“Duchenne After Dishoom” (w/ Matt & Bowen)

The truth is finally really spoken aloud on Las Culturistas this week as Matt & Bowen catch up on culture, discussing interim agreements vs. scabbing during strike era, The Morning Show returning, Olivia Rodrigo's GUTS and the important of the sophomore album, Chappel Roan on the horizon, the fact that Shucked on Broadway is a blast and, unfortunately, the Drew Barrymore of it all. All this, BONGOS, Joe catching Sophie on the ring camera, Married To Medicine and the overuse of "god damn" in pop music. Consider this episode Dishoom. Now what? >:)

Bonus episodes are available early for subscribers to Big Money Players Diamond on Apple Podcasts: https://apple.co/lasculturistas

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
Look Mayer, Oh, I see you, my own Bowen. Look
over there is that culture. Yes, wow, lost cult.

Speaker 2 (00:10):
Ding, dull lost cult calling I'm in my scab era.

Speaker 1 (00:16):
No, don't say that they're gonna come for us. Oh,
I know, I'm upset actually about people. Okay, we're getting
off on this foot. We're gonna talk about Drew.

Speaker 2 (00:26):
What are we doing?

Speaker 1 (00:27):
Okay, so wow, immediately thrust into the topics at hand.
And yeah, don't apologize. You're about to apologize.

Speaker 2 (00:34):
I was about to apologize. So you know me so well.

Speaker 1 (00:37):
Bowen is saying he's a scab right now because he's
wearing a Mickey Mouse hat, and I have to say,
Mickey apparel is actually one of the cutest things ever. Stop.
You should you should get in with the House of Mouse.
I really think after all that they.

Speaker 2 (00:52):
Don't want me. They don't want me, they don't want you.
The closest Dike out was Fox Searchlight.

Speaker 1 (00:59):
Wow. Wow, and then not even Fox Searchlight, just search Light,
just search Light. We can't talk about this, but this See,
here's the thing. Can we talk about the difference between
supporting a project that has a waiver yes and scabbing?
Because it feels like the girls are still very confused, right,
and there's much to say.

Speaker 2 (01:21):
I'm out here not I was gonna say shamelessly plugging
dicks the musical, But what's like the level beyond shameless,
Like there is no shame and yet there is no
shame to be had, do you know what I mean?

Speaker 1 (01:31):
It's like I would say, you are within the bounds
promoting the project because the project got a waiver from SAG.

Speaker 2 (01:38):
We got the interim agreement last Wednesday. I had to
pack my bags and rush to the airport and it
was a thrill and it was so lovely to be
in Toronto. We are so grateful, so lucky that we
got it. Grateful to the union, Grateful to A twenty four.
And this is what I said on stories. It's like,
if you on an ethical perspective, if you like universalize

(01:59):
the max, It's like if everyone were to do this,
if everyone were to promote their interim Project agreement, then
what happened is the strike would be over because then
everybody is on board with SAG and WGA's terms like that.
This is how it works, Like the unions win. It
is a very thought out strategy. Why these things exist

(02:20):
there's a reason why there's no consumer boytal and there's
a reason why there are interim agreements. It's because you're
able to publicize the way that this can work out,
in the way that the studios are being so so
so terrible in austere with how they are like negotiating
or not even negotiating with the unions.

Speaker 1 (02:38):
First of all, I'm so happy that the film was
so well received. Dick the musical did so well at Tiff,
and it's so exciting. I mean, you can now listen
to All Love what did they call it? All Love
Is Love? It's called All Love Is Love? So fun.
You can listen to All Love Is Love, which originally

(02:58):
was titled God as a Fagot. But I guess, you know,
to sort of make sure that we don't scare kids off.
We want kids, of course, to see the film. We
want young impressionable minds to be I guess, as simply put,
groomed by the film. And so in order to groom me.

Speaker 2 (03:17):
Keep going.

Speaker 1 (03:18):
But in order to correctly really groom these kids the
way we want to groom them, we have to make
sure we hide the title of the song. And by we,
I mean Josh and Aaron and everyone involved in the movie.
I am not. I just feel spiritually involved in Dixon Musical.
But God is a fagot. You can listen to it
now on Spotify and bring your kids into the room.
It's important they hear this so they can become demon

(03:40):
fagots as well. God faggots. It's really important we conflate
this with Christianity too, And that's how we move our
agenda forward, because we are, of course demon sucubis fagots
who want to mold the minds of children first and foremost,
so we can create an army which then can push
our agenda forward and hopefully exterminate everyone who doesn't agree

(04:04):
with us. That is, of course the mission.

Speaker 2 (04:06):
Yeah, the mission is for this army of demon faggots
to deface one statue, one Confederate statue. That's it, right,
We're keeping our goals very manageable and achievable. It's just
one statue.

Speaker 1 (04:20):
Yeah, and we won't say which. We won't say which
because we need the element of surprise. That's how a
war works, That's how civil war is going to work
in this case. You know what I mean. We're not
going to tell you what we're gonna attack, but just
that we're gonna attack, you know what I mean?

Speaker 2 (04:32):
You are full on joker mode right now. I can
feel it.

Speaker 1 (04:36):
I'm radicalized. I am a demon faggot from hell and
I am on the ground and I feel this movie
has empowered me. And I have to say this film
Dixon Musical has radicalized me to be the groomer I am,
and I'll be groom You're about to see me, Grumman,
that's great. If it's not clear, these are a little

(04:57):
bit of jokes, a little bit of jokes on the pod,
A little bit.

Speaker 2 (05:00):
What else do we do? We want to say before well,
what I want to.

Speaker 1 (05:03):
Say is that people, especially with platforms, and this is
me being entirely serious, need to understand and do their
research about who they are calling scabs, which is a
really damning label to put someone on in a time
like this, is to call someone who is granted a
waiver by the union a scab, or to say, look,

(05:27):
if it's a strike, it's a strike. That is not true.
And it's really really, really disheartening to see people attack
each other based on misinformation or you know, worse than
just based on misinformation, based on just wanting to get attention, right,
and I genuinely think that that is the case for

(05:47):
a couple people. I do not want to get messy,
but it's just interesting who some people choose to name
and who some people choose to leave out of their criticisms.
And that's all I'll say about that. But I will
say that when you are out here saying scab, scab,
scab towards people who are working on a project that
has a SAG waiver, you have a at this point

(06:09):
willful I think, misunderstanding of what is going on here
and how the strike is working. And do us all
a favor and secondarily yourself, but do us all a
favor by not spreading that misinformation and not being harmful.

Speaker 2 (06:24):
Right now, Yes, I understand on a cognitive level what
a waiver does. It creates this exceptional circumstance where you go, well, hey,
if they're able to do it, then why can't you
know the rest of us or whatever. It's not even that,
it's like they think that that is anti labor and
it's literally literally not it's literally not because it's this

(06:47):
is a kind of like action that I think people
seem to overlook the fact that there is a centralized
place where all of these decisions are made and we're
in the strike is because there is a central negotiating committee.
There's a national board within these unions that like got

(07:08):
us into these strikes for very good reasons, and it's
those same entities that are thinking really far ahead and
communicating with us effectively. I think I think every time
the WGA emails come in, I'm like, Okay, here we go.
What's this going to be in a way that I'm like,
this is going to be like dense with information and

(07:29):
we have to interpret this and whatever. But with the
interim agreements, there's a reason why SAG has it even
like backed down from that either like there has been pressure,
like a non negligible pressure from people within the union
who are like, hey, maybe we do this less, and
SAG is like, loll no, it's actually helping the cause.

(07:49):
And actually the other side is invested in you wanting
to mislabel people as scabs or create tension within this
action that like weakens us and weakens our side. The
thing is AMPTP is this disparate group of companies like
one sells you phones, one sends you stuff in cardboard boxes.

(08:11):
One is a streamer, Like, these are all companies with
different goals and different interests, and they are the ones
that are like really really really not on the same page.
And that is to our advantage. And the fact that
there are these conversations within the like you know, the
people who make these front facing videos and like make

(08:32):
a whole thing about this, I feel like that is
playing directly into that situation for us where we look
like we're kind of.

