The Devil Wears Prada: Here Come The Hurricane!!

"A million girls would kill for this job." Cool, and now most of them are burnt out:/ 

This week we're diving into The Devil Wears Prada fan to girlboss pipeline. We're talking glow-up montages and workplace toxicity. Grab your venti latte — no foam — and gird your loins.

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Transcript

SPEAKER_02 0:00

Spoiler alert, she gets hit by a dog.

SPEAKER_00 0:06

She gets hit by a car.

SPEAKER_02 0:17

Welcome back to the Zillennial Rewatch Podcast. This one is for the girl bosses out there.

SPEAKER_00 0:24

Period.

SPEAKER_02 0:24

Today. Today we're we're talking about the devil, where's Prada? Sorry, I I can't say that without singing it, because that is like the one song from the musical that stays in my head.

SPEAKER_00 0:38

See, I didn't know there was a musical. I'm gonna be so for real. I didn't like it that much. And that's okay. I feel like if I didn't hear about it being musical, it's not that good.

SPEAKER_02 0:50

Well, I I think the the issue was that my expectations were way too high. So Elton John did the music, and I love his musicals. What? Yes, Elton John did the music. So in my head, I'm like, oh, this is gonna eat, this is gonna be so good. And then I was like, Right. Not my favorite. And I feel like it was pretty, like, pretty mixed reviews. Like a a lot of people disliked it, but I also think that that is the risk you take when you convert something that is so wildly popular as a movie, as a book, into a musical, is like people's expectations are gonna be through the ceiling.

SPEAKER_00 1:27

I really did not know that.

SPEAKER_02 1:29

We'll we'll get into it in like the way that Miranda Priestley is. Like, she's she's cold, you know, she's not over the top, like mean and conniving. And like that doesn't really read on stage, you know.

SPEAKER_00 1:43

At the end of the day, we're talking about the movie.

SPEAKER_02 1:46

Okay, let's get into it.

SPEAKER_00 1:47

Yeah, let's do it.

SPEAKER_02 1:49

Tell me a little bit about this movie.

SPEAKER_00 1:51

It came out June 20th, 2006. It was directed by David Frankel, who has also directed some other notable films. I can't think of them off the top of my head. But if you look them up, you'll be like, oh, yeah, I've probably seen that movie. Famously, it's based off the book by same title, The Devil Wears Prada, by Lauren Weisberger.

SPEAKER_02 2:13

This was tea to me. I did not know that this was a book. Candace and I were talking before we started recording, and we're like, yeah, we didn't know about the book in 2003 when it came out because we could hardly read. We in 2003.

SPEAKER_00 2:28

That part. I was looking forward to the magic school books.

SPEAKER_02 2:31

Yeah, we were not hitting the chapter books, we were not in the Barnes and Noble in the adult section. Um, so I guess it makes sense that we didn't know that it was a book. But I think this is a fun little aside that so Lauren Weisberger really did work for Anna Wintor um in 1999, and she wanted to be a journalist. And obviously the role of assistant and the role of journalist are completely different, and somebody who excels at one role might not necessarily excel at the other. Um anyway, there was um somebody who worked for Vogue who was leaving to go work at a different magazine, and this girl Lauren was like, Hey Bestie, can I come join you and work for you? Can I be your assistant? And this guy was like, sure thing. And then, same deal there. She was like still trying to, you know, get her writing published, and he was like, Girl, why don't you go take some writing lessons? I know, I know. And she had so she wasn't that great for a writer. That's to happen. She had graduated from Cornell. So like you'd think that she would be. I don't know. Um, but she took a creative writing class where she started working on an early draft of the Double Works Prada. Um, and the teacher was like, This is gold. Like, can I please show this to a book agent? And she's like, Yeah, sure. The book agent is like, I could sell this book today. Like, please, please let me sell this. And so they did. And I think I'm I'm totally gonna butcher this, but like the person who I think the book sold for like I think it was 250,000. Thank you. The person who sold the rights for the movie, I think, is the same person who worked on Forrest Gump. Like, I don't know what Yeah.

SPEAKER_00 4:24

That little like 15-16 minute podcast blurb that you sent me. I did listen to that, which is the only reason why I even know how much it was sold for. Yeah, she um sh had something to do with Forrest Gump.

SPEAKER_02 4:37

Yeah, she's not like a I don't know if she's a producer or like what that role is. But this, I mean, it was set to be big from the jump. Like, people people saw this story and they were like, oh, this is T. Like, even though it's a fictional book, everyone knowing that it was based off of Anna in real life had buy-in from the jump.

SPEAKER_00 4:58

Well, that's my first question. Was it based on her or was it based on the idea of who Anna Wintour was? Is because I've in the little like research about the parallels between Anna Wintor and Miranda Priestley, I read that like Anna isn't as cold as Miranda is. Like, that's very dramatized for TV. But like, if you did your job well and like did what you were supposed to do, she wasn't, you know, the devil.

SPEAKER_02 5:33

I think it comes down to this girl, Lauren Weisberger. She in this creative writing class was, you know, writing what she knew, and this was a an a real life experience that she had. And I'm sure that in like the drafting process, number one for the book, but then number two for like the script of the film, like I'm sure things were embellished, right? Because a boss that's like kind of mean doesn't make great cinema, you know? Like, you need somebody who is like manipulative and conniving and cutthroat. Like, I'm certain that there are some similarities. Supposedly, Anna Wintour's daughter, B, at the at the premiere, said, Mom, they they got you just right.

SPEAKER_00 6:21

They got you good.

SPEAKER_02 6:24

But like other other people that have worked with Anna Wintour are like, no, she's not like that at all. So um, I I I fear we'll never know.

SPEAKER_00 6:33

And you know what? That's okay. Because to me, they're two different people.

SPEAKER_02 6:37

Let's talk about why this movie interests us as delennial women, shall we?

SPEAKER_00 6:43

Let's do it.

SPEAKER_02 6:44

I feel like there is a very specific friction with the transition from this like aspirational hustle of the 2000s to our current work-life boundaries in the 2020s. Yeah. Um and one thing that we'll talk about a lot in this podcast is actually millennial women, which we don't really identify ourselves as, and then also Gen Z women, because the way that those two generations approach work, I feel like is so vastly different. And then there's us just like stuck in the middle, feeling kind of both sides of the fence.

SPEAKER_00 7:21

Oh, 100%.

SPEAKER_02 7:22

Let's get into it. Let's talk about the way that this movie glamorized the grind, okay?

SPEAKER_00 7:31

I hate to say it, but I love it. I love it. I love it, I love it. Because what do you mean? What do you mean? Everyone's getting up, they're like you fantasize your life. As someone who lives in the Midwest, you fantasize your life to be on a coast. I don't care where it is. California, New York, you want to be in one of them. And if you're a New York hustle and bustle girly, this movie was for you.

SPEAKER_02 7:57

No, literally.

SPEAKER_00 8:00

The way I'm like as a child, yes.

