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Schmamma Schmia! · Like a Virgin

• 0:02
  Speaker 1: I'm like feeling a horny in New York. Same, I'm
• 0:05
  Speaker 1: like say that, mister okay, the person that I hooked
• 0:09
  Speaker 1: up with last night and specifically told me that they
• 0:12
  Speaker 1: don't want to be mentioned on my podcast. So literally
• 0:16
  Speaker 1: the first thing you did when we recorded the episode
• 0:19
  Speaker 1: of Your Mind, honestly, she's sheen am me no, Ma,
• 0:27
  Speaker 1: not my name? Yo? No? What is your childngea, I
• 0:34
  Speaker 1: am a choking you know what's going down the floor
• 0:40
  Speaker 1: like round Welcome to Like a Virgin, the show where
• 0:53
  Speaker 1: we give yesterday's pop culture today's takes. I'm as always
• 0:57
  Speaker 1: roseam you, and I'm Fran Torodo. You're freakingly Fran I frequently, Fran,
• 1:02
  Speaker 1: that sounds like a really bad, like kind of reality
• 1:04
  Speaker 1: show that I would host. Frequently, Fran. No back to
• 1:07
  Speaker 1: or like a or like a nineties sitcom. Frequently, Fran.
• 1:11
  Speaker 1: That's what it's giving. It's giving like an I car.
• 1:13
  Speaker 1: It's about a cross dressing person, yeah, who is frequently
• 1:20
  Speaker 1: presents as a woman. It's Hannah Montana. It's actually Hannah Montana,
• 1:23
  Speaker 1: but like it's Montana, Frando Montana, oh my god, or
• 1:30
  Speaker 1: or Hannah Montran. There's multiple ways to make it work. Oh, okay,
• 1:36
  Speaker 1: frequently Fran coming to CBS this fall. Yes, we saw frequently,
• 1:42
  Speaker 1: Fran frequently, Fran, Fran frequently saw you this weekend. Actually, yeah,
• 1:46
  Speaker 1: I saw Fran frequently over the past week. The first
• 1:50
  Speaker 1: time was the surprise because we both showed up to
• 1:53
  Speaker 1: the same film event without knowing that we were both
• 1:58
  Speaker 1: going to be there. Yes, and we both looked at
• 2:00
  Speaker 1: each other and we were both like, of course you're
• 2:02
  Speaker 1: here because we were there, of course to see Tony
• 2:06
  Speaker 1: Collette's Mafia Mama, which is Tony Collette and Catherine Hardwick's
• 2:11
  Speaker 1: month right right, Catherine Hardwick, the director of Twilight, which
• 2:15
  Speaker 1: I was, which which you informed me as we were there.
• 2:18
  Speaker 1: She looks insane and she was there at the premiere.
• 2:21
  Speaker 1: Everyone was there at the premiere at this very Tony
• 2:24
  Speaker 1: Collette was there in a gown. Was there? Teresa Judice
• 2:28
  Speaker 1: from Real Housewives of New Jersey was there with their family.
• 2:31
  Speaker 1: We were She was actually in the row between Fran
• 2:34
  Speaker 1: and I, So we were sharing space with Catherine Hardwick,
• 2:38
  Speaker 1: Tony Collette, and Teresa Judice in one room. Oh yeah, incredible.
• 2:43
  Speaker 1: Just to paint the scene. Tony Collette was wearing a
• 2:45
  Speaker 1: wedding gown pretty much like a wedding and you know,
• 2:50
  Speaker 1: like a like a white gown. It was a white gown,
• 2:54
  Speaker 1: a white gown with flowers and sheer elements that dragged
• 2:57
  Speaker 1: on the floor. That's a wedding gown. I don't know.
• 3:00
  Speaker 1: Didn't read wedding to me. I had read Spring. I'm
• 3:02
  Speaker 1: not insulting her. It's I mean, Muriel's wedding like it's
• 3:05
  Speaker 1: a reference. Sounds a little bit like you are. No,
• 3:07
  Speaker 1: it's a reference. It's a reference, of course to Tony
• 3:12
  Speaker 1: Kolet of your Teresa Judaice. I got to skip her
• 3:15
  Speaker 1: in the AMC concessions line because I was an a
• 3:19
  Speaker 1: list rewards member, So that wow, very gratifying moment for me,
• 3:24
  Speaker 1: I will say, But I also just like didn't realize
• 3:28
  Speaker 1: until it wasn't only until I checked out when I
• 3:30
  Speaker 1: like walked past her and I was like, oh my god,
• 3:32
  Speaker 1: is that Teresa Judice? And I don't watch Jersey, so
• 3:34
  Speaker 1: I like wasn't sure, and I was like, it could
• 3:36
  Speaker 1: just be a woman from Jersey, very well could be,
• 3:41
  Speaker 1: but she's so short in person. I was kind of
• 3:43
  Speaker 1: shook by that. And then Catherine Harden, her hairline, her
• 3:47
  Speaker 1: hairline is even shorter. Yes, oh my god, yes, she
• 3:50
  Speaker 1: has a she has a notoriously tiny for well, we
• 3:53
  Speaker 1: we came to discover that she got she got her
• 3:56
  Speaker 1: forehead surgically large, sturgically enlarged. I guess she got her
• 4:02
  Speaker 1: hairline race. She she got reverse f fs is what
• 4:05
  Speaker 1: we talked about. She got she got uh f mm
• 4:12
  Speaker 1: yeah yeah, yeah, yeah, yeah yeah, facial mascotolism because because
• 4:16
  Speaker 1: her forehead is small, her forehead is just freakishly feminine
• 4:20
  Speaker 1: and danty freakishly. But we should say I loved the movie.
• 4:26
  Speaker 1: I loved Mafia Maa. It was so fun. It's very ridiculous,
• 4:31
  Speaker 1: very silly, very lots of action and gore. I would
• 4:36
  Speaker 1: definitely compare it to Spy starring Melissa McCarthy, one of
• 4:41
  Speaker 1: my favorite films, and it has that similar like, you know,
• 4:47
  Speaker 1: sort of a uh like downtrodden woman having a an
• 4:52
  Speaker 1: action adventure. It's about this woman who discovers that she
• 4:56
  Speaker 1: has ties to a mafia family in Italy and she
• 5:00
  Speaker 1: becomes the dawn of the family and is just like
• 5:04
  Speaker 1: weirdly good at it. It was super fun and I
• 5:08
  Speaker 1: love like movies like that that don't take themselves too
• 5:11
  Speaker 1: seriously and it just I had a great time watching it.
• 5:14
  Speaker 1: Ye did you like it? I? Well, uh, before, I
• 5:17
  Speaker 1: mean I liked it. I thought it delivered what it promised,
• 5:22
  Speaker 1: just in the whack a doodleness of it. And I
• 5:29
  Speaker 1: I mean my favorite I love underdog tropes in any
• 5:32
  Speaker 1: in any forms. So like, yeah, this like use of
• 5:35
  Speaker 1: like mousey, soft spoken woman who like doesn't control her life,
• 5:38
  Speaker 1: like kind of stumbles into you know, being a high
• 5:44
  Speaker 1: profile like you know, dangerous woman. And I yeah, it
• 5:49
  Speaker 1: is very much so like Spy. And I didn't really
• 5:50
  Speaker 1: draw that comparison until we got some of this kind
• 5:54
  Speaker 1: of absurdist violence. And and to me, the absurdest violence
• 5:59
  Speaker 1: was the best part of the movie. I thought it
• 6:01
  Speaker 1: was like so funny. I immediately saw a Spy. I
• 6:05
  Speaker 1: was like, now this is the movie that I wanted
• 6:07
  Speaker 1: to see. And I think I think I was just
• 6:09
  Speaker 1: I personally so I liked it. Is it a movie
• 6:13
  Speaker 1: I would like totally recommend. I didn't think it was
• 6:17
  Speaker 1: that funny. I think it was the issue. I thought
• 6:19
  Speaker 1: the physical comedy was funny, and I thought that the
• 6:21
  Speaker 1: violence was really really funny, but I didn't think that
• 6:24
  Speaker 1: jokes were that funny and I kind of just wanted
• 6:28
  Speaker 1: a little bit more for a bit, but like, but
• 6:31
  Speaker 1: I love I mean it's like, how could you not
• 6:33
  Speaker 1: love a movie called Mafia Mama. It's called Mafia MoMA,
• 6:37
  Speaker 1: Like it's a mama and she, you know, is in
• 6:40
  Speaker 1: charge of the mafia and she has this her Tony
• 6:43
  Speaker 1: Klutz character is this kind of like midwestern like white girl,
• 6:48
  Speaker 1: like bright, bubbly, like how would you describe her? Like
• 6:52
  Speaker 1: it was such an interesting you know, she's just like
• 6:55
  Speaker 1: a very normy, middle aged woman, a in a in
• 7:00
  Speaker 1: a disappointing marriage, her husband cheats on her, her son
• 7:03
  Speaker 1: just left to go to college, and she's has this
• 7:06
  Speaker 1: job that she hates. And then she goes on this
• 7:09
  Speaker 1: trip to Italy and like all of a sudden is
• 7:10
  Speaker 1: like sexy and powerful and she gets a makeover and
• 7:13
  Speaker 1: she has a very sapphoic vibe with her like number
• 7:20
  Speaker 1: two woah yeah by Monica Monica Balucci, who the whole movie,
• 7:25
  Speaker 1: you're waiting for them to hook up because the vibe
• 7:28
  Speaker 1: is like so overt and it seems like in a
• 7:32
  Speaker 1: Tony Collette movie directed by Catherine Hardwick in twenty twenty three,
• 7:37
  Speaker 1: like that would actually happen. Like I, as we got
• 7:40
  Speaker 1: further into the movie, I was like, Oh, they're actually
• 7:42
  Speaker 1: gonna do this. She's gonna and especially at that I
• 7:44
  Speaker 1: mean spoiler alert at the end, she like breaks up
• 7:47
  Speaker 1: with the guy she's been seeing, and I was like, Okay,
• 7:49
  Speaker 1: this is now, She's finally going to hook up with
• 7:52
  Speaker 1: Monica Balucci in her prosthetic leg, which was one of
• 7:56
  Speaker 1: the major gags of the film. It was really but
• 7:58
  Speaker 1: then but then it never happened, and it was disappointing.
