Zuri Hall & Justin Sylvester: Gas Card & Interviews

Summary

JEFF LEWIS HAS ISSUES
Episode: Zuri Hall & Justin Sylvester: Gas Card & Interviews
SiriusXM | February 27, 2026

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Episode Overview

In this lively and unfiltered episode, Jeff Lewis welcomes TV hosts Zuri Hall and Justin Sylvester for a hilarious, candid discussion that bounces from personal quirks to inside secrets of the entertainment industry. The trio dish on everything from Zuri’s legendary “unique” parking, growing up pretty, and family dynamics, to the high-stakes challenges of live red carpet interviews at events like the Oscars and Met Gala. The conversation is sprinkled with pop culture references, banter about outdated gas cards, and the realities (and politics) of fashion on and off the carpet. Authentic, irreverent, and full of memorable stories, the episode offers a peek behind the scenes of entertainment’s busiest faces and the quirks that make them human.

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Key Discussion Points & Insights

1. Zuri’s Parking Adventures and Car Maintenance (01:21–03:59, 16:57–23:16)

• Zuri’s “legendary” parking: Jeff and Justin roast Zuri for her ability to park her small white Mercedes “like it’s a school bus”—sprawled across 2-3 spots.
  • Justin: “For everybody at home, we’re not talking about a Mercedes GLS. No GLC. Not even GLA. It’s a little coupe.” (03:01)
  • Jeff: “I feel like somebody should go down and take a picture of how she parks.” (04:12)
  • Zuri defends herself, blaming weird parking lot lines, and confesses to minor car law violations (no front license plate for two years).
• Car maintenance dependence: Zuri admits her dad still flies in from Ohio to help with things like oil changes and locks, sparking a playful discussion on parental enabling and “oldest daughter syndrome.”
  • Zuri: “My dad is offering to fly in right now from Ohio to get her oil change...he doesn’t trust this lock.” (17:33)
  • Justin: “This is what happens when you’ve been pretty your whole life.” (18:34)
• Reluctance about gas and maintenance: Zuri hates pumping gas and keeping the tank full, leading into a riff on full-service gas stations in LA (23:16–24:00).

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2. Gas Cards, Outdated Habits & Wallet Roasting (24:00–26:18)

• The only gas card left in America: Jeff reveals he uses a gas card, only to be mercilessly mocked by both guests.
  • Justin: “You’re the only bitch in America with a fucking gas card under 55.” (24:04)
  • Jeff insists it helps with fraud separation, but is bullied for having too many credit cards, and for not being “tapless” or using Apple Pay.
  • Zuri: “Have you ever heard of Apple Pay?” (25:20)
  • They riff on his dinosaur wallet contents—platinum cards, AAA, birth control pills, jeweler’s cards—evoking disbelief.

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3. Showbiz Friendship & Red Carpet War Stories (05:28–15:39)

• Shared history and E!/NBC days: Zuri and Justin reminisce about their decade-long friendship and sibling-like partnership in television, trading covering shifts, waking up at obscene hours, and even sending wigs in Ubers.
  • Justin (on Zuri’s wig ritual): “Her bob came in before her, and all the hairstylists were...like, what happened to this thing?...She put her wig in the dryer.” (05:40)
  • Zuri: “I can’t do the wig. I’ll do a sew in, but I can’t do the wigs.” (06:54)
• Covering for each other: They share a wild story about celebrating Justin’s 30th birthday—club nights, celebrity cameos, and muddling through 5:30am call times hungover.
  • Zuri: “I know I did [make it to work]...I remember a moment in a bathroom stall the next morning during a commercial break trying to survive that hour of hell.” (09:20)

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4. Red Carpet Secrets: Oscars & Met Gala (11:26–15:09, 34:30–41:12)

• Award show logistics: Both reveal the realities of high-profile red carpets:
  • Oscars: One position, standing shoulder-to-shoulder with little room, no platforms, fiercely limited bathroom access.
  • Met Gala: Described as “the Hunger Games of fashion.” Reporters separated from celebrities by a massive hedge, forced to lean for interviews, start at 3pm and finish whenever Rihanna decides to show.
    • Zuri: “With the Met Gala, there’s a hedge...I describe it as like the Hunger Games of fashion.” (13:20)
    • Justin: “You’re not off it until Rihanna comes, which means you’re not leaving until the next day at 11.” (14:05)
• Preparation and research: The hosts and their teams undergo marathon prep—200+ page packets, review sessions, and major outlets compete for talent attention.
  • Zuri: “The production team...put together really thoughtful questions. We have these really long question review sessions that are like four hours long.” (34:50)
  • Justin: “When you get that packet, it’s over 200 pages of questions for people. You don’t know who’s gonna come, you don’t know who’s gonna stop.” (35:48)

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5. The Art & Politics of Red Carpet Interviews (15:47–41:44)

• Celebrities sometimes “walk on by”: Not everyone stops. The best hosts read their energy in real time, pivoting or softening as needed.
  • Zuri: “A lot of our job is learning to read people...Even the tiniest social cues give me the information I need.” (38:08)
• Changing industry standards: Gone are the days of cutthroat, tabloid-style queries (e.g., “Why did your husband cheat?”); now, rapport and trust matter more.
  • Zuri: “I wanted people to feel like, when you see my face, you trust that I’m not trying to do a gotcha moment. Over time, it paid dividends.” (39:41)
• When celebrities (or colleagues) are difficult: Stories of talent attempting to throw interviewers off their game, publicists calling to cut unscripted moments, and evasive answers all add to the challenge.
  • Justin: “There is an actress...for the first two minutes of the interview, she would try to throw you off your game...Ryan recorded a whole interview with her and said, burn that tape.” (41:20)
• Handling rudeness: Both guests emphasize being professional but assertive—setting a tone, reciprocating energy, and protecting oneself from disrespect.
  • Zuri: “I’m a professional person, but I don’t tolerate disrespect...I will very happily set a tone or reciprocate a tone. Price match guarantee.” (43:02–43:19)

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6. Fashion, Stylists & Wardrobe Malfunctions (44:54–47:58)

• Styling on the red carpet: Zuri partners with the same stylist for six years, emphasizing trust and last-minute magic.
  • Zuri: “He’ll bring like 20 gowns sometimes...We pull, we whatever, and we pick a gown.” (46:04)
• Fashion fails & networks meddling: They share that the network often has the final say on what they can wear, and admit everyone occasionally ends up on a “worst dressed” list.
  • Justin: “A lot of times we don’t even get our friends’ first choice.” (47:12)
• Borrowed bling: Both borrow jewelry; Justin loves “14 karats,” describing it as “like a candy store” before every carpet. (47:44)

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Notable Quotes & Memorable Moments

• On Zuri's Wig Routine:
  Justin: "Her bob came in before her, and all the hairstylists were like, what happened to this thing? ... She so lazy that she washed her wig and put it in the dryer." (05:40)

• On Parking:
  Justin: "You’re the only bitch in America with a fucking gas card under 55." (24:04)

• On Reading Celebrities:
  Zuri: "A lot of our job is learning to read people really well in real time. Like, the tiniest social cues...I can see in the middle of a question, if someone's eyes dart even the slightest way...I need to land this plane in a slightly different direction." (38:08)

