"The Universe Needs To Relax" (w/ Cynthia Erivo)

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And now, Las Culturistas.

Drums.

Look, Matt.

There.

Oh, I see.

Wow.

Bowen, look over there.

Wow, is that culture?

Yes.

Oh, my goodness.

Wow.

Las Culturistas.

Ding dong. Las Culturistas calling in our green, as it were.
You know, it is a very present color in all of our lives. And yet, for someone to, I don't know, like, really, I'm not going to say own it.
That's my color now vibes. And I'm not talking about us.
No. I'm talking about someone else.
I'm already. You'll hear about in a sec.
You'll hear from in a sec. I, I'm already sort of basking in the glow of this person.
Cause I'm fresh off. How could you not? How could you not? I mean, this is the first time I'm seeing her in person in a long time.
And I'm fresh off of seeing the film Wicked part one again. Last night there was a a screening.
Talk about this because this was a really, this was not just any screening. No, no.
This was so sublime. It was Broadway friends and family.
So it was so many of the original cast of Wicked, but also all the cast since over the 21 years, 21 years the show has been on around the world. Kristen was there.
Norbert was there. Wow.
So many wonderful, wonderful people. I'm missing so many people.
Carrie St. Louis was there.
I saw that. One of our famed Glindas.
And it was just the warmest crowd. I couldn't believe it.
You know what was also crazy? What? Children of the original cast. Oh, so now it's truly generational.
And see, that's the great thing about this. And I think that it's like hitting everyone right now.
Yeah, yeah. This is meaningful on meaningful because I've also seen the film.
It was a little bit of a different situation. It was a very small screening room.
And I was just telling our guests when I saw it, I was like, are people going to turn up the way I'm going to turn up? Because it was a smaller theater. Yes.
Smaller screen. And I can say that they did.
But it's so, when you're watching the movie, what's so incredible about it, and I don't know why I had to realize this, but I was like, oh, we're also honoring The Wizard of Oz. This is generations of cinema.
This is, The Wizard of Oz is the story. And so Wicked is the story.
And it's just, to watch it land on people like that must have been really,

really,

really monumental.

So monumental.

Oh my God. I can't believe you're here.

I love you so much.

I mean,

just to speak on,

you know,

by the way,

what a huge year for green.

Big year.

Green.

You did that this year.

You really,

you really got your stripes.

And I'm sorry,

remind us what.

Well,

Brat Green.

Oh,

Brat Green,

of course.

Well,

there was famously Brat Green

and now there's Elphaba Green. Green was very

present at the various tennis opens

of the world. 100%, Bo.

You know, golfers... Because of the color

of the grass.

Of the grass. Green is forever.

It's actually rule of culture number six.

Green is forever. Our guest today

is one of

the most brilliant artists of any generation. an Emmy, Grammy, and Tony winner, an Oscar-nominated actress and songwriter.
Just a truly brilliant star who we're here to announce is Elphaba. You heard it here first.
Breaking news. Playing Elphaba in Wicked.
I mean, when you see this, you are going to be truly lifted. I mean, and I don't even say that as a pun.
No, right. Because of the famous lifting that happens.
Not a spoiler. She's also the patron saint of the Kennedy Center at this point.
I have to... If you don't think I'm going to bring up Alfie...
You didn't think. If you didn't think I was going to...
Nothing compares to you. Don't talk to me.
Don't talk to me until I've had my Cynthia. Cynthia.
Okay, everyone, welcome into your ears. Magnificent.
Cynthia Arino. Thank you for having me.
How are you feeling since last night? Well, I'm feeling very, very like floaty. Last night was crazy and amazing.
Many, many things are happening. You were bouncing around all over town.
I was bouncing around all over town. So I started the CFDAs, went back to the screening.
I was hanging out at the screening for a little bit, which was so surreal. I had like an outer body experience.
Yeah. So I was standing at the back of the theater.
First of all, when I walk in and there's all the Elphabas standing there, all the Glindas standing there. And then there's Kristen right in the middle.
And she welcomes me. We have this massive hug.
Kristen is amazing. And I'd already spoken to it, Dina.
So that was like already sort of like a metaphysical thing that was going on. Yeah.
So I felt like, oh, I'm part of this incredible sisterhood, which you know you are. But when you see it in like real life, that sort of becomes an actual core memory.

Yes.

And then we move upstairs and we speak and we start talking about what it means to us.

And as I'm waiting for us to go up, I realized that I'm standing in front of a Broadway family,

one of which I belong to because of my history and the things I've been through and Color Purple and all of that. And I'm like, oh, two things are happening at once.
I'm getting to show this film that is from Broadway to a Broadway family from which I belong. I just had like a massive, not even a meltdown, but like a real realization of the journey that I've been on and what it might mean to them and what it might mean to me.
And it just was, it became so, it was already a big moment, but that became a really huge moment to be a part of. You were enveloped in it.
Yeah. I had to be like, I've got to breathe.
I can't even, I feel like I'm so out of body. It was so insane.
And then because I had to rush back, I really didn't want to leave immediately. So I hung out at the back and watched just like the first 20 minutes of the film with everyone.
And just to see, like hear it, the laughs and the tears that happened immediately. Yeah.
The applause and it just, it was working, you know, you're like, oh yeah, it's playing. It's playing.
My makeup artist was saying, there's this piece in Madonna's Truth or Dare. And when she, they're standing in a circle and they're about to go on show and it's in her hometown and she's shaking.
She goes, it shouldn't matter, but it does matter what they think. Of course.
And I was like, that's the case. It does matter what this legacy, what this room thinks of this piece.
Yeah. And to be in the room whilst they were accepting it and open armed for it was beyond my wildest dreams.
Yeah. How are you managing overall your emotions around this moment? Because it's so...
Sometimes I'm not. That's what I mean.
But how could you, in a way? Do you have time to yourself in the mornings where you actually let things out? Or do your emotions surprise you in moments like that? They surprise me. Sometimes I feel like I'm really in control of what in control of what's going on and I, you know, I can manage everything.
And then the other times they just like spill out. Yeah.
You know, unexpectedly, a little thing will happen and I go, oh my God. Yeah.
We were talking about this before with like John and with Ari. It's like, it's because we kind of put it to the side, we compartmentalize it, we put it in a drawer and now it's all coming back yes these things are popping out of not nowhere but like intermittently because it was something that you sat with for years yes yes and was that your first time watching it in a bigger room last night with an audience wow on a bigger screen with many people yes that is a very different experience to sitting in a thing.
Then like being sent the link. Correct.
It's very different even to, because we, I watched that movie

basically with

... Many people.
Yes. That is a very different experience to sitting in a theater.
Than like being sent the link. Correct.
It's very different. Even to, because we, I watched that movie basically with two other people.
It was me and like my publicist or something. Yeah.
And then we just sat and watched. Or a friend.
And that was it. And I'd been craving to watch it in a theater with other people who had never seen it before, who were just coming to it for the first time.
So to sit, like to watch people react just off the cuff insane it's a completely different energy it's a it's the wildest most energy filled most electric feeling you could imagine it's i can't wait to do it again yes can't wait to do it again do it do it as much as you can because we talking to you as like, to you as someone who's obviously been in films before with theatrical releases, but like, I don't know. This is different though.
It's just different. And also, of course it's different.
But also the thing that I miss about, you know, Matt and I were in a movie once that didn't come out in theaters, but we went to like the premieres and stuff and the screenings and it was like, oh, I'll miss this so much. Just sharing the space with people as they're watching this at the same time.
And to give it the cinematic opportunity that it deserves, because we were talking to Ariana last week on the pod, and one thing that struck me was when you're shooting it, it is you're at work and you're shooting it. So there's the tape.
You know what I mean? There's your mark. There's the guy with the camera.
So then all of a sudden, it can feel easy to slip into, oh, I'm at work.

I'm doing the scene.

You know, I'm talking to my friend.

I'm on my phone when I'm not like here.

And then all of a sudden, you see Oz.

Yes.

