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Speaker 1: I am all in.

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Speaker 2: How you?

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Speaker 3: I am all in with Scott Patterson an iHeartRadio podcast.

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

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Speaker 1: of Love Productions. iHeart Radio, iHeart Medio, I heart Podcasts.

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Speaker 1: A season gosh, it's season six, episode eleven, The Perfect Dress.

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Speaker 1: I am joined by my bedroom crew.

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Speaker 3: I know you have to explain what's happening right now.

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Speaker 1: So this is like, okay, So I'm in Columbus, Ohio,

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Speaker 1: because I'm a galaxy con right, and it's eight am,

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Speaker 1: and it's five am California time, where Amy is right,

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Speaker 1: she's in California. Same thing, Susanna, she's in cal She's

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Speaker 1: a Calie girl.

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Speaker 3: Four fifty five? Do you set your alarm for? Sz an?

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Speaker 4: I actually set mine for four thirty because I had

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Speaker 4: to put some rescure on.

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Speaker 3: Oh my god. First of all, you look so normal

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Speaker 3: and good. You have res I set my alarm for

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Speaker 3: four fifty five. At five oh one, Scott called me

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Speaker 3: and he's like, wake up, like he's al cheerio, wake up.

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Speaker 3: We're on And I'm.

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Speaker 1: Like, yeah, man, I get to I went through security

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Speaker 1: and customs in Toronto to get to my connecting flight

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Speaker 1: which was domestic coming to Columbus, which is on the

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Speaker 1: very other side of the airport. I mean it's as

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Speaker 1: far on the other side of the airport as you

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Speaker 1: can possibly get. Ran run around, had carts, had had

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Speaker 1: all kinds of staff, airport staff helping. It was an

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Speaker 1: amazing It was like mission impossible, ghost protocol or something, and.

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Speaker 3: Your life is so tough. We finally a bit seven fifty.

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Speaker 1: Who had you get up at seven fifty yesterday? No?

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Speaker 2: Yesterday? I what time did you like three am? Ooh

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Speaker 2: I don't like that early flight out of Halifax. Oh yeah, no, no,

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Speaker 2: nobody is who is?

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Speaker 1: Who is? Except for Johnson? Somebody else does twenty nine

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Speaker 1: thousand rip curls at this hour.

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Speaker 3: So we had jingle Ball last night. So for everyone

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Speaker 3: listening on Monday, this is Saturday. So we just this

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Speaker 3: is two days ago. So there's a reporter, this adorable

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Speaker 3: woman named Colleena, and she works at Channel nine in

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Speaker 3: Los Angeles. I asked her what time do you go

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Speaker 3: to the office, because she does the morning news two

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Speaker 3: thirty in the morning every day, My god, every day.

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Speaker 3: I was like, how do you even do that? Like,

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Speaker 3: what time do you go to bed? If you wake

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Speaker 3: up at two thirty every day six pm maybe seven

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Speaker 3: twelve one to six pm.

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Speaker 1: At least six pm, Yeah, six pm, you could do it.

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Speaker 1: You could go to about a six pm.

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Speaker 3: Yeah, oh my gosh, Well it was worth it to

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Speaker 3: wake up this hour because of the Perfect Dress.

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Speaker 1: Yeah, I'm in bed, Amy's in bed where she is.

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Speaker 3: Suzanne looks totally normal because of her mascara.

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Speaker 4: Yeah, I had to put mascara, and also my husband's

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Speaker 4: in bed, so I couldn't be in bed. Also, so

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Speaker 4: I'm downstairs in the guest room and had to kick

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Speaker 4: the cat out. So she's probably gonna join us at

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Speaker 4: some point.

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Speaker 1: All right, let's rock and roll gang.

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Speaker 3: So this episode, Oh wait, Susanne, you have to do

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Speaker 3: the synopsis.

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Speaker 1: We're all discombobulated here me.

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Speaker 3: Yeah, everybody's gonna want to stay tuned because you don't

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Speaker 3: know what's going to happen this episode. Because we're all like,

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Speaker 3: it's in the middle of the night.

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Speaker 4: We're probably gonna say some really stupid things. All right.

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Speaker 4: This is a season six episode eleven, The Perfect Dress.

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Speaker 4: It aired on January tenth, two thousand and six. Lorlai

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Speaker 4: finds the Perfect Dress and it sets everything in motion

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Speaker 4: for her. In Luke's wedding day, Rory is back at Yale,

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Speaker 4: but not everyone is happy about her new apartment with

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Speaker 4: Paris and Doyle. Plus, Logan makes a big confession to

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Speaker 4: Rory which makes her feel a little crazy, and Luke

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Speaker 4: confronts Anna Nardini about April.

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Speaker 3: Oh my gosh, a lot in this.

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Speaker 2: Yeah, it's a busy episode.

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Speaker 3: So I will begin, we will go in order. But

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Speaker 3: it is the perfect dress.

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Speaker 4: What you don't like it? I liked the dress that

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Speaker 4: she held up back in season five. I guess it

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Speaker 4: was when Emily was trying on dresses for the vow

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Speaker 4: renewal and loss. Okay, okay, there was a dress she

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Speaker 4: held up in that episode that I thought was perfect,

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Speaker 4: and I think.

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Speaker 3: I actually thought she looked stunning. Well, Scott, don't tell

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Speaker 3: us what you thought until we get to that scene,

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Speaker 3: but I thought it was pretty amazing. So the episode

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Speaker 3: starts pretty funny, with Kirk literally in the diner getting

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Speaker 3: up and getting his own coffee, and Luke saying, what

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Speaker 3: in the hell do you think you're doing? And I

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Speaker 3: don't know, that made me laugh, Like that little bit

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Speaker 3: just sort of made me laugh.

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Speaker 4: I have read in articles somewhere that that was kind

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Speaker 4: of the inspiration for Amy Sherman Palladino, as she and

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Speaker 4: Dan were on a trip back east somewhere and they

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Speaker 4: were in this little diner and it was that kind

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Speaker 4: of a place where the customers would just get up

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Speaker 4: and serve themselves their own coffee refills, and that was

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Speaker 4: sort of the impetus behind, you know, this whole small

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Speaker 4: town stars hollow thing. So I thought it was a

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Speaker 4: cute little throwback.

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Speaker 1: What did you think of yourself, Scott, I thought I

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Speaker 1: quitted myself well as a diner runner. I'm very proud

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Speaker 1: of that betrayal. I find it odd that I didn't

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Speaker 1: rip him a new one the way I did Suki

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Speaker 1: when she went behind my counter.

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Speaker 3: I know, but you did rip him, but maybe a little.

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Speaker 1: Less, a little less, Luke. Huh.

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Speaker 4: It was kind of a kindler jettler.

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Speaker 1: Luke, Well, I think he's happier, he's getting married. Yeah,

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Speaker 1: it's like, let it.

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Speaker 3: Go, bro, and then they have their moment. Oh, only

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Speaker 3: people you're sleeping with get to come behind the counter.

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Speaker 1: Basically, yeah, yeah, it up and I know you exactly.

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Speaker 3: So then we get the fun pay off, which at

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Speaker 3: first it took me a second with the girls coming

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Speaker 3: in and they had gone to Atlantic City to do

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Speaker 3: the birthday and that was pretty great because I'm glad

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Speaker 3: they did it.

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Speaker 1: And then yeah, leave it to them pick up every

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Speaker 1: kitchy little item and make every quippy, little clever comment

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Speaker 1: about the entire experience. It was just all of Palladino

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Speaker 1: opining about Atlantic City.

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Speaker 3: I laughed so hard. We couldn't see journey with the

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Speaker 3: fake for the fake lead singer, or in excess with

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Speaker 3: the fake lead singer settled on.

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Speaker 1: It's a great look line to Tony Danza said, I

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Speaker 1: don't know. I think I just kind of rolled my eyes.

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Speaker 1: I said something. I hope somebody can. I can put

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Speaker 1: that up because this is because I do have a

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Speaker 1: Tony dancer story. Actually, kid.

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Speaker 3: Talk to me about Tony Danza. I love me, I

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Speaker 3: love Tony Danza.

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Speaker 1: Well, I guess I won't tell this story.

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Speaker 3: Have you ever worked with Tony Danza?

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Speaker 1: No, I never worked. It's just a situation in a

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Speaker 1: nightclub that I kind of got into a thing.

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Speaker 3: You're not alone because people have been getting it too

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Speaker 3: in getting into Tony Danza.

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Speaker 1: But this was like, this was like nineteen eighty five,

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Speaker 1: and was it the height of Who's the Boss fame?

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Speaker 1: I think it was. Yeah, And there was a place

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Speaker 1: called Carlos and Charlie's on Sunset, which on I think

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Speaker 1: Wednesday nights or Tuesday nights, had a big thing going

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Speaker 1: on upstairs. It was the restaurant down below. But then

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Speaker 1: they had a club upstairs, so everybody went to that,

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Speaker 1: right and Yeah, got into a little sort of standoff. Oh,

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Speaker 1: a little standoff. I like it over twenty bucks iurisode

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Speaker 1: so oh and I got my money?

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Speaker 3: Oh good. I think I've said this before when Tony

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Speaker 3: Danza must have come up in pop culture, but I

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Speaker 3: can't help but think of the friends when Phoebe's like, oh,

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Speaker 3: I love the song, the Elton Johns song about Tony Danza,

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Speaker 3: and Rachel's like what She's like, hold me close, young

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Speaker 3: Tony dance.

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Speaker 1: But then he went on to do uh he was

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Speaker 1: he became He's a song and dance man.

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Speaker 3: Now yeah he's yeah, he's dancing his way.

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Speaker 1: Singing and dancing and telling jokes and the whole thing.

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Speaker 3: Dancing in New York.

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Speaker 1: He's just got to entertain.

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Speaker 3: We go from there to I'm pretty happy because I

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Speaker 3: was ready for Rory to go back to school, so

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Speaker 3: we sort of have the moment where she's we realize

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Speaker 3: she's heading back to school, and I think there's a

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Speaker 3: line that Laura Lai says, you're gonna live with Paris

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Speaker 3: in her apartment, so we get that, so you're gonna live

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Speaker 3: with Paris again again.

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Speaker 4: Did you guys notice in that scene where they were

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Speaker 4: outside the art that it was clearly filmed either on

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Speaker 4: two different days or in two different locations or something,

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Speaker 4: because Rory was in daylight, but Laurelai looking the other direction,

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Speaker 4: it looked like the fake daylight, like when they shoot

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Speaker 4: it at night and try to light it like it

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Speaker 4: was daytime. But sometimes you can tell it was really weird.

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Speaker 3: No, I don't have to.

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Speaker 4: I live for that where they're outside the house and

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Speaker 4: they're getting like Rory's putting her stuff in the car

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Speaker 4: and she's getting ready to drive back to Yale and

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Speaker 4: she's going to Paris's house and all that, and.

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Speaker 3: She got to see the school psychologist, and you could

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Speaker 3: tell I didn't realize Laurelai was so anti therapy. Obviously

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Speaker 3: she needs to go to the school psychologists, Like, are

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Speaker 3: you kidding me? She stole a yacht and dropped out

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Speaker 3: of school, like no one's been needing a school psychologist more.

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Speaker 4: Yeah, they all needed psychologist.

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Speaker 3: I wonder if they started too late in the day

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Speaker 3: and lost the light.

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Speaker 4: It could have been, but it was clearly two different

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Speaker 4: two different shots.

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Speaker 1: Well, yeah, they'll set up a big white silk screen

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Speaker 1: and then blast some light off it. M you know,

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Speaker 1: there's there are many techniques. I think that's one of them.

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Speaker 1: If yeah, it's getting into dusk and they'll do that

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Speaker 1: to brighten it up.

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Speaker 4: Yeah, because there was a lot of shadows behind lorele ied,

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Speaker 4: so it looked like it was at night.

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Speaker 1: Later.

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Speaker 3: Well, not to be a wardrobe litpicker, but I loved

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Speaker 3: Rory's coat, the red coat. I don't know what that's called,

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Speaker 3: like that pattern, but you know that pat, it's it's

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Speaker 3: almost like tweed or I was going to say, I

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Speaker 3: think it's tweed. Yeah, I commented to my husband on it.

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Speaker 3: I thought it was really cute me too. The coat

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Speaker 3: was amazing. They kind of distracted me too much with

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Speaker 3: the blue scarf. You know how they are with scarfs.

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Speaker 3: It's cold, so put a scarf on. That's how we

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Speaker 3: indicate it's winter and starts all out, but I love

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Speaker 3: the coat. I was like, oh, this coat is pretty iconic.

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Speaker 1: The reason they do that is because it's one hundred

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Speaker 1: and fifty degrees in Burbank and they got to play winter.

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Speaker 1: So it's like, can I just please just put a

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Speaker 1: little scarf on very same and then and the audience

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Speaker 1: will get it it's winter. But I don't want to

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Speaker 1: sweat all day. You know, it's brutally hot in bird

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Speaker 1: Bank when we're shooting that stuff. Brutally hot.

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Speaker 3: Yeah, I actually can't imagine having to shoot in a

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Speaker 3: coat in Burbank. Almost anytime, everybody.

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Speaker 1: In every town hall meeting, every extra everybody was sweating

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Speaker 1: our brains out in those town hall meetings.

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Speaker 3: Yeah, for people listening that aren't in California, it's December

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Speaker 3: right now. And if I was wearing even a wool

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Speaker 3: coat like that during the day, I would be the guy.

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Speaker 3: I'm wearing a T shirt during the day. Gets cold

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Speaker 3: at night, a little chillier at night. You could shoot

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Speaker 3: those scenes at night maybe without being miserable, but during

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Speaker 3: the day like this.

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Speaker 1: Is this is the sissies they turned you into and acting.

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Speaker 1: They treat you like royalty, and then they make you

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Speaker 1: dress up in winter clothes and gloves and hats and

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Speaker 1: jackets and thermals and go into a tent that's one

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Speaker 1: hundred and twenty degrees in there, and they're paying you

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Speaker 1: gobs of money and you still complain. But it's like,

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Speaker 1: you know, people do this all day every day and

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Speaker 1: they get scott wages and they don't complain. So yeah, yeah,

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Speaker 1: you know what I mean, It's like, just deal with it, bro.

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Speaker 3: We got a little glimpse of Paul Ink in the car.

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Speaker 3: I was cue you ever played Paul Anka. It is

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Speaker 3: a good dog.

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Speaker 4: Yeah, he's a good boy.

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Speaker 3: So then the next scene is Suki and Laurai at

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Speaker 3: the diner wedding planning, which we can talk about. It

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Speaker 3: threw me a little that Lane was so mad, but

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Speaker 3: I'm just assuming she's just got like remaining anger from Zach.

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Speaker 3: It's not that Lorali.

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Speaker 1: No.

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Speaker 4: I think she was just still in a funk because

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Speaker 4: they broke up and the band kind of disintegrated.

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Speaker 1: So every every time I'm in a scene, and it's

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Speaker 1: not often with Melissa, I always feel the same way.

