Podcast appearances and mentions of Dakota Johnson

Celebs Like Us? Making out on super yachts, do we need Dakota Johnson to bring Ellen back? MGK is making bad decisions and David Harbour talks about EVERYTHING. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Malou is terug! Maar werd op haar laatste dag NYC nog even compleet uitgescholden en uitgekotst door de stad. Verder deze week: een ode aan Lieke Marsman, Tatjana's rampweek, een kinderwagenconflict, de lusten en lasten van een Dakota Johnson lookalike zijn, en een gesprek rondom het persona Donald Pols, voortschrijdend inzicht en forever liefde voor wijze Sylvana Simons!

Sydney Sweeney is selling her bath water… again?! Dakota Johnson and Chris Martin - are they together or what? The All American Rejects says artists should be held accountable for their high ticket prices. Pierre Deny of ‘Emily in Paris' passed away suddenly. Russell Crowe wants to know why you have a problem with him. The gang is fortunate enough to have seen a TON of live music. Here are their favorite experiences!

Hour 1: Mason opens up about how she went viral on social media. Spoiler alert: it was oversharing. People are worried about Justin Beiber… again. Is Ryan Reynolds distancing himself from Blake Lively? Jlo is in her single era. So is Mason. Is Sabrina Carpenter too short for fashion? It SNOWED in Tahoe. Vinnie is still on the hunt for the perfect deodorant. There was an explosion of a chemical tank in Washington State. “No more, we're FULL!” - Charlotte, NC. Plus, lazy gigs that pay a ton. Hour 2: A famous OnlyFans model turned down $15 Million for this reason. Matty would sell it for WAY less. RFK Jr. got bit by snakes. Come see Matty at Carrington College today! Looking down is bad for your neck. We don't have any suggestions on how to help, but there it is. Being single has its perks. First off, no one will eat your burrito, and you can nap anytime you want! Hour 3: Let's talk about Summer House! Amanda and West “defended' their actions in part 1 of the reunion, and no one is impressed. Lil Wayne is engaged! A local road rage incident ended in a shooting. A bizarre real estate investment in San Francisco. Looking for a way to connect with nature? Cheek out The Friends of Sausal Creek! A Pickleball player finally lost their cool. Summer is coming! It's time to figure out what to do with those kids. Don't forget about Bob's Movie Club. Tomorrow we are discussing ‘Ferris Bueller's Day Off.' Hour 4: Sydney Sweeney is selling her bath water… again?! Dakota Johnson and Chris Martin - are they together or what? The All American Rejects says artists should be held accountable for their high ticket prices. Pierre Deny of ‘Emily in Paris' passed away suddenly. Russell Crowe wants to know why you have a problem with him. The gang is fortunate enough to have seen a TON of live music. Here are their favorite experiences!

In dem melancholischen Drama "The History of Sound" treffen zwei Stars ihrer Generation aufeinander. Paul Mescal und Josh O'Connor spielen junge Männer während der Zeit des Ersten Weltkriegs, die nicht nur die Liebe zur Musik verbindet. Pia Reiser und Christian Fuchs sprechen über die queere Romanze des Regisseurs Oliver Hermanus. Zuvor auf dem Programm: Die Tragikomödie "Materialists" von Celine Song. Dakota Johnson ist in der A24-Produktion als Partnervermittlerin zwischen Chris Evans und Pedro Pascal hin- und hergerissen. Als Bonus gibt es am Anfang eine Huldigung von „Kill Bill – The Whole Bloody Affair“ und diverse Trailerbesprechungen. Sendungshinweis: FM4 Film Podcast, 11.05.2026, 0 Uhr

Lucy (Dakota Johnson) fa la matchmaker a New York: per lavoro accoppia le persone con partner che soddisfino tutte le loro (inesaudibili) aspettative. A uno dei matrimoni che è riuscita a combinare incontra Harry (Pedro Pascal), che ha tutti i requisiti per essere un candidato ideale: bello, affascinante, ricchissimo. Allo stesso ricevimento ritrova l’ex fidanzato John (Chris Evans), che fa il cameriere, tenta ancora la carriera da attore, è al verde e vive con dei coinquilini. Un triangolo amoroso che ci chiede: quanto pesano i soldi in quello che chiamiamo amore? Un film di Celine Song.See omnystudio.com/listener for privacy information.

Lynette Nylander, Harper's BAZAAR Executive Digital Director, returns to chat with us about this year's Met Gala. We discuss pornstar martinis, Lewis Hamilton letting his beard shine solo, Pete Davidson's penis, the Bezos-Sanchez effect, Sabrina Carpenter's Dior film-strip dress, the loser behavior of themes in general, Hunter Schafer stuns in Prada, Connor Storrie continuing to lap Lil Huddy in the blouse wars, why we're seeing so many plastic molded chest pieces, Lynette asking why men love Dakota Johnson so much, Janelle Monáe in her e-waste bag, Chase Infiniti stunning in primary sequins, Troye's Robert Mappletwink play, not speaking ill of Stevie Nicks despite her Babadook serve, Bad Bunny's elder Mugatu strategy, Blue Ivy mogging her mom for the first time, Skepta's fine ass covered in Love Island contestant tattoos, Rocky and Rih, and our best and worst looks of the night. instagram.com/lynettesaid twitter.com/donetodeath twitter.com/themjeans howlonggone.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Get your silly socks on! Join us as we talk work stories, hot dogs, weird dreams, and book stuff! Check out Nightmare Signal pod! Write us some of your cringe stories at [nervouslaughterpodcast@gmail.com](mailto:nervouslaughterpodcast@gmail.com) The socials: [Instagram](https://www.instagram.com/nervouslaughterpodcast) | [Facebook](https://www.facebook.com/NervousLaughterPodcast) | [Twitter](https://twitter.com/NervouslaughPod) Write us some of your cringe stories at nervouslaughterpodcast@gmail.comThe socials: Instagram | Facebook | Twitter

