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- [00:01]
Jon Stewart
Jon Stewart is back in the host chair at the Daily show, which means he's also back in our ears on the Daily Show Ears Edition podcast. Join late night legend Jon Stewart and the best news team for today's biggest headlines, exclusive extended interviews and more. Now, this is the second term we can all get behind. Listen to the Daily Show Ears edition on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [00:27]
Emilia
I'm Emila, host of the podcast Crumbs. For years, I had to rely on other people to tell me my story, and what I heard wasn't good.
- [00:37]
Unknown
You really.
- [00:38]
Emilia
Last night, it felt like I lived most of my life in a blackout. I was trapped in addiction. I had to grab the lamp and smashed it against the walls. And then I decided I wanted to tell my own story. Listen to crumbs on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.
- [00:59]
Michael Rapaport
Happy holidays from me, Michael Rappaport, and my gift to you is a free subscription to the I Am Rappaport Stereo podcast where I discuss entertainment, sports, politics, and anything and everything that catches my attention. I am here to call it as I see it, and there's a whole lot of things catching my eyes these days. Listen to the I Am Rappaport Stereo podcast on the iHeartRadio app, Apple podcast and wherever you get your podcast.
- [01:28]
Katherine Legge
Hey, you guys, I'm Kathryn Legge. I'm a racing driver who's literally driven everything with four wheels across the planet. And I've got a new podcast. It's called Throttle Therapy. This season, I'm competing in some of the world's most notorious racing events. Tune in to my new podcast, Throttle Therapy with Katherine Legge, an iHeart women's sports production in partnership with Deep Blue Sports and Entertainment. You can find us on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [01:54]
Kristen Davis
Presented by Elf Beauty, founding partner of iHeart Women's Sports. Hi, I'm Kristen Davis, and I wanna know, are you a Charlotte? Hi. Hi, everyone. We are back. This is Are youe a Charlotte? And we are now looking at season one, Episode two. It's called Models and Mortals. Oh, my goodness me. I watched this last night. I'm still in shock. I have more questions than I have answers. There's a lot to dig into here. I honestly just don't even really. I really am not sure what to say about this episode. It's super fascinating, though, so let me just kind of go back in time a little bit. I Charlotte only has one scene in this episode. And it's a really fun and funny scene that I do have a. And someone asked me, oh, did you remember that you only had one scene? And I didn't remember. And part of the reason that I didn't remember is that one of the things, and I don't really know if we're the only show who does this, we probably aren't. But one of the interesting things about how we film and this is still true to this day on and just like that, is that we cross board two episodes at a time. So we're always filming two episodes simultaneously. And part of the reason for that is that locations in New York City are so expensive. So let's say you get a restaurant for the day that takes, you know, a lot of money. You have to get into all kinds of arrangements. You have to arrange with the mayor's office of location management for parking and for all the trucks. And it's a whole big to do, right? So if you get a location, you would divide it up. Like, let's say you got a restaurant. You might film in front of the restaurant. And then you might also film a different scene from a different episode inside the restaurant. So, you know, you're kind of cross purposing those actual locations. So when you're filming, you're filming two episodes at once. Now, sometimes it gets out of hand. Like, I remember one time, maybe season three of Sex and the City, towards the end, we had all these unfinished scenes and we had, I think four units filming and we had to make T shirts, different colored T shirts for the different crews on the different units and all the actors. We just had to run from soundstage to soundstage to do the different things that we needed to do to finish the episode. That was crazy times. And then just this past year on, and just like that, I think there was a time when the call sheet had six different episodes listed for Charlotte of things that I had to finish. So this particular episode, I have a different storyline for the next episode that I was also doing. So it's not like I was just sitting around the whole time. But I also didn't really remember that I only had the one, the one episode. And my thoughts on that, which, you know, I don't know if we're ever gonna find out, you guys, why they tried to demote me. As one of our current writers said, because, you know, the funny thing about the reaction, I mean, there's many funny things about the reaction to the first two podcasts. One is that a lot of my closest friends don't even know the stories that I told you guys. They're like, what? You know. And some of our current, you know, very beloved crew members and writers and directors and everybody don't know that story. So everyone's just like, why? What happened? What happened? I don't know if we'll ever know. I really don't know. I don't know the answer to it. I feel when I look back on it now from the perspective of 27 years later or whatever, having read Candace's book, which was based on Candace's column. And the thing that's important for this particular episode to remember is that Candace's column in the observer called Sex and the City was, I believe, based in true stories that she was hearing and. Or participating in, but also hearing around town that were true stories. Right? So she wouldn't use the names. She might imply who they were. So that if you were like, you know, ran in this circle of friends in New York, you might know who the stories were, but you might also not know and just, you know, read it for some interesting, like, social. Social archeology. I guess maybe I'm going to try not to say like so much. Because I did see the comment from one of our listeners that I say, like, too much. So I just said, like, I'm really sorry. I'm going to do my best. It's not gonna be easy. Cause I'm just sitting here by myself, yakking. Okay. But thank you for being with me and understanding. So Candace is writing this column in the nineties in New York City, and she is writing things she's hearing happened or was there for when they happened, or both or neither, I guess. But you know, that that's the genesis of all of this. So when I watched this episode, episode two, which was the first episode we filmed once the show had been picked up, I'm assuming that this really insane storyline about this character that Gabriel Macht plays, Barclay, filming these models. I'm just going to go with the fact that this is something Candace heard about that happened and put in her column and thus ended up in her book and thus ended up in our show because Darren Starr optioned her book Sex and the City. So that's what I'm gonna go with. I'm gonna go with the fact that they didn't just make this up or whatever for the show. I'm not sure. Because at this point, also the important thing to remember for me is that the writers were all in Los Angeles. They did not come. We did not know them. Very unlike how the show went on to develop, where the writers were with us every day. The writers were part of our lives. They were very close friends of ours. Still are. A very close friend of ours. You're going to be meeting them along the way. They're wonderful. These particular group of writers, some of them, I would not know them. If I saw them. If I ran into them and they told me I wrote an episode of Sex and the City