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Speaker 1: I said, how did a guy like me end up

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Speaker 1: doing a scene like this with somebody like that in

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Speaker 1: a place like that, Yeah, because it's like I'm acting

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Speaker 1: with like one of the big movie stars of the world, right,

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Speaker 1: one of the most talented movie stars of our era.

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Speaker 1: Let's face it, she'll get a star on the Walk

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Speaker 1: of Fame, you know, she's been nominated for Oscars, you know,

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Speaker 1: the whole thing. It's like there, I am exchanging dialogue

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Speaker 1: with her, and it's just it's just really cool to see.

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Speaker 1: That's that's the thing that takes me out of the

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Speaker 1: show and I and I just you're a fan fanboy.

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Speaker 1: It's like, because I'm such a fan and it's like

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Speaker 1: I'm working with her, It's like I worked, but I

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Speaker 1: could tell my grandkids if I live that long, that

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Speaker 1: I worked with Melissa McCarthy on a semi regular basis.

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Speaker 3: A very regular basis. I saw an interview I think

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Speaker 3: she did the other day talking about how she was

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Speaker 3: almost thirty and it kind of wasn't happening for her

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Speaker 3: and this show was the career changer for her because

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Speaker 3: it was really the first regular job she'd ever had

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Speaker 3: and she didn't have to ask her parents. I think

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Speaker 3: she said for like twenty four dollars to pay in

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Speaker 3: the electric bill all the time. And yeah, I think

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Speaker 3: it probably is the reason we have the Melissa McCarthy

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Speaker 3: we have is because of this show, because I think

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Speaker 3: she sort of admits she would have gone into She

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Speaker 3: wouldn't have left the entertainment business, but she would have

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Speaker 3: gone into producing, which obviously she does do now. But

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Speaker 3: I don't think we ever would have maybe had the

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Speaker 3: Melissa McCarthy we know.

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Speaker 1: And it just makes me a man. It makes me

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Speaker 1: think of how many people like her we didn't get

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Speaker 1: to enjoy, that didn't that gave up that you know,

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Speaker 1: it was like or you know, their circumstances, their family

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Speaker 1: circumstances required them to pull out a Hollywood to come

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Speaker 1: home and take care of your mom, your brother, your dad,

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Speaker 1: your sister, you know, this kind of thing. And it's just,

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Speaker 1: you know, she's the one that was in the circumstances

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Speaker 1: and hung in there, you know, because at thirty and

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Speaker 1: if you started, you know, from the time you were

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Speaker 1: a little kid and you did your high school programs

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Speaker 1: and you did your college programs. It's just such a

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Speaker 1: feel good story. I love the Melissa McCarthy's story. It's

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Speaker 1: a it's a it's a it's an American feel good,

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Speaker 1: stick to it, stick to itiveness, determined, I'm going to

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Speaker 1: make it. I'm not going to quit. And if you're thirty,

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Speaker 1: you've given your your entire twenties to try and to

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Speaker 1: make it in this business and you haven't popped yet.

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Speaker 1: That's courageous to hang in, you know. I mean I

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Speaker 1: was twenty six or twenty seven in baseball and I

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Speaker 1: just screw it, man, I'm not going to waste any

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Speaker 1: more time with this. I gotta start something new because

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Speaker 1: I'm still young enough and have the energy and the

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Speaker 1: termination to relaunch something. You know.

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Speaker 3: How long was it for you from going from baseball

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Speaker 3: to actually like being a working.

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Speaker 1: Actor you mean Gilmore?

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Speaker 3: No, I mean like when did you have Seinfeldt where

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Speaker 3: you were starting to get things that were like, Okay,

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Speaker 3: I'm getting jobs.

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Speaker 1: I don't know that probably took jobs to god jobs

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Speaker 1: probably took five years.

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Speaker 3: I mean that's a long time.

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Speaker 1: No, it took five years to really kind of get

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Speaker 1: you mean, you know, film or TV.

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Speaker 3: Yeah, yeah, I feel like, Okay, I'm doing this job.

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Speaker 1: I was in New York doing theater, so I wasn't.

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Speaker 1: I was, you know, I was auditioning for stuff and

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Speaker 1: almost getting it. Films and almost getting it, not quite

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Speaker 1: getting it, that kind of thing.

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Speaker 3: What's worse almost getting it or not almost getting it?

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Speaker 1: Seems almost getting it is not a bad thing. It's

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Speaker 1: a good thing because then people in the casting community

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Speaker 1: know who you are because they all talk.

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Speaker 4: Right.

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Speaker 1: If you go in for something really big and really

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Speaker 1: good and classy and you almost get it, it's like,

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Speaker 1: I think that one of the better things that happened

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Speaker 1: in my career, early in my career was I almost

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Speaker 1: got the Mister Blonde browl in Reservoir Dogs, Quentin Tarantino's

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Speaker 1: first film. It came down to Michael Mattz and me

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Speaker 1: right and I was four auditions later. I was crushed.

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Speaker 1: I was absolutely crushed. Went back to New York with

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Speaker 1: my table between my legs. But you know, my teacher

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Speaker 1: was like, Scott, you know this is huge for you.

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Speaker 1: I mean, now your name is being bandied about in

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Speaker 1: the casting community in LA in New York. It's great,

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Speaker 1: said something. Now, something's going to pop now, and it did.

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Speaker 1: So wow. Yeah, So that's it's always good to be

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Speaker 1: in the running. And I'm sure Melissa felt the same way.

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Speaker 1: She was probably getting super close to everything, and that's

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Speaker 1: why it was with Gilmore, I was nailing auditions and

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Speaker 1: just like thinking I was going to get the offer

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Speaker 1: for two solid years before I got Gilmore Girls. Everything

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Speaker 1: I went in on, I was like, I'm going to

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Speaker 1: get this. Yes, of course, the offer's coming. And then

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Speaker 1: something at the last minute. What happened. It's like, well, listen,

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Speaker 1: he did great and blah blah blah.

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Speaker 3: But well, I don't want to get ahead of ourselves.

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Speaker 3: But I think there's going to be an interesting conversation

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Speaker 3: coming up about cheryln Fenn, because it's pretty well known

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Speaker 3: she was almost Lowerli, right, I won't get ahead of ourselves,

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Speaker 3: but because I sort of, well, we're gonna get ahead

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Speaker 3: of ourselves. I don't like that she played two parts

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Speaker 3: to like really important roles a lot.

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Speaker 1: I don't know. I take all the Cherylyn Finn, I

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Speaker 1: get the same, but I just you know, she's lovely,

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Speaker 1: she's delightful to.

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Speaker 3: Yes, except it's for me, yeah, and maybe other people. Suzanne,

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Speaker 3: I guess I want your take the most, and we'll

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Speaker 3: get back on track. But she is in the episode

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Speaker 3: very prominently as Jess's dad's girlfriend. She is that whole episode,

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Speaker 3: and she's very major this isn't like playing a you know,

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Speaker 3: background actor one liner and then she's back again in

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Speaker 3: a completely different role that's really really major. And I

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Speaker 3: get it obviously, because that pilot didn't go they wanted

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Speaker 3: to use sheryln Fenn again recurring, So I get it,

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Speaker 3: but it's a little hard for me where I'm like,

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Speaker 3: that's literally a different person in guilt.

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Speaker 1: So that there's something my mom used to advise me on,

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Speaker 1: you know what she'd say to me, and I'll I'll

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Speaker 1: extend this advice to you. Yeah, get over it, thank you.

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Speaker 3: Moving on, Susanne, what do you think? What do you

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Speaker 3: say to it?

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Speaker 4: Well, I will admit that the first time I saw,

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Speaker 4: like my first viewing of the show, I didn't even

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Speaker 4: realize the actress. I didn't even notice it. It doesn't

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Speaker 4: really bother me because she was one of the major

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Speaker 4: characters in that episode, but she was only in that episode, like,

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Speaker 4: we never saw her again after that, right thing, you know,

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Speaker 4: that full California thing didn't take off, So I think

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Speaker 4: if she had been in more than that one episode,

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Speaker 4: it probably would have been like, well, wait a minute,

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Speaker 4: what's going on here? But since it was just that

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Speaker 4: one isolated episode, that kind of didn't really fit into

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Speaker 4: the rest of the story. It didn't bother me as much,

387
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Speaker 4: but I.

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Speaker 3: Was yeah, look, I mean, I guess you're she can

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Speaker 3: be a new character and it look, it's better that

390
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Speaker 3: episode than any other because that was sort of a

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Speaker 3: weird You could skip that episode and kind of be

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Speaker 3: fine with you're not missing anything really, And she was.

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Speaker 1: Also in the spinoff pilot for Milo and Roberst.

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Speaker 3: That's what we're talking about. Yeah, yeah, yeah, yeah, it's

395
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Speaker 3: sort of a weird, isolated episode.

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Speaker 1: And she was great that she showed She showed her

397
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Speaker 1: range in that role too, and this.

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Speaker 3: Character is very different from that person ish ish But anyway,

399
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Speaker 3: I may be alone that I'm like, oh, I just

400
00:22:41,600 --> 00:22:44,679
Speaker 3: wish she would have been only this. And also people

401
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Speaker 3: hate her. So people really do not like Anna Nardini,

402
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Speaker 3: which we'll get to well, there'll be a lot to

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Speaker 3: talk about.

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Speaker 1: They don't like anything Nargini. They just don't know. Yeah,

405
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Speaker 1: they don't want Luke's past. And you know what, if

406
00:23:01,200 --> 00:23:04,800
Speaker 1: God bless these fans, man, they're so protective of Laurelia

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Speaker 1: and that relationship and the Luke Laurelai relationship that it

408
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Speaker 1: just makes me I don't know. I am honored. I

409
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Speaker 1: am honored.

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Speaker 3: Yeah. So okay, so before we get to Anna, we

411
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Speaker 3: go to Charland.

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Speaker 1: Friend is freaking awesome.

413
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Speaker 3: I know you must have loved working with her. But

414
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Speaker 3: we'll get to that. We'll get to that love. And

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Speaker 3: she's so cute and she is very Laurelai.

416
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Speaker 4: Ish like you.

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Speaker 3: We get why Luke dated her. Mm hmm she was

418
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Speaker 3: so First we get to Paris' apartment, so I don't know,

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Speaker 3: you guys give your thoughts on the apartment.

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Speaker 1: You know when when I my first year in college,

421
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Speaker 1: I lived in a place like that too, but it

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Speaker 1: was a house. It was a house filled with graduate students.

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Speaker 3: And me, it's not even bad that apartment. Why, it's

424
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Speaker 3: not that bad.

425
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Speaker 1: Yeah, the apartment was garbage. What are you kidding me?

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Speaker 3: It's not that bad.

427
00:24:08,040 --> 00:24:11,760
Speaker 1: It was garbage. It's big, Come on, big, what are

428
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Speaker 1: you talking about.

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Speaker 3: Well, as college apartments.

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Speaker 1: Go, already, they had the space, but they it was

431
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Speaker 1: in a bad area. Man.

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Speaker 4: It was like, I would not have been happy if

433
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Speaker 4: my kid moved in.

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Speaker 1: No. Yeah, you know, you know the Willem Dafoe was

435
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Speaker 1: going to show up and any minute on a motorcycle.

436
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Speaker 1: The devilish grint. I mean, come on, man, it's like

437
00:24:36,160 --> 00:24:37,080
Speaker 1: gangs in New York.

438
00:24:37,800 --> 00:24:41,320
Speaker 3: So we do in our house have a dog on

439
00:24:41,400 --> 00:24:45,120
Speaker 3: a thing, you know, like you know how they had

440
00:24:45,119 --> 00:24:48,440
Speaker 3: the dog playing the dog on the radio or whatever.

441
00:24:48,480 --> 00:24:50,320
Speaker 3: They have that radio that has the dog on it.

442
00:24:50,760 --> 00:24:53,800
Speaker 3: So we have to have that because it scares away bears.

443
00:24:54,320 --> 00:24:58,720
Speaker 3: So in Tahoe that you have this somehow it sort

444
00:24:58,720 --> 00:25:01,840
Speaker 3: of knows movement so if like a bear comes towards

445
00:25:01,920 --> 00:25:04,760
Speaker 3: the window, the dog barks. So I was like, oh god,

446
00:25:04,800 --> 00:25:06,560
Speaker 3: it's not bigger than That's not that big a deal.

447
00:25:08,600 --> 00:25:13,560
Speaker 3: I'm okay with that. And Paris is like literally wrestling Doyle.

448
00:25:13,720 --> 00:25:17,560
Speaker 3: I was just like, what is happening? What is happening?

449
00:25:21,359 --> 00:25:22,880
Speaker 3: Have you done Krav McGaugh.

450
00:25:22,800 --> 00:25:26,680
Speaker 1: Ever, Nope, I have done many things, but not that.

451
00:25:27,160 --> 00:25:28,119
Speaker 3: Neither Suzanne, have you?

452
00:25:28,359 --> 00:25:31,760
Speaker 4: Oh my gods.

453
00:25:32,200 --> 00:25:33,800
Speaker 3: I still say it's not a bad apartment.

454
00:25:33,880 --> 00:25:36,400
Speaker 1: But I do a couple of deep knee bends. Call

455
00:25:36,480 --> 00:25:36,920
Speaker 1: it a day.

456
00:25:37,040 --> 00:25:42,560
Speaker 3: There you go, Okay. So then we go to town

457
00:25:43,119 --> 00:25:46,119
Speaker 3: a town, which all I wanted to do was figure

458
00:25:46,119 --> 00:25:48,560
Speaker 3: out what town they where? They were in LA.

459
00:25:48,840 --> 00:25:53,440
Speaker 4: I was like, where Montrose, Montrose?

460
00:25:53,520 --> 00:25:54,480
Speaker 3: No way? Random?

461
00:25:55,040 --> 00:25:57,240
Speaker 4: Yeah, I think I didn't look it up, but I

462
00:25:57,240 --> 00:26:00,280
Speaker 4: think I remembered that from the past.

463
00:25:59,680 --> 00:26:04,320
Speaker 3: Because it definitely not stars Hollow. It's not a lot.

464
00:26:04,440 --> 00:26:07,400
Speaker 3: It's like a studio lot. It is they're shooting somewhere.

465
00:26:07,840 --> 00:26:10,159
Speaker 3: Was it a real wedding dress shop? They went to

466
00:26:10,400 --> 00:26:11,840
Speaker 3: Suzanne like an actual.

467
00:26:12,000 --> 00:26:16,200
Speaker 4: It looks it looks like it. Yeah, it's a maternity

468
00:26:17,480 --> 00:26:21,040
Speaker 4: and baby boutique. It looks like I'm trying to read

469
00:26:21,040 --> 00:26:25,800
Speaker 4: the signe a unique maternity, baby and breastfeeding boutique belly.

470
00:26:25,880 --> 00:26:28,720
Speaker 3: Okay, that's kind of amazing that they decided that was

471
00:26:28,760 --> 00:26:32,800
Speaker 3: the place to turn into a wedding dress shop. But okay,

472
00:26:32,840 --> 00:26:35,119
Speaker 3: so you guys do not love the dress. I actually

473
00:26:35,119 --> 00:26:35,439
Speaker 3: thought that.

