October 16, 2023 • 60 mins
This dark comedy/horror film satirizes fine dining – and tackles some very real issues in the restaurant industry and food media. Anney and Lauren relish the dishes and themes of ‘The Menu’ (2022).
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Speaker 1 (00:08):
Hello, and welcome to Save for Protection of iHeartRadio. I'm
Annie ree.
Speaker 2 (00:11):
An unlearn vocal bum and today we have an episode
for you about the movie The Menu.
Speaker 1 (00:16):
Yes, we do because as we record and our ultimate
hope is this will come out on the same day.
It is, Friday, the thirteenth October Friday, the time.
Speaker 2 (00:26):
Uh huh, so a very spooky day hypothetically, if you're
into that kind of thing, every day could be a
spooky day. But yes, our motto here isn't it.
Speaker 1 (00:39):
But this is a pretty recent movie, So spoilers.
Speaker 2 (00:42):
Yep, yep, yep, yep, yep. If you haven't watched it
and you would like to be surprised by it, then
just turn off this episode now, go go away, but
come back later. Come back later.
Speaker 1 (00:53):
We'll be waiting for you.
Speaker 2 (00:54):
Yeah. Absolutely.
Speaker 1 (00:56):
Also content warning, it is kind of it delves into
a lot of stuff that is kind of dark.
Speaker 2 (01:02):
Yeah, this is a this is a very very dark
comedy film. Content warning for suicidal ideation and stuff like that. Also, Hey,
I hope you're doing okay, take care of.
Speaker 1 (01:15):
Yourself all right.
Speaker 2 (01:15):
If you're not, if you're not into hearing about stuff
like that, then again, go away and come back later,
come back later. Yeah, we love you, we love you. Yeah.
Speaker 1 (01:24):
Yeah. Yeah. So I remember when this movie came out.
I frequently watch clips from Seth Meyer's late night show
Okay sure, yeah, and they were kind of talking about
it because the we'll talk about it later, but anyway,
one of the people who's involved in that show was
involved in this, and I when I heard about it,
(01:47):
I was like, oh my god, I have to see
this because it sounded like, I mean, right up our alley,
because it was about like food culture, foodiism, problems in
the food world, but also kind of like a satire
and funny and like horror comedy thing. And I was like,
oh my god, I have to go.
Speaker 2 (02:08):
That is all the things.
Speaker 1 (02:09):
Yeah, yes, and hilariously enough, when I went, there's a
very fancy theater in Atlanta, and me and my friend
went to see it there, and it's a place where
you can like get a three course you're watching a movie.
And I felt like, I was like, Wow, I've watched
this movie. Well the meta, the meta. Yeah. Yeah, but
(02:31):
we had a great time. We loved it.
Speaker 2 (02:32):
Oh that's terrific. Yeah. I went and saw it at
a little local theater with a pretty full house actually,
and I saw it with a row of people who
work in the restaurant industry, and we were laughing so hard,
Like there were so many moments in this film where
(02:54):
we had to stifle ourselves because like we were still
laughing about a terrible, terrible, wonderful joke that had haden,
and like the rest of the theater was not was
not laughing. And also there was more dialogue happening, and
we were like, okay, like hold it together, kids like that.
Uh So it was. It was glorious though, I mean,
(03:15):
like what a what a treat? What a treat to
watch something that you you feel like the creators get
it and and are and are talking about some things
that really deserve to be talked about in an entertaining way.
Speaker 1 (03:30):
Yes, yes, because I remember watching it and like we're
gonna talk about it more. But the way it's set
up is you're kind of moving through this menu and
when the descriptions came up, I was just like oh no.
Speaker 2 (03:44):
Yeah, oh yeah, uh huh. And like the deeper that
you get into the making of it, the more you're
like oh no, no, no. All of this was exactly
on purpose. They knew precisely what they were doing.
Speaker 1 (03:59):
They really did well. Okay, So I guess that brings
us to our question. Sure, yes, the menu, what is it?
Speaker 2 (04:12):
Well? The Menu is a very dark comedy film, to
the point that I would categorize it as horror about
issues in the restaurant industry in particular, but also like
greater issues in our twenty first century food industry and
food culture and food media perhaps in particular. It came
(04:33):
out in twenty twenty two, and the story follows a
young woman who goes on a date to this extremely expensive,
exclusive restaurant run by a fictional celebrity chef on his
own private island, where he controls everything about the food
production and the staff and the kitchen and the menu,
(04:55):
and you know, it's all very high concept, like the
dining room is adjacent to the open kitchen. Everything about
the meal is a performance, and every course it is
telling part of a story that the chef comes out
and like monologues at you about or at the twelve
plus diners who are you know, lucky enough to escort
a seat that evening. The kitchen staff is like militaristically
(05:18):
trained and precise, you know, very hierarchical, very like a
scoffe a very devoted to their chef, and all of
this is like it's like bordering like like normal, bordering
on like comedic levels of restaurant to begin with. But
then as the meal continues, it gets weirder and the
(05:42):
woman and the viewer realize that the chef actually deeply
hates everyone there, including and most acutely, himself, and that
he has planned this night, this menu, to kill himself
and everyone else there, with full knowledge and help from
his staff in the most performative way possible. Yep, yep, yep.
(06:12):
One of the lines early in the movie from this
character played by Nicholas Holt, who's this this like really obnoxious,
foody kind of guy. He says very dramatically, and you know,
not inaccurately, chef's play with the raw materials of life
and death itself.
Speaker 1 (06:31):
Right, because the main character, she's trying to understand, like
what is it? What is it about this that you like?
Why are you so into it?
Speaker 2 (06:41):
Yeah, this lady is on this date and played by
Anya Taylor Joy, she's on this date with with this
foody character and like, and he's so into it, and
she's just like, okay, I mean what like why like.
Speaker 1 (06:55):
And she does, like to her credit, kind of trying
to understand it. It's like, okay, okay, does I get shared?
Speaker 2 (07:00):
That was good? More on that later, Yes, all right.
So the film was written by Will Tracy and Seth
Reese or Rice perhaps I haven't heard it out loud,
who are both comedy writers with priors writing for the
Onion and on Succession and on Seth Meyer's Late Show.
(07:23):
The director, Mark Mylloyd, has done mostly television, is best
known for his work on Succession as well. He's also
done a stint on the Game of Thrones stuff like that.
And they put together a team that was just really
passionate about and appropriate for satirizing and commenting on the
very real and present problems in the restaurant industry in
(07:45):
very hilarious, very upsetting ways indeed.
Speaker 1 (07:51):
And it's interesting to read interviews with them because from
what I understand, the two writers specifically came from different
like I'm really not into this type of tasting menu
experience and one who's like, I'm into it, but it
does make me uncomfortable. So so yeah, they they had
experience with it, They had specific restaurants they called out
(08:12):
about it. They did, Yep, they shure did, and not
even in a bad way. It called out it as
like too negative. I would just say that inspired.
Speaker 2 (08:20):
There are visual references to some very particular, mostly no
defunct restaurants that that are like like three star Michelin
restaurants around the world.
Speaker 1 (08:31):
Right, yes, So they definitely had done their research in
one way or another. So one thing that they did
for the background actors they only cast people who had
worked in the restaurant industry. They they had something of
a boot camp, and it was really important to the
director that people in the industry could watch it and
not think, oh, that's not how it goes that it would.
Speaker 2 (08:52):
Yeah, yeah, that's right. Yeah, that's correct. Sure. Yeah. They
also had a because they filmed in the Savannah area
and Goal Savannah chef John ben Hayes also helped train
those actors in how to like move through the kitchen
and through service, like how exactly to hold the tweezers,
how exactly to you know, like keep your arms tucked
as you're doing this like kind of big work in
(09:14):
order to let everyone else work around you.
Speaker 1 (09:17):
Right. I believe that's the island we tried to get
to go to oysters around it.
Speaker 2 (09:23):
Yeah, yeah, yeah, yeah. They filmed on Jekyl Land or
Tybee Island, and which are both. If you're ever in Georgia,
if you're ever around the Savannah area, definitely take a
day trip or or hang out there. Those are lovely,
lovely places.
Speaker 1 (09:39):
A lot of good tours, a lot of informational food tours.
I would say it's some good ghost tours too. Oh yes.
Dominique Crinn, who is the chef at San Francisco's Three
Michelin Start at the A. Krinn, was recruited to help
design the dishes of the film.
Speaker 2 (09:56):
Yeah, and they said that they specifically wanted to hire
a a lady chef to come help them with this
because a lot of what they're talking about in the
film is this like toxic masculinity that happens in kitchens
and the issues surrounding that. I will say that Cren's
meals are only four hundred and ten dollars ahead, which
(10:19):
is way more reasonable than the fictional restaurant Hawthorn than
they're twelve hundred and fifty dollars ahead. That's yeah. Yeah.
Speaker 1 (10:29):
I like how she seemed really cool with it too.
She was like, oh, I know what this is about.
Speaker 2 (10:33):
Oh yeah, oh yeah. They apparently like they were like, oh,
we're never going to get her. She would never agree
to do something this goofy, and then she was like, oh,
I'm in Like yeah, it seems like some real Grimlin stuff.
Her pastry chef Jue Contreres also assisted.
Speaker 1 (10:48):
Yes, But meanwhile Kendall Ginsler Chinceller, a New Orleans based
food stylist, was responsible for physically creating the dishes on st.
Speaker 2 (10:58):
Yeah, because that's a little bit of a different thing
of you know, cooking to cook and cooking for camera.
If something has to set up for twelve hours.
Speaker 1 (11:07):
Right, And I did read many quotes about the difficulty
of filming foam that I really enjoyed, but apparently that
was very hard for them to do.
Speaker 2 (11:21):
And I was like, yeah, that makes sense, Yeah totally,
because foam, right like it'll you know, it dissipates or
it doesn't dissipate, it'll collapse after about a minute. And
even the stuff that they were doing that was like, Okay, no,
we can really get it to set up. It holds
for three minutes, and that's not that's not how filming works,
you know, right and so right, you know, like like
(11:42):
if there's a scallop dish, you might have a real
scallop for the actor to eat in one particular take,
but if it has to sit there for more than
like yeah, like a few minutes, you're you might use
a potato instead. So anyway, but they did really make
versions of these fancy dishes for the actors to really
eat or not eat as the case maybe Yeah. Kren
(12:07):
said that she wanted them to really be experiencing something,
and the kitchen actors were really cooking food that would
have gone with each course in the background of various scenes. Wow,
I know every it's a multi course meal, and each
(12:27):
course they have these like kind of title cards in
the middle of the film that show the dish, these
like kind of like sweeping shots of each dish and
very much in the style of Chef's Table. It turns
out the second unit director was David Gelb, who has
done documentaries like Judo, Dreams of Sushi and Chef's Table.
(12:49):
The film calls out that foodie character is like, oh, yeah,
I've watched every episode of Chef's Table like two or
three times. It's adorable it is, and so yeah, they
filmed on location here in Georgia at Jekyland or Tybee Island,
and then also the interiors of the restaurants of the
(13:09):
restaurant was on a sound stage, and their production designer
Ethan Todman created the restaurant for those stages. Kren later
hired him to redesign her restaurant.
Speaker 1 (13:21):
Oh, I love that. That's awesome, so good, so good. Well,
what about the nutrition?
Speaker 2 (13:30):
Who boyer? I would say, definitely consume this media. But
the question of to eat or not to eat is
something that is a little bit integral to the film,
and we will get into that in another minute.
Speaker 1 (13:47):
We will. We do have one number for.
Speaker 2 (13:50):
You, Yeah, like one and a half numbers. So The
Menu debuted at number two at the box office the
weekend that it opened, behind only Wakanda Forever, which I
think is just fair, you know. And it's grossed about
eighty million dollars versus its budget of about thirty million,
so not too shabby. I think it was Searchlight's biggest
opening weekend for a film.
Speaker 1 (14:10):
I think, Oh, it was so fun when it came out,
because anytime a horror movie comes out I'm like, oh,
I gotta go.
Speaker 2 (14:17):
Yeah.
Speaker 1 (14:19):
But this movie when it came out, it was very vague,
like I had a kind of concept of what it
would be, but I thought there was going to be
more cannibalism.
Speaker 2 (14:28):
Sure, I always assume that a food horror film is
going to be cannibalism. It was less that way less
that yeah, way.
Speaker 1 (14:36):
Less, but a lot of other horrifying things which we're
going to get into.
Speaker 2 (14:40):
Oh yes, yeah, yeah, so yeah, we're gonna get more
into the dishes and the concepts explored in this film.
But first we are going to get into a quick
break for a word from our sponsors.
Speaker 1 (15:02):
They we're back, Thank you sponsor.
