Hi, I'm Kristin Davis, and I want to know are you a Charlotte?
Hi?
Everyone, welcome back to Are You a Charlotte? We are here today with part two with Michael Patrick King. Always a good time. Thanks for joining us when you were writing.
So I'm going to connect it all to Charlotte. So what I see when I watch the scene with Cynthia especially, is like Charlotte and Kristen are kind of dealing with the evolution of Charlotte in terms of getting out of some of the boxed elements of her right, Like, you know, she's always trying so hard, and she's peppy, and she's whatever,
blah blah blah, and now we're really we're really stretching right. Heartbroken, Yeah, she's heartbroken, and also but she's still going to try, right, but then she doesn't know how like that, you know, So it's like you can't just deviate, right, and we're going to get to the point where I'm laying on my couch and carry comes and that's such a beautiful scene, right, Like you're so you're but like building block by building block, comfortable leave the situation.
You can never you can never lose gravity. You can't suddenly go someplace where the audience goes, wait, did I miss an episode?
Right?
It all has to be a little bit ahead, but just a little.
Bit of head right, right.
If it's too far ahead, they don't understand started to see Oh she's covering, Oh she's covering. Oh that's going to be hard. And then you see the nobility of her coming at the end and choosing friendship.
Exactly, And that's what we were talking about. I don't remember that scene at all, which is interesting because I was worried about the other scene. But I don't think I was worried about that scene. But you can tell. I could tell when I come in the door that I've already been crying. Yeah, right, So that was interesting. I don't think it was a choice, right, I think it's probably just whatever take or whatever and me having all like at that point there is pent up, you know.
And then and I couldn't remember what I was going to say, which I love, right, not on the scene when I was watching, right, And I love that that you don't know.
Also we want and didn't want the audience to know.
Right, It worked so good.
It was like, oh, they're all acting Samantha's giving her tea right the way Samantha gave Carrie, uh breakfast in the movie. Yeah, she was devastated. There's like a weird nurse that shows up in Samantha very rarely when something emotionally devastating, Yes, which is in the air because you don't see it coming, but she barely doesn't even say anything.
Totally she's great. Well, it's also like in My Motherboard myself, which I had remembered the general storyline, but I didn't remember the payoff. Right, so good, so good.
So the thing that people used to say is why is the show? So why do people still watch it? It's because of the love, not the sex. It's the love of these women for each other. And the sex is fantastic because it's humiliating. Everybody relates to it, and it's comic and it's human.
Yes, it's human, and there's not actually and survivors.
Yes, but it's really the moments where you know, Miranda jumps out of the aisle at her when Carrie jumps out of the isle at Miranda's mother's funeral she was going to walk with, or when Miranda respects what Charlotte says yes, and then still holds that space for her as they say, walking down the street in New York amongst everybody else, not even aware that they're having this crisis, and it's it's the moment of you know, the comedy of Carrie in the bathroom Aiden saying did you tell him?
And Sarah Jessica is so comic in that scene do it all now? Like it's pure candy for her, Like like she's not even she's like like a little rock on a pond, not even saying the line. She just perfectly needed. Yes, different way to add something to the same. Definitely abortion storyline.
Definitely an incredible It's incredible. Okay, let's go back to the beautiful and the clothes.
Oh my god, I mean now you see it like Kerry walking in in that kilt with the mail.
Oh, I've forgotten about that one.
It's right now.
We should have gotten that outfit out. You have to show Sarah outfits to juggle. That is so completely incredible, Edgy current, Yep, I know it, I know it. I mean they were just all of it is just delicious and talking about Definitely, definitely, but also because I think and I just want to go back to like when you okay. So at this point we've got Jenny, We've got Cindy, Darren is.
Oh this is full room? Is Darren gone gone? Got on season two? Gone?
I thought?
Is a complete raw rock star female room. Allan Heinberg's there is Yeah, Yeah, yeah, We've got to find Alan Alan Heinberg's there. It's a very.
Strong Amy Harris.
Amy b Harris, Julie, Elisaz coming maybe there okay, Cindy, Jenny and me. It was a big ass room of people with a lot of feelings, a lot of opinions, a lot of female information, and a lot of humiliation, comedy, humiliation and all this. All we did was just mine what happened, what happened, what happened on the weekend, And no one was pregnant, but everybody was still feeling it's hard to be friends with people all the time.
