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Speaker 1: I am all in that Kissed You, I am all

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Speaker 1: in with Scott Patterson and I heart radio podcast. Everybody. Hi, Hi,

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Speaker 1: what did you think? I'll just get right into it.

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Speaker 1: I liked it. I really thought it was a great episode.

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Speaker 1: But it stressed me out because it was so drama rama.

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Speaker 1: It was so much drama rama going on. It was

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Speaker 1: heavy stuff, right, and I mean the Jess arc and

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Speaker 1: you know, Emily not wanting Laurela around. It was stressful.

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Speaker 1: It was just it was just it wasn't light and

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Speaker 1: as fun as I you know, I like these episodes

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Speaker 1: to be. But again, Amy tends to have a different

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Speaker 1: writing style than her husband, and so when Amy is

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Speaker 1: writing directing, she's controlling everything, and you know you're gonna

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Speaker 1: get one of these really heavy episodes. And it was

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Speaker 1: filled with great lines and humor and all that stuff,

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Speaker 1: but the but the you know, but the but the

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Speaker 1: narratives and the themes, which it was just very I

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Speaker 1: was exhausted after watching this episode. And she obviously wrote

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Speaker 1: it because it was intended to be the launching pad

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Speaker 1: for a Jess rob ST's Sherylyn Fenn spinoff, right, And

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Speaker 1: that's when I thought was kind of peculiar about it,

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Speaker 1: because what am I doing in Venice, California with rob

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Speaker 1: estis Milo and Cheryl and Fenn. Not that that isn't

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Speaker 1: a great triple right there. Okay, all all great, but

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Speaker 1: it just it just felt foreign. It just felt like,

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Speaker 1: you know, and then we go back to stars Hollow

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Speaker 1: and a door opening in Emily's house and it's like,

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Speaker 1: what what's happening? You know? So so yeah, it was

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Speaker 1: a little for me, although I enjoyed the California stuff,

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Speaker 1: but um, anyway, that's my initial impression. I loved the episode.

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Speaker 1: I was fully engaged, actually, but it was a little

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Speaker 1: it was a little stressful for me. Yeah. I've only

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Speaker 1: seen this episode twice. I saw it when it ran

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Speaker 1: the first time, you know, on television. I watched it

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Speaker 1: once on the DVDs, and I've never watched it again

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Speaker 1: because I remember not being into it, almost like this

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Speaker 1: never became a thing. I don't need to rewatch this one,

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Speaker 1: because this just didn't become a thing. This third time, though,

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Speaker 1: I liked it the best of all the three times

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Speaker 1: I've ever watched it. I tried to watch it like

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Speaker 1: in a different way, and I liked it much more.

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Speaker 1: I didn't like it when I watched it originally because

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Speaker 1: it felt like a different show, Like, why am I

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Speaker 1: watching this right now? And you know what, I'm being

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Speaker 1: insufferably rude, and I apologize. I failed to introduce everybody.

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Speaker 1: What the heck is wrong with me? Daniel Romo Welcome, Hello, Hello,

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Speaker 1: Amy Sugarman, Hello, And we're joined also by the one

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Speaker 1: and only Traveling Parasus who who shows up? When I

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Speaker 1: mean it's just traveling you guys. I have like four

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Speaker 1: weeks in a row. I think I'm going to be

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Speaker 1: out of town coming up for Yeah, but was the

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Speaker 1: time with Matt Zukri the best? I mean Matt and Yeah,

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Speaker 1: we're still like glowing from the Mad Sure experience. I mean,

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Speaker 1: it's like the guy you know, I want to interview

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Speaker 1: him every week. Forgot I'm not gonna lie to you.

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Speaker 1: I went back and watched like a couple episodes. Well, no,

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Speaker 1: I think I mentioned it last week. But I went

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Speaker 1: back and watched the revival just because I want to

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Speaker 1: see him in it. Oh my god, I did the

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Speaker 1: same thing. I didn't want to doable, but I snuck ahead.

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Speaker 1: I cheated, and I went to I wanted to see

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Speaker 1: Matt's first appearance. Oh my god, wait, Amy, I went

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Speaker 1: to see that clip and really, funny enough, my friend's

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Speaker 1: husband is in the background of that episode and he's

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Speaker 1: currently on a c W show, so I need to

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Speaker 1: like text her save that when we get there. Save.

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Speaker 1: That's that's that's called being zuk read. That means you

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Speaker 1: break the rules. You've been zok red, You've been you.

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Speaker 1: It's not being Gilmoard anymore. It's being zook read. He

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Speaker 1: forces you to break the rules and cheat and go

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Speaker 1: ahead and watch the episodes when you're not. Must make

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Speaker 1: that a thing. You've been zook read, which just means

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Speaker 1: you have gotten hard eyes hard Uh. Anyway, I am

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Speaker 1: all in podcast one eleven Productions. iHeart Radio and here

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Speaker 1: we are kick off. What is this episode twenty one

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Speaker 1: twenty one Here Comes the Sun? Go ahead? Daniel takes away. Alright, So,

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Speaker 1: as Scott just said, Season three, episode twenty one, Here

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Speaker 1: Comes the Sun air date May fifteen, two thousand three,

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Speaker 1: and the synopsis is Rory is busy with finals, and

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Speaker 1: she has an insanely busy schedule of things to get

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Speaker 1: done before a graduation, and we find out through her

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Speaker 1: yearbook signatures that she is the valedictorian of her class.

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Speaker 1: Laura and Emily have another fight fight. When Laura Lae

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Speaker 1: picks up Rory from her house, we get to meet

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Speaker 1: Miss Selene, who is dressing Emily and Richard for Rory's graduation.

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Speaker 1: Paris was accepted to three colleges, Yale, Princeton, and Columbia,

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Speaker 1: and Laura La bonded with her at the very end

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Speaker 1: of the year. Meanwhile, three thousand miles away, just visits

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Speaker 1: his dad Jimmy, in Venice, California and asked to stay

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Speaker 1: for a while because he has nothing left in Stars Hollow.

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Speaker 1: So thank you, Danielle. You know, I just read off

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Speaker 1: the top and then we'll take it from the beginning,

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Speaker 1: but I just want to get this in um and

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Speaker 1: just just a comment on what you were saying, Amy, Yeah,

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Speaker 1: it felt like another show when we went to California,

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Speaker 1: with people trying to talk like they were in Gilmore Girls. Yeah,

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Speaker 1: and it didn't feel like Gilmore. It had gilmore Esque

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Speaker 1: qualities like Masal does, like Bunheads did, but it did

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Speaker 1: feel like you're like watching a different show. Also, note

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Speaker 1: it's here comes the Sun, but for people listening that

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Speaker 1: can't read it, it's s o n get it. Here

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Speaker 1: comes the Sun. Yeah, just for those listening and not

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Speaker 1: so anyway, Amy, take us takes from the top of

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Speaker 1: this and we'll we'll do chronological and in my memory

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Speaker 1: because I hadn't seen it in you know, fifteen years,

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Speaker 1: maybe eighteen years whenever the DVDs for this season came out.

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Speaker 1: In my memory, I wasn't sure that Lorra Lye and

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Speaker 1: Rory were in it at all. I was like, is

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Speaker 1: this just a full like Jess robsd Sherlyn Fenn it

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Speaker 1: should have been in my opinion, I feel like going

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Speaker 1: back stars hollow kind of threw me off. M But

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Speaker 1: you know, Lorela I was light in this episode, and

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Speaker 1: I really liked her in this episode because she wasn't

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Speaker 1: so manic and she wasn't so stressed out all the

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Speaker 1: time stuff for that one scene in in her parents

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Speaker 1: house and Emily and Richard's house, which and she was

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Speaker 1: justifiably kind of offended. Yeah, but I really liked her

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Speaker 1: in this because she was a little calmer um and

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Speaker 1: I just sort of celebrating her daughter and feeling great

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Speaker 1: about that in every scene pretty much. So that was

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Speaker 1: a nice, nice touch. Anyway, take us all right, So

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Speaker 1: we stay in Weston's, which I thought was interesting. Why

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Speaker 1: weren't we at the diner? But we were at Weston's.

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Speaker 1: It's so funny because when they started at Weston's, I

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Speaker 1: was like, are Luke and Lorela in the fight? Because

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Speaker 1: why are they at Westons? Like? I had no idea

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Speaker 1: why they weren't at Luke's. I could only come up

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Speaker 1: with to honor fran because like and passed away, but

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Speaker 1: Weston's is still open. I don't know. So they're talking

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Speaker 1: about the trip to Europe, so that's important. Uh. Lorrel

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Speaker 1: has curly hair and is wearing the piece shirt, which

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Speaker 1: I liked. And then basically Lane comes in to talk

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Speaker 1: about her brochure she's got for college, and that's sort

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Speaker 1: of the gist of where we're at. There's two parks,

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Speaker 1: one for guys, one for girls. Yeah, Roryes are like

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Speaker 1: two parks, one for boys. My big question there was

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Speaker 1: why Weston's. Um, Yeah, let's hopefully then it was. But

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Speaker 1: it was a good scene. It was definitely good. It

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Speaker 1: was a good opening scene. So then the credits roll

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Speaker 1: and we realize, okay, special guest starre rob Esties, so

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Speaker 1: we know, okay, he's back, and I think we even

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Speaker 1: see Sherilyn Fenn's name in the credits, so we then

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Speaker 1: still are at Lower Lies or so, so we're still

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Speaker 1: with Lower Lys, so we're still in Stars Hollows. But

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Speaker 1: we see Laura Lee in the leopard dress with the

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Speaker 1: cute sweater. She's trying to be very quiet making the coffee,

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Speaker 1: which I was like, why is she trying to be

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Speaker 1: so quiet? And then Rory is studying and just she's

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Speaker 1: got so much to do before graduation. So that's sort

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Speaker 1: of the gist. So we learned. One other tidbit is

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Speaker 1: that she's going to see Emily, her grandma, to talk

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Speaker 1: about what Emily is going to wear the graduation. And

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Speaker 1: then we see Luke in the doorway and I actually

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Speaker 1: was startled by that. It was like, no, what's he

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Speaker 1: doing there? So that's sort of the setup. And then

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Speaker 1: she goes out and realizes because Luke tells her just

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Speaker 1: as gone, Yeah, I like that scene. I like that

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Speaker 1: scene a lot. I liked it. And he actually carried

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Speaker 1: her over to the other side of the house, but

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Speaker 1: he got visit, you know, he actually touched her, and

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Speaker 1: it was also a new angle of the porch. We

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Speaker 1: haven't seen that much right, right, right. But I like

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Speaker 1: that scene. I like that it was great and it

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Speaker 1: was and it showed his his um, you know, him

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Speaker 1: feeling really like a big failure and he acknowledge that.

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Speaker 1: I thought that was a very poignant moment in this

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Speaker 1: yes so not yes. So. Not only has he come

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Speaker 1: to tell Laura Lie because he's worried about Rory, he

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Speaker 1: then really kind of says, you know, I failed him,

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Speaker 1: and I do know what you're talking about. I even

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Speaker 1: wrote a note the arm touch, but it was more

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Speaker 1: it was more like significant. He moved her and she

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Speaker 1: didn't mind it. You know, it was like he moved

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Speaker 1: her whole body over around there because he was so

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Speaker 1: concerned that Rory didn't you know, he's protecting Rory. He

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Speaker 1: didn't want her to hear this. So so so far,

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Speaker 1: what do you think of the episode? Just put these

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Speaker 1: two scenes before we go to Santa Monica, Venice. I

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Speaker 1: think there's a big void there without Jess and I'm

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Speaker 1: you know, I'm wondering what's happening, And you know, without

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Speaker 1: Jess there, that really does take away a lot from

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Speaker 1: from the proceedings. So I was very curious about what

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Speaker 1: was gonna unfold. And pretty pretty quickly we get to

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Speaker 1: him getting off the bus, right right, is that the

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Speaker 1: next little portion there exactly, that's exactly right. So Danielle,

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Speaker 1: did you immediately know he's in California? Um, like once

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Speaker 1: he got off the bus. Absolutely, but like, yeah, the

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Speaker 1: Beach Boys music gave it away. No, it was literally like, hello,

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Speaker 1: that's Venice beach right, just growing up here, like you

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Speaker 1: know that's Venice. Within a second, coming soon, there's a

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Speaker 1: very significant shot scene on scene shot on the Santa

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Speaker 1: Monica Pierre. So he gets off, he's in Venice. Uh,

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Speaker 1: Santa Monica area. The Beach Boys must have cost a

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Speaker 1: pretty penny to get that good Yeah, and uh, he's

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Speaker 1: it's very iconic with him and his Jess. Look the

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Speaker 1: leather jacket jacket on the beach with the girls cart wheeling,

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Speaker 1: and you're immediately like fish out of water. Yeah, like

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Speaker 1: like take the jacket off. You've got to be sweating

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Speaker 1: under their and a leather jacket standing on the beach

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Speaker 1: in Venice. I mean, for that's sake, it's already nine

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Speaker 1: myself right now, just so hot. Okay, he's that cool? Right,

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Speaker 1: So then we quickly go back again. So there's a

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Speaker 1: lot of that throughout this episode of like California Stars,

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Speaker 1: Hollow California Stars, also back and forth. Can I make

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Speaker 1: one note that I noticed right off the bat? And

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Speaker 1: then it pays off even a little bit later, like

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Speaker 1: right when Jess gets off the bus, there's just dogs

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Speaker 1: and I'm like, oh, I don't think we've seen dogs

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Speaker 1: on set yet, at least not for a while. And

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Speaker 1: I was like interesting. And then fast forward to the scene,

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Speaker 1: which we'll talk about a little bit, I was like,

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Speaker 1: why are there so many dogs in California? I make

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Speaker 1: sure they're all over the US. So we go back

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Speaker 1: to the Gilmore's and we the significant thing is we

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Speaker 1: learned she grabs the letter out of the mailbox, and

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Speaker 1: we learned that Rory has been denied i'd financial aid

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Speaker 1: because of the seventy dollars. So that's sort of that piece.

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Speaker 1: And then we're immediately back in Venice and we see

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Speaker 1: Jess going to four to two whatever mystery street and

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Speaker 1: this house. How he knew where to go, I'm not

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Speaker 1: totally sure. Do you think, um I was actually thinking

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Speaker 1: about this? Do you think that he actually looked at

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Speaker 1: his license? Because remember he left his wallet right I

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Speaker 1: don't because the last episode, But why would he have

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Speaker 1: not freaked out? He just gives the wallet. If he

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Speaker 1: saw the name, if he looked at it enough to

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Speaker 1: see the address and knew that was his dad, He's

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Speaker 1: not going to say something immediately. That's why I was like,

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Speaker 1: how do you know the address? These are? This is

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Speaker 1: also it could be you know, does he know did

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Speaker 1: he know his dad's name? Like, I don't know. Back then,

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Speaker 1: there was like yellow books, you know what I mean,

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Speaker 1: you can just like go through people, you know, find

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Speaker 1: Jimmy Mariano. Alright, I live true the Yellow Pages. It

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Speaker 1: wouldn't be in the Yellow Pages because that was where

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Speaker 1: businesses were. It would have been in the White Pages. Yeah,

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Speaker 1: it probably could have been listed. So you know, I

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Speaker 1: I found all of these scenes particularly heartbreaking. Yeah, it

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Speaker 1: was difficult for me to watch it personally. Uh uh no,

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Speaker 1: I don't want you and you know all of that.

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Speaker 1: So I thought Sherylyn Fenn was great. She really was.

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Speaker 1: She was. She's just great. I mean she played the

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Speaker 1: heck out of that part. Man. I agree, And did

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Speaker 1: you not see a little of Oh it kind of

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Speaker 1: does make sense why she was considered to be lower

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Speaker 1: Lie oh, without questions, You're like, oh, I get it. Yeah, yeah,

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Speaker 1: she's sort of okay, Yeah, you're apparently was first choice.

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Speaker 1: She was first choice, I believe you. Now. I know

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Speaker 1: people are going to murder me because I want to

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Speaker 1: say a spoiler, but obviously Amy Sherman Palladino loves Sherylyn

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Speaker 1: Fenn because this is not the only role Sherylyn Fenn

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Speaker 1: plays on Gilmore Girls. Really really, Yes, she played my ex? Yeah? Yeah?

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Speaker 1: Or was that Mason Amick? No, I'm pretty sure she is.

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Speaker 1: You know, I may be mistaken. I think Mason Amock

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Speaker 1: may have been the first choice for the role of Loyal.

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Speaker 1: Oh why I always thought it was Sherlyn Fenn. We

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Speaker 1: need to fact check that. Yeah, let's fact check it

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Speaker 1: because because Marylyn comes back, so we won't ruin it.

