Latest / Camp Classics / The Devil Wears Prada (2006)

Transcript

The Devil Wears Prada (2006) · Camp Classics

• 0:18
  I used to love doggy chow. I used to love.
• 0:22
  Doggy chow, too. I'm a glamazon who skulks around
• 0:25
  in corners with some random hot fashion guy.
• 0:29
  I'm Crystal. Do you know why I agree to work
• 0:34
  with you? Why I always work with the same
• 0:38
  girls? Stylish, slender, of course.
• 0:42
  Worship me. But so often they turn out to
• 0:45
  be, I don't know, disappointing and stupid.
• 0:52
  So you with that impressive resume and that big speech about
• 0:56
  your so-called work ethic, I am. I thought you'd be different,
• 1:00
  Crystal, I said to myself, go ahead, take a chance.
• 1:05
  Hire the smart fag. I had hope My God, I live on it.
• 1:11
  Anyway, you ended up disappointing me more than all
• 1:16
  of this silly other guys. I'm baby lame.
• 1:19
  That's all. That was so unnecessary.
• 1:22
  Sorry. I had an idea and I was like,
• 1:25
  I'm just going to go with it. And yeah.
• 1:27
  I like that you substituted Fat Girl for a fag though, yeah.
• 1:32
  I was kind of on the cusp a bit ad Lib.
• 1:34
  You know, yeah, yeah, right. Yeah.
• 1:37
  Substitute the slurs, Yeah. I should modify the same gaze.
• 1:40
  I didn't really. Yeah, it needs workshopping
• 1:43
  probably. There we go, Welcome to Camp
• 1:46
  Classic. Thoughtful podcasts about stupid
• 1:48
  movies. Every two weeks we get together
• 1:51
  and discuss another film in the Canon of someone younger and
• 1:55
  hungrier coming down the stairs after you.
• 1:59
  There's always someone younger and hungrier coming down the
• 2:03
  stairs after you. Or another scene in a hospital
• 2:09
  bed with some lesbian tension. Oh, there you go.
• 2:12
  You've been putting some work into this.
• 2:14
  I mean, I can't. Remember what the last one was?
• 2:16
  But it's definitely the third. Film all films about Neve
• 2:22
  Campbell starring Neve Campbell. We were nearly three of those.
• 2:25
  I'm. Very excited to be here.
• 2:27
  You know who else is excited to be here?
• 2:28
  Neve Campbell. What a great party of five all.
• 2:32
  Right. Thank you.
• 2:33
  How are you? I'm OK, yeah.
• 2:35
  Thanks for asking. I'm, you know, I've just been
• 2:38
  living, Yeah. Trying to survive, thrive, you
• 2:41
  know, Other than that, nothing. OK, what about you?
• 2:46
  Well, as you know, I just got back from Berlin.
• 2:49
  I know because you have a more interesting life than me.
• 2:51
  I get it. And I was definitely cursed by
• 2:57
  our episode, which came out the day before I got there where
• 3:00
  I'm. Not just you, that was cursed as
• 3:02
  well. Yeah, yeah.
• 3:04
  I don't know if you remember in in our 54 episode, but I said
• 3:06
  I've only been turned away from Bergheim once.
• 3:08
  And I also said that 54 was my friend Erica's favorite movie.
• 3:13
  Well, the Bergheim gods heard us and they said not you 2, not
• 3:18
  tonight, better luck next time. And we were both turned away.
• 3:21
  Why were you turned away though, do you know?
• 3:25
  It was a pretty cool, intimidating lesbian bouncer and
• 3:28
  I was going in with my friend Anna and she asked us something
• 3:31
  in German and I said yes. So Anna got in.
• 3:35
  No, the question was, why did you come here tonight?
• 3:38
  And I said yes. And then she was like, but I
• 3:41
  didn't understand what she said. And she's like, if you don't
• 3:43
  speak German, just say you don't speak German.
• 3:44
  You're just wasting my time. Fair.
• 3:46
  Yeah. And well, then it was just over
• 3:49
  for me. But we were definitely so.
• 3:51
  It was over for you. So was everyone else turned
• 3:53
  away? Oh.
• 3:53
  If you if it's either a yes or no for your whole group, so you
• 3:57
  like. The last time I went, which was
• 4:00
  over a decade ago, it will it there was a divide in the group.
• 4:04
  Yeah, there was one person that wasn't allowed.
• 4:06
  Oh, they have. I've seen them do that before
• 4:08
  too, actually. They're like, well, let 2 of you
• 4:09
  in. Yeah, exactly.
• 4:10
  And so then the three people have to decide, like, who's not
• 4:13
  going? You can't make me choose.
• 4:16
  So then I took it as my mission. So we went back at 6:00 AM.
• 4:19
  What did you do differently? Dressed better OK and so then
• 4:23
  Saturday we went to bed really early got up at 5:00 AM, went to
• 4:25
  the door at 6:00 AM. Totally sober in like a
• 4:28
  specific. Totally sober.
• 4:33
  Actually, yes though, and it was the same bouncer and I swear
• 4:40
  there was a flicker recognition where she was like, I recognized
• 4:44
  the hustle of you trying again and she let us in.
• 4:48
  And so then we stayed for two hours.
• 4:49
  We went in a 6:00 AM because the bouncers change at 8:00 AM.
• 4:51
  This is too much information, but the bouncers change at 8:00
• 4:53
  AM. So if you don't, if you get
• 4:54
  rejected at six, you can then just try again at 8:00.
• 4:58
  So we went, but we got in straight away.
• 4:59
  So then we just stuck around until 8:00 until the bouncers
• 5:01
  changed so she wouldn't see us leave, went home, had a big nap,
• 5:05
  went for brunch, and you've got to respond at that point.
• 5:07
  So then you can just get right back in.
• 5:09
  What? Like it's hard.
• 5:11
  Yeah, that was that was way too long the explanation there, but.
• 5:14
  But then then I proceeded to spend sent 19 hours there from
• 5:19
  1:00 PM until 8:00 AM Wow. Yeah.
• 5:24
  Got a lot done and that was a couple of days ago wasn't it?
• 5:26
  So I can only apologise to anybody listening to this
• 5:29
  podcast if Crystal suddenly just drops off, which could happen.
• 5:33
  I look pretty good for a dead bitch.
• 5:35
  Or burst into tears. Yeah, all start sweating.
• 5:38
  Don't tell me with a good time all of this, I could get tears
• 5:42
  today. Let's go Well, it won't be over
• 5:45
  this fucking film. Spoiler alert if you haven't
• 5:48
  guessed it already from the clues, because we are taking
• 5:51
  another step into our complete and utter basic dumb by doing
• 5:55
  this episode. We.
• 5:56
  Are, but it's in the zeitgeist. It's culturally relevant.
• 6:01
  Yeah. Sure, we need to.
• 6:02
  The people want to know our take.
• 6:04
  On because what I will say is my boyfriend said to me, you're
• 6:09
  doing the film that like no one ever in the world needs to talk
• 6:12
  about ever. Because of the amount of press
• 6:14
  that everybody's been doing. Everybody has spoken about this
• 6:17
  film then, and because of its sequel, no one needs to talk
• 6:22
  about this film ever again. Yeah, you might be right.
• 6:28
  Hey, I've got, I've got. I'm going to save it though.
• 6:31
  I've got a hot take on one of the characters.
• 6:33
  Wow, is it that the friends aren't very nice ground
• 6:38
  breaking? It's actually one particular
• 6:42
  friend, beginning with AB, the boyfriend, the.
• 6:45
  Boyfriend. Yeah.
• 6:47
  Yeah. Hot take alert.
• 6:50
  I remember, I remember, we'll get to.
• 6:53
  I know we shouldn't talk about this now, but I do remember for,
• 6:55
  like, many years before it became like a viral thing,
• 6:58
  literally being like, that is my take about this film and like,
• 7:01
  not really meeting people that have had the same take.
• 7:04
  And I was just kind of like, yeah, I like what?
• 7:07
  I'm not like other girls. I actually think the friends are
• 7:11
  kind of the bad guys ground breaking before we get into the
• 7:20
  world. The cast of my life.
• 7:22
  The Devil Wears Prada. We need to welcome new Gayatrion
• 7:25
  members because we have a Gayatrion.
• 7:26
  Yes, we do. Where you can subscribe.
• 7:28
  Snappy little bunch, aren't they all?
• 7:31
  Right. You can I just personal shout
• 7:35
  out to Hey Eve Frankenstein. You are valid.
• 7:39
  You are valid, Your name is real.
• 7:41
  Eve came for me. So in our last episode I
• 7:45
  welcomed new member Eve Frankenstein and you said that's
• 7:48
  not a real name. Eve Frankenstein quick on the
• 7:51
  Patreon said my name is as real as yours, baby.
• 7:54
  Lame. I love.
• 7:58
  It I love it though to be fair. I come on Eve.
• 8:00
  As the more bullying you receive, I think the more we
• 8:04
  both enjoy it. Yeah, exactly.
• 8:05
  I'm very happy with that. But yeah, we do have a Gatron.
• 8:08
  It's £4 a month, you get a bonus episode every month and you can
• 8:12
  help us make this podcast possible.
• 8:15
  We've got new members Joe, Josh Heller and Marley who if you
• 8:21
  will recall, if you will recall, Marley is the person who sent
• 8:25
  the swaggy message suggesting. Party girl.
• 8:28
  And we were like, he's from the Bronx.
• 8:30
  He's like. Well.
• 8:31
  Man. Marley the swag continues
• 8:35
  because Marley joined the Patreon on the free trial.
• 8:38
  Yeah, clearly to listen to the Party Girl episode and then
• 8:41
  cancelled. Oh shit, Marley.
• 8:44
  Go off, Marley. Fuck you, Marley.
• 8:46
  No, I'm into it. No, I'm into it too.
• 8:48
  I love that energy. And you know what?
• 8:51
  I encourage all of you. But also I saw that Marley,
• 8:54
  sorry, I saw that Marley also replied to us and he's from
• 8:56
  Essex. I didn't.
• 8:58
  See that? That's why I was leading with
• 9:00
  that Marley with his swag out. Isn't Jersey the really the
• 9:05
  Essex of America? Yeah, I guess so.
• 9:08
  Yeah, you can still have swag in God.
• 9:11
  This feels very appropriate. This podcast we're now talking
• 9:13
  about. Like TOWIE, you ain't ever gonna
• 9:17
  get this candy. OK, I've got some comments to
• 9:22
  read. Penguin Killbot says mysterious
• 9:25
  Spotify listener here. Found Kemp Classics by the
• 9:27
  amazing episode of You're Good with Crystal and River Butcher
• 9:30
  and I'm so glad. Camp Classics has been a perfect
• 9:32
  mixture of silly, queer, and scientifically rigorous.
• 9:35
  A quick suggestion for the sack. Have you considered the truly
• 9:38
  batshit 1980 musical The Apple You familiar?
• 9:42
  I watched the trailer, it looks fucking insane.
• 9:45
  Really. It's giving the music it's
• 9:47
  giving return to ounces. Oh, OK.
• 9:49
  Yeah. So thank you.
• 9:51
  Good suggestion in the sack. Have you done a musical?
• 9:53
  I don't know burlesque. That's a definitely a musical,
• 10:00
  yeah. Amanda says hi.
• 10:03
  I was recently reminded of the 2002 movie Tip Toes, which falls
• 10:06
  into the So bad as good camp territory might be one for the
• 10:09
  sack. The Synopsis An average sized
• 10:11
  man struggles with revealing to his pregnant fiance that his
• 10:14
  entire family are little people as he worries that their unborn
• 10:17
  child may be born with dwarfism. You sent me the trailer to this,
• 10:21
  have I? Yeah.
• 10:22
  And you were like, what the fuck?
