227: On And Just Like That: Under the Table (Feat. Brock Colyar & Marisa Meltzer)

Summary

Every Outfit Podcast Episode Summary

Title: Every Outfit
Episode: 227: On And Just Like That: Under the Table (Feat. Brock Collier & Marisa Meltzer)
Release Date: June 28, 2025

Hosts: Chelsea Fairless and Lauren Garrone
Guests: Brock Collier and Marisa Meltzer

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Introduction

In Episode 227 of the Every Outfit podcast, titled "On And Just Like That: Under the Table", hosts Chelsea Fairless and Lauren Garrone delve deep into the fifth episode of the popular series "And Just Like That". Although Lauren remains on maternity leave, Chelsea expertly guides listeners through the intricate plotlines, later joined by special guests Brock Collier and Marisa Meltzer for an insightful discussion.

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Episode Recap: "Under the Table"

[01:16] Chelsea kicks off the episode by recapping the latest developments in "And Just Like That". The focal point of this episode centers around Carrie Bradshaw grappling with newfound challenges in her upscale Gramercy Park townhouse. The introduction of a contentious downstairs neighbor, Duncan Reeves, a revered biographer, sets the stage for escalating tensions.

Carrie vs. The Neighbor

[03:48] A memorable sequence showcases Carrie’s array of extravagant shoes, symbolizing her struggle to maintain elegance amidst chaos. Brock humorously remarks, “Is Carrie wearing all of these crazy shoes?” highlighting the juxtaposition of fashion and frustration.

[04:09] The conflict intensifies when the neighbor confronts Carrie about her incessant heel-wearing, culminating in a dramatic scene where he threatens her with a meat cleaver. Lauren quips, “[...] I think she’s just being a lot more passively aggressive.”

Introduction of Duncan Reeves

[07:36] Brock introduces Duncan Reeves as a pivotal character—“He did indeed. His name is Duncan Reeves. He's basically Hot Walter Isaacson,” implying his significant role within the story. The dynamic between Carrie and Duncan hints at a potential romantic subplot, albeit fraught with complications given their living arrangements.

[10:01] Carrie’s attempt to foster peace by gifting Duncan an assortment of neighborhood delicacies backfires, showcasing her passive-aggressive nature. Brock muses, “That's what Carrie does. She gets pissed off. She storms out.”

Miranda and Carrie as Roommates

[15:00] The conversation shifts to the cohabitation woes between Miranda and Carrie. Both hosts express disappointment over the lack of harmony, lamenting missed opportunities for genuine connection. “We couldn’t have one fun thing happen while they were roommates,” Chelsea notes poignantly.

[22:21] A standout moment occurs when Carrie unexpectedly encounters a naked Miranda in the hallway, a scene Chelsea finds both hilarious and perplexing: “I still have no idea why Carrie is so shocked to see her friend's naked body.”

Seema’s Struggles and Charlotte’s Turmoil

[32:05] The discussion moves to Seema’s subplot—her challenges in securing a bank loan for her real estate agency. Lauren critiques the inconsistency with Seema’s previously successful portrayal: “Why can’t Seema just be cool?”

[34:02] Charlotte’s storyline takes a serious turn as Harry is diagnosed with prostate cancer. The hosts reflect on the emotional depth this brings to the series, though Brock questions the realism of Charlotte keeping Harry’s diagnosis a secret: “Which is unreasonable in my opinion.”

Glamping with Lily and the Wexleys

[35:19] The episode wrapped up with a glamping trip to Governor’s Island involving Lily and the Wexleys. The hosts find the portrayal disjointed and irrelevant, yearning for more substantive interactions: “We need better plot progression. It’s just a random assortment of stuff.”

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Guest Insights: Brock Collier & Marisa Meltzer

Brock Collier and Marisa Meltzer join the conversation to provide their perspectives on the show's current trajectory.

Character Analysis and Plot Critique

[40:37] Brock and Marisa express frustration with the stagnant character development and lack of meaningful plot progression. Marisa comments, “It's so boring. They need more dramatic stuff or hilarious cringe moments.”

[42:41] The discussion turns to the show’s handling of aging and character evolution. Marisa laments, “Is it possible to change so much [...] personality transplant bordering on a lobotomy?”

[51:33] Chelsea shares her experience writing a profile on Sada Ramirez (Che Diaz), detailing the backlash and personal challenges: “The post was furious. And then something happened later that evening, like, oh, you know what it was.”

[57:00] The conversation explores the podcast’s own dynamic, with playful banter about identifying with characters and personal anecdotes reinforcing their critiques of the show’s direction.

Fashion and Cultural Commentary

[70:03] The guests shift towards discussing contemporary fashion, specifically Jonathan Anderson’s first Dior collection. Both express mild disappointment, with Marisa saying, “It felt safe. It felt marketable, but not that exciting.”

[78:12] They segue into a critique of Glossier’s evolving brand identity, emphasizing the disconnect between original brand ethos and current marketing strategies: “It just looks ransacked at Sephora too.”

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Notable Quotes

• Chelsea Fairless [03:07]: "So this is fully her novel."
• Lauren Garrone [08:04]: "It's like having a secret weapon against spam."
• Brock Collier [22:21]: "Carrie's so shocked to see her friend's naked body."
• Lauren Garrone [40:00]: "This is what I was most invested in in this episode."
• Marisa Meltzer [51:33]: "Is is possible to change so much in however many years we're supposed to have elapsed."

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Conclusion

The Every Outfit podcast episode 227 offers a thorough and engaging analysis of "And Just Like That: Under the Table", supplemented by insightful commentary from Brock Collier and Marisa Meltzer. The hosts navigate through complex character dynamics, plot inconsistencies, and cultural critiques, all while maintaining a lively and relatable discourse. Listeners are left with a clear picture of the episode’s strengths and shortcomings, along with anticipations for future developments in the series.

For more in-depth discussions and exclusive content, listeners are encouraged to join the podcast’s Patreon community.

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Join the Conversation:
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Transcript

[Chelsea Fairless]

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[Lauren Garrone]

Ugh.

[Chelsea Fairless]

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[Brock Collier]

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[Chelsea Fairless]

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[Brock Collier]

I spent $40,000 on shoes.

[Lauren Garrone]

That's the matter, Morty.

[Marissa Meltzer]

Florals, the span 10 to my arm. Florals, the span Break Gowns.

[Chelsea Fairless]

Beautiful gowns.

[Brock Collier]

Fashion has changed.

[Marissa Meltzer]

No, it hasn't.

[Brock Collier]

Hi, my name is Chelsea Fairless. Welcome to the Every Outfit podcast. My co host, Lauren Garrone is still on Maternity le. She is busy lactating and swaddling and doing other motherly things. But we did manage to recap the latest episode of and Just like that Before She Gave birth, which you are about to hear. And after that, I will be joined by two iconic New Yorkers, Brock Collier and Marissa Meltzer. And we are going to talk about Anna Wintour, Shay Diaz and the corporate shakeup at Glossier.

[Lauren Garrone]

All right, I'm back to cover the fifth episode of and just like that title, under the Table. It is directed by Julie Rottenberg, written by Rachel Palmer. This is Rachel Palmer's second episode. She wrote an episode last season, the Iconic Bomb Cyclone. Who could forget that episode? Looking at Rachel's IMDb, I noticed that she also was a script consultant on 2 Broke Girls, which is another Daddy MPK show, which maybe one day we'll cover on the Patreon.

[Brock Collier]

Yeah, I never watched that. I heard it was good though. People liked it.

[Lauren Garrone]

I watched it here and there.

[Brock Collier]

This episode starts with a Carrie voiceover. The woman threw open her windows to let the city in. She could hear the horses coming and going with their carriages, each one bringing an exciting possibility. The unexpected cool breeze on this hot.

[Lauren Garrone]

Afternoon reminded her that each day need not be an echo of the one before. There are endless adventures to be taken.

[Brock Collier]

If she simply dared to decide to take them.

[Chelsea Fairless]

Putting one foot in front of the.

[Brock Collier]

Other, she stepped off the expected path and vowed to go wherever a day might take her.

[Lauren Garrone]

So this is fully her novel.

[Brock Collier]

Yeah, seems like it's coming along.

[Lauren Garrone]

So at this point, we can fully understand that when Daddy MPK said the voiceover was back, the ellipses was the voiceover's back. But it's more like an audiobook for a novel that Carrie is in the process of writing.

[Brock Collier]

Exactly.

[Lauren Garrone]

So Carrie is back from Virginia.

[Brock Collier]

Thank God.

[Lauren Garrone]

I think she's a little more earthbound. I mean, we get this in a conversation later in the episode with Charlotte, but because I think she's soured on Aiden just a little bit, the outfits are even more insane.

[Brock Collier]

Yeah. And we get this really great shoe montage at the top of the episode.

[Lauren Garrone]

For those who are not watching, we do not mean the cat. We mean literal shoes.

[Brock Collier]

Is Carrie wearing all of these crazy shoes? Nancy Sinatra is playing. It's satisfying from a fashion standpoint, but it's also very efficient storytelling because this scene is here to show us that Carrie has been tormenting her downstairs neighbor.

[Lauren Garrone]

That's right.

[Brock Collier]

I know what you guys are thinking. Carrie has a downstairs neighbor. What is this parasite? I know you didn't watch Lost, Lauren, but this feels like when we first met Desmond on Lost.

[Lauren Garrone]

Okay, well, he comes running up her back staircase, pounding on the door in the middle of the day to be like, you have to stop wearing heels.

[Brock Collier]

Look, this is so realistic. This is a big issue in New York City between neighbors. And I, of course, have been on the Carrie end of this drama with neighbors previously, of course.

[Lauren Garrone]

But this man, who we don't know who he is just yet, is at a disadvantage. One, he is living in someone else's house. Two, he's like, look, I write during the evening, so I need quiet during the day. That is a request that is outside the bounds. It's not like she's walking in heels at 11 at night and it's keeping him up. It's 11am well, this is the thing.

[Brock Collier]

And this was my issue with my previous downstairs neighbor. This is how New York is. You can't move to New York and expect that it's going to be something else. You know? Although, to be fair, I didn't wear shoes. Shoes inside. And I did put rugs down, and they were still psychotic.

[Lauren Garrone]

Yeah, that's his reasoning. He's like, can you just decorate this place? And when he said that, I was like, I don't think that's gonna make things better.

[Brock Collier]

Well, a rug definitely makes things better, certainly. But that's such a huge apartment. She can't put rugs everywhere, you know.

[Lauren Garrone]

Okay, I want to discuss this living arrangement. So we need to go to the next scene where Carrie is venting about this at lunch to Miranda, Charlotte, and Seema, where Seema informs her. Oh, didn't I mention that your house came with a tenant who lives there half of the year? What? This is not a nitpick, Chelsea. We do need to get into this. If you spent, how much do we think the Gramercy multi level townhouse is? 6 million? 8 million? 12 million?

[Brock Collier]

I would say more like 12 million. Right? I would think. I'm sure there's a New York Post article that could answer this for us. Because, like, a run of the mill West Vill townhouse is like $10 million now, right? @ least. So this is like, crazier than that because it comes with the park.

[Lauren Garrone]

Could you imagine was this how drunk in love Carrie was on Aiden's dick last season that she forgot to remember the huge asterix of the Gramercy park townhouse was like, oh, yeah. Half the year there's a tenant there also. He lives downstairs. She's never once wondered what that level that she can't access is.

[Brock Collier]

Well, his apartment is, like, literally right off the garden. So all of those scenes that we had previously seen of her, like, typing on her laptop out in the garden, he was right there like a stone's throw away.

[Lauren Garrone]

Yeah, I mean, he wasn't living there yet, but presumably you would imagine that she's looking through those windows, being like, huh, what's in there?

[Brock Collier]

The woman wondered, what the fuck is in there?

[Lauren Garrone]

Or is the townhouse so large that she's been consumed with the floors above her and didn't think about the floor below her?

[Brock Collier]

This scene is really great because we figure out who this man is. Miranda immediately recognizes him as a famous biographer who has done this. What did he do, a Winston Churchill biography?

[Lauren Garrone]

He did indeed. His name is Duncan Reeves. He's basically Hot Walter Isaacson because he's a prolific biographer. And Miranda is now on this man's side because she wants to read his book, his next book. She's like, you cannot interrupt his process. Can't you take. Take your heels off? And we get a reference to a woman's right to shoes.

[Brock Collier]

Yeah.

[Lauren Garrone]

We also get a Devil Wears Prada reference, which felt very.

[Brock Collier]

That was a little disorienting for me because to acknowledge that the Devil Wears Prada exists in the world of Sex and the City is to break the fourth wall, because we know that's a Patricia Field joint.

[Lauren Garrone]

Yeah, it felt very, very odd. Especially because it's not directly a reference to the film Carrie Goes to play Devil Wears Advocate, which then just makes me think of the 1997 Al Pacino film, the Devil's Advocate. Also, in this lunch scene, Miranda reveals that she has a terrible Airbnb neighbor who's playing heavy metal at all times of night and day.

