WEBVTT - I Am All In…Again:  Big Time Gilmore (Season 1 E19 “Emily in Wonderland”)

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<v Speaker 1>I am all in again.

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<v Speaker 2>Let Hi, I am all in again with Scott Patterson

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<v Speaker 2>in iHeartRadio Podcast.

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<v Speaker 1>Hey everybody, Scott Patterson, I am all in Podcast one

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<v Speaker 1>eleven productions, iHeart Radio, iHeart Media, iHeart Podcast. We have

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<v Speaker 1>a very special guest, Kendall Schmidt is joining us. Hello Kendall,

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<v Speaker 1>thank you for joining us. Hi high Hi. We probably

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<v Speaker 1>know him best as the lead singer of Big Time Rush,

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<v Speaker 1>but his career started long before that. He's been acting

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<v Speaker 1>since childhood, with roles in E. R. Frasier and Gilmore Girls.

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<v Speaker 1>Appeared in season two episode five, Nick and Nora Sitting

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<v Speaker 1>Nancy as kid number one, and return in season three

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<v Speaker 1>episode three, Application Anxiety as Peter. We're excited to have

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<v Speaker 1>him here. Welcome Kendall. How are you? And I understand

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<v Speaker 1>so good?

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<v Speaker 3>I'm so good. It's so funny, the U, the characters.

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<v Speaker 3>I'm surprised they even had names number one.

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<v Speaker 4>They all have names Kid number one Peter.

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<v Speaker 3>Just like you guys needed a for a couple episodes,

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<v Speaker 3>if you just needed a kid, I was there to

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<v Speaker 3>be the kid in the.

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<v Speaker 1>Episode, and so you did. You did two total episodes,

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<v Speaker 1>and uh, here you are here. I am and you're

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<v Speaker 1>a big rock star and uh, you know you you're

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<v Speaker 1>just taking the world by storm. And we'll get into

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<v Speaker 1>all We're going to get into all that. But what'd

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<v Speaker 1>you think of this episode? Emily? In Wonderland air date

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<v Speaker 1>April twenty sixty, two thousand and one, Roy takes her

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<v Speaker 1>grandmother around Stars Hollow for a day and she's horrified

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<v Speaker 1>to see where Laura, Lie and Rory first lived. Directed

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<v Speaker 1>by Perry Lang, written by Linda Guzik and John Stevens.

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<v Speaker 1>I enjoyed this episode. I have to say it was great.

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<v Speaker 3>I had my wife giving me a background the entire time,

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<v Speaker 3>you know, because I haven't seen every episode like she has,

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<v Speaker 3>right right, So I said, oh, and this.

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<v Speaker 4>Is what's going on here and everything. I'm like, okay,

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<v Speaker 4>she's actually in the house watching Gilmore Girls right now.

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<v Speaker 1>So gosh, yeah, it was a nice episode. It was

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<v Speaker 1>a really nice journey through Laurla and Rory's past in

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<v Speaker 1>a very clever way, and a very shocking scene where

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<v Speaker 1>Emily and we'll get into it, where Emily finally sees

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<v Speaker 1>where Laurel, I and Rory first had their first kind

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<v Speaker 1>of place and Stars Hollow, and what a reaction that was. Man.

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<v Speaker 1>All right, So we're sitting here Friday night dinner. Rory

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<v Speaker 1>asked Emily for family baby pictures, and we find out

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<v Speaker 1>that Laura I, who has a nickname of a big

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<v Speaker 1>head when she was a child because her head was enlarged.

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<v Speaker 4>She's got big hair, She's got big hair for sure, but.

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<v Speaker 1>We learned that she burned all of her baby pictures

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<v Speaker 1>because her head was too big, and that's why there

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<v Speaker 1>are no photographs of a young baby Larela or even

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<v Speaker 1>a Talibar. They have a furniture discussion, they talk about

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<v Speaker 1>the chairs. That's when Rory mentions Kim's antiques and Stars Hollow.

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<v Speaker 1>Emily becomes interested suddenly in checking that out because she

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<v Speaker 1>can't she can't get any good antiques in Connecticut. She's

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<v Speaker 1>she's she's out of luck. And Lorela attempts to talk

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<v Speaker 1>to Emily out of her curiosity over that particular store,

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<v Speaker 1>like she doesn't want Emily coming to Stars Hollow. Tara,

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<v Speaker 1>what do you think about this scene?

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<v Speaker 5>I feel like Emily and miss Kim could be great friends,

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<v Speaker 5>to be honest with you, that was my first thought.

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<v Speaker 5>But yeah, I mean, I love the scene at the

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<v Speaker 5>dinner table, and I think that it was the first

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<v Speaker 5>time that we're going to see Emily really see their

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<v Speaker 5>life in Stars Hollow, right, and it's set up. It's

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<v Speaker 5>the setup to a big storyline coming.

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<v Speaker 1>It Isn't it amazing? Though? After all these years, I

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<v Speaker 1>mean sixteen years, and has she ever been to Stars Hollow?

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<v Speaker 1>Do you think that's odd?

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<v Speaker 4>Right?

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<v Speaker 6>Yeah?

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<v Speaker 5>I mean it's also there are there are parts where

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<v Speaker 5>I'm like the inconsistencies of it a little bit and this,

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<v Speaker 5>and Susanna and I get into this in our episode

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<v Speaker 5>the town Meeting episodes, but you know, like I don't

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<v Speaker 5>understand when she moved into that shed. We'll get there,

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<v Speaker 5>but like it didn't seem consistent with when Laura l

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<v Speaker 5>I moved out.

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<v Speaker 6>So it was just interesting. Yeah, it was a little interesting.

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<v Speaker 1>How like.

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<v Speaker 5>Did she move out the second like she got pregnant,

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<v Speaker 5>when she had the baby?

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<v Speaker 1>You know, I.

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<v Speaker 6>Didn't really know the history there right by.

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<v Speaker 3>By episode nineteen right season in the first season. So

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<v Speaker 3>I'm always wondering how much the writers like think about

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<v Speaker 3>the actually all of the different backstory, things that wouldn't

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<v Speaker 3>you know, that don't exist in real life, but that

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<v Speaker 3>need to exist in order to build the characters right,

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<v Speaker 3>and and how much like and now they've gotten nineteen

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<v Speaker 3>episodes in that's a lot of writing.

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<v Speaker 1>Well, I think I think they probably do plan for

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<v Speaker 1>a lot. You know, they'll they'll plan out a couple

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<v Speaker 1>of seasons out and then they'll do a backstory thing.

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<v Speaker 1>But there's always things that come up that bite you, like,

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<v Speaker 1>oh god, we didn't there's the whole world right, right right.

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<v Speaker 1>No matter how thorough you are, right, no matter how

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<v Speaker 1>large your bible is, your writer's bible is, there's always

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<v Speaker 1>going to be something that like, oh, no, what are

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<v Speaker 1>we going to do about this situation? Because we didn't

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<v Speaker 1>come right.

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<v Speaker 3>That she never would have been there at all. I mean,

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<v Speaker 3>you know, I know some people don't see their parents

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<v Speaker 3>very often, but I also thought when I saw you know,

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<v Speaker 3>you know, it's like when you have people come over

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<v Speaker 3>and you go, oh, sorry, the place is a mess.

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<v Speaker 3>You know, you know, please forgive me, you know, don't

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<v Speaker 3>worry about that. And of course when you go over

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<v Speaker 3>to someone's house, you're never sitting there unless their house

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<v Speaker 3>is a real mess.

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<v Speaker 4>You're not sitting there walking around going like oh geez mes, yeah.

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<v Speaker 3>I mean very most you're like, well kind of weird furniture.

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<v Speaker 3>But I thought, like, I thought that for being a

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<v Speaker 3>single mother, their house is really cute. And you know,

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<v Speaker 3>maybe it's not all the finest appliances and stuff like that,

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<v Speaker 3>but I was thinking, like, I'd be proud of this place.

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<v Speaker 3>It's really kitchy and they have a lot of you know,

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<v Speaker 3>cute items, and I thought it was kind of a

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<v Speaker 3>nice house, to be honest with you.

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<v Speaker 1>So it's a nice little house for two people. That's perfect.

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<v Speaker 1>It is kind of perfect. Yeah.

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<v Speaker 3>I mean, obviously she's coming from being super wealthy and

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<v Speaker 3>everything like that, but you know, I'm like, kind of

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<v Speaker 3>kind of a nice house. I'm impressive for a woman

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<v Speaker 3>off being a single.

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<v Speaker 4>Mother basically and a new town and all that stuff.

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<v Speaker 1>All right, Yeah, yeah, would you rather live in a

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<v Speaker 1>mansion with all the stress or in a cute little

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<v Speaker 1>house in a nice town with none.

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<v Speaker 4>Honestly, me and my wife say this all the time.

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<v Speaker 4>Little house, big.

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<v Speaker 1>Life, Right there, you go, that's what they have.

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<v Speaker 4>Yeah.

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<v Speaker 1>So, so Emily and Rory make plans to visit Stars

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<v Speaker 1>Hollow on Saturday. She's going to put off some studying

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<v Speaker 1>and Laurel I have some pretty funny moments about how

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<v Speaker 1>she's not going to be available Saturday, and Emily says, well,

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<v Speaker 1>nobody really asked you to jump? Why do you think, Well,

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<v Speaker 1>it's pretty obvious why Emily is so eager to see

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<v Speaker 1>Stars hollow. She wants to spend time with her granddaughter.

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<v Speaker 1>It's not it's not Star's hollow. It's it's getting to

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<v Speaker 1>know Rory. Right, she gets to relive, She gets another

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<v Speaker 1>bite at the apple, as it were, to like not

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<v Speaker 1>screw up, you know what I mean, Like like the

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<v Speaker 1>way she did with Laurel I. Now she's got a

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<v Speaker 1>she's got a second chance with with Rory to establish

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<v Speaker 1>a relationship.

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<v Speaker 3>Makes you wonder why at that time, you know that

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<v Speaker 3>she's like so curious about it, re establishing the relationship.

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<v Speaker 3>And I also think it's funny how hard she is

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<v Speaker 3>on Laurel I as well, considering she's trying to connect

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<v Speaker 3>with her granddaughter.

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<v Speaker 4>And then she's like, but you can bug off.

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<v Speaker 1>Yeah, Well, in her mind, Laurel is just a lost

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<v Speaker 1>cause she knows she's not going to have a relationship.

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<v Speaker 1>Whether there's too much water under that bridge. And I mean,

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<v Speaker 1>that's at least the impression we're getting at this point,

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<v Speaker 1>and that's coming to the end of season one, and

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<v Speaker 1>that's where obviously the right is taking us, and that's

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<v Speaker 1>where it should take us, because there's then then you

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<v Speaker 1>have to come back from that. So now we're in

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<v Speaker 1>the diner. A lot of a lot of diner stuff,

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<v Speaker 1>a lot of Luke, Rachel, Laureleye stuff in this episode,

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<v Speaker 1>right right. And Rachel's so nice, you know, she wants

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<v Speaker 1>to be buddies with the Laurel I and here I

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<v Speaker 1>took a picture of you two and you know, sitting

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<v Speaker 1>there on the bench.

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<v Speaker 6>Just really awkward, like, hey, let's take a picture of

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<v Speaker 6>you with my ex.

