WEBVTT - Cheating Wives and Dry Sex Lives (S1 Ep10 "Move On")

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<v Speaker 1>Welcome to desperately devoted Join us as we explore the

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<v Speaker 1>human experience through the lens of the iconic show Desperate Housewives.

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<v Speaker 1>I'm Terry Hatcher, I'm Andrea Bowen, and I'm Emerson Tenny.

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<v Speaker 2>Well, we have something to talk about in episode ten, and.

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<v Speaker 3>It's sex, sex and more sex.

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<v Speaker 2>Some people aren't getting it from where they should be,

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<v Speaker 2>and some people aren't getting it at all. And some

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<v Speaker 2>people could be getting it if they could only figure

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<v Speaker 2>out how to stop getting cock blocked by their ex.

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<v Speaker 1>I'm gonna guess you're talking about Susan. I say.

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<v Speaker 4>Rex is revealed to be having an S and M affair,

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<v Speaker 4>while the affairs of the Scavo household involve their high

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<v Speaker 4>grade nanny, making Lynette feel inferior and unable to relax

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<v Speaker 4>in her newly acquired free time.

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<v Speaker 2>Susan and Mike's intimate intentions are foiled by Carl and

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<v Speaker 2>Julie and Zach.

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<v Speaker 1>Gabby ways the benefit of money over love and the

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<v Speaker 1>truth and when trust is broken on Wisteria Elane, we

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

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<v Speaker 1>it can be hard to recover.

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<v Speaker 2>We will not break our trust to you because we

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<v Speaker 2>are here for another episode.

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<v Speaker 3>Let's get started, all right.

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<v Speaker 1>Well, hi you guys. Hello, here we are talking about

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<v Speaker 1>season one, episode ten, come Back to Me. This episode title,

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<v Speaker 1>come back to Me, comes from a song from the

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<v Speaker 1>nineteen sixty five musical On a clear Day, you can

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<v Speaker 1>see Forever, I can hear it. Yes, Mazy Gibbons. We

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<v Speaker 1>open the episode on circling back. I feel like I

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<v Speaker 1>had kind of lost sight of her as the pretentious

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<v Speaker 1>mom in the school, and now we find out that

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<v Speaker 1>she's a BDSM escort.

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<v Speaker 4>Okay, So I had a question for you because I

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<v Speaker 4>kind of did remember this storyline I remembered when we.

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<v Speaker 5>Saw Sharon Morris.

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<v Speaker 1>Yeah.

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<v Speaker 5>Yeah, what does that say about me?

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<v Speaker 1>You were impressionable?

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<v Speaker 4>Yes, I was very impressionable, But I did rememberer Sharon

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<v Speaker 4>Lawrence's storyline being more than just what it appeared when

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<v Speaker 4>she first showed up on the show a few episodes ago.

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<v Speaker 4>And so, but for you, Emerson, yes, you just probably

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<v Speaker 4>thought she was going to be this high strung PTA

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<v Speaker 4>mom this the whole time if she ever reappeared, and

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<v Speaker 4>she came back in.

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<v Speaker 5>A big way this episode. So did that catch you

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<v Speaker 5>off guard?

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<v Speaker 1>It totally caught me off guard and immediately hooked me.

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<v Speaker 1>And I think honestly speaks to something we've been talking

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<v Speaker 1>about in a lot of themes of this episode, which

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<v Speaker 1>is that there is always more going on behind closed doors.

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<v Speaker 1>There's always another identity behind the mask that we present

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<v Speaker 1>to the world or the forward facing part of ourselves.

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<v Speaker 1>And I mean, I really took the roller coaster ride

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<v Speaker 1>of this because at first I saw it was Mazy Gibbons,

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<v Speaker 1>I go, oh, my god, Mazi Gibbons is an escort,

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<v Speaker 1>Oh my god, she's a BDSM escort, and then Rex

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<v Speaker 1>is her client. Yeah. Ah. In the first couple of minutes.

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<v Speaker 2>Did you guys get the sense that she was just

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<v Speaker 2>doing it for her own sort of power ego, control,

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<v Speaker 2>satisfaction or were they actually paying her?

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<v Speaker 4>Oh?

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<v Speaker 5>I think that she was being paid.

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<v Speaker 1>I thought she was being paid. I also felt like

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<v Speaker 1>maybe because she talks about how she her husband maybe

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<v Speaker 1>lost his job and she they had to stop going

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<v Speaker 1>to their country club. So I felt like maybe this

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<v Speaker 1>was something that she picked up partially to make money.

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<v Speaker 2>Money, right, And yeah, I thought that too. But then

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<v Speaker 2>as I thought about it and just kind of sat

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<v Speaker 2>with it, I thought, oh, maybe I had made that assumption,

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<v Speaker 2>but it was she because they do make the point

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<v Speaker 2>of saying that they were having financial trouble and they

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<v Speaker 2>got kicked out of the country club, and right, so

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<v Speaker 2>that's why she decided to start doing this.

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<v Speaker 5>But I think it evolved.

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<v Speaker 4>For her at least, you know, we when character analyzing her.

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<v Speaker 4>I think that you're right that the journey for her

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<v Speaker 4>maybe started with a need to bring in some extra

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<v Speaker 4>money and her creative way of doing that. But then

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<v Speaker 4>I think she gets off on the fact that she's

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

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<v Speaker 4>power in it for her that she's keeping all of

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<v Speaker 4>these John's secrets.

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<v Speaker 1>Yeah, and especially the secret Rex feels extra loaded because

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<v Speaker 1>she makes the comment that when she did get kicked

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<v Speaker 1>out of the country club, we realize the woman who

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<v Speaker 1>was condescending and sort of pitying to her was Brie,

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<v Speaker 1>classic Brie. And now this is her idea of revenge

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<v Speaker 1>or a secret of her own.

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<v Speaker 2>Do you guys have feelings about prostitution and its legality

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<v Speaker 2>and you know where it's place in history or whatever.

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<v Speaker 2>I mean, I'll just admit that while it seems like,

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<v Speaker 2>oh this is the I admit this is the time

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<v Speaker 2>I tell you that I was a prostitute. No, I

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<v Speaker 2>just that word admit sounded so much stronger than.

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<v Speaker 1>I intended to be.

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<v Speaker 5>This is when I reveal.

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<v Speaker 3>This is when I reveal. But I I it didn't.

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<v Speaker 3>It seemed you don't have.

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<v Speaker 2>This show does a great job at writing this tightrope

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<v Speaker 2>of between like satire and soap and something that feels grounded,

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<v Speaker 2>and I think they usually do it really well, and

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<v Speaker 2>I felt like this is an example of that, and

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<v Speaker 2>it made me, I don't know, feel like not that

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<v Speaker 2>judgmental about her, like that she was providing a service

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<v Speaker 2>that everybody was above board. I mean, you could be

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<v Speaker 2>lying to your spouse, but I mean the people in

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<v Speaker 2>the interaction, and it was servicing a need and it

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

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<v Speaker 2>made me think about an industry that I guess I've

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<v Speaker 2>always thought, you know, well that's not great and that's

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<v Speaker 2>sort of frowned upon. But it made me look at

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<v Speaker 2>it a little differently, well.

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<v Speaker 1>I think, I mean, I do. I think this stood

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<v Speaker 1>out to me as a very I mean, we're thinking

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<v Speaker 1>about the show airing in two thousand and four, stood

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<v Speaker 1>out to me as a very modern take on sex

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<v Speaker 1>work and the legitimacy of sex work. You know, this

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<v Speaker 1>is an industry that I think has had a lot

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<v Speaker 1>of stigma, and of course, in certain scenarios, still does

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<v Speaker 1>exist in a place where women are disempowered. But I

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<v Speaker 1>think in a lot of scenarios, especially when you like

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<v Speaker 1>look at you know, technology today, and I think exists

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<v Speaker 1>in a place where women are really actively choosing something

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<v Speaker 1>that feels empowered.

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<v Speaker 2>What's the site where everybody's making a bazillion dollars? Right?

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<v Speaker 3>Yeah, Oh my gosh.

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<v Speaker 2>I mean, I guess that's the modern day version of this,

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<v Speaker 2>doesn't it.

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<v Speaker 4>I do agree that in this episode we seem to

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<v Speaker 4>be the thing that's incriminating is the fact that she

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<v Speaker 4>is having an affair with Bree's husband. It's not necessarily

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<v Speaker 4>that we're judging her for doing this service or providing

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<v Speaker 4>the service to the people in the neighborhood.

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<v Speaker 5>We as an audience and the writers who wrote it.

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<v Speaker 4>The thing that fuels our fire about having an opinion

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<v Speaker 4>over it is just because she's wronging Brie.

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<v Speaker 1>I don't really have an opinion. I mean, I don't

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<v Speaker 1>have any judgment of her. I'm judgmental of Rex. He's

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<v Speaker 1>the one who's married, who's making the choice.

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<v Speaker 2>Like when there's an affair, and the one that's getting

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<v Speaker 2>cheated on seems to classically direct their ire at the

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<v Speaker 2>female instead of the actual husband partner that is doing

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<v Speaker 2>the cheating.

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<v Speaker 3>And I've never understood that.

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<v Speaker 4>I know, Yeah, I know, And I was just going

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<v Speaker 4>to say that I'm infuriated because, as we talked about

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<v Speaker 4>a couple of episodes ago, when Bree so bravely and

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<v Speaker 4>vulnerably goes to Rex and says, I can tell that

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

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<v Speaker 4>opportunity to provide that to you, and he doesn't, and

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<v Speaker 4>now we see it playing out like this, and it

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<v Speaker 4>just makes me.

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<v Speaker 5>So mad at me.

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<v Speaker 1>I know, I actually wrote down, Oh my gosh, Rex

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<v Speaker 1>is such a gas lighter when he says, oh, I

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<v Speaker 1>could never tell Brie. I could never tell my wife

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<v Speaker 1>about these things that I want to explore that clearly

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

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<v Speaker 1>She held the door open episodes ago for you to

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<v Speaker 1>tell her if something was missing. She point blank said,

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<v Speaker 1>is something missing? I want to give that to you,

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<v Speaker 1>and he was too much of a coward to reveal

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<v Speaker 1>that part of himself to her, which I do think.

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<v Speaker 1>You know, I think there's a lot of vulnerability in

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<v Speaker 1>admitting a kink or admitting something that you want to explore,

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<v Speaker 1>specifically sexually, because I think it opens the door up

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<v Speaker 1>to be rejected and to be judged in a way

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<v Speaker 1>that there's already so much taboo around sex. To then

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<v Speaker 1>receive that immediate judgment from your partner may make someone

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<v Speaker 1>like Rex just feel like they absolutely couldn't withstand the rejection.

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<v Speaker 4>And to Mazy's credit, she actually very much is sympathetic

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<v Speaker 4>to breathe. I felt right. She talks to Rex and says,

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<v Speaker 4>you should talk to your wife about this.

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<v Speaker 5>You clearly still are in love with her. I thought

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<v Speaker 5>that was really interesting.

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<v Speaker 3>Yeah you did too.

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<v Speaker 2>I was going to say, like, I'm not going to

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<v Speaker 2>ask anybody to like divulge their kink.

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<v Speaker 5>Or you have to use your special voice. Oh I

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<v Speaker 5>do have to do.

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<v Speaker 3>So what do you like?

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<v Speaker 5>But I will say.

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<v Speaker 2>About myself, I mean, you know, I haven't been intimate

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<v Speaker 2>in a long time, and you know, of course I've

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<v Speaker 2>done years of therapy to sort of, you know, figure

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

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

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<v Speaker 2>have I felt safe enough with a partner too? I

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<v Speaker 2>don't know, be able to be honest, Like, is that

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<v Speaker 2>something that people typically feel or I think maybe sadly

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<v Speaker 2>they maybe don't. Right.

