Two movies where people become the sort of hero they’ve long admired, filling the shoes of those who have come before to save lives from greedy imperialists, and finding a support system along the way — it's Star Wars: Episode IV - A New Hope vs Spy.
Episode Transcript & Breakdown
Every episode of Tasteless, I take a critically acclaimed film and compare it to one that shares the same themes but didn't get the attention it deserves — and explain why that second movie is my pick. This week: two movies about people that become the sort of hero they've long admired, filling the shoes of those who have come before them to save lives from greedy imperialists. And they find a support system along the way. It's Star Wars versus Spy.
Star Wars: Episode IV - A New Hope
A farmboy joins forces with various allies to save their galaxy from the evil Empire's planet-destroying battle station, while also rescuing the princess leading the rebellion against them.
This movie came out in 1977, has a 92% on Rotten Tomatoes. It's so weird to talk about this movie so objectively, just like — this movie came out in 1977. Like, it's Star Wars.
It's number 25 on the IMDB Top 250 and it won six Oscars, which I hadn't known. Best Art Direction, Best Costume Design, Best Sound, Best Film Editing, Best Visual Effects, and Best Original Score — of course, John Williams, come on. It was nominated for another four, including Best Picture, Best Supporting Actor for Alec Guinness — who watched this and was like, you know who really pops? Alec Guinness. That's Obi-Wan Kenobi. The weird guy in the desert. All right — Best Director, and Best Screenplay. George Lucas wrote and directed this movie. This was his vision, and I just can't imagine how good it would feel to have your passion project become one of the most massive pieces of cinema in history.
I think it's hard to even comprehend how much of filmmaking since the first few Star Wars movies was influenced by it. So I'm going to do my best to look back at it as just a piece. There are a lot of better explorations of the Star Wars universe in podcast form, in book form. I'm here to talk about the first film with a semi-fresh set of eyes — I hadn't seen it in probably 20 years until I revisited it for this.
I was really surprised by the structure because it really throws you right into the world, into the battle between the Rebel Alliance and the Empire. You don't see Luke Skywalker until we're pretty far into what's going on.
I really wanted to watch the original version, but there's like a million versions. The one I watched, the crawl at the beginning says "Episode Four." But when this came out, you didn't know it was episode four — so this has been altered. This is the same as the Han-shot-first thing. Initially, Han Solo shoots Greedo. Then when George Lucas revisited the movies — because this dude is a tinkerer — he changed it so that Greedo shoots first, I guess making it so that Han isn't just a cold-blooded murderer. In this version, it was either they shot at the same time or Greedo shot first. Regardless, I just want to watch the purest version of this film. It's a Blade Runner situation except more complicated because there's a less clear-cut consensus on what version is correct.
By the way, let's talk about Greedo for a second — the green dude that Han Solo shot first. This guy was played by three different people. Actor Paul Blake played him when Han and Greedo are in the same frame. Actress Maria De Aragon wore an animatronic mask for head closeups. And linguist Larry Ward provided Greedo's voice. Why couldn't the guy who did his voice be the one in the suit? And why couldn't the one in the suit wear the animatronic head? I don't understand. It feels like George Lucas made things very complicated for himself.
But we kick off with stormtroopers versus rebels on the ship. The rebels — these freaks — their helmets are so long and so stupid. The stormtrooper outfit has stuck around with us because it is such a cool costume, like Power Rangers style, where every kid should be this costume because it is cool. And then the rebels got these roly-poly helmets going down their heads like they're sad, khaki aliens from the movie Alien. They look like straight-up dummies. I don't know how they got us to root for these guys.
When Luke Skywalker and Han Solo get on the ship and put on stormtrooper outfits — Luke Skywalker with a stormtrooper outfit with the helmet off is so attractive. I am so into Luke Skywalker and Han Solo with stormtrooper outfits on. Great outfit.
Before we even get to Luke, we see C-3PO and R2-D2. It's not often on screen you get to see a robot hunched over. Usually a robot is standing up straight. But in this movie, C-3PO — played by Anthony Daniels in a suit — has bad posture. And I felt seen. I felt like I was seeing myself on screen for the first time as C-3PO. There is so much C-3PO and R2-D2 up front as this weird buddy duo. This dude is just whining and R2-D2 is like, boop boop beep boop. And C-3PO is like, R2-D2? We gotta get off the ship!
