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Speaker 1: On the premier episode of Rewives, I had to start

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Speaker 1: with a bang, So today I'm reliving the Scary Island episode. Yup.

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Speaker 1: It is one of Andy Cohen's favorite episodes ever. I

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Speaker 1: remember like it was yesterday. It was a complete, crazy

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Speaker 1: shit show. It's one of the most iconic Housewives episodes

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Speaker 1: of any city ever, period story and film. At eleven.

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Speaker 1: It's the episode where the conflict between myself and Kelly

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Speaker 1: ben Simone really bubbles up to the surface. There are

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Speaker 1: complaint pads, photo shoots, gift bags, coco puffs, jelly beans,

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Speaker 1: gummy bears, sleep discussion, and a whole lot to talk about.

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Speaker 1: And joining me in this deep dive is Emmy Award

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Speaker 1: winning actress Elizabeth Moss, And this is why I'm obsessed

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Speaker 1: with the show. Nowhere else will you hear one of

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Speaker 1: the greatest actresses of our time have a serious conversation

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Speaker 1: about ho bags. This is one of my favorite podcast episodes.

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Speaker 1: I've We're done, and I hope you love it as

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Speaker 1: much as I do. Let's mention it all. Hi, Hi,

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Speaker 1: got so nice to see you and I'm so excited

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Speaker 1: about talking to you. Well, this is obviously gonna be

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Speaker 1: the most important work you'll ever do in your career.

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Speaker 1: I have to tell you, though, that I have done

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Speaker 1: more research for this podcast than I have done for

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Speaker 1: most rules. And it's not a joke. So when I

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Speaker 1: found out what episode we were talking about, first of all,

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Speaker 1: I freaked out, and it was like, I felt like

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Speaker 1: it was a personal gift to me from you. And

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Speaker 1: then I rewatched all of season three, including the reunions

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Speaker 1: and the lost footage, and then I kind of took

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Speaker 1: it into season four and then I was like, Okay,

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Speaker 1: I think we're good now, but I really have researched this.

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Speaker 1: My daughter believe it. I know it's not appropriate, she's twelve,

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Speaker 1: but like when I was immersed in season three of

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Speaker 1: Handmaid's Tail and she just saw some of it. And

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Speaker 1: you carry to carry a show like that only reminds

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Speaker 1: me of like Claire Daine's Homeland, like a woman with

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Speaker 1: the with the that carries such an intense, amazing show.

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Speaker 1: It's so good, you're so amazing. You're just really extraordinary

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Speaker 1: and rare, but more more important than the oppression of women.

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Speaker 1: I guess it is scary, scary, scary island. I feel

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Speaker 1: like there's there's a tie in there. Somewhere. Absolutely, there's

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Speaker 1: Gilead and there's Scary Island. They're the same. They're the same.

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Speaker 1: So you watched Housewives in real time in life, or

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Speaker 1: you were a person who found it later, or you

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Speaker 1: were back then, you know I was. I was back then.

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Speaker 1: I watched in real time, and then in later seasons

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Speaker 1: I would sort of lapse and then binge like two

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Speaker 1: seasons to three seasons back to back. Um, I've fallen

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Speaker 1: off a bit. I haven't been watching as much lately

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Speaker 1: because I've been kind of busy, although apparently not busy

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Speaker 1: enough to not rewatch all of these three in the

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Speaker 1: past few days too much. Yeah, And I guess there's

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Speaker 1: a message in this show, which is funny because to

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Speaker 1: be learning from the Housewives and me having conversations with

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Speaker 1: intelligent people about this show, which was an idea for

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Speaker 1: the this show rewives was because I wanted to do

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Speaker 1: some people were doing rewatches, and frankly, the truth is,

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Speaker 1: this is the truth. Paul said to me my fiance,

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Speaker 1: like people want to hear Tom Brady talk about football,

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Speaker 1: like they want to hear from him. So you've got

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Speaker 1: all these other derivative people that are sort of talking

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Speaker 1: about this garbage and they want to hear you, and

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Speaker 1: I'm like, but I don't want to go back into

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Speaker 1: the garbage dump. And you know, it wasn't feeling right.

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Speaker 1: Let's talk about housewives. So I thought, what if I

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Speaker 1: have an elevated conversation with smart, successful people about this,

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Speaker 1: because there are definitely things that you can learn about

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Speaker 1: dynamics from talking about the show. But still entertained, that's

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Speaker 1: how this show came to be. And I think it's

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Speaker 1: also interesting. I think Paul's absolutely right, and I think

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Speaker 1: it's also interesting to hear your perspective so many years

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Speaker 1: down the road, having had different life experiences, you know,

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Speaker 1: having become such an incredible success, how your perspective may

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Speaker 1: have changed on those events. Okay, so let's get into it.

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Speaker 1: We start about the hoe bag scene. You know, a

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Speaker 1: risk that you don't take in playing a character June Osborne.

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Speaker 1: You know you're not No one's ever gonna surprisingly call

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Speaker 1: you a hoe back to your face? Right? What was

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Speaker 1: I mean? You can very clearly see the reaction on camera,

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Speaker 1: But I have questions. I have more questions for you, go,

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Speaker 1: did you going into that experience did you think it

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Speaker 1: was going to be anything like what it would be

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Speaker 1: was suspicious that it was gonna be something like would

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Speaker 1: it ended up becoming or did you just go in

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Speaker 1: blind and think I have I'm going on this trip,

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Speaker 1: It's probably gonna be okay, maybe something interesting would happen.

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Speaker 1: How surprised were you by how scary it got? Well,

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Speaker 1: what's funny is the island of of St. John was

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Speaker 1: not happy, like the house owners always taking a risk

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Speaker 1: that we're not like this is a ship hole. But

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Speaker 1: it was great because it was a really nice house.

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Speaker 1: But the island is taking a risk too, that we're

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Speaker 1: gonna name it scary Island because St. John from a

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Speaker 1: branding perspective, doesn't want to become known as scary island.

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Speaker 1: It's always so funny, and I used to get it.

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Speaker 1: I'm I was not I was always on time, and

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Speaker 1: I always was like, you know, professional and and reliable

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Speaker 1: the most on time. But I'm not easy in the

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Speaker 1: sense that I don't just go along like, let's pretend

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Speaker 1: this is your trip, Elizabeth. You bought, you rented a

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Speaker 1: two fifty dollar house, and when we're pulling in on

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Speaker 1: the boat, you're gonna tell everybody this is the wonderful

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Speaker 1: gift you got for them, paid for are by a

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Speaker 1: Bravo and production company integration. Like it's so fair, Like

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Speaker 1: it's okay, we just all are on vacation together. We

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Speaker 1: don't have to Nobody cares to t for it. Nobody cares.

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Speaker 1: Thank you, thank you. But you don't know how the

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Speaker 1: fights ensued between housewives where one person will be like,

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Speaker 1: everybody wants to own the trip. I mean we don't

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Speaker 1: think it's a real hat. Yes, people want to own.

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Speaker 1: In this case, this was quote unquote Ramona's trip. I

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Speaker 1: mean she invited everybody, right, and she gets very very

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Speaker 1: very excited in a very funny and cute way when

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Speaker 1: she's revealing the house on the hill. Um, she's right,

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Speaker 1: so excited. So in this case, though, was she just

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Speaker 1: did she have the idea for the trip? Did she

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Speaker 1: what's the truth and what's the reality of it? Or

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Speaker 1: she just the reality is that, you know, and people

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Speaker 1: wanted to be their trip in the finale party and

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Speaker 1: like there's people want I don't want more work, I

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Speaker 1: don't want more want I don't I don't want more work. Yeah. Now,

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Speaker 1: so unless you're like it's your launch and it's you know,

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Speaker 1: it becomes like a bidding war, like if it's your

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Speaker 1: launch and it's the best pitch. So so everybody at

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Speaker 1: the beginning of the season sits down with the producers

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Speaker 1: and what's going on with your life? And I've got this,

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Speaker 1: and I've got that and most of the thing. And

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Speaker 1: people want to pitch my restaurant up. This is my

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Speaker 1: friend's restaurant. You know. Everyone wants to pitch where they're

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Speaker 1: gonna be by the couple of years. And I'm just like,

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Speaker 1: I don't just tell me where to be, but because

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Speaker 1: you don't want all the responsibility of all that, but

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Speaker 1: people like that. It's just the thing. So really, I know, yeah,

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Speaker 1: I'm not the producers just I mean I would. I'm

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Speaker 1: with you. Producers should just arrange everything and take care

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Speaker 1: of it. That's their job. Just tell me where to be. Well,

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Speaker 1: they take they take care, they'll they'll talk to each person.

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Speaker 1: And you know, I'm like, well, I'm taking a pottery class,

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Speaker 1: and I think it'd be really interesting if we all

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Speaker 1: go to the pottery class together and the producers fall

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Speaker 1: asleep because it's boring to watch people do pottery, and

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Speaker 1: then someone else is like, oh, I'm going to therapy,

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Speaker 1: So we could do you know, Oh, how about we

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Speaker 1: get you getting plastic start whatever that thing is, so

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Speaker 1: then you find out whatever, but he's got going on.

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Speaker 1: In some cases, they really want one person to own

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Speaker 1: the trips, so it'll be like, how about we renew

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Speaker 1: your vows Ramona, or she might have pitched that because

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Speaker 1: she wanted to do that. And then sometimes you know

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Speaker 1: someone really wants to go somewhere. Oh that's competition to wait. No,

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Speaker 1: we should be going to Turks and Caicos. We should

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Speaker 1: be going And Ramona, well, no one that's ever been

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Speaker 1: on reality television that I've ever met has loved those

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Speaker 1: trips more than remote. Like she thinks she's going to

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Speaker 1: real vacation. For me, it was torture, Like Derenda would

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Speaker 1: think it was torture. I would think, this is not

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Speaker 1: me really going to Morocco. This is me going to

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Speaker 1: Morocco on like a scheduled, shackled itinerary. But so Ramona

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Speaker 1: thinks it's totally like real vacation, and she doesn't care

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Speaker 1: she's getting to go to so she'll hard pitch her

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Speaker 1: places and wants to go where she's pitching. So sometimes

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Speaker 1: the people are pitching and winning, and then sometimes the

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Speaker 1: producers are pitching the places or they have a relationship.

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Speaker 1: We can get a villa here, we can get it

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Speaker 1: that there they have. You know, we were always the

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Speaker 1: step children, so we always had the shittiest budgets. Like

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Speaker 1: Beverly Hills is going to lave amazing places and we're

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Speaker 1: going to like de Moi, you know. So so I

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Speaker 1: used to like when we were going to Miami because

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Speaker 1: it would be like, it's not a vacation anyway, it's

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Speaker 1: two hours, not stop direct flight. Let me burn the

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Speaker 1: place to the ground again. I can probably don't need,

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Speaker 1: you know, I don't need to be on an eleven

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Speaker 1: hour flight to fight with people, like a fight with

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Speaker 1: them in Jersey. Just keep us trapped together. That's why

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Speaker 1: the burg Shears is great. And that's the thing is

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Speaker 1: if it's if the show is good, the content is good,

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Speaker 1: if the relationships are interesting, and then it doesn't matter

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Speaker 1: where you go. You can totally go to the right.

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Speaker 1: But riddle me this. An apartment that's a thousand square

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Speaker 1: feet in New York City could cost three million dollars,

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Speaker 1: and that's what a twenty thousand squarefret house in Atlanta

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Speaker 1: would cost. And where they live in the suburbs, so

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Speaker 1: you have to find stuff to show because we all

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Speaker 1: look like we're living like you know, I had a

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Speaker 1: four thousand squareft apartment, and I had the best department,

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Speaker 1: and it would be a house the size of you know,

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Speaker 1: Lisa Vanner Promp's house, but it still doesn't look the same.

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Speaker 1: So the Beverly Hills has a lot of the clothes

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Speaker 1: and trappings and cars and houses that do a lot

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Speaker 1: of the story. Like other cities, have to rely more

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Speaker 1: on the actual meet because we can't show a gorgeous

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Speaker 1: estate for long, you know, and have the entertainment of

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Speaker 1: just looking at that an expensive car. We don't have

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Speaker 1: the cars, we don't have the homes that are that

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Speaker 1: big because it's New York City. So that's just something

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Speaker 1: to mention to you think about the visual. The first season,

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Speaker 1: Andy Cohen called me the Greek Chorus because he felt

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Speaker 1: that I was sort of explaining to the audience something

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Speaker 1: that was going on, and I was like with them

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Speaker 1: in the narration unintentional narration of the show. So this season,

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Speaker 1: Kelly comes in and I meet her, and I had

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Speaker 1: met her previously and she had sort of acted like

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Speaker 1: she didn't know me unless I was with someone famous

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Speaker 1: or like there was just a nuance in the hampts

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Speaker 1: because I was a nobody who was like a guest

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Speaker 1: of a guest of a guest when she was more elevated.