And it's all together.

And everything, like all of those miniature things that make it happen, all the stuff that like are semantics go away.

Yes.

And now like the thread is there. Yeah.
And's sewn together. Wow.
We made a big fucking movie. It's insane.
The thing is huge. It's wild.
Yeah. And I keep going back.
Even I was in it. But I go back and I watch and I go, I didn't see that last time.
Oh, my gosh. I didn't notice that that person did that.
I didn't know that I was. Why did my eyes at that point when did he catch that when did i do that i don't remember so you're catching up on all the things that you may have done in the moment that you didn't remember you even did or you didn't remember was there and now all of a sudden you're like oh my god that was that is where i was yeah and that's alpha by.
That is another thing is it's just like, you've contributed such a beautiful, strong, funny, powerful Elphaba. And I wanted to ask specifically about one choice in the film, because this to me was, this really is what blew people back in their chair.
I know what we're going to talk about. So, so much said about Defying Gravity and in that, the last note, right? The gut that you put in that note, that battle cry, that roar, is so different than the way you've approached vocally the rest of the performance the whole time.
Can you talk about that choice and like the collaboration with John on deciding how to make that note that Elphaba 2.0 that launches us into Wicked Part 2? We knew that for her, this was the beginning of her journey, almost like the beginning of what we know will become the Wicked Witch. But it had to be for both of us, the release of everything.
It had to be a role. So I didn't necessarily want to make it pretty.
there has to be like a guttural it has to come from that place that's the beginning of like the rage and and all of that grit so we just were like how what do we want it to sound like for me and each alphabet has their own battle cry each alphabet has their own roar and i spent some time searching for what that felt like, what that could be.

And the moment I did it and tried it, everyone was like, that's it.

Because the rest of Elphaba in part one, the vocal, the quality and the timbre is so clean.

And in a lot of ways, what we know to be like Cynthia Erivo's voice is like, it's just so pure.

And there's like, it's almost like it's's always intimate. You singing I'm Not That Girl is such a beautiful, and you don't really understand when you watch it on stage.
Obviously, we enjoy the song, but when we can be really with you and you're singing it, it actually makes Defying Gravity even more heartbreaking. That's why it's going to be amazing to watch on a second third fourth eighth ninth millionth time is because the arc the journey is it really lands and in that last note like I just can't wait for everyone to see it that said it should have been one movie it's like please let's keep watching after that we need a break the curtain has.
There's no way. There's no way.
I love that people are so passionate and they should have been one movie. I understand, but because we were there and we shot the second movie, there's not a chance.
No. There's no way.
There's no way it could be one movie. There's no way.
There's too much. Yeah.
There's too much. And even, you know, there's something to be said

about part one

running in at a certain time.

Yes.

But it's like,

it moves.

Yeah.

And even then I think,

even last night I was like,

things can breathe even more

if we let them.

Yeah.

Like a lot was cut out.

Yeah.

You know what I mean?

Yeah, yeah.

Like a lot was like,

oh, I guess we're trying to service

the audience experience

by like not making them

sit there for too long.

Yes.

And yet it still came in

at like two hours

and 40 minutes or whatever.

That's it.

Yeah.

I'm going can you imagine we went on to the second no way I was like because you couldn't move on to thank goodness at that point without Defying Gravity Suffering and the's impossible. Without, define gravity suffering and the rest of the movie

after that suffering.

Yeah.

Literally,

the song brings a curtain down.

Everyone has to be like,

I need to go away.

We have to all go away.

Right.

Even a year.

Yeah.

Let me process.

Let me come back.

Let me see it again.

Yes.

You know,

we'll see this.

We'll get back.

We'll get back.

And also what's lovely about

waiting for the second

is that

there is growth

happening

in that time.

So what happens in a year

is like the growth

Thank you. And also what's lovely about waiting for the second is that there is growth happening in that time.
So what happens in a year is like the growth that happens for everyone that comes back the second time around. Time passes between the acts.
And just to speak about like how you don't want to let any moment not have its true expanse. Yeah.
I think one of the most unforgettable moments I've seen in a film in a really long time, to speak on just this one segment, is Dancing Through Life. When you come in and it's the hope and this chance to have a real social moment and the disappointment and the realization that you've been tricked.
Yeah. I just think that that entire sequence,

I could get chills. I mean, I don't think there was

a dry eye. And that just...
If you had

stayed for that last night, you would have

crumbled. Not that you're

not a strong person. What happened?

It's just people...

They lose their faculties. It was

a cacophony of sniffles and

everyone was losing it.

It is a beautiful moment.

And I wanted to ask about

Thank you. They lose to Fakultz.
It was a cacophony of sniffles and everyone was losing it. It is a beautiful moment.
And I wanted to ask about shooting that. Yeah.
Like that must have been so vulnerable and exposing and tough. Yeah.
That was a hard day. And I thought when I was watching and I was like, I wonder where she's at.
It was hard. Yeah.
Because you have to process. I really understand Elphaba's ownership of loneliness and like knowing she feels different, knowing she's not one of everybody else and deeply wanting to, you know, there's a part of us that all wants to be, we all want to be accepted.
Even when we know that we can't or we're different and we're on the outside.

I think that because I understood that,

that's where I'm in my head.

So it's just, you know, funneling all the things,

all the times when I feel alone,

all the times when you want to be accepted,

all the times when you feel like you're on the outside,

all the times when it just,

you just can't connect with everybody.

And it's just that that replays in your head and in your body as well and when you're doing something like that something like that where you are really on your own the loneliness really loud so you just have to process all of that and that's what happened and every time i could it was like the more you do it the deeper you go the deeper you go the deeper you go so by the time I think he got that shot it was like there was like nothing left it was just I couldn't hold anything yeah well my memory of it is that every single setup every single take you gave it a perfectly calibrated, vulnerable, raw thing.

And it was really beautiful to watch and also very difficult.

And I can't, so if it was difficult for me to just even stand by the wayside, like I can't imagine the sort of buckling and all that that you were giving in service to this project.

And like that is, that is I think like the takeaway for everybody for this movie is that like this film is telling this huge universal story, but then for the performer, for Cynthia to be the vessel of Elphaba, this character, like you gave it so, so much. You gave so much of yourself.
And I remember you at the end of that sort of segment of shooting that, turned to everybody and thanked them. And it was and we just all applauded.
And it was just such a beautiful, loving moment of sort of communion because we'd all sort of been through it in a way. Everyone was through it with me.
Yeah. I felt really supported and held.
Like it felt like. Genuine care.
Yeah. It felt like there was the most most amazing energy in the room it felt like you know and there's like a circle of like yeah strength everyone we all have to do what we have to do but actually in the core of everyone's heart i could feel like energy just hold the circle keep the energy keep the space and there was such respect for what was going on and what needed

to happen. No one was too loud.
No, it was all like quiet when it needs to be quiet and space when there needs to be space. And I felt so loved.
So taken care of during that, that to have finished without saying thank you would have been impossible because I knew that it's hard enough for me to play the person who is alone and going through that but I think it it's just as hard to play anyone who has to reject someone who is that as well because also I was aware that so many people on that set are versions of Elphaba uh-huh you know yeah we're all the queer kids who are out you know and who are pushed on the outside so everyone in that room is sort of watching a version of themselves in this moment i just like that's something that came to me when i had finished i looked around i was like we all understand this yeah and so to have to play the people who are rejecting it must also be deeply difficult to deal with. It's a very hard thing to also sit in that emotion of guilt and shame that you have allowed someone to feel this way, which is why it's such a moment for Glinda as well.
You know what I mean? It's like that is the scene that solidifies the relationship because it is both of you confronting the way you really feel. And then it launches into popular, which is so joyful and so expressive and colorful, but it's just so successful.
Thank you. Two things.
Yes. Thank you for acknowledging, even though it's a fraction of what you had to go through on a performance level, like there was something I remember like in the circle where between takes, like we would just turn to each other and be like, it feels really bad for us to like snicker and laugh at this person and we had to do that take after take and then I remember coming up to you a bunch of me and like how are you doing I'm so sorry I was like it feels so unnatural for me a gay man to bully Cynthia Erivo I'm like this is so wrong and then the second thing which is what Matt's saying like launching into popular I I remember John turned to me last night and was just like, this is so wrong.
And then the second thing, which is what Matt's saying, like, launching into popular,

I remember John turned to me last night and was just

like, it's so great how the

audience is immediately in love with Glinda

and Elphaba as friends. The second

Dancing in Life is done.