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Speaker 1: But I'm sure SHERYLN. Fenn comes back and plays another character, Daniel,

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Speaker 1: just turn your mute for a second, the mother of

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Speaker 1: all Right, I mean, I love for someone to check,

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Speaker 1: but sure she plays Sasha in one. She does, and

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Speaker 1: then she plays you know who? Correct? Yes, I just

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Speaker 1: looked it, so and I'm pretty sure she was a

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Speaker 1: front runner to You're good Daniels. Sorry, poor daniel is

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Speaker 1: giving thank you. I feel like I'm in family feud

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Speaker 1: where they say to answers like and I mean like

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Speaker 1: a sound like welcome back to the So what did

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Speaker 1: you think immediately, Danielle to of Sherylyn Fentn What were

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Speaker 1: your initial Sasha? I think she's cool. I like her

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Speaker 1: character a lot. Um. I thought the whole storyline is

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Speaker 1: interesting because she has the daughter, and yet Jimmy didn't

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Speaker 1: really say much about Jess, you know, like and she

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Speaker 1: confronts him about it and she's like angry. Um, she

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Speaker 1: obviously wants to be married because she kind of like

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Speaker 1: did that little dig at him, you know. Um. I

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Speaker 1: think she's cool. I think she's super like strong, independent,

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Speaker 1: cool person. That was my thoughts. Yeah, Scott, Yeah, a

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Speaker 1: great character. I wish they had her come back more

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Speaker 1: and more and more as that character. Maybe she visited

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Speaker 1: just they got Jimmy and Jess back to stars Hollow

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Speaker 1: so that she could come back with her daughter, you know,

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Speaker 1: because she's so great, you know, and they're also great,

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Speaker 1: like get it out of Venice, and I know, I

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Speaker 1: know they were setting up the pilot and the spinoff

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Speaker 1: and all that stuff, But why not bring her back? Yeah?

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Speaker 1: Did anybody else think Sherylyn Fenn is so good that

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Speaker 1: almost rob Estes became secondary? I agree, Like he was

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Speaker 1: so good in the previous episode and he's so important here,

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Speaker 1: but she really stood out to me, and she was

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Speaker 1: very Gilmore. Yeah, it's because she wore the pants and

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Speaker 1: that's the great way to describe it, Like she definitely,

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Speaker 1: she definitely wore the pants in that relationship, right right, right,

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Speaker 1: is why I thought the characterization of of the Rob

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Speaker 1: the Rob best Is character the Jimmy, I don't know

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Speaker 1: if that was I don't know if it could have

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Speaker 1: been better. That's right, because it doesn't work as well

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Speaker 1: in this But so why not write him as a

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Speaker 1: guy who's super laid back and chill and and just like,

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Speaker 1: you know, just a lover and a peace nick and

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Speaker 1: the whole thing, not this you know, agitated sort of. Yeah, yeah, yeah, yeah,

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Speaker 1: Rob Bestis is to me much better in the episode

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Speaker 1: before this one. This one is really Sherilyn Fens episode. Yeah, yeah, yeah,

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Speaker 1: And everything was Gilmurray, her her mannerisms, her way, the

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Speaker 1: house is Gilmurray. The colors are bright, the clowns of

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Speaker 1: the clown the literal clown dolls. I wanted to mention

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Speaker 1: that there were so many, and I'm like, there is

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Speaker 1: a shrine of clown dolls. I'm like, that puts the

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Speaker 1: pillow to shame totally. The quirkiness of the daughter being

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Speaker 1: in the cupboard or the other you know, she's always

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Speaker 1: hidden reading her books, which I thought very rory. And

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Speaker 1: then we the dogs and the cats and all the

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Speaker 1: books in Jimmy's room, the books and the records, and

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Speaker 1: You're just like, Okay, there's a lot to unpack here.

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Speaker 1: What do you think was wrong with Jimmy? Like that

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Speaker 1: he just got his act together five years ago and

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Speaker 1: he's still kind of nervous and agitated and and schmucky.

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Speaker 1: And I mean, how do you talk that way to

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Speaker 1: your son? No, I don't want you here. I don't

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Speaker 1: want to be a father. That's why I went I

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Speaker 1: went away seventeen. I mean, this is just like you're

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Speaker 1: sticking a knife in your in your kid's heart again

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Speaker 1: and again and again. And I just thought, man, this

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Speaker 1: is this is hard to hear, and it's hard to want.

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Speaker 1: No prize from what we know of Liz up till

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Speaker 1: now too, So um, I don't know. I was so

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Speaker 1: thrown off by how the character of Jimmy was written,

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Speaker 1: and I just kept rewriting him in my head every

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Speaker 1: time he came on screen and said, he's got to

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Speaker 1: be a different guy because he's got it's got to

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Speaker 1: be the opposite of what this is. It can't be close,

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Speaker 1: you know, you know what I'm saying. Make him completely

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Speaker 1: different so that those lines come out easier. You're not wrong,

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Speaker 1: because we all can talk about the elephant in the room.

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Speaker 1: This did not become a show, which we'll talk about

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Speaker 1: at the end, but this does not become a show,

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Speaker 1: and so obviously there were things that did not work.

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Speaker 1: Either the network didn't think they worked or somebody didn't

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Speaker 1: think they worked, because this did not become a spinoff.

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Speaker 1: So anyway, we Danielle, you you go, you look like

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Speaker 1: you're yeah. I had like a very interesting um like

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Speaker 1: I found a very interesting parallel in this episode. I

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Speaker 1: feel like there's a lot of similarities between Jimmy and

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Speaker 1: Luke in the sense that they have their own um

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Speaker 1: restaurant type thing that they're in charge of. However, they're

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Speaker 1: showing that they're very similar in their work and what

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Speaker 1: they do and their work ethic, because when we saw

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Speaker 1: Jimmy at um Dante's Inferno, like he was like literally

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Speaker 1: like very invested in his work, different than the kind

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Speaker 1: of guy we usually see. But then outside of work

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Speaker 1: you see the massive difference between Luke and Jimmy. But

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Speaker 1: I feel like they almost did that on purpose, Like

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Speaker 1: they're very similar people but very very different. And I

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Speaker 1: thought that was like a really interesting kind of parallel

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Speaker 1: between the two characters. Did to Scott, did you did

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Speaker 1: you notice that? Um? Gosh, yeah, I don't know that.

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Speaker 1: I saw a lot of similarities there, um just from

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Speaker 1: a work perspective, like they you know, I mean, but

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Speaker 1: how but we haven't We just saw him in that

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Speaker 1: one quick scene with a pickle jar. But don't you

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Speaker 1: think it's a conscious choice spiced by people writers, amy whoever?

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Speaker 1: That Jimmy also has a restaurant. I felt like that

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Speaker 1: had to be a choice that was made intentionally, very intentionally. Maybe.

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Speaker 1: I mean, I don't know. I can't get inside their head. Man,

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Speaker 1: they're blowing them man to sit here and drink my wine. See,

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Speaker 1: that's the kind of character I wanted Jimmy to do

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Speaker 1: to be. Do you like Jimmy from what you know

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Speaker 1: from this, I do not. I wouldn't. I don't want

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Speaker 1: to spend time with him. He's unhinged. He's he's he's

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Speaker 1: shaking in his in his inside of his body. He's

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Speaker 1: just quaking all the time. What about Sasha, It's like

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Speaker 1: he's in withdrawal all the time. So maybe he is.

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Speaker 1: Maybe that's the character. I don't know, But uh, Sasha,

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Speaker 1: who Sasha. That's Oh, she's brilliant. I mean, it was

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Speaker 1: a brilliant character. Brilliant. I wanted I just wanted Jimmy

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Speaker 1: to be a hippie. I just wanted to be like

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Speaker 1: a real, like a throwback hippie. Not I didn't want

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Speaker 1: to hate him. I'm kind of I'm kind of tired

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Speaker 1: of hating people on the show. You know. It's like

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Speaker 1: I like, reserve that for Emily or sometimes Richard and

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Speaker 1: sometimes Tricky. I mean, that's part of the family takes

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Speaker 1: care of, you know. And but the thing is, I

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Speaker 1: think it's probably ingenious because it makes Jess seems so

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Speaker 1: much more like right that he's got this total schmuck

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Speaker 1: of a father, I mean, what a schmuck. And and

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Speaker 1: and now Jess is looking now we're rooting for him

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Speaker 1: and now we're behind him a d. So it is

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Speaker 1: probably you have to assume if this was to be

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Speaker 1: launching pad for a show, it can't just be Jimmy

390
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Speaker 1: like I love you, I'm sorry I left you seventeen

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Speaker 1: years eighteen years ago. Come on in, let's all be

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Speaker 1: the Brady Bunch. There has to be like, as if

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Speaker 1: this was going to be a show, obviously the conflict

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Speaker 1: between Jimmy and Jess would have been major. Yeah, and Amy,

395
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Speaker 1: you were saying, like what happened within the last five

396
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Speaker 1: years to make Jimmy kind of shift a little bit?

397
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Speaker 1: Maybe it is Sasha. Maybe Sasha came into his life

398
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Speaker 1: and was like I think Scott posed that good question. Yeah, Scott, sorry,

399
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Speaker 1: but but like one thing I found interesting is that

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Speaker 1: I or I think we would have gotten the Jimmy

401
00:24:25,480 --> 00:24:31,520
Speaker 1: that you're talking about, Luke Luke, Scott that was bound

402
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Speaker 1: to happen once. I mean, there's three seasons, twenty one episodes, Scott,

403
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Speaker 1: I feel like that was great. Um, I feel like

404
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Speaker 1: what you were saying that you wanted him to be

405
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Speaker 1: this like laid back. Oh sorry, dude, Like I can't

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Speaker 1: do this. I think he would have had that if

407
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Speaker 1: Sasha wasn't like, you need to talk to Jess and

408
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Speaker 1: you need to do this now, Like I'm pissed, you know,

409
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Speaker 1: Like I feel like if he didn't have that external motivator,

410
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Speaker 1: he wouldn't have done that, and he would have been like, sorry, dude,

411
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Speaker 1: like we don't have room. Can I throw something out

412
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Speaker 1: to you, Scott and see what you think? Amy Sherman Palladino.

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Speaker 1: Obviously it's undeniable. She writes strong women, right, I mean,

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Speaker 1: Laura lie that even on bun Heads, those are strong women,

415
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Speaker 1: masal strong women. She always writes strong women. I wonder

416
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Speaker 1: if the problem for this spinoff was that Sherilyn Fenn

417
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Speaker 1: she's writing perfectly, and she also can write Jess. We

418
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Speaker 1: know that, but maybe it's Jimmy that just didn't seem

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Speaker 1: to be enough for a whole show, because maybe she

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Speaker 1: just wasn't like because really, like we all said, she's

421
00:25:49,520 --> 00:25:53,640
Speaker 1: the episode of Cherylyn Fenn, So maybe the network was like,

422
00:25:54,000 --> 00:25:58,960
Speaker 1: there's no Jimmy Jess. So we're at Senior Palooza and

423
00:25:59,359 --> 00:26:02,480
Speaker 1: there's cute always carrying boxes and Rory's on the phone

424
00:26:02,520 --> 00:26:05,919
Speaker 1: with Grandma, and I think this is where lore La

425
00:26:06,200 --> 00:26:10,400
Speaker 1: is trying to sell the tickets to the yacht party.

426
00:26:11,480 --> 00:26:13,879
Speaker 1: So let's talk about that and then we'll go back

427
00:26:13,960 --> 00:26:16,080
Speaker 1: and we'll learn more about what we can figure out

428
00:26:16,119 --> 00:26:20,280
Speaker 1: on the my load slash Jess Pilot. So what did

429
00:26:20,280 --> 00:26:23,600
Speaker 1: you think back at the school, you know, the Paris

430
00:26:23,600 --> 00:26:29,280
Speaker 1: scene with lower La, essentially the hug, remember that. I

431
00:26:29,280 --> 00:26:32,399
Speaker 1: thought it was funny, you know it was it was

432
00:26:32,600 --> 00:26:36,320
Speaker 1: straight up comedy, and uh, you know, Paris needed it,

433
00:26:36,359 --> 00:26:38,560
Speaker 1: and Paris was being Paris and lorel I was just

434
00:26:38,600 --> 00:26:40,960
Speaker 1: so happy. She didn't care about getting rejected. She's like,

435
00:26:41,119 --> 00:26:43,240
Speaker 1: come on, you know, she was in such a good

436
00:26:43,280 --> 00:26:46,359
Speaker 1: mood because her daughter was accepted in val Victorian hold

437
00:26:47,160 --> 00:26:49,400
Speaker 1: and and I just wanted to give her a little

438
00:26:49,440 --> 00:26:51,199
Speaker 1: mom love because she needs it. And it was a

439
00:26:51,200 --> 00:26:53,280
Speaker 1: good scene. She doesn't have that, like the hug. I

440
00:26:53,280 --> 00:26:56,120
Speaker 1: don't think she ever gets a hug like that, right,

441
00:26:57,520 --> 00:26:59,920
Speaker 1: And my favorite is when I was like, you can

442
00:27:00,200 --> 00:27:05,119
Speaker 1: release your fists. It was good advice Loria gave her

443
00:27:05,119 --> 00:27:09,560
Speaker 1: about college, saying you pick where you want to go. Yeah,

444
00:27:10,720 --> 00:27:12,840
Speaker 1: she was She's a great she's a great mom. I mean,

445
00:27:13,680 --> 00:27:17,359
Speaker 1: she really displayed her she was enjoying the fruits of

446
00:27:17,400 --> 00:27:20,639
Speaker 1: her labor. In this episode, and she she proved to

447
00:27:20,640 --> 00:27:24,439
Speaker 1: be just a spectacular mother. So it was yeah, and

448
00:27:24,480 --> 00:27:27,879
Speaker 1: then we just see that there's still a little is

449
00:27:27,880 --> 00:27:32,080
Speaker 1: when you watch people celebrate her building towards a little

450
00:27:32,119 --> 00:27:34,560
Speaker 1: drama with Emily, because we can see Rory on the

451
00:27:34,560 --> 00:27:36,480
Speaker 1: phone with her trying to figure out this outfit and

452
00:27:36,560 --> 00:27:39,240
Speaker 1: kind of saying, I gotta go over there. So we're

453
00:27:39,240 --> 00:27:42,560
Speaker 1: setting up that and that there's prominent use of cell

454
00:27:42,560 --> 00:27:46,679
Speaker 1: phones now. Oh yeah, and also Rory has makeup on

455
00:27:46,720 --> 00:27:49,359
Speaker 1: in this episode. I like specifically put that down. She

456
00:27:49,440 --> 00:27:53,440
Speaker 1: looks way more um mature, like she was wearing lipstick,

457
00:27:53,600 --> 00:27:56,040
Speaker 1: she had some blush on. I was like, oh, I

458
00:27:56,080 --> 00:28:01,000
Speaker 1: haven't seen Rory with makeup on like this. I don't know,

459
00:28:01,160 --> 00:28:07,960
Speaker 1: I wrote it down. I noticed that. Yeah, okay, so

460
00:28:07,960 --> 00:28:10,159
Speaker 1: we're gonna go back to l A, to the Santa

461
00:28:10,200 --> 00:28:12,600
Speaker 1: Monica Pire. And interestingly, I just realized we haven't even

462
00:28:12,680 --> 00:28:15,679
Speaker 1: seen Jimmy yet. We're this far into the episode and

463
00:28:15,720 --> 00:28:19,560
Speaker 1: we've only seen Cherylyn Fenn. So the more I think

464
00:28:19,600 --> 00:28:21,480
Speaker 1: about it, the more I feel like this would have

465
00:28:21,520 --> 00:28:25,000
Speaker 1: been the Sherylyn Fenn Show. But anyway, so we go back.

466
00:28:25,000 --> 00:28:28,240
Speaker 1: Clearly we're on the Santa Monica Pire looked amazing. She's

467
00:28:28,400 --> 00:28:31,800
Speaker 1: there doing the walk and talk and she knows everybody

468
00:28:31,800 --> 00:28:34,320
Speaker 1: in town. We kind of learned that right away. It

469
00:28:34,480 --> 00:28:38,560
Speaker 1: felt very Gilmoury. And then we get to Dante's Inferno

470
00:28:39,360 --> 00:28:43,960
Speaker 1: and the pickle situation. Yeah, they were in a real pickle.

