Sydney Sweeney's Bad Jeans

T Lo unpack the whole controversy surrounding the American Eagle ads starring Sydney Sweeney, from why she's such a politicized figure to why the accusations of Nazism and eugenics miss the mark and how the ad propagates racialized beauty standards in a way that feels like a throwback. PLUS: "And Just Like That..." had a not-horrible episode! T Lo rip it to shreds anyway.

Episode Transcript

Speaker 1 (00:23):
We're Tom Lorenzo and this is the Pop Style Opinion
Fest Telegats. Welcome back to another edition of the PSO.
I am the team, your te Low Tom fitz Sheeryld
and I'm here with the Low and your tea levelrensous,
My love the husband? How are you love the husband?
This is take two because the first take I was
so lethargic. I was like, no, honey, we got to
start over again. I had to give, you know, give

(00:44):
blood this morning for some very routine lab work and
I don't know if it's because of the heat wave
or what I've given blood plenty of times before. Done
blood draws blunt, but I am like wiped out from it.
So I'm trying to keep my energy level up and
hopefully I won't make Lorenzo record this a third time.

(01:04):
We have stuff to talk about, but I want to
toss to you. Did you want to do happy talk
about our cats?

Speaker 2 (01:09):
Yeah? People are always asking, I know, well, tab Hunter's
not here today. He's always he always jumps on the table.
He is here, but he's not on the He's not
at the table like here with us recording the podcast,
because every time we start putting all the equipment together
and stuff. He jumps on the table and waits.

Speaker 1 (01:26):
Well, one of the things we do is we put
a quilt on the tables for like sound batting reasons.
And if you put a quilt on the table, like
a cat's just gonna come.

Speaker 2 (01:36):
But he comes every time. But he's not here today
because he's getting lazier.

Speaker 1 (01:39):
For getting lazy, it's the heat, I think. Actually he's
right there, he's in the corner and it's totally totally
ignoring us. He's in a mood today. Oh well, uh No.
Other cat news, Daisy and Meep still hate each other.
We spend every day.

Speaker 2 (01:52):
Well, Daisy hates everybody and Meep is except us, except us,
and she tolerates tab and Meap is one of those
cats that just wants attention all the time.

Speaker 1 (02:04):
She thinks. She's one of those cats that thinks if
you do a surprise sneak attack on another cat, she
thinks that's the funniest thing in the world. And she
does it all the time. And Daisie is the kind
of cat who if you do that to her, she
is going to react as if you insulted her ancestors
or something. She is going to go out of just

(02:25):
out of control. No one ever gets hurt. It is
literally two three second altercations, like five or six times a.

Speaker 2 (02:33):
Day, just me, but still in that mood that oh
my god, I'm so happy I'm here. You know, you
guys are awesome. You know type of mood days is
like yeah, whatever, get her away from me.

Speaker 1 (02:44):
Meap had previous owners for four years, and you know,
to their credit, they rescued her. They found her in
the street and they took her in and they rescued
her as a kitten, but they gave her up for
whatever reasons. I have no idea, perhaps they moved or
had a baby or whatever, but I think Meep is
one of those cats who didn't grow up with a

(03:06):
lot of tactile affection. I don't think her people were
bad to her, But I know a lot of cat
owners who who wrongly assume, and these are the cat
owners that usually are more oriented towards dogs or grow
up with dogs. They wrongly assume that a cat's sort
of cool demeanor means that they're not interested or that

(03:28):
they don't need things from you, and actually that's not
the case. Dogs make their needs very well known, but
cats you really kind of need to learn to speak
their language and with mee. But I don't think she
was getting affection because when we pet her, she looks
at you with the most I've never seen a cat
look at me with that level of gratitude, like I

(03:48):
cannot believe you're doing this.

Speaker 2 (03:50):
I mean, as I always say, they're very lucky that
we're home all the time. Not everybody can do that,
so you know, but we're home all the time, all
day with them, so they're so attached to us, like
they follows a round like a do they do?

Speaker 1 (04:04):
They do? There's I mean, there's never a cat out
of our site, no matter where we are, unless we're
in the bathroom. But even then sometimes they push the
door open. There's always a cat ten feet away from
one of us.

Speaker 2 (04:16):
Yeah, we're very attached to baby.

Speaker 1 (04:18):
We are, which is why when we do go away
on vacation, they all have little melted out.

Speaker 2 (04:22):
I know they do bad, I know, but we were
getting better, and you know, maybe why what they're.

Speaker 1 (04:28):
Going forward, We're going to do many two week vacations again.

Speaker 2 (04:31):
Because that's the thing.

Speaker 1 (04:32):
It's for our line of work and for our lifestyle,
for our cats, for everything it's just a little brutal
to be away for two full weeks. I think from
now on, most of our vacations are going to be
in the seven to ten day range because it's a
little more doable for us, and then you can have
more of them, more slightly shorter vacations that you can space.

Speaker 2 (04:52):
Out in and we don't worry too much nine months
or so.

Speaker 1 (04:55):
Anyway, rambling, rambling, rambling we have. Of course, we're going
to go deep into the latest episode of saxon the City,
and I have to apologize because last week I was like, oh,
there's only one more episode. Ago, I really thought there
were ten episodes, but there's actually twelve, which means there's
two more episodes to come. And that might have had
me pulling my hair out in frustration. But actually this

(05:18):
episode was a slight improvement. But we're going to put
that on the back burner, that is, for the second
half of the podcast. And there's just no way we're
not weighing in on this story, and which is the
Sydney Sweeney American Eagle ad story, which on the one
hand is so fully wildly overblown that it's kind of stupid.

(05:41):
On the other hand, you know, this story blew up
this week, and I will get into it explaining what
it is in case you don't know. But it blew
up this week almost entirely on social media, and I
was like, oh, podcasts, We'll do a podcast about this
because it had to do with celebrities and fashion brands
and advertise in these are areas that you and I

(06:01):
know very well. But as the Originally I was like,
do we want to do another podcast about some sort
of social media uproar, because sometimes that stuff gets it
gets a little too navel gazing. But then the story
broke containment and then now it's being run in newspapers
all over the world, and it's insane to me that

(06:24):
American Eagle has now had their brand associated with Nazism
because of this ad. So I'm going to do the
summary in case whoever's listening did not hear this story
this week, and then I'm going to toss to you Lorenzo
for your initial thoughts. Sydney Sweeney the Star of Euphoria
and the White Lotus and I can't even remember that

(06:45):
rom com she did with Glenn Howell last year. She
has a new series of ads out for the Genes company,
American Eagle, pardon me. And you might have thought at
first glance that these ads were largely unobjectionable, but objections

(07:08):
arose almost immediately. Now. The ads are centered around the
fact that essentially she's a hot blonde white girl. It
doesn't say that I am a hot blonde white girl.
But it is an ad that is essentially by these
genes so that you can look as hot as I
look in these genes, which is pretty much the most

(07:29):
standard oldest method of selling designer genes to women, going
back to everyone brought up Brooksheels and Calvin Client, but
it goes back to even earlier than that. It is
a very standard trope to sell jeens by saying, look,
don't you wish you looked as hot as I look
in these genes. However, the advertising agency and American Eagle

