[light music]
♪ ♪
- [muttering to self]
- Ooh! - Oh, oh, gosh, gosh.
I've got it. It's all right.
- What a mess.
Oh, it's a day of all this.
- It's scrambled this morning, darling.
It's just the advance team today.
We have plenty of time to prepare.
- Nervous?
- Well, with you by my side,
I know I can't screw this up too badly.
Thank you for being here.
I imagine Blanche isn't too pleased.
- As pleased as Blanche gets about anything.
I'm your editor,
and "Life" magazine interviewing you
is as big as it gets--
four million copies per week!
I'm supposed to be here.
It's my job, and besides that, I-I want to support you.
- Well, I appreciate it, but...
that numerical detail has made me even more nervous.
Four million copies?
- A great place to mention "Mastering" part two.
[both chuckle] - Here you are.
- Oh, yes. Thank you, Paul.
- Well, uh...
you look exquisite today.
- And you are exhausting. [both chuckle]
[doorbell ringing]
Fuck, they're early. - Oof.
Cha--
♪ ♪
What are you doing here?
- Captain...
you look spiffy.
♪ ♪
Hello, Ju-u-lia.
- Charles... [door closes]
To what do we owe the pleasure?
- Well, I was in the area,
and I thought I'd drop in on my baby brother.
- Still counting those 90 seconds?
You do know it's polite to call first, Charles.
We have quite a bit going on in the house right now.
Are you planning on staying?
- Uh, Charlie Child, and you are?
- Judith Jones. - [gasps]
Allies in alliteration. - [laughs]
- Judith is a dear friend, brilliant editor,
and current houseguest.
- Oh. Mm.
- It's so good to see you. - Been too long.
Do I smell coffee? - Uh, uh, the finest.
- I thought I'd surprise you.
See, my wife needed a break from me.
- Again? - Oh, I can't imagine why.
[French press thuds]
Little help with the coffee, please, Paul!
- Cream and sugar, Ju-u-lia!
- He can't stay with us. It's not possible.
With "Life" magazine and Judith here and filming the show...
- The timing is terrible, I know, but it's family.
After all, he's my big brother.
- Oh, for God's sakes, you're the same age.
- She can't even do a little interview
without you, huh?
- "Little interview"? It's "Life" magazine.
Everyone reads it.
- Ooh, not I. It's a bit plebeian.
Oh, this house... [rain pattering]
It seems smaller than I remembered it.
Shall we bunk together?
- I've decided I'm going to check myself into a hotel.
- "A hotel"? No, I won't hear of it.
Oh, no, you must stay.
You're here to keep me from bungling this whole thing.
- I'll be here every day and at GBH for rehearsals.
I promise.
There'll be no bungling on my watch.
- But the cost is-- - Julia is right.
Don't leave on my account.
- Not on your account, on Knopf's account.
I want to, really.
- I suppose it's settled, then.
- Oh, it's settled.
- Where are they?
I have a meeting with Hunter about Season 2
that I need to get to.
- Go.
Paul and I will man the fort, get "Life" magazine set up.
I have plenty to read while we wait for them.
- Can you expense the room for Charlie instead?
[The Exciters' "Tell Him"]
- ♪ I know something about love ♪
♪ Gotta show it ♪
♪ And make him see the moon up above ♪
- [laughs]
- ♪ Reach out and get him ♪
♪ If you want him to be ♪
♪ Always by your side ♪
- And voilà.
- Oh, sunshine, that looks perfect.
- You look perfect.
- Mm. - Mm.
- ♪ Tell him, tell him, oh, tell him ♪
♪ Tell him right now ♪
[both laughs]
♪ ♪
- I'm starving.
- Me too.
This morning was...
- Spectacular.
- We really earned this.
- Mm-hmm.
- [chuckles] - [mutters to self]
♪ ♪
[indistinct chatter]
- Good morning, Benny. - Morning, Julia.
- Excuse me.
What is that?
- This is the GE TCF Spacemaker 2000.