Speaker 1 (08:39):
Crumbling, disorganized, inviting wear a mask. Also, it's like, if
a film or a project has an interim agreement, that
probably does mean that they made that interim agreement with
a studio or company that is probably not the problem.
And that's another thing I think, because it's like you

(09:00):
now start to hear that like a lot of the
studios are like fed up with this, and the reason
why we're not. They're not at the table right now
is because they're infighting because they really want what I'm
saying to end this. And so what I feel like is,
if there is a problem, we need to start saying
who that problem is and start targeting those people, Like

(09:23):
I'll just say it, if the problem is Netflix, we
need to start saying the problem is Netflix. Yeah, yeah, Like,
if that is true, let's start saying it's true. And
I also think there's a really interesting thing that might
happen where some studios just break with the AMPTP and
say like, fuck it whatever. But I think we're getting
to the point now where it's gonna become pretty obvious

(09:46):
who the problem is and where the problem is. And
I just wonder, at what point do we start actually
saying that, Like, of course, obviously the whole system is
the issue, and the whole system needs to change, but
it feels like it can outsid. I have a few holdouts,
and I'll just say if the issue is.

Speaker 2 (10:05):
Netflix, Netflix, Yeah, let's just say it's Netflix. Yeah, that's
actually a role of culture. Yeah, role of culture number seven,
The issue is Netflix, So let's just say say Netflix.

Speaker 1 (10:18):
At this point, it's just like how much more tired
can we all fucking get? I've forgotten how to act.
I don't know if you have.

Speaker 2 (10:24):
I don't know the first thing about acting or writing.

Speaker 1 (10:27):
Really literally, I'm not confident that when I get back
on screens, Oh, I'll be with myself. I'm telling you, Boing,
I don't think I've acted seriously. I don't think I've
acted in over a year.

Speaker 2 (10:38):
It's within you, Matt, It's within you. It's all abou
connecting with your inner self. Thank you and you you
do that every day.

Speaker 1 (10:46):
You are mine.

Speaker 2 (10:47):
I really do?

Speaker 1 (10:48):
You really know? Because I look at you and I'm
so inspired. I'm so inspired by your gifts. Just stupid
bit I will look at you sometimes I'll be like,
I'll have to stop myself from reaching out into your
shoulder and telling you these words. I'm inspired by your gift.
Because there has to be a separation between best friends
and number one fan. You know what I'm saying. It's like,

(11:08):
if I told you what a fan I was, you
would get a stalkerl agreement on me. You'd get a
you get a tro temporary restraint and order.

Speaker 2 (11:17):
What is mutual stalking if not best friendship that's from
one division, that's from one division, that's actually real culture
number nine?

Speaker 1 (11:27):
What is mutual stocking if not best friendship that's from
one division.

Speaker 2 (11:32):
I am your number one fan. I will out of nowhere.
Readers Katie's helpuses finalists be like, oh my god, Matt,
remember that one time you did this. I'm a fucking kid, Stan,
I stand this girl.

Speaker 1 (11:44):
We stand each other.

Speaker 2 (11:46):
You know how much I stand you.

Speaker 1 (11:48):
You know you're that girl to me. Are you gonna
cry right now?

Speaker 2 (11:52):
I could.

Speaker 1 (11:53):
I don't be crying, Oh my god, be crying because
I can't get TecTile with you right now on this
virtual it feels like it's fucking April twenty twenty. I
can't even reach out to you and console you.

Speaker 2 (12:05):
Feels like April twenty twenty all over again. Not March.
March was an amazing month top to bottom. Twenty twenty.
I was out there.

Speaker 1 (12:12):
Oh, March twenty twenty was the life. Oh I loved it.
It was so incredible to look around, see nothing, see nothing.

Speaker 2 (12:22):
Me playing animal crossing, going well, it's only going to
be two weeks.

Speaker 1 (12:26):
Guess I'm in my yeah, oh me fucking. When I
think of March twenty twenty, I think of two things,
A global pandemic and parvity. That was when I fully
got into survivor, the turning point of my life.

Speaker 2 (12:40):
The turning point I was going to say that I
am not all the way done with The Morning Show
season two yet you have one day I know, well,
I mean by the time this episode comes out the
season will be on Apple TV.

Speaker 1 (12:54):
No, no, not the season, the first two episodes. So
remember this is not a show that releases all at once.

Speaker 2 (12:59):
That's right. We actually can't talk about this.

Speaker 1 (13:02):
No, we can talk about watching the show. We just
can't be like promoting show like we can sit. Oh,
I'm going to ring my own neck. I swear to god.
We can't be like this show comes out this time
on this day. But we can be like we're watching
this show. Like for example, like I will say many

(13:23):
things on this episode, one of which will be how
much I enjoyed seeing Bottoms. I am not going to
promote the movie, but I'm going to talk about how
much I enjoyed it. That is within our rights as
a podcaster. During Speck, we checked, we checked, But you
got to finish that second season before it comes back.

Speaker 2 (13:43):
Do they all just get COVID and die?

Speaker 1 (13:45):
Is what I say. They don't all get COVID and die.
In fact, none of them get COVID and die. They
do get COVID and almost die, or at least Jennifer
Aniston's gasps repeatedly, I'm dying, I'm dying, I'm dying. You
have to get to it. I'm telling you, it's what
happens to By the way, I for some reason was
looking back in our like shared dms or whatever, and

(14:07):
there was a moment where you posted a story which
was me telling you Jennifer Aniston gets COVID and becomes
Joe Rogan in the finale of the Morning Show, and
you just said omg and posted it to your story.
Oh yeah, oh yeah.

Speaker 2 (14:17):
I posted the text because you don't know the Dushen
laughter that I laughed when I saw that text, and
I was like, I gotta post this to stories.

Speaker 1 (14:25):
Now, what is Dushin because Dushen feels like what we
do before we about to meet up with that man duche.

Speaker 2 (14:31):
I'm dous I'm Dushen, and I'm bending over and I
get right like Jonathan Groffin looking girl.

Speaker 1 (14:38):
I went to Dashume. I had to do sheen because
because I was gonna be like Jonathan Groffin looking later
that night after Dushome, which was not the place to
go eat beforehand. Dushen after Dashume is title of that after.

Speaker 2 (15:04):
By the way, we're excited for London, We're excited for Berlin,
We're excited for we are excited.

Speaker 1 (15:08):
And coming and wait, we do have one thing to
for sure announce, which is that our guest for our
Amsterdam show is the one, the only, Michelle Collins. Okay,
someone spilled sauce. Someone just spilled the tea that Michelle
will be joining us in Amsterdam live.

Speaker 2 (15:27):
Can you even I can't, and I even I listened
back to this. Someone spilled some story.

Speaker 1 (15:34):
It's brilliant.

Speaker 2 (15:35):
Michelle Collins is a treasure, a global treasure at this point.

Speaker 1 (15:40):
I mean literally one of the reasons why we're even
doing the show there because she's there.

Speaker 2 (15:45):
One thousand percent. We're on the way to booking someone
in Berlin that I hope works out. I mean, we're
huge fans of this legendary, legendary. We might have talked
about this person on the podcast a couple months ago.

Speaker 1 (15:59):
Who knows it's busted Queen, she's flying out.

Speaker 2 (16:02):
I would fly up busted. By the way, Yes, yes,
Daniel and everyone at you know work in the Ice Palace,
please use me for any and all pole quotes. And Matt,
I mean both of us, absolutely, we will say anything
you want to say. The Underwear Party the best experience
anyone can have in humanity.

Speaker 1 (16:19):
You him to be used for pop quotes. I'm still
on the door at Titanique.

Speaker 2 (16:23):
That is the cheapest. Millions of people around the world
are seeing that quote.

Speaker 1 (16:29):
It's just it's just so funny, Broan, because it's just
the word unbelievable. And then it says Matt Rogers lost
count unbelievable. You wouldn't believe it? Did you say it?
Or did you not? You said it? I said it,
and I'm proud to have said it.

Speaker 2 (16:46):
I mean, I mean, what is your poll quote for
Guts by Olivia Rodrigo.

Speaker 1 (16:56):
My pull quote for Guts is the following It's forwards.
I know, that's right. Ah, that's good. Let's talk about
the big pop girly album of the moment. Guts, so
Olivia Rodrigue's long awaited sophomore album. And you know, the
sophomore album is maybe the most important album in the

(17:18):
pop girly life cycle. To be honest with you, wouldn't
you agree?

Speaker 2 (17:22):
Melodrama, fearless, m h either say a monster or born
this way, depending on you.

Speaker 1 (17:32):
Depending on how you identify, I mean, depending on how
you identify in terms of Katie Perry teenage dream. Oh
my god, I mean, talk about that enough.

Speaker 2 (17:42):
How Katie fully liked it away with Sophomore Slumpness and
was like, this is one of the great pop.

Speaker 1 (17:47):
Albums Breakaway, break Away. I mean, it's when you come
in galvanized bah yep. So basically like it's when you
solidify whether you're a thing or not, and like, am
I going to And it also sort of says I'm
a pop star who reinvents.

