Katey Rich: Hello, and welcome to _Little Gold Men_ the award season podcast from _Vanity Fair_. 

Intro: "It's such an honor to present this next award." "And here are the nominees." "And the Oscar goes to..." "And the Oscar goes to..." "And I can't deny the fact that you like me. Right now, you like me." "I'm the king of the world!" "There's a mistake, _Moonlight_, you guys won best picture."

Katey Rich: Hi, I am Katey Rich and I'm here for today's interview episode with Rebecca Ford. 

Rebecca Ford: Hi Katey. 

Katey Rich: Uh, Rebecca, you got the pleasure, uh, of talking to who I think might have been the breakout star of last season of _Succession_. Although it's really hard to say because every single member of that cast gets a great moment. And when it comes to deciding who to feature on the show, it was like, oh, we all have our favorite. Um, but you gotta talk to Kieran Culkin, how did that go?

Rebecca Ford: I wanna say, he's my favorite actor on the show. It, it's hard to say that because they are, as you're saying, so wonderful, but I just think that character of Roman Roy could have been such a caricature and just seemed really unrealistic and he's able to bring so many layers to it. And it's just one of the weirdest characters on TV, but just feels real enough, so I was really, really excited to talk to him.

Katey Rich: Yeah. I imagine you got into the dynamic between him and J. Smith-Cameron, which they have talked before about being like not necessarily written into the show, but it's something that grew organically as the show went on. And I feel like the character of Roman has grown in so many ways in that way. Like you meet him and then the more time you spend with him and the more time Kieran Culkin's been building him up, like he just becomes more fascinating. 

Rebecca Ford: Yeah. He talked a lot about the way that show has allowed him to kind of play and explore because of the freedom they have on set. They're really encouraged to try different things and, and that's been since, you know, Adam McKay directed the pilot. And he told me, you know, when that started, he was not comfortable that he was a very by the book kind of actor, but now he can't really imagine working any other way. And I'm, I assume that has really allowed him to sort of develop Roman into the character he is. 

Katey Rich: Yeah. It's the beauty of, uh, television, the way we make it now that, uh, these characters like burrow into your brain in a way that they can't in movies. As much as we love them, TV is just a different format. 

Rebecca Ford: Yeah. He also, what I thought was interesting with him is, you know, he, his brother obviously, Macaulay Caulkin, has dealt with this sort of level of fame he didn't in his career yet, but, you know, he said now since that this show, he gets recognized on the street a lot more and he's sort of grappling with, uh, you know, people taking pictures of him or, or hoping for their own sort of like Roman Roy moment on the street and, and how he deals with that with his kids, especially. So it was really interesting to hear from him about how that's shifted a little bit for him. 

Katey Rich: Yeah, I can imagine the pressure of being expected to have like a perfectly crafted insult for anyone who walks up to you on the street. 

Rebecca Ford: Right. He did swear at me during the interview in a joking way, and I was like, oh, this is my own Roman Roy moment. 

Katey Rich: I love that.

Rebecca Ford: I feel included in the Roy family. 

Katey Rich: Um, well, let's hear your conversation with Kieran Culkin.

Rebecca Ford: I'm so excited to welcome Kieran Culkin to the podcast. He just received his second Emmy nomination for playing Roman Roy on _Succession_. Hi, thanks for joining me. 

Kieran Culkin: Yeah, thanks for having me. Thanks. 

Rebecca Ford: So obviously _Succession_ has had so much success with the Emmys, so what is it like on, on Emmy morning for you now? Is it just like, 'oh, here we go again.' Or is it still special to, to see the show get so much love? 

Kieran Culkin: No, it's always cool, but it it's, um, also felt like that was never, uh, the, the goal for us when we got into it. That's, which I feel feels like a, almost a trickle down thing. Like that's not, um, like it's one of those, what a, what a great bonus. Uh, I have even felt that way about people watching the show. I had so much fun making it that if nobody saw it I would've been just fine. I'm having a great time at work, and I feel like what we're doing, I'm like proud of the work we're doing. I believe when the show first started airing, the reviews were kind of mixed and I, that didn't bother me. Uh, and it was fine. And then hearing that people were enjoying it and, you know, it was becoming something people actually wanted to see was a bonus. And if an award thing came, bonus. But, uh, it, it feels good. You know, there's like, uh, I think 14 actors nominated this season, which is crazy and it's, it's pretty great. Happy about that, proud. But it's funny, but my first instinct is when that happens, I was telling, I've told a couple actors this, just to see if like, just to test the waters, 'did you have the same thought?' Was like, I saw that was like, 'oh my God, this is so cool. Where the hell is Alan Ruck's nomination?' You start getting greedy. Like, you're like, you know what, 14 isn't enough? You think like, but it's also just because I've been waiting on him. He's just so, so extraordinary in the show, and I've just been like, I did a scene with him today and I was just watching him going, 'this guy is incredible.' So I started having those thoughts, which is really stupid. I should just be like, 'yeah, this is all bonus, it's great.' 