- Ah! You beat me to the good news.
[chuckles]
Product placement.
Companies will pay to see their merchandise on TV.
- You mean on "The French Chef"?
- Of course on "The French Chef."
No one's watching anything else.
We can fund all our new programming this way.
GE has already covered Alice's pilot.
- But I've never even used these before.
- Well, they're cutting edge.
[laughs]
- Oh, Hunter, I'm not sure about this.
I'm not a salesman. I'm a teacher.
- But that's all you have to do.
- What? - Teach.
Do exactly what you've been doing.
Nothing will change.
Just use those, also these and...
this.
You know, uh, you won't even notice a difference.
I promise.
Don't worry about it.
- Oh, Alice.
Oh, those are lovely. - Thank you, Julia.
- Hunter, sorry to interrupt.
They are waiting for you
at the "By Women, For Women" taping.
- Oh, right. Uh, coming, coming.
- Yes, break a leg.
- After Russell's show, this has to work.
- It's going to.
♪ ♪
[indistinct chatter]
- Right. There she is. - Oh, okay.
Who? - Kathleen, our host.
- [softly] It's progressive...
- [exhales sharply]
- Okay...
just a little final touch. Okay.
- Hey. - Wow.
- Look at this. [chuckles]
- Okay, people, it's go time.
[indistinct chatter]
- Um, hi, everyone.
I just wanted to say thank you
for all of your hard work.
Thank you to our host, Ms. Gordon,
and to our panelists for believing in this.
There are so many conversations that happen between women
in this country secretly--
in office hallways, in women's bathrooms,
whispered behind closed doors.
We are going to bring these discussions to the forefront
to help us all feel less alone out there,
or at least that's my hope--
that it will bring us all together.
[chuckles] It is something that I learned was possible
from watching Julia Child.
[women gasps, ooh]
Television is a bridge...
[imitating Julia] Especially if you can make it joyful.
[laughter]
[normal voice] Anyway, I am just--
I am just so thrilled that we are all here,
and I will stop talking now.
So break a leg everybody.
[applause]
[bell ringing] - Okay, and 3, 2...
- I am a married woman,
and I was denied contraception by my doctor.
- I'm a married woman with four children,
and I believe I have a right to choose whether I have another.
- Can state law prohibit married women
from using contraception?
That's the question facing the Supreme Court
in Griswold vs. Connecticut.
We'll take a close look at that today
when we discuss birth control in America.
- It's a tough pill to swallow. [laughter]
But we're going to have a good time here today.
I promise.
- I'm your host, Kathleen Gordon,
and this is "By Women, For Women."
[upbeat music playing]
♪ ♪
- Wait. Wait. Wait. Why are you moving that? I--
Come on.
I-I don't think this so-called art director
has any understanding--
- Hunter wants to do something called product placement
on "The French Chef."
Companies will pay to have me hawk their wares on the show.
- Hmm. That's an interesting idea.
- They have changed "The French Chef" set.
A new icebox-- the GE Space-whatever 3000.
- Well, now, is a new fridge so terrible?
- Really, Paul?
Are you enjoying having your artwork rearranged?
- No, no, I--
Where is she going with that?
[dramatic music]
♪ ♪
- [sighs]
♪ ♪
Steak au poivre.
It was Freddie who taught me how to make the sauce.
Oh, shouldn't bring him up.
- Oh, God!
- Oh, darling, it's wonderful. Mmm.
Might have taken it off a bit earlier, though.
- Mm, Charlie Bones approved the blueprints for France.
- I had some thoughts.
- You can critique it once it's finished.
Come visit us.
- Oh, the French-- not my people.
Always there when they need you.
The house will be quaint, though,
once you fix those design issues.
- Charlie is a talented architect.
- Amateur architect.
- Mm, I designed and built my vacation home in Maine.
- Mm. - I wrote a book about it.
- It's very beautiful-- the book, too.
Charlie did all the illustrations.