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Speaker 1: So I had a pre existing feeling about her um,

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Speaker 1: but I didn't know her and I had met her

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Speaker 1: at different times. It was totally superficial. But when we

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Speaker 1: sat down at this meeting earlier in the season and

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Speaker 1: she was like, I don't put my name on anything,

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Speaker 1: because people come into this show and they want to

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Speaker 1: show everybody either how rich they are, how elevated they are,

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Speaker 1: how not like these trashy women they are, and somehow

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Speaker 1: water always seeks its own level. It just it ends

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Speaker 1: up whatever is gonna it's gonna be. So you can't

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Speaker 1: beat the game trying so hard. And I never there

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Speaker 1: was no game. I was just a person showing my

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Speaker 1: studio apartment. I bounced checks. I was like poor, it

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Speaker 1: was what it was. So she was coming in and

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Speaker 1: she was up here and I was down here, and

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Speaker 1: I had been feeling this stuff all season. But it

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Speaker 1: was like a Threes Company episode, that sitcom where like

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Speaker 1: things are happening in other rooms and no one's seeing

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Speaker 1: and you're like, no, this is a good this person

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Speaker 1: and they're like no, I think she's Swede and nor

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Speaker 1: you know, so you're seeing stuff and no one else

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Speaker 1: has seen. So this trip, we're trips. That's where trips

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Speaker 1: are good. All the ship pours out like whatever is bubbling,

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Speaker 1: it comes together and it all comes out on the trip.

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Speaker 1: So for me, I I was so happy at the

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Speaker 1: end of what we were going to discuss because I

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Speaker 1: was like, I told you all, this is what I've

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Speaker 1: been seeing. Yes, That's one of my favorite moments of

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Speaker 1: the episode is when you're like f you and F you,

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Speaker 1: I was right. It's so great because everyone has felt

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Speaker 1: that way. When you're like, see, she's crazy, and it's

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Speaker 1: very gratifying. You feel very like you feel with you

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Speaker 1: as far as like, yes, this is reality, this is

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Speaker 1: what's happening. This is vindication. So what's happening is that

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Speaker 1: you know in your normal life, like if someone and

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Speaker 1: on TV, if someone's calling you a hoe bag, it's

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Speaker 1: gonna be on television. You're one day gonna have a

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Speaker 1: twelve year old daughter that's on the couch when you're

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Speaker 1: watching and see that like someone called you a hoback

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Speaker 1: and said you slept your whatever, and you're in the

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Speaker 1: moment trying to keep your ship together because you're the

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Speaker 1: wheels are turning about the fact that that's like being

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Speaker 1: set to you because anything can be said to you,

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Speaker 1: and so you have very little I think, visible response

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Speaker 1: to her to that word, I think, and what Currantine

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Speaker 1: is like, Well, she's also engaged in pregnant, so this

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Speaker 1: is a very funny time to be calling her a

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Speaker 1: bag exactly exactly, and some people don't show this is

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Speaker 1: too tish. But she had a lot going on off

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Speaker 1: camera with you know, men and whatever. But that's not

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Speaker 1: the point of it. But you know, in a situation,

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Speaker 1: I don't know about you, but I'll talk about things

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Speaker 1: that are polarizing, but only like what they mean for society.

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Speaker 1: I'll never call someone a name, Did that make any sense?

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Speaker 1: Like I will character assassinate. I'll talk about like what's

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Speaker 1: the message in society or my opinion of someone's actions,

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Speaker 1: but I will be like that person's an asshole, Like

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Speaker 1: it's just it's low hanging fruit to to call someone

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Speaker 1: a name or sexually promiscuous, or a terrible mother or

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Speaker 1: a bad wife, Like you won't go like that personal

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Speaker 1: I feel I did once and I called her, I

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Speaker 1: called her a horse, So I have to take that caveat.

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Speaker 1: I took the bait or something that had been bothering me,

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Speaker 1: so that I did do that one time, but I

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Speaker 1: always owned my But I did do that, but I

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Speaker 1: don't typically and especially now, it's just not where I go.

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Speaker 1: I want to talk about the issue, you know what

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Speaker 1: I mean? How do you handle when you're called a

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Speaker 1: hoe bag? What are you going to do? Because you

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Speaker 1: could easily become wrong when someone calls you a ho

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Speaker 1: bag with what you do, people forget where it's started

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Speaker 1: based on a reaction. The fact that you didn't actually

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Speaker 1: really even reply to the hoe bag comment, which is

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Speaker 1: I think true. I don't think you really had that

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Speaker 1: much of a reaction at the time, right what what

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Speaker 1: is the right thing to say? No, I'm not a

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Speaker 1: hold yeah exactly, but I'm going to take the receipts

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Speaker 1: out of my vagina. Tell you let's really dig into this, Kelly.

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Speaker 1: But the fact that you didn't say anything to your

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Speaker 1: point of being able to receive language, received comments, receive

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Speaker 1: even criticism, and perhaps use it to your advantage. The

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Speaker 1: fact that you didn't say anything, just made the comments

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Speaker 1: stick out even more like the sore of thtuff. Thank you.

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Speaker 1: And in life, if you don't know what to do,

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Speaker 1: sit still. And I teach it to my daughter because

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Speaker 1: my daughter sometimes in school, something will happen and she

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Speaker 1: wants to get on the phone and say it and

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Speaker 1: text it. I'm like, first of all, everything in writing

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Speaker 1: is for the rest of your life. Second of all,

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Speaker 1: whole stay at keep the bus at fifty five, like

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Speaker 1: take a break. You know you don't have to get

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Speaker 1: every home run. Absolutely you take a second, think about it,

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Speaker 1: think about what you want to say, think about how

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Speaker 1: you feel, and reply thoughtfully, absolutely exactly. On the chef, yeah,

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Speaker 1: you know that was even that bothered me even more

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Speaker 1: for some reason because and it was bothering her. She

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Speaker 1: wanted to like take me down up here, I'm up here,

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Speaker 1: you're down here. Was bothering her than anybody might even

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Speaker 1: like use that word, like, I didn't think I was

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Speaker 1: John George. I went to culinary school, and I was

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Speaker 1: a natural food chef. I didn't say I was an

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Speaker 1: natural food cook. And the problem is, first of all,

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Speaker 1: if you're gonna take a shot at this, be a

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Speaker 1: better not miss, Like, you can't come in here with me.

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Speaker 1: You can't play checkers when I'm playing chess over here,

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Speaker 1: Like you just can't. So like, you better get your

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Speaker 1: act together, go do a thesis, come in here, have

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Speaker 1: copious notes, have a lawyer on hand, Like you can't

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Speaker 1: come in here because you're not gonna beat me at

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Speaker 1: the words game. So she's coming in and she's like, well,

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Speaker 1: you know you don't work at a restaurant, Like there's

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Speaker 1: a woman serving us our lunch here, and I think

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Speaker 1: you said at one point, I think you asked her

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Speaker 1: for explanation, what do you mean tell me what you

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Speaker 1: think a cook is and what a chef is? You

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Speaker 1: you asked some sort of like clarifying follow up question,

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Speaker 1: which is to to Andy's point about you being a

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Speaker 1: recourse is exactly how you feel as a viewer. You're like,

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Speaker 1: all you want to do as a viewers go what

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Speaker 1: are you getting? Like, what's the point? What do you

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Speaker 1: think a cook is? What do you think a chef is?

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Speaker 1: And what is what are you trying to say here? Right?

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Speaker 1: This is a thing. You notice this in I'm sure

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Speaker 1: you notice it in Hollywood and meetings and lunch is

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Speaker 1: like when people don't know the tem but sure the room.

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Speaker 1: And it happens with successful, smart people, like we're both

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Speaker 1: on the same show. She's an elevated woman in New York.

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Speaker 1: She was married to bet all the stuff I said before.

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Speaker 1: She's sitting at a table and she's not aware of

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Speaker 1: the temperature of what's going on. She's telling me I'm

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Speaker 1: attacking her, and we're all like, you're not in the

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Speaker 1: same meeting. We are, Like, what's what is that about

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Speaker 1: in life? Why does some people understand the temperature and

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Speaker 1: others don't have a room of a meeting, of a scene. Why?

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Speaker 1: I mean, I think it has to do a lot

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Speaker 1: with somebody just being too much inside themselves. They're not

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Speaker 1: looking out, not observing the people around them. They're not

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Speaker 1: in the moment, they're not being present. They're on some

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Speaker 1: path that they have pre sort of decided that they're

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Speaker 1: going to. This is what I'm going to do. Yes,

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Speaker 1: that's so smart. And as an actress, I remember taking

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Speaker 1: acting classes and it was Meisner where you you're not

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Speaker 1: supposed to know the punctuation or anything. You're supposed to

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Speaker 1: listen to the other actor and respond that way, versus

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Speaker 1: what you how you want to say ha ha ha

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Speaker 1: with a laugh. You know, you're you're you're actually, I'm

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Speaker 1: sure in scenes for you, you think it's gonna go

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Speaker 1: one way and then something happens in the moment or

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Speaker 1: someone drops something and you do it totally differently. No,

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Speaker 1: I don't know that all the time. All the time,

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Speaker 1: I think there's this there's this old thing of there's

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Speaker 1: three versions of the scene. There's the version you do

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Speaker 1: that you think you're gonna do, there's the version you

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Speaker 1: actually do, and then there's the version you do in

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Speaker 1: your car on the way home. Oh that's amazingly But

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Speaker 1: you're absolutely right. It can totally go it differently, And

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Speaker 1: I love that as an actor, just as a side tangent, right, Like,

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Speaker 1: I think that is where the joy is. That's where

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Speaker 1: it feels alive to me. That's where my heart starts

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Speaker 1: pounding and and you know the mic on my chest

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Speaker 1: starts picking up my heartbeak. That's where I feel like

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Speaker 1: I am fully you know, in the pocket as they say,

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Speaker 1: and the gift, Yes, like it feels like it's I'm

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Speaker 1: really really there and when you come in with okay,

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Speaker 1: this is how I'm going to do this scene, and

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Speaker 1: this is how I have decided this scene is going

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Speaker 1: to go, and I am going to say the line

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Speaker 1: in this way, and it's just going to do waning

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Speaker 1: that often is kind of just bullshit. And the best

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Speaker 1: version for me, anyway, is when you throw that out

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Speaker 1: and you're listening and you're reacting to the other person

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Speaker 1: who's now doing something in front of you that's potentially incredible,

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Speaker 1: and so you want to kind of give something back

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Speaker 1: to them in this in this tennis match, you know,

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Speaker 1: because you couldn't even the game is moving too fast.

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Speaker 1: There's no way you could even hold. Please, I'd like

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Speaker 1: to react to you in the way that I decided

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Speaker 1: I was going to do it yesterday, like it would

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Speaker 1: be that's how people are in their head. But that

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Speaker 1: was the gift of that scene, like me not being

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Speaker 1: in my head and be you know, just responding to

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Speaker 1: what was happening in front of me, like who could

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Speaker 1: prepare for that? You can? And the dinner and diner,

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Speaker 1: So it's not that different. I'm not even making a

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Speaker 1: joke like us. If you're true to the if you're

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Speaker 1: true and self aware, that's what I was going to

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Speaker 1: say to you. If you're self aware. You you probably

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Speaker 1: understand the temperature of the room better than someone who's

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Speaker 1: not self aware. And if you're true to the art

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Speaker 1: of what you're doing, even reality TV, that's where it's

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Speaker 1: like joy of the shell's joy. Sometimes it's just like

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Speaker 1: that was insane. And that's what's so one of the

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Speaker 1: one of the many, many interesting things to talk about

400
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Speaker 1: about that dinner in this episode is you can see

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Speaker 1: and feel the temperature change during the dinner. You feel

402
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Speaker 1: it change, and you can see all of you around

403
00:20:39,560 --> 00:20:43,359
Speaker 1: Kelly realizing the temperature is changing and going through this

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Speaker 1: trajectory of sort of confusion and trying to figure out

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Speaker 1: what she's saying and trying to clarify things too. Something's

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Speaker 1: run here and I think we need to actually back

407
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Speaker 1: away from this. This has gotten to the moment, yeah,

408
00:20:57,840 --> 00:21:01,880
Speaker 1: like yes, the lightbulb of like this is more serious

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Speaker 1: than we thought it was. And then just icely just

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00:21:05,240 --> 00:21:07,639
Speaker 1: frustration and just you know, with the gummy bearers and

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Speaker 1: all of that. It was just like what you do

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Speaker 1: precisely for all of the things that are let's just say,

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Speaker 1: sort of interesting and surprising that Kelly does in this hour,

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Speaker 1: I felt like her reaction to the gift bag was

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Speaker 1: huge and very telling that something bad was coming, that

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Speaker 1: something bad was about to happen when I rewatched it,

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Speaker 1: which I did today again, by the way, because they

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Speaker 1: really wanted to be I'm telling you, if you know me,

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Speaker 1: if anyone knows me, they know I do very very

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Speaker 1: little research for any role. I'm not a method actor.

