April 29, 2024 • 40 mins
Because we love-love you all… here’s an extra serving of Las Cultch for you! ‘Cause what were we supposed to do, exactly? Not talk about Challengers? Zendaya’s latest with director Luca Guadagnino is a total bop and Matt & Bowen get all up into it. Also, publicists? This is your moment. On Friday, May 3rd, the categories for the Las Culturistas Culture Awards are announced. Use May to campaign! The nominees will be announced at the end of the month. So make your voice heard and let your freak flaggot fly! See you Wednesday….. when it will become clear that… training season’s over. OOP!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Look Mayer, Oh, I see you my own look over
there is that culture. Yes, goodness wow, Lost Culture ding dong,
Lost Culture races calling excuse my chewing friend.
Speaker 2 (00:14):
I'm just over here, you know, masticating on my trail mix.
And we're very happy to have you guys masticate us
in this bonus episode, just a.
Speaker 3 (00:24):
Little early, I guess, a little bonus episode. There was
pressing matters that we needed to get into the studio
to address. One being We just recorded the categories for
the Lost Culture Raceless Culture Awards this year and those
will be revealed on May third, May third, this Friday, Friday,
May third, and publish the season, I guess has truly begun.
Speaker 2 (00:45):
May is published season. The weather's nice. You want to
go out there, hit the street, knock on doors, knock
on doors, you know, wave your flags, babe, get your
freak flag out. Flag it because it's published this season.
It's actually a real culture number nine. Get your free
flag out, flag it. It's published the season.
Speaker 3 (01:07):
We are You're never gonna believe it, but giggling and
tittling away, we think we've really done something this year
with some of these categories. I mean, I'm thinking of
one right now, and just thinking of the possibilities in
flux of campaigning that's going to happen for so many
But we can't say too much.
Speaker 2 (01:25):
I mean, it's almost too exciting, I would agree. I
think it's really really thrilling. That Lost culture is I
don't know, like we're out there.
Speaker 3 (01:36):
We're out there. Lost culture is officially out there. Okay,
so listen, the true truth, the true true, as was
said in the movie Cloud out Lists. Did you ever
see the movie Cloud out Lists?
Speaker 1 (01:45):
Never?
Speaker 3 (01:45):
Did I think you would actually like it in a
way where like you'd be sort of like throwing your
hands up and knee slapping. Did you guys know that
Bowen Yang is a knee slapper. He's a table hitter
in a n ee slapper, And I really I don't
like knee slapping. There is something really annoying and I
really dislike this about myself that I'm a table slapper,
because if you're at a table with other people, it
(02:06):
does first of all, it makes so much noise to
a distracting extent.
Speaker 2 (02:11):
Second of all, like it's so it's it feels like
such a performance. But I really do slap the table
because I.
Speaker 1 (02:18):
Do you're enjoying.
Speaker 2 (02:18):
I can see it is like, oh, like, how do
I get this out of my system?
Speaker 3 (02:23):
Your body experience is so much joy it has to
come out. And I think what people also don't know
about you is Bowen Yang's roger.
Speaker 1 (02:29):
His stones are on his palms.
Speaker 3 (02:31):
No, if you ever want to get him on, just
like Hi, I'm Susan and shake his hand. I'm not
not that open, not that like oh that, Oh god,
you ever kept yourself going like that?
Speaker 2 (02:43):
You're ast Oh I never want to see my O face.
I no one ever, I hope no one ever takes
a picture or films me.
Speaker 1 (02:52):
You know what, I just.
Speaker 3 (02:53):
Realized the O face I always thought meant orgasm face,
but literally they mean the fact that you're mouth makes
the I think it's still Do you think it's multipurpose?
Do you think it's a thing of like O faces, like, oh,
like my face is making the face by the way
we're doing each other in the eyes, and.
Speaker 1 (03:13):
Oh, it's too intimate for us. I think it's I
think or orgasm face.
Speaker 2 (03:19):
I think it's very apropos of the subject matter that
we're gonna be talking about. One think they are a
little have the walls of intimacy knockdown.
Speaker 3 (03:29):
It's crazy, you guys. This was the other pressing matter.
So I feel that, you know, we've been so good
about the culture and the catching up, like it's always
been the two of us for the past like several months,
I feel like, but sometimes it can feel like the
culture is a little dry and for the next few
weeks we're gonna have guests, so it's not gonna be
culture catch up. But we saw the movie Challengers, and
(03:51):
I was like, no, we have to convene to the
studio with us. We have to convene. This was maybe
my favorite movie, my favorite movie ever I've seen. It's
I went on Thursday and Friday I went again immediately.
We saw it together on Friday. Can you describe what
happened at the end, Like with the audience.
Speaker 2 (04:08):
Just sheers, screams please you have to go see this
in the theater?
Speaker 1 (04:13):
Yeah, you really do.
Speaker 2 (04:14):
And you know what, like it was a chatty crowd,
especially behind us, there was some chatter going on and
like all we did this, this person I think literally
dined out on us, like turning around and respectfully telling
them just once an hour and a half in in
the movie to just Hey. All I said was you
can stop. That's what I said. I said, three words,
(04:37):
you did. You were very good about it.
Speaker 3 (04:38):
And then I think that she was a little lit
up from having been that person.
Speaker 2 (04:43):
But honestly, I think that's what is that, that's what
she was going for. That's what I don't want to get.
I don't want to give too much airtime to this person.
Speaker 3 (04:51):
No.
Speaker 2 (04:52):
She literally went out to animal after the movie, and
our friend Colin texted, I said, this girl I'm talking
to is bragging to everybody how you guys yelled at her.
And I'm I'm like, yeah, because her personality fucking sucks confirmed,
I mean whatever.
Speaker 3 (05:04):
She was one of the many small characters that popped
during the experience of watching challenges, even the ones I
cared about were on screen.
Speaker 2 (05:11):
Even she could not get in the way of my
experience of loving this movie.
Speaker 3 (05:15):
No, And I think that, like it's been a while
where the entire audience exploded in shearers at the end
of a movie. Off by the way, a polarizing ending
and an ending that makes a huge choice, is all
I'm saying.
Speaker 2 (05:30):
I was reading some of like the headlines going into
the movie, like the ending, the ending, the ending, Like
all these explainers something like, is this gonna be a confusing,
confounding ending? And I really I think it's pretty legible. No,
it's not confusing at all. I think it's just I'm
gonna actually call it Thelma and Louisa ish in the
not that extreme. But there's something that happens that you
just don't see coming and is sort of out of
(05:50):
left field.
Speaker 1 (05:50):
Yeah, and it rock. I loved it for me.
Speaker 3 (05:53):
It pays off so much. I saw the cinema score
as B plus, which now that feels so low. But
the way that you can kind of gaze is from yes,
from the ending end, because it's the last thing I
seen before they're asked, what did you think of the grade?
Speaker 1 (06:05):
Would you give it to me?
Speaker 3 (06:07):
If you love the ending, it's gonna be canon for you,
And if you hate it, I feel like I can
understand you being like, no, I wanted it to be
different just for me, and I'm seeing for you too,
perfect ending. What a script like this is a tight, bold,
always interesting, always fun, sexy, sort.
Speaker 2 (06:29):
Of giving timeless script. In many ways, it's very timeless.
I mean that screenplay, like we talked about it afterwards.
I love a post movie if you're with your friends,
a post film sort of salon at a bar, a restaurant.
I had that with Josh after we saw Parasite for
the first time. We were like, we need to go
somewhere and talk about this. Yeah, And like I loved
that part of the experience, right. I love that we
all went out like afterwards and we're like, we need
(06:50):
to discuss this.
Speaker 1 (06:51):
Yeah.
Speaker 2 (06:52):
But like I was telling everybody, I was like I
in the theater was like, I need to read the screenplay.
Speaker 1 (06:57):
Yes, that was the first thing you said.
Speaker 2 (06:58):
What it ends is specifically the moment when you know
it kind of like turns into the ending. Basically, it's
kind of like someone call it an act break. Structurally
depending on who you ask. The way this whole thing
is executed is so I mean, that's just Luca and
Justin Kurtzky is doing it like so perfectly together, like
a director really respecting and exalting the script.
Speaker 3 (07:20):
And taking the time to really know the script as
a director, and like it just felt so lived in.
I mean, I think Luca Guada, you know, is the best.
I mean for me, it's just like, what's so incredible
about him is he's just so good with character because
on the page, like I can see these being tough
(07:41):
characters to play. Zendeia, Josh O'Connor and Mike Feist, the
three of them are perfect.
Speaker 1 (07:47):
Yes, Zindeia is just smun What even is it?
Speaker 3 (07:50):
It's just like it is an intangible movie star quality
where I was watching it and I was just so
happy the whole time. I was like, Wow, here's someone
who I see everything she does to me. She's like
going forward the way that I feel about like or
I'm sure people felt in the beginning about like Sandra
Bullock like or like a Julia Yes, but different because
(08:11):
she's not giving the rom com thing. She's giving a
different vibe. She's just so good. There are so many
moments in this movie and I don't want to ruin
anything where you realize just how well she knows this
person and it's tough.
Speaker 1 (08:25):
It's just it all pays off. It's hot as shit.
Speaker 3 (08:27):
Everyone in the movie is gorgeous, but in a real
looking way, not in like this like intangible movie star way,
which is not a nock to them, but everyone feels specific, real,
lived in like you can laugh the whole time. You
can also watch it as a drama. It's just it's
there's so much going on. Yeah, I mean she kind
(08:48):
of was the draw for me. Well, they said this,
so they pulled the audience after everyone left, and I said,
what was the number one reason I was reading this?
It was a Deadline article about it, and fifty five
percent said the reason that they saw the movie. The
primary reason why I saw the movie was Zindya. And
we left and I was like, people are going to
talk about this movie. I think this is going to
be a sleeper summer big one if they decide to
(09:10):
keep it in theaters, and I know there's already a
plan for it to go to Amazon Prime. I get
the appeal of that. You're like, oh, that's a movie
I can watch on Amazon Prime. Do yourself a favor
and go to this theater, like have this like particular
like cathartic experience that happens with the movie theater.
Speaker 1 (09:27):
Like it's also that it almost felt like.
Speaker 3 (09:29):
Watching a horror movie with an audience, and that everyone
was reacting to every yeah yeah.
Speaker 1 (09:34):
Yea, yeah yeah yeah.