for the first season, I would just say, like, okay, I would believe them because I don't know what they look like. We were in Los Angeles after the pilot. Darren, myself, and then, strangely, Sarah Jessica. This is a funny story. I was renting a house at the time in a little canyon in the west side of Los Angeles, not a particularly popular canyon. And one day I had gotten a puppy, and I was walking down the street, and we are in the waiting period of waiting to hear if HBO was going to pick the show up. And they had. I feel like they had 18 months to decide something like that. Maybe just a year. Whatever it was felt like eternity. And I would call my poor manager, Dave, every day and be like, did you hear anything? Did you hear anything? Did you hear anything? And then I would call my lawyer, Jason, and I would say, did you hear anything? Did you hear anything? And it just went on and on and on, the waiting. And sometimes I think I would call Darren Starr and say, like, did you hear anything? I wasn't close enough to Sarah Jessica at this point to have her number to be calling and bugging her, which is probably a good thing. But one day I'm walking down the street in this little neighborhood that I rented a house in, and I'm walking my new puppy and who drives down this empty street with Sarah Jessica Parker in a rented Lexus. And I'm like, hey, you know what I mean? And she's like, hi. What are you doing here? And I said, I just rented the house over here. What are you doing here? And she said, oh, Matthew's here doing a movie. So I'm here with him while he's filming this movie. And I said, did you hear anything? And she was like, no. And she didn't seem. She didn't seem as anxious about it as I was. And I was like, well, what do you think is happening? You know, what was going on? And she goes, oh, I don't know. You know, I don't know. And I said, well, don't you want it to be Picked up. And she said something like, yeah, but I could tell she was just trying to please me, you know what I mean? And I thought, oh, no, Sarah Jessica doesn't want to do it. I don't know. And I do think now, you know, knowing her all these many, many years, that this was back to her kind of reticence to being committed to a show. Cause as I told you before, we did have these massive seven year long contracts, which is the norm for, for any kind of pilot. So for her, she'd been kind of just this, you know, journeyman actress in a way, like doing Broadway, you know, doing movies like Honeymoon in Vegas. Most actors don't really want to be committed to one to one job forever. So anyway, Sarah Jessica, I believe her nervousness was, do I really want to be committed? Do I want to be tied down? It wasn't something that most actors like you didn't start to be an actor because you wanted to do one job for 30 years. That just wasn't even really a possibility. And obviously for us has turned into this incredible opportunity. But never, never, never, never, never, never would we have thought of that at the time. I mean, never, never. Like we were just wanting to be picked up for 13 episodes. That was our dream. Like I remember Darren and I, when we did get picked up, we used to make jokes about how maybe one day we could get nominated for a Cable Ace Award. That was the highest our hopes were. There was this thing, they're gone. They were called the Cable Ace Awards. They were just for shows on cable. Because at that point, no cable show had ever been nominated for an Emmy, much less won an Emmy. So it wasn't even in our mind that that could happen. But obviously it did later on happen, which is a miracle. There's so many miracles involved in our show. Anyway, back to this episode. So this episode to me is super fascinating for so many different reasons. So we have a different DP at this point. Her name is Maryse Alberti, She's French. And I used to butcher her name all the time. And for any French people, I'm really sorry if I have butchered it again. But she was incred. And we also have this really interesting director, Alyson McClain. Now, what I remember of the first season. Okay, wait, I didn't get to the point that they did finally pick us up, obviously. I guess that's obvious. So maybe like a year of waiting and then we get picked up finally.
- [11:58]
Unknown
Ever wonder what it's like to be on the phone with an NFL general manager as you finalize the biggest contract in NFL history. AJ I'm AJ Stephens, Vice President of Client Strategy at Athletes first, where we've negotiated $1.4 billion in current NFL quarterback contracts. Introducing the Athletes First Family Podcast, the Quarterback Series, along with my co host Brian Murphy, Athletes first CEO, we're pulling back the curtain on how these historic deals come together. You'll hear directly from the agents who shaped the NFL's financial landscape, the ones who negotiated Justin Herbert's extension and Deshaun Watson's fully guaranteed contract that sent shockwaves through the league. This isn't just about the numbers, though. It's about the untold stories behind these massive negotiations and the relationships the NFL superstars like Dak Prescott, Tua Tungavailoa and Jordan Love have with their agents at Athletes First. For the first time ever, the agents who orchestrate these deals are sharing the details of the negotiations and everything that led up to their clients signing on the dotted line. Listen to the Athletes First Family podcast on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [13:05]
Reed
Hey y'all, this is Reed from the God's Country Podcast. We had the one and only Bobby Bones in the studio this week, and we cover everything from his upbringing to his outdoor experiences with his stepdad, AR Keith, to the state of country music. We may even end the episode with a little jam session led by Bobby himself. Y'all be sure and listen to this episode of God's country with Bobby bones on the iHeartRadio app, Apple Podcast, or wherever you get your podcast.
- [13:31]
Unknown
Don't go shopping at Target with khaki pants and a red shirt on. Don't go shopping at Target with khaki pants and a red polo shirt on.
- [13:44]
Switch up Song.
- [13:47]
An old lady came up to me she said how much for this cream of wheat?
- [13:54]
Jon Stewart
Jon Stewart is back at the Daily show, and he's bringing his signature wit and insight straight to your ears with the Daily Show Ears Edition podcast. Dive into John's unique take on the biggest topics in politics, entertainment, sports and more. Joined by the sharp voices of the show's correspondence and contributors, and with extended interviews and exclusive exclusive weekly headline roundups, this podcast gives you content you won't find anywhere else. Ready to laugh and stay informed? Listen on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [14:32]
Unknown
The forces shaping markets and the economy are often hiding behind a blur of numbers.
- [14:37]
So that's why we created the Big Take from Bloomberg podcast to give you the Context, you need to make sense of it all.
- [14:43]
Every day in just 15 minutes, we dive into one global business story that matters.
- [14:48]
You'll hear from Bloomberg journalists like Matt Levine.
- [14:51]
Jon Stewart
A lot of this Meme stock stuff.
- [14:52]
Kristen Davis
Is, I think, embarrassing to the Sec.
- [14:55]
Unknown
Amanda Mull, who writes our BusinessWeek Buying Power column.
- [14:59]
Emilia
Very few companies who go viral are, like, totally prepared for what that means.
- [15:03]
Unknown
And Zoe Tillman, senior legal reporter. Courts are not supposed to decide elections. Courts are not really supposed to play a big role in choosing our elected leaders. It's for the voters to decide.
- [15:18]
Follow the Big Take podcast on the iHeartRadio app, Apple Podcasts, or wherever you listen.
