Something’s Gotta Give: Age Gaps, Rom-Coms & Nancy Meyers

Summary

Glamorous Trash: "Something’s Gotta Give: Age Gaps, Rom-Coms & Nancy Meyers" (May 5, 2026)

Host: Chelsea Devontez

Guests: Chelsea Davison & Elena Crivello (Podstruck)

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Episode Overview

In this special collaborative episode of Glamorous Trash and Podstruck, host Chelsea Devontez and the Podstruck team (Chelsea Davison and Elena Crivello) dive deep into Nancy Meyers’ 2003 film Something’s Gotta Give. Through a lively, hilarious, and incisive conversation, they explore age gaps, the legacy and aesthetic of Nancy Meyers, rom-com tropes, Diane Keaton’s impact, and the challenges female directors face in Hollywood. Drawing from books, Diane Keaton’s memoir, interviews, and their own experiences, the hosts book club the film and celebrate what makes it a standout in the genre.

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Key Discussion Points & Insights

1. The Status of Nancy Meyers in Hollywood

• Nancy Meyers' Legacy and Gender Bias (04:00–05:13)

  • Despite being the most financially successful female director ever ($1.3 billion at the box office), Meyers hasn’t achieved the “celebrity director” status, likely due to being a woman working in the “chick flick” genre.
  • “People are just like, no, give us more guys playing ping pong, please.” – Elena Crivello (04:45)

• Comparison with Male Directors

  • Female directors are criticized for repeating themes, while male directors (e.g., Scorsese, Tarantino, Nolan) get a pass for similar patterns.
  • "The wife is dead in every Christopher Nolan movie. Go yell at him." – Chelsea Devontez (05:04)

2. Introducing the Movie & Its Era

• Box Office and Cultural Context (05:27–06:46)

  • Starred Diane Keaton (57), Jack Nicholson (66), and Keanu Reeves (38).
  • Significant that Diane Keaton was sexually objectified and portrayed as desirable over 40:
    “What I loved was just like a woman who was being sexually objectified over 40... that's so cool the movie did that.” – Chelsea Devontez (09:09)

• Controversial Premise: Age Gap (06:56–07:44)

  • The film’s “radical” idea of an older woman as the ingenue was mind-blowing for 2003 and challenged expectations.

3. Personal Experiences & Film’s Impact

• First Time Watching/Initial Reactions (07:44–09:19)
  • Chelsea D: Saw the film recently—was excited to see Diane Keaton's nudity, seeing it as powerful for women over 40.
  • Chelsea V: The “crying scene” became an iconic comedic reference for her.

4. Behind-the-Scenes Facts & Inspirations

• Challenges Getting the Film Made (11:33–12:56)

  • Nancy Meyers pitched the story to male execs who showed little interest. Female exec Amy Pascal greenlit it at Sony.
  • “It took a woman to say yes to another woman again.” – Chelsea Devontez

• How Diane Keaton & Jack Nicholson Joined (22:29–24:59)

  • Diane thought her acting career was over—she was flipping houses.
  • Nancy persevered to get Jack Nicholson, despite Diane’s doubts.
  • Jack signed on because he wanted to be in a “tuxedo comedy,” helping secure the budget and greenlight.

5. Plot Recap and Structural Analysis

Act 1 (12:56–14:41):

• Montage of young women in NYC; Jack Nicholson's character (Harry) dates much younger women; ends up having to recuperate at Diane Keaton’s (Erica) beach house after a heart attack.

Act 2 (34:04–41:38):

• Erica and Harry’s relationship grows: iconic naked scene, comedic banter, age-gap romance, and chemistry (or lack thereof).

• The “crying and writing” montage: Inspired by Nancy Meyers’ real-life heartbreak post-divorce.
  “The first script was 250 pages... I just cried and cried [cutting it down].” – Chelsea Devontez (40:27)

• Discussion of the comedic use of nudity:
  “There’s something so powerful about a woman’s naked body being used comedically and not just sexually.” – Chelsea Devontez (46:10)

Act 3 (54:59–61:17):

• Erica and Harry break up; both proceed to personal and professional success; Harry has a true moment of regret and self-growth, finally reuniting with Erica in Paris.
• Satisfying character arcs: Both Erica and Harry have complete journeys; return together feels earned.

6. Chemistry Check (28:43–32:38)

• Host disagreement on romantic chemistry:
  • Chelsea V & Elena: “100% chemistry, especially in comedic timing.”
  • Chelsea D: “No chemistry, seemed like just friends... Diane and Keanu had even less chemistry.”
• Memorable quote:
  “I think either of them could have chemistry with a wall.” – Chelsea Devontez (29:02)

7. Social Critique: Age Gaps, Wealth, and Rom-Com Realism

• Wealthy women and older men:
  “They’ve seen it modeled their entire life... it is wildly normalized by their father, brother, cousin, and every man at the country club.” – Chelsea Devontez (17:56)

• Diverse representation (or lack thereof):
  “Movies about white people shit. Stay there. Don’t pretend other people are part of your problem, because this is a rich, white shit movie. And I love it.” – Chelsea Devontez (19:31)

• Women’s sexual agency over 40:
  “Awesome. Like... a woman who was being sexually objectified over 40.” – Chelsea Devontez (09:09)

8. Judy Greer Award: Best Side Character (51:35–52:59)

• Frances McDormand as Zoe wins unanimous praise for being sharp, witty, and underutilized.

9. Memorable/Notable Quotes & Standout Moments

• On Sex & Comedy:
  “You fling that peen into the wind and make me laugh, and I’ll give you an Oscar myself.” – Chelsea Devontez (47:03)

• On the importance of the female audience for male stars:
  “If you are not catering to the female demographic, good fucking luck, motherfuckers.” – Chelsea Devontez (26:24)

• On the heart of the movie:
  “Women become more productive and therefore more interesting... which makes them less desirable, because as we all know, men—especially older men—are threatened and deathly afraid of productive, interesting women.” – Frances McDormand’s character, quoted by Elena (21:41)

• Great line from the movie:
  “I love you like you.” – Diane Keaton's character, discussed by hosts (51:07–51:19)

10. Behind-the-Scenes Gems

• The film shot for six months, giving Meyers room for comedic detail (55:03–56:46).
• Diane Keaton’s surprising payday: Jack Nicholson gave her a share of his back end, resulting in enormous residuals (76:21–77:23).

11. Rom-Com Structure & Script Length (39:15–43:36)

• The original script was 250 pages (usually 100–110); studio pressures for 90-minute films.
• “If you’re over 110 [pages], I would just write back and say cut it to 110 and I shall read it again.” – Chelsea Devontez (42:27)

12. Binge or Cringe? (Myers or Tired?) [67:00–70:41]

• Woman at her desk, big white kitchen, all-white outfits = Myers (timeless Nancy Meyers aesthetic).
• Bucket hats = divisive (Chelsea D: tired; Elena: Myers).
• Writing a play about your own life for “revenge” = Myers (with gusto).

13. Final Thoughts: The Love Note (70:45–76:10)

• What they loved:

  • The vibrant premise of older people falling in love.
  • The richness and experience in Nancy Meyers’ films: “They are an experience and offer so much.”
  • Diane Keaton’s vulnerability and comedic genius.

• Final notes/criticisms:

  • Some characters (especially Harry and Dr. Julian) are thinly drawn.
  • The mother-daughter love triangle would have worked better if Frances McDormand’s character was the mother.

14. Looking Ahead: Nancy Meyers’ Next Project (78:03–79:56)

• Upcoming film announced for Christmas 2027 (after Meyers fought for a $150M budget!), starring Penelope Cruz, Kieran Culkin, Jude Law, and others.

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Timestamps for Important Segments

• [04:00] — Nancy Meyers' industry challenges and legacy
• [07:44] — First impressions of the movie
• [21:41] — Frances McDormand’s monologue on aging women and dating
• [29:02] — Chemistry check: Diane & Jack versus Diane & Keanu
• [32:29] — The onion-eating Keanu Reeves anecdote (more about his offbeat quirks than chemistry!)
• [40:27] — The “crying and writing” montage inspiration
• [46:10] — Comedic nudity and female empowerment
• [51:07] — “I love you like you.” line discussion
• [51:35] — Judy Greer Award for best supporting character
• [54:59] — Act 3 recap and story conclusion
• [55:03] — Six-month shooting schedule; production envy
• [76:21] — Jack Nicholson sharing his back end/royalties with Diane Keaton
• [78:03] — Nancy Meyers’ upcoming project

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Memorable Quotes

"What I loved was just like a woman who was being sexually objectified over 40... that's so cool the movie did that."
— Chelsea Devontez (09:09)

"If you are not catering to the female demographic, good fucking luck, motherfuckers."
— Chelsea Devontez (26:24)

"I love you like you."
— Recited by Diane Keaton's character, discussed (51:07)

“You fling that peen into the wind and make me laugh, and I’ll give you an Oscar myself.”
— Chelsea Devontez (47:03)

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Noteworthy Comedic Moments & In-Jokes

• The existential crisis over the “crying and writing” montage (iconic for the hosts).
• Ongoing jokes about script length, bucket hats, and the monotony of white-on-white decor.
• Chelsea V and Elena considering themselves "yes" people for chemistry between any charismatic duo.

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For Further Listening/Reading

• Diane Keaton’s memoir Then Again
• Vulture coverage on Nancy Meyers at Tribeca
• More reflections on Meyers’ filmography and the making of a modern rom-com

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Summary

This episode is an insightful, funny, and affectionate homage to Nancy Meyers and her rom-com classic Something's Gotta Give. The hosts dissect more than just plot—they touch on industry sexism, generational shifts in rom-com expectations, how movies shape perceptions of love and age, and why Nancy Meyers' comfort-food aesthetic works so well. Through memorable quotes, lively debates (chemistry: yes or no?), and deep appreciation for Diane Keaton and Frances McDormand, it’s a must-listen for pop culture enthusiasts, aspiring screenwriters, and every fan of a well-structured, beautifully shot, female-centered rom-com.

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Recommended for:
Fans of rom-coms, female-driven entertainment, writers, and anyone interested in the intersection of pop culture, gender, and Hollywood history. This summary should let any listener feel as if they were right there, relishing every luminous, ridiculous, and surprisingly radical moment of Something’s Gotta Give—and Nancy Meyers’ kitchen dreams.

Transcript

[Chelsea Devontez]

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[Chelsea Davison]

Hello and welcome to a special collab episode of Glamorous Trash and Podstruck. Today we are talking about the movie Something's Gotta Give, a romcom about how falling in love after 50 is beautiful, just not as beautiful as a beach house in the Hamptons.

[Chelsea Devontez]

And we will also be giving some extra background, a little a little literary stuff coming in here on the movie. And we're gonna be pulling from Diane Keaton's memoir, then Again, plus a Nancy Meyers biography, slash, possibly.

