 2: hold has something to say about the truth and about

708
00:37:25,840 --> 00:37:30,920
Speaker 2: like the way things are mediated or adeducated in this environment.

709
00:37:31,080 --> 00:37:34,240
Speaker 2: But like, if you don't know how it's I won't

710
00:37:34,280 --> 00:37:36,200
Speaker 2: spoil I think this is a spoiler because it kind

711
00:37:36,200 --> 00:37:39,239
Speaker 2: of like really hit me. But it's basically along the

712
00:37:39,239 --> 00:37:42,640
Speaker 2: lines of like, if you're not sure how something happened,

713
00:37:43,160 --> 00:37:46,279
Speaker 2: what do you do? And there are human instincts to

714
00:37:46,520 --> 00:37:49,839
Speaker 2: filling in that gap of information, And that's kind of

715
00:37:49,840 --> 00:37:53,239
Speaker 2: what the whole movie is about. That's kind of what

716
00:37:53,840 --> 00:37:56,240
Speaker 2: that courtroom setting is about, which I thought was very fun,

717
00:37:56,280 --> 00:37:58,960
Speaker 2: Like French court seems really interesting to me. They were

718
00:37:59,080 --> 00:38:00,480
Speaker 2: nice costumes.

719
00:38:00,120 --> 00:38:02,160
Speaker 1: Yeah, I was really it was very compelling how it

720
00:38:02,200 --> 00:38:05,880
Speaker 1: plays out. Yeah, I didn't realize like, so basically, if

721
00:38:05,880 --> 00:38:08,600
Speaker 1: you before you watch this movie. It's not a typical

722
00:38:08,600 --> 00:38:11,080
Speaker 1: courtroom drama in that like it's you know, the way

723
00:38:11,120 --> 00:38:12,840
Speaker 1: that we see them play out. It's like this French

724
00:38:12,920 --> 00:38:15,560
Speaker 1: court where I guess the defendant can be questioned at

725
00:38:15,560 --> 00:38:16,400
Speaker 1: any time.

726
00:38:16,400 --> 00:38:21,840
Speaker 2: At any time, and the judges can be sassy sassy,

727
00:38:21,920 --> 00:38:26,000
Speaker 2: and but I think this is like maybe in general,

728
00:38:26,160 --> 00:38:28,280
Speaker 2: what a European court looks like, because if you play

729
00:38:28,840 --> 00:38:31,040
Speaker 2: there's a game called Phoenix Right Ace Attorney, and it's

730
00:38:31,120 --> 00:38:34,480
Speaker 2: Japanese and it's modeled after European courts. Were like they

731
00:38:34,480 --> 00:38:37,080
Speaker 2: can just scream at the defendant at any point, and

732
00:38:37,120 --> 00:38:40,680
Speaker 2: in the game, like the defendant is always catching fucking

733
00:38:40,800 --> 00:38:43,200
Speaker 2: like shouts and stuff. And I'm like, oh yeah, like

734
00:38:43,239 --> 00:38:46,239
Speaker 2: this is how court rooms work in other environments.

735
00:38:46,280 --> 00:38:48,800
Speaker 1: You could never get away with what the prosecution attorney

736
00:38:48,800 --> 00:38:50,759
Speaker 1: gets away with, Like he is such a dick in

737
00:38:50,800 --> 00:38:51,120
Speaker 1: the movie.

738
00:38:51,320 --> 00:38:52,200
Speaker 2: I hated him.

739
00:38:52,239 --> 00:38:53,920
Speaker 1: He's he was such an asshole.

740
00:38:54,480 --> 00:38:56,560
Speaker 2: He was a little bitch.

741
00:38:57,040 --> 00:38:59,480
Speaker 1: But you buy every every minute of this movie as

742
00:38:59,520 --> 00:39:02,880
Speaker 1: being like real, like it's such a grounded film, Like

743
00:39:02,960 --> 00:39:07,279
Speaker 1: it's so it's just really really well done, and mm hmm,

744
00:39:07,600 --> 00:39:11,600
Speaker 1: I think that you're onto something there about proving object

745
00:39:11,880 --> 00:39:17,080
Speaker 1: needing to prove objectivity or needing to like have objectivity

746
00:39:17,120 --> 00:39:21,960
Speaker 1: where there's none, like yeah, and it's almost like you

747
00:39:22,000 --> 00:39:24,520
Speaker 1: find yourself asking, like, so, what is the best thing

748
00:39:24,560 --> 00:39:26,520
Speaker 1: to do here at the end, even if she did

749
00:39:26,640 --> 00:39:27,319
Speaker 1: kill this guy?

750
00:39:27,880 --> 00:39:32,600
Speaker 2: You know, right, there's the character dynamics. The way that

751
00:39:32,600 --> 00:39:37,200
Speaker 2: that sort of thing plays out between the characters is unexpected.

752
00:39:37,280 --> 00:39:40,160
Speaker 2: And the character who tells another character what I think

753
00:39:40,160 --> 00:39:42,759
Speaker 2: the movie is trying to say, does it in this

754
00:39:42,880 --> 00:39:44,560
Speaker 2: very interesting way where I'm just going to say, Like,

755
00:39:44,640 --> 00:39:47,399
Speaker 2: it's basically along the lines of like, if you don't

756
00:39:47,440 --> 00:39:51,360
Speaker 2: know how something happened, then you have to decide. Yeah,

757
00:39:51,800 --> 00:39:53,879
Speaker 2: then you have to just decide. And then the other

758
00:39:53,920 --> 00:39:56,160
Speaker 2: person goes, does that mean you have to believe it?

759
00:39:56,239 --> 00:39:58,840
Speaker 2: And then the person goes, no, you just have to decide.

760
00:39:58,920 --> 00:40:01,080
Speaker 2: It's a different thing. You don't have to believe that,

761
00:40:01,120 --> 00:40:05,280
Speaker 2: you just have to decide. And it really I've never

762
00:40:06,040 --> 00:40:08,400
Speaker 2: considered it that way. I've never seen that be so

763
00:40:09,400 --> 00:40:12,759
Speaker 2: elegantly stated in a courtroom drama like this, or in

764
00:40:12,800 --> 00:40:18,520
Speaker 2: any sort of like a legal sort of storytelling package.

765
00:40:18,680 --> 00:40:20,279
Speaker 2: And I really enjoyed it.

766
00:40:20,760 --> 00:40:22,719
Speaker 1: The movie has more than one great performance too. The

767
00:40:22,760 --> 00:40:23,759
Speaker 1: sun is great. I'm gonna be.

768
00:40:25,239 --> 00:40:27,400
Speaker 2: Oh my god. He's red Rum. He's from the Shining

769
00:40:27,440 --> 00:40:28,399
Speaker 2: too that they have the same as.

770
00:40:28,719 --> 00:40:31,640
Speaker 1: He has a genius haircut. He has one coat where

771
00:40:31,680 --> 00:40:33,799
Speaker 1: he wears like like a red and blue coat, and

772
00:40:33,840 --> 00:40:37,400
Speaker 1: he's like walking with the dog and he's it's just really,

773
00:40:38,280 --> 00:40:41,239
Speaker 1: I don't know, it's that dog. I actually had a

774
00:40:41,280 --> 00:40:43,239
Speaker 1: fast forward past the dog scene because I was just like,

775
00:40:43,360 --> 00:40:45,200
Speaker 1: this isn't for me, and I understand what it is,

776
00:40:45,200 --> 00:40:45,560
Speaker 1: but I.

777
00:40:45,520 --> 00:40:50,120
Speaker 2: Can't watch that dog is star, beautiful star.

778
00:40:50,239 --> 00:40:51,400
Speaker 1: I was like, how did they get the dog to

779
00:40:51,440 --> 00:40:51,839
Speaker 1: do this?

780
00:40:52,520 --> 00:40:54,560
Speaker 2: Well, you know what, someone else in the butterbox I think

781
00:40:54,640 --> 00:40:58,120
Speaker 2: I think it was fran I think it was fran Hepner.

782
00:40:58,160 --> 00:41:01,440
Speaker 2: It was someone else who was just like Jeppellier ASPC.

783
00:41:02,320 --> 00:41:07,200
Speaker 1: It's honestly, I do have questions about how they got

784
00:41:07,239 --> 00:41:11,440
Speaker 1: the die to do that, what it experiences. Y'all will

785
00:41:11,480 --> 00:41:14,960
Speaker 1: see it and then we can talk. But anyway, not

786
00:41:15,000 --> 00:41:15,399
Speaker 1: to say that.

787
00:41:15,560 --> 00:41:17,360
Speaker 2: It's not to say that there are ways to train

788
00:41:17,440 --> 00:41:21,120
Speaker 2: a smart dog like that to like act like it's suffering.

789
00:41:21,760 --> 00:41:25,200
Speaker 2: Don't pass the smell test to me though, girl. Anyway,

790
00:41:25,480 --> 00:41:28,520
Speaker 2: a dog is in pain, Well that's all we'll say, speaking.

791
00:41:28,160 --> 00:41:32,120
Speaker 1: Of pain, should we discuss Poor Things?

792
00:41:32,719 --> 00:41:45,000
Speaker 2: Yes? I loved Poor Things, adored it.

793
00:41:45,280 --> 00:41:50,040
Speaker 1: I thought Poor Things again, Like, it's got excellent performances.

794
00:41:50,320 --> 00:41:52,640
Speaker 1: It is maybe the most your ghost movie yet. It's

795
00:41:52,640 --> 00:41:57,000
Speaker 1: almost like he's earned the right to be as fucking

796
00:41:57,160 --> 00:41:59,239
Speaker 1: crazy as he wants to now and make all the

797
00:41:59,320 --> 00:42:02,000
Speaker 1: choices that he want, and it feels like his intuition

798
00:42:02,200 --> 00:42:06,520
Speaker 1: is just dead on artistically, Like it all just feels

799
00:42:06,719 --> 00:42:10,799
Speaker 1: really fresh, new and interesting, not for the sake of

800
00:42:10,840 --> 00:42:13,480
Speaker 1: being fresh, new and interesting, but with purpose. And I

801
00:42:13,520 --> 00:42:16,359
Speaker 1: think that's something that's different about this movie than other

802
00:42:16,360 --> 00:42:21,000
Speaker 1: ones we've discussed as well. Emma Stone is so great

803
00:42:21,080 --> 00:42:24,680
Speaker 1: in this and it must have been really fun to perform.

804
00:42:24,800 --> 00:42:30,640
Speaker 1: So she basically plays a woman who has committed suicide

805
00:42:30,719 --> 00:42:35,480
Speaker 1: and she's brought basically back to life by Willem Dafoe,

806
00:42:36,040 --> 00:42:40,000
Speaker 1: who is like this sort of like Victor Frankenstein type character.

807
00:42:40,640 --> 00:42:43,160
Speaker 1: He's got like a house that's like almost a zoo

808
00:42:43,280 --> 00:42:46,839
Speaker 1: with like different animals heads on other animals bodies. Like

809
00:42:47,239 --> 00:42:53,560
Speaker 1: he's able to take Emma Stone's unborn child's brain and

810
00:42:53,680 --> 00:42:57,680
Speaker 1: put it in her own body, and so she wakes

811
00:42:58,400 --> 00:43:01,880
Speaker 1: and essentially she has a baby brain in an adult

812
00:43:02,000 --> 00:43:07,640
Speaker 1: woman's body, and then she matures very quickly to the

813
00:43:07,680 --> 00:43:12,640
Speaker 1: point where suddenly she's this like baby woman who has

814
00:43:12,680 --> 00:43:15,960
Speaker 1: a sexual awakening because she's in an adult body very quickly,

815
00:43:16,400 --> 00:43:20,799
Speaker 1: and very quickly starts to make headway in terms of

816
00:43:21,080 --> 00:43:24,400
Speaker 1: her intelligence. She starts to question the realities of the world.

817
00:43:24,800 --> 00:43:27,920
Speaker 1: She questions so much, and it really asked the question, like,

818
00:43:28,080 --> 00:43:30,440
Speaker 1: if someone were to just come to this earth and

819
00:43:30,520 --> 00:43:34,000
Speaker 1: immediately mature and be able to look at everything objectively

820
00:43:34,360 --> 00:43:37,759
Speaker 1: and discover what our world really truly is, what would

821
00:43:37,800 --> 00:43:41,360
Speaker 1: those questions be And are those questions really worth asking?

822
00:43:41,440 --> 00:43:42,120
Speaker 2: Right now?

823
00:43:42,600 --> 00:43:46,480
Speaker 1: Talk about a thought provoking movie. It's talks about, you know,

824
00:43:46,600 --> 00:43:49,759
Speaker 1: the reality of misogyny in our world, the reality of

825
00:43:50,560 --> 00:43:52,840
Speaker 1: the way that sex work is talked about in our world,

826
00:43:53,040 --> 00:43:55,600
Speaker 1: the reality of human tragedy in this world in the

827
00:43:55,640 --> 00:43:57,960
Speaker 1: way that we're asked to be okay with it, the

828
00:43:58,040 --> 00:44:02,000
Speaker 1: reality of abuse, you know that the structures of power

829
00:44:02,040 --> 00:44:06,680
Speaker 1: in this world. Like and it's all done playfully and

830
00:44:07,080 --> 00:44:10,960
Speaker 1: in a really interesting fresh way and has amazing performances

831
00:44:11,000 --> 00:44:13,520
Speaker 1: across the board. This had to be so much dare

832
00:44:13,560 --> 00:44:16,680
Speaker 1: I say fun for Emma to do because it was

833
00:44:16,719 --> 00:44:21,799
Speaker 1: giving ETW the best way. It was giving experimental theater

834
00:44:21,960 --> 00:44:25,680
Speaker 1: pheromenal theater in a really refined way. I really liked this.

835
00:44:26,560 --> 00:44:31,040
Speaker 2: I think this is a really good, good team of people,

836
00:44:31,080 --> 00:44:34,839
Speaker 2: which is Emma Jorgos and Tony McNamara who also did

837
00:44:35,320 --> 00:44:37,920
Speaker 2: co wrote The Favorite and co wrote Cruella Ah with

838
00:44:38,040 --> 00:44:39,640
Speaker 2: Data Fox. So I think like there's a lot of

839
00:44:39,719 --> 00:44:43,040
Speaker 2: trust among these people. I mean, I think you want

840
00:44:43,080 --> 00:44:45,480
Speaker 2: to talk about writing, I feel like the way you

841
00:44:45,520 --> 00:44:49,880
Speaker 2: write Bella Baxter developmentally throughout the arc of her character,

842
00:44:50,239 --> 00:44:54,880
Speaker 2: and like just as she like matures into like language

843
00:44:55,040 --> 00:44:59,160
Speaker 2: is so difficult, must have been so difficult. And it

844
00:44:59,200 --> 00:45:01,719
Speaker 2: is based on a play, so there is like some

845
00:45:01,760 --> 00:45:04,680
Speaker 2: source text a little bit. But I took half an

846
00:45:04,800 --> 00:45:08,839
Speaker 2: edible and I was living. I was having a blast

847
00:45:09,160 --> 00:45:12,440
Speaker 2: at this movie, and just my prevailing thought was like,

848
00:45:13,400 --> 00:45:15,759
Speaker 2: how do you possibly I mean, the performance aside, how

849
00:45:15,800 --> 00:45:19,040
Speaker 2: do you possibly convey all of these things that this

850
00:45:19,120 --> 00:45:23,120
Speaker 2: person is discovering for themselves in the language of like

851
00:45:23,200 --> 00:45:26,080
Speaker 2: how she like what she picks up, when she picks

852
00:45:26,080 --> 00:45:28,080
Speaker 2: it up, when she like By the end, she's a

853
00:45:28,160 --> 00:45:32,680
Speaker 2: fully articulate person. And it's incredible if you think about it,

854
00:45:32,719 --> 00:45:35,520
Speaker 2: like at the beginning of this movie, she was just

855
00:45:35,560 --> 00:45:37,719
Speaker 2: claying on the piano and like waddling around with like

856
00:45:37,760 --> 00:45:41,120
Speaker 2: the little duck Dog, and I'm just like, this is incredible.

857
00:45:41,200 --> 00:45:44,880
Speaker 2: And the way the sets of the production design is incredible.

858
00:45:45,360 --> 00:45:50,040
Speaker 2: Led screens almost I think every outdoor scene was on

859
00:45:50,120 --> 00:45:53,760
Speaker 2: a sound stage D screen. So on the boat, those clouds,

860
00:45:53,760 --> 00:45:59,320
Speaker 2: those pink purple clouds, huge screen, right, minimal v effects

861
00:45:59,400 --> 00:46:02,600
Speaker 2: every like yours. Is like, I'm making this as practical

862
00:46:02,640 --> 00:46:06,279
Speaker 2: as I can, very few VFX. The fish eye lends

863
00:46:06,320 --> 00:46:09,759
Speaker 2: coming back from the favorite I love, just like it

864
00:46:09,880 --> 00:46:13,160
Speaker 2: kind of coinciding perfectly with like when the world opens

865
00:46:13,239 --> 00:46:18,720
Speaker 2: up another layer for her, for for Bella, Ruffalo, great Brady,

866
00:46:18,760 --> 00:46:22,279
Speaker 2: like Rommy Yousef and this, And I will say.

867
00:46:22,400 --> 00:46:28,840
Speaker 1: What I feel is that Ruffalo is definitely one of

868
00:46:28,880 --> 00:46:31,120
Speaker 1: our best and Emma Stone is one of our best,

869
00:46:31,160 --> 00:46:33,560
Speaker 1: and you can tell they're having so much fun together

870
00:46:34,200 --> 00:46:37,440
Speaker 1: even when it gets like gnarly. I think that just

871
00:46:37,440 --> 00:46:41,240
Speaker 1: to talk about the script again, what's so great about

872
00:46:41,239 --> 00:46:47,240
Speaker 1: it is that it asks she in her discovery, asks

873
00:46:47,400 --> 00:46:52,720
Speaker 1: extremely base but also intelligent questions, and that is something

874
00:46:52,760 --> 00:46:55,719
Speaker 1: where he had to really think, like, Okay, I am

875
00:46:56,040 --> 00:47:01,400
Speaker 1: just now discovering the concept of prostitution, she as a

876
00:47:01,480 --> 00:47:04,879
Speaker 1: character asks, well, shouldn't we be picking who we sleep with?