Speaker 2 (15:03):
Yes, thank you, okay, so uh in. In this fictional restaurant, Hawthorne,
the chef is this fictional celebrity chef by the name
of Julian Slowick, played brilliantly, I would say, by Ray Fines,
and he meticulously sets up this entire dinner as commentary,
(15:30):
like every course and every staff member and every guest
has a role to play, whether they realize it or not.
Speaker 1 (15:38):
Yes, exactly. And I would say one of the biggest
commentaries in this movie is the working class of like
who works at this restaurant, and then who can afford
to eat there? Yeah, and kind of the the very
stark difference in that and then why they're eating there. Okay,
(16:01):
here's a quote from screen rant. The twelve guests consist
of wealthy businessmen, celebrities, food critics, and others who can
afford such an expensive restaurant experience, standing in stark contrast
with the kitchen staff, who lives and works on the
island with the chef to earn their living and provide
the service the wealthy minority has paid for.
Speaker 2 (16:21):
Yeah. Like, as the guests are walking in or walking
to the dining room, they take a boat to the island,
walk kind of around the island. They're shown some of
the farm and the smokehouse and all of that kind
of stuff, and they're shown the literal military bunk where
the entire kitchen staff stays.
Speaker 1 (16:42):
Mm hmm.
Speaker 2 (16:43):
Yeah.
Speaker 1 (16:44):
Yeah, And it feels very like, you know, in the
way a restaurant will be kind of, oh, this is
where we grow organic whatever whatever. It feels very like
see how much they're working as sort of a part
of like, oh, you can appreciate this more even though
pretty much everyone there are jerks to the staff.
Speaker 2 (17:05):
Oh yeah, no, all of the guests are very entitled,
so right, okay, so everyone who scores a seat at
this final dinner is representative of issues in the industry
in some way. There's the restaurant critic whose reviews make
or break not only restaurants but lives, you know, who
doesn't even seem to see food as a pleasure anymore,
(17:26):
but rather something to dissect. There's the wealthy couple who
go because they can not because they're enjoying it or
even really paying attention to it. There's the finance bros
from the investment firm that keeps the place afloat, who
feels so entitled royal treatment but don't really appreciate anything
(17:47):
that they do get, you know. There's the Hollywood celebrity
like scrambling for status. There's the foodie who has absolutely
no industry experience but thinks he's an expert. Like everyone
there is an entitled perk in their own special way.
Speaker 1 (18:05):
Yeah yeah, there's a lot of like the food critics like, oh,
this emulsion, it's not working, and then she gets a
whole thing.
Speaker 2 (18:16):
Yeah yeah, she comments snidely to her dining partner, about
the fact that one of the sauces was broken, and
then the staff brings her increasingly large bowls of broken sauce,
and it gets more and more uncomfortable, and it's my
favorite thing.
Speaker 1 (18:33):
Oh gosh, it does. Here's a quote from Looper. The
menu attacks privilege head on, exposing to the audience what
it means for love and passion to be taken out
of someone's craft. Every character who attends Chef Julian's special
Evening finds themselves there because of their greed, exorbitant riches,
or rampant privilege.
Speaker 2 (18:55):
Yeah, there are only two guests who don't fit this,
and those are Chef Julian's mother, who is an alcoholic who,
through her own failures as a parent, set Chef Julian
on his path to this terrible dark place. And then
(19:16):
our main character who gives the name Margo that's not
her real name, played by Annie Taylor Joy. Again, Yeah,
it turns out that she was not the original partner
that her date the food he played by Nick Holt,
was going to bring. It turns out that she is
a sex worker who he hired, and he treats her
(19:36):
with just such complete disdain isn't even the right word.
Like he just talks down to her constantly and aggressively.
Speaker 1 (19:45):
Oh yeah, like she can't possibly know anything. Again, this
is the guy who doesn't know anything. He's just watched
a lot of chefs day.
Speaker 2 (19:54):
Yeah, he's just right. He's just a fanboy and he
but he thinks that because he's watched all of this,
and because he knows what a paca jet is, that
he knows what it's like to be industry.
Speaker 1 (20:06):
Right, and he's he definitely sees her as completely disposable
because he knew what was going to happen.
Speaker 2 (20:15):
Yeah, it turns out that he also right knew that
chef was going to murder everyone at this dinner and
hired her anyway.
Speaker 1 (20:22):
And didn't tell her perhaps Yeah spoiler.
Speaker 2 (20:27):
Alert anyway, Yeah, more spoilers.
Speaker 1 (20:31):
I didn't want to mention here, and we're about to
go into these food descriptions in a second, But as
a part of this, I feel like one of the
early signs of oh, I see what's going on here
is when everyone is served a breadless bread plate and
it's basically exactly what it sounds like. It's all these sauces.
There's a description of the bread is served, yes, yes,
(20:56):
and like the history of it, of being kind of
this working class thing and all of this stuff, but
none of them get it, basically very clearly implying none
of the guests deserve the bread. It is very much
like the privilege being denied something in their life. The
finance bros definitely were like, oh, this is funny, but
(21:17):
can we get some bread?
Speaker 2 (21:18):
But what about my bread?
Speaker 1 (21:20):
Right? And they're like, no, no bread. Yeah. Yeah.
Speaker 2 (21:24):
The amazing mader d character is just like no.
Speaker 1 (21:28):
No, no. But that does bring us to the descriptions,
which kind of move us through the movie. They kind
of are telling you like, Okay, this is what we're
going to tackle right now.
Speaker 2 (21:42):
Yeah, yeah, hoofta, yes, okay, right, so this is a
multi course meal. I can't count what like ten courses, sure,
and right, almost all of them are presented in this
very chef's table way, with those sweeping close up shots
of the plating and the descriptions on the screen and
gentle fon accompanied by a monologue from chef Slowick, and
(22:05):
the cooking technology and techniques involved are very posh, very
molecular astronomy.
Speaker 1 (22:10):
Yeah.
Speaker 2 (22:11):
So all right, so going through the courses. There's like
a pre amuse bouche of sorts that's served on the
boat over a single raw oyster with a I always
say this wrong, minnette, minion, minnonette. I've always said mignette,
No mignette. You know more French than I do, sure,
and emulsion of that it's the vinegar sauce that you
(22:31):
can put on an oyster. Yeah, and then lemon caviar,
you know, little little agar or whatever, bubbles of lemon
and an oyster leaf because puns.
Speaker 1 (22:45):
Always always because funds.
Speaker 2 (22:48):
Yes, once they're seated, there is another amuse bousch, tiny
compressed balls of cucumber and melon surrounded by milk, snow
and charred lace. I don't know what that means.
Speaker 1 (23:01):
Me either.
Speaker 2 (23:02):
Yeah. Great. Then the first course called the Island, which
is a single ross gallop plated with plants and rocks
from around the island and a slush of melting sea water.
Speaker 1 (23:15):
It looks nice, but it doesn't look like food, is
what I'll say about that one.
Speaker 2 (23:18):
I mean, I would eat a single raw oyster at
a fancy restaurant and I would be real excited about.
Speaker 1 (23:23):
It, absolutely, But it looks kind of like a rock but.
Speaker 2 (23:26):
The rest of the plate is rock, not like edible pantna.
It's rocks. It's mostly rocks. The second course is then
the breadless bread plate with six little dots of sauce
and like a little spatula to kind to kind of
eat them with taste them with. The third course Houfta,
(23:50):
is called Memory, which is a build your own taco
plate served with house tortillas and smoked chicken thigh al pastor.
This is where things start getting aggressively stranger, because the
chef serves it with little scissors in each chicken thigh
and describes how he had to stab his father in
(24:11):
the thigh with a pair of sewing shears to stop
him from hurting his mother one day. It's a very
intense film, and the tortillas are printed with embarrassing images
for each individual patron.
Speaker 1 (24:28):
Yeah.
Speaker 2 (24:29):
Yeah, they really did use a laser printer to really
print images on edible tortillas for the actors to eat. Yeah.
Speaker 1 (24:36):
I heard that they kind of had seen that before,
And I'm like, oh, is this a thing at restaurants? Oh?
Speaker 2 (24:44):
No, getting increasingly more disturbing. The fourth course is called
the Mess. The dish itself seems fine. It's a roasted
filet of beef plated with a potato coned feet, pressure
cooked vegetables you and a bone marrow involves a live
suicide as it's as it's plated, then a palate cleanser
(25:07):
berghamuttin red clover tea. Yeah, as we all need after
that kind of thing. Yeah. Uh. Next up, Man's Folly
served only to the ladies, which is a little bit
of crab with that foam that was so difficult to
keep on set which is a yogurt way by the way,
(25:28):
garnished with dried sea lettuce, calp and umibushi. There is
a special side dish for one dude, the dude who
kind of won the Men's trying to escape round a
soft boiled egg, a crem fresh and maple syrup garnished
with flowers and shives. Supplemental course, Tyler's Bullshit, which is
(25:51):
undercooked lamb in an inedible shallot leak butter sauce with
an utter lack of cohesion. Yeah. That was a fun one, yea.
Speaker 1 (26:00):
And they put that up there.
Speaker 2 (26:01):
Oh yeah, oh yeah, the utter lack of cohesion really
got me. Yeah, because because chef is like is finally like, oh,
a foody character. If you think you know so much,
how about you get in the kitchen and cook me something.
Speaker 1 (26:14):
And he's like, bring me leaks.
Speaker 2 (26:21):
Oh oh, it's very tense and very very very funny.
Another supplemental course, just a well made cheeseburger, a double
stack with American cheese and pickles, served with crinkle cut fries.
Looks so good, so good, looks so good. She does
ask for it medium. I don't believe that was medium.
(26:42):
That was a double stack.
Speaker 1 (26:44):
Also, for a while, you could buy this. There were
restaurants that were serving it.
Speaker 2 (26:48):
I mean, a good double stack, is okay? All right?
Hold on, I.
Speaker 1 (26:54):
Well they did it specifically with the menu.
Speaker 2 (26:56):
Oh okay, all right. Well that's cute but.
Speaker 1 (27:00):
Interesting.
Speaker 2 (27:03):
I read somewhere that this particular double stack was in
reference to Hugh Hugh accents uh am I saying his
last name right. He's a he's a local Atlanta chef
and and he has a couple, uh kind of kind
of famous places around Atlanta, and he was doing a
very similar double stack at Empire States South and uh
(27:25):
and I read that that was the inspiration for that.
I would say that the Atlanta double stack is a
particular thing that is not specific to him. Yeah, I
think I think it's from Little Food Store in Cabbage Town.
I think everyone else is copying Little's. Any Way, I
(27:46):
love this. Okay, I'm getting I'm getting away from the point.
Back back to the film. Okay, Finally we have the
dessert course, which is deconstructed somemores. The ingredients listed on
the screen are marshmallows, chocolate, Graham crackers. The customers, the staff,
and the restaurant.
Speaker 1 (28:03):
Listen, that scene was wild. If you haven't seen it
and you're listening to this, it's what it sounds like.
Speaker 2 (28:12):
They blew it up. They blew it all up.
Speaker 1 (28:15):
Yeah, put on like big chocolate hat and vest of.
Speaker 2 (28:19):
Like marshmallow vests, marshmallow like capelts, kind of like little
marshmallow conchos, and then splattered the sauces on the floor
and then let everything on fire. Uh yeah, yeah, that's
what happens. This is a copy of Oh gosh, I'm
forgetting the name of the restaurant, but there is a
(28:41):
very fancy restaurant that kind of famously did a deconstructed
somemores on a full tabletop like they would they would
do a version of this. That's yeah, they would do
a version of Less Murder, only a tabletop, not the
whole floor. Uh. Then I guess one more supplemental. I
guess they're given gift bags at the end containing some
(29:03):
housemade granola.
Speaker 1 (29:05):
That's actually like one of my favorite parts. I think
that's hilarious. I love that they pay, they pay for
the meal at the end.
Speaker 2 (29:14):
They're they're fully aware that they're about to get blown.
Speaker 1 (29:17):
Up, and they pay for the meal.
Speaker 2 (29:20):
And they give them their credit cards and then they
get right. Mm hmm.
Speaker 1 (29:25):
I love it so much.
Speaker 2 (29:26):
It's beautiful.
Speaker 1 (29:28):
And then it cuts to Margo, who gets away and
we'll talk about this more in a second, but eats
the cheeseburger that she took as a doggie bag and
wipes her face with the men with the menu as
everything is blown Pretty good, it's it's a little on
the nose, but it's great.
Speaker 2 (29:49):
It's great.
Speaker 1 (29:49):
Yes, oh, oh gosh.
Speaker 2 (29:51):
Yes.
