The Holiday
| S:6 E:16
A Hollywood blockbuster quite guilty of unforgivable Jack Black erasure, “The Holiday” is a classic of the genre for some, a never-ending corny slog for others. Where do we land? Let’s find out!
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Hannah Leach:
Welcome to Sleepover Cinema, where we analyze the films that created the collective unconscious of those who curse anyone who tries to sweep Jack Black under the rug. I am Hannah Leach.
Audrey Leach:
And I'm Audrey Leach. We are the sister filmmaking duo, also known as Too Pink Productions. And we haven't stopped thinking about these movies since we first saw them.
Hannah Leach:
We're going to explore the good, the bad and the nonsensical of the movies that first inspired our love for film. In an attempt to answer the question, are these movies actually good? And at the end of the day, do we really care if they are?
Audrey Leach:
Today we are talking about 2006’s, The Holiday.
Voiceover:
“Iris and Amanda are in exactly the same place, ‘Where do I want to go by myself? Depressed at Christmas,’ just 6,000 miles apart. ‘Home exchange. We switch houses, cars, everything. Bingo.’ ‘I need you to answer this.’ Are there any men in your town. Perfect.’
‘I'm here. I'm here.’ As one door closes. ‘That'll be interesting.’ Another one opens. ‘Oh.’ ‘Hello, hello. I'm Miles. I'm Graham, Iris’s brother. ‘Do you want some company?’ ‘Yeah. Love some.’ ‘Excuse me? Okay, sorry about that.”
Hannah Leach:
Hi everybody.
Audrey Leach:
Hello.
Hannah Leach:
Welcome back. I feel the need to clarify that last week I said that The Nutcracker was going to be our last holiday episode, but I lied. We have one more.
Audrey Leach:
Oh see, I said that to you and then you were like not admitting to that.
Hannah Leach:
Well, okay. I wasn't admitting to it because it was before I had watched it.
Audrey Leach:
Oh, yeah.
Hannah Leach:
So, I knew … well, okay.
Audrey Leach:
Right.
Hannah Leach:
I don't want to put the cart before the horse.
Audrey Leach:
Yeah. Because I was like, “No, it definitely is a Christmas movie-
Hannah Leach:
But, but it — okay. I feel like it's kind of not though.
Audrey Leach:
But like Christmas is in it.
Hannah Leach:
But like-
Audrey Leach:
Christmas is like the end kind of.
Hannah Leach:
New Year's Eve is the end.
Audrey Leach:
Right. But Christmas-
Hannah Leach:
Which is why we're doing-
Audrey Leach:
Is in it.
Hannah Leach:
It this week.
Audrey Leach:
Yeah, anyway. The point is-
Hannah Leach:
I want to keep debating whether or not this is actually a Christmas movie later though.
Audrey Leach:
Okay.
Hannah Leach:
And you may. Do you have anything else to add to the beginning here? Do you want to talk about our setup physically?
Audrey Leach:
Yeah. So, if you're watching, which very few of you are, but-
Hannah Leach:
But you should be.
Audrey Leach:
If you are, you're probably like, “Why are they so far away? And why are they laying down?” I am back in Ohio for The Holidays. And we are in kind of my room. It's like a guest room in my parents' house, but it's also kind of my room.
Hannah Leach:
Yes. And the shot is like a little Wes Anderson looking honestly, with the symmetry, we're also laying on our stomachs on the bed facing the camera. So, we look like the artwork also at the beginning of the video version, which only some of you are familiar with.
Oh and, so we were supposed to go into the Evergreen headquarters today, like the real deal place. But the weather outside is beyond frightful. So, we are here with the wind chill. It's like -8 in Cleveland today. And I think it's the worst cold I have ever encountered. Which is saying something.
Audrey Leach:
Or that you remember, I guess.
Hannah Leach:
Question for the culture this week.
Voiceover:
“The culture's super sick right now. It's actually really bad. Period.”
Hannah Leach:
Do you have any New Year's resolutions? And if so, what are they?
Audrey Leach:
Or even, do we believe in New Year's resolutions?
Hannah Leach:
Yes, either.
Audrey Leach:
That's more of a question for the culture.
Hannah Leach:
I know. As I started to read it, I was like, “I guess the real question is, do you believe in them?”
Audrey Leach:
I think that making goals is good for anybody. But I don't think it really has to line up. If it helps you for it to line up with a day, like a fresh start, if you will, then that's good. But like, I feel like I always have a running to-do list or like I always have — it's always going. So, I don't necessarily make a new list at the end of the year. It's just the preexisting.
Hannah Leach:
Yes. I feel like over the past few years, whenever it has come to be New Year's Eve or New Year's Day, I remember especially going into 2022, I was like, “Fuck my life.” I was like not happy when this year started, kind of just because of like seizures and brain issues.
But it was like, if you guys remember last Christmas, it was like everything was fine, everything was fine, everything was fine until it was like extreme lockdown again. And I remember being on like a video chat on New Year's Eve and I was like, “This is the worst thing I could be doing.”
The difference is that I'm actually really excited for the new year. I feel like I'm actually going to make a bunch of big choices this year that will end the simulation of the past few years that feel like they've been the same thing over and over again. Do you feel that way too?
Audrey Leach:
Yeah. I feel like every year’s post-collage has had those hallmarks to it for me, without me trying. Like things just keep happening. COVID definitely shook everything up, in terms of like life events, like when things happen or how.
But like I just … so, I mentioned it I think in the what? Little Women episode, but I just quit my job.
Hannah Leach:
Yay.
Audrey Leach:
So, the main thing for the next few months will be like me trying to meet a lot of people and network.
Hannah Leach:
Love that.
Audrey Leach:
I hate networking.
Hannah Leach:
No one likes networking though.
Audrey Leach:
I'm going to try to just get into projects that are with young people, hopefully nice people.
Hannah Leach:
Yeah.
Audrey Leach:
And who are doing cool things. That's my goal.
Hannah Leach:
A very earnest goal.
Audrey Leach:
Yeah.
Hannah Leach:
I hope that happens too. Yeah, I'm trying to pursue some creative things that I am excited about and also just, I don't know, it's time for some changes ladies. That's how I feel. Okay.
Audrey Leach:
Yeah.
Hannah Leach:
Should we talk about The Holiday?
Audrey Leach:
No. Just kidding.
Hannah Leach:
I'm actually excited to talk about The Holiday.
Audrey Leach:
Yeah. Me too.
