A Sequel? To The Devil Wears Prada? Groundbreaking.

17:38Rebecca:Yeah, I think that's what makes it such a great script, right? It's a great script. Because she's a real person in it, and it's very smart. I love this movie.

17:47Savannah Walsh:Me too. And also, I'm excited for you guys to talk to Aline Brush McKenna because I look back at all of the films she was doing around this time, like 27 Dresses and Morning Glory, and she had a real knack for telling these working girl-esque stories that were idealistic but also smarter than they would have been in someone else's hands, I think. Like, Aline Brosh McKenna, after this movie came out, was the most desired screenwriter in Hollywood. It was, her name was on every single list. It was like she was the golden child of Hollywood. She still is one of the biggest screenwriters. But I just remember her name became synonymous with, like, your movie will get greenlit.

18:34because she did such a fabulous job in adapting this book into the film.

18:40Rebecca:Yeah. I mean, speaking of career launching, I mean, Anne Hathaway already had a lot of momentum because she did Broke Mac Mountain, I think, came out the year before. She was a star or a rising star at the time, but I feel like for her and Emily Blunt, this was a really strong showcase of their ability to do comedy and sort of the versatility of them as actors. So I think, you know, obviously their careers have become incredibly successful, but this was like a big moment for both of them as well.

19:11Savannah Walsh:Yeah, I was looking into it and I was like, within like the first few years after Devil Wears Prada, Anne Hathaway gets her first Oscar nomination. Stanley Tucci even gets his. I think it just was one of those big hits that like put all of these great actors back in the like cultural consciousness in a way. Yeah, and there's also all the, you know, folklore of all the people who passed on the Anne Hathaway role, one of them being Rachel McAdams. But... A million girls would have killed for the job. A million girls would have killed for... Yeah. And then Emily Blunt just... I mean, doesn't she just kill?

19:44Rebecca:Yeah. She just slays. It's just a perfect comedic performance. It totally, you know, launched her into stardom.

19:53Savannah Walsh:Yeah, it's one of those performances that, like, I wrote last year, or I think it was earlier this year, about this trend of romantic heroines going to Paris, which a big plot point in the first film is this trip to Paris. And so much of the betrayal that we feel of Andy going on this work trip is you just feel because of Emily Lund's performance and her just desire to be on that trip. And she's one stomach flu away from her goal weight. When you eat cobs. Yeah. Just her line deliveries are so great. And she has a lot of dramatic heft to carry in this film and in the sequel, actually, which we'll get to.

20:33Savannah Walsh:I think we should get to it.

20:34Rebecca:We'll take a little break. And then when we get back, how being back in the world of runway feels 20 years later.

20:52Savannah Walsh:At The Moth, we love those moments in life that feel just like movies. I lean down because I'm a lot taller than her. And as the train is coming, we place a little peck on the side of our lips. And the wind from the train hits us. And it's magical! To hear fascinating, funny, mind-bending, real stories from astronauts, teachers, farmers, and people just like you, follow and listen to The Moth wherever you get your podcasts.

21:27Rebecca:Welcome back to Little Gold Men. So The Devil Wears Prada 2 is out this weekend, and it's been absolutely huge, I think, not just for us, but, you know, in the world of fans of this movie. What kinds of coverage have you all been seeing about how they've been promoting this film?

21:43Savannah Walsh:I mean, it's hard to walk by, like, around New York City and not see a piece of Devil Wears Prada 2 promo at this point. There's a lot of billboards and posters and Diet Coke cans with red heels on them and activations with various brands and designers. It feels like it's kind of getting the Wicked press push treatment in terms of all the like brand partnerships. Wicked is a great analogy.

22:10Rebecca:Yeah, I felt like Wicked kind of went on for too long. Like I like that they're just doing a push, you know, a month or a few weeks before. I mean, I feel like Anna Wintour presenting with Anne Hathaway at the Oscars was a really smart move because that was early, but it made you remember that this movie is coming and it didn't feel too promo-y. It felt very classic and right. And then Vogue had that cover with Anna and Meryl Streep on it. Like, I think there's been some really strategic, smart moves for the right audience.

22:39Savannah Walsh:And I think just having, you know, Anna and Vogue's embrace of the film publicly is different from the first one. And I think, you know, after the first one is a hit, I think it makes sense for there to be a public endorsement of the second one in a way.

22:53Rebecca:Yeah, I think Meryl Streep has talked about how with the first one, they had a lot of trouble getting designers to participate in the movie just because they didn't really have Vogue signing off. And it was a little bit more challenging. So it is nice to see it sort of full circle this time around.

