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Speaker 1: We're tarm Lorendo and this is the Pop Style Opinion Fest.

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Telegiton's welcome back to another edition of the PSO. I

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am the teen, You're Tilo Tom Fitzgerald, and I'm here

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with the loan your te lerenz on My God, my

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love they husband, how are you love to husband.

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Speaker 2: I'm fine, exhausted, excited.

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Speaker 1: We are exhausted, and for once, I'm going to give

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ourselves a permission to talk about how tired we are,

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because that has nothing to do with us being overworked.

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It's just we had an incredible freaking heat wave in

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which we traveled, you know, did plane travel, I.

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Speaker 2: Know, I know, and domestic flight, which is hall.

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Speaker 1: And it really sucked it out of us. I mean

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we're still recovering. Well, we only came home yet day before,

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late on Thursday night, and this is being recorded on

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Saturday morning. It's a very unusual Saturday edition of the PSO.

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But that's why, because we were traveling, we would not

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have been lucid enough to do something yesterday, and besides

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we didn't get a chance to watch and just like that,

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so we pushed it off to this morning.

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Speaker 3: Yeah, I mean a lot of things happened to Our

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flight was delayed, you know a lot of things, and

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then when we got home was too late and we

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were tight.

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Speaker 1: But we had a wonderful time in Dallas. If you've

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been listening to us, you might remember that we were

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pushing for several months our appearance there courtesy of Badge

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of Pride in the Writer's Garden. We had a lovely time.

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We had a lovely evening in the Bishop's Arts Theater

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and a lovely crowd of people, great questions, great hosts,

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and we did a little bit of sightseeing in Dallas,

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but honestly, we weren't there that long and it was

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really really hot. So we did a lot of walking

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around in the Oak Cliff neighborhood, the Bishop Arts District.

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Speaker 3: Which is adorable with lots, very adorable lots of restaurants

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and shops.

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Speaker 1: We did eat a lot. I gotta say sorry.

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Speaker 2: No, go ahead. It was nice.

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Speaker 3: It was just very uh, it's charming. It reminded me

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because it's a little far from the I guess the

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I don't know district, the old district area, but it

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reminded me a lot of one of the areas we

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have here Cold Fish Down just lovely restaurants and stores,

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and we spent a lot of time there. We shopped,

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we ate, like Tom said many times.

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Speaker 1: Yes, lots and lots of eating. But we had a

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great time and we want to thank our hosts, Adrian

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and Aaron. Yes, do you want to talk a little

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bit about we were able to go to the Badge

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of Product exhibit at the Irving Right Museum.

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Speaker 3: Why don't you get I just want to talk about yeah,

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because people were asking why can you please talk about

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your trip? And of course we want to talk about

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it because it was it was fun. It was very trip,

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but we had a lovely time. And so when we

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got there, Adrian, who is aident Cardwell, who is the

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executive director of Badge of Pride, took us directly to

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He picked us up at the airport, thank you, and

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he took us directly to the exhibit. It's called Badge

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of Pride from Silence to Celebration held at the Irving

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Archives and Museum in Irving, Texas. And it was just lovely.

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I mean, he talked about the exhibit, he put it together.

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It was a lot of work for Badger Pride to

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put that exhibit together, and he asked if we wanted

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to see it first, and of course we said yes,

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and I was actually I knew it was going to

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be great, but I was actually very surprised how many

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items they had.

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Speaker 1: It was very emotional, and it got very emotional. It

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was a very comprehensive exhibit, to Adrian's tremendous credit, probably

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the best yes overview in one exhibit of American American

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queer history and queer cultural history. It was just all

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right there, and it was actually kind of exciting and

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fun for us because so much of what was what

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we wound up putting in legendary children. There were various

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versions of it, are aspects of it just there in

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the In these displays there was you know, panels from

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the Aids Quilt, and we have a whole piece on

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the Aids Quilt in the book. There's a spoon from

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the Compton's Cafeteria Riots and a menu from the Stone Wall,

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and there's a Jose Saria campaign poster. All of this

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was discussed in our book. We outline all of it,

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and so to actually walk through and exhibit and look

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at all of these things. Oh, there was a pin

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from star House, which Starhouse was the Street Transvestites Action

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Revolutionary House that was founded by Marsha P. Johnson and

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Sylvia Rivera as a safe space for trans women, and

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they they funded it through sex work. And again that's

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in our book, and it's like, that's just the stuff

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that that's what our book was about, essentially, And what

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we got to reaffirm in this talk in Dallas was

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that it's it's about and why this book I think

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becomes increasingly important over time, although in ways that I

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wish it weren't important, but as queer people are getting

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more and more attacked and our rights are suddenly back

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on the line again, it's important to remember these stories

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and a lot of what they are about in our

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book is about how queer culture, queer life, queer history,

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queer rights were all gained by people who were just

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trying to live their lives and survive and find a

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way for other people in their community to survive. And

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we need to remember these stories because we're going to

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need to rely on each other going forward.

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Speaker 3: Yeah, I mean, I was really touched by everything. Agent

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didn't tell us what he had in the exhibit. He

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said it took a long time for him to collect

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everything and it's He told us that he's the largest

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queer exhibit in Dallas, Texas. Yeah, actually in Texas. So

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we were very excited about it. And I walked in.

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I had no idea what I was going to find,

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and as Tom said, I was very emotional when I

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saw the spoon from the Compton's cat.

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Speaker 1: I was like, oh, look at the spoon. You know,

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he's just a spoon, but it means playing. The Content's Cafeteria.

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Riot predates the Stonewall Riots by a couple of years.

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It's in San Francisco, it's largely on the same continuum

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as the Stonewall Riots. It's Pride Month, so I'm I'm

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going to give you a little history lesson. And we

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actually talked about this just forty eight hours ago, so

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it's all kind of fresh in my head. So queer

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people in a pre stone Wall era, especially if they

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were non gender conforming, they really found it hard to

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do to find employment. So what put bluntly, A lot

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of queer people did sex work. Almost I don't want

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to say almost all, but a lot of trans people

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did sex work because there was simply no other place

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for them to be. But it was also a lot

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of butch lesbians and femme gay men were walking the

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streets in the forties, fifties and sixties, and because you know,

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sex work or stripping, they were all in that sort

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of millium. It's night time work, and they needed places

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to congregate. Back in the day, America had, you know,

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all over the country, they had all night diners, especially

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in metro areas, where you could congregate in the middle

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of the night. And so queer people congregated in these

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spaces all through the fifties and the sixties, usually at like,

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you know, after midnight. They would congregate after pretty much

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after work was done for the night. And this was

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they were constantly being harassed or thrown out of these places,

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and there were a string of protests and sometimes violent uprisings,

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and Compton Cafeteria riots were one of the big ones.

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In fact, in a lot of ways, I think the

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Compton Cafeteria rights were far more violent than the Stone

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Wall rights. A bunch of queens and trans women were

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in the Compton Cafeteria, which was an all night diner.

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The cops came in and started harassing, and they grabbed

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one trans woman and started roughing her up and then

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all hell broke loose and then they were throwing ashtrays

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through plate glass windows and overturning fire cans fire trash

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cans and setting them on fire and everything, and it

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was just this huge, huge thing that actually, unlike stone Wall,

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led to almost immediate change because this was in San Francisco,

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it was in the tenderloin. That city was always a

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lot more on the avant garde when it came to

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understanding queer existence. So there was actually police and government

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response to this in the sense that there were tasks forces,

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and you know, there was a change that came about

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because of it. So Yeah, there was a spoon hanging

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there from the actual Compton's cafeteria and I got so

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choked up seeing it. Anyway, I just wanted to give

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that No, no, I think.

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Speaker 3: It's it's great that you do that. I also I

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wasn't expecting. Also mentioned in our book the AIDS Quilt.

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They had panels of the AIDS Quilt there and I

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hadn't and I have to say I had never seen one,

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and in person, like in front of me. Yeah, so

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I got very emotional.

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Speaker 2: Again. Agent didn't tell it anything. He just want us

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to have the experience, which was better.

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Speaker 1: And that's the way I mean. They had baskets of

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tissues in the exhibit, they said, because people are always

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crying when they walk through it.

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Speaker 3: So I was shocked, and I and and excited because

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I was I had never seen one in front of me,

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and I got very emotion. There's there's several panels there.

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You can see them all, and they're just it's just

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so wonderful to have that. They're such a reminder, a

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great reminder, and you know, a sad reminder of what happened.

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So anyway, it's a great exhibit. Adrian did a fantastic job.

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Speaker 1: It's running until September twenty eighth and it's at the

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Irving Archives and Museum in Irving, Texas. And I can't

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recommend it. Yes, yes, yes, absolutely worth your time. It's

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emotional and it's educational and not to you know, brag

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but or whatever. But it felt like it was our

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book in walking through our book, it just felt like

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it was our book in museum points.

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Speaker 3: Right right, And I just want to talk in general

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a little bit about our trip to Dallas. It was

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very nice. Everyone was very friendly. We had a great

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time and we mentioned the Bishop Bishop Arts Distory. Fantastic.

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Then we had it downtown, I guess to see a

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little bit because we wanted to, you know, see a

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little bit of the city.

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Speaker 1: Because right, we had to do daily plaza. But yes,

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of course in Dallas for forty eight hours and it's like, well,

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all right, let's just go. I felt incredibly touristy doing it,

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but you know, you had to do it. I would

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have felt like, well, why didn't we do that if

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we had left without doing it. And it's funny because

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we did go to the sixth Form Museum. You paid

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twenty five dollars to go see the window. Well no,

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I mean, I'll just say this. I when I was

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a teenager, long long, long, long time ago, when I

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was a teenager, I was super into like the whole

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Kennedy assassination thing. And part of that was because if

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you were an Irish Catholic kid, especially on the East

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coast of America in like the seventies and eighties, you know,

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that name just reigned supreme. My parents were not the

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types who hung pictures of him in the home. They

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weren't that enamored of him. But I had great aunts

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who told me that I love you. I'd look just

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like him and I had the same culor hair. It's

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just that thing that you grow up with if you're

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of a certain age and you're an Irish Catholic kid.

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So I think, yeah, every little Irish boy in America

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of gen x age probably had to go through a

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JFK face because you were just it was drilled into

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your head. Anyway. It has not been an interest of

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mine for decades, but I am really well versed in it.

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I'm well versed in the Kennedy family history, and I'm

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well versed in the history of the assassination and if

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you ever want to read the best book on the assassination.

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And this is why I'm well versed on it because

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freshman year of my high of high school, the library

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of my school had a like a flea market selle

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where they were getting rid of old books. And they

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had a first edition of William Manchester's The Death of

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a President, which was commissioned by Jackie and written in

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nineteen sixty seven, and it is he interviewed everybody and

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is literally a minute by minute accounting.

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Speaker 2: Oh wow, of did you do have it?

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Speaker 1: No? I got rid of years ago because I lost

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interest in it, right, right, and then I and then oh,

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I found out later that the Kennedy family allowed it

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to go out of print because Jackie had a lot

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of problems with it. Anyway, it was my first exposure

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to it, and if that's your first exposure, you're going

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to get such an education.

