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DEADLINE: Fran Tirado and Rose Dommu to Direct 'The Batman 2 ' · Like a Virgin

• 0:23
  Speaker 1: Welcome back to Like a Virgin. I'm Rose Damu.
• 0:26
  Speaker 2: And I'm Fran Tirado. We are reporting to you live
• 0:31
  Speaker 2: with new viral video fame. That is.
• 0:35
  Speaker 1: Okay, well, first of all, we're not... First of all,
• 0:38
  Speaker 1: we aren't reporting to anyone live.
• 0:41
  Speaker 2: No, no, no, we're live. We're in front of a
• 0:42
  Speaker 2: live studio audience, Rose. The virgins need to know the truth.
• 0:47
  Speaker 1: We have had some videos... With our new sort of,
• 0:52
  Speaker 1: you know, catering to the algorithm strategy, we've had some
• 0:56
  Speaker 1: videos go like sort of baby viral.
• 0:59
  Speaker 2: Baby viral.
• 1:00
  Speaker 1: Primarily from our episode in which we ranked Batman by,
• 1:07
  Speaker 1: we ranked every Batman film by bisexuality, which if you
• 1:10
  Speaker 1: haven't listened to is one of the best pieces of
• 1:12
  Speaker 1: art ever made in the history of human society.
• 1:15
  Speaker 2: And that is without hyperbole.
• 1:18
  Speaker 1: With no hyperbolic. I've never been hyperbolic in my life.
• 1:21
  Speaker 2: In my life.
• 1:22
  Speaker 1: That is over on Patreon, patreon.com slash like a virgin.
• 1:26
  Speaker 1: And some things that I'm learning from these videos gaining
• 1:32
  Speaker 1: a little bit of traction is that people are stupid. Uh-huh.
• 1:41
  Speaker 1: And CinemaSins and otherwise similar sort of... You know, like
• 1:48
  Speaker 1: YouTube videos in which people Easter egg films to death
• 1:55
  Speaker 1: and need every part of a movie to be, every
• 1:59
  Speaker 1: part of analysis for a film to be factual. Those
• 2:03
  Speaker 1: have ruined society because we make little jokey jokes and
• 2:08
  Speaker 1: people are like, well, actually.
• 2:09
  Speaker 2: Well, actually. Baristas specifically are in our comments being like, well, actually.
• 2:16
  Speaker 2: I love getting well-actualized by a know-it-all barista. It's like, honestly,
• 2:22
  Speaker 2: an honor.
• 2:23
  Speaker 1: And I mean, speaking of hyperbole, some, like I saw
• 2:26
  Speaker 1: some comments, and I'm not checking the comments anymore. It's
• 2:32
  Speaker 1: a fool's errand. It's a fool's errand. But some of the,
• 2:35
  Speaker 1: like I saw one comment that was like, worst take
• 2:38
  Speaker 1: on a film ever. And it's like, are you really,
• 2:42
  Speaker 1: you really think this is the worst take anyone has
• 2:45
  Speaker 1: had on a film ever? in the history of media critique.
• 2:50
  Speaker 2: I honestly love that. That also, an honor.
• 2:54
  Speaker 1: It's not even a take. It's like an interpretation. We're
• 2:57
  Speaker 1: stating facts.
• 2:58
  Speaker 2: We're stating facts about the fact that Paul Zanno is
• 3:01
  Speaker 2: a barista.
• 3:01
  Speaker 1: I was going in a different direction with that than you.
• 3:05
  Speaker 2: Well, okay. So here's the thing. I, as a philosophy
• 3:10
  Speaker 2: in my own life and also in my professional life,
• 3:12
  Speaker 2: categorically against reading comments. For whatever reason.
• 3:17
  Speaker 2: My strategy on that has.
• 3:19
  Speaker 1: Changed with ease.
• 3:20
  Speaker 2: Baby, I'm in the comments.
• 3:21
  Speaker 1: I was going to say, because not only are you
• 3:24
  Speaker 1: reading them, you're responding to all of them.
• 3:27
  Speaker 2: I'm trolling the comments. Sorry, you got to keep the
• 3:29
  Speaker 2: algorithm up, Rose. You got to keep the algorithm up.
• 3:31
  Speaker 1: You do. And I'm so grateful for you. And I
• 3:33
  Speaker 1: have been doing kind of the same on TikTok to
• 3:37
  Speaker 1: a much lesser extent. And it's mostly been correcting people
• 3:40
  Speaker 1: when they misgender us.
• 3:42
  Speaker 2: Love that. I honestly just delete those comments. Oh, I
• 3:46
  Speaker 2: should do.
• 3:47
  Speaker 1: I just don't want to spend that much time on TikTok.
• 3:49
  Speaker 1: Maybe I should just give you my TikTok login information
• 3:51
  Speaker 1: and you can moderate on there for us.
• 3:54
  Speaker 2: Oh, we might need to split duties because you're much better.
• 3:57
  Speaker 2: You're better at TikTok. Well, you don't use TikTok the
• 3:59
  Speaker 2: way you used to, actually.
• 4:00
  Speaker 1: I don't use TikTok at all.
• 4:01
  Speaker 2: But you are probably better for that community. You are
• 4:05
  Speaker 2: more with the kids, as they say.
• 4:07
  Speaker 1: What I'm saying more is that I am unwilling to
• 4:09
  Speaker 1: engage with the TikTok comments. Right. So that might need
• 4:14
  Speaker 1: to be handed over as I take on more of
• 4:17
  Speaker 1: the sort of technical... I don't know if you noticed, Virgins,
• 4:20
  Speaker 1: literally no one has commented on it, but we have
• 4:23
  Speaker 1: a theme song now.
• 4:24
  Speaker 2: We have a new theme song. A spooky, groovy Austin
• 4:29
  Speaker 2: Powers Scooby-Doo. The gang, the ragtag gang of virgins flying
• 4:36
  Speaker 2: into your earbuds.
• 4:37
  Speaker 1: Yes, we have.
• 4:38
  Speaker 2: Theme song.
• 4:39
  Speaker 1: We even have segment sound effects for Breaking News, which
• 4:43
  Speaker 1: you'll hear shortly. And no one has commented on those yet.
• 4:48
  Speaker 1: So I guess you hate us. Yes. And we say
• 4:51
  Speaker 1: this over on Patreon, but we really want to say
• 4:56
  Speaker 1: it here as well. Please get into those Spotify comments.
• 5:01
  Speaker 1: Engage with us. Tell us what you think about our takes,
• 5:04
  Speaker 1: which are always 100% correct.
• 5:06
  Speaker 2: Literally. Literally. And okay, so but like even on the
• 5:10
  Speaker 2: comments of it all, I will also say I'm kind
• 5:15
  Speaker 2: of reassured by our audience and even the people, even
• 5:20
  Speaker 2: the baristas that are kind of meaningfully engaging with our content,
• 5:24
  Speaker 2: I'm actually like, Yeah, okay, go off, Queen.
• 5:27
  Speaker 1: The barista community.
• 5:28
  Speaker 2: The barista community. I honestly thought the comments would be
• 5:33
  Speaker 2: more transphobic.
• 5:34
  Speaker 1: Right.
• 5:35
  Speaker 2: I'm being so genuine. I genuinely thought that the comments
• 5:39
  Speaker 2: were going to be so much more transphobic. And also,
• 5:41
  Speaker 2: I thought the lion chair would be.
• 5:47
  Speaker 2: Film bros, because we're talking about Batman, and in actuality, like,
• 5:51
  Speaker 2: people really get us.
• 5:52
  Speaker 1: Yes, people, a lot of people have been saying, like, oh,
• 5:55
  Speaker 1: this is the kind of commentary I need. This is
• 5:58
  Speaker 1: the kind of film analysis I've been looking for.
• 6:00
  Speaker 2: Yes.
• 6:01
  Speaker 1: I feel seen because you are saying that the Riddler
• 6:05
  Speaker 1: is awesome. Yes, and people- Apparently the Riddler is canonically bisexual.
• 6:10
  Speaker 1: I just learned this.
• 6:11
  Speaker 2: I had no idea. Do you know who he gets
• 6:13
  Speaker 2: with in the canon?
• 6:15
  Speaker 1: No, I haven't gotten there yet in my Batman comic. Fran,
• 6:19
  Speaker 1: take the spoon out of that mug right now.
• 6:24
  Speaker 2: You don't think the virgins want a little audio theater?
• 6:26
  Speaker 2: A little clink, clink, clink, clink, clink, clink?
• 6:28
  Speaker 1: No, no, no, no.
• 6:29
  Speaker 2: It's out. It's out.
• 6:30
  Speaker 1: Thank you.
• 6:31
  Speaker 2: Okay, but- Honestly, had no idea you guys had such
• 6:36
  Speaker 2: passionate takes on latte art, but loving it. Thank you
• 6:43
  Speaker 2: for engaging with the videos. Please continue to share them.
• 6:46
  Speaker 2: If you haven't listened to Batman movies ranked by bisexuality,
• 6:51
  Speaker 2: you can go to patreon.com slash like a virgin for
• 6:54
  Speaker 2: one of our essentially most talked about episodes in the
• 6:57
  Speaker 2: history of humanity. One of the most talked about.
• 7:01
  Speaker 1: Episodes of a podcast ever talked about in the history
• 7:04
  Speaker 1: of humanity.
• 7:05
  Speaker 2: While we're here, honestly, I must offer a correction, which
• 7:11
  Speaker 2: is that I mistakenly referred to Debbie Mazur and Drew
• 7:14
  Speaker 2: Barrymore as the Riddler's concubines. Obviously a really offensive term
• 7:19
  Speaker 2: to use for women. But that's not what you're apologizing for.
• 7:23
  Speaker 2: But that's not why I'm apologizing. What I'm apologizing for
• 7:25
  Speaker 2: is the fact that Debbie Mazur and Drew Barrymore are
• 7:27
  Speaker 2: the Two Faces concubines. And I just wanted to make
• 7:32
  Speaker 2: sure that the record was set on that. And if
• 7:34
  Speaker 2: you are asking.
• 7:37
  Speaker 1: Because that's the first time either of us have ever
• 7:40
  Speaker 1: shared misinformation on this podcast.
• 7:42
  Speaker 2: No, yeah, that's never, ever happened before. And it never
• 7:45
  Speaker 2: will again. It's startling, honestly, that we have to issue
• 7:48
  Speaker 2: this correction. But, you know, sometimes even.
• 7:49
  Speaker 1: Well, we don't have to. I don't think you needed
• 7:52
  Speaker 1: to correct yourself.
• 7:53
  Speaker 2: I have to, just for my autistic brain. But also,
• 7:59
  Speaker 2: must clarify, dear virgins, Rose is Drew Barrymore, and I'm
• 8:03
  Speaker 2: Debbie Mazur. Yeah, obviously.
• 8:05
  Speaker 1: Obviously.
• 8:06
  Speaker 2: I think that you are really, really cool. And that
• 8:10
  Speaker 2: at first glance, you're like Rose's Debbie Mazur and Drew
• 8:13
  Speaker 2: Barrymore is like the kind of... Fran is like the
• 8:16
  Speaker 2: kind of supine dummy. But no, I do think that
• 8:21
  Speaker 2: you're Drew.
• 8:22
  Speaker 1: Yeah, I agree. And when.
• 8:27
  Speaker 1: The idea was floated to me that you and I
• 8:30
  Speaker 1: should be them for Halloween, which we won't be doing
• 8:33
  Speaker 1: because we already have our costumes, as we will discuss shortly.
• 8:38
  Speaker 1: The person who suggested it did say that I was Drew,
• 8:40
  Speaker 1: and that is correct.
• 8:41
  Speaker 2: That's correct. Mostly because Rose has spent more time in
• 8:46
  Speaker 2: her life as a blonde.
• 8:49
  Speaker 1: Yes. And I love the movie Ever After.
• 8:52
  Speaker 2: Right. The rumors are true. Rose and I have secured, essentially,
• 8:58
  Speaker 2: there's some bits and bobs for me to get, but
• 9:00
  Speaker 2: we've essentially secured our Halloween costumes. I am getting two
• 9:05
  Speaker 2: different costumes out of the $ 239 corset dress.
• 9:11
  Speaker 1: Well, don't spill the tea here. We got to keep
• 9:13
  Speaker 1: the girls in suspense until we post the Instagram photos. Well,
• 9:17
  Speaker 1: the detail of the corset is all I'm offering because
• 9:20
  Speaker 1: it's essential to the fact that we got the base
• 9:23
  Speaker 1: of our costume in At Gothic Renaissance. Gothic Renaissance, a
• 9:27
  Speaker 1: pillar of the bisexual community.
• 9:30
  Speaker 2: The bisexual goth community.
• 9:32
  Speaker 1: A New York institution.
• 9:35
  Speaker 2: Institution.
• 9:35
  Speaker 1: That I have been shopping at literally like since I
• 9:38
  Speaker 1: moved here. Yes. We were serviced, if you will, by the- Oh,
• 9:45
  Speaker 1: we were. By the incredible team of people whose gender
• 9:49
  Speaker 1: I will not assume.
