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The Devil Wears Prada- Sometimes, Everyone is Wrong
31 Plays6 days ago
It's THE movie about fashion. That's all.
*Also sorry for some extremely vocal birds about 5 minutes in that stick around for a few minutes.
https://www.imdb.com/title/tt0458352/?ref_=nv_sr_srsg_3_tt_7_nm_1_in_0_q_devil%20wear
Music: Cassette Deck by Basketcase
Recommended
Transcript
Introduction to Hosts and Podcast
00:00:00
Speaker
I'm Melinda. I'm Ariel. This is Hot Set, the movie podcast about costume design.
00:00:21
Speaker
Hello,
Mid-Season Focus and Film Introduction
00:00:22
Speaker
friends. Welcome back. We're in the back half of this season, I believe. We're getting dangerously close to the present day. ah Still got a ways to go, but we're back. We're continuing our journey ah loosely, chronologically through movies that are about clothes and all of the things that that could ah mean.
00:00:44
Speaker
Today is a classic, I think, one that would be immediately on the mind of anybody that was attempting to do this ah journey that we're on. And that is the 2006 film The Devil Wears Prada, which is now 20 years
Synopsis and Casting Insights
00:01:04
Speaker
old. Crazy. um Our little one sentence synopsis from IMDb is as follows.
00:01:14
Speaker
Andy, a smart but sensible young journalist, pi up put a pin in that, starts working as an assistant to the cynical high fashion magazine editor Miranda Priestly, which like barely even begins to scratch the surface of the wild plot of this movie. um This movie is based on a novel, which I have not read. um And yeah, it's, it's Anne Hathaway. Apparently she was like the eighth person that they considered for this role. Like she was not top of mind. wow
00:01:48
Speaker
Yeah. I think she actually had to campaign to get it. I don't think they wanted to give her the movie. yeah. That's crazy. And she plays – I know. It's her movie. It's her movie. Yeah. Yeah. It's so iconic. I think I read before that they tried to persuade Rachel McAdams multiple times to do the movie and she wasn't interested.
Character Analysis and Societal Reflections
00:02:09
Speaker
Yeah. She would have killed it. I'm sure all the rest of the actresses would have killed it. Absolutely. This is so iconic for Anne Hathaway. Yeah.
00:02:18
Speaker
Yeah. But yeah, so Anne Hathaway, recent college grad, full of hopes and dreams the way all of us millennials were right before the economic crash of 2007. Yeah.
00:02:32
Speaker
um And she shows up. ah She gets kind of like a job placement, I would say, in a way. Like she ends up at this fashion magazine ah as the second assistant to the editor-in-chief, second banana to Emily Blunt, who is iconic in this movie. This was like her breakout role. yeah ah You're welcome, world, knowing who Emily Blunt is after this movie.
00:02:59
Speaker
And yeah it's like about her kind of Delving into this high fashion world that she initially has no knowledge or interest in and ah has just so many things to say about this industry and.
00:03:18
Speaker
I feel like, I mean, i know a bit about what Ariel thinks about this movie. So before I throw it over to get your impression, um i would say watching this movie now, ah looking back on the attitudes in the movie, I think that my conclusion is that sometimes there's a movie that there's really no one to root for in the movie. Yeah.
00:03:42
Speaker
And that's where I kind of landed with this. I love this movie. um I've seen it so many times. I always enjoy watching it. But I do feel like every single person in this movie is wrong in their worldview, in their own unique, special way. So, Ariel, as someone who has not had such a warm, fuzzy relationship with this movie, what was it like for you to watch it this time? It's crazy to think that it's been...
00:04:10
Speaker
basically 20 years since I've seen this. That's upsetting in my body. um But i the first time i watched it, i like really didn't care for it, but I was like following the character's journey and I was like, yeah, no, yeah. And now that I'm older even, I'm like, Andy, you're a dick. like yeah I yeah could not...
00:04:37
Speaker
imagine walking into a job and then making fun of it on my first day to everybody's faces. I could not imagine walking into a job and not having researched what that job is or where it's at. Like our main character is like you said, wrong character.
00:04:57
Speaker
You know, she's like living in
Fashion Industry Critique and Influence
00:04:59
Speaker
this story. And then she's like, girl, who's going to be okay? It's like, you're a hot mess the way that you're like cutting through this world. Like you are creating problems and then being shocked that they're a problem.
00:05:11
Speaker
And like- The reasons why I don't care for this movie. i yeah I do love like what I do think is camp about it. And I love yeah like the heightened stuff. And of course, you know, like the, why am I such? I know why it's because my brain's been through a lot recently. I can't remember anybody's fricking name. So sorry that you have to cut this later.
00:05:35
Speaker
But like Meryl Streep, phenomenal. Emily Blunt, phenomenal. Everybody is cast really well. And like i I enjoy of watching these characters like be so cruel to each other.
00:05:52
Speaker
But what I don't in enjoy... is what people argue for for the movie and why we chose it and why it's in our season because this is a movie about fashion this is about fashion ah journalism and ah we see a lot of different parts of that in this um in-house stuff for what is kind of de facto vanity fair right I thought it was Vogue. I mean, Anna Wintour. Yeah, it's Vogue. yeah No, I'm dumb. It starts with a V, so i'm just going to say Vogue. Yeah. Because it's Anna Wintour. They wish they were Vanity Fair. No, I don't know.
00:06:30
Speaker
But yeah, it's it's, you know, this this magazine that that has a lot of power and still has a lot of power. And um this person who's kind of mysterious but also just like insane who's at the top of that pyramid and the world that exists there that is a separate world from the world that you know unless you are dipping your toe into the world of fashion there's a lot being said in this movie that is totally valid like everybody always points to the monologue that Meryl Streep has about Cerulean When Andy laughs at these two belts and is like, the same thing. And then Meryl Streep's character comes back with you know basically this insight to how the fashion industry works underneath yeah what you think you're doing and how you think you're making choices about how you express yourself in the world. But really, it's going through all these different people's hands and all these different meetings and all of these different things before it even gets to the bargain bin that you pull it out of. Which, okay. Yeah. I think that this dressing down is deserved in this moment. Yeah. Because Andy's being inappropriately rude. Yeah. um
00:07:45
Speaker
What I don't like about this movie is that it's trying to say a lot about how powerful fashion is. And it's also showing how powerful fashion is because we will talk about the costumes. Yeah.
00:08:04
Speaker
But it's not talking about the parts of fashion that I care about. So in that sense, I'm deeply in Andy because these are the parts of fashion that I don't care about. The parts that are inherently classist that are communicating how you belong in a space because of how you're wearing ah a fucking owl on a long necklace. Like, you know, you've got like Chanel shit around your neck. Yeah.
