0:00

Look maher oh, I see you

0:03

my own and look over there

0:05

is that culture. Yes, wow,

0:08

lost.

0:08

Cult lost

0:11

culture.

0:12

Resta's calling Happy

0:14

new Year to all the readers,

0:16

publicist.

0:17

Finalists, and Katie's first and foremost. I

0:19

thought this was going to be a

0:21

whole thing where I would have been like the Larry

0:23

David in the Curb episode

0:26

where Lennon parm

0:28

wishes his happy New Year in the gym. But it's like January

0:30

eighteenth, and he goes, yeah, it's

0:33

too late. It's a little late. It's a little late. I don't

0:35

think it's too late. Listen.

0:36

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

0:38

we just want to tell you all we want to warmly welcome

0:40

you into twenty twenty four because that is the energy

0:42

we're bringing into twenty twenty four. Warmth, acceptance

0:46

and inclusion. Yes, wa

0:49

I warmth, acceptance,

0:52

inclusion, inclusion. It's actually a

0:54

real of culture.

0:55

Number eight.

0:56

The rules for twenty

0:58

twenty four is WAI

1:01

warmth.

1:01

Acceptance and inclusion. Mama,

1:04

you can have said it better. You cannot

1:06

have said it better.

1:07

I want you to get into this is the list of

1:09

topics that we could discuss

1:11

today.

1:12

Well, I'm not squinting for you, my girl, because

1:14

are you saying are you listing each movie

1:17

individually for awards season?

1:19

I feel like, here's the thing with movies. They

1:21

all have their own story to tell, and

1:23

so I feel that you can't just

1:25

lump them all unto Oscar films. Because, by

1:27

the way, how many have you seen of these quote unquote

1:29

Oscar films? And have you been enjoying them?

1:31

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

1:33

things that I haven't seen are Zone

1:36

of Interest in Killers of the Fower Moon. Let's just get

1:38

that out of the way.

1:40

Everything you see color purple yet either?

1:42

Did you see color? And color purple?

1:44

And some other things I want to see rustin.

1:47

But yeah, those are the main ones that I haven't seen. But I'm

1:49

in great shape for this time. In

1:51

most other years, I am really behind.

1:53

But I think I'm kind of on topic.

1:55

I'm doing amazing now too. Like, actually,

1:57

it's funny because the two that I haven't seen

1:59

are of the Flower Moon and Zone of Interest.

2:02

I think the reason why I haven't seen them is because

2:04

I don't think my heart can take either one of them.

2:07

Yeah, Like, I feel like I want

2:09

to sit down and like actually receive them, but

2:11

just the subject matter of both, I'm just like,

2:14

Okay, that's gonna be a lot of a lot.

2:16

And I think what's interesting about

2:18

this year is it seems like there's like a

2:20

diversity of genre in the types

2:23

of movies that are being discussed now at the end of

2:25

the year, which I'm really appreciating. Wai

2:28

you know what warmth accept it's an

2:30

inclusion is all over the Oscar race this

2:32

year.

2:33

Absolutely, just

2:35

to.

2:35

List off some things that I've seen, I've seen salt

2:37

burned, poor things, all of us strangers,

2:40

American fiction, the color purple, Maestro,

2:43

I watched The Holdovers, I watch Are you there?

2:45

God, it's me Margaret. There's a lot to discuss.

2:49

My other asterisk is have not finished,

2:51

Maestro.

2:53

Should we start there?

2:54

Sure, although let's start with my

2:57

least knowledgeable base. Yes,

2:59

absolutely, let's go tell me.

3:01

No, okay, you're not teasing me when you say that you actually

3:04

want me but you want my review? No?

3:05

No, yes, yes said, I'm sorry. My tone is a little

3:07

all over the place today.

3:08

No, no, no, no, Well, I just

3:10

want to tell you I don't think you need to resume

3:12

this film. Oh I did not like

3:15

Maestro at all. I would

3:17

just describe it as so Maestro

3:19

tells the story of Leonard Bernstein and

3:23

Felicia Monteleiagro, who is his

3:25

wife. And if you don't know

3:28

Leonard Bernstein, he's obviously

3:30

in one of the most iconic musicians of the

3:33

modern area century, twentieth century.

3:35

I mean he you know, it's just his

3:38

list of accomplishments are very long. West Side Story

3:41

and this tells the story of his marriage.

3:43

To Miss Felicia.

3:45

And it's written, directed, and starring

3:47

Bradley Cooper.

3:49

Should be Felicia.

3:51

I think it should have been called by Felicia in terms

3:53

of what happens at the end of the movie. So

3:56

basically, like it tells the story of

3:58

their marriage, which was basically like The Beard

4:00

dot Com. Like, really, the movie should have been called

4:02

The Beard dot Com because

4:05

it's like, you know, she willfully

4:07

participates in this marriage, I think, because she

4:09

loves him for sure. They just seem to have

4:11

great bantath and then all of a sudden,

4:14

like the film flashes forward in time and she's

4:16

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

4:19

like fucks Gideon Glick,

4:21

and all of a sudden like it really.

4:25

One thing I'll give it is it wasn't too long, because we

4:27

finally get to the end and she passes away of cancer

4:29

and it's very, very, very devastating. But

4:32

I would say this movie felt like

4:34

a collection of the wrong scenes from their

4:36

life. Interesting, like,

4:39

you get to the end, and if this

4:41

film is supposed to be a love letter

4:44

to her, like from

4:46

Bradley Cooper's perspective, then

4:48

we don't really get a sense of who she is or

4:50

what she's given up to be with

4:52

this man, or you know,

4:54

the sacrifices that she is making

4:57

or why she is making them, because you

4:59

see them eat and then you see them

5:02

in like really establishing their

5:04

relationship and then it kind of she kind

5:06

of just dies.

5:07

That's interesting.

5:07

By the way, we should say, if we're talking about these films,

5:09

you can just consider spoiler alert. But if

5:11

you know this, if you know Leonard Bernstein, you know

5:14

his life, yeah, consider the spoiler.

5:16

If this is where it's good that we're starting with a

5:18

biopick. Speaking of which, it's funny that you say

5:20

all these things. The people who've

5:23

made this movie seem to

5:26

put a really fine point on

5:28

this not being a biopick and this being

5:30

a love story, that this is a love story,

5:32

sure, And so the fact that you're

5:36

not quite you

5:38

don't you're not sure where the death

5:40

is for Felicia as a film character

5:43

or as a subject in this biopick, let's

5:45

say, or I'm sorry love story kind

5:48

of diminishes that idea.

5:51

Well, I think, especially as someone who has just

5:53

written and directed a huge love story, you know,

5:55

a polar critically polarizing, but like

5:58

massively successful love

6:00

story with a star is born. I

6:02

think that something that's like, if you're

6:04

to compare the two, something that's really

6:07

there and a star is born. And maybe it's because

6:09

he was working with a template that's like very tried

6:11

and true, which is already a story that's kind of mapped

6:13

out for him. Is that you really

6:15

get a sense of who they both are before

6:18

the relationship takes them in a certain direction

6:20

that's like a codependent one and ultimately a toxic

6:23

one and ultimately a tragic one. And

6:25

that is very similar here. But

6:28

the thing that's missing from Maestro is

6:30

you don't really get a sense of

6:32

who she is. You

6:35

don't really get a sense of like you know that

6:37

she's an actress. You know that she's

6:39

like maybe talented.

6:41

You sort of get a sense that she's talented, but

6:44

you don't really understand

6:47

that being with him is a major

6:49

sacrifice or it's a worthy sacrifice

6:52

for her entire life, because she kind of just ends

6:54

up a sad, regretful

6:58

person. And in that way,

7:00

it's like, it's sure it's

7:02

a love story, but like what for? To what end?

7:04

And I guess that's my note for this whole thing, Like to

7:07

what end do we have this movie? Like is

7:09

it is it a ego project?

7:12

Because it feels like that, to

7:15

say nothing of their performances, which I think are good

7:18

and I would say even carries great, But

7:22

I just don't know what

7:24

what we're what we have this for?

7:27

Uh huh, I'm

7:29

again, I have to finish this movie, so I don't really

7:32

have a great place to talk about

7:34

this from.

7:36

But I if we're gonna compare

7:38

A Star Is Born to this, I find

7:40

it really a bit of

7:42

a miss that the meeting

7:45

of Felicia and Leonard is

7:47

sort of feels

7:50

a little like cursory

7:52

or something. It feels like it's just checking off

7:55

some biopic box. But

7:57

then, if you're gonna like make that the central thing in

7:59

the whole movie. It feels kind of glossed

8:02

over. Like when they first meet, it's

8:04

pure If you just look at the writing of that scene

8:06

when they first meet, it's like it's pure

8:09

exposition. Everything out of both over the mouths

8:11

is so you did this and this and this and this why yes?

8:13

And you were this and this and this and this, and they're but they're

8:15

like playfully laughing while drinking and

8:17

then they go do this cute little thing. It

8:19

doesn't have that magic of a Star is Born,

8:22

where those first eighteen twenty minutes

8:24

are sublime, are so good

8:26

no matter what, like, no matter what you

8:28

think of the rest of the film, that is a

8:31

great film because of that introductory

8:34

thing into their meeting or they're

8:36

the first moments of their love. I just

8:39

wonder what this movie

8:41

would be like if it actually started

8:43

at the point where it bursts into color and

8:46

we actually could marinate a

8:48

little bit more in the

8:50

reality of what their life was, which

8:53

is she was married to a gay man

8:56

who did eat up all the air in the room.

8:58

And that's a story we've heard kind of a

9:01

lot, like the subservient,

9:03

like long suffering wife, so

9:06

like what is the new twist on that? Because

9:08

we never see her receive the information

9:10

that her husband is gay from him, we imagine

9:12

that it's happened because she's aware of it, Like she doesn't

9:15

freak out when she sees him making

9:17

out with you know, men, like which

9:19

she does, Like there's no discovery.

9:22

And then I just wonder

9:24

why, like if we went to

9:26

the trouble to create this movie,

9:29

like where is the conflict, where is

9:31

the dramatic tension? It's like all happening

9:34

off screen in a way that feels almost experimental

9:37

and failed in

9:39

an experimental sense, do you know what I mean?

9:40

Like because at the end she passes away

9:42

and it is sad, but

9:45

you're more like lacking

9:47

at the end because you feel like you didn't actually

9:49

hear her story, you know what I'm saying.

9:54

And so it's

9:56

that thing where the

9:59

new spin would have been, and like make it about

10:01

her, don't make it about Leonard Bernstein. It's

10:03

right because he did eat up all

10:06

the year in the room in that marriage. Mm hmm.

10:08

Shift the focus and put it on her. Then that

10:10

becomes an actual compelling love

10:14

story, right.

10:15

And I feel like she gets like top billing in

10:17

this movie, Carrie Mulligan does, and like, I think a condescending

10:20

way because it's all

10:22

about him basically, and then she sort

10:24

of takes over the movie for like thirty five minutes towards

10:26

the end when she's dealing with her cancer

10:28

diagnosis and understanding that, like,

10:31

you know, her life is what it is. And then I think

10:33

the movie hints at this narrative, which really

10:36

could have been expanded on more, that like she

10:38

had been there for him his entire life, to make

10:40

him maybe more palatable or maybe more

10:43

his life easier in the public eye, which

10:45

the movie tells you over and over again he's really

10:48

struggling with like the public eye, its et cetera.

10:50

But it doesn't feel like

10:52

that theme is really explored that now he's

10:54

gonna be there for her and her hour of need,

10:57

Like it's there, but it's not dramatic

11:00

expanded on in a way. And

11:03

when you combine all of this with like the

11:05

nose of it all and the

11:07

budget of it all and the Bradley

11:09

Cooper of it all, it kind of just feels a little

11:12

bit like you

11:14

can see behind his eyes him

11:16

knowing the whole time that he's winning an oscar for

11:18

this in a way that in the sea

11:21

of everything else I'm watching right now, like

11:23

I don't respond to that much. It just feels

11:26

like all your departments can be

11:28

a ten. But if your script

11:30

is a four and you have

11:32

lines like oh what

11:35

a pair, you know those two things don't go together. And

11:38

the bizarre, stupid,

11:40

heavy handed text the beginning

11:42

of the movie, which is like, you know, a piece

11:44

of art is supposed to provoke questions,

11:47

not answers, and not everything just as

11:49

it seems. It's just like, okay, great, the relationship

11:52

didn't seem like it would be one that we would

11:54

all want, but it worked for that. I'm ahead of

11:56

this, a million years in front of it,

11:59

just like.

11:59

You have any questions after watching

12:01

that movie, No, certainly,

12:04

because I think I think you understand it pretty

12:06

fully right.

12:08

That movie is up.

12:09

It's an ass And I think

12:11

that's a cop up, because I think miss Fanel

12:13

was saying the same thing to in interviews, where she was like,

12:15

all we wanted to do was to make people think something,

12:18

feel something, think about what though, but

12:20

what exactly? Meanwhile,

12:23

not to tie into many other things, but like your ghosts

12:25

is in these interviews being like

12:28

our movie isn't really about anything. It's just about

12:30

exploration and discovery because that's what the character goes

12:32

through. So there's no really message there, and I'm like, that's

12:35

really refreshing to hear that we

12:37

don't. There's no takeaway from this really

12:39

beautiful film, and there doesn't have

12:41

to be for everything necessarily for the takeaway

12:44

to be whatever your takeaway is. That

12:46

doesn't really ring authentic

12:49

to me.