• 9:50
  Speaker 2: Yes.
• 9:51
  Speaker 1: Who work at Gothic Renaissance. We had a lovely morning
• 9:55
  Speaker 1: there last Friday. This is the earliest in my life
• 9:58
  Speaker 1: I have ever had a Halloween costume secured in the
• 10:02
  Speaker 1: month of October like the fact that my costume was
• 10:05
  Speaker 1: pretty much done by October 2nd that's a first and
• 10:10
  Speaker 1: likely a.
• 10:11
  Speaker 2: Last same same for me and we you know this
• 10:14
  Speaker 2: year we have like events to wear these costumes too
• 10:16
  Speaker 2: that's like really exciting it's like we have like a
• 10:19
  Speaker 2: We had a vision in mind. And there is no
• 10:23
  Speaker 2: better team of people, people, to put that vision together
• 10:28
  Speaker 2: than the people at Gothic Renaissance. Because, girl, we walked in,
• 10:36
  Speaker 2: mind you, 30 minutes after it had opened, which is
• 10:38
  Speaker 2: the only time to go to Gothic Renaissance or any
• 10:39
  Speaker 2: Halloween store. Oh, yeah.
• 10:41
  Speaker 1: I mean, even as we get.
• 10:44
  Speaker 1: Further into the month gothic renaissance and its sister store
• 10:48
  Speaker 1: halloween adventure i would not go in there any later
• 10:51
  Speaker 1: than half an hour after opening like halloween if you
• 10:54
  Speaker 1: try to go to halloween adventure after like october 20th
• 10:59
  Speaker 1: you might as well just kill.
• 11:00
  Speaker 2: Yourself yeah honestly i mean you it's you probably are
• 11:04
  Speaker 2: just too late already yes um you're too late um
• 11:07
  Speaker 2: yeah we you're too late So we walk into Gothic
• 11:10
  Speaker 2: Renaissance to paint the picture. We all walk in and
• 11:13
  Speaker 2: there are, the story is, there's like two other people
• 11:15
  Speaker 2: in it and there are five or six people working.
• 11:18
  Speaker 1: And all of them have so much look on. And
• 11:25
  Speaker 1: thank God for that. Yes.
• 11:26
  Speaker 2: Ass out. Tool to the sky. Okay.
• 11:30
  Speaker 1: Clown white pancaked onto those faces. And that is not derogatory.
• 11:35
  Speaker 1: That's a compliment.
• 11:36
  Speaker 2: Clippin's an array of colors you could not imagine. Okay.
• 11:42
  Speaker 1: All wearing shoes. So, so staggeringly platformed. I don't know
• 11:47
  Speaker 1: how they are even able to walk around the store,
• 11:50
  Speaker 1: especially since they're doing so quite briskly. Like these people
• 11:55
  Speaker 1: are prepared for war. Like they run the Gothic Renaissance.
• 11:59
  Speaker 2: This is war. This month is war for the employees
• 12:01
  Speaker 2: of Gothic Renaissance in Manhattan, NYC. Okay. Um, I was
• 12:08
  Speaker 2: perusing the corsets and, you know, one of the shop
• 12:14
  Speaker 2: people walks up to me. Shop goth. One of the
• 12:17
  Speaker 2: shop goths walks up to me and they say, oh,
• 12:21
  Speaker 2: would you like me to fit you for that corset?
• 12:22
  Speaker 2: Which at that moment in time, I understood to be
• 12:26
  Speaker 2: an offer. And what I came to find is actually
• 12:30
  Speaker 2: it was a demand.
• 12:31
  Speaker 1: Well, there was, to be fair, there was a sign
• 12:33
  Speaker 1: that said, you must be measured before trying on a corset.
• 12:37
  Speaker 2: You must be measured for the corset. This is not
• 12:41
  Speaker 2: Forever 21, honey. And so I was like, you know,
• 12:43
  Speaker 2: shy shop girl, and I was like, oh, I'm just browsing.
• 12:49
  Speaker 2: And it was only the second time that the shop
• 12:51
  Speaker 2: goth asked, hey, honey, I can fit you for a corset,
• 12:55
  Speaker 2: that I realized that it was in fact a corset.
• 12:58
  Speaker 2: A demand. This was a... I needed to be in compliance.
• 13:02
  Speaker 1: It wasn't, I can. It was, I'm going to fit you. Yes.
• 13:06
  Speaker 2: I'm going to fit you. And girl, this shop goth
• 13:10
  Speaker 2: pulled out a tape measure and wrapped you.
• 13:14
  Speaker 1: And got you together.
• 13:15
  Speaker 2: Got me together. Wrapped it around my waist. Like getting fitted.
• 13:19
  Speaker 1: Like they were one of the mice from Cinderella. Girl, I.
• 13:22
  Speaker 2: Getting fitted for a corset hit at the intersection of
• 13:25
  Speaker 2: like gender affirmation and like kind of an inner child healing.
• 13:30
  Speaker 1: Was it also kind of sexual?
• 13:31
  Speaker 2: It was not.
• 13:33
  Speaker 1: Oh, that's disappointing.
• 13:35
  Speaker 2: It was maybe in that I was sexualizing myself. Like
• 13:39
  Speaker 2: I felt like immediately sexual. And I did make a
• 13:44
  Speaker 2: joke about how I felt like Elizabeth Swann and the
• 13:47
  Speaker 2: shop goth did not laugh.
• 13:49
  Speaker 1: Well, maybe if you had said you felt like Rose
• 13:51
  Speaker 1: in Titanic in the scene where her mother is putting
• 13:53
  Speaker 1: the corset on her. Right.
• 13:55
  Speaker 2: Our two points of reference for corsets being put on.
• 13:57
  Speaker 1: The only two. Famously, the only two women who have
• 14:01
  Speaker 1: ever been corseted.
• 14:02
  Speaker 2: In film.
• 14:03
  Speaker 1: No, in anything. In life.
• 14:06
  Speaker 2: In life and in the world as we know it.
• 14:09
  Speaker 2: Thank you to the Shop Goths at Gothic Renaissance. I
• 14:13
  Speaker 2: believe after exiting, we filled out some paperwork afterwards. And
• 14:17
  Speaker 2: Rosa and I are now legally adopted.
• 14:20
  Speaker 1: Yes. Those are our parents.
• 14:23
  Speaker 2: Our non-gender specified parents.
• 14:27
  Speaker 1: We owe them so much.
• 14:28
  Speaker 2: We owe them so much. Thank you, Gothic Renaissance. We
• 14:30
  Speaker 2: love you. Please come and sponsor the podcast. Honestly, you
• 14:33
  Speaker 2: don't need to pay us anything. We will just run
• 14:36
  Speaker 2: ads for Gothic Renaissance. Okay? Get in touch. My email
• 14:42
  Speaker 2: is on my sub stack.
• 14:45
  Speaker 1: Fran, is it time to get bricked up?
• 14:46
  Speaker 2: It's time to get bricked up. This is Bricking News.
• 14:54
  Speaker 2: Gossip at the hottest topics according to us specifically. Okay,
• 15:00
  Speaker 2: you can check the show notes in your app to
• 15:03
  Speaker 2: see the full itinerary of what we're discussing today if
• 15:06
  Speaker 2: you would like to skip around.
• 15:08
  Speaker 1: But no time codes.
• 15:10
  Speaker 2: No time codes whatsoever. We don't have time for that.
• 15:12
  Speaker 2: We don't have time.
• 15:13
  Speaker 1: We literally don't have time for that.
• 15:14
  Speaker 2: We literally don't have time for those time codes.
• 15:18
  Speaker 1: And also like Spotify usually uses AI to generate chapter
• 15:23
  Speaker 1: sections anyway. Right.
• 15:25
  Speaker 2: Which we do not have control over. Those are done
• 15:27
  Speaker 2: without our consent. So when they are, when they are misinformational,
• 15:31
  Speaker 2: we're sorry. It's not our fault.
• 15:33
  Speaker 1: Actually, we're not sorry.
• 15:34
  Speaker 2: We're not sorry at all. But it's not our fault.
• 15:37
  Speaker 1: It's not our fault.
• 15:39
  Speaker 2: This breaking news Rose brought you to your knees. Yes.
• 15:43
  Speaker 1: And not in a good way, not in a good way.
• 15:46
  Speaker 1: So it has been announced that, uh, production on the
• 15:50
  Speaker 1: Batman two has been paused.
• 15:53
  Speaker 2: Yes.
• 15:54
  Speaker 1: Um, because of Matt Reeves, the writer director had to
• 16:00
  Speaker 1: step away for personal reasons. There's no more information than that. Um,
• 16:06
  Speaker 1: This is the latest in a series of delays that
• 16:08
  Speaker 1: have plagued the Batman sequel. It actually was supposed to
• 16:13
  Speaker 1: come out in theaters last week.
• 16:16
  Speaker 2: Literally, they made the critical mistake of announcing a release
• 16:21
  Speaker 2: date a year or two in advance.
• 16:25
  Speaker 1: This has happened with so many films. Remember that Wicked,
• 16:29
  Speaker 1: the movie, was supposed to come out five consecutive Christmases
• 16:32
  Speaker 1: in a row before it actually did.
• 16:35
  Speaker 2: Oh, I forgot about that.
• 16:37
  Speaker 1: You know, it is unclear what the deal is. You know,
• 16:43
  Speaker 1: love and light to Matt Reeves and, you know, personal
• 16:47
  Speaker 1: issues that could mean a variety of things that we're
• 16:49
  Speaker 1: not going to speculate about. Although I will say maybe
• 16:52
  Speaker 1: it's bottom surgery.
• 16:53
  Speaker 2: Maybe it's bottom surgery. And we can't, like, we have
• 16:57
  Speaker 2: no way really of knowing that, but it could be.
• 16:59
  Speaker 1: It could be. And I'm sure we'll find out if
• 17:01
  Speaker 1: it is. But this was a devastating blow for the community.
• 17:05
  Speaker 1: And by the community, I mean Fran and I.
• 17:08
  Speaker 2: And bisexual goths that listen to our podcast. But fear not,
• 17:12
  Speaker 2: dear versions, because we have another actually piping hot piece
• 17:17
  Speaker 2: of breaking news.
• 17:18
  Speaker 1: Oh my God. Wait, did the Deadline article drop?
• 17:21
  Speaker 2: The Deadline article has just dropped. You can go and
• 17:23
  Speaker 2: check it on Deadline.com right now because it has been
• 17:27
  Speaker 2: announced that That Rose Damu and Fran Torado have agreed
• 17:31
  Speaker 2: to step in and direct the Batman Part 2 in
• 17:34
  Speaker 2: Matt Reeves' absence.
• 17:36
  Speaker 1: I'm so happy we can finally reveal this.
• 17:39
  Speaker 2: We've been sitting on a secret for a while.
• 17:41
  Speaker 1: Look, they offered us the first movie and we said,
• 17:44
  Speaker 1: we can't. We just started this podcast. We're so busy.
• 17:47
  Speaker 1: It was also COVID. Then they offered us the second movie.
• 17:51
  Speaker 1: And we were not checking our email that day.
• 17:56
  Speaker 2: Yeah.
• 17:56
  Speaker 1: And so, you know, these things happen, Hollywood, whatever.
• 18:00
  Speaker 2: Matt Reeves was like, oh, tough. I mean, it's tough
• 18:02
  Speaker 2: to come second to Fran and Rose, but I guess
• 18:04
  Speaker 2: I'll take it.
• 18:05
  Speaker 1: Yeah. And Robert Pattinson, you know, when I rolled over
• 18:07
  Speaker 1: in bed and said, Rob, I really don't think we
• 18:10
  Speaker 1: should mix business and pleasure. Like, our love is more
• 18:14
  Speaker 1: important to me than co-directing the Batman 2 with Fran.
• 18:18
  Speaker 2: Yeah.
• 18:18
  Speaker 1: And then Fran, who was on the other side of Rob,
• 18:21
  Speaker 1: rolled over and said, can I stick it in?
• 18:24
  Speaker 2: Can I stick it in? And Rob said yes. And
• 18:27
  Speaker 2: Rob said yes. And shortly after I topped Robert Pattinson,
• 18:33
  Speaker 2: we offered him a correction on his contract. There was
• 18:38
  Speaker 2: a revision on his contract. Because the thing is, Rose,
• 18:42
  Speaker 2: for our iteration of the Batman Part II, we are
• 18:46
  Speaker 2: making some changes. And the first thing we had to address,
• 18:51
  Speaker 2: and the thing that Robert Pattinson's team has graciously agreed to,
• 18:55
  Speaker 2: is that Robert Pattinson must gain at least 85 pounds.
• 18:59
  Speaker 1: Yes. And also one of the stipulations, so this was
• 19:03
  Speaker 1: sort of like a back and forth, but eventually Rob
• 19:06
  Speaker 1: said yes because he had been thinking about doing it anyway.
