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Speaker 1: I am all in again.

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Speaker 2: Let Hi, I am all in again with Scott Patterson

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Speaker 2: in iHeartRadio Podcast.

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Speaker 1: Hey everybody, Scott Patterson, I am all in Podcast one

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Speaker 1: eleven productions, iHeart Radio, iHeart Media, iHeart Podcast. We have

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Speaker 1: a very special guest, Kendall Schmidt is joining us. Hello Kendall,

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Speaker 1: thank you for joining us. Hi high Hi. We probably

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Speaker 1: know him best as the lead singer of Big Time Rush,

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Speaker 1: but his career started long before that. He's been acting

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Speaker 1: since childhood, with roles in E. R. Frasier and Gilmore Girls.

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Speaker 1: Appeared in season two episode five, Nick and Nora Sitting

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Speaker 1: Nancy as kid number one, and return in season three

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Speaker 1: episode three, Application Anxiety as Peter. We're excited to have

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Speaker 1: him here. Welcome Kendall. How are you? And I understand

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Speaker 1: so good?

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Speaker 3: I'm so good. It's so funny, the U, the characters.

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Speaker 3: I'm surprised they even had names number one.

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Speaker 4: They all have names Kid number one Peter.

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Speaker 3: Just like you guys needed a for a couple episodes,

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Speaker 3: if you just needed a kid, I was there to

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Speaker 3: be the kid in the.

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Speaker 1: Episode, and so you did. You did two total episodes,

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Speaker 1: and uh, here you are here. I am and you're

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Speaker 1: a big rock star and uh, you know you you're

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Speaker 1: just taking the world by storm. And we'll get into

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Speaker 1: all We're going to get into all that. But what'd

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Speaker 1: you think of this episode? Emily? In Wonderland air date

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Speaker 1: April twenty sixty, two thousand and one, Roy takes her

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Speaker 1: grandmother around Stars Hollow for a day and she's horrified

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Speaker 1: to see where Laura, Lie and Rory first lived. Directed

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Speaker 1: by Perry Lang, written by Linda Guzik and John Stevens.

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Speaker 1: I enjoyed this episode. I have to say it was great.

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Speaker 3: I had my wife giving me a background the entire time,

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Speaker 3: you know, because I haven't seen every episode like she has,

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Speaker 3: right right, So I said, oh, and this.

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Speaker 4: Is what's going on here and everything. I'm like, okay,

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Speaker 4: she's actually in the house watching Gilmore Girls right now.

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Speaker 1: So gosh, yeah, it was a nice episode. It was

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Speaker 1: a really nice journey through Laurla and Rory's past in

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Speaker 1: a very clever way, and a very shocking scene where

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Speaker 1: Emily and we'll get into it, where Emily finally sees

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Speaker 1: where Laurel, I and Rory first had their first kind

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Speaker 1: of place and Stars Hollow, and what a reaction that was. Man.

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Speaker 1: All right, So we're sitting here Friday night dinner. Rory

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Speaker 1: asked Emily for family baby pictures, and we find out

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Speaker 1: that Laura I, who has a nickname of a big

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Speaker 1: head when she was a child because her head was enlarged.

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Speaker 4: She's got big hair, She's got big hair for sure, but.

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Speaker 1: We learned that she burned all of her baby pictures

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Speaker 1: because her head was too big, and that's why there

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Speaker 1: are no photographs of a young baby Larela or even

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Speaker 1: a Talibar. They have a furniture discussion, they talk about

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Speaker 1: the chairs. That's when Rory mentions Kim's antiques and Stars Hollow.

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Speaker 1: Emily becomes interested suddenly in checking that out because she

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Speaker 1: can't she can't get any good antiques in Connecticut. She's

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Speaker 1: she's she's out of luck. And Lorela attempts to talk

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Speaker 1: to Emily out of her curiosity over that particular store,

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Speaker 1: like she doesn't want Emily coming to Stars Hollow. Tara,

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Speaker 1: what do you think about this scene?

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Speaker 5: I feel like Emily and miss Kim could be great friends,

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Speaker 5: to be honest with you, that was my first thought.

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Speaker 5: But yeah, I mean, I love the scene at the

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Speaker 5: dinner table, and I think that it was the first

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Speaker 5: time that we're going to see Emily really see their

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Speaker 5: life in Stars Hollow, right, and it's set up. It's

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Speaker 5: the setup to a big storyline coming.

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Speaker 1: It Isn't it amazing? Though? After all these years, I

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Speaker 1: mean sixteen years, and has she ever been to Stars Hollow?

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Speaker 1: Do you think that's odd?

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Speaker 4: Right?

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Speaker 6: Yeah?

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Speaker 5: I mean it's also there are there are parts where

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Speaker 5: I'm like the inconsistencies of it a little bit and this,

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Speaker 5: and Susanna and I get into this in our episode

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Speaker 5: the town Meeting episodes, but you know, like I don't

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Speaker 5: understand when she moved into that shed. We'll get there,

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Speaker 5: but like it didn't seem consistent with when Laura l

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Speaker 5: I moved out.

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Speaker 6: So it was just interesting. Yeah, it was a little interesting.

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Speaker 1: How like.

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Speaker 5: Did she move out the second like she got pregnant,

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Speaker 5: when she had the baby?

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Speaker 1: You know, I.

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Speaker 6: Didn't really know the history there right by.

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Speaker 3: By episode nineteen right season in the first season. So

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Speaker 3: I'm always wondering how much the writers like think about

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Speaker 3: the actually all of the different backstory, things that wouldn't

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Speaker 3: you know, that don't exist in real life, but that

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Speaker 3: need to exist in order to build the characters right,

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Speaker 3: and and how much like and now they've gotten nineteen

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Speaker 3: episodes in that's a lot of writing.

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Speaker 1: Well, I think I think they probably do plan for

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Speaker 1: a lot. You know, they'll they'll plan out a couple

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Speaker 1: of seasons out and then they'll do a backstory thing.

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Speaker 1: But there's always things that come up that bite you, like,

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Speaker 1: oh god, we didn't there's the whole world right, right right.

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Speaker 1: No matter how thorough you are, right, no matter how

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Speaker 1: large your bible is, your writer's bible is, there's always

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Speaker 1: going to be something that like, oh, no, what are

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Speaker 1: we going to do about this situation? Because we didn't

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Speaker 1: come right.

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Speaker 3: That she never would have been there at all. I mean,

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Speaker 3: you know, I know some people don't see their parents

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Speaker 3: very often, but I also thought when I saw you know,

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Speaker 3: you know, it's like when you have people come over

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Speaker 3: and you go, oh, sorry, the place is a mess.

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Speaker 3: You know, you know, please forgive me, you know, don't

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Speaker 3: worry about that. And of course when you go over

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Speaker 3: to someone's house, you're never sitting there unless their house

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Speaker 3: is a real mess.

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Speaker 4: You're not sitting there walking around going like oh geez mes, yeah.

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Speaker 3: I mean very most you're like, well kind of weird furniture.

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Speaker 3: But I thought, like, I thought that for being a

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Speaker 3: single mother, their house is really cute. And you know,

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Speaker 3: maybe it's not all the finest appliances and stuff like that,

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Speaker 3: but I was thinking, like, I'd be proud of this place.

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Speaker 3: It's really kitchy and they have a lot of you know,

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Speaker 3: cute items, and I thought it was kind of a

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Speaker 3: nice house, to be honest with you.

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Speaker 1: So it's a nice little house for two people. That's perfect.

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Speaker 1: It is kind of perfect. Yeah.

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Speaker 3: I mean, obviously she's coming from being super wealthy and

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Speaker 3: everything like that, but you know, I'm like, kind of

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Speaker 3: kind of a nice house. I'm impressive for a woman

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Speaker 3: off being a single.

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Speaker 4: Mother basically and a new town and all that stuff.

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Speaker 1: All right, Yeah, yeah, would you rather live in a

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Speaker 1: mansion with all the stress or in a cute little

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Speaker 1: house in a nice town with none.

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Speaker 4: Honestly, me and my wife say this all the time.

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Speaker 4: Little house, big.

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Speaker 1: Life, Right there, you go, that's what they have.

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Speaker 4: Yeah.

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Speaker 1: So, so Emily and Rory make plans to visit Stars

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Speaker 1: Hollow on Saturday. She's going to put off some studying

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Speaker 1: and Laurel I have some pretty funny moments about how

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Speaker 1: she's not going to be available Saturday, and Emily says, well,

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Speaker 1: nobody really asked you to jump? Why do you think, Well,

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Speaker 1: it's pretty obvious why Emily is so eager to see

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Speaker 1: Stars hollow. She wants to spend time with her granddaughter.

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Speaker 1: It's not it's not Star's hollow. It's it's getting to

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Speaker 1: know Rory. Right, she gets to relive, She gets another

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Speaker 1: bite at the apple, as it were, to like not

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Speaker 1: screw up, you know what I mean, Like like the

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Speaker 1: way she did with Laurel I. Now she's got a

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Speaker 1: she's got a second chance with with Rory to establish

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Speaker 1: a relationship.

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Speaker 3: Makes you wonder why at that time, you know that

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Speaker 3: she's like so curious about it, re establishing the relationship.

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Speaker 3: And I also think it's funny how hard she is

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Speaker 3: on Laurel I as well, considering she's trying to connect

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Speaker 3: with her granddaughter.

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Speaker 4: And then she's like, but you can bug off.

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Speaker 1: Yeah, Well, in her mind, Laurel is just a lost

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Speaker 1: cause she knows she's not going to have a relationship.

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Speaker 1: Whether there's too much water under that bridge. And I mean,

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Speaker 1: that's at least the impression we're getting at this point,

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Speaker 1: and that's coming to the end of season one, and

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Speaker 1: that's where obviously the right is taking us, and that's

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Speaker 1: where it should take us, because there's then then you

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Speaker 1: have to come back from that. So now we're in

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Speaker 1: the diner. A lot of a lot of diner stuff,

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Speaker 1: a lot of Luke, Rachel, Laureleye stuff in this episode,

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Speaker 1: right right. And Rachel's so nice, you know, she wants

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Speaker 1: to be buddies with the Laurel I and here I

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Speaker 1: took a picture of you two and you know, sitting

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Speaker 1: there on the bench.