Speaker 2 (09:35):
She just she's such a home run and it's so
interesting to hear her talk about impressed. Like, first of all,
she's been doing a lot all of it, but in
these I think she's being very real and vulnerable in
these moments where she's like, no, I'm very nervous about
this because this is my first time leading a movie technically, and.
Speaker 1 (09:52):
Like porton roll for her, wow, And I hadn't thought
of that.
Speaker 2 (09:55):
I was like, oh, I guess between like Spider Man
and Euphoria, you're like, she has not been number one on.
Speaker 1 (10:02):
The call sheet.
Speaker 3 (10:03):
I mean, this is a real movie for a film,
for a film, Yeah, for Euphoria, that's more of an
ensemble even Yeah, Euphoria is very ensemble. She's obviously the
star of it, so she has had that. But this
is a huge part for her because she has to
not only be number one on the call sheet and
sell this movie, but also it's a tough character, tough
character walk. So much of it is internal. That character
(10:25):
does not have that much dialogue if you think about it,
especially that moment in the end where I want to
like see how it's written on the page, Like all
three of them have something internal, like I switched flips
in them. Internally, It's like a tennis match between three
and three people. It's yeah, and it's actually written that way.
So I actually did start reading the script. I found
it Patrick sent it to me house and he sent
(10:48):
it to me, and it's written actually pretty differently than
he looks on the screen. Like it's just interesting, Like
I wonder Luca is obviously just very clear about what
he wants and like how he sees something, because you
could read the script and it could kind of read
and I don't mean this in a bad way, but
it could kind of read like a total drama or
(11:08):
what not even that like more of like a comedy,
like more of like a frilly comedy, like for example,
like when Zendiya in the very beginning. Okay, so this
is not a spoiler, but I'm just gonna describe her
attitude in the very beginning.
Speaker 1 (11:20):
So Zendia plays like this woman who's.
Speaker 3 (11:22):
Like pretty tough, she's pretty brash, Like she delivers information
like pretty straight up, you know what I mean. And
I think on the page that could come off a
little bit like more one dimensional in like a comedy way.
Speaker 1 (11:37):
Does that make sense?
Speaker 3 (11:37):
Where it could be like she just she serves this
purpose in the script to like be hard and cold
and the coach and like, yeah, the information she delivers
could be read as like just solely comedic, but Zendia
and Luca are giving her so much texture. And in
the very beginning of the movie she doesn't even have
a lot of speaking in the beginning, but you know
exactly who she is. And that's a testament to Luca
(11:59):
and Zendiya. And I'm telling you, like every character in
some way is like that. It just could have been
not as real. Yeah, And that's like one of my
biggest compliments is that everyone in this movie is super real.
And I'm not even just talking about the three leads.
I mean all the small characters are memorable and pop
(12:19):
because of the detail.
Speaker 2 (12:20):
M hm, you know what I'm saying. It's kind of
cool what I was thinking about. The writer justin Kurtzky's
like Selene Song's husband. Yeah, and it's just like he
is kind of that guy in Past Lives essentially, like
he has been like there's been a stand in for
him in one of her movies. That would make you
kind of like that character is so fascinating in Past
(12:41):
Lives to me, like the guy she ends up with,
like the American guy that she ends up that she
meets like on like a fellowship sort of like, and
they do the same thing in the movie.
Speaker 1 (12:50):
They do the same thing in the movie. That's how
I think they met through that.
Speaker 3 (12:53):
I think, well, even if it's not directly that they
met at like something like that, they do have the
same profession right right when. And I was wondering if
that was I'm not sure, I don't recall, but anyway,
I just love that he like has this film is
like something that exists, like sort of oh my god,
that kind of like it speaks to past lives in
a way to me, Like I'm like, oh, like, the
(13:16):
guy is this amazingly talented writer in his own right.
Speaker 1 (13:18):
I just found that interesting.
Speaker 3 (13:20):
You know, that is kind of interesting how the movie
speak to each other. Yeah, past lives and challengers you
have something in women, two guys, one girl or whatever not.
You know, I was kind of thinking of it as
May December coded. No, it's past live coded. Definitely past
lives coded. But when I was leaving, I was like,
so that felt like May December to me. And in
that it's about three characters in this sort of triangular
(13:42):
relationship and all of them are very morally gray, Yes,
and I think that there's also like a tug of
war that's happening here.
Speaker 1 (13:50):
Just really interesting. And I want more movies like that.
Speaker 2 (13:53):
I know, so bad, like those three movies that we
just talked about, like real drama, real stakes in relationship,
an interesting character. This is why I'm like, please go
see this movie in the theater. Please let them know
that this is something we want more of, because this
is actually good stuff. Yeah, really good, really compelling. Makes
(14:14):
you think. I bet people have different reads on all
these characters at a given time, of course, because that
screenplay is giving the audience just enough of a question
mark to like fill in their own lengths and stuff. Yeah,
Trent Reznor Aleicus Ross that come on one of the
I think that's their best score.
Speaker 1 (14:33):
I made a.
Speaker 3 (14:34):
Summer playlist called Beautiful Blonde, care Free Summa, and I
immediately added yeah times ten yeah, which is the song
that plays when Zendeia is introduced as a young tennis pro.
Speaker 1 (14:48):
Yeah, yeah, yeah, yeah, whatever it is.
Speaker 3 (14:50):
Yeah, I was like, that needs to be on my
big beautiful summer, big blonde beautiful. It's not big blone
beautiful summer. I'm not big blonde and beautiful like the
Harris Price soundtrack.
Speaker 2 (15:00):
Yes, I am big one and beautiful anyway, Yeah, I
put it on my summer playlist.
Speaker 1 (15:04):
I was like, that is a this whole thing is
a vibe. Yeah.
Speaker 2 (15:07):
We were just listening to it. Actually, I know I
was playing, let this be part of the lore for
Lost Culture.
Speaker 1 (15:11):
Yeah.
Speaker 2 (15:11):
When we were putting together the categories, I was playing
the entirety of the Challengers.
Speaker 1 (15:15):
Yes, and our brains were working.
Speaker 2 (15:17):
Yeah, and look I felt very, very activated.
Speaker 1 (15:31):
Now.
Speaker 2 (15:32):
I think it's in describing these three films. I think
there is something going on in the culture now where
the triangle is.
Speaker 1 (15:39):
The triangles back to. It's the year of the threesome,
of the threesome. It's the year.
Speaker 3 (15:44):
Of the weird relationship between three people.
Speaker 1 (15:49):
MM know it.
Speaker 3 (15:51):
No, if anyone out there has instincts, follow them destroy
your relationship by bringing in a chaotic third.
Speaker 1 (15:58):
Look, we do it now.
Speaker 2 (15:59):
You and I have a little chaotic third in our mits,
little Studie.
Speaker 1 (16:02):
Green running around.
Speaker 3 (16:03):
Absolute but no, honestly, Like, one thing I really liked
about it was it was really casual about how these
two straight quote unquote straight.
Speaker 1 (16:16):
Guys made out. Were like, oh yeah, well they fully
like I don't know.
Speaker 3 (16:20):
I don't think it's a spoiler to say it goes
somewhere between them, because it's just really fun the way
that they did it, where there was no weird homophobia.
Speaker 1 (16:31):
That wasn't even in the movie.
Speaker 3 (16:33):
It wasn't even in the air it was I never
thought for one second like, oh, this is gonna be
weird because they're two guys.
Speaker 2 (16:39):
But it serves a purpose in the characterization and in
the story. It's like the moment that this thing happens,
it is purely still center around the other character. Yes,
it completely speaks to like the way this character like
sees these two people and like the way she wants
to manipulate them. It's like so good. It's not gratuitous.
It's not like, oh God, are we like jerking into
(17:01):
two guys kissing, Like is that what's going on here?
Speaker 1 (17:03):
No, it's so important.
Speaker 3 (17:06):
I think what's so fucking great about this movie is
you understand, like when you really think about it afterwards,
like what Zendaya's character, Tashi Duncan, by the way, great
fucking name, Tashi Duncan, what her desire is is to
just watch dynamics. She just like she thrives off watching
(17:31):
that push and pull between other people, like and she
likes to be a part of it herself. Like I
don't know, it's just it's a fascinating character.
Speaker 1 (17:40):
Yeah.
Speaker 3 (17:40):
And the tennis of it all like really works in
not in a heavy handed way, you know what I mean,
because sometimes it's like, oh, they're dueling over her, like
it's a tennis match, Like I can see that on paper,
being like her, But it works so well, like all
the little micro metaphors in tennis as a thing, like
the fact that like the script works as this story
(18:05):
of their life, which honestly, in many ways has been
a volley back and forth, like at the act breaks,
like they follow this one tennis match that's happening in
the present day, and they flash back in different parts
of time, and the act breaks like always go back
to the tennis match, and that person who's winning in
the relationship is winning in the game. Like just fun
little things like that that work.
Speaker 2 (18:26):
The match point of it is like so perfect, like yeah,
there's something final to it.
Speaker 1 (18:31):
Yeah, and it.
Speaker 3 (18:32):
Doesn't feel like pat and it feels like thrilling and
it works and it you know, it's like any really
good sports movie you're invested. But I mean, any really
good sports movie is angering that to emotions and to stakes,
because obviously the stakes are they gonna win and lose,
but the fact that the relationship stakes are so much
(18:52):
higher that leads into the ending. It's just it is
the perfect version of this kind of movie.
Speaker 1 (18:58):
Yeah, totally.
Speaker 2 (19:00):
I do love that Tashi character, like literally loving launching
the dynamics to the point where she is like has
the notebook out, watching replay on all the games, taking notes,
writing down numbers.
Speaker 1 (19:14):
You're like, this is all she cares about.
Speaker 2 (19:16):
It's not just like in the script it's like, oh,
all she cares about his tennis, but it is actually
more about the meta game. She cares about the meta game.
She literally is playing a meta game over the course
of many, many years.
Speaker 1 (19:28):
Yeah.
Speaker 3 (19:28):
And also just the focus that he keeps on her
as the lead while also like fully flushing out these
two other characters. Like there's like I just said, the
frame of the movie is this one tennis match that's
happening in the present day of the film, and Zendeia
has no dialogue. She's just sitting there watching the game. Yeah,
(19:49):
but he as the director and she has the actress
are so good that you know emotionally where she is
at in a small way and in a larger way
the entire higher time, like just the shots, the editing,
the editing must be like given accolades here, Yes, because
it is really tense, really fun, really engrossing and you
(20:13):
don't miss anything. Like the things that are iconic about
this movie are based in character and script and such
as the.