And that's just, it just comes from that moment.

You know? It's lovely. I love

my favorite part of that

scene in between Dancing

Through Life, the Ozdust, and

Popular, the scene that we have in the

bedroom. I think it's just such a tender, sweet scene.
Ari and I were saying that the two of them are so awkward. They're like figuring it out.
Yeah. How do we hang out? How do we hang out? Like, Uphaba's never been at a sleepover before.
So she's like kind of awkward and not really like, doesn't really know what to and glinda's i think also equally awkward like how do i hang out with this person and how do i share the space and they're sort of figuring it out the way they like undulate and figure it out together and then finally like land on the floor and then it's you know it's tomorrow it's tomorrow i just love how they find their way to that yeah popular happens i think it's

that's the the journey for them they find each other yeah and you know for elphaba to give that

sort of um she confides in it's sort of like i trust you i'm going to trust you with this

thing that i don't think i don't think elphaba's told anyone that story to be honest i think it's

the first time she's voiced it and i think there's just a really wonderful moment of them deciding

Thank you. I don't think Elphaba's told anyone that story, to be honest.
I think it's the first time she's voiced it. And I think there's just a really wonderful moment of them deciding to trust each other.
To speak on the collaboration between you and Ariana, so I would imagine you get this part, and do you find out pretty immediately that the role will be played by Ariana Grande? Soon after. I don't think I found out on the call, but I think I found out soon after,

maybe like a day after,

and they let me know what was going on.

And I was like, oh, that makes sense.

Yeah.

So is it that like, you know, you're up for it.

And do you hear who's up for the other thing? No, I said, don't tell me a damn thing.

Don't tell me anything.

Don't tell me anything.

I didn't want to know.

I don't want to know who was going up for it.

I didn't want to even know until they needed me to come in. I said, give me no information.
Give me nothing. I don't want to know.
I don't want to know who was going up for it. I didn't want to even know until they needed me to come in.
I said, give me no information. Give me nothing.
I don't want to know. Tell me if they actually want me to come in.
That's all I want to know. And they didn't.
I said, I don't care who's going in. I don't want to know.
When and if they want me, then I will know. Yes.
That's all all I wanted meaning the audition are actually playing the role

the audition

so this is wild to me

that Cynthia Arriva

would have to audition

for anything

just because it's like

well clearly

we know

this is going to be brilliant

but you do have to audition

and when you do

do you sing

Defying Gravity

yes

wow

you sing Defying Gravity

you sing The Wizard and I

you sing For Good

you do a bunch of scenes

but they were really

really respectful

Well, I have. And that was the one and only thing I came in do I think they were deeply deeply respectful I think John had teed it up for me to it was mine to lose I felt like he gave me the most amazing platform to come in and do my work and then let it be and I think that's probably why but I love that I got the chance to come in and show how much I wanted it and show how much it meant to me and I was prepared to come in a couple times if they needed me to because I think the role deserves that right yeah I think the role needs it it's not enough to want to come in because can sing.
It's not enough to come in because you can act. I think there are layers that he was looking for.
And I remember when he said the thing that swung it for him was the way I did The Wizard and I. He said there was like a vulnerability that I hadn't seen in the other roles.
Like a youthful, hopeful energy that the other roles don't permit, don't give you the chance to do. Harriet does not give you the chance to do that.
Right. And because there's so much more depth, it's like deep and hard and, you know.
Resilient. Resilient.
Yeah. And Belle, who is in Widows, doesn't, it's not that.
Oh, you were fantastic in Widows. But it's a different energy.
Yeah, so in a way, this is really showing a totally new side of you. Yeah.
And so I think he wanted to see the wide-eyed openness that I have, but I don't necessarily get the chance to share. And the wizard and I gave that energy to Yeah.
So I was just, I think I was lucky that he allowed me to express that and show it. Yeah.
Yeah. And also what it takes to hold the responsibility of playing something so iconic is something that you've done several times.
I was thinking about, you know, your, like, you know, Harriet, like Aretha Franklin, Sealy. You know, I mean, like these come with scrutiny, yes, but also responsibility and history.
So I was wondering because this seems like a pattern does that excite you or is this like happenstance that these happen to be like these iconic things or do you find that you're like yeah that thing that everyone's gonna watch examine i'm not afraid of that i want to run to that are you running to these things i think by accident i'm running to them because i'm not necessarily running to them because i know that people are watching or inspecting them i think i'm running to them because they're the most interesting people to play. The ones who have like depth and history and there's complexity in it all the way around.
I just think they're interesting characters. First and foremost, they're people who have wants and needs and maybe there are parts of them that maybe haven't been discovered and I want to like open them up even more and play and learn them even more.
I think I'm intrigued by that. And then then the layer of like, oh, but also so many people know about this person and so many people are invested in this person.
And projecting onto that person. Real or fictional.
Yes. Yes.
How much of, I would say like the initial gut level Elphaba in the audition, do you think was retained by the final product? I think maybe about 60%. Wow.
And I learned a lot when I was there. Yeah.
Yeah. You know what I love? I've heard you talk about how a lot of roles you approach, you start with the walk and i love how you how you kind of the opening shots of elphaba are of her walk yeah you literally start on the close-up of the shoes yeah the feet yeah as she sets foot on shiz and i think from those immediately you understand that your take on elphaba is really new and beautiful it's like she's not like drab or like awkward or uncomfortable.
She's very self-assured. She's there to like support her sister.
And in that first monologue where we're all like gawking at you like, oh my God, who's she? You're like, okay. Like, in a way, like and I love and celebrate, like as we're talking about the Alphabet of yore, it's like there's such a wonderful blueprint of how this has been.
And for you to like honor that and also sort of divert is really special. And I feel like that must have come from like your experience with playing all these very...
Yeah, different women. Yeah.
Ambitious women. And it was, you know, it's like, it's not on purpose to be like, I'm going to change everything now.
No, I just, once I put her shoes on and I think because of my own understanding and everyone has a different understanding of what it is to be different and what it feels like to be sort of like on the outside i just thought to myself she's been in the skin for her her whole life it's not new for her people staring at her it's not new for her people having a weird like reaction to her not new for her. People having a weird reaction to her, not new.
Her needing to be the support for her sister, not new. Her getting yelled at by her father, not new.
It's like, this is all stuff that she's been through already and it's in her skin, in her DNA. It's the assignment of her life to deal with this bullshit.
So the choice is, I'm either gonna be mad my whole life or I'm gonna get to the joke before everybody else does.

Right.

And if I can get to the joke before everyone else does, and it is a form of defense.

If I get there before everybody else, then I can't be hurt.

They're already behind.

Yeah.

So.

Okay.

Yeah.

Yeah.

Uh huh.

I'm not this.

I'm not that.

You can't call me weird if I'm this. If I already say it myself.
Exactly. I know.
I know huh I'm not this I'm not that you can't call me weird if I'm this if I already say it myself exactly I know I know what I'm in I know what I look like I know what I'm where I've been and I know what you're thinking right like my one of my favorite lines when you first meet her is here's my sister and she's a perfectly acceptable color like because no one else says oh this is we don't She already knows. She knows what that's what everyone's thinking.

Right.

And it's like she said it.

It's like, oh, here we go.

You know, totally.

And I think that's how she functions.

Is that a defense mechanism that you relate to?

Yes.

Yeah.

You get there first.

Always get there first.

Get there first.

It's a queer thing.

It's a queer thing.

And like it works on some level until it doesn't.

Exactly.

