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Speaker 1: I am all in. I want to kiss you. I

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Speaker 1: am all in with Scott Patterson and I Heart Radio podcast.

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Speaker 1: Hey everybody, Scott Patterson here and this is the I

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Speaker 1: Am all In podcast with my Heart Radio. Uh. And

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Speaker 1: we are going to discuss that Damn Donna Read. What

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Speaker 1: an episode? Good God, We're gonna get into some Grantly

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Speaker 1: Phillips as well. He's here, he's waiting in the waiting room.

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Speaker 1: So or he's arriving in his golden to the town

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Speaker 1: troop bodoor in his golden limousine somewhere on the highway

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Speaker 1: making his way towards the green room and getting all

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Speaker 1: miked up and ready for his appearance on our podcast.

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Speaker 1: Grantly Phillips, the Town Troupe boder Anyway, what an epis?

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Speaker 1: So it was a laugh riot for me and so major.

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Speaker 1: There's so many things happening. This is episode fourteen that

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Speaker 1: Damn Donna Read. Air date February twenty two, two thousand one.

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Speaker 1: Rory and Dean argue about women's roles after watching The

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Speaker 1: Donna Rich Show, and Emily makes Lorelai face her feelings.

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Speaker 1: I mean, where do you even begin? Where the heck

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Speaker 1: do you even begin? I know where to begin. Laurela

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Speaker 1: likes Luke. She thinks she might have feelings for him. Yeah,

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Speaker 1: it's looking. Did you see him make his move though?

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Speaker 1: When they were on the floor looking at the the

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Speaker 1: he made you know where this dad wrote that order

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Speaker 1: down for nails and stuff like, and then he just

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Speaker 1: he moved in a little bit. He made a move.

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Speaker 1: And then Taylor, because Lusa staid, Lucas stead wait, I

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Speaker 1: want to hear all your thoughts. Give us all your

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Speaker 1: thoughts on the whole episode, Luca, lore La. You know,

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Speaker 1: I think the Luke and Laurel I stuff was funny,

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Speaker 1: entertaining and daring. Luke made his move, you know, he

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Speaker 1: yet again made another move. This time it wasn't interrupted

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Speaker 1: by Mrs Kim. It was interrupted by Taylor and Taylor man,

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Speaker 1: I got old, Taylor, how great is hey? Man? How

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Speaker 1: great is hey? He's just like with a bunch of

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Speaker 1: the town's folks have knocking on the door. Was he

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Speaker 1: trying to wake me up for it? I was closed?

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Speaker 1: You know what a busy body Jesus. But I loved God.

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Speaker 1: I just love how breezy and easy and kind of perfect.

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Speaker 1: The interaction is between Luke and Laurel I I just

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Speaker 1: I just love us together, I really do. And uh,

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Speaker 1: you know, as a critique of my own work, I

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Speaker 1: was really proud of my work. I really liked the work. Um.

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Speaker 1: I thought there was some very funny moments, especially chasing

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Speaker 1: the baby chick. Um, but I I enjoyed And now

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Speaker 1: I remember doing those scenes and remembering how much I

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Speaker 1: enjoyed doing those scenes. Um. You know, it was a

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Speaker 1: new show and we were getting good ratings and we

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Speaker 1: were happy, and everybody was you know, everybody kind of

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Speaker 1: relaxed into the roles and we're sort of firing on

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Speaker 1: all cylinders but not pushing anything. So it was like,

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Speaker 1: I think in the beginning, we're pushing a little bit,

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Speaker 1: but now we're sort of easing into that that nice

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Speaker 1: space where you're just doing some good work. And so

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Speaker 1: do you think your performance in this episode was stronger

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Speaker 1: than your performance in the episode where Richard has the

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Speaker 1: hard issue? Well, there was more to for me to

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Speaker 1: do in this episode. You know, I don't remember that

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Speaker 1: I had a lot to do in that episode. I

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Speaker 1: mean it was just see, I thought you were brilliant.

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Speaker 1: I thought Luke, really we really got to know Luke.

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Speaker 1: And but but those situations. Okay, so those situations with

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Speaker 1: the Richard episode, those are easier to play because anybody

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Speaker 1: can play those those scenes because it's, of course that's

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Speaker 1: what you're gonna do. Of course you're going to be

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Speaker 1: the support of end. You know. Wow, that's interesting. And

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Speaker 1: this one it required a little it required another layer

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Speaker 1: where it was sort of like, now you have to

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Speaker 1: show that you're interested, that you really want her, but

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Speaker 1: you know, be a little bit secretive about it, so

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Speaker 1: it's not so super obvious and it doesn't turn her off.

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Speaker 1: And and uh, that's what I enjoyed about it. It It

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Speaker 1: was that sort of banter, that going back and forth.

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Speaker 1: I mean he would go from dismissive to kind of

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Speaker 1: relax and accepting to a little bit of a smile,

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Speaker 1: like just like that, and then move in for a

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Speaker 1: kiss and get interrupted and and then take you know,

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Speaker 1: I like that hit a beer. I took it that.

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Speaker 1: When she left, I was like, jeez, I need a drink.

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Speaker 1: I almost kissed her. It's like almost and denied again.

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Speaker 1: I mean that's the second or third time he's been

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Speaker 1: denied by a an annoying town member. Noted, interrupted, interrupted,

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Speaker 1: well denied, denied. The universe conspiring against me. That's how Yeah,

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Speaker 1: the the chemistry is so it's just so cool. And

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Speaker 1: are you feeling that when you're acting those scenes, almost

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Speaker 1: like you get pumped up by it? What does that

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Speaker 1: feel like when you're just ping ponging and having those scenes?

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Speaker 1: What is that like? It feels great? It's fun it Yeah,

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Speaker 1: it feels like a couple of tennis players playing a

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Speaker 1: nice point, you know, just like hitting the ball, hitting shots,

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Speaker 1: hitting shots. But I think it's because I think that

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Speaker 1: relationship worse. And this is this is what is dawning

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Speaker 1: on me a little bit here as I watched these episodes,

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Speaker 1: is that laurelized very rebellious personality. She just is and

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Speaker 1: that's why we love her because she's unpredictable and she's

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Speaker 1: rebellious and you never know what's going to come out

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Speaker 1: of her mouth, but you know it's going to be

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Speaker 1: something funny, or it's going to be something a little

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Speaker 1: bit of reverend and that kind of a thing. And

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Speaker 1: she does it in the in the in the beginning

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Speaker 1: the dinner scene again, which I thought was just brilliant

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Speaker 1: hysterical reverence, such a great word, right, and then but

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Speaker 1: THANKS think she when she encounters me, she's encountering somebody

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Speaker 1: who is even more rebellious and more irreverence, so it

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Speaker 1: almost makes her look and feel lighter. I think it's

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Speaker 1: a sense, it's a good it's a good chemistry because

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Speaker 1: I'm a sort of a darker, heavier presence, but still

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Speaker 1: bellious and irreverent with a heart not like her. She's

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Speaker 1: got a heart for everybody. I've got a heart for

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Speaker 1: her and Rory, and that's pretty much about it, you know,

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Speaker 1: So I'm very limited in how I can use my heart.

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Speaker 1: So it's like, you know, the chemistry is that she's

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Speaker 1: going to be able to focus her heart maybe on

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Speaker 1: me in a romantic way, and that she will open

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Speaker 1: up my heart so I can lighten up and love

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Speaker 1: other people as well as her. So I think that's

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Speaker 1: the the sort of yang yin and the yang of it.

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Speaker 1: Do you feel like her moralized moments with Luke they

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Speaker 1: are like a breath of fresh air for her or

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Speaker 1: a lighter feeling. I don't know if anyone else feels that,

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Speaker 1: but I do get what you're saying, like those scenes

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Speaker 1: do feel lighter, where her Emily Richard scenes are more

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Speaker 1: like snark, right, because because she I don't give off

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Speaker 1: the impression to Laurel. Luke doesn't give off the impression

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Speaker 1: to Laurel I that he needs her. There's no pressure

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Speaker 1: on her coming from him. It's just that, you know,

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Speaker 1: I'm I'm the diner guy, I'm your friend. Everything is is,

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Speaker 1: So there's just no pressure coming from him. There's no

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Speaker 1: there are no head trips, there's no nothing. It's just

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Speaker 1: he's there. She can tell he did that, he digs her.

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Speaker 1: She can tell that she's not an idiot, and you know,

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Speaker 1: she's just not giving into it yet. She doesn't. There's

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Speaker 1: a lot at steak here. I mean there's a there's

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Speaker 1: a lot at steak, and she's not going to give

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Speaker 1: into it until it's just kind of overwhelming. And um

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Speaker 1: but yeah, I think Luke. And that's the reason I

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Speaker 1: wanted to plan it that way, Uh, to to have

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Speaker 1: somewhat of a way to your some darker, somewhat more

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Speaker 1: serious presence in that show, because if I'm anything other

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Speaker 1: than that, she's going to appear to be a little

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Speaker 1: too much in a romantic relationship. So I had to

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Speaker 1: kind of be the heavy and uh, you know, it

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Speaker 1: just works. It just worked. I totally agree. So what

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Speaker 1: do you Scott slash Luke feel in that scene when

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Speaker 1: Emily you know, goes aside with Laura Lyons says, you

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Speaker 1: know this guy is finding the bird and and he

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Speaker 1: was at the hospital and you're always with him. Do

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Speaker 1: you have feelings for him? And she finally admits, Lord

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Speaker 1: knows why she admits it to her mother, I don't know,

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Speaker 1: maybe I do. How do you feel? When Emily says, well,

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Speaker 1: and now there's a lot to talk about about that, right,

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Speaker 1: she says something dismissive about me. Yes, you like, then

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Speaker 1: we have to discuss are you are you out of

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Speaker 1: your mind or something like that to choose somebody like that,

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Speaker 1: and right, okay. So that means therefore that Emily really

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Speaker 1: is is digging for honesty from Laura La about that situation,

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Speaker 1: because it's really, you know, her being selfish. She wants

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Speaker 1: some closeness with her daughter. She wants her daughter, she

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Speaker 1: wants to have That's her way of of telling Laura La,

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Speaker 1: I want to have a relationship with you. I want

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Speaker 1: to I want to dish dish with me. Let's talk

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Speaker 1: about this guy. You know. Yeah, that scene bothered me

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Speaker 1: because I really didn't like Emily in that scene because

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Speaker 1: I truly like Emily. I think she has mostly good intentions,

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Speaker 1: although she's she's dark and complicated, but she gets Lorelei

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Speaker 1: to open up to her and then dismisses it, and

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Speaker 1: I that really bothered. But I think, Okay, you're right.

