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Transcript

THIS! is Disclosure Day · Like a Virgin

• 0:01
  Speaker 1: The day is June eighteenth, Thursday, twenty twenty six.
• 0:07
  Speaker 2: This it is Disclosure Day. It was so this, you know,
• 0:13
  Speaker 2: it's disclosed. I really liked Disclosure Day, but it was
• 0:16
  Speaker 2: such a weird adaptation because they didn't talk about trans
• 0:20
  Speaker 2: people at all.
• 0:21
  Speaker 1: Well, okay, at the end when the alien comes out
• 0:25
  Speaker 1: and then she pulls up her skin and it's candid.
• 0:27
  Speaker 2: Oh, so that was supposed to be like that was
• 0:30
  Speaker 2: kind of like a metaphor. It went a little over
• 0:32
  Speaker 2: my head.
• 0:33
  Speaker 1: She was wearing a lot of makeup. She's got some
• 0:35
  Speaker 1: new work done. I don't know if you recognized her.
• 0:37
  Speaker 2: I did think her head looked kind of big, but
• 0:39
  Speaker 2: the rest of her was skinny. She's clearly on ozembic
• 0:43
  Speaker 2: skinny rose.
• 0:45
  Speaker 1: My favorite part of Disclosure Day is when they.
• 0:47
  Speaker 2: Said this is Disclosure Day.
• 0:49
  Speaker 1: It's disclosure Day.
• 0:50
  Speaker 2: My favorite part of Disclosure.
• 0:52
  Speaker 1: Day never to start.
• 0:53
  Speaker 2: My favorite part of Disclosure Day was when the Cardinal
• 0:57
  Speaker 2: Cardinal the Casey Musgrave song, when the Cardinal flew into
• 1:01
  Speaker 2: the room and Emily Blunt hit the ton k and
• 1:04
  Speaker 2: hereditary boom new I'm right right now, I'm I can
• 1:13
  Speaker 2: I'm mewing, and I can also read all your thoughts
• 1:17
  Speaker 2: and I know that your transsexual. Rose.
• 1:21
  Speaker 1: What am I thinking right now?
• 1:25
  Speaker 2: You're thinking it's actually kind of easy that you want
• 1:29
  Speaker 2: to suck off Josh O'Connor. No, that was so close though,
• 1:35
  Speaker 2: I was you were thinking people should see stop that train.
• 1:41
  Speaker 1: Oh my god, we're getting ahead of ourselves. Okay, a
• 1:43
  Speaker 1: little preview of what we're about to talk about in
• 1:45
  Speaker 1: this episode. But before we do, Yes, we did miss
• 1:49
  Speaker 1: our episode drop last week due to unforeseen tragedy circumstances,
• 1:56
  Speaker 1: unforeseeable circumstances. Will chat briefly about it because Rose wants to,
• 2:04
  Speaker 1: and then you know, we'll carry on with the rest
• 2:06
  Speaker 1: of the episode. Rose, what we were down bad last week?
• 2:11
  Speaker 2: Yeah? So my grandma passed away last Monday. She had
• 2:19
  Speaker 2: been in the hospital for a little bit and passed
• 2:23
  Speaker 2: away very suddenly last Monday. It's weird to talk about
• 2:28
  Speaker 2: because you know, when I tell when I have it's
• 2:31
  Speaker 2: only been a little over a week, and when I've
• 2:34
  Speaker 2: told people, oh, yeah, my grandma just passed away, I
• 2:37
  Speaker 2: think people don't really know how serious it is because
• 2:42
  Speaker 2: grandmothers are very different figures in a lot of people's lives.
• 2:46
  Speaker 2: I think a lot of my friends, grandmothers are these
• 2:50
  Speaker 2: sort of like remote figures who are mostly you know,
• 2:53
  Speaker 2: features in their childhood and like they have a lot
• 2:56
  Speaker 2: of love for them. But my grandma was a really
• 3:04
  Speaker 2: huge part of my life for which I will forever
• 3:07
  Speaker 2: be grateful. You know, she was really young when I
• 3:11
  Speaker 2: was born. She was only forty nine when I was born.
• 3:13
  Speaker 2: I had really young, kind of vital grandparents my whole life,
• 3:17
  Speaker 2: and it's only in the past couple of years that
• 3:20
  Speaker 2: you know, she really kind of felt like the grandmother
• 3:23
  Speaker 2: that everyone expects you to be talking about. And I
• 3:32
  Speaker 2: am having a really tough time. I'm saying that now
• 3:36
  Speaker 2: because Friend already knows it, and I would like our
• 3:42
  Speaker 2: listeners to know because I care about all of you,
• 3:44
  Speaker 2: and I know some of you care about us, and
• 3:48
  Speaker 2: also because I want I want the world to know
• 3:55
  Speaker 2: my grandma. She was really She was a really amazing woman.
• 4:00
  Speaker 2: I also think anyone who has read my novel Best
• 4:03
  Speaker 2: Woman knows how important family is to me. In a
• 4:08
  Speaker 2: very complicated way, my grandma was, you know, inspired one
• 4:13
  Speaker 2: of the characters in Best Woman. I thanked her in
• 4:16
  Speaker 2: the acknowledgments. My grandma just loved me and her children
• 4:26
  Speaker 2: and all her grandchildren a lot. She was really amazing.
• 4:31
  Speaker 2: When I came out as trans, I actually cut. I
• 4:35
  Speaker 2: gave the eulogy at her funeral, and I had a
• 4:38
  Speaker 2: little bit of it where I spoke about her reaction
• 4:43
  Speaker 2: to my transition, and I didn't end up actually saying
• 4:46
  Speaker 2: it at the funeral, just because it felt like my
• 4:50
  Speaker 2: place was more to be the representative of all of
• 4:53
  Speaker 2: her grandchildren. So I just want to say here. You know,
• 4:59
  Speaker 2: when I told my grandma was trans ten over ten
• 5:03
  Speaker 2: years ago, she told me she had known since I
• 5:07
  Speaker 2: was a child, and even though she you know, in
• 5:10
  Speaker 2: the first couple of years, sometimes got a name, names
• 5:14
  Speaker 2: or pronouns wrong, like I always knew that it was
• 5:17
  Speaker 2: just it was a mistake. It was never ill intentioned,
• 5:22
  Speaker 2: and after a certain point it stopped happening. And my
• 5:25
  Speaker 2: grandma was incredibly supportive of me. When I did my
• 5:29
  Speaker 2: book tour and I did a stop in my hometown
• 5:33
  Speaker 2: last year, she was sitting in the front row. She
• 5:35
  Speaker 2: was my biggest cheerleader. She was also really glamorous and fabulous.
• 5:40
  Speaker 1: I was going to say she was a style.
• 5:42
  Speaker 2: She was a style of icon. I think she and
• 5:45
  Speaker 2: I look a lot of like my sister, my.
• 5:47
  Speaker 1: Sisters, my mom exactly.
• 5:48
  Speaker 2: This looks so much like her. I'm even getting my
• 5:53
  Speaker 2: hair colored this week to like look a little more
• 5:56
  Speaker 2: like her, just because I really want to keep her alive.