• 19:10
  Speaker 1: He got breast implants and then had top surgery to
• 19:14
  Speaker 1: remove them so that in the film he would have
• 19:16
  Speaker 1: top surgery scars. Yes. Because, you know, obviously this Batman
• 19:20
  Speaker 1: is transmasc.
• 19:22
  Speaker 2: Yes, this Batman is transmasc, but he is specifically an
• 19:25
  Speaker 2: M2M man. Male-to-male transition, they exist, okay? And gaining 85 pounds,
• 19:34
  Speaker 2: that is body modification.
• 19:36
  Speaker 1: We....
• 19:38
  Speaker 2: Are so grateful that Robbie has, you know, agreed to
• 19:42
  Speaker 2: be the, the perhaps according to some, the first, according
• 19:47
  Speaker 2: to others, the second dummy thick Batman in the canon.
• 19:50
  Speaker 1: Yes. And, you know, we did have to fight with
• 19:52
  Speaker 1: the studio to include David Cornswain as Superman and include
• 19:58
  Speaker 1: a explicit NC-17 sex scene between the two of them.
• 20:05
  Speaker 1: And then also Fran and I also come in and
• 20:08
  Speaker 1: it becomes a foursome. Right. But the studio eventually was like,
• 20:13
  Speaker 1: you know what? This is how we beat Avengers Doomsday
• 20:16
  Speaker 1: and become the highest grossing film of all time.
• 20:19
  Speaker 2: They were skeptical at first, but then they saw our
• 20:22
  Speaker 2: notes and they were like, you know what? This works.
• 20:23
  Speaker 1: I also do think that the storyboards we put together,
• 20:26
  Speaker 1: which were just kind of stick finger drawings of us. Yes.
• 20:30
  Speaker 1: fucking Robert Pattinson really helped sell them on the idea.
• 20:34
  Speaker 2: They really, yes. And they also, I think really were
• 20:36
  Speaker 2: in complete agreement on our revisions on the story. Because,
• 20:41
  Speaker 2: you know, at the end of the last film, Paul
• 20:44
  Speaker 2: Dano was talking to Barry Keoghan as the Joker in
• 20:51
  Speaker 2: the Batman. And, you know, we've scrapped that. And what
• 20:54
  Speaker 2: we've actually determined is that Paul Dano was not talking
• 20:58
  Speaker 2: to the Joker, he was talking to Cait Jenner, who
• 21:04
  Speaker 2: obviously was... As herself. And obviously Cait Jenner was in
• 21:08
  Speaker 2: Arkham because she killed a man with her car.
• 21:12
  Speaker 1: She actually killed a woman with her car.
• 21:14
  Speaker 2: And so in our reinterpretation of this story, Cait is
• 21:18
  Speaker 2: actually a kind of gender-swapped Two-Face, if you will.
• 21:24
  Speaker 1: You know, the thing is, you would need to do
• 21:27
  Speaker 1: so little to make Caitlyn Jenner... A Batman villain?
• 21:30
  Speaker 2: Yes. Honestly, not that much makeup needed, if any. She
• 21:37
  Speaker 2: also is sinister enough. I think fits the bill perfectly.
• 21:41
  Speaker 2: She said yes, truly immediately.
• 21:45
  Speaker 1: Immediately.
• 21:46
  Speaker 2: No qualms. She asked no follow-up questions.
• 21:48
  Speaker 1: She's doing it at scale. Yes. Which is amazing.
• 21:53
  Speaker 2: Incredible.
• 21:53
  Speaker 1: Because then we can put the budget towards better things like,
• 21:57
  Speaker 1: you know, buying all the food that Robert Pattinson needs
• 22:02
  Speaker 1: to eat to gain 85 pounds in the week before
• 22:06
  Speaker 1: shooting resumes. We're also giving him those Calteen bars from
• 22:10
  Speaker 1: Mean Girls. And we're doing, we've figured out a way
• 22:14
  Speaker 1: to engineer a sort of reverse ozempic. Yes.
• 22:19
  Speaker 2: Rosa and I have essentially given Robert Pattinson a reverse
• 22:24
  Speaker 2: eating disorder. And he has to drink creatine every 40
• 22:29
  Speaker 2: minutes or his contract is null and void.
• 22:32
  Speaker 1: You know what? I think we should make it every
• 22:34
  Speaker 1: 30 minutes.
• 22:34
  Speaker 2: Every 30.
• 22:35
  Speaker 1: Yeah.
• 22:36
  Speaker 2: Just to be safe.
• 22:37
  Speaker 1: This is a film has so many moving parts and
• 22:41
  Speaker 1: we can't let his, you know, skinniness get in the
• 22:46
  Speaker 1: way of our vision.
• 22:48
  Speaker 2: And you know, like obviously in our version of the
• 22:51
  Speaker 2: Batman part two, Robin is being reintroduced into the canon again. And, and,
• 22:56
  Speaker 2: I'm pleased to announce, you know, a lot of budget
• 22:58
  Speaker 2: went into this A-list cast. But Robin will be played
• 23:03
  Speaker 2: by Eric Rahel.
• 23:04
  Speaker 1: Oh, and of course, his introduction scene. And actually, in
• 23:09
  Speaker 1: all of his scenes, he will be either shirtless, like
• 23:12
  Speaker 1: his Robin uniform has no shirt, or it's kind of
• 23:15
  Speaker 1: like just nipple covers, and then the rest of the
• 23:19
  Speaker 1: chest and belly are exposed.
• 23:20
  Speaker 2: Nipple covers that are little Robins. Yes. Yeah, yeah, yeah.
• 23:26
  Speaker 1: Robin's tragic backstory will include several graphic sex scenes.
• 23:33
  Speaker 2: Yes. Lots of gay sex. Almost as much gay sex
• 23:37
  Speaker 2: in the Joel Schumacher Batmans, but that's a tall order
• 23:40
  Speaker 2: and we can't.
• 23:42
  Speaker 1: No, literally it would have to be just never-ending anal penetration.
• 23:46
  Speaker 1: And as some of you may know, Fran... doesn't think
• 23:50
  Speaker 1: that's right. It's against God's plan.
• 23:52
  Speaker 2: It's against God's plan, but I understand that the, the, the,
• 23:57
  Speaker 2: the fan base needs it. I understand. I understand. And, um,
• 24:01
  Speaker 2: we also, you know, we, uh, in kind of like
• 24:06
  Speaker 2: really trying to get our A-list cast up, we also
• 24:09
  Speaker 2: felt like obviously Poison Ivy is going to be in
• 24:12
  Speaker 2: this film. Okay.
• 24:13
  Speaker 1: Of course. How could you do it without her? We
• 24:15
  Speaker 1: had a, we had an iconic diva in the first movie.
• 24:18
  Speaker 2: Yes.
• 24:18
  Speaker 1: Catwoman.
• 24:18
  Speaker 2: Catwoman.
• 24:19
  Speaker 1: And we needed some female energy in this one as well.
• 24:22
  Speaker 2: And we're so glad to announce that Poison Ivy will
• 24:26
  Speaker 2: be played by Martine Gutierrez. Okay. Performance artist extraordinaire.
• 24:31
  Speaker 1: Really exciting.
• 24:32
  Speaker 2: She was the toughest to get, though. She said no
• 24:33
  Speaker 2: multiple times.
• 24:35
  Speaker 1: And she's also being paid more than Robert Pattinson. She's
• 24:37
  Speaker 1: getting paid more than anyone in the film. More than us.
• 24:40
  Speaker 1: More than us, honestly. Well, we're doing it for free.
• 24:43
  Speaker 1: We're doing it for the love of the game.
• 24:45
  Speaker 2: We haven't discussed this, but what's our twist on Poison Ivy,
• 24:48
  Speaker 2: on the Poison Ivy story? Because this has to be
• 24:50
  Speaker 2: still a realist Batman. That's why there's so much gay
• 24:52
  Speaker 2: sex in it.
• 24:53
  Speaker 1: Right. So the twist on it is that she....
• 24:58
  Speaker 2: She works for.
• 25:00
  Speaker 1: No, she loves plants, but she's always killing them.
• 25:04
  Speaker 2: Right. And she's always killing them, and... Part of her
• 25:09
  Speaker 2: origin story is that she murders, in cold blood, Greta Thunberg.
• 25:15
  Speaker 1: And I can't believe you revealed the big cameo in
• 25:18
  Speaker 1: the film. Sorry, spoilers.
• 25:20
  Speaker 2: Spoilers versions, spoilers versions. She does murder Greta Thunberg.
• 25:24
  Speaker 1: I shouldn't be up here.
• 25:25
  Speaker 2: Remember that meme. And what's also... I shouldn't be up here.
• 25:35
  Speaker 2: I shouldn't be up here. I'm sorry. I'm sorry.
• 25:40
  Speaker 1: Which she will be recreating in the film. Yes. And
• 25:43
  Speaker 1: it will be Poison Ivy holding her over a ledge
• 25:45
  Speaker 1: and Greta Thunberg says, I shouldn't be up here. And
• 25:47
  Speaker 1: then Poison Ivy drops her and she splats on the ground.
• 25:50
  Speaker 2: And look, while we're, I guess we might as well
• 25:53
  Speaker 2: spoil the other part of her arc is that what's
• 25:56
  Speaker 2: really crazy is that Martine as Poison Ivy then goes
• 25:59
  Speaker 2: on to murder Greta Thunberg's kind of body-oddy-oddied opera-singing sister.
• 26:07
  Speaker 2: What is her name? Amelia Thunberg? Adella Thunberg? I can't
• 26:10
  Speaker 2: remember what her fucking name is. But she's an opera
• 26:13
  Speaker 2: singer who famously loves to do the splits. She loves
• 26:16
  Speaker 2: slamming her clam on the ground. And she does that
• 26:21
  Speaker 2: multiple times in this film until, of course, she's killed
• 26:24
  Speaker 2: by poison ivy.
• 26:25
  Speaker 1: And who's playing her? Yeah. Carla Sofia Gascon?
• 26:29
  Speaker 2: No, she plays herself. Greta and, wait, I need to look.
• 26:36
  Speaker 1: Carla Sofia Gascon will actually be replacing Jeffrey Wright as
• 26:42
  Speaker 1: Commissioner Gordon.
• 26:45
  Speaker 2: Sorry, I'm learning that Greta Thunberg's sister's name is Bita
• 26:50
  Speaker 2: Mona Lisa.
• 26:53
  Speaker 1: Wait, this is real? I thought you were doing a bit.
• 26:55
  Speaker 2: No, this is real. You haven't read about Greta Thunberg.
• 26:58
  Speaker 1: We don't have time for that. We have so much
• 26:59
  Speaker 1: to talk about today.
• 27:00
  Speaker 2: Virgins, please Google Bieta Mona Lisa, Greta Thunberg's kind of
• 27:07
  Speaker 2: bodied sister. She's huge jokes, huge jokes. And she loves
• 27:12
  Speaker 2: to do the splits. And she's an incredible opera singer.
• 27:15
  Speaker 2: And she sometimes even does the splits while singing opera.
• 27:19
  Speaker 1: So she's sort of like a dummy thick Susan Boyle.
• 27:24
  Speaker 2: No, she's a bombshell. She's got long, she's got like
• 27:28
  Speaker 2: 40 inches of blonde hair, straight blonde hair. She could
• 27:32
  Speaker 2: not be more the opposite of Greta Thunberg. It's actually amazing.
• 27:35
  Speaker 2: Love that. Anyways, sorry to spoil those parts of our take,
• 27:40
  Speaker 2: but there will be lots of surprises in store.
• 27:42
  Speaker 1: But there will be so many, so many other surprises
• 27:45
  Speaker 1: in store.
• 27:46
  Speaker 2: And we would say we're grateful for the opportunity, but
• 27:49
  Speaker 2: we're not. This is a lot of work and it's
• 27:50
  Speaker 2: honestly tiresome.
• 27:52
  Speaker 1: Yeah. And we have so much going on. We have
• 27:54
  Speaker 1: so much going on. We're obviously still going to Halloween
• 27:57
  Speaker 1: Horror Nights next week.
• 27:58
  Speaker 2: Yes.
• 27:59
  Speaker 1: That's like.
• 28:00
  Speaker 2: Market research.
• 28:00
  Speaker 1: And honestly, like, okay, the thing is Matt Reeves is
• 28:03
  Speaker 1: going with us. Right.
• 28:04
  Speaker 2: Matt Reeves is going with us. Warner Brothers, now known
• 28:08
  Speaker 2: as Skydance, question mark, they've agreed to pay for our
• 28:13
  Speaker 2: Hollywood Horror Nights trip and adjunct Disney trips.
• 28:17
  Speaker 1: Weirdly, though, they will not give us an express pass.
• 28:20
  Speaker 1: So we will still be waiting in line. Okay, so
• 28:25
  Speaker 1: from one movie that who knows when it's going to
• 28:28
  Speaker 1: come out to another that is coming out soon. And
• 28:31
  Speaker 1: we have now seen Fran and I were lucky enough
• 28:35
  Speaker 1: to attend the New York Film Festival screening of Jordan
• 28:39
  Speaker 1: Firstman's Club Kid this weekend.
