Speaker 1: We're tarm Lorendo and this is the Pop Style Opinion Fest.
Telegiton's welcome back to another edition of the PSO. I
am the teen, You're Tilo Tom Fitzgerald, and I'm here
with the loan your te lerenz on My God, my
love they husband, how are you love to husband.
Speaker 2: I'm fine, exhausted, excited.
Speaker 1: We are exhausted, and for once, I'm going to give
ourselves a permission to talk about how tired we are,
because that has nothing to do with us being overworked.
It's just we had an incredible freaking heat wave in
which we traveled, you know, did plane travel, I.
Speaker 2: Know, I know, and domestic flight, which is hall.
Speaker 1: And it really sucked it out of us. I mean
we're still recovering. Well, we only came home yet day before,
late on Thursday night, and this is being recorded on
Saturday morning. It's a very unusual Saturday edition of the PSO.
But that's why, because we were traveling, we would not
have been lucid enough to do something yesterday, and besides
we didn't get a chance to watch and just like that,
so we pushed it off to this morning.
Speaker 3: Yeah, I mean a lot of things happened to Our
flight was delayed, you know a lot of things, and
then when we got home was too late and we
were tight.
Speaker 1: But we had a wonderful time in Dallas. If you've
been listening to us, you might remember that we were
pushing for several months our appearance there courtesy of Badge
of Pride in the Writer's Garden. We had a lovely time.
We had a lovely evening in the Bishop's Arts Theater
and a lovely crowd of people, great questions, great hosts,
and we did a little bit of sightseeing in Dallas,
but honestly, we weren't there that long and it was
really really hot. So we did a lot of walking
around in the Oak Cliff neighborhood, the Bishop Arts District.
Speaker 3: Which is adorable with lots, very adorable lots of restaurants
and shops.
Speaker 1: We did eat a lot. I gotta say sorry.
Speaker 2: No, go ahead. It was nice.
Speaker 3: It was just very uh, it's charming. It reminded me
because it's a little far from the I guess the
I don't know district, the old district area, but it
reminded me a lot of one of the areas we
have here Cold Fish Down just lovely restaurants and stores,
and we spent a lot of time there. We shopped,
we ate, like Tom said many times.
Speaker 1: Yes, lots and lots of eating. But we had a
great time and we want to thank our hosts, Adrian
and Aaron. Yes, do you want to talk a little
bit about we were able to go to the Badge
of Product exhibit at the Irving Right Museum.
Speaker 3: Why don't you get I just want to talk about yeah,
because people were asking why can you please talk about
your trip? And of course we want to talk about
it because it was it was fun. It was very trip,
but we had a lovely time. And so when we
got there, Adrian, who is aident Cardwell, who is the
executive director of Badge of Pride, took us directly to
He picked us up at the airport, thank you, and
he took us directly to the exhibit. It's called Badge
of Pride from Silence to Celebration held at the Irving
Archives and Museum in Irving, Texas. And it was just lovely.
I mean, he talked about the exhibit, he put it together.
It was a lot of work for Badger Pride to
put that exhibit together, and he asked if we wanted
to see it first, and of course we said yes,
and I was actually I knew it was going to
be great, but I was actually very surprised how many
items they had.
Speaker 1: It was very emotional, and it got very emotional. It
was a very comprehensive exhibit, to Adrian's tremendous credit, probably
the best yes overview in one exhibit of American American
queer history and queer cultural history. It was just all
right there, and it was actually kind of exciting and
fun for us because so much of what was what
we wound up putting in legendary children. There were various
versions of it, are aspects of it just there in
the In these displays there was you know, panels from
the Aids Quilt, and we have a whole piece on
the Aids Quilt in the book. There's a spoon from
the Compton's Cafeteria Riots and a menu from the Stone Wall,
and there's a Jose Saria campaign poster. All of this
was discussed in our book. We outline all of it,
and so to actually walk through and exhibit and look
at all of these things. Oh, there was a pin
from star House, which Starhouse was the Street Transvestites Action
Revolutionary House that was founded by Marsha P. Johnson and
Sylvia Rivera as a safe space for trans women, and
they they funded it through sex work. And again that's
in our book, and it's like, that's just the stuff
that that's what our book was about, essentially, And what
we got to reaffirm in this talk in Dallas was
that it's it's about and why this book I think
becomes increasingly important over time, although in ways that I
wish it weren't important, but as queer people are getting
more and more attacked and our rights are suddenly back
on the line again, it's important to remember these stories
and a lot of what they are about in our
book is about how queer culture, queer life, queer history,
queer rights were all gained by people who were just
trying to live their lives and survive and find a
way for other people in their community to survive. And
we need to remember these stories because we're going to
need to rely on each other going forward.
Speaker 3: Yeah, I mean, I was really touched by everything. Agent
didn't tell us what he had in the exhibit. He
said it took a long time for him to collect
everything and it's He told us that he's the largest
queer exhibit in Dallas, Texas. Yeah, actually in Texas. So
we were very excited about it. And I walked in.
I had no idea what I was going to find,
and as Tom said, I was very emotional when I
saw the spoon from the Compton's cat.
Speaker 1: I was like, oh, look at the spoon. You know,
he's just a spoon, but it means playing. The Content's Cafeteria.
Riot predates the Stonewall Riots by a couple of years.
It's in San Francisco, it's largely on the same continuum
as the Stonewall Riots. It's Pride Month, so I'm I'm
going to give you a little history lesson. And we
actually talked about this just forty eight hours ago, so
it's all kind of fresh in my head. So queer
people in a pre stone Wall era, especially if they
were non gender conforming, they really found it hard to
do to find employment. So what put bluntly, A lot
of queer people did sex work. Almost I don't want
to say almost all, but a lot of trans people
did sex work because there was simply no other place
for them to be. But it was also a lot
of butch lesbians and femme gay men were walking the
streets in the forties, fifties and sixties, and because you know,
sex work or stripping, they were all in that sort
of millium. It's night time work, and they needed places
to congregate. Back in the day, America had, you know,
all over the country, they had all night diners, especially
in metro areas, where you could congregate in the middle
of the night. And so queer people congregated in these
spaces all through the fifties and the sixties, usually at like,
you know, after midnight. They would congregate after pretty much
after work was done for the night. And this was
they were constantly being harassed or thrown out of these places,
and there were a string of protests and sometimes violent uprisings,
and Compton Cafeteria riots were one of the big ones.