474
00:26:35,440 --> 00:26:38,280
Speaker 1: Okay, I like the dress. Now we're talking about the

475
00:26:38,359 --> 00:26:41,480
Speaker 1: dress like it. I thought the dress the.

476
00:26:41,720 --> 00:26:43,600
Speaker 4: Dress, Scott what?

477
00:26:43,920 --> 00:26:46,280
Speaker 3: Okay, Well, she still hasn't tried it on yet, so

478
00:26:46,359 --> 00:26:49,240
Speaker 3: first we just see it and she sees it.

479
00:26:49,720 --> 00:26:52,760
Speaker 1: I think it was perfect for her. I think it

480
00:26:53,000 --> 00:26:56,680
Speaker 1: fit her personality. It was a little on the riskue

481
00:26:56,960 --> 00:27:00,920
Speaker 1: side because it showed, you know, back and in arms,

482
00:27:00,960 --> 00:27:04,760
Speaker 1: but it just still was classy, I thought, and she

483
00:27:04,880 --> 00:27:07,680
Speaker 1: pulled it off so it had a nice balance to it.

484
00:27:08,359 --> 00:27:11,800
Speaker 1: And you know that I wasn't acting in that scene

485
00:27:11,800 --> 00:27:13,840
Speaker 1: when I.

486
00:27:12,920 --> 00:27:15,120
Speaker 3: I believe it. She looks amazing.

487
00:27:15,359 --> 00:27:18,280
Speaker 1: I thought she looked great in that dress. And I

488
00:27:18,359 --> 00:27:22,040
Speaker 1: totally agreed with the dress. All I'm all in on

489
00:27:22,119 --> 00:27:24,440
Speaker 1: the dress. Oh yeah, I like it.

490
00:27:24,560 --> 00:27:27,840
Speaker 3: I like it. Okay, So we get the dress and

491
00:27:27,960 --> 00:27:30,479
Speaker 3: we'll talk about how that Suddenly the wedding's planned and

492
00:27:30,480 --> 00:27:34,399
Speaker 3: we're done. But first we go to we realized Laane

493
00:27:34,440 --> 00:27:38,280
Speaker 3: has sort of moved back in home again. M So,

494
00:27:38,359 --> 00:27:41,120
Speaker 3: what did you all think? She's in a cute hat

495
00:27:41,240 --> 00:27:45,600
Speaker 3: and she's kind of sort of her mother's daughter for sure,

496
00:27:45,880 --> 00:27:47,480
Speaker 3: So what did you all think of that?

497
00:27:48,160 --> 00:27:51,239
Speaker 1: I thought she was, you know, it was like her

498
00:27:51,320 --> 00:27:57,800
Speaker 1: late adolescent rebellion was delayed until her twenties, and she

499
00:27:57,960 --> 00:28:00,080
Speaker 1: was doing the things that she should have done when

500
00:28:00,119 --> 00:28:04,240
Speaker 1: she was fifteen and sixteen or whatever, fourteen or and

501
00:28:05,160 --> 00:28:08,560
Speaker 1: very strong, and I just felt bad for missus Kim

502
00:28:09,280 --> 00:28:14,520
Speaker 1: being such a caring and obviously overbearing, admittedly overbearing mother.

503
00:28:14,600 --> 00:28:18,240
Speaker 1: But that's just, you know, that's just how it is.

504
00:28:18,280 --> 00:28:21,199
Speaker 1: Coming into the United States, a lot of you know,

505
00:28:21,800 --> 00:28:27,119
Speaker 1: cultures come in and it's kind of terrifying the freedoms

506
00:28:27,160 --> 00:28:31,880
Speaker 1: that are we take for granted, are scary to people

507
00:28:31,960 --> 00:28:34,919
Speaker 1: that just move here and it's just like what is

508
00:28:35,040 --> 00:28:38,720
Speaker 1: going on? Yeah, it's like it's frightening to them, and

509
00:28:38,760 --> 00:28:41,640
Speaker 1: they want to make sure that their kids are a

510
00:28:41,880 --> 00:28:47,040
Speaker 1: safe So, you know, I empathize. And she was so

511
00:28:47,200 --> 00:28:51,480
Speaker 1: back on her heels now and Lane was being so

512
00:28:53,800 --> 00:28:57,400
Speaker 1: aggressive with her own mother. But it's just a rite

513
00:28:57,440 --> 00:29:00,760
Speaker 1: of passage. It's just what a child I gets must do.

514
00:29:02,160 --> 00:29:05,200
Speaker 1: I think we all did it in one form or another.

515
00:29:05,240 --> 00:29:07,960
Speaker 1: Everybody does, so it's you know, but I think we.

516
00:29:08,000 --> 00:29:09,640
Speaker 3: Can go out of order a little bit and just

517
00:29:09,680 --> 00:29:13,360
Speaker 3: talk about the payoff from it, so that she's sort

518
00:29:13,400 --> 00:29:18,080
Speaker 3: of very missus Kim like with the customers. But I

519
00:29:18,120 --> 00:29:20,920
Speaker 3: was really happy to see that scene that comes a

520
00:29:21,000 --> 00:29:24,480
Speaker 3: little bit down there down episode where she gets the

521
00:29:24,640 --> 00:29:28,880
Speaker 3: alcohol out and she know, she sort of acknowledges like

522
00:29:28,960 --> 00:29:32,840
Speaker 3: you've had your time to sort of mourn this almost

523
00:29:32,880 --> 00:29:35,520
Speaker 3: says I'm sorry it happened, and like here now we're

524
00:29:35,560 --> 00:29:37,240
Speaker 3: gonna wash away.

525
00:29:37,080 --> 00:29:40,520
Speaker 1: Our Yeah, but you did you feel that it was

526
00:29:40,560 --> 00:29:44,840
Speaker 1: almost like an acknowledgment that missus Kim's job was done

527
00:29:45,760 --> 00:29:49,000
Speaker 1: for all tents and purposes, that she raised a strong,

528
00:29:49,520 --> 00:29:54,280
Speaker 1: fierce daughter, and now you are my equal you are Yeah,

529
00:29:54,840 --> 00:29:57,200
Speaker 1: this is the end result of all my efforts. And

530
00:29:57,240 --> 00:30:03,400
Speaker 1: I have a smart that's interesting, smart, strong, determined daughter

531
00:30:03,840 --> 00:30:08,040
Speaker 1: who has fire in her belly and a backbone of iron,

532
00:30:08,640 --> 00:30:11,440
Speaker 1: just like I wanted her to have. And let's drink

533
00:30:11,680 --> 00:30:13,040
Speaker 1: two shots on that.

534
00:30:13,720 --> 00:30:17,960
Speaker 4: Yeah, I don't job there. They had turned a corner

535
00:30:18,120 --> 00:30:23,640
Speaker 4: from that mother teenage daughter relationship to an adult to

536
00:30:23,800 --> 00:30:25,080
Speaker 4: adult relationship.

537
00:30:25,520 --> 00:30:30,080
Speaker 3: Yeah, I write a passage, right, yeah, and kind of

538
00:30:30,120 --> 00:30:32,680
Speaker 3: like yeah, we're we're sort of bonding.

539
00:30:34,120 --> 00:30:37,160
Speaker 1: It's like she doesn't need me anymore in the old sense.

540
00:30:37,600 --> 00:30:40,040
Speaker 1: She needs a newer version of me. And now we're

541
00:30:40,080 --> 00:30:42,920
Speaker 1: equals almost and we're friends.

542
00:30:43,320 --> 00:30:47,000
Speaker 3: Yeah yeah, yeah, almost friends, not quite, but like almost.

543
00:30:47,440 --> 00:30:47,640
Speaker 4: Right.

544
00:30:48,000 --> 00:30:50,480
Speaker 1: It was just a very sweet moment between those two.

545
00:30:50,480 --> 00:30:54,320
Speaker 1: It was my favorite moment between those two because it

546
00:30:54,360 --> 00:30:58,240
Speaker 1: was the sum total of six years of strife and

547
00:30:58,400 --> 00:31:02,280
Speaker 1: anxiety and here we are and she's actually sitting down

548
00:31:03,080 --> 00:31:06,280
Speaker 1: partaking two shots of alcohol with her daughter to commemorate

549
00:31:06,320 --> 00:31:12,560
Speaker 1: the moment, and it's a huge, huge moment in their lives.

550
00:31:11,160 --> 00:31:18,960
Speaker 3: Was finally acknowledging something that her daughter was feeling. Rather

551
00:31:19,120 --> 00:31:22,920
Speaker 3: than like bossing her daughter, she was sort of saying

552
00:31:23,000 --> 00:31:27,640
Speaker 3: like I'm going to acknowledge you and and what this

553
00:31:27,800 --> 00:31:28,480
Speaker 3: is for you.

554
00:31:29,760 --> 00:31:32,640
Speaker 1: But here's here's the really interesting part about it for

555
00:31:32,760 --> 00:31:37,440
Speaker 1: me is that Elaine was raging at her mother, dictating

556
00:31:37,480 --> 00:31:39,960
Speaker 1: to her mother with her voice, with her anger, with

557
00:31:40,040 --> 00:31:43,560
Speaker 1: her force, like she was a she was a little

558
00:31:43,680 --> 00:31:47,440
Speaker 1: missus Kim. Yeah right. She wasn't married yet, she didn't

559
00:31:47,480 --> 00:31:49,640
Speaker 1: have a child yet, she hadn't raised a child yet.

560
00:31:49,840 --> 00:31:52,240
Speaker 1: But now it looked like she was ready to settle

561
00:31:52,240 --> 00:31:54,440
Speaker 1: down and raise a child because she because now she

562
00:31:54,560 --> 00:32:03,120
Speaker 1: had the timber. And then Mama Bear reversed and I

563
00:32:03,160 --> 00:32:06,000
Speaker 1: said Lane can't come down here right now, and reminded

564
00:32:06,080 --> 00:32:10,360
Speaker 1: her who the boss was, and and Lane got very

565
00:32:11,160 --> 00:32:14,760
Speaker 1: childlike again and said yes, Mama, and she came. They

566
00:32:14,760 --> 00:32:19,160
Speaker 1: went and drank. Yeah, so missus Kim's still in control,

567
00:32:19,720 --> 00:32:25,520
Speaker 1: still the Mama Bear, still more lessons to be learned

568
00:32:26,360 --> 00:32:30,560
Speaker 1: or to teach Lane, but she's kind of ready to

569
00:32:30,600 --> 00:32:33,240
Speaker 1: go out in the real world. Yeah, it was beautif,

570
00:32:33,320 --> 00:32:33,960
Speaker 1: it was beautiful.

571
00:32:34,080 --> 00:32:35,480
Speaker 3: It was beautiful.

572
00:32:36,440 --> 00:32:41,080
Speaker 1: Beautifully for me, that was the most moving scene of

573
00:32:41,120 --> 00:32:42,560
Speaker 1: the of the episode.

574
00:32:42,280 --> 00:32:45,080
Speaker 3: For sure, and clever for those characters so that it's

575
00:32:45,200 --> 00:32:48,800
Speaker 3: like we're they're evolving. We're not just like keeping up.

576
00:32:49,360 --> 00:32:52,120
Speaker 1: Beautiful, beautiful beats in that scene.

577
00:32:51,960 --> 00:32:55,000
Speaker 4: Because if you were, it was there was finally some

578
00:32:55,160 --> 00:32:58,600
Speaker 4: satisfaction in that relationship like that we've been waiting for

579
00:32:58,600 --> 00:33:00,680
Speaker 4: for six years. And I I thought it was really

580
00:33:00,680 --> 00:33:05,959
Speaker 4: well done how they were really communicating with actions and

581
00:33:06,000 --> 00:33:08,880
Speaker 4: there wasn't a lot of dialogue between the two of them,

582
00:33:08,960 --> 00:33:13,760
Speaker 4: but you could see the whole doing the shots was

583
00:33:13,800 --> 00:33:18,520
Speaker 4: a conciliatory gesture from missus Kim that I thought was

584
00:33:18,640 --> 00:33:20,760
Speaker 4: it was just really well done because it communicated so

585
00:33:20,920 --> 00:33:23,320
Speaker 4: much without dialogue. I thought it was great.

586
00:33:24,600 --> 00:33:37,000
Speaker 3: Yeah, let's talk about Logan. So we have the first

587
00:33:37,360 --> 00:33:43,800
Speaker 3: Logan sighting at the coffee cart he's waiting for and

588
00:33:43,840 --> 00:33:47,120
Speaker 3: she just bails him. She's just now. So she's sort

589
00:33:47,120 --> 00:33:49,680
Speaker 3: of walking with that professor, really trying to get in

590
00:33:49,720 --> 00:33:56,760
Speaker 3: that class, and then Logan and she's just now, I'm

591
00:33:56,760 --> 00:34:00,520
Speaker 3: happy he's back. Look, I am, it's out.

592
00:34:01,480 --> 00:34:03,520
Speaker 1: You got to have some matty sure in your day,

593
00:34:03,800 --> 00:34:09,319
Speaker 1: you know, for sure, you know terrified doctors actually recommend her.

594
00:34:09,400 --> 00:34:13,920
Speaker 3: Yes, thank you, I do. So then we have that

595
00:34:13,960 --> 00:34:18,359
Speaker 3: blip and then we now kind of find out that

596
00:34:19,000 --> 00:34:22,600
Speaker 3: the wedding is planned. She found the dress. It all

597
00:34:22,600 --> 00:34:24,799
Speaker 3: fell into place that she's got the invites, she's got

598
00:34:24,840 --> 00:34:28,279
Speaker 3: the RSVP list handled, she's got the church, she's got

599
00:34:28,280 --> 00:34:34,000
Speaker 3: Pastor Todd, she's got the carousel. We're done. And then

600
00:34:34,000 --> 00:34:40,520
Speaker 3: it starts snowing, which was a sign. So I don't know,

601
00:34:41,160 --> 00:34:45,040
Speaker 3: it's like it's all too good to be true, right.

602
00:34:45,760 --> 00:34:49,279
Speaker 4: Yeah, And I have to give a shout out to

603
00:34:49,400 --> 00:34:54,000
Speaker 4: June third because June third was also Rory's court date,

604
00:34:55,040 --> 00:34:57,840
Speaker 4: so there's a lot of discussion about why is June

605
00:34:57,840 --> 00:34:59,239
Speaker 4: third so important too.

606
00:34:59,480 --> 00:35:00,120
Speaker 3: That's interesting.

607
00:35:00,160 --> 00:35:04,319
Speaker 4: So one year French for the Wind and what I've read,

608
00:35:04,360 --> 00:35:06,000
Speaker 4: I don't know that this is true or not, but

609
00:35:06,040 --> 00:35:09,480
Speaker 4: what I've read is that June third was hell knowledge.

610
00:35:11,160 --> 00:35:12,480
Speaker 3: Wait what was June third?

611
00:35:12,640 --> 00:35:16,200
Speaker 4: Was what Helen Pye's birthday? One of the producers.

