Jennifer's Body (2009)! Plus, James Urbaniak on My Man Godfrey (1936)!

Summary

Dear Movies, I Love You – Episode Summary

Episode: "Jennifer's Body (2009)! Plus, James Urbaniak on My Man Godfrey (1936)!"
Release Date: October 14, 2025
Hosts: Millie De Chirico & Casey O'Brien
Special Guest: James Urbaniak

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Episode Overview

Millie and Casey dive into the cult horror-comedy Jennifer’s Body (2009), its cultural impact, and nuances of female friendship depicted through horror. They reflect humorously on generational candy favorites, movie theater etiquette, and the evolution of horror, connecting it all back to the ways movies shape us. Later, acclaimed actor and cinephile James Urbaniak joins for a passionate discussion of the screwball classic My Man Godfrey (1936), focusing on the genre and the enduring appeal of 1930s comedies.

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Key Discussion Points & Insights

1. Halloween Vibes, Candy Talk, and Film Diary

• Halloween Check-In: The hosts revel in their Halloween season rituals, especially around candy consumption, notably the persistent love for Reese’s Peanut Butter Cups and the undying “grandpa” appeal of Heath Bars and 100 Grand bars.
  • “They know their place. I just hope that they can continue making them because I don't want them to, like, you know, be put out to pasture.” – Millie (07:06)
• Candy as Nostalgia: Generational divides are evident as Millie laments not seeing “zoomers” with 100 Grands.
• Film Diary:
  • Millie attended a sold-out 70mm screening of Paul Thomas Anderson’s new film, reflecting on the “dad” energy of PTA’s works and the male-dominated crowd.
  • Etiquette tangent: Movie theater foot hygiene and the perils of stinky crowds.
  • “You got to smell. Here's my... Also one of my rules: film etiquette. I wear closed toed shoes to the movie theater.” – Casey (13:39)

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2. Listener Voicemail: Movie Bathroom Breaks

Timestamps: 17:38–25:08

• A listener named Weezerface calls in: How do you decide when to take bathroom breaks during movies?
  • Casey prefers to wait for a lull in the film but admits anxiety can get the best of him.
    • “This is the thing that stresses me out the most about going to see movies is peeing. Cause I, I have to pee all the time...” – Casey (19:01)
  • Millie holds it until the last possible second, risking missing post-credit scenes, which she criticizes as a generational (mostly millennial) phenomenon.
  • Conversational tangent on Millennials’ love of “limited edition sandwiches” and other ephemeral experiences.
  • Both hosts lampoon Marvel-esque post-credit stingers and share gripes about contemporary moviegoing.

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3. Main Discussion: Jennifer’s Body (2009)

Start: 25:14

Cultural & Horror Context

• Jennifer’s Body as a refreshing throwback: The hosts reminisce about the peak of “teen carnage” and note the shift toward “elevated horror.”
  • “It was kind of a joy to watch these teens get their guts ripped out in Jennifer’s Body.” – Casey (26:34)

Generational Nostalgia & Emo Discourse

Timestamps: 35:19–41:14

• Millie unpacks the evolution of “emo,” contrasting her ’90s punk/hardcore-rooted definition with the 2000s Hot Topic veil of eyeliner, fingerless gloves, and band tees.
  • “These kids... they look like industrial kids. They don't look like emo kids. But then again, that's me just being old.” – Millie (39:24)
• Discussion of the film’s self-referential (and now hilarious) 2009 teen style, dialogue, and music, seeing it as a time capsule.

Diablo Cody’s Writing & Feminist Subtext

Timestamps: 41:14–48:05

• Both hosts are fans of Diablo Cody’s razor-sharp, referential writing.
  • “Megan Fox can say literally anything she wants in this era...” – Millie (43:14)
• The film is praised for subverting horror tropes, notably by providing more depth and messiness to both the “final girl” and the “hot/popular girl.”
  • “Even the one [girl] that is supposed to be [squeaky clean] isn’t 100% — which I think is really cool.” – Millie (28:54)

Feminist Friendships and Queer Undertones

Timestamps: 45:51–54:36

• They analyze how Jennifer’s sexuality is seen through Needy’s adoring, possibly queer lens, highlighting the power imbalances and emotional entanglements of adolescent female friendship.
  • “You can tell that Needy is reverent towards Jennifer… There is sometimes an undercurrent of desire and of a closeness that kind of becomes a physical closeness.” – Millie (45:52)
  • “I feel like the point of Megan Fox being Megan Fox and being in this movie is that she is supposed to be the ideal, right?” – Millie (53:15)
• Discuss the infamous make-out scene not as a cheap thrill but as a layered exploration of blurred boundaries within female relationships.
• Comparison to real life, with Millie noting how same-sex friends are often more physically close than male friends would dare to be.

Jennifer as a Villain & the Personal is Horror

Timestamps: 54:36–58:59

• Analysis of Jennifer as a “bad friend” who abuses her power, with personal anecdotes layered in (“I once had a friend who made out with this guy that I was dating... by a dilapidated half-empty pool.” – Millie, 56:50)
• The pain and humiliation of friendship betrayals is likened to the “real” horror underpinning the film.

Style, Soundtrack, and Final Thoughts

Timestamps: 59:13–67:57

• The Adam Brody-fronted band “Low Shoulder” is lampooned: “Horrible name for a band, even in a movie.” – Millie (59:16)
• The film’s commentary on “grief culture” and media exploitation echoes movies like Heathers.
• The hosts praise the film’s hard R rating and gruesome kills—unafraid to show “teens getting their guts ripped out.”
  • “She was up in them guts. She was eating them shits like no tomorrow. And I was like, this is awesome.” – Millie (67:03)
• Reappraisal of Megan Fox’s performance, wishing she had more opportunities of this kind.
  • “It makes me sad… you just wonder if this had been a bigger hit, or like, I don't know, people took her more seriously.” – Casey (66:24)
• Jennifer’s Body is now recognized as a complex, feminist horror film that was mismarketed on release.

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4. Special Guest Segment: James Urbaniak on My Man Godfrey (1936)

Timestamps: 69:24–94:32

Personal History with Classic Film

• James shares discovering My Man Godfrey in college and how it cemented his interest in classic Hollywood.
  • “That era, 1930s Hollywood, the sort of golden age, is something I'm very interested in. … I continue to be fascinated.” – James Urbaniak (70:21)

The Artistry of My Man Godfrey

• Praises the film’s blend of “naturalism” and heightened comedy, crediting director Gregory La Cava.
  • “Everyone just seems spontaneous and the emotions seem very real and the script is really tight and really funny.” – James (75:51)
• Carol Lombard and William Powell are lauded for performances that “hold up big time” — with William Powell compared to Donald Sutherland or Jeff Goldblum in his wry persona.

The Screwball Comedy Formula

• Panel explores what makes the genre so potent (romantic core + farce), with many essential recommendations (Nothing Sacred, His Girl Friday, Preston Sturges’ work).
  • “It’s those two elements, sort of a kind of over-the-top comedy… with a sort of romance at its center and somehow that blend just really works.” – James (81:22)
• Love for the era’s character actors, e.g., Eugene Pallette, Jean Dixon, and Alice Brady (“one of my favorite comedy performances of all time”).

Class Satire and the Forgotten Man

• The “forgotten man” scavenger hunt launch is discussed as an example of Depression-era class commentary:
  • “It’s also showing the depraved indifference of these rich people to just go out and grab a homeless guy basically for their own amusement. It's disgusting.” – James (89:20)
• The hosts note how the genre balanced timeless human emotions with period-specific conventions.

Performative Styles, Then and Now

• Acting in Godfrey is contrasted with more affected contemporary film and TV styles—making a case that all eras develop their own “strange” conventions.
  • “It’s almost like music. It’s like an old form of jazz… but I think sometimes people will see an older style and immediately a wall comes up. They just can't quite get there. But if you look at it, it's really not that complicated. And the emotions are timeless...” – James (94:02)

Recommendations from James Urbaniak

• Palm Royale (Apple TV) and upcoming “Mickey Reese” indie horror Every Heavy Thing.

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5. Employee Picks

Timestamps: 96:23–102:06

• Millie:
  • Me Without You (2001): English coming-of-age drama about a power-imbalanced female friendship through decades. Notorious “foot cigarette” scene cited as a hilarious moment of “never that close” intimacy.
    • “Much like Jennifer's body, right? There's this power dynamic that is happening in Me Without You…” – Millie (97:58)
• Casey:
  • Ginger Snaps (2000): Canadian teen lycanthropy allegory and a direct influence on Jennifer’s Body. Gory, emotionally acute, and also about changing adolescent relationships.

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Notable Quotes & Memorable Moments

• “Do you like scary movies?” – Casey, horror cold-open reference (02:12)
• “You really fooled me… I totally thought you were the killer from Scream…” – Millie (03:11)
• “You know, if my dad was a horror host, I'd probably have a lot to say about that, too.” – Millie (12:04)
• As the horror trend shifts:
  • “Maybe these young people don't want to see their kind getting ripped to shreds in the same way that we did when we were growing up.” – Millie (26:24)
• On teen lingo and 2000s nostalgia:
  • “It really felt like from the past. Like, it felt distant to me, which, I mean, it made me nostalgic for that time, but it also just felt like a really, a bygone era.” – Casey (35:19)
• On the queer lens of friendship:
  • “You can tell that Needy is reverent towards Jennifer… There is sometimes an undercurrent of desire and of a closeness that kind of becomes a physical closeness.” – Millie (45:52)
• “She was up in them guts. She was eating them shits like no tomorrow. And I was like, this is awesome.” – Millie (67:03)
• Urbaniak’s film education:
  • “He actually gave me... my first film education. And then… I just got very into— I really loved it.” – James (74:17)

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Timestamps for Important Segments

• Film Diary, Candy Talk – 05:13–15:06
• Voicemail: Bathroom Breaks – 17:38–25:14
• Jennifer’s Body Discussion (Intro/Spoilers) – 25:14–67:57
• My Man Godfrey: James Urbaniak Interview – 69:24–94:32
• Employee Picks / Recommendations – 96:23–102:06

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Tone and Style

Conversational, insightful, and peppered with irreverent humor. Millie and Casey blend pop-culture polemics, personal anecdotes, and earnest film scholarship. James Urbaniak’s segment is scholarly yet inviting, full of affectionate nostalgia for classic films and keen observations on what makes certain movies (and performances) ageless.

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For New Listeners

This episode is perfect for anyone interested in reappraising cult horror, exploring the nuances of female friendship on screen, or learning why 1930s comedies like My Man Godfrey are still relevant and watchable today. Expect laughs, sharp observations, and a welcoming, unpretentious approach to film discussion.

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Next Episode Teaser: Revisiting Hellraiser (1987) – “Pinhead’s hot, bro!”

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You can follow Dear Movies, I Love You on Instagram @dearmoviesiloveyou and send in your movie dilemmas or recommendations via email or voicemail.

Transcript

[Millie de Cherico]

This is exactly right.

[Casey O'Brien]

New CBS tonight, CBS premiere week kicks off with the CBS original Matlock. With Kathy Bates starring in her Emmy nominated role.

[Millie de Cherico]

I lost a daughter and someone at this law firm covered up the truth. So I'm gonna get justice.

[Casey O'Brien]

This season, the truth is coming out. Allies are telling all lies.

[Millie de Cherico]

Your life is still a mystery.

[Casey O'Brien]

Kathy Bates. Who the hell are you? Madeline Matlock. Matlock. The two night premiere starts ton night after 60 Minutes, part of CBS Premier Week and streaming on Paramount. Plus. I'm Scott Hansen, host of NFL Red Zone. Lowe's knows Sundays are for football. That's why we're here to help you get your next DIY project done. Even when the clock isn't on your side. Whether that's a new Filtreat filter or Bosch and Cobalt power tools, Lowe's has everything you need to feel like the MVP of diy. So get it done and earn your sundae shop now in store and online, Lowe's official partner of the NFL. And Doug, Here we have the Limu emu in its natural habitat, helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug. Uh, limu is that guy with the binoculars watching us. Cut the camera. They see us. Only pay for what you [e-mail] Liberty.

[James Urbaniak]

Liberty.

[Millie de Cherico]

Liberty.

[Casey O'Brien]

Liberty Savings vary underwritten by Liberty Mutual Insurance Company and affiliates, excludes Massachusetts.

[Millie de Cherico]

Hello?

[Casey O'Brien]

Hi, Millie.

[Millie de Cherico]

Hey, what's up?

