"W.A.I.: Warmth, Acceptance & Inclusion" (w/ Matt & Bowen)

Episode Transcript
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Speaker 1 (00:00):
Look maher oh, I see you my own and look
over there is that culture. Yes, wow, lost.

Speaker 2 (00:08):
Cult lost culture.

Speaker 1 (00:12):
Resta's calling Happy new Year to all the readers, publicist.

Speaker 2 (00:17):
Finalists, and Katie's first and foremost. I thought this was
going to be a whole thing where I would have
been like the Larry David in the Curb episode where
Lennon parm wishes his happy New Year in the gym.
But it's like January eighteenth, and he goes, yeah, it's
too late. It's a little late. It's a little late.
I don't think it's too late. Listen.

Speaker 1 (00:36):
We know we've been separated from our girls, and we
just want to tell you all we want to warmly
welcome you into twenty twenty four because that is the
energy we're bringing into twenty twenty four. Warmth, acceptance and inclusion. Yes,
wa I warmth, acceptance, inclusion, inclusion. It's actually a real
of culture.

Speaker 2 (00:55):
Number eight.

Speaker 1 (00:56):
The rules for twenty twenty four is WAI warmth.

Speaker 2 (01:01):
Acceptance and inclusion. Mama, you can have said it better.
You cannot have said it better.

Speaker 1 (01:07):
I want you to get into this is the list
of topics that we could discuss today.

Speaker 2 (01:12):
Well, I'm not squinting for you, my girl, because are
you saying are you listing each movie individually for awards season?

Speaker 1 (01:19):
I feel like, here's the thing with movies. They all
have their own story to tell, and so I feel
that you can't just lump them all unto Oscar films. Because,
by the way, how many have you seen of these
quote unquote Oscar films? And have you been enjoying them?

Speaker 2 (01:31):
I've been really enjoying them for the most part. The
things that I haven't seen are Zone of Interest in
Killers of the Fower Moon. Let's just get that out
of the way.

Speaker 1 (01:40):
Everything you see color purple yet either?

Speaker 2 (01:42):
Did you see color? And color purple? And some other
things I want to see rustin. But yeah, those are
the main ones that I haven't seen. But I'm in
great shape for this time. In most other years, I
am really behind. But I think I'm kind of on topic.

Speaker 1 (01:55):
I'm doing amazing now too. Like, actually, it's funny because
the two that I haven't seen are of the Flower
Moon and Zone of Interest. I think the reason why
I haven't seen them is because I don't think my
heart can take either one of them. Yeah, Like, I
feel like I want to sit down and like actually
receive them, but just the subject matter of both, I'm
just like, Okay, that's gonna be a lot of a lot.

(02:16):
And I think what's interesting about this year is it
seems like there's like a diversity of genre in the
types of movies that are being discussed now at the
end of the year, which I'm really appreciating. Wai you
know what warmth accept it's an inclusion is all over
the Oscar race this year.

Speaker 2 (02:33):
Absolutely, just to.

Speaker 1 (02:35):
List off some things that I've seen, I've seen salt burned,
poor things, all of us strangers, American fiction, the color purple, Maestro,
I watched The Holdovers, I watch Are you there? God,
it's me Margaret. There's a lot to discuss.

Speaker 2 (02:49):
My other asterisk is have not finished, Maestro.

Speaker 1 (02:53):
Should we start there?

Speaker 2 (02:54):
Sure, although let's start with my least knowledgeable base. Yes, absolutely,
let's go tell me.

Speaker 1 (03:01):
No, okay, you're not teasing me when you say that
you actually want me but you want my review? No?

Speaker 2 (03:05):
No, yes, yes said, I'm sorry. My tone is a
little all over the place today.

Speaker 1 (03:08):
No, no, no, no, Well, I just want to tell
you I don't think you need to resume this film.
Oh I did not like Maestro at all. I would
just describe it as so Maestro tells the story of
Leonard Bernstein and Felicia Monteleiagro, who is his wife. And
if you don't know Leonard Bernstein, he's obviously in one

(03:31):
of the most iconic musicians of the modern area century,
twentieth century. I mean he you know, it's just his
list of accomplishments are very long. West Side Story and
this tells the story of his marriage.

Speaker 2 (03:43):
To Miss Felicia.

Speaker 1 (03:45):
And it's written, directed, and starring Bradley Cooper.

Speaker 2 (03:49):
Should be Felicia.

Speaker 1 (03:51):
I think it should have been called by Felicia in
terms of what happens at the end of the movie.
So basically, like it tells the story of their marriage,
which was basically like The Beard dot Com. Like, really,
the movie should have been called The Beard dot Com
because it's like, you know, she willfully participates in this marriage,
I think, because she loves him for sure. They just
seem to have great bantath and then all of a sudden,

(04:14):
like the film flashes forward in time and she's like
aware of the fact that he's full on gay, like
fucks Gideon Glick, and all of a sudden like it really.
One thing I'll give it is it wasn't too long,
because we finally get to the end and she passes
away of cancer and it's very, very, very devastating. But
I would say this movie felt like a collection of

(04:35):
the wrong scenes from their life. Interesting, like, you get
to the end, and if this film is supposed to
be a love letter to her, like from Bradley Cooper's perspective,
then we don't really get a sense of who she
is or what she's given up to be with this man,
or you know, the sacrifices that she is making or

(04:57):
why she is making them, because you see them eat
and then you see them in like really establishing their
relationship and then it kind of she kind of just dies.

Speaker 2 (05:07):
That's interesting.

Speaker 1 (05:07):
By the way, we should say, if we're talking about
these films, you can just consider spoiler alert. But if
you know this, if you know Leonard Bernstein, you know
his life, yeah, consider the spoiler.

Speaker 2 (05:16):
If this is where it's good that we're starting with
a biopick. Speaking of which, it's funny that you say
all these things. The people who've made this movie seem
to put a really fine point on this not being
a biopick and this being a love story, that this
is a love story, sure, And so the fact that
you're not quite you don't you're not sure where the

(05:39):
death is for Felicia as a film character or as
a subject in this biopick, let's say, or I'm sorry
love story kind of diminishes that idea.

Speaker 1 (05:51):
Well, I think, especially as someone who has just written
and directed a huge love story, you know, a polar
critically polarizing, but like massively successful love story with a
star is born. I think that something that's like, if
you're to compare the two, something that's really there and
a star is born. And maybe it's because he was
working with a template that's like very tried and true,

(06:11):
which is already a story that's kind of mapped out
for him. Is that you really get a sense of
who they both are before the relationship takes them in
a certain direction that's like a codependent one and ultimately
a toxic one and ultimately a tragic one. And that
is very similar here. But the thing that's missing from
Maestro is you don't really get a sense of who

(06:33):
she is. You don't really get a sense of like
you know that she's an actress. You know that she's
like maybe talented. You sort of get a sense that
she's talented, but you don't really understand that being with
him is a major sacrifice or it's a worthy sacrifice
for her entire life, because she kind of just ends

(06:54):
up a sad, regretful person. And in that way, it's like,
it's sure it's a love story, but like what for?
To what end? And I guess that's my note for
this whole thing, Like to what end do we have
this movie? Like is it is it a ego project?
Because it feels like that, to say nothing of their performances,

(07:16):
which I think are good and I would say even
carries great, But I just don't know what what we're
what we have this for?

Speaker 2 (07:27):
Uh huh, I'm again, I have to finish this movie,
so I don't really have a great place to talk
about this from. But I if we're gonna compare A
Star Is Born to this, I find it really a
bit of a miss that the meeting of Felicia and
Leonard is sort of feels a little like cursory or something.

(07:53):
It feels like it's just checking off some biopic box.
But then, if you're gonna like make that the central
thing in the whole movie. It feels kind of glossed over.
Like when they first meet, it's pure If you just
look at the writing of that scene when they first meet,
it's like it's pure exposition. Everything out of both over
the mouths is so you did this and this and
this and this why yes? And you were this and

(08:14):
this and this and this, and they're but they're like
playfully laughing while drinking and then they go do this
cute little thing. It doesn't have that magic of a
Star is Born, where those first eighteen twenty minutes are sublime,
are so good no matter what, like, no matter what
you think of the rest of the film, that is
a great film because of that introductory thing into their

(08:35):
meeting or they're the first moments of their love. I
just wonder what this movie would be like if it
actually started at the point where it bursts into color
and we actually could marinate a little bit more in
the reality of what their life was, which is she
was married to a gay man who did eat up

(08:57):
all the air in the room. And that's a story
we've heard kind of a lot, like the subservient, like
long suffering wife, so like what is the new twist
on that? Because we never see her receive the information
that her husband is gay from him, we imagine that
it's happened because she's aware of it, Like she doesn't
freak out when she sees him making out with you know, men,

(09:19):
like which she does, Like there's no discovery. And then
I just wonder why, like if we went to the
trouble to create this movie, like where is the conflict,
where is the dramatic tension? It's like all happening off
screen in a way that feels almost experimental and failed
in an experimental sense, do you know what I mean?

Speaker 1 (09:40):
Like because at the end she passes away and it
is sad, but you're more like lacking at the end
because you feel like you didn't actually hear her story,
you know what I'm saying.

Speaker 2 (09:54):
And so it's that thing where the new spin would
have been, and like make it about her, don't make
it about Leonard Bernstein. It's right because he did eat
up all the year in the room in that marriage.
Mm hmm. Shift the focus and put it on her.
Then that becomes an actual compelling love story, right.

Speaker 1 (10:15):
And I feel like she gets like top billing in
this movie, Carrie Mulligan does, and like, I think a
condescending way because it's all about him basically, and then
she sort of takes over the movie for like thirty
five minutes towards the end when she's dealing with her
cancer diagnosis and understanding that, like, you know, her life
is what it is. And then I think the movie
hints at this narrative, which really could have been expanded

(10:37):
on more, that like she had been there for him
his entire life, to make him maybe more palatable or
maybe more his life easier in the public eye, which
the movie tells you over and over again he's really
struggling with like the public eye, its et cetera. But
it doesn't feel like that theme is really explored that
now he's gonna be there for her and her hour
of need, Like it's there, but it's not dramatic expanded

(11:01):
on in a way. And when you combine all of
this with like the nose of it all and the
budget of it all and the Bradley Cooper of it all,
it kind of just feels a little bit like you
can see behind his eyes him knowing the whole time
that he's winning an oscar for this in a way
that in the sea of everything else I'm watching right now,

(11:22):
like I don't respond to that much. It just feels
like all your departments can be a ten. But if
your script is a four and you have lines like
oh what a pair, you know those two things don't
go together. And the bizarre, stupid, heavy handed text the
beginning of the movie, which is like, you know, a

(11:44):
piece of art is supposed to provoke questions, not answers,
and not everything just as it seems. It's just like, okay, great,
the relationship didn't seem like it would be one that
we would all want, but it worked for that. I'm
ahead of this, a million years in front of it,
just like.

Speaker 2 (11:59):
You have any questions after watching that movie, No, certainly,
because I think I think you understand it pretty fully right.

Speaker 1 (12:08):
That movie is up.

Speaker 2 (12:09):
It's an ass And I think that's a cop up,
because I think miss Fanel was saying the same thing
to in interviews, where she was like, all we wanted
to do was to make people think something, feel something,
think about what though, but what exactly? Meanwhile, not to
tie into many other things, but like your ghosts is
in these interviews being like our movie isn't really about anything.

(12:30):
It's just about exploration and discovery because that's what the
character goes through. So there's no really message there, and
I'm like, that's really refreshing to hear that we don't.
There's no takeaway from this really beautiful film, and there
doesn't have to be for everything necessarily for the takeaway
to be whatever your takeaway is. That doesn't really ring
authentic to me.

Speaker 1 (12:49):
I mean, it's another way of saying which I actually
respect her for saying, which is I didn't really have
anything to say, because, to be honest with you, the movie.

Speaker 2 (12:56):
I don't like saying. I don't think she's saying that.