[Chelsea Davison]

This was like a published PhD that

[Chelsea Devontez]

I purchased for $30 titled Nancy Myers. And after getting that book and reading it, which was a textbook and I loved, I thought, I think we're gonna need some other stuff. So we will also be pulling in some extra research from interviews from Nancy Meyers herself. So I'm Chelsea devontez, the host of Glamorous Trash, the podcast that discusses female celebrity memoirs and trashy discourse to elevate your life. And since this is a special collab episode, I'm now gonna throw to the hosts of Podstruck, one of which has a name extremely similar to my own and will sure to Keep you gu guessing the rest of the episode.

[Elena Crivello]

It's me, Elena. Elena and Chelsea.

[Chelsea Davison]

Yes. Hi, we're Elena Crivello and Chelsea Davison, not Devontes. We are the hosts of Pod Struck a rom com rewind where we look back at classic rom coms to discuss all the things we were too love struck to notice the first time.

[Chelsea Devontez]

Now, this film was written and directed by the Nancy Myers who is the filmmaker behind so so many hits. The movie it's Complicated Parent Trap with Lindsay Lohan, the Holiday Father of the bride 2 what women want. And before Nancy Myers was a director, she wrote this screenplay for the OG Father of the Bride also Baby Boom. Another Diane Keaton movie and Private Benjamin. Plus so so so so so many more. And I just want to read this from the textbook that I spent way too much money on, but I think this is a great paragraph. Despite being the most financially successful female director of all time, Nancy Meyers quote has not broken into the exclusive realm of celebrity directors, a category she delineates as considering of Hollywood's community of celebrated artistic directors. To account for this omission, she notes simply that there are two key factors. One, she is a woman. And worse still, she writes so called chick flicks. Which has meant that despite Meyer's consistent performance, her six films as director have generated over 1.3 billion doll billion in worldwide box office. Would you agree?

[Elena Crivello]

Completely. And it's also not surprising. It's like look at the female directors now. It's like it's still almost impossible to get anyone nominated for an Oscar even if the movies are incredible.

[Chelsea Devontez]

Yeah, it's interesting too having just put out my film which is honestly not technically a rom com but kind of sits in that area. Even the positive reviews have this built in misogyny that this genre doesn't matter or that movies starring women are stupid. A male viewers like I'm shocked. I enjoyed this because it's inherent that you can't enjoy a comedy. I think the fact that like she is our most successful female director of all time and it's in the genre of quote chick flick.

[Elena Crivello]

People are just like, no, give us more guys playing ping pong, please.

[Chelsea Devontez]

Right, Exactly.

[Chelsea Davison]

Well, and it is interesting because you know, yes, Nancy Meyers has an oeuvre, you know, and some people I feel like then reduce directors who. It's like Scorsese does the same thing like Tarantino. They're all doing the same movie again and again.

[Chelsea Devontez]

The wife is dead in every Christopher Nolan movie. Go yell at him.

[Elena Crivello]

Yeah.

[Chelsea Davison]

So it just feels like, we hold female creators to a different standard.

[Chelsea Devontez]

Absolutely.

[Chelsea Davison]

Clearly, women need to get their due. And I'll say, hey, movie industry, something's gotta give.

[Elena Crivello]

Oh, beautifully done, Chelsea.

[Chelsea Davison]

Tee up the IMDb logline.

[Elena Crivello]

A swinger on the cusp of being a senior citizen with a taste for young women. Falls in love with. With an accomplished woman closer to his age.

[Chelsea Davison]

What a hero.

[Elena Crivello]

Oh, yeah. Hero.

[Chelsea Davison]

Hero. This was released December 12, 2003, and it stars Diane Keaton, who was 57 when this came out, nominated for an Academy Award for best Actress. For this role, she won the Golden Globe. Jack Nicholson, who was 66, nominated for a Golden Globe for it, and Keanu reeves, who was 38.

[Elena Crivello]

And the top song. If you want to, you know, go back in time and feel the era was outcasts.

[Chelsea Davison]

Hey, yeah, that brings me back. I know exactly, like, where I was.

[Elena Crivello]

And the top movie of this month was the Lord of the Rings. The Return of the King.

[Chelsea Davison]

Yeah, that really smashed the box office. This was number three in the box office, but Lord of the Rings made more than three times the number two spot.

[Elena Crivello]

That is insane.

[Chelsea Davison]

And this movie did very well. Speaking of, you know, lots of money. It had a budget of $80 million and went on to make $266 worldwide. And it is, you know, medium reception. 72% from critics, 69% from audiences. A rare rom com where the critical response is higher than the audience.

[Elena Crivello]

It's strange to me that this audience response seems to be lukewarm when the box office is huge. Although this was 2003, I guess people went to the movies more.

[Chelsea Devontez]

Yeah, this does not surprise me because the topic was so, so mind blowing. Old man dates old lady. Old lady. Star of rom com. Old lady. Ingenue. I don't know, I think it was like fucking mind blowing that it even got made. So it does not surprise me that there was probably some rough waters and even just taking the idea in.

[Chelsea Davison]

You're right.

[Chelsea Devontez]

Because. Because it was so crazy.

[Chelsea Davison]

Yes. Well, it is interesting because this premise is, you know, this man who dates younger women, but he finally falls in love with someone his own age. But it's like nine years difference. He's nine years older than her. I mean, it's almost a full decade and we're like, oh, so brave. Look at him.

[Chelsea Devontez]

Hero. Hero.

[Elena Crivello]

Well, when did you guys first see this movie and did it have an impact on you at the time?

[Chelsea Devontez]

I saw this so long ago. I have no memory of when I first other than it's just always been with me. I do Remember the opening sequence feeling like such a commercial. It's interesting. Cause it's like young women, but at the age I saw it, I was like, adult ladies.

[Elena Crivello]

Yes.

[Chelsea Devontez]

Doing business in New York City. And so that was, weirdly, the concept that stuck with me the most. And then the second thing that hit me was that infamous crying scene, which I have referenced thousands of times in my career. And then the third thing was, did I see Diane Keaton's bush? I love it.

[Chelsea Davison]

Yeah. So I had seen it previously. I saw it honestly, not that long ago, maybe five years ago, was the first time I had seen. Had just slipped through the cracks for me. And I finally was like, okay, I gotta watch this. I gotta watch it. It's complicated. I really went on a Nancy Meyers deep dive. I enjoyed it. I remember thinking, you know, a little hit and miss. And I would say I maybe still feel that way. But I will say this time I had forgotten that we see all of Diane Keaton and oh, my God, what a thrill to see Diane. Diane Keaton.

[Chelsea Devontez]

Awesome. Like, I. I think before when I said it, it sounded like I was like, yes, give it to me. But what I loved was just like a woman who was being sexually objectified over 40.

[Chelsea Davison]

Yes.

[Chelsea Devontez]

It was also comedic. It's like a comedy laugh. And I was just like, that's so cool. The movie did that.

[Chelsea Davison]

She's so hot. You see her boobs and you go, damn.

[Chelsea Devontez]

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[Chelsea Davison]

All right, let's get into the recap. All right, so we open the movie with a montage of young hotties in New York City and a voiceover of Harry, played by Jack Nicholson, talking about how he has a lot of experience dating uncomplicated Younger women. Then we see he's in a convertible with Marin, AKA Amanda Peet, on their way to her rich playwright mom's beach house. They haven't had sex yet and they have planned a sexcapade weekend. But oh, just as they're about to go swimming, Marin's mom Erica, played by the late great Diane Keaton, walks in and after realizing that this is just Marin's old ass boyfriend and not a home intruder, they all decide to just stay together for the weekend. Erica will write and hang with her sister Zoe, played by Frances McDormand, while Marin and Harry get freaky. Erica is clearly miffed, though her husband recently left her and now she is surrounded by older men dating women under 30. Plus she doesn't like Harry because he's a rap producer and she thinks it's crude and misogynistic. And that night they all have dinner together and can't help but talk about how Harry is an eternal bachelor who has been profiled by New York magazine for his commitment phobic, womanizing ways. Harry plans to leave first thing in the morning, but before he can, he has a mid hookup heart attack and is rushed to the hospital. His doctor is a hunk named Julian, played by young Keanu Reeves, and it turns out he's a big fan of Erica's plays and is definitely into her. But then Harry stumbles out ass exposed and dances with Erica and accidentally motorboats her. And turns out he needs to stay nearby the hospital until he fully recuperates, so he has to move into Erica's beach house with her.

[Elena Crivello]

Such a fun premise. There's a lot I love about this movie. I love the structure. There's so much great comedy. I love the setup. I think it's like so fun and unexpected. Having the meet cute be between the man this girl is dating and her mom. It's so smart.

[Chelsea Devontez]

The movie is so well structured and giving her a hot Keanu Reeves to play off as like the other man interested in her. The movie is so good it gets me to forget that it is fucking disgusting that you and your daughter would share an old man. And that I will say that is really. It's the premise of the movie and the fact that I can forget about it and enjoy this movie is incredible because every time I remember it, it makes me sick.

[Chelsea Davison]

Yeah, I do think it's a little sweaty how they have to multiple times specifically be like, so we haven't slept together yet. And then later it comes back when she's like, so you guys really? Never. And it's like, never once. Yeah, that's.

[Chelsea Devontez]

That's important. I wish the dialogue was. And you promise you didn't give him a blowjob? Never. And your hands never touched your nipples? Like, I really need to know that to enjoy anything about this love story.

[Elena Crivello]

I would love all of those details, but I don't want it between the mom and the daughter. I want there to be a go between. Maybe Zoe Frances McDormand's character could have been the one. I'm like, I don't want the mom and the daughter talking about what they've done to this man. It's so disturbing.

[Chelsea Devontez]

Yeah. Again, testament to how good the movie is. This is disgusting.

[Chelsea Davison]

Well, it also did kind of throw me because I felt like the movie was kind of caught in this trap a little bit. Because the mom and the daughter have to be dating the same guy. They have to make Amanda Pete's character old enough that it kind of works. So they make her 29, but she's a 29 year old who is waiting, like, a long time to have sex with this guy. And also is like, I'm still really nervous every time. And then later has a meltdown over her dad remarrying and is, like, kind of a mess. It just felt like they wanted to make this character younger, but then they're like, no, that's too gross. Then, oh, no.

[Chelsea Devontez]

I loved it because I'm like, thank God she melts down over her dad. Because the only reason why you are dating Jack Nicholson to begin with, you shitty daughter. And that's where you're like, erica must also be kind of shitty because your daughter's dating Jackson. We all have things to atone for.

[Elena Crivello]

Look, that was really hard for me to buy. And I understand this happens. Young women date older men all the time. But I will say, usually those young women are not daughters of very wealthy playwrights. I think a lot of times women are dating for a sense of security, and I don't shame them for that. But I'm just saying it's not usually a rich girl.

[Chelsea Davison]

I would also say it's often even younger. Like, I would say it's like a 24 year old who's like, this is so cool. I'm dating a rap producer. And I feel like once that frontal Cortex solidifies at 25, right around there, 25, 26, they go, Ew. And they realize it's gross.

[Chelsea Devontez]

Wow, you guys are cooler people than I am. I'm thinking back to who I was dating at 29. And, like, I wouldn't say my frontal cord. I hope it wasn't fully form. Didn't seem like it was. I also think lots of wealthy women do this.

[Elena Crivello]

Really?