12:49

I mean, it's another way of saying which I actually respect

12:52

her for saying, which is I didn't really have anything

12:54

to say, because, to be honest with you, the movie.

12:56

I don't like saying. I don't think

12:58

she's saying that.

12:59

By the way, let's talk about Selburn. So

13:01

Selburn is definitely a fucking moment right

13:03

now. And here's what I loved about Saltburn. What

13:05

I loved about Saltburn. It looked

13:08

stunning, It was beautiful,

13:10

It was gorgeous

13:13

sets, the cinematography is excellent.

13:15

I love the production design. I

13:18

think that Emerald Fanel is really

13:21

creative and has a really good taste

13:23

when it comes to music in her movies.

13:25

I think that she often creates moments

13:28

that are certainly iconic, and

13:31

I was I would say entertained the

13:33

entire time, like the way I'd

13:35

be entertained watching like an

13:38

MTV movie or like a Netflix

13:40

movie or something like that, you know what I mean. Like, but

13:44

when you're an Academy Award

13:46

winning screenwriter and

13:49

you're tackling class, you know what I mean. I

13:51

guess I just assumed it would have more to

13:53

say than it did, because

13:55

it ultimately said nothing

13:58

and almost makes a deliberate choice

14:00

to be pulp. And I

14:02

have said before, like it's okay

14:05

that she is a pulpy filmmaker,

14:07

Like it doesn't have to be a

14:09

read on her or a drag on her. It's

14:12

just that there were so many moments

14:14

scripting wise where this could have been something

14:17

more or something not as heavy handed. I

14:19

also liked, I think half the performances

14:21

in the movie are really fucking good. It's

14:24

just that when the script goes to

14:26

a Kouka bird place, the

14:29

performances can't can't

14:31

help but lean into like

14:34

craziness, and then everyone looks

14:36

a little silly because the script

14:38

gets silly, you know what

14:40

I mean. Like, and ultimately, what

14:42

I really didn't like about this is,

14:45

and again spoiler alert, this

14:47

idea that the big reveal is

14:50

he was just a psychopath and he was

14:52

literally behind everything

14:54

from the second and the movie started. Like

14:57

if that's true, then there are so many.

14:59

Whole in this plot.

15:01

Yeah, like this reveal and a

15:03

montage at the end of the movie where it was him

15:05

all along. First of all, we've

15:07

seen this a million fucking times,

15:11

a million times and

15:14

more compelling than this.

15:17

Yeah. No, I think it kind

15:20

of undermines the entire

15:23

third act where Jacoblordi

15:26

takes into his parents like that, Like, well,

15:29

then he wouldn't go into the house. She just

15:31

wouldn't go. Sorry, Yeah, these are big, These are big spoilers,

15:34

But I think the movie is a moment

15:36

and that is an accomplishment totally.

15:40

Becka producer. Beckett says people are just horning

15:42

TVH. I think that's a lot to do with

15:44

it. And I think that also she's satisfying

15:46

a lot of people with this movie. And like I said, I

15:49

was entertained the entire time. It's

15:52

just that, like you wish it would

15:54

have meant something, you were not I

15:56

was, were you bored?

15:58

I was literally gonna say that

16:01

I was bored, And I fast forwarded

16:04

through by the time. I

16:06

but by the time, so when you when

16:08

you watch Vampire Kunlingus and you

16:10

watch like, you know, come

16:13

bath tub lapping,

16:16

by the time it gets to like graveplot

16:18

fucking, I'm like, I get it, let's

16:21

keep it moving,

16:24

right, But I think it's

16:26

diminishing returns on stunts

16:29

period in anything right, like

16:32

we reach a critical mass and

16:34

I feel like, I feel like

16:36

it has all of these really weird, interesting

16:38

pacing issues. I think, yeah,

16:40

half the performances being great seems

16:43

right to me. I could

16:45

go into I don't know.

16:47

I don't want to got anyone for their performances.

16:50

There are some that are really bad in this, really

16:53

really bad.

16:54

I will pick on one person who I have never

16:57

ever ever cared for. Okay,

17:00

m I think Rosamond

17:02

Pike has never pulled

17:04

it off ever. No, I think

17:06

she has. I take it back. Jane

17:08

Bennett absolutely mm hmmm, gone

17:11

girl. I'm like, oh, yeah, you're petishizer.

17:14

It should have been like a Jennifer Aniston. It should

17:16

have been it should have been Reese, you know,

17:19

was perfect.

17:20

I think gon Girl was originally Reese Witherspoon

17:22

because she and then David Senter,

17:24

the director, told Reese it can't

17:26

be you because people have a sense of you already.

17:28

So they cast Rosamond Pike, which to

17:30

me felt like a weird choice because Rosamond

17:33

Pikes, I don't know anyone who looks

17:35

like a killer more than from

17:38

frame one in Gone Girl, like.

17:40

A huge compliment, huge compliment to her.

17:42

She looks like an intense, murderous woman,

17:44

and I love that.

17:46

I think she's really good at playing a fucking

17:48

idiot. And I think here's what I'll

17:50

say about her in this movie. She definitely

17:52

has her lines, you know, she she gives her

17:54

lines. I think she's good in the scene where

17:57

he is telling her that he has

17:59

to fitions about their cousin

18:02

or whatever, their adopted you know friend

18:04

or whatever. Like, I think she's good in the movie.

18:07

I don't understand Farley.

18:10

I don't understand watching this movie and

18:12

walking away and being like, the supporting

18:14

performance from an actress in this movie that

18:16

is stand out is Rosamund Pike. Alison

18:19

Oliver, who plays the sister.

18:20

Valencia, that she was amazing.

18:24

She ACKs that up.

18:25

She was I think maybe the only actor

18:27

who elevated the dialogue from pulp into

18:29

something filmic

18:31

into something like oh wow, this is great,

18:34

Like, this is really really great performance.

18:36

And then that image of her at the end, I'm like, that

18:39

whole character beautifully tragic. The entire

18:41

arc. I'm like, and that's that's acting.

18:44

That is I think she's the only m anyway,

18:47

Sorry, I'm getting Here's what I'll say.

18:49

I agree with you, she's the best performance in

18:51

the movie. I like Barry in the movie

18:53

a lot.

18:53

Either.

18:53

Barry Kron's performance in the movie is fucking

18:56

great, and I think Jacob does what he

18:58

needs to do. Again, I wish they was more

19:00

about that character that made you really

19:02

understand why he was the apple of his family's

19:05

eye, you know what I mean. But Barry,

19:07

I think is really excellent

19:09

until the script

19:13

forces him to play too

19:15

broad because he once

19:17

he starts changing his personality every

19:19

second for every character he meets. You're

19:22

watching it, like, oh, of course he's like evil,

19:24

you know what I mean. There's no surprise at the end of

19:26

the movie that he is as

19:29

diabolical and as psychotic as he seems,

19:31

because they've been telegraphing it now

19:33

at that point, for like over an hour, and

19:36

so you completely take the

19:38

wind out of the sails of

19:40

like what you've got at that point, which is

19:42

this you know, she's clearly inspired by

19:44

talented mister Ripley here, which is this like love

19:47

story that's becoming obsessive and you feel

19:49

like maybe he doesn't have control over to

19:51

then say, oh, just kidding. He had control over it

19:53

the entire time. He's actually the smartest person in

19:55

the world, Mama. If that's true, how

19:57

come he didn't have a failsafe for when Ja Jacob

20:00

brings him to his family's house.

20:02

He didn't have a way to get in, That's what I'm saying. Yeah, yeah,

20:04

yeah, he was wonderful.

20:07

And he was at the end, like when

20:09

that when that script gets crazy and he's giving that monologue

20:11

to Rosamund Pike when she's intubated, It's

20:14

like the only thing that's missing is a

20:16

snidely whiplash mustache, you

20:18

know what I mean. That's that's all that's missing,

20:20

is like him in a top hat and a cane being like It's

20:23

like.

20:23

Okay, I was wondering the entire time, like

20:26

wait, so, like why does why does

20:28

he shift completely at

20:30

the midpoint personality wise?

20:33

It would have been more interesting if like it

20:36

wasn't a masterminded plot the whole

20:38

time, because then it just then he is just kind

20:40

of a dimensionless

20:42

point.

20:43

Yeah, when you're watching a movie and

20:46

it is very clear to you that someone

20:48

is being manipulative, that is not

20:50

a good performance of manipulation. You

20:53

know what's a great performance of manipulation. Emma

20:55

Stone in the Favorite That is

20:58

a perfect performance

21:00

of manipulation because you don't

21:02

have a finger on her, and that's why that's a great script.

21:04

But here it's just like, yeah,

21:07

obviously, when a script

21:09

has obvious plot holes and

21:12

you can point out and be like no, then

21:14

it doesn't deserve to be in a scripting conversation.

21:17

By all means, nominate the movie for cinematography.

21:20

By all means, in my opinion, nominate Alison

21:22

Oliver. By all means. There's

21:24

things that are great about this movie, but this

21:27

whole thing of like the final

21:29

montage being this gag, it's not

21:32

watch three other movies. And I

21:34

don't mean to be like a snob. I just

21:36

mean to be like, you can

21:38

like watching him lock up the com and fuck the grave

21:41

and also be like, yeah, this movie could

21:43

have been better if it was about one thing and if

21:45

there was like research on anachronisms

21:48

like research on like

21:50

ways that they could that he could have actually covered

21:52

this up, like just thinking beyond

21:55

the premise a little bit more and beyond

21:57

the pulp a little bit more to make this something

21:59

durable even.

22:01

The period of it

22:04

is thinly

22:06

applied. And to

22:09

me, it just kind of comes off as this like convenient

22:13

way out of like smartphones as a plot

22:15

device, like literally

22:18

like as a way of like them looking

22:20

up the sky. But uh again

22:23

and which it's like not that the internet

22:25

didn't exist in that this family would have access

22:27

to like I don't know like who like regularly

22:29

takes in these like interlopers. Yeah,

22:32

doesn't like have a way of anyway.

22:35

My thing is, please someone talk

22:37

me off the sledge because it's actually driven me

22:40

to the brink of insanity.

22:42

I think I know where you're gonna go.

22:44

I looked it up schools in the UK. Yeah,

22:47

go buy just like in America,

22:50

Class of graduating year, this

22:52

movie is supposed to take place in

22:55

the summer I guess

22:58

of two thousand and seven. And

23:00

then you see the banner behind

23:03

Barry Kyogins first scene welcome

23:06

Class of two thousand and six, which,

23:11

to me, to an unsuspecting

23:13

audience makes them until it gets to like these

23:16

obvious like chronological markers later

23:18

on. It makes me think that this movie

23:20

takes place in two thousand and two. It starts

23:22

off in the fall of two thousand and two, and then it ends in

23:25

the rest of It takes place in Saltburn the summer of two thousand

23:27

and three. I'm immediately

23:30

lurched into two thousand and seven because of

23:33

the super Bad on VHS, which

23:35

hadn't come out on VHS by that point. And

23:37

then Emerald Fanella has an interview has been like,

23:39

no, it's okay, Like the dad's rich, so he

23:41

must be connected enough to receive like a screener.

23:44

Wait does she say that?

23:46

She literally said that, you're kidding.

23:48

I'm not.

23:50

She said to dad was rich enough to get us where

23:52

where I have to know where.

23:53

She said that, I think it's on like her Vanity Fair

23:56

thing. I have to throw

23:58

my head back in cackle and

24:00

break off my damn vertebra because

24:03

of how funny that is.

24:05

Oh my god, and it's

24:07

like.

24:08

Fucking them screaming

24:10

mister Bright's side, which is

24:13

like okay, but at that point it was already

24:15

like a four year old song, so

24:18

to be fair.

24:19

We would scream mister bright'side too if it

24:21

came on karaoke and.

24:22

The summer of two thousand and seven, or because

24:24

I think mister Bright's side, I'm

24:27

gonna say that

24:29

song had reached like a little bit of a valley

24:32

a fallo period before it resurged

24:34

into.

24:35

As a classic like it does now in twenty twenty

24:37

four.

24:37

This is what I'm saying. It's very clearly

24:39

an anachronism. Not an anachronism, but

24:41

like a chronological marker for us as an audience

24:43

in twenty twenty three, twenty twenty four. Then

24:48

the MacBook on Jacob Elordie's desk

24:50

is I think

24:52

I'm I'm about eighty percent sure, like a

24:55

two nine ten model. So

24:58

these departments can be at a ten sure, like like

25:00

with Bradley, But the departments are hampered

25:03

by their direction. And if the director

25:05

doesn't really give a shit about these details,

25:07

even though she is this like aesthetically bold

25:10

big swing director, I'm

25:12

like, well, then what's the point then? Like are you even

25:14

good at that part in which you profess

25:17

to be good?

25:18

You know what? Some British people have

25:20

defended a lot of this.

25:22

Yeah, and they say that it is from the Brits

25:25

and you realize.

25:26

I'll say this, I sort of am seeing

25:28

this British guy right of

25:31

him fucking loves Saltburn.

25:33

He loves sultburn. He's a super well

25:36

read guy. He's like, what, has a lot.

25:37

Of interesting things to say about class?