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<v Speaker 4>Yeah, I think in a lot of cases, in a

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<v Speaker 4>lot of relationships, it's still a real thing that people

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<v Speaker 4>aren't entirely open with one another out of fear of

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<v Speaker 4>judgment or just maybe they have a lot of self

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<v Speaker 4>judgment about the things that they're into and they are

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<v Speaker 4>scared to share that with someone else. Society is not

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<v Speaker 4>always on the side of making us all feel included,

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<v Speaker 4>and so I think it's still a problem. But I

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<v Speaker 4>also kind of feel like I'm getting the sense from

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<v Speaker 4>younger generations that it's getting better.

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<v Speaker 1>I have to say, I think a show that just

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<v Speaker 1>recently really handled this idea so well and explored it

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<v Speaker 1>was dying for sex, That TV show with Michelle Willis right.

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<v Speaker 3>I loved that show. They were great, and you're.

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<v Speaker 1>Right, yeah, And so many different characters, whether obviously it's

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<v Speaker 1>Michelle Williams herself or character actors like Robbie Hoffman, who

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<v Speaker 1>I adore all of these different actors and characters playing

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<v Speaker 1>out in this show, the idea of the vulnerability it

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<v Speaker 1>takes to really say I want to investigate what turns

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<v Speaker 1>me on and what sex means to me.

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<v Speaker 2>And now that show was That show was actually brilliant

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<v Speaker 2>and I and I loved it, I think specifically for

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<v Speaker 2>me because yeah, I felt like it kind of broadened

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<v Speaker 2>what I could imagine my ability might be if I

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<v Speaker 2>ever got into an intimate, really relationship with somebody again,

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<v Speaker 2>which you know, other than my cat.

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<v Speaker 3>Away moving on.

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<v Speaker 2>Yeah, so so also after this discovery of his affair,

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<v Speaker 2>and by the way, did anybody think the stilettos were

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<v Speaker 2>going to go right into his spine when she walks

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<v Speaker 2>on his back?

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<v Speaker 4>I just kept thinking out, yeah, out, well, I think,

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<v Speaker 4>my gosh, that's what he liked.

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<v Speaker 2>Yes, I thought, like, not just the pain, but like

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<v Speaker 2>it to me, it felt like they were going how

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<v Speaker 2>did they not puncture alung?

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<v Speaker 1>Like?

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<v Speaker 5>That's well, but maybe they did.

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

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<v Speaker 1>He did have to have surgery, right, they pick up

0:11:38.480 --> 0:11:39.080
<v Speaker 1>that that's where.

0:11:38.920 --> 0:11:42.280
<v Speaker 3>It came from. Okay, So then we go to Gabby.

0:11:42.000 --> 0:11:45.560
<v Speaker 2>And Carlos and all of the ladies supporting him in

0:11:45.720 --> 0:11:49.200
<v Speaker 2>court finding out that he's not going to get bail

0:11:49.280 --> 0:11:51.240
<v Speaker 2>because he doesn't have his passport and.

0:11:51.800 --> 0:11:54.320
<v Speaker 5>He's a light risk, I guess, And I thought, oh.

0:11:54.200 --> 0:11:58.360
<v Speaker 1>My god, who misplaces their passport? Like, that's my worst

0:11:58.400 --> 0:12:01.320
<v Speaker 1>fear that I lose a passport or on a trip,

0:12:01.600 --> 0:12:03.480
<v Speaker 1>that I can't find it in my house. And it

0:12:03.600 --> 0:12:06.719
<v Speaker 1>feels I mean, and I think will ultimately potentially come

0:12:06.760 --> 0:12:10.120
<v Speaker 1>to be revealed, but it feels suspicious that you can't

0:12:10.160 --> 0:12:12.400
<v Speaker 1>find your passport in your own house.

0:12:12.280 --> 0:12:15.480
<v Speaker 2>Right, And in this case, it ends up being hidden

0:12:15.480 --> 0:12:16.280
<v Speaker 2>in a secret panel.

0:12:16.440 --> 0:12:19.960
<v Speaker 5>Yes, so awfully convenient, but he can't find it.

0:12:20.120 --> 0:12:24.320
<v Speaker 2>You have Lynette, who now this is the first episode

0:12:24.320 --> 0:12:27.680
<v Speaker 2>where she scored in the last episode the high Grade Nanny. Yes,

0:12:27.840 --> 0:12:32.240
<v Speaker 2>she's got the new nanny. She's now got some free time.

0:12:32.880 --> 0:12:37.280
<v Speaker 2>I actually kind of remember this. I mean, I just

0:12:37.440 --> 0:12:41.920
<v Speaker 2>remember feeling how difficult it was as a mom to

0:12:42.040 --> 0:12:45.600
<v Speaker 2>take time for myself, even when I had a support

0:12:45.679 --> 0:12:48.000
<v Speaker 2>system in place to allow me to do that.

0:12:48.360 --> 0:12:49.800
<v Speaker 1>Why was that? Did you feel guilty?

0:12:50.000 --> 0:12:52.680
<v Speaker 2>Did you feel guilt? I think it's guilt. I think also,

0:12:53.080 --> 0:12:57.679
<v Speaker 2>I think you get very wrapped up in your identity

0:12:57.760 --> 0:13:01.400
<v Speaker 2>as a mom, so much so that you forget how

0:13:01.440 --> 0:13:02.760
<v Speaker 2>to just be you.

0:13:02.760 --> 0:13:04.079
<v Speaker 3>You forget how to.

0:13:05.920 --> 0:13:11.000
<v Speaker 2>Walk walk out into the world and not be seen

0:13:11.160 --> 0:13:13.800
<v Speaker 2>as a mom carrying a baby, or a mom holding

0:13:13.800 --> 0:13:16.240
<v Speaker 2>the hand of a toddler, or a mom picking up

0:13:16.240 --> 0:13:18.760
<v Speaker 2>goldfish off the ground or a mom wiping you know,

0:13:19.520 --> 0:13:23.240
<v Speaker 2>yogurt off of a off of a shirt like this

0:13:23.320 --> 0:13:25.360
<v Speaker 2>is how you interact with the world and then to

0:13:25.440 --> 0:13:29.839
<v Speaker 2>suddenly go, Okay, I'm gonna go just be myself.

0:13:30.760 --> 0:13:33.440
<v Speaker 5>It's it's just the story.

0:13:33.559 --> 0:13:38.200
<v Speaker 2>It's disorienting and it's unpracticed, and as a mom about

0:13:38.240 --> 0:13:43.440
<v Speaker 2>to be in hindsight, I would encourage young moms to

0:13:43.600 --> 0:13:49.120
<v Speaker 2>not let that happen, you know, to find time to continue,

0:13:49.120 --> 0:13:52.520
<v Speaker 2>even if it's little amounts of time, to continue to

0:13:52.600 --> 0:13:55.160
<v Speaker 2>have a sense of your identity that is separate.

0:13:55.240 --> 0:13:57.280
<v Speaker 4>You know, this is making me think of something so

0:13:57.720 --> 0:14:01.319
<v Speaker 4>interesting and relevant to not only the conversation we're having,

0:14:01.400 --> 0:14:04.440
<v Speaker 4>but also the fact that we are involving this show

0:14:04.600 --> 0:14:08.040
<v Speaker 4>Desperate Housewives, because I recently had dinner with Joy who

0:14:08.080 --> 0:14:12.280
<v Speaker 4>played Marsha's daughter, Yes, who played Danielle, and she is

0:14:12.400 --> 0:14:16.120
<v Speaker 4>a new mom, and we were talking obviously about this

0:14:16.200 --> 0:14:18.120
<v Speaker 4>chapter of my life, in this chapter of her life,

0:14:18.160 --> 0:14:21.000
<v Speaker 4>and she basically said that same thing to me. She said,

0:14:22.080 --> 0:14:23.440
<v Speaker 4>this is not I don't know if you're going to

0:14:23.520 --> 0:14:25.440
<v Speaker 4>hear this advice a lot, and I don't even know

0:14:25.480 --> 0:14:27.560
<v Speaker 4>if it's popular advice. I think she actually said it

0:14:27.680 --> 0:14:31.680
<v Speaker 4>is unpopular advice from her experience, but that she feels

0:14:31.720 --> 0:14:37.480
<v Speaker 4>it's really important to leave early on, like practice leaving

0:14:37.760 --> 0:14:41.120
<v Speaker 4>your baby earlier than you think, earlier than you feel

0:14:41.120 --> 0:14:43.840
<v Speaker 4>ready to, and earlier than maybe someone else should tell you,

0:14:43.840 --> 0:14:46.520
<v Speaker 4>know tells you you should because of that, because of

0:14:46.560 --> 0:14:51.440
<v Speaker 4>the feeling of it's very hard and disorienting to take

0:14:51.480 --> 0:14:54.480
<v Speaker 4>that identity off, even though you never really do.

0:14:54.560 --> 0:14:56.920
<v Speaker 5>But and I appreciated it.

0:14:56.960 --> 0:14:59.440
<v Speaker 4>I actually made a note as well about this particular thing,

0:14:59.480 --> 0:15:01.480
<v Speaker 4>and I said, I so appreciate the writers giving this

0:15:01.520 --> 0:15:04.880
<v Speaker 4>amount of thought to the struggle and often opposing feelings

0:15:04.880 --> 0:15:07.480
<v Speaker 4>that come from being in your house with your children.

0:15:07.200 --> 0:15:08.720
<v Speaker 5>And out of your house without your children.

0:15:08.760 --> 0:15:12.640
<v Speaker 4>It's like Lynette clearly was begging for support and begging

0:15:12.680 --> 0:15:15.080
<v Speaker 4>for the opportunity to have some time to herself, and

0:15:15.120 --> 0:15:18.400
<v Speaker 4>then when she gets it, she's totally paralyzed. She doesn't

0:15:18.440 --> 0:15:20.280
<v Speaker 4>know what to do. So she has that scene with breathe.

0:15:20.280 --> 0:15:23.640
<v Speaker 4>That's really interesting, And yeah, I thought that was cool

0:15:23.680 --> 0:15:26.960
<v Speaker 4>that our writers were giving such a well rounded example

0:15:27.160 --> 0:15:28.640
<v Speaker 4>of the complications of parenting.

0:15:28.920 --> 0:15:32.400
<v Speaker 2>I think sometimes in the pursuit of being like the

0:15:32.480 --> 0:15:42.280
<v Speaker 2>perfect mom, you forget that by demonstrating imperfection, you're actually

0:15:42.360 --> 0:15:46.920
<v Speaker 2>allowing your child to unconsciously understand that they don't have

0:15:46.960 --> 0:15:51.400
<v Speaker 2>to be perfect in this essence of leaving, you know,

0:15:52.520 --> 0:15:57.200
<v Speaker 2>having your child see you take care of yourself is

0:15:57.560 --> 0:16:00.960
<v Speaker 2>unconsciously telling them that they are worthy of taking care

0:16:01.000 --> 0:16:05.800
<v Speaker 2>of themselves. And it's a tricky thing because no mom

0:16:05.960 --> 0:16:09.240
<v Speaker 2>is running around trying to be perfect, giving, giving, given, giving,

0:16:09.680 --> 0:16:12.280
<v Speaker 2>never making any time for herself because she's trying to

0:16:12.360 --> 0:16:16.800
<v Speaker 2>do damage on the kid. But it is kind of

0:16:16.960 --> 0:16:20.920
<v Speaker 2>a byproduct that if they don't see you practice your

0:16:21.000 --> 0:16:24.120
<v Speaker 2>self care, they don't know where to learn that from.

0:16:24.600 --> 0:16:37.720
<v Speaker 1>Right question though, for you and all this fantastic parenting advice, yes, nanny.