But let's talk about Carrie Fisher. Oh my God. I watched the Star Wars movies once and that was it. I'm going to revisit them because watching this first one, I really was like, wow, this laid so much groundwork. Princess Leia is so cool. And I'm surprised to revisit it now and realize I didn't immediately glom onto her, because I know Carrie Fisher better from just being Carrie Fisher — from the books she's written, from her public persona, from just being tremendously witty and cool, from her kind interactions with people.
There is something so lasting, so important about Princess Leia. You feel it from the moment you see her in this movie — the strength, the confidence, the humor, the toughness. It's so wonderful that Carrie Fisher found this role, that this role found her. I can't imagine it being anyone else ever.
Now, it's clear George Lucas did not know Luke and Leia were going to be siblings. They flirt hardcore. They kiss. But the twist of Darth Vader being Anakin, being Luke's father, is one of the best in cinema and adds important weight to Luke's journey — which is why this is one of those movies where the more you watch it, the more it all fits together.
When we see Luke, we get to Tatooine and he is a baby. Mark Hamill is so young and he's like, Uncle Owen, I wanted to go to the Tosche Station for power converters. And Uncle Owen's like, you can see your friends when you're done with your chores, Luke. What is this? Why? I forget that he was a teen.
So he meets R2-D2 and C-3PO because they get bought to work on this farm. Very uncool. Don't like this robot slavery. R2-D2 has this little message he keeps playing — the very famous hologram of Leia being like, help me, Obi-Wan Kenobi, you're my only hope. Which is the least helpful message. Help you with what, lady? What is your problem? And Luke sees this video and he's like, who is she? She's beautiful. So clearly George Lucas did not know she was his sister.
Alec Guinness is Obi-Wan Kenobi, this old guy out in the desert, who gets called back into action. He shows Luke the lightsaber his dad left for him. The lightsaber sounds are still so satisfying. I think the lightsaber sounds are why this movie became a phenomenon. Just the sound design. Oh my God.
Luke's Uncle Owen is such a freaking liar. He's like, that guy's not Obi-Wan Kenobi, that's old Ben. He's very different. There's a lot of Kenobis, it's like Smith. But then the uncle and aunt die, and Obi-Wan and Luke are investigating what happened. They see a destroyed sand crawler and Luke's like, do we think the sand people did it? And Obi-Wan is like, no, they wanted us to think they did, but only Imperial stormtroopers are so precise. Which — Ben Kenobi is basically saying these shots are so accurate, no one is more accurate than a stormtrooper. Which is insane in a world that knows stormtroopers are the worst shots on earth. You watch them even in this movie spray laser bullets all over the place and not hit anyone even when people are right in front of them.
Luke finds out his aunt and uncle are dead and he's like, okay great, I'll go with you Kenobi, let's go. They go meet Han Solo, a smuggler with Chewbacca. Harrison Ford is so rude. He keeps calling his ship the Millennium Falcon. It's a falcon, you freak. A bird's a falcon. My ship the Millennium Falcon did the Kessel Run in point parsecs. Okay, great. You hang out with a giant dog. What's your problem? He really is the biggest turd.
In one of the later movies when Leia says I love you and he says I know — he seems like a grump too, even though he wears an earring. He is an adult man with an earring. Why is he so mad all the time? He's living the life. He says at one point in this movie, if we can avoid any more female advice, we might just be able to get out of here. Shut up, dude. Princess Leia is the only cool one.
Multiple people call Princess Leia differently, which really threw me off. There are so many accents in this movie. It reminded me of the Harry Potter books where everyone argued over how to pronounce Hermione. You can't call her Leia and Lay-a and the Millennium Falcon. What are we doing? I don't know why that's okay. Everybody else has covered every other element of Star Wars, so this is where I stake my flag. My important issues.
Everything about the world-building in this movie is so good. This was meant to be an epic series. It really was and it deserved that. If you haven't watched the first one in a while, I really suggest revisiting it. I enjoyed it a lot. I barely even talked about the plot because it's Star Wars — you know the plot. They go in their little ships, they fly around, he shoots up in that hole in the Death Star and it explodes. That's Star Wars.
Please, people who love Star Wars, don't come for me. I really do like it. I understand why people have devoted their lives to it in the way that I have devoted my life to Sandra Bullock and my cat. I get it fully.
Spy
A desk-bound CIA analyst volunteers to go undercover to infiltrate the world of a deadly arms dealer and prevent diabolical global disaster.