• 8:01
  Speaker 1: So like, yes, there are some tweaks that could be made,
• 8:04
  Speaker 1: but it was a very fun movie. It's the kind
• 8:07
  Speaker 1: of movie that my mom will probably watch every time
• 8:10
  Speaker 1: it comes on TV and love it. And uh yeah,
• 8:16
  Speaker 1: I had a great time. I thought the Monica Bluegi
• 8:18
  Speaker 1: lesbian stuff was like for comedic effect, but yeah, no,
• 8:21
  Speaker 1: they should have. They should have hooked up. But you,
• 8:24
  Speaker 1: to be fair, you kind of walk out of every
• 8:25
  Speaker 1: movie saying, you know, they should have hooked up. Yeah,
• 8:30
  Speaker 1: but but this was this was different because Monica Bligey
• 8:33
  Speaker 1: was literally like she was she was going in crawling
• 8:36
  Speaker 1: all over to yes, and it could have happened, And
• 8:39
  Speaker 1: I was just disappointed that it didn't but still loved it.
• 8:43
  Speaker 1: Speaking of crawling all over, can we talk about Sasha
• 8:47
  Speaker 1: Colby crawling on top of that giant coat Diva for
• 8:51
  Speaker 1: the finale lip sync of Drag Race. Oh my god,
• 8:57
  Speaker 1: she is incredibly mean. She's queen. Like, I know that
• 9:02
  Speaker 1: it's so cliche to like come out of these like
• 9:04
  Speaker 1: episodes of TV and be like, oh my god, mother, queen,
• 9:07
  Speaker 1: you're the mess. But like, no, like like epithets and
• 9:11
  Speaker 1: cliches and like gay aphorisms like have nothing on Sasha Colby,
• 9:15
  Speaker 1: who is a real, actual legend in the grand scheme
• 9:19
  Speaker 1: of like people we've seen through this competition, like next
• 9:22
  Speaker 1: to Jinks, the one of the greatest performers the show
• 9:27
  Speaker 1: will ever see period. Yeah, and more than any other
• 9:33
  Speaker 1: season of Drag Race, this finale felt like a coronation
• 9:38
  Speaker 1: rather than you know, any sort of competition like this
• 9:43
  Speaker 1: whole this for Sasha, this season has truly just been
• 9:47
  Speaker 1: a straight shot to the crown. And you know, I
• 9:53
  Speaker 1: think some of the other I think the other queens
• 9:56
  Speaker 1: were a little gagged. Not not the they expected to win,
• 10:01
  Speaker 1: but I think especially Mistress and Lux probably were upset
• 10:06
  Speaker 1: that they didn't make it to the top. Two that
• 10:09
  Speaker 1: after a season of everyone having so much thought about
• 10:13
  Speaker 1: who was like runner up in the challenges, that to
• 10:16
  Speaker 1: me really translated to the finale, especially because I think
• 10:19
  Speaker 1: everyone knew Sasha was gonna win. It really meant like
• 10:23
  Speaker 1: being number one meant being the person who got to
• 10:26
  Speaker 1: lip sync against Sasha at the end. And even though
• 10:29
  Speaker 1: it was kind of it became obvious at a point
• 10:31
  Speaker 1: in the season that the final two were going to
• 10:34
  Speaker 1: end up being Sasha and Anetra. I think Mistress, especially Mistress, like,
• 10:39
  Speaker 1: I don't I don't think luks you know, really, I
• 10:42
  Speaker 1: don't think she should have even really been in the
• 10:43
  Speaker 1: top four. But that's you know another uh yeah, well,
• 10:50
  Speaker 1: I mean I guess I think it should have just
• 10:52
  Speaker 1: been a top three. Yeah you are, Yeah, exactly, it
• 10:54
  Speaker 1: should be. It should have been. I mean, I really
• 10:58
  Speaker 1: warmed up to Lux towards it's the end of the season,
• 11:00
  Speaker 1: I think after she had her moment of reading Lucy
• 11:03
  Speaker 1: Laeduca like that was incredible, But I it took me
• 11:10
  Speaker 1: a while to warm up to her, and then once
• 11:12
  Speaker 1: I did, I liked her, But I just like don't
• 11:14
  Speaker 1: think she needed to be in the top four on
• 11:17
  Speaker 1: the Sasha Kolby of at all, I think there needed to
• 11:19
  Speaker 1: be a top four. Yeah, I mean, it wouldn't be
• 11:22
  Speaker 1: nice to go back to top threes, like just you know,
• 11:25
  Speaker 1: in general, because the top four it's like it's never
• 11:28
  Speaker 1: going to be it's like, surprise, it's a top four,
• 11:30
  Speaker 1: and it's like it's not. It's not a surprise, Like, yeah,
• 11:34
  Speaker 1: but the surprise, especially considering they didn't do they didn't
• 11:37
  Speaker 1: do the the the lip sync setup they've been doing
• 11:40
  Speaker 1: for the past couple of seasons where each of the
• 11:43
  Speaker 1: team's lip sync and then the winners of those go
• 11:46
  Speaker 1: head to head. Then if you're not going to do that,
• 11:49
  Speaker 1: what's the point in having a top four? Yeah, And
• 11:51
  Speaker 1: what's the point in Yeah, I guess it's because they
• 11:54
  Speaker 1: really want I don't know, but there was a lot
• 11:56
  Speaker 1: more like programming in this finale because unecessary programming. Well okay, well,
• 12:02
  Speaker 1: first of all, let's start with the necessary programming jinks
• 12:06
  Speaker 1: singing Mama, Mama will provide her whatever Mama will provide.
• 12:09
  Speaker 1: That's once on this island. What is it called? Yeah, yeah,
• 12:15
  Speaker 1: that was mom And let me tell you she finished
• 12:17
  Speaker 1: her number. I immediately bought tickets to see her at
• 12:22
  Speaker 1: the Brooklyn at the Brooklyn Kings Theater during her tour.
• 12:25
  Speaker 1: I was like, she is such a performer, and yes,
• 12:27
  Speaker 1: we want to see her perform. We did not, however,
• 12:30
  Speaker 1: need the Orville Peck tribute to drag loving police officers.
• 12:38
  Speaker 1: What the fuck? It was like, we are so insane,
• 12:43
  Speaker 1: Like obviously it makes so much sense because of like
• 12:46
  Speaker 1: Rue the because of Rue Paul level queer politics, that
• 12:52
  Speaker 1: they would include cops in that. But it was just wild.
• 12:57
  Speaker 1: What was the point? Because like that I'm doing a
• 13:00
  Speaker 1: PSA on the show is necessary? Right, Like it I
• 13:03
  Speaker 1: think that that is not, you know, wasted space. I
• 13:07
  Speaker 1: think it's a platform where you can educate people that
• 13:10
  Speaker 1: are allegedly fans of drag and help them understand that
• 13:15
  Speaker 1: this is about trans people specifically. But like why police
• 13:20
  Speaker 1: officers Like literally, like I know, like it feels like
• 13:23
  Speaker 1: redundant and like totally like it just like feels like
• 13:26
  Speaker 1: I'm like, you know, throwing stuff into the echo chamber
• 13:30
  Speaker 1: at this point, but like literally, like the the queer
• 13:34
  Speaker 1: historical legacy of drag artists in this country is in
• 13:40
  Speaker 1: opposition to the police every decade. It's galling. But it's
• 13:45
  Speaker 1: the kind of queer politics that RuPaul has such a
• 13:48
  Speaker 1: heart office for. It's like it's like even police officers
• 13:52
  Speaker 1: are gay, because it's still it's like it's like finding
• 13:55
  Speaker 1: the most like socially acceptable quote unquote person possible and
• 14:00
  Speaker 1: being like, even he's a fat yeah yeah, Like that's
• 14:04
  Speaker 1: what RuPaul's version of queer politics are. And that's the
• 14:06
  Speaker 1: thing though, like queer quote unquote, it's a gay politic, okay,
• 14:10
  Speaker 1: Like police officers can be gay, police officers can't be
• 14:13
  Speaker 1: queer period. Like I'm sorry, I'll say it right now,
• 14:16
  Speaker 1: Like police officers literally cannot be queer, and that to
• 14:19
  Speaker 1: be queer the definition of queer, what the word queer
• 14:23
  Speaker 1: means in this country in opposition to authority, is antithetical
• 14:27
  Speaker 1: to the work of police. And I honestly I have
• 14:30
  Speaker 1: no problem saying that, and I have no problem gatekeeping.
• 14:32
  Speaker 1: Yeah no, that's I one hundred percent agree. I don't
• 14:36
  Speaker 1: think any if you actually don't agree with that, like
• 14:38
  Speaker 1: you should not be listening to this podcast, Okay, to
• 14:43
  Speaker 1: get into the nitty gritty Rose I So, I was
• 14:47
  Speaker 1: happy actually to see lux in the finale because I
• 14:52
  Speaker 1: think she gave pretty much the best number next to
• 14:56
  Speaker 1: Sasha Colby's like, I think she came second to Sasha
• 14:59
  Speaker 1: in terms of her original number. I thought Mistress had
• 15:07
  Speaker 1: fear in her eyes, and as soon as she finished,
• 15:09
  Speaker 1: you could tell totally you could. And that's the it's
• 15:12
  Speaker 1: the it's literally the first time we've ever seen Mistress
• 15:15
  Speaker 1: like scared on stage because and I don't honestly know
• 15:20
  Speaker 1: really why. I mean, it had to have been a
• 15:21
  Speaker 1: Korea thing, but like as soon as the performance ended,
• 15:24
  Speaker 1: you could see the resignation in her demeanor, in her voice,
• 15:29
  Speaker 1: in her eyes that she didn't do the best she
• 15:31
  Speaker 1: felt she could have done. And Anitra I felt her
• 15:34
  Speaker 1: original performance was also like I mean, the song for
• 15:37
  Speaker 1: the most part, the song just like wasn't that good.
