Rich Text

Emma Gray

Claire Fallon and Emma Gray obsessively analyze our cultural obsessions, from fashion trends to books to the buzziest TV shows. patreon.com/claireandemma

  1. [PREVIEW] 'Love Story': Why JFK Jr. & Carolyn Bessette Can Still Capture The Culture

    1D AGO

    [PREVIEW] 'Love Story': Why JFK Jr. & Carolyn Bessette Can Still Capture The Culture

    It became clear that "Love Story," the FX-Hulu limited series about JFK Jr. and Carolyn Bessette, had broken through in a major way when Curbed ran an article titled "Kennedy Cosplay Is Eating The City." Young women were flocking to C.O. Bigelow, the pharmacy where Bessette shopped for her headbands, in droves. Panna II, where the fictional Kennedy and Bessette went on their first date (likely apocryphal) was being discovered by a new generation of New Yorkers and tourists. The same thing was happening with Bubby's and The Odeon and even the stoop outside of the couple's former Tribeca loft. "It seems the city is caught up in 'Love Story' mania," wrote Clio Chang. Except it wasn't just New York City. Seemingly out of nowhere, we were all being deluged with reels and TikToks about how to recreate Bessette's '90s minimalist style or style your boyfriend like JFK Jr. or shop for vintage Calvin Klein and Yohji Yamamoto. A mini-series had officially become a cultural flashpoint. "Love Story" itself, executive produced by Ryan Murphy, is a totally passable, very schlocky, incredibly imperfect cultural product. But what felt more interesting than the piece of art itself was interrogating why it was able to pierce through in an increasingly atomized pop cultural ecosystem. What is it about JFK Jr. and CBK that still has us collectively in a chokehold, nearly 30 years after their tragic deaths? To interrogate that question, I felt like there was only one guest that could fill in while Claire was out on vacation: writer and iconic New Yorker Glynnis MacNicol. Not only is Glynnis a friend, but she also happens to have a somewhat outsize knowledge of '90s New York and Carolyn Bessette. She even wrote a fabulous essay for the NYTimes about the "Love Story" phenomenon: "Carolyn Bessette Was Living the Dream. Then She Met John.Carolyn Bessette Was Living the Dream. Then She Met John." In this episode, we get into the mixed critical reactions to "Love Story," why '90s nostalgia has gripped the masses, the intersection of fashion, politics and Hollywood wrapped up in JFK Jr. and Carolyn Bessette's pairing, and whether this "love story" is actually more of a horror story. Hope you enjoy! Xo Share Rich TextIf you liked reading this, click the ❤️ button on this post so more people can discover it on Patreon! Give us feedback or suggest a topic for the pod • Subscribe • Request a free subscription

    5 min
  2. [PREVIEW] 'Age Of Attraction' Makes A Very Bad Case For Age-Gap Love

    MAR 27

    [PREVIEW] 'Age Of Attraction' Makes A Very Bad Case For Age-Gap Love

    We watched Netflix's latest experiment in romance, the age-blind dating show "Age of Attraction," with a blend of boredom and horror that eventually shaded into a spicier blend of horror and fascination. The show's finale dropped this week, and we are finally ready to weigh in. So let's go! "Age of Attraction" brings together a group of mixed-age singles to explore relationships without learning each other's ages, in the interest of showing that age is just a number, that we shouldn't put each other in boxes, yada yada yada. The show concept is not only ludicrous on its face, as singles can see each other while dating and should be able to assess what age their potential partners are, but is quickly given the lie during a quick montage midseason, which reveals that all of the couples who turned out to be close in age were summarily cut from the show. (You guys age-blind dated too hard, sorry!) This is a show that invites us to both gawk at and romanticize relationships between people who are decades apart and in completely different life stages. We are asked to consider the deeper compatibility between a 38-year-old father of tween daughters and a 22-year-old who seems just about old enough to be hired as their babysitter. After all, he is young at heart, and she is desperate for a man who is emotionally mature enough to listen to Taylor Swift without spontaneously combusting. (Dear God, are the Gen Z lads okay?) We are told that a 33-year age gap has nothing to do with the breakdown of a relationship between a 60-year-old man who treats his 27-year-old girlfriend like an underperforming intern; they simply didn't share communication styles. The immaturity on display is immense, and it is mostly from the older partners, who are drawn to the youthfulness of their younger loves but also easily retreat to the authority of their bigger ages to regain control in their relationships. This is particularly unsettling when it involves one woman being pressured for sex by her older boyfriend, who clearly hopes to defeat her boundary through superior debate skills. But it's not just Vanelle and Jorge; unhealthy dynamics are all over this show. In this episode, we discuss the show's concept and structure, the cultural moment it's speaking to, and how the central relationships unfold – plus, that reunion trailer and how it hints at the state of these romances today. Hope you enjoy! xo Share Rich TextIf you liked reading this, click the ❤️ button on this post so more people can discover it on Patreon! Give us feedback or suggest a topic for the pod • Subscribe • Request a free subscription