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Speaker 1: I'm very bad at doing like homework, like I'm not

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Speaker 1: like that. So I when I rewatched it again this morning,

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Speaker 1: her reaction when she opens the door and sees the

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Speaker 1: gift bag, she actually jumps. But I also couldn't tell

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Speaker 1: if that was pre sort of she was making that

426
00:21:55,320 --> 00:21:57,320
Speaker 1: up in the moment, or if that was a real

427
00:21:57,400 --> 00:22:00,159
Speaker 1: genuine reaction for her to jump when she opened the

428
00:22:00,600 --> 00:22:02,840
Speaker 1: door and see the gift bag and then she starts

429
00:22:02,880 --> 00:22:04,919
Speaker 1: crying on the bed, which did. I don't know if

430
00:22:04,960 --> 00:22:07,600
Speaker 1: it's about the gift bag or not, but I think

431
00:22:07,600 --> 00:22:11,600
Speaker 1: that she's aware that I'm marketing my brand under the

432
00:22:11,680 --> 00:22:14,320
Speaker 1: guise of a gift bag, and it's annoying her because

433
00:22:14,320 --> 00:22:17,000
Speaker 1: it's all about me. And what I will say about

434
00:22:17,040 --> 00:22:19,760
Speaker 1: housewives is it can be never about what it's about,

435
00:22:19,840 --> 00:22:22,879
Speaker 1: Like you can get frustrated and react in a different

436
00:22:22,880 --> 00:22:25,359
Speaker 1: way in a scene because you're dehydrated and you drank

437
00:22:25,359 --> 00:22:26,960
Speaker 1: three drinks because seem like a good idea and you

438
00:22:27,000 --> 00:22:28,720
Speaker 1: just wanted to have a drink to take the edge off.

439
00:22:28,760 --> 00:22:30,560
Speaker 1: And then and she doesn't, really she didn't, she didn't

440
00:22:30,640 --> 00:22:32,880
Speaker 1: drink a lot. I'm just saying like things can be

441
00:22:33,000 --> 00:22:37,000
Speaker 1: disproportionately played out because of something else that happened before.

442
00:22:37,440 --> 00:22:40,120
Speaker 1: You know, Ramona was always the best because Ramona doesn't care.

443
00:22:40,200 --> 00:22:44,200
Speaker 1: Ramona could literally say the most egregious thing to someone

444
00:22:44,240 --> 00:22:46,720
Speaker 1: and in the next scene hit a pinata and dance

445
00:22:46,840 --> 00:22:49,000
Speaker 1: like it's New Year's even clean up that mess two

446
00:22:49,040 --> 00:22:53,000
Speaker 1: weeks from Thursday. If I do something one word sideways,

447
00:22:53,040 --> 00:22:56,080
Speaker 1: I'm in my head about it later, So I don't know.

448
00:22:56,160 --> 00:22:58,719
Speaker 1: You know, Kelly probably realizes like this is getting out

449
00:22:58,760 --> 00:23:01,639
Speaker 1: of control and she can't sense what's going on, and

450
00:23:01,640 --> 00:23:04,800
Speaker 1: and this girl's here again, haunting me with this gift bag,

451
00:23:04,840 --> 00:23:10,960
Speaker 1: and it's an absolutely irrational, disproportionate response. But being fairness

452
00:23:11,000 --> 00:23:14,520
Speaker 1: to the genre, it's like things tick up, you know,

453
00:23:14,680 --> 00:23:17,960
Speaker 1: and then you're you're just you're just off, or it's

454
00:23:18,000 --> 00:23:21,119
Speaker 1: just you can't handle the game moving so quickly. Whatever

455
00:23:21,200 --> 00:23:24,440
Speaker 1: is going on and we're talking about the complaint pad

456
00:23:24,560 --> 00:23:28,560
Speaker 1: and then I, oh, yeah, I felt something. This is

457
00:23:28,600 --> 00:23:30,600
Speaker 1: something I noticed. We never was never really talked about

458
00:23:30,640 --> 00:23:32,880
Speaker 1: about the episode. There was a way do you ever

459
00:23:32,960 --> 00:23:36,000
Speaker 1: have friends who want to like shroud a compliment in

460
00:23:36,080 --> 00:23:40,200
Speaker 1: some sort of insult or instructive like Kelly. She told

461
00:23:40,320 --> 00:23:43,359
Speaker 1: Alex that she was channeling the devil, but she asked

462
00:23:43,359 --> 00:23:46,520
Speaker 1: this way to like, you know what, you're great, and

463
00:23:46,560 --> 00:23:49,320
Speaker 1: you know what's great, It's really great when you smile.

464
00:23:49,960 --> 00:23:55,240
Speaker 1: It's so nice when you which means like it's yeah, yeah,

465
00:23:55,400 --> 00:23:57,879
Speaker 1: like you know, or someone like you know, it's just

466
00:23:58,000 --> 00:24:00,920
Speaker 1: nice to see you like relaxed like this, like so much.

467
00:24:01,920 --> 00:24:04,119
Speaker 1: So she has this way of each time talking to

468
00:24:04,160 --> 00:24:07,679
Speaker 1: sound like no and it's okay, Sonja. I get not

469
00:24:07,720 --> 00:24:09,800
Speaker 1: as much as I used to, which is maybe not

470
00:24:09,840 --> 00:24:12,680
Speaker 1: a good thing. But um, when I was on Madman,

471
00:24:12,880 --> 00:24:15,200
Speaker 1: because my character was like, so it looks so different

472
00:24:15,200 --> 00:24:17,400
Speaker 1: than me, and she was, you know, it was the sixties,

473
00:24:17,400 --> 00:24:19,120
Speaker 1: and so we had this sort of grandma hair no

474
00:24:19,119 --> 00:24:20,800
Speaker 1: matter how old you were, if you were twenty five

475
00:24:20,840 --> 00:24:23,800
Speaker 1: and you had this sort of grandma woffed you know, hair,

476
00:24:24,280 --> 00:24:27,480
Speaker 1: and the costumes always made you look older, and um,

477
00:24:27,480 --> 00:24:28,879
Speaker 1: and I was much you know, I was younger than

478
00:24:28,880 --> 00:24:31,360
Speaker 1: I am. Yeah, but I would always get in person

479
00:24:31,720 --> 00:24:34,240
Speaker 1: people would say to me, you look so much better

480
00:24:34,280 --> 00:24:36,720
Speaker 1: in person, or you look so much prettier in person,

481
00:24:36,920 --> 00:24:41,439
Speaker 1: or younger in person all the time, yes, And I

482
00:24:41,480 --> 00:24:44,480
Speaker 1: always just want to say like, and I don't because

483
00:24:44,480 --> 00:24:46,240
Speaker 1: what's the point of getting into it? But like no,

484
00:24:46,400 --> 00:24:49,639
Speaker 1: I always say, like, do you know that? That's me too? Though,

485
00:24:49,800 --> 00:24:54,880
Speaker 1: like that, like thank you also me and and so

486
00:24:54,920 --> 00:24:58,479
Speaker 1: now I feel worried about how I look there. It's

487
00:24:58,480 --> 00:25:00,920
Speaker 1: such a funny thing. Yeah, I call it like it's

488
00:25:00,920 --> 00:25:04,800
Speaker 1: like a It's like an insult, shrouded and frosting. Yeah.

489
00:25:04,920 --> 00:25:08,960
Speaker 1: What I found about this season and maturing now is

490
00:25:09,000 --> 00:25:11,760
Speaker 1: that I feel like back then, alex and Simon was

491
00:25:11,920 --> 00:25:14,480
Speaker 1: strange to me, and I was a little like either

492
00:25:14,560 --> 00:25:18,400
Speaker 1: judgmental or didn't relate to Alex And and watching back,

493
00:25:18,440 --> 00:25:22,959
Speaker 1: I feel like she was mature and like she poised

494
00:25:23,080 --> 00:25:26,640
Speaker 1: and smart and like, you know, not like the coolest

495
00:25:26,720 --> 00:25:28,640
Speaker 1: girl of all of us. And I have a different

496
00:25:28,680 --> 00:25:32,320
Speaker 1: compassion and feeling for her, like an affinity towards her

497
00:25:32,320 --> 00:25:34,600
Speaker 1: when I watch back, Yeah, like when I watch back now,

498
00:25:35,040 --> 00:25:36,760
Speaker 1: I liked the way she was in this episode. I

499
00:25:36,800 --> 00:25:39,320
Speaker 1: like the way she handled when Kelly told her she

500
00:25:39,440 --> 00:25:41,960
Speaker 1: was channeling the Dell Devil, and she did sort of

501
00:25:42,280 --> 00:25:44,359
Speaker 1: back me up. Alough she was of sound mind, she

502
00:25:44,440 --> 00:25:46,920
Speaker 1: might have been a two sound mind for that show.

503
00:25:46,920 --> 00:25:50,840
Speaker 1: In wait, I that it's so interesting because I totally agree,

504
00:25:50,880 --> 00:25:54,359
Speaker 1: and having watch all season three again, I see that

505
00:25:54,440 --> 00:25:57,960
Speaker 1: through all the throughout the season that she is. She

506
00:25:58,080 --> 00:26:00,680
Speaker 1: may not be as quick with the with the one

507
00:26:00,680 --> 00:26:04,040
Speaker 1: liner sometimes, and she may not be as as brutal

508
00:26:04,160 --> 00:26:07,280
Speaker 1: or have sort of the ton and be able to

509
00:26:07,320 --> 00:26:10,520
Speaker 1: sort of spar like some of the women can on

510
00:26:10,560 --> 00:26:14,440
Speaker 1: the show in this like fascinating way, but she's absolutely

511
00:26:15,040 --> 00:26:19,959
Speaker 1: probably like the calmst and the most normal. Yes, more Tea.

512
00:26:20,200 --> 00:26:24,000
Speaker 1: She was going to be fired, and I told her

513
00:26:24,040 --> 00:26:26,919
Speaker 1: to deliver that message that they're discussing that which I

514
00:26:26,920 --> 00:26:28,960
Speaker 1: guess she was in like makeup that they thought like

515
00:26:29,040 --> 00:26:32,360
Speaker 1: kabooky makeup. I told her, like I knew the producers

516
00:26:32,400 --> 00:26:34,360
Speaker 1: that someone had told me, and I said to her

517
00:26:34,640 --> 00:26:36,520
Speaker 1: to tell that message to Jail because and I was like,

518
00:26:36,760 --> 00:26:39,160
Speaker 1: because I knew it would be like good moment moment

519
00:26:39,160 --> 00:26:42,240
Speaker 1: And years later, Sonja, one of the producers, I will

520
00:26:42,240 --> 00:26:43,919
Speaker 1: not say who in the car said, I think we

521
00:26:44,000 --> 00:26:46,320
Speaker 1: have to let Sonya go. They couldn't find she was

522
00:26:46,359 --> 00:26:48,119
Speaker 1: just a disaster and it was all about the bidet

523
00:26:48,240 --> 00:26:50,080
Speaker 1: and the lage. It was the on the loop and

524
00:26:50,119 --> 00:26:52,639
Speaker 1: all this stuff. And there was a scene at a

525
00:26:52,680 --> 00:26:57,160
Speaker 1: restaurant called Cherry, a sushi restaurant where I just light

526
00:26:57,359 --> 00:27:02,720
Speaker 1: a match about her and Tinsley, like where Tinsley started

527
00:27:02,720 --> 00:27:06,879
Speaker 1: out living in Sonya's town house and was basically a

528
00:27:06,960 --> 00:27:10,840
Speaker 1: nobody who had been like arrested and was living in

529
00:27:11,359 --> 00:27:13,159
Speaker 1: and how buy up to that point she had this

530
00:27:13,280 --> 00:27:17,000
Speaker 1: rich guy sending flowers and Sonja's like, you know, poor

531
00:27:17,119 --> 00:27:20,000
Speaker 1: in bankrupt. I said something to like stir that up,

532
00:27:20,320 --> 00:27:23,080
Speaker 1: and it like lit up Sonja and she launched and

533
00:27:23,119 --> 00:27:25,200
Speaker 1: she did not get let go. That is an absolute fact.

534
00:27:25,359 --> 00:27:29,119
Speaker 1: I have the receipt. Did they know this? I mean

535
00:27:29,400 --> 00:27:31,399
Speaker 1: the girls, they wouldn't have cared, they wouldn't believe it.

536
00:27:31,400 --> 00:27:33,439
Speaker 1: But the producers will back it up a thousand percent.