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Speaker 6: Just really awkward, like, hey, let's take a picture of

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Speaker 6: you with my ex.

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Speaker 1: And then I'm going to give you a blow. You

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Speaker 1: not nice here? Remember it? He's mine now? So yeah,

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Speaker 1: And then she talks about the dragonfly and she took

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Speaker 1: a picture of dragonfly in and Laura they make a

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Speaker 1: date to go see it. Luke has a little bit

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Speaker 1: of a problem with it. I guess not much, but

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Speaker 1: it's just like whatever, And it's really just setting up

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Speaker 1: that scene in the in the storage room for later.

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Speaker 1: But what'd you guys think of this scene?

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Speaker 4: Well, awkward, that's the impression I got. I was thinking.

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Speaker 4: It made me think of It's not exactly the same situation.

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Speaker 3: But there's that. There's a video I saw one time.

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Speaker 3: It was like a comedy video, and it was like

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Speaker 3: having a conversation with your platonic friends. This guy having

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Speaker 3: a conversation with this girl and he's and she's like.

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Speaker 4: How you been.

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Speaker 3: He's like, oh, good, good, you know, I've been great,

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Speaker 3: you know, just friends. And then he's like how you been.

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Speaker 3: She goes, well, Todd and I broke up, and then

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Speaker 3: you know, oh, he says he just got into a

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Speaker 3: relationship and how great it is. And then he asks

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Speaker 3: her and how she goes, well, Todd and I broke up,

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Speaker 3: and then his whole life crumbles before him because this

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Speaker 3: is the friend that was always they were just platonic

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Speaker 3: and they never you know.

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Speaker 4: Connected like that.

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Speaker 3: And she's saying, like, I just A'm thinking about getting

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Speaker 3: out and being wild and everything, and he's like, oh god, right,

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Speaker 3: I think that. I mean, is that sort of tension that,

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Speaker 3: if you will, that sexual tension between Laura Li and

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Speaker 3: Luke is that going all the way from the very

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Speaker 3: beginning of season one?

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Speaker 1: Yeah? Yeah, basically yeah, but they're not acting on it,

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Speaker 1: and they had a couple of chances and they're just

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Speaker 1: not going to act on it right now, and everybody's

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Speaker 1: going their separate ways. It's like, oh, well, but I

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Speaker 1: mean it's like it's a small town. You really want

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Speaker 1: to get involved with the diner owner, you know, yeah,

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Speaker 1: that kind of thing, even.

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Speaker 4: Though it's pretty he's pretty cool, you know.

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Speaker 1: Yeah, but still it's like, got it. You want to

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Speaker 1: you go there every day with your daughter, You want

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Speaker 1: to have food day, you want to relax. You don't

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Speaker 1: want to have all that stuff. I don't blame her,

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Speaker 1: you know, for for being so cautious.

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Speaker 6: She also can't help it.

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Speaker 1: Can't help what because she's addicted to coffee?

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Speaker 6: No, that she has a crash on Luke, Like she

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Speaker 6: doesn't want to admit it.

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Speaker 1: Yeah, but that but but if they're together, if they

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Speaker 1: get together, that completely changes the relationship.

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Speaker 5: No, I know, but I feel like she has these

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Speaker 5: moments like talking to Rachel, where she's always wondering, like

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Speaker 5: what Luke's like in a relationship.

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Speaker 6: That's how I took it.

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Speaker 1: Right, right anyway, nice dynamics. I think Rachel's a pretty

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Speaker 1: appealing character, right, She's very likable. You really believe that

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Speaker 1: she grew up there and she was one of those there.

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Speaker 1: There's always a subset of people in towns like that

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Speaker 1: that want to get the heck out of there, that's

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Speaker 1: stifled by the place, and they want to go out

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Speaker 1: and see the world. And she's one of them. Right now,

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Speaker 1: we're at the end. Very funny stuff here. Anytime you

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Speaker 1: have a Max Perlock as Rune, it's going to be

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Speaker 1: a good scene. So he's in the lobby, we see

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Speaker 1: Roon again, and he's staying with Jackson. And you know,

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Speaker 1: Suki doesn't know how to tell Laurelai this. They don't

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Speaker 1: know how to tell Laurala I that that run is

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Speaker 1: in town staying with Jackson, but that that Rune needs

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Speaker 1: a place to stay and he needs a job and

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Speaker 1: this is all falling of Laura. What did you guys

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Speaker 1: think of this?

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Speaker 5: I mean, Kendall, do you know what happened with Ruin?

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Speaker 5: Did Mika explain this to you?

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Speaker 3: She gave me a little bit of the backstory. But

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Speaker 3: I know that he's kind of uh not bad apples

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Speaker 3: not the right word, but a challenging character.

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Speaker 1: Yeah, but can.

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Speaker 4: You explain why he's challenging that? That part I didn't get.

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Speaker 1: Is he just like, well they went on a date together,

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Speaker 1: Well they were not.

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Speaker 5: They was kind of like forced because Suki and Jackson

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Speaker 5: were on a date. And then he pulled Jackson aside

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Speaker 5: and was like, I can't date her. She's tall, like

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Speaker 5: right in Laurel's house and am amazon. And he was

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Speaker 5: just rude throughout the whole dinner and just make comments

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Speaker 5: like why did you set me up with her? Right?

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Speaker 1: Basically he was not appreciative of who he was having

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Speaker 1: a date with. He just he didn't say it. He

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Speaker 1: was like, no, I'm out, I can't do this. It

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Speaker 1: was really funny.

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Speaker 4: Anything ever come up with them? Like do they ever

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Speaker 4: go on another date?

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Speaker 1: Oh? No?

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Speaker 6: It was like stay far away. So that's why when

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Speaker 6: he comes up, you're like, why is he here?

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Speaker 1: Right to work?

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Speaker 6: Yeah?

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Speaker 4: Yeah, where did he come from?

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Speaker 6: Jackson's cousin?

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Speaker 4: Right, and he doesn't have a job, he doesn't have

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Speaker 4: a place to stay.

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Speaker 6: No, he was visiting.

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Speaker 3: He wasn't exactly a catch either, No, no, yeah, to

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Speaker 3: say the least.

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Speaker 1: The thing I love about the Palatinos is they they

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Speaker 1: know families very well because there's always somebody, there's always

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Speaker 1: a cousin. You know, you get Lizen TJ right, you

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Speaker 1: get now, you got roun you get Jackson with a roon.

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Speaker 1: It's just so good.

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Speaker 4: Family to which cousin is that?

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Speaker 1: Oh yeah, everybody has one, you know, there's one or two,

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Speaker 1: there's no question about it.

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Speaker 3: It's so weird thinking about it now with having a

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Speaker 3: baby and then my brother and my siblings and my

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Speaker 3: wife's siblings having kids and stuff, all the cousins, and

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Speaker 3: I'm like, my god, which one of this generation is

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Speaker 3: going to be that cousin?

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Speaker 4: It's not mine?

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Speaker 1: All right? So Emily, Emily's now and stars hollow and

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Speaker 1: she's wearing she's she's wearing glarelized socks and sneakers and

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Speaker 1: and it's the only way she can she can motor

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Speaker 1: around town and comfort. She's not happy about it, but

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Speaker 1: then she kind of gets used to it and she's

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Speaker 1: swallowing and she's feeling pretty good. And you know, they

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Speaker 1: go into they go into Kim's antiques, and immediately Emily

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Speaker 1: and missus Kin get into a negotiating battle over a

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Speaker 1: very fine piece of furniture that missus Kim wants thirty

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Speaker 1: two hundred for and Emily offers two. And they go

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Speaker 1: back and forth and back and forth and back and forth,

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Speaker 1: and Emily just falls in love with missus Kimp because

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Speaker 1: she's as tough as she is, right, And let's talk

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Speaker 1: about the parallels between and the similarities between missus Kim

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Speaker 1: and her experience with Lane. How she's raising Lane and

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Speaker 1: how Emily apparently was raising Laurelai at the same age.

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Speaker 1: Isn't that interesting? But these two would be friends. They're

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Speaker 1: very similar. Is Lane a young Larelai?

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Speaker 5: Probably as someone who was really sheltered and wanted to

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Speaker 5: get out. I think I don't think they're exactly the same,

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Speaker 5: but I think there are the similarities there.

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Speaker 6: And having protective.

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Speaker 4: Parents they give similar energy for sure.

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Speaker 1: No.

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Speaker 4: Yeah, it's funny that you said earlier that they would

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Speaker 4: be friends.

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Speaker 3: That's really clever writing as well to put that together,

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Speaker 3: because that could be a missed opportunity there to to

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Speaker 3: not have them connect, you know, on the fact that

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Speaker 3: they're similar missus Kim and and Emily and I I

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Speaker 3: actually thought the thirty by the way, in two thousand

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Speaker 3: is an expensive piece of furniture. Yeah, you know, like

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Speaker 3: that's that's outrageous, Like that's like ten thousand dollars in

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Speaker 3: today's money.

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Speaker 6: Yeah, yeah, what was the what was it?

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Speaker 4: Was it like a chess these.

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Speaker 1: Are old antiques, rare pieces. You know. Emily was she

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Speaker 1: scoured every antiques store in Connecticut until she told she

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Speaker 1: was stupidly told her friend about all of these great places,

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Speaker 1: and she went and bought everything up and left Emily

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Speaker 1: out to dry. So Emily had to find a new source.

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Speaker 1: She found She found it with missus Kim. So, yeah, that.

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Speaker 5: Stuff's expensive, like anyone in stars Hollow buying that. I

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Speaker 5: don't think anyone in Star Starts Hollows shopping there.

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Speaker 3: There's places that in Vermont that remind me of that

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Speaker 3: where you know, you go it's an I know it's

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Speaker 3: an antique store, you know, and I know that some

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Speaker 3: of these things are a couple hundred years old. But

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Speaker 3: you're like, I just was looking for a coffee table,

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Speaker 3: and I don't want to buy something from Ikia, but

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Speaker 3: also I don't think I can buy this Louis the

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Speaker 3: fifteenth coffee table for twenty five thousand dollars.

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Speaker 4: Like, have you ever gone on first DIBs or not?