SPEAKER_02 8:03

Well, that's what I was gonna say is like as a kid, I always envisioned myself like amongst the skyscrapers. Like I would doodle skyscrapers in every notebook. Like it was one of my like go-to doodles, and seeing that opening montage in the Devil Rose Prada, where there's like aerial shots of New York, there's a lot of like shots in the movie where it starts at like ground level and then it pans up to the top of the skyscraper.

SPEAKER_00 8:31

The sky's the limit.

SPEAKER_02 8:33

No, literally, like that is how I felt when I would watch movies like this. And it's so funny because now I do live in a huge city with skyscrapers, and I'm like, ugh, I would never live in a high-rise, like with a doorman. Ew, like an amenity building. Like, I want to live in my walk-up, I want to live in my cute little neighborhood. Like, yeah, I literally hate going into the loop. I'm like, ugh, skyscrapers, ew.

SPEAKER_01 8:57

That's as a child, that was like my fantasy, you know?

SPEAKER_02 9:01

Like, yeah, if I lived in New York now, I probably would like live in Brooklyn or something. But as a kid, I was like, Manhattan, show me the skyscrapers. Like, uh uh, uh.

SPEAKER_00 9:13

Yeah, everyone wanted to be in New York City. This opening sequence, just even starting in her bathroom, but then immediately hitting the street. Like I said, it made you want to be there, made you want to live there and experience everything there was to experience in 2006 New York City. Yes. Like, if you think about it, a lot of TV shows up to this point took place in New York City. You had friends, you had living single. I'm I know that there are more out there, but those are the top two that come to my mind. Yeah. But it's like you just wanted to be there, and I don't know if it was there doing exactly what you know Andy is doing, just trying to find a job. Also at 22, I'll bring that up again. But she's supposed to be 22 years old.

SPEAKER_02 10:08

For real. At 22, I was like eating Taco Bell for breakfast. I was not. Yeah. But what what you're saying about like the opening sequence of them getting ready, I feel like you there's a lot of scenes like that in different movies of like getting ready. But I feel like it's usually for a night out. It's usually like oh, the girls are going out on the town. But this is the girls are going to work. We're getting on our lingerie, we're we're doing our makeup, we're picking out our cutest bag, our highest heels, and we're going to clock in at our job.

SPEAKER_00 10:45

Literally. It pointed out that there are people who dress for their role and people who get dressed in the morning. Am I wrong?

SPEAKER_02 10:59

No, I'm just I'm just thinking about like who I am as an adult woman. It's like I'm just someone who gets dressed in the morning.

SPEAKER_00 11:06

I just get dressed in the morning as well. Am I trying to change that actively as I approach 30? Yes. Oh, that's nice. Yeah, I'm trying. You know, you have look good, feel good. I feel like that's not always it, they don't always cross over.

SPEAKER_02 11:22

That's what's funny about watching this film from the lens of today, of us as women in our late 20s and as little kids, is like, I'm sure that when I was a child, I thought I would look that good going to work every day. I'm sure I thought I would do my hair and makeup and wear heels and do the whole nine. And now I'm like, God, I cannot be bothered to put an ounce of makeup on my face before I leave the home.

SPEAKER_00 11:50

I put mascara on for the first time yesterday in probably a week or two just to have dinner with a friend. Because I said, Oh, let me go out in public and look presentable. You know, for the girls, please. But to your point about getting up in the morning, getting dressed, putting the the lingerie on under the blazer. Yes, you have to think about like what was on TV at the time that really pushed that, I would say getting ready in the morning narrative. So six years prior to the movie, you had Miscongeniality. Which isn't really a fashion movie, but it's that, you know, glow-up trope, and we'll get into it. But then three years prior to the movie, you had what not to wear.

SPEAKER_02 12:45

I loved that show so much.

SPEAKER_00 12:47

I did too. I wanted them to come take my little kid closet and revamp it. Insane. Insane.

SPEAKER_02 12:55

For $5,000, you can get six pairs of pants, one nice dress, three shirts, and a pair of shoes. And we took all of your other clothes away, and you cannot have them back.

SPEAKER_00 13:06

And I would have I I would have been okay with it. Yeah, you had what not to wear, America's next top model.

SPEAKER_02 13:12

Girl, if we don't do a whole episode about this, we're wrong for that.

SPEAKER_00 13:16

The documentary comes out soon.

SPEAKER_02 13:19

Oh my god, perfect.

SPEAKER_00 13:20

And then along with the glow up trope of the early 2000s, The Princess Diaries.

SPEAKER_02 13:27

Dan Hathaway stays glowing up.

SPEAKER_00 13:29

That's what I'm saying. Is it okay that she had this type of role multiple times?

SPEAKER_02 13:35

I think it's the type of role that was available to women like herself at the time.

SPEAKER_00 13:39

You ape, yeah. Yeah.

SPEAKER_02 13:42

Like, what other roles were there? You know?

SPEAKER_00 13:44

I don't know. Everyone's just trying to be better to glow up.

SPEAKER_02 13:48

Speaking of the times, so this was before Instagram. This was before there were influencers. And I feel like we still were looking towards like major media outlets to tell us what to buy. And so the costume designer pre Patricia Field, she also um did costumes for Sex in the City, which I feel like is very like on the one, yes. Mm-hmm.

SPEAKER_00 14:14

Wow.

SPEAKER_02 14:15

Um, but she she literally like worked with designer brands like Chanel and Prada to be featured in this movie. And I feel like it was kind of this early seed for us as young girls that like luxury goods are something to aspire to. Like a lot of people make jokes about the Chanel boots in this movie, but like there's so many different examples of what the Chanel boots are in 2026, you know? Like, there are these like markers of success that we we are told that we should want, you know what I'm saying?

SPEAKER_00 14:51

Yes.

SPEAKER_02 14:51

Um, I uh I think we'll talk about that a little bit more later, but I just want to know, Miss Patricia Field, are you the reason why we were wearing business casual to the club? Are you the reason why everybody was obsessed with the day tonight look?

SPEAKER_00 15:09

The day tonight look like why did that happen? Granted, we were we were not part of that movement, it was before our time of our club days, which I hate to think about, but blazers in the club, a lot of chevron in the club.

SPEAKER_02 15:34

I wore a blazer to high school. Why? For what? Why did I do that?

SPEAKER_00 15:40

You really did?

SPEAKER_02 15:41

Yes. My my invitation to my like senior, what do you call that, graduation party? I'm wearing a blazer.

SPEAKER_00 15:52

I'm gonna need you to step into my office.

SPEAKER_02 15:54

Okay, so here's here's like the the the thing that we're kind of getting at is that like how you're saying we were too young to actively participate in the day to night transition, right? But we were watching shows like What Not to Wear, for example, that was emphasizing stuff like that to women. And so us as young girls were like, oh, like we should, we should do that. Like, I could do that too. And it's kind of like this delusion that you have as a child, but like to say that that did not influence us would just be wrong. Like our brains were obviously primed and ready to learn at that age, like we were easily influenced. And so we we really were like, yeah, I should probably think about how my daytime look could easily transition tonight if I change my bag and add a smoky eye. And that that was aspirational to us. We wanted to be the girl boss, we wanted to grow up to be the girl boss who was wearing the blazer at work and did her smoky eye in the bathroom on the way to dinner. It was glamorized to us as young girls.