877
00:47:05,000 --> 00:47:08,399
Speaker 1: Because it's gonna be better if we enjoy it, right,

878
00:47:08,680 --> 00:47:10,480
Speaker 1: you know what I mean? Like, wouldn't that be if

879
00:47:10,480 --> 00:47:12,839
Speaker 1: you're gonna pay for this, you want me to want

880
00:47:12,840 --> 00:47:15,160
Speaker 1: to fuck you? Right, because that would be better for everyone?

881
00:47:15,480 --> 00:47:17,319
Speaker 1: Like why do they come in here? And why are

882
00:47:17,360 --> 00:47:19,680
Speaker 1: we standing in the line, you know what I mean? Like,

883
00:47:19,920 --> 00:47:22,520
Speaker 1: And it's just interesting because it's like, oh, of course

884
00:47:22,800 --> 00:47:25,120
Speaker 1: someone who just walks into that situation is gonna think

885
00:47:25,120 --> 00:47:29,040
Speaker 1: about it like that, and because she's not cultured to

886
00:47:29,239 --> 00:47:31,200
Speaker 1: live in a world where, of course the men decide

887
00:47:31,200 --> 00:47:34,919
Speaker 1: they're the men, right, Even the question she asks, Oh,

888
00:47:34,920 --> 00:47:38,960
Speaker 1: that actor who played the madam was excellent. Yeah, her

889
00:47:39,040 --> 00:47:42,960
Speaker 1: name is Catherine Yes, yes, it starts with an age.

890
00:47:43,320 --> 00:47:46,279
Speaker 1: She was also in the Macbeth movie and she played

891
00:47:46,320 --> 00:47:50,600
Speaker 1: the witches, and she's like the cream of the.

892
00:47:50,600 --> 00:47:54,319
Speaker 2: Crop, Catherine Hunter. Catherine Hunter. Yes, yes, she's a man.

893
00:47:54,400 --> 00:47:59,400
Speaker 2: She was excellent. But even that first moment where Bella

894
00:48:00,000 --> 00:48:03,920
Speaker 2: discovers what sex work is and it's just like understands that, like, oh,

895
00:48:03,920 --> 00:48:05,919
Speaker 2: you get paid to do this, She's like I get

896
00:48:05,920 --> 00:48:08,040
Speaker 2: paid to do the thing that I love to do. Yes, yeah,

897
00:48:08,280 --> 00:48:11,800
Speaker 2: of course let's do it. Like that is a perfect

898
00:48:11,800 --> 00:48:14,279
Speaker 2: starting point for that character. And then as she discovers

899
00:48:14,320 --> 00:48:18,600
Speaker 2: all of these weird yeah customs within it, like that's

900
00:48:18,640 --> 00:48:23,600
Speaker 2: when it's fun and interesting. But I really, really really

901
00:48:23,640 --> 00:48:26,360
Speaker 2: loved it so much. I was with it the whole time.

902
00:48:26,440 --> 00:48:28,239
Speaker 2: I was like, more and more and more. I was

903
00:48:28,680 --> 00:48:32,520
Speaker 2: sad that it ended, but ultimately so it just feels

904
00:48:32,560 --> 00:48:36,840
Speaker 2: like it ends on such a lovely, light, triumphant note

905
00:48:36,920 --> 00:48:39,680
Speaker 2: that I really liked. I really I'm like rooting for

906
00:48:39,719 --> 00:48:40,239
Speaker 2: it all the way.

907
00:48:40,840 --> 00:48:44,040
Speaker 1: I was uncomfortable the entire time because this movie is

908
00:48:44,080 --> 00:48:47,840
Speaker 1: a little bit more grotesque than I like to watch.

909
00:48:47,920 --> 00:48:52,160
Speaker 1: Like I think whenever, whenever the tone of a movie

910
00:48:52,360 --> 00:48:55,640
Speaker 1: is anyone could vomit at anytime. I'm not having fun,

911
00:48:56,239 --> 00:48:58,359
Speaker 1: you know what I'm saying. And like, by the way,

912
00:48:58,400 --> 00:49:01,600
Speaker 1: so much vomit in movies to ski there more? Is

913
00:49:01,640 --> 00:49:04,319
Speaker 1: there more vomit in film this year than ever? What

914
00:49:04,400 --> 00:49:05,399
Speaker 1: have we tracked so far?

915
00:49:05,680 --> 00:49:09,560
Speaker 2: Vomit? Old songs, black and white or like or like

916
00:49:09,600 --> 00:49:12,080
Speaker 2: fake conteina on things come sure.

917
00:49:12,200 --> 00:49:15,600
Speaker 1: There's come every there's Oh when Paul Maskal looks to

918
00:49:15,640 --> 00:49:19,600
Speaker 1: come off Andrew Scott's chest and all of us strangers.

919
00:49:19,680 --> 00:49:25,040
Speaker 1: I said, important, Paul Mescal, you will always be well.

920
00:49:26,000 --> 00:49:28,919
Speaker 1: I ultimately, ultimately what I have not stopped thinking about.

921
00:49:28,920 --> 00:49:30,239
Speaker 1: I think Matt Worker was telling me it was I

922
00:49:30,239 --> 00:49:33,640
Speaker 1: think it was like some writer was saying that this

923
00:49:33,800 --> 00:49:37,680
Speaker 1: was the year of the Doll, Barbie, poor things. Just

924
00:49:37,719 --> 00:49:42,640
Speaker 1: literally like just like Megan Megan, where it's like Doll

925
00:49:42,680 --> 00:49:46,279
Speaker 1: goes out into the real world like Little Mermaid, like

926
00:49:46,560 --> 00:49:50,719
Speaker 1: a lot of that and interesting, interesting thing to think

927
00:49:50,760 --> 00:49:53,440
Speaker 1: about Taylor, even on some level where it's like you

928
00:49:53,440 --> 00:49:56,840
Speaker 1: put different costumes on her for her eras Barbie walking

929
00:49:56,880 --> 00:50:00,640
Speaker 1: around in real life. Yes, let's discuss I'm American fiction.

930
00:50:01,040 --> 00:50:05,160
Speaker 2: Yes, love it. Yeah, you go first, really really enjoyed it.

931
00:50:05,200 --> 00:50:10,640
Speaker 2: Jeffrey Wright is a deeply, deeply important actor. I think, oh, yeah,

932
00:50:10,680 --> 00:50:13,280
Speaker 2: he's the best. Remember we interviewed him at Wultterfest Ones.

933
00:50:13,440 --> 00:50:15,840
Speaker 1: I had forgotten this and I was watching it and

934
00:50:15,840 --> 00:50:18,080
Speaker 1: I was like, have I met him? And I was like,

935
00:50:18,200 --> 00:50:19,399
Speaker 1: I think the answer is yes.

936
00:50:19,960 --> 00:50:23,360
Speaker 2: He was great vibes. He was very cool to talk to.

937
00:50:23,520 --> 00:50:27,919
Speaker 2: I remember he liked us, not for nothing, but he

938
00:50:28,040 --> 00:50:31,600
Speaker 2: was excellent in this cour Jefferson. What a great debut,

939
00:50:32,560 --> 00:50:36,200
Speaker 2: What a talented writer, what an excellent mind. I really

940
00:50:36,360 --> 00:50:43,719
Speaker 2: liked how this was about a communal cultural trauma that

941
00:50:43,920 --> 00:50:47,040
Speaker 2: this character was gauging his distance with, but while also

942
00:50:47,120 --> 00:50:49,799
Speaker 2: dealing with his own personal trauma, like fucked up things

943
00:50:49,840 --> 00:50:52,040
Speaker 2: happening in his own life. I really thought it was

944
00:50:52,080 --> 00:50:57,480
Speaker 2: interesting that it was a movie about palatability that ultimately,

945
00:50:58,239 --> 00:50:59,680
Speaker 2: I think, and this is not a knock on, the

946
00:50:59,719 --> 00:51:02,160
Speaker 2: movie was in a very palatable package that it was

947
00:51:02,239 --> 00:51:07,480
Speaker 2: like a lovely indie from like Yester Year in a

948
00:51:07,480 --> 00:51:10,319
Speaker 2: way that was like really nice to watch. So those

949
00:51:10,320 --> 00:51:11,280
Speaker 2: are my general thoughts.

950
00:51:11,360 --> 00:51:13,719
Speaker 1: I think this is one of the most original scripts

951
00:51:13,760 --> 00:51:17,240
Speaker 1: I've seen in a really long time. And just this

952
00:51:17,280 --> 00:51:19,960
Speaker 1: is where a writer director has complete control over what

953
00:51:20,000 --> 00:51:21,440
Speaker 1: he wants to say and what he wants to say

954
00:51:21,520 --> 00:51:25,360
Speaker 1: is really new and I what so American fiction is about.

955
00:51:25,440 --> 00:51:29,759
Speaker 1: Jeffrey Wright plays a man who is a successful novelist,

956
00:51:30,080 --> 00:51:32,120
Speaker 1: but he's having trouble at this stage in his career

957
00:51:32,120 --> 00:51:34,200
Speaker 1: because he can't sell a book because it seems like

958
00:51:34,760 --> 00:51:39,000
Speaker 1: the market wants something he's uncomfortable giving. So he's a

959
00:51:39,040 --> 00:51:42,719
Speaker 1: black man and basically a character played by Esa Ray

960
00:51:43,360 --> 00:51:44,279
Speaker 1: is having a lot of.

961
00:51:45,360 --> 00:51:46,560
Speaker 2: Was making me laugh.

962
00:51:47,239 --> 00:51:49,359
Speaker 1: Greats is great in it, and I'll tell you who

963
00:51:49,400 --> 00:51:52,880
Speaker 1: else is great in this is Tracy Elis Ross. Tracy

964
00:51:52,960 --> 00:51:56,080
Speaker 1: Elis Ross was awesome in this and there's a twist

965
00:51:56,120 --> 00:51:58,520
Speaker 1: with her character that took the wind out of myself too.

966
00:51:58,960 --> 00:52:01,319
Speaker 1: But basically, to speak this movie what it's about, it's

967
00:52:01,320 --> 00:52:04,399
Speaker 1: like he's playing a guy who doesn't want to sell

968
00:52:04,440 --> 00:52:07,200
Speaker 1: out and do a book that's about like racial stereotypes

969
00:52:07,239 --> 00:52:10,120
Speaker 1: like Isa. Ray plays a young novelist who's having a

970
00:52:10,320 --> 00:52:13,160
Speaker 1: huge success with a book that reinforces a lot of

971
00:52:13,400 --> 00:52:16,920
Speaker 1: harmful stereotypes about black people and he hates it. He

972
00:52:17,200 --> 00:52:18,680
Speaker 1: turns his nose up at it and he's like, I'm

973
00:52:18,680 --> 00:52:22,640
Speaker 1: never gonna do that. So in his personal life this

974
00:52:22,840 --> 00:52:25,160
Speaker 1: is tough because he really needs to sell a book.

975
00:52:25,520 --> 00:52:28,560
Speaker 1: He is going through a lot of personal struggles. His mom,

976
00:52:28,600 --> 00:52:33,640
Speaker 1: who's played by this shook me. Fucking Leslie Ugghams. It

977
00:52:33,719 --> 00:52:36,759
Speaker 1: was unbelievable, Like I couldn't believe like that was I

978
00:52:36,800 --> 00:52:41,439
Speaker 1: hadn't seen her in years icon legend and his mother

979
00:52:41,560 --> 00:52:47,120
Speaker 1: is vastly deteriorating into Alzheimer's. There's money problems, etc. Like

980
00:52:47,239 --> 00:52:50,200
Speaker 1: he needs money bags so as a joke or as

981
00:52:50,360 --> 00:52:53,279
Speaker 1: like a bit, and when he's drunk one night, he

982
00:52:53,320 --> 00:52:56,520
Speaker 1: pumps out this novel that is like the most base,

983
00:52:57,239 --> 00:53:02,239
Speaker 1: like really like reduction movie where there's like a lot

984
00:53:02,280 --> 00:53:05,440
Speaker 1: of gang violence, et cetera. And then lo and behold,

985
00:53:05,680 --> 00:53:08,120
Speaker 1: the market goes crazy for it and it becomes like

986
00:53:08,160 --> 00:53:09,920
Speaker 1: this huge success and he has to deal with the

987
00:53:09,920 --> 00:53:13,000
Speaker 1: fact that now this thing he hates is this thing

988
00:53:13,000 --> 00:53:17,680
Speaker 1: that's actually coming to fruition in real time. Like he's like, Wow,

989
00:53:17,719 --> 00:53:20,600
Speaker 1: I'm actually being the harmful thing I hated, and now

990
00:53:20,640 --> 00:53:22,799
Speaker 1: I can't sit with myself and his life sort of

991
00:53:22,840 --> 00:53:26,719
Speaker 1: like falls apart. But what I loved about this the

992
00:53:26,760 --> 00:53:30,920
Speaker 1: most is that it is this you know, meditation on

993
00:53:31,239 --> 00:53:34,600
Speaker 1: how as a creator you can stand by your work

994
00:53:34,640 --> 00:53:38,080
Speaker 1: and yet also participate and thrive in a commercial market

995
00:53:38,120 --> 00:53:41,359
Speaker 1: that feels like it's for dumber and dumber and dumber people. Yes,

996
00:53:41,440 --> 00:53:44,960
Speaker 1: you know what I mean? Yes, And in the meditation

997
00:53:45,280 --> 00:53:48,040
Speaker 1: on that, you get to the end of this movie

998
00:53:48,560 --> 00:53:52,600
Speaker 1: and the story is told. But what cour Jefferson has

999
00:53:52,640 --> 00:53:55,839
Speaker 1: been able to do is also tell this story, this

1000
00:53:56,080 --> 00:54:00,880
Speaker 1: very human, relatable story about this man that ventally is

1001
00:54:01,040 --> 00:54:05,680
Speaker 1: a new installment in I guess you could say American fiction.

1002
00:54:05,880 --> 00:54:06,719
Speaker 2: Yeah, you know what I mean.

1003
00:54:06,840 --> 00:54:10,520
Speaker 1: Like, while we're having the conversation about what it means

1004
00:54:10,560 --> 00:54:16,120
Speaker 1: to participate commercially while also being able to stomach yourself artistically,

1005
00:54:16,560 --> 00:54:20,480
Speaker 1: we've also been almost in the b story actually told

1006
00:54:20,560 --> 00:54:24,200
Speaker 1: this new story that like proves you can do both

1007
00:54:24,520 --> 00:54:27,680
Speaker 1: and proves you can do what you want to do. So,

1008
00:54:27,800 --> 00:54:30,920
Speaker 1: I mean, this was doing a lot of things all

1009
00:54:30,960 --> 00:54:34,759
Speaker 1: at once. I loved it. I loved the performances. Sterling K.

1010
00:54:34,960 --> 00:54:38,600
Speaker 1: Brown plays gay and I loved it. He's hot as shit.

1011
00:54:39,680 --> 00:54:41,920
Speaker 1: And if there's little clibbles I have with the movie,

1012
00:54:42,040 --> 00:54:45,120
Speaker 1: maybe it's a little uneven in terms of that plot line, sure, sure,

1013
00:54:45,280 --> 00:54:45,879
Speaker 1: I didn't care.

1014
00:54:46,200 --> 00:54:49,200
Speaker 2: That is my main complaint is that that character was.

1015
00:54:49,800 --> 00:54:53,600
Speaker 2: I wasn't sure what the he's there tell Monk the

1016
00:54:53,840 --> 00:54:56,520
Speaker 2: main character something at the end. But otherwise, like a

1017
00:54:56,560 --> 00:54:59,480
Speaker 2: lot of the character details, I was like, what is this?

1018
00:55:00,280 --> 00:55:02,400
Speaker 2: Where does this go? And maybe it doesn't go anywhere,

1019
00:55:02,400 --> 00:55:06,080
Speaker 2: And that's fine. Eric Alexandrew plays the love interest excellent

1020
00:55:06,120 --> 00:55:07,799
Speaker 2: as well, very good.

1021
00:55:07,920 --> 00:55:11,520
Speaker 1: She's great. I think that there's something in this movie.

1022
00:55:11,920 --> 00:55:18,400
Speaker 1: And I asked the question about accepting yourself versus the world

1023
00:55:18,480 --> 00:55:20,239
Speaker 1: accepting you, you know what I mean, and how those

1024
00:55:20,239 --> 00:55:22,480
Speaker 1: two different things, and really ultimately all that matters is

1025
00:55:22,480 --> 00:55:24,919
Speaker 1: that you accept yourself and that you can be good

1026
00:55:24,920 --> 00:55:28,240
Speaker 1: with yourself. There's something in the narrative about like because

1027
00:55:28,239 --> 00:55:31,279
Speaker 1: Sterling K. Brown's character is gay, and you get the

1028
00:55:31,320 --> 00:55:34,240
Speaker 1: sense that his parents did not accept him.

1029
00:55:34,360 --> 00:55:35,640
Speaker 2: And then he's got he's got like a.

1030
00:55:35,640 --> 00:55:39,240
Speaker 1: Crazy like block because of that, Like he's got drug problems,

1031
00:55:39,239 --> 00:55:42,200
Speaker 1: et cetera. But there's there's so many layers in this

1032
00:55:42,320 --> 00:55:45,279
Speaker 1: movie that I can't say enough about it. And I

1033
00:55:45,320 --> 00:55:47,640
Speaker 1: hope it gets nominated for an Oscar for the script

1034
00:55:47,719 --> 00:55:51,760
Speaker 1: because it told a really funny original story. I laughed

1035
00:55:51,800 --> 00:55:54,759
Speaker 1: a lot, and by the end it ends in a

1036
00:55:54,800 --> 00:55:57,200
Speaker 1: really surprising way, and I was just like, oh wow,

1037
00:55:57,280 --> 00:56:00,840
Speaker 1: the character like did something I didn't expect. Lots of

1038
00:56:00,920 --> 00:56:04,520
Speaker 1: weird narrative choices here, lots of things I hadn't seen before.