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Speaker 3: First DIBs? Yeah, first DIBs. It's like that website that

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Speaker 3: sells antiques stuff like that. You're like, Oh, I'm gonna

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Speaker 3: go in here and find something interesting. Of course everything

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Speaker 3: is twenty grand Peace, but yeah, there's places like that

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Speaker 3: in Vermont that remind me of that. Everything in there

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Speaker 3: and you're like, I don't think the people around here are.

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Speaker 4: Buying this stuff. I think, yeah, coming up and you know,

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Speaker 4: yeah they have.

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Speaker 1: They have antique shops all all over the North Northeast.

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Speaker 6: People driving through or buying.

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Speaker 4: Yeah, some of the best antiquing there is absolutely.

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Speaker 1: All right. So now we're at the abandoned in with

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Speaker 1: Rachel and Lorelei and they have their conversation and laurel

355
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Speaker 1: I shares her vision that includes Suki, and Rachel shares

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Speaker 1: that she wants wanted to be a photographer, to be

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Speaker 1: anywhere but there and start as hollow. So she got out.

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Speaker 1: So they're kind of, you know, they're bonding a little bit.

359
00:19:40,160 --> 00:19:44,399
Speaker 1: Suki is being funny and you know, kind of freaked

360
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Speaker 1: out about the prospect of buying the place and having

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Speaker 1: to renovate it, and but she's excited at the same time.

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Speaker 1: And hilarious h little appearance by by Melissa McCarthy. It

363
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Speaker 1: was really a funny scene. And then Rachel lowers the

364
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Speaker 1: boom tells laurel I she's ready to settle down with

365
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Speaker 1: Luke and then we see that look on laurel Ized

366
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Speaker 1: face and you never see it coming, do you? They

367
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Speaker 1: really know how to drop in these these story beats, right,

368
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Speaker 1: because these are like necessary story beats. This is storytelling.

369
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Speaker 1: You know, how are we going to drop this in?

370
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Speaker 1: Why aren't we going to get this in? And then

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Speaker 1: there it is, boom. You just don't see it coming

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Speaker 1: with these With these two, it's it's really fantastic writing.

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Speaker 1: What'd you guys think of this? Were you surprised when when?

374
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Speaker 1: Because I was surprised when Rachel said it's time to

375
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Speaker 1: settle down.

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Speaker 5: I mean we've only seen her for a couple of episodes,

377
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Speaker 5: so yeah, like if we're going back, I think she's

378
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Speaker 5: been in like two or three before this, so it

379
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Speaker 5: kind of was shocking.

380
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Speaker 3: Yeah, I mean, if you're going to have that character right,

381
00:20:49,680 --> 00:20:53,000
Speaker 3: you need they have to. Something's got to happen quick

382
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Speaker 3: otherwise people lose interest in the character.

383
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Speaker 4: You know.

384
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Speaker 1: Well, now we're really going to lose interest in her

385
00:20:58,400 --> 00:21:01,040
Speaker 1: because she's going to take look away from Lorealizes. So

386
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Speaker 1: they're gonna you know, they're going to storm the.

387
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Speaker 5: Poor Cullis with pitchforks, you know, it's Yeah, they're not

388
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Speaker 5: setting us up to like her that much.

389
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Speaker 1: So what do you think here? Here's an interesting question.

390
00:21:16,359 --> 00:21:22,320
Speaker 1: Rachel is constantly expressing her desire prior to this, even

391
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Speaker 1: even in this scene, her desire to be anywhere but

392
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Speaker 1: stars hollow. How do you think that affects Laureli? Right,

393
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Speaker 1: I was going to say, do you think that's offensive

394
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Speaker 1: to Laurel? I?

395
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Speaker 3: Yeah, And Luke I would imagine he's he seems like

396
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Speaker 3: he's a I mean, he would be the definition of

397
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Speaker 3: a towny, right, He's a towny. He's the guy he

398
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Speaker 3: owns a cafe. So her wanting to get out, I

399
00:21:41,920 --> 00:21:44,240
Speaker 3: mean that obviously means that she's trying to get him,

400
00:21:44,680 --> 00:21:47,880
Speaker 3: pull him out of town.

401
00:21:48,720 --> 00:21:52,880
Speaker 1: Certain people are struck by wanderlust, right. They just want

402
00:21:52,920 --> 00:21:56,440
Speaker 1: to see the world. There's nothing wrong with that. Most

403
00:21:56,480 --> 00:22:00,360
Speaker 1: people don't. They want to stay in town and and

404
00:22:00,400 --> 00:22:03,040
Speaker 1: they want to have their friends and their family, and

405
00:22:03,080 --> 00:22:05,359
Speaker 1: they don't want to leave the town very often or

406
00:22:05,400 --> 00:22:08,719
Speaker 1: if at all. But she's just one of these, you know,

407
00:22:08,760 --> 00:22:10,960
Speaker 1: she's wild at hard I guess, and she just wants

408
00:22:11,040 --> 00:22:12,600
Speaker 1: to see the world. Nothing wrong with that.

409
00:22:12,960 --> 00:22:14,120
Speaker 6: And she's left before.

410
00:22:14,280 --> 00:22:17,080
Speaker 5: So it's interesting that she's saying this now because I

411
00:22:17,080 --> 00:22:19,480
Speaker 5: think Lurla's probably thinking, well, is she going to leave again?

412
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Speaker 1: Right? How many times has she done this to Luke?

413
00:22:23,040 --> 00:22:27,520
Speaker 1: It's like millions of times. They use the word millions,

414
00:22:27,520 --> 00:22:29,560
Speaker 1: so she must have done she does this all the time,

415
00:22:29,640 --> 00:22:30,120
Speaker 1: all the time.

416
00:22:30,320 --> 00:22:35,400
Speaker 4: It's called doing a geographical Oh is that geographic? Geographical?

417
00:22:35,520 --> 00:22:37,719
Speaker 3: It's like that's a therapy term right where it's like,

418
00:22:37,760 --> 00:22:42,960
Speaker 3: you know, you can move to another place, but you know,

419
00:22:43,000 --> 00:22:45,160
Speaker 3: if you don't address the problem, then you're just moving

420
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Speaker 3: your problem to another place.

421
00:22:46,320 --> 00:22:46,840
Speaker 4: Right, You're just.

422
00:22:46,760 --> 00:22:49,840
Speaker 3: Going, well, maybe life would get better if I lived

423
00:22:49,880 --> 00:22:55,200
Speaker 3: in Hawaii, which it might arguably, I might be better.

424
00:22:56,080 --> 00:22:57,960
Speaker 3: But yeah, she seems like she might have that sort

425
00:22:58,000 --> 00:22:59,800
Speaker 3: of I mean, what do you what are you running from?

426
00:23:01,040 --> 00:23:01,280
Speaker 5: Yeah?

427
00:23:02,240 --> 00:23:04,600
Speaker 3: Maybe just not wanting to be stagnant in a town

428
00:23:04,760 --> 00:23:08,320
Speaker 3: or something like that. But it makes me think of

429
00:23:08,440 --> 00:23:12,199
Speaker 3: I remember I've read this somewhere about maybe it was

430
00:23:12,200 --> 00:23:14,640
Speaker 3: in one of those like Stapiens books or something like that,

431
00:23:14,680 --> 00:23:18,399
Speaker 3: but it was like that there's no there's no human

432
00:23:18,680 --> 00:23:23,000
Speaker 3: like biological prerogative to travel, you know what I mean?

433
00:23:23,480 --> 00:23:26,680
Speaker 3: The real you just humans just need food, water and

434
00:23:26,720 --> 00:23:27,399
Speaker 3: shelter and stuff.

435
00:23:27,400 --> 00:23:31,280
Speaker 4: Like that. But so like traveling is like a new thing,

436
00:23:32,000 --> 00:23:32,760
Speaker 4: you know, and.

437
00:23:32,600 --> 00:23:34,679
Speaker 3: Some people like I just I gotta get out of here.

438
00:23:34,720 --> 00:23:36,959
Speaker 3: I gotta go, I gotta go. It's interesting because there

439
00:23:37,000 --> 00:23:39,399
Speaker 3: isn't and it's more of a psychological thing. It's not

440
00:23:40,280 --> 00:23:44,439
Speaker 3: a necessity, actual necessity to live a good life. You

441
00:23:44,440 --> 00:23:47,640
Speaker 3: don't have to travel, that's true, especially.

442
00:23:47,280 --> 00:23:48,600
Speaker 4: A cute town like Stars Hollow.

443
00:23:48,760 --> 00:23:52,600
Speaker 3: You know, you could, you know, you could live in

444
00:23:52,640 --> 00:23:54,159
Speaker 3: a cute town like that your whole life, as long

445
00:23:54,160 --> 00:23:55,920
Speaker 3: as you maybe go on a couple of vacations a year.

446
00:23:57,040 --> 00:23:57,439
Speaker 4: I don't know.

447
00:23:57,720 --> 00:24:00,239
Speaker 1: When I was growing up and reading books, and I

448
00:24:00,240 --> 00:24:02,520
Speaker 1: was always wondering what these places were like and wanting

449
00:24:02,560 --> 00:24:06,520
Speaker 1: to go there, you know, right, because there's stories attached

450
00:24:06,560 --> 00:24:09,159
Speaker 1: to it, and it's more than just going to a place.

451
00:24:09,240 --> 00:24:14,840
Speaker 1: It's sort of revisiting your childhood almost, you know, and discovering,

452
00:24:15,560 --> 00:24:18,560
Speaker 1: you know again, all those feelings you had while you

453
00:24:18,560 --> 00:24:21,440
Speaker 1: were learning about that place and those events that took place,

454
00:24:21,480 --> 00:24:25,199
Speaker 1: and whether it's a poet that you particularly like, and

455
00:24:25,760 --> 00:24:29,400
Speaker 1: you can walk that that that road to Paris from

456
00:24:29,560 --> 00:24:34,880
Speaker 1: Charlesville and you know, retrace their footsteps and that kind

457
00:24:34,920 --> 00:24:38,919
Speaker 1: of thing. So yeah, but I yeah, I think I

458
00:24:38,960 --> 00:24:42,680
Speaker 1: think you're right. It's probably uh, you know, with the

459
00:24:42,760 --> 00:24:48,040
Speaker 1: with the industrial age and the ease with which people

460
00:24:48,080 --> 00:24:54,720
Speaker 1: can transport themselves. Yeah, that's the traveling became a thing.