(07:52):
came up with this hook which was a a pun
or a play on the word genes and j E
A N S N G E N E s. So
the tagline for the ad is or the slogan for
the ad is Sydney Sweeney has Great genes, except it's
spelled like blue jeans, like denim jens and in one

(08:12):
of the ads. One of the videos, she does this
bit where she talks about genetics and how it determines
eye color and hair color, and then she says, but
my genes are blue. And I think a lot of
people saw a cross reference to her talking about jeans
and her blue eyes, but actually it was a play

(08:34):
on the on the on the phrase blue jeans Now Online,
a bunch of people, mostly on Blue Sky and TikTok,
which both of those are are liberal leaning social media sites,
got up in arms because they felt that the the
the ad was sort of playing around with racist imageries

(08:58):
and more or less implying things about eugenics, which then,
immediately because social media being social media, was immediately taken
to Nazism. And yes, the Nazis did have a eugenics program,
and eugenics as a science is is racist as hell,
and yes all of that is very, very true. But

(09:21):
this thing broke containment because all these people online were
accusing American Eagle of engaging in Nazi rhetoric, of being
pro eugenics, and this and that and the other thing.
And what happened is exactly what I As this story
was unfolding, I was like Oh man, I hate when
we on the Lift do stuff like this, because if

(09:41):
we could just tame this a little bit, this won't
break containment and we won't look foolish. Because that's what happened.
It broke containment. It went on Fox News, and now
everybody on the right is making fun of Democrats, which
I have to put right out here. It has nothing
to do with Democrats. No Democrat went on record about this.
This was all just liberals on social media getting upset.

(10:04):
I'm gonna eventually unpack what's right and what's wrong about
that reading, but right now I just want to toss
to you because I have been talking NonStop.

Speaker 2 (10:13):
Well, well, first of all, I posted the pictures on
our site a long time ago, even before all that happened.
Because I only saw the pictures. I hadn't watched any
of the videos, so I just put the pictures, and
the pictures looked okay to me. You know, I'm just
for the most part, hot woman wearing jeans, wearing ugly
American eagle, you know, the usual. So I was like,

(10:33):
all right, and it's her. I mean, she is famous
and she people talk about her all the time because
she's hot. She's young, and.

Speaker 1 (10:41):
It's also weirdly a lightning rod for all this political
stuff that I got into later.

Speaker 2 (10:45):
Yeah she yeah, she there's some history.

Speaker 1 (10:49):
I'll get into that.

Speaker 2 (10:50):
We'll get into that. So but anyway, I posted the pictures.
I didn't see anything wrong with the pictures, so I
just posted them and then I went on TikTok and
my god, it was all with TikTok about the videos
and I was like, all right, let me watch the videos,
and yeah, I mean it. It makes you think I'm
not gonna lie. I mean it. You know, maybe people

(11:12):
will react. We'll get to that, but yeah, it makes
you think of like, this is kind of growth because
we are so trigger right now with everything that's going
on in the world, and you know, so you know,
there's so much going on about you know, dark tin
people all everywhere.

Speaker 1 (11:28):
Absolutely, so when you see.

Speaker 2 (11:30):
A blonde, blue eyed, you know girl talking about her
genes ge n ees, I mean, obviously people are going
to get pissed off about it. Now.

Speaker 1 (11:39):
Can I just ask you something?

Speaker 2 (11:41):
Uh huh? Were you.

Speaker 1 (11:43):
Uh did you come to that reading on your own
before you saw any TikTok stuff, or did you come
to that reading after you.

Speaker 2 (11:50):
I can't really answer that because I watched the video
after I read this stuff, So it wasn't like I
watched the video before I say that's yeah, But but
after I watched the video, I was like, yeah, I
I see what they're saying, but maybe they're overreacting. I
just anyway, I think the campaignis we'll talk about the
campagion and all that. But anyway, that was my first reacting.
I was like, this is kind of gross. Anyway, I

(12:13):
thought the approach was a little gross because of the
whole you know, and and she she always averything, you know,
jeans are passed down. She always talks like this, uh
Sydney sweety, which is always the hell out of me.
So the ad is all about her. Oh my god,
I don't care about anything. But I have blue eyes
and blonde hair.

Speaker 1 (12:32):
She doesn't say that anyway, does not mention her blue
eyes on blonde hair, but.

Speaker 2 (12:37):
She talks about jeans past, you know, from parents and
all this shit.

Speaker 1 (12:41):
But that is a truth. Saying that jeans are passed
from your parents is not eugenics. That's actually the truth.

Speaker 2 (12:47):
Yes, But when using a blonde blue like girl right
now to make to say that you know it's not
the right time.

Speaker 1 (12:55):
Okay, we are going to unpack this, but let's take
a quick break and we'll come back and then we'll
unpack this. We're back now. I guess you could tell
when we went to break that Lorenzo and I aren't
fully in agreement on this, which is good and actually
I like it better when our podcasts, when we can
hash things out. So let me start by saying why

(13:17):
explaining the history of why Sidney Sweeney is such a
lightning rod. People on the right decided to claim her
over the last year or two as this hot, anti
woke figure. Actually I should take that even further. A
year or two ago, on her social media Sydney Sweeney

(13:37):
post She's from Oklahoma. She posted on her socials about
a birthday party for a family member. I don't know
if it was for her. I think it was for
one of her parents, and it was I think it
was like held in a barn. It was very like
country themed, pardon me. And people in the background, people
in her family, I don't know if they had MAGA
hats on, but they had like Blue Lives Matter shirts

(14:01):
and that sort of thing. So the entire thing was
sort of Trump coded as a party and a bunch
of people came after her on social media for it. Now,
she has never ever made any sort of political statements.
She has never shown any alliance with anybody. I know
she came out and made Black Lives Matter statements, and

(14:22):
I know that people looked into some of her political
donations and they all went to Democrats. That's my understanding,
but that was the beginning of Ooh, Sidney Sweeney. She's problematic.
She's a maga girl, and it was kind of unfairly
thrown on her. I think a lot of stuff is
unfairly thrown on Sidney Sweeney, specifically because of how she

(14:42):
looks and how she talks. She is a hot, blonde,
white girl, and her style of speaking, as you pointed out,
not to mention the kind of characters she has played
have all been kind of bitchy, mean people.

Speaker 2 (14:56):
Very white girl.

Speaker 1 (14:57):
So yeah, but that's not fair. That's how she talks.

Speaker 2 (15:00):
But that's that's a that's a character, that's a persona
created by whoever.

Speaker 1 (15:04):
Fine her or her fine, those are characters. Yes, My
point being that people come for Sydney a lot, and
when she she hosted Saturday Night Live earlier in the year,
and all these right wing guys were going on about
how woke is dead because she's got such great tits
or whatever, some stupid as shit like that. She has
been a lightning rod for the culture war just by

(15:27):
existing because and it's and it is racially coded, because
the people on the right look at her and they
see a gorgeous, blonde, voluptuous woman. There's no DEI, there's
no body positivity, there's no they then pronouns and I'm
all saying, I'm only saying all this from their perspective.
She's just a straight up hot cisgender woman, right, who's white,

(15:51):
and it's uncomplicated, and that's what they like now, through
no fault, that's through no.

