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Speaker 1: Welcome to desperately devoted Join us as we explore the

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Speaker 1: human experience through the lens of the iconic show Desperate Housewives.

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Speaker 1: I'm Terry Hatcher, I'm Andrea Bowen, and I'm Emerson Tenny.

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Speaker 2: Well, we have something to talk about in episode ten, and.

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Speaker 3: It's sex, sex and more sex.

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Speaker 2: Some people aren't getting it from where they should be,

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Speaker 2: and some people aren't getting it at all. And some

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Speaker 2: people could be getting it if they could only figure

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Speaker 2: out how to stop getting cock blocked by their ex.

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Speaker 1: I'm gonna guess you're talking about Susan. I say.

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Speaker 4: Rex is revealed to be having an S and M affair,

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Speaker 4: while the affairs of the Scavo household involve their high

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Speaker 4: grade nanny, making Lynette feel inferior and unable to relax

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Speaker 4: in her newly acquired free time.

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Speaker 2: Susan and Mike's intimate intentions are foiled by Carl and

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Speaker 2: Julie and Zach.

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Speaker 1: Gabby ways the benefit of money over love and the

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Speaker 1: truth and when trust is broken on Wisteria Elane, we

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Speaker 1: find that it is a very fragile thing. When it's lost,

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Speaker 1: it can be hard to recover.

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Speaker 2: We will not break our trust to you because we

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Speaker 2: are here for another episode.

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Speaker 3: Let's get started, all right.

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Speaker 1: Well, hi you guys. Hello, here we are talking about

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Speaker 1: season one, episode ten, come Back to Me. This episode title,

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Speaker 1: come back to Me, comes from a song from the

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Speaker 1: nineteen sixty five musical On a clear Day, you can

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Speaker 1: see Forever, I can hear it. Yes, Mazy Gibbons. We

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Speaker 1: open the episode on circling back. I feel like I

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Speaker 1: had kind of lost sight of her as the pretentious

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Speaker 1: mom in the school, and now we find out that

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Speaker 1: she's a BDSM escort.

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Speaker 4: Okay, So I had a question for you because I

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Speaker 4: kind of did remember this storyline I remembered when we.

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Speaker 5: Saw Sharon Morris.

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Speaker 1: Yeah.

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Speaker 5: Yeah, what does that say about me?

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Speaker 1: You were impressionable?

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Speaker 4: Yes, I was very impressionable, But I did rememberer Sharon

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Speaker 4: Lawrence's storyline being more than just what it appeared when

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Speaker 4: she first showed up on the show a few episodes ago.

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Speaker 4: And so, but for you, Emerson, yes, you just probably

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Speaker 4: thought she was going to be this high strung PTA

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Speaker 4: mom this the whole time if she ever reappeared, and

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Speaker 4: she came back in.

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Speaker 5: A big way this episode. So did that catch you

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Speaker 5: off guard?

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Speaker 1: It totally caught me off guard and immediately hooked me.

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Speaker 1: And I think honestly speaks to something we've been talking

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Speaker 1: about in a lot of themes of this episode, which

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Speaker 1: is that there is always more going on behind closed doors.

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Speaker 1: There's always another identity behind the mask that we present

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Speaker 1: to the world or the forward facing part of ourselves.

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Speaker 1: And I mean, I really took the roller coaster ride

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Speaker 1: of this because at first I saw it was Mazy Gibbons,

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Speaker 1: I go, oh, my god, Mazi Gibbons is an escort,

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Speaker 1: Oh my god, she's a BDSM escort, and then Rex

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Speaker 1: is her client. Yeah. Ah. In the first couple of minutes.

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Speaker 2: Did you guys get the sense that she was just

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Speaker 2: doing it for her own sort of power ego, control,

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Speaker 2: satisfaction or were they actually paying her?

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Speaker 4: Oh?

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Speaker 5: I think that she was being paid.

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Speaker 1: I thought she was being paid. I also felt like

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Speaker 1: maybe because she talks about how she her husband maybe

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Speaker 1: lost his job and she they had to stop going

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Speaker 1: to their country club. So I felt like maybe this

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Speaker 1: was something that she picked up partially to make money.

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Speaker 2: Money, right, And yeah, I thought that too. But then

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Speaker 2: as I thought about it and just kind of sat

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Speaker 2: with it, I thought, oh, maybe I had made that assumption,

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Speaker 2: but it was she because they do make the point

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Speaker 2: of saying that they were having financial trouble and they

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Speaker 2: got kicked out of the country club, and right, so

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Speaker 2: that's why she decided to start doing this.

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Speaker 5: But I think it evolved.

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Speaker 4: For her at least, you know, we when character analyzing her.

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Speaker 4: I think that you're right that the journey for her

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Speaker 4: maybe started with a need to bring in some extra

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Speaker 4: money and her creative way of doing that. But then

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Speaker 4: I think she gets off on the fact that she's

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Speaker 4: holding everyone. See it's as she says, there's like a

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Speaker 4: power in it for her that she's keeping all of

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Speaker 4: these John's secrets.

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Speaker 1: Yeah, and especially the secret Rex feels extra loaded because

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Speaker 1: she makes the comment that when she did get kicked

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Speaker 1: out of the country club, we realize the woman who

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Speaker 1: was condescending and sort of pitying to her was Brie,

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Speaker 1: classic Brie. And now this is her idea of revenge

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Speaker 1: or a secret of her own.

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Speaker 2: Do you guys have feelings about prostitution and its legality

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Speaker 2: and you know where it's place in history or whatever.

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Speaker 2: I mean, I'll just admit that while it seems like,

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Speaker 2: oh this is the I admit this is the time

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Speaker 2: I tell you that I was a prostitute. No, I

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Speaker 2: just that word admit sounded so much stronger than.

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Speaker 1: I intended to be.

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Speaker 5: This is when I reveal.

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Speaker 3: This is when I reveal. But I I it didn't.

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Speaker 3: It seemed you don't have.

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Speaker 2: This show does a great job at writing this tightrope

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Speaker 2: of between like satire and soap and something that feels grounded,

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Speaker 2: and I think they usually do it really well, and

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Speaker 2: I felt like this is an example of that, and

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Speaker 2: it made me, I don't know, feel like not that

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Speaker 2: judgmental about her, like that she was providing a service

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Speaker 2: that everybody was above board. I mean, you could be

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Speaker 2: lying to your spouse, but I mean the people in

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Speaker 2: the interaction, and it was servicing a need and it

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Speaker 2: was fulfilling what she needed. And I don't know, it

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Speaker 2: made me think about an industry that I guess I've

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Speaker 2: always thought, you know, well that's not great and that's

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Speaker 2: sort of frowned upon. But it made me look at

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Speaker 2: it a little differently, well.

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Speaker 1: I think, I mean, I do. I think this stood

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Speaker 1: out to me as a very I mean, we're thinking

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Speaker 1: about the show airing in two thousand and four, stood

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Speaker 1: out to me as a very modern take on sex

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Speaker 1: work and the legitimacy of sex work. You know, this

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Speaker 1: is an industry that I think has had a lot

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Speaker 1: of stigma, and of course, in certain scenarios, still does

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Speaker 1: exist in a place where women are disempowered. But I

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Speaker 1: think in a lot of scenarios, especially when you like

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Speaker 1: look at you know, technology today, and I think exists

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Speaker 1: in a place where women are really actively choosing something

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Speaker 1: that feels empowered.

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Speaker 2: What's the site where everybody's making a bazillion dollars? Right?

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Speaker 3: Yeah, Oh my gosh.

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Speaker 2: I mean, I guess that's the modern day version of this,

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Speaker 2: doesn't it.

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Speaker 4: I do agree that in this episode we seem to

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Speaker 4: be the thing that's incriminating is the fact that she

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Speaker 4: is having an affair with Bree's husband. It's not necessarily

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Speaker 4: that we're judging her for doing this service or providing

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Speaker 4: the service to the people in the neighborhood.

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Speaker 5: We as an audience and the writers who wrote it.

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Speaker 4: The thing that fuels our fire about having an opinion

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Speaker 4: over it is just because she's wronging Brie.

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Speaker 1: I don't really have an opinion. I mean, I don't

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Speaker 1: have any judgment of her. I'm judgmental of Rex. He's

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Speaker 1: the one who's married, who's making the choice.

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Speaker 2: Like when there's an affair, and the one that's getting

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Speaker 2: cheated on seems to classically direct their ire at the

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Speaker 2: female instead of the actual husband partner that is doing

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Speaker 2: the cheating.

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Speaker 3: And I've never understood that.

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Speaker 4: I know, Yeah, I know, And I was just going

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Speaker 4: to say that I'm infuriated because, as we talked about

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Speaker 4: a couple of episodes ago, when Bree so bravely and

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Speaker 4: vulnerably goes to Rex and says, I can tell that

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Speaker 4: there's something you're not getting, and please give me the

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Speaker 4: opportunity to provide that to you, and he doesn't, and

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Speaker 4: now we see it playing out like this, and it

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Speaker 4: just makes me.

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Speaker 5: So mad at me.

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Speaker 1: I know, I actually wrote down, Oh my gosh, Rex

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Speaker 1: is such a gas lighter when he says, oh, I

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Speaker 1: could never tell Brie. I could never tell my wife

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Speaker 1: about these things that I want to explore that clearly

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Speaker 1: he's exploring with Mazie, and I thought, no, you could.

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Speaker 1: She held the door open episodes ago for you to

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Speaker 1: tell her if something was missing. She point blank said,

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Speaker 1: is something missing? I want to give that to you,

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Speaker 1: and he was too much of a coward to reveal

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Speaker 1: that part of himself to her, which I do think.

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Speaker 1: You know, I think there's a lot of vulnerability in

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Speaker 1: admitting a kink or admitting something that you want to explore,

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Speaker 1: specifically sexually, because I think it opens the door up

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Speaker 1: to be rejected and to be judged in a way

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Speaker 1: that there's already so much taboo around sex. To then

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Speaker 1: receive that immediate judgment from your partner may make someone

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Speaker 1: like Rex just feel like they absolutely couldn't withstand the rejection.

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Speaker 4: And to Mazy's credit, she actually very much is sympathetic

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Speaker 4: to breathe. I felt right. She talks to Rex and says,

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Speaker 4: you should talk to your wife about this.

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Speaker 5: You clearly still are in love with her. I thought

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Speaker 5: that was really interesting.

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Speaker 3: Yeah you did too.

