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Speaker 1: Still the Place with Laura Layton, Courtney thorn Smith and.

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Speaker 2: Daphne's Aniga an iHeartRadio podcast. How much fun was it?

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Speaker 2: Amazed with Vanessa Williams.

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Speaker 3: It was a amazing. She's such a goddess.

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Speaker 2: She looks amazing, her energy. I almost fell over.

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Speaker 1: And when I walked in the rain and her when

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Speaker 1: she looks better than thirty years ago. And I'm not exaggerating,

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Speaker 1: I'm not lying, I'm not going she's.

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Speaker 3: Oh, my God's beautiful, so filled with like, joyful energy,

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Speaker 3: positive person. Yeah.

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Speaker 2: Yeah, And you know what I really liked was, you know,

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Speaker 2: we were getting fan stuff and kind of this resentment

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Speaker 2: of how she was let go so early on our show,

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Speaker 2: and so I was kind of worried about, like is

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Speaker 2: she going to have that. She so transformed herself and

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Speaker 2: her story and that incident so beautifully and spiritually that

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Speaker 2: she carries the opposite energy. Absolutely, I know. I love

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Speaker 2: that too. She didn't avoid it, she didn't shirk it.

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Speaker 1: She talked about what a difficult time it was and

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Speaker 1: how she leaned into it and really healed.

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Speaker 3: She's so so open and honest and lovely.

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Speaker 1: Yeah, so open and honest and actually deepened her spiritual life,

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Speaker 1: and she really used it for her good and to

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Speaker 1: really work on not letting her worth be defined by

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Speaker 1: her work, which is such a powerful message.

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Speaker 2: And I think everyone can relate to us. Yes, we

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Speaker 2: certainly can in our industy, absolutely, because we're at the

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Speaker 2: mercy of so many other things that we have no

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Speaker 2: control over. But I think people in general can relate

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Speaker 2: to that absolutely. And you are not what you work,

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Speaker 2: You are not your list, or that you're bigger than Yes,

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Speaker 2: you're no one thing. Yeah.

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Speaker 1: Right.

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Speaker 3: It was just so interesting to have that experience with

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Speaker 3: her and then have this episode where she It was

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Speaker 3: just such an important start and we'll get to it.

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Speaker 3: We're going to get into the recap, but it was

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Speaker 3: just so interesting to have that conversation with her first

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Speaker 3: when we originally thought we were probably going to do

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Speaker 3: the recount first and then meet with her after that.

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Speaker 3: It is so interesting to.

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Speaker 2: And maybe, uh, now the audience will get to see

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Speaker 2: what she meant when she went to Darren Remember to

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Speaker 2: change some of her lines and to change the story

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Speaker 2: according to Rohnda's perspective down in South Central, et cetera.

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Speaker 2: So I thought that was really cool, And you know,

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Speaker 2: this this episode now is different than it was originally

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Speaker 2: to me. Yeah, it's cool, it's great.

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Speaker 3: Well, the last time we were together we were in person,

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Speaker 3: and we're back on zoo.

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Speaker 2: Yeah, outs as you were out of town, Laura. How's

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Speaker 2: it going out of town?

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Speaker 3: Yeah, it's good.

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Speaker 2: Yeah, on the East coast.

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Speaker 3: Yeah, I'm in Connecticut to see Doug and his play.

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Speaker 2: How was it. How's it going?

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Speaker 3: It's going really well, amazing. Yeah, he's gotten over the opening.

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Speaker 3: You know, the first couple of performances, those those jitters

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Speaker 3: are out of the way, and now it's just like

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Speaker 3: regular jitters. For you know, every subsequent performance.

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Speaker 2: Doesn't make you play do a play? The play is.

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Speaker 3: Terrific and it's yeah, I mean it's that it's a

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Speaker 3: very exciting feeling in the theater and I get really

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Speaker 3: like the butterflies when the lights go down, you know,

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Speaker 3: before they're coming back up. I'm like that that whole

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Speaker 3: thing is just in my body too. So that's been

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Speaker 3: really fun. It's a new play and it's called Fever Dreams.

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Speaker 3: It's three characters. The other actor is Tim Decay, along

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Speaker 3: with my husband, Doug Avon and an actress Lang Young,

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Speaker 3: and the three of them are on the stage the

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Speaker 3: entire time, and it's there's so many twists and turns.

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Speaker 3: It's really almost hard to describe a little bit of

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Speaker 3: a triangle, but a lot of tension, and it must.

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Speaker 1: Be so much fun. Written by Jeffrey Leeber television series Lost.

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Speaker 3: Yes, and I just was so nervous. Yes, So Jeffrey

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Speaker 3: Raper is the play, right, and it's a terrific script.

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Speaker 3: He was co created Lost.

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Speaker 2: And wow, that's exciting. It's a wonderful play. How much

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Speaker 2: have you ever seen him on stage before?

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Speaker 3: I've never seen him in a play before. He hasn't

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Speaker 3: done one in so many years. So yeah, this was

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Speaker 3: This is a big, gutsy thing to do. And I'm

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Speaker 3: really proud of him.

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Speaker 1: It's so exciting because that's where we got our love

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Speaker 1: of acting, right, and TV and film are so different

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Speaker 1: from stage. It sounds so exciting. You can tell him all,

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Speaker 1: did you do theater?

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Speaker 2: Courtney? I did? I did you do it? I really

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Speaker 2: loved it Northern California? Oh yeah, okay, but not.

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Speaker 1: Since I've been acting in TV and film. It terrifies me.

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Speaker 1: But I love hearing you say it, Laura. It makes

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Speaker 1: me think maybe I could Maybe that would be because

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Speaker 1: it's such so much fun.

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Speaker 3: And Marcia Cross just finished doing a play and so

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Speaker 3: the same thing, like she said, oh my god, this

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Speaker 3: is a wonderful feeling.

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Speaker 2: But yeah, I think it's a I think it's daunting

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Speaker 2: and exciting. It's both right, the idea of getting on

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Speaker 2: stage and using more of your instrument than what TV

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Speaker 2: asks for, which is kind of here, and then film

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Speaker 2: like a little bit more. But I or it's so intimate,

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Speaker 2: you know, it's like and anything. Yeah, yeah, you're just

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Speaker 2: everything can happen, that's right. Yeah.

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Speaker 1: I've only done one movie in my career that's shot

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Speaker 1: in order, in sequential order, so you were actually evolving

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Speaker 1: with your character. But usually it's in bits and pieces

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Speaker 1: here and there. You're trying to remember where you're coming

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Speaker 1: from and where you're going.

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Speaker 3: You get another take. In television and film you get

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Speaker 3: another take, and in theater you do not you do

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Speaker 3: you do.

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Speaker 1: Tomorrow night, though you get the next night and the

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Speaker 1: next you get a whole take.

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Speaker 2: You feel a long take, you get that. I did

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Speaker 2: a play here in La years ago. I've done a couple.

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Speaker 2: We had a strike, I don't know, fifteen years ago

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Speaker 2: or something, so I went up to Sanrancisco and did

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Speaker 2: a play, and before that, I did one here at

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Speaker 2: the Odyssey in West La Tartuffe, and I remember that

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Speaker 2: immediate connection with the audience. There is nothing like it

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Speaker 2: because it's so it's you just don't know. You're on

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Speaker 2: a type rope. You can't plan anything. You can rehearse

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Speaker 2: and rehearse like a take, or there's certain a moment

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Speaker 2: that you all rehearse this moment and the audience hopefully

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Speaker 2: they'll respond to it, but they could respond to something

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Speaker 2: else beforehand, and then you got to respond to them,

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Speaker 2: and I just it's so exciting.

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Speaker 3: Yeah, there was a funny moment in the play last night.

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Speaker 3: It was it was a release. It was a serious

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Speaker 3: moment and like sort of a bomb of information was dropped,

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Speaker 3: and on that line, the entire audience went oh audibly

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Speaker 3: together and then then they all just started laughing because

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Speaker 3: they couldn't believe that there was such a collective response

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Speaker 3: out loud the audience. So it turned a very heavy

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Speaker 3: serious line into I'm laughing. It was I mean, I

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Speaker 3: was imagining on stage like that must have been.

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Speaker 2: So confusing, but there was themselves.

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Speaker 3: The audience was so amused by like how collective. The

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Speaker 3: response was, that's great.

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Speaker 1: That's a great sign for the play too, that they

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Speaker 1: were all so invested.

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Speaker 3: Yeah, it came out of.

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Speaker 2: The one organism made a little mini or really fun

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Speaker 2: to see that, Yeah, and unexciting, completely unexpected to everybody

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Speaker 2: on stage and in the audience.

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Speaker 1: Yeah, the audience tells you the truth, right, Like I've

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Speaker 1: done a lot of sitcom and there will be a

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Speaker 1: joke that you laugh at all week, you can't wait

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Speaker 1: to get to it. You think it's brilliant, and the

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Speaker 1: audience is just crickets, and you go, I guess we

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Speaker 1: were wrong. You have like think of something you want

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Speaker 1: to fly. You're like, one thing, I know this joke

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Speaker 1: is gonna hit and just dead air.

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Speaker 2: Yeah yeah, well comedy anyway, we could this is a

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Speaker 2: whole podcast on itself.

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Speaker 3: Anyway, we're supposed to be doing a recap this.

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Speaker 2: Week one because this is another episode, like we've been

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Speaker 2: saying the beginning, where the whole group is in everything

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Speaker 2: and in several scenes. So they'll do like a three shot,

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Speaker 2: you know, and you know as an actor that that

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Speaker 2: could be after lunch sometime you're still shooting the same

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Speaker 2: scene and they're like Ronda getting closer to here. So

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Speaker 2: you have Ronda, Sandy, and you know Billy or you

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Speaker 2: have whatever. It's different every time, and you go it

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Speaker 2: just to me, is you remember those move in move in? Okay?

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Speaker 2: Now you got to like seem natural, like you're all

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Speaker 2: naturally hanging out in this group, you know, when not

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Speaker 2: seem they got to get their shot because they're not

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Speaker 2: going to do individuals. So I just noticed that a

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Speaker 2: few times in this one. Yeah, it was cute, all right.

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Speaker 3: So we're on episode episode ten of season one. The

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Speaker 3: episode title is Burned, directed by Janet Greek and for context,

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Speaker 3: this aired in September mid September of nineteen ninety two.

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Speaker 1: Wow.

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Speaker 3: So we open in the core aired Sandy greets Jake

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Speaker 3: as he returns home from work. She invites him upstairs

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Speaker 3: for beer.

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Speaker 2: He declines.

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Speaker 3: She then offers some pizza, which he changes his mind,

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Speaker 3: so he follows her up the stairs. The inside scenes apartment.

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Speaker 3: He is then surprised because the gang is there. They're

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Speaker 3: surprising Jake for his birthday, and then mid party, there's

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Speaker 3: a knock at the door and the door opens, revealing

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Speaker 3: Jake's mother flaming red hair sort of the fabulous, fancy pants, fabulous,

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Speaker 3: and she's looking for Jake.

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Speaker 2: And I remember her. I remember her on the show.

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Speaker 1: I was so fascinated by her skin, which is like orcelain.

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Speaker 1: It has never seen son like she is never seen

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Speaker 1: in her entire life. It was so beautiful up close

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Speaker 1: and you can still see it on the screen, but

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Speaker 1: in person you can't even believe it.

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Speaker 2: Well, she was a huge Broadway star. She starred in nine,

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Speaker 2: that huge. She was nominated for a Tony. She started

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Speaker 2: what she starred with Roald Julia and nine, if anyone remembers,

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Speaker 2: they made a film of it too, with Helpie Cruise.

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Speaker 2: But she was in that kind of like fishnet floor

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Speaker 2: all see through thing, and it was she was the

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Speaker 2: sex bomb, which was sexy for its time even and

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Speaker 2: I think before that she was on Jesus Christ Superstar.

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Speaker 2: You know, she was a huge Broadway legend and the

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Speaker 2: fact that she came to do our show was really

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Speaker 2: cool to see it. And you but you saw, I

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Speaker 2: thought in all of her scenes this sort of presence,

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Speaker 2: this presence, this theatrical presence, and with all those that curvy,

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Speaker 2: remember those shoulder blades with the shoulder.

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Speaker 4: And a little a.

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Speaker 3: Little sex spot even Yeah.

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Speaker 1: Yeah, Well there's a cute scene before she walks in

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Speaker 1: where she runs into Billy on the stairs.

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Speaker 2: Yeah, and she's walking like, hello, are you his date?

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Speaker 1: Because she's right the moment, she's a gettle older and

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Speaker 1: it's kind of confusing.

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Speaker 3: Yeah, and did you notice this subtle like she left

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Speaker 3: her suitcase at the bottom of the stairs.

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Speaker 2: I did notice that.

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Speaker 3: Yeah, Like she goes up the stairs, but like she's

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Speaker 3: not can bring her suitcase. She doesn't want him to

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Speaker 3: know just yet, so she leaves her suitcase at the

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Speaker 3: bottom stairs, follows him up the stairs to this point.

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Speaker 2: Yeah, she's I'm not sure how she's going to be received, right, And.

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Speaker 1: Then very good scene between her and Amy. Yeah, we're

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Speaker 1: sesting each other out, trying to figure out what's happening.

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Speaker 2: Well, you notice this whole episode and at the party

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Speaker 2: they're that that parallel like Sandy's a younger version of

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Speaker 2: Jake's mother.

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Speaker 1: Absolutely, how did I both know that until you just

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Speaker 1: said that, because I'm like, of course that's so fu yea.

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Speaker 2: And they're both waitresses. How did I right over my head?

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Speaker 2: Thank you, Daphne right over both sun tanning by the

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Speaker 2: pool and like the older version and the younger version

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Speaker 2: of course, which kind of explains all the Sandy Jake

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Speaker 2: stuff that they're constantly you know, because there's like a.

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Speaker 1: A little I'm here to represent our slower fans.

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Speaker 3: That's okay, we're here to recap the entire episode for you.

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Speaker 3: We'll remind you and then you'll go, oh yeah, Bertney.

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Speaker 2: You play Alison, okay.

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Speaker 3: And Alison was there at the party. And so they're

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Speaker 3: having this party for Jake and he's very uncomfortable because

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Speaker 3: his mom is making herself a little comfortable with all

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Speaker 3: of his friends, and it's clear that he doesn't really

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Speaker 3: want her there.

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Speaker 1: And you see the hysterical scene when it must it

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Speaker 1: was improv and and she's talking to.

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Speaker 2: Doug and they're talking about parent just loses it. He

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Speaker 2: loses it.