461
00:24:55,520 --> 00:24:55,920
Speaker 4: You're crazy.

462
00:24:55,920 --> 00:24:57,760
Speaker 3: If you just buy a ticket, you can be in

463
00:24:59,160 --> 00:25:00,879
Speaker 3: you know, if you can get the ticket, you can

464
00:25:00,960 --> 00:25:03,160
Speaker 3: be in Paris tomorrow.

465
00:25:03,920 --> 00:25:04,399
Speaker 5: Yeah you know.

466
00:25:05,359 --> 00:25:08,360
Speaker 4: Yeah, actually I guess if that's right now.

467
00:25:08,800 --> 00:25:12,520
Speaker 1: Wild right, right, It wouldn't take three years to get

468
00:25:12,520 --> 00:25:15,200
Speaker 1: there by foot, right because you had to work, because

469
00:25:15,240 --> 00:25:17,200
Speaker 1: you had to work jobs along the way to get there,

470
00:25:17,720 --> 00:25:21,880
Speaker 1: like like in the middle of the eighteenth century. So, uh,

471
00:25:22,280 --> 00:25:26,480
Speaker 1: we're back at the end. Run is uh. Now, this

472
00:25:26,640 --> 00:25:28,720
Speaker 1: is one of the finer scenes I think in the

473
00:25:28,880 --> 00:25:33,800
Speaker 1: entire episode with Michelle and Run and Michelle are going

474
00:25:33,840 --> 00:25:39,399
Speaker 1: at it and Michelle doesn't believe him that, you know,

475
00:25:39,680 --> 00:25:41,680
Speaker 1: he has a job there and that he's going to

476
00:25:41,720 --> 00:25:45,960
Speaker 1: live there. He's like, go away, little tiny man. You

477
00:25:46,040 --> 00:25:52,399
Speaker 1: don't know what he believes you. And Emily and Rory

478
00:25:52,440 --> 00:25:58,639
Speaker 1: come in and and Emily meets Michelle and they of

479
00:25:58,640 --> 00:26:01,480
Speaker 1: course hit it off. The famous oh.

480
00:26:01,359 --> 00:26:08,080
Speaker 5: Yeah, his French accent was all she needed.

481
00:26:08,200 --> 00:26:10,920
Speaker 1: Right, that's it. A couple of French words and she

482
00:26:11,160 --> 00:26:17,200
Speaker 1: was done, and laurelized a little shocked by Emily's shoes,

483
00:26:17,480 --> 00:26:22,440
Speaker 1: a choice of restaurant, and her pleasant mood. I don't

484
00:26:22,520 --> 00:26:25,520
Speaker 1: know that she's ever seen her mother like this, right.

485
00:26:26,320 --> 00:26:27,720
Speaker 6: Definitely, not in those shoes.

486
00:26:28,119 --> 00:26:31,960
Speaker 1: Not in those shoes. And Rory and Emily are having

487
00:26:32,000 --> 00:26:35,240
Speaker 1: a really great time, aren't they. I mean they're really really.

488
00:26:35,320 --> 00:26:39,320
Speaker 1: I mean, Rory's just having a great day and she's

489
00:26:39,400 --> 00:26:42,480
Speaker 1: beaming because she's with her grandma, and that is just

490
00:26:42,560 --> 00:26:43,280
Speaker 1: so sweet.

491
00:26:43,520 --> 00:26:45,600
Speaker 5: It is one of those things where you're like, they're

492
00:26:45,600 --> 00:26:48,000
Speaker 5: having too good of a time. Something's going to happen.

493
00:26:48,160 --> 00:26:50,800
Speaker 1: Did you feel that way? Did you feel something was coming?

494
00:26:50,840 --> 00:26:55,439
Speaker 1: Because I didn't. I didn't remember where this was going.

495
00:26:56,040 --> 00:26:58,479
Speaker 5: I did, But even before that, I was like, Emily

496
00:26:58,560 --> 00:27:02,000
Speaker 5: always turns, so I knew something would happen.

497
00:27:02,760 --> 00:27:06,000
Speaker 4: Right. It makes Lorla jealous a little bit too to see.

498
00:27:05,800 --> 00:27:10,439
Speaker 3: Them bonding, right, I mean, that's totally I guess jealous

499
00:27:10,520 --> 00:27:12,359
Speaker 3: is the only word I can think of, but the

500
00:27:12,520 --> 00:27:14,399
Speaker 3: sort of like, well, why wasn't it like that for me?

501
00:27:16,520 --> 00:27:19,600
Speaker 3: And also thinking it's like, you know when someone's really

502
00:27:19,680 --> 00:27:21,800
Speaker 3: nice to you because they want something. So I'm sure

503
00:27:21,800 --> 00:27:25,840
Speaker 3: she feels a little bit like, what is this manipulation?

504
00:27:27,119 --> 00:27:29,240
Speaker 3: What is this manipulation technique.

505
00:27:28,760 --> 00:27:30,920
Speaker 4: That she's got? Now? Now she wants to like act like.

506
00:27:30,920 --> 00:27:35,000
Speaker 5: You know, yeah, and she always sees like she kind

507
00:27:35,000 --> 00:27:38,160
Speaker 5: of tries to see the bad in her mom. She

508
00:27:38,200 --> 00:27:40,639
Speaker 5: never tries to see the good because I think it

509
00:27:40,680 --> 00:27:41,280
Speaker 5: did start.

510
00:27:41,119 --> 00:27:41,640
Speaker 6: Out as good.

511
00:27:42,280 --> 00:27:44,760
Speaker 1: Yeah, but I think laurla I is still kind of

512
00:27:44,800 --> 00:27:48,480
Speaker 1: in her trauma. You know, it's a trauma response every

513
00:27:48,480 --> 00:27:50,920
Speaker 1: time she sees her mom, and that's where all the

514
00:27:51,040 --> 00:27:54,879
Speaker 1: humor's coming from. It's a defense mechanism. She's just traumatized

515
00:27:54,960 --> 00:28:03,120
Speaker 1: by the woman. So that's her reflexive defenses. And then

516
00:28:03,160 --> 00:28:07,040
Speaker 1: we at the height of Emily's joy with stars hollow,

517
00:28:07,440 --> 00:28:11,480
Speaker 1: the swans, the lake, the white picket fence, the lawn,

518
00:28:12,280 --> 00:28:15,600
Speaker 1: the charming cottage in the back, the gardening shed. Here

519
00:28:15,640 --> 00:28:23,840
Speaker 1: we come. That's when it all ends. Did you you

520
00:28:23,880 --> 00:28:28,359
Speaker 1: guys didn't see this coming? Terry Kendall, what was your

521
00:28:28,359 --> 00:28:31,840
Speaker 1: impression of this when Emily, I mean, you didn't know

522
00:28:31,880 --> 00:28:36,680
Speaker 1: the story, right, so a little bit harder for me, right, right?

523
00:28:36,760 --> 00:28:38,280
Speaker 1: So what did you think of this scene? Did you

524
00:28:38,280 --> 00:28:40,200
Speaker 1: have to ask your wife like, hey, what what's going

525
00:28:40,240 --> 00:28:40,960
Speaker 1: on here?

526
00:28:41,240 --> 00:28:41,480
Speaker 4: Yeah?

527
00:28:41,880 --> 00:28:43,560
Speaker 3: She did have to explain it to me. She was

528
00:28:44,480 --> 00:28:46,720
Speaker 3: as much backstory as possible. Are we talking about when

529
00:28:46,720 --> 00:28:48,480
Speaker 3: she's at the base.

530
00:28:48,400 --> 00:28:56,560
Speaker 1: Shed, no where, the gardening shed where Laurel I ran

531
00:28:56,640 --> 00:29:01,000
Speaker 1: to when Rory was a baby and they lived in

532
00:29:01,480 --> 00:29:04,480
Speaker 1: the owner of the dragon Fly in who was still

533
00:29:04,520 --> 00:29:08,040
Speaker 1: employing laurle I took pity on Laura I as a

534
00:29:08,080 --> 00:29:19,760
Speaker 1: sixteen year old with a baby. Right now, we're in

535
00:29:19,840 --> 00:29:26,280
Speaker 1: Luke's apartment and this is the first time so we

536
00:29:26,440 --> 00:29:29,240
Speaker 1: got so we're dealing with curtains that Luke chose that

537
00:29:29,600 --> 00:29:33,160
Speaker 1: Laura I finds out that Rachel didn't choose them, and

538
00:29:33,480 --> 00:29:35,440
Speaker 1: it's the first time she's in there. Not that she

539
00:29:35,480 --> 00:29:38,719
Speaker 1: ever thought about Luke's apartment. She's always sort of like

540
00:29:38,760 --> 00:29:42,600
Speaker 1: stumbling around Rachel and getting to explain me with her

541
00:29:43,040 --> 00:29:46,760
Speaker 1: right Rachel said she doesn't think she will always stay

542
00:29:46,800 --> 00:29:50,080
Speaker 1: in the stars Hollow. Again, here we are with like,

543
00:29:50,360 --> 00:29:52,680
Speaker 1: I'm out of here, and so that's all this character

544
00:29:52,720 --> 00:29:54,280
Speaker 1: says is like, I want to get out of here,

545
00:29:55,080 --> 00:29:58,560
Speaker 1: and you know, she's got a prompt So she goes

546
00:29:58,600 --> 00:30:00,400
Speaker 1: to Laura I and she says, can you help me

547
00:30:00,520 --> 00:30:03,240
Speaker 1: with my problem? My problem is I can't convince Luke

548
00:30:03,280 --> 00:30:06,200
Speaker 1: that I'm that I'm going to actually stay this time

549
00:30:06,720 --> 00:30:08,880
Speaker 1: because I you know, I've only run out on them

550
00:30:08,880 --> 00:30:12,960
Speaker 1: about thirty times. But and we don't know, right, It

551
00:30:13,080 --> 00:30:15,560
Speaker 1: makes me wonder, It makes me want to know more

552
00:30:15,600 --> 00:30:18,800
Speaker 1: about what the heck happened between these two and they're

553
00:30:18,880 --> 00:30:21,360
Speaker 1: telling us, but you know, you'd really rather see it.