You mean, like the people who are pregnant and are now like in a different world.
A lot of the stories were mining female friendships.
Yes, they age got it, that's true.
You know, like when you fall apart, when you come back together, what's legitimate. You know, we've done many, many stories where the women fell apart At one point in the movie, after Miranda held the secret that she told Big to not get married, she sent carry yellow flower yellow roses and saying, you know you have to forgive me.
I don't even remember that.
Yes, the friendship flower yellow roses, the flower for friendships.
I didn't know that.
So Miranda sends her this a big arrangement because she won't return her call.
Oh.
So it was always about realizing that these female relationships that you have are relationships, their past friendships totally the relationships that's the loves of your life. As we said with Big in the Finaley, Yes you're the loves of her life. Yes. So all those women had friends and some of and then within the room we have interactions and we're still friends. Yes, thank god, you're still friends. Yes, that is the strongest continuing friendships of writers of all
the rooms I've been in a group. It's very hard to maintain a group. You'll fall in love with one person and they'll stay in your life, but a group moving along was a testament to the camaraderie of that room.
And I think it's a testament to you choosing them. And could we talk a little bit about that because you're really the maestro at this point. And Julia and Alisa had never written a script before Motherboard, which is insane. How did that happen? How did you find people? How did you choose people and bring them along?
Well, it comes from their writing. First of all, you read something that they wrote, and to me, it's a voice, it's one thought. It doesn't feel like writing, it feels like life. And Juliane and Elisa wrote a script, a specscript. I don't even think it was our show, but I immediately new they have a voice that I haven't. It doesn't feel like it's written. It feels like it's alive.
Everybody on the page has something. When I look at scripts that other writers are wanting me to do, I'm like, I'd look for the one thing and it can be one completely original sentence and I go, oh, I've never heard anybody write that. Wow, that's what you look for, Okay. And then that's first, and then you meet them and it's all about the energy, and it's like, do do I feel funnier across from them? Do I feel smarter across from them? Do I feel like more myself across
from them? That's important because that means that you're going there's something there that you want to entertain, which will bring up the better part of you is in the room. And then there's that are they humans right? Are they safe right? Are they come to bolt? Are they humble? Are they group right?
Because that's important important. So then when you're in the writer's room, because anytime any of our writers come on, it's like there's so much that obviously I didn't ask you at the time, right, and I'd love to hear about it. So you would have people come to la pre before the season, like in between the seasons. Tell us a little bit about that process.
There's a pre room where you sort of plow up the field. Can you get all the dirt going? And what did you think over the hiatus? What did you think? What could it be? What could it be? And I always came in with the map, a very strong impulse to start in a very strong impulse.
You already envision, already.
Imagined a journey, got it of each of the characters, got it. And then the side trips or where everybody else is like what if we do that? What if we do that? What if we do that? What if we do that? What if we do that, what if
we do that? But when we were in Atlantic City doing the Atlantic City episode, Yeah, they still talk about the fact that in the middle of that season I put them in a hotel room with me and I said, here's season the next season, or here's the next season, and they're like, oh, So sometimes it comes to you and then it's it's a trial, it's a jury room. Do you like it? I mean, I'll give you a perfect example. I've said this before. Some writers in the room.
Julie Rottenberg did not want to see Aiden again. What when Aiden left? She was like the first time goodbye? Wow? When after the wedding and they didn't get married. After Charlotte got married and Aiden went his way, I felt very strongly that Carrie and Aiden was strong. John Corvett
and Sarah Jessica were amazing together. So I came into the thing, I think Aiden comes back and Julie protecting our integrity of not repeating and not trying to duplicate something was like absolutely, and everybody was like what, And then somebody else had a couple of minutes I agree with that, and I said, Okay, give me reasons Aiden shouldn't come back, and they quoted Samantha that whole crunchy
granola thing, that turquoise jewelry crunchy granola thing. And I was like, oh, you're using our own words against us. So I was like, oh, okay, so you don't want to see that. Aiden, I raise you that, and I go you one better. I acknowledge that and go you one better. What if he comes back different, so then we can maintain are not the same thing? He said, what if he comes back hard? There's a rock and ripped and they're like and with his hair cut and
they were like what, oh, wait a minute. And then I went to John Corbett and I took him to lunch at Jones and we were eating. He was eating fried chicken and he's eating fried chicken and mashed potatoes and we were in a booth and I said, hey, John, we want to bring you back. He said, oh, that's that's cool. That's cool. I said that you've got to come back worked out, ripped with short hair, and he goes on nude. I was a fatty and he rolled over on his side and that nude I was my god.
