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The Devil Wears Prada 2: 2 Way 2 Run · Like a Virgin

• 0:04
  Speaker 1: That is a sound effect of a sidekick circa two
• 0:09
  Speaker 1: thousand and six, alerting all of you virgins that we
• 0:15
  Speaker 1: are here with another episode of like a Virgin. Yes
• 0:21
  Speaker 1: we are, We're back, baby. This is our first proper,
• 0:25
  Speaker 1: like actual main feed episode that we're putting out, not
• 0:31
  Speaker 1: just on Patreon.
• 0:32
  Speaker 2: In a while, And honestly, we are so generous. This
• 0:35
  Speaker 2: is like the juiciest possible episode we could be giving
• 0:40
  Speaker 2: to y'all without a paywall, Like you're welcome for this
• 0:42
  Speaker 2: free episode. We're about to pop the fuck off today.
• 0:47
  Speaker 1: We were born talking to you. We're talking met Gala,
• 0:52
  Speaker 1: we're talking gay HBO shows, but most importantly, we are
• 0:57
  Speaker 1: talking the devil is product too uh, the Devil's product
• 1:02
  Speaker 1: to to devil to product to run too way way
• 1:10
  Speaker 1: to run.
• 1:12
  Speaker 2: Yeah, let me tell you we were born to review
• 1:14
  Speaker 2: this movie.
• 1:15
  Speaker 1: We were. But we're gonna we're gonna edge you all
• 1:18
  Speaker 1: a little bit. We're gonna save the discussion for later
• 1:21
  Speaker 1: in the episode. First, we have a couple of you know,
• 1:26
  Speaker 1: trending topics. We have a moose boosh of so just
• 1:32
  Speaker 1: some stuff that that we wanted to talk about before
• 1:35
  Speaker 1: we get into our main discussion of the episode. Because
• 1:38
  Speaker 1: we know we're gonna go long. Yes, And I guess
• 1:43
  Speaker 1: we should start with the most topical of them, which
• 1:45
  Speaker 1: is that the met Gala was last night. Yes, and
• 1:48
  Speaker 1: it was shipped from a butt.
• 1:50
  Speaker 2: It was shipped from a butt.
• 1:53
  Speaker 1: Is okay? This is a question I want to post
• 1:55
  Speaker 1: to you. Is the met Gala over?
• 1:58
  Speaker 2: I think the met Gala has kind of over. I
• 2:01
  Speaker 2: think that it is undeniable that there is no event
• 2:07
  Speaker 2: that would better encapsulate like the imagination of the fashion world.
• 2:12
  Speaker 2: There's no there's nothing can ever touch it in terms
• 2:14
  Speaker 2: of like what it's accomplished on the you know, thrills
• 2:19
  Speaker 2: and chills in vava voom of it all in the
• 2:22
  Speaker 2: fashion world. Like. And I think when the theme is good,
• 2:27
  Speaker 2: the met Gala is good to be honest, like even
• 2:31
  Speaker 2: when yes, like I think that Metala is good when
• 2:35
  Speaker 2: the theme is good, like I'm sorry, Like I loved
• 2:37
  Speaker 2: the Camp met Gala. I thought it was fabulous.
• 2:40
  Speaker 1: Yes, but I do think that the Camp met Gala
• 2:44
  Speaker 1: this killed the met Gala. And since then everyone's showing
• 2:50
  Speaker 1: up either in something really boring because they don't want
• 2:53
  Speaker 1: to get torn apart online, or they show up looking
• 2:55
  Speaker 1: like party City. I wanted to yell at Heidi Clume
• 2:58
  Speaker 1: last night, like fucking like fucking Fifi O'Hara to Sharon Needles,
• 3:03
  Speaker 1: go back to party city where you belong.
• 3:05
  Speaker 2: Here's okay, So I'm actually gonna start to disagree with
• 3:08
  Speaker 2: you right now?
• 3:09
  Speaker 1: Is that okay?
• 3:11
  Speaker 2: I actually think that Heidi Klume brought what I believe
• 3:19
  Speaker 2: is the best you can bring to a met Gala theme.
• 3:23
  Speaker 2: I'm girl this this night.
• 3:27
  Speaker 1: Charlie is the babes.
• 3:29
  Speaker 2: Here's the thing, fashion and subjective. If you don't like
• 3:32
  Speaker 2: something that somebody is wearing, nine times out of ten,
• 3:35
  Speaker 2: you know it might actually be really fab and you
• 3:37
  Speaker 2: actually are just not the person that doesn't like it.
• 3:39
  Speaker 2: And then other times it's like, oh no, no, we
• 3:40
  Speaker 2: can unanimously agree that that is a go, go, go go. Sorry,
• 3:44
  Speaker 2: Hudson Williams, you look like Tyler Ashley wearing like the dress,
• 3:47
  Speaker 2: like if the dress was cut into a suit, and
• 3:51
  Speaker 2: and that is actually giving him too much credit because
• 3:55
  Speaker 2: Tyler Ashley looks much better than him. Sorry, but with
• 3:59
  Speaker 2: Heidi Klune, that is avant garde. The Megala is about
• 4:03
  Speaker 2: avant garde couture, go there fashion. If you are not,
• 4:07
  Speaker 2: you cannot wear this anywhere else but the Megala. And yes,
• 4:12
  Speaker 2: was Heidi Klum giving Halloween Town, Yes.
• 4:16
  Speaker 1: Halloween Town too, calibars revenge.
• 4:19
  Speaker 2: Calibars revenge. But was it fashion ten thousand percent? And
• 4:23
  Speaker 2: you know, Anakia, I think like that was like a
• 4:26
  Speaker 2: much more reserved version of like that I did for.
• 4:29
  Speaker 1: Me works not only because our good Judy Laurel Charleston, Yes,
• 4:34
  Speaker 1: worked worked on that, but one could argue that they
• 4:37
  Speaker 1: had the party city quality because it's like an encased
• 4:42
  Speaker 1: like wig like it's a lot of make up, a
• 4:45
  Speaker 1: lot of prosthetic work. Yes, but that to me, I
• 4:48
  Speaker 1: just think I'm here for you on fashion being subjective.
• 4:52
  Speaker 1: I just the I guess the place where I'm coming from,
• 4:56
  Speaker 1: and I think both of these, both of our opinions
• 4:58
  Speaker 1: are valid. Yes, uh, the place I'm coming from.
• 5:02
  Speaker 2: Sorry again, but it's fine.
• 5:06
  Speaker 1: Okay, Well you guys. You guys will be used to
• 5:09
  Speaker 1: hear interruptions on the podcast. The I guess where I'm
• 5:14
  Speaker 1: coming from is I think what people like Heidi Klume
• 5:19
  Speaker 1: or like Jared Leto when he came in the first
• 5:21
  Speaker 1: suit are doing it. It's just going past fashion and
• 5:25
  Speaker 1: into costume. Well, but that's the thing Diva, the theme
• 5:28
  Speaker 1: is costume art. So if the theme is costume art,
• 5:34
  Speaker 1: it actually makes sense that this year, out out of
• 5:36
  Speaker 1: any every other year, like yes, bad Bunny should wear
• 5:39
  Speaker 1: like an old man face. Like actually that was like
• 5:42
  Speaker 1: a bit confusing to me, Like the about how he
• 5:45
  Speaker 1: looked like sexy Colonel Sanders, he did look sexy. He
• 5:50
  Speaker 1: did look sexy. I mean, he's gonna be hot as
• 5:52
  Speaker 1: fuck when he's seventy.
• 5:54
  Speaker 2: What I can agree with you, So so what I
• 5:58
  Speaker 2: I think every single year celebrities struggle to interpret the
• 6:02
  Speaker 2: theme because if you're not aware, the theme of the
• 6:07
  Speaker 2: Met Gala exhibit is always different than the theme of
• 6:12
  Speaker 2: the actual Met Gala. And if the theme of the
• 6:15
  Speaker 2: metal exhibit is the dressed body, the theme of the actual
• 6:20
  Speaker 2: metal is costume art, and those and then and then
• 6:23
  Speaker 2: celebrities are kind of like, you know, getting their pannies
• 6:26
  Speaker 2: all up in a bundle, trying to figure out how
• 6:28
  Speaker 2: the fuck to interpret the theme. And they think that
• 6:30
  Speaker 2: they should also reference the Met Gala like exhibit theme,
• 6:34
  Speaker 2: and then they try to combine them and like it's
• 6:36
  Speaker 2: like it's always a bit of a mess. Like and
• 6:40
  Speaker 2: so to me, like when I look at when I
• 6:43
  Speaker 2: try to evaluate, like the looks at the Mechala, I'm
• 6:46
  Speaker 2: usually wanting to like reward somebody that's really fucking going there,
• 6:52
  Speaker 2: And like I do think Heidi Klum, even though it
• 6:54
  Speaker 2: wasn't my favorite look of the night, like embodies that
• 6:56
  Speaker 2: I also think Madonna like was given like.
• 7:00
  Speaker 1: They're they're does they're deuce there does seem And I
• 7:03
  Speaker 1: actually think that this was nowhere better exemplified than with
• 7:08
  Speaker 1: hud Con Hudson Williams and Connor Story. Right, what we
• 7:11
  Speaker 1: have now is people either doing way too little because
• 7:15
  Speaker 1: they don't want to look a fool, or because they're
• 7:18
  Speaker 1: contractually obligated towards something boring, or they do too much
• 7:24
  Speaker 1: and they do look a fool. And I think Connor
• 7:26
  Speaker 1: Story showing up in his best Macy's mal drag looking
• 7:31
  Speaker 1: like miss ma'am she in a YSL look that has
• 7:34
  Speaker 1: been worn by at least five other celebrities on various
• 7:38
  Speaker 1: red carpets, that is just doing too little and is boring.
• 7:42
  Speaker 1: And then Hudson Williams shows up looking like Moira Rose
• 7:46
  Speaker 1: from The Crow movie on his street and it's like
• 7:53
  Speaker 1: and it's like, I guess I get where you're coming.
• 7:57
  Speaker 1: From friend because with him, I'm like, you know what,
• 8:00
  Speaker 1: at least he tried something. Yeah, yeah, like it was
• 8:03
  Speaker 1: it was gogogo, but like, you know what, he went
• 8:06
  Speaker 1: for it and he looks.
• 8:07
  Speaker 2: Like the dress cut up into a suit. You know,
• 8:10
  Speaker 2: the dress from the.
• 8:11
  Speaker 1: Dress, the color changing dress. Yes, is it black? Is
• 8:15
  Speaker 1: it black and blue? Or brown and yellow?
• 8:16
  Speaker 2: That's what it looks like.
• 8:17
  Speaker 1: You know what it was Neither it was none of
• 8:19
  Speaker 1: those colors. No, it's black. It was black and blue. Baby,
• 8:24
  Speaker 1: No it's black and white. No, it was his suit.
• 8:26
  Speaker 1: His suit was white.
• 8:28
  Speaker 2: No, it's absolutely blue.
• 8:29
  Speaker 1: Am I cry? You're color blind? Baby? That's blue and
• 8:33
  Speaker 1: no it's white. See.
• 8:35
  Speaker 2: This is the thing about the dress. This is why
• 8:36
  Speaker 2: it's the dress.
• 8:38
  Speaker 1: We have another the dress. We have another. We just
• 8:43
  Speaker 1: discovered live on air that we have another in the dress.
• 8:46
  Speaker 1: You do the Balenciaga Shmata, the Hudson Williams war to
• 8:51
  Speaker 1: the met Gala.
• 8:52
  Speaker 2: I also can't believe that's Balenciaga.
• 8:54
  Speaker 1: I need the version.
• 8:55
  Speaker 2: I can back me up on this otherwise, I really
• 8:58
  Speaker 2: I mean, yes, okay, I am color blind. But anyways, okay,
• 9:01
  Speaker 2: so here's the other thing about the theme. It as
• 9:07
  Speaker 2: because it's costume art, right, It's like the challenge of
• 9:10
  Speaker 2: it is, like how do you connect this idea of
• 9:12
  Speaker 2: the of the dress body using the human form as
• 9:16
  Speaker 2: a canvas for artistic expression. A lot of celebrities were
• 9:21
  Speaker 2: explicitly referencing works of art, which I thought was cool, Like.
• 9:25
  Speaker 1: Some cases that really worked, Like my favorite look of
• 9:28
  Speaker 1: the night was Hunter Schaeffer in Prada, which was like
• 9:32
  Speaker 1: a specific reference of this climmed painting and so mean,
• 9:37
  Speaker 1: like no one has ever looked more beautiful or like
• 9:40
  Speaker 1: ethereal or statuesque as her, And I love that that
• 9:43
  Speaker 1: It's like an overt, explicit reference but through the lens
• 9:48
  Speaker 1: of fashion and through the lens of Prada specifically, Like
• 9:52
  Speaker 1: that's a very Prada dress, right it is. But I
• 9:56
  Speaker 1: don't think that everyone who.
• 9:58
  Speaker 2: Tried to do that exceeded, like I thought Madonna that
• 10:03
  Speaker 2: I don't know if you were able to, like look
• 10:06
  Speaker 2: at the painting that Madonna is referencing.
• 10:10
  Speaker 1: It's did I did see it?
• 10:11
  Speaker 2: It's the Leonora Carrington piece. Like what she did was
• 10:14
  Speaker 2: fucking cool, even though I actually think that the fabric
• 10:17
  Speaker 2: that was draped around her was like not super expensive
• 10:20
  Speaker 2: looking and it could have looked could have been a
• 10:21
  Speaker 2: little cleaner, but everything was amazing.