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Speaker 3: I mean, if nothing else, you've seen videos and images

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of the street and all that.

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Speaker 1: Right, So if you ever want it, and it's a

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scholarly work, he's the guy who wrote that like three

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part Winston Churchill biography. It is not an exploited Kennedy work.

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It's literally, I think the best thing you could ever read.

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It's like seven hundred words on the assassination. And you

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will walk away with it knowing what literally every single

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person affiliated with JFK was doing during those three days,

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because he interviewed all of them. Anyway, so we get

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to the sixth floor museum, we go away, and I

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did actually have no idea what the inside of that

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museum looked like, right, I really I knew that they

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had like all the boxes and the rifle set up

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by the window, because I think I had seen pictures

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of that over the years, but I was like, no

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idea what I'm going to walk in on, and perhaps

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in a bid to be more tasteful, it's an entire

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exhibit about the Kennedys. It is like off Wald is

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barely mentioned in this or shown in this exhibit. And

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that's a sort of triumph of taste, but not necessarily

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a triumph of history, because really, I think the best

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thing they could have done was just show us the

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world that I was lived in, that that that put

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him in this moment. But whatever. So the elevator door

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is open and I see it is nothing but exhibits

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about the Kennedys, huge photographs of the Kennedys, of Jackie,

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of everything. And I'm like, okay now, and I literally

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walked past a thousand people to get to straight to

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the wind. I'm like, I don't need to read any

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of this. I read it all, I know all of it.

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Just show me the window. But if you haven't, that's

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creating for me. Of course, that stuff was drilled in

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my head. But I'm like, yeah, I don't really need

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to see pictures of them being presented at Saint James's

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Court in the nineteen thirties or whatever, because I just

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know all that stuff. But yes, it's incredibly sobering to

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look out that window. Yes, it's more sobering to stand

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in that plaza, in that yeah, in that plaza, because again,

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as you noted, it's I have never really felt in

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a moment like that where I really felt like I

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had just suddenly got sucked into history. You are. It's

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just so unchanged right, and it is so well don

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documented those that area, Every square frame of that area

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is so Even when we were coming up on the

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plaza in a car, I could build the hair out

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because I'm like, I've seen footage of the street. I've

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seen footage of these buildings a thousand different times, go

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ahead on them.

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Speaker 3: The interesting thing is that I was on the sixth

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floor looking out, and then if you stand by the window,

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there's a video playing at the same time, and and

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and I was like, all right, I have to watch

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the VD to see if I can recognize anything.

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Speaker 2: It looks exact exactly. That's the same, exactly the same.

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Speaker 1: The trees exactly the same. Because I'm sure that's why

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it's that it is like literally frozen in the amber

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that that that whole plaza there, nothing has changed.

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Speaker 3: So while I was looking out, there were tourists standing,

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you know, at the exact spot where every people were

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standing before. They were just looking around and it was

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so eerie and creepy and weird and and and fascinating

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at the same time. And it was just I was like, wow, this, Yeah,

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you have to understand when you when you saw I

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don't know n of pictures you know, and videos and

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footage and being there. If you care about that type

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of history, you know, if you care about what happened,

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I don't.

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Speaker 1: Even know if you need to care about it, Well,

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I'm sorry, go ahead.

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Speaker 3: It's interesting because we were talking to Aaron. Aaron is

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the executor director of Writer's Garrett and he was with

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us too, and we were talking about visiting it, and

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he said, there's a lot of international tourists coming to

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the city to see that, so it's not just that yeah, yeah,

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of course, I mean it was something that you know,

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the whole world.

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Speaker 1: It is literally one of the most documented events of

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the twentieth century, the thousands and thousands of photographs and

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films and investigations. So even if you're not into that,

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I think anyone over say thirty right, couldn't have avoided

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exposure to it in their life. And like I said,

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I think if you would ask me prior to this,

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what do you think about visiting Daily Plaza and visiting

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the sixth floor Museum, I would have considered it, like

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I said, touristy of questionable taste, because you know, someone

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died right there on that spot. But I can't deny

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the power of standing there less so on the sixth

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floor I did not like but I got something out

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of looking out out that window. But really it's being

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down there because you're where the people were standing when

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it happened. You're right there people. Yeah, you feel like

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one of the people.

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Speaker 3: I was standing there, you know, And and it's just yeah,

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it's it's an very emotional feeling. I can't say I

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was emotion I was emotional yet, yeah, but I'm always emotional.

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Speaker 1: No, I mean, there's nothing wrong with that. I was

336
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just more fascinated by it, right, So I just kept

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like mouth the gape, walking around like everybody else who

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was there in that plot. And there were a lot

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of a lot you could walk around fairly freely without

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being crowded.

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Speaker 2: But they, I mean, they even have the exact spots where.

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Speaker 1: You know, yeah, marked where eat.

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Speaker 3: Yeah, so you walk around there and you're like, wow,

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and it looks folks, it looked exactly.

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Speaker 1: It's very easy anyway.

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Speaker 3: Anyway, Yes, and then we saw we also visit the memorial, right,

347
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did Jiffkami Moore in nearby?

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Speaker 1: Yes, the Philip Johnson jfkm Morrial. It's fascinating to look at.

349
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It's it's very odd, it's very brutalist, very nineteen sixties.

350
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But yeah, it's interesting.

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Speaker 2: Interesting. Anyway, we had a wonderful time in Dallas. Folks,

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Thank you so much.

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Speaker 1: Listen, thank you. I just want to shout out Aaron

354
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at the Writer's Parrot, who when you do these events,

355
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you're putting yourself in the hands of the people that

356
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are organizing against Yes. Yeah, and every writer who might

357
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be listening to us knows exactly what I'm talking about.

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You approach every one of these events with the hope

359
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that the people involved know what they're doing, because if

360
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they don't, you're the one that's going to look kind

361
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of foolish in front of a crowd of people. And right,

362
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we've had this happen and uh, Aaron and Adan were

363
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the best I mean, you were literally the best we've

364
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ever had. Aaron's questions were so good, so incisive, they

365
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just opened the two of us up to talk talk talk,

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talk talk freely.

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Speaker 3: I mean when when we first met him, he couldn't

368
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shut up about the book, which is great because you

369
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can tell that it was excited about it, knew about

370
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the book, he read the book. He knows exactly what

371
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the book is about. It was just fantastic. We had

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a wonderful time in Dallas. And I always say this,

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and I mean it. It was so hot, so I

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thanked everyone there for coming. It was so hot, and

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we had people coming from other states.

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Speaker 2: People come.

377
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Speaker 1: Yes, shout out to the people who came from Louisiana,

378
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who came from Houston and San Antonio Antonio. Right, yes,

379
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thank you so much. And also shout out to the

380
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young lady who told me about watching Project Runway with

381
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her mother. Oh, yes, yes, And I told her at

382
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the time, I said, I'm going to remember you because

383
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when people come up and tell us those stories, I

384
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remember them. So shout out to her. I'm sorry, I

385
00:19:56,519 --> 00:19:58,440
don't remember your name, but I do remember your story

386
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and it meant a lot that you told it. To us.

387
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Speaker 2: That was two people.

388
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Speaker 3: There were two people staying at the same hotel where

389
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we It was fun that came to the talk. And

390
00:20:08,039 --> 00:20:09,880
the first thing I told Tom I was like, Oh

391
00:20:09,880 --> 00:20:12,279
my god, people are spending money, you know, just to

392
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come say us, which is staying at a staying at

393
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a hotel, spending their money just to see us. And

394
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what I mean by that is that we're extremely grateful.

395
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Speaker 1: Oh my god, yes, and I hope we're worth it

396
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to these people.

397
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Speaker 2: So thank you, Thank you so much. We had a

398
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wonderful time.

399
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Speaker 1: All Right, we're talking too much, so let's go to

400
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a break. Yes, all right, we'll be right back. We're back,

401
00:20:31,839 --> 00:20:34,599
and now we're going to talk about the fashion news

402
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of the week, which is that Anna Wintur. I should mention,

403
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of course that at the later in the episode we're

404
00:20:39,440 --> 00:20:42,400
doing a recap of and just like that our favorite shoe,

405
00:20:42,559 --> 00:20:47,519
So sit still for that one. Anyway, the fashion news

406
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of the week, which just broke yesterday, I believe, which

407
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is that Anna Wintur is finally stepping down this editor

408
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in chief of Vogue magazine. However, I immediately was like, oh,

409
00:20:58,480 --> 00:21:00,799
good topic of the week on the we can talk

410
00:21:00,839 --> 00:21:03,519
about this little, you know, retrospective and what's she going

411
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to do next and who's going to replace her? But honestly,

412
00:21:07,119 --> 00:21:10,279
the press got a little over excited about this, and

413
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this just seems like a minor corporate restructuring and creation

414
00:21:14,960 --> 00:21:18,880
of a new title. She isn't really losing any power

415
00:21:19,039 --> 00:21:22,559
or influence at all. She's still working for content ess,

416
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she's still overseeing Vogue globally. She's still in charge of

417
00:21:26,440 --> 00:21:29,359
the met Gala. And when you add all of that up,

418
00:21:29,440 --> 00:21:32,160
you can pretty clearly say, yeah, she's going to have

419
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final say over things like covers. Like that's not ending

420
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with Anna. They're just going to name a new editor

421
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in chief who will probably have less influence than Anna

422
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had in that role.

423
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Speaker 3: Absolutely, she's still going to be the global chief content

424
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Officer of Condones, which means that she, you know, she

425
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has a saying pretty much in all the magazine excuse me,

426
00:21:55,799 --> 00:21:59,039
Vinny Fair, GQ, Glamour, you name it, yeah, all these

427
00:21:59,359 --> 00:22:02,079
and she's all so, as you said, the global editory

428
00:22:02,240 --> 00:22:07,200
director of Vogue, Global Global Vogue. Yeah, so you know,

429
00:22:07,480 --> 00:22:09,880
a lot of powers. Still, this is not stepping down

430
00:22:09,920 --> 00:22:12,440
the dandy stretch. He's just not in charge directly of

431
00:22:12,640 --> 00:22:16,319
American Vogue, which you know, it was her baby. I

432
00:22:16,400 --> 00:22:19,839
have to say she loved the magazine. She started in

433
00:22:19,920 --> 00:22:24,759
Vogue in nineteen eighty eight, almost forty years, which is

434
00:22:24,960 --> 00:22:27,920
you know, you need to replace me, you need someone new, fresh, new.

435
00:22:28,640 --> 00:22:30,519
Speaker 1: Well, when it comes to the day to day running

436
00:22:30,519 --> 00:22:33,960
of a magazine, yeah, that's you know, she's seventy five,

437
00:22:34,200 --> 00:22:36,799
and she doesn't have the stamina. She wouldn't have the

438
00:22:36,839 --> 00:22:39,759
stamina that that sort of job require. That's an office

439
00:22:40,039 --> 00:22:43,119
job that requires office hours. It's not some sort of

440
00:22:44,000 --> 00:22:47,359
regal overseeing kind of thing. Someone has to be in

441
00:22:47,480 --> 00:22:50,119
there doing the nitty gritty, and she won't be doing

442
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that anymore.