Speaker 1 (12:59):
By the way, let's talk about Selburn. So Selburn is
definitely a fucking moment right now. And here's what I
loved about Saltburn. What I loved about Saltburn. It looked stunning,
It was beautiful, It was gorgeous sets, the cinematography is excellent.
I love the production design. I think that Emerald Fanel

(13:19):
is really creative and has a really good taste when
it comes to music in her movies. I think that
she often creates moments that are certainly iconic, and I
was I would say entertained the entire time, like the
way I'd be entertained watching like an MTV movie or
like a Netflix movie or something like that, you know

(13:41):
what I mean. Like, but when you're an Academy Award
winning screenwriter and you're tackling class, you know what I mean.
I guess I just assumed it would have more to
say than it did, because it ultimately said nothing and
almost makes a deliberate choice to be pulp. And I

(14:02):
have said before, like it's okay that she is a
pulpy filmmaker, Like it doesn't have to be a read
on her or a drag on her. It's just that
there were so many moments scripting wise where this could
have been something more or something not as heavy handed.
I also liked, I think half the performances in the
movie are really fucking good. It's just that when the

(14:25):
script goes to a Kouka bird place, the performances can't
can't help but lean into like craziness, and then everyone
looks a little silly because the script gets silly, you
know what I mean. Like, and ultimately, what I really
didn't like about this is, and again spoiler alert, this

(14:47):
idea that the big reveal is he was just a
psychopath and he was literally behind everything from the second
and the movie started. Like if that's true, then there
are so many.

Speaker 2 (14:59):
Whole in this plot.

Speaker 1 (15:01):
Yeah, like this reveal and a montage at the end
of the movie where it was him all along. First
of all, we've seen this a million fucking times, a
million times and more compelling than this.

Speaker 2 (15:17):
Yeah. No, I think it kind of undermines the entire
third act where Jacoblordi takes into his parents like that, Like, well,
then he wouldn't go into the house. She just wouldn't go. Sorry, Yeah,
these are big, These are big spoilers, But I think
the movie is a moment and that is an accomplishment totally.

Speaker 1 (15:40):
Becka producer. Beckett says people are just horning TVH. I
think that's a lot to do with it. And I
think that also she's satisfying a lot of people with
this movie. And like I said, I was entertained the
entire time. It's just that, like you wish it would
have meant something, you were not I was, were you bored?

Speaker 2 (15:58):
I was literally gonna say that I was bored, And
I fast forwarded through by the time. I but by
the time, so when you when you watch Vampire Kunlingus
and you watch like, you know, come bath tub lapping,
by the time it gets to like graveplot fucking, I'm like,

(16:19):
I get it, let's keep it moving, right, But I
think it's diminishing returns on stunts period in anything right,
like we reach a critical mass and I feel like,
I feel like it has all of these really weird,
interesting pacing issues. I think, yeah, half the performances being

(16:42):
great seems right to me. I could go into I
don't know.

Speaker 1 (16:47):
I don't want to got anyone for their performances. There
are some that are really bad in this, really really bad.

Speaker 2 (16:54):
I will pick on one person who I have never
ever ever cared for. Okay, m I think Rosamond Pike
has never pulled it off ever. No, I think she has.
I take it back. Jane Bennett absolutely mm hmmm, gone girl.
I'm like, oh, yeah, you're petishizer. It should have been
like a Jennifer Aniston. It should have been it should

(17:17):
have been Reese, you know, was perfect.

Speaker 1 (17:20):
I think gon Girl was originally Reese Witherspoon because she
and then David Senter, the director, told Reese it can't
be you because people have a sense of you already.
So they cast Rosamond Pike, which to me felt like
a weird choice because Rosamond Pikes, I don't know anyone
who looks like a killer more than from frame one
in Gone Girl, like.

Speaker 2 (17:40):
A huge compliment, huge compliment to her. She looks like
an intense, murderous woman, and I love that.

Speaker 1 (17:46):
I think she's really good at playing a fucking idiot.
And I think here's what I'll say about her in
this movie. She definitely has her lines, you know, she
she gives her lines. I think she's good in the
scene where he is telling her that he has to
fitions about their cousin or whatever, their adopted you know
friend or whatever. Like, I think she's good in the movie.

(18:07):
I don't understand Farley. I don't understand watching this movie
and walking away and being like, the supporting performance from
an actress in this movie that is stand out is
Rosamund Pike. Alison Oliver, who plays the sister.

Speaker 2 (18:20):
Valencia, that she was amazing.

Speaker 1 (18:24):
She ACKs that up.

Speaker 2 (18:25):
She was I think maybe the only actor who elevated
the dialogue from pulp into something filmic into something like
oh wow, this is great, Like, this is really really
great performance. And then that image of her at the end,
I'm like, that whole character beautifully tragic. The entire arc.
I'm like, and that's that's acting. That is I think
she's the only m anyway, Sorry, I'm getting Here's what

(18:48):
I'll say.

Speaker 1 (18:49):
I agree with you, she's the best performance in the movie.
I like Barry in the movie a lot.

Speaker 2 (18:53):
Either.

Speaker 1 (18:53):
Barry Kron's performance in the movie is fucking great, and
I think Jacob does what he needs to do. Again,
I wish they was more about that character that made
you really understand why he was the apple of his
family's eye, you know what I mean. But Barry, I
think is really excellent until the script forces him to

(19:14):
play too broad because he once he starts changing his
personality every second for every character he meets. You're watching it, like, oh,
of course he's like evil, you know what I mean.
There's no surprise at the end of the movie that
he is as diabolical and as psychotic as he seems,
because they've been telegraphing it now at that point, for
like over an hour, and so you completely take the

(19:38):
wind out of the sails of like what you've got
at that point, which is this you know, she's clearly
inspired by talented mister Ripley here, which is this like
love story that's becoming obsessive and you feel like maybe
he doesn't have control over to then say, oh, just kidding.
He had control over it the entire time. He's actually
the smartest person in the world, Mama. If that's true,
how come he didn't have a failsafe for when Ja

(20:00):
Jacob brings him to his family's house.

Speaker 2 (20:02):
He didn't have a way to get in, That's what
I'm saying. Yeah, yeah, yeah, he was wonderful.

Speaker 1 (20:07):
And he was at the end, like when that when
that script gets crazy and he's giving that monologue to
Rosamund Pike when she's intubated, It's like the only thing
that's missing is a snidely whiplash mustache, you know what
I mean. That's that's all that's missing, is like him
in a top hat and a cane being like It's like.

Speaker 2 (20:23):
Okay, I was wondering the entire time, like wait, so,
like why does why does he shift completely at the
midpoint personality wise? It would have been more interesting if
like it wasn't a masterminded plot the whole time, because
then it just then he is just kind of a
dimensionless point.

Speaker 1 (20:43):
Yeah, when you're watching a movie and it is very
clear to you that someone is being manipulative, that is
not a good performance of manipulation. You know what's a
great performance of manipulation. Emma Stone in the Favorite That
is a perfect performance of manipulation because you don't have
a finger on her, and that's why that's a great script.

(21:04):
But here it's just like, yeah, obviously, when a script
has obvious plot holes and you can point out and
be like no, then it doesn't deserve to be in
a scripting conversation. By all means, nominate the movie for cinematography.
By all means, in my opinion, nominate Alison Oliver. By
all means. There's things that are great about this movie,

(21:26):
but this whole thing of like the final montage being
this gag, it's not watch three other movies. And I
don't mean to be like a snob. I just mean
to be like, you can like watching him lock up
the com and fuck the grave and also be like, yeah,
this movie could have been better if it was about
one thing and if there was like research on anachronisms

(21:48):
like research on like ways that they could that he
could have actually covered this up, like just thinking beyond
the premise a little bit more and beyond the pulp
a little bit more to make this something durable even.

Speaker 2 (22:01):
The period of it is thinly applied. And to me,
it just kind of comes off as this like convenient
way out of like smartphones as a plot device, like
literally like as a way of like them looking up
the sky. But uh again and which it's like not

(22:24):
that the internet didn't exist in that this family would
have access to like I don't know like who like
regularly takes in these like interlopers. Yeah, doesn't like have
a way of anyway. My thing is, please someone talk
me off the sledge because it's actually driven me to
the brink of insanity.

Speaker 1 (22:42):
I think I know where you're gonna go.

Speaker 2 (22:44):
I looked it up schools in the UK. Yeah, go
buy just like in America, Class of graduating year, this
movie is supposed to take place in the summer I
guess of two thousand and seven. And then you see
the banner behind Barry Kyogins first scene welcome Class of

(23:06):
two thousand and six, which, to me, to an unsuspecting
audience makes them until it gets to like these obvious
like chronological markers later on. It makes me think that
this movie takes place in two thousand and two. It
starts off in the fall of two thousand and two,
and then it ends in the rest of It takes
place in Saltburn the summer of two thousand and three.

(23:28):
I'm immediately lurched into two thousand and seven because of
the super Bad on VHS, which hadn't come out on
VHS by that point. And then Emerald Fanella has an
interview has been like, no, it's okay, Like the dad's rich,
so he must be connected enough to receive like a screener.

Speaker 1 (23:44):
Wait does she say that?

Speaker 2 (23:46):
She literally said that, you're kidding. I'm not.

Speaker 1 (23:50):
She said to dad was rich enough to get us
where where I have to know where.

Speaker 2 (23:53):
She said that, I think it's on like her Vanity
Fair thing. I have to throw my head back in
cackle and break off my damn vertebra because of how
funny that is.

Speaker 1 (24:05):
Oh my god, and it's like.

Speaker 2 (24:08):
Fucking them screaming mister Bright's side, which is like okay,
but at that point it was already like a four
year old song, so to be fair.

Speaker 1 (24:19):
We would scream mister bright'side too if it came on
karaoke and.

Speaker 2 (24:22):
The summer of two thousand and seven, or because I
think mister Bright's side, I'm gonna say that song had
reached like a little bit of a valley a fallo
period before it resurged into.

Speaker 1 (24:35):
As a classic like it does now in twenty twenty four.

Speaker 2 (24:37):
This is what I'm saying. It's very clearly an anachronism.
Not an anachronism, but like a chronological marker for us
as an audience in twenty twenty three, twenty twenty four.
Then the MacBook on Jacob Elordie's desk is I think
I'm I'm about eighty percent sure, like a two nine
ten model. So these departments can be at a ten sure,

(24:59):
like like with Bradley, But the departments are hampered by
their direction. And if the director doesn't really give a
shit about these details, even though she is this like
aesthetically bold big swing director, I'm like, well, then what's
the point then? Like are you even good at that
part in which you profess to be good?

Speaker 1 (25:18):
You know what? Some British people have defended a lot
of this.

Speaker 2 (25:22):
Yeah, and they say that it is from the Brits
and you realize.

Speaker 1 (25:26):
I'll say this, I sort of am seeing this British
guy right of him fucking loves Saltburn. He loves sultburn.
He's a super well read guy. He's like, what, has
a lot.

Speaker 2 (25:37):
Of interesting things to say about class?

Speaker 1 (25:39):
And I was like, does it. I'm like, if it does,
what exactly is it saying?

Speaker 2 (25:44):
Because go see Parasite. Go watch Parasite.

Speaker 1 (25:48):
I just feel like when it's revealed that he's actually
from like at least middle class upbringing, which, by the way,
that scene drove me nuts because while Barry's parents are
talking to Jacob, Barry sitting there rocking back and forth
in his seat like a psycho, and I'm like, is
no one gonna ask him? What the fuck is up?
Like this is the weirdest movie ever. Like his parents

(26:09):
are just like, oh, you're back, yay, we didn't know
where you were. Sit here while we talk to your
new friend and you rock back and forth like a
mental patient. I'm like, I'm sorry, what is going on here?
What reality are we in? And again I'm watching it
with a smile on my face because I'm like, what,
but don't talk to me about this script. Don't talk

(26:29):
to me about the script. I'm sorry. You know what
it's when I say too many cooks, not enough cooks.

Speaker 2 (26:35):
Oh, British people sound smart, and so this guy that
you're seeing, I'm sure he's very intelligent. I'm sure he's
league smarter than me. I don't know about that. I
don't know about whatever the class commentary is here. I
think the idea of like watch Out for the middle

(26:57):
class people interloping in like upper class story, I think
somewhat interesting. It's been done before, but I'd love to
see more of it. I don't know that it's presented
in this compelling package that people seem to think that
this movie is.

Speaker 1 (27:13):
I just don't think she is creating the best versions
of these things.

Speaker 2 (27:19):
I wish her the best. I'm very excited to see
what she does.