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Speaker 3: He Belli laughs because she's she says something about it's

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Speaker 3: just really plumping and pumping up. His head goes back

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Speaker 3: and he knows I'm plumping.

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Speaker 2: He can't even get it out.

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Speaker 3: He didn't see it coming.

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Speaker 2: Yes. What I love is that the director and the

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Speaker 2: editor kept that in, like I know, yeah.

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Speaker 3: So Jake is uncomfortable, but she's you know, making herself

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Speaker 3: very comfortable in the middle of the party, Billy has

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Speaker 3: to leave. He has to go to work, so he

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Speaker 3: leaves the party to go drive his cab night. He's

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Speaker 3: driving a passenger with groceries into a neighborhood that the

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Speaker 3: passenger as she's getting out, she remarks that it's difficult

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Speaker 3: to get a cab to drive to this neighborhood and

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Speaker 3: she thinks him and she says, also, yeah, in a

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Speaker 3: part of South LA And she says, ever since the trouble,

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Speaker 3: he feels afraid to ride the bus. And the trouble

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Speaker 3: she's referring to is the La riots that were earlier

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Speaker 3: that year, in nineteen and two. So the La Riots

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Speaker 3: in Los Angeles were April of ninety two, and this

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Speaker 3: was since this episode was airing in September. It was written,

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Speaker 3: you know, shortly after, probably in July.

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Speaker 2: Whatever are you here during the riots? Both of you? Yes, yeah,

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Speaker 2: I'm sure it was really scary, So it was I

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Speaker 2: think this was This reminded me, Laura that Melvoe's the

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Speaker 2: writers did this a lot. They took stuff from that

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Speaker 2: was very sort of going on in the real world,

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Speaker 2: and they took stuff from the you know, head often

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Speaker 2: and this was. Yeah, this was you know, the riots

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Speaker 2: started because of the Rodney King beating.

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Speaker 3: Where the verdict, Yeah, the verdict that was announced in April.

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Speaker 2: After a video tape. It was the first time it

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Speaker 2: was videotape, the beating of a black man. So this

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Speaker 2: is just for the audience who maybe doesn't remember or

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Speaker 2: doesn't know that, you know, this is what it's being

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Speaker 2: revisited in this episode, and that the origin which isn't

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Speaker 2: talked about in the episode is from that the Rodney

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Speaker 2: King beating.

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Speaker 1: Yea, and the cops who beat him to a pulp.

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Speaker 2: It was horrible to watch got off. The video went

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Speaker 2: by and yeah, yeah, and then they got off.

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Speaker 3: They got off. That verdict was announced and these white

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Speaker 3: cops were you know, not charged.

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Speaker 2: The la riots happened and there were fires and the

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Speaker 2: just looting and trashing and we were all here.

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Speaker 3: Yeah, lasted for five days. It was very There was

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Speaker 3: a lot of outrage and it was.

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Speaker 2: Yeah, understandable outrage.

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Speaker 4: Yep.

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Speaker 3: Absolutely. So he drops off his passenger and she has

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Speaker 3: said she's you know, thanks him, She's afraid to ride

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Speaker 3: the bus. Billy then clocks a group of men watching

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Speaker 3: him as he drops off his passenger. He nervously gets

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Speaker 3: back in his car to drive away, and the men

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Speaker 3: also get into their car and they start to follow

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Speaker 3: Billy as he drives away. Billy then makes the mistake

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Speaker 3: of turning into a dead end street, and the car

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Speaker 3: full of guys follows him, blocking him in, and then

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Speaker 3: they get out of the car with baseball bats and

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Speaker 3: they start smashing up Billy's cab.

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Speaker 2: Smashing up the car shield. Yeah, the WM shield right

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Speaker 2: into that. The camera there and Mary.

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Speaker 3: Cuts away right on that smash, and then we go

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Speaker 3: back to the birthday party, where Jake is still feeling

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Speaker 3: uncomfortable with his mom while she makes herself more comfortable.

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Speaker 3: I think this is where she says the plumping comment,

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Speaker 3: because then Doug laughs big and Sandy's talking to Jake

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Speaker 3: and says, you know, you should cut her some slack.

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Speaker 3: She's really trying, and Jay tells her to butt out.

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Speaker 3: Then the phone rings and Allison answers to learn that

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Speaker 3: Billy is at the police station and was rob so

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Speaker 3: she leaves to go meet.

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Speaker 1: Him there, which could have been a lot worse. I

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Speaker 1: got to say, after that last scene, very few hundred.

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Speaker 3: Percent we're glad to hear that that's all it is,

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Speaker 3: so we go to the police station with her. Billy's

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Speaker 3: talking to an officer who tells him that he was

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Speaker 3: lucky it was only the car that got hurt and

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Speaker 3: that Billy should perhaps be more picky about his fares

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Speaker 3: who he picks up. Billy is frustrated the officer doesn't

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Speaker 3: seem to think he's going to do with anything more

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Speaker 3: to find the guys who did it. Billy says, come on,

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Speaker 3: I know where they hang out. Alison then arrives. She's

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Speaker 3: very relieved he's okay. Billy expresses his frustration, saying, I

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Speaker 3: don't get it. These people are trying to make me

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Speaker 3: feel like I committed the crime by going down there.

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Speaker 3: So we go back to Jake's apartment. Jake asks his

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Speaker 3: mom why she is here, and we learned that it's

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Speaker 3: been five years since they've seen each other, and he

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Speaker 3: wonders if she needs money, and that's when his mom

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Speaker 3: reveals she's left the guy she's been with, this guy Hank,

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Speaker 3: because he was drinking and maybe some abuse, and she's

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Speaker 3: looking for a place to stay, and Jake sort of

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Speaker 3: calls her out for kicking him out when he needed her,

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Speaker 3: saying she never wanted him, and Stella claims she's changed

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Speaker 3: and wants Jake.

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Speaker 2: And that she never did kick him out. She never

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Speaker 2: kicked him out, but that's how he perceived it. I

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Speaker 2: thought this storyline was so interesting how a child his

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Speaker 2: point of view or her point of view to the parent,

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Speaker 2: and the parent was a young mom and she is

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Speaker 2: how she is and you know it's not doesn't say

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Speaker 2: in this scene, but later she says she was nineteen.

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Speaker 2: That's so young. Can you imagine being nineteen and have

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Speaker 2: and she was terrified that she was she going to

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Speaker 2: do it. So but that's not his problem, his problem.

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Speaker 2: He experienced what he experienced. So it really is just

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Speaker 2: something that I think we can all relate to that

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Speaker 2: our our parents, you know. And this I liked this storyline.

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Speaker 2: It was tough too, and.

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Speaker 1: It gives us a lot of insight into why Jake

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Speaker 1: moves through the world the way he does. Yeah, he's

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Speaker 1: so independent and he's so tough, and he doesn't really

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Speaker 1: trust women and doesn't it really intimate relationships because he

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Speaker 1: felt like he couldn't really trust his mother, right.

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Speaker 3: And I thought Grant's performance for this episode was really

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Speaker 3: good and he wants and yeah, I agree because he

363
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Speaker 3: had to play a lot of colors and just the

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Speaker 3: torment of and doesn't wanting a mother but maybe not

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Speaker 3: this one with this type of behavior, and how it

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Speaker 3: broke his heart. And so that was a real struggle

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Speaker 3: for him to try to figure out how to yeah

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Speaker 3: move for.

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Speaker 2: He's really great at the tough guy with the heart

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Speaker 2: of gold. That is so a sweet.

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Speaker 1: Spot for him because it's who he is, right, He's

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Speaker 1: like kind of a tough guy, he's a sweet guy

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Speaker 1: and I love it when you get to see him.

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Speaker 1: That's a hard thing to play, to play so well.

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Speaker 3: So then Billy and Allison at are returning home. They

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Speaker 3: come to the courtyard and the gang wants to hear

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Speaker 3: what happened, and they're all relieved that Billy is okay.

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Speaker 3: Billy sarcastically says maybe he should write a note to

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Speaker 3: the gang the gang bangers in gratitude for not hurting him,

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Speaker 3: and that the police were very unhelpful, perhaps because he

381
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Speaker 3: is victim ten billion and one. So Billy describes feeling

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Speaker 3: very powerless that he had to just sit there and

383
00:19:14,760 --> 00:19:17,840
Speaker 3: take it when he was being attacked, and he says,

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Speaker 3: those people can have that part of town if they

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Speaker 3: want it because I'm never driving down there again.

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Speaker 2: They all hold our collective breath. We go take it back,

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Speaker 2: take it back, take it back.

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Speaker 3: Which then Ronda questions him, what do you mean down

389
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Speaker 3: there to the jungle?

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00:19:38,119 --> 00:19:40,600
Speaker 2: She asks, Well, first of all, she says, what do

391
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Speaker 2: you mean those people? Right? Is the crux of this

392
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Speaker 2: whole episode, the other rising and the making a certain

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Speaker 2: group of people, whether it be in this case it's

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Speaker 2: blacks to be all what they call a monolith like

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Speaker 2: those people. Well, you wouldn't say that about white people.

396
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Speaker 2: They're not, because our experience is that we're all different,

397
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Speaker 2: we're all different experiences. So that's to me that that

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00:20:07,840 --> 00:20:11,439
Speaker 2: is the crux of the whole Yeah, and really brave.

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Speaker 1: I thought brave for the writers to do this because

400
00:20:14,760 --> 00:20:18,760
Speaker 1: we had one African American character and to tell this

401
00:20:18,960 --> 00:20:21,720
Speaker 1: story I thought was really brave. And I liked the

402
00:20:21,760 --> 00:20:24,840
Speaker 1: way they did it where she's rightfully angry and asking

403
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Speaker 1: these questions and Billy is such.

404
00:20:26,560 --> 00:20:27,679
Speaker 2: A good, sweet character.

405
00:20:28,320 --> 00:20:31,040
Speaker 1: He didn't mean it, but that's how bias works, right,

406
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Speaker 1: You're unconsciously biased.

407
00:20:33,240 --> 00:20:34,520
Speaker 2: And well, I didn't mean that.

408
00:20:34,800 --> 00:20:37,479
Speaker 1: I meant he's saying I played ball with these guys.

409
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Speaker 1: But his language still was wrong. And I and also

410
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Speaker 1: really like, we're aware of this now, this was thirty

411
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Speaker 1: years ago. I really impressed that they were at such

412
00:20:48,480 --> 00:20:51,040
Speaker 1: a time, so close to the riot totally if they

413
00:20:51,080 --> 00:20:53,520
Speaker 1: were willing to take this on and voice that they

414
00:20:53,560 --> 00:20:54,960
Speaker 1: really were ahead of their times.

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Speaker 2: It really was ahead of act really was you didn't? Now?

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Speaker 2: I do want to point out that maybe everyone knows,

417
00:21:01,320 --> 00:21:04,960
Speaker 2: but they did not have a black writer on the

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Speaker 2: writing team. Did they bring someone in to right now episode?

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Speaker 3: Well?

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Speaker 2: I don't.

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Speaker 1: Now they would like today they would say this is

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Speaker 1: a story, but the staff when Yeah.

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Speaker 2: So the point I'm trying to make is that this

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Speaker 2: is our point of view. This is a white a male,

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Speaker 2: white writer's point of view. And I looked up because

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Speaker 2: I was hoping the name uh that I saw and

427
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Speaker 2: the writer was he was going to be a black guy.

428
00:21:30,840 --> 00:21:34,080
Speaker 2: It wasn't. But the point is, I wonder if it

429
00:21:34,119 --> 00:21:37,919
Speaker 2: would have been written differently if it were if there

430
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Speaker 2: were a black writer on there, someone who because this

431
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Speaker 2: is a point of view. This is a POV. Everything

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Speaker 2: we see on TV and in the world is somebody's

433
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Speaker 2: or a group of people's point of view. There the

434
00:21:52,680 --> 00:21:57,520
Speaker 2: story through their eyes their experience. So you know, melrose

435
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Speaker 2: Place had one black character, ron the and no black writers.

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Speaker 3: They really did have all those things that you that

437
00:22:05,400 --> 00:22:08,159
Speaker 3: you've all just said. Is that he's saying, wait, I

438
00:22:08,160 --> 00:22:10,879
Speaker 3: didn't say that. It's just that those people, and he

439
00:22:10,960 --> 00:22:13,359
Speaker 3: started he doesn't fin in. Ronda says, what do you

440
00:22:13,400 --> 00:22:14,479
Speaker 3: mean those people?

441
00:22:14,560 --> 00:22:15,200
Speaker 2: What people?

442
00:22:15,320 --> 00:22:19,960
Speaker 3: People like me? And and so it's he Billy's saying

443
00:22:20,040 --> 00:22:22,320
Speaker 3: things he doesn't. He's like, that's not what I said.

444
00:22:22,359 --> 00:22:24,880
Speaker 3: And she's saying, but that's what you meant, and all

445
00:22:24,920 --> 00:22:26,840
Speaker 3: of that, all of that is in here, all that

446
00:22:26,880 --> 00:22:29,320
Speaker 3: is in the scene and the dialogue and everything, and she's,

447
00:22:29,600 --> 00:22:32,960
Speaker 3: you know, she's upset by it, and she leaves the scene.

448
00:22:33,080 --> 00:22:36,760
Speaker 3: And the next morning, Billy's just replaying this over and

449
00:22:36,800 --> 00:22:39,200
Speaker 3: over in his head. He's he's envisioning the guy who

450
00:22:39,240 --> 00:22:42,240
Speaker 3: smashed his car, and then he expresses frustration to Alis

451
00:22:42,280 --> 00:22:44,960
Speaker 3: and saying, although he just loved this experience and he

452
00:22:45,000 --> 00:22:47,080
Speaker 3: remembers everything, he can't seem to get it out on paper.

453
00:22:47,080 --> 00:22:49,959
Speaker 3: He really wants to write about it, and Alison assures

454
00:22:50,000 --> 00:22:54,960
Speaker 3: him and he CA's yeah, and Billy says, he hates feelings,

455
00:22:54,960 --> 00:22:58,080
Speaker 3: so angry and frustrated then we cut to Jane and

456
00:22:58,119 --> 00:23:02,880
Speaker 3: Michael who are having a conversation and Jane says she's

457
00:23:02,880 --> 00:23:06,000
Speaker 3: been having nightmares about someone breaking into their apartment. Michael

458
00:23:06,080 --> 00:23:09,360
Speaker 3: comforts her. Jane says she's nervous about raising a child

459
00:23:09,800 --> 00:23:13,080
Speaker 3: in these times, and then she reminds Michael that they

460
00:23:13,080 --> 00:23:14,400
Speaker 3: have a baby seminar that night.