[Brock Collier]

Look, I get it. I've been Miranda too. I had some, like, heroin addicted twink that was an EDM DJ live above me once.

[Lauren Garrone]

Oof, that's rough.

[Brock Collier]

It was.

[Lauren Garrone]

So after the lunch, we get a Charlotte and Carrie walk and talk. And this is where Carrie discusses Aiden and she discusses how she's being more realistic, less romantic. Hence my theory about why the outfits are getting crazier. Carrie says that Aiden just can't be her everyday fella right now. This doesn't compute for Charlotte. She's like, I couldn't live without Harry. She's like, all right, thank you, Charlotte. My boyfriend lives several states away and I might not be able to be with him for five years, but happy for you and Harry.

[Brock Collier]

I'm just like, so sick of this Aiden shit. He did not need her to be in a long distance relationship with Aiden. Be with Aiden or don't be with Aiden. I hate this, like, murky middle ground that they have laid out for us.

[Lauren Garrone]

But Daddy MPK loves it. And at least they're dangling what seems to be a potential new love interest for Carrie in this. Duncan Reeves.

[Brock Collier]

Oh, absolutely. And thank God for him.

[Lauren Garrone]

Although I can think of no worse situation as someone who did date someone who lived in their building than getting romantically entangled with someone that lives in your own building. Worse yet, your tenant, technically. What is he paying?

[Brock Collier]

Look, everyone in New York has done this and it's horrible.

[Lauren Garrone]

Anyway, Carrie tries to wave the white flag in a way. She gets him a welcome basket from all the things around the neighborhood, which he doesn't seem to care about because he comes to New York to write. London is where he lives. New York is where he writes. I mean, New York is maybe the only place that's more stimulating than London. Like, why are you not upstate writing? But whatever, fine. So Carrie gives this welcome basket to Duncan. He doesn't really care for it, as he said. He's not here to enjoy the delicacies of Gramercy park, but to write. But he does get her a gift. And the gift is the ugliest slippers I've ever seen in my life.

[Brock Collier]

Yeah, it's like Somewhere between a pink fuzzy slipper in, like, a knot sock.

[Lauren Garrone]

Also, this would only make me double down on wearing heels all the time. I'm sorry, sir. This is my building. You have no authority.

[Brock Collier]

Well, that's what Carrie does. She gets pissed off. She storms out. And then later in the episode, he almost burns his apartment down because he's wearing earplugs because her shoes are so annoying. And Carrie saves the day with her strappy sandals. And then things take a bit of a turn.

[Lauren Garrone]

The turn being that they go out to dinner. Yeah, because he's ruined his stew.

[Brock Collier]

Yes, he's ruined his stew. So they go out to dinner. He reveals that he's working on this Margaret Thatcher biography, and she reveals that she's writing fiction for the first time.

[Lauren Garrone]

Which, I'm sorry, no matter how much of a dick this guy is, if I learned he was basically hot British Walter Isaacson, I wouldn't reveal that I also was a writer.

[Brock Collier]

Well, Carrie's a good writer. I don't know about whatever this is that she's doing now.

[Lauren Garrone]

Well, also, I noticed she does this thing in the scene that reminded me of when she first. First meets Aiden, and she pretends she doesn't know he's a furniture designer. And we get that voiceover where she's like, as soon as the lie came out of my mouth, I knew how much I liked him. She pretends to not know that Duncan is a writer. When he reveals, like, oh, I'm here writing this novel. She goes, oh, you're a writer. I had no idea. So this is a carry tell that she definitely likes this guy.

[Brock Collier]

Then when she gets home from this dinner, she very submissively takes her high heels off, which was maybe the most erotically charged moment we've gotten this season yet.

[Lauren Garrone]

It was giving, you know, James Spader erotic thriller from the early 2000s vibes, for sure.

[Brock Collier]

Can you imagine if n. Just like that, did a hard pivot and became baby girl or belle du jour or something?

[Lauren Garrone]

Oh, my God, I would love it. Carrie doesn't leave the townhouse for weeks because she's in some dominant submissive game with a. With a tenant.

[Brock Collier]

And see, this was another. And just like that, free episode.

[Lauren Garrone]

That's what I was gonna say when I was watching this. And the last scene is Carrie taking the shoes off. I wrote in my notes I could really use it in just like that right about now.

[Brock Collier]

See, my end, just like that would be. And just like that, I renounced my right to shoes.

[Lauren Garrone]

Ooh.

[Brock Collier]

It's not great. But it's also not worse than a lot of the. And just like that's that we've been given. Yeah, you could do worse than I renounce my right to shoes.

[Lauren Garrone]

I sort of figured you would do a shoe related one. So I, I went in a different direction which we'll get into after we talk about Miranda and Carrie. But yeah, I was going to go with maybe like. And just like that the other shoe dropped.

[Brock Collier]

I thought about that too but it kind of didn't make sense with the action of the scene.

[Lauren Garrone]

It didn't. But it did feel like something Daddy MPK would write for. You know the best thing about having this baby? I can finally take Nutrafol again. That's right. Their postpartum formula will be keeping my hair in tip top shape this summer. You may have heard of Nutrafol's hair growth supplements and wondered do they really work? It's a fair question. Many hair supplements over promise and under deliver. But Nutrafol is different. As the one dermatologist recommended hair growth supplement brand, it is trusted by over 1.5 million people and is clinically tested to deliver real results in just three to six months. Everyone's root causes of hair thinning are different. So a one size fits all approach to hair growth doesn't cut it. Nutrafol has multiple formulas designed to give your body what it needs to grow and support your hair's unique needs. Whether you're navigating postpartum like myself, menopause, a plant based lifestyle or simply looking to see less hair shedding, Nutrafol has you covered this summer. Stop worrying about your hair and start making memories. For a limited time, Nutrafol is offering our listeners $10 off your first month subscription and free shipping. When you go to nutrafold.com and enter the promo code outfit, find out why Nutrafol is the best selling hair growth supplement [e-mail] spelled n u t r a f o l.com promo code outfit. That's nutrafol.com promo code outfit.

[Brock Collier]

Shall we move on to Miranda and Carrie? Because this is what I was most invested in in this episode was this plot line. And it was very cool to see Miranda and Carrie have a lot of scenes together because we don't often get this.

[Lauren Garrone]

We don't. And it answers a question that we and a lot of fuckettes have had since the beginning of this season, which is why don't Carrie and Miranda just live together?

[Brock Collier]

Yeah. Miranda hits her breaking point when her neighbor opens the door. Dick out With a meat cleaver.

[Lauren Garrone]

Can I tell you something embarrassing? It took me two watches to clock that he was indeed naked because he has such an extreme tan line. I thought he was wearing briefs the first time I saw this scene.

[Brock Collier]

I don't know how you missed that, but we got some male full frontal nudity.

[Lauren Garrone]

And thankfully it wasn't Aiden or Harry. Again, no. No prosthetic insight on. On. This man is the Airbnb neighbor. Does he have a point? Because Miranda has sort of passive aggressively been dropping notes underneath the door.

[Brock Collier]

No, you have to do that, right?

[Lauren Garrone]

And the second time that she does that, he opens the door with a meat cleaver and he's like, if you do this again, I will chop you up.

[Brock Collier]

Yeah. Again, I understand both perspectives here, but there are some neighbors that are so loud that it is unreasonable and it goes beyond like, oh, they're having a party or something normal.

[Lauren Garrone]

And those are usually the people that have lived in the building for 30 years. They're just like. Of the building. At this point, Miranda and Carrie have this weird phone conversation, which I realize is something that we don't usually see between the two of them, where Carrie seems pissed that Miranda is reading text messages while on the phone. It's not the point of the scene, and it goes by incredibly quickly. But Sarah Jessica Parker's acting in that scene seems very annoyed at something that, I don't know, I kind of do. Doesn't everyone?

[Brock Collier]

Well, Carrie is just annoyed at Miranda for various reasons throughout this entire episode. And that is the beginning of that.

[Lauren Garrone]

It is. Because later in the conversation, Miranda, ever the problem solver, is like, hey, can you hook me up with Seema so that I can find a new place? And Carrie's like, like, no, I do not want to mix friendship with business.

[Brock Collier]

Well, to be fair, she's still traumatized from her nonsensical fallout with Samantha. Like, why else would she say that?

[Lauren Garrone]

There's that. I mean, I'm reminded of when Carrie demands that Charlotte sells her ring so she can buy her apartment back. And that's Charlotte's reasoning of why she doesn't want to give her the money. My dad always said not to mix business with friendship.

[Brock Collier]

Anyway, I guess Carrie would rather have Miranda be her roommate than refer her to Seema. So that is what happens.

[Lauren Garrone]

And we learn this factoid, which Is in the 90s, they did briefly live with each other in an apartment on Bank Street.

[Brock Collier]

Sure, sure.

[Lauren Garrone]

Didn't hear that in the opening of Sex and the City two. But why not? Did not Think that these people went below 14th street until the 2000s, but whatever.

[Brock Collier]

After Miranda moves in, we do get this brief scene where Carrie is texting Samantha. The return of Samantha.

[Lauren Garrone]

In text form.

[Brock Collier]

In text form, as always. Because Carrie's like, who's this Duncan Reeves guy? And Samantha's like, I wish he was living under me.

[Lauren Garrone]

He's a lot of fun.

[Brock Collier]

Duncan Reeves is Samantha approved. He is getting hotter and hotter by the second.

[Lauren Garrone]

There's also this brief moment where Miranda's moving in. Duncan Reeves comes home. We learn that it's Aiden who bought the first dibs table from the previous episode, and it's being delivered. And Miranda has, like, a fangirl moment with Duncan Reeves. And then he has, like, a real shitty line about, don't worry, you don't need, like, carpet pads or whatever. She has no carpeting in her place. Rude.

[Brock Collier]

Yeah, but that's to be expected, I.

[Lauren Garrone]

Think, at this point. Carrie has put. Hasn't she put the, like, carpeting the runner? Yeah, she's put the runners throughout the townhouse. Right.

[Brock Collier]

Which is an insane thing to do, by the way.

[Lauren Garrone]

But anyway, it makes it look so ugly.

[Brock Collier]

Miranda has a date with Joy.

[Lauren Garrone]

Oh, speaking of ugly.

[Brock Collier]

Specifically, her first sleepover at Joy's apartment. And Miranda's like, you know what? I'm gonna wear this marigold jumpsuit for some reason.

[Lauren Garrone]

Also, we have to understand that Miranda specifically packed that marigold jumpsuit to take to Carrie's as an option to wear for this sleepover.

[Brock Collier]

And she's like, carrie, what do you think? And I'm like, like, surely Carrie's gonna be like, girl, you can't wear that. That's not sexy. Here, let me find some things in my closet that you can borrow. And maybe we could get a little Miranda Carey fashion montage.

[Lauren Garrone]

But no, I mean, we get a hint of it.

[Brock Collier]

We did not get a hint of it. She opened one drawer, pulled out this ugly scarf, and is like, here. And it somehow makes the outfit even worse.

[Lauren Garrone]

Right. Miranda's reasoning of why she's not outright sexy is because she knows she's gonna have to do a walk of shame. So she wants something that can bridge the gap from night to day. Usually, people are trying to go day to night. She's trying to go night to day. Which I'm like, this outfit doesn't work for either.

[Brock Collier]

Look, if she just wore this to Human Rights Watch, I wouldn't think anything of it. It just wouldn't be my choice. For the first time, she's gonna sleep with someone. Also taking Off a jumpsuit in a sexual context is always kind of awkward.

[Lauren Garrone]

We' feelings about jumpsuits. Not a fan. We also learned why Carrie might have only furnished Miranda with a scarf. And it's because Carrie is clearly not over the fact that many years ago she loaned Miranda a Sonia Raquel Domino bag that Miranda promptly lost. If this episode is anything, this is passive aggressive. Carrie.

[Brock Collier]

Oh, yeah.

[Lauren Garrone]

Because the way that she delivers the line isn't like, yeah, I'm still kind of annoyed by that. So I'm only giving you the. This scarf that I got at a flea market. It's like, oh, the Sonia Rachel Domino bag. I don't think about it at all anymore.

[Brock Collier]

No. She's so passive aggressive. So Miranda goes over to Joy's house and immediately takes off the scarf and is like, let's make sure nothing happens to this scarf.

[Lauren Garrone]

This scarf is Chekhov's scarf.

[Brock Collier]

And they attempt to have sex, but her Italian greyhounds bark.

[Lauren Garrone]

They're very cute.

[Brock Collier]

At least they're cute.

[Lauren Garrone]

So Miranda leaves in the middle of the night.

[Brock Collier]

I was confused by this because at first I thought, oh, Miranda just took Joy to Carrie's apartment because the dogs were being annoying. But I don't think that's what actually happened. It was just the way that the scenes were cut made it confusing.