My colleague Oliver Traldi recently published an essay called ‘Jane Austen's Virtuous Liberalism'. It's a very nice discussion of the ways in which Austen understand the challenges of character formation.Virtue, as Austen sees it, faces two tough challenges. First, people whose characters are not yet formed must see how to be virtuous rather than vicious. Then, the virtuous must somehow find a way to succeed in their struggles against the vicious without adopting vicious means.In this episode, Oliver and I discussed Austen's ideas of virtue, what that has to do with liberalism, the relationship between philosophy and literature more broadly, as well as poetry and ideas about the Great Books. We also talked about the Keira Knightly Pride and Prejudice. Yes, we both liked it. Here is why Oliver thinks Jane Austen is so popular among philosophers.TRALDI: And so I do think that even though she's not making arguments, she's not laying out philosophical theories, there is a level of precision in her thinking about virtue, which I do think is something that it took me a little aback.And I think it's part of why—one person who quote-tweeted my article was Daniel Kodsi, who's a friend of our colleague John Maier and his coauthor often. And he runs this magazine called The Philosophers' Magazine, which I had written before. And Daniel quote-tweeted my article with something like, “Add Oliver to the list of all the philosophers who love Austen.”OLIVER: And it's a long list.TRALDI: And I think it's a long list. And I do think this precision is part of it that she does, that it is—again, it's not like a philosophy journal article, but it is an intellectual sophistication that is often not present in novelists that we really appreciate.And here is an extract about Austen, Smith, and the wonderfully fertile period at the end of the eighteen century.TRALDI: But yes, I think it's obvious—without knowing the background, I'm sure there are scholarly questions about, how much Smith did Austen read? And they're both 250th—a lot was happening in 1775 and 1776.OLIVER: Those were great years. Those were the good old days.TRALDI: They were great years. In the great books syllabus, you get to the end of the 1700s and suddenly there's this—you have Smith, you have Kant, you have the American Revolution, you have the French Revolution, you have Burke. Rousseau is right before, Montesquieu is right before. I mean, it was a real—OLIVER: It's a great time.TRALDI: It was a great time. A lot was being done. And obviously, you know, I love the 1800s. I love the Romantics. But you could teach a whole great books course from 1750 to 1800, probably.OLIVER: You've also got all the dictionaries and all that kind of work going on as well. It's a very, very fertile—explorations.TRALDI: Yes, yes. There's all sorts of—yes, it was an amazing time.OLIVER: So did you, having read these two, Austen and Smith, close together—TRALDI: Yes, and I should say that my reading of Austen was much more careful than my reading of Smith.OLIVER: Sure, but you wrote this before you read Smith.TRALDI: Yes, absolutely.OLIVER: Or at least you fully conceived it. Do you see a lot of Smith in Austen?TRALDI: “A lot” might be—This was my favourite bit.TRALDI: Yes. But this is one of the great—I know we talked about this, but it's one of the great—you see this in Smith, you see this in Austen—commerce has its own virtues, and they are very traditional virtues. You have to be trustworthy. You have to be pleasant. You can't really be wholly self-interested in every moment because people have to be willing to deal with you given your—I mean, think about Yelp reviews or even just word of mouth. “Oh, that person screwed me over.”OLIVER: There's a discussion in one of Hayek's papers, which is—it's a very Smithian point he makes about, the nature of the knowledge problem means that it's not so much that I'm trying to get information about the thing you're trying to sell me, but I'm really trying to get information about you and whether you are someone I should be buying from. Which is exactly the project that the novelists and Smith—there's a sort of period between Smith and the early novelists, running through Austen to George Eliot, when they're all working on that problem together.TRALDI: Yes. I do think in Austen, it's often—the real puzzle is, how do you make out somebody else's character?OLIVER: Exactly.TRALDI: This is a phrase that Lizzy Bennet does use with regard to Darcy. And how do we actually figure out who the trustworthy and untrustworthy people are?OLIVER: And if you're too philosophical about that, in the sort of analytic sense, I think you can end up not paying enough attention to the particulars of that question.TRALDI: Yes.OLIVER: Because when you actually try and do it, it's really, really hard.TRALDI: Yes. And I think this is the sort of—reading Austen, you get a sense of—and there are very few philosophy papers on things like this. Reading Austen, you get a sense of, what sorts of details in a normal life are the ones that I can extract information from to make out somebody else's character?Oliver is an analytical, political philosopher. You can find out more about his work here. Here he is on Twitter. His Substack is orting. You can watch the episode on YouTube here.TranscriptHENRY OLIVER: Today I am talking to Oliver Traldi. Oliver is an assistant professor of philosophy at the University of Toledo in Ohio. He is my colleague on the Emerging Scholars Program at the Mercatus Center, and he's written a book about political beliefs as well as many other articles for magazines, online.He's got a Substack. He's maybe the most prominent political and epistemological young philosopher of his generation. [laughter] But most importantly for us, he is interested in Jane Austen and the idea of virtue. Oliver, welcome.OLIVER TRALDI: Thank you so much for having me.Reading Austen as a PhilosopherOLIVER: Let's just start—before we get to this article you've written, tell me about being a philosopher but reading Jane Austen, because she's often read and commented on by people who are not philosophers or who are only philosophers by acquaintance or whatever.TRALDI: Right.OLIVER: Is it different reading as a philosopher, do you think?TRALDI: I think yes and no. One thing as a philosopher, there are—contemporary philosophy, we have very exacting standards of rigor and clarity. And when we look for a theory, we want something that's been improved by hundreds of people and thousands of journal articles.And so, if you were to simply extract a theory of virtue from a novel and say, “Does this—is this the end-all, be-all of moral thinking?” obviously you're going to be disappointed. So I think as a philosopher, you have to look for other types of things, other types of sensitivities rather than logical sensitivity.You have to say, how sensitive is the author to the different types of situations where people's virtue can be exhibited or challenged? Or how sensitive is the author to the different types of pressures that a character's convictions can be put under, or the different sorts of compromises that they might have to make, or the different sorts of people who might not be virtuous who they might have to interact with and sort of, you know, contract with or avoid? And what are going to be the impacts of different kinds of choices in those situations?So the novelists, I think, tend—if they do it well, a novelist who's interested in morality will understand living morally probably better than a philosopher, while maybe not understanding, say, arguments about whether morality supervenes on reality or vice versa, or what grounds morality, or different theories of meta-ethics or whatever.OLIVER: I mean, there are obviously some novelists who do have a better appreciation of those things than others, we should say.TRALDI: Yes, I think that's absolutely true. And as I wrote in my article, I do think Austen in particular had an appreciation for this issue that you might call moral disarming or unilateral disarming. You know, does the moral person put themselves at a disadvantage relative to the immoral person? And then how do we actually help—how does morality survive?So that's a kind of philosophical question, but I tend to think—I taught last year—I think we've talked about this a bit. I taught in a great books program at Tulsa.OLIVER: This is the Jennifer Frey program.TRALDI: This is the ill-fated Jennifer Frey program. Jennifer—I don't know if you've met her, but she's an incredibly charismatic person. But somehow the program, despite being enormously successful, did not survive. You know, I was there for a year, and they decided that was long enough.OLIVER: [laughs] You don't think your arrival was the—TRALDI: No, no. I hope not. I most certainly hope not.OLIVER: No. General problems of higher education prevailed. Yes.TRALDI: Yes, many, many problems of higher education these days. But yes, so I think—what was I saying?OLIVER: Well, I think we're getting to this question of, you are not just a philosopher; you teach the great books.TRALDI: Right, exactly. The great books. That's where I was. Yes.Philosophy and the Great BooksOLIVER: So, one thing I'm interested in is that, you know, reading as a philosopher, you get a slightly different perspective on Austen. When you read other fiction, poetry, whatever, is there a benefit to you as a philosopher? Does it broaden you in some way?TRALDI: Yes. I think absolutely, it's broadening, but it's also focusing in a different way. You know, contemporary philosophy is often described or captured with the word epicycles. So what we mean when we say epicycles is, you have some major theory, which is supposed to answer some big question. And then your career as a philosopher—you're like three layers deep in the theory, in some sub-debate, and you're making some really fine-grained distinctions.And if you can make those distinctions successfully, you've had a really great career. But I think it's easy to forget, why are we doing—you know, what attracted us to philosophy? Why are we doing this to begin with?And the great novels, great books in general—one example I always use is the Book of Job. It doesn't really—it's not doing clear philosophy on the question of why do bad things happen to good people. But when you read it, you feel the question, why do bad things happen to good people? You get it, you know? You get why this is a question that people have worried about for thousands of years. You get why it calls out for an answer.You know, there's a lot of truth out there. I'm looking at a set of coat hangers, and I could count the coat hangers. But if you were given the decision, would I rather have an answer to how many coat hangers are across the room from me, or why do bad things happen to good people? You'd probably go with the latter one. There's somehow some kind of depth or importance to that question, right?And I think there's—a great novelist can often generate some vividity to these questions. They can show how these questions are part of a good life, asking these questions, trying to have these questions answered—or a not-so-good life.Certainly in Austen there are a lot of characters who learn to be more virtuous. Probably Emma is the clearest example. But you might also think of Marianne Dashwood. Really—OLIVER: Lizzy Bennet.TRALDI: Lizzy Bennet really learns to be a better person. I actually think her character is rather close to Emma in a lot of ways.OLIVER: Yes, I think Emma's sort of a clear rewrite of Lizzy in some—yes, yes.TRALDI: Yes, and in some ways more evocative, actually. Yes. I mean, we can talk about all these books. But yes, I think there's these things, even—obviously qua literature, they have other virtues, right? Which much philosophy doesn't have; very little philosophy has the literary virtues.But the philosophical virtue that a lot of literature does have is you see, okay, these are the—this is what a life is like. This is what making choices is like. These are the big questions when you decide how to live your life and what kinds of choices to make.And I think Austen—these questions are all through Austen, even though nobody has to murder anybody in Austen. Nobody has to make decisions about war and peace or about, you know, civilizational decline or civilizational progress or anything like that. These people making these small choices in a lot of ways. But those are the lives that most of us lead. And when you read Austen, you think, “Oh, okay, there's a virtuous and a vicious way to lead this kind of rather normal life.”The Good LifeOLIVER: The question of what is a good life, or what is a good life in a commercial society, maybe, is the sort of bedrock of what she's doing.TRALDI: Yes, I think so. And that's why I think Austen—you know, Austen wasn't on our syllabus at Tulsa, but she was certainly discussed. And the “what is a good life” question—to me, it's the big question that a great books program for college students should always come back to.If I didn't know what else to talk about, I would just say, “Well, we just read this book.” You know, we read these old biographies of Charlemagne from, like, Einhard—Notker the Stammerer and Einhard, his adopted son or whatever. I don't remember. But this is like 800s. I'm sure you know more about this stuff than I do.And I wasn't quite sure what to do with them because what do I know about Charlemagne? So I just said, “Does it seem like Charlemagne lived a good life?” And you know, you're off to the races. And I think that's important at that age, because that's the age at which—OLIVER: For the undergraduates?TRALDI: Yes. I think that's the age at which you're starting to make your own big decisions about what sort of life to lead. And I think for me, looking back to myself at that age, I think one thing I did wrong—at Tulsa I was in some ways as much a student as a teacher. I was rereading a lot of this stuff for the first time in decades. And some of it I was reading for the first time. As I told you, I was reading a lot of Austen for the first time for this essay.OLIVER: Right, right.TRALDI: And yes, it was stuff that I had thought about at a theoretical level, you know, like what are the ins and outs of this theory or this philosophical move or something like that. But you feel the question a bit differently when you're like, “Okay, I'm an adult. I have to decide whether to live in this way or that way.”The world is open to you. You could convert to Thomism [laughter] like so many have tried to have me do, or you could become a merchant after reading The Wealth of Nations. Or you could become a revolutionary after reading Marx, or you could become a Nietzschean. You know, there are all these choices open to you.OLIVER: Please don't become a Nietzchean.TRALDI: No, no. That is, I'm a—OLIVER: Keep your children out of school if that's going to be the result. [laughs]TRALDI: Yes. I'm a committed moralist, so I cannot, but he is—he made a comeback, that's for sure.Philosophy and PoetryOLIVER: Now, there's this obviously sort of long-running question in philosophy about, what is the relationship between philosophy and poetry? Are they antagonists, or are they in some way, you know, twins, and each provides one half of what is needed for a complete way of understanding the world? Do you have a position on this?TRALDI: Yes, I mean, I think they're what the kids call twinning.OLIVER: Twinning? [laughs]TRALDI: I think they're twinning. No, no, I think that means something different. I think that means when you're wearing the same outfit or something like that.OLIVER: So we're almost twinning with our stripes—yes, I see.TRALDI: We're almost. We actually—we are stripes and blue. Yes, we're closer than I would've expected.I would say closer to twins. There are a lot of claims that philosophy is at odds somehow with this or that. There's also this—certain people will say, “Well, ever since Socrates, philosophy has been at odds with politics.” And a big part of philosophy is, how do you survive? Well, I don't know. Nobody's trying to kill me. I think of myself as a decently committed philosopher.OLIVER: It seems to me this changed fundamentally in the Enlightenment and with the Romantics, and they see it all much more joined up. It's a sort of ancient-and-modern dynamic.TRALDI: Yes, there may be an ancient-and-modern distinction there. But yes, for me I don't see any kind of contradiction. Now, there are—and I think this comes out of what I said before—philosophical attempts to understand poetry. And certain kinds of literary and aesthetic devices do sometimes fall a little flat.The philosophical literature on metaphor, for instance—I think some theories of metaphor really don't get why people use metaphors. [laughter] So one of the most important theories of metaphor is that they're all just false, that it's like everybody who uses a metaphor is lying. This isn't the full theory. There are bells and whistles added.OLIVER: Sure, sure.TRALDI: But yes, so I think there's no contradiction. But at the same time, they are different modes in some ways, and people who do the one are often trying to do something different than the other.I do think that the desire for rigor and precision and clarity that philosophers have can be a little maddening to nonphilosophers, who see the pull of philosophical questions like, “What sort of life I should lead?” and then see, what do philosophers actually do?And we're doing all this modal logic and all these truth tables and all this very technical stuff that looks like math. And they say, “That can't possibly be the right way to think about how to live.” And it's true that there are these studies of—that suggest ethicists aren't actually very good people and things like that, although you have to wonder what is the background ethical theory that went into evaluating them.So yes, I don't think there's really a contradiction between philosophy and anything else. But certainly, there was a point in my life where I always come back to trying to write poetry and do poorly and then stop. But it was always something where I would say, “Okay, if I'm doing philosophy in the afternoon, I better wait till the evening to write poetry.” You have to sort of reboot and get into a different mode.OLIVER: Iris Murdoch used to write philosophy in the morning and novels in the afternoon. That kind of thing.TRALDI: Yes, I think that's very sensible.OLIVER: And she was upstairs for the one and downstairs for the other.TRALDI: Yes. That's even better, you know?Favorite PoetsOLIVER: Which poets do you like?TRALDI: Geez, I guess for an American, I like Wallace Stevens. I wasn't expecting this question. For a Brit, you know, I actually like Philip Larkin a lot.OLIVER: Oh, yes?TRALDI: I know—what is the opinion of Larkin? Is he considered—OLIVER: Very high.TRALDI: Very high? Okay.OLIVER: Some—there are some dissenters, but basically he's the guy.TRALDI: He's the guy, okay. Yes.OLIVER: Twentieth-century English poetry is like Auden, Larkin, Betjeman.TRALDI: Yes, Auden is—actually, my friend Jane Cooper just wrote something about Auden.OLIVER: Yes, Jane is excellent.TRALDI: Yes, Jane is really great.OLIVER: That was in the New Statesman if you want to look it up.TRALDI: That was in the New Statesman. Yes, yes, yes. But Auden, I don't know quite as well.I mean, poetry is—I think it's interesting the way that we receive poetry now. I think you were talking about this a few days ago, about things like poems appearing as inspirational quotes on social media or something like that, and whoever is the most quotable. And you felt like maybe Dostoevsky is very quotable.OLIVER: Dostoevsky has a sort of screenshot quality.TRALDI: Yes, yes.OLIVER: As does Martin Amis.TRALDI: Yes. So I—OLIVER: Whereas Philip Larkin in a funny way—you know, he has very short poems. You can get the whole poem on Twitter. Like, Robert Frost has that. But something like “The Whitsun Weddings,” it's quite hard to just take three lines out. The whole thing works as a—and that, so that poem gets less—TRALDI: Yes. Which is what you would expect from a good poem, really, that it would form a kind of whole.OLIVER: Exactly. If it's a three-page ode, it should have a continuous quality.TRALDI: Yes, it should have a kind of internal structure. Yes.OLIVER: There are some one-line things and—but I think it's notable that a poet like Wordsworth doesn't seem to get a lot of social media play. And I think probably that's one reason.TRALDI: So yes, I think Larkin is somebody who, I did see some shorter references to him, and I thought I'd better just go and look up a ton of poems by this guy. And Stevens was the same way.Death and Philip LarkinOLIVER: So, which Larkin do you like?TRALDI: You're really putting me on the spot here. [laughter] It has been a little while.OLIVER: I lied to you and said it would be about Jane Austen.TRALDI: Yes, now I'm completely screwed. Well, he has a bunch about death. He has one where death is a ship following you. And he has one where death is, like, a fruit that gets picked or something.OLIVER: Apple?TRALDI: Might be an apple.OLIVER: He decides not to throw the apple.TRALDI: There's one with sweetbreads in it. And now I'm really—OLIVER: The ship one, “Next, Please”—that's excellent.TRALDI: Yes.OLIVER: He sees the—it's like hearing the music coming, and then the ship.TRALDI: I forgot that that was the title. I forgot that that was the title.OLIVER: And then as the ship goes past, it leaves nothing in its wake. It's very sort of—very gloomy.TRALDI: It's very gloomy, yes. I think I read Larkin in a gloomy phase; it was like Larkin and Radiohead or something.OLIVER: But he's a good example of what you were saying before, that he won't think propositionally. He's logical in the sense that he's sort of orderly, and he goes from one thing to the next. But he's not being a philosopher.TRALDI: No, of course. Yes.OLIVER: But he's very preoccupied with the sorts of questions that philosophers are probing, but has a sort of very meaningful treatment of them.TRALDI: Yes.OLIVER: And I think in a way, the sharp response that you want from the reader in those questions, Larkin is better at provoking than someone like Bertrand Russell or some other contemporary of his.TRALDI: Yes, yes.OLIVER: Bertrand Russell's a bit earlier, but you know what I mean.TRALDI: No, I think that's exactly right. And I think that is why I'm a fan of the great books pedagogically and not—I don't know if Larkin will be called a great, you know, like, who knows? I don't really understand that designation, but tings like poetry and novels.OLIVER: The biggest dissenter was Harold Bloom, who said Philip Larkin's just a period piece. And he doesn't understand why everyone likes him.TRALDI: Oh, yes, well, I'm not on board with everything. Oh, I've also been—OLIVER: No, you're not very Bloomian.TRALDI: I'm not very Bloomian, I don't think.OLIVER: Either Allan or Harold.TRALDI: Yes. Well, I actually—this is very embarrassing, but I've actually never read The Closing of the American Mind, which I know is—OLIVER: But why should you? I'm not sure it's retained its—TRALDI: Well, it's certainly been received into my circle. But it is like a classic of anti-ideological—OLIVER: Sure. Have you read Adler, How to Read a Book, that kind of great books stuff?TRALDI: No. There's so many things that I haven't read. I mean, I'm just learning how to read. I learned how to read in Tulsa last year, [laughter] in Oklahoma, which is not where most people would go to learn how to read.Jane Austen and the Problem of MoralityOLIVER: So let's move to Jane Austen. Your thesis basically is, many moral theories face this problem that if I believe XYZ theory and you don't believe it, you can get the advantage of me. Because I'll always stick to my principles and you can just be a bad guy.TRALDI: Yes.OLIVER: So is morality screwed? This is what people say about liberalism. This is what you're arguing. And you think Jane Austen's got an answer to that?TRALDI: Yes, I think she has a kind of answer. And again, one decision I had to make while writing the essay was, am I going to go super—this is a completely philosophically rigorous and respectable answer? Or am I just going to kind of sketch it?OLIVER: Slum it in literary criticism? [laughter]TRALDI: Yes, I wouldn't put it quite that way, but—and I think I went for the latter, where I just wanted to kind of evoke the answer. And I think the answer has something to do with living in a large enough society where—and Austen I think is not the only person to give this answer. But you live in a large enough society where, when people see you acting well and somebody else acting poorly, the disadvantage that you have in that one interaction is outweighed by the advantages you have from the society that you gain from being seen to act well by many others.So one thing I didn't mention here, but a connection I made when I was first coming up with this idea, is that it's actually a lot like what Martin Luther King Jr. says about civil disobedience. So he says, you might think, if you're out there and the police are coming at you with bats, or the white supremacists are coming at you with bats or whatever, weapons or whatever, you might think, “I'm on the losing end of this interaction.”But actually what will happen is that this interaction will be seen by many others. And you, by keeping your calm, will be seen to be the virtuous one, and they, by being violent, will be seen to be the vicious ones. And this can only help your political cause. I'm probably abstracting some of the details of King's presentation.OLIVER: In a vulgar sense, this is the sort of “be the change you want to see” approach.TRALDI: Yes, but also, be the change you want other people to see. You know? Because that's how it gets saved from—and again, one of the ways in which this is not quite philosophically rigorous is because the philosopher can say, “Well, what about an example where nobody's going to see it? Or what about an example where the situation is set up that in doing the right thing, you're perceived to have done the wrong thing?” And you get back into tough problems. And that's why we have philosophy. You know, there's always going to be these puzzles.OLIVER: But we don't get the—I think this is what the novelists are helpful for. We don't get to set the conditions in our lives. You know, when you're doing a philosophical problem, you can just say, “Well, these are the conditions. What happens then?” And what Jane Austen is so good at is saying, “I'm going to take her and drop her in this house, and that's life. And she's just going to—she won't even know what the conditions are for a long time.” That's the novelist's preoccupation.TRALDI: Yes. Yes. It's interesting what you said about not even knowing what the conditions are. It's one thing I love, which is there in, I think, a lot of Austen—and it's done by a lot of my favorite novelists. I think Kazuo Ishiguro is really good at this. It's just novels where you see the characters' growing awareness of their circumstances and—OLIVER: Like in Klara and the Sun or something.TRALDI: Yes, or I think certainly in Never Let Me Go and in Remains of the Day, a lot of the action is in a situation where you understand what's going on better than the characters do.Clues and GamesTRALDI: And I think we talked about this the other day. In Austen, Emma, for example, is this sort of, like, halfway detective where she sees a lot of clues that could help her understand the nature of the life she's leading and the circumstances she's in, but she always misinterprets the clues. But on the other hand, it's not like she misses them entirely. She's kind of on the right track, and at least she's trying.OLIVER: And what I think Austen does so well in that book—I think it's her most important book—is that by putting us, without quite realizing it, with Emma's blinkers on, as it were, and only allowing our perspective to be her perspective, she makes us the detective.But whereas in a detective novel, you know, there's a funny little man and he is a detective, and he says, “Oh, there's a clue in this novel,” the read of—on the first read very often goes straight past what they must later realize to be a clue. And that is such a normal condition of life, that, “Oh, actually, that was one of the conditions, but you couldn't have known it. Sorry.” And you can only work it out in retrospect.TRALDI: Yes. In modern love, these are sometimes called red flags. [laughter] I think it's not quite a precise analogy, but yes, I think it's right. And I certainly—I had read Emma years ago and didn't really notice. As you say, on my first read, I didn't really notice, even having watched—I think it was the, what is it, the Kate Beckinsale version maybe, from ITV in like 1996 or something.It was really in reading it for this essay that I noticed that this feature that, starting on page 30 or 40 or so, there's a—and they're often in games. The clues are often in games. So very early on, Elton is playing some sort of poem game with Emma.OLIVER: The riddles, yes.TRALDI: The riddle game. And you know, Emma already misinterprets his riddles as being about Harriet rather than about her. But then there's also—the riddles also have some relation to things that happen much later.OLIVER: Then there's the anagram game at the end.TRALDI: There's the anagram game at the end. Yes, it's the—and I don't think there are many games like that in any of the other Austen.OLIVER: People play games, but we're not taken into them and have them narrated in that way.TRALDI: And they're not word games in general. There's card games and things like that. And you know, in Pride and Prejudice, Wickham has all these gambling debts and things like that.OLIVER: Yes.TRALDI: You know, in—I don't know if you know Whit Stillman, but for the same magazine a couple years ago I wrote about Whit Stillman, who's a sort of conservative filmmaker who's a huge Austen fan and brings in Austenian themes to a lot of his movies, but writes them about characters in the 1960s and '70s. And one of them was called The Last Days of Disco, for example, about—and some of the broader social themes he talks about are also there in Austen.So one thing that was just on the edges of my consciousness as I read through the novels for this essay was the question of the noble man versus the working man, which I think is very present in Austen and has something to do with her conception of virtue: that the virtuous person will be engaging in commerce in some way.OLIVER: Those moments of the noble and the virtuous man or whatever often take place in a shop, like the drapier in Emma or the jewelry shop in Sense and Sensibility.TRALDI: That's interesting. That's interesting.OLIVER: She's very careful to take us into a commercial situation and contrast.TRALDI: See, that is the sort of detail that I think a philosopher—I think we—the mere—the vibe of, “You're in a shop, and this means something.” I think this is something philosophers are—we can watch for the action; we can judge the characters' actions. But then there are these questions of atmosphere and milieu. And certain things happen in a shop; certain things happen at the seaside. In Persuasion there's an injury by the seaside.OLIVER: Yes. That's one of the most exciting scenes in Austen. Very dramatic.TRALDI: Yes, yes. I think actually Persuasion in some ways is quite different than her other books. It has a sort of—you know, in some ways it feels a little more like Frankenstein or Wuthering Heights at points. There's a little bit of a windblown, dark quality to it at times. It's a little bit bleaker. It's a little hard to explain why, but that's just a feeling that I had reading it that maybe had changed with some of the other literary tastes of the time.Artlessness in Austen's HeroinesOLIVER: Now, the quality that you focus on in the heroines, in this question of virtue defending itself against bad actors who break the rules, is artlessness.TRALDI: Yes. So this is a term Austen uses quite a bit, and almost always, she very much picks and chooses the characters who are going to receive this term. And I thought that this is like—it's