And then I was like deal and he says yeap wow.
I love that you made those men work out.
Love that people sometimes say to me like actress after actresses, and I go, are you kidding me? They have to show up at five am and they click on a neon bright light in front of a makeup mirror at five am and they have to sit there take it. And then the journey to getting in front of the camera, and it's so hard to relax and open up in front of a camera. And I remember one time when we were doing the episode where they go to the
Playboy mansion in the LA episode discussed. It was the scene where they were supposed to drive up in the blue convertible and and in the sound and in front of the fountain, and the sun was hitting the fountain and you were nowhere to be seen, none of you. And I was like, the sun's leaving. The sun is leaving. And they were like, well, they're not here, and I was like, the sun's leaving off. You were down a hill of Playboy in a trailer and I was like,
I'm losing the sun. And I got in a golf cart with my hair on fire, went went down boom across the speed bumps Playboy mansion gate. Boom parked the car and knock, and I opened the door to like say, let's go, and the four of you were in the chair and there was some sort of cool music playing from the nineties or the seventies or whatever, and you all just literally looked at me like this, Oh no,
don't bring that in here. And I closed the door and I never pounded on a makeup door sense, because I was like, oh, that's a thing.
It is a thing, that's a ritual, that's definitely church, definitely.
Energy, that has nothing to do. And eventually you got the message and you all showed up and we got the shot and the sun was hitting the water and you were all adorable. But it was like, it's a lot to get ready to be on camera.
It is a lot. It is a lot. You're absolutely right. It was a delicate It was a delicate thing in the trailer, you know what I mean, And that we also had the whole hair and makeup team right by that everybody had exactly you know, and.
It's just it's a delicate thing to be To go back to Kuda what he should have to be at the end of that block, know that there's twenty extras, Frankel says, action and you know, twenty five feet from now you have to cry.
It's true, It's true. It is an actor. It's really hard thing to do. But I will say this generally speaking, and this again is just growth. Right. You know, I've been an acting class forever, you know, previous to this, right like forever. And I don't know if you remember. I mean, I wasn't acting class since I was like ten years old, right till like even after college. Then I went to college for it was a lot of
acting class. And acting class can kind of mess you up in a way, right, because it's not exactly the same, you know, you know what I'm saying. Surprise, it's different when you get definitely. But they also talk about raising the stakes, raising the stakes, raising the stakes all the time, which I do think is important for comedy. That's how you make comedy work. It's like to internally raise the stakes, right,
But that's a fine line to walk. Also, And early on before you came, I don't think you were there because I don't remember your face there there made me reshoot something. Did I ever tell you this?
I think I know this story, but it was the pilot.
Right, yeah, no, not the pilot. I want to say, like the first or second episode directed by that woman, that lanky independent film woman, Alison McLean. I believe, I feel I could be wrong. I think it was up the butt situation where I have to tell the guy that I don't want to do it, you know, after the cab ride.
Mm hm, and I wrote you, I find it very hard to believe I wouldn't have been in the.
Let me tell you, but let me tell you what Darren said to me because I don't remember your face in this event, right, I think so interaction basically I had to reshoot it. One of the only things I ever remember how to reshoot because I cried and Darren was like, you don't care, and I was like what and he goes, you know, there's a guy around the corner, and I'm like there is, but you know me right,
Like I'm just like, you're speaking Mandarin to me. I don't know what you're saying, like what he's like because he knew the show that he wanted to do, right, which was going to be like basically a guy a week, a guy an episode. Because I was like when I when I go to confess to the guy that I want nice sheets and whatever, and I don't want to be the up the gut whatever the exactly.
That's too far, that's just not fun.
Definitely, that's how I perceived obviously. So and then I had to reshoot because he's told me you were too upset. You were too upset, and I was like, okay, so I had to go back and reshoot. That's what acting class will do to, right. It's like everything is that to have the deep, deep stakes, do what I mean.