537
00:27:33,720 --> 00:27:36,520
Speaker 1: Alex was going to be fired that season and Sonya

538
00:27:36,600 --> 00:27:38,640
Speaker 1: was going to be fired later and I went in

539
00:27:38,880 --> 00:27:41,160
Speaker 1: and just said, I said to the producer in the car,

540
00:27:41,280 --> 00:27:42,920
Speaker 1: give me one night. And that was the night that

541
00:27:43,000 --> 00:27:45,600
Speaker 1: Sonya resurrected herself. I forgot that. I don't even think

542
00:27:45,640 --> 00:27:47,359
Speaker 1: Sonya knows that. I mean, she would totally believe me,

543
00:27:47,480 --> 00:27:50,440
Speaker 1: she trust me, But that did happen that I forgot that.

544
00:27:50,440 --> 00:27:54,800
Speaker 1: That's crazy. Yeah, it's totally true because it was so

545
00:27:54,840 --> 00:27:57,800
Speaker 1: out of character for Alex to go do that. And

546
00:27:57,840 --> 00:28:01,560
Speaker 1: she's clearly so. She is a great job. She certainly

547
00:28:01,560 --> 00:28:05,520
Speaker 1: delivers the message, but she's clearly uncomfortable doing it. But

548
00:28:05,600 --> 00:28:08,879
Speaker 1: she she knows she's got to, Like you believe it.

549
00:28:08,880 --> 00:28:11,439
Speaker 1: It seems different. It's like an outlier, right, Like it's

550
00:28:11,480 --> 00:28:15,720
Speaker 1: a funny outside moment where you're like, huh, and that's

551
00:28:15,760 --> 00:28:21,159
Speaker 1: the behind the scenes literally yea. But Kelly tells Alex

552
00:28:21,200 --> 00:28:23,959
Speaker 1: that she was channeling the devil. I just like that.

553
00:28:24,000 --> 00:28:26,879
Speaker 1: And I also like, I didn't go to the photo

554
00:28:26,920 --> 00:28:28,800
Speaker 1: shoot and they would always make you go now to

555
00:28:28,880 --> 00:28:31,760
Speaker 1: something like that, Like I didn't guess and it's okay,

556
00:28:31,800 --> 00:28:33,879
Speaker 1: Like different things happen. It's being real. I like I

557
00:28:34,000 --> 00:28:35,639
Speaker 1: used to say to one of the producers on my

558
00:28:35,720 --> 00:28:38,080
Speaker 1: own show Bethany ever after, when one of the people

559
00:28:38,160 --> 00:28:40,320
Speaker 1: was like, we're gonna have you in a big giant dress,

560
00:28:40,320 --> 00:28:42,840
Speaker 1: like Carrie Bradshaw on your bed and whatever, and I said,

561
00:28:43,160 --> 00:28:46,360
Speaker 1: let's do real, Like I just like doing real, So

562
00:28:46,440 --> 00:28:48,960
Speaker 1: I like that. I didn't go to the photo shoot,

563
00:28:49,000 --> 00:28:51,040
Speaker 1: and I really was with you on that one. I

564
00:28:51,040 --> 00:28:52,840
Speaker 1: was like, oh God, it goes to a photo shoot

565
00:28:52,840 --> 00:28:57,320
Speaker 1: on vacation. That sounds awful. There's a moment in the

566
00:28:57,360 --> 00:29:00,080
Speaker 1: episode where you laid down on this chair on that

567
00:29:00,240 --> 00:29:03,360
Speaker 1: sort of outside and you can just tell just speaking

568
00:29:03,440 --> 00:29:06,040
Speaker 1: to the realness, you can just tell like kind of exhausted,

569
00:29:06,720 --> 00:29:10,200
Speaker 1: like there's a lot going on, pregnant, The way you

570
00:29:10,280 --> 00:29:13,320
Speaker 1: sit down in this chair, it's just so real. You're

571
00:29:13,360 --> 00:29:15,680
Speaker 1: just I felt for you in that moment. I was like, oh,

572
00:29:15,720 --> 00:29:25,920
Speaker 1: it's been a long trip. I feel that all right. Well,

573
00:29:26,000 --> 00:29:27,560
Speaker 1: it looks like we're gonna be at the dinner now.

574
00:29:28,040 --> 00:29:31,080
Speaker 1: So I felt the pressure of cooking, which is weird

575
00:29:31,120 --> 00:29:35,040
Speaker 1: because I cook the crap as you volunteer, Did you

576
00:29:35,080 --> 00:29:37,520
Speaker 1: want to cook or where you asked? No. I think

577
00:29:37,560 --> 00:29:39,400
Speaker 1: they made this thing up of everyone's going to give

578
00:29:39,400 --> 00:29:41,960
Speaker 1: their gift, and I guess and that was giving, right,

579
00:29:42,400 --> 00:29:44,600
Speaker 1: and so mine was to do that. And the producers

580
00:29:44,600 --> 00:29:46,720
Speaker 1: are probably thinking, like they got the big white board

581
00:29:46,720 --> 00:29:49,160
Speaker 1: out and well, now we had that comment. So now

582
00:29:49,240 --> 00:29:51,720
Speaker 1: let's get Bethany to cook, you know, which is again

583
00:29:51,760 --> 00:29:53,880
Speaker 1: you're on this vacation and you're working, but you've got

584
00:29:53,880 --> 00:29:56,239
Speaker 1: to clean up what happened in that other scene for

585
00:29:56,280 --> 00:29:58,200
Speaker 1: them and for you, because you don't know what it

586
00:29:58,240 --> 00:30:00,320
Speaker 1: looks like the whole you're working as a off then

587
00:30:00,360 --> 00:30:02,520
Speaker 1: you don't make a lot of money. What if the

588
00:30:02,520 --> 00:30:04,040
Speaker 1: world thinks you're a fraud and you don't know how

589
00:30:04,080 --> 00:30:07,040
Speaker 1: to call like So so we cook and I picked

590
00:30:07,040 --> 00:30:10,360
Speaker 1: that simple menu and the crab cakes were amazing. I

591
00:30:10,400 --> 00:30:12,560
Speaker 1: made a lot of leftover. Ramona was obsessed with the

592
00:30:12,600 --> 00:30:14,920
Speaker 1: crab pack. She's she will talk about the crab cakes

593
00:30:14,920 --> 00:30:17,880
Speaker 1: of this day. And Ramona, like me, get cares deeply

594
00:30:17,920 --> 00:30:20,920
Speaker 1: about her food and she she eats well, she cooks,

595
00:30:20,960 --> 00:30:23,320
Speaker 1: but she's like cares about her food. So that night

596
00:30:23,440 --> 00:30:26,680
Speaker 1: off off camera and when the producers were like eating

597
00:30:26,680 --> 00:30:30,240
Speaker 1: their feelings and stressed out. And usually the producers don't

598
00:30:30,280 --> 00:30:33,960
Speaker 1: like get into our food our like Jacuzy, like they've

599
00:30:34,000 --> 00:30:36,800
Speaker 1: got their own thing, but it was a very outlier night.

600
00:30:36,840 --> 00:30:39,560
Speaker 1: It was crazy. The wheels came up, so the producers

601
00:30:39,560 --> 00:30:41,600
Speaker 1: all went into the kitchen and ate all my leftover

602
00:30:41,680 --> 00:30:45,400
Speaker 1: crab cakes, and Ramona had a ship it over the

603
00:30:45,480 --> 00:30:50,840
Speaker 1: crab cakes. She cursed out. She cursed out the crew

604
00:30:51,160 --> 00:30:54,600
Speaker 1: about the crab cakes. Asked Matt Anderson and Darren Ward,

605
00:30:54,840 --> 00:30:57,640
Speaker 1: because Darren Ward is very passionate about it, asked if

606
00:30:57,640 --> 00:30:59,960
Speaker 1: she did not have a ship fit about the crab cake.

607
00:31:00,000 --> 00:31:02,959
Speaker 1: I didn't leave a single one. I don't know if

608
00:31:02,960 --> 00:31:07,480
Speaker 1: I'm a cook going on promonas is like priorities. You

609
00:31:07,520 --> 00:31:14,920
Speaker 1: guys ate their grabs, Yes, your monster, and she meant it,

610
00:31:15,000 --> 00:31:17,960
Speaker 1: and I were like, and that's Matt Anderson and Darren

611
00:31:17,960 --> 00:31:20,000
Speaker 1: Ward ate the crab cakes. And they also they may

612
00:31:20,040 --> 00:31:22,440
Speaker 1: call me a chepherd cook, but everybody was eating my

613
00:31:22,480 --> 00:31:25,480
Speaker 1: crab cakes. It was definitely not a normal night. So

614
00:31:25,760 --> 00:31:32,680
Speaker 1: um so we started off with Kellie talking aloud. Oh,

615
00:31:32,840 --> 00:31:34,880
Speaker 1: she starts in on the salsas. I had to I

616
00:31:34,920 --> 00:31:39,080
Speaker 1: didn't remember that. Did you make the salsa like a derogation?

617
00:31:39,400 --> 00:31:42,719
Speaker 1: Because and by the way, I don't normally make salsas

618
00:31:42,800 --> 00:31:46,520
Speaker 1: like I like, I literally love toastino salsa. I just

619
00:31:46,560 --> 00:31:49,080
Speaker 1: have a weird thing. I don't usually make fresh salsas.

620
00:31:49,120 --> 00:31:52,200
Speaker 1: The pressure was definitely on. I don't even like mango salsa.

621
00:31:52,480 --> 00:31:56,280
Speaker 1: A trio of salsas like, who are you you fraud?

622
00:31:56,440 --> 00:31:59,440
Speaker 1: I don't ever make salsas press, so I couldn't believe it.

623
00:31:59,480 --> 00:32:04,880
Speaker 1: I made maybe the enormous amount of pressure you're in

624
00:32:04,960 --> 00:32:10,480
Speaker 1: there trying to figure out to read different. Never never

625
00:32:10,560 --> 00:32:12,760
Speaker 1: in my life. Besides, then did I make a trio

626
00:32:12,880 --> 00:32:14,520
Speaker 1: of sal says, who do you think you all? What

627
00:32:14,560 --> 00:32:17,959
Speaker 1: are you crazy? I'm not making a So I know

628
00:32:18,080 --> 00:32:20,440
Speaker 1: that I was feeling it because I saw that last

629
00:32:20,520 --> 00:32:23,120
Speaker 1: night and I was like, what the bitch made sauces?

630
00:32:24,080 --> 00:32:28,360
Speaker 1: I mean crazy, incredible? And then she seems to enjoy

631
00:32:28,560 --> 00:32:32,640
Speaker 1: the crab cakes as everyone did. Now she left it

632
00:32:32,720 --> 00:32:35,400
Speaker 1: on the plate. Oh that's right, what am I talking about?

633
00:32:35,400 --> 00:32:37,040
Speaker 1: But she says it was good or she said the

634
00:32:37,080 --> 00:32:39,840
Speaker 1: salad was good or something she she kind of throws

635
00:32:39,880 --> 00:32:44,640
Speaker 1: out like some sort of compliment about something. Yes, which

636
00:32:44,680 --> 00:32:47,920
Speaker 1: is good because Martha, now, Martha Stewart and Kelly ben

637
00:32:47,960 --> 00:32:50,600
Speaker 1: Simone have said that my sala addressings are extraordinary. And

638
00:32:50,640 --> 00:32:52,320
Speaker 1: I'm in the sala addressing business and I make a

639
00:32:52,320 --> 00:32:53,800
Speaker 1: good sound. So that's the rest of my life. I

640
00:32:53,800 --> 00:32:56,000
Speaker 1: will have Kelly ben Simone and Martha Stewart, two people

641
00:32:56,000 --> 00:32:59,360
Speaker 1: who despise me, have said good things about my dressing.

642
00:32:59,440 --> 00:33:01,800
Speaker 1: So literally only Martha and Kelly hate me more than

643
00:33:01,840 --> 00:33:04,320
Speaker 1: anybody in the world, and they both have said positive

644
00:33:04,320 --> 00:33:06,240
Speaker 1: things about my salad dressing. So then that would mean

645
00:33:06,560 --> 00:33:11,320
Speaker 1: if your biggest enemy, So that's good more than compliment

646
00:33:11,360 --> 00:33:16,200
Speaker 1: about you're dressing from a bread. Thank you, thank you,

647
00:33:16,360 --> 00:33:20,600
Speaker 1: I appreciate you. Yes, So she I like the term

648
00:33:20,680 --> 00:33:24,959
Speaker 1: now in current society that I didn't even know then microaggressions,

649
00:33:25,040 --> 00:33:29,360
Speaker 1: because I feel like eating one fifth of Maybe I'm

650
00:33:29,400 --> 00:33:32,240
Speaker 1: not I'm not Stephen Hawkins, but maybe one fourth of

651
00:33:32,280 --> 00:33:35,560
Speaker 1: a crab cake is a micro aggression. And who is

652
00:33:35,600 --> 00:33:37,920
Speaker 1: it that's very concerned about sending it back? Is it

653
00:33:38,040 --> 00:33:42,480
Speaker 1: Ramona or someone's rama and a very concerned about sending

654
00:33:42,480 --> 00:33:44,880
Speaker 1: it back? Now? Is she concerned about sending it back round?