[James Urbaniak]

Are you alone?

[Millie de Cherico]

Hold on, hold on one second. Let me. Let me put my headphones in really quick because I can't even really hear you that well. Hold on, hold on.

[Casey O'Brien]

Can you hear me?

[Millie de Cherico]

Hello? Can you hear me?

[Casey O'Brien]

I can hear you.

[Millie de Cherico]

Okay, cool. This is better, probably. So, what. What's up?

[Casey O'Brien]

I have a question for you.

[Millie de Cherico]

Uh, okay. All right, sure.

[Casey O'Brien]

Do you like scary movies?

[Millie de Cherico]

Uh, yeah, I do. Mm.

[Casey O'Brien]

Oh, cool. Yeah. Yeah, I love. I love scary movies. Have you seen. Did you. Did you. Did you see Weapons?

[Millie de Cherico]

Yeah, I actually saw it pretty recently. You know, they filmed that here in my town, which I think is really cool.

[Casey O'Brien]

Oh, that's. Yeah, that's really. It's really cool. I thought it was really effective. And I also just recently watched Nightmare on Elm street, the Dream warriors, the third one, which is my. That's my favorite one. I think that one's, like, really cool.

[Millie de Cherico]

Absolute classic.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

Who. Who is this, by the way? I have to know.

[Casey O'Brien]

Oh, this is. This is Casey.

[Millie de Cherico]

Oh, what. What's up with this? The scary guy voice at the beginning, then I didn't know I was.

[Casey O'Brien]

There's just something in my throat. I don't know. I wasn't doing scary voice.

[James Urbaniak]

Just.

[Casey O'Brien]

I just wanted to know if you like scary movies.

[Millie de Cherico]

You really fooled me, dude, because I. I totally thought you were the killer from Scream for a moment there.

[Casey O'Brien]

Oh, that's weird. I guess he does. He did call and ask, do you like scary movies? And I guess I did that same thing. But, Millie, I mean, I like. I also want to call because I'm excited for our next episode. You know, we're talking about a movie I really love, which is Jennifer's Body from 2009. Another movie? You've never seen another movie?

[Millie de Cherico]

Yes. This is the second week of our horror month here at Dear Movies, I Love youe. And we. Last week's midsummer episode, that was the first watch for me. And this week's film, Jennifer's Body, another first watch. And quite honestly, I can't believe any of these have flown by me there. I mean, I feel like I've been missing out on so much culture by not having seen these movies.

[Casey O'Brien]

So great episode. We're also talking to James Urbaniak. In another installment of our segment, my area of expertise. We're gonna talk about My man Godfrey from 1936. The original, not the remake, and screwball comedies. And yeah, we're huge fans of James Urbaniak, and it was great talking to him about that stuff. So make sure you stay tuned to listen to that conversation.

[Millie de Cherico]

Yeah. Dare I say, we were both nervous as fuck when he came on.

[Casey O'Brien]

We were quaking in our boots and.

[Millie de Cherico]

He happened to be, like, the nicest dude ever. And we were just like.

[Casey O'Brien]

He put us at ease immediately, so.

[Millie de Cherico]

Well, please stay tuned. It's going to be a fun one. You are listening to Dear Movies, I love you. Dear Movies, I love you. And I've got to know if you love me, too. Yes or no?

[Casey O'Brien]

Check the box below.

[Millie de Cherico]

Hello, folks. You are listening to Dear Movies, I Love youe. This is a podcast for those who are in a relationship with movies. My name is Chilli Decherico.

[Casey O'Brien]

And my name is Casey o'. Briens.

[Millie de Cherico]

That's right. Halloween.

[Casey O'Brien]

Halloween.

[Millie de Cherico]

That's why we're doing it.

[Casey O'Brien]

We're doing it.

[Millie de Cherico]

How's it going so far? Any changes to the candy regimen from last week?

[Casey O'Brien]

Yes. My discipline of eating lots of candy. Now, I would say I housed quite a few Reese's Peanut Butter cups this week, which I would say are my favorite candy of all time. I love them.

[Millie de Cherico]

I would agree. I think it's definitely in the top three.

[Casey O'Brien]

Love that.

[Millie de Cherico]

You know what kind of candy I've kind of come back around the bend on no Heath bars.

[Casey O'Brien]

Those are good, but man, they get stuck up in there. They get stuck in my teeth.

[Millie de Cherico]

I know. I mean, kind of the downside to it, but the taste.

[Casey O'Brien]

Yeah, they're good.

[Millie de Cherico]

Undeniable. You know what I think is also really great about Heath bars? They kind of stay true to the OG form. They're not like making weird shapes.

[Casey O'Brien]

No, they're not. Yeah.

[Millie de Cherico]

Doing alternative color wrappers. Like, they're kind of like, you know what? We're old man candy bar. We're staying that way.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

Don't you respect that about certain candy bars?

[Casey O'Brien]

Yeah, I like it. Yeah, absolutely. Respect is the word I would use. I respect it.

[Millie de Cherico]

A hundred grand. Have you ever had a 100 grand before?

[Casey O'Brien]

Oh, yeah. Love a hundred grand. Yeah.

[Millie de Cherico]

The design has not changed in, like, many decades.

[Casey O'Brien]

Do you think it's because these are less popular candies and they're not getting called up to the varsity team, you know, during the holidays?

[Millie de Cherico]

Yeah. I think it's because they gotta stay lean and mean. They know. They know their place. I just hope that they can continue making them because I don't want them to, like, you know, be put out to pasture. I'm gonna want a Heath bar.

[Casey O'Brien]

I think you're safe with the Heath bars because I feel like that is a very common, like, cake topping or dessert top. Like it's used elsewhere.

[Millie de Cherico]

Sure.

[Casey O'Brien]

Like, have you ever had a better than sex cake? Have you ever heard of that cake?

[Millie de Cherico]

No. What is this, some LA thing?

[Casey O'Brien]

Some LA thing? No, I think it's like a Midwest thing. It's kind of like a. It's like a chocolate caramel cake with whipped cream frosting, I guess. And then they broken up Heath bars on top and it's good.

[Millie de Cherico]

I would die. I love it.

[Casey O'Brien]

It's good.

[Millie de Cherico]

Well, and the thing about a 100 grand is that it's effectively a Nestle Crunch bar that just has caramel in it, Right?

[Casey O'Brien]

Yep. Yeah.

[Millie de Cherico]

And it's good. I think it's fantastic. And I just am like, I don't see any of these, like, zoomers running around with a hundred grands in their pocket. Yeah, that's what I'm saying. Like, I'll. I'll keep buying them if you keep buying them.

[Casey O'Brien]

These Zoomers. They got a bunch of, you know, Milky Ways and Skittles popping out of their pockets, but never Heath bars. Well, I think that was. I'm glad we checked in about candy Again.

[Millie de Cherico]

Of course.

[Casey O'Brien]

Millie, we gotta open up the film diary. Ooh, it's light again.

[Millie de Cherico]

Oh, yeah. It's like two sheets of paper stick.

[Casey O'Brien]

Together like two sheets of paper. I tried to find a sound effect for this last time, and I couldn't find something that, you know, really sounded like two pieces of paper moving. You know, maybe I'll need to do some field recordings of my own.

[Millie de Cherico]

You should embed the audio from American Pie of the, like, feather that's like dancing on the breeze.

[Casey O'Brien]

Does that have a sound effect? I can't.

[Millie de Cherico]

Yeah, probably not. It's probably just Thora Birch being like, wow, this is so beautiful.

[Casey O'Brien]

The garbage bag in the wind.

[Millie de Cherico]

Oh, is it a garbage bag?

[Casey O'Brien]

Oh, that's what the neighbor. The neighbor. I think there is a feather, but the neighbor's like, this is the most beautiful thing I've ever seen. Remember he, like, filmed a garbage bag?

[Millie de Cherico]

Of course I remember. Cause I was so turned out by that stupid character. Like, I was like, oh, what a fucking hot, intense weirdo.

[Casey O'Brien]

Yeah, I mean, that character put a spell on me too. Cause I was like, not only is this who I want to be, this is who I am now. I haven't seen American beauty since, like, 2002. That might.

[Millie de Cherico]

I just realized I said American Pie.

[Casey O'Brien]

Yes, you did. Maybe that's why I was sort of confused.

[Millie de Cherico]

Oh, God, what a fucking awesome mistake. Imagine if the characters from American Pie were, like, watching a feather dancing on.

[Casey O'Brien]

Oh, shit. It is funny. I think those, like, came out in the same year. That is odd. Oh, God. Anyways, okay. Why don't you go first and then I'll go.

[Millie de Cherico]

Okay. Well, as you alluded to, the two shades of paper of the film diary this week is because I always saw.

[Casey O'Brien]

Her in the garbage bag.

[Millie de Cherico]

I saw. I always saw one movie. And I don't want to actually talk about it because I just can't talk about it right now. Let's just say that.

[Casey O'Brien]

That's right. We're going to talk about this soon.

[Millie de Cherico]

Yes. So I did see the new Paul Thomas Anderson movie One Battle After Another just came out recently.

[Casey O'Brien]

Can't wait.

[Millie de Cherico]

Yeah. So I won't talk about my thoughts. How about that? I will say. Yeah, I will say that the screening I went to was in 70 millimeter here in Atlanta. It was completely sold out. A lot of guys. A lot of guys.

[Casey O'Brien]

Of course, it's pta. He's our hero.

[Millie de Cherico]

He's our leader. Who, like, I wanted to bring this up with you simply because there were a lot of men to the point Where I was like, why are there so many guys here? Is it because Paul Thomas Anderson makes movies about dads?

[Casey O'Brien]

Mm.

[Millie de Cherico]

I'm asking you as a father.

[Casey O'Brien]

I've never really put that together. Maybe cause I'm an idiot. But a lot of his movies do deal with the relationship with the father, which is interesting. Cause I don't think he necessarily had a bad relationship with his dad.

[Millie de Cherico]

His dad was Goulardi. Am I wrong about that? Yeah. His father was the voice of ABC and played a Cleveland late night horror host known as Goulardi, after whom Anderson would later name his production company.

[Casey O'Brien]

Wow.

[Millie de Cherico]

And he died in 1997. He was the voice of ABC. I didn't know that.

[Casey O'Brien]

But yeah, he does have a lot of movies about dads.

[Millie de Cherico]

You know, if my dad was a horror host, I'd probably have a lot to say about that, too. But, yeah, I was just curious because I just felt like, God, there's so many guys here.

[Casey O'Brien]

He's our father now. Paul Thomas Anderson is our. Our film father.

[Millie de Cherico]

Yes. And I would also encourage everybody else that isn't a straight white guy to rise up and come see PTA movies in the theater opening night.

[Casey O'Brien]

Okay.

[Millie de Cherico]

For me, it was funny because I saw a lot of guys around me and my friend Matt Booth, who owns Videodrome, the local video store here. I said, God, there's a lot of guys around here. And he's like, yeah, that's because there's no money in moms. Which was like the saddest.

[Casey O'Brien]

Wow.

[Millie de Cherico]

Fact.

[Casey O'Brien]

That's interesting.

[Millie de Cherico]

And then I started thinking about it. I'm like, yeah, I don't know. You think these guys would show up for Lady Bird in this way? You think I'm gonna be sitting in a room with like 300 other dudes, like, watching a woman and her mom haven't have a fight? No.

[Casey O'Brien]

Yeah. That's interesting. That is interesting.

[Millie de Cherico]

I will say, too. Maybe this is a film etiquette question that we should bring up at some point. But, man, there was some stinky dudes.

[Casey O'Brien]

Ooh. I'll tell you right now, we don't even have to get into it. You got to smell. Here's my. Also one of my rules, film etiquette. I wear closed toed shoes to the movie theater.

[Millie de Cherico]

Oh, God. Of course. What?

[Casey O'Brien]

I would never wear a sandal.

[Millie de Cherico]

Absolutely not. It's like you can't even see the floor. And there's no way I'm just going to leave my toes exposed.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

I have seen people take off shoes before. I put bare feet on the Ground, which is awful.

[Casey O'Brien]

They should not be allowed to vote if they do that.

[Millie de Cherico]

And I saw it in New York City, which is even worse.

[Casey O'Brien]

Narstir.

[Millie de Cherico]

Yeah, the smelliness was, I think just.

[Casey O'Brien]

When you get a lot of men in one room, it's just the higher potential of stinkiness. And bo.

[Millie de Cherico]

Oh, it was awful. The BO was awful.