- [15:29]
Kristen Davis
I also think, and when I watch this episode too, I really, really seriously think this, that, you know, it was a really different, different time in, in our culture, certainly in our entertainment landscape. HBO at that point was known for having boxing. Yes, boxing. That was their claim to fame. Boxing and movies, right? That was why you paid the hefty price to have hbo, cable, pay cable on your television at home. Because no one had iPads because they weren't invented. It's crazy to think about you guys. Crazy. Okay, so they had had a show called Dream on on hbo. And on Dream on, every episode a different actress would show her breasts. That was just part of the show. And it was theoretically to please the men who were watching HBO to watch the boxing. I believe. I mean, no one ever said these words to me, but this is what I believe to be true. So I think when we came along, one of the things that I think is super interesting to think about for the first season, nothing had aired yet at this point. And back in the olden days, we used to put a show on the air and see the reaction as it went. Like if you were on say for instance a multi camera show, you would start filming, they would come on the air, you'd still be filming, right? So you could kind of change and shift based on the audience reaction to things. Back when we started, we filmed the whole 13 without anything ever being on the air, which was really unusual at the time. Now with streaming, people do it all the time, but no one knew what we were doing. We didn't really know what we were doing. I remember that someone made probably production, I guess, made a hat for us to start. It was like a welcome, you know, a welcome, you get like swag, right in the beginning. And it said sex on the front of the baseball cap and on the back of the baseball cap it said and the city. Now I wore this hat all Over Manhattan. Okay? So I remember being in a Starbucks one time with my sex hat on, and some man is ahead of me in line, and he turns and he's like, interesting hat. And I'm like, oh, yeah, it's a show. And he said, oh. And I said, you know, it's a show on hbo. It's a new show. He said, are you on it? And I said, I am. Yeah, I am. And he said, oh, is it Real Sex? And I was like, no. There was a show on HBO in the wee hours of the morning, guys. Literally, basically, like porn. Okay. I only saw it once. And I was like, what? Oh, my God. So this man in the Starbucks thinks that I personally, Kristen, am on this show called Real Sex in the Wee Hours on hbo. And I didn't know what it was at the time, but I was like, no, no, it's a comedy. And he was like, oh. And looked like he didn't believe me, so I kind of quit wearing that hat. But this is where we're at at this point, right? We're just kind of in a vacuum, you know, so we're operating in a vacuum. We're trying to figure out what we're doing. All the writers are back in Los Angeles. Darren had had a writer's room back in la, which is kind of, you know, like how writers work. They have a writer's room. They pitch ideas. I'm sure they were using Candace's book. Maybe Candace was involved, I don't know. But they. Then they have the scripts, and then they already have the scripts when we come to work, basically, or the scripts are primarily done. Michael Patrick King is the person that we will ask about this because Michael Patrick King King's name appears on this episode for the first time. Hallelujah. And we get to talk to him very soon. And, man, the list of questions is gonna be long, you guys. I mean, so long. Like, things that I literally am. I feel like I've never seen the show. When I watch these early episodes, I feel like I don't remember this. I don't know what's happening. I'm fascinated. But wow. So Michael can hopefully answer some of these questions for us. I'm sure that he can. And he is on. His name is on. Not as a writer. Darren wrote this episode. But he definitely is on as a co executive producer. So that's super interesting. So this episode. Gosh, where to begin? This episode has so many fascinating, fascinating points to it, which, you know, I really seriously need to hear all of your feedback on. It because of two reasons. Number one, how does it seem to you if you've seen it, like in the last couple years, for instance, does it seem really shocking to you in terms of this storyline of men who only date models? And then there's this one and they're. They're kind of like, you know, unembarrassed about it all, you know, like, yeah, of course. You know, I just love beautiful women. You know, like, it's very interesting. And then also there's this one particular character, Barkley, who films these, these models that he's having sex with secretly and tells Carrie that this is his real art because he is also a painter. He's splashing some paint and you know, like kind of in a slightly Jackson Pollock way, but not really on a big canvas with Carrie talking about models. And then he's like, but this is my real art. And he shows her this wall of like super old fashioned, like 1960s televisions and then shows Carrie video of him having sex with these different women who are models, who Carrie says is like the entire fragrance section of Vogue magazine. And you know, what on earth. I mean, I'm just still in shock. Obviously he would be in jail if this happened now, which, you know, this is progress. Okay. But also, Carrie has to really be like so kind of game. Like she just sits there and she's like, oh, you know. And I just wonder what on earth Sir Jessica was thinking. And I'm also wondering what on earth Gabriel Macht was thinking. I mean, he gets in my mind so much credit because his likability factor is so high that he somehow makes this character likable almost. I mean, not really, because no one doing this could really be likable. But like, you, you really are. You're kind of with him and then you're like, oh, my gosh. But like, then we see him again at the fashion show and Carrie's like, hey, you know, like, it's really fascinating. And I. I honestly think if it were not Gabriel Mokt playing that character, I just don't even know how. I just don't even. I just can't even picture it even being remotely palatable in any way. So credit to you, Mr. Macht. I can totally see how you have a very successful career on suits and all the other things. I don't even know. And I really wish I had gotten to work with you because you were great. Wow, I'm sorry you had to play this part. You can tell how I feel about this character and this storyline, and I just Also feel for Sarah Jessica. And I just can't wait to ask her, you know, what on earth were you thinking when you had to do this and be fine with it? And what I think about it is that one of the things I think as a kind of a thematic idea of watching the beginning of the beginning of the show is one of the things that we were struggling with, though I don't think we would have had the words for it at the time, was, whose gaze is this story or show for and or by? Is it the male gaze? Is it the female gaze? Are we trying to be somehow filling this. This. This area that HBO has carved out for itself of having, like, kind of funny and slightly titillating shows like Dream On? Are we trying to do that for the men viewers? Or are we trying to make a show about strong women navigating relationships in New York City? Which obviously is what we turned into, thank goodness. But at the time, I don't think that we really knew. And part of the reason I bring this up is that coming up in a couple episodes is gonna be a storyline where Charlotte is in a situation that I saw happening one way and the director saw it happening a very, very different way. And I ended up having to lock myself in my dressing room and call my manager. And it was like 2am so Michael Patrick wasn't there. Sarah Jessica wasn't there. No one was there to help me. And I just had to, like, hide and call my manager and be like, what should I do? What should I do? What's happening? And it was very similar. The more active that as this storyline that. That. That Carrie finds herself in terms of, like, something that normally I think you wouldn't see on television. Right. I think that was kind of the thing too. Like, we were trying to push the boundaries. And I feel like Candace in her column was also, like, trying to push the boundaries, but investigate, like, what is going on here? You know, can women have sex like men? You know, what do you make of modelizers? You know, is it worth trying to, like, push through that with a man? Let's see you meet a man in New York, which could still happen. Okay. These dudes are 100% still there. I mean, there are some famous ones. I am not going to say their name. I know you all know who I mean. Like, I think it's really fascinating, and I don't know that it's been answered yet. Like, why? Like, why. Why would a man only date models? That is interesting. Okay. Is it like Carrie says about the Status, you know, is it making them feel stronger, more powerful, better that they have kind of a trophy kind of person on their arm? But I also feel like there is this storyline kind of subtext going on, or actually, I think we actually say it in the episode of, like, that they're not that bright, because the whole storyline with Josh Pace, who's so funny as Nick, who is the main modelizer of the episode, who takes Miranda on a date because his friends gang up on him and tell him that they want him to bring a woman who can actually have a conversation, which is kind of funny. And so he brings Miranda, and then she finds out, and then it shows these beautiful women that he's previously brought, and they can't even really convince Converse with his friends who are not models. Right. So it does kind of continue on this kind of idea that beautiful women can't be smart, which is not fair either. Right. So, like, we've got some different things that we're toying with in this episode, which I think are fascinating, but also, I don't know that we go deep enough. I think that's. I think that's what I think. I mean, I love this. These two beautiful women. Because we're still in the talking to the camera phase, right? So at one point, we got cut to a restaurant, and there are two beautiful women, and one of them says, oh, God, I was hopeful for a second. She goes, you know, I mean, people just don't think we're smart. And I read all the time, and I'm like, yay. And then she says, I read sometimes a magazine from COVID to cover, and I'm like, boo. So, like, you know, this whole episode for me was really up and down, really up and down. Now let's cut to for a second. We now have the transition happening of Sarah Jessica's hair. It's brown in the pilot, which I personally love, maybe selfishly, because obviously I'm a brunette and she's now blonde, but it's not as blonde as she ends up. Right. It's kind of in transition. She's got, like, really light highlights around her face. I think it's so adorable. And at one point, she has ponytails, and it's so cute.