not only her artless characters who face this question about how can morality survive, or how can virtue prevail, but I think they're the limit point.Like, if you really are unwilling to use—and I mentioned in the essay, when Darcy describes—I forget what; maybe it's him describing how he found Lydia and Wickham, or it's something to do with Wickham—he said, “I had to resort to arts.” So it must be, the “arts” back then means—one of the meanings of the term is dishonesty or subterfuge or something.OLIVER: Yes, if someone was artful, it could have—TRALDI: Yes, like the Artful Dodger.OLIVER: Exactly. Could have negative connotations for sure.TRALDI: Yes. And so the artless one, you know, they're missing something.So it's the question of, if you view—morality in a way means you're missing something, right? You've taken arts out of your arsenal. You've taken tools that could deal with certain situations, and you've just decided not to use them. So the question is, how can it be an advantage to have less tools?You know, we're here at Mercatus; the economists would tell you it's never advantageous to have fewer choices, right? There's no paradox of choice. It's never advantageous to have fewer choices. And so I think this is the—if morality is a kind of unilateral disarmament, artlessness is the clearest case of that.OLIVER: And you're seeing that in Fanny Price, Elinor—TRALDI: You see that in Fanny Price. You see that in Elinor. Harriet Smith is described as artless over and over again. And then there are these other characters who are described as artful, or other things that are mentioned as arts.I think Harriet, in a lot of ways, is the one who's most often described this way. And it's interesting because you think of Emma changing a lot in Emma, but Knightley actually shifts in his evaluation of Harriet, who he thought of as sort of an unserious person. And Knightley himself comes to recognize her artlessness as a kind of seriousness which makes her a good match, not ultimately for him, but for his dude, Robert.OLIVER: The farmer.TRALDI: The farmer, yes.OLIVER: He doesn't change his view of her social position, though.TRALDI: No, certainly not. But he does change his view of her character, basically. You know, her artlessness is not silliness. It has a sort of depth to it.And yes, certainly Fanny. In the Whit Stillman movie Metropolitan that's part of what set me on this, there's this whole discussion of the book Mansfield Park and this old Lionel Trilling essay about it where he says, how is it—there's this question about how modern people can even like Mansfield Park because we've sort of lost the notion of virtue being exciting or something.One of the most provocative lines to me in Austen was in Sense and Sensibility where it says that Elinor glories in Edward's integrity, which is an odd thing to glory in. You don't glory—nobody is on Instagram showing off their integrity, you know?OLIVER: It's like that René Gerard quote people like to pass around: “Everyone is on diet pills and nobody wants to be a saint.”TRALDI: I like that. That is very Instagrammable.OLIVER: Exactly. Exactly.TRALDI: That's very good, actually. I like that. Yes, so there's something provocative about the notion that virtue can be exciting, and in particular can be romantically exciting.The Importance of IntegrityOLIVER: Or even less than that. One thing I think is difficult for people interpreting Austen today is that virtue, whether it's exciting or romantically exciting, or the notion of integrity is of interest for its own sake.There's a lot of—you know, we have integrity as an organization. It's very important for me to have integrity as a professional. But there's not as much a sense of, just having integrity is the good life. We don't need to be complicated about this. That's just—you should just do that. And Austen's very firm on that all the way through.And criticism wants to pull her towards sometimes feminism, sometimes discussions of slavery, sometimes various other things. And she's just constantly sort of resisting that by saying, “I like integrity. I like good people. I don't think it's that hard.” It's a good line you've picked up on, I think.TRALDI: There's a character in The Wire who says, “A man's gotta have a code.” I think he's Omar, who murders the drug dealers and steals from them.OLIVER: I haven't seen it.TRALDI: So he says, “A man's gotta have a code.” And I think there is a—even in a character who in some ways is bad, we admire the integrity of having a code and sticking to it.There is this debate, I guess in moral philosophy, or at least on the outskirts of moral philosophy, about, “Well, if your code is wrong, maybe it's better not to stick to it.” I don't share that perspective. I think part of the good life is holding yourself to certain standards. And if those standards turn out to be wrong, the holding yourself is still of moral value, right? Not allowing yourself—OLIVER: It doesn't mean they're not adjustable.TRALDI: Yes, no, of course. If you decide the standards are wrong, and in Austen—OLIVER: It's sort of implicit in the idea of having standards that you will be honest and therefore accept when your standards need to be improved or whatever. Right?TRALDI: Yes, I think that's absolutely right. And in Austen we certainly see people shifting their standards. And I think one thing that I—of course, modern readers and watchers of Austen do not quite understand some of these things. But I think in Pride and Prejudice in particular, we're supposed to feel that Lizzy Bennet is quite hard on people and has to learn to improve herself in that way.OLIVER: We're delighted with her when she does that because we think it's sassy.TRALDI: Yes, exactly. If you go on YouTube, you can see all these, like, “Lizzy Bennet owning people's lives for 50 minutes,” these compilations of clips from the various movies or whatever. And she's obviously very, very clever.But she realizes—after coming to understand who Wickham is and feeling that she might not have another chance with Darcy, she comes to realize that she has had certain prejudices, which have made her blind to the realities of the world and blind to what might be her best options.So yes, I was saying I believe in integrity; that's all I was saying. And integrity obviously is adjustable, but I tend to think that it's better—even if the rule is wrong, it's better for the person who has it to hold themselves to it, rather than to adjust to try to get an advantage.And in philosophy, we have all sorts of terminology for these sorts of questions: “Are you an internalist or an externalist about reasons or about rules or whatever?” I think the more literary way to say it would just be that integrity is a virtue. And people should stick to their codes unless they see a good reason to change them.Austen and Adam SmithOLIVER: Now, you have recently been reading Adam Smith.TRALDI: Yes, I did read a lot of Adam Smith for this debate we had last week. Although I did a poor job because I had forgotten that the debate was about whether Smith was a philosopher or an economist. [laughter] I thought it was simply, is he a philosopher or not? So I put myself in the odd position of arguing that Adam Smith is not an economist.But yes, I think it's obvious—without knowing the background, I'm sure there are scholarly questions about, how much Smith did Austen read? And they're both 250th—a lot was happening in 1775 and 1776.OLIVER: Those were great years. Those were the good old days.TRALDI: They were great years. In the great books syllabus, you get to the end of the 1700s and suddenly there's this—you have Smith, you have Kant, you have the American Revolution, you have the French Revolution, you have Burke. Rousseau is right before, Montesquieu is right before. I mean, it was a real—OLIVER: It's a great time.TRALDI: It was a great time. A lot was being done. And obviously, you know, I love the 1800s. I love the Romantics. But you could teach a whole great books course from 1750 to 1800, probably.OLIVER: You've also got all the dictionaries and all that kind of work going on as well. It's a very, very fertile—explorations.TRALDI: Yes, yes. There's all sorts of—yes, it was an amazing time.OLIVER: So did you, having read these two, Austen and Smith, close together—TRALDI: Yes, and I should say that my reading of Austen was much more careful than my reading of Smith.OLIVER: Sure, but you wrote this before you read Smith.TRALDI: Yes, absolutely.OLIVER: Or at least you fully conceived it. Do you see a lot of Smith in Austen?TRALDI: “A lot” might be—OLIVER: Primarily from Theory of Moral Sentiments.TRALDI: So I would say that the notion of sympathy as being fundamentally part of how you recognize a good person seems to me to be there in Austen. The characters are—OLIVER: And this is the thing about awareness of other people and learning from that awareness.TRALDI: Awareness of other people and learning from other people and feeling other people's emotions. One thing that is related to sympathy in an odd way—and I think actually Austen and Smith conceive of it a bit differently, but that is there for both of them, in particular in Sense and Sensibility—is this notion of self-control or self-command.OLIVER: Self command. Yes. Yes.The Importance of Self-CommandTRALDI: Now, Smith gives a really odd argument about self command, which is that if you don't have control over your emotions, you will end up feeling or expressing something that other people can't sympathize with. And this is bad because sympathy is good, or something like that. I actually think it's a rather confused argument.OLIVER: I think what he's saying is that if you display a lack of self-command, then no matter what you are feeling, people find it difficult to deal with that sort of uncontrolled behavior. It's not the particular expression of feeling; it's the fact that you are a little unstable or—TRALDI: Yes, I think that's right.OLIVER: —a bit extra.TRALDI: I think what Smith doesn't do is explain quite how that's bad. But what I think is that actually, in Sense and Sensibility, it's a little bit the reverse, where actually Elinor and their mother, they do sympathize with Marianne. They do feel what she's feeling after—who's the other, the w guy in Sense and Sensibility? They're all w's.OLIVER: Oh, Willoughby.TRALDI: Willoughby, right, right. Not Wickham, Willoughby. When Willoughby—OLIVER: You can just say “the cad.”TRALDI: The cad. There's always a cad. So when the cad leaves, Marianne has all these emotions, and you really feel them. And Marianne also has a lack of self-command when Willoughby is there. There's this whole episode, which I didn't quite make the most of but felt very important, where they go to the house of this woman. They just sort of barge into this house, Willoughby and Marianne.And this is really supposed to show something about the relationship. If you and your partner barge into somebody's house, it can't be a good relationship somehow because it's leading you into bad actions. That's my sense of what that episode is supposed to show from the highest possible remove.OLIVER: I think, yes, and I think there are several other instances of that: when they ride in the carriage together, unaccompanied.TRALDI: Right, right.OLIVER: And there's a sort of general consternation about this. And Marianne sort of says, “Oh, well, how can it be a problem?” And they—part of the consternation is, you're breaking the rules in a very flagrant way, but also that you are assuming that it's okay because you'll get married. And this assumption is a very big one.TRALDI: Yes. And obviously there is this assumption that—she doesn't recognize quite how—she thinks her position is much more secure than it actually is, which is how it turns out in the book. But I think we're supposed to think that even if she were right about Willoughby's affection, which in a sense, she—Willoughby—OLIVER: No. Even if they do get married, she's broken the rules in a way that—TRALDI: She's broken certain rules in a way that is—but I think what's different from Smith is, there is sympathy from her family even though she lacks self-command. But that is precisely—so it's sort of a different theory of why self-command is good. It's precisely because her emotional state is actually draining for her family.And then Elinor says—when she learns that Elinor has actually been going through something—OLIVER: The same.TRALDI: —very similar, and maybe even rougher, in this whole thing with Lucy Steele telling her about this, you know, blah, blah, blah.OLIVER: Which is a beautiful name—to steal. I mean, it's great.TRALDI: It's an amazing—honestly, in some ways Sense and Sensibility may have been my favorite. I think it's just lovely.OLIVER: If I just wanted to just read one for fun, that's what I go to. I do, yes.TRALDI: Yes. And there's a lot—none of these things are quite perfectly in there. But I think honestly, everything that's in the other novels has a little part to play in Sense and Sensibility. You know, I think if I were to recommend just one, if somebody was like, “I have time for just one,” I might recommend Sense and Sensibility.But in the end, Marianne says—again, it's one of these amazingly evocative lines. Elinor says, “You didn't act that badly. Do you compare your conduct with Willoughby's?” And she says, “No, I compare it with—Elinor, I compare it with your conduct. You have this self-command.”And it's precisely the fact—it's not—and I think this is why philosophers do like Austen, because it's not—it's still literary, but there is a precision to her moral evaluations. It's precisely the fact that Elinor knew that her family loved her and didn't want to burden—it's all quite conscious. She didn't want to burden her family with her emotions. But you actually see that Elinor has this family trait of having very strong sentiment, which Marianne does, and simply also has this virtue of self-command.And that is—there are film adaptations and TV adaptations that demonstrate self-command, but it's a very hard thing to film. It's something you feel inside. It's a very hard—the actors have to be very good for you to see—you see pieces of it in some of the adaptations of Persuasion and some of the adaptations of Sense and Sensibility, but self-command is very hard to find.Austen AdaptationsOLIVER: Which adaptations do you like the best?TRALDI: I'm forgetting—I often like the long ones that I think were for the British ITV. So I like the—I think Kate Beckinsale was in the Emma one. Although I think there was one of Persuasion, which was also quite good. I like the one of Northanger Abbey. I don't think it's that good, but it's kind of cute, which I think it's probably the cutest of her long novels.Whit Stillman did a very loose adaptation of Lady Susan, which is hilariously funny at times, and also has Kate Beckinsale and some other great actors in it.OLIVER: Did you see the new Persuasion on Netflix a couple of years ago?TRALDI: No. No.OLIVER: It has that—is it Dakota Johnson, the actress, who's famous for other non-Austenian—Fifty Shades of Grey or whatever.TRALDI: Yes, and isn't she one of the Avengers or something like that?OLIVER: Something like that. But everyone was very upset that it was this terrible adaptation.TRALDI: Oh, yes.OLIVER: Didn't—it sort of killed all of Austen's words. She looks at the camera; she drinks from the bottle. I actually thought it was quite fun. On the basis that all adaptations are bad—TRALDI: I think if you allow some looseness, it can be quite fun. So for example, the 2005 Pride and Prejudice, I think if you're just sort of like, “Well, this is just somebody who was inspired by Pride and Prejudice,” you can have a lot of fun with the movie.OLIVER: I think as an interpretation of the book, that film is quite bad.TRALDI: Oh, yes. I think it's absolutely missing the mark.OLIVER: But in terms of like, the countryside and the house and the geese and the food, it's fantastic.TRALDI: Oh, yes. It's lovely to look at.OLIVER: The dresses, right? The clothes are amazing.TRALDI: And a lot of the—and the cast is honestly like—OLIVER: Yes, it's great.TRALDI: The cast is really, really great. And the parts as they are—OLIVER: Rosamund Pike is maybe the best Jane on TV.TRALDI: She's terrific. And who's the one who plays Kitty?OLIVER: Yes.TRALDI: Who is in—and the father is the guy from The Hunger Games. I forget his name, but I think the father is excellent in that. But of course, it's not exactly the father from Austen.OLIVER: No, no, no.TRALDI: But as a movie itself—but yes, I like a lot of these longer TV versions.One odd thing—they make these choices. So there is some scholarly apparatus brought to bear on some of them. So I think maybe it's Persuasion that there were multiple versions of, and some of the adaptations use pieces from the unpublished version, which are interesting. And as I was reading it, I had to Google around a bit and figure out these things.Austen's Moral PrecisionTRALDI: I was going to say about Austen's moral precision, the other place where I think this comes in—and I wrote a bit about this in the essay—is near the end of Mansfield Park, when—the names are what I'm worst at—when Edmund, right, is finally disillusioned with—OLIVER: Mary.TRALDI: With Mary Crawford?OLIVER: Mm-hmm.TRALDI: It's because there was this affair. There's always a sibling or a cousin who makes some horrible mistake, you know? So there was this affair, and Mary Crawford can only criticize it by saying that they weren't very prudent, you know, in prudential terms. They took a big risk. They made a bad decision. You know, they really screwed themselves over.OLIVER: They could have made it work. Yes.TRALDI: Yes. And Edmund realizes that she lacks moral fervor because he thinks the appropriate criticism should be a moral one. And as a psychological matter, it shouldn't even enter your head, I think is the idea. I'm extrapolating a bit, but if you see somebody acting this badly, to then say, “Well, geez, you're doing something that isn't in your interest”—for that to be your first thought indicates that your priorities are highly misplaced in a way that, to him, is quite unattractive.And this also struck me as a moment of—this is something we philosophers talk about. What is the distinction between prudence and morality? They both tell you what you should do, in some sense, but there's different—the shoulds have different forces, right? So Edmund has a certain moral precision and sensitivity which, actually, Fanny is basically the only person he knows—not that everybody in the house is a bad person; his father is a decent guy, and one of the aunts is okay, I think.But yes, there's a real sophistication to this evaluation. And it's funny to me that she actually used this as the—I mean, I suspect that even at the time there were readers who were just like, “Wait, I really don't get what the nature of Edmund's problem is here,” because it's not like Mary—Mary's not like, “Oh, yes, I support infidelity.” You know? She's not like— it's if you blinked, you might miss it, the mistake that Mary has made.And so I do think that even though she's not making arguments, she's not laying out philosophical theories, there is a level of precision in her thinking about virtue, which I do think is something that it took me a little aback.And I think it's part of why—one person who quote-tweeted my article was Daniel Kodsi, who's a friend of our colleague John Maier and his coauthor often. And he runs this magazine called The Philosophers' Magazine, which I had written before. And Daniel quote-tweeted my article with something like, “Add Oliver to the list of all the philosophers who love Austen.”OLIVER: And it's a long list.TRALDI: And I think it's a long list. And I do think this precision is part of it that she does, that it is—again, it's not like a philosophy journal article, but it is an intellectual sophistication that is often not present in novelists that we really appreciate.Every Word MattersOLIVER: I mean, one way people talk about the great books is to say that every word matters. And a lot of novelists will say that about their own. Well, you know, Elizabeth Bowen used to say, “What you're doing is to make everything count.” Austen is one of the examples where it's actually true. Every word is being used carefully.TRALDI: Yes. It's funny, this bears on another Twitter argument I had recently about this phrase logographic necessity. Basically, every word in a great book is there for a reason. I think that's right. Although you have to be careful about—if you were to say, “Well, every word in Plato is there for a reason, so you can't really say he's wrong about every—” you would be kind of abandoning the philosophical mission.OLIVER: I mean it in the sense of what you might call the artistic or structural integrity of the book. Not everything has to tell in the meaning sense. But it all holds as a unit for some—TRALDI: Yes. I think everything is there—there is what we could call an internal reason for everything to be there. Everything is there to hold together—OLIVER: Like the making of a piece of furniture or something.TRALDI: And I think you hear—I think this is one thing that—and not all classical music, but I think it's one thing that distinguishes classical music even from very good contemporary pop music or jazz or rock music, is that you have this sense of, “Yes, every note I hear basically is holding up a larger structure of some sort.”OLIVER: Yes. And Jane Austen is very Mozart in that way.TRALDI: Yes, I think that's right. Yes.Austen's Place in Great Books ProgramsOLIVER: So should Jane Austen have a bigger place on great books programs, based on all these things you've said about her?TRALDI: Yes, this is—so, there was actually a debate—I did not write the piece in response to this debate, but this is—OLIVER: Tanner Greer.TRALDI: Yes, there was—Tanner Greer weighed in on this, and my friend Circe. I think—OLIVER: I think they're just desperately wrong.TRALDI: You think they don't—that she—OLIVER: I think Emma is obviously a book that should be on one of these syllabuses. Maybe Sense and Sensibility.TRALDI: Yes. I think the ones I would consider are Emma, Sense and Sensibility, Mansfield Park. I do think they're actually longer than I realized, which is always—I mean, there are these very practical concerns with putting together a syllabus.OLIVER: Sure, sure. Although I want to ask you about that, because my response to a lot of these debates, which is maybe just because of where I studied, but just make them read more. And if they don't do the reading, that's their, you know—TRALDI: That's true. Well, I don't want to get into this too much. We already make them read a lot compared to—so for example, a year ago, I had my students read two novels in a week, which is more than most courses make college students read.OLIVER: But that's by no means unreasonable.TRALDI: No, no, of course, of course.OLIVER: You know.TRALDI: Well, exigencies of the teenage mind aside—OLIVER: Because I often think this, when people debate how things should be taught and why it's so important to keep these programs, and they'll talk about the importance of writing essays. And then it turns out the students maybe write one essay a semester. And I sort of think, well, who cares? All this rhetoric for one essay.TRALDI: Yes. I don't know if I'm really ever going to assign essays again. It just is—the age of AI is upon us.OLIVER: Sure. But you see what I mean.TRALDI: No, yes, I know exactly what you mean. And I do think reading a lot is the main part of—and certainly, you know, when I read all seven of these in two weeks, that's much more reading than I normally do, as well, to write this essay.OLIVER: But you didn't have to lie on the sofa afterwards with a cold compress. You were fine.TRALDI: In a way it was a really good two weeks. If you get to read—I mean, this is why we have good lives, right? If you get to read Jane Austen and you call that work, it's a nice life.OLIVER: So yes, will you be putting Emma on your program?TRALDI: I would definitely consider Emma. I would definitely consider Sense and Sensibility. I would consider Mansfield Park. I think these are the ones that have—the moral element is very prominent. But it's obviously there in all of her books.OLIVER: You can have a really good moral discussion about Mansfield Park, which is a bigger, broader thing than Pride and Prejudice, for example.TRALDI: Yes, I think so. I would definitely consider—in the 1800s there were—obviously the British novel of the 1800s was a big deal, and there's—OLIVER: [laughs] We did quite well, yes.TRALDI: You all did quite well. So the ones we did at Tulsa—we had Frankenstein and Wuthering Heights and The Picture of Dorian Gray. And then we had one Irish, The Portrait of the Artist as a Young Man. And I don't think anybody—if you replaced one of those with Emma or Mansfield Park, I don't think anybody would say, “Oh, you made a horrible call.”OLIVER: I think Tanner's point was that you simply don't have that many slots for an English novel that deals with these sorts of ideas, and that it should obviously be Middlemarch because that is the bigger novel. It's about bigger questions of society. It's about the whole—it's got more greatness in it, whereas Austen is sort of more about the individual.TRALDI: So I do think that this question of greatness—I think there are some people who read Austen and they think, “Well, this is—obviously it has all these sorts of themes, but it's not great. It has this littleness to it. It has this smallness to it.”OLIVER: It's domestic.TRALDI: That is not my reading of it. I think if that's the question, I don't feel that way. I think it pulls out these great themes about the nature of virtue and the nature of moral learning, becoming a better person, the nature of love. We read Sappho. We read the Symposium.To me, you read Wuthering Heights and you say, “Oh, this is a really big book because it's about society and how trauma gets passed down, and it has these horror elements, and it's very dark.” But actually, it's quite hard to figure out, how do we turn Wuthering Heights in a discussion about how to live? With Austen, it's just completely straightforward.OLIVER: [laughs] How not to live, maybe.TRALDI: Yes. In Austen, it's just completely straightforward. This is the discussion. This is what she had in mind as well, this question of how to live. So to me, Austen is completely—in terms of her successes as an artist, she belongs. In terms of her themes, she belongs. So I would not rule her out. I think she is absolutely a great, and who knows what that means, but I think she would be completely appropriate on any of these syllabi.Reading PlansOLIVER: Very good. And what will you read next?TRALDI: What will I read next? I mean, our—from the beginning, I'm thinking I should read some more poetry. It's been a while. Actually, speaking of—this is funny. Well, I want to get into William Empson. He had an odd life, which I think somebody should do like a movie about him or something.OLIVER: Yes, he'd make a great movie.TRALDI: I think Empson would be a good movie. So that might be—OLIVER: Are you going to read the poems or the criticism?TRALDI: Probably a little of both, but that's for a while from now. I think, you know, at the moment I'm back to reading philosophy. So what novel will I read next? That's a good question. What should I read next?OLIVER: If you like Jane Austen?TRALDI: Yes.OLIVER: Maybe read one of the people that she admired, like Samuel Richardson or Fanny Burney, someone like that.TRALDI: You know, I do think—you saying Samuel Richardson reminded me, I've read very little Samuel Johnson. I think reading some of the great critics, I think, writing this piece—OLIVER: Oh, Johnson, yes. You would like Johnson.TRALDI: I think I would like Johnson. I think I would like Empson. The history of literary criticism is something I have very, very little idea of.OLIVER: Oh, well, then, Johnson. I mean, he's the best.TRALDI: Yes, I think I should, I should definitely read Johnson.OLIVER: English literary criticism begins and ends with Samuel Johnson.TRALDI: You know what, this is a little different, but—I might have talked about this with you a little bit—I want to read The Fable of the Bees, Mandeville, because reading about Smith—a lot of the ideas that we think of as Smithian are actually Mandevillian, and he kind of moderated them.OLIVER: Well, he hated Mandeville.TRALDI: Yes.OLIVER: Very hard on him.TRALDI: Yes. So a lot—like the invisible hand, it's only a small part of Smith's thinking, but it was like the entirety of Mandeville's thinking, this sort of dynamic.OLIVER: Well, I think it means different things for them. I think Mandeville, in a funny way, is more philosophical in the sense you were saying, and trying to make these propositions. And Smith was saying, “Well, what about feelings? What about all these funny things that we can't account for? Like, look around. It's too messy.”TRALDI: No, that makes sense to me. Yes, I think between Mandeville and Smith, Mandeville is somebody who thought virtue was sort of like a con.OLIVER: A fool's game.TRALDI: Exactly. You're sort of a sucker if you try to be virtuous.OLIVER: I think he also just assumed that if you were commercial, you were obviously on the get.TRALDI: Yes. But this is one of the great—I know we talked about this, but it's one of the great—you see this in Smith, you see this in Austen—commerce has its own virtues, and they are very traditional virtues. You have to be trustworthy. You have to be pleasant. You can't really be wholly self-interested in every moment because people have to be willing to deal with you given your—I mean, think about Yelp reviews or even just word of mouth. “Oh, that person screwed me over.”OLIVER: There's a discussion in one of Hayek's papers, which is—it's a very Smithian point he makes about, the nature of the knowledge problem means that it's not so much that I'm trying to get information about the thing you're trying to sell me, but I'm really trying to get information about you and whether you are someone I should be buying from. Which is exactly the project that the novelists and Smith—there's a sort of period between Smith and the early novelists, running through Austen to George Eliot, when they're all working on that problem together.TRALDI: Yes. I do think in Austen, it's often—the real puzzle is, how do you make out somebody else's character?OLIVER: Exactly.TRALDI: This is a phrase that Lizzy Bennet does use with regard to Darcy. And how do we actually figure out who the trustworthy and untrustworthy people are?OLIVER: And if you're too philosophical about that, in the sort of analytic sense, I think you can end up not paying enough attention to the particulars of that question.TRALDI: Yes.OLIVER: Because when you actually try and do it, it's really, really hard.TRALDI: Yes. And I think this is the sort of—reading Austen, you get a sense of—and there are very few philosophy papers on things like this. Reading Austen, you get a sense of, what sorts of details in a normal life are the ones that I can extract information from to make out somebody else's character?In philosophy, we do ask, what is a good character and what is the good action in this sort of situation? What is the bad action in this sort of situation? But it's not for the philosopher to say, “Okay, in the sorts of situations you're likely to be in, what do you pay—where do you direct your attention to try to figure out these things about?”And it's not—I don't think Austen—it's not super subtle either. In Persuasion—I mentioned in the essay—in Persuasion, it starts out by saying Anne really cared about paying off the family's debts, and the rest of her family didn't give a s**t, you know? And it's sort of like, okay, so we just immediately are like, Anne's the sort of person who you might want to have a business transaction with because if she has a debt to you, she might actually pay it. And I forget if that's the exact detail, but it's something like that, you know?OLIVER: And there's also the novelist—Jane Austen is very good at what you don't see, which aga