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Speaker 1: But I think it's because she doesn't she wants to

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Speaker 1: have a an honest and kind of dishy mother daughter

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Speaker 1: thing because that's her only daughter. She wants more closeness.

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Speaker 1: She wants to be close. But why does she want

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Speaker 1: to be close? I think her intention is she doesn't

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Speaker 1: want Laurel I'm making another mistake with somebody like me.

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Speaker 1: And if she has an influence in her life, if

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Speaker 1: they're friends again, if they fall in love again, I'm

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Speaker 1: talking mother and daughter, if they have a closeness, um,

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Speaker 1: maybe Emily can steer her in the right direction. I

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Speaker 1: don't think Emily gives up. I don't think she's given

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Speaker 1: up on Laurela trying to be an influence on her life,

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Speaker 1: getting her back to the country club because they're you

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Speaker 1: know what I mean. I mean, she's thirty two, she's young,

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Speaker 1: she's very attractive, she's very young. She's going to be

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Speaker 1: an empty nester at thirty three years old. She's thirty

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Speaker 1: two now. Rory's going away, so she's still young and

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Speaker 1: very marketable on the dating scene at the country club,

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Speaker 1: and I think I think Emily wants to set things right.

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Speaker 1: It's like, do the right thing by Rory, get her

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Speaker 1: to Yale, then get Laura La back in the country club,

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Speaker 1: and get her going with the right guy who runs

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Speaker 1: this corporation or that corporation is an international businessman, and

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Speaker 1: so that I can have a normal life again and

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Speaker 1: not be embarrassed by my daughter anymore. I think you're

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Speaker 1: nailing it because that bothered me so much, because I

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Speaker 1: felt like she got Laura La to open up, and

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Speaker 1: she was very clever about how she did it, and

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Speaker 1: she was almost loving and motherly. And then I was

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Speaker 1: so disappointed in her reaction when Lorealy admitted it, and

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Speaker 1: it felt like Emily is trying to control her and

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Speaker 1: it didn't feel genuine that it really for some reason,

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Speaker 1: in this amazing episode that has so many things I loved,

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Speaker 1: especially Christopher coming back, we'll talk about that, but that

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Speaker 1: really bothered me. No, No, but it's I think she's

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Speaker 1: still Yes, she's self Emily, self serving, she wants her

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Speaker 1: life to go a certain way. She that's her child,

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Speaker 1: that's her only child, and it's and it's just screwed

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Speaker 1: up her life and it's screwed up her social life,

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Speaker 1: and she's tired of apologizing for her daughter. And she

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Speaker 1: do you think she really wants to sit there and

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Speaker 1: dinner and say things like you know, and you know,

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Speaker 1: and and talk under her breath about inappropriate things that

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Speaker 1: her daughter is saying at the dinner table. What is it?

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Speaker 1: The very the very first scene, Emily had some snarky thing,

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Speaker 1: you know, and it was just very quick and it

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Speaker 1: was like, oh, here we go again, Laurali with the

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Speaker 1: comments and the funny jokes and this and that and

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Speaker 1: and what what? What did Emily say the very first thing?

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Speaker 1: But it was it was really cutting, and it was

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Speaker 1: really funny, and it was really kind of right on,

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Speaker 1: and it just shows how irritated she is that she

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Speaker 1: has this daughter that turned out this way. It's like

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Speaker 1: she wants to sit there and have an intelligent, sophisticated,

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Speaker 1: culturally appropriate conversation that the upper crust has. It's like

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Speaker 1: we needed, you know, we did the therapy episode about

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Speaker 1: Luke and lore La it's like, we need a therapist again,

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Speaker 1: and we'll do it soon. Really breaking down this eft

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Speaker 1: up relationship that Emily and Laura la I have, it

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Speaker 1: is a hot mess. Emily wants to save her daughter.

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Speaker 1: Now she sees an opportunity. She's taking control of Rory somewhat,

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Speaker 1: she thinks, right, that's what the Friday night dinners are

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Speaker 1: all about, getting control of Rory and then maybe trying

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Speaker 1: to rein in and manipulate Laurela back into the country

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Speaker 1: club sets so that she can meet an appropriate man

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Speaker 1: because she's worried that that she likes me. She's worried

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Speaker 1: about she doesn't want me in the mix with all

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Speaker 1: that money. Right, yeah, and look at one ahead of myself.

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Speaker 1: But it's why they love Christopher. He's appropriate. They love Christy,

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Speaker 1: he's one of them. And that's another strength of the show.

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Speaker 1: It's it's it's it's how the rich fight. That's how

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Speaker 1: they what they do. They don't want their kids trafficking

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Speaker 1: in Luke Danes is they do not. They do not.

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Speaker 1: Oh he owns a diner and stars hollow. Great, nice,

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Speaker 1: good for you. They don't care about the chemistry between us.

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Speaker 1: They don't care about you know, if it could be

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Speaker 1: potentially there you were, there, you were at the hospital.

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Speaker 1: There you are on the floor of the house. You know,

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Speaker 1: there you are there, you are bringing the ice. You know.

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Speaker 1: It's like it's like Emily is missing the things that

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Speaker 1: matter so much. She invited them to Martha's vineyard because

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Speaker 1: they found the house. You know, the guy died, and

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Speaker 1: and now they had a house to rent um and

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Speaker 1: and so she invited the two of them. She didn't

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Speaker 1: didn't invite me or any but I mean, it's a

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Speaker 1: little too soon for that anyway, But she she doesn't

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Speaker 1: want to be in a position where I would show

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Speaker 1: up anyway if Lauren and I were together. Very complicated,

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Speaker 1: but there's so much in this episode. This really is

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Speaker 1: a phenomenal episode without a question, my god, And you

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Speaker 1: know what, I think. I was a little harsh about

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Speaker 1: the Rory Dean stuff. It was pretty no I you know,

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Speaker 1: it's so weird. I enjoyed that because I sort of

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Speaker 1: wasn't totally mad at Dean obviously, like, and I'd love

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Speaker 1: to hear what Riley and Danielle say, Like I understand

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Speaker 1: why Rory is like fired up about it, but at

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Speaker 1: the same time, I sort of like that is so

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Speaker 1: Dean of Dean, But but it's now it's just showing

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Speaker 1: how naive kids are. They don't understand the period that

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Speaker 1: that was shot and written. I mean, this is the

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Speaker 1: post World War two entertainment complex, right, I mean, all

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Speaker 1: these guys coming back from World War Two, the whole

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Speaker 1: country coming back from World War two, and women contributed

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Speaker 1: mightily to the war effort in the United States. I

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Speaker 1: mean they were on the assembly line putting missiles in

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Speaker 1: bull It's together and all kinds of things. Everybody chipped

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Speaker 1: in uma and it was a you know, it was

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Speaker 1: a full time, full time job kicking those Nazis asses.

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Speaker 1: You know, it really was. Everybody chipped in and and

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Speaker 1: but the men came back so traumatized and so young. Uh.

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Speaker 1: And the government felt so bad about it because you know,

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Speaker 1: PTSD wasn't a thing back then. Um. You know, these

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Speaker 1: guys get the free college on the g I bill

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Speaker 1: like my father did, and they all they wanted to

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Speaker 1: is just to have families and quiet and peace and

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Speaker 1: children and dogs in a white picket fence. And that's

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Speaker 1: all they wanted. So making your man a meal, knowing

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Speaker 1: that we had just been through you know, four or

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Speaker 1: five years of hell on earth and we almost lost

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Speaker 1: our way of life and thank god, you know it's

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Speaker 1: over now. You know you're gonna make the poor guy

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Speaker 1: a meal because you know what he wants. Yeah, with

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Speaker 1: the Donna Reed show and the shows of that time,

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Speaker 1: everyone at home is wanting to total escape to look

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Speaker 1: at how great everything is and pushing the American, pushing

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Speaker 1: the Levitt towns, pushing that way of life. A chicken

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Speaker 1: and every pot in a car in every garage. Yes,

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Speaker 1: So Riley and Danielle who are of a different generation,

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Speaker 1: what did you guys think of the Rory Dean Donna

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Speaker 1: Reed thing? So for me, like I I understood both sides,

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Speaker 1: Like I have very traditional parents, so I understood Dean

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Speaker 1: side of like, you know, making the meal from the wife,

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Speaker 1: makes meal for the husband, like the very traditional side.

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Speaker 1: But then I also understand Rory side of like being

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Speaker 1: an empowered woman and doesn't have to be that way

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Speaker 1: and breaking out of the norm. So I definitely see

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Speaker 1: both sides. I agree. I Mean the one thing that

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Speaker 1: bothers me is if my husband's like, so, what's for

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Speaker 1: dinner tonight? And I'm like, I don't know, you tell me,

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Speaker 1: you know, like if he tells me that like red,

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Speaker 1: see red, but I will. I do think it was

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Speaker 1: very innocent of Dean, right, Like I think he was

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Speaker 1: just a dude that likes to get fed. You know,

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Speaker 1: he's like, you're gonna make me dinner today. That makes

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Speaker 1: me so happy. I don't think he had any like

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Speaker 1: malintent to that at all. I think he was just

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Speaker 1: a dude that loves a meal from the girl he likes.

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Speaker 1: But it's not only it's not only genetic, it's it's

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Speaker 1: it's it's behavioral, it's what it's conditioning, it's what they

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Speaker 1: who fed me when I was growing up. My mom

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Speaker 1: my dad didn't feed me. But my dad did feed me.

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Speaker 1: He went out and made the money and you know, provided, provided, provided,

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Speaker 1: But it was my mother who was feeding me. She

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Speaker 1: was cooking and feeding. That's all. That's all Guys at

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Speaker 1: age one, I think guys as even if they get older,

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Speaker 1: they want their mommy's feeding them. Yeah, Dean is a

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Speaker 1: simple guy. Yeah, it's it's yeah, it's a different Uh,

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Speaker 1: it was just a whole different generation. I mean, it's why,

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Speaker 1: here's the thing, and we're getting ahead of ourselves. But

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Speaker 1: it's why Dean and Rory don't end up together. Yeah,

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Speaker 1: once traditional and one is non simple and she's so complicated.

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Speaker 1: That's why I love Logan. But we'll talk about it later.

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Speaker 1: We're gonna talk. I mean, I cannot wait for that.

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Speaker 1: But what do you think of a motorcycle and Christopher?