25:39

And I was like, does it. I'm

25:42

like, if it does, what exactly

25:44

is it saying?

25:44

Because go see Parasite. Go

25:46

watch Parasite.

25:48

I just feel like when it's revealed that

25:50

he's actually from like at least

25:52

middle class upbringing, which, by the way, that

25:54

scene drove me nuts because while

25:57

Barry's parents are talking to Jacob, Barry

26:00

sitting there rocking back and forth in

26:02

his seat like a psycho, and I'm

26:04

like, is no one gonna ask him? What the fuck

26:06

is up? Like this is the weirdest movie

26:08

ever. Like his parents are just like, oh, you're back,

26:10

yay, we didn't know where you were. Sit here while

26:13

we talk to your new friend and you rock back and

26:15

forth like a mental patient. I'm

26:17

like, I'm sorry, what is going on

26:19

here? What reality are we in? And

26:22

again I'm watching it with a smile on

26:24

my face because I'm like, what, but

26:26

don't talk to me about this script. Don't

26:29

talk to me about the script. I'm sorry.

26:32

You know what it's when I say too many cooks, not

26:34

enough cooks.

26:35

Oh, British people sound

26:38

smart, and so this guy that you're

26:40

seeing, I'm sure he's very

26:42

intelligent. I'm sure he's league

26:45

smarter than me. I

26:48

don't know about that. I

26:50

don't know about whatever the class commentary

26:52

is here. I think the idea

26:55

of like watch Out for the middle class people

26:57

interloping in like upper class

27:00

story, I think somewhat

27:02

interesting. It's been done before, but I'd

27:05

love to see more of it. I

27:07

don't know that it's presented

27:09

in this compelling package that people

27:11

seem to think that this movie is.

27:13

I just don't think she

27:16

is creating the best versions of

27:18

these things.

27:19

I wish her the best. I'm very

27:21

excited to see what she does.

27:23

I am a fan. And here's

27:25

the thing, Like, I think

27:27

it was Beyonce who said, you know

27:30

you that bitch when you cause all this conversation.

27:32

You know who has an oscar her? You know who doesn't

27:34

me? And that's

27:36

fine. It's just like I

27:39

feel a little

27:41

perplexed about praise when

27:43

it comes to screenwriting, when

27:46

they have such obvious holes

27:48

and this is not the first time. And like

27:50

I said, I completely

27:52

get. And when she won the Oscar for a promising young

27:54

woman, I didn't agree, but I applauded

27:57

because what she had done, what she had created, had

27:59

had an impact and it

28:01

spoke to a lot of people to

28:04

what end is this movie? You know what I mean?

28:06

Like?

28:06

Where is that? And it's okay that it's

28:08

just pulp, you know what I mean. That's

28:10

fine. You know how many male directors are out

28:12

there fucking pulp way worse than this. Yeah,

28:15

all these opportunities. It's really

28:17

fun to watch. I think I had maybe a lot

28:19

more fun watching it than you seem too, because I didn't

28:21

fast forward a second of this. I watched it

28:23

with my mouth open laughing. But

28:26

then at the end when he

28:28

rips that intubator out of her goddamn mouth

28:31

and it is like ha ha ha ha ha and dances

28:33

to murder on the dance floor, which yeah, I've

28:36

hit fifteen times on my Spotify

28:38

since watching it. I had to say,

28:41

this movie had nothing. It

28:44

had everything and nothing. It was great downs,

28:46

beautiful gowns.

28:48

Wow, thank you for

28:50

that.

28:51

And here's the thing, we're not even being

28:53

cunted, because I loved almost everything else I

28:55

saw.

28:56

We're not being cunsed, but we're getting we're getting

28:58

the continous out of the way. First again, we're

29:00

going to let's not spoil too much

29:03

of the other films. Of the other films,

29:05

yeah, because.

29:06

I feel like those haven't been like cultural conversations

29:08

in the way this one has. Let's start with all

29:10

of us, strangers. What were your thoughts.

29:13

I really really enjoyed it, loved

29:16

I think I

29:18

got lost in the sauce a little bit after

29:20

the midpoint, after a

29:22

moment where he and Paul Mescal's

29:24

character go out and they

29:26

went to They did go to Royal

29:28

Vauughell Tavern, which we've been to, which is

29:30

where took Princess Diana. Yes,

29:34

we've been to that bar multiple times, and so that's

29:36

where they go out in that scene, and then from

29:38

there it kind of starts to unravel

29:41

in this really beautiful way, and

29:43

the ending snatched

29:45

me. Bald Well.

29:48

First of all, I just want to say this

29:50

is by Andrew High, who, Yeah,

29:53

one of my favorite movies this weekend,

29:55

and I'll never forget, and I actually was. I

29:58

was a looking fan this first seas of

30:00

looking. I thought got really good by the end. And

30:03

I always love Andrew

30:05

High's work, and I was really excited

30:07

about this because I'm a really

30:10

big fan of the entire cast. Yes,

30:12

and this did not disappoint. I

30:14

think Andrew Scott is so

30:17

fucking good in this. There's

30:19

a moment he has a scene with Jamie Bell,

30:21

who also is not getting talked about.

30:23

I know the exact moment you're talking about.

30:25

Suffice it to say, there's a scene between

30:28

Jamie Bell and Andrew Scott. I won't say

30:30

what the relationship is because you should see it.

30:32

But there's a moment where Andrew

30:35

Scott has like sort of an emotional

30:38

break.

30:39

That comes out. It was only

30:41

nowhere.

30:42

There's only been one other moment this year or

30:45

maybe two in film that

30:47

I've like. Out of Nowhere

30:49

just had like an emotional reaction to it. And

30:52

he's just so gifted. Yea,

30:55

Andrew is amazing, and I cross

30:57

my fingers that he gets nominated for an Oscar for

30:59

this because his sense

31:02

of emotional discovery is so

31:05

on point, Like he's just so fresh,

31:08

She's so easy to watch, she's so

31:10

likable, and he feels

31:12

like broken yet open in this way

31:15

that is so good. He's got unbelievable

31:17

chemistry with Paul mescal who is such

31:20

a fucking superstar, Like

31:23

I would nominate him for an Oscar for this as well

31:26

as well as Clairefoy

31:28

Claire boy

31:31

in this movie is it's

31:33

just so great And

31:35

I would describe the movie

31:37

with the exact words that are like the poll quotes from

31:39

reviews on the poster. It is haunting and heartbreaking.

31:43

And I don't know if I like it as much as

31:45

Weekend because Weekend holds like a very special

31:47

place in my heart, I think from seeing it ears

31:50

prior to this and just it's in like the fabric

31:52

of my life. But this movie

31:54

was like really unforgettable and like very

31:57

surreal and makes a lot of interesting

32:00

choices that make you think in

32:03

ways that I think the movies we've talked

32:05

about thus far are like playing.

32:07

At Yes, they

32:09

are playing at that, and I think this is something

32:11

that pulls it off

32:14

much more elegantly and does the thing

32:16

of like bringing back an old song and the

32:19

power of love.

32:21

I mean, always on my mind was what

32:22

I was, what I was living for, Like,

32:27

I don't know, it's just like he's got such a

32:29

great language as a filmmaker, and he's got

32:31

such a strong aesthetic, and it is here despite the

32:33

fact that ultimately this is a different genre

32:35

than he's like ever done.

32:36

I think this is a very big

32:39

departure for him, and I thought it was so amazing

32:41

when I realized what like. I went in

32:43

pretty agnostic, and then when

32:46

I discovered what

32:48

was happening, I was very captivated.

32:51

And I think that is a very important part of

32:53

that viewing experience for an audience

32:55

member who maybe doesn't know that going

32:57

in.

32:58

I can't say enough about this movie. I

33:00

really loved it, and it's worth seeing

33:03

for the acting, and it's

33:05

worth seeing for the really,

33:08

really, really I think compelling

33:11

emotional story that it tells, and

33:14

talk about a latent film reveal

33:17

that like actually

33:19

hits. Yeah, it's

33:22

this, I mean, like it's

33:24

it's just great. And I had a sense

33:27

of it as it was going, but I didn't see it playing

33:29

out that way.

33:30

So this was a great one. This was a great one.

33:33

Another trend notice saying between

33:35

Murder and the dance Floor and like faking goes to Hollywood

33:37

and all of us strangers, Indigo girls and Barbie

33:40

fucking I don't know, like labby

33:42

Sa Frey and the holdovers like

33:45

P I M P. And Anatomy of a Fault a lot

33:47

of like old old songs

33:49

kind of like create being very important features

33:52

in these movies and like them being

33:54

all back in the conversation in some fun way. That's

33:56

another like trend in this in this year, I

33:58

think for movies where I'm like, oh, that's fun, like

34:01

make the song a thing, a choice.

34:03

I mean, hearing fifty cent pimp

34:06

jump out like seconds into Anatomy

34:08

of a Fall was like not what I was expecting

34:11

you at all. And then at some point

34:13

like they make the point of like saying it

34:15

was an instrumental version, and I was like, oh my

34:17

god.

34:17

It so funny. And if you put

34:19

on the subtitles, like like I'm a subtitle

34:22

girl, you put it on it when it plays

34:24

in the beginning, it's like P I M P. By not

34:26

by fifty cent, but by like the instrumentalists,

34:28

And I was like, oh, that's interesting. Was that so I

34:30

did fifty cent sample this

34:33

thing originally? But then like I think,

34:35

it all kind of moved back around in this perfect the.

34:38

Original artist was called the instrumentalist.

34:40

No no, no, no, no, was like on the subtitles

34:42

it said p I M P by like the names

34:44

of the people who are playing the instruments

34:46

is what it was said.

34:47

Oh yeah, oh and it says instrumentalists. Oh

34:49

so yeah yeah, see gave it away. God, I

34:51

gotta got it.

34:52

Well, the CC like gave it away and said

34:54

but still the title of the song was still p Imp

34:57

even though fifty cents name didn't show up, and I went right,

34:59

oh, I guess if he sent sampled this

35:02

song also called Pimp

35:04

by the people who like and maybe that's true.

35:07

Anyway, this is all this.

35:08

Should we talk about Anatomy of the Fall because I'm also

35:10

fresh from watching it. Yeah, so Anatomy of a Fall,

35:13

just to just to refresh everyone if you don't

35:15

know. Anatomy of a Fall is a courtroom

35:17

drama starring Sandra Huler

35:19

and she's getting a lot of Best actress

35:22

buzz for this, and essentially it's like a courtroom

35:24

drama slash thriller slash drama

35:27

like straight up drama, which is about a woman

35:29

who discovers her husband has

35:32

fallen from the attic of their

35:34

ski, their chalet, and

35:37

then she's put on trial for the murder

35:39

because there's no explanation

35:42

for why he would fall. It was she. She is the

35:44

prime suspect. She's in the house. You

35:46

find out there is like something

35:48

bubbling in the house. There's domestic drama,

35:51

There's there's stuff bubbling there, and

35:53

it's just this sort of it's

35:56

essentially a courtroom drama, and it's really well

35:58

done and it's pretty and it

36:00

starts with an instrumental version of Pimp.

36:04

I Want to Find the George

36:06

Severis's Letterbox review.

36:09

Of Anatomy of All

36:11

was he county about this?

36:13

No, he wasn't, but his review

36:15

was very funny because he said, so

36:18

a woman kills her husband

36:20

and now she has to prove her queerness and court

36:23

it's like something along those lines.

36:25

There's a queer element to it, there is.

36:29

This was great. I really

36:31

enjoyed this. Maybe it's not my

36:34

favorite of the year, I don't think, but I'm glad

36:36

like it landed on people's radars. On my radar,

36:39

I really enjoyed watching it. Won

36:41

the palmdor can I think

36:44

Justine Trier, the writer director also won.

36:47

She won the Palmd door But Sandra

36:49

Ruler, great performance. There's

36:51

really wonderful and from.

36:53

The kid betrays nothing And it's

36:55

a very specific performance of greed because

36:57

it's not like you really don't.

37:00

No, you don't

37:02

know the entire time she's

37:04

done this, and you kind of really don't at

37:06

the end.

37:07

I agree you don't. At the end, I

37:10

was kind of like, Eh, sure, whatever

37:12

this I'm watching, and then something

37:15

kind of hits you in the last forty minutes

37:17

of the film where I think, oh, this

37:19

movie, like hold has something

37:22

to say about

37:24

the truth and about like the way

37:26

things are mediated or

37:29

adeducated in this environment. But

37:31

like, if you don't know how it's I

37:33

won't spoil I think this is a spoiler because it

37:36

kind of like really hit me.

37:38

But it's basically along the lines of like, if

37:40

you're not sure how something happened, what

37:43

do you do? And there are human

37:45

instincts to filling in that gap

37:47

of information, And that's kind

37:49

of what the whole movie

37:51

is about. That's kind of what that

37:54

courtroom setting is about, which I thought was very fun,

37:56

Like French court seems really interesting

37:58

to me. They were nice costumes.

38:00

Yeah, I was really it was very compelling how it

38:02

plays out. Yeah, I didn't realize

38:04

like, so basically, if you before you watch

38:06

this movie. It's not a typical courtroom

38:09

drama in that like it's you know, the way

38:11

that we see them play out. It's like this French court

38:13

where I guess the defendant can be questioned

38:15

at any time.