00:08:32
Speaker
Don't say, don't denigrate the owl necklace, Ariel. Where would we have been in 2007 without the owl necklace? No, I actually don't think I ever wore an owl necklace personally. I never bought one. I was gifted one. yeah And I was like, oh, thank you.
00:08:51
Speaker
Thank you so much. Thank you. But i I agree with you that this this movie says that That fashion is this top-down hierarchy that starts at the most elite levels for very fancy, rich, white people, European white people. And that it, like, filters its way down through society to us plebes. And we're so lucky to receive the dregs of... What it is. And, you know, that it just doesn't quite resonate with all of us because it's like the idea that fashion is important and can change people. And like that is true. But there's so many other ways to engage with it and arrive at it and that are not this. Yeah.
00:09:48
Speaker
Yeah, because this is one view. This is one yeah solid view. And it's basically the view of Vogue and like in Anna Wintour, right? Who is the character that Meryl Streep is playing, but the character in the movie is Miranda Priestly.
00:10:05
Speaker
And so this worldview is true. It is for a lot of people. And the way that it function is functions is real. But it's never been something that has held water for me because I was not a magazine kid. I wasn't interested. i also have always been not like, I'm the weird girl. It's just like I just had a body that was different than everybody else's body. So the styles that were popular when I was younger – and developing my quote unquote style ah didn't suit me. So like yeah the clothes that were manufactured, that were fast fashion, that were put in stores didn't work on my body. And there's not things that I could do to my body to change them. Like I would have to change my bones to make those styles work for me. Because we're talking about when we were younger, when this movie was coming out, we were in high school So like even before that, it's like the Paris Hilton era, you know? but yes All these looks. Well, and I think it's it's perfectly illustrated by Stanley Tucci when he says – when Anne Hathaway is like, oh, so the girls don't eat lunch or they don't eat. And he said not since four – a size four became the new size two and a size two became the new size zero. Heroine and real. heroing and And real. And she says, I'm a size six. And he says, which is the new 14. And like that worldview was persistent in this era. But the thing about being a size two is only so many people are.
Environmental and Social Impacts of Fashion
00:11:44
Speaker
And the rest of us are also alive on the planet, too. Yep. And it also, the fact that they keep referring to her as fat as a size six is so A, insane and B, funny, not ha ha. Because in fashion schools, the dress forms that they have available for you are all size six. Yeah.
00:12:05
Speaker
And so like that's what people genuinely who are learning to construct clothes think is like basically plus size if you go yeah or above, which is insane because yeah you're right. a lot of people's genetics don't allow for that. Like at my smallest as a grown adult woman, i was the same size I was when I was 12 years old, which is a size 12. Yeah. And so it's like, that's crazy. So I've never approached fashion from this point of view because the second it gets, anything gets kind of classist, I'm out. Like I just, yeah I'm no longer interested. And I'm not trying to say like, I'm just such a great person. That's not it. It's just, I'm just not interested because I know that it's not for me. Yeah.
00:12:55
Speaker
And in that sense, I'm an Andy where I do actually agree with her that like, well, people have different senses of style. I do think that that is true. You know, there are a lot of people who are very famous for dressing really frigging weird and then having things become fashionable because they did it in the first place, which is one of the ironies of fashion, that fashion designers will have their crazy little styles that are kitsch or original or whatever. and then they'll have their fashion brand that they build from the ground up. And by the time they get to the height of a pyramid, it's gauche, if anybody else does it.
00:13:32
Speaker
but it's okay they do it. Right. It's a very, it's, it's so, there's so many ah contradictions and complications. And i think it's true across so many different fields, like versions of art and even just like other fields that like, that, you know, are totally separate that,
00:13:59
Speaker
Everything is like crazy and out there until it gets adopted into the mainstream. And then it's taken as a given. And it requires people going outside of the norm to push things forward, create new ideas, new style, new art.
00:14:17
Speaker
But until it gets adopted by the mainstream, it's considered like weird and out there and underground and strange. So it's like, and just right. So it's this it's this really weird push-pull where all of a sudden you're like the trendsetter.
00:14:39
Speaker
But before that, you're just the weird person. And there is like a shift that happens. And it has happened to every single fashion designer that's being uplifted in this movie as like the pinnacles of the field.
00:14:57
Speaker
They all started from somewhere as someone who just had a bunch of crazy ideas. Yeah. And there's like a couple thoughts that occur with this movie. So when I when i talk about how this just like isn't the part of fashion that I care about, what I care about is the what's behind the door.
00:15:16
Speaker
It's yeah the people who are making the things. It's yeah what I talked about endlessly to anybody who would listen when um the Guopay – When her exhibit came through the DeYoung. Yeah. And um it's all this like incredibly embellished, embroidered, beaded, high fashion stuff that's like really incredible and theatrical and it's art. Like it's absolutely beautiful. Yeah.
00:15:45
Speaker
But it it really, what's a nice way to say this? It grinds my gears that the whole exhibit, except for one little piece, is about Gopé and her...
00:16:02
Speaker
collections and her visions and her history and how she did go and get funding to get um traditional craftsmen to teach new craftspeople these skills so that they don't die out, which is super important.
00:16:20
Speaker
But every time that people talk about the work of a designer, they talk about it as if the designer actually made it. And that's just not true. Just not how it works. And we saw that. We know that just from this season watching Mahogany with Diana Ross, that even when she was trying to come up in the world, she had a technician who built all of her stuff. She didn't build any of it. She did drawings. She had the vision. She had the idea. And that is...
00:16:52
Speaker
so Not to be discounted, no but it wouldn't exist in the real world.
Consumer Behavior and Fashion's Cyclical Nature
00:16:57
Speaker
yes yeah The illusion that this person is generating all of these things and that it's just, this is...
00:17:04
Speaker
na insert the name of any designer, that actually makes me deeply angry because the fashion industry is, I think it might've changed in the past 10 years, but I kind of doubt it. There are two ultimate culprits that are like the highest at how they affect um climate change and like the things that they put out and like how they poison the water systems and things like that. And one of them is fashion and fashion for a long time has been number one. And then farming, factory farming is like, yeah I guess you could argue for which one takes the number one spot and which one takes the number two. But fact like the fashion industry...
00:17:44
Speaker
this This monologue from Miranda Priestly hits such a tiny piece of a real reality. Because, like, the fashion industry does have a massive effect on the world. And not all of it is positive. And not all of it is, like, this is how you got inspired to get dressed in the morning. No, it's, like...
00:18:07
Speaker
People who are doing the dyeing of these things. Who dyed that cerulean blue? Someone who might have been working in a factory without gloves, without facial covering, without air filtration. And then where does that dye go? It goes directly into drains that go right into the clean water right next to them.