612
00:35:16,360 --> 00:35:20,080
Speaker 1: Yeah, that's like like there's there's Amy and then there's

613
00:35:20,120 --> 00:35:28,400
Speaker 1: Helen Pie and Helen Pie and Amy are interchangeable. Oh wow,

614
00:35:29,440 --> 00:35:32,720
Speaker 1: they both talk fast, they both have all this hyped

615
00:35:32,800 --> 00:35:35,759
Speaker 1: up energy. To be around Amy is one thing, but

616
00:35:36,120 --> 00:35:39,719
Speaker 1: to be around Amy and Helen Pie at the same time,

617
00:35:40,040 --> 00:35:41,200
Speaker 1: it's like it's like, you.

618
00:35:41,160 --> 00:35:44,320
Speaker 3: Know, so I've never heard this name before.

619
00:35:45,000 --> 00:35:46,360
Speaker 1: Oh, Helen Pie.

620
00:35:46,600 --> 00:35:50,200
Speaker 3: One of the executive producers.

621
00:35:49,760 --> 00:35:53,800
Speaker 1: Helen Pie is a legend. She's She's a total legend.

622
00:35:54,600 --> 00:35:57,000
Speaker 1: And her husband, I believe. Wait a minute, let me.

623
00:35:57,200 --> 00:35:59,880
Speaker 1: I'm gonna Susanne French. You're right now, I'm gonna drop an.

624
00:36:01,040 --> 00:36:02,640
Speaker 3: I love it.

625
00:36:02,960 --> 00:36:07,399
Speaker 1: Her husband's name, I believe, and I could be wrong.

626
00:36:07,440 --> 00:36:13,000
Speaker 4: It's David, Oh my gosh, yes, job Scott.

627
00:36:14,480 --> 00:36:15,200
Speaker 3: My god.

628
00:36:19,920 --> 00:36:26,920
Speaker 4: And one one more fun fact. If you rearrange Helen

629
00:36:27,040 --> 00:36:29,880
Speaker 4: Pye the letters in her name, you get hep Alien.

630
00:36:30,080 --> 00:36:37,600
Speaker 1: That's French again.

631
00:36:38,440 --> 00:36:40,719
Speaker 3: These are what we call easter eggs, right like, these

632
00:36:40,719 --> 00:36:46,200
Speaker 3: are sort of little easter eggs. I love it, alright, alright, juicy,

633
00:36:45,440 --> 00:36:50,640
Speaker 3: Helen's beautiful. So before we get to more logan, we

634
00:36:50,719 --> 00:36:54,760
Speaker 3: do have the scene in the newsroom. Paris is bossy.

635
00:36:56,040 --> 00:37:00,160
Speaker 3: She's given out beats World. According to Doyle.

636
00:37:00,000 --> 00:37:03,040
Speaker 1: I think you know, if Amy and Helen Pye went

637
00:37:03,080 --> 00:37:07,200
Speaker 1: on tour together, they could sell out arenas are They

638
00:37:08,239 --> 00:37:10,319
Speaker 1: just give him a couple of microphones and just like

639
00:37:10,640 --> 00:37:12,839
Speaker 1: let them do their thing on stage. I don't even

640
00:37:12,840 --> 00:37:17,080
Speaker 1: have to have an act. They just talk. It's hysterical.

641
00:37:17,160 --> 00:37:19,000
Speaker 1: You should see these two. It's hysterical.

642
00:37:19,560 --> 00:37:21,319
Speaker 3: I can't wait to see what Helen Pie. What are

643
00:37:21,320 --> 00:37:22,440
Speaker 3: the shows she's done.

644
00:37:23,320 --> 00:37:26,240
Speaker 1: I don't know. I think she was Amy.

645
00:37:25,840 --> 00:37:29,200
Speaker 3: So she works with the Palladinos on she probably works

646
00:37:29,200 --> 00:37:30,120
Speaker 3: on bun heads too.

647
00:37:30,440 --> 00:37:34,040
Speaker 1: Oh. I think she's yeah, she's uh uh huh. Yeah.

648
00:37:34,680 --> 00:37:38,920
Speaker 3: All right. So Logan is back at the paper, which

649
00:37:38,960 --> 00:37:42,680
Speaker 3: I'm happy about, and I thought that was kind of funny.

650
00:37:42,719 --> 00:37:46,600
Speaker 3: Paris sort of barking at him and he's leaning back

651
00:37:46,680 --> 00:37:49,799
Speaker 3: to see if he sees Rory and he just hear

652
00:37:49,880 --> 00:37:50,600
Speaker 3: her voice.

653
00:37:51,080 --> 00:37:53,440
Speaker 1: I really I like that scene. I liked Maddie in

654
00:37:53,480 --> 00:37:56,520
Speaker 1: that scene because because it's just like he's dealt with

655
00:37:56,560 --> 00:38:01,080
Speaker 1: this level of anger and you know, hey, you're a loser,

656
00:38:01,320 --> 00:38:03,680
Speaker 1: get your act together kind of stuff from his dad.

657
00:38:04,480 --> 00:38:05,920
Speaker 1: It was just like getting it from her.

658
00:38:06,840 --> 00:38:09,080
Speaker 3: She's pretty funny. Keep your personal stuff at home. We

659
00:38:09,120 --> 00:38:11,560
Speaker 3: want to talk about your future. And he just does

660
00:38:11,560 --> 00:38:15,360
Speaker 3: the lean back from the and we don't even see

661
00:38:15,400 --> 00:38:17,960
Speaker 3: Paris at that point, like we're only here. That's a

662
00:38:17,960 --> 00:38:18,600
Speaker 3: good scene.

663
00:38:19,120 --> 00:38:23,200
Speaker 4: I had a tiny flag on that scene at the

664
00:38:23,280 --> 00:38:27,319
Speaker 4: beginning when I can't remember exactly how it came up,

665
00:38:27,360 --> 00:38:30,000
Speaker 4: but I think she was handing out the beats and

666
00:38:30,040 --> 00:38:33,560
Speaker 4: she said something to Rory about you know your boyfriend,

667
00:38:33,600 --> 00:38:38,480
Speaker 4: and Rory told Paris were not together anymore. I thought

668
00:38:38,520 --> 00:38:42,000
Speaker 4: it was weird that Paris wouldn't have already known that

669
00:38:42,040 --> 00:38:46,240
Speaker 4: they weren't, because it's been like six or eight weeks

670
00:38:46,239 --> 00:38:49,359
Speaker 4: since they broke up, and now Rory and Paris are

671
00:38:49,400 --> 00:38:51,880
Speaker 4: living in the same apartment, Like, how how would they

672
00:38:51,920 --> 00:38:56,080
Speaker 4: not have had a conversation about that in that whole wind.

673
00:38:57,040 --> 00:39:01,560
Speaker 3: I fully get it, but also knowing Rory and how

674
00:39:01,800 --> 00:39:05,920
Speaker 3: nuts Paris is, I also could see them not talking.

675
00:39:05,640 --> 00:39:06,959
Speaker 1: About it, right me too?

676
00:39:07,280 --> 00:39:09,840
Speaker 4: Yeah, I mean I guess, I guess I have to

677
00:39:09,880 --> 00:39:13,239
Speaker 4: pick up the probably not come up? How did she

678
00:39:13,320 --> 00:39:16,560
Speaker 4: not notice that Logan wasn't around or was never missed?

679
00:39:16,600 --> 00:39:18,360
Speaker 3: She doesn't notice that kind of stuff.

680
00:39:18,640 --> 00:39:23,439
Speaker 1: I just think Paris is so obsessed with her own path. Yes,

681
00:39:24,320 --> 00:39:27,719
Speaker 1: she in her little world and building her empire and

682
00:39:27,719 --> 00:39:34,680
Speaker 1: her her trajectory. She's she's not fully a friend yet

683
00:39:34,800 --> 00:39:38,040
Speaker 1: in a in a real sense where she would she

684
00:39:38,080 --> 00:39:41,960
Speaker 1: would ask, you know exactly where she would she would

685
00:39:42,000 --> 00:39:45,480
Speaker 1: look beyond her own nose and empathize with anything that

686
00:39:45,480 --> 00:39:49,160
Speaker 1: that Rory's going through, would ask about it. How you feel?

687
00:39:49,920 --> 00:39:50,959
Speaker 3: I agree that.

688
00:39:51,120 --> 00:39:53,680
Speaker 4: It was just one of those weird little things that

689
00:39:53,840 --> 00:39:54,960
Speaker 4: kind of it.

690
00:39:54,840 --> 00:39:57,960
Speaker 3: Is weird if it was like Blaine. But Paris and

691
00:39:58,040 --> 00:40:01,120
Speaker 3: Rory are best friends who like don't talk about anything,

692
00:40:01,160 --> 00:40:06,680
Speaker 3: best friendly, right, yeah, like doesn't.

693
00:40:07,520 --> 00:40:10,960
Speaker 1: Rory doesn't have those expectations of Paris that she's going

694
00:40:11,040 --> 00:40:14,800
Speaker 1: to be close close girlfriends with her and share share.

695
00:40:14,920 --> 00:40:18,040
Speaker 3: That's not because she has Laine and her mom. Now

696
00:40:18,200 --> 00:40:22,879
Speaker 3: Paris shares more with Rory because she doesn't have anybody else.

697
00:40:23,520 --> 00:40:25,960
Speaker 1: Right, But it's but it's a one way street.

698
00:40:25,960 --> 00:40:30,040
Speaker 3: Yes, exactly, so okay. So then Lourlai comes to the

699
00:40:30,080 --> 00:40:33,600
Speaker 3: apartment and just the no no no no no, no,

700
00:40:33,600 --> 00:40:39,200
Speaker 3: no no no. There's a lot of news there, which

701
00:40:40,080 --> 00:40:44,560
Speaker 3: all right, so okay. So then we skip to they're

702
00:40:44,640 --> 00:40:49,080
Speaker 3: still at school but eating the fries, and we do

703
00:40:49,160 --> 00:40:52,000
Speaker 3: get the line from Loralai like that apartment is a

704
00:40:52,040 --> 00:40:56,040
Speaker 3: hard no called daddy, which is like because now that

705
00:40:56,120 --> 00:41:01,359
Speaker 3: Christopher has money, she can't make him pay. And then

706
00:41:01,400 --> 00:41:04,680
Speaker 3: they talk about the wedding and she sort of says but.

707
00:41:04,680 --> 00:41:08,640
Speaker 1: Wait a minute, wait a minute. Also, Rory and Laura

708
00:41:08,640 --> 00:41:12,400
Speaker 1: I may have had a missus Kim Lane Kim taking

709
00:41:12,400 --> 00:41:15,400
Speaker 1: a shot moment with the French fries representing the shots

710
00:41:16,640 --> 00:41:21,719
Speaker 1: where Rory is asserting her independence by placing herself in

711
00:41:21,760 --> 00:41:24,879
Speaker 1: a sort of a dangerous situation in a bad neighborhood.

712
00:41:25,080 --> 00:41:27,080
Speaker 1: But she's making that decision.

713
00:41:27,160 --> 00:41:30,080
Speaker 3: Yeah, you're right, good call out, and does say that.

714
00:41:30,120 --> 00:41:33,239
Speaker 1: Overruled her mom with all the noes. No, you're not

715
00:41:33,400 --> 00:41:35,799
Speaker 1: getting your way. I'm my own person and you have

716
00:41:35,920 --> 00:41:37,920
Speaker 1: to let me be my own person.

717
00:41:39,040 --> 00:41:41,680
Speaker 3: Good note, she does, And I did. I sort of

718
00:41:41,840 --> 00:41:44,520
Speaker 3: was happy to see that.

719
00:41:46,520 --> 00:41:51,120
Speaker 4: And there's maybe also an underlying current of if Laura

720
00:41:51,160 --> 00:41:56,560
Speaker 4: I doesn't let Rory have this, though, Rory will run

721
00:41:56,560 --> 00:42:00,759
Speaker 4: her way again. So there may you know.

722
00:42:00,920 --> 00:42:04,759
Speaker 1: And and Rory's developing this this tough exterior now, like

723
00:42:04,840 --> 00:42:08,520
Speaker 1: she's telling Logan to go, yeahy a kite, she's stolen

724
00:42:08,560 --> 00:42:12,720
Speaker 1: a yacht. She's hey, back off each your French fries.

725
00:42:12,920 --> 00:42:15,560
Speaker 1: Dummy up, I'm staying in the bad apartment. You know,

726
00:42:15,640 --> 00:42:19,280
Speaker 1: don't worry about it. I got this, you know. Trust.

727
00:42:19,719 --> 00:42:21,600
Speaker 1: So she's neat, So it's good, it's good.

728
00:42:22,960 --> 00:42:25,319
Speaker 3: It is good. Yeah. So then and then they sort

729
00:42:25,320 --> 00:42:28,920
Speaker 3: of talk about the they're eating their fries barely a bite,

730
00:42:28,960 --> 00:42:31,400
Speaker 3: which I did notice, like a tiny little bite to

731
00:42:31,440 --> 00:42:34,919
Speaker 3: eat her. And then they talk about how Lorelai has

732
00:42:34,960 --> 00:42:38,280
Speaker 3: not had this sort of freak out, this freakout circle

733
00:42:38,320 --> 00:42:40,520
Speaker 3: and marriage isn't too easy and this is all too easy,

734
00:42:41,800 --> 00:42:44,200
Speaker 3: and kind of you know, Rory started talking her off

735
00:42:44,200 --> 00:42:45,000
Speaker 3: the ledge a little bit.

736
00:42:45,880 --> 00:42:53,880
Speaker 1: H well, you know, so you know, looking over her shoulder,

737
00:42:54,440 --> 00:42:57,320
Speaker 1: I mean, turn into a pillar assault.

738
00:42:57,400 --> 00:43:00,200
Speaker 4: More of my self sabotages a lot, and so I

739
00:43:00,239 --> 00:43:03,919
Speaker 4: think she was realizing that and kind of wondering like, wait,

740
00:43:03,960 --> 00:43:05,920
Speaker 4: why am I not sabotaging myself?

741
00:43:08,360 --> 00:43:25,160
Speaker 3: Yeah? Hang on, after the Fries we meet Anna Nardini,

742
00:43:25,760 --> 00:43:28,920
Speaker 3: So now we get to it, we get to to

743
00:43:29,080 --> 00:43:34,719
Speaker 3: Luke going to Anna's. So I mean, this is sort

744
00:43:34,760 --> 00:43:37,719
Speaker 3: of some really big scenes for you, Scott, both of

745
00:43:37,760 --> 00:43:40,040
Speaker 3: them with this situation.