SPEAKER_00 16:58

I'll give that to you. Let me not be harsh and let me not project my own lack of fashion at that time because I'm sure you rocked it. I'm sure you rocked it. So I'll redact my statement, I'll put out a formal apology. I'm so sorry. I have an idea of why this was happening. Business casual in the club. All because of what we're talking about right now is the girl bossing. You're staying after hours when you probably shouldn't have to. Because you want to get that promotion, you want to be known, you want to be seen, and so you're taking your business casual at work, and you're like, Oh, I'm gonna, I'm gonna be late, I'm gonna be late. You're not gonna go all the way home and then come back. Because you know, public transit in New York City, I don't know how fast it is. So if you work next to the clerk, you're just bouncing over one blazer at a time.

SPEAKER_02 17:53

And this, I feel like you could not have set us up for a better transition to talk about the million girls myth and like paying your dues and like the toxicity of the workplace. Because what you literally just said is like, well, you're probably staying after hours, i.e., unpaid labor. That's what that's what you just said, and that's what was normalized at the time.

SPEAKER_00 18:16

Terrible.

SPEAKER_02 18:18

As literally four different people in the movie say I was just a million girls. Yeah, a million girls. A million girls would kill for this job. Bullshit. They wouldn't. Well, at the time though, they would. Like, that's the thing. Yeah. There was this like scarcity mindset, and it kind of reinforced this idea that employees are replaceable. And Andy, our beloved Andy Sachs of Devil Wears Prada, she just had to accept that mistreatment because that was a prerequisite to the job that she really wanted. You know, she always said in the movie, like, I just have to do this for a year and then I just have to pay my dues and then.

SPEAKER_00 18:58

If I learned how to do a job well, I might do the same thing. You know? Cause at the end of the day, she wasn't bad at her job. She learned how to do that job really well. There's more conversation to have around that. So I'll I'll put a pin in that and we'll get to it, but I can't say that I fully disagree with her work ethic.

SPEAKER_02 19:22

So you feel you feel like there's a part of you that agrees that you just have to pay your dues to get to the top.

SPEAKER_00 19:28

When you put it like that, it sounds just really bad.

SPEAKER_02 19:30

No, no, no. I'm I just genuinely want to know. Yeah. Because I I agree with you. There's a difference between like I'm an individual and this is my work ethic, and then societal pressures that it that should be everyone's worth work ethic. I feel like that was like part of the toxicity of the early 2000s, is that that was the expectation, is that everybody had to pay their dues and everybody had to, you know, do these horrible jobs, unpaid labor, unpaid internships to get somewhere. And that was expected of everyone. And that's that is fine for some people if that's their you know heart's desire, but like if it's not yours, it felt like at that time it wasn't acceptable to say that. Versus Gen Z now is like, I'm not gonna do that, like no way.

SPEAKER_00 20:19

To kind of segue into this next section, it's because they felt like they didn't have a choice, you know. They if you want something that bad, you feel like you absolutely cannot leave that, you know, that springboard or that step one that's gonna get you to step five.

SPEAKER_02 20:38

Yeah, that was Andy's other line that it felt like she just kept on repeating the whole movie. It's like, I didn't have a choice. Her boyfriend, her friends, everybody was like, girl, where are you? Why are you not hanging out with us? And she's like, I didn't have a choice. I had to stay at my office until 10 p.m. and take this call.

SPEAKER_00 20:55

Right.

SPEAKER_02 20:56

And I do think this is very specific to women. Like, I feel like it's much easier for a man to say no, but a girl like Andy, she was socialized to be nice and be polite and you know, people please, even if it was at a cost to her. And we actually do see that cost, you know, like 100% her her her personal life kind of goes down the toilet.

SPEAKER_00 21:23

I mean, no, I wouldn't even say just her cost, everyone surrounding her. It's like at the beginning of the movie, she thinks that everyone else has just like I'm gonna say formed into this mold of who they need to be at runway. When in reality, it's like they put themselves in that mold. They're staying because they feel like eventually something is gonna pay off. It's like I'm they're just waiting. They're just waiting.

SPEAKER_02 21:55

Makes me think of Nigel.

SPEAKER_00 21:57

Ugh.

SPEAKER_02 21:58

Nigel!

SPEAKER_00 22:00

Said her personal life went to shit essentially. Um, there's some dialogue that she has with Nigel whenever it's like that animal shoot in the park, and she's like, My personal life is hanging on by a thread. And he says, That's what happens when you start doing well at your job or like doing well at work. And I said, Oh my god. And then he continues to say something along the lines of, when your life starts going to smoke, that means it's time for a promotion. I literally paused the movie and I said, Is it time for a promotion or do you need to quit?

SPEAKER_02 22:41

And that I think, like, I think that is the zillennial perspective summed up. Yes. Like, I feel like there's people on the millennial side that would be like, that means it's time for promotion. We keep going, we keep pushing, we girl boss our way to the top. And there's people on the Gen Z side that are like, if my mental health is tanking, I'm out. Like, I'm done. And then there's us who's stuck in the middle, who we do see both sides of the coin. We're like, okay, I see that this is taking a toll on me. I see that I am mentally, physically, emotionally unwell. But also I see that this is an opportunity for a pay raise. And I would like to, you know, own a home. I'd like to go on vacation. I'd like to get married. Like, I would like to have more money to attain certain things in my life. And so I I truly feel like we are we are riding that line of like, wait, what what does this mean for us? You know? I got boomer parents.

SPEAKER_00 23:44

My parents, what what generation is that? Gen X?

SPEAKER_02 23:49

Are you do you have Gen X parents?

SPEAKER_00 23:51

I think so. They were born in the 70s, they're still in their 50s.

SPEAKER_02 23:55

Let's see. Uh Generation X is 1965 to 1980. I I bring this up because I feel like there's like a much larger conversation that we could get into that we don't have time for in this episode, but like women's role in the workforce. It's it's really hard to be like a conscious human being because I feel like there's one part of us that like knows that our ancestors fought tooth and nail for the right to work, you know? Like the women who came before us saw work as liberation. Like there's that whole, I think it was maybe in the 70s, like this wave of feminism that was like, if we can work and we can make our own money, then we can be free.

SPEAKER_00 24:44

Yeah.

SPEAKER_02 24:45

And so they were advocating for the right to work, you know? And then we people say this as like a hee he hee ha ha joke on the internet now. Like, I can't believe that our ancestors fought for the right for a job. Like, I would much rather be a trad wife and stay home and like chill out. Like, I can't believe that people before me wanted to work. And so even though that's like a joke that people say, like, it kind of paints this picture of this inner conflict of like, I want the privileges that come with working, you know, like I want financial independence, I want freedom, but I feel like there's too much pressure for your job or your career to be the thing that fulfills you. Cause I I think that was kind of like the the lie that we were told in the early 2000s is that girl bossing your way to the top and having a dope ass internship like Andy Sachs at Runway would give us the life that we wanted and would fulfill us in a way that like nothing else could, and that just is literally false.

SPEAKER_00 25:49

Yeah. Damn.