Hannah Leach:
Okay, so let's get into the facts. The Holiday was released on December 8th, 2006 and was rated PG 13. It was directed and written and produced by Nancy Meyers, who is known for: Something's Gotta Give, It's Complicated, Private Benjamin, The Intern. She also wrote the screenplay for the Lindsay Lohan, Parent Trap.
Audrey Leach:
The synopsis is for The Holiday. This IMDb one is hella long. It's probably very detailed. Okay, here we go: “In London, Iris Simkins writes a wedding column in a newspaper and nurtures …” We would, we choose-
Hannah Leach:
I was going to say, I had no idea.
Audrey Leach:
Okay. Actually no, I did know that. Only because of the moment where the guy, the newspaper says, “Iris, pay attention to this. I want you to cover this.” And then he announces-
Hannah Leach:
Oh, the engagement.
Audrey Leach:
Yeah.
Hannah Leach:
I didn't get that that's-
Audrey Leach:
Yeah, I did.
Hannah Leach:
Oh. So, she writes like the announcements?
Audrey Leach:
Right.
Hannah Leach:
Oh, okay.
Audrey Leach:
That's the only reason.
Hannah Leach:
Wedding column sounds like advice on picking your tablecloth color.
Audrey Leach:
“In London, Iris Simpkins writes a wedding column in a newspaper and nurtures an unrequited love for her colleague Jasper Bloom. Near Christmas, she is informed that Jasper is engaged to marry another colleague and her life turns upside down.
In Los Angeles. The movie-trailers maker Amanda Woods, has just split with her unfaithful boyfriend Ethan and wants to forget him.
Through a house exchange website, Amanda impulsively swaps her mansion for Iris' cottage in Surrey for The Holidays. While in Surrey, Amanda meets Iris’ brother and book editor Graham and they fall in love with each other.
Meanwhile, Iris meets her new next-door neighbor, the 90-year-old screenplay writer Arthur, who helps her retrieve her self-esteem. And the film composer Miles, with whom she falls in love.”
Hannah Leach:
Retrieve her self-esteem is really funny. I am so excited to talk about this fucking plot.
Audrey Leach:
A million takes about this.
Hannah Leach:
Oh, God. Okay.
Audrey Leach:
Letterboxd: “Two women, one from the United States and one from the United Kingdom, swap homes at Christmas time after bad breakups with their boyfriends, each woman finds romance with a local man, but realizes that the imminent return home may end the relationship.”
Hannah Leach:
It's like local man pulled over for DUI. Like I thought the same thing when I saw local man.
Audrey Leach:
And then the Rotten Tomatoes one: “Two women, one from America and one from Britain, swap homes at Christmastime after bad breakups with their boyfriends. Each woman …”
Well, if you could really call them that.
Hannah Leach:
It's the same thing.
Audrey Leach:
“Each woman finds romance with a local man, but realizes that the imminent return home may end the relationship.”
Hannah Leach:
Like these are literally the exact same thing.
Audrey Leach:
They are almost.
Hannah Leach:
Almost.
Audrey Leach:
The swap was the word America and United States. And United Kingdom and Britain.
Hannah Leach:
Great, great.
Audrey Leach:
I bet that's what they did. They were like, “How can we make it different from?”
Hannah Leach:
Let's just change some really inconsequential words.
Audrey Leach:
So, okay. Allegedly there are no taglines.
Hannah Leach:
Why do you never believe me?
Audrey Leach:
Because you just never know.
Hannah Leach:
I check. No, I really check now.
Audrey Leach:
Okay.
Hannah Leach:
Because I love — the taglines are my favorite part of the episode.
Audrey Leach:
Okay, I believe you. I believe you. So, they're all just like the names of the actors and from the director that brought you, The Intern. Well, The Intern wasn't out yet, but still, The Parent Trap screenplay.
Hannah Leach:
Yes, exactly.
Audrey Leach:
From the director that brought you The Parent Trap screenplay.
Hannah Leach:
Okay. So, now the cast, of course we have Kate Winslet as Iris, best known as Rose from Titanic, but also for her role in Eternal Sunshine of the Spotless Mind, Revolutionary Road, Sense and Sensibility. And she recently was in Mare of Easttown.
Okay. Then we have Cameron Diaz as Amanda. Primarily in my mind, she is always just Fiona from Shrek. However, she's in Vanilla Sky, There's Something About Mary, Charlie's Angels, of course, My Best Friend's Wedding, notably she was Miss Hannigan in the 2014 Annie, and then-
Audrey Leach:
So fucked up.
Hannah Leach:
I know. And then took an acting break from that movie to 2020.
Audrey Leach:
I can't imagine something she fits less than Miss Hannigan.
Hannah Leach:
I have not seen that movie. Have you?
Audrey Leach:
Oh, it doesn't matter if you've seen it or not.
Hannah Leach:
I can imagine it being bad.
Audrey Leach:
That's so wrong.
Hannah Leach:
I'm about to commit some slander on this podcast today, but I'm going to save it until we get to the second half.
Audrey Leach:
I think she was on The Drew Barrymore Show recently and she seems just like a nice lady. I feel like she's sweet.
Hannah Leach:
I can see that for sure.
Audrey Leach:
But I know you're going to hate on her, the second half.
Hannah Leach:
Here's the thing I am going to kind of hate on her, but I have a bigger point.
Audrey Leach:
Okay. I-
Hannah Leach:
It's not just me being like, “Fuck you Cameron Diaz.”
Audrey Leach:
I probably have the same point. I think I probably have the same point.
Hannah Leach:
Yeah, probably. Next, we have Jude Law as Graham. He is hot and he is in The Talented Mr. Ripley.
Audrey Leach:
You got to watch that.
Hannah Leach:
Okay.
Audrey Leach:
It's so good.
Hannah Leach:
Closer, The Grand Budapest Hotel, Sky Captain and the World of Tomorrow. And he's “Hot Dumbledore” in Fantastic Beasts and Where to Find Them. R.I.P to that.
But also, whenever I see Jude Law's name and anything, I think about the fact that when I was a kid I was like really into tabloids, like People magazine and stuff. And so, both sets of grandparents would give me their old tabloids.
And there was like some scandal in like 2004 where he was like caught cheating on his wife with a nanny. And I have no idea if that's actually real or not. That is what I read when I was a tabloid obsessed child.
Next, of course, Jack Black as Miles. The reason why I wanted to watch this movie. He's in School of Rock, High Fidelity, Nacho Libre, King Kong, Kung Fu Panda, Jumanji, Tenacious D, Gulliver’s Travels, Shallow Hal and Ice Age among many other projects.
Audrey Leach:
Bernie.