746
00:43:41,400 --> 00:43:44,839
Speaker 1: You know what I liked about that scene. I liked

747
00:43:44,880 --> 00:43:51,400
Speaker 1: that it showed that we did have a full relationship

748
00:43:51,440 --> 00:43:55,600
Speaker 1: at one point and that we still we agnote that

749
00:43:55,680 --> 00:43:59,840
Speaker 1: if things don't work out with the self sabotager that

750
00:44:00,120 --> 00:44:03,880
Speaker 1: we know and love is Laurelai. That maybe and I

751
00:44:03,920 --> 00:44:06,239
Speaker 1: think that's maybe what the fans were reacting to, Like

752
00:44:07,400 --> 00:44:13,719
Speaker 1: Chryl and Fann, she's fantastic. Oh god, now look and

753
00:44:13,800 --> 00:44:17,160
Speaker 1: laurel I are jeopardized because she's fantastic. He could go

754
00:44:17,280 --> 00:44:20,120
Speaker 1: back to her and this she's and Laurel I is

755
00:44:20,160 --> 00:44:22,880
Speaker 1: self sabotaging and the whole thing, so that, you know,

756
00:44:22,920 --> 00:44:26,600
Speaker 1: the panic setting. I get it. So we got to

757
00:44:26,640 --> 00:44:30,200
Speaker 1: play that like, like, let's keep that open the possibility

758
00:44:30,280 --> 00:44:32,640
Speaker 1: we don't hate each other. Right, Well, we got to

759
00:44:32,680 --> 00:44:35,400
Speaker 1: be respectful. She's got to be respectful in my relationships.

760
00:44:35,520 --> 00:44:37,879
Speaker 1: I've got to be obviously, you know, I'm in love

761
00:44:37,920 --> 00:44:40,480
Speaker 1: with Laurel I. This whole thing. Well, and she can't

762
00:44:40,480 --> 00:44:42,400
Speaker 1: show too much feeling, but I gotta show a little feeling.

763
00:44:42,880 --> 00:44:46,000
Speaker 3: She's quirky. We see that in her we see that

764
00:44:46,080 --> 00:44:51,439
Speaker 3: in her house. She's so cute, she's so pretty. She

765
00:44:51,520 --> 00:44:55,359
Speaker 3: looks like Loralai, like there's a lot there that's sort

766
00:44:55,360 --> 00:44:58,840
Speaker 3: of like, look, she's really not bad. I sort of

767
00:44:59,000 --> 00:45:00,840
Speaker 3: like her, but I don't want.

768
00:45:00,680 --> 00:45:03,279
Speaker 1: To like her. Yeah, you gotta like her.

769
00:45:03,360 --> 00:45:07,040
Speaker 3: You got sort of, although I still don't get why

770
00:45:07,080 --> 00:45:10,480
Speaker 3: she didn't tell him. We don't really get a satisfactory

771
00:45:10,520 --> 00:45:13,320
Speaker 3: answer there. She does say she's she's sorry.

772
00:45:15,200 --> 00:45:16,880
Speaker 1: Let me, can I ask you something? And this is

773
00:45:16,880 --> 00:45:21,719
Speaker 1: going to sound a little you know far afield, h

774
00:45:22,920 --> 00:45:28,880
Speaker 1: do you think that mate is there? Has have you

775
00:45:28,920 --> 00:45:32,320
Speaker 1: guys ever seen a theory posted in the chatwomsor online

776
00:45:32,840 --> 00:45:40,640
Speaker 1: Gillmore World where people thought that Luke didn't tell Laurel

777
00:45:40,719 --> 00:45:48,040
Speaker 1: I about April because he also knew what Suzanne pointed out,

778
00:45:48,280 --> 00:45:52,040
Speaker 1: that Laurele I can sabotage any situation. I want to speak,

779
00:45:52,080 --> 00:45:54,920
Speaker 1: I want to speak negatively about Laurel I really don't.

780
00:45:55,560 --> 00:45:59,680
Speaker 1: But given how many times he's been through the mill

781
00:46:00,160 --> 00:46:03,640
Speaker 1: with her, without their guys, without the situation, that delay here,

782
00:46:03,719 --> 00:46:08,000
Speaker 1: this and that things not the stars not aligning seemingly

783
00:46:08,120 --> 00:46:12,000
Speaker 1: all the time between these two, that is there a

784
00:46:12,040 --> 00:46:15,000
Speaker 1: fan theory that Luke didn't tell her because he was

785
00:46:15,080 --> 00:46:17,680
Speaker 1: keeping his options open because if it didn't work out

786
00:46:17,680 --> 00:46:20,080
Speaker 1: with Laurel I, maybe he's got a kid, Maybe he's

787
00:46:20,080 --> 00:46:22,160
Speaker 1: going to head back and be with it. Anna.

788
00:46:22,960 --> 00:46:26,000
Speaker 3: What's your take on that, Suzanne, I've never seen that.

789
00:46:26,440 --> 00:46:27,640
Speaker 1: I never seen it. Just don't know.

790
00:46:28,160 --> 00:46:30,560
Speaker 4: I don't. I don't think that's really I mean that

791
00:46:30,600 --> 00:46:32,960
Speaker 4: doesn't mean that nobody thinks it, but it's it's not

792
00:46:33,239 --> 00:46:39,439
Speaker 4: like an overarching theory. I always just saw it more

793
00:46:39,640 --> 00:46:44,160
Speaker 4: like he was so confused by it himself internally that

794
00:46:44,280 --> 00:46:48,719
Speaker 4: he had to work through that before layering on how

795
00:46:48,800 --> 00:46:50,560
Speaker 4: Laurela I was going to feel about it.

796
00:46:51,000 --> 00:46:53,160
Speaker 1: But wait a minute, wait a minute, what about how

797
00:46:53,280 --> 00:46:54,359
Speaker 1: he felt about it?

798
00:46:54,800 --> 00:46:55,000
Speaker 3: Right?

799
00:46:55,000 --> 00:46:57,000
Speaker 1: What about how Luke felt about it?

800
00:46:57,239 --> 00:46:57,520
Speaker 4: Right?

801
00:46:57,719 --> 00:47:01,200
Speaker 1: And that's his that's potentially his family. Do you think

802
00:47:01,239 --> 00:47:06,399
Speaker 1: there was any part of him that said, oh, gosh,

803
00:47:06,880 --> 00:47:10,040
Speaker 1: you know, maybe I should delay the wedding. I have

804
00:47:10,120 --> 00:47:15,720
Speaker 1: a family. I have, Yes, I have. Maybe I get back.

805
00:47:15,840 --> 00:47:18,040
Speaker 1: Maybe there's a scenario who thought about where I get

806
00:47:18,080 --> 00:47:20,759
Speaker 1: back with April and we raise up this daughter because

807
00:47:20,760 --> 00:47:23,880
Speaker 1: she's only twelve, we got six more years before she

808
00:47:23,920 --> 00:47:25,840
Speaker 1: goes up, five more years.

809
00:47:26,120 --> 00:47:27,160
Speaker 4: I think that.

810
00:47:27,560 --> 00:47:29,880
Speaker 1: I think you can think he as a man or

811
00:47:30,160 --> 00:47:36,120
Speaker 1: somebody who who maybe feels this oh weighty responsibility to

812
00:47:36,200 --> 00:47:43,000
Speaker 1: return and take on the responsibility and be that guy like, hey, Anna,

813
00:47:43,440 --> 00:47:45,879
Speaker 1: I want to let's get get back together. I want

814
00:47:45,880 --> 00:47:49,160
Speaker 1: to raise up this child, a child that's a big deal.

815
00:47:49,520 --> 00:47:53,600
Speaker 4: Yeah, yeah, I think he definitely. I think he definitely

816
00:47:53,640 --> 00:47:57,000
Speaker 4: felt a responsibility towards April and wanted to have a

817
00:47:57,040 --> 00:48:00,799
Speaker 4: religionship people. I don't think he ever contemps getting back

818
00:48:00,840 --> 00:48:01,560
Speaker 4: together with Anna.

819
00:48:02,560 --> 00:48:05,200
Speaker 3: I think so too. I think it's what I think,

820
00:48:05,200 --> 00:48:07,680
Speaker 3: it's what you said, and that he needs a minute.

821
00:48:07,680 --> 00:48:10,320
Speaker 3: This is very overwhelming for him, and he does feel

822
00:48:10,840 --> 00:48:13,719
Speaker 3: like this sense of obligation and wanting to be a

823
00:48:13,760 --> 00:48:19,120
Speaker 3: part of all her life. I also think he's terrified

824
00:48:19,680 --> 00:48:25,680
Speaker 3: that it could ruin this thing that he's wanted for

825
00:48:25,800 --> 00:48:29,440
Speaker 3: so long that's finally happening. And I think that they

826
00:48:29,480 --> 00:48:33,360
Speaker 3: acknowledge that a little bit. First of all, Sherilyn Fenn

827
00:48:33,640 --> 00:48:37,600
Speaker 3: is so cool, her outfits cool, her house is school,

828
00:48:37,600 --> 00:48:40,600
Speaker 3: everything about her is cool so far. But she says,

829
00:48:40,640 --> 00:48:43,960
Speaker 3: are you happy? And he says yes, and she says

830
00:48:44,239 --> 00:48:47,279
Speaker 3: me too, So you kind of get this acknowledgement. Like

831
00:48:48,280 --> 00:48:51,960
Speaker 3: I don't even get a flirt with them. I just

832
00:48:52,120 --> 00:48:56,120
Speaker 3: get that like he wants to do the right thing

833
00:48:56,680 --> 00:48:59,480
Speaker 3: and he's trying to figure out what is that right?

834
00:48:59,520 --> 00:49:01,960
Speaker 4: And we know, oh, because remember back when he had

835
00:49:01,960 --> 00:49:06,120
Speaker 4: that conversation with Liz, he told her he didn't want

836
00:49:06,160 --> 00:49:08,920
Speaker 4: this to ruin his relationship with Laurea Isaac. We got

837
00:49:08,920 --> 00:49:10,719
Speaker 4: a good thing going here. I don't want to mess

838
00:49:10,719 --> 00:49:14,000
Speaker 4: it up. And Liz told him, she said, it's not

839
00:49:14,040 --> 00:49:16,920
Speaker 4: gonna mess anything up unless you let it. So that

840
00:49:17,160 --> 00:49:23,120
Speaker 4: was like some foreshadowing there that you know, Luke was

841
00:49:23,200 --> 00:49:25,440
Speaker 4: concerned about how this was going to affect his relationship

842
00:49:25,480 --> 00:49:27,400
Speaker 4: with Laureli, but I think that was only in the

843
00:49:27,440 --> 00:49:30,440
Speaker 4: setting of April and not really related to Anna.

844
00:49:31,080 --> 00:49:35,120
Speaker 3: Someone on our Instagram did make an interesting point, being

845
00:49:35,200 --> 00:49:40,080
Speaker 3: that anyone in a very serious relationship would have immediately

846
00:49:40,160 --> 00:49:43,440
Speaker 3: told their significant other some girl came into the diner

847
00:49:43,480 --> 00:49:47,960
Speaker 3: today and plucked my hair out. Yes, Yeah, which I

848
00:49:48,000 --> 00:49:50,040
Speaker 3: thought was like, Oh, that's sort of true. That's like

849
00:49:50,640 --> 00:49:55,680
Speaker 3: I almost think he had a moment there where he

850
00:49:55,719 --> 00:49:58,879
Speaker 3: could have brought Lorelion. Now it's a little trickier because

851
00:49:58,880 --> 00:50:00,640
Speaker 3: he's sort of trying to figure out where he's at

852
00:50:00,640 --> 00:50:03,360
Speaker 3: with all of it, But I think the right move,

853
00:50:03,520 --> 00:50:06,000
Speaker 3: easier move would have been tell her from the start.

854
00:50:06,280 --> 00:50:10,839
Speaker 1: Yeah, I think. Okay, So this goes back to how

855
00:50:10,960 --> 00:50:18,560
Speaker 1: much he trusts Laurla to follow through on the wedding.

856
00:50:18,960 --> 00:50:19,239
Speaker 4: M hm.

857
00:50:19,960 --> 00:50:22,080
Speaker 1: Does he really believe it's going to happen? I know

858
00:50:22,160 --> 00:50:26,200
Speaker 1: he's hopeful and he's happy, but does he really believe

859
00:50:26,239 --> 00:50:30,319
Speaker 1: it and his options open with Anna and April.

860
00:50:30,600 --> 00:50:33,000
Speaker 3: I'm more on the take of he's so nervous something's

861
00:50:33,000 --> 00:50:35,720
Speaker 3: going to mess it up and this is so major

862
00:50:36,360 --> 00:50:38,040
Speaker 3: that he's just like, oh.

863
00:50:37,960 --> 00:50:41,120
Speaker 1: Man, right now, I'm going to mess it up. I'm

864
00:50:41,120 --> 00:50:43,239
Speaker 1: going to be I'm the sabotager.

865
00:50:43,760 --> 00:50:46,960
Speaker 4: Yeah. I think she's still completely devoted to Laura I

866
00:50:47,080 --> 00:50:50,040
Speaker 4: and he's just confused by this new development and how.

867
00:50:50,000 --> 00:50:51,040
Speaker 1: Oh I didn't he tell her?

868
00:50:54,680 --> 00:50:56,920
Speaker 4: He said he needed a minute, he just needed to

869
00:50:57,000 --> 00:51:00,400
Speaker 4: process it. And then you know, then she's shows up

870
00:51:00,400 --> 00:51:02,600
Speaker 4: wearing the running dress, and so now that's not the right.

871
00:51:03,239 --> 00:51:06,279
Speaker 4: Something always happens that prevents him from telling her, And

872
00:51:06,320 --> 00:51:09,440
Speaker 4: then it gets to the point where the longer it

873
00:51:09,480 --> 00:51:11,960
Speaker 4: goes on, the harder it is to say something, because

874
00:51:11,960 --> 00:51:13,799
Speaker 4: obviously the question is going to be, well, why didn't

875
00:51:13,840 --> 00:51:16,200
Speaker 4: you tell me before? And it just kind of snowballs

876
00:51:16,200 --> 00:51:16,600
Speaker 4: from there.

877
00:51:16,880 --> 00:51:19,200
Speaker 1: Yeah. I think on a conscious level it is his

878
00:51:19,239 --> 00:51:20,120
Speaker 1: fear of losing her.

879
00:51:20,360 --> 00:51:26,239
Speaker 3: Yeah, yes, yes, I think so too. He's just he

880
00:51:26,280 --> 00:51:28,759
Speaker 3: doesn't want to be the one to rock this boat.

881
00:51:28,640 --> 00:51:32,080
Speaker 1: Or he's in over his head. He knows that, you.

882
00:51:32,000 --> 00:51:35,120
Speaker 3: Know, and maybe even a little bit like she's been like.

883
00:51:35,160 --> 00:51:37,920
Speaker 1: Come up, guess like being at a horse. Come on.

884
00:51:38,600 --> 00:51:44,239
Speaker 3: Yeah, and she's been through she get there, exactly, She's

885
00:51:44,280 --> 00:51:49,960
Speaker 3: been through a lot too, right, But she's been through

886
00:51:50,719 --> 00:51:55,600
Speaker 3: this whole situation with Rory, right, and he doesn't want

887
00:51:55,640 --> 00:51:59,040
Speaker 3: to be another thing that causes her pain and stress.

888
00:51:59,560 --> 00:52:03,280
Speaker 4: Right, it's like Rory's back. We're finally getting things on track.