Rebecca Ford: Where is his nomination though? I agree with you. That's kind of wild. 

Kieran Culkin: Yeah, he, he is so... in my opinion, I haven't actually talked to the writers about this. Like so influential on how they started writing Connor. Like the huge flip over, the huge change that happened between when we shot the pilot and then a year later when we got our scripts for episodes two and three I was like, 'oh, who is this Connor?' And it made me realize it was a lot to do with who Alan was and what he was bringing to the table with just his little comments on the side or his little remarks and responses to things, and I just think he's extraordinary.

Rebecca Ford: Yeah, I totally agree. So you mentioned that, and I'm curious for you, how do you feel like the writers write Roman for you? Or how are you able to sort of help shape Roman now that you've been doing, uh, this character for a while? 

Kieran Culkin: It's a good question because I don't really... yeah I wouldn't be able, I wouldn't have like a sense of how much I'm influencing the writers on how they do it. I, I did talk to one writer about that, because I was asking about Nick Braun and, and Greg, I said, 'does that like, do you always have Nick's voice in your head?' And they were like, 'oh, I guess...' I think it was Tony Roche was telling me, he goes, I guess on a subconscious level, but that's not, they're not too aware of it in the same way that I'm not always aware of why I make choices as Roman. It's not like I'm sitting, you know, in my hotel room thinking 'how should he sit in this chair' or something. And I didn't even realize it was a weird thing until people pointed it out. Um, it, it just all works really well. Like sometimes I'll, I feel like I'm gonna have my guard up a little bit because I'll, I'll see like one tiny little thing that I'll fixate on, on the page that feels almost like, um, it's a little too on the nose Roman or something. Like it'll feel like a tiny bit like, 'oh, this is such a Roman thing to say or do.' And I feel like I'll have my guard up like ready to say something, and nine times outta 10 when I come to work, there's already been like a fix done on it. The, the writers have caught that before I'd even have to say anything. Um, and it just works really well. I, it happens all the time. I always have like, we'll get a draft and I go, mm, this, this sort of pings, and I'm not quite sure. I'm not quite sure Roman would say that. Sometimes it's the day before or the day of or something, we'll get a rewrite and like, oh, they fixed it. They figured it out. It's, it's, this show is a dream. Like it's writer's are so good.

Rebecca Ford: It does sound like it. I mean, yeah. The writing is phenomenal in this show. And, and so you are, you guys are filming the fourth season at the moment you're back on set and everything, right? Yeah. 

Kieran Culkin: We just, uh, yeah, I just shot a scene for the second episode. 

Rebecca Ford: And how does it feel to come back, uh, after you guys have had a little break?

Kieran Culkin: Usually when we come back, it takes about five minutes and I'm like, 'oh yeah, we're doing this again.' Because there's usually like a year at least in between seasons when we shoot and it doesn't feel like that. It feels like maybe we took a long weekend. Uh, this year it took the entire day. I was like, mm. I feel like I'm like doing Roman instead of actually just like playing the scene and working people. And I wasn't until the end of the day when I was like, okay, here we are. Found the rhythm of it, and we're sort of just all back. 

Rebecca Ford: Yeah. So the third season, um, had an extra long delay because of COVID. I think you guys were supposed to start in like April and you got pushed all the way to November. And so I'm curious what that time was like for you. I mean, for a lot of actors, obviously, your productions got halted and no one sort of knew when they were coming back. What was it? I think you also had like a young baby, right? What was, what was life like for you? 