This movie came out in 2015 and has a 95% on Rotten Tomatoes. Now you see why I had to bring out the big guns with a Star Wars comparison.
This one is tricky because on this podcast I usually try to highlight movies that either not enough people saw or that were reviewed poorly and I disagree. This movie was reviewed very well by critics, and I find that the pockets of the internet that I interact with, people who share my same interests, all love this movie. But I found it very interesting that when I posted about it on Instagram, I got many DMs saying, this movie is so underrated. So there's this like — all of us are secretly loving this movie and thinking that no one else loves it like we do.
In this context, yes, it was reviewed fairly, but it should have had five sequels. It should be a series in the way that James Bond is a series. It should have gotten an Oscar. It's such a good movie.
Paul Feig is the George Lucas of comedy, and he wrote and directed this film. I have been in love with Paul ever since Sabrina the Teenage Witch, where he played a teacher, Mr. Pool. I love him so much. I love Freaks and Geeks. I love Spy. I love A Simple Favor. I love his dapper suits. He's so funny. There should be seven Spys. How many Star Warses are there? Ten? There should be ten Spys. There should be eleven Spys immediately. Unacceptable that there aren't.
This is Melissa McCarthy's best role. I know people love Bridesmaids, right? But no — Spy is it. The depth of this character, the different levels she gets to play it at — it's truly the culmination of Melissa McCarthy's talents. To play so funny, so crazy, so awkward, so vulnerable, and be such a real human at the same time.
She's one of the office workers, right? She has all the intel and she's speaking to an in-the-field CIA agent, keeping an eye out on him, watching through cameras, letting him know schematics, where to turn, what to do. When her charge, Jude Law — the agent in the field — is killed, she volunteers to go into action to finish the job he started.
When she decides to go undercover, they give her these horrible covers — Carol Jenkins, who she says looks like somebody's homophobic aunt. Penny Morgan, a divorced housewife from Iowa with ten cats. She's like, why? When Jude Law goes in the field, he gets to be a businessman. Why is this what I am? But that's how people see her. And this movie dives into that in such an interesting way.
The way she changes from nervous and unsure of herself to confident when Rose Byrne, the villain, thinks she's blown her cover — this is range. Because all the levels she plays it at, even when the character Melissa is playing is undercover, you understand the heart of who that main initial character was.
Jude Law, her CIA agent in the field, thinks she has cats, talks to her about it all the time. A lot of cat-lady bashing in here, Paul Feig, but I'm going to take it as satire of the type of person that people think she is. He gets her jewelry and she's so touched because she's in love with him — he's gorgeous and kind and cool. She opens it and it's this mean little cupcake necklace. He has really put her in a box of the kind of non-threatening, just shell of a person. And she lets him. Because she has to gain new confidence.
Let's get into the Rose Byrne of it all, because Paul Feig has really done right by Rose Byrne. I feel like Bridesmaids is what brought her back into the American comedic consciousness, because she has been acting incredibly in so many things for so many years. She is a highlight of anything she's in. She gives her all in every single role.
In Spy she gets to be so mean and so funny and just incredible. Every line she delivers with a scowl, with derision, is perfect. At one point she's playing Candy Crush while talking to Melissa. Melissa's like, you're being very rude. They are such a great push and pull. And when Melissa's character brings it up to eleven, Rose Byrne very quickly is like, okay, cool it. Bring it down a notch.
The chemistry slash rivalry between Rose Byrne and Melissa makes this movie. That is the driving force behind why it's so funny, why it sticks in my mind, why it's so enjoyable on a rewatch.
There's a respect between them. The way they joke with each other and make fun of each other is so human and ridiculous. There's a moment at the end where Rose has been captured and she kind of gives this little smile to Melissa because at the end of the day she does like her. They do enjoy each other. I like that they have this weird mutual respect.
What's incredible about Rose Byrne is that not only is she a shining light on the screen, but she coaxes the best possible performances out of her co-stars. Her presence always raises the bar. She is what made Neighbors work — instead of being a nagging wife, her and Seth Rogen are such equal partners and she pulls that out of people. She was the perfect maddening enemy for Kristen Wiig in Bridesmaids. I love her in the Annie remake as the person that pulls Jamie Foxx out of his shell. She's just so talented and elevates everything she's in. I adore her. And if pressed to pick a favorite role of hers, Spy might be it.