00:18:27
Speaker
yeah And it's not that factory worker's fault. It's the fault of the people who are running that factory. It's the fault of the people who are demanding that these things be made so that every single season has something brand new. And that was something that like really icked me out when Miranda is like yelling at people for like the spring catalog or whatever. And It's like, well, we have to have things that are brand new. And it's like this cycle that fashion, the fashion industry has tricked everyone into, not everyone, that's a gross exaggeration, but has tricked people into believing is valid.
00:19:01
Speaker
Is that you have to somehow... discard all of your clothes every year and every new season have a brand new wardrobe and that has affected so many people in so many different ways I didn't know how to take care of my clothes or yeah buy like well-made things or identify what is well-made that will have a long lifespan until I was in my later 20s and like yeah you know It took studying costume to be able to like really have an appreciation for what it takes to construct and to build because the reality is everything we wear is handmade, regardless of whether it's made industrially or like by someone slow knitting or slow embroidering.
Cultural Impact and Workplace Dynamics
00:19:47
Speaker
It's all handmade. And so this industry is actually a brutal monster that isn't just telling us that we're all too fat, but it's also just like so toxic in the world. but it's so quippy, Ariel. It's so fun. So quippy. And we can't talk about that part. name cochi yeah It's It's fun. I just
00:20:16
Speaker
It's like it just – I think that because this movie is so beloved, it frustrates me because people are like venerating this part of fashion that is just – has a lot of bad like to it. Yeah. Or they're just not even – like they're not even thinking about it that deeply because they're just yeah like, there's oh, the clothes are so pretty. And it's like, well yeah, of course they are. like course they are. Yeah.
00:20:42
Speaker
But I think all of that soapbox aside. Yes. I think something that I find really hilarious about the just internet nightmare that we all currently live is that like every time somebody wants to like make a post go viral, they have to be like, you know, I rewatched the Devil Wears product. And the real villain of the movie is her boyfriend, Nate. And he's so terrible and blah, blah, blah, which I'm like, I don't disagree. don't disagree. But this idea that we have to be like, actually, this person was perfect. And this person was the villain and blah, blah, blah. I'm like, can please have a real, like everyone has to constantly be like, it's crazy that Meryl Streep is considered to be the villain of the movie, blah, blah, blah. And it's like, well, but she is. She is. That's a toxic work environment. That's a harmful work environment. The only person who I would argue – The moment that Emily Blunt says you get 15 minutes for lunch, that's all I need to know. This is not a good work environment. Did she say I get 25 and you get 15? I get 20 and you get 15. Yeah. No, thank you.
00:21:56
Speaker
And like the the person that I could kind of argue isn't the villain is Stanley Tucci, because he does have a really great speech that I do think a lot of us need in our lives, which is...
00:22:07
Speaker
you have no idea the opportunity you've been given and you're just kind of shitting it away and then yeah complaining about it. So what is it that you want me to say? You want me to say, Oh, poor you. okay Oh, poor you. But they're like, you don't even respect the thing that you're doing. So like, of course you're not doing it well. Cause you're not trying.
00:22:26
Speaker
And like, I probably have needed that in my life. I i know that I have. And yeah, you know, it's It's kind of easy to forget that – because I feel like Anne Hathaway just always kind of looks like a grown-up. It's kind of easy to forget that she's supposed to be 22 or 23. She's supposed to be like fresh out of college. This is like her first – job And she's a realistic journalist.
00:22:52
Speaker
Yeah. And she obviously like she went to a prestigious school. Obviously, like, there's things that line up in your life to give you the opportunities that she's had. Right. Like, we know that she's coming from a certain type of background. That's just amazing. obvious but I mean we see it too when she goes out to dinner with her dad and he gives her the envelope of money to cover her rent like exactly not everybody's parents are in a position to do that and he's not like the shop will be fine you know he's like I'm just gonna give you this I'm just gonna give you this disposable income that I have but like yeah the the
00:23:31
Speaker
The idea that this is the first time in her life where she isn't being praised for doing her job is very understandable given real her background. Yeah, it's real for a lot of people. like the The workforce world doesn't always care that much of about you. And that's why you as an employee have to care about yourself, which is important. But like...
00:24:00
Speaker
Yes, i that that speech, I think, should be like held up from the movie a little bit more than the cerulean speech. The like, yeah yes, you're not going to get praised for doing your job at your job. It's like that that scene in in Mad Men between Don and Peggy where they basically have this exact same conversation and she gets really mad and she's like, I want you to say thank you. And he turns to her and he says, that's what the money's for. and i think that That's like true. It's like that you get paid to do your job. That's what the money's for. yeah
00:24:36
Speaker
And like, I mean, we can argue the intricacies of that, but that's for a different conversation.
Fashion's Role in Character Development
00:24:41
Speaker
That is a different. But like, it's, there's like real, I feel like this movie Which I also haven't read the book, but there's like real stuff that's like we're peeling back the layers of like a very dramatic movie to like show real things. And each time we peel it back, I'm like, I i want a Devil Wears Prada where we like dive a little bit deeper into those things because the surface level, oh, it's so cool to be a monster. Yeah.
00:25:12
Speaker
I'm just not the audience for that. And like, I'm, like I kind of oh I mean, it depends on what kind of monster we're talking about. And that's also a different conversation.
00:25:25
Speaker
true But like, it's also like, You know, we're talking about fashion, which is constantly evolving, right? And yes, there are people who are picking and choosing what they're going to sell you. And then you buy those things because they're what's available in the store. And that conversation can get soapboxy. It can also be super surface level. But like...
00:25:43
Speaker
Looking back at this movie now and looking at it 20 years later and being like, this is such 2000s fashion is like so funny. because It's amazing. it's an Okay, so let's really dig deep. Our costume designer, there's listed is...
00:26:02
Speaker
On IMDb, our costume designer is Patricia Field. And she is very known for this, Sex and the City, which is like was such a big, big fashion conversation when that show was coming out. Even if you didn't watch the show, you knew that it had its finger on the pulse of fashion, especially fashion in New York, and that it was like constantly on the edge of it. And I yeah think...
00:26:29
Speaker
the does it doesn't uh what's the who's the actress who is in that uh sarah jessica parker doesn't she have part of that wardrobe or something there's something about it where it's like I don't know, but but the actress herself is like was considered very fashionable as well. yeah like Yes, yes.
00:26:50
Speaker
And it's like cutting edge. It's kind of off the wall sometimes. And and it's also such a fantasy because she was also a journalist, a columnist, who yeah could afford this little apartment in the city and like have all this space for all these clothes that are all designer and like five billion shoes. And um so that was like...