[James Urbaniak]

Yuck.

[Millie de Cherico]

It was very distracting and I just felt like I was trapped.

[Casey O'Brien]

So anyway, well, I hope the movie was. It didn't hurt the movie too much.

[Millie de Cherico]

No, I mean, you know, there were other things. It was really loud in there, too, which I'm assuming it was because it was sold out. They thought, oh, we should probably jack up the audio. But I also have been told that the particular theater that I went to has, like, hot spots of loudness.

[Casey O'Brien]

Oh, interesting.

[Millie de Cherico]

And I probably was sitting in one of them because it was really loud, so. But I survived three hours.

[Casey O'Brien]

No one threw it. No one threw a firecracker during your. The screening?

[Millie de Cherico]

No, this is our rep cinema. They have better sense than that.

[Casey O'Brien]

Okay, very good. And, Doug, here we have the Limu Emu in its natural habitat, helping people customize their car insurance and save hundreds of with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug. Limu is that guy with the binoculars watching us. Cut the camera. They see us. Only pay for what you need@liberty mutual.com Liberty, Liberty, Liberty.

[James Urbaniak]

Liberty Savings.

[Casey O'Brien]

Very unwritten by Liberty Mutual Insurance Company Affiliates, excludes Massachusetts. Hey, it's Ryan Seacrest for Albertsons and Safeway this fall, take care of the little ones in the family with Baby Club Savings now through November 4th. Spend $25 on select Baby Club products and save $5. Shop for items like Pedias. Sure. Bottles, Pedialyte powder packs, Huggies baby wipes, Huggies diapers, Gerber puffs and Gerber pouches. And save $5 when you buy $25 or more on participating products. Offer ends November 4th. Restrictions apply. Offers may vary. Visit albertsons or safeway.com for more details. Hey, everyone. Ed Helms here. And hi, I'm Kalpen, and we're the The Audible and iHeart Audiobook Club. This week on the podcast, I am sitting down with Jenny Garth, host of the iHeart podcast. I choose me to discuss the new Audible adaptation of the timeless Jane Austen classic Pride and Prejudice. This is not a trick question. There's no wrong answer. What role would I play?

[Millie de Cherico]

You know what?

[Casey O'Brien]

I can see you got a little call in first. Okay, that's really sweet. I appreciate that. But are you sure I'm not the dad. I'm not Mr. Bennett. Here, listen to Earsay the Audible and iHeart Audiobook Club on the iHeartradio app or wherever you get your podcast. Well, I did a bad job this week. I didn't watch a single movie. Jeez, I'm losing my bloom.

[Millie de Cherico]

You might as well quit.

[Casey O'Brien]

I might as well quit. My co host is telling me I might as well quit. Well, I thought in place of that, I could play a voicemail from a listener.

[Millie de Cherico]

Great.

[Casey O'Brien]

Because I love hearing from our listeners.

[Millie de Cherico]

And we haven't done this in a while either.

[Casey O'Brien]

We haven't done this in a while. So I thought this would be a good opportunity.

[Millie de Cherico]

Hey, Millie and Casey, it's me. It's Weezer face. Hi. I love you guys. Quick question here. I wanted to see what you guys think about this. So let's say you're at the movies, you're watching a great movie, and all of a sudden, even though you took precautions, you went to the bathroom before, you haven't been drinking the Big Gulp or whatever, you have to go to the bathroom, you got to take a pee, whatever. And you know, it's not a five hour long movie with an intermission or anything like that, but you gotta go do this. Do you wait until like the absolute moment where you're like, I gotta go to the bathroom, let's go. Or do you kind of like watch the movie and wait for like a slow moment to happen? Like, what's your, what's your approach to this? Like, you have to go to the bathroom and you gonna have to miss like maybe a minute of the movie. What's your, what's your vibe there? How do you approach that situation? It's happened to me quite a few times this year. The only movie I didn't go to the bathroom during was Sinners. Saw all of that. But plenty of other times I missed vital parts because I thought, oh, it's going slow, I can take a quick bathroom break. But then boom. What do you know? Like, I miss seeing Nosferatu's penis and stuff and I'll never forgive myself. Except, you know, I obviously watched it streaming. But like, how do you vibe out when to go? So that's the question. Okay, love you. Bye.

[Casey O'Brien]

This is a great question, Weezerface.

[Millie de Cherico]

I love Weezer Face.

[Casey O'Brien]

Me too. Glad they called in. Yeah. Now this is a really I deal. I. This is the thing that stresses me out the most about going to see movies is peeing. Cause I, I have to pee all the time and I Remember when I went and saw Endgame, which is like three and a half hours and I was stressed like driving over there about how, how am I gonna handle this? And the movie started and I was all worked up and I would say within the first three minutes of the movie, I went to the bathroom because I was like, I, I just gotta, I have to go so.

[Millie de Cherico]

Well, first three minutes is probably a good bet.

[Casey O'Brien]

Cause you're probably. But I mean, I feel like, I feel the, to answer the question, I think I wait until a lull or I feel like there's a lull it like in the story where I can sneak away to go to the bathroom. Okay, what about you, Millie?

[Millie de Cherico]

I hold it until it's about to come out of me.

[Casey O'Brien]

God, doesn't that kind of color the movie going a little bit? Because I feel like there are movies where I look back and watch it and I'm like, I had to pee for half of that movie.

[Millie de Cherico]

Uh huh.

[Casey O'Brien]

I mean it does.

[Millie de Cherico]

Okay, I'm not saying that I am not literally running out there. It's like when the screen goes black and you know that that first credit is going to pop up. I'm already gone.

[Casey O'Brien]

You're out of there.

[Millie de Cherico]

Oh hell, it happened at one battle after another.

[Casey O'Brien]

Geez Louise. Don't you think though you would enjoy it more if you're like went to the bathroom during the movie?

[Millie de Cherico]

I mean to enjoy the pee or to enjoy the movie?

[Casey O'Brien]

The movie and the pee, I guess.

[Millie de Cherico]

I mean, sometimes it is a nice feeling to expel all the liquid after you've been holding it for so long. You're like, oh God, this is incredible. I. The movie. See, I like to think that, you know, I have like a Zen sort of demeanor when it comes to pain where I can just sort of be like, you know what? I know I gotta pee. But I'm focused, I'm interested, I'm pushing away my own needs and wants for the experience of this film. And then the minute any letters pop up on screen with any person involved in the movie, I am out of here.

[Casey O'Brien]

You're not waiting for that post credit sequence.

[Millie de Cherico]

Okay, so this is what this is. The downside to my technique.

[Casey O'Brien]

Sure.

[Millie de Cherico]

Is that fucking all these movies have post credit sequences where they're like teasing sequels and all this bullshit, which I actually think is lame.

[Casey O'Brien]

I do too. I hate it, I hate it. And a lot of times I'll go home and it's like, oh, what did you think of the post credit sequence? I'm like, I, I didn't know there was one?

[Millie de Cherico]

No, because you told me the movie was over when the credits started rolling. That's the sign that I'm done. Okay.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

And the. The idea this is, I swear, I think it's actually. I'm gonna say it's not necessarily. Maybe it's a little Gen X, but it's definitely a millennial thing. Y' all love this shit. Y' all love blind boxes. You love Easter eggs and like, weird little inside jokes after the credit, I'm like, come on.

[Casey O'Brien]

I really do. We love them. Yeah.

[Millie de Cherico]

You guys like weird candy and flavored soda and all those things.

[Casey O'Brien]

That's interesting. That is sort of a millennial love. Oh, they love to be on the inside.

[Millie de Cherico]

You know, I've never had more conversations about limited edition sandwiches than I have with people of your age group.

[Casey O'Brien]

Wow. Limited edition sandwiches. Yeah.

[Millie de Cherico]

Y' all are the ones that are lining up for these fucking, you know, one time only sandwiches.

[Casey O'Brien]

And like, where are these one time only sandwiches you've never had?

[Millie de Cherico]

Like, you've never stood in line in LA for, like, one time that, you know they're making a Reuben at the, you know, whatever shop?

[Casey O'Brien]

Something about her. Yeah, yeah, yeah, yeah, yeah, yeah. No, I'm not a. I could never. I was never jumping on food, like, the trendy food. I don't like to wait that long for food.

[Millie de Cherico]

But you love, you love a unique, you know, seasonal, not year round experience when it comes to things.

[Casey O'Brien]

Yeah, I do.

[Millie de Cherico]

Come on, admit it. For your generation.

[Casey O'Brien]

You know, my generation, we love them, us millennials. No, but you're right. I feel like that has become such a thing. It's like, did you catch that little Easter egg? That little reference to that other thing?

[Millie de Cherico]

Like, no, what am I, 12? Why do I need an Easter egg?

[Casey O'Brien]

I don't have. Yeah, stupid. But anyways, I think we answered the question.

[Millie de Cherico]

Thank you, Weezerface. I know that you've written before and I just want to say I appreciate it because I think you wrote me a fan letter once and I got a lot of self esteem from it, so I appreciate that.

[Casey O'Brien]

I'm glad you went back and watched Nosferatu to make sure you saw his dink on the screen, because that was important.

[Millie de Cherico]

I know. I mean, honestly, I probably would have peed my pants waiting for that.

[Casey O'Brien]

My concern for you, Millie, you're going into a movie and you know there's a post credit sequence, so you're like, I will wait for that. But the letters come up on the screen and your body is so programmed to go to the bathroom when you see the letters that you're just gonna start peeing your pants in the movie theater.

[Millie de Cherico]

Don't show Nosferatu's dick after the credit sequence.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

Like, if that's the kind of game you're playing as a filmmaker, if y' all are like, guess what? We're gonna, like, do some crazy shit. You're evil.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

You're simply evil.

[Casey O'Brien]

All right, well, let's close up the film diary.

[Millie de Cherico]

God, that's beautiful.

[Casey O'Brien]

It's the most beautiful thing I've ever. All right, we're moving on to our main discussion. Jennifer's Body from 2009, a movie that Millie just saw for the first time. Thrilling Millie. Do you feel like we're killing enough? We're slaughtering enough teens in movies these days? It feels like that trend is kind of going away.

[Millie de Cherico]

Yeah, I mean, I feel like we're probably not. We're opting to instead watch middle aged diva actresses be pulled in by witchcraft.

[Casey O'Brien]

Yeah. I do think that's part of the elevated horror A24 effect, is that we don't have as much teenage carnage going on.

[Millie de Cherico]

Yeah. I mean, maybe there is something to that from a sociological perspective. Maybe it's that these young people don't want to see their kind getting ripped to shreds in the same way that we did when we were growing up.

[Casey O'Brien]

Yeah. It's interesting. I don't have anything else to expand upon that, but I've just noticed that trend and it was kind of a joy to watch. You know, these teens get their guts ripped out in Jennifer's body.

[Millie de Cherico]

Yeah. I mean, I guess we're gonna say spoiler alert. If you haven't seen Jennifer's Body, it's crazy to me.

[Casey O'Brien]

This came out 16 years ago.

[Millie de Cherico]

We gotta put a pit in that. Because there was so much to talk about when it comes to the style of this film that I need to discuss with you. But yes, in the same way, though, that the movies of my childhood were. I mean, there was one of the huge tropes of sort of slasher films was the concept of, like, popular kids getting killed first a lot of times.

[Casey O'Brien]

Yes.

[Millie de Cherico]

And that is something I actually appreciated about a moment in Jennifer's body that we'll probably talk about was that the head football player got chopped and I was like, cool.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

It's been a while since I've seen some like this.

[Casey O'Brien]

Yeah. Yeah, it is interesting. Yeah. Cause usually I think the final girl is the more virginal, nerdy one. Typically, you know, that's kind of a classic trope.

[Millie de Cherico]

Even though I think Jennifer's body does really well by subverting a lot of that kind of stuff, which we'll also talk about. Because when I. I will say that before I watched this film, I had always heard about this film and I had always heard about it being a feminist horror film.

[Casey O'Brien]

Yes.

[Millie de Cherico]

And I don't know what your thoughts are about that. You might have none. Which is fine. You don't have to have feminist thoughts. I mean, actually you do. It is important for you to have feminist thoughts.

[Casey O'Brien]

But just as it pertains to this specific movie.

[Millie de Cherico]

Correct. Like, I guess it's not. I guess it's more that, like, not every movie needs to be discussed socio politically, I guess.

[Casey O'Brien]

Sure.

