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June 6, 2025 57 mins
T Lo talk about why Pride hits different this year and where the queer community needs to focus in response. PLUS: Celebrity nonsense, from "The White Lotus" stars Walton Goggins and Aimee Lou Wood doing damage control to "Pokerface" star Natasha Lyonne doing damage to her rep. And a deep dive into why the third season of "And Just Like That..." sucks so bad.
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Episode Transcript

Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:23):
We're Tomy Lorenzo and this is the Pop Style Opinion
Fest Hellican and welcome back to another edition of the PSO.
I am the Tenior Telo Tom Fitzgerald, and I'm here
with the LOO and you're Telo Lorenzouse my love husband,
Happy Pride June. It's Pride. We're feeling some kind of
way about it. But actually I'm going to talk a

(00:44):
little bit about that a bit. But we are of
course going to unpack the latest ridiculous episode of and
just like that, but we're going to push that back
to the back half. We have some celebrity stuff to
talk about and other sorts of goofiness that has happened
this week. Anyway, how are you, Lorenzo? I jumped right
in very quickly. We just had like a twenty minute

(01:05):
conversation about where we're going to in Europe in your
next Yeah, so our minds are not on a.

Speaker 2 (01:10):
I know, I can't wait to go back.

Speaker 1 (01:12):
So that should we go to Rome, Madrid or Paris? Kittens,
we have a window in the fall where we can
do a very short trip.

Speaker 2 (01:19):
We're we're talking about doing short trips now as opposed
to two weeks. You know somewhere.

Speaker 1 (01:24):
Well, first off, it's hell on our cats.

Speaker 2 (01:26):
Yeah, it honestly, it's awful, and I can't stop thinking
about them while I'm away. So the idea is to
do like three nights plus you know, arrival and departure
days in Europe somewhere.

Speaker 1 (01:38):
Just short, yeah, keeping it too, like one city, perhaps
a small you know location in neighborhoods. That's because obviously
you can't do all or any of those cities. You
can't do in three or four days. But we had
been to Madrid and I was just saying that I
would love to go back because there's parts about it, right.
I could go and wander those music like the Prato,

(02:00):
I could wander that for hours. Again, we never made
it to the Royal Castle, royal Palace and everything, so
I could do that again. Yes, Paris, I said to Lorenzo.
I was our first trip together as a couple was Paris.
It was almost thirty years ago and we haven't been
back together as a couple two Paris since then. And

(02:21):
I said, now, when we go back to Paris, that's
not going to be a short trip that we're going
to do, like a ten day to two week trip.
Because it's fucking Paris. And then Italy is on our
checklist of places we want to go coming up. And
we had been talking for a while now like, oh well,
if we're doing Italy, that's got to be a long
vacation because you know, there's no Venutes, there's Florence, there's Milan,

(02:43):
there's Rome. But just now talking about these short vacations,
I was like, you know, we could just do Rome
and just do like a small area in Rome for
like three days, hit a couple cathedrals, a couple of museums,
like I have no not I have no real interest
in the Vatican, not really. Maybe the Vatican Museum, but
I'm not going to stand in that plaza or whatever. Anyway,

(03:03):
let's hear your thoughts. Where should we go if we
go away for a short vacation in the fall. Yeah,
Paris and Madrid are familiar to us. Rome is not
particularly you haven't been a Roman a long time.

Speaker 2 (03:16):
I've ever been any other place? Suggest any other place? Yeah?

Speaker 1 (03:19):
I mean, should I list all the languages that you said?
You don't you hate when I do that?

Speaker 2 (03:24):
I know?

Speaker 1 (03:25):
So if you say something like Prague or Warsaw, well
that's out of Lorenzo's like lingual, but not that we
have need to stick to that.

Speaker 2 (03:32):
No, no people speak English anyway. But that's it.

Speaker 1 (03:36):
We're excited just so we could do Berlin because we
went to Germany at Christmas, but it was really just Cologne. Yeah,
like we could do Berlin or Hamburg or something like that.

Speaker 2 (03:44):
You know, I'll think about it.

Speaker 1 (03:46):
Let's hear your suggestions, all right, Pride. I just wanted
to talk about a few things this week for Pride.
First off, the just seminal in every sense of the word.
Gay author there amit for you, gut ed Min White
died this week, and go ahead.

Speaker 2 (04:05):
We should talk about our trip to Dallas.

Speaker 1 (04:09):
Point we can talk about that because that is I
was going to work that in later. But yes, and
you're right to remind me. I probably would have skipped
right over this once again to remind everyone, we are
going to be in Dallas on June twenty fifth, twenty
twenty five. This, obviously I'm not going to talk about
next year at the Bishop's Bishop Arts Theater Center in

(04:31):
oak Cliff's. We are being sponsored by Badge of Pride.
The local priate organization who is at this event is
part of their Say It Loud from the Shadows to
the Mainstage Speaker series. We're very, very honored to be
asked to speak. The great thing about Legendary Children for us,
our book Legendary Children, is that it has opened us
up to these events where we can go and every

(04:52):
June we either do corporate talks or we actually do appearances.
So we are doing this appearance and it's a special
one because we offered them a bunch of signed books, right,
you know, just to spur ticket sales. I'll be honest,
You're probably not gonna like me saying this, but we've
been doing this a long time and every time we
do one of these, it's like, are people going to

(05:13):
show up? Are people going to me?

Speaker 2 (05:15):
Saying? That? Fear always it is.

Speaker 1 (05:17):
Even now it's a huge fear, like am I going
to get Like we did an event in Las Vegas,
remember that? And I loved it. I loved going. It
was the Clark County Library brought us out right after
lockdown ended our you know, our books had been canceled
because of COVID and then this was like what it

(05:37):
was it in twenty twenty one. I think, in fact,
like none of the buffets in Las Vegas had opened,
had reopened yet it was still on its way open.
And they, and God bless them, they booked us in
this theater that seated like, I don't know, like eight
hundred people. We were like, oh, I don't really think
you're going to need that, And honestly, it was something
like fifteen people showed up. But God bless every.

Speaker 2 (06:00):
Oh my god, I I love every single one of
them for showing out. Yes, absolutely, but it was a pandemic,
right And who goes to a library in Vegas?

Speaker 1 (06:10):
People who live in Las Vegas. They're not all gambling
all day as they weren't anyway. But anyway, that's what happened. Yeah,
so there's always and it wasn't. It wasn't a horrible thing.
I'm just using that as an example that sometimes people,
you know, you just we can draw a crowd, but
I hope we do. For this, we're giving away signed
copies of our book. If you sign up now, you

(06:32):
have to you know, get your seats early for a
signed copy of the book. We're going to talk about
legendary drag queens. We picked several from the twentieth century
that we think are important that you need to know
about and what they did with their lives and how
they changed the world. That those three drag queens. And
then we'll do a Q and A right. As per

(06:52):
the usual with these events, we'll post for pictures whatever y'all.

