The Devil’s Gala

Summary

Fashion People – “The Devil’s Gala” Episode Summary

Fashion People | Host: Lauren Sherman | Guest: Amanda Dobbins | May 5, 2026

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Episode Overview

This episode of Fashion People dives deep into the spectacle, meaning, and behind-the-scenes drama of the 2026 Met Gala, with an extensive side journey into the themes and reception of the newly released The Devil Wears Prada 2. Host Lauren Sherman is joined by critic and podcaster Amanda Dobbins for a candid and sharp discussion—covering everything from how this year’s Met red carpet delivered (or didn’t), to the shifting power dynamics in fashion, to the surprising emotional resonance (and pitfalls) of the much-hyped Prada sequel. Woven throughout are industry inside jokes, sharp critiques, fashion history, and plenty of personal perspective.

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Key Discussion Points & Insights

The Met Gala: Dissecting the Spectacle

• Theme Confusion & Execution

  • Major complaint: perennial confusion between the Gala's theme, the Costume Institute’s exhibition, and how guests interpret them.
  • “There's always this... big trumpeting of what the theme is. ...People just go all which way directions, and I never know. So I've kind of given up trying to grade on the theme.” – Amanda (06:24)
  • Lauren and Amanda agree: at this point, few guests “nail it” and the focus is as much on spectacle as on substance.

• Red Carpet Highlights & Critiques

  • The pair run through standout looks, many referencing art history, body sculpture, and bold embroidery.
  • Anna Wintour in Chanel; Charlotte Gainsbourg, Connor Stories, and others in Saint Laurent—all praised for understated, elegant looks.
  • More experimental and literal interpretations—Jordan Roth, Naomi Osaka, Sabine Getty—get kudos for creativity.
  • “I would rather that than some boring, boring shit, you know, like.” – Lauren (17:06)
  • Critique of “naked” and body-conscious dresses, like Ashley Graham’s: routinely falling flat or feeling uninspired.
  • Discussion about “tech bro” presence (OpenAI, Meta, Snap tables) and the implications for the Met’s guest list:
    • “All these big tech companies have tables...The big thing this year was about the tech bro takeover of The Met Gala.” – Lauren (22:55)

Notable Quotes & Moments

• “I have not been watching the live stream proper because I am over the age of 40 and I don't need things live streamed.” – Amanda (05:36)
• “If you want to see full looks and outfit credits, even tomorrow, you need to follow Page Six—Alana Fishman ... is the best.” – Lauren (04:00)
• On Charlotte Gainsbourg: “Charlotte Gainsbourg is what I would want to wear. And I would also like to look like that if I wore it.” – Amanda (10:30)
• "The reason you get to go to the Met Gala is you pay for it." – Lauren (23:10)

Timestamps for Noteworthy Style Talk

• 06:58-11:48: Red carpet breakdown, art references, discussion of mother/daughter style (Nicole Kidman & Sunday Rose)
• 13:17-15:16: Anna Wyant in Marc Jacobs, critiques of “naked” fashion
• 17:12-18:24: Appreciation for artistic, offbeat looks—Sabine Getty, Jen Rubio in Ashi Studio
• 21:49-23:10: Tech money and transactional Gala access
• 26:26-28:52: The steep ticket prices, fundraising motives, and how the Gala has lost its innocence for insiders

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Money, Power & ‘Tackiness’ at the Gala

• The episode dives into the Met’s increasingly transactional nature—“it’s always been a charity ball, just now the work is showing."

• Discussion of Lauren Sanchez-Bezos’s co-chairing, related media backlash, and the myth that some “deserve” to be there more than others.

• Notion that social climbing, wealth, and status are more nakedly on display than ever. Amanda notes, “people are just not used to seeing the work shown, if you will, or the money actually being paid.” (24:48)

• Lauren relays confirmed info: some guests paid as much as $1 million per ticket this year. Fashion “insiders” feel increasingly excluded, the event more spectacle than cultural touchstone.

• Lauren Santo Domingo’s non-attendance: analyzed as possibly savvy “damage control” in a year seen as “tacky.”

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The Devil Wears Prada 2: Media, Fashion, Realism, and Letdowns

• Accurate (and Bleak) Portrait of Media Life

  • Both hosts are struck by how The Devil Wears Prada 2 gets the contemporary media—and fashion—industry right, albeit in a way that feels dispiriting.
  • “The first movie... is a fashion movie. The Devil Wears Prada 2 doesn’t even have a makeover... It’s about trying to save media and journalism.” – Amanda (31:42)
  • The film “rebuilt the Frank Gehry cafeteria” and captured the anxiety and grind of working in a media company owned by global capital, complete with consultants and cost-cutting.

• Fashion vs. Media

  • The film’s fashion cred is mixed, with Amanda and Lauren agreeing the clothes are competent but uninspired:
    • “I thought that the clothes were nice... but again, you’re right. It wasn’t really a movie about fashion. It was a movie about the end of media.” – Lauren (41:07)
  • Costume details (Dior logos, Marc Jacobs, and more) are dissected; the cleverness of Coach’s cameo as Emily Blunt’s character’s post-fallback career wins the hosts over.

Notable Quotes

• “They have her flying coach, which, like, we know that's not true. ... It really understands... what a difficult situation Vogue and magazines find themselves in right now.” – Amanda (33:02)
• “In the end, the magazines get saved, and Miranda gets to keep being the editor. And what I really wanted them to do is I wanted Miranda to do something else... do something different and move on. And in the end, she stays. And I was like, wow, it really is so close to home.” – Lauren (48:30)
• Amanda’s biggest complaint: “Miranda Priestly showing emotion... That is not my Miranda Priestly. No, that is not it. I don’t want emotions in this.” (49:37)

Timestamps

• 31:42–33:19: Initial reactions to the sequel—accuracy and “downer” vibe
• 40:28–41:17: Costuming vs. character—new film vs. the original
• 44:32–47:52: Discussing Dior, LVMH, and how big luxury brands shape how fashion media operates
• 48:30–50:28: The ending’s emotional notes and wishes for a bolder narrative

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Broader Industry & Generational Shifts

• The conversation circles around big generational questions: Is fashion about aspiration or accessibility? Can Vogue, or any title, remain “the center of culture” now that brands and billionaires wield more direct power?
• "Lauren Sancho is just very obviously buying her way in. You're like, oh, okay, so now anybody can do it. It feels a little less special." – Amanda (25:20)

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Memorable Moments & Banter

• Lighthearted asides about livestream fatigue (“What is Twitch?” – Lauren, 05:46)
• Confessions about Express semi-formal shopping as teens (21:00–21:16)
• The shared nostalgia for Gwyneth Paltrow’s 1998 Oscars dress (20:28–21:11)
• “Mother/daughter” red carpet looks become a mini-trend, highlighted by Nicole Kidman and Sunday Rose (11:19–12:23)
• The revelation that tech executives are now social kingpins at the Met Gala (22:55–23:10)
• Lauren’s scoop: guests paying $1 million per Met Gala ticket (26:26)

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Conclusion

An episode rich in candid industry insight, strategy breakdowns, critique, and cultural analysis. Sherman and Dobbins dissect the shifting sands of fashion’s biggest night and its reflection in cinema, capturing the exhaustion, fascination, and hollow glitz of both the Met Gala and magazine publishing today.