[Lauren Garrone]

A confusing editing choice. And then just like that, I don't. I think you're mistaken, Chelsea. So Carrie's up in the middle of the night. She's going to the bathroom, which is not en suite. Girl, you paid $12 million for a gramercy townhouse. I know you get access to the park, which we've never seen. But, like, you have a tenant you didn't ask for and you have to go outside into the hallway to go to the bathroom where you see a buck naked Miranda.

[Brock Collier]

I loved that. I love that Cynthia was doing, like, practically full frontal. It was somewhere between topless and full frontal.

[Lauren Garrone]

We got the hint of what Miranda's rocking under her underwear. But again, the editing is so jarring of this scene. Carrie's so shocked. And Miranda isn't shocked that I was like, oh, is Miranda sleepwalking? Like, are we introducing a sleepwalking narcolepsy storyline?

[Brock Collier]

What I find to be so funny is that Miranda in this episode is not written as Type A Miranda. She is written as the slacker roommate from Notting Hill. And this scene is very in keeping with that.

[Lauren Garrone]

Oh, my God. Which, by the way, I believe is more Cynthia than Miranda. Like this type of laissez faire walking around naked?

[Brock Collier]

Yeah. Miranda is not a walking around naked type of gal. Or she wasn't always written that way. Also, just because Carrie is in this silk robe and in this pre war apartment, the shot of her horrified face, it literally looks like the COVID of one of those gothic romance novels, right? You know, it's like straight up horror on this woman's face, but also intense glamour.

[Lauren Garrone]

It's so incongruous. I guess it's supposed to be played for comedy, but it is so confounding. And then we immediately cut to the next morning.

[Brock Collier]

Well, okay, but before we get into the next morning, why exactly is Carrie so horrified that she has seen her friend naked, who she's already seen naked before? It's one thing if you're, like, seen, I don't know, you're your father in law naked for the first time or something, right? But, like, why is Carrie so visibly shaken?

[Lauren Garrone]

And I'm just gonna say it. Cynthia Nixon looks incredible.

[Brock Collier]

Oh, incredible. I loved this scene. I just. Again, I'm like, why is Carrie such a fucking prude?

[Lauren Garrone]

Carrie's a prude. Carrie is also type A to the nth degree, which sort of comes to a climax the next morning where Miranda is in the very tiny kitchen, which I haven't even brought up the fact we're five episodes in. I'm like, is that the kitchen of the house or is that, like, supposed to be a maid's kitchen?

[Brock Collier]

Yeah, I feel like it's something like that. But that's fine. She doesn't need a big kitchen. She's not cooking anything. All she's doing in her kitchen is eating her banana and her yogurt. And that brings us to this very awkward scene. Is that my last yogurt?

[Marissa Meltzer]

Oh, you don't eat yogurt.

[Brock Collier]

Yes, I do. Since when?

[Chelsea Fairless]

Since I'm 50.

[Lauren Garrone]

Who.

[Brock Collier]

Whose yogurt did you think it was?

[Marissa Meltzer]

I don't know, like a house yogurt.

[Brock Collier]

A house yogurt.

[Marissa Meltzer]

Okay, Come on. I just woke up. I'll. I'll get you more. It's just a yogurt. And the last banana. You eat bananas now, too? All you used to have for breakfast was a cigarette.

[Lauren Garrone]

All right, I'm on Team Miranda. Carrie, when have you ever eaten breakfast?

[Brock Collier]

Well, also, it's like, why is Carrie a prude now and anal retentive?

[Lauren Garrone]

And by the way, you and I have lived together multiple times over the last few years. You and Tad have had to crash at my place when things are going on with your place. You know, what is One of the first things that I do, I order the things you like to eat and put it in the fridge. That is what a good host is.

[Brock Collier]

Well, a good host wouldn't shame someone over a single yogurt. Also, this woman is rich.

[Lauren Garrone]

Get an Uber Eats order.

[Brock Collier]

Literally, get a breakfast delivered from Balthazar. Like, what is going on?

[Lauren Garrone]

And presumably Miranda has money as well. If she's paying for an Airbnb in the West Village. I suppose that brownstone sale went very well. That's the other thing. I mean, we're shitting on Carrie. But also, Miranda could just be like, hey, thanks for housing me. Like, I ordered breakfast from Pastis.

[Brock Collier]

Yeah, it just does not make sense to me. This is just not the woman I know.

[Lauren Garrone]

Hashtag NotMyCari, NotMyCarrie. Today's episode is also brought to you by Splendid. Are we still hot girl summering? What's the vibe? I can't tell because I haven't left my house in weeks and have been living in my pajamas. And do you know whose pajamas I've been living in? Splendids, of course. Splendid has the world's softest closet staples to elevate your wardrobe and help you feel comfortable and confident in every outfit. Think buttery soft tees. Pull on pants that fit just right. Easy sets, sweaters for every season and so much more. Their pieces are next level soft and actually hold up in the wash. I love their elevated, comfortable sets like the Stella linen full length pant and button down. It's comfortable enough to lounge on the couch all day, but put together enough that the visitors you have over don't know that you haven't showered today. Too specific. Look, Splendid isn't just perfect for a postpartum capsule collection for myself. They have something for everyone. My mom has shopped at Splendid for years. She and I have purchased baby clothes for Morty. In this family, we love Splendid. Right now, Splendid is offering our listeners 20% off when you go to splendid.com and use promo code outfit at checkout or when you shop at Splendid in stores. Go to splendid.com and use code outfit for 20% off online or in store. That's splendid.com promo code outfit.

[Brock Collier]

Seema comes over to look at the table that Aiden has bought Carrie from. First dibs. God forbid another friend sets foot in her house. Carrie is instantly annoyed about Seema walking in heels.

[Lauren Garrone]

Well, yes. And Carrie also has this thing throughout the episode where everyone's like, but you're wearing heels. And she's like, but I know how to walk in that well, that's true.

[Brock Collier]

Though, because I know how to walk in heels silently in a downstairs neighbor context. Also, you have to basically walk on the balls of your feet like a ballerina.

[Lauren Garrone]

To add insult to Carrie's injury, she cannot show Seema the table because Miranda is fully working and using the table as it should be used.

[Brock Collier]

Okay, but this was really, really messy. Again, this is Notting Hill roommate behavior.

[Lauren Garrone]

So Miranda has all of her law review books out her computer. The things she needs to say, I think for her next BBC segment. And some Mexican food. Miranda, of course, knocks over the Mexican Coke that she's drinking. We should say carrie's last Mexican Coke. Carrie, why are you down to the last of everything?

[Brock Collier]

The fact that she's like, is that my last Mexican Coke? Terrifying. So scary.

[Lauren Garrone]

Jill, at what point are you like, I'm booking a hotel, actually?

[Brock Collier]

Well, this is that point for Miranda, so.

[Lauren Garrone]

Yeah. So Miranda knocks over the Mexican Coke. Miranda uses Carrie's scarf to clean up the mess. Carrie uses Miranda's research paperwork that she needs to try to sop up the Mexican Coke. They are both equally annoyed at each other.

[Brock Collier]

Well, the scarf thing would make more sense if not for the previous scene with Joy. Why did she go out of her way to tell Joy that the scarf was important and then do this?

[Lauren Garrone]

Well, I guess she doesn't want to lose an item of Carrie's again. But Carrie makes a point to be like, oh, I'm lending it to you because it has no emotional value. I got it at a flea market for no money. So, like, in Miranda's mind, she's like, this is basically as good as a paper towel to carry.

[Brock Collier]

Look, I hate to break it to Carrie, but those glass tables are nightmares. A glass dining table, Girl, you're going to spend your life cleaning that table.

[Lauren Garrone]

Glass and wood.

[Brock Collier]

Yeah.

[Lauren Garrone]

Nightmare combination. Only worse kind of table. Chelsea is those tables. And I'm sure Aiden makes tables like this now in Virginia, where it's the two pieces of wood and then they put resin in between it to connect the table.

[Brock Collier]

Oh, he absolutely makes those tables. After this whole drama, Carrie and Miranda simultaneously come to the conclusion that this isn't working and Miranda has to leave immediately.

[Lauren Garrone]

But even in this scene, Carrie is super sarcastic in a way that we've really never seen Carrie be. Because she's like, no, I was gonna say you should stay forever. Which is like, fuck you.

[Brock Collier]

No, she's really passive aggressive. She's just so annoying. During this episode, it's fully crazy. And it kind of sucks because I thought that when Miranda and Carrie moved in together, like, that sounds like a great idea. That sounds like a lot of fun. But we couldn't have one fun thing happen while they were roommates. We couldn't have a movie night or, God forbid, they threw a party or something.

[Lauren Garrone]

Yeah, I would go for a total sitcom shenanigans. I mean, it worked for, what, seven seasons on Full House. They were inventing places for Uncle Jesse to live. Like, give. Give Miranda a floor. Give her the fucking addict. Who cares?

[Brock Collier]

I just wish this had gone on for longer because as the audience, I think we'd rather have Carrie and Miranda be roommates than Miranda.

[Marissa Meltzer]

Just.

[Brock Collier]

Just find an apartment immediately.

[Lauren Garrone]

It's just so interesting that these episodes are so long. There's so much story. We haven't even gotten into the majority of the characters in this episode, and yet somehow, still nothing happens. No plot is progressing. It's just a random assortment of stuff of like, again, as I've always said, like, the impulse is correct. Miranda and Carrie living together, super fun execution. Very bizarre. And somehow Carrie is now willing to turn her back on what she previously said about mixing friendship and business and is like, you know what? Actually, Seema, this one needs an apartment. She needs to get the fuck out of here.

[Brock Collier]

Seema in this episode is trying to get a bank loan for her new real estate agency. And this is a little rough for me because in three seasons of and just like that, you have told me that Seema is one of the most successful realtors in New York York with a Birkin and an Upper east side apartment and a driver. And now you're telling me she can't rent an office in Tribeca without a.

[Lauren Garrone]

Loan that she needs a bank loan that she cannot get because she has a lot of overhead. Again, so much of this is so bizarre. It, of course, has a lot of echoes of when Carrie tries to get a bank loan to buy back her apartment and can't get it. The loan officer is like, you have a lot of overhead and you don't have a proven business at this point. Fair. She's like, why do you have a chauffeur? And in my head, I'm like, she has a chauffeur so that she can get between listings faster and instead seem as like, I have appearances to keep up. I'm like, wait, what?

[Brock Collier]

Well, that makes sense. Like, if my realtor pulled up with a driver in that car, I would be like, damn. And that's why she has it. But again, I just find it interesting that this is A struggle that this character is having.

[Lauren Garrone]

Of course. And it's also like, why can't Seema just be cool? Like, I under.

[Brock Collier]

She is cool.

[Lauren Garrone]

I mean, she's sort of flaming out this season. Dating's not going well, Business not going well.

[Brock Collier]

Well, maybe she's gonna hook up with Carrie's landscape designer or whatever.

[Lauren Garrone]

Adam. Yes. They share a cigarette in this episode and like, there are some vibes.

[Brock Collier]

And that's a cute love interest for Seema because he's laid back and she is very much the opposite of that.

[Lauren Garrone]

Can we discuss Adam's cousin nephew who's very clearly on the spectrum?

[Brock Collier]

We can. I don't have much to say about him, but he is on the show. He is a new side character. So shall we move on to Charlotte and ltw?

[Lauren Garrone]

Of course. We now know what Charlotte's big storyline for the season is going to be.

[Brock Collier]

And you know what? Great.

[Lauren Garrone]

Thank God her storyline is dealing with Harry having the big cuz.

[Brock Collier]

Okay, but still, that's better than the college admissions consultant and Richard Burton being canceled. At least she has some dramatic stuff to do.

[Lauren Garrone]

This is true. Harry pissing his pants and then yet again having ghost cum problems was all leading to something. I didn't believe it, but it was leading to the fact that Harry goes to the doctor because of these things and he is diagnosed with prostate cancer. Which he tells Charlotte during a lovely evening stroll in front of the Guggenheim.

[Brock Collier]

Of course, all I could look at was her cross body bag with Richard Burton's face on it.

[Lauren Garrone]

All I could think about is probably for the character of Charlotte in this world, she will forever now associate the Guggenheim with her husband having cancer.

[Brock Collier]

Oh, yeah.

[Lauren Garrone]

We should also say that he doesn't want to make a big deal about this. So Charlotte can't tell anyone that he has cancer.

[Brock Collier]

Which is. Is unreasonable in my opinion. But whatever, we can move on. So then they go glamping with the Wexleys on Governor's Island. That's funny.

[Lauren Garrone]

That's funny. But it's also the.

[Brock Collier]

Just for context, Governor's island is literally in the New York harbor.

[Lauren Garrone]

There are many shots where you can see downtown Manhattan as they're sitting in their tents. I was about to say, say setting up their tents, but there's nothing to set up. There's also a spa in this place. And yet everyone is trying to get out of going. You have Herbert, who multiple times in this episode, Gaslights ltw. The first is when he's like, you never told me we were glamping in Governor's island this weekend.