Speaker 2 (15:56):
Fault of her ring. I think it has a lot
to do with the characters that she played, you know,
for it for you, she plays this white girl, you know,
and then white load is the same thing.

Speaker 1 (16:06):
You know, she played like a bitchy, rich white girl.

Speaker 2 (16:09):
The typical.

Speaker 1 (16:11):
Now, those are the roles that are going to get
offered to an actress like her, right, I haven't the
slightest idea what Sidney Sweeney is like in person or
in her private life, I had, and in fact, I'm
not even sure. I've seen that many video interviews of her.
She doesn't do that many talk shows, all things considered,
So I have no idea. I have no idea if
she's off putting personally to people or whatever. I know

(16:33):
what role she has played, and those roles, you know,
are set people off. But mainly she has been a
lightning run for controversy because people on the right have
claimed her as this unwoke, hot, straight white woman, and
people on the left have reacted very badly to that
and pile onto her as if all of that is

(16:53):
her fault. It's one thing if you want to say,
you know what beauty comes in all forms. It's another
thing to attack a blonde white woman for being a
blonde white woman.

Speaker 2 (17:01):
She is what she is. She is what she is,
and I'm not blaming her specifically. But you also can't
say no to certain projects. But she has come out
and said that she comes from a very poor family
and that you know, because of that, she is she
takes on these She takes on all these campaigns and
every product, every every offer. Right now, someone pointing out

(17:24):
and I saw she's in like six or seven campaigns
right now, all like makeup products and all that, and
she always says yesterday things. So she said yes to this.

Speaker 1 (17:34):
Yeah, I don't think this that is objectionable on paper.
I don't think she would have had any reason to
look at that and go, oh, you know what, guys,
this is going to be a problem.

Speaker 2 (17:41):
I don't think she's capable of that, to be honest
with you, but her people may be. I because actors
are like that, they don't really think about you know that. Deep.
I blame more of the American Eagle and I listen,
you can say what you want about out whoever's criticizing
the campaign, but there is some history here. The owner

(18:04):
of American camp Eagle has donated for certain cause there
are kind of you know, controversial and also what causes
I don't know, but a lot of Republican campaigns and
stuff like that. And so yeah, what that they're saying.
Then they're posting pictures of the all the CEO people
or all the people involved in the campaign, and they're.

Speaker 1 (18:26):
American Eagles founded by two Jewish brothers and the CEO
is Jewish. Wow, So that seems to get lost in
this conversation. Listen, it's clear that you and I don't
agree on this, and I'm just I'm gonna state my
side of it because I did used to work in advertising.
I never worked on campaigns for clients as big as
this on this level, so I'm not even gonna claim that.

(18:47):
But I used to be a copywriter in advertising, and
believe me, the first thing they're always going for in
copywriting is some sort of verbal hook that will, that
will that the reader or viewer will remember, and a
lot of time that's wordplay. So I could absolutely see
a meeting in an ad agency where they're like, let's

(19:08):
do a wordplay on good genes. And I also want
to stop here and say that I don't do it
as much as I used to because of the political environment.
But you can find the phrase genetically blessed on our
site in regards to celebrities going back fifteen years. It
was a joking way of talking about people who have

(19:28):
great scame, great teeth, greate bone structure, they're taller and
thinner than most of the population, like that's the point.

Speaker 2 (19:34):
But not necessarily white.

Speaker 1 (19:35):
On our site, No, I never used it as a
specific I meant attractive.

Speaker 2 (19:39):
Yeah, I want to make that point so people don't think.

Speaker 1 (19:41):
And I do think that is what the thinking was
behind this ad. As I have said, there was a
history going back fifty years of designer gene ads geared
towards women, where they use hot women to sell the
genes to women. And the whole point of the ads
these genes make me hot. I am hot because I'm
wearing these genes. That's why the phrase is she has

(20:05):
good genes. J. E. A. N S. Yes. It is
playing on certain ideas that are questionable, and it is
tab Hunter has showed up and now he's taking his
butt right in my face, and it plays on a
long history of the beauty industry, in the fashion industry

(20:27):
prioritizing white female beauty. So we can have this discussion
about this in a larger sense. But this thing went
so it went from zero to insane in like five seconds,
where people were accusing American Eagle of deliberately inserting Nazi
rhetoric into their ads. You can have this entire conversation

(20:50):
and not mention the Nazis at all, and it would
be a much more effective conversation because frankly, once you
start bringing Nazis into an ad about blue Jens. Ninety
nine percent of the world is going to think you're nuts,
is going to think you're over reading it, is going
to think that you sound silly. And when this argument
was unfolding, that's exactly what I thought. I was like,
I really wish people would tamp down on this because

(21:12):
I guarantee this is going to be on Fox and
it's going to be all about how stupid the liberals are.

Speaker 2 (21:18):
Well, the White House came out with a statement it is.

Speaker 1 (21:20):
Well, of course they did, because they loved to grab
onto these things. Now, I'm not suggesting that we shouldn't
call out racialized beauty ideals, and that is what this
ad is doing. It is engaging in a beauty ideal
of white, blonde, hot, big tits, and that is throwback advertising,
no doubt about it. And you could I can see

(21:41):
the argument that American Eagle looked at the political landscape
and said, let's get away from the DEI stuff and
just put a hot white chick there. You can call
them out on that, absolutely boycott them from that for that.
And I think all of that is a great idea.
But when you start saying that American executives are deliberately

(22:01):
inserting Nazi rhetoric into their advertising campaigns for genes. I'm like,
come on, folks, no one, even if they are a Nazi,
no one at that level of mass marketing for a
company as large as American Eagle is, no one is
going to deliberately insert such controversial stuff into their ad.

(22:23):
There are I'll finish, I know you want to talk.
There are dozens of newspaper articles all over the world
right now being published with the words American Eagle and
Nazi in the title. There is no friggin' way anybody
involved in this wanted that to happen.

Speaker 2 (22:39):
Well except the company American Ego, because they're the collections
are so out, their stocks went up. They achieve what
they wanted people talking about it no matter how. And
you know that's what they They got what they wanted,
which is to be the center of attention right now.
I agree with you, they're going too far with the

(23:00):
Nazi thing, but it is, as you said, a questionable
ad campaign's.

Speaker 1 (23:05):
I never suggested we shouldn't question the ad question every ad.

Speaker 2 (23:09):
Yeah, I mean, and you know, and I'm tired of
people saying, oh, this is very tone deaf. No, it's
not tone deaf at all. People. These people know exactly
what the hell they're doing. These things go, these things
go through rounds and rounds and rounds of approval. They
know exactly what theyre came up with.

Speaker 1 (23:25):
I would have loved if you had seen these ads
before someone told you they were Nazi ads. I feel
that you have been a little No.

Speaker 2 (23:34):
I never said I agree with the whole Nazi thing,
but I do think that the whole blue eyed blonde
thing is a little gross, especially when we just give
That's what I'm saying. I'm just saying that when we
just had Laverne Cox, you know, rolling her eyes about
her blonde, blue eyed boyfriend, I'm just saying, it's just
not the right time for that much blue eyes and

(23:55):
blown hair right now, That's all I'm saying. And people
should think about you know what that means.