SPEAKER_02 25:51

Well, it's not false. It's it's more so that like different people have different values, and some people do put they some people do value their work above all else, and that's fine, but that's not everybody, and we're kind of like conditioned socially in like the public school system to go into the workforce, you know. Like our whole our whole early life and education is so that you can go out and give a job and contribute to society. And we all like have this false belief that like once I get my dream job, like I'm gonna be so fulfilled and I'm gonna be so happy and everything's gonna be great. And your parents, I think, are the realists, and they're like, if you're working and you're earning a paycheck, you've you've done it. That's it. You know, it doesn't have to be anything more than that. I feel like we're having a very like common conversation that I've had with almost all of my friends in all different industries, is people at our age who are in their very late 20s, they're they're looking 30, straight in the face, and they're like, okay, so like, is this what I want? You know? I went to school for all of these years. I I put myself in the position to get XYZ job, and now I'm here, and I'm like, is this really what I thought it was gonna be? Um, and there's a whole like sunk cost fallacy. There's there's all these like traps that we we put ourselves in of like, well, if I leave, then blah blah blah. But I will say my friends who have the most job satisfaction are folks that have changed careers. Like my friends who are like, I actually love my job, like it's great, is is people who did a thing and then in their 20s was like, wait, this isn't what I thought it was gonna be, or I don't like it as much as I thought I would, and then they've switched. Like they are happier, or they report that they're happier than people who have stayed in their same position.

SPEAKER_00 27:43

I will say, as soon as you start, like, I don't know, thinking about work when you go home, even if you're not taking work home, but you think about work when you go home, I feel like that should be a bit of a sign.

SPEAKER_02 27:56

Okay, well, let's get into these characters because these people have no work-life balance. That is not a thing for Emily, it's not a thing for Andy, for Nigel. We see all of them working all hours of the night and day. And Miranda.

SPEAKER_00 28:12

And Miranda.

SPEAKER_02 28:13

Oh, yeah. For that matter, especially Miranda.

SPEAKER_00 28:17

Yeah. So I love this. I love what's here, the human cost, because they're all giving up something. Emily is physically letting herself wither away. That this is gonna be like conversation tree branch right now, because this could go so many ways. Um, she just doesn't eat.

SPEAKER_02 28:44

Yeah. And that was totally normal to put in a movie at this time. This I feel like was the most recent time that heroin chic was in, and everybody just was like, Yep, it's totally normal to talk about weight loss and body image and call somebody like freaking Anne Hathaway fat.

SPEAKER_00 29:01

She gained weight and then lost weight during filming. Cause she, yes. That is so stupid. The producers asked her to gain 10 pounds to visually reinforce the fish out-of-water atmosphere, her already thin character experiences in the cutthroat, weight-obsessed world of the fashion industry. Yeah, she obliged scarfing down beer, ice cream, and pizza. But then, whenever she met Patricia Field, the costume designer, she told Hathaway that she had to shed the weight to fit into the couture outfits. So it took her a month to gain it and two months to lose it. And that right there is just also like why women have such a hard time with their bodies because they don't function the way like a man's would.

SPEAKER_02 29:57

Yeah, a man could gain the weight in two weeks and lose it in two weeks, you know?

SPEAKER_00 30:01

Insane. That was Anne Hathaway's real life moment in that movie.

SPEAKER_02 30:06

I just, oh man. And like that's that's why, you know, I think we we had a very big conversation about this when we first set out to do Selenial Rewatch podcast. Is like, we're not gonna talk about how things aged because, you know, right.

SPEAKER_00 30:22

It it was of the time.

SPEAKER_02 30:24

Like, you know, nothing, nothing aged well, but God, it's it's like so it's honestly like uncomfortable to watch this day and age.

SPEAKER_00 30:32

It's just so in your face, and it's not an undercurrent, it's not an idea that maybe I'll think about later. No. Nigel literally says, something is the new something, and something is a new something, and then Andy's like, Well, I'm a size six, and he says, and that's the new 14.

SPEAKER_02 30:50

Like, yeah, yeah, literally.

SPEAKER_00 30:53

Imagine being a size six in the theater while you're watching that, and you go, Oh, that's not okay.

SPEAKER_02 31:02

Everybody was just so numb to it at the time.

SPEAKER_00 31:06

Emily's character, that's like her whole thing, is just like looking good for Paris. That's her biggest thing, is looking good for Paris. Another thing about Emily that I had a thought of was does she like her job? Because she's bragging about all the things that she gets to do. You know what I mean? Like, I get to do this for Miranda, and I get to do this for Miranda. It's like, do you get to, or are you just being pushed because you're the only one who has stuck around for this long?

SPEAKER_02 31:42

I see the like proximity to power. I don't know if it's a trope or like I feel like it's very real when like there is somebody who tries to attach themselves to someone who is a celebrity or a successful person with the hopes that like the connections and the the networking and the wealth will like rub off on them. Like, that is the vibe that I get from Emily's character. Is like, well, once I go to Paris, then I'll get all this couture stuff, and then I'll meet all these designers, and then it like it's kind of similar to Andy's, like, I just have to do this for a year, and then my career will take off.

SPEAKER_00 32:16

Emily is like that on steroids, I feel like. Yeah, I was gonna say, I'm just wondering if hers is a little more like obvious. Like, she's telling Andy from the jump, I get to do all of this because I'm gonna eventually level up. Because that's what she thinks is gonna happen.

SPEAKER_02 32:36

It's just kind of like mean girl tactics in the beginning with Andy, is like putting her in her place and being like, just so you're aware, you're below me. I'm the head bitch in charge, and you're second in command. Don't get it twisted. Don't come for my job because I've been working my ass off to get my couture in Paris, blah, blah, blah, blah, blah, blah, blah. You know, like it's kind of that like catty, caddy girl stuff that probably was very real in those workplaces at that time. Again, because of the scarcity mindset, again, because of the, you know, a million girls would want this job. Like, Emily is the character who a hundred percent bought into that and was like, I'm gonna be perfect and nobody's gonna take this from me. Spoiler alert, she gets hit by a car.

SPEAKER_00 33:29

She gets hit by a car. Like Andy, Emily is good at her job, and that's to no one's fault. She did what she had to do to get to where she is. But anyway, on to Nigel. Or were you about to say something else about Emily?

SPEAKER_02 33:48

No, I just I just love Nigel. Can I say that it took me until I was like probably like three years ago before I knew that Stanley Tucci was not gay in real life and has a wife, and I thought he was a gay icon. I'm so for real. I mean, he kind of is. He is, yeah.

SPEAKER_00 34:05

Yeah, he's not gay. I I didn't realize that him and Emily Blunt were in-laws.

SPEAKER_02 34:12

That's so fun. I love that. He falls into what we'll call the loyalty trap. So he is like Miranda's right-hand man. He will do anything for Miranda. Like, he's he's, you know, like you said, he's sacrificing a lot. And he gets screwed over by her explicitly in the movie. This pissed me like that.

SPEAKER_00 34:40

That hard that scene is hard to watch. It is. Like five minutes before that, he was like, I finally get to come to Paris and see Paris. And I'm like, oh my god. No, you don't. Because he lay it out in the way that it can like quickly be explained. Because I know I would not explain it very well.