Speaker 1 (29:52):
But one thing with Margo is like, pretty early on,
you realize this isn't her scene. Yeah, And one of
the things she kind of immediately establishes is that she's
perfectly capable of deciding what she wants to eat how
much to eat? And that's in the face of both
the foodie jerk who hired her and took her to
(30:15):
this island, but also the chef who's kind of like, now,
I promise everything on the menu has been calculated. You're
not going to get too full. It doesn't make sense
unless you eat everything. And she's like, no, I'm good.
Speaker 2 (30:26):
You're like, no, I'm good. I'm not going to eat
your sauces. I'm not going to eat your sauce plate.
I don't need these sauces. I'm not interested. And I
think that he's genuinely wounded because I think he's like,
but eat, but this is but this bulsh is my life.
If you don't subscribe to it, what am I Also,
he clocks immediately that she doesn't belong there, like, you know,
(30:48):
aside from from from literally her not being on the
original guest list, he immediately clocks that she is also
in some kind of service industry. Yes, and I think
he wants to impress her more than he wants to
impress literally anyone else in the room.
Speaker 1 (31:02):
From that moment on, I agree, and they have a
pretty big that's sort of the culmination of how she
gets out, but they have they have a big conversation
about being the service industry and quote shoveling this shit. Yeah,
but yeah, I do think like it's interesting to see
her juxtapose against Nicholas Holt's character, who is like, I
(31:25):
love every sauce. Have you tried these sauces when basically
there's no food.
Speaker 2 (31:31):
Yeah.
Speaker 1 (31:33):
She's like what She's like.
Speaker 2 (31:36):
No, it's not you haven't given me food.
Speaker 1 (31:40):
Right, right. And there's also like a running through line
of she smokes, and he keeps telling her like, oh,
that's going to ruin your palate. You're not going to
appreciate this if you keep doing that, and he does
that a lot. So like when they have the first
amuse bouche on the boat, the Oyster Tyler who's Nicholas
(32:02):
Holt's character explains to her because she basically is like
I just like the oyster, Like I good with just
the oyster. I don't need all this other stuff. Yeah,
and he explains to her like, you're wrong. Your palette
is wrong. You don't appreciate the genius of what's happening here. Yeah,
And yeah he talks like he's this authority. And then
(32:26):
later as we discussed.
Speaker 2 (32:30):
I mean, I mean there's there's certainly I mean, like
you can be you can love food right like without
being particularly adept at cooking it, Like I would put
myself in that category. I can I could also, like
slightly embarrassingly probably be the guy who's sitting in a
restaurant being like, was that Bergamont in the in the
(32:51):
in the tea? I think I tasted Bergamont? Was that it?
But you know, like like doing that without being schmoe
about it, I think is really really the line yeah yeah,
Margo says about the breadplate to Tyler. She's like, he's
basically insulting you, like chef is basically insulting you with
(33:14):
this dish. And he immediately goes, oh, you don't get it.
Speaker 1 (33:18):
Yeah.
Speaker 2 (33:18):
He calls her a child at one point, and when
she's like, dude, you cannot talk to me like that,
he's like, actually I can because I'm paying Yeah, oh yeah,
and like this for better or worse. Like I'm still
not exactly sure how I feel about it, But the
parallel that the movie draws between service work in the
sex industry and service work in the food industry is
(33:41):
really direct.
Speaker 1 (33:42):
It is it is And one thing that I kept
thinking about was when you're seeing all of these kind
of entitled rich people in this place for one reason
or another, is this whole idea of the experience, which
we've talked about before, where like when food becomes everything
but eating the food, it becomes like you're there for
(34:06):
your Instagram picture or status or because it's your birthday
and it's not really your birthday, but your investors will
pay for it. Like yeah, yeah, And that's the thing
with Nicholas Holt's character, Tyler I kept thinking about, like
does he really like this food or is he so
dedicated to this chef, to the celebrity chef the idea
(34:30):
what he does, right, that's genius and he's gonna love it.
Speaker 2 (34:34):
Yeah, Like were all of those dishes actually like close
your eyes good or was he just high on the experience?
Speaker 1 (34:43):
Yeah, exactly, And and that the whole the chef is
like looming over everything, like both him and the idea
of him, and like loving this celebrity chef, fearing this
celebrity chef, respect the chef. When it came to the staff,
he was like a deity in this restaurant on this island.
Speaker 2 (35:05):
Oh yeah, yeah, yeah, and that kind of worship has
clearly gone to his head, but to everyone else's as well,
Like it's really it's this really insidious concept that has
taken deep root.
Speaker 1 (35:22):
Yeah, because it's like everyone expects something of him because
he's this, but they also are the ones sort of
who made him this.
Speaker 2 (35:31):
Yeah yeah, I mean I'm the same for everyone in
that room exactly.
Speaker 1 (35:37):
And then that sort of divorcing of what food is,
of what eating is, is also throughout this movie. So
early on the chef introduces himself, he gives this whole
speech like, look, I'm asking you one thing. Don't eat,
do not.
Speaker 2 (35:58):
Eat, taste, savor, relish, but don't eat.
Speaker 1 (36:02):
Yes, right, And later when Marco's like, hey, you know what,
I'm good, don't want to fill up, He's like, now
you got to eat. I promise you. I planned this
whole thing. And she's like, nah, but you just told
us not to eat.
Speaker 2 (36:16):
He's like, you know that's not what I meant. Yes, okay,
it is what you said, dude.
Speaker 1 (36:22):
Yes. He seems very confused by her. He's like, oh no,
I haven't faced this in a while. And ever heck yes,
and every dish, as you might you might be able
to tell from Louren's going over them tells a story.
(36:43):
And here's the quote I found from one of the writers.
There's something relentless about all of these tasting menus. Screenwriter
wil Tracy says, you can't leave. You're being held hostage
by a story which they're telling you for hours.
Speaker 2 (37:01):
He was the one who had this experience of this
kind of tasting menu and then was like, I feel
like there's there's there's a there's an idea here, there's.
Speaker 1 (37:08):
A nugget here.
Speaker 2 (37:09):
Yeah. Yeah, that was he said that to bone up
a teeth who.
Speaker 1 (37:15):
It is true. I hadn't thought about it in that
way before because I've done plenty of tasting menus. I've
never done anything quite on skill, but but I've done
plenty of tasting minis, and it is true. At a
certain point, you're like.
Speaker 2 (37:32):
Yeah, yeah, so sorry, Yeah, you either have to buy
into it completely or you're gonna be it's gonna be weird.
Speaker 1 (37:42):
It's it is gonna be weird, and especially like with
those food descriptions and like the personal history people might
pour into it. Yeah yeah, yeah, which is something else
like this movie really does tackle a bunch of things
I would say, burnout big one abuse. I think the
(38:05):
whole idea of when he's talking about his past, his
childhood and the abuse in it with Taco Tuesday and
how that's gone elevated. That was the dish that put
him on the map.
Speaker 2 (38:17):
Yeah, these Alpa store printed image tortilla taco self make
your own taco. Yeah.
Speaker 1 (38:27):
I think that's We talked about that a lot too,
of like when something I don't know that isn't that
expensive but gets put on expensive restaurant menus and what
that says?
Speaker 2 (38:41):
Yeah yeah right, like like what yeah, how that how
you can possibly charge you know, like twelve hundred bucks
ahead and serve tacos.
Speaker 1 (38:51):
Like going on like yeah, yeah, and yeah, definitely there's suicidality,
there's not being good enough to be a celebrity chef, sexism,
being harassed, not being respected as a chef, which definitely
shines through in the Man's Folly dish which is only
(39:12):
served to women.
Speaker 2 (39:13):
Right And the reason that that dish is part of
the menu, as he, along with his siue chef, tells
the story, is that his sue chef, who is a woman,
he tried to sleep with her and when she rejected him.
He like cold shouldered her for months in their workplace
(39:36):
and uh, and it comes out as she's serving this
dish to the ladies that it was her idea. The
entire this, this giant mass murder suicide was her idea.
The whole thing was his woman, Sue's idea, and he
(40:02):
has been taking credit for it this whole time and
will continue as soon as this one little respite moment
among the women is over.
Speaker 1 (40:11):
M Yeah, it's a very funny and dark scene where
all the women are sitting around the table and they're like,
so we all have to dive in, and she's like it. Also,
I think it's pretty telling when because there's plenty of
signs something's wrong early on, but when the chef kills
(40:35):
himself and then everyone keeps eating, they keep eating like that,
they bundle up the body and they're like, all right,
it must be part of the show.
Speaker 2 (40:45):
It must be yea during the mess. Yeah, dude kills
himself and then right everyone's like, oh is it theater? Okay,
these tacos are great or this?
Speaker 1 (40:54):
Yeah?
Speaker 2 (40:54):
I love filet. Here we go like okay.
Speaker 1 (40:58):
Yeah, just kind of the like willing to look away
of the dances being done, so we have to talk
about the cheeseburger. So basically, at this point, Margo has
seen a picture of the chef Julian when he was
(41:19):
younger and he was first starting out. He was making hamburgers,
and she's like, oh, I've got to get out of here.
I'm going to die. And so she stands up and
claps her hands.
Speaker 2 (41:30):
Which is a recurring thing before every course, the whole
kitchen staff or a chef Julian claps and the whole
kitchen staff comes to attention and it's very jarring.
Speaker 1 (41:42):
Every time it is extremely jarring. So she does it
and says, I would like to send something back, which
is something Nicholas Holt's character has said, you never do that.
And she's like, I would just send something back. I'm hungry.
Everything I've eaten was made without passion or care. And
(42:02):
the chef is obviously like, oh, no, flabbergasted, this can't
be And it boils down to him saying what would
you like? We can make you yeah, whatever whatever you want. Yeah,
and she says, just a good cheeseburger. I don't know
if you know how to make it. I just want
a good cheeseburger and he's like, no, no, no, I
(42:24):
know how to do it. And it's really kind of
funny because they talk about like American cheese and the
white it's a good cheese for this, and like crinkle fries. Anyway,
but he makes this cheeseburger for her and it seems
to remind him of why he got into this in
the first place, like the love of cooking. And she
(42:45):
takes a bite of it. It looks delicious. It's only
nine dollars in something since.
Speaker 2 (42:50):
Yeah, gratuity included. Yeah, mm hmmm.
Speaker 1 (42:54):
And she's like, okay, my eyes are bigger than my stomach.
Is that right?
Speaker 2 (42:59):
Yeah?
Speaker 1 (43:00):
Yeah, And it's like, can I take this to go?
Speaker 2 (43:02):
And he lets her, and he gives her a doggy
bag and lets her and lets her go and she
flees the island.
Speaker 1 (43:08):
Yes, and everyone else is kind of like.
Speaker 2 (43:11):
It's kind of like wealth, good on you. Yep, you go.
I guess I'm just sitting here now. I guess I'm
just waiting for my death, which I deserve, which I
have come to realize over the course of this ten course.
Speaker 1 (43:19):
Meal, over the course of the east courses. Here we
are yep, yes, yep, yes, and that brings us to
the Amors. The final thing kind of becoming part of
the menu.
Speaker 2 (43:35):
Yeah.
Speaker 1 (43:36):
I felt it was very just desserts sort of messaging,
and I do love that they kept reiterating the menu
only makes sense if you have all the dishes.
Speaker 2 (43:48):
Yeah.
Speaker 1 (43:48):
So I feel like they've all come to this point.
Speaker 2 (43:50):
And they're yeah, They're like, well here we are, yeah,
and uh yeah. Ra Raf finds a chef, s Loowick,
gives one last impassioned monologue about how bad some Moores
are but everyone seems to love them, so he's going
to do it anyway. And apparently Ray Fines actually basically
(44:12):
wrote that monologue. He didn't the character didn't originally have
a final one, and Rafe went to the director and
writers and was like, hey, uh, I think he needs one,
right because you know, like this is his moment, this
is his you know, ego moment. So they're like, you're right,
and good job, we'll just put that in there. Great.
Speaker 1 (44:32):
Yeah.
Speaker 2 (44:35):
Yeah. Apparently I read so many like making of things
over the past couple days. Apparently to create the smors
on the set, because they turned the entire floor of
the restaurant into this giant splatter somemors thing. But you
can't just splash down a bunch of sauce and then
film around it for multiple hours that you would track
(44:56):
it everywhere. It wouldn't It would not be good. Even
if it was just like paint and not real food, NA,
it would be it would be bad. So to create it,
they actually did splash down stuff on set. Then I
get a little bit mundy about the details here, but
but basically they Yeah, they actually splashed stuff down on set,
then projected an image of that onto the floor of
(45:19):
a different room of a parallel set. They used that
as a template to build up resin models of the
real stuff, and then before they cleaned up the actual stuff,
they traced around it with black light activated transparent markers.
So then when it was time to film, they busted
out these black light headlamps and brought in their plastic
(45:41):
models and laid them down on these invisible lines on
set just perfectly. Apparently the actors were there and they
were totally incredulous. That's a quote.