461
00:23:15,280 --> 00:23:17,880
Speaker 1: Yeah, so we have three storylines in this episode, which

462
00:23:18,000 --> 00:23:19,160
Speaker 1: is very rare.

463
00:23:20,080 --> 00:23:22,160
Speaker 2: And not only that court. You know how last time

464
00:23:22,280 --> 00:23:24,479
Speaker 2: or in the past we've said how there's a serious

465
00:23:24,560 --> 00:23:27,560
Speaker 2: storyline and then a very light one. We're saying, like, hey,

466
00:23:27,680 --> 00:23:29,920
Speaker 2: you really juxtaposed. I didn't think there was one light

467
00:23:29,960 --> 00:23:33,439
Speaker 2: one in this one. This was a very serious, heavy

468
00:23:33,600 --> 00:23:34,840
Speaker 2: loaded episode.

469
00:23:35,160 --> 00:23:38,320
Speaker 1: I think Jane and Michael was supposed to be lighter,

470
00:23:38,680 --> 00:23:40,879
Speaker 1: but it is serious. But it was supposed to be

471
00:23:40,960 --> 00:23:43,040
Speaker 1: sort of with the I don't know for that way time.

472
00:23:43,080 --> 00:23:46,679
Speaker 2: We're not the baby. Yeah, when they get that was

473
00:23:46,720 --> 00:23:49,439
Speaker 2: a comic scene, but it wasn't to me. It just

474
00:23:49,440 --> 00:23:50,800
Speaker 2: didn't seem that light.

475
00:23:51,080 --> 00:23:53,560
Speaker 3: Yeah, it wasn't as like the light as it's been

476
00:23:53,560 --> 00:23:54,040
Speaker 3: in the past.

477
00:23:54,080 --> 00:23:56,200
Speaker 2: That scene is funny, Yeah.

478
00:23:55,880 --> 00:23:59,680
Speaker 3: There was. They were all consequential like all of.

479
00:23:59,640 --> 00:24:03,320
Speaker 2: That, you know, big like dealing with big issues ye

480
00:24:04,119 --> 00:24:06,639
Speaker 2: arrent relationships. Am I going to be a mother and father?

481
00:24:06,880 --> 00:24:07,639
Speaker 2: That was huge?

482
00:24:07,640 --> 00:24:12,040
Speaker 3: And then this so so then the kitchen scene where

483
00:24:12,119 --> 00:24:15,880
Speaker 3: Jake's mom is cooking at his in his kitchen and

484
00:24:16,000 --> 00:24:18,359
Speaker 3: Jake's sort of skeptical and tells her, you know, not

485
00:24:18,520 --> 00:24:21,040
Speaker 3: to get too comfortable, and she promised that she doesn't

486
00:24:21,040 --> 00:24:23,840
Speaker 3: have anything up or sleeve, but that, you know, hey,

487
00:24:23,840 --> 00:24:25,800
Speaker 3: maybe Jake, you should admit that you're not as tough

488
00:24:25,800 --> 00:24:28,320
Speaker 3: as you think. Maybe I might get to you after

489
00:24:28,440 --> 00:24:30,960
Speaker 3: all sort of thing, which I thought was sort of.

490
00:24:30,880 --> 00:24:34,440
Speaker 2: A so I just thought another you know I brought

491
00:24:34,480 --> 00:24:36,920
Speaker 2: up in the past, like Melrose Place just have has

492
00:24:36,960 --> 00:24:40,360
Speaker 2: these quintessential Melrose lines, and I wrote down one here.

493
00:24:40,880 --> 00:24:42,720
Speaker 2: He's like, let me show you how to make an omelet.

494
00:24:42,720 --> 00:24:44,480
Speaker 3: Mom, Yeah you got.

495
00:24:45,560 --> 00:24:48,480
Speaker 2: You got to coddle it. You have to watch it

496
00:24:48,480 --> 00:24:52,120
Speaker 2: takes patience, you know, could fall apart at any time,

497
00:24:52,600 --> 00:24:55,840
Speaker 2: and yeah, are you talking to a parent and a baby.

498
00:24:56,480 --> 00:24:59,480
Speaker 3: But it was also like talking about an egg, even

499
00:24:59,520 --> 00:25:02,720
Speaker 3: though physical proximity and the way she was standing behind

500
00:25:02,760 --> 00:25:05,880
Speaker 3: him and just sort of like, I don't know, there

501
00:25:05,960 --> 00:25:09,040
Speaker 3: was just something. There was a whole lot of interesting

502
00:25:09,160 --> 00:25:10,359
Speaker 3: Nay what I.

503
00:25:10,400 --> 00:25:14,280
Speaker 1: Noticed as a cook is that was the slowest cooking omelet.

504
00:25:14,720 --> 00:25:17,000
Speaker 1: Cooking omelet takes roughly two and a half minutes, and

505
00:25:17,000 --> 00:25:20,880
Speaker 1: they were there technicity. I'm like, let me show You'm like, dude,

506
00:25:20,920 --> 00:25:23,159
Speaker 1: I'm pretty sure it's done. I'm pretty sure you're all.

507
00:25:23,920 --> 00:25:27,760
Speaker 2: Yeah, but no, because they had to like convey it

508
00:25:27,840 --> 00:25:33,440
Speaker 2: was a poached egg omelet, very slow cooking whatever was happening.

509
00:25:38,840 --> 00:25:40,720
Speaker 3: So then we cut to the courtyard where Alison is

510
00:25:40,760 --> 00:25:43,919
Speaker 3: talking to Ronda. She's saying that Billy didn't mean anything

511
00:25:44,960 --> 00:25:47,760
Speaker 3: last night, and Ronda said, it's not what came out,

512
00:25:47,760 --> 00:25:49,480
Speaker 3: but it's the way it came out, and she thinks

513
00:25:49,480 --> 00:25:53,400
Speaker 3: that Billy's true callers came through and what Allison said

514
00:25:53,480 --> 00:25:55,680
Speaker 3: she really wants to understand, and Rono tells her that

515
00:25:55,680 --> 00:25:57,960
Speaker 3: everyone at Melrose's place would have probably reacted the same

516
00:25:58,000 --> 00:26:01,200
Speaker 3: way Billy did, though she admits it probably wasn't intentional.

517
00:26:03,080 --> 00:26:04,480
Speaker 2: Do you remember shooting.

518
00:26:04,119 --> 00:26:10,320
Speaker 1: This at all that I felt like Allison was super defensive,

519
00:26:10,359 --> 00:26:13,120
Speaker 1: like I want I was so many times, but I'd

520
00:26:13,160 --> 00:26:14,760
Speaker 1: want to do over. I really want to do over

521
00:26:14,840 --> 00:26:16,320
Speaker 1: on all these scenes, but one of it was they

522
00:26:16,359 --> 00:26:20,160
Speaker 1: just want to go just soften like I and look,

523
00:26:20,440 --> 00:26:23,359
Speaker 1: probably an accurate portrayal maybe of me at that age,

524
00:26:23,480 --> 00:26:26,240
Speaker 1: age where I would have been like, how can you think.

525
00:26:26,160 --> 00:26:26,520
Speaker 2: This of me?

526
00:26:26,600 --> 00:26:28,360
Speaker 1: And I would have com meted defensive at that age,

527
00:26:28,359 --> 00:26:31,399
Speaker 1: it was probably very authentic, But I think now I

528
00:26:31,400 --> 00:26:35,720
Speaker 1: would have met it so much softer, like I'm authentically interested,

529
00:26:35,880 --> 00:26:39,480
Speaker 1: just tell me, educate me.

530
00:26:39,640 --> 00:26:43,000
Speaker 3: Yeah. I also think it's like a it's a it's

531
00:26:43,040 --> 00:26:46,520
Speaker 3: a writing like necessity, like they needed to get that

532
00:26:46,560 --> 00:26:52,400
Speaker 3: conversation out from both sides that way for Ronda's character

533
00:26:52,480 --> 00:26:54,000
Speaker 3: to be able to say what she needed to say, right,

534
00:26:54,200 --> 00:26:58,439
Speaker 3: So it's like a writing strategy in the scene. So like,

535
00:26:59,200 --> 00:27:02,119
Speaker 3: don't beat yourself up for being defensive as a character,

536
00:27:02,200 --> 00:27:03,600
Speaker 3: you know what I mean, Like you had to play

537
00:27:03,640 --> 00:27:07,040
Speaker 3: that scene to get to what this conversation needed to be.

538
00:27:07,520 --> 00:27:09,919
Speaker 1: But I also think, honestly, yes, and but I was

539
00:27:10,000 --> 00:27:12,639
Speaker 1: so young, I don't think I had the space to

540
00:27:12,680 --> 00:27:15,119
Speaker 1: go like, look, as we know it, the older we are,

541
00:27:15,119 --> 00:27:18,080
Speaker 1: the less we know. Like now I would say, please

542
00:27:18,240 --> 00:27:19,959
Speaker 1: tell me, I honestly don't know.

543
00:27:20,080 --> 00:27:23,080
Speaker 2: I thought I knew. I don't know. Please tell me.

544
00:27:23,119 --> 00:27:25,359
Speaker 2: I don't feel like the older I get, the less

545
00:27:25,400 --> 00:27:28,760
Speaker 2: I know, Oh, you mean because there's more out there.

546
00:27:28,800 --> 00:27:30,960
Speaker 3: You're just so much that you're not.

547
00:27:31,280 --> 00:27:33,920
Speaker 1: I don't know what I've learned as I've gotten older.

548
00:27:33,960 --> 00:27:35,920
Speaker 1: The more definite I am, the more wrong I am.

549
00:27:36,240 --> 00:27:38,199
Speaker 1: A girlfriend, and I always say, if we start with

550
00:27:38,359 --> 00:27:40,240
Speaker 1: one thing, I know, we're guaranteed to be wrong.

551
00:27:40,320 --> 00:27:43,200
Speaker 2: Yeah, because the more I definitely I am, the more

552
00:27:43,320 --> 00:27:43,960
Speaker 2: wrong I am.

553
00:27:44,000 --> 00:27:47,640
Speaker 1: So now I just go, I don't know, maybe because yeah,

554
00:27:47,680 --> 00:27:49,879
Speaker 1: I honestly I realize how much I really don't know

555
00:27:49,960 --> 00:27:52,920
Speaker 1: certainly about someone else's experience. I don't know anything about

556
00:27:52,960 --> 00:27:54,679
Speaker 1: someone else's experience.

557
00:27:54,320 --> 00:27:57,280
Speaker 2: Right, Yeah, I see what you mean for sure. I

558
00:27:57,280 --> 00:28:00,359
Speaker 2: think what's interesting. I like how Vanessa played it was

559
00:28:00,359 --> 00:28:04,400
Speaker 2: that she didn't know. She yes, griggored something in her

560
00:28:04,560 --> 00:28:07,159
Speaker 2: she doesn't have the answers, and it's easy with this

561
00:28:07,280 --> 00:28:11,040
Speaker 2: kind of writing or this kind of like story to

562
00:28:11,160 --> 00:28:16,840
Speaker 2: be sort of like solid in her righteousness. But she

563
00:28:17,040 --> 00:28:19,840
Speaker 2: was confused. She didn't know. She just knows that, she

564
00:28:19,960 --> 00:28:22,280
Speaker 2: just knows that it hurt, and it's bringing up what

565
00:28:22,320 --> 00:28:25,080
Speaker 2: it's like to be, you know, black in a white

566
00:28:25,119 --> 00:28:28,040
Speaker 2: world and in a white apartment building. And so as

567
00:28:28,080 --> 00:28:30,479
Speaker 2: we go on, we'll see how these things come up

568
00:28:30,480 --> 00:28:30,840
Speaker 2: for her.

569
00:28:31,440 --> 00:28:34,000
Speaker 3: Yeah, I think so too. And I thought they did

570
00:28:34,040 --> 00:28:38,440
Speaker 3: a great job of showing that all the people here

571
00:28:38,920 --> 00:28:41,800
Speaker 3: were feeling that same confusion. And you know, right in

572
00:28:41,880 --> 00:28:43,680
Speaker 3: the end of the scene that's Allison. She said, well,

573
00:28:43,720 --> 00:28:46,080
Speaker 3: where do we go from here? Like what Ronda says,

574
00:28:46,160 --> 00:28:46,640
Speaker 3: she doesn't know.

575
00:28:47,160 --> 00:28:49,440
Speaker 2: I wish I knew, and then she leaves.

576
00:28:49,320 --> 00:28:51,400
Speaker 3: And then we cut to D and D where Billy

577
00:28:51,440 --> 00:28:53,640
Speaker 3: shows up to ask Alison if he can borrow her car.

578
00:28:53,800 --> 00:28:56,760
Speaker 3: She's willing to let him, but he takes the keys

579
00:28:56,760 --> 00:28:58,480
Speaker 3: out of her purse when she gets distracted on a

580
00:28:58,480 --> 00:29:00,600
Speaker 3: phone call, and off he goes. So then we cut

581
00:29:00,600 --> 00:29:04,440
Speaker 3: back to Jake's mom, which is who is joining Sandy

582
00:29:04,440 --> 00:29:07,240
Speaker 3: at the pool side, and they're both on the pool

583
00:29:07,360 --> 00:29:09,400
Speaker 3: launch chairs. At this moment. Sandy wants to know how

584
00:29:09,440 --> 00:29:11,920
Speaker 3: long she'll be staying. Stella says, actually, I plan to

585
00:29:11,960 --> 00:29:14,240
Speaker 3: stay in LA and then they both sort of have

586
00:29:14,280 --> 00:29:17,320
Speaker 3: a bonding conversation about both being waitresses. Me too.

587
00:29:17,840 --> 00:29:21,160
Speaker 1: That the point I'd like to make the point that

588
00:29:21,200 --> 00:29:22,440
Speaker 1: they have a lot in common.

589
00:29:22,440 --> 00:29:26,640
Speaker 2: That it's no that point. I don't know if you

590
00:29:26,640 --> 00:29:30,360
Speaker 2: guys caught onto that. I just want to make I

591
00:29:30,440 --> 00:29:33,360
Speaker 2: represent that I don't get it. It just it just

592
00:29:33,440 --> 00:29:37,200
Speaker 2: came to me. It's the craziest thing. Yeah, Oh, they

593
00:29:37,200 --> 00:29:40,360
Speaker 2: would be besties. I think after the show's over, those

594
00:29:40,400 --> 00:29:44,320
Speaker 2: two characters like went off to They're totally like, you

595
00:29:44,360 --> 00:29:48,920
Speaker 2: know what, you're gonna be my daughter, my son. You're

596
00:29:48,960 --> 00:29:49,800
Speaker 2: an easy one.