• 10:24
  Speaker 1: It was very cool what she wore.
• 10:27
  Speaker 2: Yeah, she always kind of eats the megala up too.
• 10:29
  Speaker 2: I think she always kind of slays. Yeah, if I
• 10:32
  Speaker 2: remember correctly.
• 10:33
  Speaker 1: I mean CARTI I always liked Prty was amazing. Someone
• 10:37
  Speaker 1: I like posted on my Instagram story and someone replied like,
• 10:40
  Speaker 1: she looks like a tumor. I was like, yes, that's
• 10:42
  Speaker 1: why I like it, right, That's that's the point.
• 10:45
  Speaker 2: But obviously, like Heidi Klum's like piece, also her her
• 10:50
  Speaker 2: outfit was also referencing like a work of art.
• 10:54
  Speaker 1: I did see Rachel Settler. I did see one meme
• 10:57
  Speaker 1: of Heidi's outfit where it had been like edited to
• 11:01
  Speaker 1: be all bright colors, and it was like, this is
• 11:04
  Speaker 1: what the statue would have originally looked like in Greek
• 11:07
  Speaker 1: and Roman times. Like you know how how we're always
• 11:09
  Speaker 1: debunking that, like those kinds of statues are just like white, right.
• 11:16
  Speaker 1: Oh yeah, it's so funny to explain memes on I know.
• 11:22
  Speaker 2: But I you know, is to go back to your
• 11:25
  Speaker 2: initial question, is the met Gala dead? I think it's
• 11:28
  Speaker 2: been dead. I think that this year in particular, and
• 11:33
  Speaker 2: we'll get into this in the doublewarest product to review,
• 11:35
  Speaker 2: but this year in particular where you know, I believe
• 11:39
  Speaker 2: Willie Norris referred to them as Missus Goblin and mister
• 11:42
  Speaker 2: Goblin as co chairs of the the met Gala twenty
• 11:46
  Speaker 2: twenty six.
• 11:48
  Speaker 1: It is.
• 11:48
  Speaker 2: It is such a dark, dark moment actually for the
• 11:52
  Speaker 2: future of fashion, the future of this brand as it were,
• 11:57
  Speaker 2: within the met Gala, and a kind of reinforcement of
• 12:01
  Speaker 2: everything we didn't like about the Metcala before, right like before.
• 12:06
  Speaker 1: Only it's only crystallized into becoming.
• 12:09
  Speaker 2: Worse, exactly like every before AOC war that a Gooba
• 12:14
  Speaker 2: go go tax the rich dress. Okay, we were, we were,
• 12:18
  Speaker 2: we were watching the Megala and being like tax the rich,
• 12:20
  Speaker 2: tax the rich.
• 12:21
  Speaker 1: Like as far as I, as far as I, as
• 12:23
  Speaker 1: far as I saw last night, I didn't see any
• 12:26
  Speaker 1: gowns with things written on them.
• 12:28
  Speaker 2: So that progress. That's that's a win for me, real progress.
• 12:32
  Speaker 2: I totally agree. Yeah, I I feel.
• 12:38
  Speaker 1: Very it was.
• 12:39
  Speaker 2: It is very chilling actually for Jeff Basis and Lauren
• 12:44
  Speaker 2: Sanchez to be there and not just there but so present,
• 12:49
  Speaker 2: Like can I say something, yes, you think Lauren Sanchez
• 12:53
  Speaker 2: looked good? I didn't mind her dress, girl, I mean
• 12:56
  Speaker 2: the piece of art that she's referencing, like whatever, it's
• 12:58
  Speaker 2: a more iconic paint, but it's boring. It's boring. She
• 13:02
  Speaker 2: looks good, Yeah, she looks good, undeniable. You know Milania
• 13:06
  Speaker 2: Trump also looks good a lot of the time. Yeah,
• 13:09
  Speaker 2: you know, people that are horrible can also be clint.
• 13:13
  Speaker 1: I may look at Emily Charlton and the Devil is
• 13:16
  Speaker 1: Product too.
• 13:16
  Speaker 2: Will get there, baby, the missus Sanchez of the fictional world.
• 13:22
  Speaker 1: Okay, who was your favorite look of the night.
• 13:25
  Speaker 2: I really did love an ox look.
• 13:28
  Speaker 1: I really looked amazing. What did you think of What
• 13:31
  Speaker 1: did you think of Beyonce? It's a little a little matronly.
• 13:36
  Speaker 2: No, Beyonce and Rihanna, like, uh, they can really do
• 13:41
  Speaker 2: no wrong to me. I'm sorry to lump them together,
• 13:44
  Speaker 2: but they are actually like Beyonce hasn't gone to the
• 13:46
  Speaker 2: Mecallen a while, but which she does, she always wins,
• 13:48
  Speaker 2: And every time Rihanna goes to the Mecalic she wins.
• 13:51
  Speaker 2: And the two of them felt like I felt like
• 13:54
  Speaker 2: Rihanna was pretty. She looked pretty immaculate, But was it
• 13:57
  Speaker 2: the kind of like, oh my god, I will never
• 14:00
  Speaker 2: ever forget what you wore to this met Gala. No,
• 14:04
  Speaker 2: and that the same went for Beyonce. Like I I
• 14:10
  Speaker 2: think that there there are just two of the I
• 14:12
  Speaker 2: would say that two of the most central figures of
• 14:16
  Speaker 2: the met Gala and people that we expect to really
• 14:18
  Speaker 2: turn the fuck out. It's exciting to always see Beyonce there.
• 14:23
  Speaker 2: But I kind of wish she had gone with something
• 14:26
  Speaker 2: that was just a little more campy or more of
• 14:31
  Speaker 2: a reference or like I didn't quite I think the
• 14:36
  Speaker 2: concept was like it just didn't have a concept, if
• 14:41
  Speaker 2: that makes sense.
• 14:42
  Speaker 1: It was like, look at my sparkly bones.
• 14:44
  Speaker 2: Yeah, like and she's the queen of body, and so
• 14:48
  Speaker 2: I like see how it could be like body, Like, yes,
• 14:51
  Speaker 2: I'm dressed. Is the kind of place I.
• 14:52
  Speaker 1: Should have just reworn her Herpes dress.
• 14:55
  Speaker 2: She should have just rewarn Herpees dress, which actually looks amazing.
• 14:57
  Speaker 2: But instead she was like, let me let me be,
• 15:00
  Speaker 2: let me like be this statue of Liberty.
• 15:03
  Speaker 1: If I was like Jack Skellington, realness.
• 15:05
  Speaker 2: Yeah, the Statue of Liberty designed by Scarrowsky. I mean
• 15:10
  Speaker 2: it doesn't look bad. I'm looking at it right now.
• 15:12
  Speaker 1: No, it doesn't look bad. It's just and I think
• 15:14
  Speaker 1: a lot of things last night, and this is also
• 15:17
  Speaker 1: a preview about how I feel about the movie we'll
• 15:19
  Speaker 1: be talking about later. A lot of the things didn't
• 15:21
  Speaker 1: look bad. I just wasn't really gagged.
• 15:23
  Speaker 2: I wasn't really gagged. But I think my favorite, I
• 15:27
  Speaker 2: mean my favorite favorite favorite, I think it was a knock.
• 15:33
  Speaker 2: I really did love the same looks that you loved.
• 15:36
  Speaker 1: I love the dipa with the hands, this woman in
• 15:41
  Speaker 1: this Robert One dress that had hands on it, that moved.
• 15:44
  Speaker 2: That was so wait not Jordan Roth No, okay.
• 15:48
  Speaker 1: No, thank no different different person. Okay, I are we
• 15:54
  Speaker 1: can we I.
• 15:55
  Speaker 2: Think we can move on. I think we can move on.
• 15:57
  Speaker 1: Let's talk about something homo erotic. Hell yeah, Melsey's new album.
• 16:04
  Speaker 2: Oh I bet you were talking about half Man Okay, half.
• 16:06
  Speaker 1: Mels either either of those things. Well, like a brief
• 16:11
  Speaker 1: brief thoughts about Melcie's new album. Really, it's just I
• 16:13
  Speaker 1: also Melcy Melsey has a new album, and you should
• 16:17
  Speaker 1: listen to it because Melsie of is the most slept
• 16:21
  Speaker 1: on spice girl okay, and has been making really good,
• 16:26
  Speaker 1: super super gay dance music the entire time she's been
• 16:33
  Speaker 1: in like since the Spice Girls wor Thing. So listen
• 16:37
  Speaker 1: to her album. It's really sexy and fun and like
• 16:41
  Speaker 1: everything on it sounds like being at a gay bar
• 16:44
  Speaker 1: in like two thousand and three.
• 16:48
  Speaker 2: Yeah, it is giving kind of two thousand and three,
• 16:51
  Speaker 2: Like it reminded me a bit of like it's kind
• 16:55
  Speaker 2: of okay. So I don't love the album. I only
• 16:57
  Speaker 2: listened to it once. I really did not. I'm not
• 16:59
  Speaker 2: going to return to it. I'm sorry because in part
• 17:02
  Speaker 2: because it's but two thousand and three rings true because
• 17:05
  Speaker 2: it's kind of giving, like kids Bop Calise, Like it's
• 17:10
  Speaker 2: like a little bit, it's a little bit like.
• 17:12
  Speaker 1: It's one long Hex's Hector remix. Yeah.
• 17:16
  Speaker 2: Yeah, And I love like Ogo Boga gay guy music,
• 17:22
  Speaker 2: Like I love like like I'm just gonna bop to
• 17:24
  Speaker 2: this and it's like it's pretty fab and.
• 17:26
  Speaker 1: The kind of music you're gonna hear while you're buying
• 17:29
  Speaker 1: a pie at the Eagle.
• 17:34
  Speaker 2: Their annual Christmas Paea. Yeah, when they have their annual
• 17:38
  Speaker 2: Christmas pie. Like if you if you're not aware, The
• 17:40
  Speaker 2: Eagle in New York City has an annual Paea events
• 17:45
  Speaker 2: of a.
• 17:46
  Speaker 1: Place you'd more want to eat shellfish than the Eagle.
• 17:49
  Speaker 2: Than the eagle on the rooftop of the eagle, and
• 17:51
  Speaker 2: the whole eagle smells like fish, like hot fish, fish
• 17:56
  Speaker 2: and saffron.
• 17:58
  Speaker 1: Yeah.
• 17:59
  Speaker 2: Yeah, I can't even begin to tell you how much
• 18:03
  Speaker 2: the Melcy album reminds me exactly of Pay at the Eagle. Yea,
• 18:06
  Speaker 2: it is I love like I. Okay, here's something else
• 18:11
  Speaker 2: that I'll say. I was at the New York City
• 18:14
  Speaker 2: Center gala sitting at a table with Teffi and Miss
• 18:19
  Speaker 2: Benny a few weeks ago, and when Melsey got up
• 18:24
  Speaker 2: there to perform, she was wearing literally jeans and a
• 18:28
  Speaker 2: T shirt. She looked so effortless, she was so controlled,
• 18:33
  Speaker 2: she was so like she immediately fell all of this
• 18:36
  Speaker 2: love from the room and they just hit the track.
• 18:40
  Speaker 2: They put her in some nasty, nasty stage lighting, the
• 18:45
  Speaker 2: cook the sound quality in a gala space Chippiani specifically
• 18:50
  Speaker 2: so nasty, and she has nary a backup dancer, prop
• 18:56
  Speaker 2: nor piece of Chorean baby, and she got that whole
• 19:01
  Speaker 2: room on their mother fucking me standing up screaming because
• 19:08
  Speaker 2: she's pretty bad. I mean, she did do Spice Girls songs,
• 19:11
  Speaker 2: which was revelation, revelatory, but do you know how hard
• 19:16
  Speaker 2: it is too to do a gala performance in nasty,
• 19:25
  Speaker 2: nasty overhead lighting with bad sound in a fucking well,
• 19:29
  Speaker 2: everybody sits and eats their fucking cold short ribbon mashed potatoes,
• 19:34
  Speaker 2: like please.
• 19:37
  Speaker 1: I was good. It was actually pretty good.
• 19:39
  Speaker 2: But I I had to me, I like, she gained
• 19:43
  Speaker 2: so much.
• 19:43
  Speaker 1: I didn't.
• 19:44
  Speaker 2: I'm not I didn't grow up on the Spice Girls.
• 19:46
  Speaker 2: I used to think that the Spice Girls were a
• 19:48
  Speaker 2: fictional band, like like, yeah, I didn't know where they
• 19:53
  Speaker 2: were real and I I I have no attachment to
• 19:58
  Speaker 2: Melsey or to the Spicy And so for she gained
• 20:01
  Speaker 2: so much respect from me in that moment because I
• 20:03
  Speaker 2: was like, you're such a great performer, you're feeling all
• 20:05
  Speaker 2: of the love.
• 20:06
  Speaker 1: She always so much with little she did. I didn't
• 20:10
  Speaker 1: know that she always did those runs in the songs,
• 20:13
  Speaker 1: like she was always the one belting on the bridge.
• 20:17
  Speaker 2: I don't know if you listened to it, but did
• 20:19
  Speaker 2: you buy any chance to listen to Nina Geracci's I
• 20:23
  Speaker 2: Love My Computer?
• 20:24
  Speaker 1: No?
• 20:25
  Speaker 2: Okay, sorry, just like while we're on the side to me,
• 20:28
  Speaker 2: yeah I did. Actually I'll send it to you again,
• 20:31
  Speaker 2: but no, I'll just look, are are you okay, Lou Pilled.