• 15:39
  Speaker 1: And Lux's song was really good, you know what I mean,
• 15:41
  Speaker 1: But Anitra apparently there was like drama about like a
• 15:44
  Speaker 1: backup dancer that got like a broken foot or something
• 15:46
  Speaker 1: like that. All that is to say is like also
• 15:49
  Speaker 1: the thing. Of course, it was always I was just
• 15:51
  Speaker 1: gonna say, of course it was always going to be
• 15:52
  Speaker 1: a Nature versus Sasha, but like if they were giving
• 15:55
  Speaker 1: a real judging, it would have been Lux versus Sasha Colby. Yeah,
• 16:00
  Speaker 1: I could see that, but I do think these things
• 16:03
  Speaker 1: were decided before the finially and even with a Nietra
• 16:07
  Speaker 1: like I do think at a certain point in the season,
• 16:09
  Speaker 1: a Nietra very much proved herself to be a one
• 16:12
  Speaker 1: trick pony, Like you know her she was a lip
• 16:16
  Speaker 1: sync assassin, but you know, she was pulling the same
• 16:19
  Speaker 1: moves every time. Like, yes, her jumping over Marcia to
• 16:23
  Speaker 1: the third Power was gaggy, But obviously she did well
• 16:28
  Speaker 1: in some of the challenges, although some of the later
• 16:31
  Speaker 1: wins I don't necessarily agree with. But yeah, she had
• 16:34
  Speaker 1: a stick and it you know, she brought it in
• 16:37
  Speaker 1: literally the first episode and then kind of did the
• 16:40
  Speaker 1: same thing throughout the whole competition. I'll agree with you
• 16:43
  Speaker 1: to Nix, I like obviously would die for a Niitra slash,
• 16:47
  Speaker 1: like I want her to like be my wife and partner,
• 16:50
  Speaker 1: and I would take care of her. But I feel
• 16:52
  Speaker 1: like you think you think she's hot. I think a
• 16:55
  Speaker 1: Nietr is so fine and so beautiful. But I was
• 17:01
  Speaker 1: gonna say I would I would say Anitra's not so
• 17:04
  Speaker 1: much a one trick pony as her performance style is
• 17:07
  Speaker 1: just not as rounded as the other girls, like Lux
• 17:13
  Speaker 1: Mistress and Sasha are all giving triple quadruple threat kind
• 17:18
  Speaker 1: of scenarios where Anitra is really only giving us dance
• 17:22
  Speaker 1: and performance. And she because she has this really really
• 17:27
  Speaker 1: kind of lovable, endearing underdog story. I think that's like
• 17:32
  Speaker 1: a big reason why people were so gagged that you know,
• 17:34
  Speaker 1: she could do karate and do a duck walk and
• 17:36
  Speaker 1: jump over Marsha and all the different stuff. Like I
• 17:38
  Speaker 1: think that is like worthy of someone going all the
• 17:40
  Speaker 1: way to the end. But we have to say, and
• 17:43
  Speaker 1: if I haven't said this before, I must say on
• 17:45
  Speaker 1: the record, her runway over and over again was rotted
• 17:50
  Speaker 1: like rutted, rutted, routted, and the judges just ignored it
• 17:53
  Speaker 1: over and over again for her finale runways and looks
• 17:56
  Speaker 1: amazing the crystal gown that she did with like the
• 17:59
  Speaker 1: Chris little spine down her back or whatever, that was
• 18:02
  Speaker 1: also nice. All of her other runways were giving dolls
• 18:05
  Speaker 1: kill latex jumpsuits like Vegas core patent leather like ugly, ugly,
• 18:12
  Speaker 1: ugly garments and flat wigs and the and the judges
• 18:16
  Speaker 1: ignored it because they loved Antra And that is fine,
• 18:19
  Speaker 1: because I love a Nutra too, but like it has
• 18:21
  Speaker 1: to be said, yes, well that that was such the
• 18:25
  Speaker 1: glaring difference watching Sasha versus a Nutra in that final
• 18:30
  Speaker 1: lip sync is just, you know, it confirms more than
• 18:36
  Speaker 1: ever that drag is a woman's sport. And you have
• 18:41
  Speaker 1: you have like the doll of all dolls up there
• 18:44
  Speaker 1: against you know, Anitra in her like Vegas body suit.
• 18:50
  Speaker 1: I just Sasha like that there's a reason why she
• 18:54
  Speaker 1: you know, took all those clothes off. Like yes, part
• 18:55
  Speaker 1: of it is like political because of everything that's happening.
• 18:59
  Speaker 1: Like I think she even said an interview with Entertainment Weekly,
• 19:01
  Speaker 1: like she wanted to like put out on stage like
• 19:05
  Speaker 1: what everyone is so scared of. But it's also like,
• 19:09
  Speaker 1: as she said earlier in the season, like she's the
• 19:12
  Speaker 1: only one who could turn up there and give body,
• 19:15
  Speaker 1: and that's what she did. And like watching her up
• 19:18
  Speaker 1: on that stage is like watching so many trans drag
• 19:21
  Speaker 1: performers who I've seen, like watching Charlene do a number
• 19:24
  Speaker 1: and like strip down to nothing and like a crowded
• 19:27
  Speaker 1: bar or a club, and like there's just something different
• 19:31
  Speaker 1: when it like yes, we love like the artifice and
• 19:34
  Speaker 1: transformation of drag, but like when that has like crystallized
• 19:38
  Speaker 1: into someone's final form and then it's like the realnessness
• 19:44
  Speaker 1: just sick. It was hilarious that Drag Race decided to
• 19:48
  Speaker 1: give Bob Mackie, it's giving us Lifetime Achievement Award when
• 19:52
  Speaker 1: in reality, like Sasha Colby was the winner of the
• 19:55
  Speaker 1: Lifetime Achievement Award. Like that's really what it felt like.
• 19:58
  Speaker 1: I thought Bob Mackie was dead. I kind of did too.
• 20:02
  Speaker 1: I'm not gonna When they said they were doing a
• 20:05
  Speaker 1: tribute to him, I was like, oh did Heah? I
• 20:09
  Speaker 1: was like I would have heard if he died. It was. Yeah,
• 20:11
  Speaker 1: it was kind of bizarre. I guess it's like because
• 20:13
  Speaker 1: they were whatever anyways. But yeah, the coronation you were
• 20:17
  Speaker 1: talking about with Sasha was amazing. Virgins, if you have
• 20:20
  Speaker 1: any any opportunity to see Sasha Colby perform in person
• 20:24
  Speaker 1: during one of her many, you know, cross country performances,
• 20:28
  Speaker 1: you have to because seeing her in person is a
• 20:31
  Speaker 1: completely different experience than seeing it on TV. She does
• 20:35
  Speaker 1: it like no other queen can, and oh god, it
• 20:39
  Speaker 1: was just it was It just made me proud to
• 20:42
  Speaker 1: love the art form that I love. And I think
• 20:45
  Speaker 1: that every drag artist watching her felt that way too,
• 20:48
  Speaker 1: even Mistress, who I don't know if you saw that
• 20:50
  Speaker 1: clip of them watching the finale reveal together and mistresses
• 20:54
  Speaker 1: in that room, and as soon as they announce that
• 20:55
  Speaker 1: it's Slasha Colby's, Mistress turns like this really funny like canned,
• 21:00
  Speaker 1: and she goes, what what the fuck? Boom, Like it
• 21:04
  Speaker 1: was so it was so knowing because they all knew
• 21:08
  Speaker 1: that she was gonna win, But it was also like,
• 21:11
  Speaker 1: Mistress is such a good sport because and I think
• 21:13
  Speaker 1: you'll agree with me, Rose, like she Mistress is on
• 21:18
  Speaker 1: like that level, Like she is maybe not as good
• 21:21
  Speaker 1: as Sasha Colby, but she is as like well rounded
• 21:24
  Speaker 1: as Sasha Colby. She is such an expert in drag
• 21:28
  Speaker 1: and I wish I could have seen her even more
• 21:30
  Speaker 1: of her. But she she's gonna, you know, hopefully murder
• 21:33
  Speaker 1: All Stars at some point. Oh yeah, mistress will she
• 21:37
  Speaker 1: will be winning Stars, you know, fifteen or whatever. Yeah,
• 21:40
  Speaker 1: she has to win. She has to win. Can you
• 21:42
  Speaker 1: believe we're getting All Stars in like two weeks? Two
• 21:45
  Speaker 1: or three weeks? Yeah, I'm surprised it's not starting this week.
• 21:48
  Speaker 1: Yeah right now. M after after rewatching Mama Mia last Night.
• 22:13
  Speaker 1: It's a very horny movie. But I think Abba is
• 22:16
  Speaker 1: very horny music. Well okay, okay, it is thematically horny, yes,
• 22:21
  Speaker 1: but it's not music that makes you horny. Nor would
• 22:25
  Speaker 1: you fuck to Abba? Would you see the face that
• 22:30
  Speaker 1: you just made? That was like I would too. Yeah,
• 22:35
  Speaker 1: I would fuck to a selection of ABBA's music, you know,
• 22:38
  Speaker 1: not all of it, some maybe I would fuck to
• 22:42
  Speaker 1: Gimme gimme gimme on the loop for you know, six hours. Yeah,
• 22:48
  Speaker 1: I mean that whole album, to be honest, it is
• 22:51
  Speaker 1: gim me give me, give me your favorite Abba song? Yeah, okay,
• 22:55
  Speaker 1: that whole album is definitely. That album is definitely my
• 22:59
  Speaker 1: favorite album, Like Vulie Voo is so like transcendent, and
• 23:02
  Speaker 1: the first like the first song as Good as New
• 23:05
  Speaker 1: is probably one of my favorite Abba songs, though I'm
• 23:07
  Speaker 1: pretty sure my favorite what's your favorite song? Probably Dancing Queen,
• 23:11
  Speaker 1: which is so so so pathetically basic. I just know
• 23:14
  Speaker 1: I have when it's right, it's right, I have like
• 23:17
  Speaker 1: a really really fierce, like lifelong, like literally lifelong attachment
• 23:21
  Speaker 1: to that song. And and then I also really love Chita.
• 23:24
  Speaker 1: It has like a lot of course emotion. I'm getting
• 23:28
  Speaker 1: emotional even talking about it. But that's the thing that
• 23:30
  Speaker 1: it's so emotional. It's such emotional music. No, it is.
• 23:33
  Speaker 1: Last night when I was watching Mom and Mia during
• 23:35
  Speaker 1: the Dancing Queen sequence, I cried. I teared up. Of course,
• 23:40
  Speaker 1: I was also very stoned. I wanted to I wanted
• 23:44
  Speaker 1: to be I wanted to like have that moment of
• 23:47
  Speaker 1: watching it and then be able to get stone this
• 23:49
  Speaker 1: morning and like flash back to where I was last night.
• 23:53
  Speaker 1: But but here's what I don't understand. You love Abba,
• 23:57
  Speaker 1: you love your music. How have you waited this long
• 24:01
  Speaker 1: to watch Mama Yea because I knew I wouldn't like it?
• 24:06
  Speaker 1: And did you not like it? I enjoyed it for
• 24:09
  Speaker 1: what it was, everything that it brought to the table,
• 24:11
  Speaker 1: everything that it promised it delivered on. It's just it
• 24:14
  Speaker 1: was not it was. It's so confusingly crazy. It's so
• 24:19
  Speaker 1: crazy to me, and I think it's just a gag.
• 24:21
  Speaker 1: I would watch it anytime, honestly on background. Okay, well
• 24:24
  Speaker 1: it is transcendent. Yeah, and it's just an extremely be
• 24:30
  Speaker 1: positive romp of a musical. And h it's not I
• 24:35
  Speaker 1: don't think it's a movie that has to be looked
• 24:37
  Speaker 1: at in a through a complicated lens. And that's what
• 24:41
  Speaker 1: I love about it. It's about, you know, being on
• 24:44
  Speaker 1: the beach in Greece and not knowing who your dad is.