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Speaker 2: I was going to say, like, I'm not going to

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Speaker 2: ask anybody to like divulge their kink.

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Speaker 5: Or you have to use your special voice. Oh I

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Speaker 5: do have to do.

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Speaker 3: So what do you like?

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Speaker 5: But I will say.

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Speaker 2: About myself, I mean, you know, I haven't been intimate

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Speaker 2: in a long time, and you know, of course I've

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Speaker 2: done years of therapy to sort of, you know, figure

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Speaker 2: out what I could potentially be afraid of. But it's like,

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Speaker 2: when there's a story like this, it does make me think, like,

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Speaker 2: have I felt safe enough with a partner too? I

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Speaker 2: don't know, be able to be honest, Like, is that

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Speaker 2: something that people typically feel or I think maybe sadly

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Speaker 2: they maybe don't. Right.

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Speaker 4: Yeah, I think in a lot of cases, in a

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Speaker 4: lot of relationships, it's still a real thing that people

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Speaker 4: aren't entirely open with one another out of fear of

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Speaker 4: judgment or just maybe they have a lot of self

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Speaker 4: judgment about the things that they're into and they are

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Speaker 4: scared to share that with someone else. Society is not

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Speaker 4: always on the side of making us all feel included,

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Speaker 4: and so I think it's still a problem. But I

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Speaker 4: also kind of feel like I'm getting the sense from

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Speaker 4: younger generations that it's getting better.

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Speaker 1: I have to say, I think a show that just

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Speaker 1: recently really handled this idea so well and explored it

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Speaker 1: was dying for sex, That TV show with Michelle Willis right.

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Speaker 3: I loved that show. They were great, and you're.

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Speaker 1: Right, yeah, And so many different characters, whether obviously it's

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Speaker 1: Michelle Williams herself or character actors like Robbie Hoffman, who

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Speaker 1: I adore all of these different actors and characters playing

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Speaker 1: out in this show, the idea of the vulnerability it

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Speaker 1: takes to really say I want to investigate what turns

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Speaker 1: me on and what sex means to me.

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Speaker 2: And now that show was That show was actually brilliant

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Speaker 2: and I and I loved it, I think specifically for

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Speaker 2: me because yeah, I felt like it kind of broadened

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Speaker 2: what I could imagine my ability might be if I

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Speaker 2: ever got into an intimate, really relationship with somebody again,

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Speaker 2: which you know, other than my cat.

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Speaker 3: Away moving on.

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Speaker 2: Yeah, so so also after this discovery of his affair,

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Speaker 2: and by the way, did anybody think the stilettos were

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Speaker 2: going to go right into his spine when she walks

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Speaker 2: on his back?

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Speaker 4: I just kept thinking out, yeah, out, well, I think,

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Speaker 4: my gosh, that's what he liked.

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Speaker 2: Yes, I thought, like, not just the pain, but like

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Speaker 2: it to me, it felt like they were going how

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Speaker 2: did they not puncture alung?

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Speaker 1: Like?

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Speaker 5: That's well, but maybe they did.

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Speaker 3: I mean, that's true. He did have a heart attack.

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Speaker 1: He did have to have surgery, right, they pick up

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Speaker 1: that that's where.

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Speaker 3: It came from. Okay, So then we go to Gabby.

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Speaker 2: And Carlos and all of the ladies supporting him in

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Speaker 2: court finding out that he's not going to get bail

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Speaker 2: because he doesn't have his passport and.

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Speaker 5: He's a light risk, I guess, And I thought, oh.

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Speaker 1: My god, who misplaces their passport? Like, that's my worst

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Speaker 1: fear that I lose a passport or on a trip,

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Speaker 1: that I can't find it in my house. And it

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Speaker 1: feels I mean, and I think will ultimately potentially come

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Speaker 1: to be revealed, but it feels suspicious that you can't

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Speaker 1: find your passport in your own house.

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Speaker 2: Right, And in this case, it ends up being hidden

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Speaker 2: in a secret panel.

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Speaker 5: Yes, so awfully convenient, but he can't find it.

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Speaker 2: You have Lynette, who now this is the first episode

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Speaker 2: where she scored in the last episode the high Grade Nanny. Yes,

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Speaker 2: she's got the new nanny. She's now got some free time.

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Speaker 2: I actually kind of remember this. I mean, I just

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Speaker 2: remember feeling how difficult it was as a mom to

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Speaker 2: take time for myself, even when I had a support

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Speaker 2: system in place to allow me to do that.

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Speaker 1: Why was that? Did you feel guilty?

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Speaker 2: Did you feel guilt? I think it's guilt. I think also,

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Speaker 2: I think you get very wrapped up in your identity

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Speaker 2: as a mom, so much so that you forget how

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Speaker 2: to just be you.

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Speaker 3: You forget how to.

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Speaker 2: Walk walk out into the world and not be seen

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Speaker 2: as a mom carrying a baby, or a mom holding

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Speaker 2: the hand of a toddler, or a mom picking up

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Speaker 2: goldfish off the ground or a mom wiping you know,

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Speaker 2: yogurt off of a off of a shirt like this

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Speaker 2: is how you interact with the world and then to

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Speaker 2: suddenly go, Okay, I'm gonna go just be myself.

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Speaker 5: It's it's just the story.

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Speaker 2: It's disorienting and it's unpracticed, and as a mom about

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Speaker 2: to be in hindsight, I would encourage young moms to

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Speaker 2: not let that happen, you know, to find time to continue,

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Speaker 2: even if it's little amounts of time, to continue to

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Speaker 2: have a sense of your identity that is separate.

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Speaker 4: You know, this is making me think of something so

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Speaker 4: interesting and relevant to not only the conversation we're having,

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Speaker 4: but also the fact that we are involving this show

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Speaker 4: Desperate Housewives, because I recently had dinner with Joy who

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Speaker 4: played Marsha's daughter, Yes, who played Danielle, and she is

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Speaker 4: a new mom, and we were talking obviously about this

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Speaker 4: chapter of my life, in this chapter of her life,

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Speaker 4: and she basically said that same thing to me. She said,

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Speaker 4: this is not I don't know if you're going to

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Speaker 4: hear this advice a lot, and I don't even know

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Speaker 4: if it's popular advice. I think she actually said it

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Speaker 4: is unpopular advice from her experience, but that she feels

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Speaker 4: it's really important to leave early on, like practice leaving

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Speaker 4: your baby earlier than you think, earlier than you feel

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Speaker 4: ready to, and earlier than maybe someone else should tell you,

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Speaker 4: know tells you you should because of that, because of

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Speaker 4: the feeling of it's very hard and disorienting to take

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Speaker 4: that identity off, even though you never really do.

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Speaker 5: But and I appreciated it.

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Speaker 4: I actually made a note as well about this particular thing,

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Speaker 4: and I said, I so appreciate the writers giving this

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Speaker 4: amount of thought to the struggle and often opposing feelings

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Speaker 4: that come from being in your house with your children.

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Speaker 5: And out of your house without your children.

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Speaker 4: It's like Lynette clearly was begging for support and begging

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Speaker 4: for the opportunity to have some time to herself, and

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Speaker 4: then when she gets it, she's totally paralyzed. She doesn't

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Speaker 4: know what to do. So she has that scene with breathe.

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Speaker 4: That's really interesting, And yeah, I thought that was cool

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Speaker 4: that our writers were giving such a well rounded example

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Speaker 4: of the complications of parenting.

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Speaker 2: I think sometimes in the pursuit of being like the

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Speaker 2: perfect mom, you forget that by demonstrating imperfection, you're actually

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Speaker 2: allowing your child to unconsciously understand that they don't have

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Speaker 2: to be perfect in this essence of leaving, you know,

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Speaker 2: having your child see you take care of yourself is

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Speaker 2: unconsciously telling them that they are worthy of taking care

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Speaker 2: of themselves. And it's a tricky thing because no mom

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Speaker 2: is running around trying to be perfect, giving, giving, given, giving,

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Speaker 2: never making any time for herself because she's trying to

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Speaker 2: do damage on the kid. But it is kind of

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Speaker 2: a byproduct that if they don't see you practice your

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Speaker 2: self care, they don't know where to learn that from.

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Speaker 1: Right question though, for you and all this fantastic parenting advice, yes, nanny.

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Speaker 5: Cam oh, yes or nay?

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Speaker 1: Okay?

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Speaker 2: Well, well yes, so I think I think nanny cam yay.

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Speaker 2: And you know I recently because you guys know that

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Speaker 2: I take care of my ninety year old parents.

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Speaker 1: Yes, I put.

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Speaker 2: Nana Cams granted cam grannycams. I put grannycams, and because

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Speaker 2: I every night when I get in bed, my house

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Speaker 2: is like down the street. But I look at the

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Speaker 2: ring camera and I can see what time they went

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Speaker 2: to sleep, if they went to sleep. I can see

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Speaker 2: if I get like an alert from the alarm company.

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Speaker 2: I can see if my parents just forgot and opened

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Speaker 2: the door, or if, like God forbid, there was a

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Speaker 2: break in.

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Speaker 3: But it gives me a lot of peace.

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Speaker 2: And it was actually how when my mom was in

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Speaker 2: the hospital and I couldn't get a caregiver for my dad,

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Speaker 2: who has dementia, and he forgot that he had already

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Speaker 2: taken his pills because he has dementia, and he took

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Speaker 2: them all a second time. I witnessed that on the

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Speaker 2: ring camera and was able to call the doctor and

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Speaker 2: make sure that we had the right help in case

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Speaker 2: my dad got sick from doubling up on pills.

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Speaker 3: And so I love the ring camera.

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Speaker 2: Proing, but I think, you know, if you're going to

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Speaker 2: have one, I think you have to approach it with

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Speaker 2: respecting privacy. Like I'm not trying to invade my parents' privacy.

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Speaker 2: I'm trying to give them as much independence as I can,

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Speaker 2: but still keep them safe, right, and so that is

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Speaker 2: the way in which I use it.

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Speaker 4: I think I had the same question. I'm curious to

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Speaker 4: hear your thoughts as well, Emerson. I think that when

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Speaker 4: it comes to nanny cams, I think that as long

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Speaker 4: as you disclose that someone's being recorded inside your home,

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Speaker 4: then I guess it's okay. I don't have any I

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Speaker 4: don't know if I have plans to have a camera inside,

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Speaker 4: you know, that my house when it comes to assistance

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Speaker 4: with the baby and things like that. I did find

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Speaker 4: the montage where Lynette is holding the little bear that

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Speaker 4: she's stashed the camera in, and she's doing all of

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Speaker 4: the different ideas, playing all of them out of like

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Speaker 4: and loving, a loving nanny rocking the bear, and then

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Speaker 4: a crazy nanny like shaking the bear. I thought that

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Speaker 4: was a very very very.