• On Setting Boundaries with Difficult Celebs:
  Zuri: "I’m a professional person, but I don’t tolerate disrespect...I will very happily set a tone or reciprocate a tone that lets you know, price match guarantee." (43:02–43:19)

• On Network Fashion Approval:
  Justin: "We have to send them to the network, and the network has to say yes or no. So a lot of times we don’t even get our friends’ first choice." (47:12)

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Timestamps for Key Segments

• Parking & Car Talk: 01:21–03:59, 16:57–23:16
• Gas Card & Wallet Roast: 24:00–26:18
• Working at E!/NBC & Early Career Stories: 05:28–15:39
• Red Carpet Logistics (Oscars & Met Gala): 11:26–15:09, 34:30–41:12
• Interview Techniques & Handling Difficult Talent: 34:30–43:44
• Fashion and Styling: 44:54–47:58

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Tone & Language

The conversation is breezy, irreverent, loaded with insider anecdotes, playful accusations, and affectionately sharp ribbing—just as fans expect from Jeff Lewis and his guests. Swearing and relatable confessions keep the mood light and real, even as they delve into the pressures and politics of life in the spotlight.

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For Listeners

This episode is a must for anyone curious about:

• The chaos and camaraderie behind entertainment reporting
• How to survive (and laugh about) Hollywood’s quirkiest moments
• What really happens on the red carpet
• The importance of having the right people on your team—on-air and off

If you love pop culture, reality TV realness, and industry secrets, this is a conversation not to be missed.

Transcript

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[B]

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[C]

When you're Jeff Lewis, the drama never stops.

[D]

Stop fucking apologizing. You're not making it any better. You're just reminding me how late we are. I know I'm specific. I know I'm a little high maintenance, which is why I tip really fucking well. I don't want to start shit, but don't you. Okay. Really?

[C]

Jeff Lewis has issues.

[D]

Hey, welcome to Jeff Lewis has Issues. In today's episode, Zuri hall and Justin Sylvester join the show. We talk about gas cards and red carpet interviews. Plus Zuri's question. Questionable parking skills. Good morning.

[B]

Good morning.

[D]

So you drive yourself. You don't have. You don't have a driver or.

[B]

She needs one.

[C]

It's 2026. Budgets are tight. I need one. I do. Because I came from Narnia to be here. You, like, walked two blocks.

[B]

Well, who told you to buy a home in Narnia?

[C]

That's the only place I could afford one.

[B]

By the way, this is a bittersweet pairing right now. Yeah. Okay. I have been working with this woman for 10 years and she has been the favorite for about eight of those 10 years.

[D]

I can see that.

[B]

And it's really hard for me. Like for instance, we. How long have you been at E. NBC Universal?

[C]

Like 11 years.

[B]

11 years.

[D]

Yeah.

[B]

I've been there for 10. Do you know who didn't have a reserved parking spot myself. You know who did have A reserved parking spot.

[C]

It's just her. I tend to wear heels. You don't wear heels, Justin.

[B]

No.

[D]

I don't know what the point is because she takes up three spots.

[B]

So when I.

[D]

When I parked on P4, I said to Shane, I go, I bet that Zuri's white Mercedes. And sure enough, like, two to three spots have been taken up by your car. Which is not that big, by the way.

[B]

Babe, that's favorite energy right there.

[C]

Let me say. I don't know why. That was me trying to do the right thing. I really went out of my way. Look, I saw the Porsche on the left. I thought, oh, that's probably Justin.

[B]

Ah, don't be calling me out like that.

[C]

You got the macan. Right?

[D]

Yeah.

[C]

And I thought, you know what I'm gonna do? I'm gonna be a good citizen. I'm gonna park in the shadows right here where no one else has parked and. And do a good deed. I won't be there. No one else could park there.

[E]

You took other spots.

[B]

And by the way, for everybody at home, we're not talking about a Mercedes GLS. No GLC. Not even GLA. It's a little coupe.

[C]

She's got a little 300. It's a little two door. Little two door. See? No good deed goes unpunished. I quit.

[B]

She is.

[D]

Why are the windows not tinted?

[C]

Should they be?

[D]

Yeah.

[C]

Why?

[D]

I have a theory. I think when famous people drive cars without tinted windows, they want to be recognized.

[C]

So I'm the asshole. I'm the problem. Got it.

[B]

Got it.

[D]

Why? I don't. Why. Why are you driving around like that?

[C]

I just. I like parking like that. Or driving around with.

[D]

No, people are gonna follow you home like you should not.

[C]

People do. I get hit on. On freeways. More than one would expect. I didn't realize that was a thing. But it's been happening a lot lately. And I don't know what that says about the men in Los Angeles, but that does tempt me to tint the windows. No, it's not.

[D]

Because they can't see the other hot girls. Cause they're behind tinted windows. You're the only one.

[C]

Exactly.

[B]

By the way, she thinks they're flirting, but really they're telling her to pull over because she has a flat tire. She's driving on a flat.

[C]

Stay in your lane.

[E]

She's like, they're obsessed with you.

[C]

Literally. Literally. That's pretty much how it goes. Yeah. I'm either have a flat.

[D]

I feel like somebody should go down and take a picture of how she

[B]

parks do it, do it. By the way, for 10 years of my life, if I clocked into work 15 minutes late, five minutes late, there was a conversation. There was a, like, conversation. They would sit you down, they would say, hey, we checked your badges. You've been 15 minutes late.

[E]

We checked your badges.

[C]

It was a wild time. I heard about that.

[B]

Meanwhile, this lady with saunter princess would saunter in 30 minutes after her hair and makeup.

[D]

No.

[B]

She would send her wig in Uber.

[C]

I was in the wig ahead.

[B]

The wig would come ahead of time to get styled, and I'm like, oh, can I start my hair and makeup? They're like, no, no, no. We're still working on Zuri. And she's like, zuri's wig? Yeah, sorry. I was thinking.

[C]

I thought she was lying, but that actually always. I have styled a wig or two before my arrival.

[E]

I've got a wig in its own Uber.

[C]

He is lying about that is very much just. How did the wig get it? Well, I would keep that. Like, I have a row. I had a row of wigs, and there was a rotation. So sometimes I'd be like, oh, let's do the bob. And then the bob would get going, and then I would pull up 30 minutes after the bob got going, and then, you know, we just walked out. You know, that was a different time.

[D]

That's so amazing.

[B]

But wait, one time. This is one of my favorite stories ever.

[C]

I literally texted this man an hour before this and said, do not spill my tea.

[B]

No, I'm feeling it.

[C]

Of course I'm feeling it.

[B]

One time, her bob came in before her, and all the hairstylists were, like, huddling over it. They were like, what happened to this thing?

[C]

Oh, gosh.

[B]

I'm like, you guys, what's going on? Like, did somebody die? They're like, yeah, Zuri's wig. I'm like, what happened? She so lazy that she washed her wig and put it in the dryer. She put a wig just then in the dryer.

[C]

You had one job on this show. Do not say any of this.

[B]

Hey, by the way, any Harry Potter fans here?

[D]

You got a big one right there.