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<v Speaker 1>And then I'm going to give you a blow. You

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<v Speaker 1>not nice here? Remember it? He's mine now? So yeah,

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<v Speaker 1>And then she talks about the dragonfly and she took

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<v Speaker 1>a picture of dragonfly in and Laura they make a

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<v Speaker 1>date to go see it. Luke has a little bit

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<v Speaker 1>of a problem with it. I guess not much, but

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<v Speaker 1>it's just like whatever, And it's really just setting up

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<v Speaker 1>that scene in the in the storage room for later.

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<v Speaker 1>But what'd you guys think of this scene?

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<v Speaker 4>Well, awkward, that's the impression I got. I was thinking.

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<v Speaker 4>It made me think of It's not exactly the same situation.

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<v Speaker 3>But there's that. There's a video I saw one time.

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<v Speaker 3>It was like a comedy video, and it was like

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<v Speaker 3>having a conversation with your platonic friends. This guy having

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<v Speaker 3>a conversation with this girl and he's and she's like.

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<v Speaker 4>How you been.

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<v Speaker 3>He's like, oh, good, good, you know, I've been great,

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<v Speaker 3>you know, just friends. And then he's like how you been.

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<v Speaker 3>She goes, well, Todd and I broke up, and then

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<v Speaker 3>you know, oh, he says he just got into a

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<v Speaker 3>relationship and how great it is. And then he asks

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<v Speaker 3>her and how she goes, well, Todd and I broke up,

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<v Speaker 3>and then his whole life crumbles before him because this

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<v Speaker 3>is the friend that was always they were just platonic

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<v Speaker 3>and they never you know.

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<v Speaker 4>Connected like that.

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<v Speaker 3>And she's saying, like, I just A'm thinking about getting

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<v Speaker 3>out and being wild and everything, and he's like, oh god, right,

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<v Speaker 3>I think that. I mean, is that sort of tension that,

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<v Speaker 3>if you will, that sexual tension between Laura Li and

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<v Speaker 3>Luke is that going all the way from the very

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<v Speaker 3>beginning of season one?

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<v Speaker 1>Yeah? Yeah, basically yeah, but they're not acting on it,

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<v Speaker 1>and they had a couple of chances and they're just

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<v Speaker 1>not going to act on it right now, and everybody's

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<v Speaker 1>going their separate ways. It's like, oh, well, but I

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<v Speaker 1>mean it's like it's a small town. You really want

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<v Speaker 1>to get involved with the diner owner, you know, yeah,

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<v Speaker 1>that kind of thing, even.

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<v Speaker 4>Though it's pretty he's pretty cool, you know.

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<v Speaker 1>Yeah, but still it's like, got it. You want to

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<v Speaker 1>you go there every day with your daughter, You want

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<v Speaker 1>to have food day, you want to relax. You don't

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<v Speaker 1>want to have all that stuff. I don't blame her,

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<v Speaker 1>you know, for for being so cautious.

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<v Speaker 6>She also can't help it.

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<v Speaker 1>Can't help what because she's addicted to coffee?

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<v Speaker 6>No, that she has a crash on Luke, Like she

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<v Speaker 6>doesn't want to admit it.

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<v Speaker 1>Yeah, but that but but if they're together, if they

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<v Speaker 1>get together, that completely changes the relationship.

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<v Speaker 5>No, I know, but I feel like she has these

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<v Speaker 5>moments like talking to Rachel, where she's always wondering, like

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<v Speaker 5>what Luke's like in a relationship.

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<v Speaker 6>That's how I took it.

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<v Speaker 1>Right, right anyway, nice dynamics. I think Rachel's a pretty

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<v Speaker 1>appealing character, right, She's very likable. You really believe that

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<v Speaker 1>she grew up there and she was one of those there.

0:12:19.679 --> 0:12:21.920
<v Speaker 1>There's always a subset of people in towns like that

0:12:21.920 --> 0:12:24.040
<v Speaker 1>that want to get the heck out of there, that's

0:12:24.080 --> 0:12:26.079
<v Speaker 1>stifled by the place, and they want to go out

0:12:26.120 --> 0:12:31.280
<v Speaker 1>and see the world. And she's one of them. Right now,

0:12:31.280 --> 0:12:35.360
<v Speaker 1>we're at the end. Very funny stuff here. Anytime you

0:12:35.480 --> 0:12:39.040
<v Speaker 1>have a Max Perlock as Rune, it's going to be

0:12:39.080 --> 0:12:42.840
<v Speaker 1>a good scene. So he's in the lobby, we see

0:12:42.880 --> 0:12:45.520
<v Speaker 1>Roon again, and he's staying with Jackson. And you know,

0:12:45.600 --> 0:12:49.360
<v Speaker 1>Suki doesn't know how to tell Laurelai this. They don't

0:12:49.400 --> 0:12:51.360
<v Speaker 1>know how to tell Laurala I that that run is

0:12:51.400 --> 0:12:54.640
<v Speaker 1>in town staying with Jackson, but that that Rune needs

0:12:54.640 --> 0:12:58.520
<v Speaker 1>a place to stay and he needs a job and

0:12:58.559 --> 0:13:00.640
<v Speaker 1>this is all falling of Laura. What did you guys

0:13:00.679 --> 0:13:01.040
<v Speaker 1>think of this?

0:13:01.559 --> 0:13:04.000
<v Speaker 5>I mean, Kendall, do you know what happened with Ruin?

0:13:04.040 --> 0:13:05.280
<v Speaker 5>Did Mika explain this to you?

0:13:05.480 --> 0:13:07.280
<v Speaker 3>She gave me a little bit of the backstory. But

0:13:07.400 --> 0:13:11.520
<v Speaker 3>I know that he's kind of uh not bad apples

0:13:11.520 --> 0:13:13.960
<v Speaker 3>not the right word, but a challenging character.

0:13:14.640 --> 0:13:16.440
<v Speaker 1>Yeah, but can.

0:13:16.360 --> 0:13:19.160
<v Speaker 4>You explain why he's challenging that? That part I didn't get.

0:13:19.280 --> 0:13:23.040
<v Speaker 1>Is he just like, well they went on a date together,

0:13:24.040 --> 0:13:24.959
<v Speaker 1>Well they were not.

0:13:25.160 --> 0:13:27.920
<v Speaker 5>They was kind of like forced because Suki and Jackson

0:13:27.960 --> 0:13:30.400
<v Speaker 5>were on a date. And then he pulled Jackson aside

0:13:30.400 --> 0:13:32.720
<v Speaker 5>and was like, I can't date her. She's tall, like

0:13:32.800 --> 0:13:40.000
<v Speaker 5>right in Laurel's house and am amazon. And he was

0:13:40.040 --> 0:13:42.520
<v Speaker 5>just rude throughout the whole dinner and just make comments

0:13:42.640 --> 0:13:44.880
<v Speaker 5>like why did you set me up with her? Right?

0:13:46.120 --> 0:13:53.800
<v Speaker 1>Basically he was not appreciative of who he was having

0:13:53.840 --> 0:13:56.120
<v Speaker 1>a date with. He just he didn't say it. He

0:13:56.360 --> 0:13:59.120
<v Speaker 1>was like, no, I'm out, I can't do this. It

0:13:59.240 --> 0:14:00.000
<v Speaker 1>was really funny.

0:14:00.040 --> 0:14:02.679
<v Speaker 4>Anything ever come up with them? Like do they ever

0:14:02.720 --> 0:14:03.920
<v Speaker 4>go on another date?

0:14:05.040 --> 0:14:05.520
<v Speaker 1>Oh? No?

0:14:05.559 --> 0:14:07.640
<v Speaker 6>It was like stay far away. So that's why when

0:14:07.640 --> 0:14:09.839
<v Speaker 6>he comes up, you're like, why is he here?

0:14:10.720 --> 0:14:12.600
<v Speaker 1>Right to work?

0:14:13.120 --> 0:14:13.360
<v Speaker 6>Yeah?

0:14:14.120 --> 0:14:15.920
<v Speaker 4>Yeah, where did he come from?

0:14:16.440 --> 0:14:17.400
<v Speaker 6>Jackson's cousin?

0:14:18.160 --> 0:14:19.920
<v Speaker 4>Right, and he doesn't have a job, he doesn't have

0:14:19.960 --> 0:14:20.640
<v Speaker 4>a place to stay.

0:14:21.080 --> 0:14:22.520
<v Speaker 6>No, he was visiting.

0:14:22.680 --> 0:14:27.080
<v Speaker 3>He wasn't exactly a catch either, No, no, yeah, to

0:14:27.080 --> 0:14:27.760
<v Speaker 3>say the least.

0:14:29.080 --> 0:14:32.720
<v Speaker 1>The thing I love about the Palatinos is they they

0:14:32.760 --> 0:14:37.440
<v Speaker 1>know families very well because there's always somebody, there's always

0:14:37.440 --> 0:14:45.320
<v Speaker 1>a cousin. You know, you get Lizen TJ right, you

0:14:45.440 --> 0:14:48.360
<v Speaker 1>get now, you got roun you get Jackson with a roon.

0:14:49.120 --> 0:14:50.160
<v Speaker 1>It's just so good.

0:14:50.960 --> 0:14:52.560
<v Speaker 4>Family to which cousin is that?

0:14:52.960 --> 0:14:56.440
<v Speaker 1>Oh yeah, everybody has one, you know, there's one or two,

0:14:58.360 --> 0:14:59.880
<v Speaker 1>there's no question about it.

0:15:00.320 --> 0:15:03.160
<v Speaker 3>It's so weird thinking about it now with having a

0:15:03.200 --> 0:15:06.080
<v Speaker 3>baby and then my brother and my siblings and my

0:15:06.120 --> 0:15:08.800
<v Speaker 3>wife's siblings having kids and stuff, all the cousins, and

0:15:08.840 --> 0:15:12.680
<v Speaker 3>I'm like, my god, which one of this generation is

0:15:12.720 --> 0:15:14.440
<v Speaker 3>going to be that cousin?

0:15:17.160 --> 0:15:18.760
<v Speaker 4>It's not mine?

0:15:20.160 --> 0:15:24.280
<v Speaker 1>All right? So Emily, Emily's now and stars hollow and

0:15:24.400 --> 0:15:33.400
<v Speaker 1>she's wearing she's she's wearing glarelized socks and sneakers and

0:15:33.400 --> 0:15:37.120
<v Speaker 1>and it's the only way she can she can motor

0:15:37.200 --> 0:15:40.840
<v Speaker 1>around town and comfort. She's not happy about it, but

0:15:40.920 --> 0:15:43.320
<v Speaker 1>then she kind of gets used to it and she's

0:15:43.360 --> 0:15:46.880
<v Speaker 1>swallowing and she's feeling pretty good. And you know, they

0:15:46.920 --> 0:15:52.080
<v Speaker 1>go into they go into Kim's antiques, and immediately Emily

0:15:52.120 --> 0:15:55.840
<v Speaker 1>and missus Kin get into a negotiating battle over a

0:15:55.960 --> 0:15:59.560
<v Speaker 1>very fine piece of furniture that missus Kim wants thirty

0:15:59.560 --> 0:16:02.520
<v Speaker 1>two hundred for and Emily offers two. And they go

0:16:02.640 --> 0:16:04.800
<v Speaker 1>back and forth and back and forth and back and forth,

0:16:05.640 --> 0:16:08.200
<v Speaker 1>and Emily just falls in love with missus Kimp because

0:16:08.200 --> 0:16:14.200
<v Speaker 1>she's as tough as she is, right, And let's talk

0:16:14.240 --> 0:16:19.800
<v Speaker 1>about the parallels between and the similarities between missus Kim

0:16:19.840 --> 0:16:24.000
<v Speaker 1>and her experience with Lane. How she's raising Lane and

0:16:24.400 --> 0:16:28.600
<v Speaker 1>how Emily apparently was raising Laurelai at the same age.