1039
00:56:05,160 --> 00:56:07,520
Speaker 1: And I appreciated the Swings.

1040
00:56:08,320 --> 00:56:11,280
Speaker 2: Great ending. Great ending just in terms of the Swayings

1041
00:56:11,400 --> 00:56:13,400
Speaker 2: as if we're gonna talk about the Swings does some

1042
00:56:13,440 --> 00:56:17,200
Speaker 2: really cool stuff. Yeah, great job everybody. Once again I

1043
00:56:17,239 --> 00:56:18,680
Speaker 2: say great job everybody.

1044
00:56:18,880 --> 00:56:21,680
Speaker 1: A great job everybody. And we both loved The Holdovers.

1045
00:56:22,880 --> 00:56:28,200
Speaker 2: I loved it so much. Oh my god, I haven't

1046
00:56:28,239 --> 00:56:29,800
Speaker 2: heard you talk about it. Yeah, I haven't talked to

1047
00:56:29,800 --> 00:56:31,000
Speaker 2: you since you saw it.

1048
00:56:31,120 --> 00:56:34,560
Speaker 1: The Holdovers is just a classic great story. Yeah, you

1049
00:56:34,600 --> 00:56:37,439
Speaker 1: know what I mean. Like sometimes, here's the thing. These

1050
00:56:37,480 --> 00:56:40,200
Speaker 1: movies don't have to reinvent the wheel or pretend they're

1051
00:56:40,200 --> 00:56:44,759
Speaker 1: reinventing the wheel. Just tell a great story. And Alexander

1052
00:56:44,800 --> 00:56:48,239
Speaker 1: Payne is one of our great storytellers. And he has

1053
00:56:48,320 --> 00:56:50,560
Speaker 1: got such a handle on his tone, in his language.

1054
00:56:50,560 --> 00:56:52,640
Speaker 1: This is just a filmmaker that knows himself so well.

1055
00:56:52,680 --> 00:56:56,719
Speaker 1: So The Holdovers stars Paul Giamatti, who's I think him,

1056
00:56:56,719 --> 00:56:58,719
Speaker 1: and Andrew Scott. It's between them for me, for the

1057
00:56:58,760 --> 00:57:04,200
Speaker 1: Oscar for me. But basically, Paul Giamatto plays a very

1058
00:57:05,040 --> 00:57:09,280
Speaker 1: strict traditional teacher at this all boys school.

1059
00:57:09,320 --> 00:57:11,800
Speaker 2: It's like an all boys prep school. I guess boarding school.

1060
00:57:11,880 --> 00:57:17,320
Speaker 1: Yeah, yeah, boarding school. And basically he has to stay

1061
00:57:17,320 --> 00:57:19,960
Speaker 1: behind over Christmas break and stay with some students that

1062
00:57:20,040 --> 00:57:22,920
Speaker 1: also need to stay for Christmas break while all the

1063
00:57:22,960 --> 00:57:25,440
Speaker 1: other students go home with their families. So he doesn't

1064
00:57:25,440 --> 00:57:27,920
Speaker 1: have a family. He's like sort of a curmudgeon and

1065
00:57:27,960 --> 00:57:30,720
Speaker 1: he stays behind with a select few students, and also

1066
00:57:30,800 --> 00:57:34,880
Speaker 1: the head cook who's played by Divine Joy Randolph, and

1067
00:57:34,960 --> 00:57:38,160
Speaker 1: she plays Mary who's recently lost her son in Vietnam.

1068
00:57:38,600 --> 00:57:41,800
Speaker 1: So it's really ultimately the story of Paul Giamatti, Divine

1069
00:57:41,880 --> 00:57:46,400
Speaker 1: Joy Randolph and the one kid that gets left behind

1070
00:57:46,480 --> 00:57:50,080
Speaker 1: solely at the school, who's a newcomer named Dominic SSSA

1071
00:57:50,160 --> 00:57:52,920
Speaker 1: who's great yo, and about their bond and the way

1072
00:57:52,960 --> 00:57:54,920
Speaker 1: that they all change for the better as a result

1073
00:57:54,920 --> 00:57:59,120
Speaker 1: of spending that winter break together. Just a really emotional

1074
00:58:00,000 --> 00:58:03,040
Speaker 1: implicated in terms of character dynamics, but not complicated in

1075
00:58:03,120 --> 00:58:05,920
Speaker 1: terms of plot or like any storytelling thing, Just like

1076
00:58:05,960 --> 00:58:08,520
Speaker 1: a really good story that makes you feel really good

1077
00:58:08,600 --> 00:58:11,000
Speaker 1: at the end because you get the sense that you've

1078
00:58:11,000 --> 00:58:14,960
Speaker 1: watched an important installment in these people's lives all and

1079
00:58:15,040 --> 00:58:18,960
Speaker 1: it's just really great and leaves you with a good feeling.

1080
00:58:19,280 --> 00:58:23,280
Speaker 1: And it's honestly like as in terms of holiday movies, like.

1081
00:58:23,320 --> 00:58:26,120
Speaker 2: I was gonna say, all, hold up, the new Christmas

1082
00:58:26,160 --> 00:58:31,080
Speaker 2: classics are have you heard of Christmas? And they'll holdovers period.

1083
00:58:31,480 --> 00:58:34,640
Speaker 2: I am pressing play on these things every year. I

1084
00:58:34,720 --> 00:58:38,480
Speaker 2: loved you so much, of course, sister, my favorite Alexander

1085
00:58:38,480 --> 00:58:41,200
Speaker 2: Painson selection. I think I like this better than Sideways.

1086
00:58:41,360 --> 00:58:43,320
Speaker 2: I didn't think I would say that I love Sideways,

1087
00:58:43,880 --> 00:58:46,240
Speaker 2: and I kind of think I can't be the only

1088
00:58:46,240 --> 00:58:47,880
Speaker 2: person who's pointed out how ironic it is that it's

1089
00:58:47,920 --> 00:58:51,680
Speaker 2: the opposite of election, right, like teacher, instead of antagonizing

1090
00:58:51,680 --> 00:58:55,480
Speaker 2: a student, like really grows to nurture and love and

1091
00:58:55,480 --> 00:58:59,640
Speaker 2: make a huge sacrifice for a student. I just really

1092
00:59:00,000 --> 00:59:01,800
Speaker 2: thinking about it now, and I'm getting an emotional just

1093
00:59:01,960 --> 00:59:05,680
Speaker 2: Davine Joy Randolph. I think she is probably front runner

1094
00:59:05,720 --> 00:59:06,480
Speaker 2: for Best Supporting.

1095
00:59:06,520 --> 00:59:09,040
Speaker 1: Oh, she's absolutely the front runner. Well she's she's not

1096
00:59:09,360 --> 00:59:13,960
Speaker 1: lost a single award, so freak and mind you. So

1097
00:59:14,120 --> 00:59:15,440
Speaker 1: one thing is we're recording this.

1098
00:59:15,480 --> 00:59:17,760
Speaker 2: We're recording this before the Golden Globes, Yeah.

1099
00:59:17,520 --> 00:59:19,560
Speaker 1: Prior to the Golden Globe. So you won't get any

1100
00:59:19,560 --> 00:59:22,760
Speaker 1: Golden Globe reaction in this episode, as you probably can tell,

1101
00:59:22,800 --> 00:59:24,640
Speaker 1: because we would probably would have mentioned it by now.

1102
00:59:24,920 --> 00:59:28,640
Speaker 1: But if Divine Joy Randolph loses the Golden Globe tonight,

1103
00:59:29,000 --> 00:59:31,600
Speaker 1: that would be a huge nub because she's won everything.

1104
00:59:32,040 --> 00:59:35,360
Speaker 1: I don't know that I understand completely why it's a

1105
00:59:35,400 --> 00:59:40,200
Speaker 1: total clean sweep, because I think supporting actress is really good.

1106
00:59:40,240 --> 00:59:44,520
Speaker 1: This year. I think supporting actress, actress and supporting actor

1107
00:59:44,560 --> 00:59:49,640
Speaker 1: are all really strong. An actor is incredibly weak, but

1108
00:59:49,680 --> 00:59:54,520
Speaker 1: there's a couple of great performances. For me, Divine is amazing.

1109
00:59:54,600 --> 00:59:56,600
Speaker 1: I just wish that there could have been maybe one

1110
00:59:56,640 --> 00:59:58,760
Speaker 1: more scene or one more thing with her character, just

1111
00:59:58,760 --> 01:00:00,440
Speaker 1: to give her like a little bit of a or

1112
01:00:00,480 --> 01:00:04,920
Speaker 1: a glimpse inside, because she's this incredibly real person who's

1113
01:00:05,000 --> 01:00:09,080
Speaker 1: like really solid in the movie. It's just I'm not

1114
01:00:09,280 --> 01:00:13,080
Speaker 1: understanding why it's been a complete knockdown drag out, because

1115
01:00:13,080 --> 01:00:15,920
Speaker 1: there are amazing performances this year in supporting actress.

1116
01:00:16,160 --> 01:00:18,040
Speaker 2: I'll touch on the color purple in a second.

1117
01:00:18,960 --> 01:00:22,520
Speaker 1: Oh, Julianne Moore in May December is great. Let me

1118
01:00:22,680 --> 01:00:26,160
Speaker 1: just for a second. Are you there, God, It's me Margaret.

1119
01:00:27,440 --> 01:00:28,880
Speaker 1: Rachel mccadams is so special.

1120
01:00:29,560 --> 01:00:31,560
Speaker 2: I need to watch Bowen.

1121
01:00:33,080 --> 01:00:36,480
Speaker 1: You I know, are a Rachel fan. Yes, you have

1122
01:00:36,560 --> 01:00:39,280
Speaker 1: to watch Are you there, God, It's me Margaret. So

1123
01:00:39,440 --> 01:00:41,760
Speaker 1: before I talked about that moment and Andrew Scott's performance

1124
01:00:41,760 --> 01:00:44,840
Speaker 1: where I've involuntarily broke down, that happens in this movie

1125
01:00:44,920 --> 01:00:48,000
Speaker 1: at the least. Obviously, Are you there, God, It's me

1126
01:00:48,240 --> 01:00:52,920
Speaker 1: Margaret is a classic coming of age novel, and it

1127
01:00:53,000 --> 01:00:55,680
Speaker 1: wasn't really on my radar because I thought of it

1128
01:00:55,720 --> 01:00:58,160
Speaker 1: as like, and this is my own mistake. I thought

1129
01:00:58,200 --> 01:01:00,320
Speaker 1: of it like, oh, it's like, you know, like a

1130
01:01:00,320 --> 01:01:02,480
Speaker 1: book for it's like ya, you know what I mean?

1131
01:01:02,520 --> 01:01:05,520
Speaker 1: I thought, it's ya whatever. I love this movie so much.

1132
01:01:05,520 --> 01:01:08,120
Speaker 2: That was your first mistake is writing off ya? Bitch?

1133
01:01:08,440 --> 01:01:10,640
Speaker 1: That was my ever and it will be the last

1134
01:01:10,680 --> 01:01:15,240
Speaker 1: time I write off ya because this adaptation of it

1135
01:01:15,320 --> 01:01:18,919
Speaker 1: is so lovely. Rachel mccadams is so you know what's

1136
01:01:19,000 --> 01:01:22,560
Speaker 1: fucking you know what's fucked up about her. I'm watching

1137
01:01:22,600 --> 01:01:26,640
Speaker 1: her in this movie and she naturally projects so much

1138
01:01:26,800 --> 01:01:31,560
Speaker 1: warmth and love and we're looking at Regina. I'm like,

1139
01:01:31,680 --> 01:01:36,880
Speaker 1: this bitch is she is so talented. She can do anything, anything,

1140
01:01:37,400 --> 01:01:40,960
Speaker 1: And I hope she gets an Oscar nomination for this

1141
01:01:41,080 --> 01:01:45,680
Speaker 1: because the movie succeeds beautifully and it is because of her.

1142
01:01:45,720 --> 01:01:47,720
Speaker 1: And there's a moment towards the end of the movie,

1143
01:01:47,880 --> 01:01:51,440
Speaker 1: so I won't spoil, but there's like a milestone in

1144
01:01:51,480 --> 01:01:56,480
Speaker 1: the lead character of Margaret's life and Rachel's reaction to

1145
01:01:56,520 --> 01:02:00,960
Speaker 1: it and the love between them is the success of

1146
01:02:01,000 --> 01:02:07,200
Speaker 1: the whole movie. Chef's Kiss. Rachel McAdams. I just love her.

1147
01:02:07,520 --> 01:02:08,560
Speaker 1: I just love her.

1148
01:02:09,440 --> 01:02:12,480
Speaker 2: She's one of our greats. She is really one of

1149
01:02:12,520 --> 01:02:15,439
Speaker 2: our greades. Oh I love Rachel. I can't wait.

1150
01:02:15,760 --> 01:02:19,600
Speaker 1: I mean, I just fucking love her. And yeah, I

1151
01:02:19,640 --> 01:02:22,160
Speaker 1: mean that might be all for the movies I saw.

1152
01:02:22,160 --> 01:02:24,520
Speaker 1: I know you haven't seen Color Purple. Oh. Oh, should be.

1153
01:02:24,480 --> 01:02:28,200
Speaker 2: Talking about Past Lives. I know, Past Lives.

1154
01:02:28,440 --> 01:02:32,520
Speaker 1: Oh my god, I finally saw Past Lives. It was great.

1155
01:02:32,960 --> 01:02:37,760
Speaker 1: I will never forget that ending. Yeah, And you know

1156
01:02:37,840 --> 01:02:40,920
Speaker 1: what I love about Past Lives. It's about It's about

1157
01:02:40,960 --> 01:02:45,560
Speaker 1: these characters who had an intense connection as children, and

1158
01:02:45,600 --> 01:02:48,600
Speaker 1: then they lose each other in life because she moves

1159
01:02:48,640 --> 01:02:52,880
Speaker 1: to America and it takes place in Korea. And then

1160
01:02:53,000 --> 01:02:56,160
Speaker 1: years later they reconnect online and they have like an

1161
01:02:56,240 --> 01:03:00,360
Speaker 1: intense online relationship that she ends because she realizes she's

1162
01:03:00,400 --> 01:03:02,360
Speaker 1: sort of in love with someone on a computer and

1163
01:03:02,400 --> 01:03:04,400
Speaker 1: they're not going to see each other. And then it

1164
01:03:04,480 --> 01:03:06,960
Speaker 1: passes twelve years again into the future when they're in

1165
01:03:06,960 --> 01:03:10,840
Speaker 1: their mid thirties and they have a meeting again. And ultimately,

1166
01:03:10,880 --> 01:03:13,680
Speaker 1: what this movie is about is about the importance of

1167
01:03:14,560 --> 01:03:19,440
Speaker 1: and validity of those connections that may not be life long,

1168
01:03:19,840 --> 01:03:22,440
Speaker 1: but they are unforgettable and you won't forget. Like for me,

1169
01:03:22,520 --> 01:03:25,360
Speaker 1: it wasn't a sad movie. It was more of a beautiful,

1170
01:03:25,400 --> 01:03:29,560
Speaker 1: lovely movie that was about just how we can look

1171
01:03:29,600 --> 01:03:32,680
Speaker 1: at those connections and those relationships of people that, like

1172
01:03:33,000 --> 01:03:34,960
Speaker 1: you know, may we may never see again, but will

1173
01:03:34,960 --> 01:03:38,480
Speaker 1: always remember as good things, and there's a way to

1174
01:03:39,840 --> 01:03:41,760
Speaker 1: include them in your life and in the landscape of

1175
01:03:41,800 --> 01:03:43,680
Speaker 1: your life in a way that doesn't have to feel

1176
01:03:43,680 --> 01:03:46,520
Speaker 1: like longing or the one that got away. You know

1177
01:03:46,640 --> 01:03:49,200
Speaker 1: that it actually really helped me in many ways. I

1178
01:03:49,280 --> 01:03:50,680
Speaker 1: left them really heeled.

1179
01:03:50,720 --> 01:03:55,200
Speaker 2: I felt Wow. You know what the movie does, which

1180
01:03:55,240 --> 01:03:59,800
Speaker 2: is really incredible, is that it is so compassionate to everybody,

1181
01:03:59,800 --> 01:04:05,640
Speaker 2: including Josh Magaro's character, who is the is her current

1182
01:04:06,120 --> 01:04:12,280
Speaker 2: boyfriend boyfriend grete Les, Yeah, yeah her. She meets at

1183
01:04:12,280 --> 01:04:16,000
Speaker 2: this artist's retreat, and their meeting is really lovely and

1184
01:04:16,120 --> 01:04:21,960
Speaker 2: nice and organic and is completely beautiful, and there's there.

1185
01:04:22,080 --> 01:04:25,120
Speaker 2: There are a couple scenes, and one in particular that

1186
01:04:25,120 --> 01:04:27,600
Speaker 2: takes place at a bar that is actually the first

1187
01:04:27,640 --> 01:04:29,760
Speaker 2: opening image of the film is these three people at

1188
01:04:29,760 --> 01:04:32,960
Speaker 2: a bar and this long lens and these people talking

1189
01:04:33,000 --> 01:04:34,480
Speaker 2: over them, going like who do you think they are

1190
01:04:34,560 --> 01:04:38,000
Speaker 2: to each other? Yeah, these long lens, far frame shots.

1191
01:04:38,960 --> 01:04:42,640
Speaker 2: That concept of distance is so well employed in this.

1192
01:04:42,880 --> 01:04:46,120
Speaker 2: It's about voyeurism in a way. It's about like watching

1193
01:04:46,160 --> 01:04:48,800
Speaker 2: from afar this thing, whether it's you, I think it

1194
01:04:48,880 --> 01:04:52,440
Speaker 2: is about long and ultimately and it resolves itself really

1195
01:04:52,520 --> 01:04:54,720
Speaker 2: nicely by the end. But it's to me like it's

1196
01:04:54,720 --> 01:05:01,560
Speaker 2: so visually subtle and really nice, doesn't get in the

1197
01:05:01,600 --> 01:05:03,720
Speaker 2: way of any of the things that are going on,

1198
01:05:04,600 --> 01:05:06,480
Speaker 2: any of the other things that are going on on screen.