Speaker 2 (18:04):
Oh, by the way, stripped, stripped my everything.

Speaker 1 (18:08):
Mm hmmm. So this is like where you say I'm
sort of engaging in being engaging in my own brand
in this way, or I'm a reinventress. And it's basically
where you're saying if you're worth yourself, because with a
debut album, you can spend pretty much an entire lifetime
creating it, you know what I mean, and we don't

(18:29):
know about it, whereas the sophomore album usually comes like
two years later and there's an expectation on it that
was not there for a debut album, and also you
probably had to do it in a shorter amount of time.
And I think that what Olivia Rodrigo has delivered here
is the promise of the premise with her, which is
that she is this girl she's this gen z callback.

(18:50):
I mean, this album could literally be like the Clueless soundtrack.
It could be the Ten Things I Hate About You soundtrack.
It could be and she stays reference while also being
reverential and also her own thing. I don't think the
album is perfect, but I will say I think it's
like a nine out of ten. I think if she

(19:12):
ever dips into mimicry a little too far, I'm over
the song. But what we have here is an excellent
sophomore album. Some of the stuff that she's getting into
here is just like really beyond her years Lyrically, She's
an incredible singer and musician. I think it was the

(19:33):
right choice to dig in with this co writer Daniel Nigro.
I think that you really can tell it's a focused
vision and I'd love to get into the tracks. But
what's your take on the album as a whole.

Speaker 2 (19:45):
I think she has broken a mold that I think
no one really had a problem with. But now I'm
realizing it's kind of exhausting what these girls have to
go through. Where she was like, I'm gonna do my
second album, I'm gonna like double down on like this
one genre funnel that I had on the first and

(20:08):
I'm going to say fuck it to like the concept
of eras, you know what I mean. It's like, I'm
going to stick to the same I'm going to stick
to purple still, I'm gonna like it's gonna be four letters.
Like it's it's hard to say if this is a
continuation of Sour or if it's its own thing. And
I feel like it's very much she doesn't care about that.
She's not playing the game the way that like the
girls have been like forced to play it in a way,

(20:30):
you know, you know what I mean. And the vocals
are's just very agile vocally, and it does dip into mimicry.
I think with one specific song that you and I
were talking about a couple of days ago, Yeah, with
Lacy where you I didn't really make the connection, but
it is giving Lord.

Speaker 1 (20:48):
I thought it was Lord. I thought I actually thought
I accidentally was on skip or like you know, when
Spotify will be like this is music you'll like if
you're listening to this. For some reason, I was like, oh,
how when did this switch over to Lord? And then
I saw it was her, and I was a little
surprised to feel like it was so lord just because
she whether or not she deserved to get in trouble
for it. On the last album, she did get in

(21:09):
trouble for the sound a likeness, but so I was
surprised they weren't a little bit more careful about that,
especially on that song. But really it's only that song,
like the rest of it, Like I forgive the young
girl pop girly generation for the way that they sing,
you know what I mean, because like it's just it's

(21:30):
a style. It's like when Mariah and Whitney came out
and everyone was singing like that. Yeah, you know what
I mean, Like we've seen this before. I'm not gonna
drag or knock the girls for no doing that thing
where they put a lisp on an s because they
makes it seem like they're sounding more Indian smart.

Speaker 2 (21:44):
But Olivia, it's it's very actually smart challenge. She's like
putting on glasses in her vocals. But m Olivia is
one of the girls out here though who she can't
give you quiet Billie Eilish that bedroom thing. But then
I think she is one of the girls out there
who's like bringing us back to screaming, you know, like yeah,

(22:05):
like hitting you with it with a loud, big vocal,
and I kind of like that we could possibly go
back to that direction at some point.

Speaker 1 (22:15):
Yes, I love the way she uses her voice and
this is the difference. So she's two things. She's a
great singer and she's a great recording artist. Like the
way that she uses her voice in Bad Idea right,
so fun you wouldn't really even know this is like
probably one of the better singers of her generation, you
know what I mean. It's just like I'm giving you this,
and you know she's singing down on Vampire and so

(22:38):
much of this is so well sung and well articulated,
and her voice carries emotion so well. But I love
the way she's produced. I love the way she's her
voice is layered. I really like how confident she is
in just being so soft on the mic as well
as being really loud. She this album, I think, uses

(22:59):
her instrument in a way that is even more full.
And I would say that Guts feels bigger than Sour,
which of course had some really big moments, but this
feels like the big moments are bigger and the small moments.
What I really like about this album and what I
looked for from the first album was it's got much

(23:20):
more perspective, Like whereas I felt that first album was
about heart, a relationship or a situation and about an emotion,
this I feel is much more holistic in terms of
who she is, and I think I would consider this
a real follow up to Sour. I almost feel like

(23:41):
that's why it's called Guts, and like the way that
they're stylized. Similarly, I feel like this is like part
two of an artist's you know, mission statement thus far,
which is like, I'm a grow in this world, growing up,
I'm becoming a woman. I've been through hard star off
and I know I'll go through hard stuff and I'm

(24:02):
unabashedly emotional. And there's something really cool about that in
terms of the genre that she's chosen to express that,
because it does feel like it's perfectly a messed with
like what's stylistically and anesthetically trending right now. It just
feels like she is the voice of this generation, maybe

(24:23):
even like in a different shade of the way Billy is.
You know what I'm saying totally totally.

Speaker 2 (24:30):
I think that the bookends of this album first and
last track are the thesis.

Speaker 1 (24:36):
You know, it's like mm hmm.

Speaker 2 (24:38):
All American bitch, we can we can do a track
by track All American Bitch, I think is the perfect
sort of and that's the very ten Things I Hate
About You soundtrack. It's like, yeah, it's like sunshine on
the window and then it goes into like a full
fucking rocker, yeah, rock thing. What am I saying? But
you do that shot of like two Things I Hate
About You where it's like that crane shot from like
the outside the house and then it like goes in
on Julia styles.

Speaker 1 (24:58):
Mm hmm.

Speaker 2 (24:59):
I think that that is, first of all, love that
she is like every twenty year old girl out there
reading Joan Diddy and going all American bitch. Wow, I'm
gonnae that. Like, I just think that is such a
perfect song of the ending of that song so good,
like I'm grateful all that time.

Speaker 1 (25:17):
It's a great opener, it launches you in. She released
a live performance of it, which is great. I mean,
she's like, I love how committed she is to all
of it, you know what I mean, Like what I
really appreciate her is it really feels like it's about
the music. Yes, I don't feel like I'm being forced
a personality, you know what I mean. And that's not
a knock on her personality. I think she seems cool,

(25:38):
and I think she seems really smart and talented. But
I love that, you know, even in the press that
she's done, she's obviously really smart because she's completely been
able to navigate all these traps that are being said
for her, which are for her to talk badly about
Taylor and for her to you know, comment on certain

(25:58):
situations that could then be sensationalized. And it is a
credit to her and you know, the people around her
that she is not becoming that narrative because she has
so clearly written a song about that and yet will
not fall victim to the media sensationalizing that can happen.

(26:19):
And of course I'm talking about the Grudge, which you know,
it's written so specifically that we know what this is
talking about. But also I listened to it again with
the mentality of but is this universal? Could an argument
be made that this is not about that relationship? And
the answer is yes. I think that we're all listening

(26:40):
to it with a certain lens, like is she responding
to the fact that Taylor, you know, as a result
of you know, alleged mimicry on Deja Vu and One
Step Forward, Three Steps Back on the last album, got
songwriting credit for her and Antonov on those tracks. Like,
is it that disappointment that's being funneled into that song?
I think yes, But the song is very beautifully about

(27:04):
being let down and I thought about the people who
have let me down in my life, and every word
of that song spoke to that and the specific, you know,
feeling of not being able to understand someone's motivations and
not being able to understand when someone has acted with
cruelty towards you. There's something really universal about that song

(27:26):
that that I think she needs to be given more
credit for totally.

Speaker 2 (27:31):
And I think the only layer of specificity that she
puts on top of that is that it's clearly about
a mentor figure, and then people make the lead to
tailor and she knows. She's very aware of that, I think.
But yeah, you're right, it is very Yeah, if you
do a close read on the lyrics, you're like, well,
this is just about personal disappointment, and it could be romantic,

(27:53):
it could be this, it could be that. But I
think I can't specifically quote a lyric, but I feel
like she says something to the like I looked up
to you or.

Speaker 1 (28:01):
Something, Yeah, you have everything.

Speaker 2 (28:04):
That kind of is the biggest giveaway. But also when
you're disappointed like that, when you don't understand someone's intentions
or motivations for something that's a cognitive thing you go to,
It's like, you have everything, why do you want something
from me?