471
00:28:46,240 --> 00:28:48,920
Speaker 1: Didn't really understand what they were talking about. But you know,

472
00:28:49,080 --> 00:28:51,120
Speaker 1: I guess the label was a little off and the

473
00:28:51,240 --> 00:28:53,440
Speaker 1: letters where the font was a little off. It just

474
00:28:53,440 --> 00:28:55,120
Speaker 1: stood out to me. Here this is where I really

475
00:28:55,280 --> 00:28:59,200
Speaker 1: noticed what Danielle said. He's got this diner I called it,

476
00:29:00,760 --> 00:29:04,440
Speaker 1: and I thought, God, that's got to be on purpose. Yeah. God,

477
00:29:04,480 --> 00:29:06,680
Speaker 1: it just didn't fit in with gil Moore Girls at all,

478
00:29:06,720 --> 00:29:09,360
Speaker 1: did it? It was? Oh? I mean that was my

479
00:29:09,440 --> 00:29:12,080
Speaker 1: problem with it the first two times I'd seen it.

480
00:29:12,080 --> 00:29:14,800
Speaker 1: It was better for me this time. On the third watch.

481
00:29:15,320 --> 00:29:18,640
Speaker 1: It was less jarring. But I remember being like, I'm

482
00:29:18,640 --> 00:29:21,160
Speaker 1: not watching Gilmore Girls, but I think it's some of

483
00:29:21,240 --> 00:29:25,320
Speaker 1: Milo's best work. I really really pulled me in. He

484
00:29:25,440 --> 00:29:27,880
Speaker 1: really really really pulled me in with this because he

485
00:29:27,960 --> 00:29:30,640
Speaker 1: was so hurt and he was so lost, and he

486
00:29:30,720 --> 00:29:34,760
Speaker 1: was so confused, and I just loved him in this episode.

487
00:29:34,800 --> 00:29:36,520
Speaker 1: I I just fell in love with him again in

488
00:29:36,520 --> 00:29:39,240
Speaker 1: this episode. So I'm like, you know, I'm I'm all

489
00:29:39,280 --> 00:29:42,800
Speaker 1: there for for just now hoping that he God, I

490
00:29:42,840 --> 00:29:45,320
Speaker 1: mean just I mean getting thrown out by his father.

491
00:29:45,480 --> 00:29:47,800
Speaker 1: He didn't even show him, he just shows up and

492
00:29:47,920 --> 00:29:50,320
Speaker 1: his father's rejecting him again. I mean, the poor kid.

493
00:29:51,120 --> 00:29:54,560
Speaker 1: You know, he's he's he's in a tough spot. You know,

494
00:29:55,280 --> 00:29:59,400
Speaker 1: my natural protective instincts, you know, just me, Scott was

495
00:29:59,680 --> 00:30:03,480
Speaker 1: really just man. Why I was just fired up? Are you,

496
00:30:03,560 --> 00:30:10,560
Speaker 1: Scott regretting Luke? Not that you can regret it, but

497
00:30:10,840 --> 00:30:12,840
Speaker 1: how are you feeling about the fact that Luke had

498
00:30:12,920 --> 00:30:14,600
Speaker 1: to tell him if you got to go? Then if

499
00:30:14,600 --> 00:30:17,880
Speaker 1: you're not. He did fail him. He did fail him,

500
00:30:17,920 --> 00:30:20,760
Speaker 1: and I and I do feel bad. And I know

501
00:30:20,840 --> 00:30:23,200
Speaker 1: that Luke feels bad and he should feel bad. He

502
00:30:23,280 --> 00:30:29,680
Speaker 1: did fail him because he he's with a young kid.

503
00:30:30,480 --> 00:30:32,680
Speaker 1: It's you know, you've got to pick your moments to

504
00:30:32,720 --> 00:30:36,760
Speaker 1: be that rigid and that stern. You know that, Like

505
00:30:36,800 --> 00:30:39,200
Speaker 1: I said in the last podcast, why isn't there a

506
00:30:39,240 --> 00:30:42,680
Speaker 1: world where where you can sit somebody down and really

507
00:30:42,720 --> 00:30:45,160
Speaker 1: talk to them and really support them and really love

508
00:30:45,240 --> 00:30:47,480
Speaker 1: them instead of all of this this has got to

509
00:30:47,520 --> 00:30:49,840
Speaker 1: be my way garbage, and you know, and all this

510
00:30:50,040 --> 00:30:53,000
Speaker 1: and and and and my god, I just I don't

511
00:30:53,000 --> 00:30:57,680
Speaker 1: know how anybody, especially a kid that vulnerable, that's smart,

512
00:30:57,800 --> 00:31:00,959
Speaker 1: that's sensitive and that troubled, how is he's not going

513
00:31:01,000 --> 00:31:03,760
Speaker 1: to respond well to that? You know you, I mean,

514
00:31:03,760 --> 00:31:06,680
Speaker 1: they're gonna make mistake after mistake after mistake after mistake,

515
00:31:06,720 --> 00:31:11,080
Speaker 1: the only and I and I agreed with Sasha, right,

516
00:31:11,120 --> 00:31:13,080
Speaker 1: it's like, you gotta love these people. Man, you gotta

517
00:31:13,120 --> 00:31:15,320
Speaker 1: love him, and you gotta hug him, and you gotta

518
00:31:15,480 --> 00:31:17,360
Speaker 1: be patient with him, and they're gonna screw up, and

519
00:31:17,400 --> 00:31:19,800
Speaker 1: you've got to just factor that into the equation and

520
00:31:19,840 --> 00:31:24,479
Speaker 1: alter your behavior. But Luke again, like Luke is not

521
00:31:24,600 --> 00:31:28,080
Speaker 1: the guy to raise or to be there for this kid, don't.

522
00:31:28,120 --> 00:31:30,080
Speaker 1: I won't go as far to say Luke failed him,

523
00:31:30,160 --> 00:31:32,840
Speaker 1: But I'm not sure Luke made the right call. I

524
00:31:32,840 --> 00:31:36,120
Speaker 1: don't know, Daniel, what we're gonna say. I know you're gonna, yeah,

525
00:31:36,280 --> 00:31:39,120
Speaker 1: I agree with you. I think I don't think he

526
00:31:39,160 --> 00:31:41,880
Speaker 1: failed him. And I actually do think Luke is what

527
00:31:42,040 --> 00:31:44,600
Speaker 1: Jess needed. Like I do think that he needs somebody

528
00:31:44,600 --> 00:31:46,960
Speaker 1: that's not going to enable him. And also he needs

529
00:31:46,960 --> 00:31:49,960
Speaker 1: somebody that's gonna put him in this place a little bit.

530
00:31:50,040 --> 00:31:52,040
Speaker 1: And that's what Luke was doing. And so I do

531
00:31:52,160 --> 00:31:54,840
Speaker 1: think he needed that guidance and he needed that discipline.

532
00:31:55,440 --> 00:31:59,360
Speaker 1: I just feel like at that point, Jess wasn't willing

533
00:31:59,480 --> 00:32:02,960
Speaker 1: to see that, And that's not necessarily a dig on Luke,

534
00:32:03,520 --> 00:32:10,560
Speaker 1: just I think not um uh. Emotionally and from like

535
00:32:10,560 --> 00:32:13,320
Speaker 1: a maturity standpoint, Jess wasn't able to He didn't want

536
00:32:13,360 --> 00:32:17,080
Speaker 1: it enough on his own. But why couldn't Luke show

537
00:32:17,120 --> 00:32:21,120
Speaker 1: him his heart? Why couldn't Luke show Jess he did

538
00:32:21,280 --> 00:32:24,160
Speaker 1: by letting him stay with him. I understand that and

539
00:32:24,240 --> 00:32:26,680
Speaker 1: trying to like he's more doing it like it's his duty,

540
00:32:26,800 --> 00:32:30,440
Speaker 1: it's his job as the uncle, as opposed to I

541
00:32:30,480 --> 00:32:32,840
Speaker 1: think what's Scott's saying, like from his heart? You know

542
00:32:32,880 --> 00:32:38,640
Speaker 1: what we're getting. We're getting at um A lot of

543
00:32:38,680 --> 00:32:41,680
Speaker 1: men's inability to open up their hearts and let their

544
00:32:41,680 --> 00:32:45,040
Speaker 1: heart pour out. They they think that that is weakness

545
00:32:45,720 --> 00:32:49,600
Speaker 1: as opposed to what it really is real strength and trust. Right,

546
00:32:50,280 --> 00:32:53,840
Speaker 1: So why can't why can't he sit down? Why can't

547
00:32:53,920 --> 00:32:57,760
Speaker 1: Luke be emotional with Jess? Is he afraid Jess will

548
00:32:57,880 --> 00:33:00,560
Speaker 1: perceive that his weakness. No, I think it. Luke has

549
00:33:00,560 --> 00:33:02,600
Speaker 1: a real hard time with that. No, I know why

550
00:33:02,680 --> 00:33:05,160
Speaker 1: Luke can't do it, but it's like, this gets to

551
00:33:05,240 --> 00:33:09,200
Speaker 1: the issue of why men can't communicate as well as

552
00:33:09,200 --> 00:33:14,040
Speaker 1: women can, and why there's maybe I mean, I don't

553
00:33:14,080 --> 00:33:15,760
Speaker 1: want to go off on a tangent here, but I

554
00:33:15,840 --> 00:33:19,040
Speaker 1: wanted to see a softer Luke. I wanted to see

555
00:33:19,080 --> 00:33:23,120
Speaker 1: a Luke that it was more supportive and gentle with

556
00:33:23,160 --> 00:33:26,240
Speaker 1: that boy and and loving and open up his heart,

557
00:33:26,280 --> 00:33:29,280
Speaker 1: Because wouldn't that have been powerful instead of all this

558
00:33:29,520 --> 00:33:32,240
Speaker 1: like hey, I'm the boss and and um and what

559
00:33:32,320 --> 00:33:34,640
Speaker 1: I say goes and you went against it and you're gone.

560
00:33:34,840 --> 00:33:38,280
Speaker 1: You broke my rules and you're gone. Yeah. Okay, So

561
00:33:38,320 --> 00:33:42,560
Speaker 1: that's that's a predictable character. That's a predictable character trait.

562
00:33:42,840 --> 00:33:45,200
Speaker 1: We all knew that was coming. We all saw it

563
00:33:45,240 --> 00:33:47,640
Speaker 1: coming a mile away, and you know Jess was gonna

564
00:33:47,640 --> 00:33:49,400
Speaker 1: screw up and Luke was going to toss him out.

565
00:33:49,400 --> 00:33:53,400
Speaker 1: But wouldn't the most moving scene would have been Luke

566
00:33:53,440 --> 00:33:55,640
Speaker 1: opening up his heart to that kid and showing him

567
00:33:55,640 --> 00:33:59,520
Speaker 1: how it affected him. Like imagine Luke in tears. Yeah,

568
00:33:59,560 --> 00:34:03,160
Speaker 1: I agree, you like shattered? Yeah, Like I'm a kid.

569
00:34:03,160 --> 00:34:07,880
Speaker 1: I'm dying for you here, man, and I think would right,

570
00:34:07,960 --> 00:34:10,680
Speaker 1: I think that's gonna be more effective going forward. I

571
00:34:10,719 --> 00:34:14,600
Speaker 1: support that, you know, And don't you feel for Jess.

572
00:34:14,719 --> 00:34:19,040
Speaker 1: He's been rejected by his mom, taken in by his uncle,

573
00:34:19,239 --> 00:34:23,279
Speaker 1: but send my sort of I don't know, I don't

574
00:34:23,400 --> 00:34:26,879
Speaker 1: use the order rejected, but like firm hand and then

575
00:34:27,280 --> 00:34:30,000
Speaker 1: it blew up. And now he's being rejected by his

576
00:34:30,120 --> 00:34:34,359
Speaker 1: dad a second time. His dad left him and now

577
00:34:34,480 --> 00:34:37,640
Speaker 1: essentially his dad and this element sort of would have

578
00:34:37,680 --> 00:34:42,239
Speaker 1: been an interesting show trying to sort of navigate all that,

579
00:34:42,760 --> 00:34:46,440
Speaker 1: But yeah, I don't know. I think it's an amazing

580
00:34:46,640 --> 00:34:49,040
Speaker 1: isn't amazing how Jess has just sort of taken over

581
00:34:49,080 --> 00:34:53,719
Speaker 1: the narrative. That's that's where our hearts are now, right,

582
00:34:54,080 --> 00:34:57,680
Speaker 1: Not so much with Rory. Rory is going to be successful.

583
00:34:57,719 --> 00:34:59,920
Speaker 1: We're like, yeah, she's put the hard work. We're not

584
00:35:00,080 --> 00:35:03,760
Speaker 1: so much with anybody else. We're engaged with this Jess dilemma.

585
00:35:04,239 --> 00:35:07,640
Speaker 1: What's going to happen to Jess? Jess, Jess? And And

586
00:35:08,760 --> 00:35:11,040
Speaker 1: you know, I think I think it just shows you

587
00:35:11,200 --> 00:35:13,840
Speaker 1: why Milo is such a star. Yeah, you know, he

588
00:35:14,120 --> 00:35:17,040
Speaker 1: he commands that kind of attention right because of his

589
00:35:17,080 --> 00:35:19,919
Speaker 1: skill set. So yeah, you're right. He was so good

590
00:35:19,920 --> 00:35:22,000
Speaker 1: in this episode. And I think it's significant that he

591
00:35:22,080 --> 00:35:24,600
Speaker 1: said I didn't come here to bust your balls. He's

592
00:35:24,640 --> 00:35:28,799
Speaker 1: throwing it out there right away that he's like, that's

593
00:35:28,800 --> 00:35:31,360
Speaker 1: not what this is about. To relive the seventeen years

594
00:35:31,360 --> 00:35:34,719
Speaker 1: you were gone, and he's basically we haven't gotten there yet,

595
00:35:34,719 --> 00:35:36,680
Speaker 1: but he says like I have nowhere else to go.

596
00:35:37,239 --> 00:35:41,400
Speaker 1: M m. Yeah. That was the hard part because Jimmy

597
00:35:41,560 --> 00:35:43,239
Speaker 1: was talking about how much of his screw up he

598
00:35:43,400 --> 00:35:44,960
Speaker 1: is and like you don't want to be near me,

599
00:35:45,440 --> 00:35:48,720
Speaker 1: and Jess was like, no, I'm the one that doesn't

600
00:35:48,760 --> 00:35:53,440
Speaker 1: have anything, and that's when that's when it like he's

601
00:35:53,520 --> 00:35:56,640
Speaker 1: been like playing cool guy. I know what I'm doing,

602
00:35:56,920 --> 00:36:01,319
Speaker 1: like you know, the whole time. And apple doesn't fall

603
00:36:01,480 --> 00:36:05,719
Speaker 1: far from the tree. Was really yeah, interesting, and I'm

604
00:36:05,760 --> 00:36:09,400
Speaker 1: glad Luke was hard on Jimmy. That's the guy that

605
00:36:09,480 --> 00:36:12,319
Speaker 1: deserves it, that's right, that's the guy that's like, get

606
00:36:12,360 --> 00:36:14,799
Speaker 1: your act together. You're in your forties for God's sake,

607
00:36:15,120 --> 00:36:17,600
Speaker 1: you know what I mean. I agree with you, But

608
00:36:17,760 --> 00:36:21,800
Speaker 1: Jess was the one that needed soft heart. He needed

609
00:36:21,840 --> 00:36:26,279
Speaker 1: a heart. Yeah, because that's what he hasn't had. And

610
00:36:25,719 --> 00:36:30,120
Speaker 1: there's there's there's a great quote going around now, um

611
00:36:30,480 --> 00:36:32,239
Speaker 1: well it's been going around for a long time, but

612
00:36:32,640 --> 00:36:34,640
Speaker 1: there was a quote says, you want to save the world,

613
00:36:34,680 --> 00:36:38,440
Speaker 1: go home and love your family and mother. It's a

614
00:36:38,440 --> 00:36:40,680
Speaker 1: attributed to mother choices. So I just I just wanted

615
00:36:40,680 --> 00:36:43,560
Speaker 1: to put that out there for the podcast audience because

616
00:36:43,600 --> 00:36:45,759
Speaker 1: I know you'll appreciate it, and I think Luke could

617
00:36:45,760 --> 00:36:50,120
Speaker 1: benefit from that. That would have been an interesting way

618
00:36:50,120 --> 00:36:53,000
Speaker 1: to tell the story that if Luke, even if he'd

619
00:36:53,040 --> 00:36:55,720
Speaker 1: been that way up till now that gruff sort of rules,

620
00:36:56,640 --> 00:37:00,680
Speaker 1: if he would have just totally changed and realized, like, hey,

621
00:37:00,680 --> 00:37:05,200
Speaker 1: we're in a mess. Here, let's take a breath, let's hug,

622
00:37:05,320 --> 00:37:10,759
Speaker 1: let's solve this. So here's maybe a theory, Okay, just

623
00:37:10,800 --> 00:37:16,880
Speaker 1: popped into my little head. Uh maybe this pilot idea

624
00:37:17,000 --> 00:37:22,520
Speaker 1: spinoff was doomed from the get go because here we are, uh,

625
00:37:22,840 --> 00:37:27,720
Speaker 1: loving a show that is deeply entrenched in family values.