0:16:28.760 --> 0:16:31.960
<v Speaker 1>Isn't that interesting? But these two would be friends. They're

0:16:32.040 --> 0:16:36.720
<v Speaker 1>very similar. Is Lane a young Larelai?

0:16:37.000 --> 0:16:41.160
<v Speaker 5>Probably as someone who was really sheltered and wanted to

0:16:41.200 --> 0:16:44.160
<v Speaker 5>get out. I think I don't think they're exactly the same,

0:16:44.200 --> 0:16:45.920
<v Speaker 5>but I think there are the similarities there.

0:16:45.920 --> 0:16:47.720
<v Speaker 6>And having protective.

0:16:47.280 --> 0:16:49.400
<v Speaker 4>Parents they give similar energy for sure.

0:16:50.160 --> 0:16:50.320
<v Speaker 1>No.

0:16:50.840 --> 0:16:53.400
<v Speaker 4>Yeah, it's funny that you said earlier that they would

0:16:53.400 --> 0:16:53.840
<v Speaker 4>be friends.

0:16:53.840 --> 0:16:57.200
<v Speaker 3>That's really clever writing as well to put that together,

0:16:57.760 --> 0:17:00.480
<v Speaker 3>because that could be a missed opportunity there to to

0:17:01.360 --> 0:17:04.520
<v Speaker 3>not have them connect, you know, on the fact that

0:17:04.560 --> 0:17:12.600
<v Speaker 3>they're similar missus Kim and and Emily and I I

0:17:12.680 --> 0:17:18.119
<v Speaker 3>actually thought the thirty by the way, in two thousand

0:17:18.480 --> 0:17:22.080
<v Speaker 3>is an expensive piece of furniture. Yeah, you know, like

0:17:22.160 --> 0:17:26.520
<v Speaker 3>that's that's outrageous, Like that's like ten thousand dollars in

0:17:26.560 --> 0:17:27.879
<v Speaker 3>today's money.

0:17:28.359 --> 0:17:30.320
<v Speaker 6>Yeah, yeah, what was the what was it?

0:17:30.359 --> 0:17:32.520
<v Speaker 4>Was it like a chess these.

0:17:32.359 --> 0:17:39.560
<v Speaker 1>Are old antiques, rare pieces. You know. Emily was she

0:17:39.760 --> 0:17:43.359
<v Speaker 1>scoured every antiques store in Connecticut until she told she

0:17:43.480 --> 0:17:47.000
<v Speaker 1>was stupidly told her friend about all of these great places,

0:17:47.040 --> 0:17:51.119
<v Speaker 1>and she went and bought everything up and left Emily

0:17:51.640 --> 0:17:54.040
<v Speaker 1>out to dry. So Emily had to find a new source.

0:17:55.080 --> 0:17:58.480
<v Speaker 1>She found She found it with missus Kim. So, yeah, that.

0:17:58.520 --> 0:18:01.800
<v Speaker 5>Stuff's expensive, like anyone in stars Hollow buying that. I

0:18:01.800 --> 0:18:04.359
<v Speaker 5>don't think anyone in Star Starts Hollows shopping there.

0:18:04.520 --> 0:18:08.120
<v Speaker 3>There's places that in Vermont that remind me of that

0:18:08.160 --> 0:18:10.520
<v Speaker 3>where you know, you go it's an I know it's

0:18:10.560 --> 0:18:13.520
<v Speaker 3>an antique store, you know, and I know that some

0:18:13.560 --> 0:18:15.240
<v Speaker 3>of these things are a couple hundred years old. But

0:18:15.240 --> 0:18:17.760
<v Speaker 3>you're like, I just was looking for a coffee table,

0:18:18.080 --> 0:18:20.600
<v Speaker 3>and I don't want to buy something from Ikia, but

0:18:20.720 --> 0:18:23.040
<v Speaker 3>also I don't think I can buy this Louis the

0:18:23.280 --> 0:18:29.360
<v Speaker 3>fifteenth coffee table for twenty five thousand dollars.

0:18:29.480 --> 0:18:31.359
<v Speaker 4>Like, have you ever gone on first DIBs or not?

0:18:31.359 --> 0:18:35.280
<v Speaker 3>First DIBs? Yeah, first DIBs. It's like that website that

0:18:35.320 --> 0:18:38.480
<v Speaker 3>sells antiques stuff like that. You're like, Oh, I'm gonna

0:18:38.480 --> 0:18:40.399
<v Speaker 3>go in here and find something interesting. Of course everything

0:18:40.440 --> 0:18:48.320
<v Speaker 3>is twenty grand Peace, but yeah, there's places like that

0:18:48.359 --> 0:18:50.520
<v Speaker 3>in Vermont that remind me of that. Everything in there

0:18:50.520 --> 0:18:52.440
<v Speaker 3>and you're like, I don't think the people around here are.

0:18:52.320 --> 0:18:56.199
<v Speaker 4>Buying this stuff. I think, yeah, coming up and you know,

0:18:56.880 --> 0:18:57.280
<v Speaker 4>yeah they have.

0:18:57.600 --> 0:19:01.040
<v Speaker 1>They have antique shops all all over the North Northeast.

0:19:00.840 --> 0:19:02.359
<v Speaker 6>People driving through or buying.

0:19:02.640 --> 0:19:06.280
<v Speaker 4>Yeah, some of the best antiquing there is absolutely.

0:19:14.760 --> 0:19:18.960
<v Speaker 1>All right. So now we're at the abandoned in with

0:19:19.119 --> 0:19:25.280
<v Speaker 1>Rachel and Lorelei and they have their conversation and laurel

0:19:25.320 --> 0:19:30.199
<v Speaker 1>I shares her vision that includes Suki, and Rachel shares

0:19:30.280 --> 0:19:33.159
<v Speaker 1>that she wants wanted to be a photographer, to be

0:19:34.320 --> 0:19:37.280
<v Speaker 1>anywhere but there and start as hollow. So she got out.

0:19:37.840 --> 0:19:39.880
<v Speaker 1>So they're kind of, you know, they're bonding a little bit.

0:19:40.160 --> 0:19:44.399
<v Speaker 1>Suki is being funny and you know, kind of freaked

0:19:44.400 --> 0:19:47.000
<v Speaker 1>out about the prospect of buying the place and having

0:19:47.080 --> 0:19:50.359
<v Speaker 1>to renovate it, and but she's excited at the same time.

0:19:50.520 --> 0:19:56.399
<v Speaker 1>And hilarious h little appearance by by Melissa McCarthy. It

0:19:56.480 --> 0:20:01.480
<v Speaker 1>was really a funny scene. And then Rachel lowers the

0:20:01.480 --> 0:20:04.720
<v Speaker 1>boom tells laurel I she's ready to settle down with

0:20:04.800 --> 0:20:08.160
<v Speaker 1>Luke and then we see that look on laurel Ized

0:20:08.240 --> 0:20:11.320
<v Speaker 1>face and you never see it coming, do you? They

0:20:11.400 --> 0:20:15.400
<v Speaker 1>really know how to drop in these these story beats, right,

0:20:15.480 --> 0:20:19.159
<v Speaker 1>because these are like necessary story beats. This is storytelling.

0:20:19.800 --> 0:20:21.439
<v Speaker 1>You know, how are we going to drop this in?

0:20:21.640 --> 0:20:23.360
<v Speaker 1>Why aren't we going to get this in? And then

0:20:23.359 --> 0:20:26.520
<v Speaker 1>there it is, boom. You just don't see it coming

0:20:26.560 --> 0:20:29.959
<v Speaker 1>with these With these two, it's it's really fantastic writing.

0:20:32.200 --> 0:20:36.600
<v Speaker 1>What'd you guys think of this? Were you surprised when when?

0:20:37.000 --> 0:20:39.119
<v Speaker 1>Because I was surprised when Rachel said it's time to

0:20:39.160 --> 0:20:39.800
<v Speaker 1>settle down.

0:20:40.160 --> 0:20:42.200
<v Speaker 5>I mean we've only seen her for a couple of episodes,

0:20:42.240 --> 0:20:44.760
<v Speaker 5>so yeah, like if we're going back, I think she's

0:20:44.800 --> 0:20:46.600
<v Speaker 5>been in like two or three before this, so it

0:20:46.680 --> 0:20:47.560
<v Speaker 5>kind of was shocking.

0:20:47.800 --> 0:20:49.640
<v Speaker 3>Yeah, I mean, if you're going to have that character right,

0:20:49.680 --> 0:20:53.000
<v Speaker 3>you need they have to. Something's got to happen quick

0:20:53.000 --> 0:20:54.600
<v Speaker 3>otherwise people lose interest in the character.

0:20:55.880 --> 0:20:56.119
<v Speaker 4>You know.

0:20:56.440 --> 0:20:58.360
<v Speaker 1>Well, now we're really going to lose interest in her

0:20:58.400 --> 0:21:01.040
<v Speaker 1>because she's going to take look away from Lorealizes. So

0:21:01.080 --> 0:21:03.080
<v Speaker 1>they're gonna you know, they're going to storm the.

0:21:03.000 --> 0:21:06.480
<v Speaker 5>Poor Cullis with pitchforks, you know, it's Yeah, they're not

0:21:06.560 --> 0:21:08.240
<v Speaker 5>setting us up to like her that much.

0:21:08.400 --> 0:21:14.359
<v Speaker 1>So what do you think here? Here's an interesting question.

0:21:16.359 --> 0:21:22.320
<v Speaker 1>Rachel is constantly expressing her desire prior to this, even

0:21:22.400 --> 0:21:25.040
<v Speaker 1>even in this scene, her desire to be anywhere but

0:21:25.119 --> 0:21:29.240
<v Speaker 1>stars hollow. How do you think that affects Laureli? Right,

0:21:29.280 --> 0:21:31.160
<v Speaker 1>I was going to say, do you think that's offensive

0:21:31.200 --> 0:21:31.800
<v Speaker 1>to Laurel? I?

0:21:31.960 --> 0:21:34.560
<v Speaker 3>Yeah, And Luke I would imagine he's he seems like

0:21:34.600 --> 0:21:36.439
<v Speaker 3>he's a I mean, he would be the definition of

0:21:36.480 --> 0:21:39.720
<v Speaker 3>a towny, right, He's a towny. He's the guy he

0:21:40.160 --> 0:21:41.919
<v Speaker 3>owns a cafe. So her wanting to get out, I

0:21:41.920 --> 0:21:44.240
<v Speaker 3>mean that obviously means that she's trying to get him,

0:21:44.680 --> 0:21:47.880
<v Speaker 3>pull him out of town.

0:21:48.720 --> 0:21:52.880
<v Speaker 1>Certain people are struck by wanderlust, right. They just want

0:21:52.920 --> 0:21:56.440
<v Speaker 1>to see the world. There's nothing wrong with that. Most

0:21:56.480 --> 0:22:00.360
<v Speaker 1>people don't. They want to stay in town and and

0:22:00.400 --> 0:22:03.040
<v Speaker 1>they want to have their friends and their family, and

0:22:03.080 --> 0:22:05.359
<v Speaker 1>they don't want to leave the town very often or

0:22:05.400 --> 0:22:08.719
<v Speaker 1>if at all. But she's just one of these, you know,

0:22:08.760 --> 0:22:10.960
<v Speaker 1>she's wild at hard I guess, and she just wants

0:22:11.040 --> 0:22:12.600
<v Speaker 1>to see the world. Nothing wrong with that.