38:16

At any time, and

38:18

the judges can be sassy sassy,

38:21

and but I think this is

38:24

like maybe in general, what

38:26

a European court looks like, because if you play there's

38:29

a game called Phoenix Right Ace Attorney, and it's

38:31

Japanese and it's modeled after European

38:33

courts. Were like they can just scream at

38:35

the defendant at any point, and in the game,

38:37

like the defendant is always catching fucking

38:40

like shouts and stuff. And I'm like, oh yeah,

38:43

like this is how court rooms work in other

38:45

environments.

38:46

You could never get away with what the prosecution

38:48

attorney gets away with, Like he is such a dick

38:50

in the movie.

38:51

I hated him.

38:52

He's he was such an asshole.

38:54

He was a little bitch.

38:57

But you buy every every minute of this movie

38:59

as being like real, like it's

39:01

such a grounded film, Like it's so it's

39:04

just really really well done, and mm

39:07

hmm, I think that you're onto something there

39:09

about proving object

39:11

needing to prove objectivity

39:14

or needing to like have

39:16

objectivity where there's none, like

39:18

yeah, and it's almost like you

39:22

find yourself asking, like, so, what is the

39:24

best thing to do here at the end, even if

39:26

she did kill this guy?

39:27

You know, right, there's

39:30

the character dynamics. The way that

39:32

that sort of thing plays

39:34

out between the characters is unexpected.

39:37

And the character who tells another character

39:39

what I think the movie is trying to say, does

39:42

it in this very interesting way where I'm just going to say, Like,

39:44

it's basically along the lines of like, if

39:47

you don't know how something happened, then

39:49

you have to decide. Yeah,

39:51

then you have to just decide. And then the other

39:53

person goes, does that mean you have to believe

39:56

it? And then the person goes, no, you just

39:58

have to decide. It's a different thing. You

40:00

don't have to believe that, you just have to decide.

40:03

And it really I've never considered

40:06

it that way. I've never seen that be so elegantly

40:10

stated in a courtroom drama like

40:12

this, or in any sort of like a legal

40:14

sort of storytelling package.

40:18

And I really enjoyed it.

40:20

The movie has more than one great performance too. The sun

40:23

is great. I'm gonna be.

40:25

Oh my god. He's red Rum. He's from the Shining

40:27

too that they have the same as.

40:28

He has a genius haircut. He has

40:30

one coat where he wears like like a red and

40:32

blue coat, and he's like walking with the dog

40:35

and he's it's just really,

40:38

I don't know, it's that dog.

40:40

I actually had a fast forward past the dog scene because

40:42

I was just like, this isn't for me, and I understand what

40:44

it is, but I.

40:45

Can't watch that dog is

40:48

star, beautiful star.

40:50

I was like, how did they get the dog to do this?

40:52

Well, you know what, someone else in the butterbox I think

40:54

I think it was fran I

40:56

think it was fran Hepner. It was someone else

40:58

who was just like Jeppellier ASPC.

41:02

It's honestly, I

41:05

do have questions about how they got the die

41:08

to do that, what it experiences. Y'all

41:11

will see it and then we can talk. But anyway,

41:14

not to say that.

41:15

It's not to say that there are ways to train a smart

41:18

dog like that to like act

41:20

like it's suffering. Don't pass

41:22

the smell test to me though, girl. Anyway,

41:25

a dog is in pain, Well that's all we'll say, speaking.

41:28

Of pain, should

41:30

we discuss Poor Things?

41:32

Yes? I

41:42

loved Poor Things, adored

41:44

it.

41:45

I thought Poor Things again,

41:47

Like, it's got excellent performances.

41:50

It is maybe the most your ghost movie yet.

41:52

It's almost like he's earned the

41:55

right to be as fucking crazy

41:57

as he wants to now and make all the choices

41:59

that he want, and it feels like his intuition

42:02

is just dead on artistically, Like it

42:05

all just feels really fresh,

42:08

new and interesting, not for

42:10

the sake of being fresh, new and interesting, but

42:12

with purpose. And I think that's something

42:14

that's different about this movie than other ones we've

42:16

discussed as well. Emma Stone

42:19

is so great in this and it

42:22

must have been really fun to perform. So

42:25

she basically plays a

42:28

woman who has committed suicide

42:30

and she's brought basically back to life

42:34

by Willem Dafoe, who is

42:36

like this sort of like Victor Frankenstein

42:39

type character. He's got like

42:41

a house that's like almost a zoo with like

42:43

different animals heads on other animals

42:46

bodies. Like he's able to

42:48

take Emma Stone's unborn

42:51

child's brain and

42:53

put it in her own body,

42:56

and so she wakes and

42:58

essentially she has a baby brain

43:01

in an adult woman's body, and

43:03

then she matures

43:06

very quickly to the point where suddenly

43:08

she's this like baby

43:11

woman who has a sexual

43:13

awakening because she's in an adult body very

43:15

quickly, and very quickly

43:17

starts to make headway

43:20

in terms of her intelligence. She starts

43:22

to question the realities of the world. She

43:25

questions so much, and it really asked

43:27

the question, like, if someone were to

43:29

just come to this earth and immediately mature

43:31

and be able to look at everything objectively

43:34

and discover what our world really truly

43:36

is, what would those questions be

43:38

And are those questions really worth

43:40

asking?

43:41

Right now?

43:42

Talk about a thought provoking movie. It's

43:45

talks about, you know, the reality of misogyny

43:48

in our world, the reality of the

43:50

way that sex work is talked about in our world,

43:53

the reality of human tragedy in this

43:55

world in the way that we're asked to be okay

43:57

with it, the reality of abuse,

43:59

you know that the structures of power

44:02

in this world. Like and it's all

44:04

done playfully and in

44:07

a really interesting fresh way

44:09

and has amazing performances across the board.

44:11

This had to be so much dare I say

44:13

fun for Emma to do because it

44:16

was giving ETW the

44:20

best way. It was giving experimental theater pheromenal

44:22

theater in a really refined way.

44:24

I really liked this.

44:26

I think this is a really good,

44:29

good team of people, which is

44:31

Emma Jorgos and Tony McNamara

44:34

who also did co wrote The Favorite and

44:36

co wrote Cruella Ah with Data

44:38

Fox. So I think like there's a lot of trust among

44:40

these people. I mean, I think you

44:42

want to talk about writing, I feel like the

44:45

way you write Bella Baxter developmentally

44:48

throughout the arc of her character, and

44:50

like just as she like matures

44:53

into like language is

44:55

so difficult, must

44:57

have been so difficult. And it is based on a play,

45:00

so there is like some source text a little

45:02

bit. But I took half an edible

45:05

and I was living. I

45:07

was having a blast at this movie,

45:10

and just my prevailing thought was

45:12

like, how do you possibly

45:14

I mean, the performance aside, how do you possibly

45:16

convey all of these things

45:18

that this person is discovering for themselves

45:21

in the language of like how she like

45:24

what she picks up, when she picks it up, when she like

45:27

By the end, she's a fully articulate

45:29

person. And it's incredible if

45:32

you think about it, like at the beginning of this movie, she

45:35

was just claying on the piano and like waddling around

45:37

with like the little duck Dog, and I'm just like, this

45:39

is incredible. And

45:42

the way the sets of the production design is incredible.

45:45

Led screens almost I think every

45:48

outdoor scene was on

45:50

a sound stage D screen. So

45:52

on the boat, those clouds, those pink purple

45:54

clouds, huge screen, right,

45:58

minimal v effects every like yours.

46:00

Is like, I'm making this as practical as

46:02

I can, very few VFX.

46:05

The fish eye lends coming back from the

46:07

favorite I love, just like

46:09

it kind of coinciding perfectly with like when

46:12

the world opens up another layer

46:15

for her, for for Bella, Ruffalo,

46:17

great Brady, like Rommy Yousef

46:19

and this, And I will say.

46:22

What I feel is that Ruffalo

46:27

is definitely one of our best and

46:30

Emma Stone is one of our best, and you can tell they're having

46:32

so much fun together even

46:34

when it gets like gnarly. I

46:36

think that just to talk about the script again,

46:40

what's so great about it is that it

46:42

asks she in

46:45

her discovery, asks extremely

46:48

base but also intelligent questions,

46:51

and that is something where he had to

46:53

really think, like, Okay, I am

46:56

just now discovering the concept of

46:58

prostitution, she

47:01

as a character asks, well, shouldn't

47:03

we be picking who we sleep with? Because

47:06

it's gonna be better if we enjoy it, right,

47:08

you know what I mean? Like, wouldn't that be if you're gonna

47:10

pay for this, you want me to want to fuck

47:13

you? Right, because that would be better for everyone? Like

47:15

why do they come in here? And why are we standing

47:17

in the line, you know what I mean? Like, And

47:20

it's just interesting because it's like, oh, of

47:22

course someone who just walks into that situation

47:24

is gonna think about it like that, and because

47:27

she's not cultured to

47:29

live in a world where, of course the men decide they're

47:31

the men, right, Even the question

47:33

she asks, Oh, that actor who played

47:36

the madam was excellent. Yeah,

47:38

her name is Catherine Yes,

47:41

yes, it starts with an age. She

47:43

was also in the Macbeth movie and

47:45

she played the witches, and she's

47:48

like the cream of the.

47:50

Crop, Catherine Hunter. Catherine Hunter.

47:53

Yes, yes, she's a man. She was excellent. But

47:55

even that first moment where

47:57

Bella discovers

48:00

what sex work is and it's just like understands

48:03

that, like, oh, you get paid to do this, She's like I

48:05

get paid to do the thing that I love to do. Yes,

48:07

yeah, of course let's do it. Like

48:10

that is a perfect starting point for that character.

48:13

And then as she discovers all of these weird

48:15

yeah customs within

48:17

it, like that's when it's fun and interesting.

48:20

But I really, really

48:23

really loved it so much. I

48:25

was with it the whole time. I was like, more and

48:27

more and more. I was sad that it ended,

48:30

but ultimately so it just feels like

48:32

it ends on such a lovely, light,

48:35

triumphant note that I really liked.

48:38

I really I'm like rooting for it all the way.

48:40

I was uncomfortable the entire

48:42

time because this movie is a little bit more grotesque

48:45

than I like to watch.

48:47

Like I think whenever, whenever

48:50

the tone of a movie is anyone

48:52

could vomit at anytime. I'm not

48:55

having fun, you know what I'm saying. And

48:57

like, by the way, so much vomit in movies

48:59

to ski there more? Is there

49:01

more vomit in film this year than ever? What

49:04

have we tracked so far?

49:05

Vomit? Old songs, black

49:08

and white or like or like fake conteina

49:10

on things come sure.

49:12

There's come every there's Oh

49:14

when Paul Maskal looks to come off Andrew

49:16

Scott's chest and

49:18

all of us strangers. I said, important,

49:21

Paul Mescal, you will always be

49:24

well. I ultimately,

49:27

ultimately what I have not stopped thinking about. I think Matt Worker

49:29

was telling me it was I think it was like some writer

49:32

was saying that this was the year of the Doll,

49:35

Barbie, poor things.

49:37

Just literally like just like

49:40

Megan Megan, where

49:42

it's like Doll goes out into the real world like Little

49:44

Mermaid, like a

49:46

lot of that and interesting,

49:49

interesting thing to think about Taylor,

49:52

even on some level where it's like you put different costumes

49:54

on her for her eras Barbie

49:56

walking around in real life. Yes,

49:59

let's discuss I'm American fiction.

50:01

Yes, love it. Yeah, you

50:03

go first, really really enjoyed it.

50:05

Jeffrey Wright is a

50:07

deeply, deeply important actor.

50:09

I think, oh, yeah, he's the best. Remember we

50:11

interviewed him at Wultterfest Ones.

50:13

I had forgotten this and I was watching

50:15

it and I was like, have I met him? And I

50:17

was like, I think the answer is yes.

50:19

He was great vibes. He was

50:22

very cool to talk to. I remember he liked

50:24

us, not for nothing, but

50:27

he was excellent in this cour Jefferson.

50:30

What a great debut, What

50:32

a talented writer, what an excellent

50:35

mind. I really liked how this

50:38

was about

50:41

a communal cultural trauma that

50:43

this character was gauging his distance with,

50:46

but while also dealing with his own personal trauma,

50:48

like fucked up things happening in his own life.

50:51

I really thought it was interesting that it was a movie

50:53

about palatability

50:56

that ultimately, I

50:58

think, and this is not a knock on, the movie was in a very

51:00

palatable package that it was like a

51:03

lovely indie from like

51:06

Yester Year in a way that was like really

51:08

nice to watch. So those are my general

51:10

thoughts.

51:11

I think this is one of the most original scripts

51:13

I've seen in a really long time. And

51:16

just this is where a writer

51:18

director has complete control over what he wants

51:20

to say and what he wants to say is really new

51:23

and I what so American fiction is about.

51:25

Jeffrey Wright plays a man who

51:27

is a successful novelist, but

51:30

he's having trouble at this stage in his career because

51:32

he can't sell a book because it seems like the

51:34

market wants something

51:37

he's uncomfortable giving. So he's a black man

51:40

and basically a character played by

51:42

Esa Ray is having a lot of.

51:45

Was making me laugh.

51:47

Greats is great in it, and I'll tell you

51:49

who else is great in this is Tracy Elis Ross.