- Captain, you're making me blush.
- Okay. I got to ask--
why do you keep calling Paul "Captain"?
- Oh...
funny story.
When we were five, six... - Seven.
- I blinded Paul in the left eye with a needle.
- Hilarious story, isn't it?
- Permanently? - It was an accident.
- Of course it was,
but Paul had to wear an eye patch for months.
He looked like a little pirate.
- We were obsessed with "Treasure Island" as boys.
- So I called him Captain One Eye.
- Charlie was Charlie Bones. - Aye.
Yes, and then eventually he just became Captain.
- You know, it actually made me feel better,
turning it into a game.
- I had no idea, Paul.
You're such a gifted visual artist,
painter, photographer.
That's remarkable. - [grunts softly]
- Yes, he is a marvel.
- Would you pass the pepper, please?
- Doesn't let anything get in his way.
He was scared of heights, and he decided to conquer his fear
by repairing stained glass
in the upper reaches of great cathedrals.
They dubbed him Tarzan of the Apse.
- Oh. [giggles]
- Julia, tell me, why is it you and Paul left Europe?
- [stammers] Why are you asking?
- It must have been jarring
going from such an exciting life to settling in Cambridge.
Why would you do that?
- Where's this coming from?
- Those are some questions you should have answers to.
- The interview questions?
Well, how did you get them?
- I chatted up the art director.
She had very good taste.
Managed to grab them while she wasn't looking.
- Does he want it raw?
It was steak au poivre, not steak tartare.
I took it off at the decisive moment.
- I don't know why you let him get to you, Julie.
- Thinks the sun shines out of his ass.
- Well, that's not his fault. Mother thought that, too.
He's always been the favorite.
- Oh, sure, blame the mother.
And he stole the questions. - It's useful having them.
- Well, he could have given them earlier.
And the questions themselves, they're intrusive.
Don't you think?
It's nobody's business why we left Europe,
and we can't just tell the truth now, can we?
Not the whole bald truth.
People could use it against us and twist it.
- My, that's dark.
Is it really is serious as all that?
- Well, no, I only mean if we don't figure out our story,
they'll tell it for us.
- Right. And we can't whisk it.
- No, Paul. - [chuckles]
- No. - All right.
All right, let's figure this out.
How do we want to approach "Life"?
- What if I killed Charlie during the interview?
- You'd sell a lot of magazines.
- Thank you for watching "By Women, For Women."
Let's keep the conversation going.
Till next time.
- [sighs] [upbeat music playing on TV]
Ooh.
- It's very good. Isn't it? - [laughs]
Yes, very, very good.
- She did it.
I-I-I mean, this could really be something.
There's nothing else like it. - It could be big.
Certain parts were a little explicit--
the diagram, for instance--
but, yes, she did it!
Whoa, man. - Hey, grab lunch?
- Um, I have to go meet the sales reps
and then rehearsal.
Don't you have somewhere to be?
- No.
No meetings, calendar is clear.
- Hmm. - It's all right.
[clears throat] Marian wants me to watch Vicki
while she goes to Filene's-- there's a big sale, you know?
I-I should go home.
- Okay, then.
- [chuckles] - Hey.
- So? - Nice work.
- It's fantastic.
You made something special, truly.
- Russ loved it. - And Hunter?
- Well, we didn't really get into it, but he seemed happy,
and all of the women in the office loved it, too.
Elaine, it is good.
No, really, it is good.
- We did it. We fucking did it.
- I hope you're cooking up something salty today.
- Well, we're making a lovely dessert.
There is a pinch.
Salt is always there for you in a pinch.
- [chuckles]
- Morton's is always there for you in a pinch.
Say, that's pretty good.
Can you fit that in there? - Yes, of course.
[chuckles]
- Oh, uh, you must be our man from--
- "Life" magazine, actually, Noel Winton.
- Uh, "Life" magazine, oh, oh, "Life" magazine.
[chuckles] Well, I'll leave you to it, then.