889
00:52:04,320 --> 00:52:05,760
Speaker 4: I don't want to be the one to mess.

890
00:52:05,560 --> 00:52:10,680
Speaker 3: This upright, So okay, So now we have a very

891
00:52:10,719 --> 00:52:15,200
Speaker 3: pivotal scene with Logan at the apartment and he says,

892
00:52:15,239 --> 00:52:19,000
Speaker 3: you can't live here. She's kind of acknowledged you broke

893
00:52:19,080 --> 00:52:21,560
Speaker 3: up with me through your sister. She says it was

894
00:52:21,560 --> 00:52:24,359
Speaker 3: a fight. People fight, and he says, I love you,

895
00:52:24,400 --> 00:52:28,560
Speaker 3: and it's just like, oh my goodness, Oh my goodness.

896
00:52:30,800 --> 00:52:36,600
Speaker 1: Yeah, very desperate move, wrong time, sad for him.

897
00:52:37,680 --> 00:52:39,560
Speaker 3: I mean, but he sort of gotta do it.

898
00:52:40,840 --> 00:52:46,359
Speaker 1: Oh it's not the right time. He uh. He went

899
00:52:46,440 --> 00:52:53,040
Speaker 1: from sublime to ridiculous. I'm sorry, you just lost the whole.

900
00:52:54,440 --> 00:52:57,880
Speaker 1: You know. He was a cool, alluring dude, had all

901
00:52:57,920 --> 00:52:59,600
Speaker 1: the cards. Now he's got none of them.

902
00:53:00,280 --> 00:53:03,880
Speaker 3: What does Suzanne the tiebreaker say? Because I wasn't mad

903
00:53:03,960 --> 00:53:05,160
Speaker 3: at Logan here.

904
00:53:06,480 --> 00:53:11,280
Speaker 4: I thought it was a little over the top, almost

905
00:53:11,360 --> 00:53:17,080
Speaker 4: like it went from zero communication to just trying, you know,

906
00:53:17,200 --> 00:53:18,000
Speaker 4: like confronting her.

907
00:53:20,600 --> 00:53:25,439
Speaker 1: Can't break come on, I thought, But that's what young

908
00:53:25,480 --> 00:53:28,319
Speaker 1: guys do, and they're in bad situations. And they know

909
00:53:28,480 --> 00:53:31,600
Speaker 1: they've blown it and they're about to lose or have

910
00:53:31,680 --> 00:53:33,520
Speaker 1: already lost, like the one.

911
00:53:34,160 --> 00:53:39,239
Speaker 4: Yeah, I mean maybe. I mean Logan he's had his

912
00:53:39,360 --> 00:53:43,640
Speaker 4: typical relationship pattern is not monogamy, right, He like doesn't

913
00:53:43,800 --> 00:53:47,160
Speaker 4: have these these long term quality relationships, and so this

914
00:53:47,239 --> 00:53:50,160
Speaker 4: is this is new territory for him. So I mean,

915
00:53:50,200 --> 00:53:53,320
Speaker 4: I do kind of see that perspective. But at the

916
00:53:53,360 --> 00:53:56,879
Speaker 4: same time, neither one of them communicated with the other,

917
00:53:56,960 --> 00:54:00,040
Speaker 4: and so clearly they had two different understandings of what

918
00:54:00,200 --> 00:54:05,319
Speaker 4: was happening. And so rather than I just wish they

919
00:54:05,360 --> 00:54:07,560
Speaker 4: had kind of discussed it more, I don't know, maybe

920
00:54:07,560 --> 00:54:10,319
Speaker 4: that might be expecting too much from twenty one year

921
00:54:10,320 --> 00:54:12,080
Speaker 4: olds or she was twenty one, he was older.

922
00:54:12,080 --> 00:54:14,359
Speaker 3: But it felt Yeah, I'm glad you said. It felt

923
00:54:14,440 --> 00:54:16,839
Speaker 3: kind of collegey to me, and I wasn't mad about it.

924
00:54:17,040 --> 00:54:20,040
Speaker 3: That is what a college guy does. It's like they

925
00:54:20,080 --> 00:54:24,640
Speaker 3: are in college and he's over there, and I wasn't

926
00:54:24,680 --> 00:54:26,680
Speaker 3: mad about it. I more have a flag on the

927
00:54:26,719 --> 00:54:29,680
Speaker 3: next scene with the therapist. So I want to see

928
00:54:29,680 --> 00:54:30,279
Speaker 3: what you guys say.

929
00:54:30,400 --> 00:54:32,680
Speaker 1: But it's a write a passage for all young men

930
00:54:33,680 --> 00:54:36,239
Speaker 1: to get the Matza ball in the face after you know,

931
00:54:36,320 --> 00:54:38,479
Speaker 1: you deliver and I love you and it just hangs

932
00:54:38,520 --> 00:54:42,319
Speaker 1: out there and it's not returned. So that was his

933
00:54:42,600 --> 00:54:43,480
Speaker 1: so we got to see it.

934
00:54:43,920 --> 00:54:47,960
Speaker 3: Yeah, yeah, true, true, she's being fairly sort of tough

935
00:54:48,000 --> 00:54:53,319
Speaker 3: with him, but we learn in the therapist's office she's

936
00:54:53,360 --> 00:54:59,879
Speaker 3: totally unhinged. Now I have a question about that scene.

937
00:54:59,880 --> 00:55:02,000
Speaker 3: But first you guys, say what you thought of that scene.

938
00:55:03,840 --> 00:55:06,239
Speaker 1: I thought it was a therapist. I thought it was

939
00:55:06,280 --> 00:55:10,160
Speaker 1: some of Alexis's finest moments as an actress on that show.

940
00:55:10,800 --> 00:55:14,000
Speaker 3: Really, I have so the opposite.

941
00:55:13,480 --> 00:55:18,239
Speaker 1: Take, thank you, thank you. I don't like that.

942
00:55:18,440 --> 00:55:20,840
Speaker 3: I don't like the scene at all because it just

943
00:55:20,840 --> 00:55:24,640
Speaker 3: feels so fake. So I have an acting question for you.

944
00:55:24,600 --> 00:55:29,200
Speaker 1: Scott, but it yes, go ahead, sorry, So.

945
00:55:29,239 --> 00:55:31,960
Speaker 3: Because this is like Gilmore Girls, right, yes, and it's

946
00:55:32,239 --> 00:55:36,839
Speaker 3: Gilmore Girls. Is a is a comedy drama to me? Okay,

947
00:55:36,920 --> 00:55:38,360
Speaker 3: comedy first.

948
00:55:38,239 --> 00:55:40,279
Speaker 1: I know what you're gonna ask me, And yes, it

949
00:55:40,360 --> 00:55:44,319
Speaker 1: did skew comedy okay, yeah, yeah, And that's what I

950
00:55:44,360 --> 00:55:49,040
Speaker 1: so appreciated about it, because it showed a real ability

951
00:55:49,160 --> 00:55:55,320
Speaker 1: on Alexis's part to understand that this was a comedic moment. Yes, okay,

952
00:55:55,360 --> 00:56:00,480
Speaker 1: this is not a dramatic moment. This is a comedic moment, okay.

953
00:56:00,719 --> 00:56:05,760
Speaker 1: And she'd made all of the right choices the entire scene.

954
00:56:05,760 --> 00:56:07,040
Speaker 1: It was impressive to.

955
00:56:07,040 --> 00:56:11,040
Speaker 3: Watch, Okay, So that helps me a lot because I

956
00:56:11,280 --> 00:56:15,560
Speaker 3: was I was sort of aware of that, like I'm

957
00:56:16,040 --> 00:56:18,120
Speaker 3: watching this expecting this to be.

958
00:56:19,080 --> 00:56:21,400
Speaker 1: You know what's a very supposed to laugh.

959
00:56:22,160 --> 00:56:26,080
Speaker 3: Right, like I wanted it to be. Like, I can't

960
00:56:26,120 --> 00:56:28,359
Speaker 3: think of some very dramatic.

961
00:56:28,120 --> 00:56:31,200
Speaker 1: Who no, come on, that would have dragged the whole

962
00:56:31,200 --> 00:56:34,839
Speaker 1: episode down into like you know exactly, so we're not

963
00:56:34,880 --> 00:56:37,839
Speaker 1: doing Tolstoy or sol Janison for let's sake.

964
00:56:37,960 --> 00:56:41,960
Speaker 3: Okay, you're answering my question perfectly, because say, as an actor,

965
00:56:42,040 --> 00:56:44,200
Speaker 3: you get that scene right, So you just get that

966
00:56:44,239 --> 00:56:47,600
Speaker 3: script for the scene, right. Do you play it differently

967
00:56:47,800 --> 00:56:51,560
Speaker 3: if it's for Gilmore Girls as opposed to again, I

968
00:56:51,560 --> 00:56:53,960
Speaker 3: can't think of like some very serious drama.

969
00:56:54,160 --> 00:56:56,640
Speaker 1: Absolutely, you play it different. It's a different tone, it's

970
00:56:56,640 --> 00:57:01,360
Speaker 1: a different style. And it was discussed, all discussed beforehand,

971
00:57:03,320 --> 00:57:05,720
Speaker 1: and the director talking and Amy and the a Lexus

972
00:57:05,719 --> 00:57:09,520
Speaker 1: are talking. Listen the tone of this scene, YadA YadA, YadA, right,

973
00:57:10,400 --> 00:57:12,879
Speaker 1: and she nailed it. She hit it part.

974
00:57:12,960 --> 00:57:17,080
Speaker 3: It was perfect all right, fair, because I, for some reason,

975
00:57:17,120 --> 00:57:20,240
Speaker 3: when I wanted it to be my god, why can

976
00:57:20,400 --> 00:57:24,640
Speaker 3: I not think of any like huge drama Gray's anatomy.

977
00:57:24,760 --> 00:57:27,240
Speaker 1: Let's just say, right, I, it's not that.

978
00:57:27,480 --> 00:57:29,640
Speaker 3: It's okay, it's supposed to be that.

979
00:57:29,560 --> 00:57:32,480
Speaker 1: It sets in the city light light in the light

980
00:57:32,680 --> 00:57:34,760
Speaker 1: light light, comedic.

981
00:57:34,560 --> 00:57:37,840
Speaker 3: There more sitcomy, almost like it felt like it was

982
00:57:37,920 --> 00:57:41,440
Speaker 3: to be funny, which is why I was like, this

983
00:57:41,560 --> 00:57:42,640
Speaker 3: scene is two fake?

984
00:57:44,440 --> 00:57:47,520
Speaker 1: It was. It was intense, it was fast paced, it

985
00:57:47,560 --> 00:57:52,480
Speaker 1: was comedic. I thought she handled it beautifully. I was

986
00:57:52,560 --> 00:57:53,320
Speaker 1: so impressed.

987
00:57:53,840 --> 00:57:57,840
Speaker 3: All right, fair that change? Does that change your take

988
00:57:57,920 --> 00:57:59,040
Speaker 3: on it?

989
00:57:58,760 --> 00:58:05,439
Speaker 4: It does? I I thought it was humorous, but not

990
00:58:05,520 --> 00:58:08,080
Speaker 4: necessarily funny.

991
00:58:13,840 --> 00:58:17,880
Speaker 3: It fell campy, and it fell campy to me, a fake.

992
00:58:18,640 --> 00:58:20,080
Speaker 1: It was supposed to be.

993
00:58:21,640 --> 00:58:24,280
Speaker 4: It was funny when she had like one tissue and

994
00:58:25,000 --> 00:58:27,800
Speaker 4: she's got like forty tissues and that was funny.

995
00:58:27,960 --> 00:58:31,360
Speaker 1: But that's it was supposed to be campy. It was

996
00:58:31,400 --> 00:58:32,280
Speaker 1: supposed to be right.

997
00:58:32,600 --> 00:58:36,240
Speaker 3: But I would maybe like to see it be be serious.

998
00:58:38,200 --> 00:58:38,960
Speaker 1: That's a different cha.

999
00:58:40,080 --> 00:58:45,960
Speaker 5: I kind of agree that you should tune into Sullivan's crossing. Yeah, okay, okay,

1000
00:58:46,280 --> 00:58:49,960
Speaker 5: that's all it is. Yeah, yeah, okay, it's like tears

1001
00:58:50,000 --> 00:58:50,480
Speaker 5: are flowing.

1002
00:58:50,600 --> 00:58:50,840
Speaker 1: Man.

1003
00:58:51,920 --> 00:58:54,320
Speaker 3: So we sort of talked about the scene with Lane

1004
00:58:54,360 --> 00:58:56,320
Speaker 3: and her mom obviously very much talked about it. So

1005
00:58:56,840 --> 00:59:00,480
Speaker 3: we now get Lorelei in her room getting the call

1006
00:59:01,760 --> 00:59:05,439
Speaker 3: from Rory. Guess who's crazy? You know, by the way,

1007
00:59:05,440 --> 00:59:08,200
Speaker 3: her room does look amazing. But they sort of have

1008
00:59:08,440 --> 00:59:12,960
Speaker 3: this talk about doctor Shapiro and how she exploded, and

1009
00:59:13,000 --> 00:59:17,280
Speaker 3: I really liked that Loralai paid no attention to any

1010
00:59:17,320 --> 00:59:20,640
Speaker 3: of that, but wanted to know if she believed Logan do.

1011
00:59:20,640 --> 00:59:22,680
Speaker 4: You believe them?

1012
00:59:22,720 --> 00:59:25,240
Speaker 3: So I thought I thought I liked that.

1013
00:59:26,200 --> 00:59:27,840
Speaker 4: Yeah, I thought that was a good moment.

1014
00:59:29,760 --> 00:59:34,240
Speaker 3: Yeah, and we learned that Rory's going back to therapy

1015
00:59:34,320 --> 00:59:38,560
Speaker 3: what she needs to and oh my gosh, I don't

1016
00:59:38,560 --> 00:59:40,880
Speaker 3: even need best lines because when she says blame it

1017
00:59:40,920 --> 00:59:48,360
Speaker 3: on Grandma, that was awesome. So and I love her.

1018
00:59:48,480 --> 00:59:53,520
Speaker 3: I love her room. So, oh, I think we have

1019
00:59:53,640 --> 00:59:59,640
Speaker 3: the moment where is the scene where Luke gets with

1020
00:59:59,800 --> 01:00:04,280
Speaker 3: Kerr to try and find the signal the Wi Fi

1021
01:00:04,400 --> 01:00:06,320
Speaker 3: and we're like, what are they doing? And because he

1022
01:00:06,360 --> 01:00:08,400
Speaker 3: wanted to see her website.

1023
01:00:08,400 --> 01:00:10,400
Speaker 4: That's right after the therapy session.

1024
01:00:12,320 --> 01:00:15,960
Speaker 3: Okay, okay, So we're right sort of in there with that,

1025
01:00:16,800 --> 01:00:22,880
Speaker 3: and then we get the scene with Anna again and

1026
01:00:22,960 --> 01:00:28,320
Speaker 3: he says, you know, you should have told me, and

1027
01:00:28,360 --> 01:00:32,160
Speaker 3: I want to know my daughter, and this is you know,

1028
01:00:32,840 --> 01:00:36,200
Speaker 3: like's like me.

