You Betta Delta Work
"There's always a light at the end of the tunnel. Sometimes, it's a freight train, but sometimes, it's hope."
There’s a lyric in RuPaul’s 2022 song “Just What They Want” where the venerated drag performer and television host says, “They wanna see you go off.” And though she’s not referring to Delta Work, a former contestant turned Emmy Award-winning hair designer on her show, RuPaul’s Drag Race, Work has adopted the phrase anyway and made it a key segment of her celebrated Luxury Public Access Podcast and YouTube Talk Show, Very Delta. There’s something very Delta Work-ian about taking something that could be a source of pain (more on that later) and turning it into a source of pride.
What does it mean to “go off”? “To speak off the top of my head about the day’s foremost little fish I need to fry,” says Work. When I was on Very Delta in January, we went off about the Cheesecake Factory. Work takes the sentiment, “Aren’t there more important things than _____?” and responds, quite simply, “No.” How refreshing!
“What is it you love most about Delta?” I asked Twitter sweetheart Yolanda Fister, a self-described scholar of the Texts of Delta. “The fact she’s always been unafraid to call out the bullshit whenever she sees it. It doesn’t matter if you’re a mega corporation or an impolite friend-of-a-drag queen backstage, she’s not worried about a brand deal or industry clout, she just wants one fuckin’ line of mayonnaise on her sub and for people to talk to her nice.”
And the Internet, a famously hard-to-please space, loves her. “Delta Work reminds me of all the women that raised me, like that’s mother,” reads one tweet. “I'm a simple person... if I see Delta Work, I'm engaging with that content,” reads another. The best and truest? That’d be this one: “I genuinely think Delta Work would make an excellent presidential candidate.” While I wouldn’t want to put her through all that, I will say that Work deserves the world and I couldn’t be more delighted to have the chance to chat with her once again.
A few days ago, a former U.S. intelligence official told Congress during a hearing that “non-human biologics” were recovered from crash sites. A Twitter user by the name of Will Kellogg then tweeted, “If the aliens are real, I do believe the first person to interview one should be Delta Work.” Are you up for it?
I am definitely up for it. I think the way to make that connection is to start with the thing that connects all of us, and that is fast food. I want to know what's happening in Saturn's onion rings. I want to know what's happening in the Milky Way, because they have to stop for food, right? And they know that at least in the United States, what connects people is convenience and convenient food, so that's where I want to start.
Were you alarmed by this confirmation that aliens exist?
I was satisfied that people were finally acknowledging something. Obviously, they've been here. They've never not been here. I feel like they created this! This game is not new to them. They know the adjacencies; why things happen, how they happen. We're basically playing in their game; we're playing on their little field.
Absolutely. Another hot topic I wanted to get your thoughts on is that Bethenny Frankel has come forward recently wanting to start a reality TV star union amidst the writers and actors strike in Hollywood. As both a prominent social commentator and a former reality TV contestant, how do you feel about that?
I wish I knew more about the union in general — SAG-AFTRA; I know that it's necessary, I know that I'm 100% in support of actors and writers and makeup artists and any tech people and I would take their lead before I would form an opinion, just because I don't know enough about it. There was a point where I was going to be part of that, and again, the reality show game itself is very interesting — especially when you see it from behind the camera as well as in front of the camera, [because] I worked as talent and then I worked as crew, and I realized that you really do have puppet strings on you and people can decide for you whether or not you are going to be part of that. So that's all I know from my personal experience — which is very limited — but I do hear now that the contracts and stuff for shows like Drag Race (and this is all just a rumor); a lot of those assets and things are owned by the show and a lot of permission has to be granted for you to make appearances or do things like that. I recently saw a TikTok of Tim Gunn talking about Project Runway and the things that he thought were happening on the show that were not happening. It seems he didn’t realize how much of your life is owed to reality show producers when you are a contestant. And as a reality show contestant, you're told you're a contestant but you're also a cast member; it’s a contest, but they're creating a storyline.