[Brock Collier]

Well, how are we supposed to know that happened off screen?

[Lauren Garrone]

I'm with you. The kids don't want to go glamping. Lily's reasoning as to why she doesn't want to go glamping is because. Because Diego will have no choice if she can't be with him on her designated weekend to spend it with his boyfriend. Which I was sort of like, actually, could we spend more time with that storyline than glamping on Governor's Island?

[Brock Collier]

No, no, no. I don't want to spend any time with that storyline. What I do want is a scene of Charlotte just bitching to Carrie and Miranda, like, Lily's in a poly relationship. But instead we get this Governor's island thing. LTW has just come back from Atlanta. A trip to Atlanta with her hot. And Herbert finally sees a photo of her hot editor and is, like, a bit taken aback, a bit jealous.

[Lauren Garrone]

Not before he gives her shit again. This is the second time he gaslights her where he's like, where's the chocolate for the s' mores? And she's like, why would I know where that is? He goes, I asked you for that. She goes, no, you didn't. And again, this is a scene that happens off screen. Did it happen? Did it not happen?

[Brock Collier]

Yeah. We don't even know if he's gaslighting her. Give Herbert the benefit of the doubt. We have no clue.

[Lauren Garrone]

But this insane argument allows Charlotte to yell, it's chocolate, not cancer. And then walk off.

[Brock Collier]

Okay, we've talked about these outfits because we had seen them in the promotional photos for the show. But within the context of these very emotional scenes, it's, like, even more insane because Charlotte is wearing basically, like, a full 1950s camping outfit. I don't know if people actually dress like this in the 50s or they just did in movies that I. I've seen, but it's very much that look.

[Lauren Garrone]

I was gonna say it feels like something from an I Love Lucy episode I watched once.

[Brock Collier]

Yeah. Or a Doris Day movie or something. Whereas LTW is. I don't even know if I can describe this outfit.

[Lauren Garrone]

No, I think you described it perfectly from the trailer. You called it a South Beach Ronald McDonald outfit.

[Brock Collier]

I forgot about that. You know, it's another Marigold outfit. Who knew that the color of marigold would loom so large in this episode? I don't know. It's weird because it' a weird hybrid garbit. Like, it's has these utilitarian qualities to it, but it also has these fishnet panels, like We've described things as being Project Runway in the past, and I think that more speaks to like, construction issues, but this is like a Project Runway concept. You know what I mean?

[Lauren Garrone]

You're a busy documentarian who just got back from Atlanta and you have 60 minutes to go to Governor's island island for glamping.

[Brock Collier]

No, the challenge would have been glamping. And this is what someone would have done. And they would be like, look, there's all of these, you know, pockets for storing things. Anyway, Charlotte and ltw both escape their.

[Lauren Garrone]

Families because there's a full on spa at this glamping center.

[Brock Collier]

I don't think it's at the glamping center. I think it's just on Governor's Island.

[Lauren Garrone]

Oh, interesting.

[Brock Collier]

You know, they're just on foot. There aren't cars on Governor's Island. I don't think so. I think you have to walk everywhere.

[Lauren Garrone]

Because I was this close to being like, you guys have money. Just spend a long weekend at the Mandarin Oriental getting spa treatments. What are we doing here?

[Brock Collier]

Well, they end up having some quality time. Although Charlotte does not reveal Harry's cancer diagnosis to ltw. Although obviously she's up in the head.

[Lauren Garrone]

Well, yes, she has a nervous breakdown in front of her children because everyone is inside the glamping tent on their phones. But we do get in this scene LTW revealing or asking Charlotte, you know, is it bad to have a crush on a on a co worker affair storyline Incoming. Perhaps.

[Brock Collier]

I hope so. That's obviously where this is going. She's either gonna get really close to having an affair or she is going to have an affair.

[Lauren Garrone]

No, but it's in just like that. It's gonna be some like, secret third thing we couldn't possibly think about. She's gonna learn the like Marian and her are related somehow.

[Brock Collier]

Stop. I hope she has an affair. That would be amazing. Again, we either have to have really dramatic things happen on this show or we have to have really funny cringe Aiden jerking off. Hey, it's Che Diaz kind of stuff. Although you know what? To this episode's credit, a lot went down in this episode.

[Lauren Garrone]

A lot of plot happened.

[Brock Collier]

Yeah.

[Lauren Garrone]

Where is it going exactly? I'm not quite sure.

[Brock Collier]

We don't know. But I am encouraged by all of this stuff with Carrie's neighbor. If we could get Aiden out of the picture sooner rather than later, that would be great. If ltw her editor, that would be great. And if Seema ends up with Carrie's gardener, I'm also down for that.

[Lauren Garrone]

And you're fine with Charlotte sitting bedside holding vigil for Harry as he battles prostate cancer.

[Brock Collier]

At least that's meteor. This does speak to reality, right? Prostate cancer is incredibly common, but also he could have had a worse kind of cancer like this. Isn't that fucked up? You know what I mean?

[Lauren Garrone]

For sure he could have stage four esophageal cancer, right?

[Brock Collier]

This is not a death sentence for Harry Goldenblatt.

[Lauren Garrone]

Oh, I realized that I didn't do my end just like that.

[Brock Collier]

Oh yeah? What's your end? Just like that.

[Lauren Garrone]

And just like that, I got my house yogurt and banana back. Let's be honest, that's really what Carrie cares about this episode.

[Brock Collier]

That's an incredibly petty and just like that. But I don't think Carrie is above it, honestly.

[Lauren Garrone]

It would have been great if she took the shoes off and then she was sipping on a Mexican coke.

[Brock Collier]

Oh, God.

[Lauren Garrone]

Well, I can't wait to see what you have for the rest of the episode, Chelsea.

[Brock Collier]

Yeah, same girl. Let's find out. Guys, I have a special treat for you today. I am joined by two journalists, two real life Carrie Bradshaws who are two of the funniest people in New York City. Welcome to every outfit, Brock and Marissa.

[Marissa Meltzer]

Thank you.

[Chelsea Fairless]

Hi, Chelsea.

[Marissa Meltzer]

I definitely am a Samantha, though. You are. I think people who don't know me might think I identify as a Carrie, but I am the purest Samantha that I know.

[Brock Collier]

I could see that. But also like Carrie, you do smoke in inappropriate places.

[Marissa Meltzer]

Oh my God, that's legendary.

[Chelsea Fairless]

I've done that too. Chelsea.

[Marissa Meltzer]

I do it everywhere. I don't. I believe in asking forgiveness and not permission when it comes to cigarettes.

[Chelsea Fairless]

Yeah. I mean, I'm much less. I can't do that. I can't vape. You vape everywhere, but vaping is different. You should be able to vape like in front of babies on the subway, like wherever you want. It's water vapor. I don't understand the problem.

[Brock Collier]

But Barack. Do you identify as a Carrie?

[Chelsea Fairless]

Oh, I'm a Carrie Bradshaw.

[Marissa Meltzer]

Yeah. Yeah. You definitely.

[Chelsea Fairless]

Unfortunately.

[Brock Collier]

Yeah, I figured as much. So what is your guys read on this season of In Just like that? This the latest episode of and Just like that.

[Marissa Meltzer]

I will say the good thing about the show is it's made me think very deep about aging and psychology in this way where I wonder, is it possible to change so much in however many years we're supposed to have elapsed between Sex and the City and then just like that that you have an entire personality transplant bordering on a lobotomy? Like, does age just do that?

[Lauren Garrone]

I.

[Chelsea Fairless]

Because, no, because I know women of that age in New York who are, you know, having the best time of their lives.

[Marissa Meltzer]

Women are not supposed to be, like, I don't know how old they're supposed to be, but I am 47, soon to be 48. Not so dissimilar from these people. And like, yeah, my life.

[Chelsea Fairless]

And you smoke in inappropriate places.

[Marissa Meltzer]

I have. Yet I don't. I don't know anyone with a hip replacement. I don't even know any 80 year olds with hip replacement.

[Chelsea Fairless]

Just, like, not having any fun. They don't spend any time together. Like, I don't know. It drives me crazy. I'm more interested in Lily's like, polyamorous bisexual relationship than anything happening with the rest of them.

[Marissa Meltzer]

They keep calling it polysexual and polyamorous.

[Chelsea Fairless]

That's not a real thing.

[Marissa Meltzer]

Person was, like, seeing if they would just put it in the script. Like, oh, yeah, they're called polysexuals now. Like, oh, really?

[Chelsea Fairless]

It's ridiculous.

[Brock Collier]

Okay, I do want to play one call about this episode because someone called in and pointed out something that I did not notice.

[Marissa Meltzer]

What's up?

[Chelsea Fairless]

Okay, watching episode five.

[Marissa Meltzer]

My new way to get through it.

[Chelsea Fairless]

Is that I am prescribed medical ketamine for anxiety purposes. So I just pop one of those to make the experience a little more enjoyable. Anyway, I'm watching episode five right now, and I swear to God, this bank teller is the same bank teller, the one that's talking to fema. Also talked to Carrie years ago when Carrie tried to take out a loan when her name split up. I swear to God, it's the same actress. Even though I found her IMDb and it doesn't say she's in. And just like that.

[Brock Collier]

But like, this is the same. It has to be be.

[Chelsea Fairless]

And also the woman, the character name who was the bank teller for Carrie was named Linda. And now she's Linda again, talking to fema. So this is the same person. All right, just had to call in.

[Marissa Meltzer]

Love, you guys.

[Brock Collier]

Bye. See, I didn't even bother to fact check this. I'm just gonna assume that it's true.

[Marissa Meltzer]

Yeah, ketamine makes you so smart. Also, it would be in the world of. And just like that, where they're like, there's one bank, there's one loan. Also, no one goes in person to a bank. I don't think for like a business loan. It's all done.

[Chelsea Fairless]

That's not even a fun callback, though. It's not like they brought back an amazing, memorable character.

[Marissa Meltzer]

You know who I want is Che Diaz's trans vet nurse or whatever.

[Brock Collier]

Like, the vet.

[Marissa Meltzer]

Like, that woman seemed like she was about to get a whole spin off and I'd like her back.

[Chelsea Fairless]

So it would be an amazing gag if she. If they were the bank teller also got the dress. The nurse also, again, the idea that Seema is having to get this loan is just ridiculous in the first place.

[Marissa Meltzer]

When Carrie first knew her and they went to that Diwali party that I think it was for, didn't her family seem loaded?

[Chelsea Fairless]

She's loaded.

[Marissa Meltzer]

She's loaded. She has a car and a driver.

[Brock Collier]

Her whole personality is that she's loaded. Like, that's how we were introduced to this.

[Chelsea Fairless]

She's loaded.

[Marissa Meltzer]

She wears neutrals. And I couldn't help but wonder, am I Seema? But no, I. Yeah, she's clearly got some, like, investment property that she could use towards. It's just stupid. It's stupid. They hate women.

[Chelsea Fairless]

There's your hot take.

[Marissa Meltzer]

Well, like, there. Yeah, she would be the number one person because if they were like, you have no money coming in. But she would be like, here is my Rolodex of like, a hundred clients or whatever. Here my tax records for the past 10 years where I've made, you know, 750,000. Like, it just doesn't work like that.

[Chelsea Fairless]

Like, and also, this just isn't a good plot line for her. She's fired because of Ryan Sirhan.

[Marissa Meltzer]

Like, it just makes it like, I know. Well, that's the thing. This is where the show makes me crazy because I start talking about loan structure when really, like, they need a hard reset because. Because all these plot lines are so dumb and make me feel crazy. There are so many side characters. Like, why are we following Seema on her journey to get alone? Why do I know about Lisa, Todd Wexley's editor? I'm sure Marian the editor is gonna get a side character at some. Like, an assistant. We've already been teased that there's, like, a second editor. I'm sure we're meeting them.

[Chelsea Fairless]

But again, like, Miranda had a two episode about really liking reality television.

[Marissa Meltzer]

I'm like, okay. And yet they won't let her date. Why can't she go on more disasters?

[Chelsea Fairless]

I kind of love her girlfriend. I love this, like, journalist girlfriend for her.

[Marissa Meltzer]

I like Dolly too, as I think that's her name.

[Chelsea Fairless]

But I don't know why she didn't stay. Despite the dogs. Like, dogs watching you have sex. Someone's cat or dog watching you have. Sex is not a huge problem.

[Marissa Meltzer]

It's also very normal.

[Brock Collier]

Yeah, so normal.

[Marissa Meltzer]

But you don't think she stays?

[Chelsea Fairless]

No, she goes home and that's when she's, like, naked in the hallway.

[Marissa Meltzer]

Oh. I thought maybe she, like, stayed, but went home really early or. I don't know.

[Brock Collier]

No, I'm still confused about that. I have no idea. And I've seen this episode twice at this point, and it still eludes me. The answer to that.

[Marissa Meltzer]

I still have no idea why Carrie is so shocked to see her friend's naked body. It's the thing that I hate so much about Carrie now is that she's just this insane prude who, like.