Speaker 2 (20:21):
Ball and they're all very intimate. Yes, and it's and
tennis is kind of an intimate game. I mean not
kind of it. It literally is an intimate game between
two people max four or whatever. But like your arenas
are smaller than like any other sport. But like the
big moments like let's say, like you know them all
making out in the hotel room, right, that is small.
(20:41):
That is a Blood Orange music video literally like Blood
Orange is playing in the background like diegetically, like playing
from someone's phone. And so Josh Sharp says, well, that
song came out in twenty in twenty thirteen, so eighteen
years later, the movie takes place in the present day
of twenty thirty one. Oh my god, yeah, he caught
a little get caught that said, oh, you know, what's
(21:02):
great about that scene too, like that when they start
hooking up altogether, is.
Speaker 3 (21:05):
It's literally born out of a conversation that we watch happen.
It's like, what's so great about that scene is you
understand why it goes there because they've just had this
conversation that's really disarming and charming.
Speaker 2 (21:20):
Yes, and sexy, and but she plays that so like
the genius. She's getting them to say all of these
really kind of embarrassing things they're sharing. They're sharing stories
about the first time they've like jerked off and stuff.
Speaker 1 (21:34):
It's like she's getting them. She's perfect.
Speaker 2 (21:36):
She has this ferocity where she gets them to like
spill and then she like the puppet strings are there
from the beginning.
Speaker 3 (21:43):
Yes, And what is so different about that than other
things that get sort of like, you know, this reputation
for being like salacious or like whatever is It's like
you're not just walking someone walk up to someone in
a backyard and then.
Speaker 1 (21:59):
Eating their pussy. They're on their period, right, know what
I mean?
Speaker 3 (22:01):
Like you're actually like watching why this unfold and it's believable,
Like it's not just this stunty thing of like, oh,
he's fucking a grave not to keep dragging this movie.
But this is why, this is why the script really matters,
is because we're seeing it executed in a way that's
born out of character, and therefore we actually are scandalized
(22:22):
and actually we can remember this in a real way,
in a way that can emotionally.
Speaker 1 (22:27):
Work for us.
Speaker 2 (22:27):
Speaking of character, because I've heard you say this and
I really think around to something talk about how even
the quote unquote minor characters in this film are so impactful,
Sean you remember them.
Speaker 1 (22:37):
It's all in the details, all the details.
Speaker 2 (22:39):
It's all the performances, down to the woman who like
registers Josh O'Connor.
Speaker 3 (22:43):
Yes, there's a detail about everyone. Yeah, and this is
what I'm saying. It's like, so in the.
Speaker 2 (22:47):
Very first the gay couple at the hotel, there's a
gay couple in a hotel who have like a hilarious
like two line exchange and there's something that like one
of them the other on the back and the sound editing.
Speaker 3 (22:58):
You really hear the slash, which is so funny to me,
Like for example, like there's a woman who's checking him
into the one of the actors, one of the characters
rather into the tennis tournament, and it's about a million
other things just besides that transaction that's a guess.
Speaker 1 (23:14):
What I'm saying is totally there is.
Speaker 3 (23:16):
So much color and detail and the director doesn't cut
any of it. I understand sometimes why you just want
to get to information in movies, like and things should move,
but information, character and detail matters.
Speaker 1 (23:30):
It's like kind of like why they say, like.
Speaker 3 (23:33):
In a romantic movie, spend time on us watching them
fall in love, you know what I mean, don't just
be like they met there in a relationship. Honestly, there's
movies I could drag that do this, but I won't
detail matters like relationship matters, like things that you might
deem as superfluous because they're not quote unquote moving story forward.
(23:54):
Like we didn't need to watch the woman that worked
at the hotel struggle with the snack machine.
Speaker 1 (23:59):
What do you call that? Oh yeah, the vending machine.
Like we didn't need that, but like it did help.
Speaker 3 (24:05):
We watched the interaction and he couldn't get a room,
you know what I mean, Like, I don't know, it's
just little things. The character of the year for me
is Helen. Helen's a Tinder date that Josh O'Connor goes
on and.
Speaker 2 (24:14):
It's from the moment you see here on the phone
screen Haley Gates.
Speaker 3 (24:19):
Haley Gates, we went to college with her. I was
so shook when I realized it was her.
Speaker 2 (24:23):
Oh my god, she was it. I think that's the
comedy performance of the year.
Speaker 1 (24:28):
We were screaming, laughing. It was just so funny.
Speaker 3 (24:32):
It's so good, this performance of trying to be interesting
on a tinder date but you're not. Like and also
like where that scene ultimately goes again, this is another
character that's in one scene of the movie, maybe seven
lines of dialogue.
Speaker 2 (24:44):
It's giving Sandra and the Princess diaries. Yes it is,
say it anyway, like, I mean, what else. The boys
are fucking amazing. Boys are amazing. Josh O'Connor would have
won the Melanie Lynsky Award for Best Fake American Accident
and anything.
Speaker 1 (24:59):
Honestly teamless less. He's so talented, he's so good.
Speaker 3 (25:03):
And Mike Feist I have been officially one over, like
I fucking loved in West Side Story. Now I'm like,
oh yeah, I'm on board forever.
Speaker 1 (25:14):
Huh. And also just like how comfortable they were with
each other.
Speaker 3 (25:17):
You bought that best friendship from the beginning, and guess what,
because of the details and because of how much we
believed it in the beginning, that really helped when the
relationship got difficult and dark and nonexistent, Like because the
relationship details really matter, Like it matters how close they
sit together, it matters them sharing food, It matters like
(25:40):
how quickly they walk places together, like you know what
I mean, Like the way that they sort of match
each other in energy, like laying back and like watching
her play tennis at the same time, like the way
they exist sharing a hotel room. You know, it's just
so many things that are specific and great that are
(26:00):
to be loved about this movie.
Speaker 2 (26:01):
And it's so fucking gay without trying, and it's so
fucking sexy without even really showing one exact sacccene. You
don't see any sex scenes, you see making out, you
see like the suggestions of something starting and you see
that something has ended. You don't see any fucking.
Speaker 1 (26:19):
In this revie.
Speaker 3 (26:20):
And it's still the horniest, hottest movie of the year
and the gayest something about it's not the gayest movie
of the year, but it's queer coded and fun in
that way.
Speaker 2 (26:28):
We have to shout out Jonathan Anderson fucking slay in
the costume design. Oh yeah, I told your shirt. Zendeia's look.
I mean it's it's all giving, like Josh's nasty plaid
shorts during the mask. Well, it's all giving, like slight
layer of Louive.
Speaker 1 (26:45):
But that's it.
Speaker 2 (26:45):
He's not gonna let Louive dominate this movie, you know
what I mean. Right, he's like such a good as sponsor. No,
but Jonathan Anderson is luave. Oh he's a leave guy.
Oh he Oh, I don't know that that's his. That's his,
that's his. Oh perfect, So he fucking he's so. I mean,
he's like the fashion designer right now, and like for
him to costume design for this in a way that
(27:07):
is that respects the medium. It is not like fashion
overtaking this except for that I told your shirt, which
is like everyone's gonna wear and I actually please everyone
wear that shirt.
Speaker 1 (27:17):
I mean they're on the way for us order them.
Speaker 2 (27:21):
The thing that that shirt does in this movie is
so good that I'm like, I don't care. Everyone should
wear it. Like it's not a thing where I'm like,
oh god, like eye roll, like someone's wearing that. But
it's like, no, this is such a great subtle touch
in this movie that ends up being like a device.
But I think like the first time you see it,
you're like, oh, whatever, random like random thing. I'm just
like just the costumes throughout so damn good. Loved it
(27:45):
so much.
Speaker 1 (27:45):
The score. I need a DJ night of just the challenge.
Just play the Challenger score. We're bopping our heads.
Speaker 3 (27:52):
I said I would go to I would go to
these parties if like they played that, like literally.
Speaker 1 (27:58):
Spin challenges. If you want me to be at your event.
Speaker 2 (28:01):
Bactasia should do a Challenger's theme, tie, I should do
a Challenger's boat like all Queer night Life should do
something with challengers.
Speaker 3 (28:09):
Yeah, get into the conversation too, because we're watching it happen.
We're watching something yet if something is here, to stay
with it. Yeah, you know what I mean. Syndeya, she's
so stunning. Yeah in a way that's just like you
(28:33):
genuinely could watch her experience anything like I would watch
her in any type of movie. I would watch her
like in any type of role. She's just fun to
watch the scene where she sits down at the tree.
I don't want to give anything away. It was giving
like timeless movie Star. Oh yeah, it was giving, like
and also the way he was lighting her, because remember
this guy is like if you don't know now you
(28:55):
know he did call me by your name. He's so
great at like he just makes a choice that keeps
the movie stunning and beautiful but also never loses narrative
and catches a lot you know who I have it
also a compliment with.
Speaker 1 (29:08):
This andrew On. Oh yeah, like the directors that like
put you in a pillow. Yeah. The movie that.
Speaker 3 (29:14):
We were in Fire Island, I believe was very elevated
by the detail and the scope that it picked up
of the surroundings so that you were always aware of place.
Speaker 1 (29:26):
Yeah.
Speaker 2 (29:26):
And what I love about this movie so much too
is how much parking lot and making out there is.
I love the hotel culture, you know what I mean,
Like it's got this sense of real place when you
think about what these people actually must do, which is
they spend a fuck ton of time at hotels and
practicing and.
Speaker 3 (29:48):
Like eating out on the road. Yeah, you know what
I mean, Like there's just so much like you don't
even know where these people live. It doesn't matter. Their
daughter is like an afterthought in a way that's kind.
Speaker 2 (29:58):
Of fine, but in a way where you're also like,
the daughter is kind of you don't need that daughter
to be realized anymore than she is in the film
where it's like she wants to watch Spider Verse, Yes,
which I thought was also a cute Deeaier.
Speaker 1 (30:10):
I liked it.
Speaker 2 (30:11):
She loves Hotel. I love that detail, Like, yeah, the
daughter likes she feels safe there. That's what I'm talking about,
what I mean, Yes, and the mom just kind of
being around, Like you don't really like the mom's India
and Tasha don't need to have like a deep revealing conversation.
It says everything that she is there, that she is
like part of their lives in that specific way. Yeah,
(30:31):
where she's just there to a child, we are no problem,
do you know.
Speaker 1 (30:34):
What I mean? One hundred percent.