[B]

When Dobby dies and Dobby's like, I can't breathe. That's what that wig looked like.

[C]

It looked like it was a teachable moment. I learned the next time I was gonna put a bob or a wig of any kind, the dryer, which, yes, to be fair, was my clothing dryer. I probably need to put it in a cloth bag first. Tie that Bag and then put it in the dryer.

[B]

The wig was just tumbling.

[C]

It was tumbling.

[D]

So you ruined it.

[C]

I ruined the wig I ruined.

[B]

And she got a new one in 12 hours.

[D]

Can you really put a wig in a dryer?

[C]

No, apparently you cannot.

[D]

But you said in a bag.

[C]

No. That's what I'm going to do next time I attempt something that's stupid. But the first time I just put the wig in the dryer and then it kind of came out looking like road cake, but.

[D]

But now you don't wear wigs anymore.

[C]

I don't, no. Clearly I learned my lesson. I can't do the wig. I'll do a sew in, but I can't do the wigs.

[B]

Her call time also became later, so now she didn't have to show up as early. And by early, I mean 11.

[C]

Well, you know why it was early? Cause y' all always had me filling in for daily pop. Cause you were sick. Cause you would go out the night before and do God knows what.

[E]

There it is, Shots, fire.

[C]

Can you come in at 6am and fill a chair?

[B]

Hold a minute. Let's back that up real quick. You know, let's back it up.

[C]

Okay.

[B]

The story that she's talking about is my 30th birthday happened. I had been at E at this point for a year and a half. My 30th birthday was coming up. I had a call time on daily pop at 5:30. So if, if I was out sick, it was a scramble to see who was up at 5:30. So what I would do like a good employee. If I was going to call out sick, I would set it up before and be like, hey, I owe you one, but can you sit in for me? So I go to this woman, I'm like, it's my 30th birthday, I'm turning up tonight. Can you sit in for me tomorrow morning? I'm gonna call in six. She was like, yeah. I was like, I will invite you to dinner, all expenses. No, I said I'm invite you to dinner. Come to dinner. And if you want to come to the club after, come for a little bit. But you have to be up at 5:30.

[C]

That feels, oh shit familiar.

[B]

So we, we go to dinner. Mama orders a champagne. The bottle of champagne comes. I'm watching her, she's talking, she's flirting, she's having a good old time. I'm like, hey, we're gonna go to the club. Would you wann maybe 10, 20 minutes? She was like, oh yeah, I'll Come just for like a few songs. Oh, no. Comes to the club 1:30 in the morning. I am raging. It's my 30th. Leonard DiCaprio.

[C]

I was gonna say. Is this the night DiCaprio was in the section next to it?

[D]

Yes.

[C]

I couldn't leave at that point.

[B]

It's in our section. My girlfriend looks over to me at 1:30 in the morning and she goes, I think you're gonna be going to work tomorrow. And I said, what are you talking about? Keep in mind, there was 35 people at this party. Like, we're in a club. She goes, zuri didn't look like she's gonna be able to wake up at 5:30. Oh, she is texting on her phone and the phone is like this.

[C]

Backwards.

[B]

It's backwards. It's backwards. Her wig is so askewed.

[C]

It was very much askew.

[B]

I have a photo of us.

[C]

You do?

[B]

I have a photo of us outside the club. Keep in mind, I have to go to work at 5:30 in the morning.

[D]

Wait, she didn't make it.

[B]

No, you did not make it.

[C]

You are. No way. I did.

[B]

You did not make it.

[C]

I did. You know why? I know I did. Because I remember a moment in a bathroom stall the next morning during a commercial break, trying to survive that hour of hell on Daily Pop so your ass could celebrate your birthday. Oh, I showed up for work that next day.

[B]

She had better. I put her ass in an Uber. I was like, if you don't show up at the. I would trip your ass.

[C]

It is a good time. It was worth it.

[D]

Would you guys fill in for each other often? Like, did you ever. Justin, did you ever fill in for Zuri?

[B]

Yeah, yeah, yeah, yeah.

[C]

We definitely did have a little tap in, tap out rotation. I feel like we had a rhythm.

[B]

We did. And we respected each other for sure because our dressing rooms, for the longest time, we shared a wall. So we would commute with each other. We would talk. I was there early. When the early drama would happen, I would go to her room, tell her about the early drama, and when the later drama happened, she would tell me about the later drama because we were in and out.

[C]

Yep. It was like two ships passing in the night.

[D]

So early. And later drama. Is that because you were on a different show?

[C]

So Justin was on Daily Pop, which is the morning show. So you'd be in at what, five? I was on the, like, afternoon filming show that aired in the evening. E News.

[D]

I see.

[C]

So, yeah, he would tap out after Daily Pop wrapped. I would tap in so we could film E. News in the afternoon.

[D]

Okay, and then who else was working there at that time? Who was there on the early shift with you?

[B]

It was Morgan Stewart, myself, Carissa Cullinar, Kat Sattler for a little bit. So it was like a.

[C]

For Daily Pop.

[B]

For Daily Pop, I think.

[D]

Is Morgan coming on the show soon?

[E]

Yeah, at the end of March.

[C]

Hi, Morgan.

[B]

Yeah, hello.

[D]

She's been on the show once before. Like years ago.

[E]

Way before me. I remember hearing about it.

[D]

But then she was, I think. Cause she was on that show with you. She couldn't come to this show because we were live at 9.

[B]

Wait, what show is this? Rich Kids.

[C]

Oh, Daily Pop. Yeah, yeah, yeah.

[B]

And she would do Nightly Pop after.

[D]

So then who was on with you?

[C]

So for me, it was Jason Kennedy, Juliana Rancic for a time, Cat Sadler, Aaron Lim, and Wilmar Fuji. Wilmar Fuji, Yep. We had Sibley too. Sibley was there and. Yeah, I think that was everybody.

[D]

Are you doing. So you did the Grammys?

[C]

Yep, I did the Grammys.

[D]

And then what other did you do? The Emmys. We did the Emmys and the Grammys.

[C]

Yes, Emmys. But that's back in September. So this award season, it started with Justin did Critics. I did Globe. Well, we both did Globes, Grammys. We were both there for that.

[B]

And now I'm doing SAG, SAG, and

[C]

then I've got Oscars.

[B]

And she's gonna be Mrs. Oscar.

[D]

Who else are you doing the Oscars with?

[B]

Herself.

[C]

Me.

[D]

Just you?

[B]

She's alone.

[C]

That one, it was.

[D]

It's.

[C]

That one is intense because there's only one position. It's so tight. Like, they do not play about those credentials. I actually love when we get to ping pong and there's two positions because it kind of gives you a beat. You can sometimes, like, catch someone that I missed or vice versa. But with the Oscars, you just get that one position, your shoulder to shoulder. There's no platform, and you're locked in that thing for like three and a half hours.

[B]

That's a scary one.

[C]

But it's fun, though.

[D]

How many other people are there? When you say locked in, how many other people are there?

[C]

Oh, man, there's so many. How many outlets would you say? It's not like a ton on the Oscars carpet because it's so.

[B]

It's so small. It's really locked down.

[C]

I'd be making it up if I said the amount of platforms.