• 10:23
  Is this it? I mean, it's, I think it's.
• 10:27
  I don't know if we're. Capable.
• 10:31
  I mean, it certainly does need to be discussed.
• 10:33
  Someone needs to discuss it, maybe on another podcast.
• 10:37
  I. Yeah, I definitely not qualified
• 10:39
  to, no. I'm not ready.
• 10:40
  I don't think I'm ready to laugh at that movie on behalf of any
• 10:43
  community, but I do kind of want to watch it.
• 10:47
  Oh yeah, definitely. Thank you Amanda, Sarah says.
• 10:52
  Love the pod. Fall asleep to it every night.
• 10:56
  Wanking. Should we?
• 10:58
  Should we? Oh, Sarah, hi.
• 11:01
  Sarah, it's your sleep paralysis demons here, Crystal and baby.
• 11:10
  Don't like you doing that, voice.
• 11:12
  The crashes have begun, everybody.
• 11:14
  I can feel it. Sarah says I'd love to listen to
• 11:17
  your take on Bottoms. Lesbian black comedy at its
• 11:22
  best. Yeah, it's a great movie.
• 11:24
  Yeah, it's a really good movie. I kind of risk, I kind of
• 11:27
  bristle at doing a movie like that because I'm just like, what
• 11:29
  is there to say? It's a funny comedy with new
• 11:31
  people. Let's see Devil Wears Prada
• 11:33
  instead. Ground breaking.
• 11:35
  What is it to say? God forbid we might talk about a
• 11:39
  film that's actually well made. I mean, yeah.
• 11:45
  More comments Ren. Can I also just say I forgot
• 11:48
  that it was Devil Wears Prada and I thought we were doing
• 11:50
  Devil Wears Prada too, which I haven't seen yet.
• 11:52
  And obviously I'm going to just open up the velvet curtain and
• 11:56
  just let viewers and listeners backstage, you know, we, we talk
• 11:59
  about a week in advance and just sort of make sure we're watching
• 12:01
  the right film, don't we, Crystal?
• 12:03
  I my mind, I was like, oh, yeah, we're doing Devil Wears Prada
• 12:05
  too. And then it was like, Oh no,
• 12:07
  it's Devil Wears Prada. And I was just like I was like,
• 12:10
  of course we are because Crystal is always linear and will always
• 12:15
  want to do it in order of release.
• 12:18
  Ground breaking don't you think though?
• 12:20
  Well. Whereas I'm just like, let's
• 12:23
  just do anything out of order, it doesn't matter, yeah.
• 12:27
  Yeah, that is very. So I was kind of like, oh, this
• 12:29
  will be something new to talk about, no.
• 12:33
  I just know that our most listened to episodes of the ones
• 12:36
  where people have seen the movie.
• 12:37
  So theoretically this episode is going to pull really highly.
• 12:41
  It's just we're going to have to just be creative and think of
• 12:45
  fun things to say about this movie.
• 12:48
  And I have at least 2 groundbreaking.
• 12:53
  Rens has petitioned to have Charlie on the pod for a proper
• 12:55
  Spice Girls. Deep dive.
• 12:57
  I would, I would love, I would love for all of them to come on.
• 13:00
  But Charlie should definitely come.
• 13:01
  On yeah, when the the day finally comes that we finally do
• 13:05
  Spice World might need a break from big budget cash grabs after
• 13:10
  this movie though. Yeah, yeah.
• 13:12
  I'm kind of, I'm craving like a notes on the scandal coming up.
• 13:16
  So I need something. We need to go to a different
• 13:18
  genre. Last comment, Penners says some
• 13:21
  like it Hot would be a fascinating talk because someone
• 13:23
  else suggested that on our last episode.
• 13:26
  It walks the pre and pro code tightrope.
• 13:30
  Poor Marilyn was at her best and worst and I've never seen it so.
• 13:34
  You'd never seen some like it hot.
• 13:36
  That's so wild to me. That's really crazy.
• 13:40
  I mean, I'm not who? Who suggested that?
• 13:44
  Penners just now. Penners well I don't want to
• 13:47
  like comfy penners but it is giving a bit like sixth form
• 13:51
  college media studies essay just saying OK.
• 13:58
  No, Marilyn. Listen, I would be, I'd be up
• 14:00
  for it, but like. Poor Marilyn was at her best and
• 14:02
  worst. I know, but but like, but you
• 14:04
  know, I don't know, doing like a queer takedown of some like it
• 14:08
  hot. It's just a bit like it's very
• 14:10
  like doing Devil Wears Prada as an episode in my I'm open to it
• 14:15
  and I haven't watched it for a very long time.
• 14:17
  And if and if Crystal hasn't seen it, probably lots of very
• 14:19
  new interesting insight about that movie.
• 14:23
  That's me, full of fresh, fresh takes on really famous movie.
• 14:29
  Branding because I'm becoming the villain at this podcast.
• 14:32
  Becoming. No, I was always the city, I was
• 14:36
  always the sassy fun sidekick who is just brought some like
• 14:40
  energy and some like lols to the thing.
• 14:42
  And now I'm becoming like the hateful money one.
• 14:46
  I think between us, like you combine us and you probably do
• 14:50
  get a bit of Miranda Priestly because you're the cunt and I'm
• 14:53
  the soft spoken one. That's all.
• 14:59
  Wow. Wow.
• 15:02
  Sure. Right.
• 15:04
  OK. We are going.
• 15:06
  We are going to. You literally can't speak that
• 15:09
  it's happening. I knew it would happen.
• 15:12
  We are strapping kids. We need to pick a suggestion SEC
• 15:17
  movie for our next movie. We'll do that at the end of the
• 15:19
  episode, yeah. Yes, Yeah, we will.
• 15:21
  OK, we'll do it at the end of. The episode.
• 15:25
  I'm going to open this drink. Oh yeah.
• 15:27
  Well, yeah. Thank you for this.
• 15:29
  You know one thing the Devil Wears product does call for is a
• 15:32
  fruity cocktail and a can ground breaking.
• 15:35
  Right, girly. Well, here we go.
• 15:37
  Here we go, still our year. Cheers.
• 15:42
  And if you're drinking at home, cheers to you too and.
• 15:45
  If you're not, you shouldn't be because you're listening to
• 15:48
  this. OK, So yes, we are cover.
• 15:51
  Did we cover all our business? I think so.
• 15:53
  Oh, baby. Gosh, all that business that
• 15:57
  just drove it right out of my head.
• 15:58
  And I know you're waiting for me to ask what makes the CAP
• 16:01
  classic. Please bore someone else with
• 16:05
  your questions. I hate myself so much.
• 16:11
  Do it again. I've got another one as well.
• 16:14
  Baby, what makes a camp classic? Shant, which we like.
• 16:18
  No, Shant. Listen, if we're going to do if
• 16:23
  we're going to do this film, the only thing good is some of the
• 16:26
  quotes. So, OK, what is a camp classic?
• 16:29
  Well, thank you for asking, Crystal.
• 16:32
  A camp classic is something that should unlock queer joy in the
• 16:35
  words. Oh, I didn't.
• 16:37
  I thought I could do it. I can't.
• 16:40
  I need to read it. It's trained actor everyone.
• 16:46
  I'm going to just do it like Emily.
• 16:48
  Yeah, well it's something that unlocks queer joy.
• 16:52
  I want to get to a wetty. Apparently it's stupid like you.
• 16:56
  It needs to have an ongoing legacy and inform queer pop
• 16:59
  culture unlike your career. And it needs to be anti
• 17:02
  mainstream underdog flop vibes. It's been reclaimed by the F
• 17:04
  slurs. Emily would definitely.
• 17:07
  I was quite good at those. Good.
• 17:10
  Yeah, something the. Trained actors back in the room
• 17:13
  again. And today we're covering.
• 17:18
  I really like how I use any opportunity to do monologues on
• 17:21
  this podcast. It's like no one wants it.
• 17:24
  It's fine, I can always trim them.
• 17:26
  Yeah, you never do. Maybe I'll start putting them at
• 17:28
  like 1.5 speed. OK.
• 17:30
  Yeah, just like, yeah, maybe just do that with everything I
• 17:33
  say. We're covering The Devil Wears
• 17:38
  Potter. In case you didn't realize.
• 17:44
  You didn't know. It's kind of silly to tell
• 17:48
  anyone anything about this movie because we all know.
• 17:49
  But obviously, it was a 2006 comedy film starring Anne
• 17:53
  Hathaway, Meryl Streep, Emily Blunt and Stanley Tucci,
• 17:56
  directed by David Frankel. Believe it or not, it was a big
• 18:01
  hit. It was a huge hit.
• 18:02
  Huge hit budget of about $35 million and it took 326 million
• 18:07
  worldwide in the top 20 movies of the year.
• 18:11
  Not only was that huge commercial hit, though, it was
• 18:14
  also a critical success. Yeah, didn't bloody Merrill get
• 18:18
  an Oscar nomination for? Meryl Streep received an Oscar
• 18:21
  nomination for this movie, probably her 17th.
• 18:24
  Yeah, it has 75% on Rotten Tomatoes Best Actress nom for
• 18:29
  Meryl and for costume, and she won the Golden Globe for Best
• 18:32
  Actress. So it's not a flop at all, is
• 18:36
  it? There is.
• 18:37
  No world where this movie is a flop.
• 18:41
  There's no way to squint at it. You might call it underdog.
• 18:48
  Because of where it came. From where it came from.
• 18:50
  But I don't even think you can do that when you've got Meryl
• 18:52
  Streep in it. And now it's like a juggernaut,
• 18:55
  like mass budget franchised sequel, isn't it?
• 19:01
  There's like a given it's going to sell.
• 19:04
  I saw this comment. High key, abhorrent, blatant gay
• 19:07
  bait. Vogue caricature, sterile
• 19:09
  corporate pride slop. Painfully corny.
• 19:13
  That's what it's become. Makes it sound quite good like
• 19:16
  that. Maybe that's what I'm that's my
• 19:20
  predictions for the sequel. And obviously there's a sequel
• 19:23
  which is out now and it's also been a huge hit.
• 19:25
  It's already almost made as much money as the first one had.
• 19:28
  Shit, there you go. So there will be a third, then
• 19:31
  there will be a third. Yeah.
• 19:34
  But before we get into the plot and our all of our hot takes, I
• 19:40
  thought we'd start with a quiz. Oh great.
• 19:43
  It gets better and better and better.
• 19:44
  We're. Playing porn or norm Devil wears
• 19:47
  Prada edition. Oh, wonderful.
• 19:48
  OK. Porn or norm the devil wears
• 19:51
  nada Porn. Porn Correct.
• 19:58
  Porn or norm? The Devil bears vagina.
• 20:02
  No, you did that. You came up with that.
• 20:04
  I like it. Norm porn or norm the dildos the
• 20:11
  dildo so stupid. The the dildo spares nada.
• 20:16
  Well, you did that. There's only so many ways you
• 20:20
  can spin this and porn or norm the demon twink wears Prada.
• 20:26
  I feel like that's real. It is the demon twink wears
• 20:34
  Prada. That's great.
• 20:35
  I want to watch that. I really want to watch well.
• 20:37
  It's available on xhamster OK. And so for that research of the
• 20:41
  quiz, you had to watch all of it.
• 20:43
  Yeah. It's really not much about a
• 20:46
  fashion magazine at all. What would the cerulean jumper
• 20:51
  be? Oh, like a harness.
• 20:55
  Yeah, I guess so. Like if you're talking demon
• 20:57
  twink, yeah, it wouldn't be anything like actually Creative
• 21:02
  Dark Strap. They're so different.
• 21:08
  I hate this movie now. OK, let's get into the plot.
• 21:24
  It's an opening montage. I know what's your history with
• 21:28
  the movie though. Oh yeah, history with this
• 21:30
  movie. History with this movie.