0:22:12.960 --> 0:22:14.120
<v Speaker 6>And she's left before.

0:22:14.280 --> 0:22:17.080
<v Speaker 5>So it's interesting that she's saying this now because I

0:22:17.080 --> 0:22:19.480
<v Speaker 5>think Lurla's probably thinking, well, is she going to leave again?

0:22:19.840 --> 0:22:22.000
<v Speaker 1>Right? How many times has she done this to Luke?

0:22:23.040 --> 0:22:27.520
<v Speaker 1>It's like millions of times. They use the word millions,

0:22:27.520 --> 0:22:29.560
<v Speaker 1>so she must have done she does this all the time,

0:22:29.640 --> 0:22:30.120
<v Speaker 1>all the time.

0:22:30.320 --> 0:22:35.400
<v Speaker 4>It's called doing a geographical Oh is that geographic? Geographical?

0:22:35.520 --> 0:22:37.719
<v Speaker 3>It's like that's a therapy term right where it's like,

0:22:37.760 --> 0:22:42.960
<v Speaker 3>you know, you can move to another place, but you know,

0:22:43.000 --> 0:22:45.160
<v Speaker 3>if you don't address the problem, then you're just moving

0:22:45.160 --> 0:22:46.240
<v Speaker 3>your problem to another place.

0:22:46.320 --> 0:22:46.840
<v Speaker 4>Right, You're just.

0:22:46.760 --> 0:22:49.840
<v Speaker 3>Going, well, maybe life would get better if I lived

0:22:49.880 --> 0:22:55.200
<v Speaker 3>in Hawaii, which it might arguably, I might be better.

0:22:56.080 --> 0:22:57.960
<v Speaker 3>But yeah, she seems like she might have that sort

0:22:58.000 --> 0:22:59.800
<v Speaker 3>of I mean, what do you what are you running from?

0:23:01.040 --> 0:23:01.280
<v Speaker 5>Yeah?

0:23:02.240 --> 0:23:04.600
<v Speaker 3>Maybe just not wanting to be stagnant in a town

0:23:04.760 --> 0:23:08.320
<v Speaker 3>or something like that. But it makes me think of

0:23:08.440 --> 0:23:12.199
<v Speaker 3>I remember I've read this somewhere about maybe it was

0:23:12.200 --> 0:23:14.640
<v Speaker 3>in one of those like Stapiens books or something like that,

0:23:14.680 --> 0:23:18.399
<v Speaker 3>but it was like that there's no there's no human

0:23:18.680 --> 0:23:23.000
<v Speaker 3>like biological prerogative to travel, you know what I mean?

0:23:23.480 --> 0:23:26.680
<v Speaker 3>The real you just humans just need food, water and

0:23:26.720 --> 0:23:27.399
<v Speaker 3>shelter and stuff.

0:23:27.400 --> 0:23:31.280
<v Speaker 4>Like that. But so like traveling is like a new thing,

0:23:32.000 --> 0:23:32.760
<v Speaker 4>you know, and.

0:23:32.600 --> 0:23:34.679
<v Speaker 3>Some people like I just I gotta get out of here.

0:23:34.720 --> 0:23:36.959
<v Speaker 3>I gotta go, I gotta go. It's interesting because there

0:23:37.000 --> 0:23:39.399
<v Speaker 3>isn't and it's more of a psychological thing. It's not

0:23:40.280 --> 0:23:44.439
<v Speaker 3>a necessity, actual necessity to live a good life. You

0:23:44.440 --> 0:23:47.640
<v Speaker 3>don't have to travel, that's true, especially.

0:23:47.280 --> 0:23:48.600
<v Speaker 4>A cute town like Stars Hollow.

0:23:48.760 --> 0:23:52.600
<v Speaker 3>You know, you could, you know, you could live in

0:23:52.640 --> 0:23:54.159
<v Speaker 3>a cute town like that your whole life, as long

0:23:54.160 --> 0:23:55.920
<v Speaker 3>as you maybe go on a couple of vacations a year.

0:23:57.040 --> 0:23:57.439
<v Speaker 4>I don't know.

0:23:57.720 --> 0:24:00.239
<v Speaker 1>When I was growing up and reading books, and I

0:24:00.240 --> 0:24:02.520
<v Speaker 1>was always wondering what these places were like and wanting

0:24:02.560 --> 0:24:06.520
<v Speaker 1>to go there, you know, right, because there's stories attached

0:24:06.560 --> 0:24:09.159
<v Speaker 1>to it, and it's more than just going to a place.

0:24:09.240 --> 0:24:14.840
<v Speaker 1>It's sort of revisiting your childhood almost, you know, and discovering,

0:24:15.560 --> 0:24:18.560
<v Speaker 1>you know again, all those feelings you had while you

0:24:18.560 --> 0:24:21.440
<v Speaker 1>were learning about that place and those events that took place,

0:24:21.480 --> 0:24:25.199
<v Speaker 1>and whether it's a poet that you particularly like, and

0:24:25.760 --> 0:24:29.400
<v Speaker 1>you can walk that that that road to Paris from

0:24:29.560 --> 0:24:34.880
<v Speaker 1>Charlesville and you know, retrace their footsteps and that kind

0:24:34.920 --> 0:24:38.919
<v Speaker 1>of thing. So yeah, but I yeah, I think I

0:24:38.960 --> 0:24:42.680
<v Speaker 1>think you're right. It's probably uh, you know, with the

0:24:42.760 --> 0:24:48.040
<v Speaker 1>with the industrial age and the ease with which people

0:24:48.080 --> 0:24:54.720
<v Speaker 1>can transport themselves. Yeah, that's the traveling became a thing.

0:24:55.520 --> 0:24:55.920
<v Speaker 4>You're crazy.

0:24:55.920 --> 0:24:57.760
<v Speaker 3>If you just buy a ticket, you can be in

0:24:59.160 --> 0:25:00.879
<v Speaker 3>you know, if you can get the ticket, you can

0:25:00.960 --> 0:25:03.160
<v Speaker 3>be in Paris tomorrow.

0:25:03.920 --> 0:25:04.399
<v Speaker 5>Yeah you know.

0:25:05.359 --> 0:25:08.360
<v Speaker 4>Yeah, actually I guess if that's right now.

0:25:08.800 --> 0:25:12.520
<v Speaker 1>Wild right, right, It wouldn't take three years to get

0:25:12.520 --> 0:25:15.200
<v Speaker 1>there by foot, right because you had to work, because

0:25:15.240 --> 0:25:17.200
<v Speaker 1>you had to work jobs along the way to get there,

0:25:17.720 --> 0:25:21.880
<v Speaker 1>like like in the middle of the eighteenth century. So, uh,

0:25:22.280 --> 0:25:26.480
<v Speaker 1>we're back at the end. Run is uh. Now, this

0:25:26.640 --> 0:25:28.720
<v Speaker 1>is one of the finer scenes I think in the

0:25:28.880 --> 0:25:33.800
<v Speaker 1>entire episode with Michelle and Run and Michelle are going

0:25:33.840 --> 0:25:39.399
<v Speaker 1>at it and Michelle doesn't believe him that, you know,

0:25:39.680 --> 0:25:41.680
<v Speaker 1>he has a job there and that he's going to

0:25:41.720 --> 0:25:45.960
<v Speaker 1>live there. He's like, go away, little tiny man. You

0:25:46.040 --> 0:25:52.399
<v Speaker 1>don't know what he believes you. And Emily and Rory

0:25:52.440 --> 0:25:58.639
<v Speaker 1>come in and and Emily meets Michelle and they of

0:25:58.640 --> 0:26:01.480
<v Speaker 1>course hit it off. The famous oh.

0:26:01.359 --> 0:26:08.080
<v Speaker 5>Yeah, his French accent was all she needed.

0:26:08.200 --> 0:26:10.920
<v Speaker 1>Right, that's it. A couple of French words and she

0:26:11.160 --> 0:26:17.200
<v Speaker 1>was done, and laurelized a little shocked by Emily's shoes,

0:26:17.480 --> 0:26:22.440
<v Speaker 1>a choice of restaurant, and her pleasant mood. I don't

0:26:22.520 --> 0:26:25.520
<v Speaker 1>know that she's ever seen her mother like this, right.

0:26:26.320 --> 0:26:27.720
<v Speaker 6>Definitely, not in those shoes.

0:26:28.119 --> 0:26:31.960
<v Speaker 1>Not in those shoes. And Rory and Emily are having

0:26:32.000 --> 0:26:35.240
<v Speaker 1>a really great time, aren't they. I mean they're really really.

0:26:35.320 --> 0:26:39.320
<v Speaker 1>I mean, Rory's just having a great day and she's

0:26:39.400 --> 0:26:42.480
<v Speaker 1>beaming because she's with her grandma, and that is just

0:26:42.560 --> 0:26:43.280
<v Speaker 1>so sweet.

0:26:43.520 --> 0:26:45.600
<v Speaker 5>It is one of those things where you're like, they're

0:26:45.600 --> 0:26:48.000
<v Speaker 5>having too good of a time. Something's going to happen.

0:26:48.160 --> 0:26:50.800
<v Speaker 1>Did you feel that way? Did you feel something was coming?

0:26:50.840 --> 0:26:55.439
<v Speaker 1>Because I didn't. I didn't remember where this was going.

0:26:56.040 --> 0:26:58.479
<v Speaker 5>I did, But even before that, I was like, Emily

0:26:58.560 --> 0:27:02.000
<v Speaker 5>always turns, so I knew something would happen.

0:27:02.760 --> 0:27:06.000
<v Speaker 4>Right. It makes Lorla jealous a little bit too to see.

0:27:05.800 --> 0:27:10.439
<v Speaker 3>Them bonding, right, I mean, that's totally I guess jealous

0:27:10.520 --> 0:27:12.359
<v Speaker 3>is the only word I can think of, but the

0:27:12.520 --> 0:27:14.399
<v Speaker 3>sort of like, well, why wasn't it like that for me?

0:27:16.520 --> 0:27:19.600
<v Speaker 3>And also thinking it's like, you know when someone's really

0:27:19.680 --> 0:27:21.800
<v Speaker 3>nice to you because they want something. So I'm sure

0:27:21.800 --> 0:27:25.840
<v Speaker 3>she feels a little bit like, what is this manipulation?

0:27:27.119 --> 0:27:29.240
<v Speaker 3>What is this manipulation technique.

0:27:28.760 --> 0:27:30.920
<v Speaker 4>That she's got? Now? Now she wants to like act like.

0:27:30.920 --> 0:27:35.000
<v Speaker 5>You know, yeah, and she always sees like she kind

0:27:35.000 --> 0:27:38.160
<v Speaker 5>of tries to see the bad in her mom. She

0:27:38.200 --> 0:27:40.639
<v Speaker 5>never tries to see the good because I think it

0:27:40.680 --> 0:27:41.280
<v Speaker 5>did start.

0:27:41.119 --> 0:27:41.640
<v Speaker 6>Out as good.