[D]

Is it a dozen? Is it two dozen? Is it three?

[C]

No. More than a dozen?

[B]

No. More than a dozen.

[D]

No more than a dozen, I say.

[B]

But there's only a few people. Like, Nichelle has a platform.

[C]

Exactly.

[B]

Zuri will have a platform.

[C]

No, we won't. We don't even get a platform, though. That's the crazy thing. So with the Oscars, you just get, like, your little sliver of space. It's kind of like the traditional red carpets where you get in your spot and then, like, a couple bodies over, there's another few people, and that's their spot. And you just got your area in this one little sign. So that's the Oscar, the second hardest

[B]

carpet in the world, only topped by the Met Gala.

[C]

Oh, my gosh.

[B]

The Met Gala.

[D]

Why do you say that? What do you mean by hard, difficult? Carpet one.

[B]

Anytime you're on a carpet and you don't have access to said person, when you're going over a gate or like a sanction, it just makes it hard.

[C]

So. Right. And with the Oscars, so you're shoulder to shoulder. You've got this rope, the velvet rope, kind of keeping you from the other side of the carpet. But at least, like, you're in tight proximity. With the Met Gala, there's a hedge. There's a hedge. There's this massive bush between us and the, you know, the talent, the guest arrivals, and we have to lean over, like, I describe it as like the. The Hunger Games of fashion.

[B]

It really is.

[C]

That's what it feels like. We all got invited to District one, but, like, we're not allowed to, like, breathe the same air because we're the peasants, and we just, like, got a golden ticket to, like, be in their space. But there's this massive hedge, and we have to stick our hand out over that to interview with them. And once you're on that carpet, you know, the massive stairs, you're locked in. So there's no bathroom break, no coming and going. Crazy early call time at the Met,

[B]

3pm Carpet starts at 5. You're not off it until Rihanna comes, which means you're not leaving until the next day at 11.

[C]

Sure.

[B]

Because she's not. She's not showing up till 11am and

[C]

it's very much worth the wait. So we just. We just sit there and we hold tight, and that's that.

[D]

And you can't take a bathroom break because you don't want to miss anyone.

[C]

No, because we're literally not allowed.

[B]

You're not allowed, you know, coming and going.

[C]

If you leave, you don't get to come back. They don't let you come Back and

[D]

back in the day, that's the Met.

[B]

The Met, yeah.

[C]

Met Gala.

[B]

And back in the day, if you went on a carpet and no matter what happened, if you didn't get somebody that someone else got, the first conversation is, why didn't you get Jennifer Lopez, like, what were you doing?

[C]

So and so got Jennifer Lopez, like,

[B]

what were you doing?

[D]

So you're on the carpet representing Access Hollywood, is that correct or E?

[C]

It's a little bit of all the things. So during award season, proper live from E. So in that main position for Globes, Grammys and Oscars, doing interviews and during like the day to day weeknight carpets, like all year round, Access Hollywood, it got a little. It gets a little confusing maybe for some people.

[B]

Because technically it's confusing for me.

[C]

Right up until. Up until the top of this year, it was all owned by NBC Universal. Right. So the parent company is who I have an overall deal with. So I signed a contract with nbcu and then they plug me into various properties that they own. So Access Hollywood is kind of like my bread and butter, the heart of my contract. And then I do Live from E. Award season and then I do correspondence for Fandango and then I co host American Ninja Warrior.

[D]

All under the NBC Universal money.

[E]

Deal after deal, deal after deal.

[C]

Just trying to keep my.

[D]

I guess why I was asking is that do people. Do the celebrities always stop for you because of who you work for?

[C]

It definitely.

[D]

Or do they keep going? They go to like.

[C]

Yeah, they stop. If they're gonna stop, they stop for us.

[D]

And the big outlets are Entertainment Tonight. Yeah, right. Then you guys. And then what are the other big outlets?

[B]

Access. Extra.

[D]

Okay. Oh, yeah, Extra. Access.

[B]

No. Oh, she's. I thought you said my life for me.

[C]

Oh, yeah.

[B]

Also, they know who she is.

[C]

Yeah, like before the look. Oh, thanks, Justin. Yeah, love you.

[D]

Because she doesn't have her windows tinted.

[C]

Exactly. They're like, oh, I saw her on

[E]

400 on the way here.

[C]

It's like the logo does the work for the longest. And then. Yeah, we all build rapports.

[D]

Oh, you can't see it.

[C]

Oh, my God.

[B]

That's not the car.

[C]

That's not my car. Justice for Zuri.

[E]

No, that's okay, sorry.

[C]

Justice for Zuri.

[E]

No, the one by the elevator.

[D]

No, the one that I saw.

[C]

Okay, I saw that.

[D]

I saw the correct one. No, that's a somewhat decent parking spot.

[E]

That one's in the lines.

[D]

You should see.

[C]

Wait, my levers are in the lines?

[D]

No, but take it from the front. Cause way too soon.

[B]

No, this was my line for 10 fucking years.

[D]

I wanna pivot for a second, then we'll go back to this. Cause I actually have a lot of questions, but is it true that your dad, to this day, still helps you take care of your car? Like, maintain it?

[C]

Oh, no. Yes, it's true. What are you about to take a picture of? What's wrong with it?

[D]

Exactly.

[B]

No, no, no.

[D]

Because I was thinking, that is so cute. Like, that is totally something I would do for my daughter. Cause I was thinking, would I ever get her car serviced? And I thought if I was retired, I would drive to that NBC lot and do it. Leave my. Her. Take her car, go and get it serviced, bring it back.

[C]

Yeah, exactly. Like, I just. I. I need a man to do that. Like, I'm just. I have to own that I'm not the one. I'm just not. Or a woman to do it. Like, I just need someone that's not me to do it. My dad is offering to fly in right now from Ohio to get her oil change to change the locks on my door. He doesn't like the lock on my door. He just doesn't trust it. It's a functional lock, but he just shakes the doorknob and says, I don't trust this lock. So he's planning a trip to change it. And I'm like, dad, I have a handyman.

[B]

But she plays him.

[C]

I've seen her on the phone.

[B]

She's like, I don't know how to do it. I'm like, wait, what?

[C]

I don't know how to do it. I'm like, hold on.

[B]

You can book a flight to San Tropez with your toenail, but you can't change your keys.

[C]

It's a lot like keeping the tank full. That's like a big ask. And then changing the oil on top of that is crazy. I literally drove with a flat for, like, two days. There was a nail in my tire. Cause I'm like, I don't have time to fix this. It was still functional.

[E]

Right?

[C]

It was one of those, like, safety tires or whatever.

[B]

Annie.

[C]

It's a lot of things to do. Annie gets it.

[B]

This is what happens when you've been pretty your whole life. Yeah, pretty, pretty. When you have not had a. Like, every girl that I know has had an era from 11 to 13 or 13 to 16, where they had to learn because they had an awkward moment. This lady has never even had a blemish in her life.

[C]

That's not true.

[D]

Do you have siblings?

[C]

I have two brothers. I'M the oldest and I'm the only girl.

[D]

That's why.

[C]

Okay, yeah, maybe I get it. Wait, but wait, wait. What do you get? What does that mean?