Speaker 1 (28:17):
Yeah? I felt this way, and that was part of
the realisten I did to it. I was like, you know,
the people in my life that I looked up to
and then showed me who they really were, Like, does
this work? It? Does? You know what I mean?

Speaker 2 (28:30):
Like?

Speaker 1 (28:30):
And I think that a lot of girls that age,
and a lot of people in general are going to
really identify, especially people who are, you know, learning to
deal with new success, learning to deal with new situations,
learning to do with new influences, learning to deal with
what it means when someone finally sees you and then

(28:53):
you can really see them. Yeah.

Speaker 2 (28:56):
I mean if I'm in high school right now, in
this element, oh yeah, like it's over for sure, Like
this is my entire personality.

Speaker 1 (29:03):
Oh yeah, she's fostering a connection with her fans that
is going to be forever. Like I think this album
solidifies her for sure.

Speaker 2 (29:12):
Totally love Bad Idea Well, no, so what she doesn't
love All American Bitch and Bad Idea Right is like
even though those are like talkie songs or something, it's
like on Bad Idea Right, it's like on the Last
Seeing You Tonight, like yeah, really sends it in the
right way. And then at the end of All American Bitch,

(29:33):
I know my place. I know my place like yeah,
so like vocally like.

Speaker 1 (29:39):
She's an actress.

Speaker 2 (29:40):
She's an actress. She's an actress. That Idea right is
pure like performance, it's pure, like I'm gonna give you
like the line read quote unquote on like but.

Speaker 1 (29:49):
I really can't remember when, but I really can't remember when.
So good. It's really good. And you know, I just
feel like they were in the booth and getting these
takes and being like yes, yes, yes, you know, like
she's she scores again and again, and I will say,
you know where she really shines for me. And I'm

(30:09):
super susceptible to this shit because you know, the Pisces rising,
Pisces cancer moon is gonna jump out emotional girl the
house down, but when she goes to ballad Town, I
am I'm really with her. And it's not just that,
but like the song Logical, the song Making the Bed,
that area of the album. I just really, really really

(30:33):
was impressed by her specificity and her perspective and how
much she's willing to share, because that's another area that
I was wondering if we'd get into. Is it's like
this idea of when you're at that age and really
at any age where you've been through like a threshold,
like where you've had like a watershed moment, there's a

(30:54):
bunch of new people surrounding you, and she talks and
making the Bed about how like she looks around and
doesn't recognized the situations she's in, doesn't like it feels
like she's like, you know, numbing herself out with like
drugs and alcohol. And by the way, she is so twenty,
you know what I mean. So it's like not to
say that there's anything negative or nefarious about that, but
like she has had the world place at her feet.

Speaker 2 (31:16):
She probably saw Dick's the musical and she was a demon,
became a demon.

Speaker 1 (31:20):
Just this girl is really susceptible to grooming to grooming
and please Dear God know that we're kidding, but I'm
just saying. It's like she says in the in the
last song Teenage Dream, like when am I gonna stop
being wise beyond my years and just be wise? Like
I guess the thing is like, it is really impressive
that she's able to articulate these things so young, So

(31:41):
like she is quote unquote wise beyond her years, and
I think that like she's got a point there where
it's just like, you know, just accept me for who
I am. But the fact is, like it is impressive
that she's able to get this across so cogently and
so so musically appealing at the same time.

Speaker 2 (31:58):
But you know what she's gonna write. She's gonna right
from the other side of that thought when she's like
in her thirties and she's gonna be like, oh, like
I this is the moment in song of when you
realize that you're like, quote unquote like older. Yeah, yeah,
like that that's the moment that is like the tea
right now for us.

Speaker 1 (32:18):
I mean, yes, well it's happening with Taylor Swift. She
literally did it. That's what antihero is. You know what
I mean, It's like that's what nothing new is or whatever. Yeah, yeah, yeah,
I mean so much of that. Like the sometimes I
feel like I'm everybody is a sexy baby and I'm
a monster on the hill is only a line young
when you feel like they're gonna toss you out of

(32:40):
the way, and there has to be something to that.
I mean, we've seen it be a narrative in Taylor's
stuff now for the last few years. Like she even
gets into it in the Miss Americana documentary about like yeah,
oh yeah, what's gonna happen when they're done with you?
I believe the way she phrased it was how much
longer I'll be tolerated?

Speaker 2 (32:58):
Which is a lot to think about me. Yeah, you know,
I had a dream about Taylor. I had a dream
that like we were like backstage somewhere and then she
was like, yeah, well, I don't really know what my
life is going to be after this tour, Like she
was like, wait, this is so uninteresting.

Speaker 1 (33:14):
Oh my god. She was opening up to you in
the dream fun way.

Speaker 2 (33:17):
She was like, yeah, like after this, like I don't
know what the fuck I'm doing, which is like not
at all.

Speaker 1 (33:25):
Well, you know what that is? What that's your subconscious
asking that question about yourself totally? What am I going
to do after Aerostours done? Exactly? What is your next era?

Speaker 2 (33:36):
Dreams are about replacement, sublimation, something standing in for another thing. Absolutely, hmmm, absolutely,
Quina Quina. I would say another one of my favorite
songs is Love is Embarrassing.

Speaker 1 (33:49):
I fucking I love embarrassing. Her performance on Love is embarrassing.
That like bizarre, like choice fer It's very ferky, it's weird.
I love it. I My thing is I don't think
she can be weird enough. I want to hear all
that weird shit because that is what makes an icon.

(34:10):
Yeah you know what I mean? Like yeah, yeah, she's,
like I said, referential yet reverential. And I would say
anything she can do to dig into something no one
else would do is where she's gonna shine, because it's
far and few between those moments on this album where
I'm like, oh, this sounds like Lord, but they are there,
and I feel like she so has her own identity

(34:32):
and her own musical identity and her own thing, so
she should just keep going.

Speaker 2 (34:37):
We don't know if that's like a label thing though, right,
if they're like, we want a song that sounds like blank,
you know.

Speaker 1 (34:44):
What I'll say is I would actually I would imagine
the label is pretty hands off musically, but probably in
her shit aesthetically and totally right. But I would imagine
they care a lot more about the way things are
marketed than the way things sound, because they're not experts
in that sure.

Speaker 2 (35:03):
But then it it's funny because to think about Taylor,
I feel like with the nineteen eighty nine it's like, well,
you have a song that sounds like him and I
wish you would, and you have a song that sounds
like Lana in the streams and then lo and behold
like they're in the squad, you know what I mean.
So that's like the Taylor move. But I feel like

(35:24):
with Olliviate's like, I'm gonna write a song that sounds
like I'm gonna sound like Billy here and I'm gonna
sound like Lord there, and the fact that they're not
like Buddy Buddy makes it more susceptible to like you're
cribbing a little, And that makes any sense.

Speaker 1 (35:41):
Yes, But I would say like, on first listen to
the album, I was so thrown by Lacy I was like, wait,
really sounds like lord huh uh huh. So then I
thought it was a bigger issue with the album than
it ended up being because I listened to it again
and I'm like, she really doesn't need to do that.
Sound like that many other people too much, like not
more than a there's a million other pop girls coming up,

(36:02):
like I don't know, like because again I have the
thing happen where it's like I like a certain song, right,
and then it'll give me ten different artists. All the
girls sound the same. They all sound the same, And
the fact is that is so much less a problem
with Olivia Rodrigo than everyone else. But because she is
so much more public and because she is that girl, right,

(36:22):
she's gonna get picked on it. But the truth is,
had she not been in interviews saying yes, Deja Vu
was really inspired by Taylor Swift's Cruel Summer, Like, had
she not been like so obvious in the one step
soarwarth three Steps Back, I mean that's literally the same
chord and manner of playing as the other song, like

(36:43):
she wouldn't be you know.

Speaker 2 (36:44):
That wasn't quite the same battle as Deja Vu was
because with one step word with that song, it was like,
oh no, this is a sample from New Year's Dead. Yeah, right,
and like that was like not as contentious I think, yeah,
but yeah, you're right. It's like she in her like
debut era, rookie move, whatever you want to call it,

(37:05):
was like, yes, I am inspired by these people, and
then that kind of left her open to.

Speaker 1 (37:10):
These yeah things, because in my opinion, Taylor and Jack
have no right having writing credit on Deja Vu, because
then go through all the other girls of that generation
and pick out the ways in which they've been inspired
by Taylor Swift and take writing credit on all of that.
I mean, like, it's just, yeah, that is ridiculous to me,
and I felt was to prove a point in a

(37:30):
way that would really hurt me if I was Olivia,
Like I completely understand that.