1199
01:05:06,880 --> 01:05:11,040
Speaker 2: But yes, compassionate about that guy. That guy and this

1200
01:05:11,960 --> 01:05:14,560
Speaker 2: love triangle as it were, where you go, we'll get

1201
01:05:14,600 --> 01:05:16,720
Speaker 2: him out of there. You never think that, do you.

1202
01:05:17,280 --> 01:05:20,680
Speaker 2: And there's this lovely moment between him and his son,

1203
01:05:20,960 --> 01:05:23,880
Speaker 2: Tao Yu's character, by the way, huge star. I hope

1204
01:05:23,920 --> 01:05:27,320
Speaker 2: he really is in more things that actor. There's a

1205
01:05:27,320 --> 01:05:29,400
Speaker 2: moment between the two men at the end of the

1206
01:05:29,520 --> 01:05:32,240
Speaker 2: bar scene where they go, you know where hey son goes.

1207
01:05:32,280 --> 01:05:34,560
Speaker 2: You know, you and I have I think it's in

1208
01:05:34,640 --> 01:05:36,920
Speaker 2: this like Korean concept like you and I have had

1209
01:05:36,960 --> 01:05:41,040
Speaker 2: a past life together too, and like it really seals

1210
01:05:41,080 --> 01:05:43,120
Speaker 2: that triangle in such a beautiful wayre It's like these

1211
01:05:43,120 --> 01:05:45,840
Speaker 2: two men are meaningful to each other too, no matter what,

1212
01:05:45,920 --> 01:05:48,240
Speaker 2: even though they've just met, even though they may never

1213
01:05:48,280 --> 01:05:51,440
Speaker 2: see each other again. To the relationship between these two

1214
01:05:51,480 --> 01:05:56,120
Speaker 2: men is so important. And there's a moment at the

1215
01:05:56,240 --> 01:06:00,960
Speaker 2: end that I think you're talking about, where it's this long, long,

1216
01:06:01,080 --> 01:06:05,080
Speaker 2: long shot that tracks these two people and then attracts

1217
01:06:05,120 --> 01:06:10,800
Speaker 2: someone else on the way back. And I realized in

1218
01:06:10,880 --> 01:06:15,440
Speaker 2: watching that part again, that moment encapsulates the entire movie.

1219
01:06:15,600 --> 01:06:22,680
Speaker 2: It is like this long tense journey these this reunion

1220
01:06:22,720 --> 01:06:26,320
Speaker 2: of two people who are walking. She's sending him off,

1221
01:06:26,960 --> 01:06:34,240
Speaker 2: and then there's this long, uncomfortably long, sexy, horny, sad

1222
01:06:35,160 --> 01:06:37,960
Speaker 2: stare between these two people that's like a full minute,

1223
01:06:38,000 --> 01:06:41,040
Speaker 2: I think, or something like that. It's just long, and

1224
01:06:41,080 --> 01:06:44,000
Speaker 2: it's loaded and it's heavy. And then he gets into

1225
01:06:44,040 --> 01:06:47,240
Speaker 2: a cab, into an uberan leaves and then she walks back.

1226
01:06:47,760 --> 01:06:49,680
Speaker 2: I'm sorry if I'm spoiling this. It's been out for

1227
01:06:50,480 --> 01:06:54,240
Speaker 2: a few months, several months at this point. But and

1228
01:06:54,280 --> 01:06:58,200
Speaker 2: then she meets Josh again, and I'm like, that's the

1229
01:06:58,240 --> 01:07:01,920
Speaker 2: whole movie. That's the entire that's the entire thing of

1230
01:07:01,960 --> 01:07:05,000
Speaker 2: the movie is just like that moment of letting go

1231
01:07:05,680 --> 01:07:09,360
Speaker 2: and then of returning to someone who is waiting for you.

1232
01:07:10,160 --> 01:07:14,680
Speaker 2: And there's something incredibly simple about that that I have

1233
01:07:14,800 --> 01:07:19,040
Speaker 2: not seen in a movie. I really really, really loved it.

1234
01:07:19,080 --> 01:07:21,160
Speaker 2: And gret is getting all the pret she deserves.

1235
01:07:21,440 --> 01:07:24,680
Speaker 1: Yeah, she's so great that I think it's career changing

1236
01:07:24,720 --> 01:07:27,200
Speaker 1: for her. I would say that first and foremost, this

1237
01:07:27,320 --> 01:07:32,280
Speaker 1: is like a directorial oh clean song. I mean, so

1238
01:07:32,400 --> 01:07:34,680
Speaker 1: I'll say this. I went and paid to go see this.

1239
01:07:34,760 --> 01:07:38,280
Speaker 1: I saw it on Twelfth Street in New York and

1240
01:07:38,920 --> 01:07:42,400
Speaker 1: it was the only movie I've seen where people applauded

1241
01:07:42,440 --> 01:07:42,840
Speaker 1: at the end.

1242
01:07:43,240 --> 01:07:43,520
Speaker 2: Wow.

1243
01:07:43,600 --> 01:07:45,640
Speaker 1: It was the only movie I've seen out of all

1244
01:07:45,680 --> 01:07:50,760
Speaker 1: of these where people were like moved to clap at

1245
01:07:50,800 --> 01:07:51,160
Speaker 1: the end.

1246
01:07:51,320 --> 01:07:53,480
Speaker 2: Wow. And I was just like, well, no, no, I was

1247
01:07:53,520 --> 01:07:55,520
Speaker 2: gonna say, peop applauded at poor things and in American

1248
01:07:55,520 --> 01:07:56,880
Speaker 2: fiction for me, but keep going.

1249
01:07:56,920 --> 01:08:00,080
Speaker 1: Okay that you know what I lied, because as I

1250
01:08:00,080 --> 01:08:03,240
Speaker 1: transition into the color purple, it got a huge ovation.

1251
01:08:04,000 --> 01:08:06,800
Speaker 1: I actually want to say that I was able to

1252
01:08:06,880 --> 01:08:10,080
Speaker 1: see a screening of this that had a top back

1253
01:08:10,160 --> 01:08:14,880
Speaker 1: afterwards with the director Blitz buzzawul A and Fantasia and

1254
01:08:14,960 --> 01:08:19,000
Speaker 1: Taraji and Niel and you know, Corey Hawkins and the

1255
01:08:19,080 --> 01:08:22,960
Speaker 1: choreographer Fatima Robinson was there and it was just it

1256
01:08:23,000 --> 01:08:25,320
Speaker 1: was a Monday night and so a lot of Broadway

1257
01:08:25,360 --> 01:08:30,160
Speaker 1: people were off, and so the energy was so amazing

1258
01:08:30,439 --> 01:08:32,960
Speaker 1: in the screening room and it was so thick, and

1259
01:08:33,080 --> 01:08:36,960
Speaker 1: every number that was successful got like a big ovation.

1260
01:08:37,240 --> 01:08:41,280
Speaker 1: And at the end the movie really sticks. The landing

1261
01:08:41,400 --> 01:08:43,800
Speaker 1: at the end, like it's just so emotional. It's last

1262
01:08:43,800 --> 01:08:46,280
Speaker 1: scene and I haven't been so happy to see Sierra

1263
01:08:46,360 --> 01:08:49,040
Speaker 1: since they like a boy music video, I mean, comes

1264
01:08:49,080 --> 01:08:54,439
Speaker 1: in at the end and eats down. She plays the

1265
01:08:54,479 --> 01:08:57,240
Speaker 1: adult version of Neddie. Let me just say a few

1266
01:08:57,240 --> 01:09:03,120
Speaker 1: things about this movie performances us. Yeah, Fantasia is so

1267
01:09:03,200 --> 01:09:06,839
Speaker 1: good in this and it makes me so happy because

1268
01:09:07,640 --> 01:09:10,240
Speaker 1: she has not gotten her due and she's so talented.

1269
01:09:10,600 --> 01:09:13,880
Speaker 1: The way that she inhabits this character, it's like, I

1270
01:09:13,920 --> 01:09:16,920
Speaker 1: think it's like the definitive Sealy for me, because the

1271
01:09:16,960 --> 01:09:19,720
Speaker 1: way that she carries her body, there's this like resignation

1272
01:09:20,040 --> 01:09:24,160
Speaker 1: in her and there's this just like deep it's almost

1273
01:09:24,160 --> 01:09:26,479
Speaker 1: like she's like resigned to her depression in her lot

1274
01:09:26,520 --> 01:09:28,800
Speaker 1: in life and the way she holds her body. And

1275
01:09:28,840 --> 01:09:32,120
Speaker 1: then by the end you see her shoulders are back,

1276
01:09:32,240 --> 01:09:34,600
Speaker 1: not to quote I'm here, but like there's this like

1277
01:09:34,880 --> 01:09:38,320
Speaker 1: beautiful arc that she plays, and her voice is so stunning.

1278
01:09:38,960 --> 01:09:41,920
Speaker 1: And what I loved about the movie was not only

1279
01:09:42,120 --> 01:09:45,160
Speaker 1: the trio of performances at the center, which are so great.

1280
01:09:45,200 --> 01:09:48,240
Speaker 1: I mean, Danielle Brooks so great in this to Raji's

1281
01:09:48,880 --> 01:09:53,160
Speaker 1: incredible in this. But what I loved was that the

1282
01:09:53,280 --> 01:09:55,600
Speaker 1: script and I thought this was one of the directorial

1283
01:09:55,760 --> 01:10:00,400
Speaker 1: choices that worked. Imagines a world where we are often

1284
01:10:00,479 --> 01:10:03,120
Speaker 1: see like the diegetic I guess you would say is

1285
01:10:03,120 --> 01:10:05,280
Speaker 1: that a lot of it takes place in Silly's imagination,

1286
01:10:05,760 --> 01:10:08,479
Speaker 1: and so that allows the movie to go in really

1287
01:10:08,640 --> 01:10:12,639
Speaker 1: interesting directions aesthetically. And I would also compliment the sound

1288
01:10:12,760 --> 01:10:15,040
Speaker 1: editing of this movie. For a musical, I thought that

1289
01:10:15,439 --> 01:10:17,320
Speaker 1: you couldn't really tell what was being live stung on

1290
01:10:17,400 --> 01:10:20,400
Speaker 1: what was recorded, like the voices were in front of

1291
01:10:20,400 --> 01:10:24,120
Speaker 1: the music and exactly the right way. Just great musical

1292
01:10:24,160 --> 01:10:28,160
Speaker 1: theater in this. And I actually saw Fantasia do the

1293
01:10:28,160 --> 01:10:31,760
Speaker 1: Color Purple on Broadway all those years ago and it

1294
01:10:31,800 --> 01:10:35,600
Speaker 1: was stunning. Then I really like this musical. Now is

1295
01:10:35,640 --> 01:10:38,640
Speaker 1: the part where I have some criticism for it. So

1296
01:10:38,720 --> 01:10:41,479
Speaker 1: one of the reasons why I love the musical is

1297
01:10:41,520 --> 01:10:44,760
Speaker 1: because it's a really it's actually an even it's an

1298
01:10:44,800 --> 01:10:48,160
Speaker 1: even more accurate adaptation of the book than the movie is.

1299
01:10:48,800 --> 01:10:52,599
Speaker 1: The queerness is a lot more present in the musical

1300
01:10:52,640 --> 01:10:54,719
Speaker 1: than it was in the movie, where basically they reduced

1301
01:10:54,720 --> 01:10:57,800
Speaker 1: the queer storyline, and it's important.

1302
01:10:57,439 --> 01:11:00,800
Speaker 2: To the movie musical or the they were the.

1303
01:11:00,800 --> 01:11:05,799
Speaker 1: Musical the musical is is really an adaptation of the book, yes,

1304
01:11:05,800 --> 01:11:08,160
Speaker 1: and not the movie, So the movie is its own thing,

1305
01:11:08,160 --> 01:11:11,080
Speaker 1: and the movie sort of reduces the queerness. And the

1306
01:11:11,200 --> 01:11:16,240
Speaker 1: reason why I'm here happens in the musical on stage

1307
01:11:16,880 --> 01:11:20,880
Speaker 1: is because it obviously happens the eleven o'clock number. And

1308
01:11:21,040 --> 01:11:25,920
Speaker 1: Sug decides she's gonna leave Cely, so they're in like

1309
01:11:25,960 --> 01:11:30,120
Speaker 1: a lesbian relationship basically, and Celia is at all these

1310
01:11:30,160 --> 01:11:32,800
Speaker 1: disappointments and all this abuse and all this loss in

1311
01:11:32,840 --> 01:11:35,920
Speaker 1: her life, and finally she's like running her store at

1312
01:11:35,920 --> 01:11:38,559
Speaker 1: the end of the story, and Shug decides she's gonna

1313
01:11:38,640 --> 01:11:41,080
Speaker 1: leave to have a final fling because that's who Sug is,

1314
01:11:42,120 --> 01:11:44,960
Speaker 1: and Cely breaks down and she's like, I can't believe

1315
01:11:45,000 --> 01:11:46,920
Speaker 1: that you're leaving me. You said you wouldn't do this.

1316
01:11:47,439 --> 01:11:49,360
Speaker 1: I love you and you still do this to me,

1317
01:11:49,800 --> 01:11:53,120
Speaker 1: and Shug swear she's gonna return, and Cely says no,

1318
01:11:53,920 --> 01:11:56,680
Speaker 1: and that's when she starts to sing, I don't need

1319
01:11:56,720 --> 01:11:59,080
Speaker 1: you to love me this, These are all the things

1320
01:11:59,120 --> 01:12:03,439
Speaker 1: I have. And then I'm here comes as a result

1321
01:12:03,560 --> 01:12:07,160
Speaker 1: of Cely finally saying I am not going to let

1322
01:12:07,240 --> 01:12:10,160
Speaker 1: myself worth and my happiness be dictated by other people.

1323
01:12:10,760 --> 01:12:15,559
Speaker 1: I'm beautiful and I'm here. That's what that is. And

1324
01:12:15,640 --> 01:12:19,519
Speaker 1: plot wise, it happens because Shoke decides to leave and

1325
01:12:19,520 --> 01:12:22,240
Speaker 1: Seely says, you know what, even after all this disappointment,

1326
01:12:22,280 --> 01:12:25,680
Speaker 1: I'm not gonna let you destroy my happiness and my

1327
01:12:25,800 --> 01:12:28,840
Speaker 1: personhood and my security with myself and my self love.

1328
01:12:29,960 --> 01:12:31,400
Speaker 1: They took that out.

1329
01:12:31,240 --> 01:12:34,920
Speaker 2: Of the movie, and so there is no runway for

1330
01:12:35,120 --> 01:12:39,920
Speaker 2: I'm here, is what you're saying. No, yeah, and that's

1331
01:12:40,080 --> 01:12:42,000
Speaker 2: that's tough because you want that runway.

1332
01:12:42,360 --> 01:12:49,080
Speaker 1: It is incredibly disappointing because Fantasia is giving her life,

1333
01:12:50,080 --> 01:12:52,720
Speaker 1: She is giving her life to this song, and she

1334
01:12:52,760 --> 01:12:56,360
Speaker 1: has given her a life to this performance, and not

1335
01:12:56,439 --> 01:13:00,000
Speaker 1: only do they take the juice out of the narrative,

1336
01:13:01,080 --> 01:13:05,439
Speaker 1: but it's not shot well, oh, I'm Here is shot

1337
01:13:05,560 --> 01:13:10,360
Speaker 1: in the dark, and especially after all of the really

1338
01:13:10,520 --> 01:13:14,000
Speaker 1: innovative ways in which they shoot these other numbers, because

1339
01:13:14,000 --> 01:13:16,560
Speaker 1: they allow it to happen in the realm of her imagination.

1340
01:13:17,760 --> 01:13:22,799
Speaker 1: And he absolutely nails hell no, which is Danielle Brooks's

1341
01:13:22,800 --> 01:13:27,400
Speaker 1: big number, and then I'm Here happens and it's just

1342
01:13:27,479 --> 01:13:32,519
Speaker 1: a thud, and I was so bummed. Yeah, And then

1343
01:13:32,560 --> 01:13:34,560
Speaker 1: I saw an interview with him and some of the

1344
01:13:34,600 --> 01:13:36,640
Speaker 1: filmmakers where they were like, oh, we took out the

1345
01:13:36,720 --> 01:13:41,240
Speaker 1: storyline of sugar leaving, I think because they wanted to

1346
01:13:41,280 --> 01:13:43,960
Speaker 1: make it like more clear and more about like sisterhood

1347
01:13:43,960 --> 01:13:46,400
Speaker 1: and solidarity. And I'm like, how do you make this

1348
01:13:46,479 --> 01:13:48,640
Speaker 1: a better queer story by taking the tension and the

1349
01:13:49,040 --> 01:13:51,559
Speaker 1: conflict out of the queer relationship.

1350
01:13:51,040 --> 01:13:52,800
Speaker 2: To make it more and that they think that makes

1351
01:13:52,840 --> 01:13:54,439
Speaker 2: it more clear. That doesn't make sense.

1352
01:13:55,479 --> 01:13:57,760
Speaker 1: None of it makes sense to me. It is a

1353
01:13:57,920 --> 01:14:02,200
Speaker 1: total failure and adaptation of this story. And to me,

1354
01:14:03,120 --> 01:14:06,320
Speaker 1: I don't know. Yeah, I was loving this movie until

1355
01:14:06,360 --> 01:14:09,320
Speaker 1: I realized what they had done with that storyline, and

1356
01:14:09,360 --> 01:14:11,200
Speaker 1: I was just like, I'm sorry, but this is not

1357
01:14:11,640 --> 01:14:14,000
Speaker 1: this is not the best version of this story. And

1358
01:14:14,040 --> 01:14:17,920
Speaker 1: then you know, what. Go online and watch some clips

1359
01:14:17,960 --> 01:14:21,840
Speaker 1: of the Color Purple Musical. Watch the scenes where Sugar's

1360
01:14:21,840 --> 01:14:24,719
Speaker 1: telling Cely that she's gonna leave, and how that launches

1361
01:14:24,760 --> 01:14:27,360
Speaker 1: Cely and I'm here, and then how I'm here dovetails

1362
01:14:27,360 --> 01:14:31,280
Speaker 1: into the finale. That is like how that story should

1363
01:14:31,280 --> 01:14:34,559
Speaker 1: be told. That is like, that's the emotional climax of

1364
01:14:34,600 --> 01:14:39,639
Speaker 1: the movie. I love the story, and it's just I

1365
01:14:39,680 --> 01:14:43,360
Speaker 1: was really disappointed in that, which really sucks because I

1366
01:14:43,600 --> 01:14:46,320
Speaker 1: loved the movie for so many other reasons, and I

1367
01:14:46,360 --> 01:14:51,160
Speaker 1: think that especially fantasious performance as Ceily just deserve better

1368
01:14:51,200 --> 01:14:52,280
Speaker 1: than what happened in the end.