• 28:41
  Speaker 2: I believe the New York premiere, which is cool.
• 28:44
  Speaker 1: I mean, not like official premiere, but like, you know,
• 28:47
  Speaker 1: screening and we aren't going to discuss the film too
• 28:51
  Speaker 1: much just because it doesn't come out for another month.
• 28:54
  Speaker 1: Very few people outside of the festival circuit have seen it,
• 28:58
  Speaker 1: although now most of the cool gay people in New
• 29:00
  Speaker 1: York have seen it. Judging by the screening and the
• 29:05
  Speaker 1: after party, which we also attended, can you believe I
• 29:07
  Speaker 1: was out past 1am two nights in a row this weekend?
• 29:10
  Speaker 2: In this new iteration of Rosamu, I can. And I'm
• 29:14
  Speaker 2: so happy that it's happening.
• 29:17
  Speaker 1: So We don't want to say much about the film,
• 29:20
  Speaker 1: so this will be just like spoiler-free, top-line thoughts, but
• 29:26
  Speaker 1: we both really, really enjoyed it.
• 29:30
  Speaker 2: Loved. And if you have not heard any of the
• 29:32
  Speaker 2: sentiment coming out of Cannes, as this was kind of
• 29:35
  Speaker 2: the darling of the Cannes Film Festival, all the critics
• 29:38
  Speaker 2: are kind of like, whoa, it's actually kind of... of good. Like, honestly,
• 29:41
  Speaker 2: I'm not going to lie. The sentiment is low-key kind
• 29:45
  Speaker 2: of like, yeah, I really thought Jordan Firstman was annoying,
• 29:48
  Speaker 2: but this film is beautiful.
• 29:51
  Speaker 1: Which, honestly, I do think kind of works in the
• 29:55
  Speaker 1: movie's favor. Yes. Because the character that he's playing... is
• 30:01
  Speaker 1: supposed to be so annoying.
• 30:03
  Speaker 2: Canonically annoying.
• 30:04
  Speaker 1: And then he wins you over kind of the same
• 30:07
  Speaker 1: way Jordan does with this movie. The plot is essentially
• 30:12
  Speaker 1: gay Big Daddy starring Adam Sandler. It's about this very
• 30:17
  Speaker 1: messy gay club kid who finds out that he has
• 30:21
  Speaker 1: a son. That really is the basic premise. Jordan Firstman wrote, directed,
• 30:27
  Speaker 1: and stars in this film alongside an incredible breakout performance
• 30:33
  Speaker 1: from Reggie Absalom as the child, Cara Delevingne as Jordan's
• 30:39
  Speaker 1: co-cad party girl partner, Kirby Halobaptiste, who has a scene-stealing turn.
• 30:48
  Speaker 2: Oh my God. We won't spoil, but Kirby Halobaptiste, a
• 30:52
  Speaker 2: woman I've never heard of before. Oh my God. One
• 30:55
  Speaker 2: of my favorite parts of the film.
• 30:56
  Speaker 1: Fantastic. Diego Calva, who's super hot. Really great breakouts from
• 31:01
  Speaker 1: Miss Benny, Saturn Rising, some also like seemingly like, you know,
• 31:08
  Speaker 1: character actor darlings like Colleen Camp. But just like I
• 31:16
  Speaker 1: went into the movie being like, I'm not that I'm
• 31:20
  Speaker 1: going to hate this, but like I'm going to force
• 31:23
  Speaker 1: myself to not like this as much as I want
• 31:26
  Speaker 1: to actually like it if it's good. And it totally
• 31:31
  Speaker 1: won me over. It is such a sweet and, dare
• 31:35
  Speaker 1: I say a word I hate, tender film. And yet
• 31:40
  Speaker 1: it is still bitingly, acerbically funny.
• 31:45
  Speaker 2: So fucking funny.
• 31:46
  Speaker 1: It looks incredible. It was screened for us in 35mm.
• 31:51
  Speaker 1: And Jordan, at the Q & A after the movie,
• 31:54
  Speaker 1: talked about shooting on film. And said some really great
• 31:59
  Speaker 1: things about how so many people say that shooting on
• 32:02
  Speaker 1: film is cost prohibitive and it takes so long. And he,
• 32:06
  Speaker 1: as a first-time filmmaker, really woke it up that that
• 32:09
  Speaker 1: is bullshit and that if you want to do it,
• 32:11
  Speaker 1: you can do it. And if someone like him who
• 32:14
  Speaker 1: is raising financing for this A24 movie can make it happen,
• 32:20
  Speaker 1: then establish directors with a lot of Hollywood infrastructure around them.
• 32:26
  Speaker 1: Absolutely could make it happen if they wanted to. I
• 32:29
  Speaker 1: also felt like as, you know, a party girl of yesteryear,
• 32:34
  Speaker 1: this is like maybe the best depiction of New York
• 32:36
  Speaker 1: City nightlife I've ever seen in a film. Certainly the
• 32:40
  Speaker 1: most accurate. Yes.
• 32:42
  Speaker 2: I think a nightlife depiction second only to Matt Reeves' Batman.
• 32:48
  Speaker 2: which is an amazing depiction of clubs.
• 32:50
  Speaker 1: Yes. But you know, it takes place in Gotham, which
• 32:52
  Speaker 1: isn't real. So like, I still think like this is
• 32:55
  Speaker 1: more kind of accurate to the, the actual New York
• 32:59
  Speaker 1: club scene, like especially the flashback scenes of 2016. Like
• 33:05
  Speaker 1: that felt real as fuck.
• 33:07
  Speaker 2: Real as fuck. I think the depiction of drugs in
• 33:11
  Speaker 2: this film, sorry, there's a siren outside. I think they're
• 33:13
  Speaker 2: coming to arrest me for the fact that I just
• 33:16
  Speaker 2: said drugs. um the drugs in this film the depiction
• 33:20
  Speaker 2: of drugs in this film is so funny not sparing
• 33:25
  Speaker 2: at all all over the place and i think still
• 33:28
  Speaker 2: done accurately feels so true to new york city nightlife
• 33:34
  Speaker 2: feels nuanced feels relatively responsible i would say they make
• 33:39
  Speaker 2: some pretty funny jokes about g that i think ground
• 33:42
  Speaker 2: the film in a kind of um understanding that like
• 33:44
  Speaker 2: addiction is a real thing and people die and g
• 33:48
  Speaker 2: out at these parties um you know car cara de
• 33:53
  Speaker 2: levine oh my god this is my favorite thing i've
• 33:58
  Speaker 2: ever seen cara do and.
• 33:59
  Speaker 1: You think it's better than suicide squad.
• 34:01
  Speaker 2: Honestly i i Don't remember watching that movie.
• 34:05
  Speaker 1: Well, okay, I didn't tell you this, but Warner Brothers
• 34:09
  Speaker 1: says we have to put Kara as Enchantress in the
• 34:13
  Speaker 1: Batman 2.
• 34:14
  Speaker 2: Yeah, she's going to work her way into the film,
• 34:18
  Speaker 2: but she has agreed to add a new characteristic to
• 34:24
  Speaker 2: the Enchantress, which is that she will also be a cokehead. Kara, honestly,
• 34:29
  Speaker 2: at the screening... talked a bit about the film's depiction
• 34:33
  Speaker 2: of drugs and her relationship to, you know, just like
• 34:38
  Speaker 2: either coke or drugs in general. She didn't talk about
• 34:40
  Speaker 2: it like at length, but she talked about it in
• 34:42
  Speaker 2: such a way that I was like, it's so cool
• 34:44
  Speaker 2: and refreshing to see actors talk about drugs, which on
• 34:48
  Speaker 2: any other press tour would be completely avoided because it's
• 34:51
  Speaker 2: like too taboo or it's not safe enough on a
• 34:54
  Speaker 2: press tour. Like you have to be media trained so
• 34:56
  Speaker 2: you can't ever talk about drugs. And like, I just
• 34:58
  Speaker 2: thought it was so cool that the material of the
• 35:00
  Speaker 2: film was being talked about. Um, very refreshing, very refreshing.
• 35:05
  Speaker 2: Also really refreshing to see, as you said earlier, Miss Bunny, um, sorry,
• 35:10
  Speaker 2: Miss Bunny, Miss Bunny, um, Miss Benny, Miss Benny of
• 35:16
  Speaker 2: fabulous fame, um, Saturn Rising, a DJ and musician in
• 35:19
  Speaker 2: Los Angeles and also Alaska Riley. Um, the, uh, Twitter
• 35:25
  Speaker 2: Chanteuse Chanteuse is not the right word the Twitter Maven
• 35:30
  Speaker 2: I don't even know what she would want to be
• 35:31
  Speaker 2: called but she's a fabulous writer in New York City
• 35:34
  Speaker 2: the trio of these dolls sorry to out them um
• 35:39
  Speaker 2: in this press tour is really cool like the fact
• 35:43
  Speaker 2: like in any other in other films that have trans
• 35:48
  Speaker 2: characters um it would be so.
• 35:51
  Speaker 1: Easy Amelia Perez ahem It would.
• 35:54
  Speaker 2: Be so easy actually for a press tour to kind
• 35:59
  Speaker 2: of treat these women as kind of like totems that
• 36:07
  Speaker 2: are kind of representative and are like bringing this kind
• 36:10
  Speaker 2: of like representation kind of thing to the press tour
• 36:12
  Speaker 2: because it's so important that we uplift trans voices. But
• 36:15
  Speaker 2: like the trio of them on this press tour showing
• 36:18
  Speaker 2: face looking incredible even though they're roles in the film
• 36:22
  Speaker 2: are a little bit minor. Saturn's role is incredible. She's like,
• 36:26
  Speaker 2: to me, my favorite part, my favorite acting performance in
• 36:29
  Speaker 2: the film outside of everything that the kid does, that
• 36:35
  Speaker 2: Reggie does. But the triad of them is so exciting
• 36:39
  Speaker 2: to see on the press tour just because they all
• 36:41
  Speaker 2: look good and cool. They are extremely kind of like
• 36:46
  Speaker 2: internet trained on humor so they're all funny as fuck
• 36:50
  Speaker 2: and very irreverent in how they talk about the film
• 36:52
  Speaker 2: which is not how trans actresses historically talk on press
• 36:57
  Speaker 2: tours trans actresses are always like now more than ever
• 37:00
  Speaker 2: or like and honestly not even also trans actresses people
• 37:03
  Speaker 2: that want people that talk about transness on press tours
• 37:06
  Speaker 2: it's like now more than ever now more than ever
• 37:08
  Speaker 2: oh so important representation representation and they're not really doing
• 37:12
  Speaker 2: any of that Or rather, I haven't seen them do
• 37:14
  Speaker 2: that yet, which I think is refreshing and new.
• 37:18
  Speaker 1: Yes, and we're still very early in the film rollout,
• 37:22
  Speaker 1: so that could change, but I doubt it will.
• 37:24
  Speaker 2: They'll get asked so many questions about trans representation that
• 37:27
  Speaker 2: they will have no choice but to answer.
• 37:29
  Speaker 1: A lot of you won't be able to see this
• 37:31
  Speaker 1: film for a while, so that's kind of all we'll
• 37:33
  Speaker 1: say about the content of it. But we do want
• 37:35
  Speaker 1: to give a little bit of a scene report from
• 37:37
  Speaker 1: the after party, which was very fun. It was held
• 37:39
  Speaker 1: at Indochine, which is a New York institution. And probably
• 37:43
  Speaker 1: the most important thing that happened is at two different points,
• 37:46
  Speaker 1: we were about two to four feet away from Josh Hutcherson.
• 37:52
  Speaker 1: We watched Josh Hutcherson light a cigarette, and I had
• 37:57
  Speaker 1: to resist begging him to put it out on my body.
• 38:01
  Speaker 2: It was incredible. Seeing him in person was so breathtaking.
• 38:06
  Speaker 1: He's so short.
• 38:08
  Speaker 2: Oh my God, girl, it is. That is what took
• 38:11
  Speaker 2: my breath away. I'm like, you are shorter than the
• 38:14
  Speaker 2: like quad of trans men that we were kind of
• 38:16
  Speaker 2: rolling with.
• 38:17
  Speaker 1: No, literally all the trans men we were with were
• 38:19
  Speaker 1: taller than him.
• 38:20
  Speaker 2: We're taller than Josh Hutcherson. That is so sickening. And
• 38:23
  Speaker 2: I talked to the guys that are talking with, I
• 38:24
  Speaker 2: was like, I was like, he is kind of like
• 38:26
  Speaker 2: trans man coded. And they were all like, yeah, he's
• 38:28
  Speaker 2: in the canon. Like he's in the trans masculine canon.
• 38:31
  Speaker 1: Oh, I'm sure like he was like on their, on
• 38:32
  Speaker 1: their mood board for transitioning.
• 38:34
  Speaker 2: Yes. Yes. Um, right next to, uh, Justin Bieber. Um, sorry,
• 38:41
  Speaker 2: it's true. Justin Bieber. I'm not, I'm not being flipped.