Speaker 1 (27:23):
I am a fan. And here's the thing, Like, I
think it was Beyonce who said, you know you that
bitch when you cause all this conversation. You know who
has an oscar her? You know who doesn't me? And
that's fine. It's just like I feel a little perplexed
about praise when it comes to screenwriting, when they have

(27:46):
such obvious holes and this is not the first time.
And like I said, I completely get. And when she
won the Oscar for a promising young woman, I didn't agree,
but I applauded because what she had done, what she
had created, had had an impact and it spoke to
a lot of people to what end is this movie?
You know what I mean?

Speaker 2 (28:06):
Like?

Speaker 1 (28:06):
Where is that? And it's okay that it's just pulp,
you know what I mean. That's fine. You know how
many male directors are out there fucking pulp way worse
than this. Yeah, all these opportunities. It's really fun to watch.
I think I had maybe a lot more fun watching
it than you seem too, because I didn't fast forward
a second of this. I watched it with my mouth
open laughing. But then at the end when he rips

(28:28):
that intubator out of her goddamn mouth and it is
like ha ha ha ha ha and dances to murder
on the dance floor, which yeah, I've hit fifteen times
on my Spotify since watching it. I had to say,
this movie had nothing. It had everything and nothing. It
was great downs, beautiful gowns.

Speaker 2 (28:48):
Wow, thank you for that.

Speaker 1 (28:51):
And here's the thing, we're not even being cunted, because
I loved almost everything else I saw.

Speaker 2 (28:56):
We're not being cunsed, but we're getting we're getting the
continous out of the way. First again, we're going to
let's not spoil too much of the other films. Of
the other films, yeah, because.

Speaker 1 (29:06):
I feel like those haven't been like cultural conversations in
the way this one has. Let's start with all of us, strangers.
What were your thoughts.

Speaker 2 (29:13):
I really really enjoyed it, loved I think I got
lost in the sauce a little bit after the midpoint,
after a moment where he and Paul Mescal's character go
out and they went to They did go to Royal
Vauughell Tavern, which we've been to, which is where took
Princess Diana. Yes, we've been to that bar multiple times,

(29:35):
and so that's where they go out in that scene,
and then from there it kind of starts to unravel
in this really beautiful way, and the ending snatched me.
Bald Well.

Speaker 1 (29:48):
First of all, I just want to say this is
by Andrew High, who, Yeah, one of my favorite movies
this weekend, and I'll never forget, and I actually was.
I was a looking fan this first seas of looking.
I thought got really good by the end. And I
always love Andrew High's work, and I was really excited
about this because I'm a really big fan of the

(30:10):
entire cast. Yes, and this did not disappoint. I think
Andrew Scott is so fucking good in this. There's a
moment he has a scene with Jamie Bell, who also
is not getting talked about.

Speaker 2 (30:23):
I know the exact moment you're talking about.

Speaker 1 (30:25):
Suffice it to say, there's a scene between Jamie Bell
and Andrew Scott. I won't say what the relationship is
because you should see it. But there's a moment where
Andrew Scott has like sort of an emotional break.

Speaker 2 (30:39):
That comes out. It was only nowhere.

Speaker 1 (30:42):
There's only been one other moment this year or maybe
two in film that I've like. Out of Nowhere just
had like an emotional reaction to it. And he's just
so gifted. Yea, Andrew is amazing, and I cross my
fingers that he gets nominated for an Oscar for this
because his sense of emotional discovery is so on point,

(31:06):
Like he's just so fresh, She's so easy to watch,
she's so likable, and he feels like broken yet open
in this way that is so good. He's got unbelievable
chemistry with Paul mescal who is such a fucking superstar,
Like I would nominate him for an Oscar for this
as well as well as Clairefoy Claire boy in this

(31:31):
movie is it's just so great And I would describe
the movie with the exact words that are like the
poll quotes from reviews on the poster. It is haunting
and heartbreaking. And I don't know if I like it
as much as Weekend because Weekend holds like a very
special place in my heart, I think from seeing it
ears prior to this and just it's in like the

(31:51):
fabric of my life. But this movie was like really
unforgettable and like very surreal and makes a lot of
interesting choices that make you think in ways that I
think the movies we've talked about thus far are like playing.

Speaker 2 (32:07):
At Yes, they are playing at that, and I think
this is something that pulls it off much more elegantly
and does the thing of like bringing back an old
song and the power of love.

Speaker 1 (32:21):
I mean, always on my mind was what I was,
what I was living for, Like, I don't know, it's
just like he's got such a great language as a filmmaker,
and he's got such a strong aesthetic, and it is
here despite the fact that ultimately this is a different
genre than he's like ever done.

Speaker 2 (32:36):
I think this is a very big departure for him,
and I thought it was so amazing when I realized
what like. I went in pretty agnostic, and then when
I discovered what was happening, I was very captivated. And
I think that is a very important part of that
viewing experience for an audience member who maybe doesn't know

(32:57):
that going in.

Speaker 1 (32:58):
I can't say enough about this movie. I really loved it,
and it's worth seeing for the acting, and it's worth
seeing for the really, really, really I think compelling emotional
story that it tells, and talk about a latent film
reveal that like actually hits. Yeah, it's this, I mean,

(33:23):
like it's it's just great. And I had a sense
of it as it was going, but I didn't see
it playing out that way.

Speaker 2 (33:30):
So this was a great one. This was a great one.
Another trend notice saying between Murder and the dance Floor
and like faking goes to Hollywood and all of us strangers,
Indigo girls and Barbie fucking I don't know, like labby
Sa Frey and the holdovers like P I M P.
And Anatomy of a Fault a lot of like old
old songs kind of like create being very important features

(33:52):
in these movies and like them being all back in
the conversation in some fun way. That's another like trend
in this in this year, I think for movies where
I'm like, oh, that's fun, like make the song a thing,
a choice.

Speaker 1 (34:03):
I mean, hearing fifty cent pimp jump out like seconds
into Anatomy of a Fall was like not what I
was expecting you at all. And then at some point
like they make the point of like saying it was
an instrumental version, and I was like, oh my god.

Speaker 2 (34:17):
It so funny. And if you put on the subtitles,
like like I'm a subtitle girl, you put it on
it when it plays in the beginning, it's like P
I M P. By not by fifty cent, but by
like the instrumentalists, And I was like, oh, that's interesting.
Was that so I did fifty cent sample this thing originally?
But then like I think, it all kind of moved
back around in this perfect the.

Speaker 1 (34:38):
Original artist was called the instrumentalist.

Speaker 2 (34:40):
No no, no, no, no, was like on the subtitles
it said p I M P by like the names
of the people who are playing the instruments is what
it was said.

Speaker 1 (34:47):
Oh yeah, oh and it says instrumentalists. Oh so yeah yeah,
see gave it away. God, I gotta got it.

Speaker 2 (34:52):
Well, the CC like gave it away and said but
still the title of the song was still p Imp
even though fifty cents name didn't show up, and I
went right, oh, I guess if he sent sampled this
song also called Pimp by the people who like and
maybe that's true. Anyway, this is all this.

Speaker 1 (35:08):
Should we talk about Anatomy of the Fall because I'm
also fresh from watching it. Yeah, so Anatomy of a Fall,
just to just to refresh everyone if you don't know.
Anatomy of a Fall is a courtroom drama starring Sandra
Huler and she's getting a lot of Best actress buzz
for this, and essentially it's like a courtroom drama slash
thriller slash drama like straight up drama, which is about

(35:28):
a woman who discovers her husband has fallen from the
attic of their ski, their chalet, and then she's put
on trial for the murder because there's no explanation for
why he would fall. It was she. She is the
prime suspect. She's in the house. You find out there
is like something bubbling in the house. There's domestic drama,

(35:51):
There's there's stuff bubbling there, and it's just this sort
of it's essentially a courtroom drama, and it's really well
done and it's pretty and it starts with an instrumental
version of Pimp.

Speaker 2 (36:04):
I Want to Find the George Severis's Letterbox review.

Speaker 1 (36:09):
Of Anatomy of All was he county about this?

Speaker 2 (36:13):
No, he wasn't, but his review was very funny because
he said, so a woman kills her husband and now
she has to prove her queerness and court it's like
something along those lines. There's a queer element to it,
there is. This was great. I really enjoyed this. Maybe

(36:33):
it's not my favorite of the year, I don't think,
but I'm glad like it landed on people's radars. On
my radar, I really enjoyed watching it. Won the palmdor
can I think Justine Trier, the writer director also won.
She won the Palmd door But Sandra Ruler, great performance.
There's really wonderful and from.

Speaker 1 (36:53):
The kid betrays nothing And it's a very specific performance
of greed because it's not like you really don't. No,
you don't know the entire time she's done this, and
you kind of really don't at the end.

Speaker 2 (37:07):
I agree you don't. At the end, I was kind
of like, Eh, sure, whatever this I'm watching, and then
something kind of hits you in the last forty minutes
of the film where I think, oh, this movie, like
hold has something to say about the truth and about
like the way things are mediated or adeducated in this environment.

(37:31):
But like, if you don't know how it's I won't
spoil I think this is a spoiler because it kind
of like really hit me. But it's basically along the
lines of like, if you're not sure how something happened,
what do you do? And there are human instincts to
filling in that gap of information, And that's kind of
what the whole movie is about. That's kind of what

(37:53):
that courtroom setting is about, which I thought was very fun,
Like French court seems really interesting to me. They were
nice costumes.

Speaker 1 (38:00):
Yeah, I was really it was very compelling how it
plays out. Yeah, I didn't realize like, so basically, if
you before you watch this movie. It's not a typical
courtroom drama in that like it's you know, the way
that we see them play out. It's like this French
court where I guess the defendant can be questioned at
any time.

Speaker 2 (38:16):
At any time, and the judges can be sassy sassy,
and but I think this is like maybe in general,
what a European court looks like, because if you play
there's a game called Phoenix Right Ace Attorney, and it's
Japanese and it's modeled after European courts. Were like they
can just scream at the defendant at any point, and

(38:37):
in the game, like the defendant is always catching fucking
like shouts and stuff. And I'm like, oh yeah, like
this is how court rooms work in other environments.

Speaker 1 (38:46):
You could never get away with what the prosecution attorney
gets away with, Like he is such a dick in
the movie.

Speaker 2 (38:51):
I hated him.

Speaker 1 (38:52):
He's he was such an asshole.

Speaker 2 (38:54):
He was a little bitch.

Speaker 1 (38:57):
But you buy every every minute of this movie as
being like real, like it's such a grounded film, Like
it's so it's just really really well done, and mm hmm,
I think that you're onto something there about proving object
needing to prove objectivity or needing to like have objectivity

(39:17):
where there's none, like yeah, and it's almost like you
find yourself asking, like, so, what is the best thing
to do here at the end, even if she did
kill this guy?

Speaker 2 (39:27):
You know, right, there's the character dynamics. The way that
that sort of thing plays out between the characters is unexpected.
And the character who tells another character what I think
the movie is trying to say, does it in this
very interesting way where I'm just going to say, Like,
it's basically along the lines of like, if you don't
know how something happened, then you have to decide. Yeah,

(39:51):
then you have to just decide. And then the other
person goes, does that mean you have to believe it?
And then the person goes, no, you just have to decide.
It's a different thing. You don't have to believe that,
you just have to decide. And it really I've never
considered it that way. I've never seen that be so
elegantly stated in a courtroom drama like this, or in

(40:12):
any sort of like a legal sort of storytelling package.
And I really enjoyed it.

Speaker 1 (40:20):
The movie has more than one great performance too. The
sun is great. I'm gonna be.

Speaker 2 (40:25):
Oh my god. He's red Rum. He's from the Shining
too that they have the same as.

Speaker 1 (40:28):
He has a genius haircut. He has one coat where
he wears like like a red and blue coat, and
he's like walking with the dog and he's it's just really,
I don't know, it's that dog. I actually had a
fast forward past the dog scene because I was just like,
this isn't for me, and I understand what it is,
but I.

Speaker 2 (40:45):
Can't watch that dog is star, beautiful star.

Speaker 1 (40:50):
I was like, how did they get the dog to
do this?

Speaker 2 (40:52):
Well, you know what, someone else in the butterbox I think
I think it was fran I think it was fran Hepner.
It was someone else who was just like Jeppellier ASPC.