Speaker 2 (06:55):
Want, ye so, and as I always say, we're very
excited to meet you guys, talk to you guys. We
always can't come back, you know, talking about meeting you
guys and what we discussed, what we you know.

Speaker 1 (07:07):
I always remember faces. I remember people who raised their
hand and answer asked the question, or people who came
up and to talk to us afterwards. We did one
last year in New York, and I still remember the
people that we talk to and that we do. It
matters to us. You're not You're not faceless to us.
I mean we are so grateful, Yes we are all
the time anytime someone makes the effort to come out

(07:29):
and see us, and we do our best to make it,
you know, worth your while. So the information is pinned
on the front page of our website, tom on Lorenzo
dot com. It's will be in Dallas on Wednesday, June
twenty fifth for an evening of Drag and queer history
and whatever questions you want. Oh and that's the other thing.
Whenever these q and as happen, Believe me, people are
going to ask about madmen and carpets and anything.

Speaker 2 (07:51):
Ask about anything, right, Yeah, that's fine.

Speaker 1 (07:53):
We're there, you know, we're there to meet.

Speaker 2 (07:55):
He querish in a way.

Speaker 1 (07:57):
It's all queerish in a way. Okay, let me take
a sip on.

Speaker 2 (08:00):
But yeah, I mean it's it's pride. We're very excited
about it. Especially now. It feels a little weird this
pride months. Yeah. Yeah, a lot of things have happened that,
you know, it's kind of a setback, and it's just
it's always disappointing. But at the same time, as I
was watching something I think was on Instagram or whatever,
and someone was saying, you know, that's why we have

(08:22):
to keep doing pride, that reminding people that we exist
and that we should be.

Speaker 1 (08:27):
Yeah, I agree, as I was saying earlier. Edmund White
died this week. He was the author of a lot
of books. He was a gay author, and I mean,
I can't even listen for me the ones that I
that were very important to my coming out into my
understanding as a gay man. Where a boys on story
in the Beautiful Room is empty. They have sat on

(08:49):
my bookshelves for thirty years. But he also co wrote
The Joy of Gay Sex. There was a bunch of
things that he wrote. He was unapologetic and his queerness
and his love of sex with men, and he wrote
about it in great graphic detail. He was one of
the pioneers of queer lit in the twentieth century, and

(09:11):
I think I don't know how important he is to
young queer men now, but to young queer men in
the twentieth century, reading your Edmund White was it was
what you did on the way out of your closet.
Had a chance to meet him several years ago in
Fire Island, and I balked at the idea because I
was like, no, I will be a blabbering idiot around him.

(09:32):
And I kind of regret that he came up in
the research for Legendary Children, because we were trying to
fit as many cultural queer cultural figures as we could
into the book. But he was left out for two reasons.
One the book did not have a literary focus. It
was dealt more with entertainers. And two, you know, Legendary

(09:55):
Children was devised to be as intersectional and multicultural and
diverse as possible, and we did not want to make
the mistake so many other queer historians made in the
past of centering you know, white white men and white
women cis gender white men and white women. So he
got cut fairly early for both of those reasons. But
I do think that's why he was so important. That's

(10:20):
why he was so important to me. Is that? And
I feel like I should say when when I say
he was important to queer men in the twentieth century
as a coming out figure, I really strongly suspect I'm
talking about white middle classmen because that was his background, right,
And the beauty and the shock of his early work

(10:41):
was to watch this upstanding professional, white middle class men
go down to the piers and have sex with twenty
men in a truck in one night and talk about
it in tremendous detail. He was at Stonewall, I mean,
he was in it. He was a major, major figure,
and he was giving voice. And I think this maybe

(11:04):
is partially why he I don't think he's fading in
importance of anything. I think his importance has increased in
the last few years. But he sort of waited because
his perspective was entirely white, middle class male, you know,
and queer literature has become so diverse in the year since,
and of course that's a good thing. But I just

(11:27):
I don't think I can explain unless you are in
my age group and or in my cohort, what it
was like to read a young man's version of life
in the city, gay, in the closet, coming out and
having sex with a lot of million. It was so
formative to me, I know, I think.

Speaker 2 (11:44):
That's that's an an interesting point and important point is
that he talks about his mother was a psychologist, and
she actually took him to a psychologist, because.

Speaker 1 (11:53):
He writes, I think that was in his one of
his books, So stuff.

Speaker 2 (11:58):
Like that, we listen. I'm very very greatful. I'm very
very very happy that a lot of queer people now
today have the support of the family, you know, the
parents and the friends and everything. I think that's amazing.
But we can't we can't minimize all the other people
out there who are thrown out of homes, you know,
are still happening. It's still happening, you know, parents, people, Yeah,

(12:20):
all that, so and especially you know, let's say, I
don't know, ten twenty years ago, it was even worse.
So we can't forget that, and we need to celebrate that,
be happy for the new generation, be happy for the
queer people now. But at the same time, even now,
I mean even now, yes, even now, things are not
equally great. And sometimes you know, it's it's like a

(12:44):
setback every now and then, I mean, things get better,
and then we're stuck back, you know, doing things like
I don't know, removing things, removing paintings, removing names.

Speaker 1 (12:56):
Well, I wanted to address. The other point was that
Secretary of Defense Pete had seth moved this week to
remove the name of Harvey Milk from a I believe
it's he Is it an aircraft character carrier or worship
I can't remember Harvey Milk, of course, being the highly
influential gay activist in the nineteen seventies who was assassinated.

Speaker 2 (13:18):
And he was a veteran, wasn't he He was a veteran. Yeah,
it's not just like his name, I know.

Speaker 1 (13:25):
And it's funny. It's not funny. It's sad, and it's
petty and it's pathetic. It's such a petty thing. To
do to remove a name just because you don't like
the person. But I have to admit at the time
and my first reaction to the news was, what you know,

(13:45):
is that what we need? Do we need to have
our names on warships? Is that what Harvey Milk would
have wanted, Not that I think he would have been
opposed to it. I understand the meaning of these these
honorifics and these symbolic things, but eyes on the prize here,
I don't think that's the issue. I think Pete Hegseth

(14:05):
is just being an asshole. I think this administration is
just trying to demoralize people in any way that they can.
And this, you know this, this doesn't even put a
dent in me as a queer person. It doesn't like
what I fuck, that's not going to change anything about
my life, my understanding, my community. It's the same thing
with this is the first pride of the second Trump administration.