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Speaker 1: And what did you you, Scott, because you couldn't probably

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Speaker 1: remember everything. I think when that did you know immediately

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Speaker 1: that Christopher was on that motorcycle? I figured it out

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Speaker 1: pretty quick. Yeah, what did you think? It was a

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Speaker 1: devastating moment personally for me because I thought Luke was

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Speaker 1: gaining so much ground. I mean, that's like, you know,

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Speaker 1: that's like, you know, the quarterback is handing to the

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Speaker 1: ball and you're going three yards and a and a

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Speaker 1: cloud of dust and you're on the you know, you're

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Speaker 1: just getting beat up and you're almost there and you're

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Speaker 1: gonna score the winning goal, a little touchdown, and then

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Speaker 1: all of a sudden, quarterback throws a little two yard

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Speaker 1: passed to a wide receiver just came into the game,

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Speaker 1: you know, this first end of when he gets all

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Speaker 1: the glory, and it's like that's how I felt. It's

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Speaker 1: like rug pulled out from under you rug pulled out,

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Speaker 1: as audience fans were like, yes, yes, oh wow, like

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Speaker 1: it's the ultimate curveball, like here comes this motorcycle. And

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Speaker 1: as a first time viewer, you know, Danielle, you can comment,

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Speaker 1: were you like who is that dude? And then all

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Speaker 1: of a sudden, Rory's like, Dad, were you just like

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Speaker 1: what just by the way that you saw Laura Lite

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Speaker 1: When that motorcycle pulled up, I was like, oh, that's Christopher,

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Speaker 1: Like I knew right away before Rory even said, Dad,

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Speaker 1: I'm like, oh, no, here he is. It's amazingly well done, Scott.

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Speaker 1: Can you remember I mean, I'm sure you probably weren't

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Speaker 1: around that day, but can you remember then shooting that.

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Speaker 1: I can't wait to find out what everyone listening thinks

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Speaker 1: of Christopher because I know how I feel about Christopher

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Speaker 1: obviously I kind of know how you feel. But I

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Speaker 1: can't wait to see like if fans I think they

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Speaker 1: a lot? Do Yeah? I love it? I think a

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Speaker 1: lot too, And I don't blame him. He's a hell

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Speaker 1: of a guy. And man, I mean I mean talk

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Speaker 1: about you know, just the visual alone, right, and he's

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Speaker 1: like pulling up in the leather jacket and he says

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Speaker 1: the cool line, Hey, okay, take your shirt off. That's

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Speaker 1: what he said from his motorcycle with a helmet on.

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Speaker 1: Laureliz is like, huh, and I know we have to

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Speaker 1: go to break, but like they've got a witty bantern

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Speaker 1: you because they have a very similar ping pong that

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Speaker 1: you do with Laura. Yeah, but there's this very country

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Speaker 1: club yeah yeah, yeah, yeah, with the with the like,

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Speaker 1: but we don't want that. There's like, no, they have

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Speaker 1: the country club ping pong with no conflict, even though

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00:21:58,600 --> 00:22:02,040
Speaker 1: they had the history Laureline and it's all it's all

377
00:22:02,200 --> 00:22:06,000
Speaker 1: it's all sexual tension. Yes, yeah, alright, so we gotta

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Speaker 1: take a break. We'll be back with Grant Lee Phillips,

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Speaker 1: the town troubadour, who we see for the first time

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Speaker 1: in this episode. So we'll we'll be right back. Yeah,

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Speaker 1: there he is the legend. Are you doing, buddy, I'm

382
00:22:26,760 --> 00:22:28,680
Speaker 1: doing good? Thank you? How are you good to see it?

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00:22:28,800 --> 00:22:32,360
Speaker 1: Thanks for coming on, I'm good. Pleasure. So let's get

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Speaker 1: into this this this episode. This is your first appearance,

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Speaker 1: isn't it is? In an episode? There you were, There

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Speaker 1: you were, and all your glory. Grant Lee Phillips appears

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Speaker 1: as the grant the Town Troubadour until of nineteen Gilmour

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Speaker 1: Girls episodes from two thousand and two thousand and seven.

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Speaker 1: You're a musician who played guitar and sings and stars hollow.

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Speaker 1: It is said that you do not accept money. Uh,

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Speaker 1: and you were elected the official town Troubadour during a

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Speaker 1: town meeting two thousand and one. So let's talk about

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Speaker 1: your background in music and how did you get the

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00:23:06,640 --> 00:23:11,359
Speaker 1: part of the Town Troubador. Where were you initially cast

395
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Speaker 1: for a certain amount of episodes or was it just

396
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Speaker 1: the one? And they said, I believe it was just

397
00:23:16,640 --> 00:23:21,119
Speaker 1: for the one, you know, um Amy Sherman Palladino, Daniel Palladino.

398
00:23:21,160 --> 00:23:26,119
Speaker 1: They were fans of Grantly Buffalo and had followed me

399
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Speaker 1: into what was the beginning of my solo career at

400
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Speaker 1: that time, early early two thousand's, like maybe like two thousand,

401
00:23:32,840 --> 00:23:36,359
Speaker 1: come to think of it, White two K days. Remember

402
00:23:36,400 --> 00:23:40,359
Speaker 1: that the world was coming to an end. If we

403
00:23:40,400 --> 00:23:43,159
Speaker 1: could just go back to White two k if we

404
00:23:43,200 --> 00:23:46,879
Speaker 1: didn't know how good we had, Uh. Yeah, So I

405
00:23:46,960 --> 00:23:49,119
Speaker 1: get this call, do you want to be on the

406
00:23:49,200 --> 00:23:53,520
Speaker 1: Gilmore Girls playing the Town Troubador? I had no idea

407
00:23:53,600 --> 00:23:56,399
Speaker 1: what I was really getting, you know, involved with, but

408
00:23:56,960 --> 00:23:58,440
Speaker 1: it was a great time for me to just to

409
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Speaker 1: leap without looking. And um, I'm glad I did. I mean,

410
00:24:03,400 --> 00:24:06,560
Speaker 1: I loved every second of the nice And how many

411
00:24:06,600 --> 00:24:12,520
Speaker 1: of your songs actually made it on the soundtrack of

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Speaker 1: any episode? Dudes? I mean, well, um goodness, Um, I

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Speaker 1: think you said there were there were nineteen episodes, so

414
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Speaker 1: you know, sometimes there were there were more than one song. Um,

415
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Speaker 1: I don't know definitively. Um, I'm guessing there there must

416
00:24:29,920 --> 00:24:36,000
Speaker 1: be ten fifteen of my own original songs. Um. Yeah.

417
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Speaker 1: Most most of the songs that I've played I had written,

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Speaker 1: although there were a couple where, um, you know, the

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Speaker 1: Troubador ventured out wake me up before you go go

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Speaker 1: be true to your school. You know. Well, it's very

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Speaker 1: difficult for the for the audience listening in, it's very

422
00:24:53,560 --> 00:24:57,919
Speaker 1: difficult to get a song highly competitive arena. They're getting

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00:24:57,920 --> 00:25:00,760
Speaker 1: a song song on a place, to a TV show

424
00:25:00,880 --> 00:25:06,280
Speaker 1: or a film. It can be very lucrative, Um, but

425
00:25:06,359 --> 00:25:09,000
Speaker 1: it's very very competitive, very difficult thing to accomplish. It.

426
00:25:09,080 --> 00:25:14,440
Speaker 1: Good for you, um Tory musician, you know, and uh,

427
00:25:14,560 --> 00:25:17,920
Speaker 1: you know now you're on Gilmore Girls, and I hope

428
00:25:17,960 --> 00:25:24,040
Speaker 1: you're getting residuals uh in perpetuity this great music because

429
00:25:24,200 --> 00:25:26,439
Speaker 1: for me, you know, the music sets the atmosphere of

430
00:25:26,440 --> 00:25:29,880
Speaker 1: the show. The Carol King thing is King song is iconic.

431
00:25:31,240 --> 00:25:34,320
Speaker 1: Your music is iconic, and it's it contributes mightily to

432
00:25:34,320 --> 00:25:36,920
Speaker 1: the show. So you should be you should be paid

433
00:25:36,920 --> 00:25:40,560
Speaker 1: for it. So oh well, I appreciate that. And you know,

434
00:25:40,760 --> 00:25:43,760
Speaker 1: I you know, and there are there are ways that

435
00:25:43,840 --> 00:25:48,280
Speaker 1: I can't even really uh put into into a number.

436
00:25:48,359 --> 00:25:53,080
Speaker 1: I can't quantify how many fans that I have made

437
00:25:53,160 --> 00:25:56,600
Speaker 1: through the show who have then come to my concert.

438
00:25:56,800 --> 00:26:03,560
Speaker 1: You know, that's an amazing thing, you know, mother's daughters. Yeah,

439
00:26:04,240 --> 00:26:06,320
Speaker 1: I mean, do you notice it in the in the

440
00:26:06,320 --> 00:26:09,959
Speaker 1: crowd when you were when you were, did you notice people,

441
00:26:10,040 --> 00:26:12,080
Speaker 1: I mean you would know you get the direct feedback.

442
00:26:12,640 --> 00:26:15,520
Speaker 1: I'm I'm yeah. From from time to time, it's not

443
00:26:15,560 --> 00:26:19,560
Speaker 1: an uncommon thing anywhere that I travel, could be overseas

444
00:26:19,800 --> 00:26:25,640
Speaker 1: and they're at the show. Some some fans will show

445
00:26:25,720 --> 00:26:27,879
Speaker 1: up and say, you know, I discovered you through The

446
00:26:27,880 --> 00:26:31,280
Speaker 1: Gilmore Girls with my daughter here and we watched it

447
00:26:31,320 --> 00:26:33,359
Speaker 1: and we and we have this great connection with the

448
00:26:33,359 --> 00:26:36,840
Speaker 1: show and and that's how we discovered your music. So

449
00:26:36,880 --> 00:26:38,879
Speaker 1: it's you know, it's as direct as that, and I

450
00:26:38,880 --> 00:26:41,520
Speaker 1: think that's pretty amazing. So you know, I'm going to

451
00:26:41,640 --> 00:26:44,320
Speaker 1: go off script here. Um yeah, I have a bunch

452
00:26:44,359 --> 00:26:46,199
Speaker 1: of questions they gave me. But you know, I'm a

453
00:26:46,240 --> 00:26:49,560
Speaker 1: songwriter too, and I've dedicated a great deal of time

454
00:26:49,640 --> 00:26:53,760
Speaker 1: to writing songs, and I want to know about your process.