Hannah Leach:
Oh, Bernie dude. I forgot Bernie. Bernie's like the best one. We love him. You guys know that already. And we are going to talk more about him in the second half for sure.
And then last but not least, we have Eli Wallach as Arthur. He was in The Good, the Bad and the Ugly, The Magnificent Seven and Baby Doll. And upon researching him more, I came to realize that Arthur is kind of like a weird fictionalized version of Eli himself.
He died in 2014, but I found this clip of him.
Audrey Leach:
R.I.P.
Hannah Leach:
I know, pour one out for Eli, as Audrey takes a sip of the wine. There's this clip of him on his IMDb page accepting this award in 2010 from the Motion Picture Arts Academy. And it looks exactly like the award ceremony in the movie, even though the movie preceded it by four years.
Audrey Leach:
Well, that makes sense.
Hannah Leach:
Yeah. But still, we're going to come back to this point too. Or at least I am.
Audrey Leach:
Nancy Meyers has some connection here that she wanted to put into a screenplay.
Hannah Leach:
And then of course, we have the weird cameos from John Krasinski, Katheryn Hahn and Robert De Niro.
Audrey Leach:
You mean Al Pacino?
Hannah Leach:
Yes.
Audrey Leach:
A lot of people get them confused because they came up in the same era. So, it's like Robert De Niro is Raging Bull.
Hannah Leach:
Okay.
Audrey Leach:
Al Pacino is The Godfather.
Hannah Leach:
Okay. Al Pacino makes more sense, because they talk about the Godfather in the movie.
Audrey Leach:
Right.
Hannah Leach:
I've learned something today.
Audrey Leach:
Budget was $85 million. That's so much. Opening weekend, 12,778,913. Worldwide gross, 205,841,885. They're chilling.
Hannah Leach:
They really cashed in on this one guys. It's kind of crazy. Okay, so now into critic and audience opinions, the critic score on Rotten tomatoes is 51%. And the critic consensus is as follows: “While it's certainly sweet and even somewhat touching, The Holiday is so thoroughly predictable that audiences may end up opting for an early checkout time.”
Here are some critic opinions, “While the director tips her hat to classic Hollywood comedies. Iris watches Howard Hawks’s His Girl Friday for lessons in leading-lady, ‘gumption’. The Holiday wallows in too much earnest relationship talk without saying much.”
Another one, “The Holiday is as corny as it gets, but in a cinema escape full of macho, grunting and aggressive irony, Meyers is perhaps right to believe that corniness is what women and their boyfriends will be wanting.”
And then lastly, “What makes The Holiday interesting and worth reexamining more than a decade after its release (very sleepover cinema of them), is that unlike most holiday themed movies, it exhorts the viewer to take time for themselves, not just others. It's the ultimate self-care flick.”
Audrey Leach:
Alright. The audience score was 80% and the Letterboxd average star rating is 3.4. That's pretty generous.
Hannah Leach:
I know. I was kind of surprised by that.
Audrey Leach:
Audience opinions. “At one point, Jude Law goes, ‘I've got the girls from the New Year.’ Like who else would've had custody? His dead wife?” Yeah, I thought that too. I was like what? As opposed to, I guess-
Hannah Leach:
Like grandma and grandpa?
Audrey Leach:
Grandparents? Yeah.
Hannah Leach:
Yeah.
Audrey Leach:
“Arguably the longest movie ever made.”
Hannah Leach:
Yeah. Agreed.
Audrey Leach:
“Had a full review written out, email confirmation hiccup, removed it all. Avoid at all costs, even if you had a crush on Cameron Diaz.”
“Okay. It is predictable and a cookie cutter Hollywood production combining pretty faces with beautiful settings. Brentwood on Sunset, mod urban LA mansion with oversized pool and everything else. And a cozy centuries old British cottage with 24/7 fireplace and snow in a charming rural village.
Yet the excellent cast of actors, Winslet, Law, Black, Diaz, Sewell keeps it fun and entertaining. If you want to escape to sunny, perfect LA and cozy snowy Britain during Christmas, then this is a great way to do it.”
And finally, “My favorite Christmas movie of all time.”
It's not really about that, I guess.
Hannah Leach:
No, I feel like the whole review, the whole thing here, talking about 24/7 snow and fire, I saw a YouTube video after I was done researching this, that was like ambiance, like the cottage from The Holiday and like the 24/7 fire and snow, yeah, that is one of the highlights of the movie for sure.
Audrey Leach:
This is not a film that we knew about or cared about ever.
Hannah Leach:
Correct.
Audrey Leach:
But I definitely learned about it probably at some point in college because Jack Black is in it. And I knew that he was paired with Kate Winslet and I found that so-
Hannah Leach:
Weird.
Audrey Leach:
Full of hope and just intriguing.
Hannah Leach:
Yeah.
Audrey Leach:
And so, I knew like I was going to watch it. I watched it for the first time in 2020, I think. What a film.
Hannah Leach:
We're going to get into it. I watched it through a really weird means. We are logged into like AT&T, Spectrum live on it. And for some reason The Holiday was available on Demand, with ads through that app.
Audrey Leach:
You watched it with ads?
Hannah Leach:
I did.
Audrey Leach:
Jesus.
Hannah Leach:
That's why I watched it over two days because it took so long.
Audrey Leach:
That's more dedication than it's worth.
Hannah Leach:
Okay. But aren't you proud of me for not spending money?
Audrey Leach:
Yeah.
Hannah Leach:
Thank you.
Audrey Leach:
But just the time because it is long.
Hannah Leach:
I know. It was a slog. It was a slog. But doing it in two days actually made it like really fine.
[Music Playing]
Find your weird viewing method of choice and we will meet you back here to talk about this delightful film.
Audrey Leach:
Delightful?
Hannah Leach:
Delightful. Yeah.
Audrey Leach:
And we're back.
Hannah Leach:
Hi everybun. Everybun.
Audrey Leach:
Everybun.
Hannah Leach:
Hello everyone. We're back. What did you think of The Holiday when you watched it? I have a feeling you want to know what we thought. So, here we are. Let's start with the good things.
Audrey Leach:
Okay.
Hannah Leach:
I love Jack Black, period. He's brought so much joy to my life. He's so talented. I am really glad he's in this and I have more to say about it.
Audrey Leach:
I'm not, I'm not.
Hannah Leach:
I'm always happy to see him.
Audrey Leach:
No, me too. But the problem lies-
Hannah Leach:
Okay. Are we going to go straight to the problem?
Audrey Leach:
Yes.
Hannah Leach:
Okay.