(14:29):
And you know, DEI is now a dirty word in
corporate America. And we're really seeing a total lack of
the kind of rainbow branding that we saw on the
last twenty years of pride of you know, beer brands
and just every brand was putting out rainbow version, and
you know, Target had a whole rainbow line and that
sort of thing, and we're seeing so much less of

(14:50):
that this year. And again, these symbolic shows of support
and allyship are you know, lovely and important and they
help you know, I guess, queer young kid, whatever. But ultimately,
this isn't the fight. And like you know, we haven't
shopped in Target in six months, we haven't shopped since
the you know, they decided to eliminate all their DEI

(15:12):
And it hasn't been that hard because this is not
where my identity lies and it's not really all that
important to my life. I'm not saying these things aren't important.
They are, and they are a disturbing trend. But as
queer people, I think we have to look at this
and be like, fuck you, that's not what I'm here
for anyway. You know, you think this is what bothers me.
This is not what bothers me. I just think you're

(15:34):
being an asshole and it's a meaningless, petty thing. And
like I said, eyes on the prize. Trans kids cannot
get healthcare in this country and they are quickly becoming outlaws.
And you know just if you want to be a
selfish gay person. Gay marriage is on the table, our
ability to be teachers, to adopt children, all of that
shit is back on the table and under question. So

(15:59):
I really don't care. Of course has a rainbow bottle
or if Target has a.

Speaker 2 (16:04):
Line of T shirts never making money anyway.

Speaker 1 (16:06):
So it doesn't matter. What matters is our rights. What
matters is that as a community we stick together, and
that means LGBTQ plus. It does not mean gay people
on one side, trans people on the other. We have
to stay together.

Speaker 2 (16:22):
What I meant was they are making money when I
said they make money anyway. My point is that sometimes
these companies only support the queer community because they want
to make money. It's all about the Yeah, yeah they're
selling T shirts. They're they're not really supporting them. And
whenever someone above them says, you know, it's time to
stop supporting these people, they will They just stopped.

Speaker 1 (16:42):
Yeah, they're not our friends.

Speaker 2 (16:46):
And back to your point a little bit. I do it.
It's because I always insist that When I read that,
I get very annoyed when I read people say, does
it still matter to come out? Yes? It does?

Speaker 1 (16:55):
Oh my god, more than ever, more than ever.

Speaker 2 (16:57):
And the thing is that when you you know, especially
in communities and groups and situations where it's more straight
people like let's say, you know, the idea of like
like I don't know football or anything like that, when
a football player comes out, you know, it's more quote
unquote shocking or you know, more gets more attention because
you know, you don't think of the the these people, right,

(17:19):
you know, don't think of these places as as a
place where you know, you know, homosexual would be or
a queer person would be. So so we need those things.
We need those things happening because it puts a face
and you know, showed that anyone can be queer and
it's fine. It's totally fine.

Speaker 1 (17:38):
So happy prides stick together. We will weather this. We
have weather worse. All Right, We're gonna take a short
break and talk about more frivolous topics when we get back.
We're back, and now we're going to talk about a
couple of celebrity stories of the week, not really gossip,
more like, oh yeah, not really gossip. So we'll start

(17:59):
with that. Tash Leon Tasha Leone gave an interview with
Ryan Johnson for Variety magazine, ostensibly about poker Face, but
they asked her about the backlash she received because she's
directing a film and Uncanny Valley, Uncanny Valley, and it
came out that she will be using UH generated AI.

(18:20):
I think yes to she get put out this information
earlier in the month. There was a huge backlash because
right now there is a huge backlash against the use
of AI, especially in creative endeavors or in endeavors where
it's going to take people's jobs away. And so this
was the backlash against it. You know, the people, the

(18:41):
creative community, especially the filmmaking community. In a lot of ways,
the people, the crew, the people are not so much
the directors. They're very worried about what this technology means
for their future as you know what their job and
you know what this is true of us as writers,
and you know it's coming and they're there's this wave
of it and the people who are telling it the

(19:03):
hardest are the billionaires, not the working class. This thing
is designed to take away jobs and to suck up
water and ruin the environment. Anyway, not to get on
my damn soap bucks, but AI terrible. We should not
be supporting it. Anyway, she gave this interview with Variety
and asked her about the backlash, and she gave the
most obnoxious, dismissive answer. Listen, I like Natasha Leone, but

(19:27):
I do think sometimes you got to take her in
small amounts. And I think this answer was one of
those moments where you're like, you know what, you think
these people are so cool, but at the end of
the day, their stars, their money oriented, their fame oriented.
Even her and her answers about it were not. First off,
She's she I'm not going to quote it because I

(19:50):
don't know, it feels weird reading it out a whole
long quote. But basically she said, yeah, we live in
this culture where people don't read past the headlines, and
suddenly I'm worse than Darth Vader. But God bless it
was so dismiss it right. And first things First, people
who are opposed to AI have read past the headlines.
This is not something that was being argued out of ignorance.

(20:12):
You were not being canceled because you made a bad
joke or used a slur. There's a reason for this,
and people are are afraid of this. There are reasons
why people reacted badly to it, and one of the
things she said was, we're just using it to extend
the scenes, like to you.

Speaker 2 (20:28):
Know, the sets and stuff. Yes, and you know.

Speaker 1 (20:32):
That's what digital artists are for. So what you're saying
is we're just using it to replace workers and save money.
But she cast it in this whole creative thing about
how she's making blah lah la lah, and you don't
even need to read between the lines. It's right there.
You're doing it to save money. And that's what's gross

(20:53):
about it.

Speaker 2 (20:53):
That's typical talk of someone who is in charge of
the whole thing. She's the director of the movie. And
I mentioned that to you. I said, yeah, a director
will think that way because you know, they can replace
the actress, they can replace the people, the makeup people,
they can replace everybody, but the directors will be there.
And then you said, well, at some point replace the director. Yeah,
but they need someone to push the buttons. And right

(21:15):
now she's the one pushing the button. And there's more
to the story. The whole thing is that she's the
movie used the company founded by her and her boyfriend.

Speaker 1 (21:24):
It's a money it's all money.

Speaker 2 (21:26):
It's an AI based film and animation studio co founded
by her and her boyfriend. So yeah, money to make
so and she's aware of the whole AI situation right
now because she talks about like no, no, no, no,
it's ethical company and we're.

Speaker 1 (21:44):
Just there is no ethical use of AI. It burns
up gallons of water just to generate one picture.

Speaker 2 (21:49):
So you know what you're talking about. But you decide
to be just be it's dismissive about it.

Speaker 1 (21:55):
You can love your favorite stars, but they are not
necessarily you know, the artists that you think they are,
or the friends they or the allies that you think
they're going to be at first things first, they want
to make money, they want to be famous.