I, too, want to know more about unions, specifically SAG-AFTRA and how it all works. One thing I've appreciated about this moment in time is people like Tim Gunn making these TikToks and creating a level of transparency around how things work because I think when consumers of media understand these structures, it creates more incentive for those in power to potentially change or create more equity in the industry. A lot of reality TV contestants, especially on a show like Drag Race, put down a lot of their own money in order to compete on the show, and there's a real serious conversation to be had there about whether or not it's realistic and the financial barriers that exist to enter some of these spaces. Now, your show, Very Delta, is described as the following: “Legendary Emmy Award-winning drag queen Delta Work hosts this Luxury Public Access podcast and YouTube Talk Show where she looks gorgeous, welcomes very special guests, and goes off on important issues that are Very Delta.” I want to zoom in on the “going off” of it all, which, in my opinion, is where you’ve found your sweetest spot. It's not easy to put a microphone in front of a person and have them go off. The only other example I can think of in the modern era that does it with your level of acumen is Wendy Williams. How do you decide what to go off on? What you're doing is long-form monologuing. What is the preparation process like? Are you spitballing? Do you have a game plan? Is it a roller coaster ride you get on and see where you go?
This all starts from birth; I'm an only child from a single parent and I'm an Aquarius. Those three things are super, super dangerous because that is the person who will find so many voices in their head and talk to those voices back and forth. So as a kid, I was always left alone and I was always watching adult television, like The Love Boat and Charlie's Angels. But as far as actually going off each day that we do the podcast, it's really just the thing that's in my brain in the moment, and the problem that I find in doing it is that I always want to go back to certain things. And I know I've said this before, but I feel like people just hear me, but I need them to listen to me. I need them to listen to my words. I need to understand why people are making a right turn from the middle of the street; why can't you hug the curb? I don't understand why there's soda on the lid. I don't understand why there's no ice cubes in an iced tea. I say the same things over and over because people are interacting with me on Instagram and they're like, “You're right,” and I'm like, “Okay, well did you tell anybody? Because I just went to Chili's and it's happening again, so we're not getting the message out there.” And I know I'm crazy, but it's usually just whatever is pissing me off in the moment. And I like the fact that there are other like-minded people like yourself that are like, “I've just had enough.” I don't know if it's clinical. I don't know if it's social — it's clinical. It has to be!
Have you found validation in hearing from people like me and other listeners of the podcast about things that you might have formerly thought were your crazy thoughts alone being co-signed by others that either say, “I, too, am crazy,” or maybe, “None of us are crazy?”
Yes! The validation is super, super important because when we wake up every single day, we're like, “This is the country we live in. These are the people who are running the country,” so we have to find these things that we can have some control over, which generally involve our pocketbook or things that we can say “yes” or “no” to immediately, and that's why I’m constantly complaining about a restaurant or a store or traffic laws or things like that. What happens is a lot of people and a lot of companies are like, “People are grateful for anything, so just do anything and it doesn't matter.” The workers realize that they are not being compensated fairly, so then they're like, “Who cares? I'm just gonna slowly quit here. I'm going to just do whatever because it doesn't matter,” but then they're shitting on the people that are coming in here expecting something; at least the minimum that they're paying for. I don't feel like I'm crazy, but I just say that sometimes because I know there's people out there that think, “There are much bigger fish to fry! There's so much going on in the world. Is that all you can complain about?” No! It's not all I can complain about, but it is something I can possibly control and I know I can at least get to someone. I can ask for the manager. Is that a Karen thing to do? Yeah, maybe, but you know what a Very Delta thing to do is? Call the President of the United States of America and let him know that we're tired of $100 application fees — and he just tweeted that he's going to look into it, so obviously somebody is getting the message.
Another thing that I really respect about you is, as you explained earlier when we were speaking about the SAG-AFTRA strike, that you’re willing to say, “I don't know as much as I would like to know about this.” I think that a lot of people today have a hard time admitting — or even recognizing, in some instances — that they don't fully know what they're talking about. It's okay to not speak about something that you don't know about. I think there's an impulse for a lot of people to be the loudest voice in the room. At one time in my own life, I thought I knew everything, but now I'm finding I’m more often happy to read about something that I don't know well rather than speak on it.