[Chelsea Devontez]

Yes, because they've seen it modeled their entire life.

[Chelsea Davison]

Oh, that's a great point.

[Chelsea Devontez]

Constantly around older men dating younger women. And it is wildly normalized by their father, brother, cousin, and every man at the country club. So once again, like, I am not New York in any way. But I think being such an outsider and living in New York, it's weirder when you see it and it looked like the things I'd seen.

[Chelsea Davison]

Yeah, okay, that's a great point. Point, counterpoint. This is what the show is. I have to go back. You guys already touched on the opening, but I just have to call out. It opens with Crazy Town. Butterfly. Do you remember that song?

[Elena Crivello]

So that's a.

[Chelsea Davison]

Come, my lady, come, come, my lady. You're my butterfly, sugar.

[Elena Crivello]

Crazy.

[Chelsea Davison]

But then it's doing that opening credits as we see all these hot things. And then it says the credits, music by Hans Zimmer. It really made me laugh as Crazy Town is playing.

[Chelsea Devontez]

Not like I'm one to talk, but does Hans Zimmer have a goddamn life? How to every movie and every genre under the sun. But secondly, I think what's weirder to me about that song is that this is a 2003 movie. It didn't come out that year. I feel like there were better, hotter. Like, hey, yeah. Would have been a better song for that sequence, maybe, because it had the words lady in it and it was like, very on thing. Right?

[Chelsea Davison]

No, but hey, y', all, the whole section about, like, Beyonce and Lucy Liu. We could have seen some of these hot women. Yeah, it would have been perfect. And also another note is that all the women kind of looked like the same woman. Like, they looked.

[Elena Crivello]

No diversity.

[Chelsea Davison]

They were exactly the same thin, straight hair, white woman. And it's like, maybe we did need a Beyonce and a Lucy Liu in that montage.

[Chelsea Devontez]

Well, and this is where I'll push back and say movies about white people shit. Stay there. Do not pretend other people are part of your problem, because this is a rich, white shit movie. And I love it. I love this movie. Stay in your rich white shit lane and don't try and pull other people in as victims.

[Chelsea Davison]

Also.

[Elena Crivello]

Okay, I'm going to argue that that song was used to try to be a little cheesy. Like, I feel like it was used to be. Like, yeah, this is this weird world in New York with clubbing and Old men dating young ladies. Like, I feel like we were supposed to be kind of immersing ourselves in a weird culture.

[Chelsea Devontez]

I agree.

[Chelsea Davison]

I just.

[Chelsea Devontez]

I don't think that was the clubbing song of 2003.

[Elena Crivello]

No, no, no, no, no. As someone who was clubbing in New York City in 2003, no, it was not.

[Chelsea Devontez]

Cosine co sign. Someone who was eating a whole pizza to my New York City. I can't confirm.

[Elena Crivello]

Oh, we could have gone out.

[Chelsea Devontez]

Oh, my God, girl, we could have

[Elena Crivello]

been at Bungalow 8 together.

[Chelsea Devontez]

I think I was still in New Mexico in that year, crying in a Borders. All right, let's move on.

[Elena Crivello]

Close enough. You know, we have this scene when they're finally all having dinner together. Jack Nicholson is going to be staying with Zoe. Frances McDormand and Diane Keaton. I love this little monologue that Frances McDormand has. I just want to read it. Harry, you've been around the block a few times. 63, never married. Which, as we know, if you're a woman, would be a curse. You'd be an old maid, a spinster. So instead of pitying you, they write an article about you. Celebrate your never marrying. You're elusive and ungettable, a real catch. Then there's my gorgeous sister here. She is, so accomplished. She's over 50, divorced, and she sits in night after night because available guys her age want somebody that looks like Maren. The over 50 dating scene is geared towards men leaving older women out. As a result, the women become more productive and therefore more interesting. Interesting. Which makes them less desirable, because as we all know, men, especially older men, are threatened and deathly afraid of productive, interesting women. Single older women as a demographic are about as fucked a group as can ever exist.

[Chelsea Davison]

Yes.

[Elena Crivello]

That is the part of the movie where I was like, I'm in. Please, Nancy Meyers. Tell me more.

[Chelsea Devontez]

Incredible thesis, incredible monologue. I think it's what makes the whole movie.

[Chelsea Davison]

I love it. It made me sad then that Frances McDormand's character kind of drops because this idea that she is this Columbia, like, women's studies, women's lit, feminism professor who has all these, like, scathing insights could be around as Harry is seducing her amazing sister. That would be so interesting. And we really just get this little spark of her, and then she kind of goes away.

[Chelsea Devontez]

Interesting. I feel like she has to leave, because if that character stays, she's not falling for him. It's the wrong thing to do, right?

[Chelsea Davison]

Yeah, but that could be a good push and pull.

[Chelsea Devontez]

You Know. Interesting. Yeah. Yeah, maybe. What I think is tough about this movie for me is that as much as the conversation within the movie is incredible, in talking about tough stuff, the conversation outside of the movie I think is actually even worse. So when Nancy went to pull Diane Keaton into this movie, she's having lunch with her, and she's like, I have a rom com I want you to do. You're gonna be the star. And Diane is like, ugh, me? I'm over 60. What? That's never gonna happen. No one's ever gonna give you money. Fine. We get.

[Chelsea Davison]

Get it.

[Chelsea Devontez]

At that moment, Diane is flipping houses. She's like, I don't think I'm an actor anymore. No one will cast me.

[Chelsea Davison]

Whoa.

[Chelsea Devontez]

I'm having more success flipping houses, and I think I'm gonna become a real estate agent. This is all per her memoir. She said, nancy Meyers has saved my career multiple times in my life, starting with Baby Boom. And then every time they collab, she was basically in Diane's eyes, saving her from a career lull. And this was the biggest one where she pulls her back into the business when she could have been, I don't

[Chelsea Davison]

know, a Property Brothers, which also is

[Elena Crivello]

a show I would have loved to have.

[Chelsea Devontez]

Oh, yeah. Would have loved that show from Diane. And then Nancy says, I'm gonna get Jack Nicholson. And Diane laughs and is like, he doesn't do chick flicks. Diane. Diane, stop being rude to our genre that you're the mother of.

[Chelsea Davison]

Yeah.

[Chelsea Devontez]

She's like, jack doesn't do these stupid movies. Don't even bother asking him, please. This movie will never happen. She tells Nancy, don't even try.

[Elena Crivello]

Oh, my gosh.

[Chelsea Devontez]

Then Nancy, thank God, was like, this sad actress is having a break. I'm gonna not listen to her. And she sends the script out, and she gets a message that Jack Nicholson doesn't like to read scripts while he's shooting. And so she's like, how many days is he shooting? And he was shooting about Schmidt, and they were like, a million more. She was like, God damn it. And the next week, she gets a call from him, and he's like, I read it right away. I love it.

[Chelsea Davison]

I'm absolutely in.

[Chelsea Devontez]

And she says, quote, he was amazing. He said great things. But the most charming thing he said was, I've always wanted to be in a tuxedo comedy. She explains, nobody's ill a tuxedo in the movie, but you get that he's referencing a screwball of some sort or one of the more classic, you know, Hollywood love story comedies. It was a great phone call. He was lovely. And with Jack signed on, that's how she gets that budget. Because sadly, with just Diane and her, despite having already made millions, they wouldn't have gotten the budget for a woman over 40 love story. And with Jack's signature, the movie is up.

[Elena Crivello]

Wow.

[Chelsea Davison]

I mean, good for Jack Nicholson. And I will say it's not a full screwball comedy, but there are a lot of comedic beats that I really loved. I wrote down this little exchange when he has his heart attack and they bring him to the hospital and Keanu Reeves says, your dad's gonna be okay. And she goes, that's not my dad. Amanda Pete, because it's her boyfriend, he said, oh, sorry, your granddad is gonna be okay. That little rapid fire back and forth. I was like, oh, this? This is a pretty solid comedy.

[Chelsea Devontez]

Oh, yeah. Oh, my God. When his ass is out, see his butt and Diane's boobs. Screwball comedy for me, it's great.

[Elena Crivello]

And then they bring it back for the musical. And the fact that there's a whole musical number with Harry's character, Jack Nicholson's character, but his butt hanging out like a musical number with a bunch of men and their asses hanging out in the back of his medical gown is so funny.

[Chelsea Davison]

Yeah.

[Elena Crivello]

Oh, also the moment where she's going to save his life. Diane Keaton, he's having a heart attack and she rushes towards him to give mouth to mouth and he's like, oh, like he looks disgusted and puts his hand up like, no, don't do that,

[Chelsea Davison]

you woman over 50.

[Elena Crivello]

Yeah. And you're like, have you looked in the mirror, sir? Yeah.

[Chelsea Davison]

But I do think it really does have a lot of comedy throughout. And Jack Nicholson, I praise him for wanting to do more comedy because I feel like a lot of serious actors don't do that. And I think it makes them cowards, honestly.

[Chelsea Devontez]

Also, if you want money and a long standing career and you are a man in Hollywood, if you are not catering to the female demographic, good fucking luck, motherfuckers. Every huge male comedy star or huge male star right now, their fan base was built off of women. Jacob Elordi, the Kissing Booth. Paul Mezcal I kept thinking Pedro Pascal, that's built again off of normal people. Timmy Chalamet, that he came off of Greta Gerwig's movies. And so that's how you make money. And if anyone wants to be a power player, they should look at Ryan Gosling career.

[Elena Crivello]

Yeah.

[Chelsea Devontez]

And that motherfucker did the Notebook and

[Chelsea Davison]

it'll be with us forever. And glamorous trash. We've talked about McConaughey. McConaughey talks about now he's doing art. He's doing kind of movies that, you know, deserve to be told the good movies. And it's like, bitch, your rom coms

[Chelsea Devontez]

were good, and you never would be there if not on the backs of women. Same to you, Glenn Powell. His big movie was Anyone but you.

[Chelsea Davison]

I mean, even before that, his breakout was Set it Up.

[Elena Crivello]

Yeah.

[Chelsea Davison]

Yes, well.

[Elena Crivello]

And going back as far to Leo DiCaprio, Titanic, Romeo and Juliet. Those are movies of my childhood. They formed who I am.

[Chelsea Devontez]

I just think, like, if you actually want to build your career, like, you will do romcoms, even if you don't like them.

[Elena Crivello]

Yeah. Do them.

[Chelsea Devontez]

Look at me, blackmailing some invisible man, not listening to this podcast to be in my next movie.

[Elena Crivello]

Who are we giving this speech to? Really?

[Chelsea Devontez]

I don't know.

[Elena Crivello]

They're not listening.

[Chelsea Devontez]

Hey, whoever is listening, can you roll the windows down in your car, turn the volume up on this and go drive by a college. Go drive by a meissner class like

[Elena Crivello]

you're plastic outcast in 2003. There was also a part of this that reminded me, just because we just covered Pillow Talk where Diane Keaton is like, why do I have to defend myself and my life? Like, I was married for 20 years, and I like this phase of my life. I like staying in Night after was a similar scene where Doris Day is like, I like living alone.

[Chelsea Devontez]

Yeah.