Send us a text or a voicemailAlpha, a troubled 13-year-old lives with her single mom. Their world collapses the day she returns from school with a tattoo of her favorite podcast on her arm. On Episode 718 of Trick or Treat Radio our feature film discussion is Alpha, from director Julia Ducournau! We also talk about National Alien Day, highly dramatic body horror films, and we react to trailers for the following upcoming films; Zach Cregger's Resident Evil, Verity, and Saccharine. So grab your Red Wind repellent, throw out all the dirty needles in your house, and strap on for the world's most dangerous podcast!Stuff we talk about: National Alien Day, Spirit Halloween, live aliens in a jar, Xenomorphs, Halloween III: Season of the Witch, Mandalorian and Grogu, Michael, Neverland Ranch, spider bites and caterpillars, the Thriller Chiller, Fear the Walking Dead, Dead City, Colman Domingo, IMAX, Antoine Fuqua, The Equalizer the Prequelizer and the Sequelizer, Antoine Fuqua, Superman, Masters of the Universe, Happy May Day, Canon Films, Vinegar Syndrome, RIP Roger Sweet, RIP Gerry Conway, Justice League, The Avengers, Fantastic Four, The Death of Gwen Stacy, Street Fighter, Courtney Cox, Cocktober, I Walked With a Zombie, Sherlock Holmes in Washington, Vampire Circus, David Prowse, Begotten, Idle Hands, Man-thing, Nightmare on Elm St., The Resort, Ana de Armas, Knives Out, Knock Knock, I Know What You Did Last Summer, Empire Records, Perry King, The Clairvoyant, Burt Young, Amityville II: The Possession, Carnival of Blood, Cloris Leachman, Young Frankenstein, Fade to Black, The Munsters, Lost in Space, Black Cat, James Remar, Karl Urban, Dredd, Resident Evil 2026, Zach Cregger, Weapons, Barbarian, Verity, Anne Hathaway, Dakota Johnson, Michael Ian Black, Michael Showalter, Saccharine, Dumplings, Bai Ling, The Three Extremes, Alpha, Julia Ducournau, Raw, Titane, Rachel from Zombie Grrlz, dystopian films, Red Wind, The Substance, what's a meta-for?, Nick Cave and the Bad Seeds, Portishead, The AIDS epidemic, Revenge, Coralie Fargeat, Why Don't You Just Die!, They Will Kill You, Andy Muschietti, Zazie Beetz, Mary Shelley, Betwixt and Between John Wicks, and Tetanus 2: The Return.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