443
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Speaker 2: She can't be doing everything.

444
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Speaker 1: I doubt she's been doing that stuff for several years anyway.

445
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Speaker 2: I mean, they have to travel.

446
00:22:55,920 --> 00:22:58,119
Speaker 3: If you are an editor of a magazine, you have

447
00:22:58,279 --> 00:23:03,400
to travel several times to Europe everywhere. Not to mention

448
00:23:03,599 --> 00:23:05,160
being in charge of all these things, I'm sure she

449
00:23:05,240 --> 00:23:07,880
has tons of meetings about all these magazines and stuff.

450
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Speaker 2: It's a lot. Yeah, And the met.

451
00:23:09,559 --> 00:23:13,519
Speaker 3: Gala obviously, she's the head chairperson of the Metgala a

452
00:23:13,599 --> 00:23:17,440
lot so yeah, And but I have to say, uh,

453
00:23:17,799 --> 00:23:20,839
she is she did a lot for the magazine.

454
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Speaker 1: Of course, there's no de.

455
00:23:23,480 --> 00:23:27,480
Speaker 3: Nine that she created that persona of the ice squeen, uh,

456
00:23:27,880 --> 00:23:31,039
you know, and and everybody bought that. And she also

457
00:23:31,920 --> 00:23:35,000
made the magazine more interesting, more popular at the time.

458
00:23:36,119 --> 00:23:39,599
So anyway, she did a lot for Vogue. I mean,

459
00:23:39,720 --> 00:23:43,279
there's no doubt Vogue is the most talked about most

460
00:23:43,440 --> 00:23:45,119
you know, quote unquote important.

461
00:23:44,759 --> 00:23:48,279
Speaker 1: Magazines surviving as a print magazine in twenty twenty five,

462
00:23:48,480 --> 00:23:51,400
like that alone is unheard of.

463
00:23:51,920 --> 00:23:52,319
Speaker 2: That's her.

464
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Speaker 1: In terms of who's going to replace her, I kind

465
00:23:57,000 --> 00:24:00,960
of almost don't think it matters. Edward and who was

466
00:24:01,039 --> 00:24:03,519
the editor in chief of British Vogue for several years,

467
00:24:04,119 --> 00:24:06,119
was always talked about as her replacement, but he went

468
00:24:06,200 --> 00:24:08,559
off and launched his own media empire. I don't think

469
00:24:08,599 --> 00:24:09,359
he's going to leave that.

470
00:24:09,519 --> 00:24:11,799
Speaker 2: No, I don't think too. I don't think it's to him.

471
00:24:12,200 --> 00:24:15,720
Speaker 1: There was some Hollywood reporter story that was listing all

472
00:24:15,759 --> 00:24:18,319
the possible candidates and apparently the number one candidate is

473
00:24:18,359 --> 00:24:21,640
the editor in chief of Architectural Digest, which means and

474
00:24:21,720 --> 00:24:24,839
she's a white woman, she's over a certain age, which means, yeah,

475
00:24:24,920 --> 00:24:26,440
it's just going to be more of the same, and

476
00:24:26,640 --> 00:24:30,480
why wouldn't it. People talk about Vogue needing, you know,

477
00:24:30,599 --> 00:24:33,160
and it does. It needs fresh blood, of course it does.

478
00:24:33,279 --> 00:24:37,079
But it's it's going to remain Vogue, like it's going

479
00:24:37,200 --> 00:24:41,599
to remain focused on fashion and beauty and wealth as

480
00:24:41,640 --> 00:24:44,720
it always has been, and celebrities as it always has been.

481
00:24:45,839 --> 00:24:49,119
It's never going to be the most diverse magazine on

482
00:24:49,440 --> 00:24:51,559
the racks wall not they don't have magazine racks anymore.

483
00:24:51,599 --> 00:24:54,559
But it's, you know, because of the topics it focuses on.

484
00:24:54,759 --> 00:24:58,519
It's always going to be you know, very pretty, very

485
00:24:58,640 --> 00:25:02,480
wealthy people, and that generally in this world, you know,

486
00:25:03,039 --> 00:25:05,640
eighty percent of the time is white people, or at

487
00:25:05,720 --> 00:25:08,799
least according to magazine editors. I'm not defending Vogue for

488
00:25:08,920 --> 00:25:11,839
being so narrow, but I just don't think any talk

489
00:25:12,000 --> 00:25:14,599
of a shake up at Vogue is realistic.

490
00:25:14,960 --> 00:25:18,079
Speaker 3: Yeah, I don't think any magazine is that diverse. Is

491
00:25:18,160 --> 00:25:20,559
that it covers everything, covers it all. I think they

492
00:25:20,640 --> 00:25:21,960
all have a certain angle.

493
00:25:22,079 --> 00:25:24,400
Speaker 1: And Vogue is highly specialized on what it is covering.

494
00:25:24,519 --> 00:25:26,279
Speaker 2: So you buy what you think you need.

495
00:25:26,480 --> 00:25:30,640
Speaker 3: You know, there's Cosmo out there, there's al Magazine, Glamour,

496
00:25:30,960 --> 00:25:34,880
there's a bunch of other magazines there, yeah, and Vogue.

497
00:25:34,920 --> 00:25:36,000
Speaker 2: It's always going to be Vogue.

498
00:25:36,119 --> 00:25:37,240
Speaker 1: It's always going to be Vogue.

499
00:25:37,400 --> 00:25:39,519
Speaker 2: I mean, she did change the magazine at the time

500
00:25:39,640 --> 00:25:42,960
when she took the position. She was the first. You know,

501
00:25:43,039 --> 00:25:46,079
she put a pair of jeans on the cover, and.

502
00:25:46,359 --> 00:25:48,720
Speaker 1: She put popularized putting celebrities on the cover.

503
00:25:48,839 --> 00:25:52,319
Speaker 3: That was something she wanted, and yeah, it became, you know,

504
00:25:52,519 --> 00:25:55,400
the way to do it. Now everyone has celebrities on

505
00:25:55,480 --> 00:25:58,799
the cover now, especially now the last cover, you know,

506
00:25:59,000 --> 00:26:02,480
it's the latest cover. I mean it's it's you know,

507
00:26:02,640 --> 00:26:07,359
someone famous, So she always went for that. I'm curious

508
00:26:07,359 --> 00:26:10,200
to see because she has one more cover. I'm curious

509
00:26:10,200 --> 00:26:11,480
to see what the cover is going to look like.

510
00:26:12,400 --> 00:26:15,640
Speaker 1: A last cover. I don't think there. I mean I

511
00:26:15,720 --> 00:26:18,279
said that she's not gonna have say in cover.

512
00:26:18,799 --> 00:26:19,359
Speaker 2: That is true.

513
00:26:19,440 --> 00:26:22,359
Speaker 1: Doesn't scan for me. She's still the head of Vogue,

514
00:26:22,519 --> 00:26:24,119
that is true. So they're not putting people on the

515
00:26:24,160 --> 00:26:29,119
cover that anadote doesn't want on the cover. Her her influence,

516
00:26:29,920 --> 00:26:33,680
I mean sure, I guess her influence on the day

517
00:26:33,680 --> 00:26:35,759
to day running of that magazine has now is now

518
00:26:35,839 --> 00:26:39,400
being handed over to someone else, but her, her overall influence.

519
00:26:39,440 --> 00:26:41,680
I don't see it waning. I don't see it lessening.

520
00:26:43,720 --> 00:26:46,400
She's just now the queen of Vogue instead of the city,

521
00:26:46,480 --> 00:26:48,359
you know, the editor in chief of Vogue, and she'll

522
00:26:48,400 --> 00:26:50,519
hold that title until she dies.

523
00:26:50,680 --> 00:26:55,319
Speaker 3: Probably she did a very good job, you know, creating

524
00:26:55,359 --> 00:26:57,720
an image, creating in persona. I mean you have the

525
00:26:57,799 --> 00:26:59,839
movie The Devil made Herself.

526
00:27:00,160 --> 00:27:05,160
Speaker 1: Yes, yeah, I mean she made herself like a star,

527
00:27:05,440 --> 00:27:09,839
she did. And irreplaceable. She made herself seem irreplaceable.

528
00:27:09,920 --> 00:27:11,119
Speaker 2: Yes, that's true, and that is.

529
00:27:11,119 --> 00:27:14,759
Speaker 1: Why she won't ever be entirely replaced until she dies,

530
00:27:15,920 --> 00:27:19,000
because she's not giving this power up. That's just the

531
00:27:19,039 --> 00:27:22,359
way it is. I you know whatever. I think you

532
00:27:22,440 --> 00:27:24,720
can have admiration for her as a woman in publishing,

533
00:27:24,759 --> 00:27:27,440
as a woman surviving in media for this long and

534
00:27:27,559 --> 00:27:31,279
becoming this powerful. And she is largely self made. I mean,

535
00:27:31,680 --> 00:27:35,119
she had a privileged background growing up, but she she

536
00:27:35,279 --> 00:27:39,440
did the work. I think at the same token I

537
00:27:39,519 --> 00:27:43,640
think she is. You know, she wields too much influence.

538
00:27:43,720 --> 00:27:48,079
That influence is narrow and you know whatever. But she

539
00:27:48,440 --> 00:27:51,720
knew what Vogue was, She knew what Vogue needed to be,

540
00:27:52,000 --> 00:27:54,440
she knew what the audience wanted out of the magazine

541
00:27:54,440 --> 00:27:57,200
and she gave it to people. That's correct, So good

542
00:27:57,279 --> 00:27:59,279
job her, and we'll see who winds up, you know,

543
00:27:59,400 --> 00:28:01,799
filling her next. But I don't think we're looking at

544
00:28:01,839 --> 00:28:05,480
a massive shift in glow in Vogue strategy, do you.

545
00:28:05,839 --> 00:28:08,079
Speaker 2: No, No, not really. I have no idea what it's

546
00:28:08,119 --> 00:28:09,519
going to replace her, all right.

547
00:28:10,240 --> 00:28:13,079
Speaker 1: And then the other sort of fashionate topic of the

548
00:28:13,160 --> 00:28:18,039
week is the the Bezos Sanchez wedding, which the wedding

549
00:28:18,160 --> 00:28:22,680
of the san No bullshit. It's just extremely wealthy, tacky

550
00:28:22,839 --> 00:28:27,839
people in Venice, in Venice, you know, spending their money.

551
00:28:27,880 --> 00:28:30,160
I don't know, something like a fifty million dollar wedding.

552
00:28:30,319 --> 00:28:34,680
It's just grotesque. And honestly, I will side eye every

553
00:28:34,880 --> 00:28:38,480
celebrity who attended for the rest of their lives. Oprah,

554
00:28:39,039 --> 00:28:43,119
you are called out. You are simply a tool of

555
00:28:43,240 --> 00:28:45,480
the uber wealth these days. That's all you do.