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Speaker 5: Funny and well done.

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Speaker 4: But yeah, I think I get uncomfortable with just cameras

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Speaker 4: in the world in general these days, Like I buck

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Speaker 4: up against the fact that it's kind of impossible to

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Speaker 4: walk down the street and not have someone recording something,

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Speaker 4: and you just happen to be in the background of

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Speaker 4: someone's video and you don't consent to that, and you know,

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Speaker 4: or like I am aware of it if I'm doing

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Speaker 4: it and there's someone and I'm thinking, well, they're now

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Speaker 4: just on my phone and I don't know them, and

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Speaker 4: they didn't say that was okay, And that's just kind

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Speaker 4: of everywhere. So maybe I take too I give it

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Speaker 4: too much thought, and I get too trapped in this

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Speaker 4: idea of it's not respectful of someone else's privacy. So

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Speaker 4: I think the big thing of disclosing, hey, you're on

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Speaker 4: candid camera.

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Speaker 3: I we never had one like with for you, Yeah,

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Speaker 3: I never had one.

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Speaker 5: Are you pro nannycam or anti nannycam or somewhere in between.

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Speaker 1: I think I fall on your side, Andrew. I know

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Speaker 1: that I didn't grow up with a nanny cam. I

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Speaker 1: do feel weird about invading someone else's privacy, but I

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Speaker 1: also like when it comes to my future children and

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Speaker 1: knowing what is going on with them. I think disclosing

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Speaker 1: you know, just you know, we have cameras in our

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Speaker 1: house and working here means that you may be filmed

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Speaker 1: while you're here. I think that is feels like the

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Speaker 1: best of both worlds, where you are able to monitor things.

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Speaker 1: Maybe you also have a sense of like if you

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Speaker 1: were the nanny, you have a sense of self censorship

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Speaker 1: if you think that you're being viewed. I mean, I

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Speaker 1: hope you wouldn't do anything even if you weren't being watched.

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Speaker 1: But sometimes that does, you know, make people think twice

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Speaker 1: about their response or behavior to things.

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Speaker 4: Speaking of wanting to know what's going on with your

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Speaker 4: kid in the house, then that kind of leads us

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Speaker 4: into Susan and Julie.

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Speaker 1: Wow, okay, which I have to say the takeout scene

402
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Speaker 1: with Mike and Susan and Julie. At first, I'm just

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Speaker 1: it's everything that I've wanted for Mike and Susan. They're

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Speaker 1: so cute. I know, they're such a cute couple. They're

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Speaker 1: eating out of each other's takeout boxes. I don't know why,

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Speaker 1: like Chinese takeout box are so romantic to me. Oh,

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Speaker 1: there's just this whimsy and this kind of feeling of

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Speaker 1: you could have just moved into a place with your partner.

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Speaker 5: Because we always see it.

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Speaker 4: It's in like every movie and TV show and people

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Speaker 4: are having their first night in their new place, or

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Speaker 4: they're staying up late in the office and romantic sparks

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Speaker 4: are flying. It's always over Chinese takeout, and they're always

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Speaker 4: using chopsticks to like, oh, I'm just gonna pluck this out,

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Speaker 4: and you know I'm gonna feed you. Now.

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Speaker 5: It's like messaging we have received. So now we are like, yep,

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Speaker 5: those are romance.

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Speaker 1: That's romance, right exactly, Low Maane is romance. And and

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Speaker 1: speaking of using your chopsticks, Julie is loading up her plate.

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Speaker 1: And I wrote, Okay, now, how could Julie be hiding

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Speaker 1: Zach this whole time? I'm shocked. I'm shocked that Susan

422
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Speaker 1: as a mother, never once goes in her daughter's room.

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Speaker 1: I'm shocked at the room is big enough that he

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Speaker 1: could be hiding in there. How is he using the bathroom?

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Speaker 1: I mean obvious some of these questions do get answered

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Speaker 1: later in this episode, or you know, he gets exposed.

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Speaker 1: But I found this believable and far fetched.

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Speaker 3: Yeah, far fetched is the right word. I mean, do

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Speaker 3: we have a sense of how long this is?

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Speaker 4: No?

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Speaker 5: I also wrote how long has this been going on?

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Speaker 2: Because because in other people's time, you know, like in

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Speaker 2: other characters in like Carlos being in jail or you know,

434
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Speaker 2: Rex having an affair, like it actually feels like quite

435
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Speaker 2: a bit of time. If you just went and looked

436
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Speaker 2: at the last episode, I think that was when Zach

437
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Speaker 2: broke out, right, like, so it or maybe two episodes ago.

438
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Speaker 3: Yeah, so it maybe hasn't been.

439
00:22:39,440 --> 00:22:41,879
Speaker 2: But it does feel like if Mike and Susan are

440
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Speaker 2: now at the almost I love viewpoint, like and they're

441
00:22:45,040 --> 00:22:46,760
Speaker 2: they're having sex, or they're at least.

442
00:22:46,640 --> 00:22:48,680
Speaker 5: Trying to have sex desperately trying to happen.

443
00:22:48,960 --> 00:22:51,520
Speaker 2: It does feel like it's been more than days. So

444
00:22:52,119 --> 00:22:55,760
Speaker 2: I think that that might be down to that the

445
00:22:55,920 --> 00:22:59,480
Speaker 2: writing is happening in real time that I sought a

446
00:22:59,600 --> 00:23:00,640
Speaker 2: sort of recall.

447
00:23:00,920 --> 00:23:01,679
Speaker 3: I mean, I know.

448
00:23:03,480 --> 00:23:06,320
Speaker 2: That the train comes off the tracks at some point.

449
00:23:06,520 --> 00:23:09,760
Speaker 2: It may not be until season two, but there was

450
00:23:09,880 --> 00:23:13,720
Speaker 2: a point where and we'll have to get Dina in here,

451
00:23:13,800 --> 00:23:15,399
Speaker 2: who was my hairdresser, to talk to.

452
00:23:15,440 --> 00:23:16,000
Speaker 5: Me about it.

453
00:23:16,119 --> 00:23:17,760
Speaker 3: We want to tell her all.

454
00:23:17,400 --> 00:23:19,639
Speaker 2: Things hair on the show, because the hair played a

455
00:23:19,680 --> 00:23:22,680
Speaker 2: big part. But also just like behind the scenes, there

456
00:23:22,760 --> 00:23:25,200
Speaker 2: were times when we would show up at five thirty

457
00:23:25,200 --> 00:23:26,920
Speaker 2: in the morning for hair and makeup, and we would

458
00:23:26,920 --> 00:23:29,439
Speaker 2: be in my trailer and there would be no scene

459
00:23:29,520 --> 00:23:32,480
Speaker 2: written and they would say, so, yeah, if you could

460
00:23:32,480 --> 00:23:34,359
Speaker 2: get ready and then go to set at like six

461
00:23:34,560 --> 00:23:37,600
Speaker 2: thirty and we'd go like, okay, well we could get ready,

462
00:23:37,680 --> 00:23:40,399
Speaker 2: but like, if the scene is I come out of

463
00:23:40,480 --> 00:23:43,640
Speaker 2: the shower in a towel, that's going to dictate one look.

464
00:23:43,680 --> 00:23:47,000
Speaker 2: And if the scene is I'm going to the grocery store,

465
00:23:47,119 --> 00:23:49,720
Speaker 2: that would be a different look like and we don't know.

466
00:23:50,160 --> 00:23:53,239
Speaker 3: So it's hard. We're here, but it's hard for us

467
00:23:53,280 --> 00:23:54,320
Speaker 3: to really get ready.

468
00:23:54,840 --> 00:23:57,800
Speaker 2: And then they would we would go to the set

469
00:23:57,920 --> 00:24:00,800
Speaker 2: to Susan's house and be standing there with a director

470
00:24:00,880 --> 00:24:04,240
Speaker 2: and a crew and no scene, and then eventually a

471
00:24:04,359 --> 00:24:06,399
Speaker 2: scene would come. They would hand it to you. You

472
00:24:06,440 --> 00:24:09,960
Speaker 2: would literally learn it in thirty seconds, try to block

473
00:24:10,040 --> 00:24:12,359
Speaker 2: through something, and then go back and get ready and

474
00:24:12,400 --> 00:24:15,320
Speaker 2: then come back and shoot. And so I know that

475
00:24:15,520 --> 00:24:17,600
Speaker 2: we are and it'll be interesting to see if we

476
00:24:18,000 --> 00:24:19,960
Speaker 2: if we see that in the work, because I do

477
00:24:20,080 --> 00:24:22,560
Speaker 2: think everyone involved in this show is a super high

478
00:24:22,640 --> 00:24:26,480
Speaker 2: level of talent, and it was kind of like, you know,

479
00:24:26,600 --> 00:24:29,080
Speaker 2: people were able to pull it together, but it certainly

480
00:24:29,280 --> 00:24:30,760
Speaker 2: isn't an ideal thing?

481
00:24:30,880 --> 00:24:34,120
Speaker 1: Is this because you were just one episode ahead each

482
00:24:34,280 --> 00:24:37,840
Speaker 1: week that you were filming episodes that then were airing

483
00:24:38,080 --> 00:24:39,640
Speaker 1: one or two weeks out.

484
00:24:39,840 --> 00:24:41,760
Speaker 5: I do think that played a part.

485
00:24:42,880 --> 00:24:45,520
Speaker 2: I think things got really got really cramped up and

486
00:24:45,600 --> 00:24:47,600
Speaker 2: this you know, I don't know that this is completely

487
00:24:47,720 --> 00:24:51,080
Speaker 2: unique to Desperate Housewives. I think it was a pretty

488
00:24:51,119 --> 00:24:54,720
Speaker 2: extreme example like as it went on, but you know,

489
00:24:56,320 --> 00:24:58,560
Speaker 2: like I think Doug was sort of alluding to like

490
00:24:58,720 --> 00:25:00,240
Speaker 2: you didn't know if it was going to be a

491
00:25:00,280 --> 00:25:03,480
Speaker 2: big hit, like he was talking about his contract negotiations

492
00:25:03,560 --> 00:25:06,239
Speaker 2: and like and Mark saying, we don't know if it's

493
00:25:06,320 --> 00:25:06,840
Speaker 2: going to be a hit.