Speaker 1 (41:02):
It's honestly, I do have questions about how they got
the die to do that, what it experiences. Y'all will
see it and then we can talk. But anyway, not
to say that.

Speaker 2 (41:15):
It's not to say that there are ways to train
a smart dog like that to like act like it's suffering.
Don't pass the smell test to me though, girl. Anyway,
a dog is in pain, Well that's all we'll say, speaking.

Speaker 1 (41:28):
Of pain, should we discuss Poor Things?

Speaker 2 (41:32):
Yes? I loved Poor Things, adored it.

Speaker 1 (41:45):
I thought Poor Things again, Like, it's got excellent performances.
It is maybe the most your ghost movie yet. It's
almost like he's earned the right to be as fucking
crazy as he wants to now and make all the
choices that he want, and it feels like his intuition
is just dead on artistically, Like it all just feels

(42:06):
really fresh, new and interesting, not for the sake of
being fresh, new and interesting, but with purpose. And I
think that's something that's different about this movie than other
ones we've discussed as well. Emma Stone is so great
in this and it must have been really fun to perform.
So she basically plays a woman who has committed suicide

(42:30):
and she's brought basically back to life by Willem Dafoe,
who is like this sort of like Victor Frankenstein type character.
He's got like a house that's like almost a zoo
with like different animals heads on other animals bodies. Like
he's able to take Emma Stone's unborn child's brain and

(42:53):
put it in her own body, and so she wakes
and essentially she has a baby brain in an adult
woman's body, and then she matures very quickly to the
point where suddenly she's this like baby woman who has
a sexual awakening because she's in an adult body very quickly,

(43:16):
and very quickly starts to make headway in terms of
her intelligence. She starts to question the realities of the world.
She questions so much, and it really asked the question, like,
if someone were to just come to this earth and
immediately mature and be able to look at everything objectively
and discover what our world really truly is, what would

(43:37):
those questions be And are those questions really worth asking?

Speaker 2 (43:41):
Right now?

Speaker 1 (43:42):
Talk about a thought provoking movie. It's talks about, you know,
the reality of misogyny in our world, the reality of
the way that sex work is talked about in our world,
the reality of human tragedy in this world in the
way that we're asked to be okay with it, the
reality of abuse, you know that the structures of power
in this world. Like and it's all done playfully and

(44:07):
in a really interesting fresh way and has amazing performances
across the board. This had to be so much dare
I say fun for Emma to do because it was
giving ETW the best way. It was giving experimental theater
pheromenal theater in a really refined way. I really liked this.

Speaker 2 (44:26):
I think this is a really good, good team of people,
which is Emma Jorgos and Tony McNamara who also did
co wrote The Favorite and co wrote Cruella Ah with
Data Fox. So I think like there's a lot of
trust among these people. I mean, I think you want
to talk about writing, I feel like the way you
write Bella Baxter developmentally throughout the arc of her character,

(44:50):
and like just as she like matures into like language
is so difficult, must have been so difficult. And it
is based on a play, so there is like some
source text a little bit. But I took half an
edible and I was living. I was having a blast
at this movie, and just my prevailing thought was like,

(45:13):
how do you possibly I mean, the performance aside, how
do you possibly convey all of these things that this
person is discovering for themselves in the language of like
how she like what she picks up, when she picks
it up, when she like By the end, she's a
fully articulate person. And it's incredible if you think about it,
like at the beginning of this movie, she was just

(45:35):
claying on the piano and like waddling around with like
the little duck Dog, and I'm just like, this is incredible.
And the way the sets of the production design is incredible.
Led screens almost I think every outdoor scene was on
a sound stage D screen. So on the boat, those clouds,
those pink purple clouds, huge screen, right, minimal v effects

(45:59):
every like yours. Is like, I'm making this as practical
as I can, very few VFX. The fish eye lends
coming back from the favorite I love, just like it
kind of coinciding perfectly with like when the world opens
up another layer for her, for for Bella, Ruffalo, great Brady,
like Rommy Yousef and this, And I will say.

Speaker 1 (46:22):
What I feel is that Ruffalo is definitely one of
our best and Emma Stone is one of our best,
and you can tell they're having so much fun together
even when it gets like gnarly. I think that just
to talk about the script again, what's so great about
it is that it asks she in her discovery, asks

(46:47):
extremely base but also intelligent questions, and that is something
where he had to really think, like, Okay, I am
just now discovering the concept of prostitution, she as a
character asks, well, shouldn't we be picking who we sleep with?
Because it's gonna be better if we enjoy it, right,

(47:08):
you know what I mean? Like, wouldn't that be if
you're gonna pay for this, you want me to want
to fuck you? Right, because that would be better for everyone?
Like why do they come in here? And why are
we standing in the line, you know what I mean? Like,
And it's just interesting because it's like, oh, of course
someone who just walks into that situation is gonna think
about it like that, and because she's not cultured to

(47:29):
live in a world where, of course the men decide
they're the men, right, Even the question she asks, Oh,
that actor who played the madam was excellent. Yeah, her
name is Catherine Yes, yes, it starts with an age.
She was also in the Macbeth movie and she played
the witches, and she's like the cream of the.

Speaker 2 (47:50):
Crop, Catherine Hunter. Catherine Hunter. Yes, yes, she's a man.
She was excellent. But even that first moment where Bella
discovers what sex work is and it's just like understands that, like, oh,
you get paid to do this, She's like I get
paid to do the thing that I love to do. Yes, yeah,
of course let's do it. Like that is a perfect

(48:11):
starting point for that character. And then as she discovers
all of these weird yeah customs within it, like that's
when it's fun and interesting. But I really, really really
loved it so much. I was with it the whole time.
I was like, more and more and more. I was
sad that it ended, but ultimately so it just feels

(48:32):
like it ends on such a lovely, light, triumphant note
that I really liked. I really I'm like rooting for
it all the way.

Speaker 1 (48:40):
I was uncomfortable the entire time because this movie is
a little bit more grotesque than I like to watch.
Like I think whenever, whenever the tone of a movie
is anyone could vomit at anytime. I'm not having fun,
you know what I'm saying. And like, by the way,
so much vomit in movies to ski there more? Is

(49:01):
there more vomit in film this year than ever? What
have we tracked so far?

Speaker 2 (49:05):
Vomit? Old songs, black and white or like or like
fake conteina on things come sure.

Speaker 1 (49:12):
There's come every there's Oh when Paul Maskal looks to
come off Andrew Scott's chest and all of us strangers.
I said, important, Paul Mescal, you will always be well.
I ultimately, ultimately what I have not stopped thinking about.
I think Matt Worker was telling me it was I
think it was like some writer was saying that this

(49:33):
was the year of the Doll, Barbie, poor things. Just
literally like just like Megan Megan, where it's like Doll
goes out into the real world like Little Mermaid, like
a lot of that and interesting, interesting thing to think
about Taylor, even on some level where it's like you
put different costumes on her for her eras Barbie walking

(49:56):
around in real life. Yes, let's discuss I'm American fiction.

Speaker 2 (50:01):
Yes, love it. Yeah, you go first, really really enjoyed it.
Jeffrey Wright is a deeply, deeply important actor. I think, oh, yeah,
he's the best. Remember we interviewed him at Wultterfest Ones.

Speaker 1 (50:13):
I had forgotten this and I was watching it and
I was like, have I met him? And I was like,
I think the answer is yes.

Speaker 2 (50:19):
He was great vibes. He was very cool to talk to.
I remember he liked us, not for nothing, but he
was excellent in this cour Jefferson. What a great debut,
What a talented writer, what an excellent mind. I really
liked how this was about a communal cultural trauma that

(50:43):
this character was gauging his distance with, but while also
dealing with his own personal trauma, like fucked up things
happening in his own life. I really thought it was
interesting that it was a movie about palatability that ultimately,
I think, and this is not a knock on, the
movie was in a very palatable package that it was
like a lovely indie from like Yester Year in a

(51:07):
way that was like really nice to watch. So those
are my general thoughts.

Speaker 1 (51:11):
I think this is one of the most original scripts
I've seen in a really long time. And just this
is where a writer director has complete control over what
he wants to say and what he wants to say
is really new and I what so American fiction is about.
Jeffrey Wright plays a man who is a successful novelist,
but he's having trouble at this stage in his career

(51:32):
because he can't sell a book because it seems like
the market wants something he's uncomfortable giving. So he's a
black man and basically a character played by Esa Ray
is having a lot of.

Speaker 2 (51:45):
Was making me laugh.

Speaker 1 (51:47):
Greats is great in it, and I'll tell you who
else is great in this is Tracy Elis Ross. Tracy
Elis Ross was awesome in this and there's a twist
with her character that took the wind out of myself too.
But basically, to speak this movie what it's about, it's
like he's playing a guy who doesn't want to sell
out and do a book that's about like racial stereotypes
like Isa. Ray plays a young novelist who's having a

(52:10):
huge success with a book that reinforces a lot of
harmful stereotypes about black people and he hates it. He
turns his nose up at it and he's like, I'm
never gonna do that. So in his personal life this
is tough because he really needs to sell a book.
He is going through a lot of personal struggles. His mom,
who's played by this shook me. Fucking Leslie Ugghams. It

(52:33):
was unbelievable, Like I couldn't believe like that was I
hadn't seen her in years icon legend and his mother
is vastly deteriorating into Alzheimer's. There's money problems, etc. Like
he needs money bags so as a joke or as
like a bit, and when he's drunk one night, he
pumps out this novel that is like the most base,

(52:57):
like really like reduction movie where there's like a lot
of gang violence, et cetera. And then lo and behold,
the market goes crazy for it and it becomes like
this huge success and he has to deal with the
fact that now this thing he hates is this thing
that's actually coming to fruition in real time. Like he's like, Wow,

(53:17):
I'm actually being the harmful thing I hated, and now
I can't sit with myself and his life sort of
like falls apart. But what I loved about this the
most is that it is this you know, meditation on
how as a creator you can stand by your work
and yet also participate and thrive in a commercial market

(53:38):
that feels like it's for dumber and dumber and dumber people. Yes,
you know what I mean? Yes, And in the meditation
on that, you get to the end of this movie
and the story is told. But what cour Jefferson has
been able to do is also tell this story, this
very human, relatable story about this man that ventally is

(54:01):
a new installment in I guess you could say American fiction.

Speaker 2 (54:05):
Yeah, you know what I mean.

Speaker 1 (54:06):
Like, while we're having the conversation about what it means
to participate commercially while also being able to stomach yourself artistically,
we've also been almost in the b story actually told
this new story that like proves you can do both
and proves you can do what you want to do. So,

(54:27):
I mean, this was doing a lot of things all
at once. I loved it. I loved the performances. Sterling K.
Brown plays gay and I loved it. He's hot as shit.
And if there's little clibbles I have with the movie,
maybe it's a little uneven in terms of that plot line, sure, sure,
I didn't care.

Speaker 2 (54:46):
That is my main complaint is that that character was.
I wasn't sure what the he's there tell Monk the
main character something at the end. But otherwise, like a
lot of the character details, I was like, what is this?
Where does this go? And maybe it doesn't go anywhere,
And that's fine. Eric Alexandrew plays the love interest excellent
as well, very good.

Speaker 1 (55:07):
She's great. I think that there's something in this movie.
And I asked the question about accepting yourself versus the world
accepting you, you know what I mean, and how those
two different things, and really ultimately all that matters is
that you accept yourself and that you can be good
with yourself. There's something in the narrative about like because

(55:28):
Sterling K. Brown's character is gay, and you get the
sense that his parents did not accept him.

Speaker 2 (55:34):
And then he's got he's got like a.

Speaker 1 (55:35):
Crazy like block because of that, Like he's got drug problems,
et cetera. But there's there's so many layers in this
movie that I can't say enough about it. And I
hope it gets nominated for an Oscar for the script
because it told a really funny original story. I laughed
a lot, and by the end it ends in a
really surprising way, and I was just like, oh wow,

(55:57):
the character like did something I didn't expect. Lots of
weird narrative choices here, lots of things I hadn't seen before.
And I appreciated the Swings.

Speaker 2 (56:08):
Great ending. Great ending just in terms of the Swayings
as if we're gonna talk about the Swings does some
really cool stuff. Yeah, great job everybody. Once again I
say great job everybody.