So then when I but then I think I had relaxed all of that, right because like be on a show, especially our show, which you have, you know, so many scenes like coffee shop scenes in this scene and that scene, in so many different types of scenes where and tell
me what you think. I think that one of the reasons, like one of the obviously coffee shop scene is very hard to film, very long, but when you watch them, so fing enjoyable, right because everyone is so present, And that became to me like I just want to be present. I'm going to have of course, all of my underlying.
It's all it's all up the butt. With season two, Season one, I think it's five or something.
Oh, okay, maybe it wasn't that then.
Season one, episode four, okay, okay, So everybody, everybody's like, what is this totally you know, like and the tone of anything. When you get to the set, you're like, oh, I saw it a different way. I've been so many surprised. I've been surprised. My whole journey has been going from no to I don't know, like just you see something and it's not how you saw it. You thought it was going to go, and you react rather than eventually you start to go, oh that's is that better?
That's better?
How can it be both? So it's but it's all new, it's all it's all seventh graders putting on a show at the beginning, so everybody's just not knowing what it's supposed to be. Definitely, but by the time we got to the coffee shop scenes, and also I will say the coffee shop scenes were the rockets exactly what you were supposed to do. They were rather attack tack at tack five, six, seven, eight, whereas a scene telling a man that you don't want to be missus up the
butt is a weird definitely collab of comedy tragedy. Yes, so that's more open to Am I failing? Do we have it?
Is it done right right? Definitely?
But the coffee shops boom but boom, but boom but boom. I've been I've been dating and unexhausted. Where is he?
Definitely boom Definitely.
Everybody was fake eating or real eating in Cynthia's case, like a motherfucker hitting their marks, nailing it. Because of the coverage. Everybody had to be concise. It was really choreography, definitely, and it was usually feast of ideas. Everybody had a different point of view and you knew who you were playing very clear what was supposed to be happening. And in the coffee shop scene in this one, very interesting departures.
Charlotte's left the coffee shop scene twice. This time she gets up and leaves mad and when Carrie's when she's when Samantha's talking about funky spunk, she gets up in disgusted like that, and Miranda says, and she's ever coming back a comedy. This one is a painful one. She cannot be there and she lowers the boom right right. Let a residence in the room that we then cashed in on the whole rest of the episode.
Definitely, definitely, definitely Do you remember when you had Cynthia eat and get stuff in her teeth.
Of the olive tampa she had the braces? Yes?
Is that just so much fun for you?
So much fun?
She was so into it. I remember being so concerned, like, that's too much like that?
Okay, Cynthia, I know she goes. There is I don't know if I've ever told you this story.
Oh, I can't wait.
There is at the episode where she makes the cake okay, and she wants to have a cake and she goes to a pa yard and the cakes are like forty seven dollars and she's like bullshit. And Miranda goes and gets a Duncan Heinz cake and she makes a sheet cake because she wants to have that cake. She wants to reward herself with the cake. And the episode was
she can't stop eating the cake. She keeps into the truck and she calls Carrie and says after she this was a duty told God rest her sweet talented soul story of she couldn't stop eating things. So she threw the cake and the thing and that wasn't even enough. She knew she'd take it out of the garbage, so she puts palm olive dishwashing liquid all all over it so she won't pick it out of the garbage. And
Miranda says, I'm calling you. This is your friend, Miranda, I'm calling you from the Betty Crocker home instead of the Betty Ford. Wow. But I didn't direct it. Alan Culture directed and he was an independent filmmaker, and he
was a I would say, a hot shot cowboy. He had a lot of ideas and themes and magically funny anymore pork pie hat into it, Yes, And I one of the few nights I wasn't on set and it was very late and they were shooting the scene where Miranda just keeps cutting the cake smaller and smaller and smaller.
But he saw I've committed myself to the Betty Crocker clinic, and he ran with it so that he had Cynthia, in a like stylized moment, eat the cake, smear it all over her face, slide across the floor, took chocolate fingers up and down on their walls. And I saw the footage and it was full indie film. It was Requiem for a Dream. It was everything expressionistic. It was a I think it was an the phrase big swing wow.