0:27:42.280 --> 0:27:44.760
<v Speaker 1>Yeah, but I think laurla I is still kind of

0:27:44.800 --> 0:27:48.480
<v Speaker 1>in her trauma. You know, it's a trauma response every

0:27:48.480 --> 0:27:50.920
<v Speaker 1>time she sees her mom, and that's where all the

0:27:51.040 --> 0:27:54.879
<v Speaker 1>humor's coming from. It's a defense mechanism. She's just traumatized

0:27:54.960 --> 0:28:03.120
<v Speaker 1>by the woman. So that's her reflexive defenses. And then

0:28:03.160 --> 0:28:07.040
<v Speaker 1>we at the height of Emily's joy with stars hollow,

0:28:07.440 --> 0:28:11.480
<v Speaker 1>the swans, the lake, the white picket fence, the lawn,

0:28:12.280 --> 0:28:15.600
<v Speaker 1>the charming cottage in the back, the gardening shed. Here

0:28:15.640 --> 0:28:23.840
<v Speaker 1>we come. That's when it all ends. Did you you

0:28:23.880 --> 0:28:28.359
<v Speaker 1>guys didn't see this coming? Terry Kendall, what was your

0:28:28.359 --> 0:28:31.840
<v Speaker 1>impression of this when Emily, I mean, you didn't know

0:28:31.880 --> 0:28:36.680
<v Speaker 1>the story, right, so a little bit harder for me, right, right?

0:28:36.760 --> 0:28:38.280
<v Speaker 1>So what did you think of this scene? Did you

0:28:38.280 --> 0:28:40.200
<v Speaker 1>have to ask your wife like, hey, what what's going

0:28:40.240 --> 0:28:40.960
<v Speaker 1>on here?

0:28:41.240 --> 0:28:41.480
<v Speaker 4>Yeah?

0:28:41.880 --> 0:28:43.560
<v Speaker 3>She did have to explain it to me. She was

0:28:44.480 --> 0:28:46.720
<v Speaker 3>as much backstory as possible. Are we talking about when

0:28:46.720 --> 0:28:48.480
<v Speaker 3>she's at the base.

0:28:48.400 --> 0:28:56.560
<v Speaker 1>Shed, no where, the gardening shed where Laurel I ran

0:28:56.640 --> 0:29:01.000
<v Speaker 1>to when Rory was a baby and they lived in

0:29:01.480 --> 0:29:04.480
<v Speaker 1>the owner of the dragon Fly in who was still

0:29:04.520 --> 0:29:08.040
<v Speaker 1>employing laurle I took pity on Laura I as a

0:29:08.080 --> 0:29:19.760
<v Speaker 1>sixteen year old with a baby. Right now, we're in

0:29:19.840 --> 0:29:26.280
<v Speaker 1>Luke's apartment and this is the first time so we

0:29:26.440 --> 0:29:29.240
<v Speaker 1>got so we're dealing with curtains that Luke chose that

0:29:29.600 --> 0:29:33.160
<v Speaker 1>Laura I finds out that Rachel didn't choose them, and

0:29:33.480 --> 0:29:35.440
<v Speaker 1>it's the first time she's in there. Not that she

0:29:35.480 --> 0:29:38.719
<v Speaker 1>ever thought about Luke's apartment. She's always sort of like

0:29:38.760 --> 0:29:42.600
<v Speaker 1>stumbling around Rachel and getting to explain me with her

0:29:43.040 --> 0:29:46.760
<v Speaker 1>right Rachel said she doesn't think she will always stay

0:29:46.800 --> 0:29:50.080
<v Speaker 1>in the stars Hollow. Again, here we are with like,

0:29:50.360 --> 0:29:52.680
<v Speaker 1>I'm out of here, and so that's all this character

0:29:52.720 --> 0:29:54.280
<v Speaker 1>says is like, I want to get out of here,

0:29:55.080 --> 0:29:58.560
<v Speaker 1>and you know, she's got a prompt So she goes

0:29:58.600 --> 0:30:00.400
<v Speaker 1>to Laura I and she says, can you help me

0:30:00.520 --> 0:30:03.240
<v Speaker 1>with my problem? My problem is I can't convince Luke

0:30:03.280 --> 0:30:06.200
<v Speaker 1>that I'm that I'm going to actually stay this time

0:30:06.720 --> 0:30:08.880
<v Speaker 1>because I you know, I've only run out on them

0:30:08.880 --> 0:30:12.960
<v Speaker 1>about thirty times. But and we don't know, right, It

0:30:13.080 --> 0:30:15.560
<v Speaker 1>makes me wonder, It makes me want to know more

0:30:15.600 --> 0:30:18.800
<v Speaker 1>about what the heck happened between these two and they're

0:30:18.880 --> 0:30:21.360
<v Speaker 1>telling us, but you know, you'd really rather see it.

0:30:24.600 --> 0:30:27.280
<v Speaker 1>And so she asked Laura if if if she can

0:30:27.280 --> 0:30:29.400
<v Speaker 1>give her a little help in that regard, and Laura

0:30:29.440 --> 0:30:31.800
<v Speaker 1>I agree, says yeah, you know, did she agree?

0:30:31.880 --> 0:30:32.200
<v Speaker 6>She did?

0:30:32.360 --> 0:30:35.320
<v Speaker 1>She did agree. What do you think of this? That's

0:30:35.360 --> 0:30:39.320
<v Speaker 1>putting Laura in a very awkward position, isn't it. And

0:30:39.600 --> 0:30:43.240
<v Speaker 1>here's here's the real question. Do you think Rachel's aware

0:30:43.280 --> 0:30:46.200
<v Speaker 1>that Laura I and Luke maybe have feelings for John?

0:30:46.760 --> 0:30:48.520
<v Speaker 6>I think she can see it, right.

0:30:48.960 --> 0:30:50.880
<v Speaker 3>I mean, if she's seen the same thing that we're seeing,

0:30:51.760 --> 0:30:53.800
<v Speaker 3>because we don't know, we don't know if if it

0:30:53.840 --> 0:30:57.000
<v Speaker 3>looks a little different in the actual world that they're in,

0:30:57.800 --> 0:31:00.560
<v Speaker 3>you know that the characters are in. But I mean,

0:31:00.560 --> 0:31:04.600
<v Speaker 3>if any casual observer could see that there's a tension

0:31:05.760 --> 0:31:09.320
<v Speaker 3>between the two of them. And I was thinking, like,

0:31:09.600 --> 0:31:11.920
<v Speaker 3>are either one of them like a girls girl?

0:31:12.320 --> 0:31:12.600
<v Speaker 4>You know what?

0:31:12.680 --> 0:31:14.520
<v Speaker 3>I mean by that where it's like, you know, she's

0:31:15.240 --> 0:31:18.960
<v Speaker 3>she's a, hey, we do this favor for me. You know,

0:31:19.000 --> 0:31:20.880
<v Speaker 3>I need your help, and it's like kind of a

0:31:20.960 --> 0:31:23.840
<v Speaker 3>kind thing to do. But are either of them girls

0:31:23.880 --> 0:31:24.520
<v Speaker 3>girls like.

0:31:26.680 --> 0:31:28.920
<v Speaker 4>Broad? I don't know what the opposite of it is,

0:31:28.960 --> 0:31:30.080
<v Speaker 4>but I.

0:31:30.000 --> 0:31:30.800
<v Speaker 6>Think Laura I is.

0:31:30.800 --> 0:31:32.960
<v Speaker 5>I don't think we know enough about Rachel, but off

0:31:33.000 --> 0:31:37.400
<v Speaker 5>the bat, probably not. I don't think she probably moves

0:31:37.440 --> 0:31:43.120
<v Speaker 5>around too much where she hasn't established like real relationships

0:31:43.280 --> 0:31:46.160
<v Speaker 5>like that. But again, we haven't learned that much about.

0:31:45.880 --> 0:31:46.360
<v Speaker 6>Her to know.

0:31:47.040 --> 0:31:48.920
<v Speaker 1>You know why, I think Rachel asked her to do that.

0:31:50.480 --> 0:31:53.440
<v Speaker 1>I think Rachel asked Laurela to do that because it

0:31:53.480 --> 0:31:57.680
<v Speaker 1>was really a test. She was testing local Laura Lai

0:31:58.440 --> 0:32:02.480
<v Speaker 1>to see what they're feelings really work or for each other,

0:32:02.760 --> 0:32:06.280
<v Speaker 1>which would inform her decision to stay or leave right,

0:32:06.640 --> 0:32:11.080
<v Speaker 1>because she suspects there's probably something going on because right,

0:32:11.280 --> 0:32:15.240
<v Speaker 1>like Kendall said, you can feel that energy, right, and

0:32:15.360 --> 0:32:18.800
<v Speaker 1>she's I mean, she's coming into this situation and she

0:32:18.880 --> 0:32:21.800
<v Speaker 1>sees this. You know, laural lies beautiful and she's sitting

0:32:21.800 --> 0:32:26.640
<v Speaker 1>there and you know, a girl girls can tell, right,

0:32:27.080 --> 0:32:29.320
<v Speaker 1>they can really tell. I mean, guys can tell when

0:32:29.400 --> 0:32:31.840
<v Speaker 1>other guys like their women. You know, it's it's it's

0:32:31.880 --> 0:32:37.080
<v Speaker 1>just instinctual. We do well, no, we do, we do?

0:32:37.400 --> 0:32:40.200
<v Speaker 1>We do? Come on, let's face it. You know, the

0:32:40.320 --> 0:32:42.560
<v Speaker 1>radars out and you know it, man, you know when

0:32:42.640 --> 0:32:47.320
<v Speaker 1>somebody's locked on and and I think, yeah, this is

0:32:47.360 --> 0:32:52.360
<v Speaker 1>just a heat check for for for for Rachel. And

0:32:52.400 --> 0:32:53.959
<v Speaker 1>I don't know if she's I don't know. I wouldn't

0:32:53.960 --> 0:32:56.040
<v Speaker 1>accuse her of being manipulative, but it's like, I think

0:32:56.120 --> 0:32:59.200
<v Speaker 1>she's just sort of like trying to justify another exit

0:32:59.240 --> 0:33:02.719
<v Speaker 1>stage left because now she's in a situation where she

0:33:02.840 --> 0:33:05.280
<v Speaker 1>really wanted to come back, she really wanted to start something.

0:33:05.320 --> 0:33:09.320
<v Speaker 1>But gosh, I don't know that. Why is Luke being

0:33:09.320 --> 0:33:12.440
<v Speaker 1>so stubborn? And it's like because of Laurala and Laura,

0:33:12.520 --> 0:33:14.520
<v Speaker 1>I would you help me out with this problem? And

0:33:14.640 --> 0:33:17.440
<v Speaker 1>she kind of thinks she knows already what the answer

0:33:17.440 --> 0:33:18.000
<v Speaker 1>is going to be.

0:33:19.280 --> 0:33:20.040
<v Speaker 6>You have a point.

0:33:20.560 --> 0:33:22.800
<v Speaker 1>Even if she tries, it's not going to be successful.

0:33:22.960 --> 0:33:25.720
<v Speaker 3>People like that are so frustrating because it seems like

0:33:25.880 --> 0:33:30.800
<v Speaker 3>Rachel is the type of person who will ask for

0:33:30.840 --> 0:33:33.720
<v Speaker 3>things and not realize how awkward to put somebody in

0:33:33.720 --> 0:33:37.520
<v Speaker 3>a position, you know, there is she like a little

0:33:37.560 --> 0:33:39.880
<v Speaker 3>oblivious to that. I mean, that's what you're saying that

0:33:39.920 --> 0:33:42.880
<v Speaker 3>she's got to know that there's some sort of connection there,

0:33:42.920 --> 0:33:45.600
<v Speaker 3>but we don't know if she's seeing it the same

0:33:45.640 --> 0:33:46.960
<v Speaker 3>way that we're seeing it from.