Speaker 1 (24:00):
So does that mean that we can't put white blonde
people in advertisements right now?

Speaker 2 (24:06):
But we shouldn't be emphasizing that having blue eyes and
blonde hair right now is a good thing.

Speaker 1 (24:13):
Did those ads actually do that, well, they pretty much did. Yeah,
people read that into it.

Speaker 2 (24:18):
Well, you know what if people read some well whatever,
you know, it means that it's out there. In a way, I.

Speaker 1 (24:26):
Agree, but I also think that we live in a
highly politicalized time and that social media tends to exacerbate
these things and turn these discussions into they get so
blown out of proportion that there was no point in
bringing up in the first place. There could have been
a very good discussion about racialized beauty standards in fashion,
and there could have been a very good discussion about

(24:48):
how this ad skirts up to the line basically saying
that white is right. You can say all of that,
but when you start saying eugenics and Nazis about a
blue gen and you have lost the plot because that
is not what they're saying there. Even you can say
that they're definitely pushing a racist beauty ideal, and that's

(25:11):
that's where the conversation should lie. But when you start
doing like eugenics and stuff like that, now they're just
saying that white girls are hotter than any other girl.
Start with that as a as a point. Now, I
don't go straight to Nazism because people I hate to
say it, I really hate to say it, but people
are tired of hearing about that right now. They are

(25:31):
deeply tired of hearing about that, especially when we are
building concentration camps in our own country. So maybe I
don't know that's more important than A Jean's aid. I
thought that is my take.

Speaker 2 (25:47):
I think the mistake today is that we talk too
much about everything.

Speaker 1 (25:51):
We over talk and we're doing it right now.

Speaker 2 (25:54):
We're doing right now because everyone is doing it. But
maybe if we had just well let it go, you know,
not talk so much about this campaign, we wouldn't be
in where we are right now. Fair, I agree, but
we talk about it because we are triggered right now.
Everything is We're very stressed right now. We're very triggered.
Anything you know, will make us yell it at somebody

(26:17):
or something. That's the reality right now because I'm feeling
it as me as a person, you know, I'm like
every day I'm stressed about something, So that's the reality. They. Yes,
I don't agree with the whole Nazi thing or whatever.

Speaker 1 (26:34):
You can have these discussions without going overboard, and they're
more productive when you don't, right But.

Speaker 2 (26:39):
Regardless, remove all that. Making a campaign about your blue
eyes and blonde hair. To me, it's always problematic when
you emphasize that it doesn't mean that you can't have
a blonde, blue eyed girl, you know, leading the.

Speaker 1 (26:53):
Campaign state once again, she never mentioned her blue eyes
or blonde hair. Yeah, but it's it's she never mentioned it. Well,
she talks about gene she talks about what genes are,
and then she said, my jeens are blue. She never
mentions her blonde hair or blue eyes. People read that
into it, all right, I'm not, like I said, I

(27:13):
think it is dealing with racist beauty standards, and I
think the implication there is that because she's hot, blue
eyed more. I'm just I'm just trying to make sure
that we're speaking of this accurately, because when these things
get you know, you just said, we all over talk
this stuff, so we're going to talk about it. We
have talk about it accurately. And nothing in the ad

(27:35):
mentions her blue eyes or blonde hair. That's all I'm saying.
Nothing in the ad mentions her blue eyes and blonde hair.
It's obviously she's a blue eyed, blonde haired woman, so
that all the implications are in there. But I'm just
trying to be accurate here, and I am not suggesting
that the ad is not racist, or that it shouldn't
be called out. I actually agree with all of that.

(27:57):
I think fashion and beauty brand have a long history
of this. Oh yeah, And I think part of the
reason people have reacted so virulently to this is because
for most of the last ten or fifteen years, we
have achieved a certain expectation that we would see body
positivity and ads, that we would see diversity and ads,

(28:18):
and slowly but surely progress was made on that front.
And this ad comes out right when it feels like
all of our social progress is going backwards, and it
became a lightning run. But I still maintain an American eagle. Yes,
the sales are good and right now, I don't think
they're going to love being seen as a MAGA brand,
but maybe they will.

Speaker 2 (28:39):
These people don't care about how they are.

Speaker 1 (28:41):
But in terms of a branding exercise, it was I
really don't think they wanted people to associate their brand
with Nazen.

Speaker 2 (28:47):
That's true, they didn't want that, but they would. Ultimately,
what they care about is selling all that stuff. Of
course every company does, and they did. It's so loud,
soed out, so yeah, make a mission alish, it doesn't matter.

Speaker 1 (29:01):
I think part of the reason it's sold out is
because people turned it into the hottest story of the week.
And again, if people had had a slightly more you know,
you know you can't. I'm not reprimanding anyone. This is
like conversations that happen on social media are like the weather.
You can't really control it. It just rolls over people.
But generally people should have had a slightly more tempered

(29:26):
response to this ad running straight. I just think people
are weird about her on both sides of the aisle.
I think it's weird that Maga acts like blonde blondes
with big tests or some sort of political statement, and
it's weird on the left that people act like her
existence is an affront to them.

Speaker 2 (29:42):
Right, I will make three points. Number one, that is
not her fault, it isn't. Number two that it's a
bad taste. It's bad taste. It's a bad taste campaign.
And three, if we had all ignored or rolled our
eyes and moved on, we wouldn't be where we are
right now. Maybe we need to do that a little
more often, but social media won't allow that. Social media

(30:04):
is a place where everybody has an opinion about something.
Well yeah, same here, we're talking about it on our podcast.

Speaker 1 (30:10):
I would like and I guess we're talking about on
this podcast. I mean I did bad this around. I
was like, why are we doing this because everybody has
talked this to debt, But I mean, this story actually
does intersect with all the stuff that we've been writing
about for fifteen years, and it became celebrities fashion branding.
So I felt like, we'll be stupid not to talk
about it. But if there's any purpose to this conversation

(30:32):
is that I'm trying to lead to lead people to
the idea that yes, this ad should be called out
and we should be having a conversation about racialized beauty
ideals in the fashion industry. Absolutely, But all this crazy
rhetoric coming down on her or claiming that it's promoting eugenics,
it doesn't help. It doesn't help anything. And now this

(30:54):
story has become and it isn't about racialized beauty ideals.
Now it's become the left is acting ridiculous, right, and
that will be the general consensus is that, you know,
centrists will see it that way. And right now it's
being laid on the feet at the feet of the
Democratic Party, which has nothing to do with the Democratic
Party at all. So all I'm saying is just just

(31:15):
try and look at it in a productive manner, if
that's at all possible.

Speaker 2 (31:20):
I think we if we ignore these things more often,
then we wouldn't be where we are right now. You know,
just see it and ignore it.

Speaker 1 (31:27):
Oh, I don't know about ignoring it.

Speaker 2 (31:29):
You don't have to mention it all the time and
make it make a big deal.

Speaker 1 (31:32):
You don't have to turn it into the biggest story
of the week so that it's running in papers all
over again.