[Millie de Cherico]

My mind just goes there because that's just my brain. But there was moments in this film, after seeing it, finally I was like, oh, I see. This is actually kind of cool. There's a lot of cool things because to your point just now, like, these girls are not necessarily squeaky clean. Even the one that is supposed to be is.

[James Urbaniak]

Yeah.

[Millie de Cherico]

Isn't 100%, which I think is really cool. And they. They actually make some jokes to things like that in the movie. But. Well, I mean, listen, why don't we get into maybe the synopsis and we go a little bit beat by beat? Cause I actually would love that.

[Casey O'Brien]

Sure, let's do it. Well, okay. So the movie is about the characters. Needy Anita, Needy Les Nicki, played by Amanda Seyfried, and Jennifer Check, played by Megan Fox. They are unlikely best friends. Needy is more of the bookish, quieter one. And Jennifer is the hottest, most popular girl in school. Now they live in a small town, Devil's Kettle, Minnesota. More on that later. And Jennifer wants to go see this band from the cities named Low Shoulder. They're playing at, like, a local beer hall and she wants to, like, hook up with them. But they go to this concert and the place burns down. And Jennifer kind of disappears with the band in their van. And Needy is left wondering what's going to happen to her friend. Like I said, this was a Minnesotan movie. I like Diablo Cody a lot. I love her. She has kind of this Minnesota trilogy. Juno, Jennifer's Body and Young Adult all take place in Minnesota. Diablo Clodi spent time living here for a long time. And I like that. It's like sort of some Midwestern representation in the movies. Like, I don't feel like. I feel like the Midwest is typically portrayed like Fargo a lot of the times, and Minnesota specifically. And so I like that they have in her movies. The characters are very smart and very funny and clever, and I feel like they don't always. Midwest movies aren't. They don't always typically portray people like that. You know what I mean?

[Millie de Cherico]

Interesting. Giving some representation to your folk.

[Casey O'Brien]

That's right. What do you think about. Do you have any opinions on Diablo Cody? Because some people don't like the way she writes characters.

[Millie de Cherico]

I actually like Diablo Cody. There might have been a time where I was like. I felt like there was so much energy in the culture behind Juno that I was like, okay. And we were at peak. Michael Cera, too, which. Sorry about it. It was just that moment.

[Casey O'Brien]

And that is peak, I guess you could say indie sleaze, but like, peak hipster dom at that time.

[Millie de Cherico]

Yeah. And so there was just, like, a general annoyance with that kind of stuff, I think, in the time for me. But then subsequently, I liked things that she's made. I loved Young Adult. I loved Lisa Frankenstein. I logged that movie on this podcast, I believe.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

And it feels like she and I are probably around the same age. Actually, she's a year older than me. So referentially, it's like I'm in sync with her. And that's kind of how I felt about Jennifer's body as well. Even though I have much. Like I said, I have much more to say about the. The style of this film because of the era that was in. But, yeah, I do like and enjoy her work. So.

[Casey O'Brien]

Here we have the Limu Emu in its natural habitat, helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug. Uh, Limu is that guy with the binoculars watching us. Cut the camera. They see us. Only pay for what you need@liberty mutual.com.

[James Urbaniak]

Liberty, liberty, liberty. Liberty Savings.

[Casey O'Brien]

Very underwritten by Liberty Mutual Insurance Company affiliates.

[Millie de Cherico]

Excludes Massachusetts.

[Casey O'Brien]

Hey, it's Ryan Seacrest for Albertsons and Safeway this fall. Take care of the little ones in the family with Baby Club Savings now through November 4th. Spend $25 on select Baby Club products and save $5. Shop for items like Pedia Shore bottles, Pedialyte powder packs, Huggies baby wipes, Huggies diapers, Gerber puffs and Gerber pouches. And save $5 when you buy $25 or more on participating products. Offer ends November 4th. Restrictions apply. Offers may vary. Visit albertsons or safeway.com for more details. Hey, everyone. Ed Helms here. And hi, I'm Kal Penn, and we're the hosts of earsay the Audible and iheart Audiobook Club this week on the podcast, I am sitting down with Jenny.

[James Urbaniak]

Garth, host of the iHeart podcast.

[Casey O'Brien]

I choose me to discuss the new audible adaptation of the timeless Jane Austen classic Pride and Prejudice. This is not a trick question. There's no wrong answer. What role would I play?

[Millie de Cherico]

You know what?

[Casey O'Brien]

I can see you as Mr. Darcy. You got a little Colin Firth. Okay, that's really sweet. I appreciate that. But are you sure I'm not the dad? I'm not Mr. Bennett. Here, listen to Earsay the Audible and iHeart Audiobook Club on the iHeartradio app or wherever you get your podcasts. Well, I mean, why don't we get into the. The era and the style of things? Because that was something that I really, when I was watching this, because I saw it probably for the first time in, like, 2011, and then I watched it like, five years ago again. And even watching it five years ago, it didn't feel as much of a, would you say, relic of its time or it didn't feel as dated. But watching it this time, I was like, holy hell. This is like, so squarely 2009. Just the style of it, the music, you know, the dialogue, it was just like, it really felt like from the past. Like, it felt distant to me, which, I mean, it made me nostalgic for that time, but it also just felt like a really, a bygone era. I don't know if you had a similar experience watching.

[Millie de Cherico]

Yes. And part of what I probably shouldn't spend any time parsing out, although I literally can't help it, I have to.

[Casey O'Brien]

Sure.

[Millie de Cherico]

And being that you're a little younger than me, this is probably going to be good intel because I feel like you could explain this better. I am extremely confused about emo and the emo eras that have happened in our lives, because when I was in my late teens, early 20s, and I graduated high school in 1997, okay. Emo to me was this, like, Midwestern bald guy, Jade Tree Records thing where it kind of felt like an offshoot of, like, hardcore. But the people involved in emo as I knew it were bands like the Promise Ring and, like, Texas is the Reason and, you know, like, jets to Brazil and things like that. Like, I remember when the album Nothing Feels Good came out by the promise ring in 1997, I, I, that was the first emo album that I bought that I. And I was like, oh, my God. I feel like I'm hanging out with, like, a different crowd of people because it really wasn't my thing for a while. I was really more like in a punk rock. But it was like. It just felt like it was more kind of guys in like, you know, dickies pants and like tight little dickies jackets and like button ups. So as the years went on, I started realizing that a lot of what kids were calling emo was more like what this movie was, which is like kind of the like Fallout Boy, Pete Wentz, like jagged black hair, fingerless gloves, like eyeliner thing. And I'm like, when did that happen? I guess I'm confused.

[Casey O'Brien]

You know, I'm not an expert when it comes to emo. I do. But there are like these little like offshoots and I'm not sure how to label them because there's like music like Dashboard Confessional and American Football, which are not hardcore, right? They're not. They're very. But they are still very much in the emo genre. Yes, it's confusing, it's confounding. But I agree in this movie it is more. Would you say it's like more of the Fallout Boy style of emo?

[Millie de Cherico]

Well, that's the thing, is that there's actually certain references to emo in the movie. I don't know if anybody explicitly says it. Maybe Adam Brody's character says it because we'll get into it. Adam Brody plays in a band in the film, which I think upon first look, and definitely by the song, you would consider an emo band, I think generally. But that's the thing is that all these kids that are these emo kids in the film, which by the way, Jennifer, AKA Megan Fox, AKA the most popular girl in her school, also has emo posters on her bedroom wall, which is another branch that I refuse to climb on this fucked up culture tree. But I'm just saying I look at the kids in this movie, especially in one in particular, which we'll get to later. I look at him, I was like, he looks like he's in a Nine Inch Nails. He doesn't look like he's into emo music.

[Casey O'Brien]

You're right though, that like. Well, the guy. I think, I can't remember who the character's name, but he's the guy with the lip ring, right? That goes. So he's like very emo fied with the spiky hair and stuff. But that is how the. That's how like Fallout Boy fans dressed or my Chemical Romance fans dressed. And I think they adopted the like 9 inch nails fan look, but had much more mild music taste.

[Millie de Cherico]

You know, I mean, they look like they were like the viral video of those like crazy German people who were doing the dance under the bridge. Like they look like industrial kids. They don't look like emo kids. But then again, that's me just being old.

[Casey O'Brien]

Well, I think it's the hot topic, the hot topicization of fashion like that there became kind of a commercial place that is selling this stuff and making it more available. This type of fashion of making it more available to the masses, you know.

[Millie de Cherico]

Well, and the only reason why I even talking about this and why I guess it feels relevant is because that's the world of this movie is really kind of that like high school emo kid, late 2000s, early 2010s kind of vibe. And the clothes, the music, I mean they're actually like talking about it. It's kind of self referential in that way too of the, of the era. And so I'm just like this missed me. Like I feel like this entire era I was already a working adult. So I was like, I don't know, like when all the kids started wearing like, you know, arm sleeves with stripes on them and you know, chain wallets and stuff. And that's not to say like, it's not to say that I didn't enjoy it on some level. It just was like I just wasn't nostalgic for it because it wasn't like something that I was deeply a part of.

[Casey O'Brien]

Sure.

[Millie de Cherico]

But I will say it was really fun to be with high school characters in a movie like this because they were also like saying all their lingo and all their words, which was so hilarious to me.

[Casey O'Brien]

Yes. I think, I think people get mad at Diablo Cody sometimes. Not mad, but like especially with Juno because they were like high school kids don't talk this way. They're speaking too cleverly. And I think they thought Diablo Cody was being like too clever with her lingo. But I really think it's so funny. I think she's very funny. And it's like the things like the one liners that Jennifer has are like really good. I don't know. And it all felt like believable or maybe not believable, but in this world it felt appropriate for the characters to be speaking this way. And I feel like there's a lot of bad versions of this type of movie but Diablo Cody is able to do it well.

[Millie de Cherico]

Yeah, like we did a movie on I Saw what yout did called disturbing behavior from 1998.

[James Urbaniak]

Uh huh.

[Millie de Cherico]

And the lingo in that movie is Appalling.

[Casey O'Brien]

Sure.

[Millie de Cherico]

So it could definitely be bad. But then there are times too where that, that seems cringe, quote unquote at first. But then it becomes part of the culture. I mean, I think mean girls did that where.

[Casey O'Brien]

Yeah, I think Heather's did that.

[Millie de Cherico]

Heather's absolutely did that. Where you listen to a movie and you listen to the kids talk and it feels really clunky. But then eventually people are saying shit like fetch or. Yeah, what's your damage? You know?

[Casey O'Brien]

Well, I do think it takes a certain type of actor to be able to say that stuff convincingly and with good comedic delivery. And I feel like Megan Fox is really good in this movie.

[Millie de Cherico]

Listen, Megan Fox can say literally anything she wants in this era, but she.

[Casey O'Brien]

Also is doing it. I feel like she's delivering it with such deadpan. She's doing. I don't know, I just, I thought she was great in this.

[Millie de Cherico]

Of course you did. And this is like what?

[Casey O'Brien]

I don't, don't do that.

[Millie de Cherico]

I want to get into this a little bit because I'm going to be 100% honest with you. I also missed Megan Fox alongside most movies of the 2000s and emo. Apparently I was not around for her rise to prominence.

[Casey O'Brien]

You weren't buying Maxim magazine?

[Millie de Cherico]

Was Maxim magazine. I guess it was still being published. Oh yeah, 2009. Have you ever bought a Maxim magazine?

[Casey O'Brien]

I don't think I have.

[Millie de Cherico]

You didn't want to get like tips on how to be like a stud. Here's how to pleasure your woman. All you do is bring her flowers.

[Casey O'Brien]

And then I, I don't, I hate to burst your bubble. I don't think they were. I don't think Maximum magazine was as thoughtful as like how to pleasure your, your. How to get your partner to come. You know, I don't think that was happening. I don't think they were concerned too much about that. But anyways, I don't want to talk about Maxim magazine.

[Millie de Cherico]

You don't, you really don't want to keep going.

[Casey O'Brien]

You don't.

[Millie de Cherico]

But listen, I missed Megan Fox. She in this film is kind of like bionically good looking.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

Like she doesn't even seem like she's a real person sometimes.

[James Urbaniak]

Uh huh.