[Chelsea Fairless]

Also, why Mexican coke?

[Marissa Meltzer]

She's never drinking Mexican coke. She's never heard of Mexican coke. She's been to Mexico once for her failed honeymoon.

[Chelsea Fairless]

She should be doing coke in Mexico.

[Marissa Meltzer]

Oh, God, again. A show we all need to be watching.

[Brock Collier]

None of the main girls will ever do coke. And it's so unfortunate they came this close with Charlotte a couple episodes ago.

[Marissa Meltzer]

If Charlotte had done coke, I would have taken back everything I've ever said badly about this season. But. Okay, let's actually talk about this for a second. Have any of them ever done coke, like, in any point in their lives?

[Brock Collier]

No.

[Chelsea Fairless]

Oh, I mean, you don't think Samantha has done.

[Marissa Meltzer]

Samantha? Yes, Samantha. Martha does coke now.

[Chelsea Fairless]

Yeah.

[Marissa Meltzer]

Seema.

[Brock Collier]

Seema does a bump here and there.

[Marissa Meltzer]

Seema does a line twice a year. Charlotte never. Never, Never. Not even a frat party?

[Chelsea Fairless]

No.

[Marissa Meltzer]

Miranda, I don't think so.

[Chelsea Fairless]

Carrie's too much of a. Carrie's too. She's too much of a prude.

[Marissa Meltzer]

Even, like, one Sedan Sateria and she had a bad time. I don't know.

[Brock Collier]

Well, the reality of this situation is she would have been doing coke all the time on media social. Sex in the City.

[Marissa Meltzer]

Well, yeah, for sure.

[Brock Collier]

Like, that is the character. That's the reality. Same with Samantha.

[Marissa Meltzer]

That's the fifth character. It's not New York. It's cocaine.

[Brock Collier]

It's cocaine. Samantha would never not have a bag.

[Lauren Garrone]

Oh, absolutely. Sex in the City.

[Brock Collier]

Samantha never.

[Marissa Meltzer]

Samantha would have one and a Half Cosmos and be, like, spending a lot of time in the bathroom at Sushi Samba.

[Chelsea Fairless]

Oh, my God. They should send one of them to ketamine therapy.

[Marissa Meltzer]

Speaking of, I was gonna say, like, I would love if Miranda is so the type of. To get super into, like, microdosing mushrooms or going on ayahuasca retreat to explore her queer sexuality.

[Chelsea Fairless]

Or she's, like, has so much PTSD from Saying cunt on national television that she needs. Like, yeah, psychedelic therapy, for sure.

[Marissa Meltzer]

Drugs would fix everything for this season. It would make it so much more interesting, and instead, it's just so boring.

[Brock Collier]

Well, the only person that kind of did drugs was Che Diaz.

[Marissa Meltzer]

RIP I can't believe we've gotten to the point where I just miss J. Diaz so much.

[Brock Collier]

I know. Same.

[Marissa Meltzer]

Hey, it's J. Diaz.

[Brock Collier]

We didn't realize what we had, which is an insane thing to say out loud, but, like, I'm feeling it more and more the deeper I'm getting into season three. Which brings me something that I want to talk about with Brock. Brock, you have written several articles for New York magazine that intersect with the world of Sex and the City in one way or another. But I want to start with a. This profile that you wrote about Sada Ramirez a couple years ago. To me, one of the most foundational pieces of journalism about. And just like that, although it was not well received by the subject who came for you on Instagram in a post that has since been deleted, but lives rent free in my mind, and I'm sure yours is, I need ketamine.

[Chelsea Fairless]

Therapy to get over this fucking profile experience. Yeah.

[Brock Collier]

What was the.

[Chelsea Fairless]

I mean, I don't really know what happened. I mean, I think at the end, like, I try to be so nice to my subjects even when they are.

[Marissa Meltzer]

Even when they start with a LAN acknowledgement.

[Chelsea Fairless]

Yes. And when they're annoying me, like, it's not like I would ever be like, oh, you're so lame. So I think that they were really surprised when I wrote a somewhat catty piece after we had a somewhat polite trip to the park together. And I guess my main idea, which is what really made them mad, is that my idea going into the piece was that the actor is just like, Che Diaz. And on their whole press tour for. And just like that, all the headlines had been, sara Ramirez is not Che Diaz. Like, they were clearly trying to get ahead of this problem and, like, dispel the differences between them. Even though their Instagram bio at the time was, like, essentially how Che introduced themselves in the show.

[Brock Collier]

Yeah, it was like, a Mexican abolitionist.

[Chelsea Fairless]

Bisexual. Mexican Irish diva. Irish, yes.

[Marissa Meltzer]

Correct. What was she? Do you remember? What was she wearing? I'm curious. Like, was the hair the same? And did she do the weird, like, butch clothing with a full.

[Brock Collier]

Sorry, I'm gonna zoom in.

[Chelsea Fairless]

They were. I mean, you could tell, unfortunately, that they were a bit of a diva and maybe are not the best celebrity at handling public attention. They showed up to Central park and, like, big Oakley sunglasses and a hat. And we were being trailed by this poor assistant. Everything about the interview was very awkward. For example, I had to meet the assistant at like, 71st Street. And then Sara went to 72nd Street. And so then the assistant had to do the introduction to Sara. Like, I was not allowed to go greet them myself. Like, it all had to happen through the assistant. I mean, I think that they're a diva. Yeah, they're a diva.

[Marissa Meltzer]

I always say for, like, celebrities that you're writing about, the ones that are really, truly famous are always so easy. Like, you're showing up to their house. It's all been negotiated, so. And it's the ones that are a little bit famous that are have so many hoops where there's like, yeah, three assistants. And they're like, don't tell anyone what neighborhood I live in. And it's like, okay, you know, woman who is on one season of the Real Housewives or something.

[Chelsea Fairless]

And the self seriousness. I mean, we're talking about a show in which their character is getting high all the time, and they're trying to kind of lecture me about how it's really important bisexual representation. And, you know, and it was just like, okay, like, this is not a real conversation. Like, have you watched the show that you're on? Do you understand what you're talking about? We're talking about Sex and the City. We're not talking about talking about. Also, bisexual representation is not a real concept. Like, bisexual people do not need. Like. And they, you know, they told me that they had learned a lot. I think this is in the story that they were learning a lot from bi elders about bisexual history. It was just like, that does not exist.

[Marissa Meltzer]

I love to knew who they're Sara Ramirez's bi elders are and someone else.

[Chelsea Fairless]

I was interviewing these bisexuals this week for something else, and they were telling me that they were also learning a lot about their bisexual history. There's of a lot. Like, what? What are you talking about? And why do you need a history? Well, like, the third person at Stonewall.

[Marissa Meltzer]

Who threw a brick was a bisexual. Do you think they're just reading Barry Diller's memoir and, like, being like, my bisexual elders and our history?

[Brock Collier]

Yeah, there's one bisexual elder that we know of for sure.

[Marissa Meltzer]

Barry Diller.

[Lauren Garrone]

Barry Diller.

[Chelsea Fairless]

I know, but do we even really want to call him bisexual? I think he was just gay in a marriage with a woman. You know, in what case you call.

[Marissa Meltzer]

Calvin Klein a bisexual elder?

[Brock Collier]

Yeah, I think Calvin Klein is definitely a bisexual elder.

[Marissa Meltzer]

My guess is Sara Mirrors was not consulting Barry Diller, nor were they consulting Calvin Klein about bisexual representation and history. And then. Okay, so tell us about.

[Chelsea Fairless]

Oh, yeah, so then they met.

[Marissa Meltzer]

It came out. And then what did you hear?

[Chelsea Fairless]

So I never heard. I didn't hear much from them. Well, pretty much nothing except angry publicist stuff after the piece came out. And then, I mean, I think it was two months later they make this post on Instagram, which just so happened to be on the day that they announced that they were not coming back for the second season. That might need to be fact checked. I'm pretty. It was so it aligned with.

[Marissa Meltzer]

I think it was. Yeah.

[Chelsea Fairless]

So it was all very strange. And of course, I want to say.

[Marissa Meltzer]

The post was furious. And then it was announced.

[Chelsea Fairless]

Yes, that's correct. The post was first. And then something happened later that evening, like, oh, you know what it was. The post came and then later that day, season three was announced that it was happening, but they were not going to be on it. Yeah, and then the post was so weird. They're like kind of like calling me non binary, but in a bad way, which they are too, you know, and like at the end of the post, like, make this long list of statements that I didn't even touch in the story. They're like, you know, number one, I can be, you know, I can love women and men and that's okay. And it's like, I didn't even. That's not even something I wrote about. Like, I never.

[Marissa Meltzer]

I'm just noticing you have your vape on your lap.

[Chelsea Fairless]

I know I do. Cause I'm getting nervous. I need to clutch something when I talk about this.

[Marissa Meltzer]

I know we would be so good if I just had cigarettes in an ashtray and you were vaping and we were like on a. As if we were on like a European TV show.

[Chelsea Fairless]

But I mean, I guess what's crazy about that post. Like, again, what they want most mad about is that I compared them to Che Diaz and then they make this post that is so Che Diaz. So Che Diaz proves the point. From the beginning, I felt somewhat vindicated. Oh, and they called me a petulant child, which really, you know. Yeah, I don't know. I'm not a petulant child.

[Brock Collier]

See, I like their use of quotations with writer and written throughout this post.

[Marissa Meltzer]

Yeah. Cause that's called. It's one of those things where. No, that's just a fact. Like, it's not alleged.

[Chelsea Fairless]

Well, and this is also the post where they. Which was kind of in the article, but they really start going after mpk, like, right.

[Marissa Meltzer]

Oh, right, right.

[Brock Collier]

Because it was something to the effect of like, blame him. Blame this, like, CIS gay man for why this show is whack, essentially.

[Marissa Meltzer]

And not the fact that there was like, what was it? That sound effect on the podcast, like, woke moment.

[Chelsea Fairless]

We should start doing that.

[Marissa Meltzer]

I know, I know. Why don't you start adapting?

[Brock Collier]

There was also a trigger warning. One.

[Marissa Meltzer]

Yeah, yeah. Okay. I've thought about this and. Okay, so there were three people on the podcast, right? There are three of us now. Am I the Che Diaz at this table of the podcast? No.

[Chelsea Fairless]

No.

[Brock Collier]

If anything, you're the least Elise Che Diaz.

[Marissa Meltzer]

Then what?

[Chelsea Fairless]

You're the most spicy.

[Marissa Meltzer]

Am I? Yeah, you are the most spicy. What's his name? Bobby, that had the girlfriend that up Carrie's met gal address. Because I'm not Carrie.

[Brock Collier]

I don't think Smoke.

[Marissa Meltzer]

I was about to call her her shade. But you're right, Smoke.

[Brock Collier]

That was Smoke. Never forget again.

[Marissa Meltzer]

This show has this weird psychological effect where it's. It makes me turn so far inward that I'm almost grateful for it because I have. It's almost like therapy. Cause I'm forced to really look at myself.

[Chelsea Fairless]

I don't think I've ever had that moment.

[Brock Collier]

No, not once.

[Chelsea Fairless]

We do need Che Diaz back right now to give advice on the aforementioned polysexual situation.

[Marissa Meltzer]

Oh, for sure.

[Chelsea Fairless]

Like, I need scenes of Che Diaz being like, lily, this is how you handle a boyfriend and a girlfriend at the same time.

[Lauren Garrone]

With love.

[Marissa Meltzer]

It's at this point I would kill for a Che Diaz spinoff.

[Chelsea Fairless]

We might. I mean, fingers crossed.

[Marissa Meltzer]

Che writing in la. Like, maybe there's a plot line with. Is it Oliver Hudson who played Che's ex husband?

[Brock Collier]

I forget.

[Marissa Meltzer]

Kate Hudson's brother. I think that's the actor.

[Brock Collier]

I think so.

[Marissa Meltzer]

Like, will they or won't they with Oliver Hudson, like, just like dating so many, like, girls, gays, theys just plowing through the east side of la. I would love it. I would love it at this point.

[Chelsea Fairless]

Point.

[Marissa Meltzer]

I'm so desperate for some fun. These girls are not having fun on. And just like that.

[Brock Collier]

No. They all have, like, sad, miserable lives.

[Marissa Meltzer]

And the thing is, they're at an age where, like, you know, I live on the Upper east side. I'm around Charlotte's people. She would be having the most fun boozy lunches with her girls daily. Like, she'd be going to Pilates, showering changes, and then like. Like having a two Hour lunch at.

[Chelsea Fairless]

Avra or those women go out and they are mean and they are. Yeah, they're all good.

[Lauren Garrone]

Yeah.

[Marissa Meltzer]

Like, it's my dream. That's why I live up there. I want to be one of them. And then she'd do some like, casual. Like, I also think she would not dress as Looney Tunes as she does. Like, I think she would be going to like, totem and be like, oh, I'm gonna get this like monogram set. Perfect for lounging around the home. And then she of kind go to Butterfield Market and she'd spend like $300 on like rotisserie chicken. Like, her life would rule and she would love it.