• 38:43
  Speaker 2: Justin Bieber is also like a kind of critical figure
• 38:47
  Speaker 2: in the trans man, in the trans man canon. And
• 38:50
  Speaker 2: that's only because there are no trans men in media. Um,
• 38:53
  Speaker 2: and so they must resort to Josh Hutcherson and Justin Bieber.
• 38:57
  Speaker 2: I don't even know how tall Justin Bieber is, but
• 38:59
  Speaker 2: he looks short and that's what's important.
• 39:00
  Speaker 1: He does. Another person we spotted was Gina Gershon.
• 39:07
  Speaker 2: Had no idea that was her until after.
• 39:08
  Speaker 1: She was wearing like some kind of fuck-ass hat. Got it.
• 39:12
  Speaker 1: And it made me think, well, okay, first of all,
• 39:14
  Speaker 1: we really need to watch Bound. But then also, do
• 39:17
  Speaker 1: you remember when she got cooked like a turkey in Thanksgiving?
• 39:21
  Speaker 2: Whoa, spoiler!
• 39:22
  Speaker 1: Okay, of a movie that came out several years ago
• 39:26
  Speaker 1: and starred Addison Rae.
• 39:28
  Speaker 2: Was that her debut? I think it's fine. Was Thanksgiving
• 39:31
  Speaker 2: Addison Rae's acting debut?
• 39:33
  Speaker 1: No, she was in that horrible Netflix movie, He's All That.
• 39:40
  Speaker 2: Oh, right, right, right. Okay.
• 39:42
  Speaker 1: Opposite Kourtney Kardashian.
• 39:43
  Speaker 2: Right, right, right, right, right, right. Virgins... This concludes our
• 39:48
  Speaker 2: scene report. If you were at the screening, we want
• 39:52
  Speaker 2: to know what you thought. If you weren't, it means
• 39:54
  Speaker 2: you're neither cool nor gay in New York City.
• 39:57
  Speaker 1: Sorry.
• 39:58
  Speaker 2: Sorry. Okay.
• 40:00
  Speaker 1: Become cooler or gayer.
• 40:01
  Speaker 2: I don't know. Yeah. Just become cooler or gayer or both. Transition. Yes.
• 40:06
  Speaker 1: But when Club Kid comes out, we highly recommend it.
• 40:09
  Speaker 1: It is certified fresh by Like A Virgin Industries.
• 40:15
  Speaker 2: Certified fresh according to two gay pervs.
• 40:18
  Speaker 1: Yes.
• 40:19
  Speaker 2: Listen, Verity though.
• 40:21
  Speaker 1: Speaking of pervs.
• 40:22
  Speaker 2: Speaking of certified fresh.
• 40:25
  Speaker 1: Speaking of certified doo-doo caca. Okay, Fran.
• 40:28
  Speaker 2: Was it doo-doo caca?
• 40:30
  Speaker 1: No, it wasn't doo-doo caca. Okay. I saw Verity this weekend.
• 40:33
  Speaker 1: I know that you're not planning to see it in
• 40:35
  Speaker 1: theaters or maybe ever. So I would love to kind
• 40:39
  Speaker 1: of tell you the plot and all the twists and
• 40:42
  Speaker 1: give you my thoughts on it.
• 40:43
  Speaker 2: Yes, I'm not going to see Verity. I'm also not
• 40:45
  Speaker 2: going to see Digger, sorry, until they are available on
• 40:48
  Speaker 2: an airplane, as God intended.
• 40:50
  Speaker 1: For them to be seen. Oh, I'm absolutely seeing Digger
• 40:52
  Speaker 1: in theaters as soon as possible.
• 40:54
  Speaker 2: I know, I know.
• 40:55
  Speaker 1: So, here's the thing about Verity. My experience of it
• 40:59
  Speaker 1: might have been impacted by the fact that I was
• 41:01
  Speaker 1: incredibly hungover.
• 41:02
  Speaker 2: You were kind of violently hungover.
• 41:04
  Speaker 1: I had made plans to see it with Ryan at
• 41:06
  Speaker 1: 12.15 on Sunday, but....
• 41:10
  Speaker 2: You do be going to a 1215 screening. I do.
• 41:12
  Speaker 1: And normally I enjoy it. I was so hungover that
• 41:16
  Speaker 1: I left my wallet in the theater and had to
• 41:19
  Speaker 1: go back for it yesterday. Thankfully it was intact. All
• 41:22
  Speaker 1: my cards were there. My ID was there. So shout
• 41:26
  Speaker 1: out to Alamo Drafthouse, downtown Brooklyn for that. If for
• 41:29
  Speaker 1: nothing else.
• 41:29
  Speaker 2: We don't need to shout them out. We don't need
• 41:31
  Speaker 2: to shout them out. Why are you, why are you
• 41:34
  Speaker 2: platforming abusers? Because they don't, say that I'm just kidding.
• 41:40
  Speaker 1: So Verity let me tell you the plot and I'm
• 41:42
  Speaker 1: gonna spoil everything all the twists.
• 41:46
  Speaker 2: We watched it so you didn't have to and by
• 41:47
  Speaker 2: we I mean Rose did and I read an actually
• 41:51
  Speaker 2: extremely detailed summary Verity.
• 41:54
  Speaker 1: Is a sort of aiming to be Hitchcockian but failing
• 41:58
  Speaker 1: at it miserably thriller starring Dakota Johnson as a kind
• 42:05
  Speaker 1: of down on her luck thriller writer.
• 42:08
  Speaker 2: I understand a kind of tranquilized thriller writer.
• 42:11
  Speaker 1: Yes. Whose mother has recently died and who on a
• 42:16
  Speaker 1: way to an important literary meeting, which is the first
• 42:21
  Speaker 1: strike against this film because no literary meetings happen in person.
• 42:24
  Speaker 1: They only happen over zoom.
• 42:26
  Speaker 2: Right.
• 42:28
  Speaker 1: She witnesses a man get hit by a car and
• 42:31
  Speaker 1: killed in the middle of traffic and is splattered head
• 42:35
  Speaker 1: to toe by his blood. And a random hot guy
• 42:39
  Speaker 1: played by Josh Hartnett brings her into a nearby cafe
• 42:44
  Speaker 1: bathroom and literally gives her the shirt off his back.
• 42:47
  Speaker 2: No, he does not. He takes his shirt off in
• 42:50
  Speaker 2: his first appearance in the film?
• 42:54
  Speaker 1: He does.
• 42:55
  Speaker 2: Incredible. That's smart. That's really smart.
• 42:56
  Speaker 1: And unrealistic, she does not immediately get on her knees
• 42:59
  Speaker 1: and suck his cock. But then she goes to this meeting.
• 43:02
  Speaker 2: She does later.
• 43:03
  Speaker 1: She does later.
• 43:03
  Speaker 2: Spoiler.
• 43:05
  Speaker 1: She goes to this meeting and finds out that He's
• 43:08
  Speaker 1: actually in the meeting because he is the husband of
• 43:12
  Speaker 1: Verity Crawford, played by Anne Hathaway, a best-selling thriller writer
• 43:18
  Speaker 1: who is known primarily for always writing from the villain's
• 43:22
  Speaker 1: point of view. She has suffered a tragic accident that
• 43:27
  Speaker 1: has left her comatose, and they want Dakota Johnson, whose
• 43:32
  Speaker 1: name in the movie, I cannot stress this enough, is Lowell.
• 43:36
  Speaker 2: Yes.
• 43:37
  Speaker 1: Lowell, a name that no one in real life has.
• 43:39
  Speaker 2: No.
• 43:41
  Speaker 1: There's a lot of weird names like that. Verity, Lowell.
• 43:44
  Speaker 2: Crew.
• 43:45
  Speaker 1: The small child's name is Crew. Crew?
• 43:47
  Speaker 2: What the fuck? These are not even, they're like, not
• 43:52
  Speaker 2: even non-binary people would take on these names.
• 43:55
  Speaker 1: It's not right. Actually, I could see a trans guy
• 43:59
  Speaker 1: named Crew.
• 44:00
  Speaker 2: Yeah, true.
• 44:01
  Speaker 1: It would work on a trans guy, though. They offer
• 44:04
  Speaker 1: her $ 75, 000 a book to finish the final three books
• 44:08
  Speaker 1: in Verity's series. Josh Hartnett pulls her aside and says,
• 44:13
  Speaker 1: ask for half a million.
• 44:14
  Speaker 2: Yeah.
• 44:15
  Speaker 1: Which she does.
• 44:16
  Speaker 2: Period.
• 44:17
  Speaker 1: So he then offers to have her come to his
• 44:21
  Speaker 1: and Verity's cabin room. in Vermont to go through Verity's
• 44:27
  Speaker 1: extensive notes so that she can begin piecing together the
• 44:31
  Speaker 1: final three books in this collection. As she's there, she
• 44:35
  Speaker 1: discovers that Verity's condition sort of causes her to just
• 44:39
  Speaker 1: kind of like look weird and not speak while a
• 44:44
  Speaker 1: nurse takes care of her. Really, her condition is just
• 44:47
  Speaker 1: to be spooky. That's the seeming medical diagnosis.
• 44:51
  Speaker 2: Is Anne Hathaway unconscious for the majority of this movie?
• 44:55
  Speaker 1: Yes, except.
• 44:57
  Speaker 2: Are there flashbacks?
• 44:58
  Speaker 1: There are flashbacks because as Dakota Johnson is going through
• 45:04
  Speaker 1: Verity's notes, she finds the manuscript for an autobiography that
• 45:09
  Speaker 1: Verity wrote. And so we see scenes from her life
• 45:12
  Speaker 1: play out in this autobiography. The autobiography which only starts
• 45:17
  Speaker 1: when she meets Josh Hartnett, leading us to believe that
• 45:20
  Speaker 1: a woman's life only begins when she finds a man.
• 45:23
  Speaker 2: And that's true.
• 45:24
  Speaker 1: And that's true. That's why mine hasn't begun yet.
• 45:26
  Speaker 2: Yes.
• 45:27
  Speaker 1: I'm still a newborn. I'm still a baby floating in
• 45:31
  Speaker 1: the ether.
• 45:31
  Speaker 2: I just said same, and I'm literally betrothed. I'm married.
• 45:34
  Speaker 1: You are literally.
• 45:34
  Speaker 2: But spiritually, I'm kind of a single girl. I'm kind
• 45:37
  Speaker 2: of the... I feel like I'm in the culture.
• 45:39
  Speaker 1: Well, you're not. You're in a relationship.
• 45:40
  Speaker 2: No, no, no. Right. Not spiritually. I was going to
• 45:42
  Speaker 2: say in the culture, people think that I'm a kind
• 45:45
  Speaker 2: of Carrie Bradshaw, but I'm actually... And we're.
• 45:47
  Speaker 1: Waking it up that Fran is... Could not be more taken.
• 45:51
  Speaker 2: So.
• 45:56
  Speaker 1: So we see not only flashbacks of Anne Hathaway, but
• 45:59
  Speaker 1: also one of the earliest scenes in this film is
• 46:04
  Speaker 1: Anne Hathaway as Verity on Call Her Daddy.
• 46:08
  Speaker 2: What?
• 46:08
  Speaker 1: And then another scene in the film is Anne Hathaway
• 46:11
  Speaker 1: as Verity on Hot Ones.
• 46:15
  Speaker 2: People need to stop putting Hot Ones in cinema. There
• 46:21
  Speaker 2: was Hot Ones in fucking Tar... There was hot ones
• 46:26
  Speaker 2: in that fucking Maya Rudolph TV show. There was hot ones.
• 46:29
  Speaker 2: But we need to stop platforming chicken wing content. Sorry
• 46:34
  Speaker 2: to Amelia de Moldenberger, whatever her name is.
• 46:37
  Speaker 1: We have said on this podcast before that we are
• 46:39
  Speaker 1: very against the chicken interview industrial complex.
• 46:43
  Speaker 2: We are against the chickenification of culture.
• 46:47
  Speaker 1: Well, brace yourself, Fran.
• 46:48
  Speaker 2: The n-chickenification.
• 46:49
  Speaker 1: Brace yourself, Fran, because the final shot of this film...
• 46:54
  Speaker 1: is of Anne Hathaway as Verity on Hot Ones. The
• 46:59
  Speaker 1: final shot of the movie.
• 47:03
  Speaker 2: I kind of, okay, so something that I was kind
• 47:07
  Speaker 2: of reading about is that there are moments in the
• 47:09
  Speaker 2: film where it feels very aware of how ridiculous it is.
• 47:14
  Speaker 2: And there are also a lot of times in this
• 47:15
  Speaker 2: film where it's kind of taking itself really seriously, a
• 47:18
  Speaker 2: la the other book that was adapted by this author
• 47:22
  Speaker 2: with Blake Lively.
• 47:23
  Speaker 1: It Ends With Us.
• 47:23
  Speaker 2: It Ends With Us.
• 47:25
  Speaker 1: One of the funniest theatrical experiences I've ever had. Unintentional,
• 47:29
  Speaker 1: but hilarious.