[Millie de Cherico]

And I think that's probably why she was in Maxim magazine for all those years and why she continues to be like one of the hottest ladies ever. But I feel like, because some of the criticism I think that I was reading online and on Letterbox specifically was the dance of, you know, being a feminist film. But also Having this extremely beautiful woman in it who's, you know, sort of a. A sex symbol for straight males. Right.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

But I also think that that's. I think part of. I think it's by design is basically what I mean is that, like, she had to be that hot in a lot of ways to. For the plot. But I also think too, like, I mean, part of the story here. I mean, the reason why the movie is called Jennifer's Body, I feel like, is because we're actually seeing it. At least. This is kind of my read on it. We actually see her body and her sexuality through the lens of her best friend.

[Casey O'Brien]

Interesting. Yes.

[Millie de Cherico]

Which I feel like is something. I don't think it's been brought up necessarily in this specific way in a lot of American films that I've seen about female friendships. About the idea of. In some friendships with females, like, there is sometimes an undercurrent of desire and of a closeness that kind of becomes a physical closeness, too.

[Casey O'Brien]

Right. That is Millie, I want to just say some plot stuff. And then I want you to pick up exactly where you're talking. Just so we can bring people up to speed real quick.

[Millie de Cherico]

Sure, sure.

[Casey O'Brien]

But so basically, we left off. They go to the concert, it's on fire. They escape. Jennifer goes with the band. And then we see Jennifer later, and something has happened to her. And she starts killing high school boys and eating them. And we're like, what's going on? And like you said, this is all seen through the lens of Needy. Needy is watching Jennifer. She's like, what is going on with Jennifer? And then it is revealed that Jennifer was killed by the band Low Shoulder in a sacrifice to Satan. And because, like we referenced earlier, she's not a virgin, but she. In order to, like, be attracted to these guys, she's like, oh, I am a virgin. And so they sacrifice her. And it goes wrong because she's not a virgin. And a demon takes over her body, and she is feasting. Needs to feast on the flesh of boys. Now, like you said, Millie, Needy is like, this is all through Needy's. The lens of Needy. And I do think this is like, a really fascinating female friendship movie. And there's even, like, a makeout scene between them, which was not meant to be a publicity thing. It's sort of supposed to be representative of the closeness of female friendship, wouldn't you say?

[Millie de Cherico]

I agree. And it became a publicity thing because of you guys, basically.

[Casey O'Brien]

Of us.

[Millie de Cherico]

Of you.

[Casey O'Brien]

Of us.

[Millie de Cherico]

Maxim.

[Casey O'Brien]

Maxim subscribers.

[Millie de Cherico]

Yes. Lifelong subscriptions. All of you. Because it's like, oh, cool. Two hot chicks making out. What a fantasy. Yeah, but obviously it has a way, kind of deeper meaning and implication in the actual film. Right. And part of what I like about the idea that this was directed by a woman, Karen Kusama, and written by a woman, Diablo Cody, is that they're able to make that even though y' all ignored it, it's still in there. The context is essentially like you said in the synopsis. Right. Needy is a bookish nerd, and Jennifer is the hottest, most popular girl in school. Right. So there's a power dynamic between the two of them since childhood. There are flashback sequences in the film where they're, like, sitting around probably, like, seven, eight years old. And you can tell that Needy is reverent towards Jennifer. Right. Because Jennifer is more outgoing, more dynamic, better looking, like, whatever. That stuff gets established super early. And that is the thing that I found always so fascinating about female friendship movies is that some of the better ones, you know, I'm thinking of movies like, made by Nicole Hofensetter and, you know, many, many other films, not just in America, but, but also internationally, that can really drill down into that power dynamic between two female best friends. Because invariably, there's always, like, the one that feels like she can't say no to her friend, and she knows that her friend is more popular and more beautiful and more dynamic and is sort of being like, dragged around on a leash by her in a lot of ways. And, I mean, this is something that media's boyfriend Chip, also clocks about their friendship. Like, he's like, what's the big. Why do you follow her around? Why is she so. But then, you know, in the movie, you look at Jennifer, AKA Megan Fox, and you're like, holy fuck.

[James Urbaniak]

Yeah.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

I would do anything for her, too.

[Casey O'Brien]

But it is interesting because I feel like I've seen that in real life. Now, I'm not going to pretend to know about the intimacies of female friendship, but I have seen that where it's like, a friend will be like, no, I've got to take care of her. Like, I. It's like my duty. Like Amanda Seyfried's character, Needy, it's almost like she feels this duty, even though she has this really complicated relationship with Jennifer. She feels this. Like, she needs to be a part of whatever is happening to Jennifer, and she needs to, like, not take care of her necessarily, but, like, figure out what's going on with her, you know, like, so much of her identity is wrapped up in that.

[Millie de Cherico]

Yeah. And Also there, I feel like, is queer undertones here, too. Like, where maybe Needy is in love with Jennifer. Not just from, like, a friend perspective, but also, like, wants to kiss her and wants to be physical with her and admires her. And all that stuff gets, like, kind of convoluted in a ways, especially as young women. Because you're kind of working it all out, you know, and you're kind of hanging out with this one girl constantly, all the time. And you're in these very intimate settings, like sleepovers and showers in school and, like, things like that. And this is something that, you know, is. I feel, like, a lot different between female friendships and male friendships. Where, I mean, you're like. I can't even tell you how many times I've been. I've slept in bed with women. I still sleep in bed with women when I'm on trips and stuff, if I have to. And there's a physical closeness sometimes between us that we're able to kind of handle. I don't know if that's the word. The word to say. Like, we can handle being physically close with each other. Whereas I feel like in a lot of male friendships, that's kind of a taboo thing.

[Casey O'Brien]

Yeah. I mean, I don't feel like men see each other naked ever.

[Millie de Cherico]

Yeah.

[Casey O'Brien]

And I feel like women do.

[James Urbaniak]

Yeah.

[Casey O'Brien]

And, like, you would in a much more casual way.

[Millie de Cherico]

Right. You would never sleep in your underwear next to, like, a male friend necessarily.

[Casey O'Brien]

No, never.

[Millie de Cherico]

You know, whereas that's happened to me. Like, I've done that, even though I'm not interested in women at all. But it's almost like it's kind of just like. I don't know. It doesn't seem like a big deal to me. And to us, maybe sometimes, but I will. I don't want to, like, take away the queer reading of Needy, like, either. I feel like, you know, there could be feelings there that she hasn't explored yet. And there's probably a lot of things in the movie that point to that, too, but.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

All this to say, though. It's like. I feel like the point of Megan Fox being Megan Fox and being in this movie is that she is supposed to be the ideal. Right. Like, the ideal high school, popular girl, gorgeous, perfect body, all of the things.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

And everything kind of swirls around her in that way.

[Casey O'Brien]

Yeah. I mean, the movie goes on and, you know, Needy realizes that Jennifer is pure evil. She's trying to protect Chip from Jennifer, but she's like, we need to break up, basically, because it's not safe for us to be together. Which also feels like. Kind of like maybe she's making way for more like Jennifer to be in her life more. There's a little bit of a reading of that, like, using this as an opportunity to get away from Chip. And she tells him, don't go to the homecoming dance, because Jennifer's gonna eat everyone at the homecoming dance, basically. But he does not listen to her, and he goes to the homecoming dance anyway. And on the way there, Jennifer intervenes. And she's, like, seduces him and unfortunately kills our sweet Chip.

[Millie de Cherico]

Thoughts on Chip?

[Casey O'Brien]

Well, I really like that actor, Johnny Simmons. And I feel like he's very representative of this time. He was in Scott Pilgrim as Young Neil, which I know is a movie that you loathe, but I love. And he was in Perks of Being a Wallflower. He just has that perfect, sweet, sweet face with the swoopy hair. I mean, he has hair I would have killed for, I'm sure. Oh, yeah, that hair I would have. That was like, the kind of hair I would pray to God for, but I really like. And he was originally in the short film version of Whiplash, but then they recast his role with Miles Teller for the feature film. But I. Chip is a little sweetie.

[Millie de Cherico]

Yeah. He felt, like, pretty evolved as a high school kid. I will say absolutely yes. Without being too unrealistic, I felt like he was kind of a good guy in the movie, right?

[Casey O'Brien]

Yeah, absolutely.

[Millie de Cherico]

I do think it was really disturbing that Jennifer seduced him.

[Casey O'Brien]

She sprinkled that earlier in the movie, too, being like, he's looking really good lately.

[Millie de Cherico]

Yeah. Cause that is the thing, too, about this movie being a tale of female friendship, high school female friendship, is that Jennifer sucks as a friend. She's not a good friend. And she knows that she has power over Needy. She knows that Needy is her kind of, like, dutiful little nerd friend. And that she can get all the boys that she wants. And she uses that for evil. And it just was like. I mean, you knew it was going there. I mean, I knew it was going there first time. Watch. I was like, oh, man, she's going to try to fuck this guy, isn't she? Oh, this would be awful. And, yeah, also because I feel like.

[Casey O'Brien]

He'S never seduced by her, or, I mean, until the end, but he does not find. He does not have eyes for her, you know, during the movie.

[Millie de Cherico]

Yeah. I will say that they're. Oh, my God. I don't even know if I should reveal this. This might be Too personal.

[Casey O'Brien]

You can do it, Millie. Up to you.

[Millie de Cherico]

Well, I once had a friend who made out with this guy that I was dating or seeing or situationing with by a dilapidated half empty pool. And it was awful. It felt awful to me.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

And I was like, is she about to fucking Rick, Roll this motherfucker by the pool. I feel like I've been here, baby. This sucks. This sucks. And, like, that's the thing to your point. At first he's like, can't believe I'm making out with Jennifer. She's like the hottest girl. But I mean, eventually he pulls away and he's like, dude, this is weird. But they got into some. Lots of smooches before. Like.

[Casey O'Brien]

Yeah. And she's like, sam, better than Needy. He's like, why?

[Millie de Cherico]

Oh, that was awful. That was the villain turn of vil. Like, I was like, oh, I can't believe it. Like, this is exactly what I did not want for Needy. But it happened.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

I don't care if she was a succubus. That's just mean.

[Casey O'Brien]

It's just mean. And it's something she might have done even if she wasn't killing and eating boys, you know? But she does get. I feel like that is when she gets most pissed off at Needy. When she. When, like, Needy's like, did you have to go after Chip? Are you that, like. Are you that insecure? Like, she flies off the handle at that point?

[Millie de Cherico]

Yeah, I know. And that's when. I mean, that's when it becomes like, okay, you must. Yeah, you must destroy.

[Casey O'Brien]

I will say, I feel like the end of this movie could have been tightened up a little bit. I know we're not really. You know, this isn't really necessarily like, film criticism, but it felt like there were a few. There was, like, three endings to the movie. And it feels like those could have been all put together.

[Millie de Cherico]

Yeah. But I mean, I get that you would have to put the Succubus in the ground. You need to do that. And I definitely feel like you need to have killed Low Shoulder in some way.

[Casey O'Brien]

Yes.

[Millie de Cherico]

But that did feel like two distinct endings that I don't know if it worked.

[Casey O'Brien]

And then there was the insane asylum stuff, too. It just was like, okay, we need to get out of here. I just think we needed to get out of there a little faster. But that's a very small criticism of the movie.

[Millie de Cherico]

Speaking of Low Shoulder.

[Casey O'Brien]

Yes.

[Millie de Cherico]

Horrible name for a band, even in a movie. Horrible name for a man. Sorry. Couldn't stand it. I was like, who the fuck Would go see Low Shoulder.

[Casey O'Brien]

Adam Brody is the lead singer of Low Shoulder.

[Millie de Cherico]

Adam Brody was giving Brandon flowers from the killers.

[Casey O'Brien]

100%.

[Millie de Cherico]

There were times where I literally was looking at him on the movie going, are we sure that that's not the lead singer of the Killers?

[Casey O'Brien]

Yeah, I like Adam Brody. I'm an Adam Brody fan. I think he's funny.

[Millie de Cherico]

Yeah. I mean, who didn't like him in this era? This is his peak era.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

But, yeah, that's when the whole. When that whole band thing came into play, I was like, oh, yeah, we're going to see these Satan worshiping emojis guys wreak havoc on a town with their stupid fucking song. Which became the funniest part. Was it a lot? It's a lot like Heather's. The movie Heather's in this way where a song becomes the, like, national mourning cry for like a tragedy.

[Casey O'Brien]

And that song really got. I don't think it's a good song, but it was stuck in my head since I've watched it through the trees. Yes.

[Millie de Cherico]

But like, there was like a. I mean, this is so dark. But it's like there was the scene of the people at the candlelight vigil and they were all like mouthing the words to the song.

[Casey O'Brien]

The trees. Yeah.