597
00:29:51,720 --> 00:29:53,160
Speaker 3: So then we cut to Jane and Michael at their

598
00:29:53,160 --> 00:29:58,200
Speaker 3: parenting class, where Michael is demonstrably disinterested and he's being

599
00:29:58,280 --> 00:30:01,600
Speaker 3: very rough with his doll be and he ends up

600
00:30:01,600 --> 00:30:04,400
Speaker 3: breaking its arm off when he's getting the shirt on,

601
00:30:04,680 --> 00:30:06,840
Speaker 3: and Jane ends up being the one who apologize to

602
00:30:06,880 --> 00:30:10,680
Speaker 3: the teacher on his behalf, and Michael's just like, sorry,

603
00:30:11,040 --> 00:30:12,040
Speaker 3: just a little like you know.

604
00:30:12,040 --> 00:30:14,800
Speaker 1: What I was funny about this scene is how now

605
00:30:14,920 --> 00:30:17,520
Speaker 1: neither one of them had kids yet, but how good

606
00:30:17,560 --> 00:30:19,920
Speaker 1: they were at that moment of the mom trying to

607
00:30:20,000 --> 00:30:22,600
Speaker 1: let the dad do something but really but don't but

608
00:30:22,680 --> 00:30:26,360
Speaker 1: don't but don't like it's so it's so intuitive.

609
00:30:26,480 --> 00:30:31,680
Speaker 2: Rights, So he rips the baby's arm right off, which

610
00:30:31,720 --> 00:30:33,320
Speaker 2: is what we're all secretly afraid they're.

611
00:30:33,200 --> 00:30:33,720
Speaker 4: Going to do.

612
00:30:36,160 --> 00:30:39,880
Speaker 3: For the first time, and he just sort of like,

613
00:30:40,280 --> 00:30:44,120
Speaker 3: I thought that was a very Michael like. It's a

614
00:30:44,280 --> 00:30:47,440
Speaker 3: foreshadowing version of Michael where he's like, you know, like

615
00:30:47,720 --> 00:30:48,200
Speaker 3: the level.

616
00:30:49,080 --> 00:30:50,600
Speaker 2: Yeah, but then the teacher.

617
00:30:50,320 --> 00:30:53,360
Speaker 1: Said, I mean, if you've been to parenting groups, what

618
00:30:53,440 --> 00:30:56,440
Speaker 1: the teachers always say is they're tougher than you think.

619
00:30:56,480 --> 00:30:59,720
Speaker 1: The babies are tougher. They never say it's a delicate flower.

620
00:30:59,800 --> 00:31:02,440
Speaker 1: Like they don't tell the man don't touch it, you'll

621
00:31:02,480 --> 00:31:04,920
Speaker 1: break it. They really want the husbands to be involved.

622
00:31:04,920 --> 00:31:08,240
Speaker 1: And the dad's like, it's okay, like the babies are resilient.

623
00:31:08,600 --> 00:31:15,160
Speaker 1: But the other way, they're not resilient. Information you can

624
00:31:15,240 --> 00:31:16,960
Speaker 1: rip their arm off putting on their T shirt.

625
00:31:17,000 --> 00:31:18,000
Speaker 2: You really can't.

626
00:31:18,320 --> 00:31:20,920
Speaker 1: But I just to be clear, you can't.

627
00:31:21,280 --> 00:31:22,920
Speaker 3: He was sort of like waving it around, like, oh,

628
00:31:23,120 --> 00:31:24,680
Speaker 3: I sorry.

629
00:31:25,120 --> 00:31:26,600
Speaker 2: I remember the first time.

630
00:31:27,760 --> 00:31:30,320
Speaker 1: I remember the first time my son's dad put him

631
00:31:30,320 --> 00:31:31,760
Speaker 1: down to sleep and I came home and I was

632
00:31:31,800 --> 00:31:34,040
Speaker 1: looking at the monitor and I was like, what is that?

633
00:31:34,120 --> 00:31:37,000
Speaker 1: And he goes and and my son was lying on

634
00:31:37,040 --> 00:31:38,880
Speaker 1: his stomach and he goes, that's the buttons and I

635
00:31:38,920 --> 00:31:41,440
Speaker 1: was like, the buttons that go in front. He's like, look,

636
00:31:41,480 --> 00:31:43,880
Speaker 1: I got it on him. I was like, okay, Like

637
00:31:43,960 --> 00:31:47,320
Speaker 1: it was backwards inside, No big deal, it's back Like right,

638
00:31:47,360 --> 00:31:49,440
Speaker 1: I got to have dinner with my girlfriend's never mind,

639
00:31:49,560 --> 00:31:51,640
Speaker 1: zip it, it was sleep.

640
00:31:51,680 --> 00:31:55,360
Speaker 2: We're all good. Oh my god, that's so funny, so cute.

641
00:31:55,400 --> 00:31:58,000
Speaker 3: So then heading to Billy, he's in Allison's car. He's

642
00:31:58,000 --> 00:32:01,520
Speaker 3: brought Jake along. He's staking out the scene crime and

643
00:32:02,080 --> 00:32:04,560
Speaker 3: Billy tells Jake that he thinks Ronda was out a

644
00:32:04,600 --> 00:32:07,440
Speaker 3: line that it's not about black or white, but about

645
00:32:07,520 --> 00:32:10,400
Speaker 3: right or wrong. That someone shouldn't rip you off or

646
00:32:10,400 --> 00:32:12,120
Speaker 3: get in your face make you feel like a worthless

647
00:32:12,120 --> 00:32:13,760
Speaker 3: piece of crap, he says, And Jake points out that

648
00:32:13,800 --> 00:32:16,120
Speaker 3: there's probably a lot of people in this neighborhood who

649
00:32:16,120 --> 00:32:20,160
Speaker 3: feel like that all the time. And then Jake says, Billy,

650
00:32:20,200 --> 00:32:21,520
Speaker 3: I don't think you're ever going to find the guys

651
00:32:21,520 --> 00:32:23,440
Speaker 3: who did it, And Billy says, you wait. If we

652
00:32:23,480 --> 00:32:24,960
Speaker 3: wait long enough, the guys will be here. This is

653
00:32:24,960 --> 00:32:27,000
Speaker 3: where they hang out. So they continue their stakeout.

654
00:32:27,280 --> 00:32:28,000
Speaker 2: Yeah, and shooters.

655
00:32:28,040 --> 00:32:29,760
Speaker 1: Thinking first of all, weren't you a little afraid that

656
00:32:29,800 --> 00:32:31,480
Speaker 1: they were going to confront the guys.

657
00:32:31,680 --> 00:32:33,480
Speaker 3: Well, we didn't know what they were going to do,

658
00:32:33,600 --> 00:32:36,200
Speaker 3: yea right, I mean Billy had an idea plan. Yeah,

659
00:32:36,200 --> 00:32:38,760
Speaker 3: Billy didn't tell the audience what his idea was. He

660
00:32:38,880 --> 00:32:41,400
Speaker 3: was just there. You know, I brought Jake along for

661
00:32:41,440 --> 00:32:43,520
Speaker 3: the ride, and Jake's also says, I think you're crazy,

662
00:32:43,600 --> 00:32:45,200
Speaker 3: but you know, I'll.

663
00:32:45,040 --> 00:32:46,920
Speaker 1: Go with you to sit in this neighborhood where you

664
00:32:46,920 --> 00:32:48,200
Speaker 1: were robbed last night.

665
00:32:48,240 --> 00:32:49,120
Speaker 2: Yeah, two nights again.

666
00:32:49,400 --> 00:32:50,080
Speaker 3: This seems great.

667
00:32:50,120 --> 00:32:51,520
Speaker 2: Let's say it's not a great plan.

668
00:32:51,880 --> 00:32:55,680
Speaker 3: Not a great plan, so shooters. Matt sits down with

669
00:32:55,800 --> 00:32:57,880
Speaker 3: Ronda at the bar, wearing her drink, noting that she's

670
00:32:57,920 --> 00:33:00,360
Speaker 3: still upset, and Ronda tells Matut that the sitch suation

671
00:33:00,480 --> 00:33:03,640
Speaker 3: with Billy is confusing. She says she tries to live

672
00:33:03,680 --> 00:33:06,480
Speaker 3: her life colorblind, that everyone is a person first, and

673
00:33:06,720 --> 00:33:10,280
Speaker 3: hoped everyone did the same thing. She admits to snapping

674
00:33:10,280 --> 00:33:12,200
Speaker 3: a little when Billy went off, but she said it

675
00:33:12,200 --> 00:33:15,960
Speaker 3: was a culmination of years of veiled remarks and little slips,

676
00:33:16,400 --> 00:33:19,280
Speaker 3: and Matt says he can relate, ignoring years of stupid

677
00:33:19,400 --> 00:33:21,560
Speaker 3: remarks about gays and that Ronda has a right to

678
00:33:21,600 --> 00:33:25,600
Speaker 3: be upset. Ronda goes on to talk about the Rodney

679
00:33:25,640 --> 00:33:27,640
Speaker 3: King verdict. She said she was outraged by the verdict

680
00:33:27,680 --> 00:33:30,320
Speaker 3: and upset by the riots, but realizes now that she

681
00:33:30,400 --> 00:33:34,160
Speaker 3: herself didn't do anything and that she feels like she's

682
00:33:34,200 --> 00:33:37,560
Speaker 3: become blind to the problems of people her own color

683
00:33:37,720 --> 00:33:38,240
Speaker 3: and Matt.

684
00:33:38,120 --> 00:33:40,840
Speaker 2: And that's what I was talking about, like, there's there

685
00:33:40,880 --> 00:33:43,840
Speaker 2: was real level to this, you know levels, and you know,

686
00:33:44,000 --> 00:33:47,040
Speaker 2: feelings like this and with issues like this are complex

687
00:33:47,080 --> 00:33:49,480
Speaker 2: for everybody. You know, how he got to see into

688
00:33:49,520 --> 00:33:52,800
Speaker 2: Ronda with what it was like to be her with

689
00:33:52,920 --> 00:33:55,440
Speaker 2: these friends and with this situation. It was a big

690
00:33:55,480 --> 00:33:58,280
Speaker 2: deal in La for a while. The riots. I was

691
00:33:58,280 --> 00:34:00,360
Speaker 2: just going to say that the you know, at the

692
00:34:00,440 --> 00:34:03,280
Speaker 2: end of the day, the riots burned down, did burn

693
00:34:03,360 --> 00:34:06,880
Speaker 2: down their own neighborhoods down in South Central mostly. You know,

694
00:34:07,040 --> 00:34:09,799
Speaker 2: me as a white person who didn't live there, kind

695
00:34:09,800 --> 00:34:12,319
Speaker 2: of was the same thing, Like, oh my god. But

696
00:34:12,719 --> 00:34:16,400
Speaker 2: what Ronda says, they got her attention, They got everyone's attention.

697
00:34:16,680 --> 00:34:20,799
Speaker 2: It got everyone's attention, and we hadn't been seeing this

698
00:34:20,960 --> 00:34:25,560
Speaker 2: for so long and weren't interested in what it's like

699
00:34:25,680 --> 00:34:30,239
Speaker 2: to be not white in this society. So they did

700
00:34:30,239 --> 00:34:32,920
Speaker 2: get people's attention. And here we are thirty years later

701
00:34:33,000 --> 00:34:37,080
Speaker 2: and things are different. I mean, obviously, but I just

702
00:34:37,280 --> 00:34:39,920
Speaker 2: liked how. I don't know if this is where Ronda says,

703
00:34:39,960 --> 00:34:42,080
Speaker 2: you know, she grew up in the suburbs, right, and

704
00:34:42,320 --> 00:34:43,000
Speaker 2: so down there.

705
00:34:43,560 --> 00:34:46,520
Speaker 3: This is just where she's starting to really, like you said,

706
00:34:46,560 --> 00:34:50,200
Speaker 3: like she's not just coming with all the answers. She's

707
00:34:50,239 --> 00:34:53,000
Speaker 3: saying she's got questions too. She's really like open to

708
00:34:53,920 --> 00:34:56,400
Speaker 3: learning and having questions of her own. So everyone in

709
00:34:56,400 --> 00:35:01,319
Speaker 3: this episode is sort of not how all the answers, saying, Yeah,

710
00:35:01,360 --> 00:35:03,479
Speaker 3: this is confusing, there's a lot here, and I don't

711
00:35:03,520 --> 00:35:06,560
Speaker 3: have all the answers, and I have questions too, And

712
00:35:06,600 --> 00:35:08,879
Speaker 3: so she says to Matt, you know, and he's and

713
00:35:08,920 --> 00:35:11,279
Speaker 3: he he agrees with her. It's hard, he says, it's

714
00:35:11,280 --> 00:35:13,160
Speaker 3: hard to know what to do in a world of prejudice.

715
00:35:13,160 --> 00:35:16,200
Speaker 3: It's hard to know what to do. That he's you know,

716
00:35:16,280 --> 00:35:19,960
Speaker 3: he's ignored things you know to on it too, and

717
00:35:20,200 --> 00:35:21,520
Speaker 3: that it's hard to know what to do. But Broanda

718
00:35:21,520 --> 00:35:24,680
Speaker 3: has kind of the conclusion that they're that they're both responsible,

719
00:35:24,719 --> 00:35:27,160
Speaker 3: she says, to help change things, saying if they're not

720
00:35:27,239 --> 00:35:29,440
Speaker 3: part of the solution, then they're part.

721
00:35:29,280 --> 00:35:34,160
Speaker 2: Of the problem problem. She's quoting that from what she's heard. Yeah,

722
00:35:34,480 --> 00:35:36,880
Speaker 2: so she's going to her best friend. I think I

723
00:35:36,920 --> 00:35:39,480
Speaker 2: would say that he's probably your best friend, closest friend

724
00:35:39,560 --> 00:35:42,160
Speaker 2: to share that vulnerability and like, I don't know what

725
00:35:42,200 --> 00:35:43,399
Speaker 2: to do, and I didn't know what to do.

726
00:35:44,760 --> 00:35:48,759
Speaker 3: Yeah, but she's she's interested in finding a way to do.