556
00:28:45,839 --> 00:28:48,240
Speaker 3: And Gail, I know, I mean, I'm not shocked that

557
00:28:48,279 --> 00:28:50,680
they're spending that much money. If you have money and

558
00:28:50,880 --> 00:28:53,119
when you get married, you spend that much money. You

559
00:28:53,200 --> 00:28:55,599
see weddings in Saudi Arabia, you see weddings in India.

560
00:28:55,759 --> 00:28:56,559
Speaker 1: There's still gross.

561
00:28:57,640 --> 00:28:59,160
Speaker 2: I understand, it's a waste in.

562
00:28:59,240 --> 00:29:02,440
Speaker 3: My opinion, money, But they have a lot of money,

563
00:29:02,519 --> 00:29:05,960
so they don't feel like they're wasting their money. So yeah,

564
00:29:06,079 --> 00:29:09,240
I didn't expect anything smaller than than what happened.

565
00:29:10,039 --> 00:29:14,599
Speaker 1: No, obviously, No, obviously not the wedding draft. We I

566
00:29:14,799 --> 00:29:17,960
half joked on Blue Sky that we would do a

567
00:29:18,599 --> 00:29:20,759
red carpet post of all the celebrities attending, but that

568
00:29:20,880 --> 00:29:23,960
all the captions would be labor violations by Amazon. But

569
00:29:25,799 --> 00:29:29,440
and I would have done it, but our photo agency

570
00:29:29,480 --> 00:29:31,640
didn't really cover it. A lot of them didn't. It

571
00:29:31,799 --> 00:29:35,079
was it was a very private event. They can afford

572
00:29:35,160 --> 00:29:37,960
to keep that stuff private if they wanted. So there

573
00:29:38,000 --> 00:29:41,000
are pictures out there, but you know, it's very controlled

574
00:29:41,119 --> 00:29:45,759
and in that vain. Lauren Sanchez Bezos is on the

575
00:29:45,839 --> 00:29:48,200
cover of Vogue magazine that was released yesterday in her

576
00:29:48,240 --> 00:29:49,839
adult changab on a wedding gown, and.

577
00:29:49,920 --> 00:29:53,160
Speaker 2: Even Vogue only had one picture of yeah, of her.

578
00:29:53,480 --> 00:29:55,640
Speaker 1: It's on our site. You put the picture up and

579
00:29:57,000 --> 00:30:00,960
inserted some Instagram pictures of her put getting zipped or

580
00:30:01,720 --> 00:30:07,200
sewn into it. It's based on a gown Sophia Lauran

581
00:30:07,319 --> 00:30:09,920
Moore in the I Believe nineteen fifty six movie house

582
00:30:10,000 --> 00:30:14,920
Boat A Wedding Gown fifty eight. It's not I mean,

583
00:30:14,960 --> 00:30:17,119
I did a huh when I read that, because I

584
00:30:17,200 --> 00:30:19,480
don't really think that's considered one of the all time

585
00:30:19,519 --> 00:30:23,440
classic cinematic wedding gowns. I really don't, and I had

586
00:30:23,480 --> 00:30:28,079
to go look it up and white. It's very lacy.

587
00:30:29,319 --> 00:30:33,079
It has that sort of high collar, you know, corseted

588
00:30:33,079 --> 00:30:36,119
boostia effect that Princess Grace had in her gown, but

589
00:30:36,240 --> 00:30:40,599
it's it's a lot sexier on Sophia. It's, you know,

590
00:30:40,799 --> 00:30:45,279
a much it's much more corseted. And the difference between

591
00:30:45,319 --> 00:30:47,680
the one that Sophia wears and the one that Lawrence

592
00:30:47,680 --> 00:30:50,680
Sanchez is wearing is that Lawrence is a mermaid skirt

593
00:30:50,960 --> 00:30:54,279
and Sophia's was the nineteen fifty so it was like

594
00:30:54,319 --> 00:30:57,640
a bell skirt. And the proportions work much better on

595
00:30:58,880 --> 00:31:02,400
Sophia's version because the top is very fitted and tight

596
00:31:02,640 --> 00:31:06,079
and very breast and wiste focused, and the fullness of

597
00:31:06,160 --> 00:31:10,240
that skirt balances it out, gives a little romance and femininity.

598
00:31:10,720 --> 00:31:14,640
When you change that skirt into an absolutely skin tight

599
00:31:14,880 --> 00:31:18,799
mermaid skirt, it loses that. And it because if you

600
00:31:18,920 --> 00:31:22,440
note the the bust on it is more molded to

601
00:31:22,559 --> 00:31:27,240
her boobs, so it's it's extremely boob and hip. That's

602
00:31:27,480 --> 00:31:28,920
and but that's all it is.

603
00:31:29,359 --> 00:31:30,400
Speaker 2: But that's very much her.

604
00:31:30,519 --> 00:31:33,079
Speaker 1: I mean, she's got those big fake boobs and those

605
00:31:33,240 --> 00:31:35,680
plumped up lips. So you know, you put it side

606
00:31:35,680 --> 00:31:38,400
by side with the Sophia Lareingum, you're like, no, I'm

607
00:31:38,440 --> 00:31:40,680
sorry now, I don't even like the Sofia Lorenge gown.

608
00:31:40,720 --> 00:31:44,039
I don't think it's a very nice design. And Sophia

609
00:31:44,240 --> 00:31:48,400
was a naturally extremely sexual woman, but she's much more

610
00:31:48,640 --> 00:31:51,519
classic in that, much more demure in that. And what

611
00:31:51,680 --> 00:31:56,480
Lauren Sanchez is wearing is so it's just very j low.

612
00:31:56,799 --> 00:31:59,759
It's just tacky j low. It's very dull, chain.

613
00:31:59,680 --> 00:32:02,480
Speaker 2: A bound and very Doani.

614
00:32:02,559 --> 00:32:05,680
Speaker 1: I don't like it at all, no worse, I thought

615
00:32:05,720 --> 00:32:06,839
it was the usual.

616
00:32:06,599 --> 00:32:08,279
Speaker 2: Do Chagaban I'm wedding gown.

617
00:32:08,400 --> 00:32:11,200
Speaker 3: It's very tight, like the Kardashian one, you know, right,

618
00:32:11,960 --> 00:32:15,640
excuse me, but it was you know, uh they she

619
00:32:15,880 --> 00:32:19,119
wore because people were covering what she wore obviously, and

620
00:32:19,240 --> 00:32:21,440
she wore all the names you can imagine, you know,

621
00:32:21,599 --> 00:32:26,119
like Dina Montu says in absolutely fabulous. You know, big names, names, names, Darling.

622
00:32:26,200 --> 00:32:28,599
It was all about names. Yeah, she wore the or

623
00:32:28,759 --> 00:32:32,319
she or Versace. The Everyone was talking about this Capareli

624
00:32:32,559 --> 00:32:35,839
couture dress she wore for one of the welcome dinners.

625
00:32:36,119 --> 00:32:36,319
Speaker 1: Yeah.

626
00:32:36,720 --> 00:32:38,680
Speaker 3: So yeah, I mean, and all the guests were there

627
00:32:38,839 --> 00:32:41,200
wearing I mean, like, oh my god, Katy Perry wearing

628
00:32:41,279 --> 00:32:43,359
that dress. Did you see what Katy Perry wore? She

629
00:32:43,480 --> 00:32:44,759
wore this sheer dress for.

630
00:32:44,799 --> 00:32:47,359
Speaker 1: The I didn't think Katy Perry wore. Oh, she was there.

631
00:32:47,799 --> 00:32:50,519
I thought Orlando Bloom went and Katie didn't go because

632
00:32:50,519 --> 00:32:51,160
they broke up.

633
00:32:51,279 --> 00:32:54,240
Speaker 2: No, Katy Perry was there. Oh yeah, dancing on the boat.

634
00:32:54,640 --> 00:32:54,759
Speaker 1: Uh.

635
00:32:54,920 --> 00:32:57,839
Speaker 3: And she's wearing this very excuse me, my god, sorry,

636
00:32:58,920 --> 00:33:02,599
she's wearing this sheer dress for the uh for one

637
00:33:02,640 --> 00:33:05,119
of the events, I guess one of the parties and stuff.

638
00:33:05,400 --> 00:33:08,759
But yeah, everyone was there and she had apparently they

639
00:33:08,799 --> 00:33:11,799
had two hundred guests and seventy family members and they

640
00:33:11,799 --> 00:33:14,519
were all talking about that. When you have that much money,

641
00:33:14,759 --> 00:33:16,720
you know, you invite all these people that you don't know,

642
00:33:16,880 --> 00:33:18,079
but they're famous. Yeah.

643
00:33:18,440 --> 00:33:22,480
Speaker 1: So anyway, so that's reading. I'm called up an article

644
00:33:22,519 --> 00:33:23,920
at CNN that said she wasn't there.

645
00:33:24,240 --> 00:33:25,960
Speaker 2: No, Yeah, Katie Perry wasn't there.

646
00:33:26,079 --> 00:33:28,240
Speaker 1: Yeah. I don't know if they're wrong or I don't know.

647
00:33:28,400 --> 00:33:30,279
All right, well, someone will correct.

648
00:33:30,039 --> 00:33:32,880
Speaker 2: Us, will correct us. But I saw Katie Perry wearing

649
00:33:32,960 --> 00:33:36,319
his sheer dress, black sheer dress. I don't know.

650
00:33:36,400 --> 00:33:41,200
Speaker 3: Maybe I'm wrong, maybe it was a different event anyway. Uh,

651
00:33:41,599 --> 00:33:45,000
but yeah, it was something everyone is talking about, of course,

652
00:33:45,039 --> 00:33:48,720
because when you spend that much money, people will talk

653
00:33:48,720 --> 00:33:49,000
about it.

654
00:33:49,039 --> 00:33:50,359
Speaker 2: And it's you know, it's Jeff Bez.

655
00:33:50,880 --> 00:33:53,000
Speaker 1: I'm happy to put us to bed there and not

656
00:33:53,200 --> 00:33:55,640
car part at all. Like I said, if the pictures

657
00:33:55,680 --> 00:33:57,720
had been available to us, I might have felt a

658
00:33:57,759 --> 00:34:00,440
little like right, I guess we may. Yeah, we really

659
00:34:00,480 --> 00:34:04,359
don't cover that many weddings. Now, we've covered royal weddings,

660
00:34:04,480 --> 00:34:08,480
and I don't know that we've covered that many celebrity weddings.

661
00:34:08,559 --> 00:34:10,599
It's not something we do a lot of that gets

662
00:34:10,679 --> 00:34:13,800
into more gossipy celebrity gossip kind of stuff, and we

663
00:34:13,920 --> 00:34:16,679
were never into it. And this isn't a celebrity wedding.

664
00:34:16,719 --> 00:34:19,599
It's a freaking billionaire's wedding. It's a CEO. He's not

665
00:34:19,760 --> 00:34:23,920
some you know, movie star anyway, let's put that to bed,

666
00:34:24,000 --> 00:34:26,760
all right. We'll be back in a minute, and then

667
00:34:26,800 --> 00:34:29,239
we're going to talk about the latest, and just like that,

668
00:34:29,400 --> 00:34:30,079
we'll be right back.