Speaker 2 (22:07):
And then they got mad at her because she quoted
David Lynch. Apparently, yes, apparently David Lynch said something about
the pencil. You know, people have a pencil, and you know,
but some people now have the same way people had
a pencil, something like that, now people have a phone.
Then Nick, here's a about that.

Speaker 1 (22:24):
I read that quote and immediately on social media there
was this huge backlash and people were like, she's making
that up. David Lynch would have never said that. My
first reaction was, actually, no, I think he did. I
think he did say that. He bear in mind, David
mint Lynch is you know, it was near eighty at
the time he died, and you know, people that generation

(22:44):
are not necessarily keeping up on every all the ethical
considerations of technology. That's why scammers go after them so much.
So I and he's a very wildly or he was
a very wildly creative man who wasn't above using weird tools. Yes,
if he was a younger filmmaker, I think he probably
would be dabbling in it. What people were mad at
was that she was using this iconic director to justify

(23:07):
this decision, and we have no way to confirm this.
I actually do believe that he probably would have ordered it.

Speaker 2 (23:14):
But I do believe he said that because, as you said,
he was creative. He was a forward thinking type of
you know, creative person. And also I think you know,
people from his generation, even our generation, and we all
think it's cool to just say yes to it.

Speaker 1 (23:29):
To just push a button and have something coming yea,
to support.

Speaker 2 (23:32):
This everything that's coming that's new, because we don't want
to be behind you know, things and times, and so
we said, yeah, that's cool. I think that's more like
it and then she uses anyway blew up. I just whatever.
I still enjoy her.

Speaker 1 (23:49):
We haven't watched season two of Poker phrase because I
don't have we don't have Peacock anymore, and I just
didn't I not expire, And I'm like, I don't really
feel like we need that, but I I just she
came down a couple of notches for me on this
one where it was like, Oh, you're just You're just
one of those You're just in it for the money.

Speaker 2 (24:07):
And the what I hate about the whole thing is
is she missed an opportunity to make a very good
point about whatever she believed it. Doesn't care, but she
doesn't care. That's the problem she That's what she showed
the essentially is that she doesn't care because she could
have taken the opportunity to make a point about ethical
AI if she believes that, you know, there's such thing.

Speaker 1 (24:26):
So anyway, yeah, right, whatever, Oh here's tip tap Hunter
kids jumped up on the table to be with us.
We were waiting for him. Tap Hunter's our big twenty
pound cat.

Speaker 2 (24:36):
All right.

Speaker 1 (24:36):
What was the other story? Oh, it's also a Variety
magazine article with it was an interview with Walton Goggins
and Amy Lee Wood, the co stars of The White Lotus,
the one season of television everyone just cannot stop talking about,
and especially the cast members, they just won't stop talking
about it. There was a lot of drama, you know,

(24:59):
imply drama between these two because they were unfollowing each
other on social media and he was walking out on
interviews where she was brought up, and then she was
you know, there was pictures of her crying on not
that not that this is all related, but it was
all coming out at the same way. Pictures of her
crying on the street, and she was speaking out against
Saturday Night Live. So there was just all this stuff,

(25:21):
and I think Jason Isaac's their co star, made some
comments about the cat all you don't even know when
there was all this drama, and so there's all these
rumors swirling around the two of them, which to me,
looking at this thing, is an argument for not doing

(25:41):
all that stuff. Like I understand why she called out
Saturday Night Live, but it happened in the middle of
people gossiping about you and you crying on the street
and getting photographs, So now you've got to do damage control.
He unfollows her on social media and walks out on
an interview with what was at the New York Times.

Speaker 2 (26:00):
Yes, the New York Chimes scene and now again, all
that does.

Speaker 1 (26:03):
Is make it worse because I don't know why you
two were acting this way, but you can't stop picking
at this scab. I will say right off the bat,
I don't think they had an affair. I don't think
that's it. I think they had a very reading it
the variety of interview, they really did have an extremely
intense actor to actor experience. Those characters were intense, and

(26:26):
they had extremely intimate scenes, and they were living in
this resort for like a year.

Speaker 2 (26:31):
I think, go ahead, No, I think there's a couple
of things. Yeah. I think it was un the way
they handled the whole pr for this show, which was
a little unusual. Yeah. I was on TikTok and my
mouth just dropped because it was all this gossip about
what happened there. I see.

Speaker 1 (26:50):
I think Mike White, the creator, I think he likes
that shit.

Speaker 2 (26:53):
So everyone was saying, oh my god, we have to
tell you about this and that. Yeah, well wait until
I tell you so and so.

Speaker 1 (27:00):
So.

Speaker 2 (27:00):
It was all this stuff, not really about the show
or the process of creating the show, But it was
all this gossip about what happened to this.

Speaker 1 (27:08):
They lived together for like a year then why which
I think it was Leslie Bibbs said it was like
or maybe it was Walton Goggin said it was we
live in a reality to people.

Speaker 2 (27:17):
Were gonna eat that with a spoon. Of course, people
were interested in their kind of gossip. Yeah, so that
all happened, and you know, with social media now you
have TikTok and everything, and all of a sudden, they
have all these doctors and dentists talking about her teeth.
And then at first she's excited things. She thinks it's
great because you know, you know, she looks quote unquote normal,

(27:40):
she's you know, like she's not the usual you know,
Hollywood celebrity with white teeth and perfect teeth, blah blah blah.
But then you know that turn into people are making
fun of me. Now I'm not saying she's wrong or
defending her. I'm just saying that every with so many
ways of gossip and story it's going on that would

(28:01):
go to the left and then go to the right.
You know, it was just weird and then all this
stuff about and I remember, and I've said this on
our podcast here, that I watched Walton got On's first
interview and his language was a little weird. He talked
about how intimate he was with.

Speaker 1 (28:19):
Her, and I get it, buddy, This is the part
where I think they were just they didn't realize how
it was coming across.

Speaker 2 (28:26):
I've been around actors. Go ahead, I'm not saying that
we're having sex. It's just actors being actors in very.

Speaker 1 (28:31):
Intense yeah, using doofing language.

Speaker 2 (28:33):
But there's something called fucking pr you need to follow.

Speaker 1 (28:36):
Well, that's what this Variety interview was.

Speaker 2 (28:38):
And this to me, this Variety piece, it's it's Amy's
PR control there, it's.

Speaker 1 (28:42):
One hundred percent, it's f YC for your consideration season.
They're all out doing this sort of press. So I agree.

Speaker 2 (28:53):
I I.