727
00:35:49,040 --> 00:35:50,960
Speaker 3: She's like part of the solution too. She's not just

728
00:35:51,160 --> 00:35:54,160
Speaker 3: you know, thinking, she already has all the answers. And

729
00:35:54,640 --> 00:35:56,520
Speaker 3: so back with the guys on the stakeout, Jake and

730
00:35:56,520 --> 00:35:58,200
Speaker 3: Billy are about to give up and go home. Billy

731
00:35:58,200 --> 00:36:00,120
Speaker 3: then spots the car that followed him last night, so

732
00:36:00,200 --> 00:36:02,200
Speaker 3: he takes down the license plate. Thank god, that's all

733
00:36:02,200 --> 00:36:05,600
Speaker 3: he was doing. He took down the license plate and says,

734
00:36:05,640 --> 00:36:08,880
Speaker 3: we got him. So back at the apartment with Alison

735
00:36:08,920 --> 00:36:11,400
Speaker 3: next morning, he's invested in a lock box for his

736
00:36:11,480 --> 00:36:14,440
Speaker 3: cash in the cab, and he's happy that he got that.

737
00:36:14,480 --> 00:36:17,200
Speaker 3: He gave the police the license number. Alison's not as

738
00:36:17,280 --> 00:36:20,360
Speaker 3: enthusiastic as he is about that, and she's pretty pissed

739
00:36:20,360 --> 00:36:22,800
Speaker 3: that Billy sort of conned her with his reasons about

740
00:36:22,880 --> 00:36:25,319
Speaker 3: borrowing the car in the first place. And she said,

741
00:36:25,560 --> 00:36:27,080
Speaker 3: you could have gotten hurt and.

742
00:36:27,080 --> 00:36:28,120
Speaker 2: He could have gotten in my car.

743
00:36:28,800 --> 00:36:31,880
Speaker 3: Yeah, And Billy defends himself saying, well, I was just

744
00:36:31,920 --> 00:36:35,160
Speaker 3: doing what the police couldn't or wouldn't do, and then

745
00:36:35,200 --> 00:36:39,160
Speaker 3: Alison tells Billy that he's forgetting that he said that

746
00:36:39,280 --> 00:36:41,719
Speaker 3: this situation had opened the side of himself he wasn't

747
00:36:41,760 --> 00:36:45,320
Speaker 3: comfortable looking at. So although she understands his desire for justice,

748
00:36:45,360 --> 00:36:48,719
Speaker 3: he shouldn't just lock his feelings about everything in a

749
00:36:48,719 --> 00:36:50,960
Speaker 3: box or assume that the situation is over just because

750
00:36:51,760 --> 00:36:55,120
Speaker 3: and that he hasn't really solved anything, which makes him think.

751
00:36:55,400 --> 00:36:57,680
Speaker 1: Yeah, I'm generally cranky in this episode.

752
00:36:58,160 --> 00:37:00,880
Speaker 3: I'm mad. I thought you were just reminding and like, wait,

753
00:37:01,360 --> 00:37:03,279
Speaker 3: you know, there's a lot more layers to this than

754
00:37:03,360 --> 00:37:04,399
Speaker 3: just a license plate number.

755
00:37:04,440 --> 00:37:06,799
Speaker 2: I didn't see that as I didn't see that at all,

756
00:37:06,960 --> 00:37:10,000
Speaker 2: court I saw Alison as, Yeah, I saw her sort

757
00:37:10,000 --> 00:37:12,120
Speaker 2: of as a peacemaker or as someone who wants to

758
00:37:12,160 --> 00:37:15,640
Speaker 2: have us kind of bringing two sides to have some

759
00:37:15,840 --> 00:37:18,680
Speaker 2: understanding of each side. That's what I meant to say.

760
00:37:18,760 --> 00:37:20,080
Speaker 1: That's what I meant to I.

761
00:37:20,000 --> 00:37:24,360
Speaker 2: Think that's how I saw your scene the same episode

762
00:37:24,400 --> 00:37:26,160
Speaker 2: where just.

763
00:37:26,320 --> 00:37:29,560
Speaker 3: Very self critical Courtney and and we just need to

764
00:37:29,600 --> 00:37:30,080
Speaker 3: remind you.

765
00:37:30,280 --> 00:37:32,839
Speaker 2: I just think that, yeah, maybe you're seeing it through

766
00:37:33,080 --> 00:37:35,520
Speaker 2: self critical. You know, you're talking to Ronda and saying,

767
00:37:36,080 --> 00:37:38,920
Speaker 2: imagine being Billy and you're talking to Billy and saying,

768
00:37:38,920 --> 00:37:42,359
Speaker 2: you know, she's so I liked that, but you had

769
00:37:42,400 --> 00:37:46,680
Speaker 2: an edge to it. I'm just kidding. Striped shirt.

770
00:37:46,719 --> 00:37:49,880
Speaker 1: I didn't like my stripe, big horizontal, weird striped shirt

771
00:37:49,880 --> 00:37:51,320
Speaker 1: that I worked on the episode.

772
00:37:51,320 --> 00:37:54,520
Speaker 2: So that's really the crowded. I think that clouded my vision.

773
00:37:54,800 --> 00:37:56,279
Speaker 3: That must be what I mean.

774
00:37:56,320 --> 00:37:59,000
Speaker 2: We're not even talking about the clothes or the hairstyles.

775
00:37:59,080 --> 00:38:02,160
Speaker 2: That Matt's hair style and Shooters was a nightmare. Oh

776
00:38:02,200 --> 00:38:06,960
Speaker 2: my god, so skillfully went and then he fixed it,

777
00:38:07,080 --> 00:38:12,160
Speaker 2: thank god, because they're talking about big problems and uh,

778
00:38:12,200 --> 00:38:16,480
Speaker 2: you know Anita's you know, Jake's mom's gorgeous rhinestones and

779
00:38:16,560 --> 00:38:20,040
Speaker 2: a different jacket every scene. Denim on denim. Love the

780
00:38:20,120 --> 00:38:21,399
Speaker 2: denim on denim. Yeah.

781
00:38:21,400 --> 00:38:26,359
Speaker 3: I did notice Vanessa Ronda had they brought her a

782
00:38:26,920 --> 00:38:30,239
Speaker 3: like a strawberry dakery or something. I'm like, you know,

783
00:38:30,280 --> 00:38:32,440
Speaker 3: likeme for that on set where they're like, what do

784
00:38:32,440 --> 00:38:35,239
Speaker 3: you want to be drinking in this scene? Oh, bring

785
00:38:35,280 --> 00:38:37,919
Speaker 3: me something really sugary and fruity and just going to make.

786
00:38:37,840 --> 00:38:42,879
Speaker 2: Me like that's just TV drinks. In the eighties and nineties, they.

787
00:38:42,840 --> 00:38:47,600
Speaker 3: Three colorful, very Yeah, she was friendly, never a greyhound.

788
00:38:47,640 --> 00:38:50,560
Speaker 2: You know, boring little it's always.

789
00:38:50,239 --> 00:38:55,040
Speaker 3: Like sparkling water whatever. Nope, it's gotta be colorful. And yeah,

790
00:38:56,200 --> 00:38:58,879
Speaker 3: there was no umbrella in it, though it wasn't that bad.

791
00:38:59,680 --> 00:39:02,759
Speaker 2: So you're at a pool that you were at a

792
00:39:02,800 --> 00:39:06,480
Speaker 2: pool or the beach if you've got an umbrella anyway.

793
00:39:06,640 --> 00:39:09,000
Speaker 3: Okay, So then back in the baby class, Jane and

794
00:39:09,000 --> 00:39:11,759
Speaker 3: Michael are discussing uh no, back at home, Jane and

795
00:39:11,760 --> 00:39:14,720
Speaker 3: Michael are discussing Michael's bad behavior in the baby class,

796
00:39:15,320 --> 00:39:17,480
Speaker 3: and Jane says that Michael needs to learn to be

797
00:39:17,520 --> 00:39:19,840
Speaker 3: more patient. She's worried about what he will do with

798
00:39:19,920 --> 00:39:23,000
Speaker 3: the real baby, and Michael says, Okay, I'm not perfect,

799
00:39:23,040 --> 00:39:27,400
Speaker 3: but you, Jane, you need to be less overbearingly protective.

800
00:39:28,000 --> 00:39:30,839
Speaker 3: So they're sort of accusing each other of being too.

801
00:39:30,840 --> 00:39:34,719
Speaker 2: Much of and he said sorry, but she said no

802
00:39:35,239 --> 00:39:36,200
Speaker 2: parents are perfect.

803
00:39:36,960 --> 00:39:37,160
Speaker 3: Yep.

804
00:39:37,239 --> 00:39:39,480
Speaker 2: In the same episode that we're seeing Jake deal with

805
00:39:39,520 --> 00:39:44,359
Speaker 2: his imperfect mother. I thought that, oh good. Yeah, you know,

806
00:39:44,440 --> 00:39:49,360
Speaker 2: because also Court, you know, not my memories or my observation,

807
00:39:49,760 --> 00:39:52,480
Speaker 2: not my memories, but my observation of these scripts are

808
00:39:52,480 --> 00:39:56,000
Speaker 2: not clouded by memories of being in it, Like yeah,

809
00:39:56,000 --> 00:39:57,640
Speaker 2: striped shirt by my strung.

810
00:39:58,680 --> 00:40:01,640
Speaker 3: There's so much better, and we're just like viewers, going,

811
00:40:01,719 --> 00:40:03,560
Speaker 3: that's coming, it's fine.

812
00:40:03,840 --> 00:40:06,080
Speaker 2: But right now, Laura and I get to just see

813
00:40:06,120 --> 00:40:10,000
Speaker 2: it as you know, like as total audience members. So

814
00:40:11,360 --> 00:40:13,600
Speaker 2: I just saw that. I just know they're all these parallels,

815
00:40:13,600 --> 00:40:17,200
Speaker 2: these little uh not Easter eggs, but just these little

816
00:40:17,200 --> 00:40:18,200
Speaker 2: treats all throughout it.

817
00:40:18,280 --> 00:40:18,480
Speaker 3: Yeah.

818
00:40:18,520 --> 00:40:20,880
Speaker 1: Well, also in that scene with Michael and Jane, I

819
00:40:20,960 --> 00:40:23,120
Speaker 1: was thinking one of the writers has a little kid,

820
00:40:23,760 --> 00:40:28,919
Speaker 1: because that was such a parent new parent argument. You're

821
00:40:28,960 --> 00:40:32,680
Speaker 1: too overprotective, you're not patient enough, you know, take these

822
00:40:32,719 --> 00:40:36,120
Speaker 1: things because the energies are so different, you know, the

823
00:40:36,200 --> 00:40:38,080
Speaker 1: new mom energy and the new data energy, and it

824
00:40:38,080 --> 00:40:40,000
Speaker 1: feels like they're so rough, and we want to protect

825
00:40:40,040 --> 00:40:42,240
Speaker 1: our little babies and they don't want them to be coddled.

826
00:40:42,239 --> 00:40:44,160
Speaker 2: But all we want to do is be in a.

827
00:40:44,160 --> 00:40:46,640
Speaker 1: Room holding them, protecting them from the big bad world.

828
00:40:47,320 --> 00:40:49,520
Speaker 3: And these two aren't even parents yet, they're just preparing

829
00:40:49,560 --> 00:40:52,880
Speaker 3: to be parents, just imagining they're going to be, like, yeah, exactly,

830
00:40:52,880 --> 00:40:53,399
Speaker 3: that's think.

831
00:40:53,360 --> 00:40:55,520
Speaker 1: One of the writers is writing from a fight yad

832
00:40:55,600 --> 00:40:57,640
Speaker 1: with his wife that morning, that's thinking.

833
00:40:57,880 --> 00:40:59,879
Speaker 2: I mean a lot of that goes on right as

834
00:41:00,239 --> 00:41:02,160
Speaker 2: with the directors, as you pointed out earlier.

835
00:41:02,280 --> 00:41:06,560
Speaker 3: Yeah, So the back of Shooters, Sandy is discussing Jake's

836
00:41:06,600 --> 00:41:11,080
Speaker 3: mom with sort of a bummed out Jake and he

837
00:41:11,120 --> 00:41:14,320
Speaker 3: wants her to be gone, and then he realizes, oh, look,

838
00:41:15,040 --> 00:41:17,160
Speaker 3: my mother is here at Shooters shooting pool with a

839
00:41:17,200 --> 00:41:20,040
Speaker 3: guy and she he realizes that Sandy has brought her

840
00:41:20,080 --> 00:41:22,319
Speaker 3: to the bar, so he's pissed. Sandy says, hey, I

841
00:41:22,400 --> 00:41:25,720
Speaker 3: felt sorry for you know. She really wants a second chance,

842
00:41:26,239 --> 00:41:29,200
Speaker 3: and Jake says, no, Sandy, my mom's drunk. She doesn't

843
00:41:29,200 --> 00:41:31,839
Speaker 3: deserve a second chance. So this is kind of his

844
00:41:31,960 --> 00:41:36,560
Speaker 3: theme throughout, is like she hasn't changed, she doesn't deserve

845
00:41:36,560 --> 00:41:39,160
Speaker 3: a second chance, you know. And he says it in

846
00:41:39,160 --> 00:41:41,480
Speaker 3: the top scene and he'll say it again. She hasn't changed,

847
00:41:41,520 --> 00:41:43,560
Speaker 3: she hasn't changed. And we'll see down the line he's

848
00:41:43,560 --> 00:41:44,399
Speaker 3: going to repeat that again.

849
00:41:44,480 --> 00:41:46,160
Speaker 2: Well, we see in the scene when you when the

850
00:41:46,200 --> 00:41:49,040
Speaker 2: camera shoots her and she's like and she's flirt. There's

851
00:41:49,080 --> 00:41:51,360
Speaker 2: a guy behind her teaching her how to like do

852
00:41:51,440 --> 00:41:54,320
Speaker 2: the pool thing, and he's like, I rest my case

853
00:41:54,640 --> 00:42:00,120
Speaker 2: and he's completely annoyed hitting on my neighbors.

854
00:42:00,120 --> 00:42:00,920
Speaker 3: The second chance.

855
00:42:01,080 --> 00:42:06,840
Speaker 2: Yeah, yeah, she's kind of like, uh, she's kind of

856
00:42:06,840 --> 00:42:10,959
Speaker 2: blind to that part of his mom because she's hurt.

857
00:42:11,480 --> 00:42:17,799
Speaker 2: She sees it as normal. What because she's a yeah, what,

858
00:42:18,320 --> 00:42:19,000
Speaker 2: she's great.