669
00:34:32,840 --> 00:34:35,199
Speaker 3: We're back, and I want to correct something I just said.

670
00:34:35,559 --> 00:34:38,320
Katy Perry wasn't there at the wedding. In fact, she

671
00:34:38,400 --> 00:34:41,800
had to put a statement out because people were making

672
00:34:41,800 --> 00:34:45,519
assumption why she wasn't there. Anyways, the dress I mentioned

673
00:34:45,880 --> 00:34:50,000
it was when she was in Paris for the bachelorette party.

674
00:34:51,440 --> 00:34:54,079
So that's the wedding. Yeah, so that's they were on

675
00:34:54,119 --> 00:34:54,400
a boat.

676
00:34:54,440 --> 00:34:56,320
Speaker 1: You didn't go to the wedding because she and Orlando

677
00:34:56,400 --> 00:34:58,239
broke up. Yeah, and he's not having a good year.

678
00:34:58,320 --> 00:35:01,840
That Katie not having a good anyway, So she wasn't there. Okay,

679
00:35:02,119 --> 00:35:05,880
all right, no need to correct, Okay, And just like that,

680
00:35:06,679 --> 00:35:09,199
gotta say it was the least objectionable episode of the

681
00:35:09,320 --> 00:35:12,239
series this season. Uh huh do you agree?

682
00:35:12,679 --> 00:35:12,880
Speaker 2: Yeah?

683
00:35:13,000 --> 00:35:14,880
Speaker 1: We watched it separately, so I don't know how you can.

684
00:35:15,079 --> 00:35:17,840
Speaker 2: Well, let's talk about it. Let's suffer for Jesus, let's

685
00:35:17,880 --> 00:35:19,000
talk about this show.

686
00:35:19,159 --> 00:35:19,880
Speaker 1: Go ahead, jump in.

687
00:35:21,000 --> 00:35:23,480
Speaker 2: It's it's the usual. I noticed so many things.

688
00:35:23,840 --> 00:35:25,639
Speaker 3: The thing is that I that I noticed that they're

689
00:35:25,639 --> 00:35:30,519
trying very hard to keep the show as it was

690
00:35:30,760 --> 00:35:33,000
with Sex and the City in terms of like, it's

691
00:35:33,039 --> 00:35:37,480
always the same basic, simple things that shouldn't matter that

692
00:35:37,639 --> 00:35:41,840
much for a whole episode, right right, the neighbor, the

693
00:35:42,360 --> 00:35:44,840
you know, I don't know, it's just things that and

694
00:35:44,960 --> 00:35:46,599
then of course you know we have to have a

695
00:35:46,719 --> 00:35:49,719
major health issue here going on, because you know, that's

696
00:35:49,760 --> 00:35:51,599
what we drop when we can't write.

697
00:35:52,559 --> 00:35:56,000
Speaker 1: I'll give you that. I mean, I do think, at

698
00:35:56,119 --> 00:36:00,840
least with Charlotte and Harry, it does. I think this

699
00:36:01,039 --> 00:36:05,480
was a somewhat tacky way of leading up to his diagnosis,

700
00:36:05,639 --> 00:36:07,719
was to have all these humiliating scenes of him where

701
00:36:07,840 --> 00:36:10,519
he's having a re dysfunction and wetting his pants and

702
00:36:10,679 --> 00:36:13,719
he's not producing as much seeneen like that was his

703
00:36:13,880 --> 00:36:18,000
storyline up until finally they gave him prostate cancer. Fine,

704
00:36:18,039 --> 00:36:19,920
I get it, but I don't know, you took away

705
00:36:19,960 --> 00:36:22,079
the guy. I mean, it was a really undignified way

706
00:36:22,840 --> 00:36:26,039
of getting him to that moment. And I don't think

707
00:36:26,079 --> 00:36:28,360
they would do that to a female character where her

708
00:36:28,440 --> 00:36:31,360
cancer diagnosis would, you know, lead up to it would

709
00:36:31,360 --> 00:36:35,920
be all these humorously humiliating moments. So I just feel

710
00:36:35,960 --> 00:36:40,079
like that was. I was like, no, for a franchise

711
00:36:40,119 --> 00:36:42,119
that already did a cancer storyline and did a great

712
00:36:42,159 --> 00:36:46,400
job with it with Samanthas right off the bat, I'm like, no,

713
00:36:46,639 --> 00:36:50,880
I'm not feeling this one at all. However, at least

714
00:36:51,840 --> 00:36:55,239
Charlotte and Harry are facing something because up until now,

715
00:36:55,559 --> 00:36:58,119
like every time we check in on that family, I'm like,

716
00:36:58,159 --> 00:37:01,639
why why are we here again? Because nothing, nothing that

717
00:37:01,719 --> 00:37:05,320
they're talking about matters at all, And it's always Charlotte

718
00:37:05,320 --> 00:37:07,239
being really high strung and freaking out and the rest

719
00:37:07,280 --> 00:37:09,320
of the family just looking at her like she's crazy

720
00:37:09,679 --> 00:37:12,800
ad nauseum for like three seasons. So if they want

721
00:37:12,840 --> 00:37:16,079
to introduce this, yes, I will agree with you. The

722
00:37:16,239 --> 00:37:17,760
idea of, well, we need to come up with a

723
00:37:17,800 --> 00:37:22,320
storyline I know, cancer, Like that's just so whatever. And

724
00:37:22,360 --> 00:37:24,480
the way they're treating the male characters, I'm sorry, there's

725
00:37:24,480 --> 00:37:26,360
I don't like the way they treat the milk. They're

726
00:37:26,480 --> 00:37:29,840
just like their messes. They're messes there, crepit.

727
00:37:30,239 --> 00:37:30,440
Speaker 2: Yeah.

728
00:37:31,480 --> 00:37:33,400
Speaker 1: I don't mind when they treat men like assholes back

729
00:37:33,400 --> 00:37:34,199
when they were dating.

730
00:37:34,400 --> 00:37:35,760
Speaker 2: That's different.

731
00:37:35,840 --> 00:37:35,920
Speaker 3: Ye.

732
00:37:36,159 --> 00:37:40,159
Speaker 2: You make them all old and crippled and incapable of.

733
00:37:40,199 --> 00:37:42,880
Speaker 1: A yeah, yeah, yeah. Meanwhile, they're all like a whole

734
00:37:42,920 --> 00:37:46,199
storyline about sixty year old Carrie post hip replacement, walking

735
00:37:46,239 --> 00:37:49,280
around her house in fucking stilettos, and it's the stupidest

736
00:37:49,320 --> 00:37:50,480
goddamn thing I've ever heard of.

737
00:37:51,079 --> 00:37:54,800
Speaker 2: Who the fuck does it? Who walks in heat entire

738
00:37:55,320 --> 00:37:56,280
time in your house?

739
00:37:56,400 --> 00:37:58,840
Speaker 1: Come on, he didn't even do that on the old show.

740
00:37:59,559 --> 00:38:05,519
Was like, no, this is and we'll get you know,

741
00:38:05,639 --> 00:38:08,440
let's always, as always, let's put carry on the back

742
00:38:08,519 --> 00:38:10,840
burner because we know we're gonna spend twenty minutes. Let's

743
00:38:10,840 --> 00:38:15,719
go character by so Charlotte and Harry. I think the

744
00:38:15,800 --> 00:38:19,400
cancer diagnosis was very badly handled, and I also think

745
00:38:19,440 --> 00:38:22,119
it's a cliche because you don't know how to write

746
00:38:22,760 --> 00:38:25,679
any sort of conflict for these characters, so let's give

747
00:38:25,719 --> 00:38:30,840
them all health issues. But whatever, we'll see where that goes.

748
00:38:30,920 --> 00:38:34,239
I do think the scene with Lisa and Charlotte in

749
00:38:34,400 --> 00:38:39,239
that sauna pool together was actually very lovely. I agree,

750
00:38:39,440 --> 00:38:42,039
and I do want to shout out I'll get to

751
00:38:42,159 --> 00:38:44,880
examples as we go, but there were several scenes where

752
00:38:44,920 --> 00:38:47,000
I was like, oh, yeah, that's right. They are intelligent

753
00:38:47,079 --> 00:38:50,119
adult people. They can act like them. So that scene

754
00:38:50,199 --> 00:38:55,239
with Charlotte and Lisa where they're in that sauna and

755
00:38:55,440 --> 00:38:58,199
Harry had asked Charlotte not to say anything to anybody,

756
00:38:58,360 --> 00:39:01,719
and Lisa says, everything okay with you, and she says

757
00:39:01,840 --> 00:39:03,800
no and makes it very clear that she can't talk

758
00:39:03,800 --> 00:39:06,519
about it. And Lisa's like okay, and I was, and

759
00:39:06,800 --> 00:39:09,760
it's so rare to see these characters act like mature

760
00:39:09,920 --> 00:39:12,880
human beings. And I was like, oh god, I've never

761
00:39:13,079 --> 00:39:15,840
seen this light, never seen Lisa Todd Wexley in that light,

762
00:39:15,880 --> 00:39:19,880
because she's always doing really silly shit. And it just

763
00:39:19,960 --> 00:39:25,039
shows that you know, you you can right right interesting, interesting, poignant,

764
00:39:25,280 --> 00:39:28,440
realistic adult scenes with these characters. You don't have to

765
00:39:28,519 --> 00:39:34,199
make them all so ridiculous. Lisa Todd Wexley again, much

766
00:39:34,360 --> 00:39:36,880
like The York Golden Blatz I'm like, what is what

767
00:39:37,079 --> 00:39:39,239
is this family story? Why do we keep checking in

768
00:39:39,320 --> 00:39:41,800
on them? I liked I actually really like that family.

769
00:39:41,880 --> 00:39:44,400
I think they're a good addition. And when they're with

770
00:39:44,599 --> 00:39:46,880
the York Golden Blasts, I'm like, yes, this feels like

771
00:39:46,960 --> 00:39:49,639
a social group that would hang out together.

772
00:39:49,800 --> 00:39:51,760
Speaker 2: No. I love I love the family. I love the

773
00:39:51,800 --> 00:39:53,760
tow the husband. Actually I like them both.

774
00:39:53,840 --> 00:39:56,320
Speaker 3: I like their interactions, and I like, she has a

775
00:39:56,519 --> 00:40:00,760
very interesting career, you know, so personal life. Oh nothing, yeah,

776
00:40:00,760 --> 00:40:02,440
But every now and then they drop something like why

777
00:40:02,559 --> 00:40:03,679
is she in economy class?

778
00:40:04,000 --> 00:40:05,920
Speaker 2: Economy economy class on the plane?

779
00:40:06,119 --> 00:40:10,079
Speaker 3: Like, oh yeah, why why unless it's a small plane,

780
00:40:10,079 --> 00:40:13,079
they don't have first class baby, Oh are you kidding?

781
00:40:13,159 --> 00:40:13,360
Speaker 1: Well?

782
00:40:13,559 --> 00:40:16,119
Speaker 2: And she's wearing sunglasses? What the hell on a plane?