455
00:26:53,800 --> 00:26:57,520
Speaker 1: I want to know how you do it. Um who

456
00:26:57,560 --> 00:27:00,439
Speaker 1: inspires you? You know? How do you how do you

457
00:27:00,440 --> 00:27:04,440
Speaker 1: go about writing songs? Oh goodness, I do recall many

458
00:27:04,480 --> 00:27:07,560
Speaker 1: times on the set when in between takes, there's so

459
00:27:07,640 --> 00:27:09,679
Speaker 1: much time where we find ourselves just sitting around and

460
00:27:09,720 --> 00:27:14,640
Speaker 1: we would pass the twelve string back and forth. Um yeah,

461
00:27:14,680 --> 00:27:19,239
Speaker 1: I always enjoyed that. You know, the process for me

462
00:27:19,280 --> 00:27:27,080
Speaker 1: begins with um uh, becoming bored. It's probably as simple

463
00:27:27,119 --> 00:27:29,760
Speaker 1: as that. And and and in some ways that was

464
00:27:29,800 --> 00:27:33,840
Speaker 1: sort of the challenge when this pandemic set in. I'm

465
00:27:33,880 --> 00:27:36,040
Speaker 1: I'm used to being out on the road and with

466
00:27:36,160 --> 00:27:38,840
Speaker 1: that means that I've got a sound check at six

467
00:27:38,840 --> 00:27:43,719
Speaker 1: o'clock shows at ten tonight. What do I do in between?

468
00:27:43,800 --> 00:27:46,119
Speaker 1: I go back the hotel, try to stay awake and

469
00:27:46,400 --> 00:27:49,600
Speaker 1: naturally I began just thumping around on the guitar, and

470
00:27:49,640 --> 00:27:53,479
Speaker 1: that's usually when I begin, Hey, there's a song there.

471
00:27:53,480 --> 00:27:55,719
Speaker 1: You know. It's in those little moments when I'm totally

472
00:27:55,720 --> 00:27:58,879
Speaker 1: by myself, and uh, I don't know when I'm you know,

473
00:27:58,920 --> 00:28:01,600
Speaker 1: when those moments are going. I can't predict those moments necessarily,

474
00:28:02,840 --> 00:28:05,600
Speaker 1: but they're they're pretty vital. So I had to kind

475
00:28:05,600 --> 00:28:10,760
Speaker 1: of create that time in that situation. Uh, I mean,

476
00:28:10,960 --> 00:28:13,000
Speaker 1: you're having a guitar in your hand, that's the thing.

477
00:28:13,680 --> 00:28:18,000
Speaker 1: I think. It's noodling around constantly. And then yeah, yeah,

478
00:28:18,080 --> 00:28:21,720
Speaker 1: just constantly. And in the same goes for lyric writing,

479
00:28:21,800 --> 00:28:25,240
Speaker 1: I'm I'm sort of always I think you could relate

480
00:28:25,280 --> 00:28:28,639
Speaker 1: to this. To you, as a songwriter a lyricist, you

481
00:28:28,680 --> 00:28:35,280
Speaker 1: develop a sense of of listening. As a songwriter, you know,

482
00:28:36,040 --> 00:28:40,200
Speaker 1: you recognize when a string of words have the potential

483
00:28:40,240 --> 00:28:43,840
Speaker 1: of being a song title or a chorus, or you know,

484
00:28:44,200 --> 00:28:47,040
Speaker 1: have the seed of a song. It's a funny thing

485
00:28:47,080 --> 00:28:53,040
Speaker 1: that way. My wife we were talking about, uh, back

486
00:28:53,360 --> 00:28:56,120
Speaker 1: in the in the in the nineties when we were

487
00:28:56,160 --> 00:28:58,040
Speaker 1: living in the High Desert at that time, and we

488
00:28:58,080 --> 00:29:01,000
Speaker 1: had the north Ridge earthquake and my wife was in

489
00:29:01,080 --> 00:29:03,200
Speaker 1: the after shocks kept coming and just remember that you

490
00:29:03,400 --> 00:29:06,480
Speaker 1: couldn't trust the ground anymore. It was a terrible feeling.

491
00:29:06,640 --> 00:29:10,080
Speaker 1: And I said, can I trust the ground? Yeah? Okay,

492
00:29:10,480 --> 00:29:13,600
Speaker 1: And I went and I wrote that song. So that's

493
00:29:13,600 --> 00:29:16,680
Speaker 1: some that's on my next records. That's you know, and

494
00:29:16,680 --> 00:29:19,280
Speaker 1: it doesn't necessarily have anything to do with earthquakes a song,

495
00:29:19,440 --> 00:29:22,320
Speaker 1: but you know, I think we we tend to have

496
00:29:22,640 --> 00:29:28,840
Speaker 1: a metaphoric sensibility, you know. Yeah, alright, let's get into

497
00:29:28,880 --> 00:29:32,800
Speaker 1: some Gilmore stuff here, because I could talk music with

498
00:29:32,840 --> 00:29:34,840
Speaker 1: you all day, but we have to. We have to

499
00:29:34,880 --> 00:29:37,960
Speaker 1: get some Gilmore stuff. And because that's what the podcast

500
00:29:38,040 --> 00:29:40,200
Speaker 1: is about. I love that. I love that about you

501
00:29:40,240 --> 00:29:42,440
Speaker 1: that you have so many You have such a wide

502
00:29:42,480 --> 00:29:50,080
Speaker 1: field of experience, music, sports, coffee, Gilmore of course. Yeah,

503
00:29:50,760 --> 00:29:54,239
Speaker 1: well you know you gotta keep plugging, right. Um. The

504
00:29:54,240 --> 00:29:56,720
Speaker 1: thing that the music is is I I started too late,

505
00:29:57,360 --> 00:30:00,720
Speaker 1: and I wanted to out of high school. Our band

506
00:30:00,800 --> 00:30:04,880
Speaker 1: kind of broke up and everybody pursued there separate interests,

507
00:30:04,880 --> 00:30:07,680
Speaker 1: but I wanted to keep the band together. Um, so

508
00:30:08,120 --> 00:30:12,200
Speaker 1: you know, it's it's a pipe dream. But I love

509
00:30:12,280 --> 00:30:15,240
Speaker 1: writing and I love recording, and you know, it's a

510
00:30:15,360 --> 00:30:20,720
Speaker 1: it's a nice hobby, you know what I'm saying. Um um,

511
00:30:20,760 --> 00:30:24,280
Speaker 1: So were you given direction as the town trooper or

512
00:30:24,560 --> 00:30:30,200
Speaker 1: was there some kind of the direction I was given

513
00:30:30,280 --> 00:30:37,960
Speaker 1: typically how to do with like can you maybe sing

514
00:30:38,160 --> 00:30:42,520
Speaker 1: a little slower? Definitely walk a little faster as you're

515
00:30:42,520 --> 00:30:45,800
Speaker 1: doing getting across the street, because we've got to pick

516
00:30:45,880 --> 00:30:51,360
Speaker 1: up this other you know, caravan that's coming through and

517
00:30:51,600 --> 00:30:54,040
Speaker 1: uh and you know how that is. It's one long shot,

518
00:30:54,520 --> 00:30:57,520
Speaker 1: like if you blow it, if you're the weakest link,

519
00:30:57,720 --> 00:31:00,200
Speaker 1: then the whole thing has to be read as you

520
00:31:00,240 --> 00:31:02,960
Speaker 1: were in all those white shots and they'd come zoom

521
00:31:03,080 --> 00:31:06,200
Speaker 1: in on you and then moved aft right. Yeah, so

522
00:31:06,280 --> 00:31:09,000
Speaker 1: there was a little bit of terror involved in that,

523
00:31:09,080 --> 00:31:13,520
Speaker 1: you know, all that choreography. Yeah, but in terms of like,

524
00:31:13,560 --> 00:31:17,240
Speaker 1: you know, my what is my objective? But never I

525
00:31:17,320 --> 00:31:20,360
Speaker 1: never really got to go as deep as I felt

526
00:31:20,400 --> 00:31:22,680
Speaker 1: like I was capable of going hum with it, with

527
00:31:22,760 --> 00:31:26,760
Speaker 1: the exception of you know that that episode where the

528
00:31:26,800 --> 00:31:31,560
Speaker 1: you spoke of that involves the whole city meeting the

529
00:31:31,640 --> 00:31:36,560
Speaker 1: town hall. Yes, exactly. Yeah, that was fun. That was

530
00:31:36,920 --> 00:31:38,600
Speaker 1: That was one of the first ones that I that

531
00:31:38,680 --> 00:31:42,240
Speaker 1: I did. You know, it was a long day, like yeah,

532
00:31:42,760 --> 00:31:44,800
Speaker 1: I was given it my all. I get five in

533
00:31:44,840 --> 00:31:48,600
Speaker 1: the morning delivering those lines and bang, bang bang. You

534
00:31:48,640 --> 00:31:51,520
Speaker 1: know I'm not missing a beat, having no idea that

535
00:31:51,600 --> 00:31:54,560
Speaker 1: I was still gonna be delivering those lines at two

536
00:31:55,480 --> 00:32:01,440
Speaker 1: that morning to a chair to air and everyone had

537
00:32:01,480 --> 00:32:07,800
Speaker 1: gone home. Oh my god. Yeah, we say we knew

538
00:32:07,800 --> 00:32:14,240
Speaker 1: to conserve our energy. Uh, you have such incredible stay power.

539
00:32:16,520 --> 00:32:19,000
Speaker 1: Thank you. I'm going to That was a seven in

540
00:32:19,040 --> 00:32:22,800
Speaker 1: the morning and the marathon man name Sprint, had no

541
00:32:22,880 --> 00:32:28,440
Speaker 1: idea what yeah we uh but they were great scenes.

542
00:32:28,560 --> 00:32:32,440
Speaker 1: I mean they really were. They were really funny. Um.

543
00:32:32,720 --> 00:32:36,080
Speaker 1: Thank god we had Michael Winters, his tailor Dosy keeping

544
00:32:36,120 --> 00:32:39,640
Speaker 1: it all together. Oh. I know, I know the pressure

545
00:32:39,720 --> 00:32:43,320
Speaker 1: he was under constantly and he just delivered every time.

546
00:32:43,360 --> 00:32:47,360
Speaker 1: It's amazing, really amazing to watch. Were you playing or

547
00:32:47,480 --> 00:32:52,200
Speaker 1: loitering on the street corner? This is a fan question. Goodness,

548
00:32:54,000 --> 00:33:04,400
Speaker 1: why was emoting? I was sharing my bliss? Yeah, damn right,

549
00:33:04,440 --> 00:33:09,840
Speaker 1: you were. That's that's right. Moding, You're you're a that's

550
00:33:09,840 --> 00:33:12,320
Speaker 1: what they do. I mean, you want to keep you

551
00:33:12,480 --> 00:33:14,880
Speaker 1: do want to keep moving though, you know, because for one,

552
00:33:14,960 --> 00:33:18,560
Speaker 1: it's it's freezing. You're lucky, you always got you always

553
00:33:18,560 --> 00:33:24,200
Speaker 1: had layers, but not in the summertime. H really, I don't.