554
00:30:24,600 --> 00:30:27,280
Speaker 1: And so she asked Laura if if if she can

555
00:30:27,280 --> 00:30:29,400
Speaker 1: give her a little help in that regard, and Laura

556
00:30:29,440 --> 00:30:31,800
Speaker 1: I agree, says yeah, you know, did she agree?

557
00:30:31,880 --> 00:30:32,200
Speaker 6: She did?

558
00:30:32,360 --> 00:30:35,320
Speaker 1: She did agree. What do you think of this? That's

559
00:30:35,360 --> 00:30:39,320
Speaker 1: putting Laura in a very awkward position, isn't it. And

560
00:30:39,600 --> 00:30:43,240
Speaker 1: here's here's the real question. Do you think Rachel's aware

561
00:30:43,280 --> 00:30:46,200
Speaker 1: that Laura I and Luke maybe have feelings for John?

562
00:30:46,760 --> 00:30:48,520
Speaker 6: I think she can see it, right.

563
00:30:48,960 --> 00:30:50,880
Speaker 3: I mean, if she's seen the same thing that we're seeing,

564
00:30:51,760 --> 00:30:53,800
Speaker 3: because we don't know, we don't know if if it

565
00:30:53,840 --> 00:30:57,000
Speaker 3: looks a little different in the actual world that they're in,

566
00:30:57,800 --> 00:31:00,560
Speaker 3: you know that the characters are in. But I mean,

567
00:31:00,560 --> 00:31:04,600
Speaker 3: if any casual observer could see that there's a tension

568
00:31:05,760 --> 00:31:09,320
Speaker 3: between the two of them. And I was thinking, like,

569
00:31:09,600 --> 00:31:11,920
Speaker 3: are either one of them like a girls girl?

570
00:31:12,320 --> 00:31:12,600
Speaker 4: You know what?

571
00:31:12,680 --> 00:31:14,520
Speaker 3: I mean by that where it's like, you know, she's

572
00:31:15,240 --> 00:31:18,960
Speaker 3: she's a, hey, we do this favor for me. You know,

573
00:31:19,000 --> 00:31:20,880
Speaker 3: I need your help, and it's like kind of a

574
00:31:20,960 --> 00:31:23,840
Speaker 3: kind thing to do. But are either of them girls

575
00:31:23,880 --> 00:31:24,520
Speaker 3: girls like.

576
00:31:26,680 --> 00:31:28,920
Speaker 4: Broad? I don't know what the opposite of it is,

577
00:31:28,960 --> 00:31:30,080
Speaker 4: but I.

578
00:31:30,000 --> 00:31:30,800
Speaker 6: Think Laura I is.

579
00:31:30,800 --> 00:31:32,960
Speaker 5: I don't think we know enough about Rachel, but off

580
00:31:33,000 --> 00:31:37,400
Speaker 5: the bat, probably not. I don't think she probably moves

581
00:31:37,440 --> 00:31:43,120
Speaker 5: around too much where she hasn't established like real relationships

582
00:31:43,280 --> 00:31:46,160
Speaker 5: like that. But again, we haven't learned that much about.

583
00:31:45,880 --> 00:31:46,360
Speaker 6: Her to know.

584
00:31:47,040 --> 00:31:48,920
Speaker 1: You know why, I think Rachel asked her to do that.

585
00:31:50,480 --> 00:31:53,440
Speaker 1: I think Rachel asked Laurela to do that because it

586
00:31:53,480 --> 00:31:57,680
Speaker 1: was really a test. She was testing local Laura Lai

587
00:31:58,440 --> 00:32:02,480
Speaker 1: to see what they're feelings really work or for each other,

588
00:32:02,760 --> 00:32:06,280
Speaker 1: which would inform her decision to stay or leave right,

589
00:32:06,640 --> 00:32:11,080
Speaker 1: because she suspects there's probably something going on because right,

590
00:32:11,280 --> 00:32:15,240
Speaker 1: like Kendall said, you can feel that energy, right, and

591
00:32:15,360 --> 00:32:18,800
Speaker 1: she's I mean, she's coming into this situation and she

592
00:32:18,880 --> 00:32:21,800
Speaker 1: sees this. You know, laural lies beautiful and she's sitting

593
00:32:21,800 --> 00:32:26,640
Speaker 1: there and you know, a girl girls can tell, right,

594
00:32:27,080 --> 00:32:29,320
Speaker 1: they can really tell. I mean, guys can tell when

595
00:32:29,400 --> 00:32:31,840
Speaker 1: other guys like their women. You know, it's it's it's

596
00:32:31,880 --> 00:32:37,080
Speaker 1: just instinctual. We do well, no, we do, we do?

597
00:32:37,400 --> 00:32:40,200
Speaker 1: We do? Come on, let's face it. You know, the

598
00:32:40,320 --> 00:32:42,560
Speaker 1: radars out and you know it, man, you know when

599
00:32:42,640 --> 00:32:47,320
Speaker 1: somebody's locked on and and I think, yeah, this is

600
00:32:47,360 --> 00:32:52,360
Speaker 1: just a heat check for for for for Rachel. And

601
00:32:52,400 --> 00:32:53,959
Speaker 1: I don't know if she's I don't know. I wouldn't

602
00:32:53,960 --> 00:32:56,040
Speaker 1: accuse her of being manipulative, but it's like, I think

603
00:32:56,120 --> 00:32:59,200
Speaker 1: she's just sort of like trying to justify another exit

604
00:32:59,240 --> 00:33:02,719
Speaker 1: stage left because now she's in a situation where she

605
00:33:02,840 --> 00:33:05,280
Speaker 1: really wanted to come back, she really wanted to start something.

606
00:33:05,320 --> 00:33:09,320
Speaker 1: But gosh, I don't know that. Why is Luke being

607
00:33:09,320 --> 00:33:12,440
Speaker 1: so stubborn? And it's like because of Laurala and Laura,

608
00:33:12,520 --> 00:33:14,520
Speaker 1: I would you help me out with this problem? And

609
00:33:14,640 --> 00:33:17,440
Speaker 1: she kind of thinks she knows already what the answer

610
00:33:17,440 --> 00:33:18,000
Speaker 1: is going to be.

611
00:33:19,280 --> 00:33:20,040
Speaker 6: You have a point.

612
00:33:20,560 --> 00:33:22,800
Speaker 1: Even if she tries, it's not going to be successful.

613
00:33:22,960 --> 00:33:25,720
Speaker 3: People like that are so frustrating because it seems like

614
00:33:25,880 --> 00:33:30,800
Speaker 3: Rachel is the type of person who will ask for

615
00:33:30,840 --> 00:33:33,720
Speaker 3: things and not realize how awkward to put somebody in

616
00:33:33,720 --> 00:33:37,520
Speaker 3: a position, you know, there is she like a little

617
00:33:37,560 --> 00:33:39,880
Speaker 3: oblivious to that. I mean, that's what you're saying that

618
00:33:39,920 --> 00:33:42,880
Speaker 3: she's got to know that there's some sort of connection there,

619
00:33:42,920 --> 00:33:45,600
Speaker 3: but we don't know if she's seeing it the same

620
00:33:45,640 --> 00:33:46,960
Speaker 3: way that we're seeing it from.

621
00:33:48,000 --> 00:33:51,000
Speaker 4: You know, that perspective. So it is, yeah, she might

622
00:33:51,040 --> 00:33:53,480
Speaker 4: be testing her that. I mean, it would seem obvious.

623
00:33:53,960 --> 00:33:56,840
Speaker 1: And it leads to that scene in the supply room

624
00:33:57,040 --> 00:34:02,360
Speaker 1: where Laurla comes in and actually does as asks, advocates

625
00:34:02,360 --> 00:34:06,040
Speaker 1: for her a little bit. And you know, I think

626
00:34:06,120 --> 00:34:08,839
Speaker 1: so far in this season, that's one of my that's

627
00:34:08,840 --> 00:34:12,040
Speaker 1: my favorite Luke and Laurel I see because it was

628
00:34:12,120 --> 00:34:15,600
Speaker 1: so filled with truth and it was so filled with

629
00:34:15,920 --> 00:34:20,480
Speaker 1: masking real feelings on both of their parts. You know,

630
00:34:20,560 --> 00:34:24,560
Speaker 1: he just continued to rip open boxes and stock the

631
00:34:24,560 --> 00:34:29,920
Speaker 1: shelves right, and he was firm in his belief. And

632
00:34:30,000 --> 00:34:34,520
Speaker 1: I thought, you know, there were two things that Luke

633
00:34:34,640 --> 00:34:40,000
Speaker 1: was balancing. One was he has no faith or trust

634
00:34:40,320 --> 00:34:44,239
Speaker 1: in Rachel's ability to stick it out. He's seen that

635
00:34:44,320 --> 00:34:48,000
Speaker 1: movie too many times before, Laurel I relax. He also

636
00:34:49,120 --> 00:34:54,200
Speaker 1: wanted to appear I think, kind of open and available

637
00:34:54,200 --> 00:34:58,040
Speaker 1: to Laurel. I. I think it worked in his favor

638
00:34:58,200 --> 00:35:03,440
Speaker 1: in both accounts right without really showing how he felt

639
00:35:03,480 --> 00:35:05,960
Speaker 1: about her. He was showing how he felt about her

640
00:35:06,000 --> 00:35:09,600
Speaker 1: with his attitude, which is what I love about the scene.

641
00:35:09,640 --> 00:35:12,800
Speaker 1: I really love their dynamic and I think the writing.

642
00:35:13,000 --> 00:35:16,760
Speaker 1: The writing is so good. The writing is so good.

643
00:35:17,920 --> 00:35:22,200
Speaker 1: And you know, I've been in four series a series regular,

644
00:35:22,719 --> 00:35:25,680
Speaker 1: and to go to work and to get to be

645
00:35:25,920 --> 00:35:29,400
Speaker 1: in scenes like this is a just a very rare treat.

646
00:35:30,000 --> 00:35:30,680
Speaker 1: Let me tell you.

647
00:35:32,360 --> 00:35:35,320
Speaker 3: Going like yes, you know, like as you're reading the script,

648
00:35:35,320 --> 00:35:37,919
Speaker 3: you're going, I know I'm gonna do these scenes later,

649
00:35:37,960 --> 00:35:40,480
Speaker 3: but you're like, oh oh, and that.