Kieran Culkin: Six, six month old with lockdown happened, so, uh, when we finished the second season, we were just a couple of weeks away from becoming parents, uh, my wife and I. So, that happened and it was great and we were supposed to start work when she was about six, seven months, but then, you know, lockdown. It was in this, we lived in this tiny apartment and she's just learning to crawl. And you know that thing where you can't keep your eye off her. We have these two little steps in our little apartment that she just gunned for. Anytime you open up the dishwasher there, she is grabbing a steak knife. And at the beginning, at least, you know, we couldn't leave... we thought we just couldn't leave the apartment. I'm sure a lot of people panicked like that. We just didn't leave and it was a terrifying time. Um, my wife blames me for the pandemic as well, because like a week before I took her out for the lunch and I said, like, I ordered glass of champagne. She goes, what? I gotta explain something to you. I just had a phone call and I mapped out the year ahead. I was like, I just booked this movie and I'm gonna go right from that into the next season, into this play that I'm doing, into this. It was four jobs in a row. I was like the next year and a half of our lives. And she goes, and I went, lifted my glass and she goes, are you sure you shouldn't probably like jinx it. I think you don't celebrate things like this until after they've happened. I said, it's gonna be fine. It's all like it's happening. Clink. A week later lockdown, no jobs. 

Rebecca Ford: So it's your fault. 

Kieran Culkin: It's my fault. Sorry for all the COVID everyone. 

Rebecca Ford: Wow. That's, that's quite a lot.

I read a, an interview with you where you said that, you know, _Succession,_ after the first season was sort of when you really said, 'okay, I wanna be an actor.' Like you really were embracing this career, which is crazy to think you've been doing this for like 30 years. But curious, what is it about this show?

Kieran Culkin: Yeah, well, I mean, I think because I've been acting since I was a kid, I, it was never something I pursued or, or ever properly chose to do. You know, prob- maybe when I was about five or six, I said, I wanna be an actor like who, you know, who's taken that seriously. And then I always struggled with it a bit. I, I was never quite sure what I wanted to do, uh, which I think is normal. I think, you know, you're in your early twenties, people don't quite know what path they're going on. You know, and I think I just struggled with that for a long time. There were aspects of the job that I used to really struggle with. Uh, in particular like, like this kind of thing, like just having a conversation about it, having, doing an interview or anything like that, I just didn't understand why. And I didn't like it. And I was always very uncomfortable with it. And I think just little bits here and there over time, just getting more comfortable with certain parts of the job that, that was one of them. The other was right before I did _Succession_ I did this movie called _Infinity Baby._ And at one point I realized, uh, on set that I had the most experience of anyone on the crew. And I, when the hell did that happen. I still felt like I was the, you know, the young actor doing this thing. I, these kids are right outta school. Like I've been working on film sets before some of these people were even born. I had a certain comfort level just being on the set and I realized how comfortable I was being on the set, just because I've been doing it so long. So I started doing _Succession_, there was that same sort of comfort level. Um, but there was also... it was just more fun and sort of creatively exciting to do, and I felt, um, I felt like my voice was heard a bit. There's some, there's some really cool things that come up doing the shows. Things that I've been completely spoiled by which like they almost never put marks down on the floor. This is something that like now if I do a job and I'm doing a rehearsal and somebody puts a tee mark on my foot and I'm probably gonna be very annoyed. Like, I don't know that I'm standing there, stop marking me. You know, it's, uh, I don't often know where the camera, sometimes a director will come on and think they'll need to explain like, Hey, this next setup, we're gonna do... I'm like, oh, you don't have to tell me that. I don't need to know. We just run the scene. We just do the scene, do the work, and you, you guys light and film that has nothing to do with me. I'm just pretending you're not there. Uh, it's just such a dream. And that kind of fun, it's like nice to, I don't know, come home with and know that we've done a really good day of work where we just got to do the scene work and work together.

Rebecca Ford: And is that sort of environment, was that established by Jesse or, I mean, that seems obviously very actor friendly. I assume someone like Brian Cox really thrives in that sort of environment, but how did that start? 