• 47:31
  Speaker 2: A film I still have not seen and may never see.
• 47:33
  Speaker 1: You shouldn't. You should look at photos of Blake Lively's wigs, though.
• 47:38
  Speaker 1: So this film, yeah, I think my main issue with
• 47:43
  Speaker 1: it was that I wanted it to be campier. I
• 47:46
  Speaker 1: wanted it to lean into camp more because there are
• 47:48
  Speaker 1: moments where it does, like the aforementioned hot ones, But yes,
• 47:53
  Speaker 1: it is very kind of self-serious. And again, this could
• 47:58
  Speaker 1: be my hangover speaking, but I just found it very
• 48:01
  Speaker 1: slow and boring. And I thought the twists and turns
• 48:05
  Speaker 1: and chills and thrills were way too spaced out. So
• 48:10
  Speaker 1: to further spoil some of the twists in this movie,
• 48:14
  Speaker 1: Dakota Johnson, as she is reading through this autobiography, finds
• 48:19
  Speaker 1: out that in fact, Anne Hathaway was a bitch who
• 48:22
  Speaker 1: hated her children and wanted to kill them. You find
• 48:25
  Speaker 1: out early in the film that Josh Hartnett had to
• 48:30
  Speaker 1: rescue his daughter's dead body from a lake after she drowned.
• 48:35
  Speaker 1: And so what you find out from this manuscript is
• 48:38
  Speaker 1: that Anne Hathaway's bitch character Verity actually staged a boating
• 48:44
  Speaker 1: accident so that she could kill her daughter and have
• 48:48
  Speaker 1: her husband's attention back on herself. And then she crashed
• 48:53
  Speaker 1: into a tree and that's why she's comatose. So, you know,
• 48:58
  Speaker 1: Dakota Johnson, as she's reading this, is like really hating
• 49:02
  Speaker 1: Verity and is like, I'm going to fuck your man.
• 49:04
  Speaker 1: I'm going to steal him. And she does. They fuck.
• 49:08
  Speaker 1: There's a pretty good like fantasy sequence where Dakota Johnson,
• 49:13
  Speaker 1: thank God, shows nipple, which is something she's always done
• 49:16
  Speaker 1: and I'm sure will continue to do.
• 49:18
  Speaker 2: Because she is a pioneer in art.
• 49:20
  Speaker 1: Culture. But I will say the two real big twists
• 49:24
  Speaker 1: of this movie are that Anne Hathaway has been faking
• 49:29
  Speaker 1: it the whole time. And there is a really shocking
• 49:33
  Speaker 1: moment where Josh Hartnett is like, shaking Anne Hathaway's like
• 49:39
  Speaker 1: comatose body and she comes out of it and she's like, wait.
• 49:45
  Speaker 1: And like the whole audience gasp. It's like, cause at
• 49:48
  Speaker 1: that point we've all kind of figured out that that's
• 49:51
  Speaker 1: what's going on, but seeing it happen and seeing it
• 49:56
  Speaker 1: like really the only, the only like weight any of
• 49:59
  Speaker 1: these twists have are through Anne Hathaway's performance, not through
• 50:03
  Speaker 1: the script or the direction.
• 50:04
  Speaker 2: Yeah.
• 50:06
  Speaker 1: And then the other twist is, so Josh Hartnett and
• 50:12
  Speaker 1: Dakota Johnson kill Anne Hathaway because- Wait, what? So Dakota
• 50:24
  Speaker 1: Johnson shows Josh Hartnett this manuscript in which Anne Hathaway
• 50:28
  Speaker 1: has confessed to killing her daughter. Josh Hartnett is like,
• 50:34
  Speaker 1: I'm going to kill my bitch wife. And Dakota Johnson
• 50:39
  Speaker 1: goes to stop him, and you're like, oh, she's going
• 50:41
  Speaker 1: to stop him. And then she goes, we have to
• 50:43
  Speaker 1: make it look like an accident. And so they suffocate
• 50:49
  Speaker 1: her and then throw her in the lake and then
• 50:51
  Speaker 1: go with the story that she came to and wandered
• 50:56
  Speaker 1: out in confusion and drowned. And then smash cut, seven
• 51:02
  Speaker 1: months later, Dakota Johnson is pregnant with their child. Right,
• 51:06
  Speaker 1: of course. They're moving with crew to North Carolina.
• 51:10
  Speaker 2: Who is totally chill and fine. Totally over it.
• 51:13
  Speaker 1: Except for the fact that he does at one point
• 51:15
  Speaker 1: bite into a butter knife.
• 51:17
  Speaker 2: Oh, shit.
• 51:18
  Speaker 1: Giving bring her back vibes.
• 51:20
  Speaker 2: Oh, shit.
• 51:22
  Speaker 1: And so the final twist of the film is that
• 51:24
  Speaker 1: they're packing up. Dakota Johnson finds a secret compartment in
• 51:29
  Speaker 1: which there is a letter written by Verity in which
• 51:32
  Speaker 1: she reveals that the manuscript was was actually a writing
• 51:36
  Speaker 1: exercise in which she tried to twist her experiences into
• 51:41
  Speaker 1: the most evil version of themselves to get better at
• 51:45
  Speaker 1: writing villainous characters, a practice called antagonistic writing, which is,
• 51:50
  Speaker 1: I cannot stress enough how this is- Not a thing.
• 51:53
  Speaker 1: How this is not a thing and is shoehorned into
• 51:57
  Speaker 1: the last three minutes of the film, which again ends
• 52:00
  Speaker 1: with Anne Hathaway on hot ones. I will say- But
• 52:05
  Speaker 1: what I do like is that it's not clarified if
• 52:10
  Speaker 1: this is factual. We are not given empirical, objective evidence
• 52:15
  Speaker 1: that this was the truth. What? We are sort of
• 52:18
  Speaker 1: left to question, along with Dakota Johnson, whether Anne Hathaway
• 52:23
  Speaker 1: was the one lying, whether Josh Hartnett was the one lying.
• 52:27
  Speaker 1: Because Josh Hartnett, in Anne's letter, she says that he
• 52:32
  Speaker 1: actually found the manuscript. and staged her car accident. So
• 52:38
  Speaker 1: Dakota Johnson could be driving off into the sunset with
• 52:41
  Speaker 1: a man who killed his bitch wife.
• 52:45
  Speaker 2: Wait, I'm so... I'm like, okay, the fact that it
• 52:50
  Speaker 2: was all a kind of Iowa Writers Workshop kind of
• 52:56
  Speaker 2: gag the whole time, that's ambiguous? Yes. It is amb...
• 53:03
  Speaker 2: That's crazy to me. Just commit to the bit. Like,
• 53:06
  Speaker 2: just commit to the fact that they kind of murdered
• 53:08
  Speaker 2: somebody in cold blood who was actually maybe probably innocent.
• 53:12
  Speaker 2: Whose only crime was being immersed in fiction. Yeah.
• 53:16
  Speaker 1: Whose only crime was going on Hot Ones.
• 53:18
  Speaker 2: Yes.
• 53:18
  Speaker 1: And really, again, the last clip of the film is
• 53:23
  Speaker 1: Anne Hathaway on Hot Ones saying, like, oh, I like
• 53:27
  Speaker 1: writing characters where you don't know, like, like if they're
• 53:30
  Speaker 1: really bad or not, like it's better not to know.
• 53:33
  Speaker 1: And she like looks directly at the camera. There's a
• 53:36
  Speaker 1: line of hot sauces in front of her.
• 53:38
  Speaker 2: And the movie ends. The, okay. I know we do.
• 53:43
  Speaker 1: We do need to move on, but.
• 53:46
  Speaker 2: I know we're like poo pooing the like writers, a
• 53:49
  Speaker 2: workshop essence of it. But I will say antagonistic writing.
• 53:52
  Speaker 2: That sounds like it would be really fruitful for me
• 53:55
  Speaker 2: as a writer. I think I would enjoy that. Although
• 53:57
  Speaker 2: it is, as we have come to find out, uh, Legally,
• 54:00
  Speaker 2: liably precarious thing to do if you're writing it down
• 54:04
  Speaker 2: as autobiography.
• 54:05
  Speaker 1: I also kind of feel like the problem is like
• 54:07
  Speaker 1: we're already sort of bad people. Yeah. And it would not,
• 54:11
  Speaker 1: we would not have to do much to make ourselves
• 54:14
  Speaker 1: seem worse.
• 54:14
  Speaker 2: For the culture to assume that we are murderers. Yes.
• 54:18
  Speaker 2: My last question, I know we have to move on.
• 54:20
  Speaker 2: My last question is what were Verity Crawford's books about?
• 54:25
  Speaker 1: Killers and murderers. Yeah.
• 54:27
  Speaker 2: No alien porn whatsoever?
• 54:29
  Speaker 1: No. Wow. No, she's not a romance writer. She was
• 54:31
  Speaker 1: a thriller writer. Murder mystery boots. Like Gillian Flynn vibes,
• 54:39
  Speaker 1: but like all the main characters are Gone Girl.
• 54:45
  Speaker 2: Rose, since we have two more things on our docket,
• 54:49
  Speaker 2: I'm wondering, should we save our Carrie discussion for... Next week?
• 54:56
  Speaker 1: I think so. Because we've only watched the first episode.
• 54:59
  Speaker 1: And we were going to kind of just say, we
• 55:01
  Speaker 1: watched the first episode of Carrie. We're intrigued. We're going
• 55:04
  Speaker 1: to keep watching it.
• 55:06
  Speaker 2: Yes. So homework for the virgins.
• 55:07
  Speaker 1: Go watch the new.
• 55:10
  Speaker 2: Carrie adaptation by Mike Flanagan on, unfortunately, Amazon Prime Video. Yes.
• 55:16
  Speaker 2: And then we'll maybe discuss it next week. East of Eden.
• 55:20
  Speaker 2: East of Eden. East of Sheedon. East of Sheedon.
• 55:24
  Speaker 1: Now on Netflix. Created by Zoe Kazan.
• 55:29
  Speaker 2: Zoe Kazan. Zoe Kazan.
• 55:31
  Speaker 1: Who is, I believe, like actually related to John Steinbeck.
• 55:35
  Speaker 2: Oh, what? Wait, wait, wait, wait.
• 55:39
  Speaker 1: What?
• 55:40
  Speaker 2: That's like a level of nepotism that I have no
• 55:42
  Speaker 2: choice but to respect.
• 55:43
  Speaker 1: Yeah.
• 55:47
  Speaker 2: I have only watched, I think, passively the first four
• 55:51
  Speaker 2: or five episodes. I'm familiar with the story. I understand
• 55:58
  Speaker 2: that you loved this series.
• 56:00
  Speaker 1: Loved it. East of Eden, for a long time, was
• 56:03
  Speaker 1: my favorite novel of all time. I was one of
• 56:07
  Speaker 1: those girls who read it in high school and was like,
• 56:10
  Speaker 1: oh my god, the power of literature.
• 56:12
  Speaker 2: Your East of Eden was my tale of two cities.
• 56:14
  Speaker 2: I used to tell people that I was obsessed with
• 56:16
  Speaker 2: that book that I probably didn't even read in full
• 56:19
  Speaker 2: although my cop actually my copy is like highly highly
• 56:22
  Speaker 2: annotated i i every time i go back to it
• 56:24
  Speaker 2: i'm like oh wow you were like really smart as
• 56:26
  Speaker 2: a high schooler um but.
• 56:29
  Speaker 1: Kathy kathy aims specifically she made is is she like
• 56:34
  Speaker 1: no truly when i was when i was like 14
• 56:38
  Speaker 1: years old i was like that's who i want to
• 56:40
  Speaker 1: be when i grow up i want to be this
• 56:43
  Speaker 1: murderous conniving sex worker Yes. And look how it all
• 56:47
  Speaker 1: turned out.
• 56:48
  Speaker 2: Look how it all turned out. I have a kind
• 56:50
  Speaker 2: of question on that. And then we can kind of
• 56:52
  Speaker 2: get into the story, which I would argue largely focuses
• 56:56
  Speaker 2: on Kathy. She's kind of almost the protagonist sometimes. I
• 57:02
  Speaker 2: didn't read this book in college. I've only ever read
• 57:05
  Speaker 2: kind of like cliff notes of Steinbeck. But I do
• 57:08
  Speaker 2: understand that Steinbeck is kind of like extremely guilty of
• 57:11
  Speaker 2: like the Madonna horror archetype. You know what I mean? Like,
• 57:14
  Speaker 2: his like female characters are either like woman and mother
• 57:18
  Speaker 2: who is so selfless. She is breastfeeding like a starving
• 57:21
  Speaker 2: child and it represents the healing of the dust, blah, blah, blah, blah.