In fact, in a lot of ways, I think the
Compton Cafeteria rights were far more violent than the Stone
Wall rights. A bunch of queens and trans women were
in the Compton Cafeteria, which was an all night diner.
The cops came in and started harassing, and they grabbed
one trans woman and started roughing her up and then
all hell broke loose and then they were throwing ashtrays
through plate glass windows and overturning fire cans fire trash
cans and setting them on fire and everything, and it
was just this huge, huge thing that actually, unlike stone Wall,
led to almost immediate change because this was in San Francisco,
it was in the tenderloin. That city was always a
lot more on the avant garde when it came to
understanding queer existence. So there was actually police and government
response to this in the sense that there were tasks forces,
and you know, there was a change that came about
because of it. So Yeah, there was a spoon hanging
there from the actual Compton's cafeteria and I got so
choked up seeing it. Anyway, I just wanted to give
that No, no, I think.
Speaker 3: It's it's great that you do that. I also I
wasn't expecting. Also mentioned in our book the AIDS Quilt.
They had panels of the AIDS Quilt there and I
hadn't and I have to say I had never seen one,
and in person, like in front of me. Yeah, so
I got very emotional.
Speaker 2: Again. Agent didn't tell it anything. He just want us
to have the experience, which was better.
Speaker 1: And that's the way I mean. They had baskets of
tissues in the exhibit, they said, because people are always
crying when they walk through it.
Speaker 3: So I was shocked, and I and and excited because
I was I had never seen one in front of me,
and I got very emotion. There's there's several panels there.
You can see them all, and they're just it's just
so wonderful to have that. They're such a reminder, a
great reminder, and you know, a sad reminder of what happened.
So anyway, it's a great exhibit. Adrian did a fantastic job.
Speaker 1: It's running until September twenty eighth and it's at the
Irving Archives and Museum in Irving, Texas. And I can't
recommend it. Yes, yes, yes, absolutely worth your time. It's
emotional and it's educational and not to you know, brag
but or whatever. But it felt like it was our
book in walking through our book, it just felt like
it was our book in museum points.
Speaker 3: Right right, And I just want to talk in general
a little bit about our trip to Dallas. It was
very nice. Everyone was very friendly. We had a great
time and we mentioned the Bishop Bishop Arts Distory. Fantastic.
Then we had it downtown, I guess to see a
little bit because we wanted to, you know, see a
little bit of the city.
Speaker 1: Because right, we had to do daily plaza. But yes,
of course in Dallas for forty eight hours and it's like, well,
all right, let's just go. I felt incredibly touristy doing it,
but you know, you had to do it. I would
have felt like, well, why didn't we do that if
we had left without doing it. And it's funny because
we did go to the sixth Form Museum. You paid
twenty five dollars to go see the window. Well no,
I mean, I'll just say this. I when I was
a teenager, long long, long, long time ago, when I
was a teenager, I was super into like the whole
Kennedy assassination thing. And part of that was because if
you were an Irish Catholic kid, especially on the East
coast of America in like the seventies and eighties, you know,
that name just reigned supreme. My parents were not the
types who hung pictures of him in the home. They
weren't that enamored of him. But I had great aunts
who told me that I love you. I'd look just
like him and I had the same culor hair. It's
just that thing that you grow up with if you're
of a certain age and you're an Irish Catholic kid.
So I think, yeah, every little Irish boy in America
of gen x age probably had to go through a
JFK face because you were just it was drilled into
your head. Anyway. It has not been an interest of
mine for decades, but I am really well versed in it.
I'm well versed in the Kennedy family history, and I'm
well versed in the history of the assassination and if
you ever want to read the best book on the assassination.
And this is why I'm well versed on it because
freshman year of my high of high school, the library
of my school had a like a flea market selle
where they were getting rid of old books. And they
had a first edition of William Manchester's The Death of
a President, which was commissioned by Jackie and written in
nineteen sixty seven, and it is he interviewed everybody and
is literally a minute by minute accounting.
Speaker 2: Oh wow, of did you do have it?
Speaker 1: No? I got rid of years ago because I lost
interest in it, right, right, and then I and then oh,
I found out later that the Kennedy family allowed it
to go out of print because Jackie had a lot
of problems with it. Anyway, it was my first exposure
to it, and if that's your first exposure, you're going
to get such an education.
Speaker 3: I mean, if nothing else, you've seen videos and images
of the street and all that.
Speaker 1: Right, So if you ever want it, and it's a
scholarly work, he's the guy who wrote that like three
part Winston Churchill biography. It is not an exploited Kennedy work.
It's literally, I think the best thing you could ever read.
It's like seven hundred words on the assassination. And you
will walk away with it knowing what literally every single
person affiliated with JFK was doing during those three days,
because he interviewed all of them. Anyway, so we get
to the sixth floor museum, we go away, and I
did actually have no idea what the inside of that
museum looked like, right, I really I knew that they
had like all the boxes and the rifle set up
by the window, because I think I had seen pictures
of that over the years, but I was like, no
idea what I'm going to walk in on, and perhaps
in a bid to be more tasteful, it's an entire
exhibit about the Kennedys. It is like off Wald is
barely mentioned in this or shown in this exhibit. And
that's a sort of triumph of taste, but not necessarily
a triumph of history, because really, I think the best
thing they could have done was just show us the
world that I was lived in, that that that put
him in this moment. But whatever. So the elevator door
is open and I see it is nothing but exhibits
about the Kennedys, huge photographs of the Kennedys, of Jackie,
of everything. And I'm like, okay now, and I literally
walked past a thousand people to get to straight to
the wind. I'm like, I don't need to read any
of this. I read it all, I know all of it.
Just show me the window. But if you haven't, that's
creating for me. Of course, that stuff was drilled in
my head. But I'm like, yeah, I don't really need
to see pictures of them being presented at Saint James's
Court in the nineteen thirties or whatever, because I just
know all that stuff. But yes, it's incredibly sobering to
look out that window. Yes, it's more sobering to stand
in that plaza, in that yeah, in that plaza, because again,
as you noted, it's I have never really felt in
a moment like that where I really felt like I
had just suddenly got sucked into history. You are. It's
just so unchanged right, and it is so well don
documented those that area, Every square frame of that area
is so Even when we were coming up on the
plaza in a car, I could build the hair out
because I'm like, I've seen footage of the street. I've
seen footage of these buildings a thousand different times, go
ahead on them.