    14 min
  3. [PREVIEW] The New Taylor Frankie Paul Allegations & 'Secret Lives Of Mormon Wives' S4 E6-10

    MAR 19

    [PREVIEW] The New Taylor Frankie Paul Allegations & 'Secret Lives Of Mormon Wives' S4 E6-10

    Season 4 of "Secret Lives of Mormon Wives" is a dark one, but its darkest moments arrive in the second half of the season. Most of them involve star Taylor Frankie Paul, whose toxic cycle with her ex Dakota Mortensen is fully reignited as the season progresses, even as she's gearing up to star on "The Bachelorette." By the end of episode 10, it's abundantly clear that Taylor is in no way prepared to cut off Dakota, responding with coy ambivalence when he asks her to save him a rose. And she's in no way prepared to take on this role. As we were preparing our coverage for the second half of this season, more news broke: Taylor and Dakota were involved in a domestic dispute last month, and both have alleged physical violence by the other. The police were called, though no arrests were made. Dakota has also reportedly accused Taylor of other assaults, and of abusing their young son. There is an ongoing investigation with DCFS, as well as with the local police, regarding these allegations. (Note: We will be discussing these allegations in some, though not excessive, detail in this episode. Please listen with care.) Taylor has said very little publicly about these reports, and ABC and "The Bachelorette" production have said even less. It appears that the show will air as scheduled; the network clearly hopes to weather the storm. But the backlash to ABC's decision to cast Taylor, who already had a documented history of domestic violence (she was still on probation for the prior incident while filming the show) has been intense. In this episode, we discuss what we see unfold between Taylor and Dakota in the last five episodes of "SLOMW," as well as the current allegations and the implications for "The Bachelorette" and the reality TV genre as a whole. Then we turn to the other women's storylines for this batch of episodes, notably Whitney and Jen's falling out, Layla opening up about her struggles with an eating disorder, Jessi and Jordan's functionally defunct marriage, and Jace and Mikayla's separation. Related Reading and Resources: National Domestic Violence Hotline "Taylor Frankie Paul’s Turn on ‘The Bachelorette’ Is Coming Under Fire," by Shivani Gonzalez, NYT "‘The Secret Lives of Mormon Wives’ filming on pause amid Taylor Frankie Paul investigation, sources say," by Rebecca Cohen, NBC "Cinnabon Cuts Ties With ‘The Bachelorette’ and ‘The Secret Lives of Mormon Wives’ Amid Taylor Frankie Paul and Dakota Mortensen Domestic Violence Investigation," Jack Dunn, Variety "Taylor Frankie Paul Breaks Silence After Domestic Violence Investigation News: 'It's a Heavy Time,'" by Liza Esquibias and Benjamin VanHoose, People "Taylor Frankie Paul Says Domestic Violence Headlines Feel 'Like the End of the World' in First Televised Interview Since Scandal," by Rachel McRady, People "Taylor Frankie Paul's ex Dakota speaks out amid domestic violence investigation," by Sarah Hearon and Ryan Coleman, EW "The Price of Perfection: Layla Taylor on Mormonism and the weight of belonging," by Shaquille Heath, The Cut Share Rich TextIf you liked reading this, click the ❤️ button on this post so more people can discover it on Patreon! Give us feedback or suggest a topic for the pod • Subscribe • Request a free subscription