First up, we weigh in on Kate Hudson’s ick, she knows it's controversial, and yet she said it anyway. Plus, after a year of intense online harassment, a certain Irish star has finally sat down to address the "dirty laundry" surrounding his high-profile breakup. We unpack whether the internet's take down of Barry was called for or did the pile-on go too far.And finally, the trailer for the new Colleen Hoover adaptation is here and it’s reignited a debate about one of our most iconic leading ladies. We unpack why the "Hatha-hate" narrative is resurfacing in 2026 and question why society is still so quick to turn on women at the height of their success (plus Laura spills on what Anne is actually like behind closed doors).Love binge-watching TV? The Spill has launched a new podcast called Watch Party where we deep dive into the shows everyone’s talking about. Follow the feed on Apple or Spotify now. Plus remember The Spill drops the tea twice a day in this feed so follow us for all the latest entertainment news… OR you can WATCH our show in full length video on the Apple Podcast app - make sure your phone is up to date and enjoy the watch! Link here. THE END BITS Find and follow us on socials: Instagram: https://www.instagram.com/thespillpodcast/ TikTok: https://www.tiktok.com/@thespillpod Facebook: https://www.facebook.com/thespillpodcast/ Read all the latest entertainment news on Mamamia: https://mamamia.com.au/entertainment/ Support Independent Women’s Media: https://www.mamamia.com.au/subscribe/ Your subscription helps us continue to tell the stories that matter to women. SUBSCRIPTION GIVEAWAY:Win a $2,000 Bed Threads voucher. Subscribe to Mamamia here before April 30 to be automatically entered. Current subscriber? You're already in the draw. T&Cs apply. Want to join the conversation? Have feedback or a topic you want us to discuss? Send us a voice message or email us at thespill@mamamia.com.au and we’ll get back to you ASAP! Executive Producer: Monisha Iswaran Audio & Video Producer: Michael Kean Mamamia acknowledges the traditional owners of the land on which we have recorded this podcast. From Mamma Mia. Welcome to the Spill your daily pop culture fix. I'm Laura Brodney. 00:06Speaker 2 And I'm Tina Probus and coming up on the show today, poor little Barry Kerrigan has given a bit of a tell interview to Benny Blanco about why he had to escape Hollywood even though he's in the midst of filming one of the biggest movie franchises that is going to hit our screens in the coming years. 00:22Speaker 1 So we're getting into that because there's a few layers, there's a few secret videos. 00:26Speaker 3 I'm glad you said his name first. From here and out, he would just be Barry. 00:29Speaker 1 Yeah, let's just pull that young young or Baz, because the thing is when he says his name, we's got such an irish little to it. And I wouldn't dare. I wouldn't dare trying to speak like that man. Plus, Anne Hathaway a new trailer for one of her highly anticipated movies, one of the five movie shows coming out this year has just dropped, and of course The Devil Wears prior to two is out this week. But it started a very uncomfortable conversation around her that we're gonna jump into. But first, some important breaking news, and no, it's not the fact that Laura Dern has been confirmed to replace Helena Bondum Carter on the White Lotus season, even though that was breaking news this morning. But we have something more important to discuss. 01:07Speaker 3 Yes, we are looking at what of Kate Hudson's X, which I personally am a fan of X. I think we should all be allowed to have something that we just draw as a boundary. It's okay to have boundaries. 01:18Speaker 1 Yes, So Kate Hudson, who I'm going to say, I love a Kate Hudson interview because that's the lovely thing about growing up as the golden child of a NEPO baby family is like that girl can say whatever she wants in the nicest way possible. So Kate Hudson went on Watch What Happens Live with Andy Cohen this week because she's still doing promo for Running Point season two. If anyone hasn't seen that, it's on Netflix now. It's so, so, so good and she's so good in it. But one of the questions was about X, and you can see that she was like, I'm taking a stand. 01:47Speaker 3 What male behavior gives you an immediate ex Oh, oh oh, I have a Okay, I'm not this is this is going to go bad and I'm going to see it anyway and maybe headline It's fine, Okay. 02:00Speaker 1 I have a real issue with guys who like really lead with their spirituality in a in a way. 02:10Speaker 3 That you're like, why are you? I don't know, what are you doing? 02:13Speaker 1 Why am I? 02:15Speaker 3 I'm like it just immediately a red flag like something's off, yes, not right. Yeah, I have no issue with that. Thank you, Kate Hugs. 02:26Speaker 1 I love how much she had to carry out that, Like she's like, should I say it? Should I not say it? Should I speak on it? Should I? She's like, I know this is going to cause headlines. Like when I saw that, I like leant up in my seat. Yeah, what is this girl going to say? That's going to ignite these international headlines? And I'm gonna say it. Wasn't overly disappointed, Like I was not expecting her to say spirituality just because of who she is, everything we know about her for her entire life. 02:50Speaker 3 You know, surely she has someone very specific in mind. She was that one guy exactly. 02:55Speaker 1 I feel like there's a backstory here. Okay, First of all, what do you think of that as an it would that turn you off? 02:59Speaker 3 I guess in terms of spirituality, are we talking religion or more like woo woo? 03:04Speaker 1 I think in her case, I'm thinking like super woo woo. 03:07Speaker 3 I feel like both might put me a little bit off to leave with that, like it's not your whole personality. 03:13Speaker 1 Yeah, I think I think there's a bit of a backstory there we're not getting. But I can read between the lines is that this woman has been in the dating pool at many times of her life in a really specific place, like in the kind of Hollywood world of like La. She's been raised in that area, and I think what she has encountered is a lot of men who were also raised in this kind of rich, famous Hollywood kind of those echelons of they don't have they've never like confronted in their life. They've never had to think about what to do with their lives and so or like make money and all that sort of stuff. And so that type of man or person, to be honest, like men and women can do it is that they then start to sort of be like, well, what else is there? What they like grab on to this very intense form of spirituality and that's fine, but then they make it everyone else's probes. That's when Anti Cohen, I think, says. 04:04Speaker 3 Like saying it's douchey, I feel like doo sheey. It was probably definitely a subshot, and they lead with it. 04:09Speaker 1 When he said, oh, they lead with it, and she was like, yes, So it's the kind of guy that you go on a first date with. And I just like Kate Hudson sitting down and she's a good time girl, Like she seems so fun. 04:17Speaker 3 I love her. 04:18Speaker 1 She talks out the fact that she loves to like go out and have a drink and dance and like, you know, she's just a real fun person. And I think she said some of a guy who was like, let me tell you about my ten steps. 04:27Speaker 3 Which makes me interesting. 04:29Speaker 1 I never asked you one question. I think that's who she's talking about. 04:32Speaker 3 I agree. I think that's totally fair to lead with that. I also think, like for me, someone that this sounds bad, actually no saying it. 04:39Speaker 1 If Kate Hudson can take a stand, you can mind's worse. 04:42Speaker 3 I think, oh, you're well, this isn't my ick, but just someone that has a lot of goals, like men with lots of goals. Like I dated so On once and they had like a list on their wall of like their goals, And I kind of put that on par with like spiritual thing because it's probably too far. 04:58Speaker 1 I can just hear a bunch of really fragile mens screaming right now, like we can't win. The thing is if I had no goals like being there, I think leading with it is what she's saying, and that's what you're saying too, Like if he had mentioned you in a conversation like, oh, I really want to do this one day, what's one of your goals? I'm assuming that would be fine. 05:15Speaker 3 I think it's like having interests verse, you know, outlining like this is my way of life, and like assigning your whole personality to a spirituality verse like it organically coming up at a conversation. Yeah, so maybe it's the nuance to it exactly. 05:29Speaker 1 And I just feel like after a while, like Kate hasn't has said for herself, like she was in the dating pool for like a good thirty years there from when she was a teen, and she has dated a lot of really big Hollywood celebs, a lot of musicians as in like tortured kind of musicians, and she had children with like two different musicians who seem nice but kind of get the vibe of being like very much like me and me like my art, my music. And that woman has had access to like every kind of hot man in Hollywood, and she's ended up with her friend's brother who's like out of the Hollywood world. And I like, there's a lesson in that we should love for all of us that she looked away from. And she'd known this guy for years, Danny, and they have a kid. I love bought it together now and she was just like after a while that she just kind of realized it's him. It's my friend's brother who's like not famous at all. 06:13Speaker 3 What a movie on that? 06:14Speaker 1 Yeah, yeah movie. So anyway, she's taken a stand on the biggest ick, and like people have really reacted to it. Some people in the comments are like, yeah, this is my biggest ick too, and then some people like this is awful, what a terrible thing to say. But I just think, let the woman speak, turn you off the spirituality thing. I think what she's saying too, if it's the main topic of conversation, there's no one thing. If the person's right, I think it turns you off, but I know, I know so well the kind of cuy she's talking about, who would sit down and make the whole conversation about their spirituality and like if you don't agree with everything, they think that you're wrong and they're more enlightened than you, and they'd probably do yeah, exactly exactly, and like they do, and you're just like, just chill and tell me what TV show you're watching, Like I don't need to hear your ten step spirituality and why you're going to have And I'm going to burn in hell because where you're going I don't want to go. Sorry, it sounds bad. 07:05Speaker 3 For the past year, the internet has been piling on to Barry They've been piling onto that man. 07:11Speaker 1 Coward my god key, well, he says in such a husky voice. 07:17Speaker 3 Well, some people say, some people shaking Barry Yeah, Barry Kay. And it has been piling on to Barry Kay following his split from Sabrina Carpenter, where there was swirling rumors of a cheating scandal, and they have just not left that man alone, and up until now he has never addressed the rumors. He's definitely come out and like talked about the online harassment that his face and the scale of bullying that he's come up against, which has sounded really hard, but it hasn't really slowed the pace of everything down. But now he has sat down with Benny Blanco and his podcast Friends Keep Secrets and done a little bit of a heart to heart. 07:54Speaker 4 Just on a serious note. You know, I feel in the safe space to see this. And you know what, I have been avoiding stuff. I have been like, you know, I came off Instagram, you know, on social profiles. I stopped going to events. I've stopped you know, just socializing. And again it's because you know, there was a narrative out there that was never really sort of even spoken on a narrative that's not true, and I never confirmed or said anything about it, and you know, I just disappeared. 08:29Speaker 1 So there's a lot of interesting things about that podcast. Clip one is just the fact that that podcast in general, like I've watched Benny Blanco's podcast a few times, those men just sit on the floor. 08:39Speaker 3 It's kind of chill vibes. 08:40Speaker 1 Yeah, but that's not how you podcast. And I'm not getting quite try that. Yeah, I wooden floor exactly about us, and we had to record during all those years of lockdown, like building a pillow fort, building a mattress tent, all those sorts. 08:55Speaker 3 Of things, because they're in pants, they're not inside. 08:58Speaker 1 That's not why sometimes I can just not just men famous people can just really do the better of them going through that. I mean, Barry did look very relaxed. He's sitting cross legged on the floor. But this is one interesting thing where it's like watching the podcast does give you a bit more than just listening to show there's people in the background just making tea in the kitchen and all those things. They must have excellent microphones not to pick up that background noise. But watching Barry's kind of like he his shoulders really slump. He puts his head down. You can see that he's like having difficulties speaking about it. But he's obviously had this really pent up inside and it's something that like he hasn't spoken on since the breakup with him and Sabrina Carpenter happens. So in that interview he kind of confirms they did date for over a year. He doesn't get into any of the specifics of why they broke up or anything. Like that. But he is in the midst of filming the Beatles movies, which is a huge, huge role that like every actor in Hollywood was going out for those Beatles roles, and it's going to be just kind of like this huge movie moment. So he's been in big movies before, but he's about to be in like a blockbus essentially, and so I think he knows that, like, he's got huge rounds of press in the next couple of years coming, and he also just needs to be in the public eye for his job in general. So wonder this was a bit like trying to clear the conversation before he goes back into. 10:14Speaker 3 That, and the scale of the harassment is it's quite disgusting because he has grown up with a lot of adversity. He speaks a bit in this interview about how people, you know, dragging his late mother into things she was an addict, and then he also has his own struggles with addiction. So I think stooping to that level and having to be constantly faced with that kind of commentary would be really hard when you know you've got this massive press run coming up. 10:40Speaker 1 Yeah, exactly, And it was, Yeah, it was kind of interesting. When he and Sabrina broke up, because they were never like overly overly public about their relationship, but they were photographed together a lot, and they did like when she did her Vogue with Come like he's in the video clip as well, Well, he's in the video clip, yes, yes, But prior to that, like they did there, like they were never like posing the heaps couple photos. They were never like on each other's Instagram stories. She never said like, this is my boyfriend Barry. That's like the three year master yeah, celebrity exactly. But the first time they really confirmed their relationship in a very public way was when she was doing a get Ready with Me behind the scenes video with Vogue before the Met Gala, and he walked into the room so it looked like he had an joining room, and he walked in and they were like, you know, the little kiss and a little to get like very clearly, very coupply. And then they've been photographed together since then, but never in like a like that was their kind of big moment. And then when they read the video clip together that was obviously huge. Yeah, and just like kind of like a cute, floirty thing. But I think one of the reasons why their breakup was so so public, there's a few different reasons. One is that, like we had song lyrics to fall back on, and as anyone who's daily Taylor Swift or any musician knows, that's gonna get you every time. Because she was like, please don't embarrass me, and everyone's like, and he did, and that was like a battle cry that people got really ferocious about. 11:56Speaker 3 Yeah, I think as well. It's something so relatable for people, and that's why it's like easy to latch onto it because everyone probably has someone in their life from their past that they kind of share those feelings towards. So when it's music, you I mean, I'm the kind of person that listens to music. I'm like, this is about my life. 12:12Speaker 1 Yeah, well, I guess I'm just thinking that a good song, you're like, yeah, that just hits in the right place. 12:17Speaker 3 If you're in a bas you're like looking out the window. 12:19Speaker 1 There's some lyrics that are just universal, and they're usually about heartbreak. They're always about that. One thing I thought was super interesting is he was talking about and he never gets into like the depths of him and Sabrina. But like if anyone knows anything about their relationship. You can kind of read between the lines of when they broke up. There was a huge amount of allegations that he had cheated on her, and she never came out and said it. But sometimes like she would be on stage, like she was on stage in Ireland once and she was sort of joking about like not wanting to date Irish boys again, that they were kind of like a bit of a bad idea, just like really how she A lot of people probably share that thought, Yeah, and exactly, and she was, you know, she was catering to her audience and stuff, but she never said the words Barry cheated on me. But what did happen that he brought up in this interview that I thought was really interesting is he said that a video went out from a woman who said that he had cheated with her, and that did go everywhere. And what he said I thought was really interesting and something we bring up on this pot a lot is that he said she then released a attraction video saying that she was a lion. She made it up, but no one picked up on that, which is so the case when these stories kind of they break, they come out, they burn hot and bright and a lot of times when something like that or a rumor or a misunderstanding or something happens, there is another part of the story that comes later, whether it's a retraction, a clarification, someone saying they were lying, like the full interview being released. There's always a second part to the story. But the second part of the story never gets the same traction as the first. 13:41Speaker 3 So I guess theys a lot about how people consume things as well, Like even when you see a headline, you may actually not have ever read the full story, Like you just see the headline and then that's your truth that you move forward. 13:49Speaker 1 Yeah. 13:50Speaker 3 Yeah, I remember seeing the video that went up and like there was just not really any grounds to truth with it. But if you just get that kind of like headline out of it, it kind of like takes on this whole life of its own. It is just crazy, the flow on effect that it's hard on, like you forget he's a real person. 14:05Speaker 1 Yeah, exactly. And that's why we say, like people do just read the headlines, and a lot of the time I'm just like, well, sometimes with like fame and money and everything like that is sort of just unfortunately, like the price you paid. But I thought it was really interesting where he was like, this woman came out and gave a retraction and no one, like, no one saw that, no one pitched. 14:21Speaker 3 He's so strong for one not fighting on that, well he did. 14:26Speaker 1 Yeah, And I mean, obviously I wonder if there's like how much a PR team is involved, or maybe it is also I don't know this man. Maybe this was his thought, like it was very like holier than thou, kind of a nice way to say it, because he was like, I don't know what this woman has gone through in her life, so I'm not that holy call her out. Well, yeah, I don't think yeah, to give her Barry Kaye the benefit of the doubt. That was really nice of him, if indeed that was his own thought, is like I'm not going to pull this woman through the mud and set the internet off on her because I don't know what she's been through, what's going on with her. It's sort of interesting because that's sort of this huge chain of reaction of people hating Barry. And before that he was really having a moment. He had been in an Oscar nominated movie and everyone was like, oh my god, he's a great actor and then after Saltburn, he was having such a fun cultural moment and everyone was like, oh, that tiny evil man, like so cheeky and fun, like everyone loved him, and so when he and Sabrina got together, everyone's like, oh, it's just we love that she's obsessed with like that little gremlin boy. It was really a moment on the internet too, like everyone boy is crazy, yeah, but in an endearing way, like everyone was upset in the way that only men can be, like you know, like rat Boy, fort of stuff and it's all endearing. 15:34Speaker 3 Your face was always coming up in the Rat Boy, yeah exactly. 15:37Speaker 1 So it was all that. And then stuff came out, yes, about his family and like drug abuse and all this sort of stuff, all these allegations, and he talked about it, but at the same time, like people were sort of using then his own words against him, and then people were also bringing out the fact that he was which again cernificants brought up for any other men in Hollywood. I don't know if all of a sudden we decided that Barry was going to take the flack for absent fathers everywhere? Is that? But also people were like, well, where is your son, Like he is because he has a son. People were like, you're off with Sabrina, You're not looking after your son, You're an absent father. I think at one stage he was talking about having to be away and working, but he was doing that for his son, and people were like, you're just making excuses, and all of a sudden, that like became this huge lynch pin. In a way, it's not for other men in Hollywood. Like, I'm not defending him for if he doesn't see his son, but I'm just like. 16:23Speaker 3 That's most in Hollywood. Yeah, Yeah, they're not at home raising their kids every day when they're filming movies months on end. 16:30Speaker 1 Yeah. I just think felt like it became just another thing to add to this kind of like it's very personal Eylon and like when we thought he was cute and sexy, no one cared about that. But when we thought he cheated on Sabrina carp and all of a sudden, everyone's like, you come from a drug addict family and you're a bad parent. Yeah, he was like where we were next. 16:47Speaker 3 It's a really low blow. And obviously in the industry, people are getting away with a lot more and not having you know, so many people cracked down on them. It's almost like it's easier to attack, attack on this. 17:00Speaker 1 Yeah, and again I think like a song lyric will really change the game, Like it became sort of like cute and fun to hate on Barry, and I think because it's also very easy, like there was no except for him personally, there was no stakes for anyone else Whereas I kind of looked at like the attacks on Barry, and I was like, where is this for like men in Hollywood who are like abusive towards women, or where is this for like men who have been accused and sometimes found guilty of like sexual assault or all these other things, or like physical assault, all these other things, Like they tend to sort of get more of it because sometimes that's a murky issue and interesting. 17:35Speaker 3 It's like if people don't have all the information on something that's higher stakes, then they weren't common on it at all. 17:41Speaker 1 Yeah. 17:42Speaker 3 But then if something's lower stakes and you don't even have any information at all, yeah, feel free to go wild. 17:48Speaker 1 Yeah exactly. That's I just found such an interesting and just like which parts of the internet pick up which topics, because sometimes like a man will be accused of sexual assault and not even not found guilty, but just sometimes there's not enough evidence to get to court, which is not the same thing, and everyone will be like, well, that's not ruin his life. But then everyone's like, wait, did Barry kiss someone else? Yeah, stone him to death, Like it's very because again that feels like there's less consequences for the audience. So yeah, I thought it was interesting, and I like the fact that he did come out and have that conversation and like kind of be a bit vulnerable in that way because he's really trying to gun towards this very famous act not famous, he's obviously famous, but more kind of serious actor kind of vibe, and a lot of times that comes with like not giving like being only out of DiCaprio and not giving an interview since a teen magazine like thirty years ago, and not kind of speaking on anything, only ever talking about your movies and your craft and never talking about yourself. It felt like he was kind of and like Paul mescal and other actors who are in his Jacob e. Lordie, like other actors who are in that young Hollywood about to be that next level of very famous man are all going that we don't speak in interviews. 18:53Speaker 3 Keeping it very personally. 18:54Speaker 1 Yeah, exactly. 18:55Speaker 3 He lifted the veil a bit, and I think he's a really powerful story so it would be really nice if he's able to speak about it without people throwing stones in. 19:02Speaker 1 Yes, exactly what the little man. I mean. We get maybe he did, maybe he cheated horribly on her. 19:07Speaker 3 We don't know, and if that's the case, then. 19:11Speaker 1 Exactly. But we'll like the full interview in our show notes. Who will listen to the full thing because there's a lot more than that little moment. But yeah, interesting when the Beatles movies come. 19:19Speaker 3 Out, Yes, I'm so excited. 19:20Speaker 1 Yeah, I actually think that'll be a tony hoot for him. I think people will see him in the Beatles movies, they'll love the movie and they'll be fine. 19:26Speaker 3 Yeah. 19:28Speaker 1 So it's been a huge well it's been a huge month year, but also week this week for Anne Hathaway because The Devil West Prota two is finally I'm not gonna do it this movie. Huge week for us. We went to the premiere of The Devil Wears Pritor two this week. We can't say anything about it today, but that review many many thoughts on that are coming. So the Devil Wes Protor two is out starring Anne Hathaway. Of course, it's one of the many movies she has coming out this year, so Mother Mary, where she plays a pop star, The Devil Wes Protor two, obviously, The Odyssey, Christopher Nolan's new movie, which is going to be an absolutely huge blockbuster packed with Hollywood talent. She's in that Flower Veil Street, which is more of a sci fi mystery. This's got range. 20:07Speaker 3 Yeah, she's got range. 20:08Speaker 1 He's got range. And also Verity, which is coming out in October, which is a new thriller based on Colleen Hoover's best selling book of the same name. So the trailer came out this week. It was our first look at There's been so much hype around this particular adaptation of Colleen Hoover's novel, just because it's so beer loved and has such a twisted mystery, and also the casting, because we've got Dakota Johnson playing Low and Ashley who was hired by a man called Jeremy Crawford played by Josh Hartnett. I'm loving the Josh Hartnett come back in the way Why did he ever go away? I do love that man, and so she's hired by him to ghost write novels for his best selling author wife called Verity played by Anne Hathaway. Because she's an accident, she's unable to finish, and so Dakota Johnson's character moves into the Crawford's home to work on the book, only to discover that, of course, all is not as it seems, and there is a mystery with Verity. And the trailer is like really creepy and like atmospheric, and it also has a pretty lovely pash between Dakota Johnson and Hathaway. 21:09Speaker 3 Love that they put that in the trailer. 21:11Speaker 1 Yeah, they were like, we know exactly what you guys want to see, and here it is at the top of the trailer. 21:15Speaker 3 So I haven't read the book. It looks quite dark though, like a horror. 21:19Speaker 1 Yeah, Like it's like a kind of like a horror thriller, kind of like that old school like a Rebecca type kind of like you know, mystery of like what's happening in the home. 21:27Speaker 3 Kind of thing. It's interesting seeing what people are already saying in terms of like what they expected, Like some people like this is way scary than I thought it would be like people interpreted different in their heads. 21:36Speaker 1 So and it was one of those things where like when their casting was announced that it was Anne Hathaway Duco Johns and people that quite lost their minds of that because they were very kind of like territorial overut who would play these characters. So on paper, this should actually be the best year of Anne Hathaway's life professionally. 21:52Speaker 3 She's busy because of all. 21:53Speaker 1 These movies coming out, and there's this kind of just felt like when she was on The Devil Wears prior to press to her, there was this like inten hence love and admiration for her and so on paper, everything is perfect, but of course there's a bit of a different conversation bubbling around in the background. Do you remember, like it was nearly eight years nine years ago now that the Half a Hate started? Do you remember this dark time. 22:18Speaker 3 In our history this time? 22:19Speaker 1 Yeah, well, hopefully not on the internet because it was not a nice stay. 22:22Speaker 3 I don't think I was part of this movement because I wouldn't want to stand for that slander. Well no, exactly exactly. 22:27Speaker 1 So it was a dark time in history where Anne Hathaway had grown up as one of the most beloved actresses because we were introduced to her in The Princess Diaries, iconic Disney film Perfection Can Do No Wrong, and then obviously she had other movies like Ellen Enchanted, so you know, she really a lot of people really grew up with her as their actress, as the person that they would like. You know, people would be like, the first time I went to the movies was to see Ella Chanted, or like the first time, like my friends and I had to sleepover, we watched The Princess Diaries, like it was that kind of way. 22:55Speaker 3 She had a very like soft transition into womanhood as well from that, like Disney Girl. 23:00Speaker 1 And then when she got The Devil Wears Prata, which was it became a huge iconic movie and it was a big deal at the time, but not like it kind of became when the movie came out, and she has spoken very openly that she was about fifth on the list of actresses, so like they had to a lot of people had to say no to the role, and she had to go through like a lot of negotiations and auditions to get that role, and then that kind of was her big star making turn because that movie was sush a blockbuster. She's so great in it, and then she went on to like have all these other big movies that followed it. It was around the time of when she was starring in lay Miz that she won her first Oscar for it was her first Oscar nomination, was the first time she won. It was during the press one for that that people started to really turn against her. 23:44Speaker 3 Yeah, right, and all. 23:46Speaker 1 Of a sudden. I mean, the thing is, she was campaigning very hard for an Oscar, which is what you have to do to win. No one wins at a campaigning, even if you step aside and let your team campaign for you, you have to have a campaign. But she was front and center campaigning, and she run lot of awards leading up to the Oscar and lay Mis won a lot of awards, and people started to tire of her. They were like, she's a tryhard, she's annoying, she has theater kid energy. And one of the worst allegations against her was when Laye Miz won an award and as they were wrapping up, she jumped in on the end and thanked someone from her team, like personally, like thanked one of her managers. And there was this huge backlash, and it wasn't til years later that came out that person had been diagnosed with cancer and she just wanted to give them a shout but also even. 24:28Speaker 3 If they had it, like, let her give a shout out, Yeah, let her give a. 24:31Speaker 1 Shout out to someone in her teen And when she won the Oscar, that's also when the tables turned because she got up on stage and she and also people hated her dress. And that's neither he nor there. But the story was I didn't love it. No, okay, I just think he didn't photograph well. And but the backstory is it was, it was fine. It's a fun It's one of those engages that she is such a she's such a red carpet staple glam kind of and she'd had so many great dresses leading up to the Oscars that I just thought that wasn't the dress. It just photographs strangely because of the darts at the front. It made it look like her boobs were sticking out and the front, no, you do you know the dress't talking about? 25:08Speaker 3 No, it was a I think it. 25:10Speaker 1 Was Prada, which is ironic, and it was like straight down, pale pink column dress and it was just the way the darts were sitting. It made it look like she had breast, which I actually think is quite fun. And then it was it had a lot of detail at the back, but you couldn't see it. And so the story goes that they were rehearsing for le A mis because they were doing a music home in the Oscars, and Amanda Seifered, who was also in the movie, showed Anne hath the Way a picture of her dress that she was wearing to the Oscars the next day, and apparently Anne like lost her mind and I'm assuming just lost her mind and like, oh my god, shit, like because it was nearly identical to her dress, so different designers. Tina's just looking at a picture of the dress. 25:51Speaker 3 Now the dress is quite average. Yeah, I mean, but maybe the back, I don't know. If it was. 25:56Speaker 1 No destroying the woman's life for five years from put that it was okay. 26:02Speaker 3 Yeah. Also a lot of people. 26:04Speaker 1 Wear dresses to the Oscars because it's very serious things. A lot of times that people wear a bit more of a kind of and they want it to look timeless. 26:10Speaker 3 And and she looks beautiful, like if she was in the room she was wearing that phenomenal beautiful. 26:16Speaker 1 She looked beautiful, and I think it's fine. But what happened was, Yes, the story goes that Amanda seiphred and Anne has a way to confirm this happened, but she's never said it was Amanda, but we know, we know showed her photo and Anne was like, oh my god, that's nearly identical to my dress. And we're in the same movie and we're walking the carpet near each other and we're seeing next to each other, like, what am I going to do? So apparently she left and Amanda also left because they were both like, we can't deal with this right now. And so the night before the Oscar she had to find a new dress and that was the pink column dress, and again she won lovely moments. She's always wanted to win an Oscar. Sorry, that's fine, that's fun. That the people started hating her because she got up on stage and it was clearly a rehearsed moment, but she's an actress. What do you want from her? It was clear rehearse moment. She up and instead of speaking, she took a moment of silence. She looked down the Oscar and it's like and she just stared at and then she goes it came true, as in, like I wish for this and it came true. 27:10Speaker 3 Yeah, oh again, is that so fine? 27:13Speaker 1 You? Like she had her Yeah. I just think people were just like. 27:16Speaker 3 Winning an oscar. Just let them do what they want with that moment. Yeah, pretty one. Just let them have antense. 27:22Speaker 1 And I thought that her speech was lovely. It was really heartfelt. She was very overcome, as you would be. And and I feel I can speak like this now because can I say I've always been on the right side of history. I defended Anne Hathaway before it was cool. Yeah, and then she spoke about like sex work and like because her character obviously in the movie, she's like, let Fantine's story kind of be like a reminder to us about this, and like she'd obviously really thought like what is this moment about, what is this character about, and what is the bigger issue? So she did all that, and then people were just like, we're so sick of her, we can't stand her. She's a try hard and the hard thing is is that she kind of I think knew the tide was turning a little bit, but it was until she like a year or so later, when the internet had been hating her for a year or so and very blatant, and was that she sat down to google something about herself because I think it was she was going to do an SNL sketch and she wanted to find a headline about herself to kind of like she had an idea for a joke. She wanted to parry it, so she googled Anne Hathaway and she said all that came up like fill the screen was like ten reasons why we hate Anne Hathaway. Here's why everyone decides they've hated Anne Hathaway. Here's the worst thing about Anne Hathaway. And she was like, oh, sorry, my god, Like yeah, she said. It was really kind of confronting to her to realize how fast spread the hate was. And then she ended up having to do like a magazine cover where she's kissing on it. I think it was Elle where she's kissing and she's like, let's kiss and make up. And I was like, girl, you have nothing to apologize. 28:44Speaker 3 No, no, and hath a ways to apologize. 28:46Speaker 1 Yeah, It's weird that, like again, we see all these men like do and I know that's like kind of a tied take that men and women get treated differently, But it's it's unfortunately very true. Is that we see like men get accused of like they screamed at this one on set, like Adam Driver threw a charity and a donner. 29:02Speaker 3 Literally, why are we not talking about that anymore? 29:04Speaker 1 Well, yes, it was part of their like rehearsal, and she's not angry at him. But also, like you know, and we have all these things of like you know, men cheating or men doing things, or even other actresses sometimes doing worse things. And the worst thing in Hathaway did was just love her to work too much. 29:18Speaker 3 She's just going to work. I've got Jacob Elodie in a million movies right now where like keep going exactly. 29:23Speaker 1 And I also and yes, there are allegations that she was rude and difficult, but we don't have any like there's no proof of that that I can also. 29:32Speaker 3 Rude or difficult or just at work being professional and asking for what. 29:36Speaker 1 She Also, no one's that I can see, No one's gone on the record to say that she was difficult to work with. In fact, it came up in a press conference once. I think it was for Interstellar. I came up on a press conference where a journalist is like, what is it like to be No One as someone who's really difficult to work with it? And it's like oh, and then Jessica Chustin jumps in and she's like, I just want to speak on this that I've worked with this woman twice now and she's not difficult to work with. But it's like saying like that part of the story of never took off, Like No One sort of was like, oh, Jessica Chustin defends Anne Hathaway. They were just like she's. 30:07Speaker 3 There these speculations of her just being lovely to. 30:10Speaker 1 Work Yeah, And there is that interview that went you know, that moment in time where like all the Blake Lively interviews were coming out around like oh, she's awful at interviews, and you watched a super cut of interviews. And it really depends how people edit things a lot of the times and the context around them. But an old interview came up with Anne hathawayen a journalist. It was four laid miss and the journalists keep saying to her it was the same journalist that Blake Lively was accused of being you know, the whole baby interesting and then they were like, oh, look like Blake Lively is getting crucified for being rude to this journalist, which she kind of was that's fair enough. And they were like, look when this like Anne Hathaway was also rude to this journalist. And this clip went viral and it was the journalist saying to Anne Hathaway like, can we can we sing our responses to each other? And apparently other people in lay Miss did it and Anne was like, oh, you can do that. I'm not going to do it. 31:00Speaker 3 That's what I would say. Yeah, yeah, I don't want to sing no. 31:04Speaker 1 And I actually think that's so fine, Like it's it's a hard line of like you're in an interview, sometimes you have to go with the bits. But I also think saying to something like maybe going into an interview and saying to someone, especially if like it's not a pre approved kind of thing, like going into a junkert where it's like every five minutes you're talking to a new journalist and a journalist coming in and saying like can we sing our interview and her being like no, thank you, And it's fair. 31:26Speaker 3 Enough because then it could go in the wrong way, and then that will be the story that spirals out of control, Like you've got to be like thinking a couple of steps ahead on Yeah, what's the output of this got to look like? And a people gonna hate on before it? 31:39Speaker 1 Yeah, exactly, And it's so interesting obviously, things like I haven't seen like the full full clip of that in terms of like it wasn't released, Like I haven't seen what happened before the cameras started rolling the cameras afterwards, So I don't know if she was rude or not, but no one cared about that was that isolated clip. And she ended up apologizing to the journalist. Yeah, and because I think she was like, oh god, this is gonna you know, I think. 31:58Speaker 3 The journalist would know as you as well, though, like this could be yes, this could be an I'm gonna shoot my shot. 32:03Speaker 1 I just think it was a moment in time. And then everyone's so back on the inn Hathaway train, as they should be, Like mymorphus loves being held to account for bad behavior. But I just don't know if there's any. 32:14Speaker 3 Bad blockbuster movies that I've seen from her. 32:18Speaker 1 There's nothing that I've seen from her that justifies the level of hatred, except that she just seems to try really hard and she's really earnest and she's a theater kid energy. 32:26Speaker 3 Which I love. 32:27Speaker 1 But I will say, like, having interviewed her myself personally, now. 32:30Speaker 3 She has her friends lovely. 32:33Speaker 1 She was really lovely, and yes, she was very kind of and I've seen her be like this in other interviews. I think because my questions were a bit more serious, which was fine because that's why I wanted. But she gave me really thoughtful answers and I really appreciated that. But I walked in the room to interview her and Meryl for Devil Words prior to too, and there was a bit of a change with the time, and I kind of got when I went in the room, I wasn't sure. I thought I was going into you know how like can go into a junk and you think it's gonna be like a holding area first, and then someone and often there's like a screen and there's all this and the PR person walks around introduces you, and then they take you in and then you're like, oh, okay, like now we're starting. Whereas I open the door and it's just Maryland's oh, right in front of me away, and they were just like oh hell. And I was the first one, so they were just like oh. They were still like settling down, putting their waters down, like Merret was drinking her water because they'd been doing a full day of press. And I was like, oh, hello, and then I didn't even introduce myself because I was like, oh, I'm yeah, and I'm like to the camera and I talked to the camera person instead of them because I said are you filming now? Because I don't want to miss my interviews? And Anne was like like really rolling yeah, you know, it's like high stakes in that room. And Anne was like, oh, sorry, what is your name? And I was like, oh, I'm sorry, it's Laura, and she is all lovely to meet you, Laura. I'm Anne, and this is Meryl. That's really I do know, but like nice to like she was sort of making sure that we had that moment of like seeing each other's names and saying hello. And then I found her really thoughtful and I just watched her because I saw her during that press day. I saw her like do a whole bunch of interviews in the morning and then do all the junk kids and then go and do a fan event that night, and I could feel that she was really like not being cautious, but really trying to make sure that she gave really thoughtful answers and that she was acknowledging people, and that she was giving people what they expected of having their moment with Anne Hathaway in a really intense way of someone who knows what it's like when that goes the wrong way. So I really appreciate it that that's lovely, and I just think it's kind of like now that I'm seeing like even like, so we put up all our Devil Wears prid of clips from the interview that was on the spill, and most of the comments are like lovely and really supportive. But I have this one clip that's got a lot of traction online where I asked her and Meryl, like, because they can't watch The Devil Wes Prita as their favorite comfort movie, what is their like what is their version of The Devil Wears Prata? And Anne gave some really lovely answers. One of them was Moonstruck that she says she watches in bed and with ice cream, which I did over the weekend I haven't seen Moonstruck for ages, but I watched it and I got some ice cream and I was like this, girls on stop like man' the same Shelle. There's also a bunch There was also like a bunch of comments under a TikTok video of people like, look how Ovalish's polite she's been to that interviewer. Look how careful she's been. And then other people were like, oh, yeah, it's because she's like got in trouble before. And everyone's like, oh, I'm getting so sick of her. 35:14Speaker 3 And I was like, guys, none of these are bad things, so she's being too careful. 35:19Speaker 1 Yeah, And I can just see that the tide is not turning against her. But I can just see because she has to be so public this year because she's mailed these movies and just the way the release schedule has fallen, they're all coming out in one go. 35:31Speaker 3 Yeah, even when people like you're so busy this year, like these have been filmed probably over the past like five. 35:36Speaker 1 Years, And I just yeah, And I just find it really interesting that we're even having this conversation in twenty twenty six about like whether or not the table should turn on and Hathaway because she hasn't done anything to deserve that, and it's just justice. 35:49Speaker 3 For Anne Yeas twenty twenty six. 35:52Speaker 1 And it's just it's interesting. As much as we keep having this conversation, it's still like the worst thing that a woman can do in Hollywood is be like two in your face and two in your in terms of like be everywhere and having to promote a movie successful also walking that fine line between like having to be like a little bit self deprecating but also like sometimes very earnest, and it's like everyone's watching you walk this tight rope of like and if you put a foot too far the other way then you have to go. And other actresses have said before, like it's anything happened to Jennifer Lawrence, Like do you remember that when she was everywhere and she won her oscar? It's always when a women wins an. 36:26Speaker 3 Oscar, whenever they're successful, people just want to like really narrow and on things. And I think that's what makes it hard again, just going back to the fact that Anna's just working, she's doing good jobs, she's booking great roles. Why would she turn them down? Yeah, She's got her biggest year ahead of her. There is absolutely no reason to hate someone based on those things. 36:45Speaker 1 No, No, and that thing is like when you ask people because people have just because I've written a lot about this in the past, Like I wrote a big piece about the haf of hate when it first was starting and being like, we need to stop this because all the reasons why, And that piece still bops up on search a lot. Whenever she's in a movie of people like Big Year for You, then yeah, guys read yeah, like I read that piece like eight years ago and every word is still correct of what people have said. But yeah, and whenever like she's in a movie or like when I've interviewed her, like the first people say like, oh, what was she really like? And I was like, she was lovely in a way that you've No one's ever asked me in that tone about any other actress I've interviewed. I've interviewed some mean actresses, to let me tell you, and no one cares about that. But yeah, I just think it's interesting of like how like women come to this moment in Hollywood, like a Jennifer Lawrence, like an nn Hathaway where they searched to popularity and then we decide that they've had too much time in the sun, or they're too quirky, or they're too earnest, and then they have to go and like hide away, I don't want and then they decide to come back again. 37:49Speaker 3 Yeah, they've got it. They've got to buy their time. 37:51Speaker 1 Yeah, so go see Devils prior to go see all of Ann Hathaway's movies. I guess, and I just hope this conversation Petere's out now. 38:00Speaker 3 Thanks so much for listening to the Spill today, And if you want to watch as well as listen, you can now watch us on Apple Podcasts. Just make sure that your iPhone is up to date and switch over to video to see our beautiful faces, or head to the YouTube channel to catch more of our video content, including celeb interviews. The Spill is produced by Minisha Zworn with video production by Michael Keene. We'll see you next time. Bye bye,Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Relationship expert, author, and Breakup Bootcamp founder Amy Chan is back, and this time she's talking dating - not just breaking up. Her new book Un-Single: How to Date Smarter and Create Love That Lasts (out April 28th) is packed with research-backed frameworks for finding the right person, and today we dig into all of it: the mathematical "secretary problem" applied to dating, why your list of standards might actually be a list of fears, and the chemical reason your butterflies disappear around the 18-month mark. Plus, we talk about real celebrity breakups - Taylor Swift & Calvin Harris, Dakota Johnson & Chris Martin - as case studies to unpack all of this.