[Chelsea Fairless]

I think, like, what I want out of the show is actually just what I want out of Real Housewives. And they aren't the same. Like, but they aren't the same thing. Like, I want these women to go Real Housewives, but they should be messy.

[Marissa Meltzer]

I don't watch Real Housewives.

[Chelsea Fairless]

Oh, God. But I mean, also the current New York Real Housewives is the same problem. They don't have any fun. They're all completely, completely boring. Too self serious.

[Marissa Meltzer]

I mean, we. I would love like a Jenna Lyons character for Miranda today.

[Chelsea Fairless]

A Lauren Santo Domingo character. Like, what if, you know, LSD was ltw. That's what I want.

[Marissa Meltzer]

I thought LTW was gonna be a little more LSD because of the. The name and also her kind of like renown where that first scene, it was like, oh my God, that's ltw. She knows everyone. And then instead she just is this like cartoon, like Miami 80s exercise. She's always chopping vegetables in her home. Her ALS. Why do I like know anything about her kids? So I'm alarmed by the amount of.

[Brock Collier]

Side characters still same always. It will never not shock me, at.

[Marissa Meltzer]

Least if I have to be around Lily and Rock, which is against my will. Why aren't they going to Glossier or like, somewhere fun? Like, why aren't they having arguments over like, road versus rare beauty? Or like, how about they should be.

[Chelsea Fairless]

Fulfilling the Che Diaz role.

[Brock Collier]

This is Marissa as an. And just like that writer I know.

[Marissa Meltzer]

And people would love it. Think of the like. Well, I don't want. I'm not campaigning, but I'm saying these are the plot lines that we need. We need better gays.

[Chelsea Fairless]

Better gays. We need more richer, more fabulous, messier gays.

[Marissa Meltzer]

Messier gays. We need really chaotic lesbians. Like, we need Miranda to get rejected by someone because she's like a later in life out person. I watch a lot of TikTok and there are so many girls that are late in life lesbians who talk about getting rejected by other lesbians for being late in life out. I want that plot line. Like I want a butch to destroy Maria.

[Chelsea Fairless]

You want to do. You want to do a callback teller? Bring back the rich lesbians.

[Brock Collier]

Oh, my God, yes. The rich lesbians were so good.

[Chelsea Fairless]

They were amazing.

[Marissa Meltzer]

Why is Miranda, now that she's a lesbian, wearing ugly jumpsuits when she could be wearing tailoring?

[Chelsea Fairless]

What's the famous line? What does she say to Charlotte, the rich lesbian, when they go to the party?

[Marissa Meltzer]

If you don't, if you don't eat.

[Brock Collier]

You'Re not a diet. So good. So good.

[Marissa Meltzer]

Why don't you have that on a shirt? The happy pride. Why are you wearing that this weekend?

[Brock Collier]

Yeah, that is a good merch concept.

[Marissa Meltzer]

Also because that woman was so chic and hot.

[Chelsea Fairless]

So hot.

[Marissa Meltzer]

I was like, I would believe any. Any you tell me.

[Brock Collier]

Truly. So I want to pivot to Candace a little bit. Brock, you've interviewed her as well and she Irish goodbye to you.

[Chelsea Fairless]

I mean, here's the problem though. If the and just like that writers wanted to like really spice up this show, they would go out for one night with Candace and like watch her drink 4 Cosmos and just start running around a room and talking about all the drugs she's done and talking about all the men she's had sex with and is currently having sex with. Like her and her friends, which is like Countess Luanne and Nicole Miller. Those women have a good time. They party. They are in the Hamptons. They are in New York. They are at the club. Like, it would do wonders for these writers to spend time with Candace.

[Marissa Meltzer]

Or they can just read the essay that she wrote about sex in the Hamptons for New York magazine, which was.

[Chelsea Fairless]

Was where she's talking about men.

[Marissa Meltzer]

It was a balm. Yeah, it was exactly what this show should be like. The intricacies of dating someone who's like a little older, a little younger, who likes you, but wants to date a 25 year old who has kids that are an awkward age, that lives in the Hamptons, but the wrong part. That's hot, but kind of an asshole. The thing that this show could remind us is that that dating is sort of very different and also the same no matter what age you are. Like, she doesn't need to like cater to and fulfill a man, but she also like wants to have sex and meet people and have a good time, but she doesn't need it. And instead we just get Carrie acting like. Like, worse than I did when I was a teenager. Like, if I were her friends, I'd be like, I am blocking you if we have to have another talk about Aidan. And you get defensive about it. But that essay, I hope everyone reads it. It is so good. And it shows the potential and also just the bite, the tartness that this show came from and has zero of.

[Chelsea Fairless]

And that's where Carrie Bradshaw would have landed. You know, she would be Candace now.

[Brock Collier]

Absolutely. For sure.

[Chelsea Fairless]

I don't know. She's a lot of fun, though. Yeah. We went to a club one time and we kind of got paired up together to go to this club, and she had two Cosmos, and I mean, we were both absolutely wasted. She has, like, all these amazing advice lines that she uses in interviews over and over again, but they're still amazing. In person, she'll just, like, lean over and say, you have to be your own Mr. Big. Except, you know, in person, you're just like, oh, my God, yes, Mommy. Tell me more. She's like a fairy godmother. Yeah. And then at some point when we were together, this is in the story, so I can share this. You know, she started complaining about not having any drugs and no one wanting to give her drugs. And I had a weed pen on me, and so I gave her my weed pen. And then we both. She got so high, she started running around this club. She knew that I needed to be interviewing people at this club, so she started doing the job for me, which was amazing because she was going up to all these hot, like, 20 something guys who were like, who is this lady who was trying to ask me about my dating life? And then, yeah, she, like, Irish exited. Everybody told me she left. And then a half hour later, I went down to smoke a cigarette and she was waiting downstairs. She couldn't figure out how to order an Uber, so I ordered her an Uber and physically picked her up and put her in the back of this car. And it's probably the best night of my life.

[Brock Collier]

I love Candace.

[Marissa Meltzer]

What a legend.

[Brock Collier]

And that's so Sex in the City, what you're describing, like, the man on the street stuff where. Where she's going around the club and talking to Randy.

[Marissa Meltzer]

Also, Carrie loving to talk to strangers and loving to, like, fix people up. That was such a part of Sex in the City. And now Carrie seems to have no interest in the outside world. Like, even in this episode where it's the montage of the shoes, it doesn't actually seem like she's leaving the house or going anywhere. She's just putting on outfits to walk around that giant plate alone and write maybe 50 to 100 words a day about the woman who doesn't even have a name. It's so weird. It's kind of like a gothic novel. She's dressing more and more like a gothic romance heroine.

[Chelsea Fairless]

Well also the problem is as again going back to this Candace essay, she should be dating again. They should not have locked her back with Aiden. She should be swiping on Raya like Candace going on dates with older and younger men, getting set up.

[Brock Collier]

Yeah, she's a shut in. That's the problem.

[Marissa Meltzer]

Yeah, she's a shut in. Or at least like look, I would love that, but at least give us Seema or someone dating. No one is dating on this show. Miranda instantly found, I think a very charming and they have great chemistry. But like can it be something where it's like one of them isn't ready to commit yet? So they're also. Cause also the reality of New York is, or probably a lot of dating is like you're always kind of seeing someone and not really sure if they are seeing a bunch of other people and if they want to be serious or not. And you're always kind of putting off the conversation because it's intense and also you don't want to be disappointed. And like those are real emotions. Like why can't Miranda be experiencing any of that?

[Chelsea Fairless]

Yeah, also her follow up book, what was her last. She wrote a book about grief after Big died. Is that what that book was? She should be writing it. Should not be doing some kind of historical fix. She should be writing a book about. About like sex. She should be like having sex.

[Lauren Garrone]

Or.

[Chelsea Fairless]

It's very fun, like a gay talise. Like late in life I'm gonna go figure out like you know how to have sex at this age. I'm gonna go to a sex party.

[Marissa Meltzer]

Oh, I would love. I mean I think at the very least what's selling now in fiction, like the only thing is romantasy at the very least. I, I mean I don't read, it's not my thing. But give us some weird like fairy porn, sex, erotica, romance novel. She's writing tentacle porn. No, but like it could be like.

[Brock Collier]

That Francesca Leah Block mermaid porn book.

[Marissa Meltzer]

Yeah, I mean clearly you guys both have an interest in maritime delights.

[Chelsea Fairless]

Oh my God. What was the other mermaid porn book set in la? Do you know this one?

[Marissa Meltzer]

Oh, the Pisces.

[Brock Collier]

The Pisces.

[Chelsea Fairless]

The Pisces.

[Marissa Meltzer]

The Pisces. Very good.

[Chelsea Fairless]

Yeah.

[Lauren Garrone]

Okay.

[Marissa Meltzer]

Clearly we're onto something with tentacle and sex and mermaid porn. But, like, it could be, like, a queen who's, like, shut in because of a spell, who lives in her townhouse in, like, Edith Wharton era. And then, like, a magical, you know, grumpy writer lives down. I don't know. I'm not writing it, but I'm saying that, like, it could be something a little more along the lines of what's hot right now? Because frankly, her editor, who also seems to be her appearance booker. But whatever. It would have put some pressure on her to, like, let's put something else out. Glossier made these crazy, like, kitty ear. Like, what is it? Like, headbands for, like, washing your face, which you and I texted about and is like a real sign of the downfall. But Brock, who needs to go to a furry convention for a book that they happen to be writing, is maybe gonna prick.

[Chelsea Fairless]

I'm furious out there, if you want to talk to me.

[Marissa Meltzer]

Is. But also needs. Needs a look and was truly. I thought you were joking when you said maybe you would get.

[Chelsea Fairless]

No, I really might buy them to go to a furry conference. Because you can't shove at a furry conference without wearing furry attire. And that shit is expensive, like, thousands and thousands of dollars. So I'm gonna buy the glossier cat headbands.

[Brock Collier]

It's so ulta beauty adjacent. It's really frightening.

[Marissa Meltzer]

It's like, how much are they?

[Brock Collier]

20 or 30, something like that.

[Marissa Meltzer]

All the other merch was like 30. Like that laptop shaped mirror, I think is 30.

[Chelsea Fairless]

Have they always had products like this, though?

[Brock Collier]

They have. They've always had merch.

[Marissa Meltzer]

They've always had merch from day one. Emily Weiss, the founder, always said that she wanted to create a brand that you would wear, like the sweatshirt of beyond Just Beauty. So they had sweatshirts and then they moved on to, like water bottles and seasonal sweatshirts. And then it became more and more like a beach towel, blah, blah, blah. So. But now it's gotten more and more sort of.

[Chelsea Fairless]

What do you want a little boo Boo?

[Marissa Meltzer]

I don't want merch. I want. I want them to make good products. Like, they've just made this, like really mid lip oil. The new fragrances, I love glossier you the original, but the new ones are kind of like too fruity. They smell really like young. They're very gourmand. And so we're talking about this because this. The current CEO, Kyle Leahy, who I think started about two years Ago, if I'm not mistaken, has resigned or at, or been pressured to leave. Who knows? And you know, they're in a dark place because Rhode was just acquired for a billion dollars and Glossier seems like it lacks momentum. All of these people who were kind of like Marie Suter, who was a creative director, who is a real, like, had been there for a long time and also was kind of the creative soul of the brand left. Kyle is leaving. Cleo Mack, I believe is her name, who was the product development person is gone. Like, like it's. I, I mean, part of it is they just didn't sell, you know, five, eight years ago whenever, when they could have probably gotten a billion dollars or more. And now they're going to have to settle for a lot less. But they're over 10 years old and they probably have all these investors who are just dying to get some of that money back and instead they're trying to raise more money because they really might run out.

[Brock Collier]

So you think that's why they're doing all of these fragrances and things, things of that nature?

[Marissa Meltzer]

It's a big world of beauty. So I think you have to sort of carve out your own niche. Right. And at first it was kind of the Millennial brand, but that wasn't enough because then all these other brands came out that were also very like Millennial or Gen Z coded. And so they had this big hit with the fragrance. And fragrance is also really cheap to make and the, you know, like, profit margin is gigantic. So it's like if you can have a really successful fragrance, fragrance thing, you can make it into a huge mini empire part of your brand. You can do endless spin offs because you can have solid and you can have lotion, you can have body mist and blah, blah, blah, but you also have to spend a lot of money developing all those new scents and like, they just weren't it. I mean, you love glossier. You too.

[Brock Collier]

Well, it's not it for us because this brand is just skewing younger, like the whole campaign with cat's eye, the girl group, like that is for a young person.

[Chelsea Fairless]

Yeah. I gave glossier you to my 25 year old sister a couple months ago who had never heard of it because she lives in Bumfuck, Tennessee. And then she said every single girl in her office bought it. They were all like, what are you wearing? What is this? I've never smelled anything like this.