    11 min
  4. [PREVIEW] 'The Secret Lives Of Mormon Wives' S4 E1-5: MomTok vs. DadTok

    MAR 13

    [PREVIEW] 'The Secret Lives Of Mormon Wives' S4 E1-5: MomTok vs. DadTok

    There are few moments more off-putting in season 4 of "The Secret Lives of Mormon Wives" than when Jessi Draper's husband, Jordan Ngatikaura, earnestly tells the camera that "DadTok is a lot funnier than MomTok." But in a way, it also sets the tone of the season. "SLOMW" is now a reality show about Mormon (and lapsed Mormon) mom content creators who have become bonafide celebrities. And that celebrity status is kind of upending everything in their lives – most prominently, their patriarchal family structures and their wider ambitions. Many of the husbands are navigating stepping into primary caregiver roles and trying not to lose their own identities in the process. Some, like Jordan, are lashing out and resentful as a result. Others, like Connor, are purely magnanimous, while the rest of them fall somewhere in the middle. DadTok becomes a refuge for a lot of the male partners (or in the case of Dakota and Chase, former partners), which is part of why Jordan is so desperate to insist that the brand can stand apart from MomTok. At the same time, the women are getting a plethora of opportunities outside of MomTok – "The Bachelorette," book deals, modeling gigs, "DWTS," Broadway shows, major brand deals – while still keeping one foot firmly planted in MomTok world. It's these two overarching dynamics which create the majority of conflict throughout season 4. And then, of course, there's Taylor and Dakota. Those two are a hurricane of toxicity that stands alone. In this episode, we'll get into all the major action of episodes 1-5: Jessi and Jordan's marriage, DadTok heading to Vanderpump Villa, Whitney and Jenn moving to LA for "DWTS," Taylor and Dakota's total inability to detach from each other, and the fascinating pre-"Bachelorette" storyline the show is crafting for Taylor. In a separate recap next week, we'll dive into the back half of the season. Share Rich TextIf you liked reading this, click the ❤️ button on this post so more people can discover it on Patreon! Give us feedback or suggest a topic for the pod • Subscribe • Request a free subscription