I hold a lot of space for people who say, “Tell me more about that. I don't know what's wrong with this or that. How do I pick that? Am I cooking that right?” I love that. But I never thought I would be that queen that's the old queen in the room, and I’ve realized that in some ways, I am; 20 years ago, I was around other people and we would be like, “Oh god, that's the old queen in the room,” and now I'm like, “No, I am that person.” But generationally, I think the viewpoints change because we've been presented with a different set of social, political, and ethical issues. I'm Generation X and it's a weird place to be because technically we’re closer to a Boomer but we're still running around in Chuck Taylors and tank tops and we're like, “Wait, no! I don't feel old. I feel like I'm still at the table for this conversation.” I'm around other queens who maybe have not been around Drag Race or they don't specifically know people from Drag Race, but they think that because they watched the show or they read something that that rumor is something they can run with. So they'll say, “So and so is going to be on next season,” or, “So and so said this happened,” and it’s like, “Well, it's interesting that you would have so much knowledge” and you're throwing that around and I'm sitting here absorbing every bit of that and I just think: Stop pretending like you know everything about it and give people a fucking break. Not everybody's gonna fight with everybody. And this is not young queens or old queens; these are just people who are fans of Drag Race — which I think is wonderful, but I've said it over and over: There's a difference between being a fan of Drag Race and being a fan of drag, but there's also a difference between being a fan of playing with Barbies and playing with dolls; they're different.
I also think there's something to be said about being able to hold on to information and not feel the need to espouse it. Say you know a queen that's coming on a future season; it's okay to hold on to that information and not feel like you need to hold some sort of power in having knowledge that others don't. I was at a show the other night and I ran into Andy Cohen. I went over to him — as I do — and I was like, “The opportunity is now! I'm gonna pump him for some information, because I have a lot of questions about what's going on in the Housewives cinematic universe.” I got all my answers, but I didn't feel the need to then go and disseminate them or tell anyone, because it's stuff that no one needs to know. On Andy’s radio show, he called me “vaulty” and it was one of the biggest compliments I've ever received, because a younger version of me would have been like, “I have tea. I have the power of this tea!” The older me is like, “No, the power is really that I have the trust of someone with such knowledge that they feel comfortable coming to me and know that I can hold on to it.”
There's something so special about that, and going back to being in a room where there were queens talking about this information they have — which I knew was all inaccurate — I was like, “I want to like you and I probably would like you, but creating this personality based on ‘having the tea and this information’ when I know God damn well you don't makes me really rethink who you are.” I would rather be talking to somebody who's like, “I don't really know much about that.” To me, that's more interesting because at least you're not putting up this pretense. I'll have people that will interview me or talk to me and they'll say, “Tell me about your character, Delta Work,” and I'm like, “It's not a character. It's not. It's just me.” I change my outfit and I put on glasses because I like those things. Do I create a character out of that? I don't think so, because these are all my viewpoints; being in drag gives me carte blanche to maybe say a little bit more because I feel it. I think it's a different delivery. I think it's like [the difference between] writing a note to someone on a Post-it and writing it on rose gold stationery.
So what are your drag references?
In Dirty Dancing, there was a woman who had a backless dress and she was like the rich wife of the big spender there and she was the original sort of MILF. She was getting free dance lessons from the waiter.
Yes!!! The specificity of these references — I think a lot about young queens today, especially on Drag Race, when you have a runway and someone is like, “I'm giving you Mugler” or “ this is Vivienne Westwood,” or in pop culture, I think about Mean Girls and other references that are made so often that they lose any sense of meaning whatsoever. One of the things I've always been attracted to about you is not only the breadth of your references, but the specificity of them. How do you define or describe that?
I don't know if it's proper terminology, but when I was coming up in drag, my goal was to be a female impersonator. To me, that was emulating all of the aspects of strong women, weak women, beautiful women, homely women — anything that seemed elegant, sophisticated, motherly. I have tons of people that will say to me, “Oh my gosh, you remind me of my aunt,” and then everyone else will laugh but I'm like, Thank you!” because you're telling me that I bring you some level of comfort; I’m someone that you could go to. I'm on Cameo, and one of my favorite types of Cameo requests to get is: “Can you just let me know that everything's gonna be okay?” And I'll say to them, “I'm gonna tell you the truth, babe: There’s always a light at the end of the tunnel. Sometimes, it's a freight train, but sometimes, it’s hope. Sometimes we have to deal with the fact that we're gonna get fucking slammed by a train, but you're gonna be able to get up. I know that!” I know that I can be a fatalist for myself, but I see hope for other people and I know there's hope for me. These women that inspired me when I was coming up came mainly from television, specifically Charlie's Angels. There were the three original angels, and then other angels would float in with their own flavor. I always identified with the angel Kelly, played by Jaclyn Smith. There was something she did with her hair that I loved. It seemed like the Breck model; it was just brushed through, but it wasn't teased.