• 57:27
  Speaker 2: Or as you said earlier, a whore who tries to
• 57:32
  Speaker 2: kill her husband, kills the madam at her brothel, runs
• 57:36
  Speaker 2: the brothel, abandons her children. Yes. All of that. And
• 57:41
  Speaker 2: it's extreme in the text of the book. extremely villainous
• 57:45
  Speaker 2: and i think not that nuanced um or i mean
• 57:50
  Speaker 2: like kathy is in the book is referred to as
• 57:51
  Speaker 2: like a psychic monster and like a malformed soul a
• 57:54
  Speaker 2: malformed soul like she's described as like not human she's
• 57:57
  Speaker 2: cold she's emotionless like she's she is the villain yes
• 58:01
  Speaker 2: but the thing is in these new in this adaptation
• 58:04
  Speaker 2: yeah well the with with both the the the original
• 58:10
  Speaker 2: work and the adaptation, East of Eden is really exploring
• 58:14
  Speaker 2: kind of the.
• 58:15
  Speaker 1: Nature of evil. If it is sort of like a
• 58:21
  Speaker 1: pre-existing condition, if it is inherited, if it is learned,
• 58:25
  Speaker 1: if it's destiny. And like, sure, you could make the
• 58:32
  Speaker 1: argument that Kathy is evil, that the, her portrayal in
• 58:36
  Speaker 1: the novel is maybe like one dimensional or misogynist because
• 58:40
  Speaker 1: she is so just like explicitly evil. There was never
• 58:44
  Speaker 1: any chance for her. There's no nuance, but like, I
• 58:48
  Speaker 1: think that's completely missing the point. Like she is evil,
• 58:52
  Speaker 1: but she is nuanced. Her evil is nuanced. You are
• 58:55
  Speaker 1: so in her head in the novel. And, and I
• 58:59
  Speaker 1: think in this adaptation, um, that you, uh, understand why
• 59:05
  Speaker 1: she's making the choices that she makes, even though you
• 59:07
  Speaker 1: know they are wrong. And I've seen some commentary about
• 59:12
  Speaker 1: this adaptation and some people complaining that it kind of
• 59:16
  Speaker 1: defangs Kathy by humanizing her, and I don't think that's
• 59:19
  Speaker 1: at all true. I think Kathy is as evil and
• 59:23
  Speaker 1: as monstrous in the show as she is in the novel,
• 59:27
  Speaker 1: but by the different media of an eight-part television series
• 59:37
  Speaker 1: and also the sort of more psychologically driven stories that
• 59:41
  Speaker 1: we tell in film and television today, you just are
• 59:46
  Speaker 1: getting more facets of that. And you're just kind of
• 59:51
  Speaker 1: seeing it. depicted on screen the same way it is
• 59:55
  Speaker 1: in the novel. It's just like a different language. It's
• 59:57
  Speaker 1: the language of film rather than like the actual language
• 1:00:00
  Speaker 1: of a novel. And I think what people are responding
• 1:00:03
  Speaker 1: to is just like, they like Florence Pugh. And so
• 1:00:08
  Speaker 1: they're like, oh, well, because I really don't think the
• 1:00:12
  Speaker 1: show is asking you to sympathize with her. Like one
• 1:00:15
  Speaker 1: of the first things you see her do in the
• 1:00:17
  Speaker 1: show is literally kill her own parents. Yeah. And also
• 1:00:21
  Speaker 1: drive a man to suicide.
• 1:00:23
  Speaker 2: Yeah. One could read the feminist interpretations of the book,
• 1:00:32
  Speaker 2: or they could watch this film that's really centering her
• 1:00:35
  Speaker 2: story and say, oh my God, it's like the girl
• 1:00:37
  Speaker 2: bossification of murderers. And it's like, no, this is not
• 1:00:39
  Speaker 2: like the Lizzie Borden story, even though I actually did
• 1:00:43
  Speaker 2: like that Ryan Murphy story. So did I. Adaptations. I mean,
• 1:00:45
  Speaker 2: if we took out Eileen Wuornos, it would be among
• 1:00:48
  Speaker 2: the best things that Ryan Murphy has ever done.
• 1:00:50
  Speaker 1: Oh, I kind of really like the Eileen Wuornos parts.
• 1:00:52
  Speaker 2: We're discussing that next week. I literally, oh, but yeah,
• 1:00:59
  Speaker 2: just as you said, like this centering of Kathy's story
• 1:01:04
  Speaker 2: in this adaptation feels so much more interested in the
• 1:01:08
  Speaker 2: why of Kathy. Like, you know what I mean? Like
• 1:01:11
  Speaker 2: her villainy, had not as much either backstory or intention
• 1:01:17
  Speaker 2: or kind of psychological background in other iterations of her character.
• 1:01:23
  Speaker 2: And I feel like this, this series is really deeply
• 1:01:26
  Speaker 2: invested in like, why is Kathy like that? We're not
• 1:01:29
  Speaker 2: trying to, yeah, she's not, she doesn't, she doesn't have
• 1:01:34
  Speaker 2: a redemption arc. I don't think. But she, she, we
• 1:01:39
  Speaker 2: are offered tons of information about her trauma.
• 1:01:42
  Speaker 1: Sorry. Well, I don't even know.
• 1:01:45
  Speaker 2: Maybe it's not trauma.
• 1:01:46
  Speaker 1: Yes. Like yes and no. I think, I think more what,
• 1:01:50
  Speaker 1: what the story, both iterations of it are really good
• 1:01:55
  Speaker 1: at is not saying, here's what happened to Kathy that
• 1:02:00
  Speaker 1: made her the way she is. It's more saying, here's
• 1:02:04
  Speaker 1: how Kathy has navigated being a woman in a world
• 1:02:07
  Speaker 1: that that in a time in a society that gave
• 1:02:12
  Speaker 1: women so few options, and she, at every chance, took
• 1:02:19
  Speaker 1: the opportunity to further her own self-interest. The only thing
• 1:02:24
  Speaker 1: she ever wanted was to be a sex worker because
• 1:02:28
  Speaker 1: she understood it was the only way for her to
• 1:02:31
  Speaker 1: have agency in a world where women had no agency. Right.
• 1:02:37
  Speaker 1: because that came with its own inherent danger and cruelty,
• 1:02:43
  Speaker 1: she met, she was predisposed in some way to be
• 1:02:49
  Speaker 1: as dangerous and cruel as she needed to be to
• 1:02:52
  Speaker 1: not just survive under those conditions, but thrive within them.
• 1:02:56
  Speaker 1: She was kind of like, like truly a product of
• 1:03:02
  Speaker 1: that system exactly and like and decided that she was
• 1:03:06
  Speaker 1: not going to be um subjugated by it she was
• 1:03:10
  Speaker 1: going to be in charge of it and then subjugate
• 1:03:13
  Speaker 1: others through it which i think is really feminist.
• 1:03:19
  Speaker 2: Her like villainy i think is it is kind of
• 1:03:26
  Speaker 2: like contextualized with Um, it's contextualized by the period. It's
• 1:03:32
  Speaker 2: period accurate. And as one could argue, you know what
• 1:03:35
  Speaker 2: I mean? Like her response to the way women were
• 1:03:38
  Speaker 2: treated and what some women maybe could be forced to do,
• 1:03:42
  Speaker 2: or in this extreme circle, in the most extreme circumstances
• 1:03:46
  Speaker 2: of what a human would enact on as a consequence
• 1:03:51
  Speaker 2: of life, doing them dirty. I mean, that's like the
• 1:03:53
  Speaker 2: whole thing that you see, but the thing is like
• 1:03:55
  Speaker 2: life hasn't even really done her dirty. Well, the backstory
• 1:04:00
  Speaker 2: is like she's kind of raped and molested, right? She
• 1:04:06
  Speaker 2: was groomed. She was kind of frequently courted as a
• 1:04:09
  Speaker 2: young child by men that are kind of predatory-ish. But
• 1:04:13
  Speaker 2: that is really normal for the time. Right. Exactly. Right.
• 1:04:18
  Speaker 1: The age.
• 1:04:18
  Speaker 2: And also, that's true.
• 1:04:20
  Speaker 1: I think really Kathy is kind of one of the
• 1:04:23
  Speaker 1: first depictions of what we would now call a sociopath.
• 1:04:27
  Speaker 2: Right.
• 1:04:28
  Speaker 1: And that's one of the things I think Florence Pugh
• 1:04:33
  Speaker 1: is so incredible at portraying. I really think this is
• 1:04:36
  Speaker 1: her best work since Little Women. It's maybe even better
• 1:04:41
  Speaker 1: than that just because she has more to do. What
• 1:04:45
  Speaker 1: she is able to do with just her face and
• 1:04:48
  Speaker 1: her eyes, there are so many scenes of Kathy just
• 1:04:56
  Speaker 1: looking without speaking and Florence is able to portray this
• 1:05:01
  Speaker 1: emptiness that Kathy has so beautifully. And if you haven't
• 1:05:09
  Speaker 1: finished the series, you won't, you won't have gotten to it, but, um,
• 1:05:12
  Speaker 1: there is a sequence in which Kathy talks about, um,
• 1:05:16
  Speaker 1: Alice in Wonderland and why she loved it so much
• 1:05:18
  Speaker 1: as a child. And, um, that very much, I think
• 1:05:21
  Speaker 1: was like one of the things that maybe, um, helped
• 1:05:24
  Speaker 1: inspire my own like suicidal ideation as a teenager for better,
• 1:05:28
  Speaker 1: for better, for worse. But it's really the, the kind
• 1:05:34
  Speaker 1: of work that she's doing is really incredible. And I
• 1:05:39
  Speaker 1: think it's a little too easy to say like Kathy's
• 1:05:43
  Speaker 1: evil came from trauma because like, sure. There was this
• 1:05:48
  Speaker 1: older man that this pastor, no teacher, who certainly was
• 1:05:56
  Speaker 1: inappropriate with her while she was a student. And yes,
• 1:06:01
  Speaker 1: the show does kind of nod towards there being some
• 1:06:05
  Speaker 1: kind of weirdness between her and her father. But again,
• 1:06:09
  Speaker 1: and this is not an excuse, that is all accurate
• 1:06:13
  Speaker 1: to the period in which this is taking place. And
• 1:06:16
  Speaker 1: not a lot of women murdered their parents.
• 1:06:19
  Speaker 2: Yes. and shot their husband and shot their husbands and
• 1:06:23
  Speaker 2: killed their madam.
• 1:06:24
  Speaker 1: Yeah. Um, it's like Kathy had this kind of, um,
• 1:06:31
  Speaker 1: she was born with this emptiness inside her, with this
• 1:06:33
  Speaker 1: hole inside her. Um, and the only way she knew
• 1:06:39
  Speaker 1: how to fill it or really wanted to fill it
• 1:06:42
  Speaker 1: was with money was with, you know, her own self interest.
• 1:06:47
  Speaker 2: And, um, Girlboss.
• 1:06:49
  Speaker 1: Girlboss. And yes, she did that by murder and extortion
• 1:06:53
  Speaker 1: and turning around and oppressing people in exactly the same
• 1:06:59
  Speaker 1: way they had oppressed her. And that doesn't make it right.
• 1:07:04
  Speaker 1: But I think exploring just the fact that she did
• 1:07:10
  Speaker 1: it is what is feminist about this text and specifically...
• 1:07:15
  Speaker 1: this interpretation of it through Zoe Kazan. It's not saying like,
• 1:07:19
  Speaker 1: she was, she did this because of this. It's like,
• 1:07:22
  Speaker 1: she did this and then she did this and then
• 1:07:24
  Speaker 1: she did this.
• 1:07:25
  Speaker 2: Right.
• 1:07:25
  Speaker 1: And it's interesting. And that I think is feminist. I,
• 1:07:31
  Speaker 1: it is.
• 1:07:32
  Speaker 2: And just to your point earlier, like Florence Pugh is like,
• 1:07:35
  Speaker 2: she's scary in this. Like she, she was kind of,
• 1:07:39
  Speaker 2: she's kind of terrifying in her depiction of that.
• 1:07:42
  Speaker 1: Like when she shoots Christopher Abbott, like, It's so, she
• 1:07:46
  Speaker 1: feels nothing about it. He's just an obstacle in her way,
• 1:07:51
  Speaker 1: the same way her parents were.
• 1:07:54
  Speaker 2: I like, I know we have to wrap, but I
• 1:07:57
  Speaker 2: kind of want to take you into Fran's Bible corner.
• 1:08:03
  Speaker 1: I'm always so happy to visit. Hold on, let me
• 1:08:06
  Speaker 1: just cross myself really quickly with a little prayer.
• 1:08:10
  Speaker 2: Yes.
• 1:08:12
  Speaker 1: I say a little prayer for you.
• 1:08:14
  Speaker 2: Okay. Yes, Netflix's East of Eden is based on the, sorry,
• 1:08:20
  Speaker 2: this Netflix adaptation of East of Eden, if you don't know,
• 1:08:23
  Speaker 2: East of Eden, John Steinbeck's novel, is based on the
• 1:08:28
  Speaker 2: story of Cain and Abel from the Bible. Heard of it.