• 6:01
  Speaker 2: And you know, the thing is, I have been so
• 6:04
  Speaker 2: worried about forgetting things about her, and I think what
• 6:07
  Speaker 2: I've realized and what I kind of said in my
• 6:10
  Speaker 2: eulogy and have really been saying to my siblings and
• 6:13
  Speaker 2: cousins and my mom, who is really going through it
• 6:16
  Speaker 2: having lost her mom, is that I could never forget
• 6:20
  Speaker 2: anything about my grandma because there's all these, you know,
• 6:26
  Speaker 2: indelible parts of me that come directly from her. She
• 6:32
  Speaker 2: was this unwavering pillar of support in our family. She
• 6:37
  Speaker 2: was extremely passionate and creative. She was a really amazing woman.
• 6:44
  Speaker 2: Her name was Harriet Weisman. She was my grandma for
• 6:47
  Speaker 2: almost thirty eight years, and that was not long enough.
• 6:50
  Speaker 2: And I will miss her every day. So thank you
• 6:55
  Speaker 2: all for I don't know, listening to that waiting around,
• 7:00
  Speaker 2: being around. Thank you for uh dealing with our absence
• 7:05
  Speaker 2: last week. And I guess that, I guess dealing with me.
• 7:09
  Speaker 2: I might be a little less funny than usual. I'm
• 7:13
  Speaker 2: I'm still kind of adjusting to this new reality. Grief
• 7:17
  Speaker 2: is really weird. Uh, this is the closest death to
• 7:22
  Speaker 2: me I've ever experienced in my life. So it's going
• 7:24
  Speaker 2: to be an adjustment period. But doing this show, I
• 7:30
  Speaker 2: think will hopefully be healing and at least talking about
• 7:35
  Speaker 2: stupid stuff like Disclosure Day. We'll keep my mind off
• 7:37
  Speaker 2: things for an hour.
• 7:39
  Speaker 1: Well, I was just about to say, baby, I organized
• 7:42
  Speaker 1: a Disclosure Day viewing with a one Rose DOMI and
• 7:45
  Speaker 1: a group of our friends last night to distract you.
• 7:47
  Speaker 1: And boy were we distracted, you.
• 7:51
  Speaker 2: Know, you know, like the original The original plan was
• 7:54
  Speaker 2: we were going to see Stop That Train again. And
• 7:56
  Speaker 2: then I realized, like, oh, I actually, like I can't
• 7:58
  Speaker 2: watch a movie that I've already seen and I need
• 8:00
  Speaker 2: to be totally swept up in something and enthralled. And honey,
• 8:06
  Speaker 2: I was enthralled during Disclosure Day. It was, let me say,
• 8:11
  Speaker 2: a dumb movie. But that is a feature and not
• 8:14
  Speaker 2: a bug in my opinion.
• 8:15
  Speaker 1: Yes, oh yeah, it was very very stupid if you
• 8:19
  Speaker 1: were Okay, So if you're not aware of this film
• 8:24
  Speaker 1: Disclosure Today.
• 8:25
  Speaker 2: It is a film by Steven Spielberg and it is
• 8:28
  Speaker 2: very kind of classic Spielberg. You know, he loves an
• 8:32
  Speaker 2: alien movie. He loves like psychic phenomena, and this this
• 8:38
  Speaker 2: was really giving. I think out of all of his films,
• 8:41
  Speaker 2: the one it felt felt the most similar to was
• 8:44
  Speaker 2: Artificial Intelligence. But you know, the logline is that Josh
• 8:49
  Speaker 2: O'Connor is playing this whistleblower from a private company that
• 8:57
  Speaker 2: has been that has been suppressing information about aliens UH
• 9:04
  Speaker 2: and their contact with humanity for decades he uh. Simultaneously,
• 9:11
  Speaker 2: Emily Blunt is a news anchor who is having these
• 9:14
  Speaker 2: weird experiences and which mostly involve mewing directly into the
• 9:19
  Speaker 2: camera and at mewing at various ci animals. And they
• 9:25
  Speaker 2: are trying to share the truth about aliens with the world,
• 9:29
  Speaker 2: and Evil Colin Firth is trying.
• 9:32
  Speaker 1: To stop them, right, Evil Colin Firth actually kind of
• 9:37
  Speaker 1: slays Coleman Domingo plays the guy on the phone, the
• 9:42
  Speaker 1: guy in the laptop kind of trope. He's the guy
• 9:45
  Speaker 1: that is like remotely kind of managing the situation. And
• 9:48
  Speaker 1: I will say they found in a secret agent film.
• 9:50
  Speaker 1: Oh yeah, it was kind of like involving like an
• 9:55
  Speaker 1: FBI agent usually has like a guy on the yes,
• 9:57
  Speaker 1: you know, a guy that's the laptop, a guy in
• 9:59
  Speaker 1: the control center that was Coleman. And I think you're
• 10:02
  Speaker 1: making a really good point and something that I actually
• 10:05
  Speaker 1: liked about the film, but I think might be what's
• 10:07
  Speaker 1: not going over so well with audiences is this is
• 10:10
  Speaker 1: not so much like a huge explosiony action movie. It
• 10:15
  Speaker 1: kind of plays more like a spy thriller in a way, because, like,
• 10:21
  Speaker 1: weirdly enough, the objective of these people is that they
• 10:26
  Speaker 1: have to get to a local news station in Kansas
• 10:29
  Speaker 1: City so that they can play all of this alien
• 10:33
  Speaker 1: footage live on TV, because that's the only way they
• 10:37
  Speaker 1: can prove to the world the aliens are real. A
• 10:40
  Speaker 1: ridiculous premise for a film in twenty twenty six, as
• 10:44
  Speaker 1: if anyone would not see footage of, you know, proving
• 10:49
  Speaker 1: literally craving the aliens were real and wouldn't either scroll
• 10:53
  Speaker 1: past it think it was a deep fake, or be like, okay, whatever,
• 10:57
  Speaker 1: who got kicked off All Stars last week?
• 10:59
  Speaker 2: You know it's that's.
• 11:01
  Speaker 1: Literally the tea, That's okay. So, like, if we're starting
• 11:05
  Speaker 1: with the thing that to me, the fatal flaw of
• 11:10
  Speaker 1: the film is that all all of the suspended tension
• 11:15
  Speaker 1: or like the overhalling. The majority of the stakes of
• 11:19
  Speaker 1: the film rely on this like truth of the movie
• 11:25
  Speaker 1: that I don't think is true to real life, which
• 11:27
  Speaker 1: is that if humans were shown substantiated and unequivocal evidence
• 11:33
  Speaker 1: that aliens exist, everyone would stop what they're doing and be.
• 11:39
  Speaker 2: Moved, and like everyone would like no one would can
• 11:43
  Speaker 2: even even position it against some vague geopolitical conflict, Like
• 11:51
  Speaker 2: at some point in the movie, they're like talking about
• 11:53
  Speaker 2: how their World War three is about to start. People
• 11:56
  Speaker 2: are in gas stations, like stocking up on you know,
• 12:00
  Speaker 2: bottled water and toilet paper, and so I guess the
• 12:03
  Speaker 2: movie is trying to pause it like this information would
• 12:06
  Speaker 2: be so literally earth shaking that that wars would end
• 12:12
  Speaker 2: because we would realize that the real important thing was aliens.
• 12:16
  Speaker 2: And I have to tell you, as someone who has
• 12:18
  Speaker 2: been living on Earth these past couple of years, that
• 12:22
  Speaker 2: has we have at various points gotten like proof about
• 12:27
  Speaker 2: aliens and weird shit, and no one gives a fuck.