Kieran Culkin: He does. I think, uh, most of us do. Yeah, that's a good question. Jesse, I think is a big part of that. I would say maybe the way we shot the pilot, because that was Adam McKay and he was very, uh, he was very loose. It was actually, I was terrified by his pitch to the process, which was like, basically that. Like, you know, you, you're never locked into any blocking or any continuity. You do what you want. Um, and if the words aren't feeling right coming outta your mouth, like be loose with them, which I was like, no. I'm like, I'm I'm I come from theater where like the, the playwright will write me an email saying you missed the comma in this line. You know, next- tomorrow's performance, do it right. You know, so that terrified me. And then he said, fine, you, you know, just do it the way you want as scripted, and then at the end you can do a loose take and do some improv. And that was mortifying me, but that's where I started finding some stuff about Roman. That was when that was going back to Alan Ruck when we were doing the pilot, Adam McKay just said like shouted out... I think, I think he just called out from the other room. He either shouted it or he had like a little, you know, what is this called? Megaphone. 

Rebecca Ford: Megaphone. Yeah. 

Kieran Culkin: Yeah. And he was telling the camera operators like, okay, uh, camera's on, uh, Alan. Alan, talk about your ranch. And he just started talking and it blew my mind. I was like, this is in his brain? Uh, I, I can't even remember. I know a lot of the, like Sarah Snook remembers exactly what he was talking about, but we were all just sort of blown and then like, and it was funny and it was so real. And then he just goes, okay, now camera's onto Brian and, you know, do that. And I was just mortified of this process. But by doing it, I felt like I learned a bit more about how these other actors see their characters and where they're coming from, and it was filling in the blanks. Uh, and even if this stuff isn't used and we sort of still apply this to the day, like at the end of a take we will just talk to each other and it's not gonna be used. And we throw in a lot of stuff. It doesn't get used it just fills in this little space that helps me create an idea of how these people, um, interact between scenes and all that. 

Rebecca Ford: Hmm. That's interesting. 

Kieran Culkin: And that's encouraged and it's pretty great.

Rebecca Ford: Yeah. And so you mentioned that this sort of helped you find Roman. When did you feel like really secure in that? Was it early on in the first season? 

Kieran Culkin: I felt, you know, if I go back and watch the pilot, which actually did recent, or at least I've watched like the softball sequence, uh, of the pilot recently. And you can tell that a few of us, myself included, didn't quite have it yet. Which I think is normal when you watch a lot of shows like the pilot, they don't, it's not quite there. It's just sort of an idea. And I felt like I had that idea when I auditioned for him. There was, I felt so comfortable just putting myself on tape. It was a, it was such a fun day, just preparing for it and doing that scene. I just had so much fun. I was like, I hope we get to do it. So I had a sense sort of at the beginning, but it just, you know, I don't know. I guess it gets fine tuned. I remember coming home from work around the time you were shooting, like the sixth episode I'd say. My wife asked me how work was, and I said it was actually really good. And she, and really? I went, yeah, like I think we may have something here. Uh, and it was just a different feeling, so it was probably right around then when it was like, maybe I had a, a pretty good sense of Roman from the beginning, but it's not complete until I get a real sense of who all the other characters are. So maybe it took that long to really know who Shiv is and Logan and Tom and things like that. 

Rebecca Ford: Was there anything about the third season and where Roman goes or some of these sort of phenomenal scenes that you, you all have to pull off together that intimidated you at all? 