[Millie de Cherico]

I mean, that is obviously like something that has happened in other movies before. Just the criticism of the whole, like, grief culture of, yeah. You know, teenagers and that kind of stuff. But it's like, yeah, that band, holy shit, they were terrible. But perfect for Adam Brody to be that guy. Right.

[Casey O'Brien]

You know, it was interesting watching this. You know, this is like a comedy horror essentially. And so. And the kills are like, so outrageous. But I found myself feeling very disturbed, like, affected by the killings and like, particularly like, when Jennifer gets killed. And like, I was kind of joking at the top when I was like, we need to have high schoolers killed more often. And maybe it's just me getting older, but it made this movie weirdly as, like, over the top as it is. Did make me think about, like, school shootings in a way that I feel like movies that are trying to address that more straight on don't make me feel as much as like this type of movie. So I thought it was effective.

[Millie de Cherico]

I thought it was pretty gnarly. Like, there was a couple really gnarly parts. I mean, the first part being something that happens kind of early on in the movie where Jennifer comes to Needy's house. And this is so funny. So first of all, Amy Sedaris plays Needy's mom. Which is great. I wish she was in the movie more, to be honest.

[Casey O'Brien]

You have to think there's some stuff on the editing room floor that was really funny.

[Millie de Cherico]

Might have been. But, like, Navy's mom brought home a chicken from Boston Market.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

Which my mom used to do a lot.

[Casey O'Brien]

Oh, yeah, me too. Rotisserie chicken was a very big part of our lives.

[Millie de Cherico]

Do you remember that?

[Casey O'Brien]

Boston still is.

[Millie de Cherico]

Do you remember that Boston Market cornbread? Oof. Delicious.

[Casey O'Brien]

I remember their mashed potatoes are really good too.

[Millie de Cherico]

Yeah. They used to make these little mini cornbreads. I'm like, yo, mom, get like 12 of them shits. I can't get enough. But then she, you know, basically Jennifer reveals herself to be a demon by way of this rotisserie chicken. And she pukes up all this crazy black stuff. And I was like, oh, my God, this is pretty gross. And then there was the sequence after she killed the jock, the popular football player in the woods eviscerated him, like, pulled out all of his parts and was, like, literally drinking his blood from his, like, chest cavity.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

And I was like, God damn.

[Casey O'Brien]

Yes. I do appreciate that because I feel like it became such a thing, especially with horror movies where they're like, this horror movie needs to be PG13, so high schoolers will go see it. And I liked that. This was a hard R. Yes. So it made it more effective. Well, anything else about Jennifer's body?

[Millie de Cherico]

I actually liked this movie a lot more than I thought I would.

[Casey O'Brien]

That's great. I think this was sort of thrown on a trash heap for a long time. And it's gotten a lot of people. Like, there's a big re evaluation of it. And people are like, actually, this movie's awesome. But at the time it was a failure. And people thought it was bad and stupid. But I feel like it's aged well.

[Millie de Cherico]

Well, from what I read, it was mismarketed. And that's the problem is, is that they made, you know, women made a very thoughtful horror film with feminist subtext. And then it got marketed as a Megan Fox movie or they tried to market it to young men.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

And so, I mean, those two things are, like, not. They are mutually exclusive. So it's like, I see what happened, obviously.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

But I'm glad that people are reevaluating it, honestly, because it played when I was living in L. A. Used to play at the New Beverly all the time. And I'm like, oh, man, I should go see this. And I never did even, like, the poster.

[Casey O'Brien]

It's like, this looks not that interesting. It looks like American Pie presents, you know, like, Jennifer's. Jennifer's body. But, like, after you watch it, you're like, this feels like a movie for women. And I say that in a complimentary way, but it's, like, funny that they're like, we gotta take this and make it for men, but I know.

[Millie de Cherico]

And that's the power of Megan Fox, I suppose. Unfortunately. I mean, it's like, I'm glad she was in this movie. I mean, honestly, me too. Like, she is. You know, there's probably a lot of, like, film theory, the star theory or whatever about her, but it's like. I mean, she is absolutely like the star. Like, she really is extremely hard to not watch when you're in the movie. And it's not just her looks. I mean, it's just like her. Like you said, kind of her countenance, her. I mean, the ways that she's killing and, like, devouring these guys in this movie is. Yeah, it ain't pretty.

[Casey O'Brien]

Like, she's. And I think she's. When she's, like, seducing them with the intent to kill them. I thought she was scary.

[Millie de Cherico]

Yeah, she's like.

[Casey O'Brien]

She's locked in.

[Millie de Cherico]

Yeah. I mean, she is.

[Casey O'Brien]

It makes me sad, though, that this was such a. Cause I just feel like she's not offered roles like this. Like, you just wonder if this had been a bigger hit or like, I don't know, people took her more seriously.

[Millie de Cherico]

Yeah.

[Casey O'Brien]

Because I. I don't know.

[Millie de Cherico]

Yeah, I feel like she should have, like a big second act. Like she should come back and just be in some fucked up art shit.

[Casey O'Brien]

Like, I feel like she was really funny in the movie. This is 42, if you ever saw that Judd Apatow movie. She's really good in that. But that's like a supporting character, you know?

[Millie de Cherico]

Yeah. It would be great to see her do some more stuff like this or just more kind of like challenging.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

I mean, she was. She was up in them guts. She was eating them shits like no tomorrow. And I was like, this is awesome.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

Like, this is so awesome to see something this gnarly. So anyway.

[Casey O'Brien]

And I like the song by Hole. And it's not even in the movie.

[Millie de Cherico]

Oh, yeah. Because it ends on Violet, which sounds like. Which sounds like a Gun Club song. But that's not for Neither Here nor There. Yeah. I. All in all, I think I rated this, like, at least four stars in my letterbox. Not like that means anything, but.

[Casey O'Brien]

Did you rate it? I feel like you don't Frequently rate on letterbox.

[Millie de Cherico]

Yeah, I really don't. I don't like committing to a star system that I feel is inherently flawed, but I gave it a high rating, and I. Because I think I just wanted to, like, give it something.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

But I enjoy this a lot more than I thought I would. And I actually think it's really textured and complex and interesting. And I love the female friendship stuff. That, to me, was fantastic. So.

[Casey O'Brien]

Well, I think Karn Kusama is a great. We haven't really talked about Karn Kusama at all, but she's a great director, and she's done some really great stuff, and I want her to keep making movies. I feel like she's, like, had a few movies that, like, were marketed wrong, and I just feel like she's kind of been fucked over, like, with Ion Flux. That was a movie she did, but she's awesome.

[Millie de Cherico]

Yellow jackets, right? Did she do yellow jackets?

[Casey O'Brien]

She did a lot of yellow jackets, too. She did a great movie called the Invitation. Do you ever saw that horror movie? That one's really good. She's great. Anywho, moving on. All right, everybody. Now it is time for another one of our segments. My area of expertise. And we've got a great guest today. We're thrilled to have him. You may know him from difficult people. You may know him from the wonderful Hal Hartley films. Henry Fool, Faye Grimm, Ned Reiffle. Plus, he's popped in some huge movies lately. Oppenheimer, the Fabelmans, James Urbaniak. Thank you so much for joining us.

[James Urbaniak]

Thank you for having me. Glad to speak to some fellow cineasts, as we say.

[Casey O'Brien]

Yes.

[Millie de Cherico]

Well, so you're a part of the section we call my area of expertise, which is where we bring on a guest and we have them bring their area of expertise or something that they're just extra passionate about. And we like it when it's really specific. And I personally love your area of expertise because this is a great film. And just broadly, the genre is one of my favorite genres. And your area of expertise is.

[James Urbaniak]

Oh, well, I mean, I chose My Man Godfrey as the film.

[Millie de Cherico]

The 36 version. Right. Not the.

[James Urbaniak]

The only version that matters. Yes. I've never. I've never seen the remake, actually.

[Casey O'Brien]

I haven't either. Have you, Millie? Okay. Oh, you haven't? Okay.

[Millie de Cherico]

I have not.

[James Urbaniak]

But I guess that certainly. I don't want to say I'm an expert, but that that era, 1930s Hollywood, the sort of golden age, is something I'm very interested in. So I guess inadvertently I've become an expert just because I've watched so much of that. I certainly have opinions.

[Casey O'Brien]

Sure.

[James Urbaniak]

Let's put it that way.

[Casey O'Brien]

Well, on this show, that's what makes you an expert.

[Millie de Cherico]

That's an expertise.

[James Urbaniak]

Y. Yeah. So I'd say, yeah. 30s. Well, whatever, you know, classic Hollywood era, whatever, you know, early 20th century scribble comedy is certainly an area that I love very much. And this is just one of my favorite movies. I think it's a perfect movie. So.

[Casey O'Brien]

And when did you see. When did you first see this movie? How old were you?

[James Urbaniak]

I was around 18 when I first saw this. And the story is I was in college, and I met a guy named Anthony. And this is in New Jersey. And I wasn't particularly into movies when I was a kid. I mean, I would enjoy movies. And when I was a kid, there was lots of old stuff on tv, local tv, you know. And one significant thing was there was a local station in New York. I lived in New Jersey, but we got New York stations, of course. And there was a local station that every Thanksgiving, they would play King Kong during the day. Now, there's no Thanksgiving theme in King Kong. I mean, the main characters are thankful they found this giant beast to profit from before things go bad. I think it was just. They thought, oh, families will like this because older people know the movie. Kids will be into it. And it probably did great ratings one year, and they were like, let's just show King Kong again. So that was the first. And I probably first saw this when I was like, seven or something. This local TV station loved it, watched it again next year, and then quickly became kind of obsessed with the movie King Kong. And looking back, I think that part of what compelled me so much was it's a great movie and obviously very appealing to kids. But I think part of it was even the distance of it being a movie from 1933. The fact that it wasn't black and white, the fact that the stop motion is a little jerky looking. The fact that, by the way, sidebar. Not all 1930s acting is like this. There are streams of acting in any given era, but there is a stream of, say, what are you doing acting in that movie? That's not the movie. That's not the kind of acting that's in my mangofrey, by the way. But I think even that the sort of oddness of some of the performances by contemporary standards intrigued me. So it was the whole package anyway. So that was the first time I was really interested in an old movie. But it was only that movie. I really wasn't looking to watch other movies from that era. And then when I went to college, I met this kid. We became good friends. This is like the early 80s. His dad worked for RCA. And in the 70s, because his dad worked for RCA, they got one of the first VHS machines. They were early adapters, like, before most people had them. And the first tapes that were available were like old movies, because back then, there was no pipeline. It wasn't like the Sting would come out and that would be on VHS in two months. That just wasn't a thing. So a lot of it was older stuff where the rights were easier to get. So his dad just started bringing home all these old movies on vhs. And then this kid Anthony, just got into this stuff. He just liked it. And by the time I met him, we were like freshmen in college. He already had, like, an encyclopedic knowledge of classic Hollywood cinema because he lived in a house where they watched these old movies. And we were just hanging out one day. He's like, hey, you want to watch, like, something? And I've got these old movies. And in one of those early times that we hung out, he put on My Man Godfrey, and I freaking loved it. And I just got very into. I really loved it. And then, meanwhile, Anthony was like, that actor's name is Franklin Pangborn. Like, he's pointing out the supporting actors in that movie. So he actually gave me this guy Anthony, gave me my first film education. And then actually, years later, he ended up working at Eastman House in Rochester, New York, which is a film preservation institute. So he's actually doing what he loves, which is great, but. So he's the one who kind of opened the door on this stuff. And then it just so happens that I was also disposed to like this stuff. Not everybody does, and that's fine, you know, But I just got into it, and then that's never ended. I continue to be fascinated, but that also remains. That was an early classic Hollywood movie that had a real effect on me. But, you know, I watched it again this week to prepare for this, and it just holds up big time, like, it's still one of my favorite films.

[Casey O'Brien]

It really does. I mean, it feels so. You know, not every. Like you said, not every movie from the 1930s feels modern or feels the comedy in it. I was surprised. It felt very modern. I totally feel like 1936 whenever it came out.