Speaker 3 (30:35):
And also I'm realizing now, like because there's a thing
with the mom where Joshua Connor says to Zendea, your
mom looks good, and Zendaea goes, I know she does, Patrick,
and I was just like, that is such an that's
a great line. It's like, I mean, Zendia has an
iconic line which is I'm taking such good care of my.
Speaker 1 (30:54):
Little white boys.
Speaker 3 (30:55):
I was like, not only is this movie tight structurally,
it's really fun of dialogue like things.
Speaker 2 (31:03):
Just it doesn't feel bad. It doesn't feel written. No,
it doesn't. And I would compliment obviously everyone involved for that.
But these actors are and I mean this in the
best sense throwing it away.
Speaker 3 (31:14):
It is it is so lived in and earned. And
there's long scenes in this movie too, but they don't
feel long because of the pacing that the score brings
in and like, I don't know, it's and looking good
this motion in every scene.
Speaker 2 (31:27):
Not to mention cinematography where I didn't even feel like
it was that on the nose for the volleys to happen,
do you know what I mean? I get it, it's
a tennis movie, but it's like, but like the camera
moves are like are so pronounced, but they totally fit
with what's being said, with what the dynamic is. Look
in the scene like in the dorm between Joshun's and Deya. Yeah,
(31:48):
like that whole argument that it kind of devolves into,
I'm like, wait, that was perfect, Like, yeah, it came
in just the right time. It wasn't too indulgent. It
happened for like a couple seconds where it's clear the
audience by the way, one shot, by the way, I know,
I love that, but it's so clear to the audience,
like what's going on. It met the audience where it's at.
It doesn't try to like handhold too much. It also
(32:09):
doesn't try to like be so vaunted in an unreachable
place that you're like, oh, how do I engage with that?
Speaker 1 (32:18):
Yeah? You know what I mean.
Speaker 2 (32:19):
Yeah, it's the real crowd pleaser of a movie that
feels like so artistically lush and chewy or whatever.
Speaker 3 (32:26):
Yeah, and you don't need to be like a tennis
fan to enjoy it either, Like, in fact, if you
are a tennis fan, that's I guess where one criticism
I've heard is coming in is like, I guess the
tennis in the movie is not satisfying tennis people. I
had one person say to me who plays tennis all
the time, that zendais form was bothering him. And then
I had another person who plays tennis all the time
(32:48):
say that she had the best form, and I'm like,
I wish I want to use that at tennis, because
that just means one of the people that talk to
me sucks and if you're listening to this, you might suck.
Speaker 2 (32:57):
Oh. I don't know, someone who's an ex experts should
weigh in, but yeah, yeah, apparently Josh's form was wild,
but I thought that worked.
Speaker 1 (33:04):
That totally works with the canter.
Speaker 2 (33:05):
I feel like Zendaya must have through a character filter,
must have put in the work to make sure that
Tashi's formally.
Speaker 3 (33:13):
She said on Kelly Clarkson because Kelly was like, did
y'all become the best test player of all time? Because
I was watching this, like y'all can really play tennis,
and Zendia was like, I wish I could say I
was even adept at tennis, but apparently Ci, yeah, there
was never a real ball, and she was like, I
just looked at it like dance training. But what I
had heard was that Zendaia's forearm is is that it
(33:36):
comes from under too much, and that it's like she
needs to be on top of the ball a little
bit more. Is what one person said to me. But again,
that person could be one of tennis's worst players.
Speaker 2 (33:45):
Oh stop, But also, Zendia is working with some live limbs.
Speaker 1 (33:50):
Live would be one word, and so of.
Speaker 2 (33:52):
Course it's gonna look a little a little gangly isn't
the right word, but you know what I mean, Like
she's got the longest arms and legs ever.
Speaker 3 (34:00):
Lithe would be one word to describe Somedia. It's actually
a really coloch number one hundred. Live would be one way,
one word to describe the day. So I'm feeling like maybe
it's pronounced that way, and so it kind of.
Speaker 1 (34:09):
Like limb shoes Winso.
Speaker 3 (34:13):
Take a queen, it's your film. I can't wait for
that part of the movie. I really I sing it.
Speaker 1 (34:19):
Oh my god. I just literally gagged for a second.
I was just like, WHOA.
Speaker 3 (34:23):
I do have a fantasy that, like the movie pivots
to your perspective and that you are the lead.
Speaker 2 (34:27):
I think there is a Rosencranson, Gilden Sterner and Dead
sequel potential to Wicked where it's just there is it's
Fanny and Chuenchin sort of being like out in os
like when no, oh, this is the idea. It's Fanny
and Tension. Once Dorothy comes to Oz, like, everyone's like
a twitter, like, oh my god, this bitch just landed,
like she's I heard she's fears this bitch just and
(34:47):
it's like me and Shenshin. It's Fanny and Tenson just
like trying to look for Dorothy while she's and then
once they get to the Emerald City.
Speaker 1 (34:53):
She's gone.
Speaker 2 (34:53):
Oh man, it's kind of like a waiting for you Goodjoe,
except we're like chasing after it.
Speaker 1 (34:57):
Yeah.
Speaker 3 (34:58):
No, that's really good. That's not bad, right, Oh, it's
actually art. Thank you much of what you just said
pretty much all the time. Wow, oh you know what?
We didn't do what? And we can do this for
the end of this episode, because how much more do
we have to say? I mean, everyone needs to go
see everyone needs to see it. Just go if you
haven't gone already. And also not for nothing, be like
(35:18):
me and go a second time because it's just as
good as time.
Speaker 1 (35:21):
I know.
Speaker 3 (35:21):
I can't wait to see it again. Bring your friend
that you love to watch react to stuff. You know
how oftentimes you have that like favorite person that you
love to see laugh first, or like react to something first,
or like that. Bring that person that you're excited about
seeing it to this movie period.
Speaker 1 (35:40):
That's a great bit of advice. Yeah, because this is
this is one of those movies that you like feel okay.
Speaker 3 (35:47):
So one thing we could do, because we forgot to do,
is pick out a new year for the next oh, excavation.
We don't have the bucket. But what we could do
is we could okay, random number generator, random number generator.
Oh wow, this doesn't app for everything. Minimum, So the
minimum is it was okay, so let's just say nineteen
(36:09):
seventy five to twenty twenty.
Speaker 2 (36:13):
No, let's do nineteen seventy three to twenty twenty three. Okay, okay, okay,
that's okay, all right, generate ready, generate. Here we go,
nineteen seventy nine. This is our first year that we've done.
That is before us being born.
Speaker 3 (36:26):
Nineteen seventy Okay, so we're about to do some research.
Speaker 2 (36:30):
This could be really fun for everybody in the class. Becca,
if there's time, could you make it just a little
a sour or starter of a document for us? Thank
you so much? Wow now, and then and then from
there we can disorder.
Speaker 3 (36:44):
It's because bowen Yang is going to be very busy
May and June, and he forgets I'm not well.
Speaker 2 (36:51):
No. I also respect your time and that you would
want to use your time the way you want to
use it.
Speaker 1 (36:55):
And you've had a very busy winter.
Speaker 3 (36:57):
And can I say when I say this stuff about
myself is bit about Bowen Yang being the busiest woman
in Hollywood and me like getting a tan. I am
just I'm not dragging my but the audience. But the
audience hears it and things, oh well, well, they they
must either think, oh ha, he's being funny, or like, lol,
I wish he wouldn't do that. That's what he's being
mean to himself, or they think flop fag.
Speaker 2 (37:20):
We hate Matt Rogers. He's so annoying. I don't understand.
I don't want you to ever let that listen.
Speaker 1 (37:26):
I completely respect all camps.
Speaker 3 (37:29):
I don't completely respect all camps, but I completely acknowledge
that knowledge camp. Where I'm telling you you should be
is probably somewhere in between the business.
Speaker 1 (37:36):
Are you worried about me?
Speaker 2 (37:37):
Always?
Speaker 1 (37:38):
But I'm fine. Anything else to say about Challenges, No,
I think it was the greatest film I've ever seen.
Speaker 3 (37:46):
Yeah, between Challengers in May December and past Las, we
just said that's a trifecta that should be studying.
Speaker 1 (37:52):
The trifector have triangles.
Speaker 3 (37:54):
I really like that, and I would actually I would
like to teach the college course.
Speaker 1 (37:58):
Oh, I would like to.
Speaker 3 (37:59):
Teach a cultural and also on those three movies and
how they speak to each other, because you know what
gets unwieldy is if it's I'm literally doing a movie
that's this though, but it's of two couples, like Who's
Afraid of Virginia?
Speaker 2 (38:11):
Wolf gets a little like I even though that is
like one of the great plays in great films, like
four is a little like it's tough to manage four? Right?
Speaker 1 (38:18):
Yeah? Three is that ooh person? Is that beautiful? Three?
Is that good? Good? Number?
Speaker 3 (38:24):
Three is really one of the numbers that but you
get to first when you start counting. Yes, if you
think about that one, two, three, you are already there.
Speaker 1 (38:36):
You don't have to go far. Give it a couple numbers,
you'll get to three. You'll get there. Stick with it,
stick with it.
Speaker 2 (38:43):
But you know that's why Brittany didn't call her song
four and Beyonce called it four, but for different reasons,
Brittany called it three.
Speaker 1 (38:49):
Well, yeah, I mean, I do want to say.
Speaker 2 (38:52):
One of my favorite parts of the Renaissance Tour was
in the in the section where the theme is wedding.
As Matt Waker likes to say yeah before she sings
love on Top, or before she sings rather Die Young
or something. She just goes, y'all want to hear something
off my album four, and that's I love I love it.
I love hearing her say four.
Speaker 1 (39:10):
I think it's her favorite.
Speaker 2 (39:12):
At one of the shows, I could have sworn watching video,
I hear her say my favorite album four, and that
was really shocking. But maybe this has not actually been
documented and confirmed.
Speaker 3 (39:21):
Well back in the day when she was like promoing
for she performed One plus one on American Idol and
she introduced it like this, this is my favorite song
one plus one. She said that, So I don't know
if one one one is still her favorite song. It's
up there, though. I love one plus one, love one
plus one. I'll never forget seeing one plus one's.
Speaker 1 (39:42):
Cardis Show worlds her well.
Speaker 3 (39:44):
Then end in Renaissance World tour was amazing. But I
saw it at the Roseland Ballroom when she was pregnant
and no one knew and Jay was there and she
was sitting on the piano and it was a really
small audience and she ripped it apart vocally, emotionally, just woo.
(40:12):
We had every episode with a song. Oh no, I
don't think it's Honey Out a bonus episode.