Until you're at the Oz desk. Right.
It's just self-defense until you're building a weapon. Yeah.
Oh my gosh. CharlieXCX.
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I'm not going to spoil something, but there was a moment at a very critical juncture of this film where there's like an inner child healing moment. Yes, yeah.
And it is executed. So every emotional beat of this movie lands, which is not to say that the rest of the movie like doesn't work on any level.
It's just the underpinnings of this movie are purely emotional. And that's like a testament to you.
And this moment of like the inner child. Yes.
For a long time, I kind of rolled my eyes at that concept. Oh, wow.
Oh, you have to like, what is like energy? Like, right. I talked to like my, the young version of myself.
I roll something about this movie really like cracked me the fuck open with that concept. You know what I mean? Yeah.
And it's like what you're saying with like, oh, Alpha Book. We all kind of grow up with these.
Yeah. It's because you don't think that because throughout the movie, the inner child is not on the outside.
Yeah. And I think that's actually how most of us function.
Like we don't realize that we're all healing like deep seated wounds that are on the children that we were. But it's never usually it's not obvious we don't know and i don't even think she knows until she knows until she knows you know she remembers certain things and there are things that we like that she keeps to herself and it shows up in like flickers and when she gets yelled at by her father it's like an immediate sort of like call to what has been and but she doesn't there's no real acknowledgement until she has to acknowledge that that's what she's running away from.
And that's what she has to move towards. Yeah.
Oh my God. As you were sitting here, it's just so funny because I had a moment where I started to get a little emotional because I'm remembering, and this is a little bit of a left turn.
But when you performed I'm Here on the Tony Awards, that was, I believe it was a couple days or maybe the day after Pulse. And I just remember how much that meant to me and to so many people.
It felt like you were putting a warm blanket over everyone. So I guess just, like, thank you for gift of that performance, like retroactively now years later, but also in terms of like being given these opportunities to give these live performances, because we mentioned Alfie earlier, you know, nothing compares.
It's another opportunity that is very high stress that you seem to be running towards. And I would, I guess, ask.
She's a runner. She runs.
We saw those. But like, again, those opportunities, which will probably come forever.
Yeah. Do they excite you? How are you feeling in the moments of receiving offers to do things like that, receiving calls to do things like that, and the moment of doing things like that? When it comes to, as a singer, I do go towards them.
Yeah. Because I feel like if I wasn't meant to, they wouldn't come my way.
And I think there are moments of great responsibility to connect with people. I know people say that actors, we're not saving lives.
But I think that there is an aspect of maybe we can heal a couple of people. Singing is different.
Music is different. We can crack people open.
We can like connect. we can heal a couple of people singing is different music is different you know we can crack people open we can like connect we can help you connect with things that you might not have thought of we can help you heal a little thing and think of something and i feel like that's my duty that's my work yeah that's the grander design of the gift that i've been given to sing so when opportunities like that come singing at singing at the Kennedy Center, of course, I'm going to stand there and give Dionne Warwick her flowers.
Of course, I'm going to share with her the moment that I really fell in love with her. The fact that her voice is the seminal voice for Alfie, for me.
You know, I want to connect with her on that. You know, of course, I course I'm gonna sing I think there was a performance of I'm here that I had to do after like the last crazy election that we had to do and people were like in tears I knew that I had to go to work to be like hey we're okay and I was asked to sing imagine at the GLAAD Awards after Pulse in dedication to.
Of course, I'm going to come in and sing that because we're going to be OK. Do you feel that way? I do.
I do. I really believe that that is my work.
And to validate people's feelings, the feelings that we have through music. I really think that there is a bigger purpose at hand when you have a voice, when you can use music to connect with people.
It's not enough to just sing a song. What is the point? Yeah.
But if you can use music and tune and notes and lyric to connect,

to validate a person's feelings, to send them off and feeling better, to tell them that we'll move through this. It's going to be OK that this is a gateway to healing.
I'm happy to do that. I'll do it.
Yeah, it's funny because your performance of Alfie, like I always knew the song. Yeah.
You know what I mean? But it was like I was hearing it for the first time. And it was so funny because like I had gone through a situation with someone and didn't realize that that song was speaking to that experience.
Right. And it actually empowered me because it's like I know what love really is.
Right. You know what I mean? And it's twofold.
It's you expressing and telling that story, but also honoring her. And I wonder, like, did you have a conversation with Ms.
Warwick afterwards? Yes. Yeah.
She's very happy. Good.
She's tough. She's tough.
But she was happy. Good.
She was happy. She said, no, you didn't need to sing it like that.
I was like, well, be careful now. I was like, thank you.
Thank you very much. Major moment.
Thank you. Yeah, she was happy.
And they could see her up in the box and she was like, the Clementine, you know, tearful. And I was like, okay, I'm doing.
The thing of them watching you in that type of arena too is so wild. It's insane.
Yeah. The Kennedy Center is something that is so grand.
It's one of those, you have to figure out how to fill the room. Yeah.
And for me, I have to fill the room standing in one spot. That's what I do.
I stand and sing. And so every detail for me is like, what's the dress? That's not the right one.
We need this. And what's the orchestration? We need this orchestration.
No, we're not going to, if we rush this and we make this two beats too fast, it's not going to, it won't land the way we need breath. We need space.
And I had spoken to the orchestrator, Lenny, who is amazing. I said, do not, do not start this until I am set at the mic and I take a breath.
We have to reset. I need a reset before we begin.
And he didn't because the production wanted me to, they wanted the music to start before I. Because they wanted to move.
They're thinking this is a lot of programming. Don't you dare.
Don't you dare. You wait.
It's a hospitality principle. It's like you have to be unreasonable about the way you make people feel.
Yes. And that is, that is what you are doing.

And I loved this interview that you and Renee Rapp had at Electrically.

I love that.

You guys are relating about being Capricorns.

Like this is,

I think,

is this part of Capricorn identity?

Like having this sort of vision,

having the conviction to tell yourself,

like,

this is what my charge is.

Yes.

This is the charge.

This is the job.

This is how I'm going to do it.

Very clear about that. Yeah.
Cause this thing of you guys talking about how like you need to believe, it sounds, and I'm just saying, rolling my eyes at myself at this. It's like, I always didn't really quite believe the idea of like, you got to believe in yourself or else nobody else will.
It's like, but then like, it doesn't make any sense any other way. Yeah.
You know what I mean? It has to, that has to be the sequence of things in order for you to like do what you guys do. Yes.
Yeah. Because there are literally times where only you believe the thing that is going to happen and there's no one else.
But why should anyone else believe if you don't? Like why? Why? There's no reason to. But if you know and have a clarity about what it is you're meant to do and what you're, and how you're meant to do it, then it's easy for someone else to see it.
Right. Because you can see it.
Yeah. You talk about getting involved with the Color Purple in a sort of, not lo-fi, but like not necessarily a production in England that seemed like it was going to do what it did.
Would you consider that to be the biggest risk you've taken is like really going for that role on that scale?

I don't think it was a risk at all.

I was so sure that I was meant to be doing it.

I was so sure.

And it could have been in, I don't know,

someone's front room.

Size of the stage did not matter.

Did not matter.

I just knew if it was coming, I was meant to do it.

Yeah.

I was so clear about it. There was not one part of me that was like, well, risky I don't know what I'm gonna do I was nope I was so sure about it yeah you were on Tourist Distract you heard that it was it was like they were seeing people for it yes I said I want to play the role dang I'm gonna be doing that yeah and everyone else was like but are you sure like what if they ask you to do like the first cover? I was like, no, no, no.

I want to play the role.

I know that the role is what I'm supposed to be doing.

And the first cover is amazing.

But this is the role.

But I will get there.

The role I want.

I'm so sure about it.

This is what I want.

Yeah.

You have to be like that, I guess.

What is that?

Is that intellectual, emotional?

Like, where does that move?

I think it's both.