650
00:35:41,280 --> 00:35:45,480
Speaker 1: The way they write. You read it, you see it,

651
00:35:46,160 --> 00:35:48,200
Speaker 1: you go, I know exactly what I'm going to do.

652
00:35:49,440 --> 00:35:52,839
Speaker 1: I know exactly how to cover this, I know exactly

653
00:35:52,880 --> 00:35:56,960
Speaker 1: how I'm going to interact with her, and they just

654
00:35:57,440 --> 00:35:59,759
Speaker 1: and they don't put it in a scene description, and

655
00:35:59,800 --> 00:36:06,120
Speaker 1: it's not in the dialogue, but it is. They write behavior.

656
00:36:06,280 --> 00:36:11,520
Speaker 1: They write dialogue that elicits behavior. They draw out behavior

657
00:36:11,640 --> 00:36:16,040
Speaker 1: in you, and I've never seen writing like it. It's

658
00:36:16,680 --> 00:36:18,840
Speaker 1: wonderful to do and I miss it terribly.

659
00:36:19,239 --> 00:36:20,600
Speaker 4: It's a lot of words too.

660
00:36:22,040 --> 00:36:26,640
Speaker 1: But they're but they're perfectly placed words they're perfect words.

661
00:36:27,320 --> 00:36:30,360
Speaker 1: There's a lot of them, but they're still in a

662
00:36:30,400 --> 00:36:35,000
Speaker 1: sense economical in that every word is effective, every word

663
00:36:35,080 --> 00:36:40,160
Speaker 1: has a purpose. It's not too much. It's like I'm

664
00:36:40,200 --> 00:36:43,040
Speaker 1: going to take you over here, but we're going to

665
00:36:43,120 --> 00:36:45,800
Speaker 1: come back here because you don't you're not going to

666
00:36:45,840 --> 00:36:48,279
Speaker 1: see this comment. I don't know. I love that.

667
00:36:48,480 --> 00:36:50,359
Speaker 3: I think of any examples of shows that I mean,

668
00:36:50,360 --> 00:36:52,759
Speaker 3: because to me, it seems like Gilmore Girl stands out

669
00:36:52,800 --> 00:36:59,759
Speaker 3: as a a very particular style, which is probably what

670
00:36:59,800 --> 00:37:03,200
Speaker 3: made it so popular, because it was, you know, one

671
00:37:03,200 --> 00:37:05,400
Speaker 3: of a kind in the way that the pacing was

672
00:37:06,200 --> 00:37:10,360
Speaker 3: and the storytelling and all the connections and the characters.

673
00:37:10,920 --> 00:37:14,239
Speaker 3: You know, are there anything that's kind of was it

674
00:37:14,280 --> 00:37:16,040
Speaker 3: modeled after something or just sort of a.

675
00:37:16,160 --> 00:37:20,080
Speaker 1: Yeah, I mean it's it's very sophisticated film writing from

676
00:37:20,320 --> 00:37:27,080
Speaker 1: the thirties and forties. Yeah, those those fast paced comedies,

677
00:37:27,320 --> 00:37:32,560
Speaker 1: and but it's just so smart. You don't find writing

678
00:37:32,680 --> 00:37:35,520
Speaker 1: like this in television. You just don't find it. It's

679
00:37:35,640 --> 00:37:38,480
Speaker 1: just I don't know that it's there's ever been writing

680
00:37:38,600 --> 00:37:39,719
Speaker 1: like this on television.

681
00:37:40,239 --> 00:37:42,239
Speaker 3: Well, maybe the reason for the pacing is because of

682
00:37:42,280 --> 00:37:45,480
Speaker 3: how much they how much story they were telling. Is like, well,

683
00:37:45,480 --> 00:37:47,440
Speaker 3: we only have forty minutes to do this, so that's

684
00:37:47,480 --> 00:37:49,839
Speaker 3: why we've got to keep it based up to get

685
00:37:49,880 --> 00:37:52,480
Speaker 3: this story in you know, all these good character points

686
00:37:52,520 --> 00:37:53,359
Speaker 3: and everything like that.

687
00:37:53,840 --> 00:37:55,400
Speaker 4: I also know that it's in a style.

688
00:37:55,480 --> 00:37:58,520
Speaker 1: But you know you're you're a guitar player, right, So

689
00:37:59,200 --> 00:38:03,239
Speaker 1: you go to a figure out Peter Frampton solo, or

690
00:38:03,280 --> 00:38:05,319
Speaker 1: you go to a Clapton solo, you go to a

691
00:38:05,360 --> 00:38:09,440
Speaker 1: Hendrick solo, and you just go, wow, how did they

692
00:38:09,520 --> 00:38:09,960
Speaker 1: do this?

693
00:38:10,719 --> 00:38:11,319
Speaker 4: Yeah?

694
00:38:11,400 --> 00:38:16,359
Speaker 1: Right, I mean there are levels. So this is what

695
00:38:16,400 --> 00:38:19,920
Speaker 1: we're dealing with here with Amy and Dan. It's just

696
00:38:20,239 --> 00:38:26,680
Speaker 1: remarkable the writing. And it's no accident that you know

697
00:38:26,800 --> 00:38:32,040
Speaker 1: this show is so popular and that you know ten

698
00:38:32,120 --> 00:38:35,800
Speaker 1: year old girls are falling in love with it because

699
00:38:37,120 --> 00:38:42,000
Speaker 1: Amy and Dan treat an audience like they're intelligent. They

700
00:38:42,000 --> 00:38:47,200
Speaker 1: don't ever write down to them. They know that the

701
00:38:47,280 --> 00:38:51,400
Speaker 1: audience will get it. And that's what drives me crazy

702
00:38:51,400 --> 00:38:54,759
Speaker 1: about most television. They're always dumbing everything down. These two

703
00:38:54,760 --> 00:38:57,960
Speaker 1: don't dumb anything now you know, they go the other way.

704
00:39:00,080 --> 00:39:04,000
Speaker 4: Oh man, well it made it an evergreen, that's for sure. Yeah.

705
00:39:04,000 --> 00:39:04,640
Speaker 4: That's hard to do.

706
00:39:04,800 --> 00:39:09,040
Speaker 3: That's hard to do, especially so many years later and

707
00:39:09,040 --> 00:39:13,160
Speaker 3: people still finding it and it comes up in conversation often.

708
00:39:15,239 --> 00:39:19,280
Speaker 1: All right, now we're in Rory's room, h and Lane

709
00:39:19,280 --> 00:39:23,200
Speaker 1: tells her that Henry guy hasn't called, and he actually

710
00:39:23,800 --> 00:39:27,040
Speaker 1: did call, and fine, what was this transition? He did

711
00:39:27,040 --> 00:39:28,480
Speaker 1: call eight and a half times.

712
00:39:29,000 --> 00:39:33,200
Speaker 5: Yeah, no, he left a message and she listened back

713
00:39:33,239 --> 00:39:34,160
Speaker 5: to it eight times.

714
00:39:34,000 --> 00:39:37,520
Speaker 1: Oh, eight and a half times. Okay, all right, so

715
00:39:37,640 --> 00:39:41,280
Speaker 1: he finally called or she just didn't get the message.

716
00:39:41,400 --> 00:39:43,720
Speaker 5: She just didn't pick up, and he left a message

717
00:39:43,719 --> 00:39:44,960
Speaker 5: and she just kept listening to it.

718
00:39:45,000 --> 00:39:47,400
Speaker 6: So he did call, he just didn't answer.

719
00:39:47,840 --> 00:39:50,959
Speaker 1: So she's admitting this now to Rory. Yes, so why

720
00:39:51,000 --> 00:39:52,520
Speaker 1: was she saying that he never called?

721
00:39:52,880 --> 00:39:55,919
Speaker 6: No idea. I think it's just a teenager being a teenager.

722
00:39:57,160 --> 00:40:00,200
Speaker 1: All right, we won't dwell, let's not do well, okay,

723
00:40:01,080 --> 00:40:03,480
Speaker 1: I ain't now at the movie theater, this was great,

724
00:40:03,680 --> 00:40:06,960
Speaker 1: This is so good, this is see this is something

725
00:40:07,000 --> 00:40:10,600
Speaker 1: you just don't see. And I don't know where they

726
00:40:10,640 --> 00:40:14,080
Speaker 1: came up with this line. But when she said you

727
00:40:14,120 --> 00:40:18,960
Speaker 1: want to take that that particular medication to Kirk the

728
00:40:19,040 --> 00:40:21,799
Speaker 1: cinement'out a found about of it? What did she say?

729
00:40:21,960 --> 00:40:24,920
Speaker 1: Remember this scene Kirk sits behind him, and he's telling

730
00:40:24,960 --> 00:40:27,200
Speaker 1: them to be quiet even though the lights.

731
00:40:27,000 --> 00:40:30,680
Speaker 5: Are still on, right, yeah, he wanted quiet before the

732
00:40:30,719 --> 00:40:31,280
Speaker 5: movie started.

733
00:40:31,360 --> 00:40:33,520
Speaker 1: Then he said he was feeling a little under the

734
00:40:33,520 --> 00:40:36,200
Speaker 1: weather or something like that, or he was sniffing or

735
00:40:36,440 --> 00:40:39,560
Speaker 1: some sniffles, and Lorelai turns around said, you want to

736
00:40:39,600 --> 00:40:43,200
Speaker 1: take that cine fin and minus obada, you don't want

737
00:40:43,200 --> 00:40:45,200
Speaker 1: to be driving a fort left. You get a bet

738
00:40:45,200 --> 00:40:47,680
Speaker 1: your drowsy, And they're just you know, it's like, where

739
00:40:47,680 --> 00:40:49,920
Speaker 1: do they get this stuff? Where do they get this?

740
00:40:50,480 --> 00:40:51,600
Speaker 1: I mean, that is just like.

741
00:40:51,640 --> 00:40:53,319
Speaker 4: They're having fun with it, you know, in that.

742
00:40:53,239 --> 00:40:57,000
Speaker 1: Way right right, It's like two people having a good

743
00:40:57,080 --> 00:41:00,840
Speaker 1: time and enjoying their lives at the expense of poor Kirk,

744
00:41:00,880 --> 00:41:03,040
Speaker 1: who has no idea what they're talking about. And it's

745
00:41:03,080 --> 00:41:06,000
Speaker 1: not like it's hostile. It's just like a fun little

746
00:41:06,040 --> 00:41:10,319
Speaker 1: thing they throw. And then they see Rachel and Luke

747
00:41:10,360 --> 00:41:11,360
Speaker 1: come in, and.