T. Kyle does a wellness check on Brad during Madonna album campaign launch Week 1 and they discuss Coachella Weekend 1 Part 2, including Kaskade, David Guetta, and Karol G, Weekend 2 including Anyma and LISA, Sabrina Carpenter bringing out Madonna for her Weekend 2 headlining performance, Alix Earle vs. Alex Cooper and Dakota Johnson's premonitions, thent hey take a teLOgram from a T. Kyle streamer, and listen to new music from Starjunk95, Honey Dijon, John Summit, Reid, Demi Lovato, Zara Larsson, Tyla, Charli xcx's quote that got the girls riled up, Madonna's ‘Confessions II' announcement and album rollout, including “I Feel So Free” and “Bring Your Love.” Hosted on Acast. See acast.com/privacy for more information.

If there's anything romance novelist Colleen Hoover has learned from working in Hollywood for the past few years, it's that movie production moves far slower than publishing. The 46-year-old author released an astonishing 24 novels in the first decade of her career, becoming the best-selling author in the world in 2022 with titles like It Ends with Us and Heart Bones. But she has spent much of the last four years cowriting and producing an adaptation of one of them, Reminders Of Him, for big screen release this weekend. During that time, Hoover's novels have become a force at the box office. The movie adaptation of It Ends With Us raked in $350 million worldwide in 2024—despite months of nasty legal battling between stars Blake Lively and Justin Baldoni—and Regretting You scored a respectable $90 million in late 2025. This October's Verity, starring Anne Hathaway and Dakota Johnson, will mark her fourth adaptation in just over two years. By Matt Craig, Reporter Learn more about your ad choices. Visit megaphone.fm/adchoices

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Guest co-host Whitney Cummings joins.  The best friend betrayal shaking up Bravo's “Summer House.”   The shocking reason Dakota Johnson says she lost a gig.  Netflix series, “Vladmir” captures women's mid-life sensuality.  A writer's throuple sparks an internet backlash. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today on The Social, former US Homeland Security chief Kristi Noem says she’s devastated over leaked photos of her husband wearing fake breasts. Do you feel sorry for him? Then, actress Dakota Johnson reveals the “crazy” reason she lost out on a job. And, Jon Hamm gets cheeky about using a butt double. Then, should couples shower together? Plus, drama in the “Summer House”! Is it bad to date within your friend circle? And, Lisa Kudrow reveals she used to flirt with Noah Wyle on old press tours, but he didn’t realize she was doing it! And, a Miss Thailand contestant goes viral for her “enthusiastic” dance moves. Then, Kim Novak says Sydney Sweeney is too sexy to play her in an upcoming film! And, we’ve got your preview of the spring real estate market!

Laci and Matt fall into the world of Christian Grey, a mysterious and mercurial billionaire (age: 27) who enjoys flying his helicopter and tickling womens' tummies.  First, the show explores author E.L. James and how her Twilight fan fiction evolved into the worldwide bestselling Fifty Shades trilogy. Then, a cultural industry grows like a weed, trying to figure out what exactly it says about our society that we love these books, ya know?  The 2010s is also when fandom completely seizes control of the production of its favorite intellectual properties. Author E.L. James was not happy with how far the first Fifty Shades film deviated from her book, and she kept a much tighter leash on the subsequent entries. But what exactly was she unhappy with? Is Fifty Shades of Grey conservative or progressive, sex-positive or prudish, feminist or retrograde, pro-BDSM or anti-BDSM? The answer, of course, is yes.  I'll bet you five you're not alive if this movie about transactional law doesn't turn you on. Plus, we answer a sex advice question!  Next week (April 10, 2026): SEX MONTH continues with the '90s sex comedy classic Can't Hardly Wait (1998)!   Time stamps: 00:05:06 — History segment: Author E.L. James writes a Twilight fan fiction that then gets turned into Fifty Shades of Grey; the novel becomes a blockbuster, leading to huge movies and a huge cultural industry; the production of the movie is difficult; Dakota Johnson still confuses us; the #notmychristian backlash to Jamie Dornan's casting; director Sam Taylor-Johnson later expresses regret that she did the movie, claims E.L. James doesn't like her 00:43:05 — Movie discussion 01:55:19 — Sex advice question of the week: "Help! My girlfriend wants to pee on me!"  01:59:15 — Final thoughts & star ratings   Sources: "Unexpected Lessons From 'Fifty Shades of Grey'" by A.O. Scott | The New York Times (2015) - https://bit.ly/4lYHR46  "'Fifty Shades' Sequel: Author E.L. James Demands Control Over Script" by Justin Kroll & Ramin Setoodeh | Variety (2015) - https://bit.ly/4bIqIIz "Mommy porn?: Fifty Shades of Grey by EL James: review" by Laura Barnett | The Telegraph (2012) - https://bit.ly/3PJsaSq  "Sir Salman Rushdie: 'Fifty Shades of Grey makes Twilight look like War and Peace'" by Chris Irvine Chrisirvine | The Telegraph (2012) - https://bit.ly/3QaVlxP  "Sam Taylor-Johnson reveals Fifty Shades regret: 'EL James didn't like me'" by Alice Vincent | The Telegraph (2017) - https://bit.ly/4bZPC5s  "'Fifty Shades' Casting: Shailene Woodley and Other Surprise Names That Passed" by Tatiana Siegel & Borys Kit | The Hollywood Reporter (2013) -  https://bit.ly/3O9Ag6s "50 Shades film: Charlie Hunnam and Dakota Johnson cast" by Ben Child | The Guardian (2013) - https://bit.ly/3PHuolp  "Jamie Dornan fled to rural hideaway after 'ridicule' over Fifty Shades of Grey" by Vanessa Thorpe | The Guardian (2024) - https://bit.ly/4tlqFbD  "Fifty Shades Of Green: How Fanfiction Went From Dirty Little Secret To Money Machine" by Hayley C. Cuccinello | Forbes (2017) - https://bit.ly/4cgEDpo  "Christian Grey Began His Fictional Career As A Vampire" by Neda Ulaby | NPR (2015) - https://n.pr/41actGq  "Is Fifty Shades Of Grey Twilight Fan-Fiction? Origins & Inspiration Explained" by Adrienne Tyler | Screen Rant (2024) - https://bit.ly/4s7gZR1  "Fifty Shades of Grey: what BDSM enthusiasts think" by Anna Smith | The Guardian (2015) - https://bit.ly/4cgEL8m    Artwork by Laci Roth.   Check out Laci's coloring videos on YouTube! https://www.youtube.com/channel/UC-kKLhWb2g0bKA-RrvvLh0Q/  Matt has a monthly spin-off podcast covering the James Bond films! Check out PodJob: A James Bond Podcast on Apple Podcast (https://bit.ly/4jRL2K1), Spotify (https://bit.ly/4a8jM6E), and YouTube (https://youtube.com/@podjob007).   Music by Rural Route Nine. Listen to their album The Joy of Averages on Spotify (https://bit.ly/48WBtUa), Apple Music (https://bit.ly/3Q6kOVC), or YouTube (https://bit.ly/3MbU6tC).   Songs by Rural Route Nine in this episode: "Winston-Salem" - https://youtu.be/-acMutUf8IM "Snake Drama" - https://youtu.be/xrzz8_2Mqkg "The Bible Towers of Bluebonnet" - https://youtu.be/k7wlxTGGEIQ    Follow the show!  Twitter: @1weekrental | @MattStokes9 | @LRothConcepts Facebook: @1weekrental Instagram: @1weekrental TikTok: @1weekrental | @mattstokes9 Letterboxd: @loadbearinglaci | @mattstokes9 Bluesky: @1weekrental.bsky.social   1-Week Rental used to be Load Bearing Beams.

Today on The Social, former US Homeland Security chief Kristi Noem says she’s devastated over leaked photos of her husband wearing fake breasts. Do you feel sorry for him? Then, actress Dakota Johnson reveals the “crazy” reason she lost out on a job. And, Jon Hamm gets cheeky about using a butt double. Then, should couples shower together? Plus, drama in the “Summer House”! Is it bad to date within your friend circle? Featuring music journalist and producer Emilie Hanskamp.