[James Urbaniak]

You've got a great director, Gregory LaCava, and Gregory La Cava is interested in various things, but one Thing that's interesting to him is sort of a kind of naturalism. He kind of. He kind of goes against like conventions of the time where there's sometimes there's a sort of presentational quality to 1930s acting because the conventions haven't been established. Talkies have only existed for so many years. So there are some movies where people are doing a more sort of presentational kind of acting. But his thing is always get everyone to be very natural. And even there's a couple performances which are some of my favorites in My Man Godfrey that are very heightened comedically. Like Alice Brady, who plays the mother, the sort of hair brained, you're upsetting Carlos. But even she. That is not a realistic character. That's a very heightened comedic character. But there's a kind of crazy freedom that Alice Brady has in that role that's spontaneous and within the reality of that character, it rings true. It doesn't seem forced, it doesn't seem fake. And then, my God, you can just go, Carol Lombard and William Powell are just so wonderfully natural. Carol Lombard is so effortlessly funny. No one seems like they're putting on an actual. Even though the character of Godfrey is kind of putting on an act. But everyone just seems spontaneous and the emotions seem very real and the script is really tight and really funny. And I think it's one of the least dated movies of that era. I agree with you 100%. It holds up big time.

[Millie de Cherico]

I would say every. I would say in this film, the one thing that feels, at least for me personally, at all, unbelievable is the idea that dapper William Powell is an unhoused person at the beginning of this film, Right?

[Casey O'Brien]

Yes, the forgotten man.

[Millie de Cherico]

We find out more about that later. But when you first see him, I mean, for me, William Powell is gonna be Nick from the Thin man movies. For the rest, you know, this is just who I see. He's always a dapper guy in a bow tie with a martini. And so when you first see him at the beginning of My Man Godfrey, you're like, oh, wait, what? He has a beard. Like, I don't think I've seen William Powell with a full beard. This is crazy.

[James Urbaniak]

Yeah, I like him in the. I mean, he gets William Powell esque pretty quickly. He shaves his beard, you know, he gets a crisp. He cleans up within the first 10 minutes of the movie.

[Millie de Cherico]

Absolutely. I actually kind of like him with the beard. I thought I was like, huh, Looks pretty good actually, with that, I agree with you.

[James Urbaniak]

I like him with the beard. It's Actually, like when I was doing some research, there's like an old. Some movie. It's probably some period thing that takes place like in another century where he's got long hair and he actually looks kind of cool with long hair. It's a wind, obviously. Like, it's supposed to be old timey times or something, but. Yeah, and I love him because he has. He has this wonderful wry quality. And in a way, I think he sort of resembles or is almost the forerunner of Donald Sutherland or even Jeff Goldblum, if you will, who both have a kind of wry attack. You know, they seem really bright, but they have a kind of wry, even sarcastic default. And they're also very attractive leading men. I think he's sort of in that tradition.

[Casey O'Brien]

They kind of have. They kind of have like an absurd. They're kind of above the scene. They're kind of looking. They're outside of it a little bit, sort of reacting in that. All those guys are absolutely.

[James Urbaniak]

And the character of Godfrey is sort of outside reacting to all this. And last night I was thinking, well, Donald Sutherland would actually be really good in this. Would have been really good in this part. Like,'70s Donald Sutherland.

[Casey O'Brien]

Absolutely. Now, when you saw this movie, James, you know, you were saying you had kind of a. You were disposed to this type of movie at a very young age. Was there any recognition on your part that you're like. It's sort of maybe, I don't want to say odd, but like, unusual for an 18 year old to be, like, loving a movie from the 1930s at this time.

[James Urbaniak]

Yeah. I don't know. I know, I know. Yeah. I didn't think it was that unusual. I think part of it was. I think there was a hard wiring in me. This is when I was 18. I did not think I wanted to be a professional actor. I was sort of leaning towards the arts, but I was leaning towards, like graphic design or being a cartoonist or something like that.

[Casey O'Brien]

Yeah.

[James Urbaniak]

And. But I think I had some sort of, you know, incipient interest in acting and performing because the acting in this movie is so beautiful. Some of my favorite performances of all time are in this movie. And I think before I even understood that, I think part of me was still responding to that. For me, it was just about a sort of very intense sort of fascination and interest in this stuff. But I mean, I always, you know, I was a skinny little arty guy. I always felt like a bit of an outsider when I was younger. So that was just. That was just part of the package.

[Casey O'Brien]

Yeah.

[Millie de Cherico]

Can I Ask you a little bit about screwball comedies and like, maybe.

[James Urbaniak]

Yes.

[Millie de Cherico]

What makes them so appealing to you? And maybe like some of your favorite screwball comedy films and.

[James Urbaniak]

Oh, yes. I mean, my gosh. I mean, one of my favorites is Nothing Sacred, directed by William Wellman, starring Frederick Marshall and Carol again, I think. Right? Isn't it Carol Lombard? Yeah, Carol Lombard, yeah, yeah. She's really good at this. It's really fun because they're rom coms, but they're rom coms with a sort of heightened comedic element to them. I think you could count His Girl Friday as a screwball comedy because that of course, is based on a play that was about a boss and a guy and they made it into A boss and a girl, so they rom com'd it. But the play itself is this kind of hilarious, very heightened farce. It's those two elements, sort of a kind of over the top comedy that sort of pushes the boundaries of naturalism, but then with a sort of romance at its center and somehow that blend just really works. I mean, in the 40s, Preston Sturgis stuff is. I think you could count that as screwball because there's this farcical kind of structure, but then there's always these romances. So Miracle, Morgan's Creek and the Palm Beach Story. His stuff is incredible.

[Millie de Cherico]

Yeah. I would say Joel McCrae is maybe my favorite of the screwball comedy actors, even though he was not specifically a screwball guy. I mean, he did westerns obviously, later, but it's like his vibe in those Preston Sturgess movies is so great because.

[James Urbaniak]

He'S so, so great.

[Millie de Cherico]

Just like, he's tall and gorgeous, but he's like kind of weirdly monotone sarcastic. He like, has this vibe to him that is so. He's just like an avatar for whatever is going to happen in the film.

[James Urbaniak]

And he's just reacting to stuff like a regular guy. And he doesn't. His performance isn't particularly heightened. He's not acting. He's just sort of there and behaving and reacting. And that makes it all the funnier because if you have a crazy farce but you ground it in some sort of reality, it's just going to be funnier. And that's the same effect that My Man Godfrey has. The bulk of the cast are actually very grounded and real within a heightened comedic universe. And those two. Those two fronts meet and it's a shower of pleasure. Thank you. Little metaphor there. I gotta take that one back. I don't like the way it came out. But it's too late now.

[Millie de Cherico]

And, like, I wanted to ask maybe to you specifically, James, about. I mean, something that I just love about screwball comedies in particular, and especially My Man Godfrey, are like the character actors that are always in these films.

[James Urbaniak]

My bread and butter.

[Millie de Cherico]

I know. I figured. I love Jean Dixon in My Man Got. She plays the kind of the housekeeper who's just like, perpetually over it and is just sort of like reading everybody to filth all the time, which is great. And then Eugene Pallet, who has in the Lady Eve. But, like, you can. The minute you hear him.

[Casey O'Brien]

Palette.

[Millie de Cherico]

Exactly. You hear him talk. And I just. I think that's what I love the most about screwball comedies is that you're constantly getting these, like, side characters that are in there, and you find out that a lot of these people have been, like, 200 films or something. They just are in tons of movies.

[James Urbaniak]

And then another great one, Misha Auer, who plays the mother's protege, who's just this sort of young. He's this young leech. Also. The Great Depression is a major part of the story.

[Casey O'Brien]

Yes.

[James Urbaniak]

So. So he's this young sort of pseudo artiste guy who just hangs out with. Who's, like, the mom's companion. Not sexually. I don't think they're really suggesting that. But they just go out together. They go to shows. They go out to eat together.

[Casey O'Brien]

He's a little pet.

[James Urbaniak]

He's a little pet. And he. He. There's one point where he's also. He's very theatrical, too. And at one point, another great joke is the father's talking about their financial issues. And then he goes, oh, money. That Frankenstein monster that destroys souls. Carlo says that Misha Auer is Russian, so he's a Russian actor. And he's off. And then the mother's like, oh, Carlo, have some moderns. And then he immediately comes over and starts eating horses. He knows where. He knows where.

[Casey O'Brien]

He's so good being fed. Yes.

[James Urbaniak]

And then I got to say, again, Alice Brady, who is a veteran actress, she. She was a Broadway actress. She did theater, and she's in a lot of films. She has, like, a very serious dramatic role. And young Mr. Lincoln, John Ford's movie about Lincoln with Henry Fonda. There's, like, a court case that he does, and she's the mother of this family that he's helping out. It's very serious. But her performance in this is not only one of my favorite comedy performances of all time, but one of my favorite performances of all time, because I Just find her endlessly hilarious as this completely idiotic rich lady. Sort of where Carol Lombard's character might be heading if she doesn't find the right person. Alice Brady, also, that performance, I don't think has dated a second. You could, if you had a comedy, that performance would just seem perfect if it was shot yesterday. And again, it's a very heightened performance that's completely beyond the parameters of realism. But it totally works. Like I said before, it just rings true.

[Millie de Cherico]

It's so funny because when I rewatch this movie again, I started thinking. I was like, I think that's how my mother would act if she had a protege. Like, just completely, like, no street smarts, completely clueless, Just, like having, you know, this guy kind of play piano and eat hors d' oeuvres around her all the time.

[James Urbaniak]

Exactly.

[Millie de Cherico]

But also a lovely. About My Man Godfrey, like, the idea of this kind of, like, how the rich people live type of vibe where it's like, they're pro. Like, I like rich people have proteges, which is an interesting concept to me. But then also they do scavenger hunts where there's, like tons and tons of people involved and they're in teams and they're like, you know, I don't know. It's like this big party where they're all in, you know, which is how William Powell gets involved with his family.

[James Urbaniak]

To be the inciting incident is these. These rich people during the Depression in Manhattan are on a scavenger hunt and they have to find things like whatever, a Japanese goldfish and a goat. The mother brings in a goat they found somewhere. And then one of the items is a forgotten man, which, of course, was a phrase. There's, you know, about the generation of young men who went to World War I, and then suddenly the fucking economy falls apart and now they can't get a job. Like, we went out here, we put our lives on the line and many of us died. And those of us who lived are back. And now we can't get a job. Like, America has fucked us over and they was afraid. There's a song called Remember My Forgotten Man. It's like in an old movie. So that was a phrase. But it's also showing the depraved indifference of these rich people to just go out and grab a homeless guy basically for their own amusement. It's disgusting.

[Casey O'Brien]

And.

[James Urbaniak]

And of course. And the. The I. You know, Godfrey, it's not a major spoiler if you haven't seen it, but semi spoiler. We learn that he's actually from the upper class. But because of a romantic problem, he. He had a very, very bad breakup. A girl broke up with him.

[Casey O'Brien]

Get into that too much.

[James Urbaniak]

And he had a major downward spiral. And, yes, basically was going to throw himself into the East River. And then sees these people who are still staying alive and is inspired by them. But he's kind of a guy who's in a. As Samuel Jackson says in Pulp Fiction, he's in a transition. You caught him in a transitional period.

[Casey O'Brien]

Well, I do love that. I mean, it really did make me laugh that they turned the Dump into a nightclub called the Dump. And I would love to go have a beer. I'd love to go.

[James Urbaniak]

People still do that. There was an old pharmacy in New York that became a bar called Barmacy.

[Casey O'Brien]

There we go.

[James Urbaniak]

Like, they still had the pharmacy counter there, except drinks were on at this.

[Millie de Cherico]

I just think it's like. To me, I think screwball comedies are so, like. They're just such a rich text. And it feels like they really influenced you as a young person. But also as an actor. And they're kind of timeless in that way where, I mean, it's.