23:08Savannah Walsh:Yeah, and I think we should mention that Patricia Field, who did the costumes for Sex and the City and Devil Wears Prada, just like she did not return for In Just Like That, she did not return for The Devil Wears Prada 2. And it's Molly Rogers in that role this time around, and she also worked on In Just Like That. So I think it'll have a similar sort of feel in terms of how it translates to the fashion world, kind of the Sex and the City and Just Like That parallel. Although I'm not super well-versed in the fashion world, so. But beautiful clothes. Yes, beautiful gowns. So it's time that I say I have not gotten to see the second one.

23:45I experienced my own movie yesterday on the way to a screening for the sequel and was unable to attend. But let's get into it. Does she wear the Chanel boots again?

23:59Rebecca:I don't think they bring—oh, there is one callback at the end to an outfit she wore in the first one, which I won't spoil. But we're not going to spoil anything because I really want people to be surprised. Even Chanel boots. There's mention of Chanel. There is mention of Chanel. But that's, I think, what this sequel does incredibly well is it gives you what you want from the original. Yet it really modernizes the story for the world today, for journalism today, in a way that I thought was really smart and really won me over. I really loved the sequel. I can't wait to see it again. And I'm going to gush a lot, I feel like, in this episode about this movie.

24:36Savannah Walsh:Yay. I'm glad that you feel that way because I have a feeling that some people will just try to find things that bother them about this movie or things that they don't like. Because I think the first one is so beloved and it is so referenced and there's so many eyes on it. But I think both David Frankel and Aline Brushman kind of do a really good job at, like, making the impossible possible with this movie. And because I think there's a lot of different directions you could have taken it, but it feels organic to where Andy and Miranda and Emily and Nigel would have probably progressed in their careers, I would say, for the most part.

25:07But the comedy around Miranda, so I actually rewatched the first one and it totally holds up, but there are some elements about it that like wouldn't play today, right? Like the stuff where they keep talking about Anne Hathaway's character being a size six as if like that's like, like it was a joke back then, but nowadays I think it wouldn't fly, right? So how do they work this sort of Miranda mean comedy into the sequel? And how is it modernized?

25:43Rebecca:They bring us into a world where someone from that generation is having to learn how to exist in this world where you can't say insane things about women's bodies. And it's so funny because she's trying.

26:00Savannah Walsh:I think so much that part of an assistant's job, like part of being an assistant to Miranda Friesley in 2026 would have to be like kind of quietly, politely being like, you can't say that, you know, which it kind of reminds me of like if anyone's watching the comeback of patients, like that sort of role. I think they do a good job at still letting her have the mean comment, but making us aware that she knows she's not really supposed to be saying it at this point.

26:24Rebecca:Yeah, it's very aware of that issue, which I think is so smart. I mean, I was really struck by how accurately it does portray the media landscape right now. You know, we're all working journalists, but they represent how so many people are losing their jobs in this business and how media is struggling and, you know, how important digital is and influencers. Like, this felt like it was written by someone who knew what the issues that are weighing on all of our minds are. And yet it's still so funny. But I was really impressed with how they captured sort of how journalism is right now. Right, because in the 2006 film, Runway and Elias Clark Publishing is presented as a fantasy world, right?

27:12I mean, it is paradise, you know, where the fashion closet is the size of your apartment. You know, there's thousands of people running around. What's going on at Elias Clark in 2026?

27:26Rebecca:I mean, there's literally a conversation of like, you can't take private cars anymore. You have to take Uber. Like, you see them grappling with the financial stress, you know, and change of ownership and all these things that you read in headlines every day now.

27:42Savannah Walsh:Yeah, they get into the specifics of it. We, you know, see Nigel and Miranda sort of talk about consolidation and print issues getting thinner and having to make more with less. And also, I think, secure support from tech billionaires, which a lot of journalistic institutions have had to do. They interact with the real pressures that we're feeling in a way that I think feels as grounded as it can be for a movie that also has to feed a very mainstream audience. But it's still fun.

28:10Rebecca:I feel like we're making it sound very serious, but it's so fun. The way they were able to strike that balance, I think, is so hard to do. And it's fun and funny. And also, the clothes are incredible. You know, you get those montages of them all changing their outfits seven times in a row when they're going to shows. And you get those moments that you want. And you get a few cameos that you'd want. Because, obviously, of the success of the first one, I think they were able to really get whatever they wanted for this film. And you see all that. But it's also like you get to see Meryl and Emily and Stanley and Anne.