I think it's like a, in the first instant, it was like a guttural emotional knowledge yes then it became how am I gonna do this how am I gonna do it yes yes I love this yeah so much oh my god so much of my life is like this no but this is like look where it's gotten you I know yeah you know like the emotion is there and like the feeling is there and then task. Yeah.
How do we do this? It's not holding you back in any way. So like, what's wrong with that? True.
You know? Yeah. How do you unwind? What do you do to like chill? I need a sleepy time tea.
Yes. And I love a tea.
I will carry a tea with me everywhere I go. But it's bedtime.
I get, you know, I get myself in my PJs. I like a particular PJ.
Like I will wear an outfit to bed. You know, I love to dress.
It's a look. Great French European thing.
Yeah. I have to dress for me.
My perfume. I get ready.
Nighttime routine. Full nighttime routine.
Skin care, the whole thing. Yeah, okay.
Then I will like get cozy. I'll put on a movie or a TV show.
Yeah. Before bed.
And then I then I'll journal And then sleep That's my thing Do you watch comedies Or do you like I'm like comedies Or like Light dramas Light dramas Nothing crazy Nothing crazy I can't You know people who watch Like 60 minutes Before bed Or like the first 24 hours 48 hours I don't know how you do it No It's too much for me I don. I don't want to watch that.
Of course. Daytime for me.
Yeah. If I'm watching those things.
But for me, it's nighttime, like something like light fair. Yeah.
Right. Fun, something that lifts.
And then to bed. To bed.
And then up at what, 5 a.m.? Sometimes. Uh-huh.
Between 5 and 7. To run.
To run, to walk, to Pilates, whatever. Uh-huh.
I have to do something. You and Michelle Yeoh every day on set on production of Wicked, just the most godly people, both of you getting up, doing your runs, doing your workouts.
I'm like, I need to get my shit together. I was so in awe.
But there was no other way to do this role. You think so? I just I I couldn't, I needed, I needed the physical movement.
Yes. Not just for like the actual physicality of it, but for the emotion of it all.
I needed to be physical because I needed to make sure my body was ready for the, like the flight work. Right.
All that harness work doesn't work if you haven't got your core together, if you haven't got your body together. It really does have to get ready for what kind of onslaught you get

when you're in a harness and flies. For a battle.
And singing. Yeah.
I have a question and I think we can talk about this. So we basically had 12 days left of shooting and then sag strike happened.
And I will say that the way things were segmented, Defying Gravity was the last thing. So I'm thinking, wow, Cynthia is holding on to this and considering this.
And it's all leading up to this thing that is going to be talked about and will be very difficult to pull up. And it's a collaborative thing with you and with John and with everybody.
And then the strike happens.

Yes.

Wild, wild sort of like stoppage.

You're not disruptive.

Like at the bridge and then you don't cross.

Exactly.

What was that like for you?

What was it like to go back to it?

At first it started off like torture.

Like, cause I was, I felt like I was ready.

Yeah.

Cause we had gotten right there and I was like, okay, we're ready.

I'm ready.

Like I'm game fit.

I'm good to do this.

I think that's a good question. like torture like because i was i felt like i was ready yeah because we had gotten right there and i was like okay we're ready i'm ready like i'm game fit i'm good to do this and then i had to accept we weren't coming back quickly but you don't let go of they don't go anywhere the character's sort of like sitting in you sort of like so i'm still like getting my body ready working out working like i'm still on set but not on set so i'm like doing all those things trying to like feed my body making sure working out, working like I'm still on set, but not on set.
So I'm like doing all those things, trying to like feed my body, making sure that I'm working out the way I need to work out, making sure that I'm keeping my voice the way I need it to be and like checking in and, but also having to let it go just a little bit so that I don't drive myself insane because it's still there and I'm still waiting. And also there's like the anticipation of having to do it.
It never really left until we get, until we come back. And when I come back, I was like ready.
Yeah. Ready to do it, you know? And then I get ill.
Oh, I forgot about this. What happened? Just the worst kind of flu you could possibly have.
Oh, no. I mean, my skin was hurting.
What? It was horrible. The day after my birthday.
I was in on my birthday, rehearsing and training for flying. The next day, totaled.
Totaled. I remember I had wrapped and then I came back to New York.
And then they were like, Cynthia suck. I was like, God, let this woman live.
She can't know peace. Let this like Cynthia's sick I was like God this let this woman live

she can't know peace

let this woman know peace

I was

I was

and when I say you

I was so sick

like running a fever

the fever would break

then the fever would

come back again

concerning sick

yeah

I was like

demoralizing

when is this gonna stop

yeah

it just went on

for like a week

a whole week

week and a half

I was done

down

Thank you. Yeah.
I was like, I don't know. Demoralizing.
When is this going to stop? Yeah. It just went on for like a week, a whole week, week and a half.
I was done. Down.
So I was like, okay, when are we going to do this? Right. Because at this point, I'm annoyed with myself.
I'm like, why is this happening now? Yeah. I mean, is there something in retrospect now where you're like, God, it was like one last mountain to scale or something? Yeah, I think so.
I think it's weird. I think the universe was forcing me to earn it, really earn it.
So when I really got there, I was like... The universe needs to relax.
I know, but she's always doing the most. Always doing the most.
Always making me earn shit. Leave me alone for a second, please.
Because I'm always working, bitch. Yes.
But like, it really was that last sort of like, let's see. Do you really want to do this? It really felt like that.
And so when we got here, I was like, right. Right.
Let's go. Let's do this.
Yeah. You fucking earned it.
Thank you. That's all we can say.
Thank you. But God is this is what I'm telling people this is my little press quote my favorite last 10 minutes of a film in cinema history it's epic thank you and I will say yes people know the story like I think watching again last night I was like oh my god Cynthia is so dialed in every single frame of the levels of betrayal that are sitting in in that moment when you find out what you were brought to do yeah i was like every moment of this when

you walk to the grimmery when you take it with you when you run away i'm like it's all perfect

it's all perfect cynthia and john just let me go he just was like here's where you're moving to

yep just go we'll go. We'll follow you.
We'll follow you. Everybody has been there.
Traffic was a nightmare. You got home late and your dinner plans are out the window when you hear the inevitable tiny voice saying, I'm hungry.
That's when dinner dread sets in. What are you going to make tonight? How can such a simple question be so hard to answer? Well, it doesn't have to be.
Because a delicious, family-pleasing meal from Stouffer's is only a ding away. So, if your dinner plans are derailed, don't worry.
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Especially you. Especially me.
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Sp spaghetti with meat sauce is always a winner, or how about some cheesy

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the creators of Will & Grace, executive producer

Ryan Murphy, and director James Burroughs.

When three best friends move in together,

Palm Springs will never be the same.

Bunny, Jerry, and Arthur are already close friends, but when they decide to live together, it's a new chapter with a new family. And speaking of family, don't forget Bunny's mom, Sybil, who's along for the ride.
Whether it's a trip to Fire Island or a local congresswoman with a wild side, these roomies know how to do it with style. They're fun, they're fabulous, and they're turning life's lemons into spiked lemonade.
So shake up a batch of cocktails, relax by the pool, and get ready for some serious shade. A new comedy with heart, soul, and sass, Mid-Century Modern stars Nathan Laid, Matt Bomer, Nathan Lee Graham, and Linda Lavin.
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Hey, readers. It is so thrilling to tell you about a new podcast from the iconic, the incomparable Michelle Obama and her big brother, Craig, called IMO.
You know, on Lost Culture Recess, we dive deep into the culture and get real with our guests. Likewise, on IMO, Michelle, Craig, and their guests tackle questions from listeners just like you, offering practical advice, personal storytelling, and plenty of laughs.
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What did it feel? Can you ask what it felt like when it was a picture wrap? I crumbled because it was the last one out. And I can't even describe the feeling because it was you know when the only time i felt similar was the last show for the color purple where you're carrying something for a really long time and like happy to carry it like it's the best possible way you could you can hold and you're like this is i'm carrying it's part of me yeah and then that you hear it's closed or that wrap and it's like someone takes the weight from you and puts it down yeah it was like putting a piece of myself down for a bit.
And it was so quiet, that last shot.