Speaker 1 (56:18):
A great job everybody. And we both loved The Holdovers.

Speaker 2 (56:22):
I loved it so much. Oh my god, I haven't
heard you talk about it. Yeah, I haven't talked to
you since you saw it.

Speaker 1 (56:31):
The Holdovers is just a classic great story. Yeah, you
know what I mean. Like sometimes, here's the thing. These
movies don't have to reinvent the wheel or pretend they're
reinventing the wheel. Just tell a great story. And Alexander
Payne is one of our great storytellers. And he has
got such a handle on his tone, in his language.
This is just a filmmaker that knows himself so well.

(56:52):
So The Holdovers stars Paul Giamatti, who's I think him,
and Andrew Scott. It's between them for me, for the
Oscar for me. But basically, Paul Giamatto plays a very
strict traditional teacher at this all boys school.

Speaker 2 (57:09):
It's like an all boys prep school. I guess boarding school.

Speaker 1 (57:11):
Yeah, yeah, boarding school. And basically he has to stay
behind over Christmas break and stay with some students that
also need to stay for Christmas break while all the
other students go home with their families. So he doesn't
have a family. He's like sort of a curmudgeon and
he stays behind with a select few students, and also
the head cook who's played by Divine Joy Randolph, and

(57:34):
she plays Mary who's recently lost her son in Vietnam.
So it's really ultimately the story of Paul Giamatti, Divine
Joy Randolph and the one kid that gets left behind
solely at the school, who's a newcomer named Dominic SSSA
who's great yo, and about their bond and the way
that they all change for the better as a result
of spending that winter break together. Just a really emotional

(58:00):
implicated in terms of character dynamics, but not complicated in
terms of plot or like any storytelling thing, Just like
a really good story that makes you feel really good
at the end because you get the sense that you've
watched an important installment in these people's lives all and
it's just really great and leaves you with a good feeling.
And it's honestly like as in terms of holiday movies, like.

Speaker 2 (58:23):
I was gonna say, all, hold up, the new Christmas
classics are have you heard of Christmas? And they'll holdovers period.
I am pressing play on these things every year. I
loved you so much, of course, sister, my favorite Alexander
Painson selection. I think I like this better than Sideways.
I didn't think I would say that I love Sideways,

(58:43):
and I kind of think I can't be the only
person who's pointed out how ironic it is that it's
the opposite of election, right, like teacher, instead of antagonizing
a student, like really grows to nurture and love and
make a huge sacrifice for a student. I just really
thinking about it now, and I'm getting an emotional just
Davine Joy Randolph. I think she is probably front runner

(59:05):
for Best Supporting.

Speaker 1 (59:06):
Oh, she's absolutely the front runner. Well she's she's not
lost a single award, so freak and mind you. So
one thing is we're recording this.

Speaker 2 (59:15):
We're recording this before the Golden Globes, Yeah.

Speaker 1 (59:17):
Prior to the Golden Globe. So you won't get any
Golden Globe reaction in this episode, as you probably can tell,
because we would probably would have mentioned it by now.
But if Divine Joy Randolph loses the Golden Globe tonight,
that would be a huge nub because she's won everything.
I don't know that I understand completely why it's a
total clean sweep, because I think supporting actress is really good.

(59:40):
This year. I think supporting actress, actress and supporting actor
are all really strong. An actor is incredibly weak, but
there's a couple of great performances. For me, Divine is amazing.
I just wish that there could have been maybe one
more scene or one more thing with her character, just
to give her like a little bit of a or

(01:00:00):
a glimpse inside, because she's this incredibly real person who's
like really solid in the movie. It's just I'm not
understanding why it's been a complete knockdown drag out, because
there are amazing performances this year in supporting actress.

Speaker 2 (01:00:16):
I'll touch on the color purple in a second.

Speaker 1 (01:00:18):
Oh, Julianne Moore in May December is great. Let me
just for a second. Are you there, God, It's me Margaret.
Rachel mccadams is so special.

Speaker 2 (01:00:29):
I need to watch Bowen.

Speaker 1 (01:00:33):
You I know, are a Rachel fan. Yes, you have
to watch Are you there, God, It's me Margaret. So
before I talked about that moment and Andrew Scott's performance
where I've involuntarily broke down, that happens in this movie
at the least. Obviously, Are you there, God, It's me
Margaret is a classic coming of age novel, and it
wasn't really on my radar because I thought of it

(01:00:55):
as like, and this is my own mistake. I thought
of it like, oh, it's like, you know, like a
book for it's like ya, you know what I mean?
I thought, it's ya whatever. I love this movie so much.

Speaker 2 (01:01:05):
That was your first mistake is writing off ya? Bitch?

Speaker 1 (01:01:08):
That was my ever and it will be the last
time I write off ya because this adaptation of it
is so lovely. Rachel mccadams is so you know what's
fucking you know what's fucked up about her. I'm watching
her in this movie and she naturally projects so much
warmth and love and we're looking at Regina. I'm like,

(01:01:31):
this bitch is she is so talented. She can do anything, anything,
And I hope she gets an Oscar nomination for this
because the movie succeeds beautifully and it is because of her.
And there's a moment towards the end of the movie,
so I won't spoil, but there's like a milestone in
the lead character of Margaret's life and Rachel's reaction to

(01:01:56):
it and the love between them is the success of
the whole movie. Chef's Kiss. Rachel McAdams. I just love her.
I just love her.

Speaker 2 (01:02:09):
She's one of our greats. She is really one of
our greades. Oh I love Rachel. I can't wait.

Speaker 1 (01:02:15):
I mean, I just fucking love her. And yeah, I
mean that might be all for the movies I saw.
I know you haven't seen Color Purple. Oh. Oh, should be.

Speaker 2 (01:02:24):
Talking about Past Lives. I know, Past Lives.

Speaker 1 (01:02:28):
Oh my god, I finally saw Past Lives. It was great.
I will never forget that ending. Yeah, And you know
what I love about Past Lives. It's about It's about
these characters who had an intense connection as children, and
then they lose each other in life because she moves

(01:02:48):
to America and it takes place in Korea. And then
years later they reconnect online and they have like an
intense online relationship that she ends because she realizes she's
sort of in love with someone on a computer and
they're not going to see each other. And then it
passes twelve years again into the future when they're in
their mid thirties and they have a meeting again. And ultimately,

(01:03:10):
what this movie is about is about the importance of
and validity of those connections that may not be life long,
but they are unforgettable and you won't forget. Like for me,
it wasn't a sad movie. It was more of a beautiful,
lovely movie that was about just how we can look
at those connections and those relationships of people that, like

(01:03:33):
you know, may we may never see again, but will
always remember as good things, and there's a way to
include them in your life and in the landscape of
your life in a way that doesn't have to feel
like longing or the one that got away. You know
that it actually really helped me in many ways. I
left them really heeled.

Speaker 2 (01:03:50):
I felt Wow. You know what the movie does, which
is really incredible, is that it is so compassionate to everybody,
including Josh Magaro's character, who is the is her current
boyfriend boyfriend grete Les, Yeah, yeah her. She meets at

(01:04:12):
this artist's retreat, and their meeting is really lovely and
nice and organic and is completely beautiful, and there's there.
There are a couple scenes, and one in particular that
takes place at a bar that is actually the first
opening image of the film is these three people at
a bar and this long lens and these people talking

(01:04:33):
over them, going like who do you think they are
to each other? Yeah, these long lens, far frame shots.
That concept of distance is so well employed in this.
It's about voyeurism in a way. It's about like watching
from afar this thing, whether it's you, I think it
is about long and ultimately and it resolves itself really
nicely by the end. But it's to me like it's

(01:04:54):
so visually subtle and really nice, doesn't get in the
way of any of the things that are going on,
any of the other things that are going on on screen.
But yes, compassionate about that guy. That guy and this
love triangle as it were, where you go, we'll get
him out of there. You never think that, do you.

(01:05:17):
And there's this lovely moment between him and his son,
Tao Yu's character, by the way, huge star. I hope
he really is in more things that actor. There's a
moment between the two men at the end of the
bar scene where they go, you know where hey son goes.
You know, you and I have I think it's in
this like Korean concept like you and I have had
a past life together too, and like it really seals

(01:05:41):
that triangle in such a beautiful wayre It's like these
two men are meaningful to each other too, no matter what,
even though they've just met, even though they may never
see each other again. To the relationship between these two
men is so important. And there's a moment at the
end that I think you're talking about, where it's this long, long,
long shot that tracks these two people and then attracts

(01:06:05):
someone else on the way back. And I realized in
watching that part again, that moment encapsulates the entire movie.
It is like this long tense journey these this reunion
of two people who are walking. She's sending him off,

(01:06:26):
and then there's this long, uncomfortably long, sexy, horny, sad
stare between these two people that's like a full minute,
I think, or something like that. It's just long, and
it's loaded and it's heavy. And then he gets into
a cab, into an uberan leaves and then she walks back.

(01:06:47):
I'm sorry if I'm spoiling this. It's been out for
a few months, several months at this point. But and
then she meets Josh again, and I'm like, that's the
whole movie. That's the entire that's the entire thing of
the movie is just like that moment of letting go
and then of returning to someone who is waiting for you.

(01:07:10):
And there's something incredibly simple about that that I have
not seen in a movie. I really really, really loved it.
And gret is getting all the pret she deserves.

Speaker 1 (01:07:21):
Yeah, she's so great that I think it's career changing
for her. I would say that first and foremost, this
is like a directorial oh clean song. I mean, so
I'll say this. I went and paid to go see this.
I saw it on Twelfth Street in New York and
it was the only movie I've seen where people applauded

(01:07:42):
at the end.

Speaker 2 (01:07:43):
Wow.

Speaker 1 (01:07:43):
It was the only movie I've seen out of all
of these where people were like moved to clap at
the end.

Speaker 2 (01:07:51):
Wow. And I was just like, well, no, no, I was
gonna say, peop applauded at poor things and in American
fiction for me, but keep going.

Speaker 1 (01:07:56):
Okay that you know what I lied, because as I
transition into the color purple, it got a huge ovation.
I actually want to say that I was able to
see a screening of this that had a top back
afterwards with the director Blitz buzzawul A and Fantasia and
Taraji and Niel and you know, Corey Hawkins and the

(01:08:19):
choreographer Fatima Robinson was there and it was just it
was a Monday night and so a lot of Broadway
people were off, and so the energy was so amazing
in the screening room and it was so thick, and
every number that was successful got like a big ovation.
And at the end the movie really sticks. The landing

(01:08:41):
at the end, like it's just so emotional. It's last
scene and I haven't been so happy to see Sierra
since they like a boy music video, I mean, comes
in at the end and eats down. She plays the
adult version of Neddie. Let me just say a few
things about this movie performances us. Yeah, Fantasia is so

(01:09:03):
good in this and it makes me so happy because
she has not gotten her due and she's so talented.
The way that she inhabits this character, it's like, I
think it's like the definitive Sealy for me, because the
way that she carries her body, there's this like resignation
in her and there's this just like deep it's almost

(01:09:24):
like she's like resigned to her depression in her lot
in life and the way she holds her body. And
then by the end you see her shoulders are back,
not to quote I'm here, but like there's this like
beautiful arc that she plays, and her voice is so stunning.
And what I loved about the movie was not only
the trio of performances at the center, which are so great.

(01:09:45):
I mean, Danielle Brooks so great in this to Raji's
incredible in this. But what I loved was that the
script and I thought this was one of the directorial
choices that worked. Imagines a world where we are often
see like the diegetic I guess you would say is
that a lot of it takes place in Silly's imagination,

(01:10:05):
and so that allows the movie to go in really
interesting directions aesthetically. And I would also compliment the sound
editing of this movie. For a musical, I thought that
you couldn't really tell what was being live stung on
what was recorded, like the voices were in front of
the music and exactly the right way. Just great musical
theater in this. And I actually saw Fantasia do the

(01:10:28):
Color Purple on Broadway all those years ago and it
was stunning. Then I really like this musical. Now is
the part where I have some criticism for it. So
one of the reasons why I love the musical is
because it's a really it's actually an even it's an
even more accurate adaptation of the book than the movie is.