And I was like, and Cynthia was chocolate on her face and she was her fingers were going down the wall and she was in the corner in the camera. He had the candheld camera coming up and she was like, she was possessed. And I saw it and I was like, what. And he goes, she went crazy, and I go, but she can't go crazy. She's a character on our show. And it's one of the few things. And he said, but in the great I said, it's great, but something else go there, Wow, it's it's supposed to be a
relatable the evening taking the piece of canpen refrigerator. So I mean we had to shoot the whole thing, yea. And so they came in. She had she was she was in her pajamas in the character and she came in. She walked by me and she said it wasn't good. No, it was good. Committing Miranda to a mental institution. That was fun. She did love run run with it.
Of course, anything you give her, which reminds me. We did talk to the Lovely Man that she vomited on they vomited that we had to cut.
We cut it, tell us that was right, it, I mean it was rough. It was the idea, we're gonna get so drunk that when she's having sex with this hot guy, she's all detective, she's all up in her and literally she's so drunk that she vomits down on him. And we had a and I've always wanted to do it. We never pulled it off a giant O's because I always imagined as a comic director, the idea, incredible amount of vomit comic.
Can we not do it on them? Just like that, Come on, I'll.
Tell you that's okay. And it always has to have And we had this tube on Cynthia and she did it, but the tube kept going and then it was like, well this isn't it is too much?
Got it?
So then I tried it again on it, just like that when Sarah Jessica's were carrying with John Tenny and we had the thing on on her and it was like just you could see it and it wasn't working, and then she said, I don't want to put that. The guy from Special Effects wasn't good. He was fired after that. Oh, No, it was a guy who came on vombit expert. Oh dear, wasn't oh my, and so we got rid of him. But Sarah Jess said watch and we had a giant two liter thing of Dinty Moore.
That's what I understand.
She chugged it. Oh my. Then she like some animal, made it come out, kept a second chamber, watched and did it again. No, And I was like, I don't know how I did that.
I don't either.
It was real, Oh my god, she did it herself.
Without We have to discuss this with her speak of it.
And as a matter of fact, I should not be speaking of it, for it was so impressive as a this isn't working.
She always knows what she will.
She knows she does, like, this isn't working. Forget that, give me the thing that thing. And I was like, well, boom, and the thing you see in the show is purely her no effect.
I don't fantastic. I didn't know the details.
She somehow went full and then somehow retained some and went full again, because it was two that's in the comedy. Was I'm fine, she throws up, I'm fine, she throws up.
Oh my god, did it, Oh my god.
And then Tenny's sorry doing he was like, all right, give me something. He was doing it too.
Yeah, oh my god. And that was like in the wee hours at some Yeah I was not there, but I was like, that's like a callback.
That was rough. People lost their jobs and she saved the day.
Wow, amazing, amazing, And I never heard the story. Thank you for telling us that story. I mean, she's amazing, she is amazing. But did you feel that you had achieved your your your funny vomit?
Never did it the way? And I finally saw it done on the Righteous Gemstones Okay, same where they found out that their father was probably not going to live, but he did before the four siblings were out in front of the hospital and they did it no way. And then another one it was.
We need to find that vomit.
Expert, so barcicle, and it was belonged on their show. Not that different to do that anymore.
Because I saw somebody you're okay, okay, good good, So seeing it made you feel happy as dirty.
There was one bit I never got into the show, which was a hard on threw boxer shorts. Okay, the scene where Charlotte surprises Trey drunk and he gets hard before.
They get married. Yeah, yeah, the.
Thing that makes her think, oh this will happen, or after they get married when they were separated. I don't remember.
I think that's when they're separated. Yeah, don't have to go out with the girls.
And then and Kyle came to the set and I said, here's this and he had Ralph Lauren boxers and I said, I want a giant tint of I remember this, and he was like, I'm not. I can't do that and I'll have nothing. I can't do that. What does that mean?
What did he mean, I'll have to?
I mean, poor Kyle, Kyle. He showed up to be Prince Charming and I told him on the day, which is why he took the job, because he thought, well, that's better than being just handsome, right, But he thought that was too far, and I was like, god, damn it, it's funny, and I let go of it until I saw forty year old virgin no biggest laugh in the movie.