Since I didn't have siblings, my cousin's were around all at the time, and they were what you would call cha-chas, which were girls that were not Cholas, but they were party girls who wore their bangs teased up and hot pink lipstick. To this day, I'm still looking to find a perfect Tiki punch, hot pink lipstick because I remember thinking they were so glamorous. There was something about it. I think of Lita Ford sitting on a block of ice — that's a reference point to me when somebody says, “How much ice do you want?” I'm like, “I want to feel like Lita Ford sitting on a block of ice; that's how cold I want to be.” What's the perfume? I want to open a window and scream, “Égoïste! Égoïste!” That's how much I want you to smell my perfume. The Love Boat: Jean Kasem at award shows — are you kidding me? Jean Kasem in drag with Casey Kasem!
When I was a kid, my stepdad was at the Naval Hospital in San Diego and everyone kept saying, “Oh, Ernest Borgnine is here!” and I was like, “What's an Ernest Borgnine? What does that mean? I'm eight years old.” I remember we were sitting in the lobby and my feet didn't even touch the floor. I was sitting there twiddling my thumbs and I look over and these double doors open and this woman walks in, and she's wearing a peach suit with peach high heels and she had stockings that weren't her skin color — they were lighter — and she had this orange hair that was just brushed back with a bit of pomp in it and her bag was a clutch. She walked up to the counter and she said, “I'm here to see my husband Ernest,” and everyone turned around and they were like, “That’s Ernest Borgnine’s wife!” and I thought, “Oh, she looks so powerful. Everyone knows who she is. She's so glamorous. Who is that?” And it wasn’t until years later when I figured out what a computer was in high school and I was like, “Who was that lady?” and I found out it was Tova Borgnine. She was everything I wanted to be and she had this beautiful gentle smile, and I remember she walked past and she looked down and she said, “Hello!” and she looked at a few people and she just kept walking and it wasn't bitchy; it was confident. It was glamour!
We need more of that! Who were the men you were lusting after in your earliest memories of being attracted to men?
I remember watching VH1 in the early 90’s, and I was in love with someone called k.d. lang. He sounded so sexy. He made me feel like my young hormones were going and I was like, “This boy looks young, but I can tell he's grown. He's delicate, but he's masculine. He's soft, and I'm in love.” And I remember later, somebody saying, “Oh, that's a gender bender,” and I thought, “Oh really? Is that the name of the song?” I didn't know! And they were like, “That's a girl. That person's a girl!” and I thought, “Well, you have to be wrong about that!” That was the same time I learned about RuPaul, and when people were like, “That's a man,” I said, “That's not possible! That's just a French model or something. Maybe people look different in France.” I was a kid; I didn't know. And with k.d. lang, I'm glad to be in 2023 where regardless of what you're told or what someone was assigned or whatever, you can still say, “That person makes me feel fucking great!”
That is so much of the power of celebrities; it's not necessarily about us needing some sort of proximity to them. It's this sort of ephemeral power that they emanate that allows us to see something in ourselves through them. And I think that gets lost nowadays a lot because it's veered into standom and the deifying of famous people, rather than understanding that they really can be light shiners in many ways and the focus can be on what they can do for us. Now, you mentioned RuPaul, and I think what's so interesting about your long, winding relationship with Ru is, as you mentioned, you grew up as someone really looking up to Ru at a time way before Drag Race. So you began as a fan of Ru, then you go on to be a contestant on her reality show, then you end up working behind the scenes on that reality show (earning an Emmy Award as a result!), and then you have some sort of falling out. How do you look at it all in retrospect, when you have these many machinations of your relationship?