    13 min
  5. Why Rich Text Is Moving To Patreon

    MAR 3

    Why Rich Text Is Moving To Patreon

    If you’re a Substack subscriber, go check your email for a gift link to access Rich Text! (If it's not there, it will be within an hour or so.) Everyone else, welcome!  A little over five years ago, we started Rich Text on Substack because we needed a change. We had been at HuffPost for a decade, from the peak of its heyday to its somewhat ignominious acquisition by BuzzFeed. We had cycled through different positions as writers and editors, and we had survived round after round of layoffs. We had started Here to Make Friends, a feminist reality dating show podcast, and it had lasted despite occasional attempts by management to pivot it to video. We had been lucky enough to collaborate with brilliant editors, writers and producers, but we had also watched those colleagues leave. We were burnt out and rudderless. Our hope was that a little side project on Substack would give us a low-stakes, chill place to mess around, blog, try random stuff, and get back in touch with our voices. A creative refresh, if you will.  Then, almost exactly five years ago, the layoff cycle finally came for us. We were called into our virtual HR meetings with a taped (but unedited) “Bachelor” recap still dangling. It was never published. But we weren’t ready to say goodbye to podcasting, and we were suddenly energized by the possibility of taking control of the show, of our writing, and of our creative futures. Substack became not just a space to experiment, but the home base of our entire body of work. And our wonderful subscribers allowed us to keep doing that work – while paying our bills, including Claire’s eye-popping daycare tuition. In so many ways, our time at Substack gave us all of the things we had ever hoped for. We were able to build, brick by brick, a tiny media company of two. We were able to pay for our health care (Emma) and child care (Claire). We found a vibrant community full of brilliant, challenging, funny people – all of whom wanted to analyze culture in the way that we did! After years of being limited to “Bachelor” recaps on our podcast, and following the whims of editorial leadership when it came to story selection, we were able to truly take the reins, writing and podcasting about all the reality shows, rom-coms, weird viral essays, prestige dramas, and sociopolitical trends our little hearts desired. And we got to do it all on our terms, for the best audience in the business. We have never taken these gifts for granted, not for one single day. We recognize how very lucky we are to be able to make a living doing something that we truly love, and we're incredibly, profoundly grateful to all of you for supporting our work. But as with any media ecosystem, even a relatively scrappy indie one, there came challenges. After years of natural growth and support from Substack staffers, both waned. The platform began to prioritize bringing over large, institutional publications and celebrity writers over mid-size publications like ours. Discoverability became more challenging, and Substack kept ending up in the news because of its tacit support for Nazis and transphobes. The latest big development is that Substack has partnered with… Polymarket. All of these things left us with the looming sense that we would have to make the leap to another platform at some point in time. But, of course, making a big change is really f*****g scary. Especially when that change could upend your ability to pay your bills.  So when Patreon reached out, it felt like a golden opportunity to make a leap with real support – and one we might never get again. Patreon is a platform built originally for podcasters, which is a big part of what we do on Rich Text. We loved the idea of being in a place where audio content is truly valued, and where we can be an active part of shaping what the newsletter product will be in the future. We loved that the financial investment that Patreon was willing to make into our scrappy little media project would allow us to rebuild without complete and total panic haunting us at every turn.  Patreon, of course, isn’t perfect. No platform will be. But the hope is that we can write our next chapter sustainably. We want to set ourselves up so that Rich Text is something we can continue making for the next five years and then another five years after that. And we feel like some of the new features we’ll have access to on Patreon – organized collections! The ability to pay for one-off posts or series! More tier options! – will allow us to grow in a healthy way. Now that we’re here, in our unfamiliar new home, surrounded by moving boxes and art we don’t know where to hang yet, it feels a little scary and stressful. There’s a lot to do. But that also means a lot of possibility. All the same things you knew and (hopefully) loved back at Substack will be here: weekly recommendations and podcasts, occasional essays, subscriber chats. We’re also looking forward to experimenting with new features and bonus content – and implementing your feedback from our big reader survey last month! – as we figure out what will make Rich Text itself an even richer text in the coming years. There will be more conversations about the motherhood divide, our personal lives, reality television scandals, bizarre made-for-streaming holiday rom-coms about sexy snowmen and viral essays that set your group chats ablaze. There will be more writing about girl culture, the ways fatherhood is treated vs. motherhood, books we love, TV we love, and progressive politics.  Trust us: We KNOW that asking you to change over your subscription to a whole different platform is super annoying. The whole point of a subscription is that it’s seamless! You should never have to think about it! We, too, hate dealing with the process of moving our information over to a new app, linking up custom podcast feeds again, etc. We did not make the choice to inflict this on you lightly. We really believe that Patreon will be a more sustainable and welcoming space for our work and for this community. And we are here – along with the REAL HUMANS of the Patreon team – to make this transition as easy as possible! ⚠️ Important note for Substack subscribers If you’re coming from Substack, we're gifting you access to our paid membership on Patreon. You should have received an email with your redemption link and details on how to claim it. Check your email for details on claiming your FREE access  If you’re still running into issues → submit a support request What’s included on Patreon?Free Membership Weekly Recommendations: Get our weekly dispatch on what we’ve been reading, watching, listening to, buying, and making. Weekly Podcast Previews & Occasional Full Episodes: Listen to periodic full-length episodes of the Rich Text podcast. Essays: Read our occasional musings on topics cultural, political, and personal. 💬 Frequent Texter ($6 per month) 💬 Access to Rich Text Podcast Episodes: Access our weekly member-only podcast, and the full archive of episodes. Weekly Recommendations: Get our weekly dispatch on what we’ve been reading, watching, listening to, buying, and making. Essays: Read our occasional musings on topics cultural, political, and personal. Comment Access: Post comments on any post and join the community! Rich Text Chat: Connect with other members and discuss your favorite topics, from appointment TV to political news to random gossip, in private, subscriber-only spaces. Reminder: If you’re coming from Substack, your gifted access link is in your email. (If it's not there, it will be soon.) Make sure to redeem it so you’re all set. Thank you for being here! xo Claire & Emma Share Rich TextIf you liked reading this, click the ❤️ button on this post so more people can discover it on Patreon! Give us feedback or suggest a topic for the pod • Subscribe • Request a free subscription