Because we'd finished shooting Defying Gravity

and they had like just one little incidental to shoot left.

And it was just like me lifting flowers in a hall or something.

And I just was like, it was so quiet.

And it felt right for it to be quiet.

Yeah.

Do you think in those moments, because it's alphabet, because it's Sealy,

the reason why it means so much is because you're genuinely saying goodbye

I don't know. to be quiet.
Yeah. Do you think in those moments, because it's alphabet and because it's silly,

the reason why it means so much

is because you're genuinely

saying goodbye to that character?

I would imagine that silly

is not something you'll revisit.

No.

Yeah.

And literally not like,

probably not alphabet

unless it's for like

a Universal Studios ride.

You know what I mean?

Not to bring that up,

but it's like,

and that will be, that will be its own moment. It's like saying bye to really close friends.
Yeah. Yeah.
So I would imagine like these things that they have impact, but really it's like because it's personal, that's what it is. It's like, it's grief.
It's like taking care of a person for a really long time. Yeah.
Yeah. Yeah.
It's grief. I cried for like hours after that.

Yeah.

I couldn't like get rid of the feeling.

And the day after was so weird.

I just didn't even know what to do with myself.

Yeah.

How could you not?

And it has probably nothing to do with, oh, this moment, maybe I could have done this,

that it's genuinely, it's like a human relationship.

Yeah.

Yeah.

Yeah.

Like taking the green off for the first time was the right last time. Wow.
Yeah. Like, oh, I'm not doing this again.
Yeah. Yeah.
And you probably get used to that in some regard with theater, you know, because that's the thing about being in this business that I think is one of the things that takes at least me by surprise. And I would imagine everyone is, oh, I come in here and I make really great relationships and then they do end.
You know, you maintain those people in your life. Like you'll always be friends with so-and-so and you'll always have that memory, but you don't go to work again like everyone else does.
No, no, no. And so it's not just those people.
It's that person you play when you put so much into it.

Yeah.

I guess for Elphaba particularly,

because she's such a transformation,

because I do spend like three hours

getting her together in the morning.

Right.

You know, she doesn't,

like you have to care to put her together.

Yes.

And then she appears.

Yeah.

You know, it really was like,

oh, I'm letting someone go.

Like I'm never going to see this person again.

Yeah.

It's not like, you know,

Thank you. And then she appears, you know.
It really was like, oh, I'm letting someone go. Like, I'm never going to see this person again.
It's not like, you know, Celie's wonderful, but she had my face, you know. I didn't have to really put her on.
You put her on, but it's like a wig and an outfit. Elphaba was a complete transformation.
I disappeared when Elphaba came into the room. It was a beautiful construction.
Like a craft, like a work of crafts person. The amount of work that went to putting her together.
The people that, you know, the relationships you make with those people who are with you for two and a half hours before anyone else sees you in the morning at the crack of dawn. And then at the end of the night, they helped sweetly take her off again.
And you put to bed. But this last time, that was the last time.
Because she existed for a while. And now she does exist, but like in that way.
But yeah, I understand what you're saying. Fascinating.
We have to ask you the central question of our podcast. Yes.
So do you want to pose the question? Yes question yes Cynthia Reva what is the culture that made you say culture is for me the formative kind of cultural thing that made you who you are the cultural thing that made me who I I guess music the culture of music yes because there is a culture of it I think that's the thing that I actually think is the first language I learned. I think it's the first thing I understood.
My mom says that I was singing when I was two. Wow.
And I was putting words together, but like you're still figuring out sentence structure when you're two. But I knew.
Communicating and music made more sense. You knew tune.
Oh, interesting. Yeah.
Wow. That's i think made me very much who i am and then would you say there was like a moment of understanding on a technique or a technical level what it was i think when i was about 11 i really understood it i knew i could make the sound when i was about five and between five and the age of like 10 i was sort of playing around with singing a little bit singing with friends but when I was 11 I realized oh there's something I can do with this there's a way I can use my voice and change the way things sound and mess around with things like that's when I started to have a real technical understanding of what it was yes so I think that's that becomes really obvious, like as you get older as an artist is that there's singing and there's performance and then there's being a recording artist.
And those two things are so different. But what you just said about like creating sound and using your voice in different ways is something that there is so much opportunity and with recorded music.
So I know that you are working on a new project and that you worked with ariana to do that yeah so what basically what happened was i've recorded an album before and the experience

was not necessarily the experience that i wanted for myself and it it just was checkered with a

whole bunch of stuff that wasn't right for me and she and i had like a really sweet heart to heart

i sat down and i talked to her about my experiences and what's going on she was like well it's because

I think it's because I had really interesting relationships with managers that just didn't really understand. And it got a little toxic from time to time.
And she was like, well, that's because you don't need a manager, Cynthia. It's because you already know what you want.
What you need is a good label. What you need is a good team.
Producer team producer and yeah and that's those you need people who understand your idea and who can help you execute the idea and so we started talking and it just so happens that we're under the same label but it's a different conglomerate yeah different imprint so she introduced me to her imprint and i started having conversations and now i'm under a joint venture. So it meant that I had the care from the people that I wanted the care from before and then new care from a team that was ready and raring to go.
And that really understood the story I wanted to tell. Yeah.
And so I've been I've finished writing now. Yeah.
The songs are written. They're like five seconds away from being fully ready.
And whilst I was writing, I was sending it to her, having her listen to it, sending it back and forth, getting her opinion on it. She's heard the whole thing.
Incredible resource in terms of recorded music. It's been amazing.
Yeah. It's been like to be able to get her ear on things because I trust her ear implicitly has been really, really monumental.

And now I'm kind of ready.

So we're putting it,

finishing touches and getting it all done

and by hopefully next year

you'll have it.

Wow.

What is it giving?

I'm trying to figure out

a cool way to ask that.

People always ask like,

what's the genre?

Yeah.

I think there are several genres just because of who I am and my upbringing in music. My inspirations can come from anywhere, from Enya to Aretha Franklin.
So there's a lot of different mixes in between. So there's things that ended up being country, but I didn't mean them to sound like country.
And there are pieces that are very R&B because that's what I'm raised raised on and there are pieces that feel sort of like a little left field it's a very eclectic album but the through line is vocal padding so i've used my vocal my voice as an instrument so you'll hear each song has its own vocal pattern vocal rhythm very specific to the song that just what happened. And so each song starts with the

voice first. And then we had instruments afterwards.
A lot of what we composed and what we made started with the voice. And it's because my A&R, who's now the president of Republic, Wendy, who is amazing.
She said, do you know about Enya? And I knew exactly what she meant immediately. And there is a song on Enya's album that is the basis for Ready or Not, Fuji's Ready or Not.
Yes. And the moment she...
That, exactly. And I was like, oh.
Yeah. I understand.
Wow. Yeah.
That the idea that you can put two different things together, make them collide, and they make this one special thing. I just loved that idea.
Because both those pieces, both the Enya piece and the Fuji's piece, are vocal forward. Yes.
Yes. So I was like.
Unforgettable. That I can do.
Yeah. That I understand.
That's cool. She's like, your voice is an instrument, so just use it that way.
Because if you don't mind me saying, like you can do like the Enya padding on let's say Ready or Not and then also give the Lauryn Hill. Exactly.
Yeah. That's really exciting for you to find that.
Yeah. It's also really interesting because Ariana has her thing with Image and Heat.
Right. And so that's like almost like another way that you guys can speak to each other.
Yeah. Wow.
Yeah, yeah. I love the Vanity Fair piece that friend wrote yes he's the best right the best sweetheart wonderful and i loved how he wrote that it just it was i was so touched and moved that that's what he he really got us yeah he got you guys i read it i just felt you guys through yeah the piece and i mean it ends on you in this really beautiful way and um it just made me and i texted you right is so I'm crying this is so perfect I love it very proud of that so the album will be next album's next yeah and then is there it's crazy to even think like after you do something like Elphaba obviously there's going to be years and decades more but what do you want to do next like what's the next what are you running to next I know exactly what I want to do next, but I don't know if I can say it because I don't want to, like, jinx myself and get myself into trouble.
You can tell us after. I'll tell you after.
But I know what I want to do next. But on top of which, my production company is working on a series right now, and that seems to be going quite well.
Oh, good. It looks like it might be greenlit very soon.
We're, like, in the doing that. So that would be my project and that might come to TV soon.
But I want to just I loved how big and explorative this particular piece was. I want to do that more.
I want to just be adventurous with it. And there's a play called Prima Fasci.
Of course. And we're turning it into a movie and you're doing the film we're doing the film oh I saw it with Jodi I mean it's just it's it's a great piece of work and we've been we've been through the mill with it because we were supposed to have it we were supposed to have shot it last year the strike and then we lost some of the funding but I think we're okay and we're coming back together and I think we're getting a funding now.
It's in pre-production. Oh, no, no.
The funding's still coming. Funding's still coming up.
But I think we've found it now. Yes, yes.
So I think we can start pre-production. That is really exciting.
That is a tour de force. That is a tall order.
That is you running to it again. Yeah, it's running into it again.
Running into the fire again. Yes, yes, yes.
But I think the more these characters turn up that desire something that need their voices to be heard that like feel powerful and not in the the stereotypical sense of the world but like have a power in them i i'm there that's what i want to do yeah wow yeah one final thing yes I was reading Middlemarch