I always hate when people say, “Oh, you can disagree with somebody but still love them,” but there is a place where can’t reconcile with that disagreement anymore. And this had nothing to do with politics as far as the government, but it did have to do with the politics of the Hollywood machine. I will always be in love with and respect the image of the supermodel; it takes very, very little to make RuPaul look gorgeous. To me, RuPaul is the standard of beauty, and what I had to realize is that I had to respect the work of a lot of people that helped create this image — Mathu Andersen, Zaldy, and now myself and Raven; all these other people that go into that. I can respect the aesthetic beauty of that and also separate the fact that this is a person who is the only person in that position. So with RuPaul, when these decisions have to be made — who's the other RuPaul? Who else has been raised to that position? Do I think there are other people like RuPaul? Sure. Jackie Beat, Coco Peru; a million entertainers that I think should be elevated to that status and are of course elevated to that status and revered — maybe even more than Ru — by our own community; but by NBC and ABC and things like that, there's only one person in that position. It was a weird place to be in because I definitely expected more, but I shouldn't have expected more. People say, “Oh, you shouldn't meet your idols.” Well, I didn't necessarily “meet my idol” in that manner. I remember going to see RuPaul in 1995 when she was filming her VH1 show here in LA and I remember her coming up and she had napkins underneath her underarms and she came over and spoke to the crowd during the break and she had these shoes on, and I thought, “Oh my gosh, those look like elegant lady shoes,” and someone said, “I love your shoes,” and she said, “Oh these are Marc Jacobs,” and I thought, “How does that really tall queen have shoes like that, that are designer shoes, not stripper shoes?” And fast forward to when I was working on [Drag Race] and we were unpacking everything one day to set up and I thought, “Those are the shoes!” And we jokingly called them “the mushrooms” because they were this mushroom, tan color. So there's so much I can look back on and it was such a fun ride and I love it and I miss it. Maybe that wasn't the place for me. I know that if I had continued working on the show in the capacity that I thought I was going to work on it, I would be owning my own home right now, not renting it. I don't think RuPaul disliked me, per se; I think that RuPaul was just like, “This is a machine. This is how this works. I don't owe you anything. And I really don't want to spend my [time] on you; I'd rather spend it on people that I think I'm going to have a long term relationship with, so fuck off.”
I remember when you appeared on Willam and Alaska's “Hot Goss” podcast in 2019 and I was blown away by your transparency about everything that had gone on. I had never heard anyone in the Drag Race universe, or anyone in the reality television machine, fully describe what had really gone on. In some instances, there are NDAs, and in other instances, people want to stay in the good graces of the show and hope to return for an all star season, so they have to make sure they mind their Ps and Qs. And it's not as though you weren't minding your Ps and Qs, because you were incredibly thoughtful about what you spoke about, but I was just so moved to hear your story because it was something that I didn't know. I'm wondering if you heard from people that didn't know your story or had distanced themselves from you or that you hadn't heard from that came to you and said, “Delta, I empathize with all that you went through,” because you were really put through it.
No, I didn't. None of that happened. [Laughs] The people that have always supported me supported me through it, and the people that are conditioned to not like me for whatever reason looked at it as, “Oh, you took another opportunity to keep talking about this thing. Why don't you just get over it?” I'm never going to stop talking about it. I'm never going to feel bad about talking about it. I will always answer people's questions. But once things started falling apart a bit and we heard about fracking and whatnot, people are like, “Oh, well I heard this is happening and that's really shitty.” I just sit back and I file my nails and I'm like, “You know what? I'm not saying shit. I already said what I said and if somebody asks me, I will bring it to the table and I would love to continue the conversation — and I always will.” But you all are going to find out, sooner or later, that the things you love and revere are not always exactly as they appear, and I'm not telling you that I have to be your favorite, but stop with the constant “this is not true.” Is it not? Why wouldn't it be?
There was one detail you mentioned on that podcast that was a lingering question mark in my mind: It was my understanding that you and Raven were friends and that you went into this endeavor together. You were both former contestants on the show who had been elevated to continue on with the show, but in a behind-the-scenes capacity. You really were the first two that we saw do this — and I believe, to this day, the only two to do this. It's my understanding that you and Raven no longer have a relationship. It seems that the road diverged; Raven made the choice to be a part of the machine, and you were sort of forced off the machine. Can you illuminate anything about this friendship?