Speaker 1 (40:18):
You're a ring on it, I'm won a ring on.
We didn't even do the dance.
Speaker 2 (40:26):
It's okay.
Speaker 1 (40:27):
It's first and foremost of the song Bye,
Look Mayer, Oh, I see you my own look over
there is that culture. Yes, goodness wow, Lost Culture ding dong,
Lost Culture races calling excuse my chewing friend.
Speaker 2 (00:14):
I'm just over here, you know, masticating on my trail mix.
And we're very happy to have you guys masticate us
in this bonus episode, just a.
Speaker 3 (00:24):
Little early, I guess, a little bonus episode. There was
pressing matters that we needed to get into the studio
to address. One being We just recorded the categories for
the Lost Culture Raceless Culture Awards this year and those
will be revealed on May third, May third, this Friday, Friday,
May third, and publish the season, I guess has truly begun.
Speaker 2 (00:45):
May is published season. The weather's nice. You want to
go out there, hit the street, knock on doors, knock
on doors, you know, wave your flags, babe, get your
freak flag out. Flag it because it's published this season.
It's actually a real culture number nine. Get your free
flag out, flag it. It's published the season.
Speaker 3 (01:07):
We are You're never gonna believe it, but giggling and
tittling away, we think we've really done something this year
with some of these categories. I mean, I'm thinking of
one right now, and just thinking of the possibilities in
flux of campaigning that's going to happen for so many
But we can't say too much.
Speaker 2 (01:25):
I mean, it's almost too exciting, I would agree. I
think it's really really thrilling. That Lost culture is I
don't know, like we're out there.
Speaker 3 (01:36):
We're out there. Lost culture is officially out there. Okay,
so listen, the true truth, the true true, as was
said in the movie Cloud out Lists. Did you ever
see the movie Cloud out Lists?
Speaker 1 (01:45):
Never?
Speaker 3 (01:45):
Did I think you would actually like it in a
way where like you'd be sort of like throwing your
hands up and knee slapping. Did you guys know that
Bowen Yang is a knee slapper. He's a table hitter
in a n ee slapper, And I really I don't
like knee slapping. There is something really annoying and I
really dislike this about myself that I'm a table slapper,
because if you're at a table with other people, it
(02:06):
does first of all, it makes so much noise to
a distracting extent.
Speaker 2 (02:11):
Second of all, like it's so it's it feels like
such a performance. But I really do slap the table
because I.
Speaker 1 (02:18):
Do you're enjoying.
Speaker 2 (02:18):
I can see it is like, oh, like, how do
I get this out of my system?
Speaker 3 (02:23):
Your body experience is so much joy it has to
come out. And I think what people also don't know
about you is Bowen Yang's roger.
Speaker 1 (02:29):
His stones are on his palms.
Speaker 3 (02:31):
No, if you ever want to get him on, just
like Hi, I'm Susan and shake his hand. I'm not
not that open, not that like oh that, Oh god,
you ever kept yourself going like that?
Speaker 2 (02:43):
You're ast Oh I never want to see my O face.
I no one ever, I hope no one ever takes
a picture or films me.
Speaker 1 (02:52):
You know what, I just.
Speaker 3 (02:53):
Realized the O face I always thought meant orgasm face,
but literally they mean the fact that you're mouth makes
the I think it's still Do you think it's multipurpose?
Do you think it's a thing of like O faces, like, oh,
like my face is making the face by the way
we're doing each other in the eyes, and.
Speaker 1 (03:13):
Oh, it's too intimate for us. I think it's I
think or orgasm face.
Speaker 2 (03:19):
I think it's very apropos of the subject matter that
we're gonna be talking about. One think they are a
little have the walls of intimacy knockdown.
Speaker 3 (03:29):
It's crazy, you guys. This was the other pressing matter.
So I feel that, you know, we've been so good
about the culture and the catching up, like it's always
been the two of us for the past like several months,
I feel like, but sometimes it can feel like the
culture is a little dry and for the next few
weeks we're gonna have guests, so it's not gonna be
culture catch up. But we saw the movie Challengers, and
(03:51):
I was like, no, we have to convene to the
studio with us. We have to convene. This was maybe
my favorite movie, my favorite movie ever I've seen. It's
I went on Thursday and Friday I went again immediately.
We saw it together on Friday. Can you describe what
happened at the end, Like with the audience.
Speaker 2 (04:08):
Just sheers, screams please you have to go see this
in the theater?
Speaker 1 (04:13):
Yeah, you really do.
Speaker 2 (04:14):
And you know what, like it was a chatty crowd,
especially behind us, there was some chatter going on and
like all we did this, this person I think literally
dined out on us, like turning around and respectfully telling
them just once an hour and a half in in
the movie to just Hey. All I said was you
can stop. That's what I said. I said, three words,
(04:37):
you did. You were very good about it.
Speaker 3 (04:38):
And then I think that she was a little lit
up from having been that person.
Speaker 2 (04:43):
But honestly, I think that's what is that, that's what
she was going for. That's what I don't want to get.
I don't want to give too much airtime to this person.
Speaker 3 (04:51):
No.
Speaker 2 (04:52):
She literally went out to animal after the movie, and
our friend Colin texted, I said, this girl I'm talking
to is bragging to everybody how you guys yelled at her.
And I'm I'm like, yeah, because her personality fucking sucks confirmed,
I mean whatever.
Speaker 3 (05:04):
She was one of the many small characters that popped
during the experience of watching challenges, even the ones I
cared about were on screen.
Speaker 2 (05:11):
Even she could not get in the way of my
experience of loving this movie.
Speaker 3 (05:15):
No, And I think that, like it's been a while
where the entire audience exploded in shearers at the end
of a movie. Off by the way, a polarizing ending
and an ending that makes a huge choice, is all
I'm saying.
Speaker 2 (05:30):
I was reading some of like the headlines going into
the movie, like the ending, the ending, the ending, Like
all these explainers something like, is this gonna be a confusing,
confounding ending? And I really I think it's pretty legible. No,
it's not confusing at all. I think it's just I'm
gonna actually call it Thelma and Louisa ish in the
not that extreme. But there's something that happens that you
just don't see coming and is sort of out of
(05:50):
left field.
Speaker 1 (05:50):
Yeah, and it rock. I loved it for me.
Speaker 3 (05:53):
It pays off so much. I saw the cinema score
as B plus, which now that feels so low. But
the way that you can kind of gaze is from yes,
from the ending end, because it's the last thing I
seen before they're asked, what did you think of the grade?
Speaker 1 (06:05):
Would you give it to me?
Speaker 3 (06:07):
If you love the ending, it's gonna be canon for you,
And if you hate it, I feel like I can
understand you being like, no, I wanted it to be
different just for me, and I'm seeing for you too,
perfect ending. What a script like this is a tight, bold,
always interesting, always fun, sexy, sort.
Speaker 2 (06:29):
Of giving timeless script. In many ways, it's very timeless.
I mean that screenplay, like we talked about it afterwards.
I love a post movie if you're with your friends,
a post film sort of salon at a bar, a restaurant.
I had that with Josh after we saw Parasite for
the first time. We were like, we need to go
somewhere and talk about this. Yeah, And like I loved
that part of the experience, right. I love that we
all went out like afterwards and we're like, we need
(06:50):
to discuss this.
Speaker 1 (06:51):
Yeah.
Speaker 2 (06:52):
But like I was telling everybody, I was like I
in the theater was like, I need to read the screenplay.
Speaker 1 (06:57):
Yes, that was the first thing you said.
Speaker 2 (06:58):
What it ends is specifically the moment when you know
it kind of like turns into the ending. Basically, it's
kind of like someone call it an act break. Structurally
depending on who you ask. The way this whole thing
is executed is so I mean, that's just Luca and
Justin Kurtzky is doing it like so perfectly together, like
a director really respecting and exalting the script.
Speaker 3 (07:20):
And taking the time to really know the script as
a director, and like it just felt so lived in.
I mean, I think Luca Guada, you know, is the best.
I mean for me, it's just like, what's so incredible
about him is he's just so good with character because
on the page, like I can see these being tough
(07:41):
characters to play. Zendeia, Josh O'Connor and Mike Feist, the
three of them are perfect.
Speaker 1 (07:47):
Yes, Zindeia is just smun What even is it?
Speaker 3 (07:50):
It's just like it is an intangible movie star quality
where I was watching it and I was just so
happy the whole time. I was like, Wow, here's someone
who I see everything she does to me. She's like
going forward the way that I feel about like or
I'm sure people felt in the beginning about like Sandra
Bullock like or like a Julia Yes, but different because
(08:11):
she's not giving the rom com thing. She's giving a
different vibe. She's just so good. There are so many
moments in this movie and I don't want to ruin
anything where you realize just how well she knows this
person and it's tough.
Speaker 1 (08:25):
It's just it all pays off. It's hot as shit.
Speaker 3 (08:27):
Everyone in the movie is gorgeous, but in a real
looking way, not in like this like intangible movie star way,
which is not a nock to them, but everyone feels specific, real,
lived in like you can laugh the whole time. You
can also watch it as a drama. It's just it's
there's so much going on. Yeah, I mean she kind
(08:48):
of was the draw for me. Well, they said this,
so they pulled the audience after everyone left, and I said,
what was the number one reason I was reading this?
It was a Deadline article about it, and fifty five
percent said the reason that they saw the movie. The
primary reason why I saw the movie was Zindya. And
we left and I was like, people are going to
talk about this movie. I think this is going to
be a sleeper summer big one if they decide to
(09:10):
keep it in theaters, and I know there's already a
plan for it to go to Amazon Prime. I get
the appeal of that. You're like, oh, that's a movie
I can watch on Amazon Prime. Do yourself a favor
and go to this theater, like have this like particular
like cathartic experience that happens with the movie theater.
Speaker 1 (09:27):
Like it's also that it almost felt like.
Speaker 3 (09:29):
Watching a horror movie with an audience, and that everyone
was reacting to every yeah yeah.
Speaker 1 (09:34):
Yea, yeah yeah yeah.
Speaker 2 (09:35):
She just she's such a home run and it's so
interesting to hear her talk about impressed. Like, first of all,
she's been doing a lot all of it, but in
these I think she's being very real and vulnerable in
these moments where she's like, no, I'm very nervous about
this because this is my first time leading a movie technically, and.
Speaker 1 (09:52):
Like porton roll for her, wow, And I hadn't thought
of that.