1029
01:00:38,200 --> 01:00:42,000
Speaker 1: You know, having a kid is one thing, and being

1030
01:00:42,120 --> 01:00:49,440
Speaker 1: there for that child it's everything. Yeah, and to find out,

1031
01:00:49,800 --> 01:00:51,640
Speaker 1: you know, you have to imagine you find out you

1032
01:00:51,640 --> 01:00:55,800
Speaker 1: have a child twelve years after the fact, Oh my gosh,

1033
01:00:55,840 --> 01:01:00,280
Speaker 1: it's just got to spin your brain around a few times. Like, boy, yeah,

1034
01:01:00,520 --> 01:01:03,600
Speaker 1: you know, it was probably just frozen, couldn't make a

1035
01:01:03,640 --> 01:01:07,360
Speaker 1: decision on what to do. Well, you guys are totally right.

1036
01:01:08,040 --> 01:01:09,479
Speaker 1: He's still processing it.

1037
01:01:09,680 --> 01:01:11,920
Speaker 4: Yeah, I mean if he always spends your roll around

1038
01:01:12,040 --> 01:01:13,000
Speaker 4: like everything.

1039
01:01:13,040 --> 01:01:16,240
Speaker 1: Now you know how that's that could blow up the

1040
01:01:16,360 --> 01:01:19,720
Speaker 1: entire relationship. I can't. I can't be hard on my guy.

1041
01:01:19,960 --> 01:01:24,480
Speaker 3: With fans hate for this whole situation, I do think

1042
01:01:24,480 --> 01:01:30,160
Speaker 3: they're not giving the situation enough credit. Like, come on,

1043
01:01:30,280 --> 01:01:33,760
Speaker 3: this guy just realizes he has a kid, Like, who

1044
01:01:33,800 --> 01:01:37,200
Speaker 3: knows how to handle that? So maybe don't handle it well,

1045
01:01:37,200 --> 01:01:39,440
Speaker 3: but like that's why you know what to handle that.

1046
01:01:39,720 --> 01:01:42,720
Speaker 1: But define handling it well. He goes to Laurel I

1047
01:01:42,720 --> 01:01:44,720
Speaker 1: as soon as he finds out she pulls the hair

1048
01:01:44,760 --> 01:01:46,840
Speaker 1: out of his head. She goes off to du the

1049
01:01:46,920 --> 01:01:50,800
Speaker 1: DNA test. He goes to Laurel I. He's effectively in

1050
01:01:50,880 --> 01:01:55,920
Speaker 1: his mind ending the relationship by telling her right right, kid,

1051
01:01:57,040 --> 01:02:03,680
Speaker 1: And that's that's what you know. A certain percentage of

1052
01:02:03,800 --> 01:02:07,200
Speaker 1: people who are in serious relationships thinks he should have

1053
01:02:07,320 --> 01:02:09,000
Speaker 1: done right.

1054
01:02:10,240 --> 01:02:10,640
Speaker 3: Mm hmm.

1055
01:02:12,400 --> 01:02:16,640
Speaker 1: So long term, he's the good guy who copped to

1056
01:02:16,680 --> 01:02:19,720
Speaker 1: it right away and didn't withhold, But he loses the

1057
01:02:19,760 --> 01:02:24,760
Speaker 1: relationship potential. He's really but it comes down to a

1058
01:02:24,880 --> 01:02:28,840
Speaker 1: question of trust and respect. Trust in your partner that

1059
01:02:28,880 --> 01:02:33,280
Speaker 1: she's going to make the right decision, and respect that

1060
01:02:33,360 --> 01:02:35,880
Speaker 1: you did that, and that you gave her the benefit

1061
01:02:35,880 --> 01:02:38,200
Speaker 1: of the doubt, and you gave her the power of

1062
01:02:38,280 --> 01:02:42,320
Speaker 1: the having the information to decide, because it's her life too,

1063
01:02:42,960 --> 01:02:46,080
Speaker 1: and she deserves that information. So I see both sides.

1064
01:02:46,440 --> 01:02:51,040
Speaker 1: She deserves that information to process it herself, because that's

1065
01:02:51,280 --> 01:02:55,560
Speaker 1: a bomb in her life, to personally and to the relationship.

1066
01:02:55,680 --> 01:02:59,240
Speaker 1: But at least he gave her the respect to make

1067
01:02:59,280 --> 01:03:01,920
Speaker 1: the decision. She want to continue with this? Does she

1068
01:03:01,960 --> 01:03:05,120
Speaker 1: want to process? If our love is truly real, then

1069
01:03:05,720 --> 01:03:08,280
Speaker 1: she'll process it. It might take a day, it might

1070
01:03:08,320 --> 01:03:11,280
Speaker 1: take a week, whatever, it might cause an upset a

1071
01:03:11,400 --> 01:03:13,240
Speaker 1: delay in the wedding, but she'll come back to me

1072
01:03:13,320 --> 01:03:15,320
Speaker 1: because I know she loves me, and I know I

1073
01:03:15,360 --> 01:03:17,840
Speaker 1: want her to trust me, and this is a big

1074
01:03:18,600 --> 01:03:20,560
Speaker 1: trust thing. So I see both sons.

1075
01:03:20,960 --> 01:03:24,000
Speaker 3: I do too, because I also see this is the

1076
01:03:24,040 --> 01:03:33,400
Speaker 3: most overwhelming, unbelievable, shocking, life altering news where Luke has

1077
01:03:33,480 --> 01:03:36,360
Speaker 3: all these complex feelings too, like should I have known?

1078
01:03:36,760 --> 01:03:41,360
Speaker 3: Why didn't she tell me? I'm sure you've got sadness, anger, shock,

1079
01:03:42,520 --> 01:03:46,480
Speaker 3: just bewilderment, like you don't know what to do? And Joy,

1080
01:03:47,320 --> 01:03:49,040
Speaker 3: that's right exactly, Joy.

1081
01:03:48,920 --> 01:03:50,880
Speaker 1: I have a charge, not really, but I think.

1082
01:03:51,920 --> 01:03:55,360
Speaker 3: Not letting Luke have his experience.

1083
01:03:55,880 --> 01:04:01,560
Speaker 1: Yeah, what's wrong with me that that Anna didn't tell me? Right? Right? Right?

1084
01:04:02,560 --> 01:04:06,400
Speaker 3: Scott? You make such a good point there. What's wrong

1085
01:04:06,440 --> 01:04:09,600
Speaker 3: with me that she didn't tell me? Because you get

1086
01:04:09,920 --> 01:04:12,840
Speaker 3: you would totally be self conscious, like am I not

1087
01:04:12,920 --> 01:04:14,880
Speaker 3: good enough to be a father? Is that why this

1088
01:04:14,960 --> 01:04:18,360
Speaker 3: woman would have rather done this on her own? It's

1089
01:04:18,400 --> 01:04:20,920
Speaker 3: not like you are a one night stand, right Like

1090
01:04:22,000 --> 01:04:25,240
Speaker 3: she knows you, so she made a conscious choice to

1091
01:04:25,360 --> 01:04:29,760
Speaker 3: not tell you, which is a ass move by the way,

1092
01:04:29,880 --> 01:04:32,439
Speaker 3: in my opinion, she should have told him immediately that's

1093
01:04:32,480 --> 01:04:37,600
Speaker 3: like so gnarly. But as the Luke, you would feel like,

1094
01:04:40,040 --> 01:04:43,560
Speaker 3: am I not what's wrong with me? That she didn't

1095
01:04:43,600 --> 01:04:46,920
Speaker 3: think I could be a dad. She'd rather do it

1096
01:04:46,960 --> 01:04:49,680
Speaker 3: on her own than do it with me, And that

1097
01:04:49,720 --> 01:04:51,640
Speaker 3: would mess you up so bad.

1098
01:04:53,760 --> 01:04:56,520
Speaker 4: But at the same time, like that's when you would

1099
01:04:56,600 --> 01:05:02,680
Speaker 4: turn to your current partner for support. I if you're

1100
01:05:02,680 --> 01:05:06,920
Speaker 4: in a trusting relationship like that, then the plan is

1101
01:05:06,920 --> 01:05:10,280
Speaker 4: that the two of you would face any obstacle together.

1102
01:05:11,240 --> 01:05:14,080
Speaker 3: We can I throw out one. And you know, I

1103
01:05:14,120 --> 01:05:17,080
Speaker 3: love Loralai more than anybody on the planet, well or

1104
01:05:17,120 --> 01:05:20,240
Speaker 3: equal to many people on the planet. But I love Lorlai, right,

1105
01:05:21,000 --> 01:05:26,040
Speaker 3: But this is a harsh thing to say. Maybe subconsciously

1106
01:05:26,360 --> 01:05:28,320
Speaker 3: this is not really to say, I admit it. People

1107
01:05:28,400 --> 01:05:32,600
Speaker 3: might get mad. Maybe he knows that Laura I sometimes

1108
01:05:32,720 --> 01:05:37,960
Speaker 3: tends to make things about loral And truly this isn't

1109
01:05:38,040 --> 01:05:42,480
Speaker 3: about Lorelai, Like this should just be about Luke. And

1110
01:05:42,560 --> 01:05:45,120
Speaker 3: maybe Loralai would do the right thing and be fully

1111
01:05:45,160 --> 01:05:48,960
Speaker 3: supportive of just whatever Luke needs. But maybe she would

1112
01:05:49,000 --> 01:05:53,040
Speaker 3: make this about her. It's not crazy to say she

1113
01:05:53,160 --> 01:05:54,040
Speaker 3: sometimes does that.

1114
01:05:54,640 --> 01:05:57,600
Speaker 1: Interesting interesting point.

1115
01:05:59,360 --> 01:06:01,840
Speaker 4: Yeah, I agree, I mean.

1116
01:06:02,480 --> 01:06:05,760
Speaker 1: That's why they call this in the business a complication

1117
01:06:06,040 --> 01:06:11,720
Speaker 1: because it is complex. It's really complex. Yeah, and we're

1118
01:06:11,760 --> 01:06:15,840
Speaker 1: just scratching the surface here. You know. It's wow.

1119
01:06:16,520 --> 01:06:20,520
Speaker 4: I think statistically speaking, she would have been more likely

1120
01:06:20,680 --> 01:06:23,080
Speaker 4: to be supportive of Luke and to try to help

1121
01:06:23,160 --> 01:06:27,520
Speaker 4: him through it than to make it about her.

1122
01:06:28,160 --> 01:06:31,040
Speaker 3: Yeah, I mean, I agree with you. Maybe, I don't know.

1123
01:06:31,520 --> 01:06:34,720
Speaker 4: I feel like his fear that this would break them

1124
01:06:34,840 --> 01:06:37,960
Speaker 4: up was unfounded. I don't think it would have broken

1125
01:06:38,000 --> 01:06:38,360
Speaker 4: them up.

1126
01:06:39,440 --> 01:06:41,960
Speaker 1: I think, well, I tell you, you know, there's nothing more

1127
01:06:42,040 --> 01:06:43,600
Speaker 1: boring than perfect people.

1128
01:06:44,080 --> 01:06:48,040
Speaker 3: Exactly. That's Scott. I was just about to say, for

1129
01:06:48,080 --> 01:06:51,400
Speaker 3: everybody that sort of gives this storyline grief, I think

1130
01:06:51,440 --> 01:06:54,320
Speaker 3: it's so meaty, and I think it was with all

1131
01:06:54,400 --> 01:07:01,880
Speaker 3: good intentions that the creators gave us this because so meaty.

1132
01:07:01,960 --> 01:07:04,520
Speaker 3: It's so it's like, oh my gosh.

1133
01:07:04,640 --> 01:07:10,000
Speaker 1: They acknowledge that flawed characters and flowed personalities are far

1134
01:07:10,040 --> 01:07:11,720
Speaker 1: more interesting to watch on television.

1135
01:07:12,120 --> 01:07:12,640
Speaker 3: Totally.

1136
01:07:12,960 --> 01:07:16,360
Speaker 1: You know, a bunch of perfect people behaving. It's like

1137
01:07:16,440 --> 01:07:18,920
Speaker 1: everybody does the right thing all the time, like click,

1138
01:07:19,880 --> 01:07:23,120
Speaker 1: and I don't it don't make sure about people like that.

1139
01:07:23,760 --> 01:07:26,560
Speaker 3: I'm not a Season six hater. I'm just not.

1140
01:07:27,000 --> 01:07:31,720
Speaker 1: I'm not. I'm not yet. I'm waiting, you know, because.

1141
01:07:31,520 --> 01:07:34,480
Speaker 3: It's like I don't expect him to do the right thing. Also,

1142
01:07:34,600 --> 01:07:38,040
Speaker 3: all the time, this guy doesn't always he never does

1143
01:07:38,120 --> 01:07:40,919
Speaker 3: the bad thing, but he doesn't do the right thing

1144
01:07:41,320 --> 01:07:45,200
Speaker 3: with all good intentions. He just messes it up.

1145
01:07:45,640 --> 01:07:49,760
Speaker 1: Because I think I listen, I think the power and

1146
01:07:49,800 --> 01:07:54,200
Speaker 1: the complexity of the Luke and Lorelei relationship is so

1147
01:07:54,520 --> 01:08:03,640
Speaker 1: aspirational for the fans, and it is presented in I mean,

1148
01:08:03,640 --> 01:08:06,280
Speaker 1: the whole thing is such a tease for so long,

1149
01:08:07,560 --> 01:08:10,440
Speaker 1: and that it is so fraught with danger, and the

1150
01:08:10,480 --> 01:08:14,840
Speaker 1: fans have gone through all of these vicariously because they've

1151
01:08:14,920 --> 01:08:18,080
Speaker 1: gone through it themselves in their lives, and they really

1152
01:08:18,120 --> 01:08:21,960
Speaker 1: want this to work out. They're so invested in it,

1153
01:08:22,680 --> 01:08:27,000
Speaker 1: so they kind of maybe forget that these are flawed

1154
01:08:27,040 --> 01:08:29,599
Speaker 1: people and this thing could blow up up in our faces.

1155
01:08:30,000 --> 01:08:32,760
Speaker 1: And I think the Palladinos are brilliant in the sense that,

1156
01:08:33,560 --> 01:08:36,080
Speaker 1: you know, they toy with people the way they toy

1157
01:08:36,200 --> 01:08:40,920
Speaker 1: with the people's emotions by throwing in these complications, and

1158
01:08:40,920 --> 01:08:44,040
Speaker 1: I think they always knew, like, listen, there's going to

1159
01:08:44,120 --> 01:08:46,080
Speaker 1: be an inn and Nardinia there's going to be a kid.

1160
01:08:46,439 --> 01:08:50,200
Speaker 1: The fans are going to hate them, like aspirational the

1161
01:08:50,240 --> 01:08:53,400
Speaker 1: Luke and laurel our relationship isn't how devoted the fans

1162
01:08:53,400 --> 01:08:59,160
Speaker 1: are to this relationship. Ye that we must, we must

1163
01:08:59,240 --> 01:09:05,320
Speaker 1: drop a little fly in the ointment here, if you will.