(01:10:48):
The queerness is a lot more present in the musical
than it was in the movie, where basically they reduced
the queer storyline, and it's important.

Speaker 2 (01:10:57):
To the movie musical or the they were the.

Speaker 1 (01:11:00):
Musical the musical is is really an adaptation of the book, yes,
and not the movie, So the movie is its own thing,
and the movie sort of reduces the queerness. And the
reason why I'm here happens in the musical on stage
is because it obviously happens the eleven o'clock number. And

(01:11:21):
Sug decides she's gonna leave Cely, so they're in like
a lesbian relationship basically, and Celia is at all these
disappointments and all this abuse and all this loss in
her life, and finally she's like running her store at
the end of the story, and Shug decides she's gonna
leave to have a final fling because that's who Sug is,

(01:11:42):
and Cely breaks down and she's like, I can't believe
that you're leaving me. You said you wouldn't do this.
I love you and you still do this to me,
and Shug swear she's gonna return, and Cely says no,
and that's when she starts to sing, I don't need
you to love me this, These are all the things
I have. And then I'm here comes as a result

(01:12:03):
of Cely finally saying I am not going to let
myself worth and my happiness be dictated by other people.
I'm beautiful and I'm here. That's what that is. And
plot wise, it happens because Shoke decides to leave and
Seely says, you know what, even after all this disappointment,
I'm not gonna let you destroy my happiness and my

(01:12:25):
personhood and my security with myself and my self love.
They took that out.

Speaker 2 (01:12:31):
Of the movie, and so there is no runway for
I'm here, is what you're saying. No, yeah, and that's
that's tough because you want that runway.

Speaker 1 (01:12:42):
It is incredibly disappointing because Fantasia is giving her life,
She is giving her life to this song, and she
has given her a life to this performance, and not
only do they take the juice out of the narrative,
but it's not shot well, oh, I'm Here is shot

(01:13:05):
in the dark, and especially after all of the really
innovative ways in which they shoot these other numbers, because
they allow it to happen in the realm of her imagination.
And he absolutely nails hell no, which is Danielle Brooks's
big number, and then I'm Here happens and it's just

(01:13:27):
a thud, and I was so bummed. Yeah, And then
I saw an interview with him and some of the
filmmakers where they were like, oh, we took out the
storyline of sugar leaving, I think because they wanted to
make it like more clear and more about like sisterhood
and solidarity. And I'm like, how do you make this
a better queer story by taking the tension and the

(01:13:49):
conflict out of the queer relationship.

Speaker 2 (01:13:51):
To make it more and that they think that makes
it more clear. That doesn't make sense.

Speaker 1 (01:13:55):
None of it makes sense to me. It is a
total failure and adaptation of this story. And to me,
I don't know. Yeah, I was loving this movie until
I realized what they had done with that storyline, and
I was just like, I'm sorry, but this is not
this is not the best version of this story. And
then you know, what. Go online and watch some clips

(01:14:17):
of the Color Purple Musical. Watch the scenes where Sugar's
telling Cely that she's gonna leave, and how that launches
Cely and I'm here, and then how I'm here dovetails
into the finale. That is like how that story should
be told. That is like, that's the emotional climax of
the movie. I love the story, and it's just I

(01:14:39):
was really disappointed in that, which really sucks because I
loved the movie for so many other reasons, and I
think that especially fantasious performance as Ceily just deserve better
than what happened in the end.

Speaker 2 (01:14:52):
Right, It's not a performance, No, it's just soctorial.

Speaker 1 (01:14:56):
She for all intents and purposes, should be up for
an Oscar.

Speaker 2 (01:14:59):
She won't be, though she could take that fifth spot.

Speaker 1 (01:15:02):
It's definitely a race to the fifth spot.

Speaker 2 (01:15:05):
For Lock and then it's just about that fifth girl.

Speaker 1 (01:15:08):
I wouldn't nominate Kerry Mulligan for Maestro. I just don't
think the movie's good enough. Like here's My best actress
would be this, and honestly I'm giving Fantasia. I want
this for her. My best actress would be Natalie Portman,
Margot Robbie, Emma Stone, and some combination of Fantasia, Grete

(01:15:29):
Lee or Sandra Huler. I just wish I could say
Fantasia with my did you say Lily, Lily Flower?

Speaker 2 (01:15:36):
I think she's a lock for sure, having not seen it,
I think it seems like the scuttle butt is that
she is a lock. I think, don't rule out Fantasia.

Speaker 1 (01:15:46):
Look, I'm not ruling her out. I want it for her.
I just think it's a shame it can't be called
a lock, and I really think it could have. But
when you see this movie, you'll know what I'm saying.
I'm here happens. She stands on her porch and sings
it in the dark's And if I was her, I'd
be pissed.

Speaker 2 (01:16:04):
Yeah, light me, I would say, I mean light me properly.

Speaker 1 (01:16:11):
That is a lifetime that leads up to that performance,
and she did.

Speaker 2 (01:16:14):
It in the dark No. Unacceptable.

Speaker 1 (01:16:18):
I was disappointed.

Speaker 2 (01:16:28):
What's not disappointing? And we have to touch on.

Speaker 1 (01:16:31):
This better than any of these movies.

Speaker 2 (01:16:34):
Truly, one of the most riveting viewing experiences I have
maybe ever had. This brought me right back to me
in high school watching Grey's anatomy super Bowl episodes. We
are talking, of course, about mysteries revealed real housemves of
Salt Lake City Season four finale. I cannot stop thinking

(01:16:57):
about this and likely will never for the rest of
my life.

Speaker 1 (01:17:01):
I think maybe the best episode of housewives of all time.

Speaker 2 (01:17:05):
Big, big title, and I don't disagree. I need no
more than I do.

Speaker 1 (01:17:11):
Emerald Finella needs to watch this episode because this Monica
Garcia did what Barry Hewen never could do, which was
that was a real bamboozling. Like yes, first of all,
can we say the core four of LC A list?
They shot to the A list. They were all them

(01:17:35):
standing on the beach. You know what I was flashing
back to was when we watched Big Little Lies, and
we got to watch this together too, the finale of
slscree watched together with a great crew screaming. I've never
heard a scream and a laugh at the same time
like I've heard it from Bowen Yang at the words
reality Vontee's.

Speaker 2 (01:17:56):
It's such a perfect stupid name. It is. It is
the only name it could have been, do you know
what I mean? Like there was like some a lot
of chatter afterwards in our little group that night where
we were like, God, that name though I don't know
about that name. I'm like, no, it is the perfect
stupid name, stupid avatar fucking like Celesteiyim reverse image search

(01:18:21):
reality Vontiice's avatar image on Instagram. It is from like
a product image on some like gear site like burlesses
gear site or something, or not even Burless. But I
think DTA might be da seuing.

Speaker 1 (01:18:35):
I think Dita was like, I don't know what this
is and I will take legal action if I feel
like I have to.

Speaker 2 (01:18:40):
I don't want my name in this at all. I
think it makes her more iconic.

Speaker 1 (01:18:43):
First of all, from the beginning, that episode was great.

Speaker 2 (01:18:48):
From the beginning of the season is this has been
an A plus season all around.

Speaker 1 (01:18:52):
This was I might have to give this incredible Well
you know what I did afterwards. I've watched it twice
and I did watch the first episode of the Sea
and again, kudos to the editors because it is all there, there,
It is all there. This season has rewatch value. Boots, Boots,
it is so good. Meredith the girl with the pear

(01:19:17):
earring could never over this still of Meredith with her
hair in her mouth in anguish. People are trying.

Speaker 2 (01:19:23):
To hurt us.

Speaker 1 (01:19:24):
It is so sick of.

Speaker 2 (01:19:26):
Trying to hurt us.

Speaker 1 (01:19:28):
Also, Lisa, Oh my god, you're gonna cry. What? Oh
my god? Wait what what?

Speaker 2 (01:19:35):
I got your text? What's going on?

Speaker 1 (01:19:36):
I got your text? What's going on? It's wait for Meredith.
She's walking over. Honestly, Carrie, Miranda, Charlotte and Samantha are
so over. It is about Meredith, Lisa Whitney and the
legend Heather Gay. I mean, Heather, you really did something there.

Speaker 2 (01:19:59):
You will be in the Hall of Fame for all time.

Speaker 1 (01:20:03):
Yeah. If there's a Hall of Fame for housewives, Heather
you solidified it.

Speaker 2 (01:20:07):
You really did.

Speaker 1 (01:20:08):
And it's been it's been not always smooth sailing for
Heather on the show. But I feel like she freed herself.
She freed herself, and you always root for her.

Speaker 2 (01:20:17):
You always.

Speaker 1 (01:20:18):
She's the protagonist. She Heather Gay is. Yeah, you know,
she's the star of the show.

Speaker 2 (01:20:24):
Yeah.

Speaker 1 (01:20:25):
I don't know that there's a more satisfying reveal than
she gave me a black eye and she knew she
was She knew what she was doing too. The black
eye of it all.

Speaker 2 (01:20:42):
I mean, I think we were all saying right like
that finale was pulling in threads from seasons one, two, three, four,
It was. It was Avengers end game level storytelling where
you're about to close all of these loops. It does
make me think what's next in a genuine way. But

(01:21:03):
I'm not gonna worry about that too much me neither.
I'm just still applauding that moment in television because I
have not felt and thank god I had people over
that night because I was gonna just maybe watch it alone.

Speaker 1 (01:21:16):
No, No, that needed to be a communal experience. I'm
so happy it was.

Speaker 2 (01:21:21):
I just think that is spectacular TV making just enough.
Like Little Red Herrings too, Like all the lead up
in the dinner to the moment of the reveal stupid.
It is these women like faking the drama, you know
what I mean. It is like we don't really care
what's going on. We just we're stalling until, like Heather
finds the right moment and she did. The moment is

(01:21:44):
so beautiful of Heather being like of Heather asking Monica
before the reveal, like, well then how do you know that?
How did you like? Or like what was the question?
Why do you think we believe you, Monica, why do
you think we believe Oh my god, why.

Speaker 1 (01:21:57):
Do you think we believe you? And then she goes, well,
I had the receipts.

Speaker 2 (01:22:00):
The team wasn't about the truth.

Speaker 1 (01:22:05):
It was about the truth. Receipt prove timeline, screamshots, fucking
everything to prove you a line of bully.

Speaker 2 (01:22:16):
And a troll.

Speaker 1 (01:22:19):
I I mean, I was so grateful that night.

Speaker 2 (01:22:24):
It was very grateful that night that I'm sorry love
to the Scandalfal era of reality television. That moment was huge.
I think you have to give some accolade to what
what all of season four of Salt Lake City was
should be nominated.

Speaker 1 (01:22:44):
It should be nominated, Bravo.

Speaker 2 (01:22:46):
If you're listening NBC Universal, if you're listening comcasts, start
the campaign now.

Speaker 1 (01:22:52):
It will win the way they put all the chips
on vander Pump last year for the Emmys, and then
you must do this for Salt Lakes. And I'll tell
you why. Salt Lake City is also great because it
was able with this storyline to double down on its
housewives subgenre, which is true Cup and I think it
knows that really this five reasons why, And I sent

(01:23:15):
this to Bowen. This is how academic I'm thinking about this.
Number five, we were able to move on and the
cast was able to move on. I understood the importance
of moving on from old conflicts. Meredith versus Lisa was done.
It was resolved in the first episode Heather versus Whitney.
It took a second longer, but it was resolved quickly.
The gen shaw of it all, they, for all intents

(01:23:36):
and purposes, had moved on until it had to be
dealt with again. So that's number five, is they moved on?

Speaker 2 (01:23:41):
Yeah?

Speaker 1 (01:23:42):
Number four, Angie was a way better housewife than anyone thought.
She was.

Speaker 2 (01:23:47):
Haavy.

Speaker 1 (01:23:48):
She's funny. I've never seen anyone really like her, and
she's unintentionally and intentionally watchable.

Speaker 2 (01:23:57):
She's been built up in a really nice way through
the season.

Speaker 1 (01:24:00):
And never forget you. We wouldn't have had Palm Springs
or any of that narratith ouligans without Antie K. So,
Angie K, you got your snowflake back for next season?
Really the house down.

Speaker 2 (01:24:12):
Watch out for Elsiecas this year. ANGIEK might show up.