0:16:37.480 --> 0:16:39.360
<v Speaker 5>Cam oh, yes or nay?

0:16:39.640 --> 0:16:39.920
<v Speaker 1>Okay?

0:16:40.280 --> 0:16:45.520
<v Speaker 2>Well, well yes, so I think I think nanny cam yay.

0:16:45.760 --> 0:16:48.800
<v Speaker 2>And you know I recently because you guys know that

0:16:48.920 --> 0:16:50.680
<v Speaker 2>I take care of my ninety year old parents.

0:16:50.800 --> 0:16:52.240
<v Speaker 1>Yes, I put.

0:16:53.720 --> 0:16:59.840
<v Speaker 2>Nana Cams granted cam grannycams. I put grannycams, and because

0:17:00.160 --> 0:17:03.680
<v Speaker 2>I every night when I get in bed, my house

0:17:03.800 --> 0:17:06.560
<v Speaker 2>is like down the street. But I look at the

0:17:06.680 --> 0:17:09.639
<v Speaker 2>ring camera and I can see what time they went

0:17:09.720 --> 0:17:12.600
<v Speaker 2>to sleep, if they went to sleep. I can see

0:17:13.000 --> 0:17:15.399
<v Speaker 2>if I get like an alert from the alarm company.

0:17:15.520 --> 0:17:18.760
<v Speaker 2>I can see if my parents just forgot and opened

0:17:18.800 --> 0:17:21.200
<v Speaker 2>the door, or if, like God forbid, there was a

0:17:21.280 --> 0:17:21.600
<v Speaker 2>break in.

0:17:22.240 --> 0:17:24.919
<v Speaker 3>But it gives me a lot of peace.

0:17:25.280 --> 0:17:28.440
<v Speaker 2>And it was actually how when my mom was in

0:17:28.520 --> 0:17:31.840
<v Speaker 2>the hospital and I couldn't get a caregiver for my dad,

0:17:31.920 --> 0:17:35.560
<v Speaker 2>who has dementia, and he forgot that he had already

0:17:35.600 --> 0:17:37.960
<v Speaker 2>taken his pills because he has dementia, and he took

0:17:38.040 --> 0:17:41.680
<v Speaker 2>them all a second time. I witnessed that on the

0:17:41.800 --> 0:17:44.359
<v Speaker 2>ring camera and was able to call the doctor and

0:17:44.480 --> 0:17:46.920
<v Speaker 2>make sure that we had the right help in case

0:17:47.200 --> 0:17:49.560
<v Speaker 2>my dad got sick from doubling up on pills.

0:17:50.119 --> 0:17:54.040
<v Speaker 3>And so I love the ring camera.

0:17:55.200 --> 0:17:57.760
<v Speaker 2>Proing, but I think, you know, if you're going to

0:17:57.840 --> 0:17:59.840
<v Speaker 2>have one, I think you have to approach it with

0:18:00.320 --> 0:18:04.280
<v Speaker 2>respecting privacy. Like I'm not trying to invade my parents' privacy.

0:18:04.400 --> 0:18:06.960
<v Speaker 2>I'm trying to give them as much independence as I can,

0:18:07.760 --> 0:18:10.240
<v Speaker 2>but still keep them safe, right, and so that is

0:18:10.320 --> 0:18:11.840
<v Speaker 2>the way in which I use it.

0:18:12.280 --> 0:18:16.280
<v Speaker 4>I think I had the same question. I'm curious to

0:18:16.320 --> 0:18:19.320
<v Speaker 4>hear your thoughts as well, Emerson. I think that when

0:18:19.359 --> 0:18:23.120
<v Speaker 4>it comes to nanny cams, I think that as long

0:18:23.240 --> 0:18:28.160
<v Speaker 4>as you disclose that someone's being recorded inside your home,

0:18:28.680 --> 0:18:33.560
<v Speaker 4>then I guess it's okay. I don't have any I

0:18:33.640 --> 0:18:37.240
<v Speaker 4>don't know if I have plans to have a camera inside,

0:18:38.160 --> 0:18:41.040
<v Speaker 4>you know, that my house when it comes to assistance

0:18:41.119 --> 0:18:44.560
<v Speaker 4>with the baby and things like that. I did find

0:18:44.600 --> 0:18:48.000
<v Speaker 4>the montage where Lynette is holding the little bear that

0:18:48.080 --> 0:18:50.119
<v Speaker 4>she's stashed the camera in, and she's doing all of

0:18:50.200 --> 0:18:53.040
<v Speaker 4>the different ideas, playing all of them out of like

0:18:53.200 --> 0:18:56.199
<v Speaker 4>and loving, a loving nanny rocking the bear, and then

0:18:56.560 --> 0:18:59.680
<v Speaker 4>a crazy nanny like shaking the bear. I thought that

0:18:59.720 --> 0:19:00.720
<v Speaker 4>was a very very very.

0:19:00.600 --> 0:19:01.480
<v Speaker 5>Funny and well done.

0:19:02.200 --> 0:19:06.160
<v Speaker 4>But yeah, I think I get uncomfortable with just cameras

0:19:06.200 --> 0:19:08.440
<v Speaker 4>in the world in general these days, Like I buck

0:19:08.560 --> 0:19:10.920
<v Speaker 4>up against the fact that it's kind of impossible to

0:19:10.960 --> 0:19:13.760
<v Speaker 4>walk down the street and not have someone recording something,

0:19:14.280 --> 0:19:16.200
<v Speaker 4>and you just happen to be in the background of

0:19:16.280 --> 0:19:19.040
<v Speaker 4>someone's video and you don't consent to that, and you know,

0:19:19.280 --> 0:19:21.160
<v Speaker 4>or like I am aware of it if I'm doing

0:19:21.200 --> 0:19:23.520
<v Speaker 4>it and there's someone and I'm thinking, well, they're now

0:19:23.680 --> 0:19:25.520
<v Speaker 4>just on my phone and I don't know them, and

0:19:25.880 --> 0:19:28.160
<v Speaker 4>they didn't say that was okay, And that's just kind

0:19:28.160 --> 0:19:30.639
<v Speaker 4>of everywhere. So maybe I take too I give it

0:19:30.720 --> 0:19:32.600
<v Speaker 4>too much thought, and I get too trapped in this

0:19:32.720 --> 0:19:36.600
<v Speaker 4>idea of it's not respectful of someone else's privacy. So

0:19:36.720 --> 0:19:39.399
<v Speaker 4>I think the big thing of disclosing, hey, you're on

0:19:39.800 --> 0:19:40.720
<v Speaker 4>candid camera.

0:19:41.400 --> 0:19:45.000
<v Speaker 3>I we never had one like with for you, Yeah,

0:19:45.160 --> 0:19:45.879
<v Speaker 3>I never had one.

0:19:46.080 --> 0:19:49.560
<v Speaker 5>Are you pro nannycam or anti nannycam or somewhere in between.

0:19:49.840 --> 0:19:53.200
<v Speaker 1>I think I fall on your side, Andrew. I know

0:19:53.320 --> 0:19:55.159
<v Speaker 1>that I didn't grow up with a nanny cam. I

0:19:55.359 --> 0:19:59.399
<v Speaker 1>do feel weird about invading someone else's privacy, but I

0:19:59.560 --> 0:20:02.960
<v Speaker 1>also like when it comes to my future children and

0:20:03.920 --> 0:20:07.400
<v Speaker 1>knowing what is going on with them. I think disclosing

0:20:08.119 --> 0:20:09.720
<v Speaker 1>you know, just you know, we have cameras in our

0:20:09.760 --> 0:20:13.200
<v Speaker 1>house and working here means that you may be filmed

0:20:14.240 --> 0:20:17.080
<v Speaker 1>while you're here. I think that is feels like the

0:20:17.119 --> 0:20:19.680
<v Speaker 1>best of both worlds, where you are able to monitor things.

0:20:20.000 --> 0:20:22.240
<v Speaker 1>Maybe you also have a sense of like if you

0:20:22.320 --> 0:20:25.280
<v Speaker 1>were the nanny, you have a sense of self censorship

0:20:25.359 --> 0:20:27.359
<v Speaker 1>if you think that you're being viewed. I mean, I

0:20:27.400 --> 0:20:30.919
<v Speaker 1>hope you wouldn't do anything even if you weren't being watched.

0:20:31.040 --> 0:20:33.760
<v Speaker 1>But sometimes that does, you know, make people think twice

0:20:33.760 --> 0:20:35.600
<v Speaker 1>about their response or behavior to things.

0:20:35.920 --> 0:20:38.000
<v Speaker 4>Speaking of wanting to know what's going on with your

0:20:38.040 --> 0:20:40.240
<v Speaker 4>kid in the house, then that kind of leads us

0:20:40.280 --> 0:20:41.560
<v Speaker 4>into Susan and Julie.

0:20:41.800 --> 0:20:45.720
<v Speaker 1>Wow, okay, which I have to say the takeout scene

0:20:46.040 --> 0:20:50.080
<v Speaker 1>with Mike and Susan and Julie. At first, I'm just

0:20:50.240 --> 0:20:52.480
<v Speaker 1>it's everything that I've wanted for Mike and Susan. They're

0:20:52.600 --> 0:20:55.560
<v Speaker 1>so cute. I know, they're such a cute couple. They're

0:20:55.600 --> 0:20:58.440
<v Speaker 1>eating out of each other's takeout boxes. I don't know why,

0:20:58.720 --> 0:21:02.479
<v Speaker 1>like Chinese takeout box are so romantic to me. Oh,

0:21:02.560 --> 0:21:05.159
<v Speaker 1>there's just this whimsy and this kind of feeling of

0:21:05.520 --> 0:21:07.919
<v Speaker 1>you could have just moved into a place with your partner.

0:21:08.119 --> 0:21:09.000
<v Speaker 5>Because we always see it.

0:21:09.160 --> 0:21:11.600
<v Speaker 4>It's in like every movie and TV show and people

0:21:11.960 --> 0:21:13.639
<v Speaker 4>are having their first night in their new place, or

0:21:13.680 --> 0:21:15.720
<v Speaker 4>they're staying up late in the office and romantic sparks

0:21:15.760 --> 0:21:18.240
<v Speaker 4>are flying. It's always over Chinese takeout, and they're always

0:21:18.320 --> 0:21:20.800
<v Speaker 4>using chopsticks to like, oh, I'm just gonna pluck this out,

0:21:20.920 --> 0:21:22.399
<v Speaker 4>and you know I'm gonna feed you. Now.

0:21:22.560 --> 0:21:25.400
<v Speaker 5>It's like messaging we have received. So now we are like, yep,

0:21:25.480 --> 0:21:26.200
<v Speaker 5>those are romance.

0:21:26.359 --> 0:21:30.840
<v Speaker 1>That's romance, right exactly, Low Maane is romance. And and

0:21:31.080 --> 0:21:36.800
<v Speaker 1>speaking of using your chopsticks, Julie is loading up her plate.

0:21:37.960 --> 0:21:42.280
<v Speaker 1>And I wrote, Okay, now, how could Julie be hiding

0:21:42.480 --> 0:21:47.800
<v Speaker 1>Zach this whole time? I'm shocked. I'm shocked that Susan

0:21:47.960 --> 0:21:52.480
<v Speaker 1>as a mother, never once goes in her daughter's room.

0:21:53.200 --> 0:21:56.720
<v Speaker 1>I'm shocked at the room is big enough that he

0:21:56.840 --> 0:21:59.439
<v Speaker 1>could be hiding in there. How is he using the bathroom?

0:21:59.440 --> 0:22:02.080
<v Speaker 1>I mean obvious some of these questions do get answered

0:22:02.160 --> 0:22:05.280
<v Speaker 1>later in this episode, or you know, he gets exposed.