626
00:37:27,760 --> 00:37:31,440
Speaker 1: It's all about family values or the lack they're not

627
00:37:31,480 --> 00:37:33,879
Speaker 1: really the lack of Arah, but families trying to come

628
00:37:33,920 --> 00:37:37,960
Speaker 1: together and work it out. And here we have this

629
00:37:37,960 --> 00:37:41,759
Speaker 1: this seminal scene in this episode and a show when

630
00:37:41,760 --> 00:37:45,040
Speaker 1: the audience is all about family values and they love

631
00:37:45,080 --> 00:37:47,200
Speaker 1: watching the show and repeat every single day of their

632
00:37:47,239 --> 00:37:51,800
Speaker 1: lives because they agree that family values matter the most.

633
00:37:53,040 --> 00:37:55,640
Speaker 1: And here we have a father who's going to be

634
00:37:55,719 --> 00:37:58,600
Speaker 1: a lead and a pilot who's telling his son, you

635
00:37:58,640 --> 00:38:00,799
Speaker 1: don't want to be near me. I don't want to

636
00:38:00,800 --> 00:38:02,800
Speaker 1: be near you. I mean, it's just like the worst

637
00:38:02,840 --> 00:38:06,200
Speaker 1: thing you could say in a scene to a young

638
00:38:06,320 --> 00:38:08,759
Speaker 1: It's very different than the conflict that lore Line and

639
00:38:08,800 --> 00:38:12,520
Speaker 1: Emily have. Absolutely yeah, I mean, it was just it

640
00:38:12,600 --> 00:38:18,600
Speaker 1: was just depraved almost well. And I also don't understand

641
00:38:20,640 --> 00:38:23,600
Speaker 1: obviously Sasha is a great mom to that little girl

642
00:38:23,800 --> 00:38:28,080
Speaker 1: in the cupboard, and you get the vibe that Jimmy

643
00:38:28,200 --> 00:38:31,919
Speaker 1: is a good yeah bake stepfather because they're not married.

644
00:38:31,960 --> 00:38:35,000
Speaker 1: So but but but I'm sorry interrupt, but I want

645
00:38:35,280 --> 00:38:37,080
Speaker 1: I wanted to finish my point. It's like, how are

646
00:38:37,120 --> 00:38:39,760
Speaker 1: you trying to hook the Gilmore audience with a character

647
00:38:39,840 --> 00:38:41,960
Speaker 1: like that that that doesn't want to be around his

648
00:38:42,000 --> 00:38:45,560
Speaker 1: own son when your whole audience is about family families

649
00:38:45,719 --> 00:38:49,279
Speaker 1: you want them to migrate over this pilot. But I

650
00:38:49,280 --> 00:38:51,480
Speaker 1: think it's because of Jess, like you've seen him through

651
00:38:51,520 --> 00:38:53,239
Speaker 1: all of this, and and you know, a lot of

652
00:38:53,280 --> 00:38:55,360
Speaker 1: people are a team Jess. For I think this reason.

653
00:38:56,080 --> 00:38:58,520
Speaker 1: It's that you feel for him. You want him to succeed,

654
00:38:58,560 --> 00:39:01,080
Speaker 1: and he just he keeps failing, and you want to

655
00:39:01,120 --> 00:39:04,200
Speaker 1: just keep rooting for him. And I think it's more following,

656
00:39:04,320 --> 00:39:06,879
Speaker 1: Jess than I understand what you're saying, But I think

657
00:39:06,920 --> 00:39:10,399
Speaker 1: it's more following just than like the family dynamic. Oh,

658
00:39:10,480 --> 00:39:12,440
Speaker 1: I see. But I think Scott's point is, and I

659
00:39:12,480 --> 00:39:14,600
Speaker 1: don't want to speak for Scott, you say, he's saying

660
00:39:14,640 --> 00:39:20,600
Speaker 1: that wasn't enough for these Gilmore or even like whoever

661
00:39:20,760 --> 00:39:24,520
Speaker 1: makes these decisions, that's not enough, that this was too

662
00:39:24,600 --> 00:39:30,319
Speaker 1: much of a pivot essentially from what we know and love. Yeah,

663
00:39:31,120 --> 00:39:34,520
Speaker 1: and we don't know Sherilyn Fenn's character enough yet to

664
00:39:34,640 --> 00:39:36,600
Speaker 1: give her a shot, you know what I mean. We

665
00:39:37,640 --> 00:39:40,759
Speaker 1: like her, but we don't know anything yet. Yeah. I mean,

666
00:39:41,400 --> 00:39:43,520
Speaker 1: did you ever see anything like that in Gilmore Girls

667
00:39:44,680 --> 00:39:48,120
Speaker 1: exception with you know, Emily and Richard, Yeah, yeah, right,

668
00:39:48,239 --> 00:39:53,800
Speaker 1: right right, but they never it's different. It's different. Yeah, Well, okay,

669
00:39:53,840 --> 00:39:56,359
Speaker 1: speaking of So we go back now to the Gilmore's

670
00:39:56,880 --> 00:39:59,279
Speaker 1: and we're this is where we meet miss Selene and

671
00:39:59,320 --> 00:40:02,560
Speaker 1: obviously that Alex Borstein. So they brought her back, you know,

672
00:40:02,680 --> 00:40:06,279
Speaker 1: the harp player, So they brought her back for this role.

673
00:40:06,320 --> 00:40:08,920
Speaker 1: She must have got a break from a family guy,

674
00:40:09,280 --> 00:40:11,280
Speaker 1: which I thought she was a bit over the top,

675
00:40:11,320 --> 00:40:14,920
Speaker 1: but I still laughed at the scenes. So Richard and Emily,

676
00:40:14,920 --> 00:40:18,520
Speaker 1: everyone's trying on close and Emily looked so pretty in

677
00:40:18,560 --> 00:40:22,880
Speaker 1: this scene. I was like, she didn't. Yeah, I was like,

678
00:40:22,920 --> 00:40:30,719
Speaker 1: oh my gosh, she is. That's no grandma. So we're

679
00:40:30,760 --> 00:40:32,440
Speaker 1: sort of going back and forth. So we're sort of

680
00:40:32,440 --> 00:40:34,880
Speaker 1: getting to that, and then we're going back to Chilton

681
00:40:35,200 --> 00:40:37,800
Speaker 1: and the girls are handing out the yearbooks and tearing

682
00:40:37,800 --> 00:40:40,480
Speaker 1: out the page that they don't like their photo in,

683
00:40:41,480 --> 00:40:43,879
Speaker 1: you know. So we've kind of got that going on.

684
00:40:44,120 --> 00:40:47,759
Speaker 1: And then this is where the natually was. This is

685
00:40:47,760 --> 00:40:49,959
Speaker 1: where the hug is poor Brad, and that's his only

686
00:40:50,000 --> 00:40:53,120
Speaker 1: photo in the years book. Then they just cut off

687
00:40:53,120 --> 00:40:56,600
Speaker 1: his little he wasn't at school for like half the years,

688
00:40:56,600 --> 00:41:02,920
Speaker 1: so we got one photo. Guy. So lord, okay, So

689
00:41:02,960 --> 00:41:06,280
Speaker 1: we're jumping around. So then we go back to Jimmy

690
00:41:06,360 --> 00:41:11,120
Speaker 1: and Sasha's and this is where Jimmy's brought Jess home.

691
00:41:11,920 --> 00:41:13,880
Speaker 1: And he sort of has to go into the kitchen

692
00:41:13,920 --> 00:41:17,719
Speaker 1: to talk to Sasha, and this is where we find out, like,

693
00:41:17,840 --> 00:41:20,120
Speaker 1: so Sasha is like sitting on the counter drinking a beer.

694
00:41:20,960 --> 00:41:23,279
Speaker 1: And this is really where Sasha says, like, I guess

695
00:41:23,280 --> 00:41:28,000
Speaker 1: we're just roomies because Jimmy didn't tell her that he

696
00:41:28,000 --> 00:41:31,799
Speaker 1: had gone to Stars Hollow to talk to jess a. Right,

697
00:41:31,880 --> 00:41:35,600
Speaker 1: the same deceptive behavior that we see now has landed

698
00:41:35,640 --> 00:41:38,760
Speaker 1: him in this position in his life at this late stage.

699
00:41:38,920 --> 00:41:43,040
Speaker 1: Right and also plot hole, Jimmy obviously talked to Liz,

700
00:41:43,520 --> 00:41:46,120
Speaker 1: because how would Jimmy know if he has not been

701
00:41:46,160 --> 00:41:50,240
Speaker 1: communicating with them that Jess is in stars Hollow with you, Luke.

702
00:41:53,239 --> 00:41:56,600
Speaker 1: He obviously hadn't find that out from Liz. Maybe how

703
00:41:56,600 --> 00:41:58,840
Speaker 1: many did? He's not just gonna show up where the

704
00:41:58,920 --> 00:42:05,279
Speaker 1: uncle lives, right, But I can deal with it, m hm.

705
00:42:06,040 --> 00:42:11,160
Speaker 1: So I don't know Sherylyn Fenn there, I get it.

706
00:42:11,560 --> 00:42:13,040
Speaker 1: But it was a little harsh and it was a

707
00:42:13,080 --> 00:42:16,319
Speaker 1: little awkward with just there all this, It was a

708
00:42:16,320 --> 00:42:18,920
Speaker 1: lot of awkward for me. I would have liked to

709
00:42:18,920 --> 00:42:22,160
Speaker 1: have seen that pilot spin off with Cherylyn Fenn and

710
00:42:22,239 --> 00:42:28,040
Speaker 1: Milo and just get he just fired Robert no, if

711
00:42:28,080 --> 00:42:32,040
Speaker 1: he's going to be that extremely out of it and

712
00:42:32,160 --> 00:42:36,719
Speaker 1: so um incapable, I mean, I don't know that we

713
00:42:36,760 --> 00:42:38,839
Speaker 1: want to watch a man that age who was so

714
00:42:39,719 --> 00:42:46,400
Speaker 1: um challenge challenged by uh day to day life, you know,

715
00:42:46,760 --> 00:42:50,800
Speaker 1: um five years prior he finally got his act together,

716
00:42:50,880 --> 00:42:54,080
Speaker 1: So that means drugs and alcohol and and you know,

717
00:42:54,200 --> 00:42:56,879
Speaker 1: just kind of wacky behavior and partying and all. Maybe

718
00:42:56,880 --> 00:43:01,799
Speaker 1: they didn't likable enough, but put him in the in

719
00:43:01,840 --> 00:43:05,840
Speaker 1: the background as a recurring or something, you know, and

720
00:43:05,920 --> 00:43:08,360
Speaker 1: we're gonna go visit your dad and he's in jail,

721
00:43:08,880 --> 00:43:11,640
Speaker 1: you know, or you know, he's you know what I mean,

722
00:43:13,680 --> 00:43:16,520
Speaker 1: he's doing five to ten on a on a And

723
00:43:17,360 --> 00:43:18,640
Speaker 1: like I said, and I don't mean to be a

724
00:43:18,640 --> 00:43:23,000
Speaker 1: broken record, it didn't go to series, so something was

725
00:43:24,440 --> 00:43:27,920
Speaker 1: not working, you know. So okay, so then we go

726
00:43:28,000 --> 00:43:30,880
Speaker 1: back and we'll just real quick amy and like I

727
00:43:30,920 --> 00:43:33,160
Speaker 1: was looking up like why, and a lot of it

728
00:43:33,200 --> 00:43:35,360
Speaker 1: is also because the location would have been too expensive.

729
00:43:37,120 --> 00:43:40,279
Speaker 1: That's an excuse. That's just an excuse. But I do

730
00:43:40,360 --> 00:43:42,080
Speaker 1: remember reading that, well, yeah, I mean, you have to

731
00:43:42,080 --> 00:43:45,680
Speaker 1: be crazy not to give Milo his own show. I mean,

732
00:43:45,719 --> 00:43:47,680
Speaker 1: he was so popular in Gilmore and that's that's a

733
00:43:47,680 --> 00:43:49,799
Speaker 1: big audience. You know, give him his own give him

734
00:43:49,800 --> 00:43:53,440
Speaker 1: the right vehicle, the timeline for Heroes because he starts

735
00:43:53,480 --> 00:43:58,759
Speaker 1: Heroes in two thousand six, I believe, and Gilmore goes

736
00:43:58,800 --> 00:44:02,160
Speaker 1: through two thousand seven, so he essentially does get his

737
00:44:02,200 --> 00:44:06,200
Speaker 1: own show. Just took a minute. Well, you know, the

738
00:44:06,239 --> 00:44:08,040
Speaker 1: move to give him his own show was to get

739
00:44:08,080 --> 00:44:10,239
Speaker 1: him into new Haven, and he was He's hanging with

740
00:44:10,360 --> 00:44:13,880
Speaker 1: Rory Yale and then we're we're all eliminated. It's just

741
00:44:13,920 --> 00:44:17,600
Speaker 1: those two. That's interesting. Then we're all recurring, you know

742
00:44:17,640 --> 00:44:21,080
Speaker 1: what I mean? I mean, I guess that's series. I

743
00:44:21,080 --> 00:44:22,600
Speaker 1: guess this is a good time to talk about it.

744
00:44:22,680 --> 00:44:25,399
Speaker 1: So are we all aligned? We still got a little

745
00:44:25,400 --> 00:44:27,319
Speaker 1: more to cover. But are we all aligned in that

746
00:44:27,640 --> 00:44:31,960
Speaker 1: this wouldn't have made a good enough show? I don't

747
00:44:32,000 --> 00:44:35,600
Speaker 1: think so. Personally, I don't know. I think if it's

748
00:44:35,640 --> 00:44:40,320
Speaker 1: Milo and Rylyn Fenn, yes and Rob Est this is

749
00:44:40,360 --> 00:44:43,440
Speaker 1: a little removed and then he's rehabilitated as a character

750
00:44:43,480 --> 00:44:46,600
Speaker 1: and he comes back as a more likable person or

751
00:44:46,640 --> 00:44:48,600
Speaker 1: what would you have liked it if they wrote him

752
00:44:48,640 --> 00:44:53,040
Speaker 1: more likable in this? So I gave you that. It's like,

753
00:44:53,080 --> 00:44:56,160
Speaker 1: hey man, how you doing. You're cool? Everything cool? Well,

754
00:44:56,160 --> 00:44:59,359
Speaker 1: would you have liked it if Robstes came stoner? Just

755
00:44:59,400 --> 00:45:01,919
Speaker 1: like some st owner guy? So maybe we keep last

756
00:45:01,920 --> 00:45:05,680
Speaker 1: week's as last week's right because he was we didn't

757
00:45:05,760 --> 00:45:09,000
Speaker 1: learn enough, like you know, Luke came at him. That's fine.

758
00:45:09,080 --> 00:45:11,799
Speaker 1: He goes to see Jess and runs off. Okay, fine,

759
00:45:12,200 --> 00:45:14,359
Speaker 1: so we keep that as is. Would you have liked

760
00:45:14,400 --> 00:45:17,120
Speaker 1: it better in this if? Immediately as soon as Jess

761
00:45:17,120 --> 00:45:20,160
Speaker 1: comes to see Jimmy, Jimmy is like, I'm so sorry.

762
00:45:20,800 --> 00:45:25,720
Speaker 1: I blew it like more no no, no, no, no,

763
00:45:25,719 --> 00:45:31,280
Speaker 1: no more melodrama please, I think listen. If it's a if,

764
00:45:31,600 --> 00:45:37,240
Speaker 1: Jimmy is a character, not unlike the dude in uh

765
00:45:37,280 --> 00:45:40,560
Speaker 1: that Jeff bridges on this, but I'll give it hang

766
00:45:40,640 --> 00:45:42,960
Speaker 1: on and Jess has to and and he's just so

767
00:45:43,040 --> 00:45:46,040
Speaker 1: laid back and cool and funny and doesn't give it

768
00:45:46,120 --> 00:45:50,080
Speaker 1: a crap about anything, and and Jess pretty much has

769
00:45:50,120 --> 00:45:54,799
Speaker 1: to raise him. So it forces Jess to grow up. Now,

770
00:45:54,800 --> 00:45:57,959
Speaker 1: I'm taking care of my dad. My dad can't really

771
00:45:58,280 --> 00:46:01,200
Speaker 1: hack it, but he's he's not stressed about it. He's

772
00:46:01,239 --> 00:46:03,920
Speaker 1: just so let it all go. And then they can

773
00:46:04,280 --> 00:46:06,760
Speaker 1: I don't know, if I've ever seen that before. Maybe

774
00:46:06,760 --> 00:46:09,959
Speaker 1: I have. Maybe it's it's it's already been filmed somewhere else.