- [27:06]
Unknown
Ever wonder what it's like to be on the phone with an NFL general manager as you finalize the biggest contract in NFL history? AJ I'm AJ Stephens, vice president of client strategy at Athletes first, where we've negotiated $1.4 billion in current NFL quarterback contracts. Introducing the Athletes First Family podcast. The Quarterback series, along with my co host Brian Murphy, Athletes first CEO, we're pulling back the curtain on how these historic deals come together. You'll hear directly from the agents who shaped the NFL's financial landscape, the ones who negotiated Justin Herbert's extension and Deshaun Watson's fully guaranteed contract that sent shockwaves through the league. This isn't just about the numbers, though. It's about the untold stories behind these massive negotiations and the relationships the NFL superstars like Dak Prescott, Tua Tungavailoa and Jordan Love have with their agents at Athletes First. For the first time ever, the agents who orchestrate these deals are sharing the details of the negotiations and everything that led up to their clients signing on the dotted line. Listen to the Athletes First Family podcast on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [28:13]
Reed
Hey y'all, this is Reed from the God's country podcast. We had the one and only Bobby Bones in the studio this week, and we cover everything from his upbringing to his outdoor experiences with a stepdad, AR Keith, to the state of country music. We may even end the episode with a little jam session led by Bobby himself. Y'all be sure and listen to this episode of God's country with Bobby bones on the iHeartRadio app, Apple Podcast, or wherever you get your podcast.
- [28:40]
Unknown
Don't go shopping at Target with khaki pants and a red shirt on. Don't go shopping at Target with khaki pants and a red polo shirt on.
- [28:52]
I switch up song.
- [28:56]
An old lady came up to me she said how much for this Cream of Wheat Catch.
- [29:02]
Jon Stewart
Jon Stewart back in action on the Daily show and in your ears with the Daily Show Ears Edition podcast. From his hilarious satirical takes on today's politics and entertainment to the unique voices of correspondence and contributors, it's your perfect companion to stay on top of what's happening now. Plus, you'll get special comedy content just for podcast listeners, like in depth interviews and a roundup of the week's top headlines. Listen on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [29:36]
Unknown
The forces shaping markets and the economy are often hiding behind a blur of numbers.
- [29:41]
So that's why we created the Big Take from Bloomberg Podcasts to give you the context you need to make sense of it all.
- [29:47]
Every day in just 15 minutes, we dive into one global business story that matters.
- [29:52]
You'll hear from Bloomberg journalists like Matt Levine.
- [29:55]
Jon Stewart
A lot of this Meme stock stuff.
- [29:56]
Kristen Davis
Is, I think, embarrassing to the Sec.
- [29:59]
Unknown
Amanda Mull, who writes our BusinessWeek Buying Power column.
- [30:03]
Kristen Davis
Very few companies who go viral are.
- [30:05]
Emilia
Like, totally prepared for what that means.
- [30:07]
Unknown
And Zoe Tillman, senior legal reporter. Courts are not supposed to decide on elections. Courts are not really supposed to play a big role in choosing our elected leaders. It's for the voters to decide.
- [30:22]
Follow the Big Take podcast on the iHeartRadio app, Apple Podcasts, or wherever you listen.