0:22:05.800 --> 0:22:10.080
<v Speaker 1>But I found this believable and far fetched.

0:22:10.200 --> 0:22:12.399
<v Speaker 3>Yeah, far fetched is the right word. I mean, do

0:22:12.520 --> 0:22:14.040
<v Speaker 3>we have a sense of how long this is?

0:22:14.280 --> 0:22:14.320
<v Speaker 4>No?

0:22:14.480 --> 0:22:16.440
<v Speaker 5>I also wrote how long has this been going on?

0:22:16.720 --> 0:22:20.639
<v Speaker 2>Because because in other people's time, you know, like in

0:22:20.760 --> 0:22:24.399
<v Speaker 2>other characters in like Carlos being in jail or you know,

0:22:24.680 --> 0:22:28.359
<v Speaker 2>Rex having an affair, like it actually feels like quite

0:22:28.400 --> 0:22:30.760
<v Speaker 2>a bit of time. If you just went and looked

0:22:30.800 --> 0:22:33.600
<v Speaker 2>at the last episode, I think that was when Zach

0:22:33.720 --> 0:22:37.320
<v Speaker 2>broke out, right, like, so it or maybe two episodes ago.

0:22:37.560 --> 0:22:39.359
<v Speaker 3>Yeah, so it maybe hasn't been.

0:22:39.440 --> 0:22:41.879
<v Speaker 2>But it does feel like if Mike and Susan are

0:22:42.000 --> 0:22:44.680
<v Speaker 2>now at the almost I love viewpoint, like and they're

0:22:45.040 --> 0:22:46.760
<v Speaker 2>they're having sex, or they're at least.

0:22:46.640 --> 0:22:48.680
<v Speaker 5>Trying to have sex desperately trying to happen.

0:22:48.960 --> 0:22:51.520
<v Speaker 2>It does feel like it's been more than days. So

0:22:52.119 --> 0:22:55.760
<v Speaker 2>I think that that might be down to that the

0:22:55.920 --> 0:22:59.480
<v Speaker 2>writing is happening in real time that I sought a

0:22:59.600 --> 0:23:00.640
<v Speaker 2>sort of recall.

0:23:00.920 --> 0:23:01.679
<v Speaker 3>I mean, I know.

0:23:03.480 --> 0:23:06.320
<v Speaker 2>That the train comes off the tracks at some point.

0:23:06.520 --> 0:23:09.760
<v Speaker 2>It may not be until season two, but there was

0:23:09.880 --> 0:23:13.720
<v Speaker 2>a point where and we'll have to get Dina in here,

0:23:13.800 --> 0:23:15.399
<v Speaker 2>who was my hairdresser, to talk to.

0:23:15.440 --> 0:23:16.000
<v Speaker 5>Me about it.

0:23:16.119 --> 0:23:17.760
<v Speaker 3>We want to tell her all.

0:23:17.400 --> 0:23:19.639
<v Speaker 2>Things hair on the show, because the hair played a

0:23:19.680 --> 0:23:22.680
<v Speaker 2>big part. But also just like behind the scenes, there

0:23:22.760 --> 0:23:25.200
<v Speaker 2>were times when we would show up at five thirty

0:23:25.200 --> 0:23:26.920
<v Speaker 2>in the morning for hair and makeup, and we would

0:23:26.920 --> 0:23:29.439
<v Speaker 2>be in my trailer and there would be no scene

0:23:29.520 --> 0:23:32.480
<v Speaker 2>written and they would say, so, yeah, if you could

0:23:32.480 --> 0:23:34.359
<v Speaker 2>get ready and then go to set at like six

0:23:34.560 --> 0:23:37.600
<v Speaker 2>thirty and we'd go like, okay, well we could get ready,

0:23:37.680 --> 0:23:40.399
<v Speaker 2>but like, if the scene is I come out of

0:23:40.480 --> 0:23:43.640
<v Speaker 2>the shower in a towel, that's going to dictate one look.

0:23:43.680 --> 0:23:47.000
<v Speaker 2>And if the scene is I'm going to the grocery store,

0:23:47.119 --> 0:23:49.720
<v Speaker 2>that would be a different look like and we don't know.

0:23:50.160 --> 0:23:53.239
<v Speaker 3>So it's hard. We're here, but it's hard for us

0:23:53.280 --> 0:23:54.320
<v Speaker 3>to really get ready.

0:23:54.840 --> 0:23:57.800
<v Speaker 2>And then they would we would go to the set

0:23:57.920 --> 0:24:00.800
<v Speaker 2>to Susan's house and be standing there with a director

0:24:00.880 --> 0:24:04.240
<v Speaker 2>and a crew and no scene, and then eventually a

0:24:04.359 --> 0:24:06.399
<v Speaker 2>scene would come. They would hand it to you. You

0:24:06.440 --> 0:24:09.960
<v Speaker 2>would literally learn it in thirty seconds, try to block

0:24:10.040 --> 0:24:12.359
<v Speaker 2>through something, and then go back and get ready and

0:24:12.400 --> 0:24:15.320
<v Speaker 2>then come back and shoot. And so I know that

0:24:15.520 --> 0:24:17.600
<v Speaker 2>we are and it'll be interesting to see if we

0:24:18.000 --> 0:24:19.960
<v Speaker 2>if we see that in the work, because I do

0:24:20.080 --> 0:24:22.560
<v Speaker 2>think everyone involved in this show is a super high

0:24:22.640 --> 0:24:26.480
<v Speaker 2>level of talent, and it was kind of like, you know,

0:24:26.600 --> 0:24:29.080
<v Speaker 2>people were able to pull it together, but it certainly

0:24:29.280 --> 0:24:30.760
<v Speaker 2>isn't an ideal thing?

0:24:30.880 --> 0:24:34.120
<v Speaker 1>Is this because you were just one episode ahead each

0:24:34.280 --> 0:24:37.840
<v Speaker 1>week that you were filming episodes that then were airing

0:24:38.080 --> 0:24:39.640
<v Speaker 1>one or two weeks out.

0:24:39.840 --> 0:24:41.760
<v Speaker 5>I do think that played a part.

0:24:42.880 --> 0:24:45.520
<v Speaker 2>I think things got really got really cramped up and

0:24:45.600 --> 0:24:47.600
<v Speaker 2>this you know, I don't know that this is completely

0:24:47.720 --> 0:24:51.080
<v Speaker 2>unique to Desperate Housewives. I think it was a pretty

0:24:51.119 --> 0:24:54.720
<v Speaker 2>extreme example like as it went on, but you know,

0:24:56.320 --> 0:24:58.560
<v Speaker 2>like I think Doug was sort of alluding to like

0:24:58.720 --> 0:25:00.240
<v Speaker 2>you didn't know if it was going to be a

0:25:00.280 --> 0:25:03.480
<v Speaker 2>big hit, like he was talking about his contract negotiations

0:25:03.560 --> 0:25:06.239
<v Speaker 2>and like and Mark saying, we don't know if it's

0:25:06.320 --> 0:25:06.840
<v Speaker 2>going to be a hit.

0:25:06.960 --> 0:25:08.960
<v Speaker 3>You know, we don't And so I think.

0:25:10.280 --> 0:25:12.800
<v Speaker 2>When if you don't know, there could be the thing

0:25:12.920 --> 0:25:15.760
<v Speaker 2>of where it just all happened so fast and so

0:25:16.000 --> 0:25:19.639
<v Speaker 2>intensely and so huge with such a big light on

0:25:19.720 --> 0:25:20.919
<v Speaker 2>it that it.

0:25:21.119 --> 0:25:24.120
<v Speaker 1>Just like and that's also live TV. I mean, now

0:25:24.240 --> 0:25:26.320
<v Speaker 1>you look at how a TV show gets developed, and

0:25:26.400 --> 0:25:29.200
<v Speaker 1>there's no way that you're going to start filming until

0:25:29.200 --> 0:25:31.480
<v Speaker 1>almost most of the scripts are done. It's also most

0:25:31.560 --> 0:25:34.480
<v Speaker 1>TV shows are ten episodes for eight episodes, yeah.

0:25:34.560 --> 0:25:35.040
<v Speaker 5>Twenty three.

0:25:35.560 --> 0:25:37.600
<v Speaker 4>I keep getting this image in my head of like

0:25:37.680 --> 0:25:41.760
<v Speaker 4>a roller coaster going up that all the way up

0:25:41.800 --> 0:25:44.760
<v Speaker 4>to the top and then not knowing, like not knowing

0:25:44.840 --> 0:25:47.840
<v Speaker 4>where what's coming on that other edge. It's just like now,

0:25:47.880 --> 0:25:51.359
<v Speaker 4>We've made it here, and now what comes next? Is

0:25:51.359 --> 0:25:52.960
<v Speaker 4>there a track or is there not a track? Is

0:25:53.000 --> 0:25:54.080
<v Speaker 4>there a loop coming up? You know?

0:25:54.200 --> 0:25:55.680
<v Speaker 5>That's kind of how I feel like.

0:25:55.760 --> 0:25:58.560
<v Speaker 2>It's so so I think this Zach thing is definitely

0:25:58.760 --> 0:26:00.480
<v Speaker 2>like a I don't know if you we don't have

0:26:00.560 --> 0:26:02.600
<v Speaker 2>to call it like an error or whatever, but it's

0:26:02.680 --> 0:26:04.800
<v Speaker 2>like a hole that that, like you said, fart, doesn't

0:26:04.880 --> 0:26:05.560
<v Speaker 2>quite make sense.

0:26:05.680 --> 0:26:09.159
<v Speaker 1>Well, So, speaking of Zach, you have Mike and Susan,

0:26:09.280 --> 0:26:13.600
<v Speaker 1>who seemed desperate to have sex again. Susan won't have

0:26:13.800 --> 0:26:16.119
<v Speaker 1>sex in Mike's house because she says, I like to

0:26:16.200 --> 0:26:17.639
<v Speaker 1>have my things around me.

0:26:18.040 --> 0:26:21.760
<v Speaker 5>Yeah, I think that's reasonable. I think that's so it's

0:26:21.840 --> 0:26:22.520
<v Speaker 5>annoying too.

0:26:22.720 --> 0:26:25.200
<v Speaker 4>We should point out that the thing that really sends

0:26:25.280 --> 0:26:27.720
<v Speaker 4>them into the whole sex plan kind of off the

0:26:27.800 --> 0:26:29.440
<v Speaker 4>rails is because Carl.

0:26:29.640 --> 0:26:33.560
<v Speaker 5>Damn Carl always Heart the Heart, the Heart.

0:26:33.680 --> 0:26:34.840
<v Speaker 3>Want to come over that weekend.

0:26:35.000 --> 0:26:39.560
<v Speaker 4>So Julie shares that he and Brandy may have broken up,

0:26:39.600 --> 0:26:41.040
<v Speaker 4>which is kind of a big point.

0:26:41.200 --> 0:26:42.560
<v Speaker 5>It's kind of an interesting thing, right.

0:26:42.520 --> 0:26:46.760
<v Speaker 4>Because that's who he left Susan for, and that he's

0:26:47.040 --> 0:26:49.680
<v Speaker 4>he's now he's dealing with that, and so he can't

0:26:49.720 --> 0:26:51.720
<v Speaker 4>take Julie anymore. So now Julie is going to be home,

0:26:51.840 --> 0:26:55.160
<v Speaker 4>and that is spoiling Susan and Mike's sex plans.

0:26:55.480 --> 0:26:57.080
<v Speaker 1>Yes, because Susan does not all want to go over

0:26:57.119 --> 0:26:59.320
<v Speaker 1>to Mike's house and Julie is at home.

0:26:59.520 --> 0:27:03.960
<v Speaker 5>But probably making out upstairs by the way, I herself, So.