655
00:33:44,920 --> 00:33:48,480
Speaker 1: And she just wants the rest of you? Well, it's

656
00:33:48,520 --> 00:33:50,200
Speaker 1: funny you say that because in the scene it really

657
00:33:50,200 --> 00:33:52,160
Speaker 1: looks like she's concerned about sending it back. It doesn't

658
00:33:52,200 --> 00:33:55,640
Speaker 1: track personality wise. But given crab cake gait that happened

659
00:33:55,680 --> 00:33:58,240
Speaker 1: later with the producers, we can never know. We can't

660
00:33:58,280 --> 00:34:03,800
Speaker 1: be very suspicious. And so and Sonya was lovely and

661
00:34:03,880 --> 00:34:08,160
Speaker 1: always is um here. Yes, now we get into the string.

662
00:34:08,640 --> 00:34:11,120
Speaker 1: You've seen those strings like around a tenderloin, and I

663
00:34:11,160 --> 00:34:12,879
Speaker 1: definitely did not mean that, but I was like, oh

664
00:34:12,920 --> 00:34:16,080
Speaker 1: my god, and it was hers was not very cooked.

665
00:34:16,120 --> 00:34:18,239
Speaker 1: So the one person who for some reason it wasn't

666
00:34:18,239 --> 00:34:21,840
Speaker 1: evenly cooked and there's a string, I'm dying inside. It

667
00:34:22,160 --> 00:34:24,120
Speaker 1: happened to me one time on another show where I

668
00:34:24,160 --> 00:34:26,799
Speaker 1: made a burger for Frederick on my barbecue and like

669
00:34:26,880 --> 00:34:29,600
Speaker 1: it wasn't cooked. And I'm very self conscious, not about

670
00:34:29,640 --> 00:34:31,160
Speaker 1: just cooking, Like if I do something, I want to

671
00:34:31,160 --> 00:34:32,320
Speaker 1: look at it. I want to be perfect as the

672
00:34:32,360 --> 00:34:35,920
Speaker 1: lighting okay is to me it's annoying that funny you're

673
00:34:35,960 --> 00:34:37,239
Speaker 1: proud of what you do and you want it to

674
00:34:37,280 --> 00:34:39,360
Speaker 1: be good. I wanted to be good. So that was

675
00:34:39,400 --> 00:34:41,600
Speaker 1: something that you're thinking your mind again, Like it was

676
00:34:41,680 --> 00:34:44,760
Speaker 1: much younger and I realized that like everything doesn't matter.

677
00:34:45,120 --> 00:34:46,759
Speaker 1: But I was much younger and was probably like, oh

678
00:34:46,800 --> 00:34:48,680
Speaker 1: my god, I'm gonna be thought of as I can't cook,

679
00:34:48,719 --> 00:34:50,839
Speaker 1: and you know, this is this is my career at

680
00:34:50,840 --> 00:34:52,560
Speaker 1: that point, that was my how I made my living.

681
00:34:52,640 --> 00:34:54,719
Speaker 1: So I was thinking in my head like this is

682
00:34:54,760 --> 00:34:56,600
Speaker 1: gonna air and it's gonna not be great for that,

683
00:34:56,680 --> 00:34:59,160
Speaker 1: and that was not that was sort of stressed. Of course,

684
00:34:59,560 --> 00:35:01,440
Speaker 1: So when are in the kitchen of all the people

685
00:35:01,480 --> 00:35:04,880
Speaker 1: that this particular piece of meat should go to, and

686
00:35:04,920 --> 00:35:07,200
Speaker 1: then when you're when you're in the kitchen, you are

687
00:35:07,400 --> 00:35:10,040
Speaker 1: very one of my favorite moments of the episodes. In

688
00:35:10,200 --> 00:35:12,880
Speaker 1: the kitchen, you're basically like, it's just a fucking dinner.

689
00:35:12,880 --> 00:35:15,480
Speaker 1: It's a fucking dinner. Who cares to dinner? It doesn't matter,

690
00:35:15,520 --> 00:35:17,920
Speaker 1: it's unimportant. So it's that kind of is that a

691
00:35:17,960 --> 00:35:19,720
Speaker 1: bit of an act because since I you were secretly

692
00:35:19,719 --> 00:35:22,920
Speaker 1: freaking out stress, right, you know, I I thought that

693
00:35:22,960 --> 00:35:24,640
Speaker 1: was sort of like I didn't know if it was

694
00:35:24,680 --> 00:35:26,360
Speaker 1: obvious or not that like I don't mean that like

695
00:35:26,360 --> 00:35:28,799
Speaker 1: I'm saying, tell you, I don't thought maybe like you're

696
00:35:28,840 --> 00:35:31,839
Speaker 1: trying to convince yourself it's not it's just dinner. It's fine,

697
00:35:31,840 --> 00:35:35,279
Speaker 1: but yes, well of course it's your lively because well

698
00:35:35,320 --> 00:35:37,320
Speaker 1: but no. But it's also the person has been saying

699
00:35:37,320 --> 00:35:39,880
Speaker 1: the entire someone saying to you you are a shitty actress.

700
00:35:39,920 --> 00:35:41,560
Speaker 1: I don't know that you're an actress even and I

701
00:35:41,560 --> 00:35:43,719
Speaker 1: don't you were in a high school play. I don't.

702
00:35:43,800 --> 00:35:46,160
Speaker 1: I haven't seen you in on Broadway, so okay, you

703
00:35:46,200 --> 00:35:49,399
Speaker 1: say you're an actress, you'd be like, yeah, so, um,

704
00:35:49,880 --> 00:35:52,759
Speaker 1: it was just a random outlier of a stick and

705
00:35:52,840 --> 00:35:55,239
Speaker 1: just didn't I definitely didn't have a meet thermometer there,

706
00:35:55,719 --> 00:35:58,279
Speaker 1: and I never want something to be overcooked, so I

707
00:35:58,360 --> 00:36:00,880
Speaker 1: probably took it off to you. I definitely took it

708
00:36:00,920 --> 00:36:02,839
Speaker 1: off to Earl and I wanted to be overcooked or

709
00:36:03,120 --> 00:36:04,960
Speaker 1: or don't. I don't remember, and what the grill was

710
00:36:05,000 --> 00:36:06,680
Speaker 1: and it's not my own wal and you know who

711
00:36:06,680 --> 00:36:08,640
Speaker 1: who even knows? And I'm not cooking all the time.

712
00:36:08,640 --> 00:36:11,399
Speaker 1: Maybe I'm a cook now chef, but um, and I'm

713
00:36:11,400 --> 00:36:14,200
Speaker 1: not always making steak, and god who knows. Now we

714
00:36:14,280 --> 00:36:17,880
Speaker 1: start to, like literally now we start to figuratively get cooking.

715
00:36:17,960 --> 00:36:20,560
Speaker 1: Now we start to get cooking. And there's a moment

716
00:36:20,640 --> 00:36:22,920
Speaker 1: not only when we all realized it had gone SI was,

717
00:36:22,960 --> 00:36:25,359
Speaker 1: but when I realized that everybody else realized what I

718
00:36:25,360 --> 00:36:28,120
Speaker 1: had been saying. It was like, I mean, I don't

719
00:36:28,120 --> 00:36:29,360
Speaker 1: know what was going on with her, and that's the

720
00:36:29,400 --> 00:36:31,480
Speaker 1: type of stuff I won't speculate about, but like her,

721
00:36:31,880 --> 00:36:34,080
Speaker 1: I feel like you're trying to kill me. And I

722
00:36:34,080 --> 00:36:36,920
Speaker 1: threw up last night, like what are we talking about?

723
00:36:36,960 --> 00:36:42,480
Speaker 1: It became very strange. There was the bed and by

724
00:36:42,480 --> 00:36:44,719
Speaker 1: the way she says something earlier when you guys are

725
00:36:44,719 --> 00:36:47,880
Speaker 1: on the boat, like nobody ever explains or talks about.

726
00:36:47,960 --> 00:36:49,960
Speaker 1: It's not brought up in the you know, one ever

727
00:36:50,040 --> 00:36:52,040
Speaker 1: says anything. Which is one of my favorite things, which

728
00:36:52,080 --> 00:36:56,600
Speaker 1: she says, statchels of gold. Please tell me you have

729
00:36:56,680 --> 00:36:59,840
Speaker 1: an explanation for that, because it gets every time I'm like,

730
00:37:00,040 --> 00:37:01,960
Speaker 1: what is it mean? I just want to know what

731
00:37:02,000 --> 00:37:05,600
Speaker 1: I means die. We definitely have to do a production

732
00:37:05,640 --> 00:37:08,640
Speaker 1: company together called It's just a great name for a

733
00:37:08,680 --> 00:37:18,520
Speaker 1: production company, an you know, it is never no Alright,

734
00:37:18,600 --> 00:37:20,560
Speaker 1: So here's the thing that I'm going to tell you,

735
00:37:20,640 --> 00:37:23,400
Speaker 1: honestly and why the show could have been maddening for Kelly.

736
00:37:23,400 --> 00:37:25,640
Speaker 1: And I don't remember all of it, but here's what

737
00:37:25,719 --> 00:37:29,560
Speaker 1: I think. So I think she thinks in these non sequiturs,

738
00:37:29,600 --> 00:37:32,560
Speaker 1: but doesn't isn't explaining like what she's thinking, Like there's

739
00:37:32,560 --> 00:37:36,239
Speaker 1: like the synapses are going off inside, but they are not.

740
00:37:36,520 --> 00:37:39,080
Speaker 1: I dreamed you killed me last night, like or maybe

741
00:37:39,080 --> 00:37:41,160
Speaker 1: that's something she did dream, but she's making it like

742
00:37:41,440 --> 00:37:43,400
Speaker 1: you tried to kill me last night. It's not saying

743
00:37:43,400 --> 00:37:44,840
Speaker 1: the full thought. And I'm giving her a lot of

744
00:37:44,840 --> 00:37:47,280
Speaker 1: credit here because I could just let everyone think she's batship.

745
00:37:47,360 --> 00:37:49,279
Speaker 1: But I'm going to tell you that I think the

746
00:37:49,400 --> 00:37:53,440
Speaker 1: first time I ever like show the skinny goll cocktail

747
00:37:53,520 --> 00:37:57,160
Speaker 1: was that this guy Robert Verity a stylist studio somewhere,

748
00:37:57,560 --> 00:38:00,080
Speaker 1: and maybe it didn't air. I think it did. But

749
00:38:00,520 --> 00:38:02,600
Speaker 1: when I saw her in the scene, it might have

750
00:38:02,600 --> 00:38:03,960
Speaker 1: been one of the first times I met her, or

751
00:38:03,960 --> 00:38:05,440
Speaker 1: she was there. I don't remember. I gotta go back

752
00:38:05,440 --> 00:38:08,400
Speaker 1: and look, but I think I said something about like,

753
00:38:08,760 --> 00:38:11,640
Speaker 1: uh yeah, and a leprecn is not going to come

754
00:38:11,680 --> 00:38:14,080
Speaker 1: out of a rainbow with a satchel of gold at

755
00:38:14,120 --> 00:38:16,799
Speaker 1: the end or something. I think I said something to

756
00:38:16,920 --> 00:38:22,280
Speaker 1: her at some point, And I also think somewhere along

757
00:38:22,320 --> 00:38:23,880
Speaker 1: the lines, and I don't remember saying this, and I

758
00:38:23,920 --> 00:38:25,560
Speaker 1: don't know I never talked about al Sharpton, so I

759
00:38:25,560 --> 00:38:28,239
Speaker 1: don't know what context it's in, but it's like the

760
00:38:28,320 --> 00:38:31,640
Speaker 1: way deep deep memory of my life that maybe somewhere

761
00:38:31,760 --> 00:38:34,560
Speaker 1: something I said something so she like brought it up

762
00:38:34,560 --> 00:38:36,680
Speaker 1: in the scene that I'm saying, you can't handle the

763
00:38:36,680 --> 00:38:38,640
Speaker 1: truth is from a few good men as you know.