[D]

Well, I have an. I have an. I have one child who is a little girl. And. Yeah, I mean, it's. I'll do anything.

[B]

I work for her.

[D]

We all work for her.

[C]

Yes.

[B]

Meanwhile, her brother has won a Nobel Peace Prize. The other one works at NASA. And the parents don't even know their names. Okay, their parents don't even know their names.

[C]

We got two more. Somewhere.

[D]

There was a minute when she got home from school, I'd make the entire office stand up and clap.

[C]

Oh, I love that.

[B]

That's amazing.

[C]

That's so good.

[D]

Do you remember that, Eddie?

[C]

Yes. And last time I saw her come in your house, she's like, please, no one clap for me. Everyone stand down. Settle, settle.

[B]

How's she doing in the reading?

[D]

She's better. She's. The reading is good. You know, we could. We could do a little better in spelling. I like it. But we have the tutors today.

[E]

Yes. And the teacher did a smart thing where they put the math homework on a computer. And so she was so obsessed that she got to sit on the computer and feel a grown up. She like used my laptop.

[D]

She was very excited. You're right. She didn't want to stop homework last night.

[E]

She did extra of the math because it felt like, you know, she was like doing work on a computer and

[C]

I was like, oh, you're so smart.

[E]

Like we're just gonna, you know, bring into the 26. 26.

[D]

We had a different makeup artist today because our usual makeup artist was not available. You look pale.

[C]

Oh, Jen, you also look pale.

[D]

You look really pale.

[B]

I didn't want to say like, you look sick.

[D]

You look sickly.

[E]

We should have told her.

[C]

Well, I'd rather he look sick than be sick. Which is what was the case last time I was here and you guys invited me into this petri dis. Three days before the Golden Globes, by the way.

[B]

Exactly.

[C]

Can we talk about this?

[B]

Lie detector determined. You're telling the truth.

[D]

Thank you. I didn't get anywhere near you.

[C]

Right. He didn't hug me.

[D]

I do remember that. Stay away from me. I'm sick.

[E]

I mean, you're six feet apart right now.

[D]

But I did want to ask you because I was thinking about this today. Can we get a. Can I buy like a really quiet air purifier to keep the air circulating?

[F]

The air is circulating. It's coming out of this vent. And then it sucks into this vent. So.

[B]

So it crosses right by.

[D]

Should we also get a purifier just in case I'm ever sick again?

[B]

Stay your ass home.

[D]

I can't afford it.

[C]

I gotta go to work.

[D]

I won't get paid.

[B]

Stay your ass home.

[F]

But also, like, the LOL of you not being near Zuri Shane is correct. You people don't know because they don't know what the studio looks like. You are looking directly at Zuri. She's six feet away. So all of your germs are just directly in her.

[D]

Not really. I think it's shooting into the mic. Right.

[E]

Mic absorbed.

[D]

And then I also have. I have this computer screen which blocks.

[E]

Right.

[F]

The computer screen blocking everyone and back down.

[D]

It does.

[C]

Exactly.

[B]

Oh, my gosh.

[D]

Kia just took a picture of the front of Zuri's car. It's two spots.

[C]

Wait, hold on. We need to talk about this parking lot design, first of all, because look at where the lines are in the.

[B]

Wait, wait, hold on, hold on. Did you run over the. Did you run over the cement block?

[C]

Look at the bumper cement things. That's crazy. Why are those placed like that? Let's talk about that.

[D]

Yeah, those were straight at one time, Zuri.

[C]

Not before. Meyer.

[F]

These aren't even single lines in between the spaces. It's the double line, you know, with like a foot of space.

[D]

And it's completely over. Yes, that's what I said.

[B]

This is how she parks every day?

[C]

Maybe a little bit. A little bit, actually.

[F]

This is crazy.

[D]

Yes, I know. Who parks like that.

[C]

No, no. We need to take a poll to the people, because clearly those, like, bumpers. Car thingy.

[D]

Can you post that today?

[C]

They're, like, angled. Yes. Who's in the rain? Parking lot.

[D]

She doesn't have a license plate on her. Yeah, we'll post it.

[B]

This is also illegal.

[C]

Is that illegal? Not illegal. Oh, my go.

[B]

And she's had this car for two years. It's illegal.

[D]

You get a ticket for that.

[C]

You can put them in the front window. I'll do that. It's a little janky, but.

[B]

No, don't do that. Don't do that.

[C]

I know. That's why I didn't have one at all. I didn't want to be that guy.

[D]

Can you have your dad get the windows tinted? Where's the place that we go?

[E]

Well, there's probably one by you, but we. We go to one on La Cieniga by the tent.

[D]

It's. What's the name of it?

[E]

I don't know. La Tints or something like that.

[C]

You just made that title up.

[D]

Yes, you sure did. You sure did.

[B]

You sure did.

[E]

Latins.

[D]

But how much is it? It's not that much.

[E]

It was like 150 for both of them, so probably 450.

[B]

She got three contracts and a dad who does all her handyman work. She's.

[D]

Have your dad tint the windows, please, when he comes to change the lock. And the oil.

[C]

And the oil and the tire.

[D]

So then who pumps gas for you?

[C]

I do that. That's why I'm always on E. Because I don't want to, but I do it. Yeah, there's a lot. There's a lot to just.

[D]

There is that one, the one in Beverly Hills, has full service.

[E]

So does the one. The. On La Cieneca and Holloway. Two of the pumps are full service, so you won't even have to get out.

[C]

That's good. Okay, maybe I should try and.

[D]

I feel like those guys would add oil, do whatever for you.

[E]

They'll pull off your tires, they'll check your fluids for sure.

[D]

It's Holloway and La Cienca, right?

[E]

Yes.

[D]

Is it a Chevron?

[B]

It's a shell.

[D]

Do you have a card for a Chevron?

[C]

No. Like a rewards card.

[E]

No one really has the gas cards anymore.

[D]

I'm the only one that has the gas card.

[B]

Babe.

[D]

Yeah, babe.

[B]

Babe.

[C]

Oh, my God.

[E]

Stop.

[D]

I'm the only one that has a gas card.

[B]

You're the only bitch in America with a fucking gas card under 55.

[D]

Oh, my God. Really?

[B]

You have a gas card?

[C]

What is the point of a gas card?

[D]

I thought everyone had gas cards.

[C]

So you fill your tank with your gas card?

[D]

Yeah.

[B]

Do you not use Tapless?

[C]

No.

[D]

Well, no. Wow. No, I just put the card in.

[C]

I haven't seen one.

[B]

What do you have a pocketbook?

[D]

Where is my card?

[C]

Wait, what's the point of it? Do you get, like, points or something?

[D]

Wait, where is my gas card, by the way?

[C]

Gotta be if there's a card for tax purposes.

[D]

You know what? It does help, actually, to keep things separate. But.

[B]

Hold a minute.

[D]

Wait. Where is my gas.

[B]

I've never seen four platinum cards and one wallet before. What's happening there?

[D]

I don't know where my gas card is, actually. That's not good.

[B]

You have a AAA card.

[D]

Oh, wait, there's more. What are these?

[B]

Oh, my God.

[C]

What in the car is happening?

[B]

My God.