0:27:04.040 --> 0:27:08.240
<v Speaker 2>Wait, behind the scenes were Julian and Zach. Was it

0:27:08.359 --> 0:27:09.800
<v Speaker 2>the one kiss and then no more?

0:27:10.119 --> 0:27:12.920
<v Speaker 4>I believe it was probably the one kiss and no

0:27:13.119 --> 0:27:16.080
<v Speaker 4>more at this point. That's what I'm assuming was going on,

0:27:16.280 --> 0:27:18.880
<v Speaker 4>because I think there was just there's Julie is such

0:27:18.880 --> 0:27:21.560
<v Speaker 4>a good girl, even though she's hiding this big secret

0:27:21.680 --> 0:27:23.960
<v Speaker 4>right now, like to her core, I think she was

0:27:24.040 --> 0:27:28.000
<v Speaker 4>probably not prepared to go from one caught off guard

0:27:28.119 --> 0:27:30.159
<v Speaker 4>kiss to like being comfortable with a boy in her

0:27:30.200 --> 0:27:31.920
<v Speaker 4>room just making out. So I think it was probably

0:27:31.920 --> 0:27:34.560
<v Speaker 4>pretty tame up there, just actually sharing Chinese food.

0:27:34.800 --> 0:27:38.280
<v Speaker 1>I agree, And so we have on the other side Susan,

0:27:38.400 --> 0:27:42.800
<v Speaker 1>who's dressed up in super sexy blue lingerie. She's turning

0:27:42.840 --> 0:27:45.280
<v Speaker 1>on music. Mike's gonna come over because Julie's.

0:27:44.920 --> 0:27:48.440
<v Speaker 5>Out, Al Green's come and take me. I thought that

0:27:48.520 --> 0:27:49.480
<v Speaker 5>was a great choice.

0:27:49.280 --> 0:27:53.360
<v Speaker 1>And I think you singing that scene, Ma is so genius,

0:27:53.480 --> 0:27:55.639
<v Speaker 1>and she leaves, and Susan leaves the little note on

0:27:55.720 --> 0:27:58.080
<v Speaker 1>the door that says come on in, and of course

0:27:58.359 --> 0:28:02.680
<v Speaker 1>then she hears poor Zach who's caught in the middle

0:28:03.000 --> 0:28:05.680
<v Speaker 1>trying to sneak out, but she thinks it's Mike coming

0:28:05.760 --> 0:28:09.400
<v Speaker 1>up the hallway. Eventually Mike does come in. Susan has

0:28:09.480 --> 0:28:12.600
<v Speaker 1>this snaff who where she now thinks there's someone breaking in,

0:28:12.760 --> 0:28:15.240
<v Speaker 1>which there kind of is accidentally ends up hitting Mike

0:28:15.280 --> 0:28:15.439
<v Speaker 1>in the.

0:28:15.440 --> 0:28:16.600
<v Speaker 5>Face with a thigh master.

0:28:17.320 --> 0:28:18.680
<v Speaker 3>Do you know what a thigmester is?

0:28:18.920 --> 0:28:20.399
<v Speaker 1>Yes, Suzanne Summer, Oh.

0:28:22.480 --> 0:28:24.800
<v Speaker 5>Yeah, maybe I didn't see that weapon of choice and

0:28:24.960 --> 0:28:25.720
<v Speaker 5>understand what it was.

0:28:26.080 --> 0:28:27.960
<v Speaker 1>I understood what it was. I have to say, my

0:28:28.520 --> 0:28:32.680
<v Speaker 1>good friend Violet is actually Suzanne Summer's granddaughter. Oh so

0:28:33.080 --> 0:28:37.680
<v Speaker 1>I a little inside knowledge to knowing who created the

0:28:37.720 --> 0:28:41.360
<v Speaker 1>thigh master. Okay, hits Mike in the face with the

0:28:41.440 --> 0:28:43.320
<v Speaker 1>thigh master, which is so funny, and then of course

0:28:43.320 --> 0:28:47.720
<v Speaker 1>they both look up to see Zach. Do you remember mom,

0:28:47.880 --> 0:28:50.640
<v Speaker 1>what shooting that scene was like? It's such good again

0:28:50.760 --> 0:28:51.600
<v Speaker 1>physical comedy.

0:28:52.800 --> 0:28:57.000
<v Speaker 2>It's that kind of memory. And you're talking about the

0:28:57.160 --> 0:29:00.760
<v Speaker 2>lingerie and the and the singing and the roses and yeah,

0:29:01.960 --> 0:29:07.160
<v Speaker 2>it's it's loose sometimes memories for me, I don't know

0:29:07.200 --> 0:29:10.600
<v Speaker 2>if you guys feel this way, like they go right

0:29:10.680 --> 0:29:14.200
<v Speaker 2>into like good or bad, like you have no specificity.

0:29:14.320 --> 0:29:16.760
<v Speaker 2>But like so if you see somebody you haven't seen

0:29:16.840 --> 0:29:18.520
<v Speaker 2>in a really long time and you don't remember their

0:29:18.640 --> 0:29:20.960
<v Speaker 2>name and you don't really remember how you met them,

0:29:21.000 --> 0:29:23.760
<v Speaker 2>but you know that you've had an interaction and and

0:29:23.880 --> 0:29:26.240
<v Speaker 2>you're and I will get this thing of like I

0:29:26.360 --> 0:29:29.120
<v Speaker 2>know this is good, like whatever I had with this

0:29:29.320 --> 0:29:32.800
<v Speaker 2>person which I can't remember, is good. Or I'll feel like,

0:29:32.920 --> 0:29:35.520
<v Speaker 2>oh this was not good, like whatever this was awkward.

0:29:36.440 --> 0:29:40.280
<v Speaker 2>So I'm having a lot of good feelings about it.

0:29:40.520 --> 0:29:45.640
<v Speaker 2>I feel like, again, these kinds of scenes are for

0:29:45.840 --> 0:29:51.960
<v Speaker 2>me in the show were very discovered and choreographed, and

0:29:52.640 --> 0:29:55.680
<v Speaker 2>that work was done with either the steady cam or

0:29:55.800 --> 0:30:01.120
<v Speaker 2>the or like a camera on a dolly. And I

0:30:02.120 --> 0:30:07.720
<v Speaker 2>remember probably being very you know, I'm pretty shy when

0:30:07.800 --> 0:30:10.400
<v Speaker 2>it comes like I've never walked around. I wish actually

0:30:10.480 --> 0:30:12.600
<v Speaker 2>my whole life that I'd walked around with more confidence

0:30:12.640 --> 0:30:15.080
<v Speaker 2>in my body, Like I never was the person that.

0:30:15.160 --> 0:30:18.280
<v Speaker 1>Was just like I have a killer body, which is crazy,

0:30:18.680 --> 0:30:19.320
<v Speaker 1>but I I.

0:30:19.600 --> 0:30:22.640
<v Speaker 2>Yeah, I'm well, thanks, I guess, And it was a

0:30:22.720 --> 0:30:24.560
<v Speaker 2>waste of time for sure, because the point is it

0:30:24.600 --> 0:30:26.560
<v Speaker 2>doesn't matter if if anybody else thinks you have a

0:30:26.640 --> 0:30:28.760
<v Speaker 2>killer body or not. You should feel that you have

0:30:28.880 --> 0:30:31.640
<v Speaker 2>one because it's yours and it can do magical things

0:30:32.040 --> 0:30:34.920
<v Speaker 2>and it's awesome. But I never really felt that way

0:30:34.960 --> 0:30:37.680
<v Speaker 2>about myself, So I'm sure that I was quite self

0:30:37.720 --> 0:30:40.240
<v Speaker 2>conscious and making sure that I was, like, probably I

0:30:40.320 --> 0:30:42.120
<v Speaker 2>didn't eat the day before or something.

0:30:42.200 --> 0:30:46.080
<v Speaker 5>You know, she's like when they call cut, she's using

0:30:46.120 --> 0:30:46.840
<v Speaker 5>the time ass.

0:30:49.600 --> 0:30:51.880
<v Speaker 2>But all of I agree with you that I loved

0:30:51.960 --> 0:30:55.000
<v Speaker 2>the work that I did. I the choice to sing,

0:30:55.720 --> 0:30:59.240
<v Speaker 2>I'm sure that was mine. It's so playful, It's really playful.

0:30:59.560 --> 0:31:03.600
<v Speaker 2>It fell it felt truthful, like it felt like private,

0:31:04.000 --> 0:31:06.480
<v Speaker 2>you know what I mean. It felt like how you

0:31:06.560 --> 0:31:09.520
<v Speaker 2>would maybe behave when you thought you were alone and

0:31:09.720 --> 0:31:10.959
<v Speaker 2>excited about something.

0:31:11.200 --> 0:31:13.920
<v Speaker 1>I've had that I've had, the like dance around my

0:31:14.040 --> 0:31:17.880
<v Speaker 1>kitchen excited to go on a date, singing to myself.

0:31:18.080 --> 0:31:21.080
<v Speaker 5>I totally have done that kind of giddy internal moment.

0:31:21.240 --> 0:31:22.920
<v Speaker 3>It's a beautiful moment, and it is.

0:31:23.040 --> 0:31:26.320
<v Speaker 4>So funny when Mike comes around the corner, thinking I mean,

0:31:26.360 --> 0:31:28.600
<v Speaker 4>you've set the groundwork for him to assume he's walking

0:31:28.640 --> 0:31:33.000
<v Speaker 4>in for sex. Yes, probably, just so excited. And then

0:31:33.040 --> 0:31:35.480
<v Speaker 4>he rounds the corner and gets smacked upside the head.

0:31:35.960 --> 0:31:37.880
<v Speaker 4>I mean, wow, talk about mixed signals.

0:31:38.520 --> 0:31:42.640
<v Speaker 1>Yeah, well, I mean just to follow this storyline through

0:31:42.800 --> 0:31:46.520
<v Speaker 1>a little bit. Then we have, of course, things are foiled.

0:31:46.600 --> 0:31:50.560
<v Speaker 1>We discover that Julie in fact has been hiding Zach,

0:31:50.960 --> 0:31:55.240
<v Speaker 1>and we have this conversation between Julie and Susan, which

0:31:55.360 --> 0:31:59.040
<v Speaker 1>I really thought this scene was so interesting because Julie

0:31:59.280 --> 0:32:03.760
<v Speaker 1>is sitting downstairs and Susan comes downstairs in her pajamas,

0:32:03.840 --> 0:32:07.240
<v Speaker 1>and Julie is upset at Susan. And as a writer,

0:32:08.240 --> 0:32:10.680
<v Speaker 1>I was looking at how the scene not just was

0:32:10.760 --> 0:32:14.440
<v Speaker 1>written but was also directed, and all of the elements

0:32:14.480 --> 0:32:17.640
<v Speaker 1>of how it was directed, the wardrobe, the set design,

0:32:17.760 --> 0:32:21.000
<v Speaker 1>the postures that both of you take, and I thought

0:32:21.040 --> 0:32:25.840
<v Speaker 1>it so beautifully illustrated the inversion of roles between Susan

0:32:25.920 --> 0:32:29.080
<v Speaker 1>and Julie, because we have Julie sitting in an armchair

0:32:29.160 --> 0:32:31.760
<v Speaker 1>that kind of looks like a place an adult parent

0:32:31.920 --> 0:32:35.120
<v Speaker 1>would be sitting reading a book, which feels like very

0:32:35.160 --> 0:32:39.880
<v Speaker 1>adult action, and we have Susan sort of trepidaciously creeping

0:32:40.040 --> 0:32:44.160
<v Speaker 1>down the stairs, almost like she is the teenager getting

0:32:44.240 --> 0:32:48.120
<v Speaker 1>caught by her mom. And even in the wardrobe, I

0:32:48.240 --> 0:32:50.480
<v Speaker 1>think Susan looks like a teenager in this scene. She

0:32:50.600 --> 0:32:53.120
<v Speaker 1>has this which is so wide twok, this short sleeve

0:32:53.200 --> 0:32:55.800
<v Speaker 1>shirt with a long sleeve striped shirt underneath it, and

0:32:55.840 --> 0:32:57.840
<v Speaker 1>I'm like, I feel like I wore that when I

0:32:58.160 --> 0:33:01.440
<v Speaker 1>was twelve or thirteen. And then Julie is kind of

0:33:01.480 --> 0:33:05.320
<v Speaker 1>in like a cardigany sweater, and I just thought, wow,

0:33:06.440 --> 0:33:10.520
<v Speaker 1>the dynamic of feeling like Julie is the mom and

0:33:10.720 --> 0:33:13.160
<v Speaker 1>Susan is the teenager, which is then sort of the

0:33:13.240 --> 0:33:16.320
<v Speaker 1>content of the scene too, is it's what Julie says

0:33:17.120 --> 0:33:20.600
<v Speaker 1>and is almost scolding Susan for doing what I think

0:33:20.680 --> 0:33:23.040
<v Speaker 1>any parent would do, which to say, you can't hide

0:33:23.080 --> 0:33:24.800
<v Speaker 1>your friend in your room.