Speaker 1 (28:55):
I read the piece and I could not stop rolling
my eyes through the whole thing because I felt like
the two of them were so very clearly putting on
a performance, and I didn't think it was necessary. Because
I'm sitting here thinking, I'm on your side. I don't
think you guys had an affair. I think you were
really intensely involved during the making of this thing, and
then you went your own way. But now you blew

(29:16):
it up and turned it into this thing. And now
you're both putting on this weird act for this Variety
journalist where he's like, I'm gonna follow her, and he
pulls out his phone and he follows her right in front,
and oh, this is all bullshit, and I just love
you and I adore you. And then they're getting all
teared up because they didn't watch the finale to get
it all feels. I mean, they are actors, folks, and

(29:38):
these things. You don't do a piece with Variety. You
don't do an interview with Variety without a publicist completely
setting that shit up and laying ground rules. So everything
about it felt phony as hell to me. And I
really don't think they did anything.

Speaker 2 (29:54):
No, I mean, his excuses are obs to me. First
of all, he talks about the New York Times interview.
He didn't want to really talk about it because she
wasn't there with him, which is bullshit. You can give
it any about that. It's bullshit. You can give it
an you can give your opinion, you can give your
side of the story by yourself she doesn't have to
be there with you. You can even say that, well,

(30:15):
this is what I have to say. If you want
to ask you know, her more about this or whatever, Yeah,
there are there are ways to answer a question. And
then he talks about, Oh, the process of you know,
filming this show and being part of the show was
so intense that I usually had I usually you know,
unfollow everybody and follow everything. And that's why I unfollowed her.

(30:37):
I don't believe that for a second.

Speaker 1 (30:39):
I have no problem with that. I don't believe if
you read anything with Walton Goggins, he's this really intense
guy who's very much about living in the moment and
not being sentimental. So yes, I actually do think it
tracks that he would unfollow people when he was done
working with them.

Speaker 2 (30:52):
Now, my theory is things got really ugly out there,
and there are stories of his wife getting a little
annoyed with that much attention towards them together. What happened there,
blah blah blah, what not happened there? And then that's
probably why he unfollowed her, and then every and people.
I don't know how people. I don't have time to

(31:12):
go to people's now Instagram at now Instagram account and
see who got unfollowed, who unfollowed who? I mean, it's it's.

Speaker 1 (31:19):
I'm interesting because they went to Variety and did the interview.
I'm I'm not getting caught up in it.

Speaker 2 (31:25):
Yes, but but they went to the Variety because of
all that happened. Uh, and now they're doing some damage control,
which you know, the ammies they all want to be
nominated and they all want to look good, which is fine,
and you know, you're right, maybe nothing happened, but the
way they were interviewed and talked about things, you know,
created this whole drama. That's my take.

Speaker 1 (31:48):
Agreed. I think we've wrapped that up. Do you have
anything else you want to add? No, that's all right.
We'll come back in a minute and we'll talk about
the latest episode of End just like that. Where back
and we're gonna talk about this second episode of the
third season of and just like that. But before we
get into that, we should talk about this was the
third sort of celebrity story of the week, was that

(32:10):
christ and Davis and Cynthia Nixon gave an interview who
do they get an interview.

Speaker 2 (32:13):
With Attitude magazine.

Speaker 1 (32:14):
Attitude magazine, which is a gay UK magazine, right, and
it was about the season, of course, but the journalists
just kept asking about Samantha, Samantha, Samantha's questions about Samantha,
And honestly, I think at this stage all of them
should be like, she's not part of the show, let's
move on. But instead these two just went.

Speaker 2 (32:35):
In because your friends with Sarah Jessica Parker, that's the Bosom.

Speaker 1 (32:38):
And their producers. Yeah, I guess so, but I just
I don't even care anymore. Hell, you're in the third season.
She's made it clear it's not happening. She's not even
part of this anymore. And go ahead. What did they
say in the interview anyway?

Speaker 2 (32:54):
The reporter I don't even know why. I mean, these
reporters sometimes they he or she, I don't know, asked
the reporter asked about Samantha. Do you think that Samantha
will come back this season? And text text you Kristen
David or you Sinta and Nixon and Cindy Nixon. I

(33:15):
have to laugh. I mean, you know, she the very
she and Sarakha jess park are best friends. So her
answer wasn't no, no, I don't well at least there's
that that which the fans went wild with this interview,
I have to say, and it was all over, including TikTok,
because they were saying that that was a job against

(33:36):
Kim Cattrell from Kristen David and I mean from Cindy Nixon.

Speaker 1 (33:41):
I believe it.

Speaker 2 (33:42):
I mean they're friends, and this thing is went beyond
the show. It's you know, they were did the show.
That was always the problem.

Speaker 1 (33:51):
They really should have skipped past the Samantha stuff. I
always said this. People had a hard time believing it
when when they first announced this series that oh, you
can't have it with all four of them. And I'm like,
you know, you don't stay friends close close friends with
the same people in your thirties for the rest of
your life. It doesn't always happen.

Speaker 2 (34:08):
And Chris and David gave more polite, I don't know,
more pr answer. She said, yeah, well, Charlotte didn't really
rely on samanthas for for help or they weren't that closed.
I don't think she would text her blah blah blah,
which it's kind of true. But people were pointing out
that there are certain episodes of certain scenes where she

(34:29):
relied on Samantha for support blah blah blah, or you
know they had some sort of connection.

Speaker 1 (34:35):
Bottom line is I just don't care.

Speaker 2 (34:37):
I just don't care. Yeah, I agree, I just think
that I don't know. It's again fans and people giving
answers and stupid reporters asking questions about things that they
shouldn't be asking.

Speaker 1 (34:52):
I just think at this stage, anybody involved in it
just like that should just be like, can we move
on that even just you can be light about it.
You don't have to be me. But she's not part
of the show.

Speaker 2 (35:01):
Samantha is never going to come back.

Speaker 1 (35:03):
I mean, I don't even want to back at this point,
because that's right, so bad, like they would do so
badly by her right now. She knew what she was
doing when she stayed away from this mess. And with that,
let's get into this episode. Yeah, once again, I feel
like we are looking at a bunch of women approaching

(35:24):
sixty who are being written like a bunch of women
approaching forty. So it's all about boyfriends and girlfriends and
getting laid and does he like me? And what does
this text mean? And I'm just like, wow, you all
sound like idiots. I'm sorry you do to carry obsessing
over those texts.

Speaker 2 (35:44):
Right, you're a grown.

Speaker 1 (35:46):
Fucking woman, you're a millionaire, you're an author.