• 20:34
  Speaker 1: Do you like Okay?
• 20:35
  Speaker 2: I like ok okay, so I'm recently okay Lou Pilled.
• 20:38
  Speaker 2: She performed at Here in New York, and opening for
• 20:42
  Speaker 2: I wasn't there, but opening for her was Nina Giacci,
• 20:45
  Speaker 2: and I had heard about Nina Geracci, but I had
• 20:47
  Speaker 2: never really engaged, and I was like, you know what, actually,
• 20:49
  Speaker 2: let me give it a listen. And her twenty twenty
• 20:52
  Speaker 2: five album I Love My Computer is actually and I'm
• 20:56
  Speaker 2: so late to this, but like one of my favorite
• 20:58
  Speaker 2: things I've listened to is such a long fucking time,
• 21:01
  Speaker 2: Like I don't know if you would love it, Rose,
• 21:03
  Speaker 2: because it is like quintessential pots and pants, like Pete,
• 21:07
  Speaker 2: like insane, like Sophie Sophie time, PCP like noise music,
• 21:13
  Speaker 2: not PCP PC PC noise PC noise.
• 21:17
  Speaker 1: Yeah, girl, I mean I I was there at the beginning.
• 21:21
  Speaker 2: And I was there when the scrolls were I was there.
• 21:28
  Speaker 2: Please listen to the album and then we'll discuss.
• 21:30
  Speaker 1: The other time. Let's talk about something slightly less homoerotic
• 21:33
  Speaker 1: than Melcy half Man.
• 21:38
  Speaker 2: I told you to watch this.
• 21:40
  Speaker 1: Watch it was it was like I knew that it
• 21:44
  Speaker 1: was happening, and I planned to watch it when it
• 21:46
  Speaker 1: came out, but I didn't know that it had started.
• 21:48
  Speaker 1: So like you reminded me of that because I did
• 21:51
  Speaker 1: watch Baby Reindeer. I think we maybe talked about it.
• 21:54
  Speaker 1: Did you watch it? Yeah as well? Yeah, and it's
• 21:58
  Speaker 1: you're right, It's was so extremely my shit. It is
• 22:03
  Speaker 1: so like a virgin core toxic, toxic, homo erotic, you know,
• 22:11
  Speaker 1: flashback storytelling young gay guys in love, old gay guys
• 22:18
  Speaker 1: in love beating each other up. One of them, one
• 22:21
  Speaker 1: of them looks like every man who's ever messaged me
• 22:25
  Speaker 1: on grinder. I'm talking about Richard gadd. He's just like,
• 22:29
  Speaker 1: it's so right that he was a chaser and Baby
• 22:32
  Speaker 1: Reindeer because he just looks like he's such a chaser,
• 22:35
  Speaker 1: Like he looks like a chaser, exactly like a chaser,
• 22:39
  Speaker 1: especially especially a European chaser. Let me tell you, half Man,
• 22:44
  Speaker 1: Richard Goad's half man on HBO Max is literally prestige
• 22:49
  Speaker 1: stepbrother porn like his family dick, but elevated. Yes it is.
• 22:54
  Speaker 2: I mean it is like slightly soapy like the Sometimes
• 22:57
  Speaker 2: this script is like very like river Dale melodrama, but
• 23:01
  Speaker 2: like I half man.
• 23:03
  Speaker 1: But that works because half of it is with you know, teenager.
• 23:07
  Speaker 2: Yes, and actually we should tell the versions. We should
• 23:10
  Speaker 2: tell the versions of the plant.
• 23:11
  Speaker 1: So the premise of it is there are these two
• 23:14
  Speaker 1: boys who go to the same high school in the nineties.
• 23:18
  Speaker 1: Their moms are lesbians who are living together, and so
• 23:21
  Speaker 1: they are forced into this kind of you know, pseudo
• 23:25
  Speaker 1: brother relationship.
• 23:27
  Speaker 2: They each have like a lesbian it's like lesbian stepmothers,
• 23:30
  Speaker 2: right like, and they kind of hate each They kind
• 23:33
  Speaker 2: of hate, kind of.
• 23:33
  Speaker 1: Hate each other. They kind of yeah, they like they
• 23:36
  Speaker 1: I think they hate the what having queer moms in
• 23:42
  Speaker 1: the eighties in Scotland turns their lives into And that's
• 23:46
  Speaker 1: why one of them, who is gay like seems really
• 23:51
  Speaker 1: closeted and the other one, who seems maybe kind of
• 23:55
  Speaker 1: by pan whatever, is just like very tied up in
• 24:00
  Speaker 1: sort of talks masculinity. And then like the framing of
• 24:03
  Speaker 1: the show is that years later, the gay one is
• 24:06
  Speaker 1: getting married to a man and his brother shows up
• 24:10
  Speaker 1: at the day of his wedding after being released from
• 24:13
  Speaker 1: prison and like beats him up. But like, you know,
• 24:17
  Speaker 1: that seems like sort of a like a warm hug
• 24:21
  Speaker 1: for them.
• 24:23
  Speaker 2: Yeah, it's so it has every single trope in gay
• 24:28
  Speaker 2: porn that I need.
• 24:31
  Speaker 1: The it has. It's like, you know what I love.
• 24:33
  Speaker 1: It's like the trope that that it the best does
• 24:36
  Speaker 1: for me. It's like the bad boy but he cares
• 24:39
  Speaker 1: about you. He hates everyone, but he cares about you. Yes, bitch,
• 24:45
  Speaker 1: that's so. It's so fan fiction. Like baby this this
• 24:50
  Speaker 1: show has read this fan fiction before.
• 24:52
  Speaker 2: To be honest, Yeah, like baby, this fan fiction has everything.
• 24:57
  Speaker 1: Seen this boom before, like the cum shot.
• 25:03
  Speaker 2: Can we we should list some of the things that
• 25:05
  Speaker 2: happen in the show that are like so like mind
• 25:08
  Speaker 2: blowing Lee Homer Rods.
• 25:09
  Speaker 1: Okay, So, in the first episode, after the two boys
• 25:13
  Speaker 1: have been moved in together by their mothers, the bad
• 25:18
  Speaker 1: boy sneaks in in the middle of the night with
• 25:21
  Speaker 1: his girlfriend I guess and basically huge ticks you basically
• 25:27
  Speaker 1: uses I like she is She very much is like
• 25:31
  Speaker 1: consenting in this scenario, but the way the dynamic plays
• 25:33
  Speaker 1: out is he kind of fucks the the other kid
• 25:38
  Speaker 1: with her.
• 25:39
  Speaker 2: He uses her to fuck him once again prestige step
• 25:43
  Speaker 2: brother porn. They sneak in through the window. They the
• 25:47
  Speaker 2: bad brother in her start to fuck The girl goes ugh,
• 25:50
  Speaker 2: aren't you? Are we gonna wake him up? He's literally
• 25:52
  Speaker 2: like three feet away, Like he's literally three feet away
• 25:54
  Speaker 2: in the bed Like that is such like it is
• 25:57
  Speaker 2: such gay porn logic, like, oh, are we gonna wake
• 25:59
  Speaker 2: him up?
• 26:00
  Speaker 3: Up?
• 26:00
  Speaker 2: I'm like, girl, he's wide away, he's what I like what.
• 26:05
  Speaker 1: Eye opened like watching?
• 26:06
  Speaker 2: Like, yeah, breaks up jerking off. They realize he's awake,
• 26:12
  Speaker 2: and then they start to they kind of like they're like, oh,
• 26:14
  Speaker 2: you're such a pev.
• 26:15
  Speaker 3: He's such a fucking pev. Oh yeah, And you have
• 26:20
  Speaker 3: to keep in mind throughout all of this. They're Scottish
• 26:23
  Speaker 3: right now. Their names are Nile and Reuben. I I
• 26:26
  Speaker 3: had to look it up love the sandwich.
• 26:28
  Speaker 2: Oh you're such a fucking pav Nile anyways, and so
• 26:32
  Speaker 2: they're like, you like us so much, wanted you fuck up.
• 26:35
  Speaker 2: And then instead of instead of the step brother, instead
• 26:38
  Speaker 2: of the mean step brother, Reuben fucking the girl. He
• 26:41
  Speaker 2: puts the girl on top of his stepbrother and then
• 26:44
  Speaker 2: holds his hand and breathes into his mouth, and and
• 26:47
  Speaker 2: and and teaches him how to suck through it. He
• 26:50
  Speaker 2: literally talks coaches him through fucking his first woman woman.
• 26:56
  Speaker 1: Her hips using like That's what I mean when I
• 26:59
  Speaker 1: say yes, he's he's using her to fuck the brother.
• 27:03
  Speaker 1: It was.
• 27:05
  Speaker 2: Wais crazy. Also, I was bricked up. Also like he
• 27:12
  Speaker 2: has like wet dreams about his stepbrother.
• 27:16
  Speaker 1: He like.
• 27:18
  Speaker 2: He like is like constantly They're constantly like the the
• 27:21
  Speaker 2: the younger brother is like constantly like looking at him
• 27:23
  Speaker 2: shirtless and being like they wake up spooning. Yes they wait,
• 27:27
  Speaker 2: right they they in the in the kind of beginning
• 27:29
  Speaker 2: of the series, they really don't get along and he
• 27:31
  Speaker 2: Reuben is very much so the bully to this younger kid, Nile,
• 27:35
  Speaker 2: this younger stepbrother Nile. And yeah, no they they they
• 27:40
  Speaker 2: get in a fight and then they fall asleep together
• 27:44
  Speaker 2: like embracing. But it's like a fight embrace when they
• 27:47
  Speaker 2: wake up, and it's like so romantic.
• 27:49
  Speaker 1: You're so romantic.
• 27:51
  Speaker 2: It's so romantic. That's a thing, is like, because I mean,
• 27:54
  Speaker 2: and their minds you they're not I guess they are.
• 27:55
  Speaker 2: Are they actually step brothers. The moms aren't married, are they.
• 27:58
  Speaker 1: They kick they can't get married and they eighties in Scotland.
• 28:01
  Speaker 2: Right, so really they're women, and so it's like they
• 28:04
  Speaker 2: are still step brothers. But it's just all of the kind.
• 28:07
  Speaker 2: They refer to each other as brothers. Yes, they do,
• 28:10
  Speaker 2: and that's why that way it's so it's so hot roads.
• 28:15
  Speaker 1: And then in the second episode, we add another man
• 28:18
  Speaker 1: to the equation who is so extremely beautiful, and.
• 28:25
  Speaker 2: He has one of those gay guy faces where you're like,
• 28:27
  Speaker 2: I want to protect you and cuddle you, and like
• 28:30
  Speaker 2: I want to make sure you're going to be able.
• 28:31
  Speaker 1: To single earring in your in your gay ear uh
• 28:35
  Speaker 1: and make sure that you feel comforted. And I want
• 28:38
  Speaker 1: to bake you a loaf of sour dough and I
• 28:41
  Speaker 1: want to slowly finger your ass.
• 28:44
  Speaker 2: Yeah, and and and mind you, like the two step
• 28:47
  Speaker 2: brothers have like all of this like internalized homophobia, internalized
• 28:52
  Speaker 2: like toxic masculinity. That then complicates niles potential relationship with
• 28:59
  Speaker 2: this new twink.
• 29:00
  Speaker 1: Which I love it, which is also complicated, And I
• 29:03
  Speaker 1: love that they have this discussion in the second episode
• 29:06
  Speaker 1: that he's like, I know it's a rational for me
• 29:08
  Speaker 1: to feel weird about being gay. I literally have a
• 29:12
  Speaker 1: gay mom. I know that it's okay, but for some
• 29:15
  Speaker 1: reason that actually only makes it harder for him yep, yep,
• 29:21
  Speaker 1: and which is very interesting, Like I.
• 29:24
  Speaker 2: Don't know how you feel about the script sometimes like
• 29:26
  Speaker 2: sometimes it is like a little schmaltzy, it is okay.
• 29:30
  Speaker 1: I thought that a couple times while watching, but yeah, whatever.
• 29:34
  Speaker 2: But but the thing is, like it I don't remember
• 29:36
  Speaker 2: if Baby Reindeer was like at times smaalty. I think
• 29:40
  Speaker 2: it was okay because I remember that just like it
• 29:43
  Speaker 2: just feeling there was so much realism in that, but
• 29:45
  Speaker 2: I guess it does it. There is still like a
• 29:48
  Speaker 2: very it's a melodrama baby, And like I can definitely
• 29:51
  Speaker 2: tell that he's a playwright, you know, because that is
• 29:54
  Speaker 2: where he got his star in experimental theater and oh shit, comedy.
• 29:59
  Speaker 2: Oh that's so I didn't think about that, but that's
• 30:01
  Speaker 2: so true. Like plays by their very nature are like
• 30:04
  Speaker 2: anti realism. They're like all small, they're schmaltz and melodrama.
• 30:08
  Speaker 1: And then so we find out in the second episode
• 30:11
  Speaker 1: that in the future the Nile is marrying Albi, so
• 30:18
  Speaker 1: they've like been together or maybe on and off all
• 30:21
  Speaker 1: this time, we don't know. And the flat the flashback
• 30:24
  Speaker 1: in the episode and the flashback in the second episode
• 30:27
  Speaker 1: ends with Reuben beating the shit out of Albi, and
• 30:32
  Speaker 1: we see that as an adult, he's still scarred from
• 30:35
  Speaker 1: it so and he went to jail.
• 30:37
  Speaker 2: He goes to jail.