Kieran Culkin: Um, not particularly. Not for any, like, sometimes- this is a stupid answer, but sometimes like on a practical level, like, oh, okay. I was really looking forward to the scene and we have to shoot it in three hours. Okay. We haven't rehearsed this or discussed it and I don't even know where we're shooting it, but you know, it's little things like that. But I try not to get rattled by it. I, I got quite rattled, uh, cause I felt like when we were doing the pilot, I was kind of just, I had a real sense of the character, but I was sort of just bullshitting. I was like, I think this is how I want to approach the guy. And I think, you know, I didn't really know. But then when we got started on shooting the season and I again had the feeling that like I don't know, who's gonna wanna see the show. I don't really care. This might just be it. So just, maybe they'll even cut it short and we only do six episodes or something. Just, just enjoy it and learn these things. And, uh, and that's all it is. But I was trying to approach it the way I used to approach was get completely off book on the entire script. Uh, I think a lot of my choices through before going in. That's how I used to sort of approach. Now, the scenes are always ever changing and sometimes you get there and the actor does something else. Now I sometimes learn my lines like the morning of, because, um, I just don't know what it, I get the words in and then when we get in the room, we'll see what the scene looks like. And that happened because we, I was shooting a scene with Snook and it was originally written to be in like a broom closet. And we were supposed to have a scuffle in this tiny room at the hospital. And we got there and we had a very short period of time to shoot the scene and we were suddenly in an auditorium. I went, oh, I didn't get the note. And they said, oh, it was in the rewrite. It was in the little, the little thing with a little asterisk next to it that says it's not a broom closet anymore, it's in the auditorium. And I just didn't know that, and I'd planned this whole thing. And suddenly we were supposed to be in this open space and I'm like, how am I supposed to get close enough with her, for us to have a scuffle? Uh, and then they were like, oh, not only that Tom has to come in through that door, which is on the complete other side of the room. Like, well, how are we gonna? And I was so rattled and I just didn't know. And then we were just gonna shoot and it was like, it doesn't matter that you're uncomfortable and it doesn't matter that you're not ready, we're gonna shoot. And like panic sort of set in. And Mylod's very good at, you know, talking you off a cliff. So he tried to calm me. Snook is an amazing scene partner, so she was trying to help my anxiety. And it just sort of worked in a different way and in an exciting sort of fun way. It was problem solving and it was also just being in the room and that changed a lot. So since then, I feel like I don't get rattled. It's more exciting. There was a, sorry, I'm, I'm rambling a bit here, but we worked with an actor who just had, um, just the other day, last week. He worked, uh, he had one line, he's a security guy. He has to come up to us and his timing was off. And that he came up and started saying his line when I, I, I hadn't finished getting mine out. And he came to apologize I was like, oh, I was like, I actually, I didn't, I didn't notice. Uh, that's cool, don't worry about it. And then we did the next take and apparently it happened again. And he said like, I'm sorry, I just can't hear the cue. I don't, I don't know. I'm just going on a visual cue. I said, do it. I think that's great. Just that's how it would happen. Like, don't- just do it. That's not how I visualized it either. He was like, oh, because of the script, I thought you were gonna be passing me, but apparently they want me to approach you. And I was like, no, but this is, that's what it is. It keeps the thing alive. So whenever there's a mistake or, or there's an obstacle or, oh, we're running outta sunlight, we only have 40 minutes to shoot it. It- that's exciting. It's not- doesn't rattle me.

Rebecca Ford: I was listening to an NPR interview you did in which you were talking about fame, and obviously you've seen the way, the way that affects your brother's life or your friend's lives. And, but for you, the show must have made you much more recognizable on the streets or when you're walking around or things like that. Are, are you finding that to be challenging at all? 

Kieran Culkin: Um, only in one particular way, because there's a bit more of that, but I don't really pay any attention to it. I think like the, the name of the game is to sort of normalize it as much as possible. And for the most part, I mean, I live in New York, so people don't really care all that much. I feel- maybe, maybe that's just the culture in general, but I, I get the feeling that's a New Yorker thing. It's like, oh, you're the guy from the thing. And I go, yeah, all cool, have a nice day. It's it's very much like that. It's like, oh, a point of interest that I, the guy on the street happens to know the work that I do. And then we talk for like a second and when season four coming around and blah, blah. So it's mostly fine. Um, there's like the annoying thing of most people's instincts when they do like a double take and they see is they, the first thing they do is they reach for their gun holster. They grab their phone and that, that camera comes out and they have to look or there's the awkward moment of saying something like, Hey, did you take a picture when they will inevitably say no? And then I feel like an ass because I was assuming that they're taking pictures of me. But, um, but the only part that actually bothers me, the, the only downside is that people do that same exact thing when I'm out with my kids. And that's just obviously a violation and I don't think people know it. And I can say that because I, when I confront people about it you can see in their face they didn't realize they were doing something horrible. Like, could you imagine if I just went to a playground and started taking pictures of your kids? Like, what if I just started doing that? You know, and that's what you're doing. You think you're the, the guy from the show, hehe, but like I'm holding my daughter while I'm trying to order a bagel and this guy is like three, feet from me taking a picture of me and my daughter. And that, that one particular case, I just got mad. I started yelling at the guy in the bagel place. Like inappropriate, I'm with my fucking kid, you know? Yeah and that, because that's a sensitive spot and anything else it's, you know, it's fine. 

Rebecca Ford: Yeah. The photo thing I've always found really fascinating. There is something about people think they know you or, you know, they sort of have ownership over you because they've watched you be this character. And it's a tough balance. 

Kieran Culkin: It's just a funny thing to be like, they just want a quick snap so they can send it to their friend, like check it out. Look, who's look, who's eating a grilled cheese. Like it, it's silly, but you don't realize how violating that is. And again, if I'm by myself, like it's annoying, but whatever. But, but I had there there's been a couple of guys, like the guy at the bagel place who immediately saw what he did and he's like, I'll delete it. I'm so sorry. I'm so sorry. There's another guy whose hands were shaking, he was so nervous. Uh, and I was, I, that time I wasn't even angry. I was just trying to explain. I was like, Hey, it's just, it's okay. You just, shouldn't, it's rude in the first place, but that's my child and you can't, you know. But there was one guy who thought like, uh, I was being, you know, I was doing in character or something, because I yelled at him and he laughed and I said, 'I'm with my kid, that's really inappropriate.' And he laughed and then went, I said, 'I'm fucking serious.' And as he turned a corner, he went, 'oh my God,' he shouted back and went, 'oh my God, you're right. I am so sorry. I'm deleting it.' He like screamed it from halfway down the block. 

Rebecca Ford: It like sunk in. 

Kieran Culkin: He was like, you know, he thought we were having a fun moment and then realized he had the moment where he is like, I'm a bad guy. I'm the bad one here. Oh no, I'm so sorry. I don't wanna be that. People don't wanna be jerks in general, so it's just a little reminder. Don't do that. 

Rebecca Ford: So I feel like you've maybe answered this already, but I'm curious about what you've learned so far from playing this character and being on this show that you feel like will go with you for the rest of your acting career?

Kieran Culkin: Yeah. I don't know. I'm actually curious because I haven't, I mean, other than that three weeks on the, on Soderbergh's movie, which also the way he works was very much like that too. His was he, uh, the actors would be in a room. He would just sort of sit there quietly and let us all talk it out and do the scene. And he would basically go, you guys good? You guys like it? And we go, yeah. He would go, okay. Hand me a camera. And then within minutes we were shooting it. It was very cool, but it was, it was... and then by like 1:00 PM, we were done. We were shooting for like four hours and then, okay, go home. I wanna go edit. So that was like, so I, I go from the way we do _Succession _to my only other shooting job, being that. So in the last couple years I've been completely spoiled. So I feel like I'm curious to see like going to another job where somebody might be a little more restrictive or they want it, they have storyboards and the shot must look like this. And, you know, I, I haven't worked like that in a very long time, so I don't know. I mean, I feel like uh, I see, I keep saying spoiled, but I feel like I have been, because I feel like I have a voice. I have the agency to say, Hey, my character I feel like we do this. And I, I don't want to be restricted to blah, blah, blah. And going forward, that's kind of how I wanna work on things like, uh, again, this, I have a movie I'm supposed to shoot next year that may not happen, but it, it seemed to be written in a very sort of free flowy, there'll be a little description of dialogue like they have a conversation about blank. I'm like, oh, that's cool. So it's not even written like most of the dialogue's written, but then there's some stuff, you know, that seems like fun. I talk to the director and he's very open to, let's just see what the room looks like. That's... so I don't know if I'm now attracted to that kind of work or if I'm going to try to continue working that way. But, um, I get the feeling that if I ever start getting complacent in my process that I'm probably doing it wrong, because it seems to be changing. I thought when I was like 18, I thought I had sort of cracked it. And for a couple years I like had a particular way of working and then that started to change when I started doing more theater and then went, no, this is what it really is. This is what the process is and this is what works best. And then that sort of evolves and changes. And now it's this and it works really well on this thing for now and I'm assuming that it will turn into something else at some point. 

Rebecca Ford: Well, congrats again on the show, and I can't wait to see what you guys are doing in the fourth season. Thank you for joining me.

Kieran Culkin: Yeah, me too. I can't wait to see what happens. 

Rebecca Ford: Just tell us, just tell us what happens. 

Kieran Culkin: I, I don't really know. I mean, this time I kind of do. Uh, but usually each season, Jesse doesn't tell, unless you specifically ask and I didn't wanna know. Like I'll see it when the scripts come in. 

Katey Rich: That does it for today's episode. We'll be back on Thursday with our regular round table conversation. In the meantime, follow us on Twitter @littlegoldmen and on our own, I am @kateyrich and Rebecca?

Rebecca Ford: @beccamford.

Katey Rich: You can as always sign up to text with us at joinsubtext.com/littlegoldmen, or text 917-563-4588. Our editor and producer is Brett Fuchs.