Speaker 1 (45:53):
Wow, that's wild.
Speaker 2 (45:56):
I love this. I love this so fun.
Speaker 1 (46:01):
Wow. Okay, well, as we wrap up here, we're going
to run over some quick things that this really dealt
with when it comes to trauma and the restaurant industry.
But they're all deserving of their own episodes that are
not horror movie based.
Speaker 2 (46:16):
Oh oh absolutely absolutely. I mean you know, like that's
that's the fun of horror movies, you know, like you
get to kind of again in an hopefully entertaining way,
deal with some of these like really big, real issues.
And we've touched on some of these topics a little
bit and some of our interviews before. But yeah, no,
definitely definitely need need full episodes about all of this.
Speaker 1 (46:37):
Yes, So one of the things that was throughout this
was the review system and how damaging that can.
Speaker 2 (46:44):
Be, Yeah, Kren. Dominique Kren told The New York Times.
We work eighteen hours a day, every day under pressure
to feed thousands of people a perfect meal. And one
person can walk into the restaurant and put you down,
or a writer can judge you for using too much salt, which.
Speaker 1 (47:05):
Is a great quote because we all have different preferences.
Speaker 2 (47:08):
Oh sure, and.
Speaker 1 (47:10):
Maybe I would love that amount of salt and someone
will think it's too much.
Speaker 2 (47:13):
Oh absolutely, yeah, yeah, and and right and like and
like what is perfection that's in that that's that's literally
wild to think that you could possibly ask for perfection
out of every dish to come out of the kitchen
under those kind of circumstances, especially mm hmmm.
Speaker 1 (47:29):
Something else that was throughout this film was mental health
and suicidality in the restaurant industry.
Speaker 2 (47:36):
Yeah. In in that dish the Mess, I think it's
uh chefs Loowick who who's as he's describing the dish,
he says something about the that it represents the mess
you make of your life, your body, your sanity that
you give to making other people happy.
Speaker 1 (47:58):
Mm hmmm.
Speaker 2 (47:59):
And of course our mental health in the restaurant industry
is a very very very serious topic, and there there
are luckily a lot of really great resources that are
being developed these days. There's a there's a few great
programs here in Atlanta to help to help people out.
But you know, like this is an industry that frequently
(48:20):
you don't have health insurance, and uh so when these pressures,
these physical and mental pressures happen as they do, as
they inevitably do, you don't have a really good place
to turn. And it's an issue.
Speaker 1 (48:42):
Yeah, And I would also say, like I'm constantly reminded
because I live kind of near a strip of restaurants
that a lot of people who work in the industry
don't get home until three am. Oh yeah, Like there's
schedules is very different than a lot of our schedules.
Speaker 2 (48:58):
So yeah, that's a tree. Yeah yeah. And I mean also,
you know, like a substance misuse is really rampant because
at a certain point, you know, like you're you're around
booze at the least all the time, and how else
do you get a numb your emotions and your physical
pain and all of that. And you know, like it's
(49:20):
a really seductive kind of kind of agent in a
lot of those spaces. And and I know a lot
of people in the industry who are sober as a
result of it, and good for them, and it's horrifying
that they've had to go there.
Speaker 1 (49:34):
M h yeah. And that that's also something else that
this this movie addresses is the sexual harassments and misogyny
in the restaurant industry. And I think we have seen
in recent years a lot of celebrity chefs get accusations
(49:56):
against them and fall away because of that, which yeah good.
Speaker 2 (50:03):
Oh yeah, oh yeah.
Speaker 1 (50:04):
Yeah.
Speaker 2 (50:05):
There was a scandal that was happening. I think while
this movie was being made with oh gosh, what was
the name of the place, the Willow in New York where, Yeah,
it was coming out that all of this bad stuff
had happened, and there's a whole expos and then I
think in the New York Times and who was also
(50:29):
interviewing the filmmakers around that time about all of these
same issues, and it's like, yep, this is yeah. I mean,
this is like a funny example, funny and scare quotes,
but it's also very real.
Speaker 1 (50:42):
Yeah it is so. I mean, obviously it's pretty dark,
but we do recommend it if this is your thing.
Speaker 2 (50:52):
Oh yeah, oh my gosh. I really do enjoy this film.
I mean also I will say that the acting is
just aces across the board. Everyone, everyone is bringing everything.
Speaker 1 (51:06):
It's beautiful. Yes, yeah, I love it. I feel like
everyone's had some kind of experience that informed there, and
I really enjoyed it. And it's funny, Like I think,
if you listen to this show and you in any
capacity enjoy some dark comedy or horror, you'll it's very funny.
(51:29):
For people who enjoy food media.
Speaker 2 (51:31):
I think, yes, yeah, there's a few descriptions of the food,
and or just like like the way that things are phrased,
like when the when the matter d is is like,
feel free to go watch our chefs as they innovate.
I'm like, oh my goodness, yes, oh my gosh, I
forgot about that.
Speaker 1 (51:48):
Yep, oh so good, so good. But I think that's
what we have to say for now.
Speaker 2 (51:55):
I think it is. We do have some listener mail
for you, though, and we are going to get to
that as soon as we get back from one more
quick break for a word from our sponsors, and we're back.
Speaker 1 (52:12):
Thank you, sponsor, Yes, thank you, and we're back with
Friday the thirteenth. Okay. Sheldon wrote about Twizzlers the Memories
(52:35):
of these Things about ten years before I retired, I
went through a period that lasted two years. Whizzler's lunch.
Every day. I would walk to the nearby dollar store
and get a one pound pack of Twizzlers, walk back
to my office and sit at my desk and eat
the entire pound for lunch. When coworkers would comment, I'd respond,
(52:56):
it's cheap and it's fat free.
Speaker 2 (52:59):
Now it wasn't.
Speaker 1 (53:01):
As bad as it may seem. I was a cycle commuter.
I would burn a lot of calories on my daily commute,
especially when writing in the snow in the winter. I
really needed a lot of calories, and the Twizzlers did
the job. Asthma side, I went through a bit of
time when I would take a six mile bike ride
to an Italian deli to get one of their fantastic
(53:23):
sandwiches for my lunch. It turned out that the ride
to get the sandwich burned more calories and the sandwich
gave me, so my lunch was technically a loss, albeit
a good tasting. Now, oh, I mean if you find
a good sandwich.
Speaker 2 (53:37):
Oh, I mean right right? Yeah, absolutely, yeah, And that
level you do reach a level of workout where right
you're like, you're like, oh, heck, how am I going
to eat enough? How? What can I do?
Speaker 1 (53:51):
A pound of Twizzlers. We had a coworker who was
really into Twizzlers and he would just leave them around
on their office in my early days of back when
it was housed of works.
Speaker 2 (54:05):
Oh I don't I don't know, this might be before
my time. I don't remember this.
Speaker 1 (54:08):
Oh yeah. He would just leave them and I was
always kind of perplexed by it. I love that he
wanted to share. He loved them so much.
Speaker 2 (54:18):
Like open bags or like little singles.
Speaker 1 (54:20):
Or just little singles singles.
Speaker 2 (54:22):
Okay, singly rapped, not just like random.
Speaker 1 (54:27):
In the wild wizzer. But I just remember at the
time being kind of befuddled by the whole thing. I
appreciated it. What I was also like, huh, you got
some connect to Twizzlers.
Speaker 2 (54:44):
Uh, stop working, what's happening?
Speaker 1 (54:48):
Yeah, the suspicion immediately, you know, sure, of.
Speaker 2 (54:52):
Course, yeah that would my stomach would not tolerate that
number of Twizzlers. But more and more power to you. Heck, yeah, absolutely, Yeah.
Speaker 1 (55:03):
I also love it. It's like a two year period. Yeah,
that's someone who goes through periods of like I eat
this every day. I understand.
Speaker 2 (55:10):
Oh sure, oh sure yeah. Oh, Christine wrote, I was
just listening to your mulberry episode from twenty twenty one,
which is perfect timing because my mulberry tree is in
the middle of its usual abundant harvest. This year's fruit
is small, but plentiful and very sweet. I usually get
(55:31):
around five kilos about eleven pounds of fruit per year,
which gets turned into pies, ice cream, jam, or alcoholic beverages.
I have no idea when mulberry trees arrived in Australia,
but it was probably fairly early into white settlement. The
black ones are dotted all over the place and locals
know the locations of all of them. They're probably invasive
here as well, though blackberries are a much worse problem.
(55:53):
When why people had to bring dangerous plants here when
Australia has so many amazing native fruits. I don't know,
but that's stupid white people for you, it is. The
mulberry episode was far more enjoyable than the corn dog episode.
We have a corn dog analog in Australia, the Pluto
pop or dagwood dog. This is always a Frankfurt save
(56:16):
Loy save loi sure type sausage dipped in wheat and
water batter and deep fried, served on a stick. They're
typically a show at fair food and I despise them,
just as I despise any Frankfurt based food product, including
hot dogs. In fact, Frankfurt sausage based food products are
probably the foods I despise the most, more even than
(56:38):
anything involving kale. I'm not sure how it goes in
the US, but frankfurts and save lois here are red
skinned sausages. Save Loys are a different size to frankfurts
and supposedly are made of a spiced pressed meat blend
that came from England and are apparently superior to frankfurts.
These are a reclaimed meat product, probably the bits of
(56:58):
unsold animal that we're done in the Tames in medieval times.
Save lois and frankfurts are equally vile as far as
I'm concerned. I never really liked them. But my undiaglothing
was set in Diamond by my brother, who cooked some
of these detestable things once for lunch. He put them
on the stove, then forgot about them. You boil them
to cook them, and the pan had boiled dry. It
(57:20):
was the smell that reminded him if you overcook them
Frankfurt's burst. The pan was full of this disgusting, bright
pink sludge, shot through with bits of red. My brother
and father proceeded to pile this muck on bread and
eat it. I could not. The mere memory makes me nauseous,
though that could be the bad thunderstorm overhead. I should
(57:43):
think about cheese instead. Good cheese. Is always worth thinking about.
Speaker 1 (57:48):
True. True. I have to say I am a very
positive person. I think you would agree, Lauren.
Speaker 2 (57:56):
Yeah, huh, but there.
Speaker 1 (57:58):
Is something so delightful about reading somebody's true discussed.
Speaker 2 (58:04):
Yeah food item like very real, real revulsion. Uh, Like
the words are fun, Like I really enjoyed it. I mean,
I'm sorry for your experience. Yeah, I'm sorry that you
had this food ruined for you, but you didn't really
like it to begin with, so I guess that's sort
of fine.
Speaker 1 (58:22):
But yeah, and you're you got away with words. I
was moved. Yeah, places I didn't know it was gonna go.
Speaker 2 (58:30):
Yeah, I had to. I had to retake the dumped
in the Thames line because I read it before. You know,
I'd actually read this before we got on MIC. But
but it was so funny that I just cracked up
in the middle of the line.
Speaker 1 (58:48):
I do. I love it. And you know, I have
my foods I don't like and I do enjoy complaining
about them, so I understand. Oh geez, this is funny
because I'm actually going back to Universal because we have
more work travel coming up.
Speaker 2 (59:06):
Oh oh right, yeah, yeah, yeah totally.
Speaker 1 (59:08):
They have a corn dog.
Speaker 2 (59:10):
Yeah.
Speaker 1 (59:11):
Yeah. The last of us based corn Dog. Oh my gosh,
steps dog.
Speaker 2 (59:15):
That's really silly. Okay, cool, Well I eat it.
Speaker 1 (59:18):
I don't know, probably.
Speaker 2 (59:20):
Well yeah, yeah, only huh. You have to you have
to for us, addie, and you have to let us
know what the experience is.
Speaker 1 (59:29):
Yeah, well I will. I'm ready. I'm ready for this. Also,
congrats on your muleberries.
Speaker 2 (59:42):
Yeah yeah, yeah, yeah, yeah yeah yeah. Let us know
what you wind up making from this patch.
Speaker 1 (59:47):
Oh yeah, please, I love all the things you listed.
Speaker 2 (59:51):
You have so many options, right yeah.
Speaker 1 (59:53):
Yes, okay. Well, in the meantime, thanks to both of
these listeners for writing it. If you would like to
write to us, you can Our email is hello at
saverpod dot com.
Speaker 2 (01:00:04):
We are also on social media. You can find us
on Twitter, Facebook, and Instagram at saverpod and we do
hope to hear from you. Saver is production of iHeartRadio.
For more podcasts from my Heart Radio, you can visit
the iHeartRadio app, Apple Podcasts, or wherever you listen to
your favorite shows. Thanks us always to our super producers
Dylan Fagan and Andrew Howard. Thanks to you for listening,
and we hope that lots of more good things are
(01:00:25):
coming your way,
Hello, and welcome to Save for Protection of iHeartRadio. I'm
Annie ree.