[Marissa Meltzer]

It smells great. I love it. But yeah, I mean, I think that in the wider world of like, people who are Entering a Sephora also, you know, they're not distinguished. So you're just in a Sephora surrounded by all this stuff. A lot of it looks similar. You, you know, like, what do you buy? There's glossier. Always looks ransacked at Sephora too.

[Brock Collier]

It does.

[Marissa Meltzer]

It's like a special kind of thing. But they were the, I think the number one fragrance at Sephora. At least for a while.

[Brock Collier]

It's pretty crazy considering who they're competing with.

[Marissa Meltzer]

Right? But now they have all these other brands, like the, what's it called? Like the Brazilian Bum Bum crack brand.

[Brock Collier]

Oh, Sol de Janeiro. Oh, I love that shit.

[Marissa Meltzer]

I know you do. I love that shit so good.

[Chelsea Fairless]

You actually make your butt like, you.

[Marissa Meltzer]

Know, does it matter?

[Chelsea Fairless]

It's all about how you're supposed to put it. This is how like I use it as like a body lotion.

[Brock Collier]

I don't believe that that shit has firming properties. They always say that it does. I just like the way it's like.

[Marissa Meltzer]

Maybe you don't think there's any caffeine in it.

[Brock Collier]

I have no clue.

[Marissa Meltzer]

I use a serum right now that has caffeine in it. And I think it does a little like, of the, like shrinking of the pores, but who knows? Yeah, I've never tried the Bum Bum cream. The scent isn't for me.

[Chelsea Fairless]

Oh, I love it. I feel like I'm in Miami. No, I feel like I live in boca. I am 55 years old.

[Marissa Meltzer]

That's the fantasy.

[Chelsea Fairless]

Yeah, yeah, yeah.

[Marissa Meltzer]

You are so aspirationally middle aged.

[Chelsea Fairless]

I am.

[Brock Collier]

See, I'm more like, I'm a slutty 13 year old in middle school. You know what I mean?

[Marissa Meltzer]

Oh. See, my fantasy, fantasy is I am this like hot and free girl in like not on the beach, in Rio. Because my fantasy can't go that far. I'll never be a hot and free girl in the beach. But like it may be in Sao Paulo. I have a boyfriend or a dad who owns a helicopter because you guys know helicopters. The way which rich people get around in Sao Paulo because of traffic. Anyway, it kind of ends there. But I don't like the fragrance so I don't use it. So I'm not allowed to have. That's what, that's what's keeping me from the, that life. I don't think there is an easy fix. I could see some scenario where like they try to get Emily Weiss to come back the founder and like, maybe not a CEO, but as someone who's like more involved in the creative process. Is a kind of forward facing show of like, we're getting back to our roots, but they still need a CEO with like real business experience, like an adult in the room room who can turn that company around, especially with tariffs.

[Chelsea Fairless]

Do they ever have celebrity faces? Why is there not like a celebrity face?

[Marissa Meltzer]

They really briefly had Olivia Rodrigo. Olivia Rodrigo. But it lasted. I think it's actually less than six months or nine months. It was incredibly short.

[Brock Collier]

Yeah. It is fascinating how at the beginning they were very much just trying to sell you that sort of French girl, you're not wearing makeup kind of look. So I think that's why it's so jarring and upsetting when we see the kitty spa headband. Because, like, no cool French girl would.

[Marissa Meltzer]

Ever also, like, look, kitty spa headband. It's in the privacy of your home. It could be basic and corny, but then make it like the way that a loo boo boo is, where it's just like over the top. Like, make it the most, like, weird giant millennial pink, like oversized rosette.

[Chelsea Fairless]

Then it's giving like, rave. I don't know. Look, I'm not for a while, Chelsea Manning, when Chelsea Manning was a dj, only wore light up cat ears to the club and that's all I can see.

[Lauren Garrone]

What if glossier?

[Marissa Meltzer]

What if the new face of Glossier is Chelsea Manning?

[Brock Collier]

That would be so hard for that. So hard.

[Marissa Meltzer]

Happy pride. Yeah, that's what, that's what we need is like signing Chelsea Manning right wing.

[Chelsea Fairless]

And, you know, kite one of those Trump grandchildren, children. Face of Glossier Kai Trump.

[Brock Collier]

Yeah.

[Marissa Meltzer]

Yeah. Or get really, like, be the official makeup sponsor of Lauren Sanchez or something.

[Chelsea Fairless]

Well, she's too gaudy.

[Marissa Meltzer]

Well, they've gone kind of gaudy. Like those lip oils and stuff. Also just the photo shoots with cat's eye, the Brandy. It looks so Kylie Cosmetics five years ago. And I know there are plenty of talented marketing and creative directors and imagery people out there that can give fresh ideas and balance it with, like, market desires. It's not my personal talent, but I know that, you know, like, someone could do it. I don't know that the brand can be what it was in, you know, 2016 or 2018 or whatever, but it can be a lot better than it is now. I want so much more for them.

[Brock Collier]

Yeah. I want it to age with us. More like Clinique. Let's skew older.

[Marissa Meltzer]

Yeah, yeah.

[Brock Collier]

Why not?

[Marissa Meltzer]

Why not? Millennials are aging. What is that? Like America's Next Top Model line, which is like we were all rooting for You. Yes, that is it.

[Brock Collier]

Okay, so I want to move on to the big news of the week, which is Anna Wintour's not complete departure from Vogue, her semi departure from Vogue. She will no longer be editor and she. But she is staying on as Conde Nast's global chief Content officer and global editorial director at Vogue. What do we make of this?

[Chelsea Fairless]

I just think everybody's acting like she quit or like she's leaving, if not entirely. If anything, this is almost even more of like a God level promotion. Like, oh, I'm gonna bring on another editor and I'm gonna be your boss. And she's probably still going to control a lot. I bet she's still choosing as the celebrity cover of American Vogue.

[Marissa Meltzer]

Well, it just shows that you are. That Vogue is something that Anna oversees and you are. You're like the regional director and that America's version is no more important or separate than like Choma's British Vogue or French Vogue or whatever else.

[Chelsea Fairless]

What's their whole push? Also with the Vanity Fair new editor, where they're doing all these global titles again.

[Marissa Meltzer]

Yeah.

[Chelsea Fairless]

Which I'm like, does anyone read. I don't really understand. I'm sure it's a business thing.

[Marissa Meltzer]

Part of editor in chief as like a retired designation is that you're considered like the head of a brand. You're not considered like the head of a magazine or even a digital magazine. And so much of that job for Vanity Fair at least was like being a good sort of steward of the Vanity Fair Oscar party too. Which is what Will Welch does really well at gq. And Vogue is an interesting place because obviously they have the Met Ball, but Anna Wintour is still going to be the Met Ball person. So they don't necessarily need someone who's a seasoned veteran of events and all of that.

[Chelsea Fairless]

But it's kind of sad. It's like, okay, you're going to hire a new editor who will never have the influence of or position that she had. Like, she's not relinquishing. If she would just step through.

[Marissa Meltzer]

Who do you think it. I know who I mean.

[Chelsea Fairless]

Like, I would.

[Marissa Meltzer]

But like, why would Shoma leave British. British Vogue when it's kind of a lateral move?

[Chelsea Fairless]

I'm sure it's.

[Marissa Meltzer]

I mean, Shoma is. Would be lovely because everyone. She's like the most. She and Chloe are two of the most likable people hard working. I think Chloe would be good. Chloe Maul, that is. She's really talented. Here's my hot take of who I would like to get it? Marc Jacobs.

[Chelsea Fairless]

Oh, amazing.

[Marissa Meltzer]

Yeah.

[Brock Collier]

Did a wonderful thing.

[Chelsea Fairless]

He edited. Was amazing.

[Marissa Meltzer]

That's the thing. Edited a great issue. New blood. You can have editors who are line editing or signing, and he can just have wild ideas. Also, like, something that someone I know always says about Vogue, which is, I think, true, is that if you have to lead Vogue, especially now that it's this, like, regional American thing, you have to be invested in American fashion. And that's not the easiest thing to do now where there's fewer and fewer sort of, like, stars in American fashion, especially ones that are working for American brands. And Marc Jacobs is invested in American fashion and has a great eye, can find future stars, but also sort of, you know, can draw upon that experience. And he's just like, a cool. It's like a little bit Diana Vreeland in terms of, like, oh, yeah, like, wild proclamation department, which is kind of like what it could really use. A totally fresh take. Has such deep roots in the art world. Like, let him have Sofia Coppola guest edit an issue or whatever. Or, like, Cindy Sherman shoe to cover. We need someone who's gonna do something so fresh because the Anna Wintour era of covers are so samey, and I think everyone is burnt out, and we need, like, yeah, we need fresh blood. But also someone that Anna respects. That's my right and vote.

[Chelsea Fairless]

You know, the tawdry, like, kind of unproven rumors or also that, like, Lauren Sanchez has something to do with this.

[Brock Collier]

Oh, I've heard that.

[Chelsea Fairless]

Well, it started during the Vanity Fair when there were rumors that Jeff Bezos had bought Vanity Fair for Lauren Sanchez as a wedding presentation. And then, of course, Vanity Fair.

[Marissa Meltzer]

I mean, I'm so. Days when billionaires, like, bought people.

[Chelsea Fairless]

I have crazy. It kind of. I'm like, with their wedding next weekend and her stepping down and there being no technical editor to get mad at, I think we'll have a Lauren Sanchez cover within the month.

[Brock Collier]

That's what I heard. I heard that she is gonna do the COVID And I was like, I will believe it when I see it, of course.

[Marissa Meltzer]

But then they did that giant profile. Could have also those for sure. And the COVID And honestly, the. Those pictures were so good, I would. I'm gonna place my candidacy forward to write a Lauren Sanchez.

[Chelsea Fairless]

Here's the two covers I would tooth and nail.

[Marissa Meltzer]

Here are the two covers that I am dying for in the next year. Lauren Sanchez, Kylie and Timote together.

[Chelsea Fairless]

I want Melania, too.

[Marissa Meltzer]

Oh, I d for Melania.

[Chelsea Fairless]

Cover this era. And that's what she's always wanted give her the COVID Like a totally.

[Marissa Meltzer]

Melania already had a cover.

[Chelsea Fairless]

Yeah, but she wants it now.

[Marissa Meltzer]

I also want an USHA cover. Lean into the sort of despicable, you know, despot era that we're living there.

[Chelsea Fairless]

Should do at least.

[Marissa Meltzer]

Yeah.

[Brock Collier]

For sure.

[Marissa Meltzer]

And you can hire writers to do a cynical take or whatever I thought Chloe did.

[Chelsea Fairless]

You don't need access. Just shoot her and write a kind of.

[Marissa Meltzer]

Chloe Maul did a great job with the Lauren Sanchez piece. What was it last year or two years ago. And with just enough. Enough arched eyebrow to like keep everyone happy and not to just be like a puff piece and. Yeah. Like lead Annie Leibovitz or someone similarly, you know, let like Tyler Mitchell shoot the hell out of Lauren Sanchez. That would be crazy at golden hour. Like I just need something different. Even if it's something that's so dark and despicable. But at least it would be representative of the time that we're living in. And Vogue does not feel very representative because they're kind of trying to have it both ways of like one foot in the sort of.

[Chelsea Fairless]

Well, both of those magazines. It's like, okay, great, you rented a studio, got a celebrity and shot them in front of a curtain. Like they're not.

[Marissa Meltzer]

Or green screen. Yeah. Or they're jumping or they're. Yeah. At the very least do the British Vogue thing that they did so well. At least under Edward Enenfel, which is like. Like you show up on British Vogue cover doing a total like different look makeover. Like Billie Eilish doing like blonde with that like brassiere thing. Kind of looking like 50s cheesecake. Give me something. I need to be excited about something.

[Brock Collier]

Well, I do think we are going to get this Lauren Sanchez cover. But we shall see. Especially now that I've seen photos from like this wedding weekend. Because she's in Schiaparelli. She's in vintage McQueen. I was like, this is shit that she would never wear in a million years.

[Marissa Meltzer]

Well, supposedly Anna Wintour helps pick her wedding dress.

[Brock Collier]

Yeah.

[Marissa Meltzer]

Yeah. Like Lauren Sanchez. And I'll hire Camille Pollia to write an essay.

[Chelsea Fairless]

100%.

[Marissa Meltzer]

That's exactly the kind of thing you should be doing. Yeah, that is it. You know, like let's. Or let.

[Chelsea Fairless]

Or let her write something.

[Marissa Meltzer]

Well, I would do a package. Lauren Sanchez could write something.

[Chelsea Fairless]

Let her write something.

[Marissa Meltzer]

Camilla could write something. Yeah.

[Chelsea Fairless]

She and do the Emily Rice version of the like pre wedding like newsletter.

[Marissa Meltzer]

I would die to have her wedding black. Her wedding black book. Let her and Oprah do, like, a Q and A together. You know, Oprah's at the wedding. Like, there's so much potential.