775
00:46:10,000 --> 00:46:13,040
Speaker 1: But but make that a laid back guy who really

776
00:46:13,120 --> 00:46:15,960
Speaker 1: needs Jess more than Jess needs him, and then in

777
00:46:16,080 --> 00:46:20,319
Speaker 1: that they find each other eventually. So, Tara Danielle, do

778
00:46:20,360 --> 00:46:23,399
Speaker 1: you think you would have Is there anything that could

779
00:46:23,400 --> 00:46:26,520
Speaker 1: have happened with Jimmy for you to like the idea

780
00:46:26,520 --> 00:46:31,440
Speaker 1: of this show more? I mean, I think I think

781
00:46:31,480 --> 00:46:33,880
Speaker 1: I would have been interested in this show in the

782
00:46:34,040 --> 00:46:36,840
Speaker 1: spin off. I didn't need it, but I would have

783
00:46:36,880 --> 00:46:43,839
Speaker 1: been interested to watch it. I think. Um. I do

784
00:46:44,000 --> 00:46:47,279
Speaker 1: like that thought of Jess having to help raise his

785
00:46:47,440 --> 00:46:50,479
Speaker 1: dad and then growing up together. I do like that.

786
00:46:50,840 --> 00:46:54,440
Speaker 1: I think that it could be really really cool. I

787
00:46:54,480 --> 00:46:56,359
Speaker 1: like it too. All Right, so let's go with that,

788
00:46:56,920 --> 00:47:01,080
Speaker 1: let's write it. We'll get it getting the way back machine,

789
00:47:01,120 --> 00:47:04,520
Speaker 1: will do it all over way Okay, So now we'll

790
00:47:04,520 --> 00:47:07,239
Speaker 1: go back to the drama. So we've got Laura Lae

791
00:47:07,360 --> 00:47:11,680
Speaker 1: sort of running out of the Gilmore. She's just done

792
00:47:11,800 --> 00:47:14,879
Speaker 1: chases after her. Go ahead. I feel like this episode

793
00:47:15,160 --> 00:47:17,840
Speaker 1: has like you almost need to like do the Jess

794
00:47:18,200 --> 00:47:21,840
Speaker 1: the Jess storyline and then recap like the Gilmore storyline,

795
00:47:21,880 --> 00:47:24,480
Speaker 1: because we also haven't talked about the very very beginning

796
00:47:24,480 --> 00:47:28,680
Speaker 1: when Luke tells Laura Lae that Jess is gone, as

797
00:47:28,760 --> 00:47:31,520
Speaker 1: we did. That's what. Yes, we threw my headphones off.

798
00:47:35,160 --> 00:47:37,560
Speaker 1: I haven't as not having talked because I delete as

799
00:47:37,560 --> 00:47:39,440
Speaker 1: I go. Well, we definitely talked about it, because we

800
00:47:39,480 --> 00:47:42,759
Speaker 1: talked for everybody listening, Sorry to be boring. We talked

801
00:47:42,800 --> 00:47:44,800
Speaker 1: about how we saw a new side of the porch

802
00:47:45,200 --> 00:47:49,000
Speaker 1: because Luke moved her over. We more talked about the movie,

803
00:47:50,280 --> 00:47:53,920
Speaker 1: not like actually actually him saying and Laura holding the

804
00:47:54,000 --> 00:47:56,840
Speaker 1: secret from right. No, we have not talked about that. Okay,

805
00:47:56,840 --> 00:48:01,160
Speaker 1: talk about that. Yeah, So obviously in that scene, Luke

806
00:48:01,280 --> 00:48:03,279
Speaker 1: is like trying to get the attention, you know, from

807
00:48:03,280 --> 00:48:06,440
Speaker 1: outside the kitchen window and lord La goes outside and

808
00:48:06,520 --> 00:48:09,440
Speaker 1: Luke tells her Jess is gone. And that's when we

809
00:48:09,600 --> 00:48:11,680
Speaker 1: did talk about this a little bit, how Luke says

810
00:48:11,719 --> 00:48:15,319
Speaker 1: he failed him, which already discussed. But I did find

811
00:48:15,320 --> 00:48:18,560
Speaker 1: it interesting that Loria made a conscious decision to not

812
00:48:18,680 --> 00:48:22,880
Speaker 1: tell Rory right then and there. I thought that was gnarly. Yeah,

813
00:48:23,280 --> 00:48:26,120
Speaker 1: I did do I get it. I get why she

814
00:48:26,200 --> 00:48:29,440
Speaker 1: didn't because Rory so wrapped up in her studies and

815
00:48:29,600 --> 00:48:31,960
Speaker 1: this might derail her. But also at the same time,

816
00:48:32,080 --> 00:48:36,280
Speaker 1: like I also don't see Rory being like, where's Jezz.

817
00:48:36,400 --> 00:48:38,680
Speaker 1: I haven't heard from Jezz and my boyfriend that they

818
00:48:38,719 --> 00:48:43,399
Speaker 1: don't talk to you from dates exactly. Like I feel

819
00:48:43,440 --> 00:48:45,680
Speaker 1: like with the ending of how it left off with

820
00:48:45,760 --> 00:48:48,560
Speaker 1: like he left, he couldn't go to the problem, like

821
00:48:48,640 --> 00:48:50,520
Speaker 1: it would be a couple of days. They probably didn't

822
00:48:50,520 --> 00:48:54,600
Speaker 1: want to chat. That's why in a fight basically, like,

823
00:48:54,840 --> 00:48:57,680
Speaker 1: just give us that good scene, right, I mean, I

824
00:48:57,680 --> 00:48:59,600
Speaker 1: don't know, Scott, what do you think, should lord I

825
00:48:59,719 --> 00:49:04,200
Speaker 1: have hold Rory right away? No? No, I like that

826
00:49:04,239 --> 00:49:07,279
Speaker 1: scene in the foyer when Laura Lee Rory comes out

827
00:49:07,320 --> 00:49:10,680
Speaker 1: and says something buster and you know, it was kind

828
00:49:10,680 --> 00:49:13,279
Speaker 1: of it was really funny. Definitely not that she says

829
00:49:13,320 --> 00:49:15,600
Speaker 1: to herself. Definitely not the time to right right right

830
00:49:15,640 --> 00:49:23,280
Speaker 1: right right? Okay, Yeah, that was good. That was good. Yeah.

831
00:49:23,480 --> 00:49:27,520
Speaker 1: So fast forward. Where we do learn is that Rory

832
00:49:27,640 --> 00:49:30,000
Speaker 1: leaves with Lorea Lee to go home from the sort

833
00:49:30,000 --> 00:49:32,480
Speaker 1: of incident back at the Gilmore's and I think apparently

834
00:49:32,480 --> 00:49:35,200
Speaker 1: they went to suit plantation. They get to the light

835
00:49:35,239 --> 00:49:37,040
Speaker 1: and we see, wait a minute, water, let's go back

836
00:49:37,040 --> 00:49:41,839
Speaker 1: and dissect that scene, because that was a big scene, right,

837
00:49:42,440 --> 00:49:45,600
Speaker 1: you know, Emily lying to Laura Lee about the dinner

838
00:49:45,600 --> 00:49:50,560
Speaker 1: time and but but wasn't she somewhat just I mean,

839
00:49:50,920 --> 00:49:55,680
Speaker 1: Emily is very hurt that Friday night dinners are over, right,

840
00:49:55,760 --> 00:49:58,560
Speaker 1: and they're trying to move on and they don't want

841
00:49:58,600 --> 00:50:04,760
Speaker 1: to include orally anymore. If Laura La is so um

842
00:50:04,800 --> 00:50:08,520
Speaker 1: cold about cutting them off after they've been doing Friday

843
00:50:08,560 --> 00:50:12,200
Speaker 1: night dinners for how long? Two years? She and chilled, right,

844
00:50:12,280 --> 00:50:15,279
Speaker 1: So it's just like, oh, we're not obligating anymore. I

845
00:50:16,520 --> 00:50:20,279
Speaker 1: didn't gain any more of a family feeling from uh

846
00:50:20,560 --> 00:50:23,440
Speaker 1: you Emily and you Richard, and I don't want to

847
00:50:23,480 --> 00:50:26,080
Speaker 1: waste my time with you even once a week now

848
00:50:26,120 --> 00:50:28,480
Speaker 1: that we're all successful and we've come I mean, she

849
00:50:28,600 --> 00:50:32,280
Speaker 1: probably feels incredibly used. I mean, think about how used

850
00:50:32,400 --> 00:50:36,120
Speaker 1: Emily feels for her money and she's doling out these

851
00:50:36,160 --> 00:50:38,840
Speaker 1: wonderful dinners and trying to bond with her granddaughter and

852
00:50:39,280 --> 00:50:44,600
Speaker 1: even trying to bond with with Laurela. I see both

853
00:50:44,640 --> 00:50:48,640
Speaker 1: sides say, yeah, I also am not like thrilled, like

854
00:50:48,680 --> 00:50:51,759
Speaker 1: I get like wanting to spend time with your granddaughter,

855
00:50:51,840 --> 00:50:54,560
Speaker 1: but like I'm also not thrilled that she like yearns

856
00:50:54,640 --> 00:50:57,080
Speaker 1: for the control to do the to have to do

857
00:50:57,160 --> 00:50:59,360
Speaker 1: the Friday night dinners, and like now that that's she

858
00:50:59,400 --> 00:51:03,200
Speaker 1: doesn't have to, kind she doesn't feel she doesn't believe

859
00:51:03,320 --> 00:51:07,400
Speaker 1: that they will come if she doesn't have the control. Yeah,

860
00:51:07,480 --> 00:51:08,879
Speaker 1: and also like she's not going to go to star

861
00:51:08,960 --> 00:51:11,400
Speaker 1: as hollow because larea Line never really wants her around,

862
00:51:11,560 --> 00:51:13,440
Speaker 1: and you know, I think it's always going to have

863
00:51:13,480 --> 00:51:17,960
Speaker 1: to be on Emily's turf. It's a hardness, that's yeah,

864
00:51:18,239 --> 00:51:21,520
Speaker 1: but provided a great scene. Yeah, And I agree with

865
00:51:21,560 --> 00:51:26,200
Speaker 1: you completely Scott that I I see both both sides.

866
00:51:26,239 --> 00:51:28,480
Speaker 1: I see all three sides. I see all four sides.

867
00:51:28,520 --> 00:51:32,840
Speaker 1: I see Richard's perspective, Emily's perspective, Rory's perspective. Because I

868
00:51:32,880 --> 00:51:35,960
Speaker 1: also agree Rory is doing the right thing for herself

869
00:51:36,040 --> 00:51:40,400
Speaker 1: and her family essentially by continuing to spend time with them.

870
00:51:40,440 --> 00:51:43,600
Speaker 1: I don't fold her for that for one second. Desperately

871
00:51:43,640 --> 00:51:46,200
Speaker 1: wanting Rory to come over and help with the swatch

872
00:51:46,200 --> 00:51:48,200
Speaker 1: and help pick out there, yea, she just wants to

873
00:51:48,239 --> 00:51:52,839
Speaker 1: see her granddaughter. She's granddaughter. Yeah, And I get why

874
00:51:53,440 --> 00:51:57,120
Speaker 1: Lorealize Piste, and I get why Richard's like everyone's stafer

875
00:51:57,160 --> 00:52:02,880
Speaker 1: dinner plans to night. I think I would have enjoyed

876
00:52:02,920 --> 00:52:05,399
Speaker 1: the dinner, and I actually think Lorel I would have too.

877
00:52:05,480 --> 00:52:08,680
Speaker 1: I don't really get why Emily was so b I

878
00:52:08,800 --> 00:52:14,640
Speaker 1: t h to not invite her daughter to dinner like that, because,

879
00:52:14,680 --> 00:52:17,759
Speaker 1: as I said, she cut them off of Friday night

880
00:52:17,760 --> 00:52:20,759
Speaker 1: dinner obligation. Lauralized the one that brought it up. We

881
00:52:20,800 --> 00:52:24,440
Speaker 1: don't have to go now, right, but after Look, I

882
00:52:24,480 --> 00:52:27,360
Speaker 1: don't care, but I don't care how bad a relationship

883
00:52:27,440 --> 00:52:31,120
Speaker 1: you have with your family. If you're going every Friday

884
00:52:31,200 --> 00:52:35,040
Speaker 1: night for two years and you're sharing all of that stuff,

885
00:52:35,080 --> 00:52:38,719
Speaker 1: you're bound maybe come together a little, you know, and

886
00:52:39,120 --> 00:52:43,080
Speaker 1: like if wounds can't heal after you know, a hundred

887
00:52:43,120 --> 00:52:47,920
Speaker 1: and four Friday night dinners plus plus plus right, all

888
00:52:47,960 --> 00:52:50,000
Speaker 1: the other appearances they made and all the effort they

889
00:52:50,000 --> 00:52:53,839
Speaker 1: made to show up and support Rory and somewhat support laurealized, Well,

890
00:52:53,880 --> 00:52:57,440
Speaker 1: I mean, where's the evolution of this show. Where's the

891
00:52:57,440 --> 00:53:00,000
Speaker 1: evolution of the characters, Where's the evolution of that narrow

892
00:53:00,520 --> 00:53:04,200
Speaker 1: Now we're back in you know, Crapville with the hard

893
00:53:04,239 --> 00:53:08,680
Speaker 1: feelings and resentment and let's ignore each other, let's abuse

894
00:53:08,719 --> 00:53:11,359
Speaker 1: each other and like, what have we invested so much

895
00:53:11,400 --> 00:53:14,319
Speaker 1: time into witness. On the same note, though, Emily could

896
00:53:14,320 --> 00:53:17,240
Speaker 1: have just said, oh, okay, yeah, let's all have dinner.

897
00:53:17,560 --> 00:53:22,400
Speaker 1: When when the you know, a woman comes out, housekeeper, chef,

898
00:53:22,440 --> 00:53:27,920
Speaker 1: whatever she is called, Lupe says dinner's ready. Emily should

899
00:53:28,000 --> 00:53:30,920
Speaker 1: have said, Laura Lee, do you want to stay for dinner?

900
00:53:30,920 --> 00:53:34,440
Speaker 1: She did? I know, but that's my beef with Emily

901
00:53:34,719 --> 00:53:37,440
Speaker 1: and that Emily, you get a lot. What's the saying

902
00:53:37,480 --> 00:53:40,560
Speaker 1: you get more bees with it's honey than you do.

903
00:53:41,360 --> 00:53:43,880
Speaker 1: So Emily could have said to Lora like, we'd love

904
00:53:43,920 --> 00:53:46,319
Speaker 1: for you to stay. Let's all stay and then they

905
00:53:46,320 --> 00:53:48,040
Speaker 1: have Let's say it goes great and they have a

906
00:53:48,080 --> 00:53:51,880
Speaker 1: great dinner. Then you're on the road to recovery. Essentially,

907
00:53:51,960 --> 00:53:54,120
Speaker 1: Let's say the dinner went great. So then she says,

908
00:53:54,120 --> 00:53:56,480
Speaker 1: you know what, mom, like, let's have dinner every other

909
00:53:56,480 --> 00:53:59,480
Speaker 1: week on a Friday or Saturday. We'll play it by ear.

910
00:54:00,600 --> 00:54:07,200
Speaker 1: I thought actly being so mean really caused a worse problem. Yeah,

911
00:54:07,239 --> 00:54:11,600
Speaker 1: And I feel like what really put like really sealed

912
00:54:11,600 --> 00:54:14,080
Speaker 1: the deal was when Rory told Emily, I think you're

913
00:54:14,080 --> 00:54:16,880
Speaker 1: being stupid and I think Emily is going to have

914
00:54:17,080 --> 00:54:21,160
Speaker 1: a real hard time with the fact that her granddaughter

915
00:54:21,200 --> 00:54:26,640
Speaker 1: told her that. That's such an important note that line,

916
00:54:26,760 --> 00:54:31,080
Speaker 1: because like, like I also know Rory one doesn't talk

917
00:54:31,120 --> 00:54:34,040
Speaker 1: like that and definitely doesn't talk like that to Richard

918
00:54:34,040 --> 00:54:38,799
Speaker 1: and Emily. Right, Yeah, that was a knife right in

919
00:54:38,840 --> 00:54:42,040
Speaker 1: the heart there. Well, and then we get another knife.

920
00:54:42,080 --> 00:54:44,040
Speaker 1: So this was the scene sort of started talk about.