Speaker 2 (00:11):
An unlearn vocal bum and today we have an episode
for you about the movie The Menu.
Speaker 1 (00:16):
Yes, we do because as we record and our ultimate
hope is this will come out on the same day.
It is, Friday, the thirteenth October Friday, the time.
Speaker 2 (00:26):
Uh huh, so a very spooky day hypothetically, if you're
into that kind of thing, every day could be a
spooky day. But yes, our motto here isn't it.
Speaker 1 (00:39):
But this is a pretty recent movie, So spoilers.
Speaker 2 (00:42):
Yep, yep, yep, yep, yep. If you haven't watched it
and you would like to be surprised by it, then
just turn off this episode now, go go away, but
come back later. Come back later.
Speaker 1 (00:53):
We'll be waiting for you.
Speaker 2 (00:54):
Yeah. Absolutely.
Speaker 1 (00:56):
Also content warning, it is kind of it delves into
a lot of stuff that is kind of dark.
Speaker 2 (01:02):
Yeah, this is a this is a very very dark
comedy film. Content warning for suicidal ideation and stuff like that. Also, Hey,
I hope you're doing okay, take care of.
Speaker 1 (01:15):
Yourself all right.
Speaker 2 (01:15):
If you're not, if you're not into hearing about stuff
like that, then again, go away and come back later,
come back later. Yeah, we love you, we love you. Yeah.
Speaker 1 (01:24):
Yeah. Yeah. So I remember when this movie came out.
I frequently watch clips from Seth Meyer's late night show
Okay sure, yeah, and they were kind of talking about
it because the we'll talk about it later, but anyway,
one of the people who's involved in that show was
involved in this, and I when I heard about it,
(01:47):
I was like, oh my god, I have to see
this because it sounded like, I mean, right up our alley,
because it was about like food culture, foodiism, problems in
the food world, but also kind of like a satire
and funny and like horror comedy thing. And I was like,
oh my god, I have to go.
Speaker 2 (02:08):
That is all the things.
Speaker 1 (02:09):
Yeah, yes, and hilariously enough, when I went, there's a
very fancy theater in Atlanta, and me and my friend
went to see it there, and it's a place where
you can like get a three course you're watching a movie.
And I felt like, I was like, Wow, I've watched
this movie. Well the meta, the meta. Yeah. Yeah, but
(02:31):
we had a great time. We loved it.
Speaker 2 (02:32):
Oh that's terrific. Yeah. I went and saw it at
a little local theater with a pretty full house actually,
and I saw it with a row of people who
work in the restaurant industry, and we were laughing so hard,
Like there were so many moments in this film where
(02:54):
we had to stifle ourselves because like we were still
laughing about a terrible, terrible, wonderful joke that had haden,
and like the rest of the theater was not was
not laughing. And also there was more dialogue happening, and
we were like, okay, like hold it together, kids like that.
Uh So it was. It was glorious though, I mean,
(03:15):
like what a what a treat? What a treat to
watch something that you you feel like the creators get
it and and are and are talking about some things
that really deserve to be talked about in an entertaining way.
Speaker 1 (03:30):
Yes, yes, because I remember watching it and like we're
gonna talk about it more. But the way it's set
up is you're kind of moving through this menu and
when the descriptions came up, I was just like oh no.
Speaker 2 (03:44):
Yeah, oh yeah, uh huh. And like the deeper that
you get into the making of it, the more you're
like oh no, no, no. All of this was exactly
on purpose. They knew precisely what they were doing.
Speaker 1 (03:59):
They really did well. Okay, So I guess that brings
us to our question. Sure, yes, the menu, what is it?
Speaker 2 (04:12):
Well? The Menu is a very dark comedy film, to
the point that I would categorize it as horror about
issues in the restaurant industry in particular, but also like
greater issues in our twenty first century food industry and
food culture and food media perhaps in particular. It came
(04:33):
out in twenty twenty two, and the story follows a
young woman who goes on a date to this extremely expensive,
exclusive restaurant run by a fictional celebrity chef on his
own private island, where he controls everything about the food
production and the staff and the kitchen and the menu,
(04:55):
and you know, it's all very high concept, like the
dining room is adjacent to the open kitchen. Everything about
the meal is a performance, and every course it is
telling part of a story that the chef comes out
and like monologues at you about or at the twelve
plus diners who are you know, lucky enough to escort
a seat that evening. The kitchen staff is like militaristically
(05:18):
trained and precise, you know, very hierarchical, very like a
scoffe a very devoted to their chef, and all of
this is like it's like bordering like like normal, bordering
on like comedic levels of restaurant to begin with. But
then as the meal continues, it gets weirder and the
(05:42):
woman and the viewer realize that the chef actually deeply
hates everyone there, including and most acutely, himself, and that
he has planned this night, this menu, to kill himself
and everyone else there, with full knowledge and help from
his staff in the most performative way possible. Yep, yep, yep.
(06:12):
One of the lines early in the movie from this
character played by Nicholas Holt, who's this this like really obnoxious,
foody kind of guy. He says very dramatically, and you know,
not inaccurately, chef's play with the raw materials of life
and death itself.
Speaker 1 (06:31):
Right, because the main character, she's trying to understand, like
what is it? What is it about this that you like?
Why are you so into it?
Speaker 2 (06:41):
Yeah, this lady is on this date and played by
Anya Taylor Joy, she's on this date with with this
foody character and like, and he's so into it, and
she's just like, okay, I mean what like why like.
Speaker 1 (06:55):
And she does, like to her credit, kind of trying
to understand it. It's like, okay, okay, does I get shared?
Speaker 2 (07:00):
That was good? More on that later, Yes, all right.
So the film was written by Will Tracy and Seth
Reese or Rice perhaps I haven't heard it out loud,
who are both comedy writers with priors writing for the
Onion and on Succession and on Seth Meyer's Late Show.
(07:23):
The director, Mark Mylloyd, has done mostly television, is best
known for his work on Succession as well. He's also
done a stint on the Game of Thrones stuff like that.
And they put together a team that was just really
passionate about and appropriate for satirizing and commenting on the
very real and present problems in the restaurant industry in
(07:45):
very hilarious, very upsetting ways indeed.
Speaker 1 (07:51):
And it's interesting to read interviews with them because from
what I understand, the two writers specifically came from different
like I'm really not into this type of tasting menu
experience and one who's like, I'm into it, but it
does make me uncomfortable. So so yeah, they they had
experience with it, They had specific restaurants they called out
(08:12):
about it. They did, Yep, they shure did, and not
even in a bad way. It called out it as
like too negative. I would just say that inspired.
Speaker 2 (08:20):
There are visual references to some very particular, mostly no
defunct restaurants that that are like like three star Michelin
restaurants around the world.
Speaker 1 (08:31):
Right, yes, So they definitely had done their research in
one way or another. So one thing that they did
for the background actors they only cast people who had
worked in the restaurant industry. They they had something of
a boot camp, and it was really important to the
director that people in the industry could watch it and
not think, oh, that's not how it goes that it would.
Speaker 2 (08:52):
Yeah, yeah, that's right. Yeah, that's correct. Sure. Yeah. They
also had a because they filmed in the Savannah area
and Goal Savannah chef John ben Hayes also helped train
those actors in how to like move through the kitchen
and through service, like how exactly to hold the tweezers,
how exactly to you know, like keep your arms tucked
as you're doing this like kind of big work in
(09:14):
order to let everyone else work around you.
Speaker 1 (09:17):
Right. I believe that's the island we tried to get
to go to oysters around it.
Speaker 2 (09:23):
Yeah, yeah, yeah, yeah. They filmed on Jekyl Land or
Tybee Island, and which are both. If you're ever in Georgia,
if you're ever around the Savannah area, definitely take a
day trip or or hang out there. Those are lovely,
lovely places.
Speaker 1 (09:39):
A lot of good tours, a lot of informational food tours.
I would say it's some good ghost tours too. Oh yes.
Dominique Crinn, who is the chef at San Francisco's Three
Michelin Start at the A. Krinn, was recruited to help
design the dishes of the film.
Speaker 2 (09:56):
Yeah, and they said that they specifically wanted to hire
a a lady chef to come help them with this
because a lot of what they're talking about in the
film is this like toxic masculinity that happens in kitchens
and the issues surrounding that. I will say that Cren's
meals are only four hundred and ten dollars ahead, which
(10:19):
is way more reasonable than the fictional restaurant Hawthorn than
they're twelve hundred and fifty dollars ahead. That's yeah. Yeah.
Speaker 1 (10:29):
I like how she seemed really cool with it too.
She was like, oh, I know what this is about.
Speaker 2 (10:33):
Oh yeah, oh yeah. They apparently like they were like, oh,
we're never going to get her. She would never agree
to do something this goofy, and then she was like, oh,
I'm in Like yeah, it seems like some real Grimlin stuff.
Her pastry chef Jue Contreres also assisted.
Speaker 1 (10:48):
Yes, But meanwhile Kendall Ginsler Chinceller, a New Orleans based
food stylist, was responsible for physically creating the dishes on st.
Speaker 2 (10:58):
Yeah, because that's a little bit of a different thing
of you know, cooking to cook and cooking for camera.
If something has to set up for twelve hours.
Speaker 1 (11:07):
Right, And I did read many quotes about the difficulty
of filming foam that I really enjoyed, but apparently that
was very hard for them to do.
Speaker 2 (11:21):
And I was like, yeah, that makes sense, Yeah totally,
because foam, right like it'll you know, it dissipates or
it doesn't dissipate, it'll collapse after about a minute. And
even the stuff that they were doing that was like, Okay, no,
we can really get it to set up. It holds
for three minutes, and that's not that's not how filming works,
you know, right and so right, you know, like like
(11:42):
if there's a scallop dish, you might have a real
scallop for the actor to eat in one particular take,
but if it has to sit there for more than
like yeah, like a few minutes, you're you might use
a potato instead. So anyway, but they did really make
versions of these fancy dishes for the actors to really
eat or not eat as the case maybe Yeah. Kren
(12:07):
said that she wanted them to really be experiencing something,
and the kitchen actors were really cooking food that would
have gone with each course in the background of various scenes. Wow,
I know every it's a multi course meal, and each
(12:27):
course they have these like kind of title cards in
the middle of the film that show the dish, these
like kind of like sweeping shots of each dish and
very much in the style of Chef's Table. It turns
out the second unit director was David Gelb, who has
done documentaries like Judo, Dreams of Sushi and Chef's Table.
(12:49):
The film calls out that foodie character is like, oh, yeah,
I've watched every episode of Chef's Table like two or
three times. It's adorable it is, and so yeah, they
filmed on location here in Georgia at Jekyland or Tybee Island,
and then also the interiors of the restaurants of the
(13:09):
restaurant was on a sound stage, and their production designer
Ethan Todman created the restaurant for those stages. Kren later
hired him to redesign her restaurant.
Speaker 1 (13:21):
Oh, I love that. That's awesome, so good, so good. Well,
what about the nutrition?
Speaker 2 (13:30):
Who boyer? I would say, definitely consume this media. But
the question of to eat or not to eat is
something that is a little bit integral to the film,
and we will get into that in another minute.
Speaker 1 (13:47):
We will. We do have one number for.
Speaker 2 (13:50):
You, Yeah, like one and a half numbers. So The
Menu debuted at number two at the box office the
weekend that it opened, behind only Wakanda Forever, which I
think is just fair, you know. And it's grossed about
eighty million dollars versus its budget of about thirty million,
so not too shabby. I think it was Searchlight's biggest
opening weekend for a film.
Speaker 1 (14:10):
I think, Oh, it was so fun when it came out,
because anytime a horror movie comes out I'm like, oh,
I gotta go.
Speaker 2 (14:17):
Yeah.
Speaker 1 (14:19):
But this movie when it came out, it was very vague,
like I had a kind of concept of what it
would be, but I thought there was going to be
more cannibalism.
Speaker 2 (14:28):
Sure, I always assume that a food horror film is
going to be cannibalism. It was less that way less
that yeah, way.
Speaker 1 (14:36):
Less, but a lot of other horrifying things which we're
going to get into.
Speaker 2 (14:40):
Oh yes, yeah, yeah, so yeah, we're gonna get more
into the dishes and the concepts explored in this film.
But first we are going to get into a quick
break for a word from our sponsors.
Speaker 1 (15:02):
They we're back, Thank you sponsor.
Speaker 2 (15:03):
Yes, thank you, okay, so uh in. In this fictional restaurant, Hawthorne,
the chef is this fictional celebrity chef by the name
of Julian Slowick, played brilliantly, I would say, by Ray Fines,
and he meticulously sets up this entire dinner as commentary,
(15:30):
like every course and every staff member and every guest
has a role to play, whether they realize it or not.