0:33:48.000 --> 0:33:51.000
<v Speaker 4>You know, that perspective. So it is, yeah, she might

0:33:51.040 --> 0:33:53.480
<v Speaker 4>be testing her that. I mean, it would seem obvious.

0:33:53.960 --> 0:33:56.840
<v Speaker 1>And it leads to that scene in the supply room

0:33:57.040 --> 0:34:02.360
<v Speaker 1>where Laurla comes in and actually does as asks, advocates

0:34:02.360 --> 0:34:06.040
<v Speaker 1>for her a little bit. And you know, I think

0:34:06.120 --> 0:34:08.839
<v Speaker 1>so far in this season, that's one of my that's

0:34:08.840 --> 0:34:12.040
<v Speaker 1>my favorite Luke and Laurel I see because it was

0:34:12.120 --> 0:34:15.600
<v Speaker 1>so filled with truth and it was so filled with

0:34:15.920 --> 0:34:20.480
<v Speaker 1>masking real feelings on both of their parts. You know,

0:34:20.560 --> 0:34:24.560
<v Speaker 1>he just continued to rip open boxes and stock the

0:34:24.560 --> 0:34:29.920
<v Speaker 1>shelves right, and he was firm in his belief. And

0:34:30.000 --> 0:34:34.520
<v Speaker 1>I thought, you know, there were two things that Luke

0:34:34.640 --> 0:34:40.000
<v Speaker 1>was balancing. One was he has no faith or trust

0:34:40.320 --> 0:34:44.239
<v Speaker 1>in Rachel's ability to stick it out. He's seen that

0:34:44.320 --> 0:34:48.000
<v Speaker 1>movie too many times before, Laurel I relax. He also

0:34:49.120 --> 0:34:54.200
<v Speaker 1>wanted to appear I think, kind of open and available

0:34:54.200 --> 0:34:58.040
<v Speaker 1>to Laurel. I. I think it worked in his favor

0:34:58.200 --> 0:35:03.440
<v Speaker 1>in both accounts right without really showing how he felt

0:35:03.480 --> 0:35:05.960
<v Speaker 1>about her. He was showing how he felt about her

0:35:06.000 --> 0:35:09.600
<v Speaker 1>with his attitude, which is what I love about the scene.

0:35:09.640 --> 0:35:12.800
<v Speaker 1>I really love their dynamic and I think the writing.

0:35:13.000 --> 0:35:16.760
<v Speaker 1>The writing is so good. The writing is so good.

0:35:17.920 --> 0:35:22.200
<v Speaker 1>And you know, I've been in four series a series regular,

0:35:22.719 --> 0:35:25.680
<v Speaker 1>and to go to work and to get to be

0:35:25.920 --> 0:35:29.400
<v Speaker 1>in scenes like this is a just a very rare treat.

0:35:30.000 --> 0:35:30.680
<v Speaker 1>Let me tell you.

0:35:32.360 --> 0:35:35.320
<v Speaker 3>Going like yes, you know, like as you're reading the script,

0:35:35.320 --> 0:35:37.919
<v Speaker 3>you're going, I know I'm gonna do these scenes later,

0:35:37.960 --> 0:35:40.480
<v Speaker 3>but you're like, oh oh, and that.

0:35:41.280 --> 0:35:45.480
<v Speaker 1>The way they write. You read it, you see it,

0:35:46.160 --> 0:35:48.200
<v Speaker 1>you go, I know exactly what I'm going to do.

0:35:49.440 --> 0:35:52.839
<v Speaker 1>I know exactly how to cover this, I know exactly

0:35:52.880 --> 0:35:56.960
<v Speaker 1>how I'm going to interact with her, and they just

0:35:57.440 --> 0:35:59.759
<v Speaker 1>and they don't put it in a scene description, and

0:35:59.800 --> 0:36:06.120
<v Speaker 1>it's not in the dialogue, but it is. They write behavior.

0:36:06.280 --> 0:36:11.520
<v Speaker 1>They write dialogue that elicits behavior. They draw out behavior

0:36:11.640 --> 0:36:16.040
<v Speaker 1>in you, and I've never seen writing like it. It's

0:36:16.680 --> 0:36:18.840
<v Speaker 1>wonderful to do and I miss it terribly.

0:36:19.239 --> 0:36:20.600
<v Speaker 4>It's a lot of words too.

0:36:22.040 --> 0:36:26.640
<v Speaker 1>But they're but they're perfectly placed words they're perfect words.

0:36:27.320 --> 0:36:30.360
<v Speaker 1>There's a lot of them, but they're still in a

0:36:30.400 --> 0:36:35.000
<v Speaker 1>sense economical in that every word is effective, every word

0:36:35.080 --> 0:36:40.160
<v Speaker 1>has a purpose. It's not too much. It's like I'm

0:36:40.200 --> 0:36:43.040
<v Speaker 1>going to take you over here, but we're going to

0:36:43.120 --> 0:36:45.800
<v Speaker 1>come back here because you don't you're not going to

0:36:45.840 --> 0:36:48.279
<v Speaker 1>see this comment. I don't know. I love that.

0:36:48.480 --> 0:36:50.359
<v Speaker 3>I think of any examples of shows that I mean,

0:36:50.360 --> 0:36:52.759
<v Speaker 3>because to me, it seems like Gilmore Girl stands out

0:36:52.800 --> 0:36:59.759
<v Speaker 3>as a a very particular style, which is probably what

0:36:59.800 --> 0:37:03.200
<v Speaker 3>made it so popular, because it was, you know, one

0:37:03.200 --> 0:37:05.400
<v Speaker 3>of a kind in the way that the pacing was

0:37:06.200 --> 0:37:10.360
<v Speaker 3>and the storytelling and all the connections and the characters.

0:37:10.920 --> 0:37:14.239
<v Speaker 3>You know, are there anything that's kind of was it

0:37:14.280 --> 0:37:16.040
<v Speaker 3>modeled after something or just sort of a.

0:37:16.160 --> 0:37:20.080
<v Speaker 1>Yeah, I mean it's it's very sophisticated film writing from

0:37:20.320 --> 0:37:27.080
<v Speaker 1>the thirties and forties. Yeah, those those fast paced comedies,

0:37:27.320 --> 0:37:32.560
<v Speaker 1>and but it's just so smart. You don't find writing

0:37:32.680 --> 0:37:35.520
<v Speaker 1>like this in television. You just don't find it. It's

0:37:35.640 --> 0:37:38.480
<v Speaker 1>just I don't know that it's there's ever been writing

0:37:38.600 --> 0:37:39.719
<v Speaker 1>like this on television.

0:37:40.239 --> 0:37:42.239
<v Speaker 3>Well, maybe the reason for the pacing is because of

0:37:42.280 --> 0:37:45.480
<v Speaker 3>how much they how much story they were telling. Is like, well,

0:37:45.480 --> 0:37:47.440
<v Speaker 3>we only have forty minutes to do this, so that's

0:37:47.480 --> 0:37:49.839
<v Speaker 3>why we've got to keep it based up to get

0:37:49.880 --> 0:37:52.480
<v Speaker 3>this story in you know, all these good character points

0:37:52.520 --> 0:37:53.359
<v Speaker 3>and everything like that.

0:37:53.840 --> 0:37:55.400
<v Speaker 4>I also know that it's in a style.

0:37:55.480 --> 0:37:58.520
<v Speaker 1>But you know you're you're a guitar player, right, So

0:37:59.200 --> 0:38:03.239
<v Speaker 1>you go to a figure out Peter Frampton solo, or

0:38:03.280 --> 0:38:05.319
<v Speaker 1>you go to a Clapton solo, you go to a

0:38:05.360 --> 0:38:09.440
<v Speaker 1>Hendrick solo, and you just go, wow, how did they

0:38:09.520 --> 0:38:09.960
<v Speaker 1>do this?

0:38:10.719 --> 0:38:11.319
<v Speaker 4>Yeah?

0:38:11.400 --> 0:38:16.359
<v Speaker 1>Right, I mean there are levels. So this is what

0:38:16.400 --> 0:38:19.920
<v Speaker 1>we're dealing with here with Amy and Dan. It's just

0:38:20.239 --> 0:38:26.680
<v Speaker 1>remarkable the writing. And it's no accident that you know

0:38:26.800 --> 0:38:32.040
<v Speaker 1>this show is so popular and that you know ten

0:38:32.120 --> 0:38:35.800
<v Speaker 1>year old girls are falling in love with it because

0:38:37.120 --> 0:38:42.000
<v Speaker 1>Amy and Dan treat an audience like they're intelligent. They

0:38:42.000 --> 0:38:47.200
<v Speaker 1>don't ever write down to them. They know that the

0:38:47.280 --> 0:38:51.400
<v Speaker 1>audience will get it. And that's what drives me crazy

0:38:51.400 --> 0:38:54.759
<v Speaker 1>about most television. They're always dumbing everything down. These two

0:38:54.760 --> 0:38:57.960
<v Speaker 1>don't dumb anything now you know, they go the other way.

0:39:00.080 --> 0:39:04.000
<v Speaker 4>Oh man, well it made it an evergreen, that's for sure. Yeah.

0:39:04.000 --> 0:39:04.640
<v Speaker 4>That's hard to do.

0:39:04.800 --> 0:39:09.040
<v Speaker 3>That's hard to do, especially so many years later and

0:39:09.040 --> 0:39:13.160
<v Speaker 3>people still finding it and it comes up in conversation often.

0:39:15.239 --> 0:39:19.280
<v Speaker 1>All right, now we're in Rory's room, h and Lane

0:39:19.280 --> 0:39:23.200
<v Speaker 1>tells her that Henry guy hasn't called, and he actually

0:39:23.800 --> 0:39:27.040
<v Speaker 1>did call, and fine, what was this transition? He did

0:39:27.040 --> 0:39:28.480
<v Speaker 1>call eight and a half times.

0:39:29.000 --> 0:39:33.200
<v Speaker 5>Yeah, no, he left a message and she listened back

0:39:33.239 --> 0:39:34.160
<v Speaker 5>to it eight times.

0:39:34.000 --> 0:39:37.520
<v Speaker 1>Oh, eight and a half times. Okay, all right, so

0:39:37.640 --> 0:39:41.280
<v Speaker 1>he finally called or she just didn't get the message.

0:39:41.400 --> 0:39:43.720
<v Speaker 5>She just didn't pick up, and he left a message

0:39:43.719 --> 0:39:44.960
<v Speaker 5>and she just kept listening to it.

0:39:45.000 --> 0:39:47.400
<v Speaker 6>So he did call, he just didn't answer.

0:39:47.840 --> 0:39:50.959
<v Speaker 1>So she's admitting this now to Rory. Yes, so why

0:39:51.000 --> 0:39:52.520
<v Speaker 1>was she saying that he never called?

0:39:52.880 --> 0:39:55.919
<v Speaker 6>No idea. I think it's just a teenager being a teenager.

