Esther Zuckerman

We already talked about that.

I just wanted to second it.

I heard David saying this was an early Hans Zimmer score.

It's a great score.

I think a lot of the early Hans Zimmer comedy scores have aged to varying degrees.

Yes.

Some of them age better than others.

Yeah.

Dune.

Right.

I think this is like kind of one of the better comedy era Zimmer scores.

Which he turned into something interesting as well.

It's just completely different.

But this is like, it's so much my problem of the modern rom-com, which barely exists, but what does exist feels like it is just trying to be one step elevated above the Hallmark Christmas movie churn.

which is this could have been shot anywhere and we're pretending it's anywhere else.

And rom-coms benefit so much from like a place of specificity, from the feeling of like neighborhood haunts and like the rhythm of whatever the fucking city or the town is.

And like just the fact that I put this movie on and immediately it's like subway drummer, people getting on and off the train.

No, I mean, I'm like, this is set in a place, right?

And it speaks to very quickly what is kind of actually the biggest point this movie is making.

We talk a lot about the cinema of men will literally blank to avoid going to therapy.