SPEAKER_02 35:03

So Stanley Tucci's character, Nigel, believes he is going to be getting a promotion of sorts. Um, he believes that Miranda has given him the blessing to go on and take this other opportunity. Miranda finds out that she is actually going to be let go and someone else is going to take that job in order to secure her own role and stay in her position of authority and power at Runway. She promotes this other woman instead of Stanley Tucci's character instead of Nigel.

SPEAKER_00 35:38

It's the young guy. I think his name is Justin something. Is okay, is he taking over Runway? I was low-key kind of confused, but I understood that Nigel got gypped in the end.

SPEAKER_02 35:53

Okay, so after 18 years of loyal service to Miranda, Nigel was slated to become the creative director of a new prestigious fashion line under the designer James Holt. This is where Miranda needs to secure her position at Runway. She maneuvers instead and gives the James Holt job to Jacqueline, who is her like low-key enemy. Um, so she basically kind of does a little reverse switch, and instead of Nigel getting the promotion, she gives it to that other lady because that other lady was supposed to take her job. Oh what? Yeah, because Miranda was going to be replaced as editor-in-chief, and her her rival, Jacqueline, was supposed to take the position instead. So instead, she promotes Jaclyn to the role that Nigel was gonna take. That's insane. And the name James is because it's it's like that's the designer. That guy was loyal to her for 18 years, and he did he even after all of that, he still didn't quit. He's like, maybe next time, you know, maybe there'll be another opportunity.

SPEAKER_00 37:15

Well, see, I thought I was under the impression that Nigel was leaving Runway to work with James.

SPEAKER_02 37:23

Yes, technically that's what it was, and that would have been a great opportunity for him, but instead he's staying and he's waiting for Miranda's next blessing to take a promotion like that at another company or whatever, whatever, whatever. And I feel like that's where we could talk about Miranda really quickly. Yeah, let's talk about her.

SPEAKER_00 37:44

She is cutthroat. Yes. This wasn't in the original outline, but I added Miranda because she she sacrifices a lot from her personal life too. I just don't think we see it as much as everybody else because she's the one in charge.

SPEAKER_02 38:03

Well, famously she missed the twins' performance because Andy could not get her a flight in the hurricane.

SPEAKER_00 38:09

And what about it, girl? If there was a hurricane, uh no one Here comes a hurricane. That was good. That was good, that was good. She sacrifices, I would say, companionship because she already, we know that she's been divorced, we see her and her husband having not an altercation, but like a heated conversation. Probably something we're not supposed to see. And then the last straw is the divorce in Paris. And in my humble opinion, I think she just needs to have a casual dating life with a couple NDAs right about.

SPEAKER_02 38:54

You're like, she needs to go the Hollywood route, like she needs to get a hot little boy toy or two.

SPEAKER_00 39:02

Honestly, pop off, Miranda. Me and Lama were talking about this whenever I watched it, and she was like, like having a committed companionship and kids doesn't seem like the type of lifestyle you would lead with the job that she has. Yeah. And I was like, well, I don't think she chose this life, if I'm being completely honest. Like, we don't really know a lot about Miranda Priestley.

SPEAKER_02 39:28

The runway life chose her. The runway life chose her running.

SPEAKER_00 39:32

I think, well, no, I'm talking about family life. Oh. I think she probably fell in love with I'm gonna assume her first husband had kids, and then like that marriage just didn't work, probably because of her job. And then, like, she has these kids, you're not she's not just gonna abandon them. So she raises them while still working the way that she does and climbing her way to the top wherever she came from. And so it's like is she latching on to companionship because she thinks it's possible for her, or it's because it's something that she actually wants. And I have no idea if she knew what kind of life she wanted to lead from the very beginning. I'm not sure that a long-term companion and family life would have been something that she chose.

SPEAKER_02 40:34

Well, I think you're speaking to like a much broader conversation with the girl boss archetype, which is the lie, the cultural lie that you can quote, have it all. Because a fact of the matter is it is extremely hard for women to quote unquote have it all. Like literally, we work less than men. If sorry, if women, if a woman has a baby, she works less than a man, right? She has to take time off to care for her child in its early years. Whether it's, you know, just a minimum maternity leave of six weeks or 12 weeks or whatever, that is less time worked compared to her male counterparts. Therefore, that is a loss of salary, like all of those pieces. And so that is like the millennial lie that turned millennial women into these hustlers, into these, you know, quote unquote girl boss she EOs. That's why they turn to MLMs because something like an MLM would promise a millennial woman, you can have it all. I hear you that you want to be the girl boss that you are, and you want to have time with your family. Come sell my skincare products at your own time, and you can have a flexible work schedule to be with your kids. And like, MLMs are shady and a mess, and like having 60 side hustles is the fastest way to get burnt out, but women were sold this lie that like we could have it all, and I think the fact of the matter is you can have it all, but not at the same time. Like Miranda Priestley, we see her at the start of the movie. She has the kids, the husband, the great job. By the end of the movie, she doesn't have all of those things because, like you were speaking to, it's incompatible to do it all at the same time. And that is a reality that I think Gen Z women are seeing and are clocking, and they're like, oh, this generation before me is all burnt out because they've had all these toxic work environments with these crazy bosses. I don't want to do that.

SPEAKER_00 42:38

Like, I'm gonna do something else. I think that's a great segue into Andy's character actually, because she's 22, she's at the start of her like career life. She could do anything she possibly wants to. Yes, I know she wants to be a journalist, but she could literally do anything else, and this is what she chose. And I'm wondering if seeing everyone around her sacrifice stuff kind of put it in her mind, like of what we're talking about you can't have everything all at once, you know, because at the beginning of the movie she's got a boyfriend and friends, which I think they suck.

SPEAKER_02 43:28

Really? Say more. Is that like, am I wrong to think that her friends absolutely suck? I don't think that's a hot take at all. I think that those friends are living like the indie dream, like, you know, living in New York, like hustling to pay the bills, like, because Andy says one of her like early lines is like, cheers to jobs that pay the rent. And that is the value system that those friends have. Is like, I'm doing my day job so that I can pay my rent, so that I can keep living in the city that I love, so I can keep pursuing the arts, you know, culinary, whatever, whatever, whatever. But like I have to take this job to pay the rent, right? People who work at Runway, like Emily, have a different value around work. Those values become incompatible at a certain point, and we like that's where we see the breakdown of Andy and her friend. So I don't know that they suck. It's just that like the the cultural value in that friend group is a certain way, and Andy is outside of that, and she like no longer fits in there.

SPEAKER_00 44:36

Yeah. There's I hadn't thought about this until just now, but recently, I would say in the last six months, I've seen stuff on social media where you've had these influencers grow exponentially, like going from you can tell that like this just started out as something fun and it's turned into a business for them. And there's a lot of people in the middle who have seen this growth and they get mad at the person for showing off what they now have, and you know, basically showing, I'm not gonna say a luxurious life, but a life better than what they started out as on the internet, if that makes sense. And there's this dichotomy of are they out of touch or out of reach? Oh, that's fun. If you're out of touch, then all you were wanting from the beginning was money and fame and this luxurious life. But has their audience become out of reach because they've skyrocketed to this different, you know, level of I don't know, materialism and not material. What am I trying to say? Like they just don't become relatable anymore to them. But I don't think that's a bad thing. Yeah.