You know what's funny, though, is when I was watching it, And this is the interesting about rewatching all this time later, I did have a memory of there's something being weird about watching that scene. I was like, there's something weird about this because also we're supposed to kind of have sex standing up ish, Really we come in as this sudden thing, right because that's his thing.
Like, I mean, it was rare because you reached below frame but there was nothing to reach to. Yeah yeah, yeah, yeah, yeah yeah yeah, like it was on CBS suddenly.
Totally yes, And I did think that. I was like that, So why did we do that?
Yeah, Kyle was such a great sport. It was just for one morning. It was a very early shoot.
Because I got it, got it, got it. Question I have about that? I remember, tell me if I'm wrong that he was only supposed to be on like five in the beginning episodes, so.
I don't have any awareness of that.
Okay, did you think because it was all supposed to be the way you described it to me at least at first, was that you know, Charlotte's got this goal right and she's like hell then, like we're going to get the gold. But remember how he was supposed to be boring, Like when we're on the boat with Big and Carrie, Carrie's they're not together, BIG's on the boat were.
On the That's the thing we were talking about it before, is like, what's really happening here? And Kyle is far from boring. There's nothing worrying about him, right, So then it probably just became more and more and more and more and more. I mean, David Eigenberg came in an audition for ten Men Before Life and he was never the thing, and I kept thinking, who's that realistic guy?
Definitely, what can we.
Do with him?
Yeah?
So not an actor? Yes, And then we thought, well, Steve the bartender and just David came in and read it, but we wrote it for him. And Kyle is so much more than borings. He is a little weird though with all that alrighty, then he's a mama's boy. That's different than being boring, definitely. But I mean the more the more we got into the gold mine, then it became about the who's rubbing the vix on his chest? Right? It's just all that was.
Funny, so sad and so sad twisted.
Franny God rehearsal, Oh my god, so incredible became so real and Kyle was so real and Charlotte was so real.
At that point, did you have the idea from the get go of the mother of Franny being Bunny.
Being Okay, so that was we had the part of the mother got it, the manchild.
Right, okay, so he was supposed to be a manchild.
Yeah, I mean, and the dueling Chanel's oh me.
And Bunny got it?
Yeah. We knew that she would be an Upper east Side Doyenne and that Charlotte would be an Upper east Side not a Doyenne.
Got it. But like you know, how it laid out, and then I have to say what I'm worth than everything, which we're not. Yeah, yeah, did you see did you have all that planned or did it.
Just by the time we were filming it? Yeah, But it becomes evolved. It only evolves off of Wow, christ and let's just do more of that. Let's keep going there. It just keeps becoming more and more interesting. And we believed Charlotte was a real person. So when you believe someone's a real person and you have a permission to tell real stories with yeah, yeah, and I mean the heroics yea of her sticking up for herself and I mean incredible.
I remember also being very nervous about that.
Yeah, fantastic.
Yeah, I mean because Charlotte a very nervous, like who's ever been in that? Like, oh, it's so hard. Question also just about character and things. How did it come about that you decided to have Samantha have the relationship with Maria, you know her when she decided to try.
To be like because it was about sexual expression. Samantha's character was about being an adventurer and having no judgment about sex at all, and so all of a sudden, the Maria character would have to be somebody who had a vibration, and Samantha followed vibration. She could almost send sex in the room. So she was like, all right, and it just became a color. And also it was probably something that would it was first of all ahead of the curve, but it was also something that Samantha
would probably allow her self to experience. But of course the whole thing was like so she could say to the three of you ladies, I'm a lesbian. It was all for the reaction of you. And then the real reason we did it is to put up a spotlight on the fact that Samantha has intimacy issues and it doesn't matter if it's a man or a woman.
Definitely, well that was the funniest part was like, you know, poor Maria trying to talk to her.
Oh yeah, trying to make her like a lesbian.
Right because they liked to talk.
I don't know, there's too much so, you know, we wanted to underline the male part of Samantha that people thought she was kind of alpha. Was like, ugh, these ladies in their conversations, it's always about turning over the stereotype. Like if we thought we were talking about men is bad, then we wanted to make Samantha be like what they complained about men, you know, like it's all about what else can we do?
That's funny, right, which I love.
And then you get somebody like Sonya Braka and she's like, well that's believable totally.
