Maureen Callahan

If their name gets read, we can capture the completely organic surprise, you know.

Then Hoda says, so it really had to be a good project to get you back to film.

You know, Amanda says, yeah, I was devastated to hear it's been that long, which means she would have given an eye tooth to be back in film.

But Hoda says, it had to be a really good film to bring you back, right?

So tell us, what was it about this project that brought you back to film?

I'll tell you what it was, Hoda.

It's a movie and it's a paycheck.

That's it.

That's it.

And that's all.

It's about, in Amanda's words, this unique piece of cinema is about, quote, a rich Brooklyn mom who is having an affair.

Again, I don't think you can get more basic than that.

It's like it's a cultural cancer, you know, not to make light of cancer, but it really is a disease.

It's like we're blanketed with this bullshit, rich ladies with problems that a lot of money and access can solve.

Now, Hoda is going to get into the disease part of this interview, so we have to shift.

We have to shift our body language.

our tone and tenor.

We have to raise our eyebrows, look concerned.

We're going to bring ourselves into it, but only so much, only so much.

And we're going to, you know, we're going to try to just, you know, we're going to empathize now, you know.