Speaker 2 (37:36):
As an eighteen year old at the time.

Speaker 1 (37:38):
Especially as someone who has said this is my hero, Like,
I don't think that was cool, and I'll just say
that the other song, yeah, literally, right, but deja Vu,
I don't think.

Speaker 2 (37:50):
Yeah, I was gonna say something else. Oh my god,
Chapel Road does backing vocals on some of these songs.
Really yeah, Like I think it's in the if you
look at the like the personnel or whatever. In like
write ups, it's been like she's enlisted people kind of
like contemporaries or whatever, whatever you want to call it.
Like Chapel Roone like does a lot of backing stuff
on the album on guts Oh amazing. I love Olivia

(38:11):
sees it. She's like you for sure.

Speaker 1 (38:13):
I mean, first of all, I watched the live performance
of Kaleidoscope last night. Chapel Roone released a live performance
of Kaleidoscope. She is so the next one, and I
really feel like everyone needs to if you haven't already
turned your attention, turn your attention. She should be up
talk about like best new artists, like that should be

(38:34):
a name in the conversation, especially with fifteen thousand nominees
like this girl. I don't know when exactly her album
comes out. Is there a day for it?

Speaker 2 (38:42):
Is September twenty second?

Speaker 1 (38:43):
Oh my god, it's coming yep. And she's the major.
And also if you've seen her show live in the
past like six seven, eight months, because she was touring,
like you know that some of the new music that
she's done in the show that's still coming is really
really good. She is an amazing ballad called Coffee that's
not out yet, but I mean every single single that

(39:06):
she has released, I've been like, oh my god. Not
only am I excited, but I remember this from the show.

Speaker 2 (39:12):
Like every song that never happened.

Speaker 1 (39:14):
Yes, every song has full memorability and identity and value
in that way where I just know this debut album
is gonna give, give, give, give, give, give, give, give, Give,
He's gonna give the give.

Speaker 2 (39:28):
I can't wait. Rise and Fallow the Midwest Princess Love.
She's so her own thing. I feel it's like she's
just doing tiktoks from her from her room. Yeah, not
that that's like, you know, unique to her and like
other pop girls aren't doing that, but it's like she
there's something very She's a real one.

Speaker 1 (39:45):
There is an extremely old soul there, which is really
exciting because she's also young and stupid. But this is
why I described to her when I left the concert
as Annie Lennox meets Kesha, because there is a love,
that spirit in there that is connected to this instrument,
which is so incredible. But there is there is a

(40:07):
real frivolousness, but it's yet it's still really thought out
and targeted, like it it is a pop star creation,
but it's also self aware and it's fun, but it's
also soulful and that is really exciting.

Speaker 2 (40:26):
You and I are kind of opposites in this way
where you're a balad girl and I'm not so. But
even on Casual, I'm like, ooh, this is such a
lovely little mood. Would you call it casual?

Speaker 1 (40:36):
Oh? Strip it down? It like is? I mean, I
would call it mid tempo, but like, strip it down?
That's beautiful song. And that's the thing is this album
when it comes out. I feel like when you think
about the song, so she's released thus far, you're not
gonna think ballid, but like it's gonna give balance. Because
I'm telling you this. You gotta watch the live performance
of Kaleidoscope. I Lovescope and then this song Coffee That's coming.

(40:59):
I remember she sang it in the concert and I
was pretty fresh at that point. Basically the lyrics were
like I don't want to get coffee with you because
it's not just coffee for me, Like it's so much more,
like there's so many ways I can fall if I
even give you a little bit, and so she just

(41:20):
plays with this idea. I remember afterwards, I like turned
around to everyone around me, strangers. I was there with
Sudie and Matthew Vaughan, who was my producer for my special,
who introduced me to her a straight man. He was like,
you got to check out chaverone. Man, she's looking sick.
He had been sincere a billion times. And I was

(41:40):
like turning around to everyone and being like fuck and
everyone was like, yeah, like this is the real thing.
That's why I compare it to early Gaga is because
there was a palpable excitement that was like literally on
everyone's skin. I mean people were like, it's a movement
out a moment.

Speaker 2 (41:58):
You are not the first person that I've talked to.
It was like I went to her show in this
city and it was giving early Gaga and it was
like Matt Rogers. My sister said the same thing.

Speaker 1 (42:08):
Yeah anyway, And you know, I don't send you a
lot of music because I'm like, I assume you've already
like heard it, or like it's someone that's like it's
like when I sent you, who was I like, Okay,
it's like sixteen years after. I'm like, oh my god, FK.
Twigs and you were like, you're the dumbest person in America. Yeah,

(42:30):
of course no, but like you know what I'm saying,
it's like, I don't send you a lot.

Speaker 2 (42:36):
I was like, Nah, she's great, and she's she's she
she's been around since like twenty twelve, like j's a bit,
she's been here.

Speaker 1 (42:43):
I don't know. It wasn't part of my landscape. But
Chapel I was like, I have to send this to
Bow and I was like, I don't think.

Speaker 2 (42:50):
I'm so glad you did. Wait a minute, speaking of
other culture, that Math was ahead of Sudy and I
saw Shucked on Sunday.

Speaker 1 (43:06):
Oh did you have the best time? I adored it. Yeah,
it was a blest. I just go this.

Speaker 2 (43:13):
I want this on Broadway times. Give me a hundred
of these over like existing ip. You know what I'm saying.

Speaker 1 (43:21):
Well, was Alex in it? Alex was in it?

Speaker 2 (43:23):
Oh my god. They were sat and studying me. The
observation like if you like put in earplugs or if
you like put the whole show on you, if everybody
on mute challenged, but like Alex was still singing, like
it's just so effortless. Okay, so like podcasts our individual medium.
But study was just doing this like like like just
opening the mouth.

Speaker 1 (43:41):
No, like no effort.

Speaker 2 (43:42):
It's literally effortless coming from Alex Newell and you're like,
oh my god. Independently Owned was a triumph. That was
a twenty second applause.

Speaker 1 (43:52):
Oh there was a mid song standing ovation when I
was there. Wow, Wow, it was a mid song standing ovation.
Or it was like wild. The energy was cray Z
that whole cast, to say nothing of the rest of
the music. Like the musicmus was great. Shout out Shane McAnally,

(44:13):
Gray Henson, Yeah, who wrote the music. It was a
big time country music songwriter. And and he's not the
only one. So I want to make sure I say
his partner's name in this because she's also made Oh yes, Oh,
Brandy Clark. Brandy Clark and Shane McAnally, shout out who
wrote the music. This music was great. The book Robert Horn.

(44:34):
Robert Horn just it was such a blast to watch.
It was so dumb and silly and just fun.

Speaker 2 (44:41):
The direction to Jack O'Brien, Oh, Scott passed seet designer.
That's so cool. I know that guy, but I just
I just thought the whole cast, all the cast like
such precise comedic performance. Yeah, in a way that in
a way that kind of like and I don't mean
this in the pejority of sense, but it's like in
a way that kind of like transcends like Broadway comedy,

(45:03):
Broadway humor quote unquote, which we love, but this was
this was just pure like the dad jokes of course,
and me you laugh at how corny they are lol,
so to speak, but there are like genuine moments of like,
oh my god, I haven't laughed this much of a show.
And what Sudie was pointing out was you get all
the fucking dads in the audience howling along with the

(45:24):
moms and the kids, and like the TikTok influencers who
are like sitting next to.

Speaker 1 (45:29):
You, like, yeah, it's a big old hit.

Speaker 2 (45:30):
It's a big hit that like kind of invites everybody
to like just have a good time. And that's so weird,
that's so rare these days. But everyone great Henson, Ashley
Kelly who I met, she was so lovely. Andrew Durant,
who's great. John Bellman was the Gordy, he was such
a good villain turned like oh yeah, redeemed hero or

(45:52):
whatever in the end like that, it's just a lovely,
lovely time. And I really thought the marketing was very
effective because I think like, once you know, you know,
like when New York saw like these ads go up
on the train, we were like, what the fuck is this? Yeah,
And I think like it kind of makes you go
in blind and like have your expectations be like pretty
vague or nonexistent. And then the way they did this

(46:12):
was perfect because I went in being like I don't
know what I'm about to see, and then it starts off.
It's it's silly and frivolous and stupid and fun, and
then the Cornstalk's like lift up and die and everyone's
screaming on stage. I'm like, this is hilarious. I love it.

Speaker 1 (46:26):
I'm so happy you guys both enjoyed it so much
because it was I had the best time, and I
agree it's a really it's one of those things where
it's like if your parents are coming to.