• 30:37
  Speaker 1: He goes to jail, and oh girl, I'm plugged. I'm
• 30:42
  Speaker 1: sure he fucked some people in the ass. Oh got
• 30:45
  Speaker 1: fucked in mass Oh for sure. Speaking of getting fucked
• 30:49
  Speaker 1: in the ass, is it time? Is it time? Okay? Rose?
• 30:55
  Speaker 2: When we sat down in the theater to watch Devil
• 30:57
  Speaker 2: Wars product to.
• 30:58
  Speaker 1: And which I had already scene it twice, Rose shepherded
• 31:03
  Speaker 1: my viewing into reality. Oh yeah, right.
• 31:07
  Speaker 2: At first I was like, oh, actually, I think I
• 31:11
  Speaker 2: have predictions and Rose was like okay, and I was like, actually,
• 31:13
  Speaker 2: maybe I'm going to tell you my predictions now, so
• 31:15
  Speaker 2: they're locked and you can tell me, like which one
• 31:17
  Speaker 2: of them and then we can It'll be like a
• 31:19
  Speaker 2: galgan on which ones are like true and false? And
• 31:22
  Speaker 2: one of my predictions that happened in the film. And
• 31:25
  Speaker 2: it was so crazy. When this happened, I said, I said,
• 31:27
  Speaker 2: I I know that Anne Hathaway is going to take
• 31:30
  Speaker 2: it up the ass and she did and she did.
• 31:33
  Speaker 1: It was crazy. Opening scene of the movie. It was
• 31:36
  Speaker 1: a wild So if you haven't seen it, at the
• 31:38
  Speaker 1: opening scene of the movie, it's kind of recreating from
• 31:41
  Speaker 1: the first movie. You know, Andy's brushing her teeth in
• 31:43
  Speaker 1: front of the mirror, and so for this one they
• 31:45
  Speaker 1: updated it so she's using an electric toothbrush, and then
• 31:49
  Speaker 1: the camera pulls back and you see that she's just
• 31:52
  Speaker 1: gnnent over the sink and Miranda is behind her with
• 31:55
  Speaker 1: a strap in the ass. You know, it's about women's
• 32:01
  Speaker 1: empowerment ultimately, and you're like, it's about it's about how
• 32:03
  Speaker 1: she's more of a confident character this year, this this movie,
• 32:07
  Speaker 1: and you're like, wow, okay, so I wonder what else
• 32:10
  Speaker 1: has changed in twenty years.
• 32:11
  Speaker 2: Yeah, if you're not aware, the film is literally based
• 32:17
  Speaker 2: and it's like it literally takes place in twenty twenty six,
• 32:20
  Speaker 2: like it could not actually be more present day, and
• 32:24
  Speaker 2: it's in a very shocking shocking way. Like there's a
• 32:27
  Speaker 2: scene where like Anne Hathaway's like in her apartment there's
• 32:30
  Speaker 2: like an oh Mary tote in the background, Like it
• 32:33
  Speaker 2: is like so of this time.
• 32:36
  Speaker 1: And I think the way that it's the most of
• 32:39
  Speaker 1: this time is and and this kind of you know
• 32:43
  Speaker 1: leads us like we'll talk a little bit and please spoilers.
• 32:47
  Speaker 1: Spoilers besides and getting fucked in the ass, which is
• 32:50
  Speaker 1: a huge spoiler, a huge spoiler, and we wanted, we
• 32:54
  Speaker 1: wanted everyone to know that it happens. But yeah, I
• 32:57
  Speaker 1: think this is probably a good place to talk, just
• 33:00
  Speaker 1: like briefly about the premise of the movie, because I
• 33:03
  Speaker 1: think one of the things that I was most surprised
• 33:06
  Speaker 1: by this film, the thing that I never thought would happen,
• 33:12
  Speaker 1: was that it was actually about something. There was a plot.
• 33:18
  Speaker 1: What you're saying in comparison to the last movie, comparison
• 33:21
  Speaker 1: to the last movie, which is basically a bunch of
• 33:23
  Speaker 1: montages strung together. And I assumed, because you know, this
• 33:29
  Speaker 1: is nostalgia bait, this is a you know, cash grab, reboot, remake, sequel, whatever,
• 33:36
  Speaker 1: that it would just be another you know, compilation of montages.
• 33:39
  Speaker 1: And in fact, it kind of was still I mean,
• 33:42
  Speaker 1: it was at least it had a story. It had
• 33:45
  Speaker 1: it had a plot that that really drove the film.
• 33:50
  Speaker 1: That it really stayed very dedicated to exploring that story,
• 33:55
  Speaker 1: and that story was very of its time. So for
• 33:58
  Speaker 1: anyone who hasn't seen it, the double and I guess
• 34:02
  Speaker 1: if you don't want to, but just want to hear
• 34:04
  Speaker 1: us talk about it, Doubles Proud of Too starts off
• 34:08
  Speaker 1: with Andy losing her job at her paper. All of
• 34:13
  Speaker 1: the staff are laid off well, and it's while they're
• 34:16
  Speaker 1: at an awards ceremony.
• 34:17
  Speaker 2: It's a kind of like The Guardian, the New York Times.
• 34:20
  Speaker 2: It's a prestige journalistic independent, like you know, Publications, last institution.
• 34:28
  Speaker 1: At the same time this is happening, a story is
• 34:32
  Speaker 1: breaking that Runway wrote this kind of glowing piece about
• 34:37
  Speaker 1: what we're I guess supposed to assume is a sort
• 34:39
  Speaker 1: of like she and stand in Yeah, And so they're
• 34:42
  Speaker 1: getting canceled and the CEO decides and we'll learn more later.
• 34:49
  Speaker 1: This was one of my favorite twists of the movie.
• 34:52
  Speaker 1: The moment that I awed the most was that the
• 34:56
  Speaker 1: CEO is sent a viral video of Anne Hathaway preach
• 35:00
  Speaker 1: about how important journalism is, something that would, I'm sorry,
• 35:05
  Speaker 1: never go viral, never ever, ever, not in a single
• 35:09
  Speaker 1: not a single timeline, would that go viral? No one cares.
• 35:14
  Speaker 1: And he's like, and he's like, well, let's hire her
• 35:19
  Speaker 1: to be the new features editor and gain some credibility
• 35:22
  Speaker 1: back right, And he does this behind Miranda's back. So
• 35:25
  Speaker 1: Andy's back at Runway, but the two are clashing, even
• 35:30
  Speaker 1: though Andy writes this you know, sort of Meyakulpa apology
• 35:34
  Speaker 1: letter that lots of people like the sentiment of, but
• 35:37
  Speaker 1: no one actually reads. And I thought that was a
• 35:39
  Speaker 1: very funny running joke in the movie, that no one
• 35:42
  Speaker 1: actually read the article, and like that says so much
• 35:45
  Speaker 1: about the state of media.
• 35:47
  Speaker 2: So many, like, so many different things they can give
• 35:51
  Speaker 2: this movie credit for. Among them, it's depiction of journalism
• 35:54
  Speaker 2: and very if you know, you know, kind of funny
• 35:56
  Speaker 2: things about the world, the non existent world of journalism,
• 36:01
  Speaker 2: and how yes, like nobody actually clicks on the stories
• 36:04
  Speaker 2: that go viral. They read the headline, they read the
• 36:06
  Speaker 2: Instagram post and that's it, you know.
• 36:10
  Speaker 1: So so Andy, through this reconnects with Emily, who is
• 36:15
  Speaker 1: now a high up executive at Dior, has something to
• 36:21
  Speaker 1: do with advertising and retail.
• 36:23
  Speaker 2: There.
• 36:25
  Speaker 1: Andy is like struggling at Runway, but she manages to
• 36:28
  Speaker 1: land a big interview with Lucy lou who is a
• 36:31
  Speaker 1: divorced billionairess. Miranda looks like she's finally going to get
• 36:36
  Speaker 1: the big global head of content job she really wants
• 36:40
  Speaker 1: because things have turned around. But then shockingly, the CEO
• 36:45
  Speaker 1: of Elias Clark, which owns Runway, dies and his son
• 36:49
  Speaker 1: takes over wants to totally restructure the company, and he
• 36:53
  Speaker 1: decides to use Emily's connection to Justin Throw's you know
• 37:00
  Speaker 1: of Jeff Bezos stand in character to buy the magazine
• 37:05
  Speaker 1: that's Justin Throw, Yes, in a lot of prosthetics Why
• 37:09
  Speaker 1: But it turns out Emily is doing this for her
• 37:11
  Speaker 1: own gain. Then, in a last ditch effort to save things,
• 37:16
  Speaker 1: Andy and Miranda team up to get Lucy Lu's billionaire
• 37:22
  Speaker 1: divorcee to buy the company and they all get to
• 37:25
  Speaker 1: keep their jobs, and we find out that it was
• 37:28
  Speaker 1: Nigel who sent the viral clip which again would never
• 37:32
  Speaker 1: go viral in any reality, to Irv's son played by
• 37:39
  Speaker 1: bj Novak, and he says, I think something like you
• 37:42
  Speaker 1: thought this job just fell into your lap. And I
• 37:44
  Speaker 1: think that was the sweetest moment of the movie.
• 37:49
  Speaker 2: I thought, for me, the sweetest moment of the movie
• 37:51
  Speaker 2: was when they sold the company to the good billionaire,
• 37:53
  Speaker 2: not the bad billionaire.
• 37:54
  Speaker 1: Well, actually, the actual sweetest moment of the movie was
• 37:57
  Speaker 1: when Miranda fucks Andy. Y.
• 38:00
  Speaker 2: Yeah, it was a really tender moment. Okay, So backing
• 38:04
  Speaker 2: up a few First of all, I one of the
• 38:06
  Speaker 2: actual that was a prediction that I made Another prediction
• 38:08
  Speaker 2: that I made was that Miranda would get canceled, but
• 38:10
  Speaker 2: I predicted that correctly. But I also said that it
• 38:13
  Speaker 2: would happen to you. You thought it was going to
• 38:14
  Speaker 2: be in the midpoint.
• 38:16
  Speaker 1: Drama of the movie, which I thought the same thing too,
• 38:22
  Speaker 1: And I love that it happens right at the beginning.
• 38:25
  Speaker 1: Obviously would happen, and it's kind of the inciting incident,
• 38:29
  Speaker 1: but it doesn't go much further than that, and it
• 38:31
  Speaker 1: doesn't be that into the ground because honestly, it's such
• 38:35
  Speaker 1: a tired concept at this point. I'm so happy that
• 38:40
  Speaker 1: they didn't really run it through kind of the same
• 38:42
  Speaker 1: way that I was really happy that they got all
• 38:46
  Speaker 1: of the real obvious callbacks to the first movie out
• 38:50
  Speaker 1: of the way right up front, Like you have that
• 38:52
  Speaker 1: shot in during the opening credits, when Andy's walking past
• 38:56
  Speaker 1: the met of the person holding up the two belts,
• 38:59
  Speaker 1: and like they they indulge in those things, and like
• 39:03
  Speaker 1: all of the kind of trailer jokes that are references
• 39:07
  Speaker 1: to the original movie, they're all of the ones that
• 39:11
  Speaker 1: were in the trailer. Those are really the only ones
• 39:13
  Speaker 1: that are in the movie. Like no one ever says Cerulean,
• 39:17
  Speaker 1: Like it's they they were very measured with that kind
• 39:20
  Speaker 1: of stuff, which I appreciate.
• 39:22
  Speaker 2: Yeah, they well, they were able to they were able
• 39:25
  Speaker 2: to plant really delicious Easter eggs without like really kind
• 39:29
  Speaker 2: of looking directly at Cameron spending a lot of time
• 39:31
  Speaker 2: in it. Like there's a moment where there is some
• 39:34
  Speaker 2: like a street vendor like holding up two different kinds
• 39:37
  Speaker 2: of belts that look exactly the same, and it's a
• 39:39
  Speaker 2: reference to like the belt, like the belt monologue or whatever.
• 39:43
  Speaker 2: Andy wears a cerulean sweater vest and the last scenes
• 39:48
  Speaker 2: of the movie that is referential to that moment. Also
• 39:51
  Speaker 2: when they're the movie kind of starts with the met
• 39:54
  Speaker 2: gala and as Miranda is ascending the stairs, there is
• 39:58
  Speaker 2: a huge banner on the side the museum that says
• 40:01
  Speaker 2: spring Florals, which I thought, again, I thought that was clever,
• 40:05
  Speaker 2: but it is again those little easter eggs, and then
• 40:09
  Speaker 2: again like.
• 40:09
  Speaker 1: It gets them out of the way right up front.
• 40:12
  Speaker 1: It Like I do feel like so much of the
• 40:14
  Speaker 1: way this movie is structured and is like a bait
• 40:18
  Speaker 1: and switch of what of the movie that you're expecting
• 40:21
  Speaker 1: it to be and the movie that it actually wants
• 40:24
  Speaker 1: to be. And I really appreciated that, Like it really
• 40:28
  Speaker 1: does follow all the same beats as the first movie.
• 40:33
  Speaker 1: You know, she gets the job, she's bad at the job,
• 40:37
  Speaker 1: she gets a makeover, she gets slightly better at the job,
• 40:41
  Speaker 1: she gets good enough that she gets sort of pulled
• 40:43
  Speaker 1: into the more kind of behind the scenes machinations. She
• 40:48
  Speaker 1: tries to solve things on her own. Miranda sort of
• 40:52
  Speaker 1: you know, thwarts her. Like it hits all those same beats,
• 40:55
  Speaker 1: but in updated ways that are all tied around this
• 40:59
  Speaker 1: story worry about like really examining what this kind of
• 41:02
  Speaker 1: legacy media it is in our contemporary time. And I
• 41:08
  Speaker 1: thought that was really surprising in a good way. Like again,
• 41:14
  Speaker 1: I just I was so surprised at help like competently
• 41:18
  Speaker 1: this movie that I thought would be like nothing was made.