Let me show you gents where the magic--
- Julia Child. - Noel Winton.
I'm only here to observe today, Mrs. Child,
if that's okay with you.
The interviews start tomorrow, but I want to watch you work
and see how the sausage gets made.
It'll be great for the piece.
- Certainly.
Although, this episode is buche de Noel,
and there's no sausage in this buche.
But how perfect-- buche de Noel with Noel.
[laughter]
Perhaps you'd like to see the kitchen.
- Well, I took your advice.
- Oh?
- I let him in--Stanley.
- And?
- And it was very good advice you gave.
[both chuckle]
- Julia, hello.
When you open the container,
can you please say that it locks in freshness?
- Yes, I'll do my best.
[indistinct chatter]
- And these, too.
[indistinct chatter]
- [whispering] Excuse me. - Yeah?
- Judith Jones?
- Yes.
- [normal voice] Uh, Noel Winton.
- [gasps] Oh, hello. - [chuckles]
- And you're here to...?
- I'm the person interviewing Julia Child
for "Life" magazine.
- Oh, great. - That's right.
I work there now.
"The New Yorker" let me go after I took a year off
to write my novel, "The Odor of Longing."
You don't remember?
You found it that forgettable.
Well, naturally, since you turned it down
and, in the process, gave me a life sentence.
- Bad news, ladies.
- The Tupperware guy, right?
The reporter from "Life," Noel--
he's got a bone to pick with me.
- Oh, fuck.
And you want to cut at an angle
to get a more tree-like visual.
Now, my miniature chain saw makes me feel
like a true lumberjack,
the Paul Bunyan of yule logs.
[laughs]
- Uh, how much do you stand to make from all this?
- Quite a lot, actually. - Hmm.
- May not be the best episode for that knife, though.
- [laughing]
Gosh, that's...
[chuckles awkwardly]
And now it's time to dress our naked buche
in festive Noel clothing.
- [whispering indistinctly]
- Mm-hmm.
Julia, could you do that again,
but, uh, open the fridge a little slower, please?
[dramatic music]
♪ ♪
[refrigerator hissing]
♪ ♪
All right, everybody, hold, pause.
Pause, everyone.
Julia, that was great. We just have a sound issue.
- Elaine, a moment.
You are the director.
You have to control these people.
- I hear you. - I hear the fridge.
- I will fix it. I promise.
- Russ wouldn't let this happen.
♪ ♪
It's all going to hell in a handbasket.
- Calm down. This is what rehearsals are for.
- Yes. You're right.
I wish I could shrink you and keep you in my pocket
to deliver advice all day long. - [chuckles]
- Do you think you could be there tomorrow
for the interview, please?
- Oh, uh, tomorrow, gosh, um--
- I need support, someone to lean on,
and it's always you, Avis, please.
- Um, I have plans tomorrow with Stanley.
- Well, bring him.
- Oh.
Okay.
We'll be there.
- [chuckles]
- Uh, Julia wanted me to tell you she'll be right down--
wardrobe issue.
- Too busy for the little folk?
Form rejection letter--
you couldn't even name it.
You know, it took months of my life to write that book,
and then I pulled every string I had
to get it to Alfred Knopf,
but the manuscript ended up with you.
What were you, even, then-- an assistant?
- I've been senior editor for years.
- The book is about the trials of masculinity.
It is not a woman's book.
- No. [chuckles]
99% of my job is saying no to men just like you.
If you can't handle it, that's your problem.
Also...
I haven't seen "The Odor of Longing"
on any shelves.
I can't have been the only editor to turn it down.
- The rejection tainted it, obviously.
- [sighs]
Have you written anything new?
- Lost my confidence.
Rather, it was taken from me.
- Oh, come on, Noel.
Who puts "odor" in a title anyway?
It automatically makes you think it stinks.
- Avis.
- Ah, Julia.
- Have you seen Avis?
- I think she was upstairs with Stanley.
- Oh. - Shall we?
- Hmm?