Speaker 2 (31:36):
Yeah, because that's how it is now social media. This
is what happened with social media to talk Instagram and everything.
People are looking for something to talk about. Yeah, and
they that's what they do now. And they're talking about
this campaign. And I'm listen. People see whatever they want
to see, that's the thing. And some people saw something different.

Speaker 1 (31:56):
Yeah, I would love to hear what the kittens think
about this. Please post in our comments for these podcasts.
Please let's take a break and we'll come back and
yell some more at Carray Bradshaw. Yes, yeah, we're back,
and now we're going to talk about the tenth but
not the final episode. Of and just like that, we

(32:19):
have two more to go. Don't even know what they're
going to do in those next two episodes. However, I
will say that this this episode felt like a slight.
It couldn't not feel like an improvement because Aidan is gone. Like,
you take Aidan out of this show and it's just
instantly going to improve. And I can't help but wonder

(32:41):
why it took them so long to realize that you
need to get rid of that guy. He's holding the
entire show back. I realized that they had this whole
storyline planned, but at some point you got to look
at the writing or look at the chemistry on screen
and realize it's killing the show. We need to write
him out quicker. But yes, this episode was an improvement

(33:01):
in the sense that the dramatic moments, some of the
dramatic moments felt like something worth being invested in. Occasionally
a character acted in a way that felt recognizably them,
and I even laughed once or twice, And I'd never
laugh at this show. And that's probably my biggest complaint

(33:23):
about this show, is that it's so grim like Sex
and the City was hilarious at times, absolutely hilarious. And
when was the time you laughed hard at anything that
happened on this show, let alone a minor chuckle? So
who are we going to start with? I think we'll
start with Miranda. Yes, they finally gave Miranda a meaty
storyline that actually plays on her own character history, which

(33:47):
they have not done at all. This character has just
been floating around completely unconnected from her own past, and
I gotta say something. They scripted a really weird line
for her. We'll get into the whole storyline. But she
was talking to was a carry yet?

Speaker 2 (34:02):
Where?

Speaker 1 (34:02):
She said? So, now Brady's moved out of Steve's place
and he's moved into my place, and he gets a
girl pregnant and suddenly I'm a mom again. You were
always a mom. That's a weird line for to write
for that character. I know that Miranda wasn't always thrilled
about being a mother, but I don't think that just

(34:23):
didn't ring. It's sort of like Carrie acting like she
and Nayden had a twenty year history or something. Now
you don't, you don't, And Miranda, you haven't been a
lesbian for twenty years. You were married to a guy
and raising a kid. There's no there's no need to
deny that you know the past of these characters. So
one of the things I liked about the So Brady

(34:43):
tells Steve and Miranda at dinner that he got a
girl pregnant, and you know, it's not a girl that
he knows, and it's not a girl that he's going
to have a relationship with, and Steve completely loses his shit,
and yeah, there was a part of me. What I
like about a scene like that is and you it's
so little of this on this show, but you should
be getting it all the time, is you're watching that scene.

(35:05):
And if you know these if you watch the old show,
you remember when they hooked up, you remember, you know,
they didn't know. They were literally a one night stand.
And then you know when she got pregnant, she had
no desire to have a relationship. I'm pregnant, pizza for ever,
for everyone, forget my needs, I'm carrying Steve's baby, Like

(35:26):
we could still quote that show.

Speaker 2 (35:28):
That's how great that. Yeah, anyway, so.

Speaker 1 (35:30):
It was that was kind of a cool scene because
you couldn't look at that scene without their entire history
playing out in the back of your head. And yeah,
you could be like, Steve, you're being such a jerk.
You did you made the same mistake. But of course
parents don't like to see. That's a classic story that
a parent is going to react worse when they see
their child making their own mistakes again. So actually all

(35:52):
that really was that was great. I was like, this
is a really good.

Speaker 2 (35:55):
Storyline, and it's nice to see Steve.

Speaker 1 (35:59):
I do hate the way sometimes they write Steve and
some times he actually plays Steve like he's some sort
of freaking idiot, right, And I mean when Miranda met Steve,
he was tending bar and I think he was reading
Ulysses or something behind the bar. He was not an idiot.
He was working class. He had a blue collar background.
But he wasn't dumb.

Speaker 2 (36:19):
No, he wasn't dumb.

Speaker 1 (36:20):
He was a simple guy, but not simple minded. And
sometimes in this show especially, they sometimes portray him as
just kind of simple minded. And I'm sorry, the guy
has had a bar in Brooklyn for twenty five years, right,
He's doing okay anyway. So I liked that scene. I
also liked that it was kind of a prickly. It
wasn't an easily solved like, it wasn't his girlfriend. It

(36:42):
was some girl that he had a one night stand
with who is well along in her pregnancy, and apparently,
I don't know, you know, it would have been nice
if they had had a talk discussion about abortion, about
whether it's available to her and whether it's on the
fire right now. But I guess the show doesn't want
to be the polittical, of course not. So they follow
up that scene with Miranda once again doing something so

(37:05):
incredibly stupid that I'm just like, who is this person?
Who is this incredibly dumb person? I get that Sex
and the City and to a certain extent, and just
like that constantly plays on these farcical moments where they
put character like last week with Sema and the deodorant,
they put characters in these like slightly humiliating social situations.
They've always done that. I get it, But they were thirty.

(37:30):
There's that number one, number two. There's literally no explanation
for what, like Miranda, what what happens next? Like nothing
about that scene made any sense because you have to
assume that she's completely incapable of thinking past the next
five minutes or something like that, or she thinks that
she's never going to see this woman again, who's bearing

(37:51):
her grand shot. Just the whole scene was so dumb.
It was so dumb.

Speaker 2 (37:56):
There's no never any before or after thinking, right, it's
always about that specific vignette.

Speaker 1 (38:04):
Yeah, vignett's unconnected. Yeah, yeah, a series of vignettes. And
it's a shame because that is an actual interesting storyline.
I don't know how they're going to resolve it, or
Steven and Miranda gonna just have a grandchild that they
never see. That's interesting. Let's see that play out. What's
that like? Chances are they're not. They're not. They're going

(38:25):
to do something stupid and have Brady married this girl
or something. But I think dramatically it's much more interesting
that they barely even know each other.

Speaker 2 (38:32):
It would be more interesting to explore the two of them,
because clearly she doesn't care about a lot of things.
The you know, the Mia, the shampoo girl. By the way,
she's ben Stilla's daughter. I had no idea. The actor
the actress. Yeah, oh yeah, I didn't know that anyway.

Speaker 1 (38:51):
Ben Stiller's mother played Steve's mother.

Speaker 2 (38:54):
Oh huh interesting, Yeah, I forgot, Oh my god. So anyway, Yeah,
I just read so something that said that that's her,
so it would be interesting because she's like, oh my god,
I didn't want to have it. But then I realized,
you know that it's going to be something about sign you.

Speaker 1 (39:11):
Know, yeah, oh it's a libra or whatever.

Speaker 2 (39:12):
Yeah, whatever. I mean.

Speaker 1 (39:13):
The show does hate zoomer zoomers, it hates gen z,
so it's going to make them all look stupid.