• 24:48
  Speaker 1: I just looked up how much money Mama Mia made
• 24:50
  Speaker 1: at the box office, and it made six hundred and
• 24:55
  Speaker 1: eleven million dollars on a fifty two million dollar budget.
• 24:59
  Speaker 1: It was a and that's good hit. Yes, it was
• 25:01
  Speaker 1: a hit. It was a hit. I remember when it
• 25:04
  Speaker 1: came out, they were doing sing along screenings. It had
• 25:09
  Speaker 1: a sort of it had an extended release. It was
• 25:12
  Speaker 1: in theaters forever because people just loved it so much.
• 25:16
  Speaker 1: It was a phenomenon. I mean every time it's every
• 25:19
  Speaker 1: time Abba comes back into the culture, we're like glad
• 25:21
  Speaker 1: for it because Abba is just like so omnipotent in
• 25:24
  Speaker 1: pop music and influences so much pop music, and yet
• 25:28
  Speaker 1: like nothing sounds like Abba, you know what I mean? Yeah,
• 25:32
  Speaker 1: it just Abba. Their music just makes you feel good. Yea.
• 25:37
  Speaker 1: It is feel good music. It is. It is in
• 25:39
  Speaker 1: the same category as Fleetwood Mac. You know, it's music
• 25:44
  Speaker 1: that is makes mostly makes you feel good and happy,
• 25:47
  Speaker 1: but it is still very deep and emotional and like
• 25:51
  Speaker 1: well made. But it is just like good vibes. Yeah,
• 25:56
  Speaker 1: and and also like the fact that like so many
• 25:59
  Speaker 1: of their songs are so like bright, happy, upbeat, Like
• 26:03
  Speaker 1: a lot of the times they're like lyrically like dark, complex,
• 26:07
  Speaker 1: like sad, like despondent. Like this songwriting is so it's
• 26:12
  Speaker 1: so often like juxtaposed to like the emotionality of you know,
• 26:17
  Speaker 1: and the brightness of like the actual feeling of the song.
• 26:20
  Speaker 1: It honestly reminds me of like Carli Rai Jepson or
• 26:22
  Speaker 1: like Robin totally totally like Robin oh Swedish like that
• 26:27
  Speaker 1: kind of like sad, sad, sad lyrical songwriting and then
• 26:33
  Speaker 1: like really upbeat, bright pop. You know. So Mama Mia
• 26:36
  Speaker 1: is God. Did we say that we're high? Oh yeah,
• 26:39
  Speaker 1: did we tell the virgins? Okay? So it is this
• 26:42
  Speaker 1: right that Abba won Eurovision and that's why they're famous,
• 26:49
  Speaker 1: right Yeah. In nineteen seventy four, Abba were Sweden's first
• 26:52
  Speaker 1: winner of the Eurovision Song Contest with the song Waterless.
• 26:55
  Speaker 1: So but before Waterloo they did have a lot, They
• 26:59
  Speaker 1: still had a lot going for them. You know, they
• 27:01
  Speaker 1: were still like in I think they were still they
• 27:04
  Speaker 1: were still making hit. They were still Yeah, but that
• 27:06
  Speaker 1: was their breakout. Yeah, I guess it was God. Okay,
• 27:11
  Speaker 1: what actually plugged? For the Virgins? Dj Louis podcast Pop
• 27:16
  Speaker 1: Pantheon does an amazing breakdown of Abba that I'm all
• 27:20
  Speaker 1: not remembering, which is great and Virgins, you did not
• 27:24
  Speaker 1: come here for a you know, timeline breakdown of ABBA's career,
• 27:29
  Speaker 1: and that's certainly not where you're going to get. So
• 27:32
  Speaker 1: I so here's a good starting point. I was first
• 27:36
  Speaker 1: introduced to the music of is Abba Abba? You say Abba?
• 27:40
  Speaker 1: I say Abba? What's right? What's wrong? I don't know,
• 27:43
  Speaker 1: it's Abba, just it's I think it is Abba. I
• 27:46
  Speaker 1: think it's whatever you want, what you feel in your soul.
• 27:50
  Speaker 1: I was first introduced to their music, not even by them,
• 27:54
  Speaker 1: but by the A teens. Do you remember the A
• 27:57
  Speaker 1: Star teenes? They are very yeah, yeah, of course and
• 28:01
  Speaker 1: they covered up. They covered it right. They released an
• 28:03
  Speaker 1: album called The Abba Generation and it was all all
• 28:07
  Speaker 1: covers of Abba songs. And that's why first, that's why
• 28:10
  Speaker 1: I first was introduced to their music because I bought
• 28:13
  Speaker 1: the CD like f Ye at the mall and there
• 28:17
  Speaker 1: was one summary Sleepway camp where I would if I
• 28:21
  Speaker 1: was doing anything, if I wasn't on stage, rehearsing for
• 28:25
  Speaker 1: whatever play I was in. I was sitting in the
• 28:28
  Speaker 1: woods somewhere, bumping the Alba Generation in my CD player
• 28:32
  Speaker 1: and reading and reading, you know, a Harry Potter book
• 28:36
  Speaker 1: probably yeah, yeah, or some kind of like well, you
• 28:39
  Speaker 1: didn't have anything. I was gonna say fan fiction, but
• 28:41
  Speaker 1: they were no, like you know, no, there was. I
• 28:43
  Speaker 1: was going on fan fiction and that we had a
• 28:44
  Speaker 1: computer room at camp and I would get there. I
• 28:47
  Speaker 1: would go there and sit there for hours and read
• 28:49
  Speaker 1: fan fiction. But you know, but I but I like
• 28:52
  Speaker 1: just that summer, I listened to that CD so much
• 28:55
  Speaker 1: and I didn't even realize that they weren't the band
• 28:59
  Speaker 1: that wrote those songs. I didn't realize who I didn't
• 29:01
  Speaker 1: know who Abba was. And it was until later that
• 29:04
  Speaker 1: I found out. I have a vivid memory of this
• 29:08
  Speaker 1: is really embarrassing. But speaking of just like, you know,
• 29:12
  Speaker 1: being young and not knowing music. I when Lindsay Lohan
• 29:15
  Speaker 1: released that album Confession, the one with daughtared Father dddard Father. Yeah,
• 29:23
  Speaker 1: it is it's a little more personal. Yes, parentheses raw
• 29:27
  Speaker 1: because she yeah, and the one the one where the
• 29:30
  Speaker 1: cover is her it's like her back and there's like
• 29:32
  Speaker 1: a red image painted on it. Yeah, yes, that's so
• 29:36
  Speaker 1: she did an album. So she does a cover of
• 29:38
  Speaker 1: Edge of seventeen. And I thought that Lindsay is very
• 29:41
  Speaker 1: familiar with I thought Lindsay Lohan wrote that song well
• 29:45
  Speaker 1: because I because I didn't grow up. Was she not
• 29:47
  Speaker 1: Matt Oh she did, Oh absolutely, I was. I just
• 29:51
  Speaker 1: didn't know. I didn't know who Steve Enix was. I
• 29:53
  Speaker 1: didn't know. Yeah, oh, but I think I feel like
• 29:57
  Speaker 1: I was always known who Steve Vienix is. Like no,
• 30:00
  Speaker 1: Leewood Mac was definitely played in my in our house
• 30:05
  Speaker 1: like Saturday mornings by my by my parents, and I
• 30:09
  Speaker 1: always remember that from growing up. So I think I
• 30:12
  Speaker 1: always knew who Stevie was, But I did not always
• 30:14
  Speaker 1: know who Abba was clearly, and I think I I
• 30:18
  Speaker 1: think maybe it was explained to me. I think at
• 30:22
  Speaker 1: some point I was like, Okay, well who's there? This
• 30:25
  Speaker 1: is the Abba generation? Who the fuck is Abba? Or
• 30:29
  Speaker 1: I found out what Abba was when the musical came out,
• 30:32
  Speaker 1: because it came out on Broadway like two thousand and one,
• 30:36
  Speaker 1: two thousand and two, so not long after, you know,
• 30:38
  Speaker 1: when I was listening to eighteen's and it was a
• 30:42
  Speaker 1: huge Broadway sensation. So you saw, So you saw Mama Mia.
• 30:46
  Speaker 1: I saw a touring production of Mamma Mia. I never
• 30:49
  Speaker 1: saw it on Broadway, but it was like a blockbuster
• 30:52
  Speaker 1: musical because you know, it's of course, it's such a
• 30:54
  Speaker 1: smart musical, because it's a jukebox musical with the most
• 30:59
  Speaker 1: record niceable like feel good music in the world and
• 31:04
  Speaker 1: totally sing along with any any song or at least
• 31:06
  Speaker 1: know it. I'm so curious how the process of writing
• 31:11
  Speaker 1: the musical came about, Like what was the one lyric
• 31:15
  Speaker 1: that they were like, Oh, it's about a girl who's
• 31:18
  Speaker 1: getting married and doesn't know her dad is because her
• 31:20
  Speaker 1: mom was a slut. I think like that. You know,
• 31:24
  Speaker 1: whoever who wrote this musical, The book is by like
• 31:28
  Speaker 1: I want to say, like Catherine Johnson. She wrote the
• 31:32
  Speaker 1: book for the musical and the screenplay for the movie.
• 31:35
  Speaker 1: I'm sure then, if you're asking what the process of
• 31:38
  Speaker 1: writing this was, I'm sure they all did like lines
• 31:41
  Speaker 1: of coke and k one after the other, like in
• 31:45
  Speaker 1: a row on vacation probably, But also the guys from
• 31:51
  Speaker 1: Abba the Fuck are their names, Benny Anderson and Bjorn Ulvus.
• 31:58
  Speaker 1: You know, we're very involved in the music in the movie.