1369
01:14:52,520 --> 01:14:56,280
Speaker 2: Right, It's not a performance, No, it's just soctorial.

1370
01:14:56,680 --> 01:14:58,640
Speaker 1: She for all intents and purposes, should be up for

1371
01:14:58,680 --> 01:14:59,200
Speaker 1: an Oscar.

1372
01:14:59,400 --> 01:15:02,200
Speaker 2: She won't be, though she could take that fifth spot.

1373
01:15:02,800 --> 01:15:05,320
Speaker 1: It's definitely a race to the fifth spot.

1374
01:15:05,160 --> 01:15:08,480
Speaker 2: For Lock and then it's just about that fifth girl.

1375
01:15:08,880 --> 01:15:11,920
Speaker 1: I wouldn't nominate Kerry Mulligan for Maestro. I just don't

1376
01:15:11,920 --> 01:15:14,880
Speaker 1: think the movie's good enough. Like here's My best actress

1377
01:15:14,920 --> 01:15:18,679
Speaker 1: would be this, and honestly I'm giving Fantasia. I want

1378
01:15:18,680 --> 01:15:22,040
Speaker 1: this for her. My best actress would be Natalie Portman,

1379
01:15:23,000 --> 01:15:29,000
Speaker 1: Margot Robbie, Emma Stone, and some combination of Fantasia, Grete

1380
01:15:29,080 --> 01:15:32,240
Speaker 1: Lee or Sandra Huler. I just wish I could say

1381
01:15:32,240 --> 01:15:35,759
Speaker 1: Fantasia with my did you say Lily, Lily Flower?

1382
01:15:36,720 --> 01:15:39,800
Speaker 2: I think she's a lock for sure, having not seen it,

1383
01:15:39,840 --> 01:15:42,040
Speaker 2: I think it seems like the scuttle butt is that

1384
01:15:42,120 --> 01:15:45,560
Speaker 2: she is a lock. I think, don't rule out Fantasia.

1385
01:15:46,200 --> 01:15:48,639
Speaker 1: Look, I'm not ruling her out. I want it for her.

1386
01:15:48,840 --> 01:15:50,920
Speaker 1: I just think it's a shame it can't be called

1387
01:15:50,960 --> 01:15:53,360
Speaker 1: a lock, and I really think it could have. But

1388
01:15:53,520 --> 01:15:55,320
Speaker 1: when you see this movie, you'll know what I'm saying.

1389
01:15:55,640 --> 01:15:58,599
Speaker 1: I'm here happens. She stands on her porch and sings

1390
01:15:58,640 --> 01:16:01,679
Speaker 1: it in the dark's And if I was her, I'd

1391
01:16:01,760 --> 01:16:02,280
Speaker 1: be pissed.

1392
01:16:04,080 --> 01:16:10,160
Speaker 2: Yeah, light me, I would say, I mean light me properly.

1393
01:16:11,080 --> 01:16:13,880
Speaker 1: That is a lifetime that leads up to that performance,

1394
01:16:13,920 --> 01:16:14,799
Speaker 1: and she did.

1395
01:16:14,640 --> 01:16:18,000
Speaker 2: It in the dark No. Unacceptable.

1396
01:16:18,439 --> 01:16:19,440
Speaker 1: I was disappointed.

1397
01:16:28,479 --> 01:16:31,000
Speaker 2: What's not disappointing? And we have to touch on.

1398
01:16:31,000 --> 01:16:33,080
Speaker 1: This better than any of these movies.

1399
01:16:34,160 --> 01:16:37,880
Speaker 2: Truly, one of the most riveting viewing experiences I have

1400
01:16:37,960 --> 01:16:42,400
Speaker 2: maybe ever had. This brought me right back to me

1401
01:16:42,600 --> 01:16:46,640
Speaker 2: in high school watching Grey's anatomy super Bowl episodes. We

1402
01:16:46,680 --> 01:16:51,439
Speaker 2: are talking, of course, about mysteries revealed real housemves of

1403
01:16:51,479 --> 01:16:57,679
Speaker 2: Salt Lake City Season four finale. I cannot stop thinking

1404
01:16:57,720 --> 01:16:59,920
Speaker 2: about this and likely will never for the rest of

1405
01:17:00,160 --> 01:17:00,559
Speaker 2: my life.

1406
01:17:01,200 --> 01:17:05,240
Speaker 1: I think maybe the best episode of housewives of all time.

1407
01:17:05,680 --> 01:17:10,720
Speaker 2: Big, big title, and I don't disagree. I need no

1408
01:17:10,840 --> 01:17:11,400
Speaker 2: more than I do.

1409
01:17:11,840 --> 01:17:17,400
Speaker 1: Emerald Finella needs to watch this episode because this Monica

1410
01:17:17,439 --> 01:17:22,160
Speaker 1: Garcia did what Barry Hewen never could do, which was

1411
01:17:22,920 --> 01:17:27,040
Speaker 1: that was a real bamboozling. Like yes, first of all,

1412
01:17:27,080 --> 01:17:31,000
Speaker 1: can we say the core four of LC A list?

1413
01:17:31,640 --> 01:17:35,639
Speaker 1: They shot to the A list. They were all them

1414
01:17:35,680 --> 01:17:38,479
Speaker 1: standing on the beach. You know what I was flashing

1415
01:17:38,520 --> 01:17:40,479
Speaker 1: back to was when we watched Big Little Lies, and

1416
01:17:40,520 --> 01:17:42,280
Speaker 1: we got to watch this together too, the finale of

1417
01:17:42,400 --> 01:17:47,040
Speaker 1: slscree watched together with a great crew screaming. I've never

1418
01:17:47,160 --> 01:17:49,800
Speaker 1: heard a scream and a laugh at the same time

1419
01:17:49,840 --> 01:17:52,040
Speaker 1: like I've heard it from Bowen Yang at the words

1420
01:17:52,080 --> 01:17:53,040
Speaker 1: reality Vontee's.

1421
01:17:56,920 --> 01:18:00,880
Speaker 2: It's such a perfect stupid name. It is. It is

1422
01:18:00,920 --> 01:18:03,200
Speaker 2: the only name it could have been, do you know

1423
01:18:03,240 --> 01:18:05,360
Speaker 2: what I mean? Like there was like some a lot

1424
01:18:05,360 --> 01:18:08,320
Speaker 2: of chatter afterwards in our little group that night where

1425
01:18:08,360 --> 01:18:10,160
Speaker 2: we were like, God, that name though I don't know

1426
01:18:10,160 --> 01:18:12,440
Speaker 2: about that name. I'm like, no, it is the perfect

1427
01:18:13,240 --> 01:18:20,840
Speaker 2: stupid name, stupid avatar fucking like Celesteiyim reverse image search

1428
01:18:21,040 --> 01:18:24,400
Speaker 2: reality Vontiice's avatar image on Instagram. It is from like

1429
01:18:25,200 --> 01:18:29,360
Speaker 2: a product image on some like gear site like burlesses

1430
01:18:29,439 --> 01:18:32,479
Speaker 2: gear site or something, or not even Burless. But I

1431
01:18:32,479 --> 01:18:35,200
Speaker 2: think DTA might be da seuing.

1432
01:18:35,680 --> 01:18:37,280
Speaker 1: I think Dita was like, I don't know what this

1433
01:18:37,360 --> 01:18:39,160
Speaker 1: is and I will take legal action if I feel

1434
01:18:39,200 --> 01:18:39,880
Speaker 1: like I have to.

1435
01:18:40,040 --> 01:18:41,800
Speaker 2: I don't want my name in this at all. I

1436
01:18:41,840 --> 01:18:43,160
Speaker 2: think it makes her more iconic.

1437
01:18:43,640 --> 01:18:48,000
Speaker 1: First of all, from the beginning, that episode was great.

1438
01:18:48,200 --> 01:18:50,240
Speaker 2: From the beginning of the season is this has been

1439
01:18:50,240 --> 01:18:52,160
Speaker 2: an A plus season all around.

1440
01:18:52,520 --> 01:18:55,639
Speaker 1: This was I might have to give this incredible Well

1441
01:18:55,680 --> 01:18:57,960
Speaker 1: you know what I did afterwards. I've watched it twice

1442
01:18:58,000 --> 01:18:59,960
Speaker 1: and I did watch the first episode of the Sea

1443
01:19:00,120 --> 01:19:05,479
Speaker 1: and again, kudos to the editors because it is all there, there,

1444
01:19:05,520 --> 01:19:12,080
Speaker 1: It is all there. This season has rewatch value. Boots, Boots,

1445
01:19:12,160 --> 01:19:17,360
Speaker 1: it is so good. Meredith the girl with the pear

1446
01:19:17,479 --> 01:19:20,640
Speaker 1: earring could never over this still of Meredith with her

1447
01:19:20,680 --> 01:19:23,960
Speaker 1: hair in her mouth in anguish. People are trying.

1448
01:19:23,680 --> 01:19:24,559
Speaker 2: To hurt us.

1449
01:19:24,880 --> 01:19:26,080
Speaker 1: It is so sick of.

1450
01:19:26,800 --> 01:19:27,639
Speaker 2: Trying to hurt us.

1451
01:19:28,120 --> 01:19:32,519
Speaker 1: Also, Lisa, Oh my god, you're gonna cry. What? Oh

1452
01:19:32,520 --> 01:19:34,519
Speaker 1: my god? Wait what what?

1453
01:19:35,160 --> 01:19:36,519
Speaker 2: I got your text? What's going on?

1454
01:19:36,680 --> 01:19:39,519
Speaker 1: I got your text? What's going on? It's wait for Meredith.

1455
01:19:40,439 --> 01:19:46,200
Speaker 1: She's walking over. Honestly, Carrie, Miranda, Charlotte and Samantha are

1456
01:19:46,280 --> 01:19:52,240
Speaker 1: so over. It is about Meredith, Lisa Whitney and the

1457
01:19:52,400 --> 01:19:59,320
Speaker 1: legend Heather Gay. I mean, Heather, you really did something there.

1458
01:19:59,360 --> 01:20:03,000
Speaker 2: You will be in the Hall of Fame for all time.

1459
01:20:03,320 --> 01:20:05,519
Speaker 1: Yeah. If there's a Hall of Fame for housewives, Heather

1460
01:20:06,080 --> 01:20:07,040
Speaker 1: you solidified it.

1461
01:20:07,479 --> 01:20:08,599
Speaker 2: You really did.

1462
01:20:08,920 --> 01:20:12,280
Speaker 1: And it's been it's been not always smooth sailing for

1463
01:20:12,320 --> 01:20:14,960
Speaker 1: Heather on the show. But I feel like she freed herself.

1464
01:20:15,400 --> 01:20:18,000
Speaker 1: She freed herself, and you always root for her.

1465
01:20:17,960 --> 01:20:18,519
Speaker 2: You always.

1466
01:20:18,720 --> 01:20:22,600
Speaker 1: She's the protagonist. She Heather Gay is. Yeah, you know,

1467
01:20:22,840 --> 01:20:23,920
Speaker 1: she's the star of the show.

1468
01:20:24,640 --> 01:20:25,360
Speaker 2: Yeah.

1469
01:20:25,400 --> 01:20:30,000
Speaker 1: I don't know that there's a more satisfying reveal than

1470
01:20:30,479 --> 01:20:34,400
Speaker 1: she gave me a black eye and she knew she

1471
01:20:34,560 --> 01:20:40,599
Speaker 1: was She knew what she was doing too. The black

1472
01:20:40,680 --> 01:20:41,559
Speaker 1: eye of it all.

1473
01:20:42,160 --> 01:20:45,920
Speaker 2: I mean, I think we were all saying right like

1474
01:20:46,040 --> 01:20:51,439
Speaker 2: that finale was pulling in threads from seasons one, two, three, four,

1475
01:20:51,520 --> 01:20:56,439
Speaker 2: It was. It was Avengers end game level storytelling where

1476
01:20:56,560 --> 01:20:59,680
Speaker 2: you're about to close all of these loops. It does

1477
01:20:59,760 --> 01:21:03,240
Speaker 2: make me think what's next in a genuine way. But

1478
01:21:03,720 --> 01:21:06,320
Speaker 2: I'm not gonna worry about that too much me neither.

1479
01:21:06,920 --> 01:21:11,439
Speaker 2: I'm just still applauding that moment in television because I

1480
01:21:11,439 --> 01:21:13,519
Speaker 2: have not felt and thank god I had people over

1481
01:21:13,560 --> 01:21:16,120
Speaker 2: that night because I was gonna just maybe watch it alone.

1482
01:21:16,280 --> 01:21:18,720
Speaker 1: No, No, that needed to be a communal experience. I'm

1483
01:21:18,760 --> 01:21:19,600
Speaker 1: so happy it was.

1484
01:21:21,439 --> 01:21:26,639
Speaker 2: I just think that is spectacular TV making just enough.

1485
01:21:26,680 --> 01:21:29,280
Speaker 2: Like Little Red Herrings too, Like all the lead up

1486
01:21:29,280 --> 01:21:32,599
Speaker 2: in the dinner to the moment of the reveal stupid.

1487
01:21:32,720 --> 01:21:35,680
Speaker 2: It is these women like faking the drama, you know

1488
01:21:35,720 --> 01:21:38,120
Speaker 2: what I mean. It is like we don't really care

1489
01:21:38,200 --> 01:21:41,080
Speaker 2: what's going on. We just we're stalling until, like Heather

1490
01:21:41,280 --> 01:21:44,360
Speaker 2: finds the right moment and she did. The moment is

1491
01:21:44,439 --> 01:21:47,879
Speaker 2: so beautiful of Heather being like of Heather asking Monica

1492
01:21:48,160 --> 01:21:51,080
Speaker 2: before the reveal, like, well then how do you know that?

1493
01:21:51,200 --> 01:21:53,599
Speaker 2: How did you like? Or like what was the question?

1494
01:21:53,640 --> 01:21:55,600
Speaker 2: Why do you think we believe you, Monica, why do

1495
01:21:55,640 --> 01:21:58,080
Speaker 2: you think we believe Oh my god, why.

1496
01:21:57,880 --> 01:22:00,120
Speaker 1: Do you think we believe you? And then she goes, well,

1497
01:22:00,120 --> 01:22:00,919
Speaker 1: I had the receipts.

1498
01:22:00,960 --> 01:22:04,880
Speaker 2: The team wasn't about the truth.

1499
01:22:05,200 --> 01:22:12,639
Speaker 1: It was about the truth. Receipt prove timeline, screamshots, fucking

1500
01:22:12,840 --> 01:22:16,840
Speaker 1: everything to prove you a line of bully.

1501
01:22:16,439 --> 01:22:17,160
Speaker 2: And a troll.

1502
01:22:19,560 --> 01:22:24,639
Speaker 1: I I mean, I was so grateful that night.

1503
01:22:24,680 --> 01:22:29,639
Speaker 2: It was very grateful that night that I'm sorry love

1504
01:22:29,800 --> 01:22:35,120
Speaker 2: to the Scandalfal era of reality television. That moment was huge.

1505
01:22:35,920 --> 01:22:40,080
Speaker 2: I think you have to give some accolade to what

1506
01:22:40,080 --> 01:22:42,160
Speaker 2: what all of season four of Salt Lake City was

1507
01:22:43,320 --> 01:22:44,440
Speaker 2: should be nominated.

1508
01:22:44,840 --> 01:22:46,759
Speaker 1: It should be nominated, Bravo.

1509
01:22:46,800 --> 01:22:50,759
Speaker 2: If you're listening NBC Universal, if you're listening comcasts, start

1510
01:22:50,760 --> 01:22:51,599
Speaker 2: the campaign now.

1511
01:22:52,280 --> 01:22:55,000
Speaker 1: It will win the way they put all the chips

1512
01:22:55,000 --> 01:22:56,960
Speaker 1: on vander Pump last year for the Emmys, and then

1513
01:22:58,640 --> 01:23:00,840
Speaker 1: you must do this for Salt Lakes. And I'll tell

1514
01:23:00,880 --> 01:23:03,599
Speaker 1: you why. Salt Lake City is also great because it

1515
01:23:03,640 --> 01:23:06,920
Speaker 1: was able with this storyline to double down on its

1516
01:23:07,040 --> 01:23:12,080
Speaker 1: housewives subgenre, which is true Cup and I think it

1517
01:23:12,240 --> 01:23:15,880
Speaker 1: knows that really this five reasons why, And I sent

1518
01:23:15,880 --> 01:23:18,439
Speaker 1: this to Bowen. This is how academic I'm thinking about this.

1519
01:23:19,040 --> 01:23:21,880
Speaker 1: Number five, we were able to move on and the

1520
01:23:21,960 --> 01:23:24,360
Speaker 1: cast was able to move on. I understood the importance

1521
01:23:24,400 --> 01:23:28,400
Speaker 1: of moving on from old conflicts. Meredith versus Lisa was done.

1522
01:23:28,479 --> 01:23:31,160
Speaker 1: It was resolved in the first episode Heather versus Whitney.

1523
01:23:31,240 --> 01:23:33,400
Speaker 1: It took a second longer, but it was resolved quickly.

1524
01:23:33,840 --> 01:23:36,519
Speaker 1: The gen shaw of it all, they, for all intents

1525
01:23:36,560 --> 01:23:38,960
Speaker 1: and purposes, had moved on until it had to be

1526
01:23:39,040 --> 01:23:41,120
Speaker 1: dealt with again. So that's number five, is they moved on?