Speaker 2 (35:48):
What the hell is with you? I do? That's the
only thing, the main thing I don't like about the
show with it, I think it's a major the service
you know, to these women in general, that sure too
mature women to mature actors. I mean you hear you.
You have this amazing opportunity to talk about these great
women because they're all talented, they all have jobs and careers,

(36:10):
and I understand you can still talk about them having
sex and having our relationship issues. But it's so much
focus on desperation to find the men of your life
or the woman and yeah, the companion, the companion. It's
just it's it's it's ridiculous that that, you know, that's

(36:31):
the focus.

Speaker 1 (36:32):
It's too much focus. I would be if one of
the characters was going through something like but you have
three of them, three Sema and and Miranda and Andrry
are all going through this like yearning and like that
scene of Sema staring sadly at her empty bed, I
was like, that is pathetic, borderline offensive, borderline offensive, Right,

(36:55):
you are just making her scene like what actress wants
to play that? Right, Miranda? Like, I mind it a
little bit less. First off, they're doing a better job
of showing that Miranda has some things going on in
her life. I really wish they would show some of
their working lives more.

Speaker 2 (37:13):
So.

Speaker 1 (37:13):
They showed a little bit of Miranda in the office,
and that British woman that she's clearly going to have
something with down the line showed up and they have
great rapport. I didn't mind the I really didn't mind
the thing with Rosie O'Donnell, right, and the thing with
this waitress. Yeah, okay, I didn't think it was all
that interesting, but it didn't bother me. It was sort
of like, no, actually that scene bothered me. The scene

(37:37):
where Carrie goes to have a drink with a young
woman who bought her a partner now I know, and
then she like that. I was like, Jesus, what octagenarian wrote?
This is Michael Patrick King, who I think is I
shouldn't be so agist, but I think it's about seventy
and I don't think you can as a seventy year
old gay man. I don't think you should be writing

(37:57):
dialogue for twenty five year old women, because I really
don't think she's took going on about how her phone
and everyone's mean on her phone. I think, though, I'm like,
that's not how someone in her generation would talk about it.

Speaker 2 (38:09):
I think he was trying to make the connection between
her and her phone as a young person and Carrie
and Carrie and her phone and Aiden, which failed failed. Well.

Speaker 1 (38:17):
First it was I turned to you in the middle
of that scene and I was like, this is so uninteresting, right.
I don't mind that she has this young friend. I
think it would be a cute thing to follow a
little bit of this woman's life. I don't think the
actress is all bit great, though she is someone that
Carrie would be friends. She's like a jewelry designer, she's
a young girl in the city. All of that is fine.

(38:39):
It's not like I feel like these characters need to be,
you know, respectable elderly women. I think Carrie would still
go out for drinks. I think she would go to
hot restaurants and stuff like that. I think she would
put on heels and walk on cobblestones, because that's the
way Carrie is. I don't mind any of that.

Speaker 2 (38:54):
I think those stories could still happen, but in a
more mature, in a more yeah, well sure way, like
like Seema I can they could still have her showing
how he treats men in a way that's why she
she doesn't have a boyfriend or a partner, but still
make it a little more mature her approach the whole thing,

(39:17):
and then not just suffering because she doesn't have someone,
but just suffering the consequences of how she approached relationship.
That's a little different than just showing her desperate. For
a minute.

Speaker 1 (39:27):
Well, I don't know that the show is doing that.

Speaker 2 (39:29):
Well, that's what I'm saying. The show isn't doing that.
I wish they did that.

Speaker 1 (39:33):
That scene of her turning down all those men was
written as comedy, and I don't think it was meant
not that I'm not offended by it, Believe me, I
don't think it was tragic or anything like that. But
you know, one right after another, it's her cutting down
these men, cutting down these men, And let's just let's
just go with the assumption that the scene is giving us,

(39:54):
is that every one of these men deserved it. Well,
when you show me all that one right after another.
Then the question is, wh I okay, see me, You're
you're the common denominator here. Why are you picking all
these terrible men?

Speaker 2 (40:05):
Like that is the question.

Speaker 1 (40:07):
Not men are terrible in Manhattan, it's you keep dating?
Really And I feel like Sex and the City occasionally
dove into that about how they all four of them
were attracted to guys that weren't always good for them, but.

Speaker 2 (40:20):
Again it was it was the creator of the show
trying to make the point that she doesn't know how
to date man, so therefore she has to find a matchmaker. Again,
is this very naive, very basic way of moving from
from point A to point B on the show? Same
thing with Cintya. I mean with Miranda, fine, let her,

(40:41):
you know, break her heart a couple of times, blah
blah blah, But I mean, can you be a little
more mature as an adult about the thing?

Speaker 1 (40:48):
I have to say, Miranda's the one out of all
of them that I'm like, I don't you're fine, Like,
I don't love your storyline, but it feels like you're
actually doing things pardon me, and and the whole I
don't think that she's coming across particularly pathetic with Seema
I feel like Seema. I think this is true of

(41:10):
a lot of the show, is that there are decent
ideas for storylines or plots or whatever or arcs, but
they're so badly rendered. Like the idea that Sema would
pick a would work with a matchmaker. Okay, that's interesting,
especially as a mature Indian woman. And she only briefly

(41:31):
mentioned that this is actually part of her culture, and
then that never came up again, which I thought was
kind of weird. If you have an Indian woman using
a matchmaker, I would think that would largely be it
would come up more, let's put it that way. But
I don't mind her using like that's a funny kind
of you know, New Yorky kind of thing, you know,
New York wealthy kind of thing. Same thing with Charlotte's story.

(41:55):
And I'm sorry, I always forget Nicole Aarry Parker's care
Lissa Lisa, I remember the actress, and I never remember
the character name. The whole thing with them trying to
get their kids into college. I don't mind it. It's
on the paper. It's like, okay, fine, I didn't buy
that the two of them were just deciding to do this.
Now when they have two like kids ready to go
to college in a year. I'm like, I think this

(42:15):
would all been in lockdown ten years ago or at birth.
But fine, the storyline, but again it's so badly rendered.
Like they bring in Kristin Shaw to play this this
you know coach, and she's fine, but they leave her
alone with their kids, and when they go in to
look at after their kids, both of them are in
tears and hyperventilating and they made them feel like shit,

(42:37):
and the two of them are really angry about it,
as mothers would be. And then ten seconds later they're
running down the hallway after this woman apologizing and offering
her truffles. And I was like, literally, nothing about this
made from point A to point B, nothing makes any sense.

Speaker 2 (42:50):
Again, it's it's lazy writing, lazy, right, because the point
there was to show that, oh, these are African Americans
with a lot of money, so they should behave a
certain wage so that they get a chance to about that. Well,
the kid was making the point that he didn't have much.

Speaker 1 (43:06):
Of but they were also making the point that Charlotte'
daughter shouldn't be playing piano.