0:33:25.160 --> 0:33:27.920
<v Speaker 2>Yeah, but she goes back and she talks about, you know,

0:33:28.560 --> 0:33:31.560
<v Speaker 2>how bad I was when the divorce happened, and how

0:33:31.840 --> 0:33:34.960
<v Speaker 2>absent I was as a mother with this example and

0:33:35.040 --> 0:33:40.200
<v Speaker 2>that example, and yeah, I'm this is another way, so

0:33:40.520 --> 0:33:43.040
<v Speaker 2>Susan can't cook, and Susan was not as good of a.

0:33:43.120 --> 0:33:44.680
<v Speaker 3>Mother as well.

0:33:44.760 --> 0:33:47.040
<v Speaker 1>I just I mean, and I think it's really smart

0:33:47.240 --> 0:33:50.800
<v Speaker 1>how this whole scene was pieced together to not just

0:33:50.920 --> 0:33:54.000
<v Speaker 1>in the dialogue, but in every bit of action really

0:33:54.120 --> 0:33:59.240
<v Speaker 1>reflect this strange inverted dynamic between I reallylie.

0:33:59.360 --> 0:34:02.520
<v Speaker 4>I love that you were able to view it from

0:34:02.560 --> 0:34:05.760
<v Speaker 4>all those different angles, and that for you, all of

0:34:05.800 --> 0:34:09.239
<v Speaker 4>those different components really made it ring true and feel

0:34:09.360 --> 0:34:13.920
<v Speaker 4>very grounded. I think that this narrative for Susan and

0:34:14.120 --> 0:34:17.319
<v Speaker 4>Julie kind of continues if I remember throughout the show

0:34:17.440 --> 0:34:20.399
<v Speaker 4>a bit with this idea of obviously we've talked about

0:34:20.440 --> 0:34:23.560
<v Speaker 4>the dynamic between them being often more like peers or

0:34:23.760 --> 0:34:27.640
<v Speaker 4>friends than it is parent child or mother daughter. And

0:34:27.760 --> 0:34:30.960
<v Speaker 4>I do think it's fair what Julie says. I think

0:34:31.000 --> 0:34:34.600
<v Speaker 4>it's fair for her to say, Hey, you are now

0:34:34.760 --> 0:34:37.879
<v Speaker 4>taking this parental role and this moral high ground here,

0:34:38.560 --> 0:34:42.040
<v Speaker 4>but I don't feel comfortable listening to you right now

0:34:42.200 --> 0:34:44.640
<v Speaker 4>because it doesn't feel like that is a role you've

0:34:44.719 --> 0:34:50.800
<v Speaker 4>often occupied, is certainly recently and I but to Susan's

0:34:50.880 --> 0:34:54.640
<v Speaker 4>credit in this particular episode, she doesn't just get defensive

0:34:54.760 --> 0:34:57.279
<v Speaker 4>and say, well, you're wrong, and I'm your mom and

0:34:57.360 --> 0:35:00.520
<v Speaker 4>I made the decision and that's the law. She does

0:35:00.680 --> 0:35:02.920
<v Speaker 4>reflect because we see her later go to Mike and say,

0:35:03.520 --> 0:35:06.080
<v Speaker 4>she's kind of right. I leaned pretty heavily on her,

0:35:06.200 --> 0:35:08.920
<v Speaker 4>and it's because she's the person who's around and sharing

0:35:08.960 --> 0:35:12.440
<v Speaker 4>my space and I needed someone and you know. So

0:35:12.640 --> 0:35:16.160
<v Speaker 4>it's not like I think that they're the dynamic we

0:35:16.320 --> 0:35:19.040
<v Speaker 4>have notes on in the sense of for her how

0:35:19.080 --> 0:35:20.120
<v Speaker 4>she could be a better mother.

0:35:20.719 --> 0:35:23.320
<v Speaker 5>But I think that it also has.

0:35:23.320 --> 0:35:27.440
<v Speaker 4>So informed how strong their bond is, that they did

0:35:28.320 --> 0:35:32.240
<v Speaker 4>have that kind of level of openness, and that Julie

0:35:32.520 --> 0:35:34.880
<v Speaker 4>obviously kind of likes taking care of Susan in a

0:35:34.920 --> 0:35:37.360
<v Speaker 4>way too. It gives her a sense of purpose and identity.

0:35:38.040 --> 0:35:41.240
<v Speaker 4>So I'm excited to see obviously where their relationship continues

0:35:41.320 --> 0:35:42.320
<v Speaker 4>to grow and unfold.

0:35:42.440 --> 0:35:44.759
<v Speaker 5>But I thought it was kind of a I.

0:35:44.760 --> 0:35:48.600
<v Speaker 2>Think it's, you know, you're giving all of these families

0:35:48.719 --> 0:35:52.239
<v Speaker 2>on with Seria Lane a problem, you know, and I

0:35:52.360 --> 0:35:56.439
<v Speaker 2>think Susan, other than like she has no love life,

0:35:56.800 --> 0:36:02.080
<v Speaker 2>you know, is the it's the least problematic, do you

0:36:02.160 --> 0:36:04.280
<v Speaker 2>know what I mean? And so I think it's actually

0:36:04.480 --> 0:36:08.919
<v Speaker 2>a good flaw for Susan. I think it's a reasonable

0:36:09.920 --> 0:36:16.040
<v Speaker 2>flaw that she leans too heavily into her daughter as

0:36:16.080 --> 0:36:19.320
<v Speaker 2>a friend and a support system and that's not a

0:36:19.440 --> 0:36:23.000
<v Speaker 2>great conscious choice for a parent to make of their child,

0:36:23.360 --> 0:36:26.239
<v Speaker 2>at least in my judgment. But you don't want your

0:36:26.320 --> 0:36:29.160
<v Speaker 2>characters to be perfect. You want them to be flawed.

0:36:29.200 --> 0:36:32.359
<v Speaker 2>You want them to be able to grow. So, I mean,

0:36:32.480 --> 0:36:36.000
<v Speaker 2>I don't remember where this goes. It's not entirely with

0:36:36.160 --> 0:36:38.360
<v Speaker 2>confidence that I believe that the payoff is going to

0:36:38.400 --> 0:36:41.680
<v Speaker 2>be correct, but I'm willing to watch.

0:36:49.800 --> 0:36:52.759
<v Speaker 1>Obviously, we have so many flawed characters. And speaking of

0:36:52.800 --> 0:36:54.560
<v Speaker 1>flawed characters, I think we have to give a little

0:36:54.600 --> 0:36:58.440
<v Speaker 1>time to talk about Gabby and Carlos's relationship. You know,

0:36:58.480 --> 0:37:01.920
<v Speaker 1>we have Carlos is now in jail and Gabby is

0:37:02.200 --> 0:37:07.880
<v Speaker 1>looking for the passport while the government starts seizing Carlos's assets,

0:37:07.960 --> 0:37:09.960
<v Speaker 1>and I love I think. I don't know if this

0:37:10.080 --> 0:37:14.800
<v Speaker 1>is my favorite line award, but it's my favorite line

0:37:15.040 --> 0:37:19.719
<v Speaker 1>mixed with the direction. Okay, when Gabby says, people don't

0:37:19.840 --> 0:37:23.320
<v Speaker 1>just become poor overnight, and then we hardcut to the

0:37:23.480 --> 0:37:27.440
<v Speaker 1>tow truck outside of their house, loading on her sports

0:37:27.520 --> 0:37:30.920
<v Speaker 1>car onto the tow truck, and she runs out and

0:37:31.000 --> 0:37:34.879
<v Speaker 1>she's so proud that she yells after the tow truck

0:37:34.960 --> 0:37:36.799
<v Speaker 1>as it's going away, and the neighbors across the street

0:37:36.840 --> 0:37:39.040
<v Speaker 1>are kind of watching. She goes, you call that a

0:37:39.160 --> 0:37:42.800
<v Speaker 1>paint job, don't bring it back and tell it's perfect.

0:37:44.120 --> 0:37:47.080
<v Speaker 1>And it's this sad attempt to kind of hold on

0:37:47.280 --> 0:37:50.719
<v Speaker 1>to the lifestyle that is starting to crumble around her

0:37:50.840 --> 0:37:53.120
<v Speaker 1>that she's really not in control of. And I think

0:37:53.840 --> 0:37:57.719
<v Speaker 1>this leads her to really try to hold onto her

0:37:57.800 --> 0:38:01.399
<v Speaker 1>lifestyle by taking everything in the house.

0:38:01.680 --> 0:38:02.640
<v Speaker 3>That's the funny scene.

0:38:02.920 --> 0:38:05.600
<v Speaker 1>It is such a funny scene that they could possibly seize,

0:38:06.000 --> 0:38:09.680
<v Speaker 1>including the pop art photos of her selle of them,

0:38:10.000 --> 0:38:11.759
<v Speaker 1>all three of them. I'm like, I don't know that

0:38:11.840 --> 0:38:16.920
<v Speaker 1>they're going to take those and wheeling it across the streets.

0:38:17.000 --> 0:38:19.400
<v Speaker 5>That is what I gave my most desperate moment for

0:38:19.520 --> 0:38:20.160
<v Speaker 5>this episode.

0:38:20.200 --> 0:38:22.000
<v Speaker 3>She couched down the street.

0:38:21.840 --> 0:38:25.200
<v Speaker 4>The wheeling the furniture cart piled high with all the things,

0:38:25.320 --> 0:38:27.440
<v Speaker 4>shoving it down the street over to Breeze Girl.

0:38:27.280 --> 0:38:30.239
<v Speaker 2>Eyes wondering how she did that, Like what, like if

0:38:30.280 --> 0:38:34.360
<v Speaker 2>there was wires or something out of frame on the

0:38:34.480 --> 0:38:37.239
<v Speaker 2>other side, like helping her pull it. It seemed like

0:38:37.440 --> 0:38:40.040
<v Speaker 2>a lot for her to push by herself, didn't it.

0:38:40.239 --> 0:38:41.080
<v Speaker 1>Yeah, I mean I feel like.

0:38:41.360 --> 0:38:43.080
<v Speaker 2>I kind of was also concerned that it was all

0:38:43.120 --> 0:38:46.160
<v Speaker 2>going to fall all over the place, but I mean

0:38:46.200 --> 0:38:49.920
<v Speaker 2>it didn't. So it must have been positioned well to

0:38:50.000 --> 0:38:51.440
<v Speaker 2>be able to shoot that over and over.