Speaker 2 (39:19):
Anyway.

Speaker 1 (39:20):
I yeah, I didn't mind that storyline at all. It
says something about the disconnected nature of the show where
Brady's like, well, first off, I've decided to go to
college and they both react with and I was like,
is this a thing? Was this something? I don't know?
Were they worried about Brady not going to I can't
remember it because Brady, you know, today Miranda's a mom,

(39:41):
but apparently the other days she's not.

Speaker 2 (39:42):
We have one scene of him inside a restaurant kitchen.
That's it. Yeah, but the whole season.

Speaker 1 (39:47):
Yeah, but apparently they were worried about him not going
to college. Never mentioned. But okay, But that's my point
is that it's all vignettes. It's all like and nothing's connected,
and they could have done something with Charlotte and her husband,
you know, facing his cancer diagnosis, but instead she's got
vertigo and now she's having the apartment remodeled, cap dancing

(40:09):
and well, yeah, she didn't have vertigo this week. Apparently
that was solid. Yeah, of course, just let's throw things.
And actually Charlotte and and Lisa Todd Wexley are the
worst because and there's and let's point out here they're
both married and raising children, and for some reason, those women,
they cannot come up with a single storyline for either

(40:30):
of those women.

Speaker 2 (40:31):
The entire season was about her husband campaign and all that.
And I never saw him first out laughing because it
all boiled down to getting on the elevator, we gotta win,
get off the elevator, we lost.

Speaker 1 (40:44):
I mean that story cute, It was a cute cut,
but nothing.

Speaker 2 (40:48):
Led up to it.

Speaker 1 (40:49):
That was the whole season about him. And I feel
like if you were if you, if these writers had
some had had the nerve to tact write a dramatic show,
he would turn to her and say, you know, you
never showed up for any of my events. You were
completely like not that I want to see her get blamed,

(41:09):
but I want to see some drama and I want
to see people react to the events like, okay, you
lost and she's overworked. There's storyline there. You could do
something with that, but they're not going she's fantasizing about
her hot editor and whatever. That's what they can do.

Speaker 2 (41:25):
We've got a whole Hallmark line. You're human, you're human.

Speaker 1 (41:29):
Yeah whatever, it's just so well, Okay. I did like
that scene where she she was actually really nasty to
her daughter, like oh yeh, she called her stupid, and
I'm like, you don't actually see parents get get that
far out of line on a show. There was no
resolution to it. No, she never went to the daughter
and apologize. Never nothing. No, oh, I feel really bit well,
why don't you go say something to your daughter who's

(41:51):
like talking to your bitchy mother in law?

Speaker 2 (41:52):
A moment about you know, mother and daughter. They go
through those things. No, no, through there's never a scene.

Speaker 1 (41:59):
Something happens, and then we move on to the next
scene and there's no And I mean next week are
they going to mention his election? Are they going to
mention that he lost or are they just going to
move on to something else. There's no repercussions, no nothing.
They set up storylines and then they don't go it like,
all right, Charlotte's husband has cancer. You could have literally
done in the entire season on that now granted, an
entire season along cancer or first off has been done

(42:21):
in this franchise. And secondly, it's a bit of a cliche.
But at least listen Charlotte and Lisa Todd Wexley. It
is very hard to insert drama into lives that privileged,
you know, at the whole point to those people. And
I mean that's true of Carrie as well. But at
least Carrie, there's like romantic stuff and you know, they

(42:43):
could have done something with her being a widow, but
they never did. But with these very wealthy married mothers,
they cannot come up with anything, or if they do
come up with something, they pull away from it almost immediately.
Like she was fantasizing about cheating on him. That's probably
not going to go anywhere. He she was so overworked

(43:03):
and we never saw her once uppear at one of
his campaign events. There's a story there, but they're not
going to follow.

Speaker 2 (43:09):
Through on the No, she's going to finish her documentary.
It's going to be very successful. She's going to thank
the guy and kiss him.

Speaker 1 (43:15):
She's going to kiss him when they're done, and that
she's going to feel really really guilty about it or
something like that.

Speaker 2 (43:19):
Yeah, something like that, and then she's going to realize
that she loved her husband very much and that would
be a mistake.

Speaker 1 (43:24):
And then with Charlotte, they actually had something. They actually
had her say the line. They had this whole thing
with her and she was trying to find a like
a wellness coach or something. So she's trying to book
a session with her and she couldn't book it because
there was tap dancing coming on in her apartment. One
stupid thing after the other. Pardon me, but she did

(43:47):
get to say that, and I got to say christ
And Davis is the weakest actress in this group. But
she actually made a meal out of this line where
she said my husband had cancer and I wasn't allowed
to say anything about it, and she got all choked
up saying it, and I was like, yeah, yeah, that
was a storyline, and you just dropped it. You bring
it up and then you drop it. There should have
been a confrontation with Harry about that. There should have

(44:08):
been more about that. I mean, it resolved. He had
that scene at Carrie's apartment during the party where he said,
go ahead, tell them about my camp. But it's still
we never got to see Charlotte deal with the pain
of that, except for that one scene where she cried
with Carrie. That's what I mean this. You know, when

(44:30):
your spouse has cancer. Thankfully I've never had to deal
with this. I'm tapping with right now. But when your
spouse has cancer, you don't just have these feelings once
or twice.

Speaker 2 (44:38):
It's right, it's a.

Speaker 1 (44:40):
Long road, it's a process, and you could have gotten
an entire season worth of storylines and scenes out of
Charlotte dealing with this, but they know nothing. So now
it's tap dancing rock.

Speaker 2 (44:52):
The is sue that I have is that with Sex
and the City. Yes, every episode dealt with the situation,
the theme a theme, and it ended. Yeah, but they
but the characters remain the same, Like you know, there
was an evolution, there was like some developed in terms
of character. Yes, the situations they will drop. The situation

(45:12):
would be just for one episode because it was funny
and very reflective of life in New York where you
date everybody and then you drop the person for any reason,
that kind of stuff. Because they were young and they were,
you know, dating everybody or going through a lot of
stuff that made sense. But but they kept developing the characters.
You know, the characters were basically they evolved.

Speaker 1 (45:35):
All four of them were different women at the end
of that series than they were at the beginning of it.

Speaker 2 (45:39):
You can say that they dated, I don't know, twenty
thirty forty men each them. But they developed as a character.
And here there's no development, nothing, It's just one scene in.

Speaker 1 (45:50):
A lot of ways. And the city the four characters
was about the four of them giving up their preconceptions
about what kind of life they wanted. Like Marian and
the members. She didn't want a kid, she didn't want
to be married, she didn't want to live in Brooklyn,
and her final scene in the show was giving her
her dementia adult mother in law a bath in Brooklyn.

(46:11):
And she had embraced the life that she had. Charlotte
had this string of square jawed wasp boyfriends that were
going to give her the perfect preppy life. That turned
out to be a disaster for her, and she married
her Jewish divorce lawyer, who is not square jawed in
any way. You know, Carrie had to, you know, give
up all of these ideas about what romance is, what

(46:34):
relationships are, what she can expect at a mind, until
she was finally able to have a decent relationship with
Big and then at the end Samantha was I mean,
I think Samantha's journey was essentially that she was capable
at the end of bringing love into her life. She
had been pushing it away so much and said, there
was growth there, there was evolution there. The four characters

(46:56):
at the beginning of that series openly stated what their
perspective were constantly, and then at the end of the series,
you saw that they had had all of their perspectives
challenged and they changed.