Audrey Leach:
I can't help it.
Hannah Leach:
Okay. Same, the way that they cannot handle his level of charisma, uniqueness, nerve and talent.
Audrey Leach:
Both him and Kate-
Hannah Leach:
Yes.
Audrey Leach:
Are too smart for this movie.
Hannah Leach:
Agreed.
Audrey Leach:
They're too smart for the script.
Hannah Leach:
Yep.
Audrey Leach:
And I understand the thinking of this casting going into it because you might think from like a marketing perspective and how interesting it would be to have the hot couple and then the “less hot” couple. And I think they're both hot.
Hannah Leach:
Yeah.
Audrey Leach:
So, I am saying this from the perspective of a snobby marketing person.
Hannah Leach:
Right.
Audrey Leach:
The fact that they were trying to do this like kind of like mirrored pair situation is so wrong. And here's the other reason why it's so wrong.
Hannah Leach:
I know what you're going to say. I know what you're going to say.
Audrey Leach:
Is because they don't even let Jack Black be the mirrored pair.
Hannah Leach:
No.
Audrey Leach:
They put a literal old ass man in there. I don't want to see Kate Winslet in the fucking pool with an old man.
Hannah Leach:
I know.
Audrey Leach:
Get Jack Black in there. What are you doing?
Hannah Leach:
I know. I wrote down, “Why am I watching her date like a 90-year-old man?”
Audrey Leach:
Like, I hate that.
Hannah Leach:
But I do have to say that, I'm not saying that this makes me happy, but like, you know like every scene he's in you feel like him just going like full goofy Jack Black is like one millimeter below the surface.
Audrey Leach:
Yeah.
Hannah Leach:
Like I feel like that energy is so tonally bizarre for the movie.
Audrey Leach:
I wrote, Jack Black's tonal incongruence is so odd.
Hannah Leach:
Yes.
Audrey Leach:
And could be great.
Hannah Leach:
Yes.
Audrey Leach:
If the rest of the film understood it.
Hannah Leach:
Right.
Audrey Leach:
But it doesn't.
Hannah Leach:
It just felt like such a waste of him being there.
Audrey Leach:
Yeah.
Hannah Leach:
It's like why wouldn't you just hire like-
Audrey Leach:
Why wouldn't you hire one of those dumb ass guys, that the general public thinks is silly
Hannah Leach:
Like Seth Rogan.
Audrey Leach:
But isn't.
Hannah Leach:
Yeah.
Audrey Leach:
Yeah. Seth Rogan. I like actually like him.
Hannah Leach:
I like him too. But like someone of that type.
Audrey Leach:
He's a good example of mainstream silly.
Hannah Leach:
Yeah.
Audrey Leach:
And Jack Black is mainstream silly for animation.
Hannah Leach:
Yeah.
Audrey Leach:
He's not mainstream silly-
Hannah Leach:
As a guy-
Audrey Leach:
In real life.
Hannah Leach:
Yeah.
Audrey Leach:
And nothing bothers me more. It's just like when people say they don't like Napoleon Dynamite, nothing bothers me more than some … I saw a TikTok recently that was like-
Hannah Leach:
Oh, no.
Audrey Leach:
It was like filming the TV and it was the scene of Jack with Kate in the Blockbuster.
Hannah Leach:
Yeah. Which is the one that teeters the most on edge. Yeah.
Audrey Leach:
Yeah. And she was like, “I can't explain it, but this just gives me such deep cringe.” I'm like, “Girl, oh …
Hannah Leach:
No, it is though.
Audrey Leach:
It does. But she's not coming from the perspective of someone who loves him and I'm just like, you don't get it. Like you don't understand how he is. It's like he's like an alien in this movie.
Hannah Leach:
Absolutely. And they don't even like let the relationship develop in like any sensible way.
Audrey Leach:
No, I think they should have let Jack and Kate act the script.
Hannah Leach:
Yeah.
Audrey Leach:
And then like you have some freedom here because you guys are such specific performers and they will be able to get there.
Hannah Leach:
Yeah.
Audrey Leach:
If they were given the room-
Hannah Leach:
Yeah.
Audrey Leach:
To do it. And the time, like the other aspect of this movie that kind of gets in the way of the development of the relationships is their references to Hollywood in general.
Hannah Leach:
I don't get why they're doing that in this movie. I think it's so annoying and like masturbatory that they do that.
Audrey Leach:
Yeah.
Hannah Leach:
It's like no one fucking cares.
Audrey Leach:
That's what I wrote. I was like, “It feels inside baseball.”
Hannah Leach:
That's the exact phrase I was thinking of too. Like why? And also, it's like inside baseball of like crusty like 1950s.
Audrey Leach:
The old people. Yeah. Like-
Hannah Leach:
Hollywood.
Audrey Leach:
Golden Age Hollywood, which Nancy Meyers is maybe … she's like roughly our parents' age. Maybe a little older. So, for her Golden Age Hollywood. Because this movie was made already like 20 years ago. A little less.
Hannah Leach:
Yeah.
Audrey Leach:
That was her version of ideal Hollywood from when she was a kid.
Hannah Leach:
Yeah.
Audrey Leach:
Now obviously, she knows that the reality of that is not — and I find that so interesting. She is a female director, producer, writer, creator in the early 2000s. And she's making this film that completely glorifies the conditions of Golden Age Hollywood, which that's a really fun and easy trap to fall into. And I get that.
Like look at La la Land, seriously. People love to think about early Hollywood as some kind of dream come true, but literally everyone was mistreated.
Hannah Leach:
Yeah. It’s like-
Audrey Leach:
Everyone.
Hannah Leach:
Actively abusive.
Audrey Leach:
Yeah. And-
Hannah Leach:
Especially for women.
Audrey Leach:
Now, was the film quality and the craft behind it more well thought out and like beautiful. Yeah, it was.
Hannah Leach:
Yeah.
Audrey Leach:
But that's the product itself. But like the things that go into it and everything behind the scenes was not ideal by any means.
Hannah Leach:
Yeah.
Audrey Leach:
So, for her to perpetuate that is interesting. And it makes me want to look into her background. Like did she not struggle to be a filmmaker?
Hannah Leach:
Yeah. Well, I checked to see like … because in her IMDb it was like daughter of this person and this person. And I was like, “Is she a nepotism baby?” But she's not. Her parents were just like regular ass people.
Audrey Leach:
Yeah. I didn't think she was. But at the same time, if you look at her filmography, it is all movies surrounding — there's always occupations involved. It's white people and they're fairly wealthy. All of them. The narrative at play is never about any struggle besides usually a relationship.