- [30:32]
Kristen Davis
This is when we get Pat Field as our costume designer. So you don't totally see Pat's influence straight out in this episode. And I remember it being very much a process, right? Like, Pat had never really done a television show. She does not think like a regular costume designer at all. She thinks like a fashion designer, but also, like, kind of an avant garde fashion designer. So, like, for me, in the one scene that I'm in, I'm wearing my own clothes, okay? Now they're not good. All right? They're really not good. And I'm sorry. I apologize. And very soon in this. In real life, Darren takes me out to dinner. Maybe these two episodes or maybe the next two episodes. I'm not sure, because I'd started going to my fittings with Pat, and it was stressful. Okay. I don't know how else to put it. It was stressful for me because I came from, you know, more traditional theater and TV and more traditional costume designers. And you would go, you would have a fitting in a costume room at a studio or, you know, wherever you were filming, and there'd be clothes there and you'd try them on. Pat did not work like that. I remember going to stores with Pat and Rebecca, her assistant slash girlfriend. And Molly Rogers, who's still our costume designer now, was also around. And we are gonna talk to Molly soon, and I cannot wait. Okay? I cannot wait, because she was around for all of it. But it was a process with Pat. And I remember going to stores and they would have a stack of cash in their hand that they couldn't hold in their hand. It was a big stack of cash, okay? And they'd carry it in a bag. And the reason I remember this is. Cause at one point, we left it somewhere and we had to go back and get it. I mean, honestly, like, what on earth? All right. What on earth? It's so crazy to think about, but, like, we would go to, like, Bergdorf, and I would just be like, oh, I would just be just so riddled with anxiety. We'd be looking at all the, you know, Dolce and Gabbana and whatever and I, I didn't think I could wear this, you know, and also we didn't really know who Charlotte was. Charlotte, as I said last time when you read the book of Candice's column, she's not formed, she's not cohesive. And later on, I think Candace either told me or said in an interview, I have no idea that she, Charlotte was based on numerous different friends. So it was really hard to tell, you know, who exactly is Charlotte. Like, part of the reason I think I only have one scene is that, you know, whatever this idea was to make me a recurring role instead of a series regular role, which I probably should have again explained in more detail because there are some whacked headlines out there which I find so frustrating because I just want to come on here and talk freely to you guys who love the show. I somehow thought that if it was me talking that they would not misinterpret what I was saying. But I guess that that was naive, a little bit of Charlotte happening here because there's some very strange, very strange headlines in the world about what I said last time. So I hope you guys are just here with me. I'm going to try to explain the contract thing a little bit more. Basically, the big contract that you have to sign before you test for a pilot is very negotiated, very lengthy for seven years because they want to lock you up. Because if you are on a show that turns into a hit, that's obviously incredibly important for a network and they need to keep the players, you know, available to them, right? So back then, especially pre streaming, this was very important. So when they, when they knocked on my door and said, oh, we have this, this paperwork you need to sign. Had I signed the paperwork, it would have made my big 7 year contract null and void. That's why I didn't sign it. So it's not that they only paid me $5,000 for the pilot, which I think is some headline. I don't know. That's not true because I did not sign the $5,000 paperwork. Right. I was like, no, I don't know what you're talking about. What paperwork? What I left at home. Oh my God. I did a lot of acting, okay? There's a lot of acting in my trailer. About that paperwork, I knew, I knew that it was a risk because clearly there was some thought that maybe Charlotte wasn't integral to the story of Sex and the City. And I felt like she was. And I'm, you know, grateful that I had that confidence. I don't know why I have that confidence, or had that confidence, but I'm very, very grateful that I did. It came from above, I guess. I don't know. But they basically would have only used me when they felt they had a storyline, I think is the point. Right. So recurring means that you wouldn't. You. You were not booked for all 13, so you. I would have gone home to LA and waited for them to call me and say, like, oh, we have a storyline for you in episode five or whatever, something like that. Right. So, like, when I see myself in this one scene, in this episode, which I didn't even remember at all, but when I see myself in this one scene, I'm like, oh, they did not know what to do with Charlotte, which I also, from this vantage point, understand because she makes no sense in the book, really. You don't. The whole wanting to get married, her coming from a more traditional background and wanting to recreate that, her going to Smith, she's from Connecticut. All things that we know about Charlotte now, we did not know that then. So she was not formed. We didn't know how to dress her. I remember being with Pat and Rebecca in one of these stores and they've got this beaded Dolce tight wiggle skirt, as Pat would say. And I was like, I can't wear this. And she's like, yes, you can. And, you know, she was right. Of course she was right. And so at some point, Darren Starr takes me out to dinner and he says, kristen, you have got to let Patfield dress you. You've got to just do what she says. And I'm like, okay, all right. I'm just, you know, nervous. I don't know these clothes. I'm. I just, I don't. I don't know if I can pull off, you know, which was all totally true. And he said, it doesn't matter, you know, she is going to dress you better than you're going to dress yourself. And I was like, okay, okay, you know, sure. So when I see myself in that episode wearing my own outfit, which I believe I went out and got it. Fred Siegel, which is also kind of adorable and funny and so 90s. Any of you who are my age remember Fred Siegel and how that was like the spot for all of us people in Los Angeles to go and spend our money. I just think it was a whole process with Pat. And when I see Sarah Jessica wearing the incredible dress that she wears to the fashion show, it's like a black dress with these kind of silver jewelry chain pieces that hang off the back. Oh, God. That she ends up with Derek. In which. We've got to talk about Derek. Oh, my gosh, you guys. So she ends up. She goes. Okay, backtrack to the episode. So we've met the Gabriel Mockt character. Carrie's trying to do her research on modelizers. She goes to a modelizer to ask him about this. This is Gabriel Mockt, who is, I guess, like an uber modelizer. Let's go with that. Okay. Slash artist. Just being kind. All right. So then she goes to a fashion show with Samantha. And they run into Gabriel Mock's character, Barkley, at this fashion show. And Carrie is wearing this fantastic dress that she then wears to the after party where she runs into Big, which is so incredibly likable. I have to say, the two of them, I really liked them a lot. And it was nice to remember their original kind of chemistry and the way that it was written where they just kind of keep running into each other. But it's like, casual. But then you can see that she lights up whenever she sees him. I mean, I really liked it. I really liked it. And I was surprised that I really liked it. Cause it's a long time ago. And I didn't really remember how cleverly it unfolds. You know, it's not really. It's not like a television storyline. It's more like a film storyline, but also set against this backdrop of Manhattan, right? Where, like, you would theoretically run into people in your same social circle out at events and whatnot. Anyway, back to the modelizer. So they run into Gabriel Mock's character, Barkley, at this fashion show. And Samantha really, with incredible confidence, decides that, you know, she is up to the challenge of dating someone who literally only has sex with models, as Carrie tells her. And, you know, you gotta. You gotta really have a lot of respect for how Kim plays Samantha with such kind of a light touch, but also this incredible confidence that, yes, she is going to seduce this modelizer, even though she's not a model, and that she likes that challenge. And then when Carrie tells her later, no, no, you can't do that. Because he secretly films the people he has sex with, she's like, yeah, yeah, I'm gonna do that. Like, it's crazy. And she does it so lightly, like, with ease is what I was thinking when I was watching her. And obviously, wow. I still can't quite get over the whole filming situation. But you know what? I think what's happening? And I guess we'll have to ask everybody, but what's Happening, I think, is that Candace, originally in her column, is trying to say that we need to pull the COVID off of sexuality and relationships and what's really going on and talk about it, which obviously our show then did as well over the years in different ways. And here in this early, early, early version by Samantha saying, like, no, no, I want to do this. I'm doing this on purpose because I'm choosing to do this. I think that she, Samantha, and the show, I guess, is like, trying to take the power back, I think. I'm not sure I want to know what you guys think about this, because obviously this is something where you can say, oh, wow, look at that show filmed in, like, basically, I want to say 1998 and how different things are now. That that would not be okay to secretly film people and consider it your art. Like, you're going to eventually show someone. Like, it's very whacked, right? I mean, I'm pretty sure that everyone feels this. And the other thing I thought about when I was watching it is that I do tend to think, like, sometimes I'll meet young women or my friends, daughters, and they'll say, like, oh, I've just started watching this show and I love it. And I'll be like, oh, thank you. I'm so glad you love it. Like, are you learning a lot? And they'll say, yes. I mean, I watch this show and I'm like, oh, no, they're watching this. Oh, no. You know, it doesn't seem necessarily like the most empowering situation that we're, that we're showing here. So it is really interesting to me. And I, I, I'm just dying to know what you guys all think. Whatever age you are. Young, old, Please tell me your thoughts on this whole, whole situation.