554
00:33:24,200 --> 00:33:29,800
Speaker 1: I don't remember like any any scantily clad Luke episodes.

555
00:33:30,880 --> 00:33:33,440
Speaker 1: I just remember like there was one there was a

556
00:33:33,640 --> 00:33:36,400
Speaker 1: shirt and the flannel and the thermal. There was a

557
00:33:36,440 --> 00:33:38,840
Speaker 1: T shirt one and one when we were when t

558
00:33:38,960 --> 00:33:40,760
Speaker 1: J drove his carr into the diner and we had

559
00:33:40,800 --> 00:33:44,360
Speaker 1: to rebuild it and I was in a T shirt. Immersive, Okay,

560
00:33:44,400 --> 00:33:47,360
Speaker 1: the one time, one time you remember that time. I

561
00:33:47,840 --> 00:33:50,560
Speaker 1: think it just proves my point that was the only

562
00:33:50,560 --> 00:33:54,400
Speaker 1: time it stands out. No, what I'm saying is is,

563
00:33:55,440 --> 00:33:58,040
Speaker 1: you know it's it's wintertime and Stars Hollow, so you're

564
00:33:58,080 --> 00:34:01,440
Speaker 1: all bundled up right, and it's a hundred and ten

565
00:34:01,680 --> 00:34:08,520
Speaker 1: on in Burbank on set anyway, It's nice to have

566
00:34:08,560 --> 00:34:12,040
Speaker 1: a job. Yes, that's true. In the streets are wet too.

567
00:34:12,080 --> 00:34:14,640
Speaker 1: They would wet those street downs, they would they had

568
00:34:14,680 --> 00:34:16,760
Speaker 1: wet them down, everybody. You gotta wet down the streets

569
00:34:16,840 --> 00:34:22,319
Speaker 1: make it look cool. Um, So you actually played on set.

570
00:34:22,400 --> 00:34:30,240
Speaker 1: What were your impressions of the Stars Hollow set man

571
00:34:30,680 --> 00:34:35,080
Speaker 1: talk about idyllic, talk about idyllic. I think most of

572
00:34:35,160 --> 00:34:36,759
Speaker 1: us who fall in over the show, and I want

573
00:34:36,760 --> 00:34:43,280
Speaker 1: to go there. I want to live there, you know. Um. Yeah,

574
00:34:42,320 --> 00:34:45,920
Speaker 1: it's just that it's that magic place that you know,

575
00:34:46,160 --> 00:34:50,120
Speaker 1: it seems so inviting. What that's free of of of stress,

576
00:34:50,200 --> 00:34:52,719
Speaker 1: although we will create our own stress if you're the

577
00:34:52,719 --> 00:35:00,239
Speaker 1: Troubadour or Taylor or or Luke. Uh I think yeah, right,

578
00:35:00,320 --> 00:35:04,440
Speaker 1: I mean yeah, there were there were a few characters

579
00:35:04,440 --> 00:35:06,279
Speaker 1: that would have had a lot of a lot of

580
00:35:06,320 --> 00:35:10,040
Speaker 1: stressers in their life. As I think back Sean, you know,

581
00:35:10,160 --> 00:35:11,759
Speaker 1: I mean yeah, I think yeah, that was the whole

582
00:35:11,760 --> 00:35:22,160
Speaker 1: point of the show. Yeah, too much coffee. Yeah. Did

583
00:35:22,160 --> 00:35:25,879
Speaker 1: you ever have like any kind of incidents with a car,

584
00:35:26,160 --> 00:35:28,600
Speaker 1: weird incidents with a car or something as you were

585
00:35:28,600 --> 00:35:32,840
Speaker 1: trying to do your seen, do your your bit, because

586
00:35:32,880 --> 00:35:34,359
Speaker 1: there were I remember a lot of a lot of

587
00:35:34,360 --> 00:35:37,279
Speaker 1: cars going by all the time. Well that's true. Yes,

588
00:35:37,360 --> 00:35:40,160
Speaker 1: there were a lot of cars organized and they had people,

589
00:35:40,200 --> 00:35:41,560
Speaker 1: you know, they had p a s on it with

590
00:35:41,600 --> 00:35:44,040
Speaker 1: walkie talkies telling people when they go. But there were

591
00:35:44,080 --> 00:35:46,600
Speaker 1: some screw ups at times. So did you were you

592
00:35:46,640 --> 00:35:50,360
Speaker 1: ever involved in any of that stuff? No? Fortunately, you know,

593
00:35:50,400 --> 00:35:52,280
Speaker 1: I managed to get to the other side of the street.

594
00:35:52,360 --> 00:35:59,560
Speaker 1: Which that's it. That's that's acting all those years of Meissner,

595
00:36:00,239 --> 00:36:04,640
Speaker 1: h did you study? Did you really study? You know what?

596
00:36:05,080 --> 00:36:10,880
Speaker 1: After after Gilmore Girls, Um, after the final season, I

597
00:36:11,440 --> 00:36:13,759
Speaker 1: did some classes because I thought, you know what I

598
00:36:14,160 --> 00:36:16,000
Speaker 1: want to I want to take this further and get

599
00:36:16,040 --> 00:36:19,160
Speaker 1: a little deeper in some other areas I had done.

600
00:36:19,520 --> 00:36:23,880
Speaker 1: I had done theater, community theater back in Stockton, California

601
00:36:23,880 --> 00:36:27,160
Speaker 1: when I was growing up. And and I went to

602
00:36:27,200 --> 00:36:29,600
Speaker 1: film school for a bit of time when I first

603
00:36:29,600 --> 00:36:31,839
Speaker 1: moved to l A. So I had I had some

604
00:36:32,719 --> 00:36:37,879
Speaker 1: Jim Morris, thank you, Jim Morrison, of you although he graduated,

605
00:36:37,920 --> 00:36:41,120
Speaker 1: I think school, Yeah, and I got through the first

606
00:36:41,239 --> 00:36:44,040
Speaker 1: year and and to realize, I think I want to

607
00:36:44,200 --> 00:36:46,319
Speaker 1: I think I just want to be a musician more

608
00:36:46,360 --> 00:36:51,080
Speaker 1: than anything, right, you know. Huh Yeah. He didn't have

609
00:36:51,080 --> 00:36:56,200
Speaker 1: to around an amplifier though he didn't known Fender twin harmonica.

610
00:36:56,200 --> 00:36:58,360
Speaker 1: I think he just had the lugg around a whiskey bottle.

611
00:36:59,000 --> 00:37:03,520
Speaker 1: Yeah right, Um, all right, I'm gonna we got a

612
00:37:03,560 --> 00:37:07,759
Speaker 1: couple of minutes here, uh left, So I want you

613
00:37:07,800 --> 00:37:10,880
Speaker 1: to use one word to describe the following characters. Ready,

614
00:37:11,480 --> 00:37:24,600
Speaker 1: m luke, Ah the Man, MS, Patty, Mother, Taylor, Josie, caffeinated,

615
00:37:25,160 --> 00:37:32,239
Speaker 1: have that bad, that bad Oh the loving bubble of

616
00:37:32,280 --> 00:37:40,319
Speaker 1: a person. Laurel, I m sensual. Hello, Rory, I mean

617
00:37:40,360 --> 00:37:46,560
Speaker 1: I'm sorry, la Yeah, Rory, Rory, Rory um budding, Kirk,

618
00:37:47,680 --> 00:37:54,200
Speaker 1: Kirk whimsical, Mrs Kim, this is cam Stern. Yes, so

619
00:37:54,239 --> 00:37:56,239
Speaker 1: we've already been through this. But you, but you, you

620
00:37:56,320 --> 00:38:02,319
Speaker 1: do get recognized as the town troubadour at times, right dude? Yeah, okay,

621
00:38:02,560 --> 00:38:06,680
Speaker 1: well most certainly when I attended the the fan Fest

622
00:38:07,200 --> 00:38:11,200
Speaker 1: a couple of years ago. Sure, yeah, that was kind

623
00:38:11,200 --> 00:38:13,680
Speaker 1: of wild. Yeah, right, that's the last time I think

624
00:38:13,719 --> 00:38:17,359
Speaker 1: I ran into you, Yes, very briefly. But all all

625
00:38:17,400 --> 00:38:20,600
Speaker 1: those all those lovely people standing outside in the freezing cold.

626
00:38:20,640 --> 00:38:24,840
Speaker 1: That's why I ran outside. Um, because we were taking

627
00:38:24,840 --> 00:38:28,240
Speaker 1: fifty at a time in the curling club and inside

628
00:38:28,239 --> 00:38:30,520
Speaker 1: it was just moving too slowly. And there was a

629
00:38:30,560 --> 00:38:33,719
Speaker 1: thousand people out there and they were cold, and they

630
00:38:33,760 --> 00:38:37,880
Speaker 1: had babies and it's like cold, and you were great

631
00:38:37,960 --> 00:38:40,840
Speaker 1: with them, and you were serenading people, and it was

632
00:38:40,920 --> 00:38:43,400
Speaker 1: just you know, that's why I ran out there and

633
00:38:43,440 --> 00:38:46,040
Speaker 1: just did everything so fast, is just to get those

634
00:38:46,080 --> 00:38:48,520
Speaker 1: people out of the cold. And it wasn't it wasn't

635
00:38:48,560 --> 00:38:50,520
Speaker 1: like it was super freezing. But it was like to

636
00:38:50,680 --> 00:38:53,200
Speaker 1: stand in that for for an hour or two hours

637
00:38:53,200 --> 00:38:56,640
Speaker 1: because it was going to take a while, um, to

638
00:38:56,640 --> 00:39:00,360
Speaker 1: to meet and greet everybody and sign and to ELF's

639
00:39:00,360 --> 00:39:03,480
Speaker 1: and all that stuff. But anyway, um, yeah, you did

640
00:39:03,480 --> 00:39:06,640
Speaker 1: what you do, what you gotta do. A great bunch though.