921
00:54:44,080 --> 00:54:47,600
Speaker 1: So then they get to the stop light and Luke

922
00:54:47,719 --> 00:54:53,400
Speaker 1: is sweeping and Luke, what was going What was Luke doing?

923
00:54:54,200 --> 00:54:58,920
Speaker 1: But his head was talking aggressive sweeping was it was

924
00:54:58,960 --> 00:55:01,480
Speaker 1: like his head was bounced and up and when he

925
00:55:01,520 --> 00:55:03,200
Speaker 1: looked up, I mean, what the heck was going on

926
00:55:03,280 --> 00:55:06,239
Speaker 1: with him? And looked like he saw it goes But

927
00:55:06,360 --> 00:55:10,120
Speaker 1: I mean it was just very aggressive. What is he like? Crazy?

928
00:55:10,200 --> 00:55:15,799
Speaker 1: Luke like talking to himself and like I rewound that

929
00:55:15,840 --> 00:55:19,480
Speaker 1: about four times, just laughed. It was some serious sweeping.

930
00:55:19,600 --> 00:55:23,400
Speaker 1: And then Roy says, why did he do that? And

931
00:55:23,400 --> 00:55:28,359
Speaker 1: then this is the moment says, Jess is gone. They

932
00:55:28,400 --> 00:55:32,759
Speaker 1: don't know where and uh she says he doesn't think

933
00:55:32,760 --> 00:55:36,839
Speaker 1: he's coming back, and she says, neither do I. This

934
00:55:36,920 --> 00:55:41,480
Speaker 1: is another example. This is another example of how you

935
00:55:41,520 --> 00:55:45,640
Speaker 1: know naturally great Alexis is because she just you could

936
00:55:45,680 --> 00:55:50,200
Speaker 1: just see her and feel her absorb these these this

937
00:55:50,440 --> 00:55:53,600
Speaker 1: horrible news right and how she processed it. Just you

938
00:55:53,640 --> 00:55:56,440
Speaker 1: could see everything happening in her eyes and her and

939
00:55:56,480 --> 00:55:58,880
Speaker 1: her body. I mean, it's just wonderful acting. I was

940
00:55:58,960 --> 00:56:03,640
Speaker 1: really it was just like she's so vulnerable, such a

941
00:56:03,680 --> 00:56:06,759
Speaker 1: great way to approach the craft. You know, she's so open.

942
00:56:06,840 --> 00:56:12,560
Speaker 1: It's wonderful to watch. Yeah, big scene scene and then

943
00:56:12,719 --> 00:56:18,799
Speaker 1: Laura like gets the red the ticket. I will say

944
00:56:18,800 --> 00:56:22,440
Speaker 1: the one thing just real quick. This episode had so

945
00:56:22,480 --> 00:56:27,640
Speaker 1: many big moments back at Stars Hollow and Emily and

946
00:56:27,719 --> 00:56:30,879
Speaker 1: Richards that I think that the crossover unfortunately just took

947
00:56:30,880 --> 00:56:34,400
Speaker 1: away from it because I completely forgot about that scene

948
00:56:35,080 --> 00:56:37,600
Speaker 1: in the car until I rewatched. I was like, oh yeah,

949
00:56:37,640 --> 00:56:39,600
Speaker 1: like that's how she found out. I forgot about the

950
00:56:39,680 --> 00:56:42,560
Speaker 1: valedictorian thing in this episode. I think it's like, you're right,

951
00:56:42,600 --> 00:56:44,239
Speaker 1: it was a lot of back and forth that we

952
00:56:44,320 --> 00:56:47,120
Speaker 1: I don't think we needed for such an important scene

953
00:56:47,120 --> 00:56:50,399
Speaker 1: back at Stars Hollow. It was hard to keep up like, Okay,

954
00:56:50,440 --> 00:56:52,880
Speaker 1: we're in Venice, California right now. Okay, we're in Stars

955
00:56:52,920 --> 00:56:54,719
Speaker 1: Hollow where Emily's house like it was a lot of

956
00:56:54,719 --> 00:56:57,400
Speaker 1: like ping pong, which normally I really liked, but it

957
00:56:57,520 --> 00:57:01,960
Speaker 1: was just felt like two different storylines, two different right.

958
00:57:01,960 --> 00:57:04,920
Speaker 1: It's like it's it's like, I guess Milo was a

959
00:57:05,000 --> 00:57:11,000
Speaker 1: series regular on the show at that point, right, Um, yeah,

960
00:57:11,040 --> 00:57:13,040
Speaker 1: I don't know. It just felt yeah, just yeah, it

961
00:57:13,120 --> 00:57:17,040
Speaker 1: was right. You're right, Tara. It was just so you

962
00:57:17,120 --> 00:57:20,680
Speaker 1: forget about these little moments, right exactly. And that's what

963
00:57:20,760 --> 00:57:24,880
Speaker 1: the show is that it's at its best, That's what

964
00:57:24,960 --> 00:57:27,520
Speaker 1: the show is. It's peppered with these little, little humorous

965
00:57:27,600 --> 00:57:30,720
Speaker 1: moments and then these big emotional beats and all that.

966
00:57:30,880 --> 00:57:33,680
Speaker 1: I Daniel kind of suggested this, do you think you

967
00:57:33,680 --> 00:57:36,080
Speaker 1: would have liked this episode better, Scott if there was

968
00:57:36,120 --> 00:57:40,600
Speaker 1: a thirty minutes of all Gilmore girl you know, the

969
00:57:40,640 --> 00:57:46,280
Speaker 1: Gilmore Girls stuff like Emily, you everybody over here, and

970
00:57:46,320 --> 00:57:49,480
Speaker 1: we watched that for thirty minutes and then the second

971
00:57:49,520 --> 00:57:53,920
Speaker 1: half of the episode was everything in l a instead

972
00:57:53,960 --> 00:57:56,880
Speaker 1: of this boom boom boom boom boom. Should it have

973
00:57:57,000 --> 00:58:00,520
Speaker 1: done that? And then and then because the ace, the

974
00:58:00,520 --> 00:58:04,760
Speaker 1: audience would have clicked off, I don't. I think I

975
00:58:04,800 --> 00:58:08,960
Speaker 1: think curiosity even, I think they would have been confused. Yeah,

976
00:58:10,280 --> 00:58:12,640
Speaker 1: you don't think they know Jess well enough now that

977
00:58:12,680 --> 00:58:17,200
Speaker 1: they would have followed him for thirty minutes. I think

978
00:58:17,200 --> 00:58:20,840
Speaker 1: it would been confusing. Respectfully, disagree everybody, because I mean,

979
00:58:21,200 --> 00:58:23,080
Speaker 1: you know, we were watching those scenes for a couple

980
00:58:23,080 --> 00:58:25,800
Speaker 1: of minutes and we wanted to go back to Stars, right. No,

981
00:58:26,080 --> 00:58:29,440
Speaker 1: I didn't necessarily want to go back. I just wasn't

982
00:58:29,520 --> 00:58:33,600
Speaker 1: sold on what I was seeing there. Yeah. I actually

983
00:58:33,640 --> 00:58:37,680
Speaker 1: liked the whole all the scenes in in California, I

984
00:58:38,200 --> 00:58:43,440
Speaker 1: liked them. Yeah, I agree, I just felt disjointed. Yeah,

985
00:58:43,680 --> 00:58:45,840
Speaker 1: like bigger picture, I could have taken that part of

986
00:58:45,880 --> 00:58:48,040
Speaker 1: it out in place that somewhere else. You know what

987
00:58:48,080 --> 00:58:50,240
Speaker 1: I would have liked, amy is if we did the

988
00:58:50,240 --> 00:58:52,280
Speaker 1: Gimba girl scene and then you have that scene where

989
00:58:53,040 --> 00:58:56,360
Speaker 1: h Jess, I mean Rory says I don't think he

990
00:58:56,480 --> 00:59:00,760
Speaker 1: is either, and then we had to California the bus there.

991
00:59:02,960 --> 00:59:05,760
Speaker 1: What I want is somebody I don't know this is

992
00:59:05,800 --> 00:59:07,920
Speaker 1: an experiment, somebody I don't know even know how you

993
00:59:07,960 --> 00:59:09,080
Speaker 1: do this, because I don't know how to do this.

994
00:59:09,600 --> 00:59:15,560
Speaker 1: Re edits the episode, We watch it again, best, like

995
00:59:15,680 --> 00:59:18,160
Speaker 1: Danielle saying, so we watch all the stuff and it

996
00:59:18,280 --> 00:59:21,800
Speaker 1: ends with I don't either, and then we can still

997
00:59:21,800 --> 00:59:23,560
Speaker 1: have the funny bit they pulled through the light and

998
00:59:23,600 --> 00:59:27,200
Speaker 1: the police pull them over, and then slow fade we

999
00:59:27,360 --> 00:59:29,720
Speaker 1: see Jess coming off the bus and then we watch

1000
00:59:29,840 --> 00:59:34,720
Speaker 1: all those Yeah, how do we do that? Let's let

1001
00:59:36,880 --> 00:59:41,840
Speaker 1: let's do that. So can we get to pop culture police? Wait?

1002
00:59:41,880 --> 00:59:44,480
Speaker 1: First you have to give best lines, but I don't

1003
00:59:44,560 --> 00:59:48,200
Speaker 1: have any. We didn't get the last scene. Oh we

1004
00:59:48,240 --> 00:59:50,800
Speaker 1: sort of touched on it, okay, So then we go

1005
00:59:50,880 --> 00:59:53,600
Speaker 1: to this last scene that Scott you sort of talked about.

1006
00:59:53,880 --> 00:59:57,600
Speaker 1: We're in the bookstore, and weirdly, Jimmy comes in like

1007
00:59:57,640 --> 00:59:59,480
Speaker 1: a father, being like, if you're going to go to

1008
00:59:59,520 --> 01:00:01,200
Speaker 1: a bookstore, you've got to tell me where you're going.

1009
01:00:01,240 --> 01:00:04,400
Speaker 1: I've been in ten bookstores, and then proceeds to acknowledge

1010
01:00:04,400 --> 01:00:07,960
Speaker 1: the Bowie song, which I thought Scott was important because

1011
01:00:08,000 --> 01:00:10,720
Speaker 1: you it stood out to you too, So obviously it

1012
01:00:10,800 --> 01:00:13,080
Speaker 1: was a very conscious choice because they bring it up

1013
01:00:13,120 --> 01:00:16,080
Speaker 1: in this and it's kind of the why are you here?

1014
01:00:16,600 --> 01:00:18,479
Speaker 1: And he's like, you come in, you didn't even talk

1015
01:00:18,480 --> 01:00:19,880
Speaker 1: to me, and he's like, I did want to talk

1016
01:00:19,920 --> 01:00:22,880
Speaker 1: to you, and then you're right. It was a very weird,

1017
01:00:24,160 --> 01:00:29,800
Speaker 1: sudden turn you can't stay here, and Jimmy says, I'm

1018
01:00:29,800 --> 01:00:33,200
Speaker 1: a screw up, and Jess says, I have nothing, and

1019
01:00:33,240 --> 01:00:35,800
Speaker 1: then it's let me talk to Sasha, and it was

1020
01:00:35,840 --> 01:00:37,840
Speaker 1: just a very It seemed like that should have been

1021
01:00:37,840 --> 01:00:39,560
Speaker 1: an hour long scene. That was I think they got

1022
01:00:39,640 --> 01:00:42,760
Speaker 1: some very bad feedback on those scenes with father and

1023
01:00:42,800 --> 01:00:44,760
Speaker 1: son and that's why they decided not to go with it.

1024
01:00:44,880 --> 01:00:47,320
Speaker 1: It was more of the same. It didn't feel right,

1025
01:00:48,000 --> 01:00:53,120
Speaker 1: and you know, polling said, don't do this anyway. Um, yeah,

1026
01:00:53,200 --> 01:00:56,400
Speaker 1: I think we've beaten that horse. And I just have

1027
01:00:56,520 --> 01:00:59,320
Speaker 1: to say the very very last scene where it announces

1028
01:00:59,360 --> 01:01:02,920
Speaker 1: that she's a very Victorian, leads up to next week,

1029
01:01:03,000 --> 01:01:07,160
Speaker 1: which is my favorite episode of the whole series. All right, okay,

1030
01:01:07,160 --> 01:01:09,040
Speaker 1: but this, let's talk about this thing. This was a

1031
01:01:09,160 --> 01:01:13,880
Speaker 1: very nice scene for Laureli. She's really right exactly, and

1032
01:01:13,960 --> 01:01:18,200
Speaker 1: she gets to really beam with pride and love and

1033
01:01:18,320 --> 01:01:21,520
Speaker 1: jeorlan to her daughter and they have that really great

1034
01:01:21,600 --> 01:01:24,400
Speaker 1: moment in the kitchen and Rory acknowledges that, you know,

1035
01:01:25,160 --> 01:01:27,680
Speaker 1: what an amazing thing she has done, and she's so

1036
01:01:27,760 --> 01:01:31,200
Speaker 1: humble about it, and that played very genuine to me,

1037
01:01:31,480 --> 01:01:33,840
Speaker 1: like she didn't not tell for any reason other than

1038
01:01:34,080 --> 01:01:37,400
Speaker 1: she doesn't want to be a bragger basically. Yeah, yeah,

1039
01:01:37,400 --> 01:01:40,440
Speaker 1: And I think I think that's really the difference between

1040
01:01:41,400 --> 01:01:43,760
Speaker 1: let's revive the horse again to beat it some more.

1041
01:01:43,840 --> 01:01:47,200
Speaker 1: But that's that's the difference, because we get these quality

1042
01:01:47,320 --> 01:01:50,480
Speaker 1: characters in Gilmore, right, and they may have messy lives

1043
01:01:50,480 --> 01:01:54,040
Speaker 1: and all that, but they're striving and they're doing well

1044
01:01:54,080 --> 01:01:56,120
Speaker 1: and they're making progress. And then we go back to

1045
01:01:56,160 --> 01:01:57,880
Speaker 1: the beach and it's all like, I don't want you

1046
01:01:57,920 --> 01:01:59,680
Speaker 1: as my kid. Get out of it. It's like it's

1047
01:01:59,720 --> 01:02:03,080
Speaker 1: just a different world. It's a whole different world that

1048
01:02:03,160 --> 01:02:05,400
Speaker 1: I think the audience just said no, thank you, and

1049
01:02:05,440 --> 01:02:12,440
Speaker 1: I think we're saying the same thing. Yeah, okay, you

1050
01:02:12,480 --> 01:02:15,360
Speaker 1: guys get ready. Uh look strap in because we've got

1051
01:02:15,400 --> 01:02:18,560
Speaker 1: some intel coming in live. It's coming in through my

1052
01:02:18,600 --> 01:02:20,760
Speaker 1: page here. It's coming across the wire. Yeah, I still

1053
01:02:20,800 --> 01:02:23,880
Speaker 1: have a page here. It's coming across the wire. It's

1054
01:02:23,960 --> 01:02:27,520
Speaker 1: it's it's like it's like Morris code coming through and

1055
01:02:27,760 --> 01:02:31,000
Speaker 1: I can I can read Morse code. Um. It's all

1056
01:02:31,040 --> 01:02:34,560
Speaker 1: coming through on the teletype machines. They're going crazy in here.

1057
01:02:34,600 --> 01:02:37,920
Speaker 1: Can you hear the racket? Um? But we've got some intel.

1058
01:02:37,960 --> 01:02:40,400
Speaker 1: We've got some you know, we've got a little uh,

1059
01:02:40,880 --> 01:02:43,720
Speaker 1: you know, side notes and stuff that my crack team

1060
01:02:43,720 --> 01:02:46,440
Speaker 1: and I hearts cracked team noticed. The cool kids call

1061
01:02:46,520 --> 01:02:51,840
Speaker 1: it btsts behind the scene. One day we will be

1062
01:02:51,920 --> 01:02:54,760
Speaker 1: cool kids. We will be able to just say bts

1063
01:02:54,840 --> 01:02:57,880
Speaker 1: without having to be reminded to say it. That's that's

1064
01:02:57,920 --> 01:02:59,880
Speaker 1: it anyway, So let's let's get into this. Huh. You know,

1065
01:03:00,080 --> 01:03:02,760
Speaker 1: this episode was indeed, and I know we're discussing there's

1066
01:03:02,760 --> 01:03:05,560
Speaker 1: a little bit of confusion about it, but this was

1067
01:03:05,640 --> 01:03:09,240
Speaker 1: the back door pilot for the j spinoff called Windward

1068
01:03:09,560 --> 01:03:17,160
Speaker 1: Circle windword Circle, My God, God, bless your windword Circle,

1069
01:03:17,480 --> 01:03:21,120
Speaker 1: which is like not getting that at all. Windword Circle

1070
01:03:21,240 --> 01:03:23,480
Speaker 1: could be you know, it could be mskins. You know

1071
01:03:23,560 --> 01:03:26,840
Speaker 1: that that's an easy title to butcher. You know, I

1072
01:03:26,840 --> 01:03:31,680
Speaker 1: don't even understand what Windward ho Windward rectangle, wind whoa

1073
01:03:32,200 --> 01:03:37,560
Speaker 1: juicy But the project was abandoned due to the high

1074
01:03:37,560 --> 01:03:43,400
Speaker 1: cost of shooting at Venice Beach. Wink wink, Yeah, alright.