• 12:31
  Speaker 1: Yeah, Spielberg literally like he loves aliens so much, and
• 12:34
  Speaker 1: you can tell he cares a lot about it because
• 12:36
  Speaker 1: he's supplanting like his kind of like kind of like
• 12:40
  Speaker 1: reverence for extraterrestrial life and the possibility of it, and
• 12:45
  Speaker 1: and kind of he's like like laying it over what
• 12:50
  Speaker 1: he he's kind of like just placing it onto the
• 12:54
  Speaker 1: general population. That's just not how the general population feels.
• 12:57
  Speaker 1: I don't know if the Disclosure Day is like literally
• 12:58
  Speaker 1: working with the Pentagon right now now, but like the
• 13:01
  Speaker 1: last I think three to five days, like the Pentagon
• 13:03
  Speaker 1: has released more videos and images of like UFO sightings.
• 13:08
  Speaker 1: I think it's like the third batch of like documents
• 13:11
  Speaker 1: images and no one gives up. No one fucking cares.
• 13:15
  Speaker 1: Pop crave is literally tweeted.
• 13:17
  Speaker 2: I saw it the other day.
• 13:18
  Speaker 1: A photo of Menda's back, Yes, like literally a photo
• 13:22
  Speaker 1: Shawn Menda's back will like get more retweets than like
• 13:26
  Speaker 1: this UFO, like this literal Pentagon UFO sighting like no
• 13:31
  Speaker 1: one fucking I do.
• 13:32
  Speaker 2: Think because Steven Spielberg loves to go heavy on a theme,
• 13:36
  Speaker 2: and this movie is chalk full of themes. It's almost
• 13:39
  Speaker 2: more themes than story. Like none of the characters are
• 13:42
  Speaker 2: really real, none of them have like any sense their
• 13:45
  Speaker 2: interiority and and let me and they're like their vehicles.
• 13:51
  Speaker 2: I really enjoyed the movie. I give it four stars
• 13:53
  Speaker 2: on Letterbox. It was so really enjoy and I was
• 13:56
  Speaker 2: I did not think about a single thing while we
• 13:58
  Speaker 2: were watching it. But I think what Spielberg is trying
• 14:02
  Speaker 2: to say, and like he has the characters more or
• 14:04
  Speaker 2: less say it in a couple different ways, is that
• 14:06
  Speaker 2: like truth is the most important thing in the world.
• 14:09
  Speaker 2: And I actually think this movie is more a commentary
• 14:14
  Speaker 2: on like the the age of you know, misinformation and
• 14:17
  Speaker 2: fake news than like literally about aliens. And I also
• 14:23
  Speaker 2: think it's about empathy. There's there's kind of a really
• 14:26
  Speaker 2: poignant moment, like one of the better written things, one
• 14:31
  Speaker 2: of the better written kind of monologues in the film,
• 14:34
  Speaker 2: where one of the characters talks about how truth is important,
• 14:45
  Speaker 2: like that everyone has a right to know everything and
• 14:51
  Speaker 2: and oh no, no, sorry, I was talking about empathy.
• 14:53
  Speaker 1: No.
• 14:53
  Speaker 2: What they were saying is that that that the specific
• 14:56
  Speaker 2: aliens in this film, which I did like there like
• 14:58
  Speaker 2: very classic alien They look like what everything is like
• 15:04
  Speaker 2: you know, the the nothing like the first the first
• 15:07
  Speaker 2: clip we see of the aliens is from the Roswell Crash.
• 15:09
  Speaker 2: So basically where this movie is saying, like in the
• 15:11
  Speaker 2: world of this movie, like every alien sighting has been real.
• 15:15
  Speaker 2: But and then it talks about Nixon can see aliens,
• 15:17
  Speaker 2: which is but the point I liked that they made
• 15:20
  Speaker 2: was that the aliens because Emily Blunt is gifted this,
• 15:23
  Speaker 2: you know, like telepathic ability, and Coleman Domingo delivers this
• 15:29
  Speaker 2: speech which he says, like to the aliens, they see
• 15:32
  Speaker 2: us having evolved past empathy when they actually view empathy
• 15:36
  Speaker 2: as the the ultimate evolutionary peak. And that I thought
• 15:41
  Speaker 2: was very beautiful and is is such is such a
• 15:45
  Speaker 2: Spielberg idea, like he's so ooey gooey and cheesy. And
• 15:50
  Speaker 2: there were moments in the film that that really like
• 15:53
  Speaker 2: sung to me like that, like there was even there's
• 15:57
  Speaker 2: a there's a part where Emily Blunt finally links up
• 16:00
  Speaker 2: with Coleman Domingo's character, and the way her power works
• 16:03
  Speaker 2: is that when she looks at someone, she knows everything
• 16:05
  Speaker 2: about them, and he asks her why she won't look
• 16:08
  Speaker 2: at him, and she says, because you know everything. And
• 16:11
  Speaker 2: when I look at you all know everything and I
• 16:13
  Speaker 2: don't want to know everything. And I thought that was
• 16:15
  Speaker 2: such good writing. And then there like there are moments
• 16:20
  Speaker 2: like that, and then there are really dumb, stupid moments
• 16:24
  Speaker 2: and like bad piece of dialogue and all this shit
• 16:26
  Speaker 2: about people actually caring about aliens that they like no
• 16:29
  Speaker 2: one ever would have cared about. So it's dumb. But
• 16:33
  Speaker 2: like I again, I think that's a feature. I think
• 16:36
  Speaker 2: that's why I liked it. I agree.
• 16:39
  Speaker 1: I mean, look, I something that I was thinking about
• 16:42
  Speaker 1: when I was watching the film. I just couldn't stop
• 16:44
  Speaker 1: thinking about, just like us, what it means to what
• 16:48
  Speaker 1: a Spielberg movie is, and and I forgot how it
• 16:52
  Speaker 1: feels to watch one. The last Spielberg movie I watch
• 16:55
  Speaker 1: was Westside Story, which I actually really loved. But before that,
• 16:58
  Speaker 1: it had been like ten years, maybe more, since I'd
• 17:02
  Speaker 1: seen a film like probably like Tintin was. What do
• 17:04
  Speaker 1: you think is your favorite Spielberg Probably Hook? But I
• 17:10
  Speaker 1: really really love Indiana Jones and The Temple of Doom.
• 17:14
  Speaker 1: I obviously really love Jurassic Park.
• 17:18
  Speaker 2: I'm a Minority report girl.
• 17:20
  Speaker 1: I love No.
• 17:22
  Speaker 2: I've never seen Close Encounters of the Third Kind. I
• 17:24
  Speaker 2: would really like to. I know a lot of the
• 17:27
  Speaker 2: discussion about this movie is like people being like Steven
• 17:30
  Speaker 2: Spielberg has already made a better version of this movie,
• 17:33
  Speaker 2: and it is Close Encounters of the Third Kind. So
• 17:37
  Speaker 2: I would like to revisit it. I don't know. I
• 17:40
  Speaker 2: think this film has caused a lot of hand ringing
• 17:43
  Speaker 2: online by people who have because I think people are
• 17:47
  Speaker 2: seeing that the box office numbers are somewhat disappointing and
• 17:50
  Speaker 2: they're like, it's crazy that even Steven Spielberg can open
• 17:54
  Speaker 2: a movie and like he's lost the sauce. I don't
• 17:58
  Speaker 2: necessarily think he's lost the sauce. I actually think this movie,
• 18:01
  Speaker 2: had it come out in like ninety four, would be
• 18:04
  Speaker 2: a classic. But we this movie has not.