• 41:22
  Speaker 2: I totally I it's okay, just a level set with
• 41:26
  Speaker 2: the virgins. I didn't really like this movie, like I
• 41:30
  Speaker 2: would say, I would give it a two on letterbox.
• 41:32
  Speaker 2: I obviously had complete and total delight during many moments
• 41:37
  Speaker 2: of the film, and I enjoyed the fan service and
• 41:40
  Speaker 2: the callbacks, but among other moments, and also everything Emily
• 41:45
  Speaker 2: Blunt did was like amazing. We'll talk about her, but
• 41:48
  Speaker 2: For me, my favorite parts of the film, aside from
• 41:51
  Speaker 2: Emily Blunt, were the criticisms and references to what the
• 41:56
  Speaker 2: world of journalism is today.
• 41:58
  Speaker 1: I thought that was so.
• 41:59
  Speaker 2: I thought they were so and so on the nose,
• 42:03
  Speaker 2: if not at times like scarily two on the nose,
• 42:08
  Speaker 2: on the larger theme of truly like the film is
• 42:12
  Speaker 2: truly about a dying industry. And if any of you
• 42:15
  Speaker 2: read the cover story in Vogue with the real Miranda
• 42:21
  Speaker 2: Priestley and the woman that Miranda Priestley is based on
• 42:26
  Speaker 2: moderated by weirdly.
• 42:29
  Speaker 1: Greta Gerwig, I wonder if that's because meryll Is playing
• 42:35
  Speaker 1: is allegedly playing Aslan in the Narnia movie. The Greta's tracting,
• 42:40
  Speaker 1: Oh my gosh, she would eat that up.
• 42:42
  Speaker 2: But I mean, I I just think that Greta Gerwig
• 42:45
  Speaker 2: is just kind of in the Vogue world as a
• 42:47
  Speaker 2: whole and has always called to do things. But there's
• 42:50
  Speaker 2: a moment where Meryl Streep says something to the effect
• 42:53
  Speaker 2: of like something something, this is about a dying industry,
• 42:56
  Speaker 2: and Anna literally says like, oh, well, you know, like
• 43:01
  Speaker 2: she kind of gets a little defensive on like she
• 43:03
  Speaker 2: kind of tries to course correct that statement and nuance
• 43:06
  Speaker 2: it and like basically she's always asserting that the that
• 43:09
  Speaker 2: media is not dying, and Miranda like backs like she
• 43:12
  Speaker 2: and Miranda Elamel. Meryl Streep like literally backs up like
• 43:15
  Speaker 2: she's like, oh right right, that's not what I meant.
• 43:16
  Speaker 2: I meant this like it's a real It was a
• 43:19
  Speaker 2: really funny interaction. If anybody reads that interview, I actually
• 43:24
  Speaker 2: it's is it like the the most like dishiest interview
• 43:29
  Speaker 2: ever know. But if you are someone who you know,
• 43:33
  Speaker 2: worships at the altar of Anna Wintur and you're interested
• 43:36
  Speaker 2: in in who she is as a person and what
• 43:38
  Speaker 2: she thinks about the industry, I thought that was fascinating.
• 43:41
  Speaker 2: I also didn't know that they're that both Meryl Streep
• 43:43
  Speaker 2: and Anna Winter is seventy five. That's kind of crazy.
• 43:46
  Speaker 2: But uh, in thinking about this movie and what it
• 43:50
  Speaker 2: has to say about quote unquote a dying industry, I
• 43:53
  Speaker 2: thought it was so crazy that they have essentially like
• 43:56
  Speaker 2: a stand in family for the New Houses, which is
• 43:59
  Speaker 2: the company that owns Conde Nast and usurps it in
• 44:03
  Speaker 2: and yes, when like side when like side New House died,
• 44:06
  Speaker 2: like like his son took over and like Anna had
• 44:09
  Speaker 2: to like develop a new relationship with a completely new
• 44:12
  Speaker 2: new house. Like it was referencing all so many things
• 44:16
  Speaker 2: like that, where I was kind of like, wow, that's
• 44:18
  Speaker 2: like scary on the nose. I Also another thing that
• 44:21
  Speaker 2: the film kind of touches on is this idea that
• 44:24
  Speaker 2: as an editor, actually like a lot of your job
• 44:27
  Speaker 2: isn't really editing. A lot of your job is like
• 44:30
  Speaker 2: impressing advertisers and making sure that advertisers are happy. And
• 44:34
  Speaker 2: I thought that that was really fascinating.
• 44:37
  Speaker 1: And also publishing articles directly in the CMS on your phone.
• 44:42
  Speaker 2: Yes, that's how I published all my articles. I also
• 44:48
  Speaker 2: really loved that they're you know, to the point of
• 44:53
  Speaker 2: one of my predictions when when Miranda Priestley was canceled,
• 44:57
  Speaker 2: that there is this ongoing theme throughout the film that
• 45:03
  Speaker 2: Miranda Priestley is out of touch, or that at the
• 45:06
  Speaker 2: very least.
• 45:07
  Speaker 1: She is struggling to.
• 45:10
  Speaker 2: Like she's struggling to adapt to the media world post
• 45:17
  Speaker 2: late nineties early offs when she was allowed to be
• 45:19
  Speaker 2: mean to people.
• 45:21
  Speaker 1: I was one of my favorite running bits was Simone
• 45:24
  Speaker 1: Ashley as her assistant, constantly telling her you can't say
• 45:27
  Speaker 1: that that is so funny. I thought us they could
• 45:31
  Speaker 1: have even it was used just enough. I thought, I
• 45:34
  Speaker 1: think it could have gotten a little too overkill.
• 45:37
  Speaker 2: HM.
• 45:38
  Speaker 1: So I really appreciated there were several times where I
• 45:40
  Speaker 1: thought there was like a surprising amount of restraint in
• 45:43
  Speaker 1: this movie. One of those being the cameos. Like there
• 45:46
  Speaker 1: were some good ones, but they were used pretty sparingly.
• 45:49
  Speaker 1: Like Donna Tulliversaci has a great cameo where she's having
• 45:53
  Speaker 1: lunch with Emily. That was fabulous. Gaga has a cameo
• 45:57
  Speaker 1: she and mar To have some crazy beef. So that
• 46:03
  Speaker 1: was a really funny scene. And obviously, like there are
• 46:06
  Speaker 1: other people kind of sprinkled in the background. Mark, Okay,
• 46:10
  Speaker 1: we had slight technical difficulties, but we're back. Fran, What
• 46:14
  Speaker 1: did you think of the cameos in the movie?
• 46:18
  Speaker 2: I kind of lived for the Karras Swisher jumpscre was
• 46:24
  Speaker 2: that was so cut cuckoo, so loudly in the theater
• 46:30
  Speaker 2: and no one else was laughing because nobody knows who
• 46:35
  Speaker 2: in downtown Brooklyn on a Tuesday, there were plenty of
• 46:40
  Speaker 2: people who knew who Kara Swisher was.
• 46:43
  Speaker 1: Yeah, what are what are?
• 46:44
  Speaker 2: Karras Swisher stands called swishies.
• 46:46
  Speaker 1: Swish Swish witches.
• 46:48
  Speaker 2: Swisher Yes, Swisher jets, Swisher know such a mad joke.
• 46:55
  Speaker 2: Mark Jacobs was a really good cameo. Someone Jacobs cameo,
• 47:02
  Speaker 2: you did, okay?
• 47:03
  Speaker 1: Cool?
• 47:03
  Speaker 2: I love that I did not predict any cameos. I
• 47:07
  Speaker 2: only predicted that Andy would get fucked up the ash
• 47:09
  Speaker 2: and she did correctly. And that and I also predicted
• 47:12
  Speaker 2: that Miranda would get canceled, which was correct, even though
• 47:14
  Speaker 2: it didn't happen to the midpoint as I suggested. And
• 47:16
  Speaker 2: then as far well, we'll talk about the ending, but
• 47:18
  Speaker 2: I did predict something about the ending that kind of
• 47:20
  Speaker 2: came true. But wait, there was a I think I
• 47:25
  Speaker 2: think Ashley Graham was in this had a cameo. Lauren
• 47:30
  Speaker 2: Chan had a cameo. Heidi Klume had a cameo.
• 47:34
  Speaker 1: I think there's a difference between a cameo and someone
• 47:37
  Speaker 1: being in a shot of a film. That's true. They
• 47:43
  Speaker 1: were essentially extras, you know what, who.
• 47:46
  Speaker 2: Also felt like an extra? Caleb Hearing Can I say,
• 47:51
  Speaker 2: why would you hire Caleb Hearn, who is such a
• 47:54
  Speaker 2: fucking star and it's so fucking funny. Why would you
• 47:57
  Speaker 2: bring him into this film and not give him and
• 48:01
  Speaker 2: this is like me being protective of Caleb not give
• 48:03
  Speaker 2: him literally one line of comeding material. He had maybe
• 48:07
  Speaker 2: three or four lines in the film, not one single
• 48:09
  Speaker 2: one of them was funny.
• 48:10
  Speaker 1: He had a couple he had didn't d me funny
• 48:12
  Speaker 1: little jokes. But I do agree. I think if I'm
• 48:17
  Speaker 1: being generous to the filmmakers, I would say, like, if
• 48:21
  Speaker 1: you're bringing in someone who like has their own sort
• 48:24
  Speaker 1: of like persona and like comedy style, you have to
• 48:29
  Speaker 1: find a way to fit them into this like picture
• 48:33
  Speaker 1: like seamlessly and have them kind of scale back the
• 48:36
  Speaker 1: thing that they do when it's just them. But I
• 48:39
  Speaker 1: kind of agree. And one of my criticisms of the movie,
• 48:43
  Speaker 1: which like I did really enjoy but I didn't love.
• 48:47
  Speaker 1: I gave it a three and a half. I gave
• 48:49
  Speaker 1: it three and a half stars on Letterbox. One of
• 48:51
  Speaker 1: my big criticisms is that it even though I left
• 48:55
  Speaker 1: a lot it could have been funnier I wanted. I
• 48:58
  Speaker 1: just it wasn't funny for jokes, And like, even though
• 49:01
  Speaker 1: I did chuckle and outright laugh a couple of times,
• 49:04
  Speaker 1: there was no moment where I really was like cackling
• 49:08
  Speaker 1: with laughter.
• 49:10
  Speaker 2: No, that my my biggest laugh was the cares the chass.
• 49:13
  Speaker 1: My biggest laugh was when Andy and Emily are meeting
• 49:16
  Speaker 1: up at the end and and Andy says, so, how
• 49:19
  Speaker 1: are things a coach? Because Emily from Dior to coach
• 49:25
  Speaker 1: that that was so so good. Also Miranda's line where
• 49:29
  Speaker 1: she's talking about body body positivity, which she calls it
• 49:32
  Speaker 1: body negativity, right, but but it's positive.
• 49:35
  Speaker 2: Why that could have been those bits I thought could
• 49:39
  Speaker 2: have been funnier, but I I I totally agree it's
• 49:41
  Speaker 2: the comedic material was not there as much in this film,
• 49:45
  Speaker 2: aside from Emily Blunt, who to me was the m
• 49:47
  Speaker 2: v P of and know all hits, all hits, no
• 49:52
  Speaker 2: misses if you're not the mill. So we kind of
• 49:55
  Speaker 2: said this in our in our plot summary. But Emily
• 49:58
  Speaker 2: Blunt is dating Jeff Bezos esque billionaire who is priming
• 50:04
  Speaker 2: to buy the conde esque est conde nast esque.
• 50:08
  Speaker 1: Well buying the company. He's just buying Runway Right for
• 50:13
  Speaker 1: Emily so she can become the editor in chief and
• 50:16
  Speaker 1: push Miranda out because Miranda allegedly pushed her out of
• 50:21
  Speaker 1: Runway Right exactly.
• 50:24
  Speaker 2: And and so it is an interesting parallel to what
• 50:31
  Speaker 2: was And this is not like they're they're essentially working
• 50:34
  Speaker 2: off of rumors and and what I'm saying is not truth.
• 50:36
  Speaker 2: This is like unverified hearsay. But last there was allegedly,
• 50:43
  Speaker 2: allegedly allegediciously, there were a lot of there was a
• 50:48
  Speaker 2: lot of talk about the town, that the Bezos were
• 50:50
  Speaker 2: priming Conye Nast to buy it, and that Jeff Bezos
• 50:56
  Speaker 2: was going to give Vogue to his wife Lauren Sanchez
• 50:59
  Speaker 2: as a birthday presenter or as an anniversary presidenter, some
• 51:02
  Speaker 2: wedding president whatever, and hilariously that did not happen. Instead,
• 51:07
  Speaker 2: they bought the Met Gala essentially. I mean they bought
• 51:10
  Speaker 2: the wing, the Kanye Ast wing of the Met Museum,
• 51:13
  Speaker 2: and they were a pointed as the chairs.
• 51:15
  Speaker 1: They basically bought that. That's why I loved fine that
• 51:18
  Speaker 1: Miranda says to Emily when she's like telling her why
• 51:22
  Speaker 1: she pushed her out of frontway, and she's like, you're
• 51:24
  Speaker 1: not a visionary, You're a vendor. Yes, any much goes
• 51:29
  Speaker 1: for those people as well. They are not creative people.