00:27:12
Speaker
Somebody had to source that. And that was their costume designer and her team. And that show, i mean, okay. I don't know ah about, because I never do research. So I'm terrible as somebody who's talking about things.
00:27:29
Speaker
I don't know about Patricia Fields um deep background. I don't know about her relationships in the industry. but but I know that she has them. Oh, absolutely. Especially by the time she gets to this movie because she's done Sex and the City and she built a ton of relationships in order to get the things that she needed for that show.
00:27:49
Speaker
but like And then used those. She leveraged them if for this movie. i think I've read that that the like value of designer pieces in this movie would be like a million dollars and she obviously did not have a million dollars yeah to spend on costumes so this kind of costume design is exactly why this movie is in this season because this kind of costume design is not the kind of costume design that i personally have done which is like
00:28:19
Speaker
way different level, right? Like
Costume Design Challenges and Insights
00:28:22
Speaker
way down the ladder from this, where it's like, okay, you get a couple hundred dollars to a few thousand dollars and then make it so. And it's like, okay, here are renderings. Now I'm going to thrift, rent, by source from the actor's wardrobes. Like, yes, principally you can blow that up and magnify it and people can do that at a larger scale.
00:28:46
Speaker
But I am not trying to be at the forefront of fashion. I'm not listening to the conversations that are happening in these magazines at these levels um about what is in style, about what is this for right now. Because like people who are...
00:29:05
Speaker
Designing costumes for right now today for highly fashionable people are going to be dressing those people differently than if you're designing for today right now college students.
00:29:16
Speaker
People who are just going to work every day. like it's It's a huge conversation about what Huge. And there's it is different to be that type of designer that can tap into what like cutting edge of fashion... like there are designers that you, that are like amazingly talented at their field, but like they're not the right designer for this type of movie because their career doesn't focus on this like contemporary high fashion world, but like,
00:29:51
Speaker
Her career does. Yes. So it's like, sometimes you could have the most talented designer ever, but they're not the right person for the project because it's just not what they focus on. you know, like, I've never in a million years. Even if I had worked my way up to this kind of job, would I be the person who would be right for this job? I just wouldn't. Right. Yeah. because I don't think I really would either. if i just don't have the the passion that would lead to knowledge on these subjects.
00:30:22
Speaker
My passion lays elsewhere. And also like the kind of jobs that that I would potentially be considered for, right, where you do have to costume a lot of people because there's so many bodies that have to be costumed for this. And quite a few bodies that have montages worth of of different yeah pieces. Look after look after look after look.
00:30:45
Speaker
But also layer after layer after layer after layer that is a named designer that is from a specific season that is identifiable, that is with a specific style. And like and there's like deep thinking and like a root system underneath this kind of design that um you might apply...
00:31:05
Speaker
if you're a nerd like myself, to like, you know, a fantasy project or a project where it's like fantasy sci-fi, where you're creating countries and identities and like House of the Dragon, Game of Thrones, if you will, where you're creating things from nothing in order to identify cultures, right? And you have to think from the inside out every single piece. Yeah.
00:31:27
Speaker
Even just doing something that is the real world but is set like hundreds of years ago where you do have layer and layer and layer and layer, but you're not going to Prada and pulling looks from the last three seasons of their show. You're creating stuff based on historical documents and historical textiles. And then filling gaps.
00:31:50
Speaker
Yeah. Yeah. Like where the the resources just don't exist. Like it is that deep, this kind of design. And like a lot of people might just kind of breeze past it because people really do when the subject of fashion comes up, this movie does have that correct. people really breeze past it really fast and they're like, oh, well, that's stupid. You and I have both experienced that in our work and in our studies where people are like, oh, but you like this because it's, really you know, like you don't mind doing this job because it's it's fashion and you love fashion. And it's like, you just yeah really like to push everything into one little box called fashion and just apply that same little box to every single person who has anything to do with anything that has to do with clothing that goes on the human body.
00:32:33
Speaker
And it's – there's so much more that goes into it. So I think that that's why the Cerulean conversation hits but doesn't hit for me and why the movie hits but doesn't hit for me is because it's like we're really just focusing on like the the teeniest little part of a large system. Yes. And I'm not even talking about a big part of the system. Yeah.
00:32:54
Speaker
Yeah, like it works for me because um I love when people have a quippy little line. That's just always going to be my favorite. um And i'm I have some interest in the like high fashion world. um But I would say it's more like a little bit more anthropological than like pure like joy. But I do like looking at it.
00:33:20
Speaker
super high-end stuff but I I think I ah approach this type of like really high-end contemporary fashion the way I do with a lot of like modern art where I'm sort of like I either get it or I don't get it and like learning about it doesn't change necessarily my gut reaction to it so I am just kind of like oh, I totally understand this and I like it or it's not for me and I'm not interested and I'm not really going to like investigate like deeply beyond that. So like I i like just watching this movie, like all of my favorite costumes in this movie are all of the Chanel stuff because I just like Chanel clothes. I don't like Coco Chanel personally. Coco Chanel. Yeah. Yeah. And I'm sure she is. um But I do like the clothes that she made and ah the people that have continued her legacy. Because obviously, like, it's so the other half of the conversation is so many of these design houses are not run by the original people that they're that created them and that are named after them. So then it becomes like a game of like succession. And like, what is this person doing with this fashion label? Yeah.
00:34:39
Speaker
yeah Yeah. And I mean, that's a whole other conversation that's probably like not really that interesting to have right here. But um there ah there is like a continuation, a through line of style. So it's like there certain designers or design houses where I'm like, well, yeah, it is a Valentino and it is beautiful. And I like Valentino. So like I do like those clothes.
Fashion as Identity and Visual Storytelling
00:35:03
Speaker
But some of the stuff that gets pulled out in this movie, I'm just like,
00:35:07
Speaker
oh, that like giant red fur coat that Miranda comes in that probably costs more money than i could even ever dream to have. I'm like, I don't like that. I don't appreciate it on its own because I just don't like it.
00:35:22
Speaker
this is a This is a movie about ensembles, right? Like ensemble wardrobes because there are so many individual pieces that are like, okay, no, thank you. Especially when Andy...
00:35:36
Speaker
Reaches out for help from Stanley Tucci's character and is like, please help me dress better. And he's like, okay, I'm going take you under my wing and we're going to fix this. And um he just starts pulling stuff that like this, like, what is it? Like an orange and brown or orange and black poncho that's like faux fur. It's so bad. Maybe it's real fur. But like it's so bad. It probably And then there's like a Valentino dress underneath it. And he's like, you're going to wear whatever I give you. It's like, huh? Yeah. Yeah.