Speaker 1 (15:38):
Yes, exactly. And I would say one of the biggest
commentaries in this movie is the working class of like
who works at this restaurant, and then who can afford
to eat there? Yeah, and kind of the the very
stark difference in that and then why they're eating there. Okay,
(16:01):
here's a quote from screen rant. The twelve guests consist
of wealthy businessmen, celebrities, food critics, and others who can
afford such an expensive restaurant experience, standing in stark contrast
with the kitchen staff, who lives and works on the
island with the chef to earn their living and provide
the service the wealthy minority has paid for.
Speaker 2 (16:21):
Yeah. Like, as the guests are walking in or walking
to the dining room, they take a boat to the island,
walk kind of around the island. They're shown some of
the farm and the smokehouse and all of that kind
of stuff, and they're shown the literal military bunk where
the entire kitchen staff stays.
Speaker 1 (16:42):
Mm hmm.
Speaker 2 (16:43):
Yeah.
Speaker 1 (16:44):
Yeah, And it feels very like, you know, in the
way a restaurant will be kind of, oh, this is
where we grow organic whatever whatever. It feels very like
see how much they're working as sort of a part
of like, oh, you can appreciate this more even though
pretty much everyone there are jerks to the staff.
Speaker 2 (17:05):
Oh yeah, no, all of the guests are very entitled,
so right, okay, so everyone who scores a seat at
this final dinner is representative of issues in the industry
in some way. There's the restaurant critic whose reviews make
or break not only restaurants but lives, you know, who
doesn't even seem to see food as a pleasure anymore,
(17:26):
but rather something to dissect. There's the wealthy couple who
go because they can not because they're enjoying it or
even really paying attention to it. There's the finance bros
from the investment firm that keeps the place afloat, who
feels so entitled royal treatment but don't really appreciate anything
(17:47):
that they do get, you know. There's the Hollywood celebrity
like scrambling for status. There's the foodie who has absolutely
no industry experience but thinks he's an expert. Like everyone
there is an entitled perk in their own special way.
Speaker 1 (18:05):
Yeah yeah, there's a lot of like the food critics like, oh,
this emulsion, it's not working, and then she gets a
whole thing.
Speaker 2 (18:16):
Yeah yeah, she comments snidely to her dining partner, about
the fact that one of the sauces was broken, and
then the staff brings her increasingly large bowls of broken sauce,
and it gets more and more uncomfortable, and it's my
favorite thing.
Speaker 1 (18:33):
Oh gosh, it does. Here's a quote from Looper. The
menu attacks privilege head on, exposing to the audience what
it means for love and passion to be taken out
of someone's craft. Every character who attends Chef Julian's special
Evening finds themselves there because of their greed, exorbitant riches,
or rampant privilege.
Speaker 2 (18:55):
Yeah, there are only two guests who don't fit this,
and those are Chef Julian's mother, who is an alcoholic who,
through her own failures as a parent, set Chef Julian
on his path to this terrible dark place. And then
(19:16):
our main character who gives the name Margo that's not
her real name, played by Annie Taylor Joy. Again, Yeah,
it turns out that she was not the original partner
that her date the food he played by Nick Holt,
was going to bring. It turns out that she is
a sex worker who he hired, and he treats her
(19:36):
with just such complete disdain isn't even the right word.
Like he just talks down to her constantly and aggressively.
Speaker 1 (19:45):
Oh yeah, like she can't possibly know anything. Again, this
is the guy who doesn't know anything. He's just watched
a lot of chefs day.
Speaker 2 (19:54):
Yeah, he's just right. He's just a fanboy and he
but he thinks that because he's watched all of this,
and because he knows what a paca jet is, that
he knows what it's like to be industry.
Speaker 1 (20:06):
Right, and he's he definitely sees her as completely disposable
because he knew what was going to happen.
Speaker 2 (20:15):
Yeah, it turns out that he also right knew that
chef was going to murder everyone at this dinner and
hired her anyway.
Speaker 1 (20:22):
And didn't tell her perhaps Yeah spoiler.
Speaker 2 (20:27):
Alert anyway, Yeah, more spoilers.
Speaker 1 (20:31):
I didn't want to mention here, and we're about to
go into these food descriptions in a second, But as
a part of this, I feel like one of the
early signs of oh, I see what's going on here
is when everyone is served a breadless bread plate and
it's basically exactly what it sounds like. It's all these sauces.
There's a description of the bread is served, yes, yes,
(20:56):
and like the history of it, of being kind of
this working class thing and all of this stuff, but
none of them get it, basically very clearly implying none
of the guests deserve the bread. It is very much
like the privilege being denied something in their life. The
finance bros definitely were like, oh, this is funny, but
(21:17):
can we get some bread?
Speaker 2 (21:18):
But what about my bread?
Speaker 1 (21:20):
Right? And they're like, no, no bread. Yeah. Yeah.
Speaker 2 (21:24):
The amazing mader d character is just like no.
Speaker 1 (21:28):
No, no. But that does bring us to the descriptions,
which kind of move us through the movie. They kind
of are telling you like, Okay, this is what we're
going to tackle right now.
Speaker 2 (21:42):
Yeah, yeah, hoofta, yes, okay, right, so this is a
multi course meal. I can't count what like ten courses, sure,
and right, almost all of them are presented in this
very chef's table way, with those sweeping close up shots
of the plating and the descriptions on the screen and
gentle fon accompanied by a monologue from chef Slowick, and
(22:05):
the cooking technology and techniques involved are very posh, very
molecular astronomy.
Speaker 1 (22:10):
Yeah.
Speaker 2 (22:11):
So all right, so going through the courses. There's like
a pre amuse bouche of sorts that's served on the
boat over a single raw oyster with a I always
say this wrong, minnette, minion, minnonette. I've always said mignette,
No mignette. You know more French than I do, sure,
and emulsion of that it's the vinegar sauce that you
(22:31):
can put on an oyster. Yeah, and then lemon caviar,
you know, little little agar or whatever, bubbles of lemon
and an oyster leaf because puns.
Speaker 1 (22:45):
Always always because funds.
Speaker 2 (22:48):
Yes, once they're seated, there is another amuse bousch, tiny
compressed balls of cucumber and melon surrounded by milk, snow
and charred lace. I don't know what that means.
Speaker 1 (23:01):
Me either.
Speaker 2 (23:02):
Yeah. Great. Then the first course called the Island, which
is a single ross gallop plated with plants and rocks
from around the island and a slush of melting sea water.
Speaker 1 (23:15):
It looks nice, but it doesn't look like food, is
what I'll say about that one.
Speaker 2 (23:18):
I mean, I would eat a single raw oyster at
a fancy restaurant and I would be real excited about.
Speaker 1 (23:23):
It, absolutely, But it looks kind of like a rock but.
Speaker 2 (23:26):
The rest of the plate is rock, not like edible pantna.
It's rocks. It's mostly rocks. The second course is then
the breadless bread plate with six little dots of sauce
and like a little spatula to kind to kind of
eat them with taste them with. The third course Houfta,
(23:50):
is called Memory, which is a build your own taco
plate served with house tortillas and smoked chicken thigh al pastor.
This is where things start getting aggressively stranger, because the
chef serves it with little scissors in each chicken thigh
and describes how he had to stab his father in
(24:11):
the thigh with a pair of sewing shears to stop
him from hurting his mother one day. It's a very
intense film, and the tortillas are printed with embarrassing images
for each individual patron.
Speaker 1 (24:28):
Yeah.
Speaker 2 (24:29):
Yeah, they really did use a laser printer to really
print images on edible tortillas for the actors to eat. Yeah.
Speaker 1 (24:36):
I heard that they kind of had seen that before,
And I'm like, oh, is this a thing at restaurants? Oh?
Speaker 2 (24:44):
No, getting increasingly more disturbing. The fourth course is called
the Mess. The dish itself seems fine. It's a roasted
filet of beef plated with a potato coned feet, pressure
cooked vegetables you and a bone marrow involves a live
suicide as it's as it's plated, then a palate cleanser
(25:07):
berghamuttin red clover tea. Yeah, as we all need after
that kind of thing. Yeah. Uh. Next up, Man's Folly
served only to the ladies, which is a little bit
of crab with that foam that was so difficult to
keep on set which is a yogurt way by the way,
(25:28):
garnished with dried sea lettuce, calp and umibushi. There is
a special side dish for one dude, the dude who
kind of won the Men's trying to escape round a
soft boiled egg, a crem fresh and maple syrup garnished
with flowers and shives. Supplemental course, Tyler's Bullshit, which is
(25:51):
undercooked lamb in an inedible shallot leak butter sauce with
an utter lack of cohesion. Yeah. That was a fun one, yea.
Speaker 1 (26:00):
And they put that up there.
Speaker 2 (26:01):
Oh yeah, oh yeah, the utter lack of cohesion really
got me. Yeah, because because chef is like is finally like, oh,
a foody character. If you think you know so much,
how about you get in the kitchen and cook me something.
Speaker 1 (26:14):
And he's like, bring me leaks.
Speaker 2 (26:21):
Oh oh, it's very tense and very very very funny.
Another supplemental course, just a well made cheeseburger, a double
stack with American cheese and pickles, served with crinkle cut fries.
Looks so good, so good, looks so good. She does
ask for it medium. I don't believe that was medium.
(26:42):
That was a double stack.
Speaker 1 (26:44):
Also, for a while, you could buy this. There were
restaurants that were serving it.
Speaker 2 (26:48):
I mean, a good double stack, is okay? All right?
Hold on, I.
Speaker 1 (26:54):
Well they did it specifically with the menu.
Speaker 2 (26:56):
Oh okay, all right. Well that's cute but.
Speaker 1 (27:00):
Interesting.
Speaker 2 (27:03):
I read somewhere that this particular double stack was in
reference to Hugh Hugh accents uh am I saying his
last name right. He's a he's a local Atlanta chef
and and he has a couple, uh kind of kind
of famous places around Atlanta, and he was doing a
very similar double stack at Empire States South and uh
(27:25):
and I read that that was the inspiration for that.
I would say that the Atlanta double stack is a
particular thing that is not specific to him. Yeah, I
think I think it's from Little Food Store in Cabbage Town.
I think everyone else is copying Little's. Any Way, I
(27:46):
love this. Okay, I'm getting I'm getting away from the point.
Back back to the film. Okay, Finally we have the
dessert course, which is deconstructed somemores. The ingredients listed on
the screen are marshmallows, chocolate, Graham crackers. The customers, the staff,
and the restaurant.
Speaker 1 (28:03):
Listen, that scene was wild. If you haven't seen it
and you're listening to this, it's what it sounds like.
Speaker 2 (28:12):
They blew it up. They blew it all up.
Speaker 1 (28:15):
Yeah, put on like big chocolate hat and vest of.
Speaker 2 (28:19):
Like marshmallow vests, marshmallow like capelts, kind of like little
marshmallow conchos, and then splattered the sauces on the floor
and then let everything on fire. Uh yeah, yeah, that's
what happens. This is a copy of Oh gosh, I'm
forgetting the name of the restaurant, but there is a
(28:41):
very fancy restaurant that kind of famously did a deconstructed
somemores on a full tabletop like they would they would
do a version of this. That's yeah, they would do
a version of Less Murder, only a tabletop, not the
whole floor. Uh. Then I guess one more supplemental. I
guess they're given gift bags at the end containing some
(29:03):
housemade granola.
Speaker 1 (29:05):
That's actually like one of my favorite parts. I think
that's hilarious. I love that they pay, they pay for
the meal at the end.
Speaker 2 (29:14):
They're they're fully aware that they're about to get blown.
Speaker 1 (29:17):
Up, and they pay for the meal.
Speaker 2 (29:20):
And they give them their credit cards and then they
get right. Mm hmm.
Speaker 1 (29:25):
I love it so much.
Speaker 2 (29:26):
It's beautiful.
Speaker 1 (29:28):
And then it cuts to Margo, who gets away and
we'll talk about this more in a second, but eats
the cheeseburger that she took as a doggie bag and
wipes her face with the men with the menu as
everything is blown Pretty good, it's it's a little on
the nose, but it's great.
Speaker 2 (29:49):
It's great.
Speaker 1 (29:49):
Yes, oh, oh gosh.
Speaker 2 (29:51):
Yes.
Speaker 1 (29:52):
But one thing with Margo is like, pretty early on,
you realize this isn't her scene. Yeah, And one of
the things she kind of immediately establishes is that she's
perfectly capable of deciding what she wants to eat how
much to eat? And that's in the face of both
the foodie jerk who hired her and took her to
(30:15):
this island, but also the chef who's kind of like, now,
I promise everything on the menu has been calculated. You're
not going to get too full. It doesn't make sense
unless you eat everything. And she's like, no, I'm good.