- I think I'll sit with you for the interview,
if that's okay, Julia.
- Oh, good.
- Okay, first question...
You spent half your life traveling.
The wife of a diplomat, you worked for the OSS.
Spent the war in Asia,
and then you traded in all that excitement
for a sleepy college town.
You went from James Bond to Mr. Chips.
Why?
- Life happens, Noel.
- You came to television,
something it seems you were born to do,
rather late in life.
Why?
- Well, in the Dark Ages, when I was born,
TV hadn't been invented yet.
I had no choice but to wait.
[laughter]
- Well, don't you wish you'd started earlier,
when you were a young woman?
- Life doesn't come to you...
when you're 6' 2" and look like me.
[chuckles] I'm sure I don't have to tell you
that I wasn't an obvious choice for television
or even culinary school, for that matter.
No.
I had to find what I love.
But I'm glad it came to me later.
I wouldn't have been able to handle all this
when I was young.
I had already learned a lot about the world
before Simca and I wrote "Mastering,"
and I needed those lessons to get me through the book.
But writing is difficult,
which I'm sure I don't have to tell you, Noel.
But thank goodness our cookbook landed on the desk
of the brilliant Judith Jones. - [scoffs]
- Now we're working on a new book,
Simca, my co-author, and I--
"Mastering the Art of French Cooking," part 2.
[chuckles]
[quirky music]
- How did it go? - It was okay, I think.
- Oh, I'm sure you were incredible.
Now help me. Hmm?
I want it to read confident but humble.
- Dear, has an ascot ever read humble?
- Maybe a different color.
- Yes.
- [giggling]
- Avis. - [clears throat]
- Where have you been?
- Uh, um...
- Your sweater's on inside out.
- Thank you for allowing me
into your beautiful home, Mr. Child.
- Please, call me Paul.
- I was just admiring your kitchen.
- Hmm.
- Julia told me that you designed the layout?
- Mm-hmm.
- Can you tell me a little about that?
- Well, uh, I had to make adjustments
for Julia's height.
She's--she's vertically gifted.
Thank God I had my brilliant brother, Charlie, to help.
He taught me everything I know about, well, everything.
See, Charlie is really the brains of the operation.
- Charlie.
- Oops.
- For heaven's sake.
- [chuckles]
- I apologize for my brother.
He just can't help himself.
[clears throat] Paul Child.
- Could you tell me a little bit
about how you and Julia met?
- Well, um, Julia and I were friends
before it became romantic.
Uh, we met during the war,
and though that was not a fun time,
I was most struck by how much fun
we had together
and how much I wanted to talk to her,
to hear what she had to say.
We--we really--we really...
did fall into love,
and it wasn't long ago that she supported me
throughout my career.
- Which leads me to my next question.
You had an impressive career as a diplomat,
but you stepped back from it and just gave it all up...
To do nothing while your wife worked?
- I look at it this way.
Julia is the tip of the iceberg--
exposed, shining,
making her mark on the world.
And I am down below,
holding her up, anchoring her...
supporting her.
And in that way, we are partners,
connected.
I like it.
[soft music]
♪ ♪
- Drinking alone?
- Someone's driven me to it.
- Oh, Paul wouldn't want me to drink that.
- No, you're probably right. He wouldn't.
He wants you to have the very best.
He adores you.
[sighs]
Why do you treat Paul the way you do,
belittling him, undermining him?
- We're twins.
We have a certain dynamic you wouldn't understand.
- Wouldn't I?
You want to keep Paul in your shadow all the time.
- That's how he likes it.
He seeks out the shadows.
- It isn't generous,
and it isn't kind.
- Some people grow.
Paul prefers to shrink.
And that has worked out very well for you,
now, hasn't it?