1075
01:03:43,440 --> 01:03:47,880
Speaker 1: The opening kitchen scene lauralized making coffee, and she remember

1076
01:03:47,880 --> 01:03:50,560
Speaker 1: when she's sneaking around not wanting to wake up Rory,

1077
01:03:50,840 --> 01:03:54,080
Speaker 1: thinking that Rory was asleep okay. So, so she she

1078
01:03:54,200 --> 01:03:56,520
Speaker 1: fills the pot with water and adds the coffee to

1079
01:03:56,560 --> 01:03:59,560
Speaker 1: the machine, but she never pours the water in. She

1080
01:03:59,680 --> 01:04:02,920
Speaker 1: just sets the pot full of clean water on the

1081
01:04:02,960 --> 01:04:08,240
Speaker 1: burner of the coffee maker and leaves it. Yes, shocked,

1082
01:04:08,280 --> 01:04:12,600
Speaker 1: are you as as I am? Shocked? It's shocked hole

1083
01:04:16,240 --> 01:04:18,600
Speaker 1: all right? When Laura La or Rory are in the

1084
01:04:18,680 --> 01:04:22,440
Speaker 1: kitchen the beginning, and Luke's outside the back door waving

1085
01:04:22,440 --> 01:04:24,480
Speaker 1: at Laura like keeps popping his head in three or

1086
01:04:24,520 --> 01:04:27,160
Speaker 1: four times, which is kind of common, when she also

1087
01:04:27,200 --> 01:04:31,280
Speaker 1: startled me. Right, It's just I think it's supposed to you,

1088
01:04:31,400 --> 01:04:34,200
Speaker 1: the audience. You, the audience are supposed to be part

1089
01:04:34,200 --> 01:04:36,600
Speaker 1: of the scene. Well, and what I noticed is, and

1090
01:04:36,640 --> 01:04:38,640
Speaker 1: I could be wrong, but I noticed that normally there's

1091
01:04:38,680 --> 01:04:42,160
Speaker 1: curtains there, and they were opened or gone so that

1092
01:04:42,200 --> 01:04:45,560
Speaker 1: we could see Luke be bopped in. That's a good

1093
01:04:45,600 --> 01:04:51,280
Speaker 1: piece of intel. So anyway, So so lucas outside the

1094
01:04:51,280 --> 01:04:53,160
Speaker 1: back door waving at Laurea La, and when she goes

1095
01:04:53,160 --> 01:05:01,720
Speaker 1: out windwards circle, certainly, isn't it sounds like a soap

1096
01:05:01,760 --> 01:05:08,320
Speaker 1: opera does, like the sands through it's windwards? Is the

1097
01:05:08,440 --> 01:05:14,000
Speaker 1: windward circle like like wind through the windmills. It's windbrew Circle.

1098
01:05:14,640 --> 01:05:24,520
Speaker 1: Oh my god, the name. Yeah, we we apologize. Um, well,

1099
01:05:24,800 --> 01:05:28,000
Speaker 1: we'll be going to a group and and being reprogrammed

1100
01:05:28,040 --> 01:05:31,600
Speaker 1: after this. Uh. So he's outsod with outdoors, waving at

1101
01:05:31,640 --> 01:05:33,840
Speaker 1: Laurela a couple of times, and when she finally goes outside,

1102
01:05:33,840 --> 01:05:38,160
Speaker 1: she's actually walking out through the side door of the

1103
01:05:38,200 --> 01:05:40,280
Speaker 1: living room. This is because the kitchen was built on

1104
01:05:40,320 --> 01:05:44,040
Speaker 1: a sound stage, of course, and the kitchen door doesn't

1105
01:05:44,080 --> 01:05:48,800
Speaker 1: actually lead outside. It doesn't. So we went from a

1106
01:05:48,840 --> 01:05:53,040
Speaker 1: sound stage where that door leads to like concrete and

1107
01:05:53,480 --> 01:05:59,320
Speaker 1: you know, massive sidewall there, to cutting to filming that

1108
01:05:59,360 --> 01:06:03,360
Speaker 1: scene at the actual house that Laurela uses for all

1109
01:06:03,400 --> 01:06:06,120
Speaker 1: the exteriors. We used that house for all the exteriors,

1110
01:06:06,120 --> 01:06:08,840
Speaker 1: the hoope and stuff walking up, the car pulling up

1111
01:06:09,160 --> 01:06:13,720
Speaker 1: did not even get an inkling of that. Isn't that great?

1112
01:06:13,800 --> 01:06:16,760
Speaker 1: How how smooth that was? Yeah, how smooth the filming

1113
01:06:16,760 --> 01:06:19,479
Speaker 1: of that was and all that. So the kitchen door

1114
01:06:19,720 --> 01:06:23,040
Speaker 1: actually does it doesn't actually lead outside. That makes it

1115
01:06:23,080 --> 01:06:25,439
Speaker 1: look like she was stepping outside. They had to use

1116
01:06:25,480 --> 01:06:28,920
Speaker 1: the living room side door as a stand in for

1117
01:06:29,040 --> 01:06:33,040
Speaker 1: the back door on the other side of it as

1118
01:06:33,080 --> 01:06:36,200
Speaker 1: They're said. The cameras are set up at Laurelized actual

1119
01:06:36,320 --> 01:06:40,320
Speaker 1: exterior house, you know, way across the lot of Warner Brothers,

1120
01:06:40,640 --> 01:06:42,439
Speaker 1: And so we could be out there on the porch. Yeah.

1121
01:06:44,360 --> 01:06:47,440
Speaker 1: The magic of of of of TV, the magic of

1122
01:06:47,560 --> 01:06:51,920
Speaker 1: making TV okay great scoop. At the seven thirty point,

1123
01:06:51,920 --> 01:06:54,400
Speaker 1: when Laurelai walks in front of the window, you can

1124
01:06:54,600 --> 01:06:59,200
Speaker 1: see and this is still I think on the porch right. Uh,

1125
01:06:59,400 --> 01:07:01,840
Speaker 1: you can still see that. You can see the reflection

1126
01:07:02,080 --> 01:07:04,919
Speaker 1: of the camera and a person looking at a piece

1127
01:07:04,960 --> 01:07:09,000
Speaker 1: of paper. Maybe that was script e whoa. Can we

1128
01:07:09,000 --> 01:07:11,840
Speaker 1: try and zoom in on that Instagram? Yeah, well I

1129
01:07:12,360 --> 01:07:14,480
Speaker 1: think we can. We can. I think we can staff

1130
01:07:14,520 --> 01:07:18,000
Speaker 1: that there's a crack staff working in collaboration with my

1131
01:07:18,200 --> 01:07:23,960
Speaker 1: crack staff at one eleven. Uh, I think you guys

1132
01:07:23,960 --> 01:07:26,360
Speaker 1: are a floor below mine. We got so many people,

1133
01:07:27,600 --> 01:07:34,360
Speaker 1: one person between all of us. One. At the eight point,

1134
01:07:34,760 --> 01:07:40,200
Speaker 1: the sparklet's water cooler get this ready, Yeah, it's missing

1135
01:07:40,760 --> 01:07:42,920
Speaker 1: the bottle of water. It was just empty, like they

1136
01:07:43,000 --> 01:07:45,520
Speaker 1: ran out waiting for the guy. The bottle is not

1137
01:07:45,560 --> 01:07:49,560
Speaker 1: even there. Yeah. Well they have no water. They have

1138
01:07:49,640 --> 01:07:54,200
Speaker 1: no water. Maybe that's why the coffee pot never go

1139
01:07:55,720 --> 01:08:01,080
Speaker 1: what's happening? They're they're they're, they're dehydrated. I'm worried now

1140
01:08:01,680 --> 01:08:10,960
Speaker 1: some pop tarts out on the table. Fault. I don't know,

1141
01:08:11,320 --> 01:08:15,000
Speaker 1: you know it? I think that is well, maybe it

1142
01:08:15,120 --> 01:08:18,840
Speaker 1: didn't need to match because from a prior take or

1143
01:08:18,840 --> 01:08:21,120
Speaker 1: a prior set up in the scene. So if it

1144
01:08:21,240 --> 01:08:23,240
Speaker 1: wasn't there and one, it can't be there in any other.

1145
01:08:23,439 --> 01:08:26,400
Speaker 1: I was thinking about Scripty the other day for some reason.

1146
01:08:26,479 --> 01:08:28,720
Speaker 1: Why was I doing that? And I actually mentioned it

1147
01:08:28,720 --> 01:08:31,040
Speaker 1: to Daniel on a phone call. I was like, well,

1148
01:08:31,040 --> 01:08:36,040
Speaker 1: what about script Why did I say that we need

1149
01:08:36,040 --> 01:08:39,880
Speaker 1: to meet Scripty? But anyway, keep going, Yeah, I'll tell

1150
01:08:39,920 --> 01:08:42,080
Speaker 1: you we haven't. We have a new Scripty up here

1151
01:08:42,080 --> 01:08:45,840
Speaker 1: on Sullivan's crossing, and you can't mess with her. She's tough.

1152
01:08:47,280 --> 01:08:49,439
Speaker 1: There's a lot of turnover in this no what but

1153
01:08:49,479 --> 01:08:52,360
Speaker 1: what but but but I'll tell you, I'll tell you

1154
01:08:52,439 --> 01:08:54,519
Speaker 1: she's she's like, you don't want to mess with her? Right?

1155
01:08:54,680 --> 01:08:57,720
Speaker 1: What would be the next job? If you're scripty? What

1156
01:08:57,840 --> 01:09:00,920
Speaker 1: would be the next Like when you get promote, what

1157
01:09:01,040 --> 01:09:03,640
Speaker 1: do you go to? I don't know that you go

1158
01:09:03,720 --> 01:09:07,040
Speaker 1: to anything. Script Supervisor doesn't really lead to anything because

1159
01:09:07,040 --> 01:09:10,719
Speaker 1: that's sort of the top thing. Well, I don't, I don't.

1160
01:09:10,920 --> 01:09:15,320
Speaker 1: I don't think there's a I mean, you don't graduate

1161
01:09:15,400 --> 01:09:18,920
Speaker 1: to script supervisor once you're I think you just start

1162
01:09:19,040 --> 01:09:21,040
Speaker 1: doing that. You can either you're either a person that

1163
01:09:21,120 --> 01:09:24,680
Speaker 1: has great detail and great focus and can keep a

1164
01:09:24,680 --> 01:09:26,280
Speaker 1: lot of balls in the air at the same time

1165
01:09:26,360 --> 01:09:30,200
Speaker 1: for an extended period, every single day for fourteen hours. Yeah,

1166
01:09:30,200 --> 01:09:32,719
Speaker 1: that takes a very special persons. I would suddenly be texting.

1167
01:09:32,800 --> 01:09:38,559
Speaker 1: I'd be like, and just exactly, I didn't miss the thing.

1168
01:09:39,439 --> 01:09:41,920
Speaker 1: You know, the dinosaur wouldn't appear when you know, the

1169
01:09:41,960 --> 01:09:44,080
Speaker 1: t rex actually shows up because you were It's like,

1170
01:09:44,439 --> 01:09:48,639
Speaker 1: sorry miss that. Sorry, I am so sorry. Mr Spield,

1171
01:09:49,040 --> 01:09:52,840
Speaker 1: I am so sorry. Mr Goldblum. I was texting. I

1172
01:09:52,840 --> 01:09:56,479
Speaker 1: didn't know anyway. They're like, there was a great TikTok

1173
01:09:56,560 --> 01:10:02,479
Speaker 1: that I just had to see. Uh listen, you're you're

1174
01:10:02,479 --> 01:10:05,720
Speaker 1: in the right job. Yeah, you've you've found the right job.

1175
01:10:05,800 --> 01:10:07,519
Speaker 1: I don't have a lot of attention to detail there.

1176
01:10:09,960 --> 01:10:15,639
Speaker 1: Um uh okay. At eighteen mark, when Jesse's bus pulls

1177
01:10:15,720 --> 01:10:21,000
Speaker 1: up to the curb at Venice Beach, lit Sky Studio

1178
01:10:21,120 --> 01:10:24,839
Speaker 1: Rentals is clearly visible on the side of the bus.

1179
01:10:26,040 --> 01:10:29,040
Speaker 1: Then as Jess crosses the street, you can see a

1180
01:10:29,080 --> 01:10:40,320
Speaker 1: tourist taking pictures of the camera crew. Oh my god. Yeah, um,

1181
01:10:40,360 --> 01:10:44,439
Speaker 1: all right, and then at ten thirty six, clown pillow

1182
01:10:44,600 --> 01:10:48,320
Speaker 1: makes an appearance. Really, so we had double clown action.

1183
01:10:48,600 --> 01:10:51,000
Speaker 1: There was a clown pillow and then there was the

1184
01:10:51,200 --> 01:10:55,559
Speaker 1: wall of clowns at Sasha, right. I don't know if

1185
01:10:55,560 --> 01:10:58,360
Speaker 1: it's this one and the same, there's no my crack

1186
01:10:58,439 --> 01:11:01,479
Speaker 1: staff has not provided that d tail if you if

1187
01:11:01,520 --> 01:11:04,760
Speaker 1: we ever get to see Amy and damn, I need

1188
01:11:04,840 --> 01:11:06,639
Speaker 1: to know what is going on with the clown thing

1189
01:11:06,680 --> 01:11:10,040
Speaker 1: because they've definitely got a clown thing. Yeah, there's no question,

1190
01:11:11,840 --> 01:11:15,400
Speaker 1: There's no question about it. I mean to I mean

1191
01:11:15,400 --> 01:11:19,840
Speaker 1: it was all the detail that they provide everyone on

1192
01:11:19,880 --> 01:11:23,240
Speaker 1: all levels, and then to sort of make sure that

1193
01:11:23,240 --> 01:11:26,320
Speaker 1: they have the discussion that the clown pillow will appear

1194
01:11:26,920 --> 01:11:34,080
Speaker 1: in just about every episode, right, I am not. I

1195
01:11:34,080 --> 01:11:36,760
Speaker 1: think it was Poulter guys, did me in have you

1196
01:11:36,840 --> 01:11:40,200
Speaker 1: seen the original Poulter guys like the Craig T. Nelson Poulter. Course,

1197
01:11:40,280 --> 01:11:47,120
Speaker 1: of course that clown who attacked clowns though, yeah, who

1198
01:11:47,240 --> 01:11:51,679
Speaker 1: is there really isn't a fan of It's a much.

1199
01:11:51,880 --> 01:11:55,599
Speaker 1: It's a much maligned profession, isn't it because of all

1200
01:11:55,680 --> 01:11:58,240
Speaker 1: the horror films that involve clowns. And I think it

1201
01:11:58,360 --> 01:12:03,200
Speaker 1: was like, you know, very very successful. It's right. I

1202
01:12:03,240 --> 01:12:07,800
Speaker 1: was thinking, yeah, it they're giving clowns like Jaws gave

1203
01:12:07,880 --> 01:12:11,880
Speaker 1: sharks a bad name. It is get Jaws and it

1204
01:12:12,320 --> 01:12:16,479
Speaker 1: sharks and clowns. I didn't actually think it was all

1205
01:12:16,479 --> 01:12:20,719
Speaker 1: that scary, but I did give you the creeps over

1206
01:12:20,760 --> 01:12:26,519
Speaker 1: the clown because you probably saw too much clown too soon, right.

