The great rom-com stars make it look easy. Meg Ryan, Julia Roberts, Drew Barrymore: When they fall in love on-screen, their charm pulls us in and the transparency of their emotions enables us to feel every moment of yearning and every thrill just as their characters do. But a rom-com lead can also, we recently discovered, turn in such a limp performance that it makes the sheer difficulty of being a rom-com lead obvious. Sydney Sweeney is a good actress, and she was surely trying to put in a rousing performance as the female lead ofthe recent film “Anyone But You.” It just doesn’t work.

Dearest gentle reader…

In the words of our dear gossip-monger Lady Whistledown, “Diamonds are not the only gems that sparkle.” On this season of “Bridgerton,” we are given an emerald, in the form of a no-longer-citrus-clad Penelope Featherington. The former wallflower is in full bloom, catching the eyes of both naturalist Lo…

“Selling the O.C.” has always distinguished itself from its older, cooler sister “Selling Sunset” by being slightly worse in almost every respect: the fashion, the characters, the politics, the drama. In season 3, that continues. The “Love Island”-inspired, Shein-designed outfits, the flatly unpleasant people, the thinly veiled bigotries, and the warmed-over storylines make for an uninspiring season. Still worse, the biggest central stories now seem irrelevant, given how many key characters have left the show since this season filmed.

But “Selling the O.C.” does offer one thing “Selling Sunset” does not: sheer villain volume. Everyone who has briefly won our sympathy on this show immediately loses it (except perhaps Brandi, who has effectively sidelined herself from the drama this go-around). The most likable characters onscreen often turn out to have the most heinous politics, and even the more sympathetic figures often have pretty unpleasant vibes themselves. There’s not a Chrishell in this bunch, folks. It’s mean girls and a*****e bros all the way down.

In this episode, we discuss the alarmingly flammable-looking fashion; the abysmal race, class and gender politics; the Alex Hall-Tyler Stanaland will-they-won’t-they flirtation that just won’t end; and the gay panic that appears to have blown up the cast. We hope you enjoy!

Are we in the golden age of friend-group Bravo shows? After doing a major binge of established shows “Summer House,” “Vanderpump Rules,” and new addition “The Valley,” we think that answer is a resounding yes. So naturally, we had to get of back on the Rich Text pod to do a little state of the Bravo union.

All three of the aforementioned shows track th…

Taylor Swift’s 11th original studio album, “The Tortured Poets Department,” was released last week into a world feverishly gripped by anticipation for a Taylor Swift album. Some were primed to adore her latest work, which Swifties broadly expected to be a thorough excavation of her relationship with her ex-partner of six years, actor Joe Alwyn; others were primed to mock and flame it. We, two rather casual Swift fans, were drawn in by the sheer intensity of the gathering discourse — not to mention our own anticipation of another album. And after almost a week of listening and relistening to the album, following the critical reactions to it, and stewing in the public debates raging about it, we decided we were ready to wade in.

We are joined by culture critic B.D. McClay of Notebook for this conversation!

Further Reading + Listening:

“Taylor Swift Still Isn’t Your Friend,” B.D. McClay’s 2023 Slate essay about the controversy surrounding Taylor’s relationship with Matty Healy

“Taylor Swift Derangement Syndrome with B.D. McClay,” Know Your Enemy pod

"Taylor Swift's 'Tortured Poets' is written in blood," Ann Powers, NPR

“Come for the Torture, Stay for the Poetry: This Might Be Taylor Swift’s Most Personal Album Yet,” Rob Sheffield, Rolling Stone

“Taylor Swift seems sick of being everyone’s best friend,” Constance Grady, Vox

“The Real Reason Taylor Swift Dresses Like That,” Cathy Horyn, NYMag

It was sometime last year that it started to feel like Big Conversations about marriage and divorce were *everywhere.*

David Brooks was lecturing young people to “obsess less about your career and to think a lot more about marriage” because marriage rates have been falling. Emily Gould was contemplating leaving her husband and then not over on The Cut. …

Last week, New York Magazine’s The Cut published an all-time banger of a hate read — which is saying something, considering the run they’ve been on recently (from the “$50k in a shoebox” piece to the “tried to leave my husband and then realized I was just having a breakdown” piece). Grazie Sophia Christie’s floridly written and smugly framed essay, “The Case for Marrying an Older Man,” argues, with all the wisdom and certainty earned through 27 years on earth and 4 years of marriage, that leveraging youth and beauty to marry an older man is a cheat code for women, who are otherwise condemned to years of miserable labor alongside insufficient same-age partners.

One of the first things you notice about “Irish Wish,” the latest output of Lindsay Lohan’s deal with Netflix, is just how… saturated the colors are. The pink accents in her plaid knee-length dress look a little too pink. The green grass of the Irish countryside is a little too green. The blue of the water is a little too blue. Are we in Ireland at all, you start to wonder? Is that real clothing? Are those real human beings? Is this all a simulation? And why in god’s name is Ayesha Curry there?

We needed reinforcements to properly unpack why this movie shook us to our cores and also made us laugh so very much. Luckily, Nora McInerny was game to talk it all through.