Speaker 3: The interesting thing is that I was on the sixth
floor looking out, and then if you stand by the window,
there's a video playing at the same time, and and
and I was like, all right, I have to watch
the VD to see if I can recognize anything.
Speaker 2: It looks exact exactly. That's the same, exactly the same.
Speaker 1: The trees exactly the same. Because I'm sure that's why
it's that it is like literally frozen in the amber
that that that whole plaza there, nothing has changed.
Speaker 3: So while I was looking out, there were tourists standing,
you know, at the exact spot where every people were
standing before. They were just looking around and it was
so eerie and creepy and weird and and and fascinating
at the same time. And it was just I was like, wow, this, Yeah,
you have to understand when you when you saw I
don't know n of pictures you know, and videos and
footage and being there. If you care about that type
of history, you know, if you care about what happened,
I don't.
Speaker 1: Even know if you need to care about it, Well,
I'm sorry, go ahead.
Speaker 3: It's interesting because we were talking to Aaron. Aaron is
the executor director of Writer's Garrett and he was with
us too, and we were talking about visiting it, and
he said, there's a lot of international tourists coming to
the city to see that, so it's not just that yeah, yeah,
of course, I mean it was something that you know,
the whole world.
Speaker 1: It is literally one of the most documented events of
the twentieth century, the thousands and thousands of photographs and
films and investigations. So even if you're not into that,
I think anyone over say thirty right, couldn't have avoided
exposure to it in their life. And like I said,
I think if you would ask me prior to this,
what do you think about visiting Daily Plaza and visiting
the sixth floor Museum, I would have considered it, like
I said, touristy of questionable taste, because you know, someone
died right there on that spot. But I can't deny
the power of standing there less so on the sixth
floor I did not like but I got something out
of looking out out that window. But really it's being
down there because you're where the people were standing when
it happened. You're right there people. Yeah, you feel like
one of the people.
Speaker 3: I was standing there, you know, And and it's just yeah,
it's it's an very emotional feeling. I can't say I
was emotion I was emotional yet, yeah, but I'm always emotional.
Speaker 1: No, I mean, there's nothing wrong with that. I was
just more fascinated by it, right, So I just kept
like mouth the gape, walking around like everybody else who
was there in that plot. And there were a lot
of a lot you could walk around fairly freely without
being crowded.
Speaker 2: But they, I mean, they even have the exact spots where.
Speaker 1: You know, yeah, marked where eat.
Speaker 3: Yeah, so you walk around there and you're like, wow,
and it looks folks, it looked exactly.
Speaker 1: It's very easy anyway.
Speaker 3: Anyway, Yes, and then we saw we also visit the memorial, right,
did Jiffkami Moore in nearby?
Speaker 1: Yes, the Philip Johnson jfkm Morrial. It's fascinating to look at.
It's it's very odd, it's very brutalist, very nineteen sixties.
But yeah, it's interesting.
Speaker 2: Interesting. Anyway, we had a wonderful time in Dallas. Folks,
Thank you so much.
Speaker 1: Listen, thank you. I just want to shout out Aaron
at the Writer's Parrot, who when you do these events,
you're putting yourself in the hands of the people that
are organizing against Yes. Yeah, and every writer who might
be listening to us knows exactly what I'm talking about.
You approach every one of these events with the hope
that the people involved know what they're doing, because if
they don't, you're the one that's going to look kind
of foolish in front of a crowd of people. And right,
we've had this happen and uh, Aaron and Adan were
the best I mean, you were literally the best we've
ever had. Aaron's questions were so good, so incisive, they
just opened the two of us up to talk talk talk,
talk talk freely.
Speaker 3: I mean when when we first met him, he couldn't
shut up about the book, which is great because you
can tell that it was excited about it, knew about
the book, he read the book. He knows exactly what
the book is about. It was just fantastic. We had
a wonderful time in Dallas. And I always say this,
and I mean it. It was so hot, so I
thanked everyone there for coming. It was so hot, and
we had people coming from other states.
Speaker 2: People come.
Speaker 1: Yes, shout out to the people who came from Louisiana,
who came from Houston and San Antonio Antonio. Right, yes,
thank you so much. And also shout out to the
young lady who told me about watching Project Runway with
her mother. Oh, yes, yes, And I told her at
the time, I said, I'm going to remember you because
when people come up and tell us those stories, I
remember them. So shout out to her. I'm sorry, I
don't remember your name, but I do remember your story
and it meant a lot that you told it. To us.
Speaker 2: That was two people.
Speaker 3: There were two people staying at the same hotel where
we It was fun that came to the talk. And
the first thing I told Tom I was like, Oh
my god, people are spending money, you know, just to
come say us, which is staying at a staying at
a hotel, spending their money just to see us. And
what I mean by that is that we're extremely grateful.
Speaker 1: Oh my god, yes, and I hope we're worth it
to these people.
Speaker 2: So thank you, Thank you so much. We had a
wonderful time.
Speaker 1: All Right, we're talking too much, so let's go to
a break. Yes, all right, we'll be right back. We're back,
and now we're going to talk about the fashion news
of the week, which is that Anna Wintur. I should mention,
of course that at the later in the episode we're
doing a recap of and just like that our favorite shoe,
So sit still for that one. Anyway, the fashion news
of the week, which just broke yesterday, I believe, which
is that Anna Wintur is finally stepping down this editor
in chief of Vogue magazine. However, I immediately was like, oh,
good topic of the week on the we can talk
about this little, you know, retrospective and what's she going
to do next and who's going to replace her? But honestly,
the press got a little over excited about this, and
this just seems like a minor corporate restructuring and creation
of a new title. She isn't really losing any power
or influence at all. She's still working for content ess,
she's still overseeing Vogue globally. She's still in charge of
the met Gala. And when you add all of that up,
you can pretty clearly say, yeah, she's going to have
final say over things like covers. Like that's not ending
with Anna. They're just going to name a new editor
in chief who will probably have less influence than Anna
had in that role.
Speaker 3: Absolutely, she's still going to be the global chief content
Officer of Condones, which means that she, you know, she
has a saying pretty much in all the magazine excuse me,
Vinny Fair, GQ, Glamour, you name it, yeah, all these
and she's all so, as you said, the global editory
director of Vogue, Global Global Vogue. Yeah, so you know,
a lot of powers. Still, this is not stepping down
the dandy stretch. He's just not in charge directly of
American Vogue, which you know, it was her baby. I
have to say she loved the magazine. She started in
Vogue in nineteen eighty eight, almost forty years, which is
you know, you need to replace me, you need someone new, fresh, new.