♪ ♪
[distant piano playing, indistinct singing]
♪ ♪
- ♪ Life is just a bowl of cherries ♪
both: ♪ So live and laugh at it all ♪
♪ Keep repeating, it's the berries ♪
- ♪ You know, the strongest oak has got to fall ♪
[flourish plays] - Nice.
both: ♪ The best things in life to you are just loaned ♪
♪ So how can you lose ♪ - ♪ What you've never owned? ♪
both: ♪ Life is just a bowl of cherries ♪
♪ So live it ♪
♪ Love it ♪ - Here we go.
both: ♪ Wiggle your ears ♪
♪ Think nothing of it ♪
♪ Can't do without it ♪ - ♪ There's no doubt about it ♪
♪ There's no two ways about it ♪
both: ♪ You live ♪
♪ And you laugh at it all ♪
♪ Life's a bowl of cherries, just look out for the pits ♪
[knock at door]
- You wanted to see me, Hunter? - Yes. Come in.
Sit down.
[both chuckle]
"By Women, For Women"--
it's really something. [both laugh]
I'm so proud of you.
And that-- that Kathleen Gordon--
she's dynamite. - Oh, she's the best.
- The panelists too--all great.
- Oh, you really think so? That is such a relief.
- It's what I asked for... - [chuckles]
- Totally ahead of its time.
It's groundbreaking. - Hmm.
But sometimes ground
is better left intact.
I mean that...
sometimes we aren't ready to lose the ground.
You know, ground is a good thing.
- Oh, you mean we should keep the show grounded?
because I-I completely agree.
The whole focus is on issues
that women deal with every single day--
divorce, sexism, abortion.
We're working on an episode
on inequality in higher education.
- Uh, no, what I actually mean is,
uh, "By Women, For Women" is far ahead of its time, yes--
Too far ahead.
- "Too far ahead"?
- I was going to show the pilot to Tilly
to see what she thought,
and then I realized I already knew what she'd say.
She won't watch something like "By Women, For Women."
Her friends won't either.
The material with that host--
i-it's too much.
Maybe in San Francisco or Los Angeles.
I mean, Hal and the board won't go for it.
WGBH, our audience...
they aren't ready for it...
not yet.
I'm sorry.
You did great work...
but we can't air it.
I mean, this is still Boston.
- It certainly is...
As long as we let it be.
[indistinct chatter]
[breathes deeply]
[grunts softly]
[indistinct chatter]
- Oh. - Thank you.
So...
tell me the story of "The French Chef."
How did it happen?
How did you come up with the idea?
- Oh, no, no, no, no, no. [giggles]
You give me far too much credit.
Alice, Russ, we need you.
No, the people who make the show
must tell the story with me.
It was Alice Naman here, a magnificent producer,
who first booked me on "I've Been Reading,"
Albert Duhamel's hit show, isn't that right?
- Yes. Yes, I did book you on that hit series.
- And then Russ Morash, our gifted director,
came up with this wild idea for a cooking show,
isn't that right, Russ?
- [clears throat]
- Russ, you saw something in the first episode
of "I've Been Reading," perhaps.
- That's true. I did.
Julia's talent was undeniable, right off the bat.
- [laughs]
- Uh, and her chemistry with--with Albert was palpable.
I knew we had something.
- He encouraged me to make a pilot.
Wouldn't take no for an answer.
- Ha ha. Yeah, exactly.
I-it just all made sense.
"The French Chef," the TV show, you could see it clear as day.
Isn't that right, Al? - Oh, yep.
Yep, that's right. He, um--
You wouldn't take no for an answer.
- Oh, I was unsure at first,
but their belief made me believe.
And so, with the support of our intrepid leader, Hunter Fox,
we tried it out,
and our little experiment brought us here.
- You really seem like a family.
- Except we all like each other.
[laughter] - You're exactly right, Noel.
We are a family.
I'm Roland, by the way.
- Hmm.
So what is the secret to the show's success?
- You know-- - It's Julia.
It's all Julia.
[bright music]
♪ ♪
- Well, that was sticky, indeed...
and the good thing about this yule log
is that after decorating and trimming it,
you can sit and eat it, too,
which is more than you can say for a Christmas tree.