0:39:57.160 --> 0:40:00.200
<v Speaker 1>All right, we won't dwell, let's not do well, okay,

0:40:01.080 --> 0:40:03.480
<v Speaker 1>I ain't now at the movie theater, this was great,

0:40:03.680 --> 0:40:06.960
<v Speaker 1>This is so good, this is see this is something

0:40:07.000 --> 0:40:10.600
<v Speaker 1>you just don't see. And I don't know where they

0:40:10.640 --> 0:40:14.080
<v Speaker 1>came up with this line. But when she said you

0:40:14.120 --> 0:40:18.960
<v Speaker 1>want to take that that particular medication to Kirk the

0:40:19.040 --> 0:40:21.799
<v Speaker 1>cinement'out a found about of it? What did she say?

0:40:21.960 --> 0:40:24.920
<v Speaker 1>Remember this scene Kirk sits behind him, and he's telling

0:40:24.960 --> 0:40:27.200
<v Speaker 1>them to be quiet even though the lights.

0:40:27.000 --> 0:40:30.680
<v Speaker 5>Are still on, right, yeah, he wanted quiet before the

0:40:30.719 --> 0:40:31.280
<v Speaker 5>movie started.

0:40:31.360 --> 0:40:33.520
<v Speaker 1>Then he said he was feeling a little under the

0:40:33.520 --> 0:40:36.200
<v Speaker 1>weather or something like that, or he was sniffing or

0:40:36.440 --> 0:40:39.560
<v Speaker 1>some sniffles, and Lorelai turns around said, you want to

0:40:39.600 --> 0:40:43.200
<v Speaker 1>take that cine fin and minus obada, you don't want

0:40:43.200 --> 0:40:45.200
<v Speaker 1>to be driving a fort left. You get a bet

0:40:45.200 --> 0:40:47.680
<v Speaker 1>your drowsy, And they're just you know, it's like, where

0:40:47.680 --> 0:40:49.920
<v Speaker 1>do they get this stuff? Where do they get this?

0:40:50.480 --> 0:40:51.600
<v Speaker 1>I mean, that is just like.

0:40:51.640 --> 0:40:53.319
<v Speaker 4>They're having fun with it, you know, in that.

0:40:53.239 --> 0:40:57.000
<v Speaker 1>Way right right, It's like two people having a good

0:40:57.080 --> 0:41:00.840
<v Speaker 1>time and enjoying their lives at the expense of poor Kirk,

0:41:00.880 --> 0:41:03.040
<v Speaker 1>who has no idea what they're talking about. And it's

0:41:03.080 --> 0:41:06.000
<v Speaker 1>not like it's hostile. It's just like a fun little

0:41:06.040 --> 0:41:10.319
<v Speaker 1>thing they throw. And then they see Rachel and Luke

0:41:10.360 --> 0:41:11.360
<v Speaker 1>come in, and.

0:41:11.239 --> 0:41:13.319
<v Speaker 6>I was kind of surprised by that, were you.

0:41:13.680 --> 0:41:15.799
<v Speaker 5>I was surprised that like his arm was around her

0:41:15.840 --> 0:41:20.120
<v Speaker 5>and they were like suddenly dating. It seemed like after

0:41:20.160 --> 0:41:24.120
<v Speaker 5>the conversation in the stock room, Oh that's to throw

0:41:24.200 --> 0:41:27.160
<v Speaker 5>us off, No, I know, but like I don't know

0:41:27.920 --> 0:41:30.120
<v Speaker 5>I've watched it so many times. I'm still watching it

0:41:30.120 --> 0:41:31.600
<v Speaker 5>like it's the first I'm like, oh, it was shocked,

0:41:31.640 --> 0:41:33.600
<v Speaker 5>like his arm was around her.

0:41:34.560 --> 0:41:35.319
<v Speaker 1>You know, they made up.

0:41:36.239 --> 0:41:39.000
<v Speaker 3>Every time I see the Luke outfits, it's so funny.

0:41:39.040 --> 0:41:41.040
<v Speaker 3>I mean, I'm sure you had people dressing up as

0:41:41.040 --> 0:41:41.840
<v Speaker 3>you for Halloween.

0:41:42.920 --> 0:41:45.400
<v Speaker 1>Uh yeah, like legions every Helloween.

0:41:45.480 --> 0:41:47.359
<v Speaker 3>Yeah, I mean it makes sense. Plus, it's an easy

0:41:47.400 --> 0:41:50.600
<v Speaker 3>costume to pull off. You know, people can put it

0:41:50.680 --> 0:41:52.160
<v Speaker 3>together with something to have in their house.

0:41:52.440 --> 0:41:56.120
<v Speaker 1>Everybody's got a flannel, everybody's got a baseball, you know. Hard.

0:41:56.560 --> 0:42:00.200
<v Speaker 5>We did an event at the Warner Brothers lot and

0:42:00.239 --> 0:42:02.479
<v Speaker 5>it was a Gilmore Girl's event and Scott was there

0:42:02.600 --> 0:42:07.080
<v Speaker 5>and every girl dressed their boyfriend as Luke. They were

0:42:07.120 --> 0:42:09.760
<v Speaker 5>just like hundreds of Luke's walking around.

0:42:13.160 --> 0:42:15.000
<v Speaker 3>I saw those posts. Was that at the ranch or

0:42:15.080 --> 0:42:16.839
<v Speaker 3>was it at the lot? That wasn't at the ranch?

0:42:16.840 --> 0:42:17.960
<v Speaker 3>You guys filmed the lot a lot.

0:42:18.520 --> 0:42:19.839
<v Speaker 1>Yeah, we're at the back lot. Yeah.

0:42:19.920 --> 0:42:22.239
<v Speaker 4>Yeah, I need some of that coffee by the way.

0:42:22.320 --> 0:42:28.040
<v Speaker 1>Okay, yeah, yeah. They The only way to get it

0:42:28.080 --> 0:42:30.320
<v Speaker 1>is go to the Warner Brothers website.

0:42:30.880 --> 0:42:32.520
<v Speaker 4>I was gonna say on the tour, right, you can

0:42:32.560 --> 0:42:33.239
<v Speaker 4>get it right.

0:42:33.440 --> 0:42:35.319
<v Speaker 1>The tour website. You can get the coffee, can get

0:42:35.320 --> 0:42:39.279
<v Speaker 1>all fine. We have we keep increasing excuse so there's

0:42:39.280 --> 0:42:43.040
<v Speaker 1>probably more there. Now you can get hot chocolate too.

0:42:42.760 --> 0:42:47.279
<v Speaker 1>Oh yeah, more stuff coming. Very exciting, all right. So

0:42:47.320 --> 0:42:51.680
<v Speaker 1>at the movies, uh, Laurelin and and Rory gossip about

0:42:51.680 --> 0:42:57.319
<v Speaker 1>Emily's phone call that Emily wants to be Rory's pal.

0:42:57.440 --> 0:42:59.759
<v Speaker 1>Now Kirk sits behind him, tells him be quiet. Luke

0:43:00.160 --> 0:43:05.160
<v Speaker 1>upholding Rachel's hand. We've discussed this. Rory agrees with Laura

0:43:05.200 --> 0:43:09.600
<v Speaker 1>I that she did the right thing by butting into

0:43:09.760 --> 0:43:24.719
<v Speaker 1>the Luke and Rachel's relationship, trying to influence it. All right,

0:43:24.800 --> 0:43:29.279
<v Speaker 1>So now we're back at Friday night dinner with one

0:43:29.320 --> 0:43:33.160
<v Speaker 1>of the funniest entrances I think I've seen so far

0:43:34.040 --> 0:43:36.520
<v Speaker 1>on a Friday night dinner. This might be the ultimate

0:43:37.040 --> 0:43:42.399
<v Speaker 1>entrance where Laurel I opens up all chipper and happy

0:43:45.200 --> 0:43:48.760
<v Speaker 1>and leans in and says, Rory, check the rubbing alcohol.

0:43:54.760 --> 0:43:57.200
<v Speaker 1>And then she invites Rory and takes off with Laurel

0:43:57.239 --> 0:43:59.600
<v Speaker 1>I's just and they're like, okay, I'm fine, yeah, okay,

0:43:59.680 --> 0:44:03.239
<v Speaker 1>I would just commit right, just brilliant stuff. I mean,

0:44:03.880 --> 0:44:06.040
<v Speaker 1>it's just brilliant stuff. You know what it is. This

0:44:06.200 --> 0:44:11.319
<v Speaker 1>is like theater. It's what you This is theater. They're

0:44:11.360 --> 0:44:14.359
<v Speaker 1>giving her performance like their own stage on Broadway, and

0:44:14.440 --> 0:44:16.919
<v Speaker 1>we get to see it. And I thought Perry Lang

0:44:17.000 --> 0:44:23.680
<v Speaker 1>did a fantastic job directing this episode, really beautifully directed episode.

0:44:24.239 --> 0:44:27.480
<v Speaker 1>He just felt the impact of everything throughout the entire piece.

0:44:28.800 --> 0:44:34.600
<v Speaker 1>And then we say that Emily has made Rory her

0:44:34.640 --> 0:44:39.880
<v Speaker 1>own room so she has a place to go. And boy,

0:44:40.280 --> 0:44:44.160
<v Speaker 1>I tell you it's it's a win win for Emily

0:44:44.280 --> 0:44:47.600
<v Speaker 1>because she gets the benefit of pleasing her granddaughter, but

0:44:47.719 --> 0:44:50.800
<v Speaker 1>she also gets to stick that dagger into Laurel li

0:44:50.800 --> 0:44:53.800
<v Speaker 1>ion twist it at the same time. Right, what'd you

0:44:53.840 --> 0:44:55.799
<v Speaker 1>guys feel about that? I thought it was a little

0:44:55.800 --> 0:44:58.680
<v Speaker 1>bit cruel that she didn't prep Laurel I on this.

0:44:59.200 --> 0:45:00.600
<v Speaker 6>Yeah, she can her heads up.

0:45:00.719 --> 0:45:03.320
<v Speaker 4>That probably wouldn't fly in most situations. You know, I

0:45:03.360 --> 0:45:06.920
<v Speaker 4>think everybody would be pretty ticked off about that. I mean,

0:45:06.960 --> 0:45:07.479
<v Speaker 4>it is weird.

0:45:07.520 --> 0:45:10.320
<v Speaker 3>I guess she just she does seem to like to

0:45:10.360 --> 0:45:11.719
<v Speaker 3>go after her, you.

0:45:11.680 --> 0:45:12.520
<v Speaker 4>Know, set her up.

0:45:12.560 --> 0:45:16.480
<v Speaker 1>She set her up. And I thought Laura I handled

0:45:16.520 --> 0:45:19.239
<v Speaker 1>it beautifully like she wasn't trying to start a fight.

0:45:19.320 --> 0:45:23.239
<v Speaker 1>But mom, you know, hey, you know what's going on here? Okay, look,

0:45:23.280 --> 0:45:24.920
<v Speaker 1>I'm sorry, No, I don't have a problem with it,

0:45:24.960 --> 0:45:26.880
<v Speaker 1>but it's like, you know, you could have let me

0:45:26.920 --> 0:45:29.600
<v Speaker 1>know and then Emily attacks her.

0:45:29.880 --> 0:45:33.080
<v Speaker 5>Yeah, it definitely came up sudden. Like even Laura I

0:45:33.160 --> 0:45:35.200
<v Speaker 5>was like, when do we start? When did we start fighting?

0:45:36.640 --> 0:45:38.759
<v Speaker 5>She was waiting for that opportunity to bring it up.