00:36:06
Speaker
It's all about how you're putting these things together, right? It's to show that you understand this visual language. And so our character learns how to dress for her body and how to dress in these styles that earn cachet with this group of people that she works with.
00:36:25
Speaker
And so you do see this like evolution in her style where she is becoming this like aspirational. I am the second assistant to this person who runs this magazine so that she is not ashamed of how I appear in public.
00:36:38
Speaker
And she also starts to, I think, have fun with it and like enjoy it because she's not just dressing perf fun in a perfunctory way anymore. Because like, even though she argues for her personal style, hi, you know, in the background, she's She doesn't really necessarily have a personal style. Her personal style is casual, but it's not a signature style. Yeah. She seems to be someone who – she has this opinion of like, well, I'm too serious to care about clothes. Yeah, which is just like – her attitude is so crazy.
00:37:15
Speaker
Okay. It's just this arrogance that is kind of like unearned, right? And so we see that, and especially because she doesn't know what she's talking about. And so it's like, if she knew what she was talking about and then had like an argument for it, whatever, right? But it's like, she's like, no, this is just stupid. And it's like, okay, well...
00:37:33
Speaker
You're talking to people who do care about this and who who are maneuvering an entire industry based on this. so of course, they're goingnna I'm not going to somebody's face who works at this level of fashion be like, I dress better and I don't care. Because it's just not true. I dress like a kindergarten art teacher. That's my thing. Yeah.
00:37:57
Speaker
It's hit or miss, you know, and so that's just down to my comfort. And for me, it's a sensory thing. um But like, I wouldn't have the brass balls to say this to somebody who runs a magazine.
00:38:10
Speaker
And um yikes, it's just like, yeah, her sort of makeover transformation in the movie is It's so interesting because sometimes when I've watched this movie, I'm sort of like, I feel like the main, i don't know. Sometimes I feel like the movie kind of presents it as if like just taking fashion seriously makes her qualified for the job. But I'm like, but that's not really what's happening. It's her taking the job seriously
00:38:43
Speaker
But we mostly see it expressed in the movie just through her clothes and not through her actually trying to be better at the job. I feel like it's a little bit it could be a little bit more clear.
00:38:57
Speaker
I think we do see it in little, little moments, right? Yeah. Where it's like um figuring out how to answer the phone correctly, taking a note on like this thing, asking a question. But it's like always very like quick in the storytelling so that we can keep moving. Yeah.
00:39:15
Speaker
So I get that. But like we do see her get a little bit better. So she starts to know people the industry. She starts to remember names and all these things. But yeah, it's it's very much a visual story. like but it's like the thing that that Meryl Streep notices is that she's dressing better. Not that she actually knows how to do her damn job. She's not like, oh, good. So you called the right person. She's like, good. You're wearing the right pants with boots. Okay. Yeah. Right. Which is where I'm like, I feel like that I think is maybe the moment where I wish they had done something a little different. to
00:39:51
Speaker
Because both things happen simultaneously. She gets better at her job and she starts to actually dress like someone who gives a shit about where she's working. Yeah. But it's it's just funny.
00:40:04
Speaker
But like this, the volume of costumes in this movie is truly like a historical epic, right? Or like fantasy movie. It's like Marie Antoinette. like Yeah, because like it's it's massive. And like they're filming on the street. So there are just like regular people out there just wearing their own shit. But even the primary cast, two members of the primary cast have montages. where like priestly there's a montage where she's just walking in and making demands of andy to show how overwhelmed and underwater andy is but also to show the vastness of her closet miranda priestley where she just takes her coat off and her purse and throws them on the desk and then words come out of her mouth so it's almost like this crazy dream sequence like a stress dream work stress dream
00:40:58
Speaker
And I didn't count how many times they do this, but it's quite a few. And there's a lot of pieces and every piece is independent of each look. And yeah so the closet for each of these characters is massive because we get a similar montage later when Andy starts dressing for work, like better, if you will, better suited for where she's working.
00:41:22
Speaker
And it's like different hairstyles, different makeups, different jewelry. Every little layer has something different to it. So it's like that level of designing for just two people and then you're throwing in the staff that we see at this magazine runway. Yeah. And then the parties that they go to, the events, the social events, the the fashion shows, the fashion related events, like all of these things, there's so many bodies. And then there are people on a runway that are modeling things, you know? Which I'm like, me i assume that's real archival footage of real fashion shows,
Fashion Trends and Personal Memories
00:42:01
Speaker
right? I mean, I don't
00:42:03
Speaker
oh But also like like the the fact that it's 2006 means that every outfit has to have like layers because it's 2006 when it was like you can't just wear a shirt. oh You got to have like a shirt and like a little – got to have like a vest. You got to have like a statement necklace. You got to have like a little stupid hat. You got to have like scarf. Like you have to have so much stuff on your body in 2006. Melinda? The hats and the necklaces alone deserve their own day in the sun. wanted that long Chanel one.
00:42:39
Speaker
i wanted that long chain chanel one I wanted that one in and six and i still do. ah there's There's an article and I can't remember which one it is, but there's, i i like downloaded a couple articles and then I was like half reading them while I was looking. So of course it's not like super useful, but one of them like mentions this like tweed hat that she wears and it Kind of intimates like the tweet had to change the world. and it's like, okay. Did it? I mean, that hat, because I think it's like, it's the white one, right? It's like a very nineteen seventy s style, like cap. I was just like, the idea that you would wear that hat, like legitimately out in the world was like too much for me. it you was too much. You would have to be in New York.
00:43:31
Speaker
working in fashion like just to to also refer to some of our designers other work i clicked out of her cv um she is the costume designer for emily in paris which by the way which makes netflix in the world i'm like sent a tweet out Emily in Paris you guys because everybody calls it Emily in Paris I'm not calling it Emily in Paris I'm not calling it Emily Paris I'm not calling it that and like I remember watching some of that first because it started in 2020 so that was COVID times and like the group chat was watching and like giggling about some of the stuff because it's just such a ridiculous show But the fashion is on point.
00:44:12
Speaker
And it's like some of the fashion is pretty ridiculous when you are out of context. And this movie is absolutely true to that. So it shows how accurate is for for the fashion world and for high fashion. But when you take it out of context, you look like a nonce. And so some of these hats are just...
00:44:33
Speaker
I had one of these hats. There's like in the montage that Andy has. Oh, absolutely. Oh, yeah. Like it's a knit hat with a flower on the side. had one just like that.
00:44:45
Speaker
Yes. Well, it shocked to see it in the devils propped up around like 2017 and 2018, I worked in the garment district in New York. Like I was there. i was on the streets constantly because my job was to be out there all the time.