1527
01:23:41,840 --> 01:23:42,080
Speaker 2: Yeah?

1528
01:23:42,160 --> 01:23:46,920
Speaker 1: Number four, Angie was a way better housewife than anyone thought.

1529
01:23:46,920 --> 01:23:47,200
Speaker 1: She was.

1530
01:23:47,240 --> 01:23:47,599
Speaker 2: Haavy.

1531
01:23:48,520 --> 01:23:52,680
Speaker 1: She's funny. I've never seen anyone really like her, and

1532
01:23:53,320 --> 01:23:56,960
Speaker 1: she's unintentionally and intentionally watchable.

1533
01:23:57,400 --> 01:24:00,000
Speaker 2: She's been built up in a really nice way through

1534
01:24:00,200 --> 01:24:00,599
Speaker 2: the season.

1535
01:24:00,840 --> 01:24:03,440
Speaker 1: And never forget you. We wouldn't have had Palm Springs

1536
01:24:03,640 --> 01:24:07,720
Speaker 1: or any of that narratith ouligans without Antie K. So,

1537
01:24:07,800 --> 01:24:10,360
Speaker 1: Angie K, you got your snowflake back for next season?

1538
01:24:10,920 --> 01:24:12,000
Speaker 1: Really the house down.

1539
01:24:12,240 --> 01:24:16,000
Speaker 2: Watch out for Elsiecas this year. ANGIEK might show up.

1540
01:24:16,280 --> 01:24:18,320
Speaker 1: She might be showing up in multiple categories.

1541
01:24:18,720 --> 01:24:21,679
Speaker 2: She might show up on Iconic four hundred, she might.

1542
01:24:21,600 --> 01:24:28,040
Speaker 1: Show up in person, number three, the perfect amount of

1543
01:24:28,120 --> 01:24:33,439
Speaker 1: Mary Cosby agree, agree, the perfect amount of Mary, like

1544
01:24:33,840 --> 01:24:40,160
Speaker 1: we never thought we're missing her, and we never thought

1545
01:24:40,640 --> 01:24:43,120
Speaker 1: she's too much like it was just the perfect.

1546
01:24:42,640 --> 01:24:46,360
Speaker 2: Amount, even in this conversation, even in the current discourse

1547
01:24:46,439 --> 01:24:49,400
Speaker 2: about reality Vontee like the I think the night before

1548
01:24:49,479 --> 01:24:51,719
Speaker 2: the finale, someone was with Mary and they say, Mary,

1549
01:24:51,760 --> 01:24:54,720
Speaker 2: what are your thoughts about about the finale? But what

1550
01:24:54,720 --> 01:24:56,880
Speaker 2: should we expect from the Salt Lake City for preside Vanilla?

1551
01:24:56,960 --> 01:25:00,280
Speaker 2: She says, pray for Monica. Ooh, you guys should for

1552
01:25:00,320 --> 01:25:03,040
Speaker 2: you guys better pray for Monica. And I mean she

1553
01:25:03,160 --> 01:25:05,200
Speaker 2: was even that is the perfect amount of America. Even

1554
01:25:05,240 --> 01:25:06,760
Speaker 2: that's the perfect amount of Mirria. And I'm sure the.

1555
01:25:06,680 --> 01:25:08,400
Speaker 1: Readion will give us the perfect amount. And they should

1556
01:25:08,479 --> 01:25:10,679
Speaker 1: know that going forward. Mary never gets to snowflick again.

1557
01:25:10,880 --> 01:25:13,320
Speaker 1: But invite her on the cast trips. Let her fucking

1558
01:25:13,680 --> 01:25:16,200
Speaker 1: do her twenty minutes, sit in the van, go get

1559
01:25:16,200 --> 01:25:21,599
Speaker 1: her fish fly We need the color commentary Number two,

1560
01:25:21,840 --> 01:25:24,839
Speaker 1: they finally were able to go on like trips without

1561
01:25:24,840 --> 01:25:28,160
Speaker 1: worrying about Jenshaw's fucking visa because she's a convicted fallon.

1562
01:25:28,880 --> 01:25:34,320
Speaker 1: And number one was fucking Monica Monica gave that she

1563
01:25:34,520 --> 01:25:37,519
Speaker 1: was an antagonist that was for the Ages, and I

1564
01:25:37,680 --> 01:25:40,200
Speaker 1: say that also saying we do not need to see

1565
01:25:40,240 --> 01:25:41,679
Speaker 1: her again on this show. We're done.

1566
01:25:42,280 --> 01:25:44,920
Speaker 2: I agree. I don't know that she was an antagonist

1567
01:25:45,000 --> 01:25:49,200
Speaker 2: for the Ages until the last episode. I think the

1568
01:25:49,360 --> 01:25:52,880
Speaker 2: entire season was like I don't know, I don't know

1569
01:25:53,040 --> 01:25:57,519
Speaker 2: if I care for her until you had to care

1570
01:25:57,600 --> 01:25:59,479
Speaker 2: and then you were like, thank god.

1571
01:26:00,360 --> 01:26:03,640
Speaker 1: I feel like, if you watch it again, watch the

1572
01:26:03,680 --> 01:26:07,320
Speaker 1: first episode again, you'll see it's all there. It's literally

1573
01:26:07,360 --> 01:26:10,200
Speaker 1: in the first Remember they did that insane segment where

1574
01:26:10,200 --> 01:26:14,800
Speaker 1: they were Lisa walks by Monica on the street and

1575
01:26:14,880 --> 01:26:19,640
Speaker 1: she goes the devil lurks among us and it's Monica

1576
01:26:20,520 --> 01:26:23,320
Speaker 1: Like they've been telegraphing it from the beginning, but Monica

1577
01:26:23,360 --> 01:26:27,160
Speaker 1: Loki like again did what Barry and Saltburn never could

1578
01:26:27,160 --> 01:26:34,599
Speaker 1: do and actually manipulated them and the celebrating her birthday.

1579
01:26:35,240 --> 01:26:39,520
Speaker 2: Two days before. My theory family was never in Bermuda.

1580
01:26:39,960 --> 01:26:42,439
Speaker 1: We have to get to the bottom of this. Well,

1581
01:26:42,479 --> 01:26:44,760
Speaker 1: you know what I want. I want a four episode

1582
01:26:45,200 --> 01:26:52,680
Speaker 1: I want Bravos version of like fucking any documentaries. I

1583
01:26:52,720 --> 01:26:55,479
Speaker 1: want Bravos. I want a four episode limited series called

1584
01:26:55,520 --> 01:26:59,800
Speaker 1: Reality Vontis and it's Monica and all the people in

1585
01:27:00,720 --> 01:27:04,800
Speaker 1: Reality Vontie's Tanisha at all CoA, all these people telling

1586
01:27:04,840 --> 01:27:09,280
Speaker 1: the truth. I want a true crime limited docuseries. That's

1587
01:27:09,360 --> 01:27:12,280
Speaker 1: the Bravo version of what we see for like the

1588
01:27:12,360 --> 01:27:13,479
Speaker 1: fucking like.

1589
01:27:13,479 --> 01:27:16,280
Speaker 2: The vow you need to watch Mommy Dead and dearest

1590
01:27:16,439 --> 01:27:18,200
Speaker 2: you get in to speed on the.

1591
01:27:18,800 --> 01:27:22,080
Speaker 1: You brought it up because I have watched nothing else

1592
01:27:22,120 --> 01:27:25,920
Speaker 1: but Gypsy Rose Blanchard for the past three days. I

1593
01:27:26,000 --> 01:27:26,960
Speaker 1: am obsessed.

1594
01:27:27,680 --> 01:27:31,040
Speaker 2: First of all, can we say I think she's specifically

1595
01:27:31,080 --> 01:27:34,759
Speaker 2: slay on the view she was really good.

1596
01:27:34,920 --> 01:27:38,840
Speaker 1: Watched everything she's done. I've watched everything she's done, and

1597
01:27:39,560 --> 01:27:41,040
Speaker 1: I've never seen a crazier person.

1598
01:27:41,320 --> 01:27:42,960
Speaker 2: I'm gonna go public. I don't think she'll mind me

1599
01:27:43,000 --> 01:27:47,200
Speaker 2: saying this. Gypsy Rose. No, not Gypsy Rose. Oh you

1600
01:27:47,240 --> 01:27:48,639
Speaker 2: know who else is obsessed with her?

1601
01:27:49,120 --> 01:27:49,320
Speaker 1: Who?

1602
01:27:49,840 --> 01:27:54,840
Speaker 2: Mariana Grande goes work, bitch work?

1603
01:27:55,040 --> 01:27:56,880
Speaker 1: Yes? And what else? Did she say?

1604
01:27:57,080 --> 01:28:01,760
Speaker 2: Yes? And she was saying that Gypsy Rose like can

1605
01:28:01,800 --> 01:28:06,160
Speaker 2: have it all, like Gypsy Rose, like you have the

1606
01:28:06,200 --> 01:28:07,679
Speaker 2: world in the palm of your hand.

1607
01:28:08,640 --> 01:28:13,040
Speaker 1: Gypsy Rose on her Instagram being like, hey, get ready

1608
01:28:13,040 --> 01:28:15,600
Speaker 1: with me for today I comes like, I can't believe this.

1609
01:28:15,920 --> 01:28:19,800
Speaker 1: She's like, my whole outfit is zaras I.

1610
01:28:19,720 --> 01:28:23,600
Speaker 2: Think, I'm like pretty cute, okaybye. This is this is

1611
01:28:23,600 --> 01:28:26,640
Speaker 2: a girl who like is frozen in time in a

1612
01:28:26,640 --> 01:28:32,360
Speaker 2: way like irrespective of prison, she has been like fucking

1613
01:28:33,080 --> 01:28:38,160
Speaker 2: bio physiologically manipulated into being a certain way. And she

1614
01:28:38,320 --> 01:28:40,240
Speaker 2: is like, this is another year of this is like

1615
01:28:40,439 --> 01:28:43,479
Speaker 2: poor things ear of the Doll Barbie. This is like

1616
01:28:43,640 --> 01:28:45,240
Speaker 2: girl steps down into the real world.

1617
01:28:45,520 --> 01:28:46,120
Speaker 1: Wow, you're right.

1618
01:28:46,800 --> 01:28:50,360
Speaker 2: She is figuring this out and we cheer her on.

1619
01:28:51,240 --> 01:28:53,879
Speaker 2: She is saying all the right things in these interviews,

1620
01:28:53,920 --> 01:28:57,160
Speaker 2: being like I did a bad thing, I've done my time.

1621
01:28:57,720 --> 01:28:59,840
Speaker 2: Now I just want to live my life. And yes,

1622
01:28:59,880 --> 01:29:01,880
Speaker 2: I have an ebook coming out. Yes I have a

1623
01:29:01,920 --> 01:29:04,800
Speaker 2: lifetime series coming out. Watch it if you like. But

1624
01:29:04,880 --> 01:29:07,280
Speaker 2: I'm not here to like fuck anything up. But if

1625
01:29:07,280 --> 01:29:09,680
Speaker 2: people are interested in my story, here's how you can

1626
01:29:09,720 --> 01:29:14,120
Speaker 2: find out more. Go off, Queen, We love you, Gypsy Rose.

1627
01:29:14,520 --> 01:29:18,639
Speaker 1: I mean, there's one more swift Y running the streets.

1628
01:29:19,680 --> 01:29:22,280
Speaker 1: She wants to meet Taylor Swift. I don't know if

1629
01:29:22,320 --> 01:29:23,439
Speaker 1: Tree Payne will allow it.

1630
01:29:23,920 --> 01:29:29,479
Speaker 2: Her favorite song being Karma is an L L. Yeah

1631
01:29:29,479 --> 01:29:30,479
Speaker 2: it should be Karma.

1632
01:29:34,360 --> 01:29:38,200
Speaker 1: Kara's her boyfriend slang in that D. You see her

1633
01:29:38,200 --> 01:29:39,519
Speaker 1: post about how the D is good?

1634
01:29:39,600 --> 01:29:41,160
Speaker 2: Yes, I'm obsessed with this queen.

1635
01:29:41,200 --> 01:29:42,799
Speaker 1: I think she's one of the great royals.

1636
01:29:43,160 --> 01:29:45,519
Speaker 2: She's one of the great royals. I mean her boyfriend

1637
01:29:45,600 --> 01:29:49,120
Speaker 2: consider me her pawn. Karma was her boyfriend when Dedie

1638
01:29:49,160 --> 01:29:49,919
Speaker 2: got stabbed.

1639
01:29:50,680 --> 01:29:53,439
Speaker 1: Period, poor Nick godjan a name. I know.

1640
01:29:53,920 --> 01:29:56,120
Speaker 2: Did you watch Mommy Dandiras? Did you watch the or

1641
01:29:56,120 --> 01:29:56,519
Speaker 2: not yet?

1642
01:29:56,560 --> 01:29:58,439
Speaker 1: So I've not watched that, but I will what I

1643
01:29:58,520 --> 01:30:00,760
Speaker 1: want to watch and what I probably will watch it? Yeah,

1644
01:30:00,840 --> 01:30:02,960
Speaker 1: like because I et nothing on on Sunday night, it's

1645
01:30:02,960 --> 01:30:05,200
Speaker 1: anymore worth it? Well, I want to watch the act

1646
01:30:05,280 --> 01:30:08,280
Speaker 1: because another wormhole I felt down into is a Patricia

1647
01:30:08,360 --> 01:30:11,719
Speaker 1: Arcatte wormhole. I watched you ever watched those like YouTube clips?

1648
01:30:11,720 --> 01:30:13,840
Speaker 1: I don't forget who it is, but it's like it's like,

1649
01:30:13,880 --> 01:30:15,360
Speaker 1: this is the timeline of my career.

1650
01:30:15,479 --> 01:30:16,880
Speaker 2: Yes, yes, yes, she has a good one.

1651
01:30:16,920 --> 01:30:19,880
Speaker 1: So Patricia arcat has one. That's good because she's got

1652
01:30:19,920 --> 01:30:23,240
Speaker 1: done so many interesting things. She's really quite versatile as

1653
01:30:23,240 --> 01:30:27,519
Speaker 1: an actress. Like absolutely, yeah, she's amazing, but uh, I

1654
01:30:27,560 --> 01:30:29,439
Speaker 1: haven't watched it yet. Now there's because there's like a

1655
01:30:29,439 --> 01:30:31,519
Speaker 1: new one right now, there's like Gypsy Rows, like in

1656
01:30:31,600 --> 01:30:32,639
Speaker 1: my own Words or some shit.

1657
01:30:32,920 --> 01:30:35,439
Speaker 2: Well, that's her lifetime series, that's her as herself.

1658
01:30:35,479 --> 01:30:39,000
Speaker 1: I think, okay, I think it's like Gypsy Rose Confessions

1659
01:30:39,080 --> 01:30:42,160
Speaker 1: or something. Basically, all these things exist and they're all

1660
01:30:42,200 --> 01:30:44,679
Speaker 1: out there to be watched. But I've not yet watched

1661
01:30:44,720 --> 01:30:45,559
Speaker 1: Mommy Dead and Tears.

1662
01:30:46,000 --> 01:30:48,560
Speaker 2: Mommy Dead and Tears is really good because these motherfuckers

1663
01:30:48,600 --> 01:30:52,080
Speaker 2: at HBO paid for Disney Clearance to play clips of

1664
01:30:52,200 --> 01:30:55,120
Speaker 2: Tangled because that was her favorite Disney movie. And how

1665
01:30:55,160 --> 01:30:57,200
Speaker 2: poignant is that to make a point about it?

1666
01:30:57,240 --> 01:30:57,880
Speaker 1: Oh oh wo.

1667
01:30:58,120 --> 01:31:01,599
Speaker 2: She felt trapped. Her mom was like feeding her lies

1668
01:31:01,800 --> 01:31:06,000
Speaker 2: about the world, like her life was tangled, and she

1669
01:31:06,160 --> 01:31:10,320
Speaker 2: was like, I wanted Romance to resolve this. I wanted

1670
01:31:10,360 --> 01:31:12,280
Speaker 2: to meet a boy to save me.

1671
01:31:13,000 --> 01:31:15,800
Speaker 1: Rapunzel's mom had Munchausins by proxy. It's actually a really

1672
01:31:15,800 --> 01:31:17,959
Speaker 1: culture number. Mother Gotha mother.

1673
01:31:17,760 --> 01:31:27,280
Speaker 2: Go fucking deva mother gothel voice actress. Oh, I'm gonna

1674
01:31:27,280 --> 01:31:28,559
Speaker 2: find it. I'm gonna find it.

1675
01:31:28,680 --> 01:31:32,280
Speaker 1: Donna Murphy, Donna Murphy, Donna Murphy. Donna Murphy is a

1676
01:31:32,280 --> 01:31:33,200
Speaker 1: fucking icon.

1677
01:31:33,200 --> 01:31:36,080
Speaker 2: Is a fucking legend and one of the most gorgeous

1678
01:31:36,080 --> 01:31:37,080
Speaker 2: people we we have.

1679
01:31:37,880 --> 01:31:41,320
Speaker 1: She's amazing. She's amazing before we get into I don't

1680
01:31:41,320 --> 01:31:44,280
Speaker 1: think so, honey. I want your thoughts on the White

1681
01:31:44,280 --> 01:31:45,400
Speaker 1: Lotus casting reveal.

1682
01:31:45,880 --> 01:31:50,639
Speaker 2: I'm very excited, very excited for Leslie Bibb as well.

1683
01:31:50,840 --> 01:31:53,200
Speaker 2: Leslie bib is Leslie phenomenal actor.

1684
01:31:53,760 --> 01:31:58,360
Speaker 1: I'm so pumped for the random miss of this casting,

1685
01:31:58,800 --> 01:32:01,240
Speaker 1: you know what I mean, Like it's like, of course

1686
01:32:01,280 --> 01:32:03,840
Speaker 1: you never could guess, but I wouldn't have guessed. Like

1687
01:32:03,960 --> 01:32:06,360
Speaker 1: even even the Parker posy of it all, which is

1688
01:32:06,400 --> 01:32:09,599
Speaker 1: like the big poll is so genius, but I wouldn't

1689
01:32:09,600 --> 01:32:12,280
Speaker 1: have guessed it. And I'm living for this Christopher guest

1690
01:32:12,479 --> 01:32:16,080
Speaker 1: revolution in White Lotus, I said Catherine herron X.