748
00:41:11,239 --> 00:41:13,319
Speaker 6: I was kind of surprised by that, were you.

749
00:41:13,680 --> 00:41:15,799
Speaker 5: I was surprised that like his arm was around her

750
00:41:15,840 --> 00:41:20,120
Speaker 5: and they were like suddenly dating. It seemed like after

751
00:41:20,160 --> 00:41:24,120
Speaker 5: the conversation in the stock room, Oh that's to throw

752
00:41:24,200 --> 00:41:27,160
Speaker 5: us off, No, I know, but like I don't know

753
00:41:27,920 --> 00:41:30,120
Speaker 5: I've watched it so many times. I'm still watching it

754
00:41:30,120 --> 00:41:31,600
Speaker 5: like it's the first I'm like, oh, it was shocked,

755
00:41:31,640 --> 00:41:33,600
Speaker 5: like his arm was around her.

756
00:41:34,560 --> 00:41:35,319
Speaker 1: You know, they made up.

757
00:41:36,239 --> 00:41:39,000
Speaker 3: Every time I see the Luke outfits, it's so funny.

758
00:41:39,040 --> 00:41:41,040
Speaker 3: I mean, I'm sure you had people dressing up as

759
00:41:41,040 --> 00:41:41,840
Speaker 3: you for Halloween.

760
00:41:42,920 --> 00:41:45,400
Speaker 1: Uh yeah, like legions every Helloween.

761
00:41:45,480 --> 00:41:47,359
Speaker 3: Yeah, I mean it makes sense. Plus, it's an easy

762
00:41:47,400 --> 00:41:50,600
Speaker 3: costume to pull off. You know, people can put it

763
00:41:50,680 --> 00:41:52,160
Speaker 3: together with something to have in their house.

764
00:41:52,440 --> 00:41:56,120
Speaker 1: Everybody's got a flannel, everybody's got a baseball, you know. Hard.

765
00:41:56,560 --> 00:42:00,200
Speaker 5: We did an event at the Warner Brothers lot and

766
00:42:00,239 --> 00:42:02,479
Speaker 5: it was a Gilmore Girl's event and Scott was there

767
00:42:02,600 --> 00:42:07,080
Speaker 5: and every girl dressed their boyfriend as Luke. They were

768
00:42:07,120 --> 00:42:09,760
Speaker 5: just like hundreds of Luke's walking around.

769
00:42:13,160 --> 00:42:15,000
Speaker 3: I saw those posts. Was that at the ranch or

770
00:42:15,080 --> 00:42:16,839
Speaker 3: was it at the lot? That wasn't at the ranch?

771
00:42:16,840 --> 00:42:17,960
Speaker 3: You guys filmed the lot a lot.

772
00:42:18,520 --> 00:42:19,839
Speaker 1: Yeah, we're at the back lot. Yeah.

773
00:42:19,920 --> 00:42:22,239
Speaker 4: Yeah, I need some of that coffee by the way.

774
00:42:22,320 --> 00:42:28,040
Speaker 1: Okay, yeah, yeah. They The only way to get it

775
00:42:28,080 --> 00:42:30,320
Speaker 1: is go to the Warner Brothers website.

776
00:42:30,880 --> 00:42:32,520
Speaker 4: I was gonna say on the tour, right, you can

777
00:42:32,560 --> 00:42:33,239
Speaker 4: get it right.

778
00:42:33,440 --> 00:42:35,319
Speaker 1: The tour website. You can get the coffee, can get

779
00:42:35,320 --> 00:42:39,279
Speaker 1: all fine. We have we keep increasing excuse so there's

780
00:42:39,280 --> 00:42:43,040
Speaker 1: probably more there. Now you can get hot chocolate too.

781
00:42:42,760 --> 00:42:47,279
Speaker 1: Oh yeah, more stuff coming. Very exciting, all right. So

782
00:42:47,320 --> 00:42:51,680
Speaker 1: at the movies, uh, Laurelin and and Rory gossip about

783
00:42:51,680 --> 00:42:57,319
Speaker 1: Emily's phone call that Emily wants to be Rory's pal.

784
00:42:57,440 --> 00:42:59,759
Speaker 1: Now Kirk sits behind him, tells him be quiet. Luke

785
00:43:00,160 --> 00:43:05,160
Speaker 1: upholding Rachel's hand. We've discussed this. Rory agrees with Laura

786
00:43:05,200 --> 00:43:09,600
Speaker 1: I that she did the right thing by butting into

787
00:43:09,760 --> 00:43:24,719
Speaker 1: the Luke and Rachel's relationship, trying to influence it. All right,

788
00:43:24,800 --> 00:43:29,279
Speaker 1: So now we're back at Friday night dinner with one

789
00:43:29,320 --> 00:43:33,160
Speaker 1: of the funniest entrances I think I've seen so far

790
00:43:34,040 --> 00:43:36,520
Speaker 1: on a Friday night dinner. This might be the ultimate

791
00:43:37,040 --> 00:43:42,399
Speaker 1: entrance where Laurel I opens up all chipper and happy

792
00:43:45,200 --> 00:43:48,760
Speaker 1: and leans in and says, Rory, check the rubbing alcohol.

793
00:43:54,760 --> 00:43:57,200
Speaker 1: And then she invites Rory and takes off with Laurel

794
00:43:57,239 --> 00:43:59,600
Speaker 1: I's just and they're like, okay, I'm fine, yeah, okay,

795
00:43:59,680 --> 00:44:03,239
Speaker 1: I would just commit right, just brilliant stuff. I mean,

796
00:44:03,880 --> 00:44:06,040
Speaker 1: it's just brilliant stuff. You know what it is. This

797
00:44:06,200 --> 00:44:11,319
Speaker 1: is like theater. It's what you This is theater. They're

798
00:44:11,360 --> 00:44:14,359
Speaker 1: giving her performance like their own stage on Broadway, and

799
00:44:14,440 --> 00:44:16,919
Speaker 1: we get to see it. And I thought Perry Lang

800
00:44:17,000 --> 00:44:23,680
Speaker 1: did a fantastic job directing this episode, really beautifully directed episode.

801
00:44:24,239 --> 00:44:27,480
Speaker 1: He just felt the impact of everything throughout the entire piece.

802
00:44:28,800 --> 00:44:34,600
Speaker 1: And then we say that Emily has made Rory her

803
00:44:34,640 --> 00:44:39,880
Speaker 1: own room so she has a place to go. And boy,

804
00:44:40,280 --> 00:44:44,160
Speaker 1: I tell you it's it's a win win for Emily

805
00:44:44,280 --> 00:44:47,600
Speaker 1: because she gets the benefit of pleasing her granddaughter, but

806
00:44:47,719 --> 00:44:50,800
Speaker 1: she also gets to stick that dagger into Laurel li

807
00:44:50,800 --> 00:44:53,800
Speaker 1: ion twist it at the same time. Right, what'd you

808
00:44:53,840 --> 00:44:55,799
Speaker 1: guys feel about that? I thought it was a little

809
00:44:55,800 --> 00:44:58,680
Speaker 1: bit cruel that she didn't prep Laurel I on this.

810
00:44:59,200 --> 00:45:00,600
Speaker 6: Yeah, she can her heads up.

811
00:45:00,719 --> 00:45:03,320
Speaker 4: That probably wouldn't fly in most situations. You know, I

812
00:45:03,360 --> 00:45:06,920
Speaker 4: think everybody would be pretty ticked off about that. I mean,

813
00:45:06,960 --> 00:45:07,479
Speaker 4: it is weird.

814
00:45:07,520 --> 00:45:10,320
Speaker 3: I guess she just she does seem to like to

815
00:45:10,360 --> 00:45:11,719
Speaker 3: go after her, you.

816
00:45:11,680 --> 00:45:12,520
Speaker 4: Know, set her up.

817
00:45:12,560 --> 00:45:16,480
Speaker 1: She set her up. And I thought Laura I handled

818
00:45:16,520 --> 00:45:19,239
Speaker 1: it beautifully like she wasn't trying to start a fight.

819
00:45:19,320 --> 00:45:23,239
Speaker 1: But mom, you know, hey, you know what's going on here? Okay, look,

820
00:45:23,280 --> 00:45:24,920
Speaker 1: I'm sorry, No, I don't have a problem with it,

821
00:45:24,960 --> 00:45:26,880
Speaker 1: but it's like, you know, you could have let me

822
00:45:26,920 --> 00:45:29,600
Speaker 1: know and then Emily attacks her.

823
00:45:29,880 --> 00:45:33,080
Speaker 5: Yeah, it definitely came up sudden. Like even Laura I

824
00:45:33,160 --> 00:45:35,200
Speaker 5: was like, when do we start? When did we start fighting?

825
00:45:36,640 --> 00:45:38,759
Speaker 5: She was waiting for that opportunity to bring it up.

826
00:45:39,040 --> 00:45:40,920
Speaker 1: I mean, how horrible that she has to stand there

827
00:45:40,920 --> 00:45:44,680
Speaker 1: and absorb that and again more trauma. I don't know

828
00:45:44,719 --> 00:45:47,239
Speaker 1: how honestly, at this point, Laura I can take it.

829
00:45:48,040 --> 00:45:50,160
Speaker 1: I don't know why she even goes back there on.

830
00:45:50,080 --> 00:45:52,319
Speaker 6: Friday nights early on season one.

831
00:45:52,360 --> 00:45:55,359
Speaker 1: Right, it's like, wow, you have to deal with that

832
00:45:55,640 --> 00:45:59,200
Speaker 1: maniac every Friday night, and you know she's looking for

833
00:45:59,200 --> 00:46:04,000
Speaker 1: an excuse to tear into her and yeah, at this point,

834
00:46:04,000 --> 00:46:09,680
Speaker 1: I'm like, don't go back just there's no reason for it.

835
00:46:10,120 --> 00:46:13,879
Speaker 4: How far away did they live, by the way, like twenty.

836
00:46:13,560 --> 00:46:19,760
Speaker 1: Minutes, twenty minutes, twenty thirty minutes, yeah, twenty thirty minutes.