00:45:05
Speaker
And so I saw a lot of the fashion girlies out there and It was true that when you took them out of context and just put them on the street, some of this clothing that I saw them wear, I was sort of like, what is fashion right now? Like there was some stuff that was going on that was like, I never saw any, it never filtered out of their world into the rest of us because it was too,
00:45:40
Speaker
It's like a tank full of exotic fish, you know, then you take one of those fish out and put them into a regular domestic fish tank and you're like, why are you here? And it's not necessarily like a judgment. It's just, it's a different world with different rules. And so watching some of these things, especially from the distance of 20 years and going like, oh That really was the thing, huh?
00:46:03
Speaker
That's what yeah we were doing just at different levels of yeah skill with different levels of quality. But like. There's one that really got me that gets me every time I watch this movie. And it's a dress that Andy wears that's like sort of like an olive brown kind of tone. and Yeah, that's yeah it's it's like a tank top ah kind of yoke that goes down the front. It's got all of these gold buttons on it that do nothing. They're not buttoned into anything. And then the actual, they're just display. The actual dress is like this big like tent dress and then she's got it belted.
00:46:44
Speaker
The way that that is exactly how I was dressing at this time gets me every time I watch this movie because I had the like Forever 21 version of that dress. You know how there's like a it's kind of almost like a meme-ified stereotype now of like a millennial jacket. from back then. And I have that jacket, just not in the hunter green or forest green that like people talk about. I have it in a navy blue and it's got the pockets, the pockets, the drawstring, the hood that like rolls up into the collar. Like I have that jacket. It's
00:47:24
Speaker
I think we talked about that jacket a few episodes ago. i think so. i remember that thing. But it's it's yeah there's that specific green that people associate with that jacket.
00:47:37
Speaker
That's – like you said, it's like an olive. It's like – I said Hunter and Forrest, but it it is more like an olive camo-y green. Yes. Yeah, it's drab. It's drab and you could walk into a forest and disappear if somebody isn't keeping track of you.
00:47:52
Speaker
I saw that color and I had flashbacks because so many things were being sold to us in tan. in khaki and in that color. And that was very Banana Republic at the time.
00:48:07
Speaker
And like also everywhere else. But like it that dress, there's also a shirt that she's wearing that I think is belted. And it's after she starts quote unquote dressing better. And it's like this wide neck, like I think it's like a ah light brown and black like check situation.
00:48:29
Speaker
And I... yeah I don't care for that piece. There's a lot of pieces shoes pieces that she's wearing that I'm like, this is very appropriate for the time. I'm seeing it. But that one, I was like, I can feel that fabric and I can feel it betraying me by Being super hot because it's polyester.
00:48:48
Speaker
But like just the way that it sits, it's like how um three-quarter sleeves were so popular for so long. And you're just kind of like trapped in it. like The one that I can't – I cannot deal with – And it's very later seasons Rachel Green from Friends, if anyone out there knows what I'm talking about. She's wearing a a white like fitted button-up shirt that's buttoned all the way up with a collar, like Oxford shirt. And then she's got a black off-the-shoulder sweater that is also short-sleeved. So we're seeing the top of the white button-up come up from underneath and down the sleeve like out from under the short sleeve of the sweater and i can't deal with that look it makes me angry the kind of layering that was popular at that time was just like anything goes it was yeah all of it at once do you did you ever have any of the sweaters that had the fake shirt collar coming at the top and the fake sleeves so i'm and I couldn't deal with those. I couldn't it. My of passion is very sensory driven. Those are one of my original enemies. Yes. Because what listener, dear listener, if you were not buying these clothes at that time, if you were not the target audience and it just like also just wasn't in your wheelhouse, perhaps you evaded these. They were the bane of my fucking existence. Because like we talk now as millennials about how like we had to wear it like we were – essentially forced to be wearing business casual in like the sixth grade this is one of the biggest offenders because they were collared shirts under like faux collared shirts not even dickies like a dickie like they're sewn they're sewn in to these fucking things that were on top sometimes was jacket sometimes it was a sweater sometimes it was a tank top they were crazy and i was just like let me let me be the arbiter of my own future let me choose what i layering. Like, what is this? Prison.
00:51:03
Speaker
flashbacks were real. like I didn't want to wear those, but I liked the idea of having like a button up shirt with like the sweater on top. So I would try to do it with an actual button up shirt and an actual sweater. And it looks horrible. Nothing ever like stays like smooth and like tucked in And then you're like obviously like boiling because we live in California california and I don't need to be wearing two long shirts at the same time. Just awful.
00:51:38
Speaker
But it was like I couldn't deal with the idea of the fake collared shirt, but I like wanted the look. I was so confused. I was so confused. We all were. That's just the reality. we all were.
Fashion Archives and Makeup Trends
00:51:52
Speaker
it this yeah this movie is is a little time capsule it also to me is what funny face probably was for folks in the 50s but this is on a an even bigger scale because it's not just andy and like one item inside of that magazine closet which by the way was pretty great that they had like the archive closet and oh my god I love would love to just look through that.
00:52:19
Speaker
Absolutely. That would be amazing. It's funny that like I'm down for all these things when it comes to archival. but it yeah I'm rich and I'm better than you. I'm like, hey, shut the fuck up. Yeah. But then it's like 20 years old and you're like, ooh, that was the archive. Who made it? Who built it? That's what I want to know. um But like, that was fun. There were like insights into this part of the fashion industry that you get to see. And like... just watching all of these like garments, like be carried across the screen and moved across the screen. And for that to be happening to so many different bodies all over the place, things are on racks that you can probably identify as being part of a certain season for a certain designer, like the prop clothes.
00:53:03
Speaker
have yeah like a lineage, you know? So it's like the designers, the designer and the team of, of on wardrobe for this had ah hell of a lot to do and to organize and to track yeah because like, you know, when you're borrowing stuff from a label and from a fashion house, you need to get that thing back. Cause that's,
00:53:30
Speaker
That that yeah garment has zeros in the number. like And it's tough if you have like a scene where like you're supposed to spill coffee all over yourself while getting Starbucks or something like you can't be borrowing the thing during that scene. So there's just so much work that would go into figuring out like, when can we use this stuff? Like, how can we keep it safe? Yeah. And like credited on IMDb is a head seamstress, a tailor. so there were teams like yeah making things aside from, you know, supervising and tracking and like,
00:54:09
Speaker
I mean, this is this is a solid team. I'm not going to count because I don't know how to count. That's not true, but i just not going to do it. There's a lot of people listed, which is awesome that folks are listed um and that their specific job titles are there. And it's not just, oh, you know, vague. ah Yeah, or like uncredited. So they had to add it themselves. Okay, now I am going to count. One, two, three, four.