• 51:32
  Speaker 1: They are vendors.
• 51:34
  Speaker 2: And there's a lot there's a lot of like real
• 51:37
  Speaker 2: there's real world parallels that are like stretched in such
• 51:40
  Speaker 2: a way like Lauren Sanchez is actually a journalist, or
• 51:44
  Speaker 2: she has a background in journalism and she's passionate about it.
• 51:46
  Speaker 2: I don't think that there was ever talks that she
• 51:49
  Speaker 2: would become the editor in chief, but there were certainly
• 51:53
  Speaker 2: whispers that she would become like a high up editor
• 51:56
  Speaker 2: or something like that. And famously, in the midst of
• 51:59
  Speaker 2: all this happening, the day after Anna announced that she
• 52:06
  Speaker 2: was stepping down as the editor and she's a Vogue,
• 52:09
  Speaker 2: Lauren Sanchez was on the cover of Vogue, And so
• 52:12
  Speaker 2: there was a very funny real real world comparison in
• 52:17
  Speaker 2: the film where Emily Blunt is you know, she's like
• 52:21
  Speaker 2: supposed to be this kind of like vapid. She's this
• 52:23
  Speaker 2: vapid character and she's talking about how she thinks should
• 52:25
  Speaker 2: be she should be on the first cover, which is
• 52:28
  Speaker 2: crazy to think about. It's a very like ugly Betty Core.
• 52:33
  Speaker 2: But yeah, the real world comparisons were really fascinated to
• 52:36
  Speaker 2: me over and over again, Like some of them were
• 52:39
  Speaker 2: references to the last movie, but also references to real life,
• 52:41
  Speaker 2: like the fact that you know, Anna can't really see
• 52:44
  Speaker 2: without her glasses, or the idea that she like has
• 52:47
  Speaker 2: she always wants hard copies, which is so tea. She
• 52:49
  Speaker 2: literally always wants everything printed out. There are lots of
• 52:53
  Speaker 2: different things about, you know, the real world comparison to
• 52:56
  Speaker 2: journalism that I the the film's real world comparison to
• 52:59
  Speaker 2: journal some that I always enjoyed. But the Anna of
• 53:02
  Speaker 2: it all I thought was also fascinating. And I think
• 53:05
  Speaker 2: I don't know if we how much we can dig
• 53:06
  Speaker 2: into this conversation considering considering my position as yes, a
• 53:12
  Speaker 2: unique perspective is someone who recently left a job working
• 53:15
  Speaker 2: for Anna Winter or as her direct report. But Anna's
• 53:20
  Speaker 2: involvement in this film is like novel and honestly thrilling
• 53:24
  Speaker 2: to watch and uh and a complete and complete stark
• 53:29
  Speaker 2: contrast to how we viewed her when the first movie
• 53:32
  Speaker 2: was coming out. So if for the Virgins, if you're
• 53:34
  Speaker 2: not aware, when the first film came out, Anna showed
• 53:38
  Speaker 2: up to the premiere wearing Prada, which is like such
• 53:40
  Speaker 2: a fucking serve, and she continued to kind of like
• 53:45
  Speaker 2: not necessarily be in the conversation of the film, but
• 53:48
  Speaker 2: to be a good sport about it all something that
• 53:50
  Speaker 2: was to be And so this time around, Devil was protato.
• 53:56
  Speaker 2: Anna is literally stumping for she is literally another piece
• 54:00
  Speaker 2: our rep for this film, which is super super fascinating,
• 54:05
  Speaker 2: especially given the subject matter of the film and the
• 54:07
  Speaker 2: film's like comparisons to the real world and like the
• 54:10
  Speaker 2: allegations of the whatever whatever whatever. But it is like
• 54:14
  Speaker 2: so wild actually too in this press in this press
• 54:18
  Speaker 2: circuit for Double Wars predat too for it.
• 54:20
  Speaker 1: To be revealed that.
• 54:23
  Speaker 2: Anna called the real Emily into her office. The real
• 54:26
  Speaker 2: Emily is sorry that the Emily from the film is
• 54:30
  Speaker 2: based on a an editor. Wait, real Emily Double Wars Prada,
• 54:36
  Speaker 2: I need to look it up. Her name is Leslie Freemar.
• 54:41
  Speaker 2: She calls Leslie Freemart in her office and she goes,
• 54:44
  Speaker 2: do you know like a woman, do you know a
• 54:47
  Speaker 2: woman named like blah blah blah, and like talks about
• 54:49
  Speaker 2: the woman who wrote Double Wars Praduct And Leslie's like,
• 54:52
  Speaker 2: oh yeah, that was like your assistant. She was like, well, uh,
• 54:56
  Speaker 2: she wrote a book about us, and you do not
• 54:58
  Speaker 2: come off looking good like it, which is like, such,
• 55:02
  Speaker 2: it's so delicious to hear that, especially since in this second.
• 55:06
  Speaker 1: Film there is this.
• 55:09
  Speaker 2: Scene, this final scene where Miranda Priestley literally confronts Andy
• 55:14
  Speaker 2: and says Okay, I heard you were writing a book
• 55:16
  Speaker 2: about me for three hundred fifty thousand dollars. And Anna
• 55:18
  Speaker 2: and Hathaways is like is like, and Miranda's like, Honey,
• 55:24
  Speaker 2: when somebody talks about you, they are dying. Someone is
• 55:28
  Speaker 2: dying to tell you that information, like people are running
• 55:32
  Speaker 2: to meet.
• 55:33
  Speaker 1: With you and to tell you incredibly.
• 55:37
  Speaker 2: Incredibly true.
• 55:39
  Speaker 1: And so yeah.
• 55:40
  Speaker 2: But for for Anna Wintour too, actually just you know,
• 55:46
  Speaker 2: bust open the fourth wall, as it were, and to
• 55:51
  Speaker 2: be a part of this film's promotion, it's kind of
• 55:54
  Speaker 2: like mind breaking, like how do you feel about it all?
• 55:57
  Speaker 1: Like I don't know. I guess I'm I'm a lot
• 56:01
  Speaker 1: less interested in that part.
• 56:03
  Speaker 2: Of it, Like, oh, I guess, yeah, okay, it is
• 56:08
  Speaker 2: it adds.
• 56:09
  Speaker 1: Something to the movie for me, but I'm really trying
• 56:11
  Speaker 1: to I think meet this movie on like a very
• 56:18
  Speaker 1: kind of in world basis, and you know, like I
• 56:23
  Speaker 1: really hate like this is all. This is all promo,
• 56:27
  Speaker 1: you know, and I find promo really annoying and cynical
• 56:33
  Speaker 1: and like it's all so it's all about the bottom line.
• 56:36
  Speaker 1: But I do think it's interesting, especially because during that
• 56:40
  Speaker 1: scene where Miranda tells Andy, oh, I know about the
• 56:44
  Speaker 1: book deal, which gets like a really big gasp from
• 56:47
  Speaker 1: the audience both times I saw the movie, because you
• 56:50
  Speaker 1: think it's going to be this thing that's going to
• 56:51
  Speaker 1: cause this huge you know, falling out between them. It's
• 56:54
  Speaker 1: threaded through the movie. And then of course Miranda knew
• 56:58
  Speaker 1: about it, and she's says to Andy, she tells Andy,
• 57:01
  Speaker 1: you know, you should write it. People should know what
• 57:04
  Speaker 1: it takes to do this job. But then I think
• 57:07
  Speaker 1: I really like that. She also says, who knows, maybe
• 57:10
  Speaker 1: if you write it truthfully enough, it'll give me another
• 57:12
  Speaker 1: couple of years at the top. Because ultimately, what these
• 57:16
  Speaker 1: people know is if you're being talked about, no matter
• 57:19
  Speaker 1: what the context is, you are relevant. And I do
• 57:23
  Speaker 1: think we can extrapolate maybe how that fits into the
• 57:27
  Speaker 1: real life inspirations of this film and why they are
• 57:30
  Speaker 1: supportive of it. Because you're going to be part of
• 57:33
  Speaker 1: the story no matter what, you might as well use
• 57:36
  Speaker 1: it to your advantage. Yeah, girl, that is so ty.
• 57:43
  Speaker 1: It's true.
• 57:45
  Speaker 2: And yeah, the even though like there's so many different
• 57:50
  Speaker 2: things about that, I have to say that I there's
• 57:53
  Speaker 2: so many different things about the ending that I have
• 57:54
  Speaker 2: grievances with, which is like, you know, I predicted that
• 57:58
  Speaker 2: Miranda would be like the kind of one to save
• 58:00
  Speaker 2: the day, and in some ways she was like they
• 58:04
  Speaker 2: were executing on her plan ultimately, but she.
• 58:06
  Speaker 1: And and teamed up to do it. They teamed in
• 58:09
  Speaker 1: and you know, they do. They did it through means
• 58:12
  Speaker 1: that they wouldn't have had without Andy coming to the company,
• 58:16
  Speaker 1: you know, and and Miranda tells her like, you know,
• 58:19
  Speaker 1: She's like, I'm going to shows all day. You have
• 58:21
  Speaker 1: to figure this out.
• 58:23
  Speaker 2: Yeah, exactly. Well, my god, there's so I was also
• 58:28
  Speaker 2: sorry this is a a little bit of a tangent.
• 58:32
  Speaker 2: But I'm also thinking about how like when in the
• 58:35
  Speaker 2: very beginning of the film, when Andy walks into Miranda's
• 58:38
  Speaker 2: office and then you know, Miranda calls like fire, like
• 58:44
  Speaker 2: you turned to me, You turned.
• 58:46
  Speaker 1: To me, and what did you say? This feeling a
• 58:49
  Speaker 1: little familiar, a little triggering.
• 58:52
  Speaker 2: Maybe you know what was triggering, and maybe this is
• 58:56
  Speaker 2: where we can end.
• 58:57
  Speaker 1: Oh no, I still have more. I still have more.
• 59:00
  Speaker 2: Okay, great, great, okay, So well then maybe actually before
• 59:04
  Speaker 2: I I was gonna talk about Andy's fucking boyfriend, but
• 59:08
  Speaker 2: I also the movie. But do we want to is
• 59:11
  Speaker 2: there more to say on the ending before we get.
• 59:13
  Speaker 1: Into Yeah, well, I wanted to get your thoughts on
• 59:17
  Speaker 1: whether you think the end of this movie is hopeful
• 59:22
  Speaker 1: or nihilistic, because the day is saved, but it's very
• 59:28
  Speaker 1: much saved for now.
• 59:32
  Speaker 2: Yeah, I mean the film with the film ends on
• 59:35
  Speaker 2: a shot where Nigel, Miranda, and Andy are all in
• 59:39
  Speaker 2: their own schmancy offices like working and enjoying working at
• 59:43
  Speaker 2: Runway and it I think it. It is supposed to
• 59:48
  Speaker 2: be obviously very hopeful ending. It also makes it feel
• 59:50
  Speaker 2: like there's there should be a double Worst Product three. Sorry,
• 59:52
  Speaker 2: like I kind of honestly would watch a double Worst
• 59:55
  Speaker 2: Product three. But there I understand that.
• 59:57
  Speaker 1: Our friends over at Every Outfit Podcast came up with
• 59:59
  Speaker 1: a perfect title for it. They said that the third
• 1:00:03
  Speaker 1: one should be called, uh, the Devil's Product. That's all.
• 1:00:07
  Speaker 2: That's all so good and but in in in the
• 1:00:15
  Speaker 2: real world, sorry, there is nothing more horrifying than the
• 1:00:21
  Speaker 2: idea of working at a media company until.
• 1:00:24
  Speaker 1: They love to work, that's what and they I love
• 1:00:27
  Speaker 1: that there's that moment. It's an inverse. It's an inversion
• 1:00:30
  Speaker 1: of the car scene from the first movie where Miranda says,
• 1:00:34
  Speaker 1: you know, everyone wants this, everyone wants to be us,
• 1:00:37
  Speaker 1: you did it, you did it to Emily. But in
• 1:00:39
  Speaker 1: this one she says they're actually they're bonding, but for
• 1:00:42
  Speaker 1: a positive thing. And Miranda says, I just love to work,
• 1:00:45
  Speaker 1: don't you, And and he's like yes, and I just
• 1:00:49
  Speaker 1: like don't. I don't. I don't. I can't at all.
• 1:00:53
  Speaker 1: But I do think that the movie, the end of
• 1:00:57
  Speaker 1: the movie is both is both hopeful and realistic. Like again,
• 1:01:01
  Speaker 1: because yeah, they save the day, but they save it
• 1:01:03
  Speaker 1: for now. There is very much the awareness that this
• 1:01:06
  Speaker 1: can't go on forever. Yes, And but what I what
• 1:01:11
  Speaker 1: I did like, was I noticed this. So you know,
• 1:01:15
  Speaker 1: the first movie ends very famously with that scene of
• 1:01:18
  Speaker 1: you know, Andy walking across the street and oh my god,
• 1:01:21
  Speaker 1: Anne Hathaway is just so good at walking around New
• 1:01:24
  Speaker 1: York City and looking at stuff. No one doesn't like her,
• 1:01:27
  Speaker 1: No one doesn't like her.
• 1:01:28
  Speaker 2: No one does by your hair blowing in the wind,
• 1:01:31
  Speaker 2: turn turn, walk before across the.