859
00:42:20,080 --> 00:42:22,319
Speaker 3: Ill let him back to Billy. Back to Billy who's

860
00:42:22,400 --> 00:42:26,640
Speaker 3: driving his cab, and then he stops to pick up Ronda,

861
00:42:26,920 --> 00:42:29,000
Speaker 3: who is holding a bag of groceries. She gets in

862
00:42:29,040 --> 00:42:32,640
Speaker 3: his car and she tells him she wants him to

863
00:42:32,680 --> 00:42:35,400
Speaker 3: take her to Florence and Normandy, which is the intersection

864
00:42:36,320 --> 00:42:39,160
Speaker 3: that really represents the heart of south central LA and

865
00:42:39,160 --> 00:42:44,480
Speaker 3: that's the sight of the beginning of the riots and

866
00:42:44,960 --> 00:42:48,080
Speaker 3: really heightened racial tensions at that time. And she says,

867
00:42:48,120 --> 00:42:51,360
Speaker 3: take me to Florence and Normandy, and Billy says, I

868
00:42:51,400 --> 00:42:56,000
Speaker 3: don't need my consciousness raised, but Ronda says.

869
00:42:55,880 --> 00:42:56,239
Speaker 2: I do.

870
00:42:56,400 --> 00:42:56,759
Speaker 3: I do.

871
00:42:57,680 --> 00:43:00,880
Speaker 2: Yeah, she probably meant both. I didn't know if she

872
00:43:00,920 --> 00:43:03,520
Speaker 2: meant I need your consciousness to be raised. I think

873
00:43:03,560 --> 00:43:06,560
Speaker 2: that's meant I need my consciousness to be raised, because

874
00:43:06,560 --> 00:43:08,440
Speaker 2: she had just had that scene with Matt like I

875
00:43:08,480 --> 00:43:12,720
Speaker 2: want to like, you know, I want to step up here.

876
00:43:12,960 --> 00:43:15,359
Speaker 3: I think that was a great line because of that,

877
00:43:15,440 --> 00:43:20,520
Speaker 3: because you get to interpret it that it was both. Yeah,

878
00:43:19,600 --> 00:43:22,759
Speaker 3: it was like in a literal sense. She's saying, I

879
00:43:22,800 --> 00:43:25,919
Speaker 3: do like her own, but it really is. I could

880
00:43:26,000 --> 00:43:27,640
Speaker 3: hear it in the way it was delivered. I love

881
00:43:27,680 --> 00:43:28,120
Speaker 3: that it was.

882
00:43:28,440 --> 00:43:31,680
Speaker 2: And then the greatest inside messaging here was when they

883
00:43:31,680 --> 00:43:33,520
Speaker 2: pulled away and the bumper sticker.

884
00:43:34,200 --> 00:43:37,040
Speaker 3: Did you know the art department, Courtney, Let's ask Courtney,

885
00:43:37,120 --> 00:43:39,600
Speaker 3: did you notice the bumper sticker on the back of

886
00:43:39,640 --> 00:43:42,439
Speaker 3: the cab As they drove away, I was still thinking

887
00:43:42,440 --> 00:43:47,799
Speaker 3: about my stripe shir okay, great, all right, said love

888
00:43:47,920 --> 00:43:52,000
Speaker 3: your Mother all on the back of Billie's cab. So

889
00:43:52,200 --> 00:43:56,319
Speaker 3: again our prop and art department having sort of like.

890
00:43:56,320 --> 00:44:02,040
Speaker 2: Gorilla marketing, which was obviously about are themes in the show,

891
00:44:02,280 --> 00:44:04,839
Speaker 2: but also it has a globe of planet on there,

892
00:44:04,840 --> 00:44:07,759
Speaker 2: and it means love your mother, Earth, Earth, of your mother.

893
00:44:07,960 --> 00:44:09,880
Speaker 3: And that was a new bumper sticker. We've seen the

894
00:44:09,920 --> 00:44:12,080
Speaker 3: back of Billy's cab before, but this is the first

895
00:44:12,120 --> 00:44:14,160
Speaker 3: episode and a very important EIO.

896
00:44:14,040 --> 00:44:16,600
Speaker 2: They were on at the art department. Man, they were

897
00:44:16,640 --> 00:44:20,239
Speaker 2: really were now that I've heard about that, all the

898
00:44:20,280 --> 00:44:24,000
Speaker 2: things like this that they would put in, it's because

899
00:44:24,000 --> 00:44:28,800
Speaker 2: that bumper sticker really was about love Mother Earth, Protect

900
00:44:28,840 --> 00:44:32,319
Speaker 2: Mother Earth, protect the planet that's given you everything that

901
00:44:32,360 --> 00:44:34,920
Speaker 2: you have and that you are, uh and there that

902
00:44:35,000 --> 00:44:38,480
Speaker 2: was real sort of environmental movement back then. So but

903
00:44:38,640 --> 00:44:40,799
Speaker 2: they also put it in because of the storyline, which

904
00:44:40,840 --> 00:44:43,480
Speaker 2: is great. But yeah, global, that's great.

905
00:44:43,360 --> 00:44:45,600
Speaker 3: In this episode. And I I'd like to know if

906
00:44:45,600 --> 00:44:47,879
Speaker 3: we can get a love your Mother bumper sticker. Now

907
00:44:48,080 --> 00:44:51,239
Speaker 3: that's a piece of you know, Melrose paraphernalia. I would

908
00:44:51,280 --> 00:44:53,320
Speaker 3: like to consider it still. Maybe put it on the

909
00:44:53,320 --> 00:44:54,799
Speaker 3: back of my kid's card. Love your Mother.

910
00:44:55,600 --> 00:45:00,239
Speaker 2: Yeah, you're like, you'll put a picture of you, not

911
00:45:00,320 --> 00:45:05,000
Speaker 2: take out the planet Earth, all of it.

912
00:45:05,160 --> 00:45:05,719
Speaker 3: Love your Mother.

913
00:45:06,239 --> 00:45:07,600
Speaker 2: And I bought a mug one time.

914
00:45:07,680 --> 00:45:09,680
Speaker 1: I was out of town and I've forgotten, like a

915
00:45:09,719 --> 00:45:11,520
Speaker 1: big mug and I'd forgotten my big mug, and so

916
00:45:11,520 --> 00:45:13,359
Speaker 1: I bought one. And the one the biggest mug they

917
00:45:13,360 --> 00:45:14,959
Speaker 1: had it said World's Best Mother.

918
00:45:15,680 --> 00:45:16,440
Speaker 2: So I bought it.

919
00:45:16,600 --> 00:45:18,520
Speaker 1: And it was not for my son. So I'm constantly

920
00:45:18,520 --> 00:45:20,520
Speaker 1: trying to get my son to hold it. So then

921
00:45:20,560 --> 00:45:22,759
Speaker 1: he gives it to me, and he's too smart, like

922
00:45:22,800 --> 00:45:26,000
Speaker 1: he dodges it. But I've dragged to make it give

923
00:45:26,000 --> 00:45:27,640
Speaker 1: it to me. But no, I bought my own world.

924
00:45:27,680 --> 00:45:30,319
Speaker 1: You had to buy it for yourself. I buy it

925
00:45:30,320 --> 00:45:32,160
Speaker 1: for myself and he will like, honeywey you hold this.

926
00:45:32,320 --> 00:45:34,719
Speaker 2: He won't do it. He's too smart for me, damn it.

927
00:45:37,040 --> 00:45:40,560
Speaker 2: So giving you something like that for Mother's Day or

928
00:45:40,560 --> 00:45:43,000
Speaker 2: your birthday. Oh, he's a total sweetheart.

929
00:45:43,040 --> 00:45:45,640
Speaker 1: But he's onto me with the mug, not the mug.

930
00:45:46,560 --> 00:45:53,520
Speaker 4: Yeah, So building a round to drive, They're looking at

931
00:45:53,560 --> 00:45:57,600
Speaker 4: the burned out neighborhood, and this is where Rhonda admits

932
00:45:57,640 --> 00:46:00,720
Speaker 4: that she grew she herself gripped in the middle class

933
00:46:00,760 --> 00:46:03,319
Speaker 4: suburb and she can't really relate because this.

934
00:46:03,600 --> 00:46:06,160
Speaker 3: They agree. It just looks like a war zone, they say,

935
00:46:06,760 --> 00:46:12,360
Speaker 3: and the neighborhood is burned everywhere. And then RNDA notes

936
00:46:12,440 --> 00:46:17,239
Speaker 3: that they reported last night that only three people were

937
00:46:17,320 --> 00:46:20,399
Speaker 3: killed in shootings last night, and just the operative word

938
00:46:20,440 --> 00:46:24,839
Speaker 3: being only three people. Yeah, and Billy says he can.

939
00:46:25,000 --> 00:46:27,040
Speaker 3: You know, they're both just sort of commiserating on like

940
00:46:27,120 --> 00:46:30,120
Speaker 3: this is it's hard to grasp, it's hard to understand.

941
00:46:30,360 --> 00:46:33,560
Speaker 3: And Billy says, you know, I can actually understand someone

942
00:46:33,600 --> 00:46:38,080
Speaker 3: who's looting and stealing TV or a stereo, who you

943
00:46:38,120 --> 00:46:40,359
Speaker 3: know that they might not otherwise be able to afford it,

944
00:46:40,440 --> 00:46:44,839
Speaker 3: But I don't understand burning down one's own neighborhood.

945
00:46:44,440 --> 00:46:45,319
Speaker 2: And that's what she said.

946
00:46:45,360 --> 00:46:47,279
Speaker 3: But it got there when Ronda said, yeah, but it

947
00:46:47,320 --> 00:46:48,560
Speaker 3: got their attention, didn't.

948
00:46:48,320 --> 00:46:51,879
Speaker 2: It got everyone's attention exactly. But that line stuck out

949
00:46:51,920 --> 00:46:56,719
Speaker 2: to me when she said only three people that the news, right,

950
00:46:56,880 --> 00:47:00,919
Speaker 2: the white produced news out to the world, Well, only

951
00:47:00,960 --> 00:47:04,360
Speaker 2: three people died last night. Well who are those three people?

952
00:47:04,400 --> 00:47:06,080
Speaker 2: And it's not only whose kids?

953
00:47:06,120 --> 00:47:06,239
Speaker 1: Right?

954
00:47:06,840 --> 00:47:08,920
Speaker 3: As if that's a good statistic, right.

955
00:47:08,800 --> 00:47:14,520
Speaker 2: Yeah, what about zero people? Let's go for that. Yeah.

956
00:47:14,800 --> 00:47:19,319
Speaker 3: So then they arrived at a church. Ronda says that

957
00:47:19,400 --> 00:47:22,880
Speaker 3: Rebuild La an organization is gathering donations to help residents

958
00:47:22,880 --> 00:47:25,719
Speaker 3: in the neighborhood, and so it's clear that now that's

959
00:47:25,760 --> 00:47:28,160
Speaker 3: what the bag of groceries that she's brought, she's bringing

960
00:47:28,160 --> 00:47:32,200
Speaker 3: them for donations. And Ronda admits to Billy that she

961
00:47:32,320 --> 00:47:35,080
Speaker 3: feels like she's always been too busy or maybe too

962
00:47:35,120 --> 00:47:37,960
Speaker 3: scared to come down there to these neighborhoods to see

963
00:47:37,960 --> 00:47:41,160
Speaker 3: how bad things really were. So she adds her donations

964
00:47:41,200 --> 00:47:43,320
Speaker 3: to the pile, and then she joins Billy, who's listening

965
00:47:43,400 --> 00:47:48,320
Speaker 3: to an inspirational pastor speaking about working together, all people

966
00:47:48,320 --> 00:47:50,680
Speaker 3: working together to help, to vote and to build and

967
00:47:50,719 --> 00:47:52,879
Speaker 3: not to be part of the distruction, be a part

968
00:47:52,920 --> 00:47:55,600
Speaker 3: of love, not hatred, be a part of hope and

969
00:47:55,680 --> 00:47:58,239
Speaker 3: the possibility of tomorrow. And so they both stand here

970
00:47:58,440 --> 00:48:01,239
Speaker 3: listening to this message and you just really see that

971
00:48:01,280 --> 00:48:02,520
Speaker 3: it's meaningful for both of them.

972
00:48:04,160 --> 00:48:07,759
Speaker 1: This actor, Ron Canada, who played the minister, has been

973
00:48:07,760 --> 00:48:10,480
Speaker 1: in everything, The Shield, West Wing, Ugly Betty. But like

974
00:48:10,719 --> 00:48:13,200
Speaker 1: he's one of those actors, those character actors who you go,

975
00:48:13,800 --> 00:48:15,040
Speaker 1: I know him, what's he been in?

976
00:48:15,120 --> 00:48:16,800
Speaker 2: The answer is everything.

977
00:48:16,920 --> 00:48:19,319
Speaker 1: So another example of the great guest stars we got

978
00:48:19,320 --> 00:48:20,080
Speaker 1: to meet on our.

979
00:48:20,000 --> 00:48:23,080
Speaker 3: Show, So many great guest stars. So back home, Billy

980
00:48:23,160 --> 00:48:26,840
Speaker 3: is telling Allison that he was always taught to respect

981
00:48:26,840 --> 00:48:28,759
Speaker 3: others and he thought he was doing that, but he,

982
00:48:30,280 --> 00:48:33,040
Speaker 3: you know, doesn't seem so sure about anything anymore. And

983
00:48:33,080 --> 00:48:35,600
Speaker 3: he also notes that he feels guilty a little bit

984
00:48:35,680 --> 00:48:38,799
Speaker 3: now about everything, even though he was a victim. He

985
00:48:38,800 --> 00:48:43,000
Speaker 3: says he feels guilty, and Allison tells him, Oh, while

986
00:48:43,040 --> 00:48:46,520
Speaker 3: the police called and they have now positively id the

987
00:48:46,600 --> 00:48:50,040
Speaker 3: guy who beat up your car based on the license plates.

988
00:48:50,080 --> 00:48:52,000
Speaker 3: So you just need to go down to the jail

989
00:48:52,080 --> 00:48:53,480
Speaker 3: to put the guy in jail. You just need to

990
00:48:53,520 --> 00:48:55,719
Speaker 3: go give a positive idea and verify that they have

991
00:48:55,840 --> 00:48:57,520
Speaker 3: the guy, and then we see that Billy is really

992
00:48:57,560 --> 00:49:02,160
Speaker 3: conflicted about what to do. We cut to Jake's mom

993
00:49:02,280 --> 00:49:05,239
Speaker 3: returning home after her night at Shooters. She stumbles into

994
00:49:05,280 --> 00:49:08,000
Speaker 3: the apartment, clearly very drunk after her night out, and

995
00:49:08,040 --> 00:49:10,480
Speaker 3: she apologizes to Jake when she sees that he was

996
00:49:10,520 --> 00:49:14,040
Speaker 3: waiting up for her, and he is pissed. She passes

997
00:49:14,080 --> 00:49:17,640
Speaker 3: out on the couch and Jake tucks her in and

998
00:49:17,800 --> 00:49:20,560
Speaker 3: sort of says to himself, yeah, mom, you've really changed.