51:52

Tracy Elis Ross was awesome

51:54

in this and there's a twist with her character

51:56

that took the wind out of myself too. But

51:59

basically, to speak this movie what it's about, it's

52:01

like he's playing a guy who

52:03

doesn't want to sell out and do a book that's

52:05

about like racial stereotypes like Isa. Ray

52:07

plays a young novelist who's having

52:10

a huge success with a book that reinforces

52:12

a lot of harmful stereotypes about

52:14

black people and he hates it.

52:16

He turns his nose up at it and he's like, I'm never gonna

52:19

do that. So in his personal

52:21

life this is tough because

52:23

he really needs to sell a book. He

52:25

is going through a lot of personal struggles.

52:28

His mom, who's played by this

52:30

shook me. Fucking Leslie Ugghams.

52:33

It was unbelievable, Like I couldn't believe

52:36

like that was I hadn't seen her in years icon

52:39

legend and his mother

52:41

is vastly deteriorating into

52:43

Alzheimer's. There's money problems,

52:46

etc. Like he needs money bags so as

52:48

a joke or as like a

52:50

bit, and when he's drunk one night, he

52:53

pumps out this novel that is like the

52:55

most base, like really

52:59

like reduction movie

53:01

where there's like a lot of gang violence, et

53:03

cetera. And then lo and behold, the

53:05

market goes crazy for it and it becomes

53:08

like this huge success and he has to deal with the fact

53:10

that now this thing he hates is

53:12

this thing that's actually coming to fruition in

53:16

real time. Like he's like, Wow, I'm actually

53:18

being the harmful thing I hated, and

53:20

now I can't sit with myself and his life sort

53:22

of like falls apart.

53:25

But what I loved about this the most is

53:28

that it is this you know, meditation

53:30

on how as a creator you

53:33

can stand by your work and yet also

53:35

participate and thrive in a commercial market

53:38

that feels like it's for dumber and dumber

53:40

and dumber people. Yes, you know what I mean? Yes,

53:42

And in the meditation

53:45

on that, you get to the end

53:47

of this movie and the story is

53:49

told. But what

53:51

cour Jefferson has been able to do is

53:54

also tell this story, this very

53:56

human, relatable story about

53:58

this man that ventally is

54:01

a new installment in I

54:03

guess you could say American fiction.

54:05

Yeah, you know what I mean.

54:06

Like, while we're having the conversation

54:09

about what it means to participate commercially

54:12

while also being able to stomach

54:14

yourself artistically, we've also

54:17

been almost in the b story actually

54:20

told this new story that

54:22

like proves you can do both and

54:24

proves you can do what you want

54:27

to do. So, I mean, this was

54:29

doing a lot of things all at once. I

54:32

loved it. I loved the performances.

54:34

Sterling K. Brown plays gay and I loved

54:36

it. He's hot as shit.

54:39

And if there's little clibbles I have with the

54:41

movie, maybe it's a little uneven in terms of that

54:43

plot line, sure, sure, I didn't care.

54:46

That is my main complaint is that that character

54:49

was. I wasn't sure what the

54:51

he's there tell Monk the main

54:54

character something at the end. But otherwise,

54:56

like a lot of the character details, I

54:58

was like, what is this? Where

55:00

does this go? And maybe it doesn't go anywhere, And that's

55:02

fine. Eric Alexandrew plays the

55:04

love interest excellent as well, very

55:07

good.

55:07

She's great. I think that there's something

55:10

in this movie. And I asked the question

55:13

about accepting yourself versus

55:17

the world accepting you, you know what I mean, and

55:19

how those two different things, and really ultimately all that

55:22

matters is that you accept yourself and

55:24

that you can be good with yourself. There's

55:26

something in the narrative about like because

55:28

Sterling K. Brown's character is gay, and you

55:31

get the sense that his parents did

55:33

not accept him.

55:34

And then he's got he's got like a.

55:35

Crazy like block because

55:37

of that, Like he's got drug problems, et cetera. But

55:40

there's there's so many layers in this

55:42

movie that I can't say enough

55:44

about it. And I hope it gets nominated for

55:46

an Oscar for the script because it

55:49

told a really funny original story.

55:51

I laughed a lot, and by

55:53

the end it ends in a really surprising way,

55:55

and I was just like, oh wow, the character like

55:58

did something I didn't expect. Lots

56:00

of weird narrative choices here, lots

56:02

of things I hadn't seen before. And

56:06

I appreciated the Swings.

56:08

Great ending. Great ending just in

56:10

terms of the Swayings as if we're gonna talk about the Swings

56:13

does some really cool stuff. Yeah, great

56:15

job everybody. Once again I say

56:17

great job everybody.

56:18

A great job everybody. And we both loved

56:21

The Holdovers.

56:22

I loved it so

56:25

much. Oh my god,

56:27

I haven't heard you talk about it. Yeah, I haven't talked to you

56:29

since you saw it.

56:31

The Holdovers is just a classic great

56:33

story. Yeah, you know what I mean. Like sometimes,

56:36

here's the thing. These movies don't

56:38

have to reinvent the wheel or pretend they're

56:40

reinventing the wheel. Just tell a

56:42

great story. And Alexander

56:44

Payne is one of our great storytellers. And

56:47

he has got such a handle on his tone,

56:50

in his language. This is just a filmmaker that knows himself

56:52

so well. So The Holdovers stars

56:54

Paul Giamatti, who's I think him,

56:56

and Andrew Scott. It's between them for me, for the

56:58

Oscar for me. But

57:01

basically, Paul Giamatto plays

57:03

a very strict traditional

57:07

teacher at this all boys school.

57:09

It's like an all boys prep school. I guess boarding

57:11

school.

57:11

Yeah, yeah, boarding school. And

57:15

basically he has to stay

57:17

behind over Christmas break and stay with some

57:19

students that also need to stay for Christmas

57:21

break while all the other students go home with their

57:24

families. So he doesn't have a family.

57:26

He's like sort of a curmudgeon and he stays

57:28

behind with a select few students, and also

57:30

the head cook who's played by Divine

57:33

Joy Randolph, and she plays Mary

57:35

who's recently lost her son in Vietnam.

57:38

So it's really ultimately the story of Paul

57:40

Giamatti, Divine Joy Randolph and the

57:43

one kid that gets

57:45

left behind solely at the school, who's

57:48

a newcomer named Dominic SSSA who's

57:50

great yo, and about their bond and

57:52

the way that they all change for the better as a result

57:54

of spending that winter break together. Just

57:57

a really emotional implicated

58:00

in terms of character dynamics, but not complicated

58:02

in terms of plot or like any storytelling

58:05

thing, Just like a really good story

58:07

that makes you feel really good at the end

58:09

because you get the sense that you've watched an important

58:12

installment in these people's lives all and

58:15

it's just really great

58:17

and leaves you with a good feeling. And it's

58:19

honestly like as in terms of holiday

58:22

movies, like.

58:23

I was gonna say, all, hold up, the

58:25

new Christmas classics are have

58:27

you heard of Christmas? And they'll holdovers

58:30

period. I am pressing play on these

58:32

things every year. I loved

58:35

you so much, of course, sister,

58:37

my favorite Alexander Painson selection.

58:39

I think I like this better than Sideways. I didn't

58:41

think I would say that I love Sideways, and

58:44

I kind of think I can't be

58:46

the only person who's pointed out how ironic it is that it's the opposite

58:48

of election, right, like teacher, instead

58:51

of antagonizing a student, like really

58:53

grows to nurture and love and make

58:55

a huge sacrifice for a student. I

58:58

just really thinking about it now, and I'm

59:00

getting an emotional just Davine Joy Randolph.

59:03

I think she is probably front runner

59:05

for Best Supporting.

59:06

Oh, she's absolutely the front runner. Well she's she's

59:08

not lost a single

59:11

award, so freak and mind you. So

59:14

one thing is we're recording this.

59:15

We're recording this before the Golden Globes, Yeah.

59:17

Prior to the Golden Globe. So you won't get any

59:19

Golden Globe reaction in this episode, as

59:21

you probably can tell, because we would probably would have

59:23

mentioned it by now. But if Divine Joy

59:26

Randolph loses the Golden Globe

59:28

tonight, that would be a huge nub

59:30

because she's won everything. I don't

59:32

know that I understand completely

59:34

why it's a total clean sweep,

59:37

because I think supporting actress is

59:39

really good. This year. I think supporting

59:42

actress, actress and supporting

59:44

actor are all really strong.

59:46

An actor is incredibly weak,

59:49

but there's a couple of great performances. For

59:52

me, Divine is amazing.

59:54

I just wish that there could have been maybe one

59:56

more scene or one more thing with her character, just

59:58

to give her like a little bit of a or a glimpse

1:00:00

inside, because she's this incredibly

1:00:03

real person who's like really

1:00:06

solid in the movie. It's just I'm

1:00:09

not understanding why it's been a

1:00:11

complete knockdown drag out, because there are

1:00:13

amazing performances this year in supporting

1:00:15

actress.

1:00:16

I'll touch on the color purple in a second.

1:00:18

Oh, Julianne Moore in May December

1:00:21

is great. Let me just for a second.

1:00:24

Are you there, God, It's me Margaret. Rachel

1:00:27

mccadams is so special.

1:00:29

I need to watch Bowen.

1:00:33

You I know, are a Rachel fan. Yes,

1:00:36

you have to watch Are you there, God,

1:00:38

It's me Margaret. So before I talked

1:00:40

about that moment and Andrew Scott's performance where I've

1:00:42

involuntarily broke down, that happens

1:00:44

in this movie at the least. Obviously,

1:00:46

Are you there, God, It's me Margaret is

1:00:49

a classic coming of age

1:00:51

novel, and it wasn't really

1:00:53

on my radar because I thought of

1:00:55

it as like, and this is my own mistake.

1:00:57

I thought of it like, oh, it's like, you know, like a

1:01:00

book for it's like ya, you know what I mean?

1:01:02

I thought, it's ya whatever. I love

1:01:04

this movie so much.

1:01:05

That was your first mistake is writing off ya?

1:01:07

Bitch?

1:01:08

That was my ever and it will be the last

1:01:10

time I write off ya because

1:01:14

this adaptation of it is so lovely.

1:01:16

Rachel mccadams is so you know what's

1:01:19

fucking you know what's fucked up about

1:01:21

her. I'm watching her in this movie

1:01:23

and she naturally projects

1:01:26

so much warmth and love and

1:01:28

we're looking at Regina. I'm

1:01:31

like, this bitch is she

1:01:33

is so talented. She can do anything,

1:01:36

anything, And I

1:01:38

hope she gets an Oscar nomination for this

1:01:41

because the movie succeeds beautifully

1:01:44

and it is because of her. And there's a moment

1:01:46

towards the end of the movie, so I won't

1:01:48

spoil, but there's like a milestone

1:01:51

in the lead character of Margaret's life and

1:01:55

Rachel's reaction to it and

1:01:57

the love between

1:01:59

them is the success of the whole movie.

1:02:03

Chef's Kiss. Rachel McAdams.

1:02:06

I just love her. I just love her.

1:02:09

She's one of our greats. She is

1:02:11

really one of our greades. Oh

1:02:14

I love Rachel. I can't wait.

1:02:15

I mean, I just fucking love

1:02:17

her. And yeah, I mean that

1:02:20

might be all for the movies I saw. I know

1:02:22

you haven't seen Color Purple. Oh. Oh, should

1:02:24

be.

1:02:24

Talking about Past Lives. I know, Past

1:02:27

Lives.

1:02:28

Oh my god, I finally saw Past

1:02:30

Lives. It was great. I

1:02:33

will never forget that

1:02:35

ending. Yeah, And

1:02:37

you know what I love about Past Lives. It's about

1:02:40

It's about these characters who had

1:02:42

an intense connection as children,

1:02:45

and then they lose each other in life

1:02:47

because she moves to America and

1:02:50

it takes place in Korea. And

1:02:52

then years later they reconnect online

1:02:55

and they have like an intense online relationship

1:02:57

that she ends because she realizes she's

1:03:00

sort of in love with someone on a computer and they're

1:03:02

not going to see each other. And then it passes

1:03:04

twelve years again into the future when they're in

1:03:06

their mid thirties and they have a meeting again.

1:03:10

And ultimately, what this movie is about

1:03:12

is about the importance of and

1:03:15

validity of those connections

1:03:17

that may not be life long, but they

1:03:20

are unforgettable and you won't forget. Like for

1:03:22

me, it wasn't a sad movie. It was

1:03:24

more of a beautiful, lovely movie that was

1:03:26

about just how we

1:03:29

can look at those connections and those relationships

1:03:31

of people that, like you know, may we may

1:03:33

never see again, but will always remember as

1:03:36

good things, and there's a

1:03:38

way to include

1:03:40

them in your life and in the landscape of your life

1:03:42

in a way that doesn't have to feel like longing or

1:03:44

the one that got away. You know that

1:03:46

it actually really helped me in many ways.

1:03:49

I left them really heeled.

1:03:50

I felt Wow. You

1:03:53

know what the movie does, which

1:03:55

is really incredible, is that it

1:03:57

is so compassionate to everybody,

1:03:59

including Josh

1:04:02

Magaro's character, who is the is

1:04:04

her current boyfriend

1:04:08

boyfriend grete Les, Yeah, yeah

1:04:11

her. She meets at this artist's retreat,

1:04:14

and their meeting is really lovely and

1:04:16

nice and organic and is completely

1:04:18

beautiful, and

1:04:21

there's there. There are a couple

1:04:23

scenes, and one in particular that takes place at

1:04:25

a bar that is actually the first opening

1:04:28

image of the film is these three people at a bar

1:04:30

and this long lens and these people talking

1:04:33

over them, going like who do you think they are to each other?