• 32:00
  Speaker 1: And actually they both have cameos in the movie. Oh
• 32:04
  Speaker 1: did they really? Yeah? In Dancing Queen, there's a guy
• 32:07
  Speaker 1: singing on a boat playing the piano, and that's one
• 32:09
  Speaker 1: of them. And then in the post credit scene when
• 32:12
  Speaker 1: they're singing Waterloo, there's a shot where it like goes
• 32:15
  Speaker 1: up to the heavens and the Greek chorus are like
• 32:18
  Speaker 1: performing and there's one of the other guys from ABBA
• 32:22
  Speaker 1: is dressed up as Zeus and he's like, that's presiding overall. Yeah,
• 32:26
  Speaker 1: it is beautiful. I'm happy they were involved, although I
• 32:29
  Speaker 1: wish the girlies had also been involved. Yeah, that would
• 32:33
  Speaker 1: have been nice, because that's kind of the thing with
• 32:35
  Speaker 1: ABBA is like the men write the songs and the
• 32:37
  Speaker 1: women perform them. Yeah, I mean, yeah, that's how music
• 32:42
  Speaker 1: should be. Oh yeah, yeah, absolutely, tell me more. Tell
• 32:48
  Speaker 1: me wor about your views about the binary roles for
• 32:53
  Speaker 1: for gender and music. So okay, so we're talking about
• 32:56
  Speaker 1: like before before the movie came out, because this movie
• 32:59
  Speaker 1: came out two thousand and eight, but Mama Mia loomed
• 33:02
  Speaker 1: large in the culture for a very long time, and
• 33:04
  Speaker 1: especially in the theater community. And you know, everyone virgins
• 33:08
  Speaker 1: know that I was a musical theater girl in high school. Yes,
• 33:13
  Speaker 1: and one year at a theater competition. So when you
• 33:18
  Speaker 1: go to these theater competitions they have they also in
• 33:21
  Speaker 1: addition to the competitive part of it, they have workshops
• 33:24
  Speaker 1: that you can go to. And this one that I
• 33:26
  Speaker 1: went to had a dance workshop. And listen, I'm not
• 33:30
  Speaker 1: a good dancer. I never was. I was in a
• 33:34
  Speaker 1: tap musical once and I was like feeling myself, and
• 33:38
  Speaker 1: so I went to this what tap musical, Dames at Sea.
• 33:42
  Speaker 1: It's sort of an anything goes rip off. I was
• 33:45
  Speaker 1: an attack which tap musical Crazy for you, Crazy for you? Beautiful, beautiful,
• 33:50
  Speaker 1: oh beautiful? Are you a good are tap dancer? No?
• 33:54
  Speaker 1: Not at all. That's why I didn't get the lead.
• 33:55
  Speaker 1: Do you remember many episodes ago when I told you
• 33:58
  Speaker 1: that story about the theater teacher that was, like I
• 34:01
  Speaker 1: gotta tell you, almost it was between you and Luke.
• 34:05
  Speaker 1: It was between you and Luke, but Luke got it
• 34:07
  Speaker 1: because he can suck Luke. And that was what is
• 34:10
  Speaker 1: a fuck Luke? Luke, wherever you are out there, I
• 34:13
  Speaker 1: hope you're dead. He's probably He's a really nice what
• 34:18
  Speaker 1: I remember fuck him? So so anyway, at this theater competition.
• 34:21
  Speaker 1: I went to a workshop where they taught us the dance,
• 34:25
  Speaker 1: the official choreography to Dancing Queen and that's wait, wait
• 34:30
  Speaker 1: from like the music from the musical Yeah, no, from
• 34:33
  Speaker 1: the from the Broadway music A music this is you know,
• 34:37
  Speaker 1: early two thousands, I see Broadway camp. So I did
• 34:41
  Speaker 1: learn that dance. I was not very good at it.
• 34:43
  Speaker 1: I would not say that I slayed, because I again,
• 34:47
  Speaker 1: not a good dancer, don't. I don't really have rhythm,
• 34:51
  Speaker 1: and picking up choreography has always been, let's say challenging.
• 34:56
  Speaker 1: Although the tap numbers that I learned in high school
• 35:01
  Speaker 1: I still remember. It's like muscle memory. No, I will
• 35:04
  Speaker 1: never forget how to do those. Okay. I have some
• 35:30
  Speaker 1: questions about the movie Mamma Mia, and okay, I just
• 35:35
  Speaker 1: so for the virgins. I just watched it on a cruise,
• 35:38
  Speaker 1: the perfect place to watch it besides a Greek island. Yes,
• 35:42
  Speaker 1: Laurel and I sat down. We were like, okay, we're
• 35:45
  Speaker 1: gonna watch this. I can't remember if we were high.
• 35:47
  Speaker 1: I would assume you were, and I feel well. The
• 35:51
  Speaker 1: thing is, we were running out of meat. If you
• 35:52
  Speaker 1: remember from last episode, we were like rationing it and
• 35:55
  Speaker 1: I don't know if we were out by then, and
• 35:56
  Speaker 1: I should remember, But anyways, my experience the movie was
• 36:00
  Speaker 1: just like I realized that I had seen it before,
• 36:02
  Speaker 1: or that I'd seen it in parts or in background,
• 36:05
  Speaker 1: or I swear I watched a lot of it with you,
• 36:08
  Speaker 1: Oh we have never watched fifteen minutes of because you've
• 36:11
  Speaker 1: always refused. I thought we watched the first fifteen minutes
• 36:14
  Speaker 1: of it after Drag Race one time, and anyways, it
• 36:18
  Speaker 1: doesn't matter. But like I my having rewatched it now
• 36:21
  Speaker 1: revisited it with this mindset, I was just like, it
• 36:25
  Speaker 1: is pretty perfectly silly and the pure sprasm. It is
• 36:29
  Speaker 1: so so distractingly bad as a singer, and wait, actually
• 36:36
  Speaker 1: did they make these girls sing live? I feel like
• 36:38
  Speaker 1: a lot of them sung live. No. No. The live
• 36:42
  Speaker 1: singing musical of our time was Layz Yeah Lame, which
• 36:46
  Speaker 1: was horrible. This No, This was all you know, recorded
• 36:50
  Speaker 1: in a studio, and the soundtrack does slap and huge
• 36:54
  Speaker 1: hit as well. I feel like some of them were
• 36:56
  Speaker 1: singing on set if a lot of it felt like, well,
• 37:00
  Speaker 1: maybe they were just really bad. But oh god, Pierce Brosnan,
• 37:05
  Speaker 1: Oh my god, he was so he was so sexy.
• 37:07
  Speaker 1: He was extremely sexy. Which one of the three dads
• 37:10
  Speaker 1: would you want to fuck? Oh I'm so glad you
• 37:12
  Speaker 1: asked this because I did think about it last night
• 37:14
  Speaker 1: and it is one hundred percent selling Stars Garden. Oh
• 37:17
  Speaker 1: what he was really giving for me on this viewing.
• 37:24
  Speaker 1: I thought for sure you were going to say Colin Firth.
• 37:26
  Speaker 1: I love Colin Firth, and I think this is such
• 37:29
  Speaker 1: a great Colin Firth role because he's usually so serious
• 37:33
  Speaker 1: and he's so goofy and silly in this movie. And
• 37:36
  Speaker 1: he's gay and he's and he's gay. I mean he's
• 37:40
  Speaker 1: blind and he's gay, I mean gay, I mean blind.
• 37:45
  Speaker 1: I mean he's blind, I mean blind. Yes, he's gay.
• 37:51
  Speaker 1: And he even gets to get booed up at the end.
• 37:55
  Speaker 1: There is a scene where after the dads have found
• 37:59
  Speaker 1: out that they're like, they all think that they're Amanda
• 38:02
  Speaker 1: Seyfried's dad, when Stellen, scars Guard and Colin Firth are
• 38:07
  Speaker 1: on the boat, I mean they all stand up to
• 38:09
  Speaker 1: disrupt the wedding. No, no, no, I know an earlier
• 38:12
  Speaker 1: scene than that when they're on the boat together, and
• 38:15
  Speaker 1: it's when Stellin is like kind of being like, so
• 38:18
  Speaker 1: you're gay, right, without saying it, but like there is
• 38:21
  Speaker 1: there is a vibe between them, and I think they
• 38:25
  Speaker 1: should have ended up together instead of Colin Firth ending
• 38:29
  Speaker 1: up with the random ensemble member and Stellen Scar's guard
• 38:32
  Speaker 1: winding up with Julie Waters aka Missus Weasley. Missus Weasley.
• 38:38
  Speaker 1: It was so random, Like that's the thing is like
• 38:41
  Speaker 1: the way it was all tied together at the end.
• 38:43
  Speaker 1: I was just like, this is wild, and like the
• 38:45
  Speaker 1: wedding scene is crazy, and everything about that musical is
• 38:49
  Speaker 1: absolutely bonkers, like the like the narrative, like yeah, they're
• 38:54
  Speaker 1: the best example of a use of musical theater logic.
• 38:58
  Speaker 1: It is like nothing makes sense and all of these
• 39:01
  Speaker 1: crazy things happen and people just accept them. Like when
• 39:04
  Speaker 1: when Donna finds the three men there and they're like,
• 39:07
  Speaker 1: oh yeah, we all just wound up here and we're
• 39:09
  Speaker 1: staying up in this attic and your goat shed and
• 39:11
  Speaker 1: She's like, well that's weird, you know. Mama Mia is
• 39:15
  Speaker 1: kind of giving Shmiga dude. It's giving well yeah Shmiah, Yeah,
• 39:19
  Speaker 1: I mean yes, brand Swiga dude is Swiga Dude is
• 39:22
  Speaker 1: like parodying though crazy and I say logic of musical
• 39:27
  Speaker 1: but it's almost like Mama Mia is parodying itself that
• 39:30
  Speaker 1: it is a musical, like it's it's crazy. It's like
• 39:34
  Speaker 1: it feels like, I mean, I'm so glad that we're
• 39:36
  Speaker 1: stone because I feel like it needs to be listened
• 39:39
  Speaker 1: to high. Okay, another another question I have about this
• 39:42
  Speaker 1: is how old is Meryl Streep supposed to be in
• 39:45
  Speaker 1: this movie? Because they're like amazing because they're like, Sophie
• 39:48
  Speaker 1: is twenty years old. So this movie came out in
• 39:51
  Speaker 1: two thousand and eight, so that means that she would
• 39:54
  Speaker 1: have had Amanda, sayf reed in nineteen eighty eight, and like,
• 40:00
  Speaker 1: I think we're supposed to believe Donna is like forty,
• 40:05
  Speaker 1: like mid forties, and she's not. Like they could have
• 40:08
  Speaker 1: just made twenty five and it would have been more believable.
• 40:11
  Speaker 1: And also, like they're supposed to there's so many references
• 40:15
  Speaker 1: in the songs to the fact that like this all
• 40:19
  Speaker 1: happened in the seventies, but like that doesn't make any
• 40:22
  Speaker 1: sense either. And then like let's not even introduce the
• 40:25
  Speaker 1: like Meryl's wig into the equation because then it gets
• 40:28
  Speaker 1: really hassy. I loved Meryl's wig. I think she looked
• 40:32
  Speaker 1: I think she looked amazing. Oh, she does look amazing,
• 40:34
  Speaker 1: but her wig is extremely clocky and also tea shot Mama. See,
• 40:40
  Speaker 1: I thought it was amazing. I did. I thought she
• 40:42
  Speaker 1: was unlockable. And and I have to say that as interesting.