0:38:51.760 --> 0:38:53.680
<v Speaker 1>Yeah, or glued on there somehow, I mean. And I

0:38:53.800 --> 0:38:55.840
<v Speaker 1>have to say they are really good, the writers about

0:38:55.880 --> 0:39:00.520
<v Speaker 1>giving Eva and Gabby this again. It reminds me of

0:39:00.560 --> 0:39:03.000
<v Speaker 1>when she's mowing the lawn in her ball gown. You know,

0:39:03.120 --> 0:39:05.960
<v Speaker 1>she's always in these fabulous heels and this little outfit,

0:39:06.160 --> 0:39:08.960
<v Speaker 1>and now she's pushing like a couch and a dining

0:39:09.000 --> 0:39:11.319
<v Speaker 1>table and all the chairs and all this art down

0:39:11.400 --> 0:39:11.760
<v Speaker 1>the street.

0:39:11.880 --> 0:39:13.600
<v Speaker 4>And I think it's made funnier by the fact that

0:39:13.719 --> 0:39:16.600
<v Speaker 4>she's so tiny, you know, she's such a teeny tiny person,

0:39:16.880 --> 0:39:19.239
<v Speaker 4>and so she's so dwarfed by these things that it's

0:39:19.480 --> 0:39:22.000
<v Speaker 4>just funny. It sets us up to find that very funny.

0:39:22.320 --> 0:39:25.040
<v Speaker 1>I mean, and we Brie, who has enough issues of

0:39:25.120 --> 0:39:27.759
<v Speaker 1>her own, because she has just found out that her

0:39:27.880 --> 0:39:30.400
<v Speaker 1>husband is cheating on her and that he's had a

0:39:30.440 --> 0:39:32.560
<v Speaker 1>heart attack and now he's in the hospital, and when

0:39:32.600 --> 0:39:36.080
<v Speaker 1>she goes to meet him, she sees the person who

0:39:36.160 --> 0:39:37.840
<v Speaker 1>signed him in is Mazy Gibbons.

0:39:38.080 --> 0:39:39.200
<v Speaker 5>Yeah, can you imagine.

0:39:39.280 --> 0:39:42.160
<v Speaker 4>I mean, also, I want to go back to the

0:39:42.320 --> 0:39:44.520
<v Speaker 4>very beginning of this episode, because that's where my favorite

0:39:44.560 --> 0:39:46.719
<v Speaker 4>line from the episode comes from, which is in the

0:39:46.960 --> 0:39:49.719
<v Speaker 4>very beginning, Brion rex Are. They have a scene at

0:39:49.760 --> 0:39:52.799
<v Speaker 4>home and Brie asks him, were you with a woman?

0:39:52.960 --> 0:39:56.520
<v Speaker 4>She because she smells his jacket. Yeah, and she says,

0:39:56.560 --> 0:39:58.600
<v Speaker 4>were you with a woman? And then they have this

0:39:58.840 --> 0:40:01.480
<v Speaker 4>moment where she's sort of realizing that yes, he is

0:40:02.000 --> 0:40:05.879
<v Speaker 4>maybe seeing other women, and she gets incensed that he's

0:40:06.280 --> 0:40:08.759
<v Speaker 4>bringing that kind of energy into their house and all

0:40:08.760 --> 0:40:12.120
<v Speaker 4>these things, and she yells out Andrew Danielle, Daddy's gonna

0:40:12.160 --> 0:40:16.600
<v Speaker 4>fordicate for us, And yeah, that was my favorite line

0:40:16.640 --> 0:40:18.799
<v Speaker 4>of this episode. It was just it was just so great.

0:40:18.880 --> 0:40:22.360
<v Speaker 2>Mine was actually when she is finally in his hospital

0:40:22.480 --> 0:40:28.000
<v Speaker 2>room and you know, she's like committed to helping nursing

0:40:28.080 --> 0:40:32.520
<v Speaker 2>him back to health, but only because she goes over

0:40:32.640 --> 0:40:35.040
<v Speaker 2>and tells him that she is literally getting the best

0:40:35.120 --> 0:40:38.400
<v Speaker 2>lawyer and she's going to take everything from him and

0:40:38.800 --> 0:40:41.480
<v Speaker 2>et cetera, et cetera. And then she says, I'm so

0:40:41.680 --> 0:40:44.120
<v Speaker 2>glad you didn't die before I got a chance to

0:40:44.239 --> 0:40:44.680
<v Speaker 2>tell you that.

0:40:45.360 --> 0:40:46.920
<v Speaker 5>Yeah, I know, I know.

0:40:47.000 --> 0:40:50.120
<v Speaker 1>At the end of this episode, Bree goes evil and

0:40:50.239 --> 0:40:54.000
<v Speaker 1>I have to say. Gabby also goes a little evil.

0:40:54.080 --> 0:40:56.440
<v Speaker 1>You know. We have Carlos tell her about the hidden

0:40:56.480 --> 0:40:58.560
<v Speaker 1>panel in the back of the closet where he's keeping

0:40:58.600 --> 0:40:59.200
<v Speaker 1>his passport.

0:40:59.360 --> 0:41:01.440
<v Speaker 3>Tell her what pas.

0:41:01.840 --> 0:41:03.600
<v Speaker 5>Oh yeah, that was amazing me too.

0:41:03.800 --> 0:41:04.719
<v Speaker 3>I love that scene.

0:41:04.760 --> 0:41:07.400
<v Speaker 2>So we've got Gabby and Carlos in the in this

0:41:07.520 --> 0:41:10.520
<v Speaker 2>sort of room where you can go in a jail

0:41:10.600 --> 0:41:13.720
<v Speaker 2>where you can talk to, you know, somebody from the outside,

0:41:14.200 --> 0:41:16.840
<v Speaker 2>and they're not allowed to touch, but somehow they're allowed

0:41:16.920 --> 0:41:17.839
<v Speaker 2>to lean in and kiss.

0:41:17.920 --> 0:41:19.399
<v Speaker 1>Well, they have to keep their hands on the table

0:41:19.400 --> 0:41:19.839
<v Speaker 1>to keep their.

0:41:19.800 --> 0:41:21.759
<v Speaker 2>Hands on the table, and so when they lean in

0:41:21.960 --> 0:41:27.200
<v Speaker 2>to kiss, Carlos gives her all the secret information that

0:41:27.520 --> 0:41:28.080
<v Speaker 2>she needs.

0:41:28.320 --> 0:41:30.840
<v Speaker 3>And I just I thought that scene was incredible and.

0:41:30.880 --> 0:41:33.200
<v Speaker 1>I thought it was such an interesting turn for Gabby

0:41:33.239 --> 0:41:37.560
<v Speaker 1>because Gabby actually feels very repentant over her affair with John.

0:41:37.680 --> 0:41:40.600
<v Speaker 1>She seems like she's actually really missing Carlos's presence in

0:41:40.640 --> 0:41:43.960
<v Speaker 1>the house. And when they first kiss, it's so genuine

0:41:44.040 --> 0:41:46.600
<v Speaker 1>on her end. It feels like she really has missed him.

0:41:46.920 --> 0:41:50.120
<v Speaker 1>And then he whispers in her ear and you watch her,

0:41:50.360 --> 0:41:52.480
<v Speaker 1>I mean, Eva does this really well? You watch her

0:41:53.000 --> 0:41:56.560
<v Speaker 1>turn and go, oh my god, you're not leaning in

0:41:56.920 --> 0:41:59.200
<v Speaker 1>to genuinely kiss me, you're leaning in to ask me

0:41:59.560 --> 0:42:00.440
<v Speaker 1>to cover up for you.

0:42:00.680 --> 0:42:03.279
<v Speaker 2>And yeah, and also, you're not a good guy. You're

0:42:03.320 --> 0:42:05.839
<v Speaker 2>not a good guy who got taken by Tanaka your boss.

0:42:06.040 --> 0:42:07.239
<v Speaker 3>You're actually the bad guy.

0:42:07.320 --> 0:42:09.560
<v Speaker 4>You're part of the problem. And it's after he gives

0:42:09.600 --> 0:42:12.520
<v Speaker 4>her the compliment. It's after the kiss. Comes from the

0:42:12.560 --> 0:42:15.600
<v Speaker 4>fact that he says, I didn't know how you would

0:42:15.600 --> 0:42:17.800
<v Speaker 4>handle something like this. I didn't know what you were capable,

0:42:17.960 --> 0:42:21.359
<v Speaker 4>essentially of. And I'm amazed by how strong you are.

0:42:21.480 --> 0:42:24.640
<v Speaker 4>And you are a good wife. And of course, all

0:42:24.719 --> 0:42:26.719
<v Speaker 4>the way up until this point, she's been thinking she's

0:42:26.719 --> 0:42:28.960
<v Speaker 4>a terrible wife because she's having this affair with you

0:42:29.040 --> 0:42:31.440
<v Speaker 4>know whatever. But he says that, and then they have

0:42:31.680 --> 0:42:34.040
<v Speaker 4>she says, I'm going to kiss my husband, and so

0:42:34.160 --> 0:42:38.280
<v Speaker 4>she thinks it's this tender, romantic moment to your point, Emerson,

0:42:38.560 --> 0:42:43.160
<v Speaker 4>and then he reveals that he's been He's in on it.

0:42:43.400 --> 0:42:45.040
<v Speaker 5>He's in on it, and she's like what.

0:42:45.640 --> 0:42:48.000
<v Speaker 1>And she one ups him. She goes and she gets

0:42:48.080 --> 0:42:50.200
<v Speaker 1>the papers in the passport, but then she doesn't burn

0:42:50.239 --> 0:42:52.919
<v Speaker 1>the papers. She burns the passport and I'm really left

0:42:53.000 --> 0:42:57.000
<v Speaker 1>wondering what does this mean for her intentions about the

0:42:57.120 --> 0:42:59.400
<v Speaker 1>future of their marriage.

0:42:59.600 --> 0:43:01.680
<v Speaker 2>Well, we're to find out when she gets you know,

0:43:02.440 --> 0:43:05.800
<v Speaker 2>when it gets real with where money ends up in

0:43:05.920 --> 0:43:06.640
<v Speaker 2>her life.

0:43:06.480 --> 0:43:07.640
<v Speaker 3>Yeah, or the lack thereof.

0:43:08.040 --> 0:43:11.120
<v Speaker 1>And well, speaking of finding things out, we jumping back

0:43:11.160 --> 0:43:14.600
<v Speaker 1>to Lynette. She has installed the nanny cam. Yes, and

0:43:14.840 --> 0:43:18.440
<v Speaker 1>she watches the best montage. When she gets in bed

0:43:18.520 --> 0:43:21.720
<v Speaker 1>with popcorn, she plugs it in and she watches Claire

0:43:21.960 --> 0:43:28.080
<v Speaker 1>the Nanny be Super Nanny so so so well, no, well.

0:43:28.280 --> 0:43:29.800
<v Speaker 3>First she watched at first.

0:43:29.880 --> 0:43:33.200
<v Speaker 2>Okay, so at first she watches this nanny be Super

0:43:33.280 --> 0:43:37.520
<v Speaker 2>Nanny and she's die is so threatening and so you

0:43:37.600 --> 0:43:40.080
<v Speaker 2>know she you can just see her like I've lost

0:43:40.200 --> 0:43:43.800
<v Speaker 2>my place, I've lost my specialness. I don't matter and

0:43:43.920 --> 0:43:47.440
<v Speaker 2>I love this scene so much. So she decides I'm

0:43:47.480 --> 0:43:51.320
<v Speaker 2>gonna throw this nanny under the bus, and she gives

0:43:51.440 --> 0:43:54.000
<v Speaker 2>the nanny the task of getting her kids to eat

0:43:54.040 --> 0:43:55.240
<v Speaker 2>Brussels sprouts.