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Quick Reference Timestamps

| Segment | Time | |-------------------------------------------------|-------------| | Intro & Met Gala theme confusion | 05:36–06:58 | | Red carpet hits & misses | 06:58–13:17 | | Artistic outfits, major attendees | 13:17–18:24 | | Million-dollar Gala tickets & tech tables | 21:49–28:52 | | Met Gala spectacle, “tackiness,” LSD’s absence | 28:52–31:42 | | The Devil Wears Prada 2 deep dive | 31:42–50:28 | | Final thoughts & preview of upcoming events | 50:28–end |

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Transcript

[Lauren Sherman]

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[Lauren Sherman]

Hello and welcome to Fashion People. I'm Lauren Sherman, writer of Fox Fashion and Beauty Memolan Sheet. A TV with me on the show is Amanda Dobbins, host of the Ringers Jam session and the Big Picture. We're talking the Met Gala, the Devil Wears Prada and so much more. Happy Tuesday everyone. I am making this quick because I am off to dinner. Please check out line sheet. I have a big story on sacks. I have all the Met Gala commentary. Malik Morris has a great piece on Heidi o', Neill, the new CEO of Lululem who came from Nike and has become very controversial very fast. But there's tons going on in Line sheet this week and you will enjoy it and I hope to see you all for the rest of the time I'm in New York, if I don't see you, I'll see you next trip. Or I'll see you in Paris or Los Angeles or somewhere. But have a great day and enjoy this chat with Amanda. Amanda Dobbins. Welcome back to Fashion People.

[Amanda Dobbins]

I can't believe I got this spot. I'm kind of overwhelmed. The getting the Devil Wears Prada to plus Met Gala spot honestly feels a bit unearned for me, but I'm so grateful. I've been studying. I'm going to do my best.

[Lauren Sherman]

Please, you are the only one. You are the. As I have written, you are the foremost expert on Devil Wears Prada IP and needed to. We need to discuss it, even though I'm sure you're very sick of talking about it.

[Amanda Dobbins]

No, I've been waiting to talk to you about. About it.

[Lauren Sherman]

And also, it just so happened, congratulations, I guess, on the Justin Baldoni Blake Lively settlement. Or actually, condolences. Because now what are you guys going to talk about for the next six weeks?

[Amanda Dobbins]

I don't think there was going to be anything new to talk about. I also don't think that Blake Lively and Justin Baldoni have the ability to time their settlement to be announced directly as the Met Gala red carpet starts. Like, I don't. I don't think that they have that much control over the legal system, but maybe they do. I noticed the timing.

[Lauren Sherman]

Don't you think Blake is like, damn, I could have gone. If we had only settled on Friday. I could have come back into the. Do you think she'll be there next year?

[Amanda Dobbins]

I hope so for her sake, because it all feels a little sad. But at this point, it's a good thing that they settled because it only would have made a bad situation worse. It was a real fight to the death and we've had enough ugly laundry aired out in public, so good for them.

[Lauren Sherman]

Yes, and she has right now, has little else. So fingers crossed for next year.

[Amanda Dobbins]

Yeah.

[Lauren Sherman]

So what have you thought? We are recording this as the live stream is happening. I'm getting texts of people that are being interviewed who have clearly paid to be interviewed or at least paid a lot of money for their tickets so that they got an interview spot. I'm not gonna. Maybe we won't name names. We'll see how frisky we're feeling. But what thought of the live stream so far and the red carpet also, before you get started, everyone who wants to see full looks and outfit credits, even tomorrow, you need to follow page 6 Alana Fishman, one of my former colleagues, is the best outfit credit person in the world. And. And she's the best red carpet kind of fashion commentator out there. And before you Even [e-mail], go to page Six. She is the best. Congrats to Alana. I've been using it as a resource this afternoon. It's been amazing.

[Amanda Dobbins]

So I have not been watching the live stream proper because I am over the age of 40 years old and I don't need things live streamed. I don't use Twitch and I do not watch.

[Lauren Sherman]

What is Twitch? What is Twitch?

[Amanda Dobbins]

I still don't know. I understand that the Met Gala and Vogue are trying to reach younger audiences in any way possible. And I've watched some clips. There was a musical performance, sure. But I have mostly been consuming it via live blogs and Page Six as the true millennial that I am. And once again, I think we have a failure to communicate what the theme means and does it. I don't even know if it really matters anymore. I was reading all of the materials about the exhibit which was open this morning at the Met. I'm based in Los Angeles, and I was also not invited, so I didn't.

[Lauren Sherman]

Nor did I. I.

[Amanda Dobbins]

You know, I think that there is always this. This introduction and this big trumpeting of what the theme is. And there's a very broad theme accompanied by a lot of, like, fairly academic material that supports the exhibit itself. And people just go all which way directions, and I never know. So I've kind of given up trying to grade on the theme, if that makes sense. It seems impossible.

[Lauren Sherman]

You can't. You just simply can't. Because the theme of the gala and the theme of the exhibition had to do with bodies, but also was about art. And then the theme of the gala is fashion is art. But it's obviously very. Everyone's talking about the body and they have Saint Laurent as the fashion sponsor. And Anthony Vaccarello is a designer who thinks about the body a lot. Why they can't just have the same theme of the exhibition and the theme of the. Or at least more clear. It's always very unclear. Like, and fashion is art. Of course we're gonna get Monet water lilies on a tent dress, which is. We did get that.

[Amanda Dobbins]

I missed that one. I've seen the double Madame Xs, and I would just like to vote for Claire Foyer for that interpretation of the singer Sergeant painting over Lauren Sanchez Bezos. Did I get the name right? Honorary co chair.