Speaker 1: Well, when it comes to the day to day running
of a magazine, yeah, that's you know, she's seventy five,
and she doesn't have the stamina. She wouldn't have the
stamina that that sort of job require. That's an office
job that requires office hours. It's not some sort of
regal overseeing kind of thing. Someone has to be in
there doing the nitty gritty, and she won't be doing
that anymore.
Speaker 2: She can't be doing everything.
Speaker 1: I doubt she's been doing that stuff for several years anyway.
Speaker 2: I mean, they have to travel.
Speaker 3: If you are an editor of a magazine, you have
to travel several times to Europe everywhere. Not to mention
being in charge of all these things, I'm sure she
has tons of meetings about all these magazines and stuff.
Speaker 2: It's a lot. Yeah, And the met.
Speaker 3: Gala obviously, she's the head chairperson of the Metgala a
lot so yeah, And but I have to say, uh,
she is she did a lot for the magazine.
Speaker 1: Of course, there's no de.
Speaker 3: Nine that she created that persona of the ice squeen, uh,
you know, and and everybody bought that. And she also
made the magazine more interesting, more popular at the time.
So anyway, she did a lot for Vogue. I mean,
there's no doubt Vogue is the most talked about most
you know, quote unquote important.
Speaker 1: Magazines surviving as a print magazine in twenty twenty five,
like that alone is unheard of.
Speaker 2: That's her.
Speaker 1: In terms of who's going to replace her, I kind
of almost don't think it matters. Edward and who was
the editor in chief of British Vogue for several years,
was always talked about as her replacement, but he went
off and launched his own media empire. I don't think
he's going to leave that.
Speaker 2: No, I don't think too. I don't think it's to him.
Speaker 1: There was some Hollywood reporter story that was listing all
the possible candidates and apparently the number one candidate is
the editor in chief of Architectural Digest, which means and
she's a white woman, she's over a certain age, which means, yeah,
it's just going to be more of the same, and
why wouldn't it. People talk about Vogue needing, you know,
and it does. It needs fresh blood, of course it does.
But it's it's going to remain Vogue, like it's going
to remain focused on fashion and beauty and wealth as
it always has been, and celebrities as it always has been.
It's never going to be the most diverse magazine on
the racks wall not they don't have magazine racks anymore.
But it's, you know, because of the topics it focuses on.
It's always going to be you know, very pretty, very
wealthy people, and that generally in this world, you know,
eighty percent of the time is white people, or at
least according to magazine editors. I'm not defending Vogue for
being so narrow, but I just don't think any talk
of a shake up at Vogue is realistic.
Speaker 3: Yeah, I don't think any magazine is that diverse. Is
that it covers everything, covers it all. I think they
all have a certain angle.
Speaker 1: And Vogue is highly specialized on what it is covering.
Speaker 2: So you buy what you think you need.
Speaker 3: You know, there's Cosmo out there, there's al Magazine, Glamour,
there's a bunch of other magazines there, yeah, and Vogue.
Speaker 2: It's always going to be Vogue.
Speaker 1: It's always going to be Vogue.
Speaker 2: I mean, she did change the magazine at the time
when she took the position. She was the first. You know,
she put a pair of jeans on the cover, and.
Speaker 1: She put popularized putting celebrities on the cover.
Speaker 3: That was something she wanted, and yeah, it became, you know,
the way to do it. Now everyone has celebrities on
the cover now, especially now the last cover, you know,
it's the latest cover. I mean it's it's you know,
someone famous, So she always went for that. I'm curious
to see because she has one more cover. I'm curious
to see what the cover is going to look like.
Speaker 1: A last cover. I don't think there. I mean I
said that she's not gonna have say in cover.
Speaker 2: That is true.
Speaker 1: Doesn't scan for me. She's still the head of Vogue,
that is true. So they're not putting people on the
cover that anadote doesn't want on the cover. Her her influence,
I mean sure, I guess her influence on the day
to day running of that magazine has now is now
being handed over to someone else, but her, her overall influence.
I don't see it waning. I don't see it lessening.
She's just now the queen of Vogue instead of the city,
you know, the editor in chief of Vogue, and she'll
hold that title until she dies.
Speaker 3: Probably she did a very good job, you know, creating
an image, creating in persona. I mean you have the
movie The Devil made Herself.
Speaker 1: Yes, yeah, I mean she made herself like a star,
she did. And irreplaceable. She made herself seem irreplaceable.
Speaker 2: Yes, that's true, and that is.
Speaker 1: Why she won't ever be entirely replaced until she dies,
because she's not giving this power up. That's just the
way it is. I you know whatever. I think you
can have admiration for her as a woman in publishing,
as a woman surviving in media for this long and
becoming this powerful. And she is largely self made. I mean,
she had a privileged background growing up, but she she
did the work. I think at the same token I
think she is. You know, she wields too much influence.
That influence is narrow and you know whatever. But she
knew what Vogue was, She knew what Vogue needed to be,
she knew what the audience wanted out of the magazine
and she gave it to people. That's correct, So good
job her, and we'll see who winds up, you know,
filling her next. But I don't think we're looking at
a massive shift in glow in Vogue strategy, do you.
Speaker 2: No, No, not really. I have no idea what it's
going to replace her, all right.
Speaker 1: And then the other sort of fashionate topic of the
week is the the Bezos Sanchez wedding, which the wedding
of the san No bullshit. It's just extremely wealthy, tacky
people in Venice, in Venice, you know, spending their money.
I don't know, something like a fifty million dollar wedding.
It's just grotesque. And honestly, I will side eye every
celebrity who attended for the rest of their lives. Oprah,
you are called out. You are simply a tool of
the uber wealth these days. That's all you do.
Speaker 3: And Gail, I know, I mean, I'm not shocked that
they're spending that much money. If you have money and
when you get married, you spend that much money. You
see weddings in Saudi Arabia, you see weddings in India.
Speaker 1: There's still gross.
Speaker 2: I understand, it's a waste in.
Speaker 3: My opinion, money, But they have a lot of money,
so they don't feel like they're wasting their money. So yeah,
I didn't expect anything smaller than than what happened.