• 21:31
  I don't know, I saw it when it came out.
• 21:32
  I've probably watched it like 5 times since did.
• 21:36
  You like love it? Yeah, I think I loved it when it
• 21:38
  came out. Yeah, yeah.
• 21:40
  Yeah, I think I loved it as well of.
• 21:42
  Course, everyone loved it. I had it on DVD.
• 21:45
  I've seen it. I think I've seen it like about
• 21:47
  legit probably minimum 20 times. Oh wow, OK, I'm not that many.
• 21:51
  But I'm still not good at quoting it and stuff.
• 21:53
  But like, I definitely it's, it's just, it's always on TV as
• 21:57
  well, isn't it? Yeah, everyone at the everyone
• 22:00
  who's a millennial has a fond feeling for this movie.
• 22:03
  I feel. So there you go.
• 22:04
  Yes. OK, so it's the opening montage.
• 22:09
  We meet Andy and. I'll tell you what camp clue is
• 22:11
  not Suddenly I see by KT Tunstall in any world.
• 22:16
  I hate that song. It's so fucking generic, Yeah.
• 22:21
  I mean, it suits Andy quite well, doesn't?
• 22:23
  It it's a real Andy song. Yeah, but this is the worst
• 22:27
  montage in the movie. There are many montages.
• 22:30
  This is the worst one. The rest of them are quite good,
• 22:32
  but this one isn't good. But this is where we learned
• 22:34
  that Andy. Well, she's not like the other
• 22:36
  girls, is she? She's different.
• 22:39
  She's not. She's just it's a bagel and.
• 22:42
  Oh, she's messy. She gets the subway.
• 22:45
  She's quite overweight as well, isn't she?
• 22:47
  What a fat so. Yeah, I mean, that's just what's
• 22:49
  implied throughout the film, isn't it?
• 22:51
  There she is like this, slender, like deer, like creature.
• 22:55
  Yeah. And she's interviewing for a job
• 22:58
  that she is not qualified for. So like basically the first
• 23:03
  words out of her mouth is like, who is Miranda Priestly?
• 23:05
  Like imagine going to a fucking job interview and not knowing
• 23:08
  who the boss who you'd be working.
• 23:09
  For like an esteemed, like, fucking public, like the world's
• 23:14
  biggest publication. It's like a dream job, she'd
• 23:18
  say. Yeah, she shouldn't even be
• 23:20
  allowed in. She's got a.
• 23:21
  Journalism degree. She doesn't know who Anna
• 23:24
  Wintour is. Or to even think I'm going to
• 23:27
  just do a quick search about that.
• 23:30
  It's the first of many things that Andy does in this movie
• 23:33
  that is baffling slash moronic, baffling slash moronic.
• 23:39
  It's like she's she's a vehicle for for plot explanation.
• 23:43
  And so they have to make her do really stupid things.
• 23:45
  Yeah, but this one, really, this one really grabbed my gears.
• 23:49
  Yeah. Then we get the Miranda arrival
• 23:51
  scene and this is fabulous. And it's like the whole setup of
• 23:55
  these characters are I still as we're like, we are talking like
• 23:59
  no one has ever seen this movie ever, which I know is kind of
• 24:01
  the job of the podcast, but it's just like, I'm literally like,
• 24:04
  what are we doing? But no, like Emily Blunt, the
• 24:07
  introduction of Emily Blunt is fab in this movie.
• 24:09
  We know that she. Yeah.
• 24:13
  I'm just like, who does she play?
• 24:15
  She plays a stuck up, bitchy British girl, Yeah.
• 24:18
  Yeah, apparently it wasn't written British, but she pushed
• 24:23
  for it and that's what got her over the edge in the audition
• 24:25
  process. And this was her big break.
• 24:26
  There you go. Apparently in her audition she
• 24:29
  got called back. The studio wanted to see her
• 24:31
  again, but they were under the instruction that she wore
• 24:34
  something chica. Oh.
• 24:37
  I saw an interview about that recently that was quite and also
• 24:40
  Anne Hathaway was like the 9th actress in line to get this
• 24:44
  role. Yeah.
• 24:45
  Like she really? Really wanted Rachel McAdams for
• 24:47
  this. And Kate Hudson, Yeah, which
• 24:50
  again, I'm like, why do I don't? I don't really.
• 24:54
  Would it have mattered who the main?
• 24:55
  Person No. I think the Anne Hathaway role
• 24:57
  is like you can interchange basically anyone.
• 25:00
  Yeah, there's nothing about her performance that's no.
• 25:04
  She she does a good job. Oh, yeah, totally.
• 25:06
  Yeah. I think I really rate Anne
• 25:08
  Hathaway now. I think she's done a lot.
• 25:10
  Me too. In her career, but she's just
• 25:12
  generic here. Yeah.
• 25:14
  And that's kind of what the role.
• 25:16
  It's it's like Julia Roberts. It's like the Julia Roberts of
• 25:19
  her age. Yep.
• 25:19
  Yep, this Miranda rival scene though.
• 25:23
  Have you seen the big business version?
• 25:26
  No Bette Midler. So the scene.
• 25:29
  Yeah, yeah. So this scene is basically a a
• 25:31
  recreation of Bette Midler's arrival scene in big business.
• 25:36
  Which is? I haven't even thought about
• 25:38
  that. I don't know if they were just
• 25:39
  ripping it off or they were making an homage, but it feels
• 25:43
  like an homage because there's even that elevator shot, like
• 25:46
  Bette Midler and Miranda are going up in the elevator and
• 25:49
  they both like lift their head up and into the camera and it's
• 25:53
  just very like, that's the first time you see their face.
• 25:55
  It's very good. I saw recently for like promo
• 25:59
  the sequel. Have you seen Miranda meeting
• 26:02
  Anna Wintour? Yeah.
• 26:05
  It's really annoying. So annoying.
• 26:07
  I think something I found interesting about this movie in
• 26:10
  terms of when it was released, although obviously it had
• 26:13
  connections and they were like overlays with like Vogue
• 26:16
  magazine. I got the sense from, like,
• 26:18
  material at the time that Anna Wintour was not happy with the
• 26:21
  association. And I thought that was kind of
• 26:23
  cool that it was kind of pressing some buttons and, like,
• 26:27
  and like, Meryl was kind of hitting some beats.
• 26:30
  And I think I can't remember if the September issue came before
• 26:33
  or after. Yeah.
• 26:35
  And again, and that was kind of another because I feel like up
• 26:38
  until that point, people had only heard of Anna Wintour, but
• 26:40
  she wasn't like, kind of a celebrity per SE.
• 26:43
  And by that point, we hadn't really had the like, you know,
• 26:46
  all of the Kardashians like fully to where they got to.
• 26:50
  So I think it's interesting. She's just kind of like an
• 26:53
  industry figure with a reputation.
• 26:54
  But then this kind of put such a spotlight on her and then she
• 26:58
  sort of had to do a September issue to.
• 27:00
  But yeah, I just totally. I.
• 27:01
  So I love that and I loved and I loved all of this.
• 27:04
  Like, fucking hell, Meryl Streep is playing a bitch here.
• 27:07
  Is this real person like this? And it just kind of, it felt
• 27:11
  like you were getting access to the the fashion industry more
• 27:13
  than you would as just a. Regular person, I think, I think
• 27:18
  Anna Wintour handled it so well by like kind of being aloof
• 27:21
  above it and then doing something much cooler, which
• 27:24
  showed the magazine in this very cool light and was very like,
• 27:29
  I'm above this and like, I also have nothing to hide.
• 27:31
  But like, like, fuck, kind of fuck this movie in like, the
• 27:35
  coolest way you could do it. It shows how far like print
• 27:40
  media has fallen in the 20 years since this movie, that now
• 27:44
  you've got Anna Wintour, like, basically licking the ass of
• 27:47
  this movie. Like you can't.
• 27:48
  Like you can't just have a dignified silence and just rise
• 27:51
  above it. Because you need the attention.
• 27:53
  Yeah. And like, you need to have
• 27:54
  cameos and you need to cosign it.
• 27:56
  And it's just. Yeah.
• 27:57
  So I don't I, I guess that's maybe something about watching
• 28:01
  this film in general is like what it was compared to what it
• 28:04
  is now is probably really different.
• 28:06
  For sure, for sure. We didn't have toxic boyfriends
• 28:10
  then. What was I also going to say
• 28:13
  about that, Miranda Merrill? It's a wig.
• 28:20
  It's a wig. It's a wig.
• 28:22
  Sensational wig, No. Well, normally we would say wig.
• 28:25
  But it's a wig. Yeah, today it's.
• 28:27
  It's a fucking wig. Wig.
• 28:31
  She is swooped. She is a wig.
• 28:34
  That is a fucking gorgeous. Wig.
• 28:36
  Yeah, just like a little bit of bounce.
• 28:39
  Not too much, not too big, not too small.
• 28:42
  Where is the lace? Stunning.
• 28:44
  Amazing. Yeah, sensational.
• 28:47
  Don't be a faggot, don't fag out.
• 28:52
  So then Andy gets interviewed by Miranda directly because
• 28:56
  Miranda's sick of Emily's choices and she gets the job
• 29:00
  despite having no qualifications and no interest in fashion.
• 29:05
  It's not a question. Not a question.
• 29:06
  She's you know, she's doing the job, but that's and then we get
• 29:09
  the you know what happens? She's shit at her job.
• 29:11
  She thinks she's a better than it all, blah blah blah.
• 29:13
  And it takes us to the cerulean speech.
• 29:17
  Yeah, which has again, has been spoken about a million fucking
• 29:22
  times. But I still think it is a really
• 29:25
  great bit of writing. It's great.
• 29:27
  And I remember I saw an interview because obviously
• 29:29
  there were thousands of fucking interviews with them all at the
• 29:31
  moment. But I saw an interview with
• 29:34
  Meryl and the interviewer said he was a fashion designer.
• 29:37
  He said that he felt it really grounded the film and gave it
• 29:40
  truth to the fashion industry. And apparently she requested to
• 29:46
  have something written in the script, didn't she?
• 29:48
  That just kind of because it just does, because so much of
• 29:52
  the film sort of jokes about the fashion industry as well, but
• 29:55
  it's a huge industry and it's like people work really hard in
• 29:58
  it. There's art involved and I think
• 29:59
  it just. Yeah, this movie, I think it's
• 30:03
  got an interesting. It's trying to thread a line
• 30:06
  between like this is art and this is business.
• 30:08
  And I'm not sure it's always entirely clear what it thinks
• 30:12
  about all of that. But like, and that was
• 30:15
  definitely one of the things when I used to work in fashion
• 30:17
  that I really chafed against, which was the like selling
• 30:19
  things to people, to rich people that they don't need.
• 30:22
  Right. Yeah, and.
• 30:22
  It's like, and so kind of that whole speech is about that.
• 30:26
  It's like, well, you've, yeah, you've important.
• 30:29
  People have chosen it for you, yeah.
• 30:31
  Yeah, like, but also like none of that matters.
• 30:34
  Like it's you're not what? Nothing in that speech is like
• 30:39
  doing anything good for the world.
• 30:41
  Particularly. It's just like explaining how
• 30:42
  big the business is. But then there's the other side
• 30:44
  where like Stanley Tucci later in the movie talks about like
• 30:47
  how it's art and you put it on your body and you express
• 30:49
  yourself. And it's really powerful in that
• 30:52
  way. And I think the movie doesn't
• 30:54
  always like hit that button quite hard enough because that's
• 30:57
  what I love about fashion. It's the self-expression.
• 30:59
  But then at the same time, it does, it does, I get what you're
• 31:01
  saying about the business, but it does kind of, it does sort of
• 31:04
  remind people about all of the jobs for sure.