1164
01:09:05,479 --> 01:09:08,200
Speaker 3: So it makes me laugh because there's this video that

1165
01:09:08,320 --> 01:09:11,519
Speaker 3: I think it's kind of floating around TikTok. It's a

1166
01:09:11,560 --> 01:09:16,080
Speaker 3: blooper ish between you and Lauren. So there's a scene

1167
01:09:16,200 --> 01:09:19,439
Speaker 3: I think it's way back on the bench. You're having

1168
01:09:19,439 --> 01:09:21,920
Speaker 3: a conversation. I don't know if you've seen this, Suzanne.

1169
01:09:21,640 --> 01:09:22,719
Speaker 4: Yeah, I know what you're talking about.

1170
01:09:22,800 --> 01:09:24,880
Speaker 3: He sort of messes up and says I love you,

1171
01:09:26,320 --> 01:09:31,160
Speaker 3: and you know, they giggle, giggle, and Scott says something

1172
01:09:31,280 --> 01:09:35,080
Speaker 3: funny like, oh, he's showing your feelings whatever, and she

1173
01:09:35,160 --> 01:09:37,640
Speaker 3: says something like and the show would be over. And

1174
01:09:37,680 --> 01:09:41,360
Speaker 3: it's like, you guys like literally acknowledge that if there's

1175
01:09:41,479 --> 01:09:47,040
Speaker 3: no bumps in the road, there is no show. This

1176
01:09:47,160 --> 01:09:54,599
Speaker 3: is The show is watching these two people navigate complications.

1177
01:09:54,760 --> 01:09:58,320
Speaker 1: You know what. I think this is at its core.

1178
01:09:59,520 --> 01:10:02,400
Speaker 1: I think that this is and they can't show it

1179
01:10:02,439 --> 01:10:06,320
Speaker 1: on this show because it's a family show. I think

1180
01:10:06,360 --> 01:10:13,679
Speaker 1: that these two are wildly attracted to Na.

1181
01:10:16,000 --> 01:10:17,880
Speaker 3: Laura, not Anna, right.

1182
01:10:18,640 --> 01:10:22,040
Speaker 1: I think that Luke and Laurelai are wildly attracted to

1183
01:10:22,080 --> 01:10:26,880
Speaker 1: one another, and they are both of them are are

1184
01:10:27,200 --> 01:10:31,800
Speaker 1: living in a state of high anxiety and need for

1185
01:10:32,040 --> 01:10:38,280
Speaker 1: that chemistry, chemistry and energy to have it more than

1186
01:10:38,320 --> 01:10:42,000
Speaker 1: they have been able to have it, right, to consummate,

1187
01:10:43,479 --> 01:10:49,080
Speaker 1: to enjoy each other. And there's a lot of because

1188
01:10:49,120 --> 01:10:53,519
Speaker 1: I think maybe deep down they both know that there's

1189
01:10:53,560 --> 01:10:56,960
Speaker 1: a lot working against them in this relationship. She's from

1190
01:10:57,200 --> 01:10:59,760
Speaker 1: a certain class, he's from another class. You know what

1191
01:10:59,800 --> 01:11:03,719
Speaker 1: I'm saying. But it's a kind of a it's it's

1192
01:11:04,400 --> 01:11:10,680
Speaker 1: it's it's Romeo and Juliet, and it's this it's the

1193
01:11:10,800 --> 01:11:16,479
Speaker 1: sexual tension between these two characters is so incendiary that

1194
01:11:16,600 --> 01:11:20,160
Speaker 1: it causes all of this anxiety all of the time

1195
01:11:20,720 --> 01:11:26,280
Speaker 1: from both parties. And I think any complications, their hesitations

1196
01:11:26,320 --> 01:11:29,759
Speaker 1: are going to be met with the fear of losing

1197
01:11:29,880 --> 01:11:34,040
Speaker 1: this connection, because I think it is so powerful and

1198
01:11:34,120 --> 01:11:37,840
Speaker 1: so magnetic yea, that they would be ruined if they

1199
01:11:37,880 --> 01:11:40,720
Speaker 1: couldn't have each other or they you know, they eventually

1200
01:11:40,720 --> 01:11:43,120
Speaker 1: get over and deal with it, but it always be

1201
01:11:43,160 --> 01:11:44,880
Speaker 1: in the back of their minds, and they'd always want

1202
01:11:44,920 --> 01:11:46,599
Speaker 1: to be with each other and get back together with

1203
01:11:46,600 --> 01:11:47,040
Speaker 1: one another.

1204
01:11:47,200 --> 01:11:50,160
Speaker 3: Yeah, that's an interesting take you're sort of saying. It

1205
01:11:50,200 --> 01:11:52,600
Speaker 3: wasn't like, oh no, we're going to ruin the friendship.

1206
01:11:53,040 --> 01:11:55,720
Speaker 1: It's a little bitship.

1207
01:11:55,960 --> 01:11:58,559
Speaker 3: Yeah, I get that. I don't think that there's something

1208
01:11:58,600 --> 01:11:59,439
Speaker 3: to what you're saying.

1209
01:11:59,720 --> 01:12:03,719
Speaker 1: It's a about ruining the opportunity to turn the lights

1210
01:12:03,760 --> 01:12:04,960
Speaker 1: down the Yeah, yeah.

1211
01:12:04,800 --> 01:12:09,080
Speaker 3: Yeah, I get that. The like sort of more just

1212
01:12:09,120 --> 01:12:10,639
Speaker 3: this intense connection.

1213
01:12:10,880 --> 01:12:13,839
Speaker 1: I think it's a very it's a very intense connection.

1214
01:12:13,960 --> 01:12:16,759
Speaker 1: We got to keep that in my mind, Yeah, because

1215
01:12:16,760 --> 01:12:20,720
Speaker 1: that makes people. That makes people a little nutty.

1216
01:12:19,840 --> 01:12:24,080
Speaker 3: That's right, and maybe making Luke especially sort of making

1217
01:12:24,120 --> 01:12:29,400
Speaker 3: these decisions that aren't just the most logical, right. Yeah.

1218
01:12:29,479 --> 01:12:29,719
Speaker 1: Right.

1219
01:12:30,200 --> 01:12:33,760
Speaker 3: So we sort of end with he's going to tell her,

1220
01:12:33,840 --> 01:12:37,519
Speaker 3: He's coming back to tell her, right, and he wants

1221
01:12:37,560 --> 01:12:41,759
Speaker 3: her to come downstairs so he can tell her. And

1222
01:12:41,800 --> 01:12:47,720
Speaker 3: then she's in the dress, right, and you can't tell her.

1223
01:12:47,800 --> 01:12:52,120
Speaker 3: I get it. He can't tell her.

1224
01:12:52,800 --> 01:12:55,080
Speaker 1: And he looked like and Luke looked like he wanted

1225
01:12:55,360 --> 01:12:57,040
Speaker 1: to eat her right then and there.

1226
01:12:58,880 --> 01:13:01,720
Speaker 3: Yeah, I mean right, he can't he can't do the

1227
01:13:01,800 --> 01:13:05,519
Speaker 3: right thing because he's doing the right thing in that moment.

1228
01:13:06,360 --> 01:13:10,960
Speaker 1: Yeah. So, because because there are times in this show

1229
01:13:11,920 --> 01:13:15,880
Speaker 1: you got to ask yourself, why in the heck is

1230
01:13:15,920 --> 01:13:20,280
Speaker 1: she hanging with us? Dude, and vice versa.

1231
01:13:20,520 --> 01:13:23,040
Speaker 3: I never asked. I never asked. I don't never ask

1232
01:13:23,160 --> 01:13:28,160
Speaker 3: I never asked that you might be alone because I

1233
01:13:28,200 --> 01:13:30,080
Speaker 3: think there's nothing more us for the reason.

1234
01:13:30,439 --> 01:13:33,800
Speaker 1: That's the reason the chemistry is so powerful.

1235
01:13:33,880 --> 01:13:47,000
Speaker 3: Yeah, shout out to Judy Bloom and Deini. But also

1236
01:13:47,560 --> 01:13:49,080
Speaker 3: what is what do you guys get? I mean, give

1237
01:13:49,080 --> 01:13:50,960
Speaker 3: your favorite lines. I gave mine if you want, and

1238
01:13:50,960 --> 01:13:52,760
Speaker 3: then we need to like rate this.

1239
01:13:54,200 --> 01:13:59,200
Speaker 4: Ah okay. My favorite line was back at the beginning

1240
01:13:59,200 --> 01:14:02,559
Speaker 4: of the episode when they walk in from going to

1241
01:14:02,600 --> 01:14:06,120
Speaker 4: Atlantic City and Luke mentions that he's been going to

1242
01:14:06,120 --> 01:14:09,160
Speaker 4: bed at ten fifteen and Laureland calls him Grandpa.

1243
01:14:09,600 --> 01:14:13,120
Speaker 3: Oh yeah, oh yeah.

1244
01:14:11,960 --> 01:14:14,080
Speaker 1: Mine is the Tony dancing line. Whatever I said, I

1245
01:14:14,080 --> 01:14:17,120
Speaker 1: don't know what I said, because you know, again, it

1246
01:14:17,240 --> 01:14:22,400
Speaker 1: just demonstrates the Pallatinos weird knowledge of your life going

1247
01:14:22,479 --> 01:14:25,479
Speaker 1: back and I never told that story. It's a long listen.

1248
01:14:25,640 --> 01:14:29,479
Speaker 1: I gave you the annotated version, but it's like, this

1249
01:14:29,640 --> 01:14:33,000
Speaker 1: is a long drawn out story and it's a great story.

1250
01:14:33,360 --> 01:14:35,800
Speaker 1: And look, I have the utmost respect for Tony Dance.

1251
01:14:35,840 --> 01:14:38,200
Speaker 1: I'm not trying to but back in the day, you know,

1252
01:14:38,280 --> 01:14:41,479
Speaker 1: there was a little almost a little dust up over money.

1253
01:14:41,520 --> 01:14:46,360
Speaker 1: So you know, it just something that happens to certain

1254
01:14:46,360 --> 01:14:49,200
Speaker 1: people when they're in Los Angeles. That's all I can say.

1255
01:14:50,080 --> 01:14:52,640
Speaker 1: I like it, but I like that line because it's like,

1256
01:14:52,920 --> 01:14:57,400
Speaker 1: how did Amy and Dann know that? And it just

1257
01:14:57,600 --> 01:15:00,680
Speaker 1: it can't be a coincidence. You know, all of a

1258
01:15:00,680 --> 01:15:05,040
Speaker 1: sudden he's in this Tony Dances in script and then

1259
01:15:05,120 --> 01:15:07,000
Speaker 1: look kind of like this is them a little bit,

1260
01:15:07,040 --> 01:15:11,160
Speaker 1: and it's the sight. It's just wild. That's why it is.

1261
01:15:11,240 --> 01:15:13,320
Speaker 1: All right, what's the So what do I give it?

1262
01:15:13,479 --> 01:15:14,439
Speaker 3: I give it, give it?

1263
01:15:14,479 --> 01:15:15,040
Speaker 1: What's the measure?

1264
01:15:15,880 --> 01:15:17,479
Speaker 3: Well, I can't decide if I want to give it

1265
01:15:17,760 --> 01:15:22,600
Speaker 3: fries krav Magaw or fake journeys in the words of

1266
01:15:22,720 --> 01:15:26,040
Speaker 3: I think Andy Cohen, journeys without a lead singer. Let's

1267
01:15:26,040 --> 01:15:32,280
Speaker 3: go with journeys without Steve Perry. Uh eight point seven?

1268
01:15:32,840 --> 01:15:33,559
Speaker 3: Eight point seven?

1269
01:15:33,920 --> 01:15:34,280
Speaker 1: Really?

1270
01:15:35,000 --> 01:15:35,360
Speaker 3: Yeah?

1271
01:15:35,600 --> 01:15:42,400
Speaker 4: Okay, So so I'll give it eight point five wedding dresses.

1272
01:15:42,800 --> 01:15:48,799
Speaker 6: Oh good boy, we're in the eights huh yeah, it's yeah, solid,

1273
01:15:48,840 --> 01:15:52,479
Speaker 6: but not my favorite. Yeah, yeah, I think I enjoyed

1274
01:15:52,520 --> 01:15:54,000
Speaker 6: it a little more.

1275
01:15:53,640 --> 01:15:55,680
Speaker 3: Y'all, and call it as you see it.

1276
01:15:55,920 --> 01:15:58,160
Speaker 1: I'm done, right, Do I have error not.

1277
01:15:59,120 --> 01:16:00,080
Speaker 3: Give us what you got? I?

1278
01:16:00,880 --> 01:16:07,960
Speaker 7: Uh well, uh, I don't want to part too much

1279
01:16:08,000 --> 01:16:11,960
Speaker 7: from my colleagues, but I enjoyed this very much.

1280
01:16:12,040 --> 01:16:16,160
Speaker 1: I'm going to give it. Uh, I'm going to give

1281
01:16:16,160 --> 01:16:21,120
Speaker 1: it a nine point one eight seven. All right, all right,

1282
01:16:21,439 --> 01:16:30,240
Speaker 1: nine point one eight seven. Tony Danzel cap shoots good stuff,

1283
01:16:30,680 --> 01:16:32,479
Speaker 1: good stuff. Everybody don't know.

1284
01:16:32,560 --> 01:16:33,280
Speaker 3: Do we even know?

1285
01:16:33,600 --> 01:16:34,400
Speaker 1: We don't know.

1286
01:16:34,800 --> 01:16:38,680
Speaker 3: I'm because we don't. Oh, thank you, Susan. Did you

1287
01:16:38,760 --> 01:16:43,720
Speaker 3: just do that? Produce her today? Because we don't have

1288
01:16:44,040 --> 01:16:46,240
Speaker 3: we don't have our normal team. Wait, Susanne, what is

1289
01:16:46,280 --> 01:16:47,000
Speaker 3: the next week?

1290
01:16:47,280 --> 01:16:51,599
Speaker 1: Episode twelve? Season six is entitled just.

1291
01:16:51,560 --> 01:16:52,719
Speaker 4: Like Gwen and Gavin?

1292
01:16:53,040 --> 01:16:58,400
Speaker 3: Oh and ouch ouch because we'll.

1293
01:16:58,720 --> 01:17:02,679
Speaker 6: Episode yeah, okay, all right, all right, anyway, have fun.

1294
01:17:02,479 --> 01:17:05,120
Speaker 3: At your convention, Scott. Maybe people have seen you.

1295
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Speaker 1: Yeah, yeah, it's gonna be uh, it's gonna be a

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Speaker 1: big shoe, big shoe. I love you guys, best fans

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Speaker 1: on the planet, and we'll see you next time. Stay safe, everybody,

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Speaker 1: and don't forget Follow us on Instagram at i Am

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Speaker 1: all In Podcast, and email us at Gilmore at iHeartRadio

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Speaker 1: dot com