641
00:39:06,920 --> 00:39:10,640
Speaker 1: I loved it. Oh yeah, Um did you actually play

642
00:39:12,320 --> 00:39:14,759
Speaker 1: your guitar and sing during the scenes or was there

643
00:39:15,120 --> 00:39:20,840
Speaker 1: Yes you did, I did? Yeah, Um. Yeah, sometimes we

644
00:39:20,840 --> 00:39:22,520
Speaker 1: would have to go back if there were if there

645
00:39:22,560 --> 00:39:24,359
Speaker 1: was an airplane that went over, we'd have to go

646
00:39:24,440 --> 00:39:28,319
Speaker 1: back and you know, kind of fake it to to cover,

647
00:39:28,680 --> 00:39:32,080
Speaker 1: you know, um, because it's sort of you know, there's

648
00:39:32,120 --> 00:39:35,479
Speaker 1: a fair amount of ambient noise and when you're trying

649
00:39:35,520 --> 00:39:39,320
Speaker 1: to capture a guitar and a vocal you know. Um.

650
00:39:39,360 --> 00:39:42,640
Speaker 1: But yeah, it was all done live and most of

651
00:39:42,640 --> 00:39:44,720
Speaker 1: the time that's that's kind of what made the final

652
00:39:44,800 --> 00:39:48,719
Speaker 1: scene kill. Yeah. All right, buddy, thanks for coming on,

653
00:39:49,040 --> 00:39:52,279
Speaker 1: and thank you Scott. You're the best, and good luck

654
00:39:52,320 --> 00:39:56,480
Speaker 1: with everything. And so do you have anything do you

655
00:39:56,560 --> 00:39:59,120
Speaker 1: have a stage performance coming up? Do you have anything

656
00:39:59,120 --> 00:40:03,640
Speaker 1: coming up that you want to tell us about after this,

657
00:40:04,239 --> 00:40:10,160
Speaker 1: after this weekend? Um, a little further into August. Um, yeah,

658
00:40:10,320 --> 00:40:13,520
Speaker 1: sometimes later in August outstage your show, he's called Grantly

659
00:40:13,560 --> 00:40:17,640
Speaker 1: Phillips live from the parlor, and um, you know, and

660
00:40:17,719 --> 00:40:20,360
Speaker 1: what's your what's your website so people can go download

661
00:40:20,400 --> 00:40:25,200
Speaker 1: your music. Grantly phillips dot com is a place to go. Yeah, definitely,

662
00:40:25,400 --> 00:40:31,520
Speaker 1: Grantly tweets on Twitter, Instagram the works. You know. I

663
00:40:31,520 --> 00:40:34,200
Speaker 1: want to come down to Nashville and gig with you.

664
00:40:35,160 --> 00:40:37,560
Speaker 1: That would be nice. Come come down this way. I

665
00:40:37,600 --> 00:40:43,960
Speaker 1: want to come down there some hot chicken. Yes, Grant,

666
00:40:44,360 --> 00:40:49,400
Speaker 1: thank you for your time. Let's please please do this again. Um,

667
00:40:49,560 --> 00:40:51,760
Speaker 1: like I said, well, we'll really get into some music

668
00:40:51,800 --> 00:40:55,359
Speaker 1: stuff and good all that kind of stuff, because that's

669
00:40:55,400 --> 00:40:57,920
Speaker 1: that's right in my wheehouse. I love that stuff. Um

670
00:40:58,440 --> 00:41:02,400
Speaker 1: a buddy, okay and good luck, alright, man, stay safe, alright.

671
00:41:02,440 --> 00:41:12,160
Speaker 1: See yeah, okay, so we're back everybody. So let's get

672
00:41:12,200 --> 00:41:15,719
Speaker 1: into this. The paint job that Laurela has convinced Luke

673
00:41:15,800 --> 00:41:18,799
Speaker 1: that he needs for the diner that has not been

674
00:41:18,840 --> 00:41:25,480
Speaker 1: painted since his father painted it obviously before he passed away. Um,

675
00:41:25,520 --> 00:41:28,719
Speaker 1: and some of the colors that were tacked up by

676
00:41:28,760 --> 00:41:33,239
Speaker 1: the door, the pinks, yeah, the shades of pink. Well,

677
00:41:33,280 --> 00:41:38,480
Speaker 1: that was talk about a trigger for old luki Um,

678
00:41:38,520 --> 00:41:42,080
Speaker 1: but you know, it was just more of the tension,

679
00:41:42,120 --> 00:41:45,960
Speaker 1: the sexual tension that was playing out. It's kind of

680
00:41:45,960 --> 00:41:49,880
Speaker 1: the dance that they do before the consummation end. And

681
00:41:50,040 --> 00:41:52,279
Speaker 1: that she convinced him to do it, and that she right,

682
00:41:52,840 --> 00:41:56,560
Speaker 1: that was pretty major and it's such an excuse for

683
00:41:56,600 --> 00:42:00,040
Speaker 1: them to spend all this time together. Had he not

684
00:42:00,280 --> 00:42:04,200
Speaker 1: felt a certain depth of feeling for her, there's no

685
00:42:04,280 --> 00:42:07,560
Speaker 1: way he would have agreed to that. Totally agree with you.

686
00:42:07,840 --> 00:42:12,560
Speaker 1: And she handled it, uh, with real finesse. She was

687
00:42:12,719 --> 00:42:15,040
Speaker 1: very careful about it, even to the point where she said, well,

688
00:42:15,040 --> 00:42:17,040
Speaker 1: we're not going to paint over that that order that

689
00:42:17,120 --> 00:42:19,680
Speaker 1: your father scribbled down. We'll do it the right way.

690
00:42:19,719 --> 00:42:24,480
Speaker 1: So yeah, he was just like, man, I just want

691
00:42:24,480 --> 00:42:26,120
Speaker 1: to kiss her. I just want to kiss her. I

692
00:42:26,160 --> 00:42:28,160
Speaker 1: just want to kiss her. I just want to kiss her.

693
00:42:29,560 --> 00:42:32,080
Speaker 1: Oh my god, I love it. I mean, he wants

694
00:42:32,080 --> 00:42:34,000
Speaker 1: to kiss us so bad it pisces him off. That's

695
00:42:34,000 --> 00:42:36,839
Speaker 1: probably why he's cranky all the time. You know, it's

696
00:42:36,960 --> 00:42:40,640
Speaker 1: like he just wants to plant one on her. Man,

697
00:42:40,680 --> 00:42:46,239
Speaker 1: he wants her. So it's getting good. It's getting pretty good.

698
00:42:46,719 --> 00:42:49,560
Speaker 1: M yeah, so we saw, you know, we saw, we

699
00:42:49,600 --> 00:42:52,680
Speaker 1: got to see other parts of the diner in some

700
00:42:52,800 --> 00:42:56,040
Speaker 1: detail and even talk about some of the things that

701
00:42:56,080 --> 00:42:58,399
Speaker 1: were up on the shelves that he was in no way,

702
00:42:58,440 --> 00:43:00,960
Speaker 1: shape or form going to give in on and getting

703
00:43:01,480 --> 00:43:05,480
Speaker 1: rid of them at her request. There was no way.

704
00:43:05,640 --> 00:43:07,319
Speaker 1: It was like, I'm I'm gonna let him do this

705
00:43:07,360 --> 00:43:09,520
Speaker 1: painting thing, but you know, you're not going to change

706
00:43:09,520 --> 00:43:11,759
Speaker 1: me completely. So it was like pretty much telling her,

707
00:43:11,800 --> 00:43:13,759
Speaker 1: we get into a relationship, but I'm willing to sort

708
00:43:13,800 --> 00:43:18,080
Speaker 1: of compromise with you, but not a. So he's his

709
00:43:18,120 --> 00:43:20,319
Speaker 1: own man. He's his own guy, you know, and he's

710
00:43:21,440 --> 00:43:24,200
Speaker 1: i think entering a relationship or potentially in any relationship,

711
00:43:24,239 --> 00:43:26,520
Speaker 1: you've got to establish the ground rules that yeah, I'll

712
00:43:26,560 --> 00:43:30,879
Speaker 1: meet you halfway, but that's it, you know. So he's

713
00:43:30,920 --> 00:43:33,000
Speaker 1: a he's a hardass. He wants her, but he's a

714
00:43:33,040 --> 00:43:36,759
Speaker 1: hard ass for sure, which is I think important. That's

715
00:43:36,800 --> 00:43:39,480
Speaker 1: why she likes him. He's as strong as she is

716
00:43:40,120 --> 00:43:44,200
Speaker 1: ys him. That's pent he's as tough as she is.

717
00:43:44,880 --> 00:43:47,120
Speaker 1: I think she Yeah, I think she likes the fact

718
00:43:47,160 --> 00:43:49,680
Speaker 1: that he's never going to change and that she can't

719
00:43:49,760 --> 00:43:53,440
Speaker 1: change him very much, you know, that's the that's this,

720
00:43:53,760 --> 00:43:56,359
Speaker 1: that's how I approached it. I wanted him to be

721
00:43:56,440 --> 00:43:59,040
Speaker 1: a rock of Gibraltar. He's got to be the rock

722
00:43:59,719 --> 00:44:05,800
Speaker 1: he can't break ever. So anyway, Yeah, delightful stuff. Yeah,

723
00:44:06,120 --> 00:44:12,879
Speaker 1: delightful stuff. Just just wonderful home viewing. And hello, Christopher

724
00:44:15,360 --> 00:44:19,000
Speaker 1: Well talking about home viewing. I'm Riley in this year

725
00:44:19,040 --> 00:44:22,120
Speaker 1: pop culture and our first pop culture is The Donnerie Show.

726
00:44:23,120 --> 00:44:24,919
Speaker 1: So this is the show that Dean Rory and Laura

727
00:44:24,960 --> 00:44:27,480
Speaker 1: Lae were all watching, and the series was developed by

728
00:44:27,520 --> 00:44:30,560
Speaker 1: Donna Reed and her then husband, producer Tony Owen. The

729
00:44:30,600 --> 00:44:34,200
Speaker 1: show ran on ABC from to nineteen sixty six for

730
00:44:34,200 --> 00:44:37,920
Speaker 1: a total of two d seventy five episodes. Read often

731
00:44:38,160 --> 00:44:41,239
Speaker 1: encouraged writers to create stories in which other characters had

732
00:44:41,360 --> 00:44:45,400
Speaker 1: to be the main focus, and ABC nearly canceled the show,

733
00:44:45,640 --> 00:44:49,960
Speaker 1: but it was renewed when ratings improved. When sponsors by Campbell,

734
00:44:50,000 --> 00:44:55,399
Speaker 1: Soup and Johnson and Johnson were at it. Mhmm, Laura

735
00:44:55,480 --> 00:44:58,880
Speaker 1: la says, it's getting a little to Lewis Carol for me.