• 31:07
  Yeah, the industry. It's an important thing.
• 31:09
  Yeah, there's and you can't like be like it doesn't matter
• 31:13
  because it is. Yeah.
• 31:14
  And that's what's good about that speech.
• 31:15
  But it's very county. And, you know, and then I think
• 31:17
  from this point we are understanding how Meryl Streep
• 31:20
  is playing this role. And that's why she got nominated
• 31:23
  for an Oscar and that's why she won a Golden Globe, because her
• 31:26
  choices alone are like insanely to kind of just go against
• 31:30
  character or just go against the trope of what you'd expect.
• 31:33
  And you know, you reference that they pulled on Bette Midler in
• 31:36
  big business and she she plays shrieking she boss.
• 31:40
  That's how she does it. Whereas Merrill just and and
• 31:43
  even watching Anna Wintell that you can tell it's based on Anna
• 31:46
  Wintell. But Merrill brings this like
• 31:48
  this breathiness in her like the way.
• 31:50
  She based it on Clint Eastwood. Oh really?
• 31:52
  When he directed her just he would never raise his voice and
• 31:57
  and yet everyone would be like terrified of him and would do
• 32:00
  whatever he said. And she kind of plays games with
• 32:03
  it as well. Like she kind of will be like
• 32:05
  jokey and kind of pause and take different.
• 32:08
  I mean, from that perspective, I always find whenever she's on
• 32:11
  screen, it's like hugely enjoyable to me.
• 32:14
  So really like rich role, isn't it?
• 32:17
  The other thing she said was that she took some of the humour
• 32:19
  of the character from Mike Nichols, who was the director of
• 32:22
  her in Postcards from the Edge and Silkwood.
• 32:25
  And she said the thing he would do that was the most devastating
• 32:30
  was like, you put someone down in a in it with a joke in front
• 32:34
  of people and then everyone around you laughs at the person
• 32:37
  and the person even that you're putting down also has to laugh.
• 32:40
  It's like the most devastating thing you can do.
• 32:44
  Savage But also to kind of have even that kind of insight into
• 32:48
  kind of how people ticket that kind of shows a lot about
• 32:51
  Merrill because I've something I've noticed from like a lot of
• 32:53
  the press, they've done this go round.
• 32:56
  They all seem a lot blunter about everything like they were
• 33:01
  talking about like showbiz parties and everyone shouting
• 33:04
  and like Meryl's just like, oh, it's a load of bullshit.
• 33:07
  I don't want to go to those things.
• 33:08
  But then she was also saying about how she was having
• 33:10
  personal problems when they were filming this film and she kind
• 33:14
  of didn't really want to like hang out with the younger
• 33:17
  actors. And part of that was to kind of
• 33:19
  keep the sort of the characterisations as well.
• 33:22
  But she kind of also was just like, there were new kids on the
• 33:25
  and she just found it annoying and she didn't kind of want to.
• 33:28
  And I love that because it wasn't like, you know, it's all
• 33:31
  these like, oh, I welcomed Annie and you know, she's just, it was
• 33:35
  just like, oh, these fucking kids who I don't want to do
• 33:37
  this. I've got my own shit going on.
• 33:39
  She doubled her fee for this film.
• 33:40
  She didn't want to do it, did she?
• 33:42
  She? And then she was like, I'll only
• 33:43
  do it if I get double. And they paid up.
• 33:46
  So obviously she was just quite, quite aware of business with it
• 33:49
  as well. And she even said as well that
• 33:51
  she would hear them in the hair and makeup trailer, like
• 33:55
  laughing and yakking, having a good time with everyone.
• 33:57
  And she literally would just be in her trailer, like, oh for
• 33:59
  fuck's sake. And I'm just like, I feel like
• 34:02
  you don't get that side of Meryl.
• 34:04
  No. And I'm just like that's.
• 34:06
  Also funny because like the stories have definitely changed
• 34:08
  since the first press cycle where she was like, I was
• 34:12
  method, I couldn't be around them because I was trying to
• 34:15
  like preserve the character. And now she's now 20 years ago,
• 34:18
  she's admitting she's like, no, I just found them really
• 34:20
  annoying. I didn't want to be around them
• 34:21
  and she was probably saying that.
• 34:23
  And I think it's just great that she's just revealing kind of a
• 34:25
  darker side to. Her so good, so good.
• 34:30
  But yeah, the Sterling speech is iconic and it's a camp clue
• 34:34
  because obviously, obviously there have been so many drag
• 34:37
  numbers inspired by this scene, by this character.
• 34:41
  The best one's probably Brooklyn.
• 34:43
  Brooklyn does amazing. We also get the bag and coat
• 34:47
  montage. Now this is my that's my
• 34:49
  favorite montage in the movie. I fucking love it.
• 34:52
  Where's that piece of paper I had in my hand yesterday?
• 34:55
  So good. And just the Foley of the sound
• 34:58
  of the coats and bags hitting that table.
• 35:01
  It does something to my brain. I fucking love it.
• 35:04
  Where's that piece of paper I had in my hand yesterday
• 35:07
  morning? So does you.
• 35:11
  You said that you worked in the fashion industry.
• 35:13
  Do you have like? Does this have any connection to
• 35:16
  like your experience of? Working, I think, because this
• 35:18
  is like publishing and I was in the designer side.
• 35:21
  I do recognize the Emily for sure.
• 35:26
  Yeah. And I've met, I've met Anna
• 35:28
  Wintour. Have you?
• 35:29
  Yeah. Oh my God.
• 35:31
  I was like, when do we bring this up?
• 35:33
  The interviews coming up at the end of this podcast, everyone,
• 35:35
  that's normally what you. Do imagine.
• 35:39
  Imagine, I mean, I don't know how else to say this, but like
• 35:42
  there is a world where I never moved to London and worked in
• 35:46
  fashion and did anything. And that has led me into this
• 35:48
  point in my life. Andy, if not for this movie, I
• 35:51
  don't like, I don't know, I I don't remember thinking
• 35:54
  consciously let me go and do that.
• 35:56
  But like, watching movies like this and being like, oh, you
• 35:59
  should go to the big city and pursue like a glamorous life
• 36:02
  definitely would have influenced my decision to do that because
• 36:05
  that's the reason I came to London.
• 36:06
  And then I worked in fashion for three years.
• 36:08
  We would go to Paris twice a year and it felt like the most
• 36:11
  fucking glamorous thing you would do.
• 36:13
  And you're in a showroom and Anna Wintour does a walkthrough
• 36:16
  and sees your collection. And was it like how it's
• 36:19
  presented in this movie? So in the movie, it's it's like
• 36:22
  she sort of implied that she'll just give a nod and then it's
• 36:25
  like the whole the whole collection has to be started
• 36:27
  again. No.
• 36:28
  And also by that point you've already shown.
• 36:30
  So it's showrooms, it's for sale.
• 36:31
  Oh, OK, right. So and she was act like she was
• 36:35
  just very nice, as obviously she is.
• 36:37
  Yeah, she was just very polite. She obviously had her sunglasses
• 36:40
  on. She walked through, she shook
• 36:41
  everyone's hand. She said nice to meet you.
• 36:43
  She showed interest in the collection and she moved on and
• 36:46
  like, because that's what obviously what she would be.
• 36:49
  Like, but it was because anyone with that like level of power,
• 36:53
  like they're kind of like the people that don't matter.
• 36:55
  They can, they just put on like an easy facade that doesn't
• 36:58
  commit. And then it's only really, I'd
• 36:59
  imagine the people that are like working directly with them that
• 37:02
  would get like the the brunt of it.
• 37:04
  Yeah. That's so interesting.
• 37:05
  Yeah. And also like the other thing
• 37:09
  with it, like seeing the the vapid people like and the
• 37:14
  shallowness of like everyone trying to make it in that biz,
• 37:18
  like the Emily of it all, that was really a thing.
• 37:23
  And like, I think the people I worked with even at that time
• 37:25
  were probably dressed a bit like Emily.
• 37:27
  Yeah, as well, you know, So it's just quite funny.
• 37:32
  Yeah. It's funny rewatching this movie
• 37:34
  because it is a bit of a time capsule of like that period in
• 37:37
  my life. Anyway, I love the bag and coat
• 37:39
  montage give me. That little table that I like
• 37:43
  because that's. Get us a reservation for dinner
• 37:46
  tonight at that place. Andy sucks at her job and she
• 37:56
  disappoints Miranda because of the flying her out thing.
• 38:01
  Doesn't matter. Well, yeah.
• 38:03
  It's interesting though, because this is where I link to it and I
• 38:06
  think this is quite an interesting jump with what the
• 38:08
  second film and what I hear about, you know, because I think
• 38:12
  Miranda is being brought up to date with like what's
• 38:14
  appropriate behaviour in the workplace, what isn't, etcetera,
• 38:17
  etcetera. But I feel like when I started
• 38:20
  in TV, it was exactly the same thing.
• 38:22
  You were encouraged to kind of, I'm rewarded for being on call
• 38:27
  constantly doing everything you possibly can.
• 38:30
  And then almost like the impossible would give you kind
• 38:34
  of like a badge of honour and another kind of, and it was
• 38:36
  toxic. Like I could, I could completely
• 38:38
  relate to both Andy and Emily because I've definitely been in
• 38:43
  TV jobs where I've been like, I'm going to make sure I go to
• 38:46
  the top and that that means I have to push everyone out of the
• 38:48
  way. I will do.
• 38:49
  And then obviously you, you grow up a bit and you're like, that's
• 38:51
  not cool. But I just think it's
• 38:53
  interesting how it, like you said, it's a time capsule, but I
• 38:55
  think it's a time capsule of like how like those kind of
• 38:58
  industries did breed people and it was based on like success,
• 39:02
  but it was also based on like bragging.
• 39:04
  I don't have a life because I give everything to my job.
• 39:06
  So. I thought about this watching
• 39:08
  it, I was like, I bet this is more like being like a runner on
• 39:11
  ATV show that is about. And the impossible, but again,
• 39:15
  like just kind of but beating it and then it becomes addictive
• 39:19
  because you've you've succeeded where others haven't.
• 39:21
  And it's. Yeah.
• 39:22
  So it just reminded me of like TV properly.
• 39:25
  Yeah. That we're both just like seeing
• 39:27
  our traumas, yeah. Exactly.
• 39:30
  Yeah, trauma. Trauma, Trauma.
• 39:33
  Trauma, trauma, trauma. There's no, I was Emily.
• 39:36
  I said. I related to Emily.
• 39:37
  So I was like, the trauma I've got is that she never got to do
• 39:41
  her full job and ended up in hospital.
• 39:45
  But I will say what we've seen so far is like we have got like
• 39:48
  impeccable casting. We've got great cameos.
• 39:52
  Giselle is one of the like fashion I.
• 39:55
  Hate her in this, do you? I think she's quite like, but I
• 39:58
  think just to have her there, the fashion box, doesn't it?
• 40:02
  But like, Emily's perfect. Emily's perfect.
• 40:05
  Andy's what you need her to be like.
• 40:07
  Obviously Miranda is perfect. And then we get Stanley Tucci
• 40:10
  again, playing the only character he seems to be able to
• 40:13
  play at this stage of his life, a gay man, but he does it
• 40:16
  impeccably. Yeah, he's playing the same
• 40:18
  character he plays. He will play in burlesque.
• 40:20
  And as we discussed, burlesque is once he gets sick of
• 40:25
  Miranda's shit, he starts working with Sharon, a nightclub
• 40:28
  in LA and. Then he's had an argument with
• 40:31
  Cher. But yeah, Andy sucks at her job
• 40:37
  and she's not getting the respect she thinks she deserves.