- [42:08]
Unknown
Ever wonder what it's like to be on the phone with an NFL general manager as you finalize the biggest contract in NFL history? I'm A.J. stevens, Vice President of client strategy at Athletes Verse, where we've negotiated $1.4 billion in current NFL quarterback contracts. Introducing the Athletes First Family podcast, the Quarterback series. Along with my co host Brian Murphy, Athletes first CEO. We're pulling back the curtain on how these historic deals come together. You'll hear directly from the agents who shaped the NFL's financial landscape, the ones who negotiated Justin Herbert's extension into Sean Watson's fully guaranteed contract that sent shockwaves through the league. This isn't just about the numbers, though. It's about the untold stories behind these massive negotiations and the relationships the NFL superstars like Dak Prescott, Tua Tungavailoa and Jordan Love have with their agents at Athletes First. For the first time ever, the agents who orchestrate these deals are sharing the details of the negotiations and everything that led up to their clients signing on the dotted headline. Listen to the Athletes First Family podcast on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.
- [43:15]
Reed
Hey y'all, this is Reed from the God's country podcast. We had the one and only Bobby Bones in the studio this week and we cover everything from his upbringing to his outdoor experiences with the stepdad, Arkansas Keith, to the state of country music. We may even end the episode with a little jam session left by Bobby himself. Y'all be sure and listen to this episode of God's country with Bobby bones on the iHeartRadio app, Apple podcast or wherever you get your podcast.
- [43:42]
Unknown
Don't go shopping at Target with khaki pants and a red shirt on. Don't go shopping at Target with khaki pants and a red polo shirt on.
- [43:54]
Switch up Song.
- [43:58]
An old lady came up to me, she said how much for this cream of Wheat?
- [44:04]
Jon Stewart
Jon Stewart is back at the Daily show and he's bringing his signature wit and insight straight to your ears with the Daily Show Ears Edition podcast. Dive into John's unique take on the biggest topics in politics, entertainment, sports and more. Joined by the sharp voices of the show's correspondence and contributors and, with exceptions, extended interviews and exclusive weekly headline roundups, this podcast gives you content you won't find anywhere else. Ready to laugh and stay informed? Listen on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [44:42]
Unknown
The forces shaping markets and the economy are often hiding behind a blur of numbers.
- [44:47]
So that's why we created the Big Take from Bloomberg podcast to give you the context you need to make sense of it all.
- [44:54]
Every day in just 15 minutes, we dive into one global business story that matters.
- [44:58]
You'll hear from Bloomberg journalists like Matt Levine.
- [45:01]
Jon Stewart
A lot of this meme stock stuff.
- [45:02]
Kristen Davis
Is, I think, embarrassing to the Sec.
- [45:05]
Unknown
Amanda Mull, who writes our BusinessWeek Buying Power column.
- [45:09]
Emilia
Very few companies who go viral are like, totally prepared for what that means.
- [45:14]
Unknown
And Zoe Tillman, senior legal reporter Courts are not supposed to decide elections. Courts are not really supposed to play a big role in choosing our elected leaders. It's for the voters to decide.
- [45:28]
Follow the Big Take podcast on the iHeartRadio app, Apple Podcasts, or wherever you listen.
- [45:39]
Kristen Davis
Let me get my paper out because we are gonna Talk about Skipper and Miranda. I mean, wow. You know, there's so much here. My biggest, favorite thing. Oh, my gosh, Carrie's wearing her coat. Let's talk about the coat for a second as well. This is when we first see Carrie wearing her vintage fur coat that Pat got her. I think they found it in, like, just a really no name store. We did recently get it back out on, and just like that. And it was a true, true vintage fur coat. And I hope I'm allowed to say this. I'm really sorry if I'm not, but we eventually did get in a lot of trouble with PETA about it. I don't really like to wear fur. I think I'm okay to say this as well. Pat, back in the day, really, really, really loved fur. And every year, what would happen with us, scheduling wise, is that we'd come back to work in roughly February to start filming. The show would come on HBO in June and then play through the summer. So we had to pretend in February, like it was summer weather. But obviously it really, really was not, right? So Pat would always think, like, wouldn't it be great to put them in some fun for coats? I could try to do my Pat impression, but I don't want to really annoy you guys. She has a very distinctive voice, I'm sure, you know, but every year, every year at the beginning, she would try to get me into a fur coat. And every year I would beg her, please, Pat, no. Please, Pat, no. Please, please, no. Please, no. Anything. Anything but that. And. But she would just be like, all of you are gonna be in fur. It's gonna be great. And I remember having to go to. I can't remember which store, like a Bergdorf or maybe Barney's, but I don't think Barney's had a fur section. It was like a whole section of fur coats. And she was like, you have to come in. So I go. She puts this chinchilla wrap cape on me, and she's like, it's fabulous. Her favorite compliment was to say, it's tea. So I go to the store, I put on this chinchilla wrap, and she's like, it's so. And I'm like, oh, God, help me. So I'm like, I go home, I literally have nightmares that the chinchillas have come alive and that they're crawling all over me. So I go to work the next day, and I'm like, please, Beth, I can't sleep. Think about those chinchillas, Please. I'm begging and begging so what she would compromise on is that I would wear shearling. So, like, there's a really popular pink shearling jacket that I wear one year that people still love to this day, which for me, seems very random. Out of all of the fantastic things I ever wore that they love this pink shearling coat. But that was Pat's compromise that I didn't have to wear, like, mink or chinchilla or whatever it was. But we initially see Carrie in her really fabulous. Okay, I. I can totally understand that. This was a special coat. And, of course, Sarah Jessica has this unbelievable gift of style. Like, just innate personal style where, you know, she can wear a pair of sweatpants. And you do not realize that they're sweatpants because of whatever she has done to them and put with them and accessorized with them. They just look amazing. This is just her personal, like, special talent. Okay, Obviously, you all know that. But in terms of this vintage fur, that's definitely what's happening here. Like, if you or I went into the store and saw this vintage fur and we put it on, I don't know that it would be so, so fantastic. Also coming up, I think soon, they put me in a vintage outfit. I love vintage clothes. You guys always have loved vintage clothes. One of the two notes that I know of coming from HBO is, do not put Charlotte in vintage. Very interesting. You're gonna see why when we get to it. It did not play so well on the camera. I don't. I mean, I'm sure we could have figured it out, but they were like, do not put Charlotte in vintage. And I also kind of understand, like, it's like, you know, like, kind of too on point in a weird way. But that was kind of sad for me because I do love