• 18:09
  Speaker 1: We're desensitized to the things that Spielberg would like us
• 18:12
  Speaker 1: to not be disensitized.
• 18:13
  Speaker 2: Yes, and the world has moved on, but he hasn't.
• 18:17
  Speaker 2: And this movie does feel very dated.
• 18:20
  Speaker 1: It does, but that but here's the okay, so here
• 18:22
  Speaker 1: to to my back to the point of like what
• 18:25
  Speaker 1: makes us Spielberg film? This is part of like what
• 18:27
  Speaker 1: I was thinking about. I kept watching the film and
• 18:29
  Speaker 1: having like a kind of immediate or gut reaction to
• 18:31
  Speaker 1: certain things and be like, oh, that's so cheesy. Oh
• 18:34
  Speaker 1: that's so corny. Oh like we've this is like so uninventive,
• 18:39
  Speaker 1: Like we it's like all these different kind of like
• 18:43
  Speaker 1: tropes about aliens, images of.
• 18:45
  Speaker 2: Tropes about characters like Colemon Domingo is a textbook magical
• 18:49
  Speaker 2: Negro character in this film.
• 18:51
  Speaker 1: Kind of yeah, like things like that. It's like very
• 18:54
  Speaker 1: like not, it's very just like yeah, and then and
• 18:58
  Speaker 1: then and then I was kind of like, well, maybe
• 18:59
  Speaker 1: that makes you feel a little nostalgic for you know,
• 19:03
  Speaker 1: the peak of Spielberg's career. Actually, I mean he doesn't
• 19:07
  Speaker 1: really have a peak, but like maybe like no he died,
• 19:10
  Speaker 1: I would like when he was making Any seventy and
• 19:13
  Speaker 1: the other alien movies, and like, yeah, you know what
• 19:16
  Speaker 1: I mean, like he I wouldn't say. I don't think
• 19:18
  Speaker 1: peak is the right term. I think it's kind of like, ye.
• 19:21
  Speaker 2: The golden age of Spielberg, Yes, when I mean he
• 19:24
  Speaker 2: kind of invented the idea of a summer blockbuster. He
• 19:28
  Speaker 2: directed Jaws, which kind of was the first summer blockbuster,
• 19:33
  Speaker 2: and he has kept creating that. I just think as
• 19:36
  Speaker 2: a culture, we've kind of moved beyond those movies.
• 19:41
  Speaker 1: And like certain tricks he uses cinematically for suspended attention,
• 19:46
  Speaker 1: certain shots that zoom in on people's faces or that
• 19:51
  Speaker 1: have a certain kind of genoesequa of like like yeah,
• 19:55
  Speaker 1: just like him as a master's suspend attention. They're all
• 19:58
  Speaker 1: things that all the their filmmaker's reference now and repeat,
• 20:02
  Speaker 1: and so now when he does it, it's like it feels.
• 20:05
  Speaker 2: It feels tired dated when he was the one who
• 20:07
  Speaker 2: invented it, but it's not.
• 20:08
  Speaker 1: He invented it. He invented it, and so like, I
• 20:10
  Speaker 1: don't know, there there was something I think it's funny,
• 20:13
  Speaker 1: we we. I really was comforted by this film. I
• 20:17
  Speaker 1: don't know if I'm gonna watch it again, no, but
• 20:20
  Speaker 1: I was so comforted.
• 20:21
  Speaker 2: I was. There were some really thrilling sequences. There's a
• 20:24
  Speaker 2: there's a there's a chequence, yeah on with a with
• 20:28
  Speaker 2: a train stop that train promo that was really amazing.
• 20:35
  Speaker 2: I don't think. I actually think the biggest problem with
• 20:38
  Speaker 2: this film is the writing. The film was written by
• 20:41
  Speaker 2: David Cope, who looking at his credits, he's written a
• 20:45
  Speaker 2: lot of really shitty movies. It's a lot of like
• 20:48
  Speaker 2: bad sequels and prequels and like he wrote Jurassic World,
• 20:54
  Speaker 2: Rebirth and oh like Secret Window, that like weird depth movie.
• 21:01
  Speaker 2: He just like does not have very good credits. So
• 21:04
  Speaker 2: I'm not which one was Rebirth. Rebirth was the most
• 21:07
  Speaker 2: recent one with Scarlett Johansson and Jonathan Bailey and his
• 21:11
  Speaker 2: slutty little glasses.
• 21:13
  Speaker 1: Actually, I can't remember if I've seen the Julianne Moore
• 21:15
  Speaker 1: Jurassic Parks.
• 21:16
  Speaker 2: It is the third one.
• 21:18
  Speaker 1: I think I need to see it.
• 21:22
  Speaker 2: Well, have you disclosed?
• 21:24
  Speaker 1: Yes?
• 21:24
  Speaker 2: Today it's Disclosure Day, and you know what, one day
• 21:28
  Speaker 2: we will get an accurate adaptation of the documentary Disclosure
• 21:33
  Speaker 2: about trans People Jen Richards.
• 21:35
  Speaker 1: Yes, yeah, girl in the car Home, Laurel and I
• 21:40
  Speaker 1: could not stop saying it. We were like, this is
• 21:43
  Speaker 1: Disclosure Day, Like it's so.
• 21:45
  Speaker 2: Oh my God. Sitting next to Laurel during that movie
• 21:47
  Speaker 2: was such a game from God because she really kept
• 21:51
  Speaker 2: me entertained the whole time. It was so weird how
• 21:54
  Speaker 2: we were cackling through the whole film and the rest
• 21:57
  Speaker 2: of the audience was dead silent. The first time Emily
• 22:02
  Speaker 2: Blunt mewed, we were screaming, and the theater was and
• 22:07
  Speaker 2: the theater around us was like a ghost town.
• 22:11
  Speaker 1: We did have most of the time, uh laughter domino effects.
• 22:17
  Speaker 1: We would laugh first and then the rest of the
• 22:19
  Speaker 1: theater would laugh because we were laughing as particularly, there
• 22:22
  Speaker 1: was one moment I camera what it was. It was
• 22:25
  Speaker 1: probably just another crazy shot of Emily Blunt with perfect makeup,
• 22:30
  Speaker 1: perfect lash lashes, face in the shape of.
• 22:33
  Speaker 2: An incredibly distracting Veneers.
• 22:36
  Speaker 1: Mewing the housetown mutes, mewing the house down mutes yes,
• 22:42
  Speaker 1: and Laurel just goes like that and then the whole
• 22:46
  Speaker 1: theater erups in laughter. It was so it was so
• 22:50
  Speaker 1: weird to not be on the same vibe.
• 22:52
  Speaker 2: But you know what, I just leaned into it. I
• 22:55
  Speaker 2: was the person who led the applause when they said
• 22:57
  Speaker 2: in the film, this is disclosed.
• 23:00
  Speaker 1: It's disclosure Day.
• 23:01
  Speaker 2: I mean that was worth the price of the ticket, honey,
• 23:04
  Speaker 2: although I didn't pay for the ticket. Do I owe
• 23:06
  Speaker 2: you for the ticket?
• 23:08
  Speaker 1: Sure?
• 23:08
  Speaker 2: Yeah.