[E]

What are you purchasing but no gas card, right?

[D]

Oh, God. Yeah, that's.

[B]

Wait, hold on.

[D]

That's a Problem?

[B]

I don't have it anymore. We have three Visa cards here, a Bank of

[D]

aaa, my driver's license, three amexs, a couple debit cards, birth control pills.

[B]

I mean, there's all kinds of shit in there.

[D]

Blue Cross.

[C]

I love that you're.

[D]

Is this a lot of cards?

[B]

That's a lot of cards.

[C]

Have you ever heard of Apple Pay?

[D]

Well, I think the reason. Well, no, I think the reason why I like using a gas card is because of fraud. Because there has been fraud a few times. And so it doesn't affect my main credit card, it just affects the gas card. And no one cares about the gas card.

[E]

Who cares?

[B]

Gas card? Do you still write checks?

[D]

I would, but no, I have. No. I don't write checks anymore.

[E]

We got on Zell, like, a couple years ago.

[B]

Okay, good.

[D]

Yeah, I'm a little behind. What is this, by the way? Oh, this is the jeweler. Monroe's Jeweler.

[B]

Do you still take Sucrets? What? Do you still take Sucrets? Like, is he that old? I don't know what that is.

[C]

Oh, my God.

[D]

But I'm glad we brought this up, because I lost my gas card. Now, you know, to report it stolen, by the way.

[B]

You lost it in Annie's purse?

[C]

I'd like to report my gas card stolen. Said no one ever in the 21st century.

[D]

Well, no, I have to cancel it. Somebody has to cancel my gas card.

[B]

I heard Tracy Tudor was here the other day.

[D]

Yes.

[B]

What does she look like in person?

[D]

The same.

[B]

No, shut up.

[D]

She looks great.

[B]

I knew that was going to happen.

[D]

She didn't need a facelift. But she looked. I mean, she looks. I mean, she looks amazing.

[B]

Well, she looked amazing before she got it.

[E]

That's the thing.

[D]

I think the hair is a little long, but I think she looks really. I mean, her face looks tight. I mean, it looks great.

[B]

She looks exactly like Chris Dylan.

[E]

Literally.

[C]

I mean, she showed us a before and after, and it does look better, but she didn't need it.

[E]

Yeah, she, like, showed us, like.

[D]

And they're telling you. Because I just saw Dr. Kasabian on Monday, and you're supposed to do these facelifts, like, every 10 years. So why do you want to get started early?

[B]

It's like a boob job.

[D]

Yeah. Why do you want to get started early to have to add another facelift later on?

[B]

I also think for myself, like, back in the day, women used to get facelifts at 60. And then it was like, all right, 60 to 70. You had a good run with It. But honestly, at 50, I'd be like, let's go. Like, why not? Let me enjoy it at least.

[D]

Okay, but you're gonna get it again at 60. You're gonna get again at 70.

[E]

Take your new face for a spin.

[B]

Yeah. What did he tell you?

[D]

You know, it wasn't a good appointment, Justin. There's a lot of work, I guess that needs to be done. Done.

[E]

I'm gonna.

[D]

I'm gonna get a. A couple other opinions.

[F]

We're gonna need Zuri's father to come in and help.

[C]

I know he's on the job.

[B]

Let me come with you next time. I asked the right questions, cuz I've been through this with a thousand women. But what did he tell you you needed? Cuz sometimes they overtel you.

[D]

Upper, lower eyes.

[B]

That's Bradley Cooper. You're gonna end up like Bradley Cooper.

[D]

That's what I said to him. He said the reason that that happened is because of a brow lift, which he would not recommend for me. No brow lifts.

[B]

What else?

[D]

Lower facelift and a neck.

[B]

Okay, let me stop him right there.

[D]

I'm not doing it right now. I'm just researching.

[B]

I think for men, when you do the upper and lower at the same time, it gets a little scary.

[D]

Yeah.

[B]

I think you either pick the upper or the lower and then do a fat graph in the other one.

[C]

Precisely. I was gonna say fat graph.

[B]

If you go upper, if you're like, oh, I'm a little hooded, do not go lower. Just do a nice little fat graph. The other thing is you have.

[D]

That's what I did before. Right, the fat repositioning.

[B]

Yeah, Just do a nice little fat repositioning. I like a lower facelift on a man, but you have to go to somebody who does men's work.

[D]

I agree. I agree.

[B]

If you walk in an office and that person only has women.

[D]

Women.

[B]

There's a doctor on Instagram. I have not seen him yet, but I'm very interested. His name is Dr. Truesdale.

[C]

Oh, my God. Dr. Truesdale is incredible. You know Dr. Truesdale, I'm follow his work and when it's time, I. I gotta go there.

[D]

Does he do men?

[B]

He does. I always see men on there. And I'm telling you right now, after the men come up and I can see there's no filter on the photos, there's no filter on the videos. He does really good men's work. Pretty impressed with him.

[C]

Yeah, he's great.

[B]

Yeah.

[C]

Yeah. Like, his before and afters are so subtle. And he does a lot of Men and women.

[D]

Well, that's why I want to do it sooner than later. Because I want it to be subtle. I don't to want.

[B]

I mean, look at this guy. This guy is a grandfather.

[C]

Yeah.

[E]

No, no, look at this.

[B]

Look at the before and after.

[D]

Holy shit. The guy, he looks completely different. But in a good way.

[E]

That could be you. He's a grandfather.

[B]

I'm telling you.

[D]

He gave him a whole new face.

[C]

Yep.

[B]

And by the way, I've never even met Dr. Truestal.

[D]

Look how hot he is now.

[B]

Exactly.

[D]

Holy shit.

[B]

You gotta go to somebody who does men.

[C]

Yep.

[D]

Wow. That guy got his money's worth, right?

[B]

And I think Dr. Truesdell is still pretty reasonable.

[D]

T R U E S D A L E. Yes. You writing that shit down, Shane?

[E]

Kelty Knight is live right now.

[C]

Oh yeah, her book just dropped.

[F]

Or she's pre ordering.

[E]

You guys are both here.

[C]

Hi Kelsey.

[B]

I'm surprised she hadn't called in.

[C]

Oh my goodness.

[D]

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[C]

So we are definitely studying beforehand. The production team is incredible. So they do a lot of really awesome research. They put together really thoughtful questions based on what they need, what they want, talking to reps and understanding where we can go or where we can't go. And then we have these really long question review sessions that are like four hours long. Literally like three to four hours.

[D]

Sit with the producers.

[C]

Producers go over every single question, every single talent who may be confirmed, who may walk, who is confirmed to walk, who's talking, who might talk. And then when it's go time, it's up to us, right? So we have the cards, we have the questions, we have someone in our ear. So they're like, you've got 20 seconds. You need to wrap this up. So it's up to me to decide do I want to pivot, do I want to squeeze in another question, do I want to toss to break? I can, based on someone's mood, kind of read where I should take it if I can press a little harder, if I need to pull. So once we're up there, we're steering the ship. But they do so much preparation with us ahead of time so that we can steer it well.

[D]

The SAG Awards are huge. So how many people would you potentially be? Are you doing SAG Awards too?

[C]

Justin's doing sag.