SPEAKER_02 46:02

Yeah. Like Anne Hathaway, like her friends might be like, oh, she's so out of touch. Like she has all this designer shit now, and like, but like she might just be out of reach. Like they, you know.

SPEAKER_00 46:16

Right. That's how I see it. Is she's just become out of reach. I at the root of Andy, I don't think she ever truly lost herself. She lost herself in the job. The one good thing I guess her boyfriend says is like, or no, she says it. Never mind. Forget about him. But she's like, I'm still the same.

SPEAKER_02 46:38

I feel like you don't like her boyfriend.

SPEAKER_00 46:39

No, I don't like her boyfriend.

SPEAKER_02 46:41

Their their dynamic of her being like, I really have no choice, and him being like, You do have a choice, Andy, you do, is just a classic, like, male not understanding a woman's like women are socialized to be polite and to be people pleasers, and it's so easy for a man to be like, Well, just don't do that, just stop doing that. And like, they don't understand how deeply it is embedded in our soul to be a people pleaser. And if your boss says jump, you say how high. Not no, you know, it's it's so much more socially acceptable for a man to be like, no. And I feel like there's a there's a divide in like heteronormative relationships of men not understanding the way that a woman operates at her job, and why can't she just stand up for herself and why can't she just put her foot down? Yeah, it's like, well, because that's easy for you to say who would you were socialized as a man where that was acceptable for you to do.

SPEAKER_00 47:34

That's the one thing he said that I agree with, and I do because she does have a choice at the end of the day. And she makes it at the end of the day, and she makes it at the end of the movie for sure. She throws that phone into the fountain, like that. But it is hard, and it took her until the end of the movie, a couple months into this job, to realize that. That's the other thing. Is like it it would probably take us a minute to realize, okay, yeah, I can step away. I can quit. I can say no.

SPEAKER_02 48:09

Really quickly, before we move on from characters, can we get back to Miranda Priestley's girl boss archetype? Like, like when we're talking about Andy and why she is responding this way, I feel like we gotta talk about Miss Meryl Streep playing this cold-hearted, calculated bitch. Actually, there's a lot of people who argue that she's she's not mean and she's not like people are like, she's just being the boss, like she's just doing her job. There's a lot of people who do not see her as a villain in this film.

SPEAKER_00 48:45

I hate to say that I see both sides because she never like towards Andy, besides her not calling her by her name for the longest time. Power move. That's a that's a power play. It is because obviously she knows her name. She's not stupid, she's not stupid, she was never mean to her, right?

SPEAKER_02 49:11

I feel like calling her fat and her clothes ugly is mean. Okay.

SPEAKER_00 49:17

When you put it, yeah, she did say that. Okay, never mind.

SPEAKER_02 49:21

But a lot of people would say, because of the industry that she was in, she had the right to say those things. And that as the boss, as the face of the company, saying, I expect my employees to look and dress a certain way, like she's allowed to.

SPEAKER_00 49:34

Oh, this is so difficult. I feel like this movie is just filled with so many things to balance between.

SPEAKER_02 49:42

And that's where I feel like the generational differences are so apparent, is like there are generations who are like, Well, of course a boss could say that to you. They're the boss, they can say whatever they want. And then there's generations that are like, I'm not gonna take that from my boss, though. Like, I won't be disrespected, and I'm gonna dress how I want to dress, and I'm gonna, you know, I feel like people always talk about like the blue-haired barista when they talk about like Gen Z employees.

SPEAKER_00 50:08

It's gonna be good every time.

SPEAKER_02 50:10

The non-binary blue haired barista at the Starbucks, like, is people's perception of Gen Z in the workplace, but like don't get it twisted.

SPEAKER_00 50:19

A blue-haired non-binary barista is not working at a big corp.

SPEAKER_02 50:23

Yes, yes, exactly.

SPEAKER_00 50:24

They're working local.

SPEAKER_02 50:26

Exactly. Her character is so polarizing, and that's what makes her excellent. Like, that's what makes her a character that we're still talking about, we're still getting into debates about. They're making a second film about because she is an icon. The way that Meryl Streep played this role, I think was so smart and so like like what I just appreciate about it is that she's not loud, she's not aggressive, she's not angry. She's she gives the energy of like, I'm not mad, I'm just disappointed, which is one of the worst things that you can hear from a mother figure, a boss, uh any person in a position of authority. Like, you don't want to hear that from them.

SPEAKER_00 51:06

Supposedly, she isolated herself from the rest of the cast as like a method acting tactic to not have any type of I would say close relationship, at least while they were filming. Obviously, we've come out of the other side and they're all, you know, cool with each other. But yeah, they would just be in different trailers, and she said that she would hear them laughing and like hear them talking, and she was sad that like she couldn't integrate herself with them.

SPEAKER_02 51:39

I heard an interview where Ann Hathaway spoke about this, and she was like, Meryl came up to me and took my hands and was like, I think you're such a talented actress. I'm so glad you have this part. I think you're gonna be the best, and I I'm never gonna give you another compliment on this set again. Like, I'm gonna go method here, and like I'm not I'm not gonna, you know, make a relationship with you, but I want you to know that I think you're great and I think this is gonna be awesome.

SPEAKER_00 52:06

Ugh, okay, so knowing that and then seeing the way that Miranda treats Andy is so interesting because, like we said, she knew her name, but decided not to call her by her name for the longest time until she like gained her respect. So, as the character, do you think I mean, obviously, from the jump, she knew that Andy was going to be good at what she did because she stood up to her. If you think about it, she's Andy's the only person that stood up to her from the very beginning of their interactions.

SPEAKER_02 52:43

Well, in that like final cab scene, which I think is so moving, is when Miranda says, Andy, you remind me of me. And Andy's like, No, like I I do all of this because I didn't have a choice. And she's like, You did have a choice. She's like, What I did to Nigel is just like what you did to Emily, and you know it, bitch.

SPEAKER_00 53:11

You know, like I think it lends itself to saying that it might have even been a reflective moment for Miranda. It's like she's had choices to make in her career to get to where she is, and I think seeing that same drive in Andy was probably very like that's why she saw herself in her because I bet you at some point Miranda was like, I don't have a choice, but you do, and you've already made them.

SPEAKER_02 53:44

So she makes the hard choice to stay on top, and to stay on top as a woman in that industry at that time, it meant being cutthroat, which I feel like kind of rolls us, kind of we'll we'll wrap up this like zillenal identity crisis here. Is like we're caught in the middle, right? Like, we see, we see, you know, the desire for the Chanel boots lifestyle, and like we see that girl boss, Miranda Priestley, living in her, you know, beautiful townhouse with the two kids and the the the great job, that house.

SPEAKER_00 54:24

A townhouse? You mean to tell me that there's a whole spiral of stairs in a New York City townhouse?