We've been friends since 2002 and have done a million different things together after Drag Race. We've traveled and done shows together all over. And then, when we worked on Drag Race, we flew with RuPaul to the UK to shoot the Pirelli Calendar, where RuPaul was the Queen of Hearts. And you mentioned choice vs. not choice; there was a choice involved. Definitely. And there was also an ousting at the same time, and the ousting had to do with the specificity of the choice. When we were moving into AJ and the Queen, the story was: You have to be a union member. And we said, “Okay, how do we do that?” and they're like, “Well, you have to have your union hours, which you can get from being on the show, and then you have to pay your $5,000,” and I said, “Okay, well I don't have $5,000 at my disposal,” and they said, “Well, you have to have $5,000 to join the union or you don't work on the show,” and I said, “Okay, well then I guess I'll just muster up the $5,000. It comes out of a savings account, but let's do this,” but I didn't understand why it sounded like I was the only person that was pushed into this corner when I had just won an Emmy for the show. When we did go into AJ and the Queen, the other story was I said, “Well, now that it’s a different production with a different production company, what days do I need to be there?” because on Drag Race, you would only have to be there on the days that Ru was in drag. With AJ, they said, “You'll be there every day on the call sheet, from beginning to end,” and I said, “But if she's not in drag, what will I be doing?” and they said, “You'll be doing hair on the extras,” and I said, “No, I won't be doing that at all. They have other hairdressers for that; I do the star's hair.” And I was mostly in a hair room, and Raven was doing makeup with Ru all day to create that bond and that understanding of one another — I was not involved in that sharing, so there was going to be a disconnect all the time. And we have to also understand that during that transitional time, Ru did not lose a makeup artist and a hairdresser that can be replaced; she lost a best friend who helped create her “character” [Mathu Andersen]. So somebody needed to be back in there to help relay decisions from RuPaul to production, and they don't want a bunch of people running in and out of there and Ru doesn't want that, so she needed a go-between and it happened to be an excellent makeup artist who she now trusted who could now also operate as the go-between. And that's a job description that wasn't listed, but they wanted to spell out which one of these people could do that, and I think they realized the person who's literally inside Ru’s mouth all day is probably the one we're going to trust the most. The other one, that creates hats out of hair? We can get a lot of people to do that. There's a lot of wig shops on Hollywood Boulevard; just grab one of those! Any one will be fine. So that relationship with Raven didn't dwindle. It was really sobering and a hard pill to swallow when I realized that I thought I had this friendship with somebody and they did not feel that way at all because they were willing to throw it out. I didn't expect anybody to be like, “I'm quitting my job [in solidarity],” because she didn't make that decision; this had nothing to do with her. But it's sad, because I realized I would have at least thought she would come up to that proverbial fence and say, “Hey, I know you're on the other side, and I'm on this team right now — I've got a family to feed — but I didn't make this decision, and I wish great things for you.” But that didn’t happen. It definitely feels ugly.
Are you the kind of person that — if/when she were to come to and recognize that this friendship existed and could exist again — would be desiring or willing to see that friendship re-blossom?
No, because I'm ethical, but I'm also petty; I don't fucking ever forget. And this wasn't because it was that difficult. It's because it was that lazy.
If we were to take the behind-the-scenes elements out of the picture, is there a part of you that would want to return to Drag Race for an All Stars run — solely to have a chance to compete as the 2023 version of yourself?
A million percent. I think about it all the time. I watch All Stars and I'm like, “What would I wear? How could I be different?” And when I look at Snatch Game, I'm like, “Oh, my god! The missed opportunity of Abby Lee Miller — are you fucking kidding me? Marguerite Perrin, the God Warrior?” Some of these are spelled out for you, and RuPaul even says that to every single cast of characters; find what's in your wheelhouse already. Find what's already in there, what spells itself out, where you already come from, and then give us that.
I would love an All Stars season with you and Pearl and Willam and the girlies that are not going to be coming back on your own version of All Stars. I'm willing it into existence!
Something I think about with some of the girls is, if we were on All Stars together, what would our team be called if we were to be on a team together? And there's so many dangerous combos out there that people don't realize are actually friends in real life. But because they look at their two aesthetics, they're like, “Why would they be friends?” But then when you see them together and they're like interacting — like Biblegirl and myself, who don’t seem to have anything in common, but we actually have everything in common.
So right now, everyone is talking about Barbenheimer and I'm curious, because I know you are someone with a great love and appreciation for dolls: Have you seen Barbie? And also, what are your thoughts on Barbenheimer and this sort of monolithic cultural moment we find ourselves in?
I have not seen the Barbie movie yet; I'm gonna see it, for sure. But I am always, always late to any cultural phenomenon, and I don't know why it is because I have the phone sitting at my fingertips. I have never seen a Lord of the Rings movie. I have never seen Harry Potter — I thought they were the same thing forever. I truly did. And it's not because I think I'm above it; I'm afraid that when I get into it, I'm not going to understand everything as much as everybody else does and then I'm going to feel dumb. This is going to be TMI, but I don't even know what the Oppenheimer movie is about. I couldn't even write you a cover sheet with the who, what, where, when, why and how — I couldn't! If you told me it was the 1940’s and it was about a butcher, I would believe you. If you told me it was about a child who worked in a steel mill in 1910, I would believe you.
How Very Delta.
The legend. I love her so much!
I loved your podcast episode with her and this interview was so insightful. I had no idea how much she's been though. Thank you Evan!