Speaker 2 (09:55):
I was like, oh, I guess between like Spider Man
and Euphoria, you're like, she has not been number one on.
Speaker 1 (10:02):
The call sheet.
Speaker 3 (10:03):
I mean, this is a real movie for a film,
for a film, Yeah, for Euphoria, that's more of an
ensemble even Yeah, Euphoria is very ensemble. She's obviously the
star of it, so she has had that. But this
is a huge part for her because she has to
not only be number one on the call sheet and
sell this movie, but also it's a tough character, tough
character walk. So much of it is internal. That character
(10:25):
does not have that much dialogue if you think about it,
especially that moment in the end where I want to
like see how it's written on the page, Like all
three of them have something internal, like I switched flips
in them. Internally, It's like a tennis match between three
and three people. It's yeah, and it's actually written that way.
So I actually did start reading the script. I found
it Patrick sent it to me house and he sent
(10:48):
it to me, and it's written actually pretty differently than
he looks on the screen. Like it's just interesting, Like
I wonder Luca is obviously just very clear about what
he wants and like how he sees something, because you
could read the script and it could kind of read
and I don't mean this in a bad way, but
it could kind of read like a total drama or
(11:08):
what not even that like more of like a comedy,
like more of like a frilly comedy, like for example,
like when Zendiya in the very beginning. Okay, so this
is not a spoiler, but I'm just gonna describe her
attitude in the very beginning.
Speaker 1 (11:20):
So Zendia plays like this woman who's.
Speaker 3 (11:22):
Like pretty tough, she's pretty brash, Like she delivers information
like pretty straight up, you know what I mean. And
I think on the page that could come off a
little bit like more one dimensional in like a comedy way.
Speaker 1 (11:37):
Does that make sense?
Speaker 3 (11:37):
Where it could be like she just she serves this
purpose in the script to like be hard and cold
and the coach and like, yeah, the information she delivers
could be read as like just solely comedic, but Zendia
and Luca are giving her so much texture. And in
the very beginning of the movie she doesn't even have
a lot of speaking in the beginning, but you know
exactly who she is. And that's a testament to Luca
(11:59):
and Zendiya. And I'm telling you, like every character in
some way is like that. It just could have been
not as real. Yeah, And that's like one of my
biggest compliments is that everyone in this movie is super real.
And I'm not even just talking about the three leads.
I mean all the small characters are memorable and pop
(12:19):
because of the detail.
Speaker 2 (12:20):
M hm, you know what I'm saying. It's kind of
cool what I was thinking about. The writer justin Kurtzky's
like Selene Song's husband. Yeah, and it's just like he
is kind of that guy in Past Lives essentially, like
he has been like there's been a stand in for
him in one of her movies. That would make you
kind of like that character is so fascinating in Past
(12:41):
Lives to me, like the guy she ends up with,
like the American guy that she ends up that she
meets like on like a fellowship sort of like, and
they do the same thing in the movie.
Speaker 1 (12:50):
They do the same thing in the movie. That's how
I think they met through that.
Speaker 3 (12:53):
I think, well, even if it's not directly that they
met at like something like that, they do have the
same profession right right when. And I was wondering if
that was I'm not sure, I don't recall, but anyway,
I just love that he like has this film is
like something that exists, like sort of oh my god,
that kind of like it speaks to past lives in
a way to me, Like I'm like, oh, like, the
(13:16):
guy is this amazingly talented writer in his own right.
Speaker 1 (13:18):
I just found that interesting.
Speaker 3 (13:20):
You know, that is kind of interesting how the movie
speak to each other. Yeah, past lives and challengers you
have something in women, two guys, one girl or whatever not.
You know, I was kind of thinking of it as
May December coded. No, it's past live coded. Definitely past
lives coded. But when I was leaving, I was like,
so that felt like May December to me. And in
that it's about three characters in this sort of triangular
(13:42):
relationship and all of them are very morally gray, Yes,
and I think that there's also like a tug of
war that's happening here.
Speaker 1 (13:50):
Just really interesting. And I want more movies like that.
Speaker 2 (13:53):
I know, so bad, like those three movies that we
just talked about, like real drama, real stakes in relationship,
an interesting character. This is why I'm like, please go
see this movie in the theater. Please let them know
that this is something we want more of, because this
is actually good stuff. Yeah, really good, really compelling. Makes
(14:14):
you think. I bet people have different reads on all
these characters at a given time, of course, because that
screenplay is giving the audience just enough of a question
mark to like fill in their own lengths and stuff. Yeah,
Trent Reznor Aleicus Ross that come on one of the
I think that's their best score.
Speaker 1 (14:33):
I made a.
Speaker 3 (14:34):
Summer playlist called Beautiful Blonde, care Free Summa, and I
immediately added yeah times ten yeah, which is the song
that plays when Zendeia is introduced as a young tennis pro.
Speaker 1 (14:48):
Yeah, yeah, yeah, yeah, whatever it is.
Speaker 3 (14:50):
Yeah, I was like, that needs to be on my
big beautiful summer, big blonde beautiful. It's not big blone
beautiful summer. I'm not big blonde and beautiful like the
Harris Price soundtrack.
Speaker 2 (15:00):
Yes, I am big one and beautiful anyway, Yeah, I
put it on my summer playlist.
Speaker 1 (15:04):
I was like, that is a this whole thing is
a vibe. Yeah.
Speaker 2 (15:07):
We were just listening to it. Actually, I know I
was playing, let this be part of the lore for
Lost Culture.
Speaker 1 (15:11):
Yeah.
Speaker 2 (15:11):
When we were putting together the categories, I was playing
the entirety of the Challengers.
Speaker 1 (15:15):
Yes, and our brains were working.
Speaker 2 (15:17):
Yeah, and look I felt very, very activated.
Speaker 1 (15:31):
Now.
Speaker 2 (15:32):
I think it's in describing these three films. I think
there is something going on in the culture now where
the triangle is.
Speaker 1 (15:39):
The triangles back to. It's the year of the threesome,
of the threesome. It's the year.
Speaker 3 (15:44):
Of the weird relationship between three people.
Speaker 1 (15:49):
MM know it.
Speaker 3 (15:51):
No, if anyone out there has instincts, follow them destroy
your relationship by bringing in a chaotic third.
Speaker 1 (15:58):
Look, we do it now.
Speaker 2 (15:59):
You and I have a little chaotic third in our mits,
little Studie.
Speaker 1 (16:02):
Green running around.
Speaker 3 (16:03):
Absolute but no, honestly, Like, one thing I really liked
about it was it was really casual about how these
two straight quote unquote straight.
Speaker 1 (16:16):
Guys made out. Were like, oh yeah, well they fully
like I don't know.
Speaker 3 (16:20):
I don't think it's a spoiler to say it goes
somewhere between them, because it's just really fun the way
that they did it, where there was no weird homophobia.
Speaker 1 (16:31):
That wasn't even in the movie.
Speaker 3 (16:33):
It wasn't even in the air it was I never
thought for one second like, oh, this is gonna be
weird because they're two guys.
Speaker 2 (16:39):
But it serves a purpose in the characterization and in
the story. It's like the moment that this thing happens,
it is purely still center around the other character. Yes,
it completely speaks to like the way this character like
sees these two people and like the way she wants
to manipulate them. It's like so good. It's not gratuitous.
It's not like, oh God, are we like jerking into
(17:01):
two guys kissing, Like is that what's going on here?
Speaker 1 (17:03):
No, it's so important.
Speaker 3 (17:06):
I think what's so fucking great about this movie is
you understand, like when you really think about it afterwards,
like what Zendaya's character, Tashi Duncan, by the way, great
fucking name, Tashi Duncan, what her desire is is to
just watch dynamics. She just like she thrives off watching
(17:31):
that push and pull between other people, like and she
likes to be a part of it herself. Like I
don't know, it's just it's a fascinating character.
Speaker 1 (17:40):
Yeah.
Speaker 3 (17:40):
And the tennis of it all like really works in
not in a heavy handed way, you know what I mean,
because sometimes it's like, oh, they're dueling over her, like
it's a tennis match, Like I can see that on paper,
being like her, But it works so well, like all
the little micro metaphors in tennis as a thing, like
the fact that like the script works as this story
(18:05):
of their life, which honestly, in many ways has been
a volley back and forth, like at the act breaks,
like they follow this one tennis match that's happening in
the present day, and they flash back in different parts
of time, and the act breaks like always go back
to the tennis match, and that person who's winning in
the relationship is winning in the game. Like just fun
little things like that that work.
Speaker 2 (18:26):
The match point of it is like so perfect, like yeah,
there's something final to it.
Speaker 1 (18:31):
Yeah, and it.
Speaker 3 (18:32):
Doesn't feel like pat and it feels like thrilling and
it works and it you know, it's like any really
good sports movie you're invested. But I mean, any really
good sports movie is angering that to emotions and to stakes,
because obviously the stakes are they gonna win and lose,
but the fact that the relationship stakes are so much
(18:52):
higher that leads into the ending. It's just it is
the perfect version of this kind of movie.
Speaker 1 (18:58):
Yeah, totally.
Speaker 2 (19:00):
I do love that Tashi character, like literally loving launching
the dynamics to the point where she is like has
the notebook out, watching replay on all the games, taking notes,
writing down numbers.
Speaker 1 (19:14):
You're like, this is all she cares about.
Speaker 2 (19:16):
It's not just like in the script it's like, oh,
all she cares about his tennis, but it is actually
more about the meta game. She cares about the meta game.
She literally is playing a meta game over the course
of many, many years.
Speaker 1 (19:28):
Yeah.
Speaker 3 (19:28):
And also just the focus that he keeps on her
as the lead while also like fully flushing out these
two other characters. Like there's like I just said, the
frame of the movie is this one tennis match that's
happening in the present day of the film, and Zendeia
has no dialogue. She's just sitting there watching the game. Yeah,
(19:49):
but he as the director and she has the actress
are so good that you know emotionally where she is
at in a small way and in a larger way
the entire higher time, like just the shots, the editing,
the editing must be like given accolades here, Yes, because
it is really tense, really fun, really engrossing and you
(20:13):
don't miss anything. Like the things that are iconic about
this movie are based in character and script and such
as the.
Speaker 2 (20:21):
Ball and they're all very intimate. Yes, and it's and
tennis is kind of an intimate game. I mean not
kind of it. It literally is an intimate game between
two people max four or whatever. But like your arenas
are smaller than like any other sport. But like the
big moments like let's say, like you know them all
making out in the hotel room, right, that is small.