SPEAKER_02 54:32

Those things are bigger than they look.

SPEAKER_00 54:34

I'm sure. I've never been to New York. I that I would love to go to New York purely for the architecture within every like little community. Borough? Yes.

SPEAKER_02 54:46

But yeah, I feel like millennial women saw this movie and were like, oh, I want that so bad. And now millennial women, there's statistics saying that like 85% of millennials prefer remote work, they prefer flexibility and like schedule autonomy. And like that is not what is being depicted in this movie at all.

SPEAKER_00 55:09

No.

SPEAKER_02 55:10

Quite the opposite. It's you're on the clock all day, every day. You're flying from city to city, still on the clock, still working the whole time.

SPEAKER_00 55:18

But club, another club, train. That's what it's giving.

SPEAKER_02 55:24

It is. So let's wrap this up, talking about consumerism and culture, and let's get into the cerulean of it all.

SPEAKER_00 55:34

This is such a good scene, and I I just have to break it down for a second because it's everything. So Miranda goes on this whole like monologue about the color blue because Andy laughs at the girl's comment about they're just so different. It's two turbos belts, yeah. They're exactly the same girl. And you know, at the top of that scene, I'm like, yeah, I get it. They are two very similar belts, if not the same. And I chuckle. I chuckle with Andy. But Miranda lays out why this stuff, this quote unquote stuff, is tailored to us already, and we don't even know it. And so she talks about the color cerulean because Andy has on a blue sweater. Cerulean was my favorite crown in the Crayola box. I didn't know how to say it for shit, but I love that blue. I don't know what it was, but I loved it. Right. And this will come full circle. It will. But Pantone has a color of the year every year, and the first one was like at the top of 2000, like end of 99 to 2000, and it was cerulean, and it was considered the color of the millennium. So, one, I think it's interesting that that little Easter egg was planted in this movie, but when you think about Pantone and what they do with the color of the year every year, like it really sets up everything that we buy for the rest of the year. Is that not insane?

SPEAKER_02 57:26

Yeah, that's like that is what's interesting about this movie is that I feel like the middle American who was like going to like like us, you know, we're like, oh, dreaming of a big city life in the Midwest. Like people like us, people of our socioeconomic status that went to the movie theater and saw this movie, who had not studied marketing, who had not studied advertising or business. This might have been the first time that they were introduced to a concept like this of like, ah, yes, there are major corporations, there are people at the tippity top who are deciding what trickles down into us regular folks, right? Like now I feel like that's something that we're so much more aware of. And that is like why as Zillenials, we feel like this friction, this constant friction of like being a conscious consumer. Like, we don't want to partake in the evils of capitalism, yet we're not in a financial position to opt out. And that, like, that is what Miranda Priestley is saying is she was like, she's like, you think you're opting out by wearing that ugly blue sweater, but you're not, sweetie. That ugly blue sweater was chosen for you by the people at the top. And even if you think you're making some statement by being like, I'm above this, I'm not participating in it, we're all participating in it. Without choice. Yeah, and I think that's maybe I don't know, maybe that's just like a personal thing for me that I have like a hard time with is like I remember being in school and being like, man, like as soon as I graduate physical therapy school and I have a big girl job with a big girl salary, like I'm canceling my Amazon subscription, like I'm only gonna shop small, I'm not gonna support these big corporations anymore. And me, a professional with a doctorate with a professional salary, I'm like, actually, I can't afford to do that.

SPEAKER_01 59:20

Yeah.

SPEAKER_02 59:20

Like, actually, shopping small is outside of my tax bracket. Like, there are certain goods and services that I will continue to pay large corporations for because I just don't have the liquid funds to put them elsewhere.

SPEAKER_00 59:35

It's all in the machine. Like, I'm not gonna fault you for that because we're all we're faulty to it already. Sucks. But I wrote in here, I do wonder at what point in our lives, purely as Zillennials on the Millennial Gen Z Cusp, will we ever feel like we're financially safe? And I don't mean stable, because stable and safe are two different things for me, you know. I would say I'm financially stable right now. But outside of my predetermined expenses and my own spending budget, there's really no safe room. And I know that it's not just me. It's not just, you know, my peers, it's a whole generation of people who are feeling this.

SPEAKER_02 1:00:29

I have two thoughts on this. So, number one, we didn't we didn't mention this yet, but I feel like when we talk about millennials in the Devil Wears Prada and this like aspirational girl boss, like, you know, I want to go to the moon and have the most awesome job. And they faced a real hardship in that in 2008 with the economic collapse. Like they their girl boss fantasy never got to come true for them. And so, like, that generation of women is like fighting tooth and nail for what you're speaking of, is like for that financial security. And um, I feel like they're because of their generation, they're looking to major corporations or not not necessarily major corporations, they're looking to like the traditional way of making money to do that, right? Like a normal job. Whereas Gen Z's solution to that is I feel like they don't believe in the big companies for many reasons, ethical reasons, you know, environmental reasons, but also like they've seen, they've seen those companies who fail the older generations. And so more Gen Z people are interested in having small businesses, making online content, being like quote unquote creators and being like their own personal brand because they feel like it's safer to be independent. You know, they don't want to rely on somebody else for their paycheck, they they want to be their own boss, not in like a girl boss way, and just like, well, this seems safer because I can keep posting on TikTok, I can keep making my online store, but like if I work for a major corporation and they go belly up, like what's gonna happen to me? There's us in the middle who we see both sides. We see both sides.

SPEAKER_00 1:02:18

I I know someone who is working a nine to five to fund like their music career, they have resources from their job that they can use to push that, and it's like, at what point will they be able to fully stop their nine to five to focus on the music?

SPEAKER_02 1:02:42

But the cost of working the nine to five is like I know it's not just weighing them down, it's other creatives who want to level up, but it's like have to have this job to finance my art, yep, and that's tough, and once again, that's the difference between Andy's friends is that that's their vibe. They're like, I'm just working this nine to five to fund my passion, yeah, and other people's nine to five is their passion, and both things are okay, but I feel like at the time in the early 2000s, there wasn't a super huge conversation about that.

SPEAKER_00 1:03:21

Absolutely not. Absolutely not.

SPEAKER_02 1:03:24

Speaking of the early 2000s versus now, let's wrap this up in a pretty bow. Like, what is the lasting legacy of the double wears product? There's another one coming out featuring a former bear, Go Bears, Caleb Heron. That's right! Oh my gosh. I kind of forgot about that. I don't know.

SPEAKER_00 1:03:47

I can't wait. At the time that this comes out, I'm pretty sure the movie is gonna be released this Friday.

SPEAKER_02 1:03:53

I feel like this is kind of like a gay classic. Like the gays love to shorthand and like quote this movie. Like the Cerulean speech, even though it's like a full monologue, people will just like say the whole thing. I feel like the dialogue is like really zippy in this movie.

SPEAKER_00 1:04:12

It is. It's quick, it's witty, and not that non-gays can be, you know, quick and witty, but it's giving that, you know, that culture of just right off the bat, I'm gonna say something that might offend you.

SPEAKER_02 1:04:31

Yeah. Like I'm gonna read you.