• 23:09
  Speaker 1: I haven't even asked people Venmo yet all anyways, but
• 23:12
  Speaker 1: this is disclosure day, and today I'm disclosing to you
• 23:15
  Speaker 1: Rose Dom you.
• 23:18
  Speaker 2: I'm transjob me too.
• 23:23
  Speaker 1: What's the whole time?
• 23:25
  Speaker 2: The whole time?
• 23:28
  Speaker 1: Okay, So, because we touched on it, I think maybe
• 23:32
  Speaker 1: we'll just like quickly talk about Stop that Train. We
• 23:35
  Speaker 1: were going to see Stop that Train a second time.
• 23:36
  Speaker 1: Now we're like, I'm not supporting that film, but an
• 23:38
  Speaker 1: actual to day I still really do want to see
• 23:39
  Speaker 1: it a second time.
• 23:40
  Speaker 2: And I'm not wanted a second time for like neural reasons.
• 23:44
  Speaker 2: It's mostly just because once was enough.
• 23:47
  Speaker 1: Well we I The one of the number one reasons
• 23:51
  Speaker 1: I wanted to go is because I was like, I
• 23:53
  Speaker 1: want to buy tickets to support are the film maker. Yeahaul, Yeah,
• 23:59
  Speaker 1: I want to I want to put to queer art.
• 24:01
  Speaker 1: But yeah no, I was like I want this. I
• 24:03
  Speaker 1: want Stop That Train truly genuinely, actually I want Stop
• 24:06
  Speaker 1: That Training to be a box office success. And I
• 24:08
  Speaker 1: was like, I want to buy tickets, but instead we supported,
• 24:12
  Speaker 1: you know, unsung independent filmmaker Steven Spielberg, which I'm also
• 24:17
  Speaker 1: proud to be a part of that.
• 24:19
  Speaker 2: We're basically his patrons.
• 24:22
  Speaker 1: Yes, but virgins if you're not aware. Okay, we talked
• 24:26
  Speaker 1: about it last time. There was an AI controversy surrounding
• 24:29
  Speaker 1: the immediate aftermath of the premiere of Stop That Train.
• 24:33
  Speaker 1: Adam Shankman. Basically, people saw the movie online They're like,
• 24:38
  Speaker 1: that looks like really shitty AI. It's really just city,
• 24:42
  Speaker 1: And then Rose and I were kind of talking about it.
• 24:44
  Speaker 1: We were like, no, it's like maybe just really shitty CG.
• 24:49
  Speaker 1: And like people are assuming that it's AI because it
• 24:53
  Speaker 1: seems like something that the movie would do. It seems
• 24:55
  Speaker 1: like something Rude Paul would do. It seems like the
• 24:58
  Speaker 1: kind of movie that would use AI. And Adam Shankman
• 25:00
  Speaker 1: made a statement at that time saying there is a
• 25:04
  Speaker 1: sum total of zero shots zero conceived by AI in
• 25:09
  Speaker 1: the movie. And Rose did clock that the word conceived
• 25:15
  Speaker 1: is maybe a little ishy. What does that mean? Sounds
• 25:18
  Speaker 1: like a little you know, you're talking around something. And
• 25:22
  Speaker 1: I was kind of like, no, what I mean, Maybe
• 25:23
  Speaker 1: he's on the right side of her story. Lo and
• 25:26
  Speaker 1: behold Extra Magazine with the scoop in an interview with
• 25:29
  Speaker 1: Extra Magazine. Not that Extra, but there's like a queer
• 25:34
  Speaker 1: magazine called Extra.
• 25:36
  Speaker 2: They interviewed me.
• 25:37
  Speaker 1: Yeah, they interviewed you. They also interviewed Adam Shankman recently
• 25:43
  Speaker 1: and asked him about the AI again and he.
• 25:46
  Speaker 2: Oh, well, no, basic thing is no, I don't know
• 25:49
  Speaker 2: if you saw this. That interview was done before he
• 25:51
  Speaker 2: made the no AI statement. No, Oh, I didn't read.
• 25:57
  Speaker 1: I didn't see that. Oh my god.
• 26:00
  Speaker 2: So they switched like as Nicki Minaj said, so in.
• 26:04
  Speaker 1: The in diametric opposition to what he had previous to
• 26:08
  Speaker 1: what he had said in the public statement, he says
• 26:12
  Speaker 1: to Extra Magazine, some of the windows were AI. There
• 26:16
  Speaker 1: was only one AI shot or two AI shots of
• 26:19
  Speaker 1: the train. The rest are CG. Most of the CG
• 26:23
  Speaker 1: is the train, then out the windows is mostly AI,
• 26:27
  Speaker 1: but the Florida station, that's all that CG and different
• 26:30
  Speaker 1: license imagery. Okay, girl, if you used AI, why would
• 26:38
  Speaker 1: anyone ever do? Two windows right? And the knives AI?
• 26:44
  Speaker 2: You're like, we used this, you know, lazy cost cutting measure,
• 26:50
  Speaker 2: but we only used it twice.
• 26:51
  Speaker 1: We only used it twice. Girl, There's no way you
• 26:55
  Speaker 1: only used it twice.
• 26:57
  Speaker 2: Wasn't even on set. They just a eyed her in
• 26:59
  Speaker 2: use a you know, like every season of that Grace.
• 27:04
  Speaker 1: Well now home girl, husband caught lying and so there's
• 27:07
  Speaker 1: no world where and we'll believe anything he says.
• 27:09
  Speaker 2: Ever again, Ever, unless he says they're making a sequel
• 27:12
  Speaker 2: to Hairspray, I would believe that.
• 27:14
  Speaker 1: And mind you. In his original in the public in
• 27:16
  Speaker 1: the public stamen that first reached the public, he was like,
• 27:19
  Speaker 1: there were hundreds of computer generated to get CG artists
• 27:23
  Speaker 1: working on this film, and I was like, look, I
• 27:25
  Speaker 1: believe that it's shitty CGI, Like I believe that there
• 27:29
  Speaker 1: is shitty CGI in this movie, but like, I just
• 27:35
  Speaker 1: don't under I'm like, girl, clearly you used AI probably
• 27:38
  Speaker 1: a lot.
• 27:39
  Speaker 2: But I think and this could be wrong, but from
• 27:42
  Speaker 2: what I read when you look at the actual credits
• 27:45
  Speaker 2: of the film, there were only I think one or
• 27:49
  Speaker 2: two VFX artists listed on the film, which, if and
• 27:54
  Speaker 2: there were a lot more people with sort of like
• 27:58
  Speaker 2: ill defined visual jobs, that seems like maybe they were
• 28:02
  Speaker 2: just a I prompters literally, oh girl.
• 28:06
  Speaker 1: Allegedly like allegedly, allegedly allegilated allegations.
• 28:11
  Speaker 2: It's very disappointing just because you're right, I do think
• 28:16
  Speaker 2: this is this was a film peop we especially were
• 28:23
  Speaker 2: very excited to rally behind, and I uh, it's it's
• 28:30
  Speaker 2: the lying and the the the mixed messages. I think
• 28:33
  Speaker 2: if he had said something along the lines of like, yeah,
• 28:36
  Speaker 2: we use some AI, I don't feel great about it.
• 28:38
  Speaker 2: But this was a really low budget film and it
• 28:41
  Speaker 2: was the only way we could get it made, I
• 28:43
  Speaker 2: maybe would have been a little more forgiving. But the
• 28:47
  Speaker 2: lying in the.