Speaker 2 (30:26):
You're like, no, I'm good. I'm not going to eat
your sauces. I'm not going to eat your sauce plate.
I don't need these sauces. I'm not interested. And I
think that he's genuinely wounded because I think he's like,
but eat, but this is but this bulsh is my life.
If you don't subscribe to it, what am I Also,
he clocks immediately that she doesn't belong there, like, you know,
(30:48):
aside from from from literally her not being on the
original guest list, he immediately clocks that she is also
in some kind of service industry. Yes, and I think
he wants to impress her more than he wants to
impress literally anyone else in the room.
Speaker 1 (31:02):
From that moment on, I agree, and they have a
pretty big that's sort of the culmination of how she
gets out, but they have they have a big conversation
about being the service industry and quote shoveling this shit. Yeah,
but yeah, I do think like it's interesting to see
her juxtapose against Nicholas Holt's character, who is like, I
(31:25):
love every sauce. Have you tried these sauces when basically
there's no food.
Speaker 2 (31:31):
Yeah.
Speaker 1 (31:33):
She's like what She's like.
Speaker 2 (31:36):
No, it's not you haven't given me food.
Speaker 1 (31:40):
Right, right. And there's also like a running through line
of she smokes, and he keeps telling her like, oh,
that's going to ruin your palate. You're not going to
appreciate this if you keep doing that, and he does
that a lot. So like when they have the first
amuse bouche on the boat, the Oyster Tyler who's Nicholas
(32:02):
Holt's character explains to her because she basically is like
I just like the oyster, Like I good with just
the oyster. I don't need all this other stuff. Yeah,
and he explains to her like, you're wrong. Your palette
is wrong. You don't appreciate the genius of what's happening here. Yeah,
And yeah he talks like he's this authority. And then
(32:26):
later as we discussed.
Speaker 2 (32:30):
I mean, I mean there's there's certainly I mean, like
you can be you can love food right like without
being particularly adept at cooking it, Like I would put
myself in that category. I can I could also, like
slightly embarrassingly probably be the guy who's sitting in a
restaurant being like, was that Bergamont in the in the
(32:51):
in the tea? I think I tasted Bergamont? Was that it?
But you know, like like doing that without being schmoe
about it, I think is really really the line yeah yeah,
Margo says about the breadplate to Tyler. She's like, he's
basically insulting you, like chef is basically insulting you with
(33:14):
this dish. And he immediately goes, oh, you don't get it.
Speaker 1 (33:18):
Yeah.
Speaker 2 (33:18):
He calls her a child at one point, and when
she's like, dude, you cannot talk to me like that,
he's like, actually I can because I'm paying Yeah, oh yeah,
and like this for better or worse. Like I'm still
not exactly sure how I feel about it, But the
parallel that the movie draws between service work in the
sex industry and service work in the food industry is
(33:41):
really direct.
Speaker 1 (33:42):
It is it is And one thing that I kept
thinking about was when you're seeing all of these kind
of entitled rich people in this place for one reason
or another, is this whole idea of the experience, which
we've talked about before, where like when food becomes everything
but eating the food, it becomes like you're there for
(34:06):
your Instagram picture or status or because it's your birthday
and it's not really your birthday, but your investors will
pay for it. Like yeah, yeah, And that's the thing
with Nicholas Holt's character, Tyler I kept thinking about, like
does he really like this food or is he so
dedicated to this chef, to the celebrity chef the idea
(34:30):
what he does, right, that's genius and he's gonna love it.
Speaker 2 (34:34):
Yeah, Like were all of those dishes actually like close
your eyes good or was he just high on the experience?
Speaker 1 (34:43):
Yeah, exactly, And and that the whole the chef is
like looming over everything, like both him and the idea
of him, and like loving this celebrity chef, fearing this
celebrity chef, respect the chef. When it came to the staff,
he was like a deity in this restaurant on this island.
Speaker 2 (35:05):
Oh yeah, yeah, yeah, and that kind of worship has
clearly gone to his head, but to everyone else's as well,
Like it's really it's this really insidious concept that has
taken deep root.
Speaker 1 (35:22):
Yeah, because it's like everyone expects something of him because
he's this, but they also are the ones sort of
who made him this.
Speaker 2 (35:31):
Yeah yeah, I mean I'm the same for everyone in
that room exactly.
Speaker 1 (35:37):
And then that sort of divorcing of what food is,
of what eating is, is also throughout this movie. So
early on the chef introduces himself, he gives this whole
speech like, look, I'm asking you one thing. Don't eat,
do not.
Speaker 2 (35:58):
Eat, taste, savor, relish, but don't eat.
Speaker 1 (36:02):
Yes, right, And later when Marco's like, hey, you know what,
I'm good, don't want to fill up, He's like, now
you got to eat. I promise you. I planned this
whole thing. And she's like, nah, but you just told
us not to eat.
Speaker 2 (36:16):
He's like, you know that's not what I meant. Yes, okay,
it is what you said, dude.
Speaker 1 (36:22):
Yes. He seems very confused by her. He's like, oh no,
I haven't faced this in a while. And ever heck yes,
and every dish, as you might you might be able
to tell from Louren's going over them tells a story.
(36:43):
And here's the quote I found from one of the writers.
There's something relentless about all of these tasting menus. Screenwriter
wil Tracy says, you can't leave. You're being held hostage
by a story which they're telling you for hours.
Speaker 2 (37:01):
He was the one who had this experience of this
kind of tasting menu and then was like, I feel
like there's there's there's a there's an idea here, there's.
Speaker 1 (37:08):
A nugget here.
Speaker 2 (37:09):
Yeah. Yeah, that was he said that to bone up
a teeth who.
Speaker 1 (37:15):
It is true. I hadn't thought about it in that
way before because I've done plenty of tasting menus. I've
never done anything quite on skill, but but I've done
plenty of tasting minis, and it is true. At a
certain point, you're like.
Speaker 2 (37:32):
Yeah, yeah, so sorry, Yeah, you either have to buy
into it completely or you're gonna be it's gonna be weird.
Speaker 1 (37:42):
It's it is gonna be weird, and especially like with
those food descriptions and like the personal history people might
pour into it. Yeah yeah, yeah, which is something else
like this movie really does tackle a bunch of things
I would say, burnout big one abuse. I think the
(38:05):
whole idea of when he's talking about his past, his
childhood and the abuse in it with Taco Tuesday and
how that's gone elevated. That was the dish that put
him on the map.
Speaker 2 (38:17):
Yeah, these Alpa store printed image tortilla taco self make
your own taco. Yeah.
Speaker 1 (38:27):
I think that's We talked about that a lot too,
of like when something I don't know that isn't that
expensive but gets put on expensive restaurant menus and what
that says?
Speaker 2 (38:41):
Yeah yeah right, like like what yeah, how that how
you can possibly charge you know, like twelve hundred bucks
ahead and serve tacos.
Speaker 1 (38:51):
Like going on like yeah, yeah, and yeah, definitely there's suicidality,
there's not being good enough to be a celebrity chef, sexism,
being harassed, not being respected as a chef, which definitely
shines through in the Man's Folly dish which is only
(39:12):
served to women.
Speaker 2 (39:13):
Right And the reason that that dish is part of
the menu, as he, along with his siue chef, tells
the story, is that his sue chef, who is a woman,
he tried to sleep with her and when she rejected him.
He like cold shouldered her for months in their workplace
(39:36):
and uh, and it comes out as she's serving this
dish to the ladies that it was her idea. The
entire this, this giant mass murder suicide was her idea.
The whole thing was his woman, Sue's idea, and he
(40:02):
has been taking credit for it this whole time and
will continue as soon as this one little respite moment
among the women is over.
Speaker 1 (40:11):
M Yeah, it's a very funny and dark scene where
all the women are sitting around the table and they're like,
so we all have to dive in, and she's like it. Also,
I think it's pretty telling when because there's plenty of
signs something's wrong early on, but when the chef kills
(40:35):
himself and then everyone keeps eating, they keep eating like that,
they bundle up the body and they're like, all right,
it must be part of the show.
Speaker 2 (40:45):
It must be yea during the mess. Yeah, dude kills
himself and then right everyone's like, oh is it theater? Okay,
these tacos are great or this?
Speaker 1 (40:54):
Yeah?
Speaker 2 (40:54):
I love filet. Here we go like okay.
Speaker 1 (40:58):
Yeah, just kind of the like willing to look away
of the dances being done, so we have to talk
about the cheeseburger. So basically, at this point, Margo has
seen a picture of the chef Julian when he was
(41:19):
younger and he was first starting out. He was making hamburgers,
and she's like, oh, I've got to get out of here.
I'm going to die. And so she stands up and
claps her hands.
Speaker 2 (41:30):
Which is a recurring thing before every course, the whole
kitchen staff or a chef Julian claps and the whole
kitchen staff comes to attention and it's very jarring.
Speaker 1 (41:42):
Every time it is extremely jarring. So she does it
and says, I would like to send something back, which
is something Nicholas Holt's character has said, you never do that.
And she's like, I would just send something back. I'm hungry.
Everything I've eaten was made without passion or care. And
(42:02):
the chef is obviously like, oh, no, flabbergasted, this can't
be And it boils down to him saying what would
you like? We can make you yeah, whatever whatever you want. Yeah,
and she says, just a good cheeseburger. I don't know
if you know how to make it. I just want
a good cheeseburger and he's like, no, no, no, I
(42:24):
know how to do it. And it's really kind of
funny because they talk about like American cheese and the
white it's a good cheese for this, and like crinkle fries. Anyway,
but he makes this cheeseburger for her and it seems
to remind him of why he got into this in
the first place, like the love of cooking. And she
(42:45):
takes a bite of it. It looks delicious. It's only
nine dollars in something since.
Speaker 2 (42:50):
Yeah, gratuity included. Yeah, mm hmmm.
Speaker 1 (42:54):
And she's like, okay, my eyes are bigger than my stomach.
Is that right?
Speaker 2 (42:59):
Yeah?
Speaker 1 (43:00):
Yeah, And it's like, can I take this to go?
Speaker 2 (43:02):
And he lets her, and he gives her a doggy
bag and lets her and lets her go and she
flees the island.
Speaker 1 (43:08):
Yes, and everyone else is kind of like.
Speaker 2 (43:11):
It's kind of like wealth, good on you. Yep, you go.
I guess I'm just sitting here now. I guess I'm
just waiting for my death, which I deserve, which I
have come to realize over the course of this ten course.
Speaker 1 (43:19):
Meal, over the course of the east courses. Here we
are yep, yes, yep, yes, and that brings us to
the Amors. The final thing kind of becoming part of
the menu.
Speaker 2 (43:35):
Yeah.
Speaker 1 (43:36):
I felt it was very just desserts sort of messaging,
and I do love that they kept reiterating the menu
only makes sense if you have all the dishes.
Speaker 2 (43:48):
Yeah.
Speaker 1 (43:48):
So I feel like they've all come to this point.
Speaker 2 (43:50):
And they're yeah, They're like, well here we are, yeah,
and uh yeah. Ra Raf finds a chef, s Loowick,
gives one last impassioned monologue about how bad some Moores
are but everyone seems to love them, so he's going
to do it anyway. And apparently Ray Fines actually basically
(44:12):
wrote that monologue. He didn't the character didn't originally have
a final one, and Rafe went to the director and
writers and was like, hey, uh, I think he needs one,
right because you know, like this is his moment, this
is his you know, ego moment. So they're like, you're right,
and good job, we'll just put that in there. Great.
Speaker 1 (44:32):
Yeah.
Speaker 2 (44:35):
Yeah. Apparently I read so many like making of things
over the past couple days. Apparently to create the smors
on the set, because they turned the entire floor of
the restaurant into this giant splatter somemors thing. But you
can't just splash down a bunch of sauce and then
film around it for multiple hours that you would track
(44:56):
it everywhere. It wouldn't It would not be good. Even
if it was just like paint and not real food, NA,
it would be it would be bad. So to create it,
they actually did splash down stuff on set. Then I
get a little bit mundy about the details here, but
but basically they Yeah, they actually splashed stuff down on set,
then projected an image of that onto the floor of
(45:19):
a different room of a parallel set. They used that
as a template to build up resin models of the
real stuff, and then before they cleaned up the actual stuff,
they traced around it with black light activated transparent markers.
So then when it was time to film, they busted
out these black light headlamps and brought in their plastic
(45:41):
models and laid them down on these invisible lines on
set just perfectly. Apparently the actors were there and they
were totally incredulous. That's a quote.
Speaker 1 (45:53):
Wow, that's wild.