SPEAKER_00 1:04:33

Yes, yeah.

SPEAKER_02 1:04:34

And that's how you're gonna know that we're friends, is because I'm there with you.

SPEAKER_00 1:04:38

We didn't really, I mean, we talked about the plot, but we didn't talk about the movie objectively as much as we have with other things, but that's okay. There's a lot of commentary that can be said about the messages within this movie, but I do just wanna say the music hits. The music hits in this movie so hard. That opening scene.

SPEAKER_02 1:05:04

No, literally, like, it's literally like lifestyle porn, you know? Like the glossy, like honestly, all the any any single montage that is in this movie eats. The music is good. The the transitions, the way that she changes an outfit. Do you know what I'm saying? I was gonna say how like she's like running with the lattes, and then she goes behind a pole and she has a new outfit on, like those jump cuts, it's seamless, it's so good. I think the fashion people have a lot to say about the fashion in this movie, but I love it. I don't know. I thought it was so aspirational at the time. It's like I wanted to wear all of those outfits as a kid.

SPEAKER_00 1:05:45

It was very of the time, and I think every element that was put into the way that this movie was made, it just fit so perfectly. Like down to the accessories, the The phone, like all of it. The aesthetic of the way things were filmed, and it's just I love it. I love it.

SPEAKER_02 1:06:10

The only thing I could not get behind were the bangs, but that's just a personal preference. Did you like Anne's bangs? Annie Annie's bangs. It felt Andy's bangs.

SPEAKER_00 1:06:22

Annie's bangs. It's okay. That was just another thing that felt of the time. You know, she started out with what, a middle part? Like a messy middle part. And then Honestly, heavy. Heavy, chunky layers. Her and Nigel had that little like moment and he took her to a closet or literally the dream. Again, another big closet that we just wanted to pick from. I'm referencing him. Just go in and play it. Yeah. And it was so iconic. But all that to say, I think the bangs were of the time. Like they took her hair from drab to fab for her. So true.

SPEAKER_02 1:07:07

So true. Alright, well, let's answer our question. Is the 2006 classic The Devil Wears Prada worth the rewatch? Is it a story that generations to come will look back on and relate to? Would you watch this again?

SPEAKER_00 1:07:25

Absolutely. Absolutely. Purely for the world building of it all.

SPEAKER_01 1:07:31

Yeah.

SPEAKER_00 1:07:31

The aesthetic that early 2000s New York brings. I love that. I love like glamorizing a small apartment in New York City and just running around avoiding taxis left and right.

SPEAKER_02 1:07:47

Unless you're Emily Blunt, then you take that straight to the face. And will. Yeah. Yeah. I do feel like it has generational appeal simply because of the actors. So Emily Blunt is the younger generation's Mary Poppins. You know, Anne Hathaway, like that's that's the princess of Genovia. That's Fontaine and La Miz. Like Anne Hathaway, I feel like is an actress that like our generation loves. And Meryl Streep is a living legend. And pre like older generations probably went to this movie for her, you know? They went to the movie to to see her do her thing. And I feel like that's gonna be the same thing when this new one comes out. Is like many generations are gonna flood to the theater because they love Ann Hathaway, they love Emily Blunt, Stanley Tucci, Meryl Streep, like they Caleb Hearin now. Caleb Heron.

SPEAKER_00 1:09:09

Hey Fran. I uh there's an actress from Bridgerton that's gonna be in the new one, right? Is there Ashley? Pretty sure that's her last name. Simone Ashley.

SPEAKER_02 1:09:23

Oh, I love her. She's great. Okay, see, that's that's the point, is they are they already have multi-generational appeal. You know what I'm saying? Like, we're already there. The last thing that we really like barely touched on that I feel like gives this movie that like it girl vibe from the early 2000s is the Paris of it all. Is the fact that it takes place in New York and then they travel to Paris, like Yeah. I I was a cheetah girl bedroom girl, so I did not have the Eiffel Tower decal on the wall, but I know so many girls who did have the Eiffel Tower decal on the wall, you know.

SPEAKER_00 1:10:03

If if you didn't know one, where were you? You know, yeah, it's so interesting that Paris specifically is so romanticized, especially like back in that time. It's like if you were doing fashion in New York, if you made it to Paris, you made it big. You know? As someone who has been to Paris, is it as glamorous as the movies portray it to be? I've never been.

SPEAKER_02 1:10:35

Okay. I drank the Kool-Aid, I love Paris. I think but it might have been like what neighborhood I stayed in, because I stayed in like a pretty like residential area of Paris.

SPEAKER_01 1:10:47

Yeah.

SPEAKER_02 1:10:48

Um, and I feel like that made it, it gave like the whimsy of like walking by a park and seeing children playing after school, and their backdrop is like gorgeous wrought iron fences, and um like we could see the Eiffel Tower from the neighborhood we stayed in. So, yes, I actually do feel like Paris lives up to the hype. I also was there on my honeymoon doing romantic things, so but yeah, like like lit like 20 years ago, me thinking that like current me went to Paris for my honeymoon this past year. Like, little girl me is screaming, she's kicking her heels up, she's like, ha ha ha ha ha ha!

SPEAKER_00 1:11:26

Like yes, melted, melted, yeah.

SPEAKER_02 1:11:31

That's sweet. Yeah, well, you heard it here first, folks. We love this movie.

SPEAKER_00 1:11:36

We do, it's problematic and in many ways. Many ways, but it's kind of like we talked about with Twilight. It's like if you can't rip it to shreds, then you're not really getting anything from it. You're not growing as a human. You're not growing. And yes, I will watch this, and y'all still be like, damn, a size 6, that's crazy. But I'm not gonna internalize it as I would, you know, back then. Yeah, I'm gonna say, wow, and move on.

SPEAKER_02 1:12:09

I am gonna watch this and question all of my life's choices in regards to my career, the hustle, the girl boss of it all. Yeah. I don't know if that was clear from this episode that um some of these reflections were personal. Yeah, so there's like this generational friction. I'm like, there is personal friction inside of me. I am unsure which side of the coin I fall on. Do I want to be a trad wife or do I want to be a girl boss? I don't know.

SPEAKER_00 1:12:38

I want to be a girl boss who has time. Yes. And that's my cherry on top.

SPEAKER_02 1:12:48

Ew, I would plug what we're doing next, but I don't know what it is.

SPEAKER_00 1:12:53

Holes.

SPEAKER_02 1:12:55

Ding it up, bab. Dig it. Ding it up, b-bom.

unknown 1:13:00

Ow.

SPEAKER_00 1:13:01

We have so much to look forward to. I'm so excited. The Devil Wears Prada 2 comes out, I think, this Friday. We're not promoting it. We're just excited. Will you be seeing it in theaters?

SPEAKER_02 1:13:11

Uh, I never go to anything in the theater. I'm like, no, I never leave my home. I prefer to rot on my couch. And that is my ideal work-life balance.

SPEAKER_00 1:13:21

Girl boss.

SPEAKER_02 1:13:23

Girl boss, gatekeep. Get out of here. Goodbye. That's the episode. See you next week. Bye.