Speaker 2 (46:35):
New York parents show, it's a great parent show.

Speaker 1 (46:39):
It would be a huge hit. And I know that,
Like I think when it first came out, I was like, huh,
like just like everyone else, and then it ended up
being one of my faves that i'd seen. I also
experienced some New culture and I mentioned it at the top,
but I did go to see Bottoms. Huh. This was
so fucking good and if you haven't gone to see it,

(47:02):
you got it. I mean the way that gen Z
was really fed by guts and also Bottoms lately like this,
I ow and Rachel are such stars in it. Emma
Seligman the director, she can and will do it all.
I'm telling you, Like there is there is a style

(47:25):
of the way that she shoots the dialogue. She shoots
it very directly, like it's I can't even really, it's
just all the comedy just sings, and it is fucking
funny first and foremost, like of course it's it's about
their central friendship. But I just loved a movie that
just was like I just fucking laughed the entire time.

(47:47):
It's so much more violent than you think it's gonna be.
The entire cast like, and this movie is like Patrick
Rodgers said it best. He said it was like Dada.
It was like completely insane and unhinged, but in a
way where every actor was so like uniform in the
tone and knew exactly what they had to do, and
the two of them are like big, fun characters, but

(48:10):
they're also great anchors. The supporting characters are like really
crazy and like everyone's got their own thing that's like
very well defined, which is a compliment to the script
in the direction, like you don't feel like any characters
are thrown away. You know exactly who everyone is, and
it really feels like just like almost like a surreal

(48:31):
version of a high school comedy that we haven't seen
because people have been like, oh, you know that looks
like clueless or mean girls or easy a. No, this
is like its own like fucked up world. Yeah, And
I thought that that was like a really signature thing
on this movie. Is it It operates actually in like

(48:54):
outer space, right, but in a setting that's like familiar
enough to us that like in that way like references
all those movies, Like, for example, the football players are
never not in their football uniforms like they're in school,
like in their football giche the whole time, Like and
I just I can't say enough. I mean, you got
to see bottoms.

Speaker 2 (49:14):
And it's so like just from what I know and
what I've heard, it's like so different from sugar Baby.
It's like, oh that nuts when you know MM is
gonna kill it. Completely different, Yeah, another data work Dix
the Musical, And actually I'm having not seen Bottoms. I
don't really know what people mean when they say this,
but I think a lot of like they're like, oh,
these two movies coming out within what however, you know

(49:35):
a month or two of each other, is like really
great datast Oh yeah, that's a nice moment for cinema
where that we might not have again for a long time.
Where it's like these ridiculous movies where Dicks Dix people
were like missing jokes because they were laughing in Toronto
and it was like, oh but wait, you missed that one.

Speaker 1 (49:55):
It's like it's these psychotic two handers that made like
with you can tell without much of a budget. But
they have vision, you know what I mean, Like it
has a vision, it has a everyone's really unbrod with
what they're doing, and I don't know, it was inspiring
for me watching it. I was psyched. I just can't

(50:18):
tay enough. I mean, I knew I would like it,
but I was like blown away. And they're both such stars.
I know, I know, it's really cool.

Speaker 2 (50:28):
They were lost cult guests first they became stars.

Speaker 1 (50:34):
Well, we wanted to have them on now, but we're
not allowed to do that right now.

Speaker 2 (50:38):
But soon we can literally say on this podcast, and
just so people are you know, jumping to anything. It's
like Matt can talk about how much he enjoyed this
movie having not been in it or been involved or
written it. But we are obviously where that we cannot
have the stars of the film come out come on
the podcast.

Speaker 1 (50:57):
Right So, And I did actually want to loop at
to the beginning of this conversation because I do want
to talk about the Drew Barrymore thing, so like just
to make a distinction what she is doing. And we
love Drew Barrymore, we.

Speaker 2 (51:10):
Love We've talked about how much we love her on this.

Speaker 1 (51:12):
Oh she's a legend and well, but she is making
a big mistake, like she what she's doing is wrong,
and I'm actually really surprised that she's crossing.

Speaker 2 (51:23):
Picket lines and her arguments don't make any sense like
her post. I'm like, a, this is not a public service.
You're doing a talk A daytime talk show is not
like this, mitzvah, you know what I mean. It's like
not this like amazing thing you're doing to like help

(51:45):
heal society's wounds at a time like this, So please
don't like frame it as that. And secondly, she's like,
don't forget I backed out of the you know, MTV
Movie Awards at the beginning.

Speaker 1 (51:56):
Of a strike.

Speaker 2 (51:57):
It's like, well, well it's going to be And you're
also going, well, then it is extremely meaningful and fucked
up that you would like kind of say fuck it
all after like a few months, you know.

Speaker 1 (52:11):
Yeah, I think that what it is with Drew is
she's bleeding heart. I think her intentions are good. I
think she's thinking about her crew and her staff, and
I think she's also thinking about the longevity of the
show because I think that the show is very meaningful
to her. And I think she's looking around and seeing,
you know, series get canceled left and right, and I
think she's in a really you know, when you're the

(52:32):
lead of a daytime talk show like that, there's a
lot of pressure. So I understand that it might not
be an easy situation for her, but this decision should
have been an easy one because you can't go out
there and say, you know, we're in compliance, not talking
about or promoting struck television shows and films when yours
you want show and what we are, what we are

(52:56):
showing here without any interim agreement or waiver or like
any communication really with people that would advise her not
to do this. Is what she's doing is this is
the opposite of disruption in the industry, because what she's
saying is I actually can do my show without my writers.

(53:16):
And that is exactly the ideology that we are fighting against,
because she is not attached to a studio or a
system that is complying. She is simply just going back
to work despite the fact that her writers aren't working,
which is insulting and it is wrong.

Speaker 2 (53:35):
And it's not like she's like new to the business.

Speaker 1 (53:39):
No, And that makes it even more frustrating because another
thing is, if she were concerned, she is certainly in
a financial position to take care of her crew and
her staff. And I'm not saying what anyone should do
with their money. I'm not this is conjecture, really, but
I mean, Kelly Clarkson is paying her staff, you know.

(54:02):
And I don't mean to compare them, and I don't
mean to put I'm just saying there is precedent for
taking care of your staff, especially when you are Drew
Barrymore No, you know what I mean. Like, compare them.

Speaker 2 (54:13):
They're two huge daytime talk show hosts, and one is
not crossing the picket line and the other is.

Speaker 1 (54:19):
I just know that there comes a certain amount of
you know, it becomes different when you do this with women.
And I don't mean to do that. I'm just saying
there is precedent for supporting your staff during this time
that does not require that everyone cross a picket line now,
especially now, and it's when these areas for what is

(54:40):
acceptable and what is not acceptable should be really well
defined and we should know better. For us to deliberately
not know better and then try to excuse it publicly
feels really oh yeah.

Speaker 2 (54:52):
And I feel like the how they're trying to control
the narrative is also really strange because they kicked out
two audience members who were just wearing pins. This is
bad wearing pins, like barely even visible from the monitor.
The screen, It's like, you can't the audience at home
isn't going to clock it necessarily. So that's one.

Speaker 1 (55:15):
Two.

Speaker 2 (55:15):
They said they were kicked out because of security concerns.
It's and then Drew has to put out a statement
saying that she was not or someone has to put
out a statement from the show saying that she was
not aware of this, and it's not relevant.

Speaker 1 (55:29):
Right, it shouldn't have gotten there. And I mean, like
I said, I had a lovely, wonderful time when I
was on that show. I adored everyone that work there.
It just feels like I wish that there was a
little bit more consideration given to this decision because it
is not the right thing. And I hate seeing people
that otherwise are so beloved and have done the right

(55:50):
thing and like so clearly have their heart in the
right place make a big decision like this. That's wrong
because you just know that she's getting like dragged all
over and she doesn't not deserve it for this decision.
It's just when she's a good person and is not
someone who's like you know, not to name names, but

(56:10):
like evil or actually deserving of the vitriol that they're getting,
like or fucked up or part of a bad system,
it sucks. I wish this hadn't happened. Yeah, yeah, but
I wanted to say that, like there's a distinction between
like what's going on with Drew Barrymore and what's going

(56:31):
on with like actors in Venice who have waivers and
like Josh Sharp and Aaron Jackson who have a waiver
with SAG for a twenty four to be able to
promote this movie and we will have them on the
podcast and we're in compliance. So just try and understand
before you react, because now it's getting to the point
where it's like, do you actually have a reason to
be upset or were you told you should be upset

(56:52):
and so now you are like it just feels silly.