• 1:01:33
  Speaker 1: Series like kind of fake out of that ending. So
• 1:01:36
  Speaker 1: you know, after after Andy and Emily have their little lunch,
• 1:01:40
  Speaker 1: there's a scene where Andy is walking back to Runway
• 1:01:43
  Speaker 1: and it seems like it's gonna kind of do the
• 1:01:46
  Speaker 1: same thing, you know, she's like walking by herself, She's
• 1:01:49
  Speaker 1: like a girl on the go. But then her.
• 1:01:52
  Speaker 2: Face is the map of the world.
• 1:01:54
  Speaker 1: Is the map of the world played while Miranda was
• 1:01:56
  Speaker 1: fucking Andy in the ass, right right, But instead that
• 1:02:02
  Speaker 1: like little moment happens and then we go to Runway
• 1:02:06
  Speaker 1: and then the real ending of the movie is actually
• 1:02:10
  Speaker 1: her with this community that she's built through her job,
• 1:02:15
  Speaker 1: through loving to work, And so I do kind of
• 1:02:18
  Speaker 1: like that that growth of Like at the end of
• 1:02:21
  Speaker 1: the first movie, what she had to do was like
• 1:02:23
  Speaker 1: invest in herself, in her future. She was this woman
• 1:02:26
  Speaker 1: with a career ahead of her, she's walking her own path.
• 1:02:29
  Speaker 1: She's walking alone. Now as a woman in her forties,
• 1:02:32
  Speaker 1: it's more important for her to have a community around her,
• 1:02:36
  Speaker 1: to be, you know, mentoring the next generation of creatives.
• 1:02:40
  Speaker 1: We see her having these relationships with Caleb Heren, with
• 1:02:43
  Speaker 1: her assistant. So, like, I do think there is hope
• 1:02:46
  Speaker 1: in it, but I also think it is it's pretty.
• 1:02:50
  Speaker 1: It still is a little bleak.
• 1:02:53
  Speaker 2: Yeah, well it's funny because.
• 1:02:57
  Speaker 1: There is like this.
• 1:03:02
  Speaker 2: Stark contrast to the ending of the first film and
• 1:03:05
  Speaker 2: the ending of the second film. The end of the
• 1:03:07
  Speaker 2: first film, Andy decides she's not going to sell out, essentially,
• 1:03:12
  Speaker 2: and she wants to be a real journalist. She wants
• 1:03:14
  Speaker 2: to have a work, she wants to make work that
• 1:03:16
  Speaker 2: she is proud of, and she's not doing that at Runway,
• 1:03:18
  Speaker 2: and so she ditches it on this kind of morality
• 1:03:22
  Speaker 2: lesson that's like, oh, you don't have to be a
• 1:03:25
  Speaker 2: part of this like vapid, mean world of fashion. You
• 1:03:28
  Speaker 2: can actually just you can work a different way, you
• 1:03:30
  Speaker 2: can have a differ, you can enter a different workforce.
• 1:03:32
  Speaker 2: You don't have to like be mean to people to
• 1:03:34
  Speaker 2: get to the top, et cetera.
• 1:03:35
  Speaker 1: And then look how well that turned out for her.
• 1:03:37
  Speaker 1: She ended up going back to the same magazine twenty years.
• 1:03:40
  Speaker 2: Later and ain't and ain't that fucking true to life?
• 1:03:44
  Speaker 1: Baby?
• 1:03:44
  Speaker 2: Ain't that fucking true to life? I also had a
• 1:03:47
  Speaker 2: decade of media work before I had to go back to.
• 1:03:49
  Speaker 1: On it and as like, what the fuck? It was
• 1:03:52
  Speaker 1: so weird.
• 1:03:53
  Speaker 2: So to me, the ending of the second film is
• 1:03:56
  Speaker 2: so weird because it's the opposite. It's like, no, actually,
• 1:04:01
  Speaker 2: you can stay right work at this fuck and at
• 1:04:04
  Speaker 2: this fucky little company where where your boss and other
• 1:04:07
  Speaker 2: people in this environment are going to continue to be
• 1:04:09
  Speaker 2: disrespectful to house down boots and treat you like she.
• 1:04:12
  Speaker 1: Should't let your frob but husband played by Kenneth Branna
• 1:04:16
  Speaker 1: wait for you at home while you work, until they
• 1:04:19
  Speaker 1: literally have to drag your rotten corpse out of the building. Yes,
• 1:04:24
  Speaker 1: I love to work, don't you. That was chill. That
• 1:04:26
  Speaker 1: was that line. That was and it was so true
• 1:04:29
  Speaker 1: tool of capitalism, like that was capitalism. It was to
• 1:04:34
  Speaker 1: work its influence on us.
• 1:04:36
  Speaker 2: But but also alarmingly realist, like I'm I shouldn't be
• 1:04:40
  Speaker 2: talking about Anna as much, but Anna lives to work
• 1:04:42
  Speaker 2: like she is that I think that, you know, like
• 1:04:44
  Speaker 2: a lot of people who have any sort of like
• 1:04:47
  Speaker 2: perception of who she is as a public figure.
• 1:04:49
  Speaker 1: Yes, under she.
• 1:04:50
  Speaker 2: Really like nothing. She has a personal life, but no,
• 1:04:54
  Speaker 2: nothing like work is the reason to live.
• 1:04:57
  Speaker 3: But I do.
• 1:04:58
  Speaker 2: And and so for that to be the end and
• 1:05:00
  Speaker 2: the reason for the end of this film to be like, no, actually,
• 1:05:03
  Speaker 2: your reason to live is work.
• 1:05:07
  Speaker 1: I was like, even when you're seventy five year old millionaire.
• 1:05:11
  Speaker 2: If I were writing the fan fiction of this ending,
• 1:05:14
  Speaker 2: it would be that the Jeff Bezos does buy the
• 1:05:17
  Speaker 2: magazine and everybody gets a huge payout and then just
• 1:05:22
  Speaker 2: for the rest of my life.
• 1:05:23
  Speaker 1: Yes, yeah, I Andy.
• 1:05:25
  Speaker 2: Will go and get big beautiful titties, ffs, the house
• 1:05:29
  Speaker 2: sound boots and my hairline redone. And I still have
• 1:05:32
  Speaker 2: enough basis money left over to live my life without working.
• 1:05:37
  Speaker 1: That that's the the ending that they I have to
• 1:05:41
  Speaker 1: We've I've waited long enough. We have to talk about
• 1:05:43
  Speaker 1: the fashion in this fashion movie, because yes, was my
• 1:05:47
  Speaker 1: other pain point in this film. Oh interesting, Okay, specifically
• 1:05:54
  Speaker 1: with Andy ostensibly our main character. She did not wear
• 1:06:00
  Speaker 1: one sickening look in the entire movie. She had a couple.
• 1:06:04
  Speaker 1: She had a couple good looks. She had a couple
• 1:06:08
  Speaker 1: good looks. She did not wear one truly jaw on
• 1:06:14
  Speaker 1: the floor chanel boots ass sickening look through the whole film.
• 1:06:20
  Speaker 1: There were moments when she came close, but they had
• 1:06:24
  Speaker 1: her in that fucking Molly Rogers when I find you,
• 1:06:30
  Speaker 1: she was wearing the ugly patchwork dress to the Hampton's
• 1:06:35
  Speaker 1: I mean Miranda Hutt, theatress. Miranda had a couple of
• 1:06:38
  Speaker 1: good looks. I really loved her Dreas van Notten taskle jacket,
• 1:06:42
  Speaker 1: which got like a really nice moment in this extended sequence.
• 1:06:47
  Speaker 1: But Andy was like in all of these fucking like
• 1:06:50
  Speaker 1: separates and like button down shirts and vests and pirate
• 1:06:55
  Speaker 1: pants and that ugly Chanelle dress she wore in the
• 1:06:59
  Speaker 1: in a scene where she's trying to get them the company.
• 1:07:03
  Speaker 1: I just like this film. There were there were moments
• 1:07:09
  Speaker 1: of glamour and elegance. I really liked a lot of
• 1:07:13
  Speaker 1: simoone Ashley's wardrobe. I liked, you know, Emily is supposed
• 1:07:19
  Speaker 1: to be kind of a caricature of a fashion monster
• 1:07:21
  Speaker 1: and like everything is like to which But I actually
• 1:07:28
  Speaker 1: thought the I remember that being talked about, like Patricia
• 1:07:32
  Speaker 1: Field talking about that from the first movie, that Emily
• 1:07:36
  Speaker 1: is supposed to be like the cutting edge, like to
• 1:07:40
  Speaker 1: like trendy to the point of it being annoying. It's
• 1:07:43
  Speaker 1: tacky logo logo. I liked, you know, Andy's assistant in
• 1:07:49
  Speaker 1: her like real real go tier dress, like whatever. That's cute.
• 1:07:52
  Speaker 1: But no, there was nothing sickening. I did not gag
• 1:07:58
  Speaker 1: over anything once.
• 1:08:02
  Speaker 2: Yeah, I I so, I actually you're kind of changing
• 1:08:07
  Speaker 2: my opinion on this because I walked them out of
• 1:08:09
  Speaker 2: the movie feeling like, oh, actually, like everyone looked kind
• 1:08:11
  Speaker 2: of good. But I think and I think that there
• 1:08:15
  Speaker 2: there was like there was this There was a montage,
• 1:08:17
  Speaker 2: one of many, wherein they are going to a bunch
• 1:08:21
  Speaker 2: of different shows in a row, and each time they
• 1:08:24
  Speaker 2: walk into a show in Milan that Miranda and Andy
• 1:08:28
  Speaker 2: are wearing a different album.
• 1:08:29
  Speaker 1: Are good looks really? But again, like, yes, I think
• 1:08:33
  Speaker 1: we're really close to sight. There was one moment where
• 1:08:35
  Speaker 1: Andy's wearing like a leopard print coat with some like
• 1:08:38
  Speaker 1: green coming out of it, Like that was kind of
• 1:08:42
  Speaker 1: fears she. I love that she has a couple, like
• 1:08:47
  Speaker 1: her blue sequin dress is pretty, but again, like it's
• 1:08:50
  Speaker 1: not sickening.
• 1:08:53
  Speaker 2: I I thought, Miranda, I love the Dreas jacket Like
• 1:08:56
  Speaker 2: that was definitely one of my favorite moments. I also
• 1:08:58
  Speaker 2: really love the Valencia red dress that she had on
• 1:09:01
  Speaker 2: in the first scene. I thought that, Okay, that looked
• 1:09:03
  Speaker 2: really good. I think that Andy's kind of oh, what's
• 1:09:08
  Speaker 2: the word dumpiness translated into the fashion world in actually
• 1:09:13
  Speaker 2: a nice way. It's like, yes, like she is just
• 1:09:16
  Speaker 2: wearing like pantsuits and veal.
• 1:09:18
  Speaker 1: I just like but like it.
• 1:09:19
  Speaker 2: Actually I thought she looked good. I think Anne Hathaway
• 1:09:22
  Speaker 2: always looks.
• 1:09:24
  Speaker 1: Maybe that was my bias, but.
• 1:09:27
  Speaker 2: But you're right, a lot of those offices weren't giving
• 1:09:29
  Speaker 2: capital f fashion, and this actually was the film for
• 1:09:33
  Speaker 2: it to be like no, no, no, ditch everything you
• 1:09:36
  Speaker 2: thought about Andy, Let's get her back into the Balencia.
• 1:09:40
  Speaker 2: Let's get her back and she.
• 1:09:42
  Speaker 1: Thought a little. Nigel gives her clothes and and they
• 1:09:46
  Speaker 1: do take a lot of effort to I think, wrongly
• 1:09:49
  Speaker 1: address the criticisms of the first film and like over
• 1:09:52
  Speaker 1: explain a little like this is alone. You have to
• 1:09:55
  Speaker 1: bring it back, you know, like they're they're trying to
• 1:09:58
  Speaker 1: be a little more realistic than the sort of a
• 1:10:00
  Speaker 1: fantastical thing we got in the first movie. But you
• 1:10:04
  Speaker 1: know what, that's the one place in this film where
• 1:10:07
  Speaker 1: I really want to suspend my disbelief and I want
• 1:10:11
  Speaker 1: to see the best possible things you can pull. This
• 1:10:16
  Speaker 1: is the apex of fashion fantasy. And I wasn't getting that.
• 1:10:23
  Speaker 2: This is actually representative of something that happens in the
• 1:10:28
  Speaker 2: film industry, the Hollywood in general. If you have a
• 1:10:33
  Speaker 2: project and Patricia Field is on that project, she has
• 1:10:37
  Speaker 2: to stay on the project for life or you're done. Yes,
• 1:10:41
  Speaker 2: like that, As we learned to exist, as we learned
• 1:10:45
  Speaker 2: with that, Just like that, as we learned in so
• 1:10:47
  Speaker 2: many different iterations of things that did not no longer
• 1:10:50
  Speaker 2: had Pat Field. For Pat Field to not be a
• 1:10:52
  Speaker 2: part of this film, girl, everybody saw it, and I honestly,
• 1:10:59
  Speaker 2: you've really woken up because I was actually pretty blind.
• 1:11:01
  Speaker 1: That was I thought was like, oh, people look good,
• 1:11:03
  Speaker 1: but no. The thing that the Jena.
• 1:11:05
  Speaker 2: Skua that pat brings to a film as a costume
• 1:11:09
  Speaker 2: designer is a complete and total is complete and just
• 1:11:13
  Speaker 2: the way she.