1691
01:32:17,200 --> 01:32:21,280
Speaker 2: Catherine herron X or Parker is gonna be perfect in

1692
01:32:21,320 --> 01:32:24,640
Speaker 2: this world. She's gonna be so good. And I love that, Natasha,

1693
01:32:24,680 --> 01:32:29,000
Speaker 2: it gets to be the sort of recurring thing from

1694
01:32:29,040 --> 01:32:31,599
Speaker 2: prior seasons. I can't wait.

1695
01:32:32,240 --> 01:32:34,000
Speaker 1: You know. The one piece of casting where I'm like,

1696
01:32:34,200 --> 01:32:35,640
Speaker 1: I don't know, is this little on the nose is

1697
01:32:35,720 --> 01:32:38,559
Speaker 1: I don't think anyone reads as more evil than Jason.

1698
01:32:38,560 --> 01:32:40,920
Speaker 1: Isaac's right, and so I feel like I hope he's

1699
01:32:40,920 --> 01:32:43,200
Speaker 1: not playing an evil character, because that's on the nose

1700
01:32:43,280 --> 01:32:45,920
Speaker 1: to me. Unfortunately, that's kind of what happens when you

1701
01:32:45,960 --> 01:32:49,400
Speaker 1: play Lucius Malfoy is you have like evil face and

1702
01:32:49,439 --> 01:32:52,240
Speaker 1: you're British. It's kind of like you're bad. So I

1703
01:32:52,320 --> 01:32:55,840
Speaker 1: kind of hope he doesn't play bad. But lots of

1704
01:32:55,880 --> 01:32:59,640
Speaker 1: great actors in this, truly, and Michelle Monaghan, who I

1705
01:32:59,640 --> 01:33:03,040
Speaker 1: hadn't thought, yeah, this is gonna be good.

1706
01:33:03,280 --> 01:33:06,439
Speaker 2: I'm just excited to see what mister Mike White does

1707
01:33:06,560 --> 01:33:10,920
Speaker 2: with Asia and death. I think those being the themes

1708
01:33:10,920 --> 01:33:14,519
Speaker 2: of this are really not the themes. One being the

1709
01:33:14,560 --> 01:33:18,120
Speaker 2: setting and one being the theme is very cool. If

1710
01:33:18,160 --> 01:33:20,800
Speaker 2: the theme was Asia, how would you feel that.

1711
01:33:21,040 --> 01:33:28,120
Speaker 1: I'd be like, Okay, okay, I trust Michael, I trust you, Michael.

1712
01:33:28,840 --> 01:33:35,240
Speaker 2: Very excited for yes, and mmmm, I'm just so you

1713
01:33:35,240 --> 01:33:37,560
Speaker 2: guys know. I had some readers Katie's Publicist finalists on

1714
01:33:37,600 --> 01:33:41,160
Speaker 2: my Twitch stream and of course some of y'all were

1715
01:33:41,200 --> 01:33:43,760
Speaker 2: orientators who and this is my fault for spilling the beans,

1716
01:33:43,800 --> 01:33:45,439
Speaker 2: but one of them got me to say a little

1717
01:33:45,520 --> 01:33:50,000
Speaker 2: blab a little bit too much and egg on mine.

1718
01:33:50,200 --> 01:33:51,600
Speaker 2: So I will not be doing I will not be

1719
01:33:51,640 --> 01:33:54,240
Speaker 2: revealing too much, but it's a gag. Everyone's everyone still

1720
01:33:54,280 --> 01:33:54,599
Speaker 2: love it.

1721
01:33:55,840 --> 01:33:58,040
Speaker 1: I will not be really too much for I heard

1722
01:33:58,040 --> 01:33:58,960
Speaker 1: it and it's a gag.

1723
01:33:59,120 --> 01:34:00,679
Speaker 2: Well, no, that's already established.

1724
01:34:00,720 --> 01:34:01,120
Speaker 1: I've already.

1725
01:34:01,120 --> 01:34:02,120
Speaker 2: I've already no, I know.

1726
01:34:02,560 --> 01:34:04,120
Speaker 1: So for those of you who don't know, what bo

1727
01:34:04,160 --> 01:34:06,080
Speaker 1: When is saying is that he's heard the song, let's

1728
01:34:06,120 --> 01:34:06,840
Speaker 1: just keep it there.

1729
01:34:07,400 --> 01:34:09,720
Speaker 2: He loves it. It's really good. I love it.

1730
01:34:10,160 --> 01:34:12,240
Speaker 1: I can't wait, and it'll be two days after this

1731
01:34:12,280 --> 01:34:13,760
Speaker 1: episode drops that everyone will hear it.

1732
01:34:14,320 --> 01:34:17,519
Speaker 2: Yes, yes, I can't wait. So exciting. Should we move on?

1733
01:34:17,560 --> 01:34:19,400
Speaker 1: I don't think so, honey, let's move on. I don't

1734
01:34:19,439 --> 01:34:22,240
Speaker 1: think so, honey. I think maybe let's wait until next

1735
01:34:22,240 --> 01:34:24,280
Speaker 1: week to talk about drag Race, because then we'll have

1736
01:34:24,320 --> 01:34:25,280
Speaker 1: met all the queens.

1737
01:34:25,360 --> 01:34:28,839
Speaker 2: Yes, but so far, I like this first crop of queens.

1738
01:34:28,960 --> 01:34:30,439
Speaker 1: I had a lot of fun. I think that the

1739
01:34:30,479 --> 01:34:34,639
Speaker 1: top two of the week, which were Cue and Sierra Sephira,

1740
01:34:35,120 --> 01:34:37,360
Speaker 1: are probably the ones to watch. But I'm also into

1741
01:34:37,520 --> 01:34:38,479
Speaker 1: Down a.

1742
01:34:38,439 --> 01:34:42,320
Speaker 2: Lot, really into Down. I really am excited for this season.

1743
01:34:42,520 --> 01:34:44,320
Speaker 2: I thought I was kind of like in the lead up,

1744
01:34:44,360 --> 01:34:46,840
Speaker 2: like eh, sure, yeah, drag Race whatever. Now that it's back,

1745
01:34:46,880 --> 01:34:49,160
Speaker 2: I'm like, oh, I missed this I can't wait.

1746
01:34:57,880 --> 01:35:02,559
Speaker 1: All right, so it might be I don't think Sohney, Yes, okay,

1747
01:35:02,760 --> 01:35:04,320
Speaker 1: and this is our one minute second where we go

1748
01:35:04,439 --> 01:35:07,200
Speaker 1: off on culture. If you know, you know this is

1749
01:35:07,240 --> 01:35:10,120
Speaker 1: the ninth season of Lost Culture is thus okay, this

1750
01:35:10,200 --> 01:35:13,000
Speaker 1: is the first episode of the ninth season of Lost

1751
01:35:13,000 --> 01:35:17,640
Speaker 1: Culture Create. So if you're joining us now, you're just

1752
01:35:17,680 --> 01:35:19,680
Speaker 1: in time to hear that I don't think Sohney is

1753
01:35:19,680 --> 01:35:21,679
Speaker 1: our one minute second where we ran on something in culture.

1754
01:35:22,360 --> 01:35:24,280
Speaker 2: But if you know, you also know I have something.

1755
01:35:24,320 --> 01:35:26,519
Speaker 2: Let me get my phone. Let me get my phone, okay,

1756
01:35:26,600 --> 01:35:27,799
Speaker 2: Darling the year.

1757
01:35:28,439 --> 01:35:30,960
Speaker 1: Can I say it actually took me a second to

1758
01:35:31,160 --> 01:35:35,040
Speaker 1: realize a mandatory meeting was a mandatory meeting. I don't

1759
01:35:35,040 --> 01:35:36,800
Speaker 1: know why it took me, But when that one queen

1760
01:35:36,880 --> 01:35:38,439
Speaker 1: was like, oh my god, I just got it, I

1761
01:35:38,479 --> 01:35:41,360
Speaker 1: was like, wait, me too. And I just thought if

1762
01:35:41,760 --> 01:35:42,920
Speaker 1: her last name was meeting.

1763
01:35:43,840 --> 01:35:46,519
Speaker 2: Oh no. Have you seen the pit stop where Trixie

1764
01:35:46,680 --> 01:35:49,799
Speaker 2: like has to take a break to laugh at how

1765
01:35:49,920 --> 01:35:53,920
Speaker 2: fucking amazing that name is. It's one of the best names.

1766
01:35:54,000 --> 01:35:55,719
Speaker 1: Oh wow, I have to check in on the pistop

1767
01:35:55,720 --> 01:35:57,120
Speaker 1: again because Trixie's doing it.

1768
01:35:57,160 --> 01:35:59,880
Speaker 2: Okay, fine, Trixy's I had taken a break a mandatory

1769
01:36:00,040 --> 01:36:01,400
Speaker 2: eating is really really good.

1770
01:36:01,640 --> 01:36:02,840
Speaker 1: Okay, and I love performance.

1771
01:36:03,240 --> 01:36:08,040
Speaker 2: My Kitty, My Kitty, Where's my kitty? It's very Matros coded.

1772
01:36:08,600 --> 01:36:10,560
Speaker 1: Yeah, someone yelled at me across the party. She is

1773
01:36:10,600 --> 01:36:11,519
Speaker 1: your same voice.

1774
01:36:12,080 --> 01:36:14,720
Speaker 2: Well, it's it's very Matt used to. Matt wrote this

1775
01:36:14,960 --> 01:36:17,559
Speaker 2: fever dream of a sketch and pop roolette once, where

1776
01:36:17,560 --> 01:36:21,240
Speaker 2: it's about this acting teacher who breaks into song who's

1777
01:36:21,280 --> 01:36:23,840
Speaker 2: frustrated with her new students. Do you not remember this?

1778
01:36:24,080 --> 01:36:24,960
Speaker 1: I don't remember this.

1779
01:36:25,600 --> 01:36:27,680
Speaker 2: You remember this? It was an acting it was an

1780
01:36:27,720 --> 01:36:29,920
Speaker 2: acting class, and you were the teacher, but you were

1781
01:36:29,960 --> 01:36:35,439
Speaker 2: a woman, and you were like screaming at these students

1782
01:36:36,280 --> 01:36:39,040
Speaker 2: and then just for not being up to stand to

1783
01:36:39,120 --> 01:36:41,840
Speaker 2: your high standards as an acting teacher, and then you

1784
01:36:41,880 --> 01:36:44,960
Speaker 2: break into a musical number. You remember this, which is I.

1785
01:36:45,400 --> 01:36:50,880
Speaker 1: Can't deal with all these all these hoes, I can't

1786
01:36:50,920 --> 01:36:55,720
Speaker 1: deal with the young chafters Okay, I remember this did

1787
01:36:55,760 --> 01:36:57,720
Speaker 1: not get staged, But now I remember I brought it

1788
01:36:57,760 --> 01:37:01,640
Speaker 1: in because it made no sense.

1789
01:37:01,439 --> 01:37:04,439
Speaker 2: Notes in the best way. I was like, it was

1790
01:37:04,479 --> 01:37:06,599
Speaker 2: my favorite. It's one of my favorite things you've ever done,

1791
01:37:06,640 --> 01:37:10,639
Speaker 2: because it's complete chaos and it's pure id. It's pure

1792
01:37:10,640 --> 01:37:13,479
Speaker 2: Matt Rodgers writing from a place of id and play

1793
01:37:13,560 --> 01:37:16,519
Speaker 2: and stupidity, And I really think you should do something

1794
01:37:16,520 --> 01:37:18,439
Speaker 2: with it. All right, maybe I'll do it as a

1795
01:37:18,479 --> 01:37:21,000
Speaker 2: character one of these things. But that is the same

1796
01:37:21,080 --> 01:37:25,400
Speaker 2: song that a mandatory meeting dead? Where's the kidding emandatory meeting?

1797
01:37:25,640 --> 01:37:26,519
Speaker 1: We are kindred?

1798
01:37:26,720 --> 01:37:29,920
Speaker 2: We should collab? Okay, ready, this is Matt Rodgers. I

1799
01:37:29,960 --> 01:37:31,439
Speaker 2: don't think so, Honey's time starts now.

1800
01:37:32,240 --> 01:37:36,240
Speaker 1: I don't think so, honey. Epstein list girl, just tell

1801
01:37:36,360 --> 01:37:38,720
Speaker 1: me who's a rapist and who isn't like, stop with

1802
01:37:38,760 --> 01:37:41,200
Speaker 1: the If there's someone out there that needs to be

1803
01:37:41,240 --> 01:37:43,920
Speaker 1: feared and is harmful, just say who they are and

1804
01:37:43,920 --> 01:37:46,680
Speaker 1: what they've done. Because because now like people are like,

1805
01:37:46,680 --> 01:37:48,080
Speaker 1: oh my god, did you hear so and so was

1806
01:37:48,080 --> 01:37:50,599
Speaker 1: on the Epstein List. Kate Blanchette is on the Epstein List.

1807
01:37:50,760 --> 01:37:53,280
Speaker 1: I'm like, yeah, but honey, what does that mean? Like

1808
01:37:53,320 --> 01:37:56,040
Speaker 1: does she do anything wrong? Or was she mentioned in documents?

1809
01:37:56,120 --> 01:37:58,679
Speaker 1: Come to find out? Yeah, it was about someone bragging

1810
01:37:58,720 --> 01:38:00,880
Speaker 1: about her. But now she has liked talks on her

1811
01:38:00,920 --> 01:38:02,920
Speaker 1: name because she was on the Epstein List. I got

1812
01:38:02,920 --> 01:38:04,760
Speaker 1: people in the DMS today being like, did you see

1813
01:38:04,840 --> 01:38:06,720
Speaker 1: Christy Tiggins on the Epstein List. I'm like, what are

1814
01:38:06,720 --> 01:38:10,439
Speaker 1: you talking about? It is harmful and who isn't? Stop

1815
01:38:10,479 --> 01:38:13,320
Speaker 1: with this Epstein list. And this is what happens when

1816
01:38:13,400 --> 01:38:15,679
Speaker 1: you build something up and build something up there, build

1817
01:38:15,680 --> 01:38:18,200
Speaker 1: something up and allow it to fester online. Now it's

1818
01:38:18,240 --> 01:38:22,200
Speaker 1: like something that it isn't like, chill out. Who's harmful?

1819
01:38:22,360 --> 01:38:25,439
Speaker 1: Who isn't? What's the information? What's the news now? What's

1820
01:38:25,479 --> 01:38:27,840
Speaker 1: this blanket statement of other on the Epstein list or

1821
01:38:27,880 --> 01:38:30,160
Speaker 1: rumored to be on the Epstein list? Also, what's the list?

1822
01:38:30,200 --> 01:38:31,840
Speaker 1: What's a rumor? I don't think so, honey.

1823
01:38:32,280 --> 01:38:34,479
Speaker 2: And that's one minute. Thank you for speaking on that.

1824
01:38:35,439 --> 01:38:38,520
Speaker 2: It's just a consequence of the way that these documents

1825
01:38:38,560 --> 01:38:43,599
Speaker 2: are being released by the court, and so there's all

1826
01:38:43,640 --> 01:38:45,639
Speaker 2: but no, but I agree with you. There is all

1827
01:38:45,680 --> 01:38:52,519
Speaker 2: this really crazy stupid love internet crazy stupid bug like

1828
01:38:52,760 --> 01:38:56,160
Speaker 2: internet fodder over it in a way that I think

1829
01:38:56,280 --> 01:39:01,280
Speaker 2: is actually kind of not dangerous. But just like it's

1830
01:39:01,360 --> 01:39:03,320
Speaker 2: like wait a minute, yeah, because like I'm sure Kate

1831
01:39:03,360 --> 01:39:05,960
Speaker 2: Blanchette feels a certain way about this, and it's like,

1832
01:39:06,000 --> 01:39:07,479
Speaker 2: why the fuck am I catching astray?

1833
01:39:07,600 --> 01:39:09,519
Speaker 1: Can you imagine her publicist being like, hey, you're on

1834
01:39:09,520 --> 01:39:12,080
Speaker 1: the Epstein List. She's like what what what the why

1835
01:39:12,080 --> 01:39:14,280
Speaker 1: are you talking about? Yeah, you were mentioned on the

1836
01:39:14,320 --> 01:39:16,400
Speaker 1: Epstein list? Well what does that mean? What's gonna happen?

1837
01:39:16,760 --> 01:39:19,160
Speaker 1: And then like her name is literally next to like

1838
01:39:19,200 --> 01:39:22,519
Speaker 1: people who are like who've done all? I just don't

1839
01:39:22,600 --> 01:39:24,920
Speaker 1: understand what is the point of having a list of

1840
01:39:24,960 --> 01:39:28,639
Speaker 1: people that were mentioned You're you're you're grouping these people

1841
01:39:28,640 --> 01:39:31,280
Speaker 1: together like on the basis of what like obviously like

1842
01:39:31,320 --> 01:39:34,240
Speaker 1: association with the name Epstein, which is like incredibly damning

1843
01:39:34,280 --> 01:39:36,960
Speaker 1: and very dangerous. It's like, what is the point of this?

1844
01:39:37,080 --> 01:39:40,439
Speaker 1: Like can we just understand that we don't live in

1845
01:39:40,479 --> 01:39:43,760
Speaker 1: a climate anymore where you can just like throw out

1846
01:39:43,800 --> 01:39:46,080
Speaker 1: there like this and you can just say shit and

1847
01:39:46,080 --> 01:39:49,759
Speaker 1: that it's gonna be funneled through like a reliable system

1848
01:39:49,840 --> 01:39:52,160
Speaker 1: that doesn't operate in like such bad faith. It's like,

1849
01:39:52,240 --> 01:39:54,160
Speaker 1: now it's like we know that Leo is on the

1850
01:39:54,200 --> 01:39:57,080
Speaker 1: Epstein List. It's like, Okay, is something wrong?