[Chelsea Davison]

I don't have to, like, follow anyone else's schedule. It's like, God forbid a woman is just happy with her life and career.

[Elena Crivello]

But then it's also funny because these movies, the whole point of them is, oh, maybe there is something more. And they do fall in love. Yeah.

[Chelsea Davison]

Yeah.

[Elena Crivello]

Should we move on to the chemistry check?

[Chelsea Devontez]

That's chemistry check. These motherfuckers.

[Elena Crivello]

Yeah, chemistry check. Okay, do these leads have chemistry? We've got Jack Nicholson and Diane Keaton, and then, of course, Diane Keaton and Keanu Reeves. Let's do Jack and Diane first. What do you guys think?

[Chelsea Devontez]

I say 100%. I think either of them could have chemistry with a wall. But as we've learned on this podcast, I really value comedy within my chemistry, and they are both very funny and have great timing together. I think I don't value the sex qualities of a rom com as high as I value the comedic qualities of the chemistry. So I think they have chemistry.

[Chelsea Davison]

And I will say, I think that's going to be the case again, because I thought they. No chemistry. They seemed like just friends. And it's wild because in Diane's memoir, she said she, like, really felt something in the kiss with Jack Nicholson and that it was this, like, amazing scene and moment when they hook up. And I was like, I wasn't getting that on screen. I wasn't feeling it.

[Elena Crivello]

I definitely felt the chemistry. Chelsea and I are right because they even have this quote. Okay, this is from Nancy. My. She says, we're rehearsing that scene in the street where he's running after her. And he calls me over after one rehearsal. He's all rattled. Nancy Meyers said at the Tribeca Film Festival, this is from Vulture. I said, what's up? And he goes, diane just told me she loves me. I couldn't tell if he was horrified or thrilled. So I was like, yes, I know. I wrote that line. It's in the script, Jack. And you said, oh, okay. He thought she meant it. It's really funny. That's her.

[Chelsea Devontez]

Okay.

[Chelsea Davison]

But I think she did mean it again. From Chelsea and I. Reading Diane Keaton's memoir, she Falls in Love stars.

[Chelsea Devontez]

That's true. However, I think this is more on Jack Nicholson, who's probably so used to 19 year olds being like, I love you, that he's like, oh, God, happened again.

[Elena Crivello]

They're in love with me again. Look, either way, I think they definitely have chemistry. I'm not attracted to the man. And I was like, this is popping off the screen.

[Chelsea Davison]

Wow.

[Chelsea Devontez]

I have a question for Chelsea Davidson. Do you need to feel your attraction to the couple kissing in order to feel they have chemistry? And will you please name a couple in a rom com where you were like, that was hot kids chemistry.

[Chelsea Davison]

I mean, we just watched Rock Hudson and Doris Day and I thought they were very good. Crazy stupid Love. Ryan Gosling and Emma Stone, who. Boy, sparks were flying. Great chemistry.

[Chelsea Devontez]

Here's my question for you, because I'm curious for all people. Like, I don't want to see Diane and Jack have sex. Yeah. Or to be together, because that's not visually my thing.

[Chelsea Davison]

Yeah.

[Chelsea Devontez]

But I think they have chemistry. But for some people, does chemistry mean, like, me Watching you go back and forth is hot.

[Chelsea Davison]

Kind of. But I will say, like, anyone but you, which you mentioned Glenn Powell and Sydney Sweeney, both very attractive people. But do they have chemistry together? I don't think so. Like, not really. It's very cold. And I think that's the thing. It felt very platonic to me watching

[Elena Crivello]

this in the beginning. They felt like, oh, these two. And then it grows.

[Chelsea Davison]

If anything, I feel like often the parts where they hate each other in a lot of movies, like in you've Got Mail with Tom Hanks and Meg Ryan, the parts where they don't like each other, I would say the chemistry's even hotter.

[Chelsea Devontez]

Okay. Do you think Diane and Keanu have chemistry?

[Chelsea Davison]

No, not at all. Even less, somehow.

[Elena Crivello]

I agree. I do not think they had chemistry. You know, Keanu was doing his best. I didn't feel like they did.

[Chelsea Devontez]

And I'm going to recuse myself because when Chelsea and I read Ione Skye's memoir and he ate an onion like an apple before their kissing scene, I can no longer watch any Keanu movie without thinking, did he just eat an onion? Because last night, for whatever reason, we watched the Devil's Advocate and he and Charlize Theron are married. And when they kissed, I said, I wonder if he just ate an onion.

[Elena Crivello]

I forgot about that. That is insane and. And so mean.

[Chelsea Devontez]

I still adore him and love him, but I must recuse myself from the chemistry.

[Chelsea Davison]

Yeah. Anytime you see him kiss, you're like, whew. That might be a potent kiss. Oh, my God. Well, let's move on to act two after another quick ad break.

[Chelsea Devontez]

Okay, we're gonna take a quick break right now and we'll be right back.

[Chelsea Davison]

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[Chelsea Devontez]

Okay, welcome back. Let's continue the conversation.

[Elena Crivello]

Diving into Act 2, Harry's whole entourage helps move him in to Erica's house, which drives her crazy. But it's even worse when she finds out everyone else is heading back to the city and she's going to be alone with Harry. His rap music is ruining her ability to write until they have some spicy repartee and she puts it it directly into her script. In fact, she is so heated by the exchange and writing pages that she strips down completely naked just as Harry walks in because he is lost in her house. The next day, things are awkward and neither of them wants to talk about him seeing her naked. And Dr. Julian comes to check on Harry and confesses that he thinks Erica is beautiful and he then asks her out. And Harry invites Erica to walk on the beach with him because he needs to get back in good enough shape to have sex with the young hotties again. Surprisingly, on the walk, they actually hit it off and talk about their lives. But Erica has to go back for her date with Julia and Keanu Reeves. And this date is steamy. But Erica clearly feels weird about the age gap and she has much more fun when she gets home and instant messages with Harry, who is one room over. And they have their own little midnight date where they raid the fridge and she's about to make pancakes. But then Marin shows up. Clearly both Erica and Harry are bummed that they've been interrupted. So the next day Marin says she's ending things with Harry, except he was already ending things with her. So Erica and Harry spend the week together having fun, but a rainstorm and candles end up setting the mood and they hook up. Erica even tells Harry to cut off her turtleneck with scissors because she's now a free spirit who collects all color stones from the beach, not just white. And they have wild sex that is so fulfilling that they both cry as one does, except he still doesn't want to share a bed with her, and when she talks about going to Paris for their birthdays next year, he makes it clear this was just a fun night, even though he briefly thought they were soulmates. But one minute later he changes his tune and crawls into bed with her. Maybe they're falling in love, but the next day Harry is cleared by the hot dog to go back to the city and they accept that they're not going to see each other for a while. But wrong, because Erica's getting ex is getting remarried and Marin calls her, sobbing, begging her mom to come to the city. So Erica ends up going to dinner with her ex, his new fiance, and Marin, and she's standing up hot Doc Julian at the Same time.

[Chelsea Devontez]

Whoops.

[Elena Crivello]

And while out at dinner, she sees Harry. He's in the same restaurant, and he's dining with a new young flavor of the week. And she runs out of the restaurant and Harry chases her and she tells him she loves him and doesn't know how to be without him. And he tells her, her, I don't know how to be a boyfriend. So she cries and speeds off in a cab while his heart starts hurting.

[Chelsea Devontez]

I love this because it takes so many structural moves that I think are missing from current ROM coms, which is like, a lot of obstacles. Like, a lot of, like, we did it and then full crash out. We did it. Full crash out. Which feels more real to Toxic Love Stories. I just really like this part of the movie. I think the up and downs are very fulfilling.

[Chelsea Davison]

I like it. But there were times where I actually felt like, structurally, it felt a little bit like a stutter step. For example, they have this great sex together, and it seems like, wow, they're really connecting. And then he starts to leave, and she gets so hurt that she's like, you're not gonna spend the night with me. And it's like, wow, reality just set in. And then he just comes right back and he's like, actually, no, I will spend the night with you. And it's like, why did we have the beat of her being so hurt? And then he comes, and then the next morning she's hurt again. And then it just felt like it kind of kept flipping back and forth and back and forth.

[Elena Crivello]

The only thing I would say that I liked though about that is it kind of shows this character beginning to change or that there is something within this woman that is making him rethink his normal patterns. And I like seeing that transformation start to slowly happen versus suddenly there's this weird thing that happens in Act 3, and you're like, oh, okay, now they're changed forever. And I felt like we saw, like, they talked about how they both only sleep four hours and, you know, she sleeps in the middle of the bed. And it's like, we both just slept together for eight hours. Like, they say that when they woke up.

[Chelsea Davison]

That is a nice detail.

[Chelsea Devontez]

I agree with you, Chelsea, that it is a cleaner script move and a cleaner story move to not set her step. But when it comes to relationship movies, I feel like all of that garbage is what makes it feel so relatable. Because you're like, oh, yeah. And then the half call and then the. And then the maybe. And then he could be. And then, nope. And that's like the action scene to me, you know, like, I have a gun again, but I have a gun again. Again. Now I have two guns.

[Chelsea Davison]

Like, that's.

[Elena Crivello]

Yeah, totally. This is the action sequence.

[Chelsea Davison]

I. I hear you. I think part of this is maybe a more holistic issue I have with the movie, which is that it is 2 hours and 13 minutes long. And no matter what movie we're talking

[Chelsea Devontez]

about, every single one of them should

[Chelsea Davison]

be 90 minutes or at least under two hours. Two hours and 13. Come on.

[Elena Crivello]

I hear you. And the thing is, I was like, this is a long movie. When I sat down to watch it, I was like, oh, boy. But I don' know what I would cut.

[Chelsea Davison]

Oh, I have pitches.

[Chelsea Devontez]

Well, I have something that can speak to that. So Nancy Meyers started out in this business with a writing partner, Charles Shire, and like a rom com. After a few years of writing together, they fell in love and became a couple. And they were also quite marketed as that of like, oh my God, the husband and wife writing team who are here to write your big relationship blockbuster. And then they separate in 1999. And this movie is 2003. This crying scene where Diane Keaton is crying through 19 different camera setups, which is just one of the greatest comedic scenes to me of all time, came from Nancy crying. And here's some quotes. So she said, this movie just poured out of me. The first script was 250 pages.

[Chelsea Davison]

Oh my God.

[Chelsea Devontez]

She said a script should be. Well, now they like them should shorter, like 110 pages or something. But I've never written under 130. That was very much based on a relationship I had had after my divorce. So I knew where I was headed, what I wanted to say. I just didn't know how to get there. Shorter at first. So this obviously speaks to the length of the movie. A 250 page Rom com.

[Chelsea Davison]

Kill me. I mean, that's crazy.

[Chelsea Devontez]

Oh, yeah. And then she said, in order to cut it down, I took out my red pen and I just cried and cried. And she starts cutting things and crying. And she said it was so overwhelmed, it was so sad to cut it that I just kept cutting and crying. And then of course, that becomes the movie where Diane Keaton is writing and crying.

[Chelsea Davison]

Wow.