0:43:55.080 --> 0:43:58.200
<v Speaker 1>Which we've set up at the beginning. They hate eating

0:43:58.280 --> 0:44:00.200
<v Speaker 1>because we've seen her not be able to get them

0:44:00.239 --> 0:44:01.880
<v Speaker 1>even when she does the cheese trick.

0:44:02.160 --> 0:44:04.799
<v Speaker 2>Yes, yeah, and so there and they're by the way,

0:44:04.880 --> 0:44:07.719
<v Speaker 2>they're frozen Brussels sprouts, which I don't know who would

0:44:07.719 --> 0:44:10.680
<v Speaker 2>eat frozen Brussels scouts, But she's trying to get her

0:44:10.719 --> 0:44:11.040
<v Speaker 2>kids seed.

0:44:11.320 --> 0:44:13.440
<v Speaker 3>So that actually brings me to the food that I

0:44:13.520 --> 0:44:14.720
<v Speaker 3>brought in for this episode.

0:44:14.880 --> 0:44:18.200
<v Speaker 2>I made so at Thanksgiving, I make a really lovely

0:44:18.840 --> 0:44:23.400
<v Speaker 2>roasted Brussels sprouts with dates and pumpkin seeds and a

0:44:23.480 --> 0:44:27.200
<v Speaker 2>balsamic and olive oil sort of situation. And so I

0:44:27.320 --> 0:44:29.720
<v Speaker 2>brought those in and we'll have that recipe up online

0:44:29.760 --> 0:44:31.640
<v Speaker 2>and it'll be in time for the holidays, which is

0:44:31.640 --> 0:44:34.439
<v Speaker 2>when everybody should be eating Brussels sprouts, which are such

0:44:34.560 --> 0:44:37.200
<v Speaker 2>a good food for you, and they're so delicious.

0:44:37.239 --> 0:44:39.120
<v Speaker 5>I am unlike the Scavo boys.

0:44:39.200 --> 0:44:42.440
<v Speaker 4>I love Brussels sprouts, and I think obviously they've had

0:44:42.440 --> 0:44:45.399
<v Speaker 4>a very big resurgence and rebranding. I mean, Brussels sprouts

0:44:45.480 --> 0:44:47.919
<v Speaker 4>used to be hated by everyone universally, and now they're

0:44:47.960 --> 0:44:52.040
<v Speaker 4>on like every gastropub menu, every fancy restaurant, every everything

0:44:52.160 --> 0:44:52.320
<v Speaker 4>you know.

0:44:52.480 --> 0:44:54.719
<v Speaker 5>So and I'm sure yours are going to be phenomenal.

0:44:54.840 --> 0:44:57.480
<v Speaker 2>But so when she does finally get in bed at

0:44:57.520 --> 0:45:00.120
<v Speaker 2>the end of the episode, and she's like ready to

0:45:00.200 --> 0:45:04.040
<v Speaker 2>review the camera and she sees the nanny having just

0:45:04.200 --> 0:45:06.920
<v Speaker 2>as much trouble, if not more, than she did trying

0:45:06.960 --> 0:45:09.840
<v Speaker 2>to get the boys to eat Brussels sprouts. She's gleefully

0:45:09.920 --> 0:45:14.880
<v Speaker 2>happy and popping down her popcorn and serving up the

0:45:14.960 --> 0:45:16.720
<v Speaker 2>best movie that she can imagine.

0:45:16.960 --> 0:45:18.759
<v Speaker 1>I know, and I mean I feel for her. I

0:45:19.400 --> 0:45:22.120
<v Speaker 1>really understand because I feel for her. In the scene

0:45:22.200 --> 0:45:24.640
<v Speaker 1>before she says, Okay, this is how I'm gonna, you know,

0:45:24.800 --> 0:45:27.920
<v Speaker 1>bring Claire the super Nanny back to Earth. You know,

0:45:27.960 --> 0:45:32.960
<v Speaker 1>who can make balloon animals and have triloquist dummies. I'm

0:45:33.000 --> 0:45:35.360
<v Speaker 1>gonna task her with Brussels sprouts. But I love that

0:45:35.520 --> 0:45:39.080
<v Speaker 1>before she decides to do that, she tries to spend

0:45:39.120 --> 0:45:42.040
<v Speaker 1>the day with her kids and read to them from

0:45:42.120 --> 0:45:44.719
<v Speaker 1>the book. And she starts to read and they go, well,

0:45:44.760 --> 0:45:47.960
<v Speaker 1>Claire does funny voices, and she goes, oh, okay, and

0:45:48.040 --> 0:45:51.520
<v Speaker 1>so then she does a funny voice, and Felicity does

0:45:51.560 --> 0:45:54.080
<v Speaker 1>this so well, she does a funny voice, and they go,

0:45:54.400 --> 0:45:56.239
<v Speaker 1>that's not a funny voice. And she goes, and this

0:45:56.360 --> 0:45:58.200
<v Speaker 1>is my favorite line of the episode. I'm just getting

0:45:58.239 --> 0:45:58.680
<v Speaker 1>warmed up.

0:46:00.600 --> 0:46:02.680
<v Speaker 4>Well, kids are the toughest critics, aren't they. I mean,

0:46:02.719 --> 0:46:04.160
<v Speaker 4>I feel like they can just cut you down to

0:46:04.239 --> 0:46:05.160
<v Speaker 4>size so quickly.

0:46:05.360 --> 0:46:08.600
<v Speaker 1>Yeah, yeah, and so she I like that. Lynette gets

0:46:08.680 --> 0:46:11.120
<v Speaker 1>the moment of seeing that everyone is just a human

0:46:11.200 --> 0:46:14.920
<v Speaker 1>being like herself, even Claire couldn't get them to eat

0:46:14.920 --> 0:46:15.760
<v Speaker 1>the Brussels sprouts.

0:46:16.520 --> 0:46:19.840
<v Speaker 2>And then we sort of end on as Zach finally

0:46:20.160 --> 0:46:24.880
<v Speaker 2>gets brought home after he gets discovered in the Julie bedroom,

0:46:26.080 --> 0:46:28.000
<v Speaker 2>where we don't know where he was fitting under the

0:46:28.040 --> 0:46:30.680
<v Speaker 2>bed or in the closet, but he gets discovered and

0:46:30.840 --> 0:46:34.200
<v Speaker 2>Mike decides with Susan that the best move is to

0:46:34.280 --> 0:46:35.840
<v Speaker 2>take him home, take him across the street.

0:46:36.160 --> 0:46:38.600
<v Speaker 1>I like Mike stepping up in this moment. I feel

0:46:38.680 --> 0:46:42.359
<v Speaker 1>like I was like, oh, thank god, Susan finally has

0:46:42.440 --> 0:46:45.320
<v Speaker 1>another adult who's not Julie, who's gonna kind of have

0:46:45.480 --> 0:46:45.959
<v Speaker 1>her back.

0:46:46.120 --> 0:46:48.680
<v Speaker 2>And he does say that to her when she's admitting,

0:46:48.760 --> 0:46:52.440
<v Speaker 2>when Susan is admitting that she, you know, probably did

0:46:52.600 --> 0:46:56.399
<v Speaker 2>lean too hard on Julie and she didn't have anybody else,

0:46:56.440 --> 0:46:58.520
<v Speaker 2>and he says, well, now you have me, yea, which

0:46:58.520 --> 0:46:59.200
<v Speaker 2>is really lovely.

0:46:59.760 --> 0:47:02.080
<v Speaker 5>It is so lovely. It fuels their connection, which is

0:47:02.120 --> 0:47:02.600
<v Speaker 5>really nice.

0:47:02.760 --> 0:47:05.640
<v Speaker 1>And he really steps up for Zach too, you know,

0:47:05.760 --> 0:47:07.440
<v Speaker 1>he says, yes, I'm bringing you back to your dad,

0:47:07.520 --> 0:47:10.480
<v Speaker 1>but also call me. You know, here's my number. I'm

0:47:10.520 --> 0:47:13.080
<v Speaker 1>here for you anytime. And of course, yeah, then we

0:47:13.200 --> 0:47:17.800
<v Speaker 1>get Zach and Paul having the strangest dinner. At first,

0:47:17.880 --> 0:47:20.440
<v Speaker 1>I kind of felt for Paul because he seemed so

0:47:20.680 --> 0:47:25.279
<v Speaker 1>genuinely sad and happy to have his son back, and

0:47:25.520 --> 0:47:29.000
<v Speaker 1>then he starts force feeding him potatoes.

0:47:29.400 --> 0:47:29.560
<v Speaker 4>Yeah.

0:47:29.600 --> 0:47:31.480
<v Speaker 5>How many times does he ask movie wants potatoes in

0:47:31.520 --> 0:47:31.879
<v Speaker 5>that scene?

0:47:32.000 --> 0:47:32.200
<v Speaker 1>Three?

0:47:32.560 --> 0:47:33.960
<v Speaker 5>Yeah, we have this weird scene with.

0:47:35.600 --> 0:47:38.279
<v Speaker 4>Paul and Zach, and their dynamic continues to feel off

0:47:38.360 --> 0:47:42.880
<v Speaker 4>putting and uncomfortable, and because we know, obviously as an

0:47:42.880 --> 0:47:45.719
<v Speaker 4>audience as well, that Paul is still trying to hide

0:47:45.760 --> 0:47:49.719
<v Speaker 4>the fact that Missus Hooper is missing, and Edie in

0:47:49.840 --> 0:47:52.920
<v Speaker 4>this episode kind of gets pushed to the point where

0:47:53.000 --> 0:47:54.960
<v Speaker 4>she's gonna involve the police, and we have this final

0:47:55.440 --> 0:47:59.000
<v Speaker 4>shot of Edie standing outside of Missus Hooper's house and

0:47:59.040 --> 0:48:01.239
<v Speaker 4>the police knocking on her door. So we can only

0:48:01.280 --> 0:48:02.719
<v Speaker 4>imagine where that's gonna go.

0:48:03.040 --> 0:48:06.760
<v Speaker 1>I know, I know, it's a it's a big, juicy episode,

0:48:06.840 --> 0:48:07.759
<v Speaker 1>like they all are.

0:48:09.320 --> 0:48:11.880
<v Speaker 2>I almost made potatoes, by the way, it was. It

0:48:12.000 --> 0:48:16.640
<v Speaker 2>was a tough call between mashed potatoes and the Brussels sprouts,

0:48:17.160 --> 0:48:18.320
<v Speaker 2>but I went with Brussels sprouts.

0:48:18.360 --> 0:48:20.320
<v Speaker 5>I'm glad you went with brussel sprouts. Okay, I love that.

0:48:20.440 --> 0:48:21.800
<v Speaker 3>Well, that was another great episode.

0:48:21.880 --> 0:48:22.279
<v Speaker 5>Yeah, I know.

0:48:22.520 --> 0:48:24.680
<v Speaker 1>And I hope I hope that your people are writing

0:48:24.760 --> 0:48:28.600
<v Speaker 1>in to Desperately Devoted Podcast on Instagram d m us

0:48:28.680 --> 0:48:33.680
<v Speaker 1>your questions, your favorite moments from the episodes. If you

0:48:33.680 --> 0:48:35.920
<v Speaker 1>would cover up for your partner if they were in jail.

0:48:36.160 --> 0:48:38.319
<v Speaker 5>If how long do you think Julie held Zach up

0:48:38.320 --> 0:48:38.799
<v Speaker 5>in her room?

0:48:39.320 --> 0:48:40.160
<v Speaker 1>Yeah, if you're pron

0:48:41.960 --> 0:48:43.840
<v Speaker 2>To leave it and we'll keep your secret, and you

0:48:43.920 --> 0:48:47.440
<v Speaker 2>know why, because we are desperately devoted to you