494
00:25:06,960 --> 00:25:08,960
Speaker 3: You know, we don't And so I think.

495
00:25:10,280 --> 00:25:12,800
Speaker 2: When if you don't know, there could be the thing

496
00:25:12,920 --> 00:25:15,760
Speaker 2: of where it just all happened so fast and so

497
00:25:16,000 --> 00:25:19,639
Speaker 2: intensely and so huge with such a big light on

498
00:25:19,720 --> 00:25:20,919
Speaker 2: it that it.

499
00:25:21,119 --> 00:25:24,120
Speaker 1: Just like and that's also live TV. I mean, now

500
00:25:24,240 --> 00:25:26,320
Speaker 1: you look at how a TV show gets developed, and

501
00:25:26,400 --> 00:25:29,200
Speaker 1: there's no way that you're going to start filming until

502
00:25:29,200 --> 00:25:31,480
Speaker 1: almost most of the scripts are done. It's also most

503
00:25:31,560 --> 00:25:34,480
Speaker 1: TV shows are ten episodes for eight episodes, yeah.

504
00:25:34,560 --> 00:25:35,040
Speaker 5: Twenty three.

505
00:25:35,560 --> 00:25:37,600
Speaker 4: I keep getting this image in my head of like

506
00:25:37,680 --> 00:25:41,760
Speaker 4: a roller coaster going up that all the way up

507
00:25:41,800 --> 00:25:44,760
Speaker 4: to the top and then not knowing, like not knowing

508
00:25:44,840 --> 00:25:47,840
Speaker 4: where what's coming on that other edge. It's just like now,

509
00:25:47,880 --> 00:25:51,359
Speaker 4: We've made it here, and now what comes next? Is

510
00:25:51,359 --> 00:25:52,960
Speaker 4: there a track or is there not a track? Is

511
00:25:53,000 --> 00:25:54,080
Speaker 4: there a loop coming up? You know?

512
00:25:54,200 --> 00:25:55,680
Speaker 5: That's kind of how I feel like.

513
00:25:55,760 --> 00:25:58,560
Speaker 2: It's so so I think this Zach thing is definitely

514
00:25:58,760 --> 00:26:00,480
Speaker 2: like a I don't know if you we don't have

515
00:26:00,560 --> 00:26:02,600
Speaker 2: to call it like an error or whatever, but it's

516
00:26:02,680 --> 00:26:04,800
Speaker 2: like a hole that that, like you said, fart, doesn't

517
00:26:04,880 --> 00:26:05,560
Speaker 2: quite make sense.

518
00:26:05,680 --> 00:26:09,159
Speaker 1: Well, So, speaking of Zach, you have Mike and Susan,

519
00:26:09,280 --> 00:26:13,600
Speaker 1: who seemed desperate to have sex again. Susan won't have

520
00:26:13,800 --> 00:26:16,119
Speaker 1: sex in Mike's house because she says, I like to

521
00:26:16,200 --> 00:26:17,639
Speaker 1: have my things around me.

522
00:26:18,040 --> 00:26:21,760
Speaker 5: Yeah, I think that's reasonable. I think that's so it's

523
00:26:21,840 --> 00:26:22,520
Speaker 5: annoying too.

524
00:26:22,720 --> 00:26:25,200
Speaker 4: We should point out that the thing that really sends

525
00:26:25,280 --> 00:26:27,720
Speaker 4: them into the whole sex plan kind of off the

526
00:26:27,800 --> 00:26:29,440
Speaker 4: rails is because Carl.

527
00:26:29,640 --> 00:26:33,560
Speaker 5: Damn Carl always Heart the Heart, the Heart.

528
00:26:33,680 --> 00:26:34,840
Speaker 3: Want to come over that weekend.

529
00:26:35,000 --> 00:26:39,560
Speaker 4: So Julie shares that he and Brandy may have broken up,

530
00:26:39,600 --> 00:26:41,040
Speaker 4: which is kind of a big point.

531
00:26:41,200 --> 00:26:42,560
Speaker 5: It's kind of an interesting thing, right.

532
00:26:42,520 --> 00:26:46,760
Speaker 4: Because that's who he left Susan for, and that he's

533
00:26:47,040 --> 00:26:49,680
Speaker 4: he's now he's dealing with that, and so he can't

534
00:26:49,720 --> 00:26:51,720
Speaker 4: take Julie anymore. So now Julie is going to be home,

535
00:26:51,840 --> 00:26:55,160
Speaker 4: and that is spoiling Susan and Mike's sex plans.

536
00:26:55,480 --> 00:26:57,080
Speaker 1: Yes, because Susan does not all want to go over

537
00:26:57,119 --> 00:26:59,320
Speaker 1: to Mike's house and Julie is at home.

538
00:26:59,520 --> 00:27:03,960
Speaker 5: But probably making out upstairs by the way, I herself, So.

539
00:27:04,040 --> 00:27:08,240
Speaker 2: Wait, behind the scenes were Julian and Zach. Was it

540
00:27:08,359 --> 00:27:09,800
Speaker 2: the one kiss and then no more?

541
00:27:10,119 --> 00:27:12,920
Speaker 4: I believe it was probably the one kiss and no

542
00:27:13,119 --> 00:27:16,080
Speaker 4: more at this point. That's what I'm assuming was going on,

543
00:27:16,280 --> 00:27:18,880
Speaker 4: because I think there was just there's Julie is such

544
00:27:18,880 --> 00:27:21,560
Speaker 4: a good girl, even though she's hiding this big secret

545
00:27:21,680 --> 00:27:23,960
Speaker 4: right now, like to her core, I think she was

546
00:27:24,040 --> 00:27:28,000
Speaker 4: probably not prepared to go from one caught off guard

547
00:27:28,119 --> 00:27:30,159
Speaker 4: kiss to like being comfortable with a boy in her

548
00:27:30,200 --> 00:27:31,920
Speaker 4: room just making out. So I think it was probably

549
00:27:31,920 --> 00:27:34,560
Speaker 4: pretty tame up there, just actually sharing Chinese food.

550
00:27:34,800 --> 00:27:38,280
Speaker 1: I agree, And so we have on the other side Susan,

551
00:27:38,400 --> 00:27:42,800
Speaker 1: who's dressed up in super sexy blue lingerie. She's turning

552
00:27:42,840 --> 00:27:45,280
Speaker 1: on music. Mike's gonna come over because Julie's.

553
00:27:44,920 --> 00:27:48,440
Speaker 5: Out, Al Green's come and take me. I thought that

554
00:27:48,520 --> 00:27:49,480
Speaker 5: was a great choice.

555
00:27:49,280 --> 00:27:53,360
Speaker 1: And I think you singing that scene, Ma is so genius,

556
00:27:53,480 --> 00:27:55,639
Speaker 1: and she leaves, and Susan leaves the little note on

557
00:27:55,720 --> 00:27:58,080
Speaker 1: the door that says come on in, and of course

558
00:27:58,359 --> 00:28:02,680
Speaker 1: then she hears poor Zach who's caught in the middle

559
00:28:03,000 --> 00:28:05,680
Speaker 1: trying to sneak out, but she thinks it's Mike coming

560
00:28:05,760 --> 00:28:09,400
Speaker 1: up the hallway. Eventually Mike does come in. Susan has

561
00:28:09,480 --> 00:28:12,600
Speaker 1: this snaff who where she now thinks there's someone breaking in,

562
00:28:12,760 --> 00:28:15,240
Speaker 1: which there kind of is accidentally ends up hitting Mike

563
00:28:15,280 --> 00:28:15,439
Speaker 1: in the.

564
00:28:15,440 --> 00:28:16,600
Speaker 5: Face with a thigh master.

565
00:28:17,320 --> 00:28:18,680
Speaker 3: Do you know what a thigmester is?

566
00:28:18,920 --> 00:28:20,399
Speaker 1: Yes, Suzanne Summer, Oh.

567
00:28:22,480 --> 00:28:24,800
Speaker 5: Yeah, maybe I didn't see that weapon of choice and

568
00:28:24,960 --> 00:28:25,720
Speaker 5: understand what it was.

569
00:28:26,080 --> 00:28:27,960
Speaker 1: I understood what it was. I have to say, my

570
00:28:28,520 --> 00:28:32,680
Speaker 1: good friend Violet is actually Suzanne Summer's granddaughter. Oh so

571
00:28:33,080 --> 00:28:37,680
Speaker 1: I a little inside knowledge to knowing who created the

572
00:28:37,720 --> 00:28:41,360
Speaker 1: thigh master. Okay, hits Mike in the face with the

573
00:28:41,440 --> 00:28:43,320
Speaker 1: thigh master, which is so funny, and then of course

574
00:28:43,320 --> 00:28:47,720
Speaker 1: they both look up to see Zach. Do you remember mom,

575
00:28:47,880 --> 00:28:50,640
Speaker 1: what shooting that scene was like? It's such good again

576
00:28:50,760 --> 00:28:51,600
Speaker 1: physical comedy.

577
00:28:52,800 --> 00:28:57,000
Speaker 2: It's that kind of memory. And you're talking about the

578
00:28:57,160 --> 00:29:00,760
Speaker 2: lingerie and the and the singing and the roses and yeah,

579
00:29:01,960 --> 00:29:07,160
Speaker 2: it's it's loose sometimes memories for me, I don't know

580
00:29:07,200 --> 00:29:10,600
Speaker 2: if you guys feel this way, like they go right

581
00:29:10,680 --> 00:29:14,200
Speaker 2: into like good or bad, like you have no specificity.

582
00:29:14,320 --> 00:29:16,760
Speaker 2: But like so if you see somebody you haven't seen

583
00:29:16,840 --> 00:29:18,520
Speaker 2: in a really long time and you don't remember their

584
00:29:18,640 --> 00:29:20,960
Speaker 2: name and you don't really remember how you met them,

585
00:29:21,000 --> 00:29:23,760
Speaker 2: but you know that you've had an interaction and and

586
00:29:23,880 --> 00:29:26,240
Speaker 2: you're and I will get this thing of like I

587
00:29:26,360 --> 00:29:29,120
Speaker 2: know this is good, like whatever I had with this

588
00:29:29,320 --> 00:29:32,800
Speaker 2: person which I can't remember, is good. Or I'll feel like,

589
00:29:32,920 --> 00:29:35,520
Speaker 2: oh this was not good, like whatever this was awkward.