28:49Rebecca:They're so good at comedy. And maybe it's because they know these characters so well. But I felt like they were even stronger in their performances this time around.

28:57Savannah Walsh:I agree. And I think some of the most, like, moving moments towards the end of the film really rely on those dynamics and the dynamic particularly between Meryl's character and Stanley Tucci's character. And obviously those two actors have worked together a lot. And I think you feel that connection between them on screen. I did want to ask, Rebecca, how you felt about Andy's position as a journalist at the start of the movie. I think sometimes it can be hard to pick up a character like that years removed. It kind of reminded me of like Rory Gilmore with the Gilmore Girls. And like, in terms of how they try to track her journalism career, it can feel a little clunky.

29:32Savannah Walsh:How did that resonate with you?

29:33Rebecca:That was the one thing where I was kind of waiting for them to tell us what she'd been doing because she hadn't been in the magazine world. Like it's established early on. She's a pretty successful like newspaper journalist. And then they kind of have one line where she says what she's been doing. So I think in the end they filled it out. But I was a little nervous in the first scene that I wasn't going to feel as realistic as it would have been for her. But how did you feel about it?

29:59Savannah Walsh:Yeah, I felt the same way. I mean, I think there was moments where I felt like it was difficult to, yeah, understand what Andy was doing and what her goal was. Because she does go back into a very similar dynamic with Miranda. And I didn't know if that dynamic should have been different. Also, I think as we've seen in the trailers, Miranda doesn't even remember employing Andy back when she worked there. And so some of those elements, while I thought they were fun, felt a little, I think the film picks up in the second half. Because in the first half, you're kind of just getting through the machinations of how all these people are back under the same corporate roof.

30:36Rebecca:The one change I did love in that character is, and Emily Blunt's character actually comments in it, like she has a confidence that a 40-ish woman would have that she obviously didn't have in the first film. And, like, I liked that change in her, but she still is sort of desperate to please Miranda, even though she comes in a lot more confident and knowledgeable. So I think they did a good job showing how a woman would change sort of emotionally in that amount of time. And they had, like, each character had to sort of catch you up on their last 20 years through dialogue very quickly. And I think they did a good job pulling that off.

31:12Savannah Walsh:I also want to talk a little bit about Patrick Bramall, who plays Andy's love interest in the film. As John mentioned earlier, Nate, Andy's boyfriend in the first movie, has become kind of a controversial figure for his role in the film. And I think they took a pretty safe approach to her love interest in this film. It's a guy named Peter. He's a contractor. They meet while Andy's on the search for an apartment. And I think they have a really nice, easy chemistry. Patrick Bramall is an Australian actor from the Paramount Plus show, Colin from Accounts. I think he fits nicely in the movie, and they did well with that character.

31:47Rebecca:I thought he was really good. I was wondering what they were going to do for the love interest situation in this movie. I wouldn't say he's a scene stealer, but I liked their chemistry and the moments they had to go. Well, we don't want him to steal anything. That's what I'm saying. They seem very aware this movie is about these women and their relationships. Like even having Kenneth Branagh be Miranda's person, it's the same thing where Kenneth Branagh is an incredible actor, but I feel like they know that this story is not about him. And so I think it was the right balance in both those cases when it comes to love interests.

32:21Savannah Walsh:Yeah, I mean, I think those characters seem to fit into the world in a way that sometimes Justin Theroux's character, I don't know that we want to say too much about him, but I don't know if he was wearing prosthetics or if it was just the hair, but he kind of plays this cartoonish billionaire type. And his performance bordered a little bit like cartoonish for me at times. It just kind of felt like it would belong in like one of those like early 2000s Charlie's Angels movies.

32:46Rebecca:Yeah, I think he could. And Justin Theroux is so good at this. Could have been a little slicker. I think because if he's supposed to be this like billionaire tech guy.

32:55Savannah Walsh:I think sometimes in film and TV like the billionaire tech guy they go hard really hard on the awkwardness and they don't really give us enough of like the charm that you would have to have I guess. Right. Right. Well we're going to get billionaire tech guy content this fall with there's the Zuckerberg movie and then probably the Sam Altman movie. So don't worry. It's coming. We're going to get awkward billionaire tech. I just want more complex billionaire representation. I think that's what I'm asking for. Yeah, it's so important. It's so important, Savannah. It's so important to tell their stories.