• 40:46
  Speaker 1: It sounds like it sounds like you're following the weird
• 40:48
  Speaker 1: musical theater logic where nothing makes sense because that hairline
• 40:53
  Speaker 1: was was rough. It's too low? What I need to
• 40:56
  Speaker 1: look at it. It's it's not too low. It's just
• 40:58
  Speaker 1: like it is a wig in a very visible way.
• 41:03
  Speaker 1: But Meryl is so good in this movie that she's
• 41:08
  Speaker 1: so fun and like she's always on and like what
• 41:14
  Speaker 1: when when the her divas came in off the boat
• 41:17
  Speaker 1: at the beginning and they had that moment of meeting
• 41:19
  Speaker 1: up again together, like they're all so good. I believed
• 41:23
  Speaker 1: that they were friends, like I believed the relationship between
• 41:26
  Speaker 1: Meryl and Amanda, Like, Meryl is just incredible. I know
• 41:30
  Speaker 1: this is such a hot take. Meryl Streep is a
• 41:33
  Speaker 1: good actress, but no, but it is she is. I
• 41:36
  Speaker 1: think I think the thing is about it is just
• 41:38
  Speaker 1: that the rest of the movie is not giving what
• 41:41
  Speaker 1: Meryl's giving, Like Meryl is giving ding. Sorry, Meryl's giving
• 41:46
  Speaker 1: acting down like and in the singing she's giving acting.
• 41:51
  Speaker 1: She is giving character like her. Her vocals are emotional
• 41:56
  Speaker 1: and our meeting with the character like she's to me,
• 41:58
  Speaker 1: the only one that is actually doing it. Amana Syfreed
• 42:01
  Speaker 1: is obviously amazing, but she I don't think, is this
• 42:04
  Speaker 1: is not like Amanda Sufried's like that, Like Amanda was
• 42:07
  Speaker 1: I think playing more into the parody, you know what
• 42:10
  Speaker 1: I mean. Like I feel like everyone on set was
• 42:12
  Speaker 1: not taking the movie very seriously. I think they're having fun,
• 42:16
  Speaker 1: but they're still, you know, all like doing it like
• 42:21
  Speaker 1: they're ye all committed, even to even to the parts
• 42:24
  Speaker 1: that I don't like, like Christine Baranski's number that's all
• 42:27
  Speaker 1: about her being a cooper and how the young guy
• 42:30
  Speaker 1: wants to fuck her. I'm like, oh my god, I
• 42:33
  Speaker 1: mean that's that song is it's I think that could
• 42:35
  Speaker 1: have been cut from the movie. But but she's still
• 42:40
  Speaker 1: selling it. She's still giving a thousand percent. Yeah, she's
• 42:44
  Speaker 1: giving one thousand percent. I mean she she was also incredible. Okay,
• 42:48
  Speaker 1: So in this movie, even though obviously Colin Firth is gay,
• 42:51
  Speaker 1: there's the scene where Amanda goes on the boat and
• 42:55
  Speaker 1: like spends an afternoon with them, and they're all like
• 42:58
  Speaker 1: being dad like, but also like they all obviously want
• 43:01
  Speaker 1: to fuck her because they don't know yet that she
• 43:03
  Speaker 1: could possibly be their daughter. But that is very much
• 43:06
  Speaker 1: the vibe, Like except for Colin Firth because he's gay.
• 43:09
  Speaker 1: But even then I think a little bit, they're like
• 43:13
  Speaker 1: what if what if we? I just like gang banged
• 43:16
  Speaker 1: you right now. I just love the mechanations your head
• 43:21
  Speaker 1: makes and like like interweaving all of these characters to
• 43:25
  Speaker 1: the point of homosexuality, no matter what homosex. But also
• 43:29
  Speaker 1: just like that is your take behavior every culture. Yeah, yeah, yeah,
• 43:33
  Speaker 1: I just characters on screen. I'm like, would they fuck
• 43:37
  Speaker 1: or wouldn't they? And for the most part, like nine
• 43:40
  Speaker 1: times out of ten they would. Maybe I was high
• 43:44
  Speaker 1: because like I do not remember anything. I don't remember,
• 43:47
  Speaker 1: or rather I I at no point was like thinking
• 43:50
  Speaker 1: about the characters or what they wanted. It was just
• 43:53
  Speaker 1: to me like a series of music videos and and
• 43:56
  Speaker 1: like some light narration in between and I and I
• 44:00
  Speaker 1: loved that, And god, I honestly didn't even know sometimes
• 44:04
  Speaker 1: what the character's relationships were together, and I was often confused,
• 44:07
  Speaker 1: especially since we don't know who the daddy is. But
• 44:09
  Speaker 1: that was But that's so annoying to me. It's supposed
• 44:14
  Speaker 1: to be like who who done it? Who Daddy? Well,
• 44:17
  Speaker 1: who do you think it is? Who daddy? I think? Yeah,
• 44:20
  Speaker 1: which daddy do you think is the daddy? Who daddy?
• 44:23
  Speaker 1: What are the threes? So it's it's Colin Firth, Stellin'scar's
• 44:26
  Speaker 1: card and Pierce Brosman. I think I think it was Stellin's.
• 44:32
  Speaker 1: I think it was Stellen's guard. I agree, Yeah, I
• 44:37
  Speaker 1: think I think he and Amanda maybe look alike a
• 44:41
  Speaker 1: little bit. I thought, I thought, just because like the
• 44:44
  Speaker 1: two other heart throbs would be too obvious and it
• 44:47
  Speaker 1: had to be the one that looked like a dad.
• 44:50
  Speaker 1: Did they find out who the dad actually is in
• 44:52
  Speaker 1: the sequel? I don't remember literally. I hear we go again?
• 44:57
  Speaker 1: Were you? Probably? But I've only seen it once and
• 45:00
  Speaker 1: have never wanted to watch it again. No, I didn't
• 45:04
  Speaker 1: watch it. I opened it up on a plane, watched
• 45:07
  Speaker 1: the first like thirty seconds, and then skipped to the
• 45:10
  Speaker 1: end to when Share comes in, and then it was
• 45:12
  Speaker 1: that's the only part worth watching. I mean, I know
• 45:14
  Speaker 1: the general plot of it. I know that Meryl's dead,
• 45:18
  Speaker 1: it's like a lot of flashbacks Lily Lily James is
• 45:21
  Speaker 1: in it, but I don't remember. The intricacy is of
• 45:25
  Speaker 1: the plot. And I think that's fine. Meryl's Meryl's dead, right,
• 45:29
  Speaker 1: She's dead in the in the first scene, it's like her,
• 45:32
  Speaker 1: she's dead the whole thing. Yeah, yeah, but she has
• 45:35
  Speaker 1: doesn't her spirit come back or something? No, No, it's
• 45:38
  Speaker 1: just most of the movie is flashbacks of her, of
• 45:41
  Speaker 1: the young version of her. Meryl was like, I'm good,
• 45:43
  Speaker 1: love enjoy. I do think in the in the post
• 45:46
  Speaker 1: credits musical number, she's in it, but otherwise she is.
• 45:52
  Speaker 1: She said, not again, I'm not I'm not I'm not
• 45:55
  Speaker 1: strapping into the overalls again. You can't pay me enough.
• 45:59
  Speaker 1: I think she's in the overalls. I think she's absolutely
• 46:02
  Speaker 1: said the overalls and like all the time she jumped
• 46:04
  Speaker 1: in the air well. That's kind of like the iconic
• 46:07
  Speaker 1: image of the movie as her within the overalls, her
• 46:10
  Speaker 1: like spread like touching her toes. Oh my god, I
• 46:14
  Speaker 1: mean honestly, like I'd rather watch her in this than
• 46:17
  Speaker 1: her in prom Oh remember her that a thousand she was.
• 46:22
  Speaker 1: I mean that the movie was rotten, and Meryl suffered
• 46:25
  Speaker 1: for that I feel, But like, what other musical has
• 46:28
  Speaker 1: Merril done another musical? She was in the Mary Poppins movie.
• 46:35
  Speaker 1: What Yeah? Yeah, she was in the second the Mary
• 46:38
  Speaker 1: Poppins Movie with Emily Blunt. She had the topsy Turvy song.
• 46:42
  Speaker 1: She has an orange wig. Oh yeah, Oh she was great.
• 46:45
  Speaker 1: Yeah she's slowly. I forgot it was It was a
• 46:48
  Speaker 1: it was a surprise cameo along with Angela Lansbery. Okay,
• 46:53
  Speaker 1: Phoebe wants to know what her favorite Meryl performances are
• 46:56
  Speaker 1: besides Sophie's Choice. I've actually never seen seeing Sophie's Choice
• 47:01
  Speaker 1: me either. I do not want to. I do not
• 47:03
  Speaker 1: wish to. Okay, favorite Meryl I'm looking at the IMDb
• 47:06
  Speaker 1: right now. We still haven't seen Silkwood. I still haven't
• 47:09
  Speaker 1: seen it. You still haven't seen it, right, let's watch
• 47:12
  Speaker 1: it together. Yeah. Oh it's complicated. Yeah, hands down, hands
• 47:18
  Speaker 1: down my favorite maryl performance. I don't even know if
• 47:20
  Speaker 1: I'm joking. Yeah, I don't, I don't. I don't think
• 47:24
  Speaker 1: I'm joking. It might be it's complicated. I fucking love
• 47:28
  Speaker 1: that movie and her embodiment of that movie. I love
• 47:33
  Speaker 1: that for you? What about you? What about you? So
• 47:36
  Speaker 1: I know everyone's gonna expect me to say the dev
• 47:38
  Speaker 1: wors Prada, and she obviously is iconic in that, but
• 47:42
  Speaker 1: I'm gonna throw you and say I prefer her in
• 47:46
  Speaker 1: Lemony Snickets, a series of unfortunate I say that I
• 47:50
  Speaker 1: knew you were gonna period period And they also had
• 47:54
  Speaker 1: Jennifer Coolidge, they had Oh it was that was a
• 47:58
  Speaker 1: place for legends. But Meryl is so good in that movie.