[Elena Crivello]

Such an iconic scene. The crying, the wind blowing her hair back as she's crying, which is like something you're used to seeing for like a modeling shoot, having the wind blown effect while a woman is crying at her typewriter. I was like, I love this so much. And I also could relate. I mean, I've definitely cried over a notepad while writing journaling or poetry or who knows what.

[Chelsea Devontez]

Yeah, but also the song is so sad and sincere. Like if you extract the song to, I don't know, play it over footage in your own movie and see if it'll work and find out it doesn't, you realize it's such a sincere song. So it's such a cool mirror of like over the top, top sad, comedic, but also like true heartbreak. Okay, I have a question for both of you. Someone asked you to read their script. They're like, it is a rom com. They send you the PDF. What is the page number of that PDF that you would open it and be like far too long. Like I won't read this way too long.

[Chelsea Davison]

If it is over 1:30, I won't read it.

[Elena Crivello]

Yeah, 1:30. But I also feel bad because I have had people send me scripts that are less than 1:30 and I still haven't read them. But that's just because I get overwhelmed.

[Chelsea Davison]

And even 1:30, I would say, hey, this needs to be as close to 100 as you can get it.

[Chelsea Devontez]

Yeah, I would say if you're over 110, I would just write back and say cut it to 110 and I shall read it again.

[Chelsea Davison]

But I'm kind of like, depends on where they are in their career.

[Chelsea Devontez]

No, no, we're not being nice people. We're just being our judgy 30 seconds of do I want to read this? I'm immediately like, oh, you haven't listened to enough podcasts.

[Chelsea Davison]

Yes.

[Chelsea Devontez]

If you are sending out a script that is above 110 pages in the rom com genre, that tells me you haven't read the books.

[Chelsea Davison]

Yes.

[Elena Crivello]

You know what's funny to me is having come from teenagers tv, I really struggle to write movie scripts that are longer than like 95 pages.

[Chelsea Davison]

I love that. That's great.

[Elena Crivello]

Well, you're right. We've got to fill this up some more.

[Chelsea Davison]

I mean I. The movie that I wrote that you know now is coming out on Roku, the original, it was like 103. And even that they were like, this bad boy has got to get close to 90. So I had to cut another 10 pages out to get it right down. And I mean that is crazy. In the end, for the version that is going to air, it's an un 90 minute movie. So it had to be under 90 pages. But even when it was going to be over 90 minutes, they're like a hundred pages For a movie no Way Wild.

[Chelsea Devontez]

Because they say a minute on the page is a minute on screen. Not true. 90 pages is bringing in far greater than 90 minutes of footage. Right.

[Chelsea Davison]

Especially with a comedy where you're going to have some big set pieces and reactions and things like that that are going to carry more weight that maybe a paragraph written, but in reality is like a two or three minute sequence.

[Elena Crivello]

Yeah. Wait, I want to touch on two little things. I love that she married someone named Shire because their kids have hyphenated last names. Hayley Meyershire. Hayley Meyershire.

[Chelsea Devontez]

Yes.

[Elena Crivello]

I met them back in the day and they're very sweet girls. Okay. That's one thing which I just love Meyershire as a last name. It's so good. Okay. Secondly, as I'm watching this, she's like, her name is Erica Jane Ban. But as someone who watches Housewives, I'm going, did Erika Jane from Real Housewives of Beverly Hills name herself after this character? Because that is a stage name she has.

[Chelsea Devontez]

I don't believe Erica has the movie or reading retention to even make that choice.

[Chelsea Davison]

Well, for now on in my life,

[Elena Crivello]

in my version of the world, she has named herself after Diane Keaton and something's gotta give.

[Chelsea Devontez]

That would change everything about her.

[Elena Crivello]

For me. It would change like the timeline of everything that happened. Like maybe Tom wouldn't have actually embezzled. It's just a great theory I have going.

[Chelsea Devontez]

Love it.

[Chelsea Davison]

Well, one line I want to call out is at the start of this act when he's going to live with her and he dismisses the help. Erica is going to have to take care of him, then set down the rules and everything she says, I don't want to play the uptight nurse to your bad boy patient. Is that a clever little One Flew over the Cuckoo's Nest reference? Oh,

[Elena Crivello]

I think it is.

[Chelsea Devontez]

Never caught that.

[Chelsea Davison]

Next thing I want to jump to her stripping nake. That felt crazy. Do you just like strip naked in your house and are just like, I just want to be free?

[Elena Crivello]

Well, I thought maybe she was going to go shower, but also the answer is yes. I love being naked. Yes.

[Chelsea Davison]

Really? Am I the only.

[Elena Crivello]

Wow.

[Chelsea Davison]

Okay. I guess I gotta sort out my body issues and my uncomfortability. I'm like, ew. Being alone with my body.

[Chelsea Devontez]

Yeah. The only thing stopping me is that I just. I love supporting support for the girls. So like I'm probably stopping at bra just so I can keep them hoisted up from a posture as I write and cry. But other than that. Oh, I can Absolutely see me doing

[Elena Crivello]

this if it weren't for, like, my in laws always being over. I mean, back at my old house, because I had just, like, doors that went out to our garden so, like, no one could really see in. I used to love walking around naked.

[Chelsea Devontez]

I also have to say there's something so powerful to me about a woman's naked body being used comedically and not just sexually.

[Elena Crivello]

Yes.

[Chelsea Devontez]

And another movie which, well, I don't know what fight me saying this movie is going to start, but no hard feelings.

[Chelsea Davison]

Yes. Jennifer Lawrence.

[Chelsea Devontez]

And she gets out of the ocean, tip to tail, butt, ass naked, and beats the shit out of someone. And that is one of my favorite laughs. In a industry that has only used movies to objectify women. I think it's so cool to turn that on its head.

[Chelsea Davison]

I agree. And again, this comes back to the, like, male actors. You got to, like, really get in there. Because I'm like, yeah, Christian Bale, you can lose a million pounds or you could do whatever method stuff. Until you, like, do a comedy where you are fighting naked with your, like, dick flopping and it's funny. You're not expressing the true spectrum of acting.

[Chelsea Devontez]

You fling that peen into the wind and make me laugh, and I'll give you an Oscar myself.

[Chelsea Davison]

Okay, so the opposite of being naked. Then I want to talk about the outfits because it's so much white on white on white. It's like white and cream and eggshell and khaki. And that's everyone. Everyone has brought this palette to the Ha Hamptons. Until then a different scene where she has a black turtleneck, a black bucket hat, these black glasses. She looks like the blind mouse from the nursery rhyme. Like, it is wild, these outfits.

[Elena Crivello]

Diane Keaton really loved black and white, so I thought I was like, maybe this is a Diane Keaton request.

[Chelsea Davison]

She was like, I don't need a wardrobe person.

[Chelsea Devontez]

This is a Nancy Meyers aesthetic. Nancy Meyers was quiet luxury before the term was tiktoked. This is what she brings to it. This is Hampton's Hampton are just like, everything is on the fade filter.

[Chelsea Davison]

Yeah.

[Chelsea Devontez]

Right. So this didn't bother me. And her black turtlenecks read very. I am playwright. Well, also very hard to shoot. So the fact that the movie still looks this good when so much is beige and white to me is very impressive.

[Chelsea Davison]

That's a great point. It doesn't feel blown out.

[Chelsea Devontez]

Yeah.

[Elena Crivello]

I will say the hard part for me was watching them cut that turtleneck off of her body when I was like, that's probably like a $500 turtleneck.

[Chelsea Davison]

It's cashmere. Don't do it.

[Chelsea Devontez]

INS AD for Quint's cashmere at an affordable price.

[Elena Crivello]

I also like that they show him going down on her. Yes, yes, this is great. But she freaks out. She's like, we need to take your blood pressure. And I thought that she was taking his blood pressure while, like, riding him. But then I realized they still had their clothes on. But either way, it was still super funny that she was, like, straddling him while taking it.

[Chelsea Davison]

I just loved his hair when he pops up from munching and he just looks insane. He looks like he's been driving down, like, Mad Max Fury Road, like, Wind Blown. That was a great moment where I was like, this movie is funny. That was great.

[Chelsea Devontez]

Yes, agree.

[Chelsea Davison]

Now, a nitpick, okay? And maybe this is an acting nitpick, okay? For both Keanu Reeves and for Jack Nicholson. All right? There's a couple lines like Keanu says to Diane Keaton. He says, I've never reacted like this. Like, what? There's almost no reaction. Like, I felt like I was getting nothing. So when he's like, it's never hit me around a woman my own age. I'm like, what is different? And then later, everyone's reacting to Jack Nicholson. They're talking about, like, he, wow, he's really got it. He's really got something. And then later they say, he's soulful when you don't expect it. Is he? I feel like we are not seeing that. We're not seeing that charisma. We're not seeing him be soulful, honestly. Like, we see a little banter, like, he's playful. I just felt, like, lost every time someone was like, why? Wow, this is this reaction. They're casting a spell. I just didn't feel like the acting supported it.

[Chelsea Devontez]

I feel like I always let those things go because in my head, I go, studio note. This is, like, to me, tried and true executive being like, he should say something's different about me.

[Elena Crivello]

Yeah.

[Chelsea Devontez]

And you say the thing out loud because I feel like it just happens all the time and so much stuff. And it just feels like a writer writing it out loud so that the movie gets a budget.

[Chelsea Davison]

Yes, that's a great point. It does make me forgive it.

[Chelsea Devontez]

So then I'm just like, ah, pseudo note, back to the movie.

[Elena Crivello]

Yeah. But also, I was kind of like, it's fine. I buy it. All right? The part I was struggling with a little bit was that soulful line. Like, he's so soulful. From Amanda Pete. I didn't feel he was necessarily soulful. No.

[Chelsea Devontez]

And what I feel in that line is, ew, you've had his tongue in your mouth.

[Elena Crivello]

The last thing I want to call out for this act is, I love the scene where they're outside, you know, she sees him on this date, she is devastated. And, you know, she goes running outside and she's like, I really like you. And he's like, I really like you too. And she says, I love you like you. That line, just that one line, I love you like you to me is just. It's like a perfect example of great dialogue.

[Chelsea Davison]

I wrote down that exact same line, I really like you. I love you like you. That is such great writing. And made me go like, oh, it made me melt.

[Elena Crivello]

It made me melt and it made me feel that heartbreak.

[Chelsea Devontez]

Yes.

[Elena Crivello]

Something about that. Like, I've had that feeling where you're like, no, you like me, but I love you like you. Like, this is another level.

[Chelsea Davison]

So good. All right, well, I think we need to talk about some of these side characters, so it is time for the Judy Greer Award.

[Chelsea Devontez]

Fabulous.

[Elena Crivello]

You earned it.

[Chelsea Devontez]

You deserve it.

[Chelsea Davison]

The Judy Greer Award. Who wins the Judy Greer Award for the quirkiest side character, the one who just stole our hearts? The nominees today, we've got Frances McDormand as the women's studies professor Zoe. Amanda Pete as the emotionally immature Marin. John Favreau as Harry's do it all assistant Leo Paul Michael Glazer as Dave, Erica's ex husband. And Rachel Ticotin as the doctor who tells Harry love hurts. Who do you give your Judy Greer Award to?