1207
01:12:27,760 --> 01:12:29,519
Speaker 1: I think I was just older when I saw it,

1208
01:12:29,640 --> 01:12:32,760
Speaker 1: and I was so prepared for it to like ruin

1209
01:12:32,880 --> 01:12:37,439
Speaker 1: my life with fear that I went in aggressively being ready,

1210
01:12:37,640 --> 01:12:40,000
Speaker 1: and I think it worked because I was like, that

1211
01:12:39,760 --> 01:12:42,240
Speaker 1: wasn't There's there's certain things that don't age well and

1212
01:12:42,240 --> 01:12:44,479
Speaker 1: they'll scary. You know. The other night there was a

1213
01:12:44,600 --> 01:12:47,640
Speaker 1: there was a carry grant uh uh, what do you

1214
01:12:47,720 --> 01:12:52,800
Speaker 1: call it? Extravaganza on right, and they no, there was

1215
01:12:52,800 --> 01:12:54,960
Speaker 1: a Marilyn Monroe. So I watched some like it Hot

1216
01:12:55,040 --> 01:12:57,120
Speaker 1: and I thought it was pretty funny. But the guy

1217
01:12:57,240 --> 01:12:59,760
Speaker 1: was talking to himself a lot, you know, there was

1218
01:12:59,760 --> 01:13:02,160
Speaker 1: a lot a monologue. Yeah, and he's great he's a

1219
01:13:02,160 --> 01:13:05,000
Speaker 1: great actor. He's really funny, and to pair of those

1220
01:13:05,040 --> 01:13:07,400
Speaker 1: two was kind of genius. But I mean after about

1221
01:13:07,439 --> 01:13:09,120
Speaker 1: forty five minutes and I I was like, you know, I'm

1222
01:13:09,360 --> 01:13:10,880
Speaker 1: kind of tired of this guy talking to himself and

1223
01:13:10,920 --> 01:13:13,320
Speaker 1: I get the joke and it's like he's a he's

1224
01:13:13,320 --> 01:13:15,519
Speaker 1: a fish out of water with this bombshell and she's

1225
01:13:15,560 --> 01:13:17,280
Speaker 1: so sweet and all this stuff. It's like, all right,

1226
01:13:17,280 --> 01:13:18,640
Speaker 1: So I just turned it off. And then there was

1227
01:13:18,720 --> 01:13:23,480
Speaker 1: Carrie Grant with with Sophia Lauren in Houseboat in Houseboat

1228
01:13:23,840 --> 01:13:26,280
Speaker 1: and it was a family friendly, sort of a funny thing,

1229
01:13:26,320 --> 01:13:28,040
Speaker 1: and it's just like after a half hour, I got

1230
01:13:28,200 --> 01:13:29,880
Speaker 1: all right, that's a that's a well, it's funny you

1231
01:13:29,880 --> 01:13:32,800
Speaker 1: say that because this for me growing up, Friday the

1232
01:13:32,840 --> 01:13:36,559
Speaker 1: thirteenth the original and Nightmare on Elm Street and poultr

1233
01:13:36,640 --> 01:13:40,919
Speaker 1: guys were just terrifying. And now, especially Friday the thirteenth,

1234
01:13:41,000 --> 01:13:43,679
Speaker 1: it's almost campy. You're like, why was I so freaked

1235
01:13:43,680 --> 01:13:46,280
Speaker 1: out by this? Although the end I can't watch life.

1236
01:13:46,960 --> 01:13:49,160
Speaker 1: Life toughens up, doesn't it, And these films are like

1237
01:13:49,200 --> 01:13:54,480
Speaker 1: are you kidding me? Yeah, it's like right, like The Exorcist.

1238
01:13:54,479 --> 01:13:57,519
Speaker 1: If I was alone you know. I saw that when

1239
01:13:57,520 --> 01:13:59,920
Speaker 1: it first came out with my friends and we all

1240
01:14:00,000 --> 01:14:02,320
Speaker 1: turned green and we stayed at my friend's house that

1241
01:14:02,400 --> 01:14:04,600
Speaker 1: night because he was Catholic. You know, he was going

1242
01:14:04,640 --> 01:14:07,519
Speaker 1: to protect us the whole thing, you know what I mean.

1243
01:14:08,400 --> 01:14:11,360
Speaker 1: And it's like, now, it would probably scare me if

1244
01:14:11,360 --> 01:14:13,920
Speaker 1: I was watching it in in a house I just

1245
01:14:13,960 --> 01:14:16,280
Speaker 1: bought that was completely empty in the middle of the night,

1246
01:14:16,360 --> 01:14:18,120
Speaker 1: in the middle of the night, and I'm sitting there like,

1247
01:14:18,200 --> 01:14:20,040
Speaker 1: I don't want to watch the two in the afternoon,

1248
01:14:20,080 --> 01:14:23,120
Speaker 1: You're like, I can take this. Yeah, not a big deal, right,

1249
01:14:23,680 --> 01:14:26,840
Speaker 1: but freaked out by Children of the Corn that one

1250
01:14:26,920 --> 01:14:32,200
Speaker 1: still never never saw that children. I like the Children

1251
01:14:32,200 --> 01:14:35,880
Speaker 1: of the Corn is an intriguing title. Yeah, it's like

1252
01:14:36,320 --> 01:14:39,599
Speaker 1: Children of the Wheat, Children of the Barley? Did they did?

1253
01:14:39,600 --> 01:14:43,519
Speaker 1: They follow up with sequels of different types of think

1254
01:14:43,600 --> 01:14:47,080
Speaker 1: so for some reason, remember Children of the Corn. It

1255
01:14:47,320 --> 01:14:51,519
Speaker 1: was scary. It wasn't really so there was no Children

1256
01:14:51,520 --> 01:14:56,599
Speaker 1: of the Wheat, right right, Children of the Asparagus. What's

1257
01:14:56,640 --> 01:14:59,839
Speaker 1: that new age one that everyone Children of the Peppers,

1258
01:15:00,520 --> 01:15:11,880
Speaker 1: children's thing that people eat children that age? You know what?

1259
01:15:12,200 --> 01:15:14,599
Speaker 1: You know what? You know what movie did hold up

1260
01:15:14,880 --> 01:15:20,799
Speaker 1: North by Northwest, Alfred Hitchcock, Carry Grant and Eva Marie

1261
01:15:20,960 --> 01:15:27,759
Speaker 1: sat Oh god, oh man, what a film? And James Mason.

1262
01:15:27,960 --> 01:15:32,080
Speaker 1: James Mason, but do you got anything else? We get

1263
01:15:32,120 --> 01:15:34,600
Speaker 1: some tracked. Sorry, they don't care. They don't care for

1264
01:15:34,640 --> 01:15:42,600
Speaker 1: that so much. The hot Dogs Stand, Yeah, used Dan Jason. No,

1265
01:15:42,760 --> 01:15:46,040
Speaker 1: I mean, let's talk about something really great enough enough

1266
01:15:46,080 --> 01:15:51,599
Speaker 1: of that, you know, Alfred Hitchcock classic. Yeah, the hot

1267
01:15:51,640 --> 01:15:58,240
Speaker 1: Dog Stand used as as Dante's Inferno. Uh, it's actually

1268
01:15:58,280 --> 01:16:02,320
Speaker 1: the original location of Dog on a Stick. No, I

1269
01:16:02,360 --> 01:16:06,400
Speaker 1: love hot Dog on a Stick. True story. It's true,

1270
01:16:06,439 --> 01:16:10,640
Speaker 1: as my son would say, it's true. You got some

1271
01:16:10,920 --> 01:16:14,640
Speaker 1: solid intel? Yeah, yeah, and that's I'm gonna bring that

1272
01:16:14,680 --> 01:16:16,479
Speaker 1: to a close because my last pit of intel we've

1273
01:16:16,479 --> 01:16:19,920
Speaker 1: already noticed. And I'm gonna give you a win on

1274
01:16:20,040 --> 01:16:27,000
Speaker 1: that win word circle when I don't want to be

1275
01:16:27,080 --> 01:16:32,320
Speaker 1: associated with that circle. Yeah, it could have been something, right,

1276
01:16:32,680 --> 01:16:36,400
Speaker 1: it could have been what could have been? But isn't

1277
01:16:36,400 --> 01:16:39,360
Speaker 1: that you know they treat the I guess think if

1278
01:16:39,439 --> 01:16:43,040
Speaker 1: that was the pilot episode, that was within an episode,

1279
01:16:43,200 --> 01:16:47,880
Speaker 1: a pilot within in an episode, I'm an established backdoor pilot?

1280
01:16:48,120 --> 01:16:49,840
Speaker 1: Is that what they call a backdoor pilot. You think

1281
01:16:49,880 --> 01:16:52,920
Speaker 1: that's the terminology. Um, we've feeling pretty sure about that.

1282
01:16:52,920 --> 01:16:56,200
Speaker 1: They must have gotten some horrific feedback not to move

1283
01:16:56,240 --> 01:16:58,680
Speaker 1: forward because you've got this what I'm thinking. You know,

1284
01:16:58,720 --> 01:17:04,080
Speaker 1: they've got this love it character, this this charismatic Milo,

1285
01:17:04,720 --> 01:17:07,920
Speaker 1: right vent Amelia, and they don't move forward with it.

1286
01:17:08,080 --> 01:17:10,960
Speaker 1: And then you know, and they were handing out shows

1287
01:17:10,960 --> 01:17:12,960
Speaker 1: to the guys on Gilmore girls like they were like

1288
01:17:14,920 --> 01:17:19,240
Speaker 1: Carolyn Finn. So I'm trying. I hope call us robstis

1289
01:17:19,280 --> 01:17:24,640
Speaker 1: because I want to know what happened. We'll see. I

1290
01:17:24,680 --> 01:17:27,400
Speaker 1: don't know. I don't know. I think you know what

1291
01:17:27,520 --> 01:17:30,599
Speaker 1: I think it is. I don't think it's the actors.

1292
01:17:30,120 --> 01:17:33,200
Speaker 1: I think it's the concept of the storyline. Right. I

1293
01:17:33,200 --> 01:17:36,240
Speaker 1: think it's the concept because you sure the money played

1294
01:17:36,280 --> 01:17:40,400
Speaker 1: into it. I'm sure that that's no. I mean, if

1295
01:17:40,439 --> 01:17:43,320
Speaker 1: you have a concept like let's say Supernatural, where you

1296
01:17:43,360 --> 01:17:45,800
Speaker 1: put two guys together, and you know what I mean,

1297
01:17:45,920 --> 01:17:49,639
Speaker 1: that's the concept. So I'm not saying I'm not taking

1298
01:17:49,640 --> 01:17:52,680
Speaker 1: anyway from the two leads. It helps when those two

1299
01:17:52,760 --> 01:17:54,960
Speaker 1: guys are Jared and Jensen, right, it does, But I

1300
01:17:55,000 --> 01:17:56,760
Speaker 1: mean there's other two guys you could have put in

1301
01:17:56,760 --> 01:17:58,880
Speaker 1: there and maybe it works too because the concept is

1302
01:17:58,880 --> 01:18:01,439
Speaker 1: so strong. But they just wanted to you know, the

1303
01:18:01,479 --> 01:18:05,080
Speaker 1: most popular guys of the day at that time, you

1304
01:18:05,120 --> 01:18:06,840
Speaker 1: know what I mean, So of course it was going

1305
01:18:06,880 --> 01:18:11,479
Speaker 1: to work. Um so yeah, and uh did they have did?

1306
01:18:11,560 --> 01:18:14,920
Speaker 1: Did did Matt zukri ever get a w B spinoff

1307
01:18:14,920 --> 01:18:19,000
Speaker 1: show Girl to the Good to the Good Wife? He

1308
01:18:19,160 --> 01:18:23,080
Speaker 1: literally went to a humongous show on CBS and he

1309
01:18:23,280 --> 01:18:27,400
Speaker 1: was amazing and then he was a secondary still much

1310
01:18:27,439 --> 01:18:30,040
Speaker 1: more elevated than he was on Gilmore Girls, but still

1311
01:18:30,080 --> 01:18:32,519
Speaker 1: it was not it was Julianna Margatalie's the show and

1312
01:18:32,560 --> 01:18:35,760
Speaker 1: the resident though is a is Matt Zuker? No, it's

1313
01:18:35,840 --> 01:18:40,720
Speaker 1: his show. Sure is his show, and it is such

1314
01:18:40,760 --> 01:18:44,640
Speaker 1: a good show and he is awesome on it. The

1315
01:18:44,720 --> 01:18:50,440
Speaker 1: c W let him get away, Yeah didn't. The Foxes

1316
01:18:50,640 --> 01:18:58,920
Speaker 1: stoked on that boxes like thank you anyway. So that's

1317
01:18:58,960 --> 01:19:00,679
Speaker 1: all I got. That's what I got. You did great?

1318
01:19:01,560 --> 01:19:04,920
Speaker 1: I love that, alright, So let's do favorite lines. Actually

1319
01:19:04,960 --> 01:19:06,840
Speaker 1: just said mine look has become a social I thought

1320
01:19:06,880 --> 01:19:09,240
Speaker 1: that was very funny. Okay, I agree. I think that's

1321
01:19:09,240 --> 01:19:12,200
Speaker 1: a great line. Danielle, go ahead, go alright. My favorite

1322
01:19:12,240 --> 01:19:14,599
Speaker 1: line is is just to the dogs when he says,

1323
01:19:14,640 --> 01:19:17,960
Speaker 1: I swear I will bite you back. That's great. How

1324
01:19:17,960 --> 01:19:22,200
Speaker 1: many jars of pickles? Scott Oh, the episode? The episode episode?

1325
01:19:22,800 --> 01:19:28,240
Speaker 1: I think that, you know, man, I think um strong.

1326
01:19:29,000 --> 01:19:31,400
Speaker 1: I think it's for me. It's between a seven point

1327
01:19:31,439 --> 01:19:35,680
Speaker 1: five and eight point two. Okay, okay, now do the

1328
01:19:35,840 --> 01:19:38,160
Speaker 1: venice thing took a lot away from it. You could

1329
01:19:38,200 --> 01:19:41,360
Speaker 1: give it as separate pickle jars like I'm kind of giving.

1330
01:19:41,400 --> 01:19:45,000
Speaker 1: I'm gonna give the overall of six pickle jars. Yeah,

1331
01:19:45,120 --> 01:19:48,559
Speaker 1: I'm gonna give the Gilmore stuff, the stars hollow stuff.

1332
01:19:48,560 --> 01:19:52,920
Speaker 1: I'm gonna give that a strong nine and a half. Okay, okay, yeah,

1333
01:19:52,960 --> 01:19:56,920
Speaker 1: and I yeah, I think the pickle jars, Sir Danielle

1334
01:19:57,240 --> 01:20:01,479
Speaker 1: the less for the venice stuff, seven pickle jars. I

1335
01:20:01,560 --> 01:20:06,000
Speaker 1: was gonna give it a six. All right, light everybody,

1336
01:20:06,040 --> 01:20:11,479
Speaker 1: that's gonna be thank you, ladies. Uh tar, sued daniel Rome.

1337
01:20:20,280 --> 01:20:24,519
Speaker 1: I feel like I feel like we're ending on a

1338
01:20:25,720 --> 01:20:29,280
Speaker 1: we're befuddled sort of feel like, and I feel like

1339
01:20:29,400 --> 01:20:33,840
Speaker 1: Scott the network probably felt the same way. Again, I

1340
01:20:33,880 --> 01:20:37,040
Speaker 1: agree with you. We do not have any more episodes

1341
01:20:37,240 --> 01:20:41,840
Speaker 1: of the my logos or Jess goes to Venice show

1342
01:20:41,920 --> 01:20:45,080
Speaker 1: that that was their shot. What would you have called it?

1343
01:20:45,240 --> 01:20:47,080
Speaker 1: Oh my god, what would you have named that show?

1344
01:20:47,840 --> 01:20:50,680
Speaker 1: You stay off the beach, Um, don't don't go to

1345
01:20:50,720 --> 01:20:58,080
Speaker 1: the beach. Venice really stinks in the summer. Next episode,

1346
01:20:58,080 --> 01:21:02,160
Speaker 1: Season three, episode twenty two. This season three finale, there

1347
01:21:02,200 --> 01:21:06,320
Speaker 1: are strings of Pinocchio. We will see you next time. Everyone,

1348
01:21:06,439 --> 01:21:09,120
Speaker 1: love you, miss you. Keep the cards and letters come,

1349
01:21:09,160 --> 01:21:12,599
Speaker 1: and keep those emails coming. We appreciate you so much.

1350
01:21:13,160 --> 01:21:46,120
Speaker 1: Thank you, ladies. Stay sacked, hey, everybody, and don't forget

1351
01:21:46,200 --> 01:21:50,280
Speaker 1: Follow us on Instagram at I Am all In podcast

1352
01:21:50,360 --> 01:21:55,280
Speaker 1: and email us at Gilmore at I heart radio dot com.

1353
01:21:55,280 --> 01:21:56,840
Speaker 1: Oh you gil More fans. If you're looking for the

1354
01:21:56,880 --> 01:21:58,880
Speaker 1: best cup of coffee in the world, go to my

1355
01:21:59,400 --> 01:22:02,560
Speaker 1: website from my company scott EP dot com, s C

1356
01:22:02,680 --> 01:22:05,160
Speaker 1: O T. T y P dot com, scott ep dot

1357
01:22:05,160 --> 01:22:15,479
Speaker 1: com Grade one Specialty Coffee. Yeah.