• 28:49
  Speaker 1: Lying for me says anyways, tell it to me straight,
• 28:53
  Speaker 1: tell it to me.
• 28:54
  Speaker 2: Get that train. Was there a train? Was there even
• 28:59
  Speaker 2: a train. Was there even a train to stop? So
• 29:03
  Speaker 2: you know, make your own decision about you know, whether
• 29:06
  Speaker 2: or not you're going to see stop that train. I
• 29:08
  Speaker 2: still think it's a good time.
• 29:10
  Speaker 1: I think it's a good I think there's I think
• 29:12
  Speaker 1: we should still see it.
• 29:14
  Speaker 2: I wanted to give some recommendations to both of you
• 29:19
  Speaker 2: and the listeners. Yes, well, first I want to assign
• 29:22
  Speaker 2: some homework. I'm really loving the new Olivia Rodrigo album.
• 29:26
  Speaker 2: You said you seem pretty sad for a girl so
• 29:28
  Speaker 2: in love. I Fran has not listened to it in
• 29:32
  Speaker 2: full yet, so we're going to discuss next week. Everyone
• 29:36
  Speaker 2: listen at your leisure and we will talk about it.
• 29:40
  Speaker 2: But we both watched some new to us films this week.
• 29:45
  Speaker 2: The one I want to talk about. So when I
• 29:47
  Speaker 2: was home, we were with my mom and my sisters.
• 29:52
  Speaker 2: The night after my grandma's funeral, we watched Moonstruck, which
• 29:55
  Speaker 2: was her favorite movie. Y'all know that we love Moonstruck
• 29:58
  Speaker 2: on this podcast. And then and the next night we
• 30:01
  Speaker 2: watch Terms of Endearment, which I've never seen. It's a
• 30:04
  Speaker 2: nineteen eighty three film starring Sherley McClain and Deborah Winger.
• 30:09
  Speaker 2: It's sort of in a way kind of like proto
• 30:11
  Speaker 2: Gilmore Girls. It's about this mother and daughter who are
• 30:15
  Speaker 2: like way too close and like all up in each
• 30:18
  Speaker 2: other's lives and just kind of about their different romances
• 30:23
  Speaker 2: and lives and heartbreak and cancer. It's very much a
• 30:30
  Speaker 2: tear jerker, but it is an incredible film, super performances
• 30:37
  Speaker 2: from Sherley McLain, who won an Oscar for it. Jack
• 30:40
  Speaker 2: Nicholson won an Oscar for Best Supporting Actor. It won
• 30:44
  Speaker 2: Best Picture. It's really it is like sometimes kind of
• 30:52
  Speaker 2: cheesy in that way that tearjerkers often are, but the
• 30:55
  Speaker 2: script is so good and like that's kind of where
• 30:58
  Speaker 2: I see the Gilmore Girl like more than anything. It's like, yes,
• 31:02
  Speaker 2: there's like the mother and daughter who were too close
• 31:04
  Speaker 2: of it all. But it has this really kind of
• 31:06
  Speaker 2: like snappy, almost overwritten, like very like naturalistic but heightened dialogue.
• 31:14
  Speaker 2: You know, like the characters talk like they're in real life,
• 31:17
  Speaker 2: but they also talk in this like very heightened movie way.
• 31:21
  Speaker 2: And it's a really it's a really good watch. If
• 31:24
  Speaker 2: you have seen it, chime in in the comments let
• 31:27
  Speaker 2: us know what you think about it. Fran I think
• 31:29
  Speaker 2: you will love it. Deborah Winger is like now one
• 31:32
  Speaker 2: of my summer style icons after watching this film. It
• 31:35
  Speaker 2: also features a young hot Jeff Daniels who is extremely say.
• 31:42
  Speaker 1: Love young hot Jeff Daniels. I it looks like it
• 31:45
  Speaker 1: has the makeup of everything I would want in a movie,
• 31:48
  Speaker 1: and yeah, I'm I'm down to watch it. It seems like, uh,
• 31:54
  Speaker 1: is it sad?
• 31:55
  Speaker 2: It's extremely sad, but it's also very funny and it's
• 32:01
  Speaker 2: giving kind of I've actually never seen this, but like
• 32:03
  Speaker 2: it's giving still Magnolia's you know, like warm, funny, female
• 32:10
  Speaker 2: centric movie that ends in a very sad way, but
• 32:13
  Speaker 2: like it's still really touching and moving and like you
• 32:19
  Speaker 2: feel good after after watching it, even though it's very sad.
• 32:25
  Speaker 1: I am adding it to my list versions added to
• 32:28
  Speaker 1: your list. I the as Roh said at the beginning,
• 32:33
  Speaker 1: we both return. We we we have movies that are
• 32:37
  Speaker 1: new to us, meaning they're nostalgic. You should add them
• 32:40
  Speaker 1: to your qu if you haven't watched them. I for
• 32:42
  Speaker 1: the first time watch Uptown Girls Believe, which.
• 32:45
  Speaker 2: Is Uptown Girls.
• 32:46
  Speaker 1: My god, what I've never seen Uptown Girls this, This
• 32:51
  Speaker 1: is why we started this, or least well, I know
• 32:55
  Speaker 1: one of the greatest films. I've ever seen sheets of
• 32:59
  Speaker 1: a jet shot.
• 33:00
  Speaker 2: Ah, that is a fucking pop.
• 33:03
  Speaker 1: It's a banger. It should be on Spotify. Maybe I
• 33:05
  Speaker 1: could get Spotify. I love this film. If you are
• 33:10
  Speaker 1: not familiar with the premise of the film Uptown Girls.
• 33:13
  Speaker 2: I would I would guarantee that ninety nine point nine
• 33:16
  Speaker 2: percent of our audience I've seen Uptown Girls. Look.
• 33:20
  Speaker 1: Maybe the look this is like a virgin Maybe virgins
• 33:22
  Speaker 1: listen to this show. Okay, I mean I know virgins
• 33:25
  Speaker 1: listen to the show in general. But yeah. The story
• 33:30
  Speaker 1: follows Molly Gunn. She is a NEPO baby. Essentially, she
• 33:35
  Speaker 1: is the daughter of a famous rock musician who's passed away.
• 33:38
  Speaker 1: She's living off the royalties of like her rock dynasty family.
• 33:41
  Speaker 1: She is a quintessential New York girl slash socialite. Maybe
• 33:47
  Speaker 1: the film opens with her birthday. She's going to a birthday,
• 33:52
  Speaker 1: her own birthday party at a club. She wears a
• 33:55
  Speaker 1: fucking beautiful and iconic bloomern dress.
• 34:00
  Speaker 2: Costumes such good early aughts vibes.
• 34:05
  Speaker 1: I don't know, actually, if I've had a reaction to
• 34:10
  Speaker 1: a dress like that in a long time, A such
• 34:14
  Speaker 1: a visceral envy and be like I want that dress
• 34:19
  Speaker 1: more than anything in the world.
• 34:20
  Speaker 2: Oh see, I felt that way about the sort of
• 34:22
  Speaker 2: pink like White House Press secretary dress Emily Blunt Warren
• 34:27
  Speaker 2: disclosure to day.
• 34:29
  Speaker 1: That also looks so good. But wait, she does she
• 34:34
  Speaker 1: hear that?
• 34:35
  Speaker 2: But I didn't. I did not think it was cute.