[Chelsea Devontez]

Oh, mine's all Frances. I would say, as a friend to the ingenue characters go. Even though she leaves the movie, she's just so fully well rounded, gets a great speech, great attitude. You can see them as sisters. And she's my fav.

[Chelsea Davison]

I agree.

[Elena Crivello]

Yeah, I was gonna give it to Franc as well. Oh, my God. All three of us.

[Chelsea Davison]

A sweep. Even her moment where they're first meeting hot doc Keanu and they're going down and everyone's interested, except for, obviously, Diane Keaton. But the way she bats her eyelashes at him is just. I don't know. There's something really funny about her delivery.

[Elena Crivello]

She's very funny in this, in those little parts. And this is just a few years after, maybe six years after Fargo. It's impressive, somebody going from something like that to such a comedy, being a comedic character. Yes.

[Chelsea Davison]

All right, let's bring it home with Act 3. Harry thinks he's had another heart attack, but it's actually just stress because clearly he doesn't want to lose Erica. He starts leaving her messages, but she's too busy writing and cry, screaming. And Harry finally instant messages her and they almost reconnect, but he refuses to say that he misses her. And yes, Erica is a mess, but she still tells her daughter that love is worth getting hurt for. So the next day, Erica's sister spots Dr. Jo Julian, hot doc at the farmer's market and brings him back to Erica's house. And they immediately resume dating. Erica finally finishes her new play, which Harry discovers when his latest 20something gal pal tells him that she's auditioning to basically play Marin. And the guy she's hooking up with has a heart attack. Harry crashes a rehearsal and when he sees the lineup of look alikes dressed in hospital gowns with their asses out, he has a panic attack, which he thinks is yet another heart attack. Six months later, Erica's play opens on Broadway and Harry goes to see Marin, who is now married and pregnant. She tells him that her mom is in Paris for her birthday. So Harry goes there to find her. He tells her that he did a high fidelity and he tracked down all his exes to apologize. And oh, that's when Hot dog Keanu comes in because they're still dating. Which throws Harry. After a dinner full of laughing and realizing that Erica and Harry have each other's glasses from their time in the Hamptons, Julian sees that these two are still into each other. Harry goes off by himself to cry on a bridge. But Erica finds him. She's still in love with him and he's in love with her. For the first time in his life, he's been in love. They kiss in the snow overlooking the Seine. And then we end with Harry and Erica going to lunch with Maren's new husband and baby back in New York. The end. Yay.

[Chelsea Devontez]

Which brings us to the unbelievable fact I learned about this movie when we read Diane Keaton's memoir. And I think about it constantly. This movie shot for six months. Six months. I mean, first off, I'm just, I think the jealousy in my body. Again, I must recuse myself from this conversation because I'm just like throttled with envy when I think, okay, I think maybe they must have really gone to Paris and shot a real Paris.

[Elena Crivello]

I think they did.

[Chelsea Devontez]

Yeah, of course. And Hampton's like. It was just like. Imagine having six months to do a rom com. Just so people know, I shot my film in 20 days, Chelsea. Care to share yours?

[Chelsea Davison]

Oh, boy. So this Roku movie, it was filmed in 1212 days, under two weeks, to make a full movie.

[Chelsea Devontez]

I mean, you know, we're talking about 2003 to now. The industry has changed, however, six months.

[Chelsea Davison]

Yeah, it must be nice. And, you know, obviously, very different budgets for all three of these movies.

[Chelsea Devontez]

Once again, there's was $80 million in 2003.

[Chelsea Davison]

Right. So it's. We're talking about a different scale, the amount of time also. I mean, this movie, again, is over two hours, but still, six months is crazy.

[Chelsea Devontez]

Yeah, in a good way.

[Chelsea Davison]

I wish we could. I wish we could do that.

[Elena Crivello]

Yeah. Because think about it. If they didn't have that time, we. We wouldn't have probably that amazing montage and all those different crying angles of Diane Keaton.

[Chelsea Devontez]

That scene had to have taken one to two days to shoot because you're right. Like, it takes so many camera setups and angles and wind machines to make it that funny, and you just don't get that anymore.

[Elena Crivello]

And it's so funny because it even comes back again later when he messages her. So you think you're done with that crying montage. And she starts crying again, and then she's also laughing. It's just. It's so good. Diane Keaton is a comedic genius.

[Chelsea Devontez]

I like this act because, one, she has a way hotter, way younger man who is a doctor in Paris with her. So the fact that she's going to choose him, it's full choice. It's not just like, well, there's one man around, which I think is very important. It's just as important as her daughter never having had sex with him, like, to be part of the movie. So when she chooses him, you're like, listen, I guess it really was him, because most of us would have chosen Keanu. And then the other thing I like about this act is that he goes and apologizes to all of the other women, which is like the true growth of the piece of shit bad boy. When usually they're just like, I promise I'm different. Right.

[Chelsea Davison]

And they do have him say that. He's like, at first I kind of thought they were crazy, and then I realized I really started listening to what they said. I'm like, this is the real version of what all those celebrity apologies of like, I'm. I'm listening and learning. It's like, no, this guy was listening and learning.

[Elena Crivello]

Watch Act 3 of Something's Got to Give, and then tell me if you're really listening and learning. Yeah, yeah. I will say this third act, I think is very satisfying because so often when we're doing these recaps, the third act is like, then they like cried for a little bit, realized they were wrong, and got back together. And in this third act, so much happens. We see her have her play like, she's like, no, I'm moving on too. She moves on. She starts dating somebody else. She falls in the love and like, they both have very full stories to come back together. And I think that's really important in a rom com. So often they breeze past that and it's like, no, we just watched why they're not right for each other for two thirds of this movie. I want to see what changes.

[Chelsea Devontez]

I want to see growth.

[Chelsea Davison]

But here's my complaint is that I didn't necessarily get why if she's been dating Dr. Julian this whole time, he's so obsessed with her, he's presumably just taken her to Paris. I mean, and she has her own money, but, like, they took time off their successful jobs to come to Paris to celebrate her. They have a hotel together.

[Elena Crivello]

Like, he bought her what might be a ring. We don't know what's in that jewelry box.

[Chelsea Davison]

Also that jewelry box that he sets on the table. And then we just kind of like, don't ever open it. Very confusing move. But like, to have all of that and then for her to kind of choose Harry didn't totally track for me. Like, we have the moment of them at dinner kind of laughing about the glass glasses. It didn't totally land for me, really.

[Elena Crivello]

I just felt like she was never really into Keanu. It was always just a little, like, how can I not date Keanu Reeves?

[Chelsea Davison]

But then poor Julian, he's like obsessed with this lady.

[Chelsea Devontez]

And definitely poor Julian. But Julian's got some issues to work out and he really shouldn't work them out by marrying her character is how I was like, I think it's best he's freed in Paris. Is it the choice I'd make? No. But I do think this movie is saying something about age appropriate love in that, like someone who really gets you, someone who wants to take your blood pressure after they go down on you. It's really saying something about age gap relationships and, like, how her and Julian could have had a good relationship, but they were never going to have what she and Jack can connect over. So I think it weirdly makes a lesson that would be detrimental had she chosen Julian to the movie. Yeah, like, she can date a young man, but Jack shouldn't date a young woman.

[Chelsea Davison]

Well. And I don't necessarily think she should choose Julian. I just want a little bit of a stronger case for why she is still, six months later, hung up on Harry.

[Chelsea Devontez]

She knew Keanu for the same amount of time and didn't love like him.

[Elena Crivello]

Yeah, she loves him.

[Chelsea Davison]

What do you mean?

[Elena Crivello]

She was in love with him. That's why.

[Chelsea Davison]

I guess the things seem so serious.

[Elena Crivello]

She cried for so long. I fully believe that.

[Chelsea Davison]

Also was kind of deranged.

[Elena Crivello]

Chelsea.

[Chelsea Davison]

She's known him for one week. This is some bachelor shit.

[Chelsea Devontez]

I think I cried. Cried like that yesterday.

[Chelsea Davison]

But not over someone you've known one week.

[Chelsea Devontez]

No, no, I. I've done worse.

[Elena Crivello]

I've definitely cried very hard over people I should not have cried over.

[Chelsea Davison]

I was like, oh, maybe when the montage of them hanging out, I'm like, clearly, it's been, like a month. And then they're like, really? You're going back to the city after one week? And I was like, this was all one week.

[Chelsea Devontez]

We have patterns in our podcast relationship, which is that Chelsea Davison is simply

[Chelsea Davison]

too sensible, responsible, and mature for her

[Chelsea Devontez]

years to relate to these things in movies that us pieces of garbage feel utterly seen by.

[Elena Crivello]

Yeah. I think also time moves differently in this movie.

[Chelsea Davison]

Time moves differently for Chelsea Davis.

[Elena Crivello]

Sam, you're Chelsea.

[Chelsea Devontez]

Chelsea was like, I wasn't doing that when I was 12. I was like, oh, I wasn't doing that when I was 35.

[Elena Crivello]

Chelsea's very practical. It is shocking sometimes to me.

[Chelsea Davison]

Maybe that's why I love rom com, because they're an escape from my usual sensible nature.

[Elena Crivello]

At times, I do wonder, are you an alien?

[Chelsea Devontez]

Yeah.

[Chelsea Davison]

And I was gonna say.

[Chelsea Devontez]

And a reality show slash documentary for me.

[Elena Crivello]

But what I was gonna say is, like, at the end of the movie, Marin. It's apparently only been six months since Diane Keaton and Jack broke up. And she's like, oh, I haven't seen you in six months. And she is married and three months pregnant.

[Chelsea Davison]

Right. Also in that pep talk between the mother and daughter, Erica tells her, like, oh, you know, yes, I'm her hurt, but, you know, I've had the time of my life. And Marin says, I've never had the time of my life. The whole movie. We've seen you get calls from friends at parties, and you've been leaving parties. And that was the whole thing that she wasn't committing.

[Chelsea Devontez]

But didn't she mean in love?

[Chelsea Davison]

I guess maybe it's just the phrasing, but that line threw me the whole Thing. She was like, oh, he's so fun. Harry's so fun. Like the time of your life. Like you've been having just a laugh a minute.

[Elena Crivello]

That storyline of her having these hang ups did feel a little shoehorned in there to me. Because in the beginning, she did seem. Seem like just this fun party girl. But I guess what we're supposed to be seeing these deeper layers to Amanda Pete.

[Chelsea Devontez]

And I think I always felt, I'm like, maren sucks. Right? She's dating Jack Nicholson. This girl sucks, and something's deeply wrong with her. And so by the end of the movie where it's like, oh, maybe she healed a bit, I was like, all right, good, because Maren wasn't going to get better than that. When I hear it from you both, I'm like, oh, was that supposed to be a character we were rooting for?

[Chelsea Davison]

I think so.

[Elena Crivello]

No.

[Chelsea Davison]

But also so six months ago, her mom said, like, hey, you should really, like, give love a chance. And then when we see her six months later, she's three months pregnant.