Speaker 2 (43:09):
I was going to get to that, so it was
playing with stereotypes like that's what I'm saying. Oh, okay,
you're too Asian, you're not black enough. That's pretty much
baron that story.

Speaker 1 (43:18):
But it wasn't well done.

Speaker 2 (43:19):
No, it wasn't well done. And it's it's a very
basic joke that requires more to make sants and me
and and be part of the story. That's my point.
So they were, yeah, it's again the writers trying to
make it funny, and that's what you know, these kids
go through as as rich kids blah blah blah. But
it just you know, it doesn't land because there's no

(43:41):
support there. Yeah. That, And then Sarah Harry and Aiden Jesus.

Speaker 1 (43:50):
I just couldn't believe the whole thing was her obsessing
over fucking texts and emojis, And I was like, you
are right sixty years old, Like what that?

Speaker 2 (43:57):
What the hell is wrong with you?

Speaker 1 (43:59):
And yes, yes, Carrie would have done that twenty five
years ago. But isn't the point that they've grown a
little bit in that rhyme? A little bit? Because I
just feel like anybody in our age group acting like
that over a boyfriend's text is come.

Speaker 2 (44:13):
On, he got hold of yourself, isn't he would still
with the wife and the kids, and no, no, no,
he's divorced, all right, so he's just with the kids.

Speaker 1 (44:20):
He's there taking care of his kid who is in crisis.
The whole thing is just I know, it's poorly thought out.
And then they completely walked it back because he showed
up this episode and then he was like, no, you
can text me, you can call me.

Speaker 2 (44:30):
And I was like, what.

Speaker 1 (44:32):
None of these things go anywhere. They just don't. You
never take them to a point where. And what I
think the show is deathly afraid of, seriously, is any
sort of real conflict. All right, But nobody can have
a real, real problem. No one's going to have an
argument with anybody else on the show. It's just the
very low stakes fashion show. They all wear silly outfits.

(44:53):
None of them have real problems, and every time they
encounter a problem they just sort of smooth it over.
It just gets walked past. Yes, right, so now she
and Naden they don't quite know, but he's showing up
on our doorsteps. So I don't know, this feels like
their original relationship.

Speaker 2 (45:09):
It turned into a very lame Real Housewives kind of
you know thing, just friends together with these fake situations
and faking you know, it's just weird. It's weird. It
went from a great show with very interesting storylines and
in situations and to this they're are just thing.

Speaker 1 (45:27):
Yeah. The thing about it and just like that is
it was always willing to point out when it's characters
were acting badly or acting shallow, right, this show never
seems to want to do that. And then it gave
them real problems, like the real things that they had
to get pets, deaths of a parent, or not being

(45:50):
able to get ahead in their job, or having trouble conceiving,
or having you know, an extramarital affair, having cancer. They
all had stories. They weren't just stupid little problems where
they walk around in these ridiculous dresses tottering on heels
that they can barely handle. The whole thing is just
so damn silly and pointless. And I feel like the

(46:14):
brand has been almost well it has been. Let's face
that the movies werew in the brand. The movies were
pretty stupid.

Speaker 2 (46:19):
Think so the movies, Yeah, the movies were.

Speaker 1 (46:21):
It became about fashion and the camp and whatever. And
honestly that in the city, I don't look at that
as a campy show. No, that was the the reason
we all tuned in back in the day is because
we got involved in those storylines and we cared about
those women.

Speaker 2 (46:38):
I remember an interview with the creators. I can't remember
her name, and I remember she's specifically saying, we get together,
we sit at a table and we talk about what
do women go through, you know at that age, you know,
in a big city, and that those were the stories
and that made sense, you like, tell me your experience
because it was a bunch of women.

Speaker 1 (47:00):
This is why I think the writing staff is too
young for this show, because I really don't think there's
sixty year olds on the writing staff.

Speaker 2 (47:05):
So that was a different time. Yeah, it was pretty
much their stories, their experiences as women in a big city, right,
and you know turn in two episodes.

Speaker 1 (47:13):
But this is just like, I don't know how it
has a tremendous job in an art calliby, Right, Lisa
is a documentarian for BBS, like Miranda's doing pro bono,
you know, legal aid work. Like I realized that it's
not a show about career ladies, but you have an
obligation to make them all a little more well rounded

(47:35):
and you keep giving them these amazing jobs or backgrounds
and then making them act like idiot. Like I kept
looking at Lisa acting like such an idiot, and I'm like,
she's a documentarian for PBS. Well, why would she would
not act this way. I'm sorry, but she would not
act this way. She's too accomplished to be acting this way.
Let's get into Carrie and her rat problem. And well,

(47:58):
first of all, that scene of her out in the
backyard writing, I burst outlift And that's the thing. You know,
when I watched Sex in the City in the nineties,
I wasn't I was only an amateur writer. So I
just bought whatever they were telling me about what writers
did all day and writing yeah, yeah, yeah, gently tapping
on her laptop and then looking at the window and
pondering something that she just wrote. And I joke, I'm like, no,

(48:20):
it's not like that at all. It's your fingers are
going to cramp up, your your your posture is going
to be terrible. You're gonna be tearing out your hair,
You're gonna paste back and forth, You're gonna yell at
your your screen because you can't figure out the next whatever.
Writing is not this gentle, demure thing. I'm not saying
it's some horrible contact with a cup of tea, but yeah,
she's sitting in this garden with a cup of tea.

(48:41):
And the first thing all I could think was, you
can't see the glare. You can't can't write in a garden.

Speaker 2 (48:46):
I would annoy you in five minutes.

Speaker 1 (48:48):
Yeah, but you can't see your screen, so don't even
give me that bullshit. But whatever, they turned carry into
this highly, highly romantic figure, and I guess she has
to have these little moments with her teacup and her
flowers and everything. And then of course the rats are
supposed to be a typical New York moment to bring
her down to earth, and they, I don't know, the

(49:08):
workmen just ripped out every flower in her backyard, which
doesn't seem like that's how you deal with the problem,
but it means she gets to have a hot young
landscape art to show up and flirt with her, and okay.

Speaker 2 (49:21):
Like they't have conversations about life.

Speaker 1 (49:24):
I don't think she's going to have an affair with
this guy, because I really don't think they're going to
break her and aiden up.

Speaker 2 (49:29):
I but she's going to question her choices.

Speaker 1 (49:31):
She's just cute and it lets her flirt and whatever.
I don't whatever. And then the other thing is she
is diving into writing romantic fiction, but it's period romantic fiction,
and I got to say that does not fly for
me at all. Right, I think Carrie would be great
at contemporary romance, but I cannot see Carrie doing the

(49:54):
kind of extensive research that would be required to do
a period book. Like She's not so someone who spends
days in a library or you know, talking to historians
for her books. She's about contemporary life.