[D]

How many people would you potentially be interviewing?

[B]

I would say, like, between Kelty and I, probably 10 to 15. Like 15 to 20 people each. Are like 10 to 15 each. However, when you get that packet of

[C]

stuff, it's more you don't you think it's.

[B]

I think for an hour long show.

[C]

Oh, it's only an hour.

[B]

Yeah. I think for like an hour, hour and a half long show, it's only like, you know, and commercial breaks. The problem is when you get that packet, it's over 200 pages of questions for people. You don't know who's gonna come, you don't know who's gonna stop.

[D]

You're preparing for people that you may not even see.

[B]

You're preparing everybody most you will never talk to. Yeah, there is like a Kelty section, there's a Justin section, There is a both section, there's a maybe section, there's a presenter section. It is the wildest thing you've ever seen in your life.

[D]

How many people will you interview on Oscar Sunday?

[B]

Who?

[C]

So if it's, let's say 10 to 15, 15ish an hour, it's a three hours, I would say.

[D]

So 50 people, 45 people? 40 people, something like that, easily, minimum.

[B]

But you'll get ready for 200 people precisely.

[C]

Yeah.

[D]

Okay. Are there people that just walk on by, don't want to be in interviewed?

[C]

Yes, sure, yeah.

[D]

Does that happen a lot?

[B]

Yes.

[C]

You think so?

[B]

Happens, a lot happens.

[C]

Maybe we don't see it as much. I was like, speak for yourself. They tend to want to chat. No, I think it's really like either they're confirmed to walk and we already are preparing. So the only people coming to me mostly at that point are people who, the reps are like, okay, get to the platform. If they're anywhere near me, they want to talk. So I'm not really seeing people who are denying or passing. But in your everyday red carpets. Yeah, all the time people are like, no questions or oh, we're just going to do photos only. It's annoying. It's a part of the deal. But if you're on the platform and

[B]

sometimes they show up and they're just not in a good mood. Yeah, like you. It's human beings, you know what I'm saying? Like you're sitting up there, that person comes up, their energy is going to tell you whether they're going to play or not, whether they want to be there, where they feel like they contractively obligated. And sometimes people come, they know they're not going to win and you can feel that too.

[D]

So I, on a much smaller scale, I've done, you know, red carpets and. And what can happen is so many things can affect your mood, right. So you might arrive in a good mood and then something goes awry and then you get on that carpet and you're in a shitty mood. Or some dumbass asks you some question. Right before I go and talk to you, some dumbass asks a question that pisses me off or whatever and then now I'm in a bad mood. But I'm just curious. You must deal with that a lot.

[C]

Oh, all the time. Yeah. You just. I think a lot of our job is learning to read people really well in real time. Like. Like the tiniest social cues are the things that give me the information I need. Like I can see in the middle of a question, I'm asking if someone's eyes dart even the slightest way to the left or the right. Oh, I need to land this plane in a slightly different direction. So I was about to go here, but let me softball it. Yeah, exactly. I'm not doing it. And it's like you can Sense when someone is like, I swear, if you ask me what I think you're about to ask me, like, they're just staring into the back of your skull with the, you better not do it.

[D]

You.

[C]

You can feel it. And then I don't ask, but sometimes I do if it's what I've got to do. Like, if it's a question that feels fair is obvious and kind of the talk of the town. Like, it is my. It's your job, my professional obligation to have.

[B]

Here's the problem, too. Back in the cut, in the old school days before outrage, they would give you a list of questions, and number three would be like, tell me why your husband cheated on you. And they would tell you, if you don't come back with number three, we're going to be. It's going to be a problem. And you would get there and you'd be like, holy, what do I do?

[F]

Y.

[B]

And you just had to do it.

[C]

Yep.

[B]

You have to do it. And we did it.

[C]

We did it.

[B]

We did it.

[C]

Yeah. I would. I would draw the line at anything that felt, like, inappropriate or invasive. Right. Like if. Because that was the thing that was always hard because there was an era where it was like, we were asked. We were not forced, but we were forced.

[B]

We were forced.

[C]

We were very strongly pushed to ask some pretty invasive questions. But it was also like the time when also people would arrive to those carpets anticipating, ready to duck and dodge those questions. But it always kind of gave me the, like, it always kind of turned me off. So I never pushed too much because I also wanted people to feel like, when you see my face, you want to talk to me and you trust that I'm not trying to do a gotcha moment. And then over time, it paid dividends, though, because they're like, oh, I trust that she's not trying to get me, so I'm going to talk to her. And then. Then I'll f around and probably give her more than I wanted to anyway, willingly, because she wasn't an asshole the last time I talked.

[B]

And then there's also the times where you have this great conversation with the celebrity. They told you all the things that you wanted without even asking them. And you have this nine minute, you know, interview. And then you get back to the office and the publicist has called and said, cut this, this, this and this. And you're like, wait, what? And it's the publicist who doesn't to want. Want to have to deal with that fallout.

[C]

Yeah. Because a lot of Times the talent is cool to just, like, vibe out and say more than maybe their publicist or rep thinks they should. But if they catch a vibe with you and they're enjoying it, like, oh, as a matter of fact, I probably shouldn't tell you this, but. And then proceeds to tell us. And so it's fair game. It's not like we coaxed anything out of them. They wanted to offer it up. But the reps do a good. Maybe too good of a job of reigning in sometimes what hits the public

[D]

if someone is not participating.

[B]

Do you.

[D]

Don't force them to talk. Do you just wrap it up real quick?

[B]

Yeah, yeah.

[D]

You be like, thank you so much. Yeah. All right.

[C]

Have a good night.

[B]

I can tell you don't want to be here. Congratulations. Bye.

[D]

Have you ever had someone be so rude and dismissive that you've actually said something back to them?

[B]

Listen, there is an actress. I'm not going to say her name.

[C]

You better not.

[B]

This is about you. No, no, no.

[C]

Is this about you?

[B]

No, no, no.

[C]

Is this about you?

[B]

It's about me.

[C]

Okay.

[B]

Yeah. No, no. It's about me. This is mine. This is mine. No, no. This.

[C]

Who's in here?

[B]

No, no.

[C]

Okay.

[B]

There is an actress. We're not gonna say her name, but it's very well known that she does not do well with women. And when her name would pop up on the board and they would try to send a woman, I would be like, mm, maybe we should send a man. Like, there's one of two men. Like, it's either me or Will. I would go to these things. And for the first two minutes of the interview, she would try to throw you off your game. It was like you couldn't even use the tape. It was crazy. There was. She's so bad that there was a time where Ryan recorded a whole interview with her and said, burn that tape. I never wanted to see the light of day.

[C]

Name?

[A]

Em.

[B]

You knew that she was that crazy.

[D]

Wow.

[B]

But she just wants to throw you off. And you can tell.

[D]

And she's still working and popular. Huge. Interesting. Huge. But just not nice.

[C]

Just not nice.

[B]

I don't know if it's not nice, but she just wants to throw you off.

[D]

She wants.

[C]

You can see some people enjoy making you squirm. Like they are visibly enjoying the fact that they feel like they have a certain level of power in that. That dynamic. And they know that you've got to work to get something out of them. So they know they hold.