Speaker 1: No, obviously, No, obviously not the wedding draft. We I
half joked on Blue Sky that we would do a
red carpet post of all the celebrities attending, but that
all the captions would be labor violations by Amazon. But
and I would have done it, but our photo agency
didn't really cover it. A lot of them didn't. It
was it was a very private event. They can afford
to keep that stuff private if they wanted. So there
are pictures out there, but you know, it's very controlled
and in that vain. Lauren Sanchez Bezos is on the
cover of Vogue magazine that was released yesterday in her
adult changab on a wedding gown, and.
Speaker 2: Even Vogue only had one picture of yeah, of her.
Speaker 1: It's on our site. You put the picture up and
inserted some Instagram pictures of her put getting zipped or
sewn into it. It's based on a gown Sophia Lauran
Moore in the I Believe nineteen fifty six movie house
Boat A Wedding Gown fifty eight. It's not I mean,
I did a huh when I read that, because I
don't really think that's considered one of the all time
classic cinematic wedding gowns. I really don't, and I had
to go look it up and white. It's very lacy.
It has that sort of high collar, you know, corseted
boostia effect that Princess Grace had in her gown, but
it's it's a lot sexier on Sophia. It's, you know,
a much it's much more corseted. And the difference between
the one that Sophia wears and the one that Lawrence
Sanchez is wearing is that Lawrence is a mermaid skirt
and Sophia's was the nineteen fifty so it was like
a bell skirt. And the proportions work much better on
Sophia's version because the top is very fitted and tight
and very breast and wiste focused, and the fullness of
that skirt balances it out, gives a little romance and femininity.
When you change that skirt into an absolutely skin tight
mermaid skirt, it loses that. And it because if you
note the the bust on it is more molded to
her boobs, so it's it's extremely boob and hip. That's
and but that's all it is.
Speaker 2: But that's very much her.
Speaker 1: I mean, she's got those big fake boobs and those
plumped up lips. So you know, you put it side
by side with the Sophia Lareingum, you're like, no, I'm
sorry now, I don't even like the Sofia Lorenge gown.
I don't think it's a very nice design. And Sophia
was a naturally extremely sexual woman, but she's much more
classic in that, much more demure in that. And what
Lauren Sanchez is wearing is so it's just very j low.
It's just tacky j low. It's very dull, chain.
Speaker 2: A bound and very Doani.
Speaker 1: I don't like it at all, no worse, I thought
it was the usual.
Speaker 2: Do Chagaban I'm wedding gown.
Speaker 3: It's very tight, like the Kardashian one, you know, right,
excuse me, but it was you know, uh they she
wore because people were covering what she wore obviously, and
she wore all the names you can imagine, you know,
like Dina Montu says in absolutely fabulous. You know, big names, names, names, Darling.
It was all about names. Yeah, she wore the or
she or Versace. The Everyone was talking about this Capareli
couture dress she wore for one of the welcome dinners.
Speaker 1: Yeah.
Speaker 3: So yeah, I mean, and all the guests were there
wearing I mean, like, oh my god, Katy Perry wearing
that dress. Did you see what Katy Perry wore? She
wore this sheer dress for.
Speaker 1: The I didn't think Katy Perry wore. Oh, she was there.
I thought Orlando Bloom went and Katie didn't go because
they broke up.
Speaker 2: No, Katy Perry was there. Oh yeah, dancing on the boat.
Speaker 1: Uh.
Speaker 3: And she's wearing this very excuse me, my god, sorry,
she's wearing this sheer dress for the uh for one
of the events, I guess one of the parties and stuff.
But yeah, everyone was there and she had apparently they
had two hundred guests and seventy family members and they
were all talking about that. When you have that much money,
you know, you invite all these people that you don't know,
but they're famous. Yeah.
Speaker 1: So anyway, so that's reading. I'm called up an article
at CNN that said she wasn't there.
Speaker 2: No, Yeah, Katie Perry wasn't there.
Speaker 1: Yeah. I don't know if they're wrong or I don't know.
All right, well, someone will correct.
Speaker 2: Us, will correct us. But I saw Katie Perry wearing
his sheer dress, black sheer dress. I don't know.
Speaker 3: Maybe I'm wrong, maybe it was a different event anyway. Uh,
but yeah, it was something everyone is talking about, of course,
because when you spend that much money, people will talk
about it.
Speaker 2: And it's you know, it's Jeff Bez.
Speaker 1: I'm happy to put us to bed there and not
car part at all. Like I said, if the pictures
had been available to us, I might have felt a
little like right, I guess we may. Yeah, we really
don't cover that many weddings. Now, we've covered royal weddings,
and I don't know that we've covered that many celebrity weddings.
It's not something we do a lot of that gets
into more gossipy celebrity gossip kind of stuff, and we
were never into it. And this isn't a celebrity wedding.
It's a freaking billionaire's wedding. It's a CEO. He's not
some you know, movie star anyway, let's put that to bed,
all right. We'll be back in a minute, and then
we're going to talk about the latest, and just like that,
we'll be right back.
Speaker 3: We're back, and I want to correct something I just said.
Katy Perry wasn't there at the wedding. In fact, she
had to put a statement out because people were making
assumption why she wasn't there. Anyways, the dress I mentioned
it was when she was in Paris for the bachelorette party.
So that's the wedding. Yeah, so that's they were on
a boat.
Speaker 1: You didn't go to the wedding because she and Orlando
broke up. Yeah, and he's not having a good year.
That Katie not having a good anyway, So she wasn't there. Okay,
all right, no need to correct, Okay, And just like that,
gotta say it was the least objectionable episode of the
series this season. Uh huh do you agree?
Speaker 2: Yeah?
Speaker 1: We watched it separately, so I don't know how you can.
Speaker 2: Well, let's talk about it. Let's suffer for Jesus, let's
talk about this show.
Speaker 1: Go ahead, jump in.
Speaker 2: It's it's the usual. I noticed so many things.
Speaker 3: The thing is that I that I noticed that they're
trying very hard to keep the show as it was
with Sex and the City in terms of like, it's
always the same basic, simple things that shouldn't matter that
much for a whole episode, right right, the neighbor, the
you know, I don't know, it's just things that and
then of course you know we have to have a
major health issue here going on, because you know, that's
what we drop when we can't write.