Speaker 2 (45:56):
I love this. I love this so fun.
Speaker 1 (46:01):
Wow. Okay, well, as we wrap up here, we're going
to run over some quick things that this really dealt
with when it comes to trauma and the restaurant industry.
But they're all deserving of their own episodes that are
not horror movie based.
Speaker 2 (46:16):
Oh oh absolutely absolutely. I mean you know, like that's
that's the fun of horror movies, you know, like you
get to kind of again in an hopefully entertaining way,
deal with some of these like really big, real issues.
And we've touched on some of these topics a little
bit and some of our interviews before. But yeah, no,
definitely definitely need need full episodes about all of this.
Speaker 1 (46:37):
Yes, So one of the things that was throughout this
was the review system and how damaging that can.
Speaker 2 (46:44):
Be, Yeah, Kren. Dominique Kren told The New York Times.
We work eighteen hours a day, every day under pressure
to feed thousands of people a perfect meal. And one
person can walk into the restaurant and put you down,
or a writer can judge you for using too much salt, which.
Speaker 1 (47:05):
Is a great quote because we all have different preferences.
Speaker 2 (47:08):
Oh sure, and.
Speaker 1 (47:10):
Maybe I would love that amount of salt and someone
will think it's too much.
Speaker 2 (47:13):
Oh absolutely, yeah, yeah, and and right and like and
like what is perfection that's in that that's that's literally
wild to think that you could possibly ask for perfection
out of every dish to come out of the kitchen
under those kind of circumstances, especially mm hmmm.
Speaker 1 (47:29):
Something else that was throughout this film was mental health
and suicidality in the restaurant industry.
Speaker 2 (47:36):
Yeah. In in that dish the Mess, I think it's
uh chefs Loowick who who's as he's describing the dish,
he says something about the that it represents the mess
you make of your life, your body, your sanity that
you give to making other people happy.
Speaker 1 (47:58):
Mm hmmm.
Speaker 2 (47:59):
And of course our mental health in the restaurant industry
is a very very very serious topic, and there there
are luckily a lot of really great resources that are
being developed these days. There's a there's a few great
programs here in Atlanta to help to help people out.
But you know, like this is an industry that frequently
(48:20):
you don't have health insurance, and uh so when these pressures,
these physical and mental pressures happen as they do, as
they inevitably do, you don't have a really good place
to turn. And it's an issue.
Speaker 1 (48:42):
Yeah, And I would also say, like I'm constantly reminded
because I live kind of near a strip of restaurants
that a lot of people who work in the industry
don't get home until three am. Oh yeah, Like there's
schedules is very different than a lot of our schedules.
Speaker 2 (48:58):
So yeah, that's a tree. Yeah yeah. And I mean also,
you know, like a substance misuse is really rampant because
at a certain point, you know, like you're you're around
booze at the least all the time, and how else
do you get a numb your emotions and your physical
pain and all of that. And you know, like it's
(49:20):
a really seductive kind of kind of agent in a
lot of those spaces. And and I know a lot
of people in the industry who are sober as a
result of it, and good for them, and it's horrifying
that they've had to go there.
Speaker 1 (49:34):
M h yeah. And that that's also something else that
this this movie addresses is the sexual harassments and misogyny
in the restaurant industry. And I think we have seen
in recent years a lot of celebrity chefs get accusations
(49:56):
against them and fall away because of that, which yeah good.
Speaker 2 (50:03):
Oh yeah, oh yeah.
Speaker 1 (50:04):
Yeah.
Speaker 2 (50:05):
There was a scandal that was happening. I think while
this movie was being made with oh gosh, what was
the name of the place, the Willow in New York where, Yeah,
it was coming out that all of this bad stuff
had happened, and there's a whole expos and then I
think in the New York Times and who was also
(50:29):
interviewing the filmmakers around that time about all of these
same issues, and it's like, yep, this is yeah. I mean,
this is like a funny example, funny and scare quotes,
but it's also very real.
Speaker 1 (50:42):
Yeah it is so. I mean, obviously it's pretty dark,
but we do recommend it if this is your thing.
Speaker 2 (50:52):
Oh yeah, oh my gosh. I really do enjoy this film.
I mean also I will say that the acting is
just aces across the board. Everyone, everyone is bringing everything.
Speaker 1 (51:06):
It's beautiful. Yes, yeah, I love it. I feel like
everyone's had some kind of experience that informed there, and
I really enjoyed it. And it's funny, Like I think,
if you listen to this show and you in any
capacity enjoy some dark comedy or horror, you'll it's very funny.
(51:29):
For people who enjoy food media.
Speaker 2 (51:31):
I think, yes, yeah, there's a few descriptions of the food,
and or just like like the way that things are phrased,
like when the when the matter d is is like,
feel free to go watch our chefs as they innovate.
I'm like, oh my goodness, yes, oh my gosh, I
forgot about that.
Speaker 1 (51:48):
Yep, oh so good, so good. But I think that's
what we have to say for now.
Speaker 2 (51:55):
I think it is. We do have some listener mail
for you, though, and we are going to get to
that as soon as we get back from one more
quick break for a word from our sponsors, and we're back.
Speaker 1 (52:12):
Thank you, sponsor, Yes, thank you, and we're back with
Friday the thirteenth. Okay. Sheldon wrote about Twizzlers the Memories
(52:35):
of these Things about ten years before I retired, I
went through a period that lasted two years. Whizzler's lunch.
Every day. I would walk to the nearby dollar store
and get a one pound pack of Twizzlers, walk back
to my office and sit at my desk and eat
the entire pound for lunch. When coworkers would comment, I'd respond,
(52:56):
it's cheap and it's fat free.
Speaker 2 (52:59):
Now it wasn't.
Speaker 1 (53:01):
As bad as it may seem. I was a cycle commuter.
I would burn a lot of calories on my daily commute,
especially when writing in the snow in the winter. I
really needed a lot of calories, and the Twizzlers did
the job. Asthma side, I went through a bit of
time when I would take a six mile bike ride
to an Italian deli to get one of their fantastic
(53:23):
sandwiches for my lunch. It turned out that the ride
to get the sandwich burned more calories and the sandwich
gave me, so my lunch was technically a loss, albeit
a good tasting. Now, oh, I mean if you find
a good sandwich.
Speaker 2 (53:37):
Oh, I mean right right? Yeah, absolutely, yeah, And that
level you do reach a level of workout where right
you're like, you're like, oh, heck, how am I going
to eat enough? How? What can I do?
Speaker 1 (53:51):
A pound of Twizzlers. We had a coworker who was
really into Twizzlers and he would just leave them around
on their office in my early days of back when
it was housed of works.
Speaker 2 (54:05):
Oh I don't I don't know, this might be before
my time. I don't remember this.
Speaker 1 (54:08):
Oh yeah. He would just leave them and I was
always kind of perplexed by it. I love that he
wanted to share. He loved them so much.
Speaker 2 (54:18):
Like open bags or like little singles.
Speaker 1 (54:20):
Or just little singles singles.
Speaker 2 (54:22):
Okay, singly rapped, not just like random.
Speaker 1 (54:27):
In the wild wizzer. But I just remember at the
time being kind of befuddled by the whole thing. I
appreciated it. What I was also like, huh, you got
some connect to Twizzlers.
Speaker 2 (54:44):
Uh, stop working, what's happening?
Speaker 1 (54:48):
Yeah, the suspicion immediately, you know, sure, of.
Speaker 2 (54:52):
Course, yeah that would my stomach would not tolerate that
number of Twizzlers. But more and more power to you. Heck, yeah, absolutely, Yeah.
Speaker 1 (55:03):
I also love it. It's like a two year period. Yeah,
that's someone who goes through periods of like I eat
this every day. I understand.
Speaker 2 (55:10):
Oh sure, oh sure yeah. Oh, Christine wrote, I was
just listening to your mulberry episode from twenty twenty one,
which is perfect timing because my mulberry tree is in
the middle of its usual abundant harvest. This year's fruit
is small, but plentiful and very sweet. I usually get
(55:31):
around five kilos about eleven pounds of fruit per year,
which gets turned into pies, ice cream, jam, or alcoholic beverages.
I have no idea when mulberry trees arrived in Australia,
but it was probably fairly early into white settlement. The
black ones are dotted all over the place and locals
know the locations of all of them. They're probably invasive
here as well, though blackberries are a much worse problem.
(55:53):
When why people had to bring dangerous plants here when
Australia has so many amazing native fruits. I don't know,
but that's stupid white people for you, it is. The
mulberry episode was far more enjoyable than the corn dog episode.
We have a corn dog analog in Australia, the Pluto
pop or dagwood dog. This is always a Frankfurt save
(56:16):
Loy save loi sure type sausage dipped in wheat and
water batter and deep fried, served on a stick. They're
typically a show at fair food and I despise them,
just as I despise any Frankfurt based food product, including
hot dogs. In fact, Frankfurt sausage based food products are
probably the foods I despise the most, more even than
(56:38):
anything involving kale. I'm not sure how it goes in
the US, but frankfurts and save lois here are red
skinned sausages. Save Loys are a different size to frankfurts
and supposedly are made of a spiced pressed meat blend
that came from England and are apparently superior to frankfurts.
These are a reclaimed meat product, probably the bits of
(56:58):
unsold animal that we're done in the Tames in medieval times.
Save lois and frankfurts are equally vile as far as
I'm concerned. I never really liked them. But my undiaglothing
was set in Diamond by my brother, who cooked some
of these detestable things once for lunch. He put them
on the stove, then forgot about them. You boil them
to cook them, and the pan had boiled dry. It
(57:20):
was the smell that reminded him if you overcook them
Frankfurt's burst. The pan was full of this disgusting, bright
pink sludge, shot through with bits of red. My brother
and father proceeded to pile this muck on bread and
eat it. I could not. The mere memory makes me nauseous,
though that could be the bad thunderstorm overhead. I should
(57:43):
think about cheese instead. Good cheese. Is always worth thinking about.
Speaker 1 (57:48):
True. True. I have to say I am a very
positive person. I think you would agree, Lauren.
Speaker 2 (57:56):
Yeah, huh, but there.
Speaker 1 (57:58):
Is something so delightful about reading somebody's true discussed.
Speaker 2 (58:04):
Yeah food item like very real, real revulsion. Uh, Like
the words are fun, Like I really enjoyed it. I mean,
I'm sorry for your experience. Yeah, I'm sorry that you
had this food ruined for you, but you didn't really
like it to begin with, so I guess that's sort
of fine.
Speaker 1 (58:22):
But yeah, and you're you got away with words. I
was moved. Yeah, places I didn't know it was gonna go.
Speaker 2 (58:30):
Yeah, I had to. I had to retake the dumped
in the Thames line because I read it before. You know,
I'd actually read this before we got on MIC. But
but it was so funny that I just cracked up
in the middle of the line.
Speaker 1 (58:48):
I do. I love it. And you know, I have
my foods I don't like and I do enjoy complaining
about them, so I understand. Oh geez, this is funny
because I'm actually going back to Universal because we have
more work travel coming up.
Speaker 2 (59:06):
Oh oh right, yeah, yeah, yeah totally.
Speaker 1 (59:08):
They have a corn dog.
Speaker 2 (59:10):
Yeah.
Speaker 1 (59:11):
Yeah. The last of us based corn Dog. Oh my gosh,
steps dog.
Speaker 2 (59:15):
That's really silly. Okay, cool, Well I eat it.
Speaker 1 (59:18):
I don't know, probably.
Speaker 2 (59:20):
Well yeah, yeah, only huh. You have to you have
to for us, addie, and you have to let us
know what the experience is.
Speaker 1 (59:29):
Yeah, well I will. I'm ready. I'm ready for this. Also,
congrats on your muleberries.
Speaker 2 (59:42):
Yeah yeah, yeah, yeah, yeah yeah yeah. Let us know
what you wind up making from this patch.
Speaker 1 (59:47):
Oh yeah, please, I love all the things you listed.
Speaker 2 (59:51):
You have so many options, right yeah.
Speaker 1 (59:53):
Yes, okay. Well, in the meantime, thanks to both of
these listeners for writing it. If you would like to
write to us, you can Our email is hello at
saverpod dot com.
Speaker 2 (01:00:04):
We are also on social media. You can find us
on Twitter, Facebook, and Instagram at saverpod and we do
hope to hear from you. Saver is production of iHeartRadio.
For more podcasts from my Heart Radio, you can visit
the iHeartRadio app, Apple Podcasts, or wherever you listen to
your favorite shows. Thanks us always to our super producers
Dylan Fagan and Andrew Howard. Thanks to you for listening,
and we hope that lots of more good things are
(01:00:25):
coming your way,
Savor News
Hosts And Creators
Anney Reese
Lauren Vogelbaum
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