• 34:38
  Speaker 1: Oh I thought I thought it looked good. I was like,
• 34:40
  Speaker 1: literally thought that you looked.
• 34:41
  Speaker 2: At she looked like she looked like she was a
• 34:44
  Speaker 2: real tur on selling sunset.
• 34:48
  Speaker 1: She did actually look like that.
• 34:51
  Speaker 2: Rose.
• 34:52
  Speaker 1: Did you know that this the dress, the Bloomerine dress
• 34:54
  Speaker 1: that Brittany Murphy wore is now owned by Ivy Getty
• 34:59
  Speaker 1: Because I love I was like, where is that dress?
• 35:01
  Speaker 2: Now? That makes sense?
• 35:02
  Speaker 1: That tracks I'm pissed.
• 35:03
  Speaker 2: That dress to me is up there with like the
• 35:06
  Speaker 2: green dress that Jennifer Gardner wears and thteen going on thirty,
• 35:10
  Speaker 2: Like it's an iconic early aughts pop culture movie dress.
• 35:15
  Speaker 2: I thought you were gonna say the green Versaci dress,
• 35:17
  Speaker 2: that j Loog dress. We have to put it to rest.
• 35:23
  Speaker 1: I mean, it is the most famous dress. Well it's tough.
• 35:26
  Speaker 2: I mean, the most famous dress is the dress? Is
• 35:28
  Speaker 2: the dress? Dress is the dress?
• 35:31
  Speaker 1: Right?
• 35:31
  Speaker 2: And also kind of the dress from Mother Mary.
• 35:35
  Speaker 1: Literally, well, okay, so there's this socialite lo and behold,
• 35:41
  Speaker 1: it's discovered that the bookkeeper for her parents estate essentially
• 35:47
  Speaker 1: is a scammer, disappears, and all of a sudden she
• 35:51
  Speaker 1: is penniless. She's being evicted from her luxury town you know,
• 35:55
  Speaker 1: her luxury apartment in uptown Manhattan, and to make ends meet,
• 36:01
  Speaker 1: she takes a job as a nanny for a braddy
• 36:04
  Speaker 1: little eight year old or nine year old girl. I
• 36:08
  Speaker 1: think nine.
• 36:09
  Speaker 2: Made impeccably by a young Fanning.
• 36:13
  Speaker 1: And this Dakota Fanning's character is like a type a
• 36:17
  Speaker 1: full grown adult in an eight year old's body, kind
• 36:20
  Speaker 1: of like I've had it kind of energy. And they
• 36:24
  Speaker 1: are beautiful foils for each other because Brittany Murphy is
• 36:27
  Speaker 1: the kind of manic pixie, the quintessential manut pixie dream
• 36:30
  Speaker 1: girl in almost every film she's ever been in, but
• 36:32
  Speaker 1: especially in this film.
• 36:33
  Speaker 2: I would call her a manic pixire dream girl. And
• 36:35
  Speaker 2: girl interrupted, Oh yeah, sure, okay, I mean she was
• 36:39
  Speaker 2: definitely manic.
• 36:41
  Speaker 1: She was definitely manic, and like she's you know, she's chaotic,
• 36:46
  Speaker 1: she's erratic, she's unpredictable and Dakota Fanning is like likes order,
• 36:50
  Speaker 1: likes cleanliness, predictability, is a germophobe, all these different things.
• 36:56
  Speaker 1: And to be honest, I had only put this film.
• 37:00
  Speaker 1: I thought this film was kind of a was kind
• 37:04
  Speaker 1: of a in the rom com category, and it's like,
• 37:08
  Speaker 1: I mean, it is a little bit, but it's not.
• 37:10
  Speaker 1: It's a story about two women. It's definitely in the
• 37:13
  Speaker 1: thirteen going on thirty category, maybe like Princess Bride kind
• 37:17
  Speaker 1: of category in that it's like, actually more because the
• 37:22
  Speaker 1: actresses are so compelling, it is more about them than
• 37:26
  Speaker 1: it is about the romance. It's more about the singular
• 37:28
  Speaker 1: person and their journey than it is about the romance.
• 37:30
  Speaker 1: I don't know if that makes sense. Does that make sense?
• 37:32
  Speaker 2: Yeah, the romance there is a romantic subplot in the film,
• 37:36
  Speaker 2: but the real romance is between Brittany Murphy and Dakota Fanning.
• 37:42
  Speaker 2: And I don't mean that in a pedophile way. I
• 37:43
  Speaker 2: mean that in a you know, they like they need
• 37:46
  Speaker 2: each other and they form this you know, like sisterly
• 37:51
  Speaker 2: friend relationship that is their bond is so real, the realness.
• 37:59
  Speaker 1: The real. But yeah, I think part of what I'm
• 38:01
  Speaker 1: saying is like with this film, thirteen going on thirty
• 38:04
  Speaker 1: or Princess Bride or like films like it. It's like,
• 38:07
  Speaker 1: when we talk about these films, we don't say, oh,
• 38:11
  Speaker 1: a beautiful rom com. Oh the thing I remember about
• 38:14
  Speaker 1: the film is the romance. No, that's not what you remember.
• 38:17
  Speaker 1: You remember the story of a girl.
• 38:18
  Speaker 2: Yeah, it's like it's it would be called like you know,
• 38:22
  Speaker 2: in the early two thousands, we called we would have
• 38:25
  Speaker 2: called if this was a if Uptown Girls was a book,
• 38:28
  Speaker 2: we would have called it chick lit. You know, we
• 38:30
  Speaker 2: would have said, it's this category the story of a girl.
• 38:33
  Speaker 2: These are women's stories.
• 38:37
  Speaker 1: These are women's stories, and you know stories are so
• 38:41
  Speaker 1: are soul loved Uptown Girls. Okay, I'm wondering if there
• 38:50
  Speaker 1: is anything else to discuss.
• 38:53
  Speaker 2: Okay, I need to talk about the worst travel experience
• 38:58
  Speaker 2: of my life. Oh, Delta, when I find you, so,
• 39:04
  Speaker 2: Delta work, what you got to do with that? So,
• 39:06
  Speaker 2: as we know, I had last week was Roses very bad,
• 39:12
  Speaker 2: no good week, and I was already dreading, you know,
• 39:18
  Speaker 2: leaving Florida, not being with my family anymore. And it
• 39:23
  Speaker 2: was made even worse by the fact that I had
• 39:25
  Speaker 2: to travel almost a full twenty four hours to get
• 39:30
  Speaker 2: home because Delta was fucking playing in my face. My
• 39:34
  Speaker 2: flight Sunday night was delayed, diverted to Baltimore. I was
• 39:42
  Speaker 2: supposed to arrive home in New York at ten thirty
• 39:45
  Speaker 2: Sunday night, did not arrive home until the next night.
• 39:48
  Speaker 2: I had to check into an airport Holiday and Express
• 39:53
  Speaker 2: in Baltimore at four am Monday morning. Then that day
• 40:00
  Speaker 2: went back to the airport only to sit on the
• 40:02
  Speaker 2: runway for five hours because two planes had been diverted
• 40:08
  Speaker 2: and were loading next at gates next to each other
• 40:11
  Speaker 2: in the airport, and they didn't tell any of us
• 40:14
  Speaker 2: which plane to get on. We just had to figure
• 40:17
  Speaker 2: it out for ourselves. That it was. That is like,
• 40:21
  Speaker 2: you know, I've had I've had bad travel experiences, but
• 40:25
  Speaker 2: this was legitimately the worst travel experience of my life.