1851
01:39:57,880 --> 01:39:59,920
Speaker 2: I've kind of steered clear And I'm not saying that

1852
01:40:00,040 --> 01:40:02,120
Speaker 2: in a virtuous way. I'm just going like I'm not

1853
01:40:02,360 --> 01:40:07,280
Speaker 2: bothering to look because I am maybe in the minority

1854
01:40:07,280 --> 01:40:10,280
Speaker 2: of people who like understands it to be meaningless. But

1855
01:40:10,360 --> 01:40:13,439
Speaker 2: I do have fear over what it means for these

1856
01:40:13,479 --> 01:40:18,719
Speaker 2: people who have done nothing wrong and we're just named

1857
01:40:18,840 --> 01:40:23,799
Speaker 2: by someone who like sailed past the island or something.

1858
01:40:25,439 --> 01:40:27,800
Speaker 1: Anyway, anyway, Bowen, do you have an I don't think

1859
01:40:27,840 --> 01:40:31,760
Speaker 1: Zhani for today, I do well good, this is Bowan yangs.

1860
01:40:31,760 --> 01:40:33,639
Speaker 1: I don't think Shani, and as time starts now.

1861
01:40:33,920 --> 01:40:36,799
Speaker 2: I don't think so honey, let do Alipa go on vacation.

1862
01:40:37,040 --> 01:40:39,040
Speaker 2: I don't want you guys to all of a sudden

1863
01:40:39,120 --> 01:40:41,120
Speaker 2: be on your high horse now and be like she's

1864
01:40:41,160 --> 01:40:44,439
Speaker 2: going on vacation too much. If you were her, I'm

1865
01:40:44,520 --> 01:40:47,120
Speaker 2: sure you would go on vacation too. She's catching a

1866
01:40:47,160 --> 01:40:50,880
Speaker 2: lot of flak for being It was reported that nine

1867
01:40:50,920 --> 01:40:53,439
Speaker 2: months out of the past twelve she's been on vacation.

1868
01:40:54,080 --> 01:40:58,320
Speaker 2: So what in Kosovo, in Tokyo and Greece and Albania

1869
01:40:58,600 --> 01:41:01,679
Speaker 2: and Barcelona and Madri. I'm like, she's a pop star.

1870
01:41:02,040 --> 01:41:04,920
Speaker 1: That's what she's supposed to do. Thirty seconds, What do

1871
01:41:05,000 --> 01:41:07,400
Speaker 1: you want her to do? She writes a newsletter, she

1872
01:41:07,479 --> 01:41:10,040
Speaker 1: hosts a podcast. She's good at all of those things.

1873
01:41:10,320 --> 01:41:12,759
Speaker 1: She has a book club, she has a book club.

1874
01:41:12,800 --> 01:41:16,759
Speaker 1: She's reading fucking Pachenko to the girls. She's just living

1875
01:41:16,760 --> 01:41:17,639
Speaker 1: her tea seconds.

1876
01:41:17,920 --> 01:41:21,840
Speaker 2: She is her own lifestyle brand without actually selling you

1877
01:41:21,880 --> 01:41:24,000
Speaker 2: something besides her music. She just wants you to read

1878
01:41:24,040 --> 01:41:26,240
Speaker 2: her newsletter, which I read because she does have cute

1879
01:41:26,240 --> 01:41:29,639
Speaker 2: recommendations on there, and she's about to put out new music,

1880
01:41:29,680 --> 01:41:32,759
Speaker 2: so you're gonna enjoy it. Also, her not doing Coachella

1881
01:41:32,800 --> 01:41:35,320
Speaker 2: because of her vacation schedule is not a good enough

1882
01:41:35,320 --> 01:41:36,160
Speaker 2: reason to be mad at her.

1883
01:41:36,400 --> 01:41:37,280
Speaker 1: And then that's one minute.

1884
01:41:37,320 --> 01:41:38,800
Speaker 2: That's where it I'll start, is that she's not doing

1885
01:41:38,840 --> 01:41:42,120
Speaker 2: Coachella reportedly because she was on vacation her it conflicts

1886
01:41:42,160 --> 01:41:45,280
Speaker 2: with her vacation days in April. I say, slay, I

1887
01:41:45,320 --> 01:41:46,360
Speaker 2: see problem.

1888
01:41:46,560 --> 01:41:49,759
Speaker 1: It's called priorities. It's called she's saying this, what's important

1889
01:41:49,760 --> 01:41:52,800
Speaker 1: to me right now? Coachella will be there. I have

1890
01:41:52,880 --> 01:41:54,960
Speaker 1: confidence in the fact that my new work will be great.

1891
01:41:55,000 --> 01:41:58,760
Speaker 1: They'll ask me again. Also, Coachella is a huge undertaking.

1892
01:41:59,120 --> 01:42:02,120
Speaker 1: It's easy for p people that are like not the

1893
01:42:02,160 --> 01:42:04,160
Speaker 1: ones that have to do all that work and like

1894
01:42:04,680 --> 01:42:06,800
Speaker 1: perform and operate at a very high standard, to be like,

1895
01:42:06,840 --> 01:42:09,400
Speaker 1: fuck her, she's on vacation too much. She doesn't want

1896
01:42:09,400 --> 01:42:16,360
Speaker 1: to do it. It's like, okay, two things. One, she said,

1897
01:42:16,920 --> 01:42:21,800
Speaker 1: catch me before I go. So, now she's on vacation. Houdini,

1898
01:42:22,760 --> 01:42:25,679
Speaker 1: she said, Houdini, And that's what they do. They disappear,

1899
01:42:25,920 --> 01:42:28,280
Speaker 1: she comes, she goes, So let her go be on vacation.

1900
01:42:28,960 --> 01:42:31,960
Speaker 1: Second thing, actually have three things to say. Second thing,

1901
01:42:32,240 --> 01:42:35,200
Speaker 1: do you know why I want to be successful so

1902
01:42:35,240 --> 01:42:38,200
Speaker 1: I can be on vacation all the time. That's two.

1903
01:42:39,080 --> 01:42:40,360
Speaker 1: So if you have a problem with do you have

1904
01:42:40,360 --> 01:42:44,160
Speaker 1: a problem with me? And Third, I have never been

1905
01:42:44,200 --> 01:42:48,640
Speaker 1: more strong in my belief that what people need to

1906
01:42:48,680 --> 01:42:55,680
Speaker 1: do more than ever is mine their own fucking business.

1907
01:42:56,080 --> 01:43:04,160
Speaker 1: Reality there loser behavior, Mine your own fucking business.

1908
01:43:04,040 --> 01:43:08,280
Speaker 2: The way Lisa in that episode, just the way she

1909
01:43:08,360 --> 01:43:12,240
Speaker 2: screams at Monica, such a fucking loser. She said that

1910
01:43:12,280 --> 01:43:17,040
Speaker 2: with her chest, and I said absolutely, I said, I

1911
01:43:17,160 --> 01:43:20,599
Speaker 2: know that's right. We realize we're on it. We're hosting

1912
01:43:20,640 --> 01:43:23,559
Speaker 2: a podcast where we talk about things and people. It's

1913
01:43:23,600 --> 01:43:27,360
Speaker 2: never prescriptive, and if it feels that way, it's hopefully

1914
01:43:27,439 --> 01:43:30,080
Speaker 2: usually ninety nine percent of the time. In jest. We're

1915
01:43:30,080 --> 01:43:32,360
Speaker 2: talking about movies and we're saying we liked certain things,

1916
01:43:32,360 --> 01:43:34,840
Speaker 2: we didn't like other things that is all part of

1917
01:43:35,000 --> 01:43:39,559
Speaker 2: the consumer relationship with the artist, where it doesn't belong

1918
01:43:39,600 --> 01:43:40,879
Speaker 2: to them, it belongs to everybody.

1919
01:43:41,080 --> 01:43:43,360
Speaker 1: Let me say something, This is our business. This is

1920
01:43:43,400 --> 01:43:47,439
Speaker 1: literally our business. This podcast is our business. And also

1921
01:43:47,680 --> 01:43:54,440
Speaker 1: just like there's a difference between like I'm going online

1922
01:43:54,479 --> 01:43:59,920
Speaker 1: and like trashing someone for some stupid bullshit and like

1923
01:44:00,120 --> 01:44:04,479
Speaker 1: having things to say and opinions on like art girl.

1924
01:44:04,560 --> 01:44:06,240
Speaker 2: When can I pull When can I pull the plug

1925
01:44:06,280 --> 01:44:10,400
Speaker 2: on the Twitter? Because I suspect can I? I literally,

1926
01:44:10,400 --> 01:44:12,639
Speaker 2: well tomorrow, Okay, it's gone.

1927
01:44:12,760 --> 01:44:14,759
Speaker 1: Cut the Twitter. You know what I'm saying.

1928
01:44:15,200 --> 01:44:16,599
Speaker 2: It's gone. It's just gone.

1929
01:44:16,800 --> 01:44:18,680
Speaker 1: Because I know noither of us can trust ourselves.

1930
01:44:19,000 --> 01:44:22,080
Speaker 2: This is my other recommendation to you, not sponsored. This

1931
01:44:22,120 --> 01:44:24,320
Speaker 2: is my end all to you. I know you've really

1932
01:44:24,320 --> 01:44:27,479
Speaker 2: taken to end all to help you fall asleep or

1933
01:44:27,600 --> 01:44:32,200
Speaker 2: you know, relax or focus. I used an app lately

1934
01:44:32,240 --> 01:44:35,840
Speaker 2: again not an ad called Opal, which just locks you

1935
01:44:35,880 --> 01:44:38,800
Speaker 2: out of your apps for a designated period of time,

1936
01:44:38,840 --> 01:44:41,320
Speaker 2: and I found it immensely helpful. It locks me out

1937
01:44:41,320 --> 01:44:43,600
Speaker 2: of specific apps, and I am just like, well, let

1938
01:44:43,640 --> 01:44:45,880
Speaker 2: me just I bricked my phone. Essentially, let me just

1939
01:44:46,360 --> 01:44:48,719
Speaker 2: sit through a movie without looking at my fucking screen,

1940
01:44:48,880 --> 01:44:51,920
Speaker 2: my other screen, and it's been it's actually done wonders

1941
01:44:51,920 --> 01:44:55,879
Speaker 2: for my viewing experience where I'm like, let me actually

1942
01:44:55,960 --> 01:44:58,719
Speaker 2: pay attention to what's happening because I decided to press

1943
01:44:58,760 --> 01:44:59,960
Speaker 2: play on this film.

1944
01:45:00,439 --> 01:45:04,559
Speaker 1: Yeah, I think that it's just being conscious of balance too.

1945
01:45:04,600 --> 01:45:06,400
Speaker 1: It's like what you're saying, It's like, you know, there's

1946
01:45:06,400 --> 01:45:08,720
Speaker 1: gonna be a certain designated period of time where I

1947
01:45:08,760 --> 01:45:11,880
Speaker 1: don't allow myself even the opportunity of this. I am

1948
01:45:12,320 --> 01:45:15,000
Speaker 1: literally and this is so top of the your resolution

1949
01:45:15,080 --> 01:45:17,800
Speaker 1: of me. But I'm reading this is the book reading

1950
01:45:18,439 --> 01:45:20,479
Speaker 1: I've been wanting to read this. It's Down the Drain

1951
01:45:20,520 --> 01:45:23,880
Speaker 1: by Julia Fox. But I love Julia Fox. This is

1952
01:45:23,920 --> 01:45:26,840
Speaker 1: a really good read. I'm about halfway through, and I

1953
01:45:27,360 --> 01:45:30,320
Speaker 1: just like filling your life with different things. You know

1954
01:45:30,360 --> 01:45:32,559
Speaker 1: what I'm saying. It's like not to be like it's

1955
01:45:32,600 --> 01:45:36,559
Speaker 1: giving thirties, but like not focused on things that you know,

1956
01:45:36,680 --> 01:45:39,000
Speaker 1: it's a definition of insanity to return to things that

1957
01:45:39,680 --> 01:45:42,040
Speaker 1: and expecting they have a different result. I'm never going

1958
01:45:42,120 --> 01:45:44,840
Speaker 1: to have a positive result carrying on the way I'm

1959
01:45:44,880 --> 01:45:47,320
Speaker 1: carrying on. I have to do different things with my life.

1960
01:45:47,479 --> 01:45:50,800
Speaker 2: They're reading books I'm saying, and this is not just

1961
01:45:50,840 --> 01:45:54,280
Speaker 2: the January speaking. It is the cure all. It will

1962
01:45:54,400 --> 01:45:57,719
Speaker 2: cure all of the ills within you. If you read

1963
01:45:57,800 --> 01:46:02,240
Speaker 2: a book, I'm telling you it's the best.

1964
01:46:02,479 --> 01:46:03,400
Speaker 1: I want that to.

1965
01:46:03,360 --> 01:46:06,880
Speaker 2: Be what we leave the readers with. Yes, we might

1966
01:46:06,920 --> 01:46:08,080
Speaker 2: have to start a book club.

1967
01:46:09,000 --> 01:46:12,880
Speaker 1: Maybe maybe we've done book club episodes in the past

1968
01:46:13,200 --> 01:46:20,599
Speaker 1: to huge success, massive successes. And I think WAI really

1969
01:46:20,680 --> 01:46:21,840
Speaker 1: happened in this episode.

1970
01:46:22,320 --> 01:46:23,000
Speaker 2: What was it again?

1971
01:46:23,600 --> 01:46:27,559
Speaker 1: Warmth, Warmth, inclusion, acceptance, inclusion. The title of app is Warmth,

1972
01:46:27,720 --> 01:46:30,639
Speaker 1: Acceptance and Inclusion. With Matt and Mowen.

1973
01:46:31,240 --> 01:46:35,160
Speaker 2: It should be WAI parentheses Warmth, acceptance, and inclusion. I

1974
01:46:35,200 --> 01:46:37,280
Speaker 2: want the acronym to really hold its own space.

1975
01:46:37,760 --> 01:46:42,360
Speaker 1: WAI people, whenever you go out and you feel challenged,

1976
01:46:42,400 --> 01:46:49,439
Speaker 1: I want you to say this way way way, Warmth,

1977
01:46:49,680 --> 01:46:56,960
Speaker 1: acceptance and inclusion, Way, the way way. And it's also

1978
01:46:57,120 --> 01:47:01,760
Speaker 1: it's a vocal warm up. Let's do it together one two, three.

1979
01:47:02,320 --> 01:47:07,960
Speaker 2: Will way. But you can work it into a sentence

1980
01:47:07,960 --> 01:47:09,960
Speaker 2: when you I know you like to say the way.

1981
01:47:10,760 --> 01:47:11,560
Speaker 1: The way.

1982
01:47:13,400 --> 01:47:17,720
Speaker 2: This episode carried down. We gave everything. This is an

1983
01:47:17,720 --> 01:47:20,679
Speaker 2: auspicious begetting to twenty twenty four. I have good feelings

1984
01:47:20,680 --> 01:47:25,559
Speaker 2: about this year. I'm ready to level up. Let's go, bitch,

1985
01:47:25,960 --> 01:47:27,639
Speaker 2: year nine, year nine.

1986
01:47:28,640 --> 01:47:32,240
Speaker 1: Come on, all right, we're gonna end. Why don't we

1987
01:47:32,280 --> 01:47:36,000
Speaker 1: do this? Why don't I guess what?

1988
01:47:36,200 --> 01:47:40,200
Speaker 2: Yes? And is gonna sound like okay, go yes?

1989
01:47:41,040 --> 01:47:47,280
Speaker 1: And I love myself yes, and I love you too.

1990
01:47:48,360 --> 01:47:48,599
Speaker 2: Yes.

1991
01:47:49,560 --> 01:47:51,639
Speaker 1: And this is kind of giving tailor it's not giving

1992
01:47:51,640 --> 01:47:54,719
Speaker 1: Arianna's I'm sorry, Arianna, don't worry.

1993
01:47:54,800 --> 01:47:55,680
Speaker 2: She's not listening to this.

1994
01:47:55,920 --> 01:47:57,920
Speaker 1: She might be just busy. She got her album art

1995
01:47:58,120 --> 01:47:59,320
Speaker 1: to collect.

1996
01:47:59,520 --> 01:48:03,600
Speaker 2: Listen staying in the same hotel, and she yeah, and

1997
01:48:04,120 --> 01:48:06,040
Speaker 2: she was like, I'll like just like sit on the

1998
01:48:06,040 --> 01:48:08,599
Speaker 2: side and just like agree. And I'm like, no, Ari, you're.

1999
01:48:08,640 --> 01:48:10,240
Speaker 1: She wanted to sit there while you record.

2000
01:48:10,760 --> 01:48:13,240
Speaker 2: She wanted me to go over and play Quiplash and

2001
01:48:13,280 --> 01:48:14,880
Speaker 2: I was like, I can't. I'm recording the pot at

2002
01:48:14,960 --> 01:48:18,360
Speaker 2: nine because it's like one pm. And she was like, well,

2003
01:48:18,360 --> 01:48:19,600
Speaker 2: I can just you can just come over and then

2004
01:48:19,640 --> 01:48:21,880
Speaker 2: you can record from my bed. I was like, no, Ari,

2005
01:48:22,400 --> 01:48:24,559
Speaker 2: I have to be engaged with my girl. I have

2006
01:48:24,640 --> 01:48:26,720
Speaker 2: to look at my girl in the eye. And this

2007
01:48:26,760 --> 01:48:29,160
Speaker 2: will not be your last coach debut. I think there

2008
01:48:29,200 --> 01:48:32,240
Speaker 2: will be opportunity in the future for her to come

2009
01:48:32,280 --> 01:48:35,639
Speaker 2: on if she would like to. Eag wait, we love you, Ari,

2010
01:48:35,920 --> 01:48:38,040
Speaker 2: We can't wait for the new work.

2011
01:48:39,000 --> 01:48:42,280
Speaker 1: All right, Well that's it. We end every episode with

2012
01:48:42,360 --> 01:48:49,240
Speaker 1: a song Yes and I love how come this? I

2013
01:48:49,320 --> 01:48:53,120
Speaker 1: just hit my hands so hard to go.

2014
01:48:53,240 --> 01:49:00,400
Speaker 2: Bye.