[Chelsea Devontez]

Yeah, because three months after her mom said that, she had a one night stand with the man of her dreams who she was gonna marry and conceived his child.

[Chelsea Davison]

Okay. So it just dovetails into fools rush in.

[Chelsea Devontez]

I'm trying to make the mathy math, but yeah, I think you're right.

[Chelsea Davison]

One night stand, you know?

[Elena Crivello]

Yeah.

[Chelsea Devontez]

Oh, when I stand.

[Chelsea Davison]

One night stand, you get married and then you. You fall into love for real. Well, okay, well, that didn't land. That's fine, guys.

[Chelsea Devontez]

You know what? No, no, Actually, Chelsea, you're calling out a really huge trope in romance novels and obviously romantic comedies, which is sex before love, which is like, it's sometimes a sexual fetish. It's a romantic fetish of, like, the sex comes first and then comes love. And I think this is like a huge stereotype in romcoms, so.

[Elena Crivello]

Yeah, well, and that is very big in heated rivalry, which obviously was a book series first.

[Chelsea Devontez]

Absolutely.

[Elena Crivello]

Yeah.

[Chelsea Davison]

Okay. A tinier thing to call out then. Can you just walk into a Broadway theater and listen without a ticket? Because he just. He, like, sees her play, walks in and like, opens the door and is like, huh? They're laughing like, what? There's no usher in sight.

[Chelsea Devontez]

There was surely an old woman being

[Chelsea Davison]

like, hey, out of here.

[Chelsea Devontez]

And that was unrealistic. Yeah, good point.

[Elena Crivello]

It's a movie. It's a movie. I gotta let it slide.

[Chelsea Devontez]

Yeah. It's like I have to recuse myself from everything because I feel so.

[Elena Crivello]

Yeah.

[Chelsea Devontez]

Have you ever had someone, like, logic your script to death, and you're like, yeah, well, now it's not a movie anymore. I don't know what to fucking tell you. Do you want to see a movie and a joke with big fun things happen, and then it's not going to be a fucking documentary, by the way. The documentaries edit out the boring shit too.

[Chelsea Davison]

All right, well, I want to call out a Rod Roger Ebert quote, because I think it connects to the people in the movie. Okay? And he said, a movie like this depends, crucially on its stars. To complain that Nicholson is playing himself or that Keaton is playing a character very much like her public Persona is missing the point. Part of the appeal depends on this movie's teasing confusion of reality and fiction. So I wanted to get your thoughts on that, because this is. Is another, like, are people watching this, like, with their heads? Wait, is this really about Jack Nicholson being a womanizer versus just kind of like, going on the ride of something's gotta give?

[Chelsea Devontez]

I feel like this is a dusty, antiquated movie rubric, which is, if you're playing too close to yourself, it doesn't count as acting. And I'm just so done with it. Like, I don't need to see you lose 90 pounds, right. To have pulled off a role. And I think being charismatic, authentic, and evocative of that, the truth, while still hitting every joke, is just such a talent. And the idea that you'd be like,

[Elena Crivello]

well, I bet you seem like that

[Chelsea Devontez]

at a dinner party. I'm like, dick.

[Elena Crivello]

And that is a talent to be that charismatic and vulnerable and everything at once. And it's like, yeah, guess what? I do want to see that person on my screen. I don't want to watch you, so.

[Chelsea Devontez]

Exactly.

[Elena Crivello]

That is acting. I wanted to say one thing. So there is a shared filming location with the Devil Wears Prada, and that is the inside of Harry's house. You know, where they go to the party where he's, like, not having fun. And that is Miranda Priestley's house in the Devil Wears Prada. Just a fun fact, guys. Just a little fun fact fun. Well, should we move on to binge or cringe?

[Chelsea Davison]

Let's do it.

[Elena Crivello]

Binge or cringe? This is the part of the show where we rapid fire through things from the movie we liked or didn't.

[Chelsea Davison]

All right, instead of binge or cringe, I have one pitch for today. Myers or tired.

[Chelsea Devontez]

Oh, that is so good. I love that. I gotta tell you, I'm all Myers on the woman at the desk trope. She really romanticizes woman at her own desk across almost every movie she's ever made. And there's such a great woman at her own desk moment in this movie. I'm all Myers.

[Elena Crivello]

Oh, Myers.

[Chelsea Davison]

I am also Myers on that.

[Elena Crivello]

Obviously, since we're all writers watching it. It does just feel like I'm like, oh, yeah. What I do is sexy. When in reality, I'm often, like, unshowered. Sitting in my bed eating, like, gross chips. While I also write. I like this version. Yeah.

[Chelsea Davison]

Her crying. I've never, like, been crying while typing, but I like, basically act out all the things so my husband will look over and I'm just like. I, like, look angry because I'm writing an angry part. And then I'll be like, as I'm writing something, someone, like, being giddy when

[Elena Crivello]

they're flirting or whatever.

[Chelsea Davison]

So I do feel the, like, emoting while you write. And I just. Yeah. Her at her desk. Big Myers. Okay. All white outfits. Myers. Are tired.

[Chelsea Devontez]

Listen, if you can pull it off, I guess go for it. Myers.

[Elena Crivello]

Yeah, I'm going. Myers. But I still just have a fear that I will get my period wearing all white. Like, it's like an irrational fear from when I was little. It's just going to come at a time I never expect. And I'm going to be walking around with blood all over my ass, I guess.

[Chelsea Davison]

Myers. I think they make it look good, but for me personally, tired. Because I don't know how to do it. Someone would be like, do you think these people, two shades of white match? They're different. Are you colorblind?

[Elena Crivello]

You can't go wrong.

[Chelsea Davison]

It would. It would be too stressful for me.

[Elena Crivello]

Okay. Writing a play about one of your relationships and pretty much changing nothing. Myers are tired.

[Chelsea Devontez]

Well, as someone who wrote a memoir, me.

[Chelsea Davison]

Yeah, yeah, yeah. I'm gonna say tired. I feel like you gotta change something. Memoirs are different because that's like the story of your life. But if it's fiction, I don't know.

[Chelsea Devontez]

Are you kidding me? If you have a career that can take total revenge out on a fuckboy, you nail him to the cross with every word, babe.

[Chelsea Davison]

You're right. Actually. You just convinced me. Myers. Yeah.

[Elena Crivello]

Myers. I have maybe changed too much and protected the not innocent. And I'm like, what am I doing? This movie has inspired me to go in and just make it so obvious who I'm talking about. All right.

[Chelsea Devontez]

Big, giant, sexy kitchen. The kitchen being the hottest, horniest thing in the movie. My Myers are tired.

[Elena Crivello]

Myers. I love a kitchen. I love cooking. I love being in a kitchen.

[Chelsea Davison]

Definitely Myers. But I will say, for me, the kitchen was not the star of this one. I mean, I think it was her, like, writing nook area with the big windows. I just keep thinking about them. They're like kind of bay windows. They, like, go out. They're just. I want that view. I want that peace. I mean, maybe natural light is why I'm not writing enough. Do you think that's it? Yeah, I think that's it.

[Chelsea Devontez]

I think if you got a fresh

[Chelsea Davison]

vase of flowers every day, your script

[Chelsea Devontez]

would be done in moments.

[Elena Crivello]

Buy a beach house in the Hamptons. Chelsea.

[Chelsea Davison]

All right, that's what I'll do.

[Chelsea Devontez]

Yeah. I recuse myself. I'm writhing with envy and jealousy that anyone could procure a meal and do it well in any nice fashion.

[Chelsea Davison]

All right. Meyers are tired. Bucket hats, tired.

[Chelsea Devontez]

Never, never, never. Meyers. They were always disgusting.

[Elena Crivello]

I'm going, Myers.

[Chelsea Davison]

What?

[Elena Crivello]

I'm in. I like them on her. I'm not wearing bucket hats. But I liked it. I was like, she looks cute.

[Chelsea Davison]

I know that Diane Keaton is such a hat girl. That's, like, her thing. But I feel like the bucket hat was not the move. I feel like we gotta workshop that with wardrobe.

[Elena Crivello]

Disagree. Shall we move on to the love note?

[Chelsea Davison]

Let's do it.

[Chelsea Devontez]

The love note.

[Elena Crivello]

Each of us will give one final thing we loved about the movie and one final note.

[Chelsea Davison]

My final thing. Thing I loved was. I do love this premise. I love this idea of these older people falling in love. Kind of this person who dates younger women having to finally appreciate an older woman and seeing all the things he's been missing out on and for her as well, realizing that she still has so much life and sexuality left. That moment when she cries and says something like, I thought I was done. I thought this part of me was over. I thought was so beautiful. And I just. I loved that. My note is that I did feel like some of the characters felt thin. Not Diane Keaton, but Harry. Like, for example, he's a rap producer. And that's like, a point of conflict. But, like, that's crazy that this man would be a rap producer. That's an interesting story. I want to know about that. I want him to share that perspective. Like, he makes a thing when she's like, isn't it all crude? And he's like, well, some people think it's poetry. I want to see him play her some rap music.

[Chelsea Devontez]

How dare you conjure that scene? I'm sorry. White Jack Nicholson being Like, have I got a rap song for you? Plays of thinking. And she's like, ooh, babe.

[Chelsea Davison]

Can you imagine if in that montage of her crying at one point, it's just like her listening to rap and like she loves it and she's still crying. Come on. That's funny.

[Elena Crivello]

I thought he was supposed to be maybe like some upscale version of like Rick Rubin is what I was thinking he is.

[Chelsea Davison]

But like, we gotta dive into that. And Dr. Julian, paper thin, no character there.

[Elena Crivello]

Yeah. They could have fleshed him out a little more.

[Chelsea Davison]

Give us more with the. These male characters.

[Elena Crivello]

All right, Chelsea, what about you?

[Chelsea Devontez]

Just quickly. But you liked people we meet on vacation and those were not thin characters to you. I think the rubric has changed.

[Chelsea Davison]

I think reading the book helped. And also my note for that movie was Alex was thinly drawn. I think Poppy, they do a better job with.

[Chelsea Devontez]

I just feel like the rubric for romcoms has changed and it's upsetting.

[Chelsea Davison]

In a two hour movie, you can't find a little bit of time to give me any details about this guy.

[Chelsea Devontez]

He's a rapper producer.

[Chelsea Davison]

Oh, my God.

[Elena Crivello]

I mean, there were a lot of details. He dated young girls. He only dated young girls. He took Viagra.

[Chelsea Davison]

I know he was engaged to Diane Sawyer.

[Elena Crivello]

How's that for a detail?

[Chelsea Davison]

I just want to get a little bit more into his worldview and where he comes from, why he's a rap producer and what he likes about it. Like, is he passionate about it? It feels very surface. And I feel like I wanted more. Ultimately, all I want is to be really rooting for them to be together.

[Elena Crivello]

He's an expression exploiter. He's an exploitative man.