• 40:39
  So she goes to Stanley Tucci to give, and he gives her a kind of
• 40:44
  weird pep talk that is basically the Kim Kardashian no one wants
• 40:48
  to work anymore speech. Yeah, yeah.
• 40:50
  Get your ass up and work. It's very like anti millennial
• 40:55
  coded MO millennials. You just want a trophy for
• 40:58
  everything and you're lazy and you want a badge.
• 41:04
  I don't know, I'm not that into that message, but he does have a
• 41:10
  point. Like if she's going to take the
• 41:12
  job and going to try and do it, like either do it or don't like
• 41:15
  quit or commit. Yeah, I mean, I do think there
• 41:19
  are like decent people that are talented and worked hard that
• 41:24
  probably deserve the job more than her.
• 41:26
  Yeah, I don't think you have to be a fucking cunt to work in
• 41:29
  this fashion world in this movie.
• 41:31
  And she is really ungrateful. Yeah, and takes it hugely for
• 41:34
  granted. Yes, so it is.
• 41:36
  It is a bit. I do understand why lots of
• 41:38
  people hate her in this film. Totally.
• 41:40
  It's, it's a bit of, it's a bit of both.
• 41:42
  I think everybody's kind of wrong.
• 41:44
  Yeah, totally. But yeah, but it is just like
• 41:47
  because. He's so he's drunk the Kool-aid
• 41:48
  so hard that he's like, well, she's not going to change so.
• 41:54
  Like, yeah, yeah. Put up with it or get out.
• 41:57
  And that's like that's not OK. I feel like I'm just my old TV
• 42:00
  self is coming back in because I'm just like, well, that's the
• 42:02
  business. You just have to like, right?
• 42:04
  I can't view it critically. I'm like.
• 42:06
  Well, yeah, yeah, no, I think it's fair enough.
• 42:08
  And like he also does have a point.
• 42:11
  Anyway, now she gets good her job because she gets a makeover.
• 42:15
  And loses weight. Yeah.
• 42:17
  She stops eating cards as well carbs, doesn't she?
• 42:20
  Yes, she stops eating. Yeah, grilled cheese.
• 42:23
  So we get a makeover montage. That's the Chanel boots, an
• 42:28
  iconic, another iconic moment. And then the Vogue montage.
• 42:33
  Yeah, and I mean, she looks fine, doesn't she?
• 42:37
  I like that she doesn't look fashionable, she looks stylish.
• 42:42
  Yeah, like. She looks clean, put together,
• 42:45
  she looks rich basically, but she doesn't look we're just.
• 42:48
  Celebrating that like. Because it makes sense for the
• 42:51
  character. Yeah.
• 42:52
  Do you know what I mean? Like, the people I worked with
• 42:54
  in fashion, especially the people who worked in, like,
• 42:56
  designer studios, they were the grungiest, scabby punks.
• 43:02
  And, like, it was really cool. They were queer as fuck.
• 43:05
  And like, they were pushing fashion forward, like, insane
• 43:11
  style. But you could imagine also for
• 43:13
  Andy, working in publishing like that is probably what she would
• 43:16
  end up looking like. Totally, Yeah.
• 43:19
  Yeah, she looks just like chic Expensive.
• 43:22
  I mean, I'm trying to like, I'm trying to like go back to it and
• 43:25
  not in the sense of I've seen it 1000 times.
• 43:26
  We've talked about it. Is the montage like an enjoyable
• 43:29
  camp montage? I think the first time I saw it.
• 43:33
  Yeah, because it kind of endlessly glides in and out of.
• 43:35
  Shops, doesn't it? And then it's well filmed.
• 43:37
  And then it finishes with Emily being like, are those the.
• 43:40
  Yeah, yeah. We're not even speaking.
• 43:43
  I'm sorry. We're literally just saying
• 43:44
  lines and then not finishing. So we know, but.
• 43:46
  I think you all know what we what the rest of the line is.
• 43:49
  Are you wearing the don't even need to say it reductive anyway.
• 43:55
  Yeah, she gets bangs, she gets Chanel, but.
• 43:57
  You said she got banged. I was like, oh.
• 43:59
  That too. She gets banged in the Chanel
• 44:00
  boots. You know she kept those boots
• 44:02
  on. Oh.
• 44:04
  They're so high, like thigh high.
• 44:06
  Very good. Then it's the friend's dinner
• 44:09
  scene now, guys listening at home.
• 44:14
  I don't know if anyone has ever said this Said this before, but
• 44:19
  her friends are kind of shitty. I don't know if you've ever
• 44:22
  noticed. I thought you were being genuine
• 44:25
  there because they are just obviously cunts, don't they?
• 44:28
  Yeah, she gives them some nice gifts and then they play hot
• 44:31
  potato with her phone. It's really annoying.
• 44:35
  But they also I they are just like the most generic.
• 44:39
  We have a woman of colour who's a bit sassy and we have and the.
• 44:44
  Only woman of colour in this movie?
• 44:46
  Yeah, the only the only person of colour in New York City,
• 44:49
  apparently. Which is fucking wild.
• 44:54
  And then like fucking a low rent version of what's his name from
• 44:58
  Mean Girls. Yeah, Is he supposed to be gay
• 45:01
  coded? Yes.
• 45:06
  I don't think he is. It's not explicit.
• 45:09
  And they give him, like, they kind of give him shit in a way
• 45:13
  that it's like, you're a straight man, you shouldn't know
• 45:14
  about this. Stuff.
• 45:15
  No, he is gay. I don't think.
• 45:18
  He is gay. No, because there's a bit where
• 45:20
  it's like, Oh my God, she's so fierce or something like.
• 45:23
  Yeah, but every time he says something like, and you're that
• 45:27
  designer, that's they all go, how do you know about this?
• 45:31
  And it's almost played for laughs that a straight man.
• 45:33
  It's like giving. I think it's giving metrosexual.
• 45:36
  No. I think they chickened out of
• 45:37
  putting a second gay man in this movie.
• 45:39
  Well, there's no like, explicit mention of him being gay.
• 45:43
  I think you're lying. Yeah, just I don't agree with
• 45:53
  you. His name is Doug.
• 45:56
  Is Doug gay in the Devil Horse Prada?
• 46:01
  While often debated or considered coded by fans, he is
• 46:04
  portrayed as one of Andy's unsupported friends.
• 46:07
  Oh, it just seems like an unanswered question.
• 46:10
  Ambiguity. Doug was often cited in fan
• 46:12
  theories as gay, but this is not explicitly Canon in the movie.
• 46:16
  Well, there we go, a fascinating hot new take everybody.
• 46:22
  I mean I mean he just seems like a vapid gay and he also seems
• 46:25
  like a fucking the opposite to like a fag hag doggy a faggot.
• 46:30
  Right. But he's also the only the only
• 46:32
  one of the three who are is actually supportive.
• 46:35
  How he's. Excited for?
• 46:37
  Her only because no, but he was. I'm not buying.
• 46:40
  He he never shames her for having the job.
• 46:44
  He's excited for her when she gets to go to Paris because he's
• 46:47
  gay. Yeah, but.
• 46:48
  No, but like, that's why he's gay, because he's excited.
• 46:51
  No, no, I agree with you. I I look the the character is
• 46:54
  definitely gay coded and it's weird that they didn't just make
• 46:57
  it explicit. I think the movie is trying to
• 46:59
  say that he's a metrosexual man and that's why Lily, the black
• 47:04
  friend is always like, why do you know about that?
• 47:08
  But anyway, that that point aside, he's the only one who's
• 47:10
  like happy for her, basically because Lily's like, you've
• 47:16
  changed. Yeah, he's just a weak guy.
• 47:20
  He's just beggy, beggy gay. Well, I'm glad that we talked
• 47:23
  about this minor character that actually means nothing to the
• 47:26
  plot. Yeah, that's what I will say
• 47:28
  about this film that is like a there is a lot of like faffy,
• 47:33
  unnecessary stuff. Like the best stuff for me is
• 47:35
  when they are like in the meat of it and she's navigating the
• 47:38
  industry. Yes.
• 47:39
  And so all of this like sub storyline of relationships and
• 47:43
  friendships are bullshit in my mind.
• 47:45
  Speaking of, we then meet Christians.
• 47:47
  Also as well, this is like something if you did have
• 47:50
  friends that really fucking cared about you, Oh my God, it's
• 47:53
  just repeating the same hot take.
• 47:54
  There would be like a much more like layered dialogue about like
• 47:58
  we're losing you, etcetera. They wouldn't be as like fucking
• 48:02
  materialistic as they are. Yeah.
• 48:03
  Yeah, yeah. I mean, the friends could have a
• 48:07
  point. Let's get into that.
• 48:10
  Should we get into it later? No, no.
• 48:11
  OK, The friends could have a point if she actually like if we
• 48:17
  saw the character change and she became a cow and the Mean Girls
• 48:22
  of vacation of it all happened For example, where you see
• 48:26
  Lindsay Lohan go from being a good friend to a bad friend, but
• 48:31
  all we see is Andy trying really hard and I'm.
• 48:35
  Just laughing because we're we're, we're literally the thing
• 48:38
  that is like we were like eye rolling.
• 48:40
  No, but like, The thing is, you can say to someone, I think this
• 48:45
  job is bad for you and it's ruining your life.
• 48:47
  Totally. Yeah, it's fair enough to do
• 48:49
  that. It's just it's not OK to be like
• 48:53
  you've changed and I don't like your new interests and they
• 48:56
  threaten me, so fuck you. Which is what they do there we.
• 49:01
  Go we're talking about this. Speaking of things with the
• 49:07
  movie didn't need, we then meet Christian Thompson, this man.
• 49:11
  Did they deliberately hire someone unattracted to play
• 49:14
  this? Yeah.
• 49:15
  Role. It's so confusing to me.
• 49:17
  He. Likes meat headies?
• 49:19
  Yeah, it. Looks like if the Pillsbury
• 49:21
  doughboy like studied the game. Is it called the game?
• 49:27
  That book where like you neg women into getting them to sleep
• 49:31
  with you. Yeah, it's on my.
• 49:34
  Pick up artist manual you know I.
• 49:35
  Don't know that, but sure, yeah. Yeah, it's giving.
• 49:37
  I get the pills, hate him, hate him.
• 49:44
  Movie doesn't need him then then.
• 49:47
  It's, I mean, that is an elaborate fucking Side Story.
• 49:49
  Just trim that out, yeah. Yeah, but Andy has been
• 49:53
  impressing at work and she gets entrusted to take the book home
• 49:56
  and she's like, what's the book again?
• 49:58
  The woman has a journalism degree, but that's fine.
• 50:04
  One of the many other dumb, dumb things she does, she goes to
• 50:07
  Miranda's house. Twins are there.
• 50:10
  They're like, bring the book upstairs and Andy is a fucking
• 50:14
  dummy. So she does it and she sees
• 50:18
  Miranda having a fight with her husband.
• 50:19
  And I mean, you know what happens but.
• 50:21
  Again, like, you know, props were props I think needed like
• 50:26
  the fear that Meryl Streep can generate just by that look.
• 50:31
  It is like so wild what she can do with one stare.
• 50:35
  You feel it in your core. So she's.
• 50:39
  And again, I feel like I've been in that position in, like, my
• 50:43
  younger career of like, fucking what I thought was the biggest
• 50:46
  fuck up in the world. And you obviously look back and
• 50:48
  you're like, oh, get a grip together.
• 50:50
  But like, situations like that are real in these ridiculous,
• 50:54
  like, media industries. Yeah.
• 50:57
  And yeah. So I particularly love how like
• 51:00
  chilling that is. Totally.
• 51:02
  She's she's very good at acting. Meryl Streep.
• 51:07
  Thank you for that insightful comment.