[Lauren Sherman]

Yes, I would say I Thought she looked pretty good, though, in Schiaparelli. I was like, it's not bad.

[Amanda Dobbins]

It's not bad. It was noticeably really subtle for her. Obviously, there are two points of physicality that cannot be subtle in. In their current incarnation, but, you know, the. The references. I think Charlie XCX is doing some sort of, like, goth Van Gogh irises. Like. Sure. I love Charlie xcx. Everyone go see the moment. If you haven't. You know, there's some. There's the Flaming June, which is what Chloe Mao, the head of Content American.

[Lauren Sherman]

I think it's head of editorial Content US Vogue. I think that's right.

[Amanda Dobbins]

Okay. I mean, more on. More on Vogue titles. When we talk about Devil Wears Prada, too. So she was doing Flaming June. You know, that's. That's cool for the most part. Then there are a lot of people who have, like, embroidery, I guess.

[Lauren Sherman]

Yes, lots of embroidery.

[Amanda Dobbins]

I don't know.

[Lauren Sherman]

My feeling is. Yes. Anyone who's trying to like, really. There's a lot of hands on the body, like, sculpted hands on the body of different. Lots of sculptures. I mean, honestly, Anna Wintour looks great in Chanel. The people who went super. Like, all the St. Laurent people. Connor Stories wearing a blouse. He looks fabulous.

[Amanda Dobbins]

He was wearing a jacket, and then he removed the jacket to show the biceps. But the. His train is still attached to his collar and the cape. It's wonderful. I'm really.

[Lauren Sherman]

He's on my.

[Amanda Dobbins]

He's on my best dress, for sure. Good job to him.

[Lauren Sherman]

Charlotte Gainsbourg and Saint Laurent. Also like, the Saint Laurent people look Loewe. Sarah Pigeons wearing Loewe. Like, the people who just wore the normal. I really like the Robert Woon or one stuff. Jordan Roth is wearing a very cool thing from. With like, a body on top of his body, which is cool. And then Naomi Osaka also was wearing it. I thought that stuff looked really beautiful. A lot of this stuff is. Is Katy Perry's wearing Stell McCartney with just, like, a mask covering her face. Why?

[Amanda Dobbins]

I don't know. She looks like a fencer. I don't think that that was the intended reference. I mean, maybe there's a famous fencing painting that I don't know or sculpture. Why am I only sticking to one medium? Yeah, I mean, I agree with you that the St. Laurent stuff works. The best part of that is because they seem the most tapped in with what is supposed to be happening on the red carpet. And also it's what we would want to wear. So Charlotte's game. Charlotte Gainsburg is what I would want to wear. And I would also like to look like that if I wore it.

[Lauren Sherman]

Yes, as you would. As you would.

[Amanda Dobbins]

I don't know about that.

[Lauren Sherman]

I do like this Ben Platt, Tanner Fletcher.

[Amanda Dobbins]

Yeah.

[Lauren Sherman]

Which is like a. Definitely a Fame. Maybe a Renoir or something.

[Amanda Dobbins]

I was. I thought Seurat, you know.

[Lauren Sherman]

Yes. You're more educated than me. No, no, no.

[Amanda Dobbins]

I just recently watched Ferris Bueller's Day off with my kid, and it zooms in on that Surrat painting. Can I just say so Sunday Rose Kidman, urban daughter of.

[Lauren Sherman]

Oh, wow.

[Amanda Dobbins]

Showed up in Dior and walked with her mom in Chanel. And it helped me understand the Jonathan Anderson Dior because I was like, I

[Lauren Sherman]

need to see it.

[Amanda Dobbins]

Oh, I'm not in high school. And that's why I'm not drawn to pink ruffles. But I thought that she looked.

[Lauren Sherman]

Oh, yeah.

[Amanda Dobbins]

Appropriate and stylish next to her mom. They walked it together. Her mom, Nicole Kidman was in Chanel. And I was like, oh, I get it. Okay. It's not meant for me, but I get it.

[Lauren Sherman]

She looks awesome.

[Amanda Dobbins]

Yeah.

[Lauren Sherman]

It's a really great look. She looks very cool. And the earrings and the whole thing, it's. It's really good. And they look good together. And it is funny because it does contextualize both brands very. Yes, clearly.

[Amanda Dobbins]

Yeah, it's very funny. It's. I wonder. I assume that there was cross communication and that both houses knew that the other, the mother or the daughter would be wearing the same next to each other.

[Lauren Sherman]

They must. Because I believe Sunday Rose. Is she a Dior ambassador already?

[Amanda Dobbins]

That sounds right.

[Lauren Sherman]

I think it might be Chanel and Nicole is obviously so. Yes. They must have. They must have known. I also thought that Bill Skarsgard looked really good in Tom Brown, who, by the way, in person. This family.

[Amanda Dobbins]

Yeah. Powerful family.

[Lauren Sherman]

Powerful.

[Amanda Dobbins]

Huge Bill Skarsgrd fan. I will be honest. When I first saw it, I thought that he, like, he was dressed like a Nazi in a World War II film. You know, it's just there's, like, something about that jacket that I personally would have rethought, but that's just. And the drape. But that's just me.

[Lauren Sherman]

Understand it. Understandable, understandable. He's just like. So I saw him at the Balenciaga show and I was like, I don't understand what. Especially in person. These men.

[Amanda Dobbins]

Yeah.

[Lauren Sherman]

It's crazy.

[Amanda Dobbins]

They're tall. If they're tall and they can wear the clothes. They're really tall and they can wear the clothes.

[Lauren Sherman]

They're really tall. They're really tall.

[Amanda Dobbins]

I liked Anna Wyant in Marc Jacobs because she just looked like a. Like a paper doll. And I understood that as like a different. Which I know is part of the Marc Jacobs thing. But I was like, oh, I understand this interpretation.

[Lauren Sherman]

Yes. And also it's styled correctly and they work together. And she is an artist and she has created paper doll. She did like a whole paper doll house that he helped do the outfits for. And she did a painting for his last show. And he does all these paper dolls. Like that is. That's probably the best interpretation of the theme. If you're going to really go there. It's full circle.

[Amanda Dobbins]

And the styling in her hair and the shoes, like everything. Everything works and she's wearing it well. So I was into that. Am I allowed to say things I don't like? Do you want me to?

[Lauren Sherman]

Of course, please.