• 48:02
  Speaker 1: Jude Law, Jim Carrey, Right O'Hara, Joan Cusack, I think
• 48:12
  Speaker 1: Joan Cusack, John Cusack. I need to watch more John
• 48:16
  Speaker 1: Cusack movies. What's the what's the movie where she's a therapist? Oh,
• 48:21
  Speaker 1: it's Prime, where she's a therapist and Uma Thurman is
• 48:25
  Speaker 1: fucking her son and Uma Thurman is her patient. What yeah,
• 48:30
  Speaker 1: what yeah? Prime? It's not very good. No, No, I
• 48:37
  Speaker 1: mean god, I mean actually would watch. There are a
• 48:41
  Speaker 1: lot of merryl movies that I feel like I need
• 48:43
  Speaker 1: to watch, starting with Sophie's Joyce. Evidently she really tears
• 48:47
  Speaker 1: up these abba songs. Money, Money, Money is one of
• 48:51
  Speaker 1: the high points of the film for me, really, the
• 48:53
  Speaker 1: whole beginning of the film, like Honey, Honey Tour, Money,
• 48:58
  Speaker 1: money Money, slade down Mamma Mia incredible, Like gim Me
• 49:03
  Speaker 1: gim Me Gimme is that No, Gimme Gimme gimmey is
• 49:06
  Speaker 1: at the bachelorette party and it's kind of like almost
• 49:09
  Speaker 1: a background number, but it still tears. Any abba song
• 49:14
  Speaker 1: that repeats one word three times, you know, is gonna do.
• 49:17
  Speaker 1: It's the magic formula, sister, that's the magic yes rule
• 49:22
  Speaker 1: of threes basic. Basically, that's just chanting. That's that's witchcraft, witchcraft,
• 49:28
  Speaker 1: that's right. These songs are spells. Absolutely. Meryl's giving witch
• 49:33
  Speaker 1: she has many times, as she has several times in
• 49:35
  Speaker 1: her career, well only only one one into the Woods
• 49:40
  Speaker 1: another musical adaptation that is not good and way worse
• 49:45
  Speaker 1: than Mamma Mia is she kind of she's kind of
• 49:48
  Speaker 1: witchy in Mary Poppins. Yeah, there's something you know, magical
• 49:53
  Speaker 1: going on. She's got miss Frizzle vibes in in that.
• 49:57
  Speaker 1: Holy fuck, she would slay as misfress plays any role
• 50:02
  Speaker 1: live action Miss Frizzle. You know what there should be
• 50:04
  Speaker 1: I thought about today, total tangent. There should be a
• 50:06
  Speaker 1: live action legend of Zelda. Did you ever like I've
• 50:09
  Speaker 1: never played, you know, I'm not I'm not a video
• 50:12
  Speaker 1: game girl. Yeah. Yeah, that's why. Honestly it should be
• 50:15
  Speaker 1: made from as a movie or series so that you
• 50:17
  Speaker 1: could consume the lore of it, because the lore is
• 50:20
  Speaker 1: really beautiful and all the characters are really hot and horny.
• 50:22
  Speaker 1: Do you think it's adaptable? Oh one hundred percent. Oh
• 50:26
  Speaker 1: one hundred percent. And they could cast like the hottest
• 50:28
  Speaker 1: little twinks in all of these roles. They should cast
• 50:31
  Speaker 1: an envy to be linked like it should be like
• 50:34
  Speaker 1: Emma Darcy or something like that. Link should be. There
• 50:36
  Speaker 1: should be a mashup and link should be link Larkin
• 50:39
  Speaker 1: from the movie Hairspray. Yes, yes, yes, they should cast
• 50:44
  Speaker 1: a woman like uh allah May Martin and Peter Pan.
• 50:47
  Speaker 1: Is that what her name is? May May Martin's the
• 50:49
  Speaker 1: girl that famous May Martin one like Mary Martin. That's
• 50:55
  Speaker 1: so funny because I get that a lot. No, you're
• 50:59
  Speaker 1: think about Alison who played Peter Pan. That's really live
• 51:04
  Speaker 1: version which I never saw. Yeah, her name is Mary Martin.
• 51:07
  Speaker 1: She's iconic. I watched that musical a Ton Royal. Do
• 51:29
  Speaker 1: you remember anything else about like the time that you
• 51:31
  Speaker 1: found was like the time of a Mama Mia. You
• 51:34
  Speaker 1: like alluded to like being at you know, camp and
• 51:36
  Speaker 1: stuff like that, like any other memory association or like
• 51:40
  Speaker 1: do you have an Alba breakup song? No, but ABBA's
• 51:43
  Speaker 1: definitely like the ABBA is definitely the music that I
• 51:47
  Speaker 1: put on, like on a trip, when you're like in
• 51:49
  Speaker 1: a house of a bunch of people and you need
• 51:51
  Speaker 1: to put something on that's gonna please everyone. Abbas the
• 51:54
  Speaker 1: perfect go to, you know, like when you're like like
• 51:59
  Speaker 1: us in like Joshua Tree, making breakfast in the morning,
• 52:03
  Speaker 1: like you're putting on Apps, You're putting on Abba, You're
• 52:05
  Speaker 1: putting on Dolly Parton, You're putting on or Share. But
• 52:11
  Speaker 1: ABBA is really universal. Share Share is a little less.
• 52:16
  Speaker 1: The first three are like per yeah, a little more polarizing.
• 52:19
  Speaker 1: The first three are like exactly what you described, this
• 52:21
  Speaker 1: kind of like perfect like music that no one will
• 52:25
  Speaker 1: complain about. Shaw Day I feel is also in that category,
• 52:27
  Speaker 1: but different genre, completely different vibe. Yeah, and it's more
• 52:32
  Speaker 1: evening when you're making dinner in the evening and everyone's
• 52:34
  Speaker 1: hanging out. Yeah, there should be a shaw Dai musical. Honestly,
• 52:40
  Speaker 1: your storyline be it would have to be the horniest
• 52:43
  Speaker 1: fuckiest musical. Oh my god, I want to do that.
• 52:46
  Speaker 1: That would be what else would you want to make
• 52:48
  Speaker 1: a musical of their music? Shaw Day really is a
• 52:52
  Speaker 1: good one. It could honestly be like a trans story.
• 52:56
  Speaker 1: Of course, of course it could be you know what
• 52:58
  Speaker 1: I mean, like God, I don't know. Do you have
• 53:03
  Speaker 1: an immediate answer to that? I definitely feel like not. Well.
• 53:06
  Speaker 1: I mean, Ryan and I have joked for years that
• 53:09
  Speaker 1: Gaga should write a My best Friend's Wedding musical, but
• 53:13
  Speaker 1: it wouldn't be a jukebox musical my best friend's wedding.
• 53:17
  Speaker 1: I do think there could absolutely be a Madonna jukebox
• 53:20
  Speaker 1: musical that would be incredible. Yeah, it could never it
• 53:24
  Speaker 1: would never happen. No, it wouldn't ever happen. But I
• 53:27
  Speaker 1: still think if it could happened, it would be great
• 53:29
  Speaker 1: and she be just dropped in the chat tailor. A
• 53:32
  Speaker 1: tailor musical would be incredible. So many of her songs
• 53:36
  Speaker 1: are already stories. They are They're already stories. There you
• 53:39
  Speaker 1: could do. You could do a musical where act one
• 53:42
  Speaker 1: is ever Act one is folklore, Act two is ever more. Look,
• 53:45
  Speaker 1: just because in the words of what you're gonna do
• 53:48
  Speaker 1: isn't necessarily what you think you're gonna do like that
• 53:51
  Speaker 1: is that the no I never want to do. Yeah,
• 53:58
  Speaker 1: I don't feel like in the word the rue Paul,
• 54:01
  Speaker 1: we're all born clothed and the rest is piss. Yeah,
• 54:06
  Speaker 1: that's that's actually I mean, that's that actually is true. Yeah. Oh,
• 54:09
  Speaker 1: a Kate Bush jukebux musical. That's what I thought when
• 54:11
  Speaker 1: I saw that would be incredible. When I saw the
• 54:14
  Speaker 1: Weathering Heights quote unquote musical that was at San Anne's
• 54:19
  Speaker 1: warehouse last year, I was so shocked that it wasn't
• 54:24
  Speaker 1: a Kate Bush jukebox musical, because you absolutely could make
• 54:28
  Speaker 1: a Weathering Heights musical out of Kate Bush songs. Yeah,
• 54:33
  Speaker 1: and that is not what they did, but that should happen,
• 54:38
  Speaker 1: and I would love, I would love to write the
• 54:39
  Speaker 1: book for it. All of our songs are so cinematic,
• 54:42
  Speaker 1: like so grotesque theater kid like powerful grotesque theater kad
• 54:46
  Speaker 1: like like ooky, spooky, Like the costumes would be immaculate
• 54:51
  Speaker 1: and like big and like like I don't know, like surrealist,
• 54:54
  Speaker 1: like Yeah, that would be really fun. And there were
• 54:56
  Speaker 1: so many numbers that would make great musical theater numbers
• 54:59
  Speaker 1: like what do you think is though? Like rubber Bond Girl.
• 55:02
  Speaker 1: What's the log line. The log line is, no, it's
• 55:05
  Speaker 1: it's Weathering Heights. Oh, it's just what it is, a
• 55:08
  Speaker 1: weathering It is a Weathering Heights musical with the songs
• 55:12
  Speaker 1: of Kate Bush. If you feel like you could thematically
• 55:15
  Speaker 1: align the lyrics with what's going on in every step
• 55:20
  Speaker 1: of that book. I don't even remember what the book
• 55:23
  Speaker 1: is like really about it's about, you know, I feel
• 55:27
  Speaker 1: like you've even summarized it for me before on the podcast. Yeah,
• 55:30
  Speaker 1: it's about lost multi generational love and all the twisted
• 55:37
  Speaker 1: ways it gets fucked up, death and longing. Yeah, it
• 55:43
  Speaker 1: is very dark. I mean, okay, So if I could write,
• 55:47
  Speaker 1: if I could do, if I could adapt a musical,
• 55:50
  Speaker 1: my first instinct was like Selena like King Tania like,
• 55:55
  Speaker 1: and I feel like that could be draggy. Don't be
• 56:00
  Speaker 1: mad at me. Yeah, no, that's that would be so fun.