Speaker 2 (56:56):
Yeah, I think people are just informed by really whatever
they're informed by, And I know that's what you're saying,
but it's like that sometimes there is no like potting
soil for it. It just kind of like shoots up
like a weed. And you're like, I don't I don't
have to. I understand. It's I guess at the beginning
of the episode, I understand cognitively how these these waivers

(57:16):
are strange and they're they're confusing and you don't know
what to make them and you go, well, then what
makes this strike effective? How can we be how can
we when when this is like causing so much infighting,
but that that is an outcome that the students are
invested in for you, as in someone in the unions
who is who is mischaracterizing something like this as scabbing, right.

Speaker 1 (57:50):
Haven't been bouncing your ass toabongos?

Speaker 2 (57:53):
Absolutely?

Speaker 1 (57:53):
Oh my god.

Speaker 2 (57:54):
We all watched the video between Things in Toronto and
it was just like, God, this is so pussy tight,
like a nun.

Speaker 1 (58:03):
I mean, I just have to say, I would go
to met Gala in a roll. I can body every
look and I can body every pose poetry the video
is I love they look so unbelievable like and also
just that last final heighten until like Cardi and that
like Tricksie Mattel by way of Riba mac entire Wig.

(58:26):
I was so into it. They look amazing.

Speaker 2 (58:32):
And I'm sorry, but the product placement is like perfect.
I don't I'm not going to eat or drink any
of that. But Carti sells the fuck out of it.
She's enjoying whatever the pretzels chips I forgot. She's enjoying the.

Speaker 1 (58:46):
Nothing funnier to me than product placement. I love it
lean in.

Speaker 2 (58:51):
The way she's putting these things in her mouth.

Speaker 1 (58:54):
She is.

Speaker 2 (58:56):
Selling it. She's she is experiencing pleasure unlike any and like.

Speaker 1 (59:01):
History, anyone has ever known. Anyone is experiencing pleasure unlike
anyone has ever known. That's actually a rule of culture
number thirty one.

Speaker 2 (59:10):
Cardi B is experiencing pleasure like anyone has ever known.

Speaker 1 (59:14):
Wow, I have to say, it's been on repeat. But like,
was it you who told me that? Like the internet
was split on it? Yeah?

Speaker 2 (59:22):
Are there?

Speaker 1 (59:22):
Like what are they? What's their point? I think their
point is.

Speaker 2 (59:27):
It's it's this is basically the same as wop and
you go, yeah, and what's the problem with that?

Speaker 1 (59:33):
And wop?

Speaker 2 (59:34):
It was clearly like a cod like early lockdown video,
where like they were like not shooting, they were like
far apart or whatever they're they're scissoring. Now are you happy?

Speaker 1 (59:43):
I mean, I I don't understand when something is a
grand slam. Let's use a baseball analogy, shall we. If
you have one home run and then there's another home run,
you just hit two home runs.

Speaker 2 (59:57):
No one's mad.

Speaker 1 (59:58):
Would you Are you bored because of the second home run?
Or are you cheering again? Boring people are bored? Masistor right,
massis stor rate, Hey bitch, how many letters in devoured
eight Girl, What's more? Plus four eight girl? What time

(01:00:19):
is my favorite show? On eight o'clock? Thank you? Thank you?
At e o clock. Oh, I wanted to say I
went to the Jonah's Brothers concert not for me, and
I got a lot of hate because I guess we're
supposed to be on Sophie Turners quote unquote side.

Speaker 2 (01:00:36):
Can I just say, we don't know these people. We
don't know these people. Although were you so were you
at the show where Joe was like, if it's not
from these lips, don't believe it.

Speaker 1 (01:00:45):
First of all, if he said that, I didn't hear it,
and I don't. I don't know or care the.

Speaker 2 (01:00:52):
Rumor that I heard, and not that I know or
carry either, but the rumor that I heard, and someone
like quot quot beeted it in a really funny way.
But that the headline is like, allegedly Joe had like
ring camera footage of Sophie saying things on audio and
like caught her saying something or doing something with someone

(01:01:14):
or whatever.

Speaker 1 (01:01:15):
Often I didn't hear it about the ring camera of
it all.

Speaker 2 (01:01:17):
So then someone quoted that and went and quoted that
tweet and went she's been stealing.

Speaker 1 (01:01:22):
Amazon packages all over the city. Oh my god, Sophie,
Amazon package thief caught by ring light. I want that
scandal so bad, like Ron's actress twenty seven caught in
widespread Amazon theft package Ski packages. Just like Sofa Sansa's

(01:01:44):
face on a ring.

Speaker 2 (01:01:44):
Light, like a gorgeous face.

Speaker 1 (01:01:49):
Oh my god, what a star. She was, like, she
should be on the HBO show. She is girl. I
know Koreana. I will say I think there were three
songs I recognized, one of which was Benning up you baby.
That's a class. They have such and I'm just gonna
say it, stupid little voices. Yeah, jealous I definitely shook

(01:02:11):
my ass to that. I love jealousy the ocean, love that.
And then I definitely was like, I'm a suck off oil.

Speaker 2 (01:02:20):
You had fun?

Speaker 1 (01:02:22):
I had fun. First of all, it's called five albums,
one tour or something. It is so long, and they
were doing their own little version of eras and I
was just like, girl, we have to differentiate between the errors.
That's what keeps the plot moving. Here. It feels very
the same again and again again. But they are not
my culture. They never were, they never will be. I

(01:02:44):
have respect for what they do, and I honor any
Joe Bros. Fans, but still haven't seen Camp Rock.

Speaker 2 (01:02:50):
I know what we talked about this how that that
was just one microgeneration below us.

Speaker 1 (01:02:55):
Correct, and I think it may remain that way, although
you never know. One of these days I might pop
it on. Yeah, but I'm married to medicine wormholl right now.

Speaker 2 (01:03:03):
Oh get I need to get on your level.

Speaker 1 (01:03:05):
You have worked to do with morning show, so I
have worked.

Speaker 2 (01:03:08):
To do with morning show. Thoughts on Salt Lake City,
thoughts on Ronie thoughts.

Speaker 1 (01:03:13):
Great premiere of Salt Lake is back.

Speaker 2 (01:03:16):
Thank god? Oh that's back on tonight. I can't wait.

Speaker 1 (01:03:19):
Yes, Ken, not fucking wait, big night tonight eating I
had Ronie actually put me to sleep this week, unfortunately.
And what no one knows is that the Atlanta reunion
at the last second was really giving.

Speaker 2 (01:03:35):
Gabe was Drew walked off? Is that what happened?

Speaker 1 (01:03:38):
She walked off, the walked back in, and then she
sang her new song on stage two Ralph and it
was so awkward but delicious, and it was it was something.

Speaker 2 (01:03:51):
More awkward than wh Nicki Minaj made Candace saying drive
back it was more awkward than that. That was awkward
because you're saying the entire song, Well, she's not a
good she's not a seasoned performer. She knows not she
would know not to do that.

Speaker 1 (01:04:04):
I would say her voice is good. But it was
just like this man is really gonna sit here and
like you're gonna sing this weird song just to a
backing track. And the way she was like looking at
him and pointing her finger in his face, I was like,
this is this is a lot. Anyway, the season was terrible.
The reunion was great. And that's all I guess I
have to say about that.

Speaker 2 (01:04:24):
I told you this off pod. I've done a season
nine rewatch of Atlanta.

Speaker 1 (01:04:28):
Oh, the best season.

Speaker 2 (01:04:29):
I just just just to get the foot lead up
to who said that?

Speaker 1 (01:04:33):
Who had been saying that?

Speaker 2 (01:04:35):
Yep, oh you get that? And more, Oh you get
Have you gotten to the reunion yet? I'm about to
get to the READI but no, the whole season's excellent.
I mean, like Phaedra, that's like the bomb in Padra's office,
freaking frack, freakin' frack. And I mean yeah, like this
show is a vibe and then you forget like this
Fadra fucking left after this season, never to be seen again.

(01:04:56):
Uti Ultimate Girl's strip.

Speaker 1 (01:04:57):
Wait until I know you see the reunion by the way,
first ever four part reunion, because there was just so
much going on, explosive, it was see I can't wait.
I want you to really let me know when you
are doing that so that I can be by by
my phone.

Speaker 2 (01:05:15):
Yes, girl, when Atlanta's good, it's it's great. Yeah, it's
it's really bad.

Speaker 1 (01:05:20):
It's dreary when it's bad, but when it's great, it's
one of the best.

Speaker 2 (01:05:26):
That's true for a lot of things.