Hannah Leach:
Yeah.
Audrey Leach:
Yeah. It's usually just about a relationship. They're not struggling with anything in their like living circumstances or anything like that.
Hannah Leach:
I think that's okay though. It's like write what you know or whatever.
Audrey Leach:
No, I think it's okay too. It's just really like when you look at her filmography, it's just like, whoa write what you know, like clearly that's her thing.
Hannah Leach:
Yeah, yeah.
Audrey Leach:
It just makes me wonder, do people watch this and — like it made $200 million. Are people able to just go in there and completely detach from real life? Like at the time?
Hannah Leach:
For sure.
Audrey Leach:
Like anybody.
Hannah Leach:
Totally.
Audrey Leach:
And-
Hannah Leach:
That’s the whole point.
Audrey Leach:
No, I know that's the point. But I think it's hard to do that now.
Hannah Leach:
To get people to detach?
Audrey Leach:
Mm-Hmm (affirmative).
Hannah Leach:
Yeah. Well, that's why this type of movie doesn't really happen anymore.
Audrey Leach:
Yeah.
Hannah Leach:
Yeah.
Audrey Leach:
Like the fucking takes about this movie would be everywhere.
Hannah Leach:
Yeah. It would be out of control.
Audrey Leach:
It would be out of control.
Hannah Leach:
Which, it's kind of interesting because I feel like now movies like this can happen, but they're like straight to Netflix or like straight to like Hallmark-esque movies. Like people do have room in their hearts for them, but it's not going to be like a big theatrical release situation.
Audrey Leach:
Mm-hmm (negative).
Hannah Leach:
I'm thinking of like, Falling for Christmas with Lindsay Lohan or like the Happiest Season, like stuff like that. But even with the Happiest Season, it was like-
Audrey Leach:
Well, the Happiest Season was supposed to be theatrical and then COVID.
Hannah Leach:
Oh, I didn't realize that. That was a good movie.
Audrey Leach:
It was good. And I actually thought that one would have worked. I don't think it would've made a billion or anything, but I-
Hannah Leach:
People would've seen it.
Audrey Leach:
It would've worked.
Hannah Leach:
I would've seen it.
Audrey Leach:
Yeah.
Hannah Leach:
Yeah. So, yeah. The weird romanticization of old Hollywood, instead of letting Jack Black be a full character is an unforgivable sin, in my opinion.
Audrey Leach:
Yeah. And he's just way too smart to be in this movie.
Hannah Leach:
He is.
Audrey Leach:
Like he's saying the lines and I'm like, “I feel so bad that he has to say these lines.” Like, it's just not him.
Hannah Leach:
I know. When he said-
Audrey Leach:
It's just not.
Hannah Leach:
“We're going to celebrate being young and alive.” I was like, “I can’t believe that you’re saying that.”
Audrey Leach:
Just like imagine what he's saying, what he looks like and knowing how silly he is and who he is that he portrays through that character. And then imagine that person as a real person in real life. It just doesn't go, it like doesn't go together.
Hannah Leach:
Yeah, it does not go together.
Audrey Leach:
What's your Cameron Diaz bit?
Hannah Leach:
Oh, yeah. I'm ready to get on my fucking … my rampage now. I'm not speaking to actual woman Cameron Diaz. I am talking about my conception-
Audrey Leach:
Character.
Hannah Leach:
The character, but also, my fake impression of her that I have in my mind. I do not enjoy her. I did not enjoy her in Charlie's Angels. I did not enjoy her in this. I think that part of it in this movie and there's like two chunks to this. Like she was directed to be so obnoxious.
Audrey Leach:
Yeah.
Hannah Leach:
And she already kind of has an annoying thing to her, but it also … like the weird physical comedy, like the solo physical comedy that Cameron Diaz and Kate Winslet have to do is also extremely cringey to me. And with Cameron, I'm just like, I just want her off. I do not want to watch her the entire time.
Audrey Leach:
Do you really think it has to do with her though?
Hannah Leach:
I don't know.
Audrey Leach:
Like if you watch her in like, My Best Friend's Wedding, some of her other stuff where she might have been casted as that same stereotype, but what the script does for her is a lot better.
Hannah Leach:
Okay.
Audrey Leach:
And it does her justice more. I don't know, you can add more of a narrative in your head for her. Like a headcanon for Cameron Diaz.
Hannah Leach:
Yeah.
Audrey Leach:
Other than the shit that you've seen so far. But like in Charlie's Angels and in this, they always make her seem like a bimbo. And you have to … this is kind of a complicated conversation maybe, but her body has a lot to do with her as an actress. You can't separate her characters from her body.
Hannah Leach:
That’s true for a lot of people though.
Audrey Leach:
It is true. But it's true for her.
Hannah Leach:
Yeah.
Audrey Leach:
Like, I would not say that's true for Kate Winslet.
Hannah Leach:
Oh, I think she's like one of the exceptions though.
Audrey Leach:
Yeah.
Hannah Leach:
Yeah.
Audrey Leach:
It's not true for actresses that are often claimed as more high-brow.
Hannah Leach:
Yeah.
Audrey Leach:
The Oscar winner. Like think like Olivia Colman, like even Emma Stone, like not associated with her body in the same way. Saoirse Ronan, not her body. Even Margot Robbie, kind of not her body. She's more so, but only because she has this kind of Oscar like thing to her.
Hannah Leach:
Well, that's also her trope is that she's like the hot but smart girl in like an Oscar … thing.
Audrey Leach:
Thing. And I think that is kind of unfair in general with actresses, that like, if you don't get this certain level of acclaim that you either are dumber or you're more associated with your body or your hotness than you would be otherwise.
Say she had gotten a role in, I don't know, I'll just make something up. Like say she had gotten like an Oscar-winning role, like a Gwyneth Paltrow. People's entire perspective on her would be different. Like her and Gwyneth Paltrow are not that different.
Hannah Leach:
Yeah.
Audrey Leach:
And yet Gwyneth gets all this like acclaim.
Hannah Leach:
Well, I feel like there really isn't even like a public concept of Cameron Diaz.
Audrey Leach:
No. Because she's not … especially now, because she's taken this long break. But when we were kids, she was everywhere, Shrek, Charlie's Angels, this movie, she was a huge box office drop.
Hannah Leach:
Well, right. But like, but what was like her thing? Being hot?
Audrey Leach:
I think that she was viewed (I don't know because I was a baby at the time), as being likable. She seemed friendly and like flirty and likable and a kind of girl next door. I think that's what they were trying to do.