Now, this is an economy-size log
meant for a festive party.
But if you're not having that many guests,
then you can always tuck some of your cake into one of these
and save a slice for later. - Mm-hmm.
- [chuckles]
Well, that's all for today on "The French Chef."
This is Julia Child.
Bon appétit.
- And cut.
[bell ringing]
- Dig in, everyone.
[indistinct chatter]
Thank you, Danny. Thank you, Lloyd.
Where's Terry?
Well done, Terry, as usual. My thanks.
Come forward. Don't be polite.
So much to go around.
♪ ♪
[knock at door]
- Julia, can I ask you something?
- Yes.
- Why did you lie about "The French Chef"?
It was entirely your idea.
In fact, you single-handedly made it happen.
- [chuckles] Well, you helped quite a bit.
- I did what I could, but, really, it was all you.
Russ didn't even want to try. He tried to stop it.
It's so hard to get credit for anything as a woman.
I guess what I want to know is,
why did you give your own credit away?
- Well, Alice, no one likes an ambitious woman.
It isn't ladylike.
There are games we have to play to be heard.
That's just how it is.
- Very good.
I love what we have-- long artichokes.
I love the table. I love the light.
Julia, you may do the chicken.
You may pull it out of the oven, and you just assist.
Yes.
Actually, move in a little closer.
All right, good, and a smile from Julia and a smile.
- She looks like a linebacker next to him.
- Smile, or whatever that is.
Very good. Good. Very good, natural.
- You see that out there? That is a very pretty picture.
- That's it, there. Perfect.
- Do not mess with it.
If your article has even a hint of a hit piece,
I'll make sure you spend the rest of your days
in the "Reader's Digest" holiday section.
Got it?
- Paul, maybe a little salt on those potatoes.
- Let me do this, and you salt the--maybe the chicken--
- Very good.
Now, if you would sprinkle the salt, but go high.
Start low and go high, because--
[object crashing] - Careful, sunshine.
[chuckles]
- It's her fault. She tickled me.
- I-- - You did.
[laughter] - Unbelievable.
- Avis, we need you here.
♪ ♪
[laughter] Can you smell that?
Isn't that wonderful?
[indistinct chatter] - Hold the back.
- Oh, goodness.
♪ ♪
- Like this? Yeah.
- That's nice.
- Hold on. Hold on. Here you go.
Take this.
Two, three, cheers.
- Fabulous, just like that.
- "Life" magazine! Looks pretty good, doesn't it?
[camera shutter clicks]
♪ ♪
- Should we do another toast? - Yes.
- Here we go.
[indistinct chatter]
♪ ♪
[indistinct chatter]
- You know, you might not believe me,
but I know something about fiction.
We tell stories about our lives,
and over time, our lives become those stories.
You've been telling yourself a story--
that I'm the reason you stopped writing.
Stop doing that.
If you want to be a novelist, you have to keep going.
It took Julia a decade to write "Mastering."
Just get out of your own way.
If you do write something, send it to me.
- Thank you. - Enjoy.
- Thank you.
- My question is, what is the ratio between wattage
that you would need and area that you would have?
Is there a formula that you use?
- I think Stanley enjoyed this more than anyone.
He can't get enough of the glitz and the glamour.
So sweet, my little sunshine.
Oh, I feel like a teenager again.
[chuckles]
Mmm. - Yes.
- What?
Oh, please.
You're one to talk.
You and Paul wrote the book on public displays of affection.
- There's a time and a place.
- Holiday cards? Restaurants?
- You were here to support me as my friend,
and you spent the whole time canoodling.
- I came here today because you asked me to,
even though I already had plans with Stanley.
And if I wasn't by your side every moment, I'm sorry,
but I almost always am.
Besides, Judith is here and Paul.
- But in front of the crew, Avis, the writer,
it's embarrassing.
- [sighs]
You know...
friendship is a two-way street.
Put up with me.
I put up with you.
both: Thank you. - Have a good night.