33:27Thank you for bringing that up. Okay, so without giving away spoilers, how much, I mean, it's been 20 years, which is a long time to wait for a sequel. How much Easter eggy stuff do they do in reference to the first one? I mean, we know every single line from the first one, right? I could recite this movie probably verbatim. So how much do they reference that? How much of a balance is there?

33:57Rebecca:I would recommend if you don't have this movie running through your veins like the three of us do, you rewatch the original before you go see this if you have the time. Because there were a few little callbacks I probably wouldn't have noticed if I hadn't just rewatched it. But I think it's a great balance. There's references to some of the storylines in the first one. And then there's little, like I said, there's a couple fashion moments that are definitely calling back to it. I felt like it was the right amount where you didn't feel like they were just trying to redo the first one. But they were being playful with it.

34:28Savannah Walsh:Yeah, and I thought the structure did have some beats that were really reminiscent of the first in a lovely way. And I think there's also just kind of some hidden gems that are fun to watch on subsequent watches, I would assume. So it sounds like we're both recommending it. Yeah, I'm so happy. Everyone could see it. I think people will have an interesting time picking it apart just because it is such a classic for a certain kind of person. John, is there something you are hoping happens or that you're most excited to see when you finally get to see it? I just want to be back with my ladies. Yeah.

34:59Rebecca:Well, John, we'll have to catch up off pod, as we always do, about what you think about it. And I can't wait to hear what other people think about the film as it opens this weekend. Savannah, thanks again for joining us. Thank you guys so much for having me. This was such a pleasure. All right, we're going to take another break. And when we get back, I sat down with Aline Brosh McKenna, the screenwriter of both films, to find out her favorite lines and how the sequel came to be.

35:32Hi, I'm Chloe Mao, head of editorial content for American Vogue and host of The Run-Through. The 2026 Met Gala is just around the corner, and if you're anything like me, you're probably already wondering how guests are going to interpret this year's red carpet dress code, Fashion is Art. Be the first to see every arrival by joining Vogue's Met Gala live stream on Monday, May 4th at 6 p.m.

35:52Rebecca:Eastern, 3 p.m. Pacific, streaming live on Vogue.com and YouTube. Don't miss fashion's biggest night. See you on the red carpet.

36:07Rebecca:Welcome back to Little Gold Men and welcome to the screenwriter of both The Devil Wears Prada and The Devil Wears Prada 2, Aline Brosh McKenna. Thank you for being here. You're welcome. I'm happy to be here. The movie opens in just a couple days as we're recording this and I've gotten to see it. I'm such a huge fan. I think you guys really pulled it off. What have the last couple weeks been like for you? Have you been globetrotting to help open this movie? Yeah, I mean, it's, you know, the first movie was really the little movie that could, you know, it kind of came out of nowhere. And just the scale of the expectations were completely different in so far as they were quite low.

36:43I mean, it was a it was a hit book. So I will say that, like, people who had read the book were excited about the movie for sure. But it's just become this other, you know, combination of excitement and nostalgia. and you know so yeah we got sent on a global tour um and it's just it's exciting to see what the first movie has meant to people especially to journalists who like even though i'm not a journalist i consider my people you know they're fellow writers and um i think writers are always in a little bit of an existential situation no matter where they are because most writers are entrepreneurs of some type, which is something they don't really tell you.

37:27But you really have to scramble to get work. In Hollywood, that's always been the case. I think the idea of having like a sinecure as a journalist is kind of over. But especially when young women come in and talk about what the first movie has meant to them and inspired them to be journalists, that makes me happy because I think it's such a necessary occupation.

37:52Rebecca:Yeah, I feel like you're speaking my language because that's pretty much exactly what I said in the earlier part of this episode, how much the first movie meant to me because I just graduated college and was very determined to be a journalist. It was such a pivotal time for me. So I thought we could go back and start with the first movie. I read that when you were brought on, there had been some other attempts to adapt. What was it about your approach that really cracked it? I think that tonally it was a tough one because fashion has an inherent silliness to it, that it had a tendency to kind of veer into like rompy fun.

38:33And I think my approach and David's approach, even though we didn't know each other and we met the day I pitched, we both had this idea that we would take this world and this woman, Miranda Priestly, very, very seriously, because it is a big business and it is a high stakes business that's, that's controlled in this instance by a woman. Um, and we both really wanted to dry it up a little bit in terms of making sure that it was very real. And that's what I loved about the book was it really is, um, you know, indicative of someone's day-to-day experience and someone who graduated college has dreams, hopes and dreams, runs into and brick walls.