This movie also has Jason Statham, who's usually — he's fine in things. Hobbs and Shaw was cute. But he is so funny in this. He's this insane tough guy spy stereotype who just rattles off nonsense and thinks he's so tough but also never quite knows what's going on. At one point he totally screws up and Melissa McCarthy kind of shrugs to the room of bad guys and says, he means well. He does — he wants to be this tough guy spy, he really thinks he's suave, but nothing he does goes quite right.
I love how Allison Janney talks to Jason Statham, because Jason is another spy in the CIA and Allison Janney is in charge of them. She is so mean to him. She's so mean to Melissa McCarthy. In this very funny, brisk way.
We have Miranda Hart, a brilliant comedian actress, as Melissa McCarthy's confidant — another person who does the same job she does, gathering intel. She has a fling with 50 Cent and there's a line in this movie I think about all the time, it's so small, but when she goes, simmer down, 50 Cents — I think it's so funny.
We have an array of fantastic Paul Feig regulars. Michael McDonald, who comes up with the tech options for Melissa going into the field — but instead of cool stuff, like a shoe that's a gun, she's given anti-fungal spray that is actually freezing powder. Stool softener pills that are actually antidotes to poison. A watch, but it has a picture from the film Beaches on it. Then we have Jessica Chaffin, Sam Richardson, Adam Ray, Katie Dippold, Jamie Denbo, Zach Woods — all these comedic people I adore. Morena Baccarin from Firefly as a rival agent. Peter Serafinowicz as Aldo, this ridiculous man. Bobby Cannavale as a bad guy — of course, Rose Byrne's husband. He's so good as a bad guy named De Luca with slicked-back hair. I would give him the nuclear codes as well.
The only knock I have against this movie — the only bad thing I can say — is that there is a barf scene where Melissa McCarthy barfs all over. Why does every movie gotta have a barf? Why?
I also, when trying to find a bad review, found one from the World Socialist Web Site that says, does it occur to Feig or anyone involved in the making of Spy that not everyone dotes on the forces of law and order nor finds their operations as endlessly fascinating as he apparently does? Is this what I sound like when I talk about movies I don't like? I love that this person said this comedy doesn't work because I think it glorifies the CIA. This is a comedy of errors. No one is looking at this and going, I want to work for the CIA. That would be insane. It is a comedy movie, you freaks.
Shared Themes
Luke Skywalker and Melissa McCarthy are looking for adventure, for something different than the rut they have found themselves stuck in, but neither is sure what they're looking for. They've always been told that they are where they should be — Luke on the moisture farm, Melissa in what is called the basement, the part of the CIA that's not in the field. Both know that they're frustrated, unsatisfied, feeling stuck and unappreciated. They're not seen as real, formidable humans, but instead as shadows — they're looked past. But they don't know what to do about it.
They are in some dark way freed to become who they want to be, to live up to their potential, by the death of a loved one. Uncle Owen and Aunt Beru — I wrote "Aunt Unspecified" in my notes and had to Google it, and I was like, I bet she has a name. Aunt Beru. We definitely hear Uncle Owen about 18 times. We don't hear Aunt Beru. But whatever — they are killed by stormtroopers right when Luke has to make a choice. He may not have been able to bring himself to leave behind the farm and the only family he's known, but when he finds his home burned, his family dead, he realizes there is nothing left for him on Tatooine. He is freed to follow Obi-Wan Kenobi.
In Spy, Melissa has served as a consultant to Jude Law. She's watched over him. Has put her life on the sidelines to make sure he can fully live his. She fires his gardener while she tries — it doesn't work out. She picks up his dry cleaning. So when he is killed, she has to restructure. She has to figure out who she is without him. And she decides to go into the field to avenge him.
Luke and Melissa are finally given no other choice than to live out their desire for more, for action, for making something of themselves. What's up with uncles, by the way? Uncle Owen, Uncle Ben — don't kill someone's uncle if you're a bad guy. It's not a good move. It's going to lead to a lot of issues.
What I love about Luke and Melissa is their almost naive enthusiasm, their total lack of ego surrounding what they do. They want to be part of something, they want to make a difference, but neither is out for themselves. They're genuine people who feel a sense of duty to those who have come before them, those who have protected them, those who have fought for the side of good. Luke and Melissa throw themselves fully into their missions just because it's the right thing to do.