1:04:35

Yeah, these long lens, far frame

1:04:37

shots. That concept

1:04:39

of distance is so well

1:04:41

employed in this. It's about voyeurism

1:04:44

in a way. It's about like watching

1:04:46

from afar this thing, whether it's you,

1:04:48

I think it is about long and ultimately and

1:04:51

it resolves itself really nicely by the end.

1:04:53

But it's to me like it's so visually

1:04:57

subtle and really

1:04:59

nice, doesn't get in the way

1:05:01

of any of the things that are going on, any

1:05:04

of the other things that are going on on screen. But

1:05:07

yes, compassionate about that guy.

1:05:10

That guy and this love

1:05:12

triangle as it were, where you go, we'll

1:05:14

get him out of there. You never think that, do

1:05:16

you. And there's this lovely moment

1:05:18

between him and his son, Tao

1:05:21

Yu's character, by the way, huge star.

1:05:23

I hope he really is in more things

1:05:26

that actor. There's a moment between the two

1:05:28

men at the end of the bar scene where

1:05:30

they go, you know where hey son goes.

1:05:32

You know, you and I have I think it's in

1:05:34

this like Korean concept like you and I have

1:05:36

had a past life together too, and

1:05:39

like it really seals that triangle

1:05:41

in such a beautiful wayre It's like these two men are

1:05:44

meaningful to each other too, no matter what, even

1:05:46

though they've just met, even though they may never

1:05:48

see each other again. To the

1:05:50

relationship between these two men is so

1:05:53

important. And there's

1:05:55

a moment at the end that I think you're

1:05:57

talking about, where it's this long,

1:06:00

long, long shot that tracks these

1:06:02

two people and then attracts

1:06:05

someone else on the way back. And

1:06:09

I realized in watching that part again,

1:06:12

that moment encapsulates the entire movie.

1:06:15

It is like this long

1:06:18

tense journey

1:06:21

these this reunion of two people who are walking. She's

1:06:25

sending him off, and then there's

1:06:27

this long, uncomfortably

1:06:30

long, sexy,

1:06:32

horny, sad stare

1:06:35

between these two people that's like a full minute,

1:06:38

I think, or something like that. It's just long,

1:06:40

and it's loaded and it's heavy. And

1:06:43

then he gets into a cab, into an uberan

1:06:45

leaves and then she walks back. I'm

1:06:47

sorry if I'm spoiling this. It's been out for a

1:06:50

few months, several months at this point. But

1:06:54

and then she meets Josh

1:06:56

again, and I'm like, that's the whole movie.

1:06:58

That's the entire that's

1:07:01

the entire thing of the movie is just like that

1:07:03

moment of letting go and then

1:07:05

of returning to someone who is waiting

1:07:08

for you. And there's

1:07:11

something incredibly simple

1:07:13

about that that I have not seen in a movie.

1:07:17

I really really, really loved it. And gret

1:07:19

is getting all the pret she deserves.

1:07:21

Yeah, she's so great that I

1:07:23

think it's career changing for her. I would say

1:07:25

that first and foremost, this is like a directorial

1:07:29

oh clean song. I

1:07:31

mean, so I'll say this. I

1:07:33

went and paid to go see this. I saw it on

1:07:36

Twelfth Street in New York and

1:07:38

it was the only movie I've seen where

1:07:41

people applauded at the end.

1:07:43

Wow.

1:07:43

It was the only movie I've seen out of all

1:07:45

of these where people

1:07:48

were like moved to clap

1:07:50

at the end.

1:07:51

Wow. And I was just like, well, no, no,

1:07:53

I was gonna say, peop applauded at poor things and in American

1:07:55

fiction for me, but keep going.

1:07:56

Okay that you know what I lied, because

1:07:59

as I transition into the color purple, it

1:08:02

got a huge ovation. I actually

1:08:04

want to say that I was able

1:08:06

to see a screening of this that

1:08:09

had a top back afterwards with the director

1:08:12

Blitz buzzawul A and Fantasia

1:08:14

and Taraji and Niel and

1:08:17

you know, Corey Hawkins and the choreographer

1:08:19

Fatima Robinson was there and it

1:08:21

was just it was a Monday night and

1:08:23

so a lot of Broadway people were off,

1:08:26

and so the energy was so amazing

1:08:30

in the screening room and it was so thick,

1:08:32

and every number that was successful got

1:08:35

like a big ovation. And at

1:08:38

the end the movie really sticks.

1:08:40

The landing at the end, like it's just so emotional.

1:08:43

It's last scene and I haven't been so happy

1:08:45

to see Sierra since they like a boy music video,

1:08:48

I mean, comes in at the end and

1:08:51

eats down. She

1:08:54

plays the adult version of Neddie. Let

1:08:56

me just say a few things about this movie performances

1:09:00

us. Yeah, Fantasia is

1:09:02

so good in this and it

1:09:05

makes me so happy because she

1:09:07

has not gotten her due and she's so talented.

1:09:10

The way that she inhabits this character, it's

1:09:12

like, I think it's like the definitive

1:09:15

Sealy for me, because the way

1:09:17

that she carries her body, there's this like resignation

1:09:20

in her and there's this just

1:09:22

like deep it's almost like she's

1:09:24

like resigned to her depression in her lot in

1:09:26

life and the way she holds her body. And

1:09:28

then by the end you see her shoulders

1:09:31

are back, not to quote I'm here, but like

1:09:34

there's this like beautiful arc that she

1:09:36

plays, and her voice is so stunning.

1:09:38

And what I loved about the movie was

1:09:41

not only the trio of performances

1:09:43

at the center, which are so great. I mean, Danielle

1:09:46

Brooks so great in this to Raji's

1:09:48

incredible in this. But what I loved

1:09:51

was that the script

1:09:53

and I thought this was one of the directorial choices

1:09:56

that worked. Imagines a world

1:09:58

where we are often see

1:10:01

like the diegetic I guess you would say is that

1:10:03

a lot of it takes place in Silly's imagination,

1:10:05

and so that allows the movie to go

1:10:07

in really interesting directions aesthetically.

1:10:11

And I would also compliment the sound editing

1:10:13

of this movie. For a musical, I thought that

1:10:15

you couldn't really tell what was being live stung on what

1:10:17

was recorded, like the voices

1:10:19

were in front of the music and exactly the right way.

1:10:22

Just great musical theater in this.

1:10:25

And I actually saw Fantasia

1:10:27

do the Color Purple on Broadway all those

1:10:29

years ago and it was stunning.

1:10:32

Then I really like this musical.

1:10:35

Now is the part where I have some criticism for

1:10:37

it. So one of the reasons

1:10:39

why I love the musical is because

1:10:41

it's a really it's actually an even

1:10:44

it's an even more accurate adaptation

1:10:46

of the book than the movie is. The

1:10:49

queerness is a lot more present

1:10:51

in the musical than it was in the movie, where basically

1:10:54

they reduced the queer storyline, and

1:10:56

it's important.

1:10:57

To the movie musical or the they

1:10:59

were the.

1:11:00

Musical the musical is

1:11:03

is really an adaptation of the book, yes,

1:11:05

and not the movie, So the movie is its own

1:11:07

thing, and the movie sort of reduces the queerness.

1:11:10

And the reason why I'm here happens

1:11:13

in the musical on stage

1:11:16

is because it obviously happens the eleven

1:11:19

o'clock number. And Sug

1:11:23

decides she's gonna leave Cely, so

1:11:25

they're in like a lesbian relationship basically,

1:11:28

and Celia is at all these disappointments

1:11:30

and all this abuse and all this loss in

1:11:32

her life, and finally she's like running her store

1:11:35

at the end of the story, and Shug decides

1:11:38

she's gonna leave to have a final fling because

1:11:40

that's who Sug is, and

1:11:42

Cely breaks down and she's like, I

1:11:44

can't believe that you're leaving me. You said you wouldn't

1:11:46

do this. I love you and you still

1:11:48

do this to me, and Shug swear she's

1:11:50

gonna return, and Cely says no,

1:11:53

and that's when she starts to sing, I

1:11:56

don't need you to love me this, These

1:11:58

are all the things I have. And

1:12:00

then I'm here comes as

1:12:02

a result of Cely finally

1:12:05

saying I am not going to let myself

1:12:07

worth and my happiness be dictated by other

1:12:09

people. I'm beautiful and

1:12:12

I'm here. That's what that is.

1:12:15

And plot wise, it happens because

1:12:18

Shoke decides to leave and Seely says, you know

1:12:20

what, even after all this disappointment, I'm

1:12:22

not gonna let you destroy my

1:12:24

happiness and my personhood and my security

1:12:27

with myself and my self love. They

1:12:30

took that out.

1:12:31

Of the movie, and so there is

1:12:33

no runway for I'm here,

1:12:35

is what you're saying. No,

1:12:39

yeah, and that's that's tough because you

1:12:41

want that runway.

1:12:42

It is incredibly disappointing

1:12:45

because Fantasia is giving

1:12:47

her life, She

1:12:50

is giving her life to this song,

1:12:52

and she has given her a life to this performance,

1:12:55

and not only do they take

1:12:58

the juice out of the narrative, but

1:13:01

it's not shot well, oh,

1:13:04

I'm Here is shot in the dark,

1:13:06

and especially after all

1:13:09

of the really innovative ways

1:13:11

in which they shoot these other numbers, because

1:13:14

they allow it to happen in the realm of her imagination.

1:13:17

And he absolutely nails

1:13:21

hell no, which is Danielle Brooks's big number,

1:13:24

and then I'm Here happens and it's

1:13:27

just a thud, and I

1:13:29

was so bummed. Yeah, And

1:13:32

then I saw an interview with him and some

1:13:34

of the filmmakers where they were like, oh, we took out

1:13:36

the storyline of sugar

1:13:38

leaving, I think because they

1:13:40

wanted to make it like more clear and more

1:13:43

about like sisterhood and solidarity. And I'm

1:13:45

like, how do you make this a better queer

1:13:47

story by taking the tension and the conflict

1:13:49

out of the queer relationship.

1:13:51

To make it more and that they think that makes it more

1:13:53

clear. That doesn't make sense.

1:13:55

None of it makes sense to me. It is

1:13:57

a total failure and adaptation

1:14:00

of this story. And to me, I

1:14:03

don't know. Yeah, I was loving

1:14:05

this movie until I realized what they had done

1:14:07

with that storyline, and I was just like,

1:14:10

I'm sorry, but this is not this is not

1:14:12

the best version of this story. And then

1:14:14

you know, what. Go online and

1:14:17

watch some clips of the Color Purple Musical.

1:14:19

Watch the scenes where Sugar's

1:14:21

telling Cely that she's gonna leave, and

1:14:23

how that launches Cely and I'm here, and

1:14:25

then how I'm here dovetails into the finale.

1:14:28

That is like how that story

1:14:31

should be told. That is like, that's

1:14:33

the emotional climax of the movie. I

1:14:36

love the story, and it's just I

1:14:39

was really disappointed in that, which really

1:14:42

sucks because I loved the movie

1:14:44

for so many other reasons, and I think

1:14:46

that especially fantasious

1:14:48

performance as Ceily just deserve

1:14:50

better than what happened in the end.

1:14:52

Right, It's not a performance, No, it's

1:14:55

just soctorial.

1:14:56

She for all intents and purposes, should be up for an

1:14:58

Oscar.

1:14:59

She won't be, though she could take

1:15:01

that fifth spot.

1:15:02

It's definitely a race to the fifth spot.

1:15:05

For Lock and then it's just

1:15:07

about that fifth girl.

1:15:08

I wouldn't nominate Kerry Mulligan for Maestro.

1:15:11

I just don't think the movie's good enough. Like here's

1:15:14

My best actress would be this, and honestly

1:15:16

I'm giving Fantasia. I want

1:15:18

this for her. My best actress would be Natalie

1:15:21

Portman, Margot Robbie,

1:15:24

Emma Stone, and

1:15:26

some combination of Fantasia, Grete

1:15:29

Lee or Sandra Huler. I

1:15:31

just wish I could say Fantasia with my did

1:15:33

you say Lily, Lily Flower?

1:15:36

I think she's a lock for sure, having

1:15:39

not seen it, I think it seems like the scuttle

1:15:41

butt is that she is a

1:15:43

lock. I think, don't rule out Fantasia.

1:15:46

Look, I'm not ruling her out. I want it for

1:15:48

her. I just think it's a shame it can't

1:15:50

be called a lock, and I really think it could

1:15:52

have. But when you see this movie, you'll

1:15:54

know what I'm saying. I'm here happens.

1:15:56

She stands on her porch and sings it in

1:15:58

the dark's And if I was

1:16:01

her, I'd be pissed.

1:16:04

Yeah, light me, I

1:16:06

would say, I mean light

1:16:09

me properly.

1:16:11

That is a lifetime that leads up to

1:16:13

that performance, and she did.

1:16:14

It in the dark No.

1:16:17

Unacceptable.

1:16:18

I was disappointed.