The White Lotus has announced new cast members for Season 4, Dakota Johnson says she lost a role for being too polite and we find out the Soup of the Day!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Mitch and Isi give you 10 useful English contractions to help you sound like a native speaker! They also update you on a new, Asia-friendly 'Zoom' conversation call time. Interactive Transcript Support Easy English and get interactive transcripts and bonus content for all our episodes: easyenglish.fm/membership Show Notes Register your interest in our Asia-Friendly conversation call here: Click Here Transcript Intro Mitch: [0:22] Hiya, podcast peeps. Isi: [0:25] Hello. Mitch: [0:25] Welcome to another episode of the Easy English Podcast. Just in case you didn't know what you're... Isi: [0:32] What's your alarm for? Mitch: [0:34] That the laundry's done. Okay. Isi: [0:37] We're both eating sweeties. Mitch: [0:39] Mm-hmm. I'm eating a chocolate bar that is based on the stars, the Milky Way. I just said the name of the actual chocolate bar. So I'm eating a chocolate based on a space-themed chocolate. Isi: [0:55] We cannot make advertisement. There are also other really great... Mitch: [0:58] Space-themed chocolate bars. Isi: [1:00] Yeah, like Mars. They're probably all from the... Mitch: [1:02] Don't say Mars. Don't say the name. Isi: [1:04] You just said Milky Way. Mitch: [1:05] Oh yeah, sure. Yours is based on the planet. Isi: [1:07] Mars is the planet. Mitch: [1:08] Are there any other space... Isi: [1:09] We need to name them all now so that we don't do advertisement. Mitch: [1:11] Space-themed chocolate. Isi: [1:12] They're all yummy, yummy. Kinderriegel. Mitch: [1:13] Uranus. Oh God, what's going on? So in today's episode, we've got a few subjects to cover. The first thing I want to do, part of our 'Topic of the Week', is I realised, when making a lot of these street interviews, that there are a lot of informal contractions that people and myself are saying. And I sort of, thought it'd be good to sort of, do a rundown of maybe, 10 that you will commonly hear, that are very useful for you to try to pick up, try to integrate into your English vocabulary, into your English speaking. So I'm going to read them out and Isi, maybe you're going to tell me what two words are being contracted into one or what three words or... I think these are all mostly two words though. Isi: [1:55] This is always a test of my English knowledge, isn't it? Mitch: [1:57] A little bit, yeah. But you'll get them all, for sure. Topic of the Week Mitch: [2:07] Okay, the first one, and it's almost the same as this infamous 'bottle of water'. It's got the same sort of feel to it. Do you know what I mean? Isi: [2:18] Do you know what I mean? Mitch: [2:20] Exactly. Do you say, are you able to do this? Are you doing it in your everyday speaking? Isi: [2:25] Yeah, but it's even shorter. Mitch: [2:26] What? Isi: [2:27] Do you know what I mean? Mitch: [2:28] Do you know what I mean? Do you know what I mean? Do you know what I mean? And that's a very common one that people say. And it will almost be like a reflex kind of thing, you'll say when making a point. Like, maths is boring, do you know what I mean? Okay, next one. Probs. It is a contraction, but only of one word. Isi: [2:48] Probably. Mitch: [2:49] Probably. So how would we use this in a sentence? Mitch, is the laundry done? Probs. A classic one, which you like to use. You alright? Isi: [3:00] Are you alright. Mitch: [3:01] And you're not even saying the 'are' at the beginning. Isi: [3:03] No. Mitch: [3:06] Are you all right? Isi: [3:07] All right. Mitch: [3:08] Which can be used as a question or even just a sort of, a greeting. Isi: [3:12] All right, all right. Mitch: [3:13] You all right? And then the other person would respond. Isi: [3:16] Yeah, all right. Mitch: [3:17] Yeah, you all right? You all right, mate? Tomoz. Isi: [3:21] Tomorrow. Mitch: [3:22] Is shortening for tomorrow. Okay, here's ones that are very common that you should be using if you really want to sound like a native speaker, because everyone's using those. Those previous ones are kind of, quite informal. These ones are almost so commonly used, that they've almost become formal contractions. Dunno. Isi: [3:44] I don't know. Mitch: [3:45] I don't know. Dunno. I don't know. I don't know. What do you think? Isi: [3:49] What do you think? Mitch: [3:50] Dunno. What do you think? Gonna. Isi: [3:54] I'm going to. Mitch: [3:55] I'm going to. I'm going to. I'm going to go get the laundry in a bit. What are you going to do? Isi: [4:00] I'm going to go to the doctors. Mitch: [4:02] Nice. That is all very true statements we're saying. Isi: [4:05] For today. Mitch: [4:06] Wanna. Isi: [4:08] I want to. Mitch: [4:09] I don't wanna go get the laundry, how about you? Isi: [4:14] I don't wanna go to the doctors. Mitch: [4:16] Got... gotta or gotta. a lot of people say gotta. Isi: [4:20] Like, gotcha? Mitch: [4:21] g-o-t-t-a gotta. Isi: [4:25] I have to, I got to. Mitch: [4:27] Yeah, but I got to get the laundry. Isi: [4:30] But you would probably more say; I have to get the laundry than I got to get the laundry. Mitch: [4:34] I got to get, got to get. Isi: [4:35] Got to get, got to get. Mitch: [4:36] I got to get, got to get, got to get through this. I got to get through this. Lemme. Isi: [4:43] Let me. Mitch: [4:44] Yeah, like the singer from Motorhead. Let me go get the laundry, please. Or let me avoid the laundry duties for this week. Gimme. - Give me. - Gimme some peace of mind. Gimme shelter. Oh yeah is that... yeah the Rolling Stones song; 'Gimme Shelter'. - Yep. - Kinda. - Kind of. - It's kind of, yeah. Lemme, kinda, is spelt the same way as the singer from Motorhead but there's no 'I' at the end it's just l-e-m-m-e. Isi: [5:20] lemme kinda tell you how I'm gonna... - Wow! - Blah, blah, blah. Mitch: [5:24] We can make an Easy English contraction song. I don't know what I'm gonna wanna get a lemme, give me kinda. Isi: [5:32] Shoulda, shoulda, woulda. Mitch: [5:34] Yeah, shoulda, woulda, coulda. Isi: [5:36] Shoulda, woulda, coulda. Mitch: [5:37] Sounds like you're doing an Eminem really fast rap. I shoulda, woulda, coulda, coulda. And then sorta. Isi: [5:43] Sort of? Mitch: [5:44] Sort of. I sorta like doing the laundry, to be honest. Isi: [5:49] Do you? It's a lie, guys. No one likes to do the laundry. Do you like to do the laundry Mitch: [5:53] Not really uh outta. Isi: [5:56] I'm out of love set me free this is what did you. Mitch: [6:05] Misery. Easy English Updates Mitch: [6:16] As you may or may not know, every Tuesday, we are hosting an online conversation call for our Conversation Members, which are a group of people from all around the world, who are looking to improve their English conversational skills. So they're speaking and listening. I truly believe that the best way to improve your speaking and listening skills is just by doing it, and speaking and dusting off those cobwebs and overcoming those nerves to speak. because making mistakes is the best way for you to understand and to learn and to progress with your English speaking skills. This is absolutely the perfect place to come if you're feeling a bit nervous, or you just want to sort of shake off some cobwebs and dust which has settled on your English speaking level, that maybe you stopped doing when you left school or maybe you got a bit overwhelmed with your New Year's resolution and you stopped suddenly. Mitch: [7:13] We're offering one free group class as part of our seven-day free trial of the Conversation Membership and the reason why this is part of our Easy English Updates is, at the moment we have, like I said this class at 18:15 in British time but that doesn't allow for people that are living in Asia, so we would like to, in the summer, open up our first ever Easy English call which is going to be at a time which is friendly for Asia. So we're looking at doing it at 10:15am in England, which will equate to 15:45am in India, 18:15am in China, and 19:15am in Japan and Korea. And if you're interested in us starting this call, we would really appreciate it if you would click the link in the show notes of this podcast and that will also take you to a time conversion website, which will show you exactly what time the pub call will be at in your country. And by clicking this link, we'll be given a notification that you are interested in joining this call when we start it in summer. So if you are, like I said, looking to improve your English speaking skills in a nerve-free and inclusive way, where there's no pressure and we're going to learn all through making mistakes, then join our Easy English Conversation membership with a seven-day free trial by going to easyenglish.video/membership. It will be in the show notes, click the link and we're looking forward to greeting you and welcoming you into our conversation calls. Now back to the episode. Mitch's Movie Club Mitch: [9:01] As part of this topic, we'd like to speak about a movie that we both watched and give it a review and really recommend it. Because we, last week, watched a movie on 'Netflix' called 'Materialists'. Isi: [9:14] Are we now making an advertisement? Mitch: [9:17] No. Well, we're recommending a good movie, which I think would be very nice for any of you, anyone over the age of 18, I think it's for 16, to watch. Isi: [9:27] Did you think it was 16? There's some harder topics. Mitch: [9:31] There's some harsh language, some sexual references. Isi: [9:34] There's also sexual assault, so that should probably be for... Mitch: [9:38] Yeah, so we would like to recommend a movie to all you adults listening to this podcast. We watched a movie called 'Materialists' last week, didn't we? Isi: [9:48] Yep. Mitch: [9:48] What style would you say this movie is? Isi: [9:50] I'm not a movie person. I thought, I think it was advertised as a rom-com. Mitch: [9:59] Which means? It's another good contraction. Isi: [10:00] Romantic comedy but I would say it's not Mitch: [10:03] I would say it is. Isi: [10:04] I think it's a rom drama if that is a category. Mitch: [10:07] Nice. But there was comedy. It's dark comedy. Okay, let's put it that way. It's very like. Isi: [10:12] No I don't mean it's not funny, but it's like it's... I don't mean it's too dark to be funny, I mean it's too not funny to be funny. Mitch: [10:20] Right. Yeah okay. But there are funny moments but that's just it's kind of quite real I'd say, it's kind of like, quite a realistic comedy, realistic drama, realistic romance. Isi: [10:31] Yeah. I... yeah yeah, and I really like the cinematic style which you have to talk about because I have no idea how they're called. But it's like, it's very like, first of all the look is very New York, I would say, but in a realistic New York way, not like sparkly New York. - Yeah right. - But like, big city, bit greyish, normal colours in a nice way you have the feeling you watch, yeah, a realistic um scenery and the whole movie is quite slow paced, but in an interesting way. I like slow paced movies when you really get like into it and you completely are there, I think I not once got up. I really enjoyed the whole thing. It was not predictable, but not too much and I like that it was the you know, other rom-coms are; something funny happens, something bad happens, and then something really nice happens and yay. And this is like very subtle movements, some bad things happen, definitely. That's why it's probably should be 16 or 18, but there's like, it's like little waves, nice waves that you go with I would say. Mitch: [11:42] But can I say that there is something about it, because the rom-com has, people like rom-coms because they're predictable, right? You know that it's going to be like; two people meet, at some point there's going to be a twist, and they're going to fall out But you know the end there will be love at the end, that's the whole point of a rom-com right? Isi: [12:01] There's love at the end. Mitch: [12:02] And this has... is that, if you made it into a package. But there's always... there's something about this movie where you're never quite... there's parts where you're like, I don't know what's gonna happen next. You know there's gonna have to be something that happens, but in this movie, because there are two love interests for the Dakota Johnson who's the... Isi: [12:21] For the Dakota Johnson. Mitch: [12:22] For the Dakota Johnson, the protagonist of the movie. But you're never quite sure what the twist is going to be and because this movie is not so glitz and glamour and sparkly, how dark it's going to get or how big the twist is going to be. I wasn't sure if maybe one of the two love interests wouldn't make it or if she would even make it at one point. There were some really uneasy feelings with this movie. And this movie is produced by my favourite production company, A24. Because A24 is kind of known for being kind of a bit like highbrow movie-making. Isi: [12:56] You said at the beginning of the film, oh, this is an A24 film, so it might be quite dark. And I was like, no, Netflix advertises it to be like very rom-com. That's why I thought I want to watch it. And then you were like, nah, it will be a bit different. And you were right. And then actually the entering scene is very like odd, not odd. looks very like why is this the scene to start with. They're like in a cave, not they are not. Like, they're a cave a cave man and a cave woman in a cave, long long time ago, having a date. - Yeah. - Anyway, that is I was like; huh! And then you were like... Mitch: [13:33] You were like; I think this movie's not right, Netflix has put us into the wrong movie. Isi: [13:37] Yeah, and then you were like; no that's A24. Mitch: [13:42] There's a lot of mo... a lot of metaphor metaphorical kind of things going on, right? At the beginning, and sort of foreshadowing what will happen in the film a little bit. Isi: [13:51] Yeah and it's nicely written Mitch: [13:54] Would you... do you want to give a little synopsis? Can you summarise the whole movie, what it's about in like two sentences Isi: [14:00] You want to spoil that Mitch: [14:01] No, don't spoil it but like what what's the kind of overall. Isi: [14:04] Um.. - theme of the movie. - The main character she's a... - The Dakota Johnsonhe Dakota the Dakota Johnson is a how are they called? - A matchmaker. - A matchmaker. So she, well for high profile people. Mitch: [14:20] Oh yeah right, a bit like Raya, but a matchmaking version of Raya. Isi: [14:23] Rich New Yorkers and she matches... well she has clients that look for love are looking for love and she matches them and puts them on dates and kind of is a bit like a therapist as well meets with them, motivates them to go into it, because often they're like having problems to open up to other people or so. Which also goes very wrong in the movie. I wouldn't say that because I think that's like a part that you don't want to know before. Mitch: [14:52] Yeah. Isi: [14:53] In a dark way. Not in a... Oh, it goes wrong. They hate each other. Mitch: [14:57] But also like the realities of modern dating maybe. The anonymous modern dating. Isi: [15:02] Yeah. She meets... a guy. - Pedro Pascal. - At a wedding of one of her clients. - Oh yeah. - And he's very into her, they begin dating , she cannot really believe that he's into her, but she doesn't really fall in love with him, because there is her old love interest, ex-boyfriend. Mitch: [15:24] Chris Evans; Captain America. Isi: [15:26] I didn't know anybody before I mean Dakota Johnson I've heard of um who is the opposite, he's like an upcoming... not really upcoming, he's like a struggling theatre actor. - Yeah. - Trying to make it in york living in a shared flat, having like doesn't have much money. Pedro Pascal is a mega mega mega mega mega rich guy. Mitch: [15:50] He's like, a nepo-baby isn't he Isi: [15:52] Yeah I think, what was his penthouse 18 million or 20 million? Like, mega rich. Anyway, so it's also all about that she always thought she's quite superficial and she wants to go for the same that all her clients ask for; rich, tall, handsome. Mitch: [16:11] It's all about the height of men. Isi: [16:13] Yeah that's also a thing but then yeah, You will see what the end will be. Mitch: [16:18] The height of men and the age of the woman is like a horrendously honest, but true theme in this movie. The men are always like, I need under 27. She's like, okay, we have this 29-year-old woman, maybe. He's like, that's basically 30 for me. And he's like a 50-year-old guy. He's like, she needs to be, he doesn't care about, yeah, that's the theme of the title of the movie, Materialists. But it's funny but very true. Like it's a really sort of, honest, mirror image of today's world of dating, right? Isi: [16:52] Yeah. You would hope it's different already, but it's not. Mitch: [16:55] Right. Isi: [16:55] Let me tell you. Mitch: [16:56] Is that what it is? Is it a bit of a kick in the face of modern dating, this movie? Isi: [17:01] Yeah. But all how we describe it sounds very predictable and pretentious. And I think it's not. Mitch: [17:07] Yeah. It sounds like that movie 'Hitch' with Will Smith. Isi: [17:11] It's done really, really nicely. Mitch: [17:13] It is, yeah. Yeah it definitely takes... it laughs at itself this movie and that one thing that I really liked about it, is that even though it's a rom-com and you know it's probably going to happen at the end, throughout the whole movie you're there's a very uneasy feeling about everything. There's a very there's a bit of reality sort of lingering in this sort of Hollywood movie which you'd be like, oh no something's gonna happen. It's too real for there not to be something real. And yeah, it does happen right? Lots of real things happen. So there's your movie review for this week, go watch it and let us know what you think and you'll also be picking up on lots of American English while you're watching it and some very good acting. Okay, that's the end of the podcast, thank you very much for listening and for you podcast Aftershow listeners who are, Podcast Members of our membership we're going to carry on speaking for a little bit longer about some behind the scenes Easy English things and I'm also going to read a British joke to you. - Oh no. - It's a good one you'll love it, you can remember... - That's what you always say. - Say it to all of your friends. Okay anyway, thank you for listening to this week's podcast. - Thank you. - See you next time, te-ra Support Easy English and get interactive transcripts and bonus content for all our episodes: easyenglish.fm/membership

Morning Tea is your weekday hit of celebrity news, pop culture drama, and internet chaos, all in the time it takes to drink your morning coffee (or tea!). Today, we’ve got the latest casting updates, a sizzling romance, and a blockbuster movie that’s breaking all the records.☕ Laura Dern is taking on a major new project — and it centres the investigation into Jeffrey Epstein. ☕ The White Lotus season four casting just got even juicier ☕ Sophie Turner’s Tomb Raider series is on pause for an unfortunate reason ☕ Dakota Johnson is sparking romance rumours with a singer-songwriter ☕ A new box office hit has broken records, becoming Amazon MGM’s highest-grossing film ever. ☕ MAFS fans, brace yourselves — there's a spicy twist this season. Listen to Em Vernem talk about Project Hail Mary on Weekend Watch here. THE END BITSOnce you’ve devoured this morning’s celeb stories, get your daily news headlines from The Quicky here.You can now watch some of our episodes in full length video on the Apple Podcast app - make sure your phone is up to date and we can't wait for you to seeLINK: https://podcasts.apple.com/au/podcast/the-spill/id1473523403Support independent women's mediaFollow us on TikTok, Instagram and Facebook. And subscribe to our Youtube channel. Read all the latest entertainment news on Mamamia... here.Discover more Mamamia Podcasts here. SUBSCRIBE here to get 25% off an $89 annual subscription PLUS 25% off Nala. Your Mamamia discount will be applied at checkout. Then find your Nala code in the Subscriber Hub immediately after joining. Ends 1st April.CURRENT SUBSCRIBERS:Get 25% off Nala with your Mamamia subscription. Click here to get your code. Ends 1st April.CREDITSHost & Producer: Monisha IswaranMamamia acknowledges the traditional owners of the land on which we have recorded this podcast.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

This week, an Enid Blyton classic is adapted for the big screen with THE MAGIC FARAWAY TREE (04:47), while Zazie Beetz is out for vengeance in the action-horror-comedy THEY WILL KILL YOU (15:35), and Dakota Johnson considers polyamory in comedy SPLITSVILLE (30:39). Plus, in our HOT TAKE (45:20), we ask: do we *really* need any more “eat the rich” movies? If you would like to donate directly towards humanitarian aid in Gaza, please visit: ⁠MAP⁠Buy Clarisse's Wes Anderson book⁠ ⁠here⁠⁠Tweet us @FadetoBlackPod on Twitter or DM @FadeToBlackPodcast on Instagram, Blue Sky and Reddit: https://www.reddit.com/r/fadetoblackpodcast/Don't forget to subscribe, rate and review the podcast - it makes a difference! The Fade To Black Podcast is part of the Stripped Media Network.AMON:⁠ ⁠@Amonwarmann ⁠⁠CLARISSE: ⁠ ⁠@clarisseloughrey⁠⁠HANNA:⁠ ⁠@hannainesflint⁠⁠Music by ⁠The Last Skeptik⁠. We are a Stripped Media podcast.  

Welcome to a very special Money On Film miniseries!Over three episodes, Slate Money's Felix Salmon and Slate culture writer Nadira Goffe revisit three films at the intersection of culture and finance. On this episode, Felix and Nadira discuss dating and money in Celine Song's 2025 romantic comedy Materialists, which centers on a love triangle between a millionaire matchmaker (Dakota Johnson), a hunky financier (Pedro Pascal), and an old flame and out-of-work actor (Chris Evans). While not particularly romantic or comedic, the film raises questions about the role money plays in modern dating, how we select partners based on financial viability, and whether romance itself might be a bit overrated.Next time on Money On Film: Spirited Away. See you then! Hosted on Acast. See acast.com/privacy for more information.

Welcome to a very special Money On Film miniseries!Over three episodes, Slate Money's Felix Salmon and Slate culture writer Nadira Goffe revisit three films at the intersection of culture and finance. On this episode, Felix and Nadira discuss dating and money in Celine Song's 2025 romantic comedy Materialists, which centers on a love triangle between a millionaire matchmaker (Dakota Johnson), a hunky financier (Pedro Pascal), and an old flame and out-of-work actor (Chris Evans). While not particularly romantic or comedic, the film raises questions about the role money plays in modern dating, how we select partners based on financial viability, and whether romance itself might be a bit overrated.Next time on Money On Film: Spirited Away. See you then! Hosted on Acast. See acast.com/privacy for more information.

Welcome to a very special Money On Film miniseries!Over three episodes, Slate Money's Felix Salmon and Slate culture writer Nadira Goffe revisit three films at the intersection of culture and finance. On this episode, Felix and Nadira discuss dating and money in Celine Song's 2025 romantic comedy Materialists, which centers on a love triangle between a millionaire matchmaker (Dakota Johnson), a hunky financier (Pedro Pascal), and an old flame and out-of-work actor (Chris Evans). While not particularly romantic or comedic, the film raises questions about the role money plays in modern dating, how we select partners based on financial viability, and whether romance itself might be a bit overrated.Next time on Money On Film: Spirited Away. See you then! Hosted on Acast. See acast.com/privacy for more information.

Welcome to a very special Money On Film miniseries!Over three episodes, Slate Money's Felix Salmon and Slate culture writer Nadira Goffe revisit three films at the intersection of culture and finance. On this episode, Felix and Nadira discuss dating and money in Celine Song's 2025 romantic comedy Materialists, which centers on a love triangle between a millionaire matchmaker (Dakota Johnson), a hunky financier (Pedro Pascal), and an old flame and out-of-work actor (Chris Evans). While not particularly romantic or comedic, the film raises questions about the role money plays in modern dating, how we select partners based on financial viability, and whether romance itself might be a bit overrated.Next time on Money On Film: Spirited Away. See you then! Hosted on Acast. See acast.com/privacy for more information.

Welcome to a very special Money On Film miniseries!Over three episodes, Slate Money's Felix Salmon and Slate culture writer Nadira Goffe revisit three films at the intersection of culture and finance. On this episode, Felix and Nadira discuss dating and money in Celine Song's 2025 romantic comedy Materialists, which centers on a love triangle between a millionaire matchmaker (Dakota Johnson), a hunky financier (Pedro Pascal), and an old flame and out-of-work actor (Chris Evans). While not particularly romantic or comedic, the film raises questions about the role money plays in modern dating, how we select partners based on financial viability, and whether romance itself might be a bit overrated.Next time on Money On Film: Spirited Away. See you then! Hosted on Acast. See acast.com/privacy for more information.