590
00:29:36,440 --> 00:29:40,280
Speaker 2: So I'm having a lot of good feelings about it.

591
00:29:40,520 --> 00:29:45,640
Speaker 2: I feel like, again, these kinds of scenes are for

592
00:29:45,840 --> 00:29:51,960
Speaker 2: me in the show were very discovered and choreographed, and

593
00:29:52,640 --> 00:29:55,680
Speaker 2: that work was done with either the steady cam or

594
00:29:55,800 --> 00:30:01,120
Speaker 2: the or like a camera on a dolly. And I

595
00:30:02,120 --> 00:30:07,720
Speaker 2: remember probably being very you know, I'm pretty shy when

596
00:30:07,800 --> 00:30:10,400
Speaker 2: it comes like I've never walked around. I wish actually

597
00:30:10,480 --> 00:30:12,600
Speaker 2: my whole life that I'd walked around with more confidence

598
00:30:12,640 --> 00:30:15,080
Speaker 2: in my body, Like I never was the person that.

599
00:30:15,160 --> 00:30:18,280
Speaker 1: Was just like I have a killer body, which is crazy,

600
00:30:18,680 --> 00:30:19,320
Speaker 1: but I I.

601
00:30:19,600 --> 00:30:22,640
Speaker 2: Yeah, I'm well, thanks, I guess, And it was a

602
00:30:22,720 --> 00:30:24,560
Speaker 2: waste of time for sure, because the point is it

603
00:30:24,600 --> 00:30:26,560
Speaker 2: doesn't matter if if anybody else thinks you have a

604
00:30:26,640 --> 00:30:28,760
Speaker 2: killer body or not. You should feel that you have

605
00:30:28,880 --> 00:30:31,640
Speaker 2: one because it's yours and it can do magical things

606
00:30:32,040 --> 00:30:34,920
Speaker 2: and it's awesome. But I never really felt that way

607
00:30:34,960 --> 00:30:37,680
Speaker 2: about myself, So I'm sure that I was quite self

608
00:30:37,720 --> 00:30:40,240
Speaker 2: conscious and making sure that I was, like, probably I

609
00:30:40,320 --> 00:30:42,120
Speaker 2: didn't eat the day before or something.

610
00:30:42,200 --> 00:30:46,080
Speaker 5: You know, she's like when they call cut, she's using

611
00:30:46,120 --> 00:30:46,840
Speaker 5: the time ass.

612
00:30:49,600 --> 00:30:51,880
Speaker 2: But all of I agree with you that I loved

613
00:30:51,960 --> 00:30:55,000
Speaker 2: the work that I did. I the choice to sing,

614
00:30:55,720 --> 00:30:59,240
Speaker 2: I'm sure that was mine. It's so playful, It's really playful.

615
00:30:59,560 --> 00:31:03,600
Speaker 2: It fell it felt truthful, like it felt like private,

616
00:31:04,000 --> 00:31:06,480
Speaker 2: you know what I mean. It felt like how you

617
00:31:06,560 --> 00:31:09,520
Speaker 2: would maybe behave when you thought you were alone and

618
00:31:09,720 --> 00:31:10,959
Speaker 2: excited about something.

619
00:31:11,200 --> 00:31:13,920
Speaker 1: I've had that I've had, the like dance around my

620
00:31:14,040 --> 00:31:17,880
Speaker 1: kitchen excited to go on a date, singing to myself.

621
00:31:18,080 --> 00:31:21,080
Speaker 5: I totally have done that kind of giddy internal moment.

622
00:31:21,240 --> 00:31:22,920
Speaker 3: It's a beautiful moment, and it is.

623
00:31:23,040 --> 00:31:26,320
Speaker 4: So funny when Mike comes around the corner, thinking I mean,

624
00:31:26,360 --> 00:31:28,600
Speaker 4: you've set the groundwork for him to assume he's walking

625
00:31:28,640 --> 00:31:33,000
Speaker 4: in for sex. Yes, probably, just so excited. And then

626
00:31:33,040 --> 00:31:35,480
Speaker 4: he rounds the corner and gets smacked upside the head.

627
00:31:35,960 --> 00:31:37,880
Speaker 4: I mean, wow, talk about mixed signals.

628
00:31:38,520 --> 00:31:42,640
Speaker 1: Yeah, well, I mean just to follow this storyline through

629
00:31:42,800 --> 00:31:46,520
Speaker 1: a little bit. Then we have, of course, things are foiled.

630
00:31:46,600 --> 00:31:50,560
Speaker 1: We discover that Julie in fact has been hiding Zach,

631
00:31:50,960 --> 00:31:55,240
Speaker 1: and we have this conversation between Julie and Susan, which

632
00:31:55,360 --> 00:31:59,040
Speaker 1: I really thought this scene was so interesting because Julie

633
00:31:59,280 --> 00:32:03,760
Speaker 1: is sitting downstairs and Susan comes downstairs in her pajamas,

634
00:32:03,840 --> 00:32:07,240
Speaker 1: and Julie is upset at Susan. And as a writer,

635
00:32:08,240 --> 00:32:10,680
Speaker 1: I was looking at how the scene not just was

636
00:32:10,760 --> 00:32:14,440
Speaker 1: written but was also directed, and all of the elements

637
00:32:14,480 --> 00:32:17,640
Speaker 1: of how it was directed, the wardrobe, the set design,

638
00:32:17,760 --> 00:32:21,000
Speaker 1: the postures that both of you take, and I thought

639
00:32:21,040 --> 00:32:25,840
Speaker 1: it so beautifully illustrated the inversion of roles between Susan

640
00:32:25,920 --> 00:32:29,080
Speaker 1: and Julie, because we have Julie sitting in an armchair

641
00:32:29,160 --> 00:32:31,760
Speaker 1: that kind of looks like a place an adult parent

642
00:32:31,920 --> 00:32:35,120
Speaker 1: would be sitting reading a book, which feels like very

643
00:32:35,160 --> 00:32:39,880
Speaker 1: adult action, and we have Susan sort of trepidaciously creeping

644
00:32:40,040 --> 00:32:44,160
Speaker 1: down the stairs, almost like she is the teenager getting

645
00:32:44,240 --> 00:32:48,120
Speaker 1: caught by her mom. And even in the wardrobe, I

646
00:32:48,240 --> 00:32:50,480
Speaker 1: think Susan looks like a teenager in this scene. She

647
00:32:50,600 --> 00:32:53,120
Speaker 1: has this which is so wide twok, this short sleeve

648
00:32:53,200 --> 00:32:55,800
Speaker 1: shirt with a long sleeve striped shirt underneath it, and

649
00:32:55,840 --> 00:32:57,840
Speaker 1: I'm like, I feel like I wore that when I

650
00:32:58,160 --> 00:33:01,440
Speaker 1: was twelve or thirteen. And then Julie is kind of

651
00:33:01,480 --> 00:33:05,320
Speaker 1: in like a cardigany sweater, and I just thought, wow,

652
00:33:06,440 --> 00:33:10,520
Speaker 1: the dynamic of feeling like Julie is the mom and

653
00:33:10,720 --> 00:33:13,160
Speaker 1: Susan is the teenager, which is then sort of the

654
00:33:13,240 --> 00:33:16,320
Speaker 1: content of the scene too, is it's what Julie says

655
00:33:17,120 --> 00:33:20,600
Speaker 1: and is almost scolding Susan for doing what I think

656
00:33:20,680 --> 00:33:23,040
Speaker 1: any parent would do, which to say, you can't hide

657
00:33:23,080 --> 00:33:24,800
Speaker 1: your friend in your room.

658
00:33:25,160 --> 00:33:27,920
Speaker 2: Yeah, but she goes back and she talks about, you know,

659
00:33:28,560 --> 00:33:31,560
Speaker 2: how bad I was when the divorce happened, and how

660
00:33:31,840 --> 00:33:34,960
Speaker 2: absent I was as a mother with this example and

661
00:33:35,040 --> 00:33:40,200
Speaker 2: that example, and yeah, I'm this is another way, so

662
00:33:40,520 --> 00:33:43,040
Speaker 2: Susan can't cook, and Susan was not as good of a.

663
00:33:43,120 --> 00:33:44,680
Speaker 3: Mother as well.

664
00:33:44,760 --> 00:33:47,040
Speaker 1: I just I mean, and I think it's really smart

665
00:33:47,240 --> 00:33:50,800
Speaker 1: how this whole scene was pieced together to not just

666
00:33:50,920 --> 00:33:54,000
Speaker 1: in the dialogue, but in every bit of action really

667
00:33:54,120 --> 00:33:59,240
Speaker 1: reflect this strange inverted dynamic between I reallylie.

668
00:33:59,360 --> 00:34:02,520
Speaker 4: I love that you were able to view it from

669
00:34:02,560 --> 00:34:05,760
Speaker 4: all those different angles, and that for you, all of

670
00:34:05,800 --> 00:34:09,239
Speaker 4: those different components really made it ring true and feel

671
00:34:09,360 --> 00:34:13,920
Speaker 4: very grounded. I think that this narrative for Susan and

672
00:34:14,120 --> 00:34:17,319
Speaker 4: Julie kind of continues if I remember throughout the show

673
00:34:17,440 --> 00:34:20,399
Speaker 4: a bit with this idea of obviously we've talked about

674
00:34:20,440 --> 00:34:23,560
Speaker 4: the dynamic between them being often more like peers or

675
00:34:23,760 --> 00:34:27,640
Speaker 4: friends than it is parent child or mother daughter. And

676
00:34:27,760 --> 00:34:30,960
Speaker 4: I do think it's fair what Julie says. I think

677
00:34:31,000 --> 00:34:34,600
Speaker 4: it's fair for her to say, Hey, you are now

678
00:34:34,760 --> 00:34:37,879
Speaker 4: taking this parental role and this moral high ground here,

679
00:34:38,560 --> 00:34:42,040
Speaker 4: but I don't feel comfortable listening to you right now

680
00:34:42,200 --> 00:34:44,640
Speaker 4: because it doesn't feel like that is a role you've

681
00:34:44,719 --> 00:34:50,800
Speaker 4: often occupied, is certainly recently and I but to Susan's

682
00:34:50,880 --> 00:34:54,640
Speaker 4: credit in this particular episode, she doesn't just get defensive

683
00:34:54,760 --> 00:34:57,279
Speaker 4: and say, well, you're wrong, and I'm your mom and

684
00:34:57,360 --> 00:35:00,520
Speaker 4: I made the decision and that's the law. She does

685
00:35:00,680 --> 00:35:02,920
Speaker 4: reflect because we see her later go to Mike and say,

686
00:35:03,520 --> 00:35:06,080
Speaker 4: she's kind of right. I leaned pretty heavily on her,

687
00:35:06,200 --> 00:35:08,920
Speaker 4: and it's because she's the person who's around and sharing

688
00:35:08,960 --> 00:35:12,440
Speaker 4: my space and I needed someone and you know. So

689
00:35:12,640 --> 00:35:16,160
Speaker 4: it's not like I think that they're the dynamic we

690
00:35:16,320 --> 00:35:19,040
Speaker 4: have notes on in the sense of for her how

691
00:35:19,080 --> 00:35:20,120
Speaker 4: she could be a better mother.