00:54:35
Speaker
eight people were uncredited and so those eight people are at the bottom of the wardrobe list including the tailor yo-wee and so like there's just this is this is a film about wardrobe so it yeah all of these costumes are their own characters like it's crazy And then they have to work within the language of the person that's wearing them so that they give further information to that character.
00:55:02
Speaker
just like i know we we've talked a lot about Andy, but like the difference in style between her and like Emily Blunt's character. And also, like i just i need to I need to hold space for eyeshadow that Emily Blunt wears throughout this movie. Yeah. Please, please do. Because it is insane looking 20 years later. Like obviously at the time it was a strong choice to have like aquamarine eyeshadow like up to her eyebrows and just like this solid sheet. But like the TikTok girlies would eat her alive if she did that now. this is important. And I think we've talked about it before. We've alluded to it before. When we were growing up, when we were coming up,
00:55:49
Speaker
Yeah, there are people who are amazing at makeup, incredible styles, but the way that it was executed was different than it is now. You also, unless it was your focus and it was your art that you like identified that you loved doing makeup, it was not a regular thing for everyone to know how to execute looks perfectly and now there is because you know folks are growing up being documented on social media so it's very different everybody feels like they have to be like camera ready at all moments not me I grew up in the night me neither never felt that way nope nope um
00:56:31
Speaker
Our eyeshadow, the way that I was taught to do eyeshadow, the way that the kits came to us was sometimes you'd get three colors in the kit, right? Your, your like base eyebrow, your arch, and your highlight.
00:56:45
Speaker
I might even be like wrong in how I'm saying this. This is how not makeup oriented I am. I'm ignorant and I admit it. But it was like three things for three different parts of your eye. Then you got your like tools that you could mesh them together. But it was meant to go from right down at your eyelashes all the way up to your eyebrows. And that was how you were supposed to apply eyeshadow for the For the people that weren't there, like the the little like three pack of eyeshadow would have a diagram on the back that had a drawing of an eyeball and an eyebrow. And it would like show you which parts of it you were supposed to use which color because that was the tutorial that was available to you at that time. That was it.
00:57:30
Speaker
Like, ah for me, it's like that was the thing I learned. That's it. I was done. never learned anything else, which is another reason why i don't. It's not my art form that I recognize that. But today, there's so many more styles and more varieties, and some of them are more subtle, like the execution. And so seeing someone with this like massive, like, take your hand, dip it in aquamarine dust, put it on your eye.
00:57:58
Speaker
That's what it feels like. But back then it was like, ooh, avant-garde eye makeup, you know? like Right. this is Like, oh, she's interesting. Yeah. But it's crazy to look at now. It's crazy and it also made me laugh that Giselle the supermodel Giselle was like another assistant just hanging out she's always got like her hair in a bun and she's wearing glasses and you're like man you are just hideous yeah I'm like that's Giselle Bundchen get out of town That's how you know
Movie Critique and Costume's Narrative Role
00:58:30
Speaker
she's serious. She's got glasses I was like, she's got lines. You guys, this is pretty great. didn't just walk across the screen. was like, she was funny.
00:58:41
Speaker
But like, so, okay, i don't I don't hate this movie, right? Like, I just, know I'm not the audience. It's just, Right. It's woefully lacking the things that I think could make it speak to us more. I think yeah is what you that seems to be what saying. I'm not trying to say that this is a bad movie. It's just that there are things about it that would have made me be more engaged. But yeah I do think that the costumes in this are... i respect the hell out of the work that these wardrobe this wardrobe team did and that this designer did. Because like...
00:59:20
Speaker
To be so
00:59:24
Speaker
intricate about how you are dressing someone like Miranda Priestley, who is supposed to be at the pinnacle in this world and have 5 billion looks for her and each one is just on point is incredible because like her wardrobe has to be the size of the TARDIS, you know, a Doctor Who reference in 2026. Yeah. And like the pressure to be the person that has to design for the person who's supposed to be the pinnacle of the fashion world. Like, I don't want that pressure.
01:00:01
Speaker
because i don't want the responsibility. There's a different conversation that's happening about designs like this. Where it is like, you know, Sex and the City, they talk about New York is the, is it like the fifth girl in the Yeah. Right. Costumes are the sixth because the way that people talked about this designer's work when she was on that show, the way that they talk about it for Emily and Perry, the way that they talk about it for Devil Wears Prada, the costumes are a whole separate cast that have their own stories that come with it. So like this kind of work, I respect the hell out of because like yeah she is an archivist
01:00:41
Speaker
Who has to know. These designers work. Enough. yeah be able to pull from it skillfully. And like build. And all of these pieces.
01:00:53
Speaker
And to put things together. For characters. That. are equally knowledgeable as her like the characters understand this as well as she does and they can like they're not like oh i I have to copy this runway look it's like I'm taking this thing and that thing from this person and that thing from this designer and I know how to put them together so she has to know even better than them yeah Like how to improvise, like for lack of a better word. And then a team of like assistants, et cetera, who also can know this language and speak this language to build this movie and to do that for so many characters. Like this is this is a very amazing display of someone who is really, really good at their job.
01:01:46
Speaker
Yeah. And like a team of people who are really, really good at their job. Because if you don't care about fashion, if you don't care about costume, if you don't care about those things, you see this movie and you still respect that there's a lot of stuff moving in front of you.
01:02:00
Speaker
And that there's a lot of things that maybe you don't understand because you don't follow these magazines. But you can respect that there's all these things happening. And like yeah that some of them are very dramatic. Yeah.
01:02:14
Speaker
I just, it also like really hits how... Miranda Priestly's costumes are this kind of constantly moving armor. And so it's disarming when the character is in a robe, no makeup. That's like, that's like seeing, seeing like pulling down Santa's beard and realizing it's your dad. Like it's disturbing. And it really serves the story so well because all of a sudden, like you've had these little peeks into her life, but like really here it's very stark.
01:02:49
Speaker
And it's just like you see. the only moment that she's vulnerable in the movie. Yeah, she's vulnerable mood because she doesn't have her armor on. She's too tired. yeah She's too heart sick, heart sore. yeah And so it's like this one moment where she's not, you know, being Machiavellian essentially. And like she's just a person.
01:03:11
Speaker
And like it is – uncomfortable to see her without the layers and layers and layers of perfectly executed Miranda Priestly style.
01:03:22
Speaker
And it's like also, i don't know, there's, if I were, if we were a more academic podcast, we could like really go through this movie bit by bit throughout the whole story arc and talk about the costumes in different places. Like, There's yeah designer who's up and coming and like the things that are in his studio and the things that people are wearing who are coming to see his work versus like what he himself is wearing. There's people in Paris and what they're wearing versus what people are wearing in New York. Like there's so much...