    9 min
  6. [PREVIEW] Smutty Historical Romance Has Taken Over

    MAR 2

    [PREVIEW] Smutty Historical Romance Has Taken Over

    The bosoms, they are heaving. The corsets, they have been unlaced. With the release of Emerald Fennell’s “Wuthering Heights,” a film that offers such a stickily horny and romanticized take on Emily Brontë’s tale of emotional trauma and Gothic horrors that multiple critics glossed it as “fan fiction,” it seems that the cultural triumph of the spicy historical romance has been made complete. The arrival of “Bridgerton” season 4 part 2 (the sexy half!) just a couple of weeks later only underlines this. And, generally speaking, we’re not complaining! (Though, in the wake of the overwhelmingly steamy “Heated Rivalry,” the bar for success has been raised.) But, after absorbing the sight of Jacob Elordi lifting Margot Robbie effortlessly by the corset strings to the throbbing beats of Charlie XCX, we’re left wondering if things have been taken a bit far. What is lost from “Wuthering Heights” when it is reduced to a tale of star-crossed lovers who have a boinkfest all over the moors? Is our obsession with smut giving all of us, including Fennell, just the teensiest bit of brain rot? In this episode, we discuss the ongoing boom in sexy costume dramas and its implications. Then we dig into “Bridgerton” season 4 part 2, which manages to bring most of its storylines to a satisfying conclusion after a part 1 overstretched with table-setting. We get into the impossibility of a happy ending for our class-crossing couple that didn’t rely on one fortuitous exception for one lucky illegitimate maid, and the rather rote sex scenes. In an unlikely twist for the romance series, the heart of this drop was its depiction of grief, which was the subject of its most deeply felt and moving scenes. We also discuss Penelope’s retirement, Varley’s return, Lady Danbury’s voyage, and what seems to be coming next for the series. Finally, we turn our focus to “Wuthering Heights.” We share our prior relationships with the Brontë novel, our first impressions of the movie, and our reactions to all the finger-licking and smashed egg yolks. We try to figure out why Robbie and Elordi felt like uncanny dolls, or children in adult bodies, and we talk about Sara Petersen’s essay about the removal of mothers and motherhood from this adaptation. We also discuss the discourse around the whitewashing of Heathcliff and the notable choices Fennell made in casting and storytelling that seem to pointedly center whiteness — and intentionally sanitize the central couple to present them as romantic heroes. References and reading: “Emerald Fennell’s Wuthering Heights Is Fan Fiction,” by Annie Berke “‘Wuthering Heights’ Is Pure Fan Fiction,” by Emma Camp “Finally, a Smooth-Brained Wuthering Heights,” by Allison Willmore “Wuthering Heights Has No Space For Mothers,” by Sara Petersen “Margot Robbie’s hot take on filmmaking goes viral as critics slam her latest movie, ‘Wuthering Heights’,” by Jude Cramer “Wuthering Heights: Emerald Fennell Defends Her Controversial 'Version' of Emily Brontë's Classic Novel,” by Benjamin VanHoose “Wuthering Heights is at its heart a story of class and race. Emerald Fennell has got it all wrong,” by Rhiannon Lucy Cosslett “How the Latest "Wuthering Heights" Interpretation Is More Than Just Whitewashing; It’s a Pattern,” by Jess, the PrideBrarian “Jacob Elordi, Heathcliff and the Controversy Over ‘Wuthering Heights’,” by Esther Zuckerman "Is Heathcliff White?” by Jasmine Vojdani Timestamps for easy listening: 0:00 — What’s going on with all the period piece smut? 6:27 — The second half of “Bridgerton” S4 41:50 — Emerald Fennell’s “Wuthering Heights” Share Rich TextIf you liked reading this, click the ❤️ button on this post so more people can discover it on Substack! Give us feedback or suggest a topic for the pod • Subscribe • Request a free subscription