764
00:38:38,840 --> 00:38:43,320
Speaker 1: But I think that maybe she thinks because I've referenced

765
00:38:43,400 --> 00:38:45,960
Speaker 1: al Sharpton somewhere else that I said, like I'm giving

766
00:38:45,960 --> 00:38:48,520
Speaker 1: her the credit for that. Those two things, you know,

767
00:38:48,560 --> 00:38:52,640
Speaker 1: they were like confused here we are, I don't know,

768
00:38:52,920 --> 00:38:58,600
Speaker 1: it's like these disassociated, disassociative thoughts. And she said something

769
00:38:58,640 --> 00:39:01,879
Speaker 1: about I of myself. Sometimes I never remember the things

770
00:39:01,880 --> 00:39:04,200
Speaker 1: that I say. So I'm watching this person talk and

771
00:39:04,280 --> 00:39:06,880
Speaker 1: like sometimes I laugh at my own stuff, and I say,

772
00:39:06,960 --> 00:39:09,680
Speaker 1: something's wrong with you? And she says, I don't, Like

773
00:39:10,440 --> 00:39:15,959
Speaker 1: I said, that's not an illness. Very good, it's very

774
00:39:16,200 --> 00:39:19,000
Speaker 1: very good. See, I don't think I played. I'd be

775
00:39:19,160 --> 00:39:22,239
Speaker 1: much more like Alex. I think so or something in

776
00:39:22,280 --> 00:39:24,279
Speaker 1: the in this In an episode like this, I don't

777
00:39:24,280 --> 00:39:28,000
Speaker 1: think I could engage on on that level. You're so quick, Um,

778
00:39:28,080 --> 00:39:29,719
Speaker 1: that's my level. I'm used to grow up with a

779
00:39:29,719 --> 00:39:32,960
Speaker 1: crazy like house and everyone loved. It's funny that the

780
00:39:33,000 --> 00:39:35,480
Speaker 1: more obvious lines of people love like your cuckoo for

781
00:39:35,719 --> 00:39:38,640
Speaker 1: cuckoo for Coco puffs, that to me, like everyone loves that,

782
00:39:38,719 --> 00:39:40,839
Speaker 1: and that's fine and funny, but that's not to me,

783
00:39:41,000 --> 00:39:43,640
Speaker 1: you know, watching it, like that's just a throw away.

784
00:39:43,680 --> 00:39:46,640
Speaker 1: You know, I think with the go to sleep, like,

785
00:39:46,680 --> 00:39:48,759
Speaker 1: I think I was just reacting, meaning I didn't know

786
00:39:48,800 --> 00:39:51,040
Speaker 1: that was going to be this iconic line, but it's

787
00:39:51,160 --> 00:39:55,480
Speaker 1: you're screaming for the audience in that moment. I look

788
00:39:55,480 --> 00:39:58,600
Speaker 1: at look at you. Wow, June. Okay, I like that

789
00:39:59,760 --> 00:40:02,000
Speaker 1: very and so you are. It's the Greek for it.

790
00:40:02,120 --> 00:40:05,000
Speaker 1: You are saying what we are all saying, because I

791
00:40:05,000 --> 00:40:09,759
Speaker 1: think if I'm not, she goes away and that's and

792
00:40:09,760 --> 00:40:12,920
Speaker 1: then she comes back, right, she comes back with the

793
00:40:12,960 --> 00:40:14,879
Speaker 1: gummy bears, and I think it's after that that they

794
00:40:14,880 --> 00:40:19,520
Speaker 1: go to sleep happens. And that is just how we

795
00:40:19,640 --> 00:40:23,000
Speaker 1: feel as an audience watching just we just wanted to

796
00:40:23,000 --> 00:40:24,560
Speaker 1: go to sleep. We just wanted to go and get

797
00:40:24,600 --> 00:40:27,680
Speaker 1: some rest and stop because it doesn't seem to be

798
00:40:29,080 --> 00:40:32,719
Speaker 1: going well, and she's gonna keep saying things and it's

799
00:40:32,760 --> 00:40:35,080
Speaker 1: going to keep getting worse for her, and she's going

800
00:40:35,160 --> 00:40:38,600
Speaker 1: to regret this tomorrow, and so there's a feeling from

801
00:40:38,600 --> 00:40:41,640
Speaker 1: her like she's being forced to stay and talk. But

802
00:40:41,760 --> 00:40:43,959
Speaker 1: that's not the case. Everyone else is like going to sleep,

803
00:40:44,000 --> 00:40:47,400
Speaker 1: and so that's why it doesn't feel vicious. You're also laughing,

804
00:40:48,239 --> 00:40:51,239
Speaker 1: you're kind of smiling when you say it, it's not

805
00:40:51,480 --> 00:40:54,120
Speaker 1: It doesn't feel like an attack. It feels like you're

806
00:40:54,120 --> 00:40:57,000
Speaker 1: speaking for the audience as far as like get some

807
00:40:57,160 --> 00:41:00,880
Speaker 1: fucking sleep. So what's happening now in the scene? And

808
00:41:00,880 --> 00:41:04,120
Speaker 1: this is again what I believe, but I this is

809
00:41:04,160 --> 00:41:06,320
Speaker 1: what it really is. So we're in the scene, you

810
00:41:06,680 --> 00:41:09,279
Speaker 1: are aware whether it's going well or not. You may

811
00:41:09,320 --> 00:41:11,880
Speaker 1: not know how not well, but if it feels weird inside,

812
00:41:11,920 --> 00:41:14,600
Speaker 1: So I believe that this is a woman who was

813
00:41:14,600 --> 00:41:16,640
Speaker 1: crying over the gift bag now at dinner and is

814
00:41:16,680 --> 00:41:19,480
Speaker 1: having some sort of agitation, some feeling, saying things about

815
00:41:20,320 --> 00:41:22,400
Speaker 1: channeling the devil and you're trying to kill me and

816
00:41:22,440 --> 00:41:27,479
Speaker 1: this stuff. So now you've got on some subconscious level

817
00:41:27,600 --> 00:41:30,839
Speaker 1: or conscious realize like this isn't going that well as

818
00:41:30,880 --> 00:41:34,520
Speaker 1: you said, So you can leave and know that the

819
00:41:34,600 --> 00:41:36,680
Speaker 1: format of this show is going to be for other

820
00:41:36,719 --> 00:41:40,080
Speaker 1: people to continue to talk about this. So if you leave,

821
00:41:40,239 --> 00:41:44,160
Speaker 1: you know that you're just going to be continually talked about.

822
00:41:44,680 --> 00:41:49,160
Speaker 1: So I my belief is that it was like she

823
00:41:49,280 --> 00:41:53,640
Speaker 1: tried to to leave but couldn't control the scene, Like

824
00:41:53,719 --> 00:41:56,719
Speaker 1: couldn't control what was going here. So so so I

825
00:41:56,719 --> 00:41:58,719
Speaker 1: had to like wanted to stay. It was like addicted

826
00:41:58,760 --> 00:42:01,920
Speaker 1: to staying in the thing and digging in deeper, and

827
00:42:02,080 --> 00:42:06,720
Speaker 1: it started to go really badly. And this is where

828
00:42:06,719 --> 00:42:09,160
Speaker 1: the fans, after hearing this will probably like demand that

829
00:42:09,200 --> 00:42:13,640
Speaker 1: Bravo releases the Trump tapes. Like this is where she

830
00:42:13,840 --> 00:42:17,000
Speaker 1: starts saying Matt Anderson as the producer, and she starts

831
00:42:17,080 --> 00:42:19,600
Speaker 1: with the gummy bears. And I remember, like it was yesterday,

832
00:42:19,640 --> 00:42:22,200
Speaker 1: and that's the thing, like I have, I literally built

833
00:42:22,239 --> 00:42:25,279
Speaker 1: a career on not forgetting a godsamn thing. Was had

834
00:42:25,320 --> 00:42:28,520
Speaker 1: the gummy bears and was going Matt, Matt, Matt, Matt, Matt, Matt, Matt,

835
00:42:28,560 --> 00:42:31,640
Speaker 1: Matt to stop the scene, but like repeally Matt Matt,

836
00:42:31,840 --> 00:42:35,360
Speaker 1: Matt Matt. Because it wasn't the days where Denise Richards

837
00:42:35,400 --> 00:42:38,120
Speaker 1: at dinner could say Bravo production and they would just

838
00:42:38,239 --> 00:42:40,960
Speaker 1: air that. Back then, that was breaking the fourth wall,

839
00:42:40,960 --> 00:42:42,360
Speaker 1: and you did not break the fourth wall, and you

840
00:42:42,360 --> 00:42:44,880
Speaker 1: did not air that there's a camera or a producer

841
00:42:45,160 --> 00:42:48,839
Speaker 1: or paparazzi, like because you've got paparazzi because of the show.

842
00:42:48,880 --> 00:42:51,360
Speaker 1: So it's too meta. Like now they'll just show anything

843
00:42:51,400 --> 00:42:54,320
Speaker 1: and show real and show a camera falling in Nini's

844
00:42:54,320 --> 00:42:58,279
Speaker 1: closet or something like that, do really talk. So so

845
00:42:58,400 --> 00:43:01,759
Speaker 1: then someone saying Matt to try to stop, like to

846
00:43:01,800 --> 00:43:04,120
Speaker 1: stop the scene. She was like, stop the scene, Matt, Matt, Matt.

847
00:43:04,160 --> 00:43:05,960
Speaker 1: He's like, I'm not going to stop the scene. So

848
00:43:06,200 --> 00:43:09,120
Speaker 1: what also never happens on reality television is that they

849
00:43:09,200 --> 00:43:11,759
Speaker 1: stopped the scene something was wrong, Like we thought that

850
00:43:11,800 --> 00:43:15,000
Speaker 1: something had gone wrong and it was way worse than

851
00:43:15,480 --> 00:43:19,200
Speaker 1: what was aired, so we stopped shooting. That's when everyone

852
00:43:19,200 --> 00:43:22,360
Speaker 1: started eating crab cakes and like, it was crazy. Stop shooting,

853
00:43:23,440 --> 00:43:26,040
Speaker 1: not right after the Matt thing, but like very very

854
00:43:26,080 --> 00:43:29,520
Speaker 1: shortly thereafter, like it had gone pretty clear. Yeah, pretty

855
00:43:29,520 --> 00:43:32,399
Speaker 1: closely after the Matt thing. Pretty closely it did work work.

856
00:43:32,440 --> 00:43:35,160
Speaker 1: I mean, it was crazy, but it wasn't like she

857
00:43:35,200 --> 00:43:37,279
Speaker 1: was just she wasn't just saying like production, but the

858
00:43:37,280 --> 00:43:39,120
Speaker 1: way that she's like, Matt, Matt, Matt, Matt, Matt, Matt,

859
00:43:39,200 --> 00:43:42,000
Speaker 1: like it was further to what had been spiraling. So

860
00:43:42,400 --> 00:43:45,960
Speaker 1: we all were just a little unsettled. It was a

861
00:43:45,960 --> 00:43:48,360
Speaker 1: lot of stress because if you see the previous for

862
00:43:48,400 --> 00:43:50,200
Speaker 1: the next week, you see how Alex is crying and

863
00:43:50,200 --> 00:43:52,160
Speaker 1: she's like, we've all been through a lot, Like we

864
00:43:52,160 --> 00:43:54,839
Speaker 1: we were through a lot more than you saw, and

865
00:43:55,320 --> 00:44:00,359
Speaker 1: I thought I was positive she Darren Wore took her

866
00:44:00,400 --> 00:44:02,920
Speaker 1: on an airplane and he got to sit first class

867
00:44:03,000 --> 00:44:05,000
Speaker 1: with her, which doesn't happen. Producers don't sit on the

868
00:44:05,000 --> 00:44:08,279
Speaker 1: plane first class next to her to accompany her on

869
00:44:08,320 --> 00:44:12,320
Speaker 1: the plane, and took her home. And I was under

870
00:44:12,320 --> 00:44:15,440
Speaker 1: the impression that she would absolutely not be on the

871
00:44:15,480 --> 00:44:18,799
Speaker 1: show anymore, because I felt that it was irresponsible for

872
00:44:18,840 --> 00:44:20,600
Speaker 1: her to continue on the show. I was under the

873
00:44:20,600 --> 00:44:24,759
Speaker 1: impression that she was going home right now. Yeah, yeah,

874
00:44:24,920 --> 00:44:27,160
Speaker 1: But I was under the impression that that something was

875
00:44:27,200 --> 00:44:29,839
Speaker 1: going to happen. Yeah, that's the impression that I had

876
00:44:29,880 --> 00:44:33,000
Speaker 1: because what we had all seen, um and that happens

877
00:44:33,000 --> 00:44:35,360
Speaker 1: a lot. Like years later in Colombia, we are on

878
00:44:35,400 --> 00:44:38,920
Speaker 1: a horrible, horrible boat accident that we like literally almost died,

879
00:44:38,960 --> 00:44:41,560
Speaker 1: and it was weeks of meetings with Bravo that don't

880
00:44:41,600 --> 00:44:44,279
Speaker 1: make it to ship goes down and we're like that

881
00:44:44,400 --> 00:44:48,880
Speaker 1: was not accepted, Like so this was really something for

882
00:44:48,920 --> 00:44:50,600
Speaker 1: all of us. And so when I we were filming

883
00:44:50,640 --> 00:44:52,480
Speaker 1: next week and she was filming, I was like, what

884
00:44:52,520 --> 00:44:55,480
Speaker 1: where I was green and people hadn't yet gone to

885
00:44:55,640 --> 00:45:00,760
Speaker 1: prison and had fraudulent husbands and been having Hansi schemes

886
00:45:00,760 --> 00:45:02,400
Speaker 1: like it was early in the game. I thought that

887
00:45:02,480 --> 00:45:04,840
Speaker 1: this was not a reason to keep filming with someone.