Speaker 2 (50:06):
So she used to say, I have a sex call
it right, yes.

Speaker 1 (50:10):
And I mean you if she's growing and she's changing,
that's fine. But when she typed eighteen forty seven, I
was like, yeah, that's that's not I would not have
picked that as a direction for this character. Contemporary romance absolutely,
but not period. I get Bridgerton and all that. You
want that sort of vibe, but I really don't think

(50:31):
that's Carrie's vibe at all. I feel like Carrie twenty
five years ago would have made fun of Bridgerton. She
would have thought the whole thing was silly. But again,
that's this show is every time. At least once an episode,
one of them will say or do something and I'm like, yeah,
you wouldn't have said her done that thirty years ago.
Which fair, there are things I we all change, I
get it, but I just feel like every one of

(50:54):
these women is less interesting than she used to be
like and it's such a terrible portrayal of people entering
their senior years. I mean, say what you will. The
Golden Girls works because it was joyous, they were full
of life. None of them acted like it was over.
That's true, and these women, it's all about what they

(51:15):
don't have, what they can have, what they've lost, And
I'm just kind of mighty.

Speaker 2 (51:19):
I also think that Aidan was a lot more interesting
as a character, and I'm not defending him or thinking that,
saying that he was a nice guy, but he had more,
you know, to offer. I think now he's just I
don't know, someone who I don't know. Doesn't make sense.
He's attitude well.

Speaker 1 (51:36):
I mean in the like I said, in Sex and
the City, they allowed the characters to be a bit
antagonistic towards each other. So the one good thing about
Aiden and Carrie is as a as a from a
storytelling perspective is that. And it was the same thing
with Big is that they needed each other. They needled
each other so much, they got on each other's nerves
and drove each other crazy in a way that you know,

(51:58):
was hot, dysfunctional but hot. He challenged her a lot,
and he's not like that now he's now you know,
he just shows up to be a romance cover for her,
very very sensitive in a way that doesn't fly. I'm like, yeah,
I get it. You're older now, life has thrown you
some curveballs, you're more sensitive. But everything's gone out of
that relationship that ever made it interesting, right, And they're

(52:20):
kind of sappy with each other. Not that I want
to see them fight or argue, but I just think
the idea of killing off her longtime love on the
show just to bring back another longtime love, that's not growth,
that's not forward movement. That's just nostalgia playing out, and
it's not interesting. Her trying to navigate a new guy

(52:44):
that's maybe completely different from that might have been interesting,
especially as a mature woman setting her ways with a
lot of money, Like how do you navigate that? But
she just fell back into an old pair of pajamas
like that's comfortable. And honestly, if the writing was smarter,
they might actually have her unpack that. I agree, maybe
they will. I don't know. We're only on the second episode.

(53:05):
But everything is so pointless.

Speaker 2 (53:07):
Well, let's not forget Anthony.

Speaker 1 (53:11):
Yeah, I honestly, look, Anthony was never the most nuanced
portray It wasn't my favorite portrayal of gay men in
the in the nineties and the early aughts. Stanford was.
But I never I like Mario Cantone. I never had
a problem with him being this loud mouthy, bitchy Italian gay.
I mean, we've met several but uh, I'm I don't

(53:34):
want to say I'm offended. But Jesus Christ, can he
go ten minutes without making a dick joke? R? Can
he go five minutes without making a dick joke? And
he's opening a breakery and bakery and it's gonna be
all dick jokes, It's all gonna be hot guys in.
And I don't want to sound like a crude. I'm
not being prudish. I just think that's such a dated
way of looking at game. All we do is talk
about dick jokes and look at guy's asses, and it's

(53:56):
so nineties. It's just so nineties. They don't know what
to do with that character. Every once in a while
they'll do something really interesting with him. I especially like
I think when he and Carrie had that little fight
last week right where he said, don't shut me out.
It took me a really long time to get in
And I was like, only a gay man would have
written that line that right the way, when you're a

(54:19):
gay man and a social group of women, and a
lot of gay men are like, you know, we choose
women as our social groups, there's always going to be
that sense that you're not in in because you're not
one of the girls, right, And I thought that was good,
And I like little things like that, where they they've
known each other for so long, there's gonna be little

(54:40):
little grudges, little bit dead as little things that annoy
them about each other.

Speaker 2 (54:44):
But you never get that.

Speaker 1 (54:46):
It's so light, so conflict free. Nobody has a problem
that is of any interest whatsoever. It's just I don't
know what the point of the show is at all.
We're going to keep watching it till the end of
the season, but I got to tell you, I'm not
so sure. I would do another season of recapping the
show after this, right, unless they do something with it.

Speaker 2 (55:06):
If they have a season four, which they will, they will.

Speaker 1 (55:08):
And this is the oh My final point is we
can pitch amon about this as much as we want,
but it's on its third season and it must have
a fan base, and that fan base wants to see
them all in silly dresses and not having a complex, right, right,
So okay, you won fan base. I don't. I don't
really think it's a very interesting show, and I think

(55:28):
they have ruined their legacy. I mean, that's the thing.
I really need to sit down and watch Sex in
the City from the beginning again, because I haven't done
it in a long time. That's why to remind myself
of what it was.

Speaker 2 (55:40):
Shows like mad Man. It ended, and it ended and
it's beautiful. You think about it as something that well.

Speaker 1 (55:45):
Sex and the City was fine the way I did.
I mean, they have never done the movies. They should
have never done this series. It would have been a
perfect little like Friends. You got to give them credit.
They never went back and they're never going to that cast.
Right when it's done, it's done.

Speaker 2 (56:02):
I agree, Yeah, I can understand to a certain point,
being the creator of the creator, you know, of something
like that so big that you don't want it to go,
You don't want to let it go. But at the
same time, it's like you just watering it down. You know,
you're not adding anything to it now.

Speaker 1 (56:20):
Like I said, there's stories to be told about mature
people navigating career and life and love and you know
second acts or whatever. It's not doing any of that,
not in a way that's interesting or you know, engaging anyway.
I think we've beaten this.

Speaker 2 (56:36):
Yes, two days, so.

Speaker 1 (56:39):
Happy Pride again. Yeah, and don't check out our site
for the details about our appearance in Dallas on the
twenty fifth, and we'll be back next week with whatever
crosses our eyes or crosses our desks. Until then, take
care of yourself, love you mean it.

Speaker 2 (56:51):
Bye Bye bye.

Speaker 1 (57:00):
Edwin back Creek and a Groan sank Creek in advice,
Tank Cek in sgrasent Us to actensions
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