Ryan Mitchell

My big issue and something that I sort of felt left...

on the, like, cutting room floor of, like, Devil Wears Prada was, it was, like, it was going to a line of, like, trying to combat and talk about all these, like, heavy issues that are happening, whether it's, like, downsizing, you know, the industry impacts due to big tech and all of these sort of, like, really big things that I don't know if it actually did very well.

But I think it's so interesting that we have these two films out right now in the centering fashion in a really beautiful way.

But they...

one really actually pushes it.

One actually allows you the space to think about what is going on, whereas, not to compare, but the other film is sort of like a little bit more of a surface-level feel-good film.

And I think Boots Riley does a great job of like, this is a feel-good film, but we're also going to make sure you have an understanding of what we're talking about in these really heavy topics.

The rules most definitely keep changing.

I think that was my one little note that I had about this film.

He's just throwing a lot of things at the wall and seeing what sticks.

And yes, I think he has a clear vision, but sometimes I was like, wait...

there are a lot of holes sort of like in this story.

And I was like, oh, is this one, is this movie going to be about like this designer that is of course like stealing designs and like stealing from the community and all these things, which it was, but it just also switched to this like wonky, crazy like world.

And sometimes it can be a little hard to follow.

There is no moment that I could ever pull out my phone and just like quickly look at the time.

Like I would miss an entire like section of a film that is like, wait, what just happened?

And now I'm lost.

I think that's really interesting.

Maybe Boots Riley is like, you know, making sure he is retraining the mind of a viewer of being like, you have to watch every single moment of this film.

It's by design.