01:03:56
Speaker
That this movie really does hold as a time capsule for this point in time. Yes. Where there are timeless looks and there are looks that are very much still back then and can stay there. Please and thank you.
01:04:11
Speaker
But that's not the type of podcast that we No, we're about vibes here and this is a vibe about Devilish Prada. And that vibe makes me go, you know what? Put me in some overalls and just ship me to like a cornfield. I just, I'm too tired as a human person to like, to try to to do this in my own life where I have this many...
01:04:37
Speaker
versions of some fashion corporate you know wardrobe yeah going on i think i i want this volume of stuff but i don't need it to be from these particular people right uh these particular designers so i think that the i still ah have like I'm not joy for clothing of of my own, but I've found what's available to us right now, fashion wise, to be like, not what I'm interested in. So I'm having a hard time.
01:05:17
Speaker
Figuring out like how I want to you know, express that. But i I found these sort of like sad, sad beige clothes for sad beige people, like fascist trends that we're living under. Difficult to navigate.
01:05:33
Speaker
Weird that the sad beige people clothes for sad beige people times that we're going through, as you said, TM, TM, TM, is very similar to this time.
01:05:46
Speaker
Yeah. Where it's very limited. There was variety. There was stuff. But there was, yeah back then, there was a lot of beige. And there was a lot of a lot of limitation.
01:06:02
Speaker
And I think, didn't you bring it up in the last one? Yeah, I blamed it on 9-11. But it's like, a similarity between there's a similarity I mean, it's the same time. It's the same thing. It's the rise of nationalism then and it's the rise of fascism now. And it's like weird to see that back then 20 years ago and to be in it now. Yeah.
01:06:29
Speaker
had To look back over the past 20 years and see that there was changing. Something in between. yeah That we had access to and to like be back at this point is really weird. And like.
01:06:43
Speaker
Yeah.
Support, Relationships, and Final Reflections
01:06:44
Speaker
Yeah, it's just really trippy to put it in that lens as well. Yeah, this this movie is very fun for the quippy things. And also, like if I had popcorn and I could throw that at my screen without worrying about my little pica cat eating it, um I would have thrown handfuls at her boyfriend who sucks. just an f oh he is the worst and her friends i'm not gonna argue for them either like no there's one scene where andy stands up for herself like really actually stands up for herself and it's to her friends where they like steal she by the way i have to get this off my chest because i was legit pissed but like
01:07:33
Speaker
she's being run ragged at this job that she's trying to, she's trying to make the best of it. After Stanley Tucci has told her, get your head out of your ass. She's like, okay. Yeah. Heard. Yeah. And so she's trying to do the best job at this job that she can possibly do. It's going to get her networking.
01:07:52
Speaker
It's going to teach her skills that she will need in any journalism job. It's also going to teach her like how to talk to people she can't, see their perspectives through, which what better you need know as a journalist than that? So it's like, even if we're not really going on that mental journey with her, that is a part of what the character is doing throughout this story is that she's taking all of these now as opportunities instead of just suffering.
01:08:21
Speaker
And so she's putting all in and they are just like, oh, this stupid job that you hate. They're not evolving on her opinion of this at the same time as she is. So her phone starts to ring.
01:08:31
Speaker
After she shows at a bar with gifts. To meet them and give some stuff. But honestly, like I can't imagine actually doing anything to sabotage my friend when they're trying to do their job. Like, even if I hate their job and think it's stupid and disappointing or like whatever, you would never actually do anything to negatively impact them at their job on purpose. Or blame them for trying to do a good job at their job. Like, there's two things happening here that are infuriating. And, like, they take her phone. She gives them, like, all of these things that Miranda Priestly has passed on. So including, like, a $1,900 bag. She gives her friend the Marc Jacobs bag. It's, like...
01:09:20
Speaker
for free just gives them and there's thinking of them and it's like yeah i took all this stuff from work and i know that you like this you like this and this one's for you and then they have the audacity to take her what is that it's not it's like her sidekick it's a sidekick thank you the stupid sidekicks they take love that this movie exists the fact that this movie exists in a pre pre iphone era is like a huge thing that can't be ignored uh it's a ah these little She has a paper and date book. She has a paper planner.
01:09:55
Speaker
These are things I'm familiar with. And some of them I actually do miss. But they take her sidekick and they start throwing it around pretending that they're going to answer it rudely. And she's like, what the hell? And so she finally gets it back and she gets her stuff together. and she's like, you guys didn't have to be such assholes. And then she leaves and they're so shocked. It's like what you were doing is so douchebaggy and then like these characters constantly have the audacity to continuously judge her so that by the time that her like best friend tries to dress her down because this man who's like trying to hit on her the second half of the movie kisses her on the cheek
01:10:37
Speaker
And they have like a moment. Sorry, best friend. Did you not notice that your friend is struggling in her relationship because her boyfriend is a fucking child and like is preying on her downfall? Did you not notice any of that? It's not necessarily okay that she's getting like handsy with another guy, but that's also not what happened. Like, what are you in the fifth grade?
01:10:57
Speaker
like I think she is. i think she might be. Be so for There's a fury that I had for some of these characters that honestly did not translate to some of the characters who worked in the fashion world. And i was like, that's crazy that I'm no longer yeah mad at those people. I'm mad at these people. Like Emily Blunt is is terrible and mean to her throughout the movie, but like actually doesn't want her to be bad at her job. She wants her to be good at the job because it helps her like it helps Emily Blunt to not have incompetent.
01:11:31
Speaker
More time to apply eyeshadow. Exactly. And that's what we need. Those extra five minutes for her lunch for her to not eat food, which she so proudly proclaims. Just to put heavy layers.
01:11:46
Speaker
Okay. All right. All right. We did it. This is the Devil Wears Prada. We got to wrap it up. Yes. So next week we'll be back with Oceans 8. eight ah I know it's a movie that a lot of people seemed pretty not super happy about when it came out. I enjoyed it. I like the Oceans franchise and I enjoyed this entry to the movie. i'm Yeah. I'm always going to be interested in a movie that is about a bunch of women. honestly and so on top of that women stealing stuff and then come on happily ever after let's do it yeah so if you haven't seen it and you have only heard negative things about it you know maybe check it out and see if you like it or not if anyone out there the way oh yeah so so and I love her in that movie she's fun in that movie it's fun I enjoyed it yeah I will not be reluctant to watch this one Yay, me neither.
01:12:49
Speaker
and hopefully all of you out there feel the same. yeah Come along with us. Watch it. Do Our normal take, which will be totally measured and normal.
01:13:04
Speaker
There won't be As we always are. yeah the drug yeah Thanks for listening to this episode. Yeah. Bye. Bye.