1:16:28

What's not disappointing? And we have to

1:16:30

touch on.

1:16:31

This better than any of these movies.

1:16:34

Truly, one of the most

1:16:36

riveting viewing experiences I have maybe ever

1:16:38

had. This brought me right back to me

1:16:42

in high school watching Grey's anatomy super

1:16:45

Bowl episodes. We are talking, of

1:16:47

course, about mysteries

1:16:49

revealed real housemves of Salt Lake City

1:16:52

Season four finale.

1:16:55

I cannot stop thinking

1:16:57

about this and likely will never for the rest

1:16:59

of my life.

1:17:01

I think maybe the best

1:17:03

episode of housewives of all time.

1:17:05

Big, big title, and

1:17:08

I don't disagree. I

1:17:10

need no more than I do.

1:17:11

Emerald Finella needs to watch this

1:17:14

episode because this Monica

1:17:17

Garcia did what Barry Hewen never

1:17:20

could do, which was that

1:17:23

was a real bamboozling. Like

1:17:25

yes, first of all, can we say

1:17:28

the core four of LC A

1:17:30

list? They shot to the A list.

1:17:33

They were all them standing

1:17:36

on the beach. You know what I was flashing

1:17:38

back to was when we watched Big Little Lies, and we

1:17:40

got to watch this together too, the finale of slscree

1:17:42

watched together with a great crew screaming.

1:17:46

I've never heard a scream

1:17:48

and a laugh at the same time like I've heard it from Bowen

1:17:50

Yang at the words reality Vontee's.

1:17:56

It's such a perfect stupid

1:17:59

name. It is. It is the only name

1:18:01

it could have been, do you know what I mean? Like

1:18:04

there was like some a lot of chatter afterwards

1:18:06

in our little group that night where we were like,

1:18:08

God, that name though I don't know about that name. I'm

1:18:10

like, no, it is the perfect stupid

1:18:13

name, stupid avatar fucking

1:18:16

like Celesteiyim

1:18:19

reverse image search reality Vontiice's

1:18:22

avatar image on Instagram. It is from like

1:18:25

a product image on some like gear

1:18:28

site like burlesses gear site or something,

1:18:31

or not even Burless. But I think DTA might be

1:18:34

da seuing.

1:18:35

I think Dita was like, I don't know what this is and I will

1:18:37

take legal action if I feel like I have to.

1:18:40

I don't want my name in this at all. I think it

1:18:42

makes her more iconic.

1:18:43

First of all, from the beginning,

1:18:46

that episode was great.

1:18:48

From the beginning of the season is this has been

1:18:50

an A plus season all around.

1:18:52

This was I might have to give this incredible

1:18:55

Well you know what I did afterwards. I've watched

1:18:57

it twice and I did watch the first episode

1:18:59

of the Sea and again, kudos

1:19:02

to the editors because it is all

1:19:04

there, there, It is all there.

1:19:06

This season has rewatch

1:19:09

value. Boots,

1:19:11

Boots, it is so good.

1:19:14

Meredith the girl

1:19:16

with the pear earring could never over

1:19:19

this still of Meredith with her hair in her mouth

1:19:21

in anguish. People are trying.

1:19:23

To hurt us.

1:19:24

It is so sick of.

1:19:26

Trying to hurt us.

1:19:28

Also, Lisa, Oh

1:19:30

my god, you're gonna cry. What? Oh

1:19:32

my god? Wait what what?

1:19:35

I got your text? What's going on?

1:19:36

I got your text? What's going on? It's

1:19:38

wait for Meredith. She's walking

1:19:41

over. Honestly, Carrie,

1:19:43

Miranda, Charlotte and Samantha

1:19:46

are so over. It is about

1:19:48

Meredith, Lisa Whitney and

1:19:52

the legend Heather Gay. I mean,

1:19:54

Heather, you really

1:19:57

did something there.

1:19:59

You will be in the

1:20:01

Hall of Fame for all time.

1:20:03

Yeah. If there's a Hall of Fame for housewives, Heather

1:20:06

you solidified it.

1:20:07

You really did.

1:20:08

And it's been it's been not

1:20:11

always smooth sailing for Heather on the show. But

1:20:13

I feel like she freed herself. She

1:20:15

freed herself, and you always root for her.

1:20:17

You always.

1:20:18

She's the protagonist. She Heather Gay

1:20:21

is. Yeah, you know, she's

1:20:23

the star of the show.

1:20:24

Yeah.

1:20:25

I don't know that there's

1:20:28

a more satisfying reveal than she

1:20:30

gave me a black eye

1:20:33

and she knew she was She knew

1:20:35

what she was doing too. The

1:20:40

black eye of it all.

1:20:42

I mean, I

1:20:44

think we were all saying right like that finale

1:20:47

was pulling in threads

1:20:49

from seasons one, two, three, four,

1:20:51

It was. It was Avengers

1:20:54

end game level storytelling where

1:20:56

you're about to close all

1:20:58

of these loops. It does make me think what's

1:21:00

next in a genuine way. But

1:21:03

I'm not gonna worry about that too much me

1:21:06

neither. I'm just still

1:21:08

applauding that moment in

1:21:10

television because I have not felt and thank

1:21:12

god I had people over that night because

1:21:14

I was gonna just maybe watch it alone.

1:21:16

No, No, that needed to be a communal experience.

1:21:18

I'm so happy it was.

1:21:21

I just think that is spectacular TV

1:21:23

making just enough.

1:21:26

Like Little Red Herrings too, Like all

1:21:28

the lead up in the dinner to the moment of the

1:21:30

reveal stupid. It is

1:21:33

these women like faking the drama, you

1:21:35

know what I mean. It is like we don't

1:21:37

really care what's going on. We just we're

1:21:39

stalling until, like Heather finds the right

1:21:42

moment and she did. The moment

1:21:44

is so beautiful of Heather being like of

1:21:46

Heather asking Monica before the

1:21:48

reveal, like, well then how do you know that?

1:21:51

How did you like? Or like what was

1:21:53

the question? Why do you think we believe you, Monica,

1:21:55

why do you think we believe Oh my god,

1:21:57

why.

1:21:57

Do you think we believe you? And then she goes, well,

1:22:00

I had the receipts.

1:22:00

The team wasn't

1:22:04

about the truth.

1:22:05

It was about the truth. Receipt

1:22:09

prove timeline, screamshots,

1:22:12

fucking everything to prove you

1:22:14

a line of bully.

1:22:16

And a troll.

1:22:19

I

1:22:22

I mean, I was so grateful that night.

1:22:24

It was very grateful that night that

1:22:27

I'm sorry love

1:22:29

to the Scandalfal era

1:22:32

of reality television. That moment was

1:22:34

huge. I think you have

1:22:37

to give some accolade to

1:22:39

what what all of season four of Salt Lake City

1:22:42

was should be nominated.

1:22:44

It should be nominated, Bravo.

1:22:46

If you're listening NBC Universal, if

1:22:49

you're listening comcasts, start the campaign

1:22:51

now.

1:22:52

It will win the way they put

1:22:54

all the chips on vander Pump last year for the

1:22:56

Emmys, and then you

1:22:58

must do this for Salt Lakes. And I'll tell you

1:23:01

why. Salt Lake City is also great

1:23:03

because it was able with this storyline

1:23:05

to double down on its housewives

1:23:07

subgenre, which is true

1:23:09

Cup and I think

1:23:12

it knows that really this

1:23:14

five reasons why, And I sent this to Bowen.

1:23:16

This is how academic I'm thinking about this. Number

1:23:19

five, we were able to move on

1:23:21

and the cast was able to move on. I understood the

1:23:23

importance of moving on from

1:23:25

old conflicts. Meredith versus Lisa

1:23:28

was done. It was resolved in the first episode Heather

1:23:30

versus Whitney. It took a second longer, but it

1:23:32

was resolved quickly. The gen shaw of

1:23:34

it all, they, for all intents and purposes,

1:23:37

had moved on until it had to be dealt with again.

1:23:39

So that's number five, is they moved on?

1:23:41

Yeah?

1:23:42

Number four, Angie was

1:23:44

a way better housewife than anyone thought.

1:23:46

She was.

1:23:47

Haavy.

1:23:48

She's funny. I've never seen

1:23:50

anyone really like her, and she's

1:23:54

unintentionally and intentionally watchable.

1:23:57

She's been built up in a really nice

1:23:59

way through the season.

1:24:00

And never forget you. We wouldn't have had Palm

1:24:02

Springs or any of that narratith ouligans

1:24:06

without Antie K. So, Angie K,

1:24:08

you got your snowflake back for next season? Really

1:24:11

the house down.

1:24:12

Watch out for Elsiecas this year.

1:24:14

ANGIEK might show up.

1:24:16

She might be showing up in multiple categories.

1:24:18

She might show up on Iconic four hundred,

1:24:21

she might.

1:24:21

Show up in person, number

1:24:25

three, the perfect

1:24:27

amount of Mary Cosby agree, agree,

1:24:29

the perfect amount of

1:24:32

Mary, like we never

1:24:36

thought we're missing

1:24:38

her, and we never thought she's

1:24:40

too much like it was just the perfect.

1:24:42

Amount, even in this conversation,

1:24:45

even in the current discourse about reality Vontee

1:24:47

like the I think the night before the finale,

1:24:50

someone was with Mary and they say, Mary, what are your thoughts

1:24:52

about about the finale? But

1:24:54

what should we expect from the Salt Lake City for preside Vanilla?

1:24:56

She says, pray for Monica. Ooh,

1:24:59

you guys should for you guys better pray for Monica.

1:25:02

And I mean she was even that is the perfect

1:25:04

amount of America. Even that's the perfect amount of Mirria.

1:25:06

And I'm sure the.

1:25:06

Readion will give us the perfect amount. And they should know that going

1:25:08

forward. Mary never gets to snowflick again. But

1:25:11

invite her on the cast trips. Let her fucking

1:25:13

do her twenty minutes, sit in the van, go

1:25:16

get her fish fly We need

1:25:18

the color commentary Number

1:25:21

two, they finally were able to go on like trips

1:25:24

without worrying about Jenshaw's fucking visa

1:25:26

because she's a convicted fallon. And

1:25:29

number one was fucking

1:25:31

Monica Monica gave that

1:25:34

she was an antagonist that was for the Ages,

1:25:37

and I say that also saying we

1:25:39

do not need to see her again on this show. We're

1:25:41

done.

1:25:42

I agree. I don't know that she was an antagonist

1:25:45

for the Ages until the last

1:25:47

episode. I think the entire

1:25:49

season was like I don't know, I

1:25:52

don't know if I care for her until

1:25:56

you had to care and then you were like,

1:25:58

thank god.

1:26:00

I feel like, if you watch it again,

1:26:03

watch the first episode again, you'll see

1:26:05

it's all there. It's literally in

1:26:07

the first Remember they did that insane segment

1:26:10

where they were Lisa

1:26:12

walks by Monica on the street and she

1:26:15

goes the devil lurks

1:26:17

among us and it's Monica Like

1:26:20

they've been telegraphing it from the beginning, but

1:26:22

Monica Loki like again did

1:26:25

what Barry and Saltburn never could

1:26:27

do and actually manipulated

1:26:29

them and the celebrating

1:26:32

her birthday.

1:26:35

Two days before. My

1:26:37

theory family was never in Bermuda.

1:26:39

We have to get to the bottom of this. Well,

1:26:42

you know what I want. I want a four episode

1:26:45

I want Bravos version of

1:26:47

like fucking any

1:26:50

documentaries. I

1:26:52

want Bravos. I want a four episode limited

1:26:55

series called Reality Vontis and

1:26:57

it's Monica and all the

1:26:59

people in Reality Vontie's

1:27:01

Tanisha at all CoA, all

1:27:03

these people telling the truth. I

1:27:05

want a true crime limited docuseries.

1:27:09

That's the Bravo version of what we

1:27:11

see for like the fucking like.

1:27:13

The vow you need to watch Mommy

1:27:15

Dead and dearest you get in to speed

1:27:17

on the.

1:27:18

You brought it up because I have

1:27:20

watched nothing else but Gypsy Rose Blanchard

1:27:24

for the past three days. I am obsessed.

1:27:27

First of all, can we say I

1:27:29

think she's specifically slay on the view

1:27:32

she was really good.

1:27:34

Watched everything she's done. I've watched everything she's

1:27:36

done, and I've

1:27:39

never seen a crazier person.

1:27:41

I'm gonna go public. I don't think she'll mind me saying this.

1:27:44

Gypsy Rose. No, not Gypsy

1:27:46

Rose. Oh you know who else is obsessed with her?

1:27:49

Who?

1:27:49

Mariana Grande goes work,

1:27:53

bitch work?

1:27:55

Yes? And what else? Did she say?

1:27:57

Yes? And she was saying

1:27:59

that Gypsy Rose like

1:28:01

can have it all, like Gypsy Rose,

1:28:04

like you have the

1:28:06

world in the palm of your hand.

1:28:08

Gypsy Rose on her Instagram

1:28:11

being like, hey, get ready with me for today

1:28:14

I comes like, I can't believe this. She's

1:28:16

like, my whole outfit is zaras

1:28:19

I.