888
00:45:04,920 --> 00:45:07,200
Speaker 1: But that's what makes these shows, I guess do well.

889
00:45:07,239 --> 00:45:09,480
Speaker 1: But like there's a line for me, and that was

890
00:45:09,600 --> 00:45:14,160
Speaker 1: the line for me. So how did you guys remember

891
00:45:14,160 --> 00:45:17,040
Speaker 1: how the scene ends on the show and the aired version.

892
00:45:17,200 --> 00:45:19,080
Speaker 1: I think it just sort of ends. The ends go

893
00:45:19,160 --> 00:45:20,840
Speaker 1: to sleep and it's like it kind of ends, and

894
00:45:20,880 --> 00:45:22,600
Speaker 1: then I guess you get us home the next time,

895
00:45:22,640 --> 00:45:25,959
Speaker 1: like talking about it, I guess after it just sort

896
00:45:25,960 --> 00:45:28,560
Speaker 1: of ends. So that's there's the note. Kelly leaves a

897
00:45:28,640 --> 00:45:34,920
Speaker 1: note saying I'm going to go home. Yeah, exactly exactly,

898
00:45:35,000 --> 00:45:37,960
Speaker 1: So that that was that. And also to give vindication

899
00:45:38,000 --> 00:45:40,400
Speaker 1: to Kelly, she's not friends with Gwyneth Paltrow and she

900
00:45:40,480 --> 00:45:42,520
Speaker 1: was asked by Andy Cohen on the show do you

901
00:45:42,560 --> 00:45:45,200
Speaker 1: know Gwyneth? Do you know Kelly? And Gwenna said no,

902
00:45:45,640 --> 00:45:47,600
Speaker 1: But I'm also going to put myself under the bus

903
00:45:47,640 --> 00:45:50,759
Speaker 1: and for to be accountable when she's like and what

904
00:45:50,800 --> 00:45:53,720
Speaker 1: you said about my friend Gwynneth years ago, when Gwyneth

905
00:45:53,760 --> 00:45:56,080
Speaker 1: was like cooking going on a tour with Mario Batali

906
00:45:56,400 --> 00:45:58,120
Speaker 1: when I used to say Synarchi things for the sake

907
00:45:58,120 --> 00:46:00,440
Speaker 1: of saying them. And I don't know why I said

908
00:46:00,640 --> 00:46:02,600
Speaker 1: I'd rather put hot pennies on my eyes than eat

909
00:46:02,600 --> 00:46:04,440
Speaker 1: a roast chicken. For Gwyneth Paltrow, I don't know why

910
00:46:04,480 --> 00:46:06,600
Speaker 1: I said it. I don't know anything about her roast chicken.

911
00:46:06,640 --> 00:46:10,759
Speaker 1: I don't know why I said it, just like I

912
00:46:10,800 --> 00:46:12,600
Speaker 1: don't know why I said it because I don't know

913
00:46:12,680 --> 00:46:14,799
Speaker 1: Gwyneth and I don't know what her chickens like. And

914
00:46:14,840 --> 00:46:16,560
Speaker 1: it probably was when you first started out and you

915
00:46:16,560 --> 00:46:19,839
Speaker 1: didn't realize that, like this is before Twitter, before Instagram.

916
00:46:20,040 --> 00:46:22,080
Speaker 1: You just thought you could just say something in a blog.

917
00:46:22,080 --> 00:46:24,200
Speaker 1: It was in a blog or something. I have no idea.

918
00:46:24,239 --> 00:46:27,200
Speaker 1: It just it makes no sense. So I'm just gonna say,

919
00:46:27,320 --> 00:46:30,920
Speaker 1: but that's also it's based in something connected to something,

920
00:46:30,960 --> 00:46:34,200
Speaker 1: if that makes any sense, because I want, yeah, wow,

921
00:46:34,680 --> 00:46:37,600
Speaker 1: so meaning? And I do I do? You know, well,

922
00:46:37,920 --> 00:46:40,200
Speaker 1: I do think they should show this actual footage. I

923
00:46:40,200 --> 00:46:42,680
Speaker 1: think it's very interesting. I know they would ever will,

924
00:46:42,880 --> 00:46:47,439
Speaker 1: but I'd love to see They probably will. They probably will.

925
00:46:47,480 --> 00:46:49,840
Speaker 1: I think the fans will come. Yeah, because I forgot

926
00:46:49,840 --> 00:46:53,280
Speaker 1: about it, so now I forget you this experience reminded

927
00:46:53,320 --> 00:47:02,520
Speaker 1: me se a question as first crossing the line between

928
00:47:03,400 --> 00:47:10,399
Speaker 1: reality television and reality? Uh was that? Would you say

929
00:47:10,440 --> 00:47:13,680
Speaker 1: that that and then you mentioned the boat episode. Would

930
00:47:13,680 --> 00:47:15,799
Speaker 1: you say those were like sort of the two kind

931
00:47:15,840 --> 00:47:19,960
Speaker 1: of moments in your history on the show that were like, Okay,

932
00:47:20,000 --> 00:47:23,719
Speaker 1: this is actually too real for reality television. Yes, that

933
00:47:24,080 --> 00:47:27,960
Speaker 1: was because you're very like you always seem to be

934
00:47:28,080 --> 00:47:31,560
Speaker 1: very much like, no, we should show what's real, like like,

935
00:47:31,640 --> 00:47:34,600
Speaker 1: let's have the conversation on camera, that's why we're sucking

936
00:47:34,640 --> 00:47:36,840
Speaker 1: here doing the show, Like why wouldn't we do this

937
00:47:37,040 --> 00:47:39,479
Speaker 1: on the show. So it's interesting to hear you say

938
00:47:39,480 --> 00:47:41,200
Speaker 1: like there's a point where it's like, no, I don't

939
00:47:41,200 --> 00:47:44,520
Speaker 1: think it's right. Well, because the show is just add

940
00:47:44,640 --> 00:47:49,160
Speaker 1: water to those gremlins, Like it's a concentrated situation. You're

941
00:47:49,200 --> 00:47:52,680
Speaker 1: not quote unquote really friends with these people, but you're

942
00:47:52,719 --> 00:47:56,560
Speaker 1: having discussions and friendly while you're filming their colleagues effectively,

943
00:47:57,040 --> 00:47:59,359
Speaker 1: So you know, people always like is it real? Yeah,

944
00:47:59,520 --> 00:48:02,719
Speaker 1: what is happening is real, but you know you're in

945
00:48:02,760 --> 00:48:04,560
Speaker 1: the room with someone that you would not normally be

946
00:48:04,560 --> 00:48:06,799
Speaker 1: in the room with. So this combination, which is you know,

947
00:48:07,120 --> 00:48:11,359
Speaker 1: designed by casting and sometimes successfully and sometimes otherwise, you know,

948
00:48:11,480 --> 00:48:14,920
Speaker 1: can be challenging, and like I said, I've I've felt

949
00:48:15,080 --> 00:48:19,280
Speaker 1: before while filming this show that the game is moving fast,

950
00:48:19,320 --> 00:48:21,759
Speaker 1: that you're you're you're not driving, you're like out of

951
00:48:21,800 --> 00:48:25,120
Speaker 1: control with no breaks, you know, and that feels wrong,

952
00:48:25,239 --> 00:48:27,879
Speaker 1: and we all get excited and into the whole thing.

953
00:48:28,400 --> 00:48:30,920
Speaker 1: I felt that this was something going on with with

954
00:48:30,960 --> 00:48:35,520
Speaker 1: someone else. And I've also felt that with substance substances,

955
00:48:36,040 --> 00:48:38,520
Speaker 1: with wanting people to drink, and no one pushes anyone

956
00:48:38,560 --> 00:48:40,319
Speaker 1: to do anything that's not at all, But I have

957
00:48:40,440 --> 00:48:42,720
Speaker 1: felt there's been articles about it, like it's sort of

958
00:48:42,960 --> 00:48:47,160
Speaker 1: dramas happening when someone who shouldn't be over consuming is

959
00:48:47,239 --> 00:48:50,640
Speaker 1: over consuming and it's capitalizing on that, and it makes

960
00:48:51,200 --> 00:48:55,480
Speaker 1: me uncomfortable. You and Kelly have never spoken about Have

961
00:48:55,600 --> 00:48:59,200
Speaker 1: you guys ever talked about that episode and what happened there?

962
00:48:59,480 --> 00:49:03,400
Speaker 1: Like off camera, like obviously there's the reunions, but you

963
00:49:03,400 --> 00:49:07,759
Speaker 1: guys ever, like never, She's written me emails and texts

964
00:49:07,760 --> 00:49:10,120
Speaker 1: of let's bury the hatchet and let's be you know,

965
00:49:10,160 --> 00:49:11,960
Speaker 1: and then I've written a kind response back because you

966
00:49:12,000 --> 00:49:14,160
Speaker 1: always think everything's gonna be fine and then but The

967
00:49:14,160 --> 00:49:16,880
Speaker 1: problem is housewives always then have an opportunity to go

968
00:49:16,960 --> 00:49:19,040
Speaker 1: back on in the press and then they just they

969
00:49:19,040 --> 00:49:21,400
Speaker 1: want to like say something about you. And and she's

970
00:49:21,480 --> 00:49:24,840
Speaker 1: really talked about this experience ad nauseum over the years,

971
00:49:24,880 --> 00:49:28,280
Speaker 1: and so I guess I'm doing this now, but it's

972
00:49:28,320 --> 00:49:30,880
Speaker 1: it's been yeah. No, I just it was not the

973
00:49:30,960 --> 00:49:32,680
Speaker 1: right combination. And I was going to say this to

974
00:49:32,719 --> 00:49:36,799
Speaker 1: you too, that um. What's interesting is that she wasn't

975
00:49:36,840 --> 00:49:39,600
Speaker 1: on the show much longer than I left because she

976
00:49:39,800 --> 00:49:44,080
Speaker 1: was more entertained. She and Jill are better on the show.

977
00:49:44,120 --> 00:49:46,480
Speaker 1: If I'm on the show, if Kelly is just with

978
00:49:46,520 --> 00:49:49,200
Speaker 1: everybody who's like, oh she's dizzy and funny and who

979
00:49:49,200 --> 00:49:53,520
Speaker 1: can't like the rub between Kelly is much more elevated

980
00:49:53,680 --> 00:49:56,200
Speaker 1: when she's with me because of the way that she

981
00:49:56,400 --> 00:49:58,600
Speaker 1: that I you know, she just got under my skin

982
00:49:58,760 --> 00:50:02,200
Speaker 1: and vice versa. So like combination is better, you know

983
00:50:02,200 --> 00:50:03,840
Speaker 1: what I mean? You need you need the two people

984
00:50:03,840 --> 00:50:06,919
Speaker 1: in a scene that really you need you and and

985
00:50:07,000 --> 00:50:11,040
Speaker 1: what Mr Waterford June and Mr Waterford? So are you?

986
00:50:11,680 --> 00:50:17,120
Speaker 1: Von who plays Serena, said this past season. She said

987
00:50:17,440 --> 00:50:23,160
Speaker 1: that Serena is nothing without June. From her perspective as Serena.

988
00:50:23,239 --> 00:50:26,560
Speaker 1: Serena feels that she is ultimately nothing without June. You

989
00:50:26,600 --> 00:50:29,200
Speaker 1: have to have the foe, you have to have the conflict,

990
00:50:29,560 --> 00:50:33,520
Speaker 1: and they also have to be somebody who can, you know,

991
00:50:33,960 --> 00:50:38,560
Speaker 1: provide that drama. You know that, And you're right whatever

992
00:50:38,600 --> 00:50:42,160
Speaker 1: it is in season, which I think Kelly is right.