vintage. But the first time that we see the coat, Carrie is walking with Skipper down the street. And Skipper is going on about Miranda and how much he loves her and how he's been calling her and calling her and calling her, and she won't call him back. And then he gets out the most hysterical cell phone you've ever seen in your life, which I have such memories of. And Carrie pulls the antenna up with her teeth, which is, like, so enjoyable, you guys. And he flips open the thing, like, it's just so great. And I remember these things so well. And for us, we were just so thrilled to have them, like, you know, to have an actual cell phone, as clunky and strange as. It was very exciting in the day. So they call her together, and Carrie looks Kind of nervous. Like she understands that Skipper is being like, too needy and that Miranda is not gonna be into it. But she doesn't quite know how to tell Skipper because he's like, you know, very puppy energy and, you know, like, pick me. And so then you know that Miranda has gone out with the Modelizer. Right? Which is obviously not a wise choice, but how is she to know? And so she. She kicks him to the curb. Thank goodness. And she's so funny. I mean. Oh, I didn't even talk about the group scene. Oh, my gosh, you guys, welcome to my mind. So we have to back up. We have to back up to the group scene. The one scene that Charlotte's in. I do have so many memories of the scene because it was the first time that we're in Carrie's apartment. We have Carrie's real apartment, though it also shows the coffee shop sign in neon from the pilot. So it's an interesting juxtaposition of the old with the new. But it is Carrie's apartment, though. It's not fully worked out yet. But it's like the blueprint, the set that we would come to know and love. And we're all together. It is the one and only time that we were told that we could ad lib. After that, it never happened again. It was very, very, very frowned upon after this. But it was the sweetest. In this particular scene, we're talking about models and men who only date women who are models. And you know how we feel about that or whatever. Does it make us feel less than. I think it's something like that carry asses. And then we were each supposed to say what we felt insecure about. And the writers didn't want to write that on paper. So that was very sweet of them not to want to write what they thought that we would feel self conscious about. To let us ad lib what we felt self conscious about, which was really kind. It was also like four in the morning. This was the beginning of our. Well, no, the pilot, actually. I think when I'm on the stairs of the Met, it's like four in the morning. We filmed all night long, almost all the time. We would start Monday at 5am and each day would get longer and longer because we had night exteriors. Because as you remember, a lot of the show in the beginning especially, we're out and about at night. We're on the streets at night, blah, blah, blah, blah, blah. So we had to wait for nighttime, which meant we had to film later and later as the Week went on. So as the week went on, like we, we'd film probably Wednesday night till 2, Thursday night till 4. By the time we got to Friday night, we would film until the sun came up on Saturday every single week. And then you'd have to turn yourself back around by Monday morning to go to work at 5. It was a lot. Okay. And also back then we really felt like we could never say this publicly. Like that. We just had to be like, we're fine, we're great. We love our show so much and we're having so much fun. Because that's what everyone would always say, like, isn't it so much fun? You'd be like, yes, yes. Now mind you, also on the weekend, I had a pair of shoes that was a whole size too big because my feet would be so swollen because I wasn't used to wearing these shoes. Everyone always says like, oh, the shoes. I'm like, yeah, it's hard. It's a thing. It's not just like easy. And this is obviously a long time ago. So I would have a certain pair of shoes I would wear all weekend that my feet could just be swollen in. And then hopefully by the end of the weekend, the short weekend, they would be back ready at 5am on Monday to be put in those Manolos back on. But it did take Pat a little while to get me in the Manolos. So right when we see this first episode, I'm wearing some boots. I think they're mine. I don't know. They're not good. Okay. Pat has not worked her magic on me yet. It's begun and I'm stressing about it, but it has not really fully happened. So when we do do this scene in Sarah Jessica Carrie's apartment, sorry I can't keep us straight. It is the wee hours and we are ad libbing and absolutely can't ad libs. Like she, she like touches Cynthia's face at one point or whatever. I mean it was really. I just remember giggling and that it was fun and exciting. And then I also thought, and this, this is just because I'm the only one here right now. I'm going to tell you my own thoughts on myself. Previous to this show. I had been on. Well, I had done some guest star things in between, but I'd been on Melrose Place, Darren's other show. Right. And when you were on an Aaron Spelling soap opera, there were a lot of rules and the rules were non negotiable and the rules had to do with the fact that they wanted to do three sizes of a camera shot on you, one of which was a super close up that would literally cut your hairline off, right? Like, be like your. Your eyes and your mouth. And to do that you had to hold really still. So I played this character, Brooke, who worked in this office with Billy and Allison on Heather Lockler's character. And I used to say like, oh, couldn't I have some props? And they'd say like, well, why would you want some prop? And I'd be like, well, we're working, right? Like, aren't I? Like, should I write something down? It'd be like, no, no, don't do that. I'd be like, why, why? Why wouldn't I write something down? Aren't I supposed to be working? And they were like, well, you can't look down. And I'm like, what do you mean? What do you mean I can't look down? Now, mind you, I'd spent the last 15 years in acting class where they're just trying to talk to you about being natural and doing things and, you know, being not self conscious or whatever. And so then you're on a show that's like, no, you can't look down. You can't have props. You can't do anything. You have to just stare at the other person, like hardcore. Okay? And you can't change your hair. That was the other Aaron Spelling thing. Because he didn't want hair in your face. Cause he wanted to see your eyes. Okay? Now I kind of get it, because eyes are the windows to the soul. But on the other hand, as an actor, it's pretty hard. It's pretty hard to do that. So when I watch myself in the scene with everybody, in the group scene, I'm just trying to be natural. I'm just trying to be present. I'm eating. I'm touching my hair. I'm touching my face. I'm, you know, just trying to be, like, unselfconscious. And in the show that we're trying to make, which is much more realistic, you know what I'm saying? Like, not like TV in the way that I was, you know, previously in. So that was one of the things I thought about watching. Watching the four of us with the Chinese food, like, yes, I'm eating. That was a big thing on our show. Yes, we always ate. No, we almost. I don't. I can't think of a time we had a spit bucket. Because we're in a scene. You can't stop and spit food out in A spit bucket that doesn't work. You have to