on set

oh yeah

and I remember you got a copy

I do have a copy

I haven't read it yet

I haven't finished it either

I was going to ask you

if you finished it

I haven't read it yet

it's a big one

yeah

George Eliot

huge book

but it's supposed to be

amazing

okay

well I'm going into it

I'm going to get into it

yeah

when do you have the time

well actually what I want to do

is take like a couple series

on tour with me

and see how I can like

move through so Middlemarch I might take with me as well could be good I still have to finish A Little Life I am a person who is a person who is a person who is a person who is a person who is a person who is a person who is a person who is a person who is a person who is a's going to be good. And I have to just suck it up.
And pick it up and just read. You have to be in the right environment.
I remember I tried to read it on a plane and I started to have an anxiety attack. I was like, this is not, I can't do this on a plane.
No, no. It was, because it's kind of rough and tumble like from the jump.
Oh. And then it gets way worse but like, yeah, Hanya, she doesn't mess around.
No, she doesn't. No.
No way. She does not mess around.
No, no, no, no. Are you ready for the tour? Yes.
Very much so much so. I think it's going to be absolutely manic and crazy and wild.
But I'm okay with that. But so fun.
Yeah. Are the looks picked out? The looks are picked out.
Okay. That must be such a fun...
At least the carpets for the premieres are definitely picked out. And we're like fine-tuning things.
But we're picking all the things in between. We're trying to make sure that we're considered for everything.
Yeah. And so, like, the green of it all.
Yes. Did you have a good relationship with that color before this? It's actually my favorite color.
Perfect. Which is the strangest, craziest thing.
That is my favorite color. No problem.
And now people think I'm just wearing it for this and I'm not. I had a lot of green in my closet already.
Yes, yes, yes. This is just an opportunity to get more.
Thank you for, quote, using this on us. This is nuts.
This is beautiful. I'm really proud of this.
I found this in a Paris vintage shop. And it is an original Gianni Versace.
Yeah, that is just amazing. Which is hard to find.
Really special. Last night at CFDA, you did black though, right? I did.
The hood. It was beautiful.
You were giving everything. Thank you.
It was kind of nice to like step out of it for a second and just have your isolated CFDA fashion moment. It was nice.
Yeah. Yes, yes, yes.
It was. I had my little touch of green on my neck and that was, no, just the touch.
Just the touch. Yeah.
Just the touch. I love that dress.
I loved it. It made me feel so good.
Who made that dress? Zach Pozen. Well, it's like Gap by Zach Pozen.
He'll say Gap Studios. Yeah.
Sure, sure studios yeah sure sure but he has now he is an atelier with gap now and he's doing that's what he did you have a great relationship with zach posen right yeah when i when i came to new york i like nobody knew who i was and i have a stylist but this thing color purple was really taking off and i was like well i have all these events to go to and i have nothing with me i have my clothes but they're not it's not right for these very special events so i went to his studio and he i fit for like a dress but he sent me away with like nine yeah and separates and things i could throw on if i needed like you know he just really took care of me and has done ever since yeah he's just a sweetheart it's an incredibly fun part of it for an artist too like that because it's more storytelling which i don't think people realize on the outside is it's like this is another opportunity yes well i'm just saying like you and aria are such perfect people for the scale of this kind of thing because i to me it kind of all began with the met or with the oscars and then the met g. But just like all the footage out of the Met Gala, even though you're not really supposed to film any of this, like all of it that came out, I was just like, holy shit, this is going to be major.
It works. We work together.
But you're both such good fashion muses. Yeah, we love, I mean, it's terrible.
The two of us are like, so did you see this? I'll send her, I saw this. What do you think of that? For her.
And she'll send me something. Hey, I saw this.
And I think it's very you, Cynthia. She'll send it to me.
The worst influence is for each other because we sort of like get what we need and what we want. And she'll send it to me.
And she knows I'm going to be like, goodbye. It's fun to indulge each other though.
Yeah, it's lovely. It's lovely that someone gets you that way.
It's nice to share in that way. Yeah.
Another way we can share creatively. Of course.
Did you like working with my bestie? I did. I have to say this.
And I say it. I never say it when you're there because I'm like always talking and passing.
But Bowen has to be one of the most astute and intelligent performers I've ever had the privilege of being on a set with. No.
No, no, no, no, no, no, no, no, no, no, no. I mean it.
No, I mean it. And you have to understand, I'm a Capricorn.
I don't like anybody. I don't say anything to anyone unless I mean it.
And I really do. Your ability to pick up on the surroundings and riff on what you see is second to none.
You're so fucking fast. It's amazing.
Oh my God. It is amazing to, to watch you work.
Just like picking on the surroundings on a detail on someone's clothing. I'm just like, it just, some of my favorite moments in the film are things you just say off the car.
Oh my God, Cynthia. I don't see color.
No! Cynthia! Deceased. Enroll here often might be.
Enroll here often. Anything.
I mean, Cynthia, thank you so much. I just, the details.
It's the details. She needs a pastry.
Can I just tell you, like, I was because John, God bless him, like, gave me a lot of Latitude Let's say And I was gladly Gonna do it But then At the back of my mind I was always like This is a bajillion dollar Two movies And he's gonna let me Ad-lib And like step on Winnie Holtzman's Perfect words I was like No way is this gonna Make it into the movie This isn't gonna work And then i will say and i i'm so quick to judge myself and be like oh no that that didn't work on a comedy level whatever i'm like john mchue the director you are like it all kind of fits it fit it truly somehow he made my nonsense like work in the in the world because it wasn't nonsense because it was observation oh that is the difference yeah You know what I'm saying? I appreciate that. Like really detailed observations.
Every time something comes out of your mouth, it is an observation, which I love. Oh.
It's perfect. Like, yes, she needs a pastry.
It's funny on the outside, but you're like in the situation. Right.
It's like, please. She needs a pastry.
She needs a pastry. She's, you know, it's so brilliant.
You're just spectacular. I had the best time.
And you're so kind as well. So thank you.
Makes me so happy. Everybody has been there.
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Catch the new Hulu original comedy Mid-Century Modern from the creators of Will and Grace, executive producer Ryan Murphy, and director James Burroughs. When three best friends move in together, Palm Springs will never be the same.
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Hey, readers. It is so thrilling to tell you about a new podcast from the iconic, the incomparable Michelle Obama and her big brother Craig called IMO.
You know, on Lost Culture Recess, we dive deep into the culture and get real with our guests. Likewise, on IMO, Michelle, Craig, and their guests tackle questions from listeners just like you, offering practical advice, personal storytelling, and plenty of laughs.
From dating and relationships to family and faith, Michelle and Craig give their candid perspectives to the everyday questions shaping our lives and the world around us. Like their first episode where Issa Rae laments friendships that need to go.
You'll hear Michelle and Craig's stories about being there for each other throughout their lives, from first crushes and fraught college years to landing at the White House to losing their mom. For six decades, they've been each other's most trusted counsel, and now they want to be that counsel for you.
So if you want to know about the culture that made Michelle and Craig say culture is for them, check out IMO with Michelle Obama and Craig Robinson wherever you get your podcasts. This episode is supported by FX's Dying for Sex, starring Michelle Williams and Jenny Slate.
Inspired by a true story, this series follows Molly, who after receiving a terminal cancer diagnosis, decides to leave her husband and explore the full breadth of her sexual desires. She gets the courage and support to go on this sex quest from her best friend, Nikki, who stays by her side through it all.
FX is dying for sex. All episodes streaming April 4th on Hulu.
Okay, so this is our 60-second segment where we rant and rail against something in culture.