999
00:49:21,000 --> 00:49:21,600
Speaker 2: Oh that was hard.

1000
00:49:21,920 --> 00:49:26,560
Speaker 3: Sarcastic, yep. So he just, you know, she just proved

1001
00:49:26,600 --> 00:49:27,799
Speaker 3: everything that he was afraid of.

1002
00:49:27,840 --> 00:49:31,400
Speaker 2: And yet there's that tender moment when he puts he

1003
00:49:31,440 --> 00:49:33,880
Speaker 2: puts a blanket over her and pucks her in, and

1004
00:49:33,880 --> 00:49:37,279
Speaker 2: it's very he loves her. He loves her, and she's

1005
00:49:37,680 --> 00:49:41,040
Speaker 2: fragile even though she's older. It's kind of switched, you know.

1006
00:49:41,120 --> 00:49:44,520
Speaker 3: Yeah, that was a lot like to you know, somebody

1007
00:49:44,560 --> 00:49:47,680
Speaker 3: that just really disappoints you. But it's it's your mother,

1008
00:49:47,960 --> 00:49:49,520
Speaker 3: you know, and you want it to be different. And

1009
00:49:49,560 --> 00:49:51,600
Speaker 3: I just thought Grant did such a great job playing

1010
00:49:51,600 --> 00:49:53,040
Speaker 3: all those colors.

1011
00:49:53,280 --> 00:49:56,279
Speaker 2: Yeah, it's so much easier to feel for someone when

1012
00:49:56,320 --> 00:50:00,920
Speaker 2: they're well vulnerable but also sleeping. You know, like it

1013
00:50:01,120 --> 00:50:04,360
Speaker 2: just looked like this vulnerable, fragile little thing and you know,

1014
00:50:04,400 --> 00:50:06,760
Speaker 2: they're not like in your face or anything.

1015
00:50:07,560 --> 00:50:10,279
Speaker 3: Maybe that was the problem with Jane and Michael's baby doll.

1016
00:50:11,000 --> 00:50:13,560
Speaker 3: Maybe they just needed the baby to be sleeping for

1017
00:50:13,640 --> 00:50:20,160
Speaker 3: Michael to be more tender. Yeah, baby doll. So then

1018
00:50:20,480 --> 00:50:22,680
Speaker 3: speaking of Jane and Michael, we cut to them waking

1019
00:50:22,760 --> 00:50:25,879
Speaker 3: up in the morning and Jane turned to Michael and

1020
00:50:26,120 --> 00:50:30,520
Speaker 3: she apologizes and saying, you know, I overreacted, and Michael says, no, honey,

1021
00:50:30,560 --> 00:50:33,840
Speaker 3: you were right. Kids are fragile and little things that

1022
00:50:33,920 --> 00:50:36,600
Speaker 3: we do can affect a child for their whole lives.

1023
00:50:36,719 --> 00:50:39,640
Speaker 3: And I'm going to learn to be patient, and Jane says, well,

1024
00:50:39,680 --> 00:50:41,400
Speaker 3: you know, I can learn to let go a little

1025
00:50:41,400 --> 00:50:44,560
Speaker 3: bit too. So they both give what they needed to

1026
00:50:44,560 --> 00:50:47,520
Speaker 3: give and say that they learned what they needed to learn,

1027
00:50:47,760 --> 00:50:50,000
Speaker 3: and all things seem to be right in the man

1028
00:50:50,000 --> 00:50:56,160
Speaker 3: Seni household, amazing, amazing. So then over breakfast, Stella again

1029
00:50:56,520 --> 00:50:59,520
Speaker 3: in the morning, apologizes to Jake once more. Jake's as

1030
00:50:59,560 --> 00:51:01,359
Speaker 3: a joke, Yeah, it's okay, you know, seeing you drunk

1031
00:51:01,440 --> 00:51:05,520
Speaker 3: sort of gave me a chance to relive some childhood memories. Ouch.

1032
00:51:05,760 --> 00:51:09,120
Speaker 2: And then he big ouch. She's popping a couple asprin

1033
00:51:09,200 --> 00:51:11,920
Speaker 2: in an old fashioned ashburn jar, like nobody has these

1034
00:51:11,960 --> 00:51:14,880
Speaker 2: clear jars that the prop department gives. Says, here's the

1035
00:51:15,000 --> 00:51:20,840
Speaker 2: ass friend, what is this from the thirties? Cap on

1036
00:51:20,880 --> 00:51:24,640
Speaker 2: that and drinking her juice and he's like, hey, mom, yeah,

1037
00:51:24,680 --> 00:51:26,759
Speaker 2: and then he has to say something very hard to her.

1038
00:51:27,160 --> 00:51:29,799
Speaker 3: Yeah, and he says, very gently but firmly, you know

1039
00:51:29,840 --> 00:51:31,960
Speaker 3: you can't stay here anymore. You need to go, and

1040
00:51:32,000 --> 00:51:32,440
Speaker 3: I want you.

1041
00:51:32,440 --> 00:51:35,799
Speaker 2: To be gone when I get back. I mean yeah.

1042
00:51:35,840 --> 00:51:38,399
Speaker 3: And this is where she also says you know, because

1043
00:51:38,400 --> 00:51:40,799
Speaker 3: he says, you know you gave up on me, and

1044
00:51:42,360 --> 00:51:45,000
Speaker 3: she defends herself. She says, but I was nineteen, I

1045
00:51:45,000 --> 00:51:47,560
Speaker 3: couldn't handle the motherhood at the time, and give me

1046
00:51:47,600 --> 00:51:50,200
Speaker 3: another chance. And Jake tells her, no, this is it's

1047
00:51:50,280 --> 00:51:52,279
Speaker 3: twenty years too late. And you know when I was

1048
00:51:52,280 --> 00:51:54,680
Speaker 3: in trouble, you were never there to bail me out.

1049
00:51:54,760 --> 00:51:57,360
Speaker 3: And I want you gone before I get back. So

1050
00:51:57,400 --> 00:52:00,000
Speaker 3: he's firm. He's like, I don't believe that you've changed.

1051
00:52:00,440 --> 00:52:03,000
Speaker 3: And yes, all those things are true. Yes you were

1052
00:52:03,120 --> 00:52:06,440
Speaker 3: young and too young to handle motherhood, but also, you

1053
00:52:06,480 --> 00:52:10,480
Speaker 3: haven't changed. Both are true, Yeah.

1054
00:52:09,520 --> 00:52:13,399
Speaker 2: She's he's right, she hasn't changed at all, yep.

1055
00:52:13,880 --> 00:52:16,320
Speaker 3: And so he's firm and you can see it's painful,

1056
00:52:16,480 --> 00:52:21,040
Speaker 3: but he's clear. So then Ronda comes over to Billy's

1057
00:52:21,040 --> 00:52:23,839
Speaker 3: apartment and she's saying, I heard they found the guy,

1058
00:52:24,120 --> 00:52:26,800
Speaker 3: and Billy says, yeah, I don't think I'm going to

1059
00:52:26,840 --> 00:52:28,759
Speaker 3: go down and identify him. But Ronda says, you know,

1060
00:52:28,920 --> 00:52:32,080
Speaker 3: ignoring the law isn't quite the right thing to do either,

1061
00:52:32,280 --> 00:52:35,839
Speaker 3: and I don't think that'll make either of us happy.

1062
00:52:35,960 --> 00:52:38,040
Speaker 3: So she ends up driving Billy to the police station,

1063
00:52:38,080 --> 00:52:41,680
Speaker 3: where Billy ends up positively iding the guy. He's sure

1064
00:52:41,719 --> 00:52:44,920
Speaker 3: who it is. And then as they put the guy

1065
00:52:44,960 --> 00:52:47,320
Speaker 3: in handcuffs and they're in the front of the station,

1066
00:52:47,400 --> 00:52:49,439
Speaker 3: Billy is sort of like stopped in his tracks because

1067
00:52:49,440 --> 00:52:51,959
Speaker 3: a handcuffed guy says that line that he had said

1068
00:52:51,960 --> 00:52:55,239
Speaker 3: on the night, which is a light It sort of

1069
00:52:55,239 --> 00:52:58,720
Speaker 3: gives Billy those chills of hearing that same thing again.

1070
00:52:58,800 --> 00:53:02,480
Speaker 3: And then Ronda and Billy watch while the guy's mom

1071
00:53:02,600 --> 00:53:05,520
Speaker 3: suddenly appears. She yanks the cigarette out of the guy's mouth,

1072
00:53:05,600 --> 00:53:07,359
Speaker 3: she slaps him, saying what did you do? Now get

1073
00:53:07,440 --> 00:53:12,040
Speaker 3: dracked together, and she's mothering this guy who's you know,

1074
00:53:12,400 --> 00:53:15,399
Speaker 3: messed up, and so again the mother theme coming back

1075
00:53:15,400 --> 00:53:18,879
Speaker 3: into the storyline. Then a shooter. Sandy's telling Jake, your

1076
00:53:18,880 --> 00:53:21,040
Speaker 3: mom is gone. You can return to your own apartment,

1077
00:53:21,239 --> 00:53:23,480
Speaker 3: but you know, she's still at the bus stationed for

1078
00:53:23,480 --> 00:53:26,160
Speaker 3: another twenty minutes. Maybe she'd go and tell her goodbye.

1079
00:53:26,800 --> 00:53:30,239
Speaker 3: So Jake goes to the bus station, helps his mom

1080
00:53:30,239 --> 00:53:32,000
Speaker 3: with her bags, and says, I'm not here to ask

1081
00:53:32,040 --> 00:53:35,520
Speaker 3: you to stay. I'm just here to say goodbye, and

1082
00:53:36,520 --> 00:53:39,759
Speaker 3: Stella thanks him. She apologizes again and says I love you,

1083
00:53:40,960 --> 00:53:44,640
Speaker 3: and instead of saying I love you back, Jake tells her.

1084
00:53:45,320 --> 00:53:49,640
Speaker 2: Take care of yourself. I love that. Yeah, that was

1085
00:53:49,680 --> 00:53:51,960
Speaker 2: like a movie that saying, isn't it like just to

1086
00:53:52,000 --> 00:53:56,279
Speaker 2: see the bus behind her and she's getting on the bus. Yeah,

1087
00:53:56,280 --> 00:53:59,080
Speaker 2: and you know whereas much as like just a few

1088
00:53:59,080 --> 00:54:01,440
Speaker 2: minutes before, he says, I want you gone when I

1089
00:54:01,480 --> 00:54:04,400
Speaker 2: come home, and you're just going. I was just saying, like,

1090
00:54:04,480 --> 00:54:07,960
Speaker 2: oh my god, no, you know, like she's vulnerable, just

1091
00:54:08,000 --> 00:54:10,040
Speaker 2: take care of her. I pardon me, just wanted him

1092
00:54:10,080 --> 00:54:13,960
Speaker 2: to just take care of her. And yet this scene

1093
00:54:14,640 --> 00:54:17,080
Speaker 2: made it okay for me, made me go okay, I

1094
00:54:17,239 --> 00:54:19,719
Speaker 2: get it. She's you know, she's okay with it. She

1095
00:54:19,840 --> 00:54:21,680
Speaker 2: finally starting to wake up, and she has to learn

1096
00:54:21,719 --> 00:54:23,839
Speaker 2: to take care of herself because in the end, she

1097
00:54:23,920 --> 00:54:26,120
Speaker 2: was just going to her son like she was going

1098
00:54:26,120 --> 00:54:29,640
Speaker 2: to every other man to be taken care of, and

1099
00:54:29,719 --> 00:54:30,640
Speaker 2: he wasn't having it.

1100
00:54:31,440 --> 00:54:34,000
Speaker 3: And you can just see his struggle that when she

1101
00:54:34,080 --> 00:54:38,680
Speaker 3: says I love you, that he would like to be

1102
00:54:38,719 --> 00:54:42,640
Speaker 3: able to say that, and it's just not what he's

1103
00:54:42,719 --> 00:54:44,879
Speaker 3: able to have come out of his mouth right then.

1104
00:54:45,000 --> 00:54:47,160
Speaker 3: But he does wish her well and says take care

1105
00:54:47,200 --> 00:54:48,960
Speaker 3: of herself, you know. So you can just really see

1106
00:54:48,960 --> 00:54:51,200
Speaker 3: the struggle there for sure, and they say goobye.

1107
00:54:52,640 --> 00:54:54,880
Speaker 1: So then we cut to the courtin like that, someone

1108
00:54:54,960 --> 00:54:57,080
Speaker 1: like that who's needy in the way she is, it's

1109
00:54:57,080 --> 00:54:59,160
Speaker 1: scary to say I love you, well, if you love me,

1110
00:54:59,200 --> 00:55:01,000
Speaker 1: then I can stay there and we can, you know,

1111
00:55:01,320 --> 00:55:04,640
Speaker 1: he has to have some distance because she's just she's

1112
00:55:04,680 --> 00:55:06,839
Speaker 1: not she doesn't feel safe because she's really not safe

1113
00:55:06,840 --> 00:55:07,200
Speaker 1: for him.

1114
00:55:08,000 --> 00:55:11,160
Speaker 3: Yeah, and he he knows he needs to put his boundaries,

1115
00:55:11,480 --> 00:55:14,200
Speaker 3: you know, strong clearly in place with her, and that

1116
00:55:14,360 --> 00:55:18,080
Speaker 3: was one of them. So we cut to the final

1117
00:55:18,120 --> 00:55:20,600
Speaker 3: scene where Ronda and Billy are soaking their feet, sitting

1118
00:55:20,640 --> 00:55:22,680
Speaker 3: side by side. They're soaking their feet in the pool,

1119
00:55:22,760 --> 00:55:25,000
Speaker 3: and Alison walks by, saying, well, I'm happy to haven't

1120
00:55:25,080 --> 00:55:29,839
Speaker 3: killed each other, and Ronda and Billy both say that,

1121
00:55:30,320 --> 00:55:32,560
Speaker 3: you know, they just need to keep talking and they

1122
00:55:32,600 --> 00:55:36,960
Speaker 3: really need to keep listening, and Ronda says, we can

1123
00:55:37,040 --> 00:55:41,319
Speaker 3: change the world one person at a time. Billy thanks,

1124
00:55:41,400 --> 00:55:44,359
Speaker 3: Ronda says, I owe you one, and she says it

1125
00:55:44,400 --> 00:55:47,799
Speaker 3: was a lesson for me too, and then she gets

1126
00:55:47,880 --> 00:55:49,279
Speaker 3: up and she goes inside to get ready for her

1127
00:55:49,320 --> 00:55:51,600
Speaker 3: early days tomorrow, and Billy says good night to her,

1128
00:55:51,760 --> 00:55:54,960
Speaker 3: and he ends the episode sitting alone with his feet.