[Chelsea Fairless]

Katy Perry and, like, Lawrence hadn't Chaz in conversation.

[Marissa Meltzer]

Oh, yeah, totally. Yeah. I would do a package. It could be 20 pages, because also, so it's gonna get so much web traffic. And again, better or worse, it would be reflecting the times we live in. And I want someone who's gonna guide me and help me see the times with, you know, a certain sort of remover distance, but someone with a point.

[Chelsea Fairless]

Of view, but they won't do that. Anna's, too. I think Anna's too.

[Marissa Meltzer]

No, no one's gonna do that. But this is what I'd like.

[Chelsea Fairless]

If you had the job.

[Marissa Meltzer]

Yeah. Or just as, like, someone who likes to complain about things that I don't, that I'm not in charge of. Yeah.

[Brock Collier]

We also have to get into Jonathan Anderson's first Dior collection that just came out. I watched the live stream while in line at that Balenciaga sample sale. A thrilling experience.

[Marissa Meltzer]

Truly, you are living the life. I want to hear your thoughts first.

[Brock Collier]

I liked it. It was more JW Anderson than I expected.

[Marissa Meltzer]

Same.

[Brock Collier]

It was very preppy. It was very young. I think young is good for Dior because I haven't associated Dior menswear with youth since, like, the Eddie Slimane era. So I think that that is great for them. And I like. I loved the styling. I loved how they mixed in these sort of things that we don't often see from Jonathan Anderson. The more formal types of clothes. The tuxedo shirts, the ties, that sort of thing.

[Marissa Meltzer]

I love the color palette. Those, like, pinks and then the greens, I think, are really beautiful and beautiful together. I think the shorts. Those, like, really oversized shorts are very commercial. I could definitely see guys both, like, sort of super, kind of more like fashion forward ones, but also kind of like elevated dad types buying those.

[Brock Collier]

What, the giant, like, cargo jorts?

[Marissa Meltzer]

Yeah. But then they also had that sort of like, dark. Dark green one that was, like, less comically oversized with some of the. More tailoring on top. I could see those, like. Yeah. Just various iterations of that being a commercial success. I didn't love those boxing shoes, but they're not really, for me. I don't really love designer sneakers.

[Brock Collier]

Yeah, me neither. People will definitely buy this stuff. I think the logoed stuff, certainly.

[Marissa Meltzer]

I think the logo stuff will sell well. I appreciate the return to the old Dior logo. I think it looks great. I'm gonna be sick of seeing guys with Sweater vests that say Dior on it in no time. But, yeah, I still was kind of underwhelmed.

[Brock Collier]

Yeah.

[Marissa Meltzer]

Like, it's fine, but it's not that exciting. It felt a little bit kind of a riff on a lot of things he's already done. And I'd like more of a metabolized version of the history of Dior.

[Brock Collier]

Well, I did like the way they did this sort of take on the bar jacket for a man. I don't think we've seen that before. That's, of course, very Dior, very Jonathan Anderson. But, yeah, I agree that it was safe.

[Marissa Meltzer]

Yeah.

[Brock Collier]

It was interesting, though, how sort of none of the Loewe isms made its way into that show again. I feel like it was much more like his own label than anything he did there.

[Marissa Meltzer]

I feel like we might see them in some of the women's wear stuff, especially because he hired what's her name, Kristen, who was the Loewe shoe designer, who has a great solo shoe line, and she did the famous, like, balloon shoes for Loewe. I could see her doing something bold. I could see her doing some wild references to, like, 1950s and 60s archive shoes. But there's so much to reference. Not that you have to reference things, but I don't know. I. I wanted it to feel really, really fresh and, like, a way forward for men to be dressing and considering. And it just felt. It felt safe. It felt merchandise ready. It felt marketable, but not that exciting, which is like, I'm feeling that with a lot of Men's Fashion Week. I felt that way with Louis Vuitton. I haven't been a fan of any of those Dries I thought was promising. Like, I like the proposition of men.

[Brock Collier]

In Peplum and men with, like, giant, like, bowling bags.

[Marissa Meltzer]

Yeah. I mean, at least that feels kind of different. But also, Dries is a much smaller brand and a much different customer. But, yeah, I'll be interested. I'm. I'm following, but I. I just want something to make me feel alive.

[Brock Collier]

I'm with you. Although I do appreciate the logo change. And I don't know what happened first. Like, was that all caps Dior logo? Was that, like, before the Zara logo? Like, which one? Because they ended up looking the same. You know what I mean?

[Marissa Meltzer]

I mean, designers love changing a logo. Like, all the, like, Celine. Like, I can't keep track of whether there's the Axon Aigu on the E or not. Like, they're always changing it. You know, Saint Laurent had to be dropped the Eve, I'm sure the new designer for Celine will have some entirely new logo and, like, way of, you know, capitalizing it. It's just such a weird. Like, it's dumb. Yeah, it's a little bit of like a pissing contest or marking your territory or something.

[Brock Collier]

Oh, you know what? I realized I forgot to ask Brock something very vital earlier. The West Village girl.

[Marissa Meltzer]

Oh, my God.

[Brock Collier]

Have you gotten backlash from the West Village girls about this New York magazine cover story that you wrote? A lace Diaz or.

[Chelsea Fairless]

I mean, the girls, Actually, I love writing about influencers because they usually understand more than anyone else that all press is good press for them. They can be privately mad at me, but still very excited to be a part of this thing. So they're usually posting the COVID on their Instagram and then texting me angrily on the side. Also, all of their critiques of it were just dumb. The biggest critique I think of the piece was people were mad that I didn't talk about gentrification more, which is just the dumbest. Like, some of these girls were going on TikTok and apologizing to their followers that they gentrified the West Village, but they were acting as if they directly replaced the, like, gays and bohemians that lived there 50 years ago. One of the main characters in the story literally apologized for replacing facing the gays. I was like, honey, that wasn't you. Like, oh, gays.

[Marissa Meltzer]

I'd like to make an apology decades.

[Chelsea Fairless]

Of, like, West Village.

[Marissa Meltzer]

I know I pushed you up to Hell's Kitchen in between.

[Chelsea Fairless]

So that was what, like, the craziest part to me, just, like, how it became a gentrification talking point. The one as if the West Village hasn't been.

[Marissa Meltzer]

I know. Like, I moved to New York in 2002, 2003. I couldn't afford it then. Yeah, it's like, you're not talking about Ridgewood.

[Chelsea Fairless]

No.

[Marissa Meltzer]

Although I can't wait for you to write the Ridgewood Girls.

[Brock Collier]

I know.

[Chelsea Fairless]

Next, I want to write about, like, dumb, young lefty Brooklyn people, but I can't wait.

[Brock Collier]

Perfect. Yeah. Your article actually prompted me to go on Zillow because I was like, okay, what conditions are these girls living in for, what is it, 7,000, 8,000amonth roughly, for, like, a studio or a one bedroom?

[Lauren Garrone]

It's bad.

[Brock Collier]

It's harrowing shit.

[Marissa Meltzer]

I know.

[Chelsea Fairless]

Because all those buildings are so old. They're also so short. They weren't allowed to get that tall. So most of these people, like, there's no light. They're tiny. They're weird shaped, they're quirky. This didn't make it in the piece, but one of the girls told me that they're all getting really pissed off that the lighting is not good enough for their videos in the West Village. So they're moving to Tribeca because they'll get better lighting.

[Marissa Meltzer]

I don't know. Tribeca actually, I think has kind of bad lighting.

[Chelsea Fairless]

Or what they're secretly doing. They're calling Tribeca, but they don't want to say they look live in fi di.

[Marissa Meltzer]

Well, here's the thing is like all these people, what they want is a newer building that has big, giant windows and central air and a washing machine and a doorman. And I get it, but you can't. Unless you live on like certain blocks of Park Avenue, you're not going to get all of those things in a charming pre war West Village apartment. You really have to choose one or the other. Yes, I like.

[Chelsea Fairless]

Or they're moving to Williamsburg or Greenpoint. They're also taking over my neighborhood. Greenpoint.

[Brock Collier]

Right.

[Marissa Meltzer]

You and I were having drinks like a month or so ago, and this is shocking.

[Chelsea Fairless]

Can't go anywhere for a drink at 4 o' clock in Greenpoint anymore on a Tuesday because it's filled with, like, young straight women.

[Marissa Meltzer]

God forbid they learn about burners.

[Chelsea Fairless]

They're taking over the whole world. I mean, my favorite piece of press that came out of that cover was this, like, piece in the newspaper in Edinburgh that was like, the West Village girls have arrived in Scotland too. Like, I think everybody knows they go.

[Marissa Meltzer]

To University of Edinburgh.

[Chelsea Fairless]

Right.

[Marissa Meltzer]

Isn't that like a super expat American school?

[Chelsea Fairless]

But I think also everybody, because of like, TikTok, feels some kind of sense that they're being encroached on by like, basic biddies making videos.

[Marissa Meltzer]

True.

[Chelsea Fairless]

I think that's a very recognizable, like, it was easy to situate this story in the West Village, but I actually think it's kind of more universal, you.

[Marissa Meltzer]

Know, where no one is making basic videos about living on the Upper east side. Oh, I probably am saying this too soon, but, like, just ruined it for now. It's a, it's, it's.

[Chelsea Fairless]

I think Cultured magazine already ran. Forget the West Village. It's happening on the Upper east side.

[Marissa Meltzer]

That's true, that's true. I've been sent it many times.

[Brock Collier]

It's so scary to say that, by.

[Marissa Meltzer]

The way, I'm not offended that you weren't. I'm. I'm glad you're offended. I am not one to be offended. By inclusion or lack of inclusion. I loved reading it also, you know, someday I will get to write my magnum opus about my own personal gentrification of the Upper east side. Someone had to do it.

[Chelsea Fairless]

It's really more of a becoming, though. You're just becoming yourself.

[Marissa Meltzer]

Yeah, well, yeah, exactly. I was always just a woman of a certain age. I just had to, like, grow into it. I was. I was born 57.

[Brock Collier]

See, I feel that way, too. I've always felt that way. I remember, like, watching the First Wives Club when it came out, and I was like, oh, these women are my peers. Like, what is wrong with me?

[Marissa Meltzer]

No, but that's how I read so many 90s magazine editor things where I was like, you know, some people talk about, like, I forget I was talking to someone about certain nostalgia for growing up. And I was like, no, because mine was always. I couldn't wait to be an adult who was dressing day to night, who had a signature scent, who was shopping and had salespeople that knew them at, like, you know, I don't know, Perry Ellis or something like that. Like, they had an apartment. The job was always vague. Something vaguely writing. Ish, but vague. No husband, no wife, a dog living alone. And then it's like, guess what, bitch, you got it.

[Chelsea Fairless]

Sorry not to keep harping. Why isn't. And just like that, more like the First Wives Club, you know? Or, like, just lean in. I want full, like, Grace and Frankie style, like, gags of who's gonna cheat.

[Marissa Meltzer]

Who'S gonna cheat and who's gonna.

[Chelsea Fairless]

All of them. There should be no husbands at this point. They should have killed or divorced all of them off.

[Brock Collier]

I agree. Oh, yeah, there's no husbands.

[Marissa Meltzer]

But also, that's also realistic. Like, why is the divorce rate, like, zero and on just like that? Like, that's just not reality, too. Yeah, there needs to be more divorces.

[Brock Collier]

It's so true. Also to bring it back to the First Wives Club. That's a movie where, like, no side character is wasted. Every side character in that movie is doing the most with the scene that they have. And, like, it's all so perfect.

[Marissa Meltzer]

And also SJP already in it.

[Brock Collier]

SJP already in it. Also, they're all very rich in the First Wives Club, too. But it's never really talked about yet. It feels. I don't know. It feels.

[Marissa Meltzer]

I'd love to know what the lesbian daughter is up to right now.

[Brock Collier]

I know, right?

[Marissa Meltzer]

Yeah, she'd probably be, like, early 50s.

[Brock Collier]

Yeah. Yeah, she'd be early 50s.

[Marissa Meltzer]

A little older than me. Yeah.

[Brock Collier]

Perfect love interest for Miranda.

[Marissa Meltzer]

Oh, perfect.

[Brock Collier]

So we're gonna talk more about. And just like that on our Patreon post show and just after that. So if you guys want more Brock more Marissa, please join us there. But for now, we must leave you. Thank you guys so much for being here. It means the world to me to have such fabulous, fabulous, fabulous New Yorkers on this program.

[Marissa Meltzer]

We love you. I could do this for a thousand hours. Sadly, it's as if no one ever talks to me about anything before. I just have to talk about it. Just like that.

[Brock Collier]

I'm trying to think of the perfect way to end this. Maybe on the count of three, we could all say che Diaz.

[Marissa Meltzer]

Oh, yeah. Okay.

[Brock Collier]

Okay. One, two, three. Che Diaz. Bye, guys. It.