783
00:40:17,159 --> 00:40:17,280
Speaker 3: Uh?

784
00:40:18,199 --> 00:40:21,400
Speaker 1: I didn't even notice. Oh I notifying economy Maybe because

785
00:40:21,400 --> 00:40:22,960
she was paying for her editors ticket.

786
00:40:23,119 --> 00:40:25,559
Speaker 2: No, that's bullshit. She would pay for both anyway.

787
00:40:25,639 --> 00:40:28,039
Speaker 1: Why she would be a little professional of her anyway.

788
00:40:28,119 --> 00:40:29,000
Speaker 2: Whatever. Uh.

789
00:40:29,480 --> 00:40:31,760
Speaker 3: And then she's wearing I believe she's wearing sunglass And

790
00:40:31,760 --> 00:40:33,960
I'm like, why is she wearing sunglits on the plane anyway?

791
00:40:34,920 --> 00:40:37,079
And if you I was looking at that because they're

792
00:40:37,119 --> 00:40:41,000
talking in their apartment and I the window faces CenTra

793
00:40:41,119 --> 00:40:43,480
pork have you yeah, And I'm like, you have money.

794
00:40:43,960 --> 00:40:47,599
Speaker 1: Yeah, they have insane money money, but you might be

795
00:40:47,719 --> 00:40:51,079
the wealthiest family on that show. They certainly look like, well, she.

796
00:40:51,159 --> 00:40:54,719
Speaker 3: Wears couture or very very high and uh uh, you know,

797
00:40:55,519 --> 00:40:57,440
garments all the time, So why are you in the

798
00:40:57,519 --> 00:40:58,320
kitchen making dinner?

799
00:40:58,400 --> 00:41:01,440
Speaker 1: And oh, I do not whatever. And I'm like, Okay,

800
00:41:01,480 --> 00:41:05,960
where's the maid. Where's because Todd Wexley is not wepping

801
00:41:06,039 --> 00:41:06,960
up pancakes on that kid.

802
00:41:07,079 --> 00:41:08,679
Speaker 3: No, I mean the whole scene about like, oh my god,

803
00:41:08,719 --> 00:41:10,679
my baggage. You know, my baggage in the back. I

804
00:41:10,760 --> 00:41:12,280
have to go in the back and we cleat. Oh

805
00:41:12,320 --> 00:41:13,840
my god, everyone's sweating around me.

806
00:41:14,039 --> 00:41:15,360
Speaker 1: Oh that's right, I forgot about it.

807
00:41:15,400 --> 00:41:17,760
Speaker 2: But it's to create chaoe. They always do that. It's

808
00:41:17,840 --> 00:41:21,239
so funny. They throw everything out the window to make

809
00:41:21,280 --> 00:41:24,039
a point. Right. Uh, I don't get it.

810
00:41:24,159 --> 00:41:28,920
Speaker 1: I don't get So he traveled with her very attractive editor,

811
00:41:29,440 --> 00:41:32,960
and she admitted to Charlotte that she does find him attractive.

812
00:41:33,239 --> 00:41:36,800
But I do feel like they're not taking that anywhere.

813
00:41:36,960 --> 00:41:39,880
And I'm like, I actually think if she went and

814
00:41:39,920 --> 00:41:42,000
had an affair, I'm not gonna pooh poo it, but

815
00:41:42,079 --> 00:41:47,079
I would find it kind of lame. So they keep

816
00:41:47,159 --> 00:41:50,039
setting up storylines and they never seem to know why

817
00:41:50,199 --> 00:41:52,760
they're setting me or where they're gonna take This is like,

818
00:41:52,880 --> 00:41:56,239
we've been watching Miranda figure out her lesbianism for three

819
00:41:56,360 --> 00:41:59,719
whole seasons now, and what's the point of view Miranda?

820
00:41:59,760 --> 00:42:02,239
Where and I've said this before. I don't mind her

821
00:42:02,320 --> 00:42:06,199
storylines as much, although this episode.

822
00:42:05,599 --> 00:42:07,519
Speaker 2: Oh my god, yeah, we'll get to it to her.

823
00:42:07,599 --> 00:42:11,159
Speaker 1: I mean again, it's it's they're writing sixty year old

824
00:42:11,199 --> 00:42:13,239
women as if they were like forty year old women,

825
00:42:15,000 --> 00:42:18,079
and all right, we'll get to that. So Lisa Todd

826
00:42:18,119 --> 00:42:21,719
Wexley and her family, who I think are very charming

827
00:42:21,840 --> 00:42:23,679
and cute and funny, and I like them in this

828
00:42:23,840 --> 00:42:25,920
group and I like seeing more of them, but they

829
00:42:26,039 --> 00:42:30,519
are not giving any of them interesting storylines. You don't

830
00:42:30,559 --> 00:42:34,800
have to introduce some insane conflict. Just you know, his

831
00:42:35,119 --> 00:42:38,679
campaign is almost never referred to. It's only obliquely, and honestly,

832
00:42:38,719 --> 00:42:42,679
wouldn't that be consuming that family? Like campaigning. Political campaigning

833
00:42:42,880 --> 00:42:45,480
is a big deal stuff, not something that happens on

834
00:42:45,519 --> 00:42:50,320
the side anyway. Seema also no real story there, what's

835
00:42:50,360 --> 00:42:50,599
going on?

836
00:42:50,880 --> 00:42:53,159
Speaker 2: So first of all, she should have gotten alone? Come on,

837
00:42:53,800 --> 00:42:54,400
are you kidding?

838
00:42:54,480 --> 00:43:00,519
Speaker 1: Supposed to be this high power you imagine that? What

839
00:43:01,119 --> 00:43:04,719
when she has thirty years of high powered experience, she

840
00:43:04,760 --> 00:43:06,800
could walk into any bank in Manhattan and get alone.

841
00:43:07,599 --> 00:43:08,760
Speaker 2: Yeah bullshit.

842
00:43:09,239 --> 00:43:12,800
Speaker 1: You want these women to be mature and extremely wealthy,

843
00:43:12,920 --> 00:43:15,639
but you want to write them as if they're you know,

844
00:43:16,079 --> 00:43:18,719
twenty years younger and still struggling. Because we can't have

845
00:43:18,800 --> 00:43:20,039
it both way, because what they're.

846
00:43:19,960 --> 00:43:22,480
Speaker 3: Doing, the creators of the show, the writers, is that

847
00:43:22,719 --> 00:43:27,679
we need to make these points in these you know episodes.

848
00:43:27,800 --> 00:43:31,000
So so okay, we're going to make the point of

849
00:43:31,079 --> 00:43:33,000
a woman struggling to get alone.

850
00:43:34,039 --> 00:43:37,639
Speaker 1: So not the most timely, yeah, I mean yeah.

851
00:43:37,679 --> 00:43:39,199
Speaker 3: But my point is that they want to make a

852
00:43:39,280 --> 00:43:43,079
point of something some social or political or whatever issue,

853
00:43:43,400 --> 00:43:45,039
so they use one of the characters for it.

854
00:43:45,559 --> 00:43:47,679
Speaker 2: But the character does not match.

855
00:43:47,840 --> 00:43:49,519
Speaker 1: She doesn't you know, match.

856
00:43:49,880 --> 00:43:53,920
Speaker 2: It just doesn't that situation because when you look at

857
00:43:53,960 --> 00:43:56,599
the character, the Carot wouldn't be going through that now,

858
00:43:56,800 --> 00:43:59,280
but they put them through it anyway because they want

859
00:43:59,320 --> 00:44:01,440
to make that point. That's lame.

860
00:44:01,760 --> 00:44:04,239
Speaker 1: If she's as high powered as she has been portrayed,

861
00:44:04,880 --> 00:44:08,480
her leaving that company would have made the New York Time, yes,

862
00:44:08,639 --> 00:44:13,000
or some seriously made the New York Times's she's talking

863
00:44:13,079 --> 00:44:15,079
to some clerk in a bank and I'm like, no,

864
00:44:15,280 --> 00:44:18,760
I'm sorry, this is very very silly. Her commissions are

865
00:44:18,840 --> 00:44:22,519
in the millions, but it's to show women like and

866
00:44:22,599 --> 00:44:25,679
then the struggle of when it's very like, yeah, yeah,

867
00:44:26,039 --> 00:44:29,239
it's not and I think these women are facing difficulties,

868
00:44:29,280 --> 00:44:33,079
but that's not Getting bank loans is such a silly thing.

869
00:44:33,119 --> 00:44:36,360
And of course the person at the bank was a woman,

870
00:44:36,480 --> 00:44:38,880
so to awesome miserted will also make the.

871
00:44:38,960 --> 00:44:41,840
Speaker 3: Point that how how can you as a woman, you know,

872
00:44:42,039 --> 00:44:44,400
denying me blah blah blah or not help me.

873
00:44:46,280 --> 00:44:49,239
Speaker 1: It's just tired and it's not interesting and as you said,

874
00:44:49,280 --> 00:44:53,519
it does not apply to these characters. The other thing

875
00:44:53,760 --> 00:44:59,079
with Seema is this ongoing thing and it happened with Carrie.

876
00:44:59,159 --> 00:45:04,239
So now there's uh, Lisa, Todd Wexley and Carrie and

877
00:45:04,519 --> 00:45:10,079
Seema all having incredibly hot men thrown at them, just

878
00:45:10,320 --> 00:45:13,760
thrown at them, men who are younger than well, actually

879
00:45:13,760 --> 00:45:16,199
they're not all younger, no, only the gardener is young.

880
00:45:18,079 --> 00:45:21,880
And again, you know, putting hot men on a sex

881
00:45:21,920 --> 00:45:24,800
and the City's spin off, no problems there. But again

882
00:45:24,920 --> 00:45:27,639
it's like all these storylines of well, okay, is this

883
00:45:28,760 --> 00:45:31,639
We're just throwing hot men at them, but nothing's gonna

884
00:45:31,639 --> 00:45:35,360
happen with any of them. Maybe the Sema storyline with

885
00:45:35,440 --> 00:45:37,519
the I mean, they really do seem to what is

886
00:45:37,559 --> 00:45:38,440
the point of that gardener?

887
00:45:38,599 --> 00:45:40,519
Speaker 2: I don't know, to show his desk, which is great,

888
00:45:41,920 --> 00:45:42,639
or to show that.

889
00:45:42,920 --> 00:45:47,360
Speaker 1: Like Carrie is okay with his neurodivergent center or whatever

890
00:45:47,440 --> 00:45:48,880
who works there, I don't know.

891
00:45:51,480 --> 00:45:51,599
Speaker 3: Uh.

892
00:45:52,440 --> 00:45:55,960
Speaker 1: And then Carrie has her new Oh yeah, meet cute

893
00:45:56,039 --> 00:45:57,000
her mister Darcy.

894
00:45:57,119 --> 00:45:59,719
Speaker 2: She always has one. I mean, come on, it's not

895
00:45:59,800 --> 00:46:02,159
the show anymore, you know, I gotta.