0:45:39.040 --> 0:45:40.920
<v Speaker 1>I mean, how horrible that she has to stand there

0:45:40.920 --> 0:45:44.680
<v Speaker 1>and absorb that and again more trauma. I don't know

0:45:44.719 --> 0:45:47.239
<v Speaker 1>how honestly, at this point, Laura I can take it.

0:45:48.040 --> 0:45:50.160
<v Speaker 1>I don't know why she even goes back there on.

0:45:50.080 --> 0:45:52.319
<v Speaker 6>Friday nights early on season one.

0:45:52.360 --> 0:45:55.359
<v Speaker 1>Right, it's like, wow, you have to deal with that

0:45:55.640 --> 0:45:59.200
<v Speaker 1>maniac every Friday night, and you know she's looking for

0:45:59.200 --> 0:46:04.000
<v Speaker 1>an excuse to tear into her and yeah, at this point,

0:46:04.000 --> 0:46:09.680
<v Speaker 1>I'm like, don't go back just there's no reason for it.

0:46:10.120 --> 0:46:13.879
<v Speaker 4>How far away did they live, by the way, like twenty.

0:46:13.560 --> 0:46:19.760
<v Speaker 1>Minutes, twenty minutes, twenty thirty minutes, yeah, twenty thirty minutes.

0:46:20.800 --> 0:46:22.760
<v Speaker 1>All right, So now there's this long walk and talk

0:46:23.239 --> 0:46:26.920
<v Speaker 1>night Time stars Hollow and mother and daughter are having

0:46:26.960 --> 0:46:32.440
<v Speaker 1>their conversation about the evening's events. The bloodshed the humor.

0:46:34.760 --> 0:46:37.600
<v Speaker 1>Laura I says she never opened up to Emily about

0:46:37.719 --> 0:46:41.680
<v Speaker 1>what she has been through because of you know, pride, right,

0:46:43.920 --> 0:46:47.120
<v Speaker 1>And then they show up to the diner for happy

0:46:47.200 --> 0:46:53.320
<v Speaker 1>Pie and they see Rachel. She thanks LOURAI for speaking

0:46:53.360 --> 0:46:55.920
<v Speaker 1>to the loop. Things are working out. She's got her

0:46:55.920 --> 0:46:59.360
<v Speaker 1>own drawer now. Luke gave her a set of keys.

0:47:00.880 --> 0:47:05.560
<v Speaker 1>It's a it's it's a big scene. And Rachel says

0:47:05.600 --> 0:47:08.640
<v Speaker 1>she's gonna stay for a while. And then they bring

0:47:08.680 --> 0:47:11.880
<v Speaker 1>the coffee and the coffee doesn't taste the same anymore.

0:47:12.880 --> 0:47:17.240
<v Speaker 1>Isn't that a beautiful device? M hmm, isn't that? Isn't

0:47:17.239 --> 0:47:21.480
<v Speaker 1>that just the great writing? And the coffee doesn't taste

0:47:21.960 --> 0:47:24.680
<v Speaker 1>as good anymore. It tastes different.

0:47:25.480 --> 0:47:29.480
<v Speaker 4>To find a new cafe, mmmm, diner.

0:47:30.520 --> 0:47:35.560
<v Speaker 1>So there's trouble in Denmark. Let me tell you all right,

0:47:35.600 --> 0:47:39.040
<v Speaker 1>Laurel I feel she can never fully open up to Emily.

0:47:40.000 --> 0:47:44.319
<v Speaker 1>Obviously Rachel decided to stay complicates the whole thing. I

0:47:44.360 --> 0:47:47.239
<v Speaker 1>see it, you know what, I see more from Laura

0:47:47.360 --> 0:47:50.239
<v Speaker 1>I in this instead of thinking about herself and her

0:47:50.280 --> 0:47:54.560
<v Speaker 1>own emotions getting scrambled because of the you know this

0:47:54.560 --> 0:47:58.640
<v Speaker 1>this quote unquote rivalry, it's is this good for Luke.

0:47:59.520 --> 0:48:02.120
<v Speaker 1>I think she's more concerned about him as a friend

0:48:03.120 --> 0:48:05.160
<v Speaker 1>at this point. You know, I think, of course there's

0:48:05.200 --> 0:48:09.480
<v Speaker 1>maybe some feelings there, but it's like this girl, right,

0:48:09.680 --> 0:48:12.319
<v Speaker 1>this Rachel is Rachel the right for him. So I

0:48:12.360 --> 0:48:16.360
<v Speaker 1>think maybe she's looking through a lens of friendship to

0:48:16.400 --> 0:48:18.799
<v Speaker 1>see if this is the right situation for him because

0:48:18.880 --> 0:48:22.160
<v Speaker 1>her friend keeps getting hurt by this woman and she

0:48:22.200 --> 0:48:25.080
<v Speaker 1>doesn't like that, you know, So as a friend, I

0:48:25.080 --> 0:48:29.360
<v Speaker 1>think she's she's something's off here. The coffee's wrong, she's wrong,

0:48:29.640 --> 0:48:33.080
<v Speaker 1>that's wrong. That's my friend, and I may have feelings

0:48:33.080 --> 0:48:35.000
<v Speaker 1>for him, but he's my friend first and foremost, and

0:48:35.000 --> 0:48:36.520
<v Speaker 1>I don't want to see him get hurt. And that's

0:48:37.239 --> 0:48:39.080
<v Speaker 1>how she played it, and I thought it was really

0:48:39.320 --> 0:48:41.400
<v Speaker 1>quite touching. It was really quite.

0:48:41.320 --> 0:48:45.239
<v Speaker 3>Touch aggressive balance too, you know, yeah, to be in

0:48:45.280 --> 0:48:49.080
<v Speaker 3>that situation, I mean, I'm sure many of us have

0:48:49.120 --> 0:48:51.759
<v Speaker 3>had situations like that where you like somebody but this

0:48:51.960 --> 0:48:54.200
<v Speaker 3>is not going somewhere, But then you really and then

0:48:54.280 --> 0:48:56.640
<v Speaker 3>they start dating someone and you're like, well, am I

0:48:56.800 --> 0:48:57.439
<v Speaker 3>telling them?

0:48:58.080 --> 0:48:59.600
<v Speaker 4>Am I feeling off because of that?

0:48:59.719 --> 0:49:02.040
<v Speaker 3>Or my feeling off because I just don't think that

0:49:03.040 --> 0:49:04.920
<v Speaker 3>you know that person is right for them.

0:49:05.160 --> 0:49:09.160
<v Speaker 1>Right. Well, let's talk about what's really really important here. Okay,

0:49:09.320 --> 0:49:12.560
<v Speaker 1>what's really important is that Kendall, you and Big Time

0:49:12.640 --> 0:49:16.439
<v Speaker 1>Rush are heading back out on tour. That's right, Oh

0:49:16.480 --> 0:49:17.960
<v Speaker 1>my god, tell us about that.

0:49:18.600 --> 0:49:21.160
<v Speaker 4>I guess we're gonna watch so much Gilmore Girls.

0:49:20.880 --> 0:49:25.960
<v Speaker 1>On the back. Well, I would hope.

0:49:26.000 --> 0:49:27.480
<v Speaker 4>So I'm actually gonna see.

0:49:27.480 --> 0:49:29.640
<v Speaker 3>I'm gonna see if I just start playing it like

0:49:30.400 --> 0:49:32.399
<v Speaker 3>Logan and I are sharing a bus on this tour,

0:49:32.480 --> 0:49:34.640
<v Speaker 3>so I'm going to see if he I'm just gonna

0:49:34.640 --> 0:49:35.239
<v Speaker 3>start leaving it.

0:49:35.160 --> 0:49:38.719
<v Speaker 4>On the TV and the phase attention on it, you.

0:49:38.640 --> 0:49:40.239
<v Speaker 3>Know, if I catch him sitting down with a nice

0:49:40.239 --> 0:49:43.839
<v Speaker 3>glass of wine watching and being like, do you see

0:49:43.880 --> 0:49:45.520
<v Speaker 3>what's going on here? What? So?

0:49:45.640 --> 0:49:47.920
<v Speaker 1>When's the tour began? Where are you guys going? How

0:49:47.920 --> 0:49:49.000
<v Speaker 1>long is it going to go? For?

0:49:49.360 --> 0:49:57.000
<v Speaker 4>Tell us about the tour starts July uh ninth, and

0:49:57.040 --> 0:49:58.800
<v Speaker 4>then goes until.

0:49:59.000 --> 0:50:01.120
<v Speaker 1>And where, where and where are you going to open

0:50:01.120 --> 0:50:01.479
<v Speaker 1>the tour?

0:50:02.120 --> 0:50:06.120
<v Speaker 3>We're going to open in, of all places, Birmingham, Alabama.

0:50:06.239 --> 0:50:09.400
<v Speaker 4>Nice number one.

0:50:08.800 --> 0:50:10.680
<v Speaker 1>I've been to Birmingham. I like Birmingham.

0:50:10.880 --> 0:50:11.799
<v Speaker 4>Yeah, it's a great town.

0:50:11.840 --> 0:50:16.160
<v Speaker 3>And then second in Nashville and then we cruise all

0:50:16.200 --> 0:50:18.520
<v Speaker 3>the way through the country.

0:50:18.520 --> 0:50:23.640
<v Speaker 4>We have thirty eight shows in the US. Oh my goodness, stick,

0:50:23.800 --> 0:50:24.920
<v Speaker 4>we'll be all over the place.

0:50:25.560 --> 0:50:27.319
<v Speaker 1>Well, we wish you a lot of luck on that.

0:50:28.280 --> 0:50:30.879
<v Speaker 1>It was great talking to you, great catching up, and

0:50:31.000 --> 0:50:33.600
<v Speaker 1>good luck with the tour and good luck with watching

0:50:34.400 --> 0:50:39.959
<v Speaker 1>the next what six seasons of Gilmore girls with your

0:50:40.080 --> 0:50:46.200
<v Speaker 1>with your sharpa yeah, your lovely wife. Much appreciate the time,

0:50:47.680 --> 0:50:52.080
<v Speaker 1>Ken Kendall Schmidt, Big Time Rush coming to you on tour.

0:50:52.280 --> 0:50:56.239
<v Speaker 1>Go check them out. You'll have a good time. Terrorist suit.

0:50:56.320 --> 0:50:58.920
<v Speaker 1>Thanks so much. Great seeing you. It's been too long.

0:50:59.520 --> 0:51:02.080
<v Speaker 6>I know I never jump on, well not I never do.

0:51:02.200 --> 0:51:04.160
<v Speaker 5>We've all we all switched, but I was like, Kendall's

0:51:04.160 --> 0:51:05.239
<v Speaker 5>coming on, so I have to jump on.

0:51:05.440 --> 0:51:07.000
<v Speaker 1>Yeah, yeah, you didn't come up for me, You came

0:51:07.040 --> 0:51:14.400
<v Speaker 1>in for Candle. Let's fix all right, everybody, Thanks for downloading.

0:51:14.480 --> 0:51:19.000
<v Speaker 1>Best fans on the planet Earth, and remember where you lead,

0:51:19.080 --> 0:51:50.680
<v Speaker 1>we will follow. Stay safe everyone, Hey, everybody, and don't

0:51:50.760 --> 0:51:54.239
<v Speaker 1>forget Follow us on Instagram at I Am all In

0:51:54.480 --> 0:52:04.400
<v Speaker 1>podcast and email us at Gilmore at iHeartRadio dot com.