692
00:35:20,719 --> 00:35:23,320
Speaker 5: But I think that it also has.

693
00:35:23,320 --> 00:35:27,440
Speaker 4: So informed how strong their bond is, that they did

694
00:35:28,320 --> 00:35:32,240
Speaker 4: have that kind of level of openness, and that Julie

695
00:35:32,520 --> 00:35:34,880
Speaker 4: obviously kind of likes taking care of Susan in a

696
00:35:34,920 --> 00:35:37,360
Speaker 4: way too. It gives her a sense of purpose and identity.

697
00:35:38,040 --> 00:35:41,240
Speaker 4: So I'm excited to see obviously where their relationship continues

698
00:35:41,320 --> 00:35:42,320
Speaker 4: to grow and unfold.

699
00:35:42,440 --> 00:35:44,759
Speaker 5: But I thought it was kind of a I.

700
00:35:44,760 --> 00:35:48,600
Speaker 2: Think it's, you know, you're giving all of these families

701
00:35:48,719 --> 00:35:52,239
Speaker 2: on with Seria Lane a problem, you know, and I

702
00:35:52,360 --> 00:35:56,439
Speaker 2: think Susan, other than like she has no love life,

703
00:35:56,800 --> 00:36:02,080
Speaker 2: you know, is the it's the least problematic, do you

704
00:36:02,160 --> 00:36:04,280
Speaker 2: know what I mean? And so I think it's actually

705
00:36:04,480 --> 00:36:08,919
Speaker 2: a good flaw for Susan. I think it's a reasonable

706
00:36:09,920 --> 00:36:16,040
Speaker 2: flaw that she leans too heavily into her daughter as

707
00:36:16,080 --> 00:36:19,320
Speaker 2: a friend and a support system and that's not a

708
00:36:19,440 --> 00:36:23,000
Speaker 2: great conscious choice for a parent to make of their child,

709
00:36:23,360 --> 00:36:26,239
Speaker 2: at least in my judgment. But you don't want your

710
00:36:26,320 --> 00:36:29,160
Speaker 2: characters to be perfect. You want them to be flawed.

711
00:36:29,200 --> 00:36:32,359
Speaker 2: You want them to be able to grow. So, I mean,

712
00:36:32,480 --> 00:36:36,000
Speaker 2: I don't remember where this goes. It's not entirely with

713
00:36:36,160 --> 00:36:38,360
Speaker 2: confidence that I believe that the payoff is going to

714
00:36:38,400 --> 00:36:41,680
Speaker 2: be correct, but I'm willing to watch.

715
00:36:49,800 --> 00:36:52,759
Speaker 1: Obviously, we have so many flawed characters. And speaking of

716
00:36:52,800 --> 00:36:54,560
Speaker 1: flawed characters, I think we have to give a little

717
00:36:54,600 --> 00:36:58,440
Speaker 1: time to talk about Gabby and Carlos's relationship. You know,

718
00:36:58,480 --> 00:37:01,920
Speaker 1: we have Carlos is now in jail and Gabby is

719
00:37:02,200 --> 00:37:07,880
Speaker 1: looking for the passport while the government starts seizing Carlos's assets,

720
00:37:07,960 --> 00:37:09,960
Speaker 1: and I love I think. I don't know if this

721
00:37:10,080 --> 00:37:14,800
Speaker 1: is my favorite line award, but it's my favorite line

722
00:37:15,040 --> 00:37:19,719
Speaker 1: mixed with the direction. Okay, when Gabby says, people don't

723
00:37:19,840 --> 00:37:23,320
Speaker 1: just become poor overnight, and then we hardcut to the

724
00:37:23,480 --> 00:37:27,440
Speaker 1: tow truck outside of their house, loading on her sports

725
00:37:27,520 --> 00:37:30,920
Speaker 1: car onto the tow truck, and she runs out and

726
00:37:31,000 --> 00:37:34,879
Speaker 1: she's so proud that she yells after the tow truck

727
00:37:34,960 --> 00:37:36,799
Speaker 1: as it's going away, and the neighbors across the street

728
00:37:36,840 --> 00:37:39,040
Speaker 1: are kind of watching. She goes, you call that a

729
00:37:39,160 --> 00:37:42,800
Speaker 1: paint job, don't bring it back and tell it's perfect.

730
00:37:44,120 --> 00:37:47,080
Speaker 1: And it's this sad attempt to kind of hold on

731
00:37:47,280 --> 00:37:50,719
Speaker 1: to the lifestyle that is starting to crumble around her

732
00:37:50,840 --> 00:37:53,120
Speaker 1: that she's really not in control of. And I think

733
00:37:53,840 --> 00:37:57,719
Speaker 1: this leads her to really try to hold onto her

734
00:37:57,800 --> 00:38:01,399
Speaker 1: lifestyle by taking everything in the house.

735
00:38:01,680 --> 00:38:02,640
Speaker 3: That's the funny scene.

736
00:38:02,920 --> 00:38:05,600
Speaker 1: It is such a funny scene that they could possibly seize,

737
00:38:06,000 --> 00:38:09,680
Speaker 1: including the pop art photos of her selle of them,

738
00:38:10,000 --> 00:38:11,759
Speaker 1: all three of them. I'm like, I don't know that

739
00:38:11,840 --> 00:38:16,920
Speaker 1: they're going to take those and wheeling it across the streets.

740
00:38:17,000 --> 00:38:19,400
Speaker 5: That is what I gave my most desperate moment for

741
00:38:19,520 --> 00:38:20,160
Speaker 5: this episode.

742
00:38:20,200 --> 00:38:22,000
Speaker 3: She couched down the street.

743
00:38:21,840 --> 00:38:25,200
Speaker 4: The wheeling the furniture cart piled high with all the things,

744
00:38:25,320 --> 00:38:27,440
Speaker 4: shoving it down the street over to Breeze Girl.

745
00:38:27,280 --> 00:38:30,239
Speaker 2: Eyes wondering how she did that, Like what, like if

746
00:38:30,280 --> 00:38:34,360
Speaker 2: there was wires or something out of frame on the

747
00:38:34,480 --> 00:38:37,239
Speaker 2: other side, like helping her pull it. It seemed like

748
00:38:37,440 --> 00:38:40,040
Speaker 2: a lot for her to push by herself, didn't it.

749
00:38:40,239 --> 00:38:41,080
Speaker 1: Yeah, I mean I feel like.

750
00:38:41,360 --> 00:38:43,080
Speaker 2: I kind of was also concerned that it was all

751
00:38:43,120 --> 00:38:46,160
Speaker 2: going to fall all over the place, but I mean

752
00:38:46,200 --> 00:38:49,920
Speaker 2: it didn't. So it must have been positioned well to

753
00:38:50,000 --> 00:38:51,440
Speaker 2: be able to shoot that over and over.

754
00:38:51,760 --> 00:38:53,680
Speaker 1: Yeah, or glued on there somehow, I mean. And I

755
00:38:53,800 --> 00:38:55,840
Speaker 1: have to say they are really good, the writers about

756
00:38:55,880 --> 00:39:00,520
Speaker 1: giving Eva and Gabby this again. It reminds me of

757
00:39:00,560 --> 00:39:03,000
Speaker 1: when she's mowing the lawn in her ball gown. You know,

758
00:39:03,120 --> 00:39:05,960
Speaker 1: she's always in these fabulous heels and this little outfit,

759
00:39:06,160 --> 00:39:08,960
Speaker 1: and now she's pushing like a couch and a dining

760
00:39:09,000 --> 00:39:11,319
Speaker 1: table and all the chairs and all this art down

761
00:39:11,400 --> 00:39:11,760
Speaker 1: the street.

762
00:39:11,880 --> 00:39:13,600
Speaker 4: And I think it's made funnier by the fact that

763
00:39:13,719 --> 00:39:16,600
Speaker 4: she's so tiny, you know, she's such a teeny tiny person,

764
00:39:16,880 --> 00:39:19,239
Speaker 4: and so she's so dwarfed by these things that it's

765
00:39:19,480 --> 00:39:22,000
Speaker 4: just funny. It sets us up to find that very funny.

766
00:39:22,320 --> 00:39:25,040
Speaker 1: I mean, and we Brie, who has enough issues of

767
00:39:25,120 --> 00:39:27,759
Speaker 1: her own, because she has just found out that her

768
00:39:27,880 --> 00:39:30,400
Speaker 1: husband is cheating on her and that he's had a

769
00:39:30,440 --> 00:39:32,560
Speaker 1: heart attack and now he's in the hospital, and when

770
00:39:32,600 --> 00:39:36,080
Speaker 1: she goes to meet him, she sees the person who

771
00:39:36,160 --> 00:39:37,840
Speaker 1: signed him in is Mazy Gibbons.

772
00:39:38,080 --> 00:39:39,200
Speaker 5: Yeah, can you imagine.

773
00:39:39,280 --> 00:39:42,160
Speaker 4: I mean, also, I want to go back to the

774
00:39:42,320 --> 00:39:44,520
Speaker 4: very beginning of this episode, because that's where my favorite

775
00:39:44,560 --> 00:39:46,719
Speaker 4: line from the episode comes from, which is in the

776
00:39:46,960 --> 00:39:49,719
Speaker 4: very beginning, Brion rex Are. They have a scene at

777
00:39:49,760 --> 00:39:52,799
Speaker 4: home and Brie asks him, were you with a woman?