In Star Wars, Luke Skywalker wants to be an Imperial Military Academy space pilot, but he has to stay home and help on the moisture farm, collect all that moisture. The moment he learns that his father was more than he thought — that his father was a brave man who died in battle — Luke feels hope that he too can make a difference. It's not about making a name for himself, but about showing himself that he can do it, that he has it in him. Just to scratch this itch of wanting to be more.
In Spy, Melissa wants to carry through the missions of the CIA, an organization she does believe in. She's so committed to her work. She keeps helping Jude Law as bats attack her head in one of the opening scenes. Everyone else is eating fun cakes and she's just busy working because she believes in it. There's no glory in that for her, but it's what she thinks is right. She wants to follow in the footsteps of Jude Law and of the agents that came before her.
Luke Skywalker and Melissa McCarthy tap into a different piece of themselves in a way that is inspirational, in a way that shows there is something special in everyone.
The Luke Skywalker thing is hard because some of the movies make it out to be that anyone can be special, while others are like, no, there's certain really famous families and their lineage is special and everyone else can suck it. But in this movie, yes, Luke has the Force, this power he was unaware of that he's trying to learn to control. But he doesn't know that when he commits to joining Kenobi in battle. He doesn't understand the ways it will help him. He is willing to help regardless. He doesn't think he's some superhero. He thinks he's a farm boy.
If Luke hadn't come upon C-3PO and R2-D2, he would have died in his sand hut along with his aunt and uncle. But whether through chance or fate, Luke becomes an accomplice to Obi-Wan Kenobi. And in a battle that has been raging between the rebels and Darth Vader, Luke is a new factor. It is Luke who shot the Death Star right in its little death hole. One man brought down the entire Death Star. That is inspirational. Where are those posters? Like the cats that say "hang in there"? It's just, you too could shoot the one weird design flaw in a giant spaceship. Not as catchy, I guess.
In Spy, Melissa McCarthy thought she was never meant to go into the field. She left those dreams behind when Jude Law kind of suckered her into being his helper on the ground. But it is her immense knowledge of what is happening, of the politics at play, of the nuclear situation that makes her such an asset when she does get to go undercover. When all of the CIA's agents have been compromised, they don't know what to do. And Melissa steps up. Her experiences, her knowledge — that's just as valuable as the people who the CIA had deemed more worthy of the field than her.
She knows she hasn't been trained in ten years. Allison Janney is like, I would send you for training, but we gotta get going. She hasn't shot a gun in a decade, but she is willing to go out and do this. And because she does, she's in the right place at the right time to thwart Bobby Cannavale's evil nuke plans. She follows him, jumps onto his plane, pulls the nuke out, drops it in the ocean with a whole lot of diamonds. That is her. That is her doing something. Making a difference.
What I really appreciate in these films is that they emphasize the power you have as an individual, but they also show how important it is to not just be, but to feel supported. Luke and Melissa become involved with people very different from them, which helps expand their horizons and allows them to grow further confidence in themselves.
When you're around the same people all the time that all see you the same way, you can become stuck in that view of yourself. Meeting new people, expanding your horizons, can allow you to see yourself in new ways. Uncle Owen and Jude Law kept telling Luke and Melissa that they belonged where they were, that they shouldn't branch out, that they were meant only for one life — a life under the radar.
But then we meet Han Solo and Jason Statham — two men who are aggressors, very different from the mild-mannered temperaments of Luke Skywalker and Melissa McCarthy. And they complement those temperaments so well, bringing out more sides of one another and ultimately being one of the most important bonds in each film. Han and Jason show the normally controlled and rule-following Luke and Melissa that there are other ways to be, that they don't have to stay confined to what they've been taught is right — that sometimes they can go with their guts and just trust in themselves.
Chewbacca and Miranda Hart are supportive individuals who are stalwart, who can reach things on high shelves, and who will never flee, who will always be there doing their best, whatever that may be.
What Spy Does Better
Spy doesn't have a version of Leia because Melissa herself is both Luke and Leia. So let's get into that.
Star Wars — incredible movie. I cannot overstate its importance in culture. But Star Wars should be about Princess Leia. Luke is such a nothing in the context of this first film. Whereas Spy finally gave us a movie about the side character that we've wanted a movie about, expanded something that we haven't gotten to see.