• 51:10
  Don't have anyone ever. Said based on the counter pizza
• 51:13
  around Meryl Streep. Don't know if anyone has ever
• 51:17
  said that on a podcast before, but Meryl Streep quite a good
• 51:21
  actress. I feel like we're yarding.
• 51:23
  Do we just need to yard a free? Yeah, so then there's the Harry
• 51:26
  Potter stuff. Who cares?
• 51:27
  The gala benefit. I want to mention the gala
• 51:32
  benefit because this that's where we meet my MVP of the
• 51:36
  movie, Jacqueline. Oh, yes, OK.
• 51:40
  I love Jacqueline Foley. I love her.
• 51:44
  She's so Hot Topic. She looks like every French
• 51:47
  Canadian woman I knew in 2006 that was like this funky Pat
• 51:52
  Benatar style choppy little Bob with like.
• 51:57
  I'm surprised she doesn't have like a pink like highlight
• 52:01
  fringe and then a really funky pair of like green neon glasses.
• 52:04
  And like, like a kind of twerk, yeah.
• 52:07
  Or like a like a pleather. With a plant, Yeah.
• 52:10
  A. Pleather kind of like, oh, what
• 52:12
  do they call like legging? Patrick, something on top and
• 52:15
  then yeah, play. Maybe like a ruffle somewhere?
• 52:17
  Like a ruffle sleeve like. A really big oversized like
• 52:20
  flower on the shoulder. I love Jacqueline Foley and I
• 52:26
  love her. I love her.
• 52:27
  Every time someone says her name, they have to say
• 52:31
  Jacqueline. Who is she?
• 52:33
  Jacqueline is the editor of. No, but who is she in real life?
• 52:35
  Do you know what? Do you mean?
• 52:37
  The the She's not a real person, is she?
• 52:40
  The actress. Yeah, yeah.
• 52:42
  The ACT who's per plays it. Oh, I don't know.
• 52:44
  OK. I thought you I was like
• 52:46
  something. Is this a real person that's
• 52:47
  making a cameo? Oh, no, no, it's.
• 52:49
  I wonder who played Jacqueline? So I don't know who played
• 52:52
  Jacqueline. She's obviously based on the
• 52:54
  editor of French Vogue, whose name was Corrine Rothfeld.
• 52:59
  Well, I just thought because you said you loved her, I was just
• 53:01
  like, I thought you might have been, thought you were going to
• 53:03
  say, oh, did you know? Like this this woman who I think
• 53:06
  she only has one line in the movie, which is Suprise, but
• 53:12
  she's such a big like plot. Mac Guffin.
• 53:14
  Yeah, OK. I like Jacqueline.
• 53:17
  I also like this scene because we're at the Met Gala situation
• 53:22
  and that's where we got the meme of the big, the big boobs, Devil
• 53:27
  Wears part of meme. Have you seen this?
• 53:29
  I don't think I have. You love a meme, don't you?
• 53:32
  You've never seen this image? Oh yeah, it's so good.
• 53:37
  Now that is what I want from the sequel.
• 53:39
  But they won't dare. Give her a massive tit Joe.
• 53:43
  Just to all three of them huge knockers.
• 53:47
  That image is so seared into my brain that when I saw that shot
• 53:51
  in the regular movie I was like, what's wrong with her boobs
• 53:56
  anyway? She's has to do the gala.
• 54:01
  She misses Nate's birthday. He's shitty about it.
• 54:04
  And then Andy replaces Emily on the Paris trip.
• 54:08
  But you might call Emily not in Paris.
• 54:12
  Oh. God, Emily's hit by a car and we
• 54:18
  got the hospital scene, which, I'm sorry.
• 54:20
  I see the showgirl's parallels. Darling, I needed a break.
• 54:26
  Yeah, I just. All I needed was Emily ending
• 54:29
  the scene with Aren't you going to come here and give me a big
• 54:31
  kiss? I mean, that would really help
• 54:33
  it. Yeah, it.
• 54:34
  Would it would. Well, no, again, it wouldn't
• 54:36
  help it. It's absolutely fine.
• 54:38
  It's funny her in hospitals funny.
• 54:41
  Like it doesn't need that embellishment, but I think it's
• 54:44
  just because it is so fucking tired that.
• 54:51
  And then then she has a fight with her friend Lily, who sees
• 54:54
  Christian kiss her on the cheek. And then they have a she has a
• 54:57
  big fight with Nate. Yeah.
• 54:58
  And again, because that's definitely, I mean, I know we're
• 55:00
  going over the same thing about the toxic friends, but that's
• 55:03
  definitely what you do, isn't it?
• 55:04
  You you just accuse your friend rather than just going like,
• 55:07
  hey, what's actually going on here?
• 55:08
  Yeah, Oh yeah. And Nate's like you've changed.
• 55:12
  You're the exact same as those girls you used to say.
• 55:14
  You used to make fun of them, but now you're exactly the same.
• 55:16
  So just admit it and then we can agree we don't have anything in
• 55:19
  common. Like, well, maybe she's got some
• 55:22
  new interests. God, I think we all know that
• 55:25
  he's the villain, though, don't we?
• 55:27
  So much so. I love that the actor has has
• 55:29
  been the one that's had to, like, pay the cost because he's
• 55:31
  like, he didn't even get asked to be part of it.
• 55:33
  And he's like, when I read it, I didn't think it was that
• 55:36
  problematic. And it's like, yeah, everyone
• 55:39
  hates you now. Ground breaking.
• 55:42
  And then, yeah, and he goes to Paris and I don't think I can be
• 55:45
  bothered to explain it all. But lots of plot happens.
• 55:49
  She sleeps with Christian, There's a bit more Jacqueline.
• 55:53
  And then Andy decides she doesn't want to be like.
• 55:56
  So as well, there's the whole thing about Miranda's like
• 55:59
  they're coming for her job and they're going to take her down.
• 56:02
  And then Andy's like loyal to Miranda.
• 56:06
  And then we find out Miranda knew all along.
• 56:09
  And then she throws Stanley Tucci under the bus and.
• 56:13
  He takes it with grace because he's he's so worn, torn by the
• 56:16
  industry. Exactly.
• 56:18
  And then Miranda's like, I never thought I'd say this, but I see
• 56:21
  a lot of myself and you, you can see beyond what people want and
• 56:24
  need, and you can choose for yourself.
• 56:27
  That's quite good actually. And and he's like, I don't think
• 56:30
  I'm like that. And then what does Miranda say?
• 56:35
  And he's like, what if I don't want what you have?
• 56:38
  Don't be ridiculous, Andrea. Everyone wants this.
• 56:41
  Everyone wants to be us. Great.
• 56:44
  Well done. And then Andy throws her front
• 56:46
  on the fountain. She quits.
• 56:47
  What I will say is quite camp as well.
• 56:49
  That whole scene when Miranda leaves the car because it's all
• 56:52
  green screen, because they can't afford to bring Merrill to
• 56:55
  Paris. They couldn't afford to bring
• 56:56
  Merrill to Paris. That's quite funny.
• 56:58
  Yeah, or they just filmed it in New York.
• 57:02
  No they they did film him in Paris but they literally had no
• 57:05
  money and so they I think they had to do everything in 2 days.
• 57:08
  Yeah, but I just assumed, like whenever they were filming with
• 57:13
  Meryl, it was just still in New York and they were pretending it
• 57:15
  was Paris. Oh yeah, no, that's what I mean.
• 57:17
  But they just, yeah, they couldn't fly her over.
• 57:19
  Yeah, but that, I like that too, because it looks really shit
• 57:23
  when they're driving in that car.
• 57:24
  They're like the Paris going past the windows, just like, OK,
• 57:28
  sure. It's like the pop videos of the
• 57:29
  time. It's very like girls without
• 57:31
  something kind of a. Yes, exactly.
• 57:33
  I do think throwing your phone on a fountain is kind of.
• 57:37
  Ridiculous. It's so cliche that I think it's
• 57:39
  kind of camp have. You ever done anything like
• 57:40
  that? No.
• 57:41
  Are you that person? No.
• 57:43
  I was about to say, I hope you're not.
• 57:44
  No, I'm not that main character energy.
• 57:48
  Yeah, I know you think I am, but I'm.
• 57:49
  Yeah. No, I no, I don't think you are
• 57:50
  now. I just think you probably could
• 57:52
  could have been that person. You definitely have been in a in
• 57:58
  a version of this film. I can.
• 58:01
  Oh yeah. Yeah.
• 58:04
  So Andy goes back to New York. She gets a job at a real
• 58:08
  magazine, real journalists, and she kind of, sort of makes up
• 58:12
  with Nate. Probably not going to stay
• 58:14
  together. And then she walks past Runway
• 58:19
  and she sees Miranda, and Miranda doesn't smile at her,
• 58:23
  but then smiles to herself. The end.
• 58:26
  But it's not the end, because it's back, and Miranda has
• 58:31
  dementia now, apparently. Oh, really?
• 58:34
  No, she doesn't. No, it's.
• 58:35
  Just in the trailer, she can't remember Andy.
• 58:37
  Yeah, but actually, that makes sense.
• 58:39
  That makes sense to me. Yeah.
• 58:40
  Because it's like, why would you remember like some fucking loser
• 58:43
  that you worked with for a few months 20 years ago?
• 58:45
  Yeah, like how long was she there?
• 58:46
  Six months. Yeah.
• 58:47
  And it's like, yeah, I made a big impact on your life.
• 58:51
  Of course I did, because I'm Miranda Priestley.
• 58:54
  Groundbreaking. Well, there we go.
• 58:56
  Well, that was kind of probably the worst breakdown we've ever
• 59:00
  done on this podcast ever. It's got to be the most known
• 59:04
  plot of any movie we've covered. Yes, I assume, Like, I assume if
• 59:09
  you listen to this podcast, you've seen this movie 10 times.
• 59:11
  Yeah, Right. Yeah.
• 59:13
  So that why are we doing it again?
• 59:15
  Well, to give our fresh and hilarious perspective, OK.
• 59:20
  So what is camp about this movie to you, I mean, and like, now
• 59:24
  what? What generates that for you?
• 59:27
  OK. Do you like the nostalgia of it?
• 59:31
  I didn't. I did.
• 59:32
  I did enjoy this rewatch and probably been five years since
• 59:34
  I'd watched. And I was like, oh, some of the
• 59:37
  jokes that haven't been overused to death I'd forgotten about.
• 59:42
  And I was like, oh, that's funny.
• 59:43
  And you know, it's just a joy to watch Merrell Merrelling this
• 59:47
  hard. She Merrells so hard.
• 59:48
  Yeah, she is this the most she's ever merrelled?
• 59:51
  It's. Possibly the most she's ever
• 59:52
  met, She's. Merrelling more in this than she
• 59:54
  does in death becomes her, maybe.
• 59:58
  I think so. And OK, so OK, right, Death
• 1:00:04
  becomes her Devil Wears Prada. Is there any more competition?
• 1:00:08
  Yeah, yeah, she's. Very Merrill.
• 1:00:10
  Baby Merrill. It's like precursor to death
• 1:00:13
  becomes a Merrill. That's the.
• 1:00:14
  Same it's. Yeah.
• 1:00:15
  Is this her final form of merrilling?
• 1:00:18
  Is it is, is there, is there a scale of merrilling that we're
• 1:00:21
  seeing or would you put Merrilling of Death becomes her
• 1:00:25
  as equal to Miranda Merrilling? Well, it goes downhill after
• 1:00:28
  this, doesn't it? Because Mamma Mia is a oh,
• 1:00:30
  there's been Merrill. No, I mean I've the Merrill was
• 1:00:33
  not all the way through. The Merrill is not Merrill.
• 1:00:37
  But yeah, she's merryling. She's merryling the fuck house
• 1:00:41
  down house. Down.
• 1:00:42
  Chanel boots. Chanel boots, Mama.