Send us Fan MailSexual confidence is empowering...until it isn't. In this episode, I explore why some women are applauded for their openness while others are reduced, judged, or dismissed for the same thing. Looking at examples like Alex Cooper and Dakota Johnson, I break down the role of status, perception, and "protection" in how female sexuality is received. This isn't about morality--it's about why the same behavior gets labeled so differently. Thanks for listening to Unscripted: A Calm Take on the Double Standard.These conversations aren't about telling you what to think. They're about slowing down and looking at things from a different angle.If you enjoyed the episode, follow the show and share it with someone who appreciates calm conversations in a loud world.And remember, visibility isn't the same thing as worth

Hi there beautiful coven, and welcome back to Disrespectfully!!  This Hump Day, we're tackling celebrity news; Timothee Chalamet insulting a whole fan base, Dakota Johnson's Calvin Klein campaign, and of course Mcdonald's infamous burger drama.  From Kristi Noem's firing to mysteriously appearing bruises, (tell me you've been there too!!,) the ladies have plenty to gab about!  This is an action packed episode definitely won't want to miss out on! In need of something cute and cozy for the winter? Get yourself or whoever's on your daddy list a tee, hoodie, or beanie from our store! Please support our show and show off your love for Disrespectfully by repping our official gear :) K Love ya bye! Buy our merch!  https://disrespectfullypod.com/ Thank you to our sponsors! Quince: Refresh your wardrobe with Quince!  Go to https://Quince.com/disrespectfully for free shipping on your order and 365-day returns Quit With Jones: Visit https://Quitwithjones.com/disrespectfully to take the free quiz and use code DISRESPECTFULLY to get 15% off your personalized quitting journey.  Me Undies: As a listener of the show, you can get 20% off your first order, plus free shipping, if you go to https://MeUndies.com/disrespectfully and enter promo code DISRESPECTFULLY. Zip Recruiter: Ask key questions, and hire faster — with ZipRecruiter. 4 out of 5 employers who post on ZipRecruiter get a quality candidate within the first day. Try it FOR FREE at https://ZipRecruiter.com/disrespect.  Ollie:  Head to https://Ollie.com/disrespectfully tell them all about your dog, and use code DISRESPECTFULLY to get 60% off your Welcome Kit when you subscribe today! Willie's Remedy: Order now at https://drinkwillies.com and use code DISRESPECTFULLY for 20% off of your first order + free shipping on orders over $95, and enjoy life in the high country. Connect with the Coven! Facebook: https://www.facebook.com/groups/1930451457469874 Reddit: https://www.reddit.com/r/disrespectfullypod/ Listen to us on Apple: https://podcasts.apple.com/us/podcast/disrespectfully/id1516710301 Listen to us on Spotify: https://open.spotify.com/show/0J6DW1KeDX6SpoVEuQpl7z?si=c35995a56b8d4038              Follow us on Social! Disrespectfully Instagram: https://www.instagram.com/disrespectfullypod Disrespectfully Tiktok: https://www.tiktok.com/@disrespectfullypod Katie Maloney Instagram: https://www.instagram.com/musickillskate Dayna Kathan Instagram: https://www.instagram.com/daynakathan Cassie Galonsky Instagram: https://www.instagram.com/cassieg2011/ Leah Glouberman Instagram: https://www.instagram.com/leahgsilberstein Allison Klemes Instagram: https://www.instagram.com/allisonklemes/ Disrespectfully is an Envy Media Production.

1. Brooks Nader Joins ‘Baywatch' Reboot, Noah Beck Joins ‘Baywatch' Reboot as Rookie Lifeguard (Variety) (19:33) 2. Chappell Roan Turns Camera on Paparazzi Hounding Her on the Street, on Video (TMZ) (28:11) 3. Dakota Johnson poses topless in Calvin Klein underwear as she bares all in her raciest shoot to date (Daily Mail) (32:19) 4. Meghan Markle shuts down As Ever rumors after Netflix debacle (Page Six) (38:07) 5. Dak Prescott and Sarah Jane Ramos Are 'Heartbroken' After Calling Off Engagement 5 Weeks Before Wedding in Italy (PEOPLE) (51:50) - Dear Toasters Advice Segment (53:54) The Toast with Jackie (@JackieOshry) and Claudia Oshry (@girlwithnojob) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Toast Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Toast Merch ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Girl With No Job by Claudia Oshry ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Camper & The Counselor⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Lean In Learn more about your ad choices. Visit megaphone.fm/adchoices

A subscriber request! A loyal listener named Rachel left a voicemail with a simple request, so Nick delivers. This one is all about the classic Saturday Night Live recurring sketch, “The Barry Gibb Talk Show.” The bits feature Jimmy Fallon as Bee Gees frontman Barry Gibb and Justin Timberlake as Robin Gibb, hosting a political panel show that quickly spins out of control. Barry screams in falsetto, Robin grins politely, and serious political topics get treated with wild harmonies and over-the-top physical comedy. Fallon and writer Steve Higgins created the sketch, and it became a fan favorite thanks to the chaos, the singing, and the sheer commitment to the joke. Nick plays several of the full sketches and shares behind-the-scenes stories about how they came together. Guest appearances from Cameron Diaz, Dakota Johnson, Madonna, and even Barry Gibb himself add to the fun. It's a full-on celebration of one of the most ridiculous and beloved recurring sketches the show ever produced. [Ep 165]

Dakota Johnson is a hunter, contractor, and family man in North Idaho. In this episode, Dakota and I discuss what connections exist between hunting media and crowded hunt units. We also get into hunting technology and how it affects the fair chase doctrine. It's a great conversation and I really enjoyed having Dakota on the show!   Follow the show on Instagram   Email: jim.huntsman@eastmans.com   Show Sponsors!   Phelps Game Calls - The game call company of The Western Huntsman! Whether looking for bugle tubes, deer calls, predator calls, reeds, anything, Phelps Game Calls is a one stop shop of quality, American made game calls. Use promo code Huntsman10 for 10% off at checkout. Visit Phelpsgamecalls.com Leupold Optics- Over 100 years of American-made optics such as scopes, binos, spotters, range finders and more. Leupold sets the standard for innovation and quality without selling out. Leupold not only makes excellent products for any hunt, but they work hard for the future of hunting through their incredible support of many different conservation organizations. Support the companies that support you, check out Leupold here: https://bit.ly/Leupold-Eastmans  Browning X-Bolt 2 - Browning is perhaps one of the top brands in American hunting. We all know this company, and they've once again moved the bar to a higher standard with the X-Bolt 2 rifle. Available in multiple cartridges, this rifle is designed for maximum, Total Accuracy, right out of the box. The Vari-Tech Stock allows this rifle to fit any person of any size. The DLX Trigger with adjustable weights is smooth as ice, and hunters can take advantage of the Plus Magazine System when maximum rounds are needed. With too many features to list here, this rifle is a no-brainer. Check it out at https://bit.ly/Browning-Eastmans    Mystery Ranch Packs- These packs have a long tradition of quality and durability. Their new hunting pack line-up has everything from solid daypacks to backcountry sizes and women's sizes. This is huge! I've never been able to find a good pack for my wife and girls that actually fit them right until I found the women's Sawtooth. Impressive load capacities, great organization, tough, lightweight, and carried on the improved Mysterium frame. Link: https://bit.ly/MysteryRanch-Eastmans    Easton Archery- Perhaps the most world renowned arrow manufacturer on the planet, these American-Made products range from hunting to target arrows to a complete accessory lineup. The Western Huntsman is proud to partner with a leader in this industry, especially since we've been a customer of theirs for many years. Feel confident going into the field with the best arrows available, there is no reason to go with lesser products on something as important as your next hunt. https://eastonarchery.com/   Columbia River Knife & Tool CRKT- From tomahawks to pocket knives, every hunter should visit https://bit.ly/ColumbiaRiverKnifeAndTool-Eastmans and poke around for your next hunt. I've given my Chogan T-Hawk a real workout on the homestead and in camp. The hunting knife line-up has something for everyone, who doesn't love shopping for knives?? Eastmans Hunting Journals - What Western Hunter doesn't know Eastmans Hunting Journals?? I've been a fan and subscriber to the magazine since I was a kid, and you should too. Between the magazine, Eastmans TagHub, and the new Mule Deer eCourse, Eastmans has something for everyone and the tools every Western Hunter should have! Check it out at https://www.eastmans.com/https://bit.ly/PhelpsGameCalls-Eastmans -Use Promo Code "Huntsman10" for 10% off!  

Jake & Seth team up to discuss Celine Song's latest film, The Materialists, starring Dakota Johnson, Chris Evans and Pedro Pascal. Let's just say after seeing this, we understand why so many people are unhappy dating right now...

In this episode, we learn that The Lost Daughter is NOT The Eternal Daughter. (We actually watched The Eternal Daughter after this but found it so boring we won't be doing an episode on it, and if we have to watch one more movie where Tilda Swinton plays more than one character, we will haunt her to the end of time.)The Lost Daughter (2021) written and directed by Maggie Gyllenhaal, based on the novel of the same name by Elena Ferrante. Starring Olivia Colman, Jessie Buckley, Dakota Johnson, Ed Harris, and Paul Mescal. Off-topic chat:Amanda: Scream with Me by Eleanor Johnson (Libby)Chance: Man vs Snake (Tubi)That's So Gothic releases episodes on the first Thursday every month. Email sogothicpod@gmail.com.Follow Chance and Amanda on Letterboxd @mrchancelee and @mcavoy_amanda. Instagram @sogothicpod Closing music "Gothic Guitar" by Javolenus 2014- Licensed under Creative Commons Attribution Noncommercial (3.0)

Paris is in full glamour mode as Haute Couture Week takes over the fashion capital and arts24 is front row for every defining moment. From headline-making celebrity appearances by Dua Lipa, Demi Moore and Dakota Johnson to historic turning points for the world's most powerful fashion houses, we unpack a season where style, culture and legacy collide. Fashion critic Samantha Tse joins us to break down the standout looks, the significance of Victoria Beckham receiving one of France's highest cultural honours and the renewed star power surrounding Couture Week.

Juliet and Amanda discuss the newly unsealed text messages between Blake Lively and Taylor Swift amid the drama on the set of 'It Ends With Us' (3:21); sightings of Taylor Swift's mom, Andrea, and Donna Kelce at Sundance (21:28); Feedback and Follow-Up on the Beckham family following Brooklyn Beckham's separation (27:28); and a couple of celebrity couples spotted out and about in the New Year, including Katy Perry and Justin Trudeau (32:04) and Dakota Johnson and Tucker Pillsbury (36:26). Finally, the two talk about Sydney Sweeney's new lingerie line and her interesting marketing tactic (38:42). Hosts: Amanda Dobbins and Juliet LitmanProducers: Jade Whaley and Belle Roman This episode is sponsored by State Farm. A State Farm agent can help you choose the coverage you need. Like a good neighbor, State Farm is there. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We are SO back. 2026 is off to a strong start with Timothée publicly thanking Kylie at the Critics Choice Awards. Also discussed: Alix Earle & Tom Brady, Marty Supreme and the orange hearts, The Beckhams, Chase Stoakes & Kelsea Ballerini, Dakota Johnson & Role Model, Heated Rivalry, and more.ShopMy: https://shopmy.us/shop/commentsbycelebsCodes:SKIMS.com - after you place your order, be sure to let them know we sent you! Select "podcast" in the survey and be sure to select our show in the dropdown menu that followsFor the next 24 hours our listeners can Buy One, Get One Free on all of Velvet Caviar's phone cases and matching accessories with our code, CBC. Visit VelvetCaviar.com and use code CBC at checkout.Wildgrain.com/CBC for $30 off your first order and free croissants for lifeCowboycolostrum.com/CBC and use code CBC at checkout for up to 25% off your entire order Bollandbranch.com/comments, code comments, for 15% off your first order plus free shipping. Exclusions apply.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, Juliet and Amanda kick off the new year with a packed episode. They begin with Timothée Chalamet's win at the Critics' Choice Awards alongside girlfriend Kylie Jenner (4:20), as well as his 30th birthday celebration (9:21). Next, they explain why Ashley Tisdale is making headlines after publishing an essay about leaving her mom group chat (12:00). Then, the two move on to updates about Leonardo DiCaprio, including how he got stuck in St. Barts and his specific Houston's order (23:58). Next, Este Haim gets married in Ojai (30:51), Kate Hudson hosts a NYE bonfire party in Aspen (37:43), and Dakota Johnson is spotted making out with Role Model, a.k.a. Tucker Pillsbury (41:05). Finally, the episode wraps up with a discussion of 'Emily in Paris' Season 6 (45:28) and, of course, some Feedback and Follow-Up (57:18). Hosts: Amanda Dobbins and Juliet LitmanProducers: Jade Whaley and Belle Roman Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on Deux/U, Deux is talking about the hottest topics of the week, including: Timothée Chalamet's birthday party Madelyn Cline Jason Sudeikis Bradley Cooper + Gigi Hadid Meghan Markle Deux/U Hotline: David Harbour, Jack Hughes + Tate McRae, Odessa A'zion + Drew Starkey, Dakota Johnson, Prince To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Wishing everyone a happy New Year, Josh and Andrew purify 2026 with fellow contributor/podcast editor/synopsis writer/ZekeFilm writer Ethan Tarantella's pick, Luca Guadagnino's remake of Suspiria! Prepare to have your head explode with an extended discussion ranging from the remake's unrelenting arthouse madness, sociopolitical talk about 70s Berlin, Rainer Werner Fassbinder, witchcraft and dance, fascism, queer theory, acclaimed actor Lutz Ebersdorf, the way Dakota Johnson says “Ohio”, and much, much more. Give your soul to a movie so powerful, overwhelming, and crammed with ideas no wonder it's one of this writer's favorite movies.Complimenting this episode includes Ethan giving an impromptu Guadagnino ranking (can you guess where After the Hunt is?) and the trio having One More Thing, recommending Kinji Fukasaku's Black Lizard, Hong Kong gangster film Exiled, along with recent shows The Chair Company, Women Wearing Shoulder Pads, and Haha, You Clowns.Next week, friends of the Take-Up join Josh to discuss the best of 2025! Until then, read on at thetake-up.com and follow us @thetakeupstl on Instagram, Twitter, Letterboxd, and Facebook. Special thanks to Social Media Manager Kayla McCulloch and Contributor Ethan Tarantella. Theme music by AMP.

Ваш любимый канал «ВОТ ЭТО английский» — теперь в аудиоформате!Попробуйте и научитесь понимать английский на слух с удовольствием

It's an episode over 200 in the making -- writer/director Sam Wineman (who also happens to be Jordan's co-host on the oft-mentioned Aughtsterion podcast!) joins us to talk about his feature debut, Hag. And you might be surprised by his horror film's connections to a very different film -- 2016's rom-com (and Dakota Johnson vehicle) How to Be Single.Then Jordan has one quick thing about another surprising movie dichotomy -- two films in theaters now starring Amanda Seyfried. Feeling Seen is hosted by Jordan Crucchiola and is a production Maximum Fun.Need more Feeling Seen? Keep up with the show on Instagram and Bluesky.

"Materialists" is an American romantic comedy-drama film written and directed by Celine Song, starring Dakota Johnson, Chris Evans, and Pedro Pascal. Set against the backdrop of New York City's luxury-driven dating culture, it follows a love triangle among a matchmaker, her ex-boyfriend, an aspiring actor, and a charming millionaire. Released over the summer by A24, it received generally positive reviews from critics and grossed $108 million worldwide, becoming A24's third-highest-grossing film and Song's highest-grossing film. Japanese Breakfast vocalist, guitarist, and primary songwriter Michelle Zauner wrote the end-credits song "My Baby (Got Nothing At All)" for the film and was kind enough to spend some time talking with us about her work and experience making the song, which you can listen to below. Please be sure to check out the film, which is now available to own or rent at home from A24. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Deux/U, Deux is talking about the hottest topics of the week, including: Recap Brittany Snow + Hunter Moreno, Ariana Grande + Ethan Slater, Timotheé Chalamet + Kylie Jenner, Dakota Johnson + mystery man, Martin Short + Meryl Streep Taylor Swift + Harry Styles Shaboozy + SZA Kendall Jenner Glenn Powell + Michelle Randolph Nina Dobrev Bravocon Text messages: Quentin Tarantino + Austin Butler, Zoë Kravotz, Patrick + Brittany Mahomes, Kit Harrington, Kris Jenner, Johnny Depp, Kaia Gerber + Lewis Pullman, Kendrick Lamar Voicemails: Ashley Graham, Stranger Things To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Peloton is offering Halloween themed classes. Vinnie shares his thoughts on meditation. Liam Hemsworth is officially ‘The Witcher' with Season 4 premiering on Netflix. Justin Trudeau says Katy Perry is the “perfect woman.” Dakota Johnson reveals her biggest red flag about men. 10 years ago this week: Star Wars was back, Taylor Swift was unstoppable, and Black Friday was peaking. China is making influencers prove their credentials in order to speak on sensitive subjects.

Bob's Movie Club has its next assignment: ‘The Family Stone' starring Diane Keaton, Sarah Jessica Parker, and Rachel McAdams. Being a Millionaire ain't what it used to be! Is Billionaire status achievable? Get ready to fall back on Saturday night. Canada might actually take home America's favorite pastime. People are now getting their Halloween candy delivered. The Bird Theory is testing how interested your partner can pretend to be - will John and Susan pass? Death is not an option: How much do you hate Kandy Korn? Could you handle a horde of bats? ‘Wicked: For Good' will NOT show Dorothy - here are our thoughts. Sending good vibes to the people of Jamaica. The pumpkin world record has been broken - again! PSA: You're not going to overdose on happiness. Plus, a crazy guy doing crazy guys things. Peloton is offering Halloween themed classes. Vinnie shares his thoughts on meditation. Liam Hemsworth is officially ‘The Witcher' with Season 4 premiering on Netflix. Justin Trudeau says Katy Perry is the “perfect woman.” Dakota Johnson reveals her biggest red flag about men. 10 years ago this week: Star Wars was back, Taylor Swift was unstoppable, and Black Friday was peaking. China is making influencers prove their credentials in order to speak on sensitive subjects. Sarah and Bob are checking in on their Bird Theory texts. Sometimes bands don't even know their best songs! Billie Eilish thought ‘Birds of a Feather' was silly, and it became the biggest hit on the album. Brad Paisley is a bizarre MLB good luck charm! We are finally getting to the Jesus H. Christ story! Apparently the saying has been around since AT LEAST the mid 1800s. Halloween decorations are getting bigger and scarier - toughen up kids! Plus, how old is that guy?

Everyone has their icks. She could never date Vinnie with this one!

Story 1: This morning, the FBI uncovered a fraud scheme straight out of Hollywood: tens of millions of dollars stolen through rigged poker games and insider sports betting, with four of New York's oldest crime families pulling the strings and prominent NBA players and coaches potentially connected. Will and The Crew break down the scope of the fraud and give you the latest updates on this developing story. Story 2: Senior Columnist for Townhall Kurt Schlichter joins Will to break down Maine Senatorial candidate Graham Platner's multiple campaign scandals, before reacting to James Carville calling for a Trump supporter "walk of shame" and Snoop Dogg caving in to the woke agenda. Story 3: Will brings The Crew back in to further discuss Platner's "tattoo-gate." They also react to Michael Jordan describing his first basketball shot in years, and Dakota Johnson's biggest turn off in men. Subscribe to ‘Will Cain Country' on YouTube here: ⁠⁠Watch Will Cain Country!⁠⁠Follow ‘Will Cain Country' on X (@willcainshow), Instagram (@willcainshow), TikTok (@willcainshow), and Facebook (@willcainnews) Follow Will on X: ⁠⁠@WillCain Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jared and Jordana are back with another movie review episode of The Materialists, directed by Celine Song and starring Dakota Johnson, Chris Evans, and Pedro Pascal. Spoiler alert!! J&J break down the film's portrayal of matchmaking as cold and transactional, and ask whether Song set out to take down the matchmaking industry altogether. From red flag roommate situations to Coke-and-beer drink orders, J&J debate every messy decision and chaotic romance. Is it a rom-com, a satire, or something much darker? Learn more about your ad choices. Visit megaphone.fm/adchoices