I mean, how did you get her? We were a very good show at that point, right, got it, got it, got It was kind of a show for sure. We were a show. I mean, if you ask any of these actors that I have had on who are in New York at the time, we were that from the first season, which is so funny because I don't remember that, you know what I mean, But.
By that you mean a show in New York.
Exactly exactly that.
A television shot.
Yes, yes, yes, that's the other funny thing to remember. And you just reminded me of something I had Chris Albrecht on on Zoom. It was really fun. It was really fun.
It was good. I mean brave. He was a brave man.
He really was.
Just kept saying, hilarious, forget it, I know, just do your thing. I know, no notes right, right, And one thing that was what a great champion for us, I know it and for the ideas, yes, and in.
General, not just for us, for the Sparta first, like there's so many things that were happening Larry Sanders before us, Like you know what I'm saying. There were so many things. But one of the things that we talked briefly about and I wanted to get your opinion on it, because of course it's interesting to hear from his perspective because I was having my own perspective, but I'm sure you
were having yours in that. And you know, we're about to have the Devil Wor's part of two right, directed by David Frankel from Our show, and Devil Worre's Part of one in Chris's mind because I asked him something about like, how you know the whole gestation of the Sex and City film and you know the ups and the downs I know, and how you know, how did it happen in your mind or whatever? He said that when the Devil Wor's part of one came out, he was like, oh, that's our film, and I was.
Like, oh really he said that's where I was like, oh, yeah, we've got a We've got to figure that out. I was like, okay, it's so interesting and random over there in that world, the executive world.
Did a product out before.
Us, apparently. I mean, in Chris Aalbrik's mind, can anyone check? I didn't.
I don't I find that seven? Then? Yes? Six were four?
No, that's when the show ended. Our movie came out. Two doesn't eat really, I believe?
So interesting? Yeah?
Can an even check? Pretty sure? Yeah? Weird?
Right?
I mean for us, emotionally, it's it's all well, you know.
I mean, I I don't know about that. I do know that every time a woman's movie does well, they opened the door for another one or two movies to come in, and they forget totally that they did well, right, and then their show it's very convenient to forget that the budget was blank and it made blank. Forget all of that, like it's an outlier. Oh, that's probably right. Delaware's product made money and then they thought, well, what
else can make money? They wear clothes, right, But then it's up to us to make even more television show that became a movie that did a big thing, and then they forget again. Right, they're still forgetting to day, they're still forgetting. I'm sure product will do really well and then they'll be like, oh, all right, what else? What do we got?
Definitely I hope someone's ready with something.
I mean they it's really interesting how they conveniently forget there's a female audience.
How does it happen? It's insane and infuriating and also now the joy is, as Jenny was telling us, the older female female audience has the buying power. Like she
had a detail about house buying. Caulse, You remember that episode where Miranda's buying her apartment that Jenny boat is so brilliant, right, and you know, because I'm always buy myself buying things, it still happens, you know, you have to just like it's you just like there's only one person who's going to sign this like it's it's just me.
You know, it's very weird for people. But we talked about that and she said that I believe she's so that there's more single women over forty or something like that buying houses than any other group or something crazy, so exciting those people can buy movie tickets.
Hello he did Rivalry?
Yeah, baby, Rivalry.
You know, they that came out of nowhere. And that's the other thing. They always are surprised when women movies do well, Yeah, because they have. They come out of nowhere, right, they're specific, right, and they're not.
Also figs movie h incredible, incredible.
Amazing, so good does not translate to uh, let's do ten more of movies with female characters, right, damn it, Maybe it does. I'm not sure she's going to get to do part two. Maybe all yeah, of course he is right. But maybe it's a great movie and it's fun. It was in roller Coaster to go see and ye, people laughing, and the women are smart and great and flawed and yeah, yes, but maybe it's all just the business is contracting. So it feels like or is it I'm not sure.
I mean, technically it is right, like, technically the business is contracted.
Us the conventional wisdom.
I do think there's numbers to back that up. Unfortunately. All right, everyone, guess what we have more Michael Patrick King, so listen for part three this week. You know, it's just too much fun when he's here. So I just talked to him about everything, And thank you guys for listening. As always, join us again for are you a Charlotte