Speaker 1: I'll give you that. I mean, I do think, at
least with Charlotte and Harry, it does. I think this
was a somewhat tacky way of leading up to his diagnosis,
was to have all these humiliating scenes of him where
he's having a re dysfunction and wetting his pants and
he's not producing as much seeneen like that was his
storyline up until finally they gave him prostate cancer. Fine,
I get it, but I don't know, you took away
the guy. I mean, it was a really undignified way
of getting him to that moment. And I don't think
they would do that to a female character where her
cancer diagnosis would, you know, lead up to it would
be all these humorously humiliating moments. So I just feel
like that was. I was like, no, for a franchise
that already did a cancer storyline and did a great
job with it with Samanthas right off the bat, I'm like, no,
I'm not feeling this one at all. However, at least
Charlotte and Harry are facing something because up until now,
like every time we check in on that family, I'm like,
why why are we here again? Because nothing, nothing that
they're talking about matters at all, And it's always Charlotte
being really high strung and freaking out and the rest
of the family just looking at her like she's crazy
ad nauseum for like three seasons. So if they want
to introduce this, yes, I will agree with you. The
idea of, well, we need to come up with a
storyline I know, cancer, Like that's just so whatever. And
the way they're treating the male characters, I'm sorry, there's
I don't like the way they treat the milk. They're
just like their messes. They're messes there, crepit.
Speaker 2: Yeah.
Speaker 1: I don't mind when they treat men like assholes back
when they were dating.
Speaker 2: That's different.
Speaker 3: Ye.
Speaker 2: You make them all old and crippled and incapable of.
Speaker 1: A yeah, yeah, yeah. Meanwhile, they're all like a whole
storyline about sixty year old Carrie post hip replacement, walking
around her house in fucking stilettos, and it's the stupidest
goddamn thing I've ever heard of.
Speaker 2: Who the fuck does it? Who walks in heat entire
time in your house?
Speaker 1: Come on, he didn't even do that on the old show.
Was like, no, this is and we'll get you know,
let's always, as always, let's put carry on the back
burner because we know we're gonna spend twenty minutes. Let's
go character by so Charlotte and Harry. I think the
cancer diagnosis was very badly handled, and I also think
it's a cliche because you don't know how to write
any sort of conflict for these characters, so let's give
them all health issues. But whatever, we'll see where that goes.
I do think the scene with Lisa and Charlotte in
that sauna pool together was actually very lovely. I agree,
and I do want to shout out I'll get to
examples as we go, but there were several scenes where
I was like, oh, yeah, that's right. They are intelligent
adult people. They can act like them. So that scene
with Charlotte and Lisa where they're in that sauna and
Harry had asked Charlotte not to say anything to anybody,
and Lisa says, everything okay with you, and she says
no and makes it very clear that she can't talk
about it. And Lisa's like okay, and I was, and
it's so rare to see these characters act like mature
human beings. And I was like, oh god, I've never
seen this light, never seen Lisa Todd Wexley in that light,
because she's always doing really silly shit. And it just
shows that you know, you you can right right interesting, interesting, poignant,
realistic adult scenes with these characters. You don't have to
make them all so ridiculous. Lisa Todd Wexley again, much
like The York Golden Blatz I'm like, what is what
is this family story? Why do we keep checking in
on them? I liked I actually really like that family.
I think they're a good addition. And when they're with
the York Golden Blasts, I'm like, yes, this feels like
a social group that would hang out together.
Speaker 2: No. I love I love the family. I love the
tow the husband. Actually I like them both.
Speaker 3: I like their interactions, and I like, she has a
very interesting career, you know, so personal life. Oh nothing, yeah,
But every now and then they drop something like why
is she in economy class?
Speaker 2: Economy economy class on the plane?
Speaker 3: Like, oh yeah, why why unless it's a small plane,
they don't have first class baby, Oh are you kidding?
Speaker 1: Well?
Speaker 2: And she's wearing sunglasses? What the hell on a plane?
Speaker 3: Uh?
Speaker 1: I didn't even notice. Oh I notifying economy Maybe because
she was paying for her editors ticket.
Speaker 2: No, that's bullshit. She would pay for both anyway.
Speaker 1: Why she would be a little professional of her anyway.
Speaker 2: Whatever. Uh.
Speaker 3: And then she's wearing I believe she's wearing sunglass And
I'm like, why is she wearing sunglits on the plane anyway?
And if you I was looking at that because they're
talking in their apartment and I the window faces CenTra
pork have you yeah, And I'm like, you have money.
Speaker 1: Yeah, they have insane money money, but you might be
the wealthiest family on that show. They certainly look like, well, she.
Speaker 3: Wears couture or very very high and uh uh, you know,
garments all the time, So why are you in the
kitchen making dinner?
Speaker 1: And oh, I do not whatever. And I'm like, Okay,
where's the maid. Where's because Todd Wexley is not wepping
up pancakes on that kid.
Speaker 3: No, I mean the whole scene about like, oh my god,
my baggage. You know, my baggage in the back. I
have to go in the back and we cleat. Oh
my god, everyone's sweating around me.
Speaker 1: Oh that's right, I forgot about it.
Speaker 2: But it's to create chaoe. They always do that. It's
so funny. They throw everything out the window to make
a point. Right. Uh, I don't get it.
Speaker 1: I don't get So he traveled with her very attractive editor,
and she admitted to Charlotte that she does find him attractive.
But I do feel like they're not taking that anywhere.
And I'm like, I actually think if she went and
had an affair, I'm not gonna pooh poo it, but
I would find it kind of lame. So they keep
setting up storylines and they never seem to know why
they're setting me or where they're gonna take This is like,
we've been watching Miranda figure out her lesbianism for three
whole seasons now, and what's the point of view Miranda?
Where and I've said this before. I don't mind her
storylines as much, although this episode.
Speaker 2: Oh my god, yeah, we'll get to it to her.
Speaker 1: I mean again, it's it's they're writing sixty year old
women as if they were like forty year old women,
and all right, we'll get to that. So Lisa Todd
Wexley and her family, who I think are very charming
and cute and funny, and I like them in this
group and I like seeing more of them, but they
are not giving any of them interesting storylines. You don't
have to introduce some insane conflict. Just you know, his
campaign is almost never referred to. It's only obliquely, and honestly,
wouldn't that be consuming that family? Like campaigning. Political campaigning
is a big deal stuff, not something that happens on
the side anyway. Seema also no real story there, what's
going on?
Speaker 2: So first of all, she should have gotten alone? Come on,
are you kidding?
Speaker 1: Supposed to be this high power you imagine that? What
when she has thirty years of high powered experience, she
could walk into any bank in Manhattan and get alone.