39:13And then some of the brick walls turn out to be opportunities for her that she never would have imagined. And I think I just really responded to that right away. And it just so happens it was like one of the great professional blind dates of my life was just to meet David and find that we were speaking the same language, you know. And one thing I've learned is that you can't really go into these things thinking what will get you the job or what will sell that's very transparent. And you have to just go in and say, like, this is what I think. And this is what I really think this book needs. You know, and I had been doing that for 15 years and not always hitting the mark with not always finding people who had the same interests than I did.

39:59And then I just had the luck to meet David. And David and I, in fact, compared the document I had pitched with to the document that he had pitched with, and they were very similar. Mm.

40:08Rebecca:And once Meryl Streep became attached, how did the script change? Did you write dialogue specifically for her? Yeah, we, the first draft, when it went to her, we had a meeting in New York in her apartment, and she had the first draft of the script, so the draft that she had been sent, and we sat and talked about it and turned pages. and she interestingly had very much the same even more I would say like the same approach that David and I had in terms of drawing it up and not having it be over the top or silly because you know one thing I had said in my initial pitch is that fashion contains its own parody you don't really need to parody it it sort of does it's on its own if you read the the thumbnail little descriptions on the side of a photo shoot they're ridiculous and in a great way you know it'll be like ushering the fall in with eggplant you know um and she you know she actually wanted less very rare to meet with an actor who wants less fewer lines um less stuff so right from the beginning i was absolutely scared to death that i was going to say the wrong thing like i've you know how adrenaline imprints memories uh i remember like what i was wearing how i did my hair it was pouring rain i didn't want to be like i just want to be an idiot yeah you know like god god i don't even know what my goals were but i think don't be an idiot and um meryl has this incredibly unvain way of engaging with material like it's not about her it's not about like i want to say the most lines and the showiest things and I want to wear the most fabulous clothing.

41:52Like it's all so purposeful. Like I've seen her work with the stuff and pick accessories before she walks out and like she'll talk about why she thinks something is better. And it's, you know, sometimes it's like this looks nicer, but it's often about how it serves the story. And so she's an actor who really, really understands what's important for a story. So I always feel like extremely safe and most creative when I'm with somebody who really wants to add to the story stuff and isn't pulling you onto concerns that aren't that. And she is exceptionally that. And she sets the tone for that, actually, in terms of like you're having really deep, interesting conversations about the whole piece.

42:37And that's what we did with David in that first meeting was like we had like a really great conversation about the whole piece. And then for the sequel, there were a couple times in that meeting where she sort of would do Miranda for a minute. You know, like, seeing her turn into Miranda even for a half millisecond is, like, thrilling. And when I first saw the four of them in their wardrobe, I had such a squee, and I kept running out to take pictures of them like I was the bar mitzvah mom. Like, I really, like, I couldn't believe that we were all together, you know? So, I've now said this several times, but my credo is if Meryl thinks it's a good idea, it's probably a good idea.

43:12And so she's like an incredible actor for a writer to work with.

43:19Rebecca:So I think that's a great jumping off point for the sequel. You know, it's been 20 years. I'm sure people have asked about a sequel throughout those years. But what made you feel like now is the time and I have the right story to tell? I just had a couple of nuggets of ideas that I liked and I had been playing with. And then I would pester David every once in a while and say, like, what do you think about this? And I think David always felt like we had captured lightning in a bottle with the first one, and he didn't want to mess with that. And so he would go like, yeah, yeah, yeah. And then I started to get him a little bit more interested in some of the ideas, and he would be like, well, sure, I mean, if we're doing it, that would be interesting.

43:58but it really wasn't until Meryl said that she was interested in hearing my thoughts so when I went to her in New York and I pictured that idea and she was like well if you could do that that would be great and so it's interesting because a lot of sequels start with the studio saying hey can you revive this this didn't start that way this started with me annoying David which is you know one of one of the important steps of this movie me pestering David and then checking in with Meryl, which is another important part of the process, and then launching from there. And we went to the studio and said, what do you think about doing this?

44:31It wasn't an assignment or anything like that. That's so interesting.

44:36Rebecca:As a journalist, I was sort of shocked by how much realistic state of the journalism world you got into this movie. I turned to my colleague who's sitting next to me as I was watching. I was like, oh, this is a horror documentary. it's a it's the most joyful upbeat fun documentary about the sinking of the titanic um you know i my son is a journalist i've always gravitated to journalists i've written about them a lot and um i think there's something about reflecting the reality of the world that i really respond to but was what was different in the 20 years was that we made this movie for 20th century fox and then they got bought by disney so now we're making it for 20th it's no longer Fox.