[D]

Yeah.

[C]

The key to your interview. And if you're not the nicest human, then. Yeah, it's just like a fun way to, like, watch. Watch the mice.

[D]

Have you ever snapped back? Are you always so professional?

[C]

Just thank them I'm professional and thank them I'll get a little. A little energy.

[G]

Yeah.

[C]

Because I'm not, like, I'm not the. If you.

[B]

If you.

[C]

If you want to go there, we can go there. Like, I'm a professional person, but I don't tolerate disrespect. So it's very rare that I have to get. Give you even an inkling of that sort of energy. But I will very happily set a tone or reciprocate a tone that lets,

[B]

you know, price, match, guarantee.

[D]

And if you ever had. When you do that, have you ever had anyone get a little softer, maybe a little sweeter, a little nicer, maybe apologize?

[B]

They always do.

[C]

They do. And I think it's such a shame that you have to let someone know that you're not one to be played with. For them to not play with you. It's like, you know. But always professional. At the end of the day, it's my job. You can do the interview or not. Like, at the end of the day, it is what it is, but I'm not about to crash out because you're having a bad day.

[D]

You both are hard workers. You both are very professional. Have you ever been doing this for, you know, all these years? 11 years, 10 years, whatever? Have you ever had a co host just be flat out fucking lazy, not. Not carry their weight? And now you guys are stepping in and covering for the fact that they're unprepared and disorganized?

[F]

Or are people saying that about you?

[D]

I know they're not saying it about you guys. That's why I'm curious.

[F]

30th birthday.

[D]

No, we don't need names. This morning. Has it happened?

[B]

Let me say this. I think there are times where you could tell people like the hair, the makeup, the glam more than the work.

[D]

Yeah.

[B]

And sometimes they jump. They get it. They jump on board later on and they're like, oh. Oh, this is what this was all about. And at times, like, I think we all kind of go through an ebb and a flow. Like sometimes, like, summer. Don't call me for shit.

[C]

Yeah.

[B]

Like September. September through May. Work my ass to the bone, bitch. Pay me in rupees. But come May, June, don't call me fair. That's my go time.

[D]

Now I want to. Before we go to break, I want to talk about the Fashion end of things. So I saw your last two looks on carpets, and they were gorgeous.

[C]

Did you like them?

[D]

Yes, I did. I saw the gram. There was another gorgeous dress.

[E]

Was that Golden Globes?

[D]

Golden Globes. So do you use the same stylist, or do you use. Do you have different stylists?

[C]

I use the same stylist because it really is a working relationship. Like, I trust him so much at this point that even when I get a little nervous, like, hey, Robert, we're about a week and a half out. What are we doing? When am I gonna fit in the gowns? I just know that he's gonna make magic happen. We've literally had fittings sometimes four or five days out from an award show, and there's always, like, the one gown. He have worked together for at least six years. Five or six years. He does a lot of the styling for the E Talent. That's how we first met. And we just have a really good relationship. We're friends, so we know award season's coming. What's our vibe this season? What are we going for? Are we pushing the envelope? Are we going class? Like, are we doing old school glam? Are we trying to be avant garde? Whatever it is. And then we have these fittings. He'll bring, like, 20 gowns sometimes, and he'll come to my house, he'll set up the rack, and then we. We pull. We whatever, and we pick a gown.

[D]

So you've been working with him for six years, and then before, did anyone ever. Stylist. Did any stylist screw up majorly? That ended you up on the worst dress list.

[C]

Ooh, I am sure I have been dragged more than a couple of times.

[D]

There are people that have got it wrong. They're people that have got it wrong.

[C]

Yeah.

[F]

Oh, for sure.

[B]

Yeah.

[C]

There are people who have gotten it wrong. I've gotten it wrong. At the end of the day, like, I'm the one who has to say yes to the dress, so I get in it. So I kind of take some ownership in that. Like. But sometimes they'll hype you up. Like, not the wrong stylist, but someone will be like, oh, that looks great. No, you need to push the envelope. No, this is what's trending. And if you don't know yourself and know your style and know how to say no, you'll end up putting on something, getting dragged on the Internet, and then being mad. But it's like, in your gut, you knew you shouldn't have done it.

[B]

But by the way, when you See what we have picked out. I often say E has been into four parts. We're now in E4. But E1 and E2, we had some badass looks that we wanted to wear. We have to send them to the network, and the network has to say yes or no. So a lot of times we don't even get our friends first choice.

[C]

That's true.

[D]

Did they let you keep the clothing?

[C]

No, no, no, no. It's too expensive. They'll like. So you can either pull where you'll have a budget, and then you pay a certain amount of money to borrow from a showroom, and then they want you to do that. Ideally, if they think, oh, when you walk the carpet, people take pictures and we get press. It's harder when you're lesser known because they're like, okay, we'll give you the gown, but no one's gonna cover you in the gown, so, no, you can't have this dress tomorrow.

[D]

Is jewelry another style?

[C]

No. Same stylist.

[D]

Same stylist. They're borrowing, hauling jewelry.

[C]

Yep.

[B]

I go to 14 karats.

[D]

Do you really?

[B]

Yeah.

[D]

I love 14 karats.

[B]

It's my favorite place in the world. It's like a candy store before every one. I go in, I pick my rings, I pick my brooches. They let me borrow it, and I return it.

[G]

Yeah.

[D]

Let's take line two. Lisa in California for Justin Anzuri. Hi, Lisa.

[G]

Hey.

[C]

Hey.

[G]

So I'm not gonna name the chump because. Because I like him, and I don't want to say anything bad about him, but he was at the Grammys, and I'm pretty sure it was the Grammys, and I've never seen a presenter or what you guys call yourselves, freak out before, But I guess he tried to touch her or hug her something over the bar, and she just was like. She freaked out. Don't touch me. Get away from me. Can you ever see yourselves doing that to somebody?

[D]

Wait, are you. I'm confused by the question. Like, someone hugging you?

[C]

Yeah, like, well, we. Is there any celeb we'd never want to hug us?

[G]

Yeah, he tried. One of the prisoners, like, you guys, he tried to touch her or hug her, and she freaked out.

[B]

Who's that?

[F]

And I.

[G]

Can you ever see she. Can you ever see yourselves freaking out like that if someone tried to touch you or hug you over the bar there?

[B]

You know, I once went for a hug with Howie Mandel, and I. Oh,

[C]

Howie does not like to be touched.

[B]

I didn't know.

[E]

Fist bump.

[D]

Yeah.

[C]

How he doesn't like to be touched. I learned that also. And then it's kind of awkward because. Because it'll, like, swoop in with the fist to bump. And you're like, noted. But that's so that's in the reverse. So that's a celeb who doesn't want to be touched. I feel like we probably get that more than the reverse. I think she's asking, is there any celeb who, for whatever reason, if they come your way, you're like, yeah, I don't know if I'm going in for the hug with you.

[B]

I'm going in.

[C]

Yeah, I'm a hugger.

[B]

I'm doing it for the plot. I'm going in.

[D]

Thanks for listening. If you want more of this, listen to Jeff Lewis Ladd every weekday on SiriusXM as well as the Jeff Lewis Channel, exclusively on the SiriusXM app.