Speaker 2: Yeah bullshit.
Speaker 1: You want these women to be mature and extremely wealthy,
but you want to write them as if they're you know,
twenty years younger and still struggling. Because we can't have
it both way, because what they're.
Speaker 3: Doing, the creators of the show, the writers, is that
we need to make these points in these you know episodes.
So so okay, we're going to make the point of
a woman struggling to get alone.
Speaker 1: So not the most timely, yeah, I mean yeah.
Speaker 3: But my point is that they want to make a
point of something some social or political or whatever issue,
so they use one of the characters for it.
Speaker 2: But the character does not match.
Speaker 1: She doesn't you know, match.
Speaker 2: It just doesn't that situation because when you look at
the character, the Carot wouldn't be going through that now,
but they put them through it anyway because they want
to make that point. That's lame.
Speaker 1: If she's as high powered as she has been portrayed,
her leaving that company would have made the New York Time, yes,
or some seriously made the New York Times's she's talking
to some clerk in a bank and I'm like, no,
I'm sorry, this is very very silly. Her commissions are
in the millions, but it's to show women like and
then the struggle of when it's very like, yeah, yeah,
it's not and I think these women are facing difficulties,
but that's not Getting bank loans is such a silly thing.
And of course the person at the bank was a woman,
so to awesome miserted will also make the.
Speaker 3: Point that how how can you as a woman, you know,
denying me blah blah blah or not help me.
Speaker 1: It's just tired and it's not interesting and as you said,
it does not apply to these characters. The other thing
with Seema is this ongoing thing and it happened with Carrie.
So now there's uh, Lisa, Todd Wexley and Carrie and
Seema all having incredibly hot men thrown at them, just
thrown at them, men who are younger than well, actually
they're not all younger, no, only the gardener is young.
And again, you know, putting hot men on a sex
and the City's spin off, no problems there. But again
it's like all these storylines of well, okay, is this
We're just throwing hot men at them, but nothing's gonna
happen with any of them. Maybe the Sema storyline with
the I mean, they really do seem to what is
the point of that gardener?
Speaker 2: I don't know, to show his desk, which is great,
or to show that.
Speaker 1: Like Carrie is okay with his neurodivergent center or whatever
who works there, I don't know.
Speaker 3: Uh.
Speaker 1: And then Carrie has her new Oh yeah, meet cute
her mister Darcy.
Speaker 2: She always has one. I mean, come on, it's not
the show anymore, you know, I gotta.
Speaker 1: Say, and all right, we're gonna jump into the carry
and Miranda stuff all at once. I got to say
his character, he actually felt very at home in this world.
And I'm like, Okay, this one works. I can see it.
I can see her crossing paths with a guy like
this didn't necessarily buy what his apartment looked like for
Gramercy Park, But okay, she has dated authors in the past,
like he's in the million, like he's in the realm
of a kind of guy that would be right for her.
And actually it did make me think, God, this could
have been a much more interesting show if we hadn't
got caught up with Aiden almost immediately, because actually her
scenes with him were fine. She was annoying as hell,
and we'll get to that, but they had a good
they had some chemistry. They are both roughly the same age.
They're both but they're different, and then you know they're
both writers. He would have made such a nice change
of pace from Big and even from Aiden, and it
just makes me, God, it was so dumb of them
to just bring her right back to her previous relationship
instead of letting her grow and meet other people and
have a have a struggle like that's the thing, Like
the Aiden relationship, it's like, oh, whatever, we're gonna wait
five years while your kids. But there's no there's no spark,
there's no struggle there. So I'm actually okay with him completely.
I wish they would ditch Aiden if they are introducing
him as a potential love interest. I really hate that
they're going to have her fucking agonizing over two different men.
That's a tired storyline that we've done with Carrie several
Probably what's going to happen, That is what's going to happen.
He's going to kiss her, you know he's going to
kiss her. Of course I don't. Actually, I do think
the storyline is all a series of cliches, but it's
must like the cancer thing. Well all right, fine, but
it is an actual storyline and it does fit her character.
Speaker 3: As annoys me that everything is resolved quickly. In one
episode he goes from an asshole to having having dinner
with her, having dinner with her and laughing and laughing
and having a good time.
Speaker 1: Come on, I know it actually would have been more
entertaining if they did hate each other and if it
stretched out for a couple episodes, But you've made it
so clear that Okay, he'll be kissing her by when
next episode. Whatever. This is not a terrible storyline. The
cancer thing not a terrible storyline. Miranda's new lesbian relationship
not a terrible storyline. Right, none of it's being handled
particularly great, but it all three of those storylines do
have some potential to them. They fit those characters as
we know them now. So I'm really the only issues
I have is with Seema's non storyline and Lisa Todd again,
And you know what, let's just point it out that,
you know, it's the additions to the cast, the women
of color, that they can't seem to give a storyline to.
Every episode is fifteen minutes of Carrie and ten minutes
of everybody else's storylines. And even the old show was
better about that.
Speaker 2: Well, Cintya and.
Speaker 3: Sarah Jessica Parker. They are exactly producers of the show,
so I'm sure they're telling them what to right, what
to type. Well, they have controls, so yeah, yeah, but
until the Cary Bret, Yeah, yes, exactly, but they you know,
that's why they're And the whole thing with Cynthia, you know,
staying in the apartment. Randa, Oh mean, Randa, I'm sorry,
Miranda staying in the apartment. It was just so ridiculous,
the whole thing. I mean, I get it, you're trying
to make the point that your friends and then you
annoy each other and then there was a bad idea
blah blah blah.
Speaker 2: But but Miranda just walking naked.
Speaker 1: No, you had to get them to do things that
they wouldn't do in order to produce this conflict. The
whole thing felt so dumb to me. And again, I'm like,
this is I'm not saying that sixty year old women
can't make bad roommates, but if I understand these carri
they have known each other for forty fucking years. I
just don't think Miranda would just be like that in
Carrie's apartment, just act that way and then be randomly
insulting since Wendy weep bananas and yogurt, you know, like, no,
you had to produce a conflict. You had to make
a reason why Miranda can't be there, and you know
they actually could have done something interesting with that, different goals,
different schedules, whatever. But no, let's have Miranda walking around naked,
something that she would never really do, has never demonstrated
a propensity towards doing.
Speaker 2: Ever.
Speaker 3: Everything is bullshit. The whole thing about the coke. You're
a millionaire, Why don't you have fifty bottles of that
coke in the fridge?