45:21So there had been a corporate consolidation there. And I think everyone I know in some respects is now kind of facing this like giant downward economic pressure based on like a loss of monetization, advertising. And then it's really interesting how these big corporations are really part of your day-to-day life in a way that I don't remember that being the case when I was growing up.

45:48Rebecca:And there's some really great Easter eggs. I had just rewatched the first film before I went and saw the second, which I highly recommend everyone does. But I love, I think you find the perfect balance with sort of giving those little Easter eggs to fans. I didn't want too many. I didn't want too many because I didn't want to feel like we were like, you know, winking at the audience like, look at us. But it was, you know, in real life, things recur. You have private jokes. But we try to always keep it very subtle, like very subtle and not, so you don't have to have seen the first movie to see the second.

46:20Oh, it's always very important that it stands alone. And I didn't rewatch it when I was writing. All right, a more

46:27Rebecca:general writing question. How have you changed as a writer since you did the first one in the last 20 years? Well, this may be an odd thing to say, but I had little babies. You know, when I wrote the first one was mostly in 2005 and I had a five-year-old and a two-year-old and so oh that's what I currently oh well I don't need to tell you your work hours are like I mean I think it was good for me the first time because a lot of it was like oh I gotta go to preschool and drop off the apple that he needs for his school project so like your brain was not totally taken up with you know like gives you a lot of perspective.

47:06And a lot of women have done a lot of their most important work after their kids left the nest. And I love that this movie is about a lady in her 70s who's still working. And I'm sure she would have a lot to say about what it's like when your kids are independent in the world and what you can achieve. And I hope that it shows, you know, I think that we have this idea that you can, you only have this short window in your 30s to become successful. And I think for moms, that's not the case for everyone, obviously, but for moms, there's a little bit of a governor on how much time you can spend. So there's a lot of famous painters, novelists, poets, women who really flowered in their 50s, 60s, 70s, and 80s.

47:54And I feel like I'm the age that Miranda was in the first movie. So in a way, I feel like I'm just at the very beginning.

48:04Rebecca:All right. Last question here. What is your favorite Miranda Priestly line of all time? Do you have a favorite line? Yeah, my favorite line is when she says go at the end of the first movie because it was in the stage description and she said it. But also, there's a little thing in the new movie where she sashays out of a room. And it's not a line, but it's just a little Meryl moment where she's like had some rosé and she sort of like sashays out of the room. And I look forward to that every time. just a tiny thing. There's so many moments I love. I love when, we're not going to spoil too much in the movie for the listeners, but there's a point where Andy really wants to get an interview and she's doing that thing where you call this person to call that.

48:46Rebecca:Like, I've done that so many times in my life to see it captured in a film was just perfect. I really love this movie. Well, you have to be unafraid to feel stupid. Yeah, yeah. And cold calling is about the most miserable feeling of being stupid you possibly can. But again, I just respect what journalists do so much, and they've never been more important. It's always my love letter to journalism. Well, Aline, thank you for joining me. Thank you. I really appreciate you making the time, and thanks so much for making the sequel. All right.

49:25Rebecca:Thanks for listening to Little Gold Men. Michelle O 'Brien is our senior producer, and Grace Rubin helped produce this episode. We had engineering help today from Pran Bandy with mixing by Mike Kutchman. Our executive producer is Stephen Valentino. Next week, we're talking all about the show that was once HBO Max's biggest hit, even though it seems like we might be the only people who still care. So whether you're still watching season three or not, join us to talk about the agony and ecstasy of euphoria. And don't forget to send us your canned questions to littlegoldmen at vf.com. See you next week.

50:11If you're looking for some of the sharpest takes around on film and television, I hope you'll tune in to Critics at Large from The New Yorker.

50:18Savannah Walsh:So over here, we like talking about what we love, but also crucially what we hated about what we're watching.

50:24Rebecca:But even more, We like making sense of what's happening in the culture right now and how we got here. So just join us, okay? As we make our way from Eddington to Moby Dick, from Ted Lasso to the rise in therapy speak, from the pit to Luigi Mangione, you have no clue where we're going to end up.

50:41Savannah Walsh:It's Critics at Large from The New Yorker. Every Thursday, wherever you get your podcasts.

50:50Rebecca:From PRX.