Hannah Leach:
Yeah. She also had a distinctive haircut in the style of Arielle Kebbel.
Audrey Leach:
Yeah.
Hannah Leach:
Yeah.
Audrey Leach:
Shorter hair.
Hannah Leach:
Yeah.
Audrey Leach:
What about Jude Law?
Hannah Leach:
He was fine.
Audrey Leach:
You need to watch-
Hannah Leach:
Am I misogynist?
Audrey Leach:
You need to watch The Talented Mr. Ripley. He's so good at that.
Hannah Leach:
Yeah. The script is still pretty bad for him. They don't have good chemistry in my opinion. The dad stuff is good.
Audrey Leach:
They kind of don't have good chemistry. I guess they're supposed to.
Hannah Leach:
I don't think anyone has good chemistry.
Audrey Leach:
Me either. But that one scene where he says that he loves her and she's like, “Yikes, like what do I say to that?” That scene I actually thought was like kind of real because it did show this dissonance in chemistry and how she's not really ready. And I kind of bought that scene. I was surprised that that scene ended with her also not saying it. It kind of seemed like they were going to give it to you.
Hannah Leach:
Yeah.
Audrey Leach:
But then they made you wait. I hate the like long run to the house thing.
Hannah Leach:
That shit was so long. It was so long. It felt like a skit almost.
Audrey Leach:
Why would you not cut out like 45 seconds of that running?
Hannah Leach:
Yeah, I totally agree.
Audrey Leach:
And the run was almost so long that I thought for a second that when she gets in there, he might be dead.
Hannah Leach:
I was like, “Did he leave?” Like I was not expecting him to be in there either.
Audrey Leach:
Yeah.
Hannah Leach:
Weird choices being made there. Look, I wrote a long run.
Audrey Leach:
So okay, so you like the father stuff? Even though the screenplay has set him up to be some kind of angel because he's a widower.
Hannah Leach:
This is really what it is. The child actors are really good, in my opinion. Compared to some of the shit we've seen recently, I thought they were good. And for being like little side characters like that except when they were like, “The three musketeers,” I was like, “No.”
Audrey Leach:
It's not their fault, I guess.
Hannah Leach:
No, it's not their fault, but still.
Audrey Leach:
How did you feel about the way that score was diegetic and non-diegetic? Remember that scene where Jack Black's talking to Kate when they first meet and he's playing score from his car?
Hannah Leach:
Yes.
Audrey Leach:
And it's playing as though it's score in the movie.
Hannah Leach:
Yes.
Audrey Leach:
And then she is like, “Oh, did you write that?” Or whatever. And he's like, “Oh, it's these other composers.” But it's playing as score also. So, it's like both.
Hannah Leach:
It's weird. It just ties into the whole like weird-
Audrey Leach:
It's the gimmick.
Hannah Leach:
Yeah. The whole Hollywood self-referential weirdness.
Audrey Leach:
Yeah.
Hannah Leach:
Oh. Which reminds me that by the way, the Al Pacino cameo happened because he was driving by set and walked in and was like, “What are they making?” And then she put him in it.
Audrey Leach:
That sounds fake for-
Hannah Leach:
It does sound fake. It does sound fake, but it still plays into the whole like Hollywood myth thing.
Audrey Leach:
Yeah. This movie is very entrenched in big stars.
Hannah Leach:
Yeah.
Audrey Leach:
Huge box office draws. Especially at the time. So, I get that.
Hannah Leach:
That’s probably why they didn't have taglines and stuff like that. Like you didn't need anything.
Audrey Leach:
Yeah. It was just names.
Hannah Leach:
And that poster too. It's a great poster. You know?
Audrey Leach:
Yeah.
Hannah Leach:
The poster communicates a really different tone than the movie actually gives you though. Like when I see the poster, I think it's going to be more along the lines of like-
Audrey Leach:
Love Actually?
Hannah Leach:
Well, I haven't seen Love Actually, so I don't know. Almost more like the Notebook, but like less epic, but very serious, like the love story’s being taken very seriously. And that is not what it actually is.
Here's something that I am curious about your opinion on. Why are we supposed to believe that Kate Winslet is like a femcel?
Audrey Leach:
I know.
Hannah Leach:
It makes no sense.
Audrey Leach:
Yeah.
Hannah Leach:
And-
Audrey Leach:
We know the answer to why she would be cast as the femcel and Cameron Diaz would be the other lady.
Hannah Leach:
Why?
Audrey Leach:
I think it has everything to do with, first of all public perception. And literally bodies. I think it really was that discriminatory at the time. And I'm not — Kate Winslet is so beautiful. It's not even funny.
Hannah Leach:
She's also thin though.
Audrey Leach:
But she's not like six feet tall and like 90 pounds.
Hannah Leach:
But also, we don't even know what her body looks like because again-
Audrey Leach:
It's covered. It’s very covered.
Hannah Leach:
It's the whole thing you were talking about the Oscar thing.
Audrey Leach:
Yeah. Well, you kind of — I don't know, but-
Hannah Leach:
You kind of know.
Audrey Leach:
Yeah. It's more nebulous and I don't know, there's just nothing else I can come up with. It's so incorrect. But we have to think in these terms because there's no-
Hannah Leach:
There's no other way to explain it.
Audrey Leach:
Other way to explain it.
Hannah Leach:
But what I was going to say is I think that it is such a weird reach and I fucking love Jack Black. Jack Black is not a chiseled handsome man. He's a handsome man. He's not like Ken. But what I'm saying is the way that they're like … Kate Winslet and Jack Black would be treated the same by the opposite sex.
Audrey Leach:
It's crazy.
Hannah Leach:
Is so crazy.
Audrey Leach:
Yeah. Well, I can feel them trying to offset prejudgments of Jack Black's character, by giving him the skinny hot girlfriend.
Hannah Leach:
The hot girlfriend. And when he shows up in the beginning with like the car and like the sunglasses.
Audrey Leach:
And he's like, “I can't … I've been dating an actress for five months. Like I can't believe my luck.” Like that's basically what he says.
Hannah Leach:
Yeah.
Audrey Leach:
And I'm just like, “Oh.”
Hannah Leach:
It's so weird though. Like the whole thing is so bizarre. I'm like, “Why did they pick Jack Black out of all the people they could.”
Oh, one thing I will say is last night I was watching Celebrity Wheel of Fortune and Jack Black was one of the contestants. And it was like the holiday edition, like Christmas edition of Celebrity Wheel of Fortune. And the host was like, “Happy holidays. So, you were in a movie called The Holiday.” And he was like, “Yeah. And you know what, like I get more compliments on that movie than I do for School of Rock.”