[Chelsea Devontez]

Say he's a. He's a rich white grifter. I don't want to hear him talk for a second about how he connects to the music. All right, I have a quote from my big fancy books. Nancy once explained what a movie is. Quote, the movie is bigger than you. It used to be called a dream factory Hollywood. Right. Because you can sit in the dark. You volunteered to be there. You've paid to go. Lights go down and the curtain opens and somebody's dream is up on the screen. Somebody's version of a world that you get pulled into and you get sucked into. And it's a place, in my opinion, that has brilliant storytelling, brilliant, beautiful visuals. And you get to be taken on a journey with these characters and with this story. The lights come up and at the end, you know you've been somewhere and you've had an experience. And I feel this way about all Nancy Meyer's movies, which is to say, and I think this is maybe I grade on a different rubric. Even if this blah, blah, blah, blah. It's like they are an experience and they're really full and they're. And they offer so much. And so even if I wouldn't have made the same choices or I would have been blowing Keanu by now.

[Elena Crivello]

Hi.

[Chelsea Devontez]

It's just such an experience to be in that character. And I just love Nancy Meyer's movies. And I think perhaps I love that she exists. And for me, that is my, like. Well, I read the book. Like, I'm coming to these movies with so much baggage of just loving that. We've had this female director here making blockbuster hits for decades, and we can name some of them as like. Like movies that stand the test of time, like Parent Trap and Father the Bride. Like, these are just long standing movies. So for me, she is just such an icon. I don't think I can look at her movies without bringing that bias.

[Chelsea Davison]

That's a great love. All right, what's your note?

[Chelsea Devontez]

I have to give a note? Yes. My note is that Marin should have been Frances daughter. All the same. Same antics, all the same relationship, all the same stakes. But you're not. What, fucking your daughter's boyfriend? Yeah.

[Elena Crivello]

I think that would have been a great tweak. Yeah.

[Chelsea Devontez]

And then Frances can appear a little more.

[Elena Crivello]

Yeah. The final thing I will say I loved about this movie, I just. I love Diane Keaton. She is so vulnerable and funny and charming. Like you were saying earlier, Chelsea. It's like you feel like you are just watching this real person, this lived experience, and I'm just in love with her. I love watching the ride she's on. My final note would be there was some dialogue in the first act when everyone is kind of starting to coalesce into the kitchen. And we have the big reveal, you know, that Jack Nicholson is Amanda Peet's boyfriend. There was some dialogue there that I thought was kind of bad. And now did I write it down? No. But I do remember being like, is this dialogue kind of stilted and awkward and bad or is it me? So. So for the most part, Nancy Meyers I think is great. For some reason. Some dialogue in certain parts felt weird.

[Chelsea Davison]

Oh, wait. Something we haven't touched on. Chelsea, from Diane Keaton's memoir. Could you talk a little bit about how Jack Nicholson gave some of the back end to her? Yeah.

[Chelsea Devontez]

So when they have wrapped this film and spent Six months together, he whispered in her ear something about, I left you a little peace. And Diane was like, I don't know what that means. And then years later, again, Diane, who was on the brink of selling real estate, gets a giant, giant residual check. And she's like, this is weird because me, star of the movie, who again gave her entire full bush to us, did not get any back in. None, zero, none, zero. Jack Nicholson, though I don't have the exact reporting because I don't think it's ever been leaked. Had to have made 10 times more than her. I'm like, I'm worried she made scale. And he had such a good time shooting with her that he actually gave some or even even one of his points to her. And because this movie was so successful, Diane got money. Highly deserved money.

[Elena Crivello]

Oh, my.

[Chelsea Devontez]

And it was only because a man did the right thing.

[Chelsea Davison]

She said it was like one of her biggest paydays is getting this check with a ton of zeros that I'm sure kept coming. Yeah.

[Elena Crivello]

And I'm watching this movie for her. I'm not watching this movie for Jack Nicholson. I'm.

[Chelsea Devontez]

I'm not.

[Elena Crivello]

Jack Nicholson's great in it, but I would have been okay with a different man. Like, I'm watching for her. That is infuriating. Okay.

[Chelsea Davison]

And she's the one who got the Oscar nomination for it. Like, it's her movie and so it is wild. But I thought that was such a cool thing.

[Chelsea Devontez]

Diane's memoir had so many gems in it. So if you want to hear that, go to the Patreon. You can hear me and Chelsea Davison talking about it and you will hear me booking myself on this episode.

[Chelsea Davison]

That is true. Okay.

[Chelsea Devontez]

As we close out, I just want to give a little nudge to what's next. They are calling it Nancy Meyers last movie. And after 11 years of not having a Nancy Meyers movie, she is making her long awaited return with a new Warner Brothers comedy starring Penelope Cruz, Kieran Culkin, Jude Law, Emma McGo, and Owen Wilson, among others. The film is slated as of now for Christmas Day 2027, which is the hottest slot.

[Elena Crivello]

2027? Oh, yeah.

[Chelsea Devontez]

Oh, yeah. Because, well, I'm sure she's going to be shooting for two years in Paris. What I think is interesting is that previously this movie was set, set up at Netflix and they gave her $130 million budget and she said, no, it has to be $150 million.

[Chelsea Davison]

What? Yes.

[Chelsea Devontez]

I don't know what she's planning. I don't Know what the story is. But that's also why we haven't seen the movie yet. And now it is set up with Warner Brothers and it's. And the budget is actually closer to 100 million because I think they were like, hello, the business has changed. You'd be lucky to get $1.

[Chelsea Davison]

Yeah. I mean, how can you even shoot a $100 million? That's nothing. No.

[Chelsea Devontez]

So, yeah, so we've got that to look forward to.

[Chelsea Davison]

That does honestly make me nervous for it, though. That big of a budget. I feel like you're setting yourself up for, not success.

[Chelsea Devontez]

No, no, no. Chelsea, Chelsea. Your anxiety is coming from the headlines of now. I need you to look back on what Women Want, which grossed hundreds and millions of dollars at her hands. Parent Trap. This movie. Rom coms can bring in global audiences and it is going back. And I hope every person who thinks romcoms can't work have to eat a bucket hat on the beach.

[Chelsea Davison]

All right, well, we should all go see it when it comes out.

[Elena Crivello]

Everyone listening to this right now. Go buy a movie with a leading lady in the movie. Go buy a ticket. Go to the theater.

[Chelsea Devontez]

And one behind the camera. So that leaves you about 10. And I hope you enjoy them.

[Elena Crivello]

Yes, but do it. Chelsea and I have been starting to go see movies in person again, and it's so much fun.

[Chelsea Devontez]

Are you guys on amc? Pass.

[Elena Crivello]

No, but we should be.

[Chelsea Devontez]

Listen, I will do a free advertisement for AMC right now, but I need everyone to know about this. Okay? It is around 30ish something dollars a month. You get up to four movies a week.

[Chelsea Davison]

I mean, we can't do that though.

[Chelsea Devontez]

It doesn't matter. You get your little app. You can add anyone who has the past to your entourage. So I probably see a movie every single week with my friends or my husband. And it has been the most wonderful way to get back into a life we once used to live. But also support the movies. And also is $10amovie. If you go once, it's worth it.

[Elena Crivello]

You're paying $30 for a movie.

[Chelsea Devontez]

But sure, honestly, support the arts.

[Elena Crivello]

Okay, okay, okay, okay, okay, okay.

[Chelsea Devontez]

You're getting out of the house and you're not looking at your phone and you're supporting the arts.

[Elena Crivello]

Okay, yeah, yeah. You're not looking at your little screen.

[Chelsea Devontez]

You get to like, click whatever seat you want. And if you don't want to go, you can just cancel it and it just comes back to you. It's just a gift.

[Elena Crivello]

Going to the movies has been a revelation in the first half of this year for me.

[Chelsea Devontez]

So from two women who host a

[Elena Crivello]

movie podcast, y' all heard it here first.

[Chelsea Davison]

Yeah. It's actually pretty fun to see movies. Yeah.

[Elena Crivello]

I don't know if you.

[Chelsea Devontez]

Yeah, you fucking think. What's the last thing you saw?

[Chelsea Davison]

The drama.

[Elena Crivello]

Did you see it, Chelsea?

[Chelsea Devontez]

Yes, I did. Yes, I did.

[Elena Crivello]

Well, we won't get into that now. Well, thank you guys for listening. As we looked back at Something's gotta give.

[Chelsea Davison]

And thank you to Chelsea Devontes for joining us.

[Chelsea Devontez]

And thank you, Chelsea and Elena, for joining me.

[Chelsea Davison]

Our photo pleasure.

[Elena Crivello]

Shout out to Nick Duke for editing this episode.

[Chelsea Devontez]

And shout out to Dominique B. For doing so much great hot, hot research. And thank you to Christina, our producer, for sitting in on this zoom.

[Chelsea Davison]

Yes.

[Elena Crivello]

Thank you, Christina.

[Chelsea Davison]

Well, this was the last movie in our Lothario's in love collection. So do you have any thoughts looking back at the playboy who settled settles down trope?

[Elena Crivello]

My biggest thought is, guys, don't fall for it. Don't try this. We said that I think, in the first episode, don't try this at home. And I've got to say, don't try it. But it is a very fun trope, and I would like to see this flipped on its head more. I know there are Lotharios in love where it's the woman who's a lothario trainwreck.

[Chelsea Davison]

What's your number?

[Elena Crivello]

Oh, I don't know that one. I would love to see more women in that role. And I do think it's a fun flip to see. It's fun to see this cad fall in love with the one person that can really change their heart and mind.

[Chelsea Davison]

I think the thing I like about it is that it often feels like someone who's very confident has met their match. So it feels a little bit like a battle of the wits, like who's got the upper hand? And anytime it's two characters kind of jockeying for, like, who's in power now. I love that it feels sexy and cool, and it makes me just be like, these characters are awesome.

[Elena Crivello]

Influencing us in not a great way, because I don't think that's how in a real relationship. But I love it in a rom com.

[Chelsea Davison]

It works in a rom com for sure. All right, well, next week we will be kicking off a brand new theme of rom coms. A new collection.

[Elena Crivello]

Yes. Till then, follow us on Instagram at Podstruck Pod.

[Chelsea Davison]

You can email us your thoughts and your [e-mail] though, you know what? If you're going to write us something nice. Why not do it publicly as well? A review on Apple or just given us a quick five stars on Spotify, or maybe even writing a little thing on on Reddit or some other site recommending us to someone.

[Elena Crivello]

Chelsea's really pushing the Reddit agenda hard.

[Chelsea Davison]

I just feel like that's how people discover, you know.

[Elena Crivello]

Yeah, yeah. And check out our Patreon Become a Me Cutie.

[Chelsea Davison]

Till next time.

[Elena Crivello]

We're just two girls standing in front of a podcast asking you to subscribe

[Chelsea Davison]

by

[Chelsea Devontez]

Fall In Love. A big thank you to our senior managing producer Christina Lopez, our executive producer Jordan Moncada, our sound engineer Marcus Hamm, and our amazing associate producer Dominique Banas. I also want to give a huge thank you to our incredible partners over at Thrive Cosmetics and Quince. We will link those incredible brands in the show notes, so go check them out. Every Everything is always linked in the show notes on Apple. There's also transcripts and if you ever have questions, go to the Patreon Chat Lounge and I will see you there.