The following podcast contains explicit language.

I'm Stephen McCaff, and this is the Slate Culture Gap Fest, Grey Ladies Edition.

It's Wednesday, March 30th, 2011.

On today's program, HBO and Todd Haynes, and a lovely remake of the old Michael Curtiz movie Mildred Pierce.

Liz Taylor, star of stars, has died, and finally at the times erects its paywall at last.

Joining me today are Slate's deputy editor, Julia Turner.

Hello, Julia.

Hi, Julia.

And, of course, our film critic, Dana Stevens.

Hey, Dana.

Hey, Dana.

Dana, we'll get to Liz Taylor eventually, but congratulations on an absolutely beautifully rot obituary on Liz Taylor. It was terrific. It was the best thing that was produced in an ocean of words that came out after she died. That was a wonderful piece. Thanks. I was so touched about your words on it. I really enjoyed writing it. I mean, as much as one can enjoy writing an obituary, but something about eulogizing an actor or artist that you actually care about. I mean, it's something that's very pleasurable to do. You're talking about the Facebook post that I put. Yeah, you praised me. No, no, I had my assistant do that. Dana, let's start with you, since this is a remake of a movie, it was directed by Michael Curtis, right? Why do I keep saying that name over and over again? Did he direct, like, did he direct Casabanka or something or no. He did. Okay, I knew it was in my head for some reason. Anyway, Todd Haynes and HBO have teamed up to remake this classic Joan Crawford film, Mildred Pierce. Julie and I have watched only the first hour of it, so we're eminently spoilable, our, you know, anticipation and pleasure that we're taking in this can be dashed. It's in your hands. Treat it gently when you tell me, what do you think of this? You've seen more of it than we have. What do you like about it? Well, one tip off is that I plan to only watch the first hour as well, because I knew that was all we would probably be discussing and there were time constraints. But the fact is that the first two hours aired back to back on HBO on Sunday and I could not tear myself away. I couldn't stop watching the show. And I wish I could have watched it all in one sickening six hour or five hour swoop. Is it five hours long or six hours? think five, yeah. Five hours. I thought it was really

terrific. I mean, honestly, it's less of a remake of the old Joan Crawford movie than going back to the James M. Kane, you know, the novel that's the source and turning it into this long mini-series. You can tell that, you know, pretty much every plot thread is going to be spun out because it's really taking its time telling the story. But so far, I think it's fantastic. It's made with

immensely meticulous. spun out because it's really taking its time telling the story. But so far, I think it's fantastic.

It's made with immensely meticulous patience. Julia, I only have one line of notes to

prep me for this segment because I loved the one hour that I saw so much. And this will stand

me in very poor stead. So I turn to you to fill the dead air.

What did you think of this?

I don't think I liked it as much as you guys.

I mean, I liked it.

I did like it.

And I had to rip myself away from hour two only because if I'd kept watching it, I wouldn't have time to have also seen an Elizabeth

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