Audrey Leach:
Yeah. Because it was just bigger.
Hannah Leach:
How is that possible? This movie's bad. How could it be bigger than School of Rock?
Audrey Leach:
Literally monetarily and globally it was bigger.
Hannah Leach:
That is so crazy.
Audrey Leach:
That doesn't have to do with the quality of the film, obviously.
Hannah Leach:
Obviously. But still-
Audrey Leach:
It's just that more eyes have seen it.
Hannah Leach:
Because School of Rock is a really famous movie too. I'm stoned by that one.
Audrey Leach:
But as soon as it's a holiday romance-
Hannah Leach:
Yeah.
Audrey Leach:
There you go.
Hannah Leach:
This movie is not a Christmas movie. They say it's a Christmas movie.
Audrey Leach:
They probably just made it one for timing reasons. I get why that would be the initial idea for the film, especially from a marketing perspective.
Hannah Leach:
From a marketing perspective. Yes.
Audrey Leach:
Yeah.
Hannah Leach:
But they don't really even talk about holidays. There's that weird ass New Year's Eve part at the end, which was a very weird ending.
Audrey Leach:
Look what I wrote.
Hannah Leach:
Would you like to read that for the people at home?
Audrey Leach:
“Why does the end feel like a foursome setup?”
Hannah Leach:
Once the kids go to bed, you know what's going down there.
Audrey Leach:
Yeah. Because they are showing all these montage shots of the couples and I'm say … they're siblings-
Hannah Leach:
Both the brother-
Audrey Leach:
I know, I know. They're literally related. That is messed up. But I can't deny-
Hannah Leach:
Yeah.
Audrey Leach:
That they're doing this intermingling thing in the montage shot.
Hannah Leach:
Like look, we're all friends.
Audrey Leach:
Yeah. I'm like, wait a minute.
Hannah Leach:
Yeah, hold the phone. Yeah. It's a weird ending. Is there — what do you have that's positive?
Audrey Leach:
The things I wrote in positive are things I already said that did not sound positive.
Hannah Leach:
Okay.
Audrey Leach:
But the one thing that we haven't talked about yet is that fake Lindsay Lohan, James Franco trailer.
Hannah Leach:
Yes. That was amazing though.
Audrey Leach:
Yeah.
Hannah Leach:
I was like-
Audrey Leach:
That's something I wrote and appreciate.
Hannah Leach:
I want that to be the movie that we're watching right now.
Audrey Leach:
Yeah. Lohan.
Hannah Leach:
Did you want to talk about your film editing representation, even though she's actually a trailer person?
Audrey Leach:
I still think she's an editor and for some reason they keep saying maker or like other terms, but she's definitely an editor. The setup of John Krasinski and Katheryn Hahn, right?
She like made a edit suite like in her house. And they have this little scene where they're talking about it. It is fun. For me, like regarding inside baseball, like there are some fun elements to that. Not so much the trailer things. Just seeing, literally just seeing an edit program.
Hannah Leach:
Representation matters. Yeah.
Audrey Leach:
Or like seeing Jack Black, like fake composing. I was like, “Yeah. Like that's kind of fun.”
Hannah Leach:
Jack Black’s fake composing.
Audrey Leach:
You never see occupations in film, in film. Not often. Especially post.
Hannah Leach:
Yeah.
Audrey Leach:
You never see post production in movies.
Hannah Leach:
Yeah.
Audrey Leach:
So, it's just very meta, but it's kind of fun.
Hannah Leach:
Yeah. I wrote down, “This is secondhand embarrassing.”
Audrey Leach:
What’s secondhand embarrassing?
Hannah Leach:
The entire movie.
Audrey Leach:
Oh.
Hannah Leach:
Like watching like when she's like singing Mr. Brightside or when Kate Winslet is like rejoicing by like thrashing around in the bed. I'm like-
Audrey Leach:
I'm like, “These are women.”
Hannah Leach:
Right. But then I was thinking, I wrote down, “This is secondhand embarrassing. Am I a misogynist?” Because like if you saw like Jack Black or just like male actors doing the same thing, I don't think it would really hit the same cringe button.
Audrey Leach:
No. I would still think it's stupid.
Hannah Leach:
It would still be stupid. But it's like, I think it's actually less about the gender and more about the fact that like tonally the movie is so all over the place that it's like these isolated scenes of like physical rejoicing, just feel really weird to me.
Audrey Leach:
I just thought of another thing that I did not enjoy; the idea of when Cameron Diaz is like, “I don't need foreplay.” And then, Jude Law was like, “You're so different than other girls. Like, I love you already.”
Hannah Leach:
I forgot about that.
Audrey Leach:
Oh, my God. I was like, “Ah, because she's detached. You love her?
Hannah Leach:
Yeah.
Audrey Leach:
I was like, “Because she doesn't want to like be seen or whatever, like truly.”
Hannah Leach:
Oh, my God.
Audrey Leach:
And he's like, “You're so different than other girls.”
Hannah Leach:
Ooh, I was like barely paying attention at that part. But I do remember what you're talking about.
Audrey Leach:
Yeah. I was like, “Oh, that's not the best message to portray to millions that, by-
Hannah Leach:
Not wanting foreplay, you're like a down chick.
Audrey Leach:
Yeah, right.
Hannah Leach:
Speaking to the not having paid attention in that part. I just found it really hard to watch a lot of their scenes together. It’s because of Cameron Diaz. I just don't like her. But like if she had been Drew Barrymore, would've been happy, would've been different. A Drew Barrymore, Jack Black pairing.
Audrey Leach:
Yeah. That would be good.
Hannah Leach:
That would be really good.
Audrey Leach:
Yeah. Because as much as I love Kate Winslet, I don't-
Hannah Leach:
It was weird for her.
Audrey Leach:
It's weird for her.
Hannah Leach:
Yeah.
Audrey Leach:
Yeah. She's just better than it.
Hannah Leach:
And she's also-
Audrey Leach:
Drew is good at bringing her intel … because she is smart. She's good at morphing herself into the kind of like tier of film that she's in.
Hannah Leach:
Yeah.
Audrey Leach:
She's really good at that. Like do you ever watch her in Grey Gardens? She plays little Edie.
Hannah Leach:
Oh, I've heard about it, but I haven't seen her in it.
Audrey Leach:
She's pretty good.
Hannah Leach:
Nice.
Audrey Leach:
And like she's been in some prestige stuff, but she's also been in blockbusters, but she's also been on TV and she's good at morphing for the tier of things she's in.