993
00:50:42,360 --> 00:50:45,719
Speaker 1: I think Kelly is in season, yes, but she's in

994
00:50:45,760 --> 00:50:48,239
Speaker 1: Morocco with them, and I don't. I'm out there. Yeah,

995
00:50:48,280 --> 00:50:53,320
Speaker 1: you're not. It's not the same totally. Do you notice

996
00:50:53,840 --> 00:50:56,040
Speaker 1: because you don't watch as much anymore? I don't watch

997
00:50:56,040 --> 00:51:00,239
Speaker 1: as much anymore either. Do you notice the difference in

998
00:51:00,680 --> 00:51:05,080
Speaker 1: um like glam and orchestrated outfits? And does it feel

999
00:51:05,080 --> 00:51:08,160
Speaker 1: more scripted when you're watching housewives now? Like do you

1000
00:51:08,200 --> 00:51:11,319
Speaker 1: notice that we were literally just dressing like a wreck

1001
00:51:11,440 --> 00:51:13,920
Speaker 1: like you, like you would wear on vacation like me?

1002
00:51:15,040 --> 00:51:16,880
Speaker 1: You know, you're half a wreck. You're just like on vocation,

1003
00:51:16,920 --> 00:51:19,800
Speaker 1: trying to figure it out. Totally total. You can definitely

1004
00:51:19,840 --> 00:51:24,240
Speaker 1: feel that it feels very raw. And I've skipped ahead

1005
00:51:24,239 --> 00:51:26,319
Speaker 1: because I was wondering when you came went on my

1006
00:51:26,400 --> 00:51:29,560
Speaker 1: rewatch in my research over the past few days. I

1007
00:51:29,640 --> 00:51:32,320
Speaker 1: skipped ahead because I was like ringing Bethany come back.

1008
00:51:33,080 --> 00:51:35,319
Speaker 1: And I'm one of those people. There's many of us

1009
00:51:35,400 --> 00:51:39,600
Speaker 1: fans who like the Bethany seasons the most, and so

1010
00:51:39,640 --> 00:51:41,759
Speaker 1: I've seen it obviously, but I skipped forward and then

1011
00:51:41,800 --> 00:51:45,040
Speaker 1: you came back like three seasons later, right, And you

1012
00:51:45,120 --> 00:51:48,560
Speaker 1: can even tell, I feel you would know the reality

1013
00:51:48,640 --> 00:51:50,680
Speaker 1: of it. But I can tell a difference even between

1014
00:51:50,719 --> 00:51:55,560
Speaker 1: season three and like season seven of how even just

1015
00:51:55,680 --> 00:51:59,959
Speaker 1: like it's shot a little better, everyone looks great, there's

1016
00:52:00,000 --> 00:52:04,360
Speaker 1: a little bit more of a glossiness to it. Was

1017
00:52:04,440 --> 00:52:09,040
Speaker 1: the difference between three and seven. Well, there's a couple

1018
00:52:09,080 --> 00:52:10,800
Speaker 1: of things. Because the first, in the beginning, there was

1019
00:52:10,840 --> 00:52:13,319
Speaker 1: no glam. I mean, you know, if you went out

1020
00:52:13,360 --> 00:52:15,439
Speaker 1: to a major event, just like I guess in life,

1021
00:52:15,760 --> 00:52:18,320
Speaker 1: you know, I would go to the Bloomingdale's counter to

1022
00:52:18,480 --> 00:52:21,239
Speaker 1: shush McAvoy counter and buy ass and just say, let's

1023
00:52:21,239 --> 00:52:23,200
Speaker 1: not dance around. How many products do I have to

1024
00:52:23,239 --> 00:52:26,080
Speaker 1: buy on my seven thousand dollars salary for the whole

1025
00:52:26,120 --> 00:52:28,880
Speaker 1: season of Housewives? Do what do I have to buy to?

1026
00:52:29,040 --> 00:52:30,560
Speaker 1: Like for you to put makeup on me? Let's just

1027
00:52:30,640 --> 00:52:32,839
Speaker 1: get that out of the way. No foreplay, Like, what's

1028
00:52:32,880 --> 00:52:36,000
Speaker 1: the thing it's fifty seventy two lip glasses, just make

1029
00:52:36,080 --> 00:52:38,320
Speaker 1: up my face and it didn't matter who did it.

1030
00:52:38,360 --> 00:52:39,919
Speaker 1: I didn't know there was a difference in good glam

1031
00:52:40,040 --> 00:52:42,839
Speaker 1: bag lamp. Someone did your phrase, then you didn't went

1032
00:52:42,920 --> 00:52:45,640
Speaker 1: to one of the events. The idea that every day

1033
00:52:45,719 --> 00:52:47,759
Speaker 1: to be filmed, that you would be in makeup, hair

1034
00:52:47,800 --> 00:52:51,400
Speaker 1: and makeup was or clothing that you thought about was preposterous.

1035
00:52:51,440 --> 00:52:55,239
Speaker 1: I was in a Ralph Lauren like thrift store turquoise

1036
00:52:55,320 --> 00:52:57,800
Speaker 1: sweater in the interviews and no makeup on like so

1037
00:52:58,000 --> 00:53:02,600
Speaker 1: now Erica Jane and you know Dord and these costumes

1038
00:53:02,680 --> 00:53:07,480
Speaker 1: and it's totally different. But to answer your question coming back,

1039
00:53:07,640 --> 00:53:11,160
Speaker 1: I knew a friend this is T inside T so

1040
00:53:11,239 --> 00:53:13,840
Speaker 1: I knew a friend who knew christin Takeman, who was

1041
00:53:13,920 --> 00:53:16,400
Speaker 1: one of the new housewives, and he said to me,

1042
00:53:16,920 --> 00:53:19,600
Speaker 1: her husband, who's a friend of his, says, she's in

1043
00:53:19,680 --> 00:53:23,160
Speaker 1: hair and makeup every day scenes. And I'm like, well,

1044
00:53:23,239 --> 00:53:25,320
Speaker 1: that's not going to be good because then it's not

1045
00:53:25,400 --> 00:53:27,520
Speaker 1: about what you look like, like it's about what we're

1046
00:53:27,560 --> 00:53:30,520
Speaker 1: talking about in the content versus like if you're focused

1047
00:53:31,200 --> 00:53:34,440
Speaker 1: first season in on your shoes and your elaborate outfits,

1048
00:53:34,480 --> 00:53:36,720
Speaker 1: which you could see in the way they were dressing.

1049
00:53:37,040 --> 00:53:39,920
Speaker 1: Then you're not you're losing the plot. So I remember

1050
00:53:40,040 --> 00:53:44,240
Speaker 1: coming back and we were in the Berkshires and everybody

1051
00:53:44,320 --> 00:53:48,440
Speaker 1: had glam team, glam teams and big major outfits like

1052
00:53:48,719 --> 00:53:50,600
Speaker 1: we're in the Berkshire's. You're not going anywhere. Who's wearing

1053
00:53:50,640 --> 00:53:53,080
Speaker 1: a ball skirt in the Berkshire. So it was annoying

1054
00:53:54,000 --> 00:53:56,320
Speaker 1: because I remember calling Andy, I mean, like, what is this.

1055
00:53:56,440 --> 00:53:58,839
Speaker 1: It's not really but there's everyone's got a glam team

1056
00:53:58,960 --> 00:54:03,120
Speaker 1: or not, like oh yeah, And when you're in good

1057
00:54:03,160 --> 00:54:06,160
Speaker 1: one not doing it you then you look like ship

1058
00:54:06,239 --> 00:54:08,319
Speaker 1: like Denise Richards when she was on the show, coming

1059
00:54:08,320 --> 00:54:10,960
Speaker 1: in like a normal person in shorts, but everybody's in

1060
00:54:11,040 --> 00:54:13,920
Speaker 1: a massive gone at the wind costume. So you gotta

1061
00:54:14,040 --> 00:54:16,320
Speaker 1: don't hit the players. You gotta start put makeup on

1062
00:54:16,640 --> 00:54:18,839
Speaker 1: because then you feel the pressure. Well, I can't get

1063
00:54:18,920 --> 00:54:20,759
Speaker 1: up and just be a normal person and come down

1064
00:54:20,800 --> 00:54:23,279
Speaker 1: and get coffee as if I didn't go through hair

1065
00:54:23,320 --> 00:54:27,239
Speaker 1: and makeup, but these six other women have just gone through,

1066
00:54:27,719 --> 00:54:31,440
Speaker 1: you know, two hours of here and makeup. Yeah, Amazon,

1067
00:54:31,920 --> 00:54:34,719
Speaker 1: But in season three, like you have like even I

1068
00:54:34,880 --> 00:54:38,160
Speaker 1: think it happens in in scary Island. In that episode

1069
00:54:38,200 --> 00:54:41,440
Speaker 1: of the one right after Um where they wake Sonya up,

1070
00:54:41,760 --> 00:54:45,520
Speaker 1: you know, and she's clearly asleep, but no one's there's clear.

1071
00:54:45,640 --> 00:54:48,440
Speaker 1: It's very real. It feels everyone looks like shit, and

1072
00:54:48,520 --> 00:54:53,160
Speaker 1: I love it because it's yeah, yeah, But the Glamazons

1073
00:54:53,239 --> 00:54:55,359
Speaker 1: came in and the whole thing changed, and it's one

1074
00:54:55,400 --> 00:54:59,080
Speaker 1: of the things I like looking real, Like, let's be

1075
00:54:59,360 --> 00:55:02,239
Speaker 1: women are watching that that look real. That our home

1076
00:55:02,280 --> 00:55:05,200
Speaker 1: then of times, but their makeup on. So let's wearing jeans,

1077
00:55:05,360 --> 00:55:08,799
Speaker 1: people are wearing tanktops, people are wearing normal clothes. They're

1078
00:55:08,800 --> 00:55:11,360
Speaker 1: not constantly dressed to the nines. Even when you go

1079
00:55:11,480 --> 00:55:13,600
Speaker 1: to a party, it's like, you have a nice dress,

1080
00:55:13,640 --> 00:55:15,600
Speaker 1: but it's to get the feeling. We probably bought that

1081
00:55:15,760 --> 00:55:20,120
Speaker 1: dress somewhere. It wasn't like something a stylist getting you. Yeah,

1082
00:55:20,120 --> 00:55:22,600
Speaker 1: and it's it's a much better feeling. I prefer I

1083
00:55:22,719 --> 00:55:26,400
Speaker 1: prefer that. But I need to point out I'm very swollen.

1084
00:55:26,760 --> 00:55:29,040
Speaker 1: My best friend says, when you're having a girl, you

1085
00:55:29,200 --> 00:55:31,680
Speaker 1: like blow up and become like you don't even look

1086
00:55:31,719 --> 00:55:34,279
Speaker 1: like yourself. And I I noticed it. My my daughter

1087
00:55:34,360 --> 00:55:35,680
Speaker 1: was like, you look pretty. I'm like, I love you,

1088
00:55:35,800 --> 00:55:38,600
Speaker 1: but I look like a beating because I'm pregnant and

1089
00:55:38,680 --> 00:55:41,680
Speaker 1: we're doing that. You do not look at all. Well

1090
00:55:41,719 --> 00:55:44,440
Speaker 1: we're doing in you know, in the interview shot not

1091
00:55:44,680 --> 00:55:47,400
Speaker 1: the main thing in the intry, in the purple, in

1092
00:55:47,480 --> 00:55:50,680
Speaker 1: the purple, because that shot months later, when you picking pickups,

1093
00:55:50,920 --> 00:55:54,839
Speaker 1: you still do that looks like a beast. But it's

1094
00:55:54,880 --> 00:55:58,520
Speaker 1: not my best and I'm okay, it's so it's not

1095
00:55:58,719 --> 00:56:01,680
Speaker 1: my best. Um, well, I don't want to, I don't.

1096
00:56:01,760 --> 00:56:03,759
Speaker 1: I look, this is the longest project you've ever done,

1097
00:56:03,800 --> 00:56:05,839
Speaker 1: and the longest interview I've ever done, and I'm sorry

1098
00:56:05,880 --> 00:56:08,840
Speaker 1: it went so but I've most done. My public was

1099
00:56:08,920 --> 00:56:11,239
Speaker 1: texted me and she was like, good luck. She was like,

1100
00:56:11,280 --> 00:56:13,640
Speaker 1: have fun. It's all downhill from here with your press,

1101
00:56:13,760 --> 00:56:17,200
Speaker 1: and she's not wrong. I truly am such a huge fan.

1102
00:56:20,920 --> 00:56:23,520
Speaker 1: Thank you so much for listening to the first episode

1103
00:56:23,640 --> 00:56:29,200
Speaker 1: ever of rewives, a rewatch show unlike any other. Please

1104
00:56:29,239 --> 00:56:32,080
Speaker 1: remember to rate, review, and subscribe, and follow the show's

1105
00:56:32,120 --> 00:56:35,560
Speaker 1: instagram at rewives with Bethany. There you'll find video clips

1106
00:56:35,600 --> 00:56:38,719
Speaker 1: from these conversations and sneak peaks at which episode I'm

1107
00:56:38,800 --> 00:56:39,600
Speaker 1: reliving next