1129
00:55:56,800 --> 00:55:59,799
Speaker 2: That's it. That was a very intense and deep and

1130
00:56:01,680 --> 00:56:04,160
Speaker 2: cool episode for Meloe's Place. And I was taken as

1131
00:56:04,160 --> 00:56:08,200
Speaker 2: I was watching this, you guys, Melro's Obviously the show turns,

1132
00:56:08,280 --> 00:56:11,239
Speaker 2: we get it, I know that very shortly in a

1133
00:56:11,280 --> 00:56:13,759
Speaker 2: few episodes, and it becomes what it became and what

1134
00:56:13,840 --> 00:56:18,680
Speaker 2: it became famous for. But before that happens, I mean,

1135
00:56:18,719 --> 00:56:21,919
Speaker 2: this is really I thought thoughtful and like we kept

1136
00:56:21,920 --> 00:56:25,640
Speaker 2: saying before, you know, Courtney would say, it's young kids

1137
00:56:25,680 --> 00:56:27,480
Speaker 2: trying to make young adults trying to make a go

1138
00:56:27,600 --> 00:56:29,000
Speaker 2: at it, you know, and I think some of it

1139
00:56:29,040 --> 00:56:31,520
Speaker 2: that I think this is right in between. I don't know.

1140
00:56:31,640 --> 00:56:34,759
Speaker 2: It was like it wasn't just you know, me trying

1141
00:56:34,760 --> 00:56:37,279
Speaker 2: to find a job or somebody else doing something kind

1142
00:56:37,320 --> 00:56:40,440
Speaker 2: of general life stuff. It was issues.

1143
00:56:41,000 --> 00:56:43,839
Speaker 3: Yeah, well there's still like they were latly wrapped up,

1144
00:56:43,880 --> 00:56:47,279
Speaker 3: Like all these stories did come to a sort of

1145
00:56:47,320 --> 00:56:51,000
Speaker 3: happy feeling and a happy end, you know, which isn't

1146
00:56:51,040 --> 00:56:53,240
Speaker 3: the dynamic that we know we're going to for the Melrose,

1147
00:56:53,239 --> 00:56:55,080
Speaker 3: but like that's the one we've been talking about for

1148
00:56:55,120 --> 00:56:57,200
Speaker 3: all our recaps. It's like, Okay, we wrap up these

1149
00:56:57,200 --> 00:56:59,200
Speaker 3: stories and there's kind of a little lesson in there.

1150
00:56:59,560 --> 00:57:03,040
Speaker 3: But the lesson and the stories for this particular episode,

1151
00:57:03,840 --> 00:57:07,759
Speaker 3: they were big topics that were you know, big big

1152
00:57:07,800 --> 00:57:10,240
Speaker 3: conversations and big issues, and I thought, like you said,

1153
00:57:10,280 --> 00:57:12,000
Speaker 3: there's three going on.

1154
00:57:12,480 --> 00:57:14,400
Speaker 1: Yeah, I wonder too if that's why it worked when

1155
00:57:14,440 --> 00:57:17,240
Speaker 1: it started to get crazy, Because after when when we

1156
00:57:17,240 --> 00:57:19,760
Speaker 1: were hit, so many shows tried to copy Morrows and

1157
00:57:19,800 --> 00:57:23,240
Speaker 1: didn't work. But this time, where it was kind of slow,

1158
00:57:23,800 --> 00:57:27,040
Speaker 1: people got attached to the characters so that when it

1159
00:57:27,120 --> 00:57:30,800
Speaker 1: started to go crazy, they had. They were like people

1160
00:57:30,840 --> 00:57:34,040
Speaker 1: they knew and loved. If you start crazy, you don't

1161
00:57:34,040 --> 00:57:36,800
Speaker 1: know who to attach to, right, right, So maybe this

1162
00:57:37,040 --> 00:57:40,880
Speaker 1: is actually this part we're sort of setting the groundwork

1163
00:57:41,600 --> 00:57:44,160
Speaker 1: because you had to start some were grounded because then

1164
00:57:44,440 --> 00:57:46,760
Speaker 1: once it went off the rails, you had to be

1165
00:57:46,840 --> 00:57:47,920
Speaker 1: attached to these characters.

1166
00:57:48,000 --> 00:57:49,480
Speaker 2: You had to care what happened to them in that

1167
00:57:49,520 --> 00:57:50,200
Speaker 2: crazy world.

1168
00:57:50,480 --> 00:57:51,400
Speaker 3: Now that's a really good point.

1169
00:57:55,360 --> 00:57:57,960
Speaker 2: We do have a few fan questions, all right, So

1170
00:57:58,040 --> 00:58:00,640
Speaker 2: there's one in season one, I know, is that a

1171
00:58:00,680 --> 00:58:03,680
Speaker 2: lot of hints about Allison's family being not so good?

1172
00:58:04,080 --> 00:58:07,640
Speaker 2: Did the writers already know they were going to portray

1173
00:58:07,680 --> 00:58:10,280
Speaker 2: her father as a sexual abuser or did that come

1174
00:58:10,320 --> 00:58:12,640
Speaker 2: closer to when it was revealed at the end of

1175
00:58:12,640 --> 00:58:13,240
Speaker 2: season two?

1176
00:58:13,440 --> 00:58:17,560
Speaker 1: You know, Thank you listener. I had the same thought

1177
00:58:18,040 --> 00:58:21,120
Speaker 1: they do. They put little breadcrumbs right that it wasn't

1178
00:58:21,160 --> 00:58:23,760
Speaker 1: so good, but they didn't tell me in advance, so

1179
00:58:23,840 --> 00:58:29,040
Speaker 1: I didn't know until right before that that really difficult

1180
00:58:29,080 --> 00:58:32,240
Speaker 1: scene at the family barbecue, that was that was hard

1181
00:58:32,240 --> 00:58:32,480
Speaker 1: to do.

1182
00:58:34,120 --> 00:58:35,160
Speaker 2: So I don't know.

1183
00:58:35,240 --> 00:58:37,440
Speaker 1: I think it was just I think they were this

1184
00:58:37,480 --> 00:58:40,760
Speaker 1: is where they were. They really were smart, Like Allison's

1185
00:58:40,800 --> 00:58:44,000
Speaker 1: so controlled and defensive and you're kind of, oh, this

1186
00:58:44,040 --> 00:58:45,920
Speaker 1: is why they had an idea. I don't know if

1187
00:58:45,920 --> 00:58:48,320
Speaker 1: they had the idea though. Yeah, I doubt we asked

1188
00:58:48,320 --> 00:58:49,320
Speaker 1: the writers we have darn.

1189
00:58:49,880 --> 00:58:52,640
Speaker 2: Yeah, we'll have some writers on. We'll have Darren and

1190
00:58:52,680 --> 00:58:55,080
Speaker 2: maybe Chuck will come on, like we said, and I'll

1191
00:58:55,120 --> 00:58:58,400
Speaker 2: bet you Chip Hays will know. I mean, he will

1192
00:58:58,440 --> 00:58:59,840
Speaker 2: have to ask them all come on.

1193
00:59:00,160 --> 00:59:02,280
Speaker 3: We want to have them all on, which means we're

1194
00:59:02,320 --> 00:59:05,760
Speaker 3: just going to have to Yeah, we will, Well you're

1195
00:59:05,800 --> 00:59:07,080
Speaker 3: going to until they get on.

1196
00:59:07,560 --> 00:59:11,000
Speaker 1: Absolutely, this is a fun question. I read this question

1197
00:59:11,720 --> 00:59:14,480
Speaker 1: as far as wardrobe goes. I feel like every time

1198
00:59:14,520 --> 00:59:16,840
Speaker 1: a woman is about to do something bad, she is

1199
00:59:16,920 --> 00:59:19,360
Speaker 1: wearing red. That's that coincidence.

1200
00:59:19,920 --> 00:59:21,120
Speaker 2: I didn't know the question.

1201
00:59:21,760 --> 00:59:24,840
Speaker 3: I think it's a great observation, a great observation.

1202
00:59:25,200 --> 00:59:28,760
Speaker 2: I just start looking. I haven't let's clock that, and

1203
00:59:28,800 --> 00:59:29,640
Speaker 2: I don't.

1204
00:59:29,920 --> 00:59:32,800
Speaker 3: I don't doubt that could be a very conscious choice.

1205
00:59:32,800 --> 00:59:36,960
Speaker 2: That seems just knowing, knowing our crew, that's like putting

1206
00:59:36,960 --> 00:59:40,200
Speaker 2: all this subversive stuff in. Maybe. Yeah, so this wardrobe

1207
00:59:40,240 --> 00:59:43,000
Speaker 2: person is before Denise Wingate got on, Yes, who came

1208
00:59:43,040 --> 00:59:45,840
Speaker 2: on when I came on? I think that's fifteen So

1209
00:59:46,280 --> 00:59:48,720
Speaker 2: I don't know who this person was or what they

1210
00:59:48,760 --> 00:59:50,840
Speaker 2: were like, or maybe it.

1211
00:59:50,880 --> 00:59:53,880
Speaker 1: Was So do you think they lost their job because

1212
00:59:53,920 --> 00:59:54,720
Speaker 1: of the striped shirt?

1213
00:59:56,240 --> 00:59:58,120
Speaker 3: I don't think so, Coy, I think was it the

1214
00:59:58,160 --> 00:59:59,200
Speaker 3: power of stricket?

1215
00:59:59,360 --> 01:00:01,760
Speaker 2: Was it the carn this couple episodes.

1216
01:00:01,400 --> 01:00:03,200
Speaker 3: Which was a million episodes ago?

1217
01:00:03,560 --> 01:00:06,440
Speaker 2: Or was it Dove's hair this episode and night I

1218
01:00:06,480 --> 01:00:06,760
Speaker 2: wake up?

1219
01:00:06,800 --> 01:00:06,960
Speaker 3: Ago?

1220
01:00:07,080 --> 01:00:10,240
Speaker 2: Stripes? Stripes? I just I'm gonna start noticing more.

1221
01:00:12,640 --> 01:00:15,280
Speaker 3: I think Leopard has a little bit of sass attached

1222
01:00:15,280 --> 01:00:15,960
Speaker 3: to it too.

1223
01:00:16,000 --> 01:00:19,080
Speaker 2: Like, but you know what, women didn't start doing bad

1224
01:00:19,120 --> 01:00:22,680
Speaker 2: stuff until it turned So I'm wondering if this fan has,

1225
01:00:22,880 --> 01:00:25,840
Speaker 2: you know, seen the whole show, and I might have

1226
01:00:25,880 --> 01:00:27,200
Speaker 2: to remind us we might.

1227
01:00:28,320 --> 01:00:30,720
Speaker 1: Let's pay attention though, because I think that's really interesting.

1228
01:00:30,880 --> 01:00:33,080
Speaker 3: It's fun to have something to look for now. So

1229
01:00:33,120 --> 01:00:35,880
Speaker 3: thank you for that question, and keep your questions coming.

1230
01:00:36,560 --> 01:00:37,840
Speaker 1: Fun, so much fun.

1231
01:00:38,040 --> 01:00:40,320
Speaker 3: Yeah, we love your observations and your questions, and so

1232
01:00:40,440 --> 01:00:43,000
Speaker 3: DM is still the place Instagram. You know, we're only

1233
01:00:43,040 --> 01:00:44,800
Speaker 3: on episode ten. We're moving as fast as we can

1234
01:00:44,880 --> 01:00:48,480
Speaker 3: through these recaps. But we've been having really great guests.

1235
01:00:48,640 --> 01:00:50,240
Speaker 1: We've had a lot of friends come out, which is

1236
01:00:50,360 --> 01:00:53,680
Speaker 1: so sweet. Yeah, but our friends and castmates want to

1237
01:00:53,680 --> 01:00:55,080
Speaker 1: come out and play with us as much as we

1238
01:00:55,400 --> 01:00:56,280
Speaker 1: want to play with them.

1239
01:00:56,720 --> 01:00:58,720
Speaker 3: And we've gotten them all to promise to come back,

1240
01:00:58,760 --> 01:01:02,200
Speaker 3: which is really fick, which is really exciting, as.

1241
01:01:02,000 --> 01:01:04,400
Speaker 2: We keep pointing out thirty episodes a year.

1242
01:01:04,840 --> 01:01:09,160
Speaker 3: Yeah yeah, but we still have to get through our recap.

1243
01:01:09,240 --> 01:01:13,280
Speaker 3: So like every every recap, we're in one episode closer

1244
01:01:13,320 --> 01:01:16,280
Speaker 3: to Daphne. We're getting there. We can count how many

1245
01:01:16,840 --> 01:01:19,280
Speaker 3: remain on one hand now before we get to Daphne.

1246
01:01:19,720 --> 01:01:23,520
Speaker 2: Listen to the whole podcast and follow and download, leave

1247
01:01:23,720 --> 01:01:26,080
Speaker 2: reviews if you can to, that would be awesome.

1248
01:01:26,440 --> 01:01:29,200
Speaker 3: Keep listening, keep telling your friends, all those friends that

1249
01:01:29,240 --> 01:01:31,680
Speaker 3: you watched Melroe's Place with back in the day.

1250
01:01:31,640 --> 01:01:32,520
Speaker 2: And watch with us.

1251
01:01:32,840 --> 01:01:35,360
Speaker 1: It is super fun to reason watching the episodes, really,

1252
01:01:35,880 --> 01:01:36,240
Speaker 1: and then you.

1253
01:01:36,160 --> 01:01:38,280
Speaker 2: Can see how full of it we are or for

1254
01:01:38,840 --> 01:01:41,280
Speaker 2: the money, really, don't you want to see that striped shirt?

1255
01:01:41,640 --> 01:01:43,880
Speaker 3: You're welcome to correct us in the DMS to like,

1256
01:01:43,920 --> 01:01:46,200
Speaker 3: you know, what you said, an entirely wrong thing that

1257
01:01:46,360 --> 01:01:49,680
Speaker 3: was exactly total. We're happy to hear that too.

1258
01:01:50,080 --> 01:01:53,840
Speaker 2: Then we know you're join the conversation. I do love

1259
01:01:54,480 --> 01:01:57,360
Speaker 2: what they have to say, all right, you gay guys

1260
01:01:57,600 --> 01:02:01,520
Speaker 2: we'll see you next week. Bye.