778
00:39:52,960 --> 00:39:56,520
Speaker 4: She because she smells his jacket. Yeah, and she says,

779
00:39:56,560 --> 00:39:58,600
Speaker 4: were you with a woman? And then they have this

780
00:39:58,840 --> 00:40:01,480
Speaker 4: moment where she's sort of realizing that yes, he is

781
00:40:02,000 --> 00:40:05,879
Speaker 4: maybe seeing other women, and she gets incensed that he's

782
00:40:06,280 --> 00:40:08,759
Speaker 4: bringing that kind of energy into their house and all

783
00:40:08,760 --> 00:40:12,120
Speaker 4: these things, and she yells out Andrew Danielle, Daddy's gonna

784
00:40:12,160 --> 00:40:16,600
Speaker 4: fordicate for us, And yeah, that was my favorite line

785
00:40:16,640 --> 00:40:18,799
Speaker 4: of this episode. It was just it was just so great.

786
00:40:18,880 --> 00:40:22,360
Speaker 2: Mine was actually when she is finally in his hospital

787
00:40:22,480 --> 00:40:28,000
Speaker 2: room and you know, she's like committed to helping nursing

788
00:40:28,080 --> 00:40:32,520
Speaker 2: him back to health, but only because she goes over

789
00:40:32,640 --> 00:40:35,040
Speaker 2: and tells him that she is literally getting the best

790
00:40:35,120 --> 00:40:38,400
Speaker 2: lawyer and she's going to take everything from him and

791
00:40:38,800 --> 00:40:41,480
Speaker 2: et cetera, et cetera. And then she says, I'm so

792
00:40:41,680 --> 00:40:44,120
Speaker 2: glad you didn't die before I got a chance to

793
00:40:44,239 --> 00:40:44,680
Speaker 2: tell you that.

794
00:40:45,360 --> 00:40:46,920
Speaker 5: Yeah, I know, I know.

795
00:40:47,000 --> 00:40:50,120
Speaker 1: At the end of this episode, Bree goes evil and

796
00:40:50,239 --> 00:40:54,000
Speaker 1: I have to say. Gabby also goes a little evil.

797
00:40:54,080 --> 00:40:56,440
Speaker 1: You know. We have Carlos tell her about the hidden

798
00:40:56,480 --> 00:40:58,560
Speaker 1: panel in the back of the closet where he's keeping

799
00:40:58,600 --> 00:40:59,200
Speaker 1: his passport.

800
00:40:59,360 --> 00:41:01,440
Speaker 3: Tell her what pas.

801
00:41:01,840 --> 00:41:03,600
Speaker 5: Oh yeah, that was amazing me too.

802
00:41:03,800 --> 00:41:04,719
Speaker 3: I love that scene.

803
00:41:04,760 --> 00:41:07,400
Speaker 2: So we've got Gabby and Carlos in the in this

804
00:41:07,520 --> 00:41:10,520
Speaker 2: sort of room where you can go in a jail

805
00:41:10,600 --> 00:41:13,720
Speaker 2: where you can talk to, you know, somebody from the outside,

806
00:41:14,200 --> 00:41:16,840
Speaker 2: and they're not allowed to touch, but somehow they're allowed

807
00:41:16,920 --> 00:41:17,839
Speaker 2: to lean in and kiss.

808
00:41:17,920 --> 00:41:19,399
Speaker 1: Well, they have to keep their hands on the table

809
00:41:19,400 --> 00:41:19,839
Speaker 1: to keep their.

810
00:41:19,800 --> 00:41:21,759
Speaker 2: Hands on the table, and so when they lean in

811
00:41:21,960 --> 00:41:27,200
Speaker 2: to kiss, Carlos gives her all the secret information that

812
00:41:27,520 --> 00:41:28,080
Speaker 2: she needs.

813
00:41:28,320 --> 00:41:30,840
Speaker 3: And I just I thought that scene was incredible and.

814
00:41:30,880 --> 00:41:33,200
Speaker 1: I thought it was such an interesting turn for Gabby

815
00:41:33,239 --> 00:41:37,560
Speaker 1: because Gabby actually feels very repentant over her affair with John.

816
00:41:37,680 --> 00:41:40,600
Speaker 1: She seems like she's actually really missing Carlos's presence in

817
00:41:40,640 --> 00:41:43,960
Speaker 1: the house. And when they first kiss, it's so genuine

818
00:41:44,040 --> 00:41:46,600
Speaker 1: on her end. It feels like she really has missed him.

819
00:41:46,920 --> 00:41:50,120
Speaker 1: And then he whispers in her ear and you watch her,

820
00:41:50,360 --> 00:41:52,480
Speaker 1: I mean, Eva does this really well? You watch her

821
00:41:53,000 --> 00:41:56,560
Speaker 1: turn and go, oh my god, you're not leaning in

822
00:41:56,920 --> 00:41:59,200
Speaker 1: to genuinely kiss me, you're leaning in to ask me

823
00:41:59,560 --> 00:42:00,440
Speaker 1: to cover up for you.

824
00:42:00,680 --> 00:42:03,279
Speaker 2: And yeah, and also, you're not a good guy. You're

825
00:42:03,320 --> 00:42:05,839
Speaker 2: not a good guy who got taken by Tanaka your boss.

826
00:42:06,040 --> 00:42:07,239
Speaker 3: You're actually the bad guy.

827
00:42:07,320 --> 00:42:09,560
Speaker 4: You're part of the problem. And it's after he gives

828
00:42:09,600 --> 00:42:12,520
Speaker 4: her the compliment. It's after the kiss. Comes from the

829
00:42:12,560 --> 00:42:15,600
Speaker 4: fact that he says, I didn't know how you would

830
00:42:15,600 --> 00:42:17,800
Speaker 4: handle something like this. I didn't know what you were capable,

831
00:42:17,960 --> 00:42:21,359
Speaker 4: essentially of. And I'm amazed by how strong you are.

832
00:42:21,480 --> 00:42:24,640
Speaker 4: And you are a good wife. And of course, all

833
00:42:24,719 --> 00:42:26,719
Speaker 4: the way up until this point, she's been thinking she's

834
00:42:26,719 --> 00:42:28,960
Speaker 4: a terrible wife because she's having this affair with you

835
00:42:29,040 --> 00:42:31,440
Speaker 4: know whatever. But he says that, and then they have

836
00:42:31,680 --> 00:42:34,040
Speaker 4: she says, I'm going to kiss my husband, and so

837
00:42:34,160 --> 00:42:38,280
Speaker 4: she thinks it's this tender, romantic moment to your point, Emerson,

838
00:42:38,560 --> 00:42:43,160
Speaker 4: and then he reveals that he's been He's in on it.

839
00:42:43,400 --> 00:42:45,040
Speaker 5: He's in on it, and she's like what.

840
00:42:45,640 --> 00:42:48,000
Speaker 1: And she one ups him. She goes and she gets

841
00:42:48,080 --> 00:42:50,200
Speaker 1: the papers in the passport, but then she doesn't burn

842
00:42:50,239 --> 00:42:52,919
Speaker 1: the papers. She burns the passport and I'm really left

843
00:42:53,000 --> 00:42:57,000
Speaker 1: wondering what does this mean for her intentions about the

844
00:42:57,120 --> 00:42:59,400
Speaker 1: future of their marriage.

845
00:42:59,600 --> 00:43:01,680
Speaker 2: Well, we're to find out when she gets you know,

846
00:43:02,440 --> 00:43:05,800
Speaker 2: when it gets real with where money ends up in

847
00:43:05,920 --> 00:43:06,640
Speaker 2: her life.

848
00:43:06,480 --> 00:43:07,640
Speaker 3: Yeah, or the lack thereof.

849
00:43:08,040 --> 00:43:11,120
Speaker 1: And well, speaking of finding things out, we jumping back

850
00:43:11,160 --> 00:43:14,600
Speaker 1: to Lynette. She has installed the nanny cam. Yes, and

851
00:43:14,840 --> 00:43:18,440
Speaker 1: she watches the best montage. When she gets in bed

852
00:43:18,520 --> 00:43:21,720
Speaker 1: with popcorn, she plugs it in and she watches Claire

853
00:43:21,960 --> 00:43:28,080
Speaker 1: the Nanny be Super Nanny so so so well, no, well.

854
00:43:28,280 --> 00:43:29,800
Speaker 3: First she watched at first.

855
00:43:29,880 --> 00:43:33,200
Speaker 2: Okay, so at first she watches this nanny be Super

856
00:43:33,280 --> 00:43:37,520
Speaker 2: Nanny and she's die is so threatening and so you

857
00:43:37,600 --> 00:43:40,080
Speaker 2: know she you can just see her like I've lost

858
00:43:40,200 --> 00:43:43,800
Speaker 2: my place, I've lost my specialness. I don't matter and

859
00:43:43,920 --> 00:43:47,440
Speaker 2: I love this scene so much. So she decides I'm

860
00:43:47,480 --> 00:43:51,320
Speaker 2: gonna throw this nanny under the bus, and she gives

861
00:43:51,440 --> 00:43:54,000
Speaker 2: the nanny the task of getting her kids to eat

862
00:43:54,040 --> 00:43:55,240
Speaker 2: Brussels sprouts.

863
00:43:55,080 --> 00:43:58,200
Speaker 1: Which we've set up at the beginning. They hate eating

864
00:43:58,280 --> 00:44:00,200
Speaker 1: because we've seen her not be able to get them

865
00:44:00,239 --> 00:44:01,880
Speaker 1: even when she does the cheese trick.

866
00:44:02,160 --> 00:44:04,799
Speaker 2: Yes, yeah, and so there and they're by the way,

867
00:44:04,880 --> 00:44:07,719
Speaker 2: they're frozen Brussels sprouts, which I don't know who would

868
00:44:07,719 --> 00:44:10,680
Speaker 2: eat frozen Brussels scouts, But she's trying to get her

869
00:44:10,719 --> 00:44:11,040
Speaker 2: kids seed.

870
00:44:11,320 --> 00:44:13,440
Speaker 3: So that actually brings me to the food that I

871
00:44:13,520 --> 00:44:14,720
Speaker 3: brought in for this episode.