837
00:46:20,800 --> 00:46:22,760
Speaker 1: All right, So now there's this long walk and talk

838
00:46:23,239 --> 00:46:26,920
Speaker 1: night Time stars Hollow and mother and daughter are having

839
00:46:26,960 --> 00:46:32,440
Speaker 1: their conversation about the evening's events. The bloodshed the humor.

840
00:46:34,760 --> 00:46:37,600
Speaker 1: Laura I says she never opened up to Emily about

841
00:46:37,719 --> 00:46:41,680
Speaker 1: what she has been through because of you know, pride, right,

842
00:46:43,920 --> 00:46:47,120
Speaker 1: And then they show up to the diner for happy

843
00:46:47,200 --> 00:46:53,320
Speaker 1: Pie and they see Rachel. She thanks LOURAI for speaking

844
00:46:53,360 --> 00:46:55,920
Speaker 1: to the loop. Things are working out. She's got her

845
00:46:55,920 --> 00:46:59,360
Speaker 1: own drawer now. Luke gave her a set of keys.

846
00:47:00,880 --> 00:47:05,560
Speaker 1: It's a it's it's a big scene. And Rachel says

847
00:47:05,600 --> 00:47:08,640
Speaker 1: she's gonna stay for a while. And then they bring

848
00:47:08,680 --> 00:47:11,880
Speaker 1: the coffee and the coffee doesn't taste the same anymore.

849
00:47:12,880 --> 00:47:17,240
Speaker 1: Isn't that a beautiful device? M hmm, isn't that? Isn't

850
00:47:17,239 --> 00:47:21,480
Speaker 1: that just the great writing? And the coffee doesn't taste

851
00:47:21,960 --> 00:47:24,680
Speaker 1: as good anymore. It tastes different.

852
00:47:25,480 --> 00:47:29,480
Speaker 4: To find a new cafe, mmmm, diner.

853
00:47:30,520 --> 00:47:35,560
Speaker 1: So there's trouble in Denmark. Let me tell you all right,

854
00:47:35,600 --> 00:47:39,040
Speaker 1: Laurel I feel she can never fully open up to Emily.

855
00:47:40,000 --> 00:47:44,319
Speaker 1: Obviously Rachel decided to stay complicates the whole thing. I

856
00:47:44,360 --> 00:47:47,239
Speaker 1: see it, you know what, I see more from Laura

857
00:47:47,360 --> 00:47:50,239
Speaker 1: I in this instead of thinking about herself and her

858
00:47:50,280 --> 00:47:54,560
Speaker 1: own emotions getting scrambled because of the you know this

859
00:47:54,560 --> 00:47:58,640
Speaker 1: this quote unquote rivalry, it's is this good for Luke.

860
00:47:59,520 --> 00:48:02,120
Speaker 1: I think she's more concerned about him as a friend

861
00:48:03,120 --> 00:48:05,160
Speaker 1: at this point. You know, I think, of course there's

862
00:48:05,200 --> 00:48:09,480
Speaker 1: maybe some feelings there, but it's like this girl, right,

863
00:48:09,680 --> 00:48:12,319
Speaker 1: this Rachel is Rachel the right for him. So I

864
00:48:12,360 --> 00:48:16,360
Speaker 1: think maybe she's looking through a lens of friendship to

865
00:48:16,400 --> 00:48:18,799
Speaker 1: see if this is the right situation for him because

866
00:48:18,880 --> 00:48:22,160
Speaker 1: her friend keeps getting hurt by this woman and she

867
00:48:22,200 --> 00:48:25,080
Speaker 1: doesn't like that, you know, So as a friend, I

868
00:48:25,080 --> 00:48:29,360
Speaker 1: think she's she's something's off here. The coffee's wrong, she's wrong,

869
00:48:29,640 --> 00:48:33,080
Speaker 1: that's wrong. That's my friend, and I may have feelings

870
00:48:33,080 --> 00:48:35,000
Speaker 1: for him, but he's my friend first and foremost, and

871
00:48:35,000 --> 00:48:36,520
Speaker 1: I don't want to see him get hurt. And that's

872
00:48:37,239 --> 00:48:39,080
Speaker 1: how she played it, and I thought it was really

873
00:48:39,320 --> 00:48:41,400
Speaker 1: quite touching. It was really quite.

874
00:48:41,320 --> 00:48:45,239
Speaker 3: Touch aggressive balance too, you know, yeah, to be in

875
00:48:45,280 --> 00:48:49,080
Speaker 3: that situation, I mean, I'm sure many of us have

876
00:48:49,120 --> 00:48:51,759
Speaker 3: had situations like that where you like somebody but this

877
00:48:51,960 --> 00:48:54,200
Speaker 3: is not going somewhere, But then you really and then

878
00:48:54,280 --> 00:48:56,640
Speaker 3: they start dating someone and you're like, well, am I

879
00:48:56,800 --> 00:48:57,439
Speaker 3: telling them?

880
00:48:58,080 --> 00:48:59,600
Speaker 4: Am I feeling off because of that?

881
00:48:59,719 --> 00:49:02,040
Speaker 3: Or my feeling off because I just don't think that

882
00:49:03,040 --> 00:49:04,920
Speaker 3: you know that person is right for them.

883
00:49:05,160 --> 00:49:09,160
Speaker 1: Right. Well, let's talk about what's really really important here. Okay,

884
00:49:09,320 --> 00:49:12,560
Speaker 1: what's really important is that Kendall, you and Big Time

885
00:49:12,640 --> 00:49:16,439
Speaker 1: Rush are heading back out on tour. That's right, Oh

886
00:49:16,480 --> 00:49:17,960
Speaker 1: my god, tell us about that.

887
00:49:18,600 --> 00:49:21,160
Speaker 4: I guess we're gonna watch so much Gilmore Girls.

888
00:49:20,880 --> 00:49:25,960
Speaker 1: On the back. Well, I would hope.

889
00:49:26,000 --> 00:49:27,480
Speaker 4: So I'm actually gonna see.

890
00:49:27,480 --> 00:49:29,640
Speaker 3: I'm gonna see if I just start playing it like

891
00:49:30,400 --> 00:49:32,399
Speaker 3: Logan and I are sharing a bus on this tour,

892
00:49:32,480 --> 00:49:34,640
Speaker 3: so I'm going to see if he I'm just gonna

893
00:49:34,640 --> 00:49:35,239
Speaker 3: start leaving it.

894
00:49:35,160 --> 00:49:38,719
Speaker 4: On the TV and the phase attention on it, you.

895
00:49:38,640 --> 00:49:40,239
Speaker 3: Know, if I catch him sitting down with a nice

896
00:49:40,239 --> 00:49:43,839
Speaker 3: glass of wine watching and being like, do you see

897
00:49:43,880 --> 00:49:45,520
Speaker 3: what's going on here? What? So?

898
00:49:45,640 --> 00:49:47,920
Speaker 1: When's the tour began? Where are you guys going? How

899
00:49:47,920 --> 00:49:49,000
Speaker 1: long is it going to go? For?

900
00:49:49,360 --> 00:49:57,000
Speaker 4: Tell us about the tour starts July uh ninth, and

901
00:49:57,040 --> 00:49:58,800
Speaker 4: then goes until.

902
00:49:59,000 --> 00:50:01,120
Speaker 1: And where, where and where are you going to open

903
00:50:01,120 --> 00:50:01,479
Speaker 1: the tour?

904
00:50:02,120 --> 00:50:06,120
Speaker 3: We're going to open in, of all places, Birmingham, Alabama.

905
00:50:06,239 --> 00:50:09,400
Speaker 4: Nice number one.

906
00:50:08,800 --> 00:50:10,680
Speaker 1: I've been to Birmingham. I like Birmingham.

907
00:50:10,880 --> 00:50:11,799
Speaker 4: Yeah, it's a great town.

908
00:50:11,840 --> 00:50:16,160
Speaker 3: And then second in Nashville and then we cruise all

909
00:50:16,200 --> 00:50:18,520
Speaker 3: the way through the country.

910
00:50:18,520 --> 00:50:23,640
Speaker 4: We have thirty eight shows in the US. Oh my goodness, stick,

911
00:50:23,800 --> 00:50:24,920
Speaker 4: we'll be all over the place.

912
00:50:25,560 --> 00:50:27,319
Speaker 1: Well, we wish you a lot of luck on that.

913
00:50:28,280 --> 00:50:30,879
Speaker 1: It was great talking to you, great catching up, and

914
00:50:31,000 --> 00:50:33,600
Speaker 1: good luck with the tour and good luck with watching

915
00:50:34,400 --> 00:50:39,959
Speaker 1: the next what six seasons of Gilmore girls with your

916
00:50:40,080 --> 00:50:46,200
Speaker 1: with your sharpa yeah, your lovely wife. Much appreciate the time,

917
00:50:47,680 --> 00:50:52,080
Speaker 1: Ken Kendall Schmidt, Big Time Rush coming to you on tour.

918
00:50:52,280 --> 00:50:56,239
Speaker 1: Go check them out. You'll have a good time. Terrorist suit.

919
00:50:56,320 --> 00:50:58,920
Speaker 1: Thanks so much. Great seeing you. It's been too long.

920
00:50:59,520 --> 00:51:02,080
Speaker 6: I know I never jump on, well not I never do.

921
00:51:02,200 --> 00:51:04,160
Speaker 5: We've all we all switched, but I was like, Kendall's

922
00:51:04,160 --> 00:51:05,239
Speaker 5: coming on, so I have to jump on.

923
00:51:05,440 --> 00:51:07,000
Speaker 1: Yeah, yeah, you didn't come up for me, You came

924
00:51:07,040 --> 00:51:14,400
Speaker 1: in for Candle. Let's fix all right, everybody, Thanks for downloading.

925
00:51:14,480 --> 00:51:19,000
Speaker 1: Best fans on the planet Earth, and remember where you lead,

926
00:51:19,080 --> 00:51:50,680
Speaker 1: we will follow. Stay safe everyone, Hey, everybody, and don't

927
00:51:50,760 --> 00:51:54,239
Speaker 1: forget Follow us on Instagram at I Am all In

928
00:51:54,480 --> 00:52:04,400
Speaker 1: podcast and email us at Gilmore at iHeartRadio dot com.