Speaker 1 (01:05:28):
Really, I'm going to get into it. Actually, I have
a good idea for me. I don't think Sony.

Speaker 2 (01:05:32):
I have one that is about something we talked about
and it might shock you and people. But I'm sorry,
I'm leading with that before yours. That's so rude of me.

Speaker 1 (01:05:40):
Oh my god. Okay, Well, everyone is on the edge
of their seat.

Speaker 2 (01:05:43):
This is no Honey, This is I don't think Sony.
This is where we take one minute to really go
into a polemic, honey, about something in culture that we hate, despise.
This is Matt Rodgers. I don't think Sony. As time
starts now, I.

Speaker 1 (01:05:59):
Don't think so, honey, if you're sleeping on Married to Medicine.
I said it years ago about Potomac, and I feel
we got some people, some readers, some finalists and publicists
and katies to go in that direction. I am saying
it now from Married to Medicine. This is one of
the best shows on Bravo. Some of these reunions, Andy Cohen,
your best work. The real shit happens on Married to
Medicine reunions. Doctor Jackie is an icon, Doctor Simone is

(01:06:24):
an icon. Quad Web I am a super fay second
to Miss Quad. We all have to be watching Married
to Medicine. It returns very soon. And Phaedra Parks, I
think started dating a doctor just so she could get
on the show. I don't know if that's a real relationship.
It feels convenient to me, but I don't care because
we're gonna get phage three. I'm Married to Medicine in

(01:06:45):
the cast, and remember all these women are Atlanta women,
so they are naturally friends. What I love about the
show is the relationships are real. The marriages are really
crumbling and being rebuilt. We see real movement at reunions
and in the show. These women are funny and they're professionals.
I don't think so hone if you're a sleep and
I'm Married to med.

Speaker 2 (01:07:02):
And that's one a minute. I have caught a couple
episodes and I remember being intrigued, and now you've really
sold it to me.

Speaker 1 (01:07:08):
You want to know what it is. The steaks are
so high. It doesn't feel like a stupid show because
the steaks are high because well, I mean, not only
like are they real friendships, but like they're really really
really committed to what they do and passionate about what
they do. And it was a really fascinating season. I

(01:07:31):
believe it was season eight when COVID was hitting, and
also you know, like the Black Lives Matter protests were happening,
and it was just like a really really engaged season
for them, and that it's just like a really, really,
really fun and good show. And I would say, if
you're a fan of the Housewives stuff and you haven't

(01:07:52):
engaged with Married to Medicine, you're going to get everything
you want from a Housewives franchise and more with Married
to Medicine.

Speaker 2 (01:07:58):
Love love that can't wait to watch.

Speaker 1 (01:08:01):
Ooh and now we were teased earlier. God, you ever
look at your phone and you haven't looked at it
for a while, and you see the amount of stuff
and you're.

Speaker 2 (01:08:11):
Like, I know, I know, No, I can't. I can't
think about it, Okay.

Speaker 1 (01:08:15):
So anyway, that's happening to me, and I'm overwhelmed. But
right now, what we're gonna do is we're gonna turn
to bone Yang and we're gonna say, bone Yang, are
you ready to tell you? I don't think so, honey,
I am. Then that being the case, this is Bowen
Yang's I don't think so, honey. As time starts now,
I don't think so honey.

Speaker 2 (01:08:32):
Saying God damn in a song, I'm sick of it.
Sometimes it feels like a shortcut to like fill in
some syllables. Olivia is doing it, Taylor is doing it,
They've all done it for too long and night it
always hits the ear a little wrong. I don't like
when someone says god damn. Like the only time I've
liked god damn in a song is Beyonce Flawless. Otherwise

(01:08:55):
I think, now, why did you have to say that?
I don't like it. I don't like it. It just
sounds off right. What does Olivia say? In the on guts, oh,
like a goddamn vampire. And I'm like, goddamn vampire. Like
it feels like first pass, I was like, you could
have found a better two syllable thing to put in there.

(01:09:16):
I'm just saying, not that I could do her job
better than she can or Dan and igro, but I think,
and I say, we got to cool it with the
goddamns and songwriting these days. It's gotten to be too much.
And that's it.

Speaker 1 (01:09:27):
And that's one minute. What about this, like a motherfucker vampire?
Mo the fuck? Moll the fuck? I would like, I
don't understand what's so? Are you religious?

Speaker 2 (01:09:40):
I'm not religious, but I don't like it when I
just it's something something really doesn't sit well with me.
When I hear goddamn being used a little a little
gratuitously in songs, goddamn offends you. I don't mind when
someone says it in conversation or in dialogue or anything
and speaks it. I just think it's like, yeah, it's

(01:10:03):
a war. It's a goddamn fight in my life. And
you start, I'm like, but you didn't have to say goddamn, Taylor,
you know what I mean? I just think goddamn is
like it is, like it's just filler. It's just lyrical
filler in me.

Speaker 1 (01:10:15):
Can I ask you a question?

Speaker 2 (01:10:16):
And it's not just Olivia and Taylor, obviously, it's like
every Obviously it's a lot of foolish word. It's a
lot of people.

Speaker 1 (01:10:23):
Do you accept it in Flawless by Beyonce because it's
its own thing like goddamn, God, damn, damn and like
a filler, So you don't, like.

Speaker 2 (01:10:32):
Okay, I must have reader's case, publicist, finalists who get
who understand me. And if you don't, that's fine, I'm
sure you do. But I I just I noticed that
word a lot. And it's not because I'm religious or anything,
but it is because I'm just like, we're really we're
really doing this a lot. Just just just just notice,
just notice anytime someone says god damn in a song,

(01:10:53):
I just wait.

Speaker 1 (01:10:54):
I just think, hmm, did it need to be? Did
it need to be?

Speaker 2 (01:11:00):
And and you got to think with Olivia, like when
she was cursing on sour, I'm like, well, is she
just doing this because it's like she can and she
and it's shocking. And then I remember when what a
moment was when Taylor started cursing in her songs. It
was like, yeah, it's this, it's this thing where like
it kind of grates against like the way these people

(01:11:21):
have like recently developed in front of your eyes or something.
I don't know, am I making any sense?

Speaker 1 (01:11:28):
You're making sense. I just think that you always want
to challenge the girls too.

Speaker 2 (01:11:34):
I'm not no, I'm and I'm this is not a now,
not even.

Speaker 1 (01:11:37):
I get it, but like it's one of those things.
It's like something that you hear that like irks you.
I'm irked, did you hear? And I think it's in
logical When Olivia was like, I can't do this, I
can't do this, I can't get you off. I know.

Speaker 2 (01:11:50):
I'm like I said, I said.

Speaker 1 (01:11:54):
I had to say grew. I'm that one. I literally
grew And I was like, and I haven't grewed in a.

Speaker 2 (01:11:58):
Law that's a or just grew.

Speaker 1 (01:12:02):
Ooh, it's totally very clear. Right now.

Speaker 2 (01:12:05):
I'm not even getting it on Zoom because it's like
it's like suppressing.

Speaker 1 (01:12:08):
You're not getting it on zoo. You didn't get that.

Speaker 2 (01:12:13):
I can tell that it sounds beautiful because you were
giving Alex Newell. You were going you were just giving
a perfect tone, but the face was neutral. Oh hmmm.

Speaker 1 (01:12:27):
Wow.

Speaker 2 (01:12:28):
Well anyway, that's.

Speaker 1 (01:12:29):
What makes me an amazing singer and recording artist because
I can use the mic too to tell story. Goddamn vampire.

Speaker 2 (01:12:38):
See I just it sounds kind of like lame to me.

Speaker 1 (01:12:42):
It doesn't bother me, but now it does. You don't
have to get right. I am a gay. I'm in
the gay army with you. We're out to groom these kids,
and we'll be grooming. Get out the way. We got
grooming to do.

Speaker 2 (01:12:55):
We're gonna get put on a list when like you know,
it's it's the it's Trump's second term or whatever.

Speaker 1 (01:13:03):
Jesus Christ, they're gonna ship us off far and they
So how are you feeling about the election? Okay? So
uh this has been lost culturistas. This has been really
a great up. I think, So what's it called again?
After jushome after I can't wait? I think. We always

(01:13:31):
try to make you laugh. Girls, everyone listening out there,
and if we made you laugh today, give us a
five star review and nice comment. Hey, we end every
episode with a song.

Speaker 3 (01:13:42):
Blood sucker bye bokerlea me try like Darna see Gosh,
Darn is where you lost me there, and I understand.

Speaker 1 (01:13:55):
We want to change, but not just anything works. Bye
Girl by Cyah