After 10 seasons of anchoring "Summer House," it's time for the show's preeminent Peter Pan party boy, Kyle Cooke, to say goodbye. Kyle, along with his erstwhile wife Amanda Batula and longtime friend Lindsay Hubbard, are being shipped out from the Hamptons share house to the new Bravo series "In the City."

On Tuesday night, Bravo aired a finale-premiere combo that saw Kyle, Amanda, and Lindsay closing one chapter and opening the next. But this transition didn't hit the way production clearly anticipated while filming last summer; there's no clean break, no bittersweet transition to a new era. Instead, there are dangling threads galore. We already know we're gearing up for a season of watching Kyle and Amanda's marriage fall apart, and their current storyline has far more to do with their "Summer House" ex-colleagues West Wilson and Ciara Miller than with their new "In the City" cohort.

Despite the spanner thrown in the works, the "Summer House" finale packed a punch. Carl and Lindsay finally sit down and talk for the first time since their on-camera breakup two seasons ago (so that Carl can profusely apologize, of course). West explains to Ben that he knows Ciara couldn't handle casually dating and he doesn't want to lead her on, just hours before kissing her and trying to get her in bed. Ciara tries to give Amanda the kick in the ass she needs to do something about her crumbling marriage, and they share an emotional goodbye. And then Amanda sits Kyle down on the stoop of the empty house and tells him she was going to stay at a hotel – alone.

"In the City" opens with the news of their breakup this winter, and a scene the couple filmed after the news broke that Amanda was dating their friend West, before the episode rewinds to last September when filming commenced. We see some brutal post-couples-therapy conversations between a frazzled and angry Amanda and a clueless Kyle; we meet Lindsay's baby daughter, who already has the same death glare perfected; we meet Bachelor Nation's own Whitney Fransway and her extremely unlikeable boyfriend Kenny, who keeps calling her a "doll." Plus, Amanda questions the murky origins of Danielle Olivera's relationship with her married boyfriend, and Lindsay's bestie Yvonne cheerily admits that her husband once didn't notice when she went to San Diego unannounced for multiple days. Weird vibes!

We dig into all of it in this episode. Hope you enjoy! xo

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When we stepped into the Lawn Club in downtown Manhattan last Thursday night, we immediately knew we were among our people – reality TV people, that is. Reality stars, producers, casting directors, content creators, podcasters and journalists, all together in a room listening to the dulcet tones of John Denver as remixed by DJ Kyle Cooke, thanks to Vulture’s Reality Masterminds event.

The wide-ranging content package and celebration were a great reminder that reality television has become a legitimately important piece of the entertainment industry, complete with its own media ecosystem. After 10+ years of covering reality television as journalists, podcasters and cultural critics, it's satisfying to see that ecosystem taken seriously and given its due. Plus, we got a great party out of it.

So on this week's podcast, we decided to gossip. We review Kyle's DJ-ing, discuss which members of the "Summer House" cast were there to support him, and talk about our favorite reality sightings -- Boston Rob and Rob C. hanging out together! Kristen Kish! Kathy Hilton! Andy Cohen! Ariana Madix! Various gorgeous realtors! We also got into the Jenn Fessler-West Wilson drama that came out of the night and then share all of our many thoughts about the latest episode of "Summer House."

In the back half of the episode, we wanted to dive into a few other things that have been on our minds, including the way that Threads is melting Claire's brain, and the intense discourse about Olivia Rodrigo's babydoll dresses and bloomers. Are her fashion choices subversive? Tools of the Epstein class? Somewhere in between? Emma and Claire have slightly different viewpoints on this topic, but we can agree on one thing: Social media platforms are where nuance goes to die.

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In 2006, “The Devil Wears Prada” was already on the brink of being a paean to the bygone glory days of magazines. The hollowing out of print media was already well underway. The brief boom of digital media was in the offing, but that would quickly collapse as well. The prosperous era of Vogue that the original movie was satirizing has ended. Twenty years later, we are all – magazine editors, digital journalists, freelancers and self-employed newsletter purveyors – fighting over the meager scraps that remain.

This is the world that “The Devil Wears Prada 2” places us in. A world where plucky journalist Andy Sachs has found professional success and acclaim, neither of which protect her from her insolvent publication laying off its staff. A world where Miranda Priestley’s Runway still has prestige and cultural impact, but must chase web traffic and produce fashion spreads on shoestring budgets. And a world where, just as in this one, tech billionaires treat vital industries like playthings.

It is the sad state of the media that brings Andy, who has just been laid off via text while receiving an industry award, back to Runway. The magazine has been savaged online for spotlighting a brand that a later exposé revealed to be using sweatshop labor, and their prodigal daughter, now a respected and unemployed investigative reporter, is hired to restore the publication’s journalistic gravitas. Meanwhile, Miranda is fighting to save her promotion to global head of content for Elias-Clarke, which owner Irv Ravitz has been dangling over her head. But before their happy ending, Andy and Miranda also must navigate McKinsey consultants, tech bros, and billionaires who see no distinction between the art of fashion and A.I. slop. To save their careers, ultimately, they have little recourse but to find a billionaire they trust more than the other billionaires.

In this episode, we discuss the film’s depiction of a media industry that has been ravaged by late-stage capitalism, of goofy tech billionaires, and of billionaire divorcées. We get into the idea of the “good billionaire,” who uses her wealth benevolently, and why it always seems to be a woman. We also talk the changing face of fashion, as unevenly depicted as it was in this movie. And we discuss “TDWP 2” as a girlboss movie (complimentary?!), and the space it makes for female ambition. Hope you enjoy! xo

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