Hannah Leach:
Yeah.
Audrey Leach:
And Kate Winslet is just so classy, but it's just like you’re too good for this.
Hannah Leach:
Yeah. It's also just like, let her have a dramatic role career. And the thing with her too is like-
Audrey Leach:
Well, I'm sure she wanted to do this. It was a fun switch up for her.
Hannah Leach:
Yeah. Well, I feel like even with like Eternal Sunshine, like it's not a comedy obviously. Like she gets to have some levity with it, but it's still like a core serious movie.
Audrey Leach:
Yeah.
Hannah Leach:
And like with Titanic obviously, like the whole thing that's so great about her is like that she is so serious, but then the humor gets to kind of like bubble up a little bit instead of being like, “I'm this wacky, zany person.”
Audrey Leach:
Yeah. She's just really good at subtlety.
Hannah Leach:
Yeah.
Audrey Leach:
And she's good at like characters that are holding back a lot. And then they kind of find themselves over the course of the film or they like loosen up a little bit.
Hannah Leach:
I feel like we have to say like one nice thing though. I feel like we haven't actually given this movie like a single petal of a single flower. I liked the fancy house, I liked the cottage as that audience member said at the beginning, I appreciated those sets. I will never watch this movie again. I will maybe watch the Jack Black scenes again.
Audrey Leach:
Yeah. There's a really odd experience of watching Jack Black in a Blockbuster, which is something to behold.
Hannah Leach:
Well, we've seen him in a Blockbuster, but-
Audrey Leach:
Not like this.
Hannah Leach:
You mean like this kind of thing. Yeah.
Audrey Leach:
Not like this.
Hannah Leach:
Yeah.
Audrey Leach:
Where he's supposed to be taken somewhat seriously. He's supposed to be taken at face value.
Hannah Leach:
Well, like as a romantic lead.
Audrey Leach:
Yeah.
Hannah Leach:
Yeah.
Audrey Leach:
And I would love for something to be written for him where he is a romantic lead and it works.
Hannah Leach:
Yeah. We've seen him in dramatic lead roles before that work.
Audrey Leach:
But romantic lead, I would like to see it.
Hannah Leach:
Same.
Audrey Leach:
I don't know what that would entail.
Hannah Leach:
Paired with someone really perfect.
Audrey Leach:
Yeah. Oh, we didn't even mention like Shallow Hal. Speaking of like Gwyneth Paltrow, like-
Hannah Leach:
Oh, yeah.
Audrey Leach:
That shit is loaded. And that's another situation where he's paired with a prestige actor and it's like really odd and it's just like a result of the culture at the time. He got very lucky in some sense that that is something he fell into. And he says that in his like career overview, Vanity Fair thing. He talks about that.
Hannah Leach:
A great video. Yeah.
Audrey Leach:
He did get lucky, but also, I wish that the scripts were better for him.
Hannah Leach:
Got lucky in the sense that?
Audrey Leach:
That it gave him the platform to be able to do more of what he wanted to do.
Hannah Leach:
Yeah.
Audrey Leach:
With the band. Or with other people. But it just gave him that prestige, like their prestige rubbed off on him.
Hannah Leach:
Got it. Yeah, yeah, yeah, yeah.
Audrey Leach:
And he got the type of acclaim that like, normally someone like that would go slightly underappreciated, but I feel that for the most part-
Hannah Leach:
Yeah.
Audrey Leach:
He's good.
Hannah Leach:
Yeah. Okay. So, The Holiday, it was really weird. I know a lot of people really love this movie and I can definitely see how if you watched this movie in like sixth or seventh grade, you would feel like such a grownup watching it. Like they say fuck, it's over two hours long. It has that vibe. I will never watch it again, as we said, but I-
Audrey Leach:
I might watch it again, but I rewatch lots of things, I didn't necessarily love.
Hannah Leach:
Yeah. Why/how do you even have the time to do it? I'm actually genuinely curious though.
Audrey Leach:
I don't know. I don't know. I actually don't. I just watch movies a lot. Probably like 15 to 20 a month, something like that. I can literally show you how many I watch per month. It's on my Letterboxd.
Hannah Leach:
I'm sure it's scary, but it makes sense for you to be doing it. So, good for you. And one more thing before we get to the credits, at last, we finally have transcripts for our episodes. So, from here on out, there will be good transcripts on the Evergreen Podcasts website; evergreenpodcasts.com/sleepovercinema. You can find them there.
I may or may not be back logging. I feel like I should. For a long time, it was like a constraint of the network that we didn't have transcripts, but now we do. So, please take advantage of them, if you want to. Audrey, roll the credits.
Audrey Leach:
You can find more from us at evergreenpodcasts.com/sleepover-cinema and keep up with our latest creative projects at toopinkproductions.com. We're on Instagram, Twitter, TikTok and YouTube at Sleepover Cinema. And post a full video version of each episode on YouTube, every Thursday. You can follow me, Audrey, at Audrey Anna Leach on everything.
Hannah Leach:
And you can follow me, Hannah, at Hannah Rae Leach on Instagram and @lanavontrapp on Twitter. You can join our discord at the link in the episode description or on evergreenpodcasts.com.
Audrey Leach:
You can check out our merch at toopinkproductions.com/shop. And if you want a Casetify thing, our code is still active, 15SLEEPOVER.
[Music Playing]
Hannah Leach:
Yes. And if you like the show, just leave us a little review on Apple Podcast or on Spotify or share an episode with a friend. We really appreciate it.
Audrey Leach:
I will Venmo you $30. Just kidding.
Hannah Leach:
That's a lot of dollars. Everyone's going to do it if you say $30.
Audrey Leach:
If you are hearing this, comment a hedgehog emoji on our latest post.
Hannah Leach:
And you'll Venmo them $1?
Audrey Leach:
Yeah, if you write a review.
Hannah Leach:
Okay. Step one, Hedgehog. Step two, review. Step three, you get $1 on Venmo. Works, because I would do that 100% if I was listening.
Audrey Leach:
Yeah. It's really funny.
Hannah Leach:
Like that's pretty good. Maybe we should make sure people hear that.
Okay. Sleepover Cinema is a production of Evergreen Podcasts, produced, edited and engineered by us, Hannah and Audrey Leach. Sleepover Cinema is mixed by none other than Sean Rule-Hoffman, with theme music by the angel, Josh Perelman-Hall. Our executive producer is Michael DeAloia.
Audrey Leach:
Bye.
Hannah Leach:
Happy New Year.
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