• 1:00:52
  So I find that camp. I also found like the, I don't
• 1:00:55
  know, I found some joy in watching it and like remembering
• 1:00:59
  what it was like to be me 20 years ago and like having
• 1:01:02
  basically 0 gay representation and like having to use a movie
• 1:01:06
  like this as like, yeah, an inspirational thing.
• 1:01:09
  I don't know, it kind of, it was kind of sweet to me in that
• 1:01:13
  regard. It's also like kind of
• 1:01:15
  bittersweet because you're like, God, that's fucking pathetic.
• 1:01:19
  But I know it's the whole film is really that like, you know,
• 1:01:23
  and it reminds me as well. It's so interesting what you're
• 1:01:25
  saying about like not having any like gay representation and
• 1:01:27
  like, and like clinging on to these kind of things because it,
• 1:01:30
  it reminds me of being like with one of my friends.
• 1:01:32
  And we'd always get like all of the kind of lowbrow fashion
• 1:01:35
  magazines, not even like Vogues. And we literally would just sit
• 1:01:38
  through it and we'd just be like, what do you think of her
• 1:01:40
  looking like this? What do you think of her?
• 1:01:42
  And it's also very like, what's your diet?
• 1:01:44
  Well, I live on a diet of Diet Coke, cigarettes and coffee.
• 1:01:47
  Do you know what I mean? It's it's very reductive.
• 1:01:52
  So reductive, yeah. And you're, it's very like it
• 1:01:55
  came out at that time when you're like trying to figure out
• 1:01:57
  how to be gay basically for me. And like, you're out.
• 1:02:02
  But like, oh, guess, I guess now I'm supposed to be like a bitchy
• 1:02:05
  queen or something. I don't know.
• 1:02:06
  And like, you're kind of basically modelling yourself
• 1:02:08
  after a Stanley Tucci, which is fucking grim, but.
• 1:02:12
  Also, all of your friends are modelling you as that as well,
• 1:02:15
  because they're modeling themselves as either.
• 1:02:16
  Yeah. A combo of Emily.
• 1:02:19
  Yeah. It's, it's literally like an
• 1:02:21
  update on like, which friends character are you or.
• 1:02:24
  No, it's it's worse. It's like, who are you in Sex in
• 1:02:26
  the City? Totally.
• 1:02:27
  Who are you in Sex in the City? You're Samantha now, aren't you?
• 1:02:31
  Yeah, yeah, you're definitely. You're not even Samantha.
• 1:02:35
  You're like. Yeah, like Samantha on
• 1:02:38
  testosterone. But yeah, it's it's just that
• 1:02:44
  kind of like slightly, what's the word where you want to be
• 1:02:49
  something it's like. I don't aspiration.
• 1:02:52
  Yes, slightly fucked up. This is the aspiration of life,
• 1:02:55
  isn't? It we.
• 1:02:56
  All want to wear like designer Chanel boots.
• 1:02:59
  We all want to. Yeah, yeah.
• 1:03:01
  It's pathetic. And like, it's so telling that
• 1:03:05
  some a movie like this was all we had basically for gay
• 1:03:08
  representation. Because I remember going out to
• 1:03:12
  a club when I was probably 20 wearing a shirt that said please
• 1:03:17
  don't feed the models. Oh, it's so fucking
• 1:03:20
  embarrassing. Or like rhinestoning my own like
• 1:03:23
  Chanel top. So fucking cringe.
• 1:03:30
  I don't think 20 year olds are that cringe anymore.
• 1:03:32
  No, they're definitely not this cringe.
• 1:03:34
  But like I was in a very small town in Canada and this is what
• 1:03:38
  we had and you're like trying to figure out how to be yourself.
• 1:03:41
  And I don't know, maybe that isn't, none of that is camp
• 1:03:43
  actually. But like, there was like
• 1:03:46
  something about watching it that brought back those feelings and
• 1:03:49
  I was like just kind of interested to feel them again, I
• 1:03:51
  guess. Something I do enjoy about the
• 1:03:53
  film is I enjoy seeing the kind of lushness of the world.
• 1:03:58
  Like, it feels Hollywood to me, the representation of the
• 1:04:01
  fashion industry and Hollywood. Yeah.
• 1:04:04
  And you see, like, now, you know how, like, people talk about,
• 1:04:06
  like, grading in movies as well. And they've compared the new
• 1:04:09
  film with like, the old. And again, you just kind of
• 1:04:11
  forget, like, kind of how like rich everything is.
• 1:04:14
  And the fashion is gorgeous. It's lovely to see it all kind
• 1:04:17
  of again. But the only problem is it's
• 1:04:19
  just made a little bit too digestible.
• 1:04:21
  I agree. I wish Emily had been more
• 1:04:25
  outrageous avant-garde like. Apparently she's wearing like
• 1:04:28
  Rick Owens and and like and a mule Meister in this movie, but
• 1:04:32
  you don't really see it. She looks, I don't know, she
• 1:04:35
  looks like she works in an office in 2006.
• 1:04:38
  Like, I wish she'd been a bit more edgy, basically, because I
• 1:04:42
  think that is kind of what's missing from this movie because
• 1:04:44
  fashion has so much of that, and all of these characters are
• 1:04:47
  quite safe. Yeah, true.
• 1:04:49
  I watched a bunch of the deleted scenes.
• 1:04:52
  Oh, yeah. There's like 20 minutes of
• 1:04:53
  deleted scenes you can watch on YouTube.
• 1:04:55
  I don't know. It's kind of interesting.
• 1:04:57
  I don't really have anything to say about it.
• 1:04:59
  Well, interestingly enough, Merrill now she's in her like
• 1:05:02
  evil say as it is most she's apparently this new film she's
• 1:05:08
  there's been quite a lot of her scenes that have hit the cutting
• 1:05:10
  room floor. Oh, really?
• 1:05:11
  Yeah. And she was just kind of like,
• 1:05:12
  well, I guess they'll put it on some DVD extra uncut thing.
• 1:05:19
  But I think it's something to do with test audiences, I think.
• 1:05:23
  I think originally, like, she was made too likeable, right,
• 1:05:27
  And too relatable in this film. And I think test audiences were
• 1:05:30
  like, where's the Miranda we know and love?
• 1:05:33
  Which actually brings me on to something.
• 1:05:37
  Are we, like circling back to like, loving the bitch again
• 1:05:41
  now? Is that what people want from,
• 1:05:44
  you know, the toxicity of like a horrible bully?
• 1:05:47
  Because a lot of people are drawn to her.
• 1:05:50
  And I feel like she represents a lot of things that in the past
• 1:05:53
  20 years have been like, this is not cool to have this in the
• 1:05:57
  workplace. This the kind of are we like
• 1:06:00
  circling around to, like wanting this culture again.
• 1:06:02
  I don't think we want the culture, but I think we want to
• 1:06:04
  watch the culture because it's fucking fun and it's fun to
• 1:06:08
  watch me and mommy give you a spanking.
• 1:06:10
  But is that what we want in like reality TV as well though?
• 1:06:12
  Do we want? Oh yeah.
• 1:06:14
  Oh yeah. Everyone's getting mean again
• 1:06:15
  now. So true, actually, Yeah.
• 1:06:17
  Like you're selling Sunset. Like you don't get those women
• 1:06:21
  without, Yeah. It just makes, it just makes me
• 1:06:25
  laugh because we had this whole kind of like, you know,
• 1:06:27
  obviously everyone just being kinder on social media and stuff
• 1:06:30
  and it feels like everyone's getting a bit feral again and
• 1:06:32
  nastier again. Let it happen.
• 1:06:34
  There we go. Yeah, I will say I will.
• 1:06:37
  Sorry. I will just say like obviously
• 1:06:40
  it is really well written and for like a commercial comedy
• 1:06:43
  that has like a chick lit slant to it.
• 1:06:46
  I kind of don't really know anything from the genre that is
• 1:06:49
  like, as is well done in terms of that.
• 1:06:52
  Like it's funny. The jokes are there.
• 1:06:54
  It's. Funny.
• 1:06:54
  And they're executed immaculately by the main cast.
• 1:06:58
  Yeah, Emily Bond is such like a physical, funny comedian.
• 1:07:02
  She just. She's just great.
• 1:07:04
  Yeah, she's so good enough and. She holds her own with Meryl
• 1:07:07
  like it's that's what I think is like about this new one.
• 1:07:09
  Is is like it probably won't be as interesting as it seems, but
• 1:07:12
  like that's a juicy combo to me is because it feels like if
• 1:07:16
  anybody's got it in her to go against Miranda Priestly, is is
• 1:07:21
  that character. Well, what are your?
• 1:07:23
  Do you know much about the new one?
• 1:07:24
  Yeah, a fair bit. OK.
• 1:07:26
  I don't really know anything about it.
• 1:07:27
  I was going to do see if we did some predictions, but.
• 1:07:30
  Will you you make some predictions?
• 1:07:33
  I think my main prediction is that it's going to be absolutely
• 1:07:36
  fine. It's going to be surprisingly
• 1:07:41
  good in places and overall be quite average and I would much
• 1:07:46
  prefer a Sex and the City 2 fucking car crash of like garish
• 1:07:52
  racism. Then yeah then whatever.
• 1:07:55
  This. I think you're right.
• 1:07:55
  Like it's it's scored higher overall in rotted tomato rotted,
• 1:07:59
  not rotted Rotten Tomatoes. And like people are saying that
• 1:08:02
  it's it's actually in lots of ways better than the first
• 1:08:06
  movie, but like, but also not as enjoyable.
• 1:08:10
  Literally what you're saying because it's essentially, it's
• 1:08:12
  essentially making really clear points about the like the
• 1:08:14
  downfall of print and what that means in a world of AI taking
• 1:08:19
  over. But I don't think it's doing it
• 1:08:21
  in like AI think it's doing it in a really kind of smart way of
• 1:08:25
  just sort of hands up. What the fuck do we do?
• 1:08:27
  And it's also leaning into the fact that a lot of these luxury
• 1:08:29
  brands now and luxury, you know, things like magazines as we see
• 1:08:33
  all media budgets have just gone down so much.
• 1:08:36
  And it's just kind of an insight into what what the industry
• 1:08:39
  looks like when they're still trying to kind of.
• 1:08:42
  Project Glamour. Which again, is what you're
• 1:08:44
  saying about the Anna Winter of it all.
• 1:08:45
  You know, like no longer can she just be this like editor of the
• 1:08:50
  best magazine in the world. It's like she has to now go
• 1:08:53
  viral on someone's TikTok or invite influencers to certain
• 1:08:56
  events. So it's just, I think it's just
• 1:08:58
  reflecting where we're at. Right.
• 1:09:01
  I wonder if there's anything they're going to like address.
• 1:09:04
  I presume they will address the fat phobia of this movie.
• 1:09:08
  She now has an assistant that is there to correct her on any
• 1:09:11
  problematic language that she makes.
• 1:09:14
  That's kind of funny. Yeah.
• 1:09:15
  Yeah. But like, I wonder if they will
• 1:09:17
  explicitly reference like, because that is the one thing I
• 1:09:21
  would say in this movie that is that was incredibly glaring
• 1:09:24
  watching in 2026, all of these fat jokes.
• 1:09:26
  Yeah. It's they're just not OK.
• 1:09:28
  And the. The movie is sometimes being
• 1:09:31
  like, isn't it ridiculous, these expectations and aren't these
• 1:09:36
  people awful for calling her fat when she's clearly not fat and
• 1:09:40
  blah, blah, blah. But then she's like buys into it
• 1:09:44
  and goes down to a size 4 and is rewarded for it.
• 1:09:48
  And it's like the movie is trying to have it both ways.
• 1:09:51
  And it's very. Yeah, I really don't like that.
• 1:09:55
  So I could imagine them making some kind of like woke gesture.