• 1:11:14
  Speaker 1: Has lies and yes it was a silence. Everything in
• 1:11:18
  Speaker 1: this film feels like it's a complete head to toe
• 1:11:21
  Speaker 1: runway look, like the way that celebrities often if you
• 1:11:25
  Speaker 1: want to pull something from a house, you have to
• 1:11:26
  Speaker 1: wear the whole look, head to toe, and it seems
• 1:11:30
  Speaker 1: like that's what happened here, and like there was a
• 1:11:32
  Speaker 1: little bit of that in the first movie because Chanelle
• 1:11:35
  Speaker 1: was one of Chanelle like gave them so many clothes
• 1:11:37
  Speaker 1: that Andy was in a lot of head to toe
• 1:11:39
  Speaker 1: looks from that season's collection, but everything had a little
• 1:11:44
  Speaker 1: Patricia Field spin on it, and like the closest we
• 1:11:48
  Speaker 1: get to that, here are some of Miranda's looks, like
• 1:11:51
  Speaker 1: some of her coats. There's also that amazing moment where
• 1:11:54
  Speaker 1: you see that Miranda has to hang up her own coats.
• 1:11:56
  Speaker 1: Now that that got a big chuckle out of me.
• 1:12:00
  Speaker 2: So funny. Oh, I'm looking at them, Miranda leopard coat moment.
• 1:12:04
  Speaker 2: I really do think the montage were in there wearing
• 1:12:06
  Speaker 2: tons of outfits and different outlets and wrote that to me.
• 1:12:08
  Speaker 1: Also, is when the fashion do you repeat the beat
• 1:12:11
  Speaker 1: of You know, we don't have like a Vogue montage
• 1:12:16
  Speaker 1: the way that we have in the first film, but
• 1:12:19
  Speaker 1: there is a montage early in the movie where Andy
• 1:12:22
  Speaker 1: is like trying to be good at her job and
• 1:12:24
  Speaker 1: we do see her in a bunch of different outfits
• 1:12:27
  Speaker 1: that you know, were to assume Nigel has given her
• 1:12:30
  Speaker 1: and like, again, some of them are very cute, and like,
• 1:12:34
  Speaker 1: if if they were in another movie or TV show,
• 1:12:38
  Speaker 1: I would maybe be gagged by them, because, like, the
• 1:12:40
  Speaker 1: level of fashion everywhere else would be so much further
• 1:12:43
  Speaker 1: below that. But here, I'm just expecting more and I
• 1:12:46
  Speaker 1: didn't get it.
• 1:12:48
  Speaker 2: Yeah, I'm sorry, it just wasn't. It wasn't the vibe.
• 1:12:52
  Speaker 2: It's okay, you know what else was in the vibe?
• 1:12:57
  Speaker 2: Andy's fucking boyfriend.
• 1:12:59
  Speaker 1: Well, I I told you when the movie started that
• 1:13:02
  Speaker 1: I knew from having seen it once before. When to
• 1:13:05
  Speaker 1: pee and the second that I knew he was about
• 1:13:08
  Speaker 1: to be on screen, I was on my way to
• 1:13:11
  Speaker 1: the bathroom. Was I was vaping in the bathroom? Hell yeah.
• 1:13:17
  Speaker 2: Every this man has four scenes in the movie, and
• 1:13:21
  Speaker 2: there was no reason for him them could have been.
• 1:13:24
  Speaker 1: That whole plotline could have been excised completely without impacting
• 1:13:28
  Speaker 1: the rest of the movie in any meaningful way. And
• 1:13:31
  Speaker 1: that is how you know as a writer that something
• 1:13:34
  Speaker 1: needs to be cut.
• 1:13:36
  Speaker 2: It was so so on the writing level, so embarrassing.
• 1:13:43
  Speaker 2: Sorry for that, for Andy to have this complete, like
• 1:13:47
  Speaker 2: non non issue, non impact, non like literally not involved
• 1:13:52
  Speaker 2: in whatsoever.
• 1:13:53
  Speaker 1: It was literally just like so she would have someone
• 1:13:55
  Speaker 1: to bring to that party, so she would have drama
• 1:13:59
  Speaker 1: in her life that was romantic and not just centered
• 1:14:02
  Speaker 1: around her career. When we don't that's not what we're
• 1:14:05
  Speaker 1: here for, No, did we not?
• 1:14:07
  Speaker 2: Did we learn nothing from the first level Wars product
• 1:14:10
  Speaker 2: where everyone came away from the film being like, the
• 1:14:13
  Speaker 2: real villain is the boyfriend blah blah blah blah, which
• 1:14:17
  Speaker 2: is stoke, which is fucking stupid.
• 1:14:18
  Speaker 1: Also it's weird. But in a movie that opens with
• 1:14:21
  Speaker 1: Miranda fucking Antie in the ass, well, Katie, as I
• 1:14:25
  Speaker 1: see plays in the background. And what should have happened
• 1:14:29
  Speaker 1: is that Miranda and Kenneth Brana should have invited Andy
• 1:14:33
  Speaker 1: to be their third because she had kind of a
• 1:14:36
  Speaker 1: vibe with both of them.
• 1:14:38
  Speaker 2: Yes.
• 1:14:38
  Speaker 1: I also because Andy and Emily are eventually gonna get
• 1:14:42
  Speaker 1: married and buy a house and Cherry Grove.
• 1:14:45
  Speaker 2: Yes, ten thousand percent. I mean when Andy walked in
• 1:14:48
  Speaker 2: the in the second film, when Andy walked into the
• 1:14:51
  Speaker 2: house and Kenneth Branna was like, go ahead, go upstairs,
• 1:14:55
  Speaker 2: so grave like it was giving swings.
• 1:14:58
  Speaker 1: And Miranda okay, And Andy walks up the stairs and
• 1:15:01
  Speaker 1: Miranda's just standing there with her strap on, and so
• 1:15:04
  Speaker 1: Andy just stops on the step that leads her at
• 1:15:07
  Speaker 1: the perfect heights to suck Miranda's silicone cop.
• 1:15:15
  Speaker 2: I. In the first movie, Andy's boyfriend is such a nuisance,
• 1:15:23
  Speaker 2: but at the very least in that film, the way
• 1:15:27
  Speaker 2: his like frustrations with her and her addiction to work
• 1:15:31
  Speaker 2: were actually created a stakes, stakes that were interesting to me.
• 1:15:35
  Speaker 2: And consequently he's also they were actually to be the
• 1:15:39
  Speaker 2: kind of angel on her shoulder.
• 1:15:41
  Speaker 1: And also he was hot.
• 1:15:43
  Speaker 2: Yes, this Australian realtor who his whole job is literally
• 1:15:50
  Speaker 2: tearing down historic buildings and building nasty, soulless like luxury
• 1:15:55
  Speaker 2: like apartment complexes. I could not imagine a worst, least imaginative,
• 1:16:03
  Speaker 2: like most anti Andy person for her to end up with.
• 1:16:07
  Speaker 2: And I don't even think that she should have had
• 1:16:09
  Speaker 2: a boyfriend in this film at all. It for her
• 1:16:11
  Speaker 2: to have a boyfriend actually is antithetical to the ethos
• 1:16:15
  Speaker 2: of the film, which is sorry about feminism. Sorry, I'll
• 1:16:19
  Speaker 2: say it.
• 1:16:20
  Speaker 1: I'll say it.
• 1:16:21
  Speaker 2: The film is supposed to be like I don't need
• 1:16:23
  Speaker 2: a man. I'm Miranda. The man is nothing like my
• 1:16:25
  Speaker 2: man means nothing to me. We're gonna get a divorce.
• 1:16:27
  Speaker 2: I'm gonna be married to my work. Same thing with Andy.
• 1:16:29
  Speaker 2: It's like this boyfriend is not supportive of me and
• 1:16:32
  Speaker 2: so like, you know, I'm just gonna go off and
• 1:16:33
  Speaker 2: do my own thing. It's like it just it didn't.
• 1:16:36
  Speaker 1: It was so it was such a doo doo kaka
• 1:16:39
  Speaker 1: of a b plot. So having to heat and there's
• 1:16:43
  Speaker 1: so many of a face an Australian accent is always bad. Yeah, nasty.
• 1:16:49
  Speaker 2: I still can't believe that he was like a fucking
• 1:16:52
  Speaker 2: luxury apartment hung.
• 1:16:54
  Speaker 1: And he even like they try to make it seem
• 1:16:56
  Speaker 1: like she's mean for dissing what he does. Girl are yeah, like,
• 1:17:01
  Speaker 1: are you kidding me? Like go back to Grammar Sea
• 1:17:05
  Speaker 1: you belong.
• 1:17:06
  Speaker 2: Yeah.
• 1:17:07
  Speaker 1: I like that that.
• 1:17:08
  Speaker 2: I think the film is at times confused about Andy's principles.
• 1:17:15
  Speaker 2: I think if we're thinking about the last film to
• 1:17:17
  Speaker 2: this film, and the fact that the film, the second film,
• 1:17:20
  Speaker 2: starts with her being this prestige journalist, guardian person who
• 1:17:26
  Speaker 2: is so proud to be underpaid to be making this work,
• 1:17:29
  Speaker 2: and then she decides to sell out for a job
• 1:17:32
  Speaker 2: that will pay her twice as much and she's like,
• 1:17:34
  Speaker 2: I can make meaningful work here, but in actuality, the
• 1:17:37
  Speaker 2: work was just sold to a billionaire. You are.
• 1:17:42
  Speaker 1: Wifed up with a real estate.
• 1:17:45
  Speaker 2: Mogul who is real estate mogul slum lord probably, and
• 1:17:51
  Speaker 2: you and Miranda are like work work work, work is life,
• 1:17:55
  Speaker 2: Life is work.
• 1:17:56
  Speaker 1: End of movie.
• 1:17:57
  Speaker 2: Like, I don't think the film actually unders stood who
• 1:18:00
  Speaker 2: Andy is. Sorry, And I'm like, I'm taking this so seriously.
• 1:18:04
  Speaker 2: Obviously it hits close to home because like I have
• 1:18:06
  Speaker 2: like been in so many different circumstances that have actually
• 1:18:09
  Speaker 2: happened in The Devil was Prada and that have actually
• 1:18:11
  Speaker 2: happened in The Devil was Proda too, and that has
• 1:18:13
  Speaker 2: actually happened in Ugly Betty, which came out three months
• 1:18:17
  Speaker 2: before the three months before The Devil Wars Proda too,
• 1:18:20
  Speaker 2: and a lot of it does actually like the same
• 1:18:22
  Speaker 2: events kind of transpire.
• 1:18:23
  Speaker 1: Like I, it means a.
• 1:18:25
  Speaker 2: Lot to me, and Andy is a figure that feels
• 1:18:29
  Speaker 2: a lot like someone that I and someone that I uh.
• 1:18:34
  Speaker 2: Andy's a character that I cherish, even though I like
• 1:18:37
  Speaker 2: it's so basic to like The Devil Wars Prada, I'm
• 1:18:40
  Speaker 2: not one of those fucking faggots, But like Andy as
• 1:18:43
  Speaker 2: a character does mean a lot to me, and I
• 1:18:45
  Speaker 2: think this second film really did her dirty and did
• 1:18:49
  Speaker 2: not understand who she is at all. That's what I'm there,
• 1:18:52
  Speaker 2: gonna two stars on Letterbox period and one stars for
• 1:18:57
  Speaker 2: Emily Blunt and the other stars for when he gets
• 1:19:00
  Speaker 2: fucked up the ass.
• 1:19:01
  Speaker 1: See that's what my half star and my three star
• 1:19:04
  Speaker 1: three and a half star ranking rights right right. Well,
• 1:19:08
  Speaker 1: I mean we've been yapping about this now for an
• 1:19:11
  Speaker 1: hour and a half. I think I'm sure you know
• 1:19:16
  Speaker 1: this will fold into the fabric of our lives. Although
• 1:19:21
  Speaker 1: even though I've now seen the movie twice, I don't
• 1:19:23
  Speaker 1: know that it has the rewatchability where I'm gonna like, now,
• 1:19:27
  Speaker 1: you know, watch it as soon as it's on Hrio
• 1:19:30
  Speaker 1: Max or whatever. But for this kind of legacy cash grab,
• 1:19:36
  Speaker 1: you know, like badly intentioned, bad for the world kind
• 1:19:40
  Speaker 1: of sequel, this was a pretty good version of it,
• 1:19:44
  Speaker 1: and I it was certainly better than Wicked two. Absolutely
• 1:19:49
  Speaker 1: good news, good news, and that we can give it
• 1:19:52
  Speaker 1: credit for it. We hope you've enjoyed this, and we
• 1:19:56
  Speaker 1: hope that you will join us over on Patreon where
• 1:19:59
  Speaker 1: we we are putting out weekly episodes. We are really
• 1:20:04
  Speaker 1: breathing new life back into the podcast once again, so
• 1:20:08
  Speaker 1: you will be seeing and hearing a lot more from
• 1:20:11
  Speaker 1: us in the weeks to come. But definitely join us
• 1:20:14
  Speaker 1: over on Patreon so you can get regular episodes. And
• 1:20:17
  Speaker 1: here what we have to say about all of this,
• 1:20:21
  Speaker 1: all this shit going on, And if you want us
• 1:20:25
  Speaker 1: to write a version of the Devil Wars product two
• 1:20:27
  Speaker 1: where Andy gets fucked in the ass by Miranda wearing
• 1:20:30
  Speaker 1: a strap on or possibly just Miranda with a cock,
• 1:20:34
  Speaker 1: you know, she could be she could be stealth Tranny
• 1:20:39
  Speaker 1: her sh cock. Let us know. And that's all. That's all.