736
00:45:00,080 --> 00:45:02,560
Speaker 1: And Lewis Carroll was an English writer for the children's

737
00:45:02,600 --> 00:45:06,280
Speaker 1: fiction and it's known for Alice's Adventures in Wonderland. Luis's

738
00:45:06,360 --> 00:45:10,320
Speaker 1: real name is actually Charles Dobson, and Louis wrote himself

739
00:45:10,360 --> 00:45:12,880
Speaker 1: into the story as the Dodo Bird because he would

740
00:45:12,920 --> 00:45:17,800
Speaker 1: sometimes introduce himself as Dodson due to his stutter. Carroll

741
00:45:17,960 --> 00:45:22,120
Speaker 1: was not on drugs comparable to some of the rumors,

742
00:45:22,600 --> 00:45:25,400
Speaker 1: but he did suffer from a strange disorder that caused

743
00:45:25,440 --> 00:45:28,160
Speaker 1: him to have hallucinations which made him feel bigger or

744
00:45:28,160 --> 00:45:33,600
Speaker 1: smaller than he was. WHOA Luke says, does Martha Stewart

745
00:45:33,640 --> 00:45:36,560
Speaker 1: do it? And this is when Laura Lai asked Luke

746
00:45:36,600 --> 00:45:39,560
Speaker 1: if he knows what stenciling is when they're they're repainting

747
00:45:39,560 --> 00:45:45,560
Speaker 1: the diner. And Martha Stewart was America's first self made

748
00:45:45,640 --> 00:45:49,239
Speaker 1: female billionaire. She worked as a model throughout college to

749
00:45:49,239 --> 00:45:52,680
Speaker 1: pay her for her tuition, and she was actually babysitter

750
00:45:52,760 --> 00:45:56,080
Speaker 1: to high school kids of legendary baseball players Mickey Mantle

751
00:45:56,120 --> 00:46:00,759
Speaker 1: and Yogi Barra. She was what she's there, it's babysitter.

752
00:46:01,040 --> 00:46:07,719
Speaker 1: She was a babysitter for Mickey Mantle kids. No, no,

753
00:46:07,800 --> 00:46:10,840
Speaker 1: I know what you meant, not making Mantle back in

754
00:46:10,880 --> 00:46:16,760
Speaker 1: Oklahoma when he was a kid. Stop it. And Martha

755
00:46:16,800 --> 00:46:20,440
Speaker 1: Stewart recently posted a sexy selfie and admitted to it

756
00:46:20,640 --> 00:46:26,239
Speaker 1: being a thirst strap. I'm still imagining Luke's denziling, Like

757
00:46:27,040 --> 00:46:33,200
Speaker 1: on what planet would that ever happen? Lorelai says, all

758
00:46:33,280 --> 00:46:35,960
Speaker 1: day long, just chirps like a maniac at the top

759
00:46:36,000 --> 00:46:40,760
Speaker 1: of her lungs. Now nothing, silence Marcel Marcel chicken Uh.

760
00:46:41,080 --> 00:46:46,160
Speaker 1: Marcel was actually a mime, and the troop was soon

761
00:46:46,200 --> 00:46:50,920
Speaker 1: touring European countries presenting mine dramas. He created the figure Bip,

762
00:46:51,040 --> 00:46:54,160
Speaker 1: a melancholy, engaging clown with a limp red flower in

763
00:46:54,239 --> 00:46:58,600
Speaker 1: his hat. But what's creepier the clown, pillow or the lime?

764
00:46:59,360 --> 00:47:03,600
Speaker 1: I don't like times, I think David Bowie studied with

765
00:47:03,640 --> 00:47:07,560
Speaker 1: Marcel Marcel. He did, I don't like I don't like minds.

766
00:47:08,120 --> 00:47:14,440
Speaker 1: Well you should see this Marcel Marceau character. Wow, what

767
00:47:14,640 --> 00:47:18,640
Speaker 1: is creepy? Our clowns are mimes equally bad maybe bad mimes,

768
00:47:18,719 --> 00:47:23,000
Speaker 1: but good mimes are sort of magical. Oh I disagree,

769
00:47:23,040 --> 00:47:28,560
Speaker 1: but I love that you just think that. Suki says wild,

770
00:47:28,560 --> 00:47:31,560
Speaker 1: that's very wild. Kingdom of you. Loria I says, I'm

771
00:47:31,560 --> 00:47:35,360
Speaker 1: like the Martin Marlin Perkins of Stars Hollow Marlin Perkins

772
00:47:35,360 --> 00:47:38,440
Speaker 1: Wild Kingdom. Yes, So. The Wild Kingdom was a nature

773
00:47:38,440 --> 00:47:41,480
Speaker 1: and wildlife TV series airing from nineteen sixty three to

774
00:47:41,719 --> 00:47:44,400
Speaker 1: ninety eight, and it was revived in two thousand two,

775
00:47:44,480 --> 00:47:48,280
Speaker 1: airing until two thousand eleven on Animal Planet. Marlon Perkins

776
00:47:48,360 --> 00:47:51,600
Speaker 1: narrated it and starred in the series. Many people who

777
00:47:51,600 --> 00:47:54,479
Speaker 1: watched the show recall the host being bitten by venomous snake,

778
00:47:55,000 --> 00:47:57,759
Speaker 1: but it actually never happened on air. The snake bit

779
00:47:57,880 --> 00:48:00,600
Speaker 1: Marlin Perkins in real life. It's up my love of

780
00:48:00,600 --> 00:48:05,480
Speaker 1: snakes from that show. Thank you, Marlin Perkins. Laura I

781
00:48:05,560 --> 00:48:08,640
Speaker 1: says A street car named Desire, Suki says Vivian Lee

782
00:48:08,760 --> 00:48:12,279
Speaker 1: or Jessica Tandy. So A street Car Named Desire was

783
00:48:12,320 --> 00:48:15,760
Speaker 1: at seven play written by Tennessee Williams and made popular

784
00:48:15,800 --> 00:48:19,560
Speaker 1: in the ninety one film adaptation. Vivian Lee started as

785
00:48:19,560 --> 00:48:22,080
Speaker 1: the main character of Blanch in nineteen fifty one, and

786
00:48:22,160 --> 00:48:26,560
Speaker 1: Tandy started as Blanch in ninety seven stage production. Jessica

787
00:48:26,600 --> 00:48:30,160
Speaker 1: Tandy's husband played opposite her as the main character Mitch.

788
00:48:31,040 --> 00:48:33,799
Speaker 1: Laura I says, all of a sudden, I'm trying to

789
00:48:33,800 --> 00:48:37,319
Speaker 1: get any poor unsuspecting person in bed with me. I'm

790
00:48:37,360 --> 00:48:40,200
Speaker 1: like Michael Douglas was the best line of the whole show.

791
00:48:40,760 --> 00:48:44,240
Speaker 1: That was the best lad of the whole show. Brilliant.

792
00:48:44,520 --> 00:48:46,160
Speaker 1: What do you think? I'm like this crazy person going

793
00:48:46,200 --> 00:48:48,120
Speaker 1: around trying to get everybody sleep with me. Like what

794
00:48:48,200 --> 00:48:53,000
Speaker 1: am my Michael Douglas? I what was the deal? Right?

795
00:48:53,040 --> 00:48:55,719
Speaker 1: Because I I know, but I want people that maybe

796
00:48:55,800 --> 00:48:58,359
Speaker 1: don't know. Michael Douglas has been part of more than

797
00:48:58,400 --> 00:49:01,600
Speaker 1: fifty Hollywood films, including Walls Street, Romancing the Stone, and

798
00:49:01,640 --> 00:49:05,200
Speaker 1: Fatal Attraction. He is married to Katherine Sada Jones, who

799
00:49:05,280 --> 00:49:09,080
Speaker 1: is twenty five years younger than him, and it has

800
00:49:09,120 --> 00:49:12,200
Speaker 1: also said that he likes to date younger women, or

801
00:49:12,280 --> 00:49:16,759
Speaker 1: did before he was married. Yeah, I think I think

802
00:49:16,800 --> 00:49:21,399
Speaker 1: Warren Beatty and Michael Douglas and Gilt Chamberlain, we're all

803
00:49:21,440 --> 00:49:25,920
Speaker 1: having a competition. Back in the seventies, Jack Nicholson was

804
00:49:25,960 --> 00:49:28,839
Speaker 1: probably in on that Dennis Hopper. You know, it's like

805
00:49:29,960 --> 00:49:35,320
Speaker 1: different times. This was before AIDS. It was during the

806
00:49:35,480 --> 00:49:39,160
Speaker 1: Cultural Revolution that was happening with the young people and

807
00:49:39,200 --> 00:49:44,000
Speaker 1: the hippies and free Love and Matta Johanna and acid

808
00:49:44,200 --> 00:49:49,040
Speaker 1: and you know everybody was burning their bras and uh

809
00:49:49,400 --> 00:49:56,359
Speaker 1: dropping their trial. Lorelai says, I'm being morbid. Morbid, Joan

810
00:49:56,400 --> 00:49:59,000
Speaker 1: and Meliss Rivers think I'm being morbid. And this was

811
00:49:59,040 --> 00:50:01,160
Speaker 1: Emily and Richard say In, the late owner of the

812
00:50:01,200 --> 00:50:05,120
Speaker 1: Martha Vineyers House, which we had previously talked about. So,

813
00:50:05,360 --> 00:50:08,040
Speaker 1: Joan Rivers was a famous stand up comic, and Melissa,

814
00:50:08,120 --> 00:50:11,080
Speaker 1: her daughter, is known for her acting and producing. Joan

815
00:50:11,160 --> 00:50:13,359
Speaker 1: got her big break on The Tonight Show after Bill

816
00:50:13,400 --> 00:50:17,319
Speaker 1: Cosby recommended she replaced another comic that had bombed. The

817
00:50:17,400 --> 00:50:21,000
Speaker 1: mother daughter duo were longtime creative partners, appearing together on

818
00:50:21,000 --> 00:50:23,760
Speaker 1: the Red Carpet and various reality shows such as Celebrity

819
00:50:23,760 --> 00:50:28,000
Speaker 1: Apprentice and Joan and Melissa Joan Knows Best. Yeah, that

820
00:50:28,120 --> 00:50:32,320
Speaker 1: was actually a great scene in this episode. That scene

821
00:50:32,400 --> 00:50:35,080
Speaker 1: was a great scene before them. And that's it for

822
00:50:35,080 --> 00:50:40,440
Speaker 1: pop and did were we clear? On? On on? She

823
00:50:40,560 --> 00:50:44,120
Speaker 1: screams Stella when she when she got into the kitchen.