That's just bothering us.

We're going to do it.

And I understand they're pointing,

but this is happening. We have to do it.

We're doing it.

So I have something

and it's a musical observation

I'm making about the people.

Okay, great.

This is Matt Rogers.

I don't think so many times threats now.

I don't think so, honey.

People who don't listen to lyrics and music.

A dear friend of ours just said, huh, what's this song about? About Sabrina Carpenter's Juno. So here's what Sabrina Carpenter's Juno is about.
It's about being so into someone that you would like them to make you Juno. This is referencing the Elliot Page Diablo Cody team up Juno.
This is about being so sexually interested in someone you wouldn't mind if you got pregnant. Right.
I'ma let you make me Juno. You know I just...
I was like, she's even being tongue-in-cheek after. Listen to words.
I don't think so, honey. Yes.
If you want to listen to beautiful orchestrations, I think so, honey. But the words, it all comes together.
You're going to just listen to the tunes of when Cynthia sings Alfie?

Listen to the words, know the story.

Especially Sabrina Carpenter Juno.

I'm like, this is a lyrical masterpiece.

I was like, let's give it its due.

Five seconds.

You can't just listen to music.

Listen to words, understand, feel, then emote.

You can too.

Listen to words, write words, explore words, be words. And that's one minute.
Fantastic. Perfect.
I could never say who, but a friend of ours was like, what is this song about? I was like, Juno? If you just listen. Listen.
Just listen. But it's also maybe like a thing about not knowing references.
Maybe it was that, but I was like, this movie was famous. It was.
It was. It was.
It was. Listen it was it was listen is okay alright so this is Bowen Yang's I don't think so honey his time starts now I don't think so honey Walker's chips not being available in the United States it is a British staple Walker's are not Lay's it's not the same it's not Lay's they have the same logos but they're textures, different thicknesses, different flavors.
I need more. Why is there such a weird barrier between British snacks and American snacks? It's true.
They need to come together. We basically have the same palates and the same tastes.
I think we would appreciate more of a crossover. I'm not saying like one should replace the other.
I'm saying they can coexist in the same market, which is the American market, which, you know, I am biased towards because I happen to live here. So I just think walkers, you can find them in your specialty shops, but I think we need more access to just the wider gamut of walkers chips.
Any favorite flavors? I love it. Straight up ready salted.
Yes, salted walkers. It's simple, but it's good.
And the salt and vinegar is not the same as the salt and vinegar here. It's just not.
It's just not. And we need, we just need to hear.
Five seconds. I've rented about Percy Pigs.
They need to be more widely available as well. And Walker's Chips is included.
And that's one minute. One of the joys of my life was coming back from London and I was able to gift Bowen his Percy Pigs because it's his great distress.
My sister got it for me recently. Well, now I know.
Whenever I go, I'll pick you up. Thank you.
Yeah, yeah, yeah. That's easy.
All right, we'll get Cynthia out of here. This is Cynthia Rivas.
I don't think so, honey. Time starts now.
I don't think so, honey. It's onion and garlic in everything.
I can't take it. I fucking hate it.
I can't deal with the idea that the way you cook is only with onion and garlic. Every time I see someone do a cooking thing, they cut up onions and garlic so much and neglect to use any other flavoring in food.
As a person who's actually allergic to garlic and my body just does not process it at all, I've had to find out ways to cook food using other herbs and spices and it works. You can get just as much taste out of an old bay and a bay leaf and an asafoetida, which actually actually, tastes a little bit like garlic, but doesn't give you

the same horrible feeling

that garlic does.

I've never heard of this.

If you just use your imagination

and cook.

I think people have stopped

using their imagination

about how they cook

and they use the basic,

basic herbs

and they always go

for onion and garlic

and I cannot take it

because the worst thing

is when someone comes in

and they're just reeking of garlic

when you can avoid that

and still have flavorful food if you decide to use your imagination. And that is my minute.
Thank you, wow. Also, thank God you're allergic to something that sucks.
Like, it sucks. Garlic sucks.
Oh my God. You smell awful.
You feel awful. Oh my gosh.
Different aromatics, different flavor bases. Let's come on.
Come on. We need it.
I don't understand. And everyone's, the amount of people who are like, well, how do you eat? What do you mean? What do you mean? Just fine.
I eat just fine. Stunningly talented.
Fine, fantastically. And you know what? When I walk into a room, you can't smell me first.
You can't clock me. You can't clock my scent.
What do you think of ginger? He loved ginger. He did not think so much on ginger.
Pickled ginger is better. Thank you.
Try pickled ginger. It's.
I love it. It becomes sweeter.
It becomes sweeter. And it's just a nice little bit of acidity.
Wow. This has been so amazing to get to know you and to have you here.
And you are Elphaba. And thank God that you are.
Thank you very much. So brilliant.
We usually end every episode with a song, but I just want to, if you have two lines of anything on your spirit right now that you could sing, what is it to end this episode? Or it could be one. This is not to do with anything, but I've been listening to this lately and it's one of my favorite songs.
Why by Annie Lennox. Oh.
I may be mad, I may be blind, I may be viciously unkind I can still read what you're thinking I've heard it said too many times You'd be better off besides Why can't you see that this boat is sinking This boat is sinking This boat is sinking Oh my god! It is the most beautiful song! You're brilliant. Thank you so much.
Cynthia! Okay, okay, okay. Gotta go.
Wow! Thank you for indulging that. Lost Cultures is a production by Will Ferrell's Big Money Players and iHeartRadio Podcast.
Created and hosted by Matt Rogers and Bowen Yang. Executive produced by Anna Hosnier and Hansani.
Produced by Becca Ramos. Edited and mixed by Doug Bame and Monique Laborde.
And our music is by Henry Kversky. with the whole band all throughout December.
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Shop now for family favorites. This episode is supported by FX's Dying for Sex, starring Michelle Williams and Jenny Slate.
Inspired by a true story, this series follows Molly, who after receiving a terminal cancer diagnosis, decides to leave her husband and explore the full breadth of her sexual desires. She gets the courage and support to go on this sex quest from her best friend, Nikki, who stays by her side through it all.
FX is dying for sex. All episodes streaming April 4th on Hulu.
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Call 562-314-4603 for complete details. Hey, all you Women's Hoops fans and folks who just don't know yet that they're Women's Hoops fans.
We've got a big week over at Good Game with Sarah Spain as we near the end of one of the most exciting women's college basketball seasons ever. The most parody we've seen in years with games coming down to the wire and everyone wondering which team will be crowned national champions this weekend in Tampa.
Listen to Good Game with Sarah Spain on the iHeartRadio app, Apple Podcasts, or wherever

you get your podcasts. bombing on stage, bombing in public, bombing in life like the time I stole a girl's phone during a set and she dumped on stage and threw a big haymaker punch to my nose

listen to Bombing with Eric Andre on Will Ferrell's Big Money Players Network

on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts