What is up everybody? It is Popcast Deluxe, your talented kind feminist of weekly

cultural review. I'm John Caramonica, a critic of the New York Times. I'm Joe

Oscarle, I'm a reporter at the New York Times. I'm Joe Cuskerley I'm a reporter at the New York Times.

This is a fun, this is going to be a fun episode, series of segments, however you consume this.

First of all, if you are on YouTube, YouTube.com slash popcast, subscribe, like, comment, Joe might respond to a comment of yours.

I woke up this morning, I've rarely encountered such early morning violence as opening up my phone and seeing that Joe

responded to a comment on was it IG or Tik-Tok?

Instagram but we're going to be doing this more across platforms.

So anyway if you are looking to bait Joe into telling you something true

uh... now's your chance uh... you YouTube.com, popcast, swipe. The subjects for this week, we'll get to the various segments later, but we're

going to start with something that we have been alluding to. Teasing.

Frankly, we've been teasing in so long I've been starting to worry that it won't be true by the time

we actually land it.

I think this too.

Yes, but, okay, we're still true.

Everybody in America, nay, the globe, wants to know why did do a leap of flop?

Or did she? They're doing a really good job arguing that in fact this is

dual leap's best performing album because in church position and in pure sales which

is a factually true I'm I'm certain of it. Yeah. Okay so I will open this conversation

yeah with a confession. You love this album's good.

Yeah.

It's pretty good. It's pretty good. Like all dual leap albums, radical optimism. This is a radically optimistic take. It's a radically optimistic take. Like all dual leap albums, radical optimism. It is. It's a radically optimistic take. Like all two elite albums.

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