When Star Wars opens and we see some robots whining and then we see the utter coolness of Princess Leia, I was like, wow, how dare they peddle this as Luke's story. Even as Han's story — Leia is the story. Luke is the most like the viewer perhaps, but he is hollow. He is half of a person and we see the beginnings of him becoming whole. But in this movie, really, he's just kind of a generic protagonist. He follows the rules, but now he's going to get cool.
Melissa in Spy lets other people walk all over her, but she's smart and she's passionate and all these things that add up to a real person — a real person who becomes a hero. She is both Luke and Leia.
She wants to impress herself. She does what needs to be done because she knows she's the person who must do it. And there's humanity and there's heart. We know her without actually having met her. We understand her.
What helps with that is the way the viewer interacts with the characters of Spy. I felt much more privy to their thoughts — between the mumbled rants from Melissa McCarthy about how other people see her every time she's given a new undercover persona, to how Rose Byrne smiles softly at Melissa as she's shoved into the back of a CIA cop car. We are given pieces of information about these people that flesh out the world and tell us who they are without them needing to spell it out.
What I wish from Star Wars that I loved in Spy is having some genuine self-reflection. With Luke, we really don't get his interior life. We mostly see him as others see him. Whereas with Melissa McCarthy, we can see her internal struggle so clearly. Star Wars has a bevy of interesting characters that we grow with over the course of 80 more movies, but Luke himself is someone we don't know much about in the first film. So much of him is hidden — to be unveiled later. Some of it known to George Lucas at the time, some of it not. We don't know his struggles. We don't know anything besides he's an insolent, bored, sullen teen. Is he 40? Is he 15? Apparently he's 18, but I don't buy it.
It's hard to view this first Star War on its own, not as a setup for greater things. And clearly on its own it did make quite an impact, winning a ton of Oscars for the world that it built. But these characters become so much more than what we see in this first film. The first Star Wars lays the building blocks beautifully — but for me doesn't stand on its own as a particularly great exploration of any of its characters besides Leia, whose tenacity and grace can be witnessed from moment one.
Perhaps these characters feel like stereotypes because they built the world — they influenced the world that we now pull our stereotypes from. But the rogue smuggler Harrison Ford is tired. I get it, he's cooler than everyone. He can't tell anyone he loves them. I get it. I don't get depth from this.
What is fantastic about Spy is that it takes a character who would be in the background in another film and explores her thoughts and feelings. We see how she reacts to how others see her — the constant positioning of her as a divorcee, a cat lover, Jude Law buying her the least sexy necklace of all time, a really mean little cupcake charm on a chain. We see her disappointment in these things so clearly. We see the way she tries to mask her hurt, the way she wants to be known for who she is instead of some sad stereotype people want to pin on her.
We see another side of our villain Rose Byrne. We know her father wanted a son and she tried her hardest to live up to his expectations and take on a more traditionally masculine role. She's a broken girl with a Bulgarian clown for a mother at the end of the day. We see vulnerability from Jason Statham — a man constantly throwing himself into things and shaking himself off when it doesn't go right. There's something about Melissa that brings out the best in him.
The approach of Luke and Melissa is also very different. Luke has questions about his past but not questions about his future. Whereas Melissa's whole world is thrown into a tailspin as she doesn't know who she can trust.
In Star Wars, Luke Skywalker is given the benefit of a clear path. He bumps into Ben Kenobi and follows him into battle. Once he's on board the Death Star, he comes into his own, gets Han motivated to help him save Leia. He doesn't worry a lot about consequence. He's just following what he believes has been set out for him.
In Spy, Melissa isn't given an easy path. No one wants her to do what she does, really. She has to convince them she can go into the field. She takes her choice to leap into action seriously — she knows the risks, but feels like she owes it to Jude Law. Once she's in the field, she realizes what an important force she is. She can't follow the rules. She has to make up her own path because everything the CIA has been trained in has been thrown out the window when they've all been compromised. There's not someone above her giving her orders. There's not a ghost voice whispering in her ear to trust the Force. She has to do what she thinks is right and see how it all plays out from there.
I hope you will give Spy a chance if you haven't seen it. I feel like everyone has just secretly seen it and isn't talking about it. It is a really good movie. As is Star Wars — look, I'm going to start revisiting all the other Star Warses now.
Hit me up at @tastelesspod if you want to talk about Rose Byrne, Spy 2, or Princess Leia. I bet someone out there has a hologram of Princess Leia. Like someone has built themselves their own R2-D2 that plays a hologram. I'm going to look into that.