• 56:03
  Speaker 1: I feel like there's there's like a kind of yeah,
• 56:05
  Speaker 1: you think I'm trying to ban drag. No, well, sometimes
• 56:10
  Speaker 1: you know it's sometimes I think drag. Well, actually, here's
• 56:12
  Speaker 1: something I think. Drag in musicals is often a bit
• 56:16
  Speaker 1: like choogy, Like it's not really it doesn't feel like
• 56:19
  Speaker 1: drag in any way, Like there hasn't actually been a
• 56:21
  Speaker 1: powerful or honest depiction of drag in a musical. I
• 56:26
  Speaker 1: don't know. I mean, you have Harris Andre, you have
• 56:28
  Speaker 1: La Kasha Foe, Lakaja Foe. I've never seen so but
• 56:33
  Speaker 1: Matilda apparently, I've actually never seen thee Buffs. I've only
• 56:37
  Speaker 1: seen the movie. But yeah, in the musical, trench Pull
• 56:40
  Speaker 1: is played by a man. What you didn't know that? Yeah,
• 56:44
  Speaker 1: that's kind of crazy, okay, I uh uh. Selena I
• 56:49
  Speaker 1: think would be really cute. I think there's like a
• 56:51
  Speaker 1: drag narrative there. I honestly like have like written I've
• 56:54
  Speaker 1: like I've I've always wanted to do something around in
• 56:57
  Speaker 1: narrative like that involves Selena and Selena fandom a true
• 57:00
  Speaker 1: Selena fan. But Donna Summer Musical would be incredible, Like
• 57:07
  Speaker 1: I would absolutely lose my mind honestly, just a musical,
• 57:12
  Speaker 1: a musical that is literally just bad girls, like like
• 57:17
  Speaker 1: just that album like that would be phenomenon because it's
• 57:21
  Speaker 1: like a full sequence album, like it's gorgeous, Like yeah,
• 57:25
  Speaker 1: that's a full story. I do think most divas have
• 57:29
  Speaker 1: the catalogs where you could make their their music into
• 57:33
  Speaker 1: a musical. That's why Titanique worked so well. Yes, I
• 57:38
  Speaker 1: you know a Share musical would be fab I mean
• 57:42
  Speaker 1: nine the nine to five musical, a Dolly Parton jukebox
• 57:46
  Speaker 1: musical or did she write original music for it? I
• 57:50
  Speaker 1: have no idea, but I do know that there is
• 57:52
  Speaker 1: a Share musical that I didn't see. But oh the
• 57:55
  Speaker 1: Share show, I heard it was horrible. I heard it
• 57:58
  Speaker 1: was great, but from fans. Well, I heard it from
• 58:02
  Speaker 1: people who like see a lot of musical theater and
• 58:05
  Speaker 1: said it was terrible. Also, Adele Adele would be a
• 58:11
  Speaker 1: great musical. It would be very sad. Yeah, it would
• 58:14
  Speaker 1: be so sad and then occasionally horny. Would you do
• 58:18
  Speaker 1: like a Fiona Apple musical or something like that? Sorry,
• 58:21
  Speaker 1: I think Fiona could write an original musical, but I
• 58:25
  Speaker 1: don't know about jukebox. Yeah, it's not you know, you
• 58:29
  Speaker 1: don't gather around the speaker to sing some Fiona Apple together.
• 58:33
  Speaker 1: Maybe a Whitney Houston musical Divas Again, that would fuck,
• 58:37
  Speaker 1: It would fuck and suck MGMT the musical, No, what
• 58:44
  Speaker 1: was that would be horrible? Yeah, we need a panic
• 58:48
  Speaker 1: of that. Discuss sky Perera a musical. But like, there's
• 58:52
  Speaker 1: no second act because you'll never release another album ever again. Oh, Brittany,
• 58:57
  Speaker 1: there is a Britney musical. I think it's Baby One
• 59:00
  Speaker 1: more Time. Yeah, it's like it's out also apparently bad.
• 59:05
  Speaker 1: I would love Panic of the Disco and a musical
• 59:08
  Speaker 1: that's just a fever you can't sweat out. Oh my god,
• 59:12
  Speaker 1: so hard because that is such such like narrative and
• 59:19
  Speaker 1: it's so pan sexual. It's like it would be the
• 59:22
  Speaker 1: most pan sexual ship. And he would write off on
• 59:24
  Speaker 1: it because you know he is pan He's bye. No,
• 59:28
  Speaker 1: he's famously pan I thought he was by but you
• 59:31
  Speaker 1: would you would probably know better. I would know better.
• 59:34
  Speaker 1: I actually don't know for sure. But the last yeah,
• 59:36
  Speaker 1: I don't know. Phoebe. Look it up, Phoebe. Everyone's bye. Okay,
• 59:40
  Speaker 1: Panic people dot com. Panic of the Disco's Brendan Ury
• 59:44
  Speaker 1: comes out as pan sexual. Period. Oh great, love that
• 59:47
  Speaker 1: for him. Yeah, anyways, I need to write that. You
• 59:53
  Speaker 1: do need to write that. I honestly, I like I
• 59:57
  Speaker 1: feel like he and I understand each other lyrically, dramat like,
• 1:00:01
  Speaker 1: sensationally like I understand. I feel like I understand him
• 1:00:04
  Speaker 1: as an artist. Do you know what I mean? Ah? God,
• 1:00:06
  Speaker 1: I've like, I've like really really I know we've talked
• 1:00:09
  Speaker 1: about this during our Indiesley's episode, which everyone should listen to,
• 1:00:11
  Speaker 1: but I've like really reconnected with that album. Like as
• 1:00:14
  Speaker 1: of last year and this year, I'm still a fever.
• 1:00:16
  Speaker 1: You can't sweat out a fever you can't sweat out. Yes,
• 1:00:18
  Speaker 1: I'm still listening to it. Yeah, that, I mean, there's
• 1:00:21
  Speaker 1: such a narrative already built into it, and I would
• 1:00:24
  Speaker 1: be there Opening Night with my flat iron bangs, my
• 1:00:28
  Speaker 1: parachute pants. Okay, So who in who in Mamma Mia
• 1:00:31
  Speaker 1: is bisexual? So definitely Stalone Scarsguard's character because he obviously
• 1:00:37
  Speaker 1: hooks up with Colin Firth at some point. Christine seems
• 1:00:41
  Speaker 1: like she would fuck anything for sure, and I think
• 1:00:43
  Speaker 1: she and Meryll have probably hooked up. And Meryl is
• 1:00:46
  Speaker 1: the Meryl's Donna is the one who you think she
• 1:00:49
  Speaker 1: would be by, but she's actually secretly extremely hetero and
• 1:00:55
  Speaker 1: tries to pretend that the time she and Christine Baranski
• 1:00:58
  Speaker 1: hooked up never happened. Really, she's also a terf I
• 1:01:03
  Speaker 1: feel like she's giving lesbian. I'm saying Amanda Seyfried's fiance bisexual.
• 1:01:08
  Speaker 1: Obviously all of the Greek chorus members are bisexual. They
• 1:01:12
  Speaker 1: probably all pumped up like on production totally. The young
• 1:01:15
  Speaker 1: guy who wants to fuck Christine Baranski is gay and
• 1:01:19
  Speaker 1: that's why he's like chasing Christine because he wants to
• 1:01:22
  Speaker 1: fuck her. He's gay. He's like yes, He's like, I
• 1:01:27
  Speaker 1: don't belong here. Off, get me off this island and
• 1:01:31
  Speaker 1: give me off this bye island. Afridaites fountain bisexual. What's that?
• 1:01:37
  Speaker 1: It's the fountain that explodes the end of the movie
• 1:01:39
  Speaker 1: when they're all dancing. Meryl goes, yeah. At the beginning
• 1:01:45
  Speaker 1: of the movie, they're like, there's legends that aphrodities fountain
• 1:01:48
  Speaker 1: is on this island and then it explodes at the end.
• 1:01:51
  Speaker 1: Is the musical kind of magical? No, but it's just
• 1:01:56
  Speaker 1: kind of gave magic for me, and it was kind
• 1:01:57
  Speaker 1: of confusing. I was like, is this supposed to be
• 1:01:59
  Speaker 1: like a magical realism. I'm not. It's just another like
• 1:02:02
  Speaker 1: musical theater logic thing. It's like, oh my god, the fountain,
• 1:02:06
  Speaker 1: oh yeah, okay, okay, And it's a Chekhov's gun, you
• 1:02:09
  Speaker 1: know they mentioned at the beginning, so it has to
• 1:02:10
  Speaker 1: I am the boom boom gun at the end exactly. Yeah,
• 1:02:13
  Speaker 1: oh god, I can't. I literally like this musical is
• 1:02:18
  Speaker 1: so confusing, and I feel like it's actually extremely simple.
• 1:02:22
  Speaker 1: It is very easy, easy premise, no correct, right, It's
• 1:02:26
  Speaker 1: really actually extremely simple. It's just like the tale is
• 1:02:29
  Speaker 1: all the time. It's confusing how it all came together
• 1:02:32
  Speaker 1: and got made the way it was made. That's why
• 1:02:36
  Speaker 1: it's beautiful, because it's psycho it's and it just works
• 1:02:40
  Speaker 1: so well. The casting is Bzonkers. It is you know
• 1:02:44
  Speaker 1: how you always talk about people's Q score like Mom
• 1:02:47
  Speaker 1: and me at the musical has a Q score of
• 1:02:49
  Speaker 1: I don't know whatever is high, but it has like
• 1:02:52
  Speaker 1: a similar C score to Adele yeah to ad In
• 1:02:56
  Speaker 1: the music it is universally beloved international sense say Mama Mia.
• 1:03:01
  Speaker 1: The musical is the Dbadal herself. And as we always say,
• 1:03:06
  Speaker 1: as we always say, next week we will be back
• 1:03:19
  Speaker 1: with an episode all about Ugly Betty featuring Ugly Betty
• 1:03:23
  Speaker 1: star Margan Delacato. It might be one of my favorite
• 1:03:28
  Speaker 1: episodes of all time top five probably This is a
• 1:03:31
  Speaker 1: Fran episode. This is this is the making of my
• 1:03:34
  Speaker 1: this is Fran's Birthday Spectacle. Yes my Birthday Special. Yes, yes, yes,
• 1:03:37
  Speaker 1: slide into our DMS and let us know what's your
• 1:03:39
  Speaker 1: favorite Abba song? Are you more of a Meryl or
• 1:03:43
  Speaker 1: an Amanda Say Freed? Who do you want to be?
• 1:03:46
  Speaker 1: Your daddy? Colin Firth? Stealin Scar's Guard or Pierce Brosnan
• 1:03:53
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• 1:03:57
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• 1:04:00
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• 1:04:03
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• 1:04:06
  Speaker 1: nine dot com. I'm your co host Rose Doom. You
• 1:04:09
  Speaker 1: can find me anywhere online at Rose Doom you and
• 1:04:11
  Speaker 1: I am Frantrando. You can find me at n switchgo Emily.
• 1:04:14
  Speaker 1: Life Like a Virgin is an iHeartRadio production. Our producer
• 1:04:18
  Speaker 1: is Keeping Hunter with support from Lindsay Hoffman and Nikki
• 1:04:21
  Speaker 1: Or until next week. Show May