• 1:09:59
  Yeah, but I think it'll be more along the lines of this is just
• 1:10:02
  a prediction. But like, you know, oh, we've
• 1:10:04
  got a Lizzo on the front cover of the magazine and like Miranda
• 1:10:07
  being like, what the fuck? Right.
• 1:10:08
  Or. And then she could.
• 1:10:10
  And then Andy will say something like, oh, I remember when I
• 1:10:12
  worked here and you used to call me fat.
• 1:10:13
  How times have changed. Yeah.
• 1:10:16
  Why are we doing like a prediction of like, it's not
• 1:10:19
  like this sequel has just been announced.
• 1:10:20
  It's like out. If you're a fan of Devil's body,
• 1:10:23
  you probably watched it. So therefore, much like us
• 1:10:25
  talking about the film, you also don't need us to talk about a
• 1:10:27
  film that we haven't watched. OK.
• 1:10:30
  We might give more insight into Devil Wears Prada 2 than we have
• 1:10:33
  done in this. I don't have anything else to
• 1:10:38
  say. No, I think it's hard to talk
• 1:10:41
  about a film. Well, why is it hard?
• 1:10:45
  Why is it hard for us to enjoy this film when it's 20 years old
• 1:10:48
  and we watched lots of films from 20-30 years that we've seen
• 1:10:52
  millions of times? Because it's annoying to were
• 1:10:55
  the annoying kind of gaze that when something we like gets mass
• 1:10:58
  appeal, we stop liking it. That's what it is, isn't it?
• 1:11:02
  Yes, this is the problem. It is too popular.
• 1:11:05
  It's too popular. It's too successful and
• 1:11:07
  therefore we hate it. Yeah, because even like, you
• 1:11:10
  know, like obviously we've not talked about it but explicitly,
• 1:11:14
  but we love Showgirls, but Showgirls still, although it's
• 1:11:17
  got a huge cult success, it's never, never accepted by the
• 1:11:20
  mainstream. But yeah, this film is just
• 1:11:23
  it's. It is the this film is the
• 1:11:25
  culture. Yeah.
• 1:11:27
  Like, you could quote this film that anyone on the street and
• 1:11:30
  they'd probably get it. I don't know.
• 1:11:32
  We're here to celebrate. It's straight camp.
• 1:11:35
  Yeah, we've been here. We've been to straight camp
• 1:11:37
  before as well, yeah. Yeah, so on one hand I want to
• 1:11:42
  be like, I'm sorry that I'm an annoying gay that only likes
• 1:11:45
  things that are underground and niche or like subversive or
• 1:11:48
  weird. But on the other hand, we
• 1:11:50
  wouldn't have this fucking podcast if that wasn't the case.
• 1:11:52
  So and I will continue being a bitter jaded old queen who likes
• 1:11:59
  brat until there's brat club nights on every corner and then
• 1:12:02
  stops liking brat. Also, then it goes against, it
• 1:12:08
  goes against more than just films.
• 1:12:10
  This is a deeper thing, you know, like a mass celebration of
• 1:12:14
  something is like, you know, McDonald's is popular.
• 1:12:18
  Does that mean it's good for you?
• 1:12:19
  Now totally. No, it's, it's rotten.
• 1:12:22
  You know you need to search for things that are really going to
• 1:12:25
  nourish you. And I think the reason this
• 1:12:26
  movie did probably nourish us a bit 20 years ago is that it did
• 1:12:30
  have humble beginnings. Relatively, it wasn't one big
• 1:12:36
  billboard for every brand, which I'm sure the second one will be
• 1:12:41
  like. It's the same with Sex and the
• 1:12:43
  City. Like when that show started it
• 1:12:44
  was scrappy and interesting and weird and by the time you get to
• 1:12:48
  Sex and the City 2 the movie, it's like eaten its own tail and
• 1:12:51
  gotten so fat and bloated and stupid.
• 1:12:53
  And that's also, I think, was Meryl Streep 52 or 56 when she
• 1:12:58
  made this. She even admitted to herself
• 1:13:01
  like her career was going down. Oh, really?
• 1:13:03
  She took a punt and said double my fee because she just, she
• 1:13:07
  thought there would be money for it.
• 1:13:08
  And they did. Again, we've got a woman in her
• 1:13:11
  50s in the early 90s leading a major feature film.
• 1:13:15
  And she might be Meryl Streep, but still.
• 1:13:18
  And it's it's aside from Stanley Tucci, he'd, I mean, he doesn't
• 1:13:20
  lead the film in any capacity. He's a sidekick.
• 1:13:23
  These are three women leading a big comedy and it's smashed it
• 1:13:27
  out the park. So it has.
• 1:13:28
  It has done a lot for Hollywood in that sense.
• 1:13:31
  Sure, But yeah, by the time you get to Devil Wears Prada 2, it
• 1:13:34
  doesn't. I feel like you can, really.
• 1:13:36
  There's nothing underdog about it.
• 1:13:38
  That you need to add on to. And I think as well, like, I
• 1:13:41
  obviously haven't seen the film, but like, even like, you know,
• 1:13:44
  having Lady Gaga and Dolce doing that runway song that just feels
• 1:13:48
  AI, you know, like sachet Dolce. It's just, it all feels like we
• 1:13:52
  just got very lazy with what it is.
• 1:13:56
  Yeah. But yeah.
• 1:13:57
  Should we rate this movie? We should rate this movie.
• 1:14:00
  OK, so we need to give it one to 10 Merrells, Yeah, for the
• 1:14:04
  quality, and one to 10 Elizas for the camp factor.
• 1:14:07
  I'm going to give Meryl in this movie 10 Merrells, as we've
• 1:14:11
  discussed. She's out merrilled herself.
• 1:14:13
  She's out merrilled herself. I don't know.
• 1:14:18
  I think it's a very successful comedy that is well written,
• 1:14:21
  well acted, tight, engaging. It still holds up 20 years
• 1:14:28
  later. It's an easy one and.
• 1:14:29
  It's got that phantom, you know, it's not pretending to be real
• 1:14:32
  fucking life. It's it's, you know, it's meant
• 1:14:34
  to be fantasy. It's meant to be kind of extreme
• 1:14:36
  and locks like 78888. 9. 10. I think it's an 8.
• 1:14:43
  It's an 8. It's an 8.
• 1:14:45
  It's an 8 OK. That's the most disgruntled 8
• 1:14:48
  ever. Yes, it's a camp classic, OK.
• 1:14:55
  What about Lizers? How many Lizers does this movie
• 1:14:58
  get? Again, I have to give Meryl.
• 1:15:01
  Sex in the City 2, which had Lizer.
• 1:15:04
  There is no Lizer, but I would give Meryl 10 Lizers again in
• 1:15:09
  this movie. Yeah, I mean.
• 1:15:11
  Those like. We wouldn't be doing our job
• 1:15:13
  correctly if we if we avoided that.
• 1:15:15
  Like we could be as tired of this movie as we want, but to
• 1:15:18
  kind but to claim that Miranda Priestly is not a camp icon is
• 1:15:23
  just ridiculous. We're not.
• 1:15:24
  We're not that fucking self important.
• 1:15:27
  This is. This is one of the blueprint
• 1:15:29
  characters of. Camp.
• 1:15:32
  Yeah, yeah. So.
• 1:15:35
  Like, how dare we? How dare we even come for this
• 1:15:39
  film because of that. I I can't, I can't give this
• 1:15:46
  movie 10 lies. No, no way.
• 1:15:49
  No. With extracting Merrill.
• 1:15:53
  Perfect. Glorious camp Perfection.
• 1:15:57
  I'm also going to give Emily Blunt, 10 in campness.
• 1:16:02
  I think she does the job. The movie overall, it's like it
• 1:16:07
  had queer joy for me when I was 20, and it doesn't really
• 1:16:14
  anymore. It's got no underdog flop.
• 1:16:18
  It's got a fucking enormous ongoing legacy.
• 1:16:22
  Yeah. And it is kind of stupid fun.
• 1:16:24
  I'm going to give it like a six. Yeah, I was thinking around the
• 1:16:30
  6th mark because I agree with you.
• 1:16:31
  Like it. It doesn't do it for me anymore.
• 1:16:34
  It definitely doesn't get me wet.
• 1:16:36
  No. I'm quite dry at the thought of
• 1:16:38
  it but it is safe and it's like comforting and it's like
• 1:16:43
  whenever it's on in the background I'll like half watch
• 1:16:46
  it and like. Safe and comforting is nice, but
• 1:16:49
  you know what? It's not camp.
• 1:16:52
  Safe and comforting is not. No, but because of Miranda
• 1:16:57
  Priestly, because of Emily Blunt, and because of like, the
• 1:17:00
  writing, Yeah, yeah, like it's a six for me as well.
• 1:17:05
  We agree. What I will say is I'm excited
• 1:17:08
  to bring a bootleg leader of Cosmopolitan into the theatre on
• 1:17:12
  Friday to watch the worst part of two and just get shit faced
• 1:17:16
  and cackle. Yeah, yeah.
• 1:17:19
  And I'm sure I'll have a lovely time.
• 1:17:21
  Yeah. And sorry if we've shat a little
• 1:17:24
  bit on your favorite movie, but that's what these two old.
• 1:17:30
  Girl, it isn't OK, I'm just saying.
• 1:17:36
  OK. And before we go, it's time.
• 1:17:40
  Suggestion sack Suggestion sack Suggestion sack that it's.
• 1:17:45
  Time to de spunk the sack and find out what movie we're
• 1:17:51
  covering next. Baby, do you want to do the
• 1:17:53
  honour? Oh, I've been waiting to.
• 1:17:55
  I've been busy in in Berlin, so I don't think my sack can take
• 1:17:59
  it. Yeah.
• 1:18:01
  Mine definitely needs these spunking right suggestion sack
• 1:18:04
  suggest. OK, ready.
• 1:18:07
  Oh, let me get that one. Please be something interesting.
• 1:18:12
  OK. We are doing body of evidence
• 1:18:18
  and that is by Dave. Oh my God, I'm so excited.
• 1:18:23
  I've never seen it. You've never seen it?
• 1:18:25
  I don't think I have. Oh my God, I watched that
• 1:18:28
  recently. Why haven't I seen it?
• 1:18:30
  OK, let me just quickly set the stage for you.
• 1:18:33
  Oh God, let me gather my thoughts for you listening at
• 1:18:37
  home. I would recommend you watch this
• 1:18:39
  movie before we cover it it. It's a really cheap Basic
• 1:18:44
  Instinct knock off with Madonna doing her best like golden age
• 1:18:50
  starlit femme fatale impression but also having the craziest sex
• 1:18:56
  scenes you've ever seen in your life.
• 1:18:57
  It is ricochets from shocking to shocking to terrible to
• 1:19:04
  shocking. Was that you just doing the
• 1:19:06
  podcast then? Is that the episode?
• 1:19:07
  Just no. I just want you to go in.
• 1:19:09
  I want you to watch that going in, excited for those things.
• 1:19:13
  OK, yeah, all right. Perfect.
• 1:19:15
  Well, I might obsess with what? With where Madonna's at at the
• 1:19:18
  moment, so. OK, great.
• 1:19:20
  Yeah, and also you need to remember this is this movie came
• 1:19:23
  out in the context of the erotica album and the sex book,
• 1:19:25
  and everyone was basically like, I'm sick of staring at Madonna's
• 1:19:29
  pussy. OK, OK, great.
• 1:19:32
  We'll love it. Yeah, OK.
• 1:19:37
  That's all. No, let's see what you did.
• 1:19:40
  Yeah. It's like the end of the
• 1:19:41
  podcast. Yeah.
• 1:19:43
  Get away from her you bitch. Classic.
• 1:20:05
  chow too.