Speaker 2 (47:07):
It was good, right, because that's that's how life. That's yeah,
that's an adult yeah right, you have to do with
certain things, and they did.

Speaker 1 (47:16):
So, you know, it's like we said, and we keep saying,
it's just Vignette's over and over and over again. Let's
move on. Unless you have more to say about Charlotte
and Miranda. I don't have anything about Lisa Todd Wexley either.
I mean, there's just no I I love the actress,
I love the actor who plays her husband. They're great,
they're gorgeous, their clothes are great, they have an interesting

(47:37):
she's a documentarian, he's worked in local government. Why do
you not have any storyline for these people? Seema? It's
actually getting better with Seema. I agree, But again I'm
going to point out that the creators of show are
just bold faced liars when they say, oh, no, she's
not a Samantha stand in. Every storyline you give Sema

(47:58):
is a Samantha storyline, and this one except Samantha didn't smoke.
Carrie smoked. This one with the boyfriend like it's heating.
I actually think the stuff with the boyfriend is.

Speaker 2 (48:09):
It works.

Speaker 1 (48:09):
At first, I was like, I don't see these two
together at all, right, but it's kind of working. And
I had to say the scene where he told her
that his apartment was rent controlled and she called him
a motherfucker, it was actually really really fun Eric.

Speaker 2 (48:20):
She's so good.

Speaker 1 (48:22):
They just need to give her some meat, and he's funny.

Speaker 2 (48:24):
I like him.

Speaker 1 (48:25):
Yeah, they have real chemistry.

Speaker 2 (48:26):
So yeah, the two of them.

Speaker 1 (48:27):
So it was a silly thing. It was killed your
mother's plan. But in some ways that is a very
typical sex and the City storyline. I didn't mind it
at all the resolution was good. Everything about that storyline
actually really works for me, except the office that she's in.
When they cut to the I'm like, what what this
ten thousand square foot office with one other person in it? Okay,

(48:49):
she has no client so far, she has no clients,
but she hired her driver back. What was the point
of her going to the bank and has them for
a loan. I have no idea that it's just vignettes,
just vignettes. It doesn't to connect to anything. But at
least this this storyline, no problem with it. I actually
liked the guy.

Speaker 2 (49:06):
At first.

Speaker 1 (49:06):
I was like, I'm not so fuy.

Speaker 2 (49:07):
I actually like him.

Speaker 1 (49:08):
Yeah, he's funny, he's funny, he's cute. They have great
chemistry together.

Speaker 2 (49:12):
Yeah.

Speaker 1 (49:14):
Ooh, miss Carrie, Miss Carrie, Miss Carrie, Miss Carrie. I mean,
I gotta say, if your friend had this grand love
affair with someone that and she told all of you
that this was destiny and that you two were and
this man was the man for you, and you were
going to stand by him and you were going to
put the go through all this shit, even though there's

(49:36):
one red flag after another, and you stick with him
and then you break up and then literally three days later,
you're sleeping with your downstairs neighbor. If that was my friend,
I'd be like, girl, girl, rein yourself in. And this
isn't slutshaming. It's more like emotional like is that really
a smart idea at your age? But you know what,
I actually thought this was presented fairly well. I did

(50:01):
hate that scene where she ran after him, calling his
name and then kissing him under the stairs, and it
was so romance coded.

Speaker 2 (50:07):
It's very Sarah Jessica Parker.

Speaker 1 (50:09):
It's well, here's what I'll say about this, And it
made me realize, like I liked the character of Duncan
when he was first introduced. First off, the guy's good looking.
He's got a great body, and which is half the
battle with a potential boyfriend on you know, you want
something to look at on this show. And he was
prickly and literate, and I was like, well, this is different.

(50:32):
This is different for Mary and Carrie always goes for
the emotionally unavailable man. So that's fine. This all works,
This all works really well. I think on paper, he
made a good foil for her.

Speaker 2 (50:43):
But then.

Speaker 1 (50:45):
This is what I mean about the show being romance coded.
Sex and the City was not romance coded in the beginning.
It was anti romance. It was all about I mean,
the very first time Carrie meets Big she bumps into
him on the street and spills all these condacent cigarettes
on the ground in front of him. That was the
point of the show, was that it was upending romance tropes.
It was trying to make you it was like this

(51:06):
post second wave feminism, look at at romance. But you know,
the culture has shifted in the year since that show
came on, and romance is is you know, romance novels,
romance movies, romance series like Bridgerton. I mean, it is
a huge It was always a huge industry, but now
it has become even bigger. So now we're writing Carrie

(51:26):
like she is this romance character, and I gotta say,
I hate it. It's if this, like, I don't want
to sound sexist here. If that's what you like in
your storylines, if you like romance stuff, that's fine, but
this I was never what this character was. And when
I say she's romance coded, what I mean is Duncan

(51:47):
went from being this prickly, kind of rude person downstairs
to this guy who absolutely in every single scene just
goes on and on and on about what an amazing
person carries an amazing right, And I'm like, yeah, that
works in a romance novel, that works in something like
Bridger Tan. I mean that's the genre. The genre is
the heroine gets so elevated by the love interest. I mean,
that's that's what the fantasy is. But I hate I'm like,

(52:10):
first off, this is gross. No other character on this
show has their lover going on and on and on
about how amazing that. Like, Seema's boyfriend doesn't go on
online about how amazing she is, Miranda's girlfriend doesn't go
on and on out about it. But this guy, every
scene for the last three or four episodes has been
him just joyously, rapturously talking about how amazing she is

(52:30):
and how talented she is. And it didn't sound at
all like the character they introduced in the first episode.
Go ahead, I'm talking.

Speaker 2 (52:37):
No, No, I agree, And it just doesn't ring true
to me because you know, he's he's just very successful.

Speaker 1 (52:44):
You know, well she pointed out she's got more best
sellers than him, and I actually liked that.

Speaker 2 (52:49):
Well, yeah, but that's fine, but he's still an asshole.
It was he was, you know, but anyway with an
attitude and all that. Now that's all wrong.

Speaker 1 (52:58):
Carry you're the most amazing person in the world. You're right,
is so brilliant, Like, what the hell? This is not
interesting to.

Speaker 2 (53:03):
Jet that people present a certain way and then they
change after you met them. But but he went very
quickly quickly from you know, this jerk of a guy
to oh, let's have dinner and then I.

Speaker 1 (53:15):
Want to take you to a party, and you know,
why don't you come to my apartment? Listen whatever, But
you can do that without making him into this wide eyed,
gushing schoolboy, which just didn't feel true to the character.
I actually felt bad for the actor. I'm like, he
is working his way through these lines because.

Speaker 2 (53:32):
They're much Even Big wasn't perfect.

Speaker 1 (53:35):
He was an asshole her boyfriend.