896
00:46:01,960 --> 00:46:04,760
Speaker 1: Say, and all right, we're gonna jump into the carry

897
00:46:04,800 --> 00:46:06,800
and Miranda stuff all at once. I got to say

898
00:46:07,239 --> 00:46:11,119
his character, he actually felt very at home in this world.

899
00:46:11,159 --> 00:46:13,920
And I'm like, Okay, this one works. I can see it.

900
00:46:14,079 --> 00:46:16,639
I can see her crossing paths with a guy like

901
00:46:16,760 --> 00:46:20,400
this didn't necessarily buy what his apartment looked like for

902
00:46:20,679 --> 00:46:27,400
Gramercy Park, But okay, she has dated authors in the past,

903
00:46:27,800 --> 00:46:30,119
like he's in the million, like he's in the realm

904
00:46:30,280 --> 00:46:32,199
of a kind of guy that would be right for her.

905
00:46:32,679 --> 00:46:35,960
And actually it did make me think, God, this could

906
00:46:35,960 --> 00:46:38,559
have been a much more interesting show if we hadn't

907
00:46:38,559 --> 00:46:43,440
got caught up with Aiden almost immediately, because actually her

908
00:46:43,559 --> 00:46:47,280
scenes with him were fine. She was annoying as hell,

909
00:46:47,679 --> 00:46:50,239
and we'll get to that, but they had a good

910
00:46:50,719 --> 00:46:54,719
they had some chemistry. They are both roughly the same age.

911
00:46:54,840 --> 00:46:57,760
They're both but they're different, and then you know they're

912
00:46:57,800 --> 00:47:01,079
both writers. He would have made such a nice change

913
00:47:01,079 --> 00:47:04,360
of pace from Big and even from Aiden, and it

914
00:47:04,480 --> 00:47:06,519
just makes me, God, it was so dumb of them

915
00:47:06,639 --> 00:47:10,559
to just bring her right back to her previous relationship

916
00:47:10,719 --> 00:47:13,920
instead of letting her grow and meet other people and

917
00:47:14,119 --> 00:47:17,239
have a have a struggle like that's the thing, Like

918
00:47:17,360 --> 00:47:21,119
the Aiden relationship, it's like, oh, whatever, we're gonna wait

919
00:47:21,199 --> 00:47:24,840
five years while your kids. But there's no there's no spark,

920
00:47:24,880 --> 00:47:29,519
there's no struggle there. So I'm actually okay with him completely.

921
00:47:29,599 --> 00:47:33,119
I wish they would ditch Aiden if they are introducing

922
00:47:33,199 --> 00:47:35,599
him as a potential love interest. I really hate that

923
00:47:35,719 --> 00:47:39,159
they're going to have her fucking agonizing over two different men.

924
00:47:39,320 --> 00:47:41,920
That's a tired storyline that we've done with Carrie several

925
00:47:41,960 --> 00:47:43,960
Probably what's going to happen, That is what's going to happen.

926
00:47:44,000 --> 00:47:45,880
He's going to kiss her, you know he's going to

927
00:47:45,960 --> 00:47:50,400
kiss her. Of course I don't. Actually, I do think

928
00:47:50,480 --> 00:47:53,599
the storyline is all a series of cliches, but it's

929
00:47:53,679 --> 00:47:56,079
must like the cancer thing. Well all right, fine, but

930
00:47:56,159 --> 00:47:59,760
it is an actual storyline and it does fit her character.

931
00:48:00,000 --> 00:48:02,480
Speaker 3: As annoys me that everything is resolved quickly. In one

932
00:48:02,559 --> 00:48:05,760
episode he goes from an asshole to having having dinner

933
00:48:05,760 --> 00:48:08,079
with her, having dinner with her and laughing and laughing

934
00:48:08,119 --> 00:48:08,840
and having a good time.

935
00:48:08,920 --> 00:48:10,760
Speaker 1: Come on, I know it actually would have been more

936
00:48:10,920 --> 00:48:13,400
entertaining if they did hate each other and if it

937
00:48:13,519 --> 00:48:15,679
stretched out for a couple episodes, But you've made it

938
00:48:15,800 --> 00:48:18,400
so clear that Okay, he'll be kissing her by when

939
00:48:18,519 --> 00:48:24,559
next episode. Whatever. This is not a terrible storyline. The

940
00:48:24,760 --> 00:48:30,039
cancer thing not a terrible storyline. Miranda's new lesbian relationship

941
00:48:30,320 --> 00:48:33,320
not a terrible storyline. Right, none of it's being handled

942
00:48:33,440 --> 00:48:38,519
particularly great, but it all three of those storylines do

943
00:48:38,880 --> 00:48:42,159
have some potential to them. They fit those characters as

944
00:48:42,199 --> 00:48:46,280
we know them now. So I'm really the only issues

945
00:48:46,320 --> 00:48:49,639
I have is with Seema's non storyline and Lisa Todd again,

946
00:48:49,679 --> 00:48:51,639
And you know what, let's just point it out that,

947
00:48:51,840 --> 00:48:54,519
you know, it's the additions to the cast, the women

948
00:48:54,599 --> 00:48:57,320
of color, that they can't seem to give a storyline to.

949
00:48:57,800 --> 00:49:03,239
Every episode is fifteen minutes of Carrie and ten minutes

950
00:49:03,280 --> 00:49:06,320
of everybody else's storylines. And even the old show was

951
00:49:06,440 --> 00:49:07,119
better about that.

952
00:49:07,719 --> 00:49:09,079
Speaker 2: Well, Cintya and.

953
00:49:10,599 --> 00:49:13,400
Speaker 3: Sarah Jessica Parker. They are exactly producers of the show,

954
00:49:13,559 --> 00:49:16,679
so I'm sure they're telling them what to right, what

955
00:49:16,840 --> 00:49:19,639
to type. Well, they have controls, so yeah, yeah, but

956
00:49:19,920 --> 00:49:22,840
until the Cary Bret, Yeah, yes, exactly, but they you know,

957
00:49:23,119 --> 00:49:27,920
that's why they're And the whole thing with Cynthia, you know,

958
00:49:28,039 --> 00:49:30,599
staying in the apartment. Randa, Oh mean, Randa, I'm sorry,

959
00:49:30,800 --> 00:49:33,159
Miranda staying in the apartment. It was just so ridiculous,

960
00:49:33,199 --> 00:49:35,320
the whole thing. I mean, I get it, you're trying

961
00:49:35,360 --> 00:49:37,119
to make the point that your friends and then you

962
00:49:37,159 --> 00:49:39,039
annoy each other and then there was a bad idea

963
00:49:39,079 --> 00:49:39,679
blah blah blah.

964
00:49:39,719 --> 00:49:42,199
Speaker 2: But but Miranda just walking naked.

965
00:49:42,559 --> 00:49:45,239
Speaker 1: No, you had to get them to do things that

966
00:49:45,320 --> 00:49:48,880
they wouldn't do in order to produce this conflict. The

967
00:49:48,960 --> 00:49:52,719
whole thing felt so dumb to me. And again, I'm like,

968
00:49:52,880 --> 00:49:55,440
this is I'm not saying that sixty year old women

969
00:49:55,559 --> 00:49:59,880
can't make bad roommates, but if I understand these carri

970
00:50:00,239 --> 00:50:03,360
they have known each other for forty fucking years. I

971
00:50:03,639 --> 00:50:06,360
just don't think Miranda would just be like that in

972
00:50:06,480 --> 00:50:09,519
Carrie's apartment, just act that way and then be randomly

973
00:50:09,599 --> 00:50:13,199
insulting since Wendy weep bananas and yogurt, you know, like, no,

974
00:50:13,719 --> 00:50:16,039
you had to produce a conflict. You had to make

975
00:50:16,320 --> 00:50:18,840
a reason why Miranda can't be there, and you know

976
00:50:18,960 --> 00:50:21,920
they actually could have done something interesting with that, different goals,

977
00:50:22,000 --> 00:50:26,159
different schedules, whatever. But no, let's have Miranda walking around naked,

978
00:50:26,360 --> 00:50:29,800
something that she would never really do, has never demonstrated

979
00:50:29,840 --> 00:50:31,119
a propensity towards doing.

980
00:50:31,599 --> 00:50:31,840
Speaker 2: Ever.

981
00:50:32,079 --> 00:50:34,679
Speaker 3: Everything is bullshit. The whole thing about the coke. You're

982
00:50:34,679 --> 00:50:37,159
a millionaire, Why don't you have fifty bottles of that

983
00:50:37,320 --> 00:50:38,239
coke in the fridge?

984
00:50:38,760 --> 00:50:41,599
Speaker 2: Oh my god, you drink my lamp? What?

985
00:50:42,400 --> 00:50:44,519
Speaker 1: But why would would Miranda actually do that?

986
00:50:44,800 --> 00:50:44,840
Speaker 3: No?

987
00:50:45,480 --> 00:50:47,960
Speaker 1: Would Miranda spread out all of her work on a

988
00:50:48,000 --> 00:50:51,159
twenty thousand dollars dining room table that then she j bought?

989
00:50:51,400 --> 00:50:53,920
And then you designer scar too, Like we had to

990
00:50:53,960 --> 00:50:57,360
make Miranda a complete moron in order to get Carrie

991
00:50:57,400 --> 00:51:01,880
to say we can't live together. That was just dumb, dumb, dumb,

992
00:51:01,960 --> 00:51:05,440
dumb writing, insulting to me and insulting to the character.

993
00:51:06,119 --> 00:51:09,960
You could, I don't mind a storyline where Miranda moves in.

994
00:51:10,079 --> 00:51:12,400
They both realized, oh, this isn't good. I mean, let's

995
00:51:12,480 --> 00:51:15,719
face it, those two people would never live together. They're

996
00:51:15,760 --> 00:51:19,639
too different. Again, the only thing I will give them

997
00:51:19,679 --> 00:51:22,000
credit for is when it came time to have that conversation,

998
00:51:22,119 --> 00:51:25,440
it was incredibly mature and it felt like two people

999
00:51:25,480 --> 00:51:27,880
who know each other really well, and they just laughed

1000
00:51:27,880 --> 00:51:29,679
it off. They just laughed at off.

1001
00:51:29,960 --> 00:51:32,440
Speaker 3: One of every now and then they dropped like some

1002
00:51:32,639 --> 00:51:37,800
beautiful thing, a beautiful gift, like when they're talking and

1003
00:51:37,920 --> 00:51:39,920
they say something else and like, all right, what I

1004
00:51:40,039 --> 00:51:41,159
actually meant to say?

1005
00:51:42,079 --> 00:51:45,199
Speaker 2: Uh? And they both have found up yes, because they.

1006
00:51:45,159 --> 00:51:47,800
Speaker 3: Didn't get the answer that they won, right, So all right,

1007
00:51:47,880 --> 00:51:50,280
what I want to say is this, uh, that that

1008
00:51:50,440 --> 00:51:51,360
was perfect.

1009
00:51:51,119 --> 00:51:53,920
Speaker 1: Right, And you can think, all right, you can let

1010
00:51:53,960 --> 00:51:57,480
them have conflict, let them have growth, and not make

1011
00:51:57,559 --> 00:52:00,840
them look like freaking idiots. To get to that point,

1012
00:52:02,119 --> 00:52:05,320
it's just such dumb and insulting writing.