• 40:30
  Speaker 2: I have never been more tired and exhausted. I felt
• 40:36
  Speaker 2: so bad for the flight attendants who were not even
• 40:40
  Speaker 2: supposed to end up in New York that night. They
• 40:43
  Speaker 2: were supposed to go back from Florida. Many of them
• 40:45
  Speaker 2: it was their off day and they had to get
• 40:48
  Speaker 2: back on the plane with having no luggage. One of
• 40:52
  Speaker 2: the flight attendants told me she hadn't even brushed her teeth.
• 40:54
  Speaker 2: I offered her my toothbrush. She was like, oh, that's gross.
• 40:58
  Speaker 2: I did make a friend with one of the girls
• 41:01
  Speaker 2: in my flight, and she gave me a xanax, So
• 41:03
  Speaker 2: shout out to that girl. Her name was Lily. We
• 41:06
  Speaker 2: bonded over having our names, although there was a weird
• 41:09
  Speaker 2: moment where we were like telling each other like about ourselves.
• 41:13
  Speaker 2: I was like, oh, where do you live? She was
• 41:14
  Speaker 2: telling me she lived at Town. I was like, oh, yeah,
• 41:16
  Speaker 2: I'm in Brooklyn. I'm in Clinton Hill, sort of your bedstide.
• 41:18
  Speaker 2: And she was like, oh, that's not bad. And I
• 41:20
  Speaker 2: was like, well, I wasn't presenting it as something bad,
• 41:22
  Speaker 2: like I like living in Brooklyn.
• 41:25
  Speaker 1: Meaning like, oh, you live in Brooklyn, you must be compromising.
• 41:28
  Speaker 2: Yeah. Yeah. She's like, oh, like that's all that far
• 41:31
  Speaker 2: out in Brooklyn. You know that's not bad.
• 41:32
  Speaker 1: You're like, no, no, being far out is part of
• 41:34
  Speaker 1: the heel.
• 41:35
  Speaker 2: But you know, she did give me a xanax when
• 41:38
  Speaker 2: I was milliseconds away from screaming on the plane, and
• 41:46
  Speaker 2: I did get a little Kareny at certain points, and
• 41:49
  Speaker 2: believe me, I will be channeling my inner Karen when
• 41:51
  Speaker 2: I need to get a refund.
• 41:53
  Speaker 1: Baby, Oh, you I mean you'll be getting a refund.
• 41:56
  Speaker 1: You also need vouchers, baby, Oh, I want vouchress for days.
• 41:59
  Speaker 1: But like, I'm going back to Florida next month, and
• 42:02
  Speaker 1: I didn't book without with Delta because I just don't
• 42:05
  Speaker 1: trust them right now, Right now, we don't take because hey,
• 42:09
  Speaker 1: I have miles I want to use. But I'm I
• 42:12
  Speaker 1: also have points with jet Blue, so I'm gonna I'm
• 42:16
  Speaker 1: gonna fly jet Blue for the summer and then we'll
• 42:18
  Speaker 1: see if Delta can win me back. But your days
• 42:20
  Speaker 1: are fucking numbered. I don't even I don't just want
• 42:24
  Speaker 1: my money back. I don't just want vouchers. I want
• 42:26
  Speaker 1: to own the company. I want to be SHEEO of Delta.
• 42:30
  Speaker 1: I I'm pretty sure this was Adelta Fly. I don't
• 42:34
  Speaker 1: really remember where I was going, but I had a
• 42:40
  Speaker 1: similar travel experience where I spent a total of over
• 42:45
  Speaker 1: six hours on the tarmac and that was in a
• 42:49
  Speaker 1: combination of three separate planes. I had to d plane
• 42:53
  Speaker 1: two planes sitting on the tarmac. Yes, first first plane
• 42:57
  Speaker 1: I think over two hours, second plane like easily hour
• 43:01
  Speaker 1: and a half. Third plane like another two or three hours.
• 43:04
  Speaker 1: It was cuckoo bananas, like, and I pretty sure I
• 43:08
  Speaker 1: got a like less than eight hundred dollar voucher. Yeah,
• 43:13
  Speaker 1: but you you got to push. I think eight hundred
• 43:15
  Speaker 1: is the mark you should be trying to hit. I
• 43:16
  Speaker 1: think eight hundred is a perfectly reasonable amount of money
• 43:20
  Speaker 1: to get from the airline. I think that that's something
• 43:22
  Speaker 1: they'll settle for. They're probably they probably have a lot
• 43:24
  Speaker 1: of increase on that specific flight. I think that's something
• 43:26
  Speaker 1: I know.
• 43:27
  Speaker 2: I've already received an email that was just like we're sorry, Yes,
• 43:30
  Speaker 2: we're sorry. That's it, just we're sorry.
• 43:33
  Speaker 1: Wait, it doesn't say we're sorry. Here's like a free
• 43:36
  Speaker 1: cocktail the next time you ride dollars.
• 43:38
  Speaker 2: No, all they gave us was a hotel voucher and
• 43:40
  Speaker 2: a twenty four dollars voucher for food. That's really and
• 43:46
  Speaker 2: and like again like, I do not blame the crew
• 43:49
  Speaker 2: on our flight. I will say those round crew at
• 43:54
  Speaker 2: BWI they are on my list because I understand that
• 43:59
  Speaker 2: the situation was out of their hands and not their fault.
• 44:03
  Speaker 2: It was kind of the way that they were talking
• 44:06
  Speaker 2: to us at two am as we had been deplaned,
• 44:11
  Speaker 2: like we were crazy for being frustrated by it. It
• 44:17
  Speaker 2: was just such a fucking nightmare. But it's over. It's over,
• 44:22
  Speaker 2: as I think is this episode, and before we sign off,
• 44:25
  Speaker 2: I just want to say this. In the last couple
• 44:28
  Speaker 2: of years, as I realized my grandma was getting older
• 44:33
  Speaker 2: and I was going to have less time with her,
• 44:35
  Speaker 2: I was very intentional about visiting home more often, spending
• 44:39
  Speaker 2: as much time with her as I could. I went
• 44:42
  Speaker 2: there for her birthday for the past couple of years,
• 44:45
  Speaker 2: and so I just want to say to anyone listening,
• 44:47
  Speaker 2: hold the people in your lives close to you, if
• 44:50
  Speaker 2: you can be intentional, spend that time with them. Don't
• 44:54
  Speaker 2: have any regrets. I really don't. Even though I'm sad,
• 44:59
  Speaker 2: I don't have any regrets. And I'm so grateful for that.
• 45:03
  Speaker 2: And I'm grateful for all of you. I'm fran I'm
• 45:07
  Speaker 2: so grateful for you. I love you so much. I
• 45:11
  Speaker 2: could not have survived this week without you. Yeah, You're
• 45:16
  Speaker 2: gonna make me cry to you.
• 45:18
  Speaker 1: I love you so much.
• 45:20
  Speaker 2: I love you. I love you bad. I love you down.
• 45:24
  Speaker 1: I love you down.
• 45:28
  Speaker 2: Diva.
• 45:30
  Speaker 1: Uh, I would die for you. I would die for you. Anyways,
• 45:37
  Speaker 1: I will see you maybe Thursday whole and this I
• 45:41
  Speaker 1: mean today is this, and this is disclosure.
• 45:45
  Speaker 2: Is Disclosure Day.