Speaker 2 (53:36):
Yeah, So my point is that there were many scenes
where Big acted like an asshole, right, but this guy
is shit. Just went from.

Speaker 1 (53:44):
To him too, and Carrie said something again, uh, an
interesting character bit that rang true, But you really need
to unpack this where Carrie said to Seema, he I
don't want anything further with this guy because he's the
guy that saw me as smart, and I think as

(54:05):
a sixty year old woman, you should be unpacking that,
like dramatically, why don't you unpack that? No man before
this saw you as a smart and talented person first,
Like that's something. It's not a criticism of Carrie or
for anybody else who thinks that way. It's a dramatic
point that should be unfolded. I I did think it

(54:28):
rang true. I was like, yeah, all all her, all
the boyfriends we saw, they weren't like this. They weren't
literary types, they weren't writers, they weren't coming to carry
and it was nice to see.

Speaker 2 (54:38):
Well.

Speaker 1 (54:39):
First of her writing is terrible, my god, every time,
like they couldn't find they couldn't hire someone to script
those lines like some romance novelists. The writing is so bad.
But I did, like I do like when the show
remembers that Carrie actually is a very successful writer. She
is fair, very well known. Every once in a while

(55:01):
you would see this on the old show, where Carrie
would go out and she would be treated like a
local it girl. And New York always had local it
girls always. They were always in the side pages, they
were always in you know, the New York Times or
New York Magazine or whatever. And she did appear on
the cover of New York Magazine at one point, and
then she wound up writing for Vogue, and then she

(55:23):
wound up writing a bunch of best sellers. She should
be famous by New York standards, she should be fairly
well known, and the show shies away from that so
much that I was it was nice to see her
go to a publishing party where people just gushed about her.

Speaker 2 (55:38):
Because it was kind of a surprise to me because
they never yet.

Speaker 1 (55:43):
All of that makes sense if you know the character.
But yeah, in the show, it's like, well, where's all
this going from? Yeah, I wish they would lean into
that more, lean into the idea of Carrie being a
highly successful and critically acclaimed writer. You don't have to
read her, you know, you don't have to have her
reading her stuff out loud because it's all terrible. But

(56:04):
the idea of Carrie as yes, she's really successful, she's
not just spending bigs money. She should be a very
you know, and they don't present her that way. That
one moment where she said this is the first man
that and I was like, that's a really sad and b.
I wish they would unpack that. I wish we had
a series that was about Carrie, you know, prioritizing that

(56:25):
her career, her intelligence and her talent, and not prioritizing
this is I think this was my slight nose wrinkle
at her immediately going to you know, sleeping with him
was I was like, you know, you just gave a
very good reason as to why you didn't want this,
and so now I mean I get it, like it's

(56:45):
there was a part of it when they were sitting
in bed afterwards and he was smoking a joint, which
was very strange to see her in bed with a
man smoking a joint. It felt very grown up, felt
very because he's leaving, it's not going to be a relationship.

Speaker 2 (56:57):
Well, we don't know that she might go to London.

Speaker 1 (56:59):
Oh God, if they ever follow in London, I'm gonna.

Speaker 2 (57:02):
Speak Carrie in Paris, Carrie in London.

Speaker 1 (57:05):
I never even thought of that. I never even thought
of that.

Speaker 2 (57:09):
Maybe maybe she talked to Samantha London.

Speaker 1 (57:13):
Yeah, they can't have her go to London because if
she goes to London, they have to explain why she's
not talking to Samantha in London. Uh, they should have
just killed Samantha Off. I don't think I have anything
else to say about that. Her Vivian Westwood dress was hideous. Yeah, well,
but you know, in fact, she wore a gorgeous suit.
I have to say the clothes have gotten better because

(57:35):
several outfits Carrie wore this episode. I didn't like the
Vivian Westwood, but several of the other outfits looked great.
Her hair and makeup also look really, really good.

Speaker 2 (57:44):
There's they're slowly bringing her look back. The hair and yeah, yeah,
and the heels and all that. You can see that
she reminds me a lot of the old Carrie.

Speaker 1 (57:55):
Yeah, when she was wearing the big floppy hats and everything,
I thought it was dumb. But she she's a fashion girl,
and I do want to see her in money in fashion,
So I.

Speaker 2 (58:04):
Don't do I have anything.

Speaker 1 (58:05):
Oh Anthony, oh my god. As soon as I said
the guy was a sexual his roommate, I'm like, they're
just gonna make We're gonna find out that he's not
a sexual, because there's no way. Michael Patrick King, the
writer of this show, who's like seventy, there's no way
that he thinks a sexuality is a real thing. He's
one of those people who thinks it's a made up thing. So,
of course, as soon as they introduced an a sexual character,

(58:26):
five minutes later, he was jerking off. And of course
is an old man, you know, so the thing was weird. Yeah,
and I just don't I don't enjoy seeing Anthony on
this show. But I would rather they just write about
those women, because you're treating him like like an idiot.
Like he's an idiot, he's an accessory. His storylines don't
matter as much as the other one. And yeah, I

(58:47):
hate it. And for some reason, he's the only one
that gets naked.

Speaker 2 (58:49):
On this show together.

Speaker 1 (58:50):
They don't, they don't. Please listen, old men young men
as a pairing very common.

Speaker 2 (58:55):
I get.

Speaker 1 (58:56):
It's not that I can't see it. I just can't
see it with a to No, I mean not at all,
not at all. I think we've beaten it today.

Speaker 2 (59:06):
Yeah, well, so we have two more episodes.

Speaker 1 (59:08):
Two more episodes of Sex and the City. Oh my god,
if she runs off to London, she will, I'm sorry.
I hope Miranda slaps her when Miranda's too busy with
her own traumatic brain injury. Because God only knows what's happening,
going to.

Speaker 2 (59:21):
Follow him to London, and then for some reason, Samantha
will be in New York because she had some business
something And unless they're.

Speaker 1 (59:27):
Planning a Kimkatroll cameo that we don't know about.

Speaker 2 (59:30):
God, no, I doubt very much.

Speaker 1 (59:32):
Please don't do that.

Speaker 2 (59:32):
Now she's been around, still trashing the show. I still trashing.
Sarah Schisica park h. I don't think that happened.

Speaker 1 (59:41):
That's it. I don't think I have anything else to say.

Speaker 2 (59:43):
No, that's it. It was slightly better.

Speaker 1 (59:46):
It was a slight improvement.

Speaker 2 (59:47):
Yeah, this episode wasn't you know, horrible?

Speaker 1 (59:51):
No Aiden No Aiden is a big big reason for that.
They really really did not see how bad that that
was coming across us on screen, and how uninteresting it
was to watch. Those two don't actually have chemistry at all.
In fact, she and this new guy, I thought they
have great chemistry when he's not, Oh my god, carry
you're the most amazing woman in the world.

Speaker 2 (01:00:13):
He would never the guy introduced to us in.

Speaker 1 (01:00:16):
The first episode would not know.

Speaker 2 (01:00:18):
He would never see any of those things.

Speaker 1 (01:00:20):
All right, So I think that's it. Yep, we'll be
back next week. With whatever crosses our eyes across our desks.
Until then, take care of yourselves. Love you mean it,