Speaker 1 (01:24:16):
She might be showing up in multiple categories.

Speaker 2 (01:24:18):
She might show up on Iconic four hundred, she might.

Speaker 1 (01:24:21):
Show up in person, number three, the perfect amount of
Mary Cosby agree, agree, the perfect amount of Mary, like
we never thought we're missing her, and we never thought
she's too much like it was just the perfect.

Speaker 2 (01:24:42):
Amount, even in this conversation, even in the current discourse
about reality Vontee like the I think the night before
the finale, someone was with Mary and they say, Mary,
what are your thoughts about about the finale? But what
should we expect from the Salt Lake City for preside Vanilla?
She says, pray for Monica. Ooh, you guys should for
you guys better pray for Monica. And I mean she

(01:25:03):
was even that is the perfect amount of America. Even
that's the perfect amount of Mirria. And I'm sure the.

Speaker 1 (01:25:06):
Readion will give us the perfect amount. And they should
know that going forward. Mary never gets to snowflick again.
But invite her on the cast trips. Let her fucking
do her twenty minutes, sit in the van, go get
her fish fly We need the color commentary Number two,
they finally were able to go on like trips without
worrying about Jenshaw's fucking visa because she's a convicted fallon.

(01:25:28):
And number one was fucking Monica Monica gave that she
was an antagonist that was for the Ages, and I
say that also saying we do not need to see
her again on this show. We're done.

Speaker 2 (01:25:42):
I agree. I don't know that she was an antagonist
for the Ages until the last episode. I think the
entire season was like I don't know, I don't know
if I care for her until you had to care
and then you were like, thank god.

Speaker 1 (01:26:00):
I feel like, if you watch it again, watch the
first episode again, you'll see it's all there. It's literally
in the first Remember they did that insane segment where
they were Lisa walks by Monica on the street and
she goes the devil lurks among us and it's Monica

(01:26:20):
Like they've been telegraphing it from the beginning, but Monica
Loki like again did what Barry and Saltburn never could
do and actually manipulated them and the celebrating her birthday.

Speaker 2 (01:26:35):
Two days before. My theory family was never in Bermuda.

Speaker 1 (01:26:39):
We have to get to the bottom of this. Well,
you know what I want. I want a four episode
I want Bravos version of like fucking any documentaries. I
want Bravos. I want a four episode limited series called
Reality Vontis and it's Monica and all the people in

(01:27:00):
Reality Vontie's Tanisha at all CoA, all these people telling
the truth. I want a true crime limited docuseries. That's
the Bravo version of what we see for like the
fucking like.

Speaker 2 (01:27:13):
The vow you need to watch Mommy Dead and dearest
you get in to speed on the.

Speaker 1 (01:27:18):
You brought it up because I have watched nothing else
but Gypsy Rose Blanchard for the past three days. I
am obsessed.

Speaker 2 (01:27:27):
First of all, can we say I think she's specifically
slay on the view she was really good.

Speaker 1 (01:27:34):
Watched everything she's done. I've watched everything she's done, and
I've never seen a crazier person.

Speaker 2 (01:27:41):
I'm gonna go public. I don't think she'll mind me
saying this. Gypsy Rose. No, not Gypsy Rose. Oh you
know who else is obsessed with her?

Speaker 1 (01:27:49):
Who?

Speaker 2 (01:27:49):
Mariana Grande goes work, bitch work?

Speaker 1 (01:27:55):
Yes? And what else? Did she say?

Speaker 2 (01:27:57):
Yes? And she was saying that Gypsy Rose like can
have it all, like Gypsy Rose, like you have the
world in the palm of your hand.

Speaker 1 (01:28:08):
Gypsy Rose on her Instagram being like, hey, get ready
with me for today I comes like, I can't believe this.
She's like, my whole outfit is zaras I.

Speaker 2 (01:28:19):
Think, I'm like pretty cute, okaybye. This is this is
a girl who like is frozen in time in a
way like irrespective of prison, she has been like fucking
bio physiologically manipulated into being a certain way. And she
is like, this is another year of this is like

(01:28:40):
poor things ear of the Doll Barbie. This is like
girl steps down into the real world.

Speaker 1 (01:28:45):
Wow, you're right.

Speaker 2 (01:28:46):
She is figuring this out and we cheer her on.
She is saying all the right things in these interviews,
being like I did a bad thing, I've done my time.
Now I just want to live my life. And yes,
I have an ebook coming out. Yes I have a
lifetime series coming out. Watch it if you like. But
I'm not here to like fuck anything up. But if

(01:29:07):
people are interested in my story, here's how you can
find out more. Go off, Queen, We love you, Gypsy Rose.

Speaker 1 (01:29:14):
I mean, there's one more swift Y running the streets.
She wants to meet Taylor Swift. I don't know if
Tree Payne will allow it.

Speaker 2 (01:29:23):
Her favorite song being Karma is an L L. Yeah
it should be Karma.

Speaker 1 (01:29:34):
Kara's her boyfriend slang in that D. You see her
post about how the D is good?

Speaker 2 (01:29:39):
Yes, I'm obsessed with this queen.

Speaker 1 (01:29:41):
I think she's one of the great royals.

Speaker 2 (01:29:43):
She's one of the great royals. I mean her boyfriend
consider me her pawn. Karma was her boyfriend when Dedie
got stabbed.

Speaker 1 (01:29:50):
Period, poor Nick godjan a name. I know.

Speaker 2 (01:29:53):
Did you watch Mommy Dandiras? Did you watch the or
not yet?

Speaker 1 (01:29:56):
So I've not watched that, but I will what I
want to watch and what I probably will watch it? Yeah,
like because I et nothing on on Sunday night, it's
anymore worth it? Well, I want to watch the act
because another wormhole I felt down into is a Patricia
Arcatte wormhole. I watched you ever watched those like YouTube clips?
I don't forget who it is, but it's like it's like,
this is the timeline of my career.

Speaker 2 (01:30:15):
Yes, yes, yes, she has a good one.

Speaker 1 (01:30:16):
So Patricia arcat has one. That's good because she's got
done so many interesting things. She's really quite versatile as
an actress. Like absolutely, yeah, she's amazing, but uh, I
haven't watched it yet. Now there's because there's like a
new one right now, there's like Gypsy Rows, like in
my own Words or some shit.

Speaker 2 (01:30:32):
Well, that's her lifetime series, that's her as herself.

Speaker 1 (01:30:35):
I think, okay, I think it's like Gypsy Rose Confessions
or something. Basically, all these things exist and they're all
out there to be watched. But I've not yet watched
Mommy Dead and Tears.

Speaker 2 (01:30:46):
Mommy Dead and Tears is really good because these motherfuckers
at HBO paid for Disney Clearance to play clips of
Tangled because that was her favorite Disney movie. And how
poignant is that to make a point about it?

Speaker 1 (01:30:57):
Oh oh wo.

Speaker 2 (01:30:58):
She felt trapped. Her mom was like feeding her lies
about the world, like her life was tangled, and she
was like, I wanted Romance to resolve this. I wanted
to meet a boy to save me.

Speaker 1 (01:31:13):
Rapunzel's mom had Munchausins by proxy. It's actually a really
culture number. Mother Gotha mother.

Speaker 2 (01:31:17):
Go fucking deva mother gothel voice actress. Oh, I'm gonna
find it. I'm gonna find it.

Speaker 1 (01:31:28):
Donna Murphy, Donna Murphy, Donna Murphy. Donna Murphy is a
fucking icon.

Speaker 2 (01:31:33):
Is a fucking legend and one of the most gorgeous
people we we have.

Speaker 1 (01:31:37):
She's amazing. She's amazing before we get into I don't
think so, honey. I want your thoughts on the White
Lotus casting reveal.

Speaker 2 (01:31:45):
I'm very excited, very excited for Leslie Bibb as well.
Leslie bib is Leslie phenomenal actor.

Speaker 1 (01:31:53):
I'm so pumped for the random miss of this casting,
you know what I mean, Like it's like, of course
you never could guess, but I wouldn't have guessed. Like
even even the Parker posy of it all, which is
like the big poll is so genius, but I wouldn't
have guessed it. And I'm living for this Christopher guest
revolution in White Lotus, I said Catherine herron X.

Speaker 2 (01:32:17):
Catherine herron X or Parker is gonna be perfect in
this world. She's gonna be so good. And I love that, Natasha,
it gets to be the sort of recurring thing from
prior seasons. I can't wait.

Speaker 1 (01:32:32):
You know. The one piece of casting where I'm like,
I don't know, is this little on the nose is
I don't think anyone reads as more evil than Jason.
Isaac's right, and so I feel like I hope he's
not playing an evil character, because that's on the nose
to me. Unfortunately, that's kind of what happens when you
play Lucius Malfoy is you have like evil face and
you're British. It's kind of like you're bad. So I

(01:32:52):
kind of hope he doesn't play bad. But lots of
great actors in this, truly, and Michelle Monaghan, who I
hadn't thought, yeah, this is gonna be good.

Speaker 2 (01:33:03):
I'm just excited to see what mister Mike White does
with Asia and death. I think those being the themes
of this are really not the themes. One being the
setting and one being the theme is very cool. If
the theme was Asia, how would you feel that.

Speaker 1 (01:33:21):
I'd be like, Okay, okay, I trust Michael, I trust you, Michael.

Speaker 2 (01:33:28):
Very excited for yes, and mmmm, I'm just so you
guys know. I had some readers Katie's Publicist finalists on
my Twitch stream and of course some of y'all were
orientators who and this is my fault for spilling the beans,
but one of them got me to say a little
blab a little bit too much and egg on mine.

(01:33:50):
So I will not be doing I will not be
revealing too much, but it's a gag. Everyone's everyone still
love it.

Speaker 1 (01:33:55):
I will not be really too much for I heard
it and it's a gag.

Speaker 2 (01:33:59):
Well, no, that's already established.

Speaker 1 (01:34:00):
I've already.

Speaker 2 (01:34:01):
I've already no, I know.

Speaker 1 (01:34:02):
So for those of you who don't know, what bo
When is saying is that he's heard the song, let's
just keep it there.

Speaker 2 (01:34:07):
He loves it. It's really good. I love it.

Speaker 1 (01:34:10):
I can't wait, and it'll be two days after this
episode drops that everyone will hear it.

Speaker 2 (01:34:14):
Yes, yes, I can't wait. So exciting. Should we move on?

Speaker 1 (01:34:17):
I don't think so, honey, let's move on. I don't
think so, honey. I think maybe let's wait until next
week to talk about drag Race, because then we'll have
met all the queens.

Speaker 2 (01:34:25):
Yes, but so far, I like this first crop of queens.

Speaker 1 (01:34:28):
I had a lot of fun. I think that the
top two of the week, which were Cue and Sierra Sephira,
are probably the ones to watch. But I'm also into
Down a.

Speaker 2 (01:34:38):
Lot, really into Down. I really am excited for this season.
I thought I was kind of like in the lead up,
like eh, sure, yeah, drag Race whatever. Now that it's back,
I'm like, oh, I missed this I can't wait.

Speaker 1 (01:34:57):
All right, so it might be I don't think Sohney, Yes, okay,
and this is our one minute second where we go
off on culture. If you know, you know this is
the ninth season of Lost Culture is thus okay, this
is the first episode of the ninth season of Lost
Culture Create. So if you're joining us now, you're just
in time to hear that I don't think Sohney is

(01:35:19):
our one minute second where we ran on something in culture.

Speaker 2 (01:35:22):
But if you know, you also know I have something.
Let me get my phone. Let me get my phone, okay,
Darling the year.

Speaker 1 (01:35:28):
Can I say it actually took me a second to
realize a mandatory meeting was a mandatory meeting. I don't
know why it took me, But when that one queen
was like, oh my god, I just got it, I
was like, wait, me too. And I just thought if
her last name was meeting.

Speaker 2 (01:35:43):
Oh no. Have you seen the pit stop where Trixie
like has to take a break to laugh at how
fucking amazing that name is. It's one of the best names.

Speaker 1 (01:35:54):
Oh wow, I have to check in on the pistop
again because Trixie's doing it.

Speaker 2 (01:35:57):
Okay, fine, Trixy's I had taken a break a mandatory
eating is really really good.

Speaker 1 (01:36:01):
Okay, and I love performance.