872
00:44:14,880 --> 00:44:18,200
Speaker 2: I made so at Thanksgiving, I make a really lovely

873
00:44:18,840 --> 00:44:23,400
Speaker 2: roasted Brussels sprouts with dates and pumpkin seeds and a

874
00:44:23,480 --> 00:44:27,200
Speaker 2: balsamic and olive oil sort of situation. And so I

875
00:44:27,320 --> 00:44:29,720
Speaker 2: brought those in and we'll have that recipe up online

876
00:44:29,760 --> 00:44:31,640
Speaker 2: and it'll be in time for the holidays, which is

877
00:44:31,640 --> 00:44:34,439
Speaker 2: when everybody should be eating Brussels sprouts, which are such

878
00:44:34,560 --> 00:44:37,200
Speaker 2: a good food for you, and they're so delicious.

879
00:44:37,239 --> 00:44:39,120
Speaker 5: I am unlike the Scavo boys.

880
00:44:39,200 --> 00:44:42,440
Speaker 4: I love Brussels sprouts, and I think obviously they've had

881
00:44:42,440 --> 00:44:45,399
Speaker 4: a very big resurgence and rebranding. I mean, Brussels sprouts

882
00:44:45,480 --> 00:44:47,919
Speaker 4: used to be hated by everyone universally, and now they're

883
00:44:47,960 --> 00:44:52,040
Speaker 4: on like every gastropub menu, every fancy restaurant, every everything

884
00:44:52,160 --> 00:44:52,320
Speaker 4: you know.

885
00:44:52,480 --> 00:44:54,719
Speaker 5: So and I'm sure yours are going to be phenomenal.

886
00:44:54,840 --> 00:44:57,480
Speaker 2: But so when she does finally get in bed at

887
00:44:57,520 --> 00:45:00,120
Speaker 2: the end of the episode, and she's like ready to

888
00:45:00,200 --> 00:45:04,040
Speaker 2: review the camera and she sees the nanny having just

889
00:45:04,200 --> 00:45:06,920
Speaker 2: as much trouble, if not more, than she did trying

890
00:45:06,960 --> 00:45:09,840
Speaker 2: to get the boys to eat Brussels sprouts. She's gleefully

891
00:45:09,920 --> 00:45:14,880
Speaker 2: happy and popping down her popcorn and serving up the

892
00:45:14,960 --> 00:45:16,720
Speaker 2: best movie that she can imagine.

893
00:45:16,960 --> 00:45:18,759
Speaker 1: I know, and I mean I feel for her. I

894
00:45:19,400 --> 00:45:22,120
Speaker 1: really understand because I feel for her. In the scene

895
00:45:22,200 --> 00:45:24,640
Speaker 1: before she says, Okay, this is how I'm gonna, you know,

896
00:45:24,800 --> 00:45:27,920
Speaker 1: bring Claire the super Nanny back to Earth. You know,

897
00:45:27,960 --> 00:45:32,960
Speaker 1: who can make balloon animals and have triloquist dummies. I'm

898
00:45:33,000 --> 00:45:35,360
Speaker 1: gonna task her with Brussels sprouts. But I love that

899
00:45:35,520 --> 00:45:39,080
Speaker 1: before she decides to do that, she tries to spend

900
00:45:39,120 --> 00:45:42,040
Speaker 1: the day with her kids and read to them from

901
00:45:42,120 --> 00:45:44,719
Speaker 1: the book. And she starts to read and they go, well,

902
00:45:44,760 --> 00:45:47,960
Speaker 1: Claire does funny voices, and she goes, oh, okay, and

903
00:45:48,040 --> 00:45:51,520
Speaker 1: so then she does a funny voice, and Felicity does

904
00:45:51,560 --> 00:45:54,080
Speaker 1: this so well, she does a funny voice, and they go,

905
00:45:54,400 --> 00:45:56,239
Speaker 1: that's not a funny voice. And she goes, and this

906
00:45:56,360 --> 00:45:58,200
Speaker 1: is my favorite line of the episode. I'm just getting

907
00:45:58,239 --> 00:45:58,680
Speaker 1: warmed up.

908
00:46:00,600 --> 00:46:02,680
Speaker 4: Well, kids are the toughest critics, aren't they. I mean,

909
00:46:02,719 --> 00:46:04,160
Speaker 4: I feel like they can just cut you down to

910
00:46:04,239 --> 00:46:05,160
Speaker 4: size so quickly.

911
00:46:05,360 --> 00:46:08,600
Speaker 1: Yeah, yeah, and so she I like that. Lynette gets

912
00:46:08,680 --> 00:46:11,120
Speaker 1: the moment of seeing that everyone is just a human

913
00:46:11,200 --> 00:46:14,920
Speaker 1: being like herself, even Claire couldn't get them to eat

914
00:46:14,920 --> 00:46:15,760
Speaker 1: the Brussels sprouts.

915
00:46:16,520 --> 00:46:19,840
Speaker 2: And then we sort of end on as Zach finally

916
00:46:20,160 --> 00:46:24,880
Speaker 2: gets brought home after he gets discovered in the Julie bedroom,

917
00:46:26,080 --> 00:46:28,000
Speaker 2: where we don't know where he was fitting under the

918
00:46:28,040 --> 00:46:30,680
Speaker 2: bed or in the closet, but he gets discovered and

919
00:46:30,840 --> 00:46:34,200
Speaker 2: Mike decides with Susan that the best move is to

920
00:46:34,280 --> 00:46:35,840
Speaker 2: take him home, take him across the street.

921
00:46:36,160 --> 00:46:38,600
Speaker 1: I like Mike stepping up in this moment. I feel

922
00:46:38,680 --> 00:46:42,359
Speaker 1: like I was like, oh, thank god, Susan finally has

923
00:46:42,440 --> 00:46:45,320
Speaker 1: another adult who's not Julie, who's gonna kind of have

924
00:46:45,480 --> 00:46:45,959
Speaker 1: her back.

925
00:46:46,120 --> 00:46:48,680
Speaker 2: And he does say that to her when she's admitting,

926
00:46:48,760 --> 00:46:52,440
Speaker 2: when Susan is admitting that she, you know, probably did

927
00:46:52,600 --> 00:46:56,399
Speaker 2: lean too hard on Julie and she didn't have anybody else,

928
00:46:56,440 --> 00:46:58,520
Speaker 2: and he says, well, now you have me, yea, which

929
00:46:58,520 --> 00:46:59,200
Speaker 2: is really lovely.

930
00:46:59,760 --> 00:47:02,080
Speaker 5: It is so lovely. It fuels their connection, which is

931
00:47:02,120 --> 00:47:02,600
Speaker 5: really nice.

932
00:47:02,760 --> 00:47:05,640
Speaker 1: And he really steps up for Zach too, you know,

933
00:47:05,760 --> 00:47:07,440
Speaker 1: he says, yes, I'm bringing you back to your dad,

934
00:47:07,520 --> 00:47:10,480
Speaker 1: but also call me. You know, here's my number. I'm

935
00:47:10,520 --> 00:47:13,080
Speaker 1: here for you anytime. And of course, yeah, then we

936
00:47:13,200 --> 00:47:17,800
Speaker 1: get Zach and Paul having the strangest dinner. At first,

937
00:47:17,880 --> 00:47:20,440
Speaker 1: I kind of felt for Paul because he seemed so

938
00:47:20,680 --> 00:47:25,279
Speaker 1: genuinely sad and happy to have his son back, and

939
00:47:25,520 --> 00:47:29,000
Speaker 1: then he starts force feeding him potatoes.

940
00:47:29,400 --> 00:47:29,560
Speaker 4: Yeah.

941
00:47:29,600 --> 00:47:31,480
Speaker 5: How many times does he ask movie wants potatoes in

942
00:47:31,520 --> 00:47:31,879
Speaker 5: that scene?

943
00:47:32,000 --> 00:47:32,200
Speaker 1: Three?

944
00:47:32,560 --> 00:47:33,960
Speaker 5: Yeah, we have this weird scene with.

945
00:47:35,600 --> 00:47:38,279
Speaker 4: Paul and Zach, and their dynamic continues to feel off

946
00:47:38,360 --> 00:47:42,880
Speaker 4: putting and uncomfortable, and because we know, obviously as an

947
00:47:42,880 --> 00:47:45,719
Speaker 4: audience as well, that Paul is still trying to hide

948
00:47:45,760 --> 00:47:49,719
Speaker 4: the fact that Missus Hooper is missing, and Edie in

949
00:47:49,840 --> 00:47:52,920
Speaker 4: this episode kind of gets pushed to the point where

950
00:47:53,000 --> 00:47:54,960
Speaker 4: she's gonna involve the police, and we have this final

951
00:47:55,440 --> 00:47:59,000
Speaker 4: shot of Edie standing outside of Missus Hooper's house and

952
00:47:59,040 --> 00:48:01,239
Speaker 4: the police knocking on her door. So we can only

953
00:48:01,280 --> 00:48:02,719
Speaker 4: imagine where that's gonna go.

954
00:48:03,040 --> 00:48:06,760
Speaker 1: I know, I know, it's a it's a big, juicy episode,

955
00:48:06,840 --> 00:48:07,759
Speaker 1: like they all are.

956
00:48:09,320 --> 00:48:11,880
Speaker 2: I almost made potatoes, by the way, it was. It

957
00:48:12,000 --> 00:48:16,640
Speaker 2: was a tough call between mashed potatoes and the Brussels sprouts,

958
00:48:17,160 --> 00:48:18,320
Speaker 2: but I went with Brussels sprouts.

959
00:48:18,360 --> 00:48:20,320
Speaker 5: I'm glad you went with brussel sprouts. Okay, I love that.

960
00:48:20,440 --> 00:48:21,800
Speaker 3: Well, that was another great episode.

961
00:48:21,880 --> 00:48:22,279
Speaker 5: Yeah, I know.

962
00:48:22,520 --> 00:48:24,680
Speaker 1: And I hope I hope that your people are writing

963
00:48:24,760 --> 00:48:28,600
Speaker 1: in to Desperately Devoted Podcast on Instagram d m us

964
00:48:28,680 --> 00:48:33,680
Speaker 1: your questions, your favorite moments from the episodes. If you

965
00:48:33,680 --> 00:48:35,920
Speaker 1: would cover up for your partner if they were in jail.

966
00:48:36,160 --> 00:48:38,319
Speaker 5: If how long do you think Julie held Zach up

967
00:48:38,320 --> 00:48:38,799
Speaker 5: in her room?

968
00:48:39,320 --> 00:48:40,160
Speaker 1: Yeah, if you're pron

969
00:48:41,960 --> 00:48:43,840
Speaker 2: To leave it and we'll keep your secret, and you

970
00:48:43,920 --> 00:48:47,440
Speaker 2: know why, because we are desperately devoted to you