Speaker 2: Oh my god, you drink my lamp? What?
Speaker 1: But why would would Miranda actually do that?
Speaker 3: No?
Speaker 1: Would Miranda spread out all of her work on a
twenty thousand dollars dining room table that then she j bought?
And then you designer scar too, Like we had to
make Miranda a complete moron in order to get Carrie
to say we can't live together. That was just dumb, dumb, dumb,
dumb writing, insulting to me and insulting to the character.
You could, I don't mind a storyline where Miranda moves in.
They both realized, oh, this isn't good. I mean, let's
face it, those two people would never live together. They're
too different. Again, the only thing I will give them
credit for is when it came time to have that conversation,
it was incredibly mature and it felt like two people
who know each other really well, and they just laughed
it off. They just laughed at off.
Speaker 3: One of every now and then they dropped like some
beautiful thing, a beautiful gift, like when they're talking and
they say something else and like, all right, what I
actually meant to say?
Speaker 2: Uh? And they both have found up yes, because they.
Speaker 3: Didn't get the answer that they won, right, So all right,
what I want to say is this, uh, that that
was perfect.
Speaker 1: Right, And you can think, all right, you can let
them have conflict, let them have growth, and not make
them look like freaking idiots. To get to that point,
it's just such dumb and insulting writing.
Speaker 2: And Samantha is still texting.
Speaker 1: Well, I'm not even touching that. Let's get into Carrie,
who was an absolute psychopath this episode, an absolute psychopath
who behaves.
Speaker 2: Like that in your all own.
Speaker 1: The play thing is that Sarah Jessica Parker is constantly
doing press the about I'm understanding why people are so
hard on Carrie And do you not see that they
write her as an asshole?
Speaker 2: Right?
Speaker 1: I mean, I really feel like they don't understand that
Carrie's behavior isn't charming, She's an asshole. When Carrie was
at lunch and said, I'm having a problem with my neighbor,
and Miranda said, well, I'm having one too, and she said,
what does that have to do with me? And then
it was brushed off, and I'm like, who did the
writers not understand? Yeah, what an asshole thing that is
to say they're friends. Sara having a conversation about neighbors
and the whole point of her being so at Ben
out of shape, Ben insulted by a downstairs neighbor telling
her it was a reasonable request. And when we have
a neighbor upstairs and she vacuums at all crazy hours
of the night and everything, and sometimes it's really annoying.
But and it makes no sense. Why are you walking
around your house in stilettos. First off, you'd be ruining
those floors.
Speaker 2: Do you tell in those floors the entire time?
Speaker 1: You have no rugs? Why do you have no rugs?
Speaker 2: Why don't you have anything and.
Speaker 1: To solve it, she bought all these like industrial runners,
and I'm like, why not buy a fucking rug. You
are a millionaire fire rug. Everything about again. They want
these characters to be incredibly, incredibly wealthy and accomplished, but
they want to act as if they're you know, helpless
and struggling. Nobody in the show is struggling, and you
need to let go of that. You are all one percenters,
and you bake that in so it's all bullshit.
Speaker 3: If I had the money that Carrie has, I'd be
hiring everybody decorators and everything.
Speaker 1: That's just that she bought this house last year or
oh I forgot to have extra, which is an obnoxious thing,
an obnoxious thing for her to say. And everything about
her interactions with that guy. I know that it was
supposed to be charming and he was charmed by her,
but she was acting like a complete psychopath, an actual asshole,
all because she wanted to wear stilettos in her home.
Speaker 2: Why nobody does after walking?
Speaker 1: First off, nobody walks around New York City in stilettos,
but all of these characters do. And you know, you
gave her a hip replacement. Why are you doing, Like,
what's the point of storylines like that if you're just
going to ignore them? Because let me tell you, no
sixty year old post hip replacement is walking around in
stilettos by our time all the time.
Speaker 3: No, But that's the point I'm making here, is that
they want to make a point, They want to create
a story here. So nothing else metters, right, nothing else
that these carts went through metters at that particular moment.
Speaker 2: And no, that's not I know, on the.
Speaker 1: Last part, going to say this because I'm a fashion
blogger and we feature stuff like this all the time.
But the damage those heels due to yeah, women's feet
past a certain age. I mean, I know plenty of
elderly women wear those shoes for fancy events, but none
of them are wearing them at home. That is the
dumbest thing. I mean, even thirty year olds don't wear
stilettos at home.
Speaker 2: Get some Chanel flats, Jesus the idea.
Speaker 1: And I you know, I remember after the second Sex
and the City movie flopped and it was clear that
there was never going to be a third one, and
Carra and Sarah Jessica Parker was trying to have a
career post Carrie Bradshaw. I remember her giving interviews about Yeah, Carrie,
if Carrie were still around, she wouldn't be wearing those
shoes today because they ruined your feet and women. But no, no,
there's money involved in continuing the fantasies. So now we
have sixty year old Carrie, and I have to I
have to believe that that sequence of her first off,
you never see of her walking back that montage, you
only see feet, and I'm like, are.
Speaker 2: Those her feet?
Speaker 1: Because that probably took a day and a half to shoot,
because after every shot she would have had to take
those shoes off. I know that Sarah Jessica Parker is
very well versed in wearing high heels and she probably
will wear them into her seventies, and I know and
I believe that Carrie would too. But that storyline was
dumb as hell and made no sense, and it made
her look like a total psychopath.
Speaker 3: Right if they hadn't made the point that she was
wearing because at first, that's what I thought, Oh, she's
going out a lot, you know, she thought her house. Yeah,
I thought the point was like, all right, she's making
noise because she's wearing heees every time she goes out,
that makes sense, right, But around the house all the time.
Speaker 1: No, no, come on, it's just dumb. It's just dumb shit.
Like I said, there are a couple of decent storylines
here that shows that the writers can produce decent storylines
for these characters, but it is so wrapped up in
some of the dumbest, dumbest writing I've ever seen. For Tellpony.
Speaker 3: Yeah, and then they drop us. They drop us like
a little nugget, right, But it's most of the time
you're just wondering why those characters are doing what they're
doing right, which is not good writing.
Speaker 1: It's not good writing. All right, I think we've beaten
this one. Yes, all right, thank Hittons, Thank you for
listening to us. We will be back next week with
whatever crosses our eyes across their desk. Until then, take
care of yourselves, love you mean it. By bye.