    10 min
  7. [PREVIEW] 'Tell Me Lies' Finale & Grappling With 'ANTM'

    FEB 20

    [PREVIEW] 'Tell Me Lies' Finale & Grappling With 'ANTM'

    In 2009 on “Tell Me Lies,” Lucy’s life is crashing and burning right into the ground. In 2009 in the real world, Tyra Banks was teaching young women how to “smize” on the hit show “America’s Next Top Model.” This week, we dive into both versions of the late aughts — fictional and reality. After three dark, twisted, and completely f****d up seasons, “Tell Me Lies” came to an end on Tuesday. Showrunner Meaghan Oppenheimer announced the news on Instagram on Monday night, writing that “this was always the ending my writing team and I had in mind, and we are insanely proud of it.” She added that the audience’s “incredible response to this season inspired us to explore whether there was another organic way to continue the story, but ultimately we felt it had reached its natural conclusion.” So in the wee hours of Tuesday morning, viewers were left to see if the team could stick the landing and wrap up all of the chaos that had been building in both the 2009 and 2015 timelines. The result was a mixed bag. Some major plot holes that left us yearning for a fourth season, but also some “imperfect justice.” The series’ ambiguous final moments leave some things up to viewer interpretation, and as two culture critics, we often find that that’s where the real fun begins. (Plus, that “Toxic” needle drop was simply perfection.) We also traveled back in time to the glory days of “ANTM,” via Netflix’s new documentary, “Reality Check: Inside America’s Next Top Model.” The three part docu-series, which features interviews with Tyra Banks, Ken Mok, Jay Manuel, Nigel Barker and Miss J. Alexander, as well as prominent former contestants like Shandi Sullivan, Danielle Evans, Whitney Thompson, Keenyah Hill, attempts to grapple with the dark and complex legacy of the reality juggernaut. And boy is there a lot of darkness to sort through. “Reality Check” attempts to contextualize “ANTM” within the racist, homophobic, fatphobic time period it emerged during, and the even more racist, homophobic, fatphobic industry that it was attempting to broaden. But what becomes clear is that whatever lofty goals Banks had when she created “ANTM,” were overshadowed by the utter lack of protections in place for the cast members — who were predominantly vulnerable, very young women. Not only were the aspiring models cast subjected to microaggressions — Ebony Haith, a Black cast member from Cycle 1, has her hair texture mocked by white stylists during makeover day; Thompson, who won Cycle 10, shows up to castings where they’ve refused to pull clothes in her size — but also to physical dangers. (Sullivan’s story of being sexually assaulted on camera in Milan during Cycle 2, and then being framed as a cheating harlot on national television, is particularly harrowing.) And unfortunately, the decision makers interviewed still seem unwilling to take full accountability. In this episode of the Rich Text podcast, we get into it all, from our own experiences watching “ANTM” as teenagers, to the lingering questions “Tell Me Lies” left us with. We hope you enjoy! Timestamps for easy listening: 0:00 — The “Tell Me Lies” series finale 43:12 — The twisted legacy of “America’s Next Top Model” Share Rich TextIf you liked reading this, click the ❤️ button on this post so more people can discover it on Patreon! Give us feedback or suggest a topic for the pod • Subscribe • Request a free subscription

    10 min
4.8
out of 5
103 Ratings

About

Claire Fallon and Emma Gray obsessively analyze our cultural obsessions, from fashion trends to books to the buzziest TV shows. patreon.com/claireandemma

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