[Amanda Dobbins]

Well, some of this is just kind of what is your. What do you respond to in both fashion and art? But I respond to color. So everyone who did the naked body conscious thing, I'm thinking of Ashley Graham, who is absolutely beautiful and has an amazing body and is just wearing like a nude colored fishtail. It has like a lot of embellishments. I'm sure it took many, many hours to construct. But I was like, eh, this is.

[Lauren Sherman]

And she was. She's hosting the live. She's partially hosting this live stream. So I assume that was part of it too. But yeah, I did think that like, pretty much all it felt like every silhouette was just an hourglass. Because it's about the body and it's like, sure, but can you. The exhibit itself is about a lot more than that. But you know, people are not inventive and they just want to look pretty.

[Amanda Dobbins]

I mean, that's true. I would also want to look pretty. I'm scrolling through the new things now. Beyonce has not arrived. And Rihanna, will she arrive before we record?

[Lauren Sherman]

Exactly. She definitely won't. I have heard there was a rumor she was going to wear Margiela. So if she does end up wearing it, the rumors were true. But it was an educated guest by an attendee. And I will assume that Beyonce will be wearing Saint Laurent. Cause she is a co chair. Anthony Vaccarello is. And she wore a really amazing Saint Laurent piece last week. So my guess is that she'll be in St. Laurent. But yeah, the. I'm glad Nicole Kidman, who was a co chair, was there early, so we got to see him. Venus Williams was also there. I. You Know, when I looked at the credits, it said she was wearing Swarovski. I don't know if they made the dress, and it's possible she looked nice.

[Amanda Dobbins]

Well, the dress has a. Well, she's wearing, like, a jeweled collar that is so. Like, I. I can't tell whether that's part of the dress or whether the dress is just organized around that.

[Lauren Sherman]

Yeah. Janelle Monae is wearing Christian Siriano. That's a look.

[Amanda Dobbins]

It is. But, you know, she. She goes for that.

[Lauren Sherman]

Yeah. We have Laufey and Tory Burch. I know that. Tory Burch. All. Oh, Tory Burch. This is an example of. I don't care that this is not on theme. Camilla Morrone or Morone.

[Amanda Dobbins]

Yeah.

[Lauren Sherman]

She's so gorgeous.

[Amanda Dobbins]

She's so beautiful. But once again, this is. This is a fair. I guess I can't see the cape or the details on the. Is that beading?

[Lauren Sherman]

I mean, when you look like that. This is the most beautiful woman in the world. I'm obsessed with her.

[Amanda Dobbins]

It's true. But this is kind of like when she was dating Leonardo DiCaprio and just grabbed, like, a bridal collection gown to wear to the wedding, to the Oscars one year, which is a true thing that happened because she just kind of wants a column dress, and she doesn't really need embellishment, but I would like a little bit more. I think she could wear a little bit more. That's just me.

[Lauren Sherman]

You know who I think is interesting? This. This ashy studio. They dressed Jen Rubio, who is a new who. Just her and her husband, Stuart Butterfield just donated $24 million to the Met to have paid interns in perpetuity. And she has this, like, cool bodice, ashy sculpture, sculpted thing. And I'm just looking at Sabina Getty, and she also, like, look, this isn't. This isn't what I would call pretty, but it's, like, weird and interesting, and I kind of am. And it's like a painted thing where you can, like, see the hands on the body. I'm kind of into, like, the bizarro ness of it. Like, I would rather that than some boring, boring shit, you know, like.

[Amanda Dobbins]

And Sabine Getty also appears to be. There's, like a. A trompe l' oeil hand over her hip that's, you know, painted on with the ring and. But then she's also wearing a matching ring in real life, which. Yeah. And is posed a certain way, which.

[Lauren Sherman]

Kind of weird and fabulous.

[Amanda Dobbins]

It's cool.

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[Lauren Sherman]

Olivia Wilde in Thom Browne wearing. I mean, this is some sexual stuff. It's good.

[Amanda Dobbins]

Wow. Okay. Look at her.

[Lauren Sherman]

What.

[Amanda Dobbins]

What would we call that?

[Lauren Sherman]

It's like a.

[Amanda Dobbins]

That back structure.

[Lauren Sherman]

Well, it's a muzzle. It's a muzzle butt on her butt.

[Amanda Dobbins]

Okay.

[Lauren Sherman]

And it's like a. It's a bustle. A muzzled bustle. Okay. That is some interesting sexual stuff for, you know, a powerful woman in her 40s. I am into this.

[Amanda Dobbins]

It's nice. It's also, I, as someone who doesn't have anything natural to fill into that particular space, understand how the structure would help. Yeah. So good for her.

[Lauren Sherman]

Yes. That's very interesting that she wore that. I wonder. I would love to hear Thom Browne talk about it.

[Amanda Dobbins]

Oh, I'm just seeing Maya Hawk, who is wearing Prada and just looks very pretty with a full skirt. I don't really know how this is fat art related, but it looks nice.

[Lauren Sherman]

You know, Prada does a lot with the art world in real life, so they can just make pretty dresses for.

[Amanda Dobbins]

Yeah, I was gonna say Amanda Seyfried is wearing a. A very pretty pink Prada dress. That to me is a reference to Gwyneth Paltrow's Oscar winning, I believe, Ralph Lauren dress in 1998.

[Lauren Sherman]

Yeah, it is the same color, which

[Amanda Dobbins]

to me was art, so that's fine.

[Lauren Sherman]

Agreed. I definitely copied a prom dress off of that and also could not fill out the top just as Gwyneth.

[Amanda Dobbins]

Yeah, so did one of my friends. She brought it at Express because Express was rushing out those pinks.

[Lauren Sherman]

Oh, yes, they were.

[Amanda Dobbins]

And the lady. Thank you to them.

[Lauren Sherman]

Yeah. Express did a lot of semi formal work for me in 1998.

[Amanda Dobbins]

Express really held me down with high sport pants before high sport, you know.

[Lauren Sherman]

Yeah.

[Amanda Dobbins]

And then. And then high sport came through with the technology I needed at the time of life that I met them.

[Lauren Sherman]

Oh, it's. It's too good.

[Amanda Dobbins]

Yeah.

[Lauren Sherman]

Look like, I think you're right that. How do you. You can't really get this right at this point. There are very few people nail this. Do you care more about this red carpet more than the Oscars, which you cover as a film critic and a cultural commentator as well? Like, do you care more about this red carpet or.

[Amanda Dobbins]

Well, I'm also a celebrity watcher and this is one of the few events left where people come out and people put on a show and they know it's their job to put on a show. And certainly the wattage at the Met Gala at this point is higher from a star power than the Oscars just because they can reach from a number of different fields. Not that I know who everyone is. I've been googling a lot of influencers in the past two hours, so I think I like them both. I also just get to be fully amateur spectator and it is just about the clothes. And at the Oscars, you're like, okay, well, this is part of a season long narrative and she's been positioning herself as, you know, the it's time candidate and that she's been wearing this, that, and the other or the men have just been showing up in tuxes. So there is more great stuff at the Met Galley, even amidst all of the, you know, hourglass nude silhouettes. So I look forward to it. Yeah, it's.

[Lauren Sherman]

It's fun to watch it. And I think also it's more about what's happening in society. So I'm getting live texts as we're chatting and it says, not your beat, but surprise, Casey Wasserman is there. Please. Casey Wasserman is my beat. He is the Olympics and all the sponsorships. I'm interested in the Casey Wasserman narrative. Hunter Schaeffer, loving it. Alex Wang is there. Everyone is uncanceled. But the big thing this year was about the tech bro takeover of The Met Gala. OpenAI has a table. I haven't seen Sam Altman yet, but, like, I want to see what he's going to wear. All these meta obviously has a table. Snap has a table. Like, all these big tech companies have tables. And there's been so much about the Bezos and sponsoring it, even Though Amazon sponsored it 14 years ago. This is not new, but what do you think about the whole discourse around Lauren Sanchez and the. Robin Gavon wrote a piece it for the New York Times opinion section that I got to be honest, like, I fully thought was not. I've really disagreed with it. And I thought it was honestly, like, really missing. Not even misinformed, but, like, misguided. It was basically being like, lauren Sanchez is tacky. And she like, look, this woman deserves to be there just as much as anyone else does. The reason you get to go to the Met Gala is you pay for it. And so I'm just curious, like, what do you think about all of that stuff?

[Amanda Dobbins]

Yeah, it's interesting because it is just the transactional stuff made a lot more bare. And as you noted, it is and has been transactional. And. And before the Met Gala really got its.

[Lauren Sherman]

She texted me, got. Give me one second.

[Amanda Dobbins]

Socialites donating to this. It was. It was a charity ball, as Plum Sykes put in her newsletter recently. So I think you're right that it is just the transactional nature of this, which has been the cause of the event since its inception, is just being made more clear. You know, Plum Sykes wrote a great newsletter about her first time at the Met Gala and that she didn't really understand, and she just thought it was like, you know, another charity due. Which. Which it is in a lot of ways. And it was populated by socialites before it kind of became the big celebrity event that it is now. So I think that people are just not used to seeing the work shown, if you will, or the money actually being paid or not thinking through it. And I guess it comes at a time. And this will probably come up again in our devil, where stuff. Prada 2 conversation where, you know, Vogue is really trying to figure out what it is in 2026. And the kind of exclusivity versus accessibility debate that is certainly embodied in, you know, the Anna Wintour versus Chloe Mao. Old generation, new generation. Should it be aspirational or should it be attainable? I think that's an issue with fashion writ large. But this is. And. And. And many other forms of culture writ large. But Lauren Sancho is just very obviously buying her way in. You're like, oh, okay, so now, you know, now anybody can do it. It feels a little less special.

[Lauren Sherman]

Yeah. Yeah. I think the other big thing is this year there were people. The. The whole. The baseline price for a ticket's 100 grand this year, but there were people who paid a million dollars a ticket. And I know for sure, like, I confirmed it with many different sources, it's positive that there were people who paid a million dollars a ticket. And these are obviously people who would not maybe get invited if they didn't pay that and look like that's the name of this game. But it just creates a situation where it's not. I understand the motivation. They're trying to raise money for the Costume Institute. They're trying to figure out ways to make Vogue a brand that makes money outside of publishing a magazine and relies on directly on page advertising or what have you. But what it comes down to is, like, there's no one who works in the fashion industry or who loves fashion who really enjoys this anymore. I think it's become something that is more of a spectacle and less of, you know, a thing that delights people and that I think whoever takes us over from Anna Wintour in Anna Wintour in what, like 10 years or whenever she finally is like, I can't do this anymore. It might be 20 years. Needs to think about, like, you want to have goodwill towards these things too. And I think right now it's a real mix. Yeah.

[Amanda Dobbins]

I mean, it is putting on a show, right? And it's. It's. It's putting it on for. Oh, did I freeze again? Okay.

[Lauren Sherman]

No.

[Amanda Dobbins]

Good. It's putting on a show. And putting on a show is hard and not that fun when you're in the. In the room or doing the. Doing the work. And you have to make a lot of compromises and deal with a lot of people. And it's kind of a hassle. And I understand that. Why most anyone in the fashion world who kind of. Who already has access to all the glitz and glamour is like, now, why do I gotta do this for everybody else? And it's. And it's for a good cause and for the Institute, which I think this show is reportedly. This year's exhibit is reportedly wonderful, and I'd like to see it. But. Yeah, I always think again of the Gwyneth Paltrow quote or just being like, it's really crowded and hot in there and you can't move or do anything. It doesn't seem like a lot of fun from the inside.

[Lauren Sherman]

No. And the interesting thing was there was a lot of speculation about Lauren Santo Domingo, who is founder of Moto Operandi, a former Vogue editor and sort of the prom queen. Page Six or Four referred to her as the Tom Brady of fashion. But in some ways, she is, like. She's just. She has amazing taste she's beautiful. She's, like, the most popular girl in school still, if. If you want to be in that high school of fashion. And she's not going this year. Honestly, she doesn't go every year. And also, she's friends with. And there was this big thing that she's, like, boycotting it because of the Bezos's. That's not true. Like, I. There's no way it's true. She went to their wedding. She went to their house on Saturday night to party with them. Like, it was savvy of her not to go this year because, like, it's tacky now. So it. She's not tacky. You could say a lot of stuff about that woman, but, like, you can't. She's. She has amazing taste. So I think, like, whatever reason Lauren is not actually going, I have no idea. I reached out to her and asked her about it, and she ignored me. So I don't know. But what I will say is, like, she kind of comes out looking, like, pretty chic that she didn't go, given how, like, tacky it has become. And, you know it is also, I

[Amanda Dobbins]

know it's a pain to you as a reporter, and you're one of our great reporters, but not responding is also sort of chic. And just being like, it's not my. Not my problem.

[Lauren Sherman]

I mean, honestly, it's fine.

[Amanda Dobbins]

What is she.

[Lauren Sherman]

She's gonna give me some, like, response about, like, I don't know. And also, what if it's, like, a personal reason? I don't want it. Really want to know. Like, it's fine. All I know is that it's not because of the Bezos. And it's funny that that's how it was positioned. But whatever reason, I agree, like, she doesn't want to get involved. She's staying above the fray. It's fascinating. But it is funny this year that it all happened in the context of the Devil Wears Prada premiering and coming out, and also Vogue's deep involvement in the promotion of this movie that is essentially an evisceration of what Anna Wintour has built. I know you've talked a lot, and everyone should listen to Anna. Everyone should listen to Amanda on her two podcasts, Jam Session and the Big Picture, but also on the press box, another ringer podcast where she talked about this. But, like, what is your big takeaway from the. Also, spoiler alert. Someone just. I did. My newsletter just went out, and someone accosted me for not having a spoiler alert about the Devil Wears Pro Prada. Excuse me, There is a spoiler alert in there. But like we're gonna talk about plot in the movie. If you're like really upset, you don't you want to be surprised when you see the Devil worst Prada. But anyway, what is your like, big takeaway since you've been so deeply entrenched in the discourse?

[Amanda Dobbins]

I was surprised at what an accurate and depressing movie. This is about the state of our industry, that being media and not fashion. You know, the first movie is to me at least a fashion watcher, but not insider, a fashion movie. It has multiple makeovers. The Devil Wears Prada too doesn't even have a makeover. She's in the fashion closet. And the Stanley Tucci character gives her some totem along with some Fendi. Lol. And then she just gets on with her with her job, which is trying to save media and journalism. So it's been funny to talk to friends and other, you know, civilians. Most. Not every movie I cover has this kind of buy in from the people I actually talk to on a day to day basis.

[Lauren Sherman]

Yeah.

[Amanda Dobbins]

So that's fun. And everyone is. The response is that it's. It's not bad, but it's kind of a bummer.

[Lauren Sherman]

And such a bummer.

[Amanda Dobbins]

It's such a bummer. And. And I give them credit for getting so much right, especially about Conde Nast. It's like, you know, they've rebuilt the Frank Gehry cafeteria. They have the Miranda Priestly character sitting at a table in that cafeteria with consultants and McKenzie is name checked. They take away the town cars in a meeting. Like, you know, it is very. They have her flying coach, which, like, we know that's not true. Yes, we know that the global heads of whatever still get to fly first class. But it really understands in a impressive, if demoralizing way what, what a difficult situation Vogue and magazines find themselves in right now.

[Lauren Sherman]

I agree. It was so accurate. I thought that they got. And they got the fashion industry right too. Like they do a big Vogue World esque event in Milan that is happening this fall. Like, like the way that they depict the. The fashion brands. Emily Blunt's character works at Dior. She's an executive there. Did they get every little detail right? No, but they got a lot right. And even the things that Emily Blunt says about how luxury fashion is really the only place in fashion where you still make money. And 20 years ago no one was buying handbags and now they like every suburban mom owns a nice bag. This is all true. And I thought, like, they. They really nailed everything. And it was interesting. I went to see the Devil Wears Prada alone when I was. How many years ago did it come out?

[Amanda Dobbins]

20 years.

[Lauren Sherman]

So when I was 23 years old, I went to a screening, 14th street, and I sat on the floor because there wasn't enough room. And I remember seeing this movie and thinking I was a reporter at Forbes magazine then. Like, I was like, I don't. I don't feel connected as a reporter to this movie. Like, I guess I connected to Andy Sachs, but I enjoyed this movie. Kind of was never. It was. I thought it was good, this movie. I go in, I see it at the Alamo Drafthouse with a Recline Chair at 10:15am on Sunday morning, and I thought, wow, they really nailed the last 20 years of my life as a reporter. Because I only worked at Conde Nast for two years. I didn't have that experience. But I've been covering Conde Nast forever and covering the luxury industry forever. And honestly, at the end of it, I was like, yeah, they got it exactly right. And also, I don't want to watch a movie about this. Whereas I think people who. I thought it was interesting what Sean, your co host on the Big Picture, said, he was like, was it too specific? Will people who don't know about this world appreciate it? And my whole thing is, like, the more specific you are about things, the more universal they are. And I assume that a lot of people are going to really like this movie. I thought it was really, really well done. There are, of course, things that they. Like The. The coach, her sitting coach was just stupid. But generally I was like, wow, you got Anna Wintour's Mastic House, right? You got. It's just like every little thing. Also, the Andy Sachs suddenly can afford this fancy apartment because she's, quote, unquote, doing well as a feature editor of Vogue. Please, also.

[Amanda Dobbins]

Okay, no, no, two things. Two things that you brought up we need to get into. Number one, despite all of the title inflation we've just discussed throughout this podcast, she is still only features editor at Runway. Like, they got everything right about Conde Nast and she can't even get a director title.

[Lauren Sherman]

No, she would be executive director of Fashion and normal features or something like that.

[Amanda Dobbins]

Also, she's, like, typing into the cms, the content management system, and just, you know, apologizing for features gone wrong. It's really incredible stuff. Going back to Mastic, because there is a weekend that Miranda Priestley hosts in a estate that is the Mastic House. And not that I've been invited again.

[Lauren Sherman]

Yeah, it looks nice.

[Amanda Dobbins]

So, first of all, they portray Miranda Priestly drinking, which just doesn't really seem like her vibe.

[Lauren Sherman]

No, never.

[Amanda Dobbins]

Though the women next to me at my press screening of the Devil Wears Protitude were drinking.

[Lauren Sherman]

I bet they were.

[Amanda Dobbins]

And let me tell you, more women than I've ever seen at a press screening in my entire career. And more bags than I've ever seen. The bags were out anyway. Then they show Miranda wearing Pumas. Was that ID correct?

[Lauren Sherman]

I. I saw. I heard you say this.

[Amanda Dobbins]

I.

[Lauren Sherman]

It looked right to me when. Because I watched the movie after I listened to most of your podcasts. Sorry, I did spoil. I waited for the drama. I waited for the drama.

[Amanda Dobbins]

Okay.

[Lauren Sherman]

But I did not. If you see the drama, don't listen to a podcast, but you watch the drama first. But this, I. I did watch. I had. I. I thought it was weird that she was wearing Pumas also. And it's just like, why?

[Amanda Dobbins]

I mean, she's wearing, like, a nice blue button down. It's, you know, it's. It's a little ina garden, a little charvet. Like, I'm open to it. But the sneakers were a no for me.

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[Lauren Sherman]

Spring just slid into your DMs. Grab that boho, look for that rooftop dinner, those sandals that can keep up. And hang some string lights to give your patio a glow up. Spring's calling. Ross, work your magic. Did you feel like there was too much product placement? Because I actually didn't in the movie. I thought that the product placement outside of the movie has been, like, extremely ridiculous. I don't need Fisher Price stuff with the Devil Wears Prada, But I thought in the movie, it didn't bother me.

[Amanda Dobbins]

No, I thought that they. I was really impressed, honestly. My jam session co host Juliette Lippman informed me that ge, the appliances brand, has a tie in.

[Lauren Sherman]

Yes.

[Amanda Dobbins]

And having seen the movie and knowing that there's an apartment renovation plotline, I understood where the GE product placement went. But it's not like it wasn't a 30 Rock episode. They didn't actually say GE, so I thought they did a great. They did a good job. And, you know, I know who the car sponsorship was. They're not paying me, so I'm not going to say it, but.

[Lauren Sherman]

But please pay her, whoever it was.

[Amanda Dobbins]

Sure, I'd love one. And I. The. The fashion brands. Well, what stood out to you about the clothes? Because we haven't really talked about them, and I didn't love them.

[Lauren Sherman]

And honestly, I didn't love them in the first movie. It's not my. Because in the first movie, they were more caricature. And that was fun. Like the Chanel jacket or whatever. I thought the clothes were nice. Like, I thought everyone. I thought Miranda Priestley's wardrobe was amazing. I thought the way they dressed Emily Blunt as this, like, executive Lauren Sanchez character mix, and just Emily Charlton was funny and cool. And she's wearing a Dior Galliano newsprint scarf in a fun scene. I thought that was fun. And I liked the way Anne Hathaway dressed. Fine. It's just. I don't. It's not. It's funny. I just talked to Peter Hamby for the Powers that Be, and we were discussing Challengers, which obviously the costume designer was Jonathan Anderson, who's the current designer of Dior. He's nowhere near this movie. There's no. There's no Jonathan Anderson Dior in this movie.

[Amanda Dobbins]

I'm coming back to that in a second, too.

[Lauren Sherman]

But of course, like, I just like the costumes in Challengers more because they're. They felt real. Like the way real people dress. This feels like, again, a character. Character. I love Stanley Tucci's suits and things. I thought he looked amazing, but, yeah, I'm just like, sure. A lot of Dolce and Gabbana. Of course, a lot of. There was a lot of totem, which. Good for them. I thought that was, like, a savvy move. It's not the way I would do it if I was making a movie about fashion. But again, you're right. It wasn't really a movie about fashion. It was a movie about the end of media.

[Amanda Dobbins]

Yeah. And they were honestly pretty well dressed for the end of media. Yes.

[Lauren Sherman]

Yeah. Even, like, the newspaper reporter guy was like, I need to clean.

[Amanda Dobbins]

He was okay. He was wearing a windbreaker. He was wearing performance fabrics.

[Lauren Sherman]

Yeah.

[Amanda Dobbins]

What do you think Jonathan Anderson and LVMH think about the Dior portrayal in this?

[Lauren Sherman]

Yes. I just wrote about this really quickly. Can we just talk about BJ Novak's Athleisure, which I love. He may be the best dressed person in the whole.

[Amanda Dobbins]

Well, I guess we should. Let's talk about the subplot, which is that one of the reasons that Runway is in peril. It's in peril because it's 2026 and no one reads print media anymore. And you know, you can't make money off of social pins or whatever. You know, they keep talking about social pins. They keep having Rand to say social pins. It was really upsetting. But so the company's gonna be sold. And the company really. The Elias Clark, which is the Conde Nastan and becomes a plaything between billionaires. And so there's a very, very obvious Jeff Bezos character played by Justin Theroux. And they make reference to his post divorce makeover. And he then winds up dating the Emily Charlton. Emily Blunt character, who is standing in as both a Dior executive and Lauren Sanchez Bezos. I'm sure they love that. We'll come back to it. And then there is also the Bezos esques character's ex wife, played by Lucy Liu very briefly, who then becomes sort of like, spoiler alert. The Lorraine Powell jobs comes in to save the day. And the BJ Novak is like a little bit one of the Newhouse, like scions, a little bit David Ellison, like a little bit one of the winners from Rolling Stone. You know, like, it's. But they're, they're really.

[Lauren Sherman]

He wishes. He wishes he was one of the winners.

[Amanda Dobbins]

But I thought it was so fascinating watching this and then knowing that Jeff Bezos and Lauren Sanchez are. We're going to be on the steps as honorary co chairs four days later at the Met gala.

[Lauren Sherman]

Totally. It all, like, was just so on point. I thought the BJ Novak character was interesting because there isn't a new house heir who is like, gonna take it over. There isn't anyone after. After the generation who is like in their 70s. So I mean, there are a lot of them, but, like, they're not gonna. Ron Condi. Maybe one will somehow emerge, but none that I know about. And I know a lot of them.

[Amanda Dobbins]

So we've been waiting. So if they haven't showed up yet.

[Lauren Sherman]

Yeah, but it was, it was interesting. And I also thought it was funny how the Justin Theroux character, like, looked even worse when he, when his glow up, he. He looked like he looked better than his Cl than he looked previously. But I think Jeff Bezos in his glow up looks better than this guy. Like the way that they. They with the fake tan and everything. It was so gross. It was really good. And I just thought all those characters were perfectly painted. And I thought that the BJ Novak character was so interesting because he was kind of just like, I'll take the money. And you always. The new houses famously will never sell. And I'm always like, I just think someday maybe they're going to sell, but. But anyone who's worked with them forever says they're never going to sell. So I thought it was interesting and I loved. I just thought all this. I thought everybody was. It's. Everyone's so professional. But back to the Jonathan Anderson Dior.

[Amanda Dobbins]

Yes.

[Lauren Sherman]

Lvmh. LVMH is not named in. In the. They obviously got permission from Dior to do this. They used Dior. Emily's wearing a Dior logo the half the time. They actually filmed that in the Meta offices, which I thought was interesting. I found that out yesterday. LVMH specifically is not named. I think it would be too confusing to try to explain when a lot of people still think Christian Dior is alive to explain what LVMH is to, you know, a layman. And I also thought it was interesting that it was very designer less because it was kind of. They probably knew when they. Because I broke this in 2024, they were still working on it, but this was a fast production. They probably knew Maria Grazia wasn't going to be there forever at that point. I think I can't remember if it lines up with my reporting on, I think Jonathan later that year.

[Amanda Dobbins]

Yeah. Wasn't he just like in secret in the men's department for like a year?

[Lauren Sherman]

Yes, I think 2025, he arrived in January and they didn't announce him till June. But yes. So like by the fall of that year, they hadn't started. He was already. They knew Maria gr. So it's not. There's no designer. There's no. And also, like, this person working in New York's gonna have all this power. I don't know. It. It was an interesting. But look, I think they. I've watched really closely their kind of reaction to Emily in Paris, which is, I think, really damning towards them. The way the plotline is, it creates narratives about the family. There are no family that don't exist and they've embraced it. So I think in this case they probably think it's good exposure. And in the end, the brand has a lot of power. And the best part is another spoiler alert, people, is in the end, when Emily Charlton. It's honestly the only funny part of the movie, but Emily Charlton sits down with Anne Hathaway's character and is like, Andy. And she's gotten fired from. From Dior. Or she had to leave for some reason. And she's working at Coach.

[Amanda Dobbins]

Yeah. And the way it's revealed, it's, how are things at Coach? Which is just, you know, the iconic line from this movie. Really.

[Lauren Sherman]

And honestly, I'm sure Coach. They are being good sports about it, I think. Like, look, is it cringy? Sure. I think that Jonathan Anderson is smart enough to understand how the world works and thinks it was pretty savvy for them to be involved. And they do look really powerful. Like, when all this stuff goes down and we don't have to get too much into the plot, but, like, Dior has a lot of power over Runway. And Miranda Priestley bends over for Dior immediately. And that's what would happen. You know, it's a little different. Anna Wintour is maybe a little. Has a little more power with those brands. But a lot of those LVMH brands have pulled advertising from Vogue over the years. Celine, famously, when Henny Slimond was there, would not advertise in any Vogue because he was. You know, there are. I don't want to get into the reasons why he was mad, but he. You know, he stopped when Emmanuel Alt was no longer the editor of French Vogue. He stopped advertising and all. All of the Vogues and showed that you. You don't need to be a $5 billion business or a $3 billion business, and you don't need Vogue. And so it was. I mean.

[Amanda Dobbins]

Well, I mean, that is part of the. The tension that, like, I, as a Vogue reader and consumer felt going in. But. And even felt in the. The rollout process. And I think it was very smart of Vogue and of Chloe Mao to embrace the movie as much as they did, just because that power imbalance is so real now that it has shifted so much since 2006. But, like, you really. You did kind of feel. And the movie really cements that Vogue is not the powerhouse that it once was.

[Lauren Sherman]

Yeah. And the thing at the end, again, spoiler. Spoiler alert.

[Amanda Dobbins]

Right.

[Lauren Sherman]

In the end, like, the magazines get saved, and Miranda gets to keep being the editor. And what I really wanted them to do is I wanted Miranda to do something else. I wanted her to be like, actually, I don't want this job, and Emily Charlton should be the editor, and I'm gonna go run a tech firm or something and, like, do something different and move on. And in the end, she stays. And I was like, wow, it really is so close to home. And I was just. When I left, I was like, it's

[Amanda Dobbins]

a movie about staying after the party's over. And they all are. And many people have. But I'm like, you know, I guess as we're talking, Beyonce hasn't showed up to the party yet, but there's a party going. But, yeah, this speech, when her new husband, Kenneth Branagh is like, hey, what do you want to do when you wake up in the morning? That's what you should do. And I guess it's that she still wants to run Vogue. And also she's. The whole time she's waiting for Anna's promotion. That's her whole arc in the movies that she's waiting for the content.

[Lauren Sherman]

She's like, it's going to be so big for me. And it's like, give me a break, lady.

[Amanda Dobbins]

But can I tell you the biggest sin of the movie, Please. Is that in all she. All that. All that Miranda Priestley wants is, I guess, to keep her job and to become the head of Global, head of whatever. So as a result, she has to be, like, humbled over and over, and then she has to tell everyone in her orbit how much they mean to her and how much it all means to her in order for her to be able to be gratified and get this job. And this Miranda Priestly character showing emotion and being grateful to the Stanley Tucci character, wanting Anne Hathaway to be on her side, telling her husband that all she wants to do when she wakes up in the morning is make Runway. No, that is not my Miranda Priestly. No, that is not it. I don't want emotions in this.

[Lauren Sherman]

I. I agree. Amanda. Amanda, you know who I want emotions from is you. I miss you so much. I can't wait to see you. Thank you for having me. I can't wait to see you in like 20 days where maybe we should do like a 10 minute thing when you're after Cannes to talk about the red carpet.

[Amanda Dobbins]

I'd love to. I'm taking recording equipment, so if you want me to call in. Also, if anyone from Caring is listening, you know I'm going to be around.

[Lauren Sherman]

Call Michonne if you would like a Line Sheet correspondent to attend the Caring Cares or whatever it's called this year. Women in Women Caring. We love. We love Julian. Yes, we love Julianne Moore. Amanda is available on behalf of. Of Puck and Line Sheet. I'm sure that Bill Simmons would love that.

[Amanda Dobbins]

Yeah.

[Lauren Sherman]

Thank you. You're the best.

[Amanda Dobbins]

Thanks so much for having me.

[Lauren Sherman]

I adore you. And we'll talk soon.

[Amanda Dobbins]

Okay? Bye.

[Lauren Sherman]

Fashion People is a presentation of Odyssey in partnership with Puck. The show is produced and edited by Molly Nugent. Special thanks to Puck co founder John Kelly, executive editor Ben Landy, producer Maya Tribbett, and director of editorial operations, Gabby Grossman. An additional thanks to the team at Odyssey, Kelly Turner and and Bob Tabador.

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[Amanda Dobbins]

Well, that's cool.

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[Lauren Sherman]

So what's the problem?

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I need a knock on wood. Do we have. What is this?

[Lauren Sherman]

Table wood?

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[Amanda Dobbins]

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