Speaker 2 (01:36:03):
My Kitty, My Kitty, Where's my kitty? It's very Matros coded.

Speaker 1 (01:36:08):
Yeah, someone yelled at me across the party. She is
your same voice.

Speaker 2 (01:36:12):
Well, it's it's very Matt used to. Matt wrote this
fever dream of a sketch and pop roolette once, where
it's about this acting teacher who breaks into song who's
frustrated with her new students. Do you not remember this?

Speaker 1 (01:36:24):
I don't remember this.

Speaker 2 (01:36:25):
You remember this? It was an acting it was an
acting class, and you were the teacher, but you were
a woman, and you were like screaming at these students
and then just for not being up to stand to
your high standards as an acting teacher, and then you
break into a musical number. You remember this, which is I.

Speaker 1 (01:36:45):
Can't deal with all these all these hoes, I can't
deal with the young chafters Okay, I remember this did
not get staged, But now I remember I brought it
in because it made no sense.

Speaker 2 (01:37:01):
Notes in the best way. I was like, it was
my favorite. It's one of my favorite things you've ever done,
because it's complete chaos and it's pure id. It's pure
Matt Rodgers writing from a place of id and play
and stupidity, And I really think you should do something
with it. All right, maybe I'll do it as a
character one of these things. But that is the same
song that a mandatory meeting dead? Where's the kidding emandatory meeting?

Speaker 1 (01:37:25):
We are kindred?

Speaker 2 (01:37:26):
We should collab? Okay, ready, this is Matt Rodgers. I
don't think so, Honey's time starts now.

Speaker 1 (01:37:32):
I don't think so, honey. Epstein list girl, just tell
me who's a rapist and who isn't like, stop with
the If there's someone out there that needs to be
feared and is harmful, just say who they are and
what they've done. Because because now like people are like,
oh my god, did you hear so and so was
on the Epstein List. Kate Blanchette is on the Epstein List.
I'm like, yeah, but honey, what does that mean? Like

(01:37:53):
does she do anything wrong? Or was she mentioned in documents?
Come to find out? Yeah, it was about someone bragging
about her. But now she has liked talks on her
name because she was on the Epstein List. I got
people in the DMS today being like, did you see
Christy Tiggins on the Epstein List. I'm like, what are
you talking about? It is harmful and who isn't? Stop
with this Epstein list. And this is what happens when

(01:38:13):
you build something up and build something up there, build
something up and allow it to fester online. Now it's
like something that it isn't like, chill out. Who's harmful?
Who isn't? What's the information? What's the news now? What's
this blanket statement of other on the Epstein list or
rumored to be on the Epstein list? Also, what's the list?
What's a rumor? I don't think so, honey.

Speaker 2 (01:38:32):
And that's one minute. Thank you for speaking on that.
It's just a consequence of the way that these documents
are being released by the court, and so there's all
but no, but I agree with you. There is all
this really crazy stupid love internet crazy stupid bug like

(01:38:52):
internet fodder over it in a way that I think
is actually kind of not dangerous. But just like it's
like wait a minute, yeah, because like I'm sure Kate
Blanchette feels a certain way about this, and it's like,
why the fuck am I catching astray?

Speaker 1 (01:39:07):
Can you imagine her publicist being like, hey, you're on
the Epstein List. She's like what what what the why
are you talking about? Yeah, you were mentioned on the
Epstein list? Well what does that mean? What's gonna happen?
And then like her name is literally next to like
people who are like who've done all? I just don't
understand what is the point of having a list of
people that were mentioned You're you're you're grouping these people

(01:39:28):
together like on the basis of what like obviously like
association with the name Epstein, which is like incredibly damning
and very dangerous. It's like, what is the point of this?
Like can we just understand that we don't live in
a climate anymore where you can just like throw out
there like this and you can just say shit and
that it's gonna be funneled through like a reliable system

(01:39:49):
that doesn't operate in like such bad faith. It's like,
now it's like we know that Leo is on the
Epstein List. It's like, Okay, is something wrong?

Speaker 2 (01:39:57):
I've kind of steered clear And I'm not saying that
in a virtuous way. I'm just going like I'm not
bothering to look because I am maybe in the minority
of people who like understands it to be meaningless. But
I do have fear over what it means for these
people who have done nothing wrong and we're just named

(01:40:18):
by someone who like sailed past the island or something.

Speaker 1 (01:40:25):
Anyway, anyway, Bowen, do you have an I don't think
Zhani for today, I do well good, this is Bowan yangs.
I don't think Shani, and as time starts now.

Speaker 2 (01:40:33):
I don't think so honey, let do Alipa go on vacation.
I don't want you guys to all of a sudden
be on your high horse now and be like she's
going on vacation too much. If you were her, I'm
sure you would go on vacation too. She's catching a
lot of flak for being It was reported that nine
months out of the past twelve she's been on vacation.

(01:40:54):
So what in Kosovo, in Tokyo and Greece and Albania
and Barcelona and Madri. I'm like, she's a pop star.

Speaker 1 (01:41:02):
That's what she's supposed to do. Thirty seconds, What do
you want her to do? She writes a newsletter, she
hosts a podcast. She's good at all of those things.
She has a book club, she has a book club.
She's reading fucking Pachenko to the girls. She's just living
her tea seconds.

Speaker 2 (01:41:17):
She is her own lifestyle brand without actually selling you
something besides her music. She just wants you to read
her newsletter, which I read because she does have cute
recommendations on there, and she's about to put out new music,
so you're gonna enjoy it. Also, her not doing Coachella
because of her vacation schedule is not a good enough
reason to be mad at her.

Speaker 1 (01:41:36):
And then that's one minute.

Speaker 2 (01:41:37):
That's where it I'll start, is that she's not doing
Coachella reportedly because she was on vacation her it conflicts
with her vacation days in April. I say, slay, I
see problem.

Speaker 1 (01:41:46):
It's called priorities. It's called she's saying this, what's important
to me right now? Coachella will be there. I have
confidence in the fact that my new work will be great.
They'll ask me again. Also, Coachella is a huge undertaking.
It's easy for p people that are like not the
ones that have to do all that work and like
perform and operate at a very high standard, to be like,

(01:42:06):
fuck her, she's on vacation too much. She doesn't want
to do it. It's like, okay, two things. One, she said,
catch me before I go. So, now she's on vacation. Houdini,
she said, Houdini, And that's what they do. They disappear,
she comes, she goes, So let her go be on vacation.

(01:42:28):
Second thing, actually have three things to say. Second thing,
do you know why I want to be successful so
I can be on vacation all the time. That's two.
So if you have a problem with do you have
a problem with me? And Third, I have never been
more strong in my belief that what people need to
do more than ever is mine their own fucking business.

(01:42:56):
Reality there loser behavior, Mine your own fucking business.

Speaker 2 (01:43:04):
The way Lisa in that episode, just the way she
screams at Monica, such a fucking loser. She said that
with her chest, and I said absolutely, I said, I
know that's right. We realize we're on it. We're hosting
a podcast where we talk about things and people. It's
never prescriptive, and if it feels that way, it's hopefully

(01:43:27):
usually ninety nine percent of the time. In jest. We're
talking about movies and we're saying we liked certain things,
we didn't like other things that is all part of
the consumer relationship with the artist, where it doesn't belong
to them, it belongs to everybody.

Speaker 1 (01:43:41):
Let me say something, This is our business. This is
literally our business. This podcast is our business. And also
just like there's a difference between like I'm going online
and like trashing someone for some stupid bullshit and like
having things to say and opinions on like art girl.

Speaker 2 (01:44:04):
When can I pull When can I pull the plug
on the Twitter? Because I suspect can I? I literally,
well tomorrow, Okay, it's gone.

Speaker 1 (01:44:12):
Cut the Twitter. You know what I'm saying.

Speaker 2 (01:44:15):
It's gone. It's just gone.

Speaker 1 (01:44:16):
Because I know noither of us can trust ourselves.

Speaker 2 (01:44:19):
This is my other recommendation to you, not sponsored. This
is my end all to you. I know you've really
taken to end all to help you fall asleep or
you know, relax or focus. I used an app lately
again not an ad called Opal, which just locks you
out of your apps for a designated period of time,
and I found it immensely helpful. It locks me out

(01:44:41):
of specific apps, and I am just like, well, let
me just I bricked my phone. Essentially, let me just
sit through a movie without looking at my fucking screen,
my other screen, and it's been it's actually done wonders
for my viewing experience where I'm like, let me actually
pay attention to what's happening because I decided to press
play on this film.

Speaker 1 (01:45:00):
Yeah, I think that it's just being conscious of balance too.
It's like what you're saying, It's like, you know, there's
gonna be a certain designated period of time where I
don't allow myself even the opportunity of this. I am
literally and this is so top of the your resolution
of me. But I'm reading this is the book reading
I've been wanting to read this. It's Down the Drain

(01:45:20):
by Julia Fox. But I love Julia Fox. This is
a really good read. I'm about halfway through, and I
just like filling your life with different things. You know
what I'm saying. It's like not to be like it's
giving thirties, but like not focused on things that you know,
it's a definition of insanity to return to things that
and expecting they have a different result. I'm never going

(01:45:42):
to have a positive result carrying on the way I'm
carrying on. I have to do different things with my life.

Speaker 2 (01:45:47):
They're reading books I'm saying, and this is not just
the January speaking. It is the cure all. It will
cure all of the ills within you. If you read
a book, I'm telling you it's the best.

Speaker 1 (01:46:02):
I want that to.

Speaker 2 (01:46:03):
Be what we leave the readers with. Yes, we might
have to start a book club.

Speaker 1 (01:46:09):
Maybe maybe we've done book club episodes in the past
to huge success, massive successes. And I think WAI really
happened in this episode.

Speaker 2 (01:46:22):
What was it again?

Speaker 1 (01:46:23):
Warmth, Warmth, inclusion, acceptance, inclusion. The title of app is Warmth,
Acceptance and Inclusion. With Matt and Mowen.

Speaker 2 (01:46:31):
It should be WAI parentheses Warmth, acceptance, and inclusion. I
want the acronym to really hold its own space.

Speaker 1 (01:46:37):
WAI people, whenever you go out and you feel challenged,
I want you to say this way way way, Warmth,
acceptance and inclusion, Way, the way way. And it's also
it's a vocal warm up. Let's do it together one two, three.

Speaker 2 (01:47:02):
Will way. But you can work it into a sentence
when you I know you like to say the way.

Speaker 1 (01:47:10):
The way.

Speaker 2 (01:47:13):
This episode carried down. We gave everything. This is an
auspicious begetting to twenty twenty four. I have good feelings
about this year. I'm ready to level up. Let's go, bitch,
year nine, year nine.

Speaker 1 (01:47:28):
Come on, all right, we're gonna end. Why don't we
do this? Why don't I guess what?

Speaker 2 (01:47:36):
Yes? And is gonna sound like okay, go yes?

Speaker 1 (01:47:41):
And I love myself yes, and I love you too.

Speaker 2 (01:47:48):
Yes.

Speaker 1 (01:47:49):
And this is kind of giving tailor it's not giving
Arianna's I'm sorry, Arianna, don't worry.

Speaker 2 (01:47:54):
She's not listening to this.

Speaker 1 (01:47:55):
She might be just busy. She got her album art
to collect.

Speaker 2 (01:47:59):
Listen staying in the same hotel, and she yeah, and
she was like, I'll like just like sit on the
side and just like agree. And I'm like, no, Ari, you're.

Speaker 1 (01:48:08):
She wanted to sit there while you record.

Speaker 2 (01:48:10):
She wanted me to go over and play Quiplash and
I was like, I can't. I'm recording the pot at
nine because it's like one pm. And she was like, well,
I can just you can just come over and then
you can record from my bed. I was like, no, Ari,
I have to be engaged with my girl. I have
to look at my girl in the eye. And this
will not be your last coach debut. I think there
will be opportunity in the future for her to come

(01:48:32):
on if she would like to. Eag wait, we love you, Ari,
We can't wait for the new work.

Speaker 1 (01:48:39):
All right, Well that's it. We end every episode with
a song Yes and I love how come this? I
just hit my hands so hard to go.

Speaker 2 (01:48:53):
Bye.

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Bowen Yang

Matt Rogers

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