(20:41):
That is a Blood Orange music video literally like Blood
Orange is playing in the background like diegetically, like playing
from someone's phone. And so Josh Sharp says, well, that
song came out in twenty in twenty thirteen, so eighteen
years later, the movie takes place in the present day
of twenty thirty one. Oh my god, yeah, he caught
a little get caught that said, oh, you know, what's
(21:02):
great about that scene too, like that when they start
hooking up altogether, is.
Speaker 3 (21:05):
It's literally born out of a conversation that we watch happen.
It's like, what's so great about that scene is you
understand why it goes there because they've just had this
conversation that's really disarming and charming.
Speaker 2 (21:20):
Yes, and sexy, and but she plays that so like
the genius. She's getting them to say all of these
really kind of embarrassing things they're sharing. They're sharing stories
about the first time they've like jerked off and stuff.
Speaker 1 (21:34):
It's like she's getting them. She's perfect.
Speaker 2 (21:36):
She has this ferocity where she gets them to like
spill and then she like the puppet strings are there
from the beginning.
Speaker 3 (21:43):
Yes, And what is so different about that than other
things that get sort of like, you know, this reputation
for being like salacious or like whatever is It's like
you're not just walking someone walk up to someone in
a backyard and then.
Speaker 1 (21:59):
Eating their pussy. They're on their period, right, know what
I mean?
Speaker 3 (22:01):
Like you're actually like watching why this unfold and it's believable,
Like it's not just this stunty thing of like, oh,
he's fucking a grave not to keep dragging this movie.
But this is why, this is why the script really matters,
is because we're seeing it executed in a way that's
born out of character, and therefore we actually are scandalized
(22:22):
and actually we can remember this in a real way,
in a way that can emotionally.
Speaker 1 (22:27):
Work for us.
Speaker 2 (22:27):
Speaking of character, because I've heard you say this and
I really think around to something talk about how even
the quote unquote minor characters in this film are so impactful,
Sean you remember them.
Speaker 1 (22:37):
It's all in the details, all the details.
Speaker 2 (22:39):
It's all the performances, down to the woman who like
registers Josh O'Connor.
Speaker 3 (22:43):
Yes, there's a detail about everyone. Yeah, and this is
what I'm saying. It's like, so in the.
Speaker 2 (22:47):
Very first the gay couple at the hotel, there's a
gay couple in a hotel who have like a hilarious
like two line exchange and there's something that like one
of them the other on the back and the sound editing.
Speaker 3 (22:58):
You really hear the slash, which is so funny to me,
Like for example, like there's a woman who's checking him
into the one of the actors, one of the characters
rather into the tennis tournament, and it's about a million
other things just besides that transaction that's a guess.
Speaker 1 (23:14):
What I'm saying is totally there is.
Speaker 3 (23:16):
So much color and detail and the director doesn't cut
any of it. I understand sometimes why you just want
to get to information in movies, like and things should move,
but information, character and detail matters.
Speaker 1 (23:30):
It's like kind of like why they say, like.
Speaker 3 (23:33):
In a romantic movie, spend time on us watching them
fall in love, you know what I mean, don't just
be like they met there in a relationship. Honestly, there's
movies I could drag that do this, but I won't
detail matters like relationship matters, like things that you might
deem as superfluous because they're not quote unquote moving story forward.
(23:54):
Like we didn't need to watch the woman that worked
at the hotel struggle with the snack machine.
Speaker 1 (23:59):
What do you call that? Oh yeah, the vending machine.
Like we didn't need that, but like it did help.
Speaker 3 (24:05):
We watched the interaction and he couldn't get a room,
you know what I mean, Like, I don't know, it's
just little things. The character of the year for me
is Helen. Helen's a Tinder date that Josh O'Connor goes
on and.
Speaker 2 (24:14):
It's from the moment you see here on the phone
screen Haley Gates.
Speaker 3 (24:19):
Haley Gates, we went to college with her. I was
so shook when I realized it was her.
Speaker 2 (24:23):
Oh my god, she was it. I think that's the
comedy performance of the year.
Speaker 1 (24:28):
We were screaming, laughing. It was just so funny.
Speaker 3 (24:32):
It's so good, this performance of trying to be interesting
on a tinder date but you're not. Like and also
like where that scene ultimately goes again, this is another
character that's in one scene of the movie, maybe seven
lines of dialogue.
Speaker 2 (24:44):
It's giving Sandra and the Princess diaries. Yes it is,
say it anyway, like, I mean, what else. The boys
are fucking amazing. Boys are amazing. Josh O'Connor would have
won the Melanie Lynsky Award for Best Fake American Accident
and anything.
Speaker 1 (24:59):
Honestly teamless less. He's so talented, he's so good.
Speaker 3 (25:03):
And Mike Feist I have been officially one over, like
I fucking loved in West Side Story. Now I'm like,
oh yeah, I'm on board forever.
Speaker 1 (25:14):
Huh. And also just like how comfortable they were with
each other.
Speaker 3 (25:17):
You bought that best friendship from the beginning, and guess what,
because of the details and because of how much we
believed it in the beginning, that really helped when the
relationship got difficult and dark and nonexistent, Like because the
relationship details really matter, Like it matters how close they
sit together, it matters them sharing food, It matters like
(25:40):
how quickly they walk places together, like you know what
I mean, Like the way that they sort of match
each other in energy, like laying back and like watching
her play tennis at the same time, like the way
they exist sharing a hotel room. You know, it's just
so many things that are specific and great that are
(26:00):
to be loved about this movie.
Speaker 2 (26:01):
And it's so fucking gay without trying, and it's so
fucking sexy without even really showing one exact sacccene. You
don't see any sex scenes, you see making out, you
see like the suggestions of something starting and you see
that something has ended. You don't see any fucking.
Speaker 1 (26:19):
In this revie.
Speaker 3 (26:20):
And it's still the horniest, hottest movie of the year
and the gayest something about it's not the gayest movie
of the year, but it's queer coded and fun in
that way.
Speaker 2 (26:28):
We have to shout out Jonathan Anderson fucking slay in
the costume design. Oh yeah, I told your shirt. Zendeia's look.
I mean it's it's all giving, like Josh's nasty plaid
shorts during the mask. Well, it's all giving, like slight
layer of Louive.
Speaker 1 (26:45):
But that's it.
Speaker 2 (26:45):
He's not gonna let Louive dominate this movie, you know
what I mean. Right, he's like such a good as sponsor. No,
but Jonathan Anderson is luave. Oh he's a leave guy.
Oh he Oh, I don't know that that's his. That's his,
that's his. Oh perfect, So he fucking he's so. I mean,
he's like the fashion designer right now, and like for
him to costume design for this in a way that
(27:07):
is that respects the medium. It is not like fashion
overtaking this except for that I told your shirt, which
is like everyone's gonna wear and I actually please everyone
wear that shirt.
Speaker 1 (27:17):
I mean they're on the way for us order them.
Speaker 2 (27:21):
The thing that that shirt does in this movie is
so good that I'm like, I don't care. Everyone should
wear it. Like it's not a thing where I'm like,
oh god, like eye roll, like someone's wearing that. But
it's like, no, this is such a great subtle touch
in this movie that ends up being like a device.
But I think like the first time you see it,
you're like, oh, whatever, random like random thing. I'm just
like just the costumes throughout so damn good. Loved it
(27:45):
so much.
Speaker 1 (27:45):
The score. I need a DJ night of just the challenge.
Just play the Challenger score. We're bopping our heads.
Speaker 3 (27:52):
I said I would go to I would go to
these parties if like they played that, like literally.
Speaker 1 (27:58):
Spin challenges. If you want me to be at your event.
Speaker 2 (28:01):
Bactasia should do a Challenger's theme, tie, I should do
a Challenger's boat like all Queer night Life should do
something with challengers.
Speaker 3 (28:09):
Yeah, get into the conversation too, because we're watching it happen.
We're watching something yet if something is here, to stay
with it. Yeah, you know what I mean. Syndeya, she's
so stunning. Yeah in a way that's just like you
(28:33):
genuinely could watch her experience anything like I would watch
her in any type of movie. I would watch her
like in any type of role. She's just fun to
watch the scene where she sits down at the tree.
I don't want to give anything away. It was giving
like timeless movie Star. Oh yeah, it was giving, like
and also the way he was lighting her, because remember
this guy is like if you don't know now you
(28:55):
know he did call me by your name. He's so
great at like he just makes a choice that keeps
the movie stunning and beautiful but also never loses narrative
and catches a lot you know who I have it
also a compliment with.
Speaker 1 (29:08):
This andrew On. Oh yeah, like the directors that like
put you in a pillow. Yeah. The movie that.
Speaker 3 (29:14):
We were in Fire Island, I believe was very elevated
by the detail and the scope that it picked up
of the surroundings so that you were always aware of place.
Speaker 1 (29:26):
Yeah.
Speaker 2 (29:26):
And what I love about this movie so much too
is how much parking lot and making out there is.
I love the hotel culture, you know what I mean,
Like it's got this sense of real place when you
think about what these people actually must do, which is
they spend a fuck ton of time at hotels and
practicing and.
Speaker 3 (29:48):
Like eating out on the road. Yeah, you know what
I mean, Like there's just so much like you don't
even know where these people live. It doesn't matter. Their
daughter is like an afterthought in a way that's kind.
Speaker 2 (29:58):
Of fine, but in a way where you're also like,
the daughter is kind of you don't need that daughter
to be realized anymore than she is in the film
where it's like she wants to watch Spider Verse, Yes,
which I thought was also a cute Deeaier.
Speaker 1 (30:10):
I liked it.
Speaker 2 (30:11):
She loves Hotel. I love that detail, Like, yeah, the
daughter likes she feels safe there. That's what I'm talking about,
what I mean, Yes, and the mom just kind of
being around, Like you don't really like the mom's India
and Tasha don't need to have like a deep revealing conversation.
It says everything that she is there, that she is
like part of their lives in that specific way. Yeah,
(30:31):
where she's just there to a child, we are no problem,
do you know.
Speaker 1 (30:34):
What I mean? One hundred percent.
Speaker 3 (30:35):
And also I'm realizing now, like because there's a thing
with the mom where Joshua Connor says to Zendea, your
mom looks good, and Zendaea goes, I know she does, Patrick,
and I was just like, that is such an that's
a great line. It's like, I mean, Zendia has an
iconic line which is I'm taking such good care of my.
Speaker 1 (30:54):
Little white boys.