keep talking as you know. It's going to be a Miranda, like, signature. I mean, you know, they would, like, challenge her. Like, how much food can you get in your mouth? And Cynthia was ready. She was ready. She's like, I'm gonna go for it. We'd all be like, oh, my God, maybe it's too much. She'd be like, no. But it was so much fun to watch. So to me that all of that is there in the beginning. Okay, Skipper. Skipper. Skipper. Skipper and Miranda are adorable. So he's. There. He is. I don't even know that we ever have a guy character who is like him again. I don't think we do. Where he's just, like, calling her and calling her and calling her and kind of needy, and everyone's thinking it's not gonna work out. Then they run into each other in the bodega, which is also so New York and so adorable. And he very beautifully tells her at the checkout that she's luminous, and she is luminous, and it just melts her cold heart. So it's such a great, great, great scene, and I love it so much. And then he wants to finish paying for his Captain Crunch, I believe, or something. And she's like, there's cereal at my house, which is so great. There's cereal at my apartment, I believe, she says, it's so classic and great. So for me, there are such great, great, great moments in this episode where you really see this huge potential. But then there's also just really, really strange things, like this dude who's filming models secretly having sex with him, right? So it's a very mixed thing, but. Oh, the other thing I was gonna say is that. So we filmed these whole. We'd done the pilot, obviously, and then we filmed 12 more episodes before anything came on the air. And one of the great things is that HBO allowed us to find ourselves, right? So, like, we would kind of, you know, shift this way and shift that way. And one script might seem more pushing the boundaries. Like, I would say this episode, and then a different script might seem more comedic. And I remember Darren sometimes he would come down the writers rooms in the studio where we were in Silver cup at this point on Long Island City. It's still there. It used to be a bread factory. It's a very charming place. It's kind of falling down, but we love it. And he would come down sometimes, and he'd be like, you know, you guys gotta be sexy. You gotta be Sexy. And I'd say, like, me? Really? Me? Are you sure? Me? And he'd be like, yes, all of you. All of you may be like, okay. We kind of look at each other. And then a different week, he'd come down. He'd be like, you guys gotta be funny. You gotta be funny. And we'd be like, okay, are you. Is there a rewrite? Like, did something change in the script? He'd be like, no, just make it funny. We'd be like, okay. Okay, Darren. Okay. So there was definitely a growing period of the show and the fact that HBO allowed us to kind of slightly flail around a bit. I hope it's okay that I'm saying this, because when I watch them, I am really just like, it's been a long time. I vaguely, vaguely remember this stuff, but I 100% did not remember this. Filming the model secretly part. It is crazy. But I do also feel like, you know, we've come a long way in some of these areas. I mean, some of these areas we haven't, and then some of these areas we have. And I think back then, you know, I think that relationships and sexuality were kind of seen from the male gaze more often than not, at least in entertainment, right? So, like, in films, because that's really where you saw sexuality. You didn't really see it in television so much, right? So that was kind of one of the ways that we. We started pushing that boundary. And then what I think happened, my perspective on it, is that as we kind of found ourselves and Michael Patrick came and other writers came, more women writers came, we became more grounded in the fact that we were about investigating things from the female perspective and not from the male gaze, not from the male perspective, where we're just trying to kind of deal with it and make the best of it as we can. Which is what I feel like poor Carrie's trying to do in that one scene with the dude. You know, she's like, ha, ha, ha, ha. You know, like, kind of nervously laughing. But she's sitting there, you know, it's very fascinating. But then she definitely tells Samantha, like, do not go there. You know what I mean? So it's not like she thought, oh, it's fine, right? So it's, I think, a very interesting thing. And I think something that. That we'll be talking about more. And I'm super curious what you guys think of it. Meaning those points of, like, you know, did you feel uncomfortable watching that or did you feel like, oh, yeah, this stuff happens, and let's let's uncover it, let's see it. Let's see it for what it is. And I do think also that it should be said that I think that Candace had a very non judgmental, you know, she was like, I'm a social anthropologist and I'm uncovering what's going on and I'm not judging it. And in that way, she was kind of ahead of her time, I would say, you know, I feel like now in many ways society is much more non judgmental and like, well, this is what you're into. But also there has to be consent, hopefully. I mean, that's how I feel, at least as someone with a daughter. I think we're there. I don't know. What do you guys think? I want to know from you guys. All right, those were my stream of consciousness thoughts about episode two, season one, Models and Mortals. Thanks for being with me, everyone. Next week we have an amazing guest. I can't wait. All right, bye.
- [62:34]
Jon Stewart
Jon Stewart is back in the host chair at the Daily show, which means he's also back in our ears on the Daily Show Ears Edition podcast. Join late night legend Jon Stewart and the best news team for today's biggest headlines, exclusive extended interviews and more. Now this is a second term we can all get behind. Listen to the Daily Show Ears edition on the iHeartRadio app, Apple Podcast, or wherever you get your podcasts.
- [63:01]
Emilia
I'm Emilia, host of the podcast Crumbs. For years, I had to rely on other people to tell me my story, and what I heard wasn't good.
- [63:11]
Unknown
You really.
- [63:12]
Emilia
Last night, it felt like I lived most of my life in a blackout. I was trapped in addiction. I had to grab the lamp and smashed it against the walls. And then I decided I wanted to tell my own story. Listen to crumbs on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.
- [63:33]
Michael Rapaport
Happy holidays from me, Michael Rapaport. And my gift to you is a free subscription to the I Am Rapaport Stereo podcast where I discuss entertainment, sports, politics, and anything and everything that catches my attention. I am here to call it as a. I see it. And there's a whole lot of things catching my eyes these days. Listen to the I Am Rappaport Stereo podcast on the iHeartRadio app, Apple podcast and wherever you get your podcast.
- [64:01]
Katherine Legge
Hey, you guys, I'm Katherine Legg. I'm a racing driver who's literally driven everything with four wheels across the planet. And I've got a new podcast. It's called Throttle Therapy. This season, I'm competing in some of the world's most notorious racing events. Event Tune into my new podcast, Throttle Therapy, with Catherine Legg, an iHeart women's sports production in partnership with Deep Blue Sports and Entertainment. You can find us on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast.
- [64:28]
Kristen Davis
Presented by Elf Beauty, founding partner of iHeart Women's Sports.