1013
00:52:05,519 --> 00:52:07,400
Speaker 2: And Samantha is still texting.

1014
00:52:07,679 --> 00:52:10,559
Speaker 1: Well, I'm not even touching that. Let's get into Carrie,

1015
00:52:10,960 --> 00:52:15,800
who was an absolute psychopath this episode, an absolute psychopath

1016
00:52:15,920 --> 00:52:16,960
who behaves.

1017
00:52:16,639 --> 00:52:17,559
Speaker 2: Like that in your all own.

1018
00:52:17,599 --> 00:52:20,800
Speaker 1: The play thing is that Sarah Jessica Parker is constantly

1019
00:52:20,920 --> 00:52:23,000
doing press the about I'm understanding why people are so

1020
00:52:23,119 --> 00:52:25,199
hard on Carrie And do you not see that they

1021
00:52:25,320 --> 00:52:26,440
write her as an asshole?

1022
00:52:26,679 --> 00:52:26,800
Speaker 2: Right?

1023
00:52:27,760 --> 00:52:30,679
Speaker 1: I mean, I really feel like they don't understand that

1024
00:52:30,880 --> 00:52:35,480
Carrie's behavior isn't charming, She's an asshole. When Carrie was

1025
00:52:35,559 --> 00:52:37,880
at lunch and said, I'm having a problem with my neighbor,

1026
00:52:37,920 --> 00:52:40,000
and Miranda said, well, I'm having one too, and she said,

1027
00:52:40,039 --> 00:52:41,440
what does that have to do with me? And then

1028
00:52:41,480 --> 00:52:44,079
it was brushed off, and I'm like, who did the

1029
00:52:44,119 --> 00:52:47,079
writers not understand? Yeah, what an asshole thing that is

1030
00:52:47,199 --> 00:52:52,440
to say they're friends. Sara having a conversation about neighbors

1031
00:52:52,559 --> 00:52:56,440
and the whole point of her being so at Ben

1032
00:52:56,480 --> 00:52:59,639
out of shape, Ben insulted by a downstairs neighbor telling

1033
00:52:59,679 --> 00:53:02,400
her it was a reasonable request. And when we have

1034
00:53:02,440 --> 00:53:05,480
a neighbor upstairs and she vacuums at all crazy hours

1035
00:53:05,519 --> 00:53:08,519
of the night and everything, and sometimes it's really annoying.

1036
00:53:08,960 --> 00:53:11,760
But and it makes no sense. Why are you walking

1037
00:53:11,800 --> 00:53:14,280
around your house in stilettos. First off, you'd be ruining

1038
00:53:14,360 --> 00:53:15,039
those floors.

1039
00:53:15,119 --> 00:53:17,400
Speaker 2: Do you tell in those floors the entire time?

1040
00:53:18,199 --> 00:53:20,440
Speaker 1: You have no rugs? Why do you have no rugs?

1041
00:53:20,440 --> 00:53:21,719
Speaker 2: Why don't you have anything and.

1042
00:53:21,760 --> 00:53:24,079
Speaker 1: To solve it, she bought all these like industrial runners,

1043
00:53:24,119 --> 00:53:25,880
and I'm like, why not buy a fucking rug. You

1044
00:53:26,039 --> 00:53:31,199
are a millionaire fire rug. Everything about again. They want

1045
00:53:31,280 --> 00:53:35,159
these characters to be incredibly, incredibly wealthy and accomplished, but

1046
00:53:35,239 --> 00:53:38,679
they want to act as if they're you know, helpless

1047
00:53:38,800 --> 00:53:42,280
and struggling. Nobody in the show is struggling, and you

1048
00:53:42,400 --> 00:53:44,960
need to let go of that. You are all one percenters,

1049
00:53:45,559 --> 00:53:48,760
and you bake that in so it's all bullshit.

1050
00:53:48,800 --> 00:53:50,880
Speaker 3: If I had the money that Carrie has, I'd be

1051
00:53:51,440 --> 00:53:54,159
hiring everybody decorators and everything.

1052
00:53:54,880 --> 00:53:57,800
Speaker 1: That's just that she bought this house last year or

1053
00:53:58,559 --> 00:54:02,119
oh I forgot to have extra, which is an obnoxious thing,

1054
00:54:02,519 --> 00:54:06,039
an obnoxious thing for her to say. And everything about

1055
00:54:06,079 --> 00:54:08,039
her interactions with that guy. I know that it was

1056
00:54:08,039 --> 00:54:10,079
supposed to be charming and he was charmed by her,

1057
00:54:10,119 --> 00:54:13,280
but she was acting like a complete psychopath, an actual asshole,

1058
00:54:14,480 --> 00:54:18,599
all because she wanted to wear stilettos in her home.

1059
00:54:19,079 --> 00:54:20,960
Speaker 2: Why nobody does after walking?

1060
00:54:21,000 --> 00:54:23,960
Speaker 1: First off, nobody walks around New York City in stilettos,

1061
00:54:24,039 --> 00:54:28,039
but all of these characters do. And you know, you

1062
00:54:28,119 --> 00:54:31,639
gave her a hip replacement. Why are you doing, Like,

1063
00:54:31,800 --> 00:54:34,320
what's the point of storylines like that if you're just

1064
00:54:34,400 --> 00:54:37,480
going to ignore them? Because let me tell you, no

1065
00:54:37,800 --> 00:54:41,159
sixty year old post hip replacement is walking around in

1066
00:54:41,320 --> 00:54:44,199
stilettos by our time all the time.

1067
00:54:44,880 --> 00:54:47,559
Speaker 3: No, But that's the point I'm making here, is that

1068
00:54:47,800 --> 00:54:50,599
they want to make a point, They want to create

1069
00:54:50,639 --> 00:54:54,159
a story here. So nothing else metters, right, nothing else

1070
00:54:54,199 --> 00:54:57,639
that these carts went through metters at that particular moment.

1071
00:54:58,039 --> 00:54:59,599
Speaker 2: And no, that's not I know, on the.

1072
00:54:59,639 --> 00:55:01,320
Speaker 1: Last part, going to say this because I'm a fashion

1073
00:55:01,360 --> 00:55:03,320
blogger and we feature stuff like this all the time.

1074
00:55:03,400 --> 00:55:06,440
But the damage those heels due to yeah, women's feet

1075
00:55:07,119 --> 00:55:10,559
past a certain age. I mean, I know plenty of

1076
00:55:10,639 --> 00:55:13,280
elderly women wear those shoes for fancy events, but none

1077
00:55:13,320 --> 00:55:14,719
of them are wearing them at home. That is the

1078
00:55:14,800 --> 00:55:16,960
dumbest thing. I mean, even thirty year olds don't wear

1079
00:55:16,960 --> 00:55:17,840
stilettos at home.

1080
00:55:18,679 --> 00:55:21,599
Speaker 2: Get some Chanel flats, Jesus the idea.

1081
00:55:21,880 --> 00:55:25,960
Speaker 1: And I you know, I remember after the second Sex

1082
00:55:26,039 --> 00:55:28,159
and the City movie flopped and it was clear that

1083
00:55:28,239 --> 00:55:29,880
there was never going to be a third one, and

1084
00:55:30,079 --> 00:55:33,360
Carra and Sarah Jessica Parker was trying to have a

1085
00:55:33,440 --> 00:55:38,760
career post Carrie Bradshaw. I remember her giving interviews about Yeah, Carrie,

1086
00:55:38,800 --> 00:55:40,960
if Carrie were still around, she wouldn't be wearing those

1087
00:55:41,000 --> 00:55:44,800
shoes today because they ruined your feet and women. But no, no,

1088
00:55:45,760 --> 00:55:49,280
there's money involved in continuing the fantasies. So now we

1089
00:55:49,400 --> 00:55:53,440
have sixty year old Carrie, and I have to I

1090
00:55:53,880 --> 00:55:56,480
have to believe that that sequence of her first off,

1091
00:55:56,519 --> 00:55:59,079
you never see of her walking back that montage, you

1092
00:55:59,199 --> 00:56:01,360
only see feet, and I'm like, are.

1093
00:56:01,280 --> 00:56:01,960
Speaker 2: Those her feet?

1094
00:56:02,079 --> 00:56:04,440
Speaker 1: Because that probably took a day and a half to shoot,

1095
00:56:04,559 --> 00:56:07,480
because after every shot she would have had to take

1096
00:56:07,519 --> 00:56:11,719
those shoes off. I know that Sarah Jessica Parker is

1097
00:56:11,960 --> 00:56:14,840
very well versed in wearing high heels and she probably

1098
00:56:14,880 --> 00:56:16,960
will wear them into her seventies, and I know and

1099
00:56:17,079 --> 00:56:19,880
I believe that Carrie would too. But that storyline was

1100
00:56:19,960 --> 00:56:22,079
dumb as hell and made no sense, and it made

1101
00:56:22,159 --> 00:56:24,000
her look like a total psychopath.

1102
00:56:24,360 --> 00:56:26,880
Speaker 3: Right if they hadn't made the point that she was

1103
00:56:26,920 --> 00:56:29,559
wearing because at first, that's what I thought, Oh, she's

1104
00:56:29,599 --> 00:56:32,400
going out a lot, you know, she thought her house. Yeah,

1105
00:56:32,480 --> 00:56:34,320
I thought the point was like, all right, she's making

1106
00:56:34,360 --> 00:56:36,519
noise because she's wearing heees every time she goes out,

1107
00:56:36,639 --> 00:56:40,000
that makes sense, right, But around the house all the time.

1108
00:56:40,280 --> 00:56:46,199
Speaker 1: No, no, come on, it's just dumb. It's just dumb shit.

1109
00:56:46,400 --> 00:56:48,800
Like I said, there are a couple of decent storylines

1110
00:56:48,840 --> 00:56:53,199
here that shows that the writers can produce decent storylines

1111
00:56:53,239 --> 00:56:56,039
for these characters, but it is so wrapped up in

1112
00:56:56,159 --> 00:56:59,599
some of the dumbest, dumbest writing I've ever seen. For Tellpony.

1113
00:56:59,639 --> 00:57:02,280
Speaker 3: Yeah, and then they drop us. They drop us like

1114
00:57:02,360 --> 00:57:05,960
a little nugget, right, But it's most of the time

1115
00:57:06,039 --> 00:57:08,639
you're just wondering why those characters are doing what they're

1116
00:57:08,679 --> 00:57:10,559
doing right, which is not good writing.

1117
00:57:10,679 --> 00:57:13,119
Speaker 1: It's not good writing. All right, I think we've beaten

1118
00:57:13,199 --> 00:57:16,239
this one. Yes, all right, thank Hittons, Thank you for

1119
00:57:16,360 --> 00:57:18,320
listening to us. We will be back next week with

1120
00:57:18,440 --> 00:57:20,760
whatever crosses our eyes across their desk. Until then, take

1121
00:57:20,800 --> 00:57:23,079
care of yourselves, love you mean it. By bye.