Speaker 3 (30:55):
I was like, not only is this movie tight structurally,
it's really fun of dialogue like things.
Speaker 2 (31:03):
Just it doesn't feel bad. It doesn't feel written. No,
it doesn't. And I would compliment obviously everyone involved for that.
But these actors are and I mean this in the
best sense throwing it away.
Speaker 3 (31:14):
It is it is so lived in and earned. And
there's long scenes in this movie too, but they don't
feel long because of the pacing that the score brings
in and like, I don't know, it's and looking good
this motion in every scene.
Speaker 2 (31:27):
Not to mention cinematography where I didn't even feel like
it was that on the nose for the volleys to happen,
do you know what I mean? I get it, it's
a tennis movie, but it's like, but like the camera
moves are like are so pronounced, but they totally fit
with what's being said, with what the dynamic is. Look
in the scene like in the dorm between Joshun's and Deya. Yeah,
(31:48):
like that whole argument that it kind of devolves into,
I'm like, wait, that was perfect, Like, yeah, it came
in just the right time. It wasn't too indulgent. It
happened for like a couple seconds where it's clear the
audience by the way, one shot, by the way, I know,
I love that, but it's so clear to the audience,
like what's going on. It met the audience where it's at.
It doesn't try to like handhold too much. It also
(32:09):
doesn't try to like be so vaunted in an unreachable
place that you're like, oh, how do I engage with that?
Speaker 1 (32:18):
Yeah? You know what I mean.
Speaker 2 (32:19):
Yeah, it's the real crowd pleaser of a movie that
feels like so artistically lush and chewy or whatever.
Speaker 3 (32:26):
Yeah, and you don't need to be like a tennis
fan to enjoy it either, Like, in fact, if you
are a tennis fan, that's I guess where one criticism
I've heard is coming in is like, I guess the
tennis in the movie is not satisfying tennis people. I
had one person say to me who plays tennis all
the time, that zendais form was bothering him. And then
I had another person who plays tennis all the time
(32:48):
say that she had the best form, and I'm like,
I wish I want to use that at tennis, because
that just means one of the people that talk to
me sucks and if you're listening to this, you might suck.
Speaker 2 (32:57):
Oh. I don't know, someone who's an ex experts should
weigh in, but yeah, yeah, apparently Josh's form was wild,
but I thought that worked.
Speaker 1 (33:04):
That totally works with the canter.
Speaker 2 (33:05):
I feel like Zendaya must have through a character filter,
must have put in the work to make sure that
Tashi's formally.
Speaker 3 (33:13):
She said on Kelly Clarkson because Kelly was like, did
y'all become the best test player of all time? Because
I was watching this, like y'all can really play tennis,
and Zendia was like, I wish I could say I
was even adept at tennis, but apparently Ci, yeah, there
was never a real ball, and she was like, I
just looked at it like dance training. But what I
had heard was that Zendaia's forearm is is that it
(33:36):
comes from under too much, and that it's like she
needs to be on top of the ball a little
bit more. Is what one person said to me. But again,
that person could be one of tennis's worst players.
Speaker 2 (33:45):
Oh stop, But also, Zendia is working with some live limbs.
Speaker 1 (33:50):
Live would be one word, and so of.
Speaker 2 (33:52):
Course it's gonna look a little a little gangly isn't
the right word, but you know what I mean, Like
she's got the longest arms and legs ever.
Speaker 3 (34:00):
Lithe would be one word to describe Somedia. It's actually
a really coloch number one hundred. Live would be one way,
one word to describe the day. So I'm feeling like maybe
it's pronounced that way, and so it kind of.
Speaker 1 (34:09):
Like limb shoes Winso.
Speaker 3 (34:13):
Take a queen, it's your film. I can't wait for
that part of the movie. I really I sing it.
Speaker 1 (34:19):
Oh my god. I just literally gagged for a second.
I was just like, WHOA.
Speaker 3 (34:23):
I do have a fantasy that, like the movie pivots
to your perspective and that you are the lead.
Speaker 2 (34:27):
I think there is a Rosencranson, Gilden Sterner and Dead
sequel potential to Wicked where it's just there is it's
Fanny and Chuenchin sort of being like out in os
like when no, oh, this is the idea. It's Fanny
and Tension. Once Dorothy comes to Oz, like, everyone's like
a twitter, like, oh my god, this bitch just landed,
like she's I heard she's fears this bitch just and
(34:47):
it's like me and Shenshin. It's Fanny and Tenson just
like trying to look for Dorothy while she's and then
once they get to the Emerald City.
Speaker 1 (34:53):
She's gone.
Speaker 2 (34:53):
Oh man, it's kind of like a waiting for you Goodjoe,
except we're like chasing after it.
Speaker 1 (34:57):
Yeah.
Speaker 3 (34:58):
No, that's really good. That's not bad, right, Oh, it's
actually art. Thank you much of what you just said
pretty much all the time. Wow, oh you know what?
We didn't do what? And we can do this for
the end of this episode, because how much more do
we have to say? I mean, everyone needs to go
see everyone needs to see it. Just go if you
haven't gone already. And also not for nothing, be like
(35:18):
me and go a second time because it's just as
good as time.
Speaker 1 (35:21):
I know.
Speaker 3 (35:21):
I can't wait to see it again. Bring your friend
that you love to watch react to stuff. You know
how oftentimes you have that like favorite person that you
love to see laugh first, or like react to something first,
or like that. Bring that person that you're excited about
seeing it to this movie period.
Speaker 1 (35:40):
That's a great bit of advice. Yeah, because this is
this is one of those movies that you like feel okay.
Speaker 3 (35:47):
So one thing we could do, because we forgot to do,
is pick out a new year for the next oh, excavation.
We don't have the bucket. But what we could do
is we could okay, random number generator, random number generator.
Oh wow, this doesn't app for everything. Minimum, So the
minimum is it was okay, so let's just say nineteen
(36:09):
seventy five to twenty twenty.
Speaker 2 (36:13):
No, let's do nineteen seventy three to twenty twenty three. Okay, okay, okay,
that's okay, all right, generate ready, generate. Here we go,
nineteen seventy nine. This is our first year that we've done.
That is before us being born.
Speaker 3 (36:26):
Nineteen seventy Okay, so we're about to do some research.
Speaker 2 (36:30):
This could be really fun for everybody in the class. Becca,
if there's time, could you make it just a little
a sour or starter of a document for us? Thank
you so much? Wow now, and then and then from
there we can disorder.
Speaker 3 (36:44):
It's because bowen Yang is going to be very busy
May and June, and he forgets I'm not well.
Speaker 2 (36:51):
No. I also respect your time and that you would
want to use your time the way you want to
use it.
Speaker 1 (36:55):
And you've had a very busy winter.
Speaker 3 (36:57):
And can I say when I say this stuff about
myself is bit about Bowen Yang being the busiest woman
in Hollywood and me like getting a tan. I am
just I'm not dragging my but the audience. But the
audience hears it and things, oh well, well, they they
must either think, oh ha, he's being funny, or like, lol,
I wish he wouldn't do that. That's what he's being
mean to himself, or they think flop fag.
Speaker 2 (37:20):
We hate Matt Rogers. He's so annoying. I don't understand.
I don't want you to ever let that listen.
Speaker 1 (37:26):
I completely respect all camps.
Speaker 3 (37:29):
I don't completely respect all camps, but I completely acknowledge
that knowledge camp. Where I'm telling you you should be
is probably somewhere in between the business.
Speaker 1 (37:36):
Are you worried about me?
Speaker 2 (37:37):
Always?
Speaker 1 (37:38):
But I'm fine. Anything else to say about Challenges, No,
I think it was the greatest film I've ever seen.
Speaker 3 (37:46):
Yeah, between Challengers in May December and past Las, we
just said that's a trifecta that should be studying.
Speaker 1 (37:52):
The trifector have triangles.
Speaker 3 (37:54):
I really like that, and I would actually I would
like to teach the college course.
Speaker 1 (37:58):
Oh, I would like to.
Speaker 3 (37:59):
Teach a cultural and also on those three movies and
how they speak to each other, because you know what
gets unwieldy is if it's I'm literally doing a movie
that's this though, but it's of two couples, like Who's
Afraid of Virginia?
Speaker 2 (38:11):
Wolf gets a little like I even though that is
like one of the great plays in great films, like
four is a little like it's tough to manage four? Right?
Speaker 1 (38:18):
Yeah? Three is that ooh person? Is that beautiful? Three?
Is that good? Good? Number?
Speaker 3 (38:24):
Three is really one of the numbers that but you
get to first when you start counting. Yes, if you
think about that one, two, three, you are already there.
Speaker 1 (38:36):
You don't have to go far. Give it a couple numbers,
you'll get to three. You'll get there. Stick with it,
stick with it.
Speaker 2 (38:43):
But you know that's why Brittany didn't call her song
four and Beyonce called it four, but for different reasons,
Brittany called it three.
Speaker 1 (38:49):
Well, yeah, I mean, I do want to say.
Speaker 2 (38:52):
One of my favorite parts of the Renaissance Tour was
in the in the section where the theme is wedding.
As Matt Waker likes to say yeah before she sings
love on Top, or before she sings rather Die Young
or something. She just goes, y'all want to hear something
off my album four, and that's I love I love it.
I love hearing her say four.
Speaker 1 (39:10):
I think it's her favorite.
Speaker 2 (39:12):
At one of the shows, I could have sworn watching video,
I hear her say my favorite album four, and that
was really shocking. But maybe this has not actually been
documented and confirmed.
Speaker 3 (39:21):
Well back in the day when she was like promoing
for she performed One plus one on American Idol and
she introduced it like this, this is my favorite song
one plus one. She said that, So I don't know
if one one one is still her favorite song. It's
up there, though. I love one plus one, love one
plus one. I'll never forget seeing one plus one's.
Speaker 1 (39:42):
Cardis Show worlds her well.
Speaker 3 (39:44):
Then end in Renaissance World tour was amazing. But I
saw it at the Roseland Ballroom when she was pregnant
and no one knew and Jay was there and she
was sitting on the piano and it was a really
small audience and she ripped it apart vocally, emotionally, just woo.
(40:12):
We had every episode with a song. Oh no, I
don't think it's Honey Out a bonus episode.
Speaker 1 (40:18):
You're a ring on it, I'm won a ring on.
We didn't even do the dance.
Speaker 2 (40:26):
It's okay.
Speaker 1 (40:27):
It's first and foremost of the song Bye,
Hosts And Creators
Bowen Yang
Matt Rogers
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