[James Urbaniak]

You know, it's not just that genre. It's like all. There's lots of great acting from that period. And the thing is another thing. This is a whole other episode to talk about. But the other thing that really interests me, I'll just touch on this quickly. Is like I said before, in every era, there are different streams of acting. So there is the kind of acting of King Kong, which is a little presentational. There he is, the greatest wonder of the world, you know, and they're kind of talking like that for some reason. And then you have Godfrey, where you have some very natural performances and some very heightened performances. But they're all kind of on the same page. And that's always really interesting to me is the different styles of acting. And I think sometimes. And there's also a thing. I'll wrap this up soon. But it's related to this because I'm fascinated by this era. If you look at a movie like the Grapes of Wrath by John Ford. It's a great movie and it's a drama. But the dramatic acting in that is very good. And at the same time, it's dated because the bulk of the cast. With the notable exception of Henry Fonda, who could have been shot yesterday. The bulk of the cast is doing a kind of theatrical, presentational, dramatic acting. Where they're kind of spelling it out for you a little bit about as opposed to the more modern post war convention of more behavioral based acting that seems more naturalistic. The method, etc, you know, the Brando school, they're a little more. The lines are clean and they're. And it's, it's, it's got a sharpness. And the thing is it that particular kind of dramatic acting, it's not even out of fashion. It doesn't exist anymore. Yeah, that kind of acting exists in comedy. Like in comedy there'll be a lot of, like Will Ferrell, he's always kind of commenting on the character. So if the anchorman is vain, he's kind of showing you that he is. And even the way, the way he moves his body very specifically and sometimes the lines come out in kind of inverted commas. But that style used to exist in drama again while the conventions were still being figured out. And I think some people can watch an old movie like that and as soon as they see this sort of dated acting, which again is not bad acting, it's actually of a very high quality. But it's almost like music. It's like an old form of jazz, like from the 20s before bebop or whatever. Well, they're both great, they're just different styles. But I think sometimes people, and this is not a problem, by the way, I'm not trying to convert anybody, but I think sometimes people will see an older style and immediately a wall comes up. They just can't quite. They just can't quite get there. But if you look at it, it's really not that complicated. And the emotions are timeless and often the stories are very timeless. It's just the style of performing changes. And I gotta say, we can look at some of these old styles and go, why are they talking so funny? But my hand to God, I would say in 50 years people will watch Game of Thrones and they'll be like, why are they all talking like this? Like, what is that? Why are they all. Why are all the guys talking in this raspy, quiet voice? Like, no one talks like that. So that's a convention. Because it's our time. We're not seeing the forest of the Trees. But there are conventions of our time that in decades will seem strange.

[Millie de Cherico]

Yeah.

[James Urbaniak]

But I think Godfrey is a great sort of movie for people who may be. Aren't as versed in that period. Because again, I think the acting really holds up. It seems very contemporary. Absolutely, in its way, very contemporary, which is great.

[Casey O'Brien]

Well, James, thank you so much for talking to us about my man Godfrey. This was great. Is there anything you'd like to plug?

[Millie de Cherico]

Oh.

[James Urbaniak]

Well, I'm on an apple show called Palm Royale that's actually a really funny comedy. It's set in Palm beach in the 60s. It stars Kristen Wiig and lots of great people. Alice and Janney. And I have a little part in that. And the second season, I think, premieres in November. So I recommend it. It's a really fun show. It's also a sort of a period piece set in the 60s. Lots of beehive hairdos and stuff like that. And then there's like a handful of independent films I've done over the last couple years that are in various states of post production. There's a guy named Mickey Reese who is sort of a genre filmmaker, makes these interesting horror movies. And he's got a movie called Every heavy Thing which is actually premiering in LA next month at Beyond Fest.

[Casey O'Brien]

Oh, amazing.

[James Urbaniak]

Sort of a. It's sort of. It's almost like Mickey's version of a Brian De Palma thriller from the 80s. Like Dressed to Kill or, you know, one of those. Sort of the area that he's exploring there. And I. I play a psychopath bad guy in that, which is always fun.

[Casey O'Brien]

Fabulous.

[James Urbaniak]

Yeah. So stuff is out there.

[Casey O'Brien]

Everybody go check that out. And James, thank you again. Thank you so much.

[Millie de Cherico]

What a pleasure.

[James Urbaniak]

Oh, thank you. Anytime.

[Millie de Cherico]

All right.

[Casey O'Brien]

That was a great chat with James Urbaniak. I love him.

[Millie de Cherico]

Such a fan. Such a fan.

[Casey O'Brien]

Huge fan. Even more so now because he was so nice. And I love talking movies with people who love movies. Now it is time for employee picks, film recommendations based on theme of today. Millie, what do you got?

[Millie de Cherico]

Well, here's the thing. I'm not even gonna recommend a horror movie. And I know that that is stupid. Cause it's Halloween. I can't get this off my mind. Because when I watched this movie, it immediately took me to the movie I'm about to recommend, which is a movie from 2001. It was directed by Sandra Goldbacher and it's called Me without you. There is an episode of I saw what you did about this movie. It's a very early episode, so feel free to check it out. I think it's called Foot cigarettes. I think that's where the term foot cigarettes came from. Because there's a scene in Me without you where the two main characters, the best friends who are played by Anna Friel and Michelle Williams, they're like, hanging out in Anna Friel's bedroom and they're laying in bed together. And Anna Friel is smoking a cigarette through her toes. And then passes it to Michelle Williams. And she takes a drag of the cigarette through her foot to Anna Friel's foot. And I was like, absolutely not. I was like, I don't care if my best friend was Megan Fox. I am not smoking a cigarette from her foot. That is disgusting to me. I'm never gonna be that close to someone. Sorry.

[Casey O'Brien]

That's an intimacy I don't think. You know, that's a whole other level.

[Millie de Cherico]

I wouldn't even do that with my true love.

[Casey O'Brien]

Let's just.

[Millie de Cherico]

If I'm my husband or anyone, I would never smoke a cigarette from anyone's foot. But the reason why this movie came up for me is because much like Jennifer's body, right? There's this power dynamic that is happening in Me without yout. About the two women. And it's basically. Or the two girls that become women. Because the movie takes place in England in the 1980s. And they're like kind of these punk rock chicks growing up, coming of age together. And it's clear that one of them is a nerd and the other one is the popular girl. Or at least the more dynamic, freewheeling, sexually liberated one. Right? And the movie is essentially about whether or not you can sustain friendships like this throughout the years. Like, whether or not at some point you can continue to be kind of like a sidekick or second fiddle to someone who puts you in that place. Honestly. Like, they.

[Casey O'Brien]

They.

[Millie de Cherico]

You know, in the same way that Jennifer does this to Needy, you know, like, they're kind of codependent on each other. And it's fucked up because obviously one person sort of slightly terrorizes the other. The nerdier one, the quieter one. So anyway, it immediately was like, when I saw Jennifer's Body, I was like, fuck, I gotta see me without you again. It's actually, to me, one of the best movies I've ever seen about female friendship.

[Casey O'Brien]

Wow.

[Millie de Cherico]

And it's a small kind of indie movie. Like, no one. No one really mentions it, which bothers me because I really love it. I really love it.

[Casey O'Brien]

I'd never heard of it.

[Millie de Cherico]

Oh, my God. I've seen it probably, like 10 times.

[Casey O'Brien]

Wow.

[Millie de Cherico]

The music. The music is fantastic. I mean, it's like all amazing 80s British bands. Like. I mean, punk rock stuff, but also, like, cool, Like, Mute Records type of music. I don't know. It's fantastic.

[Casey O'Brien]

Anyway, cool.

[Millie de Cherico]

Yeah.

[Casey O'Brien]

I need to watch it. I'm gonna recommend a movie that influenced Jennifer's Body. And they spoke about this. It's a 2000 Canadian film called Ginger Snaps. And it's about two sisters and one of them is attacked by a werewolf and goes through some changes. And they were very close before the attack. And after these changes, they start to grow apart. And one of them can't quite figure out why the other person is changing. I mean, beyond the werewolf thing, there's some emotional distance as well. And it is also a very bloody movie.

[James Urbaniak]

Wow.

[Casey O'Brien]

It's like gnarly. And it's a high school movie, so it's kind of similar in vibe to Jennifer's body in that way. But it's a great, great horror movie and you should check it out.

[James Urbaniak]

Yeah.

[Millie de Cherico]

I have never seen Ginger Snaps or any of the sequels. Cause I know there's a couple sequels.

[Casey O'Brien]

Haven't seen any of the sequels.

[Millie de Cherico]

Or maybe a prequel. I love, I love and hate the idea that it's called Ginger Snaps. I'm like, yeah, I like the movie. Seems a lot deeper than that name, I guess is really.

[Casey O'Brien]

There's a character named Ginger and she snaps.

[Millie de Cherico]

Yeah. But there was like this whole rash of movies that felt like they were kind of these like dark films that were named like Poison Ivy.

[Casey O'Brien]

Ginger Snaps. Yeah, yeah, yeah.

[Millie de Cherico]

You should make a movie called Fig Newton's Fig Newton.

[Casey O'Brien]

It's about a troubled teen named Fig.

[Millie de Cherico]

Who goes on a killing spree in town of Newton, Pennsylvania.

[Casey O'Brien]

Sure. Yeah. That's good.

[Millie de Cherico]

There we go. That's a good one. I'm gonna watch it. I'm gonna watch it.

[Casey O'Brien]

Yeah, you should. It's good. Good. It's like an indie horror too. And those always have like a certain feel to them. And it's. It's good. It's good. Yeah. Alrighty. That's our show, Millie. We did a good job, I think. Thank you. If you'd like to write in, if you want film advice, if you have a grit, a film regret, a consensual grope or a gripe, Write in to DearMoviesExactlyRightMedia.com youm can also leave us a voicemail. Just record it on your phone. Under a minute, please. Someone sent in a voicemail and they apologized for it being a minute and six seconds. And I thought that was cute. That's okay. I just, you know, sometimes you'll get these five minute voicemail. They're just too long. But yeah, try to keep it under a minute if you can. And you can just email those to dearMoviesExactlyRightMedia.com also follow us on socials.

[Millie de Cherico]

We're at dearmoviesiloveyou on Instagram. Our letterbox handles are also Bryan and Decherico. And, you know, hit us up on there. And please, if you will listen to Dear Movies, I Love youe on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. It'd be nice for positive ratings and reviews. We always love that.

[Casey O'Brien]

So, Millie, I don't. I could. I can't tell if you're excited about next week.

[Millie de Cherico]

What are you talking about? What the hell are you talking about?

[Casey O'Brien]

Remember I was like. I was like, would you mind if we did a Hellraiser episode? And you said, I don't mind.

[Millie de Cherico]

What was I supposed to be like? Holy fucking shit, bro.

[Casey O'Brien]

I love Pinhead.

[Millie de Cherico]

Pinhead's hot, bro. Speaking of industrial guys from your high school. Oh, my God.

[Casey O'Brien]

Oh, boy. Hellraiser 1987. I'm excited. I love this movie. I love Clive Barker.

[Millie de Cherico]

Yeah, actually, I'm about to go see. There's like. I don't know if this is like a re. A reworking or like a restoration, but Candyman's coming back to theaters. I don't know why. Really? Hold on.

[Casey O'Brien]

Be my victim. I love Candyman.

[Millie de Cherico]

Huge fan of Candyman. Yeah, it's playing again and I don't know why.

[Casey O'Brien]

There's always. It's always a good time for Candyman.

[Millie de Cherico]

Well, I don't know if you worked on the Candyman restoration. You can email us at Dear Movies. Exactly.

[Casey O'Brien]

Right.

[Millie de Cherico]

Media dot com. Yeah, but I'm gonna go see it, so I'll be all up in those. Clive Barker's guts.

[Casey O'Brien]

Nice. Oh, thank you, Millie, for a great episode. Talking about Jennifer's body.

[Millie de Cherico]

Thank you for talking about Jennifer's body.

[Casey O'Brien]

See you later.

[Millie de Cherico]

Okay, bye.

[Casey O'Brien]

Bye.

[Millie de Cherico]

This has been an exactly right production. Hosted by me, Millie de Cherico, and produced by my co host, Casey o'. Brien.

[Casey O'Brien]

This episode was mixed by Tom Breifogel. Our associate producer is Christina Chamberlain. Our guest booker is Patrick Cotner, and our artwork is by Vanessa Lilac.

[Millie de Cherico]

Our incredible theme music is by the best band in the entire world, the Softies.

[Casey O'Brien]

Thank you to our executive producers, Karen Kilgariff, Georgia Hardstark, Daniel Kramer and Millie de Cherico. We love you. Goodbye. When you own your own business, you own every decision. Catch the red eye or take the.

[Millie de Cherico]

6Am Make a new hire or promote internally.

[Casey O'Brien]

Celebrate a win with the toast at the gate or unwind at the lounge. Big props to this team. Some decisions are a win win. Like earning eight times points on Chase Travel. Introducing Chase Sapphire Reserve for business. With $2,500 in annual value, it's the business card that gives back all you put in. Visit chase.com ReserveBusiness to learn more. Cards issued by JPMorgan Chase bank any member of DIC subject to credit approval terms apply It's CyberSecurity Awareness Month. LifeLock is here with tips to help protect your identity. Use strong passwords, set up multi factor authentication, report scams and update your software. And for comprehensive identity protection, Lifelock is your best choice.

[Millie de Cherico]

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[Casey O'Brien]

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