824
00:50:44,719 --> 00:50:49,239
Speaker 1: That's Marlon Brando screaming for his wife and speetcar named

825
00:50:49,280 --> 00:50:53,560
Speaker 1: Desire because they had had a fight and I think

826
00:50:53,560 --> 00:50:56,239
Speaker 1: he'd beaten her up a little bit because she tried

827
00:50:56,280 --> 00:51:00,600
Speaker 1: to break up the card game early and and then

828
00:51:00,640 --> 00:51:03,440
Speaker 1: he was gone. And every man's the king of his

829
00:51:03,560 --> 00:51:08,239
Speaker 1: castle and Blanche was driving everybody crazy, and then he

830
00:51:08,320 --> 00:51:12,520
Speaker 1: was you know, that was the famous stella stella up

831
00:51:12,560 --> 00:51:15,120
Speaker 1: the stairs, you know, and then she melts and he

832
00:51:15,360 --> 00:51:19,840
Speaker 1: just collapses in her lap. Husband and wife were reunited.

833
00:51:19,920 --> 00:51:24,520
Speaker 1: So that was Laurel I screaming for the chick. And

834
00:51:24,560 --> 00:51:28,320
Speaker 1: for those keeping track in this episode, clown Pillow appeared

835
00:51:28,480 --> 00:51:31,640
Speaker 1: ten seconds in. It was quick, but he was there

836
00:51:31,880 --> 00:51:37,200
Speaker 1: really where um When Laurel I, Rory and Rory were

837
00:51:37,239 --> 00:51:39,400
Speaker 1: eating pizza and Dean was eating a salad, which I

838
00:51:39,440 --> 00:51:41,839
Speaker 1: thought was very funny. Um, right there on the couch,

839
00:51:41,920 --> 00:51:46,800
Speaker 1: right next to Rory. There were some um continuity errors

840
00:51:47,440 --> 00:51:51,520
Speaker 1: in this episode. Oh tell us that I noticed that

841
00:51:51,560 --> 00:51:54,080
Speaker 1: maybe there were more, but I noticed two, one from

842
00:51:55,120 --> 00:52:00,840
Speaker 1: Rory and one from me. Yes, yes, Uh when Rory

843
00:52:01,040 --> 00:52:04,839
Speaker 1: Rory already pulled a piece of pizza. When when they

844
00:52:04,840 --> 00:52:07,200
Speaker 1: were coming in closer on Roy, she was already had

845
00:52:07,239 --> 00:52:09,200
Speaker 1: a piece of pizza and she was eating it. And

846
00:52:09,239 --> 00:52:11,480
Speaker 1: then when they punched out a little bit later in

847
00:52:11,520 --> 00:52:14,000
Speaker 1: the scene, not much later in the scene, she reached

848
00:52:14,000 --> 00:52:16,160
Speaker 1: in and grabbed her first slice at pizza, so that

849
00:52:16,239 --> 00:52:22,640
Speaker 1: didn't match ouch. And then uh, in the diner when

850
00:52:22,680 --> 00:52:26,839
Speaker 1: I was putting the uh, the half eaten burger from

851
00:52:26,920 --> 00:52:31,160
Speaker 1: that table into a styrofoam container and a napkin. We

852
00:52:31,239 --> 00:52:35,640
Speaker 1: see me putting it in and then the very next cut, Uh,

853
00:52:35,719 --> 00:52:39,240
Speaker 1: I'm starting it all over again. So ouch on Luke

854
00:52:39,400 --> 00:52:43,640
Speaker 1: Coach smacked me down. Yeah, and Scott, there was a

855
00:52:43,880 --> 00:52:46,239
Speaker 1: there was a continuity issue with a clown pillow too,

856
00:52:46,960 --> 00:52:49,680
Speaker 1: because when Dean came in and sat down, he put

857
00:52:49,800 --> 00:52:53,120
Speaker 1: his jacket on top of the clown pillow and then

858
00:52:54,360 --> 00:52:56,480
Speaker 1: but a couple of seconds two into the scene, go

859
00:52:56,560 --> 00:52:59,839
Speaker 1: back to clown pillow. It's showing again. Then a couple

860
00:52:59,840 --> 00:53:02,880
Speaker 1: of seconds later, Dean's jackets over it again. So I

861
00:53:03,520 --> 00:53:06,960
Speaker 1: was like, oh my god, that's smart. Still that hurt.

862
00:53:07,000 --> 00:53:08,640
Speaker 1: That's going to leave a mark on that. That's going

863
00:53:08,680 --> 00:53:12,440
Speaker 1: to leave mark that one. So we got pizza. We're like,

864
00:53:12,480 --> 00:53:15,640
Speaker 1: we're like dealing with the food, and the clown pillow

865
00:53:15,680 --> 00:53:20,560
Speaker 1: seems to sort of elude us somehow problematic. It's it's

866
00:53:20,560 --> 00:53:23,920
Speaker 1: a problem, you know. Anyway, I hope nobody noticed it,

867
00:53:24,000 --> 00:53:25,640
Speaker 1: and I'm glad I brought it up so you can

868
00:53:25,680 --> 00:53:27,920
Speaker 1: all notice it. So it adds to your enjoyment of

869
00:53:27,960 --> 00:53:32,080
Speaker 1: the episode. Love it Probably what's your favorite line. My

870
00:53:32,200 --> 00:53:35,600
Speaker 1: favorite line is they're going to make me turn in

871
00:53:35,640 --> 00:53:42,320
Speaker 1: my pearls from Rory, we'll see painting songs. Oh, that's good.

872
00:53:42,360 --> 00:53:48,759
Speaker 1: That's good that that was a good painting. So that

873
00:53:51,960 --> 00:53:56,160
Speaker 1: I don't spruce from Luke. I don't spruce, all right,

874
00:53:57,320 --> 00:54:01,680
Speaker 1: I don't spruce scot Um. It's got to be the

875
00:54:01,719 --> 00:54:04,720
Speaker 1: Michael Douglas line. I mean that made me just laugh

876
00:54:04,760 --> 00:54:07,719
Speaker 1: out loud. Yeah, that was that was a home run.

877
00:54:07,800 --> 00:54:12,719
Speaker 1: That one. The Michael Douglas line was great. Anyway, Damn,

878
00:54:12,760 --> 00:54:17,080
Speaker 1: Donna Reid was a wonderful episode, really full of laughs,

879
00:54:17,280 --> 00:54:22,719
Speaker 1: full of great acting, you know, the narratives developing, the

880
00:54:22,920 --> 00:54:27,160
Speaker 1: storylines developing, and it's just just so great. And it's

881
00:54:27,160 --> 00:54:30,759
Speaker 1: there's some nice momentum on on both tracks with the

882
00:54:31,120 --> 00:54:33,600
Speaker 1: and then like we didn't discuss that scene when when

883
00:54:34,000 --> 00:54:36,680
Speaker 1: when Luke went outside to take the trash simultaneous with

884
00:54:36,719 --> 00:54:40,560
Speaker 1: the Dean and yes, oh, I was going to talk

885
00:54:40,600 --> 00:54:44,319
Speaker 1: about the uh sort of the mirroring that was happening

886
00:54:44,440 --> 00:54:46,880
Speaker 1: in this episode. There was a lot of that. It

887
00:54:46,960 --> 00:54:50,840
Speaker 1: was like those storylines were yeah, mom mother daughter having

888
00:54:51,719 --> 00:54:54,800
Speaker 1: definitely and it's like, you know, it's like the Rory's

889
00:54:54,800 --> 00:54:56,840
Speaker 1: getting further with Dean than I am getting with the Laurel.

890
00:54:56,880 --> 00:54:58,279
Speaker 1: I forgot. It's like their way ahead. We had a

891
00:54:58,280 --> 00:55:00,719
Speaker 1: lot of catching up to two. It's like, come on,

892
00:55:00,760 --> 00:55:02,560
Speaker 1: old people, hurry up. Do you get in the horse,

893
00:55:02,680 --> 00:55:05,440
Speaker 1: let's go. It's like planning on or let's move it.

894
00:55:05,560 --> 00:55:09,400
Speaker 1: You gotta compete with your daughter now So anyway, um

895
00:55:09,440 --> 00:55:14,960
Speaker 1: but thoroughly enjoyable. Yes, and now we Christopher returns, Wow,

896
00:55:15,440 --> 00:55:22,200
Speaker 1: sure does. It's gonna be good luck to Luke new

897
00:55:22,239 --> 00:55:26,799
Speaker 1: Sheriff's coming to town. New Sheriffs in town. I hear

898
00:55:26,880 --> 00:55:31,279
Speaker 1: there's a Luke here. Things he's in charge. Well, I

899
00:55:31,320 --> 00:55:33,560
Speaker 1: got a silver dollars, says maybe he ain't so far

900
00:55:34,400 --> 00:55:40,240
Speaker 1: no more? Oh good stuff. Christopher returns, All right, everybody,

901
00:55:41,160 --> 00:55:45,200
Speaker 1: so let's let's everybody watch Christopher returns. We will reconvene,

902
00:55:46,320 --> 00:55:51,040
Speaker 1: we will discuss the subtleties and the themes going on

903
00:55:51,120 --> 00:55:56,680
Speaker 1: in Christopher returns, as we are wont to do and uh,

904
00:55:56,760 --> 00:55:59,560
Speaker 1: and that's gonna wrap her up. I'm Scott Patterson and

905
00:55:59,680 --> 00:56:03,279
Speaker 1: this is the I Am All In Podcast with I

906
00:56:03,440 --> 00:56:07,799
Speaker 1: Heart Radio and one Loven Productions. See you next time,

907
00:56:15,920 --> 00:56:39,520
Speaker 1: dot jat Hey, everybody, and don't forget. Follow us on

908
00:56:39,560 --> 00:56:44,319
Speaker 1: Instagram at I Am all In podcast, and emailis at

909
00:56:44,440 --> 00:56:48,520
Speaker 1: Gilmore at I heart radio dot com. Oh you gil

910
00:56:48,560 --> 00:56:50,120
Speaker 1: More fans. If you're looking for the best cup of

911
00:56:50,160 --> 00:56:52,920
Speaker 1: coffee in the world, go to my website for my

912
00:56:53,000 --> 00:56:56,120
Speaker 1: company scott ep dot com, s CEO T. T. Y

913
00:56:56,200 --> 00:56:59,960
Speaker 1: p dot com, scott ep dot com Grade one Specialty

914
00:57:00,320 --> 00:57:08,000
Speaker 1: Coffee