Thank you. Thank you for all the photos.
What are you doing? - I'm off.
- Now?
[stammers] At least wait till tomorrow.
I was hoping for another jam session.
- No, no. I spoke with Freddie.
All seems forgiven.
I don't want to miss her window of goodwill.
- It was--that was quite a photo back there.
- Thank you.
- Very skilled lighting crew.
You weren't in Julia's shadow, for once.
- Of course I was.
It's a lovely place to be.
I know it's not easy being my twin.
- [chuckles] Oh, I thought it was the other way around.
- I don't measure myself by you,
but I play your game because it matters to you
and I love you.
I've always wondered...
whether Mother favored you
because she knew you needed it more,
or maybe she was just sadistic. [chuckles]
- Well, I thought it was just because I'm older.
- Either way...
here we are.
I'm glad you came.
- I love you, too, brother,
and so does your wife, for what it's worth.
- [chuckles]
- I look forward to reading your article on the crapper.
- That's nice.
- [humming]
Oh, and please say goodbye
to Ju-u-u-u-lia. - [sighs]
[elegant piano music playing]
♪ ♪
- Delicious.
♪ ♪
- People don't really know us, do they?
- They don't, and they don't need to.
♪ ♪
[indistinct chatter]
- They said they wanted female programming--
nothing else like it on TV.
- Yeah, it's terrible.
- Yeah, it's goddamn terrible.
I mean, aren't you angry?
- Of course I'm upset. I'm just as upset as you are.
I'm just not as surprised.
[rock and roll music playing]
- Oh, that makes sense.
- Too far ahead of its time, he said.
With that host?
♪ ♪
Still Boston, he said.
- So fucking racist.
- Cowards.
♪ ♪
- Mmm.
- Good morning.
- Julia.
[chuckles]
You were great yesterday. - Oh.
- GE is pleased as punch.
Uh, Tupperware already called to do another spot.
- Hunter...
people watch our show because the audience trusts me.
- [chuckles]
- I'm not selling them something,
if you see my meaning.
- We're all selling something, Julia.
- Well, I'm not.
No more product placements. I'm covering all the labels.
From now on, we go back to how it was.
- We can't do that.
There's too much money at stake.
I-i-it's not just about you and "The French Chef."
Product placement saves the station, funds new shows.
- Like Alice's?
Yes, I heard about that.
- My neck is on the line here.
- "The French Chef" is the one show
at this station that works.
You won't save your job by changing it,
and besides, I won't do it-- it's that simple.
Am I clear?
The only brand I'm selling on "The French Chef" is honesty.
Now, if you'll excuse me...
I have a show to make.
["There's No Business Like Show Business"]
all: ♪ There's no business like show business ♪
♪ Like no business I know ♪
- ♪ Everything about it is appealing ♪
♪ Everything that traffic will allow ♪
♪ Nowhere could you get that happy feeling ♪
♪ When you are stealing that extra bow ♪
all: ♪ There's no people like show people ♪
♪ They smile when they are low ♪
- ♪ Yesterday they told you you would not go far ♪
- ♪ That night you open, and there you are ♪
- ♪ Next day on your dressing room ♪
♪ They've hung a star ♪
all: ♪ Let's go on with the show ♪
- ♪ The cowboys, the wrestlers ♪
♪ The tumblers, the clowns ♪
♪ The roustabouts that move the show at dawn ♪
- ♪ The music, the spotlights ♪
♪ The people, the towns ♪
♪ Your baggage with the labels pasted on ♪
all: ♪ There's no business like show business ♪
♪ Like no business I know ♪
- ♪ You get word before the show has started ♪
♪ That your favorite uncle died at dawn ♪
- ♪ Top of that your Ma and Pa have parted ♪
♪ You're brokenhearted, but you go on ♪
all: ♪ There's no people like show people ♪
♪ They smile when they are low ♪
♪ Still you wouldn't change it for a sack of gold ♪
♪ Let's go on with the show ♪