1:28:19

Think, I'm like pretty cute, okaybye. This

1:28:22

is this is a girl who like

1:28:24

is frozen in time in a way

1:28:27

like irrespective of prison, she

1:28:30

has been like fucking bio

1:28:33

physiologically manipulated

1:28:35

into being a certain way.

1:28:37

And she is like, this is another year of this is

1:28:40

like poor things ear of the Doll Barbie.

1:28:43

This is like girl steps down into the real world.

1:28:45

Wow, you're right.

1:28:46

She is figuring this out

1:28:48

and we cheer her on. She

1:28:51

is saying all the right things in these interviews,

1:28:53

being like I did a bad thing, I've

1:28:56

done my time. Now I just want

1:28:58

to live my life. And yes, I have an ebook

1:29:00

coming out. Yes I have a lifetime series

1:29:02

coming out. Watch it if you like. But

1:29:04

I'm not here to like fuck anything up. But

1:29:07

if people are interested in my story, here's

1:29:09

how you can find out more. Go off,

1:29:11

Queen, We love you, Gypsy

1:29:13

Rose.

1:29:14

I mean, there's one more

1:29:16

swift Y running the streets. She

1:29:19

wants to meet Taylor Swift. I don't

1:29:22

know if Tree Payne will allow it.

1:29:23

Her favorite song being Karma is an

1:29:26

L L. Yeah

1:29:29

it should be Karma.

1:29:34

Kara's her boyfriend slang

1:29:36

in that D. You see her post

1:29:38

about how the D is good?

1:29:39

Yes, I'm obsessed with this queen.

1:29:41

I think she's one of the great royals.

1:29:43

She's one of the great royals. I mean her boyfriend

1:29:45

consider me her pawn. Karma was

1:29:47

her boyfriend when Dedie got stabbed.

1:29:50

Period, poor Nick godjan a

1:29:52

name. I know.

1:29:53

Did you watch Mommy Dandiras? Did you watch the or

1:29:56

not yet?

1:29:56

So I've not watched that, but I will what I want

1:29:58

to watch and what I probably will watch it? Yeah,

1:30:00

like because I et nothing on on Sunday night, it's

1:30:02

anymore worth it? Well, I want to watch the act

1:30:05

because another wormhole I felt down

1:30:07

into is a Patricia Arcatte wormhole. I watched

1:30:09

you ever watched those like YouTube clips? I don't

1:30:12

forget who it is, but it's like it's like, this is the timeline

1:30:14

of my career.

1:30:15

Yes, yes, yes, she has a good one.

1:30:16

So Patricia arcat has one. That's good

1:30:19

because she's got done so many interesting things.

1:30:21

She's really quite versatile as an actress.

1:30:23

Like absolutely, yeah, she's amazing, but

1:30:26

uh, I haven't watched it yet. Now there's because

1:30:29

there's like a new one right now, there's like Gypsy

1:30:31

Rows, like in my own Words or some shit.

1:30:32

Well, that's her lifetime series, that's her as

1:30:35

herself.

1:30:35

I think, okay, I think it's

1:30:37

like Gypsy Rose Confessions or something. Basically,

1:30:40

all these things exist and they're all out there

1:30:42

to be watched. But I've not yet watched

1:30:44

Mommy Dead and Tears.

1:30:46

Mommy Dead and Tears is really good because these

1:30:48

motherfuckers at HBO paid for Disney

1:30:50

Clearance to play clips of Tangled

1:30:52

because that was her favorite Disney movie. And

1:30:54

how poignant is that to make a point

1:30:56

about it?

1:30:57

Oh oh wo.

1:30:58

She felt trapped. Her mom was like feeding

1:31:00

her lies about the world, like

1:31:04

her life was tangled, and she was like,

1:31:07

I wanted Romance to resolve this.

1:31:09

I wanted to meet a boy to save

1:31:12

me.

1:31:13

Rapunzel's mom had Munchausins by proxy.

1:31:15

It's actually a really culture number. Mother Gotha mother.

1:31:17

Go fucking

1:31:24

deva mother gothel voice actress.

1:31:26

Oh, I'm gonna find it. I'm gonna find it.

1:31:28

Donna Murphy, Donna Murphy, Donna

1:31:31

Murphy. Donna Murphy is a fucking icon.

1:31:33

Is a fucking legend and one of

1:31:35

the most gorgeous people we we have.

1:31:37

She's amazing. She's amazing before

1:31:40

we get into I don't think so, honey. I want your thoughts

1:31:43

on the White Lotus casting

1:31:45

reveal.

1:31:45

I'm very excited, very

1:31:48

excited for Leslie Bibb

1:31:50

as well. Leslie bib is Leslie phenomenal

1:31:52

actor.

1:31:53

I'm so pumped for the

1:31:56

random miss of this casting, you

1:31:58

know what I mean, Like it's like, of

1:32:01

course you never could guess, but I wouldn't

1:32:03

have guessed. Like even even the Parker

1:32:05

posy of it all, which is like the big poll is

1:32:07

so genius, but I wouldn't have

1:32:09

guessed it. And I'm living for this Christopher

1:32:12

guest revolution in White Lotus,

1:32:14

I said Catherine herron X.

1:32:17

Catherine herron X or

1:32:19

Parker is gonna be perfect in this world.

1:32:21

She's gonna be so good. And I love that,

1:32:24

Natasha, it gets to be the sort

1:32:26

of recurring thing

1:32:28

from prior seasons. I

1:32:31

can't wait.

1:32:32

You know. The one piece of casting where I'm like, I

1:32:34

don't know, is this little on the nose is I don't think anyone

1:32:36

reads as more evil than Jason. Isaac's

1:32:39

right, and so I feel like I hope he's not playing

1:32:41

an evil character, because that's on the nose to

1:32:43

me. Unfortunately, that's kind of what

1:32:45

happens when you play Lucius Malfoy is

1:32:48

you have like evil face and you're British.

1:32:50

It's kind of like you're bad. So I kind

1:32:52

of hope he doesn't play bad. But

1:32:55

lots of great actors in this, truly,

1:32:57

and Michelle Monaghan, who I hadn't thought,

1:33:02

yeah, this is gonna be good.

1:33:03

I'm just excited to see what mister

1:33:05

Mike White does with Asia

1:33:07

and death. I think those

1:33:10

being the themes of this are really not

1:33:13

the themes. One being the setting and one being the

1:33:15

theme is very cool. If

1:33:18

the theme was Asia, how would you feel that.

1:33:21

I'd be like, Okay, okay,

1:33:25

I trust Michael, I trust

1:33:27

you, Michael.

1:33:28

Very excited for yes,

1:33:31

and mmmm, I'm

1:33:34

just so you guys know. I had some readers Katie's Publicist

1:33:37

finalists on my Twitch stream and

1:33:40

of course some of y'all were orientators who and

1:33:42

this is my fault for spilling the beans, but one of them got

1:33:44

me to say a little blab a little bit too much

1:33:47

and egg on

1:33:49

mine. So I will not be doing I will not be

1:33:51

revealing too much, but it's a gag. Everyone's

1:33:53

everyone still love it.

1:33:55

I will not be really too much for I heard

1:33:58

it and it's a gag.

1:33:59

Well, no, that's already established.

1:34:00

I've already.

1:34:01

I've already no, I know.

1:34:02

So for those of you who don't know, what bo When is saying

1:34:04

is that he's heard the song, let's just keep it there.

1:34:07

He loves it. It's really good. I love

1:34:09

it.

1:34:10

I can't wait, and it'll be two days after

1:34:12

this episode drops that everyone will hear it.

1:34:14

Yes, yes, I can't wait. So

1:34:16

exciting. Should we move on?

1:34:17

I don't think so, honey, let's move on. I don't think

1:34:19

so, honey. I think maybe let's wait

1:34:21

until next week to talk about drag Race, because then

1:34:23

we'll have met all the queens.

1:34:25

Yes, but so far, I like

1:34:27

this first crop of queens.

1:34:28

I had a lot of fun. I think that the top two of

1:34:31

the week, which were Cue and

1:34:33

Sierra Sephira, are probably

1:34:35

the ones to watch. But I'm also into Down

1:34:38

a.

1:34:38

Lot, really into Down. I

1:34:40

really am excited for this season. I thought

1:34:42

I was kind of like in the lead up, like eh, sure,

1:34:45

yeah, drag Race whatever. Now that it's back, I'm

1:34:47

like, oh, I missed this I can't wait.

1:34:57

All right, so it might be

1:35:00

I don't think Sohney, Yes, okay,

1:35:02

and this is our one minute second where we go off

1:35:05

on culture. If you know, you know this is the ninth

1:35:07

season of Lost Culture is thus okay, this

1:35:10

is the first episode of the ninth season

1:35:12

of Lost Culture Create. So if

1:35:14

you're joining us now, you're

1:35:17

just in time to hear that I don't think Sohney

1:35:19

is our one minute second where we ran on something in culture.

1:35:22

But if you know, you also know I have something. Let

1:35:24

me get my phone. Let me get my phone, okay,

1:35:26

Darling the year.

1:35:28

Can I say it actually took me a second to

1:35:31

realize a mandatory meeting was

1:35:33

a mandatory meeting. I don't know why

1:35:35

it took me, But when that one queen was like, oh

1:35:37

my god, I just got it, I was like, wait, me too. And

1:35:40

I just thought if her last name was meeting.

1:35:43

Oh no. Have you seen the pit stop

1:35:45

where Trixie like has to take

1:35:47

a break to laugh at how fucking

1:35:50

amazing that name is.

1:35:52

It's one of the best names.

1:35:54

Oh wow, I have to check in on the pistop again because

1:35:56

Trixie's doing it.

1:35:57

Okay, fine, Trixy's I had taken a break a

1:35:59

mandatory eating is really really good.

1:36:01

Okay, and I love performance.

1:36:03

My Kitty, My Kitty, Where's

1:36:06

my kitty? It's very Matros coded.

1:36:08

Yeah, someone yelled at me across the party. She is your

1:36:10

same voice.

1:36:12

Well, it's it's very Matt used to. Matt

1:36:14

wrote this fever dream of a sketch

1:36:16

and pop roolette once, where it's about this

1:36:18

acting teacher who breaks into song

1:36:20

who's frustrated with her new students.

1:36:23

Do you not remember this?

1:36:24

I don't remember this.

1:36:25

You remember this? It was an acting it was an

1:36:27

acting class, and you were the teacher, but you were

1:36:29

a woman, and you were like

1:36:32

screaming at these students

1:36:36

and then just for not being up

1:36:38

to stand to your high standards as an acting

1:36:40

teacher, and then you break into a musical

1:36:42

number. You remember this, which is I.

1:36:45

Can't deal with all these

1:36:49

all these hoes, I can't deal with the young

1:36:52

chafters Okay, I

1:36:54

remember this did not get staged, But now

1:36:56

I remember I brought it in

1:37:00

because it made no sense.

1:37:01

Notes in the best way.

1:37:03

I was like, it was my favorite. It's one of my favorite

1:37:05

things you've ever done, because it's complete

1:37:08

chaos and it's pure id. It's

1:37:10

pure Matt Rodgers writing from a place of id

1:37:12

and play and stupidity, And I

1:37:14

really think you should do something with it. All

1:37:17

right, maybe I'll do it as a character one of

1:37:19

these things. But that is the same song that a

1:37:21

mandatory meeting dead? Where's

1:37:23

the kidding emandatory meeting?

1:37:25

We are kindred?

1:37:26

We should collab? Okay, ready,

1:37:29

this is Matt Rodgers. I don't think so, Honey's time starts

1:37:31

now.

1:37:32

I don't think so, honey. Epstein list

1:37:35

girl, just tell me who's a rapist

1:37:37

and who isn't like, stop with the If

1:37:39

there's someone out there that needs to be feared and is

1:37:41

harmful, just say who they are and

1:37:43

what they've done. Because because now like

1:37:46

people are like, oh my god, did you hear so and so was on

1:37:48

the Epstein List. Kate Blanchette is on the Epstein

1:37:50

List. I'm like, yeah, but honey, what does

1:37:52

that mean? Like does she do anything wrong? Or

1:37:54

was she mentioned in documents? Come to find

1:37:56

out? Yeah, it was about someone bragging

1:37:58

about her. But now she has liked talks on

1:38:00

her name because she was on the Epstein List. I got

1:38:02

people in the DMS today being like, did you see Christy

1:38:05

Tiggins on the Epstein List. I'm like, what are you talking

1:38:07

about? It is harmful and

1:38:09

who isn't? Stop with this Epstein list.

1:38:11

And this is what happens when you build

1:38:13

something up and build something up there, build something

1:38:16

up and allow it to fester online. Now it's

1:38:18

like something that it isn't like, chill

1:38:20

out. Who's harmful? Who isn't?

1:38:23

What's the information? What's the news now?

1:38:25

What's this blanket statement of other on the Epstein

1:38:27

list or rumored to be on the Epstein list? Also, what's

1:38:29

the list? What's a rumor? I don't think so, honey.

1:38:32

And that's one minute. Thank you for speaking on that.

1:38:35

It's just a consequence of the way that

1:38:37

these documents are being released by

1:38:40

the court, and so

1:38:43

there's all but no, but I agree with you. There

1:38:45

is all this really crazy

1:38:47

stupid love internet

1:38:50

crazy stupid bug like internet

1:38:54

fodder over it in a way that I think is actually

1:38:56

kind of not dangerous.

1:38:59

But just like it's

1:39:01