• 1:08:30
  Speaker 2: This is the Bible according to Fran. I don't know
• 1:08:35
  Speaker 2: how interesting or not interesting it is in the context
• 1:08:38
  Speaker 2: of the series itself, but I personally like I'm always
• 1:08:41
  Speaker 2: interested in digging into Bible stories. And I do think
• 1:08:44
  Speaker 2: there's some stuff that kind of come, that comes up
• 1:08:47
  Speaker 2: that I think lends itself to the material and what
• 1:08:49
  Speaker 2: Steinbeck was maybe interested in. But something that you need
• 1:08:54
  Speaker 2: to know, Rose, is that the story of Cain and
• 1:08:56
  Speaker 2: Abel is like 10 sentences, but it's also one of
• 1:09:01
  Speaker 2: the more horrific and devastating kind of morality lessons in
• 1:09:06
  Speaker 2: the Bible. I'm going to give you the rudimentary version
• 1:09:11
  Speaker 2: and then some analysis. Because in Bible school, because I
• 1:09:15
  Speaker 2: did go to Bible school, I went to vacation Bible
• 1:09:17
  Speaker 2: school I taught Vacation Bible School. I went to church twice,
• 1:09:23
  Speaker 2: maybe sometimes three times a week if I was doing
• 1:09:25
  Speaker 2: choir or Vacation Bible School. I love the Bible because
• 1:09:29
  Speaker 2: I love mythology. It's my favorite.
• 1:09:32
  Speaker 1: And the Bible is mythology.
• 1:09:34
  Speaker 2: It's literally one of the greatest books of myths ever written. Sorry, profound.
• 1:09:40
  Speaker 2: In the myth of Cain and Abel, Cain was a farmer.
• 1:09:43
  Speaker 2: Abel was a shepherd. They both brought sacrificial offerings to God.
• 1:09:49
  Speaker 2: Cain brought crops. Abel brought meat. God says to Abel, yeah,
• 1:09:55
  Speaker 2: this works. God says to Cain, nah, dude, try again. Sorry.
• 1:10:02
  Speaker 2: And Cain becomes really angry and really depressed.
• 1:10:07
  Speaker 1: Because God was trying to get his macros in?
• 1:10:09
  Speaker 2: Literally. Literally. Cain becomes so depressed about this. And instead
• 1:10:16
  Speaker 2: of trying again, which is what God instructs him to do,
• 1:10:20
  Speaker 2: Cain follows the second most logical conclusion available to him,
• 1:10:24
  Speaker 2: which is to kill his brother Abel.
• 1:10:26
  Speaker 1: Sure.
• 1:10:27
  Speaker 2: Of course. So in the Christian kind of interpretations of
• 1:10:31
  Speaker 2: this myth are honestly like all over the place. Like
• 1:10:33
  Speaker 2: what I was taught in Bible school was that Cain
• 1:10:38
  Speaker 2: was like lazy or maybe like miserly in his like,
• 1:10:45
  Speaker 2: you know, harvesting of crops. And he like, didn't bring
• 1:10:47
  Speaker 2: his a game like pun intended, um, to God. And
• 1:10:52
  Speaker 2: which is crazy. I know there's also like a kind
• 1:10:55
  Speaker 2: of more mythological interpretation of Cain and Abel. And it's
• 1:11:01
  Speaker 2: that like, which is maybe more in accordance of the
• 1:11:04
  Speaker 2: sociopathy idea that Steinbeck might be interested in, which is
• 1:11:08
  Speaker 2: that Cain was the serpent seed of, uh, Satan himself, uh,
• 1:11:15
  Speaker 2: when Satan as the serpent fucks Eve, Adam and Eve...
• 1:11:19
  Speaker 2: Satan fucks Eve? Satan fucks Eve as the snake. That's
• 1:11:24
  Speaker 2: like one of the many interpretations is that the relationship
• 1:11:26
  Speaker 2: is sexual and that when they fuck, Eve begets two children,
• 1:11:32
  Speaker 2: Cain and Abel. They go on to populate the world.
• 1:11:37
  Speaker 2: How they procreated... All these bitches are her sons. But
• 1:11:41
  Speaker 2: it's like Adam and Eve literally only had sons. So
• 1:11:43
  Speaker 2: like how they procreated, how they like populated the world
• 1:11:46
  Speaker 2: is like unexplained. But obviously in our fan fiction of this,
• 1:11:49
  Speaker 2: Cain and Abel fuck and Abel gets pregnant. But I digress,
• 1:11:54
  Speaker 2: but I digress. Okay. So another interpretation of the Cain
• 1:11:58
  Speaker 2: and Abel story is that very simply, and I was
• 1:12:01
  Speaker 2: literally taught this in school, very simply, God just prefers
• 1:12:06
  Speaker 2: a blood sacrifice. Like, Sorry, like, if you're not spilling blood,
• 1:12:10
  Speaker 2: it's not worthy of God's, like, kind of gifts.
• 1:12:14
  Speaker 1: Which exists in so many cultures. Like, that's so much
• 1:12:17
  Speaker 1: a part of their tradition. Like, you know, you have
• 1:12:20
  Speaker 1: to sacrifice animals to the gods.
• 1:12:23
  Speaker 2: Please. I mean, look.
• 1:12:25
  Speaker 1: They are not vegan.
• 1:12:26
  Speaker 2: God literally said to Cain, he was like, no, I
• 1:12:29
  Speaker 2: do not fuck with that vegan shit. Like, don't play.
• 1:12:31
  Speaker 1: I'm bulking.
• 1:12:32
  Speaker 2: I'm bulking. Give me my macros, bro. But, like, okay.
• 1:12:38
  Speaker 2: What's really crazy, Rose, is that in the actual text
• 1:12:41
  Speaker 2: of the Bible, there is... God gives literally no reason
• 1:12:46
  Speaker 2: as to why meat, good, crops, bad. Like, he provides
• 1:12:49
  Speaker 2: no feedback to Cain and Abel, which is actually maddening. Like,
• 1:12:54
  Speaker 2: Cain and Abel, like, to both hear from God and
• 1:12:58
  Speaker 2: for God to just be like, yeah, you're my favorite. Like,
• 1:13:02
  Speaker 2: that's crazy. And so.
• 1:13:05
  Speaker 1: Like just like a fucking dad to do that.
• 1:13:09
  Speaker 2: What I'll, my kind of, forgive me, I'm going to
• 1:13:11
  Speaker 2: get all philosophical and wax poetic about this story because
• 1:13:14
  Speaker 2: I think that if you were to read into the mythology,
• 1:13:17
  Speaker 2: if you were to take out the God of it all,
• 1:13:19
  Speaker 2: if you're going to take out the Christianity, if you're
• 1:13:20
  Speaker 2: going to take out everything we learned in Bible school
• 1:13:23
  Speaker 2: and read it actually as a myth that's trying to
• 1:13:25
  Speaker 2: teach us something, I think what's really interesting about the
• 1:13:28
  Speaker 2: story and maybe interesting about Steinbeck is that like, the
• 1:13:32
  Speaker 2: concept that Cain and Abel are essentially like the first
• 1:13:35
  Speaker 2: human beings. Like Adam and Eve, they grew up in
• 1:13:38
  Speaker 2: paradise before mortal sin. That's like not being. Like it's
• 1:13:42
  Speaker 2: not human. That's like alien. That's like, it's privilege, honestly.
• 1:13:47
  Speaker 2: But like, you know, Cain and Abel are truly like
• 1:13:50
  Speaker 2: the first humans experiencing the trials and tribulations of humanity.
• 1:13:54
  Speaker 2: And so they are essentially like a metaphor as the
• 1:13:59
  Speaker 2: first and most primordial story of humanity, a metaphor for
• 1:14:04
  Speaker 2: a dramatic yet kind of brutally honest projection of how
• 1:14:09
  Speaker 2: humanity can go two ways. You can either be like, oh,
• 1:14:17
  Speaker 2: I did something, I wanted approval, I was not accepted,
• 1:14:20
  Speaker 2: and I'm now going to give in to my worst
• 1:14:23
  Speaker 2: impulses because life did me dirty, or I can see
• 1:14:27
  Speaker 2: if Um, as actually the Bible story kind of says, um,
• 1:14:33
  Speaker 2: God asks Cain, like, why are you angry? Why are
• 1:14:35
  Speaker 2: you depressed, bro? Like, and Cain is like, and then
• 1:14:39
  Speaker 2: he says like, if you do well, if you do
• 1:14:41
  Speaker 2: a good job, you will be accepted. And Cain can't
• 1:14:45
  Speaker 2: hear that. Um, and God says to him, if you
• 1:14:48
  Speaker 2: don't understand that sin crouches at your door and its
• 1:14:53
  Speaker 2: desire is for you, but you should rule, but you
• 1:14:56
  Speaker 2: should rule over it. This is in Genesis. And I
• 1:15:00
  Speaker 2: think that in Steinbeck's original text and also in the
• 1:15:05
  Speaker 2: Netflix series, there's this term timshel, a Hebrew word that
• 1:15:08
  Speaker 2: means thou mayest. And this part of the text, thou mayest,
• 1:15:14
  Speaker 2: as in like sin can come for you and you
• 1:15:19
  Speaker 2: can choose to triumph over it.
• 1:15:22
  Speaker 1: Or you can choose to give into it.
• 1:15:25
  Speaker 2: Or you can choose to give into it. And this
• 1:15:28
  Speaker 2: was like a kind of radical... adjustment from the original, like,
• 1:15:31
  Speaker 2: King James version, which kind of suggests that, like, man
• 1:15:34
  Speaker 2: is destined to overcome it, which obviously is not true. Honestly,
• 1:15:39
  Speaker 2: it's tea, is what I'm saying. It is tea. It
• 1:15:43
  Speaker 2: is tea.
• 1:15:45
  Speaker 1: That's our official review of Netflix's East of Eden. It's tea.
• 1:15:49
  Speaker 2: Well, it's tea. But yeah, I love, love, loved thinking about,
• 1:15:56
  Speaker 2: I love, like, kind of watching it and feeling like Honestly,
• 1:16:01
  Speaker 2: I do think that Steinbeck's text is interested in this, oh,
• 1:16:05
  Speaker 2: the two wolves kind of of your existence, right? Yeah,
• 1:16:12
  Speaker 2: it's about the nature of humanity. And it's not about
• 1:16:15
  Speaker 2: whether God sanctions something or sanctions another thing. It's about
• 1:16:20
  Speaker 2: whatever your version of it is. You have a brother.
• 1:16:25
  Speaker 2: the brother comes to daddy he's like here's my nascar
• 1:16:28
  Speaker 2: racing toys and like the other brother goes to daddy
• 1:16:31
  Speaker 2: and is like here's my barbie and like life and
• 1:16:35
  Speaker 2: the daddy's like i don't fuck with that and you
• 1:16:38
  Speaker 2: can either like um.
• 1:16:40
  Speaker 1: It's not okay yeah i don't fuck with it i don't.
• 1:16:44
  Speaker 2: And either like you can be depressed about it for
• 1:16:46
  Speaker 2: the rest of your life or you can go and
• 1:16:47
  Speaker 2: find another daddy who's gonna be really happy about the
• 1:16:49
  Speaker 2: barbie you know what i mean or you can be
• 1:16:51
  Speaker 2: your own daddy Yes, you can be your own daddy, macros.
• 1:16:56
  Speaker 1: A tattoo I literally have on my body given to
• 1:16:59
  Speaker 1: me by Mars Hope Record.
• 1:17:01
  Speaker 2: Wait, really? I want one. Yeah, you can get one. Anyways,
• 1:17:05
  Speaker 2: that concludes the Bible according to a fucking transsexual faggot. Honestly,
• 1:17:15
  Speaker 2: more Bible content coming soon. Don't worry, everybody.
• 1:17:18
  Speaker 1: And thank you for tuning in to another episode of
• 1:17:22
  Speaker 1: Like a Virgin. As we mentioned, homework for next week.
• 1:17:26
  Speaker 1: If you were interested, watch the new Carrie adaptation. I also, oh,
• 1:17:34
  Speaker 1: every year I usually share my spooky season watch list.
• 1:17:36
  Speaker 1: Maybe I'll drop that on Patreon.
• 1:17:40
  Speaker 2: Oh, yes, we must. And also we will have other
• 1:17:42
  Speaker 2: Patreon bonus episodes coming up that we will not disclose
• 1:17:45
  Speaker 2: at this time, but they're coming up.
• 1:17:47
  Speaker 1: And they're going to be sickening. Patreon.com slash like a virgin.
• 1:17:50
  Speaker 1: As we said earlier in the episode, even if you're
• 1:17:55
  Speaker 1: not subscribed to Patreon, which you should be, the normal episodes,
• 1:17:59
  Speaker 1: these main episodes, we want to engage with you. Get
• 1:18:02
  Speaker 1: in the comments on Spotify, Apple, wherever. Get in the
• 1:18:05
  Speaker 1: comments on Instagram and TikTok. We are really like in
• 1:18:09
  Speaker 1: this new era of the podcast where we're both so
• 1:18:12
  Speaker 1: excited about the work we're doing here. And like, we
• 1:18:15
  Speaker 1: want to queen out with you divas.
• 1:18:18
  Speaker 2: Thank you for queening out with us. Love you. Mwah.